Evening star. [volume] (Washington, D.C.) 1854-1972, 1910-04-17
JOLLY, wholesome play with

brought w dfldCe EQOlnScr Dack
a to this city. He has recently
enjoyed a series of hits that
would entitl, him to special mention on
the sporting page, If theatric efficiency
we're reckoned by batting averages.
"Eobby Burnt is one Of the most I'M
pretentious dramas presented in a long
time. 1t does not go abroad for its plot
or characters, but tells about people OF
the present time in circumstances which
have had frequent consideration in the
daily news. 1t makes no plea to be re-
CARED with tender respect as Art with a
specially capitalized A. Yet its charac-
ter analysis is keen and its story lucidly
set forth.
The play which sets forth the doings
OF our own time and people is at some
thing of the same disadvantage the
prophet in his own country. When the
mirror held up to nature reveals per-
sonages and events with which We are
ought to be entirely familiar, We chuckle
and enjoy ourselves, but We refuse to be
impressed. The touch of mystery is
wanting and we instinctively avoid giving
the author much credit for presenting
things already within our knowledge,
however entertainingly. Bobby Burnt.
too, must inevitably run the gantlet OF
the many admirers of the story as orig
inally published by George Randolph
Chester. who are sure to resent either the
omission of incidents or the introduction
of new material Mr.. Winchell Smith.
the dramatist, is remarkably strong in
recognizing the exact point where some
thing of special interest. something that
the stage manager technically defines
"a punch is required His mock
homicide incident, which scares one of
the villains into giving up the important
papers. is so timed as to provide the
thrill which is absolutely needed to pre-
vent the work from being monotonously
humorous. 1t would SAVIOR less of the
conventional if threats, tears or en-
treaties could prevail on him to elm
mate the burlesque ghost scene. which
vas decrepit when ~om Lewis
and Sam Ryan were black-face come
dams. little while after Uncle Toms
Cabin ceased to be the regn:ng novelty
OF the dramatic world.
The show which issues a new model
every year under tie title The FoIlies''
has demonstrated the value Of the Ito
BE- continued idea as applied to treat
of number is regarded with confident ex-
pectation. 1t is one of tho few topical
creations that do not depend entirely
on the local interest of Broadway for
their inspiration 1t is to a great extent
what il claims to be, review in the
gay spirit with which some of the Paris
Ian theaters set current event to rhyme
and music ard dancing
1.-THE Midnight Sons. thanks to the
amount of publicity it enjoyed before its
efriI.al. was greeted by large audiences.
u is one Of the creations which use
scenery instead Of a scenario An as
se-nblage of comedians with certain well
Ercwn qualities in a lavish environment
of stage settings that display beth in
renuity and nberality is presented in the
hope that they will rise 1.-The cpular
fancy. regardless of attenuation of story
q" lack of genuine originality. 1t is in
teresting to trace the rea tons ships of a
piece OF this description. 1t is like a
r udy in evolution or comparative anat-
umy. The idea Ct father and the boys,
upon which the story depends, was
wcl keG out mere elaboratey il the com
tdv OF that name in which Nv. Crane has
twice appeared here. TEE moving picture
scene introduced a part cf the action
was long ago anticipated in vaudeville,
where Rip Van Wink,c was compressed
icto a tWenty-n;nute sketch by means
Of films showing the action and where
tho changes of proteaa artists were de-
pcted between songs. One OF the most
notable dramatiz1t;ors of milton pic
tire film was the presentation of COM
pete minstrel first part, with songs and
dialogue rendered by human performers
who remained invisible. The theater
scene brings up gentle reco- le~tions of
the late Jerome Sykes in THE Billion
aire. That piece used the aud. torium
of the theater as the ground of action
In a manner more logical If less spec
tacular. And Mr.. George Mcnroe is the
enc comedian CT the day who is permit
Ted to WELD that ancient scepter of
Momus. the slap-stick. True. he dis
guises it an enormous japanese fan,
but is resembling thwack is none the
less hilariously convincing. The familiar
Try of the songs is due in some instances
TO the length of time the road tour was
deferred, and in others to imitation of
past successes. Yet the collection OF
r,1irrhful "reminiscences has been palpa-
,,le nit and a vindication of the modern
play producers oft-repeatsd opinions
that il is hard to guess what the people
want, and that faint check book is
not likely to win any returns on mu-
steal comedy investment.
PHILANDER JOHNSON.
Fl