Evening star. [volume] (Washington, D.C.) 1854-1972, 1911-01-08
- GOD old John Drew.

How little we udNo app SSASsS~s
- him in the past. with ms MILO.
gentlemanly plays! The idea OF
making a hero OF an actor
merely because he appeared unostents.
tiously we'll bred never presented atse"
until now. But John Drew with Inc
,,itv,, ON one side and Ruth st. Denis
production on the other looms up nko
protecting influence. Somehow Mr.. Drew
has consistently avoided all controversy
Of a certain sort, which, however bitterly
:, NAV rage reaches no conclusion. since
discussion Of ultimate details Invariably
becomes impossible. Perhaps he deserves
little credit for his remoteness from that
stv,e Of drama OF which there Is 50 much
COMPLAINT. It is not likely that he has
been tempted very strongly toward the
nutrient or the problematical, Tor MS per-
sono,ity s,mnlv does not At that sort Of
thing. He is naturally and irrevocabiy
.r.,onan. sometimes in war-stained uni
form. sometimes disguised as servant
sor,et,nes a diamond in the rough, but
aluavs at ease in his surroundings.
cosmopolitan in the world Of footlight
fiction. equally at home whether ne II
making love to a countess or wooing the
cook.
Mr.. Somerset Maugham's play, smith,
in a droll picture: satirical without being
iIl-natured. 1t has good lines-which Is
said of about every play that gets be-
yond the dress rehearsal stage. 1t Is a
habit of criticism to fall back on this
perfunctory statement when all hope falls
OF finding anything else to commend. AS
n matter of fact, really good lines are
not as abundant as reviewers would nave
MS believe. Labored epigrams and trans
planted quips are often mistaken lot
good lines when they are only nlisi1t
apologies for a lack OF genuine facility.
smith" has a whimsical story and good
character delineation-and lines that are
really good.
OF course. John Drew makes 1t rather
easy for an author. He requires no subtle
philosophers or daring inventions OF plot
II the manuscript does not provide cli-
makes this actor can supply them just
where they are needed, for his audiences
are SO we'll trained that they know his
signals for laughter or applause, and it
is always a pleasure to respond. All
that is necessary for climax is for Mr..
Drew to hold up both hands and gaze
upward In quizzical purturbation In act
., and run his hand between his collar
and his neck as If emotion were choking
him in act 8. And two climaxes are
enough for any play.
The interest which Mr.. Tully Marshall
takes In the role Of the unpleasant and
inexcusable young person exploited in
The City, merely emphasizes the adage
that there Is no accounting for tastes.
The exhibition is epileptic rather than
artistic.
BY playing a regular engagement In
stead of following the custom OF most
classic dancers and appearing for q mat
inee only. Ruth st. Denis seems to have
invited a more rigorous censorship than
that usually exercised over the barefoot
sisterhood. Isadore Duncan has dis
played her massive ankles unabashed:
Gertrude Hoffman, has given a touch Of
subtle travesty to her graceful but ur-
hAmpered PAGES without reproof; Loie
Fuller has waved her hands through pris-
matte fires like a venerable priestess OF
Terpsichore In benediction over the corps
Of willing and respected workers who
gauzily defied the draft: Maude Allan has
circled the stage with weird and unchai-
lenged sinuosities. Like the concert sing.
er or the orchestral organization Or the
lecture gentlemen who rhapsodize over
their stereopticon displays. they had spe-
cal clienteles predisposed to favorable
consideration and were beyond the reach
of adverse opinion next day. Miss st.
Denis herself, who was compelled by
municipal authority to change a portion
OF her entertainment. has appeared be-
fore in this city.
A weeks engagement is an appeal to
more general and possibly less discrim-
mating public than single afternoon
performance. and the civic sense Of pro-
priety has time to be aroused. The same
guardianship that eliminated q single
blasphemous shrek from THE City" but
unfortunately lacked time to rewrite the
rest Of the piece, caused a modification
OF the st. Denis performance. Tho ques-
ton of how far the nude may be APP
preached in the expression OF art lis one
which has not been definitely answered.
The artistic sincerity of Miss st. Denis
can scarcely be questioned. Her work
bears the mark of studious research and
her poses have statuesque impersonal-
ity which never relaxes. But all statu-
AIRY is not for mixed and indiscriminate
assemblages of amusement seekers, many
y. Wnom are Hkeiy 10 De impressed more
by physical display than by poetic Sig
nifcances. 1t Is the same old difficulty
of securing the right audience for the
particular style OF entertainment. The
playwright or actor surely has no more
right to reveal a voluptuous or prurient
mentality In unclothed effrontery than
AN actress or dancer has to dispense with
the conventionalities Of costume. Yet
there may be philosophic or scientific
satisfaction IN the study OF morbid types
in the drama apart from any unwhole-
some appeal, Just as the ciassicist may
ind delight in the pictures wrought by
the dancer apart from all material i'm
pressions. But unfortunately many Of
MS are neither habitually scientific or con-
sistently classical For the protection OF
these as well as for the guidance OF the
special enthusiasts every facility in the
way of advance information should be
provided. PHILANDER JOHNSON.
MAY IRwIN'E REAL EsTATE.-Ev-
ery time May Irwin stars In . sue
cessfuI play she buys . valuable piece OF
property out Of the profits. Back Of the
recorded transfer Of property No. 6SS
Lexington avenue. New York. II IN un-
usual story Of stage success ana the &C.
emulation OF real estate. The property