New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1911-10-08
THE PLAYGOER
On Some Pieces and Players OF
the Week.

form of a novel ElthcI tllc ooVN VI '''0
MAY might nave been sufficient. But MI
Patterson is Industrious The play mas
fallen into the hands of Miss Gertruoe
Elliott. and New York has had several
opporturities to see il during the last
week Rebellion" is not remarkable
play. but it is rather strong preach
ment. and many persons may on thal
account b, curious concerning the length
OF its tenancy of the stage. Its tenancy
is young yet Mr.. Patterson. probably
is undistulbed by the objections Whlch
his plav has aroused in the press and
elsewhere For if there were no obJec-
tions or no persons to urge them, his
play would have no reason for existence
But his labor will not make the slightest
difference in the world TO the Church
against which he discharges his artillery
He makes out q strong case Tor the
woman OF his stage story. If ever
woman were entitled TO divorce she is
entitled 10 IT, Her husband is drunken
and altogother worthless creature, and
no influence ON eartn can change him.
Marriage is q mockery when a good
woman is tied to such Wreckage ana
,orpeued To bear children by such
father The Connors' child dies i'm in
fancy. infected 10y the poison OF the
fathers blood. But the mothers re-
lieioD demands her sacrifice denies her
freedom. Then the woman rebels, seeks
divorce. and claims her birthright of
love and happiness" she will marry
the man she loves And to this end she
breaks with her Church This briefly. is
the story i'm Mr.. Pattcrson's play. Ihere
is no middle ground in discussion thus
presented You must be on one side or
the other. But the chances are that Mr..
Patterson will disturb YOU. whichever
side YOU are on because he endeaVorS TO
sweep the stars with his whiskbroom'
and he does not avoid some of the small
tricks of the stage.
He seems sincere But his artistic skill
is smaller than his conviction. Perhaps
he was more anxious TO start crusade
than to write a fine play. That is a de-
feet Of most "playwrights with pur-
pose" especially when they are young
or Young in their art Mr.. Patterson is
quite determined that the stage must be
a platform. or a pulpit. or both by turns
Perhaps it may be so some day. as It
was aforetime. But are there not speechl-
tying and preaching places enough in
the world outside the theatre to give fun
scope 10 all the reforms and reformers
and crusaders?
Miss Gertrude Elliott has some very
good scenes i'm this play at her sisters
theatre. and she acts them very well
But she has some scenes which she
acts with less merit She has STACEY and
over-emphatic moments when she turns
to the front and acts right out at the
audience. This is pity, because these
|I Passages seriously mar the effects which
the actress seeks TO produce. Were
these faults eliminated her performance
would be satisfying although it would
be unlikely 10 attain high distinction.
Mr. Kolkers adventure as d star in
THE Great Name appears 10 have
stirred widely differing opinions. But in
that circumstance there is nothing un-
usual Mr.. Kolker is quite as good an
actor as any among the majority of the
stars" Of the day. And all persons who
care for good acting, that is 10 say,
those who understand good acting and
can, therefore, recognize it when they
see it, will have some relish for what
he does in this play. even if the play does
not impress them as a work Of high
finish and much consequence. Mr.. Why
tails acting is unccmmonly good. once
or twice IT is a shade overdone, but as a
whole It deserves praise and gets it.
Leo Ditrichstein's acting in The
Concert" has been mentioned as if it
were a model for ali stage pOrtrayals Of
prosperous composers. Mr.. Ditrichstein's
performance in THE Concert was high
ly remarkable, but that is no reason for
supposing that the next composer in n
play should Doe an imitation Of his
Arany. Mr.. Kolkers Joseph Hofer is as
irresponsible as Ditrichstein's Arany,
nut there the resemblance ends. Arsny,
was selfish, Hofer is generous; and-but
why bother 10 trace all the differences?
Let each tub stand on its own bottom.
Hofer is a vivaciOus even a bouncing
fellow. If there is any criticism to be
made Of Mr.. Kolker's acting in THE
Great Name il is on the score Of too
little restraint. Mr.. Kolker works too
hard; is under too great physical
strain. He is not content with seeming
20 do and 10 feel he actually does and
feels. He sweats At his task He puts
too much Of himself into it, like the
actress who was supposed 10 be great
because she wept real tears! II he will
but modify his transports he will i'm
prove his playing, good though it is as
n is. Moreover, he viii be in better
condition at the end Of his season
Miss Ruth Chatterton, who plays
Isolde Brand, the ingenue part in "The
Great Name" would be very pleasing
were she 10 learn TO speak without dis
torting her pretty face She speaks well.
unlike many young girls Of the period,
and she has an intelligence and natural
ness uncommon among ingenues. But her
"naturalness" in facial expression needs
the restraining influence OF art And it
is fair 70 the young lady 10 say that in
gesture il is inadvisable always 20 hold
the hands fiat with widely separated
fingers and thumbs. once upon a time
elementary principles Of this kind were
taught 10 beginners. But now nobody
has time 10 teach or 10 learn.
A w