New-York tribune., 1911-10-25
THE DRAMA
"The Million" at the Thirty
ninth Street Theatre.

With a theme that must have been bor-
rowed from the moving picture shows "Ine
Million from the French OF NM. Bcr AMI
Guillemand. had its first presentation in
New Ycrk last nigh: al the Th!rty-rintA
Street Theatre.
That Ramon Andrade a poor but for
that reason all the more picturesque sculp
tor of the Quarter Latin--or rather for
this Americanized version. of New York
bohemia, wherever that is-wins 4 m'.iio1
pesos in Brazilian lottery. loses the ticket
and starts a cumulative chase for it. Is the
idea on which the farce is constructed.
After Andrade has begun the chase others
enter and still others. some from honest,
helpful motives and others from lust for
gold. The presence OF this evil determlna-
ton OF the villains 10 get the million for
themselves is supposed 10 supply the farce
melodrama with enough anxious moments
of alarm and sympathy for the unfortunate
Audrade to give the piece the inevitable
human appeal. Why I; would not, have
been better TO carry out the theme wholly
along farce lines. without trying TO clamp
it on the heart OF the spectator is not
explained But this much-hunted human
organ. having I'm almost every case with
stood daily even hourly attacks on, It's
powers Of resistance. has got the nbit
OF going into the theatre on the defensive.
and for that reason was not excited TO any
particular orstrations by the human
appeal I'm The Million II was the sheer
fun Of the play that carried il along and
made an impatient audience span its In
terest over the too-lonG psuses between the
acts to SEE the continuation OF the chase
for a fortune Nothing seems so spontane-
ously popular ar the moving picture shows
as good. old-fashioned chase and il
vas not an uninterssting experiment to
see the same thing done I'm the unphoto-
graphed original Many dramas have heen
trausposed from the stage 20 the film. but
SC far as is known this is the first time
that he reverse operation has been at
tempted.
The adapters alone krOT why u vas nee
essary 10 Americanize the scenes Of the
rlav 20 change Paris 20 New York ana
the French country 20 Pelham. However.
il makes Ht.lo difference 70 any ono except
the printer ~ tho programme and the
nossessor ~ an imagination. as the scenery
misht have been made for either place.
But II is unsrateful 70 raise small ques-
tons 4 farce is not asked IN consider me
order Of its going. but merely 10 20. And
II there is any lack Of go IN The
Million" there Is no discovering IT, FROM
tho moment when the telegram comes an
nouncing that Ramon ticket has won the
million the sreedometer jumps to the limit
IN D scene of frantic joy the old furnish
ings Of the garrett studio. the suhjerfuges
NJ artistic poverty 60 by the board. The
keen delight Of breaking up the old home
is seen IN detail. and not only on the
stage. but. he g. confessed IN The audience
AS We'll. the excitement borders on hvs-
torics. such a Wild orgy could hardly he
expected 70 last through three more acts.
The first is by far the sst, as far IS the
situations I'm the plav sre concerned Bu-
the best acting was seen in the third and
fourth acts Tavlor Holmes, as Lorimer
Walsh. medical student and one Of the
fohemians had tho honors Of the evening
for his fine comedy and perfect self-pos-
session Paul Ker. as "the Caruso of the
Povarv." Fredcrico DonatelH took the
house With his serenades to his old cos
fumes. he was the most characteristic bit
Of continental humor that was left Of the
original play I'm its American adaptation.
The Million is a riot Of nonsense. and is
quite as stirring as the fercest chase
that over was reeled from a flm ~ tho in
defatigable Pathe Frercs.