The Bridgeport evening farmer., 1911-10-26
1.-THE SPEMOTHRIFT'

With a record of success established by five months continuous occupancy of the Hudson Theatre, New York. '@The Spendthrift' Frederic Thomp- sons production of the Porter Elmer son Browne's play comes to the Park Theatre for the afternoon and even- ing of Wednesday, Nov. 1.
 Playgoers of this city can with jus tice count themselves fortunate in be- ing offered the opportunity to review this highly successful dramatic offer ing with it's New York Company and as the fame of "The Spendthrift' has preceded it. there is little question that the opportunity will be enthusiastical ly embraced. Box office indications are for series of large audiences.
 .sThe Spendthrift'' is a drama of do mestic extravagance. It's theme is an evil which is prevalent in so many households of Americans of middle class. When writing it Porter Elm erson Browne did not believe he was prescribing a remedy for "the high cost of living but he did believe he was presenting Certain conditions in such emphatic fashion as to arouse discussion which of itself wonld be beneficial Everybody who has seen
 'The Spendthrift'' agrees that the playwright succeeded in this purpose.
 Frances Ward, who is the spend thrift of the play, is a woman to whom a new hat, a new gown and a new motor car are matters of most vii tai importance. Her husband, hard working prosperous broker, is ambi- tious along different lines. The var lance of their ideals and the woman's ability to spend money faster than her husband can make it, brings about a condition in their affairs where, un- less their domestic relations are treat ed to. a sudden and far-reaching change" there threatens to be a tra- gedy beyond the hope of palliatiOn. This change takes place but instead of being brought about by the efforts of the husband it is the result of a foolish action on the part of the wife, the most foolish of her thoughtless, butterfly career since it produces sus- picion- in the mind of her husband The wife's action directly precipitates the big third act climax where the hus- band forces the wife to telephone an- other man at midni @.t and invite him to their home, that he (the ausbanO may confront the two and judge by the manner Of their meeting what his future course shall be. The scene in wolves such a terrible lesson for the wife that her idea of life is entirely transformed and with the transforma- tion there comes the resolve on her part to be of some actual use to her husband and the world at large. Though the play ends happily as may be expected from this brief outline of its climateric situations, it is not at all the conventional ending upon which the curtain falls.
 The" strength of "The Spendthrift'' as drama made the engagement of a cast of more than usual capabilities an absolute necessity if it's points were ito be properly emphasized. Hence, the engagement of Thais Ma grane for the role of the wife and Li- onel Adams for that of the husband, while other parts were awarded to guson, Sumner Gard, Alice Kelly, Ed win Holland, Guy DEnnery and FL eanor Woodruff. Thisscast has scored collective personal success as well as individual triumphs in this play.