The Washington herald., 1911-09-17

for this is the day Of the dog in drama,
and the astute gentlemen who cater to
popularity are trying the dramatic trend
of popular favor for the benefit of later
productions. Among the many plays that
make their debut this week may be seen
almost every branch of dramatic effort,
all served in neat but inexpensive ha-
biliments, to forecast the latest fall fash
ion in Gothams theatrical tastes.
Among those present are Julian FL
ting, in The Fascinating Widow" at
the Liberty; The Rack" a drama by
Thompson Buchanan, at the Playhouse;
''Passers-by,' Haddon Chambers latest
play, presented by Charles Frohman at
the Criterion; when Sweet Sixteen
song play" by Victor Herbert and
George V. Hobart, at Daly's; The Con-
cert" at the Belasco, and Modern Mar
riage," new comedy by Harrison
Rhodes, at the Bijou.
''The Fascinating Widow"
A female impersonator'' has ever
been an object of the critics venomed
shafts of ridicule The mere fact that
man stoops to the roles of the weaker
sex makes him fair game for those
whose wit clothes innuendo and whose
masculinity prompts the use of a brick
bat. Julian Eftinge, he who dons the
The Fascinating Widow" a. the Lib
erty, has proved no exception to the rule
and it is only through shear merit that
his play is handed a modicum of critical
applause.
In plays of this kind but one situation
is permissible. A he-female breaks into
a girls school or a female boarding
house and assumes the togs of woman
kind to avoid discovery. In the plot of
The Fascinating Widow" however,
Otto Hauerbach, the author, has provided
a touch Of originality in hinging the
action of his comic opera on the love
Of two men for one girl with a dicta-
torial mother to further complicate mat
ters
The story. however is simple. Eltinge
Hal Blake, has a rival for the hand
of Margaret LeffiEgT ell. He assaults
said rival, and, in order to escape the
lawful consequences. assumes the garb
of femininity, contriving to compromise
the otner man" tc such an extent that
the militant mother of his sweetheart
swings in his favor.
Around this ingenious story all the
business of the masculine impersonator
of womankind since the days of the
Ptolemys is woven. Various ladies of
the cast invite him to share their bath
houses, cordial bids are made for him
as a roommate. and he exposes his
anatomy in a manner truly consistent
to the male sex, greatly to the diversion
Of that portion OF the audience whose
tastes for scenery" are never satiated.
Added to these comedy features are
many tuneful melodies, and all the hu-
morous features of A hurlesque.
THE Fascinating Widow is mediocre
in libretto. bright in melody and is car
ried throgh to a small success by the |
cleverness of Eltinge.
"When Sweet Sixteen"
1t seems to be more or less the mode |
this year Il select descriptive phrases |
TO take the place of the well-worn |
comedy" tragedy" &C, that have for |
years decorated the programmes of the !
theatrical productions Victor Herbert !
and George Hobart are the latest au-
thOrs to display their inventive genius |
They call their new musical comedy |
When Sweet Sixteen" row playing at |
Days Theater song play
They are not far amiss. It is a song
play-with strong accent on the song. |
The play. plot, and actors are completely |
immersed in the flood of song-Mr. Her |
berts songs-that mark the action. In |
fact, were it not for Victor Herbert's |
tuneful contributions the efforts of Mr.
George V. Hobart. who wrote the libret-
to. would appear little short of puerile.
The plot, whit there is of it is bisect-
the newly rich, especially that part that
goes in for foreign nobility. amateur
theatricals and other means of showing
off. According to the lbretto the daugh-
ter of a newly made millionaire is about
to be married by her father to a miser
She falls in love with the miser's literary
secretary, however, and leaves the older
man to be consoled by a friendly mani
cure girl.
This simple plot, written in an ex-
ceedingly simple style, Victor Herbert
has clothed with musical garments that
amply meet the demands of the most
music thirsty soul in Gotham His score
brilliant and voumincus, dominates the
piece, overwhelms the hearer with
wealth Of melody, and. If it must be
confessed, leaves him wondering what
ii was all about.
The cast includes William Morris, Har-
riet StandOn, Frank Belcher Eva WILL
Jams, Ray Purviance. Arthur Lipson,
Harry S. Fern. Josie Intrepodi, Mabel
Mordaunt. George RidgeweIl, Belle Tay-
lor, and r. H. Dolliver.
"Thy NeiEhbOr's Wife,"
Though Mr.. Elmer Harris plainly
plagiarized his ideas for Thy Neigh
bor's Wife" now playing at the Lyceum.
from Shakespeare's Merry Wives of
Windsor" he has obviously failed to
$500 SiAC AA4iI4LIbdDlS VIII OF Ile DdrQ OF
Avon-a wit without which no play of
little action can ever hope to succeed
Throughout the place a fine line of
ancient wheezes apropos of married life
Is served to the suffering audience. The
'comedietta" is alone interesting as
historical tabulation Of stale jokes.
The story hinges upon the marital
troubles Of two families yet in the first
year Of captivity. On the one hand
there is the John and Gerty Robins COM
(Arthur Byron and Pamela
Gaythorn), on the other, the Harry and
Alice Miller lineup, mined by Frederick
Tilden and Alice Johns. In the Miller
menage, Harry, the lord Of the manor
is fopPish, and a good mixer" while
his wife devotes all her time to the
home, at the expense Of personal ap-
pearance. In the Robins household the
conditions are reversed; Robins being
fond of the home be- -tfful and the table Il
plentiful while his wife prefers to trim q
hats and court cosmetics. So much for h
the first act. q
In the second each dissatisfied husband :.
gravitates TO the wife who embodies the
merits he admires, and, through the
courtesy of tha ulaysmifh each roala a