Evening star. [volume] (Washington, D.C.) 1854-1972, 1911-03-12

brightness upon hlmy oachsrouhu VI
blot.
Mr.. N,rdi,nxer's comedy OF manners is
bne OF the cleverest pieces OF stage
rrttinr that has been listened to IN
bng time But the adage Truth IS
granger than fiction finds little en-
souragement In the selection OF plots
from history. The old time romancers
vho dealt with old-time personages
Eere too sagacious to make them the
nsl heroes of their stories. Some
lsshing adventurer carving his way from
humble obscurity to a destiny whose SUI
aciept rewards were the sweetheart of
his choice and a compliment from high
authority was the central figure OF the
uory. which undertook to utilize actual
events in the worlds political changes.
In this way deeds OF great daring could
be introduced into each chapter with
put fear of the eXacting critic who
night demand encyclopedia verif1caton.
But Mr.. Nirdlinger is far too clever
nan to resort to hackneyed exped1ents.
Perhaps he is more clever than dis
erect, for the public is largely inclined
10 accept It's romance as 1t does its
humor on a basis of traditional indorse-
ment rather than by immediate and in
aependent discernment. This author in
his disdain of the commonplace gets so
tar away from the substantial effects OF
situation and climax that he leaves his
work little to depend on except bril-
liant dialogue. There is no suspense In
the story-how could there be any, when
the school books have been relating Its
most important incidents for years?
There is no thrilling clash OF physical
strength or moral determination; nothing
but a battle for the last word through
q series of thoroughly spirited CONVEX
sational engagements. Mr.. Nirdhnger
has yielded to a common literary i'm
pulse in selecting this period and Its per-
sonages. The idea has proven almost as
fascinating as the washington novel"
which everybody writes and nobody
reads. To disguise fiction as history is.
unfortunately, a much easier matter than
to disguise history as fiction.
In spite of its fragility OF structure,
Dolly Madison" had exceptional charm,
,ot only because of it's sparkling wit,
,ut because of the portraitures onered
nv very competent cast The title role
Was wonderfully congenial to Miss Fergu-
ION. who revealed in it both personal
grace and finished art. The performance
of the part Of Madison was scarcely less
conspicuous for merit and charm. as
handled by Mr.. Sherman. Orne Cal
lara's representation OF Burr, though
scarcely revealing all the tempera-
mental intricacies of this strange hgure
In history lost him nothing of the loyal
admiration which play-goers of this city
have accorded him. Yet the play is rec
ognized as not having in its present form
the positive appeal to interest which
would warrant expectation OF career
In the wane OF the theatrical season. Inc
Intention is to put more work on 1t ana
present il again. The conditions OF its
production could scarcely have been more
unfavora BILE, for Washington is OF all
cities the least interested in bygone
presidential administration. however pic
turesQue.
Daddy Dufard," the prolonged charac-
ter sketch which Albert Chevalier offered
as a play, is also listed for retirement
IL is an undeniably artistic creation. Out
IL lacks the common appeal to sentiment,
and, with neither a hero to exploit nor
q problem to discuss, it depends solely
IN the expertness of the star in char
lndefatigably. making so many entrances
and exits that at times he seems in dan
ger of coniding with himself in a door
way The production throughout suS-
gested the professionalism which taxes
Itself with a trifie too much seriousness.
After encountering Mr.. Chevalier's name
on the program as co-author (some
playwright may yet retaliate by insist
t0rl q u
dience meets Mr.. Chevalier. the aged
French actor, Mr.. Chevalier as the coster
singer, MIR. Chevalier as the 'workhouse
man and Mr.. Chevalier as himself. An
artist Of consummate poise and rare i'm
pressiveness. he acquits himself with
marvellous felicity in each and every
guise. and only the plays lack of sub
stantial motive and genuine sentiment
prevents the performance from satisfying
Seven Days created much merriment
and some curiosity as to why it should
have aroused so much New York en-
thusiasm. What Dolly Madison and
Daddy Dufard lacked In conventional
ma terial Seven Days. abundantly sup
piled. 1t is a farce of the long approved
style. with every actor doing something
ali the time, whether II relates to the
story or not There are a number or
original conceits in the piece, but the
Tiotous absurdity Is so unremttting that
the spectator is compelled to make a
choice between laughing all the time or
giving up in despair and contemplating
the perpetual panorama OF irrational ex
rravagance with mute curiosity. There
we're enough auditors OF either inclination
to permit the difference of opinion, which
Is as important to interest in the theater
as TO horse racing.
PIILANDER JOHNSON.
STUDY OF THE VIOLIN
The violin is beyond doubt the most
important instrument OF the entire or
chestra,' said Hermann Rakemann, the
concert master Of the Washington Sym
phony Orchestra. in a recent interview.
This instrument is capable Of expressing
every emotion. from the deepest pathos
TO the widest perriment or the utmost
frenzy. Violin playing" continued Mr..
Rakemann. dates back nearly to me-
dieval times. but it first attained promi-
nence in the seventeenth century. The
Introduction OF the violin into the church
service. first to play in unison with the
voices, then to accompany them, and
finally as solo instrument gave 1t its
real importance. Among the earliest of
the famous makers OF the violin were the
Amati family. who hourished in Gre
mona Andrea. the pioneer. was born in