Evening star., 1911-01-15

parture from the beaten path
at the theaters last week-un-
less we account the appearance
of Susie sort or simlah
Trilby with Prof. Garner as the SVehsah
of the occasion. as an incident OF Ihea'fie
as well as scientific consequence ihueeu
Susie's performance answers some Oh .he
chief requirements of managers whose
standards disregard art ana demahu
only that a performer shall make EN-
laugh or cause 'em to sit up. susie gets
lust as many laughs as Montgomery and
Stone, for instance. and her acrooa'ic
future may easily surpass even thelr
agile attainments. Susie's facial express
sion is even more i-.esistib4y droll than
that of May Irwin in her most whimsical
moments. and when 1t comes to problems
while The spendthrift' was placing be-
fore us mere questions of household econ
omy and domestic propriety. Susie was
crowding our understandings, resentful
perhaps, but nevertheless exhilarated,
with vast Darwinian perplexhies. Susie
is the only performer now before the
public who has thoroughly and success
fully combined the laugh and the prob
lem. Think as hard as YOU may, you
cannot avoid being amused by the antics
of the little chimpanzee; and amused as
you may be. you can't help thinking
hard.
OF course there is a difference between
May Irwin laugh or a Montgomery
and Stone laugh and Susie laugh.
Poor little Susie has no author to guide
her, and even if she had found a writer
ready 10 fit her personality with clever
conceits and droll speeches. he could
have availed but little with a performer
whose vocabulary is limited to seven
words
Getting a Polish is the best play that
Nav Irwin has had in many seasons.
This is saying a great deal. Her sup
porting company is one OF the least COM
petent she has had in seasons, which
is saying even more. At some of the
performances this week the star wholly
omitted the songs which are SO devoutly
expected by her admirers. 1t was almost
ssaddening TO witness the disappointment
&as one music cue after another was
given with no response from the orches-
Stra in the way of syncopated introduce
ZION Ii is only tribute to May lrwins
popularity to say that there a tinge
of resentment. There is no pure-food
law for theatrical entertainment and the
public is the more dependent on the good
conscience of the company. And on this
occasion the label distinctly read coon
songs"
1t is a matter OF happy celebrity that
Miss Irwin does not have to Singer
recite either-unless she desires. Oc-
casionaIly her advertising managers be-
Tcone so enthusiastic in describing her
E island in the st. Lawrence. her golf links
in Florida and her hat-houses in New
York city that they are almost tempted
to overlook the tact that she is giving
a show. But the possession of real estate
for purposes Of rental or recreation does
not in these days of exceptional histrionic
compensation render an actress suff1cient-
ly extraordinary TO warrant her in dis
pensing with the customary efforts of
her profession
= The popularity of Montgomery and
Stone increases with each season. No
stars of their class have been more
discreetly and yet generously managed.
With music by Gustav Luders, who has
written for real prima donnas; with
lbretto by George Ade whose humor
In effective in print, Independently of
footlight Interpretation. and with pro-
ducticn of Dillingham; taste and magni-
tude, Montgomery and Stones lines
have truly fallen in pleasant places.
And il is TO their credit that they are
grateful and willing to work hard to
deserve their good fortune.
The Spendthrift' is a drama which
shows skillful construction. and gives
opportunities for good acting. Not all
of these opportunities were improved
TO the fullest possible extent. but the
play, so far as its engagement here IS
concerned, won success, substantial. If
not sensational.
PHILANDER JOHNSON.
OTIS SKINNER ON THEATER ETHICS.
IF the manner Of the theater is to be
REGARDED as an art at all IT must be OF
beneficial influence. for all art is up
lifting" said Otis Skinner recently in an
address delivered before the Society OF
Ethical Culture Of New York city.
without IL We should go down the by
WAYS of existence for the most part and
know little but the sordid. All art Is the
expression of emotion and that OF the
theater is the most emotional OF arts. A
man sometimes leaves his brains at home
when he enters a theater, but ne always
brings his emotions and sympathies.
THE stage has many detractors. II
does not represent real life. says one
A stage play should never be taken for
real life-not actual fact All art that
deceived you into taking IL for nature
itself Is inferior and comparatively
worthless
Another charge brought against the
theater Is that IL represents vice. or
course IL does. II represents vtrtue-why
not vice? All people are not paragons OF
virtue Salvini played a drunken scene
In Samson that inspired pity and SYM
pathy In Macbeth we have murder. but
Il Is the ambition and remorse we feel.
THAT the drama makes for greater cul-
ture and more interesting views OF life
In the community is unquestioned-that
it's purpose is moral is established by the
tenacity Of it's existence. All true art is
educating and uplifting
when the great fire Of Chicago ate up
the business section of the city, II car
ried away the theater buildings as well
For a period after the catastrophe-as IL
the case In all such public calamities-
crime followed in its wake. Thievery and
debauch became rampant After few
weeks q hastily constructed playhouse
threw open its doors to the relief Of a
sorrowing community. On the day fol
lowing the opening the manager was met
by the city chief OF police who congratu
lated him and said
".Your business last night caused mine
to fall off 20 per cent this morning
I'VE lead, busy, struggling, strenuous
a.. - A Tha rhan ter =