Evening star. [volume] (Washington, D.C.) 1854-1972, 1911-03-19

dramatiSt cannot f1nd Oppor-
tunity has been rendered OBJ
solete by recent conditions In
the theatrical world. There
have been more theaters awaiting attrac-
tions than there were productions oi
recognized merit, or solid prospect 10 Hi
them. and the result has been an almost
reckless readiness to present untrleo ma
terial This increase of opportunity mas
been accompanied by disadvantages cal
culate1l to perpetuate the dlscourase
ments Of new authorship. New proouc-
lions are made in many cases without
the confidence which. insures careiui
nreparation and thorough equipment
These are made in perfunctory man
nor in the hope that some one out OF
navy will score. Actors are being COM
yelled TO learn almost as many parts In
= sa.scu, ss they did in the old days,
when the stock system was universal.
r,ha chasing of a play is no longer re-
parded as a calamity. but as mere IN
c;dens of a seasons activity. The play
srs I'm a. recent attraction we're given their
..notices' promptly after the final re-
h.arsa, 40 that the production could be
S,,ra of closing at the end of two weeks
The nla.ys which appear as the result OF
long and slow development. such as
brmght forth Jeffersons RIP Van VIM
kle,, and Denman Thompson Oio
Homestead" are few. Formerly plays
were prepared by the overnight stahos
for u run in New York. Now they are
prepaI,ed by a run in New York Tor the
one-ni..ht stands The mysterious pres
,ige of a. New York run is still as potent
as il is bnexplic.able. and most OF the new
productions look to a season In the Dig
CITY as the first reward of success. Man
ayers. however. are awakening to the dis-
advantage of sighting all considerations
snart from little old Broadway ana
presenting inc0npletely rehearsed per-
formances as first night events In cities
on the American mainland. In cosmo-
politan com munity like Washington
which is peculiarly in touch with the en-
tire country, tS experiment with unpoiish-
cd material is particularly dangerous. The
attitude of aud ienoes in this city Is never
resentful or vi ndictive but it frequently
becomes sadly ,5iffident
The Old Newt Yorker is an example
Of the risks which producing managers
ave constantly taking with productions
which, though possessing intrinsic merit.
nck thorough treatment in authorship
and stage manage ment. 1t is safe to say
that no manager. even in this era of
forced productionst would present play
which did not show some share of orig
inal and vital quality. But the prepara-
tion Is so rapid that there is no oppor-
unity for the performance to receive
fine and confident treatment during the
first week II the authors of IAN Old
New Yorker were to rewrite their play
with the knowledge at command which
they have gained from last weeks en-
gagement, 1t would undoubtedly be a
better play. But the disbursement of
a reception distinguished by courtesy
rather than spontaneous enthusiasm must
se a hindrance.
AR. Thomas Wise, like his immediate
predecessor at the Beiasco Theater, gives
a personal performance that leaves moth
ing to be desired. Like Mr.. Chevalfer. HI
has undertaken to elaborate a single
character sketch into play, and the
considerations of plausible motives 70
the plot have not beefi carefully regarded
1t is doubtful whether New York. which
provides most of the support for the the
alter. could ever be persuaded that tn,
picture of tho old-time business man wht
generously refuses every advantage is
even approximately realistic. 1t would
turn from him one who fatuously in
sists on selling himself gold bricks Ii
seems strangely difficult for the stage Il
present sentiment with forceful dignity
instead of making 1t a mere irresponsible
vagary. 1t would be depressing to fee
that Mr.. George Conan had sounded the
true note OF current ideals in Get Rich
Quick Wallingford."
Henry Miller's play, which, like so
many successes. had TO weather a great
deal of adverse comment. is not a play
OF sentiment. The Havoc shows char
acter which is remarkable because Of it's
ability to crush out finer feelings and
to defy its own natural promptines. The
play. is so strong in character drawing
and in dramatic action that even the
alert moralist is likely to he carried along
by the interest of the story with such
rapidity that he is unoffended by
scene which is Internationally one of the
most audacious that the stage has WITT
messed.
The Roundup" is a novel creation, a
sort of carnival of melodrama in which
nothing that scenery or stage effects
could provide is neglected. AS in most
spectacular productions, the stage hands
to whose deft care the massive settings
are intrusted share responsibility with
the actors to degree that interferes
with subtle artistic effect.
PhILANDER JOHNSON.
WILL WEST.-Wil1 West, who plays
Ivan fartaroff, the circus proprietor In
The Dollar Princess is English by
birth, but in all other respects Ameri-
can. He was born in London, Septem-
Der ~, 1863, and during his school days
served as a choir boy at the Westmin-
ster Cathedral His theatrical career
began when he was sixteen, and his
first public appearance was in the Irish
exhibition held at the Olympia, where
he sang in minstrelsy. The spirit of
adventure brought him to America in
1887. where, after a brief period of
enforced idleness, he appeared at Volts
Garden, on the Bowery, in vaudeville
speciality. Then followed two years
the Circus West replaced John
Webster. who was supposed to have
fallen over the brink OF Niagara Falls.
When The Night of the Circus had
outived it's usefulness West was en-
gagged by Cosgrove ana Grant to create
the principal comedy role in THE
Dazzers." The piece toured the coun-
try for five seasons.
The call Of vaudeville managers lured
West into the two-a-day houses, where
he remained until engaged by the