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


acting because they are vagueiJ
defined and to a large degree 1nvoiunta-
lrilv assumed. One of these is the task Oh
;fnd;np a suitable play for Ethel Barry
more She has the subtle power OF per-
sonalitv. the gift of unconsciously COM
manding interest, which Is one OF the
,,,,,stories of the stage world. Two au-
thors NAV express the same idea anu q
tricl, of phrasing may make 1t enecuVe
from the pen of one while 1t fails nat
with the other. And with the player
faint shading of speech or an impalpaoie
indiyidualism of pose and gesture may
constitute claim to public attehtlon
which no amount of critical analysis can
successfully challenge. Students or the
stage have endeavored to locate the mys-
terry. Some say it is the voice that APP
peaIs but if this were auctioneers
would make popular actors Some at
tribute the subtle yet compelling cnarn
to physical comeliness, yet professional
beauties are in the long run handicapped
by their regulations as such. Inc theory
that physical grace is the essentaA
should bring dancing masters 10 the
front, but it does not intellectually as
the dominant factor would imply that
our great statesmen might qualify as
actors but this happens only occasion
aIly and quite incidentally. Yet there Is
some gift which compels attention. IL
may be psychic force; 1t may be sheer
animal magnetism. Whatever 1t Is, Miss
Barrymore has it. Her methods or ex-
preston may be discussed with technical
disapproval, but she commands interest
and each season finds the playgoing pub
lie sympathizing with her management
in the problem of equipping her with q
new and suitable play. And each season
leaves feeling that she has not yet been
seen at her best.
This winters play, THE Witness for
the Defense" is something of COM
promise so far as the personal exploita-
ton of the star is concerned. 1t does not
bear the .'made-to-order' mark, but is
drama of ingeniously developed suspense
and climax, which might be depended
upon to hold close attention if presented
by any company of a high average OF
competence. In the central role, that OF
q woman accused of murder. Miss Barry
more maintains the self-possession which
marks ali her presentations, and which Is
SO far from se.f-consciousness that 1t
might rather be called self-oblivion. That
her sympathy with the role in hand is
intense cannot be doubted. 1t IS felt
rather than perceived, for Miss Barry
more's methods go no further than to
lend her personality completely and in
telligent.y to- the picture. without at
tempt at stressful demonstration.
T.
The play Is grating of the problem
drama. In the more dignified sense Of
the phrase. to the older school Of nelo-
drama. involving unjust accusation hair
breadth escape and final vindication. The
first act lays the foundation for a meio-
drama Of exceedingly ingenious plot.
The husband against whom the wom-
an turns her rifle is the object Of pur-
suit by a treacherous Hindu, who might
easily have shot from behind her. leav-
Ing her. still. with the impression that she
committed the crime which leads up to
her thrilling confession scene. But the
elaborate groundwork for some such story
is abandoned, and the exculpation which
might SO easily be provided for the lady
in the last act is withheld that prob
lem may be substituted. The problem.
crudely formulated. is this: Should a
woman who shoots her brute of a hus-
band retain the affection of a subsequent
husband after he has learned of the
crime Inevitably, after seeing the case
:, presented by Miss Barrymore and the
extraordinarily efficient players associated
with her. the answer is a Economically
unanimous affirmative. The heroine of
the drawing room drama must have
past. even when the means of vindicat-
ing her are obviously at hand.
Miss Grace Ferguson's repetition OF
her Dolly Madison play in this city
proved a treat for theatergoers who
can be contented by a work that invites
admiration by its delicacy of craftsman
ship instead of compelling interest by
broad, incorporating effects Wit
that is genuine scintillates through the
speeches. and the characters are drawn
with great deftness. 1t is a most per-
suasive invitation to pause in the dis
cussion Of current themes on the stage
for glimpse at the chiyalries of by
gone days. If Americans were ancestor
worshipers like the Chinese there would
be no holding the crowds that would
strive for places to see Mr.. Nirdlinger's
clever play.
Betsy" came as the result Of much
shifting of engagements at the Belasco.
There was hope of being able to refer
10 tne play. IN "a spirit or reciprocal
persifage, as the seasons zone best
Betsy'-but let us not undertake to
Joke about serious matters.
- PHILANDER JOHNSON.
THE F-iKING OF \ COMEDIAN
Tom Waters. who plays the part Of DON
ddier. the antique dealer in 1.-THE Pink
Lady which Klaw & Erianger will pre-
sent at the National Theater. has been a
leading comedian for some years. but on
one occasion he was pianist at Z O'Clock
and a leading comedian at $50 o'clock.
much to his establishment. 1t happened
in Ashevflle N c.. where Mr. Waters
was playing the piano between the acts
FOR Charles McCarthy's play. lone Of the
Bravest," a lurid melodrama extolling
the virtues of the firemen of great city.
He hadn't much to do except between the
acts. On the night in question the
principal comedian, who was playing the
role or Rats. the newsboy. failed to show
up. In fact, he was very much incapac-
itated from any sort of public appearance.
His was an important part and there
was understudy. The manager of the
company was resourceful though.
Tommy he said to the youthful
pianist. "I'Il have to ask you to makeup
as fast as the Lord will let you. and go
on for Rats tonight. Here is the part.
You have about an hour to study 1t. I
have engaged a local man to play the
piano"
"But I've never been on the stage" ex-
claimed the astonished pianist
-