New-York tribune., 1911-09-24
THE REAL CYRIL SCOTT
Talks About Modern Marriage
and a Sense of Nonsense.

Il is no doubt pleasant thing If you are
acting q part on the stage 70 have ii so
happen that the sentiments put into your
mouth 10y the playwright are really your
own views neatly turned and firmly patted
down Il makes real sincerity Of acting
possible and adds TO the convincing tone
Of your work. II seldom happens, fearfuly
seldom cyril scott is the lucky man this
season .n Modern Marriage at the Bijou
Theatre Cornelius Allen" does not be-
heve iu modern marriage Neither does
Cyril scott They are one man. Allen and
Scott both physically and mentally.
Behind the scenes where Allen van
ishes into Scott. though there is pleasant
lack NJ abruptness in the charge since they
are so much the same man. the young actor
reveals an added personality. He is blithe,
deboH1a.r. yes. Of good spirit that is it.
Most people who act in comedy make up for
II brutally when they 20 off the stage,
take Sc out Of everybody who is unfortu-
nate enough 90 come within their aura"
Not =o with the genial young actor OF com
efy at the Bijou. He does not lumber of
the stage with dull eye heavy foot and
crouch he is sprlngy OF step and bonny.
There's no art in f. II is just natural. or
!s that the height Of art 20 be natural of
the stage,
I'm glad" he said as he sat down 10
clt out tie objected-to lines in his play
I'm glad I can 90 this so easily
"Wlat 90 y0u mean was asked Of him.
'"Oh 7 mean-yes that was rather
coul- wasn't TO- I mean that these lines
are nothing but few wh.skers on the
play that can De- clipped off without alter
Ing itg expression. They aren't essential
But then Il the play had been a kind in
which vulgar lines were necessary ] should
not have accepted IT, I never had worse
shock than t0 read the next morning after
The opening that there were double mean
Ing lines .u Cyril Scctts new play. That
was awfu. for me, YOU know"
How aye you on modern marriage?'
was asked Of him. Not the stage kind, but
the kind We are reading Of every morning
and erering"
All that may be dt 70 read about, but it
Voulc not be ft for the stage. I'm glad the
play Isn't built on the affinity theme or any
oi those worn out ones How am on II?
l. Absolutely against I think it's all ao-
SAAiely unspeakablc'
Have you a cure 10 suggest"
fes. he cried raising his voice. Yes
] have"
What Is .te" asked mis- interviewer IN
crsSulousfr
Why ostracism would stop it. Not social
'SUacism. OF course there's a certain
amount Of that now, but complete, al
around ostrac.sm. When any Of these ne"
ho1gnt couples 90 about. either together
or sinsIy they should be cut People
should lower their eyes the butcher ana
tAv baker should wave them away Ihey
sn3uc receive none u the encouragement
lAai curiosity gives them. That would cure
I" Is very lugubriOus subject 100
IdSlar.ous for Americans 20 be Interested
IT, Maybe 81 VIII Kim itself just from very
trear.neas Americans have 70 love ioI
orear.ness They vastly prefer comedy
"n, knows better tian an actor! Ana
they are liking n better aH the time.
How do , know This way An ID
'itasng uumlcr of PLAYS arc conleai's
and eomedies are stretching themselves OUT
mo farce Now, even five years ago
vas hazardous thing 10 produce I"r't'
4" Was Eet really understood. because il
vas not a serious dramatic effort IL VAS
uAy .roth and people did not kno" 40" u
'aAe d. M0st Of the critics compiheo I"
-" IT, But now IL is different. Fd'ce
soss even broad farce with noti'hs III
ms "orio to it but laugh. An understann
"s " ta-t curious thing. sense -,
-'Asense II getting more genera. AO
surrey mats the best thing that couiu HaP
pen 10 us. Oh. good heavens! ne
~S'iltd, springins from his chaH III nv