The Birmingham age-herald., 1912-03-14

I maTying2n said Mir Drew. "Oh, of course, but he finally does marry, you know"
 They all do,' I said laeonIcally, If the right girl comes around"
 But as to sermons" said MT. Drew, | the stage is no place for sermons. 1t is not the province of the drama, to preach. Of course a play must have a Morale, but that must be subordinate to It's in herent interest A drama should be as mirror to life, faithfully reflecting it's | virtues and vices As soon as a play becomes a preachment, it ceases to be a play, Often more good is done by the simple portrayal of the vices of society. 1 without an attempt to draw a morale. than railing or preaching. Like the slaves of the Spartans you know, made drunk, as a deterrent example to the | youth of that city.
 Then the pointing of morale, is | really not the object of the drama Tn | your estimation? 1 asked.
 l Certainly not" said Mir. Drew "rhe | stage should amuse,. primarily-dealing 1 with frothy, trifle, thin as air, which are i by no means to be taken seriously. Such plays as the successful comedies of life and serious plays, must be true to life | life the comedies in England France
 and America, today. The fairy stories
 is like Peter Pan and the Blue Bird.
 are not meant to be pictures of life, vel they have a serious morale in them, ever 1 in this sugar coated form" 1 When MT. Drew talks about the drama
 being the mirror of Society he knows whereof he speaks, for he knows Society and he knows the Stage, for he is of society and of the stage.
 He is the only actor in America who has position in society, Society with a | ,tnI Il. f..... d.. at large.
 And right here. let me say to the so- ciety men, who follow Mr. Drew sarto- rially, that he is q regular Chesterfield when it comes to wearing and doing, the correct thing.
 The fit of his hobby brown suit. the set of his stylish mauve tie and the elistenng emerald pin, to the latest model in headgear, Mr Drew looked the Pink of Perception" from his gentle many head, to his gentleman-y feet. How do you regard dramatic criti- cism?' l asked Mir. Drew presently. as our conversation drifted to that sort of l thing "Of course, you've never had it to fear yet"
 The criticism in which I have the greatest faith" said he quickly, "is that which is unwritten. That which is the | 1 mean. man says to another, Old fel- low. l saw play last night that WAS q peach You must see it. That sort of word to mouth praise for play brings great results"
 DO you think American dramatlsts equal to the foreign playwrights of the day?" l inquired.
 Augustus Thomas" said Mr Drew, holds the first position, in that line among Americans. We have many bud ding dramatists. l shouldn't say budding. for they are matured many of them, and as a matter of fact it would be invidious 10 mention some and leave out others There's Sir, Arthur Pnero, in England. | Hes the greatest playwright of them all. Perhaps you my niece. Miss Ethel Barrymore. in his Mid Channel season ago. Pinero knows how to con struct and write d play, and there are the clever French playwrights, Maeter- | linck. Rostand, Paul Capus, de Flers and Caillayet. Henri Bataille and others"
 There's some pretty raw stuff thrown at us occasionally" I suggested
 Such as --?' MT. Drew interrupted. | l mentioned "The Havoc" Haven't seen it." said he, but as T matter of fact. that sort of play serves it's purpose When the appetite Is iaded, something spicy is needed to whef if, and a certain class of theatregoers enjoy excitement
 | And then Mir Drew smiled one of his i 1uizzical smiles. which again I say is even more attractive at close range than | it is over the footights-the smile of the man who for years in New York has
 been known almost as national instl- tuition, whose opening night is an annual event in Society, which marks the end of summer and the beginning Of winter, aDd for which Le Beau Monde returns esSe- ! rtu