New-York tribune., 1912-04-21
ACTRESS AS CRITIC
Florence Reed Analyses Part Of
IIIOna in "The Typhoon."

the members OF tUdL profession Tor any
light op the subject Of dramatic criticism
or critical analysis of characters in plays
Actors are supposed to represent char.
acter and emphasize situation through an
instructive sense OF some kind and in a
great measure they do Yet how can actors
be expected to reveal the psychology q,
character without having the discernmsn,
Of the real critic? Theirs is a certain klnd
OF criticism, anyway. What kind Is n,
Florence Reed. who takes the leadln.
part in support of Walker Whiteslde In
THE Typhoon," which will from now an
be at the Hudson Theatre, has witbop,
doubt, as cool and deliberate a sense %
criticism as could be found In anv oro
Her own exposition OF the character .,
Illona, "the little European Geisha pirI"
which is Miss Reeds role in THE Tv
phoon," shows something OF the anaIvt,,
spirit in which she approaches a part
1t was just after the second act Of N.
play, and Miss Reed was in her dressir,,
room looking In her mirror with a ratbar
unkindly expression.
II often wonder" she said "hov mas,
people notice this gown that 7 sno,, ..
many absorbed hours In designing vo.
so anxious to get something that uIoro
would have spontaneously chosen as on
expression Of herself. 1t had 10 he aseo,
TALLY European, yet a costume which
would appeal TO the light, fantastic foro,
and the we'll balanced judgment ~ .
japanese exquisite. Not an easy tb,ra
you see" she mused. still regarding witt
out either satisfaction or dislike. the -
fected figure in the mirror with IT'S nara
| GpnSttiVa ba rio
run through with fine threads OF gold
With her winged victory hat OF br,vh,
red bird wings, it is a telling costume ana
Is not thing that Miss Reed could voa.
off the stage. Few actresses In dressra
their parts seem to understand that exoo,
realism Of costume is uninterestIng or o.
stage. '
IL was question as TO whether she Al.
not prefer TO play comedy with which sb.
made universal impression in "seven
Days year ago, to the portrayal NJ +.
lost woman, such as Illona, that brougb,
out Miss Reeds description Of her presen,
part.
There is great variety to these losr
women" she laughed, They are full a,
shading and OF high lights. They ara
tempting for an actress. Illona IS a din.
cult one, though, and therefore attrsct,
me all the more
You see" she said. leaning forward IN
her chair and raising her voice uncon.
sciously, you can tell how to play Ilona
when you consider what sort OF man he,
lover Is. What is he? A japanese Of the
highest degree OF cultivation: a man NJ
Infinite experience in the sense that he is
the infinitely mature Oriental he is a man
, Of the most complete mentality, yet with
an equally rich humanity. He is what YOU
, might describe as finished product. most
exquisitely refined and sensitive in mind.
, manner and feelings
What sort OF woman are you to maks
, OF her who is going to be his pleasure. nj.
relaxation and his companion in work. tool
"Of course. she must be fascinating. But
, this is not a matter OF the senses alone.
II she were merely sensual she would appeal
TO only one phase OF Tokeramo's many-sided
nature. She must be curious, have unex.
pected deeps and shadows; she must be
perverse, natural, artificial; she must BE-
intense, yet calm; she must be demonstra.
tive at times but not so as ever 10 reveal
| very much OF herself. That is, you see, she
must be as world-old creature as he, but
in an entirely different way, and she must
be deeply understanding. There must be
something in her for all his different needs
and she must reveal depths that even his
keen intelligence cannot surely penetrate.
IShe must even be a child TO him. That
must not be forgotten.
Naturally a part like that attracts an
| actress. But l don't want TO continue
playing lost women. My idea is to keep
| away from any one style Of part l vowed
10 myself when ! was finished with Seven
! Days that l would not play comedy again
in New York until after | had made an
impression here in something different
even II / had to stay away from the city
for ten years.
, III l had followed up Seven Days with
another comedy part l should never have
, been offered anything hut comedy for the
rest Of my life. Probably 1 would have
. been obliged to play a drunk scene every
time too.
"Of course, comedy is easy for me.
: was born with that sixth sense In me, JUST
as every one is who really has 1t at an'
You cannot teach am actress how 10 DC
comedienne, but you certainly could tram
an empty bottle TO be an emotional actress
If you wanted to.
MY point is that | don't want to be Inn
tied to any one kind of thing. | want u
convince people that l understand morO
than one sort Of human being ana an
able to read. study and interpret ehar"'
ters of widely varied kinds.
After Illona | shan't play any more
lost women. except possibly one more
next season. until have played someuns
different. II is a very difficult plan 7"
carry out. because no one thinks 10 ohe'
, YOU part until he has seen you IN sohi'.
Thing similar Every one seems 70 De ITO"
Missouri.
"Only by chance | was called upon 10.
The Typhoon.' No one thought l cou.'
, be emotional. But now l have SIX pe
, fectly gorgeous offers for next year
one of them for an emotional ro1e' -
two months of The Typhoon' I've "'pe'
- n wear OF Seven Days right of the may.
: In a sudden burst OF joyful entlus'a
: Miss Reed sprang from her chair anu ea-
ling for her admirably faithful white p"pp''
who at once crawled out sleepiy from
secret hiding place. worked of on MN .
Least hundred cubic feet OF stored UP e"'
ergy. .,oh,
With all her cool Judgment ana "s-e ln
, into the quality and the motives OF peVp
Miss Reed would probably gain the repOa
ton of being always half seas over W.
lemotionalism among those who did no' ~.
derstand that the tears which come TO w.
ewes when she speaks Of something tns'
has considerably interested her. the nus
which spreads over her cheeks and the er
element which courses all through her az
merely signs Of extreme sensitveness am