Evening star. [volume] (Washington, D.C.) 1854-1972, 1912-10-01
ADJUSTMENTS.
New National,

A vigorous central idea animates the
third act Of 1.-THE Other Man. in which
Mr.. George Nash took the role of first
importance at the New National Theater
last night. The play reached Washington
in state of early development. unforti-
fied by the encouraging press notices
which stay in the vicinity of Broad
way. New York, would doubtless have
produced. 1t is strictly a psychological
drama, and psychology as expressed in
literary form by Mr.. Eugene Presbry and
transferred to the stage by Messrs.
Conan and Harris should have the bene-
mt OF all the expert preliminary discus
sion possible before being exposed to the
scrutiny of audiences in general. There
are times when the mind Of q spectator
longs to turn to the record of good opin-
ions elsewhere. which convey something
of the soothing assurance of a pure food
label.
The Other Mans lack of metropoli-
tan experience may have accounted for
few traces of nervousness in the cast.
But the incidents which were evidently
depended on as big scenes around which
a great deal of dialogue was gathered
stood out firm and strong, impressive III
suggestion and admirable in execution.
Conscience ceases to speak as still.
small voice to Jack Rutherford. the man
of the world, who resolves to abandon
champagne and collection of frivolous
Photographs. tOgetnef Win an unfeCOS-
nized son and his mother, and MARI into
good society. Rutherford's conscience
takes visible shape after some ingenious
and effective management of lights. and
is not only robust in declamatory power,
but, judging from the noise of a struggle
in the dark, capable of holding its own
in an athletic contest. Mr.. Nash plays
this scene. which stands out wildly In
the performance because of it's forceful
symbolism. with the same discreet and
we'll modulated energy that has distin-
guished others of his characterizations.
The role is the one that has become a
favorite theme with American dramatists,
the man of extraordinary achievements
who can govern all things except his own
Will power. The reading of Mr. Clifford
Bruce. who spoke as the other man, to
turn Rutherford from his purpose Of
Sacrlnclng one woman S devotion for the
sake of loveless union with another.
contributed much to the effect of the es-
sential scene of the play. Miss That's
Magrane reflected the combination of
classicism and colloquialism her stage
name would seem TO suggest, radiant
ingenue one moment and an exponent of
tense emotionalism the next. A thorough
ly praiseworthy performance was given
by Charles A. Stevenson as the doctor
who with the lawyer. also well played by
Harrison Hunter. undertakes to supervise
the destinies with which professional &C
tivities lead to close acquaintance. Mas
ter Tobin, as the child who awakens the
noble and more sincere sentiments of the
father in a scene to which Mr.. Nash gave
fine and impressive significance. met the
responsibilities of an exacting role with
credit to himself and to his instructors.
The motives Of the play are not always
clearly defined. One Of the most impor-
tant that leading to the concealment of
the child's existence. is, after several in
eHectual discussions, rather unconvin-
cingly dismissed as woman's whim
Bibulous tendencies are shown in gay con-
trast to the leading characters very grave
danger of chronic alcoholism by James A.
Butler. who depicted an adolescent spree
in spirit of affable comedy. The dia-
logue is not compactly arranged in the
presentation of the story. but in its diff
fusion 1t finds opportunity to score a
number of clever and amusing turns of
phrase. The audience was appreciatiye
to an extent that demanded numerous ac-
Acknowledgements Of applause at the close
of each act.