New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-09-08

atists. The Model" Is really an in
teresting play, as must be the case
considering its authorship. II certain
references to free America" were
omitted the work would be more con-
vincing than 1t is. No one will accuse
Mr.. Thomas of huncombe, or OF lack Of
sophistication but his free America"
is not quite so free as his characters
would have themselves believe, and his
play shows this, would, indeed, be
valueless without showing IT. We may
give our prejudices new names, but
they remain the same old prejudices.
No one more than the American loves
to have something to hate.
Mr.. Thomas staged" the play and
therefore at least one voice may ask
him why the wine glasses are filled be-
fore the guests sit at table in the last
act, even before they arrive Since
when has II been customary In the so
cial world" 10 which so much refer
ence is made, 70 do this thing? a
larger matter, perhaps, since II con-
Germs a play. is the playing. The only
playing In this piece which is beyond
the ordinary is William Courtlcigh's.
It is not his fault that, as TO acting,
this is a one-man play. Somebody else
cast H. and in some cases the selec-
tons were not judicious, since they
conceal the dramatist's intention. Mr.
Perry is rather hard in this piece. not
at all the romantic and ardent lover;
Miss Gail Kane Is very beautiful, but
the Spirituality" Of which a great deal
is heard in connection with the char
acter Of the model, Louise. is scarcely
suggested by her. Her Louise Is a
very pretty girl very much in love. OF
course Duncan Coyerly. the artist, be-
lieves her an angel goddess, or he
would not be in love; but the difficulty
is TO find on the stage lovely women
who suggest spirituality" Girlsh
beauty and earnestness may be very
fetching" but how seldom they sug-
gest spirituality" or can suggest it
through four acts of play, act they
never so charmingly. The Mr.. Wither-
spoon of Mr.. Thomass mind Is not
conveyed to the spectators mind by
John Findlay Clarence Van Amberg
belongs in Pail Mall as Reginald Ma
son plays him. rather than in any
sweet shady side" of Manhattan; and
some others. excepting Miss Ffolliott
Paget as Nine. Bergeret, are "out Of
the picture" The casting may not be
Mr. Thomass fault. but II is q veil
between his play and his audiences. 1t
is too often the case In contemporary
theatres that audiences must see be-
yond the veil Of acting if they would
know lust what an authors intention
may be. But in William Ceurtleigh's
case there is no veil; there is CAPT
tally acted part And If there is
considerable public that cares for act
ing 1t will hasten 10 see Courtleigh as
Emile Bergeret.
Art ennobles and purifes every
thing" says one of the personages In
this play. But art Of itself does moth
ing OF the kind, and the dramatist
shows that it does not. 1t is one of
the refreshing qualities Of this drama
fist that he has no love for cant, not
even for the current cant about the
drama. There is more wonder then
how the free America lines crept in.
II there is anything from which Amer
lea is not free" it is cant, of which
its supply is quite as abundant as that
Of any other nation. But Thomas's
shafts fly at most of the cant of the
time, in one play and another. II any
Of his present actors do not see the
point. the spectators need not be ac-
cused of blindness. And in any case,
Augustus Thomas does not deserve to
be bound against a wall and shot at
sunrise. After reading the papers you
might have expected 10 see i2d street
deep in his blood. 1t is SO easy to kill
a man in New York and nobody cares
very much after the headlines have
diminished and the avengor has got
away. But there are worse offences
than writing a play. than even writing
two or three OF the best plays of re-
cent seasons. and there are worse plays
than The Model now running in New
York to great praise. A. w.