Evening star. [volume] (Washington, D.C.) 1854-1972, 1912-12-29

ager. 1t pursues something of the same
method which made 1.-The Darling OF the
Gods so remarkable theatrical crea-
ton. seeking to develop Hawaiian at
mosphere and incident to the same per
lection that those of Japan were devel-
oped in the memorable drama of the
Samurai 1t is a blending of an enor-
nous array of effects, symphony or
ideas in which the themes and harmonies
must be handled with forcefui yet dell
cate discretion.
There are moments when the mechani-
cal development of details relating to
sheer description threaten to overwheim
the dramatic interest. Yet the story al
ways emerges clear and thrilling. so
much interest attaches to the incidental
embellishments of music and dancing
that these seem in danger of becoming
dominant impressions instead OF artistic
details. The real Hawaiians, in rivalry
TO the really big story that is being told,
form a dangerously fascinating study on
their own account The dancer who
comes so prominently forward Is reve-
lation of physical grace that might en-
title him to be called the Mordkin of the
Kanakas At the close of the play there
Is a spectacular incident depicting an
active volcano whose pictorial magnifi-
cence might easily throw into shadow a
plot less interesting or characters less
truthful and human.
At only one point in the play does the
ethnoloyy so freely introduced seriously
threaten to submerge plot and action
The recitation of the death prayer by
the old Priest of Pele at the close of
Act III turns interest and attention en-
tireIy away from the defiant and sudden
resolution of the rirl who for the sake
of love. rejects the most reverenced ana
awful superstition of her tribe Inc
barbaric ceremonials which follow her
dramatic expression at this point are just
interesting and picturesque enough to
constitute an anti-climax.
None of the names in the cast is as
familiar as that of Guy Bates Post. who
does the best work of his career so far
as il is known here not excepting his
rortrayal of Steve in The Virginian.'
Miss Bessie Barriscale. who plays the
cole of Luana. the heroine. is an &C
Quaintance in theatrical matters we'll
worth the making. Miss Barricale's per-
sormance gives evidence not only of I'M
usual talents. but of faithful applica-
non. She has taken pains to master the
dances of the people among whom she is
supposed to figure leader both in
sports and in serious affairs. The ex-
travagance of emotionality which the
story presupposes as an element of the
Hawaiian girls character is depicted in
vein of almost childlike sincerity. She
avoids evidence of restraint and at the
same time does not press too far in lines
of exaggeratidn.
1t is a long time since the representa-
ton of volcano in action has been
utilized as the final climax of a roman
tic or sensational drama. Only the faith
ful scrapbook monitor can say with au-
thority whether there has been anything
of the kind since the famous story; of
Frankeinstein was put into stage form
with the self-destructon of the monster
by this same method as the concluding
touch of terror.
John Drew has another play this sea-
son: OF it would be as easy to say, an
other play has John Drew. Mr.. Drew
and his plays always seem to balance
each other in exact equality of impor-
lance. The title of 1.-The Perplexed Hus-
band" affords no suggestion of novelty.
Mr.. Drew, as the orchestra chairs know
him, is always perplexed in an agreeable,
gentemanly way and Is always a hus-
band, even though the nuptials may be
postponed until little misunderstanding
that hinder the course of true love have
been cleared away for the last act. And
yet John Drew's plays are entertaining
in the same proportion that their ma
terial is reliable. He is always the ex-
ponent of the sunshiny side of human af-
fai,e h.
PHILOSOPHERS involving problems and tri-
angles, nor into artistic but unhappy de-
movements. Mr. Drew in his theatrical
career seems to have been like the char,
acters he has represented. frankly hu-
man, serenely dignified, and inviting no
antagonisms. such sure to be
aroused by efforts of extraordinary dis
play in lines of personal brilliancy.
In writing THE Perplexed Husband
Alfred Sutro has utilized considerable
amount of very old literary material,
deftly combining and contrasting his eff
fects with a graceful touch of the truly
modern spirit. The ladies who forsake
domestic ideals for the allurements either
of the great world of fashion or the
great world of politics have been sub
Jects of the dfamatist'S satiric skill from
remote ages The French and the Eng
lish and the German writer's found the
theme attractive before the word .suf-
frasette'' had been dreamed of. One of
the most interesting characters in the
play is that of the poet-philosopher, who.
in ornate phrases, expounds any doctrine
which will win him a footing in some
household where the living is good. The
type antedates even Moliere's 'Tartuffe,'
for the Roman parasites were not ne
elected by the authors of the earliest
comedies And the sweet, gushing girl
who reads the affected poets and pins
her idealistic faith to classical subjects.
has been held up TO quizzical. though not
unsympathetic, inspection many times
before
Mr.. Sutro. while a satirst, is not an
implacable foe to folly. He criticises
with keen perception and then with
kindly human interest. forgives. His
wheeZy philosopher becomes, on closer &C
quaintance. the gentle dreamer who seeks
refuge as best he may from the hard
ships OF life with which he is not by ma
ture fitted 10 contend. The young girl
who reads poetry and adores art finds
her love of the beautiful and her rejec-
ton of the ugly safeguard against