New-York tribune., 1912-03-04
LONDON DRAMA
BOoing of Pinero-An Ideal
Tri|by-The Censorship.
London, February 81.

|
the Paint Girr' in motive and construc-
tion is as good a play as "Trelawny Of
the Wells" which has been one OF Sir
Arthur Pinero's popular comedies. In
One respect it is superior TO the earlier
play, for instead Of dealing with old
time theatres of the authors youth-the
Phelps school of Shakespearian acting
and sentimental Robertson drama, 1t is
concerned with the current musical COM
edy and with the Gaiety girls and their
relations to aristocracy IL Is a vivid
and entertaining study Of one of the Sc
cial institutions OF the day-the musical
comedy favorite, who holds court in Boz
hemia and after brief reign over scores
or admirers retires from the stage either
with a titled husband or a stock brokers'
fortune. She is one Of the most charm
ing figures in the life Of the times, and
Sir Arthur Pinero has exhibited her as
actress, popular favorite and woman
with a true heart. 1t Is not carftature,
but good portraiture. Why was there
discomfort in the pit and galleries when
the play was produced at the Duke Of
York's?
AS the booifg began in the second act
when the birthday supper in the foyer
given IL honor Of the leading actress Of
the Pandora was followed by song and
dance and a departure for Bloomsbury
nInder escort of jewellers Of both sexes, II
might be inferred that the vociferous OBJ
jectors suspected that the author was
making fun of musical comedy and were
/ furnishing him I'm fit of sullen resent-
ment. In reality he was photographing
trating with racy humor its irresponsible
vivacity and joyousness. Such satire as
there was-and it was mellow rather
than bitter-was directed against So
ciety Two theories were mischievously
played with-one that the Gaiety girl
was a menace to the peace and welfare
of the upper classes, since she interfered
with the safe mating Of unreasonable
sons with modest girls Of the safe, COM
monplace British order, and the other
that she was working out the salvation ot
the aristocracy in the long run by help
ing "in the mixture of the breed" AS one
theory was set off against the other and
an even balance was kept between them,
the satire was not to be taken seriously.
| Certainly there was nothing like dellber-
ate ridicule Of musical comedy Atmos-
phere, background and familiar figures
of foyer and stage, Bloomsbury and Bo-
hemia. were supplied; and Lily Parra-
dell emerged from the noisy rabble OF
thirty-four Pandora puppets conyinc-
ingly real type Of the popular fsvorite
| of musical comedy and so hndhearted
and wholesome as woman that the va
garies and weaknesses Of the artist-"the
running little parrot"-did not matter.
| When the woman came out in the
third and fourth acts with elaborate and
subtle touches Of character, why was
the booing kept up with exasperating
pertinacity? Probably because the fine
art Of the playwright was not under
stood by. the Ill hammered minority IN
nit and gallery. The rival lovers OF the
star were Captain Jeyes. a middle aged
| suitor. who had abandoned his profes-
| sion and wasted his life in hanging aoout
the theatre: and Lord Farncombe. shy,
decent young peer. madly in love with
her and acting throughout Ike man OF
honor. She loved the lordling, but re-
iected his suit on the ground that Pan
dora girl who came out OF a Remington
pork shop, would be an incubus TO MIN.
When the jealous rival reproached her
| for running his career she pitied MIN
and agreed to marry him In the hope OF
lifting him to a higher level and making
something of his baffled and wasted me-
Tho next day the captain refused 70
uroft by the sacrifice and accepted an
| offer for service in Rhodesia; ana al
though I'm her fury she had revealed her
common origin by using the slang oi 'he
meanest streets, she reverted 10 the MS"
minded and trustful Lord Farnconpe
ofter her h-less mother had pronounced
tbis unioue benedlction: "'Ush, dearle!
'Irsh, Think-thlnk wot lot goo"
you're all doin' TO the aristocracy!' Inc
course Of these love affairs was aitnOSs'
too rand and contradictory at the cloS'
% be credible; but the woman, despite her
Iaou ~ refinement, emotional power anu
nossion. was very real and intensely hu-
or and nobody was justified In booihs
The well constructed play especians
whom the leading part was taken WIZ"
erace and intelligence by MISS Mai'o
6br and the stage management
admirable at every point.
u Miss Marie Lohr sang "Miho "a
Paint" with some signs OF stage "'s
ond was placed at cruel disauN"H'o
nv heartless interruptions from the
,erv. Miss Phyllis Neilson-Terry paI
was strevn with roses at HIS MaJoS|
uben she appeared as Trilby and uhNe'
the magnetic influence of Svensai,
hled her norid French aria ana
| Pen Bolt" BY an alteration OF the o
inal scene the girl was brough' 49,.
the curtain with Svengali as conEue'Oi
of the orchestra. and the auoieh'. "a
in the place of Taffy, the L"hu
Little Billee Instead or peihs
broken. as the three lovers Weie'
snectators were filled with admia'.ou
for tho voung actress, for she sang WIN
as much charm and power as her iiio'Ie
Miss Julia Nelson, had done years
fore Her voice was sweet, fresh CIV
true. and the high trills were taken "
q lark's: and when the encore came '"e'N
were reserves of tenderness ana S'
pathy to complete the conquest Oh AZ %
! thusiastic house 1t was triumph