Evening star. [volume] (Washington, D.C.) 1854-1972, 1913-10-28
Columbia.

prosiiy and Importantly recited by the
young women was the foundation for
satire on current thought and conditions
so keen and flashing that it seemed to
reflect the spirit of Moliere himself.
The gentlemanly advance agents had
let 1t be known that trial marriage" was
10 De the subject. The play was written
by Rachel Crothers. who. being a lady OF
forceful talents. was naturally expected
to register some sort of vigorous protest
AGAINST things as they are Instead
OF this. she contented herself with a
warning against things as they threaten
to become. The early dialogue is like
fuse which smolders slowly along. When
the mine explodes 1t delivers volley after
volley Of brilliant wit and illuminating
satire.
Young Wisdom is a comedy wrested
from the Jaws Of tragedy. The two young
sisters. played by the Misses Taiiaferro.
are led by too literal Interpretation of
certain lines of reading to reject conven-
donal marriage. They browbeat their de-
voted suitors into runaway, which, SUI
perficially considered, looks dangerously
like a violation not only of the pro-
prieties but of the federal statutes. Rath-
er than lose the girls the men lend them
selves to the line of reasoning they have
adopted and a quartet of clippers land at
the bungalow of an artist Here the
awakening begins The characters are
all clean-minded types. They find them
selves In a situation which affronts the
very intelligence. which has led them
into curious literary explorations. The
artist proves to be a sort of gOd-out-of-
tne-machine who deScends to prevent the
disgrace and sorrow which the ordinary
course prevents would render inevitable.
One of the best characters in the play
Is Peter Van Horn, played by Richard
Sterling. He Is a youth educated to
sense OF deep respect for the. rules of So
ciety and entertaining a chivalrous re-
gard for women which expresses itself
not in deeds of daring. but in dumb and
abiding faith. His attempts to realize
the cavalierly ideals of Gail Claffenden,
played with irresistible dash by Edith
Taliaferro, bring him into situations OF
ludicrous immensely. His character is
really the keynote of the comedy. He
never fails to present consistent picture
of the young man who has dared and
VINO while not lacking in honest courage
cannot command the impudence needful
to carry through an enterprise which his
conscience disapproves
He is a plain everyday youth whose
salmon-p1nk necktie and pepper-and- salt
clothes are part of his very nature.
The events of the memorable evening
which makes the play, demonstrate clear
1y that he is no Petruchio for this high
stepping Katherine. The marriage for
which he was so eager becomes a pros
pect of martyrdom for the sake of saving
the reputation Of the young woman. The
artist steps in and marries her, con-
tributing a touch of the old-fashioned
romance which dealt with love at first
sight.
Mabel Taliaferro has the role of the
sister who, valiant in theory. is terror
stricken when she finds she has prompt
ed a course Of action which proves abb
surdly Impractical She gives charming
picture Of girlishness whose sweet SIM
plicity Is enhanced by efforts to appear
profoundly sophisticated.
The concluding act is turned over to
father and mother. 1t is glimpse into
the very heart of the home; reminder
Of the fostering love and solicitude which
are a normal influence in the develop
ment of young wisdom.
The part of the father is well played
by Aubury Beattie and that Of the
mother Is presented with no less eff
cheney by Mabel Bert The rigid disci-
pline of the father, though it becomes
refuge and relief is still dreaded.
and the conclusion represents the party
stealing away on another elopement with
the mother as chaperon and with Peter,
joyously emancipated from the fear Of
matrimony. driving the automobile.
The rarest cleverness has been dis
played by Rachel Crothers in smother
ing the vapors of current skepticism with
the perfume of orange blossoms and
drowning the thunders of debate with
the peal of wedding bells
d
side of the question of individual free
DOM" offered with human sympathy un-
tinged by cynical bitterness. And it's
serious suggestion it is vivacious, bub-
bling fun.
Belasco.
The Belasco Theater last evening pre-
sented one of it's best audiences to well
come E. H. Sothern and Julia Marlowe
and their Shakespearean company, and
in return that audience was rewarded
with a delightful presentation of the
Shakespearean farce, Tanning of the
Shrew." So we'll balanced was the COM
pany and so sincere the esprit de corps
that save for missed line in the early
part of the first act. no blemish seemed
to mar the performance In stage set
tings and costumes, as in faithful adj
herence to the traditions that map out
the metes and bounds for each charac
ter. there seemed to be nothing over
looked, nothing short of what there
should have been.
Accustomed, perhaps. to the two emil
nent Shakespearean opponents in roles
more class:cally severe, the audience las:
evening was given a treat in almost
riotous revelry and versatility. And it
was not until the naughty, self willed
katherine's spirit took on the tendency
to acknowledge the supremacy of her
lord and master that Julia Marlowe. as
she will always be remembered, seemed
to emerge from the chrysalis of rebellious
distemper into the gentle charm and
beauty for which she has become famous
in her impersona tiOns.
Mr.. Sothern. too, departing from the
quiet dignity and almost somber gravity
of his usual characterize tons, burst
forth. into D. humor of irresponsible i'm
petuosity in way that might. have
awed the most ardent contender for
woman's rights and woman's whims.
And yet withal it seemed perfectly
proper in both the batting husband and
the resisting wife in the play to be and
to do Just what they were and did. At
least the audience thought so, for 1t
alternately laughed and : applauded.
smiled and otherwise gave evidence OF
its satisfaction.
Shakespeare's conception of farce was
the offering. and with farces. even
Shakespearean farces. all things are
permissible, even the belief that in the
Elizabethan era such things could
really be. Small wonder 1t is that with
centuries Of training along the lines of
Tanning of the Shrew' the militant suf-
fraget:e should develop with all her
tendencies. and that her present day
lord and master, In fact or in anticipa-
ton, should want to resist her although
as he probably may, lacking the vigor-
Gus stamina of the ancient Petruchio
eventually fall before her onslaughts
Shakespearean era, Mr.. George w. Will
son, IS GrumiO servant to Petruchio;
Mr.. Walter Connolly, as Biondello: Mr.
Lark Taylor. as Tranio: Mr.. Frederick
Lewis. as Lucentio, and Mrs. John S.
O'Brien. as Hortensio. with Mr. Milano
Tilden as Vincentio: Mr.. William Har-
ris as Baptist. and Mr.. J. Sayre Craw-
10, hfiSc