Evening star. [volume] (Washington, D.C.) 1854-1972, 1913-03-09


Pinero play that reflects a
rather sordid and barren phase
AZ british Bohemianism: although Julia
beane and Charles Richman IN Bough.
and Paid For portrayed the Tragedy Oh
alcoholism as home influence; altnoush
the pink Lady" waltzed and warbled
With grace and sweetness unimpalred'
the most important histrionlc attrac-
lion of the week was not offered by any
Of these
srhe attendance at the theaters was
not as great as was hoped for. though
berhaps all that should have been ex-
peeted at time when the country was
deyoting itself TO the creation or
sageantrv bv day and setting off fire.
works in the evening. OF the attrac-
lions at the theaters 1.-The Mind the
Paint Girr' was selected as the favorite
BY the visiting crowds.
The narade the Sd of March, which
has developed from the mere episode
it might easily have been to an oc-
dasion of historic possibilities, was re-
,1arkable as a histrionic display, apart
from it's purpose in connection with
not run high The average outdoor dis
play is rather perfunctory AFFAIR from
Which originality is largely eliminated
and whose effect depends on the &C
clracy with which large numbers Of
human beings can be arranged in more
or less elaborate geometrical patterns
THE designers of the Sd OF Marcn as
play did not endeayor to duplicate the
political parade. as 1t is conventionaiIy
known. The fiattery of imitation was
absent The activity of the theatre
world in which women may surpass
men in the triumphs of fame as well as
insthe bitterness of disappointment was
reflected in the carefully designed and
brilliantly executed pictures presented
on the steps of the Treasury Depart
ment and on Pennsylvania avenue.
-sThe Indifference charged to members
or the police force seems hardly cred
isle when it is remembered that a spe-
cial squad of police critics is in con-
slant attendance to supervise produce
Gins involving scenic display. As experts
hey should easily have recognized the
Htistic possibilities. A glimpse at
s{n gle rehearsal would have revealed
Uem However, the function Of these
Hviewers concerns morals and not
merit
1The designers Of the display frankly
sAopted the method of the theater, and
u SO doing returned to classic prin-
oxples. 1t was an interesting nantes
u3tion of the trend toward the earlier
1eatric forms. 1t went beyond the
-; he ho ohn
AID the Chinese property man and as
SAMPLED it's audience in the open air.
The drama whose methods it revives
Was also concerned in matters of pub
~ interest, seeking to glorify or to
destroy ideals that dominated the life
s1d thought of the public That the
wbnderful possibilities for classic spec
tacle presented by a building like that
II the Treasury should have been util-
i1ed by women is not remarkable, as
women dominate the stage today in act
ing. to a lesser degree in authorship
AID to a slight. but important. extent
in stage management.
The selection of that particular stage
anting; a background Of massive columns
and a foreground presenting that impOs
i1cg architectural beauty which only q
s7aendid flight of steps can lend, was
s6roke of genius. No classic dancer has
eyer had surroundings so favorable to
eonter.ion that her performance is art
and not eccentricity.
The scenes presented in the street pro-
6zssion suffered through the fact that an
unruly gallery managed to get in on the
ground floor.
Nothing disturbs the crude intelligence
more than an idea that is not common
place Therefore the hobble skirt is ac-
dzpted without reproach. while the in
4nitely more decorous Greek costume is
teered
= x
apart from any political economic
Considerations, the interference with q
45ectacle so beautiful and we'll wrought
Nhs misfortune.
ra8ut .'all the worlds a stage'-and
xslere there is stage you are bound to
I'D some bad actors.
PHILANDE,R JOHNSON.
THE COURAGE OF AMBITION.--In
% address recently before the dramatic
G1ass of the New England Conservatory
II Music. Boston, Molly Pearson. the
lkading woman of the '.Bunty Pulls the