New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-08-04
TIE CAST.


The best advice TO offer to those who
are about TO see "The Third Party" pre-
sented for the first time last night at
the Shubcrt Theatre, is that they keep
their eyes closely upon Taylor Holmes
and Walter Jones. This is quite es-
sential TO A complete enjoyment OF
the merry riot, called farce, in WHICH
these two reckless comedians have
the leading roles. Firstly, If you don't
watch them carefully you viii miss
many of the most laughable points IN
the spoken and acrobatic dialogue that
is their particular forte. Secondly,
if you sit anywhere within
radius Of sixty feet from either
and do not observe every
flick OF the finger or twitch Of the foot
YOU arc liable to be struck with any
movable part Of the stage setting
Not that anything flew off the stage
last night, but that was only by the
Intervention Of Providence. When
these two men want to create laugh
Ter they will do anything. Just at
present the stage business calls for
pleasautries like squirted settler,
hurled walters, upset chairs and at
last a wild alarm Of fire. More may
be added.
II is all quite amusing, however, and
with either Taylor Holmes or Walter
Jones the end quite Justifies the
means. Their business is TO make
laughter, and - smash-bang-swish! --
they do IL.
Mark Swan is credited with that
recorditc feat Of Americanizing an
English farce. In this instance the re-
suits appear to be wholly satisfactory.
Marks mark was the wake of cyclone
One act begins with an extraordinary
state Of affairs in restaurant and ends
i'm the midst of cataclysmic episode IN
p country house. One thing should re-
dound to Marks credit with terrihc
rebound: He Americanized farce and
kept the bed right out of the farce. IL
is mentioned, naturally, for the TWO
things, bed and farce, are lnseparaDle;
but it is out Of sight and only used
IA a name, like that of an awful ogre,
to scare a sweet young thing. For this
heroic action let us hope Marks farce
prospers. And if one may judge by a
first night, it certainly promises pros
perity.
The Mot demands that two near-en-
gagged couples separate and immedl-
ately place themselves in compromising
nositions. This they do, and being a
we'll trained force they do not go out on
stage and explain things between
themselves while they have an oppor-
tunitv. Not they. They stay on and get
fearfully involved. Into the maelstrom
of combinations and misunderstanding
incs are logged an NJ. p, an admiral,
a chunky suffragette and red colonel
named Redwood. Just stir this well
with all Taylor Jones and Walter
Jones can lay their hands upon ana
YOU have most OF the plot.
Marjorie Wood is one OF the en-
gagged persons and starts complications
by lunching with an NJ. P. This ordeal
was sacrifice for the benefit OF her
betrothed. and like all the rest of her
work was carried out capably, pout-
inciy and wholly up to Miss Woods
hest ingenue manner. Alma Belwin is
another engage, and both in appear
ance and manner is altogether engaging.
Jeffreys Lewis is the sutfragette with
the accent on both syllables. yobyna
Rowland was just a wife. William l..
Gibson and Richard W. Temple did
we'll enough with the little given them.
The Settler Bottle played in con-
sistent and wholly satisfactory manner
throughout, and deserves a deal of
credit.
George NJ. Cohan laughed.