New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-12-13

A reporter sought out Kenneth Doug
las in his dressing room at the Little
Theatre the other evening to thank
him for the pleasure afforded by his
work as leading man in "A Pair OF SIX
Stockings" and TO congratulate him
upon winning an American reputation
during his very first professional visit
10 this country.
Thanks" said Mr. Douglas, sleeking
back his hair in a half embarrassed
fashion. "But while I'd like TO feel
that I'm entitled to your respects,
wonder sometimes whether it's just me
the public likes or the part | play. OF
course, it's nice to imagine that the
atregoers come TO see ones self; but
subordinating all vanity, call II more
of a tribute to a players ability to
have people impressed with his char
acterization first, TO regard 1t as just as
real out of the theatre as in It,
ITO me, Sam Thornhill is a very
flesh-and-blood being. ] know the kind
of a lad he was and the sort of old
codger he is going to become, and per-
haps even the variety Of funeral ora
ton to be delivered when he lies down
in that doggedly resigned fashion OF
his and departs this life. While /
could kick him occasionally for going
beyond the patience of the Lord and
turning his other cheek twice, ] can't
help but call him old comrade' for his
loyalty TO principle and stolid deter
mination to do what's right.
"The diffidence and we'll bred inso-
lence of the guests at the English
house party shown in "A Pair Of SILK
Stockings seem to be we'll liked, and
| attribute that largely to the hdel-
ity with which the characters are
drawn. This is a great aid to actors
in giving lifelike delineations, for I'M
less the characters are consistent and
differentiated they have their own
time of il IN making them go.
Nothing more quickly reveals an
authors failure to live up to his obli-
cation than a high comedy part, for
where the humor is of the subtle sort
a player can do little TO hide imper-
fections. In the dramatic or rougher
parts, where the material given an
actor is stronger stuff, he can conceal
much under a display of emotion.
AT the same time, nothing is more
pleasurable to present than high COM
edy. You can make EN- laugh or
keep 'em quiet, and you have virtu-
ally everything under your control,
provided, of course, that your part
is primarily intended to dominate the
scene. / say that because | haven't
any patience with an actor who tries
10 monopolze more than he is en-
titled to. Having had my own excur-
sions into producing and management,
| can well appreciate how badly such
things look from the impersonal
angle.
1T very often happens that an actor
really has TO create a part. He has
TO point out wherein il is inconsist-
emit and make suggestions as to ITS
betterment But whether that sort OF
thing is necessary or not, a man who
qualities as an actor should be regard
ed as something more than mere
interpretative machine. Because
trusted to the intelligence of the most
inconsequential super engaged for the
London production of Strife it was
said that ! had the best stage crowd
seen in the city. | told each man IN
IL what the general effect was to be
and he contributed his mite towarC
making the thing look human in th'
mass"