The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1914-12-08

BELASCO.

Varying the eternal triangle with the
no less eternal quadrangle. set in three
acts of intense dramatic interest, work
ing to cIimaxes that come like the
crack of a whip, and a fourth act that
is more conventional, the whole told
in a dialogue that sparkIes with cpl
gram and presented by cast for which
each part seems made to order. Guy
Bolton's newest play, The Fallen
Idol" was given its premier before
crowded house at the Belasco last eve
ming. Perhaps the best reelection of
tho play is gained through the fact
that the audience, at its close, found
Z impossible to separate the work of
the players from the work Of the play
wright. The players and the play We're
20 intermingled that they were the
single entity it is the dramatists am
billion to create.
1t has been said many times that the
man who achieves marked success IS
the chap who does the old things in
new way. As a fellow to TINS type
might be added the man who does the
old things in the old way, but makes
both the things and the way seem en-
tirely new. That is really what Guy
Bolton has done in The Fallen Idol.
The theme OF the play is old and the
working out of the theme mas little
novelty, but the way in which both
the theme and the way OF working II
out are presented by the author and the
Interpreters of his work seems dis
tinctly new and refreshing.
The Fallen Ido1' tells the story OF
selfish egotistical, musical genius strick-
en- with slow paralysis, after FIVE years
or childless wedlock with a rich and
beautiful woman. The genius mas loved
his wife after the fashion of his kind,
and as he had loved many other women
when he was being recognized as one
OF the greatest pisnists in the world. The
wife. high type of womanhood, had the
material instinct Of all good women In
an unusual degree. The illness which
struck down her husband robbed her Of
all hcpe. 4
4 sculptor, the antithesis of the music
ian in character, though his counter
part in genius. was an intimate friend
Of both and had long loved the wife IN
secret. He manfully suppressed his love
until, coming home just after the pianist
had been stricken, he learns Row his
friend had cast aside a woman and her
child who had the most sacred Of all
claims on his bounty.
The woman is model for the sculp-
tor. and threatens 10 sue the musician
unless he makes a settlement on the
child The sculptor buys her off with
money the wife had helped him borrow
% finance him through the great appor
unity of his career He sacrifices the
career in the hope of saving the woman
lie loves of the exposure and shame that
threatened She learns of his use of
ne money, and though she loves him.
and has confessed her love, misunder-
stands the motive, and drives him from
Ter only to learn the truth by accident.
The husband deliberately takes an
overdose Of a deadly drug when ne is
brought 70 a full realization Of the sit
Jstion. and the play ends as the audi
snce hears a crash of discord from the
plano. where the musician has gone to
play what he tells his servant in his
swan song.
cast Joe Weber has provided for Mr.. |
Bottoms creation taken in consideration |
with the way the play is presented, has !
three leading women and two leading I
men There are only seven characters. I
presented in the entire performance and /
Two Of these are simply contributory. !
me part of the musical genius, a most 2
1irncult and unpleasant Character, :
though a fine opportunity for the right
the right sort of artist in the person of
John Miltern- The delicate shading and
careful working up to climaXes that
were not in the least overdone were the
high lights that attracted special atten-
ton.
Bruce McRae. in the part of the sculp-
tor, gave the finished performance this
unusually capable actor can always be
ways something wholesome and com I
pellirlg about McRae's work. and i'm this )
play, thought he hasn't the opportunity
stven Miltern, he makes his part a big
0ert Just by doing il. Alice Lindahl as
The wife, also presented a wholesome Z
lnished piece IF character work. She
Emphasized her big moments with d
quiet force that was distinctly pleasing
the play progressed, though a bit
disappointing at first.
Virginia Pearson gave the role Of the
ether woman" q very forceful presenta- /
ION without being in the least mawkish
or an hysterical ''wronged woman"
Z he third woman who doomed no less
-arge was Marie Chambers in the part
Il q rich widow devoting herself TO
eaching modern dances as an outlet 9
? restless spirit Her charact had ]
lat about IT which makes people call
Ich things genuine" anG her fire of
? gram, even if she did always quote !
re~ brother, was delicious. The work of 4
h&rles B. Well as the family doctor |
2 I'd Robert Scha BILE as he servant were !
keeping with their roles.
The setting that Mr.. Weber has given :
ne play is quite in keeping with the
Eay in which Fred Latham has pro-
rIced il.
GARDNER MACK !