Evening star., 1915-04-04


exploited. it is true. but usually as q
agurehead title and trade mark
that can be relied on by the public as
designating a certain line of material
and not necessarily as representative
or versatile gifts or even serious pro-
fciency.
The presentation at the National
Thcater which claimed unusual atten-
tion during a week regarded as one of
the worst in the year for entertainment
rested on the efforts Of an extraordi-
nary young woman: star in the
rightful sense of the word, depending
on no exotic suggestions or associa-
iions, but a product of the American
stage. Elsie Ferguson has not been
ono of those whose advantages have
enabled them to spoil good plays In
the process of making reputation FOR
herself She has worked for years with
conscientious patience with materlai
which as a rule fortified her but slight
ly against the influence OF mediocrity.
Yet every role she has played has
been vitalized by the peculiar thrill
OF personal magnetism which an au-
ditor is quick to recognize, though 1t
cannot be defined.
\ 4
The Outcast," somber of title and
forbidding in it's suggestion of char
acter type, contains a central role that
gives Elsie Ferguson remarkable op-
portunities The Interpretation is
gemlike In the varied tints Of express
sion that it flashes from a creation Of
crystalline symmetry. As girl Of
the street she is slangy. bold, aggres-
sive; as the awakened woman she is
pathetic, sincere and compelling, yet
not without touches of piquant anima-
tion The presentation reveals won
derful range of versatility in a single
role.
The fact that the central role is so
we'll played makes the conclusion Of
the play unsatisfactory, even though
it is in accord with the theory that
whatever other considerations may be
sacrificed there must be a happy end
ing The heroine who has fought
bravely and bitterly for the ideals
which others of favored circumstances
is dismissed with a pittance of affec-
lAmoral quality almost in the spirit OF
molder of the final scene has not been
just, for the character of Miriam has
been ennobled to degree that places
il beyond the need of charitable senti-
nent. The fact that the man whom
she found slipping into moral ire
sponsibility in the first act is again
losing his grip when he seeks to dis
card her makes him the beneficiary
u bf sh 70 bor I, fo
with him. In reaching the reconcilia-
tion the obligation of the man to the
woman is not deftly emphasized.
The outlook shows music in abun-
dance, with a return engagement of
Tine Lilac Domino" already inviting
interest al the box office OF the Belasco.
The frst of the regular series of must
cal entertainments scheduled at the
columbia will be on view tomorrow.
Washington theatrically as well as
climatically is finding it difficult to
distinguish between the winter, spring
and summer seasons.
New yi0Iinist to America-M
Gregory Besrony, who will be heard
Tor the first time In Washington with
he RUSSIAN Baiaiaika Orchestra, was
porn in the village OF Polotsk, Russia,
IN 1898. His father was d Russian
composer and conductor Of note. In
cary childhood genius in music began
TO show itself in the Besrodny child,
and at the age of twelve his father en-
tered him in the Imperial Conservatory
OF Music at Petrograd He graduated,
win the highest honors and distinc-
ton ever granted a pupil, at the age
OF seventeen. Young as Besrodny is
musical crttlca n 2
RUSSIA have placed him artistically
and technically on the same plane with
his now famous compatriots Mischa
Eluan and Zimbalist. This Is Bes-
rodny's hrst appearance In America,
and Washington has the distipction of
being the f1rst American city to hear
MIN with native orchestral environ
Inents.
objects to Theatrical Star System.-
ono bad feature OF the theater in this
country declares Nine. Kalich, trage-
dienne. lis the so-called star system,
which is fatal to artistic symmetry.
warps public Judgment and finally de-
stroys public confidence because Of the
methods II employs.
On the European stage 1t is differ
ent. There a manager depends upon
the merits of company, or. II he i'm
ports an actor OF exceptional merit
that actor must win or lose on his or
er merit in a community Of theater-
goers who are educated TO artistic
things and pass Judgment expertly
There the prominent actor is seen in a
play and applauded or criticised, as the
ease may be: and In the course of q
repertoire he or she is disclosed in va
rious parts. In these circumstances
the actor depends upon no external in
fuence. and must stand or fall by his
own art. And actors generally In such
company always advancing In
Iacility because of the varied dema nds
made upon them.
The greatest failing of a part OF th<
American public that so often controls
is IT'S desire to see tho personality o.
actor IN pleasing circumstance
rather than the soul Of a character In
dramatic stress This has been curl
ously illustrated in my own experience
When ! WAS playing 'Sappho ant
Phaon.' or studying 1t. rather. up tr
the White Mountains, ] used to NEE
some very charming women at tn,
hotel, who came from Philadelphia
We must see you on the stage,
they would say. And when / played II
Philadelphia in Marta they woul<
such a part? So uncouth and vulgar
dress so misera ably and act 80 clumsil,
and so unlike yourself
II answered. But I am poPtraying
peasant'