Evening star. [volume] (Washington, D.C.) 1854-1972, 1915-10-12
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Belasco.

A pranksome hour in the domain of
ancient fable provides the larger meas
ure of the liberal entertainment-lib-
eral both IN thought and material
provided at the Belasco Theater last
night. 1t comes under the sponsorship
Of the classic triumvirate, Lillah Nc
Carthy, Granville Barker and Percy
Burton. The presiding literary spirit
Is George Bernard Shaw. Last nights
performance was one of especial mo-
ment. being the initial presentation by
this remarkable organization for the
current season. There were little cpl
sodes which betrayed the early ordeal
Sir Lion. who comes pretty near being
q star actor in cast of all-stellar pro-
hciency. dropped his thorn and there
was the slight thrill of nervousness
here and there such as may be looked
Tor when competent and conscientious
artlsts are thoroughly on the qui vive.
An Intellectual romp with Shaw has
come TO be regarded as a special holi-
DAY for people who delight in the
theater as vehicle for ideas as we'll
as impressions. His plays are always
true TO type. He never initiates any
body, and is himself inimitable. His
viewpoint is as fixed as the polar star.
and he lets the universe of thought
revolve around 1t. Shaw is immutably
an Englishman. In this play. which
assumes to be archaeological, but is
really only logical. and that in a
whimsical spirit, Androcles is an Eng
lish tailor, mild and deferential, but
potently influential in many ways. The
lion is a British lion, frank in his re-
sentiments and strong in his graft
whom pagan custom has not deprived
of a spirit of fair play and a sense of
magnanimity. The giant, doomed to
martyrdom. and a fighter. in spite of
himself. is type of plucky obstinacy
that refuses instinctively to recognize
defeat. exemplifying the traditional
character on which England prides it,
self. Even the centurion speaks with
deliberate cockney accent that adj
mits of no suggestion of Latin ancestry
or association. The selection of a story
of Christian martyrdom as the theme
of satire is peculiarly audacious
stroke, but if the play compels some
of it's auditors to leave their religion
at home. it permits them to bring their
morals with them. There are moments
when Shaw seems to weary of his own
frolicsome mentality and venture a
passing suggestion of more mature
thought.
AS most philosophers eventually do,
he takes refuge in the unknowable as
the conclusion of his chain of reason
ing. AS an interruption of brilliant persi-
f1age. he now and then losses in a big.
vital thought. such as the reminder
prehend Deity we should ourselves be
gods
The manner of presenting both can
drocles and the Lion" and the shorter
play. THE Man Who Married Dumb
Wife" is in the nature of art that con-
ceals art. Ostensibly it is simplicity it,
self. The backgrounds are those of
cold architecture, void of establishment
for the sake of dazzling the eye, but
with wonderful fineness as to intimate
tiful, yet free from any suggestion of
superficial show.
vt, The Man Who Married a Dumb 2
old legendary ballad. LIE Dira," whose
melody runs through the piece with
quaint effect. 1t is the story of a Judge
who feels that his wife. bereft of
speech, is a drawback to him In being
unable to suggest liberal presents to
him from wealthy litigants.
Her speech is restored and her con-
slant chatter so disturbs him in the
compost on of elaborate DEGREES that he
employs the same physician who restored
her speech to render him deaf. the
argument brought to bear by his
friends being that his method of de-
Gliding cases is so Independent of what
he hears that deafness will be no
beautifully along lines that bring forth
satirical thrusts at various professions.
and the piece ends with frolicsome
dance that makes the stage look as If a
collection of old French prints had
come to life for fancy ball.
The company is remarkably large
as well as efficient assemblage of play
ers, each evidently in close Intellectual
sympathy with the work he has to do.
o. P. Heggie, as Androcles; Lionel
Braham, as Ferrovius, the giant
martyr: Edward sillward, as the Lion,
and Fred Eric were conSpicuouSly
rneritorius, though perhaps not more
entitled for efficient playing. according
to opportunity, than their colleagues.
j.