Evening star., 1915-01-10

ayers have long threatened TO crown
the actors out of the spotlight. De-
tails concerning the merger of the
Klaw & Erlanger and the Shubert
booking arrangements have not been
literally provided. So far as can be
learned here the news that such mer-
ger has been effected was premature
and not in the nature of an official
announcement from the interests con-
cerned. Those conversant with the
happenings of the dramatic world have
known for some time past that poor
business" this season has necessitated
many shifts and makeshifts, some OF
which Washington has felt.
1t does not seem improbable that
business prudence might have brought
about an agreement between the two
managerial factions for the control of
their booking arrangements. but just
what effect such an arrangement is
likely to have on Washington theaters
is still problematical In New York
il is known that the claimed surplusage
of theaters Is receiving attention and
that some well known houses are fall
ing out of the list. Even old Wall
lacks has ended its career, while the
famous old Holiday Street Theater in
Baltimore is also to be razed to make
room for civic center to be provided
by the city.
The announcement that John Drew Is
10 appear at the Empire Theater, New
York, tomorrow night in a revival OF
Rosemary" effectively disposes of the
need of any further comment on 'The
Prodigal Husband"
X
Oreste vessela, who for eleven years
has been familiar figure as a band
leader, may in all fairness now lay
claim to being the composer of an op-
era whose music is its redeeming fea-
ture. The Girl of Girls in its pres
ent shape leaves the dialogue and act
ing subordinate considerations.
KATHERINE NOT A SHREW.-
Now comes the whimsical James Mat
thew Barrie with the protest that the
lovers of the Shakespearean drama
have for years past been imposed upon
by the usual and. heretofore, accredit-
ed Interpretation of the bard's
Tanning of the Shrew."
Sir James has launched his protest
liz the shape of a playlet In three
scenes written for and now being play
cd by Maude Adams on tour, and which
no less an authority than the author
himself has termed: ''one woman's
The Tanning of the Shrew.' edited by
j. NJ. Barrie"
''Fhe long suppressed truth OF the
matter is, according to the modern
that Katherine never was tanned and
was anything but a shrew. True, she
affected to be both curbed and shrew-
ish. but this was merely that she
night fbs she Dsttes her way
In The Ladies' Shakespeare" for
that is what Barrie has named his ex-
pose, the fanciful Scot asserts that
The Tanning of the shrew" was first
performed before one Sly, q tinker.
who, being drunk. entirely mistook its
purport. All of which did SO amuse
win Shakespeare that he proclaimed:
Let IT ever be presented as through
the eyes of Sly until women come into
their own and do me the honor Of
reading my tale Alright"
And now Barrie has let the cat out
of the bag by editing" the original
work, and by intimating in the added
front scenes" given before the cur
tain prior to the enactment of each
of the three scenes, that even modern
kates wind presens-day Petruchios
about their several fingers through a
wifely diplomacy akin to that practiced
by the original Katherine Of Padua.
ACTING AND ACToRS.-Edmund
Breese, whose work as an actor is
marked by large gallery of finished
stage portraits, has some interesting
ideas concerning the actor and his
work.
1T Is quite a mistake for an actor to
think that he can learn dramatic art
in the theater solely" says MIR. Breese.
He can really learn only the dramatic
mechanics there-what We call tech
pique, the practical method and means
for the best expression of art. He is
apt to get into the way of believing
that technique and art are one, but
nothing could be further from the
facts 1t is, in my opinion, the failure
to perceive and grasp this distinction
that marks all the difference between
a reliable actor and a creative actor, a
merely clever man and man of large
dramatic caliber.
Where, then. should one study dra-
matte art? Why, in the school of
human experience, naturally. In plain
words, dramatic art, in the high and
valuable sense of the words, requires
the fullest possible development OF the
inherent qualities of soul and mind
through persistent cultivation in the
best field of thought and action. 1t ls
an easy matter for almost any bright
Young man 10 initiate anytnlnS ne sees
another do, or to do what he imagines
another man would do. That, indeed,
is the basis and limitation of most
acting, and too many, even among the
most meritorious and standard actors,
are content with that measure of dra-
matte success.
But it seems to me it should be
seif-evident that the actor, more than
any other exponent of art, must have
an intelligent understanding, relation
10. and sympathy with all that makes
for the cultivation of the mind and its
faculties. He must get in touch with
the best minds in every field. He must
he q student of the best literature, he
must know men who think, and
through intercourse with them become
thinker on his own account
IF an actor is inspired by noble
esteem of his profession he will neces.
sarily be eager to qualify himself tC
do honor to that profession. The more
earnestly he devotes himself to that
profession the more certainly he will
recognize the fact that no vocation is
more arduous and exacting-no calling
that demands such general al
round cultivation in the men who
hope to achieve eminence in it."
THE AMERICAN GOVERNMENT
To the average citizen the affairs O,
the government are more or less Of q
closed book. He knows that Uncle
Sans army is composed of a class o
men whose intelligence and physique
combine to make them a fighting forct