New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-08-23
Something Doing on the
Stage from 2 p. M.
Until 2 A. M.
MAY IRWIN OPENS
IN A NEW PLAY
David Belasco Mods at Last
When He Invades the
World of Sport.
By HAYWOOD BROUN.

DN NOOD bhOtAFs
II any frst-nighter cares for the
atrical Marathon to-day is his day and
tonight is his night. lie may begin
at 2 or thereabouts with several OPP
portunities at hand, anG there need be
no halt until a. m. tomorrow.
For the afternoon the choice lies
between Gertrude Hoffman,, in SUM
urun," at the Palace, with other varde-
vile features as well; Henry +. Dizzy
and a varied bill at the New Brighton,
the return of burlesque at the Colur'-
bia, where "The Golden Crook" will
open, more burlesque at the Yorkville
and vaudeville at Loew's American
Roof.
May Irwin opens her season at the
Park Theatre this evening, in "No. Is
Washington Square" The play is the
dramatization of the amusing novel of
the same name by Leroy Scott. Nj.
/ Scott had been a newspaper man and
is a magazine writer and novelist. This
is his first venture as a playwright.
May Irwin takes the part Of house
keeper
From the Park Theatre the first
nighters may go to the Danse de Fol-
lies, on the New Amsterdam Roof,
where a new "Ziegfeld Midnight
Frolic" will be produced. After that
the frst-nighter can't DO thing but
go home.
De Wolf Hopper left here yesterday
for Long Beach, Cal, where he will
spend the greater part OF year with
the Triangle Film Corporation. under
the direction of y. w. Griffith. Mr..
Hopper thinks that he will ike NOV
ing pictures. Don Quixote, CULVER
and Falstaf are among the characters
which he will play before the camera.
Billie Burke, Weber and Fields and
Sam Bernard will leave for the Tri
angles California studios on Satur-
day.
To a dramatist room is an area
surrounded by doors AID French win
dows.
George Hassell, the large comedian,
who is called upon to do some violent
lovemaking in Hands Up" at the
| Forty-fourth Street Theatre, has
/ complaint to make Every time
make love-" says Hassell, II bust
collar and the management only
| furnishes US with Costumes"
Mr. Belasco, who prides himself upon
| his mastery of details. has allowed
/ blunder TO creep into "The Boomer
ang" We refer to DR.. Gerald Summers
/ swing In the first act. Arthur Byron,
who plays the part Of the doctor. takes
/ a driver from his bag and makes a full
swing. 1t is expressly stated in the
! lines that the doctor is an excellent
/ player who learned the game in Scot
/ land, but the form of Arthur Byron
bellies his Scotch training.
| Any handicap committee in the coun-
try would gladly give Mr.. Byron Is
on the strength Of single swing. He
goes up too fast He drops his right
| shoulder and he breaks his left arm.
| In fact he does everything but play
/ crosshanded.
OF course there is no denying the
/ difficult problem which confronted Mr..
Belasco when he selected an actor for
I the part of Doctor Sumner. Many
man has sought the perfection of golf
! form for twenty years without achlev-
| ing it, Most certainly it could not be
/ impaired to an actor in the brief weeks
of rehearsal On the other hand. Jerry
| Travers, Francis Ouimet and Chick
! Evans are all without dramatic ability.
/ II, nd fhera tc N GfIOn that
I Mr.. Belasco chose wisely, for though
Arthur Byron's golf is Indifferent his
acting is delightful, and unless we are
mistaken he will have an opportunity
to practise that swing Of his at the
! Belasco Theatre for good many
months to come.
The practice of printing the names
of characters in their order of appear
ance on the stage seems to be growing.
Ostensibly for the convenience Of the
audience, it is open to question whether
4 the plan is not actually Intended for
/ the convenience Of the author. As such
/ its usefulness is open TO question.
An audience should be uncompromis-
ing. If you will grant that notable
progress has been made in the art OF
writing plays within the last fifty
years, il should be possible Of proof
that the growth is due to the fact that
! little by little the audience has shorn
the author of pet privileges.
The playwright did not willingly give
u, such easy typaths as the soliloquy
and the aside. on the contrary, they
were wrenched out Of his hand by a
much-abused public. Naming the char
acters in the order of their appearance
tends toward reaction. 1t is tempta-
ton to lazness and sleaziness. Instead
OF taking any particular pains to iden-
tify his people in the course Of the
dialogue, the author may fall back now
and again upon the ready reference
card in the hands of every spectator.
II the movement is not checked in
time. there is no telling but that the
audience of tomorrow may hear in the
lobby the familiar cry o. the Polo
| Grounds: "Scorecardl Scorecard! You
can't tell the players without score
card!"