The Washington herald. [volume] (Washington, D.C.) 1906-1939, 1915-05-30

seats have sat next a couple who have
paid only 50 for theirs. The visitors
from out Of town and many New York
ers who are accustomed to having what
they want when they want il, regardless
of what 1t costs. are responsible largely
for the exorbitant prices that have been
paid this season to certain SPECTATORS
for tickets to certain shows
One canny person, who is not afraid
to be frank with his woman companion
when he goes to the theater. and who
also avoids the kind of woman who in
sists on going only to the theater
which houses the very latest success.
has adopted his own system of bestow-
ing his patronage. He has a list of the
things presumably worth seeing, and
when dinner Is finished and 1t Is cur
tain time, he takes a taxi and drives
to one of the theaters. If the naughty
person in the box office gives him the
usual Nothing nearer than the
'steenth row" repartee. this is met
with the statement that IL that's the
best there is he'll try some other
house. Quite often this secures a re-
consideration from the box-office per-
son, but IL not. the canny one rejoins
his companion and drives on to an
other theater. One or two tries usually
land them in good seats at box-offics
prices. and the saving not only pays
the taxi fare. but helps materially on
the later restaurant and cabaret check
American false pride. particularly
when there is a pin-headed woman in
the case. helps out the managers and
spectators very largely. The knowl-
edge OF having been robbed doesn't
add to any enjoyment Of the theater.
but this never seems to enter into the
calculations of the managers who are
loudest in bewailing the decline Of
profits in the theatrical business. They
may know that business perfectly. but
they seem to be densely ignorant of
the fable about killing the goose that
lays the golden egg. 1t is a goose. to be
sure, but 1t is a profitable one, and
could be made vastly more so by a re-
turn to the old methods of square deal
Ing In the sale of theater tickets.
More Gilbert and Sullivan.
1t may seem a paradox. but there is
more novelty today in the earlier Gill
bert and Sullivan operettas than in the
more recent ones. The third Offering
Of the COMPANY. headed by De Wolf
Hopper, is composed of The Scor-
cerer'' and Trial by Jury compost
lions which were among the very first
that bore the joint names. In the text
and score of both of them we find
prophecy of the greater accomplish
ments that were to come later from
the pens Of these gifted men. In fact.
both music and humor in the later
works seem Celebrations Of suggestions
contained in these two less finished
products.
Both pieces are unfamiliar to the pres
ent generation and have never become
hackneyed to the older one by frequent
presentation. Therefore there Is no aues-
ton of the enjoyment they give to audi
ences who see them as practically new
productions Of much greater intrinsic
merit than the bulk Of the light musical
entertainment with which the New York
stage abounds at all times. They were
written at time when vulgarity was
not tolerated in reputable theaters and
long before our ears had become cor
rupted by the monopoly OF ragtime and
barbarities Of sound inspired by the TOM
toms of the African jungle.
In neither THE Sorcerer" nor Trial
by Jury" had the music of Sullivan
reached the beauty of harmony which
marks his later works. and the wit of
Gilbert was used more simply to amuse
than to barb his satire of fads and in
situations. They are like the works made
possible by the vogue Of the early at
tempts.
Mr.. Hopper fits beautifully into the
roles Of the judge and John Wellington
Wells OF the firm Of family sorcerers
The two parts contrast admirably and
both are well within the scope of his
matured and improved methods as come
dian. In 1.-THE Sorcerer' Mr. Digby Bell
returns after more than thirty years to
the role of the Vicar. which he created
In America and which In spite of the
years he still endows with finish and
JUNCTION. The rest Of the company Is
MT To thA ,nf
of these little pieces. and an especially
pretty chorus finds itself in the unusual
condition of not being obliged to make
an exposure Of person or indulge In ex-
hibitions of ability in the tango and tur-
key trot.
A not bad sign of the times Is the sur
prise of the management at the support
that has been given by the public to
these revivals OF Gilbert aud Sullivan.
1t may mean that there is a wholesome
reaction on the part of some persons
against the witlessness and tunelessness
of much OF what has lately been pro-
duced as light musical entertainment.
Russian Farce At Bandbox.
The Washington Square Players are
up their season with a weeks
OF the most successful playlets from
their previous bills supplemented by
new one in the form of a one-act farce
from the Russian of Anton Tchekhov,
translated by Roy Temple House. The
title Is The Bear" which is descrip-
tive of the leading male character. who
Is an uncouth and clustering small cap
italist of the peasant class who has
come to collect q debt from a young
widow who has vowed to remain for
ever in seclusion and devoted to the
memory Of her departed husband. She
II evidently At the period Of beginning
to take notice. for in spite Of his
rouRhness, the bear" IL able to win
her from her purpose. one of his argu-
ments being that he Is not afraid Of
her charms, because he has already
abandoned twelve women and been
1 bandoned by nine. The fun Of the
piece. and there is q good deal. consid-
sring its length. lies in the contrast Of
the two characters and their different
phases Of set ways. both overcome by
/ novel method Of wooing and being
wooed. It was acted with all the de-
fects and 'excellencies that mark the
work Of these clever semi-amateurs
and will be IN amusing addition to.
their repertory.
Encouraged by the constantly grow
ng recognition Of their work this sea-
son the players are entertaining am
bilious plans for the next one. These
include small salaries for actors and
workers to be provided by . not large
Increase In the price of seats. probably
rom the present SO cents to 81. con-
.inuous season of TWENTY-FIVE or thirty
weeks. with nightly performances and