The sun., 1916-10-01

will have q permanent effect in the
lives of those three people. But a. the
author Of The Intruder ends his play
to-day It Is no more than an anecdote.
Dramatically It is a very skilfully
narrated anecdote for two-thirds OF
the time. That il not to he denied,
and the speed Of Its progress Is fortu-
nate since the total lack Of propriety
in the speech OF the characters would
be fatal were the action more delib-
crate. Imagine Frenchmen supposed
to move In the highest circles Of Paris
society constantly saying that ITS
up to n person or another. In the
use Of such q convention as foreign
ers talking the language OF another
nation on the stage It Is not OF course
possible to demand any resemblance
TO the medium which might have been
thought to he the original speech ~
the characters. II Is well. however. TO
avoid the most pronounced slang and
idioms Of another tongue.
William Collier ought to act Bob
Acres. His m Of perplexcd
cowardice in Nothing But the Truth
at the Longacre Theatre suggests more
than once that he would lie admirable
in the character. Mr.. Golfers artistic
method is quite as well developed AS
that OF any OF his predecessors on the
American stage. He rarely has an OPP
~portunity to exhibit what he can do.
since his recent appearances have
been In George Cohan's burlesques.
1t was one of the compensations NJ
the older actors who managed to i'm
press themselves on theatrical history
that they had occasional opportunities
to play important characters In the
contemporary dramas or those which.
like the dramas OF Sheridan or
Goldsmith, had just ceased to he
contemporaneous. Probably. like
Mr.. Collier. they spent much OF
their time in burlesuue which was
not in all probability TO he compared
to the witty efforts OF Mr.. Conan
to-day. Blu; there was also the So
could act at other times. Thus was
their pride as artists satisfied and
there was also the chance TO show
what they could accomplish in more
ambitious fields.
II Mr.. Collier had possessed the same
talent and the same finished method
years ago. he would have probably put
all the classic roles TO his credit and
found himself famous as "A light come
dian. As 1t is he IL quite incompatible
to-day In the ability to denote the cool
as a cucumber type Of hero or de-
lineate the sufferings OF a coward who
has to do something OF which lie Is
afraid, Just as he does in the comedy at
the I.ongacre Theatre. That an actor
so much too mature for the role is
able to act II 50 well IL ample evidence
Of Mr.. Golfers great skill in his art.
Sari Pet~ss Is . type OF operetta
divette altogether unknown here. She
Is not only pretty to look a. and able
to sing we'll enough for the purposes
OF the composer but she Ia Al uncom-
monty delicate actress. In every pose
and gesture she shows that she has
the technique Of her metier At her
finger ends. Nothing could be more
| graceful than tho name in which she
makes her exit from the stage, which
was shown particularly in her duet
with George MacFarlane. Altogether
her finish as a player is something
which is rarely found among our own
condolences. Usually the local audi
N will be satisfied with blue eyes
and yellow curls and ability to do a
few steps in the so-called modern
dances which have come TO seem so
very ancient now Miss Petrass has
quite enough beauty TO satisfy the
most exigent critic and she dances as
gracefully as one could desire. Then
she has the polished method of an
actress who was engaged on a much
more important task han merely H.
Illustrating the Significance Of the
'asual librettist's speeches. She Is as
much Of an artist in her line as her
distinguished relative. llka Palmay.
who was for so many years prcemi-
ncnt in her own country and in central
Europe.
There IL something uncommonly in
tcresting from the psychological point
Of view in the aspect Of a first night
audience under the d~ivulgence Of a
Vaughan play. Usually these dramas
arrive here with the renown OF long
London success, The continuance OF
these tr.umphs on their nat!vc heath