Evening star. [volume] (Washington, D.C.) 1854-1972, 1916-11-14
ADJUSTMENTS
New National.

In Common Clay" in which Jane
Cowl plays a tense and extremely in
teresting part at the New National
Theater, a problem of social and moral
elements is presented. 1t is one of the
two great problems" as explained by
a character in the play, and these two
are sex and property. Far be it from
the author, Cleves Kinkead, to settle
either. He mikes with fierce speed all
the contending elements he can find
for three-act drama, and then solves
it for single individual with ro-
mantle and weepy. but satisfactory
ending.
Much of the cross-section of life
which is shown in the three acts IS
possible. but it would take a most ef-
ficient fairy godmother to bring about
all the loneliness and complete happi-
ness which descends with glowing
warmth upon the latter end of the
epilogue. At that it is interesting en-
tertainment. Tense and gripping
term worn smooth-Inust be shaken out
and used again
The center of it all is Ellen Neal
tthe role Miss Cowl fills so welD. Ellen
is new housemaid in the home of
Richard Fullerton, a purse-proud gem
tleman who cares more for his name.
fame and money than he does for the
him. Elen's introduction into her new
duties is serious ordeal. In fifteen
minutes she is thrice insulted- once by
the butler, once by Il guest at party
in the house. and again by the son and
heir to the Fullerton estates. BY the
butler general principles; by the
guest because he is very intoxicated
and recognizes Ellen one of the
vivid young women at a certain loud
dance hall. and by the son and heir be-
cause he was careless.
So instead of being able to start life
as a housemaid and get away from the
ruinous dance hall atmosphere, Ellen
discovers she hasn't much of a chance
anyhow. From there on. Common
Clay" begins to tell few Interesting
truths.
In the second act. u most interesting
one. spades are called spades, and that
old villain, the double standard, is
given Il terrific tongue flashing. 1t is
rare that an Audience has a chance to
hear sharper lines or Il more complete
exposure of the sort of men who lay
traps for women.
In the third act, a stage police court
scene. Miss Cowl portrays abject mis-
cry and grief. touching, but so true to
life as to place her well in the front
rank of emotional players. Ellen Neal.
broken-hearted, deserted, harried and
kicked from pillar to post, finds herself
at the brink between life and death,
and Miss Cowl paints the picture we'll
wide. Like all well regulated stage
stories. the catastrophe, used in it's
proper classic sense, occurs a the cor
rect emotional juncture. and the real
secret of Ellen Neal appears. Thence
on Ellen arises like a bird of paradise
appearing in the epilogue gowned in
extraordinary style and bathed in the
glamour of the fame which she had
afterward won. OF course. Hugh Full
lerton clasps her in his strong arms
FOR a quick curtain, and the audience
goes away smiling.
There are five important principals in
towl. They are Frank Burbeck who
makes complete picture of the popu-
lar conception of the purse-proud gem
tieman of the extremely wealthy class;
Arthur Coakley. who presents a fairly
good portrait of the alcoholic" in good
clothes; Orme Caldara, an old fayorite
IN Washington. who essays the role of
Hugh Fullerton; Henry Stephenson,
VINO VINO IS Judge fillmore. and Harry Han
Ion. as W. P. Yates, good type of the
ioud criminal lawyer. Kate Morgan
VINO appears for brief scene in the
polee court as WORKOUT old woman
W the sum type. Is strikingly realistic.
Honors for the supporting cast are
ABOUT even. the company being one of
the best that the A H Woods manage
ment has organized for any play
Belasco.
4 red cross b!azoned on n preen vol
vet curtain emphasized the object of 81
n Sothern's appearance at the Belasco
last night. The audience knew before
hand that Mr. Sothern would play IF I
Were King for the benefit of the
British Red Cross, but the official in
sigma carried pulse beat of conyic
tlon which vitalized the printed word
into spiendidly humane deed. This
realism was reinforced by the stars
own unusual confidential disclosure.
when, at the close of the third act he
stated briefly that his share of the
evenings proceeds amounted to $685..
which would be forwarded to the Red
Cross today.
The Justin Mccarthy play is an excit
ingly dramatic barking back to the
France of Louis XI at the time of the
siege OF Paris by the Duke of Bur
gundy-an incident in which history is
dominated by romance.
Its hero depicts Francois Villon as
a joyousiy disreputable scamp. who ac-
cepts wine or money like beggar,
measures swords like a dArtignan,
loves like gentleman and stands
ready TO die like man.
The story opens in tavern clam
orous with roysterers. men and girls,
who laugh and quarrel according to
the depth of their fagons, and who ex-
press colorful opinions of the king,
who is among them in disguise. villon,
having proclaimed his worship of an
exalted lady OF the court, fOrfeltS his
life in clash of swords, but is saved
by Louis. who reveals himself to save
the scapegrace from hanging to make
him grand constable of France
At the end of one week OF Office he
is TO 90 10 the gibbet unless he wins
the love of the lady to whose worship
ne has confessed.
To see his Eillon is to consider Mr.
Sothern's retirement from the stage a
crime against dramatic art.
George ". Wilson shared laurels
with the star N his portrayal of the
craftily humorous monarch, and Mar
Raret Dale, medievaliy picturesque in
attire and stately in bearing before
pride gave way to love. was artistical-
IL satisfying in a role associated with
Cecilia LOTUS. As the "abbess"-a
lawless young person whose doublet
and hose were contradicted by a tumble
OF golden hair-Virginia Hammond
was buoyant as a wind-tossed leaf
and her voice was JOY TO hear.