The sun., 1916-12-31
3, REAMER.

~ ASlD unIelllu8
fair taught him, Of course,
just the mood In which to
Rsat "Ths Little Lady In Blue" 1t is
Q hong time since anything 90 naive
- this little comedy has been seen in
New York. It even contains q solilo-
suy which has not been heard on the
neal stage for many . theatre night.
Il would have been. Of course. de-
structivs to any play Of this kind to
seply to IL the most modern manner
II Noduction. Mr.. Belasco took no
~ risk. He did drspe his stage
asA with chints to put the spectators
~ ths Old World mood Of the play.
of MS wonderful effects In lighting II
10 not possible to speak In too high
peaiss, and they OF course represent
tho last word in this department Of
stage science. But in other details
tho manager has kept to the way Of
PRODUCTION that the character OF the
/. p0y Su68esteo.
There II. for instance. incidental
music. as the programmes used TO call
n, heard remotely and family at diff
fsrent stages OF the action. In the
generally artificial atmosphere of the
p)>cs Mr.. Belasco maintains always
tAs degree Of informality necessary to
socentuate the manners OF certain Of
tho characters. There Is. for instance.
In the admirable portrayal Of George
o!ddens a foil for the ceremony and
stiffness Of his young master. and
every character finds IL pendant ir
order that Its pe~culiaritles may he sur
. Aeiently emphasized.
II Is after seeing such a perform
aaee that n II delighted to acknowl-
edge the supremacy Of David Belasco
among the American producers.
Here ons must say. "is theatre in
he highesf degree Not n minute In
the play lacks It's adequate represen-
taticn. One rarely leaves a playhouse
without feeling that possibly n char
aeter or another might have been b&-
tor acted. In the representation OF
Tho Little Lady In Blue" however,
there Is no possible ground for such
complaint. Its performance Is per-
Mt. There was never a greater
credit TO the skill Of Mr. Belasco.
English playwrights have come I,
rely more on mere verbal Juggling
than they ever did In the past
The English Captain in 'Grea,
Catherine laughs immoderate.y ovel
the name Of one Of the court
officials because 1t is "PopoT.
II fun is to be made so easily there il
no reason in the world why a play.
wright should not make every person
n his dramatis persona gifted with
some such eccentric name at which
one might laugh. But 1t does no,
som a very easy way Of making fun
J. NJ. Barrie IL not above n use o,
the same device. In "a Kiss for Gin
dsrSlla" 1t must be said that there Il
moro bearing on the play since IL II
IN a way to reveal character. Tho 20
liceman in the artists studio pro
nsunces infallible with the accent OF
~ sl ~ H. l4Aa IL sVay y,,ao 10
fact. with laughter that natural;
d!minishes as the device begins to pail
TAsn there is more fun got out Of mis-
pronunciation when this same bobb!
prUnounces espionage" ~ a German
wsrd with both fee on the last syl
liable.
n. J.. Byron and his contemporaries
used to do wonders with the pun as
means Of provoking laughter. Blu
gUdiences would not ven laugh nov
q such q specimen Of this form OF vi
~, "lAke Metamora both In face an,
feature, ! never met a morc amusin!
creature" BroughaM's line, however
ws considered rather uotnl,l. IN II
wAy. even II not the way Of the pres
ent. Since that time, however. Their
hes been no enthusiasm Tor the mer'
verbal means Of making tho audienc
smile.
J.. NJ. Barrie's fancy is growing NOR
dlhicult 10 follow with every succeed
Ing specimen of II which Is put befor
the public. How 1t could possibly b
supposed that any audience would tak
~ humor the sight Of tho little Gin
dsrsllo measuring a fat man and try
nc TO cut him . coat after a fashiol
plaGs which she holds at arms length
PLAY A WEEK.