New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-08-13
Bv HAYWOOD BROUN.

VERYBODY in town was seriously
II annoyed when first the young
IL man called wolf" and there
was no wolf. But when the trick was
repeated folk began to see the funny
side of the prank and until his sudden
and somewhat tragic death the young
man was held in high esteem as a prac-
teal joker.
Just so, it is dangerous for a play
wright to fool his audience once, but
he can gain forgiveness by fooling ms
audience twice. Haven't we read some
place or other that when anybody
freezes he is revived by being rubbed
with snow, and that two wrongs make
a right? No audience will leave
"Cbeating Cheaters" in a spirit OF
anger because it has been fooled. The
author wisely goes about his deception
frankly. Having fooled his audience
completely in the second act, when the
revelation is made that the Palmer
family is a gang Of crooks, he gives
promise of having still another sur
prise in the identity of Ferris the
great detective.
BY this time the audience is willing
TO accept the play in the spirit IN
which il is meant. It realizes that 1t
has been invited to take part IN a
guessing game. No matter which way
j the audience guesseS. tho euthor cannot
lose. The man who discerns in ad-
vance that Nan is the detective is
pleased by his own percipience, and
the woman who thinks that Tom Will
prove to be Ferris has surprise IN
store for her.
One objection may be raised against
MARGINS campaign Of deception. lie
does not play the game fairly at all
times. "Cheating Cheaters" will not
stand the test which may be applied to
the play Of perfect construction. 1t
cannot be played backwards, for there
is at least one scene in which the hero
inc is deliberately instructed TO de-
ceive the audience. Nan Carey is
detective, and yet, in a scene in which
she is alone with a character VINO
knows her neither as crook or detec-
tive. she Stimulates fear at the mention
Of the name Of Ferris and in other
WAYS acts out Of her character for
the benefit of the audience. Also the
Palmer crowd keep up their pretence
of well bred responsibility in scene
in which they are left TO their own
devices.
These points are not likely to count
heavily against Cheating Cheaters'"
but they are not altogether trivial. 1t
must be remembered that the longer
trick play runs the more eXacting
grows the audience. Three months
from now at least half the persons in
the Eltinge Theatre will know the Sc
crets of the play before the curtain
eoes I'D on the first act. Armed with
this foresight, they may be piqued by
such bits Of deception as are not
legitimate.
On the other hand, we think the
play will amuse the man who knows
how il is coming out. because a num-
Der of the surprising developments Of
the play are carefully and minutely
prepared for, and the recognition OF
these touches should prove pleasing to
the omniscient auditor. After all, there
is almost as much fun in watching the
rabbit come out Of the conjurer's
sleeve as seeing II for the first time
when 1t energies from the bottom Of
the silk hat.
We hold that in farce and in melo-
drama the actor should in a measure
take the audience into his confidence.
The villain, we think, should be on
winking terms with the folk down
front. II is we'll that the anxiety Of
the audience should not centre on the
question Of whether or not things will
turn out all right in the end, but
merely as 70 how the happy ending is
TO be achieved.
MARJORIE RAMBEAU plays Nam
4fi Of Cheating Cheaters." IN the