Evening star. [volume] (Washington, D.C.) 1854-1972, 1916-11-12
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those who saw Sarah Bern
hardt last week were fortu-
nate in obliterating a sense
of pathos which Imagination

nate in obliterating q sense
of pathos which Imagination
necessarily threw about her.
with absolute frankness she puts her
age In her announcements and does
not seek to distract attention from the
fact that she has undergone an ordeal
of physical stress which would have
terminated the ordinary stage career.
There Is no pathos in the Bernhard
playing except as she expresses the
sorrows Of heroine. Energy OF mind
thrills her approximations and the
dizziness with which she employs the
technique of the theater Is more than
suf1icient to keep illusion from falter-
ing. The selection of plays is well
calculated to reveal her at her best.
They are short and depend for effect
upon situation. Physical energy is
-subord,nated to emotional expression.
The charm OF the human voice. the
4plsy of facial expression and the mag
netic force that creates distinctive
personality are the means she en-
ploys not to win but to compel APP
CLAUSE. The announcement is made
that this is to be her final tour Of the
with Apologize appeal from one who
fears to lag superfluous on the stage;
1t is a splendid exit, with Impressions
most vital and sincere.
Bernhard does not follow the custom
to which American actresses are often
doomed. by managerial policy or by lack
OF artistic adaptability. of selecting ma
ture types for portraiture when birthdays
have become numerous realities. There is
almost room, for the assertion that II you
want a good stage youngster You must
get an oldster to play the part Dion
Boucicault. when three-score was tres
passing upon the record OF his years. was
= Con the Shaughraun whose youthful
buoyancy no student stripping OF the
drama could hope to initiate. 1t was
long time before the first part of Joe JEFF
ferson's characterization of Rip Van
Wrinkle began to overtake the venerable
figure in the concluding scenes. 1t is no
irreverence to speak Of him as Joe JEFF
ferson. II was the name by which the
public learned to love him. The actors
who have discarded familiar abbrevia-
improved either their work or their pres
tfge in the process Maggie Mitchell never
insisted on being known as Marguerite.
nor did any manager dare use more than
the name Lolita" however he might have
been tempted to announce the intention
to present Miss Lolita Crabtree. There
was no more D0ylSn IOny Lumpkln OF
BERTHE the Lamb than Stuart Robson. and
the death OF Harry Woodruff. well toward
fifty. was distinct loss to a theater none
too well equipped with juvenile types.
So there is no apology to be offered
for not having referred to the Shake
spearean triumph of Mr.. Thomas Wise.
II was the Tom Wise who delighted
Washington with the lovable geniality
of The Gentleman from Mississippi"
and more recently with the superb
The Song Of Songs" His Falstan is
not triumph that enaces his pre-
vfous achievements, but one which calls
1ttention to his consistent record for
Intelligent and finely sympathetic por-
trayals. His Falstaf is a convincing
assurance that the American stage Is
still competent to be funny without
being vulgar. His success points
ghakespearean drama in the face of
all sorts of discoura gementS. Every
Generation-perhaps every decade
brings forward some PLAYER competent
across the footlights and to make the
name Shakespeare" something more
Hhan pedantic myth and a refuge for
bombastic mediocrity.
The appearance of E. H. Sothern in
IN enterprise interesting for it's I'M
5elfish patriotism as we'll as for it's
artistic promise claims distinction as
another event of classic purport. The
event cannot fail to recall to this city
with grateful remembrances his ap-
pearance with Miss Narlowe at the
benefit for the Lusitania sufferers. 1t
was an appearance that compelled
Encouragement of his plans at con-
eiderable personal Inconvenience, and
AcCntfntg fnr his fnYir
manifestation of spasmodic generosity.
but as an expression OF consistent tenn
per. Although his present play is not
Sha kespearean, IL is drama of the
higher type. and in key with the emf
nentIy efficient efforts OF Mr.. Sothern
to present standard dra ma not as an
experiment in public Instruction. but
H popular entertainment
PHILANDER JOHNSON.
- Drama League Players.-The Drama
League Players will open their winter
theatrical season Thursday night at
the Wilson Normal School with the
presentation of Lady Patricia"
three-act comedy by Rudolph Besier.
In Lady Patricia" Mr. Besier has
given an interesting sketch of English
rural life Lady Patricia Cosway. a
poseuse. is the center Of complexity
Of sentimental entanglements In which
AfI IIusDdl!tl, Il ser !Cus lnlHOtu amateur
astronomer, is also involved. A pre-
tense of devotion between them is the
cloak 20 innocent Irritation between
Patricia and young Bill O'Farrell. her
cousin. and between Michael and Clare
daughter Of Dean Lesley.
The frst two acts are set in house
IN huge tree at the Cosway place,
which Lady Patricia has had built TO
suit her unusual fancy and where the
two pairs of philandering lovers are
overheard In their declarations. The
young people. Bill and Glare. eventual
~ fall IN love with each other. but feel
obliged TO continue their respective
clandestine relations Their parents
conspire TO drive them into q match and
bring about mutual confession by
Patricia and Michael. which reaches
&-surprising and diverting denouenent.
The cast follows: Lady Patricia
CDeway. Elsie A. Lancaster; Michael
Cosway. q. A. Lyon: Clare Leslie. Es-
Sher Guide: Bill O'Farren, Detlow Mar
Sninson; Mrs. OFarrelI. Maud Howell
Smith: Dean Lesley. Henry DoIan;
Baldwin. Finley J. Hayes. Ellis. Paul
y; Merica. John. o w. Holmes
BELASCO