Evening star., 1916-12-12
ADJUSTMENTS
Belasco.

It is q story Of a street waif that Maude
Fulton puts into the Morosco play shown
for the first time in this part OF the con-
tinent at the Belasco Theater last night
1t is a product Of the genial sunshine, the
sunshine of the Pacific coast. The waif
Is taken into the home of writer who
needs her type OF humanity for purposes
Of study To him she Is only specimen
She is too young to have fallen into the
sordid degradation of the street; yet Old
enough in experience as to be uncanny
in her wariness of human motive. The
author calls her THE Brat" in spirit
that is half affection and hall contempt;
In her gratitude sne believes 1t natural
obligation unoer all the laws OF romance
for ner to fall in love with him. one OF
her speeches. addressed TO rival claim
ant for the author anectlons, reNeals
delightful touch of blended huInor ana
sentiment. Love me-? says the prat-
"Of course. he loves me- Dldn ne save
me from gong to jail? Did ne ever 40 as
much for you!" 1t is this frank, uncom-
promising logic Of an unsophistlcateo
mind that gives the brat her charm;
charm that neld the large audience IN
mood OF sympathetic pleasure THROUGHOUT
the evening.
The brat does not marry the author.
She wakens to the fact that her heart
has in reality gone out to MS orotner,
the young ne'er-do-well, whose passion
for drink has brought him into family
disgrace. The play closes with the de-
parture for a ranch in the war west OF
the brat and the young scapeSrace Who1h
she has reformed
1t is character study, with a story
as an incidental excuse for being. Al
the conclusion the brat realizes her
sweetest daydreams, and no one bothers
much about the more or less complicated
matrimonial prospects In winch the
coid-blooded author is left "heh 'he
happy pair start for the ranch
Though both play and player were un-
known, an atmosphere of confidence eX-
panded through the handsomely throngeo
auditorium at the outset. Inc Maine
Morosco. carrying as 1t does reIn'-
niscences of Peg O My Heart and The
Bird of Paradise and The Cinderella
Man." has become guarantee some
thing of the spirit of trst-nlght entnu-
siasm was revived. as the result OF popu-
lar confidence that a work offered by
this producer would be something more
than a perfunctory try-out.
Interest centered in Maude Fuiton' au-
thor as well as actress Whlle every
slang phrase now current serves its
turn in the dialogue that fairly crack!es
with smartness it serves it legitimateiy,
In faithful subordination to the 'cnarac-
ter study, and the flow of thought is ao.
soluteIy clean. The subtle intuluons OF
the street girl is continually bursting
into speech with the surprise OF men
tai explosion, and the absence OF eiaooI
ately devised big scenes and puncnss
makes up by a sense of placid relel Ior
an absence of studious effort in the way
of ingenious dramatic technique.
Miss Fulton's accomplishments as a
dancer are skillfully utilized; Wnen,
disappointed in her hope OF disclosing
her talents to the society people en-.
gagged in private theatricals. the brat
dances for the servants and seems 70
reflect the spirit Of Puck himseH,
girdling the earth with delicate Dono
of human sympathy.
To the recollection haunted by play
ers whose names are now gently merg-
ing into affectionate tradition. the little
dance recalled Maggie MitcheHs shadow
dance in Fanchon. And those VINO may
recall Lotta as the dramatic cocktail
to whom John Brougham thus wittlly
and personality which made Little Nell
and the Marchioness" so vividly human.
have not wholly vanished from the
footIights of today.
While the characters surrounding the
brat are almost entirely contributory,
Fred de Belleville, who has been salut-
cd many times from season to season
as a sterling actor. gave a glow of
real humanity to the empty formalities
Of the clerical parsonage whose good
ness Of heart did not suffice to put
him on terms of understanding with
the strange spontaneity Of expression
and greatness of soul which had been
hurled comet-like into his orderly circle
of existence. John Findley gave fine
rendition Of the role Of the confidential
he has raised to artistic dignity.
The brat" Is a revelation Of the
simple and the genuine. so direct in its
disdain of the conventional as to seem
almost a satire, yet too kindly and
gentle in its every scene to leave be-
iNQnreSginn nj