Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1917-12-15

Ave interpretations at n miniature the
atre.
SUMMARIZING the plot structure Of
~ Mr.. Footner's play is almost certain
to convey wrong impression Of its
worth. once mere the familiar amatory
triangle Is drawn. Hundreds of dramas
have been previously concerned with II.
Hundreds will doubtless sketch II again
as long as tin stage endures But orig
iral play writing Is not SO much n mat
ter OF avoiding this conventional dra-
matte figure as It Is of interpreting
life and character from a veraclous View
point, of sustaining suspense In the de-
velopmert Of chosen material.
These essentials have been grasped
by Mr.. Footner with vigor that imme-
diatcly places him in tho front ranks Of
American dramatic authors. Indeed tho
social picture which he paints is some-
times 80 meticulously done that its very
ifaithfulness is just a shade too detailed.
Deep sincerity Is otter bar to terse-
ness. \ little condensation would en-
hance the force of The Open Fire"
without in any way lessening It's verify.
AS II stards now the play Ia too long.
Aside from faulty finale. verbosity is
almost the only blot on a memorable
achievement.
The hastily patched up concluding
scene suggests possible tampering with
the authors Intentions Laura Kavney,
the open fire. of altruism unshadowed
by any hint OF copybook sentimentalism,
through the supreme grace OF humor, is
essentially tragic figure. By that is
not meant that any scenes of violent
death would more clearly emphasize Mr..
Footners thesis. But he apparently be-
gan the pieco with the purpose of ex-
pressing dramatically u protagonist
weary or satisfying other peoples spir-
itual needs. without adequate return. and
at last goaded into a passionate asser-
ton OF personality With altogether DIFF
ferent machinery the same idea was de-
vcloped In the French drama "The
Lily" one OF the most artistic and least
appreciated of David Belasco's produce
tions.
To be logical. Laura's realization Of a
happy fate should be accomplished by
| the dominance of character over situa-
tion. Artifico always appears when the
process is reversed and tho most truth
fully retrospective play may thus turn
| temporarily into sentimental melodrama.
In the last episode. the heroine wins her
lover through a series Of lucky circum-
stances over which she had no control.
Such happenings are common enough In
life, but fine drama Is an art product, not
photograph, and its appeal Is best pre-
served when formal rules are followed
In developing its psychological power.
Reliance on mere freakish circum-
stanc, plays havoc with the most hu.
man di amatlc problems Mark Twain
was once writing a tale--it was "Puddin
Head Wilson"-in which the comic and
tragic elements seriously conflicted. Tn.
n, 70, rid ~
the operations of character development,
he momentarily resolved to hurl his two
misplaced personages down a well and
drown them. The incident, of course.
might have occurred in life. but 1t em-
phatlcally did not accord with the de
sign OF his story. What he has called
literary Caesarian operation" was
eventually performed. He divided his
material into two parts, which became
"Puddin' Head Wilson," a tragic pic.
.ure, and "Those Extraordinary Twins"
pure burlesque.
Reverting to the classics It may be
added that Hamlet" would be an arts
tic failure did audiences really believe
that the Prince of Denmark met his
death because Laertes happened TO use
a poisoned foil. Objectively. such was
the case, but Hamlet's own character
StdlGu lllS uOplll NlAS oueSS" 80
ternal situation is subservient to the
psychic machinery throughout the mas
terpiece.
TTAPPILY five minutes OF weakness
II cannot rob Mr.. Footners play Of
its Importance. The rest of his work.
manship and rare literary skill revea'
sound and vivid inspiration and an acute
knowledge of certain phases Of the con-
| temporary American social structure.
! The keenness of his observation Is I'M
| mediately disclosed in his choice of
| locale. His very convincing slice OF
life" is wholly concerned with per-
| fectly credible skein Of human motives.
tangled and frightened amid the esthetic
elegances of an interior decorators art
shop
Within the last decade in our large
cities such institutions have multiplied
exceedingly. Their presence opens up
vistas of an unresolved dramatic chord
wherein notes of art and business harsh
" jangle. Additional ingredients of SEN
timent and passion furnish the nucleus
for play development. 1t Is possible that
a stroll up Fifth avenue. where are art
arbiters who guide the reckless feet Of
millionaires. ambitious for "show-place'
| iito paNho u cSoutys hio
have inspired Mr.. Footner to visualize
drama in a hitherto unexpected set
ting But whatever prompted the idea
the native theatre is assuredly the
gamer in a play of subtly woven tex
ture, of truth revealed through the de-
lineation OF character. of touching appeal
and OF virile dramatic significance.
Perhaps Miss Anglin may some day
return here with THE Open Fire" II
| she does success will either be her por-
tion or else the dsquieting testimony
that substance Is OF less avail than
shalowness in the modern theatre.
! INSTANCES of operatic airs warmed
L over as musical comedy numbers and
songs Of the day were given in this
column last week. The collection ha'
heen enriched by renewed ACQUAINTANCE
with "The Daughter of the Regiment"
at the Metropolitan on Tuesday night
| Why that curious 'up-to-the-rhinute'
flavor about the opening strains OF th'
melod'ous third act prelude? ~ureka
"Over There" almost note for note!
| II our troops In France are not sing
ing Donizetti as they dig their trenches
then the popularity Of George NJ Cohan'e
lifting war ditty has been grossly over
rated. II. r. C.
Chauncey Olcott on Christmas Might