New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-11-15
THE CHARACTERS
By Ralph Block

By Ralph Block
The war, young as it is over here
has dropped distilled acid on the
souls Of all of US. To the raw surface
it burns more deeply every day, such a
play such as "L'Elevation," which re-
news the company at the Playhouse
comes with an irresistible power OF
purgation. In the Bernstein that
adapters have allowed US to view
transferred heretofore from the
French stage to our own, theatricalism
has always held power over dramatic
intensity; the values and nuances that
make for a more convincing picture OF
the human scene have always been sac
rifced 10 the mechanism of dynamlcs
and of smashing climaxes. "L'Eleva-
ton" presented at the The Playhouse
without a change from the text thaI
found its way last June to the Coincide
FRANCHISE. is a drama of suspended
cadences. There is nee one moment IN
which it spends itself. Il is the poten-
tial gesture Of our common present
tragedy. always imminent. 1t Is the
hand of war raised TO strike power
fully. and falling only to rise and beat
again. Behind its silences is the SOUND
of drumming guns. And though 1t IS the
drama of life surrendering its love and
- - nan
life recapturing terrible sIhcerlly
witbout which n seems life finally can
be of little worth.
In France love is much more gener-
Gus. more rid of brutalities and more
a duty than it is with US. French III
erature tends always 70 dignity love- 10
give il the right to override obstacles
that for US would make 1t Illicit; ~ Is
such a love that Grace George pictures
with searching fidelity in "L'Elevation.
"A in "The Torches" il is the home OF
n scientist that is disclosed IN the hrst
act but in "LElevation" 1t is the wiie
and not the husband who must face the
storm that love and war together make
heat about her head. And where. IN
"The Torches" the story seems writ
ten about the theme, Bernstein gives
intimacy 70 the story of human nope
and despair itself. and the heights We
three figures win 10 are peaks they
seem accidentally 10 discover at the
close of their struggles rather thah
GOALS they have consciously set lof
I themselves. The result Is warmth
and a power and q sincerity thlt are
rare in the theatre. Under an IL
ouietude and restraint. "L'Elevatlon
- DANA NJ a power Broadway IS not
often given to see.
/ The scene is Paris, in those hrst un-
believable days of 1914. The mooi!lza-
ton is on. and Suzanne carter fhucl
Younger than her husband, professor
Andre Cartier, is saying goodOy 10 ne.
LAYER Louis de Genois is man o.
. Tho boulevards. a man Of no import
ance. II is plain that what 20 suzanne
il passion, TO him N merely Ihlhs
~ amusement. a Irritation OF moments
one among many others. He leaves
AID out OF her grief follows a COMES
sion to her husband that she mas
lover who has gone TO war: carr eI
anger. his jealousy, and MS. soFrow,
ciye yav 10 pity Cor her. and IN an
the excitement of war ana ne" uesO-
/ ton 70 sacrifice, he proposes an arms
,ice Matters shall not change between
mem. He will not reproach her WIN
nod All shall be left IN aoey
ance until the war IS done S",
agrees. But after ten months o.
sio,isb devotion to her work IN nos
9itai a telegram comes. He is wounded
She saws she must go, but Carter de,
"a sbe remain. She accuses MIN OF
liking her lovers death, and tear
Ia 70 the railway station to reserve
nioce Cartier has discovered no"
b,ta a man the lover is, and IN seem
,,,,b his mother he resolves 70 sh0"
bis Vie her own letters, purchased oy
Tim from another mistress Gehois leA
habind T. is the finest scene OF inc
nIsv in which Suzanne returns ASK
bis foroiveness for her words again 81
nm and shows him how much TINS
/ love means 20 her. He cannot tell het
realizing that so fine love can c0i
ouer even the baseness he suspects III
The last act is in a hospital at
Rennes. with Genois wounded. lie con
fesses that he did not love her al iItsl
nut discloses how, deep IN the trehG me-
az night, he came TO understand nov
much she meant 10 him. IL Is oh1y
after his confession that she knows ne
il diving. The nurse calls her hway
She leaves in tears. "Untll to-h
he replies to her. but his outstretcheu
hands TO her retreating inquire sho"
there will be no tonight LOT MN.
Without Grace George "LEleyatioh
would be stirring drama, but witn hei
/ !, burns so steadily that us eHot.o.a'
anpeal is irresistible. But II Is noI 'he
eupeal of clashing moments h 81
/ daa+hbed defiance OF the Zoe couiu nv
/ confuse the feeling OF hrst MN 81
dience, painfully quiet lest u iose ~. ~
an itself. This fine actress sNe
mendous power 10 her gre! az -,
mands belief IN the reality % nei III
without once raising heI oi,nos,
ras,,l, is strange intensity hiInos
ino+;c Uolbrook Blinn plays Proies'
Cart;er admirably, with me taste
i saates a man who is convinclhgiy
nS1o ard generous. But the SaHe
soa 49, NOT lie with Mr.. bllnh. IL j.
IN liable but only admirable, Lohel
a.n,;ii IL Genois. He has several uneasy
snnorisms that spoil his playing W
10 81, scenes, but he, too, discover
~ ter,ner OF the play in the last ac'
r. o,bor members Of the flayhous,
r.ro,,, who give distinction 10 smaH
..g are Alison Skipworth' Esther
tfo,,.rd Florence Wollerson and tlor-
a iio~" r y, who has a light sharpness
that helps much in etching the pictures
of SOPHISTICATED women. .,....,..
popbtless "LElevation" has its faults
IT, Ia.t act is too long. though II IS
,b =" shortest Of the three. Too great
an accent at the beginning may TOD ,o
tbe end Of its due. A soldiers chorus
outside the hospital makes its change