New-York tribune., 1917-12-02
AWRENCE REAMER, in

n AWRENCE REAMER, in "The
sun" gives an interesting and
Il concise description of the new
French Theatre, which, TO begin with, IT
will be as well to note. First Of all, the
theatres name The Theatre du Vieux
Colomber becomes, in a language more
generally familiar TO the people Of New
York, the Theatre of the Old Dovecot,
which, explains Mr.. Reamer-
"The actor calls after the theatre he directs
in Paris. which in turn derived its name from
the street on which it is situated.
"AlI those interested in his artistic enter
rrises know by this time that NJ. Copeau
founded in Paris theatre which should re-
store to the art of acting some of the finer
and more natural qualities which 1t had lost
as its conventions accumulated. The msti-
tuition prospered during its short life. The
war scattered its forces. but when Otto II.
Kahn and other New Workers invited the
actor to transplant his company to this coun-
try il was possible to reassemble enough OF
them for the purpose So New York is to re-
ceive its French drama this year from the
hands Of VI. Copeau.
"His ideas, which probably will be learned
best through the frequent observation OF thelr
results. are admirable when applied to such
task as he undertook for his company yes
terday. Les Fourberies de ScaDin. which the
programme translated as The lmpostures Of
Scapin was the play. Probably it was quite
as unfamiliar as any in all the repertoire OF
Moliere. Obviously there is to be much Of
the classic French drama in the forthcoming
season The changes in the theatre evidently
were made 10 adapt it 10 that purpose
"The boxes have been removed and in their
Place are platforms supplied with doors and
windows several steps above the level OF the
stage. This device, which is now familiar
here through its use by Miss Anglin and
others, makes possible q variety of action on
the apron which extends into the auditorium.
The theatre is strictly intended only for its
purpose since there is nothing in the severe
huff decorations TO divert the attention of the
audiences. A pale gray curtain hangs IN
folds.
"The stage was arranged yesterday with
what seemed a permanent gallery running
across the back. It's windows were draped
WIN CoIoItu hdHHiHEH WHICH NtIc Hol bPNhtui
as the action Of Les Fourberies de Scapin'
aid not require their use. The important
scenes Of the play were acted on quadrilat-
oral platform raised some FIVE feet above the
stage This platform was reached by steps
which occasionally furnished a resting place
for the actors. Between the two short stair
ways on the front Of the platform stretched
bench.
This arrangement of the stage immeas-
urably increased, of course, the artifciaity
Of the proceedings. II was evidently the in
ttnton of NJ. Copeau, however, TO give
Moliere's play with every possible emphasi
on its naivete and ngenuousness Of appeal
20 its original audiences. This manner OF
treatment occasionally reduced the action 10
the terms Of Punch and Judy, but its justi-
fcation is easy TO see. Such a play is NOT
going TO interest the public to-day In any
hut historic sense. Certainly tho comedy
OF the valet deriving directly from the
Latin az 10 preserve the classic formula in
all but its original rigidity is 10 more than
the brc-a-brnc Of The drama in this year Of
grace
John Corbin, in "The Times" carries on
The came line of discussion. He find.
that