Evening star. [volume] (Washington, D.C.) 1854-1972, 1917-01-21

ary. the stage hand. IL find
ing life easier at the moment.
Tho moving picture drama
will give him a vacation at the Ma
tsonal Theater. and at the Belasco
"Experience' will remain over.
EnRaRements extending over two
weeks are rare in this city. That of
.Experience" Is most remarkable. be-
cause of the fact that the entertain
ment, while an inordinate consumer OF
theatrical time, is really OF non-pro-
ressional type. 1t reveals Mr.. George
Hobart, not as the carpenter and litter
Of rhymes and fancies subject to the
plans and specifications Of higher au-
thority. but as the architect of his own
fortune. And 1t has turned out to be
some fortune. Mr.. Hobart has pleased
himself and has written a piece indie
pendently of all the set rules. He has
turned a series of tableaux wants into
a drama and has mixed his metaphors
into a literary draught which has been
popularity received as one of the the
ater's most delicious though mild IN
toxicants. The seasoned theatergoer
9azes upon it with an establishment
not unmixed with resentment. Ac-
cording to all the laws of mathematics
and the rules Of precedent along which
he has narrowed his current Of ideas.
Experience" does not exist. He Is In
the frame of mind of the country boy
who contemptuously dismissed the
dromedary with the remark. There
amt no such animal"'
Practical theatrical men regard Eek
perience" with more wonder than ad-
miration. Perhaps there is some re-
sentiment, for it offers no encourage
ment to the producer who proceeds by
pattern. The seeker for something like
it has to jump away back into the days
Of the morality play. and the alert
student of public taste is compelled to
throw I'D his hands when 1t comes to
initiating 1t. Its appeal to the popular
Imagination Is SO strong that the de-
that 1t Is simply great" or her opinion
that 1t is perfectly grand" in romping
disregard of the formal protests of con-
sentative criticism SO unsparingly lev
touches Of idealism that the current
stage has to offer and goes its way
serenely despite the affront its gives
the spirit of hard realism which SO
powerfully dominates creative and pro-.
ducing effort today.
s.. .-.
Mr.. Gillettes new play carves out no
independent destiny, but submits itself
as q competitor in a field where there
are many recognized contestants and
In Wnlcn execution must De the test un-
aided by an impression Of the extraor-
binary. 1t Is comedy with many
happy moments claiming dignifed
kinship with some of the best literary
expressions in lighter vein known to
the stage. Its viewpoint is distinctly
and agreeably feminine. Mr.. Gillette
does not proceed with a highhanded-
ness of a romantic hero who knows
where to put his hand on a derringer
should 1t be needed, but In order to
md in r.
sons Of the drama become involved re-
sorts to a trick which is more clever
than bold and not precisely novel. The
author still permits him his cigar and
maintaining that picturesque and mag
netic composure which has seen him
through far greater difficulties.
X y I:
A tremor of agitation has gone
through amateur circles owing to the
other eminent figures Of the profess
sioRal stage have expressed concerning
the insidious process of commercializa-
ton into which the most reverential
devotees Of art for arts sake are some
times lured. He has taken the pains to
express with sucinct emphasis his views
in the matter.
He writes:
NO one objects to the amateurs. They
should be encouraged and praised when
they really deserve 1t. 1t is the over
praise of enthusiasts that has a harmful
effect"
x !. x
Il Is interesting to find the amateur
enterprises, which had their inspiration
in q desire to contradict and curb the
professional commercialism, now re-
preached by the professional stage with
having neglected art in order to COM
pete on mercantile lines. The two in
huences may be of mutual benefit.
PHILANDER JOHNSON.