Evening star. [volume] (Washington, D.C.) 1854-1972, 1917-12-23
7kMUSEMENTS
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is Ethel Barrymore. The reviser is
III Edward Sheldon, the man who
wrote Romance" for Doris Keene.
The play as it is now being offered is
..rhe Lady of the Camellias." Rewrit-
ing old plays is not an enterprise that
ordinarily conmends itself to respecteFs
of tradition. The old plays are them
selves regarded as models to be copied
and not as subjects for Improvement
.The Lady of the Camellias" shows how
great the improvement may be, pro-
vided the playwright conducting the
experiment is competent to write per-
fectly good plays on his own account.
II Miss Barrymore had not determined
to play Camille. determination born
OF her respect for her ancestral ideals,
no doubt Mr.. Sheldon would have writ
ten her as good play with no obiga-
tion whatever to the libraries.
The Sheldon version of the story is
wonderfully clever example OF how
problems of acting may be simpiifed
by an expert playwright and iong
managerial purse. When Armand mad
nothing to suggest an air OF reckless
dissipation save a dress coat. q cape
overcoat and an opera hat, his work
was cut out on lines that needed rare
gifts and personality. Candles task
was no less arduous. She was doomed
10 expire with vigor almost gymnas-
teal in its manifestation. The spell of
Shakespeare was over the English
speaking mind and a death scene was
the supreme test of skill Grand opera
singers still reserve their highest
notes for the moment of tragic disso-
luton. The realistic tendency has made
IL possible in the drama for heroine
to die sweetly and gently and naturally
as Ethel Barrymore's Camille dies. And
the heart anguish on which interest
really depends is not lessened by the
absence of physical suffering. The
painless classic is. plainly. something
to be encouraged.
So far the stage is concerned, and
the box office, too. for that matter. the
departure of the new Camille" for New
York was serenely suspicious. There
were. however certain elements of sus-
pense quite apart from those of the
drama. All Hayman. under whose
management the. new production was
made. had his mental struggle with
the situation that followed the final
act of the play last night. The inquiry
was presented to him:
How are the new and extra ordinary
conditions in railway traffic going to
affect the theater?"
suppose. replied Mr.. Hayman
shat unless conditions are systematic
feet managers all over the country pre-
cisely they are. at this moment. af-
fecting me. l have absolutely as
surance that transportation will be
available to enable me to get TO New
York by next Monday. with my COM
pany and the production. The trans
portation Of large companies is at
present, a matter OF difficulty which
must either diminish or render the
customary way of taking attractions
~@vr, It. al
What are we going to do about It? We
are going to continue doing just what
/ am doing now-faee the problems as
they arise. prepared to modify methods
I'm way that will meet new exigencies
.with new ideas. There are many ex-
.pedients that could be adopted In case !
transportation becomes no longer |
available for big combinations The |
first that suggests itself is a reversion |
to the old time stock system that main |
tanned a group of well trained players |
as local institution competent to |
support a star and equipped with a |
scenic stan to make the scenery az |
needed A star and leading man or I
woman could travel easily and the !
stock company might, in most in |
stances. be depended on for even SETS |
ter subordinate casting than the travels |
ing combination can provide as q rule. I
This is only one of many ways in which /
the theaters could meet the railroad |
ciludliVHs II Is not renewed.
Washington has been the scene Of
much that is of interest in connection
with the American theater's history. 1t |
was one of the backgrounds where |
the fight between the independent pro-
dueers and the big organizers resulted
In victory for the latter. The Shuberts |
were recognized as independent book |
ing agents. and Belasco as the insur-
gent leader among the producers. There
which seemed to enace all the old an
tagonisms. In several cities, among |
them Philadelphia. there has been q |
pooling arrangement It equalized |
text for further hostilities. Rancor |
has broken out anew. The lawyer, |
who supplies to the theater the ele- |
ment Of literature and discussion once
Entrusted exclusively to he reviewer,
has been called in. and Philadelphia
is now the battlefield. The alteration,
however. takes on the suggestion of !
repartee. slightly rugged. but not alto |
gether Indicative Of any relentless
mood for atrocities or ruthless exter- i
mination. One booking firm asserts |
that It is weary turning its ofylces into |
private detective bureau and the
other comes back with an intimation
that its competitors have failed to gain |
wisdom with long experience. On the |
surface 1t looks like another of those
Broadway arguments.
. u
Theatrically Washington is one of the
most prosperous cities in the country.
II has held more closely than any Of
the large cities to conservative meth
DDS Of management. The cut rate ticket.
which gratifes one set OF patrons at
the expense of the feelings of another
IL unknown here. That Incompatible
nuisance the ticket Spectator has not
set his foot upon the sidewalks. The
theaters account for their profits d.
rectly to those interested in the imme-
diate attraction without pooling COM
plications. The pool system is strictly
Indigenous TO each city. where such an +,
arrangement is considered desirable In
spite Of the war tax, Washington the
atrically speaking. has many reasons 10
feel quite comfortable and happy
PHfLANDER JOHNSON