New-York tribune., 1918-06-02

A costume play is one in which the
Imply from the sleeves of a dress coat
throughout four acts Of obvious dis
comfort, but rests the left one on the
hilt of his sword while with the right
he makes frequent and flowing gestures
according to the nature of the text
or not, as his fancy happens to die
tate.
To an actor who has learned his art
in the old school the knack of moving
the air gracefully is simplicity itself
Henry Miller, for instance, attributes
his effortless gesticulation to early
training and fencing lessons. But that
was years before an engagement on
Broadway could be secured by having
curly hair or weighing 165 pounds and
half.
How players of the old school adore
costume pieces! Our actors, more at
ease in the virtuous shirtsleeve drama
than in comedies of manners and no
morals, know no greater joy than
comes from staggering about with a
sword at their hip-although they wear
them at the back in "a Marriage of
Convenience" 1t seems that only when
armed with this polite weapon can
complete sangfroid and daring be
shown. Somehow it is impossible to
face an automatic across table with
the same degree Of assurance as can
be assumed when rival draws rapier
from the region of his white satin coat
tails and cries, Have at you, sirrah!"
or something.
IA Marriage of Convenience" is not
Henry Miller's first costume play by
any means. Included in his distin-
guished past are such plays as "Amy
Robsart," "D'Arcy Of the Guards" "The
Lady of Lyons" and "The Only Way"
l accused him the other evening, be-
tween the third and fourth acts, of
preferring costume plays to modern
ones, but he would not admit it.
II like them very much, but would
choose to play Stephen, in The Great
Divide tomorrow, were it possible
know of no more virile and elemental
play" he averred, with feeling.
Unlike many American actors, the re-
sponsibility involved in the wearing Of
clawhammer and swallowtail coats
does not weigh heavily on Henry Miller.
Yet he looks particularly we'll and at
home in satins, laces and buckles. Also
he knows how to walk in knee breeches,
not strutting in them with the air OF
one who has just come into money Or
received mash note.
"A Marriage of Convenience" is
light and amusing enough, if one is in
a thin mood or wishes to admire Henry
Miller's technique, or Billie Burke in a
powdered wig. But it would never make
one forget toothache or an important
engagement.
The Catholic Theatre Movement of
May Is heads it's white List Bulletin"
with IA Marriage of Convenience"
"A revival after many years of Sgd
ney Grundy's version of Alexandra Du-
mass story of the eighteenth century.
1t may be termed the mother of MANY
of the so-called triangle plays, and
we cannot recommend it," says the
leafiet
Terming the piece the mother of tri-
angle plays is hardly fair, for it makes
1t sound so much more interesting than
it really is. In the first place, the tri-
angle is really quadrilateral, for. while
the Comtesse de Candale fiirts harm
lessly with a sweetheart of convent
days. the Comte is engaged in having
rendezvous with marquise. Although
the marquise does not appear on the
stage, she is impressed on the con-
sciousness cf the audience to greater
degree than many marquises Cor their
counterparts) whom we have seen an
pear in the flesh to play their scenes
with what they doubtless considered
empressement. So this is not. strictly
speaking. q triangle play. unless tho