Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1918-09-28
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TT WAS kind OF Providence to bring TO
i Philadelphia Henry Miller and Ruth
Chatterton in "A Marriage OF Conven
fence" the same week hat witnessed the
presentation of a TRANCE and fearsome
thing called, with caustic but uncon-
ecious irony. THE Big han IL
there is any such thing as a law OF
compensation In the realm of the theatre
Il has certainly been exercised In the
simultaneous presentation Of these two
pieces. The Dumas comedy Is the arr
lest OF footlight %triles, but II has not
lost it's SAVIOR in more than half a CEN
fury. while it's delectable quality Is emf
phasized the more in contrast to the
maudlin mouthings which passed Tor
drama-heaven saw the term I'm "The
Big Chance
OINCE 1.-The Big Chance" is no more
- locally at least. it is unnecessary
now to discuss at length its grieNouS
dramatic sins and the playwright IN
credible failure TO read the writing on
the wall Of popular taste. But II ~
sincerely to be hoped that other pay
wrights and producers will learn from
such CHASTITY theatrical misadNentures
that now. even as in the day of the
great william of Stratford-on-ANon,
'the plays the thing and mat even
when the most laudable propaganda Is
lugged INTO a public entertainment II
must be done with some sense or the
fitness of things If it is not to prove
a double failure by exasperating beyond
human endurance the spectator VINO To-
day paws s2.2O for his seat and has
a reasonable right to some pleasure IN
exchange for his investment. Entirely
aside from the fact that all sorts of
totally extraneous incidents b~efuddled
what plot there was to The Big
Chance il was surely In the most exc
cradle taste to ask an audience of in
telIigept men and women, to listen to
a ~disreputable and ignorant girl and her
shiftless or dishonest male companions
discourse with astounding volubility
about wartime duties.
A MORE ideal vehicle for the re-
"A spective talents of Miss Chaterton
and Mr.. Miller than "a Marriage or
convenience could scarcely be imagined.
The high polish and suave, easy lines or
fits structure-quite like the funiture OF
the Louis XIV period In which IT is cast
are graciously n delightfully."- en-
HANGED by the artistry of the presenta-
ton. The history of this Dumas comedy
of manners was recapitulated at some
length in this column one week ago,
and as noted then 1t has been presented
by some OF our most distinguished play
ers. The current revival leaves noth-
ing to be desired in histrionic artistry
while the exquisite production Is espe-
ctally pleasing to the eye after a pleth-
ora of scamped wartime scenery
Henry Miller's portrayal Of the mellow
"a .no.nnal Cn,npt ig Illuminated by
many adroit little touches that escape
the casual eye. But the freshest and
greenest of the laurel leaves belong to
Miss Chatterton as the Countess girl
wife who falls in love with the debonair,
cosmopolitan husband with whom she
has been united in "a marriage of con
venience'' and sends her more youth
full lover aboW his business. Without
any loss of winsome girlishness, Miss
Chatterton brings to her portrayal a
variety of mood and expression. A ma
turity of touch hat were not even fore
4 Swallowed in THE Rainbow" or Daddy
Long-Legs." With "A Marriage OF
Convenience Miss Chatterton has ar.
rived, n it is a pleasure to acclaim
her.
CHIEF among the charms of "Glori.
iAlio ~ 49, 'AAA'Al
production of the week. is its exquisite
daintiness of presentation and the skill
Of it's composition" as painters say
The plot is not strikingly novel. but pas.
tel delicacy and originality of the sets
commend them to the most discriminat,
ing. while Eleanor Painters ingratiatiua
and opulent soprano is of a sort heart
too ~infrequently outside of opera. 2u
dolf Friml's score is musicianly ant
T spontaneous, and altogether It is mos
attractive. The entire production has
certain quiet charm not ordinarily asso
ciated with musical comedy.
EyEW subjects intrigue the curiosit.
Il of the playgoing public. particular.
women, more than the ages of popula
players. To laymen who come in casua
contact with them one of the remarkabl
facts abou their remarkable calling /
the way in which the players keep thei
youth. Tho Divine Sarah" and on
own John Drew come readily to mind a
notable examples. But the subject cam
up most recently this week after wit
Messing Henry Miller at the Carried
over an informal dish Of spaghetti wit
John l.. Peltret, the very excellent pub
licity director of The Masquerader," /
which Guy Bates Post will be seen a
the Adelphi next week. The players
suggested Mr.. Peltret ~whlmsically. ar
all Peter Pans who never grow up, an
he forthwith introduced Mr.. Post as
shining product of the good fairy
magic wand of eternal youth. Presume
bly,. as the years go. Guy Bates Post
not old. But a goodly number Of year
intervenes between the beginning of h
career with Kyrle Bellew and Mr.
James Brown Potter and his present-da
Masquerade"
CUTTING opposite the actor one migl
- easily take him to be a man in h
early thirties. He does not look like "A
actor. but rather like a business ma
with i%nclinations to literature. He
very keenly alive he is very earnest.
II think the reason the people of Il
stage stay so young is due to the ia,
that they live so much in tomorrow
said Mr.. Post when this subject can
up The actor. as a rule, is usual
ahead of his times. He lives and dream
and works in tomCrrowland. And ii
ing In tomorrowland he forgets toda
and 1t is remembering today and ye
terday that makes folk put on az
They say that tomorrow is a day whi'
never comes and today was a day viii,
always was. Therefore. i'm living in al
by tomorrow the actor forgets all abo.
today. and so time ceases to pass (,
him.
SInNLY in one thing does the b
" actor grow. That is In his unde
standing of human nature. Each cha
acter he creates brings him nearer
the heart OF humanity. Therein is to
found the secret OF playerfOlk being a