Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1918-01-22

HAMu.ToN--Historcal drama in four acts
10y George Arliss and Mary y. Hamliu.
iiaw 4 Erlanger and George e. Tyler.
broad Street Theatre.
Alexander Hamilton. ......... George Arliss
Thomas Jefferson. ........, Carl Anthony
lanes Monroe '''''''''' haLdee hrkiapI
General General Phiiip Schuyler George Tl WoodwSSridd
count Talleyrand. ............Gu FavCrcs
James Reynolds. .......' Dudley nigges
Tsief Justice john Jay....'.., . Wilson DST2
Colonel Lear r'.'''''''''' Harry Maitl9n!
Citizen ;..i,;,.,,'''''' ''''''t' NJ Van Ciiet
RstsS hSnhbT1 sh,,Seb N, rio MiTS' r,A[. Arnss
APseRiSS lps RiSS,noids JStiH Jeanne aGnfs EaEsis
Melissa. 80. ..,...... .Katharine Hayden
",l Act I@Tho Exchange Gcfiee' nouss sS' 10 10
Act ia, room in Alexander Hamiltor,s
The office OF the Secretary CT the Treas
Act IIT--Tho same. Six weeks later.
=. Act, IN-A reception room in Alexander
Hamilton's house. Ihe next MORNING.
biography" said Carlyle, "is the only
true history" The conviction which
'Hamilton" carried to a raptly interested
audience at the Broad Street Theatre
last evening strikingly substantiated
that verdict. Polished histrlonic art, of
course eXerted a potent and welcome
charm. but this exhibit would have been
wasted had not "A peculiar sense Of
verify quickened into life one of the
few successful American historical plays
unconcerned with the Civil War. That
conflict has long provided n rich mine
of inspiration for the melodramatst.
Footlight products dealing with other
periods of our national story have fire.
quently failed. Their insistence on sit
uaton rather than character drawing
usually determined their fate Vitality
Of portraiture would have impaired the
l. - g,.,t, ,yH.
transcends the value of slilful dramatic
construction,
MIR. Arliss and Mrs Hamlin seem 20
b have realized this. for Hamilton" makes
its profound impression not by reason Of
its technique which is often either in
different or conventional but rather be-
cause Of sincere endeavors in the field Of
Characterization. Biography is the main
spring of such efforts. Less intimate
history asserts that Hamilton was the
first Secretary of the Treasury, that lie
shared with Madison and Jay the au-
thorship of the wonderful "Federalist'
papers and that he was killed in 1904
in a duel of politics with Aaron Burr. A
moving moral and emotional crisis in the
life of the great statesman is untouched
by such outlines. Biography, worthy Of
the name, interprets the soul without
which historical plays, unless Of the
Stereotyped war melOdTama variety, are
without appeal.
George Arlss moved toward his pres
ent sphere in "Disraeh," but the sub
stance Of Louis Parker's play was large
ly fctional The result was tricky,
stacy vehicle, much more ably built, in
deed, than Hamilton" SNOWY, but su-
perficial. The new Offering in its gem
eral painstalIing devotion to fact despite
a few pardonable liberties In Difference
TO legitimate stage effects, Is far more
human. far more subtly forceful than
its popular predecessor Its prevailing
spirit opens up n whole new field OF
dramatic possibilities with respect to
American history. Playwr!ghts nave
hesitated to employ Washington, LIN
coin. Jackson as footlight figures. Tho
Arliss- Hamlin method lifts the bars. 1t
is "humanizing," not the invention OF
thrilling scenes which they require for
stage life. -,-
The fabric of Hamilton" is extremely
simple, Directly and unaffectedly 1t de-
yelops an ethical crisis in which tht
patriot succeeded as Parnell failed. AT
the expense Of exposing the facts of his
liaison with the fair charmer, Mrs
REYNOLDS, the masterful Federalist JUS
tifies his political conduct and preserves
the honor and dignity of the central
Government, whose authority he hat
exerted such superhuman efforts to in
trench Without the thought-stlmulat
ing background of history, this episode
would be scant substance for an eve
nlnE's entertainment. AS it is, however
glimpse of the pageant of our nationa
life is unfolded, with power that mus
delight any spectator whose mental rae
ulties are sufficiently alert TO interpre
stirring events of the present by re
course to lessons of the past. Not II
many years have the times been 81
ripe for historical drama as they ar
now.
Mr.. Arlisss performance reveals hi
familiar artistic restraint, his winning
personality, his grace of manner an
the rare subjective qualities of por
traiture that he brings to any role.
times, where teh colloquy calls TO
keen, laconic observations, his method
recall his "Disraeli" performance, whic
held the stage for so many consecutiv
seasons But in the main, his Alexande
Hamilton strikes new notes.
Happily he eXtricated himself fror
the "old man" rut in which he was ais
involved last season in THE Professor
Love Story" and his delineation ha
youth, virility and magnetism. tn
last named is, of course, of prime an
compelling quality. A certain elastict
OF speech is apparent In the third-aC
climax, in which he turns the tables o
his accusers, but this is but u mino
blemish or a superb embodiment.
The delicate task of depicting sue
early fathers" as Jefferson and Nor
roe Is entrusted respectively to the abl
hands of Carl Anthony and Harde
Kirkland For purposes Of contrast I'll
mental and moral stature of thes
figures suffer In comparison with til
hero Hamiltonians, however, wi
doubtless insist that n due proportio
OF values has been maintained. Jeanr
Eagles as the seductive Mrs. Reynolds
an unshadowed delight to the eye, an
she acts a difficult role with taste an
exquisite allurement. George Woodwart
as Philip Schuyler. gives a conventions
but effective study of bluff, heart
revolutionary veteran. The Betsy Han
hton Of Mrs. Arliss is rather colorles
and Marion Barney as her sister sins
the opposite direction-that of owe
emphasis. AS whole, however, Il
support is well worthy of the accor
plished star. II. r. c.