The Washington herald., 1918-12-31
p, EARLE =. DORSEY.
N.tie.aI-4A rs,I,r-w.ae Man

Let's begin by saying, bsnslly
enough. that "A Tailor Made Man
Is success. Having settled tina
point. we can also say that tn
American stage should drop on its
knees three times a day, turn its
face east and thank Allah for
| George M. Conan. Because. no mat
ter what Cohan and Harris play
program may say about the author.
it's little George Cohsn who writes
In the old kick that makes winners
of them all. and "A Tailor-Made
Man" is no exception to that rule.
In this particular instance we md
Mr.. Cohan hiding his genius behind
bit of nomenclatory camouhage-
IL there's any such word-just like
he hid behind the name OF Anthony
Kelly in Three Faces East" and
Earl Derr Biggers in "Seven KEYS
to Baldpate. In "A Tailor-Made Man"
he has selected the nsmesSof Gabriel
Dregley and Gabriers adapto-.
Harry James Smith, as a program
matte smoke screen, when SITS per-
/ fectly patent to all the world that
nobody else but George N Cohan
instiIled into "A Tailor-Made Man"
that vital, galvanic grip, that queer
static magnetism that seems 50 in
herent a part of the genius Of this
miracle man Of the stage.
Strictly speaking. "A Tailor-Made
Man" is the old essential oil of 'ho-
kum"-the dramatic base Of every
stage success-but "hokum" refined
to a nAphtha-like volatility, by the one
man in the dramatic world whose an
stinct for the sure-fire Is unerring and
whose knowledge of the open ses-
anne TO the heart OF an audience Is
thing of destiny and instinct, and
not thing of the mere head or hand.
There's no good in saying that "A
Tailor-Made Man is not a good play.
The erudite may sneer and the cul-
tured may raise a sUpercilious eye
brow. but deep in their erudlte and
cultured hearts, they know that it
penetrates. lsncet-like. to the very
core Of human yearning and desire.
and though 1t may gloss with amia-
bility an act of clear mendacity,
| there's hardly a man alive today who
wouldn't have stolen a dress-suit just
like John Paul Bart in the story, II
that hardly a man thought a dress
suit would set him on the high-road
10 fortune.
Perhaps it's not fair TO Mr.. Grant
Mitchell, who so brilliantly inter
prets the role of the tailor's bushel-
man who rose TO fame. to slop over
thus in praise Of Mr.. Cohan's handi-
work. but we ask you, Mawruss.
| wasn't Mr.. MItchelrs a part that
any actor might dream Of someday
playing in Paradise? What thespian
on the Pennsylvania today who
would ask a more scintillant plan
Of scene and situation. for more
sparkle and rhythm Of dialogue, for
situations which could center more
of the fixed and heId-breath atten-
tion OF an audience?
John Paul Bart was a tailor's as
sistant who believed in his star
He acquired the manners OF the idle
rich through the newspapers and
the billiard-room door of the Knick-
erbocker Club. When Mr.. JelIicott
wanted his dress-clothes pressed in
a hurry TO attend a party and meet
the great Mr.. Abraham Nathan. why
should not John Paul Bart steal his
clothes, attend the party. imperson-
ate Mr.. Jellicott. chatter French and
art to the ladies, bribe his fellow
! assistant Of the tailor shop. tenn
porarily employed as a waiter at the
party, to maintain silence and final
ly, TO meet the great Nathan, call
him sharply to task for his attitude
toward the public Eraciousiy con-
sent to stave of a gigantic ship
building strike and get all New
York shouting his namel OF course.
the tailor-shop was ms nemesis in
the end. When a jealous rival pre-
pared to expose him, he exposed
himself, retired to his tailor-shop
and-oh, the thrill Of real ''hokur1. ''
was dragged therefrom by the
great and the mighty to finish the
things that Napoleon left undone. "
with the help OF the tailors daugh-
ter. whom he had loved all along.
There's a word left for the cast
Grant Mitchell transmits to an audi
ence in high-vOltsge style that cleo
trio polish that Cohan puts into his
mouth. Mitchell has q deep voice.
a convincing manner and he looks
not unlike Napoleon might have
looked. His quick. nervous manner.
his instant readiness TO ACCEPT a situa-
tfon and his real ability TO speak lines
completes a successful portrait. Frank
Burbeck. as a financial king, has a
! commanding figure and he doesn't
glower-two vastly good points. Min
ma Gale Haynes is a soft modulated
society matron and Mary Martin a
really pretty girl, succeeds as her
daughter. There's no room for de-
tailed praise so We nominate for hon
! orable mention Dore Davidson. L. r.
! Conness. Frank Bertrand. J. Emmett
Driscoll. Gladys Gilbert Rowland
/ Blackstone. Charles Horne-oh, darn
ii, the whole cast. They're all good
as far as we could see.
| In the end. though, We look back at
Cohan to see here his finished handI-
work, the elimination Of his ambi-
tion. the ambition he made so nsively
clear years ago in "FOrty-Five MIN
utes From Broadway:
Il want the world to know that IN