Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1918-09-07

K6l8S GATES, in writing Phoebe Pre-
tends" evidently forgot completely
81 ~ play must have movement. In
ID flrst and last Of the three acts she
~ toAls delicate comprehension of child
Schclcgy, and the power to write
~, unhackneyed dialogue. But one
{ s6pst engaging Juvenile portrait does
nj make a play. and occasional fresh
al amusing lines cannot serve in lieu
q 1fEpeDt. The idea OF a mov!e-mad child
WHoo obsession becomes inspiration in
s&}v1ng the domestic tangles Of her eld-
- b capital, but Miss Gates fails con-
s15ouously to utilize its possibilities. The
H<Felist may keep readers In the dark
a&nut his puppets. but the playgoer has
~ ancient, honorable and inalienable
r3&ht to know who's who Yet at no
the does the audience learn just what.
auything, was wrong about Phoebe's
Ypfher that causes the child's uncle. TO
! mention the mothers name with horror
+ Ais il one Of the palpable faults OF
~ piece which must be corrected, as
Xhl - the giaringly impossible second
~ scene between Phoebe's father and
~ engelically generous brother, who
ifDt1es upon giving up the girl he loves
.hiD brother. all for the sake CO dear
e0 Phoebe. Such men, alas have
q l1lr sole existence In the minds of
eeacua women playwrishts Real life
e(5f1 them with cynicism long before
~ attain wisdom's crown OF a bald
- No. Phoebe cannot pretend to
ID 1eond for footlisht life without the
4 49, knife of a deft and dexter0us
a Uskfc surgeon to remove the bumps
&pm her dramatic anatomy and
olShten her joints,
2fWOULD be interesting 10 know just
how truly Charlotte Walker believes
Il ne reality Of her character in Nancy
~ Eugene Walters latest play to
neen in this city No galvanic bat
tIy has yet achieved the vital spark of
III = and though Mr.. Walter turns on
IN the current in his batteries, II does
ut Amake his figures move and act with
f1@1 and-blood naturalness. It is quite
ffofe0 0ibls. I'm the first place, that a girl
~ ~ strong individuality of Nancy
- MOULD sacrifice herself in a loath-
~ ~ marriage simply TO crafty the
81 11h whim Of a rum-soaked father, or
fH1t 2fter playing the role of 'vamp''
,4I<h G1Dto, II somewhat unconsciously
~ hor fast but shoddy New York set
~ mould suddenly wax scrupulously
1osable about her debts and personal
disabilities, after being threatened
ofrest as a thief. Such psychology
- the probabilities of human ma
NJ certainly real spiritual regenera-
N II not accomplished by coercion,
vita moral 0ynu,ttS nfyrriahad hp
of<n1es. Miss Walker palpably works
~ fo make Nancy plausible, and yet.
GUl<e of the players native quality
Il onootional sincerity. she seems far
- convtnced herself by the character.
4 - wine In new bottles is what Klaw
nRd Erlanger offer in their latest
&oef comedy. THE Girl Behind the
NO sane person expects to find
~ an entertainment a great drama
IDfty symphonic score. But Miss
@nD<tme." and. In totally different
(n1R. "oh. Boy" showed us that
|c6i comedy may be original in plot,
q ~ ~ staging and as fresh as the
"a ln score. The Girl Behind the
q perfectly reliable and pleasing.
- somewhat perfunctory musical
Ho1y, Its cast includes more notable
~ than three or four typical musical
~ productions. But the combined
~ o. Donald Brian, Jack Hazard.
Made. Wilda Bennett. John e.
Frank Doane and Cissie Sewell
~ aufhcient to give 1t at all times
eednable but not intangible spirit
VA the eleventh-hour announce
1nt that The Blue Pearl
VI play By Anne Crawford Flex-
1<nt in New York at the Long
n1re. viii open the Adeiphi for
zext Mondar. ayes Phil
m hav1ng the second full
r.. ooH1oD paas without q