The Washington times., 1919-02-24
Plays and Films
of the Week
In Review


OF suspense and dramatic situations,
with rare opportunities for emo
tional acting, OF which full advan-
tage is taken - such is Edward
Locke's new drama, which had its
metropolitan premiere last night at
Polls Theater.
story OF gripping reality. the ac-
tion never drags from the opening to
the final curtain, which goes down on
a scene which, even though unhappy,
Is as unexpected as IL is obvious.
| Incidentally. one is disposed to be.
lieve that suspense is added by a
clever device in the billing of the
| play. which was advertised as a COM
! edy drama. Comedy there is, but al
ways Of an interpolated character
and never seeming Of sufficient i'm
portance TO justify the title, so the
audience is kept constantly on the
alert for some new and startling turn
which never comes.
The play is thoughtfully interpret
ed by cast OF almost uniform abil-
ity, headed by Martha Hedman. so
pleasantly remembered for her long
success in Boomerang"
The story deals with the life Of
Lola kerinski, q Russian dancer,
played by Miss Hedman, who has
| danced her way to fame and fortune
| under the careful guidance of her
| blind brother, Nicholas. and her di-
| rector. Bojdan Berivenko depicted.
| respectively by Hayden Owens and
| Harry Mestayer.
For three years prior to the opening
Of the play, she has been followed by
3 young American Puritan, Peter
! Quincy Hale (John Halliday, and
the two are actually in love without
up the courage to speak to her; she
1 takes him to her apartment, where
they each declare their love, and the
curtain falls on a line, which is de-
| lightful even though reminiscent OF
something GSe; the two are in each
others arms, when Lola, suddenly
struck by thought, queries in a
typically Hedmanesque tone: What's
your name?r
The second act of the play finds
Lola and Peter married, and living
at his country home with Peters
maiden aunt, played by Marie Day,
who most thoroughly disapproves of
her new neice. Their Eden is invaded
by six Of Lola's former friends, in
cluding the director. who is in love
with her. Angered by their intrusion,
Peter finds what he believes to be
Justification OF the story that Lola
was her directors mistress, and or
ders her out Of his house with her
friends.
The third act is in Lola's apartment,
just after rehearsal. Peter comes
in, having returned from the front,
where he sought death unsuccess-
fully, and Lola receives him with open
arms. The selhshness Of his love
soon becomes apparent to her, how
ever, when he tells her she must
give up all her friends-who stood
by her when he deserted her-and she
realizes the impossibility of their ever
nnding happiness together. So. to
make 1t possible for him at least to
forget she manages to convince him |
that she is a member of the Oldest |
profession in the world.
Miss Hedman's art was never more |
apparent than in this role-possibIy |
all the more so, as one cannot heIp |
regretting that she is cast as a dancer. |
which she cannot be said to suggest |
in physical way.
John Halliday is effective In the pe- |
culiarly unsympathetic part of the |
man who is too good to be decent, |
while Harry Mestayer, as the direc- |
tor who is too good to be true does /
some extremely strong acting.
Gypsy o'Brien adds importance by |
her charm TO an unimportant role, /
and Beatrice Collenette gives a de- |
ltghtful Russian dance, which, IL IL 1
has nothing to do with the story, is |
acceptable for the youthful grace OF /
performer.
Hayden Owens, as the blind brother,
makes an admirable foil for the more /
virile parts.
David Howell Lindley, Jean Temple, |
Thomas ]. Keogh, Jean Acker, Henry /
Crocker, Marie Day and Joseph Wood |
burn are other members of the cast,
all OF whom perform creditabIy.