New-York tribune., 1919-12-02
"AphrOditc'' Has
Much TO Hold
Eyes of All
Big Production Put On at
the Century 1hcater Has
a Shock or SO, but It's
Pace Is Not Always Rapid
By Haywood Broun

"Aphroditc," the huge spectacle
which was presented at the Century
Theater last night, is rather curious
combination of qualities. 1t is nearly
always spectacular, sometimes beauti-
ful and again merely snowy; it is gen
orally decadcnt but not likely to prove
dehnltelY shocking to any great mum
her Of spectators save in one or two
scenes; 1T is generally exciting in its
dancing and soothing in it's action;
there are rather more clothes and less
plot than was expected
However, in justice to the producer
1T is only fair to say that in the big
scene Aphrodite herself seemed TO b.
just as nude as rumor said she would
be. This rather startling scene did not
occur until the third act, when the
rtatue awoke. Heaven only knows how
she slept through 1t all up to then, he
cause there had been rcvels and prayers
and love making from the very begin
ming of the evening.
Demetros. the sculptor who fash
toned the figure of Aphrodite. loved his
statue and no mortal woman until he
saw Chrysis, the courtesan She, to
test his affection, required three crimes
as proof of love the theft of a famous
mirror and comb. and ally the jewels
from the neck of the statue Of Aphro-
but then in a dream Aphrodite appears
to him as a living woman, and his love
for Chrysis dies. and she is punished
for the crimes which she has inspired
This rather thin thread Of drama is
developed spasmcdcally during the
evening. Occasionally it flashes up
with a good deal OF intensity as in the
first act in which the meeting of Dome
terios and Chrysis is played with great
.tyyl 1..I.
sculptor. and Dorothy Dalton. as the
courtesan, made the spectators forget
for moment all the trappngs and ac-
cessorles and take an interest IN the
story itself. However, the onrush Of
came,s and chClus girls and red cloHks
and what not quite hid the story again
until the third act "nen the statue and
the plot awokc simultaneously. Not
Of course, tha, some of the trappings
were not worth while in their own
right The Bacchanalc, for which the
choreography was by Michel Fokine
was excellent. but there was no great
connection between this act and the
main plot. Even tho crucifixion OF Il
dancer seemed to be thrown in just lol
good measure.
Mckay Morris was remarkably grace
full as Dcmotrios and read his lines
with a good deal Of beauty Of tone.
however. he NaTdlN succeeded IN Gre
ating d definite character. but perhaps
that was not very easy under the cir
cumstanccs. Dorothy Dalton. who We
understand has had no experience on
the stage. though she is well known IN
motion pictures, was SURPRISINGLY oG,
and put more drive and 20 into her
love scene in the first act .han the Play
losst sscd at any other point in the
evening. Richards Hale sang well il
TIE opening number by Anselm Goet1l
The music Of Henri F.0r,cr ana pr
Goctzl is generally interesting through
out. The play is by Pierre Fronaa'e
and George Hazclton, founded on the
novel Of Pierre Louys. 1t has been
staged by f. Lyall Swete. The scenery
s by Joseph and Phil Harkcr. The en-
tertainmcnt is biz beautiful, shocking
if YOU wait long enough, and just q
little slow unless d shock or Two is
enough to animate You fer an evening.