The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-04-20

makes her appeal to the eye since her
rapid. staccato delivery without en-
| phasis or expression is usually I'M
Ineligible. Walter Geer made a plas-
| tic but dry Harlequin, while Edna Mil
lay as Colpmbine was pretty and would
| have been tolerable but for an appalling
provincialism of speech that was not
| TO be ignored. The standard of the
acting at the productions of the Wash
ington Square was much higher. BUT
| IL is all equally overpraised and there
! IL no incentive among these youthful
amateurs to learn anything since they
have been assured that they already
know 1t all. or course the professional
| players are not included.
Then there was nothing visible in
the way OF decoration that could be
called out Of the ordinary. The stage,
which survives as monument to the
departed Jacques Copeau, makes an
artistic arrangement easy. But on
Monday night there was not a picture
to compare in beauty or artistic effect
with the sun bathed patio in which the
action OF La Caroisse de Saint Sacre-
ment" passed. Those who saw this
picture arranged by NJ. Copeau could
find nothing so beautiful in all the
decorations Of THE Bonds Of Interest"
attractive as they were. Those on the
other hand who did not see the Copeau
set and know nothing about It may in
all sincerity rhapsodize about the IN.
comparable beauty OF what Mr.. Peters
has wrought. There Is no more stimu-
NJ Inc
ignorance. 1t will also help those who
did not see Nine. Bogaert's wonderful
Spanish gown in Merimee's one act
play to speak OF the incompatible
beauty Of the frocks now on view at
the Garrick.
1t Is curious feature of ali the biog-
raphies OF Spanish playwrights that
their fertility has so affected the men
Who undertake to introduce them to
other countries. In the biographies of
Lchegaray. for instance. nothing is so
emphasized as the industry OF the
| playwright in giving to the world some
| ninety plays, more or less. OF these
! eel Gran Galeoto." Mariana" and
! THE Son OF Don Juan" travelled be-
yond the frontiers of Spain. although
, none of them attained any lasting pop
ularity, If the first be excepted. Judg-
| ing by the form in which Echegaray
wrote, 1t would not have been any
more difficult to write ninety plays
/ than ninety more or less short stories
! This moro famous author no more
I than Benavente, used the method of
/ dramatic writing that requires the
greatest elaboration and labor We
are told in praise of Benavente that he
{ is the author OF eighty plays. 1t may
be that the original verse is polished,
and in that way effort may have been
expended on his dramatic work. But
! its structural form need not have i'm
posed any great labor on the writer.
! Vet there is no failure In the apprecia-
ton OF any Spanish playwright 10 note
the vast numerical extent of his
achievement.
There is always education as to the
social habits OF New Workers. to be OBJ
served in the dramas that come here
from other cities. THE Good Bad
! Woman" Is not without It's contribu-
! ton to the subject. In the apartment
home of the heroine the maid of all
work Is anxious to attend a dancing
competition which takes place on the
evening Of the day on which the first
act passes. So she begs permission 10
serve tea in the gown she expects to
wear at the competition. Since this is
tea and not supper, as the two are GO
ing to dine out, it must be at COM
paratively early hour. But the maids
PARTY evidently began early. So she
appears at perhaps or a little later
with the tea. dressed Of course in the
most grotesque evening frock that the
Imagination of Scandinavian bonnie n
tout tdirc could devise. Comic relief Is
Of course the purpose OF this intimate
revelation Of social customs in New