Evening star., 1919-04-06

ture is one of them. The
most notable war plays are
those which DISCARD the usual stu
dious efforts for mystery and suspense.
They "get across" by making a dash
over the footlights in spirit of
overwhelming sincerity and enthu-
siaSm. This method of going over
the top" brings no regrets. The
"close order" work is no longer held
in uncompromising reverence by the
generals of the theater. What the
public desires is individuality and
that indefnable potency colloauially
known as pep" truthful glimpse
of the lives led by real men during
real fighting is priced beyond any
fntricacy of situation or emotional
heroes. These the pen of fiction
can devise So loosely connected
production as DIETING Together
proved a veritable sensation. Even
tho almost impromptu minstrel en-
tertainment Alta Boy. produced by
the boys of Camp Meigs. was a rous-
ing success because it was an oppor-
tunity to get acquainted with SOL
diers and their ways The recent
Belgium was followed with tense in
terest-a simple. faithful representa-
tion of human events with scarcely
more apparent theatric artifice than
a series of tableaux.
The latest in the list of war dramas
seen here is The Better ole" play
which puzzled the producers at the
outset and which puzzled the habit
ual theatergoer until Old Bilfs
fnasterful though gentle soul took
possession of their attention ana
compelled interest in all that ne
might say or do. however trivial.
There is something of everything in
The Better Ole Even pantom1me
is present. The scene shows the ar
rival Of the soldier with mail. The
hope and the disappointment OF Oid
Bill and his two pals is an exquisite
poem of silence. Old Bill is wonder
full Ieveler He has shaken all that is
Srandiose out of James X. Hacket
and made him for the first time IN
his long and admirable career an
actor with the real human and SYM
pathetic touch.
With all it's. wonderful qualities.
.srhe Better ole" does not attempt
the test of a two-week stay in this
budding metroF oils That -demonstra-
tion of popuIarityis reserved for Al
Jolson. who. like Wilton Lackaye. was
once a Washington man. These Two
PLAYERS have taken widely separate
paths. Both reflect in their careers
their literary Inspirations Lackase
claims the interest that attaches u
powerful mentality developed on uh-
usual lines. His public thinks or h'm
in terms of Svengali or NalJeah.
Jolson ventures only into the realms
of irresponsible fancy. sable nero
of The fairy tale. for whom the worid
becomes valley of diamonds.
,Susan Lenox'' is stage version OF
/. story. The David Graham Philips
move, is reduced to footiisht proper
tions by George Hobart. AS a ma''.'
of fact, Hobart has too much orisihai-
ity to be at his best in book dramati-
cation. He is an exponent OF the
later tendency to disregard rules ana
regulations He delights to keep tne
scene-shifters busy and mixes ms
meta phors with a lavish hand Ills
-E,xperience" has demonstrated that
. mixed metaphor may be both a
.oothing and stimulating articte.
= p =
Shakespeare comes to town tonignt.
Strictly speaking. the Robert Mahteh
week is not devoted to the SNAKE
spearean drama. The opening play Is
"Richelieu" Mantell is the one amer
ican actor still before the public after
a long and uninterrupted Shakespear-
can record 1t would not be extraor-
binary if the times which nave trleo
mems souls should cause return OF
taste for the stage poems which sur
pass all the English-speaking theater
can boast for heroic spiendor' poth
in diction and imagination. Otis SKIN
ner, a great Shakespearean actor VINO
never plays Shakespeare, revived a
play. The Honor of the Family,
whose first presentation in this coun-
try was in a time past whose remote
ness da1lies with the decades. 1t was
from a Balzac story. and it's only
moderate success was attributed to
its classical tendencies. Its presenta-
ton this season was a furore. A keen
interest in French literature and
French types was suggested as rea-
SON for its sudden vogue. This idea is
borne out by Mantells experience.
One of the best things he does is
Louis XII" E:s performance in this
play is a masterpiece of character
impersonation. and formerly it was
popuiarIy approved. The demand for
it has been so slight that it has been
practically dropped from his reper-
tory. 1t is not a sympathetic presen-
tation of French character. But
"Richelieu," the embodiment of mas
terful Gallo genius. has stepped
from moderate appreciation into the
highest favor.
PHILANDER JOHNSON.
MantelPs CaFeeH-Robert Bruce
Mantell. last of the English-speaking
tragedians presenting a classic reper-