The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1919-05-29
BY j. Mach.

/ way, contributing muCn 10 Wasnlng-
| ton.
! Charles Trier, a distinctly unique
| figure, has come from New York. and
has brought a highly specialized art
| into the dramatic coaching of II
| Pagliacci." which will be demonstra-
| ted tomorrow and Saturday evenings
| at Liberty Hut-by the Community
| Opera of Washington.
| The second man, whose promise"
| means much to Washington, because
| of the highly artistic results he has
| fulfilled in the past, is tom" Moore,
| of the Rialto Theater.
Mr.. Moore has just announced the
| building Of a new theater, for his
motion pictures. in the Fourteenth
street section of Mt. Pleasant. He
already calls it-though the founda-
| ton is not yet started-the Park
| way'-Moore's Parkway.
Much larger than the Rialto. this
new house beautiful of Mr.. Moore's
IL to rival his other theater beauti-
| full both in the simplicity of adorn-
| ment. and in the atmosphere" he
has already created. and which he
feels his patrons have appreciated.
No Gallery To Theater.
With spacious canopy curving
above his auditorium-again Mr.
Moore will have his theater without
a gallery-he aims so to decorate it
| that the color will add the impression
OF an unconfined distance. just as the
sky gives that feeling to the out-of-
! doors.
| A further charging illusion he in !
tends to create by an arrangement.
along each side of the theater. SINH /
| lar to the small allowed vistas he
| now has on each side of the stage
at the Rialto. Through arches, in the
| side walls of the Parkway, he will
have these scenic touches as though
/ one were looking out into a garden
with an Italian blue sky overhead.
But that is not all: there is a
large mystery of lighting to be in
stalled, whereby the eventide, or the
| dawn may be summoned at will-to
| suit the atmosphere Of the picture
| drama. One will have an environ
ment as much in harmony with the
| photo-play, as the stage picture is
to a Belasco production.
1t seems the dream of an idealist
to erect in fancy such an edifice. But
this dream is rapidly to come true.
/ And music?"
"Of course" answered Mr.. Moore
when asked that question, the mU-
sic will be as important as it is at
| the Rialto. Mr.. Breeskin will be in
change of it, as he will be Of the
Rialto."
And just how Daniel Breeskin has
made so great an art of his orchestra,
not alone in its feature music. but in
the incidental music with which he
emphasizes the emotional moods of
the pictures. is another story that
must be told by itself.
Mr.. Moore will. too. have a large
stage in the Parkway with equip
ment for the regular drama should
he desire to use IL for that purpose.
Revelation in stnEecraft.
To see Charles Trier at work is a
revelation in stagecraft. In an ex-
planatory talk on "Pagliacci." given
at Central High School at the Sun
day Sing" and with the music mo-
tives played with keen dramatic eff
feet by Myrtle Kesheimer at the
piano. Mr.. Trier gave a definition of
genius.
The appreciation of his particular
form of genius. however. must be
seen at work to be thoroughly I'M
derstood. For Charles Trier is
small, keen, alert embodiment of the
dramatic genius of the opera world
His "repertory" of opera seems
limitless. Not alone does he know
the stories, but he FITS "the word to
u
And to this he adds the musical
knowledge that knows the music. as
It fits every word: and the emotional
value of the music-as he has it
played. again with Miss Kesheimer
at rehearsals in the difficult role of
aCcompanist.
In the standard grand operas. such
| as 'Pagliacci," there are traditions
in acting, in the correct presentation
a Hr9r 10,
Trier.
StnEe Managers Work.
He gave the writer an interesting
account of what he considered the
stage managers work. lie is not a
coach" 1t is his business to com
pletely stage" things. And Mr.
Trier has worked in this capacity, not
alone in grand opera, but with lead
! ing dramatic artists, as for instance
in the big production of The Song
of the Sword" by Leo Dietrtchstein,
and played by +. Il. Sothern
| The art of the stage is the great
est Of all said Mr.. Trier, FOR the
| reason that it is the art Of expression
| Of human emotion.
| Take the greatest emotion OF the
! strong man-that emotion he only
! expresses in isolation" Mr.. Trier is a
sympathetic analyst Of Iifc-the life
! that social usage COnCcals but does
not dull
on the stage. one must show the
struggles in a mans soul. and the
varied emotions he feels throughout
his life" he said.
Then there are the facts that must
! be reCkoned with, for the stage man
! ager must know the things he puts
| into a play.
we had, for instance, to stage
! battle scene in Italy, with Napoleon
at the age OF twenty-siN. In il was
a court-martial But where to find
/ out the form and ceremony OF such
scene?
The mentality OF il, That must be
expressed. II must be correct uni
! forms. French Italian. Austrian. But
where to find it," And Mr. Tricr'S
expressive hands went TO his head in
a quandary Of despair.
zone must search everywhere in
library, IN history. in science. Why
once" and here this very active brain
went roaming into another play. 1--WE
had 10 show Il scene in which there
pT \ NOS.