The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-03-16

Clyde Fitch by using this picturesque
element of fresh grief only in the
opening act of THE Climbers" pre-
vented many managers from accept
ing the piece, although the public was
apparently able to forget this depress-
ing atmosphere after the play was
started. The funeral gloom Of 1.-THE
Thunderbolt" obscured spectators to
the grimly truthful studies of charac-
ter which the play Of Pinero con-
tains, although death was not here the
inspiration to humor directly. I'm
doubtedly The Tenperamental Jour
ney," which David Belasco so skilfully
conveyed from the French, might have
appealed more deeply to native audi
ences but for the crepe bands that
fluttered so Importantly before their
eyes. In spite Of its brilliant dialogue
"The Importance Of Being Earnest"
has never rewarded the enterprise of
the manager who produced 1t here.
The sight of the young men in deep
mourning has more than once been
blamed for this disappointment. al
though there are of course In every
Wilde play sufficient causes for lack of
popular success.
Had the determination to make a
man appear dead for the sake OF his
insurance, which was the corner stone
of the fun of penny WISE" been used
as the starting point for a serious
drama it might have been more SER
viceable. But as source of harmless
merriment death even pretended is
likely to be a failure on our stage.
After all, Marjorie Rambeaus re-
cent experiment may not turn ont to
be as well worth while as she hoped.
No. gentle reader, this does not refer
to Miss Rambeau's-in other words, 1t
II only concerned with her appear
ance on the stage Of the Republic The
atre in 1.-THE Fortune Teller" Just
now she enjoys a certain popularity
rather from the hope OF what she may
accomplish than through any genu
inely sensational success. But is it
worth the time of any actress now
adays to enter on what Is known as
the emotional repertoire? 1t used to
be almost the only career of the Sc
rtous actress, who often passed from
Shakespeare to Belot and Meilhac and
Halevy overnight.
1t Is quite evident that the power
however diminished Of acting roles
N
mood has not altogether disappeared
from the present sisterhood Of youth
and beauty on our stage. Only a few
months ago Blanche Yurka played
with distinction and real pathetic force
some scenes Of what used to be called
suppressed emotion" in 'Daybreak"
with all the effectiveness inherent in
them. That was shortly after Emily
Ann Wellman had impaired to pas
sages in THE Guilty Man" the vitality
Of poignantly drawn sorrow. II had all
the old time power. Mysteries. tears
and shudders, the whole box OF tricks
were there. It is doubtful II the thing
could have been done much better In
any period OF the drama Both &C
resses were highly praised at the time,
but 1t is not recorded that either was
urged to continue in this fearful path.
Miss Yurka has been trying to smile
~ much as possible ever since. while
Miss Wellman has found the outlet
Tor her emotions only In vaudeville.
Jane Cowl. who tugged on the tear
puct with a force that was making
per famous, has been trying in every
way to escape this vogue
So It seems as II after all the day
pf the emotional" actress had passed.
Is this. indeed, the day OF the "cutie"
p the theatre7 Has she not only the
centre Of the stage. but It's four cor
ners and all the rest of TT This would
~ course explain the passing Of the
ACTRESS emotional as we'll as tragical
and every other kind but comic