New-York tribune., 1920-03-28
Dudley Digges Waited
And Worked Many Years
For Chance He Has Now

Dudley Digges, the distinguished
Henry Clegg of St. John G. Ervine's
"Jane C!egg," at the Garrick Theater,
had just finished the matinee perform
ancc when he was told that there was
some one lying in wait for an inter-
view. AS he came forward to lead the
interviewer Up the stairs to his dress
ing room it was hard to determine
whether it was Dudley Digges or Henry
Clegg that was to be interrogated. This
tall, serious man, dressed in manner
to stamp him as an English clerk, had
come off stage only to reveal mini
mum Of makeup, but as he talked of
his own life the strength of the i'm
preston that Henry Clegg had given
was subordinated to the interest Of the
man behind the part.
An 1rishman, born and educated In
Dublin, Digges turned toward the stage
was not until "John Ferguson" was
presented by the Theatcr Guild in this
city last season that he came fully into
| his own. The two weak characters that
he has played last have made his
| artistry strong and sure. After some
experience abroad Digges came to this
country in 1904. He was with Charles
Frohman for time and with Mrs
Fiske in "The New York Idea" on
tour. Like so many others, these two
were no doubt great teachers to him.
Then, after some minor parts, there
came eight years when Digges acted as
stage manager for George Arliss; eight
years, as Digges hastens to say, in
which he learned great ideal from
Arliss.
"Naturally,"Vhc he went on to explain,
81 didn't go on the the stage to become
a stage manager, but to act. But when
do what could. When John Ferguson
came l created the opportunity that |
had been expecting to turn up. My
pert in that play and my part in the
present play are both parts that one
can get his teeth in
"The dialogue is so inevitable. No
playwright, l believe, ever made more
minute provisions for the carrying out
of his conceptions of the different
characters. He has provided for the
stage business at nearly every possible
point. The result of this care and the
character of the dialogue give real
people as the characters of the play
There was a passing reference BY
the reviewer to a Saturday night audi
ence that he had seen-hilarious, snick-
cring, seeming in all ways more in the
mood for girl and music show thar
for "Jane Clegg."
- The actor nodded acquiescencc in the
condemnation of such audiences, or
more correctly, fractions of audiences
"The Saturday night audiences are
always out for a good time," he said
where the dialogue is SO delicatel,
written that it approaches both she
tragic and the comic at the same time
these audiences laugh--for relief
These people can be understood; only
occasionally do feel inclined to reacl
out over the footlights, bent on venge
ance on some chronic irrepressible.
There is really lot of fun in my
part" he went on with smile, "fol
when the stark realism of the dialogue
brings gasps from some woman in The
front row, and l feel that she ha.
dropped her program on the floor,
chuckle inwardly and say: 'Just 20,
wait, down there. This isn't anything
at all to what's coming in the thirt
act That doesn't come at the first OF
second performance, naturally, but ir
time one can get outside of the char
acter to certain extent One can gel
outside the part to note the audience
and to note the part itself"