The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1920-12-14

Lady with the Lorgnette. Eaeu ~ is -
The opening performance OF
"Deburau" leaves strangely niaeo
feelings. There is admiration TOT It's
painstaking production, appreciation
for the splendid capabilities or ts
cast and enjoyment in the rhythm OF
It's lines, yet withal IL leaves an un-
satisfied sensation closely approx
mating the feeling OF man VINO
leaves a banquet, sumptuous In us
silver. napery and appointments, win
hunger unappeased.
For the first three acts. at least
those members Of the audience given
to analysis were very much concerned
in wondering what II was all about.
as though some vital point in its ac-
ton had been overlooked. 1t was
only toward the end of the perform
ance that a hint OF this was given,
The story has to do with the AFFAIRS
OF Deburau, a pantomimist. who was
the idol OF the Partisan public in 1883.
Devoted to his art. his wife and child.
he gives little heed to the impor-
tunities OF his many feminine ad-
mirers, until he falls victim to the
charms of Marie Duplessis. whom he
calls "the lady of the camelias." With
him. his love Is almost a madness,
while her ardor soon cools, although
she gives him no sign OF this.
Finally, Deburau's wife leaves him
and he brings his young son to
Marie's house, only to find her in the
arms OF Armand Duvall, new lover
The shock almost breaks his heart
and he leaves her with the message
that he will wait for her for the rest
~ his life ~ che will hack
him.
The years pass and the following
scene shows Deburau a broken old
man. his profession abandoned. still
waiting for the coming of Marie. His
boy, now sixteen. is his sole compan-
ion, and reveals to his father his am
bition to become. like him, great
Pierrot, but Deburau, still possessing
a fierce pride in his name and reputa-
ton. refuses to let the boy take mis-
name back of the. footlights.
Finally, Marie returns to him and
he discovers that his passion mas
burned itself out, and with this dis
covery comes a desire to return 20
play Pierrot again. For the first time
in his life he is Missed from the stage
and his spirit completely crushed. the
old man makes a final request of mis-
manager that his son, Charles, be al
lowed to perpetuate the once great
name of Deburau in the role. a re-
quest that is reluctantly granted.
Then follows an almost classic pas
sage-the fathers advice to the son
that closely parallels Hamlet's charge
to the players in its force and Wis
dom. The curtain falls as the other
curtain Is about to rise on the to he
assumed triumphs of the younger
Deburau.
Lionel Atwill, through voice and
gesture, gives a mastery interpreta-
ton to the role. yet he is handicapped
perhaps by reason of the fact that
he has at no time the full sympa-
thies of his audience. His reading of
the rhythmic lines is a delight and his
portrayal of the conflicting emotions
of the once great actor, now deposed,
is flawless.
The supporting cast runs true to
the form prescribed by past Belascan
successes. Each character seems TO
have been made the subject of pains
taking study.
While the cast is a large one, it
seems to be most questionable judg-
ment on the part of Mr.. Belasco to
have permitted it's numerical strength
TO have been so grossly overstated.