The Washington times., 1920-04-03
WOMAN In ROOM Is"
PUT OVER BY "PUNCH"
Successful Stage Play Is Equally
Thrilling on Screen With Paul
inc Frederick.

Jordan Is a hard road-but we ven-
ture to say that Broadway is an
even harder one for the aspiring play
wright who would cash in on the
works of his genius. In a magazine
the latter asserted that one play out
of seven was a genuine hit and a big
money-maker. The trail of produc-
tions that come and go into Broad
way houses are amplesproof of his as
sertions. The author who writes for
Broadway's b1ase theater-going crowd
must have punch to repeatedly make
his debut with one sensational sue
cess after another. And two such
'Put-em- across playwrights are Max
MARGIN and Samuel Shipman, authors
of 'The Woman in Room 49," which
proved to be one. of the most SEN
sational successes on Broadway, play
| ing to packed houses and standing
room only" at the Booth Theater for
an entire season, after which it made
a triumphant tour of the country
with several different companies.
No ordinary story Is "The Woman
in Room 49," which will be seen in
photodramatic form for the first time
in Washington at Crandall's Metro
politan and Knickerbocker Theaters
of cut-and-dried complications which
have been seen before on the screen
and whose outcome can be seen by
tn quick thinking part of your audi
ence. "The Woman in Room 13' in
it's mystery Is battling. 1t twists into
| the most amazing and unexpected
| channels. 1t tantalizes. suggests a
solution. throws the audience off the
trail and plays with the Imagination
| I.sI ~tpsa la.r
with his audience when he banters
and battles at the same moment.
who was the woman in room 13
at the time Dick Turner was shot?
This Is the big question that the audi
| ence tries in vain to answer. So skill
fully is the mystery of her identity
concealed by these two great play
wrights and by the capable direction
of Frank Lloyd that the question
looms into gigantic Importance. Nor
| is this a one-angle play, depending
on this one big problem for its terrific
| grip and universal appeal.
"The Woman in Room II" starts
off like a shot with a matrimonial
complication of the most gripping
kind. The question of a woman's
right to separation arises. She weds.
And her husband, a former police
commi issioner, looms up on the hor-
iZOn OF her nappy eNlStenCe 10 tHTO"
the shadow of terror over it. Then
Laura Bruce finds that the future of
her husband is dependent on an en-
ployer to whom women are game. In
this painful and delicate situation she
Is torn by a thousand conflicting
emotions. From climax to climax
with the inevitable logic of a Greek
drama, sure as fate and gripping with
the iron pressure of a steel wise, the
story mounts to its cataclysmic eli
max, tearing the audience from its
complacency by the sheer power of
it's soul-moving, tear-wringing sus-
pense and human appeal
No wonder that Pauline Frederick
plunged into the Interpretation OF this
role with the enthusiasm of one who
| felt that there was an opportunity TO
project the most important, emo
tional role of her career. You have
seen Pauline Frederick in any num-
Der of previous successes. She has
been acclaimed as a great artist. Her
superior intelligence, distinction and
poise have always been recognized.
She is an inspiration to those who re-
gard the screen as an important art
which is justified in laying claim to
all that is highest and noblest in
| talent