New-York tribune., 1921-01-05
"Pagans'' Is New
In n me but
Old in Style
Joseph Shildkraut Is Seen
iii Play at the Princess
Theater; s'Yellow Jacket
Is Revived at the Cort
The Cast
By Haywood Broun

"Pagans," which was produced at the
Princess Theater last night, serves to
introduce Joseph Shildkraut, son OF
Rudolph Shildkraut, to the English
speaking stage. 1t is not particularly
graceful introduction. 1t is couched in
the form, "Shake hands with Mr..
Shildkraut," and that young man in
turn might we'll remark: Excuse my
Gloves" for he tears into his part as
if to demolish it in round. He is
handsome in appearance, and probably
an actor of some promise, but he needs
the services of hard-riding director.
The effort to effect first night sensa-
tion was much too obvious. He is big
scene came in the second act, in which
by the magic of woman's voice he
rose from a wheel chair and walked.
Mr.. Shildkraut got his teeth into the
scene and worried it to death. There
was one exciting moment Of acrobatic
agility, but the scene went for little
on account of the manner in which 1t
was prolonged. Ten Camilles could
have died in less time.
1t may be gathered that Carl An
thongs play is one of those things
which is known as a vehicle. 1t is in
an artificial and unconvincing story of
an invalid who is nagged and talked to
death by his wife and mother-i in law
health through an opera singer whom
he loves. He would have married her
but for the usual unfortunate misun-
derstanding. Just when his affairs
seem to be on the point of turning out
all right he makes a perfectly useless
sacrifice and agrees to give his wife
another chance. Then in a rather
petty spirit of revenge he dies.
Helen Ware, an exceedingly capable
actress who has not been seen in New
York for a season or so, is not par
ticularly we'll cast as the opera singer,
but there are moments in which she
brings vitality to the piece. The best
performance of the evening is that of
Harold Vermilye as doughboy.
The play was performed so bolster
ously throughout that it shook the
walls of the Princess. In fact, during
the scene in which Shildkraut as the
artist was resenting the accusation
that the opera singer had been his
mistress the denials were deafenfng
1T made us feel a little shame faced
because that particular scandal had
been in our mind, although we had re-
framed from saying anything about it.
After providing his opera singer
with lively past Mr.. Anthony has
been all to eager to give her a sedate
present. Once. for instance, she in
sisted on staying out of the room be-
cause man was stripped to the waist
This seemed to us excessive modesty
for an opera singer. After all, he was
IN plain view of the large and mixed
audience in the Princess.
The revival of "The Yellow Jacket"
by the Coburns provided an interest
ing matinee at the Cort yesterday. We
ind that we like the play less than we
did in earlier days. Our taste runs
now to greater simplicity. As long
as The Yellow Jacket" is played for
serious values it holds our attention
completely, but the comedy element
has grown somewhat out of hand. All
too often things which could be done
convincingly are made awkward merely
for the sake of cAap laugh. The
illusion in the love boat scene and in
the death of Chez Moo is perfect, and
so it is impudent for the players to
pretend that such a simple business
as entering the door OF an imaginary
house must of necessity be a bit of
burlesque pantomime.
And the property man is too much
with, us, although the performance Of
Arthur Shaw, considered as a thing
apart from the play, is an exceedingly
skillful piece of work We should also
like to see "The Yellow Jacket" done
with set of less detail and more i'm
agination The best performance is
that of Schuyler Ladd as the Daffodil
Other good performances are those OF
Donald Gallaher, Lark Taylor and Mrs
Coburn