The New York herald., 1921-01-09

play shows in everyday life. society
our own.
Source of the Old supply.
But think of the years in which the
American public had nothing in its the
atre but the plays of the French drama
lists. Sometimes they came directly in
translations and at others they sifted
through the adaptations OF Dion Boucl-
cault and his contemporaries. There
were no native works then. There was
no possibility that the American theatre
goer could recognize a type OF his coun-
trymen on the stage. Some crude plays
of American origin ip addition to the
native works written by Boucicault oc-
casionally appeared. but the general
source of supply was French. So there
was in all this yearly output scarcely a
work in which the American audience
was able to recognize itself or any Of
its neighbors, nor its national life and
tendencies. In order to find enjoyment
In the plays of that period 1t was neces-
sary to take refuge in the thrills and
shocks which their expert mechanics
provided. Even the laughs were n mat
ter Of expert manufacture. The COM
ment on life, the contact with daily ex-
istencc the revelation OF character--they
were not to be enjoyed in the theatre OF
that time. To be sure, there was an
other life family reflected through the
translations and the adaptations-the
life of France. Yet even that phase of
society was in those days largely Of the
stage.
The Rise of the Native.
c.
Boucicaut in the "The Octoroon, belle
Lamar" and several other plays began
to put American life on the stage, the
satisfaction of the public was profound.
There came along with Mr.. Howard
such successful collaborators in the
revelation of our own ways and being
as Bartley Campbell. Augustus Thomas
and Clyde Fitch once the path had been
found for them. Slowly the taste for
tho old plays of intrigue and situation
grew weaker. Think of n generation
that had to take It's dramatic nutrlment
out of works no more national than
"The Woman I of Bronze" or Trans
planting jean" Is It wonder that
once having tasted something that had
a native tang the public was Indifferent
to what was brought from abroad?
But there is, says the thoughtful
reader. IL a thoughtful person ever
reads about the theatre, there is. TO be
sure. "Deburau." which Is drawing to
the Belasco Theatre such crowds as II
has rarely before contained. And cer-
tainly this play is all there Is of most
French and by an uncompromisingly
Gallo author. Why should a public
that finds little sympathy for de Flee
and Caillavet delight I'm Sacha Gultry?
Well, "Deburau" is not play OF In
trigue. 1t il more or less of docu-
ment, pseudo historical. half biographi-
cal, with Its subject one Of the most
fascinating figures In a romantic
period
The theatregoer does not seek life In
the play, but the story of this mines
existence. History would In any other
country have been just as engrossing IL
IL dealt with such an interesting figure
In such a picturesque time. SO II is not
Mr.. Belasco's mastery imaginative re-
creation OF a slice OF the days of the
Romanticists nor Mr. Atwills excellent
acting that brings the public in such
alteration TO hear about the great Pier
rot. IL Is in the first place Sacha
Guitry's story.
Comic opera of the Fast.
There is something more than amuse-
ment for the younger generation in the
performances OF 'Erminie," which