The New York herald., 1921-01-30

The composers followed the same'
example in setting up the hurdles for
the distaff side of the house, even II
the practice was, SO far as the men
were concerned, allowed to lapse. The
most difficult of the cadenZas and rou-
ladies'. moreover, were put to the re-
sponsibility of the sopranos.
Technic In the Background.
Analogous to the practice of the
Renaissance painters, who always put
few nudes in the background to prove
whatever. the subject of the picture
might be that they were not ignorant
OF the classic rudments of their art.
Technic in those days had its value
for its own sake. Even IL one was not
in painting or acting or singing newt
ably called upon to use 1t there was no
harm in allowing its existence to be es-
tablished. Hence the naked folk under
the trees in the background.
The two scenes of intoxication now
TO be witnessed with certain Difference
IOT the skill OIL lIlt aiC
widely different In kind. Bruce McRae
in ''The Gold Diggers" Is a man Of the
world, who gets quite decidedly under
the influence of champagne when he
sets out to have n serious discussion
with the young actress that his nephew
may marry. He did not in the least In
tend SO far to lose his poise. But 1t IS
inevitable II comes with the uncertainty
of fate. So he accepts the condition, but
Aff I4a
intoxicated than is absolutely neces-
sary. He wants to be as much of
gentleman under these circumstances as
he is when he Is sober. And Mr.. McRae
furnishes one of the most delightful bits
of acting to be seen on the stage just at
present.
Craven Way of Doing IL.
Irs. Craven in '"The First Year gives
his exhibition of alcoholic virtuosity in
quito another way. He has been left
behind by his young wife after their
first quarrel, and he has only the con-
ISOLATION of the cocktails that the COL
ored maid-in for the EVENINGS able
to mix. From the first indication OF
uncontrolled desperation with which he
drinks the first one down to the aban-
don with which he surrenders himself
to the full pitcher there Is q constant
has led him into such excess. Mr.. Craven
makes his technical skill servant to the
emotion OF the play at this point. lie
does II most amusingly. There could
be no more complete contrast than the
complete loss OF all self-control shown
by this small town bounder and Mr..
McRae's effort 10 preserve some shred
cs dignity In the circumstances. Both
exhibitions are, moreover, the work OF
highly skilled comedians.
The Time for Realism.
Macaulay said the British public used
TO seem due for an attack OF Puritan
ism every seven years. Longer intervals
seem TO fall between the attacks Of re-
alism that animate the reviewers OF the
American stage. How long ago was II
that W. u. Howells discovered the truth
fulness OF James a. Herne and wrote
about II with such appreciation Mr..
Herne should be alive to-day. In miss
Lulu Bett" and In "Thc First Year"
there is all the realism that the author
pnd actor gave to Margaret Fleming"
to which for popular purposes he added
o eoene OF melodrama
There is nothing in THE First Year"
in the way of truth to life that Mr..
Herne did not years ago impart to his
plays. There Is always an Improvement
i'm method and In finish after twenty
years. Yet IL there is any other diff
ference between what Mr.. Herne did
for his later plays and what is so much