The New York herald., 1921-01-16

women for their success.
II is probably the influence of the
little girls with the bunch of curls who
are just now upsetting the traditions of
the House OF Moliere. There the younger
talents are In revolt. They are impa-
tient They are weary of waiting for
the sociefaircs who will not retire, but
grinly hold on for years to their roles.
IL IL easy 20 understand the chagrin of
the little girls with the curls when one
recalls that one OF the most famous
ingenues OF the institution played one
role In a most popular drama OF the
theatres repertoire until she was past
sixty. she was immensely talented and
was said AZ her somewhat mature age to
suggest young girihood as none of her
less accomplished associates could. The
Comedie Francaise has a subsidy from
tho Government SO the manager may
AFFORD 10 respect tradition. IL would be
dangerous IN any other theatre so fully
90 allow the actors their privileges.
The Theatre as an Art.
In spite of its gr,at influence as an
academic theatre. the Coincide Franchise
A. rapidly becoming snachronistic. The
French respect Al n arts. and include
acting under that name. But IL Will not
long be possible IN view of the CONNER
clal pressure 10 maintain the artistic
Isolation OF such an institution. alert as
its directors may be. Conservatism. es-
pecialiy In such an age. Is an invaluable
support 10 the classics. Yet II Is doubt
ful n the influence OF the little girl with
the bunch OF curls can always be re-
sisted she Will want 10 come into her
own. what will be more helpful 20 her
viii BE- the important fact that the pub
ic also wants 20 see her. Was not
Rachel IN the little girl years when she
made her greatest triumphs2
Was there ever time when the stage
OF London was not under the domination
Of just such a little giri2 Tragedy queens
oid not lack admirers. but The dominat-
irg influence In the English theatre.
whether she happened 10 b. IN the pan
tonnlrne or later In the Gaiety Theatre
under ts various directors. has always
bern thm same little Eiri with the same
curls. Tho wise men Of the movies may
coavince ua oi many things Of which We
are ignorant But We can never be per-
shaded 20 believe that the drama.
whether IL b. celiuloid or otherwise,
csnld ever survive such a blow a. the
suf,presslon of the little girl with the
bunch of Girls. Imagine. az an example.
What New York Of the day would do with
Marilynn Miller n talks more about
her and sally Just n0w than all the
other plays and actresses taken together.
And she ia a little giri with eurls u ever
there Vas one.
Prima Dean. 90 the Theatre.
Tbo musical play. whatever its fate
uifh ths public may b.. n sure % be
surprising Even ~rasana." which cast
n hilrhf over me stage ~ tire Princess
Theafre Tor = trlef period. had this ele-
rnent 5f Interest One ~ re characters
vas an A-nffican Who had become
famous nnpf mo ana taken an Italian
name phlrh o. nct ~ way - being the
hatif 81 sorrarps - TIE day but thA
nfnt iadY 90 Ff1 more unusual things
ehs ha1 sung uargasrifs In ''Faust" ana
then con direliy from To opera house
o. WISH the Fik here She was ap-
perenfiY AZ Say there irdennitsiy' al
cf nIngfra sfs had probably had her
iast u.sfI. fay a ii. 4 sis vaa % begin
a. ans ~ Yst shs showed no signs
of irnrsfienre and fingered lovingly
fhrcuwhlli ffo drsf act What seemed
= az more irtefnits was the plan ~
fha nolug niafksr and the devoted daueh.
fsr 20 70 ehoprin9 They had returned
from fhr 0nefa probably rot earlier than
Mayhe aftcr au Trey ald NOT start
cut on a shpppirg tour some time AFTER
ward. but u seemed 20 the writer that
WIS their plan
Again. On the second act. The prirna
donna revealed her incorriaibie theatrl-
cailsn. she was dus 40 sting a. the Met.
ropolltan Opera HouEc tnat nirht The
niilng hero desired atili more ~ her So
cletv. 81 o. niry request from The doc
Tor for a certificate which slse migh send
~ thai fat~ hour was her oniy indica-
tion - The least saDas ~ obedience %
"Mr Gaftt.- ~ he n called BY his co..
knr,s c1-@r- the public. ignorant of
re Eabits of the tri0e. attributes an
such extrnvaganccs Of conduct 90 mani
featations of the artistic temperament
Pat u is more or less painful fact that
sli the plays IN which these absurdties
occur generally fall by the woyside.
There o. no more reason why a play
~-..s;cn about a musician should not con-
form 10 tho external probabilities ss
strictly a. one about n plumber or
sock broker. And here the wcgS mu-
s'~'sr T. ra~>rs 10 ikse><s an orers