Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1921-04-23
THE PLAYGOER'S
WEEKLY TALK

ONLY one of next weeks changes Of
" bills Is Il complete stage novelty,
"Thc Passion Flower" at the Walnut.
and this drama by the noted Spanish
playwright. Jacinto Bennvente, has al
rcndy been introduced to screen audi
encps this week at the Stanley. In the
stage version. in which Nance O'Neil.
finding at last role worthy of her
accomplishments as an emotional ac-
trcss, has been appearing for season
and half. the star takes the role of
the distressed and passion tossed
mother In the film Norma Talmadge
makes the daughter, whose love for
romantic sweetheart is almost ruined by
the jealousy and desire of her step
father, the outstanding figure.
The other openings are Robin
Hood (ForrcsD. which had its last
professional revival here about decade
ago and which, if memory serves, was
put on for performance by one OF the
amateur operatic organizations, and
MARY" (Garrick), which returns to
thc house of its metropolitan premiere
for third engagement. with the origi-
nal company.
TN IT'S sordidness of situation and
L somberness of treatment, '"Fhe Pas
sion Flower" would seem to be of
niece with Marta of the Lowlands'
-"Tichand" in its operate form by
D'Albert-tbe last important drama de-
rived from Spanish sources. Bene-
vantc's plot has to do with the smolder-
ing passions that burst into flame in
a peasant household in remote village
of the Spanish mountains. There
husband burns with desire for his beau
tiful stepdaughter, "The Passion
Flower" so fercely that a suitor for
her hand is shot from ambush following
the celebration of their bctrothal at his
instigation, although this phase of the
nlot is cunningly hidden by the drama
fist. The wife afld mother, portrayed
by Miss O'Neil, brobds, suspects. finally
discovers. lets loose her rage and agony
and speeds the final outcome of the
play.
throughout to follow the traditions Of
the Spanish theatre. There is no carlca-
trre of Spain nor of the Spaniards, but
a serious version of one Of the most
vigorous dramas on the contemporary
state, presented by company of artists.
The scenery, costumes and accessories
employed during the run Of the play in
Madrid nine years ago have been re-
produced to minute details.
DRUSH up, folks, on medieval his
ID tory and review the story of the
greatest and most lovable of all brig.
snds. Robin Hood" OF course, all
remember about this titled Britisher or
the Middle Ages who turned against the
law. gathered a group of audacious fel-
lows about him and robbed the rich to
give to the poot. The late Reginald
Be Koven put Robin Hood" immor-
tal on the musical stage with apparently
perennial results.
At the Forrest, beginning Monday
with scenic piCturesqucness, big cast,
a large singing chorus, a symphony or
Chestra and period c0stuming. Robin
Hood" will be presented here for the
first time in years.
Ralph Dunbar, the director, is forg-
ing to the front as a producer of pop
uar operas. Even now he is to the
light opcratic field what David Belasco
is to the drama. Dunbar has produced
"Thc Chocolate Soldier" robin
Hood" The Mikado" and Carmen
In the last two seasons and plans addi-
tional revivals for next year.
CYBILLA BOWMAN, the Golden Girl
- in Mary" made her first stage en- :
trance in the mob scene with Robert
Mantell in Julius Caesar" and was
encouraged by Mr.. Mantell to embatA
on a dramatic career, for even in the
crowd he picked her out as having
talent To gain technique she later
Joined Polls stock company in Worces-
ter, Mass. Then she was with Leo
Ditrchsten in '"The Great Lover ~
with Peggy O'Neill in The Flame, !"
and also appeared in '"The Wandercr.. V
i'll Il 60 l.
cal comedy, after several unsuccessful
attempts to get into chorus, she was
enrolled as a member Of the Cohan
Revue Of 1918, a happy engagement she
considers, for there she met Jessica
Brown, who taught her all she knows
about dancing, and that she was a
good teacher is shown by Miss Bow
hans clever work in Mary"
TT IS not generally known that Mark
L Twain's beloved "rhe Prince and
the Pauper," in which William Favsr-
sham is starring at the Adelphi, was
inspired by ''The Prince and the Page
by Charlotte NJ. Yonge, a Juvenile vol
thirteenth century. 1t was the story Of
Edward I, and his cousins. Richard and
Henry de Montfort, and told of the
princes submerged personality, pic
turing him as. having dwclt in disguise
as blind beggar for n period Of years.
This was a story and setting of the
kind Mark Twain loved and he got a
correative idea from it. Not only would
he disguise the prince as a beggar but
also the beggar as prince. He would
have them change places and each learn
the burdens of the others life. How
ever, there is no point Of resemblance
between the two stories and no com
parisons may be made.
The idea of the changlings in the era :
die later used in "Pudd'n Head Will
SON presented itself, but 1t could not
provide the situations he had in mind
Finally came the thought of the playful
interchange of raiment and state with
startling and unlocked for consequences
the guise and person of Tom Canty, OF
Ofal Court, for those of the son OF
Henry VIII. little Edward Tudor, later
sixth English King of that name. This
little King was not his first selection
for the part.
His original idea, 1t is said. was to
use the late King Edward VII (then
Prince of Wales), at about fifteen, but
he found that it would never answer to
lose Prince among the Slums of mod =
ern London and have his proud estate
GGnled and jeered at by modern mob.
ne felt that he could not make this stu =
aton seem real; so he followed back
through history looking for the proper
I,inc I,ic and prince till he came to little
EdWard, with the result of this charm
ing tale for all ages" which Amelie
hlVeS has charmingly fitted for the
stage
), All writers for the stage are not 50
discreet or delicate mindod ,e NJ