New-York tribune., 1921-03-15
Hero" Proves
To Be a PLAY
OF Great Promise
New Drama by Gilbert EN-
cry at the Longacrc Is
Crude i'll Construction,
but Vital in Speech
BY Haywood Broun
THE CAST

promise. Gilbert Emery seems gifted
with an acute ear for the niceties of
the American language, With the pos
sible exception OF Eugene ONeilld--
that is, O'Neill in his Bound East for
Cadritf' period-not one OF our native
vivid Even the "damns" and "hells'
traditionally used in our theater
merely as incentives to laughter, are
placed in such wise that they con-
tribute emphasis rather than merri-.
ment. But Mr.. Emery does more than
catch the sound Of people-often he
is equally successful in getting the
iecl of character into his work.
"The Hero" is first play and IN
some respects is easily recognizable
as such. There is in this new play
wright no such sure instinct for m
"ident as he possesses for character
and for talk. In the shaping Of plot
,here are crude strokes. When the
playwright feels that for the sake of
his story one of his characters must
steal some money, he follows old
fashioned models in contriving the
event. With much groaning and tribu-
lation the money is planted. AS
craftsman Mr.. Emery is not yet be-
yond the rude days of pointing. Again
an off stage fire is utilized in cumber-
/ some IdSNlOO. -.
Indeed, if the plot of "The Hero"
were set down in two or three para
graphs the play would seem of clumsy
| and conventional mold. This is far
from the fact. BY the vital force of
true talk and shrewd insight into un-
said things Emery has lifted his play
to the estate of poignant and moving
drama. 1t is to our mind one Of the
most promising first plays which mas
ever come from an American author.
Having given proper warning, 1t IS
tells the story of Mary and Martha in
terms of their brothers. One is a
glamorous prodigal who has left dis
grace behind him to join the Foreign
| Legion and to win wounds and decora-
| tions in the great war. lie comes PACK
to the home of his steady. dull and ad-
mirable brother and, settling down as
a ready pensioner in a suburban nome,
first seduces Belgian who has been
taken into the house as a servant tnen
wins the love OF his brothers wife,
and finally makes off with $500 belong
ing to the church Of which the steady
Andrew is treasurer. But before Os-
wald the glamorous, has made good
his escape from town he finds time to
be once more the hero, and loses his
life in saving his small nephew from a
fire which destroys the school build
ing. At the end of the ironlc comedy
we find Andrew lamenting the death OF
the hero and consoling himself with
the thought that Oswald had forgiven
him for any accusations which ne
might have brought against him.
Grant Mitchell plays Andrew, and
gives one Of the best performances OF
his career, but the character upon
which the playwright has centered his
| attention is that Of Oswald, and here,
too, is a beautiful performance by Rob
ert Ames. There is at least the sugges-
ton of an analogy between Strickland,
of Maugham's Moon and Sixpense." /"
and Oswald Lane. The man of Emery 5
play is just such another ruthless trav-
eler toward the goal Of his own de-
sires. Possibly Lane is not quite so
convincing a figure, because the drlv-
inc power OF Strickland was pointed
toward very definite goal, while Os-
valid is not headed for any place in
particular.
However, the character carries belief
and the playwright deserves due honor
for his shrewd observation Of the fact
that physical courage may exist with
out the backing of any other quality
whatsoever which we rank among the
virtues. 1t may be that Emery had
within his intent the notion of making
plain the persuasive nobility of the
other and contrasting brother who
stuck sturdiy to dull and unromantic
routine. In this, despite the aid Of an
actor so winning as Grant Mitchell
he can hardly be said to have sue
ceeded. The play cuts two ways. For
the better part of two acts the play
wright seems to be hammering away
at the sentimental notion that to the
Il
code. Just when he has the notion by
the neck up it comes again and at the
end it is Oswald, rotter and hero, whose
gesture is remembered.
The author has not had quite enough
enthusiasm to 60 round. Andrews
wife, Hester Lane, although we'll played
by Kathlene Mcdonnell, is rather
vaguely drawn, and Marthe Roche, the
Belgian girl, is just another doll in the
great sawdust army of the seduced
But Emery has done excellently witt
Sarah, mother of the Lanes, capitalll
played by Blanche Frederlci. Or, to bt
for two acts. Eventually he has real
lied the comic possibilities of tn,
character and has stressed them in The
last act beyond the point of credenc,
or amusement. Before that time hi
and the actress have combined to max,
her one of most eloquent trio in
play which shows good many of tn,
possibilities of the American language
Survival of the Fittest," by Georg,
II. Atkinson, which was produced a
the Greenwich Village Theater las
night, is without doubt the most ex
traordinary bad play ever seen in New
York. Great bursts of unexpected
laughter swept the thcater from tim,
to time as the author expounded hi.
theories OF life and nature through his
characters. The most gorgeous of the
unconscious burlesque WAS that con
trlbuted by Montagu Love as "ht
man." MIR. Loves idea of expressing
natures final word in masculinity con
sisted OF sticking out his chest anc
then following it slowly.
Having only the fantest notion o.
the intent of the author, it seems only
just to allow him to say it for himself
as he does on the program as follows,
within the limitations Of the stage
the author of Survival Of the Fittest
has attempted to present the struggle
cf life within the plant, the ANNA
and the human kingdoms. AS the
struggle of life is interpreted bv sever
people only they should suggest some
thing more than their lndividualties
For instance, the character of the
Doctor and lin should have that some
thing within them which distinguishe.
the human from the ulant and ANNA
kingdoms. and makes life worth livins
with all the obstacles which confron,
how Inb Il mt AA ~ 4