The New York herald., 1921-01-31

"In the Night Watch which the
Shuberts presented IN grandiose fashion
at the Century Theatre on Saturday
night. Is a survival of the French war
theatre. Michael Morton has made the
English version OF the play. based on
'La veille dArmes." by F'arrere and
Lucien Nepoty. Certainly the piece
never saw In London or Paris such
massive frame work as the American
performance boasts. In order to in
crease the measurements of the piece to
the proportions OF the Century Theatre
three massive scenes now serve as back
grounds for its feverish and altogether
Gallo intrigue. Only these backgrounds.
II might be added are novel The ia
miliar triangle OF French stage liter
ature is presented IN its usual estate.
Whether a drama from the French
deals with the war, or astronomy, it's
tale will be told In the terms of sex.
So n woman stands behind the three
acts that show q reception on French
man OF war In harDor at Toulen, the
sinking Of this vessel through the ex-
pert deception OF an enemy's cruiser and
the final trial FOR carelessness OF the
captain of the French vessel He is,
Of course, a brave and patriotic officer
but there are appearances that count
against him. He might have been court
martialed and lost his sword but for the
devotion OF his wife, who seeks TO atone
for her one false step by rushing to
deny the testimony of an officer who
might have caused the ruin of the cap
tain he hated.
The commanders wife knew what sig
mails the enemy craft showed. for she
saw them from the cabin Of the old
friend she visited in the belief that she
would be aboard but few minutes after
parting from her absorbed and negligent
husband. But when war was suddenly
declared the vessel put to sea. so she
was caught in trap. but she was
able to save her husband. and only she
could do II, since the young lieutenant
with whom she was imprisoned was
killed in the attack that sunk the ship.
She justified her husband; and since
she departed from view on his arm.
there Is every reason to believe that he
pardoned her slight step from the path
of matrimonial formality.
There was not only uncommonly I'M
pressive scenery to put this story as
favorably as possible before the public
but cast of popular actors played It's
scenes impressively. Jeanne Eageis
acted the imprudent wife with somo
minutes Of genuinely poignant feeling
and seemed willing TO take heed OF the
general effectiveness of the play rather
than her own exploitation. So she was
altogether charming, even II her profile
stubbornly refuses to become emotional
Robert Warwick played the accused
husband with naturalness and dignity In
It's more dramatic minutes. Then In the
trial scene no was admirably sincere In
his pathos. The actor deserves special
commendation for just these qualities.
since they were the most difficult TO
irnpart TO such theatrical episodes. Cyril
Scott. Edmund Lowe, Max Figman and
Macklyn Arbuckie contributed effective
sketches OF melodramatfc character.
Tho scenos were made more interest
Ing through the picturesque backgrounds
against which they were played. The
lamps gloVed under the striped canvas
which spread over the dancing guests on
board the Alma while the other ships
rocked IN the of1ng. The vessel was
quickly stripped for action and the
bridge rocking In the second act under
the torpedoes OF the attacking vessel
finally sank from view as the ships
band played the "Marseillaise." The
court-martlai passed In an lmpressively
French hall I'm the council OF war.
Thus acting and picture added their
help 70 the thrilling story OF I'm the
Night watch Something might be
said IN favor OF Michael Morton II he
did not cling 80 faithfully 20 the banali-
ties OF the language. He is even loyal
20 dull thud," which most OF his coll
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