The New York herald., 1922-08-27


question as to the success which the
philosophy Of the Old Soak would find
with the public in any form. The
character Is so true and human as to
survive in any medium. 1t Is not, on
the other hand, an easy matter to put
tho drunkard successfully on the stage.
1t Is one thing to read or hear about
him. 1t is another, quite another, to
see him at his pleasure. The occa-
sicns in the play on which the hero, If
he may be called by that name. in
dulges are in reality few. Yet they
are there.
Fortunately Mr.. Marquis has con-
trived them so expertly that nobody Is
going to be offended. Even the most
squeamish could not reasonably object
to these episodes. When. just at the
fall of the curtain, the faithful bar
keeper calls and the sympathetic maid
announces that "Ar' is again on hand
there is no ground for resenting a
possible backsliding. Mr. Marquis as
playwright has entered the field quite
triumphantly.
Seven Actors for Every Part.
When George M. Cohan said that
there were to-day seven actors avail
able for every empty post that the
theater offered he would appear to
have assured at least competent
representation for every play acted
with any sort of pretense to artistry.
1t must be borne in mind, however.
that Mr.. Cohan added not two In the
seven were capable of filling the
places they aspired to.
Maybe for that reason the most in
credible lack Of skill is often found in
representations with all the outward
and visible signs OF the highest class.
In one drama recently acted the role
of a crook is allotted to an actor who
has played such parts in the past with
success. They were crooks, but with
a difference.
In this play he is supposed to be a
clustering staggering impostor, who
Get-Rich- Quick Wallingford. Instead
ne Is sinister, designing and mys-
terious, which is just the reverse OF
what he ought to be. His presence in
the role is not, however, the fault OF
the actor. The director who put him
there alone Is to blame.
In another play the heroine is de-
signing. independent. self reliant per-
son rather grim and masculine In her
suggestion OF power. The actress Is
tenderiy feminine and delicate in man
ner and in person. girlishly dainty In
coloring. She Is OF course entirely out
OF place. No wonder she cannot act
the part well. 1t is impossible for
her to create the least Illusion as to
being the only sort of a woman that
makes the story plausible. Again it
Is the mistake of the man who put the
play before the republic. 1t assuredly
is not the fault Of the woman who
has proved her skill In appropriate
roles often In the past.
Still another example OF this inept-
ness In fitting tho actor to the part
may be observed in another play Here
clinging, rather melting type of girl
Is made to represent herself repeatedly
Ms assertive and masculine. OF course
the attempt ioils every time. Such a
complete reversal OF physical type is
not possible whatever the skill of the
player may be. These examples. 1t
may be noted, are not explained by
Mr.. Cohans statement of the excess
of actors over the demand. Always
II is tho so-callcd stage director who
does everything on the programs under
his personal direction" who ia at fault.