Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1922-12-09

like people who aren't musical; you
like only familiar tunes
An ordinary dramatlst would prob
ably have summed up Helene's char
/ acter by saying that she had in her a
maternal streak" and vet It was
much more than that and Geraldy has
been able to sense that difference and
explain 1t in series of superbly writ
ten speeches.
There is a poetic beauty in the final
line of the first act, with its analogy
to Helene's sudden awakening to her
situation:
Isn't that lighted window in the sum :
mcrhousc pretty the servants
persist In lighting the lamp there be :
fore they close the shutters. The moths
will get in, that's certain. How
strange. 1t was broad daylight only
moment ago. That one lighted win"
dow makes the whole garden seem
dark
And, again, there is keen analysis
and striking expression in Helene s
statement to her lover, Challange:
Its so much easier for men to talk
about themselves. You express your
self in your action, in your daily life.
But woman is known through, such
little things--so intimate--sO intangi-
bic. 1t is always little indecent
when n woman talks of herself, be-
cause all she has worth telling con-
Germs her soul-only her soul"
There is the same poetry (if not the
Eeenness) in the line: dreams
dreams are remnants of our childish
days clinging about our souls
TO Love" then is something to be
cherished--a play Of really fine writ
ing, and, even though the subject may
be well troddcn, wise and feeling in
sight into married life and sudden
tclnpestuous romance. 1t is not throb.
blng, vital drama. even thosgh the three
players give impressive performances
Possibly if their performances had not
been quite so smooth and so measured
perhaps II they had had moments of
rasgedness-and moments Of high emo :
tlona.ism, the play would have seemed
less academic.
For example, lIe!ene's apparently
beautifully thought.out description Of
the tumuit III her soul, her detailed cx-
panation of her complex feelings,
and with her ovcrwrOught feelings. We
were first inclined to blame Gernldy
for her too accurate analysis of her
self. Possibly it was rather that Miss
George played the scene in too re-
strained fashion. However, she read
her lines bcautifully-not in the
siovenly fashion so common now.
In Cre,y ,ray "To Love- is more
proto""d'n cFcctire thing than la
TCndrcSSc': !: IN its translation, in the
acting and in the subject matter itself.
A BOUT four years ago John Drink
water. In n visit to this city. told
of his intention, Of dramatizing the
lives of both Robert +. Lee and John
Brown. We wonder if he has aban-
doncd that intention. There is also rca
son to regret that the simple and dig
niiicd "Cromwcll' of Drinkwnter's has
not been presented.
His "Abraham Lincoln is lust as
effective now as it was two years ago.
even though Frank McGlynn's per-
tormnrcc seems to lack n bit of the
human touch and the sympathy with
which it was formerly imbued. Pcrhaps
the strain Of playing so great man has
told on this actor.
1t becomes more and more amusing
to note the enthusiasm aroused by the
mention or entrance of Lee in stage
play or film. The other night at
abraham Lincoln General Grant
(splendidly ElaycdD got no sign of a
hand. but Lee was greeted by unan :
imously nppauding house. in which
perhaps the percentage Of Southern born
was - per cent.
Who knows but that some day thcy'l
be standing at attention in Coycnt Gar
den when "Thc Watch on the Rhine" is
played. and the presence of Iudrndortf
ON Philadelphia stage will be greeted
with hilarious applause.