The Washington times., 1923-02-20
Laurette Taylor, in Wide De-
parture From Precedent,
Carves Enduring Character
in Fanny Hurst's Familiar
Tale.
By HAROLD PHILLIPS.

x8le.
By HAROLD PHILLIPS.
Not often have we seen the
cinema blaze trails for an art
that flourished before The Ma
tivity and how often the phe-
nomenon occurs again that there
ls doubt that the warm will soon
turn so graceful a revolution as
witnessed in the transition OF
''Humoresque" from celluloid sill
ences to the stage.
We think the films should be
credited with introducing "Humor-
esque" to the stage. At best
Fanny Hurst's book is litho-
graph, broad in outline and treat
ment and, only. under skillful re.
touching for its visual debut, did
it take on the form of a rare and
human pastel which Laurette
Taylor's acting now makes ma
terial worthy to hang long in
memory's gallery.
Like the poor, we have ever
with us the debate as to the
advantages, each, of the stage
and screen and it is not i'm
provident to believe that the
allied debt win beat this question
to settlement. There are, as
public haranguers so Willingly
say, two sides to the question.
Cinema music, for instance, with
no dialogue to brook, can lay
ruthless waste to stubborn tear
ducts; on the other hand. the
screen cannot pronounce the sob
nor. the song in MA" Kantor's
voice, nor the urban roar Of the
elevated as it skirts her home in
the Ghetto; home, by the way,
which looks like a home in the
Ghetto and not a reproduction
of it.
To recite fully the action of the
piece is quite unnecessary. 1t is
aStale Of mother love. deepened by
the fact the object of her love is
musical genius, with nature con-
tributing less, probably, than the
mothers devotion to the boys sue
cess.
One sees the. family at home in
a twilight sketch before growing
pains have asserted themselves on
the large and lusty brood. There
is Ma" and Pa Kantor, Mamie
Kantor, horn an idiot, with re-
verse reflexes which make him
cry when he intends to laugh and
vice versa; Leon Kantor, the
genius, his gifts still undiscovered;
several other little Kantors and
some neighbors. From supper to
bedtime the action of this scene
fits rich in humor, and in its
fleeting view of tragic overtones
in the life of the poor.
Sixteen years elapse to the Sec
ond act. Leon Kantor has arrived
in the world of music. The scene
is in the artists room of Symphony
Hall, before Icons recital. War
drums are beating tattoo in Icons
ears, however, and love for his
childhood sweetheart is beating in
his heart. As the strains of
'Humoresque" float from his
violin offstage,, Ma" Kantor is
agreeing. to a. contract for her
sons concert tour. The recital
over, he refuses to sign, and the
mothers desperation is pitifuI as
it. dawns on her that war has
claimed the hope and light Of her
life.
The final act finds Leon home
for an hours leave before sailing
across; the descending curtain sees
the vacant-eyed mother, staring
into space as she caresses the 81
violin that Unlocked the door to
Icons genius that night in the
Ghetto; sixteen, years before. An
unhappy ending, for none but
knows that Leon does not come
back.
This is the sheerest kind OF
drama, OF course, in spots theatric,
especially In some Of the utter
ances burdened on Lutha Adler, as
Leon, and on Sam Sidman aa
Abraham Kantor. Whatever of
these, the acting as a whole and
the staging of the piece conmends
"Humoresque" as "A fine play.
Not this seasen-and we have
on our desk calendar Of visiting
plays since midsummer-have we
seen better acting than Laurette
plays with repression q character
that fairly bursts for expansion,
but is never given leeway. She
indexes a neighborly, human
mother to exclusion of the slight
est artificiality. Sam Sidman's
Abraham Kaator also calls for
commentator, though in spots he
seems to exaggerate the emphasis
OF delivery called for in the script.
Lutha Adler's Leon" is splendidly
acted, for offset must be given a.
difficult role; a role Of dramatic
complexion which can be un-
manageable in the hands of ex-
perts. Elsa Gray as Gina Berg
Is acceptable in a light part. All
OF the 'children's roles are well
typed, especially that of Ada
Hewitt's Esther"
II not suited to dedicate the
American Temple Of Art-when it
is "Humoresque" will none
the less be angel food to the
"Abie's Irish Rose, cult