Evening star., 1923-12-09

by the theaters to the dra-
i matte events that Congress
might present. No speeches
encountered the ears of play patrons
calculated to displace in memory the
phrases OF a presidential message
The Shubert Garrick was so defer
ential that il put out its lights en-
tirely, which is way it has of do
ing on the slightest provocation.
The booking arrangements OF the
Shubert offices apparently contem-
plate as inevitable a series OF short
circuits for the Shubert Garrick.
= :; X x
1t is useless to remind the produc-
ing managers association that this
is the nations Capital, an intel
lectual center always and an arena
of fashion every once in while, en-
titled to the best that the art of the
theater can provide. The producing
managers care naught for our gov
ernmental prestige. They have poll
tics of their own.
X * =
Ot course, there were pictures. in
teresting pictures, worthy OF close
and discriminating attention. But
the spoken word was represented
but slightly in "A Lesson i'll Love-"
and even that had to be spoken with
a slight foreign accent. There is
still domain i'll popular entertain
rnent where pictures cannot supply
the required interest. There are
still people who insist on hearing
voices and seeing actual humanity.
They go TO see even inferior plays,
and though they often wish they had
gone to the films they continue to
patronize the legitimate drama in
F.. sportsmanlike confidence that luck
will soon come their way.
!: ): x 4
"a Lesson in Love" had the op-
portunity to concentrate upon itself
very large proportion OF the
towns legitimate drama patronage,
for "kiki" was no longer a novelty.
William Faversham, the best actor
of his type on the stage, provided
the name that filled the announce
ments with pleasant promise.
x * X X
An actor, however good, cannot
be better than his play.
x X * 4
"a Lesson in Love" needed all his
personal magnetism to prevent his
role from being shallow and uncon-
vincing. Faversham is, first of all, a
hero debonnaire. He may even
swa.hbuckle little, for he does it
with the grace of a gentleman and
never with the air of braggart. In
this play he is cast as a Frenchman,
and is, therefore, not even permitted
to enounce the pure English he
speaks SO delightfully."-.
y X X X
Reviewers have been liberal in
quotab1e commentator of the per-
formance. AS a revelation of acting
it is a creation of memorable felicity.
1t was hardly necessary for the pro-
gram to indicate that it was pro-
duced under the personal direction
of Mr.. Faversham. The tempo was
distinctly his; a rapid one with
speech often SO accelerated that the
meaning would be lost were the ar
tistry of expression less. Small
shadings of significance are deity
reflected, and no lettering emphasis
threatens note of affectation.
Hugh Buckley, in the role, normally
the one claiming romantic sympathy,
of the honest and impetuously
chivalrous lover, contributes reading
of the rarest merit. Gilda Leary is
charming in repose and convincing
in her emotional scenes. Faver-
sham measures every effect with in
tuitive and unerring accuracy. Even
the smaller parts (notably that OF
Dean Carey, played by George Fitz-
gerald are we'll done. But the play
itself is unsubstantial, and the per-
formance becomes display of read
ing unsupported by writing.
X y. X X
Tho character of Capt. Briquet, a
.cu1tured student, but light-hearted,
rowing adventurer, is made to excuse