Evening star., 1923-02-20
NATIQNAL-Laurette Taylor in
"Humoresnue."

IN the bosom OF = struggling family
Of New York's East Side which hnds
life real and earnest there Is = stol'd
woman Of the tsnements. She hopes
that her children may have careers
but beyond that scorns all except the
practical things. With solemn mten
she believes that her thoughts are
upon the task OF making ends meet.
Yet sentiment with q capital S
creeps up unannounoed. finds its way
into that tenement and before the
woman is aware it has her IN I, i.t
numberless times, in "Humoresoa,e, ,,n :.
the play with which Laurette Taylor
opened q weeks engagement te1I
evening at the National Theater. In
Laurette Taylor. as we have known
her but the woman OF tho tenements.
sober and hard working. yet caugns IN
the grasp of intruding sentiment. Sne
is going into New York next WEE
for q metropolitan engagement ana a
this city has the last view OF neE
production before that event becomes
a matter Of theatrical history,
The role Of the star Is typical OF the
new age upon which the woria c,nrs nrs
have been most successful in imper-
sonating the man OF fortitude. VINO
for q time, proudly represses emotlon'
but discloses in every ,ns m1ysmehII 1vsr thInEs s
In this play tho man has given way
to the woman OF fortitude.
It Is useless to refer to the film pro-
duction OF this same story. Strikln8
scenes MAJ sya be mors glsia oi them shSmh may be
presented, but 1t 10 on the speaking
stage that such characters as that OF
Sarah Kantor are most effectively de-
NF n.
terest that the famous Peg. who some
years ago stepped forth from call
fornia stock company and took tne
country by storm, is the one to create
this far different role.
may be regarded as q mingling of the
talents Of Miss Taylor and ]. Hartley
Manners. Every detail has its piace
in presenting picture from NE
which emphasizes ,paa snt.rtsinment nImne There
is a background Of music whlcn IN
itself contributes to the strength OF
the emotions that are Represented.
The musical selections feom ~IHo tSe drama DR. &
Merry child life is shown in the Wig.
orous family Of the Kantors and the
Young daughter of neighbor. a 1T
tie girl who sings her conversation
is q feature: The pass passage esst oi in % orr
der to present the Kantor family:
both az children and as persons OF
The r1mblins of the elevated trains
acter Of the surroundings. The Ola
Iect Of the East Side is faithfully
reproduced without exaggeration. "A
pillow battle at bedtime In the
crowded tenement is amusing.
Miss Taylor never departs from ner
character. AS Sarah kantor the
strength of her understanding OF
reality is brought into contrast with
a mystical thought that when imag-
mary strains Of music reach her ears
It is evidence that all is going well
with her children. In carriage she
faithfully represents the woman OF
tional depths they are not OF tho
ordinary kind, but vibrant with de-
votion, quiet but tense.
Sam Sidman, as Abraham Kantor,
the husband and father, is true to
type and presents pleasing contrast
to the less vivacious wife. Lutha j.
gives up q career as a famed vio-
linist to serve in the great war. is
somewhat less flexible than might be
desired, but Is dignified in his strong
er moments. Ada Hewitt, as Esther
Kantor (child). the singing member
part with skill. Elsa Gray. as Gina
Berg. is not only graceful in her
role, but also sings. effectively. Il
Have q Rende1vous With DEATH
making the substitution of love" for
death" out of consideration for the
feelings Of Mother Kantor;
special warmth by last evenings au-
dience and was compelled to respond
to repeated calls