Evening star., 1924-01-27
Plays That Talk or
Are Talked About
By Phi1ander Johnson.

N spite OF its remoteness from
the bright lights OF Broadway
4 Washington offers an interest
ing and comprehensive reflec-
tion ofsthe nations theater Some
of the things most talked about
never come this way; i'll the ma
jority OF instances they are things
that gifted pens and eloquent
tongues could not suffice to save.
The notable works introduced here
are numerous, and the drama loving
population is large enough to in
sure patronage i'll exceptional in
stances for extended runs and re-
turn engagements.
x : ::
"Lightnin'" is one OF these cxcep-
tiona. instances. 1t was the first
New York hit for veteran actor.
the late Frank Bacon, and it now
brings into prominence name hon
ored in the traditions OF the stage
that of Jefferson. Mr. Thomas JET
ferson steps into the title role with
remarkable ease. Bacon was gen
tie personality, and there was glow
of genial satisfaction throughout the
theatrical world when he settled i'll
the comfort OF a Broadway run,
with the honors not only of Il star,
but OF all author as we'll. But the
plays the thing. "Lightnin',' with
is qaint, human appea., goes on as
q vital influence, while the author
star is d fading recollection. AS
Rip Van Wrinkle remarked, Are we
SO soon forgot when we are gone
No amount of loyal affection can
disguise the fact that it was the play
that scored first in the regard OF the
public, and that i'll this case, as III
Others, the player was great in that
he rose to the opportunities pre-
sented by a role.
x x :;
The reputation that player leaves
behind does not depend on his own
creative genius, but on the literary
standards with which he has asso-
c;ated himself. The system Of NOR
tai relationships is memorable i'll its
demands for Undergraduates Nc
artist can perfect himself in the ex-
preston of emotions or PHILOSOPHERS
and by himself provide the thought
worthy OF such expression. 1t is for
Rip Van Wrinkle or Bob Acres Oh
Caleb Plummer that Joseph Jeffer.
son is best remembered; that is tc
say, for Washington Irving, Sheridan
or Dickens. 1t is no scant achieve.
he oS foI
ity into the creations of an author:
dream; it is not the subordinatiof
OF talent to art, but the co-ordina.
ton of genius with genius. Ye'
contest arises where harmony
should be complete, and the. actor
II man of at all aggressive tenn
permanent, usually prefers his author
we'll dead. Hence the popularity o
Shakespeare. Richard Mansfield i
quoted as saying in one of his char.
acteristic vehemences, "Of course,
1nust have good plays! But why, OF
why, do they have to be written BY
a. Bernard Shawl Mansfeld's ar
was critical rather than sympa
tlletic. This recognition of superio,
{ tnerit at time when Shaw wa:
making an uphill struggle for popu
Iarity, though not an indication O
good nature, is an evidence of accu
rate discernment that does his mem
ory honor.
X X x x
Ig contrast with "Lightnin's"' rura
simplicity, "Red Light Annie" came
Ieeking from the slums. To say tina
II is pad play is another matter
The decision depends en- whether it:
zi1erits are to be decided by measure
ments of its moral influence or O.
its effectiveness in an appeal to in
terest. The character of the socia
outcast cannot be excluded from lit
erature or the stage. To repudiate
a play because its theme is ugly
would be to demand the suppression
of the poem including the line. ""Qh
wad some pow'r the Giftie gle US.
because OF the topic announced il