Evening star. [volume] (Washington, D.C.) 1854-1972, 1924-02-17
Great Acting On and Off the
Stage.
Stage.
BIZ Ph;1ander Johnson
CLAIBORNE FOSTER
Belasco

on the sidewalk, waving his arms
and blowing a whistle. Responsive
to the call of duty, the police went
to the relief of any distressed audi
ence that might be suffering moral
agonies at the moderate scale OF
prices prevailing at the box Office.
The plodding scribe who discusses
the theater is often amazed by the
versatile security with which the
police are able to unravel the in
tricacies of the drama. Perhaps it
is due to intimate daily contact with
human nature in all its phases.
Where seasoned reviewers falter i'll
doubt as to whether a performance
is intrinsically defective, a fabric so
closely woven that it cannot be re-
made. a member of the force can
look it over and in a few minutes
indicate how,s by modifying scene
or two and emitting a few speeches,
the play can Immediately be rem
dered as pure as necessary for all
practical purposes. 1t is fast work
and shows the advantage of training
to quick decision, backed by certain
definite authoritative powers.
/. x X X x
The immersion in the tank of
"After Dark" seems to have be-
slowed immunities on Mr.. Brady.
Genial and optimistic, even in his
most defiant and denunciatory mo-
ments, his heart reaction is always
fine. To this day any attempt to
throw cold water on him has proved
Intellectual And as the public
argues in the disagreements he has
rehearsed for them, people are at
least unanimous in according hon.
age to him as one of the best actors
that ever set foot in box Office.
The return of Lionel Atwill, whose
play, THE Comedian" was seen here
with so much interest, was an event
of artistic importance. His new play,
The Outsider" is wonderful
drama. The utmost skill is shown by
the author, Dorothy Brandon, in
building up the structure of narra-
tive in a manner which renders
plausible - almost convincing - a
rather tenuous line of logic. Atwill
is a most compelling actor. Whether
vehement or subdued, his influence
is that of masterful artistry, making
uncompromising demand for the ap-
plause that is justly due. He puts
no sympathetic note into the role
of the. man Of genius, a successful
healer, but outside the medical pro-
fession. His love is passion and his
professional motive only pride. At
will, by the restrictions he imposes
on himself, makes his performance
the more brilliant in its artistic
achievement.
The. story itself is challenge to
the ethical code of medicine, which
will not readily command respon-
sible Endorsement. The thoughtful
purpose, it appears to announce
must find widespread disapproval
as a, falfacy. . Yet it is splendid
drama, revealing, step by step. an
'acceleration of interest that culmi-
mates by making the last few min
utes: of the play revelation of the
rarest beauty and intensity.
A manner of aggressive confidence
is valuable asset in promoting a
play. The attraction which poured
. it's electric effulgencies over the
park opposite the Shubelasco Theat-
er to persuade belated mixers to
rush in where angels fear to tread
was booked for two weeks. This
course was proved by the attend
! ance to be a miscalculation. The de-
, sire to study an elucidation. of. the
Christian religion by the Selwyn lit
erary and histrionic forces was not
extraordinary. Again, most of the
acting was done outside the theater.
As has often happened with the
side show, the ballyhoo is the best
part of the exhibition. Nothing has
faced more consistent critical re-
pudiation than the Se.wyn religious
+! drama since GeSrse v. Hobart gave
forth his curious alleged allegoricap
concoction, entitled Experience"
Queer creations secure share OF
patronage if they can evade criti-
) cism and make their appeal direct
ito an element of the public not ia
miliar with the theater. Expert
ence" was being discussed in the
presence of , Charles Frohman.