The Washington times., 1924-12-23
1.-THE SWAN AN
EVENT OF
THEYEAR

The great difference between
the Hungarian theater and the
American theater is just this:
The former is subtle, sophisticated.
thought-prevolSing because it is
thought insistent. emotional with-
out a pOrnographic oyertone, and
exceedingly alive with thar fan
tastic realism we are acquainted
with as Life. The latter is, at
best. only entertaining, provided
the American playwright Is suf-
ficientiy clever in his devisenle1t
OF WISE cracks
Not Always True, However.
This comparison was evident
last night at Doctor Raplay's Ma
tionaI when Gilbert Miller offered
the American translation OF
Ferenc Molnar's THE Swan.
Eva LIE Gallienne and Basil Ralh.
bone in the pivotal roles. as fine
a piece of stage dramaturgy as
one has seen or. will see this
season.
Superbly satiric in conception.
and biting in its emotional de-
velopment, THE Swan" is sue
cession OF typically Molnaric
scenes, promised upon the pseud0-
aristocratfc court life OF ceutral
Europe. There is a princess who
presumes for. o night to unleash
her emotions and start off on q
sentimental journey with tutor
sensitive and serious fellow who
talks stars. celestial bodies AMI
sense. Wen. she doesT1 get
very far Diplomacy hustlas her
off 10 the dump. and she sacri-
fices ner soul for decorated dias
called throne.
But what a job Molnar has
turned out,
And what a. dazzling wistful,
brooding princess of the realm
is Miss lie Gallienne.
She accomplishes great feat
in 1.-THE Swan. She makes It
real without being sentimental;
she convinces without annoy
ance: she sketches with Wits
tlerian finesse the two emotional
beings that are in constant con-
flict somewhere within herself;
and one leaves the theater feel
ing that Molnar wal indeed for
tunate In having Miss lie Gal
lienne as his interpreter.
Not that the play is hers ex-
ciusively. but she is the pitiable
Gagged bird, whose fate is vital TO
all concerned. Her affair with
the tutor is ably and carefully
set forth through the gracious
and genuine assistance of Basil
Rathbone. who enacts the asso-
ciate role. In the scenes these
two have alone. the shading is
rare and precise; the old and his
toric ritual of love is majestic
and spiritual. yet bleeding with
desire. Rathbone contributes
Characterization clear and i'm
passioned. and individually realis-
tic. quite as Molnar intended.
haven't a doubt
The supporting cast is long and
amazingly capable. II alliw Ell !
Hobbies, Alison Skipworth and
Katherine Emmet, in particular,
are high lights in their own right
in a production that is saturated
with briIIiance OF line. situation
ana humanity AAfssludtu C"Ch -
Prince Albert, victor by right OF
tradition in this tiaree-cornered
tilt. is as fine an actor as the
stage boasts. Investing a role
with arrogant vet fascinating stu
pidity is no minor lob. But Owen
does it-faultlessly. OF the others
they are there"
The play. in three acts. has
been adroitly staged by David
Burton-and, it can be assumed,
with the able assistance of Miller,
who saw the production in Buda-
pest. Interesting. among other
virtues. is the key" in which the
n1av is nlaced 1t reflecfs the a'r-
tight ''regalitv' Of postwar Eu-
rope-the domineering insolence
OF two.bv-four ROYALTY.
.