Evening star., 1925-02-15

AS the season progresses it in
tensltleS in interest. 1t may be
doubted whether in the history of
this city there has been such a
crowding of theaters to see enter
tainment of such legitimate quality
as Washington has just been wit
Messing.
The most expected play of the
season was Rain" Mingled with
prehension that its distinctions were
on lines of such aggressive audacity,
both in speech and subject, that
propriety would again be puzzled.
A puzzled sense of propriety is one
of the most favorable conditions a
theatrical attraction can face. The
state OF puzzlement in the case OF
an artistically accomplis ished demon
stration exists entirely outside the
theater as discussion goes on among
those wh have and who have not
seen the presentation. For the audi
tor inside the theater good play
unfolds itself with such precision
and such an aspect OF verify that
the mind for the hour or SO is sub
dued, convinced and satisfied.
The intense interest of Washing
ton in the theater of the higher
quality has not yet been recognized
by the route makers of New York.
Both Rain and Rose Marie"
ended their engagements without a
lapse in the daily record OF stand
ing room only. Either attraction
could have remained two weeks, and
perhaps longer. For novelties
Washington patronage is precari-
Gus. except in the case of a pro-
ducer who has established repu-
tation of refusing to allow the cur
tain to be lifted on an illrehearsed
and tentative performance. A hos
pitable inclination to give try-out
presentation the benefit of all doubt
and to choose for emphasis the bet
ter and more promising points IS so
we'll recognized custom IN most
cities that a popular suspicion of
FIRST -on-any- stage" cannot be al
layed. "Tangletoes, for instance,
had much to commend it in story
and in several acting episodes, but
a hit is a hit-the term permits no
eouivocation; and it must be guar
anteed as such before the playgoers
will accord a dramatic work support
like that given Ram and Rose
Marie"
There are few really great plays
which do not select as a central
figure the woman forlorn. We have
come long journey since Gold
smith touched the theme in story
that eventually found its way to the
theater, so delicately, SO diffidently,
in "The Vicar of Wakefield The
English speaking muse is still sing
ing when Lovely Woman Stoops
to Folly" but the manner of the
song has become more and more
boisterously syncopated, more dis
dainful of regular measures, until
the story of today is as different
from the dignified narrative OF
earlier literature as Jazz dance
is from a minuet Step by step
the picture has grown more and
more rigidly realistic until the old
criticism that the feminine types
employed were so sweet and charm
ing as to fascinate impressionable
attention dangerously can no longer
be offered.
Goldsmith was content to rescue
from social peril the apparent vic
tim of mock marriage by the de-
vice of making the one depended on
to perpetrate the villainy a real in
stead of a pretended clergyman.
AS we find ourselves today in the
theater the consideration OF reputa
ton does not matter.
The task of restoration from de-
spair has been, season by season,
more boldly undertaken as it be-
came more difficult. Like the gym
mast, the dramatist must go on
learning harder and more dangerous
tricks at correspondingly increased
risk, morally speaking, of breaking
his neck. 1t is true that he may
have a certain sense of security so
far as his personal prosperity is
concerned, for the purse OF the the
ater was never so securely filled as
now, and the favored performer,
either with pen or grease paint, may
rest assured that a gilded net is
spread to catch him if he falls.
However. he must not fall too
often. The elinina ton of reckless
drama will be accomplished, in the