Evening star., 1925-11-15

TheDeparted Sh heridan Holds
His Own With Live Ones.
Bu Phlauder Johnson.

nNE of the questions to which a
many times is: Don't YOU grow
weary OF having to say and do the
same thing day after day? The
answer is usually protest that the
pleasure OF art prevents a sense OF
monotony. Nevertheless. the, grind
is felt and a good play is often
shelved because OF desire to ex-
plore new fields oi idea. The actor
who Identifies himself with one
great role is usually well rewarded
by the public. as in the case OF
Joseph Jefferson. admired in many
roles. but most closely identified
with that OF Rip Van Winkle. 1t
was so with Forbes Robertson in
Hamlet and with Edwin Booth
before him. Yet plays are some
times shelved for no better reason
than desire for change.
In a Garden sounds a little like
the dramatized personal protest of
Laurette Taylor against the days
work. It is essential that an emo
tional star display the efforts of an
imprisoned soul of some kind en-
gagged in Intellectual struggle to beat
away with bruised and disheveled
wings the barriers OF conventional
restraint. 1t is usually the role of the
husband that symboizes the re-
straint. In this case the husband
is dramatist so accustomed to map
out courses OF event that the
heroine regards her own life as
dominated by him as but series of
vehearsed incidents
The grievance does not seem a
particularly aggravated one. But
II the actress has the gift of tenn
oestuous temperament any griev-
ances will suffice for the demonstra-
ton. Miss Taylor is apparently en-
deavoring TO transfer to the speak
ing stage some of the methods of
the film studios. Her scenes in
many instances are not so much
acted as they are registered. To
the extent that this is the case
thew sacrifice the charm of reading.
which is the sole advantage. yet an
important one. that the speaking
stage holds over the screen.
In spite of the intellectual wander
lust that attacks the theatrical mind.
it is impossible to escape a habit
# imitation. Although an actor
may desire new play, he will also
INSIST that its principal role be like
that in which he has previously
had success Wagenhals and kem-
Der will probably never recover from
The Bat" After career which
seemed to imply an interest in
standard drama they deviated a
little and the success of The Bat
has launched them into a career of
mystery plays
sympathy goes out to any of the
few who interpreted the term
mystery play in the sense of the
early English theater and made it An
excuse for attending the playhouse
on Sunday night 1t was indeed
surprise to one who had settled him
self in a mood OF reverential ex-
pectancy to find the plot jumping
oeIi-melI into stolen bonds. pistols.
handouts and threats of the electric
chair. ANY whose fortune it was to
approach the evenings entertain
ment in a state of naive uninforma
ton is entitled to fluctuations, for
this particular form of surprise is
the only one the play permits. The
plot unfolds itself with such logical
precision that it is easily anticipated
from scene to scene and even from
act 10 act. 1t has possibilities in
some degree in the way of character
INTERPRETATION. The role OF a ne'er-
do-weel is attractive and sympa-