Evening star., 1925-04-12
European and HOMEGROWN
Drama IN Direct Comparison
By Ph1ander johnson.

An occasional wave OF protest
splashes feebly along the sands OF
time as a ripple is created concern
ing the neglect into which American
drama has fallen. American drama
held fairly robust position for a
long time when it reflected the liter
ary possibilities OF the English Ian
guage, regardless of whether the
theme and expression were OF Great
Britain or the United States. Amer
ican writers produced RIP Van
Winkle," The Almighty Dollar,
The Gilded Age" and many other
comedies which portrayed humanity
with genial sincerity. Tragedies
were written which, in an offhand
way, were classified as ShakeSpear-
can. The wish for an American
drama is not altogether dream of
future cultural attainment. 1t is a
desire to revert to conditions OF the
normal past from which departure
has been largely due to policy of
giving the pubic what it wants,
but restricting its Selective oppor
tunities very closely to somewhat
limited Broadway stock IN trade.
Not to take the matter too serious
ly, let us accept the obvious pun and
refer to it as the Broadway stock
ing trade.
American authorship became in
volved at close range in commercial
competition and worse in profcs-
personal iealousies. Methods OF
i l..
ing to characteristics OF individual
producers or producing firms. and
the spontaneity of original produc-
tion has vaporized into only mem
ory. Importation has been inevi-
table. We have been importing
plays from Europe for the same rea-
son that we import wood pulp from
Canada. Native material has been
exhausted and the conditions favor
able to its production have been de-
stroyed by the modern system which
seeks to apply principles of indus
trial efficiency to artistic and intel
lectual endeavor. The imported
play, adapted stage directed and
acted by American ability, is the
nearest approach to an American
drama that we now possess. 1t is
far more satisfactory than the
homemade product, even If it does
support a suspicion that Europe has
been engaged in using our theater
to dangle glass beads and fanciful
fabrics for the beguilement of our
delighted gaze just as the early voy-
ayers used 10 dangle such things be-
lore the eyes OF our predecessors,
the Mohawks and Pequots.
A direct comparison of the i'm
ported and the domestic product
was made possible by the two prom
inent offerings of our theater, The
Sapphire Ring and The Best
People" Both are typical. One is
a logical analysis Of human impulse !;
the other a romping aggregation of
episodes. A fine translation, group
Of wonderfully competent players
and a thoroughly capable stage di-
rection prevented The Sapphire
Ring" from being reduced to a COM
monplace and sordid story OF moral
laxity. Competence is scarcely the
word to apply to the performance,
which was more than a demonstra-
ton OF well &IOulluCu dllu lClldUlG
skill. The subtle play of tempera-
ment which governs tone and ges-
ture to the inhnitesimal fraction of
a vibrancy were the chief and sus-
tanning elements. The play describes
itself as "the portrait of woman" "
The type he selects is that usually
discussed with fippant gayety in
European farce, the inquisitive,
faithless or nearly faithless wife,
and the patient, self-deceiving hus-
band. The changes have been rung
merrily enough on this theme for
centuries and will continue TO be
rung for centuries to come, for no
evolution in our social system,
whether toward polygamy or po-
lvandry, will efface the exchange of
pledges to fidelity or jealous resent
ments when these pledges are vio-
lated.
re farce says such troubles are
ito be laughed away. This Hun
garian dramatist LakatoS. reminds
MS of their sad and sorry side. The
Woman is accorded the fullest power