Evening star., 1925-03-08

No effort was made by the the
aterS to contradict the quietude of
the inaugural spirit. The air of
simple dignity prevailing on the
thoroughfare was not in all cases
reflected across the footlights. The
theater here never makes any
recognition of especial events of a
national or even international de-
scription, barely regarding this Cap
ltal City as one of the squares in
the checkerboard on which the
great routing game is played by a
Jew competitors. Only 200 miles
away by rail, in theatrical taste and
temper New York is separated from
this city by immeasurable distance.
x x x
What happened to Barrie's Peter
Pan" would have been impossible
had this city been the American
producing center instead of New
York. 1t was a strange manifesto
ton, an attempt to add outright
freakishness to a delicate and intri-
cate fantasy. Special music was
provided for the production by DR..
Hugo Felix, composer whose fine
scholarship is always evident, but
whose respect for originality must
necessarily hinder the flow of nat
ural melody appropriate to such a
whimsical Interpretation of child
thought. The singing embellish-
ments seemed scarcely more appro-
pirate than would be a circus poster
in a gallery of famous paintings.
Miss Marilyn Miller is a graceful
ID q,
cept for lightness of movement in
no wise typical of the elhn role pop
ular memory retains in such abid-
ing affection. 1t was Peter Pan
up-to-date. direct from Broadway,
with all the assurance of the pro-
ducer who estimates the taste of
audiences in the lowest mental
terms. u.
1t is Peter Pan" lost in a great
city. The fairy light is dimmed by
electric lamps and the tinkling note
is overwhelmed by gongs and motor
horns. Barrie's play needed no en-
bellishment. To express all the
fancies with which it teens is a
sufficient task. Charming bits Of
idea, any one of which might be de-
veloped into an episode, are touched
upon and tossed away in the spirit
of child imagination. The story OF
the man who lost his shadow con-
tributes a passing smile, although it
served ponderous old German ro-
mancer as the basis of an entire
story. x x
There is an element of presump-
ton in this highly modernistic cab
nf ,1fH
cient as it originally stood The
embe ellishments seem to imply lack
of faith in Miss Miller's adaptability
to an effort essentially of the imagi-
nation. 1t would be almost as rea-
sonable to decide upon Romeo and
Juliet revival on lines prevailing
when "Uncle Toms Cabin" adver-
tised two Topsies, and introduce
two Juliets, starring the Duncan
tisters.
While New York revels in the
bort of controversy which has never
proved availing save as advertise
ment, the type of play now de-
bounced by the managers who have
been and are busiest in promulgating
Them continues to tour the general
map. The patient public resents
nothing. Stage entertainment is ap-
parently an absolute necessity and
play patrons complain because they
are not protected from things which
they deliberately seek, regardless Of
trouble and expense.
x
Cobra" added its contribution to
the doubtful repute in which the
legitimate stage has been thriving
Every vogue must change. Why
worry?
X X X
Relaxation of the grip public SEN
timent used to hold upon the stage
was first indicated by readiness to
accept as popular entertainment the
Passion Play" as done by village
folk. in Germany. When James
ONeill, romantic actor, who made
Monte Christie character his very
own, suggested doing the Passion
Play" there was storm of protest
which he dehed, but with no sub
stantial. encouragement. The theme