Evening star., 1925-11-08
Legitimate Comedy
Brilliantly IN Evidence
By Ph1ander johnson.

1
l. fail. 1t had become almost a
proverb that New York record
was necessary to insure popular at
tention to a play booked into Wash
ington. 1t had also been generally
thought that John GalSworthy de-
mandcd a sclectivc audience and
that George ArlisS relied on his per-
sonal art TO such a degree that the
appeal to intelligent appreciation
was too strong to allow crowded
auditoriums to participate in full
contentment. All these points were
disproved by the production. old
English with unqualified success
and OVERLOOKING patronage. hrst IN
Philadelphia and then here. Mr..
ArliSs still concentrates his superb
mastery OF technique upon single
delineation Mr.. Galsworthy is still
content with a slight thread OF plot
whose comedy rehneS itself to the
verge OF sadness and the public Is
delighted old English is one OF
the most sensational successes at
tanned by unSensational methods
since Drinkwater's abraham Lin
coin.
Ina Claire always said she wanted
TO be an actress. She obtained her
mothers permission and here i'll
Washington gave an imitation OF
Harry Lauder which. thanks to the
maternal press agent. drew great
deal of attention. in spite OF the tact
that the little lady's Scotch dialect
occasionally ovcrleaped geographical
boundaries and suggested County
Clare. She has weaved her way,
season by season. through the en-
vironment OF trivial melody and
broad farce into a delightful and
thoroughly legitimate comedy whose
sparkling wit is equal only by the
exquisite drollery OF its human ma
ture studies. 1t is difficult TO single
out the individual to whom credit
shall go for so agreeable diversion.
or course. Mr.. Lonsdale should be
accounted chief benefactor, but he IS
not present to acknowledge compli-
ments. The players. almost without
exception. are to be thanked for
crasping the subtleties of idea and
communicating them ungarbled.
*
Roland Young has a great deal
more assistance than he had IN NJ OIL
mars Tale OF the Wolf and. with
out the slightest apparent effort to
render himself conspicuous, becomes
a center Of interest. He embodies
a suggestion of polite cynicism
which seems to be his chief element
Of identity. Yet he refuses to be
limited to any one bag Of tricks and
steps up to a conventional finale with
a iond embrace and a kiss on the
brow with all the sentimental fort1-
tude OF a matinee idol. One who
has been profoundly impressed by
Mr.. Young's personality as the en-
bodiment of elegant sarcasm could
not have believed that closing scene
If he had not seen it.
~
The danger of versatility is the
only threat to Mr.. Ioungs career
as a player. He adjusts himself, so
easily and gracefully to role, re-
gardless of its magnitude. that his
lack of effort is in danger of rem
dering him so reliable as man for
all emergencies that he will miss
his proper chance at big type on
the billboards. Possibly this makes
but little difference in the mind of
Mr.. Young. But actors who do not
become stars, preferring a more
Carefree security. irritate their ad-
mrers. For instance. there was w.
]. Ferguson, perhaps the most COM
petent player of legitimate farce in
this country, who genuinely disap-
pointed numerous playgoers because
he preferred comfortable freedom
from what he feared might prove
too much responsibility. He was not
a good theatrical politician.
One of the noteworthy reminders
in the Frederick Lonsdale comedy
is that there is life in the old crook
play yet! Everything depends on
how it is done. Crooks can be in
teresting still if they return to the
manners of Raffles or Sherlock
Holmes, show certain intellectual re-
sources and refrain (metaphorically
speaking) from eating with their
knives.
A blithe novelty is introduced by
Manager George Tyler in connec-
ton with School for Scandals
kenuine fesh-and- blood dramatic