Evening star., 1926-10-10

cleu1t TOT O4 1,Is"He
that ancient creation known as the
French farce 1t has done duty, this
so-called French farce, for many
generations. # dates prior even to
the time when men were supposed
to conceal from their families and
even from their more sedate friends
the fact that they had visited a va
riety theater, where the latest pOpu-
lar songs were introduced and the
chorus appeared audaciously in silk
1eshings.
Sardou himself took fling at the
particular type of entertainment still
classified as French farce. Such old
plays as forbidden Fruit" and
"Divorcons" were we'll wrought
specimens, and claimed more re-
spectful consideration than most of
the French farces, which are re-
modelled from fugitive pieces, hastily
written, and expected to be short
lived, unless rescued by some enter
prising American connoisseur from
their native home.
"Her Cardboard Lover" succeeds
In dispensing with the quarrelsome
husband and wife. who mea lder
from the straight and narrow path,
only to be thrown into each other S
arms eventually. after a series of
experiences apparently threatening
all kinds of moral turpitude. The
man hired to impersonate lover in
order to protect a young woman
from her own irresistible inclinations
toward an unscrupulous sheik of the
boulevards proves that it is not
necessary to sing the old songs over
and over again, even in French farce.
Yet too much searching for novel
ty may mean attenuation OF thread
of interest such as to render it too
slight even to sustain the burden OF
a frivolous evening. Farce depends
on the apparent seriousness with
which the characters find themselves
compelled to accept the most absurd
situations. Yet. however absurd the
situation. it must be in some de-
gree humanity plausible-unless the
the domain of acrobatic mirth and
physical caricature.
True to her training in a theater
of the most serious and admirable
quality. Miss Taylor elects to play
of drama. Assuming that she sacri-
feed artistic pride to the glded lure
that a more or less unsavory pay is
now supposed TO hold she apparent
ly was unequal to the artistic sacri-
fee involved in going through from
A 3 G clear to X Y Z. and giving
the work blunt. uncompr omiSing
style of Interpretation which would
enable the groundlings to be con-
genially tickled. however the judi
cious might weep. Miss Taylor has
not the qualities of a rough per-
former. Wherever the pot may
place her, she seems instinctively to
Insist on being perfect lady. Her
best scenes are not those seeming
60 indicate laughable predicament,
but those which portray wrench
Ing of heartstrings. Nobody seems
quite happy in the fortune which
nature bestows. Your comedian
wishes to play tragedy, your trage-
dian revels in the opportunity to
figure as a jovial raconteur, and
every now and then charming in
terpreter of greatest satirists insists
on going into musical comedy. No
doubt many people will find it en-
tertaining to see Miss Taylor in a
theatric atmosphere in which they
have not known her before. Wheth
er she will readjust a stage personal
ity so well established to this new
line of demonstration in manner
which will hold her admirers and
gather new ones is a question. Time
must test it out, as in the case of
all venturesome footlight expert
mcnts.
"The Patsy is pleasant. straight
forward little Cinderella story with
that sympathetic appeal which al
ways attaches to sweet. neglected
heroine who is at last duly appre
ciated by some lofty and discerning
mind. If it were still the fashion to
designate plays in groups. as it was
when we had the problem play,
the book play" the farce comedy
and others whose titles. after ALL
held no precise significance, this
work would probably be designated
personality play" Claiborne Fos-
ter has the rare gift of apparently
effortless portraiture of simple,
unaffected type. She does not as
sumo to convey suggestions OF super
fetal polish TO be eagerly attended
by the youthful matinee sisterhood.
She is just plain girl. and. without
going quite as far in dispensing with
the customary artificialities as does
Ruth Gordon, she steps into the
memory as wholesome figure of
irresistible charm, satisfied to be ac-
cepted in plain acquaintance on
terms of the genuine.
X + 4 X
Another reminder of the possibiii-
ties of the films in connection with