The daily worker. [volume] (Chicago, Ill.) 1924-1958, 1926-10-09

A T the Kamerny Theater, the first
4 \ production OF Eugene ONeilps
"The Hairy Ape" was given a few
weeks ago. The play does not seem
to appeal greatly to the Russians, but
this is probably due to a great extent
to the poor Interpretation and bad
production.
The first scene when the ~stokers
are drinking and singing has that
sympathetic realism, to a lesser de-
gree, which the Russian theater Gre
ates in scenes among the workers,
but the second scene on the upper
deck is the usual Meierhold burlesque
of bourgeois society. Like every 9TH
er impersonation of American girls
on the Moscow stage, this girl wears
an amazing red wig, is sensuous and
altogether carricature of the frivol-
GUS society girl. The scene in the
hold on the first instant holds the
audience spellbound by the striking
picture: the stokers stand before the
glowing ovens and shovel in unison;
above the sing-song of their voices,
the machinery grinds and the whistle
shrieks. But later one is irritated by
the absence of a realistic touch-the
stokers are all so clean and cool, not
a trace of coal black on their chests
and smooth faces. One is willing to
overlook the absence Of hair on the
powerful, white chest and fresh face
OF the Hairy Ape" but at least he
might have been little dirty. In the
lull. when the apparition of the red
haired fashion plate appears on the
stairs, it is difficult to understand
why such a sophisticated young lady
should be terrified at the Russian
swear words and appearance of this
young man.
The scene on Broadway with It's
whirling electric signs and the par
ade Of degenerate society men and
women Is very picturesque, but here
again the Russian conception OF bour-
geois society cannot be applied en-
tirely to the United States, which Is
as yet saved by its youth from the
degeneracy of Europe. Judging from
the scene in the /. w. w. hall, the
producer is wholly ignorant of this
militant labor organization and pre-
sents a characterless picture. The
closing act is very weak and leaves
one with a feeling, of uncertainty and
unreality. The Russians, of course,
do much better in their own new
drama than In foreign plays, which
seem weak and futile in comparison.
THE Kamerny is presenting a new
L melodrama, 'Rosita," apparently
"a political satire on King Alfonso Of
Spain. Rosita is a beautiful gypsy
street singer, the idol of the people,
with whom the king is so infatuated
that he grants a pardon TO her lover
who had been condemned to death.
When the play reaches what we sup
pose is the climax-the unexpected
execution Of the lover-it continues
in two more exciting acts. Rosita
leads an uprising. gains admission to
the palace and kills the king. The
anti-climax occurs when the lover
comes to life. just as the people storm
the palace. Attic 30 similar In plot
to the old French melodrama MAR
ion de Lorm" (Which Is much better
acted at the Arbat Studio), and so
long drawn out, 1t makes an absorb
ing spectacle. The stage settings are
simple and beautiful, following the
present custom Of altering by decora-
tons single set; the singing and
dancing are charming and the carl
cature OF the king very olaver.