Evening star., 1926-10-24

- ing the taste OF disC' 'i''i'n~'
ing and comparatively limited
circle of playgoers who remain loya'
In their appreciation of the foreign
language classics, even though join
ing the throngs from time to time
that crowd the auditoriums to wit
ness farce or revue. These artists
are not so numerous as they were and
they find increasing welcome as time
goes on. One of them is Bertha
Kalich. distinctly representative OF
the old school Of acting. not only the
old school of American acting. but
that of the European theater. where
piaying means not merely the pos.
session of talent. but lifetime OF
discipline. at first under recognized
masters and later the higher d1sci-
pline of self.
"Magda" still asserts itself as a
dramatic poem founded upon theme
of social conflict that has become
archaic. 1t remains favorite among
great actresses. especially those OF
early European training. to whom
the authority of the home may be
still a recollection of deep and rever-
ential significance. Its chief lure to
the artist is no doubt its wealth or
extraordinary acting opportunities.
II presents shadings which range
from light and graceful impetuosity
to the severest darkness Of tragedy.
II is necessary for the modern audi
tor. as is so often the case with a
translated play. to call in his own
Imagination and construct picture
Of social surrounding which will
serve as a logical background. The
girl driven from home who becomes
a singer of high reputation and who
is, nevertheless. reduced 20 the same
abiect Difference to fathers wash
and word that she had felt in CHI d.
hood. is a character difficult TO rem
der plausible in the surroundings Of
the present. The role of the aged
father who asserted his will as I'M
mutable law in his household IS one
that must be PLAYED with all the con
fidence and skill Of such an artist
as Edward Fie ding. in order to PIE
vent an impression that the domi-
nant note Of the plot is the whimsi-
cal self-assertion Of an aged and ar
bitrary man whose years demand in
diligence beyond all rea son. The CON
flict between the life OF home and
the life Of an unconventional world
and the impossibility Of reconciilng
the two is touched upon with some
thing of the clear emphasis that H.
sen achieves in Ghosts bat it re-
mains a subordinate element in the
narrative that deals first OF a with
a life that is crushed by an authority
which knows no rule save that OF
plicit obedience.
THE Challenge Of Youth" has been
undergoing processes OF reconstruc-
ton. Its producers express conn
dent hope that it will eventually as
sert itself as one of the plays that
have been successes. even though
written more in rehearsal than in the
manuscript.
Ben Hur," after its remarkably
splendid enga cement, turns the stage
Of the National Theater over once
more to spoken drama under the dis
tinguished auspices of George c.
Tyler and Basil Dean The comph-
mentarv comment on the play.
Young Woodley." and the acting OF
Glenn Hunter represents lavish
flow of printers ink. One sentence
appears to link the engagement to
some slight extent with the religious
spirit of the departing Ben Hur." as
it refers to the performance as being
so perfect that it stands just this
side of Paradise" 1t may be doubted
whether George Tyler ever succeeded
in stirring quite so reverential