Evening star. [volume] (Washington, D.C.) 1854-1972, 1927-03-27
A BAD START WITH A
POOR TITLE
BY PHELANDER JOHNSON.

III spite Oh RlllH plCulCltOAS tid
the professional theatcr, weakened
with dissension and insecure il
popular affection because of tht
many shattered idols left by il;
tornado of sulphurous vapors, book
ing offices are out with then
usual confidence with announcements
that promise new ventures. well cal
culated to enlist interest. 1t is quite
evident that Broadway, while com
planning OF too many theaterS and
too much hardship and expense i'll
moving attractions from city to city
is far from being prepared to relin-
quish the field of production entirely
to the leagues and the little theaterS
X x X
The attitude of the professional
theater toward these invaders is
sometimes supercilious. The Quill
a paper published for press agents
in discussing the difficulties which
travelling productions meet COM
ments: vaudeville in various de-
grees of excellence continues i'll
many cities to share patronage with
little theater' amateurs, strawberry
festivals and oyster suppers.' Which
sounds just little bit "catty.'
X X X
A report from London that Rud-
yard kipling is to prepare his book
Puck OF Pook's HilI' for motion
pictures calls attention to the limited
interest the theater apparently has
held for this most popular author.
His poems have been recited with
enthusiasm by many actors. His
works are great favorites among
stage people, but he does not care
to dramatic. nor are many OF his
poems set to music. The Light
That Failed" gave promise in his
early career that he would be note
worthy contributor to the theater.
He was beset on all sides Tor per-
mission to add music to his poems
and usually refused Reginald de
Koven told with amusement of Kip
ling's reply TO a suggestion that he
write some poems suitable for song
with de Koven supplying the music.
Kipling's reply was, Il think my
own music as / go along"
<
Possibly writer may be too di-
rectly human for the stage. 1t IN
order to be welcome in the theater
an author must have the subtle
shades of meaning and the often
clubbing delicacy of Barrie. or
the tenuous sarcasm of Shaw,
Kipling could scarcely be quite at
home. He could not be expected to
scatter epigrams through the world
which would entitie him to the WORD
"Kiplingian," corresponding to the
term "Shavian," or "Gilbertian. 1t
may be doubted whether any one
was more amazed than Gilbert him
self to find his work placing him
along with the cynical philosophers.
He tried very hard to wear the cap
and bells in due humanity of soul.
Like Barrie, he took the privilege
of satirizing the most dignifed in
stitutions in British life, even the
courts of law themselves, something
that no humorist in this country has
dared to attempt conspicuously, ex-
cept Walter Kelly.
It needs a deft and dexterous touch
10 handle topics like these. Gilbert
is one of the very few liberettists
who succeeded in having his name
permanently coupled on musical
programs with that of his composer.
Admirers of Gilbert and Sullivan
differ as to which is entitled to the
greater share of credit for the sue
cess of their productions. The nu-
sicians say that without the melodies,
the rhymes and quipperies would be
of little effect. However. it may De
remembered that Gilbert quipped
and rhymed quite satisfactorily, re-
CARELESS of the musical scale. Just as
Sullivan wrote some OF his most
famous works quite independently
of his collaboration. AS originally
provided. the music is in the nature
Of interpretive establishment like
Jewels and brocade on a resplendent
society woman. The embellishments
become a part of the impression OF
individuality To read Gilbert S
libretti. which formed the real first
substance OF the entertainment
without the music, would be like
clipping the hair entirely off pet
dog. II would still be the same dog,
but it could not possibly attract the
former favorable attention.
After so many experiences with
the rhythmic rhetoric OF the average
revue it is always a relief TO turn
TO the rhymings of w. 5. Gilbert.
Syncopated music has led TO synco-
pated prosody and much OF the
versihcation sounds as if hastily ex-
temporized.
When one OF the revues was play
ing here a song that met with popu-
arity was Il Can't Get Over Cir
Like You Loving Boy Like Me.
A man in the back of the theater
harked back ITO the days of Lew
Dockstader's comic singing. Per
haps he had disappointments in af-
lection that disappointed him. His
musical rejoinder in d low tone was
a line from Dockstader song, you
May Get Over 1t, But You'll Never
Look the Same"
A considerable amount OF expert
menting III synchronized pictures
and sound has not founded any posi-
tive expectation that the speaking
drama can be superseded by the
films. marvellous as is the progress
that has been made in this direction
Whether or not synchronizatior
proves good for opera or drama
there is one use 20 which it can be
put which exceeds by far any impor
lance it can have in public enter
tainment Its educational value is
INCA irt1lahle A. q single exarronln