Evening star., 1927-04-03

COIEldOfS OF time at the CaIi OF
"Trelawny of the Wells" Never
regarded as a very great play, It as
sumeS perhaps the highest dignity II
has even enjoyed as the means OF
showing a cast never before ap-
preached as an assemblage OF bril-
liant regulations honestly earned by
past performances.
~
And there N~,re many surprises as
familiar f4vorites doffed the man
ners and methods TO which their
admirers lad been accustomed and
at all sorts OF ripe ages appeared tC
be perfectly at home and buoyant
with ambitions for the future as
they stepped into new lines OF
impersonation.
1t was worth waiting awhile to
see John Drew wigged and gouty
and irascible portrayirg one OF
those Grumpy-ish old fellows who
flatter mature imagination with an
idea that any sort of whimsical DEM
onstration will be forgiven because
Of the sound human affection which
lies beneath the superficial asperi-
ties. John Drew is still a model OF
manner and appearance, though no
longer rival CT the tailor's fashion
plate. or of advice in print as to the
hne points for juvenile guidance in
matters OF polite behavior.
81
AS a Vice Chancellor, he has TO
dispense with one trait of individu-
atty which seemed a part of his
agreeable identity He has no op-
portunity to place his fingers behind
stiff white linen collar and elevate
his chin with slight air of discom-
tort as if he were sparring for delay
IN answering some embarrassing
question. The villains of the melo-
drama were expected to shoot their
cuffs" for no dramatic reason in
particular. Drew varied the pro-
cedure by shooting his collar" and
with the touch of an artist improved
the gesture SO as to give it genuine
dramatic significance.
y 81 \
Different actors have various
methods of portraying a moment of
mental agitation and a quizzicai
frame of mind A Bruce McRae
performance would be incomplete to
the observant eye if. once or twice.
he did not rest his left elbow in his
right hand and stand as if wondering
whether he were not tempted to
seek some thought stimulation by
pulling his own ear.
e. II. Sothern has very convinc-
ing way, when a scene suggests that
he is embarrassed, of stepping into
a corner. his back to the audience
and standing for an instant like a
reproved schooiboy.
The word "mannerisms" has been
hurled at many an actor in critical
dlsparagement, but the best-beloved
actors IN many cases had most pro-
nounced mannerisms which became
accentuated as the custom of cast
ing an actor for one exclusive line
OF type tended to efface versatility.
x x X X
o. P. Heggie scored the triumph
OF an artist in bringing a minor role
into conspicuous admiration without
a single gesture or infection ap-
parently designed to give himself
prominence. His spirit indicated a
lamb-like readiness to 60 upon the
altar of actoriai seif-effacement. His
drollery was nevertheless captivat-
ing.
John E. Keller seemed to revel in
an opportunity to divest himself of
classical austerities or the tensities
of melodrama and give a closely
studied portraiture of the player
whose self esteem is lofty and sim
cere, and his attitude toward rival
artists correspondingly acrimonious.
Henrietta Crossman, who astonished
the theater-going public as Mistress
Nell, which George Hazelton wrote
more through love of the theater
than with the incentive Of profit,
brings revival to attention of her
dashing self. In one of her long ago
scenes while portraying an English
beauty, unconventional of manner,
she ventured upon a touch of pro-
tanlty. 1t was regarded as very
daring, indeed. As she escaped from
window she laughingly exclaimed,
Gentlemen, gentlemen !'-and fol-
lowed 1t with a colloquial invitation
to depart for regions consistently
referred to by perfect ladies at that
time, as "Hades" 1t would be in
teresting to look at and hear Miss
Crosman if she were handed a part
in some of the plays which have
arisen IN this era which represents
the utmost elimination of the
naturalistic style of dialogue.
And there is Efie Shannonp
murmured many a voice as the de-
Inure and sedate sister of the Vice
Chancellor reflected all the charming
severity of secluded feminine life
whose chief responsibility was to
observe the restrictions imposed by
a distinguished family association.
Both admired and beloved as a player
OF many parts, many sentimentalists
VIII remember with especial thought
her association with Herbert Kelcey
which was one of the most remark
able examples of mutual devotion in
the annals of the theater. Producers
have never liked to have husband
and wife in the same company.
There have been exceptions. But
IN the American theater the idea has
generally prevailed that discipline
becomes difficult when two i1npor-
tant people are sure to sympathize
IN case 0f ean1e yeseptyDapt -, <L .