Evening star., 1927-10-17
NATIONAI-"The Jazz Singer


Tt remained for ''The Jazz Singer.
which was seen for the first time il
Washington at the National Theate,
last night, to lift the word "jazz" from
long humility and enable it to com
mand respect. 1t invades the domain
or poetic expression and asserts itself
as the symbol of the buoyant spirit OF
the New World as it rebels against
the reverential spirit of the past-and
inevitably, in greater or less degree
SuccumbS to It.
III it were no more than a fine We
hlcle for the display of George Jessel's
wonderful art, it would serve a dis.
tinguished purpose in the theater. The
play goes even further than this and
creates an impression of studious oh.
Servation, deep human understanding
ana that delicate sense of proportion
without which plays are made not for
artists, but only for buffoons.
An interesting glimpse into dra-
matte evolution is afforded A maga-
zine story appeared. 1t was entitled
The Day of Atonement." The writer
was Samson Raphaelson, who drama
tized his work and left it to be staged
by Albert Lewis. Mr.. Lewis also pre-
sents the completed product, in associ-
alton with Sam Harris. Whether Mr.,
Lewis or Mr.. Harris decided on cast.
ing Jessel for the important role is not
of record. Whichever it was may
credit himself with a stroke of genius.
With very definite story of it's own
to tell, ''The Jazz Singer" like every
other drama, reflects previous themes.
Instead Of Magda, the prima donna,
struggling to obey her fathers will.
here is boy favorite in the cabarets,
with houndless adulation before him
in the white light avenue, who turns
to type, and, with the hereditary in.
stinct of obedience and home love, be-
comes Cantor, like his father and
his grandfather. The abandonment of
a career has it's pathos; even its trag.
edy. But it is a magnificent demon
stration Of the family pride which re-
fuses to sacrifice loyalty and faith to
worldly interest.
The performance holds little for the
seeker for noisy diversion, lured by
superficial glimpse of the title. 1t is
for the connoisseur, willing to venture
on unfamiliar quest in hope of CRATE
1ul surprise. With all its quaintness
of character delineation--a quaintness
that reveals strongly contrasted vet
always consistent types-the basic
thought remains immutable. The love
and reverence of childhood remain a
hallowed influence which cannot be ef-
faced by the delirium of unsubstantial
novelty.
Many parts are played by Jessel in
this one piece. No other actor within
easy recollection has revealed such
secure versatility. He is the singer of
boisterous tunes. In them he traces
sacrilegiouS resemblances to the
strains, hallowed by antiquity, to
which his father gives a lifes devo.
ton. He is the fiippant comedian, the
blackiace artist with the NANNY
song" the lover oiffident in his pur-
suit, and finally of sacrificing dignity,
the man capable of relinquishing every
material interest for the sake of ideal.
Praise could 60 no further than to say
that the player realizes every phase
of the role convincingly without allow.
Ing exquisite comedy t. outweigh its
dramatic intensity.
The music is employed with extraor-
dinary dramatic effect
The appeal of the play is exceeding
1y subtle. The auditor who lacks knowl- |
edge or imagination necessary to
glimpse easily the customs of others
whose devotional thought extends far
back from this time and beyond these |
shores, may have to wait until the play
has progressed for some time in order |
- find himself in comprehending SYM |
pathy.
The waiting will be we'll rewarded. |
PHILANDER JOHNSON.