Evening star. [volume] (Washington, D.C.) 1854-1972, 1927-03-29
ADJUSTMENTS
NATIONAL THEATER-"Trelaw
of the Wells"

W the WtuS.
A flood of genial Renaissance
swept over the audience at the Ma
| tional Theater last night--an audience
| that could not be surpassed in dis
tinction, since it included the Presi-
dent of the United States and his
family.
If the season of 1926-27 has a times
been haunted by the death knell Of de-
cency, 1T has also sounded reveille for
1t has also sounded q reveille for
the standards of pre- jazz days. Ire
laWney is delightfully."- Victorian in its
era. 1t dares poke fun at austerity in
British offfcialdom. Like w. S. Gil
bert, Pinero found high dignity suffi-
GENTLY secure to bear little innocent
chatting. The caution and discretion
with which it is managed measures
the art of the performance. 1t must
be admitted that Pinero lacks the
ready repartee and the pnngent para
doX of Gilbert. His gift is not in
word wizardry, but in genuine, SEN
timent, which resents caste and loves
the sincere in human nature.
The story is simple and direct. 1t
has frequently been told in one way
or another. A high born youth loves
SiIl ttCliNSSs Ills oDJCCl W
their marriage. A struggling author,
who loves her mutely and afar, con-
trives to bring them together after
the boys grandfather has been
brought under the spell of the
theater and compelled to confess his
reverence for the histrionic associa-
ton of Tre1awney's ancestry that
had impressed him in his youth.
1t is a play less remarkable for
it's own power than for the manner
in which it affords almost equal
opportunities for one of the most
brilliant companies of players ever
assembled.
John Drew as the vice chancellor
was conspicuously, placed as the dean
of the actor assemblage. Having for
many years instructed youth in the
arts of polite behavior, he now turns
with no less facility to showing how
prolonged maturity may apply whim-
steal restraints without sacrifice of
affection.
The youth of the play is repre-
scented by Miss Gahagan and Rollo
Peters. AS Rose Trelawney, Miss
Gahagan succeeds more nearly in
merging herself entirely into a role
than she has ever done before. She
is consistently charming and often
Peters is an III 3Ned expression
of Byronic romance. Il is his privi-
lege to shed the final secret tear
after having made happy the women
he loves by forgetting his own de-
votion and weaving stratagems to
unite the struggling and bewildered
sweethearts.
To say 1.-THE plays the thing" has
long been customary.
This time the cast is the thing. AS
Teller, the pompous actor-manager,
Wilton Lackaye, after all these years
of somber impression, makes highly
successful debut as a comedian of
broad methods. Henrietta Crosman as
his wife gives her stimulating vitality
a suitably vinegarish tang. Otto Kruger
clowns entertainingly and makes per-
sonal effort in the way of fun sub
stitute for material denied in the dra-
matte test John Kellard gives a
human Interpretation of actor jealousy
as to art and opportunity which only
those who know actors can appreciate.
Estelle WILDWOOD and Peggy Wood
help to take the audience behind the
scenes and make it realize how in
tensely human the figures in the world
of theater are at heart. Effie Shannon
turns with accomplished ease from the
gentle winsomeness she so long por-
trayed to the strict and acidulous man
ner of uncompromising aristocracy.
O'Dwyer, the prompter, played by Mr..
Kerrigan, is typical of the theater
functionary who does little but is eX-
ceeding wise as to what should be
DONE Lawrence D'Orsay as Capt. de
Foenix embellishes his delicious accent
with a lisp conveying reminder OF
Lord Dundreary, and his wife is repre-
scented by F'rieda. Ivescort as retiring
yet by no means inconspicuous duenna
whose heart leans little more to the
side of love than to duty. Gerald
Rogers. butler, and Peggy Whiffen,
maid. each claim momentarilv the CLINT
of spotlight as it is due. o. p. Heggie,
unassertive as usual, is still the artist
that makes him always effectual.
Perhaps the most enthusiastic ap-
plaslse of the evening went to Mrs.
Thomas Whiffen, whose many years
of acquaintance have made her an
object of affection as well as admira-
ton. Nothing could have been more
captivating than the manner in which
she Indignantly "swished' her skirts
as she left the room in high dud-
geon." She demonstrated lost art.
At present there are no skirts TO swish
The fact that the play was staged
by William Seymour brings another
honored veteran of the playhouse to
attention.
The enterprise is characteristic of
George c. Tyler, who consistently as
serts in his producing that in giving
the public what ii wants that element
of the public desiring the best Is en-
titled to consideration.
PHILANDER JOHNSON.