Evening star. [volume] (Washington, D.C.) 1854-1972, 1927-12-11
The Knockout
Dramatically In Evidence
BY PHILANDER JOHNSON.

| the halls OF literary lame. ne nm
ish modiiies neither conditions nor
true personality, and by this method
makes the strongest possible bid for
recognition of the piece as master
work in realism.
x X X x
A new style of play has developed
new style of actor. The theatrlc
crook is no longer the heavy jawed
citizen with a cap pulled over his
eyes, nor, going to the other extreme,
has he the polished urbanity of a
/ Raff1es. When the Chicago crime
play entitled "The Racket" was
shown here it revealed all actor who
had already found admiring atten-
ton among Washington audiences
edward Robinson) as type of I'M
derworldling peculiar to present So
cial conditions-the man who bullies,
but does not skulk; who asserts his
domination not merely over thugs
and gangsters, but extends super
cilious and incorporating au
thority over politicians who need
service from his organized forces.
The hackneyed phrase Master
Mind" is made humanity vivid, and
this one Characterization enables
The Racket" to come pretty near
ranking as genuine great play.
Though not of the criminal world,
the character Circus" Snyder gives
a similar impression as played by
Crane Wilbur in so far as the impress
sion of mind mastery over rugged
types is concerned. His thought is
swift and penetrating. 1t goes
through a situation with rasp. He
is like human file. Though sur
rounded by hrst-rate character de-
lineators, the stage waits little when
he is not in action. In addition to
disposing of the difficulties devised
by the plot maker, he joins Mr.. Rob
inson in bringing forward the cur
rent interest drama in a manner
which leaves Romeo dimly remem-
bered as figure in romance.
| There is no convincing heart in
terest."
Love may be delightful pastime,
but in the world where men struggle
lions at stake, the motto of every
moment is Business before pleas
ure."
The hurly-burly of melodramatic
strife was relieved and will be fur
/ Their relieved by the rehnements OF
grand opera which lead away from
the current magazines into the litera-
ture sponsored by Goethe and poets
of kindred sublimity. The Albion
opera heightens its standards from
year to year and shows deftness in
utilizing abilities at hand, as we'll as
enterprise in going aheld for the
services of distinguished talent.
| Opera in English has been the dream
OF many an impresario. 1t is hard to
secure. When a foreign singer is
imported, the opera is undoubtedly
improved; but it ceases to be en-
tirely English.
| x x * X
The American opera which will be
auditorialized (why not, since we
have so much of the word "visu-
alized"?) before many days goes
further than the hope for English
opera and contemplates opera of
our own continent. Encourage
ment is found for this new line
of exploitation in the numerous
singers who have made reputa-
tons of great brilliancy quite in
dependently of European training.
A repertory which includes Faust"
Madame Butterfly" and "The Mar
riage of Figaro" offers an abundance
of standard excellence in compost
ton without inviting too lofty an at
tempt to follow far flights into CLASH
cism. The all-American opera en-
joys the sponsorship of one OF this
country's greatest fortunes For a
succession of genuine temperamental
thrill, backing an opera company
would seem to offer more possibili-
ties than would be expected even
from series of transatlantic fights.