Evening star., 1928-04-01

IL may be, after all, that a
theater like human being. func-
tions better after a little period OF
rest. The announcements for one
OF our Avenue playhouSeS often
shine with exceptional brilliancy
after a period of dormancy such
as was recently renewed.
The theaters that kept their
lights up in the lobby had nothing
stupendous to offer. Frank Craven
was the reliable entertainer
Craven exemplifieS the motto in
the old school reader, IF you want
thing done well, do it yourself. -
He is one of the few persons,
however, who can make the rule
apply to the stage If he wants
a good play he writes one. Then,
when he looks around for a good
actor for the star part, he casts
himself for the role, with entire
satisfaction to all concerned. He
naturally holds a controlling word
IS TO details of stage management.
In fact, Poo-Bah himself could not
have been buster.
%%&
Many a player, especially one
associated with music, may be
viewed as the eliminating result
Of a multitude Of forces concen-
trated on the brief period Of the
stage appearance. Poets. music
composers. scenic artists, cos
tuners and many others lend
their skill to enable one performer
10 step apparently from some
nearby fairyland for fieeting
mortal acquaintance. This is the
method, for instance, of a Zieg-
field show so lavish in its contra
diction Of the opposite extreme as
represented by the plain little
heart-to-heart farce The 18TH
Hole"
The Cravenette comedy should
be found a great philanthropy
on rainy day matinee, when de-
voted golf enthusiasts prevented
from actual play can nevertheless
get fully into the atmosphere Of
the game.
II is long time since golf was
q mystery which permitted James
Barrie TO expect TO laugh with the
naive inquiry, What are golf
eYE2" or TO enable that popular
figure in early musical comedy,
Dan DAILY, TO remark with a orawi
a8 characteristic Of him as the
occasional lapse into high treble
wSg of SfY2Yt ROhan9
Golf! Great gamel You hit the
ball and If you find it the same
day you hit it, you win!"
The thoroughly contrasting at
titude Of the stage as occupied by
Dan DAILY and as now tenanted
by Frank Craven affords a con-
yincing example of the theater's s
gradual change; change usually
almost imperceptible while in
progress, but very accurate in re-
necting the shifting attitude OF
popular taste and custom.
4ss
Blanche Yurka, whose acting
has tested the admiring rhetoric
Of theater reviewers many times,
puts herself into what seems 10
be a modern theatrical inclina-
ton. The Gqualp depicts the de-
structiYe power which a primitive
and undiGciplined feminine ma
ture may bring 70 bear In a
hitherto peaceful and well-reg-
ulated home. The gypsy girl, In
whose wake the tempest follows
as II she were a. bird Of Ill omen
such ag sailors dread, has a part
50 spectacular in emotional
method that IL challenges interest
on almost equal terms with the
role played by Yurka herself.
II shows fine sporting spirit foi
sn actress like Yurka 10 allow the
big moments 10 be distributed "
even -bance0ly IN cast Of which
she is the star Lionel AtWill
VINO staged the play. in view Oi
nis habit of thought, which re-
iateg flrst VI all 10 the individual
player. ls possibly responsible fOI
applying the spotlight with such
pvidnesE u technically ninoi
roles. They oil pass In procession
&c lUnlnafies of almost equa
HlakIIgbUIE. n sense III pfOtSDfttOf
ig lost
A wealth of stage artifice is al
Atwill's command which reaches
lnto the domain ri spectacular
effect ss well Az that Of figure
grouping and the reading ol
lines The persistent rainstorjH
has not been better executed since
times when the So~calied "tani
drama" covered the stage with 4
rubber basin and permitted al
KINDS of aquatico dramatic dem.
OnstrationE The downp0ur ~
The Squali" would be more effec-
tive IN reaching the imagination
n II CID not follow 50 closely upor
TIE career " Rain" which wOul1
AeGrG 81 taaa sg4tEs1.a meth.