Evening star. [volume] (Washington, D.C.) 1854-1972, 1928-01-22

series of pictures affords en-
phatic reminder that the brave
and unequal struggle of the men,
Der of the family who is SO for
tunate, or rather so deserving, as
to have a steady Job may be 60
ing on just around the corner.
The underworld play has been
featured in the American theater
to an extent that created suspi-
cion that its possibilities were
about exhausted. A new atlnoS-
phere Is afforded the pictures of
unrestrained wickedneSs and ty-
rannicai graft by bringing the an
Gent civilization of the Orient
into evidence. THE Shanghai
Gesture" is a reminder that the
age-old moral philosophy of the
Chinese is counterweighted by the
influence of age-old vice assert
ing itself In every historic civili-
cation.
In spite of all that had been
read and told about THE Shang-
hal Gesture" the public was not
well prepared for the play itself
The most expert descriptions
could not prevent comparisons
with previous Oriental drama
The fact that the production Is
by A. Fl. Woods recalled one OF
those old-time thrillers when a
dollar was considered quite lib
eral payment for an AL Woods
evenings entertainment. It was
entitled THE Queen OF the
Opium Ring" and was a blunt
specimen OF realism designed to
show the spectator everything the
human imagination could invent
in the line Of exotic terrors. THE
Gesture" has nothing TO do with
this bygone sensationalism. While
melodrama In the technical
sense, 1t slips neatly into gear
with the current tendency TO alb
stract speculation relative TO
chronological distinctions and con-
trasting social customs.
II recalls several great presenta-
tons OF Oriental drama without
lending itself TO close or ac-
curate comparison. In scenic
beauty and tensity of interest II
is, though less elaborate In stage
settings, associated In remem-
brance with THE Darling OF the
Gods" In which Blanche Bates
made a sensation scarcely less
than that now being caused by
Florence Reed. 1t does not break
away from the customary Euro
pean methods OF the theater, al
did THE Yellow Jacket" yet II
has something OF the same quaint
manner Of fatalism which meets
human events as expressions OF
superhuman and immutabie will
THE Gesture" ig not a melo-
drama I'm the old sense OF the
term. IL has no reminder OF vir~
tue rewarded. although II Is i'm
placable In Its punishment Of
vice by the most E0ul-torturing
methods. II there In any admoni~
ton intended as Il moral 10 this
II1I1D1iIk SLJIJ, ~ HuEk VIC lldi
which was linked with such beau
tifui .pathos into the story oil
Madame Butterfly" The GEES
ture' expresses the feminine
sense Of justice grown militant
and the play might have been
called The Butterfiy's Re
yenge"
| IL LIS a remorseless study In
/ fetTibutions and carries out the
meaning 0f various adages re-
lating 10 the warning In sacred
writing Vengeance In mine" II
has been many times written
that deliberate effort at revenge
would seldom be undertaken II
the full effect OF the undertaking
could be- clearly forsseen.
This play, which establishe,
Florence Reed as one OF thu
greatest English speaking play
ers, reyiseg Into new importance
the emotional drama. Excellent
p, pls ying by various members III
The cast does not permit n mo.