Evening star., 1928-03-18

II theater asserted itself with
extraordinary impressive
ness.
The domestic farce Tommy"
proved one Of the best examples
OF its type; unaSSuming, juvenile.
Pointing no great moral and hint
ing at no imminent social danger,
1t showed the influence so often
exerted by the prize play in sug-
,gesting the rattle of Skillets in the
NEARBY kitchen and the flsunting
Of the Monday banners on the
backyard clothesline
With Tommy" as a point of
modern mediocratic security, the
fheater diverged to the extremes
OF the most respected claSsiciSn
represented by Shylock. and in
Good News" the most advanced
revelation so far made possible
by the expanding resources of the
theater exploited by the richest
country on earth.
What the attentive observer
may think Of ArliSs as Shylock be-
comes unimportant as compared
with what ArliSs himself thinks o.
the role. The character Of the
old Venetian money lender has
long been a problem and has been
discussed from time TO time on
acrimonious lines For this there
is no excuse, as it may be urged
IN all logical candor that, after all,
IN the midst of insulting prodigal-
sty Shylock stands forth with
monumental patience until goad-
ed 10 extremes in a resentment
which human nature could not
escape. In spite Of his fury when
his provocations and motives are
Frankly analyZed 1t becomes quite
possible TO look al the plot from
an unusual angle and regard him
rs the only instructive gentleman
IN the cast.
The ArlisS Interpretation Of
Ehylock does not relapse entirely
into the traditional concept Of i
bloodthirSty monster who. with
supernatural preScience, knows
that ships will be wrecked and
contriyeS deliberately 10 entrap
his commercial rival into a muir
cerous contract. Arliss makes the
character quite human and al
,owg its developments Of rage and
hatred 70 assert themselves step
by step as the story calls them
forth.
II is a discreet moduiation that
this eminent actor offers, as he
turns with extraordinary facility
from q characterization. depend
ing 50 largely on superficial &C
curScy Of delineation as that Ct
the central figure in "Old English"
10 the study Of motives and i'm
preSsiong, complex and sensitive.
which have been centuries In .he
making.
In humanizing Ehylock, Arli8s
does not 90 50 far as 10 pave the
way with any security for the cX~
freH1igtE who seek 70 make the eX~
position Of q Ellakespeafean role
q matter Of parlor recitatlOns
with no costume requisite beyond
the conventional attire apDro-
pirate 70 q social afternoon or
evening. He takes no Liberties
with the role which has crystal
9aZeo In population tradition To an
extent that only methods Dartici-
pating In burIeque could hope y,
sptagonlze
-
Gbylock, the monster, has been
gyafaded Tor 80 many centuries
That he has become q fixed IDEA.
'5hylock, hurt and perhaps no
more yengefuI when advantage Dy
the turn VI chance falls INTO his
Hancs mat the simple impulses of
nature might account for NAV
not have hls fun opportunity II
oppression until some venture
some player carries out the eve
nlng clothes threat and turns the
tragedy into hariequjnade
After this has taken place an
averaging may be undertaken
which w!ii permit The pfesenta-
ton OF Shylock implying neither
diaboiical unTesttaint VI human
passion, nor yet relapse into the
attitude " Hyrt Of iay figure in
. gFoteSque fairyiaDo VI antiquity
Instead u putting Giyloek int
dress suit, IT might be more suit
sDie for the reckless explorer int.
the realms ~ poetry " put h:n
into paiauaS. The eutefDrise
would be rather veil iD keeDiap
with the tendency ~ make ihf