Evening star., 1928-03-20
ADJUSTMENTS

NATIONAL-"She Stoops to Conquer" !"
The George Tylerian propaganda for
honest English literature on the stage
again asserts itself with "She Stoops to
Conquer" taking curtain calls at the
National Theater.
MANY years must elapSe before plays
of delightful quality once relegated 10
the classics" emerge from the gloom
of pedagogic restraint into normal hu-
man interest. This drama into which
Goldsmith threw his own personality
with SO much candor has often been
hit lpon as a means Of wearying the
patient teacher struggling to impart
ideas he himself has not fully graspecF
and weaning no less the faithful puph
who has not gotten far in poetic taste
beyond Twinkle, Twinkle" Last night S
audience was no aSSemblage OF 1uVenhe
enthusiasts. 1t was gathering eager
t. forgive the dull school master and
take the poet. first hand. into It's teart'
When public interest is aroused by
great work of writing, curiosity Is in
evitablv excited as to the personality OF
the author. To Oliver Goldsmith
witty fellow poet referred as:
Dear Noll,
Who wrote like an angel ana
talked like poor poll"
Noll here reveals, perhaps inadVert-
antlv. little Of himself.
Recruits from the old guard Of the
theater were assembled TO give cultl-
waited taste and seasoned experience to
the performance. OF course youth was
in evidence. but 1t was the sort OF
youth that has instructive comprehen-
sion of the best and permanent stand
ards of the playhouse. Among them
Leslie Carter shone etfulgently. AS
Mrs. HardcaStle, the aristocrat who
Knows how to defend her dignity against
ruthless attack, she succeeds In sound
ing new note in her career. Without
the spotlight of "Zaza" or "Du Barry
she steps forward and scores by per-
sonal quality alone the credit for a
memorable impersonation,
Lyn Harding, whose repertory has
ranged to historic heights. reaching that
of a king himself. enacts the part OF
a squire who reflects the gentle geniality
of Sir Roger de Coverly himself: with
moments OF whimsical perplexity that
bring him into relationship with PICK
wickian recollections.
A figure which always catches atten-
ton irresistibly is that OF Tony Lump
kim Glenn Hunter modernizes the role
BY giving 1t a certain graceful touch
OF elfin mischief. in contrast TO the de-
liberate heartleSsneSs that has usually
characterized the impersonation.
Young NARROW is the character in
which Goldsmith may be assumed to
have written with hint of auto
biography in describing contrast OF a
modest Difference In artificial circum-
stances and a reckless audacity under
others. In conventional wooing he
talked like poor poll but in expressing
serious feeling young NARROW rose 10
poetic warmth The part Is taken by
Wilfred Seagram with fine and impress
sive contrast His scenes with Fay
BANTER, as the girl who gives the play
It's title. had a charm which could be
attained only by two players OF skill
and perception.
One of those parts which would not
ordinarily amount TO much. that Of the
clumsy but willing servitor "Diggory,"
becon.,s brightly prominent because 1t
is played by the favorite, 0. p. Heggie.
prologue as recited by Pauline Lord
becomes thing OF beauty, and even the
very minor role of young Marlow's
father. who appears only at the conclu-
sion OF the piece, calls for q hand OF
welcoming remembrance as played by
Lawrence D'Orsay. Patricia Collinge Is
delightfully."- girlish. Horace Braham Is
a gallant lovemaker. and. should recol-
lection falter, others may be content
with the chronicle which gives each and
all credit for holding his own in exceed
ingly good company. That the play was
staged by william Seymour accounts
for the element Of precision that con-
rributed so much to It's pleasure
This presentation OF the old Gold
smith found hilarious greeting, as It
afforded opportunity TO restore what
became for q while the task OF q stu
dent TO Its original function as q source
of honest human rlirth.
PHILANDER JOHNSON.