Evening star., 1928-04-08
JULES and JOSH WAUTON- Earle
From Vaudeville to
Legitimate Drama
By PHILANDER JOHNSON.

A keen observer of human ma
ture, Dillingham; has known how
to utilize publicity talent Of all
. kinds. In years when many re-
porterS regarded it as a privilege
TO print anything they heard. re-
gardleSS Of a request for silence
in fact, the more eager to publish
what appeared TO have been a
profound Secret-Dillingham con-
fided a strange story about the
attraction in which he was next
TO be associated. He was most
earnest in requesting absolute
silence about the matter until
further developments. In men,
tioning the incident later. there
seemed to be sadness in his eyes
that might almost provoke the
glistening Of tear.
Il feel almost as If my conf
dence had been betrayed" he said.
II told this writer that beautiful
story and carefully impressed its
Importance by asking him to keep
it secret. And would you believe
that he never printed a single
word"
Which makes 1t clear that with
all his debonair philosophy. Dill
lingham is not without his cynic-
ismS.
A series OF plays composing a
week S reportory. under the aus
piceS OF Eva La Galliene as direc-
tor of the New York Theate-
Guild, are among the prospects of
another season The word guile"
has come TO hold variations of
significance, all relating, however,
for the modern equivalent of that
historic piece of currency, ''Thc
Guilder." This particular guild
operates on a subscription basis,
which frequently finds it equipped
with resources to meet expenses
long before the curtain is lifted
/ Managers are now demanding a
guild as a means of protection
against contract breaking. There
are many managers far from hav-
| ing attained the proud security nf
| the veterans whose names are
now so well known. A large num-
Der Of weeks during recent seasons
have displayed firm names scarce
/ ly heard Of before The dramatists
also have a guild AS all seem 10
be in good working order and one
! guild has the privilege Of appeal
ing 10 another for advice and as
siStance when emergency arises,
the icea appears capable OF de
/ Veloping a comparatively new and
practical working basis for drama
| in its commercial as well as in its
more intellectual aspects.
I
In the slight bewilderment that
/ hinges comment on the Eugene
/ O'Eeili play. Strange Interludc,
/ q new attack has been launched
on that old antipathy. the aside.
! The use Of the interiected solilo-
guy is profuse in this play and has
been referred 10 as a point Of ex-
traOrdinary novelty. Playmaker'
have always used the aside with
! out hesitation or restraint until a
wave OF objection 10 1T was Gre
/ ated by comment often more con
eerned with detraction than WITH
any effort 10 enlightcn Tht
greatest objection TO 1t was prob
ably raised by the author or hi
champions, who, not being gpe-
cially dc1t with praise, desired U
make the competition equal bS
limiting the standards Of merit u
ingenuity Of plot and yigor Of ac'
ton. That the aside has enor
NOUS dramatic value has ofter
been shown in Hamiets "Solii0
Quy', IL becomes supreme mo
ment in the action Of the tragedy
The aside should have a certain
1 degree Of respect from the homes
reviewer in its effort TO claim con
sideratlon, even though II be pre-
sented frankly In the lonely guis'
| of merely one mans opinion"