Evening star., 1928-12-11
ADJUSTMENTS
NATIONAL THEATER-"Jim the
Penman."

! In an arbitrary allotment of the fields
| of theatrical eminence BelaSco and
| Ziegfeld have been mentioned as SUI
preme leaders in respective lines of en-
deavor. The love of the traditional
dramatic literature found too little re-
gard in the classification.
The name of George Tyler calls for
an obseuuious bow.
Since early years Tyler has devoted
himself to the ideal Of clarifying the
American actor
AS recollection trickles from the past.
when Erminie was singing When Love
Was Young and All the World Seemed
Gay. Ira -la-la." there always sounds
a counter theme of the simple drama
that depends on clever thought and
speech apropoS, apart from musical
emotion.
For many years Jim the Penman"
hold only a humble position. 1t dis
played good actors at their best. But
it studied the underworld with a de-
gree of sympathy that could not be con-
doned on ordinary terms OF social
economy.
Jim the Penman" still displays goo6
actors at their best. even while assert
ing a defiant reversal of the process
which makes crime play guessing
contest in the minds of auditors as to
who did the deed"
The playwright. Sir Charles Young,
takes his public frankly into his con-
fidence from the outset. Nobody seri-
ously doubts that the polished Faver-
sham represents the forger. advanced
to a social and political position worthy
of the charm of Cecilia LOTUS in the
role of wife and hostess. There is no
question of Charles Richman's position
in the plot as the sincere lover. cheated
bv clever limitations of handwriting.
The Baron. played by Ben-Ami as tn >
compelling influence that holds Jim in
bondage to an unscrupulous. though
rather aristocratic underworld. is a
revelation of the "crook" In super-re-
f1nement. Reginald Mason's portrayal
Of the seemingly somnolent detective
brings forward method of character
treatment long disregarded-so old, in
fact, that it becomes astonishly new.
1t is play Of the sos, when play
was judged by the opportunities it af-
forded for artistic playing and the abil-
ity to take advantage of them.
An example of this is given at the
close of the third act when the wife's
discovery that her husband is the forger,
HACOnAAAS AAFNo 90 40 AOA SuAASFo' Va AASo
down the curtain without a word to
define the agony of mind so clearly
delineated on the mobile countenance
of Cecilia LOTUS. Her playing is, at
this iuncture, triumph of silence, an
irristible temptation to revive the trib-
ute to an emotional actress which calls
for tear -moistened kerchief-and at
the same time for an opera glass that
NAV reveal excuse for still more tears.
Players upon whom the theater going
public has learned to rely are cast for
parts unassertive, yet conspicuous be-
cause of names memorable in theatric
annals. Fuller MelliSh, now deferen-
tial political adviser was never known
to do anything badly. And Lawrence
DOrsay as a governmental parsonage
with not much function, retains the
exaggerated enunciation which has so
often proved delicious to the ear.
After the lapse of time Jim the Pen
man" comes before the public not only
as a vital drama but as a costume play
There is enough silk in the flounces and
enough feathers in the headwear, CO.
quettishly poised above luxuriant ring
let's, to provide raiment for chorus
scene in a musical show. 1t is all very
quaint. and all very handsome
Many VINO had known Jim the
Penman" in its early history waited
until last night to realize the plays gen.
ui1le excellence.
PHILANDER JOHNSON.