Evening star., 1928-04-22

IN the present IlEIle Ol SUuOSkl
and radical changes in theatrical
methods and relationships, the
double weeks engagement Of Rio
Rita was observed with close in
tereSt by all connected with the
theater with view TO ascertain
ing how far Washington'S de-
velopnlent in population has been
accompanied BY corresponding
DEVELOPMENT in its ability 10 pro-
vide theater patronage.
With its brilliancy, its beauty
and its melody as well as its
downright fun, Rio Rita" would
after all, under conditions of the
past, be rated but a musical
comedy which like other New York
successes in that line would
scarcely hope for more than the
seven days patronage. Holding
an attraction Of this type for two
weeks would have been done in
the face of great uncertainty here
and in disregard of reliable de-
mand for a similar period else
where.
The ice was gradually broken
for longer runs of dramatic and
musical attractions by the intro
duction from time to time Of
super pictures on the screen. re-
uliring no extensive organization
OF staff and serving handily TO fill
time when only some rather
oninous tryout would have been
available.
The prediction was fully sus-
tanned that the first week of Rio
Rita" despite the magnitude Of
its triumph. would prove only an
advance agent for the second
week. The demonstration of Wash
ington'S sustaining power was
complete, with not vacant chair
in the tieater, night or matinee.
Perhaps this application Of the
endurance test would be possible
only in the case o. a gilt edged
novelty like this. l. has not af-
forded, as yet, much prospect OF
proSperously extended visits by
exponents Of poetlcal stage litera-
ture.
Robert Mantell found a loyal
following in attendance ready 10
enjoy his splendid reading and
without insisting on the athletic
ferYor he was able TO display when
he slammed Fanny Davenport s
back hair time and again against
the sofa because Fedora had
tried 10 aSsaSsinate him and be-
tray his family into the hands of
the Russian police. Mantell was
one Of the many English actors
who came 10 this country in quest
OF fortune and remained because
they found it. AS Loris Ipanoff
I'm Fedora" he achieved a fash
ionable as well as an artistic
triumph and succeeded in having
q hat named after the play.
The title great tragedian" is
not easily won and 1t must be de-
Tended with unremitting vigilance
and Industry Many changes Of
program inevitably demanded
when Shakespeare was the DOM
inant word Of the engagement
calls for the transportation and
handling Of vast array Of
scenery and costumes TirelesG
rehearsal lis required for a sup
porting cast, with the depressing
knowledge that there must be de-
fects IN Interpretation where each
man in his weeks time plays Sa
many parts, defects which must
need almost superhuman power
on the part of the star If they arc
t0 be overwhelmed by merit and
forced into the background Of at
tenLlon. The greatest charm that
q EhakeSpesTean player can show
lies IN the reading with fine co
ordination VI voice, enunciatioI
and intelligence. In his persona
demonstrations there is still nc
finer reading delivered 70 the
tileatkr than that OF Mantell.
n
The magnificent reception giycf
alae opening performance by ths
METROPOLITAN Opera CO. of Nor
ma suggests more prolonged en-
gaRements by organizations of tlli-
czIibef and prestige, After many
years Norma" comes ~ attention
as an absolute novelty Even h
the days of music boxes It's mel
0diss rippied and flowed l0nl
after it had departed from tin
theatfr, When this city attain
the musical importance that is -
confidently predicted and q
faithfully worked for. 1t shouls