Evening star. [volume] (Washington, D.C.) 1854-1972, 1928-01-29
Theater Reform Discussed
And Proof of the Need
By PhILANDER JOHNSON.

poison her uncouth sutton instead
of using carving knife.
The line of thought is prepos-
terouSly unpleasant. An excited
imagination, however, regards an
early demonstration Of morbid
frenzy in a play not as a threat
but as promise, and Is not easy
to content with a story dependent
after all on the familiar elements
of mistaken love and violent re-
tribution.
Chicago" is unique in being a
consistent study In total de-
pravity. It is a far more search
Ing analysis of the grotesque in
crime than was The Racket"
some weeks ago. It follows lines
OF reduction TO absurdity that
transforms a play that might
have been only shabby melo-
drama TO a revelation OF the
brutalities to which even bur-
lesque may be compelled to de-
scend.
- -
There Is a certain scheme OF
satire plainly and intelligenAy
carried out as 1t undertakes TO
show how easily justice may be
defeated by pelf and pull and
how a most pitiable creature
abiectly insane can find no ma
chinery Of defense available since
she is penniless. The delineation
of the insane woman is hideouS
beyond excuse. The play Is one
long wild vociferation with good
actors tensing their physical
powers necessarily TO the neglect
of the more artistic quality.
Francine Larrimore leads the
dramatic mob with a Haunting
wealth of red hair, which blows
through recollection like the red
flag of a Theatre anarchy.
One of the rules for play in the
theater appears TO be When in
doubt play a courtroom scene"
The courtroom scene In Chicago"
arouses hideous fancy as to what
might have happened had Bar
rie's Legend OF Leonora," with
its picture Of a woman unrealiz-
Ing of guilt and impervious to
terror, been suddenly dropped
from the realms of fairyland to
the pandemonium OF deepest
neither world.
One Of the stock statements
used by managers since early In
the present century is TO the
effect that the theater has no
duty beyond giving the public
what it wants" The fact that
Daniel Frohman echoed this senti-
ment in an address before an art
gathering in New York may in
dicate an idea On his part Of re-
Stunning his activities as q pro-
Queer. II 50, while he is testing
! Endorsed by veterans Of the foot
lights, other very influential per-
sons will be found In an attitude
Of tacit contradiction and with
backing for the theater that can
guarantee fine ideas, genuine wit
and competent playing.
one Of the steps recently taken
is the formation III the Church
and Drama Association operating
In conjunction with Diplomacy"
the Irish players on the road
under management OF George &.
Tyler IT LIS expected that Win
thr0p hmes will make contact with
the enterprise. The plan OF the
association IL 10 arrange for q
series Of secured performances Of
the highest type In the larger
cities over q period OF 20 weeks.
In frank defiance, apparently. OF
the cry best sellers or nothing"
| IT. adjusts a very respected motto
10 the uses OF the stage In declara~
ton, only the plays that are
: III 10 be seen and discussed"
| The present Is an era of bold
organization extending among
interests once considered beyond
hope of consolidated attitude
Experiments have been made to-
ward influencing the theater by
means III sn agreement 10 patron
iZe only good plays, but they had
little support from the producers.
This new association Will have
practical men az well AZ earnest
enthusiasts 10 give the project q
fair thai as IL is broached during
The "DipIome"y' tour from city
to ciiy. ......--.