Evening star. [volume] (Washington, D.C.) 1854-1972, 1929-04-08
NEUTRALITY-SUSPICIOUS."

"Congai." a play in three acts, by
Harry Hervey and Carleton Hildreth,
presented by Sam II. Harris. comes to
the Shubert- Belasco this week after a
season of success in New York The
original cast. supporting Helen Menken.
comes with It,
This play is unique in that 1t es-
tablished itself comfortably and MAIN
tanned its success during season when
complete failure or depressing desue-
tude were the rules, rather than the
exceptions, for so many new theatrical
ventures. But whether, In this case. the
play has won its place in the sun upon
its own merits or upon the merits of
Miss Menken- will not be known until
the latter absentS herself from the cast.
Fortunately for Washington, the verdict
will not have to be spoken here. Miss
Menken. in the role of Thi-Linh, the
"Congai' in the case, presents an elo-
Quent testimonial both as to her own
skill and the reason for the plays un-
dimmed popularity.
"Congai," we are told, is Annamite
for woman, and Annamite, for the in
formation of those who may be rusty
on their ethnology as well as their
geography, is the language spoken by
the Annamites of French Indo-China.
The play is the story of a woman,
remarkable woman, and the settings
range, through the II years chosen. for
study in this woman'S life, from an
exotic scene in the jungle, to street
scene in a native village and the homes
of officers in French garrison. AS the
play progresses against background
Of the jungle and the clash of what an
enlightened world would call the In
fiuences of civilization" with those of
"barbariSm" q splendid opportunity Is
presented for colorful scenery, costumes
and tleeting glimpses now and then OF
native types. A street scene, presented
in the second act, is one Of the out
standing features of the play.
Miss Menkens characterization OF the
woman, whose fidelity to one man ana
his memory is made more beautiful
through her many infidelities, Is a
superb example of restrained and subtle
portrayal of the continuous emotional
conflict within the mind and the soul
of Thi-Linh, daughter of native
woman and a Frenchman. She makes
her role a very live one, and In the
barracks scene at the close OF the sec
ond act where, watching through q
window. she sees the native father OF
her illegitimate son marching away 10
war in France, while her French lover,
through her sacifice, remains with her,
she rises to q pinnacle far above the
levels of the mediocrity with which the
average theatergoer is so well acquaint-
ed. The supporting cast, both In num-
bers and skill, is noteworthy. Outstand-
ing among its members are Maurice
Burke, as Capt. Paul LehriSson; Felix
Grembs. as Col. Chauvet; Theodore
Hecht. as Kim Khouan; Vera Hurst, as
Mama Thi-Bao, and H. Dudley Hawley,
as the governor.
"CongaP' may not prove anything
new. It Is hard to prove anything new:
in the first place, and it Is doubt1ul II
the authors intended to do more than
tell a dramatic story with a new ana
Unusual background. Certainly there
is no attempt at moralization, and that
is most refreshing. The story deals
with the half-caste daughter OF ma
tive woman, deserted by her French
lover. She is born to world whither
has been brought, by the conquerlng
soldiers of France, the first touch OF
civilization. The particular trait OF
civilization, emphasized in the play, Is
the philosophy of a man-made world
which takes, and leaves, its women as
it finds them. Thi-Linh, deserted first
by her native lover, is deserted again
by a succeeding line Of civilized French
men. who provide her with the means
to climb in a materialistic world. In
the end there is tragedy, made more
poignant by what Is left to Imagination
and conjecture.