Evening star. [volume] (Washington, D.C.) 1854-1972, 1930-11-29

all suggested q
naturalness in tone and harmony
that must have struck the most
cynical cynic with the utmost
delight.
There couldn't have been many
present last night to whom the plot
Of this play was not familiar. Pro-
duced many, many times, and tor
tured not so long ago by tn. Aims,
this play yet lived and breathed all
over again with freshness that was
due t91 the first-rate company. The
choice of cast and casting was excel
lent. Denis z. Connell, as the man
who bargained and rolled dice for
his wife and carried her ruthleSsly-
but not so ruthlessly as the easily
shockable nineties thought-into the
mountains, rose to real heights IN
the very difficult last act, while
Marguerite Wolfe loved and cried
and cried and loved with naturalness
and distinction.
There were others in the cast, too,
who in lesser moments contributed
vastly to the whole. Dorothea PAUL
and Ray c. Montgomery, who, as in
the case of Miss Wolfe, we're new
corners to the stage of the Com
munity Drama played with the airs
and graces of the professional with
out seeming TO lift finger In the
doing of it. And there were besides
Maud Howell Smith, Melvin D. Hill
dreth and Harold harrington, all on
the very tips of their theatrical toes,
making much out of the tid-bits
that had been allotted them.
Although in the first act the cues
~ rxrff no
Director Moody might have wished,
the speed of their delivery increased
with the developments of the second,
and by the third act the dialogue
was bsing ratified off with spon-
taneousness that made the more
faulty moments forgTable.
The play is to be repeated tonight,
and judging from its first night"
should attract large and eager
crowds. z. de s. M.
"The Dancers"
Intelligent, Not BanaI.
RU1LT upon a triangle whose lines
~ are singularly straight, The
Dancers" the picture at the Fox
Theater. offers story Of two women
and a man. in which there is NV
mystery, rather than its violence, or
its devilish wickedness. Chief de-
pendence is placed on successive Sit
uations and the showing of clear=cut
personalities. The introduction OF
an airplane to carry one Of the two
women into apparent oblivion, after
a series of surprises, comes at the
impressive part Of the story.
While plenty of action, crowded
scenes and travel between two con-
tinents are employed. with the cable
as a carrier of tender messages, 1t Is
apparent that banality has been pur-
posely avoided, and that "intelli-
gence" is written across the face OF
the film Judgments of its chief
figures may be associated with the
faVorite dictum in advice to the
lovelorn," that It's better to have
loved and lost than to marry with
one eye fixed on the third line in
the triangle. The intelligence men
toned may be credited to the expert
work in the original sketch. the basis
of the motion picture, exhibited by
Du Maurier and Viola Tree, both CT
whom discovered long ago that there
is nothing incompatible, between
red-blooded audience and charac-
tiers which do not creak at the joints.
Lois Moran. Phillips Holmes and
Mae Clarke. with acting which con-
veys an understanding of definite
characters, contribute materially to
the value of the production. The
work of the two women is inevitably
to be noticed as worth while, for
Miss Moran Is well equipped to pie.
ture the kaleidoscope range Of Q
subtle mind governed by emotion