Evening star. [volume] (Washington, D.C.) 1854-1972, 1931-11-08

who enriched the language and dis
play types which are common to the
present or the past. 1t would be
distressing to hear these words utter
ed by unbending figures from an
imaginary period of mechanical art,
but with players who are as closely
in touch with the inforTnalities OF
real life as are these chosen per-
formers, the great poet and drama
tist is made to reveal the reason Tor
his survival through the centuries.
He had escaped from the conven-
tions of the years that were past
history to him, and approached the
modern ideal of a stage which Is
good only when it is peopled by COM
mon folks.
This company, which gave the last
of its eight performances at the Ma
tional Theater yesterday afternoon
and last evening, closed with two fine
perforHfances-"As You Like IT. at
the matinee and THE Tanning Of the
Shrew" last evening. AS in the 9TH
er selections of the week, 1t was to
be observed that each member Of the
organization gave some distinction
to an individual role, whether Of
major or minor importance, and that
the result was enlarged understand
ing of dramatic force, of human
characters and of the harmony Of
surroundings. This was especially
noticeable at the performance of las
You Like It." which drew a crowded
audience, made up partly Of persons
who had studied the play as con-
tribution to literature. Such persons
Joined with the casual auditors who
sought and found performance
which entertained and appealed to
the senses.
The fanciful nature Of the story
had its customary ShakeSpearean
appeal. and there were further i'm
pressions created by several we'll
drawn personalities which are out
standing. Some great actresses
have been noted for their concep-
lions of Rosalind They are
part of the history of the stage.
The Rosalind Of the Stratford
Company has its distinctive merits
in the hands of Fabia Drake, whose
sustained feminine quality, COM
bining the merry disposition that
has been noted in her other work
for the company with a purposeful
mentality, was of the creative kind.
N NdludDlC d0JuliNI hA CAPCAA-
ences of Rosaind was the almost
perfect acting by Cynthia Bridge
as Celia, who shared in many of
these scenes. Another player who
continued his record Of distinction
was Randle Ayrton as the omni-
present Touchstone. One Of the
striking comedy parts was that Of
Audrey. a country wench, played
with force by Hilda Coxhead. an i'm
portant member of the company.
The closing day was creditable
to this most interesting company,
and the members left Washington
after a week which was both sat
isfactory to the organization and
most pleasing to theatergoers.
ID. C. q
Leftover Ladies'" at Rialto,
Teaches Domestic Lesson.
WHEN the story has reached its
conclusion, Left Over Ladies'"
the film at THE Rialto Theater, en-
phasizes the point that ut is all
wrong" That is the redeeming
quality Of the story by Ursula Par
rott, which has been adapted for
the screen by Robert r. Presnell. 1t
presents the experiences Of two
young couples, with their friends,
under the influence Of the divorce
epidemic, and the Encouragement Of
apartment life, which grows out of
the tendency to seek separations for