Evening star., 1932-11-13

n N411I IlCC0g III GRACON VA
istic depression, for express
= sion ''in the home" and
for the young to learn their trade,
is a need that is more than ap-
parent. distance Journeys
to foreign towns for the purpose
of culture and growth become
more and more difficult, and
many an anxious theSpian who
had planned a Winter in Vienna
with the master Reinhardt, for
instance, is now wondering just
where he can learn his grease
paint art within a radius of walk
ing distance from his home.
Washington, which has been
strong in amateur theatric circles
for long, but weak in the profess
Sional manner, seems on the verge
Of becoming Importantly linked
to the mother theater. If rumor
may be counted upon as fact, this
city is likely to become an inter
esting center for the subtle train
ing of fiedgling actors and
actresses.
This is to be brought about by
the happy presence in our midst
of Clifford Brooke, veteran di-
rector of Broadway successes,
manipulation of the National
Players, and once associated in
Hollywood as a first-claSs wielder
of the megaphone. Mr.. Brooke,
caught behind pair OF dark
glasses this week, Scurrying in and
out of the National Theater and
discussing plans for the appear
ance this season of his and Mr..
Cochran'S stock company, has
also admitted that he has some
thing further in mind. This
something has to do with the for
nation Of a local academy of
stage training, a school Of the
drama, which will flourish under
his tutelage and work possibly in
conjunction with his various
projects in this city and else
where.
The Importance of this rumor
cannot be overeStimated. It is a
giant step forward in the right
4 direction. While Washington has
been blessed with many people
/ who are away up in the theatri-
cal world, while it is the mother
B city to such celebrities as Helen
Hayes, Ruth Chatterton, AL JolSon
and others, it has never yet been
able to claim an academy, which,
like Jessie Bonstelle's famed
group, trains one minute and
plays the next.
This Is what it seems Mr..
Brooke's project might turn into.
Here would come the young, the
untutored and the unframed.
Here would come those who would
be enlightened as to the ways and
means Of Broadway ethics. Here
would come those who are Seri-
ously anxious to advance the
cause of the drama, and who real
1ze that to progress advantage
ouSly it is necessary to start in
small way before advancing to
potential HamletS and JulietS.
Mr.. Brooke'S intended academy
Is something that comes so over
whelmingly at the right minute
and is sponsored SO definitely by
the right man, that we wonder
why such an idea has not been
thought of before. Those who
have worked under his direction
know the value Of his training.
Those who have watched the
yearly presentations of the Ma
tional Players have been many a
theatric weed blossom into full
bloom flower. Many a stilted
young ingenue, nice of frame but
weak of expression, has before a
late semester, been Steered into
the channels of excellence, and
emerged as heroine full OF grace
and goodness.
Thus 1t may be with non-pro-
fessionals, who if they enroll in
this as yet unnamed school, may
see what it is that keeps the
theater in shape, and learn the
full wisdom of a training that
has not offered locally before.
Mr. Brooke is not only director
he is an actor, too. Thus he has
a double insight into the theater
He knows its inSideS as well as
its outSideS. Those who saw him
a season ago as "the Man Who
travels in Sardines" will realizs
this. He is acutely imaginative
as well as acutely progressive. Ht
knows, too, when he has turned
in q bad performance.
ZONE WAY PASSAGE" is th'
kind of a Aim that de
serves added commendation. tn
merit of its entertainment valu'
lives long after its brief runnini
time. It proves conclusively tina
Hollywood can squeeze the peS
out Of q book-if 1t gets the righ
book. Although the screen adap
Rations Of most novels hav