The Washington times., 1932-04-05
HELEN HAYES IN THE GOOD FAIRY" =
Star Is Brilliant
in Fantastic
Comedy

times close to real enthusiasm,
welcomed Helen Hayes back to
Washington last night at the Ma
tional Theater. For Capital play.
goers regard Miss Hayes as Ex-
hibit A in the gallery of local
gifts to the American theater
at whom they can point with
pride.
Her latest play is Ferenc Mol
mars THE Good Fairy" a com.
edy concept that is frail enough
in dramatic content and plot,
one that is fortunate indeed to
have the abundant charm and
the agreeable personality of a
Helen Hayes to lend it both
sparkle and vigor.
First Act SprightIy
Playwright Molnar has writ
ten a scintillating first act in
which his mad little glow
worm"-a movie usher in a gaudy
cinema-has her fling at playing
the grand dame in search of
romance, legal or otherwise.
Here we find Molnar at his writ
ing best, with the cultured and
the unvarnished wisecrack pop
ping spontaneously to keep an
audience in the state of glee
inspired by a round of chuckles.
In this first act sequence of
gay pretence the Helen Hayes
flair for light comedy is we'll
displayed and lines which might
have been brazenly impudent
with a less subtle actress some
how seem quite harmless. Her
frequent avowalS that Lu is not
a tart" appeared superfluouS for
as Helen Hayes played this char
acter there was a naive quality
of innocence unSpoiled which re-
lieved any fears that she might
become wanton through her
dangerous experiment.
Lu was nimble witted and
reSourceful in handling her
amorous suitors and even when
she became a bit spiffy in her
mission Of aiding the world re-
tanned dignity enough to squelch
a too ardent swain with a, "Sir,
this is indeed a painful surprise.
Are you trying to paw me"
Surprising EpilOgue
Having spotted her romantic
prospect it was necessary for this
venturesome little movie usher to
invent a husband to add zeSt and
danger to the experiment. This
husband, rapidly acquired from
the pages of a telephone book,
was found to have a lawyers
parchment. Right here was
where THE Good Fairy" thinne6
out in bright idea and teetereo
close to polite farce. Molnar
picks it up again with an epilogue
which is offered as a dramatic
after thought. It shows the audi
ence what happened to the char
acters 10 years after the end Of
the play and is treasured chiefly
because of its surprise element.
Also it happens to stretch the
breathleSs comedy over the con-
ventional theater evening.
The Helen Hayes following,
large and loyal, will enjoy "The
Good Fairy" It is without the
emotional warmth of a Co
uuette," the Well-rounded char
acterization of Barrie's Maggie
Wylie," or the smart sophiStica-
ton of "Petticoat Influence"
But it is whimsical, verges close
to being naughty at times, is
always played with a tongue in
the cheek and merry twinkle
mood by skilled actress revelling
in a lengthy if not distinguished
role.
Support Is Good
Fine assistance is furnished by
Walter Connolly as the poor but
ethical lawyer who was the inno-
cent victim of the good fairy's
deceits. You will cherish that SEN
timental moment when DR.. Spor-
UNI the man has to relinquish
the fancy pencil sharpener which
was the fond ambition of Sporum,
the boy.
Paul McGrath, Ruth Hammond
and Douglas Wood were others
in the cast whose support was
worthy.
Evelyn Roberts contributed the
seasons Sloppiest performance as
Konrad, the overheated business
baron, racing and mumbling
lines until his each appearance
became a new irritation even to
the front row.
1.-The Good Fairy" is presented
by Gilbert Miller, who can also
take a bow for fine direction.
Joseph Urban settings are con-
genially appropriate.
ANDREW r, KELLEY,