Evening star., 1935-12-22


attending. Yet I do not believe that
frequency or familiarity would have
any such effect; with me the appetite
grows by what it feeds on, and my
enthusiasm for what I like in the
theater, in music. in other forms of
art and in books mounts steadily as
advance in years.
From the 1st of October, 1884, to the
end of June, 1885, I saw and heard
So plays, exclusive of motion pictures
and. Of all operas and musical shows;
to be sure, few of these were in
London and Paris and Munich, but,
comparatively speaking. only few. In
Paris I most enjoyed q revival Of
"Topaze" and the new play by Henry
Bernstein called "Espoir." I wish Mr..
Bernstein would once more visit New
York: he told me he was not entirely
satisfied with the production Of his
play here few years ago; he is at
present deeply interested in the art
Of motion pictures. "Espoir" is quiet
play and an unusual emotion for the
author of La Rafale" and La Griffe, "
but I think his best play is THE
Secret" and I should like to see it
revived in English. with Frances Starr.
In London by far the best of the
plays were "Tovarich," produced by
Gilbert Miller. and Night Must Fall, y
an entirely original murder play, filled
with cerebration, written and pro-
duced and acted by Enllyn Williams,
recently from oxford; of all young
playwrights in England, he is the most
promising. I understand that both
these plays will be seen in New York
this season. Miss Elisabeth Bergner
made a tactical error, think, in
publicly announcing that the coming
play by Barrie-"David and Saul
is a tremendous masterpiece. 1t prob
ably is, but it Is mistake to say so
before it is produced. I can plainly
hear the knives Of the critics on the
milestone. Just as I left London MIR.
Charles Morgan told me he had nine
first nights in a row which he must
review for the Times. but, far as can
make out, none Of these plays made
any deep impression.
I wish our theaters would follow
the London example in one respect.
Every first night sees the curtain go
UP half an hour earlier, in order to
give the critics a little more time to
write their reviews.
I was highly pleased by the an
nouncement that the New York drama
critics would collectively give prize
next Spring for what they believe to
be the best play of the present season.
The more prizes we have, the better;
and the more spirited the discussion
aroused by them, the more good will
result. 1t is wholly advantageous for
the theater that Americans should
become terrifcally excited over q ques-
tion of art; and one of the best results
of the annual Pulitzer prize is the
rage it has aroused.
For my part, I think the Pulitzer
prize has usually been well awarded.
Maxwell Anderson deserved it in 1898,
with Both Your Houses" Sidney
Kingsley deserved it in 1884, with
Men in White" Zoe Atkins deserved
it In 1885, with 1.-THE Old Maid" Why
do the heather rage? Their rage, at
all events, is evidence of love-love Of
the theater.
I have been going to the theater for
more than half century, but my
excitement before the rise Of the cur
tain is as it always was and ever will
be. I always feel that thrill when the
house darkenS and the footlights
gleam, and I know that the next
moment shall be living in q new
environment.
Twas very sorry that "On Stage" did
not have longer run; enjoyed it
immensely and regard it as brilliant
play; even as I admired and shall
never forget Lost Horizon" one of
the finest plays of last season, even if
1t also did not have a long run. The
producer of these two dramas should
be proud.
wish, too, that Eva lie Gallienne
had received a more cordial welcome
with "Rosmersholrn. That mighty
work of genius is about so years old
and is more contemporary than most
of the plays written in 1885. I used
to think that "John Gabriel Borkman"
was o minor play of Ibsen's until I saw
Eva lie Gallienne's production.
pride and Prejudice. This prob
ably u the best comedy Ia New York
and II Q visitor could see onlyAone play,