Evening star., 1947-03-10

as women dress when going to nom
masculine events: in other words,
in that fashion which shocks hus-
bands into asking insanely:
What the-have you done to
yourself?"
Their helplessness is completely
batting, most of all to the wild-eyed
|usherettes. At ''Finian's Rainbow
the other day, a group that had
dined and wined, especially wined,
just before the theater was picked
up at. the back of the house by an
usherette who knew she had a big
job on her hands. Placing herself
carefully in front of them, she
walked slowly down to Row G, Gen.
ter.
At that point, she turned, regis
tered angry disgust, and uttered the
funniest line Of the afternoon:
Where the H did they go?"
"Finian,s Rainbow" hilarious
though it is, had no moment to beat
that one.
The most malicious jest of the
gods who preside over matinees,
however, is that one which brings
first to the theater those who have
seats on the aisles. Once these ar
rive, they arrange themselves in
their seats in the most nearly I'M
pregnable positions ever achieved by
members of the species. Defending
armies could learn a lot from these
aisle-sitters. On the other hand, at
tacking armies could learn by watch
ing the late comers. The latter do
get into their seats, but only after
display of violent acrobatics and
upbridled force that is completely
unnerving to the mere male.
AS a matter of fact, if he were
less unnerved, the mere male might
find courage to suggest that If the
sitters would only stand, the others
might pass with reasonable ease.
That, of course, would spoil the
riot.
John Gielgud's brilliant opening
in "The Importance of Being Earn
est" gave every one associated with
the theater something to talk about.
And some of the talk was bitterly
rueful.
This part of it had to do with why
there was nothing in the American
theater that could compare with the
miraculous style of Gielgud's per-
formance and that of his repertory
company. Here was acting the like
of which Americans had not seen
in this generation, maybe ever, al
though some of the old timers pro-
fessed to remember an equal stand
ard in a distant past.
Wherever the subject came up,
the explanation was always the
same. In a word, it was: Hollywood.
mo one has a chance to learn
Gielguds kind of acting, or that of
his associates which is the same
astounding kind" a wry Manhatt-
ante explained at one party (Most
likely at every party.
"The instant any talented young
ster attracts attention, his career. is
at an end. The movie talent scouts
show up in his, or her, dressing room
Immediately after that first promis-
ing performance. The scouts talk
money so high and fast that even
Croesus could not resist the pros
pect. The yotrngster, who probably
has been starving for food, and Ger
tainly for recognition has no choice
but to sign up. 1f -
$50, what happens? On one night,
an opening, he starts what might
turn out to be brilliant career. On
the same night it ends in a
Hollywood deal. What are we going
to do?"
The consensus at each party was
the same, that the promising young
players would continue to go to
Hollywood, and that acting starved
American audiences would continue
to go to Gieigud repertory company
performances and be enchanted as
they never are by the domestic art.
The irony is that the CSieIp,Id nlav