THE THEATRE

Dominion, Volume 10, Issue 3006, 17 February 1917, Page 13

THE THEATRE

EBy Sylvius.]

Out of Luck. The AVilliamson firm appear to be having a run of bad luck with good plays lately. Neither "Common or "Tho House of Glass" ran as anticipated. The latter was succeeded on Saturday last by "The Misleading Lady," another successful comedy from America. Latterly it lias been produced in London; with such notable artists in the cast as Wecdon Grossmith, - Gladys Cooper, and Malcolm Cherry. It is the story of an impetuous young women who, to win a wager, wins the love of a man, and induces Jlim to propose to her. On becoming aware of tho scheme of which he was the victim, tho man carries off the girl to his shooting-hut in the mountain, and there teaches her a lesson on the subject of heart-snaring. While it is a comedy with plenty of humour and charm, tho piece has yet many strongly dramatic situations.

Exploitation of the Dubious. Next to the pictures themselves it is highly desjrablo that soino form of censorship should he exercised in regard to some of the picture posters that we see here. -So audacious in character in inflammatory in spirit are they that they may be as harmful every bit to bho susceptible, if not more so, than tho picture which they, advertise. It is a matter of history that now and again a shopkeeper has teen haled if a poster exceeds the bounds of decency, exaggerates- the tragic, and inclines to feed morbid appetites, should they he allowed? Dubious sub-titles are also another obnoxious lure to attract the "easily swayed." We had "The Common Laiv ; " with the audaciously displayed sub-title, "Is Marriage Necessary?" The film picture is a factor , for good or ill in the likes of those who night after night fill the theatres, and the ideas .promulgated through the medium of the screen must saturate into the hearts and minds of many, and unconsciously, perhaps, shape their attitude towards life.

"Fair antl Warmor." Avery Hopwood's comedy, 'F'air and Warmer" has caught on ill Sydney. Weal people will remember tlie writer's orisp originality by his "Seven Days. - ' (played hero by Hugh J. Ward years ago). Of "Fair and Warmer" the "Sunday 'Times," of Sydney, says:— Tho play is aptly described as one of temperature and . temperament,' and there is ,'plenty of both. It is a great relief from the many American crook plays that have been produced lately. In the olden days managers used to gauge tho value of a play by the number of the rounds of applause, and if by the samo idea ' the number of laughs were counted, "Fair and Warmer" would probably be the best play ever produced here, as, after th/! first act, the laughs toppled over each other until the fall of the curtain. Tbo only faults that could possibly bo found wero that the first act seemed a bit too talky, and many peoplo might object to see a woman under the influence of drink; but Miss lloyton handled the scene so admirably that the audience forgot that in enjoying her comedy.

The Amazing Bernhardt. A great reception, doubtless, awaits Sarah Bernhardt, who will reappear upon tho New York stage in the Empire Tneatro (suys tho "New York livening Post" of December 2). Familiar as she has become playgoers, a widespread" pflnlic'iutercst in her will bo excited by tho special conditions attending this,' hor Jatost, and perhaps her last, return. Thirty-six years - have Hod siuoo she first descended I '.'upon these shores, after her famous disagreement with tho Theatre Francais. 'lhcn, in tho full flush of youthful beauty and artistic vigour, she—to use a very trite and hackneyed phrase—created a, veritable sensation. Subjugating her first andionce —and it may bo doubted whether a more brilliant one was ever assembled in a Now 1 York her Adrienne Lecouvrour, she proceeded from triumph to triumph, dazzling ■with her invective, charming with her romance, or molting' with hor pathos. Sho more than justified the glowing reports that had preceded her. "And the eminence to which sho then attained sho has hold in tho fa(;c ox all rivalry for more than a generation, Now, defying time and physical mishap, she gallantly, in hor eighth 'decafe," challenges comparison with the past by appearing in some of the _ characters lit which sho was famous in youth, and several now impersonations, including that of Shylock, an oxperimenirwincii savours moro of boldno.ss than disciction. Sho is more liMpr approval as Portia. In "Opium Afihos sho is a drug victim who kills her lover; in "Le Vitrail" she apparently embodies one of those types of morbid passion on which who has sometimes wasted her talents. She will be seen also in "ITie 1 "Holocaust" said to bo intensely 'emotional, aiitl as oanrn'e, Heouba, and Joan of Arc. As a/dying soldier on the battlefield she illustrates tho fervid spirit of that French patriotism of whicn sho herself has been a conspicuous example.

Caston Mervalo's Return. A little greyer, a little .less plumj> faced, a little thinner in tho "clearing, Mr. Gaston Mervnle (the original Black Michael here in "Tho Prisoner ol Zenda") lias returned to Australia as producer for 3. and N. Tait. In an interview in tho "Green Room, Mr. Mervnle says: "Of the plays, I saw before I left, the three that iTnpealed to me most were, 'Turn to the Bight, ; Tolyanna,' and 'Arms and the Girl. The next two best, 'Conie Out of the Kitchen' and 'Good Gracious, Annabelle.' In all of tbeso tho acting was considerably abovo the average. I liked all the players immensely; as tliey were excellent entertainment, and that is, after all, tho chief .function of a play. New Yorlc is overrun with English actors. In fact, one would think one was in London, so thick are they. Some of them would be better fighting. Some are —well, they say they are actors, but that is tho last thing they ever will be. However, their names are not unknown to tho English Consul.

A "Dean on the Stage. 1 A recent articlo in tho Sydney "Green Room" on the subject ot the "shameless state of tho stage" aroused the admiration of the Dean of Newcastle, tho Rev. J. K. Archdale, who was asked to supplement the article with his ideas of the stage. In tho course of a most interesting article, the Dean wrote: ■ "Then arises the question whether 9[dood QAIS, pinoijs 93MS they want.'' In order to discuss that question fruitfully, we must be quite clear that the stage, while being a business liko poultry-farming, e.g., is yet something more than a business, and this 'something more' is its essential feature. Your article did not deal satisfactorily with this point. You cannot get rid of a nasty question such .is the above by saying 'the stage is a business' in which .play-writers a"d managers.' and actors conspire to sell a commodity, which the foolish people rush to consume. "Ultimately, any many or institution, which lives on the foibles and gullibility of averago humanity, is despicable. There is more ..in a good play than the cash-uextis. Its performance cannot, be wholly described by an illustration drawn from the purchase, of some conjmodity. This being granted, it must bo pointed nut. that 'what tho people want is a highly ambiguous phrase. You yourself assorted in tho articlo I quoted' l

that tho general public did not really want a lot of the stuff it seems'.to swallow with avidity. Apparently people arc prepared to accept what they do not consciously .want. A sort of dumb acquiescence _iti tho lowest common multiple of social aspiration is unfortunately too common. lam persuaded that no one, bo ho parson' or actor, will evor destroy this moral inertia by empty liioralisms, even though they bo cleverly disguised as they are in some of our modern "photo plays." For it is not idealism that wo want, hut thexgradual proof in actual experience that a oeyond and a better is always both necessary and possible. This demands an art which is not cut off from other social institutions. hut which takes its place In a general scheme of tho portrayal andcriticism of life."