Variety (February 1922)

Frkhy, February 17, 1922 LEGITIMATE 17 BROADWAY; REVIEWS THE PIGEON Ann TV«liw'yn I,oul8«> Treatl*'ell Chriatoph<»r Troudwell Whilford Kane Kdward Uertloy Henry Morrfll Guinevere Megan Kdna James Kerraiid Oeorgea Kenavent Timson Hubert Druce Alfred I'alwuy Kdward Jephflon Thomas Hoxton Marshal Vincent Rory Megan (.Jordon lllyth Cnnatable Charles I.. DouKlim Chief Mover Frederic Monti IncideiitalN— Wellmnn Tarsonsi. Alan Mc- Ateer, James Allen, Williani Gordon, George itoule. Allan Moore. Ten years ago "The Pigeon," with Whitfonl Kane playing the role^ he now rovives at the Orej-nwich ^'il- Iag»? th(^riire. was ivroilucod in Lon- don and was an artistic f-ensation. That sanu" .'ori.son it wms- slutwn at the I.ittlt^ Thoatif in Xtw York and did not raise much of a Ihurv. Now it ct>nus back at tlie chic i)i;i\honsi' downtown and is rmain taking icti ohanoos as a 'iushbrow" ofi'v rinj;. This is dc!)iorahh'. 'Tlic Pii^eon" is hiuuan and liglit down ti) t!»*» Jfvel of anybody. It Is excitincr and charming, nmnsing and nt times thrilling. It will picas*' tiie jaded sharpshooter and it will gently massage Ins mind witliout makir.g it do 5-uddon calibthcnics from wliich it will be too lame and stiff for the serious business next day of picking winners, llmling out how (JIbbons and CJrcb are training, and following up the Taylor mys- tery. This comedy ought to b^ uptown, circused, plugged as red-hot enter- tainment. It is far more nouri^hin': diversion than half the successes in the commercial theatre seclor. And It is belter i»layed than nine-tenths of the claptrap in the lii^h-rent sliow emporiums, whose manager.s hhut one eve and call upon the lis- tt-ning heavens to bear witn>\ss that the.\ are geniu.'^es at di-criminating, casting a:ui direction. Tlie acting is m;ir\ »^Io;is. S^hbtm has a reviewer the plu<l c'irtnce <'«f reporting a perf»»ct performanc«'— here is on<^. And (Jalsworlh^ s i)lays do not allow ot the pink-and-while ingenues and the stand-ap-and- Jot»k-sweot leading men; e\ »'ry i>a:t demands a character ami every <l5.'iracier is a t>pe. an<l these parts have to p!a\od. not only looked. Mr. Kane is featureil, antl lie de- serves it l^y his distinction above most of the featured artists in other casts latli.M- than b>i lii.-^ I'ising above his • colbagues in^'The IMgeon." where at least tlnee others .^ijould be elevalod with him in public rec- ognition: Hubert Druce. (ieorge.'. Itena\ent and Edna .Tames. Drucf'.-f cliaraclerization oi a be. wilted ex- cal>by ii* a classic tliat should go down witli the records of iM)table impersctnations. Ilena\ent. who i.-^ the young man btought here and unsuccrssftilly starred l)y ("icorge M. Cohan in Chicago several seasons back, is e:«iuisiie and terrific. Miss »Tam»^s sci!itiI!atos in a role tliat should m.alct? her famous, sought, and adored. All this is more or les.-^ buried on Fourth street. Out of town they think Clnenwich \'illage is a blaz- ing spot like Montmartre in I'aris or the (.id I^.arl>ary Coast in old Frisco: it isn't so—it's long way Aom *the district," and the district Bend.<? out historic successes, but never go»»>< :iftf>r them A '^'rdlieM," perhaps, can draw them to the old end of IManhattan; but they're not curious enough to go after a CJals- worthy. If it will encourage leg- «ho\v liounds any. this reviewer will freely advertise that blisses James and Treadwell have pretty legs, and that the ushers in the Greenwich Village theatre are prettier than the chorus girls in any show in town, not excepting "Tangerine." The story is of a soft-hearted artist, played by Kane, who takes in all the riffralT and ragtag of London to feed them and keep them and stake them. Among these is a thieving, mouthing. drujd<en. (de- throned cab-driver; a philosophical vagabr.nd who has "the i ad" In his bloodoand r(»mance in his eyes, hi.s tontrue and his sysh-m; and a girl- a How cr^seller wh en he, akf^'s off the London streets, where she belongs, .and whith -r she returns. The i)oetie trami* and the girl "get together," for he is a natural lover anil t:he jx a natural Ugl^t f»' love. JShe's .1 bail lot, »So is hi* Her hus- l)and. w ho is peeved because she no lunj^t r supports him. tuts tip som»« tioubb' ci. si)le!ulid bit by (iordon IWyth. by the wayt. tiie cabby steals all the liiiuor and dis- graces ever\body, the poet shaifs the je7,el)cd'H disgrace—atul all ha'.e to be show n the door. In one v,-.iy or anoihi"." they each face death, and eat'h tinn- ".^ociely," reprosented by tbe cluu'di. the re- speif.ibilit.v a?id ^he bonrf-.eoisie.i V. ill not Kt tUem dir-; they want tlu-m dead, but m;;!ce them li'.f ami jtrose- (Ute tlnin for trying to die and i»n- ?»ri.son tln-ni for wanting to die. Tlie.so evil-doers .are wild birds, i^oimthit^g in tliem call.-; for s.''\ni,'e disre;iril of convctitional ortlerli- ''•'•-s. And the tame birds, coni- blacent and smug and superior, I'hn'k them naked witli tl.c-ir (leo- niosyn.ny claws. For -this the wild birds h;.ve to retali.ite by i»hn!un.!: tiirt tame birds— such as the pigeon. \\ldcb. in r.riii.sh. m» ans a 'inar!.." ll.ai'a al)out all llM.-ro is 10 if. :•■ I cept that It is lightly yet powerfully developed, deliciously preaentcd, and inspiringly played. If those ingrcdicnt.i haven't the making: of a metropolitan success then all that tliQ Knglish say about our taste in plays i.^ so; and the puzzling, vexing thing about that is that sometimes 'tis, and. sometimes 'taint—so, who knows? Lait. MONTMARTRE Henri James Melghnn Kdmund Karl Carmen GtorRTfa Frank Huyler An Announcer O.iver Putnam A (iir! in Gray Vireinla .Sal,- A G'r! il.ir^ar'»t Hawkin* All KnijliMhm U) Kisiie J. SinlUr Mai. v\i|,h Monocle Gfitild Ttamlail .Sinn nil. » Mah-'i rr-^ny^ir Kve-Adam I>orrit Ke'.ioii .Su7.iinn»» U«>s,» Wiiit«T JSi;; AifreJ Wfils .Snjiu!i!in4 .\ 'lirl TI••^»^ Siran.'liv .V <;irl l>>ru MaltiUMv A rio\v,>r (;irl Mar;.>ri.' L'rou^ht^it A iig'trette Girl AILt Mearki* .\ Waiter t;i !>• l<'r inei • Another Waiter Kmil- Colin? A Gendarme Va.»ii'i i;o-Kmi;i.'r Castun l^o^ene Frtinl: l>oni'» • Jabriel Moniliiiit l.ui-llic W;iil Klalnc l>e Morennes M-»e Hopkin.'* I'irrn* Marechal Arthur H'>lil Jean Tavernier l{rAnili)n Huisi MaJame Herthe Uenh' ."<krier Sl;irie-" iaire Galina Kopernak '"amille Helen Lowell I'arniaiti John Anthony ('harloU(» Helen Ware S:»int-Serffe Frank Connor I.iv y-Hracli Frank MartlnH A Maid Mona Itunih/On A (Jypsy \ i(>lini.4t Clarke Silvornail Ciiiudo Hoy IJuokle.; Eu^'ar WUliani l..eonar«l A ciir! with the Ued Coat.. .MiMred Gibson l»uehL':-s De Grival HeU n Lowell M. ciunm KdvNarl M. (Jracc? Mme. (^laron Nina Herbert .\ Woman VirK>nia IJuiican Juliette iliXiU Web.tter Ai.siT Winifred Harris ttoberi Clark;* Silvcrnuil Tl'.e Players' Assembly, a new ag- gregation of co-oi)erative hi^trions. presented at the Lelmont Monday evening "Montmartre." a pl'iy In fotir nets from tlie French of Pierre Frondaie. adapted by l»enj imin (Jlazer. produced under the direc- tion of Clarke Silvernail. with .-icen- ery construction by the John IJrun- ton Studios. The IJrimton concern is especially nuMttiotieJ for tlu- ex- cellence of its work and the fact that it is also in on tb.e co-oi>eratlve presentation. A. II. Woods .^erured the rights to this play many :,ears ago and peri- odically announced his intention to proiiuce it in the metr-opolis. He Went so far as to try it out in stock on tlio Coast some half dor.en years ago with Jane Cowl in the stellar role. The report came back that Mi.-<s Cowl was wholly unsuited to the part, and upon viewing it now no one can readily believe this to ha\ e l»een the case. It is a not a very difHcuU ro> for a competent actress temperamen- tally .*^uited to it. In this in- stance the star part-of Marie-Claire is entrusted to CJalina Kopernak, a pretty young girl, said around the lobliy to be a Russic'vn who never before had been on the stage. After viewing her performaiice. this re- port should not be contradicted and accounts for her amateurishness. With a strong foreign accent, she fails to synchronize lier actions or gestures to the dialog, very much as do most of the so-called "talking pictures." This was a pity, for the role offered some rare opportunities for emotional acting that would have "brought down the house" if handled by an artist. The play itself is talky—di.scurslvc —preachy—a character study that would lend itself far better to descriptive writing than to play acting. The locale is Paris. A young musician visits the Moulin llouge, meets one of the women fre- quenters, falls in love with l)er and the feeling is reciprocated. Ho per- suades her to give up that life and become his mistress. In the second act they are ensconced in .a modest apartment, and he only wails for the acceptance of his opera to marry her. While loving him, she is bored and restless, yearning for the old excitement of Montmartre, where she was born and brought up. Her father had been a drunken rab driver, she cannot read or write, nevv-r learned to .s^vv or to take any interest in housekeeping. A friend rtishes in to announce the opera had been 'accepted for prtHluction and suKigests they cele- brate by a vi.at to the Montmartre. The young composer refuses and forbids her to g^ She ha«l just had a vi.^it from two other girls wh > had been associates in the oilier days, and she rilshes ofl. desi»ile hi-iwarn- int,' th.it if sh" r;oes she niu^t never come back to him. Act three finds her flu- mi>fre.*s of .1 millionaire, .••urrouiMled with lux- ury, but she yearns for In t'^, I',»ver. ia»w f.iimnis, and s* liil.* a mes-.iK'' t.» him th.it she i< i'.l. lb- comes, fiiiils her well, is almost ji.-!\suad'-d to take her back wh<M! n. eojr.e j tli'^ millionaire. A big .s'cne cceur.< :nid the curlaiii fa'ls wif!i t!'.- lover tak- ing l-.'i- av.a\'. The fonri/n a-. ?. :< •• : 'in f.. g.irde:. of the Moulin I'.ouu't', yeir.? l.cUr. Marie-Claire had oiae more n-tuiii«'d to herold life, .i.-=< now mowing sodden with <'ri:.l:. Pierre. the lover, h.as been dra;'g''d to the scene by some fiiend<; ii is?- narratevl he l3 now famous as a composer bui is living alone. They meet, he of- fers to help her, she says she has everything she needs, and he goes away heartbroken to resume his life of celibacy. Tlicre are. of courrse. some sido- li;^hts to this bare, ugly tale, some humorous, but all sortJid and de- pressing, with more daring dialo,:? than a dozen 'Demi-Virgins" or kindred farces. With a cast of over 40 players it can readily be figured that even a ?o-operative organization must have recourse to the rankest kind of amateurs for a majority of the roles. Mabel Frenyear and Rose Winter were excellent as two Montmartre habitues who were out to "get the money," and Frank Doane contrib- uted a very finished performance of the millionaire roue. Helen Ware offered a careful study of a small part which you instantly recognizeil was in t!ie hands of an "experienced „. nronoHal aetres.. Arthur llohl. an or.twiiil J ^:;^^^,,^^««^^-' NEWS OF THE DAILIES player, was as l a;5 the iml.ai>j»y } Wa; hington ^I'juare lugubrious as usual. lover. Helen Lowell had two small parts which she handled adequately, with most of the other larts atro- ciously and amateurishly portr.ayel. If >ou want to hear a lot of "wise cracks" from a bunch of women portraying harlots, drop iti at the I>eI;nont. Hetter go soon, howc^vr. for the venture cartnot po.-sibly Ii.st long, e.en on a co-operative basis. Jolo. I.aainski. Cour.t !.ori^ Ipanoff Jean t'e Seriox Pierio lliuott Dr. I.oreck Greteh I>i'sirc Itoleslav Tchik-ff. Ivirill... Porix. .. I>nr.tri.. Ivan.... niXLiW.... Counten* Mark.!.. . I'rii:ecs3 FEDORA ...H. rbert M.»r^!ir»:i <". M. Hallwd lOdw.od l.'».st.T Charlesi K.sdale 1'!dmnnd Gw< nti , .K. Vivian Reynold'* .Syilney IJllis .,11. Kayson-CnuHens ....George Sydenhrim Max IJrent JuniU3 Matthews William (Jrays.)n Howard Kdward'^s h!t«ukareva HiMa .spdn;^ Vane Feather.sfnn Fed'ira Romazova Marie Loh: I •••••• I • ••••• i»lga Marie Lohr. the English star who invaded Canadian territory twice and who opened tv/o weeks ago with repertory at the Hudson, New York, is due to be withdrawn at the end of tlie week. Her American debut was with "The A'oice From the Minaret." That disappointed in the business drawn and was succeeded last Friday by "Fedor.a." I'nless the Sardou play "crosses" the dope and lands. Mi.^.s Lohrs stay will i)e measured by three weeks. Another theatre will be assigned if it does catch on. It's an even bet A. H. ■Woods, Avho ha.'; the managv^ment of the Lohr contingent, will not ven- ture far v.ith it on tour. Its too bad Miss Lohr^could not ha\e come with something newer. I'air to look upon, majestic iti action, •he in a cultured actress but with I)lay.s of the yesteryear. "Fedora" is to be counted with the revivals, and revivals are a painful incident of the season—mostly a collection of flivvers. Victorien Sardoti wrote it for P.ernhardt. The English version was presented here tlrst by Fanny Davenport. Then the French star used it and so did Eleanora Duse during Americaii appearances. That "P^edora" is a revival would not in itself mltigat6 against the chances to land, as much as the piece itself —a tragedy of the old Russian regime. It is built around the supposed intrigues of the Nihil- ists. Nihilism Is .almost forgotten these days. The revolution did come as promised in "Fedora," but it came in a far different way. The greatest war wiped out the old regime in total. Bolshevism in usurping the revolutionary tenden- cies, dated In the days of the Czar, dimmed the memory of Nihilism. The attempts at lightness to break the monotony of fear of impending death and tragedy seemed clumsy. Hilda Spong as^ Countess Olga did the most in supplying the tithe of humor, f^he is one of the American contingent called on to fill the cast of otherwise Knglish players, and aside from a small maid bit, was the only other feminine player. Herbert Marshall was in chief support, as in "The Voice From the Minaret." I'erhaps a bit handicapped in this particular role, his Count lioris was nevertheless a capable one. In settings the first act was by fir superior to the two other int» riors. The Jiussian atmosi)here was tmmistakable. American audiences never have been p.irtial to tragedy. My.'itery p!ay-» Willi thrill.^ have the call. Jessie Reed, tlie "Folli»»>." show girl, has been made the subject of a book written by Daniel (>. Cas- well, the young Cleveland million- aire, who married her within 48 hour<« after having llrst seen her. The book is offered as a warning to other w^ealthy men as regards chor'is girls. Caswell's tale of woe alleges he was "hooked," though his story narrates the facts thai he first saw Miss Reed on a train en route between New York and Roston. neither si>eaking throughotit the en- tire ride, he tracing her identity in order to 'phone, requestIng a res- taurant appointment, which was • •omplied with, later augmented by a series of drinks, followed by Cas- of marriage, the disillu.iionment and taking his wif • to Ah-s. Caswell (his rnotlivr) who >aid, "If you two chil- dren are living together ..t the end of a \ear I will give you my bless- ing"—which never happened and pro-,es the motlier was just a bit i sjnarier than eilhcr of the princi- i pa's. \Vliat pariictilar blame Cas- I well attaches to the show girl for [ Ins exi)erience listens as being the I wail of a sore loser. The incidents j of the affair point to Caswell as j having instigate<l it with his only claim to being "hooke<l" r(l.\ Ing on th" fact that Miss Reed neither loo!:ed jior spoke to him either on the train or in a cafe, where he saw h.er for the second time, a shyness he asstrts was 'assumed' for the occajiion. And as a whole it would seem that Caswell, for no reason, is making public an affair in the guise of a "warning" that was primarily his own fault. His grievance "most- ly seem.5 to be Miss Reed informed him after marriage married before and couple of incidents foi,.;otten to inform vanee, ov.ing to his given to the recent debate between W. A. Rrady and Dr. J. R. Strateii by extending several hundred Invi- tations to the clergy of New York to witness a special performance to take i>lace next Monday afternoon. Joseph F. Fishman, for 14 years an insi)ector of prisons for the I'nitcd Stales Government, has made ptdjllc a list of figures which ho asserts supports the statement of W. A. Rrady that there are more preachers than actors in jal* Fish- man has picked at random four an- nual reports of the United States Pen'itentiary in Atlanta, which read: Ac- Prcach- Tear 191.''. 1917 191S 1919 • •••••• • • • • • Khe had been had a son, a she may have him of in ad- rushinfe tactics. T.vo theaties have been closed hi t'ipcinnali because of structural di'l'eits. Ruilding Commi.-sioner ^Jeorj;e Hauser has issued an order f'>r the sliutting down i.. the I.ubin and L\ceum picture houses. The Concord. Rrooklyn. had Its .<^afe rifled of $1,000 Sunday night The house is owned by the K. L. IJ Amusement Corporation. Iiu.';.';ell .Tanne.v, producer of "Marjolaine" t.ow at the iJroadhurst, New Vork. "cashed" on the publicity Total Tlie Chicago Opera Company Is minus $36,000, that sum having been lost through the box offlcc and representing tickets sold, the proceeds of which never reached the cash drawer. Auditors of the com- pan.v declared a thorotigh search of the business had resulted in uq clew as to where the leakage had occurred. Proctor's 5th Avenue, New York, had a thief chase mingled in with the regular performance Monday night, when a pickpocket "lifted" J9l from a balcony patron's pocket. The victom discovered the loss, cut loose with a yell and the chase was on, with the thief dropping bills along the aisle as ho flew, flnalb' being caught at 26th street. Some of the money was returned to its possessor after matters quieted down. An old man who had apparently spent the afternoon asleep In the Liberty, Staplcton, Statcn Island, outstayed the remainder of the audience and when ushers at- tempted to arouse him it was found that he was dead. He was identl- fled as Mandel Dellson, 76 years old. The Caruso Anniversary Week will commence Feb. 26, starting with a concert at the Hippodrome under the supervision of Mrs. En- rico Caruso. Proceeds for the week (Continued on page 32) Fedora" p<-»ition. can hardly ligure In com- Jbcc. DESERT SANDS il'^H'i Ii'-rndon ... -Xfthur J.an li.oi., JCa.lra. l.i 1.- MaNhbaiik. ... .N irm.ir. Tf • Kdnruid I. . . . Anz )n"t'.a 1,; .Vir.Ti'.ii H.itnm •v)r •O I It. t Tli'^ play i-( by Wilson CullL-^on. and it is reported tint Colli.«Aln i.* .also ".Shelton Wh.eelei/' tind^-r wl'iOse diiection it i^ i»r<'.;ented at tin- i'rince.vs. Xorniin Tre\ or, its .<t.n'. follov.s him: elf in his own venture, "Tlie Married Woman," at the f.am'* .^riug pla;. lunise, and ': i interested In the enteriiri ••:•. The Mar role, however, i** no* Trevor's/ It i-« thit of K'adri, played le, An/.onett.i Lloyd, K.dii i.i an exotic, unmoral. six-c.\ iiiob r loving, 'J')-horsej)ower killing, r.'itlvo chilli of the .S.ihari ]>esert. wheje ihey cimie w-iiiin and v.iggl,v. Miss Lloyd * created the role when the play was tried out some time ago for two we(>ks, rnd is the only .sur- viving meip.ber of the original cast. llor part Is what might justifiably be called, for profes.-<ional consump- tion, a Lenore Clric. That classifi- cation is given it by what it might have been raliicr than what it tinned out to be. Miss I^loyd is not without charm or i)ersonality, but she never made the grade. It was all forccvl and unreal. She neither is a Kadra by nature nor by any stretch of her lamentably limited art. The stor.v deals with two men in a desert camp. Roth, it tr.mspires, h.ave fled there as exiles bccau.;c of their hopeless love of a woman in England. One killed her husband and escaped; the other was arrest- ed for the crime and detained, found not guilty, but driven away by the shame and the notoriety. They do not know each other. They meet in Algiers; they be- come desert partners. For six years these men In the great, silent, mad- dening waste have never become confidants. They are forced Into it by the brown girl, who has become the mistres of the innocent man, finding a picture of the woman that the murderer has dropped, and be- coming jealous of her lover. The men talk it out. The mur- derer (Edmond Lowe) Is going mad with ghosts and loneliness. The other is hypnotizing himself into a belief :hat he loves the desert life and that he Is happy in the aclora- tion of Kadra. Kadra dislikes her lover's friend—jealous of him, i»er- haps. 'i'he English woman comes. It .';eems a weird coincidence. I»ut that l.-.nt the fatal point in the iWot, for she later c(»nfesses she came to s»M>k the iimocetit man. She finds him living XN'ith th.'- Arab dancing girl. She is horrifietl. Roth men at different limes threat'-n the Engii.sh woman Vvhom Ihey .so wor.shippe-l with amorous \ iol lice f.intanioiin t to crimin.il .at- la<k, .and both .are ir.'tenViptftl. The niurdert r i.^ c.iu^hf ;it it while he iia:-« his .uif'el on a (li\an, in a night- '^ow!!. in a i)).si!if»n v.'hieh c^.i: . e,irc«ly be de.sciihed fully in a de- cent ir.idc pij"''' It is K.adi'a who comes in. She loithr-H the womati who is to destroy her, but she killii the hiurderer and a-sa!lant. Tills is bn'.k pay for the Ihiglish uornan having saved her from a hi'iing with a nuirt v.'hir-li her man was a boat to ai'onini.ster on her bare bar!: m tlje j)rev.on.s ar-^ for being f iiie I'tening and Itnrndent to the blonde vi.-' tor (^t:^s H iniT7o»r.d). I'or a Jini'li tiiere is .sf^me ro- n;antii; joelieyiHg • bet .vceji Trevor and Mi.s Hatnmend: .'^.he linully ad- niiJs siie love.s hhn; he jtirops at the chance tu r<l!irn t'» rivi'.i/ation wit}^! the wh'to wotrati he l.ves. and he leaves the broken-hearted Kadra ahuie on the desert, kneeling and praying to Allah. There is something reminiscent of "The Rird of l»aradise" in the plot, a similarity which must never be ignored when contemplating money i>uHsibllltles. That classic fortune builder was sneered at In New York and In Chicago, and has played some ten years, and gets capacity weeks where the current successes can't get one profitable night In the middle class towns. Of cour.se, Luana, In "The Bird," was started off by Laurette Taylor, Ressio Barriscale and Lenore Ulrlc, K.idra isn't in as promising hands by just the distance between Hawaii and Sahara. Native music, too, l.i Introduced, as in "The Bird." Five musicians, who act camel-boy bits, play at- mospheric tom-toms and whining reeds now and again. Miss Lloyd does a dance to one of these tunes. It might have been well to have given the part to a great dancer for the specialty at the risk of the role, or a great actress at the ex- pense of the dance; Miss Lloyd, unfortunately,, served neither func- tion brilliantly. Miss Hammond was equally at sea. A dramatic leading woman of established standing*, she canxe in on the wrong boot (both boots were nice and new and slilny). and never found the key. Talked to. talked at, kissed, threatened with murder, one hair from out-and-out outrage, finally at peace in the arms of the man she loves after seeirg the other stabbed to d(»ath at her f(*et. rv b-, bing a wild woman of her idolized mate—all these and many other "fat" moments I^Iiss Hammond un- derdid and overlooked. It is inex- plicable and almost incredible that I very good actress In a self-start- ing part, with a marvellous situa- tion awaiting her and every known sort of dramatic hell whizzing . jund lier, could have missed so complr-tely, driven away all sym- pathy so utterly, misused promlsliig ofiportunltieM bo fctartlingly. Trevor, always a powerful player. v.'as monotonotj.-? and heavy, both by characterization and manuscript. He gave the play realism with fidelity and courage; but it was a realism that was imhappy In a combination alre.nl.v to urimelodl- ous; it was like beating a bass drum at mechatiical Intervals over Uie driuns of Oude. On.- can never tell what will .suc- ceed. 'Disert Sand.s" is only three or fotjr lime.^ a.s good a piny as "A Rill of Divorc.?n.ent." which 1» still h in-:iiig on and drawing the ad- mirnig .sighs of the anemic drama leigutrs, t>o 'rs chances niay be far 1)' tier th.an the s arcely concealed aputiiy of tjie lir.^t-raghiers held out f'.r it. Lait. 1