Judge — February 19, 1916 — page 17: what you’re looking at

Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.

sory OU'RE. just the fellow T want for a minute,” said the Tired Business Man, buttonholing the Critic in the lobby of the Hudson Theatre during an entr’acte. “Give me your private opinion of the Ballet Russe, will you? The Critic turned from contemplation of the program of “The Cinderella Man,” three acts of which had claimed our atten- tion that evening. “Our Music Critic dealt professionally with that, you know,” said he. “But T witnessed three performances and have an nion. How did you come to go?” I'm going to confess. I saw some Rus- sian dancing once, and it seemed rather— er “Caviar? Probably the word ‘Ballet’ led you to think the Ballet Russe might be different.” You're no clairvoyant. I went after the newspapers, spurred by the moralists—or the press-agent—said it was indecent. Curi- osity—rank curiosity! I’m candid.” ‘And you're not ashamed to say s« “Why should I be? I nearly broke my back in the crowd assaulting the box-oflice that night. And say—I saw more swells, more respectable people, and more high- brows in that struggling mass than I’ve run into at a theatre in a blue moor.” “Most of them probably had made up their minds beforehand on account of the rare artistic nature of the performances, without regard for the morality idea.” “Yes?” The Tired Business Man’s smile expressed both incredulity and sarcasm. “T said ‘possib But you want my opinion, which I have already suggested I consider the performances of the Ballet Russe among the most artistically novel and exhilarating ever witnessed in New York. The whole conception is symphonic in per- fection. Never before, perhaps, was such music wedded to such marvels of vital and graceful motion, while the dressings and set- By crrit IVNDREW tings denoted a new art of visual appeal It was all graphic, thrilling, overpowering.” The Tired Business Man looked wonder. “T feel something the same way myself, and wouldn't mind having your vocabulary if it wouldn't interfere with business. And I’ve had the morality of things thrust upon me far more forcibly in other theatres where the police are never sent. Speaking of other theatres, how do you like to-night’s performance?” he Cinderella Man,’" said the Critic, falls into the category of the saccharine as opposed to the more frequent tabasco-ized variety of play. It comes as a relief to the parched palate of the theatre-gocr. Leaving out the undoubted merit of the staging and cast—of which Shelley Hull is the bright and particular star—the play has a quiet merit of its own. It hasn’t any ‘punch,’ and the CM. HAYES @ €O., DETROIT ONE OF JUDGE'S FAVORITES MAUDE. ADAMS, * Do you believe in fairies?” Of course you dot objection, there’s nothing the Walter’s form There’s the bell. seats. the Tired Business Man said to the Critic, end is obvious. But it is a most charming production, with a good cast and interesting character studies. In the way of character studies, the work of Frank Bacon is to be especially commended.” “T saw a play last night that was the direct antithesis of ‘The Cinderella Man,’” said I, as I joined the group. “I’m speaking of “Just a Woman.’ To tell you the truth, I didn’t enjoy myself overmuch. I am a lit- tle tired of sex and divorce and the troubles of the Upper Ten. I expected more of Mr. Walter than he showed in that play.” “That play didn’t strike me in the right way at all,” said the Critic. “In the first place, it cannot compare with Walter’s first and greatest success—‘The Easiest W Then, too, the theme is old, The acting was excellent, although Josephine Victor over- played her part at times, and the piece was well staged. But——' “They had a trial scene, Business Man. “IT was going to say—” began the Critic. “They had a trial scene,” said the Tired Business Man, inexorably. “Does that damn the play Critic, impatiently. “It does in my estimation,” answered the Tired Business Man. “All this year and last year and forever I’ve been fed up and bedded down with Trial Scenes. I’m tired of ’°em— that’s all.”” “Well, as said the Tired asked the Je from your somewhat frivolous ter with *Just a Woman’ except that it isn’t up to id the Critic. “Hello! We must get back to our As we hastened into the theatre, “T was going to ask you what you thought of the morality of the Ballet Russe.” “Morality?” said the Critic. “The esthetic senses, to which Art appeals, are raised above mere moral notions by virtue of Art’s power.” comicbooks.com