Judge — December 9, 1916 — page 17: what you’re looking at

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

BE TWE shouldn’t have come! I ought to have heeded your mother’s warn- ing!” ‘This to the Débutante, who had just left’ the Comedy Theatre with her sober-faced aunt, Mrs. Greylock, as they settled themselves in her limousine. Why, auntie!” replied the Débutante. “You wished to sce the most modern thing in theatricals, and I let you come with me, Didn't you note what a fine audience—what fine people—enjoyed the performance? And you have seen the long line of motors waiting for them, Some of the best people. . . .” “Yes. I know. If I hadn’t looked about and seen such persons there I should have insisted, as that awful play of life in Washington Square was going on, that we leave the theatre! J thought Washington Square was—ah—select! It used to be, for I knew nice people there years ago. People who used to visit me in Philadelphia.” “Well, auntie, there are nice people there now—on Washington Square North —and maybe on Washington Square South. But it is a glimpse of Bohemia you saw in the play. Or what they call Bohemia.” “But...” “Oh, don’t but me, auntie! You want to be in the fashion in the theatre as in everything else, don’t you? And I must say that anyone walking behind you even to-night—you are slender and chic from that viewpoint—would take you for a young person—a fashionable young per- son. Your gown is at least as short as mine if not...” And they were still arguing as the Débutante’s motor turned up Madison Avenue. ‘The Tired Business Man and the Critic had seen the same performance, and hap- ened to leave the theatre together. some show, ch?” remarked the Tired Business Man. “TI think I get what you mean,” replied the Critic. “T shall express my idea dif- “Tous Tam amazed at you! I E N By CYRIL ANDREW ferently. The Washington Square Play- ers have found themselves again. I was among those who predicted they would lose their genre in a Broadway atmos- phere. Their bill preceding this one emphasized that possibility. But they have ‘come back,’ as you would say.” “T'll confess to one thing,” said the Tired Business Man. “When that Japanese play began I thought I was going to be bored stiff. But it fascinated me!” “Which proves,” said the Critic, “just what I’ve always contended: that any real work of art appeals generally as well ‘as to connoisseurs. A great painting will arrest and hold the attention of the ignor- ant observer as well as that of the intel gent and knowing observer; and a great music composition has the same common This Japanese bit impresses for erity both in the staging and the acting.” “But that “comedy of student life on Washington Square was a bit tart, ch?” “Tt is in line with the purpose of these Players,” returned the Critic, “and be commended, with res attempt to picture a phi though exaggeration is apparent. exaggeration is necessary in the theatre, and especially relates to comedy’: tion. You sce it somewhat ¢ projected, however, in the closi of the bill—the farce of the Parisian café. But besides the Japanese bit, I should say that tragic little piece called ‘Trifles’ best shows the possibilities of this sort of acting, and of this company.” “T miss some of the Players of last sca- son,” said the Tired Business Man, “but the company proves that good people may be replaced.” ° “Yes. Actors, like persons in other fields of effort, may be invaluable and yet not indispensable. Surely the Play- ers are strong in their acquisitions—Mar- jorie Vonnegut, Gladys Wynne and C UR TATIN §S José Ruben. And they certainly have made an intelligible place for thousands in a polyglot metropolis.” “Speaking of making a place,” said the Tired Business Man, “What's this the- atre down-town somewhere—466 Grand Street, I think it is? My wife’s been talking about it ever since she went last week.” “You mean the Neighborhood Play- house,” said the Critic. “That com- pany, too, is doing excellent work. Their bill is like that of the Washington Square Players—mostly one-act bits. They are not so well known, but their patronage is of the highest class, and their acting is distinctly up to standard. It would pay you, I think, to them in some night. I should like to see them more recog- nized.” “Well, I don’t know,” said the Tired Business Man, dubiously. “I’m no highbrow, and I don’t want to get tangled up in an evening that'll make me do too much thinking.” “Oh, if that’s your attitude, why do you go to anything except musical come- dies and revues?” said the Critic tartly. “That's exactly the reason for the low quality of so many of our plays—the audi- sion to using stand a play, they damn it instinctively. It’s enough to discourage any self-respect - “I don’t see it that way at all,” seid the Tired Business Man. “I go to the theatre to enjoy myself, not to think. If I want to do any thinking, I read some- thing. I have enough. thinking to do on the Street, without fuddling my brain with some of these modern authors’ complica- tions, The Theatre’s getting too high- brow, anyhow. It isn’t like it used to be. Thete are too many alleged plays and not enough shows.”” “T disagree with the last part of your statement,” retorted the Critic. “But I am heartily in sympathy with the first part—particularly the ‘alleged. comicbooks.com