Judge — January 27, 1917 — page 18: what you’re looking at

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

BE T W E sh | MUST say,” said the Critic to the Débutante, “that I’m a little weary of these saccharine productions.” “Yes?” replied the Débutante, a bit vaguely. “Just what do you mean?” “T mean the in- flux of sirupy sweet- ness that hasstruck us,” replied the Critic. “‘Polly- anna’ was the first, and here we have ‘Old Lady 31.’ I said last year that I ‘hoped that comedy would rule the 5 on, and my hope is in a 0 y be realized; but I did not look for the incurable optimism with which the stage is deluged. I feel that one ounce more of ‘sunshine’ or ‘gladness’ will reduce me to frenzied frothings.” exclaimed the Débutante. 3 has aig with it except its sunshiny attitude. It’s a fairly good play, with a good cast and good acting. But it’s too confoundedly happy! And teary! And all sorts of things. I haven’t a word to say about construction, or the characters, or technique—but I felt as though I had ke.” I thought ‘Old Lady 31’ was retorted the Débutante with spirit. “And I don’t see why you don’t like glad plays.” “[ don't like glad plays, as you call them, because I feel that I am being E N By CYRIL ANDREW ‘ated to an assault on my emotions rather than on my reason. You remem- ber what Wilkie Collins gave as the motto for playwrights?” The Débutante didn’t. “He said ‘Make ’em laugh—make ’em cry—make ’em think.’ ” “Oh, that’s awfully clever!” Débutante. “Clever—yes; but the modern play- wright—perhaps I should say the modern producer—has altered it a bit. His motto is apparently ‘Make ‘em laugh— make ‘em cry—but for Heaven's sake don't make ’em think.’ Thought is taboo on the present-day stage. And yet we are an intelligent people, as peoples go.”” The Débutante was obviously shocked. “You're dreadfully pessimistic, aren’t she asked. 'm not pessimistic,” replied the tic, “ because I believe in the ultimate wisdom of the American people; but I must admit that it has been a long time showing itself on the stage.” The Tired Business Man, entering at this moment, turned the conversation. “Who's seen ‘Mile-a-Minute Ken- dall’?” he inquired. here’s a mighty funny show with a mighty good cast. I enjoyed myself at it more than I’ve done in a long time.” The Critic appeared cheered at the mention of the name. “*Mile-a-Minute Kendall’,” he said, “is a pleasing taste in the midst of sirup and sugar. Iam always delighted to see a comedy which makes no pretense to be other than a comedy—a play which bases its appeal purely on the risibilities said the C U RTA rather than on maudlin te: There is nothing in ‘Mile-a-Minute Kendall’ to stamp it as unusual—it is old business, all of it; but it pleases, and the laughter of the house was of the stamp of genuine- ness. There was a further pleasure in the work of Tom Powe He was good in ‘Mr. Lazarus,’ but he surpassed him- self as Jack Kendall. I hope that ‘ Mile- a-Minute Kendall’ will have success.” “Well!” said the Tired Business Man, greatly astonished. “I came here all prepared to get a rise out of you about ‘Mile-a-Minute Kendall,’ but you don’t bite worth a cent. I should think you'd at least pick a few holes in it.” “My friend,” said the Critic, “I try not to be a destructive critic. I don’t believe in destructive criticism at all; the only criticism that is worth while is con- structive. That is why I do not go out of my way to pick flaws in ‘Mile-a- Minute Kendall.’ The flaws are there, but the genuineness of the piece disarms one. Where there is no pretense much may be forgiven. What I do object to is the play with a ‘message’ which is faulty. There can be no excuse for such, but honest fun covers a multitude of technical sins.”” isn’t this a new attitude on your part?” asked the Tired Business Man. Not at all,” replied the Critic. “I simply haven’t had an opportunity to adopt it this season.” “That's a pity,” said the Tired Busi- ness Man. “I think I’d have liked you much better for some time if ‘Mile Minute Kendall’ had been produced earlier.” “So Long, Letty!” “Good Gracious, Annabelle!” “* Our Little Wife.” “ Pollyanna, “Follow Me” * Up-stairs and Down “Come Out of the Kitchen” and comicbooks.com