Judge — May 26, 1917 — page 19: what you’re looking at

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

ITAA B ET W EEN By CYRIL jaculated the Tired Business Man, “I haven’t seen such a regular thriller since ‘Within the Law.’ That’s some play, all right. Lots of action and tenseness, and all that sort of thing. I surely did enjoy myself The Critic looked dangerous, but delivered himself most calmly of the question that we all waited. “What was this remarkable produc- tion?” he inquired. “<The Knife, Business Man. There was a distinct and chilling : silence. The Débutante’s Mamma, who eg Had her daughter in tow at the time, prevented that young lady from making the favorable comments that evidently trembled on her lips. In fact, the Dé Mamma looked unutterable things at the Tired Business Man, who went ahead in blissful uncon- sciousness of the storm that was gathering around his person. “Yes,” he went on, “I liked that play for its realism The Critic interrupted. “Aren't you a bit confused in your terms?” he inquired. don’t remember anything particularly realistic about the p! “Why!” the Tired Business Man. realism “a “No, it isn’t,” replied the Critic, with an eye for the Débu- tante’s Mamma, who showed plainly that she didn’t approve of the way the conversation was heading. But the Débutante interposed to the aid of the Tired Business Man “T thought ‘The Knife’ was awfully strong,” she said. “I think everybody ought to see it. “7 thought it was a rather poorly put together sex play de- picting the ancient and dishonorable theme of the Perils of a Girl in the Great City, with this difference: the girl is of the higher classes rather than drawn from the ranks of the shopgirl,”’ re- plied the Critic. ‘Also, it was poorly acted in spots; also, it was necdiessly unpleasant; also, it was badly constructed.” “But Robert Edeson—" began the Débutante. “Mr. Edeson did very well indeed; and Miss Olive Wynd- ham was particularly good throughout. What I did not like about the play in particular was the unfort- unate mingling of propaganda and melodrama. The action was held up in a number of spots to push home the idea back of the play—that criminals or persons dangerous to society should be used for the purpose of medical ex- perimentation. The melodrama was _ fairly good, and the message not without interest; but arguments and counter arguments de- stroyed the continuity of the action to such 4 degree as to hurt the play very badly. The dramatic devices are well-handled, if a bit old and the moments of thrill are good; but the replied the Tired sn’t N S play leaves the impression of disjointedness that takes from the undoubted interest of its subject. There is, for instance, a very exciting scene of threats and flashlights and bindings and gaggings, which ends in an argument of morals! And ater, the scene in which the doctor is dis: covered guilty ends with a number of more or less unconvincing platitudes about the unwritten law. These things could not be in a well-constructed play.”” “Well, I admit that I hadn’t thought of those things,” said the Tired Business Man, “I saw only a thrilling play in ‘The Knife.’” “But didn’t you think the mes- began the Débutante. Isabella!” interrupted the Débutante’s Mamma.“ While there may be no fault to be found with the message of the play, the manner in which it was presented —” “Now, Mamma——” Your car is here,”” announced the immaculate voice of the immaculate chauffeur whose duty it was to conduct the Débu- tante and her Mamma to and from their home; and with the departure of the twain, the discussion of ‘The Knife’ waned. There was another play I liked a lot,” said the Tired Busi- ness Man, unabashed by his failure to score with “ The Knife.” “I mean ‘The Case of Lady Camber.’ That show impressed me mighty favorably. Why did it have such a short run?” “T think it was because there was not enough of what is called punch,” replied the Critic. “The plot was good and well worked out, and the acting was fair. But somehow the play fell flat. It is hard to decide just what was the cause of its lack of directness, but the lack was present, if a lack can be said to be present. It was, however, a great deal better than the average play about town, in point of construction, I mean; and had it been a bit more convincing it would probably have been a success. Its fault was that it left no definite impres- sion. I wasn’t sure, at the end, whether I had been looking at a comedy, a drama, or a tragedy.” “Just the same, I liked it,” said the Tired Business Man. “It was a mighty clever plot, and after all, even if it hadn’t a lot of punch, it was pleas- ing. 1 like to be amused and thrilled at the same time, and that play was the only one i've cn in a long time that could do it.” “T think you’re right,” said the Critic un- sexpectedly. “A play that is based on poison and deaths and things and still amuses is a rara avis. But the public cries for punch, punch. So it must have it.” “Yes,” replied the Tired Business Man, thoughtfully, “and from what I’ve seen, the public likes its punch with a stick in it.” C U RTA I INDREW age—