Life — September 26, 1912 — page 22: what you’re looking at

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

1858 -LIFE- Four Widely Varying Breeds fe is to smile at the patronizing con- descension in the tone of contempo- rary writers about the stage when they can apply the word melodrama to a play. In the case of “ W the Law,” not only has this da g ning term been freely used, the contemptuous description, “a police play,” with these writers gives the final touch of put- ting the piece beneath the serious consideration of those who pose as judges of the art of the theatre. No one could possibly deny that “ Within the Law” is melo- dramatic, ner that policemen are among its important charac- ters. There’s good reason for the policemen, and if we con- demn melodrama utterly there wouldn't be many strong plays left on the stage. Because Mr. Theodore Kremer and his con- temporarics made melodrama cheap. to the point of ridi- cule it doesn’t necessarily mean that all melodrama is ridicu- lous. It's the most virile possession of the stage and will con- tinue to hold human interest when the most skilful micro- scopic dissection of the mental and physiological processes of zbnormal women has become to normal theatregoers even a more wearisome stage topic than it is to-day. “Within the Law” answers the first requirement of a play in that it amuses and holds closely the interest of every one who sees and hears it. The present writer has rarely seen a New York first night audience so gaspingly wrought up as over some of the cpisodes in this piece. It is a clean play, for it makes no base appeal. In a literary way it is unpre- tentious, but it has perhaps a higher value just now in its em- phasizing evils that are of national importance. It carrics out the educationz! function of the stage in emphatically point- 1 out three public evils—the illegal methods of the police, the corruption money is able to work with our laws and law- yers and one phase of the tremendously immoral influence of our big department stores. HE play might be worth less consideration if it were not so well staged and excellently cast. To go into detailed commendation of the work of those in the cast who deserve it is impossible here. Standing out particularly is the work of Jane Cowl, who is not content to let her beauty carry her along, but shows the fruits of effort to improve her art. Mr. Orme Caldara plays the hero without being tempted into mock heroism, and Mr. Wilton Taylor, as a high New York police official, answers all the requirements as shown by recent exposures of police methods. This last is really a psycholog- ical study. Messrs. Dodson Mitchell, Brandon Hurst, William B. Mack are excellent in straight roles, and Georgia Lawrence and Florence Nash in feminine character parts. “Within the Law,” its acting and its teachings are quite worth while. The combination may not provide the highest intellectual stage entertainment, but it is quite as legitimate and praiseworthy as some efforts put forth more pretentiously. yy _-"_ “"THE Governor's Lady” has two powerful clements in its favor—the producing genius of Mr. David Belasco and the strangely appealing personality of Emma Dunn, Without these it would be a rather commonplace affair. Alice Bradley, the author, has supplied a not remarkable p) picting how a man who has become rich and ambitious be- comes estranged from the plain woman who has helped him climb, but who is not a sufficiently brilliant companion to share his success. The author is probably responsible for the close character study of the heroine as admirably realized by Emma Dunn. This artist makes the part tell not by beauty of person nor by tricks of acting, but by throwing into it 2 tremendous amount of earnestness and intense womanliness as that quality was understood when women were content to be wives and helpmeets. In her effort she is aided by an un- usual voice whose natural intonation carries the conviction of sincerity in every specch she utters. Back of the voice is always the suggestion of a tear or a smile which, concealed in reaches the audience infallibly. Mr. Belasco has given the play the aid of his great judg- ment in choosing the cast and training its members into ab- solute smoothness of performance. His realistic bent is shown in the reproduction of a Child’s restaurant in active operation. This is entirely a tour de force for popular appreciation. It is simply added to the play as an extra act and a background for the reconciliation of the middle-aged hero and heroine which had logically taken place in the preceding act.“ The Governor's Lady" is interesting, but in a much milder way than is usual in Mr. Belasco’s efforts. y de- “WM! Let’s SEE, “271, PASTORAL.’ GOOD HEAVENS! oH, WELL, I DARESAY SOME PASTORS are LIKE THAT” comicbootines ut