Life, 1917-09-20 · page 22 of 40
Life — September 20, 1917 — page 22: what you’re looking at
What you’re looking at
This page reviews three theatrical productions. The main content discusses "Polly with a Past," starring Ina Claire under director David Belasco's guidance. The review praises her transformation from operetta performer to legitimate actress, though notes her acting ability remains somewhat uncertain—she relies heavily on imitation and had dialect issues in her debut performance. Two other plays receive brief mentions: "Good Night, Paul" (a converted farce with musical numbers that failed to generate expected success despite its formula), and "The Pawn," which the reviewer criticizes harshly for its insulting portrayal of Japanese people. The reviewer suggests the play's racism may provoke diplomatic protest, though its theatrical mediocrity will likely doom it regardless. The three small illustrations at bottom depict "The Romance of a Poor Young Man"—a domestic scene showing the progression from intimate dinner ("bread and cheese and kisses") to apparent romantic dissolution.
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466 Adam: OUGHT I TO SPEAK TO HER WITHOUT AN INTRODUCTION? SNe You Pay Your Money and Take Your Choice “POLLY WITH A PAST” is not a parrot play, as might be in N\ ferred from the title and from some of the imitative qualities of Ina Claire in the character of Polly Shannon, about whose feminine charm the action revolves. Mr. Belasco has waved his magician’s wand over this young woman and transformed her from a nd-musie prima donna into a legitimate actress. In spite of Mr. Belasco’s skill and her own attractiveness there still remains a bit of doubt about her ability, for in all the pha of her ing someone else, the scale ranging from Maude Adams to Mme. Bernhardt In accent she mixed matters up a bit in her swift changes of dialect at the first performance, a defect likely to be remedied later on. In the present réle she is most agreeable and effec tive. The test of her acting ability will be more severe when she has a part that relies less on the imitative faculty. The play is a clever comedy to which Messrs. M and Bolton have supplied an extray and clever lines, ~ & personation she seems to be imi dleton nt but ingenious plot Mr. Belasco has staged it with his usual perfection of every detail and his usual excellent judgment in the selection of a cast, including such well-known artists as Messrs. Cyril Scott, Reeves-Smith and William $ expert critical prophet to assure a long r T has been discovered that former popular successes farce and comedy they are outfitted with nisical numbers, an equipment physically attractive chorus girls and a modernization of th texts, In some recent instances the result has been extrer profitable to the adventurers in this field, with the resulting crowd of imitators that trails everything the 1 world. “Good Night, Paul” followed the ning a formerly successful farce into a comedy with music, but not even Mr. Ralph Herz’s staccato personality, Mr. Frank Lalor's genuine comedy methods and Miss Eli beth M. Murray's laugh-inspiring hypnotic serum served to produce anything like a deluge of mirth, The soul of the original material didn't transmigrate into its new teneme Everyone in “Good Night, Paul” works hard, but to small purpose. ““CHE PAWN,” in its insulting attitude towards the Japanese race, might call for action on the part of the United tes diplomatic and legal authorities, if it promised to be of any importance as a theatrical attraction. Its dullness as a play will probably settle its fate without any intervention by the authorit Plays with their motive to extol race virtues or attack race defects rarely interest the public. “ The Pawn,’ by its evident malice inst the Japanese, falls into this cate- line can be giv theatri formula of THE ROMANCE OF A POOR YOUNG MAN BREAD AND CHEESE ? EKEAD AND CHERSE AND KISSES | comicbooksggony