Evening Star Newspaper, January 11, 1925, Page 51

Part 3—10 Pages WAtLace = EDDINGER.~ e/National RuTe | HARRISON Wardytar Park Theater” \ Dnpeccodensed Meel i Spades in the Playhouse. By Philander ]olmson. Overheard the audience filed ‘out into the snow sp: ling night : “They certainly called a spade a spade!” “They did no such thing. I never heard anything so polite as a spade mentioned during the entire per- formance.” “What in the Avery Hopwood is the theater coming to “How the Gene O'Neill should I know?” as A strange question arises in the qQuest of entertainment. Are we an audience, or are we a vice squad? Do we conceal betimes a salacious inquisitiveness under the cloak of a moral obligation to investigate? ‘That metaphor of calling a spade a spade has been tested to the utmost in stage dialogue. A few pages from the thesaurus of blackguardism supply in a succession of synonyms all the needful phraseology to fill the places anciently held by facile repar- tee or poetic fancy. Critics have complained that Sheridan’s plays were unnatural because they main- tained a flow of conversational wit which would be utterly impossible even in the most intellectual circles. Sheridan, however, has managed to survive, owing possibly to his ac- curacy in making his wit invariably harmonize with the mental proc- esses of the role expressing it. If to be witty is a fault (and many persons who regard ideas only as implements of salesmanship ~and words as weapons of propaganda are lined so to account it) the realists of the American drama have labored well to overcome it. There no palliative circumlocutions; se must be confined-to print in the voluminous discussions which constitute a large and constantly growing percentage of the enter- tainment pertaining to the theater. And even the comment which im- plies the obligation of equipoise re- flects the literary influence of the footlights, betraying even an hon- ored editorial pen, from time to time, into an effort to outdo the hack- driver and the stevedore vocabulary that has been drilled across the foot- lights into his at first reluctant and sensitive ear. Good, old verse, that, “Vice is a monster of such horrid mien!” etc. * % ok % The spade is uplifted as the em- blem of the playhouse. Love themes are scantily appreciated. The pur- suit of money is relegated to the un- derworld. There is little or no good, honest fighting. We look neither upward nor about us. We delve. Hearts, diamonds and clubs are ig- nored. erybody is drawing for a spade. The impetus to this deluge of bil- lingsgate is d to have been given by the New York success, “Rain.” It never rains but it pours. Protest in terms of violence is of no avail; unless, of course, you hap- pen yourself to be an inveterate spade fancier. The more the city fathers in various cities arrested Olga Nethersole for impersonating Daudet’s Sappho the more precious standing room in the theaters play- ing her show became. It is no longer :p}p:lrt of the game to use the rapier of clever fancy. We submit humbly to the bludgeon, asking credit only for the assumption that our hearts are still in the right place. ¥ e The: weck that closes is consistent in its revelation of disrespect for the ordinary decencies of expression. The impression is cubistic. Sugges- tions of exquisite design jumble through beautiful modulations of coloring; -bandy-legged oafs and statuesque women are glimpsed through a chaos of angular common- places; an old soldier mingles the speech’ of sublime pathos with dod- dering blasphemy; a romping girl chants to an uncertain tune a string of coarse verses, not clever enough even to imply the intent of inuendo; in & spasm of decadent hilarity, a staring, grimacing dullwit sings an impassioned love song to a gold fish. Here and there are turns of irresis- tible humor; now and then we catch a gleam of genuine satire; a political burlesque speedily resolves itself into an ignortant incoherency; gems of smartness are mingled with the muck and gravel of the highway. Aad aa you pass-through the deog” ambush, to the street, there is-a song plugger in waiting to persuade you to take some of this home with you! e “Artists and Models” fulfill§ the promise of neither substantive in its titl. In some respects, George White's candals” is one of the most beautiful and entertaining shows he has nresented. But it can- not quite conceal with costumes, scenery and some incidents of isri- sistible lure the inherent mental pro- cess of certain elements’of the or- ganization’s personnel Ry The dewalks of New York” is being sung, danced and recited all over the map. The simple bit of balladry, almost worthy to be deemed a folksong, was revived attention amid the pandemonium of the Madison Square Garden conven- tion. Manhattan is not content to celebrate the innocence of sidewalk youth dancing to the tune of the piano wagon. There seems to be a sort of sordid pride in the curbstones that lead to the haunts of thugs and gangmen and the bedraggled waifs who keep them company. There is not a decent impulse to interrupt the gutter current as the play in which Lionel Barrymore has the leading role flows into public at- tention. * ok % * Technically, the play is undeniably good, the story being popularly and possibly scientifically interesting as a revelation of the perverted mental processes characteristic of the un- derworld. It leaves no glint of sen- timent or even of spontaneous com- edy to enliven the recollection of it. It is not pleasant to study our side- walks of New York from. the night side, where the lights shine on harpies as well as birds of paradise, Abject as some of the pictures of feminine desperation have been, Mr. Barrymore’s play emphasizes the fact that the male of certain side- walk species is deadlier than the female. * k %k X The attitude of the public that still hopes to find the theater a means of reasonably clean recreation is one, of pathetic resignation. seem to say, “How can you have the heart to abuse us so, when we have given you our perfectly good money and are maybe missing the last car home!” Fortunately, the roughness of thought and brutality of speech may, in many cases, leave little per- manent trace in remembrance. We are most likely to find what is most interesting and congenial to us. The little message of hopefulness and faith in humanity is clutched at and cherished in spite of the inter- mingling offense. In Mr. Barry- more’s play there is not even such a message. Nevertheless, it has the close analysis of mental operation in the submerged type, likely to inter- est the various groups of people who are ecager, sometimes morbidly so, to understand one another better; even to know the worst. This play is not pleasant. In some respects it is unpardonable. But it is psycho- logically correct. * ¥ X % The chief interest in the theater is the battle for publicity control. The custom of making news reports a vehicle for discussion .calculated to invite sensational interest has given press agency in some phases almost the rank of legitimate journalism. A recent magazine article entitled, “Dead Beating the Editors,” is re- ferred to in a leaflet issued by the Theatrical Press Representatives of America. The pamphlet refers touchingly to the sentiments of con- fidence that have existed between press agents and newspaper people, vowing in bold righteousness that “this organization would instantly discipline any member who would violate this valued confidence ex- tended by the press.” No doubt, by this time, the minutes of the organi- zation contain a page written in red ink and bordered with black, excom- municating about the highest sale aried press agent in New York, who declared there was not a dramatic critic in the town and then cited the diffident expostulations as proof of his contention. The entire situation resembles a melee with producing managers fighting openly and from The public caanet unders v Auditors’| he Sunday Staf WASHINGTON, . ¢ oo i HELEN ELEY Polis Newman—"India"—Today. E. M. Newman, traveltalker, begins his annual season this afternoon and evening at the National Theater, his subject being “India, the Vale of Kashmir,” the first stretch of “The Road to Mandalay” jourmey. In an up-to-date group of startling motion pictures and gorgeous color views, Mr. Newman promises to eun- fold all the beauty and mysterious atmosphere of India, where one senses the throb of a drum, the tinkle of temple bells, the scent of a thousand subtle perfumes and a medley of strange sounds In this fascinating traveltalk a pageant of humanity passes in pro- cession —a people of multitudinous races, faiths and tongues. Life surges by in kaleidescopic combinations of bright hues. India is a vast country of glittering wealth, majesty and grandeur, where one sees master- pieces of art. Mr. Newman also enjoyed the hos- pitality of thegungle people, who hunt the savage tiger, and these scenes will be shown in a sensational group of motion pictures. The Vale of Kashmir, a dream of beauty—a veritable Switzerland, with sunrise views of the everlasting snows of the Himalayas—pictures never to be forgotten, and Srinagar, “The Clty of the Sun,” also will be seen. The Maharajah of Kashmir placed his houseboat at Mr. Newman's dis- posal on beautiful Dal Lake, and af- forded him unusuzl opportunities to witness Hindu and Mohammedan rites and ceremonies. America Has Ideals. ** AFTER all, the stage is but a re- flection of the life of a coun- try,” sald Charles Ruggles, the come- dian, in “Mr. Battling Buttler,” in a miniature lecture on drama recently. “It's measure of worth is the meas- ure in which it truly reflects cotem- poraneous life—the ide customs, manners and characters of the times. Its appeal, too, rests upon what it does in this regard “A dramatist, to be successful, must be imbued with the spirit of the na- tion; he must be Soil of the sofl, and able to express the idealism of the people. I admit that we have not many playwrights who can do this, but we certainly have had some American plays which have done it. “It does not make any difference how good a play may be or how suc- cessful it is in London, Rome, Paris or Madrid. If it does not fit Amer- ican ideals, or the American sense of propriety, and conform to our dra- matic standards, it is not going to last. Some of the best French plays fail ignominiously here just because they deal with social conditions which to us do not exist. Our Puri- tanism has been snecered at and made the object of ridicule, but it has not been shaken in the least. It is as strong today as it ever was." A Radical Dcparture. A GREAT many screen directors and actors seem to attach much import to the old saw about the shoe- maker sticking to his last, and, hav- ing once achieved success, they feel they must cling to its specific formula. There are a few outstanding excep- tions to this notion, among them one of the youngest of the feminine screen stars, Colleen Moore, who has determined to vary her portrayals and still hold the interest of those who were originally attracted to her by her’ vivaclous delineation of the “fap- per” type. After the popularity of “Flaming Youth” ahd “The Perfect Flapper,” the conviction began to grow upon this particular star that henceforth she might be known chiefly as the femi- nine juvenile exemplifier of the “Jazz" era. Immediately she set about to correct this situation. Her next picture, a version of Edna Ferber's story, “So Big'—the life study of a woman wrapped up in her disappointing son—offered the chance. Few thought Colleen Moore mature enough to do justice to such a role. In fact, everything seemed to be against it. But she had determina- tion and the vision and courage to depart from her established type and to try something different but equal- ly creative. The picture will be seen here this week, and Miss Moore's ad- mirers can see for themselves how well she has succeeded. stand how in an association where there is so much to hold and charm the interest, the most influential fig- ures should apparently be on terms resembling those of mortal combat. The public’s position is a little like that of the backwoodsman who, as he saw the quarrel progressing with serious portent between Hamlet and Laertes, finally climbed on the stage and exclaimed: VERNON ~ Gayet SUNDAY MORNING, JANUARY 11, 1925. Natonal T_ILL!M? Kerths GEORGIE OLP Eatle Current Attracticns At the Theaters This Week NATIONAL—“The Haunted House,” mystery farce. row evening. Opens tomor- . BELASCO—“The Sap,” comedy. Opens tomorrow evening. POLI'S—“Mr. Battling Buttler,” musical comedy. ning. WARDMAN PARK—“The Hero,” ning. KEITH'S—“Anatol's Affairs of 1925,” vaudeville. noon. EARLE—“The Little Revue,” vaudeville. STRAND—Bobby Nelson, vaudeville. Sliding” Billy Watson, burlesque. MUTUAL—"Moonlight Maids,” burlesque. GAYETY— National—"The Haunted House.” Tomorrow night Lewis and Gordon will bring to Washington for a week's engagement, Owen Davis' mystery farce, “The Haunted House,” with Wallace Eddinger in the stellar role, following a long engagement at the Cohen Theater, New York City. Owen Davis, who wrote the play, is the author of “The Nervous Wreck,” and his new play is said to be a companion piece and by many thought to be an even more laughable farce. Supporting Mr. Eddinger will be Denman Maley, Arthur Aylsworth, Frank Monroe, Dudley Clements, John Irwin, Mayo Methot, Leslie Adams, Helen Baxter, Sallie Sanford and Harold Vermllye. Thrills aplenty are assured in the “Haunted House,” but the play has been written especially for laughter, and the combination of mystery and farce {s considered especially adapt- able to Mr. Eddingers particular talents. The play has been staged by How- ard Lindsay, the man responsible for staging “To the Ladies,” “Dulcy” and “The Wild Westcotts.” Belasco—"The Sap." At the Shubert-Belasco Theater, be- ginning tomorrow night, Raymond Hitcheock will be seen in a new laugh play, the handiwork-of Willlam A. Grew, called “The Sap,” which comes direct from the Apollo Theater in New York. Last season Hitchcock forsook the lighter form of entertainment with which his name has been associated for years past, and made a tour through the country in Don Marquis’ “The Old Soak.” His success in this role was such that he determined to continue his stage efforts in comedies that needed not the aid of show girls and music. His managers, George H. Nicolal and J. M. Welch, cast about them for a vehicle for this season’s tour and “The Sap” represents the result of their effort. The comedy is declared by New York reviewers as clean and whole- some and brimming over with laugh- provoking lines and situations, Wash- ington will be interested to know that Doris Eaton is in the cast {n a part that gives her fine opportunities. The three Eaton girls, Doris, Mary and Pearl, are products of the Capital City and they are playing side by side in attractions on Forty-second street—Mary, with “Kid Boots” and Pearl, in ‘Annie Dear,” with Billle Burke, that other Washingtonian. Poli's—"Mr. Battling Buttler.” George Choos’ musical comedy, “Mr. Battling Buttler,” will begin a week's engagement at Poli’s Theater tonight, with Charles Ruggles, the expert farceur, in the titla role; Helen Eley, “Say, fellers, can’t this be fixed up| some hawd” e Polly Walker, Marion Hamilton and Hsgher Mulx heading the femining " war play. Opens this eve- Opens Tuesday eve- Opens this after- Opens this afternoon. Opens this afternoon. Opens this afternoon. Opens this afternoon. contingent, and Frank Sinclair, Teddy McNamara, George Dobbs, Howard Freeman, Eugene McGregor and Guy Voyer in the supporting cast, and with an ensembla of 50 fast-stepping dancers. A critio has sald of the production: “ ‘Mr. Battling Buttler’ is not liable to be very popular with the type of theatergoer who enjoys dlalogue of a vulgar kind, girls in the nude and all that sort of thing, for these ele- ments are eliminated. This particu- lar musical comedy has been a suc- cess, not only in European cities, but in New York City and Philadelphia, where it has just finished a six-week record engagement.” A special symphony orchestra is sald to be another asset and will be in evidence throughout the perform- ance. Wnrdman Park—-vrhe Hero.' The Ram’'s Head Players will con- tinue in “The Hero,” Gilbert Emery’s play, all this week, omitting Sunday and Monday nights, as usual, The play concerns Oswald Lane, a thief and a rake, who flees the coun- try and joins the French Foreign Le- gion, with which during the war he distinguishes himself, returning to his home in Brooklyn afterward with a limp and the ribbons of the Croix de Guerre In his buttonhole. Ranald Savery as Oswald Lane; Richard Elwell as his brother Andy, who stayed at home; Leona Roberts as his mother; Ruth Harrison as Andy's wife, Hester; Amanda Chit- tum, as young Andy, and Josephine Hutchinson as Marthe, a Belgian girl, comprise the cast. Robert Bell di- rected the production, and Robert Byrne designed and executed the set- ting. Keith's—"Anatol’'s Affairs of 1925. A carnival of fun, song and dance is promised at B. F. Keith's Theater this week. Sharing honors with Mary Haynes, the singing commedienne, will be the big song and dance revue presented by Anatol Friedland, who appears in person with his own company of singers, dancers and comedians in “Anatol's Affairs of 1925 said to be the pepplest and prettiest of the novel musical revues of vaudeville, with five scenes and many special numbers and dances by beautiful girls in spectacular costumes,. Mary Haynes will appear in a new series of original songs by Eben S. Litchfield. She calls her offering, “Among Us Mortals”; Robert Bench- ley, dramatic critio, will make his vaudeville debut by reading humor- ous sayings, entitled “The Treasur- er's Report,” and Nonette, the singing violiniste, will offer song selections and violin numbers, assisted by Har- old Solmon at the piano. Others will include Julla Nash and C. H. O'Donnell, in a new farce com- edy, “Static,” by J. Gordon Bostock; the’ Choy Ling Hes Troude, Origntal wonder warkers; Coleman’s Police Dogs, in a performance for the dog lover and all those who enjoy unusual entertainment, and one of the most unusual acts In some time, Boba, the Ehtnoinan boy musiclan, who is ac- companied by his father and plays both the xylophone and the piano ac- cordion, one of his numbers, while blindfolded The Aesop's Fables, Topics of the Day and the Pathe News Weekly will complete the bill. Earle—"The Little Revue.” Patrons of the Earle Theater will be entertained this week, beginning this afternoon, with “The Little Revue,” featuring Jay Dillon and Betty Parker in a production with eight incidents, each a complete scene by itself, with a distinct bit of melody or song scene and each playing an important part in the offering In its entirety. Clarence Oliver and Georgie Olp, well known players in vaudeville, will present “Wire Collect, a playlet by William Anthony McGuire, and Blanche Franklyn and Nat Vincent, songwriters of ‘“Blowing Bubbles,” “Le Veeda,” and ‘“Lonesome,” will also provide a feature. Other offerings will inolude Harry Mayo, well known baritone singer; Coscla and Verdl, in “Springing Comedy”; Gautier's “Bricklayers,” a surprise offering, and the Great John- son, a performer in midalr, who pro- duces new thrills. A first-run photoplay from the pro- gram of the Stanley Company of America, also to be offered, is “Locked Doors,” featuring Betty Compson, Theodore Roberts and Robert Edeson. It is a Paramount picture. Strand—Bobby Nelson. Bobby Nelson, late of “Artists and Models,” “Broadway Brevities” and other New York revues, will head the vaudeville bill at the Strand Theater this week, beginning this afternoon. The added attraction will bring Billy Barnes and Jack Barton with a com- pany of ‘eight in “Kandy Crooks,” a sumptuously staged sugar-coated con- fection, with songs and dances. Others will be Lola Brava and com- pany in “A Gypsy Spanish Revue,” with Julita Comin and Jose Trufillio; Bed- ford and Wallace, in ‘“Versatile Mo- ments,” and Barrett and Farnum, in “Dancing and Then Some.” “Daughters of Pleasure,” a dynamic drama of young love and old, relating the adventures of a modern girl caught in a mad whirl of riches, will provide the photoplay entertainment. It features Marle Prevost and Monte Blue, with Clara Bow, Wilfred Lucas, Edyth _Chapman and Nellie Baker. “The Diving Fool" a comedy, and the Fox News will be added attrac- tions, Gnyety—“suding" Billy atson. “Sliding” Billy Watson will head the cast of his all-new “Fun Show" this week at the Gayety Theater. “Sliding” Billy Watson has made audiences laugh for a score of years with his funny little glide and his rough-and-ready method of buffoon- ery. His present show is heralded as his best produotion. The prima donna is Franz Marie Texas, a fine vocalist; Anna Propp, the smallest miss in showland, is the soubret while Mile. Babette, Frenth musio hall star, does a Parisian “vamp" role. Clare Evans s “Sliding” Billy's side comedy partner, working in tramp charaoter. Paul H. West, with a fine singing voice, also will be much in evidence and will team with Miss Texas in a group of duets. The straight man is Murray Harris, a dancer, and Frank Mallahan will appear In his familiar “two-gun cow- boy” role. Oliver De Grant also is a factor, with a pretty chorus of 18. A novel offering will be the Three Eddies, a trio of colored young men in syncopated stepping and singing: ! Automobiles ! Prcey ALLENBY e Belaseo e Coming’ Attractions National—"The Comic Sup- plement." Next week’s attraction at the Na tional Theater, opening Monday eve- ning, January 19, will be Ziegfeld's American Revue, known as “The Comic Supplement,” with W. C. Fields as its star, and with Rae Martha Bryan Allen, Alice Hegeman, Clarence Nordstrom, Joyce White and Hanfordg Wilson in the cast. Belasco—"Conscience. Monda; Shubert-Belasco, H. Woods wil present Don Mullally’s play “Con- science,” with Lillain Foster and the same cast and production that played the Belmont Theater, New York, an entire season. The cast includes Wil bur Crane, Rosemary King, Robert Robson, Hobart Cavanaugh and S. K. | Fried. Keith's—Duci de Kerek- jarto. Duci de Kerekjarto, the royal vio- linist virtuoso will share headline honors at B. F. Keith’s Theater next week, with Glen and Richards, who | will appear in “The Test,” a drama in two words by Ballard McDonald. oo Earle — Lenora Biben chestra. The Earle Theater announces for next week Miss Lenora Biben and her orchestra as its feature. Miss Biben is an entertainer of note and with her orchestra has won high praise in vaudeville. Others will include Kelly and Dea- barn, Helen Manning and company in “Hello Ton Judson Cole, Christine and Daley, Charles Harrison and S; via Dakin, with Billy Hogue, in “T Three of Us,” an addition to a pictu Grace George's New play. RACE GEORGE, one of the dis- tingulshed actresses of the Amer- ican stage today, is to appear soon at the Shulert-Belasco in “She Wanted to Know,” a comedy written by Paul Geraldy, one of the brilllant French authors. The play is now in its sev- enth month at the Theater Danou, in Paris, and, it s sald, will remain on the French boards for a long time, Of all of our fine artists, such as Julla Marlowe, Ada Rehan, Mrs Fiske, Ethel Barrymore and others of the same class, none can point to a record more honored than Miss George. When she appeared in Lon- don, a few years before the war, the London press hailed her as the finest actress that the American stage had ever sent them. Miss George's supporting company will include Bruce McRae, Frederick Worlock, Molly McIntyre, Barbara Kitson and others. Sets have been done by Livingston Platt. Margaret Wychcrly Readmg. Margaret Wycherly, the American actress, will give a reading of “Jane Clegg” Thursday at 8:15 p.m, in the auditorfum ' of the Central High School, under the auspices of the Washington Soclety of the Fine Arts. Miss Wycherly is a sort of Christo- pher Columbus of the theater. She is always discovering now play- wrights of interest, and giving them their opportunity to be played. “Jane Clegg,” in which she played the title role with the Theater Guild, was one of the early successes which helped to build this group into a powerful produoing organization. Miss Wycherly's performance in this play by St. John Ervine is one of the great portraitures of the stage. John Drew, referring to one of her performances sald, “I have not seen anything so completely excellent for many years. Jewish play Tonigl'n. Samuel Goldenberg and his company of Jewish actors, who have made stage history in Philadelphia, will re- turn for a second engagement at the Shubert-Belasco Theater tonight in Zolatarevsky's melodrama, “The King of Love.” The play is described as a brilliant Jowish melodrama, a clever bit of love and intrigue, embellished with music. Celia Adler, who is noted for emotional and dramatic powers, will be seen in support of Mr. Goldenbers. Arcade. Two “spotlight” events in the night- ly daucing program at the Arcade Auditorium this week will be a “so- clety cirous,” under the management of the Council of Jewish Women, Thursday evening, and the second of tho high sohool dances, Friday night, when the members of Business High will he without chargey Dooley, | evening, January 19, at the | from the program of the Stanley Com- pany of America, featuring Richard Dix, in “Manhattan.” This is & release by Paramount Strand—Jim Toney and { Ann Norman. Toney and Ann Norman wil stage attractions at the | Strand Theater next week in a novel skit entitled “A Man About Town.” Others billed re: Grace Elders’ evue, billed as “Dancers Unique" ank Cook and Jean Vernon, in 'Sassie Susie”; Al R n. er Kau an, nd Divor: in Th | the Aerial De Groofs, ata T Jim head t Betty Comp- rackle House, or photopla n Davidson, Rob- pict will be | A cast, including Jo |ert Lowing, Henry James, Willia | Black Josephine Norman, sup- ports the star in this adaptation of Hulbert Footner's mystery novel. | which Gayety—Barney Gerard. | Barney Gerard will present next | week at the Gayety Theater his latest | contribution to Columbia burlesque, replete with good comedy, clever dia- logue, catchy songs, tuneful music and a host of pretty girls. Joseph K Watson and Will H. Cohan, the fea- tured comedians, are heralded as the “Weber and Fields of Columbla Bur- lesque.” The company includes Ada Lum, Olive De Clair, Gladys Darling, Casey Jones, Manning and Ball, and Rastus Wilson, with a chorus of pret- ty dancing girls. | Mutual “Hurry Up. “Hurry Up' announced next week is the name of the show for the Mutual Theater | | Keith's Sunday Matinee. EGINNING with the matinee on , January 11, B. F. Keith's Theater will change the curtain time from 3 to 3:15 p.m. This change has been made by Man- ager Roland S. Robbins, with the 1dea that it will be welcomed by all Keith patrons, giving them more time to reach the theater after the Sunday dinner. Ziegfeld Himself Coming. FLORENZ Ziegteld himsel, the fa- mous creator of the “Follles, will come to Washington to attend the opening of *The Comic Supple- ment,” at the National Theater next week. He will bring with him the Rasko drawings of the live buffalo, which is the trade mark of “Ths Comic_Supplement.” 1In his party will be J. P. McEvoy, who wrots the hook; John Held, jr., the young cartoonist who designed the costumes; Con Con- rad and Vincent Searin, the composers, and Normal Bel Geeddes, who de- signed tho scenery. “The I'—Iero," Ly a “;ar Vet. ‘‘THE HERO,” regarded by many critics as one of the best plays written in recent yvears, has been the cause of much discussion as to its main thesls, that a low moral sense may not preclude a natural bravery, especially on the battlefield. When first presented in New York City three years ago, the general pub- lic lacked the perspective regarding the World War necessary to a clear understanding of the theme, because time had not then mellowed the nat- ural sentimentality of audiences in America. As written by Gilbert Emery, him- self a soldler, a vein of satire runs through the play, which is® Emery's first effort in that line. It was writ- ten shortly after his return from France, with his impressions of war- tare still vivid. It is a worthy drama, beautifully constructed, and has won the inter- est of a remarkable number of critics whose opinions usuaily are quite di- vergent as to play merit. S. J. Kauf- man applauds it as “a play that is al- most great, and the jovial Mr. Bench- ley, in Life, thinks it took courage to write such a play. Even George Jean Nathan admits that it *is worth while.” Mumal—"Moonlight Maids.” “Moonlight Maids,” a new tion, will be presented at the Theater this week, opening matinee today. Its featured players are Billy Hagan and Anna Toebe, Diana Morgan, a southern beauty, is the prima donna, and the company includes also Harry Levine, Hebrew comedian; Kitty Starr, a peppy sou- brette, and Art, Brooks, attrac- Mutual with a >