The evening world. Newspaper, February 26, 1921, Page 7

| } ») ‘OT e0 long ago the stage heroine ‘was pretty sure of” getting a husband. Nowadays she gets Jett. Just before the fail of the final ‘urtain she is hopeful, not to say ex- Pectant, only to have the man walk on her. Matrimony is no longer assured on ‘stage, and except for the movies, mously true to the endearing elineh, “the happy ending” seems well on {ts way to the storehouse. The explanation of this change is not to be! found in high rentals or low mor- aié, ‘but in the mood of authors who do, not hesitate to leave lovelorn heroines bewailing their fate in tear- stained plays. This risk was taken a number of yours ago by Eugene Walter with “THe Easiest Way,” but like the Briglish author of “Iris,” he could sebd his audience home with the vir- tu feeling that the woman jn the ase got what she deserved. “Rats!” as my neighbors in the gallery used to cry, Drama is drama, whether the People in it are good or bad, In fact, I've a sneaking notion that you have @ sneaking notion that the “bad” people in a play are usually more in- feresting than the “good” ones. How- » We Will leave Laat question to tho next President of the United States, for all the good Presidents I've eed@ @ucted on plays were terribly ba@ dramatic critics, These self- appointed ministers of art should stick to vaudeville. I& }ike performing acrobats, we nie @ net to save ourselves from ii + we might catch a new idea or two. Tumbling into this net, first ™ &ll, would be Eugene O'Neill a re- alig.in “Diffrent,” just as Karen ‘ is is a feminist in “The Dan- wus Age,” made over into “The ‘White Villa" by Edith Ellis, who calls it “a woma' comedy,” when it is really'a woman's tragedy—a tragedy Brought on mostly by idleness. The thing that keeps us going is work. ‘We have a great deal in common with i } HE EVENING WonudD, ShivavaY, PRBRUARY 26, 1921, Lovelorn Heroine in Up-to-Date Drama Gets “ Shake’’ and Not Husband as Curtain Falls “THE WHITE VILLA” \ “DIFE'RENT" " “tm leaving you. ees \ “SMOOTH AS SILI “ @ cold kiss, and with aporogtes takes himself. away. Then she sends for her former husband, thinking it will be an easy matter to get him back. Not at all! He is about to marry a nineteen-year-old girl, The middle- aged woman can only throw up her hands and gasp at life, With arms outstretched, she realizes that both ave left her. Any hope she e of another husband Is lett ing around the world. ¥ of course a good ship offers pos: ties! But aguin the heroine i eft the clock, and the joke of it is that ‘We all hope to strike twelve. Tt happened to be the alarm clock of melodrama that rang this week at the Lexington Theatre, with Willard Mank setting the time for an unhappy ending of melodrama. At the last ent be left a perfectly good girl her see out cere her, undying love. iris, slim or pluinp, may be built that way—but pays ‘will be plays. A melodramatic may be able to carry everything or everybody before him and make a “grand exit"—but so far as is known is the first time that Willard refused to marry anybody. There is ing like making history. IIn- tent upon cracking safes in his grand career aS a crook, Mr. Mack says to the, poor girl who does her best to him feel at home: re at that age where the eye- you have worn since you were a (figuratively speaking, of coursé) have clouded and distorted thewight that will come a little later, we can't wait for that” Then more talk of the same sort he her weeping for the husband he have been. This may be melo- with an ideal or a vengeance, Tea’ mi mie There is probably nothing so relent- Jess, biting and cruel as life in a small town when you feel that you never will he able to get away from it Un- consciously, perhaps, Eugene O'Neill has put the narrowness and vicious- ness of neighboring households into aed ‘rent.” Here is found the hervine ee ‘Knows nothing beyond the fence ‘wround her house. When she hears that the sailor she is waiting to hasn't conducted himself prop- with a maiden of one of the South Sea islands, she breaks her engagement to marry him. But as she grows to be fifty and puts on pairit and powder, she is so far from being pure-minded that she urges a loafer in army uniform to tell her about his experiences with girls in France, Fortunately, we are spared the details of his easy adventures, and finally she gets his measure when he tells her that instead of marrying her, high, if not dry. This kind of woman must neces- sarily be taken as a master, an intro spective female giving more thought to herself than she is worth, Taken from a novel—and an unusually in- teresting novel—she offers a study of her kind. Possibly any man is lucky to be rid of such a woman. She should be put to work—it would be good for her. There is no weakness in Halla of “Eyvind of the Hilla” until she finds herself in a snowbound hut at the end of the desperate trail of life Here is a woman willing to take her jot with a man, brave in spirit and ready to climb the hills of destiny But even she breaks down with the ery, “You don't love me any more!” And then tho ugliness of two human beings thrown on their last resources is revealed. They are like wild beasts tearing at cach other's hearts, All the love they have had for each other turns to poison. To be sure, the woman has not asked for a husband Without a word she has left her farm to forage with the outlaw. But in the storm that beats against the cabin she finds voice enough to say, “If I could only have saved my faith in my own love.” This is the tragedy of it all, and in it there is tragic act- ing by Margaret Wycherly such as has not been equalled since the days of that great, if not honored trage- dienne, Mme. Janauschek. But harking back to the present, it must be admitted that our stage heroines are sadly in need of bus- bands, if only to ay to an audience, “See what I got! MRS. HANERSTEN WL CONTINUE OWN MANHATTAN Widow of Impresario Obtains Money to Take Care of Present Debts. With no one sufficiently interested in furthering grand opera to lend money to her to defray the expenses of completely refurnishing the Man- hattan Opera House at an expendi- ture of $32,000, according to Mrs. Oscar Hammerstein's version of her financial embarrassment, the widow of the late impresario did not get assurance until late last night that she would be able to continue owner- ship in the institution, she told The Evening World to-day. Mrs. Ham- merstein announced that Fortune Gallo and Sol Bloom had advanced the money to take care of her prea- ent debte. “Unless I can continue to retain my equity in it, no one else will be permitted to produce grand opera at the Manhattan Opera House,” said Mrs, Hammerstein. “I thought peo- ple loved Mr. Hammerstein, but un- less they can demonstrate their ap- preciation for what he did, I should WHY WOMEN BUY as be had thought of doing for the Uttle money she hed, he might inake a better bargain with his uncle, who had waited thirty years for her. He also politely informs her that she is eld enough to be his mother. “Say, honest, Emmer, you didn't believe I was really stuck on you, did you?’ he asks the absurd, piciful creature. This i# realism with @ vengeance. But Hugene O'Neill has the rare gift of being real without Pity, and so this woman is left to herself. It%s quite another sort of heroine thatMahabits “The White Villa." 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