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Show (1 On Usury orks By GEORGE JEAN NATHAN. rUK good Soulo offers as synonyms syno-nyms for entimoiitul, 'tender." 'ten-der." "impressible." ratheti, nud "romantic" Edward Chi Ids Carpenter, the Phila-lpu:a Phila-lpu:a Kehecca of Simnyhiwk Kami, era as snonyms tor the .same mi, "pastry,"' "sliicose." "inarma-tc" "inarma-tc" ami "custard." Represent.',! rren::v m New York by two new is. this gentlemjn, w ho will bo ailed as the author of 'The Cin-rella Cin-rella Man," expoun.is eloquently ; .-harn line that -separates our old t:cal iriends, sentiment and sen-nentaliMu. sen-nentaliMu. Striving to write th rrie sort of thing, he contrives m main to writ,- ihe Eleanor H. Tie .sort of tiling. And as a re-It re-It Ins stage compositions take rn air of an lahelbeit Nevin mcl-y mcl-y put Into prose by pr Frank ane. Sentiment is probablv the most dif-u'.t dif-u'.t of all things adron'.v io neno-, neno-, te. Setween it ar.d sentimental: I v the that divides the love let- V,. ot the woman we love from the " letter of the woman we once ed. but love no more. Sentiment the. scene of leave-taking twit esar and Cleopatra in Shaw's br!l-nt br!l-nt comedy, the scene before the rist's shoo in Sehnitz'.er's "Anatol." ? scene between J.ord Georse Hell J the girl In Max Keerbohm's Isppy Hypocrite." Sent imen tali tv the stuff George V. Hobart writes stuff, the late Charles Klein used turn out by the gallon, the stuff such scene? as comprise the two rpenter opera. "The Pipes of Pan" 1 - The Three Bears," ?me Is Fragile. The former, on view in the Hudson ?a:er, poises itself to tell the storv a micdie-aged couple, separated in ?ir youth, who meet by chance in er and grayer years and seek then recapture the spirit of bygone ro-mce. ro-mce. A fragile theme, and one it under tiie Carpenter touch is bieeted to an almost complete lack tancy and imagination. The plav--ight. camoaiunis against the aii- orium tear duct, relies ehiet'lv upon ist allusions to the sunbeams, the its. trie flowers, the moon. Paris In ne and all the rest o!" the country et's stock company. Youth, he in--prets in terms of actors hoppinc out the stage shouting; what etzsche called the pathos of riis-nc riis-nc he makes to" achieve with xmiight via a purple br.nehlight at ' and a synchronous sctne wherein o actors with Cockney Inflections icroso over the dear old davs in e Latin Quarter. That Mr. Carpenter is signally de-ient de-ient in imaginativeness is made :ar in the easy opportunities he has erlooked. For example. w hen his iy begins, one hears through the noows of the artist's studio the ft piping of a vagrant melody, "he pipes of Pan the call of Tins." observes one character, i s only that old Dutch flute player acticlng across the way," retorts :other. "When, eventually, his two iding characters answer to the call these pipes and feel in themselves rain the call of youth, the pipes of r in are Identified still as being erely the pipes of the ancient Hol- k nder In the neighboring house. A o It" sanation might readily T've lifter! i7e episode out of the I aim of banality. I'nt Is Overlooked. tVhen the middle-aged man and ; -jman respond again to the romance their youth, when they, too, hear 'V song of thj pipes of Pan, and fen they recaif that the song comes I them through the open windows lin reality only the song of the old bsician across the street, how sim-a sim-a theatrical device to have them Irn that the old musician died that bmine and that the song they hear probably the echo of the pipes of 4 everliving Pan, the song of a tith that never dies from the world, t even such perfectly apparent, nevertheless effective theatrical fatagems, Mr. Carpenter fails to :f:e. . The two rentral roles are Inter-I. Inter-I. ' iied bv Norman Trevor and Miss I ' fet Beecher. neither of whom is t by nature or t.'chniuo tilted to the tasks here assltifd tiptn. The second l '.irpenl er pieic, "The Three Hears. " Is vlsihlo m the 'tu-pne. 'tu-pne. with Miss Ann Munlock in llu starred position. Hen t he Philadelphia Philadel-phia I'alht-nne riiisholm 'i)s!ilm; es-j-.is to retell the tulc told several yeai-s ago by Anlhonv p. Whurton in i phiy railed "At the Vtarn." douo locally h .Miss Malt Tempest." Ths stor" is the not untami'uar one of the Kiihelor den inaihMl by the woman who eventually tann-s the prunipy denizens and niarrws that one among them who is the hirRe:;t piUarled actor. ac-tor. Where Mr. Y luirton inlornd his narrative with considerable ar.-h humor, Mr. Oirpentfr stts his before the public with a straight I. ice. immobile im-mobile save for the o, e;ision.l dropping drop-ping of a sad tear. Tie m;tkes an effort, ef-fort, true enough, now and npnln to take t he too lad like egf off his dialogue by means of a boisterous ouip. but the at tempt is much loo transparent to be happy. Shows Improvement. Miss Murdoch has improved considerably con-siderably : she has lost most of the mannerisms that hitherto have clouded cloud-ed her work; and her" perform. tnee. while lacking in variety, is not without with-out its periodic flashes of dexterity and attractiveness. The rest of the ''Oinpany, including the Messrs. Percy Marmont. J erome F'a trick a nd Uex MePoufiull as the trio of bachelors, is considerably above the Broadwav nve rase, and the nop n in outfittinps are exceptionally pretty. In short, the stase reveals almost everything hut a play. At the Liberty, we have another of J. Hartley Manners' efforts. This latest bears the title. "The Wooing of Eve," and is a stiff, outmoded and to no little extent inscrutable work. The tale set forth is of an American Ameri-can pirl who comes into an Enstliph household and seeks therein to smooth out an ill-starred love affair. Tho so-eall-d big scene amounts to little more than a clumsy paraphrase of the big scene of Ihnero's "Quex"; Miss Laurette Taylor, e wr n captivating comedienne. Is wholly wasted on the lending role. The "Quex" of Finero, Just alluded to. is in process of revival on the stage of the Forty-eighth Street theater. Lately revised by the author, au-thor, the play still exercises much of its old-time allure and provides as likely an evening In the theater as one may find the lemrth of th Rial to. The roles originally played by John Hare -and Irene Vanbrugh are here most efficiently interpreted by -John Drew and Margaret lilirg-ton. lilirg-ton. Alice Nielsen Back. At the Casino, and booked shortly for the gate, a tune version of "weet Kitty Bellairs'' night "Kitty Dar-lin'." Dar-lin'." with libretto by Otto Hauer-bach Hauer-bach and what passes for music by Rudolph Friml. This, the sort of confection beloved of the populace in the epoch before Thomas Q. Sea-brooke, Sea-brooke, Willard Spenser and high velocipedes. ve-locipedes. A hne of smiling Irish soldiers left, a line of smiling British redcoats right, and in the center of the stage a prima donna with a pink parasol singing "Love In Love Is Love." Alas, such things seem far away from these modern times of "Oh, Boy!" and "The Follies"! Miss Alice Nielsen returns to the stage in the piece and discloses a voice that has gone the Ead. way of the years. The new Century show, gfven the name "Miss 1P17," is a brilliantly costumed. brilliantly girled affair which, while probably not up to the exceptionally high mark of the previous pre-vious exhibition on this same stage. Is yet fertile in good pastime. Among the principals in this year's show are Lew Fields, Mrs. Vernon 1 Castle, Ann Pennington. Bessie McCoy Mc-Coy and Harry Kelly. The leading feature is a very beautiful ballet. "Failing Leaves." in which the revolving re-volving stage is made to serve to fine effect. . The best thing in the way of dancing is contributed by Miss Pennington, who contrives to put La Castle in the background. Fields, with scant material, is funny in a scene of theater-ticket speculation. The staging comes from the hand of Ned Wayburn. who on this occasion discloses no especial novelties. The maidens of the chorus are of a high toothsomeness. |