box 15/3
ruene Kakadu
Der
g. 3 en eeenene e
DSotcH.
A0 STEEU
„ Annunrden
uC
41
pante DEhs Ar run
VAUDEVILLE.
1 Saau
·BETWEEN SUNSET & DAWN'
—
&· THEUREEN COCKATOO.:
Bace
—G
Somehow or other we alwaysjcome back
ation —
bo murder on the enrnest stage. If it 18
sensatienalism—murder! Mfit is“ realism,?
murder! The simple hum-drum truth—no,
2#.11
that would never do!
Anyhow, we had murder for both reasons
at the Vaudeville last night, and it must be
confessed that in the new play of the even¬
ink—“ Between Sunset and Dawn,“ by
GRIM AND GRISLY.
Hennom Ould— it was the murder that was
the weak point. There was resdly no reason
for it—unless it be an obstinate notion in
THRILLS PRODUCED OUIETLY AT
some quarters: that all the people in the
THE VAUDEVILLE.
East-end are always murdering one another,
a belief which those of us who have lived
there safely for years know to be much
Veins of thought strangely similar have
exaggerated.
been struck at about the same time by two
In this ease we have a picture, excellentto
dramatists, What is to become öf a woman
some extent, of a Deptford doss-house b#
unhappy in her home life who runs away
night. The runaway wife (Miss May
from her husband? This problem, so
Blayney) of a drunken voung rough Mr.
forcibly put by Mr. Galsworthy in“ The
Edmond Breon) sought shelter in the doss¬
house, and Jim Harris (Mr. Norman
Fugitive.“ is the basic idea in“ Between
MeKinnel), the heavy-fisted janitor and son
the Sunset and the Dawn,“ by Mr. Herman
Ould, produced at the Vandeville Theatre
of the proprietress, took an honest fancy to
last night.
her. They decided to go off together next
The difference is that Mr. Galsworthy’s
morning.
Scharacters were in comfortable circum¬
Meanwhile she went back to her far-too¬
stances, and Mr. Ould's scenes are taken
well-furnished home, to which her husband,
from working-class life.
Bill Higgins, had returned, drunk and
The play is practically in one act, divided
iealous. They had another row. She told
into four scenes, and the first, in a doss¬
Bill that there was “ no harm“ between her
house in South London, is a brilliant
and Jim (indeed, she had now made up her
cameo, Liz Higgins, who has run away
mind there would not be), but none the less
from her husband because he ill-treats her,
he droye her out of. tlé house, flourishing
seeks arnight’s shelter at the doss-house.
The keeper of it, Jim Harris, happens to
the lamp at her, and of Course she had to go
be a friend of her husband, but when Bill
backto Jim and the doss-house.
Higgins comes along Jim gives the girl a
When Jim Hears that she did not make a
chance to slip away. Later she comes
clean breast of her intentions to Bill he
back and Jim offers to protect her.
refuses to have anv more to do, with her,
She accepts him reluctantly, but two
and finally“ knifes?’ her, all too effectually.
minutes later changes her mind, and re¬
Franklv, the murder did not convince.
turns to her home. There she and Bill have
Men of Jum's temperament might murder
get another row and, like a cork in the
for passion, but not for a problem-play
current, she drifts back to Jim.
quibble. Still, the rest of the little four¬
The most extraordinary thing about the
scelle play was interestingly genuine and
production was thesubdued kev in which it
was played. Mr. Norman McKinnel and
Hauptmannesque. Unfortunately, English
Miss Mav Blayney as Jim and Liz were
doss-house dialogue can hardly be repro¬
both full of reserved strength, and the
duced, as its only two adjectives are both
queer, grim scene at the end of the play,
unpermissible on the stage. The love scencs,
in which Jim’s brain suddenly gives way,
also, were far too elaborately phrased. But
and he throttles the girl, was played so
Miss May Blayney’s playing of the wistfui
quietly that its effect was trebled.
voung wife was one of thé möst beautiful
Another grim little play,
The Green
things that have been scen in this kind for a
Cockatoo.“ by Arthur Schnitzler, which has
long time.
alrendy been praised in the Express.“
In Schnitzler’s wild and ghastly “thriller.“
completed the programme. In this Mr.
MeKinnel, as the mock murderer, Mr.
— The Green Cockatoo,“ which has alrendy
Malcolm Cherry. Miss Sarah Brooke, and
been produced by the Stage Society—there
Mr. Gordon Bailey were the outstanding
is, of course, no need to seek far for u
figures.
reason why Henri, the actor, stabbed the
amorous Duke in tue underground tavern
in the Peris of the Revolution, or why
Schnitzler revelled in ringing the changes
upon mimic horror and the real thing. It
ie just a piece of unabaslied sensationalism,
and brilliantly effective to be sure! As Jim
in the earlier play, and Henri in this, and
also as producer, Mr. Norman Mekinnel did
both dark deeds with his customary com¬
S. R. L.
betende.
ruene Kakadu
Der
g. 3 en eeenene e
DSotcH.
A0 STEEU
„ Annunrden
uC
41
pante DEhs Ar run
VAUDEVILLE.
1 Saau
·BETWEEN SUNSET & DAWN'
—
&· THEUREEN COCKATOO.:
Bace
—G
Somehow or other we alwaysjcome back
ation —
bo murder on the enrnest stage. If it 18
sensatienalism—murder! Mfit is“ realism,?
murder! The simple hum-drum truth—no,
2#.11
that would never do!
Anyhow, we had murder for both reasons
at the Vaudeville last night, and it must be
confessed that in the new play of the even¬
ink—“ Between Sunset and Dawn,“ by
GRIM AND GRISLY.
Hennom Ould— it was the murder that was
the weak point. There was resdly no reason
for it—unless it be an obstinate notion in
THRILLS PRODUCED OUIETLY AT
some quarters: that all the people in the
THE VAUDEVILLE.
East-end are always murdering one another,
a belief which those of us who have lived
there safely for years know to be much
Veins of thought strangely similar have
exaggerated.
been struck at about the same time by two
In this ease we have a picture, excellentto
dramatists, What is to become öf a woman
some extent, of a Deptford doss-house b#
unhappy in her home life who runs away
night. The runaway wife (Miss May
from her husband? This problem, so
Blayney) of a drunken voung rough Mr.
forcibly put by Mr. Galsworthy in“ The
Edmond Breon) sought shelter in the doss¬
house, and Jim Harris (Mr. Norman
Fugitive.“ is the basic idea in“ Between
MeKinnel), the heavy-fisted janitor and son
the Sunset and the Dawn,“ by Mr. Herman
Ould, produced at the Vandeville Theatre
of the proprietress, took an honest fancy to
last night.
her. They decided to go off together next
The difference is that Mr. Galsworthy’s
morning.
Scharacters were in comfortable circum¬
Meanwhile she went back to her far-too¬
stances, and Mr. Ould's scenes are taken
well-furnished home, to which her husband,
from working-class life.
Bill Higgins, had returned, drunk and
The play is practically in one act, divided
iealous. They had another row. She told
into four scenes, and the first, in a doss¬
Bill that there was “ no harm“ between her
house in South London, is a brilliant
and Jim (indeed, she had now made up her
cameo, Liz Higgins, who has run away
mind there would not be), but none the less
from her husband because he ill-treats her,
he droye her out of. tlé house, flourishing
seeks arnight’s shelter at the doss-house.
The keeper of it, Jim Harris, happens to
the lamp at her, and of Course she had to go
be a friend of her husband, but when Bill
backto Jim and the doss-house.
Higgins comes along Jim gives the girl a
When Jim Hears that she did not make a
chance to slip away. Later she comes
clean breast of her intentions to Bill he
back and Jim offers to protect her.
refuses to have anv more to do, with her,
She accepts him reluctantly, but two
and finally“ knifes?’ her, all too effectually.
minutes later changes her mind, and re¬
Franklv, the murder did not convince.
turns to her home. There she and Bill have
Men of Jum's temperament might murder
get another row and, like a cork in the
for passion, but not for a problem-play
current, she drifts back to Jim.
quibble. Still, the rest of the little four¬
The most extraordinary thing about the
scelle play was interestingly genuine and
production was thesubdued kev in which it
was played. Mr. Norman McKinnel and
Hauptmannesque. Unfortunately, English
Miss Mav Blayney as Jim and Liz were
doss-house dialogue can hardly be repro¬
both full of reserved strength, and the
duced, as its only two adjectives are both
queer, grim scene at the end of the play,
unpermissible on the stage. The love scencs,
in which Jim’s brain suddenly gives way,
also, were far too elaborately phrased. But
and he throttles the girl, was played so
Miss May Blayney’s playing of the wistfui
quietly that its effect was trebled.
voung wife was one of thé möst beautiful
Another grim little play,
The Green
things that have been scen in this kind for a
Cockatoo.“ by Arthur Schnitzler, which has
long time.
alrendy been praised in the Express.“
In Schnitzler’s wild and ghastly “thriller.“
completed the programme. In this Mr.
MeKinnel, as the mock murderer, Mr.
— The Green Cockatoo,“ which has alrendy
Malcolm Cherry. Miss Sarah Brooke, and
been produced by the Stage Society—there
Mr. Gordon Bailey were the outstanding
is, of course, no need to seek far for u
figures.
reason why Henri, the actor, stabbed the
amorous Duke in tue underground tavern
in the Peris of the Revolution, or why
Schnitzler revelled in ringing the changes
upon mimic horror and the real thing. It
ie just a piece of unabaslied sensationalism,
and brilliantly effective to be sure! As Jim
in the earlier play, and Henri in this, and
also as producer, Mr. Norman Mekinnel did
both dark deeds with his customary com¬
S. R. L.
betende.