File:Plays and players, leaves from a critic's scrapbook (1916) (14766380891).jpg

Identifier: playsplayersleav00eato (find matches)
Title: Plays and players, leaves from a critic's scrapbook
Year: 1916 (1910s)
Authors: Eaton, Walter Prichard, 1878-1957
Subjects: Theater Actors, American Actresses, American
Publisher: Cincinnati, Stewart & Kidd Company
Contributing Library: The Library of Congress
Digitizing Sponsor: The Library of Congress

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es for, and usually she achieves, a kind of rough, honest speech which marks well enough the social and intellectual level of her supposed Maggie, and then it appears to be her whole object to make Maggie a type of the maternal instinct struggling with whatever primitive weapons it may against the grim inhibitions and injustices of our modern industrialism. She never shows off in her acting in this play. She has no fine clothes to wear, and she acts the better without them. She slumps down into a rather dumpy, corsetless figure, and carries conviction to the eye as well as the ear. Her confession to her husband is a simple, sincere, touching piece of work. If the preceding scene of cross-questioning is not so effective, that is rather the dramatists fault. Her final moments in the play are truly touching and beautiful. The part is a good one,an honest one, and one which appeals to the elemental sympathies of an audience. She has been wise enough to realize it, and has tried for no fire-works.
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THE RETURN OF PETER GRIMM Act I WARFIELD IN THE SPIRIT WORLD The Return of Peter Grimm—Belasco Theater, October //, ign Occasionally David Warfield lays aside The Music Master long enough to produce a new play. He has done so to celebrate the advent of 1911, producing in Boston a new drama signed by David Belasco, called The Return of Peter Grimm. The present writer dared the east wind to see this new play. His trip to Boston was rewarded by an evening of rare and curious theatrical interest, even excitement. But it was not rewarded by any new revelations in David Warfields art, nor, indeed, by any very vivid character delineation even along the familiar lines of Warfields past achievements. The Return of Peter Grimm is interesting rather as a play, almost as a problem in stage management, than as a character picture painted by the actor. It is tremendously worth doing. But it is not worth doing for two seasons to the exclusion of everything else. Mr. Warfield should have it in a repertory. 17 18 PLA

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