THE GREAT LOVER

Evening Star, Issue 18175, 16 January 1923, Page 4

THE GREAT LOVER

A FINE ROMANTIC COMEDY. conics away from ‘The Great Lover’ —tho second of tho plays staged by tho J. G. Williamson Company at His Majesty's—with entirely different ideas concerning Mr Louis Bennison’s capabilities than those formed after seeing him in ‘ Johnny, Get Your Gun.’ In tho cowboy farce ho was funny, ho was clever; but thero ho had nothing more to do than dozens of other actors might have done, and done perhaps equally well, though not in exactly tho same way. It was a “laughing show,” and we laughed, and that’s all there was to it. But in ‘The Great Lover’ Mr Bennison has to portray an entirely different character—that of Jean Paurbl, a great French grand opera singer, a creature of temperament, of whims and fancies, and of many loves; and, while we laugh at his airs, his conceits, and his sudden amours n the first act, lie, as the story develops, compels an .admiration, which goes on strengthening until at tho end we acknowledge this new star to be a very bright star indeed. And tho play itself is as sound and satisfying and charming as tho other was flimsy and circumspect. Moreover, it has that touch of novelty and special appeal that is decidedly refreshing, dealing as it docs with tho fascinating portion of stagehand- known as “behind tho scenes.” Who of us is not to a greater or Jess extent “stagestruck”? Which of us is not curious as to tho private lives of the more or less celebrated actors and actresses? And this romantic comedy of ‘ Tho Great Lover ’ shifts tho limelight from tho stage to tho dressing room, the manager’s office, and the titans’ apartments. What would‘'you have more? especially as tho whole thing is depicted in such natural colors and tho human clement so constantly and vividly present.

Tlio first act may bo described as the laughing act. The scene is tho manager's office, and (lie characters (mostly grand opera singers of note) drop in upon Unit harassed but tactful officer with suggestions, complaints, and abuse, the matters concerned ranging from tho absence of the “star” sign from the doors of would-be stars’ dressing rooms to that of (ho strike of the musicians in the orchestra. The petty spites, tho vanities, the temper of thcEo “real artists” are hero exposed for discussion and dissection at will. Mr Bennison’s fine work is thus early shown in a scene in which he explains to the scarcely listening manager hie Don Juan exploits, and, though his speech (as is that of most of tho other characters) is of tho broken English variety, there is no difficulty whatever in hearing him and following him. In the second act the scene is laid in PaimTs dressing room, and' here the facility with which tho great baritone glides from tho old love to tho new is once more amusingly exemplified when female admirers in no inconsiderable numbers seek and are granted admission to his room. Here, ton, tho violent altercation arises with tho jealous Sabattini (one of the old loves) which provides tho last straw in tho breaking down of Paurd’s voice. In the third act lie is in his rooms at the hotel, still attended by liis faithful valet, Potter, but compelled to inactivity by his breakdown. It is at this slag.) that Mr Dennison's most powerful acting is done, for hero it is revealed to him not only that his voice is gone beyond recall, but the fact that the young man who is bis understudy, and who is in love with the girl bo (Paurcl) proposes to marry, is his own natural son, the mother (to whom he often refers during the play) coming to his apartments to beg of him in giro up the girl for tho sake of their son’s happiness. Paurel makes tho ono sacrifice of hiri Hellish life when ho gives up Ethel Warren to Carlo Sonino.

Wo have sufficiently indicated that .Mr Denison docs great work in this play. His fine voice, his powers as a romantic actor now fully disclosed to ns, and his whimsical humor all go to tho making of an ideal Jean PanreJ. Mr Lou Vernon is Carlo Konino, the son who unknowingly in the (rival of his father to tho hand of tho lyric soprano, Ethel Warren. Mr Vhrnon, ■also, has a beautiful speaking voice, and the part of ardent lover suits him admirably. Splendid work is done by him throughout. The veteran Mr J. B, Atholwood lias ono of those parts that seem made specially for him. It Is that of Potter, valet to Paurol, and his delineation is a gem in the way of character sketches. Very fine, too, is the Guilin Sabattini of Miss Marie Eaton. Guilia is ono of Panrel’s old loves, and a woman of violent passions. Miss Eaton docs it extremely well. Miss Marjorie Bennett bad a none-too-casy part as Ethel Warren’, but she carried out tho task with considerable success, making -Ethel a somewhat cold, calculating American young woman, but n convincing character nevertheless. Mr Vivian Edwards (as Stapleton, the manager), Mr 11. H. Wallace (as Ward, tho Press agent), Air Leslie Victor (as Dr Stetson, the throat specialist), Miss Gwen Burroughs (as Bianco, fsonino’s mother), and the other members of the big cast were all happily placed. ‘The Great Lover’ will bo staged finally to-night, when the all-too-brief season of the company closes. -Still another big “house” is assured.