GREAT ACTS AND WITTY DIALOGUE COMBINE FOR SUCCESS OF "BERANGER"

The "Beranger" of Sacha Guitry was given in Paris for the first time in January, 1920. This play is the third of the same type by this author; already in "Deburau" and in "Pasteur" he has drawn a picture of the times grouped round the principal character. In his last play, the drama unfolds in four acts and three great scenes. Beranger in his cradle (this was omitted in Mr. Phillips's translation); Beranger as his glory is dawning: a great scene with Talleyrand, who begs the composer vainly to write a song in favor of Louis XVIII. Beranger in full glory: a great scene with Talleyrand, who goes himself to Beranger's house to solicit a song in favor of Louis-Phillippe. Beranger toward the end of his life, disillusioned, already almost forgotten: a great scene with the young song-writers of the day, in which Beranger praises to them the sweetness of love, of ease, of cordial human relationships, and dissuades them from entering politics.

I admit that in spite of the delightful scenes and the perfection of the dialogue, I like "Beranger" less than "Deburau" or "Pasteur". No matter how cleverly handled, the scenes between Talleyrand and Beranger are not very probable. Beranger's optimism and finally his depression are also open to objections: I recall a page of "Choses Vues" by Victor Hugo, in which Beranger, robels against a popularity that "crushes him with its weight", comparing it to Hugo's own, which he is able to dominate. Finally, the character is certainly much idealized: Beranger had sides that were, perhaps not exactly ugly, but not very beautiful. The author has too sympathetically buried them in obscurity. Need I add that Beranger is supposed to symbolize Poetry, as Deburan symbolizes Dramatic Genius, and Pasteur, Science? I think that it would have been possible to find some one more representative, less humdrum, than the author of "Lisette" and of the "Dieu des bonnes gens".

But these few reservations are felt only when reading the play. When acted, they all vanish in the grace of the witty, tender dialogue, which is written with perfect tact, without the least vulgarity or bad taste, and which succeeds in giving to everything, no matter how far-fetched, the illusion of reality.

The performance of "Beranger" given by the Dramatic Club on Monday evening in Brattle Hall was excellent in every way, and thoroughly enjoyable. Every one deserves high praise,--not merely the sort of indulgent and encouraging compliments that are so often given to an amateur troop, but a sincere tribute for the entire success of a serious artistic effort. First of all, the scenery was excellent; the stage in Brattle Hall is small and poorly arranged; it is neither high nor deep; heavy beams cross the ceiling. Despite these drawbacks, the settings designed by D. M. Oenslager were admirable, simple in their broad lines, charming in detail. The lighting, which was obtained by a new process, with colored silks used as screens, produced soft and pleasing effects. The costumes were all irreproachably correct.

Collier a Poetic Beranger

But it is especially the interpretation that should be praised. J. J. Collier was Beranger--a poetic, gentle Beranger--perhaps a little too "Quakerish", but this is the fault of the author and not of the actor. He was particularly good in his first dialogue with Talleyrand and in the last act. He had in Miss Googins a partner of the first rank. She played the role of Lisette, in her three successive impersonations, with intelligence, vivacity, wit, and charming youthfulness. She modulates her voice with rare perfection, and her acting is graceful without affectation, light with none of those "mannerisms" that so easily become exaggerated. Lastly, the third important part was that of Talleyrand, which Conrad Salinger '23, played with an authority and a penetration that often made me forget I was not listening to a professional actor of ripe experience. Physical appearance, poses, ironical, cynical, often colorless voice, glances that expressed more than his lips dared pronounce, shrewdness and flattery, extreme courtesy and insulting superiority,--all these he combined into a whole that does him the greatest credit. The other roles were all very competently taken