DEMONSTRATION IS GIVEN "THE ENEMY" IN PREMIER HERE
Channing Pollock's new play, "The Enemy," was presented last night at the Shubert Theatre for the first time on any stage. This play house has been the scene of many an opening and there have been many hearty demonstrations made by enthusiastic audiences, but the one given this new play was greater than all others. The reason is simply that the audience was moved to such great depths they simply had to give way to their feelings or they would blow up. Mr. Pollock has done it again. After the first production of "The Fool" it was acclaimed by all as a powerful piece of writing with a big message. It was one of the most discussed plays of the time. Now he presents an even greater theme in an even greater manner and his message is brought home forcibly in a bold, fearless play which is a credit to the American stage. After viewing some of the riff raff which has been produced the past season one could easily be forgiven if he began to wonder where the standards of the stage were slipping to, but Mr. Pollock dismisses this thought by writing such a gem as "The Enemy." He takes the subject of hate as applied to the individual and the nations and delivers a sermon which in its very power stirs one to their deepest senses. He not only puts his finger on the fault but suggests the remedy as well. Whoever would suggest a war play in this day would be readily discouraged by those who claim to know how to read the pulse of the public, but this is just what this author has done and better still, he has done it in a manner which is absolutely devoid of any tricks of theatricalism. He deals with reality and fact in such a straight forward manner he does not have to resort to any trickery to bring his message home.
Perhaps some more learned writer could find something in this work to take exception to, but we then must admit our weakness for it is without exception the finest play we have seen in many a day and we were lost in action at all times.
A great share of last-night's success must be shared with the cast and especially to Fay Bainter, who had but a few days to learn the part and if the author had not made this statement one would never have suspected it from the sterling performance she gave. Her scene at the climax of the third act was superb and was one of the finest pieces of emotional expression anyone has seen anywhere. From the program we understand that Miss Bainter's services are loaned for the present engagement by William Harris, Jr., with whom she is under contract, but it will be a pity if she does not appear in this play when it is opened in the fall. The next honors fell to Harry Davenport who was not only letter perfect but made the part actually live. Miriam Hopkins, of whom we said glorious things in ill fated play, "The Knife in the Wall," causes us to retract none of them by her splendid performance. Walter Abel's interpretation was also one of the high spots and the same can be said of both [Lyonel] Watts and John Wray. Harold [Vermilyea] has one big moment in an otherwise small part, but he makes the most of it and deservers praise for that scene.
It would hardly be fair to omit mention of the manner in which the play has been staged, and Robert Milton has done himself proud in this production. "The Enemy" will be here for the rest of the week and one will be missing the best dramatic treat of the season if he fails to see it.
W. C. G.
↑New Haven Journal Courier June 2, 1925↓
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