The Story of Cinderella Presented Again on the New York Stage The story of Cinderella is not new. But then very few stories are. We can think of nothing of less consequence than the newness or oldness of a dramatic theme. What is of concern is the vitality of a story, a factor which depends on treatment rather than upon such elements of character and plot as may be reduced to a diagram in a textbook on the drama.
The story of Cinderella lies behind the story of "Lulu Bert." It is a story which of itself has always a broad human appeal, for most of us are inclined, at times, to see ourselves in the garb of (Cinderella. When we see Cinderella among her ashes, we say: "How like ourselves! Only of course Cinderella never was quite so badly abused as we have been." When we see Cinderella triumph, we say, "Just what we would do if we had our deserts!" Self-pity and wishful thinking are still to he classed among the favourite recreations of mankind.
"Lulu Bert," to return to the place where this editorial should have been started, is a dramatization by Zona Gale of her very widely read novel of the same name. Her heroine is a spinster of 34 years and many tribulations, whose age should be measured, not by its annual increments, but in terms of the monotonous life she has been forced to endure.
Lulu lives with her sister and her sister's husband. In return for the home which they give her she has turned herself into an untiring drudge, with no expectation of escaping from the tyranny of little things. Her sister is vain, shallow, and selfish. Her brother-in-law is pompous, dictatorial, and self-righteous. Both of them are amazingly well pleased with themselves for their kindness in giving Lulu the shelter of their roof-tree. They are possessed of two children, the younger of whom in particular impels the spectator to reach out for non-existent hair-brushes at her pearance upon the stage. She is certainly one of the most spankable stage children we have seen in many years.
The sixth member of the family group is the mother of Lulu and her sister, an aged woman bordering upon senility, whose mind combines attributes of keenness and and understanding with that tragic forgetfulness which marks the approach of oblivion. The mother is played by Louise Dosser Hale, and her characterization constitutes one of the best pieces of acting which we have seen on the New York stage this season.
Into this family group comes the brother of the head of the house, a rover and an open-hearted good fellow, whose ways have Ied him far from the restricted circle of the brother's life. He is quick to feel the injustice of Lulu's position and she to desire his understanding and sympathy. The old stage device of a mock marriage which turns out
Text read from the printed page and cleaned; old type leaves the occasional error.