OCR Interpretation


The day book. (Chicago, Ill.) 1911-1917, March 15, 1915, NOON EDITION, Image 13

Image and text provided by University of Illinois at Urbana-Champaign Library, Urbana, IL

Persistent link: http://chroniclingamerica.loc.gov/lccn/sn83045487/1915-03-15/ed-1/seq-13/

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Julia Dean, the Star of "The Law of the Land
New York, March 15. The signs
of spring are in the air. The theaters
are advertising their two-hundredth
or more performances. The musical
reviews are advertising their cast
"all girls."
The end of the theatrical season of
1915 is in sight so I can begin to talk
of its successes. One of the greatest
is "The Law of the Land" which has
been filling the Forty-eighth Street
theater nightly since last September.
This George Broadhurst melo
drama with its tense situations and
thrills has- rather against the judg
ment of the local critics steadily gam
ed favor with the theater-going pub
lic. "The Law of the Land" is a play of
tremendous rigor and in these times
when the mind, of the whole world is
filled with battle, murder and sudden
death it makes a poignant appeal.
To gain sympathy for a woman
who commits murder is not hard,
however, if the playwright can only
find a sympathetic excuse for the
deed.
Julia Dean, as the wrong and
wronged wife, has done much to ex
tend the run of "The Law of the
Land." I know of no actress on the
stage today who is better equipped
to handle the agonized emotionalism
of a woman in torture.
Again Ethel 'Barrymore has dem
onstrated the fallacy of Frohman's
dictum that a woman married is an
actress marred.
In "The Shadow" Miss Barrymore
has multiplied many tunes over the
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