COMEDY CRIMSONPLAYGOER DRAMA

Since the New York run, the tragic finish of "Laugh, Clown, Laugh" has, in the twinkling of an eye, been changed to a happy one and the change can scarcely be called an improvement. Otherwise the play is as it was before, of the theatre, theatrical, but vastly effective, this Belasco version of the Grimaldi legend with Lionel Barrymore as the sorrowful clown.

In another generation it was Grimaldi who "caused Judah to skip like a calf" from merriment, who made Europe rock with laughter. When, at the height of his career, he was seized with a terrible malady which developed into melancholia he sought advice from a London physician. "See Grimaldi and learn how to laugh", he was told. "Alas, I cannot, for I am Grimaldi."

Heartbroken Clown a Familiar Figure

From Boucicault on, the character of the heartbroken clown has been used again and again, always successfully. On this occasion it is Barrymore who plays the role, making of it a portrait worthy to be placed beside his memorable Nerl in "The Jest".

Rome in the springtime. Tito Beppi of the Teatro Paradiso seeks the aid of the specialist Gambella, to cure the fits of terrible anguish and tears that torment him. In the waiting room he meets Luigi Ravelli, the roisterer and squire of dames, who has come to be treated, not for tears, but uncontrollable and ghastly laughter. Sorrowfully Tito tells his story to Gambella and is advised to go and see "Flik", the mountebank of the Paradiso, and laugh again. "But I am Flik!" Attracted by the strange opposites of their disease, Flik and Ravelli are becoming friendly, when Simonetta, the orphan waif brought up by Flik, enters the office. A vacation, strolling through the nearby countryside, is decided upon then and there by the three, and Luigi's latest adventure in love has begun.

In the second act, laid in Simonetta's dressing room, the play rises to its height. Grown up in the theatre, trained by Tito, the little singer has become the darling of Rome, sharing the applause with the great clown himself. Happy once more, proud of her success, Tito feels that at last his love can be declared. But on that vacation ramble things have happened and Simonetta's eyes and heart are now another's. When Tito sees the string of pearls that Luigi has sent, his tortured anger in all its horror returns and, cursing the moment when they met, he cries for vengeance on the passionate Lothario. Too late, Luigi declares his sincerity and asks for Simonetta's hand in marriage. She loves the gallant, so what is there for the wretched zany to do but stand aside.

Former Tragic Climax Gone

The pitiful love story draws to a close, but no longer does he seek surcease in death and oblivion. Originally we saw him in his lodgings, alone with his tragedy, going through his paces, leering at himself in a circle of mirrors, cackling in hideous laughter, unable longer to endure his torment, he stabs himself.

As it is now, Simonetta comes and offers to be his wife, denying her love for Luigi. Tito knows better, and, after her departure, writes to tell her that she is free, and then in company with Flok, his partner, turns toward Monte Carlo for a holiday of gayety and dissipation.

New Happy Ending Unsatisfying

Theatric though it was, the first ending was infinitely preferable to this, and it gave Mr. Barrymore a glorious opportunity with which he did wonders, Wonders no more. We are sent home with disappointment and a happy ending. Miss Fenwick as Simonetta, charming and gracious though she be, is hopelessly miscast. She is too much the Anglo-Saxon, rather than Italian, nor does Raymend Bloomer, who takes the place of Ian Keith as Luigi, succeed altogether in convincing one of his powers as a cavalier.

The settings and atmosphere of the piece are distinctly Belasco, showing his infinite care for detail. But the lasting memory of the play must be of Barrymore alone, the light and shade, the splendid power of him in the second act. "Laugh, Punchinello, laugh at the pain that is breaking your heart!"