To have read a play, whether it be Shakespearian tragedy or a rare piece by Henry James, before seeing it performed may lead to disappointment. The Harvard Dramatic Club-Radcliffe Idler production of James' "Owen Wingrave" last night appeared well conceived and intelligently performed, with the perhaps major reservation that its casting in some cases left something to be desired. This latter impression, however, may be based on preconceived notions that the average playgoer will not have. Despite any flaws, "Owen Wingrave" remains impressive, and its premiere is an important event.

In its bare essential, "Owen Wingrave" is the epitaph of a throwback on the British military tradition. Before descending to specific criticism, it may be well to point out that this is not a pacifist play. It attacks the ideals of imperialist wars, not wars whose goal is peace. As Owen remarks, "I find the ideals of war benighted, stupid, hideous; and find our tribute to those who wage it--when they wage it destructively enough--a worship of gods as false as the idols of savages." But he has in mind the wars fought by his ancestors, fought in the classic mould dwelt on by Kipling. Owen, indeed, later says, "I'd fight--any time--for Peace!" His motives are quite different from those of the modern conscientious objector.

To make exclamations like these sound convincing, it is necessary that the audience respect the figure of the hero; he must have an inherently noble air about him that will thoroughly belie the possibility of cowardice. That Edward Franklin, despite an adequate interpretation, seems somewhat immature and verbose for the part hurts the presentation considerably. Leslie Paul, on the other hand, is eminently suited for the role of the heroine and makes Kate Julian the unrestrained, self-possessed girl she should be. In the supporting cast, William Sullivan leads the rest as the school-masterly Mr. Coyle; Lynn Baker's Mrs. Julian is a bit over-neurotic; and Mary Savage is too sharp for the genial, ingenuous Mrs. Coyle. The stage designers have fallen short of the profuse Victorianism that is required.

Dramatic expression is inevitably more artificial than ordinary expression. By exaggerating this artificiality, Alfred de Musset's "A Door Must Be Open or Shut" makes an excellent curtain-raiser; it makes the James play appear less artificial in contrast. The French play depends for its effect largely on polish, and Thomas Gad and Evelyn Mersen have achieved the perfection that makes this dramatization of an aphorism humorous and striking. wkt III