Originally published in The Vidette-Messenger of Porter County on April 14, 1931.
“KICK-IN” HAS PLENTY OF KICK; DRAMATIC CLUB SCORES SUCCESS
An audience at the well-filled Memorial Opera House last evening, learned that “Kick In,” a four-act drama by Willard Mack, lives up to its title. It is packed full with ‘kick.’
An audience even larger than the one that greeted the cast on the opening night is expected to attend the presentation this evening, for all those who have witnessed it are enthusiastic in praise of the excellence of the staging, directed by Miss Edna Agar.
An orchestra under the direction of Miss Ruth Hershman adds to the enjoyment of the program.
The presentation of “Kick In” is made by the newly organized Valparaiso Dramatic club under the sponsorship of the Drum and Bugle Corps of Charles Pratt Post, American Legion. Proceeds are to be used to defray the expense of sending the drum and bugle corps to the national convention of the American Legion, to be held at Detroit.
“Kick In” is a drama. It deals with the lives of the underworld, and of the handicaps faced by men and women who have gone wrong, in attempting to go straight. It tells of the pitfalls placed in the way of their restoration by crafty and hypocritical police methodsーof the sacrifice, by those in authority, of heroic effort on the part of those seeking to make good, to gain promotions.
The production has been on the legitimate stage for yearsーand it demands real dramatic ability on the part of every member of the cast. That the Valparaiso Dramatic club fully measures to the demands made upon it, by the difficult production is the highest commendation that can be given it. There were no weak spots. Characters were well chosen for their parts.
Harvey Varner as the hard-boiled police commissioner who is seemingly merciless, but finally shows that he is human, by giving the ex-convict, Chick Hewes (Herbert Deer) and Molly, his wife (Martha Hughes) another chance for freedom, even though he could have ‘framed’ them, demonstrated real dramatic ability. Henry Eschell was most convincing in his portrayal of Charley, Molly’s dope-fiend brother. From sudden silence to hysterical frenzy, he realistically enacted the gamut of human emotion. Lorraine Kinne, as the ‘ould Irish leddy’ with Lillian Sayers, her daughter, furnished the comedy relief in a play that otherwise was shot full of tense moments. These young ladies have talents so well known that little need be said to picture them in the minds of local home-talent ‘fans.’
Another of the outstanding characters was ‘Myrtle,’ the gangster’s Moll. Irmadell Johnson plays the part as it should be played.
“Memphis Bessie (Mrs. Frank Morton) is one of the toughest Southern Belles that ever reformed. Talking back to the commissioner was one of the best things she ‘didn’t do nothing else but.’ Jack Diggs (Arthur Erickson), one of the best hearted detectives, was nearer right in the solution of the crime than his double-crossing partner, ‘Whip’ Fogarty (Bruce Bornholt). This character was one of the most deceitful, downright ‘ornery’ persons imaginable. Through his offices it was that Chick and Molly nearly went to prison for a crime of which they were innocent. Stanley Alms was excellent in his part of ‘Old Tom,’ Garvey’s ‘office boy’ policeman (he really should have a pension). The part of Gus, another plain-clothes man was ably handled by Jack Kozlenko.
The talent in the Dramatic club is unusual and could not have made the vivid performance of last evening under a more capable director than Edna Agar. it is almost axiomatic in Valparaiso that ‘if Edna Agar directs, it’s good.” Miss Agar was assisted, last evening, by Miss Babe Sazon.
