The Daily Worker Newspaper, July 9, 1927, Page 12

Pe si etin, BY, eS E iti xposition ( = Ld Pig eee HE city of Magdeburg, Spraresed Reinhardt Coming to is holding an International Theatre : Y a Sevcation snd which is to continue America Next Season through the summer. The opening) b ee was marked by a festive performance Unless Max Reinhardt changes his of Verdi’s “La Forza del Destino,”|Plans again, New York may see the translated by the poet aud dramatist |"eted actor-manager at a Broadway Werfel, and conducted by Walther theatre sonretime this coming season. Beck. | According to word received here from The show aims to trace the devel-| Berlin, Reinhardt has promised to opment of staging art, by means of play here with an ensemble from his plastic reproductions and models. The Berlin and Viennese theatres. The exhibition, which claims to cover the | engagement is announced for only two ages from Aeschuylus to the German}™onths, and this is to include some People’s Theatre of today, is curious- ly reserved towards the stage devel- opment of our own times. The thea-| tre of today, it has been argued by | the promoters, is in a state of transi-| tion, and too much attention cannot be paid to the development of any} one man’s work. The naturalistic | theatre, expressionism, the “stylised | stage,” to mention only a few of the} degrees through which Germany her-| self has passed during the past few years, are denoted by examples of each. The exhibition begins with the year 458 B. C. From a model of the} Athenian Dionysian Theatre, complete with spectators regarding a scene from “Agamemnon,” there is a quick transition to the Middle Ages. Mys-} teries and passion plays are coeval} with the carnival mummers and the Hans Sachs plays, which were robust and caustic criticisms of the times. Later the German troops of wander- ing players, modelled on the English type, were making way for the Court theatres, leading up to the “classic” period of Goethe and Schiller. The finest piece in the exhibition is the} original scenery to the first perform- ance of Schiller’s “Robbers,” in 1782, discovered some years ago. Bayreuth is shown in models from its inception to the latest setting of the “Ring.” But the most fascinating to the for- eign visitor are the technical exhibits showing the latest devices used in the German theatre of today. All that can be done to produce illusion in the way of mechanical apparatus, lighting effects, and revolving stages, gain! doubly in interest when they are com- pared with the models of the highly cumbersome but doubtless effective devices used in the fifteenth and six- teenth centuries, One important movement in the German theatre of today is very well represented. This‘ is the political side | of the two streams of organized au- diences who form the great theatre- going public in the middle and lower classes. The People’s Theatre, a working class group, has its affiliated branckes of young people’s theatre guilds, who play in improvised thea- tres all over the Reich. This has its! counterpart in a “National” theatre movement, where the amateurs of non-revolutionary turn of mind con- struct stages of the same type. The only difference is in the type of play | chosen. So highly organized is the whole theatre-going movement in| Germany that parties are being made | up of members of these dramatic as- sociations to visit this exhibition | alone, which provides for practically | one big party of theatre lovers a day during the three months the exhibi- tion will last. Bernard Shaw is well represented; so is Reinhardt, Spindberg and Wede- kind. Russia is represented by models | of the work of Tairoff. And the his- torical section is especially interest- . ing. There are many examples of the most modern stage technic, “futurism” and other features of expressionistic art. The fact that Magdeburg, a city re- nowned chiefly for its sugar-beets, its . iron works, with no artistic reputation ! - whatsoever, is holding a Theatre Ex- hibition, is typical of that spirit for) the dramatic art that runs like a streak through even the most mater- ' ialistic of German communities. touring in the large cities. The plays, which of course, will be given in German, will include, “A Mid- summer Night’s Dream,” “Die Racu- ber,” “Kabbala und Liebe,” and “Don Carlos.” The theatre where the com- pany is to appear is not decided as yet. aaa oo a Grant Mitchell will head the cast of “Cyclone,” the new farce by George M. Cohan, which will open August 8 in Atlantic City and then go to Bos- ton before a Broadway showing. Spen- cer Tracy and Nan Sunderland have been engaged for the supporting cast. Cohan will not appear in the cast, but will direct the production. James Thornton, the monologist, will make his first production appear- ance in “East Side-West Side,” the Eddie Dowling-James Hanley musical which Charles B. Dillingham and A. L. Erlanger will present here this coming season. Ray Dooley, Barney Fagan and Eddie Foy will also be in the cast. “Gridiron Gods,” a college play by Benedict K. Goodman and Charles Conger Stewart, will be produced here by Sam Wallach. Julia Sanderson and Frank Crumit will be co-featured in “The Love Pirate,” a musical show, which Vaughn Glaser and Max Bretton will produce here in August. . Leo Carrillo, recently seen here in a revival of “Lombardia, Ltd.,” has been signed by Harry L. Cort and Clark Ross to play the lead in “The Brigand,” by Paul Fox and George Tilton, which is scheduled to open Au- gust 22 at the Windsor Theatre in the Bronx. Betty Linley and Suzanne Caub will also be in the cast. Arthur Byron has been signed by the Park Avenue Players, a new pro- ducing firm, to play the lead in “Black Velvet,” by Willard Robertson, which Frank Keenan played last winter in Chicago. “The Wild Man of Borneo,” by Mare Connelly and Herman J. Mankiewicz, which Philip Goodman tried out last winter on the road and then shelved, will give it a second tryout in the fall, having booked it to open on Broadway September 12. Adele Hampel has replaced Estelle Helle in the cast of “The Grand Street Follies” at the Litthke Theatre. The revue is now in its third month. Rehearsals are now going on at the Martin: Beck Theatre of Rosalie Stewart’s revue “A la Carte,” which is scheduled to open at that theatre in August. The cast includes: Yorke jand King, Jans and Whalen, Hector and Holbrook, Karaveff, Maude Pow- ers, Vernon Wallace, Little Billy, Jay Velie, Noree, Dora Duby and Helen Morgan. Glenn Hunter,. who made quite an impression in “Young Woodley,” both in this city and. on. tour, will be scen j this fall in a dramatization of Fulton Oursler’s novel, “Behold This Dream- er.” LOW PRICES ALL SEATS FOR THE LADDER ARE REDUCED FOR THE SUMMER. BEST SEATS “$2.20. au PAVUGR = ~nee C O R yl Theatre No Performances Saturday 48th St., E. of B’way 2nd BIG- WEEK a ge rte eer ene NN attacked the war-profiteers of GRETA GARBO ASTA NIELSEN B. S. MOSS’ CAME AND THEY ROSE IN REVOLT-THE PEOPLE OF THE “STREETS of SORROW’ Vienna who thrust them into unbearable suffering See this remarkable film-sensation of Europe with a great cast including. WERNER KRAUS JARO FURTH A Film Arts Guild Presentation “EXCELLENT ACTING THRUOUT”—Vern Smith, The Daily Worker. 42nd STREET & B’WAY AMERICAN PREMIERE NOW—MAMMOTH COOLING PLANT Little Theatre GRAND omueuaa STREET MATINEES TUES. AND THURSDAY, 2:30 FOLLIES ——THEATRE GUILD ACTING CO. The SECOND MAN | T Thea., W. 52 St. Evs. 8:30 GUILD Mats. Thurs. & Sat., 2:30 John Th.58,B.ofBwy.|Circle : Golden tie thur.&Sat| 5678 Patronize Our Advertisers A new farce, “The Mating Sea- son,” by William A. Crew, is on its way to Broadway, and may be seen here the week of July 18. Gladys Feldman, Lillian Walker, Ethel Mar- tin and Kenneth Manion head the cast. Helen Shipman, Miriam Sears, Les- ter Vail and Mark Haight have been engaged by Alfred E. Aarons for “The Proud Princess,” in which Hope Hampton will be starred. Honorary degrees of Doctor of Let- ters were conferred by the University of Wisconsin, upon Maude Adams and Minnie Maddern Fiske. Robert Milton will direct “People Don’t Do Such Things,” by Edgar M. Schoenberg and Lyon Mearson, which Jones & Green will do here the com- ing season. Eric Blore has been en- gaged for a prominent part. George M. Cohan has a musical play which he intends placing in rehearsal August 1. It is titled “The Merry Malones,” and book, lyrics and music are all his own. The production opens out of town in September. The premiere showing of “Rich Men’s Sons” will begin Monday at Moss’ Broadway Theatre. The film is adapted from a story by Dorothy Howell. Ralph Graves, Shirley Ma- son, George Faucétt, Robert Cain and Johnny Fox are the featured players. B. S. MOSS’ BWAY: soxpay Al ST. MONDAY First New York Showings fl wifi RALPH GRAVES SN SHIRLEY MASON « GEORGE FAWCETT ~ KEITH ALBEE VAUDEWILE. B. S. Moss COLONY B'way at 53rd Continuous Noon to Midnite “The First Auto,” the Warner Bros, production starring Barney. Oldfield, is now in its fourth week at the Col- ony Theatre. The Vitaphone presen- tations consist of Weber & Fields, The Happiness Boys, and Aunt Jemima. Warner Bros. Present “The First Auto” with Barney Oldfield an NEW VITAPHONE “Old San Francisco,” in which Do- lores Costello is starred, now playing at the Warner Theatre, has in con- junction a new Vitaphone program consisting of Beniamino Gigli singing selections from “La Giaconda”; Willie and Eugene Howard in a comedy, “Pals”; Blossom Seeley, assisted by Bennie Fields; and Tom Brown and the Six Brown Brothers. On the same program with “Streets of Sorrow” which the Film Arts Guild is continuing at the Cameo Theatre, is a short feature, “Heels Over Heads in Love,” a French single reel in which the faces of the anonymous cast are- not seen during the action, the little drama being enacted solely through the medium of the hands and feet. Another short film is enacted by Cas- tleton Knight, a little experimental film, based on the Rachmaninoff E sharp miror prelude. It was directed, acted, and financed by himself. The New Plays MONDAY. “RANG-TANG,” a revue, will open Tuesday night at the Royale Theatre, with an all-Negro cast headed by Miller and Lyles. Kay Gunt wrote the book, Ford Dabney the music and Jo Trent the lyrics, _in the cast include: Evelyn Walker and Kavanaugh are the producers, Qthers Preer, Daniel Haynes, Josephine Jackson, Lillian Westmoreland, Zaidee Jackson, May Barnes, Lavinie Mack, Marie Mahood. ~taeaceeNURARAZRS ean en a rnc een