Evening Star Newspaper, January 22, 1923, Page 16

AMUSEMENTS Cleveland Orchestra. 1t is not well o draw compatisons, but safely it may be said that Wash- tngton has seldom heard a concert on a higher artistic plane than that Ziven vesterday afternoon at Poll's Theater by the Cleveland Symphony Orchestra, under the direction of Nikolai Sokoloff. The_tonal balance of the can hardly be bettered, mor could there be asked a more spirited fol- lowing of the baton of the leader. The fnstant and exact response to every call proclaimed not only a won- derfully well-drilled organization, but a deep appreciation of the music layed. P {00k but a few bars of the open- ing number to satisfy the audience (hat a rare treat was in store. The program opened with Cesar Franck's ‘Symphony in D Minor,” divided in threo movements, lerito-allegro non troppo, allegretto and allegro non troppo. The first movement Was played largely by the strings and farly demonstrated the leader’s sway over his orchestra. The shading was delicate and the response to the cres- endos and diminuendos was as even as the opening and closing of the Swell box of an organ. The color wis unchanged and nothing of the beauti- ful round tone in the pianissimo \\'ns. lost as the volume grew in a few short bars to a great firm forte. Fvery instrument responded evenly in the great waves that Sokoloff cemed to draw out With his sweeping gestures. The entire number of termed the more and mor orchestra vmphony is based on & fugue themes. with one theme of faith” growing dominant as the last novement approaches \llegretto movement starts with an-cut introduction by the strings, ufter which the leading theme is announced § on the bassoons. All through the first two movements, one Was con- <cious of the steady building up. both n harmony and tempo, until in the finale, the entire orchestra opened up md the theme of faith, now familiur secause of its frequent and evermore prominent sounding during the first 1wo movements, became the leading notif. The movement \v ed with ante climaxes, with strings breaking out in full tone on the leading theme, ollowed by @ diminuendo and then he starting of & new fugue by vari- ous of the wood winds. The whole- Souled manner in which the strings went at these ante climaxes and the Anal cl vag demonstrative of the apirit which Sokolo¥ has developed n_his organization. I'he second number was a dramatic poem, “La Mort de Tintagiles,” Op. 16, of Charles Martin Loeffler, written while he was a_member of the Bos- on Symphony Orchestra. This work ntroduces a solo for the viole d'amour, an_instrument seldom used n modern times, although common n the seventeenth and eighteenth scnturfe The same exact shadings, precision »f attack and clear cut-offs that at- ended the symphony brought out the scauties of this tragedy. The sudden nd_radical chan, in mood were arply outlined until with a rapid rescendo the orchestra built up to a <hing climax, with the brass be- dominant for the only tim 1 the concert, and then gradually ving away until only the viole was 1d then, almost imperceptibly the harp adding cate tinkling note. final number, Straus’ “Don Op. 20, with its fiery, dashing wissages and its sharply contrasted veriods of calm, w exceptionally vall read by Sokoloff. The orchestra, presenting a pleas- ng balance with the great number of tHinge, and the large proportion of d winds, as compared to the brass, rave 2 much richer and less rasping tone than is sometimes no! The nlacing of the harp in front seems ise, as the tinkling notes were not ost a barrier of strings. Inci- v, the beauty and gracefulness ¢ the harpist added much to her ex- ellent playing. The audience at the conclusion paid 1r. Sokoloff an unusual tribute by king no move to go until he had been recalled five times. Mr._Sokoloff is a product of the Yala Music School, and it was here in 19502 that his ability as a leader and nterpreter first was discovered. Aft- er graduating he took an added two- ear course, and then organized his rchestra, which is now in the front rank of symphony organizations. POLI'S—“Tangerine. Autosuggestion and Dr. Coue were | not needed to convince the audience at Poli's Theater last night that “day by day, in every way,” “Tangerine” has been growing betfer and better. And as for Julia Sanderson, superla- es fall far short of describing the beauty and charm and vivacity of Miss Sanderson. _The present engagement at Poli's heater is a return visit of “Tan- zerine,” but a vastly changed “Tan- zerine” since its first production here nany, many months ago. In fact, he original production has been hipped—too harsh a term, perhaps, or “Tangerine” always has had from the heginning immense possibilities for 4 musical comedy success—into a etropolitan triumph, and returns ‘ashington with the snap and dash, up-to-the-minuteness demanded really successful comedies sct to music of today. There is a wealth of material in “Tangerine,” so much <0 that the auditor is inciined to be disappointed that he has not been \fforded an_opportunity to see more of the many amusing, musical, or beautiful members of the cast. The action of the play beglns in the alimony ward of Ludlow street iall, New York. and shifts to an island n the South Seas, called Tangerine. *vhere it"appears, the wives support he husbands. The king of the is- and—Easy Boss—has gathered about m elght wives all easy to look at, “ho slave for him wilingly. Into this upposedly happy community come hree American divorced couples—tlic hale members having been released om the alimony ward of Ludlow 1il, and with them come Shirley Dal- ron’(Julia Sanderson) and Dick Owens rank Crummit), who have thought \f being married to each other, but ho have not tried it because of the ‘clief of Shirley that mariage is not happy state. The experience of any of her friends has led her to 1is “conclusion. The king (Frank Lalor) orders the livorced wives of the Americans to vork for their husbands, declarin hat American divorces do mnot hol 0od In Tangerine. Shirley, too, goes o work, since it is the rule that all omen must work. She becomes the essmaker of Tangerine. Right there o trouble begins, for the king and he men. As the king sadly remarks It St. Peter ever lets a dressmaker heaven will be hell.” His wives arn from the American women that 1en should do the work and pay the lls. The American men learn from \eir wives what it is to be kept : the home. There is a strain of sa- e throughout the production that dds greatly to the amusement. @rank Lalor, as the King of Tan- orine, carries much of the comedy— nd his foot never slips. He is really unny. Frank Crummit as _Dick iwens, the lover of Shirley, has a ngenial role and sings with Miss nderson one of the hits of the lay, “Sweet Lady,” of which he was ne 'of the authors. A quartet—the ‘alifornia. Four—sings half-forgotten opular melodies of ten, twenty and nirty vears ago, and was applauded t night perhaps more vigorously han any other single feature of- the roduotion. Buelah Berson as Noa, former wife of the king, sings rmingly_“In Oour Mountain Bow- while Rebekah Cauble and John lane, the ingenues, in dance and ng, won the favor of the audience. The music of “Tangerine” is particu- iy tuneful, Tts lines are screaming- v funny without being coarse, and 10 production is admirably staged nd costumed. “RESIDENT—“Abie’s Irish Rose.” aming he 1’0 its ninth consecutive week.the vriar Anne Nichols comedy, “Able‘s lose,” started at the Presldent X cr last evening, and still with -eemingly the same unabated interest that characterized the earlier per- formances. There {s no mistaking the fact that Washington likes the amusing little story growing out of the marriage of a Jewish boy to an Irigh girl, and the complications caused by it, and al- though the theme involves many deli- cate matters, strange to say none of the developments give offense, but as- sume the form of wholesome, enjoy- gble comedy that everybody seems to e. “Abie's Irish Rose” is repeating its recordsbreaking epoch in Washing- ton that has marked its appearance in all other cities where it has been presented. : BELASCO—“The Whirl of New York.” g to Washington again night came the Shubert's Can Re- view, “The Whirl of New York.,” one of the trail blazers for the miniature review type of production, in which principals step out on the stage in individual acts first to get acquaint- ed with the audience and then Ji hands en masse for a little zippy musical skit. The show opened yes. terday at the Belasco and will re- main for a week. augmented by the St. Parick’s Players' production, “Bonnte Prince Charlie. Roy Cummings is the backbone of the whirl. He still continues thed shoe-kicking ~trick that sends an item of footgear flying into an upper right box during one of his somer- sault fal He continues to draw shrieks from the first row by tum- bling into the orchestra *“cellarette. He has the same pained, sad expres sion when anybody laughs at hin and that provokes more laughtes s the same Roy Cummings, only en, too, there ie Green. the former b Lack his sentimental ballad on Joat My Father Wore"—which 4 Kimono by Rosle: the latter still toting around draggled erstwhile fur neckpiece. Florence Schubert, with a regal air, sunbeam smile and sunny hair, a zrand piano and medley songs, is also “there”—more ways than one. Frank Purcella and his_brother Ray put on “What's in a -Name?" again and bring much applause. Kyra—twist- ing, squirming, writhing, snake- dancing Kyra—returns to show she has lost none of her deftness in terpichorean acrobatics. Billie” Shaw, who plays with Roy Cummings in his preliminary act, makes one think of some toothsome dessert after a formidable dinner. She doesn't have much to do, but the way she does it sheds quite a pleasing glow over the production. Viola Votruba, dainty and demure, and Jack Kellar have leading roles in “The Whirl of New York,” which portrays the trials of a_too-popular young man, whom all the girls want to_marry. Action is spiced by Roy Cummings in a lunatic role, Clarence Harvey per- sonifies the blue laws and a stern, but hypocritical father; Schubert as a musical comedy queen, nd—of course—Billie Shaw, a tam o'shanter Bowery girl and beauty spot Luke Fegan and Estelle Murray of the St. Patrick's Players walk off with_the laurels in Mrs. C. C. Cal houn's playlet, “Bonnie Prince Charlie” ~ Luke plays the bonnie prince and Flora MacDonald is cap- ably represented by Miss Murray. Others in the playlet include Miss Tona Weems Oswald, Albert Hehkel, B. T. Fitzgerald and Edward O'Brien. Back last nging S The STRAND—"Spring Is Calling.” Nearly every act on the program at the Strand Theater this week pre- sents wholesome comedy and good entertainmen The photopla 1 ture, “The Cowboy and the Lad with Mary Miles Minter and Tom Moore in_the leading roles, is also of exceptional quality. Leon Kimberly and Helen Page are the headliners in the vaudeville bill and in “Spring Is Calling” present an amusing skit. The two were re- called many times. Ray Hughes with Pam, in a skit of foolishness entitled “The Fall Guy,” kept the large audience yesterday in good humor, while La Sova & Gil- more Ci in “Diversions De Vogue ith Edith Baretz at the piano, pro- ded the artistic touch to the "bill. The number included special songs and novelty dance creations. Hubert Dyer and company open with a laughable acrob act with abun- dant comedy, and Bentley, Banks and Gay offer a fantasia of harmonized { melodies that should please even the most critical. Newman's Traveltalk. “Congo to Victoria Nyanza,” as de- seribed and plctured by Newman last night zt the National Theater, repre- sented the third stage of his trave- logue tour across Africa—a journey of 7,000 miles. The Belglan Congo, supposedly the darkest spot in darkest Africa, was shown to have its miniature Pari its yillage life, and, thanks to engi- neers, some of them Americans, its hard but wholesome work in the rich copper mines, lightened by the progress of modern methods. For those familiar with the explorations of Livingstone and Stanley, it was of dramatic interest to follow the tralil of each to UJIJi, where the great ad- venturers met. There was a wonder visit with the Pygmies of the interior, with close-ups of the dwarfs, both as ‘Advertised for . New Dresses . Wonderful Sale New Trimmed HATS exception of certain Joe Keno and | Florence | JNGS PALL 810-818 Seventh Street Ouwing to Inclement Weather All Sales Wonderful Sale of to appearance and methods of work ana pl | Entering an unknown area, real savages were encountered in the for- est, and a motion realism given of “strange people in a remote corner of the Congo, where lips are larger than ears. omewhere in the S rmeks—"a wilderness that § lecturer pictured an ex- | perien crossing rope bridges made by bideously tattooed natives ‘i million miles from eivilization.” A_caravan, which meant a 200-mile walk through the game country, gave opportunity for many views that ranged from the ideally picturesque to stupendous remoteness, and it was at this point that Mr. Newman intro- |duced a series of motion pictures, illus- trative of the animal and bird life in this section of Africa, taken by an expert who had spent years in the jungle—views of the egret, pelican, cormorant and other gay-plumaged birds, animals that included the graceful gazelle that poets rhyme about, a chimpanzee at its bath that would serve the evolutionist with argument, and almost countless other creatures, horned, striped and mot- tled, including an’ enraged rhinoceros that charged the hunter's camera be- fore he fell, to furnish a swarm of natives with a feast. The lecture i represented two-thirds of the journey from Cape to Cairo, and will be re- peated this afternoon. - Photoplays. PALACE—Wallace Reid in “Thirty Days.” The crowds that filled Loew’s Pal- ace Theater to capacity yesterday laughed at the pictured predicaments of Wallace Reid, seemingly obliyious to the fact that the picture was his last. Perhaps there were a few who felt a twinge of dness as they watched the actor who delighted with many bright. wholesome picture comedies, but the general mood of audience seemed gay. ‘ Thirt) s" was based on a high H improbable scenario, but some of ituations are amusing. Wallace | s John Floyd, is a flapper- ied vouth, who contemplates marriage to escape the bobbed-haired flock continually buzzing around, pat- ting his coat, adjustng his necktie and generally embarrassing him. Wanda Hawley is pictured as the | flapper he turned to for help, since | she was the only one who hadn't “pursued Wanda, however, regard- | ed the would-be benedict as an in- corrigible flirt and consented only to a tentative engagement for thirty days. If he didn’t flirt during that time the happy day would be fixed. Of course, he didn’t flirt, but his sympathetic disposition landed him in a scrape the second day. Wanda had induced him to help her in settle- ment work, and eur hero was at- tempting to console an Italian girl when her husband walked in and tried to knife him. A wooden table served as an improvised shield until Wallace reaches his motor, but the danger is not over, for the flery Ital- ian has vowed revenge, A friendly judge decided that the only safe refuge for the merked man was in jail, €0 he sent him up for thirty days “as a special favor.” The plot thickens when Wallace finds his enemy has preceded him and is also a guest “in the cooler.” Of course, eventually hé finds peace and happiness again. The Palace Orchestra played two popular novelties, “Swanee Smiles” and “Nola,” and the audience seemed to highly appreclate that part of the program. A Christie comedy, News film and “Screen Chats” are added attractions. METROPOLITAN—*“Skin Deep.” Miltdn Sills held a packed house |enthralled with his performance of the leading role in “Skin Deep, Thomas Ince production which was shown for the first time vesterday jafternoon and evening at the Metro- politan Theater. He proved that the MR Today Will Be ontinued Tuesday $ 3.95 | ” ~—and all Rummage Sale Specials with the very small lots which may have been sold out today. N T T T T (Copyright, 1028, by H. 0. 'l'lnin. Tride Mark reg. U. 8. Pat. off) skill of make-up and disguise is not|villainess; Charles Clary is a clever | by Paramount and the feature at the property of the epeaking stage alone, and few fans who had -made a mafinee 1dol of him recognized thelr hero in what he portrayed in the first part of the picture. This is the story of a crook Wwho went “over there captured a Ger- man machine-gun nest single-handed, and returned to be constantly shad- owed by the cops, who put no trust in his war herofsm, but were ever on the alert to cateh him back at his old {ricks. * There is also the old “gang to battle against, and, as final com- plication, 'his own wlife is among those who plot against him. The plot is 18gically worked out and has not a few original and lifelike develop- ments in it. The hero's fall into the treetops when the rope-ladder of the airplane to which he is clinging breaks 1s one of the thrilling situa- tions even in these days of thrilling moving pictures. The eventual Vic- tory of the hero over his obstacles and a denounment that is perfectly satisfactory without smacking of the goody-goody make an unusually suc- cessful picture melodrama. The supporting cast affords more than average background and &up- port. Florence Vidor as the pretty nurse is delightful to look upon, but little dramatic action is required of her; Marcia Manon is a comvincing district attorney; and the remainder of the cast is adequate. Larry Semon., one of ablest |clowns of motion picturee, has a few | original bits interspersed with much | stale slapstick material | reel farce, “The Counte leven the old the Jumpe tuff seemed to appeal to the risibles of: the genial audience |last night and the house was filled with peals of laughter at fr intervals. Mr. Mirsky's orchestra pla fection called “Northern Rhapsody that really consists of a badly match- ed-up medley of old American tunes with “Yankee Doodle” as the prime motif, and a male quartet sings war- time hits. RIALT0—"“Burning Sands.” Bewlitching moonlight on the sand. of the great Sahara, life in mwsteri- ous Cairo, Arab hatred against the British government—in stigated and promoted by traitors under the very roof of the residence in Caliro of the chief commissioner to Egypt and the Sudan—and a strict] British romance all combine to mak a very fine film version Wiegall's story, “Burning Sands, adapted by George Mielford, produced and intrigue | of Arthur | Moore’s Rialto this week. Daniel Lane, an Englishman grown tired of civilization, has taken up his labode in Egypt, has cast his lot with {the El Haramis tribe of Arabs, and, | by wise and kindly counsel, has won the affection and_trust of Shetk Alf and his people Milton Sills is par- cularly lovabie as this man of the desert, Daniel Lane, and the Sheik All is eifectively played by Cecil Hol- {land. A rival tribe in the oasis of |11 Kasar, not so far from the oasis of EI Haramin, has, with the ald of Hassan, traitor son of Sheik Ali, and Robert Barthampton, secretary land traitor to the British commis- sioner, Lord Blair, plotted to stop ]the irrigation project of the British government in the El Haramin -0asis. | Lane has been commissioned by Lord Blair to seek the source of the ca paign dinst the government's scheme, and o the plot thickens. The romance is based upon the mu- | tual admiration of Lady Muriel, spoiled {and selfish daught of Lord Blair, and Daniel Lane. Muriel is played by Wanda, Hawley, but the real Leroine of the play is Lizette, played by Jacqueline Logan. Lizette is a French girl who performs wicked dances for the entertainment of | the wicked patrens of the wicked ori- ental cafe in Cairo. Miss’ Logan is —---Yes, BuT pretty, vivacious and altogether chirm- ing. Lizette is by chance rescued from the unpleasant attentions of Robert Barthampton during an evening-in_the of the eelf-proclaimed wicked I, sees her to her door. This courtesy from a clean man strikes deep in the heart of Lizette, and to the salvation of Lane from the wiles of Hassan and Barthampton she sets her aim. It is shg who discovers the plot against Lanc and the irrigation project and warns Lane of the danger. It is she who rides the desert sands in a vain effort to reach Lang and his camp beforc the arrival of the hosts of E| Kasar. But she is not too late to release him from hie bonds and gulde him to ths place where Muriel s tha captive ef Barth- ampton. Just why a man falls in jove with a selfish, whimsical, irresponsible piece of femininity instead of letting his affec- tions fall upon so stanch and faitaful a creature as the self-sacrificing Lizette is one of the true-to-life puzzies that { mankind will perhaps never solv: Lizette of this play deserved a far bet- | ter fate than that which was deait her. “Burning Sands” may be put down as one of the best pictures of the season. Lord Blair is played by Winter Hall, | Robert Barthampton by Robert Cain, !and Hassan by Albert Roscoe. | | { cafe by Lane, who, to the amazement | ette, | e w! pUMBER! s 13 SAP A Sunshine comedy, “My Hero”; Fo3 News, Fun from the Press and rolli ing, jolly, jazzy, special music complcie the program. COLUMBIA—“Robin Hood.” Washington has always loved Robin Hood. but, allowing for ever ! dear memory of the de Koven ope | it has to be said that not-ev. annals of the idolized Boston there ever such an audience &s t d the theater and lok oew’s Columbia yesterday for t opening of the second week of Dous |las Fairbanks' motion spectacls the Earl of Huntingdon shar« as a beloved outlaw with h me; are mut | but for every man or woman who o; thrilled over old chroncles of kniy: errantry, the screen puffs away the d | of tweive centuries and puts a p |in the days of old. when knights w | bold—when Richard the Lion-hear !led the chivalry of England on its | crusade. The public has grown accustome the supermagnificence of film se but, at that, the battlenients of Ric feudal stronghcld, the vast court | which_royalty, on the eve of departy ontinued on Page 20.) 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