Evening Star Newspaper, November 11, 1923, Page 51

CURIOUS trickery of coincidence, not unfamiliar and never scien- tifically explained by the New York booking experts, brought a group of legitimate presentations into vigorous competition. Names that breathed palmy day significances were thrown into brisk relationship with the most modernistic trade marks. The promise was magnificent. In authorship the range of observation reached all the way from the classic Cervantes to the magazine detective fictionist, Bur- ton Stevenson. Comparisons of the most flattering nature immediately suggested themselves. Names of distinction fluttered as thick as bees engaged in an exploration covering vast expanses from the neglected literary fields of the past to the gorgeous scenic gardens of the present, and even the futuristic. * k Xk X AITH was pinned with jocund confidence on the Otis Skinner production of “Sancho Panza.” Mr. Skinner has often been referred to as the great Shakespearean actor who never plays Shakespeare. However, the most devoted Shakespeare enthusiast must own Cervantes a worthy sub- ! The dramatist who arranged into theatrical form he episode from the career of Don Quixote is Melchior Lengyell, which does not mean anything in particular to the playgoer here. It was to Otis Skinner that attention turned, and when the glories of “Kismet” were mentioned in connection with the avowed standards of this performance, the audience settled itselfi comfortably and prepared to be deliciously amused. It proved another of Mr. Skinner's gracious endeavors to limit his own capacities to the requirements of popular taste. In “Mr. Antonio” he yielded deferentially to the demand for character type and every-day romance. In “Sancho Panza” he capitulates with self-effacing courtesy to the vogue now claimed by the scenic artist and the stagehand. * * % % R. SKINNER is an actor of the intellectual school, and the success he has had in “Mr. Antonio” must be attributed, in view of a general opinion that it is by no means a great play, to the fact that it does give him opportunity to seem to be speaking from both mind and heart. So good an actor is worthy of every embellishment the stage can provide. No lavishness will compensate for a subordination of the star himseli. The reflection of the homely wisdom and devoted loyalty of Sancho should have the pen of a satirist and a poet. The actor, despite the cohorts of scenic artists, costumers and musicians, is still in the hands of his translator, and the effect is like a page from some beautiful book in which the observer, like Hamlet, is discovering only words. The comparisons. to “Kismet” are warranted by the beauty of display. The authorship of “Kismet” had the deft craftsmanship of Knoblauch, who proved himself in the film, “The Three Musketeers,” able to grasp and interpret the meaning of bygone romanticists, as well as to invent dash- ing and pleasant fancies on his own account. * % ¥ % IF it were more spontaneously playful, it would have the charm of a Christmas pantomime. It was well worth seeing, but even the scholarly music of Prof. Hugo Felix does not render it always well worth hearing. It is technique without inspiration; a most magnificent Mother Goose drama, in which the. whimsical little quadruped who capers so lightly apparently on equal terms with the human roles, would undoubtedly, were he descended from the stock bred by Balaam, present himself with a just claim to have a speaking part. The play may prove precisely measured to the popular mood:~ The gorgeousness of production is commanding. The fear that Cervantes is not duly considered may be captious in view of the frankness with which the name is borrowed only to contribute a gleam of luster amid a galaxy of reputations. . * k k *x NOTHER favorite player oiten revealed in quest of a play is Ethel Barrymore. A woman of extraordinary personality, coupled with a= intuitive sense of dramatic_propriety, she is competent to hold interest independently of plot and dialogue. The fact that she dominates securely and without effort gives her a prominence in responsibility that has led many of us to say, “I did not like Ethel Barrymore so much,” when, in reality, it was the play that was wrong. “A Royal Fandango” is a some- what freakish concoction, revealing a princess determined to follow her fancy unrestrained, whenever a passing love affair suggests itself. Her husband is in reality the figure o}’ psychological interest, inasmuch as the embarrassments of the situation fall largely on his shoulders. He bears himself with good comedy grace, without [}Y,e assistance of much literary finesse to render his philosophy plausible. It is on Miss Barrymore alone that the play depends for its many moments of enjoyment. She is quite herself, even under the most absurd circumstances, apparently a veritable Galatea, viewing the perplexities of this world with a logic of her own, in- dependent of ethical custom or moral precept. * * Xk X ANOTHER surprise was “In the Next Room.” It had the attraction of direct appeal to current fancy for the mysterious burglar and the bunch of diamonds. The reputations preceding it did not clearly indicate its character. Winthrop Ames has often been applauded for his connec- tion with enterprises o? such serious merit that he was regarded as one of the leading exponents of art for art's sake. Miss Eleanor Robson, too, revived the memory of “Merely Mary Ann,” but in her co-a\llho’rship’ shows no inclination to insist that Zangwill be accepted as a model. One of the authors is Miss Ford, which seems appropriate enough, for the play is a persistent piece of mechanism, somewhat given to noise, but plugging merrily along the highway of entertainment in a crowd of others like it. * * % % SOMERSET MAUGHAM remained true to form with “The Camel's Back,” showing taste in plot and facility in writing, together with the restraint which naturally asserts itself in those possessing these gifte Mr. Maugham attempts no overwhelming audacities. He is a conserva- :';»'/e‘ st;;:m in a rather togs_vturvy demogstrzlion, as the theater, realizing at the war is past, endeavors to readjust i Y el gl lj ts forces to the new era so * k k % OHN DRINKWATER, whose “Abraham Lincoln” had its first produc- tion at the Shubert-Garrick, and whose “Robert E. Lee” is soon to be seen here after preliminary hearings in southward cities, is now un- dergoing a crucial experience. Charles Rann Kennedy, after writin “The Servant in the House,” set himself a long and comprehensive !zsg of playmaking. The “Servant” proved itself a culmination swiftly and splendidly reached; not a foundation. Whether “Robert E. Lee” can hold affectionate attention, as did “Abraham Lincoln,” is being debated now, and not altogether without acrimony, in the city of Richmond, Va. Mr. Drinkwater issues a double challenge in his selection of themes, includ- ing the political as well as the dramatic critics—which fact may be con- templated without pain by his managers, provided he has a real drama, such as will compel interest even among those whose sentiment is not WASHINGTON, D. C, approving. “Juliet” and l the entire history of the dramatic and operatic stage there are no two roles more admired by artists and pub- lic allke than Shakespeare's Juliet and Maeterlinck’s Melisande, While each of these feminine figures is steeped in tragedy, each also is the symbol of eternal love, the former & daughter of Italy and the latter from her sister country France. What Juliet is to English literature Melisande is to French letters. In_their youth, thelr purity and their beauty they have much in common. It seems quite fit- ting, therefore, that Jane Cowl, whose interpretation of Jullet has raised her to the pinnacle of her profession, should follow _that ecstatic characterization with the impersonation of the equally beautiful one of Maeterlinck’s Melisande. Washington Is to see Miss Cowl in both roles next week. The performance of “Pelleas and Me- iisande,” with Rollo Peters as Pelleas to Miss Cowl's Melisande, a week from tomorrow night will be the first evening performance of Mr. Maeterlinck's mys- tical love story ever presented in America. Twice before it has been done here in English, but only in the after- noon. ‘When _Mrs. Patrick Campbell was glving <her repertoire at the Republic Theater In the fall of 1902 she gave twe matinees of the French tragedy in Eng- lish fn another theater, and was seen in It also for several different engage- PHILANDER JOHNSON. “*Melisande.” ments in London. The first of ti was on June 21, 1898, at the Princze::: ‘Wales Theater. In July of 1904 Mrs. Campbell again appeared in it with Sarah Bernhardt, playing Melisande to Mme. Bernhardt's Pelleas. In 1905 she again played Melisande to Mme. Bern- hardt's Pelleas at the Vaudeville ‘Theater, and again with Bernhardt at the Coronet Theater in London in 1905, both times playing in French. 5 The two American matinee perform- ances in_ English given In New York were at the Victoria Theater, Tuesday and Thursday, January 28 and 30, 190 The Victorla 1s now the Rialto and is devoted to moving pictures, Just why Mrs. Camptell went theater for the two special mtl;‘;e:h?; ‘Pelleas and Melisande” when she was appearing in her regular performances in motht?&llyho\lle is not known, but such was the case. Also why she did not at any time include the Maeterlinck masterplecé in her repertoire of plays has never been announced, and it seems incredible in view of the fact that Me- lisande_was both before and after this one of her favorite roles on the English stage. Miss Cowl states frankly that she approached her work last fall with fear and trembling, and would probably never have gained the courage to give her interpretation of Juliet had it not been for the insistence and encourage- ment of Julla 5 _m.n_-r. SUNDAY MORNIN LOUISE. SQUIRES ~ Cosmios Ram‘s Head Players. ‘i E Ram’s Head Players will inau- gurate their second season in Washington at their litile playhouse of last season, in the refidence of the late Alexander Graham Bell, with en- trance at 13283 18th sireet, on the first Wednesday in January. Plans are being rapidly completed by Robert Bell and his staff to pre- sent six new plays this season and to give again two of last season's great- est_artistic successes, of which one will be Lady Gregor: beautiful folk-idyl, “Grania.” This will be re- membered as the play which, coming early in their first season, gave Joe Hutchinson her first big opportunit; There is a possibility ‘that before the spring comes the little theater now under construction in Wardman Park Hotel will be finished and ready for occupancy. In the meantime, however, a full winter is being plan ned for the players in their present quarters, under the direction of Rob- ert Bell, James Reynolds and the same staff as last year, with two or three new actors, a new stage man- ager and & new business: manager. James Reynolds, whose: work was gorgeously in evidence in last week's production of “Sancho Panza” is at present abroad to put the finishing touches on a number of paintings made last summer in Tuseany and in Venice, which are to be éXhibited in London in early December, and also to perfect drawings and designs for sev- eral of the Ram's Head Flayers' new productions, two of whith' he will bring on his return this mcnth, when he will come immediately§to Wash- Ington. San Carlo Opera Coming HERE are some outstanding facts | in connection with the San Carlo | Grand Opera Company, Fortune Gal- lo's famous traveling organization, coming to Washington November 26, for its annual engagement: at Poll's Theater: < The San Carlo is the only popular- price American operatic organization Dresenting really first-class grand opora, with well known stars, large | orchestra, chorus and ballet.- All other companies are operated on subsidies and guarantees. Fortune Gallo, head of the San Carlo, belleves in putting mest of his profits back in the business. Hence the popularity of his organization. Mr. Gallo is forever looking for new singers. He is shrewd enough to realize that the public fikes new voices, and so every year he combs the country for promising newcomers. This past summer he made a spe- clal trip abroad, just to hoid a great competition at Milano, hearing more than 400 voices. A famous editor met him later in Vernice. "I hear there is quite a dearth of slngenhworth the entlon in Ttaly this year” remarked the editor, “I have been :told that there are only four.” *Yes,' answer- ed Gallo, dryly, “and.I secured all four of them.” And so he did. Two of them, Chiappini and Basiola, will be heard when the San Carlo comes here. e Janet Richards Tomorrow. Tomorrow morning, at 10:45, Miss Janet Richards will give the second talk Public Questions, Home and Foreign,” in the suditorium of the New Masonic Temple, 13th street and New York avenue. Each week Miss Richards gives an interpretive. review of outstanding world events. This week the review will include, among other subjects, the resuits of the recent elec- tion and the development in the nego- tiations between the United States and France on the proposed reparations in- quiry, as well as comment on sonditions as she observed them while in Europe PROPP - Gayety Current Attractions AT THE THEATERS THIS WEEK. BELASCO—Drinkwater's “Robert E. Lee,” biographical play. Opens tomorrow evening. . NATIONAL—Galsworthy’s “Loyalties,” a mélodramatic'play. Opens this evening. POLI'S—Balieff's Chauve-Souris, Russian vaudeville. evening. KEITH'S—McIntyre and Heath, vaud morrow afternoon. COSMOS—Harry Webb's Entertainers, vaudeville. New show opens tomorrow afternoon. STRAND—"“Sweethearts,” vaudeville. Opens this afternoon. GAYETY—"All in Fun,” burlesque. Opens this afternoon. HOWARD (Colored)—“North Ain’t South,” musical comedy. Opens tomorrow evening. 2 Opens this eville. New show opens to- This play, which was an outstand- ing dramatic success of the last theat- rical season in New York, will be presented here with practically the same cast that was seen last season at the Gayety Theater. The company is without star or featured player, but made up of actors selected by Basil Dean, the English producer, who staged “Loyalties” for Mr. Dilling- ham, and were approved for their BELASCO—Drinkwater’s E. Lee” No theatrical event of the current season, probably, will arouse more in- terest than the Washington premiere of John Drinkwater's “Robert E. Lee,” scheduled for the Schubert- Belasco Theater tomorrow night. “Robert NOVEMBER lier biographical play: and “Abraham Lincoln, his gifted pen approaches such .dram- atic tasks with a sympathetic under- standing and the producer has sup- plemented his effort, it is claimed, by all possible skill, in capturing the irue atmosphere of the dominant figure’s time, in costumes _and sceneries which blend with the story and_action. s The rehearsals have been under the direction of Robert Milton and the nine scenes and costumes have been prepared by Livingston Platt. Nat- urally, much interest attaches to_the character of Gen. Robert B. Lee. Four actors rehearsed in this part before the assignment was finally handed to Berton Churchill. Alfred Lunt will have a romantic role and Eugene Powers will be seen a Jefferson Davis. The role of Gen. Scott has been assigned to Burr McIntosh. Gerald Cornell: is to be Gen, Lee's alde and James Spotiswood will be Duff Penner—all characters more or less known to those familiar with_civil war history. Others in the large cast include: James_Durkin, Charles White, Her- bert Jasp, John Marston, Richard Barbee, Fred Miller, David Landau, Stewary Robbins, Millie James, Eu- gene May, Anne Cuyle, Jean May and Martha Mayo. NATIONAL—Galsworthy's “Loy- alties.” Charles Dillingham’s American pro- of John Galsworthy's famous “ay, beginning tonight, [ ‘Loyaities,” will be the attraction | his long New York engagement. ot the National Theater this Week, first number on the program various roles by the author. ‘Loyalties” is the work of a master of English Literature and the drama. 1t deals with the theft of a large sum of money and the detection of the thief. It is a detective story, done with’ the marvelous precision” of the Galsworthy touch, and by an author who scorns to resort to the tricks and the turns of the ordinary detective piay for his interest. Any person who sees “Loyalties” is quick to form his own opinion of who the gulity person may be, and he is right. Galsworthy lets his audience in on the secret and then, in a great number of climaxes and In one of the most gripping of ories, traces the results of the theft in the lives of the friends of the cwl- prit as the story is ynwound. Quite aside from the play itself, ‘Washington will have in the “Loyal- ties” company the highest level of cting. The cast Includes: James le, Charles Quartermaine, Victor Tandy, Herbert Bunston, Charles Es- dale, Henry ‘Morrell, Henry <Carvill, Deerin, ‘Wells, Murray Stephens, Harry ?)«mflnn. Ottola Nesmith, Cyn- thia Latham, Mary Forbes and Mona Glynn. POLI’S—Balieff’s “Chauve-' Souris.” After waiting mearly two years, ‘Washingtonians wili be given an op- portunity to see the “Chauve-Souris," at Poli’s Theater, this evening. ‘Balieff's program for the lo¢al en- gagement will consist of selections from the four bills .presented during The ing "Zaria-Zarlanitas,” &- logend, 11. 1923, ALFRED LuNT Belasco ]sung against a picturesque back- ground, to be followed by the mos | entrancing of Balieff’s famous porce- {iain numbers, “The Sce Saw." in which the figures come to life an: | dance; “Parade of ‘the Wooden S diers,” “Songs of Sentiment,” the fa cial 'masterpiece of the “Chauve Souris,” Tchaikovsky, danced by Mme Anderson, premliere ballerina of th: Great State Theater in Moscow: M Semenoff’s “La Grand Opera Italiana. a marionette travesty and “The Min- uet” in the celebrated “Katinka,” an old Russian polka of the 1860's. | " After the intermission, during which |Ralph Barton's famous “Chauve- Coming Attractions POLI'S—Jane Cowl. The Selwyns, in association with Adolph Klauber, will present Jane Cowl at Poli’s Theater next week, when Miss Cowl will be seen here for the first time in Maeterlinck’s “Pelleas and Mellisande.” She will give also two performances of her Jullet, which for the past year has been the talk of the American theater. Miss Cowl will be seen as Mellisande in the Maeterlinck masterplece from Monday until Saturday, apd in “Romeo and Jullet” at the matiffee and night performances on Saturday. A little less than twelve months ago Miss Cowl opened her New York en- gagement at Henry Miller's Theater in 2 production of “Romeo and Jullet,” de- signed by Rollo Peters and directed by | Frank Reicher, and, with Mr. Peters as Romeo, presented to the American pub- y lic a Jullet which has been acclaimed in some quarters as the greatest Julict of the century and “a lyrical ecstacy of l:sve. yM&u Cn‘wll's Jullet is described oung girl of today living her tragic story here and now, no longer 4 chapter out of the traditions of the theater or a page out of English litera- ture, but a beautiful, vividly glowing figure typlcal of love's tragedy In Maeterlinck’s Mellisande, Rollo Peters will play Pelleas, with the same fine company which surrounded her in 0 and Julet” still supporting her in both productions. R e BELASCO—“The Hunchback of Notre Dame.” _ At the Shubert-Belasco Theater sunday night, November 18, the pho- oplay version of Victor Hugo's clas- sic. “The Hunchback of Notre Dam wiil be given its Washington pre- miere. Aside from the natural inter- 28t in the screening of such a mas terplece, there {5 a general desire to see the Universal production, which required more than a year to film and on_ which over $1,000,000 was ex- pended. Liberties were taken with the story —defended on the ground that a pro- duction intended for all classes could not afford to offend any particular re- ligious denomination—and _ while many shook their heads and pre- dicted failure as a result, theverdict of the New York critics was of an ap- proving nature. The picture is sched- dled to run on Broadway for a full year. Lon Chaney has the title role of “Quasimodo,” the hunchback, and it is generally conceded that it is the outstanding success of a brilllant screen career. Patsy Ruth Miller is the feminine lead. The Cathedral of Notre Dame was reconstructed in its entirety at Uni- versal City, as were eight squars of Parisfin streets of the perlod of Louls XI, for this picture. STRAND — Bobby Heath-Adele Sperling. Two headline acts will be featured at the Strand Theater next week, Bobby Heath and Adele Sperling, in a tuneful skit called “Persiflage,” and Tiny Turek, presenting “Dancing Shoes,” with a clever company, including Narcla Comp- ton, Joe Mullins, Eddie Harrison, Ray Donahue, Jack Kennedy and Arthur Hear. Others will be Kane, Grey and Moore, in thrills and surprises: Lee Mason, with exclusive songs, assisted by Stab 3cott at the pilano, and the Lander 3rothers, in “Pills for Ilis.” One of Jack Boyle's “Boston Blackie” stories will furnish the plot of the photoplay, “Crooked Alley,” a Universal Special production, with Laura La Plante, Thomas Carrigan, Kate Lester, Sidney Bracy and Albert Hart in the cast. - Artists of Ch Souris” curtain of caricatures of vet- eran first-nighters will be shown, the program_will_be resumed with Ukhnem,” a Volga boat song. Tabatiere Musicale,” an old-fashionea snuff box come to life; “The Nigh: Idyl"” with its chorus of enamore. cots: “Trepak,” from ‘“The cracker,” by Tchaikovsky; “A at Yardis,” said to be the most tune- ful and colorful item in Balief's repertory; “Chastoushki” Russian work-people’s _ ditties and the up- roarious “Chorus of the Brothers Zaitzefr.” Balieff will appear in person to in- | troduce his singers, dancers and com edians in murdered English before cacu number. KEITH'S—McIntyre and Heath. After an absence from Keith vaude- ville of more than seven years, two of the world's greatest entertainers, Mcintyre and Heath, have returned. Last season they appeared in their own musical play, “Red Pepper,” and prior to that toured in “Hello, Alex- ander.” They will be recalled as two of ‘the foremost exponents of min- strelsy. This week. as headliners at Keith's, they will offer “The Georgia Minstreis,” a_minstrel sketch they played more than twenty years ago. The added attraction will be the United States Jazz Band, under the personal direction of Al Moore, who organized the combination and has made it a recognized vaudeville fea- ture within the past few years. Third spot on the bill falls to the charming_ and beauteous Frankie Heath, who returns in a new cycle of songs written especially for her own use. She will be assisted by Eben Litchfield at _the piano. Al and Fanny Stedman, who are almost as famous as vaudeville itself, will return with the ever-hilarious “Pianocapers’ and completing the line-up will come Al Allen, Gladys Taylor and Dorothy Barber, in “Two Girls and a Fellow”— a little of this and a little of that; Tommy Russell and Ernie Marconi, in “Bits of Hits" Jack La .Vier, the Jjesting ‘‘phool; and Mazle Lunette, athletic and artistic, with Aesop's Fables, Topics of the Day and the Pathe News as usual. Fritzi Scheff, Capt. Bruce Bairns- father and others of last week's bill ‘will appear at 3 and 8 p.m. today. \couos—xmy ‘Webb’s Entertain- ers. Harry Webb's Entertainers, includ- ng nine soloists, who headline the Cosmos Theater this week, are said to constitute a mew symphonic or- ganization with a repertory of syn- copation that is most unusual and one of the real vaudeville noveltie: of the season. With them will come = little miss, unnamed, who is her- alded as a rare and accomplished dancer. No less a feature. will be “Traps” the world's youngest drummer—a kid of six who 18 said to handle the drums and thelr many accessories like a veteran of a symphonic organization. Another feature will be Willlams and Daisy in a western juggling speclalty that employs everything common to a _ranch. ‘Billy Shone and Luise Squires, fresh from Ziegfeld’s Follies, will bring a new act, all thelr own, written by Mr. Shone and entitled “As Is,” but offer- ing wide scope for Miss Squires, who is a versatile young woman. Shone himself is a monologist of note. Other attractions will include Mabel Harper, “Funbeam of Vaudeville” th Bthel Fitzpatrick as her planisi songs and intimate chat- and m Lee and Mary Cran- ston, in “Honeymoon House,” a min- fature mueical comedy of surprises, comical incidents and bright lines. The photoplay for the week will be Paramount's new production of “Rug- gles of Red Gap,” a travesty of smali- town life where the people have sud- "denly acquired wealth and undertake 13 thelc yaya wit in comed: tet ‘10 rival the-noblity 'HE Chauve-Souris has been fairly | steeped in artists since {ts| founding nearly a decade and a half ago. The painters found it a con-| genial spot where they could col-| laborate freely with people who un- | derstood them amd would give them | a free hand to express themselves. | Various artists took advantage of | this atmosphere while the Chauve- Souris remained in Moscow. 'When Balieft reached P4ris in De- mber, 1920, in_ his flight from his hungry and distracted native land, he was without a stitch of scenery | or costumes. New ones had to be made. And they had to be made in the droll spirit of the originals if they were to assist the Chauve- Souris in_perpetuating for the west- orn world the reputation which this Qiverting theater had gained in Russia. Fortunately, Balleff found in Paris as fellow exiles two of the foremost of the younger Russian artists, Sergel Soudeikine and Nicolas Rem- woff. To them was intrusted the commission of designing anew the settings for the well known numbers out of the original repertory and for the new ones which Balieff \added from time to time as he discbvered the tastes of his new audlences. And the result, it is sald, has been a Scenic and costume background for | the Chauve-Souris even more color- ful and gay than that which it had in its Moscow cellarette. Of these two head designers of Balieff, Remisoff has become the better known during the visit of the Chauve-Souris to America. His work {s the more prominent. And then, to0, he came in person with Balieff's band. A tall blonde Russian is this M. Remisoff, taller than any of his fa- mous compatriots. Unlike most Rus- Sians, who look within themselves | cost of the produ NATIONAL—Ziegfeld Follies. The Zlegfeld Follies will come tc ulle &alln!m.l Theater next \\'N)ri:ehki ginning Sunday night, November 18. 5 @ success of the present Follies has €én 80 great that it 4!d not go on ;our at all Jast year and thus that it l‘?‘l""’)’:(':;l(e? Iflhlnglon will now see e or the 8! e V' earn e first time in two e present offering is declared the tire serfes. Mr. Zlegfeld testified in recent legal proceedings that th fon was § It is in twenty-four scenes with a | cast of comedians, singers and danc- among them Jimims da Gra; Andrew Tombes Lor- ber, velyn Law, F Imon, Alexander Gray, Joe Opp, F 2 sen, Shirley V non, Willie MG Kelo Brothers, Ti ravaeff, Scrge Pirnikoff an one hundred and four other. The beauty contingent this enhanced by such celebrities as Jessie Reed. Fay West Kather- ine Littlefield, Edr Goodwin, Dixie Bc Valentin nearly eighty others Among the notable features and novelties are the radiun the Fokine baliet, “Frol composed and produced y Fokine, the famous Russian and_three beautiful pastels design by Ben Ali Haggin, the well kno: artist. The music is by Victor He bert, Louis Hirsch and Dave Stam with lyries & Gene Bu scenes have all be painted Joseph Urban. COSMOS—Wireless Radio Sh Next week's bill at the Cosn Theater will contain a distinct nov- elty in entertainment, something en- tirely new to vaudeville. It is Wes- terhold’s Wireless Radlo Ship, a 13- foot model, with which the invent Gustave Westerhold, will conduct e periments on the stage, showing how ships may be handled at Withe a living soul upon them ong w this scienti i ting novelty will come Hugh F . actor-author and his latest e gem, fe turing comed: entitled “Solomon’s which* 15 skown ho . profit by King Le: un the sincerity of his childrer tions before it was too late Other acts will include Tonie Grey and company in a comical solution dark mysteries entitled “Run Dowr Adam and the Thompson Sisters in engaging specialty; Bob Murphy, wh has a fine voice and a highly develon- ed sense of humor, and Adelaide and Allyn Shirley, two clever dancers and singers. The photoplay will 1 latest production, featur: ous Gloria Swanson, in sensation of the year. GAYETY—"Jig Time." Many novelties in stage settir and musical numbers are promise in “Jig Time” next week's show at the Gayety. A partial list comprises “The anted Forest” with its living s: “The Pastry Shop.” with human try; “The Fire House, with flapper firemen; the new Con Island boardwalk h a flock o wonderful w. “The Flow- er W £ posies: the Hat Shop,’ ‘Columbus Cirele,” “Chatham Square.” two cars and taxi-cabs dashin acros: the stage, and the cabaret scene, in which the members of the chorus do bits of individual entertaining. n s affec- Paramount s auve-Sourls. rather than without, Remisoff's « is singularly penetrating. One his gifts is that of caricature, and | Russia, under the nom-de-plume « Re-mi, he was proprietor and chi contributor to the pages of the com weekly in Petrograd, Novy Satirikon, which, late in 1918, fell afoul of the increasingly rigorous bolshevik cen- sorship and was suppressed. Reminoff remained in Petrograd, however, and turned his hand to th« for private the- He was als called “The Peacocl the czar's old difficult, however, and in 192 to_Paris. Remisoff has amazing rapidity in America. work for the Chauve-Souris, cially_his designs for the Parade of the Wooden Soldiers, for the Death of a Horse, and for the gypsy number are singled out and praised. But much as Nicplas Remlisoff is in evidence, his able partner of Paris days has not been forgotten by Balleft's patrons, if only for his_gay and brilliant setting for the old Rus- sian polka, “Katinka, done in the style of the toy wooden music boxes made by Russian peasants. Sergel Soudeikine came to Baliefi's aid with a larger fund of practical experience as a designer in the theater than Remisoff. He s widely and favorably known as one of the leaders of Russia's artistic younger generation, and has frequently ex- hibited both in his native Petrograd and in Moscow. He is a founder of one of the most important exhibiting groups, Mir Iskusstva, or the World of Art, to which Remisoff also be- longs. Amidst the gay and brilliant s | tings designed by these two artis: and numerous others, no one need fear that the art of the Chauve- Souris will be incomprehensively modern. he fled with His espe- caught on" - e — —e,,——— d doin Added will be the Urban for laughter. Last week’ sented today STRAND—“Sweethearts.” The Strand will present this week, beginning today, Lew Cantor’s latest minature musical comedy, “Sweet- hearts,” & youthful and melodious of- fering, featuring an exceptional sex- tet, headed by Carl Fletcher and Ruby Howard, and beautifully staged and . Frank Ward, “the hallu- S mnist,” an entertainer of talent an3 note will be the added attraction. Nat Renard and Lilllan t will offer their latest comedy, “I'll Tell the King On You,” furnishing fifteen minutes of fun; Salle and Roble: “The Laugh That Makes You Laugh, and the Chandon Trio, a series’ of athletic achievements. “A Wife's Romance” with Clara Kimball Young as the star, will be the photoplay. The story, one of the most colorful tales of romantic Spain, is an adaption of H. W. Roberts “La Rubia.” The chief interest of the novel lies in the escapades of the heroine and Ramon, the idol of Spain. The pic- ture follows the novel closely. A selected program of short sub- jects, also will be presented. GAYETY—"All in Fun.” Barney Gerard. the producer, says it's “All’ in Fu at the Gayety this week, beginning with today's mat- inee. He promises a show with a muititude of enjoyable features, in two acts with ten scenes of unusual magnitude. Particularly is this true of one scene in which the interior of a jall Is transformed into an oriental palace of regal vlendor before the eyes of the onished audlence. fine bill will be pre- , starting at 3 p.m. duced by Mr. Gerard, ‘and designed chiefly for laughs. The cast is headed by Will Fox and Harry Koler, who are supported by Anna Propp, the “Dresden China” soubrette—‘the tiniest and pappiest on the stage”—Ada Lum Chinese-American prima donna, Mur- ray and Irwin, Jack McSorley, Eddie Green, a black-face comedian and Ka- lama, ingenue of the companyl and South Sea dancer of the Giida Gray type. There are sixteen jingly mus cal numbers and a chorus of girls who are sald to be fascinating and wear costumes the women folk will rave over. HOWARD—“North Ain’t South.” “The Smarter Set,” headed by the well known comedians, Salem Tutt ‘Whitney and J. Homer Tutt, will comc to the Howard Theater tomorrow evening in their latest musical suc- cess, “North Ain’t South,” in two acts of ten scenes. The story tells of Zack and Lucin- da Wheat, who, on the death of thei father, come into joint possesson of the family plantation. Bud Jacksor persuades Zack to risk his share of the inheritarice in a theatrical ven ture notwithstanding Lucinda’s pro- test. The partners organize a smali company. Bud is manager, Zack the star tragedian, Sudds White comedian and Sadie, whose parentage i3 un known, a ward of the Wheat family the leading woman. Jim Perkins, u producer, takes the company north against the advice of Zack’s southern friends. Then the complications co tinue until the disillusioned aspirun for theatrical honors, declaring tha “North Ain't South,” return to their planation home. The show is a musical comedy witl elaborate stage settings and beautifu. costuming, while the musical program. :fl in Fun” was written and pro-is ope out Qf the ordinary, I