Evening Star Newspaper, March 18, 1924, Page 15

. AS USEMENT Moscow Art Theater—"The Cherry Orchard.” “The Cherry Orchard,” the second play in the repertoire of the Moscow Art Theater now being presented at Poll's Theater, held its audience en- tranced and delighted last night. Given in a language unfamiliar to a o majority of the auditors, with- t incident, ~this Anton | York as @ vehicle for the members of the Moscow Art Theater to present a series of character sketches, marvel- ously drawn and marvelously acted, Tevealing a part of Russian life as it existed a quarter of a century or more ago. «The Cherry Orchard” is called a ‘comedy,” although tears are mingled Wwith the laughter in almost equal ‘Proportion, and the final scene is one of grief and death. But the author and his interpreters have unfolded a tale which shows in humorous fash- fon the foibles and the weaknesses, the humanity of men and women typical of their class, station and <alling. When it is said that “The Cherry Orchard” was first_given on the stage of the Moscow Art Thealer in 1904—its premier performance— d many of the principals who took part in that performance played last night, that “The Cherry Orchard"” has been ‘one of the most cherished ©of the plays of the Moscow Art Thea~ ter, it is not so difficult to under- stand the perfection of acting, the ‘Wwealth of detail, that brings even to & non-Russian speaking audience a clear and charmine picture. For ex: ample, Stanislavsky still plays Gaieff; Mme. ‘Knipper plays Mme. Rave kava: Leonidoff plays _Lopakhin; Gribunin plays Semyonoff-Pishchik, #nd Alexandroff plays Yasha. c comedy of “The Cherry Or- €ehard” lies for the most part in little, everyday incidents of life. The story is that of a Russian family of land- owners. whom poverty finally sepa- Tates from their estate. It is a tale of the folly which takes a Wwidow. | 1he Kardos left breast. e. Ranevskaya, cherry orchard, to Paris following e death of her husband and of her little boy, where in the company of a_lover she squanders her wealth. The first act, shows her Teturn to her old home, accompanied owner of the by her seventeen-year-old daughter Anya; Charlotta, a governess, and Yasha, a footman. ‘There a group awaits them—though it is the sunrise hour of a May morning, and the blossoms of the cherry trees are seen nodding outside the windows in the dim light. In the group are Mme. Ranevskaya's brother, the huge, good- natured, indolent Gaieff; her adopted daughter Varya, aged twenty-seven, efficient, but not handsome, and in line to become an old maid; Lopah- kin, a merchant, whose forefathers ‘were serfs on the estate, but who has Pprogpered, and has been looked upon as a possible husband for Varya: Semyonoff-Pishchik, an improvident landowner, always seeking small Joans; Trofimoff, a_student, who was the tutor of Mme. Ranevskaya's little boy; Yepikhodoff, a blundering clerk; Dunyasha, a pretty maid fervant, an Firce, an old footman, aged eighty- seven. The joy of the home-comers and of those who receive them is un- dimmed, even by the threat of pov- erty. It is a homely picture, ex- quisitely done by the artists of the Moscow Art Theater. They continue to present a series of pictures, in the flelds, in the dining hall and. finally, in the dismantled home, as the own- ers leave it to the new purchaser, Lopakhin, the merchant, while the axes are heard felling the cherry trees outside. Lopahkin is not a villain, though the old home falls to him at the auction sale in October. He has plans estate through subdivisions for small homes. He urges Mme. Ravenskaya|garian, and her brother to this course on their own acoount, showing that they could have an adequate income from it. But they decline, relying upon a: Relp them in their extremity, assist- ance which does not materialize, and Topahkin buya tho property in to keep it from going to another. The scene when the family and their friends are awaiting news from the auction sale—a dance i going on—is among the most interesting and amusing. When Lopahkin re- turns and announces he is the own- er, a cloud descends and shatters the merrymaking. But, intoxicated with the idea that the estate is his own, Lopahkin orders the musio to con- tinue. So perfect i3 the interpretation of the various parts that it is difficult to single out for particular praise members of the cast. Certain it is, TLowever, that the eccentric gov- erness, Charlotta. an adept at card tricks, contributes to the amusement, | a8 played by Maria Uspenskaya. ‘Tonight ~Gorky's “The Lower Depths” will be presented. " . " The Cbangelmgs. Somebody seems to have a grudge against the standard of morals that has been regulating the respectable part of the worlG, or at least that is supposed to have been regulating it, up to the time of the world war when, by a sort of general consent, the Whole world went to the demnition bowwows and everything had to be started over again, “The Changelings,” a comedy in three acts and an epilogue, which Henry Miller is presenting at the Na- tional Theater with a company of un- challenged distinction and excellence, is a messy sort of an affair by Lee Wilson Dodd, in which a mother is made not only to approve, but to com- oend, the action of her daughter in bolting away from a perfectly re- spectable husband in order to “live her life"” with a contemptible cad, be- cause, forsooth, the husband has set- tled down to the problem that usually confronts a young husband, of trying to make a living and to provide for the future of his wife and, perhaps, his prospective family. | The announcement that the girl has bolted creates a sensation in a family group comprising her father and other and the father and mother of the husband, but. instead of uniting the party in an effort to save the girl from her foolhardiness, which is largely due to her mother's advanced ideas, the girl's mother and the hus- band’s father divide agninst the girl's father and the husband's mother in a discussion as to whether the girl has done right. It also develops that the divided couples have an individual {n- terest each in the other, with a sug- gestion that they are not properly mated and that there should be a marital swap to set things as they ought to be. The girl discovers her mother in the embrace of her hus- band’s father, is unspeakably shocked and then begins to waver in her in- tentions_to elope with the cad. The whole thing winds up with matters settling down as they were originally, save that a baby I8 born to the young couple a year later and the epilogue is merely a repetition of the opening of G any people laughed at the audaci- ties made possible by this condition of affairs, and doubtless many of the smiling, laughing women in the audi- ence imagined that the girl's asser- tion of independence and her irre- sponsible speeches were cute and fun- ny. If one doesn't think, perhaps he can enjoy “The (hangelings,” which is a very pronouwwed plunge further into the depths than was dl!cloued( in “The ous r,” because here he finds the mother as well as the daughter utterly without com- monsense. It seemed a sacrilege t cast Ruth Chatterton in such a role after her creation of so many that have appealed with their innocence, sweetness and loveliness. The only excuse for “The Change- lings* is that it is played with con- sumate dramatic artistry and that it affords Mr. Miller another one of those parts which seem to win the sym- pathy of the audience. Mr. Miller made a curtain speech last night in response to insistent applause. The cast includes Emma Dunn and Blanche Bates, &s the mothers of the young couple; Reginald Maso and Henry Miller, as the fathers; Geoffrey Kerr as the husband, the Young wife, and Felix oty ReSLEE Ry d | tion from the for the development of the istance from a noble aunt to | it 4 Bay, and Walter | b ',‘M! s _Le. Y, Joseph Schildkraut in “The Highwayman At the conclusion_of “The High- wayman” at the Shubert Belasco Theater last night & two-pronged question presented itself. The first prong is the question: “Why did Chicago keep the play four months (as per advertisement)?’ The second is like unto this: “Why is New “clamoring’ for it (us per same advertisement) 2" Some sort of monkey wrench may have wandered into the nery. Possibly a Chicago audience has vision keener than the audience last night. It is certain, however, that applause that was spontaneous after the first curtain was dwindling per- functorily at the final. If by audi- ence tempo a play may be J\ld%ed, as some aver, “The Hoghwayman” is a roller-coaster that ends up on & far lower dramatic plane than it started, _ albeit there ~are many swoops, breathless dives, perilous as- cents and sharp turns between start and finish. But there is a feeling of non-satisfaction at the end, despits l{l; shrill cries and laughter of the ride. The action rests in the hall of a castle in Hungary's wine district, be- fore the war. The Cserhati family, including four counts and three | countesses, & eeper and his daughter, a butler and Eric Kardos, an outsider, constitute the cast. Act one opens with the roller- coaster running up a smooth steep Erade. the top, ready_for a Whirlwind journey, = Eric = Kardos, (Schildkraut) steps in. Count Fer- enz Cserhati, chief of clan, is about to marry Olga Galambos, the game- keeper's daughter. Kardos, combi- nation of parlor sheik and polished adventurer, is called in to render professional’ services in breaking up the match. Down sweeps the roller coaster to a sharp turn, where it is revealed { that Olga, the girl, is the only woman jwho has struck a spark to_tinder in In act 2, between turns and dips in the jour- ney, the certainty that Kardos pre- fers the girl to the 400,000 (denom- {ination not mentioned) offered him |for the break-up expose, is estab- ilished. Starting the finish, the counts and countesses ramble in very much in need of soap water, sleep and spirits {of ammonia. They had been keeping an all-night vigil outdoors, waiting i vain—for the prearranged sig- nal whereby Kardos would let them know that the girl has consented to g0 _to his room. The roller coaster is_slowing up. as roller coasters do. Count Ferenz has deeded his property to Olga. Olga tells him she lovas Eric. (The brakes are being put on.) She starts to turn back the property. Eric stops her. The count acquiesces and orders the other three counts and the three countesses to pack up and leave. (It's coming to a jarring stop.) The count tearfully asserts that he wants to make Olga happy. The sheik reveals that he has simply been on vaca- law books and the prominent law firm wants him back. He cracks the lawyer-honesty chest- nut. He is kneeling, with Olga stroking his head. The journey is lover, with the last announcement convincing -every one that honesty is | the best policy after hll—isn't it? Schildkraut handles his role “Ilh‘ an excellent assumption of artificial- ity. He stands out above all the rest. Count Ferenz (Grant Stewart) was convincing until he handed over the estate to the gamekeepers daughter and her flance. Count Vic- tor (Theodore Westman, jr.) turned in a performance second only to Schildkraut, and Jessie Royce Landis as one of the countesses is also in line for palms, The play is by Lajos Biro, Hun- adapted by Gladys Unger. | Lester Bryant presents it. Cecelia (Cissie) Loftus. Billed as the “World's Greatest Mimic,” Cissie Loftus is heading the bill at Keith's this week, opening {1ast night to a crowded house. Loftus soon won the audience with her imitations of characters well known to the patrons of vaudeville, and who also are great favorites. The | imitation of Fannie Brice in a Rus- | slan sketch is a scream, and perfect- 1y done. Irene Franklyn was an- other good impersonation, the voice being an exact imitation of the lit- | tle red head. Miss Loftus closed her inumber with an imitation of Sara Barnhardt in a telling dramatic role and it was so well done as to gain the artist at least a half dozen cur- tain calls. Another good number is that of Charles Cherry in_a telling little sketch entitled “The Bachelor,” a | satire on the ways of a man with | lots of nerve. He calls on a married | couple, finds them on the verge of i breaking apart and through a clever |idea "ot make believe. places " them back in the ring of happiness. Mr. Cherry s undoubtedly one of our best comedians, and in this sketch fully maintains his reputation. The { supporting company is all that could be_desired. {., Other telling acts include Pearl | Regay and Lester Sheehan in a great dancing act, the acrobatic work of | the star bordering on the marvelous; {George Watts and Belle Hawley in { effective original songs; Willie Rolls in a dancing and acrobatic effort on roller skates; Wade Booth, the young American baritone, in _classic and popular songs; Walter C. Kelly, the Virginia judge, in a 1ot of new jokes that scored a big hit: the Tom Davies | rio in a sensational motor cyclel race, and the regular house attrac- ons, Music and Comedy at SMOos. A bill of rather clever vaudeville at the.Cosmos Theater this week has for ita headliner a combination of music and comedy, entitled “Are You a Lawyer?” It is presented by Lew Seymour, who has a pleasing tenor voice, and in the role of a lawyer varies the opportunities with four pretty girls, who sing and provide amusing interludes. Balancing this are Maude Gerard and her masculine dance quartet, with pretty songs and all sorts of masculine dances, jigs, acrobatic, jazz and otherwise. The bill opens with an effective posing feature, “A Bachelor's Vision,” with darkened stage, lights and a dream, but {t introduces a little story around the posing of a man magnifi- cently developed, who steps out of icharacter long enough to exhibit three physical culture feats, which he says will insure health and longer | life.. "The act is handsomely mounted. | gaKessler and Morgan, both clever dancers, with something new in their line, and the girl with a pretty violin i Selection and a song, offer a novel and attractive team act; Sophie and | Harvey Everett, in “Money,” also-give a novelty of bright lincs and amusing | comedy 'in two scenes and @ pro- {logue by Johnny Hyman, and k { Richardson, one of the best black- ;face singers and entertainers that jcome to ‘Washington, brings a lot of inew songs with him which go big. y A new angle on the leather-push- er fighting contests, “Something for | Nothing,” with Reginald Denuny, in an jamusing fight with considerable ac- ‘ tion, introduces the photoplay for | the week, Leah Baird’s new produc- tion, “The Destroying Angel,” an in- teresting story of the experience of |a man doomed to death by his doctors .and a girl who wants to end it all by jthe short route. They marry to give the girl a chance and eventually, aft- €r he is thought dead and she be- comes a stage dancer of renown, they meet again, fall in love and every- body is happy. Miss Baird is a hand- some star and her role gives her a chance to show it. The other charac- ters are adequate. Both the photog- rl-nhg :‘l-ld lhle le!(ln‘ln‘:tn good. Oth- er short reels complete a: generall good all-around bill. ¥ AR AL Barney Gerard's “Vanities. The larger amusement houses have a hard time putting anything over on the smaller Gayety when it comes to the 'selection of ‘shows with well known titles. Last week the home of joused. the- “Follies,” this tien™ BAXL { Miss | THE EVENING ST OPERALOGUE SCORES [ AT CENTRAL GONCERT)| Singers From “Carmen” Heard by Large Audience—Army Band Pleases. ‘The auditorium of Central High School was nearly filled to capacity last night for one of the most en- joyable concerts of the season, of- fered by the Community Center Asso- clation under the direction of Robert Lawrence, W. J. Stannard, leader of the United States Army Band Orchestra, con- ducted a program of interesting and varied orchestra numbers. The over- ture to Offenbach’s “Orpheus in Hades” and Hall's “Wedding of the Winds” were two of the finest num- bers. Probably the most popular was the group of short compositions with xylophone accompaniment. L. Sald- enberg was skillful at the xylophone and won applause for his work. The orchestra’s volume, quality of tone and interpretations were fine. Between the orchestral numbers and the operalogue, Mr. Lawrence di- rected the community singing. Mrs.. Edouard Albion, known to radio fans as “Peggy” Albion, gave an interesting sketch of the opera “Carmen” and arias were sung by Dorothy Mansfield, soprano; Pollio, contralto; Louis Annis, tenor, and Albert Sheffermann, bass. Miss Pollio sang the arigs of “Carmen,” while Mrs. Mansfield sang the rol8 of Michaela, which she portrayed so successfully in the production of the opera by the Washington Opera Com- pany recently. Mr. Sheffermann was recalled in the “Toreador Song.” Louis Annis, was acceptable in Don i!'nnhel': Iaria.s and the duets were de- ghtful. it will be a “Revue,” and maybe 1 on the “Scandals.” i Barney Gerard, the man who is re- sponsible for the show this week, and Who also was the producer of last week's offering, provided both shows Wwith scenes used in the big musical shows. The finale of this week's of- fering is “The Stairway to 3 used a couple of years ago by one of the Broadway shows. The ‘Vanities” depends for most of its entertalnment upon the efforts of Joe Marks, a rather clever and hard- working comedian, whose fund of laugh-provoking stunts seems practi- cally unlimited. He is an acrobat of ability, and many of his anties re- semble those of a monkey. Harry Seymour also adds considerable to the gayely of the entertainment with a lgroxesque makeup and peculiar dia- ect. Nita Bernard, while not possessed of a remarkable voice, knows how to sing the songs allotted to her on the program, one of which, “The Rose of the Underworld,” received a big hand last night. Mae Leonard and Elsa May sing_and dance their way into popular favor. Indeed, there are many good dancers in the company. Rastus Wilson, an ebony-hued per- former, is justly termed Tanglefoot. He introduced some difficult steps last night that delighted the audience. Others in the cast are Sim Henderson, Walter Johnson, Henry Weber, Wal- ter McCullough and Harry Kilby. The chorus should suit the bur- lesque patrons, being agile on its feet, rather good to look upon and prettily costumed. The scenery unfolds a series of pretty pictures and novel ADVERTIS] Stomach Comfort for Good Eaters No Sour Risings, Gassiness, Heart- burn and Distress of Indigestion If You Follow Meals With Stuart’s Dyspepsia Tablets. They may talk about balanced ra- tions, calories and all that, but most people enjoy eating the good things they see before them. What they want is the simpie means of stopping gassi. ness, sour risings and such distresses if they come, A host of people use Stuart's Dys- pepsia Tablets because they give the stomach the alkaline effect, they the gas, they sweeten the stomach, they aid digestion in the stomach. They are balanced to do Just these things, and you can rely upon this re- lief every time. 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All Pure Irish Linen Hemstitched Tablecloths and Napkins to match;. soft finish, hemstitched. Cloths, size 70x70, $7.85; 70x90, $10. Nap- kins, 20x20, $12 Dozen. Imported Huck Towels, $1.25 Fine new towels, hemstitched; with damask borders and monogram space. Size 20x36. Linen Huck Towels of splendid quality and good weight, hem- stitched; size 18x32. 50c. Pure Linen Hemmed Huck Towels of fine weave; size18x34. 50c. Linen Section, Second floor. Linen Pillowcases Splendid quality Irish linen hem- stitched pilloweases. Size 22%4x36, $3.95 and $4.25 pair. Lunch Napkins, $4.50 Dozen All pure linen, hemstitched lunch napkins; size 14x14. New Designs in Sterling Silver For Decorative and Practical Purposes Silverware is returning to popular favor; more and more it is being used; and here you will find the newest shapes and designs at moderate prices. Sterling Compotes in sizes for mints, bonbons, cakes and fruits. $10.50 to $22. Vegetable Dishes, either single or double, in plain or bright finish. $15 to 75. Bud Vases, $4 to $7. Flower Vases, $8 to $30. Sherbet Sets in plain silver and cut glass insets; sets of 6. $22 to $50. Sterling Bowls with plain or pierced edges. $16 to $42. Bread Trays, plain or pierced edges. $16.50 to $21. Sugar and Cream Sets, bright or butler Candlestitks, plain and engraved. $12 finish. $16.50 to $52 set. to $40. Salt and Pepper Sets. $3.50 to $15. English Candlesticks—Greatly Reduced, $40 and $44 Pair, 4 styles and only 1 pair of each style. Much less than former prices. Silverware Section, First floor. Glass Flower Bowls and Vases in Exquisite Colorings and Decorations $1 to $16.50 Springtime flowers with all their loveliness of coloring demand equally colorful and decorative vases and bowls to be most artistic. ‘The selection now is not only widely varied as to shape and decoration— but the choice of exquisite color- ings is delightful. 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