Evening Star Newspaper, January 4, 1925, Page 53

Part 3—10 Pages WASHINGTON, D. C SUNDAY Zamiel and the New York Play Producers. By Philander Johnson. “How stands the record of the dying year?” inquired Zamiel in that ancient fantasy of the inferno, “The Black Crook.” Each passing season brings the impression that the theater is on its way to join Zamiel in his abode, yet the theater plods along, going to the dogs—yet never quite arriving. Cerberus al- ways winks his eyes, wags his tail and tells Thespis to travel along and see if he cannot do better another scason. * ¥ k% Thanks in great degree to the theater, the vices of a previous da appear almost like virtues as com pared with the new revelations, which seem terrible because unfa- miliar, Zamiel, with all his Satanic potency, would never have dared as- sume the liberties of the current stage. He would not have ventured to name his own residence in plain English. The assumption that a criminal could have a kind heart would have been intolerable. A woman with a past could hope for no future save a pathetic and pic- turesque demise in the 1 * k ok * The record shows that Zamiel has lost his influence and may as well go out of busi Re has gathered increasing power to over- throw idealism, and as facts displace poetry the myths fade away. Peo- ple no longer thing of Mephisto. Subcavernous fancies have been re- duced to discussions of oil and an- | thracite. We find it difficult to keep | our minds on angels when we have acroplanes. * % % % The American theater of today is | probably the richest theater the world has ever known—yet 1925| finds it at a starting point, with new | philosophies and new standards of art and new moral ideals to build upon. It is photographic in the 1est mechanical sense. It is inter- pretive but feebly. It flourishes its toes, and wails incoherently as it bites its silver spoon, reveling un- abashed in its own physical con- sciousness untrammeled by conserv- ative prejudice. * * * % Or to trace a different line of metaphor, the theater is gradually recovering from a state of anarchy, with every conceivable influence willing to risk fortune in the strug- gle for domination—the drawing room, the schoolroom, the prize ring, the bucket shop, the racing stable, the music-publishing house, the cabaret—every conceivable in- fluence is in active assertion, with a view to autocratic authority over the stage—excepting the theater itself. ok %k A deadlock might seem easily pos- sible under such a state of conten- tion. Yet the theater bravely keeps ts way, thanks to the player folk themselves—thanks to that irre- pressible desire for expression which cnables the artist to burn his chair jor lack of other fuel and to dance in an cffort to make believe he did ot want it in the first place. There were never more good actors before the public than there are today.| Never so many patient, courageous and devoted people seeking to sup- ply material for the stage and never o many plays riddled and reduced to nonsense by incompetence of acting and direction. * * k¥ How much perfection of mechani cal expressig@n can do for a play was illustrated ix “The Swan.” It had a story of the old Jane Eyre sort, only with a tutor aspiring to lofty matri- monial connection instead of a gov- | erness. But it affords a dazzling glimpse into “high society” for those whose viewpoint is more or less that of the witching little waif in “A Kiss for Cinderella What a message of hope it carries! No mat- ter how stupid you are you may get by if you are properly gilded. There is no picture more comforting to the lemocratic mind than that of a royal | as linner party: for the democratic wind observes its fiction with the privilege of putting itself in the place of the most congenial figure. No one believes that if he had had the luck to be in such a party he would have been anybody short of the prince himself. It is psychologi- cally comforting to see the rivalries of wit, eloguence, research and in- dustry bowled over by audacious roy- alty. The author, no doubt, intend- ed the play as a rebuke to aristoc- racy. It is in reality a lesson in wheat-cake-and-sirup_hauteur; a re- minder of how easy it is to be “su- perior” if the luck is running your way. % k% “The Swan” was the best-played drama seen here in many a week. Intrinsically, it was light opera with- out music; a triumph as a perform- ance, the greater because of the de- nial of any obligation whatever to singing voice or orchestra. * ¥ k *x As Father Time sets forth the card denoting “1925” as the next number in our vast human vaudeville, the stage revels in a realism complete in all its phases. It has everything the eye could wish, everything in which' the ear could find pleasure. The scene painters and musicians hold their incessant rites, seeking with every means of conjuring, from petition to imprecation, to recall that departed spirit once so gently fa- miliar and all too slightly valued— n Idea. R Washington is as good a viewpoint any for the observation of current theater, since it is favored by ‘try-out producers and sought with confidence by those who have a show with a New York record. It is advantageous in having a thought- ful public and in being comparative- ly free from the horn-blowing, bel- lowing publicity methods which ad- dress themselves as much to fanning ancient grudges as to promoting de- sirable modern prospects. Washing- ton does not take its theater too seriously. A play never remains for more than a week, and the actor’s flourish is but a swift incident in a picture dominated by figures of patriotic purpose and world diplo- macy. M R IR During the war the theater was given extraordinary recognition as a factor in economic affairs. It was laden with great responsibilities at a time when it was least fitted to support them. The best brawn and the best brain were dedicated to combat. Even chorus men were eliminated from the mimic scene. Athletic lasses tucked their hair un- der high silk hats and flourished cigarette and cane in dashing mascu- line similitude. * * * It was a demonstration of the law of averages. In Elizabethian drama boys played feminine roles. In the Kaiser Wilhelminian drama which overspread the map, women bravely undertook the footlight tasks of men just as they ran street cars and helped to regulate motor traffic. With the war at an end, the bicker- | ings between actors and managers found no restraint of public policy. The interest of Washington again became detached and limited to the hope, from time to time, of a stage attraction that everybody can enjoy and perhaps talk about in_ detail without risk of offending polite tra- ditions. £ b x % Such a play might easily have been provided in “Jack in the Pul- pit,” which arrived in such a state of unpreparedness that one of the prize weeks of the season, the week which includes New Year day, was sacrificed, so far as the box office was concerned. It has a story along familiar lines, but with wonderful appeal. The boyish carnestness of Robert Ames gives particular charm to a deviation from the too often exploited type of clergyman who alls from grace to that of a sincere repentent who arrives at grace, and, in_fact, becomes a clergyman him- self, It i is a good, quict comedy with the | - RICRIE Covey Gayety MORNING, JANUARY 4, 1925. Automobiles EDNA- SOMERS Motual Product of Hester Street. Jack Pearl, the comedian, in “Artists and Models,” Is a product of Hester street, New York, and was born in the same house where Horatio Alger lived and wrote many of his novels about boys who rose “from rags to riches.” His father was a lace peddler, but this business did not appeal to the lad, so he cut loose from the family apron strings at the age of 16 and joined “School Days,” Gus Edwards’ musical show, which served as the “prep” school for Eddie Cantor, George Jessell, Eddie Buzzell, Herman Timber; Georgle Price and other revue favorites of toda: After a season with ichool Days” Jack landed an engagement In the musical comedy, “Seven Hours in New York,” produced by Wee and Lambert He was the principal comedian, at a salary of $60 a week, and had to fur- nish his own wigs, costumes and hats. But he made good, and so did the show, although its fame was heralded chiefly in Kokomo, Oshkosh and other one-night stands. Then came a fiing in burlesque, his first effort being in “The Pacemakers." As his popularity over the circuit in- creased, he was engaged for “The Powder Puff Revue,” in which he teamed with Ben Bard, his present partner. J. J. Shubert saw them and signed them up for “The Mimic World." They scored a su in this revue and then followed engagements in “The Whirl of New York,” “Hitchy Koo," “The Dancing Girl" and “Topics of 1928.” Grace George Coming. (GRACE GEORGE in her new play, She Wanted to Know,” comes to the Shubert Belasco Theater the week beginning January 26. “She Wanted to Know" is described as a sparkling comedy written by one of the most brilliant of French au- thors, Paul Geraldy. It is now in its seventh month at the Theater Danou, in Paris, where it is known as “Si Je Voulais.” Miss George will bring with her a company of _distinguished players, aniong them Bruce McRae, Frederick Worlock, Molly McIntyre and Fairfax Burgher. The setting has been done by Livingston Platt, well known deco- rator. — a strong heartgrip and with re- sources, so far as its W mlnngton season is concerned, that must be regarded as largely undeveloped. If Jack had had a production anything like as polished and precise as that of “The Swan,” it would be in its own native way a scarcely less fas- cinating entertainment, * k% ¥ ‘When the theaters do not supply drama to the liking of the general public that general public finds con- solation without difficulty around the nearest corner. Still another new theater rears one of the most im- posing structures of 'its kind which any city has recently witnessed. The opening of the Earle Theater proved a striking success and an addi- tional guarantee that no New York theater will be permitted to cast an irretrievable gloom. The field of se- lection is so wide that any little dis- 1 ointment can be ]H’Om[)ll) pro- ed with mirthful balm in the im- mcd:atc vicinity, Current Attractions At the Theaters This Week BELASCO—“Four Knaves and a evening. NATIONAL—George White's POLI'S—“Artists and Models, WARDMAN PARK— evening. KEITH'S—Kitty Doner, vaudeville. Opens this afternoon. STRAND—"“Hubert Kinney's Revue.” Dave Marion's Show,’ RLE—“Youth,” vaudeville. GAYETY MUTUAL—"“Naughty Niities,” Belasco—"Four Knaves and a Joker.” At the Shubert-Belasco Theater, to- morrow evening, A. H. Woods will present Lionel Barrymore in a new play, by Leon Gordon, entitled “Four Knaves and a_ Joker,” with Irene Fenwick, as the featured player. This will be Mr. Barrymore's first ap- pearance under the Woods manage- ment, and Miss Fenwick's first after a period of many vears. “Four Knaves and a Joker” is a modern play based on a- story by Oliver Eastwood. Mr. Gordon, the author is both an actor and a play- wright, and is known more especially as the author of the play ‘“White Cargo.” His new play is written in a prologue and three acts, and is a study of fate and a soul. His central character is an insignificant little craven, who is ensnared by a petty ambition into situations with which his terror cannot cope. The role is sald to be an unusual and powerful one for Mr. Barrymore's talen The company includes, in addition to Mr. Barrymore and Miss Fenwick, Jose Allessandro, Robert Cummings Adrienne Morrison, Alen Brooks, Alfred Webster, Harry E. McKee, J. C. Malaldy, R. J. Lock and Blanche Ganger. The play has been Priestley Morrison. staged by National — George White's “Scandals.“ The 1924 version of George White's “Scandals” will be presented in the New National Theater this evening. This engagement will be limited to one week, with matinees Wednesday and Saturday. The current edition of “Scandals” is the sixth consecutive production in a series of revues {naugurated by Mr. White in the Summer of 1919. The new revue is to be offered in 2 acts and 30 scenes, all of which have been staged by the youthful actor-manager. The comedy scenes are by William K. Wells and Mr. White. Buddy De Sylva and Ballard Macdonald supplied the Iyrics. The score is from the pen of George Sherwin. All of the costumes, stage decorations and curtains were designed by Erte and executed by Max Weldy of Paris. It requires a company of 150 play- ers to present the massive revue. Among the entertainers are Winnie Lightner, Lester Allen, Tom Patricola, the De Marcos and their Seven Sheiks, Will Mahoney, Richard Bold, Helen Hudson, Newton Alexander, Thea Lightner, Olive Vaughn, the Williams Sisters, the Elm City Four, Alice Weaver, Sally Starr, James Miller, Tom Ross, Hazel Donnelly, Norma Cloos, Georgie JLerch, Alice White, “Scandals,” revue. “The Hero,” burlesque Joker,” comedy. Opens Monday revue. Opens thi comedy-drama. Opens this evening. evening. Opens Tuesday Opens this afternoon. Opens this afternoon burlesque. Opens this afterioon. Opens this afternoon. | Ruth Wilcox, Dolores Costello, Alice Wilkie, Fred Lyons, Harry Morrissy, Jim Carty, Edith Nash, Vera and Jean Cullen, Helen Cant, Dorothy Costello, the Scott Sisters, Catherine Chapman, Peggy Dolan and numerous others. Mr. White boasts of the fact that he has succeeded in selecting a rare collection of new beauties. This revue will be presented here with the identi- cal New York cast and company in- tact, and the performance will be the same as shown at the Apollo Theater for six consecutive months. Poli's—'Artists and Models’ The first annual edition of “Artists and Models,” the Shubert musical re- view which ran all last season in New York, begins & week's engage- ment at Poll's tonighf. This is an entirely different show from the one which played here earlier in the sea- son. 1t is described as a joyous frolic of clever comedians, beautiful girls, sparkling music, sprightly dancers, gorgeous costumes, and colorful sef tings. There are two acts and scenes, designed and written by James Montgomery Flagg, Harold At- teridge, Harry Wagstaff Gribble, Wat- son Barratt, and other notables of the Soclety of Illustrators. The score is by Jean Schwartz and con- tains several song hits. Ben Bard and Jack Pearl head the list of comedians, which also in- cludes George Rosener, Harry Kell Charles Irwin, Buddy Doyle, and Arthur Hadley, the cartoonist. Others in the cast are Constance Evans, Veronica, Azeada Charoukie, George Stone, Renoff and Renova, Grace Hamilton, Helen Low, Robert O'Con- nor, Barlett _Simmons, Dorothy Vance, Loraine Weimar, Kay Carlin, Lester Dorr, John Adir, Ray and Rose Lyte, Harrlet Gimbel, Marle Pettes and Victor Bozart. There is also a beauty chorus of 50 artists’ models, recruited from the studlos of Green- wich Village. Most of the costumes worn by these girls were imported from the Folies Bergere, in Paris. Outstanding features of “Artists and Models” are the cartoon girls, the travesty “If Ford Were Presi- dent,” the magazine number, the Japanese prints, the porcelain statuettes, “When Beauty Calls,” the models’ posing tableaux, the oriental scene, the burlesque on “Rain “Cave of Innocence,” and the dia- mond finale. Wardman Park Theater— “The Hero.” “The Hero,” Gilbert Emery's play of soldiery and warfare, is underlined for production this week, beginning Tues- |week offer the first of the o EIWELL Wardman Park. Theaters by the Ram's day night, January 6, Head Players. It is the story of two brothers, one who goes to the war, and the other who stays at home, burdened with heavy family responsibilities. It tells of the return of the family hero, wounded, and wearing the ribbons of the croix de guerre, and of the reac- ns of his middle class family to the returned “hero and prodigal. Richard Elwell will be seen as the brother Andrew Lane, who stayed at home; Leona Roberts as his mother, Sarah Lane; Ruth Harrison as his wife, Hester Lane; Amanda Chittus as his son. Andrew, jr.; Ranald Savery as the returned hero, Oswald Lane, and Josephine Hutchinson as Martha, a Belgian refugee, Robert Bell has directed the pro- duction, and the setting has been de- signed and executed by Robert Byrne, assistant art director of the Ram's Head Players, Earle—"Youth.” W ington’s newest theater, rle, will offer for its second week, peginning this afternoon at the feature, “Youth” a production created by Maud Daniel, one of the few woman producers. It is describ- ed as “a spectacular and artistic play- let with 11 youngsters, each a star in his or her own right,” and with Carol Chappel, a boy Jmpersonator par ex- cellence. Lovers of the movies will see two famed screen stars in Emmy Barbler and Charles J. Sims, with their com- pany, in a story of the “Inside” wor ings of the movies, entitled, “Action, Camera.” The remainder of the program, which consist of seven acts of Keith popular-priced vaudeville, will in- clude Burke, Barton and Burke, in “The Prince of Slang,” a laugh pro- ducer; Donahue and Morgan, a short little miss and a long-legged chap, of- fering “The Long and the Short of It”; Hathaway and company, in ‘Ruth, the Mystery GIrl," a clever il- lusion; Howard Lind and company, in “Wedding Bells,” and the Five Cast- ing Lemars, in a sensational act. The Earle management will this tanley motion pictures, “Worldly Paramount first release, fea- Company Goods," a Gayety—Dave Marion's Show. Dave Marion, in acter of “Snuffy, bring his “Own Theater this afternoon. This year he promises an even bet- ter show than in the past. He al- ways has one of more than average magnitude in scenery, costumes and electrical effects. In' his present offering he has 27 stage settings, with 15 changes of exquisite costumes for the chorus alone, and many stun- ning gowns for the woman princi- pals, and there are also 20 toe-tap- ping musical numbers. In his support will be Josephine Sabel, Miss Richie Covey, Frank DuTeil, Charles “Tramp” McNally, Winnfe Clifton, Dave Burt, Ed Beg- ley, Bobby Taylor, jr. Emanuel Kramer, Frank Hildebrandt and Irene Cornell, and particular attention is invited to the beauty chorus. Arcade. Speclal events on ‘the carpet for the week at the Arcade auditorium are a special dance Tuesday evening in the upper ballroom, while the big auditorium will be the scene of a pretentious novelty ball and bazaar under the auspices of the Mount Pleasant Hebrew Congregation. Fri- day will inaugurate the first of a serfes of high school dances, the evening being designated as “Cen- tral High,” when all those connected with this Institation will be admitted to the auditorium without charge. his quaint char- the Cabman,” will Show” to the Gayety week, opening this " LIONEL BARRYMORE Belasto | Doner National — “The Haunted House.” ll-star aggregation is promised with “The Haunted House,” the my tery play coming to the National Theater next week, beginning Mon- day, January 12. The producers, Lewis and Gordon, won their spurs with “The Nervous Wreck,” “Six-Cylinder Love,” “Secrets,” “Rain” and “Wel- come Strangers.” Owen Davis has written 100 plays, among them “The Wreck,” “Icebound,” “Detour, and “Opportunity. Wallace Eddinger, who Is the star of “The Haunted Ho * s assisted by Denman Maley, Arthur Aylsworth, Frank Monroe, Dudley Clements, John Irwin, Leslie Adams, Harold Vermilye, Mayo Methot, Helen Baxter and Sallie Sanford The director is Howard Lindsay, who staged “Dulcey,” “To the Ladies!” An almost | ete. “The Haunted House" is said to em- body a spine-creeping mystery, which excites curiosity with its baflling sur- prises, but the play also has a love story of tenderness. Belasco—"The Sap.” On Monday evening next at the Shubert-Belasco Theater, George H Nicolai and J. M. Welch, will present Raymond Hitchcock, in a new comedy entitled “The Sap,” from the pen of Willlam A. Grew. In the supporting cast will be seen Doris Eaton, Miriam Sears, Peggy Allenby, A. H. Van Buren, Norvall Kedwell and John Gleason Keith's—Kitty Doner. Variety, dancing and something for everybody’s liking are promised at B. F. Keith's Theater this week, start- ing with the matinee today. Twin headliners, both dancing acts of the first magnitude, include Miss Kitty Doner, America’s greatest male {mpersonator, whose dancing and antics have captivated Washington in the past, and Adelalde and Hughes, America's representative dancers. will be seen in a new “Twenty Minutes in Parls,” assisted at the plano by Eddle Fitzgerald Adelaide and Hughes will present varied program of dance num newly assembled and topped by Elopement of the Toys.” Harry Kahne, who started out in life as a jeweler, will entertain with new and greater mental achievements. Others will include Maude Powers and Vernon Wailace of the “Georgia on Broadway” classic, with a new act entitled, “Rosebuds, Birds, Etc.” = honeymoon story of the southland; Claudia Coleman, who will entertain with “Feminine Types,” studies from the ‘cafe, department store, street corner; Dick Henderson, an English comedian, who sings and laughs vaudeville's latest novelty, presented by Mary and Ann Clark and called “What's What" and Willlam Brack and his company, some of the cleverest acrobats in vaudevllle, with Aesop's Fables, Topics of the Day and the Pathe News Pictorial. Strand—Hubert Kinney'& Revue. A program of comedy, dance and song will be had at the Strand The- ater this week, beginning today, fea- turing Hubert Kinney's Revue, which carries its own special scenery, and is said to be gorgeous. The cast in- cludes Gladys Peterson, Paula Lee, Ona Davis, Louise Taylor and Vera McGrath and Tommy Tucker. An act entitled “A Cloudburst of Laughs” features Teddy, the Wrest- ling Bear, and others are: Al H. Wil- son, comedlan; Warren and Hayes, in “Country Versus City,” and the Powers Duo, European thrillers, The photoplay feature is “Meddling Women,” which stars Lionel Barry- more. It is a Trio production, and the cast includes Sigrid Holmgquist, known as Sweden's Mary Pickford; Dagmar Godowsky, Hugh Thompson, Ida Darling, Alice Hegeman and An- tonio D'AlgY. The story brings to light the in- tricate situations that come to the surface in a home where the meddling of a mother-in-law and relatives cause trouble for a young couple. Short films will include a comedy entitled “The Movie Mad Mald” and the latest Fox News. o g Mutual—"Naughty Nifties Coming to the Mutual Theater this afternoon for a week stay is one of the shows that has helped to adver- tise the Mutual burlesque circuit. It is Gus Kahn's new show, “Naughty Nifties,” presenting Jimmie Francis, Ed Jordan, Dick Hahn, Pearl Briggs, Edna Somer: Jack Halliday and Helen Harris, not forgetting a big “Peacock Alley chorus. “Naughty Nifties” does not claim to present any kind of a story in bur- lesque, but it is burlesque revue with a new stride. The stage settings are pretentious, and many scenes and situations of original character and dlalogue are promised. ttra ctlons Poli's — "Mr. Battling Buttler.” “Mr. Battling Buttler,” th ca show, will be presented 1 Theater next week c day, January 11, fresh ord-breaking weeks in Philadelphia, with the same cast and chorus that played a year's engage t in New York, and wi Charles Ruggles the head of the original com: cluding He en Eley, Polly Marion Hamilton, Esther Mu McGregor, an Christer: Teddy McNan Howard Freeman and George Dobbs The dramatic critics of both York and Philadelphia were s in their praise of both the play the players, and in assuring that it i{s absolutely clean in every respect While the comedy redominates, there are many tuneful songs and a variety of special dance numbers The plot concerns a young married man who, in order to get away from the usual humdrum of home life, poses as Battling Buttler, a fighter. Every time the real fighter is sch duled to fight, and packs his |srip, golng to the where he is known a thing goes along swimmingly his wife, becoming suspick pears at the camp and nearly upsets the husband" plan: The twelve English dancers and a symphony or- chestra are special features Keith's—"Anatol's Affairs of 1924." The popular éomposer, Anatol Friedland, and company will be the attraction at B. F. Keith's Theater the week of January 11, in a novelty revuette entitled “Anatol's Affairs of 4" The production has bee staged by Ned Wayburn Robert _ Benchley, the dramati critic of Life, will make his vaude- ville debut, reading “The Treasurer's Report.” Other acts, are scheduled. Earle—"The Li'tle RCV\IE“ fr ng Sur m six rec- tr to be announced later, The Earle Theater announces for next week a program of Keith popu lar price vaudeville, headed by Joseph Santley’s “The Little Revue,” with Jay Dillon and Betty Parker. | Others to appear are Clarence Oliver and Georgle Olp, in “Wire Collect |the great Johnson, an aerialis anklyn and Vincent, in “Famous Writers of Famous Songs”; Harry Mayo, “knight of the road”; Coscia and Verdl, in “Stringing Comedy," and Gautier's “Bricklayers,” a novelty. In additfon a first-shown motion picture from the Stanley Company program will be offered. Strand—Bob Nelson. Bob Nelson, late of “Artists and “Broadway Brevities” and Innocent Eyes,” will lead the fea- tures at the Strand Theater next week, with Billy Barnes, Jack Bar- ton and a company of elght, in “Kandy Krooks”; Leola Brava and company, supported by Julita Comin and Jose Trujilllo, in “A Gypsy Span- ish Revue”; Redford and Wallace, in “Versatile Moments,” and another act, to be announced later, complet- ing the vaudeville bill. The photoplay will be Trio Produc- tion's “Daughters of Pleasure,” with Monte’ Blue, Marle Prevost, Clara Bow and Alec B. Francis in the cast. Short features will round out the bill. Gayety— Slxdmg Blll_v Watson. “Sliding” Billy Watson heads the show at the Gayety Theater next week, bringing with him Franz Marie Texas as the prima donna and little Anna Propp, the smallest girl on the American stage, as the soubrette. Mlle. Babette, a typical French “vamp,” who has been called “the modernt Venus," is also a featured member of the cast. Thers will be gowns and costumes and beautiful scenery to delight the eye, with many musical interludes to please the ear. The male cast includes Clare Evans, comedian; Murray Harris, leading man; Frank Mallahan, character man, and Creedon and Taye, a dancing team. Mutual—-‘Moonlig’l’lt Maids' “Moonlight Maids” is scheduled for the Mutual Theater next week, open- ing Sunday, January 11. The show is said to have received praise from burlesque patrons, as well as from the press of the various cities whera the company has appeared. “Youth™” a Sensation. OUTH,” cne of the features in vaudeville this weelk, is & spec- tacular production staged and pre- sented by Maud Daniel, one of tha few woman producers, for the exs ploitation of eleven gifted young peo- ple in various lines of comedy, song, dancing and instrumental offerings, ending with a military drill in uni- forms and a West Point setting. It has been quitc a sensation in its way. Carol Chappe!, an inimitable boy ime personator, heads the cast.