Evening Star Newspaper, February 15, 1925, Page 57

Theaters Part 3—12 Pages ESTELLE. \\ ’ ? WINWOOD Belasco A Gala Week for ; Legitimate Theatricals By Philander Johnson. the season progresses it in- tensifies in interest. It may be doubted whether in the history of this city there has been such a crowding of theaters to see enter- tainment of such legitimate quality as Washington has just been wit- nessing. * ¥ ok ¥ expected play of the season was “Rain.” Mingled with the expectancy s a note of ap- prehension that its distinctions were on lines of such aggressive audacity, both in speech and subject, that propriety would again be puzzled. A puzzled sense of propriety is one of thé most favorable conditions a theatrical attraction can face. The state of puzzlement in the case of an artistically accempiished demon- stration exists entirely outside the theater as discussion goes on among those wh have and who have not seen the presentation. For the audi- tor inside the theater a good play unfolds itself with such precision and such an aspect of verity that the mind for the hour or so is sub- dued, convinced and satisfied. * %k ¥ ¥ The intense interest of Washing- ton in the theater of the higher quality has not yet been recognized by the route makers of New York. Both “Rain” and “Rose-Marie” ended their engagements without a lapse in the daily record of stand- ing room on Zither attraction could have remained two weeks, and perhaps longer. or novelties Washington patronage is precari- ous, except in the case of a pro- ducer who has established a repu- tation of refusing to ailow the cur- tain to be lifted on an ill-rehearsed and tentative performance. A hos- pitable inclination to give a try-out presentation the benefit of all doubt and to choose for emphasis the bet- ter and more promising points is so well recognized a custom in most ities that a popular suspicion of a “first-on-any-stage” cannot be al- layed. “Tangletoes,” for instance, had much to commend it in story and in several acting episodes, but a hit is a hit—the term permits no equivocation; and it must be guar- anteed as such before the playgoers will accord a dramatic work support like that given “Rain” and “Rose- Marie.” The most * % x There are few really great plays which do not sclect as a_central figure the woman forlorn. We have come a long journey since Gold- smith touched the theme in story that eventually found its way to the theater, so delicately, so diffidently, in “The Vicar of Wakefield.” The English-speaking muse is still sing- ing “When Lovely Woman Stoops to Folly,” but the manner of the song has become more and more boisterously syncopated, more dis- dainful of regular measures, until the story of today is as different from the dignified narrative of earlier literature as a jazz dance is from a minuet. Step by step the picture has grown more and more rigidly realistic until the old criticism that the feminine types employed were so sweet and charm- ing as to fascinate impressionable ¥ be offered. s s Goldsmith was content to rescue from social peril the apparent vic- tim of a mock marriage by the de- vice of making the one depended on to perpetrate the villainy a real in- stead of a pretended clergyman. As we find ourselves today in the theater the consideration of reputa- tion does not matter. The task of restoration from de- spair has been, season by season, more boldly undertaken as it be- came more difficult. Like the gym- nast, the dramatist must go on learning harder and more dangerous tricks at correspondingly increased risk, morally speaking, of breaking his neck. It is true that he may have a certain sense of security so far as his personal prosperity is concerned, for the purse of the the- ater was never so securely filled as now, and the favored performer, cither with pen or grease paint, may rest assured that a gilded net is spread to catch him if he falls. }fowever. he must not fall too often. The elimination of reckless drama will be accomplished, in the evolution of taste, rather clumsiness of the overtaxed per- former than by any sensitive aver- sion on the part of the public to the hazard a genius undergoes in crossing the slack wire of popular fancy above a sulphurous abyss of universal scorn. * X ¥ X The course of development in the rugged school of drama cannot be followed from its source with the flow of the current. Most of the playgoers in Washington have wait- ed a long time for “Rain.” Mest of them have not exactly prayed for it. In fact, there has appeared to loom on the horizon a cloud that threatened the conscience with tor- nado. Once this cloud arrived no- body took to the cellar. "Every one Hoisted his umbrella, marched bold- v into the storm and found, in most nstances, the drenching well com- pensated by the rainbow glow of human sympathy. * x % % The art of the theater depends not merely on the embellishments appealing to the eye, but basically on the accuracy with which the motives and mental operation of human types of character arg de- lineated. become they must, to be rendered merchantable at the ticket offices, be considered and described with the closest intellectual analysis. Your story teller for the footlights can no longer proceed comfortably on the theory that people are good heroes, bad villains or indifferent comedians simply because they are born so and remain inflexibly thus regardless of strees of circum- stances. The reward of merit and the punishment of ill doing no longer remain arbitrarily in the hands of the plot weaver to be dis- pensed with an almost celestial as- sumption of magnificent powe The conflict of complexes of inhib: tions and of moral Aiber must be in- timately undertaken. While indus- try and sociology are seeking to wield a helpful influence by better- ing existence for humanity consid- ered only in classified groups. The stage, as it has always done, comes forth with outcry from the individ- ual spirit and waits to find the re- sponse depending on the number of individuals whose hearts return a sympathetic echo. The theater in normal manifestation is the voice of the submerged. It tells first what kind of people may be dwelling un- noted among us, then acquaints us with their possibilities of deed and aspiration and then accords them the hope either of triumphant char- acter or else the dignity of a fine destruction. by the * * % % A good play must be more than a moral play. A play which assumes to be moral and yet is untruthful is a shallow hypocrisy. A drama must have the benefit of accurate scientific analysis. Those which have attempted to trifle in moods of persiflage or superficial interest with the more recent topics of mind research, have found abrupt dismis- sal. The dramatist—and this term now has come to imply oftener than not a group of men concentrating attention dangerously can no longer " their efforts to produce a single and precise result—has become like a man in a laboratory lifting from pools of social stagnation drops of water and studying them under a microscope. The drop of water re- veals many forms that are gro- tesque, repulsive, yet sometimes beautiful if they can be dissociated in imagination from the conditions they imply. The public wishes to know about them, and apparently has learned to assume an almost impersonal and scientfic aloofness as spectators observe strange things that are and perhaps reflects a lit- tle on things that yet must be for human welfare. It is inconceivable that a play like “Rain” could leave on any mature mind the impression of being only an evening’s light diversion. * %k ¥ X . No doubt when “Rain” was first being cast there were many actresses who might have proved satisfactory in the role of Sadie Thompson. Now that Jeanne Eagels has made it her own no one else could be thought. of. Perfection of charac- terization makes it a . standard which no other player could ap- Gross as the themes have | he Sunday Star WASHINGTON J anet Richards Tomorrow. M Janet Richards will give her usual review of the vital questions of the hour tomorrow morning at 10:45 in the auditorium of the new Masonic Temple, Thirteenth street and New York avenue. In these talks Miss Richards presents a general summary of the high lights in the world’s work for the preceding week. Tomorrow she will begin the talk with a detailed review of affairs con- gressional, followed by a survey of the European situation. “Cobra" March 1. S*(COBRA” opens at the Shubert-Be- lasco Theater, Sunday evening, March 1. This is the play dramatic critic to with this caption “Have you a little cobra in your home?" a bit of breezy persiflage on the part of the reviewer. But the question propounded is not without a sinister interpretation, since the “cobra” lady” of the play is much more destructive, it is sald, than that other type of female monster, the vampire, when she loves the man she 1s after. Ralph Morgan, Minna Gombell, Walter Gilbert, Clara Moores, Walter Horton and Jeanne De Me appear in the cast. that inspired one head his review Chauve Souris for 1925. In the production of his new Chauve Souris bill Balieff has en- listed the assistance of several prom- Inent living Russian painters and artists of the stage. The regisseur, for instance, is Alexander Sanin, one of the great producers in cotem- porary Russian opera. The new master of choreography is Boris Ro- manoff, of the younger generation of ballet masters. Artists whom Balieff has called from their easels to design his new settings and costumes include Alex- ander Benois, one of the two or three leaders of modern Russian painting; Nikolai Benois, his talented son, and Vassily Shoukhaeff. The names of Gogol, Repin, Pushkin and Tchaikovsky are intimately associat- ed with the various numbers on the program. Of the new program, both and London favored “Love and Hierarchy,” the same spirit as Wooden Soldiers,” “Stenka Razine,” an intensely tragic moment in the career of Russia's most famous bandit, and “The Zapor- ozhtsi,” a highly flavored and excit- ing recreation of Repin's celebrated painting. Paris was equally enthu- siastic about “The Arrival at Bethle- hem,” which the English censor pro- hibited in London, but which will be given here. Paris in particular an episode in —— proach. Her triumph is great and the penaity which such triumph often carries is that of being fet- tered season after season to an emo- tional ordeal which cannot fail to be exhausting. * % % Viewing the stage as the mirror held up to nature, the picture of our own taste flashed back to us by "Rose-Marie” is one of encour- agement. If the public has become exceedingly bold in the invasion of metaphysical realms of discussion, it has increased its artistic and in- tellectual demands as regards the lighter forms of entertainment. Lighter entertainment is entitled to a share of serious consideration, for, as has been remarked many times, the thing selected as a cause of laughter is what points the stage of difference between the barbarian and the philosopher. “Rose-Marie” is not all in laughing mood, but it is sunshiny, and the most consistent- ly operatic disclosure that the American stage has recently of- fered. Its chief charm is the music, which ranks Friml as one of the best composers of light music of present or previous times. His mounted police number is a master- piece, and the whole work is a step toward the legitimate comic opera; made, however, with a caution that avoids disappointing the popular eye trained to spectacular revela- tions. The totem number is a gor- geous contrivance of the grotesque, a creation of beauty, linking the aboriginal impulse in art with all the fastidious finery of the most ultra-fashion monger. As to.liter- ary facility the work lays no such claim to relationship with Gilbert and Sullivan opera as it asserts musically. Perhaps it should be es- pecially admired for the dexterity employed in making physical dis- play and athletic animation take the place of verbal ingenuities. In its way “Rose-Marie's” engagement was as complete and convincing an assurance of popular fidelity to standard forms of expression as was the brilliantly patronized sea- son of grand opera itself. D. C, SUNDAY Juria ARTHUR > MORNING, FEBRUARY 15, 1925. VIOLET National Current Attractions At the Theaters This Week NATIONAL—"Saint Joan,” Bernard Shaw’s play. evening. BELASCO—“The Lounge Lizard, ning. POLI'S—“When Summer Com KEITH'S—Violet Heming-A. E. afternoon. " comedy. Opens tomorrow Opens tomorrow eve- " musical play. Opens this evening. Mathews, vaudeville. Opens this EARLE—“Venetian Masqueraders,” vaudeville. Opens this afternoon. STRAND—Loew’s Vaudeville Circus, vaudeville. noon. GAYETY—“Hollywood Follies, National—"Saint Joan." George Bernard Shaw's play “Saint Joan,” will come to the Natlonal Theater this week, opening tomorrow evening. A distinguished cast of play- ers, includes Julia Arthur who will be seen as Joan In structure, “Saint Joan” s said to be Shakespearean, and as such, to need a Shakespearean production, and this is carried out not only In the scenery, but in_the selection of the players. Phillp Moeller was respons- ible for the direction of the produc- tion. Ramond Sovey prepared scenery and costumes. The company, Edwin Mordant, Philip Leigh, Lynn Pratt, Henry Travers, George Fitzgerald, Lowden Adams, Erskine Sanford, Al- bert Barrett, Joseph Clarke, Stanley Wood, Edward Skinner, House Baker Jameson, George Kendall and others. Julla Arthur was selected by Ber- nard Shaw and B. C. Whitney to play Joan, Sir Henry Irving selected her for his support in London and she played with him Sophia in “Olivia” and Queen Anne to Sir Henry's Rich- ard. As Rosamond, in “Becket,” she won a triumph, her beauty and her art holding the interest and admira- tion of critical audiences, who had idolized Ellen Terry. This was again the case when, during the illness of that great actress, Julia Arthur ap- peared in Imogen, in “Cymbaline Miss Arthur returned to star in her native America, in Frances Hodgson Burnett's dramatization of “A Lady of Quality.” Then came Parthenia, in the poetic picture of the gradual civilizing of a barbarian offered in the classic play “Ingomar,” the portrayal of Rosalind, in “As You Like It." Gala- tea, in W. S. Gllbert's “Pygmalian and Galatea,” Juliet, in “Romeo and Juliet”; Emile Bergerat's play, “Mo; Than Queen,” “Eternal Magdalen,” the all-star cast of “Out There,” and her Hamlet were other notable events. Belasco—"The Lounge Lizard.” Jules Hurtig, in association with the Messrs. Shubert, will bring the latest continental comedy, ‘“The Lounge Lizard,” to the Shubert- Belasco this week, opening tomorrow ” ran a year in London as “Collusion,” and it not only presents a new angle on the marital question, but it contests the fallacy of the proverb, “Absence makes the heart grow fonder.” John Cumberland, who in addition to being the star of the play Is also the rearranger of J. E. Harold Terry’s book, plays the role of Maj. Ridgeway, a British aviation officer, who has been stationed in Mesopo- tamia. Estelle Winwood, talented star of “Spring Cleaning,” plays Diana, his wife, who is sorely tempted by one Tony La Coste, the Lounge Lizard, played by Jose Alessandro. Others of the cast include Corliss Giles, Arnold Lucy and Nelle Kent. Poli's—"When Summer Comes.’ Hammerstein-and Quinn_will offer at Poli's tonight James Barton, in “When Summer Comes,” a musical play of today. The book is by Jack Arnold and the music by A. Baldwin Sloane, with special songs for Mr. Barton by Hagamin and Hamed and Opens this after- burlesque. Opens this afternoon MUTUAL—Lew Kelly's Show, burlesque. Opens this afternoon. Ruby Cowan, who are responsible for many of Jolson's song hits. “When Summer Comes” tells the story of a couple of Southern boys who are talked into a proposition by some get-rich-quick schemers of putting out a new face clay, which they figure on taking from land belonging to the boys, and then tak- ing the air for foreign shores. Their scheme works smoothly till Ananias (played by Mr. Barton) and Virginia, one of the boys' sweetheart, gets into the deal, when things happen fast and furiously. The near melo- drama is sald to be worked out in a novel way. of opportunity to show his nimble feet and has one feature song called “Voodoo.” The cast will include Luella Gear, Jack McGowan, Marwick, Nellfe Fillmore, William Lemuels, John Barton, Joe Smith Marba and Frank Andrews. The play has been staged by Walter Wilson and the dances by Raymond Midgely. Keith's—Violet Heming-A. E. Matthews. Violet Heming and A. E. Mathews, the well known Broadway stars, will top a bill of distinction at B. F. Keith's Theater this week. _ Lewis and Gordon will present these popular stars in a new comedy, “A Unique Opportunity,” by Brandon Fleming and Bernard Merivale, which has been staged by Lewis Broughton. Featured also will be the de luxe funmakers, Dave Kramer and Jack Boyle, who are not only comedians, but possess excellent voices. A new orchestra, “Cameo Ramblers,” will be presented. There are nine men in this musical aggregation, each a finished musician. They will offer new ideas in modern orches- tration. Others will include Bobby Folsom In “Story Songs” little narratives with musical accompaniment; Edith Mae Capes’ creation, the latest dance sensation of vaudeville, featuring Dolores, with Sidney Boyd, the Al- mour Sisters and Al Leroy, an act staged, produced and costumed by Miss Capes; Ned Norworth, “Broad- way's Midnight Son,” with Patricla Cayrns, assisted at the piano by Kenneth Nichols; Cervo and Moro, with accordeon and violin, in an act of music and fun, called “Notes and Things”; Bert Sloan, in hazardous wire stepping and Aesop's Fables, News Weekly. Earle — “Venetian Masqueraders.” Heading the bill at the new Earle Theater this week is “Venetian Mas- queraders,” a spectacular song, dance and musical fantasy, with Miss Olga Boohm, a Vlennese prima donna, sup- ported by H. Maxwell, tenor; A. Carola, baritone; a quartet of Italian street singers, and a little French dancer, Collette Blien. Others appear- ing are Florence Tempest and Homer Dickinson, former musical comedy stars; Edan Buckler, former Wash- ingtonian, who heads her own com- pany, in “The Man Hunt”; Hal Nei- ‘man, announced as one of the origi- nal “Four Horsemen”; Haney Sisters and Fine, In songs and story-telling; Ann Linn and company, in “The Shoe Box Revue,” and a screen feature, Mr. Barton has been allotted plenty Ray Raymond, Irma Topics of the Day and the Pathe HEMING Reitls Edna Buckler. EP BUCKLER, who comes in “The Man Hunt” to the new Earle Theater this week, Is an actress, au- thoress, managress and directress, who will be seen once again in the town of her birth after an absence of several years. A prophet is not without honor, save in his own home town. it has been said. Not so with an actress. Miss Buckler was born and received her education in Washington. This is where she dreamed her dreams and laid her schemes to become an actress. Perhaps some of her friends will re- member her in the ingenue roles in “Excuse Me" and “Under the Red Robe,” with A. H. Van Buren. during the old Pqll regime, and later as lead- ing woman in “Common Clay,” also at Poli’s. Miss Buckler states that she is merely “marking time” in “The Man Hunt.” She expects next to be seen here in “A Song in the Night,” a play from her own pen. “Forty | by Winks,” founded on fhe play David Belasco, “Lord Chumley.” | Viola Dana, Raymond Griffith and | Theodore Roberts are the featured {players. Strand—"Loew's Vaudeville 5 - Circus. Loew's Vaudeville Circus, one of the most unusual’of theatrical novel- ties, will open a week's engagement at the Strand Theater this afternoon. Flying somersaulters, whirlwind acrobats, daring tumblers, trick ponies, dogs and donkeys, with dancing girls and, best of all, Mar- celline, the great New York Hippo- drome clown, the funniest man in all the world, come with it. The troupe is made up of 30 stars from “big top” land and comprises eight noted acts, including Marcel- line, greatest clown of all time: Carlos Comedy Circus, with ponies that dance and bucking mules; the Six Harlequins, in cyclonic tumbling and somersaulting; the Chandon Trio, aerial artists; the Horl Trio, Far East acrobats; Prof. William Bartell, “The Human Ostrich”; Fatima, Orlental dancer, and Victor Hyde's famous “Dancing Ponies” and glorious girls in grand entrees and beautiful ballets. The weekly picture presents Shirley Mason, in “Curlytop,” adapted from a story by Thomas Burke, author of “Limehouse Nights.” Gayety—Hollywood Follies Joseph Hurtig’s “Hollywood Fol- lies,” announced at the Gayety The- ater as this week’s attraction, is the show that won for itself the honor of a run last Summer at the Colum- bia Theater on Broadway. “Hollywood Follies” is in two acts and elght artistio and unque scenes. It has a most realistic scene in a mo- tion, picture studio where the audi- ence is given inside information about the making of a movie. There are 15 musical numbers, with book by Frank Dupree and musical numbers by James Johnson, staged in a pleas- ing manner by Dan Dody. Marty Collins and Jack Pillard are featured players. Collins is a versa- tile, eccentric comedian, while Pil- lard is a clever stralght man. Others are Jimmy Connors, Al Sterne, Jacque Wilson, Marie Ward, Ursa McGowan, Frances Clymer, Ray Vee, Paddy Cliff, Mae Kennedy and Willlam Riley. The feature act is the “Hollywood Serenaders,” one of the funniest jazz bands ever devised for burlesque. The chorus, pumbering 24 in all, is not to be overlooked. - These girls are young, pretty and talented, and they are arrayed in exquisite costumes. Mutual—"Lew Kelly's Show.” Lew Kelly and “The Lew Kelly New Show” will be seen this week at the Mutual Theater in a funny bur- lesque, “A Mutual Understanding,” written by himself, and said to abound in original scenes of & laugh- provoking character. Kelly has the comedy role, and {s supported by Billy Maxwell, straight man; Ger- trude_ Lynch, prima donna; Caro- line Ross, soubrette; Cress Hillary and Jay Gerard, singers; Mary Lane, ingenue, and Jack Seward, juvenils, with a oheres of 36 pretty giris. The Automobiles e b LUELLA GEAR. ~ Polis National—"Louie the 14th™| LORENZ ZIEGFELD'S newest musical comedy, “Louie the 14th, with Leon Errol, will come to the ational Theater the week beginning| February 2 The book and| { of the play re by Arthur | Wimper; the musi by Sigmund “!’.flmhrrg and the staging by Edward Rovyce. |59 i caxet oy imotine i taieon guished English stars, Doris Pats and Hugh Wakefleld; Harry Fender, “thel Shutta, Margaret Wilson, Judith Vosselli, Catherine Calhoun Doucet, Simone De Bouvier, Louise Brooks, Pauline Mason, Edouard Durant, John e, Fred Graham, Gosnova Alfred , Harry Turpin, Joseph Lertora and a beauty chorus of 80 glorified girls and 40 singers. Poli's— sky ngl’x. The Shuberts, in association with Sugene Howard, will present Willie Howard in a new musical production, Sky High” adapted by Harold At- teridge from the original by Robert Bodanzky and Bruno Hardt-Warden, with music by Robert Stolz, at Poli's Theater next week, beginning Sun- day night, February 22. This announcement is of . special significance in that it means the re- tirement as a co-starring team of Willie and Eugene Howard. After playing together 20 vears, during which time the Howard brothers rose from obscure vaudevilians to sta elaborte musical productions, Howard retires to become a producer, in association with the Messrs. Shu- bert, and to act as personal manager of his brother Willle. The new play will have its New York premiere fol- lowing the Washington engagement In the cast of “Sky High Ruth Welch, Vannessi, Florenze. Ames, James Liddy, Ann Milburn, Shadow and McNeil, Violet Engle- field, Edward Douglass, Stella Shiel, Marcella Swanson, Emily Miles, Row- land Hogue, Thomas Whitley, and a singing and dancing chorus of 50. Keith's—Robert Warwick. Robert Warwick, the dramatic star, will top a list of three headliners at B. F. Keith's Theater next week in a new playlet called “Bonds That Separate,” which was written by Alan Brooks. Sharing honors with Mr. Warwick will be the musical comedy favorites, Eva Puck and Sam White, and also Johannes Josefsson In a cameo drama, “The Pioneer,” an episode of early American frontier days. Other acts booked for the week are tp be an- nounced later. Earle—"Opera a la Synco- pation. An American prima donna, Hazel Crosby, is coming to the Earle Theater next week. The singer combines a grand opera voice with the usual popu- lar numbers, and the offering is termed ‘Opera a la Syncopation.” Other fea- tures are the J. Francis Haney revue, including Helen Stewart and the Four Johnnies; Ray Huling and company, in “At the Aquarium”; Margaret and Mor- rell, in “The Tourist,” and Archer and Belford, in “The New Janitor.” The motion picture will be ‘The ‘Chorus Lady,” a screen version of Rose Stahl's stage success, sald to have are | an exceptional cast of film favorites. Strand—"Hello! Hello!" Sam Lewls and Sam Dody, in a whirlwind skit, entitled “Hello! Hel- lo! Hello” or ‘Chera-Bochcha, will head the program at the Strand Theater next week. Others booked include George Lloyd and Rosalee, in “A Cameo a la Minia- ture”; Myrtle Roland, “Song Bird,” {with Ellen Hopkins assisting at the piano; Booth and Nina, in “A Twen- tieth Century Novelty,” and other at- tractions to be announced later. The photoplay will bring a screen adaptation of Marjorie Land May’ novel, “Those Who Judge,” with Patsy Ruth Miller, Lou Tellegen, Mary Thurman, Flora Le Breton, Edmund Breeze and Walter Miller. Mutual—"The Merry Mflke rS. " The Mutual Theater announces as the coming week's attraction “The Merry Makers,” its featured come- dian being John Quigg, known as ‘the man who plays anything.” dances and ensembles were staged by Roy Mack. The musical were written by Hugh Shubert. Arcade. Two special events are announced at the Arcade for the week in con- junction with the night dance pro- grai a “ladies’ night” and “Paul Jones” Tuesday, when the ladies are invited to attend as guests of the management, and a colonial dance numbers | and bazaar Friday, given by Ruth Chapter, No. 1, O. E. S, 'Coming’ Attractions Belasco—"After Love 2 Henry Miller will appear at the lasco T ext week in a mode; fter Love— ed from the French script of Pier Woolf and Henri Duvernois by Thomas, a member ¢ the Institute of Arts and Letters “After Love— 2" is a ty srench story with situations Saxo ed. Mr. Thomas. who pos- sesses a keen discrimination for r cial values, however, id to have developed a masculine courage in this script which does not exist in the F ch ve on. Hen Miller has selected a play that gives him ope to reveal his prowess in dramatic art, as an actor, a producer and director. He plays the part of Francois Laurent, a wealthy historian, whose soul hun- gers for the affection and compan- ionship of his wife, and, being denfed it, he finds a greater love in Ger- maine, a French shopgirl Mr. Miller is assisted by a cast that includes Carlotta Monterey, Florence Shirley, Edward Nicander, Alber: Morrison, Ilka Chase and Marjorie Wood. new is Gayety—"Step on It." Next week's attraction at the ety Theater will be “'Step On It a speed show. The featured players in this Hurtig & Seamon production are George Nible and Helen Spencer. The company includes Marty Semon, Morris Lloyd, Jim Hall, a character man with an unusual voice: Harry Bart and Ben Josh. In addition to Helen Spencer, the female contingent includes Helene Ardell, ingenue, and Jessie Reece, prima donna. “The Gingham Girl.” March 8. THE musical comedy “The Gingham GIrl” with Eddie Buzzell, will be the attraction at Poli's Theater, ths week commencing Sunday, March . When “The Gingham Girl” was pro- duced by Schwab and Kussell, two young men fresh from college, and it scored one of the biggest hits in years, the older producers tried to analyze its amazing success. Some attributed it to the clever book, with its interesting story and its abund- ance of wholesome humor; others 1o the musical score, with its many re- freshing song hits that have just the proper jingle. But the ohief reason for the pop- ularity of the piece is said to be the spirit of youth which pervades the entire performance. It Is an en- tertalnment of and about young peo- ple, and its fresh exurberance is con- tagious. Another Big Musical Comedy. T© the National Theater in the near future comes “Be Yourself!” one of the season's big musical comeds productions. Critics in New York, Philadelphia and Boston, where “Ba Yourself!” is now finishing an en- gagement of eight weeks, have been lavish in their praise of this latest Kaufman, Connelly, Gensler, Schwarz- wald musical hit. Wilmer and Vin- cent, by whom it is being presented, are sending the original New York, Philadelphia, Boston production and company, headed by Queenie Smith, Jack Donahue, Norma Terris, John L. Kearney, Teddy Hudson, Jay Wilson, Jack Kearney, Ted Weller, James R. McCann, James Houston, and the “Be Yourself!” singing and dancing girls. The New ‘'Swanee.” ‘' QWANEE" Is the name chosen for the new $250,000 de luxe ball- room which Meyer Davis will open Thursday in the Earle Theater Build- ing. The name is one of 25,000 sug- gested by those who participated in the name contest inaugurated by Mr. Davis to secure an unusual and char- acteristic title for the.new resort. The $100 prize offered goes to A. J. Pheriault, R. M. L. C, U. 8. N, radio central, Navy Department. 4 When completed, it is claimed, ‘Swanee” will be the most beautiful and luxurious room of its type in the country. The general impression of the room will be that of & huge open- air patio of the South American type, with amber lighting in sunlight ef- fect, and a lavish use of real orange trees, palms and flowering plan A Coming play. EWING & WILCOX, a new firm of producers, who style themselves “a couple of young fellows trying to get along,” are to produce at the Shubert-Belasco Theater the week of Monday, March 9, a play called “Se- duction,” by De Witt Newing. The company has as its principal players Allyn King and Frank Wiloex