Evening Star Newspaper, February 22, 1925, Page 45

ROBERT \/ WARWICK. Keiths ROTE- : HANEY - Parl Plove Plavices bl M_Press Agents By Philander Johnson. \ , Elaborate preparations were made for an engagement dedicated with much solemnity to the Amalgamated Association of the Lofty: Foreheads. At the bidding of -S tuality was expected to shake the dust of the libraries from its carpet slippers and, under the auspices of Bostonian literary beneficence, as- semble to do homage to G. Bernard Shaw as a sage, a philosopher and an interpreter of the underlying in- fluences of historic events. The interesting point of the pro- duction, in spite of the beauty and precision with which it is made, is the extent to which it may reveal a progress by the English author in his quest of versatility. Year after year he has been the same supercilious, witty, bold champion of the unconventional, capable of viewing the world only from his own high-poised vantage of cynical pre- cision. He detects the slightest taint of hypocrisy and exposes it with intuitive swiftness. * % % % Broad, generous currents of emo- tionality are not found in this flow of rrative. The story of the strange heroine should have available the deepest poetical sympathy in order to reveal clearly and convincingl her own mental attitudes as well as of those who moved with and about her in a historic episode; an epi- sode that brought forward every mood of which humanity is capable, from sublime religious exaltation to bestial frenzy * ok ox x It is the fate of the. habitual sa- tirist to appear most droll when he forsakes his accustomed manner and secks to be most serious. In Shaw's dialogue the highly polished facility of phrase, the smart epigram, the paradox, cannot be subordinated to the deep, earnest directness with B which the heart of a bygone gener- ation now seeks to tell its story to | the amazed attention of the present world engaged in carnest endeavor to efface the maxim, “History re- peats itself.” If scenes of fanatical turbulence should ever again arise it may be at least stated that his tory will not repeat itself on lines of Shavian interpretation. * % ¥ ¥ Conversations relating not merely to life, but to eternity, are carried on in this “Saint Joan” through many scenes of comparative inac- tion, with penetrating glibness. It is almost elfin in its quippishness. It was less the contemplation of a St. Joan than of a St. George Bernard, with earls and prelates, as they discussed matters of statecraft and witchcraft, humby endeavoring to emulate the wittiest writer of the English theater. i o e A note of personal dignity was fent to the presentation by Miss Julia Arthur, who gives the work the effect of a sequel to her per- formance of “Hamlet.” She distin- guishes it by a secure repose both in speech and gesture, noting its spiritual sublimity, but giving infre- quent revelation of sensitive flexi- wility. In the processes of musical comedy evolution many endeavors must Japse in the struggle for survival. Whether . “When Summer Comes” will succeed in adjusting its various functions to the circumstances un- der which it just'now seeks safety and sustenance is yet to be decided. At present it goes on its way as something in the nature of a per- sonal exhibit entitled “Mr. Barton,” with trimmings of songs and scen- ery. The question seemed to hover: #When Summer comes, can a frost be far behind?” Its inception was evidently prompted by a discerning and praiseworthy idea. “Rose- b Narie” showed ~how pleasantl themes relating to.our own cont nent can be utilized. and the sunny South has here been revealed in ir- resistible charm of every vehicle of expression excepting that of the Joan, intellec- | musical play. In his sable charac- terization the unctuous, the ponder- ous yet agile, the all-pervading, the indefatigable and, indeed, the always welcome—before very select audi- ences—Mr. Barton .dismissed the little story of flowers, changeful skies and love of home in an apparent determination to give Uncle Tom his ihnings at last and reveal him reincarnated, a creature of youth- ful exuberance in realms of gin, jazz and gyration. It was his evident appointed mission to step in and save the show. Of his courage and determination there can be no un- kind thought, but in saving the show it seemed as if he had stood some of its most vaiuable proper- ties out on the sidewalk and left them there unclaimed. * Xk ok X “When Summer Comes” gives a glimpse behind the scenes into the confusions arising in the processes of music play production. It is the type of music show representing a game of chance rather than a care- fully devised and accurately co-ordi- nated demonstration. Its incidents, separately considered, are full of charm of comic effect. But there is a suggestion of plot lingering through the proceedings that renders them disturbingly heterogeneous. If this plot can be brought to satisfy curiosity instead of only compelling it, the play might become not only a thing of beauty but a joy for sev- eral seasons. However, it takes a long time for materials to crystallize and the theater is an expensive laboratory. From here the piece looks very much like one of the numerous white chips no better and no worse than the rest of its kind placed carefully on the roulette board, but not on a lucky number. * k ¥ X “The Lounge Lizard” revived a type of entertainment very effective in times of milder taste. "It calls itself a farce comedy, but is not as emphatic in its fun as the kind of plays for which the term was coined. The title lacks appeal and is a shade misleading, for “The Lounge Lizard” is not in reality the basic figure in the story. He is played with the legitimate consis- tency of an old-time heavy villain whose perverse nature rejoices with fiendish serenity as he plots destruc- tion for domesticity. ‘Fhe character is well taken by Mr. Alessandro; but the better it is played the less jovial it becomes. John Cumberland has a gentle drollery of personality that |is engaging and an artistic sense that protects him, perhaps more than is desirable, from any tempta- tion to overact. “The Lizard” is of the era of “Charley’s Aunt” or “The Man from ‘Mexico,” when an occa- sional touch of the grotesque served to enliven an occasion of mild ro- mantic perplexity. * X K * The comedy, in this instance, was built upon the big-hearted loyalty of an unassuming husband for a frivolous wife - who resented ~his calm. The farce was supplied by the husband’s becoming tipsy and appearing in a pink silk feminine night robe. He also had on a bit of lace headwear and occasionally blew the ribbons from before his eyes. And the wife, trying to repose on a sofa, had difficulty in making a cloak or a rug cover both her shoul- ders and heels at the same time. These devices are still reliable to a certain extent, but they are only in- cidental. They long ago lost their prestige as responsible elements of a mirthful enterprise. * %k x * Organizations continue to multi- ply in Broadway regions, in addition to Equity, Producing Managers’ As- | sociation, Composers and Publish- ers’ Association, not to mention many others, formed apparently on the theory that some practical ideas may be developed from a_group of people who, as individuals*have not thown evidence of such a posses- sion... The Equity and the Mana- gers’ Association are working or- A Yiddish Performance. THIRTY-TWO years ago, Max Gabel, a penniless, immigrant youth stepped on the Yiddish stage for the first time in a play given In Washington by a fourth-rate travel- ing company. Tonight Gabel will appear again in ‘Washington at the Shubert-Belasco in a company of his own and in a play written by himself. Gabel is regarded as one of the most influential figures of the Jewish theatrical world of to- day. He has during the past several months acquired possession of three more of the leading Yiddish show houses for his theater chain, which how is represented in all parts of New -York. He is the head of the United Hebrew Booking Agency and president of the Jewish Theater As- sociation. i In his current appearance Gabel wiil be assisted by his wife, Jennie Gold- stein, also a noted figure of the Yid- dish stage. Leon El’rOL LEON‘ ERROL, the star of ‘“Loule the 14th,” is one of the most popu- lar comedians on the American stage. His power to create laughter is im- measurable, and his pantomimic and dancing abilities are extraordinary. He is generally known as the star drunk of the world, his intoxication scenes and dances being Inimitable. In “Louie the 14th” he has a part that is designed to enable him to increase the merriment of the world 1,000 per cent. ganizations _relating to commercial interests. The latest organization is an organization of press agents. No purposes offensive or defensive are announced. * K K K The press agents have established a publication in their interests called the Ouill, and they invite news- paper people throughout the coun- try to contribute in absolute candor sonally considered, the press agent they have met. As individuals, press agents are as diverse as the leaves of a forest. They are themselves all kinds of actors, swaying a large audience one person at a time. Per- conally considered, the press agent has no identity. He is precisely as good or exactly as bad as the show he represents. Usually a man of strong artistic sympathy, he some- times struggles ~conscientiously to deceive. He never succeeds. in this asniration. Like Poo Bah, “he often tries to utter lies and every time he fails.” He has a critical sense, however, that renders his words hol- low when his heart is not behind them. As you observe the press agent utterances, gentle reader, that expand adjacently, disregard the face | value of the phraseology and read | between the lines. Observe the fea- tures that are stressed, decide for yourself whether they are strong enough to carry the burden of an evening’s entertainment, and when you come to a sentence either of trite and perfunctory ecstasy or of judicial restraint, beware, gentle reader, the press agent is endeavor- ing to deceive—himself, WASHINGTON, D. C, BILLIE WILSON ~ Mutual LITTLEFIELD National Current Attractions At the Theaters This Week BELASCO—“After Love—2" evening. NATIONAL . a modern play. _ouie the 14th,” a musical comedy. POLI'S~“Sky High,” a musical comedy. KEITH'S—Robert Warwick, vaudeville. EARLE—Vera Gordon, vaudueville. Opens tomorrow Opens tonight. Opens tonight. Opens this afternoon. Opens this afternoon. STRAND—"Hello! Hello! Hello!” vaudeville. Opens_this afternoon. GAYETY—"“Step on It,” burlesque. MUTUAL—"The Merry-Makers,” Belasco—"Afte’r Love—1" Henry Miller, the noted actor, pro- ducer and director, will appear at the Shubert-Belasco - Theater this week, beginning tomorrow evening, in a modern play, entitled “After Love—7?" The story which suggested this title, is by Plerre Woolf and Henri Duver- nols. It was adapted from the French script for Mr. Miller, by A. E. Thomas, a member of the National Institute of Arts and Letters. Henry Miller, as Francois Laurent, begins to build something from the moment the curtain rises in the first act and finds him alone and disillus- ioned, until it falls in the last act. His whole life is some phase of love. He expresses it in his generosity to his servants; the time and money he gives his frtends; his romantic af- fection for his wife; his tolerance of her when she has cheated him snd herself; his desire to help the little shop girl Germaine, and his gles in finding love for her. It is shown in his love for her memory when she dies, and in his parental affection. Gabrielle, Laurent’s wife, is played by Carlotta Monterey. The production is anhounced as a motif of high art and stage presenta- tion and it belongs entirely to Mr. Miller, who directed the speclally chosen cast of characters, which in- cludes Florence Shirley, Bdward Ni- cander, Albert Morrison, Ilka Chase, Marjorie Wood, Kathryn Meredith, Norma Havey, Elmer Brown and Betty Hall. National—"Louie the 14th.” One of the lavish treats of the sea- son is promised in “Loule the 14th,” starring Leon Errol, which Florenz Ziegfeld will present at the National Theater tonight for one week only. Mr. Ziegfeld's name is associated with glorified girls, eminent stars and originality. In addition to Leon Errol, chief laughter-maker in the Ziegfeld hit “Sally,” the cast will include Doris Patston, Harry Fender, one of the best of the light opera tenors; Hugh Wakefleld, English comedian, who is making his American debut in this production; Ethel Shutta, Margaret Wilson, gifted prima donna; Judith Vosselli, Edouard Durant, Kathleen C. Doucet, Simone De Bouvier, Louise Brooks, Pauline Mason, Gosnova, Fred Graham, John Doyle, Alfred: James, Harry Turpin and §0 “glorified” Ameri- can girls chosen by Mr. Ziegfeld, as well as forty singers. “Louie the 14th” has been directed by Edward Royce, who also directed the other Ziegfeld successes—"Kid Boots” and “Sally.” In writing the music for “Loule the 14th” Mr. Romberg is said to Opens this afternoon. burlesque. , Opens this afternoon. have created a score that includes almost every type of music known from popular melodies of the whis- tling sort to classical interludes, with moments of church musie, Tyrolean Alps folk songs and lively charac- teristic American syncopated melo- dies. Poli’'s—"Sky High. Willie Howard will appear for the first time tonlght at Poll's, in his newest starring vehicle, “Sky High,” a musical production which is being presented by the Messrs. Shubert, in association with Eugene Howard, brother of the star, and for more than 30 years his partner In vaudeville and musical comedy. Tonight's local premlere of the new production marks the first occasion in this span of years when Willle Howard has been seen without his equally famous brother. “Sky High” is a new musical pro- duction by Harold Atteridge, and pre- sents Wiille Howard in' a hilariously funny role. Seen at the opening of the play as the coatroom attendant-of an English music hall, he later be- comes the self-appointed valet to a bogus lord, and his advéntures In the field of romance, in which he accom- panfes his new-found employer, are said to provide an evening of rare humor and entertainment. The music was written by Robert Stolz and Alfred Goodman, with lyrics by Clifford Grey, and addltlonal mu- sloal numbers by Cariton Kelsey and Maurie Ruben. The production has been staged by Fred G. Latham and Alexander Leftwich and the dances by Seymour Felix. The entire produc- tion s under the personal direction of Mr. J. J. Shubert. In support of Mr. Howard are Ruth Welch, in the leading feminine role; Vannessi, the dancer; Florenz Ames, James Liddy, Ann_Milburn, Shadow and McNeil, Violet Englefield, Edward Douglass, Emily Miles, Marcella Swanson, Thomas Whitely, Stella Shiel and a beauty chorus of more than 50 pretty and talented girls. Keith's—Robert Warwick. A holiday bill with three big head- liners has been arranged for B. F. Keith’s Theater this week, beginning with the matinee today. Robert War- wick, screen and stage star, tops the list in a dramatic novelty in two and a half scenes, called “Bonds That Separate,” written by Alan Brooks, author of “Dollars and Sense.” The star is supported by a special cast, including Miss Mary Halliday. Eva Puck and Sam White, musical comedy favorites, return to vaude- ville in an act which they call “Opera SUNDAY MORNING, FEBRUARY 22, The Sunday Stad 1925. HELEN SPENCER Gayety J ust Himself. EORGE NIBLO, a featured star of “Step On It,” objects to being called an actor. to be serious with you, than I ever vs. Jaz a medley of songs, dances and laughter. 2 No. 3 of the toppers is Johannes Josefsson,-a famous Icelander, who presents a cameo-drama called “The Ploneer,” an episode of early Ameri- can frontier days, which said to bring some unusual scenery and lighting effects. Other features are Patt! Moore, with her own song-dance revue, in- cluding Bud and Buddy, two charac- ter dancers, and Harry Crossly and the Domino entertainers, an excep- tionally good band; Lydla Bary, Iyrical raconteuse, in a series of songs; Edwin George, comedian, in a laugh producer called “A Comedy of Brrors”; Juan Reyes, a talented young concert pianist, in a program ‘of old favorites, and Ernest Mack and Mar- sle La Rue, two skaters, seen in a whirlwind novelty of beauty, skill and speed. The usual screen featurss, Aesop's Fables, Topics of the Day and the Pathe News. Pictorfal complete - the bill. Earle—Vera Gordon. The Earle Theater's program this week is termed a “gala holiday offer- ing.” Its principal featurs is Miss Vera Gordon, stage and screen star, who created the memorable mother role in the screen study, ‘“Humoresque,” and who will be seen in Edger Allen Woolf’s “America,” a playlet which tells a human interest tale of the Im- migrants. Following will be J. Fran- cis Haney's song and dance revue, with Helen Stewart as featured play- er, and including the Four Johnnies and Mack Curry, Ireland’s champion wooden shoe dancer; Hazel Crosby, an American prima donna in “Opera a-la-Syncopation”; Archer and Bel- ford, in “The New Janitor,” a laugh skit; Margaret and Morrell, in “The Tourists,” and Ray Huling & Co., in “At the Aquarium,” whose principal actor !s a remarkably trained seal. Regular - weekly features, Which have become popular =zre Floyde Wheeler's orchestral music and Ar- thur Flagel at the Kimball grand organ. The latter thls week ls. pre- senting “The Storm,” wherein the ef- fects of the elements are created upon the organ by Mr. Flagel. For the first showing in Washing- ton there will bs “The Chorus Lady" upon the screen. This is the movie yersion of the James Forbes play that brought fame te Rose Stahl WirLie, HOWARD ard VANNESSI ~ Polis Chauve-Souris, March 22. BALIEFFS Chauve-Sourls, wholly new, returns to Washington March for a week's engagement at Poli's Theater, under the direction of Morris Gest The Russian conferencier h scored his greatest personal tri- umph this year and his company has achieved the highest point in three years in respect to ensemble singing and playing in its ambitious and va- ried bills. ‘Without losing the naive and lu- dicrous charm of his hopelessly broken English, Balieff has extended his vocabulary and increased his as- surance in sparring with his audi- ence. There is never a performance when he doesn’t display some new angle of his quick wit in answering these sallies, which are directed at him by spectators. The new song hit, “O Katerina,” provides ample opportunity for this impromptu bat- tle of wit. taken from Yvette Guilbert's “Golden Legend: . Strand—"Hello! Hello! Hello!™ Heading the Strand Theater bill this week will be Sam Lewls and Sam Dody, two musical comedy comedians, in “Hello! Hello! Hello!" a skit that is said to be full of laughs. Others will include the Paramount Quintet, a company of vocal artists, in “Songs and Musical Gems”; George Lioyd and Rosalee, in “A Cameo a la Miniature”; Myrtel Boland, comedienne and songster, in a series of popular hits, Ellen Hop- kins assisting at the piano, and Booth and Nina, in “A Twentleth Cen- tury Novelty.” The photéplay will be “Thoss Who Judge,” a film version of Margery Land May's novel, “Such as Sit in Judgement,” which deals with a ro- mantic drama of soclety life. It is produced by Trio Productions, with a cast headed by Lou Tellegen and Patsy Ruth Miller, and Including Mary Thurman, Edmund Breeze, Flora LeBreton, Walter Miller, Coit Albertson, Cornelius Keefe and Jack Henry. The story 1s buflt around the character of Angelique Dean, a sup- posed - young widow, who has invaded a fashionable colony, obstensibly for her sister's health. A tangle of love affairs and = misunderstandings re- suits. Short films include a comedy en- titled “Dangerous Curves,” and the latest Fox News reel. Director Manvell's orchestra num- bers list Archer’s “You and 1" from “My Girl,” as overture, and Irving Berlin's “In the Shade of a Shelter- ing Tree,” from the new “Music Box Revue,” as exit march. “ " Gayety—"Step On It. Hurtig & Seamon’s production, “Step On It,” is the attraction at the Gayety Theater this week. Heading the cast are George Niblo and Helen Spencer, dancers and comedians, the former assisted by the rotund Marty Semon, Morris Lioyd, straight man; Harry Bart, Jim Hall and Ben Josh. Helen Spencer is supported by Jes- sie Rece, prima donn: Helene Ardell and a chorus gowned in 12 changes of costume. Among the ncvel scenes are those depicting a New York roof garden at night, a replica of a famous Cali- fornia bathing beach, a country san- itarium, a cabaret and the interior of a street car on Broadway. Specialty numbers include a new act by Niblo and Spepcer, songs by (Continued on Second Page.) | | Coming Attractions National—"Peter Pan."” Marilyn Miller will appear at the National Theater for the week be- ginning Monday next in Charles Diliingham’s production of “Peter Pan,” she just having concluded engagement of 15 weeks in New York in the famous Barrie fantasy. Basil Dean came from London to stage “Peter Pan” for Mr. Dillingham and it is said to be done in exactly | the manner desired by the author. In London Mr. Barrie always directed the rehearsals himself, and ing this.revival it was pla have it done exactly as he would wish it. In the star's support will be Lesiie Banks as Captain Hook, the pirate; Edward sby as Smee; Donald Searle as Slightly; and the roles of the crocodile; Nana, the dog; all the wolves and the Indians are in capable hands. Belasco—"Cobra.’ “Cobra,” the widely disoussed play by Martin Brown, will be presented at the Schubert-Belasco Theater next week, beginning Sunday evening, March 1, by L. Lawrence Weber, with “I am not an actor,” he declares,| The other distinguishing feature of |2 cast featuring Ralph Morgan and “for the simple reason that I do mot |the new Chauve-Souris, it is an-|including 3inna Gombell, Walter act. While I am on the stage, |nounced, consists of the most ambi-| & , Clara Moores, Walter Horto clowning, I am being perfectly |tlous comic and serious numbers eve ine De Me natural and having a good time. I|disclosed in the repertory of the | is said to be a true story love to ‘cut loose, dance and make |Chauve-Souris since Balieff recreated |0f & Woman's overpowering affection people laugh. If I tried to act I'd|his theater outside Moscow for thefor a man. The play had a run of be stiff and restrained, and in a|delight of the Western World. A |€ight months at the Longacre Thea- tramp role such as I essay, that|quartet of these numbers which have | ter would be fatal. I don't even try to|been widely acclaimed include “Love| . . T . o et Just "amm. Y stick to|in the Ranks- a buftoonery of old| Keith's—Nellie and Sara the main thread of the book as much |St. Petersburg; “Stenka Razin” a K as possible, but I put In my own|wild orgy out of the annals of Rus- ouns. lines whenever they pop into my|sia’s Jesse James: “The Zaporozhtsi”| Nellle and Sara Kouns, concert so- heaa a recreation of Repin's famous Cos- |pranos, will headline a special In- “To tell the truth,” smiled Niblo|sack painting, and “The Arrival at|augural week bill at B. F. Kelth's to the interviewer, “I'm acting a|Bethlehem,” Balieff’s exquisite and|Theater in a short song recital. Dr whole lot more right now, trying|reverent version- of the nativity, | Rockwell, “Quack, Quack, Quack, will be featured in his sure cure for blues: Thomas E. Shea will be seen in “Spotlight,” a dramatic novelt) and other acts will be announced later. Earle—The "Millionaire Jazz Band.” HE Earle Theater's bill for next week will be headed by Charles Ahearn, conducting his biggest vaude- ville band offering, the ‘Millionaire Jazz Band.” Bankers, brokers, finan- clers and others of the financial world constitute the personnel of this band. Others on the bill will include Ar- thur Babcock and Mlle. Dolly, in “Greenwich Villege”; Marguerite Pa- dula offers a “Song Study on Boys’; Browne and La Velle, in “Don’t Han- dle the Goods”; Odeo, European pan- tomimist, assisted by the Angeles nd for the featured photo- “ompany of America's ighting Orioles.” Strand—Madeline Berlo and Company. At the Strand Theater next week Madeline Berlo and her diving girl in “A Marvelous Aquatic Spectacle, are listed as feature No. 1. They demonstrate graceful dives and swim- ming strokes In a great glass tank erected on the stage. Others listed are McDevitt, Kelly and Quinn, in “The, Piano Mdvers and the Actress”; Elsle White and company, in an “Ar. tistic Cycle of Character Song Im- pressions”; Al Abbott, offering “At a Home Talent Show,"” and Max York's puplls, in “Clever Canine Capers.” The photoplay will present Trio Pro- duction film version of “Listen, Les- ter,” adapted from the play. Harry Myers, Louise Fazenda, Alec B. Fran- cis, Eva Novak, George O'Hara, Lee Moran, Dot Farley and Eugenia Gil- bert appear in the cast. play, comedy, Gayety—"Miss Tabasco. “Miss Tabasco™ is the descriptive title of Lena Daley's own show, next week’s attraction at the Gayety Theater. The caption was selected by the star-producer, who, after she had witnessed a few rehearsals, realized she had a show full of zip and pep. Vaudeville specialties include Rita and Doris, in songs and acrobatic dancing; Ada Brown, colored enter- tainer, and a chorus of 18, Lena Daley is reported -to have mounted her new attraction lavishly. Mumal—"Step Around.” The Mutual Theater announces “Step Around,” another spoke in the Mutual burlesque wheel as the com- |ing attraction.