Evening Star Newspaper, March 1, 1925, Page 61

¢ T ' Theaters l Part 3—12 Pages The Sundy Slaf MORNING, MARCH 1, ! Automobiles ! WASHINGTON, D. C, SUNDAY 1925. Scete from Presid “RAIN” ent Record Making‘ Both in Drama and Spectacle By Philander Johnson. By way of variety in titles, 2 new play adapted from the French by A. E. Thomas, a «dramatist of unob- trusive personal methods, but re- markably reliable in his workman- ship, dispenses with the customary | its title | concludes mark. The title, punctuation and with a_question “After Love?” ing in Laglish a hint of the intel- lectual intensity which renders thi work of the most important, even though not as yet one oi the best-patronized presentations of the current season. It fair to assume that a play which attracts the public to an ex- tent which throngs the auditorium week after week and season after season is, technically speaking, a good play. It has made its appeal to the final arbiter, public opinion, and no amount of adverse protest concerning its details can obviate the fact that it is received as a part of our social thought. It has dem- onstrated its right to exist, since it functions reliably and securely. The theater, despite the commercial ma- one is chinery which has for some years | past rather autocratically modified jts expression, still retains the privi- lege of ancient democracy; that of speaking voice to ear, direct to the| It is this privilege that censorship difficult a populace makes matter. so Eek x x While it may be optimistically ad- mitted that all plays which appeal on terms of box office patronage are good plays, since they have the im- mediate indorsement of Vox Populi, there are still plays which appeal to the respectiul student of dramatic literature as even better plays de- spite their lack of this indorsement. A vast number find an intense ad- iration among audiences who wish little deeper into the ex- ploration of the theater than the current demonstration for purposes ly ot entertainment will permit. Such plays show the courage of con- viction on the part of their pro- ducers, a bold desire for innovation that discloses a spirit almost of de- fiance to the public mood. But there are moments when the public rather likes to be defied and rushes eager- ly to welcome an attraction designed with no respect whatever to the preference of the passing hour. It will be a triumphant demonstration of public taste if “After Love?” is able; by sheer merit and power, to assert itself as one of these. It is a pla amount of acting on the part of the audience in so far it becomes necessary to subordinate customary modes of thought imagination so as to come into an intimate understanding of the im- pulses and ideas of a social system toward which we may be tending, but which is not yet entirely our own. xR To the playgoer who demands boisterous mirth or tempestuous retribution this drama will say but little. Even so accomplished comedian as Mr. Nicander sheds but a faint glow of humorous relie by his interpretation of a droll and rather unscrupulous father-in-law. All is subtlety, after the first act has established in terms that seem for the moment questionably abrupt, the theme, which is thenceforward to be discussed with an accuracy so pitiless and yet so sublime with hu- man sympathy. The love of man and woman is revealed both in its possibilities of frailty and of faith. T'he love of parent for child is dis- closed as a supreme and immutable devotion. * X ¥ *x It is to Henry Miller that the playgoers of this country, whether they respond in discriminating groups, or, as they ought to, in immense throngs, owes this classic production. Mr. Miller has done many fine things. He has reserved vor this particular work the great- eat actiog of his enfire carcer, His is far from convey- | which requires a considerable | and to release | Gl presentation of the role of a man, dignified in the face of the most humiliating domestic treachery bowed with immeasurable grief by the death of an object of sincere affection and at last capable of a magnanimity which refuses to sacri- five his love for a child to a proud resentment toward its mother. As Mr. Miller interprets these phases of a complex role the impression ceases to be that of acting and be- comes one of actual living, No such portr seen for many a year. it an _actor well grounded in a re- spectful relationship toward the earlier traditions of the theater was necessary. *:% % * In searching for a comparison it might seem needful to go far afield into a domain very distinct from that of the modern drama and recall the chronicles which tell of the superb power, with restraint, of Salvini’s “Lear.” Though wanting the glamour of regal romance, it is difficult to imagine a scene more convincing than Miller’s portrayal of a noble soul betrayed and stricken. * % % ¥ The transition from grave to gay made easy by the presence of two of the world’s most eminent niusical producers. In addition to being sumptuous entertainment the theater devoted to musical spectacle becomes a most interesting point of observation in estimating the lines of progress along which the most highly capitalized and most cagerly appreciated form of entertainment is moving. In matters of physi- cal embellishment, scenic or hu- ‘man, it seems possible to go no further. “Girl ~glorification” has been carried to an extent that indicates for the present day a love for beauty Grecian in its in- tensi The glorification of scen- ery, costumes and stage furnishings has kept pace until the eminent pro- duction expert, Edward Royce, men- tions a quarter of a million dollars in quite as offhand a manner as an astronomer mentions a “light year” in measuring ethereal distances. | The theater on both sides of the | footlights has apparently come to a point where still more is demand- ed, something that cannot be sup- | plied to order, even by the most gen- erous purse. The new musical com- edy has touched the threshold of a still further glorification; that of plot and idea. o The latest Ziegfeld production, “Louie the 14th,” has many clever turns, beginning with the title itself in its reference to Mr. Errol as the extra guest called in to avert “thir- teen at table.” Audiences are hero worshipers. They like to concen- trate their admiration on an individ- ual. Even in extravaganza there must be a star, and in the Ziegfeld forces there is always some one eli- | gible to that distinction. This time it is Errol who is selected for the precarious privilege of occupying, in view of an admiring multitude, the position on top of the gilded ball | at the summit of the most gorgeous chariot in the circus parade. Errol |is the most remarkable interpreter | of comic inebriety that ever tried to make a joke on prohibition. He is a natural comedian. Like Charlie Chaplin, his comedy started with his feet and developed in the direc- tion of his eyebrows. The same | thing happened with Will Rogers. It has happened with almost every comedian of more recent popularity ; | the course being contrary to that of the player who interpreted char- {acter and read lines, indulging in | graces nimble or grotesque only as | an occasional condescension. e | Willie Howard, in “Sky High,” jtook a turn backward when he in- troduced the barber shop scene and restored the seltzer bottle to its own. The seltzer bottle was once regarded as no less indispensable to a rough comedy scene than white al of majestic grief has been | To achieve | Mutual TDA BERNARD spats on a comedian. Its faithful companion w; the slapstick. Joe Cook recently introduced this. With slapstick and seltzer bottle both in evidence there can be no doubt that the American theater is preparing a new and substantial career to be built on basic principles. * X x *x The storm raised by theatrical de- fiance of propriety rages more fiercely with each passing week. A ew York manager declares him- self a philanthropist as he endeav- ors to produce a play so shameless that it will compel’authoritative ac- tion and sweep from the boards all | objectionable dramas, including, of course, the successes of competitive producers. For all this the public apparently cares nothing. “What Price Glory?” finds its unquestioned vindication among" the playgoing masses in the perpetual query at the box office, “What price, two seats?” S % | A censorship is threatened more strongly each vyear, and perhaps would, in its eventual effect, prove a relief to managers. The old Eng- lish system of licensing plays has not operated with any great strin- gency in preventing the proffer of debatable footlight material. It does settle cleandy the question of whether a play shall proceed under definite authority and without further molestation. Play licensing, at least, has the merit of stopping the argument. * k % * In the meantime some experi- ments might be in order to prevent the risk a play patron now runs of taking his family or friends to an entertainment of which they will disapprove. In every other transac- tion a merchant must display his wares or at least give an honest de- scription of them. Poisonous drugs and substitutions in food material must be plainly labeled. What goes into the stomach is cautiously super- vised, but what goes into the mind | is left without any effort at intelli- | gent restraint. Many. a play and many "a story would deserve the skull and crossbones required for morphine or wood alcohol. Plays are very seldom printed in this country. Few of them might be considered worth printing except as a means of checking up on them. A play not worthy to go through the post office should hardly be considered worthy to be put across the map by the routing agencie * k k% An even more frank and inform- ing system would be that of display- ing the dialogue to the public. To do this as freely as undraped poses are displayed on the billboards would be needless. A placard inside the theater visible en route to the box office might contain a descrip- tion_in plain terms of the most ob- jectionable scene and reproduce without circumlocution the most improper dialogue. Civic authority might resent this, but civic authority once compelled the billposter to paste a date sheet very carefully across the knees of any burlesque queen whose lithograph was being shown to the highways. If the actual performance can maintain its right to public presentation there could be no reasonable bar to the accurate disclosure in advance of some of its material. LENA DALEY Gayety MILLER_-» National Current Attractions. At the Theaters This Week NATIONAL—“Peter Pan,” Sir J. morrow evening. BELASCO—“Cobra,” drama. POLI'S—“The Passion Pla; PRESIDENT—"Rain,” drama. noon. STRAND—Madeline afternoon. GAYETY—"“Miss Tabasco,” burlesque. M. Barrie’s fantasy. Opens to- Opens this evening. (Photoplay.) Opens this evening. KEITH'S—Nellie and Sara Kouns, vaudeville. EARLE—“Klever Komedy Karnival,” vaudeville. Opens this afternoon. Opens this aiter- Berlo and company, vaudeville. Opens this Opens this afternoon, MUTUAL—“Step Along,” burlesque. Opens this afternoon. National—"Peter Pan."” At the National Theater this week, beginning tomorrow night, Charles Dillingham will present Marilyn Mil- ler in “Peter Pan, the play of eter- nal youth, by Sir James Barrie. Miss Miller, long a great favorite in musical pleces, in “Sally” revealed an aptitude for dramatic expression which induced Mr. Dillingham to en- gage her for the revival of “Peter Pan” It is sald she brings the genuine spirit of youth, a sense of spiritual values, and a true concep- tion of its dramatic quality to this role, which has made history in the theater. That a wide public was in- terested and entertained by her per- formance is evidenced by the fact that. “Peter Pan” had a run of 15 weeks in New York. For a revived play this is & new record. The story of “Peter Pan,” the little |boy who. never grew up, is too well known to need repetition. It all be- gan with the assurance of his parents that he must grow up to be President, and being President did not appeal to the youth, for he just wanted to be happy and have fun. So Peter starts out on his amazing adventures. Into those adventures Mr. Barrie has con- densed the dreams of every child— dreams of adventure, dreams of ter- ror, dreams of love and benuty. Strange lands and adventures abound and always there is the sense of reality, which is the greatest blessing that comes to the dreams of child- hood. It seems trite to say that “Pe- ter Pan” is a classic, for it is more than that—it is the record of the human mind as recorded in the heart and life of every child. Mr. Dillingham, who was associated with Charles Frohman in the original production of “Peter Pan this latest presentation of the Barrie play a labor ofMove. Miss Miller is surrounded with a brilliant cast. The production has the aid of many new devices of stagecraft and in its beauty preserves always the illusion of time and place, Belasco—"Cobra." ‘S OBRA,” a sensation for eight months at the Longacre The- ater, New York, as produced by L. Lawrence Weber, will be presented at the Shubert-Belasco Theater this eve- ning for a week's engagement: The cast, an exceptional one, includes Ralph Morgan, Minna Gombell, Wal- ter Gilbert, Clara Moores, Walter Horton and Jeanne De Me. Martin Brown, author df the play, is said to have evolved a drama com- pelling in its stark unfolding of the weaker sides of human nature. “Cobra,” it is announced, is not for children, nor is it a revelation for the mature, Its frankness at times is startling. The story concerns an athletic chap, who, while a cash solace is being de- manded by a girl with bitter denun- ciation, 1s surprised by his college chum, who pays the girl's demands. Then follows a dissection of char- acter, in which the man in his weak- ness is compared to a bull that was fascinated by a cobra and then struck down by the reptile. Tha production is staged by William B. Friedlander. Poli's—"Passion Play."” Owing to the demand to see the “Passion - Play” artangements have been made to present this film spec- tacle at Poli's Theater this week, commencing this evening at 8 with matinees Tuesday, Wednesday, Thursday and Saturday at 2:20. The story of the “Passion Play” at Freiburg, Germany, dates back to the dark ages, Wwhen pagen pageants were the principal diversion of the Teutonic warriors. The evolution of these pageants into dramas was but a step. Gradually they lost their bar- baric character, and the dramas cen- tered around the life of Christ, as Christianity’s influences reached them, Since 1264 the “Passion Play” has been enacted at Freiburg religiously Janet Richards, Tomorrow. M net Richards will give her usyal weekly talk on “Public Ques- tions; Home and Foreign,” tomorrow morning in the new Masonic Temple, Thirteenth street and New York avenue In these weekly reviews of the vital questions of the hour Miss Richards touches upon the high lights in the world work for the preceding week, slarifying many knotty questions, illustrating the geographic settin; great current events by the us large The lectures begin at Famous Sopranos. ELLIE and Sara Kouns, known throughout America and E as “the mirror-voiced sopranos, 1919 made their debut at the Palace, New York City, and they became the sensation of the season. Daughters of the general manager of the Santa Fe Railroad, Nellie and Sara came to New York, more or less unknown. Through the influence of | theatrical friends, they were given a | trial week at the Palace. They re- mained nine weeks, an almost un- precedented thing, as headliners. The soprano voices of these two sis- ters, who look almost alike, although they are not twins, are identical in range and quality, and in their duets they so perfectly synchronize that the keenest ears can detect no difference in phrasing or tone. Their voices are considered remarkable by musicians all over the world. The Kouns sisters were among the first stage people to volunteer for overseas service after the United | States went into teh war, and they | sang in hundreds of recreation huts | behind the lines, as well as in danger spots right in the range of the enemy | guns. In appreciation of their splen- !dia work, Gen. Pershing presented them with a police dog, said to be the biggest in the world. The dog travels | with them wherever they go. every ten years. The principal roles | have been passed on from generation to generat The role of Christus, which has been portrayed for three generations by a member of the Fassnacht family, is now being play- ed by Adolph Fassnacht. Overtures for filming this drama met with insurmountable opposition until 1922, when the financial panic made it possible. . Popular prices will be charged. Evenings the prices will range from 25 cents to $1; matinees the charge will be 25 cents and 50 cents. President—"Rain."” “Rain,” the striking drama con- structed by John Colton and Clem- ence Randolph from “Miss Sadie Thompson,” the unusual story by W. Somerset Maugham, which was re- cently presented here with Jeanne Eagels in the role of Sadie Thompson, and in which, she created a notable dramatic _characterization, will be presented again in Washington this week, opening tonight at the Presi- dent . Theater, with matinees on ‘Wednesday, Thursday and Saturday. The production is complete in every detail and includes a New York cast headed by Miss Katherine Hayden, who was Miss Eagels' understudy both in New York and for more than a year on the road. The role of the missionary will be played by Fred- erick Smith; that of Sergeant O'Hara by Edward Keane, and that of Horn, the trader, by Joseph Robison, “Rain,” which has been acclaimed one of the sensational dramas of the day, is the story of a girl from the bad lands of Hoholulu, who is on her way to a position at a point in the South Seas, When her plans meet with interference by a missionary of the name of Davidson, who is fanati- cally bent upon saving her soul at all costs. A tense feature of the, un- folding of the dramatic story is an incessant _rainstorm that sets in while a boatload of travelers is de- tained at the Island of Tutuila and the port of Pago Pago. Keith's—Nellie and Sara Kouns. Elaborate preparations have been made for inauguration week at B. F. Keith's Theater. The bill is said to run the gamut of all the finest that Keith-Albee vaudeville offers, headed by Nellle and Sara Kouns In a song * CLARA Moores' aud WALTER, GILBERT Belasen Neznie Koons' Keiths Peter IR JAMES BARRIE'S “Peter Pan,” in which Charles Dillingham presenting Marilyn Miller at the Na- tional Theater, has been making thea- trical history since it was first pro- duced in London, ‘December 27, 1904, when Nina Boucicault had the honor of being Peter Pan first on any stage. Maude Adams was selected by Charles Frohman to play the part in America. The star system of which | Mr. Frohman was a strong supporter | dictated that every play must, so far | as possible, be made over to give the star every possible good line or sit- uation. This was done with “Peter| Pan,” for James Barrfe, in those days, | was not so important a person. And, | at any rate, Mr. Barrie was not aware | of the changes. So far as Washington is concerned Miss Adams first played “Peter Pan” here at the National Theater, Octo- ber 16, 1905. It was one of the great events of that season. Her last ap-' is recital of classical and modern music. Featured also will be the mon- ologist, Dr. Rockwell, who claims to have a panacea for all ills, and Thomas E. Shea, the tragedian, in a dramatic novelty, which he calls “Spotlights,” which reflects dramatic flashes from the three famous trage- dies, “The Cardinal,” “The Bells” and “Dr. Jekyll and Mr. Hyde.” Others will include Olgamyra and Bitter Sisters, a quartet of clever dancers in “Black and Gold,” pro- duced and staged by Alan K. Foster of B. F. Keith's New York Hippo- drome, and composed of a series of character dances, appropriately cos- tumed; Jay C. Flippen, blackface comedian, “The Ham What Am.”; Leona Stephens and Len D. Hollister, in “The Passing Parade,” written by Courtney Ryley Cooper; Stephens and Hollister, who will be remembered for “Out'In California” and “Back In Beverly Hills”; the Merediths, in a dainty revue of the gavotte, polka, tango and waltz; Weyman and com- panion, premier Belgian equilibrists, and the screen features, Aesop's Fa- bles, Topics of the Day and the Pathe News Pictorial. Earle—"Klever Komcdy . " Kamwal. The Earle Theater management for this week announces “Klever Komedy Karnival” as a.description of its en- tertainment. * Featured are Charles Ahearn and his #Milllonaire Jazz Band.” Charles Ahearn, who has established himself as a vaudeville comedian, was_re- cently a feature at the New York Hippodrome. Marguerite Padula and her “Song Study of Boys” is very well known to the lovers of vaudeville. Others will irclude Arthur Babcock and Mlle. Dolly, who appear “In Greenwich Vil- lage” and create laughter; Frank Browne and Kay La Velle, in “Don't Handle the Goods,” with songs by Paul Gerard Srith; James Templeton, in “Tid Bits,” with Ardath Desales, "~ (Continued on Second Page.) | in fact, Pans. pearance in the play in this city took place also at the National and was during the week beginning October 16, 1912, Miss Adams appeared here subsequently in other plays, but not in_“Peter Pan.” When Charles Dillingham under- took the revival of “Peter Pan” he determined that it should be played exactly as Mr. Barrie had dfrected it in London. When Miss Miller maee Fer New York appearance there were many wiseacres who commented the fact that the play had been changed from the Maude Adams ver- sion, little knowing that they were, seeing the real play for the first,_time as Mr. Barrle had writs.. it. And the comment adverse to tha delightful performance of Miss Mii- ler was largely based on this beliet that “Peter Pan” hod been altered. In other respects Miss Miller was admitted to be adorable as the im- mortal boy. psycho]ogxzed “Sadie.” 4] AM a bookworm,” says Katherine Hayden, the new star of “Rain.” My hunger for novels that teach something about life is Insatiable, and coupled with my love of reading is a passion for studying the characters of people I meet and analyzing them. I took up psychology seriously some vears ago and found it a godsend in my work. You get to know why peo- ple do things, what motivates them, and without that knowledge you can- not ynderstand character. “When I began to study Same Thompson, I appiled all the psychol- ogy I knew to her. She is a compe- site type of a girl of the half-world. I adore Sadie as an acting role, but I revolt against her as a woman. Sadie has nothing in common with me, per- sonally, but at the same tlme I un- derstand -her thoroughly. You meet girls of her type in the life of the hotels, the Broadway restaurants, in Europe, on the ocean liners, every- where these days. But to understand them you have to understand their Ppsychology. “Do I think that Sadle was ever in love?” “Of course that depends upon what you call ‘love” Pure love, the love of the idealist and romanticist, T belleve, is absolutely unknown to a woman of Sadie’s type. Love of that kind, real love, if_you choose to call it, is puri- fying. If a woman like Sadie really sheuld love like that, the very awak- ening to it would kill her, I think. She could not stand the si - “I think that Sadle has a glimmer of what this means in the feeling that the missionary finally awakens with- in her, but she is too far gone to grasp it fully, or to allow it to pos- sess her completel. Sadie's moral sense has been too deadened by the life she has led to permit a spiritual love to dominate her. She has been to seared by the passion of the beast in the men she has met.