Evening Star Newspaper, March 8, 1925, Page 53

Maperve, MMarow Polis he Sunday Staf WASHINGTON, D. C, ALLYN Kine Belasco The_aters in Ac Inaug‘ By Philand No cffort was made by the the- aters to contradict the quictude of the inaugural spirit. The air of simple dignity prevailing on the thoroughfare was not in all case: reflected across the footlights. The theater here never makes any recognition of especial events of a national or even international de- scription, barely regarding this Cap- ital City as one of the squares in the checkerboard on which the great routing game is played by a few competitors. Only 200 ‘miles away by rail, in theatrical taste and temper New York is separated from this city by immeasurable distance. R What happened to Barrie's “Peter Pan” would have been impossible had this city been the American producing center instead of New York. It was a strange manifesta- tion, an attempt to add outright freakishness to a delicate and intri- cate fantasy. Special music was provided for the production by Dr. Hugo Felix, a composer whose fine scholarship is always evident, but whose respect for originality must necessarily hinder the flow of nat- ural melody appropriate to such a whimsical interpretation of child thought. The singing embellish- ments seemed scarcely more appro- priate than would be a circus poster in a gallery of famous paintings Miss Marilyn Miller is a graceful dancer, a charming picture, but ex- cept for lightness of movement in no wise typical of the elfin role pop- ular memory retains in such abid- ing affection. It was “Peter Pan” up-to-date, direct from Broadway, with all the assurance of the pro- ducer who estimates the taste of audiences in the lowest mental terms. 4 x %k % It is “Peter Pan” lost in a great city. The fairy light is dimmed by electri¢ lamps and the tinkling note is overwhelmed by gongs and motor horns. Barrie's play needed no em- bellishment. To express all the fancies with which it teems is a sufficient task. Charming bits of idea, any one of which might be de- veloped into an episode, are touched upon and tossed away in the spirit of child imagination. The story of the man who lost his shadow con- tributes a passing smile, although it served a ponderous old German ro- mancer the basis of an entire story iy tion in this highly modernistic cab aret treatment of a work quite suffi cient as it originally stood. The embellishments scem to imply a lack of faith in Miss Miller's adaptability to an effort essentially of the imagi- nation. It would be almost as rea- sonable to decide upon a Romeo and Juliet revival on lines prevailing when “Uncle Tom's Cabin” adver- tised two Topsies, and introduce two Juliets, starring the Duncan disters. * % % ok While New York revels in the Yort of controversy which has never proved availing save as advertise- ment, the type of play now nounced by the managers who have been and are busiest in promulgating them continues to tour the general tap. The patient public resents hothing. Stage entertainment is ap- parently an absolute necessity and play patrons complain becguse they are not protected from things which they deliberately seek, regardless of trouble and expense. * “Cobra” added its contribution to the doubtful repute in which the jegitimate stage has been thriving Every vogue must change. Why worry . e 2 S Relaxation of the grip public sen- timent used to hold upon the stage was first indicated by a readiness to accept as popular entertainment the “Passion Play” as done by village folk. in Germany When James 0O'Neill, a romantic actor, who made Monte Christo a character his very own, suggested doing the “Passion Play” there was a storm of protest which he defied, but with no sub- stantial encouragement. The theme | There is an element of presump- | de- | cord W_ltl'l ural Quietude er Johnson. was considered too reverential for indiscriminate exploitation, and the thought of commercializing it was | abhorrent. All this has chan Sophisticated as the theatergoing world has become, 1t is even yet im. possible to avoid certain impressions of sacrilegious incongruity. At a showing some seasons past it be- came desirable to crowd as many performances into a day as possible The operator ran the film so fast as to destroy all dignity of movement among the figures on the screen, leaving only the impression of a grotesque preciptance. In the cur- rent film display of the Freiburg players the theater presents a work of art judiciously accomplished, and yet the recklessness with which a proached by some thoughtless per- son was again in evidence; this time on the part of the billposter, who did not hesitate to display his litho- graphs of sacred scenes and per- sonalities on the dead walls which accompanied them with all sorts of labels and legends. 4+ ks An interesting opportunity for comparison was offered by the spe- cial production of “Rain,” which linto the field. ‘]b( regarded versatile The President may | _playhouse, its entertain- | ment having ranged from the most | popular merriment to the most | classical music. It is unusual |2 play so successful as “Rain” to be | placed before the public in numer- | ous editions so early in its career. Possibly there is a feeling that the audacious style of drama is not long for the jootlights and it may be as well to “clean up.” e The interest in the present en- gagement is strong in spite of the fact that the play was recently seen with a celebrated cast. The excellent acting which has distinguished it does not pre- vent the play from being regard- ed as the great and essential ele- | ment of appeal. Jeanne Eagels of the engagement at the National Theater. Yet those who saw an un- derstudy in the role expressed no dissatisfaction. Once an actor has identified himself with a strong part those who have seen him will have no other. The Jeanne Eagels pro- duction set certain patterns for the various characters which cannot be disregarded in observing a different presentation. It is a matter of first impression, and it is quite possible that those who on first acquaintance with the play see another actress playing Sadie Thompson might, at a_ subsequent view, regard Miss Eagels herself as lacking at some moments in a precise and proper concept of the role. * x ko The earlier production of “Rain” attributed the stage direction to John D. Williams, whose experience has been with plays of the more lit- erary type. It has been stated that Mr. Sam Forrest also had a con tributory hand in the Eagels pro duction. In the performance now on Mr. Forrest is accredited with ity for casting The civic committee in New York that is now taking up a question which has puzzled philosophers through the ages—the question of the exact relationship of morals to geography and histofical era—is likely to accomplish little, either by kind words or threats, with the pro- ducers themselves, who are playing pots and kettles in denouncing one another's material. It is a sort of bootleg drama that has been de- veloped. Managers pretend they believe themselves unobserved and the traffic thrives the more it is de- nounced. It is with the audience, who pa that a change must be wrought, and there are indications that the mere repetition of rough language grows wearisome to the car. It has g been. often claimed that ged. | 15 | trying it in theme of this kind is sure to be ap- | brings the President Theater again | Washington’s most | | big song hit for | so| was unable to play during a portion | Started on Her Toe. ORIS KELLY was born in Brook- Iyn and started on the stage, with the consent of her mother, at the age of 7, as a child toe dancer. She saw her error early. Instead of toeing her way about, she was forced to come out flat-footed to be a real actress. After her schooling_she joined the Brooklyn stock company and obtained real stage training there. She s with David Warfleld in “The nd Army Man,” “Three of Us<” “The Little Princess” and for three seasons in repertolre with Robert Mantell She appeared in motion pictures with the Vitagraph Company, and for three seasons with A. H. Woods' pro- ductions. She’s Irish, proud of it, rs her real name, and has the am- bition to be as good a comedienne as Frank Craven is a comedian, which is a goal to strive for. And now is ew Broom.” —_— Has a Method All Her Own SOPHIE TUCKER s a ploneer in the art of “selling” songs to the vaudeville public. She has originated a dozen fads followed by other women after she had scored with them. This season she has gone beyond her own record and “produced” each of the songs in the recital. By “production” Miss Tucker means that she takes a song, gives it special scenic setting and costuming and a cast. If she sings a song about mam- my, her mammy appears and she sings directly to her. If she synco- pates about her “lovin’ man,” he ap- pears in the spotlight with her. Miss Tucker introduced syncopated singing a few years ago. “Nobody Knows and Nobody Cares” was her that season. She was the first to do the shimmy before a theater audience and the first to jazz a song. She was the pioneer in using baby spots in the footlights and fire- side effects. She used the first cv- clorama ever used by a “single” in staging an act. She was a ploneer in making the members of her band sing and act and take part in putting over big numbers. She developed the idea of giving each member of her band an individual entrance with in- troductions and appropriate “busi- ness.” In fact, Sophie Tucker has been the premier innovator on the vaudeville stage so far as singers and singles are concerned. She has revolution- ized the art of “selling” songs to the public, and no expense or trouble is too great for her to undertake to register a number with staccato em- phasis. Much of the picturesqueness of modern vaudeville is credited to So- phie Tucker, who refused to become standardized. Honored by President. ITTLE JACKIE GRATTON, who was received by the President at the White House Thursday morning, was selected by Basil Dean, co-pro- ducer of “Peter Pan,” out of 200 chil- dren for the role of Michael Darling. Jackie has been on the stage since he was five years old, appearing first in the Broadway production of “Tar- zan of the Apes.” He has since been seen in support of Grace George in “Marie Antoinette,” with Alice Brady in “Drifting,” and in “Mulholland and Wife,” which co-starred Ann Mason and Kathrine Calvert. Jackie also has played in pictuces | and was prominent in the cast of, “Little Old New York” with Marion Davies; and with Richard Barthelmess and May McAvoy in “The Enchanted Cottage. Jackie's ambition .is to be a pro- ducer and to that end is starting young in the business of drama, be- ng_now but_elght profanity has a rhetorical force which compels a certain respectful toleration. The swear words of a lusty old-time river pilot may exert a fascination, deplorable perhaps, vet robust, as Mark Twain has tes- tified. But the profanity that has letterly been developed 'grows en- feebled as it become more profuse. It denotes no particular boldness of mind nor strength of emotion. It relies on patient disdain, as it ex- presses not power, but peevishness. It comes with no hard-driven mes- sage of indomitable human fact, but degenerates into a wailing whimper, like an echo of babblings in the dis- tance in the psychopathic ward. There is no doubt that the New York drama has been rounding some sharp corners at a terrific rate of speed, and there is_surely no blame to be suggested if it shows ncurotic tendencies, SUNDAY MORNING, MARCH 8, 1925 Current Attractions At the Thcaters This Week NATIONAL—“New Brooms,” comedy. BELASCO—"“Seduction,” drama. POLI'S—“The Gingham Girl,” PRESIDENT—"Rain,” drama. evening. Opens tomorrow evening. Opens this evening. musical comedy. Second weck. Opens this evening. Performance this KEITH'S—Sophie Tucker, vaudeville. Opens this afternoon. EARLE—Bergman’s Orchestra, vaudeville. STRAND—“Watch the Drums,” vaudeville. GAYETY—"Runnin’ Wild,” burlesque. burlesque. MUTUAL—"Stepping Out, National—"New Brooms. The attraction at the National Theater this week, beginning tomor- row night, will be Frank Craven in his new comedy, “New Brooms.” The play comes direct from a long New York run and a very successful en- gagement in Boston, where it was generally conceded that this gifted author and comedian in his latest offering has made a notable addition | to stage comedies, one matching the orth of his previous great success, ‘The First Year,” of happy memory Mr. Craven has chosen for his plot and characters incidents and people of ordinary American life, appealing through his understandable theme and people. Mr. Craven and his com- pany play their parts in like spirit without apparent stretching for effect, formance is said to seem more like a page from real life than an example of acting effort. Thereby the laughs that are evoked have the solid and sensible ring and the auditor carries away a more substantial impression than that created by a frivolous con- coction. Supporting Mr. Craven in the lead- ing roles are Blyth Daly, Robert Mc- Wade, Afbert G. Andrews, Harry Leighton, Helen Weathersby, Jack Devereaux, James Kearny, Dorothy Blackburn, Doris Kelly and John Ravold. Belasco—"Seduction. A new three-act drama, a romance of the desert by De Witt Newing, will be seen at the Shubert-Belasco The- ater tonight. It is described as a mixture of melodrama and comedy and bears the unpleasant title, “Se- duction.” The story is that of Sir Reginald Wingate and his daughter, who had disappeared within a half hour after her marriage to Lord Eric Struthers, whom she discovers to be lacking in the desirable qualities of a faithful husband. She flees into the desert and takes refuge in the tent of Abd El Rahman, a sheik, whose son had been a servant in her father's house- hold. Innocent of Abd El's oath of vengeance against her family be- cause of the execution of his son un- der Sir Reginald's orders, she be- lleves she is safe under his shelter. The father and husband come in search of her. In the desert is another Arab—the white sheik—a man of mystery, a former British army captain, whose sister had been driven to suicide by Struthers. He sees an opportunity to smite both his enemies, Abd El Rahman and Struthers, by stealing the young wife from the former’s tent. To tell the rest of the story would be to destroy the suspense of the play. 1t is sald there is abundant action, with comedy. A series of dances is exhibited in the second act, with Mlle. Lisa Pav- nova offering a specially delightful number. A ballet of six dancers pro- vides the rest of the entertainment. The cast, headed by Frank Wilcox, Allyn King (for the past four years prima donna of the Ziegfeld “Fol- lies”) and Henry Herbert, includes Charles Denniston, Dorothy Holmes, Willlam _Podmore, Adrian _Morgan, Mattie Edwards, Edward Davidson, Erin O'Brien Moore, Hamid H. Ghoshal and L. V. Granville. President—"Rain."” “Rain,” tae John Colton-Clemence Randolph dramatization of W. Somer- set Maugham's famous story, “Miss Thompson,” which features Kather- ine Hayden in its principal feminine role, will continue at the President | which still | hattan | Barr, Edward Keane - with the result that the per-| ~o0 Opens this afternoon. Opens this afternoon. Opens this afternoon. Opens this afternoon. Theater, Pennsylvania avenue and Eleventh street northwest, this week, including this evening, because of unusual patronage during the first week of this production in Washing- ton. “Rain” will be remembered as the sensational play which, with Jeanne Eagels in the stellar role, ran for two years on Broadway, and is rolling up a brilliant record on the road. It was personally staged at the President by the noted Broadway director, Sam Forrest, and the Man- cast which supports Miss Katherine Hayden as Sadie Thompson includes Frederick Smith, Josephine Morse, Harry Burkhardt, Jack Veltch, Joseph Robinson, Grace Ade, May Anderson, William MacFadden, Albert nd other: is laid In the and store of Joe Horn, the trader, at Pago Pago, on the Island of Tutuila, in the South Pacific. It depicts an emotional conflict between Rev. Alfred Davidson, a zealot of domineering, political tendencies, and Sadie Thompson, a girl who is fleeing from a past that is not free from the taint of criminality. The play reveals the steps by which the girl subtly and tragically brings about the downfall of her clerical enemy. Matinees will be given on Thursday and Saturday at 2:20 p.m. The night performances will start at 8:20. Keith's—Sophie Tucker. Mme. Sophie Tucker, prime ex- ponent of jazz and syncopation, head- lines the bill at B. F. Keith's Theater this week. The comedienne will offer a group of songs, including past favorites and many new and original numbers, assisted by Ted Shapiro and Jack Carroll at the pianos. Harry Watson, jr, favorite laugh producer, brings two of his master- pieces, “The- Young Kid Battling Dugan” and “The Telephone Scene.” Other acts will be Fred Berrens, young violinist, and Lora Foster, dancer, assisted by Miss Ampico, in a modern musical fantasy; Leona Stephens and Len D. Hollister, in “The Passing Parade a novelty of the sldewalks of New York, written by Courtney Riley Cooper; Rosemary and Marjory, two young girls, in their production, “Heart Songs,” which combines the old-fashioned tunes, old- fashioned costumes and a quaint co- lonlal setting; Paul Kirkland and company, in “The High Stepper,” dur- ing which he introduces a ladder trick that is sald to be the biggest sur- prise in vaudeville; a special treat for children -will be Hector, the won- derful dog, who leads a quartet of canine actors in a laughable and in- teresting playlet, and Harry Lavail and sister in their aerial act. The usual screen features, Topics of the Day, Aesop's Fables and Pathe News Pictorial will complete tike bill Poli's—"The Gingham Girl" “The Gingham Girl,” one of the out- standing musical comedy hits, - will comg to Poll's Theater tonight for one week, with Eddle Buzzell and a big_company. This piece ran a year in New York, five months in Chicago and played extended engagements in Boston and Philadelphia. Mr. Buzzell is cast {n the character of a small town “hick,” the type that made him famous in vaudeville be- fore he became a musical comedy star. The piece is in three acts, with scenes laid in a New England village and in New York City, with a series of complicated situations, which give this unctious comedian abundant op- The action of “Rain’ Has a Brilliant Record. ARRIET STERLING, who plays the picturesque role of the South Sea native, Ruau, in Richard Barthel- mess’ new production, “Soul Fire, started her stage career in some of Daniel Frohman's best known pro- ductions. She played with Margaret Anglin for four seasons in “The Woman of Bronze” and other dramas. She was a member of Mrs. Fiske's company for two seasons in “Divorcons” and other plays. She was the original squaw In David Belasco's “The Girl of the Golden West,” and she played Night in the famous New Theater presentation of Maeterlinck’s “The Blue Bird.” She appeared in Tolstoy's “Resur- rection” with Blanche Walsh, and she supported Mrs. Leslie Carter in John Luther Long's play, “Cassa.” Miss Sterling was the v0odoo priest- ess in Richard Walton Tully's “The Flame,” and she played a season in the melodramatic hit, “The Cat and the Canary.” In 1918 Miss Sterling was a member of the 3d Army Stock Company of the Overseas Theater League, headed by Dorothy Donnelly. portunity ability. The beok is by Daniel music by Albert von Tilzer, lyrics by Neville Fleeson, dances originated and put on by Sammy Lee, and the whole staged by Edgar MacGregor. plot deals with the love affairs of Mary and Johnnie, two young people who leave a small New England town and go to New York in search of fame. The characters are said to be drawn from life, and wholesome humor naturally bubbles forth in every scene. There are many num- bers in “The Gingham Girl” to catch the popular fancy. The dancing features are performed by Jay and Dorothy Henriques and a group of sprightly beauties. In addition, the cast includes Made- leine McMahon, a Washington girl, who jumped direct from the King- Smith Music School in this city to the leading feminine role in this piece, and won fame through her work dur- ing the run in Chicago. Other players are: Lilllan Young, Jack Waldron, Flo Irwin, Francesca Hill, Vera Thomas, Amy Dennis, George Thom, Thomas Keogh, Arthur LeRoy, Lottle Lee, Georgia Brady, Dorothy Fuller, Lucile Doty, Mae Dixon, Lulu Win- ters and Pat Watkins. The keynote of the performance is said to be “pep” and the spirit of youth. to display his laugh-making Earle—Be rgman 's Orchestra Henry Bergman and his 14-piece orchestra will head the Earle Thea- ter program this week, beginning this afternoon. This is the orchestra that won the grand prize in Phila- delphia on last New Year day in the “Mummers’ " parade, and is said to be a strikingly unique aggregation, as well as an excellent concert and dance combination. Two added features include “Young America,” the work of Fred Ballard and Pearl Franklin, who draw a ple- ture of true American boyhood, and Frank Marino and Tony Martin, two comedians who bring a breath of sunny Italy in song and story. Others will include Nixon and Sans, two blackface entertainers; Gordon and Rice, bicyclists, dancers, singers and musiclans, and “Madame Pompa- a young singer who is said to have the highest range of any American soprano living. Richard Dix, in his latest film story, “Too Many Kisses,” will be the pho- toplay. Stran‘d—‘Watch the Drums' The vaudeville attractions at the Strand Theater beginning this after- noon will be headed by the Jack Powell Sextet in a musical skit, entitled “Watch the Drums,” and Bob Murphy will be featured in “Combin- ing Business With Pleasure.” Others are Robinson, Janis and Company in a comedy episode, “The Woman Pays”; Paul Murray and Gladys Ger- rish, in “Studying Stars,” and M. Gintaro, the “novelty top spinner and Juggler.” The photoplay will bring Bebe Daniels and Norman Kerry in Trio Productions’ screen story, “Daring (Continued on Sccond Page.) Kusell, | The | A ELIZABETHE BROWN E ) 1'1 e Matual National—"The Rivals.” “The Rivals,” by Richard Brinsley Sheridan, with an all-star cast headed by Mrs. Fiske, cemes to the National Theater next week, beginning Mon- day night, March 16. The cast includes Mrs. Fiske as Mrs. Malaprop, Chauncey Olcott as Sir Lucius O'Trigger, Thomas A. Wise as Sir Anthony Absolute, James T. Powers as Bob Akers, Lola Fisher as Lydia Languish, Marie Carroll as solute, May Collins as Julia, Fred Eric_as Faulkland, Percival Vivian as Fag, George Tawde as David and Walter Woodall as Thomas. These players have combined to make a tour of the United States and Canada under the management of George C. Tyler and Hugh Ford In commemoration of the 150th anniver- sary of the original production of the play. The Rivals” is one of three come- the only survivors of the thou- written between the death of di sands | Shakespeare and 1890, which in any sense can be considered favorites of the stage of today. “The School for Scandal,” by Sheridan, is the second and “She Stoops to Conquer,” by Oli- ver Goldsmith, the third. Sheridan’s wit, humor and racy spirit live today because he wrote, not for a day, but for all time. The text of the play used in the present production is approximately as Sheri- dan wrote it, the restoration by Har- rison Grey Fiske, after comparison with various prompt books of cele- brated actors, being virtually com- plete. The play is staged by Mr. Fiske and the settings are from de- signs by David Gaither. Poli's—"Blossom Time." Exquisite “Blossom Time,” that charming operetta which Washington has so strongly admired, will be seen at Poli's next week, commencing Sunday night, March 15. Those who have seen “Blossom Time"” will want to see it again, and those who have never seen it should not miss the chance. The story of “Blossom Time” is founded on an episode in the life of Franz Schubert, who, apparently, had but one authentic affair of the heart. The book and lyrics are by Dorothy Donnelly and the music, almost en- tirely taken from the famous songs and unforgettable motifs from Schu- bert's larger works. has been beau- titully adapted by Sigmund Romberg. Single musical numbers here and there were composed by H. Berte, a modern writer of Vienna. The piece was staged by J. C. Huffman, under the personal direction of J. J. Shubert. {{The scenes are all laid in old Vienna (1826), and the work as a whole, now grave, now gay, and later turning to romance, often conjures the life of that gay European capital in its heyday of earlier generations. Keith's—Francis White. Francis White, the dainty, dimin- utive musical comedy star, will share headline honors at B. F. Keith's The- ater for the week of March 15, with Dorothy Jordan, the grand opera star. Other acts will be announced later. Strnnd—' ‘Bnnd BOX R-CWG 7 Gall Mann's “Band Box Revue” will top the bill at the Strand Theater next week. The act features Ruiz and Bunnie, two dancers who ap peared in Washington with success last season. Others are Sue Creighton and Ed- die Lynn in_“Follies of the Day,” written by Harry W. Conn; Billy Zeck and Gladys Randolph in “Groom- ing the Groom"; Carol Racine and Dorothy Ray, in “Life’s Little Jokes,” and Boyd and Wallin, offering a “Novelty Wire and Iron Jaw Sensa- tion.” There will also be a series of ama- teur tango dancing contests held Tuesday and Wednesday night, with an , elimination, , contest _Thursday Lucy, Kenneth Thomson as Capt, Ab- | Coming Attractions night; silver and gold medals being awarded the winners. A photoplay feature and short films will complete the bill. EarlPCunningham and Bennet. Cunningham - and Bennet, with a company of 15 in “Community Sue,” will head the bill at the Earle The- ater next week Others will be the De Dio Circus, ponies, dogs and monkeys; the Prim- rose Four, a singing quartet known as “A Thousand Pounds of Har- mony”; Clark and Crosby in “Tony Don't Understand,” and a dancing act, “Twists and Twirls.” The photo- play will be “A Fool and His Money,” a Paramount picturs based upon the | story by George Barr McCutcheon and featuring Madge Bellamy and William Haines. Mutual—"Red Hot.” For next week the Mutual Theater announces “Red Hot” as the attrac- tion Poli's—BalieE’s""C}xauve- SO“!’I!. When Nikita Balieft and his new | “Chauve-Souris” come to Poli's The- ater next week, opening March this ample and amiable Russian promises the most ambitious, artistic and varied bill which he has ever presented in the 17 yvears' history of the Bat Theater of Moscow. Familiar as Balieff and his unique mode of entertainment are to his |American patrons, his return to |America has been characterized by |several distinct and unsuspected novelties. Among those contributed by Balieff himself perhaps the most striking are “Love in the Ranks” and “The Arrival at Bethlehem.” The former, with its sophisticated humor, amusing by-play and the luminous setting and brilliant military cos- tumes contributed by icholas Benols, seems likely to run “The Wooden Soldiers” a close race in popular favor. “The Arrival at Bethlehem,” h its reverent depiction of the Na- tivity in the spirit of the middle age: is an innovation, as far as Americ is acquainted with Balieff's theater, but the inclusion of such a serious and beautiful number in a program of song and dance and humor is strictly in accordance with the cus- tom of Balieff and his home stage in Moscow and with the traditions of the entire Russian theater. Seldom, it is claimed, has a modern artist re- created the spirit of the early renal sance as has Vassily Shoukhaeff for this episode taken from “The Golden Legends” of Yvette Guilbert Other outstanding numbers on the new bill are “Stenka Razin,” a vivid moment in the life of Russia's Jesse James; “The Zaporozhtsi,” based on Repin's tamous Cossack picture, and “A Win- ter Evening,” which for sheer charm has never been surpassed in the en- tire repertoiry of the Chauve-Souris. Morris Gest's most notable contri- bution is the Chauve-Souris cros face puzzle curtain by Ralph Barton, painted by Andrei Hudiakoff Then there is a song introduced outside the program which rivals the curtain and the regular numbers in favor. It is “Oh, Katerina,® written by Fall in honor of the Chauve- Souris. Mme, Birse and Balleff him- self join in teaching it to the audi- ence in Balleff’s own intimate, irre- sistible w The singing and acting quality of the ensemble, it is claimed, has been vastly improved since last year. “ “ Gnyety—- Fast StepperL The attraction next week at the Gay- ety Theater will be “Fast Steppers,” which offers two acts of musical num- bers, pretty girls, fast-stepping ensem- bles and comedians. Eddle Dale, Charles Daley, Fred Tay- lor and Eddie McKenna form the fun brigade, while Evelyn Cunningham, Olive Le Compte and Marie Bergman lead the feminine principals.