Evening Star Newspaper, April 20, 1925, Page 18

AMUSE es.” | ant above a pot- | such as make up | rl.and-music shows, comes a de- | ous spice of old Ameiican non-| I\sense—absurdities abinitio, fostered in | arefree spirit that mocks fac truths and conventions—to make the Greenwich Village Follies Poli’s this week something radi differ. ent from expectations TThere are girls—and they are pretty | €nough to chase that tired feelin away from t fatigued bus n man are lIyr and some of them are catchy bits of melo dy. too. There are tableaux—and one of them will receive additional mention. But right now, first and foremost, attention is directed to that delightful, nonsensical humor which » such folks as Fred Stone and De Hopper the idols of voung cans and of those who refuse to old Exhibit T of the “Greenwich Vil ollies,”" nonsense Americana, arrivi in scene 4. It is entitled “The Mov- ing Man's Dream,” consisting of a antomime woven of such sheer gos amer foolishness that it brings back an exhilarating breeze from the days rerow was be- over the scenes| Exhibit II, cene 10, is “The Fatal by William K. Wells, as droll work of namesake, < profou There are four 3 a biscuit and a t, and three of | men must_le the fourth is survive. The pack of cards and| eccentricities of fate do the rest. Ex- Al ma Wolt An ge entering with Card,” s the H. G, the MENTS Bert 3 of Bert nator,” for Mollie th siderab turns include Belmont & Ful- ton in canary opera; Hayden, Hall and Snyder, a fairly good singing trio, and Bayes and Speck, black-face song and dance men. The photoplay with “an , the female and gets lots of laughs t brighten the piece con- is filled with comedy, showing Viola' Dana at her best in he Beauty Prize.” This picture car- 1l the Atlantic City beauty con- s tures over in a way that makes them interesting. The Earle News of the World completes the program. STRAND—“Stars of the Future.” A diversified program, with “Stars of the Future,” by a sextet of pretty and beautifully costumed girls as the head- liner, is provided in this week’s bill at the Strand Theater. The sextet, featuring § Ma lette, who appeared in *“The Vanities, includes Marion Stevenson, Hazel Ro- maine, winsome girlies m the Broadway musical success, ‘“Keep Kool"; Berta Gilbert, a song and dance eccentric, from “The Follles”; Doreen Keegan, a snappy colleen, from “Kid Box and Mae Lubow, who twinkled in “The Music Box Review.” .They furnished popular songs, clog and toe dancing, blues singing and parodies on the ukulele, which were immensely enjoyed by last night's audience. dances, gags and buf- ‘Broadeasting,” which Kendal, Byton and Slater present “At the Studio,” and in trying to produce an ‘“Adam and Eve” they made hibit 11T, “The Hold-Up,” will relished by policemen and £ S. | It is a keen illustration Jightful anything directly oppc the custol ry can be Exhibit IV Daphne Po d, who is seen throug out the show Few of the songs of charming the performance is ovel them jar at the time sented One tableau, “The Golden Trail,” representing the harvest moon rising on an Indian scene, is noteworthy for | several reasons. In the first place it ntrinsically Ameri Those beau- girls who had been stepping und in a half-yard of silk or so were draped in homespun and their patent-leather-haired male escorts were in pioneer outfit. In the ond place there is an Indian hunters’ dance by three make it a classic of rhythm B Not a motion is ide, step me: 3 r to discern and delightful for the terp- sichorean palate. Lastly, the scenic effects, while not startling, are the | most skillfully blended of the entire | pre ntation. Space and time prevent a re lation adequate to cover the “Green- wich Village Follles.” The features which leave a savory remembrance in clude Buster West's eccentric danc- ing, Irene Delroy’s dimples, smile and volce; Barrie Oliver's singing; Tom Howard's “comedianism”; Martha Graham's dancing and Paul Gerard Smith's s re on immigration, en- titled verybody Welcome,” in which Daphne Pollard shines. There are others, but the effect is the effect of a potpourri. Although additional bolts of cloth could have been used for the attire of the chorus, the absence of it does not make it- self definitely felt in these days of “art"—so-called—in the theater. The “Greenwich Village Follies," not sensationally extraordi- is definitely worth while. PRESIDENT—"“White Cargo.” Leon Gordon's interesting story, “White Ca continues at the President Theater this week, and | standing room signs seem likely the entire week The story nemory after the Ithough none of they are pre- turn, It is cle apita appe: to appeal. The theme is wrapped around the strug. sle of one Langford, who is deter- m to conquer the damprot of the country that refused to be won. ‘The world is demanding rubber, and it Langford 1 ship back to civili zation the Ith of that material ihat lies useless in the jungles of th “West Coast” he can become ricl heyond his dreams. He might e succeeded had it not been for Tond levo, the half caste woman, who the only representative of her sex in the play. Throughout the play well acted B. F. KEITH'S—Florence Reed. Florence Reed, whose success in emotional roles on the stage and screen stand like a monument in her me, in a tense and gripping dramatic sketch, “Tinsel,” is the piece de resistance of the current bill at B. F. Keith’s Theater. The playlet abounds in comedy and patho: but above it all towers the effervescing matic force, the technique and per- | sonality of Miss Reed | he action takes place in the dress- room of a legitimate st a first night performance of “‘Anthony | and Cleopatra.” It opens humorously and changes swiftly to pathos, closing with a tearful scene that drew sobs | from some in the audience. Support ing Miss Reed Thelma Page, Donald MacMillan, Arthur Behrens| and Alfred Shirley Ted Trevor and pair of noted Engli @ series of Terpsichotean maneuv. to the strains of exot music ovided by Paul Fried’s Chicago Ramblers. They scored their greatest hit with the London version of the fox trot, which they executed beauti- fully and gracefully. Lillian w. American el was given an emphatic we proceeded to capture the comedy honors with he hilarity-breeding matrimony sketch. She has her own inimitable style of provoking laughter ! that is refreshing The Mitchell Brothers, banjo wizards, | could have stopped the show if they desired, but walked off amid | vociferous and protracted applause. | These boys are the co-authors of that tuneful melody, “Nobody Know: What a Red Hot Mamma Will Do, and sang it in addition to other of their compositions. | One of the cleverest canine acts in vaudeville is presented by Carlton Emmy and his “Mad Wags.” For in-| telligence his 18 acrobatic dogs can not be surpassed. Rose Irene Kress | s a novel skating act which serves the opener. With her supporting | o she gives a variety of interpretive dance exhibitions on_roller skate: Eddie Kane and Hermaf, “Tw Midnight Sons,” please with their pat- | er, even though some of it is ancient. The finale is sensational and hazardous trapeze act by Joe Fanton and company. The usual subsidiary film attractions complete the bill. EARLE—"Scranton The program this week is only fair, compared with the really ood layouts of the past three weeks, the topliner being a jazz orchestra which has ceased to be a novelty, al- though its harmony is good. Willlam Lustig, director nd his 12 musicians ost perfect control, jazz the avallieria Rusticana,” with the beauty of the grand opera being retained The big number on the straight va- riety li Jed Dooley and wife in a glorified Will Rogers act. Dooley is just naturally funny, and by intro- ducing new chatter into his display of jasso whirling maintdins an easy po- ition at the top with the headliners of vaudeville. The large audience thoroughly enjoyed the offering, and the lights were lowered several times before the show could proceed. Mollie Fuller, at one time starring with Fred Hallen of Hallen & Hart, has an interesting sketch, entitled + “wiligh in which she does some effective reciting, and carries her lines Diana anteuse, ome, and | “Black on White | jokes s| encores. |ing have the power |S | She fights with the | trigue, during | 4 | soldier: produce a lot of comedy. Ubert Carl- ton, black-face omedian, offers with songs and that won several demands for The three Nitos offer “The Best of Eccentricities,” in the open- act, with acrobatic clown stuff, pstick and burlesque and with vio- lin and trombone playing. The photoplay, “The Midnight Girl, features Lila Lee. upported by Gareth Hughes, Dolores ssinelll, Charlotte Walker, Bela Lu- gosi, Ruby Blaine, John D. Walsh, William Harvey, Sydney Paxton and N. Salerno. Localed in New York City, it is the romance of a discarded rich man’s son and a poor singing girl. It finishes a well balanced bill. COLUMBIA—“Mme. Sans Gene. Glor test picture, at Loew's Columbia this week, her high- | est_point in artistic mimicry. Running Gloria a close second in interest are the magnificent French embellishments for this story of the French revolution, the first republic and the empire. The French ministry | of fine arts co-operated by permitting the use of parks, buildings, furniture, jewels and many of the genuine ac- coutrements of the age depicted in filming the picture. To say they are artistic and gorgeous is insufficient. They must be seen to be fully appre- ciated, for they provide a foundation which will help make this picture live as one of historic importance. The fact that Gloria is just back from France herself with her new French titled husband from an old mily no doubt has added luster to this picture and its drawing power. Comedy runs high through the un- usual story from the Sardou-Moreau play. The glories of the Tuilleries, Fontainebleau and Compeigne lend it dignity and subtle charm. It's a rare combination, amusing and artistic. Partisans of the actress, now a countess, will revel in this picture as thrilling, amusing and full of the sterling appeal of Gloria. The house was filled to capacity yvesterday and will, no doubt, continue so through- out the week. The title, it is explained, “Mme. Devil-May-Care,” who is seen first a: 1undress to Lieut. Napoleon, who hasn’t enough money to pay for his laundry. Failing to win his love she captivates Sergt. LeFebre, excel lently played by Charles de Roche. rmy through the d to the rank means revolution and is of duche without losing in any sense, however, her ignorance and tendency to buffoonery. Court in- dark threats, danger and womanly jealously play fast and free in the plot, which unwinds to a happy and thoroughly satisfactory con- clusion. The part of Napoleon is splendidly done. The only added feature is a news reel. METROPOLIT. “The Lady.” Mother love, a theme as old as the beginning of time, and yet ever new in its appeal to faltering and often clumsy ‘mortals, is the very solid foundation upon which Norma Tal- madge’ atest film succe ““The is built. The picture is offered k at Crandall's Metropolitan, id bids fair to win the approv dmirers of screen drama madge. 'he opening scene of “The Lady is the interior of a rather low-grade 1 in rseille, the place 1ving been Britainized for the enter- tainment and diversion of English back from the front in the great war. A woman of middle age, sad-eyed and we in appearance, owner and manager of the cabaret, is talking with a man—plainly true friend and _counselor—when the floodgates of homesickness and heart- ckness give way. Thus begins the unfolding of the life story of Polly Pearl Back to the London of 24 years ago shifts the action, with Polly Pearl the headliner in a dancing show, idol of a throng of would-be wooers' and loved by the son of a wealthy Lon- done; A romance that promises Appiness unto eternity: through the acrifice of everything save love itself comes to grief on the honeymoon in Monte Carlo, leaving the lonely, though unschooled, dancer-bride dis- illusioned and heartbroken. A mother searching for five yvears without succs the streets of London in the hope of gaining but a glimpse of her son may perhaps bring tears to the eve, but no one will be ashamed to be seen weeping. There are other scenes which may cause eyes to be misty and there are some laughs, but “‘The Lady not a laughing | picture. There are enough situations, moods emotions in this production to upon every line of work that Talmadge has ever done, and scene is portrayed with the and finish for which she is famous. Perhaps the story melodramatic, but if so the | Producer erred on the right side, for The Lady ‘almadge point any be she low she is strongly of the Norma ype and it will not disap- one who loves a mother, v or exalted, or whether be just a mother. The screen is adapted from the play by rtin Brown. The supporting cast s large, but has been exceptionally well selected. A Neal Burns slapstick comed; “Why Hesitate,” and the usual news and music complete the program. RIALTO—"On Thin Ice.” The program at the Rialto this week provides for a varfety of tastes. “‘On Thin Ice,” the feature picture, is a crook story of the usual run, in: volving a gang of crooks, a pretty and innocent girl, a bank vice presi- dent and a satchel of money. The girl finds the stolen satchel and hands it over to the bank officer, where- upon he has her prosecuted because the satchel is full of washers. At the end of her 30-day sentence the rooks take her in, one of them pos- ing as her long lost brother. A va- cation on a farm follows for her, the with the impressive effectiveness of apglong lost brother and the head of the he cast is well | ] T gang, during which the two men en- | deavor to ascertain if and where she {has hidden the missing coin. Of course, the sweet little girl exerts a reforming influence upon the long lost brother, which, after the real thief is found, has fhe effect of con- verting him into a mounted police- man and a happy husband. The cast includes Tom Moore, Edith Roberts, William Russell, Theodore Von Eltz and Wilfred North, Sylvia Altman, Washington's prod- igy of 11, won the admiration of a large audience for her rendition of Beethoven's “‘Second Concerto in B Flat Major” and Rachmaninoff’s | “Prelude in C Minor.” The musical blll was continued with songs by Guarino and Cooper and the orches- tra’s overture, “Echoes From the Metropolitan Opera,” under the able direction of Mischa Guterson. The International news reel, a short film, “No Place to Go,” with Arthur Lake, and & cross-word puzzle com- plete an entertaining bill. PALACE—*“Man and Maid." New faces on the screen greet the fans at the Palace this week In Elinor Glyn's picture, “Man and Maid,” whi-h also introduces Lew Cody, the suave vil n and “other man" of so many screen stories, as the hero, since Mrs. Glyn s said to have de clared she recognized in him the qual- itles of the hero lover. With Lew, therefore, and Harriet Hammond, a pretty blond, and recent recruit from the bathing girl ranks, this story of love and war and ro mance has some interesting moments, though it is a typical Glyn product. The scene opens in the apartment of a war hero in Paris, still convalescing from wounds. He is besieged with attentions of women who spend their time in trying to amuse him, in re- turn for which they receive gifts of rare value, for our hero is enormous ly wealthy and able to have anything he happens to desire. But, wearying of all th he sends for a secretar: determined to write a book. Unknow to him, she proves to be a Red Cross nurse who found him wounded on the battlefield and helped nurse him through his first days of illness. She {has had reverses and is obliged to < work. She is a girl of good fam- and does not relish the idea of working in a gay bachelor’s apart- ment unchaperoned, but, remember- ing her invalid mother and father, jan inveterate gambler and who has brought them tc this state, she ac- cepts the position, | Days of work follow for these two and gradually the man comes to see In her the qualities of sweet woma liness that appeal. He dismisses his | light-minded, selfish friends and de- votes himself to his work-—and the secretary. Afraid of his love, she re- fuses to listen to his protestations of devotion. She has seen how he lived formerly and believes him unable to recognize true love or the finer things in life. It is not until she learns of his act in saving her father from disgrace after cheating at the gambling table that his true quali- ties dawn on her and the story ends In a typical Glyn embrace. Renee {Adoree,” Paulette Duval and Alec Francis have important roles in the ast. Harry Langdon furnishes hearty laughs in “Boobs in the Woods,” and news reels and orchestral music com- plete a good bill TIVOLI—*Charle; ““Charley’s Aunt,” screen version of the famous old comedy of the same name that has been a favorite of the stage for almost 35 years, is featured at Crandall's Tivoli Theater the first two days of | this week. Sydney Chaplin, Charlie's jbrother, achieves the triumph of his {life as “Charley's Aunt,” in a delight. ful entertainment of pure and un. alloyed fun. The story is too familiar | to be repeated. The action hinges upon the attempt of a group of students at Oxford Uni- versity to foist one of their number upon — unsuspecting fiancees and guardians as the aunt of a pal just arrived from Brazil. Sydney Chaplin is seen in the title role. Others of the cast are Kthel Shannon, Alec B. H ancls, James 'E. Page, Phillips | Smalley, Eulalie Jensen, Priscilla Bon- ner and Mary Akin. | A new Aesop Fable, . O, 8. and one of Grantland Rice's interesting “Sportlights,” “Traps and Troubles, with excellent pipe organ music b; Otto ¥. Beck and Harold T. Pease :omplete the bill AMBASSADOR—"The Lady Norma Talmadge, in “The Lady,” is | the feature also at the Ambassador ! the first three days of this week. The merits of th epicture are described in detail for the Metropolitan Theater. “Deep Stuff, delightful Aesop Fa- ble, a news reel and organ music comr plete the program. CENTRAL—“Born Rich.” | _ First National's screen story, “Born | Rich,” featuring Claire Windsor, Bert | Lytell, Cullen Landis and Doris Ken- vyon, at Crandall's Central Theater yes. terday and today is an adaptation of the novel by Hughes Cornell, directed by Will Nigh. It is a story of social intrigue and financial piracy which culminates in a rehabilitation of two very much spoiled members of the ultra-rich class. Miss Windsor is cast as the wife and Mr. Lytell as the hus- band who come to know each other | better after a financial cataclysm has annihilated the rotund bank account. Bert Roach, in “Papa’s Pet,” short reels and pipe organ music complete MUSIC Washington has a yvoung violinist of whom the city can be especially proud, a 14-year-old of much promise. This prodigy is Milton Scharwtz, who gave his first formal recital in his home town yesterday afternoon at the | National Theater, under the auspices of Josef Kaspar, his first teacher. For the last five years Milton has been stuyding in New York and his debut recital there last Fall recelved en- thusiastic notices. The opening number was Bee- thoven's “First Sonata,” in which Mas. ter Schwartz displayed sure technique and fine resonant tone, handling the difficult yet melodious passages intelli- gently. Particularly artistic was his playing of the rondo movement. The Bruch “Concert in D Minor,” a bril- llant work, was played with the skill of an individualistic artist. In the group of short compositions the Sarasat “Gypsy Airs”’ were played in a manner that would stand com- parison with the interpretation given them by the most experienced pro- fessional artists. Kreisler's “Caprice Viennois” and the lovely Bach ‘‘Air on G String” were other especially fine interpretations. Gardner’s “From the Canebrake” was a well chosen encore. Harry Kauffman was a fine accom- panist. To Jascha Teifetz, newly made cit- izen of ihe United States of America and one of the greatest violinists the world has ever known, fell the honor of giving the first recital in the new ‘Washington Auditorium last night. Appearing under the auspices of the Peggy Alblon Concert Bureau before an audience that numbered more than 4,000 persons and playing his instru- ment as the violin seldom has been played here before, Mr. Heifetz won ovations after every group. Wash- ington has been called the “coldest city in the United States” for a_mu- sical performance, and there have been not o few occasions when that title has seemed warranted. It would have been impossible, however, to have found a more warmly enthusi- Aunt.” Christie’s fine astic audience anywhere than gather | ed at last night's performance haps it Is the psychology @ ning concert at which the audience is free from the strain of getting home in time for dinner, but comes, instead, comfortably fed and relaxed. There was genlality in the air and keen appreciation expressed in the applause. Mastery Is Complete. Jascha Heifetz has long shown com- plete command of every intricacy known to violin playing.” His chro- matics, doubie-stopping and pizzicati have always been admirable. His in- terpretations of master works have likewise been excellent and individual. Brand-new — this latest addi- tion to our stocks of Theo ’] Pumps. This is a style MONDAY, APRIL In this latest concert, however, he showed mature conception of the moods of the music and sympathetic coloring of his crystal-clear tone that made even the least musical in his audience feel the presence of genuine genius. The Grieg “Sonata in C Minor” was exquisitely played, with romance theme of the second movemont beautifully depicted, and a lzst movement in which the melodies fairly throbbed from the instrument. The unusual selections included the Mouret-Dande- lot_“'Serebandede in E Minor,” Couper- Press “Les Petit Moulins a Vent, 20, 1925. “Cortege,” by Lili Boulanger, noted French woman organist, and “La Ro- manesca,” a sixteenth-century Itallan theme arranged for the violin by Jo- seph Achron, brother to Mr. Heifetz, accompanist. The Kreisler arrange- ment of Bach's “Prelude,” Sarasate's “Introduction and Tarantelle,” and Cyril Scott’s “The Gentle Maiden" were inspicingly played. Plays Many Encores. In addition to the other numbers on the regular program, the numerous encores demanded by the audience in- cluded Bach’s “Sicilienne,” after the first group of short numbers; Joseph Achron's arrangement of Mendels- sohn’s “On Wings of Song” and Beethoven's “Turkish March,” after the second group; Sarasate’s “Sapa- tada,” Drigo's “Valse Bluette” and Burleizh's “Perpetual Motion,” after the final group. Isidore Achron was a sympathetic accompanist, but at times seemed to have difficulty in keeping vp with Heifetz's switt tempo. It was indeed an auspicious opening for the Peggy Alblon Concert Bureau, and an enthusiastic farewell for Mr. Helfetz from the Capital City of his adopted country for the lengthy tour around the worid that he anticipates Consular Clerk Transferred. C. Clarence Frick of the District of Columbda, consular clerk at Dublin, Ireland, has been appointed vice con- sul at Swansea, Weles. Dayid K. E. Bruce of Maryland. who recently qualified as a Foreign Service officer under the State De partment, has declined appointment in that service. 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