Evening Star Newspaper, September 21, 1925, Page 12

AMUSEMENTS POLI'S—“A Good Bad. Woman.” When William A. Brady offered “A Good Bad Woman" on Broadway he did 1t with the avowed intention of producing something so bad that the reaction would sweep the theaters clean of the grossness that at the moment was bringing righteous cries of indignation. After a few weeks Mr. Brady withdrew the play of his own volition. 8ince that time he apparently has 1d his rights in it, and its buyer evidently is attempting to capltalize the publicity given the production at that time. As the play opened at Poli’s last night it apparently meets no one's con- | €ept of the province of the theater. | It was hailed as a_sensational piece, | striding voluptuously on the primrose | path. That was the sin of which the | lay was confessedly guilty. Its| ackers did not confess its greatest sin, however—that of unspeakable duliness. “A Good Bad Woman" is a hodge- podge of immorality and morality in the low places, with emphasis on the immorality. The theme lacks every subtle handling as it plods through three acts which attempt to achieve sensationalism with such omnipresent props as a devenport-bed and profanity. It cannot be made too clear that the most emphatic thing to be said about “A Good Bad Woman” is that there's no excuse for it. It meanders stupidly from obvious to obvious situ- ation. The story of the play Is given in its name. The bad woman proves | that she's not so bad after all. She | saves the future for the rich young man who slipped while trying to “be | white” to her by trapping the un speakably cruel nerve specialist who had planned to make the young man’s life a torture in penalty for having fallen in love with the speclalist’s wite. Josephine Evans is the *“good bad woman.” What little Is retrieved rom the play which starts as a matic loss is traceable to her talent. June Webster, as the wife, also does her bit with a part that is none too heavy. The rest of the cast has 'so little to work with that an appraisal of its work is impossible. The representatives of the Police Department were present last night. Today they announced there was noth- ing to be done about it. They ap- parently regarded the entire perform- ance as a dead loss, too. KEITH'S—Den 'asse Revue. A program full of color is provided this week at Keith’'s by the Demi Tasse Revue, produced by Ned Way burn, the noted teacher of dancing, which carries the topline honors. This tablold revue was here last season and acored emphatically. Substantially the | same company is working for Mr. Wayburn this season and its ener- getic and perfect unison of work won & success equal to last year's. The scenery carried is quite pretentious, the singing fair, but the dancing, as expected, s up to the highest standard. Joe Donohue is the only male in the organization, his quiet comedy work making him stand out. The girls are prettily costumed, the Pompadour scene being especially rich in coloring and novelty. Rita Howard, Helen Fables and Caroline Nolte, the two former being eccentric dancers, scored big hits, as did the last named in solo singing in costume. Many curtain calls rewarded the organization. Miss Patricola, billed as the “Scin- tillating Melodist,” is back again, and although the warm evening took a great deal of “pep” from her act, she still had enough left to secure the greatest applause of the evening. Miss Patricola only reaches Washington once a year, but she always brings along a new lot of the latest songs and had little trouble gaining success. In response to recalls she sang sev- eral of her old numbers, which went over as strong as ever. Miss Patri cola had to beg off finally. “Amateur Nite in London” is a sort of novelty, but is put on so well, with the assistance of a comedian in @ side box, that the applause was most heerty. Lytell and Fant, the two boys that grew up in Washington, ap- peared as blackface comedians and had little trouble putting over their nonsensical conversation and dancing numbers. Princeton and Watson were well received in a short talking sketch entitled “Too Late.” Tom Smith is back again with his eccentric wit and funny falls, and is about due for some new material. The Rallstons are seen in an athletic turn that belongs in the top class, the male member of the duo dolng a one-handed balancing stunt seldom seen on the stage. The dog circus of Herbert is up to the standard of excellence, and the regu- lar house attractions filled out the bill. EARLE—Vaudeville. Owen McGivney, presenting “Bill " a_quick-change dramatic epi- sode, is the leading attraction at the Earle this week. In his act Mr. Mec- Givney plays the roles of five different characters. The plot of the sketch is based on the leading events in Dick- ens’ “Oliver Twist.” The special feature, “The Wager," {8 mirth provoking. Witty sayings and musical selections are featured in “Oh! Henry,” presented by Manny Besser and Dorothy Balfour. New acrobatic stunts are offered by Theodore and wanson In their act called “Five .M." Christy and Nelson, billed as ‘A_ Fun Knockabout,” and Sampson and Douglas supply a great many laughs. “In the Name of Love, a Para- mount production, featuring Ricardo Cortez and Greta Nissen, is the film feature this week. The supporting cast 18 made up by Wallace Beery, Ray- mond Hatton, Lillian Leighton, Edythe | Chapman and Richard Arlen. Ricardo Cortez plays the part of Raoul Melmotte, a Frenchman who me to Chicago with his mother when ut & young-boy, and after reaching manhood opened a garage in that city, d after making good he returns to $rance to find that his former sweet- heart, Marle Dufrayne, played by Greta Nissen, has moved to a fash- {onable section of town. According to Delghbors, her father died, leaving her mother a great deal of money, and to his surprise they tell him that since her good fortune Marie refuses to Yecognize any of her former chums. Not having made enough money in the States to make him independent, Raoul buys a garage and builds up a very large trade. After having made reasonable success he, determined to wee the girl, sends her notes, flowers and so forth, but does not let her know who the sender is. He finally tells her and she flatly turns him down. From this point of the episode a very thrilling romance begins, and Raoul, in the end, “makes the grade,” and the two are married. STRAND—"Stromberry Pie.” The bill at the Strand Theater this week is headed by Joe Burns and Murray Kissen in their hilarious comedy skit, “Stromberry Ple,” in which they also show the audience Just how to compose & popular song, and, with the enthusiastic assistance of those present, compose the words end music to a catchy piece. “The Barber of Jayville” is @ com- edy skit, with the scene opening in & barber shop and the act ending as an operatic_comedy. Géorge Kirby and Helen Du Val are entertaining a8 “The Talk of the Town,” and other numbers include the acrobats, “The Four Bards,” who appear in a series of sensational leaps and dives, and Jessie Millar in a bit of musical en- tertainment called “The Accom- plished Cornetiste. “The Boomerang,” a film version of vid Belasco's stage production by Winchell Smith and Victor-Mapes, J | in | her is the photoplay. The screen story, while adhering with reasonable close- ness to the original version of the play, has been treated to any number of thistlelight touches which suffice to bring it up to date. Heading the cast are Anita Stewart, Bert Lytell and Donald Keith. Short fllms and orchestral numbers complete the program. PALACE—“Sally of The Sawdust.” Professor Eustace McGargle, alias Mr. Harkness, nee W. G. Fields of Broadway, is the lovable, laughable character’ who gambles his way through D. W. Griffith's “Sally of the Sawdust,” creating a laugh with his every comical motion. The pro- fessor is a very personable individual, from his generously checked trousers to his brown derby. He is a circus man and proud of it. Moreover, he is both father and mother to the be- witching little orphan, Sally, whose real mother had intrusted him with \the care of her only child on her deathbed. Sally’'s grandparents are wealthy New Englanders who had disowned their daughter when she married & circus man some 20 years ago. Sally's cireus life with “Pop McGargle—her romance with its ups and downs, and her ultimate happiness are revealed in this whimsical story in which laughter is intermingled with tears and tense moments with side-splitting comedy. Fields s his own inimitable self this character which he made famous in the Broadway version of the pla which _ran for practically rin New York. Car ter is a charming, boyish Sally who alternately pulls at our heart strings and tickles our funny bone as she romps through circus days. Her one fault is her tendency to overact in some of the earlier scenes. In the courtroom scene, however, she is convincingly effective. We cannot help but feel that the great producer missed an opportunity for an intensely dramatic ending when he recalled the professor from the open road down which he was Alsappearing, very much alone after returning Sally to her grandparents. The final scene, to our mind, was an anti-climax. % The play as a whole is filled with vivid human interest and Mr. Grif- fith's fine attention to detail, coupled with a strong supporting cast, marks it as a noteworthy production. Owing to the length of the film, the additional features are reduced to a minimum. ‘They include a Pathe News Reel, Topics of the Day and appropriate selections by the Palace symphony orchestra. RIALTO—"The Goose Woman.” “The Goose Woman,” which opened at the Rialto yesterday is not Just another motion picture. It is one of those rare attempts in the motion plcture industry to produce a mystery movie. And by hook and crook, to say nothing of a few time-tried tricks of the mystery story-writers, manages to shroud the identity of the slayer under several bushels, a peck or two and a few other things, so that who really did the killing is, as usual, least suspected until he says he did. But there, it is out now. - It s really a well done motion pic- ture and might be one of the best works of any director. Jack Plckford and Louise Dresser are far and away the best of a never- theless good cast. The plot hinges about a gin-crazed woman, who in a drunken fury at lost fame and fortune, tells a wild story (all for pullicity), involving her son as the slayer of a roue, who seems to be interested in the young actress fiancee of the son. There are involvments too numer- ous to mention which would prove in any court of the land that the son did the murdering. But it all ends happily. The muslc treat at the Rialto is good. There is a bit from “Tann- hauser,” by the orchestra, led by Mischa Guterson, and Miss Estelle Wentworth, soprano, sings to good advantage. COLUMBIA—"The Golden Prince; Lovers of rugged Western plays will enjoy the screen version of Bret Harte's well known tale, “Tennessee's Pardner,” shown at Loew's Columbia this week under the caption ‘“The * and_featuring the hful Betty Bronson, whose delicate charm won the hearts of_the movie public in *“Peter Pan.” Miss Bronson is the care-free walf of a gold-digger of the early days in California, whose mother deserted her (Continued on Thirteenth Page.) !— Youll quickytrade for | udebaker Power Durability-Fi WILKINS BREAKFAST The Cost Is One GRIMES APPLES Excellent in flavor and quality and suitable alike ‘Fancy Michigan The_exceptionally high quality of these Potatoes pleased us so well that we ordered Sweetheart Soap coupons, as Please Big 75¢ Sale Featuring many articles of everyday use and demonstrating the pur- chasing power of a 25c piece. Golden for table and cooking several carloads. We recommend them highly and believe you'll like their fine cooking qualities. 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