Evening Star Newspaper, September 27, 1925, Page 49

¥ mance must largely depend. ' Theaters Part 3—16 Pages The Sunday Star WASHINGTO , D. C, SUNDAY MORNING, SEPTEMBER 27, 1925. [RENT. : TRANKLIN - Keiths JAMDe CONWAY ~ Tarle ‘New Season Starts About Where the Old Left Off By Philander ]olmson. It is easy enough to open the theater in late August or early Septem- ber. To open the theatrical season is quite a different matter. An ex- uberantly prosperous run of Summer stock was brought to a close in order | to accomomdate new material designed for Fall and Winter trade. The | slightly shop-worn plays available to a Summer enterprise proved far more satisfactory to a large element of patronage than the efforts at novelty, which have threatened at times to become wellnigh hysterical in the eagerness to please erratic fancy. * X ok % The American theater touches the realms of sport more closely than appears on the surface. People never turn with enthusiasm to the play- house until after the base ball season has closed. Theatrical interest links itself more readily with foot ball than with base ball. Base ball is held | in deep, almost reverential, respect by its devotees, while foot ball with all its intensity has allurement of a friendlier and less severely professional | aspect. * * x % For several weeks we have been listening to the prelude of the 1925- 26 season. It is still on. There have been moments of striking interest, such as “The Vortex” and “Accused,” but the impression in the main is a futuristic jumble of wayward wives, fiercely jealous husbands, dear little flaxen-haired children in their nighties, with the influences of Freud, Bertha N. Clay and Nick Carter battling for supremacy. The spirit of conflict was strong and soul stirring in “The Vortex,” which is reported to be duplicating in this country the success it had in London. The com- ,bat rages in the inner consciousness of a single person who represents both the author and the star. It is the actor who wins; for the drama itself is forceful for its opportunities for histrionic demonstration rather than because of its composition.. The story is in line with the deliberate current effort to go from bad to worse. mother morally culpable and took a vengeful pleasure in disclosing that he was a dope addict reminded the callous onlooker a little of the small boy who, desirous of doing something awful, went out and swallowed a fuzzy worm. Only splendid acting could have saved in so much triumph the final act, which was a series of repetitions in increasing vehemence from speech to speech. It was a modern version with vice embellishments of the scene between Hamlet and his mother, the difference in treatment being the difference between sy:npltlonic scholarship and blues. * % In “Accused,” Mr. Belasco returned to his more serene moods and left the dialogue unsuilied. Mr. E. H. Sothern saw the play in France, wanted it, found Belasco owned the American rights and a mutually agree- able arrangement resuited for its production. How long this arrangement will endure is problematical, inasmuch as both these gentlemen enjoy a wealth of experience, which makes either feel abundantly confident to lay down the law to his own s!:gc hands. * * “Accused” discredits what used to be regarded as a fundamental sprinciple in playmaking for popular entertainment. The vital action is de- | scribed instead of being actually disclosed. The basic idea is melodramatic, and the greatest restraint is shown in leaving the murder, which starts the narrative, and the courtroom incidents, which bring it to a climax, to be made known entirely by means of dialogue. What seemed at first | only a promising mystery tale becomes an ethical analysis of the moral re-| sponsibilities of a lawyer forced to believe his client guilty. It concludes with an overwhelming revelation of human sentiment when the lawyer discovers that the woman he has saved became a murderess to prevent the lawyer himself from falling at the hands of a jealous assassin. Such a play must be well acted. %ndlft’crcmly cast or shabbily rehearsed it | woul!have been a dull monotony. It is strange that good actors should seem so few and far between like palms in the desert and then suddenly be revealed in an occasional production like bunches of asparagus. Every player of prominence in “Accused” found applause unstinted at the termi- nation of the scene which, less confidently read and less sympathetically enacted, would have seemed merely aistretch of explanatory conversation. * ok % x The actor had his day in “Accused,” for the men carried the plot, ex- cepting as Ann Davis provided the role of tortured suspense. She dressed the part with no evident intention of d)splaylni_hersdf as a student of extremes in modern fashion. We are told on the highest poetical authority that in ordinary affairs the “apparel oft proclaims the man.” In a feminine stage role it distinctly defines the woman. Much of the reluctance to accept 80 many try-outs purporting to be ultra modern may be due to a certain difficulty in taking seriously the sentimental agitations of a'lady whose skirts keep continually crawling above her knees. The modern dress, however convincing it may be in emphasizing physical charm, is not con- ducive to the sense of dignity upon which tragedy and even plausible ro- * ok ok The playgoer may be pardoned if he wearies of the incessant flow of etulant dialogue between husband and wife or lover and lady and longs or some play in which the sex consideration is not perpetually and often clumsily in evidence. A good substantial production of “Julius Caesar” which contains no Adam and Eve probicn;s would be a welcome relief. * x A number of unwritten rules once regarded as important are no longer observed with respect. The device of accidentally overhe¥ring a seemingly guilty interview was regarded as having exhausted its possibilities when heridan created the screen scene in “School for Scandal.” For a long time, like the “aside” speech, it was used but sparingly. It is now rather ingeniously utilized in “Gunpowder” by letting a little child hear and re- cat in parrotlike innocence snatches of conversation meant to be pro- oundly secret. Mr. Gene Buck, the producer of “Gunpowder,” pauses in the various processes of glorification in which he has been associated with Ziegfeld and reverts tearfully to the old theme of the concert hall balladist, #Although she may be guilty, I'll forgive 'er if she’ll retoin.” Tt would De almost a relief to see one of the ancient dramas in which the brutal husband is held up to scorn. The condoning male is becoming wearisome. The knowledge that there is absolutely no breach of connubial etiquette sufficiently grave to be beyond pardon after suitable apology tends to destroy the zest of the dramatic situation on which the theater largely de- pends. The husband who turns from his ruined home and philosophically uts on his golf trousers and Navajo sweater is no more impressive to the magination than the girl whose flapper fashions radiate an insuperable sir of gayety, come what may. A * x X ' Another form of stage trick once regarded as obvious and common- place was the resort to the dream in order to explain a serics of fantastical A The young man who found his | ¥ Directed by Clifford Brooke. 'HE success of a play to a large ex- tent depends upon the direction, and for that reason when Miss Ann Nichols, author of “Abie's Irish Rose,” decided to produce “Puppy Love,” the new comedy by Martha Stanley and Adelaide Matthews, she #ought the best director possible and obtained the services of Clifford Brooke, acknowledged leader in his field in the theatrical world. Mr. Brooke is well known to Wash- ington theatergoers through his as- soclation with the National Theater Players this past Summer, and has many friends in this city. Although Mr. Brooke began his stage experi- ence as an actor, the directing side of his profession made the most ap- peal to him and he gave up acting to devote his entire time to stage directing and has achieved marked success. There are many Metropolitan suc- cesses to his credit and he has di- rected some of the foremost stars of the stage. He staged the original pro- duction of “East Is West,” one of the outstanding hits of the past decade. Another notable production to his credit is “The Circle” in which John Drew and Mrs. Leslie Carter were the stars. Mr. Brooke has created many novel effects, which add materfally to the entertainment value of the comedy, Wwith a view of affording a novel en- tertainment in the theater. Fairbanks' Unusualities. I the course of his screen career Dougfas Fairbanks has introduced, one after the other, special accom. plishments, such as wall-scaling, pu- fencing, horsemanship and larfat proficiency, untfl now he s con sidered literally an expert in each of these arts. Falrbanks, however, is very muc! like Fred Stone, the stage co'medm?. in that he is never satisfled until he has added something new to his reper- toire. In his latest photoplay, “Don Q, Son of Zorro,” he steps forth with an amazing new performance as a manipulator of the bull-whip. The bull-whip which he uses is de- clared to be an exact duplicate of the whip originated in the early ranch days of California by cattle drovers. It is a very long, very slender and very sinuous lash, which becomes a highly dangerous and menacing weapon in the hands of one skilled in its use. Consisting of a lash fastened to a short, buttlike handle, it tapers in its 50 or 60 feet of length from the thickness of a man's thumb to the thin proportions of a cord. Fairbanks realized the entertain- ment possibilities in the use of such a whip, and he practiced incessantly for weeks before he gained the necessary proficlency to begin using, it before the camera, and the best evidence of his expertness lies in the things he does with this whip in hLis many ad- ventures in “Don Q, Son of Zorro." Nor is this Fairbanks’ only new ac- complishment fn “Don Q,” for he also has learned from Manuel del Rios, fa- mous Seville bull fighter, the art of cape work as practiced In the bull ring, and by this means he overcomes a mad bull that runs amuck in the streets of the little Andalusian town where much of the action takes place. [RENE BorDON National ELer RING Strand Author of “Mission Mary. ETHELBERT D. HALES, author of “Misslon Mary,” is now at work on several plays to be produced dur- ing the coming season by the M. J. Nicholas Productions. His next play, entitled “Tapau,” has its scenes laid in New Zealand, and in order to get local color Mr. Nicho- las has sent to New Zealand for na- tive dancers. Another is “Little Old Mald,” in which Molly Plerson is to be starred. Still another is called “'Aloha.” It will be.seen by this that Mr. Hales is quite a prolific playwright and that he is going to be pretty well represented during the coming sea- son. He Is a native of New Zealand, an all.round sportsman and athiete, a champlon cricketer, polo player, yachtsman and foot ball player, and now, it is said, he has become a most enthusiastic base ball fan. ' S e Tyler's “*School for Scandal GEORGE C. TYLER has at last filled his cast for “The School for Scandal,” and this week rehearsals will begin under the direction of Basil Dean, the well known ILondon pro- ducer. The first performance will be | given at the Broad Street Theater, | Philadelphia, Monday evening, Oc- tober 26. Three members of the cast were brought from London especially for this production—lan Hunter, to play Charles Surface; James Dale, for Jo- seph, and Ben Field, for Sir Oliver. All the others were engaged in New York. - _ The coinplete cast is as follows: Sir Peter, O. P. Heggle; Sir Oliver, Ben Field; Lady Teazle, May Collins; Lady Sneerwell, Julia Hoyt; Mrs. Candour, Henrietta Crosman; Maria, Lucille Nikolas; Joseph Surface, James Dale; Charles Surface, lan Hunter; Snake, Romaine Callender; Careless, Phillip Tonge; Trip, Anthony Kemble-Cooper: Moses, Jefferson de Angeles; Crabtree, Arthur Lewls; Row- ley, Willlam_ Seymour, and Sir Ben- jamin, Nell Martin. Washington is among the cities that may see this production. Dislikes Imitators. ‘*()F all the absurd customs of the stage, I think the most foolish is the imitation habit,” says Irene Bordoni, the star of *“Naughty Cin- derella.” ‘“‘Some actors are forever giving Imitations of other players. If they did not mention the person's name they are trying to be like, the audience would never be in the secret at all. “Who was it that T heard the story about? Oh, yes, it was your own Nat Goodwin, who, when he sawan actor imitating him on the stage and was happenings. Dream plays are apparently due to be turned out this season at the rate of about one a week. Beggar on Horseback” is not cool in recollection before the Molnar comedy “The Tale of a Wolf” makes its bid with the peevish husband well in the foreground once more as events of delicate ahsurditK Much depends on t unfold themselves in slumberland to the weary wife. e acting of a play of this character. Subtlety of per- sonal expression means everything. There are three responsible charac- ters. The performance of the husband by Roland Young gives ositive assurance that “The Tale of a Wolf” is‘at‘lezn one-third of a good play. * ok x Over at Poli's the play which started out to make history by being so wicked that the Broadway stage would simply have to reform proved a melancholy misstep into the gutter. The greatest pathos of the “Good Bad Woman” was displayed in the casting of a really talented young wom- an in so bedraggled and dull a sp;ci:\fl; oi*commcn:ialized dramatic vice. The clock is frequently turned back since it seems impossible to get any more theatrical alarms by speeding the hands forward. “The Get- away” is a rip-roaring melodrama, comparable to those that flourished when Buffalo Bill was the proud autocrat of the big American spaces, and every boy who read dime novels cherished the dream of slaughtering a few Sioux on his way to that realm of desperate adventure, the Mexican border. “The Getaway” is a border drama, but despite its Western locale it deals with the borderland of the underworld. It claims to ridicule the crook play, but the satire if present is dense. It is full of shooting. There are no treacherous redskins lying in wait to scalp the unwary pioneer, but there are murderers, confidence men and all the rest of the desperados known to the modern rogues’ gallery. It includes in its equipment more firearms than the property clerk has at police headquarters. Cowboys dis- port themselves in all the leather and brass regalia of their professions and the turns of incident are sharp, unexpected and thrilling. It is melo- drama which stops at no crime, even that of laying a man out in cold blood to prove to the horrified audience that the person with a reputation for murder means business. It is the latest example of the producer’s determination to secure the kind of success termed a “knockout,” even if he has to use brass knuckles. And so the story goes. The new chap- ters of the theatric chronicle are in consistent continuation of the familiar themes. But the playhouse potentates are unanimous in the assurance that this little period of suspense will serve to give the greater effect to some big thrills which ars on the waye ¢ 0 asked what he thought of the im- personation, summed it all up by re- plying: ‘One of us must be rotten.’ “It all seems so stupid to me—that is, when it is done seriously and the person is supposed to be a facsimile of the other man—no two people are enough alike for that. However, the attitude of audiences toward these so- called imitators is peculiar. They will invariably applaud his efforts enthusi- astically, no matter whether he bears the slightest resemblance to the origi- nal or not. “I heard of an actor once, a very good one, by the way, who used occa- sionally to indulge in imitations. He was playing in Milwaukee and some one suggested that he give an imper- sonation of one of that city’s promi- nent citizens. Never having even seen this person, he found out that he was a German and spoke with a dialect. That night he announced among his other imitations one of the well known townsmen and proceeded to tell a story in dialect that he had often used before. It was a big hit and was re- ceived by the audience with rounds of applause. “When imitations are given for the purpose of burlesque, that is another thing and they may be very humorous. At a benefit performance in New York recently I learned that a man was going to give an.imitation of Bordoni, myself, you know, and I was, oh, 8o anxious to see him. It was just too funny for anything and I laughed, oh, so much! He was a big fat man and very clever. He had had made for himself a gown, copled after one of mine—it was so ridiculous—it hung on him so funny, and he had a wig that had been made to look like the way I dress my hair, with the Bordon! bang and all. When he took it off it showed that he had a nice bald head, so laugh- ble it was that I thought I would fie convulsed. He sang one of my songs, ‘So This Is Love,’ and it was so amusing the way he did it with a French accent, much more exag- gerated than my own, I am sure, be- cause I think I speak very good la Anglals for only four years in Amer- ica, n'est ce pas? It was all 8o excit- ing and I did enjoy it so much. “I have wished since that the real Bordoni could be funny as that imitationl” | The new PLroRENCE PITTENHOUSE Poliy “The Passoniate Prince.” Lowell Sherman in “The Passionate Prince” is announced for the National Theater the week beginning Sunday, October 11. Sherman is one of our most picturesque actors, and in such a_vehicle his talents and his person- ality should prove a potent magnet. play is advertised as a | highly novel and diverting entertain- ment. Its authors are Achmed Ab- dullah, writer of colorful Orfental tales, and Robert H. Davis, magazine editor. It is produced by Carl Reed, the young manager whose “Aloma of the South Seas” is still a hit in New York, and A. H. Woods, personal ad- ministrator of the fortunes of Lowell Sherman for these many years. Frank Bacon's Successor. AY HUNT, one of the picturesque characters of the theatrical and motlon plcture profession, who plays the role of Bill Jones in the Willlam Fox production of “Lightnin’,” was chosen from more than 1,200 appli- cants to play the part made famous by Frank Bacon. Hunt was adjudged to be the best equipped in personal- ity, appearance and ability to depict this lovable fiction character. Mr. Hunt was a close friend of Frank Bacon, and he admits that his highest ambition was to play Lightnin’ Bill either on the stage or on the screen. He is 59 years of age and has been connected with the theatrical profession since a child. He started his stage career with the Arch Street Theater Co. of Phila- delphfa, which was Georgia Drew, better known as Georgia Drew Barrymore, and mother of John, Lionel and Ethel Barrymore. At that time Mr. Hunt played comedy parts. He has played comedy_ roles of every Shakespearean play. He di- rected Willlam Farnum in the first play in which he ever appeared. Florence Rittenhouse. LORENCE RITTENHOUSE, who will be seen as Mary Allison in the production of ‘Mission Mary,” was leading woman for two vears of a Poll's Theater stock company. As Liz Burns in “The Shame Wom- an” she was accorded high praise in New York, and her portrayal was de- clared one of the best of the season, stamping her as an actress of great force, with sentimental and physical eppeal. Creator of “Red Head." RENE FRANKLIN has been called the humangmelting pot,” for no one better depicts multifarious types than this delightful artist in her character song storles. Miss Frank- 1in also is the only artist on the vaude- ville stage today, it is claimed, who writes the songs she sings. Not hodge podge, but songs which can be short-storyized, dramatized and pic- turized, so complete are they. Irene Franklin made her first big hit singing “Red Head,” since which she has written a new “kid" song every year. In a lovely old English house in Chester Hill Park, Mount Vernon, N. Y., in a sunlight study at the head of the wide stairs, stands a little white aipright piano, the music from which 1s heard all over the country. It was on this little white upright that was first heard her famous song, ‘“Red Head! Red Head!" The comedienne says that frequent- ly she spends about 18 hours a day writing her songs. She describes her voice as “five notes and a squawk,” but yet always it delights the ear. Mutual Looking After the Fans. ANAGER GARRISON of the Mu- tual is installing a “Playograph,” upon which will be reproduced, play by play, the world series games as they take place at Washington and Pittsburgh. To operate the board Garrison has employed from the makers two of their best operators, and is going to offer this attraction to his without extra—chasgey organized by} NicHOLS Belasco urrent Attractions At t}le Thcaters Tl’lis \Veel(. NATIONAL—“Naughty Cinderella evening. POLI'S—“Mission Mar BELASCO—"Puppy Love, comedy KEITH'S—Irene Frankl EARLE—"“The Lucky Horseshoe,” STRAND—Gilbert and Avery, vaus GAYETY—Harry Steppe’s Show, burlesque. MUTUAL—"Step Lively Girls,” burlesque. NATIONAL—“Naughty Cinderelia.” Irene Bordoni, the inimitable French- American comedienne, will come to the National Theater for one week, beginning tomorrow -night, in a new romantic song farce, entitled “Naughty | Cinderella,” adapted from the French | of Rene Peter and Henri Falk by Avery Hopwood. This new vehicle was given its American premiere in Atlantic City last Monday night, and is sald to afford the piquant Bordoni the best opportunities of her career. The play is in three acts, with scenes laid In the salon of an apart- ment {n Paris and a hotel apartment at the Lido in Venice. In the central character Miss Bordoni will appear in | a serles of frocks and costumes from the establishment of M. Paul Poiret of | Parls, who also designed the settings and decorations for the production. Miss Bordoni will punctuate the ac- tion of the play with a group of new songs especially composed for her by Paul A. Rubens, Ray Goetz and Irving Berlin. Gilbert Miller has sur- rounded the star with a capable com- pany, including Pauline Armitage, G. Pat Collins, Orlando Daly, Adele Windsor, Etlenne Girardot, Alfred Ilima and two actors new to these shores, Henry Kendall and John Deverell of London. The play was staged by W. H. Gil- more, who has acted in a like capacity for Miss Bordonl in other productions. After the week at the National, Miss Bordoni will begin a season’s engage- ment in New York. POLI'S—“Mission Mary.” Sald to be full of thrills and with many exciting and tense situations, “Mission Mary,” a comedy drama in three acts, by Ethelbert D. Hales, will be the attraction at Poll's Theater this week, commencing this evening. It is not often that a play which has been accepted and for which royalty has been paid to the author is held back for five years for production. Yet Mr. Hales wrote this play more than five years ago, and several of the prominent managers have negotiated with him at different times for its production, but satisfactory arrange- ments were never made until the M. J. Nicholas Productions secured ‘“‘Mis- sion Mary” from Mr. Hales under contract not only to produce it but all the plays of which Mr. Hales is the author as well. ‘The inspiration for writing “Mission Mary” came to Mr. Hales while visit- ing an old mission house located on the lower west side of New York, the resort of the down-andouter and characters of the underworld in gen- eral. It shows the vicissitudes that this class of people are called to uyn- dergo. ‘“Mission Mary" is declared to be in no sense a melodrama, but a thrilling story with characters seldom, If ever, encountered on the stage. As the name implies, it concerns 4 woman who, through no fault of her own, has been thrown into a section filled with many kinds of people who have trod- den the wrong path. Mary is one of these. A mission is started by a charitahly-minded man who has been deposed from his church by those who are not in accord with his teachings. He starts the mission in an out-of-the- way place and gathers around him many of the fallen people. The story is sald to be of intense interest, with many situations that hold the audi- ence spellbound. Florence Rittenhouse will be seen as Mary -Allison, the woman with a past. Miss Rittenhouse is remembered in Washington as leading woman of stock at Poli's for two years, and also for her great success in “The Shame Woman,” which had a season’s run in New York. Mr. Hales, the author, will be seen as Dean Roberts, the kindly minister who tries to help those with whom no one cares to have anything to do. Bertram Harrison is the di- rector of the play. BELASCO—*“Puppy Love.” “Puppy Love,” a comedy of youth, sponsored by Anne Nichols, author of “Abie’s Irlsh Rose,” comes to the comedy. , vaudeville. | Aylesworth and Jack Raymond " song farce. Opens tomorrow drama. Opens this evening. Opens this evening. Opens this afternoon vaudeville. Opens this afternoon. deville. Opens this afternoon. Opens this afternoon. Opens this afternoon. non, Maude Eburne, Florence Earle. Charles Abbe, Robert Keith, Arthur “Pupy Love” is the latest work Adelaide Matthews and Martha St ley. Miss Matthews will be rem bered as co-author of “Just Mar- ried,” with Miss Nichols, and Martha Stanley is the author of “My Son.” which had a successful metropolitan run last season and is now on the road. The story treats of a youthful love affair in which the young couple are baffled by the interference of their parents, ‘and the comedy centers around the boy and girl outwitting their parents. The mother of the boy and the mother of the girl are rivals for the social leadership in their home town. and a bitter enmity exists between them. The mother of the daughter sends her offspring to visit an aunt with instructions that the girl marry the most eligible young man of the town. The aunt selects for her niece a youth who falls to attract the girl. Her real suitor follows her to her aunt's home, where he is engaged as a chauffeur. The aunt discovers his identity, and many amusing situations result. Everything is cleared up, however, in the end, with a reconcillation be- tween the rival parents and the wed- ding of the lovers. The comedy is replete with hu- morous incidents and bright and en- tertaining dlalogue. It is clean, funny and is free from suggestiveness of any character. The play was staged and directed by Clifford Brooke, and the settings were designed by Living- ston Platt. KEITH'S—Irene Franklin. Miss Irene Frapklin, American comedienne, has just completed a concert tour of Australia and is mak- ing her first appearance at B. F. Kelth’s Theater this week with Jerry Jarnagin, offering a new series of songs written by herself and Mr. Jarnagin. Miss Franklin has not ap- peared in Washington for a long time and her many friends will welcome the news that she brings along what James Montgomery Flagg has called “a great explosion of orange phos- phate hair.” Featured will be the Kuban Cos- sack Chorus, under the direction of Stefan Chelukhin. There are 18 voices and every man served in the imperial Russian army during the Czar regime. Others are William and Joes Man del In a gymnastic act called “An Unusual Occurrence”; Valerie Ber gere and her company, who bring a new domestic comedy by Carl McCul lough, called “A Woman's W Alice Hamllton, remembered in * ender and Old Lace,” appearing with George Hayes in “The Spirit of '76," by Paul Gerard Smith; the Trado Twins, two clever dancers, in a turn called “A Delectable Dance Divertise- ment”; Margaret Stewart, famed for her modeling, presents “An Artistic Treat,” assisted by Beulah and Blanche Stewart, and Willa and Har- old Browne, well known artists, who have forsaken the brush and paint for the latest artistic fad, which they call “Rag Art.” Framing the bill will be the Aesop's Fables, Topics of the Day and the Pathe News Pictorfal. EARLE—“The Lucky Horseshoe.” Tom Mix, the film ar, will be shown as the headline attraction at the Earle this week, in his new photo- play, “The Lucky Horseshoe.” The story concerns a Western cowboy who romances in Spain. Ann Pennington is the featured player. “The Wreck,” a novel scenic pro duction, heads the vaudeville program It depicts a transatlantio liner six days out at sea in a storm. Other offerings inclyde Ed Pressler and Blanche Klaiss in “Song, Comedy and Pantomime’; Mallon and Case in “Keeping the Doctor Away"; “The Temple Four,” “Three Jacks and the Ace of Spades” and “The Major Re vue,” a surprise offering. An organ solo by Alexander Arons, the Earle opening tonight, with a cast which News and a two-reel comedy will com- Shubert-Belasco Theater this week, J Bta fil e dpgiudes Bivian Martig, Efe Shan- (Continued on -Second Faged