Evening Star Newspaper, October 11, 1925, Page 63

Theaters Chpnh ™ MOORES National Greetings From Humpty the Prize Ring| Dumpty and BY PHILANDER JOHNSON. Hail, Humpty Dumpty! Long, long ago you fell from your perch high on the wall of popular esteem! But the calamity of your crash was not as irretrievable as depicted in the nursery myth. Somchow or other vou have managed to lie under the grass and leafage of many Summers and Winters, and you have proved the ancestral source of many jocund bearers of bauble and coxcomb. R ek In f nothing disappears from the theater. The Punch and Judy show survives in more form as marionettes are displayed in the touring wagons as the au- tomobile replaces the cart of Ros- cius. In the person of Fred Stone the story of the clown is renewed in one way or another for each genera- tion since first he frolicked through the realms of fairy pantomime in companionship with Columbine and Harlequin. The clowning of Stone brings the incident of the happy ending into the story of Pierrot as now extant. He is no longer dumb. He utilizes the arts of speech a Tittle, and still asserts-himself chiei- 1y by his spirit of simple kindliness combined with agile grace. % ok % In “Stepping Stones.” despite its <cenic splendor, there comes to the <pectator the sense of heing a guest | at a family party in an_exceptior ally talented home. Of course, neighbors have been invited in, such, for instance, as the contortionist, who surpasses any of the tricks that used to be done by the demons who hasnted the mysterious fens where black art conspired with supernatural yet vain endcavor to defeat the love affairs of gentle and trusting villagers. The merry vil- lagers, too, were in evidence, dan ing wi c hoydenish, but never wearing, say- ing or doing a thing out of keeping with the most decorous of family reunions. entertained parlor magic. less inclined than of athletical endurance. The influ- ence of a placid prosperity ha brought a touch of ingenious dig- nity even to our pet clown. Mother Humpty Dumpty also disclosed ac- complishments which won her re- nown as one of the belles of Broad- way. And then little Miss Humpty Dumpty was called forward to shaw the neighbors how she could sing, dance and recite. It was all with and was of yore for tests among friends, and if the little miss | had procceded gravely to an old- fashioned parlor organ and plunked out “Silvery Waves” it would have been delightful and satisfactory, for there is something that makes au-| diences in the theater, as well as in the political arcna, find pleasure in <ccing the mantle of a distinguished <ire descend upon his progeny. * % ok ok Miss Stone illustra the differ- ence bhetween genuine talent, carly manifest, and the infant prodigy. Her father tosses his laurels to her with the lavishness that only de- voted parental affection could prompt. and she catches and wears them with such dexterity and grace as to make her performance rank as most wonderful of the bewilder- ing demonstrations i all the Humpty Dumpty bag of tricks. Peter Pan. like the luckless fellow in the old German tale, lost hi shadow; as Ired Stone lost his when time brought a parting from his first dancing partner, Dave Montgomery. He finds again his shadow a charming one indeed in this dainty child. * ok ok x es ‘While Pierrot has climbed to a situation of securc estcem and is as- suming a position almost of patron- age toward the legitimate drama, we may glimpse across the stage at Poli's an idea of how the legitimate drama itself is faring in the process- es of histrionic evolution. Wilton lackaye, one of the most represent- ative of legitimate stars, now ap- pears in musical_comedy. He h the part of a gruff police officer. claborate | h an abandon at times almost | Father Humpty Dumpty | a dittle burlesque | seemingly | the man_ who once} the hypnotic terrors of | | Svengali the management may have | | had some idea of duplicating the | grotesque cffect of the Italian police- | man in the Irene Bordoni show. But Lackaye never was a farceur and he never will be one. When Mau- | | rice Barrymore was appearing in a| | very spectacular but poor play a- friend exclaimed in outraged feeling, | | engaging | launched ANCGELUS LEL Gaqehj | The Tl’leater Orcl'lestra 0( the Future. | HILE George Gershwin has been | winning fame through composi- tion of Jazz in the purest modern | sense, another American musician has been developing what he character-| izes as @ new type of orchestra. Harry | Archer i= not only responsible for the musical score of “Little Jessie Barrymore, what are you doing this io The reply was “For seve { hundred and fifty a week.” Lack- | laye's present cngagement suggests pecuniary consideration as the only reasonable explanation. Expense has not been spared. The show is en- titled “Oh You.” and_the lavish in vestments apparent in a series of truly magnificent scenes cause ap- prehension of a change to “I. O. U. x % ox % In all the tempestuous rapidity of his carecer it may be doubted whether Earl Carroll has had a worse worriment than “Oh You.” It| is a_colossal spectacle. Influenced | probably by the successes of “Rose- Marie” or “Louie the Fourteenth,”| it attempts a plot. A plot in a musical show is like dynamite. E pertly employed with well measured | stint it serves to induce a smooth | and satisfying condition. In mala- {droit hands it is likely to shatter the works. * ok ok ok Lackaye is a “Washington boy “ven today this statement is com- | mitted to print with hesitation, for | in his_ecarlier career nothing was more likely to induce a state of in-| dignation on Lackaye's part than this well meant expression of wel-| come to the home circle. The am- | | bitious player rejected the artificial | | compliment which friendly enthu- | siasm might prompt and wanted to be measured impersonally on such ! merits as he could assert. But men- tal attitudes are not understood | Nature has interposed a_barrier o! skull to prevent some of our most | important thoughts or emotions from working lucidly, inwardly or | outwardly. So Lackaye suffered at | the #Mands of innumerable critics | | because he seemed to disdain a well | meant tribute. In holding aloof | | from demonstrations of personal geniality and seeking to base his life uncompromisingly on his rec- ord as an artist he forfeited many friendships and drifted, as most keen mentalities are liable to drift, | | into a habit of cynical expression. Smart stories were attributed to him and became current in a way that left him no opportunity to authenti- cate or deny. It was told that A. M. Palmer, one of the most promi- nent American managers, called the actor on the carpet and said: “Young man, I understand you | have been indulging in cheap wit- | ticisms concerning myself.” “Well. Mr. Palmer,” was the reply, “I'd advise you to lay in a stock while they are cheap. There’s a | demand for them that may raise the | price.” While endeavoring to arrange for the exploitation of a work which was probably nearer to his heart than anything he ever undertook, Hugo's “Les Miserables.” he was asked if he had found a manager who would produce it. ; “Produce it,” echoed Lackaye in haughty scorn, “I haven't —ev found one who could pronounce i All of which, and much more like it, proved no great assistance in the cultivation of popularity in mana-| gerial circles. But Lackaye has no doubt found greater pleasures in the intellectual strife which sur- rounds the wit than he could ever have secured by plodding the placid and non-committal pathways of dumb show. * K * “Is Zat So” called attention to the close relationship_of pugilism with the theater. It is direct, un- polished humor, and is designed for | popular audiences who ‘love the| patois of the ringside. Following a gift copy of James J. Corbett's book. “The Roar of the Crowd,” it emphasizes the remarkable degree with which the prize ring has asso- ames,” “Merry, Merry,” and “My | Girl,” which comes to Poli's Theater | the week of October 18, but he Is as well a band and orchestra leader. His present orchestra with “My' Girl” is primarily a jazz band in the Whiteman and Lopez sense. Every | member is a capable solo performer, chosen carefully. The distinctive con- tribution they are making to the music of the theater is that because they are acting as accompanists to per- formers they must also double as a | legitimate siring and wind orchestra as well as a jazz band. The saxophone players with the Archer band are not only capable of playing all the saxo- phones, from the sopi.~~ to the bass, | but they can double in the wood winds, and one of them is a cellist. One of | the numbers in the plece, “You and I,” | s played as a straight waltz, with no | tinkling of jazz, and is then orches- trated in typical jazz fasihon. The theater orchestra of the future | is in doubt. There is an inclination on | the part of Mr. Archer to predict the passing of the regular “house orches. tra.” He believes sincerely that the time is coming, and soon—when travel- ing musical organizations will carry their own orchestras. The old theater orchestra has outlived its day. With orchestras which can play both the modern and established types of music, the musicians become an integral part of the performance. This is the theory that Harry Archer has tried. success- ;;luly with his three notable musical ts. ciated itself with the American theater. The adulation of the prize- ghter’ once brought forth a catch phrase quite as prevalent as we now find zat so?” It was “Let me grasp the hand that grasped Sulli- van It was introduced through the theater by a play called “Little Puck,” in which Frank Daniels ap- peared as an adorer of John L. Cor- bett himself was a vaudeville enter- tainer of polished qualifications. John L. Sullivan appeared in melo- dramas with titles like “Honest Hearts and Willing Hands.” Peter Jackson was, in some respects, the most - remarkable Uncle Tom ever seen in the dramatization of the| Harriet Beecher Stowe novel. The prizefight manager, resourceful, alert and a master student of crowd psychology, has ascended to-a ‘posi: tion of extraordinary power in the theater. Corbett’s brisk narrative gives an intimate insight into the processes by which men learn not only how to face pugilistic perils. | but_how to daré the mob. William A. Brady, who was Corbett’s man- ager, is one of the most famous of producers, and his intrepidity in the face of public opinion was clearly shown by his production of “The Good Bad Woman.” Sam Harris, as manager of Terry McGovern, soon found that he had the talent for promotion which could be turned to theatrical account. He next in- terested nself in George Cohan, the comedian, and is now very re- sponsibly associated with Irving Berlin, the composer. Corbett is content to make a straightaway sporting narrative of his book without attempting ethical discriminations, which, after all, should be left to a professional wag and philosopher like G. Bernard Shaw. He merely explains some of the details of the processes which have touched the American theater and illustrated its uncompromising and immutable spirit of practical democracy. | * ok x % While the drama, as pugilistically influenced, has grown steadily more scant in the old deference to the idea of virtue rewarded and vice punished, it still propounds the moral that one way to financial | case and honored memory is a good, | clean fight, SUNDAY 5 MORNIN( OCTOBER 11, 1925. HOMER LIND - Barle LouisL SWANSON Belascc Current Attractlons? At the Theaters T}us Weel(. NATIONAL—Lowell Sherman in “The Passionate Prince,” Oriental Opens this cvening. “Artists and Models,” CO—“Is Zat So?" comed KEITH'S—Alice Lloyd-Bransby \Villiams, vaudeville. afternoon. EARLE—“Homer Lind Revue.” € STRAND—“Alice in Toyland,” vau; GAYETY—"Talk of the Town," ternoon. g MUTUAL—"Speedy Steppers,” burlesque. NATIONAL—'The Passionate Prince.’ | Lowell Sherman’is the star of Carl| Reed's production, ““The Passionate Prince,” which is to be presented at the National Theater this week be-| ginning this evening. Sherman, whose admirers have come to look forward with much curiosity to his theatrical | adventures, in the present instance, | according to advance notices, provides | “a novel and diverting entertain- | ment.” | “The Passionate Prince” was writ- | ten by Achmed Abdullah, a known author of Oriental tales, and | Robert H. Davis. The production, | which is said to be a very beautiful | one, was designed by the eminent | director, Livingston Platt, who made | a special journey to the Orient for atmospheric effects. given that the opening night perform- ance, at least, will be given precisely as New York will see the piece a fort night hence. 1 The story concerns an Arabian po- | tentate and a woman just beyond his | reach, who even ventures into palace and is forced to remain b cause her fiance is lurking in the | neighborhood and is suspicious of her | fidelity. But even a prince of Tunis, with all his powers of conquest, must obey the traditions of his noble race and so the beautiful intruder is un- molested, through the use of her dainty slippers, which she places just outside her curtained bedroom—a tangible sign in the Orient that one even as exhalted as the high born shall not pass. The jealous entrance of the girl’s flance, the battle of wits between the Christian and the unbe- liever, and the grief of little Musk Drop, the Arablan favorite of the prince, all combined to keep the drama simmering as a background for color- ful and picturesque romance. Mr. Sherman will be surrounded by revue. well |4 | Ralph land Nice, travesty dancers; a capable cast including Charlotte ' wynters and Stanley Logan. Opens this evening. Performance this evening. Opens this )pens this afternoon. deville. Opens this afternoon. Columbia burlesque. Opens this Opens this afternoon. POLI'S—New “Artists and Models.” The new addition of “Artists and Models,” the Shubert's girl-and-music | annual, begins a week's engagement | at Poli's tonight. This revue ran all| last season in New York and is an| entirely different production from the | first, which was presented here last vear. 1t travels in a 10-car special train, and the company numbers 100 people. | There are 2 acts and 34 scenes and a score of 20 musical numbers. The ialpgue is by Harry Wagstaff Gibble, with lyrics by Clifford Grey and mu; v Sigmund Romberg, Al odman and Maurice Rubens. The cast includes Grace Hayes, azz songstress: Fred Hillebrand, comedian; Lucita Covera, Spanish dancer: Nancy Gibbs, prima conna; | Alex Morrison, _trick _golfist; Frank -, ventriloquist; Dave Seed and | ustin, comedians; DeHaven | Charles | nger, Ann Toddings, Paula Lillian Roth, Ewing ,Eaton, Marie Stoddard and Valadia Vestoff and the Broadway Entertainers' Band. Fifty artist's models appear in the posing tableaux and musical numbers. These girls were recruited from the foremost studios of Greenwich Vil- lage, and the collection introduces blondes, brunettes, ravens and Titians. Costumes worn by the models in the episode of “The Living Statues” are of “elephant’s breath” chiffon, a new stage fabric just imported from Paris. Scenic highlights of the show are “The Living Palette,” the French fan, the Spanish castle, the New Hampshire wood, the rose ballet, the golf scene and the Midnight color ball. In the “Promenade Walk” number, a group of dancing girls change from white to blackface urder the glare of trick lichts. 1In this number the T~ ~. - JEAN FOX Mutual Moecow Art Theater Musical. T has announced that completed with adimir * Nemirovitch-Dant- chenko, co-founder of the Moscow Art Theater, whereby the Moscow Art Theater Musical Studio will open its | first American engagement, In country Monday eveningz, December 14, doubtless in New York. Mr. G t also gave out the list of patrons and patronesses in connection | with the new American season of the | Ru The “committee nounced includes ORF he has A} 5 of patrons” Otto H. Kahn, hon- ¢ chairman; Mrs. Vincent Astor, oree Plerce Baker, | August Belmont. Dr. Nicholas Mu |Bwler, Paul D. Cravath, Walter | Damrosch, John W. Davis, Mrs. | Newbold Mrs. Marshall | Field, a M Charles Hast- ings, 1} Arthu | Juilliara, ence 1. an. digard Giulio Gatti Dana Gibson, sident John Curtiss James, homas W. Mackay, Mrs, 2 Mitchell, Dr. Eugene Noble, William Lyon Phelps, Frank Polk, Edward Robinson, Leopold S kowski, Mrs. Willard Straight, Au- gustus Thomas, M Henry Rogers | Winthrop, Mrs. H. P. Whitney. In the course of the limited New | York season, the Moscow Art Theater Musical Studio will give its entire rep- ertory, which includes: Lecoc Daughter of Madame Angol™; Aristc phanes’ “Lysistrata,” with music on Greek themes by the modern Russian composer, Reinhold Gliere; “‘Carmen- cita_and the Soldier.” with the Bizet music for “Carmen” and a wholly new libretto drawn direct from Merimee's tory by the Russian poet, Constanti | Lipskeroff; Offénbagh’s “'La Perichole’ |and a triple bill from Pushkin, en titled “Love and Death,” featuring Rachmaninoft’s short opera, “Aleko” and including also “The Fountain of Bakhchi and Gliere’s mimo-drama, “‘Cleopatra.” The original stage settings for all of these ' productions, which it s sald have set the entire Russian theater into a furore of discussion, will be | brought intact with the company. | Among them will be represented th work of Maria Gortinskaya, Plerre | Kontchalovsky and Isaac Rabinovit | Rabinovitch particularly, through hi: designs for “Lysistrita g mencita_and the Soldier,” is said to have pointed the wa¥ to a new and revolutionary stage architecture. Among the leading plavers in the company will be Olga Baklanova, one Thomas Grier 7 I | of the outstanding dramatic and vocal talents from Russia’s younger genera- tion: Vladimir Lossky, one of Russia’s most celebrated regisseurs drama and a well known character actor and singer; Leonid Baratoff, an- other assistant to Nemirovitch-Dant- chenko on the regisseur’s staff and an eminent comedian; and Ivan Velika- noff, who appears in many leading roles opposite Baklanova. The company, which includes a total of 105 people, will bring its own con- ductors, Vladimir Bakaleynikoff and Constantin Shvedoff, and its own chorus-master, Yelena Skatkina. No- table in the executive staff will be the presence, of Yakoff Gremislavsky, admittedly the greatest 1viing master of make-up. s AL T A First to Sing Famous Song RACE HAYES, the jazz songstress in “Artists and Models,” was born in San Francisco, and began her ca- reer in the cabarets. . She studied with Santa Bella, the Spanish maestro, for two vears, and sang at the old mission festival at San Juan Capistrano. At 16 she be- came an entertainer at the Pavo Real, an exclusive cabaret, where she sang ballads, and learned the knack of put- ting over popular songs. She was the first one to sing “Alexander's Rag- time Band,” securing a copy from New York long before it struck the public fancy. Later on she met Irving Berlin, the composer of this famous tune, and she has since introduced many of his songs in vaudeville. After the Frisco cabarets she drifted into vaudeville, and was given her first contract with Kelth vaude- ville the opening week at the Palace, Cleveland, in 1922. She won her spurs as a jazz singer in London, where she appeared .in varlous De Courville productions. She was starred in “The Rainbow.” an elaborate revue, at the Empire there. This jovous Frisco miss has a_per- sonality all her own, which is said to combine ‘the robust dash of Sophie “Charleston” dance is featured. (Continued on Becond Page.) Tucker, the winsome smile of Nora Bayes, and the lissome figure of Gilda Gray, arrangements | this | Mrs. | Hibben, | - | worthy ‘s “The | Alnde. LLovD Keiths ‘Comin | BELASCO—"Desire Under the Elms. The much-discussed “Desire the Eims,” for 49 weeks one of tha | reigning sensations of New York, comes® to the Shubert-Belasco next | week. opening Sunday night, Octo- ber 18. | The cast is headed by Frank Mo Glynn of “Abraham Lincoln™ fame, in the role of Ephraim Cabot. Freeman. long a noted figure in the Theater Guild, is th» love-starved Ab bie Putnam, and Howard Merlin, the vounger son. The seftings an i are by Robert Edmond Desire U'nder the Elms” is pre sented hy Kenneth Macgowan, Robert Edmond’ Jones and Eugene ('Neill, under the management of A. L. Jones and Morris Green. | NATIONAL—"MUSIC BOX REVU The fourth 1 “Music Box Revue” will be the attraction at.the Theater next week commenc- Sunday October 18, am 1. Harris and Irving Berlin its producers. The latest revue declared a iccessor to those that have before, and in many respects | petter. am H. Harris presents the revue. rving Berlin furnishes all its lyrics and music. John Murray An | derson is responsible for the staging. | Settings were designed by Clark Rob- inson, costumes by James Revnolds. There are two acts and 28 scehes. | Prominent in the cast are Fannie | Brice, Clarke & McCullohgh, Oscar | Shaw, Grace Moore, Brox S Corey Kitchen, Joseph Macauley, Wynn Bulloch. | Leonard "st. Frank Allworth Bud and Jack Pearson, Hazel Gau- dreau, Irving Rose, George Clifford, | Lilllan _Aune, Dorothea and XNalda, Henry Permain and Thomas Draak. ““The Music Box Revue” is described as a riot of shimmering spectacles and !opulent numbers with a chorus of 60 exponents of grace, charm and the {dance, young and beautiful. POLI'S—“My Girl." Haunting melodies and a superior sort of a jazz, clever dancing, tart | travesty smart_satire are prom- ed in Lyle D. musical | tarce, Hrl, i annus iona ing evening, Zone | Sunday evening, October 18. | The authors are Harlan Thompson | and Harry Archer, who provided the book and music for “Little Jessie James” and “Merry Merr | There are numerous song hits. _“My Girl” ran all last season at the ‘Vanderbilt Theater in New York and comes to Washington direct from a {12-week engagement at the Wilbur Theater, Boston. Mr. Andrews prom- ises a cast of musical comedy favor- ites, a chorus of beauty and dancing skill and a production of richness and good taste. KEITH'S—Adele Rowland. Adele Rowland in “Story Songs™ will headline the bill at B. F. Keith's Theater next week and Harry J. Con- ley will be seen in a new act by Wil- lard Mack, entitled “Slick As Ever.” STRAND—"Sally’s Alley." Alex Gerber presents the headline attraction at the Strand Theater this week, featuring Primrose Semon Co. in a skit entitled “Sally’s Alle; with a cast including Arthur Conrad, Estelle Macle, the O'Connor Sisters, Manny Kramer and “Fatty” Wise, The plaviet is by Alex Gerber and was staged by Francis Weldon. Addi. tional features of the program in. clude Phil Roy and Roy Arthur, blackface crockery demolishers, in “China,” a comedy number; Jack An- thony and Harry Rogers in comedy songs and dancing, billed as “Italians with the Irish impersonator, in “Cleaning Up, Betty North and Dorothy Keller in nes as You Like Them. he photoplay, “The Circle,” is a ory of runaway wives, featuring Ileanor Boardman, and based on the play by W. Somerset Maugham. “The Circle” is an English comedy-drama with a satirical and ironic twist and filled with humorous situations. Short films of interest and educa- tional value, with the usual orchestral numbers, complete the program. EARLE—Melvina, Spanish Ballerina. Melvina, the Spanish Ballerina, with a supporting company of 14, will head next week’'s program at the Earle. This Spanish artist is now appearing at the New York Hippodrome, and at the termination of her engagement will come, direct to Washington. Other offerings _include Emmett Welch's Minstrels, Whitfield and Ire. land, Buckley, Calverf gnd, Stiliwell Under | Helen | sters, | arce which comes to the ! Poli's Theater next week, beginningz | g Attractions land the widow of the Great Herrmann, Mme. Adelaide Herrmann. The photoplay will he comedy, “Seven Days,"” mous play a Christie from the fu ne Parisienne.” La Revue ¥ s next's week at- GAYETY—"La Re Ed A. Shafer’s risienne” is listed | traction at the Gavety Theater. Of the usical revue type, it promises 12 )y e stage settings. many of them | nally novel and heautiful. It inced that this attraction not only spotlessly clean in its brand of humor, but is ingly weld equipped with beautiful costumes and charmir The headed by Harry and Harry Pepper. come- and includes Ruth Gibhs, Joe Je: Christy, Marie “Red” and Arline ns, Forte, Oliver, Roger: MUTUAL—* H Next week the M musical burlesque, @ production owned | mond. proprietor of | Gavety Theaters in he cast includes Worth, Norma. Noel, and Arthur Maye Hours.” 1 will_offer a Happy Hours,” by Sam Ray- the Star and Brooklyn. N. Y. Miss Madlvn Evelyn Butler AMUXNDSEN—Famous Explorer. Capt. Roald Amundsen, famous ex- plorer of the Arctic and Antarctic, who discovered the South Pole in 1911 and attempted last Summer to add to his fame by reaching the North Pole by airplane, is to visit this city. He arranged to appear at Poli's Thea- ter Wednesday afternoon, October 21, vhen he will deliver a lecture, en- titled ““Our Airplane Dash for the North Pole.” The lecture, which will be splendidiy illustrated with colored stereopticon pictures made from actual photo- graphs, will be a graphic account of Amundsen’s experiences in May last, when he and five' companions were compelled to descend in thelr two alr- planes on the frozen Polar Sea, (00 miles north of Spitzbergen, during their attempted flight to the pole. “LADY BE GOOD,” OCTOBER The attraction at the National Thea- ter the week beginning Sunday, ( tober 25, will be “Lady Be Good.” a musical comedy which was one of the outstanding “hits” of last season in New York. It is the joint product Bolton and Fred Thompson, of the book, with musical re being by George Gershwin, and ¢ Ira Gershwin. v Be Good” opened its Broad- sement December 1, 1924, nd closed there September 12, afier |329 performances. | 'Its featured players are Fred and | Adele Astaire, artistic dancers, and | Walter Gatlett, the wise-cracking comedian, who is accused of writing his own parts. It is produced by Alex A. Aarons and Vinton Freedley, who have made as many presentations in London as they have in their native land. | A" blg company includes Gerald | Oliver Smith, Katherine Sacker, Wini- fred Barry, Fern Adair, Sam Critcher- son, Willlam Wadsworth, Horace Lintz, Edward Jephson, Barney Bar- num, Bill Bailey, and a chprus of 40. GEORGE_ARLISS IN “OLD ENGLISH.” Winthrop Ames will present George Arliss in John Galsworthy’s “Old Eng- lish” at the Shubert-Belasco Theater the week beginning Novefnber 2. In this play Arliss is seen as a wicked octogenarian shipbuilder who meets his fate boldly and goes to his death as he lived, unrepentant. “Old English” is Galsworthy ina new vein. He is occupied not with a social problem but with painting a portrait. Arjiss presents another side of his art and personality as Sylvanus Hey- thorp. Ames has produced the drama and sends to Washington those players who impressed New York during the 197 performances at the Ritz Theater. H. B. WARNER COMING. H B. WARNER, long a prime fa- * vorite with Washington play- goers, will begin an engagement the week of October 26 in Max Marcin's latest melodrama, = “Silence,’ which was presented all last season at the National Theater, New York.. Mr. Warner appears under the direction of Crosby Gaige with a large company in_this very unusual play. Mr. Warner is best known to lov- ers of modern melodrama by his fine performances, through several sea- sons, in “Alais Jimmie Valentine.” He has been seen_ here since in a num- ber of plays of less exciting char- acter. In “Silence” he returns to his happlest field—the drama of intrigue, tensity, suspense, deep and [ |