Evening Star Newspaper, January 31, 1926, Page 69

Theaters Part 3—8 Pages 61(? 1fipressio New WSl:lrn_'oundingsj By Philander Johnson. arise in = , the When cture cease to be a a concert or a Not counting scattered broad- const; i igh s a motion victure and bec vork of lit the volumes ast, the te stronger to every device of ar nt grows fort the “The Big Parade” e most elaborate mechanis eaves the longer accounted resources onder which brings number respansible. that of ustrated in attention ames co-operatively Fhe most conspicuous Laurence Stallings, who, after writ- ing “What Price Glo appears 20 have fallen into a relenting mood. Apparentl; taken a great deal of advice, for the comedy inci- dents show sage ex e and the sibility of red 0 «cce cries of he battle- by adjusted, however, seenes i camp feld. Having may s by tur from agnificent speci gitimate theater se to the nat- ature, where the small or ripples the unusual and mens brought into captivity at great expe aral habitat of the i3 natural companic calliope, roars ferce cvay in pathetic tr spirit o dollar mark as the rd $cenario * x % Children of the studio are so easily poiled that the a hesitation ,wbout adding a word of compliment here to the copious approval alrea, rnjoyed by Mr. Menjou and Miss Florence Vidor. They tell with new the story of lover dis- d as 2 menial and the haughty who imagines that she has falien in love with a man below her station, when, in fact, he the Vrince Charming, who mnot only heightens social position, but lifts the mortgage from the dear old ome. Thera's not a very great deal @ scenery employed. Handsome in- teriors and flashes of rural landscape are casily obtained. Tt is on the work of clever people before the camera that this picture, eli as the comic which sapplements it, de- vends. is * x witl _the the print circu- newsstands of in the Nation, ihe screen frankly to type for an interest and he low murmurs of laughter which greet the newspaper clippings of Not conte fated cvery city of | ns 1n | current humor prove | reading public that conironts that does not depend | entirelt for its impressions on phy |c 1 elaborate pan- tomi | * ok ok % George M. Cohan, in effect, played | both sides of the Avenue. While en- | gaged in reciting his own" lines to| approving audiences in the play “American_Born,” his music accom- panying “The Big Parade” made the theater sound like Pennsylvania ave- nue in war time. It was like a re- ion, bringing together in one per- 1 those notable contributors to Mr. Cohan, author: Mr.| Mr. Cohan, stage| “ohan, producer; Mr. | 1 poser, etc, etc. It may| { be doubted whether any stage favor- | ite has enjoyed many different ints of contact as th r('markahly’ versatile and indefatigable man. * ok ok X | Investigation in order as to whether there are enough good plays to take care of all the good actors. It is a coincidence that Niccodemi should have supplied plays for two men so similar in type as Nance O'Neil and Ann Harding. ance O'Neil's “Stronger Than Love” is a | better play than “Stolen Fruit.” Per- | haps the choice by these actresses | of two plays written by the author, both dealing intens ithe subject of mother love accordance 1 selectic T Miss Harding is an actr great power. In v wh seems to have been built together for the purpose of devising big heart- | wrin sonally responsible for the interest the drama can hold. She rises mag- nificently to every demand and needs only a better vehicle to assert herself as one of the historic figures of th English-speaking theater Perhaps it ration_given by the play seem ering demon actress that dequate. In holding the pleased attention of audience, inclu the handsome aristocrat who falls in love with a pretty but poverty-stricken govern- ess, the cruelly righteous village au- tocrat who persecutes and scandal- izes the heroine, and the angular but ardent spinster whose heart palpi- tates violently at the lightest sus- picion of a love affair. Then, too, we have the gentle old man, smiling and content with the shabbiest trifies of life, the sort of person whom we love as we sce him on the stage, but who would make us very sad were we to meet him in reality. With these familiar figures grouped about us we might have been happier, with many a smile for old times’ sake, if the element of terrific tragedy had not been so dominant in the revela- tion of a woman searching for the child whose father had betrayed her and pouring out in passionate inten- sity all her_capacity for love upon its memory. Imagination, too, stood in serious need for all the strength it could command in making plausible the abrupt transition on the part of her new suitor from an attitude of | contemptuous disregard for human pity to one of deep devotion and the v st generosity. Such reforma- Musical Comedy on Screen. [ Mrstea ng scenes, she is made per-|, Jve The Sunday WASHINGTON, ROBERTS Wardsan Dark “Thester L comedy, as well r fare of the dr favor as the tage, motion In 8 releases to 1 Tlirst Nat u 1 made frem singing The same company een version of “Sally. Irene,” starring Colleen Moore, and ‘Jlle. Modiste,” starring Corinne Grifith, ‘are anhounced for early re- ease. L two ure to be hits of the stage. la. veur made a e e Age Will Tell. vopular Americ sereen ss will not he obliged to look like a glrl ¢ to hold her place in public ard ording wrt Z. Leon- Metro-Goldwyn's 0 Rol director ance Madness."” “Ever since the beginning of screen drama,” says Leonard, “young and usually inexperienced actresses have crowded the older and more finished feminine artists to the wall, merely because the motion-picture public, with its high content of young people, has not been greatly interested in the problems of more mature years. The result has been a deluge of juvenile romantic drama. This has gone so far, however, that even the youngsters are tiring of it a bit, while the oldsters, who dily are increas- ing in numbers as screen patrons are beginning to demand a new deal. “The youngsters of yesterday are the oldesters of today and the shelks and flappers of 1910 are the fathers and mothers of 1926. They are still loyal to the silent drama, however, and by sheer force of numbers, they are beginning to make their more ma- ture influence felt. “I look for a complete change in dramatic mood very shortly and when that comes, the old actress, who 1s an artist but physically unable to look the part of a girl of 20, will come into ker own.” tions are possible, but they proceed, it must be assumed, with rather more subtlety and deliberation than are disclosed in this bit of story tell- ing. D SUNDAY 'principals’ " Scete frow Star MORNING, JANUARY Current Attractions At the Theaters This Week. NATIONAL—“The Show Off,” comedy. Opens tomorrow evenir BELASCO—“The Gorilla,” mystery comedy. ning. POLI'S— ivening. WARDMAN PARK— evening. KEITH'S—Odette Myrtil, vaude The Big Parade,” photoplay uter Madam ille. Opens tomorrow eve- Shown this afternoon and cotne Opens t Opens this afternoor EARLE—Ned Wayburn's “Demi Tasse Revue,” vaudeville. Opens this afternoon. STRAND—Welder Sisters and company, vaudeville afternoon. Opens this GAYETY—"“Lucky Sambo,” burlesque. Opens this afternoon. MUTUAL—“Giggles,” burlesque. Opens this afternoon. HOWARD (Colored)—“Aces and Queens.” musical comedy. Opens tomorrow evening. NATIONAL—"“The Show-Off. Georze Kelly's American comedy, “The Show-Off,” comes to the Na- tional Theater tomorrow night on its first visit to this city, following a two-year run in New York, where it received generous pralse from critics and_the public. “The Show-Off” was amplified from a little play acted in vaudeville by its author, who also was responsible for “The Torchbearers.” Stewart and French, its producers, promise the original New York cast, including Louis John Bartels, Helen Lowell, Frances Goodriche, Winifred Wellington, George Weller, C. W. Goodrich, Willlam Carey, Francis Pler- Iot, 12dwin Redding and Corinne Cant- well, all of whom give some clean-cut delineation of an everyday character. Louis John Bartels, as the show-off, is a distintegrating and deranging in- fluence in a well ordered, sane and human little family whose daughter he comes to court. The laughter of an audience is at and against the show-off, not with him. He is a minor and shallow Falstaff of the offices, the workshop and the here and there of everyday existence. The reaction to him is that of wishing to see him fail. No one believes he would be a success, with the best of chances, in any line of endeavor. The grim flashes of righteous bile at him from Helen how- ell, Ma" Fisher, are just what the show-off requires, and her charac- terization of a homely little mother is declared as outstanding and memora- ble as the part of the show-off, a plece of perfect acting to be long re- membered. WARDMAN PARK—“Enter Madame.” “Enter Madame,” the comedy iu which Gllda 3 achieved success, will be next week's offering of the Thomas Herbert Stock Co., opening tomorrow evening at_Wardman Park Theater. Ruth Harrison will play the part of Mme. Lisa Della Robbia, a char- acter whose conflicting love of her husband and child and her ambition as an opera star is the main theme of the plot. Parker Fennelly will play the husband, & part originated by Norman Trevor; Cecil Anne Cain the part of Mrs. Flora Preston, who almost wins the husband; Mortimer Moorehouse, a newcomer, the part of the son, John Fitzgerald; Anne Hall, his afflanced, Aline Chalmers; Ruth Russell, Miss Smith, the secretary, and Robert L. Clear, Leona Roberts, Arthur Rhodes and John Schelhaas other roles. The comedy is in three acts with the action taking place in the bache- lor library of an apartment hotel in Boston. KEITH'S—O0dette Myrtil. B. F. Keith's Theater for this week announces one of its greatest variety bills, headed by the famous French Revue star, violinist and chanteuse, Odette Myrtil, in one of the most ar- tistic and enjoyable acts of its kind produced for vaudeville in many vears. Roy Cummings, “Scream Producing Juvenile,” who also leaves musical comedy ‘for another turn in vaude- ville, will be featured with Irene Shaw in what he calls, “One Afternoon.” brillias Jack Rose, comedian of the straw ~ 31, 1926 | : Coming‘ Attractions NATIONAL—"Suzanne.” John Cort announces his n cal plece, “Suzanne,” will play National Theater next week, opening ' February 8. Aside from the fact that two able writers of musical come bave written this piece, namely, Wil |Mam Cary Duncan the book and and Harold Orlob the m promises a very comp funmakers, headed by and Phyllis Cleveland. In brief. the stor concerns the e: Alden, returning to b Quring Old Home we posed to have made millions, reality his 1 capital i he escapes being undone p n | amusing entertainment. | | { { | [ i 1 Falls That Rival Errol's. ROY CUMMINGS. whase falls rival Leon Errol's, literally fell onto the age Twelve years ago, a thin, sandy- haired youngster was standing at the stage door of the old Irwin's Majestic Theater, in Detroit, having just been fired from his job of messenger for a leading shirt’ manufacturer. Inci- dentally, he had been fired for riding his bicycle off the dock into the St. Clair River. Cummings came up but the bicycle did not, and when he went back to work he was fired. As he stood in the alley, he saw 2 large man take a flying dive from the stage door and land in a heap against the fence. The sight so tickled the boy that he immediately gave an ac- curate imitation, doing a swan dive | which landed him beside the prostrate man. A minute later he was seized on ilder by what proved to be the ager of the burlesque troupe, who 1 heen engaged In the act of dis- rging his comedian for drunken- Can you do falls like that when- ever you want to?” he asked. Cum- mings said he could. “Come inside, you're hired,” said the manager. Cummings played the next perform- ance and nearly lost his job again by doing the spectacular tumble over the footlights into the audience which has since made him famous. “The manager was afraild I would EIll myself or somebody else,” sald the comedian, “and that he would be financially responsible.” —_— industry, will come assisted by Jim- | my Steiger, at the piano. Others include Olga and Mishka, | world famous dancers, with a gorgeous production, including the gypsy art quintet, ‘‘Mercedes,” scientific _psy- chological sensation, assisted by Mlle. Stantone; Maude Powers and Vernon Wallace in “Georgia,” a sequel to their old act, “Georgia on Broadway"; Stew- art anflnouvs. with their *Songs and Dances,” and Chappelle and Carlton, in excellent athletics. Aesop's Fables, Topics of the Day and the Pathe News pictorial. EARLE—Ned Wayburn's “Demi | Tasse Kevue.” | Ned Wayburn's “Demi Tasse Re-| Yue" is the piece de resistance at the | Earle Theater this week. It is notable for its cast, which includes Helen Fables, Rita Howard and Caroline Nolte, supported by an ensemble that, lends to the offering charm of song, dance, art studles and colorful ple: torial effects. The revue s staged in eight elaborate scenes and occuples a greater length of time than the or- dinary vaudeville “act.” Other vaudeville offerings include the Plaza Brothers, Spanish athletes, in an exhibition of skill, strength and dexterity; Sampson and Douglas, & clever feminine comic and a male singer in “Wit and Harmony"; Burke, Walsh and Nana in a skit that in- volves a messenger boy, a mail car- rier and & mald, and Col. Jack George (Continued on Second Page.) {4 inc 1u;7 s | Curtis Cooksey afd J. ald to captivati numbers, Ray R bead a 1 Frank Lalor, Adora Andrews, Lvc Bennett, Wayne and Warren, Dodso L. Mitchell, Nick L Josenh Selman and a beaut 4 KEITH'S—Jimmy Hussey. Jimmy Hussey, comedian, fur and all around laugh prod top the bill at B. F. Kelth's Theater next week, assistad by Eddle Hickey in “Getting a Tic * written by 1ddie Cantor. Jack McLallen, he of the roller skates, will be featured with “Sarah” and company. genuine prv it chorus ter EARLE—Vaudeville and Pictures, The photor xt week the Earle Theater will be “Steel Pre- ferred,” in which the leading roles are playel by Willlam Bovd, Vera Ray Ravmond | ' T {entry into Cc Turpin and Charies STRAND—"His Magic Wand.” 1 the Strand Theater wil ne attraction to bill of Loew's t run photopl: mpany, in & lavish med number er Wand,” with a Other u Olive Briscos and comedy t1 beth K impre numbers will be auh in & song juered”; Eliza r in character and Charles ) dys and Venus ionfsts and equilibrists, it kind in the world rings Betty Comj ] for the Defense,” « of the mo: red” to match he and deviltry Betty Compg GAYETY—"Flappers of 1925. “Flappers « is the title €d by Stone and Pillard for thei burlesque, ng duo, in musica) Asons past, with This famous comedy for the fe fine arr f MUTUAL—“Make It Peppy." t 3 actic the Mut; ter will Make It Pepps Mutual ecircuit burlesque show. In the Spotlig’ht ILTON ABORN, the weil known comic opera producer, is planning an early revival of “Robin Hood." “The Pose Dorothy W York e: Ryan & Livy. be prodi ) by Not ene O'Neil 3 » Great God Brown, its first showing in York last week. Edward Childs Carpenter, head of the Dramatists’ Theater, Inc., sailed for London last week to make an effort to bring Owen Nares to this country. Eddle Cantor closed “Kid Boots' in Chicago last Monday and left Yor New York on the advice of his physician that he' was overworked and must rest. His show had been going big in the Windy City “The Jay Walker," will open in New The cast ¢ Olga Print York next Mary anet Ad: Henry Miller tomorre open n a play entitled though announced to appear in “The Stranger in the Iouse,” by Lee Wilson Dodd. “Embers” was adapted by A. E. Thomas from the French. Charlotte Monteray will have the lead- ing teminine role. Frederick Kerr, the English actor, 1s golng to try vaudeville in a sketc] entitled “The Beautiful Mrs. Blain,” by Monckton Hoofe. He will open on the Kefth circuit in a few weeks. Chicago took “Topsy and Eva” and No, No, Nanette” =0 enthuslastically that both were delayed in their New York opening for a season each. musical show recently opened ther which seems a possible successor, en titled “Castles in the Alir, be 60 popular that the English and Australian rights already have been purchased. Vivienne Segal and Bern- ard Granville have the leading roles. Al is said to | Grace C on, the legi dir stage this seasor rt from the Kait made very soon. The Cosmopolitan Theater, fn C Iumbus Circle, New York, until recent Iy under lease to Florenz Ziegfeld, hu been leased by Earl Carrell for : period of 17 years, beginning Fehrt ary 15. The house will he devoted to musical comedy. “Lulu Beile,” with Lenore Ulric 2 , was produced in Philadelpht Tuesday night for the first time, b: co. The play is the wor don and Charles Ma Tamuniany 00 oth | Arch Selwyn signed Alice Delysi to a contract In London last wee She will head @ big English revun entitled “Still Dancing,” which wi be brought out in New York the com ing Summer or early Fall Mis Delysia last appeared in New York i- “Afgar.” Nazimova is likely to appear nex: season in & fpoken drama entitlec “Katherine,” by Leonid Andreye: {The title mayv be changed so as no to conflic Hlife of tk Ta which s showing tomorrov under the direc , is by J. O Francls, the English writer, whos: “Change” was produced in London in 1914 and was awarded the Lord How ard de Walton prize. Mikhail Mordkin to Tour. KHAIL MORDKIN, Russla’s foremost male dancer, will ap- pear at the head of his own company on a transcontinental tour next season under the management of Block & Endicoff. The contract, which guar- antees a season of 30 weeks, was sign- ed by arrangement with Simeon Gest, brother of Morris Gest. In addition to Mr. Mordkin himself, the company will comprise 45 mem- bers, including six principals, a thoroughly trained corps de ballet and a symphohy orchestra. Among the artists will be Elena Lukom, the pres- ent prima ballerina of the Leningrad Ballet, successor at the Imperial Marinsky Opera House there of Anna Favlova and Tamara Karsavina, and a brilliant member of Russia’s younger generation of dancers, Plerre Valdimi- | roff, one of the foremost of the young Russlan male dancers, already seen in this country as partner to Karsavina | 1910-11-13. and Hilda Butsova, long associate with the Paviova Ballet Russe. Mr.. Mordkin will stage and direct number of original and elaborate ba lets, among them “Aziade,” his ow: version of a story of the Arablan ights, with score by the Russia: composer, Joseph Giutel; “The Carn! val,” with music drawn from differ ent sources to.a scenario devised by Mordkin; and one or two other chore ographic dramas, A varied number ot ettractive divertissements will be in cluded in every program. Mordkin’s tour in 1926-27 will be the third he has undertaken, but the first ver 14 yea It was he, together with Pavlova, who first introduced the modern Russian art of the dance tc America in January, 1910, when he and Pavlova appeared at the Metro politan Opera louse, New York, at the invitation of Mr. Otto H. Kahn. Two transcontinental tours, wit} Pavlova and alone, followed this tri umphant debut during the seasons of - ——