Evening Star Newspaper, March 7, 1926, Page 59

TRENTINI Kerthe The Sundwy Stad WASHINGTON, D. C, SUNDAY MORNING, MARCH 17, 1926 ALMA TELL and CYRIL MAUDL National Tradition Witl'n a Toucl‘n the Modern_. of| By Philander ]olmson. HE drama, like a hidden stream, comes to the surface from time to time. Tt has flowed limpid and untainted far below a luxuriant tan- gle of overgrowth fantastic and often noxious. It is often necessary to go deep for pure water. theatergoers have in the past been willing to go as deep as the Ibsen thought stratum, when so many pud- dles and rivulets were ready at hand to satisfy immediate taste, which, in time of intellectual drought. cannot permit itseli to be too fastidious Bk From time to time the Ibsen play has been popularly regarded as hav- ing disappeared entirely from the theater. Again it comes to attention and is gratefully received. The grati- tude is less for the thought Ibsen so | elaborately fashions into drama than | hecause of the opportunities for ex- cellent acting that his writings for the theater afford. He is, above all, a student of the national tempera- ment suggested first in child life by the bleak crags and unsparing storms of far northern Europe. and which are reinterpreted in mature art by | the music of Grieg W “The Master Builder” is typical in ite protest against standards of thought which hecome so inflexible that they revert to sheer selfishness and defeat their own ideals. Tt is evident that the central figure in the author's mind was the title role. It is presented with the feminine ro by Miss Le Gallienne, uncompromis ingly in the foreground. The admi- rable performance of Mr. Brecher shows his mastery of stage nique not conly in a highly polished and convincing rendition, but ‘in its expert management of values. He does not permit for an instant the danger of overwhelming the prece dence in impression that belongs to a woman star in whom feminine audiences now feel a particular in terest. Never before has Miss Le Gallienne revealed temperament and personality with such wunrestraint. She makes Hilda not the mere chance in events that brings the morbidly ambitious introspection of “The Builder” to a tragic culmina- tion, but she becomes the inspiration, the compeling force. She sweeps away the man’s self distrust, reminds him that he is a leader who need fear no rivalry, and presses him too far in a self-reliance which his own self- ishness has weakened. W Miss Le Gallienne has an advan- tage over many players in obviously understanding her poct. Herself the daughter of a poet, this may be re- garded as her natural privilege. The play in its exploitation of Hil- i the relief of novelty with a heroine far removed from haunts of pitiful vice now so com- monly revealed. It is a welcome change to come under the influence of the Scandinavian trolls and forget the trolls of the city pave. * ok k¥ It may be doubted whether Ibsen would permit Miss Le Gallienne her cigarette and boyish bob if he could know about them. They both lend attraction, the cigarette especially being a means of lending to gesture many subtle significances. Perhaps the little step toward modernizing Ibsen is of assistance in crossing the harrier which the imagination meets in understanding mental attitude so foreign to our own. * kv ¥ To write a “Master Builder” for an American audience. the dramatist would find himeelf utterly at a loss for the materials of picturesque tra- the | | candor which seeks no disguises by | tech- | | waitres | tion of the Edgar Selwyn pla; ous charm. He would be obliged to make his “Builder” a New York ar- chitect and Hilda a bright little | stenographer from upstate who stepped into his offices perfectly con- | fident of her ability to run his busi-| ady Few | ness as well as his domestic affairs. | A New York audience would never have been content to allow the fall from the scaffolding to take place | off stage. The climb would prn)vahl}"\ have to be provided for as the re- sult of a bet at a wild party and| would compel the actor to execute, | before the eyes of the audience, a nose dive and take his chances on| being caught in a net by the stage- hands 'R It need not be regarded as a mis- | fortune that America does not pro- vide the traditional poetry to inspire stupendous drama. Such poetry has | heen attained only aiter centuries of | doubt and_struggle and suffering. | We are still able to laugh with the buoyancy of national youth and face the future with no sense of fear. ok ok ok “The Poor Nut” is an example of the sort of play that appeals to our own general temperament at present. It is wholesome, straightforward, takes the little section of life that it studies good-naturedly and with a means of phraseological elegance. It pleases the mood for which it was intended and is likely to disappoint not many more than those who feel | a pedantic satisfaction in being able o grasp long words and foreign phrases without the aid of a lexicon. | ¥ ok i An interesting study in what the | schoolmen are pleased to term “group | psychology” will be offered when “White Cargo™ returns to this city. | It played a long engagement at the | President Theater, which had previ- ously been for wecks crowded to the | doors by “Abie’s Irish Rose.” This| “group psychology” is, or should be, a part of the theater's most impor- tant attention, for the crowds often | flock or suddenly absent themselves for no apparent logical reason. A demonstration as to whether they will march over to the theater which has been temporarily dedicated to a| popular appreciation of deep poctic | thought, should assist the New Y. offices in compiling their scient data ad ey . Has Won Out. a Hollywood most all winners of motion- heauty comests wind up as es in California tearooms. 't Brenon's screen produc- “Danc- ing Mothers,” however, introduces an exception in Clara Bow. “‘Dancing Mothers” is Miss Bow's first appearance under the Paramount banner, but it is probable she will be remembered for her work in “Down to the Sea in Ships,” which gave her the first real chance she had received | in picture Clara was a Brooklyn high school girl when she won a “fameand-for- tune’ contest conducted by a motion- picture publication, receiving as a prize three outfits of clothes, a lot of publicity and a chance at a small part in “Beyond the Rainbow.” But when the picture got to the editing stage, Clara’s brief part was eliminated and she returned to Brooklyn in despai: Then along came Elmer Clifford, looking for a girl of her type in “Down to the Sea in Ships.” . He gave her a part, and this time she scored. Now she is appearing in “Dancing Mothers™ as Alice Joyce's flapper daughter, and the footage she has re- ceived indicates that Clara is apt to be a member of the Paramount com- | IT is that picture commonplace Herbs dition which lend so much mysteri-! pany for many more pictures. | proposed | tist |11 Change of polir:y at Earle. N A pa of last week to the effect that the Earle Theater may drop its | vaudeville program and confine its entertainment to feature pictures and what are known as ‘“presentations,” effective next September. | Harry M. Crandall, director zeneral of the Stanley-Crandall theaters in Washington, with which the Earle is more or less closely connected, doubts the correctness of the rumor. He says he has heard nothing of the change and, furthermore, he does not believe it would be an ble one. As Mr. Crandall is the representa- tive in Washington of Mr. Jules Mastbaum, who directs the destinies of the theaters of the Stanley Com- pany of America, and who was given as the authority for the news report, the change of policy at the Earle would appear to be vet rather in the realm of speculation than any- thing like an assured probability. To Revive “L'Aiglon.” HEN the occasion allows for ex- panded activities, Glenn Hunter, s now busy with nine perform: week in John Van Druten’ Woodl in New York, is| p vival of “L’Aiglon,” the play which w so prominent in Mme. Sarah Bernhardt's repertory. Mr. Hunter plans to play in Mon- sieur Rostand’s play in alternate per- formances with Miss Eva Le Gal lienre, the brilliant young actress who has been reviving Ibsen so profusely this past season. “L’Aiglon,” of course, deals with certain dramatic episodes in the life of the young Napoleon, and was espe- cially written for Bernhardt by Ros- tand. The central role will come as a sort of novel experiment to Mr. Hunt- er, being distinctily different from the type of thing he has been doing in he past in such plays as “Clarence," Penrod,” “The Intimate Strangers and “Merton of the Movies. It will be the first time that he has essayed any other role than that of the . unhappy Tarkingtonian adoles- 3WS rumor drifted in the latter who ances oung | cent. MICHAEL ARLEN at the age of 29 finds himself very much in the literary limelight as novelist, drama and movie scenarist. It has all come very suddenly. Born in an Armenian’ village he was taken to London when five years old and edu- cated in London schools. For 11 vears he struggled along working for this or that newspaper or magazine in London as a free-lunce writer. “I have seen the day when I was literally starving,” Mr. Arlen has said, “I put in so much hard work in those ears; you have no idea first book, “The London Ven- ture” was published in his teens, but it was not until he wrote ‘These Charming People’ that he flashed into prominence. Following this came “The Green Hat" fair.” From enormous roy his books, his plays and his_movies, Mr. Arlen now is enjoying an affluence beyond his wildest dreams. These Charming People,” the first Michael Arlen play to reach Washing- ton and his first original work as a dramatist, is described as a light, brisk and charming bit of foolery. 1 Funny Frank Fay. RANK FAY has probably traveled farther and faster in the theatrical business than most showmen twice his age. He is now short of 30. The Fays have inhabited the stage for several generations, in one capac- ity or another. Among his forebears Fay can name a Shakespearean actor, a burlesque star, one or two circus performers, various light and grand opera aspirants and a galaxy of vaudeville talent. The present Fay, in the course of his eventful life, has tried out all the theatrical fields in which hisancestors did or did not star, and several others on his own account. Various stabs at the producing end of the game, quite aside from their success, also have given him a pretty good idea of what the public wants. A capable comedian himself, he has compiled an act of delightfully irre. sponsible hokum, with a generous amount of genuine humor which is sald to be registering a hit every day. Current A At il Theats NATIONAL—Cyril Opens tomorrow cvening. BELASCO—"White Cargo,” drama. WARDMAN PARK— morrow evening. KEITH'S—Mrs EARLE—Orpheum Unit STRAND—Willie Creager's afternoon TY—"Sliding” Billy Miss Lulu GAY NATIONAL—Cyril Maude. A fine actor, perhaps the best co- median that England has sent us in a theatrical generation, comes to town this week, starting tomorrow at the National, to hail and farewell to | his many friends in his final appear- ances In this city before retiring from tage aude, with 43 years of stage experience, has been one of the com- manding figures for 35 vears and has won distinguished honors as actor and manager in three continents. As co. median, character actor and all-around histrionic artist, he has dignified his calling and added glory to the English drama. A constant visitor for more than a dozen years, Mr. Maude has en- joyed a wide popularity and favor here. Mr. Maude has elected to say good- bye in his latest comedy, “These Charming People,” written by Michael Arlen, the brilliant author of “The Green Hat.” It is delightfully refresh. ing In its briek fun, its briiliant dia- logue and its splendid performance by the company with which Charles Dil- lingham and A. H. Woods has sur- rounded the English star. Mr. Arlen would have it known that the play has nothing to do with his book of like title, hut that it is an original comedy dealing with the same Kind of people as figured in the hook. Winchell Smith staged the production and the Gafety Theater Co.. which comes with Mr. Maude, includes Alma Tell, May Collins, Herbert Marshall, Alfred Drayton, Geoffrey Millar and Robert Vivien. PARK—"Miss Lulu Bett.” Zona Gale’s own dramatization ‘of her popular novel, “Miss Lulu Bett,” will be next week's offering of the Thomas' Herbert stock company at Wardman Park Theater. The play is a keen comedy which has an unex- pected depth of seriousness. The plot is built around an overworked drudge in_the household of a married sister. Ruth Harrison will be seen as Lulu, whose spirit has been crushed by the incessant nagging of her brother-in. law, who in his overbearing, vulgar makes her the butt of his cheap ridicule. Parker Fennelly will be seen in the latter role, Leona Roberts as Grandmother Bett, Ruth Russell and Elizabeth Drewey as the two Deacon daughters, Robert L. Clear as Ninian Deacon, the Romeo who takes upon himself a_new wife before he casts off the old; Ann French as Diana Deacon, John Schelhaas as Bobbie Larkin and Thomas Herbert, director, as Neil Cornish. WARDMAN KEITH'S—Mrs. Leslie Carter. This week's bill at B. F. Keith's Theater will present three stars, each a headliner. Mrs. Leslie Carter, America's dis- tinguished artist, will present a new one-act drama of Russia's unrest, en- titled *“The Savage.” Frank Fay is a Washington favor- ite, and will dispense much new com- edy in his own way. The third of the three’big names, Mme. Emma Trentini, the celebrated little star of “The Firefly” and “Naughty Marietta,” returns’ after a three-year absence in Italy. She is presented by Fortune Gallo, and with her will be the famous concert pianist, Eric Zardo. Others will include Ethel Parker and Eugene Costello, noted dancers, in an elaborate production called *Bits of Personality,” written by Sibyl Bethel, in which they will be assisted by the Philippine Sextet, a string or- chestra; Bobby Randall; the Erfords, with their unusual offering, * "Mid the Pyramids"; the Stewart sisters, noted dancers from Australia, and Paul Gor- L] Leslie Carter, vaudeville: Show, vaudeville. Entertainers, Watson, burlesque. . ARTHURN QHODLS \/%f‘dmal& ttractions. rs This Week. Maude in “These Charming People,” comedy. Opens this evening. Bett,” comedy drama. Opens to- Opens this afternoon. Opens this afternoon. vaudeville. Opens this Opens this afternoon. | don, the wi Aesop’s Fable the Pathe News FARLE—Orpheum Unit Show. Another Orpheum circuit_unit show will be presented at the Earle Thea- ter this week, augmented by a first. run picture, short reels and house fea- tures, including pipe organ recitals | by_Alexander Arons. The unit show is headlined by the Wright Dancers, a group of 21, who execute intricate numbers surrounded by elaborate stage investiture. This is one of the most pretentious acts in vaudeville. The added attraction is Herbert Clifton, English female impersonator, formerly ~featured in the Ziegfeld “Follies,” the “Greenwich _Village Follies,” musical comedy and vaude- ville, Other attractions include Herbert's 12 Shetland ponies in a stage interval interesting to young and old: Dell and Bennett in a novelty offering, and Louise Wright In a single turn, and probably one or two other acts. The photoplay will be First Nation- al's production, “Why Women Love,” featuring Blanche Sweet. The com- edy will be “A Flaming Affair.” rd of the wire, with topics of the day and STRAND—Willie Creager’s Entertainers. Willie Creager and his entertainers headline the Strand bill this week in a presentation of the latest melodies. His band consists of 10 snappy synco- pators, who offer peppy jazz and in- dividual comedy stunts, for which the band is famous. Willie is chief ‘ar- ranger for Irving Berlin, but Willie is willing to clown so long as the audi- ences demand it. Emil Casper and Dolly Morrisey, two blackface comedians, promise laughs in their comedy skit “‘Sugar” and the Eclair Twins and Billie Wells, late of the Alhambra Theater, Paris, and the Ambassador Theater, London, will offer something nifty in song and dances. Other numbers include Alice May and Sophia Bennett, Broad- vorites in “Feminine Har- and Paul Nolan, leading juggler, in “The Jesting Swede." “Free to Love,” a modern Cinderella story showing the climb from rags to riches, from loneliness to love, is the photoplay for the week featuring Clara Bow and Donald Keith. Short film features will round out the program. GAYETY—"Sliding” Billy Watson. The famous comedian “Sliding” Billy Watson will head the cast of an all-new “Big Fun Show” this week at the Gayety Theater, starting today. The little glide that precedes Wat- son’s opening lines and which he in- troduces at intervals during the ac- tion of the show is of his own indi- vidual origin and is always provoca- tive to laughter. “Sliding” Bllly this season claims that he is bringing the best attraction he has ever sponsored. The cast, headed by Little Anna Propp, 4 feet 6 inches of charm, and America's smallest musical comedy star, in- cludes: Alfretta Symonds, gloriously voiced, from a Keith vaudeville tri- umph; Nita Bernard, the ingenue, who sings with equal skill ballads, blues and rag ditties; David London, from California, is an eccentric foil for Watson; Frank Mallahan, the big “two-gun” cowboy; Gus Legert, a funny character man; Philip White and Sylva Noir in classical singing, the Whirlwind Four in the speediest of dancing, and the chorus, which has been commended as flapperish. JANET RICHARDS TOMORROW. | will Park Theater i Gilda Gray, March 21. The appearance of Gilda Gray in person at the Rialto the week of March 21 is likely to awaken interest The program for the occasion has not been definitely decided upon, it is announced. However, it ha: tentatively agreed that s dance the 'y-Tee, Street Blues” and “The Charleston.” There are six other dancing artists ith the glorious Gilda, among them Joan Paige and Corinne Marsh, in special dance divertissements. e Sigue o Michael Arlen's Quips. ever make a scene with hushand unless he is shaving. “The nearest a man ever God is the top of a bus. ““A woman's nose never needs pow- dering to the man who loves her. “Eighty-nine pounds, two and tup- pence is not a laundry bill. It is a national debt. “You were not educated, sir. You were merely instructed in a contempt for the classics. your gets to Will Compile h’fu;i:l Score. R. HUGO RIESENFELD, famous as a musical impresario, has been engaged by Universal Pictures Cor- poration to compile an elaborate musical score for “The Flaming Frottier,” Universal's great epic of the Wi which will have its worfd premiere in New York in early April. The New York Public Library has placed at Dr. Riesenfeld’s disposal, it is said, some of the rarest American musical material, embodying airs pop- ular with the American Army of the eighteen seventies, the period of ac- tion of “The Flaming Frontier.” These melodies will be incorpoFated in the score, as well as many spirited mar- tial airs which were popular with the United States Cavalry during the World_War. Dr. Riensenfeld was for eight years managing director of the Rivoli and Rialto Theaters, in New York. He prepared the colorful musical score for “The Covered Wagon.” His name is §ynonymous with the finest musical presentations in connection with mo- tion pictures. A Movie Miracle. THE most remarkable man ever seen in Hollywood or anywhere else, for that matter, is about to make his appearance at the Paramount West Coast studio. He will be introduce by Roy Pomeroy, “Master of Magic who parted the waters of the Red Sea in “The Ten Commandments.” The new man, who has been brought to life by Pomeroy and who will be one of the chief figures in “Get Off the Earth,” a fantastic comedy, star- ring Raymond Griffith, is approximate- ly 30 feet tall. He runs, talks, throws missles, eats and thinks—a little. He is strong enough to push an ordinary office building. So far, Pomeroy and his 20 helpers who have been working for the last year and a half preparing . for the filming of this picture, are the only ones who have seen the stranger. Griffith will not begin work on “Get Off the Earth” for about two months. — regular Monday morning talk tomor- row at.10:40 o'clock in the Auditorium of the Masonic_Temple, Thirteenth street and New York avenue. These lectures are interpretive re- views of the world’s work each week, stressing particularly outstanding po- litical events both at home and abroad. The review this week will include clarifying comment on the present se. rious situation at Geneva incident to Germany’'s admission to the League of Nations and the possibility of the withdrawal of her application for membership even at this late day, and | Miss Janet Richards will give her its disturbing results. | Automobiles Comigg A_ Washington Auditorium—'Lohengrin.’ | General Director Edouard Albion of | the Washington Opera Company has | announced a performance of the opera | Lohengrin” at the Washington Audi- | ium Monday evening, March 22. | Paul Althouse, tenor. will sing the title role: Anna Fitzhugh, dramatic so prano, the role of El kaya, Metropolitan Opera Com pany contralto, that of Ortrude; Ivan Ivantzoff, Washington Opera bari- tone, that of Talramund, and Sigurd | Nilssen, Washington Opera basso, | that of King Henry. | This cast, made up of tried and | ven favorites, ranks high for matic ability as well as for vocal | excellence. “Lohengrin,” like most Wagner music, demands the highest dramatic and vocal ability, and Mr. Albion assembled his cast with this feature in mind. An unusually large chorus is being trained for this work, both dramat feally and musically. are on sale at the box office, ated at the Jordon Piano Co. at 13th and G streets, and the victrola department, Woodward & Lothrop's, NATIONAL—Ed W, | Ed Wynn, “the Perfect | his company in his h | musical revue, “The G come to the New next week, beginni March 14. It is jolly for those who enjoy and sheer nonsense. Fashioned after the pattern of the latter day revues, “The Grab Bag.' for which Mr. Wynn wrote the dia logue, lyrics and music, comprises 1 acts and scenes. Into them the author, actor and composer has crowd: ed comedy, songs and dances that keep audiences alert to the stage pro- ceedings The supporting e Fool," = spec ab B National Theater Sunday night, entertainment wholesome fun and cular will company includes Eva Shirley, Doree Leslie, the three Ormonde sisters, Brenda Bond, Aileen Hamilton, Warner R. Gault, Shaw and Eight Volga Boys, Joseph Schrode, Edward Fields and a large chorus. ID BOOTS" RETURNING. Sunday. March 21, Florenz Ziegfeld will bring to this city his greatest comedy success, “Kid Boots,” which Mr. Ziegfeld insists is the biggest thing he has ever done in his long and brilliant career. The bright particular star Boots” is Eddie Cantor, ably assisted by Mary ton, the dainty blonde terpsichorean artist, who has become a great favorite with the American amusement - seeking of and E “Kid he is | The compa Ina Bour- |} Lee. Earl and Bell, the La Grohs, the | ECLAIR. TWINS Straud ttractions. “Kid Boots” was written hy William Anthony McGuire, Otto Harbach con tributed the boc nd the lyrics are by Joseph McCarthy. The musical yre is by Harry Tierney and the pro- duction was staged by Edward Royce, Washington knews the attraction. inelt Johyna How- nd, Ethelind Terry, Beth Beri, Marie llahan, Harland ~Dixon, Douglas Stevenson, Robert Barrat, Kenneth Loane, Paul Everton, Phil Ryley and Horton Spurr. KEITH'S—Monroe and Grant. Monroe and Grant, Berkes and Te will head a company which will offer a shipload of danci melody | and mirth at B. F. Keith's Theater next week. Featured will be Pickard “Ling Ting Foo,” a jazzical fant of the Orient. with Chinese synco. pators, EARLE—Edna Wallace Hopper. Headlining the hill at the Earle Theater next week will be Edna Wal { lace Hopper, “The Eternal Flapper,” it is said, will offer an entirely act both at the regular perform ances and the special morning matinee for women only STRAND—"A Vaudeville Surprise.” Re next Sunday, the Strand's attractions will be headed by Frank Iyn D'Amore and Mickey Lopell, as- sisted by Ethel Drusdale, in a series ongs, dances and hand-to-hand lancing entitled “A Vaudeville S brise | _Other numbers will include Bobby |O'Neill with Fay Tunis, May Burke, | Gertrude Manchine and Rita Worden |in a song and dance revue spiced with |comedy "4 Queens and a Joker Larry h and Cherie in a comed | skit "“We Two,” by Robert Grant; | Zelda Santley with amusing imperso. nations “Little Miss Everyhody | and the McDonald 1 A Cycle of Beauty and Daring The photoplay will bring Lew Cody |and Mae Busch in a_society drama “Time, the Comediar ‘Let's Go. Next week's attrac t the G ety Theater will be Go.” The show is headed by Many King, favor. ite comedian, assisted by John O. Grant, straight man, and Walter Pap™ Smith, eccentric comedian and dancer, an Palon he the femi nine contingent. which includes Beth Pitt, classic dancer; RBabe Healy, Madeline Lane and May Kennedy. sou brettes, and a chorus of trained dancers. Pretty costuming, attractiv | scenery and novel lighting effects are features of the attraction ning | In the S HE Dumb Bunny,” by Charles Andrews, has been purchased for production this season Nichols, by Anne Walter Huston will be featured in ‘Kongo,” soon to be produced hy Kil bourne Gordon. “The Half Caste,” by Jack McClel the Ace Producing Company, under the direction of Edgar MacGregor. Rudolf Lothair's *“The Duchess of Elbe,” which was placed in rehearsal last week by the Charles Frohman Co.. with Francine Larrimore as its star. “Believe Me, Xantippe,” has been adapted for the musical comedy stage with a book by Fred Ballard, author of the original play, lyrics by Al Rob- erts and music by Joseph Mahr. by () One Woman,” adapted from the French by Will A. Page, was placed in rehearsal last week by Mad ison Corey. Marande and Jeroule are its authors. John Colton, author of “The Shang- hai G " is dramatizing his short for production next sea- Frances Starr has been placed un- der contract by Horace Liveright for a new play, “The Best of Us," by Nell Blackwell and Rowland G. Edwards. Arthur Hammerstein has a musical comedy in prospect called “‘Please Get Married,” based on a farce by Adelaide Matth and Martha Stanley. It was adapted by Otto Harbach, Oscar Hammerstein, 2d, and Herbert Stoth- art. “The Moon Is a Gong,” an expres. sionist play with jazz music, by John Dos Passos, is announced for produc- tion soon by Juliet Barrett Rublee. “The Girl Friend” opens in Atlan- tic City tomorrow night and is sched- uled for New York March 15. Lucille Webster, wife of«James Glea- son, co-author of “Is Zat So,” in addi- tion to playing one of the leading roles in “The Butter and Egg Man" at the Longacre Theater, New York, has undertaken the stage direction of a new comedy starring Ernest Truex. Sylvia Field, who has scored a sue- cess in George 8. Kaufman's “The Butter and Egg Man,”” was one of the little brides in the original American production of Maeterlinck's “The Be- trothal.” “Juno and the Paycock,” by Sean | O’Casey, has been placed in rehearsal lan, has been placed in rehearsal by | | Lennox Pawle has been engaged for | pothight. by Augustin & Duncan Duncan for Romberg “Schweiger.” by F being rehearsed at the Playhouse, New York | tion of Ben-Ami, who the leading role. i nz Werfel, is fth Avenue under the direc- also will play ay Beith's with O. P. He; has been plac 1 Reed. Ian Sport e in the lead d in rehearsal he Girl in the Garden,” a cothedy d by Cosmo Hamilton from a by Louis Verneuil, will open in Newark with a ca including Vivienne Osborne, ric Blore, David Yorke and | Verree 1 sdale John Drew has de. the Brady-Shubert "he Two Orph: ably be played | Other changes have the lineup now follows: Mrs. Leslie Sherman, Fay Bainter Henrfetta Crosman, M Jose Ruben. Rehe week n Lackayve. made and antially as Carter, Lowell Robert Loraine Whiffen and start next is sub: second play by the Countess Cath rt has appeared in the New k offices. Its production probably will depend on the reception given “Ashes of Love." “The Jest” will tour the principal cities next season, according to word received last week from Arthur Hop kins, who is ducking the cold weather at Palm Beach. Atwell ,began “Beau Gallant” last week in New York. The Playshop is making the production. Stuart Oliver is the au thor. Lionel rehearsals in Sam Bernard and Louis Mann prob ably will revive “Friendly Enemies." The Woods office, however, will not sponsor the project, and it is under- stood Messrs. Bernard and Mann will be their own producers which has heen running abroad the last three years, went into rehear- sal last week in New York. Wilda Bennett may have the leading role. Gilbert Miller has announced that the next Frohman production will he “The Duchess of Elba," a satiric comedy by Rudolf Lothar. Francine Larrimore will be starred in the lead- ing' role. Rehearsals have begun |already under the direction of G Cukor. The American version of * Duchess of Elba” has been made by Avery Hopwood. Although the story revolves around his exile on Elba, Napoleon does not actually appear on the stage. A