Evening Star Newspaper, March 21, 1926, Page 69

CHARLOTTE" GRLENWOOD ~ ~J Keiths Transmuting’ Notoriety Into Fame. By Philander Johnson. THE enormous pow-wow that can be created over a small matter was illustrated in the case of the new play, “Ashes of Love,” produced in this city under circumstances which made sensational notoriety concern- ing affairs of personal conduct far more conspicuous than any promise of artistic interest. The Countess of Cathcart was presented to public attention in a most maladroit man- ner, which aimed, evidently, to capi- talize the unfortunate. celebrity into which her adventures have led her. Only reportorial attention was re- quested from the press. This was ill advised, for the result was a demon- stration of a ridicule which, in view of the fact that the Countess Cath- cart, in spite of her social miscalcu- lations, is still a woman struggling against rather desperate odds, seemed a shade unchivalrous. * * k k A trained reviewer generously dis- posed would, for instance, have noted the fact that the play shows no mean sense of dramatic values. It is com- posed of familiar elements, as most plays are, and does not disguisé them with any effort of laborious in- nuity. In announcing it as a story freom real life, the posters hold it/ down to a sense of human probabil- ity which leaves the drama independ- ent and aloof from the weird touches which are now so extravagantly em- loyed in the hope of startling popu- ar attention. Although a part of the plot is laid in Africa, the tempta- tion to introduce a parti-colored love affair is nobly resisted. * ok x % The play reverts directly to the domestic triangle, the unhappy wife, the neglected husband, the fascinat- ing intruder, combining to induce the heart pangs of a recreant mother love. It is all good, honest, stand- ardized material, which has been uti- lized through many years gone by and which will be utilized for many years to come. In presenting it the Countess Cathcart suggests a thought that she made a consider- able mistake in not addressing her attention earlier to dramas in manu- script instead of putting herself through a nervous ordeal in trying to live them in‘persona‘} experience. * x The performance was an insincer- ity, enlisting though it did the serv- ices of some undeniably competent actors. The author-star left no doubt as to her own earnestness. It was a display of temperament, tense, but without technique. That she felt the severest meaning of every word she uttered could not be doubted. Yet she has been mercilessly left to her own resources. There was not a shadow of evidence that she had had the benefit of expert coaching, which, in view of the competence surrounding her, should have been so abundantly available. * kX ¥ It is an evidence, perhaps, of the interdependence of all human rela- tions that great authors are seldom good actors, and yvet for some strange reason writers are willing, with strange frequency, to appear mn their own plays, and actors are no less willing to present themselves for intellectual analysis in the cold, uncompromising terms of printer’s ink. The task which the countess undertook was one in which the per- centage of chance for failure was originally enormous and further ex- aggcutcd by an utter indifference in the process of her theatric exploita- tion to any consideration excepting that of sensational notoriety. * k k% Ed Wynn appears in_ his own show. There is no doubt from over- ture to finale about whose show it is. Mr. Wynn is in every act and permits himself liberties in diverting the attention of an audience on the verge of applause for some clever incident of song or dance which would never be tolerated on the part of an employed performer. Having once appeared in the show Mr. Wynn never permits himself to dis- appear, “The Grab Bag" deprives f|land Dixon is one of the the audience of those intervals of hungering expectancy which add so much to the appreciation of a favor- ite entertainer when he at last con- sents to effulge into observation. In spite of its scenery and costumes, “The Grab Bag” is rather a home- made sort of affair, but it is a cozy and comfortable refuge for a few hours, with no hint of scandalous suggestion. After all, familiar friends are most reliable in the- aters as well as ordinary life; and that is what makes it so agreeable to note that “No, No, Nanette” will again appear, and face, no doubt, as before, a series of most enthusias- tic “yes-yessing” audiences. Charleston for Nothing. EDDIE CANTOR just cannot help being generous. . Eddie has heard that there are a few folks in Washington who have not yet learned to dance the Charleston, and he doesn’t feel that this should be. He has therefore arranged for a Charleston matinee at the National Wednesday afternoon of his en- gagement, when Harland Dixon will instruct the audience in the intrica- cies of the popular dance. This will occur immediately after the perform- ance, and all those in the audience who wish may remain for Mr. Dix- on’s demonstration of just how it should be done. o It will be remembered tiat Har- ery best terpsichorean artists on the Amer- ican stage, this from no less an au- thority than Fred Stone, with whom he was long associated. It is also out of the very goodness of his heart that Mr. Dixon, who plays one of the principal parts in “Kid Boots,” has volunteered for this noble charity, for there will be no extra charge. Mr. Dixon also will answer any questions that may be asked him in regard to the Charleston. Gilda Is Modest. "I NEVER learned to dance,” sald Gilda Gray to an audience of women. once. “It just came to me. I never took a dancing lesson in my life. I am just naturally a joy- ous person, and when I dance I am having the time of my life.” That is all Gilda has ever vouch- safed as to how and why she does the type of dancing which has made her famous. She does not even claim originality for any of her dances. She admits that she got her South Sea dance from reading Fred- erick O'Brien's storles of those tropical islands. She gives credit for other dances to the American Indians and the pow-wow dance. Her Charleston, she admits is taken from the American negro and from their carefree mode of doing things. So that Gllda Gray's dances, which have elevated her to a sensational stardom in the theater, are not her own. But she has im; on them with her own personality, un- til today, they are actually Gilda Gray's dances. Has a Wonderful Swallow. ADJI ALI, “the great Egyptian miracle man,” one of the current week's theatrical attractions, is sald to have puzzled physicians of three continents with his gastronomical mechanism. X-ray experiments have been made during his exhibitions with- out furnishing a plausible explanation of this human puzzle. Besides swallowing gallons of water that then spurts forth in a steady stream from his lips, he swallows 30 nuts and produces them in the order named by critics. All but one of these are filberts. The one is an almond. He produces the almond whenever it is called for. Hadjl also swallows watches, coins, currency and similar delicacles. Ul- timately he produces them again. “Three Faces East.” 'HREE FACES EAST” {s a melo- dramatic photoply of the se- cret service in time of war. It has allthe elements of swift dramatic ac- tion, thrills and heart appeal. It is based on a stage play ous in New York several years afo. Jetta Goudal, Robert Ames, Henry B. Wal- thall and Clive Brook have, the lead- ing roles in it on the curr¢at pereen. ¥ CHARIES MORGAN Ji. Ga*je{vj—_— Mask and Wig Story. N thelr sequestered clubhouse on Quince street, Philadelphia, under the direction of Charles Snyder Mor- gan, jr.. who has been at the helm of Mask and Wig shows for many years, the finishing touches have just been put on the various terpsichorean in- tricacies of the Wiggers' Easter pro- duction, “A Sale and a Saflor,” which is to open at Reading on March 23 and play Washington next Friday prior to a tour including Cleveland, the traditional Easter Saturday at At- lantio City and Philadelphia for a twd. week run at the Forrest Theater. Advance reports are enthusiastic re- garding the marvelous costuming, dancing and singing of this 1926 Eas- ter show, and it is predicted that the lar “Freedom” male chorus “Rainbow” and “Sampler” specialties will prove high spots likely to make Mask and Wig history. Also an innovation is offered In the third dancing chorus of six additional “girls” to put over certain numbers, such as ‘Please, Marle, Say Yes," “Stay at Home and Let the Others Roam"” and “Glory, What Prices.” An amusing burlesque told in music is what the Mask and Wig always has been from the earliest days of Mc- Michael and Neflson down to the time of Rogers and Lavino, to Gilpin and Morgan—which is practically the pres- ent moment. Demands Actors, Not Extras "EVERY participant in the action of a plcture casts a certain im- pression on the entirety of the film,” says Director Frank Lloyd. “It is dangerous to use an amateur in an important scene, even if no acting is required of him. “I helleve that every scene is im- portant, even those which on first glance seem trivial. They all go, of course, to making up a perfect whole.” Hence Mr. Lloyd will not use “extras’ when he can get actors. Actors signed by Lloyd for minor roles in “The Wise Guy”’ are Capt. . H. Calvert, Henry Barrows, Wil- liam Orlamonde, Charles Sellon, Bruce Covington, Bobby Boulder and Ger- trude Claire. The featured members of the cast are Mary Astor, Betty Compson, James Kirkwood, Mary Carr, George Cooper and George F. Marion. — Medals flfld Movies. MEDALS of practically every honor awarded by the Austrian gov- ernment, together with many Rus- sian, Turkish and other national decorations, it Is said, will be seen in the original when Erich von Stroheim produces his Paramount feature, “The Wedding March.” Representatives of the actor-pro- ducer, after comblng Europe, have sent to the Associated Studios, where the picture will be made, decorations of every concelvable type, purchased from pawnbrokers and collectors who had accumulated them, for decking the officers in the brilliant court state scenes In the European drama. Among the medals are the Jubilee medals, the Cross of Merit, War Medal of 1866, Iron Crowns, first; second and third class medals of the Order of Leopold, the Order of St. Stephen and Order of the Golden Fleece, the Grand Cross and many others. These will be seen together with authenic uniforms, imported from Vienna, where they were purchased irom former vfiicers, , D. ©, SUNDAY PAUL ATTHOUSEL Wash i«@‘on Auditorium BATON - National ESTHER LaW¢ Current Attractions At the Theaters This Week. WASHINGTON AUDITORIUM—“Lohengrin,” grand opera. Opens tomorrow evening. NATIONAL—“Kid Boots,” musical comedy. Soldier," POLI'S—“Carmencita and the Opens this evening. Monday until Friday; “Lysistrata” remainder of week. BELASCO—"A Great Little Guy,” comedy. ning. WARDMAN PARK—“Not So Fast,” comedy. evening. Opens tomorrow eve- Opens tomorrow KEITH'S—Charlotte Greenwood, vaudeville. Opens this afternoon. EARLE—Vaudeville and pictures. Opens this afternoon. STRAND—“Yip Yip Yaphankers,” vaudeville. Opens this afternoon. GAYETY—"Burlesque Carnival,” burlesque. Opens this afternoon. WASHINGTON AUDITORIUM— *“Lohengrin.” “Lohengrin,” perhaps the best loved of the Wagnerian operas, will be sung tomorrow night at the Washington Auditorium by the Washington Opera Co., under the direction of Edouard *Alblon. @ Paul Althouse, leading American tenor, will have the title role, for which he is fitted vocally, dramati- cally and physically. Anna_Fitzlu, soprano, was to have sung the rele of Elsa, but reports she has fallen a victim to influenza and will be unable to appear. Her place s to be taken by a soprano heard in concert here this season and noted for her interpretation of ‘Wagnerian roles, if present negotia- tions materialigs. If the singer in question, sought because of the great success of her concert here, in not obtained, a competent artist is pmmlud. Ina Bourskaya, contralto of the Metropolitan Opera Co., will sing the role of Ortrude; Ivan Ivantzoff, baro- tone, will sing Telramund; Sigurd Nilssen, American basso, the role of King Henry, and Jacques Samasseud will conduct. A chorus expanded to 120 and an orchestra increased to 66 pleces will complete the company for the performance. Tickets may be secured at the Jordan Plano Co., at 13th and G streets, and also at victrola depart- ment, Woodward & Lothrop's. ' NATIONAL—"Kid Boots.” At the National this week only, be- ginning tonight, the attraction will be the big musical comedy, “Kid Boots,” in which Eddle Cantor is the bright, { particular star, with Mary Eaton the popular ranseuse co-featured. “Kid Boots” is one of the biggest successes ever scored by Ziegfeld in his long and brilliant career as a pro- ducer of high-class musical comedies and revues. It is the joint product of ‘Willlam Anthony McGuire and Otto. , authors of the book; Joseph McCarthy, contributor of the lyrics, and Harry Tierney, who supplied the | Cal music. “Kid Boots,” which played continu- ously in New York City for 65 weeks following its original appearance here, has also had long engagements in Bos- ton, Philadelphia and Chicago. It is sometimes referred to as a play of Palm Beach and golf, the scenes being 1aid in the Florida resort and much of its action having to do with the tired business man's most popular recrea- tion. The title is derived from the name of the character played by Mr. Cantor, who is master of the caddies at the iverglade Golf Club and also its official bootlegger. Miss Eaton plays the part of Polly Pendleton, daughter of a wealthy New York man who is sojourning at the re- sort, who brings her there to escape the attention of a young man whom the paternal parent does not favor An extraordinarily big company s concerned in the development of the plot of “Kid Boots,” one that Mr. Zieg- feld insists is the best musical comedy cast ever assembled. Among the play- ers are Jobyna Howland, Ethelind Ter- ry, Beth Berl, Marie Callahan, Harland Dixon, Douglas Stevenson, Robert Bar- rat, Kenneth Loane, Paul Everton, Phil Ryley and Horton Spurr. WARDMAN PARK—“Not So Fast.” This week at the Wardman Park Theater the Thomas Herbert Players ‘will present for the first time in this city a play entitled ‘“Not So Fast,” formerly called “The Blimp.” It had a run in Chicago and later at the Morosco Theater, New York. The story revolves around a phleg- matio, yet lovable young Kentuckian who, for all his hesitation and slug- gish movements in business deals, finds himself ahead of the game. Many humorous and tense situations arise when he attempts to match his wits with a scheming and mach faster New Yorker who is attempting to swindle and win the girl he loves. Other amusing characters are a present-day brother and sister who talk back to each other with blunt truthfulness. KEITH'S—Charlotte Greenwood. Charlotte Greenwood, who first proved her worth in vaudeville, re- turns this week to headline the bill at B. F. Keith's Theater in the sketch from the Ritz Revue, “Her Morning Bath,” by Norma Mitchell. She will also offer a song program with numbers especially wrlgten for her by Martin Broones. Hassard Short is presenting Miss Greenwood. The English comedian Jimy Savo will be featured with Joan Franza in a burlesque of the slow motion pic- tures called, ““Slow Motion."” o Mary Cavanova and Ottokar Marak of the Chicago Opera Co. and the Czechoslovakian National Opera will be heard in a repertory including bits from Miss Cavanova's famous role of rmen. Others will include George Dor- monde and his partner, forelgn panto- mimists, in “Comedy Panto,” a foun- dation for a clever gymnastic routine; something different in song and dance, by Virginia Rucker, a talented singing comedienne, and .her com- pany, a male quartet; Frank Mat- thews and Ada Ayres, in “Hungry Love,” an amusing comedy skit by Ben Ryan; Hewitt and Hall, “Song- land's Favorite Sons; the Three Mel- vin Brothers, Charles, Paul and Clar- ence, sensational gymnasts, and the screen features, Aesop’s Fables, Topics of the Day and the Pathe News. EARLE—Vasudeville and Pictures. A triple-star bill is announced for this week at the Earle Theater, the Steve's Leading Man. OHN WARNER, who is to be lead- ing man for the National Theater “layers this year, was seen last sea- son in plays such as “Kiki" and “Way Men Leave Home.” Since leaving Washington last Sep- tember, Mr. Warner has been steadily employed in the Broadway and road production of Ann Nichols' produc- tion, “White Collars.” He came to the National Players last year from a stock engagement in the Middle West. He had come FEast for the ““White Collars” engagement, but find- ing three weeks intervening, employed that time in Washington. Mr. Warner hails from Boston and has played in both stock and road companies. His longest stock engage- ment was at the Alhambra in Brook- 1yn, where he spaced out 34 weeks. The National Summer season opens Easter Monday, April 6, with “The Alarm Clock,” and in the cast will be seen Leneta Lane, John Warner, Romaine Callender, Billy Phelps and Adelaide Hibbard, with others. headliners being Julfette Dika, Franco-American songstress; Had)| All, one of the marvels of the age, and the McGushon Twins, supported by a clever group of singers, dancers and comedians in “Let’'s Dance.” Juliette Dika, Parisienne, has ap- peared many seasons in vaudeville, musical comedy and revue,and, added to the charm of a splendld volce, she is sald to possess the French woman's inherent sense of dress. Her cos- tumes are of great beauty. Mile. Dika will offer a repertoire of songs of international flavor. Hadji Ali is declared a puzzle alike to sclentists and the medical frater- nity. One of his feats is to swallow 60 to 100 glasses of water and a pint of kerosene and handkerchiefs of three colors. The kerosene, which he then expels, ignites, the blaze being extin- guished with the water, while the handkerchiefs reappear in any order of colors requested. “Let's Dance” is just what its title implies. In addition to the McGushon Twins, it enlists the services of Eddie Franklyn, Rubow and Ross and Chic Stanley. Other acts include ‘“Minstrel Memo- ries,” by seven knights of the burnt cork, who revive all of the best of America’s most distinctive form of theatrical entertainment, and Stutz and Bingham in a comedy oddity. ‘The photoplay will be “Soul Mates,” x‘mn‘ Alleen Pringle and Edmund we. STRAND—“Yip Yip Yaphankers.” This week, commencing this after- noon, the Strand bill will be headed by “Yip Yip Yaphankers,” with John Rothang and Frank Melino and a mil- | Easf itary company of 10 singers, dancers and comedians. Other numbers will include Joe Young and Ethel Gray in a comedy and song skit called “Forget-Me-Not,” by Willlam K. Wells; Elizabeth Fried- man’s varfety revue of dancing and singing, “Elida Ballet,” with Adela Jenne as the premier danseuse; a bit of Scottish humor with Sammy Dun- can in “The Pride of Bonnie Scot- land,” and an aerialistic exhibition by Bee Starr, called “The Shooting Star of Spangled Land.” “The Other Woman's Story,” a do- mestic drama that became a baffling murder mystery, is the screen ‘offer- ing, with Alice Calhoun and Robert Frazer heading the cast. The usual short films and orchestral numbers will round out the program. GAYETY—"Burlesque Carnival.” Bob Travers’' “Burlesque Carnival which opens today at the Gayety The- ater, is sald to have all the ingredients that make a maid-and-melody enter. tainment a *“go."” ‘Walter Brown has the leading role. He is a Dutch -eccentric comedian, noted for fufiny falls and acrobatic dancing. He is assisted by Walter (“§ovb2 McManus, a droll chap with ETHEL GRAY Strand ~ In the Spotlight. “BEAU GALLANT,” by Stuart Olivier, had its initial showing at Buffalo Monday night, with Lionel Atwell as {ts star. Ernest Lawford will play the Lord Chancellor in Winthrop Ames' produc- tion of “Iolanthe,” in New York April 19. “Bride of the Lamb,” by William Hurlbut, will be produced at the Greenwich Village Theater early in April, with Alice Brady as the star. “A Stranger in the House,” a com- edy by Lee Wilson Dodd, will be pro- duced by Henry Miller and A. L. Er- langer April 6. Mr. Miller and Cath- erine Alexander will have the prin- cipal roles. “At Mrs. Beam! will be the final offering of the Theater Guild this sea- son. It will follow the production of ““The Chief Thing"” and Alfred Lunt, Lynn Fontaine and Jean Cadell will have the principal roles. George Arliss, playing in “Old Eng- lish” recently in Cincinnati, broke the record for receipts for a dramatic at- traction in that city. “The Butter and Egg Man,” now unique methods In a series of new scenes written especially for them. Inez de Verdier, prima donna, has a cycle of new songs and a stun- ning wardrobe; Esther Lang is the soubrette and Bernice Adair the in- genue. Others are Billy Harris and George Monfred, the Georgia Sunflowers, who will demonstrate what can be done with the trickery of, jazz on various ifistruments, and a chorus of 18 pretty girls. Janet Richards Tomorrow. Miss Janet Richards at her talk on “Public Questions” tomorrow morning in the Masonic Temple, Thirteenth street and New York avenue, will at- tempt to clear the decks of a num ber of questions of miscellaneous in- terest—both home and foreign—which have been sidetracked of late because of the paramount importance attach- ing to the League of Nations activ- ities at Geneva. After bringing the Geneva situation briefly to date, Miss Richards will take her audience on a personally conduct- ed tour of the globe, touching upon the high lights of many interesting questions in the different countries, ‘which will be clarified by the uss of large maps. The talk will begin at 10:40 o'clock. EASTERN HIGH SPRING PLAY. Crossed love affairs and chocolate creams are cleverly combined {n Ber- nard Shaw’'s comedy, “Arms and the Man,” which will serve as Eastern High School's contribution in the Brown University Alumni Cup com- petition. The play is to be given in the East- ern High School auditorium Friday and Saturday nights, with a double cast alternating on the consecutive nights. “Arms and the Man" is one of the best liked “pleasant” plays of Shaw, alive with Shavian situations and pun- gent with Shavian wit. The setting of the play is a Bulgarian village in the shadow of the Balkans. The plot concerns the tangled affairs of a wealthy Bulgarian family. In two in- nocent chocolate creams given to a refugee soldier lle a complicated plot of such entanglements as to puzzle a half dozen Sherlock Holmes and a Hawkshaw in the offering. The tuneful operetta of Oscar Straus, “The Chocolate Soldier,” was adapted from the show play and the story of the romantic Swiss “Servian’ is well known to music lovers as well as to theatergoers, ‘With 30 years of dramatic successes behind it, the Eastern High Dramatic Assoclation promises a fitting climax to its previous productions. The play is throughly Easternite in every re- spect. Eastern's woodworking classes are furnishing the scenery, Eastern’s art class the Eastern’s print shop the tickets and programs and tern’s journalism and dramatic classes the publicity. MASK AND WIG CLUB. 'Tha Mask and Wig Club of the University of Pennsylvania will pre- sent its annual production, “A Sale and a Sallor,” Friday night in the WTl;hlnm‘n Afud::&"“m' e cast of tl year’s piece was chosen after three weeks of intensive campus “tryouts,” in which several hundred students took part, and re- sulted in the selection of five veterans of the Mask and Wig and six new- comers. The comedy of the play, and it is abundant, is in the hands of three of the veterans, Albert G. Miller, Jr. (who_incidentally is the author), Francis I. Curtis and Raymond de S. Shryock. ‘This season an added attraction has been provided in an unusually fine singing chorus, directed by Paul Hart- enstein. The dancing chorus and the entire stage management of the production is in the hands of Charles W. Morgan, Jr., for a number of years largely re- sponsible for the success of the Mask and Wig entertainments. ‘The public sale of seats will open Monday morning at Mrs. Wilson Greene's concert bureau in Droop’s. running in New York, is again sched- uled for a London presentation. Ne- gotiations were opened two months ago with Andre Charlot as the prime mover to have an English producing company take the play over. Prince Wilhelm weden has sold to Carle Carlton a play called “Kinan- gozi.”” It is reported the prince will come to America this Summer for the rehearsals and to assist in the produc- tion. He is a younger brother of the crown prince. Willlam A. Brady announces a re- vival of Barrie's “What Every Wom- an Knows,” with Helen Hayes and Kenneth McKenna in the leads, and for a New York opening April 12. “The Small Town Gal," a musical comedy by George E. Stoddard and Vivian Crosby, is announced by Clark Ross. “Thou Desperate Pilot,” by Zoe At- kins, has been purchased by William Harris, jr., for production next season. “Storm Center,"” a comedy by Jessle Heir Ernst and Max Simon, will be tried out this Spring by Lewis and Gordon. “Kitty's Kisses,” a musical comedy based on a play by Philip Bartholo- mae, with music by Con Conrad, was placed in rehearsal last week by Wil- liam A. Brady. Theodore Drelser's novel, “An American_ Tragedy is being drama- tized by Patrick Kearney. author of “A Man's Man." The play will be produced next season by Horace Live- right. “Pomeroy's Past,” by Clare Kum- mer, will be placed in rehearsal this week by Boothe, Gleason and Treux, with Ernest Treux in its leading role. After being whipped Into shape at Atlantic City, it is expected to reach New York in April. “That's Too Bad,” by Albert Cowles and Willlam Blatt, will have its initial showing at Atlantic City April 12 Samuel Wallach is the producer. Eric Dressler, George Barbier and Gladys Frazin have been =ngaged for it. “The Patsy,” which was lost in a flood of new plays when it opened in New York after a long Chicago run, reached its 100th performance in Gotham last Tuesday night. “Sunny,” which had its 200th per- formance in New York last Monday night, has earned $1,200,000 since it opened, according to Charles Dilling. ham, its producer. It has be:n run- ning six months, and he says he be. lieves it will continue at least a year more. The various plans of Glenn Hunter to play “L’Afglon” have finally crys. tallized. The production will be made in Rochester in September. It is un- derstood that George Eastman. cam- era maker of that city, is behind it Miss Betty McMillan. daughter «f Mrs. H. McMillan of Washington, is now taking the role of premier dan- seuse at the Rialto Theater at Tampa. Fla. Miss McMillan is a former Ned ‘Weyburn pupil. Otto Harback, co-author of “Kid Boots,” is one of the most successful writers of musical comedy librettos in America. Some of his best known works are “The Three Twins,” “The Firefly,” “Katinka,” “The O'Brien Girl” and “Wildfire,” and there are at least a score of others. Phil Ryley, an important member of the “Kid Boots” company, made his first appearance in the theater with Henry E. Dixey and he played the principal comedy role in “Flor- odora” when that musical play was all the rage on the American stage. Mary Eaton, Ziegfeld's charming comedienne and terpsichorean won- der, surely comes from a talented family, since she has two sisters prominent on the stage, Pearl Eaton and Doris Eaton. Now a younger brother is preparing himself for a stage career and a nephew, “Eddie” Mills, is one of the best child actors on the New York stage. Frank Fay, “Broadway Favorite Son,” who is a headliner at Keith's Theater, closed his vaudeville engage- ment last Saturday night and will soon be seen in “The String Saver,” a comedy by William Grew and Frank Fay. The show will open in Spring- field, Mass., Aprjl 11, and will go to .h\&ew York about the second week of ay. e e Studio “Round Table.” AF'I'ER three months of experiment with a studio “Round Table,” at which the heads of all departments discuss their problems over the coffee cups, Ray Rockett, studlo manager for First Natlonal's Eastern produc- tion units, declares the idea to be & complete success. “Every one is so busy around & place of this kind,” says Rockett. “that they hate to break in on the studio manager with what they think is a mere trifle. Many times this trifile proves to be something of the greatest importance. “After a hearty lunch, when all the department heads sit back for & friendly chat, many of these trifies spoken of, and I have found em are cellent {deas coming in this way, every man around a studio. has of his own. >