Evening Star Newspaper, October 25, 1926, Page 12

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Goldenberg THE EVENING STAR. WASHINGTON, D. KEITH'S—Jean Acker. Jean Acker, who is heading a strong bill_at Kelth's this week, need not be billed as the first wife of Valen- tino or as a screen luminary, for she is @ real actress. She goes about her work in a natural and convincing way, demonstrating her artistic sense. The fact that Miss Acker was on the stage before going into filmdom is evident. Her little play, called “Smoke,” carries many clever lines. The plot hangs on the fact that a playwright has turned out a play with {a weak third His wife makes | suggestions without avail and then she springs a surprise to gain her point and makes her husband go throuzh a warm 10 minutes before she divulges the fact that she has been tacting. George Thorpe plays the writer exceptionally well. The laughing hit of the bill is fur- nished by Russ Brown and Jean Whitaker, who put forth a sidewalk conversation act that is a scream from start to finish. Brown s one of those easy talkers, with a pleasing personality, and the greatest part of his material is fresh and original. Miss Whitaker is a good foil, and the lights had to be lowered at the end to get |the pair off the stage. Quite a pretentlous act is that of C. B. Maddock, under the title of “Tramp, Tramp, Tramp,” the com- pany of eight being made up as hoboes, !who sing and dance in clever style. Kochler and Edith open the show with & roller skating act. Then Helena Russo comes on, dressed as Mme. | Pompadour, and sings several grand | opera and popular airs, her high notes creating no end of enthusiasm, War- ren and O'Brien follow with a dancing and athletic burlesque turn which was {well received. Herman Berrens and {Mlle. Fifi scored in a singing act. i Dun collies close the show. Aesop { Fables, Pathe and Current Topics fill in the vacant spaces. EARLE—The ¥our Mortons. The Four Mortons, famous family | of funmakers, supply the headline {attraction at the Earle this week. This family—Sam, Kitty, Clara and Paul—is recognized as one of the fea- ture familles in vaudeville, and it seems to have lost none of its popu- larity. They present a humorous brand of entertainment, a funny dla- logue by the two oldest members of the family and dancing and music by the younger couple. Thelr experience has taught them what an audlence prefers. The added attractfon is furnished by Gene Collins and Bill Brown, as- sisted by the O'Connor Sisters, Alice Kasper and Nina Bradon. The act is entitled “The Matinee Idol” and is a sprightly musical revue, featuring singing and eccentric dancing. The Sheiks of Araby present “An Arabian Fantasy,” in which they open with an impressive scene and then quickly change to a jazz orchestra. They are a gifted lot, and the youngest gives a good brand of tumbling. Harry Morrisey and George Mur- ray have a mirth provoker in their skit, “Bundles.” One of the team 18 also a good dancer. John Miller and James Mack, booked as the Big Boy: entertaln with comedy, singing an dancing. The photoplay attraction, ‘“The Great Deception,” is one of those pop- ular plays of the secret service during the war. The story deals with the code to a secret treaty and keeps passing from one operative to another until the audience wonders just where it belongs. Cyril Mansfield (Ben Lyon), a young English boy who has been edu- cated in Germany, is branded by his countrymen as a German spy. Lois Mather (Aileen Pringle) is his sweet- heart and helps him to escape. Action and thrills are a large part of the story, and in the final few feet there is a thrilling airplane race. STRAND—"Danceland.” Fairy dances, pastorales and Dutch folk scenes make a delightful pano- rama of “Danceland,” a vaudeville bit headlining the new Loew bill at the Strand. The several feature dances are exceptionally done by Gomez and Winona, especially the In- dian love scene. The greatest charm about the presentation is the romantic, unreal quality which makes the audi- ence forget the present and go into a past of pixies, forest dells and Spring mornings in Holland. Calling their skit, “Don’t Handle the Goods,” Kay La Velle and Frank Browne put forth a blithe turn of fresh fun with bits of xylophoning for garnish. The Herberts bound high from a rubber-slung platform and do midair stunts. Mildred Feeley sings and the house doesn’t need to be made to like it, while Marty White takes what laughs are left with a rather foolish but amusing monologue. Mr. Manvell’s orchestra’s efforts are fruitful of harmony, and “Blarney,” the film, is & featured attraction. GAYETY—"4-11-44." ravaganza, Hurtig & 4- ” with colored per- d its Washington premiere ety Theater yesterday amid an outburst of enthusiasm seldom be- foro manifest in the Ninth street house of burlesque. One feature of the show that made an impression on the audience is the machine gun like rapidity with which scenes. The mere semblance of a plot threads its way through the piece, but it 1s secondary to the music, the danc- ing and the humor that abounds in this show, Around Eddle Hunter, comedian, re- volves the humor of every scene. The company supporting him includes some of the greatest colored entertainers on the stage. There is Bllly Mitchell of the old school, who has a role ad- mirably suited to his talents; George ‘W. Cooper, an excellent foil for Hunt- er's humorous attacks; Leroy Broom- fleld and Aurora Greeley, two juvenile “dancing fools,” who also can sing pleasingly, and a chorus of dancers. Also there are “the Eight Dancing Spades,” whose terpsichorean efforts a la jazz were executed to the accom- paniment of & wave of applause from | the audience. The costumes and set- tings are elaborate, RIALTO—“The Midnight Sun.” Georgeous ballet scenes, glittering Jewels and dazzling court splendor ' Chambers Steel Burial Vaults Relieve the pain and tightness by the chest freely with BAUMB BENG! bandy. Get the original 1t moves through its two acts and five | eI e——ne——1 OPENING ATTRACTIONS IN WASHINGTON THEATERS. on the Rialto's screen this week. But the plot of “The Midnight Sun” is not | a strong one. Viewing the opening | scenes, one can anticipate the rest, | even to the halting of the firing squad just as they are about to send the hero into eternity | Raymond Keane, the hero in ques- tion, proves to be a bright spot in the production, with his magnetic per- sonality and his easy acting. The | story centers around the succe of | an American dancer, portrayed by Laura La Plante, in the Imperial | Russian Ballet prior to the World| War, her chance for success being | offered her by an unknown friend. The | mysterious one proves to be a financial | power behind the Ru: overn- | ment and a stage villain in the bar- gain. The Grand Duke becomes en- amored of the dancer and the plot thickens. The two men vie for favor, which the girl has no intention of Dbestowing upon either because of her love for a young officer of the Grand Duke's guards. The villain is frus- trated in his attempt to kidnap the girl by the Grand Duke, who has sen- her lover to death. A mad race , which ends up with the Duke checking the execution at the critical moment, and_further showing his altruism by releasing the dancer from her agreement and extending his blessing to the reunited pai A newlywed comedy, “Snookums’ Outing”; news reels and an overture of Russian airs rounds out the pro- gram. f WARDMAN PARK—“William Tell.” ‘Willlam Tell, sharpshooter extraor- dinary, arrowed an apple from his little son's head at the Wardman Park Theater last night. Knights, wearing odd headgear (something sim- | ilar to inverted water buckets) fought duels; maidens in distress were res- cued from burning castles—and other- wise it was a quiet evening. The actlon {s a part of the Motion Ple- ture Guild’s production of “William Tell,” adapted from *Schiller’s drama and Rossinl's opera, and the picture was fllmed in Switzerland. This last fact gives exceptional backgrounds for the various scenes. The beauty of the mountains and the valleys, as record- ed by the camera, alone makes the photoplay.worth while. But the apple incident is only a tiny part of the flim drama. It i3 really the story of Switzerland's fight against oppressors and the birth of the re- public. There is a long serles of bat- tles, with a love story interwoven through the picture, and the details are supposed to be historically cor- rect. The blacksmith’s daughter and her lover, a brave knight, are united in the last fade-out, and the story ends happily. The part of Willlam Tell is played by Felix Orell, Friedel Seiler is Marfe, Carl Ganz is Knight Huenen- berg, and Emil Harder, jr., is the younger Tell. Appropriate music for the picture is supplied by the Rema- phone. PALACE—"The Temptress.” Coming not so many weeks after an- other Ibanez picture, “The Temptress,’ ‘which opened yesterday at the Palace, suffers the handicap of being a little too reminiscent of ‘“Mare Nostrum.” Ibanez seems further to have exploit- ed one of his favorite themes, and even the director—Fred Niblo this time—has copfed some of the short- comings of the director of that other picture, Rex Ingram. It may be unfair to blame the direc- tor when the action drags. It may be that Ibanez, contrary to the general opinion, lends himself poorly to the screen. But apparently the action is laid on a little too heavily in the early stages to prevent the story from mov- ing along slowly in spots. Despite this one fault, *“The Temptress”| stands far above the ordinary run of movies. It has the advantages of splendld acting on the part of An- tonlo Moreno and Marc MacDermott, another veteran of the early days.| Greta Garbo approaches excellence in | spots. | The story opens in Parls at a, masked ball, with all the conventional confettl. The heroine quickly be- comes misunderstood, and one man | commits suicide. The second act fis| in the Argentine, with a couple of killings, a fight and a dam explosion | as high spots. In the last act the Temptress goes off into the night, and the dam is rebullt, Rubinoff, with his violin, and Wil- liam Robyn provide the musical trim- nllllngs. and a magazine film completes | the bill. METROPOLITAN—“Gigolo.” Rod La Rocque, in Producers’ Dis- | tributing Corporation’s screen version | of Edna Ferber's novel, “Glgolo,” and | Art Landry and his Victor Recording | Orchestra op the stage. are the fea-| ture attractlons at the Metropolitan | this week. % “Gigolo” relates a story of vouthful | romance having its inception in a small Wisconsin town and developed | through the atmosphere of Parisian night_club life and the World War. Rod La Rocque, as Gideon Gory, is forced to leave his American home “Extra Wide Models 726 SEVENTH IAAATEL CRRRRNAEAREE KU {0]———=lo]c———=lool]c———|alc——[no] DontWait forYour Feet to Hurt~ ARCH SUPPORT SHOES Featuring Washington’s First Exclusive Shoe Bargain Basement C.. AY, town, forsake his sweetheart and go to Parls to satisfy the whim of his mother, under the intriguing persua- sion of a wily second husband. War separates Gideon from his mother, who in the meantime is reduced to poverty through the tric! of her husband and broken in health by dis- sipation. The war over and his mother s tute, Gideon becomes a night-club habitue and turns to the position of a “Gigolo” for income. Here is devel- oped the Treal ¢ ‘ter and color of the picture. “Gigolos™ are male dane-| ing partners furnished for cafe pa- | tro Tn the role of one of these| sleek, polished entertainers, La Rocque doe some best . It is hi heaviest part to d his most colorful. T everal graceful dancing bits, the part has much of the lure of the shelk type. -Z\'huring honors with the photoplay, and deserv no less praise, i3 the delightful playing of Art Landry and his orchestra of twelve. The boys make a distinet hit in their first ap- pearance here, displaying unusual skill and a respéct for melody seldom found in syncopating orchestras. They may well claim the asset of being “dif- ferent.” Entrancing harmony in soft, subdued tones 1s the keynote of thelr playing. “Gypsy Sweetheart” and an angment of “On the Road to Man- dalay” were their most engaging num- bers. The features are supplementel by Pathe news reel and an Aesop Fable comedy. MO COLUMBIA—"Sparrows Mary Pickford in “Sparrows,” now running.for its second week at the Co- lumbia, exhibits pathos of a rare or- der. Washington movie fans are giv- ing special attention to this photo- play, through which runs a strong re- ligious sentiment, balanced against human greed and harshness. The tear and the smile blend in the story, and Mary herself, in the role of ‘‘Mama’” Mollie protecting desolate tots on a farm edging on_a Southern swamp, puts plenty of dash into the action, particularly when she wards oft the miser with a pitchfork. The tale, reminiscent of some of those from the pen of Charles Dick- ons, concerns itself with portraying the upward fight of a group of or- phans. There are several tenge mo- ments in the plcture, climaxed with the adventures of Mollie and the little ones in traversing the swamp, with hungry alligators ready to whet thelr teeth on them. In the end the swamp, which had proved the prison of the unfortunates, shapes retribution for them, with ":16 d;?axh of their task- master in its depths. y ‘An_Our Gang comedy, called “The Fourth Alarm,” in which the versatile crowd turns itself into a firefighting aggregation; the Pathe news reel, Top- fes of the Day and the musical fea- tures round out a worth-while bill. CENTRAL—“The Passionate Quest.” “The Passionate Quest,” Warner Bro/s camera drama based on the novel of the same name by E. Phillips Oppenhelim, offered as chief attrac- tion of an excellent bill at the Ce tral Theater the first two days of this week, sets forth the adventures of three wards of a flinty-hearted guard- ian who betook themselves to London and Parls, there each to work out his or her own destiny. Rosina Vonet longed for a stage career, Phillip Garth aspired to become a great poet and Matthew Garner, hard as the money he loved, had dreams of becom- ing a financial wizard. The pursuit of these aims results in a photoplay that abounds in speedy action, ad- venture, fighting, romance and much hilarious fun May McAvoy, Willard Louis and Gardner James are cast in the three stellar roles and the supporting cast includes Louise Fazenda, Holmes Her- bert, De Witt Jennings, Vera Lewis and numerous others of the first rank. The auxiliary offering through to- day is Mack Sennett's new two-reel comedy, “Spanking Breezes,” and the bill is rounded out by added short reels and melodious pipe organ ae- companiment and solo perfods. i Ly sy e Dancing Every Nite No . Monday Blues At Swanee Old man Blues sure keeps atway from happy places. Music by Swanee Syncopaters 13th & E Sts. Don’t wait for your feet to hurt—or to break down and sentence you to years of suffering. Prevent this by choosing Arch Support Shoes now. Give your feet the support and freedom that they need. Made in Vici Kid, Patent Colt, Tan Kid and Satin. Sizes2V4 to 10, widths AAA for Stout Women STREET N. w. |——|olc——|a|c———|a[——=]a|———|o[—]0] OCTOBER 25, 1926. AMBASSADOR—"Gigolo.” A new fssue of the news reel and added camera subjects of abbreviated length comprise the supplementar: features of the bill being offered the Ambassador Theater the first two solo interludes accompaniment and by Mirabel J. Lindsey and Gertrude | Kreiselman add to the effectiveness of the screen features. The mafjor attraction is Producers’ picturization of Edna Ferber's story of “Gigolo,” in which Rod La Rocque, Louise Dresser, Jobyna Ralston, Cyril Chadwick and George Nichols appear in the pivotal roles. and a vflm)flfllolrm‘o skill by Ralph Ince, vho both story of the photoplay will be found in the review of the Metropolitan Theater’s attraction for the week. TIVOLI—“Bigger Than Barnun In “Bigger Than |is presented one of the thoroughly Ing circus pictures. The story < Leen compounded intelligent working graduall great suspense genuinely staggerin background | the sawdust ring and the | has been caught and sustained with The circus nn's” at the | has an fmpor t, days of the current week. Pipe orzan | Tivoli the first two days of this week |of the her that is | and the atmosphere of | newsreel, big tops | tuneful directad the picture and portrays the 't of the remern brother witl “The Sen Beast,” and the rele sted to Viela John Bar) Dana. The hort-recl comedy for the first bill of the week is “Ex higgage, 2 juvenile release, which in turn augmented by a new Paths Review and the latest compflation of the The bill is comnloted by pipe organ accompaniment and solo intervals. Clte H WLLET 1$ with it~ i l | { 3— // B ) : TRUHOK MUBFLER | 5\_\ Q'//\ ff LDO;N TUXEDO ~and what to wear The HEcrr Co-F StREET HAT 00