Evening Star Newspaper, December 26, 1926, Page 57

Part 3—8 Pages Extravaganza From “Evang’eline“ to “‘Betsy’ | BY PHILANDER JOHNSON. HERE can be no doubt of a determination in circles de- voted to exploitation of femi- nine charm in dance and eostume, from burlesque to revue, to move along toward the serene alti- tude of the higher propriety. ) show now is relied on A Ziegfel, in the way of to offer nothing studied effect that would jar pre- war sensibilities. “Betsy.” the new show, is typical of the entertainment to which_producers now aspire, in that it offers no material depending on clumsily contrived suggestive- ness—save that which may be dragged in by some obdurate come- dian prone to ad-libbing. ikl “Betsy” has a little plot, but not enough to make the. situations re- liably helpful in any effort of acting. Nor is the song material so piquant in appeal as to promote the impres- sion of exceptionally smart person- ality. * o o* % It is the chorus that counts; in fact, it has gone beyond the chorus and needs a bigger word. It is the gorgeous ‘“ensemble” that counts, arrayed in priceless fabrics, with draperies designed to reveal physical charms on terms to delight the eye of an artist. * ok ok % The spectators of a beauty show —and this means a revelation of beauty in painting, in costuming and in stage grouping—have gradually progressed toward the mental atti- tude of students in an art school. A model may pose, since it is her profession to do so, and arouse no interest save that of drawing. It is the lady with the decorous skirt who by accident or design displays a glimpse of garter who can stam- pede the entire class. * X % ¥ Some of the funmakers have given excellent account of themselves, but do not near prevent a decided im- pression that while “Betsy” has morals, she lacks principals. * X X X A play of this type is still “ex- travaganza,” although it does not flaunt the descriptive title. Early entertainment in this form flourished perhaps with less beauty—for the joke about aged chorus girls was then in its palmy-day prime—but with a riotous superabundance of wit, bubbling and sparkling in sheer response to the joy of living and the enthusiasm of good-fellowship. A laugh was more valued for its own self and the pleasure it could bring than for the hope it held out of an increasing wage. * % ¥ % Fun d?endd‘grquy on traghsty and its designers were expected to appeal to the same audiences (though in merrier mood) that applauded the poetic dignities of the great serious actors and their plays. The lint of satire was usually present, though never under any circum- stances allowed to break over the bounds of deference to a reasonable intelligence and to the self-respect which competent and popular play- ers valued with much jealousy. * k x % An example of the early extrava- ganza, as developed into “Revue,” which has absorbed European cont nental ideas and patterns, as the English language has absorbed words and phrases, was Rice’s “Evangeline.” It was necessary to say “Rice’s” in order not to confuse attention that had been directed with admiration to the great Long- fellow poem. * K k% E. E. Rice was not one of the pro- ducers who proceeded entirely by recipe and who depended on systems of financing involving unlimited romissory value. It is true that e used the systems of verbal credit and contigent profits as others did, but ‘he never quite let himself in for the predicament of the manager who found, when ready to ring up the curtain on his first performance: that he could not possibly make the enterprise, however popular, a math- ematical success. “You have a great hit,” remarked a friend, . “What's the good of i inquired the manager, whose face was rueful. “No matter how much money we take in we can’t keep going. I have had to work on shares with one arty or another, and I now find as figure up the accounts that I have given away 105 per cent of the show.” ok ok % The debonaire person of E. E. Rice, as well as the instinctive reluc- tance of the theater man to risk losing what might be a prospect in the gold mining fields of talent, was illustrated by Rice’s habit of avoid- ing conclusive dismissal of aspiring applicants and invariably admonish- ing them, “Be sure vou don't do any- thing until you hear from me!” Two song composers arrived to show some of their work, with one singing and the other assisting at the piano. Rice heard them and bade them good-by with his cus- tomary admonition. In a few days they returned. “We've got some- thing new we want you to listen to,” said one of the pair. “We have just worked up the best line for a topical song that ever hit Broadway.” said the other. They re, of course, invited to show their wares and the pleased expression of the producer suddenly faded as a rollicking ditty romped suddenly into a tuneful refrain to the words of “Be Sure You Don’t Do Anything Until You Hear From Me!” They had no further encourage- ment. Even in those circles of liberal and spontaneous wit it did not pay any more than it does now to be too funny in discussing matters relating to husiness opportunity. * % ¥ % It would be a defiance of all tra- dition to mention Rice's “Evangeline” without a reference to the dan heifer, with Henry E. Dixey cast to the important role of the hind legs. No more resplendent butter- fly cver merged from a chrysalis | than Dixey proved after he had shaken himself entirely free from his calfskin envelope. In a Chicago production he played in an extrava- ganza called “Adonis” and mingled intellectual smartness with a per- formance depending largely on hand- some personal appearance. When “Adonis” went to New York a dance was given in his honor and referred to as “The Dixey Balll." 3 _Dxx:y czlme to be appreciated in legitimate roles. but war;vm‘_" so feted as he had been in the frivolities. * ok ok ok In the latter demonstrations he could use his own audacious wit, which he combined with remarkable powers of mimicry. He told a story at his own expense, alluding to his burlesque of Sir Henry Irving dur- ing a topical song. beginning: “The strange things we say and the strange things we (1_0 Are English, you kno After the curtain Irving, one of the most gracious and democratic of people, made his way to 's dressing-room. ‘] ‘came to congratulate you on your imitation and your song. “Thank you,” said Dixey. I also take the liberty of remark- ing, incidentally, that one of th: two of us is a fearfully bad actor. * ok k% The topical song was an essential feature and invariably one of the hits of the presentation. It depend- ed on witty turns of suggestion hung upon a single phrase and involved some of the cleverest work of which the rhymsters of the day were ca- pable. "It fell away from attention, and a reason for this fact is frankly given by publishers. While they pleased the fancy enorvmnusl_v as they went over the footlights, topi- cal songs did not sell over the coun- ter. The demand was for ballads which implied graceful romance as She touched the ivory keys under the mellow glow of a piano lamp and He warbled heart-yearnings in a throaty tenor. * o ox X The attention of a music magnate of tin-pan alley was brought to some parodies of songs from his shelves. “Thought you might like to see the boost,” remarked the genial parodist. e The reply came in icy tones. “That is no boost. A parody only goes with something that is already familiar. We regard a parody as the death knell of a perfectly good popular song.” * Kok % Spectacular extravaganza advanced along the lines that brought Fddie Foy into distinguished prominence as a droll laughmaker, surrounded by electric lights, tinseled scenery and girls. 'An oft-repeated “story tells how Eddie Foy as a youngster was boasting to his mother of a position he had obtained in a small place of entertainment. Before hel went on the stage his first name was Danny and his family was proud of a touch of the brogue. “Tell me, Danny,” said the mother, is it paid you are. for cuttin’ up the same as you do around the home?” 4 “Pretty much the same, mother, come and see me act.” “I'd never_have the time for such nonsense. . Do you get real money for_doing that out before folks?” “Sure I do.” “Maybe as much as five dollars a week 2™ “More, mother.” “You don't mean to say you get as much as ten?” “More than that, mother. fifteen.” “Go on, Danny! as you can!” 2 1 get Fool 'em as long * x *x And Danny has been “foolin’ 'em” in that quaint delightful way of his ever since. Eddie Foy never seems quite of the theater, even to this day. He is as completely apart from the theatrical generality as Santa Claus or a Brownie would be at an afternoon tea. He has one extraordi- Aary trait which very few of the player folk share. He never acts off stage. This was commented on- in his presence in connection with the somewhat artificial manners as- sumed by players ever eager to im- press “personality” and grab any spotlight, however faint and inti- mate. “Why should 1 act off stage?”| said Foy. “Nobody ever accused me | of acting on the stage, did they?” * ok ok % A simple-hearted man, making no pretensions to great scholarship, strangely difident in discussing his own ‘attainment, almost shy in his | attitude toward strangers, he goes| on, even though a veteran who boasts not only a large family of | possible prodigies, but who has also | enjoyed the distinction of being imi- tated by Elsie Janis, and continues | to please that big child, the public, | of whom Barnum said: “It loves| to be humbugged.” i * x % He seems to this day to be in a/ state of wonderment that he should be able simply by being himself, ; with no show of personal smartness | or aggressive assertion, to bring so many smiles. * k% % | Much of the ‘theater that has| proved conspicuous would now bel forgot were it not for the vaude- villes. Eddie Leonard, the minstrel| man, whoe laughed his way to promi- | nence in many of the old-time “magic semi-circles,” established himself on terms of gleeful ac- quaintanceship at Keith's Theater and proved that minstrelsy is still, like some of its jesting, “good as new.” The tenacity of old-time en- tertainment was again revealed in Mr. Loew's vaudefilms, when the “Night Hawks,” whose title seems to echo from old burlesque, intro- duced a type of entertainment which threatens to become more important in appeal than pictures themselves in a picture house. * ok k¥ In fact, present conditions would have been regarded as entirely chaotic by those who regarded it as essential for a theater to have “a policy” inviting a definite clien- tele. Motion pmurexoccupy a con- | Che Sunday St WASHINGTON, B, SUNDAY . MORN ING, DECEMBER 26, 1926. HE. |HLEATLR- /\JITZA VERNILLE i i PRINCE WONG - Earle ROYAL FOSTER- Wardman Park. Stage and Screen *“THE Four Horsemen” film has been barred from all German theaters, following a resolution pass- ed by the Society of German Film Renters. The German theaters, especially in Berlin, are featuring many attractions familiar to American theatergoers. For instance, Anna Paviowa and her troupe of 40 dancers opened recently at the Theater des Westens. Chaz Chase, an American comedian, is at the Scala for the month of December. Fritz Kreisler's only Berlin concert of the smeason drew a big crowd a few weeks ago. Edna Purvelance, once prominent in American movies, has been engaged tor a French film, “The Education of a Prince.” Edna, who is now in Paris, will play the leading female role. “Sweet Rosle O'Grady,” the song written 20 years ago by Maude Nu: gent, has graduated from the song world and will become a photoplay. Production will start soon. Owners of Cleveland, Ohio, photo- play theaters are leading a movement to abolish standing room. When all the seats are taken, no more tickets will be passed out by the box offices. The last performance of ““Miss Hap. piness” was given in Washington. The company returned to New York and was paid off by the sponsors of the production. It may be revised later in the season. Americans are staging “The Black Bottom Revue” at the Apollo Club, a Paris club which remains open all night. The featured dancers are Lola Menzli, an_American, and Tina Meller, sister of Raquel Meller. siderable share of time in theaters regarded as consecrated to the speaking drama or the higher flights of song. The Gayety no longer ap- plies itself to “burlesque” in the former sense of the word, but en- courages talent from comparatively new sources with an enthusiasm which Mr. Belasco himself could not surpass in selecting players for “Miss: Lulu Belle” This theater turns the tables on the dramatic managers who long since borrowed a leaf from the burlesque prompt book and introduced the song, dance and joke type of entertainment. Be- tween musical shows the Gayety uts on some of the fiercest of the “legitimate” successes, such as “Aloma,” “What Price Glory” and “White Cargo.” \ The distinction between “star” and “supernumerary” still represents an impassible social chasm. The distinctions, however, relating to productions and the theaters they play are by no means so easy to preserve. Palace UNA MERKEL - ADGE. KENNEDY- Nationsl . National- heetof don3- GLADYS AHEARN Keiths “Welcome All EGINNING tomorrow morning, Crandall's Metropolitan Theater will be the scene of a continuous Christmas party. Mr. Crandall this year is following his annual custom of dedicating the first performance each day during the holiday week to the enjoyment of the children from all of the orphanages and eleemosynary institutions in the District of Columbia. Transportation to and from the homes is provided gratuitously by the Rotarians, Black and White Taxi Co., the Red Star Line, the Royal Blue Line, Cadillac Motor Car Co. and the Gray Bus Line. Friday morning's first performance will be devoted to the pleasure of the newsboys of Washington. New Projection Feature NEW effectiin projection, used for the first time, was revealed at the recent premiere of ““Old Ironsides,” at the Rivoli Theater, New York. Just before the intermission, as the old frigate Constitution, with sails gleaming, began its resolute attack on Tripoli, the screen suddenly was en- larged to almost the full width and depth of the stage. “The new method of projection gives almost close-up proportions to full length “shots.” It brought from the first night audience, a distinguished one, including Secretary of the Navy Wilbur, a spontaneous outburst of enthusiam. Some conception of the magnificent effect of this enlarged screen camn be gained from its dimensions, which are 30 by 49 feet, whereas the usual screen in the Rivoll is about 12 by 18. This wide angle screen was tremen- dously effective in the scenes of fight- ing aboard the old frigate off the coast of Tripoli. ““The magnoscope,” wrote Miss Underhill, one of the critics, “made it seem as though ‘Old Ironsides’ were floating right ol“ into the theater.” ] randall's SADIE BANKS - Gayety LAURA DOOLEY- Strand MADELON LEFERE- Mutual Coming Attractions. NATIONAL—"Pigs.” John Golden is sending his company to present “Pigs,” the comic romance of youth, to the National Theater for the week beginning January 3. With- out anticipating here in too much de- tail the character of the comedy, it can be said that “Pigs" is the story of a “Main street” family with two sons, one intended for the law, and the other, a kid brother, who puts his business ability against his elder brother's education and. wins. \ Roughly, the theme fs built on the kid_brother's need of $250 with which to buy 250 pigs, which he hopes to turn into real money when he cures them of “what ails them.” He hopes to be a veterinary and says he can cure anything that has even a spark of life in it. He is only 18, but a girl chum has marked him for her own, and in order to get married they must have that $250 with which to buy those pigs and make their everlasting tertune. So she helps him get it. The story teems with comedy situations and surprises. KEITH'S—WIill Mahoney. The famous comie, Will Mahoney, will headline the bill for the first week of the new year, beginning with next Sunday's matinee, at B. F. Keith's Theater. EARLE—"Misses and Kisses” Revue. The “Misses and Kisses" revue will be the headline attraction of next week's bill at the Earle Theater begin- ning Sunday afternoon. The produc- tion features 14 comedians, singers and dancers. Others will include Juva Marconi and company, the royal Ital- jan dancer and her American ballet girls; Stan Kavanaugh, the Australian juggling humorist: Lillian Roth in “Songs,” and other acts to be an- nounced later. The photoplay feature will be First National's production of “Stepping Along,” starring Johnny | Hines. STRAND—“Around the Clock.” | Beginning next Sunday, the Strand's permanent cast will appear in Vie. | tor Hyde's musical comedy revnue, “Around the Clock.” Irvin B. Hamp will appear in clever comedy skits with his comedian part!| ners, Lew Lewis and Paul Rush. The Folies Bergere Girls will put over several specials, and others will in- clude Florence Drake's blues melo- dies, Billee La Monte's solos and Kath- leen Butler, dancing. GAYETY—Billy Watson’s Show. “Sliding” Billy Watson and His Big Fun Show will be next week's attrac- tion at the Gayety Theater. Included in the cast, headed by Watson him- self, will be Senorita Carlita, prima donna; Peggy Mayo, “blues” singer; | Jack Heath, straight man; Dick ! Lewis, vocal specialist; Frank Malla- hah, character man; Ella Johnston, soubrette; Jasper Stroupe, singer and yodeler, and the “Whirlwind Four, colored entertainer: MUTUAL—“Bright Eyes.” For the first week in the new year ual ° Theater announces E as its attraction. of well known burlesque play- ors up the cast, and a week of % ®ng and beauty is promised. : Automobiles | A ttractions In evening. EARLE—“Gerber’s Giggles STRAND—"“Frolics of 1927, evenin GAYETY evening. NATIONAL—"Love-in-a-Misf Madge Kennedy in “Love-n-a-Mist,” with Sidney Blackmer and a notable New York cast, will be presented at the National Theater beginning to. morrow night. This charming comedy of laughter and lies, from the prolific pens of Amelie Rives and Gilbert Em ery, provides Madge Kennedy, a charming actress, with the part of a young lady who by means of some very appealing fibs gets herself into unusually appealing situations. The result is bound to be appealing. As Diana Wynne, a charming girl from Albemarle County, Va., Madge Kennedy finds herself in all sorts of trouble because of Miss Wynn's prac tice of telling white lies. These little lies, she insists, are conjured up only that they may protect the tender feelings of some one who would be hurt if the truth were told. The chief victim of these prevarications is the young lady’s chief sweetheart, played by the handsome young juvenile, Sid- ney Blackmer. The young Mr. Black- mer portrays splendidly the annoy ance the ardent lover in the play teels. Matinees will be given at the Na- tional Wednesday and Saturday. KEITH'S—"Dancing Derby. The holiday week at B. F. Keith's opening today will be marked by a double headliner bill, composed of Harry Carroll and Ernest Glendin- ning. Manager Robbins announces a big midnight show for New Year eve, beginning at 11:15 p.m. and Ney Year day, three shows, at 2:15. 5:15 and 8:15 p.m. Harry Carrol and company will be seen in a musical review known as Carroll's *'Dancing Derby,” said to be full of comedy and supported by a large company of beautiful girls. Ernest Glendinning ‘and company will_present “Selfishness,” a comedy by Edwin Burke. Also featured will be Gaston and Andree, dancers of London and Paris, assisted by Maura Shanley and Edna McKay in “An Exceptional Dance Of- fering.” Others include Will and Gladys Ahern in “A Spinning Romance,” consisting of smart patter and clever songs; Steve Freda and Johnny Pal ace in a funfest, “Martch A Kalloop’ a sensational balancing novelty, Betan- court & ;Co. and other acts, with Aesop's Fablee, Topics of the Day and Pathe News. EARLE—“Gerber's Giggles.” The bill of vaudeville, photoplays and musical features announced for i New Year week, beginning this after- noon at the Earle Theater, has as its top-line attraction Jack Pillard and Al Hillier, suported by Collette Lyons, Ann Mason, Betty Burnett, Lee Sims—and Pat Ivory. in “Ger: ber's Giggles,” a song. dance and comedy revue devised for laughing | purposes _only. 2 The added attraction will be fur- | nished by the. Galety Girls from the | Golden West, headed by Babe Egan iand her “Hollywod Redheads.” Babe | Egan and her eight bricktops are | singers, dancers and comediennes, as | well as instrumentalists, with piano, saxophone, cornet, banjo, guitar, clarinet, melophone, trombone, drumes, xylophone, bass tuba, cello and violin. Vaudeville's funniest male act is promised by White, Black and Useless in “The New Blacksmith." Other offerings will be Prince Wong of Leland Stanford University, Cali- fornia, a Chinaman who has become a clever American monologist and musician, and Fern Redmond and H. Wells in “The Gyp.” a comedy based on_gypsy fortune telling. The photoplay will be the William Fox production of “The Blue Eagle,” in which the United States Navy is largely involved, and which features | George O'Brien and Janet Gaynor. The house features will include or- chestral and pipe organ music. Friday night an extra midnight performance will begin at 11:30 o'clock at regular admission charges. No seats will be reserved and tickets may be purchased at the box office Friday all day. STRAND—"Frolics of 1927." The holiday bill at the Strand The- ater for the week beginning today will feature Victor Hyde's musical comedy presentation, “Frolics of 1927," with the Strand’s permanent cast of 22 per- formers. With Irvin B. Hamp, comedy star. heading the cast, aided by Lew Lewis Earl Root and Paul Rush, other prin ciples include Kathleen 'Butler, in- genue; Florence Drake, blues singer, and Billle La Monte, soloist. “Frolics of 1927" will introduce sev eral novelty numbers and a sensation- al finale arranged by Victor Hyde. Twelve dancing clowns will do tum bling, acrobatics’ and dances. “My Spanish Rose,” sung by Paul Rush, will have special stage settings, with a Spanish dance by the Folies Bergere Girls, and the high light of the show will he * “Beautiful Garden of Flowers,” when, amid lovely scener} and lighting effects, each flower turns to a beautiful girl. On the screen, the wonder dog, Rin- Tin-Tin will be the star in ‘‘While London Sleeps,” with Helene Costello and Walter Merril in the supporting cast. Rinty appears as the dog of a master criminal, who is torn between love for his evil master and his devo- tion to_the girl who has befriended him. The management announces a special midnight show New Year eve, commencing at 11:30. GAYETY—"Dave Marion's Own Show.” love, Columbia Burlesque again is on the Gayety Theater. today, is the hollday week attraction. Dave Macion, 50 years an actor, in his favorite role of Snuffy, the Cab- man,” comes cloaked with the latest lines and the wise cracks. Marion has revamped his characterization to fit the modern, and what he has done with Snuffy for this season is said to show the master hand of comedy. Walter “Boob” McManus will be second on the comedy firing line, and other principals include’ Anna Propp, soubrette; Sadie Banks, leading wom- an; Frank Du Teil, singer; Richie Covey, prima donna; James McArthur, Frank Hilderbrand, the Kolumbia Komedy Feur qpnd Battles and Taylor, BELASCO—Mrs. Fiske in “Ghosts,”" POLI'S—"“The Vagabond King,” musical play. This evening. KEITH'S—"Dancing Derby,” vaudeville. This afternoon and evening. Dave Marion’s Own Show,” burlesque. Washington Playhouses This Week MUSIC AND DRAMA. NATIONAL—Madge Kennedy in “Love in a Mist," comedy. Tomorrov " drama. Tomorrow evening. vaudeville. This afternoon and evening. vaudeville, WARDMAN PARK—St. Patrick Players, “What, No Prince?” Thi This afternoon and evening. This afternoon anc MUTUAL—"Dimpled Darlings.” burlesque. This afternoon and evening colored steppers, who offer high-speed dancing. “Thirty Pink Toes,” projected by Marion, “is said to combine novelty, skill and a real surprise, and there will be a typical Marion selected and trained chorus to put across the song and dance ensembles, Manager La Motte announess a mid night show Friday, New Year eve. WARDMAN PARK—St. Patrick Players. The St. Patrick Play new musical comedy, No Prince?” will be the attraction at Wardman Park Theater, starting today, for the entire week. The pro- duction is under the general super vision of Rev. Francis J. Hurney, story, setting., musical numbers and staging having been arranged by tal- ented members of the company. The cast includes such brilliant performers as Elizabeth Gorman, Orme Libbe Luke Fegan, Mary Deery and the Melody Makers (Foster, Fegan and Cox), besides an ensemble of 40 people. Next week's attraction, “Napoleon and Josephine,” film de France re- vival. MUTUAL—“Dimpled Darlings.” For the holiday week “Dimpled Darlings” will be the attraction at the Mutual Theater, opening with a matinee today. The cast is headed by George Leon, Ed. Lerayee, Viola Spaeth, Peggy Gil- ligan, Pearl Le Fere, Jos West and Jimmy Walters, and includes a_bevy of 16 pretty girls. A special midnight show will be given New Year eve, starting at 11:30 p.m. CHILDREN'S PROGRAMS SATURDAY. The selected programs for children Saturday morning at Crandall's Tivoli heater will present Harold Lloyd in “The Freshman,” and at the Chevy Chase Theater Douglas Fairbanks in “Robin Hood.” The recent showing of ‘Robin Hood” at the Tivoli's Saturday morn- ing program brought out the finest demonstration of community co-opera- tion of the season. The picture was selected by one of the mothers of the Powell Junior High School Parent. Teachers’ Association. Members from the organization served as hostesses, with girl students from the school as attendant ushers. Because of the historical value in the picture, announcements were sent to the nearby schools. To add to the interest, the Mount Pleasant Branch Public Library installed an exhibit in the foyer of the theater of special editions of “Robin Hood" and other books of the period. The patriotic opening was put on under the direction of Col. E. L. Mat- tice, deputy Scout commissioner. All troops of the Northwest.section that had served in the previous programs were invited to participate. Troop No. 30, Girl Scouts, under their cap- tain, Mrs. Albert Reid, also were guests. Janet Richards Tomorrow. Miss Janet Richards will give her usual weekly talk on “Public Ques- tions: Home and Foreign" tomorrow morning, when she will review the most important developments in the world's work for the past week, with special mention of the new Panama treaty and its significance; proposed investi- gation of the alien property adminis- tration, and why, and continued fric tion between Mexico and the United States concerning Nicaragua. Under forelgn affairs the weekly review will further analyze disturbed conditions in both Europe and China. Other worth-while books in current litera- ture will also be mentioned. The talk will be given in the Ma- sonic_Temple. Thirteenth street and New York avenue, beginning at 10:50 o'clock. MICHIGAN UNIVERSITY OPERA— TOMORROW. Musical numbers with lilting melo- dies and sparkling Iyrics are promised in “Front Page Stuff,” the twenty- first annual union opera of Mimes of the University of Michigan, which will be presented at the Washington Audi- torium tomorrow night. The music was written entirely by two students, Milton A. Peterson of Detroit, who is also the author of the book. and Wil- fam M. Lewis, jr., of Muskegon, Mich., who plays the ieading feminine role as June. The lyrics were composed by Peterson and Lewis, with additions by Dorothy Stone, daughter of Fred Stone, who {s co-starring with her father in “Criss-Cross.” “My Lady of the Snows,” written by Peterson, is said to promise great musical and dramatic possibilities and will be one of the outstanding points in the evening's entertainment. It begins with the song rendered by Rob. ert Graham as Isidore the poet, fol lowed by a dazzling parade of snow queens, with a comedy dance of 15 snow men, who enter rolling a_huge snowball. Then comes a toe ballet by the six specialty dancers and the snowball bursts, revealing the “lead- ing lady,” who will perform the first toe ballet ever to be given in a union opera. The costumes for this number are of white satin, white fur and lace. Other numbers will include “A Friendly Game of Golf,” “Just Any Kind of a Man,” “Adorable Girl,” with a fast clog dance by the men’s chorus; a waltz, “Just Like a Ros by Lewis and Miss Stone; by Lewis, and “Lady Stous terson, their College Girls Wanted "COLLEGE training is ideal equip- ment for a screen career,” says Mme. Elinor Glyn. “Hollywood is overloaded with beauty minus brains. When a girl has gone through col- lege, even in a desultory way, she ma; be presumed to have superior ment: attainments, as well as a grace and a poise not easily acquired elsewhere. “More and more, college girls are turning to the screen as a. career. Their culture and good breeding are reflected in their appearance, and that appearance subtly raises the standard—cultural, social and scenic— of any production they grace with their presence. Many are from good families in sound financial circum- stances, but, regardless of that fact, girls this type should be encour- aged. "The screen needs more of fhem.”