Evening Star Newspaper, October 17, 1927, Page 20

OPENING ATTRACTIONS IN WASHINGTON THEATERS NATIONAL—"“The Jazz Singer.” Tt remained for “The Jazz Singer," which was seen for the first time in Washington at the National Theater last night, to lift the word “Jazz” from long humility and enable it to com- mand respect. It invades the domain of poetic expression and asserts itself as the symbol of the buoyant spirit of tne New World as it rebels against the reverential spirit of the past—and inevitably, in greater or less degree, succumbs 'to it. If it were no more than a fine ve- hicle for the display of George Jessel's wonderful art, it would serve a dis- tinguished purpose in the theater. The Play goes even further than this and creates an impression of studious ob- servation, deep human understanding and that delicate sense of proportion without which plays are made not for artists, but only for buffoons. An interesting glimpse into dra- matic evolution is afforded. A maga- zine story appeared. It was entitled ay of Atonement.” The writer mson Raphaelson, who drama- tized his work and left it to be staged by Albert Lewis. Mr. Lewis also pre- sents the completed product, in associ- ation with Sam Harris. Whether Mr. Lewis or Mr. Harris decided on cast- ing Jessel for the important role is not of recol Whichever it was may credit himself with a stroke of genius, With a very definite story of its own to tell, “The Jazz Singer,” like every other drama, reflects previous themes, Instead of a Magda, the prima donna, struggling to obey her father's will here is a boy favorite in the cabar with boundless adulation before him in the white light avenue, who turns to type, and, with the hereditary in- atinct of obedience and home love, be- comes a_Cantor, like his father and his grandfather. The abandonment of reer has its pathos; even its trag- But it magnificent demon- stration of the family pride which re- fuses to sacrifice loyalty and faith to worldly interest. The performance holds little for the seeker for noisy diversion, lured by a superficial glimpse of the title, It is for the connoisseur, willing to venture on unfamiliar quest in hope of grate- 1ul surprise. With all its quaintness of character delineation—a quaintness that reveals strongly contrasted yet always consistent types—the basic thought remains immutable. The love and reverence of childhood remain a hallowed influence which cannot be ef- faced by the delirium of unsubstantial Tnovelty. Many parts are played by Jessel in this one piece. No other actor within easy recollection has revealed such secure versatility. He is the singer of boisterous tunes. In them he traces sacrilegious resemblances to the strains, hallowed by antiquity, to which his father gives a life’s devo- tion. He is the flippant comedian, the blackiace artist with the “mammy song,” the lover ciffident in his pur- suit, and finally of sacrificing dignity, the man capable of relinquishing every material interest for the sake of ideal. Praise could o no further than to say that the pldyer realizes every phase of the role convincingly without allow- [of admirable finesse, ing exquisite comedy t¢ outweigh its dramatic intensity. The music is employed with extraor- dinary dramatic effect. The appeal of the play is exceeding- 1y subtle. The auditor who lacks knowl- | and good legato co-ordination of all the edge or imagination necessary to glimpse easily the customs of others ‘whose devotional thought extends far back from this time and beyond these shores, may have to wait until the play has progressed for some time in order +~ find himself in comprehending sym- pathy. The waiting will be well rewarded. PHILANDER JOHNSON. KEITH'S—Julian Eltinge. Wonderment was expressed at Keiths’ last night when Julian Eitinge presented his specialty. Not so much over the rich gowns he wore with the different songs, but because he looks almost as young as when he aston- ished Boston years ago with his fe- male impersonations. Eitinge is toplining a good bill this ‘week and his /I st cor- dial. A he' gildes stage, gracefully as of yore, he still demon- strates his abilities as a singer and an actor as well as having a fine ar- tistic taste in the matter of gowns. He had to answer many curtain calls and finally offered a touch of a Japanese travesty girl that proved delightful. A pretentious offering in the way of a playlet was presented by Albert Lewis, Inc., under the title “Any Fam- ily.” It shared honors with the top- liner, It is taken from Harry Delf’s play, “Up Stairs,” and as several of the members of the company belonged to the original organization, it went over in splendid style. Helen Beres- ford, as the mother, carrted the bur- den of the work with marked ability and Halbert Brown, as Dad, gave her #plendid support, as did the others of the company. A half dozen encores rewarded the company. Lew Hearn and Ethel Gray have es- caped from the big New York revues for a couple of weeks and are dolng vaudeville in their usual successful manner, The couple’s quick-fire work in up-to-date jokes, songs and dances gained them hearty applause and many recalls. Then there is Miss Ju- liet, just back fron Europe, with her taking imitations of the different stage stars. One of the prominent stars of two years ago, Emil Boreo of the famous “Chauve Souris,” presented 8 strong specialty with original com- edy and songs. Maxine and his dog Bobby opened the show in good style and was followed by Rubini and Rosa in a song and musical turn. The Bell- clair Brothers closed the show with a thrilling athletic turn. The house at- tractions filled in the few vacant spots. | EARLE—Jimmy Carr’s Orchestra, With Jimmy Carr's Orchestra top- Ping .ithe stage bill and “Dance Magie” belng exhibited on the screen Ior”t:pl flrs:j time in Washington, a well Balanced program is pre: the Edrle tlxlsl\\vgnk. S The screen feature is an interesting story of the poor girl stepping from &n over-religious environment into the ®ay circles of Manhattan with a stage career ahead, Pauline Starke is the girl, with Ben Lyon costarring as the hero. A bit of tragedy is introduced for a moment when the heroine’s producer is mur- dered in her apartment, but a jealous Wwoman makes a timely confession, Paving the way for the happy ending, Carr intersperses some clever com. th snappy music from his 12 2 4 d dra- short : ns farold Cl: Bert We: Clara unusual song act, one of the numbers on the bill. views the start of the irl on its attempted trans- flight. zgie and Dinty. famous week in comedy of the same name. It s a fast moving show with a bit of a plot to the ous specialit by the company. Not only the princi- pals but the chotus as well has indi vidual bits in which they credibly ac- quit themselves, Pete Curley and B have the parts of J and follow the strip pair, cven (5 M ng rin. Jimmy | with the music from “The Tales of comic | add interest || s presented | trice Harlowe | and Maggie ||| will wonder what became of your | intics of the comic ||| kidney trouble and backache,—Ad- | s everlpres- 1 1 Connore is | cast as Dinty Moore, impudent but faithful, while Kitty, a chip of the old block, it taken by Kathleen Butler. All the fun is furnished by Jiggs and Maggle, causing roars of laughter with her seasick scene. The real high spot of the show is the specialty of Juliette Belmont, who delights the audlence with her play- ing of the violin and with her vocal numbers. Another _specialty worth mention is that of Beatrice Harlowe. The chorus is unusually well talented. FOX—“Seventh Heaven.” Faith, love and war energize “Seventh Heaven,” the feature photo- play at the Fox Theater this week, | which is presented with a fitting pro- logue. The tale is of a worker in the sewers of Paris, promoted to street cleaning, who boasts that he is an atheist, but through the love of a beautiful young woman and the World War comes to know divinity. Seve- ral incidents stand out in this pic- ture, which stars Janet Gaynor and Charles Farrell. Among them are the simple wedding ceremony that the two principals—the young woman maltreated by an apsinthe-loving sis- ter and the street sweeper, soon to turn soldier—weave for themeslves, the taxicab army rushing to defend France and the battle of the Marne. Even though the erstwhile street sweeper returns from the wars blind- ed, when he had been given up for dead, his dauntless spirit promises that he will not be thus long and so the humble home amid the Pmlsln'r: chimney-pots is a “seventh heaven after all. “The Angelus,” Millet’s well known picture, is depicted on the stage, with appropriate music, giving the clue to the program that is to follow, with France as its theme. “Kamenoi Os- trow,” by Rubinstein, a vocal arrange- ment featuring Anna Prinz, soloist, is followed by a colorful doll dance, Hoffmann.” In this number, Beatrice Belkin, Adam Dockray and ther ballet corps give an unusual rendering, and bright costumes add to the effect. “They Shall Not Pass,” Verdun's undying watchword, lives in the pro- logue, a tableau with a chorus of men’'s voices—men in the trenches with bayonets militant. Marion Keel- er and James Melton render “Diane,” with an outstanding scenic effect. Current events are pictured om the screen. Preceding the first performance yes- terday afternoon, an innovation in the form of a symphony concert program lasting one hour, from 2 until 3 p.m., was presented. Judging from the size of the audience which gathered at the early hour, there is indeed a sizeable group of Washingtonians to whom music has a definite appeal, aside from the usual concert au- diences. The program was said to be un- der the personal direction of Meyer Davis, though he did not appear. Adolphe Kornspan conducted with much vigor and achieved moments especially in the familiar “L’Arlesienne Suite” of Bizet and the tinkling, stac- cato melodies of Victor Herbert's “Fortune Teller,” also the “Mig- non” overture was played with spirit various instruments. Due to the length of the program, two numbers were eliminated, the “Danube Waltz" and a violin selection. Beatrice Bel- kin, coloratura soprano, sang La Traviata’s air, “Ah Fors e Lui” and “The Last Rose of Summer” well. Samuel Korman showed technical effi- ciency on the violin. The flutist, (Continued on Page Twenty-one.) A THREE DAYS’ COUGH IS YOUR DANGER SIGNAL M e Persistent coughs and colds lead to serious trouble. You can stop them now with Creomulsion, an emulsified creosote that is pleasant to take. Creomulsion is a new medical discovery with two-fold action; it soothes and heals the in- flamed membranes and inhibits germ growth. Of all known drugs, creosote is recognized by high medical au- thorities as one of the greatest healing agencies for persistent | | coughs and colds and other forms| of throat troubles. Creomulsion contains, in addition to creosote. | other healing elements which soothe and heal the infected mem. | branes and stop the irritation and | inflammation, while the creosote. goes on to the stomach, is ab- sorbed into the blood, attacks the seat of the trouble and checks the growth of the germs. 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