Evening Star Newspaper, December 4, 1927, Page 81

Lipey DANC ERS - Earle Plays Alike and Yet BY PHILANDER JOHNSON. HE theater last week demon- _strated that there are two ways of saying the same thing, one way pleasant and the other unpleasant. Both “Rest- less Women” and “2 Girls Wanted” constitute a study of modern life at the most rapid pace, and the love af- fairs of the young woman who makes an independent choice of a career in the social sphere which cultivates the butterfly by day and later the moth that hovers round the electric light. * % kX The play “Restless Women” pounds the unpleasant keynote. It sets out (at a terrific pace, placing a burden of acting responsibility upon Miss Conover, which she sustains with intelligent courage, even when the audience falls into momentary doubt as to whether a speech was intended to be a serious expression of senti- ment. or a little laugh at the expense of the woman of 40 who_has set up a mutiny in her own mind against the inexorable decree of Time. It has gever been quite certain whether the English jester who made the quip offered an example of humor or pathos when he referred with re- gret to the fact that when a weman reached 40 it was not possible to change her for two twenties. * k¥ % There is no question ‘as to the serious interest of the character type who, realizing that the years have passed, battles desperately to continue the \emotions of youth and SO Different! old-fashioned love story—two old- fashioned love stories, in fact—for the counterplot paces along almost evenly with the main story. * ok kX It is a play from the feminine viewpoint. It does not attempt any analysis of the male, either in his defense or his denunciation, but is a_discourse on a subject that should give a woman writer an opportunity to know exactly what she is writing about; that is “woman.” The two girls eking out an ex- istence in shabby lodgings are not chaperoned by Miss Unger through bright lights, bubbles and the roar of taxicabs. This chaperonage is one of the hardest responsibilities that authors are compelled to take at present, and it is seldom that they bring their heroine back to the dear old home in perfect order. * ok ok ok The two young women, whom the author has intrusted to their own native sense of propriety, decide that they would rather have a place in household service, where they will be appreciated, than to continue an ill-paid career in monotonous office work. Only a bold dramatist would attempt such an innovation as a lesson in economics of sociology. The character of the self-willed girl shows its note of obstinacy in demanding absolute assurance that the man she loves will remain silent until He is released from another en- gagement. The most sensitive contender for dramatic purity will admit that noth- to cultivate the frivolities with a desperate disregard of conventional restraints. It is not easy to preserve the gentle dignity which makes such a figure attractive if she is repre- sented as gasping madly amid mid- night aromas and trying to imagine tHem the perfumes of a Springtime long ago. ERE In both plays a stupor,led up to by .intoxication was employed as a dramatic climax. Next to Miss Con- over the girl who represented the neglected-childhood factor in the plot had the hardest work. As for the men in the story, they had little to worry about. All they had to do ‘was to remain quiet and admit that for them, so far as battle for su- premacy in the home was concerned, the referee had long since counted 10. It would hardly be possible to depict so small a girl as having ac- quired so rapidly a rough vocabulary and a heavy thirst without robbing 3& role of the charm of innocence. e effort is made to retain this charm without sacrificing the com- edy of blase precocity. The result is a clash which asserts itself at fre- guent moments. * ubject that should have been ta! in hand by a poet or a philosophes, and not by the dramatist content tc look only upon the prac- tical possibilities of a theme for de- veloping suspense and climax. The play for which “Restless Women” offers idea might have been written by an Ibsen or a Surdeman. If Mr. Sydney Stone can prove that his method of discussing the social prob- lem responds to the popular sense of artistic propriety in America he will have demonstrated his right to be hailed as an explorer in the realms of thought and a memorable dis- coverer. It is a s b * kK ¥ The comedy by Gladys Unger, “2 Girls Wanted,” takes up this new, but already hackneyed, subject of the ruinous and rapid pace led by the world around us and tells a story of the gay life in a.p}czsal\l way. There is no sermonizing, no picture of the luxurious vices insid- jously working their way into the social fabric and threatening the de- struction which excessive luxury brought to many an ancient capitak As the story goes on bubbling min- eral waters flow freely into sterner liquids and the ice clinks, but there is no warning of a terrible death by dissipation. Goli and dining at the country club, even the dance at a baret, where the river can be scen :fmkuug in the moonlight, are shown without a threat of injury to morals or sentiment. In fact, these elements from which so _muc_h pre- carious smartness is orflgnanl,\' ex- ected are adroitly utilized as a {:.nminous background against which iare silhouctted graceful figures in an ing could be fairer than that. The manner in which she saves her sweetheart, though momentarily estranged, not only from pecuniary misfortyne, but from disgrace, is de- vised from material most of which is familiar to students of play mak- ing, but which is put together and made to operate with mechanical accuracy. It even takes on an air of brilliant novelty as it utilizes the distinctive and irresistible personal- ity of Nydia Westman. * ok ok X ‘The counterplot is also a narrative of affection restrained by a sense of propriety that remained for many years undiscovered between a cap- tain of finance and his patient sec- retary, Miss Timoney. It is the in- terview between the naively frank young girl and the spinster schooled to repression that makes the most important scene in the story. The older woman denounces the younger for having disclosed some office in- formation to help her lover in a crisis. What might have been a highly declamatory episode is held strictly to character and made more convincing by this method. The younger woman discloses to the older a fact of which Timoney her- self was not aware, her love for her employer. Both are made to meet on common ground; that of the love which is intense and implacable in sel-sacrifice, whether it be known to the world or remains unconfessed. * ok ok % There is more interesting human analysis in the Timoney role than in any other character in_the piece. It brings out a line of thought not usually very successfully de- veloped since the days when the Shakespeare heroine “never told her love, but sat like Patience on the monument.” The Timoney heroine goes a step further. She never tells her love, she never even admits it to herself. This creation alone has suf- ficient originality or novelty in its treatment to compensate fully for some of the familiar material that reflects many stories which deal with hard-hearted financiers and people in love. * k k% Nydia Westman belongs to a small group of players who have of late become prominent. They belong to the ultra-natural school, and suc- ceed in obliterating an idea that they are acting at all. They liberate a quaintness of personality that would seem an exaggeration in real life. This is the case with Ruth Gordon. Whether players of this general de- scription charm us by emphasizing some peculidr mannerisms or are practicing art so clever that it con- ceals art, cannot be easily deter- mined. And, at any rate, the ques- tion makes no real difference in the PaTrICIA DURrNS- closes a career of great interest in the annals of the American theater. How the failure of an opera com- pany in Boston left him with the Castle Square Theater on his hands and transformed a staid business man into a world-famous impresario is well known. Starting with those good old life-savers, Gilbert and Sul- livan, who, even to this day are lending helpings hands to producers struggling with scant material, he advanced to a climax in his career which made him one of the most notable producers of Wagnerian opera in the United States. His presentation of “Parsifal” was a unique adventure, involving some business altercation. It was colossal and conspicuous for violation of cus- toms of the theater. When it was presented in Washington, along in the first decade of the present cen- tury, it created social embarrass- ment. At that time the question of how to dress for the theater involved some serious considerations of for- mality. The music drama started early in the afternoon, allowed the audience an intermission for dinner, then resumed and played on till al- most midnight. Many punctilious people, on their way to the National Theater, left suit cases at hotels in order to have their evening clothes available for dinner and the second chapter of opera in the evening. It was very heavy opera. Possibly there were a few who preferred lin- gering at the dinner to returning for more of the music. But there is no record of any one’s confessing that he did so. Few men have shown so much in- terest in the theater and so intell gent a method of undertaking cour- ageous adventure. A list of the things he has done and the artists he has promoted would be volumin- ous and suggestive of many pleasant reminiscences. Ned Wayburn's Doings. FROA\[ the tips of Ned Wayburn's dexterous fingers, the claim is advanced, Broadway, in the year 1896, received its first taste of jazz, for then, it is declared, the catchy rhythm of “Syncopated Sandy” rippled from the agile digits of Mr. Wayburn to start one of the greatest musical eras the world has ever known. A quarter of a century of theatrical work has failed to diminish Ned Way- burn’s power to entertain. It is true the years have pursued him from the spotlgiht into the wings, but as the power behind the throne, he has made his influence a big theatrical factor. His latest enterprise, he calls Ned ‘Wayburn's “Promenaders,” an act colorful, lively and original. Pretty, light-footed girls, and as many limber- limbed youths, wend their way like a single person through the intricacies of a number of clever dances. The man who put across the Zieg- feld Follies for five years, who put on “Miss 1917,” “Two Little Girls in Blue,” “The Night Boat” and scores of outstanding musical reviews, dem- onstrates in the “Dancing Dozen,” that vaudeville is also within his ken. N an, who so capably ymphony Orchestra, oungest orchestri ited States. Adolphe Kornsi directs the Fox & is said to be the maestro in the U but 29 years old. Twelve years ago, he sa he had a hard time to memo- enjoyment of the play. * K K K J The death of Henry W. Savage rize Lincoln's address at Gettysburg, while today he has the music for 400 classical overtures memorized for im. mediate use. ik s Bt i HLATLR Y IRWIN SISTERS - T g IN THE SPOTLIGHT Notes of the Stage and Its People. Ibsen's poetic play, “The Pretend- ers,” is announced for eventual pro- duction by Walter Hampden. Gustav Blum's next production, “Spring Song,” by Virginia Farmer, will open in New York December 19. Kenyon Nicholson‘s new play, sched- uled for New York Christmas week, will be known as “Poor Little Eva,” instead of “Town Hall Tonight.” Lynn Fontaine will have the lead- ing feminine role in ‘“Strange Inter- lude,” the O'Neill play which the New York Theater Guild will pro- duce later this season. “We Never Learn,” will open at Great Neck, L. I, on December 14. Daisy Wolf is the author, and Phyllis Povah and Charles Trowbridge will head the cast. Shirley Warde and Leonard Mudie have been added to “Red Dust.” by Wilson Colison, opening in Stamford next week. Sydney Shield has al- ready been announced for the leading role. Knut Hamsun’s play, “At the Gate of the Kingdom,” will open the American Laboratory Theater, New York, next Thursday a week. This is the first of Hamsun's plays to be oroduced in English in this country. Edna Hibbard is soon to be starred in “The Sandy Hooker,” a play by Fred Ballard and Charles Bickford. Barbour and Bryant are the pro- ducers and the production is being staged by Rollo Lloyd. The New York Civic Repertory Theater will start on its next pro- duction. “The First Stone,” at once. Eva Le Gallienne, Charles McCarthy and Josephine Hutchinson will have the leading roles. The Kaufman-Ferber comedy, “The He is | Royal Family,” is again in rehearsal, and Jed Harris announces that the two leading characters are to be played by Otto Kruger and Ann Andrews. According to present sch- edules, the play goes to Atlantic City for a try-out before reaching New York during the holidays. The announced production in New York of Frederick Lonsdale’s “The High Road,” in which Ina Claire was to have appeared, has been indefinitely nostponed. Miss Claire is not entirely pleased with the role allotted her, and | the author has recently been rewriting | the leading role. A London company of “The Trial of Mary Dugan,” to open about Febru- wry 1, is now being assembled in New York. Bayard Veliller, the author, | will go to London to stage the play. | Wincent Youmans, -composer and producer of “Hit the Deck,” has com- pleted arrangements whereby he will have his own New York threater next season. It will be built for him by a prominent realty corporation. It is to be called the Vincent Youmans Thea- ter and located near Broadway and Fifty-third street. Leslie Faber, who is now appear- ing in the London production of “The Letter,” has been engaged by Gilbert Miller for “The Patriot.” As already announced, Madge Titheradge will have the principal feminine role. Owing to the distinct and big suc- cess which Max Reinhardt's pro- duction of “A Midsummer Night's Dream” has met in New York, it is considered quite possible that the Frohman company will eventually take over the professor's entire pro- duction, and will provide an American cast. George Hassell will probably be seen in the role of Bottom. Earlier in the season it was an- nounced that Jane Cowl would appear next Spring in London in “The Road to Rome.” That play Is still running successfully in New York, but as Miss Cowl is under agreement to play the part on the road 20 weeks before she goes to England, it looks as if she will have to close her American season shortly if she is going to be on time for her Spring date in London. The Washington Little Theater had its initial meeting of the season at the Carleton Hotel Friday evening, when plans for productions during January were discussed. The task of selecting good one-act plays has been completed by the play-reading committee and the casting will be announced in the near future. Isabelle Mohr, prima donna in “Earl Carroll's Vanities,” started in the the- atrical profession as a pianist, devel- oped into a singer and spent most of her young life in the musical end of the profession. She gave up her in- strumental work when she decided that there was a much larger field for a young woman with a trained voice, especially if she were the possessor of a comely face and figure. The team of Moran and Mack, the only and original duo of blackface comedians to bear that name, have won fame as the “Two Black Crows.” They present a unique act, with Mack “feeding” Moran with opportunities for comicalities. Sad News of Maclyn Arbuckle. REPORT from Ogdensburg, N. Y., states that but slight hope is en- tertained for the recovery of Maclyn Arbuckle, the well known actor, at the home of his wife's parents in ‘Waddington since a recent collapse. Mr. Arbuckle went to Waddington about 18 months ago, sufferigg from a nervous brepkdown, L FRANCES MARCHANT- /‘la'h‘onal {Jald, “perfect lyric tenor”; Palace Has Had Experienée. ILLIAM POWELL, the bad man of the desert in Bebe Daniel's picture, “She’'s a Sheik,” began his theatrical career in amateur plays while attending high school in Pitts- burgh. Upon graduating, Powell joined a traveling company of “The Ne'er-Do- ‘Well.” Following that came a six- month flyer in vaudeville. Then a half year of pavement pounding and finally an engagement in “Within the Law.” Later he made the rounds of stock companies. And then New York stretched forth its mighty hand, and Bill became the juvenile in two Leo Ditrichstein shows. The next venture was in musical comedy, a song and dance ex- travaganza called “Going Up,” that “flopped.” After a successful Broadway season in “Spanish Love,” Powell was given his first chance before the camera in John Barrymore’s “Sherlock Holmes.” So fine was the impression produced that he has been one of the popular featured players in pictures ever since. bty College Plays Inspired Him. HILE ‘“female impersonation as a fine art” is not in the college textbooks or curriculum, all the great- est impersonators of this type on the stage, since and before the noted Julian Eltinge, it is said learned their art there. Like Eiltinge and the other great “ladies” before him, Karyl Norman, known as “The Creole Fashion Plate,” who is headliner at a local theater this week, found the inspira- tion for his art at Lafayette College, where, as in all colleges, a certain portion of the male students donned wigs and high heels to portray feminine roles in their school plays. Karyl proved such a hit in the col- lege plays that before his senior year had ended he was considering a half dozen offers from producers, who were then looking for some one to succeed Eltinge. Cap, gown and diploma were for- gotten by Norman in the rush to Times Square and he is today rated as one of the leading impersonators of them all. Gloria's Next Picture. LORIA SWANSON'S latest motion picture, “Sadie Thompson,” has reached the final stage of editing and will be available for release early in December if the necessary arrange- ments can be made, according to an announcement at the United Artists’ studio. . It is based on “Miss Thompson,” W. Somerset Maugham'’s story of a soclal outcast andl a reformer, and was known on the stage as “Rain.” It was directed by Raoul Walsh. The titling and editing were done by C. Gardner Sullivan. Supporting Miss Swanson in “Sadie Thompson” are Lionel Barrymore as the reformer, Davidson; Blanche Friderici as Mrs. Davidson; Charles Lane, Florence Midgley, James A. Marcus, Will Stanton and others. Raoul Walsh, the director, appears in the role of the hard-boiled Irish ser- geant of Marines, Timothy O'Hara, WHITE - Strand Vs ILDRED SeEEBA- Polis hinq‘hofi Opera Co- Attractiqns in Washington Playhouses This Week MUSIC AND DRAMA. NATIONAL—Ear! Carroll's “Vanities.” This evening. POLI'S—Washington National Opera Co. in “Mignon.” evening. BELASCO—“Celebrity,” drama. PRESIDENT—"“The Mikado,” lig Tomorrow Tomorrow evening. ht opera. Tomorrow evening. KEITH'S—New Wayburn’s Promenaders, vaudeville. This afternoon and evening. EARLE—The Libby Dancers, vaudeville. ning. GAYETY—“Here We Are,” burlesque. This afternoon and eve- ‘This afternoon and evening. STRAND—“Girls from the Follies,” burlesque. This afternoon and evening. NATIONAL—Earl Carroll “Vanities.” Earl Carroll's “Vanities” comes to the National Theater for the week beginning tonight, with one matinee, Saturday. It is said to possess all the glitter and gorgeousness of its prede- cessors in this fleld, and also to re- flect every important expression of modern stage art. Among those whose work stands in high relief are Moran and Mack, “Two Black Crows,” in polished black- face comedy, accounted one of the ?.l: reasons for the revue’s success; nlius . in_ “wise-cracking,” whieh mfimg Broadway de- light; Johnny Dooley of happy humor and’ eccentric dancing legs; Norman Brescott in an uncanny mind-reading and concentration act; Brian Macdon- Isabelle Mobr, prima donna; Frances Mar- chant, who lends enchantment to the sketches by her announcements, and Maxine Stone, who contributes a dande that realistically suggests the whirlwind. - Assisting are Cliff Crane, Charles Stone, Bebe Stanton, “Miss Wheeling” and “Miss Dallas,” who captured beauty prizes at the Atlantic City contest in 1927, and the “Sixty Vanities Beauties.” Among the “sensations” are ‘“The Silver Chandelier,” around which are entwined and from which are sus- pended beautiful girls; “Climbing the Ladder of Love"”; ‘The Glass Finale” and “The Mirror of Vanities,” which reflects “64 Visions of Vanities,”, the scene being constructed of mosaic glass and costumed in white silk in- crusted with mosaic glass, rhinestones and brilliants. The 24 Foster girls are featured in_their thrilling climbing act. Grace Henry and Morris Hamilton have supplied the lyrics and music, with additional song numbers by Ray Klages and Jesse Greer. David Ben- nett invented the dances and at- tractive ensembles, and the stage set- tings were designed by A. Vimnera of Paris. The art and technical direc- tion were given to Bernard Loh- muller. An augmented orchestra will be an important feature PRESIDENT—“The Mikado.” Beginning tomorrow night, the President Theater Light Opera Co., under the direction of T. Arthur Smith, will present one of the most popular of Gilbert & Sullivan operas, “The Mi- kado.” “The Mikado,” with its sparkling, melodic music—its high and mighty buffoonery woven into the plot and its picturesque characters—represents the Gilbert and Sullivan combination at its best. The first production was given in London in 1885, and since that date the story of the burlesque emperor has been sung in many countries. Practically the entire cast of prin- cipals_of the local group have ap- peared in the production at one time or another, it is said, and for the most part it will be merely a matter of brushing up on their lines. ‘The original score of the opera is being preserved in all its comic dig- nity: “Behold the Lord High Execu- tioner,” *“the Flowers That Bloom in the Spring,” “Gentlemen of Japan” and -other lilting melodies. Among those singled out for pivotal roles are: Lee Daly, Anne Yago, Wil- liam Mitchell, Ivan Arbuckel, Harry Pfeil and Edith Thayer. KEITH'S—“Ned Wayburn’s Prome- naders.” Ned Wayburn presents his latest creation, a miniature “Follies,” “Ned Wayburn’s Promenaders,” at B. F. Keith’s Theater this week. The cast is headed by John Bjam, the singing and dancing juvenile; Peggy Hanlon, prima_donna soubrette; Shirley Rich- ards, the high kicking specialist, and the adagio dancers, Blanche and Elliott. There are also a dozen Way- burn pupils and proteges. Duci de Kerekjarto, violinist vir- tuoso, who will be featured, has Mau- rice Eisner as his accompanist. Others are El Brendel and Flo Bert in their latest sketch, *The Poor Swede,” said to be replete with laughs, songs and a variety of steps; Ernest Hiatt, in “Nothing Serious,” consist- ing of songs and witticisms; Paul proteges of Gus Edwards, songs you like” and Frank with his “cycleology.” Aesop’s Fables, Topics of the Day and a Pathe Pictorial will complete the bill. EARLE—The Libby Dancers. The Libby Dancers, eight nimble young women and one versatile man, ‘will headline the bill this week, begi ning this afternoon at the Earle Thea- ter in “Sports a la Mode,” a musical revue based upon various popular sports and introducing the “Old Time Sports Girls,” lawn tennis, Aesop Fables brought to life, polo and in- tricate adagio dance and foot ball. The presentation is under the direc- tion of George Libby. The added attraction will be Dun- bar’s Collegians in “Beats and After Beats,” with nine instrumentalists who are also singers and dancers. The act is said to present an authentic and entertaining picture of college life, abounding in syncopated melody, song and gayety. Others include La Belle Pola, the Simian dancer, and Jungle Band, as- sisted by Ki the musical comedy tella Tracey and Jay Elwoo “Bits of Broadway,” and Harry Levan and Lettie Bolles in “Mere Nonsense,” a combination of song, dance and patter. The photoplay attraction will be Producers’ “Almost Human,” starring Vera Reynolds, supported by Kenneth Thompson, Claire McDowell, Ethel ‘Wales and Fred Walton. The screen play is by Clara Beranger and was suggested by the “Bar Sinister,” Rich- ard Harding Davis’ story of a sup- posedly mongrel terrier that turned out to be a blue ribbon winner. Three highly schooled canine players add a. touch of unusual interest to the de- velopment of the story. The short reels will include “Some- body’s Fault,” with Lloyd Hamilton, and the Kinograms, and the bill will be rounded out with orchestral music under the conductorship of Floyd C. ‘Wheeler and Alexander Arons’ organ numbers. GAYETY—"Here We Are.” Elaborateness of stage settings and costuming wil feature “Here We Are, this week’s Columbia Burlesque a traction at the Gayety Theater, open- ing this afternoon. Comedy will dominate the scenes, with Jack Lamont, a comedian of orig- inal methods, and Bill Tanner, Dutch dialect funster, heading the forces, as- isted by Frank O'Rourke, straight man; Midgie Gibbons, soubrette; Jyes La Rue, dramatic soprano and prima donna; Patricia Burns and a delega- tion of 24 girls. STRAND—“Girls From the Follies.” Designated as one of the “fastest spokes in the Mutual Burlesque wheel,” this week's attraction at the Strand Theater is “Girls From the Follies,” with the popular favorites, Fred Falls” Binder and Gladys “Youth” Clark as the featured mem- bers of the company. Binder, with his Hebrew character- ization, funny feet and eccentric danc- ing, 1is largely responsible for the laughs, while Gladys Clark, as inge- nue, is said to_be an accomplished mu- sician and tde dancer. Others aie ‘Wave White, “blues” singer; Lolita, who offers a series of novel dances, and Jack Le Duc, who helps to keep the merriment at top speed. There is a chorus of 16 nimble girls, and the costumes and scenic effects are said to be novel and colorful. in “the Wilson Actor Fund Benefit, Friday. Seats for the Actor’s Fund benefit, the all-star entertainment to be staged at the National December 9, will go on sale at the theater tomorrow morning. according to announcement. Although the bill is not vet com: plete, 19 stars have agreed to take part and others are expected. The list to date includes Fritzi Scheff, George Bickel, Brendel and Burt, Johnny Dooley, Ted Doner, Gloria Foy, Norman Frescott, Poodles Han- naford. Duci de Kerekjarto, Isabel Mohr, Moran and Mack, James C. Morton, Caryl Norman, Guy Robert- son, the Six Pashas, Maxine Stone, Desiree Tabor, Julius Tannen, Crane Decker, from the legitimate stage, in “Liars "AlL"” by Bert Robinson, with Mildred McCoy_and Guy Milham; the Rubio Sisters, European acrobats; the Hearst brothers, Myron and Sam, new e Wilbur and the entire ensemble of Earl Carroll’'s *“‘Vanities.” The benefit, which is earlier than usual this year, is an annual event, (Continued on Second Page)