Evening Star Newspaper, November 26, 1928, Page 27

THE EVENING STAR, WASHINGTON, oS OPENING ATTRACTIONS IN WASHINGTON THEATERS SHUBERT BELASCO-"No_:No, Nanette.” An innovation in Washington the- atrical entertainment was introduced at the Shubert Belasco Theater last evening with the opening of a season of musical comedy stock presentations by the Savoy Musical Comedy Co., which has just concluded a lengthy season in Toronto. It is announced that the company will resent only the outstanding musical comedy successes of recent years, including several hits which have never been heard here. A happier choice for the opening week's performance than “No, No, Nanette,” H. H. Prazee’s big hit of four or five years ago, would be hard to imagine. It is one of the musical comedy gems of recent years. lLast night's large audience indicates that there are many who failed to see “No, i No, Nanette”. when played hcre by the “road company. Also, it attests that there is still a great desirz o enjoy ogain, in the full setting of the shcw, those lilting tunes standing song hits. “No, No, Nanette" is one of the most delightful of musical £hows. for Two” and “I Want to Be Happy” are popular songs which cvery one enjoys humming or whistling. Charles Emerson Cook has gathered together a compahy of performers which displayed a fine facility in playing musical comedy. Last night's produc- tion of “No, No, Nanette! scorsd an auspicious beginning, and revealed the company fully equipped in the qualities necessary for the successful presentation of musical shows—good voices, lively dancing and a wonderful enthusiasm on the part both of principals and chorus. “No, No, Nanette” does not depend entirely on music for its appeal. It abounds in sparkiing humor, and has enough plot to afford droll situations which are developed to the point of riotous fun. Comedy runs through the entire show and keeps well before the audience two of the company’s out- standing performers, Roger Gray and Eddie Morris. Virginia Marvin gave to the-role of Nanette a voice of fine quality and exceptional dancing ability. Renee Hamilton, as Lucille, proved one of the outstanding members of the cast. She has an excellent voice and a fine stage presence. Other members of the large cast whose work was outstanding are Carrle Reynelds, who played the part of the maid, and Frank Gallagher, in the role of the lover. The costuming and stage settings provided the neces- sary embellishment to round out a fine evening’s entertainment. STRAND—“Bowery Burzesquers.” ‘There is something about burlesque at times that smacks of superstition, especially in the matter of titles, and the Mutual Circuit, running true to form, presents at the Strand Theater this week one of its best new shows under the caption “Bowery Burles- quers,” a name_to conjure with years and years ago. But the title really 1sn't needed to stamp the show with quality. Perhaps it is simply to clothe a new maker of memories with memories of old. At any rate the patrons gave evi- dence that the current show at the Strand was much to their liking in comedy, songs, dances and the skiis or sketches thaf. always make up a bur- which became out- | ing acting in support of the star, whose | army, both become enomored of the girl, but neither realizes the condition of his heart until war is declared and they are ordered to the front. Paul wins the girl, but Nick has never | learned to take disappointment like a man and he and Paul part as personal as well as national enemies. Later Nick and his regiment take possession of Lemberg and he forbids any one leav- ing the city under penalty of death. Mary Ann and an Austrian spy, Lei- bert, who alone can save the city, are | arrested for attempted escape. Nick demands Mary Ann's caresses as the price for the release of several prison- ers, among whom is Lefbert. In order to save the lives of 10,000 soldiers and | to free her city she makes the greatest sacrifice a woman can make. She loses Paul’s love and faith in her and in the cnd is decorated by the commanding officer of the Austrian army for heroic service to her country. Arnold Kent as Nick and Gilbert | Roland as Paul contribute outstand- excellent characterization of Mary Ann is unquestioned. Supplemental attractions are a tech- nicolor picture, “When Dreams Come True,” which is an artistic achicvement; movietone acts, onc featuring Johnny Marvin in mysical novelties and an- other Odette Myrtle in a song and dance act, and M-G-M and Fox Movietone news reels, showing the destruction wrought by the eruption of Mount | Aetna, the inaugural ceremonies for the new lord mavor of London, a Bavarian scene and the departure of the Hoo- vers on the President-elect’s good will trip to South America. The Columbia Orchestra, Claude Burrows conducting, plays a preludé to the feature. FOX—*“A Romance of the Underworld.” A somewhat different type of under- | world picture, “A Romance of the Underworld,” adapted from Paul Arm- strong’s stage play of that name, is presented at the Fox Theater this week, featuring Mary Astor as Judith Andrews, whose occupation seems to be gold- digging among the patrons of a ques- tionable club for the benefit of its promotors. With the shock of the news of her mother's death, she apparently awakens to the uselessness of her life and her eyes are opened to its sordid- ness and cheapness, so she resolves to earn her living in a more respectable manner. She becomes in turn a laundress, a waitress, a stenographer and then the wife of her employer. The husband, successful Steve Ransome, knows nothing of the shadowy chapter in Judith’s life and with two years of perfect happiness, a wonderful home and a baby, the unpleasant past seems about blotted out when it suddenly con- fronts her in the person of Derby Dan Manning threatening exposure and blackmail. There are other interesting characters woven into the plot— Champagne. Joe and Burke, the casual cop, to whom Judith is indebted for | safety and continued happiness more than she realizes. Robert Elliott is unique as the detective who anticipates certain events and awaits their culmina- tion in the coroner’s office, and when lesque show. Billy Foster and Marty Semon are the comedians and Evelyn Ramsey, the attractive -and talented queen of the entertainment, while second-liners in- clude Tenney and Violet Hilson, Time Benson and Tom McKenna. Standing out with the best of the principals, however, is a young, active and compe- tent chorus that whirls through the bright and lively music like veterans and supplies the background of excel- lent burlesque entertainment such as the chronic burlesquer likes it. COLUMBIA—“The Woman Disputed.” Norma Talmadge in her latest star- ring vehicle, “The Woman Disputed,” ; with scund accompaniment, is the filn attraction at the Columbia this week. ‘The star is supported by Arnold Kent and Gilbert Roland. Miss Talmadge is cast as a young Austrian girl without funds, family or friends. As further contribution to her smisfortunes, an insane man foliows her to her room one night and shoots him- self. At first Mary Ann is accused of the murder and her kind-hearted land- lady turns her out into the streets of Lemberg. Two young officers, an Aus- trian and a Russian, befriend her and she eagerly drops the life into which she has been forced and accepts the position they secure for her, Her new- friends, Lieut. Paul von the day's work Is over takes nis family to the movies. A perfect rendering of a difficult over- ture, Tschaiowsky's “Capriccio Italienne,” was highly appreclated, giving full credit to Leon Brusiloff, conductor of the orchestra, as master of his art. ‘Tyler Mason, black-face comedian, as master of ccremonies, keeps the au- dience amused with anecdote and song between introductions of special acts. Mary Read's famous Tillerettes ex- empiifify the poetry of motion in sev- eral charming numbers; Helen Yorke reaches and holds some high, bird-like notes in her coloratura; Amerique and Neville are picturesque in the adagio dance with Greek postures; Morton and Mayo give a hilarious performance in Spanish burlesque; the Lovey twins are cute, but the most enthusiasm was evinced over the last act, Rio Brothers, the boy collegiate dancers. The Fox Movietone News shows Eng- lish ceremony with King George paying tribute to war heroes; two survivors of the ill-fated Vestris tell of harrowing experiences; a good picture of Dart- mouth’s victory over Cornell in a foot ball scrimmage; and Robert Benchley, dramatic critic, attempts to carve the turkey. PALACE—“The Masks of the Devil.” This latest of John Gilbert pictures is significant for sundry reasons, not the least of which is the return to the screen of that venerable actor-gentle- man, Theodore Roberts, after a pro- longed iliness. He is still supreme in his field, always natural, sincere andi lovable. As for the star, the picture is essentially his, and considering that he is attempting one of the most difficult roles of his career, makes that fact still more obviously in his favor. Gil- bert is called upon to be a “super-lover with the face of an angel but the soul of a Lucifer,” and he succeeds in a large measure in assuming all three. The film, based on the story by Jacob ‘Wassermann, carries out the profound psychological study of the characters, gaining great effectiveness by showing occasionally what the players are think- ing. It is gripping drama artistically treated, at once from a directorial, photographic and a histrionic stand- point. A well timed and subordinated synchronized score enhances the action and builds with the theme toward a powerful climax. Although Alma Rubens is supposedly cast opposite Gilbert, the major honors for the feminine support are divided be- tween Eva Von Berne, an Austrian im- portation in her first American picture, and Ethel Wales, the veteran character actress. Miss Rubens’ performance is good, notwithstanding. Both Ralph Forbes and Frank Reicher are excellent muwhat they have to do, which is too e. “Crinoline vs. Jazz,” aptly named and sumptuously set, brings to the stage one of the best offerings seen recently in Washington, with music aplenty, both old and new, especially in Wesley Eddy’s composition “Blue Moon,” which he personally introduces, and in Gershwin's “Rhapsody in Blue.” John Quinlan, with a fine tenor, sings the hits of yes- terday, while Nell Jewell and some of the Felicia Sorel girls represent the dames of the hoop and bustle era with grace and slow-swinging rhythm. Chap- man and with the other Sorel steppers are the spirit of jazz incarnate. Carl Dobbs and company, meaning a girl and two men, clown & bit, then fall When Pain NDIGESTION ACiD STOMACH HEARTBURN HEADACH! (GASES-NAUSEA Two What many people call indiges- tion very often means excess acid in the stomach. The stomach neryes have been over-stimulated, and food sours. The corrective is an alkali, which neutralizes acids instantly. And the best alk: known to medical science is Phil- lips’ Milk of Magnesia. It has re- mained the standard with thsl- cians in the 50 years since its in- vention. One spoonful of this harmless, tasteless alkali in water will' neu- Hartmann of the Austrian army and Capt. Nicolai Turgenov of the Russian tralize instantly many times as Comes hours after eating much acid, and the symptoms dis- appear at once. You will never use crude methods when once you learn the efficiency of this. Go get a small bottle to try. Be sure to get the genuine Phil- ali | lips’ Milk of Magnesia prescribed by physicians for 50 years in cor- recting excess acids. 25c and 50c a bottle—any drug store. “Milk of Magnesia” has been the U. S. Registered Trade Mark of The Charles H. Phillips Chemi- cal Company and its predecessor Charles H. Phillips since 1875. They brought an unwelcome guest Almost every time Mrs. during the cold weather, an unseen and unwelcome guest came along—and stayed. For, every call meant opening the door in the warm hall and standing in the draft as the biting cold swept in. Soon she discovered from experience that lemon and hot water or steaming foot baths were not as effective as GROVE'S BroMmoO Everyhousewifewho, in doing herwork, is constantly exposed to by going from warm rooms out of doors, Clark had callers ht to the little white box handy, WBThen a?:hpe very first hint of headache, sneezing, fever, or dryness in the nose and throat, promptly take GROVE'S BRoMO QUININE tablets. Their tonic and laxative effect may help you side-step the cold en- tirely, if taken soon enough. But taken soon or late, they help you throw off the coldand fortify thesystem against gripandinfluenza. «+. The only Bromo Quinine tablets are chilling and colds Grove’s, the first and original. Emphasize GROVE’S when asking for GROVE’S BROMO QUININE. Price 30, GROVE’S 0 QUININE LAXATIVE TABLETS into some astounding acrobatics. Bayes and Speak, dancing comedians, had the house in a continuous uproar with their nonsensical line. The subsidiaries were many and good, with the orchestra under Harry Borjes in “An Ode to Thanksgiving”; a silent M-G-M news reel and a Fox Movie- tone. There are also three other short subjects—a tone-art novelty combining | a solo and pictorial effects; “Targets,” | by Grantland Rice, and an organ screenic featuring Charles Gaige. { EARLE—"Oh Kay.” Laughs abound in Colleen Moore's | new comedy hit, “Oh Kay,” the First | National production adapted by Elsie Janis from the musical comedy by Guy Bolton and P. G. Wodehouse, which heads the bill at the Earle Theater this | week. There is no effort to make a master- plece of “Oh Kay,” though it approaches the top-notchers as an up-to-date farce. Given a musical com as the basis for a silent drama, one might say offhand that chances were against the producers evolving & howling success of the venture, for musical comedies sans music and dance hits are more or less like an apple pie without the ap- ples; but “Oh Kay” has plenty of pith in it despite the major operation. The scarcely visible thread of plot has been humorously interwoven with typical Wodehcuse subtitles and situations which keep the audience in gales of Jaughter. Colleen is very much herself in the role of Kay, the British heiress and | neice of an earl, who takes to the sea in a sailboat to escape marriage with an unloved suitor. Her venture leads her to America as passenger on a rum- runner, from which she is debarked along with the cargo and stowed in an empty Long Island mansion. The D. C., MONDAY, NOVEMBER 26, 1928, Gray) returns to his estate and prepares for his wedding at this inopportune moment, and complications arise at once, becoming more complicated as the hour for the ceremony approaches. Kay, together with one of her rceent shipmates, who is in charge of the smuggled rum, constitutes the “do- mestic problem” in the bridegroom- elect’s household, the pair of:them pos- ing as the new cook and butler in their efforts to escape the vigilanc> of a bogus revenue agent. From the scramble of event: which follow Kay emerges plus a bridegroom while her “shipmate” (Ford Sterling) finds himself plus the “jack” of which the hi-jacking “revenuer” had sought to relieve him. A scrambled cablegram with one last wise crack replaces the ;‘kxx‘rleadbare “fadeout” for a whoopee s. Vitaphone and news reel subsidiary attractions round out the program. These include Pathe Sound News, a playlet featuring Eddie Foy, jr. and Bessie Love, “The Swelled Head,” which gives both of these young people a chance to show their talents; a short skit by Jack North with his banjo- mandolin and excerpts from “Oh Kay,” played by Daniel Breeskin and his con- cert orchestra. LITTLE THEATER—"“At the Edge of the World.” For sheer artistic beauty and aston- ishingly original photography, “At thc Edge of the World” is a great picture. It has the direction of a master and the acting of a real cast to make it one of Ufa's finest efforts. Proclaimed as a second “Metropolis” in the advance notices, “At the Edge of the World” is not so much a fantastic study of the future as a symbolic ap- proach to present-day problems. While young owner (played by Lawrence it has no definite date or locale, it seems to be laid in our own time and placed at the very edge of things, where the old has not yet been wiped out by the onrushes of the new. Not as spectacular as “Metropolis,” this is a far greater picture. The for- mer production failed in its incongrous blend of fantasy and propaganda; it was literally weighed down by tae heaviness of its machinery. “At the Edge of the world,” while less preten- tious, is done with greater artistry and power. Viewed superficially this is a charm- ing love story thrown against a canvas of rare beauty and woven in a plot full of intrigue and action. But it is more than that. It is a symbol of the onward march of the machine age to the very edge of civilization, destroying the an- cient quiet of centuries and drawing into its complex mechanism even the things which have hidden from it. And against the turmoil and change are thrown the human emotions—love, hate and revenge—as changeless as time it- self. Karl Grune has done a flawless bit of direction. The cast represents some of the most famous stars on the Ufa lot, led by Brigitte Helm, who far ex- ceeds her work in “Metropolis.” Imre Rady, Albert Steinrueck, William Die- terle and Camilla von Holly are actors “big” enough to give human perform- ances to symbolize the forces at work in the story. A Chaplin revival harking back to the Keystone days proves that the movies were a rather obstreperous in- fant. An unusual microscopic study of “The Lady Bird,” a scenic picture of Hawaii and a pews real are the short subjects. politan for its third week, is just an- other version of an old theme, the small towner in a big city. There is a ques- tion whether hearing as well as seeing adds a great deal to the picture. ‘The gentleman of the large city is to be married, and he invites his old friend from the small town to be his best man. Years before. one has made money in the big city, while the other is still in his old rut. man tries to save his friend: then real- izes his mistake, and equally complicat- ed situations arise when he attempts to right matters again. Whereas the situations throughout are typical of life, and the characters of the two men are well portrayed, the conversation drags. In ths scenes where the men are talking over old times, the conversation no doubt gives Now, the old | an idea of what has gone before, but gentleman from the small town gets | a little less of the old-time stuff, and a the notion that his rich friend is sought | for his money, believing that eve'riy | picture more interest. Compli- | one in a large city is a crook. cated situations arise when the old little more action would have given the The acting of the old man gives the picture a good turn for the somewhat worn theme. OU can really taste pickles in Gelfand’s Relish Sandwich Spread. Those fat chunks are green pep- pers—and there are sugar, mustard, spice and cream. By the makers of Gelfand’s famous mayonnaise. Distributors THE CARPEL COMPANY WASHINGTON, D. C. 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