Evening Star Newspaper, December 16, 1928, Page 75

. Theat er, Screen and Music Vivacious Interest With Pol ite Discretion BY PHILANDER JOHNSON. T has been chronicled that a thrill of surprise went through the theater world when “Jim the Penman” was admitted to the Madison Square aristocracy of stock company drama. It was a time when art had its dignities. The 80s insisted on certain con- servative ideals and imposed so- cial restraints on the personages whereon the footlights might be called upon to shed their glorify~- ing glow. It was in the time when A. M. Palmer imposed discipline upon his players with exacting author- ity and permitted himself the aus- terity of side whiskers. He was among the few connected with the stage who did not remain smooth shaven. “Old Hoss” Hpey, who intro- duced “The Man Who Broke the Bank at Monte Carlo,” was excep- tional in being a thorough come- dian even while wearing a bushy beard. * x kX It was Palmer who sajd, when stung by sarcasms for which Wil- ton Lackaye was famous: “Young man, I am tired of your cheap witticisms.” “Better lay in a supply while they are cheap,” replied the flip- ant Wilton. “I'm going to pui e price up pretty soon.” * Kk ¥ X In order to make it eligible to the rather exclusive company for which it was designed, great care had been taken to hold the play to the style of “drawing-room drama” to which parents could commend their families for stud- ies of proper costume, as well as diction and deportment. There was no deference to any morbid curiosity, such as the vanity of professional racketeers leads them to believe dominates the taste of the entire public. This assump- tion has produced many rough plays. Few successes among them are sufficiently positive to warrant the belief that after several scores of years they can reassert such interest as survives in the story of the respected statesman and financier, who, after establishing a fortune by his marvelous dex- terity in handwriting, tries to abandon his old associates, polite- ly known as “the firm,” and is un- able to do so. Ralston, the forger, moves always in circles of refine- ment. Even the master villain who forces him to attempt a final coup is a baron of obviously fine pedigree, who executes his ex- ecrable work always with an air of impeccable suavity. “Jim” is indisputably a “crime play,” but it is unique in this cate- gory betause not one of the char- acters draws a gun or uses lan- guage which prying curiosity would find discreetly sequestered in the dictionary, not to be dragged out promiscuously to pub- lic attention. * k x % ant lines is Thurston, the wizard, - AMUSEMEN he Sunday St WASHINGTON, D. C., SUNDAY MORNING, DECEMBER 16, 1928. who finds his public always wait- |. ing and in the holiday mood that the presence of many children al- ways awakens. His bookings are arranged for as a matter of course. He has realized one of the dreams of the manager who wishes his company to be “one happy family,” having educated Miss Jane Thurston to be his col- laborator, and, probably in years to come, his successor. There are many magicians; no others who appear to be as comfortable and placid in a rather nerve-racking process of genial deceptions, with the human element always pres- ent to help some little thing go wrong. 3 * % x %X A friend of Thurston’s men- tioned some of the figures au- thoritatively associated with the New York theater and inquired whether he ever had difficulty with them. “Not the slightest,” said Thurs- ton. “Our relations have been smooth and pleasant at all times.” “H'm! That’s what convinces me that you are a magician.” * ¥ X ¥ A hearty interest is being shown in “The Beaux’ Stratagem,” with a cast including names of mem- orable distinction in unprece- dented number. The play goes far back and is, for that reason, particularly inviting to a large element of taste. After “The Beg- gars’ Opera” and the study of Pepys in “So to Bed,” together with other explorations into time- honored tradition, it begins to ap- pear that the older a play is the better the public likes it. * %X % X The “Wildflower” production in- troduced a group of wonder work- ers in musical magic. The play blossomed out smilingly at the signal of the orchestra conductor’s wand as fresh and charming as if it had never been absent from the garden of the popular playhouse. It is a creation of the modern type, as compared with dramatic revivals, and its melodies are wel- come as friendships and not as remijniscences. ‘First-rate comedy | makes possible a double line of laughter, and Renee Hamilton takes the title role with a lumin- ous security that entitles her to a place in the galaxy of famous stars that musical comedy has re- vealed. The topical song that has long been neglected for the reason that, however effective in stage enter- tainment, there is no publication sale for it, has swept into great vogue. “Whoopee” had several itopical songs in responsible evi- dence. There is no topical song, however, that outranks Robert Capron's ditty about “wild women of history,” set to a rhythm high- ly modernistic both in music and versification. One of the men of the theater whose lives have fallen into pleas- The song could easily take an encore as an interpolation in sub- sequent programs. Gleasons in the Swim. RUSS!L GLEASON came to Holly- wood in an Oldsmobile of 1920 vin- tage for which he paid $40. The fact that he is the son of the famous James Gleason and Lucile Webster Gleason, both well known in Hollywood, did not mean a great deal, for “pull” has long since been classed as N. G. in filmdom. Despite the fact of parental prestige, which is regarded rather as a handicap in Hollywood, young Gleason has made good in talking pictures, and is now playing in “The Missing Man” for Pathe. James Gleason, the father, wanted the boy to return to Berkeley College for his last year. “Plenty of time for a career, son,” said both James and Lucile morning after morning over their coffee. Russel said nothing, but he put on his hat and went out and got himself a job. Now all the Gleasons are getting on famously out in Hollywood. James is writing dialogue at the Metro-Goldwyn- Mayer studio, contributing brilliant conversation to talking pictures, Lucile is starring in “Shannons” at the EI Capitan Theater in Hollywood, and it is said all the Gleasons will appear in the talking film to be made from this play at Universal in the near future, Russel is now being referred to as that “clever young Gleason boy” and approached with various offers for pic- tures. To be 20, handsome and have a winning personality, with ability for acting, plus a charming voice, entitles one to be considered for the possibilities in Hollywood. A Stage Actor’s Talker. ¢'T"HE WOLF OF WALL STREET,” George Bancroft's next picture, will be a 100 per cent dialogue film, and the voices of the entire cast will be heard, including those of Bancroft, Baclanova, Nancy Carroll, Paul Lukas, Arthur inkin, Brandon Hurst and Crauford Kent. As in the Paramount all talking film “Interference,” all the principals in “The Wolf of Wall Street” have had stage experience. Bancroft was a well known stage actor before entering films five years ago. Baclanova is a product of the famous Moscow Art Theater and was brought to America by Morris Gest' to play -the role of the nun in “The Miracle.” Nancy Carroll was in musical comedy, Paul Lukas was known as “The Barrymore of Hungary” and Arthur Rankin, a nephew of John, Lionel and Ethel Barrymore, has been acting both ou the stage and in pictures since 1910. Brandon Hurst and Crauford Kent are veteran stage actors. Doris Anderson wrote the dialogue, and Rowland V. Lee will direct both the silent and sound versions of the picture. Signs Belasco Discovery. PARAMOUNT has signed Frederick March, youthful leading man, who appeared on the stage under the tute- lage of David Relasco, and he will ap- ar _exclusively in Paramount talk- films. It was March’s work in the all-dia- logue production, “The Dummy,” now in the course of filming under Robert Milton’s direction, which interested the Paramount executives in his abilities. March is now doubling in brass, play- ing in “The Royal Family” on the stage in evenings, in Los Angeles, and on the Paramount sound stages during the days. His stage training and splepdid voice, | be it is said, make him particularly well fitted for talking pictures, SECTION Marie CARROLL ad WILFRID SEAGRAM- /Qa+fiona| JACK HoLT and.DORIS HiLL- Pa laoe *SieGFRIED Lithle Theater Next Week's Photoplays PALACE—Pola Negri in “The Woman from Moscow.” (Paramount.) METROPOLITAN—“The Haunted House,” First Na- tional’s mystery thriller. FOX—“Prep and Prep” and circus presentation. “Kid- dies Week.” COLUMBIA — John Gilbert and Greta Garbo in “A Woman of Affairs,” a Metro - Goldwyn - Mayer production, IN THE SPOTLIGHT Notes of the Stage and Its People. Harry Delf’s play, “The Unsophisti- cates,” previously tried out, was staged in Cleveland last Monday night. May Buckley, William Paversham, jr.; Anita Kerry and Nydia Westman are in the cast. “Whistler” went into rehearsal last week in New York under the direction of George Vivian. Pauline Bradford Mackie and Sarah J. Curry are the authors, and the Cole-Redding Corpora- tion is the producer. Jeanne Eagels, under suspension by the Actors’ Equity Association until next September, will be seen in a new play early next season under the manage- ment of Sam H. Harris. The vehicle has not yet been selected and in the meantime the star will continue to make talking pictures. Ray Dooley quit the “Vanities” las. night to take a vacation before start- ing rehearsals of the musical version of “The Big Parade.” The production is being sponsored by Miss Dooley’s hus- band, Eddie Dowling, who will be seen in the star role. ‘Morris Gest promises a return visit of Nikita Balieff and his ‘“Chauve- Souris” for a four-week visit to New York, beginning January 21. After the show has completed its stay on Broad- way it will travel, visiting Boston, Phjl- adelphia and Washington. A new edi- tion is promised. “Dark Alley,” a play by Margaret Martin Medbury, is again in process of production. Rehearsals were called off about 10 days ago to make changes in the script. - “Burlesque,” one of the recent big hits of New York, is regarded as “over” in London. It opened there a short time ago and received seven curtain calls on the second act and 11 at the conclusion of the last act, and there were speeches. Clare Luce and Nelson Keys are reported as hits, Florenz Ziegfeld announces that “Whoopee,” with Eddie Cantor in the starring role, will be presented in Lon- don immediately after its current en- gagement in New York. The producer adds that a record offer for the London rights to his latest musical comedy pro- duction has been refused at the request of Cantor, who wishes to appear under Ziegfeld's sponisorship in the English capital. Last Monday night Edgar Kent took over the role of Prof. Leeds in “Strange Interlude.” The role has recently been played by Walter Varnegut, who will now act in the same capacity with the special touring company that comes to this cify. Sacha Guitry and his wife, Yvonne Printemps, two of the leading players on the Parisian stage, will soon appear in a French version of the “Trial of Mary Dugan.” Mme. Printemps will appear in the role Ann Harding originated, and M. Guitry will be seen in the part of the district attorney. “One Way Street,” a melodrama by Beuial: Pavnter, which is in rehearsal in New York spoisvied by George Lef- fer, will open on Broadway Christmas eve after a week's tryout in a suburban house. Basil Rathbone, who has withdrawn from the cast of “The Command to Love,” now on tour, will be seen in New York a little later in the season as the principal actor in a play which is partly of his authorship called “Render Unto Caesar.” Walter Ferris is Mr. Rath- bone’s collaborator. The play will be presented by Brady & Wimans. “Street Scene,” by Elmer Rice, is an- nounced for New York production on Thursday night, January 10, at a Broad- way theater. Willilam A. Brady is the producer. ‘Margaret Anglin will be supported by a cast including Hubert Druce, Francis Compton, Ethel Griffies, Katherine Lor- imer, Robert Harrigan and Charles Campbell in the production of Paul Kester's play, “The Great Lady Ded- lock.” The opening is carded for New Year eve, Murray Phillips, the pro- ducer, announces. “The Final Fling” by James Forbes, was again put in rehearsal last week by Rosalie Stewart. Dorothy Hall remains in her original role. John Cumberland and Hale Hamilton are now in the main male roles. b Kiddies’ Week at Belasco. GINGERBREAD MAN,” with all his little friends from Santa Claus Land, including Kris Kringle himself and his reindeers, Simple Simon, Jack Horner, Margery Daw, Wonderous Wise, the Fairy Queen, King Bunn, the Princess Sugar Plum, the Wicked Ogre and—in the flesh—the original Fiery Dragon, will hold high carnival at the Belasco Theater Christmas week, im- personated by Charles Emerson Cook’s Savoy Musicomedians. ‘The first performance of “The Gin- gerbread Man” will be given Sunday evening, December 23, and there will daily matinees to take care of the kiddies who are too young to stay up past 9 o'clock, “THE 1t is promised that' rown-ups also will find “The Ginger- %read M‘:n" one of the most delightful Christmas entertainments ever present- ed in the theater. A special toe ballet and an enlarged singing chorus have been engaged for this gala production, and brand-new costumes and scenery of brilliant color | final and design are now in the process of creation. Edward P. Bower, the new stage di- rector of the Savoy Musical Comedy Co. —producer of some outstanding Broad- way hits, including the first Winter Garden show, “The Desert Song” and “Katinka"—has put on “The Ginger- bread Man” half a dozen times, and he will not miss a trick when he directs the Savoy stars and chorus in this Christmas masterplece at the Belasco Theater, Burlesque in the Nineties. COMPARISON of burlesque in the gay 90s with what it is today is interesting. “It is generally admitted by those qualified to speak on the subject,” says an observer, “that burlesque entertain- ments have kept step with the theaters and have improved vastly during the past 20 years, despite the present chat- ter about “the good old days” when burlesque bills composed of four or five vaudeville turns following each other, and then all the “artists” ap- peared in an ‘afterpiece’ irrespective of their fitness to portray the char- acters assigned. “No scenery, or very little, was car- ried by the companies, and the cos- tumes were catch-as-catch-can, while the ‘beautiful’ chorus was usually com- posed of a dozen hefty damsels whose grotesque attempts at dancing were Iudicrous in the extreme. ‘““Today pretty girls compose the chorus, principal performers are selected for their ability to picture certain charac- ters and thousands of dollars are spent to equip shows in every way. “Burlesque, as it is presented in the 45 Mutual circuit houses today reflects the new idea, patronage is constantly growing and from all signs it will con- tinue to grow, which is just as it should be.” o Had the Smile and the Voice. T'S the smile with the voice that wins in the movies. Willlam Boyd, now the Pathe star, found this to be so. Boyd's first job was as clerk in a grocery store in Orange, Calif. One afternoon some members of a motion picture company on location near Orange drifted into the store to make some purchases. Incidentally they be- came interested in the bubbling person- ality and winning smiles of the husky youth who waited on them. After see- ing more of him as the days sped by, several of them advised him to make a try at pictures, offering to help him. It was a year before Bill felt finan- cially able to take the risk. Through his new friends he got extra work and “bits.” He was working as an extra in a Cecil B. de Mille picture, when the famous director was attracted by the contagious Boyd grin. Result, the young actor got a contract and a featured role in “The Road to Yesterday.” and later his real chance in “The Volga Boat- man,” by which Boyd was established. Now, with the arrival of the “talkies,” it has been discovered that, in addition to a smile and real acting talent, Bill has also a fine speaking voice. And it's the smile with the voice that wins, nowadays. Silencei; GoEn. WITH the advent of sound pictures the copy book ldflmnse “silence is golden” achieved reality. It is now ac- cepted as an injunction in every motion picture studio that has gone in for sound pictures, for one little truant word or laugh may cost several thou- sand dollars. At the Pathe Studio, where “The Missing Man,” is being made an in- genious method attempting to insure silence was adopted. ‘The stage where the sound filming is done is equipped with red lights elec- trically connected with the sound-proof booth where the cameras are located. ‘When the door of this booth is closed, as is always done when rehearsal of a scene is concluded and actual filming begins, the outside lights automatically switch on. Watchmen stationed at each end of the stage prevent anyone from entering the restricted area until the scene is finished and the lights go off. Whati Toi st GlantaPitaro? VWHAT makes a successful motion picture? That's what every film producer would like to know. All have their own theo- ries, but the theater box office gives the answer. According to Paul Bern, the Pathe oducer, the hox office has decreed it the great pictures, regardless of the amount of money spent on them, the size of the casts or the names of the players, are human pictures. “The three R’s of education are paral- leled by the three E's in film success,” says Bern. “These three E's are Enter- tainment. Excitement and Emotion. Un- less a picture has this simple trio of at- m it mever attains great popu- tys” Motoring . and Aviation News JUANITA Evane- SHrand and RICHARD ARLEN- Earle Attractions in Washington Playhouses This Week IN WASHINGTON THEATERS THIS WEEK. NATIONAL—“The Beaux’ Stratagem,” comedy. Opens tomorrow evening. BELASCO—“Irene,” musical comedy. Opens this evening. ‘WARDMAN PARK—“One Night in Bethlehem.” afternoon. STRAND—“Record Breakers,” burlesque. evening. NATIONAL—“The Beaux’ Stratagem.” The Players Club all-star revival of Farquhar's “The Beaux’ Stratagem,” with a cast headed by Raymond Hitch- cock, Frances Starr and James T. Pow- ers, comes to the National Theater for the week beginning tomorrow night. The appearance of this famous old English comedy marks the first time that one of the Players’ all-star re- vivals has been seen outside of New York, where, for seven years, they have been noted theatrical events of the Spring seasons. Besides Hitchcock, Powers and Miss Starr, the cast includes Wallace Ed- dinger, Fritzi Scheff, Henry E. Dixey, Brandon Tynan, Marie Carroll, Wilfrid Seagram, John Westley, Minnie Depree and Percy Ames. The business man- agement of the production is in the hands of George C. Tyler, whose re vivals of “Trelawney of the Well “She Stoops to Conquer,” “Diploma: and other famous masterpieces are well known throughout the United States. The settings and costumes are by the celebrated artist, Jules Guerin. ‘When “The Beaux' Stratagem” out- did all previous Players’ Club successes at Hampden's Theater, in New York, last Spring, the club was persuaded to abandon its traditional policy of play- ing these all-star revivals of neglected classics for one week only in order to send the Farquhar comedy on the road. Farquhar, author of “The Beaux' Stratagem,” is known to students as the last of the brilliant line of Restoration dramatists in England. This most famous of his plays, first produced in 1707 in London, was a popular favorite with both English and American audi- ences for more than a hundred years after its appearance. It had not, how- ever, been seen on any stage for almost as long when a revival of it in Lon- don in 1927 prompted the Players to use At for its annual vehicle this year. BELASCO—*“Irene.” “Irene,” with its joyous youth, charm- ing melody and Springtime romance, will be the offering af Charles Emerson Cook’s Savoy Musical Comedy Co. at the Belasco Theater, beginning this eve- ning at popular prices. The story of “Irene” concerns a little East Side shop girl and her two bosom friends, Helen and Jane, who long for 1 release from their poverty and drab ex- istence. An opportunity comes in the form of Madame Lucy, a man rthodiste, who employs these three beautiful Cin- derellas to show off his gorgeous gowns. Through a society acquaintance, Ma- dame Lucy provides Irene, Helen and Jane with invitations to many exclusive functions, where they pass for debu- tantes. Irene, in particular, becomes the belle of every social occasion and Cinderella-like wins the heart and hand of her Prince Charming. Comedy situ- ations of many varieties, from whims humor to robust hilarity, grow out of this central plot, with its gripping heart interest. The title role will be sung by Renee Hamilton, who has gained a strong fol- lowing at the Belasco. Madame Lucy, a role coveted by all comedians, will be played by the versatile and ever-comic Eddie Morris. Thelma Parker, who won an instant personal hit in a small role in “Wildflower,” will have a real chance in the part of Helen, and Helene Ran- dolph, a brunette the title role in “No, No, Nanette” in Philadelphia, will have the part of Jane. Robert Capron, who proved a comic riot: Opens Friday This afternoon and in “Wildflower,” will figure largely in the fun of “Irene,” as will Carrie Rey- nolds as Mrs. O'Dare, Lew Christy as J. P. Bowden. Frank Gallagher will again sustain the love interest with his beau- tiful singing and clever dancing. To Betty Lee, as Eleanor Worth, falls the honor of singing “My Castle of Dreams,” while Rosa Snowden, Jack Closson, James McKay and Eileen McEvoy, also have important roles. ‘The Gorgeous Garden of Girls wiil wear some exquisite new frocks and participate in some fine singing and dancing. An elaborate stage production has been built especially for “Irene.” ‘The song hits of “Irene” include “My Little Alice Blue Gown, “The Talk of the Town, “To Be Worthy,” “We're Get- ting Away With It” and “The Last Part of Every Party.” For Christmas week Mr. Cook an- nounces a de luxe and truly gala pro- duction of “The Gingerbread Man,” one of the most charming of the singing and dancing Christmas spectacles which appeal to youngsters and grown-ups alike. Daily matinees are planned for the kiddies. WARDMAN PARK—“One Night in Bethlehem.” The attraction at Wardman Park Theater this week end will be a Christ- mas play—“One Night in Bethlehem.” ‘This is the fourth play in the series of plays for young folks. ‘The play is described as one of great beauty and inspiration, this story of the little hostler who cared for the Holy Family on the first Christmas night, and his adventures on this wonderful occasion. He begs the innkeeper, whom he serves, tp be allowed to guard the manger to which this strange and beau- tiful lady has come for shelter. First he must go to the flelds to get some goats’ milk from the shepherds for the next day's supplies. He is there when the star appears. He sees it and the angels, and hears the angels sing. As he is excitedly running back to the inn he has a marvelous adventure with the Wise Men. This story of the night in Bethlechem is set within another, the story of a little boy in a castle, The castle is on the King's highway, and it is Christ- mas night. He is ecstatic with the singing of the carols below in the vil- lage and on the highway. They pass by the castle window and it is almost too much for him to bear. His mother reminds him of the first Christmas night, and, all a-thrill with the story, he falls asleep in the great window. It is in his dream that he is the hostler, his mother is Mary, the night watch- beauty, who played | his man, whose calls still ring in his ears from the King's highway, Zs the watch- man shepherd. The play ends in the castle again. There will be music and carols. ‘The from Neigh- ical | horhood House will sing in the high- way. Their music is under the direc- Stoddard. tion of Mrs. el Emi el e o B 45, e 8:15 and Saturday afternpon :?;ngo-t STRAND—"“Record Breakers.” One of America’s famous brings an entirely new off mt:m;;'; Bnetrfind t'l'hnur this 'u:kodlth:“k 's twenty-fifth anm of Breakers.” famous " e S e (Continued: on. > L]