Evening Star Newspaper, December 16, 1928, Page 76

AMUS EMENTS.' Farquhar’s Masterpiece. N a February day in 1707 George Farquhar, the brilliant 29-year-old dramatist, lay ill and penniless in his squalid_London ' lodgings. His friend, Robert Wilks, the actor, foremost of his day, sat at his beside, urging him to write another play. “Write!” Farquhar said, starting up. “Can a man write who is heartless and thas not a shilling in his pocket?” Wilks emptied his earthy wealth of 20 guineas on the table and departed. Within two months George Farquhar was dead, but in the first month of that time he had written “The Beaux’ Stratagem,” which Nigel Playfair calls “the greatest of all restoration plays from the point of view of the theater.” The Players’ Club of New York is eending this play to the National The- ater lgls week with an all-star cast. 1t is a continuation of the revival which began last Spring at the Hampden ‘Theater, New York. It is astonishingly modern this gay comedy written two centuries ago in the contemplation of death. It is complete, with bedroom scenes, gunmen, double- erossing night club (tavern) proprietors and a defense of companionate mar- riage designed to delight the heart of Judge Ben B. Lindsey and fan the righteous wrath of Dr. John Roach Straton. It is modern, too, in another way. The wit of Farquhar’s older restoration colleagues—Congreve, Wycherly and Vanbrugh— too often strained and spent itself in euphuism and verbal acrobatics. It was coruscating but was i, art? Not the art of the theater, certainly, because their elaborate tricks upset the pace and marred the char- acterization of their plays. And half their ingenious embroidery is lost on twentieth century audiences. = Not so with “The Be‘:?lx' slt;llme;. Farquhar's language s easily upon the modern ear. -His effects are those of humor rather than of wit, and he would rather draw a plausible character and tell a good story than a string of & thousand epigrams., His work went far toward freeing the Queen Anne @drama from the malign thralldom of the wise crack. Romance as well as tragedy atwndeg the opening of “The Beaux’ Stratagem,’ beginning March 8, 1707, Farquhar's friends of the stage (he had been an actor himself) rallied to insure the suc- cess of the play. Among these was Nance Oldfield. Seven years before, Farguhar, then a handsome young army captain, had overheard Mrs. Old- field (then a barmaid) reading aloud to some friends from the works of Beaumont and Fletcher. Farquhar im- mediately recogniged her talent and with the help of Vanbrugh secured her e part. She quickly became the lead- tng “fine lady” of the London stage. A romantic af mt is sald have followed and Mrs. Oldfield is be- lieved to have been the “Penelope” of to | eclipse and was almost forgotten. He had always predicted that he would marry wealth. He married, indeed, a lady who represented that she had a large fortune. The joke, as he soon learned, and as his friends delighted to point out, was on him. The lady was as penniless as he was. He took his medicine, however, and made an affec- tionate and honorable husband, while his wife remained loyal to him through- out his recurrent illness and poverty. A companionate marriage, tested. ‘Whatever pique Mrs. Oldfield had felt over his marriage was forgotten in his extremity. She threw over all engage- ments to take the leading part of Mrs. Sullen in “The Beaux' Stratagem.” And Robert Wilks, delighted with the play and the fruits of his 20 guineas, threw all his splendid talents into the part of Archer, The result was a spccess that cheered the last weeks on earth of George Farquhar. The legend is that he was well enough one evening in April to attend a special benefit performance given for him at the Queen's Theater, Haymarket, and that he died that night with the plaudits of the audience ring- ing in his eavs. Thus the swan song of the playwright, who, if he had lived, might have dominated his dramatic generation. ‘The play, in spite of the blasts which its views of marriage provoked from the divines of that remote period, retained its popularity through most of the eighteenth century. It was highly ad- mired by Goldsmith and is said to have had an important influence on Fielding's work. An interesting circumstance. It was frequently revived during this time. During the 1760s it had an extraordinary success with Garrick play- ing the part of Archer and Weston playing Scrub. Thousands stormed the theater. One night Weston, who had been unsuccessfully pestering Garrick for a loan, failed to appear. Garrick was announcing to the audience that Weston was ill when the latter was seen at the back of the theater with a bailiff. “I'm here,” shouted Weston, “but the balliff won't let me play till my debts, 12 guineas, are paid.” The groundlings roared at Garrick until he produced the money so that Weston might play the beloved part of Scrub. Not until after- THE SUNDAY STAR, THE PALACE STAGE Barrymore of Hungary. IT's rather hard on a chap to be called “the John Barrymore of Hun- gary”—unless he can live up to it That's what they called Paul Lukas. But it is claimed he did live up to it, and now occupies an .enviable position in motion pictures as the result. Adolph Zukor, president of Para- mount, launched Lukas on a motion picture career. Mr. Zukor witnessed a performance of the player at the Comedie Theater, Budapest, and imme- diately took steps to send him to the United States. Since his arrival in Hollywood he has appeared in the following Para- mount productions: “Loves of an Ac- tress,” “Three Sinners” and “The Woman From Moscow,” all with Pola Negri; “Hot News,” with Bebe Danlels, and “Manhattan Cocktail,” with Nancy Carroll and Richard Arlen. Lukas claims a railroad train as his place of birth. Just as the train, operating from the provinces to Buda- pest, was pulling into the Hungarian capital Paul Lukas came into the waorld. He was educated in Hungary. Then he became director of various scholas- tic entertainments. He joined the Ac-| tors’ Academy, the national training | school of Hungary, and thence went on the legitimate stage, making his debut in 1916 at the Comedie Theater, Buda- pest, in the title role of Franz Molnar’s “Lilliom.” Feast of Peanuts! THE boy who “stood on the burning deck eating peanuts by the peck” had nothing on Corinne Griffith. For three days in succession Miss Griffith and her leading man, Grant Withers, in “Saturday's Children,” consumed pea- nuts from early morning until late at night. One of the most important scenes in “Saturday’s Children” takes place in Central Park. In it Miss Griffith, as Bobby Halvey, a private secretary, and Withers as Rims O'Neill, a $40 a week employe of the same firm, attending the Sunday band concert in the park, do their lovemaking while eating peanuts. Long shots and close-ups in the park utilized a band of 50 musicians in uni- form emd over 400 extras attending the ward did Garrick discover that the bailiff was a sham used by Weston to force the loan. 1t was during this second flowering of the play, it is believed, that the names of two of its characters, Lady Bountiful and Boniface, passed into the English langusge. During the nineteenth century, how- ever, “The Beaux' Stratagem,” along with Farquhar’s other plays, “The Con- stant Couple,” “The Twin Rivals” and “The Recruiting Officer,” passed 1%% view that irreparably unhappy mar- riages should be dissoluble by mutual consent was enough to make his name Farquhar's letters. All this was broken up by Farquhar's tragi-comic marriage. anathema to the Victorians, Sights Denied to Many. HE great everyday world seldom +1 gnows what is going on in its own midst, and but few of the millions of humanity are ever permitted to see the grand and glorious things of life, except in the moving picture. Indeed it is one of the priceless assets of humanity that the thing trivially called “the movie” is ubiquitous, for its makers are the nosiest people in the world, and it seems as if nothing is safe against their intrusion. And the movies show what they do and what they see. Just for instance, it is announced that Billie Dove, the beautiful, will be seen this week at the Metropolitan Theater ! s picture called “Adoration.” It 45 casily guessed from the title that the picture 15 a love story. - But who would ever imagine that in picturing this love story of Continental Europe the magnificence rand - the _spec- tacular grandeur. that once existed in the imperial court of Russig, or the sillions of ts offered to a bewildered wisitor in , is vividly pictured along with the other scenes of this love story. Yet such is-the fact. This love story picture, along with loses to -view ‘magnifice; resplendent with of incomparable rugs and tapestries, golden furniture, handsome paintings and the spectacular beauty of gorgeously gowned women and haughty nobles in military and courtly uniforms—a sight that more than a hundred million of our people have never seen and can never hope to see. And as the crank turns and the mov- ing panorama whirls along toward the end of its story, Paris comes in view, its busy taxicabs darting ' about like dragon flies, with innumerable pedes- trians dodging here and there to avoid them; grisettes, shopgirls, boulevardiers, the humanity intermingled with the historic monumental structures of the French capital; its luxurious cafes, its unimaginable night life, all the glories and exquisite show of the great fashion center of the world. All flitting before the eager eyes of millions who never dreamed that such things could exist. It is not alone the love story that grips the gaze and stirs the heart, it is the countless auxiliaries of detail that the heralds of the star and of her story never mention, but which give the picture an incalculable value to those who have always hopelessly longed to see what goes on on the other side of the world. It is an invaluable something for which the movie does not always re- celve the credit which is due it. crystal sblaze with lights and ail the elegance THE color art director is the newest {4 and most important technician to enter the production field of motion pic- tures. With the vogue of Technicolor toplays gradually making a definite id for supremacy with natural color productions, the art of color applied to the photoplay has created a new de- mand for the artist. Just as talking pictures slowly cre- ated their own public demand, pictures 4n natural colors inevitably mwust be presented to satisfy moviegoers with the ultimate in entertainment. And with each advancement comes a new technique in photoplay production, hence the color art director. After many years of research, the *Technicolor Company under the guid- ance of Dr. Herbert T. Kalmus is said to have perfected the only commercially successful color process and at the same time developed the first color art djrector in the person of Natalie Kalmus. Throughout all the stages of techni- Another Rare Discovery. N an unheralded search that has covered 10 countries of the Old World, Paramount announces-the dis- covery of a new screen personality. He 1s Robert Castle, whose 23 ‘years have been more colorful than the roles he will play on the screen. Following his arrival in Hollywood @astle was signed to a long-term Para- mount contract and Jesse L. Lasky im- mediately announced that his first role would be as leading man for Clara Bow in “Three Week Ends,” an Elinor Glya story. A Castle was found in Vienna by one of Mr. Lasky’s representatives during a year’s scouting trip through Europe in & search for new screen faces. “Robert Castle is one of the hand- somest and most romantic appearing men 1 have ever seen,” says Mr. Lasky, “and his presence in our future pro- | ductions will bring to the screen a new and decidedly strong personality. De- spite his Teutonic origin, he may be classed as a true American type, and I predict a brilliant future for him.” Castle is the third European leading man to be signed by Paramount durin; the past four months. While abroa Mr. Lasky signed Maurice Chevalier, one of the idols of the French stage, and Capt. John Loder, an English youth with & glamourous background of ad- venture. During the World War Castle was a first _lieutenant, following which he DANCING. GIRARDEAU L’EG e Do, s, L 8 5055% 56 riw.. up one fitght, = North PROF. AND 1137 10th st. n. p.m. with orchestra. pointment. 856 =~ " LEROY W, THAYER. — Late ballroom ~ dances. evening; 1226_Connecticut_Ave._ DAVISON’S T&i Prof. M 1320 M St National 3841 * tion a Class Tuesday Eve. in New AND BALLROON infl_ instructors) puD .7, " Decatur_5470. ances & TANgos. = 16° place | T # 11 31 16° Classes Tuesday | private lessons by IDWIHUI‘\;."L h you to dance cor- | rectly in a few lessons, strictly private, any hour. 6. Ev'ng; instruc- t 8. Dancing, 9-12. E FOX STUDIO DANCING, profes- ol itk Director. color experimentation Mrs. Kalmus has’ worked with her husband, Dr. Kalmus, and as a reward has entire charge of all colorings for Technicolor - productions. ‘This ‘reward,” however, carries with it plenty of hard work; the designing of costumes embodying harmonious color combinations; supervising all set color- ings to co-ordinate with the color ar- rangements of the players in their re- spective costumes. Infinite care must be exercised so that costumes and sets do not clash. They must blend to cre- ate a composite as of a moving painting. Every sequence of the story must be considered; costumes and sets arranged to motivate the action of the drama, and Mrs. Kalmus is said to have fulfilled & herculian task in the color arrangements for “The Thrall of Lelf the Lucky,” a story of Viking days; a thrilling tale of a thousand years ago, Technicolor’s first feature length photo- play being produced entirely in natural colors and planned for sound and voice synchronization. turned writer. He is the author of two novels and a number of magazine stories. Later he turned stage director and scenarist. Conrad Veidt gave him his first chance to act in pictures and he made so much of it that he was st;r;ted in his first continental picture effort. _—————— Why It Is Colorful. ¢ A DORATION,” Billle Dove’'s First National picture, wound up in the rain. It was artificial rain, however, and a clear moonlit night witnessed the | final shots on the picture, which Lioyd directed. Its setting include a palace in Russia before the revolution, a number of fine street scenes in Petrograd and Paris, a big gambling establishment in Paris, a modiste’s shop, a typical cafe in the | lower quarter of the French city and a smart, fashionable restaurant. And Miss Dove wears “some of the most wonder- | Tul creations ever seen on the screen. Bayreuth to Washington.” THE GERMAN GRAND OPERA COMPANY Direct From Germany PRESENTS RICHARD WAGNER'S DER RING DES NIBELUNGEN “Das Rheingold,” Wed., Jan. 23 “Die Walkuere,” Mon., Feb. 4 “Siegfried,” Thurs,, Feb. 7 “Goelterdaemmerung,” Sat. Feb. 9 POLI'S THEATER Season Tickets, $20, $16, §12, $10, $8 Taz on $20 and $16 Tickets. Wilson- w filing _at Mrs. conceri. A peanut vender of Burbank made the record sale of his career when Gregory La Cava, who is directing the picture, bought out his entire stock for this scene. Walter Husto.n Heads Cast. WALTER HUSTON, who gave nota- ble stage performances as lead- ing mon in “Desire Under the Elms” and “The Barker” and was starred in “Elmer the Great” will have the prin- cipal newspaper man's role in the Par- amount film version of “Gentlemen of the Press,” according to announcement. Huston recently had the part of Jean Valjean in the short screen playlet, “The Bishop's Candlesticks,” which George Abbott directed for Paramount. “Gentlemen of the Press,” it is an- nounced, will be an all-dialogue pro- duction to be made at the Long Island studio, beginning early in January. The director will be Millard Webb, who has directed such picture stars as John Barrymore, Colleen Moore, Corinne Griffith and Laura La Plante. Bartlett Cormack, author of “The Racket,” is adapting “Gentlemen of the Press” for the screen. Visits Dance ‘Halls. WITH the low brim of a hat conceal- ing her eyes, and with her famous' bob tucked" back out of sight, Colleen Moore has been making visits incognito to a popular dance hall re- cently, to_ obtain Information that might aid her in portraying her char- acter in “That’s a Bad Girl.” Colleen plays the part of a slangy, reckless little dance hall girl in ti syncopated story of modern youth, and before Productlnn started she made this 1 o at frequent them, is sald to have found® one girl ::o seemed to embody the exact personality of her character. Colleen’s husband, John McCormick, escorted her, of course, on this inter- esting adventure. How Ina Became . Belasco Star. T!m signing by Pathe of Ina Claire, the most sparkling personality of the American theater, recalls the way in which she was taken from impersona- tion and placed in her first dramatic production. Miss Claire was impersonating “Marie Odile” in- Ziegfeld’s Follies, in parody of David Belasco’s great play of the same name. The noted master of stage- craft witnessed her performance, and was so deeply impressed with it that he engaged her for the lead of his forthcoming play, “Polly With a Past.” Miss Claire and the play benefitted de- cidedly from the association. The play scored a brilliant success, and Miss Claire at the end of the two years’ run, was established as one of the great per- WASHINGTON, Marta Kay, one of the featured “Bubbles,” this week. D. C., DECEMBER 16 | performers in the Palace stage show, Harmo ¢NJO woman with average intelli- gence and a fair sense of color and line need appear unattractive,” is the opinion of Renee Hamilton, prima donna of the Savoy Musical Comedy Co., who appears in the title role of “Irene” at the Belasco Theater this week. “Just as nature has given each tree, shrub, flower and blade of grass the own particular beauty, so she has pre- sented each of us at birth with certain characteristics of form, feature and pigmentation, which need only a proper setting to bring out true values. Since, unlike trees, humans are navigating beings, with ever-chaging backgrounds during the course of the day, the only seitings we can carry with us are the clothes on our backs. The wise woman will, therefore, give as much thought and consideration to the purchase of a new outfit as the interior decorator does to the furnishing of a new room. “I have seen really beautiful women,” continued Miss Hamilton, “made to appear commonplace by the unfortunate choice of a hat or dress. On the other hand, some clever person with no real claim to beauty will, by the selection of gorrect colors and lines, so enhance her d points and subdue her weak ones that she will give an impression of true color and form which endow it with its | ny in Dress. “The importance of clothes as a factor in bringing a woman happiness is the theme of ‘Irene, and the story is always of unfailing interest to women. Blue- stocking or social butterfly, the clever woman realizes that the right costumes for proper occasion gives her an ad- vaatage that mere prettiness of face and form cannot equal. However, in their cagerness to procure the correct style, many women make the mistake of wear- ing clothes which though fashionable are altogether unsuited to their type. “One reason I am opposed to organ- ized fashion-campaigns by French and other modistes is because they suit only a small percentage of women. One season we find that red has been ordained the ‘rage; and women of all types, of all sizes, shapes and colorings flock like sheep to rig themselves out in new costumes of this flamboyant hue, which is probably unbecoming to 75 per_cent of them. “Each woman,” concludes the prima donna of ‘Irene,’ “is a distinct study when it comes to deciding what colors and lines are best for her. Except in & {| general way, there are no types, and the wise seeker after beauty and dis- tinction would do well to avold bromidic rules in dressing, unless they have been rigidly tested by critical appliance to lgveliness. her own personal attributes.” “HOW can I get on the stage?” Jessie Bonstelle, founder of the famous Detroit Civic Theater and teacher of scores of stage and movie stars, says hundreds have asked her this question. “Learn stenography and typing,” has always been her surprising answer, she tells Helen Christine Bennett in Mc- Call's Magazine for January. Says Miss Bonstelle: “My stock speech is always a terrific shock to the applicant. But it is based upon sound common sense. In the first place, I take it that these people have to work for a living. For the actor ste- nography and typing is a safety device. “Acting is one of the most uncertain income producers on earth; in fact, it should not be classed as a business but sonalities of the stage. Her reputa- tion was enhanced by other successes. as a gamble. Every year over a hun- dred plays are selected, rehearsed and DENNY’S NEW PICTURE awarded parts A Sensational Musical America’s Greatest Mail Orders NO Iso; ‘oncert Bureau, Droep's, 1300 C &S Main 6493. SEATS, WED., 9 A. M. SPECIAL CHRISTMAS ATTRACTION POLI’S-—-ONE WEEK 3.Matinees--Usual Thur. and Sat. Mats.--Special Mat. Fi PRIOR TO NEW YORK THE INDEPENDENT PRODUCING CORP. Presents “WELL! WELL! WELLY Beg. Christmas Night TUESDAY, DEC. 25 Comedy Surprise with JACK PEARL Character Comedian And a Cast of Broadway Musical Comedy and Revue Favorites HAROLD STERN and HIS RADIO ORCHESTRA THE JACK DONAHUE--JOHN BOYLE GIRLS -=-- BEAUTY ENSEMBLE OF 75 ---- Evenings, 50c to $3.00] Special Thu.-Fri. Mat., 50c te §2| Matineo Sat, Mat, 50c to $2.50] Friday New Advice on Ol(_i Theme presented and fall after a few weeks run. Your stenography and typing will help you carry through. It will help out during the long Summers when most theaters are closed and the regu- lar stenographers are taking vacations and need substitutes. “Stenography has a real advantage, as it may be an entering wedge to the theater itself. Often companies go on tour with the minor characters played by people who do a double job, one on the stage, the other for the manage- ment. “What does one do, being stagestruck, to get on the stage? Hundreds of | people have an idea that the work is not difficult. It is true that for many could go out into the street and pick ninety-eight out of a hundred people, train them a little and make them pre- sentable and acceptable for that type of play. But a real actor is born. “Never in the history of the stage has youth been at as high a premium. ‘The girl who wants to act must begin young, unless she is willing to give up stardom or is unusually gifted. “The good dramatic schools teach as & first essential body control. After body control comes breath control. No matter how musical or penetrating your voice, if you cannot manage your col- umn of air you are lost. If you cannot control your feet, you are likewise lost.” Stenography and typewriting are al- ways good standbys in a pinch. of the modern plays now presented I| 1928—-PART 4. . “ Hope Hampton in “Manon. ‘OPE HAMPTON, the celebrated motion picture beauty, will make her debut as a grand opera star with the Philadelphia Grand Opera Co., in the title role of “Manon,” Friday. Miss Hampton has entirely recov- ered from her recent illness, which ne- cessitated & postponement of her ap- pearance with the company Thanks- giving. Massenet’s beautiful opera will be | presented with a brilliant cast of sing- 2rs, including, in addition to Miss Hamp- | ton, Ralph Errolle, tenor, in the role of des Grieux, a part in which he has | gained international fame; Pavel Ludi- kar, loaned for this performance by the Metropolitan Opera Co., in the bar- itone role of Lescaut; Ivan Steschenko, bass, as the elder des Grieux; Conrad Thibault, Alessandro Angelucci and ! day evening, December 27, “Car- | men”” will be sung with Eleanor Painter |in the role of the Spanish gypsy girl, |and Louis Graveure, the famous bari- | tone, who last season startled the world | of music by becoming a tenor, as Don | Jose. Miss™ Painter and Mr. Graveure | will both make their grand opera de- |buts in this country on this occasion, | after a succession of brilliant triumphs {in Germany and other music centers of Europe. Dr. Artur Rodzinski will conduct both performances, which will be staged by | Alex D. Puglia Far Mllady s Frock. THERE is said to be an international silhouette for fashionable femi- ninity this year. Designers have taken their cue from the Chinese, the Jap- anese, the American woman of the reighteenth century and the Arabian. | Architectural beauty has been called into the scheme to make smart cos- tumes for modern women. Afternoon frocks, according to Max Ree, costume creator at First National studios, may have a silhouette like a | Japanese pagoda, or a Mohammedan's minaret, both styles calling for jac- quettes—a distinct departure in the | mode. Still other new invasions in | the realm of style are the frills and collars-and-cuffs of soft lace reminis- cent of bygone days. Ree has just designed several new gowns for Billie Dove, including a basque frock with a flaring peplum based on the 1880-92 style. An uneven hemline which gives the modern twist to the idea is the only departure. | Soum;ls and Songs. MAD scramble of tunes haunts the sleeping hours of Richard Barthel- mess these days. The First Natlonal star has been listening to an average of { two songs a day for two weeks. Every one of these songs is entitled “Weary River,” yet they are composed by dif- ferent authors, with different words and different melodies. “Weary River” is the name of Bar- thelmess’ next picture. Originally a short story by Whitney Ryley Cooper. it was published in a magazine of na- tional circulation. All who have read the story remember that a song formed the background of the published nar- rative, and song writers got busy—pro- fessional and amateur. Strange, com- plex melodies consequently have flooded into the studio and the Barthelmess set in particular is constantly humming with some weird “Weary Ri—verrr!” Barthelmess will play the theme song on the plano and sing the words in the vitaphone sequences. ——— First Fox-Movietone Drama. PACIF‘!C COAST fans are expecting to see and to hear the first feature length all-talking Fox-Movietone drama, "Inkold Arizona,” during Christmas week. This is described as an intensely dra- matic story of a period in the old South- west before civilization removed much work of Raoul Walsh and Irving Cum- mings, and brings to the screen a cast headed by Edmund Lowe, Warner Bax- ter and Dorothy Burgess, with nearly a score of Hollywood's notable character actors, every member of which will be heard as well as seen. Plans are announced to open “In Old Arizona” simultaneously during the holiday week in Los Angeles, San Fran- cisco, Portland and Seattle. Wn;ner Ta.lking S_tars. FOR an ambitious program decided upon for 1929-30, Warner Brothers have gathered a memorable cast of players, every one of whom, it is an- nounced, has either achieved success on the legitimate stage, or has already fully qualified for acting with the Vita- phone. This array of players includes John Thomas Meighan, Monte Blue, Audrey Ferris, Sophie Tucker, George Arliss, Nagel and Edward Everett Horton. Washington Auditorium Organ Recital Sunday Afternoon 3:30 Sunday Evening 8:15 Arnold F. Beck Washington's Faverite Organist Tices, d 50¢ JANET RICHARDS 3 First talk on Public Questions tomorrow morning at 10:45, Ma- sonic Temple, 13th St. and New York Ave. Course ticket, reserved, $8; unreserved, $5. Single ad- mission, 65c and 75c. Every Monday (except Dec. 24) until March_18. Gl e s Flea Market in Film. "THE famous Flea Market of Paris is to have an’ important role in | “Innocents of Paris,” Maurice Cheva- lier's first motion picture. | The idol of France is at the Para- mount studio in Hollywood at the rresenc time ready to s:art work on he ‘talking picture. TONITE AT 8:30 SHUBERT LASC A PRINCETON & TRIANGLE CLUB Presenting & New Musical Comedy “ZUIDER ZEE” 19-Piece Student Orchestra POLI'S THEATER Thursday, December 20 Tickets now o Mayflower, Willa (1] TONITE AT 8:30 The Sweetheart of Musical Comedy Charles Emerson Cook’s Musicomedians The Savoy Musical Comedy Co. in the Ever Delig | Bayne Du Val and Elsi Allen, two young Universal players, who have been | the new Reginald Denny picture, “Clear the Decks.” i Renee Hamilton as the del NIGHTLY AT 8:30 THE 7 Daw, Princess Sugar Starting Tuesday SEATS Now Speclal POSITIVELY Te irl of Srene i T S A htful and Popular Irene; Eddie Morris as Madame Lucy; 40 others and lectable GORGEOUS GARDEN OF GIRLS 50c to $1.50 Wednesday Matinee, 50c and 75¢ Saturday Matinee, 50c to $1.00 DIRECT FROM SANTA CLAUS LAND GINGERBREAD MAN SEE Kris Kringle, Jack Horner, Simple Simon, Margery Plum, Wondrous Wise, Jack and Jill. the Flery Dragon, and all your old friends. Company of 70. Ballet and Orchestra, NO ADVANCE IN PRICES | written.” of its glamour. It is the joint directorial | Barrymore, Al Jolson, Dolores Costello, | Ted Lewis, Pauline Frederick, Conrad | AMUSEME NTS. Von Stroheim “Reforms.” T}m most interesting topic of dis- cussion handed to Hollywood chat- terers in many years is the reported sudden “reform” of Erich Von Stro- heim, heretofore called the “Coal Oil Johnny” of celluloid. This great profli- gate of time and dollars has let to be known that from now on he is going to make the speediest of directors look to their laurels. And who does the reader suppose is the individual who was able to bring about this great change in the hitherto immovable and unchangeable Austrian? ‘Who has been able to make him see the light? None other than Gloria Swanson, producer-star of “Queen Kelly,” now in production un- der Von Stroheim’s direction, from a story of his own creation. In undertaking the direction of “Queen Kelly,” Miss Swanson's third independently filmed picture for United Artists, Von Stroheim agreed to a shooting schedule of 10 weeks. Daily he voices his determination to finish camera work within the allotted time. And In addition he has a bet with Miss Swanson that he will accomplish the task! For 10 years, ever since he made | his first picture, Von Stroheim has been ranked as one of the really great di- rectors, if not the greatest. And in that time he has turned out exactly| 61> motion pictures. The first was| “Blind Husbands.” This was followed | by “The Devil's Passkey” and “Foolish | Wives.” Then came “Merry-Go-Round.” which, when half completed. became the subject of a hectic controversy and another director was substituted. Following this, Von Stroheim movea his megaphone to Culver City and de- voted two years to transferring Frank Norris’ “McTeague” to the screen. When this reached the Nation's cinema temples, under the title of “Greed,” approximately one-tenth of the Von Stroheim labors were revealed. He fol- lowed this with “The Merry Widow” and then spent two years more making “The Wedding March.” The great millstone around Von Stroheim’s neck, it is claimed, has been his Teutonic regard for detail. It is not the sweeping scenes in his plc- tures that take the time, but the infinitesimal details that too often never leave the cutting room. And time is a precious element in Holly- wood. _ No one will deny that “Blind Hus- bands” and “The Merry Widow" were great pictures. Yet the former took only 7 weeks to film and the latter 11 weeks. Which, according to the law of averages, makes the possibility of Von Stroheim’s finishing “Queen Kelly” in 10 weeks a thing to be considered seriously, even by his severest critics. “Queen Kelly” is the story of a con- vent girl who is thrust by fate into a strange role as the “queen” of a notorious resort in German East Africa, but elevates herself finally to the position of royalty as an actual queen. NATIONAL—“Strange Interlude.” | The Theater Guild is billing Eugene | O'Neill's drama, “Strange Interlude,” | as “the most extraordinary play ever | Its presentation at the Na-| tional Theater next Sunday therefore | may be regarded as one of the really | important events in the theatsical his- | tory of Washington. | Much discussion has been aroused by | this play of America’s leading dram- | atist, on account of its great length,| its technique of having the actors ex- | press their inner thoughts in a sort of | “aside” to the audience, and because of the revolutionary contents of the play, | that it has been awaited eagerly by | playgoers generally. An indication of this is that of the published version of “Strange Inter- | lude” more coples have been sold than of any play in book form since “Ben Hur.’ In New York the play is still | Tunning, as much of a triumphant suc- | cess as it was during its first weeks| last February. | At first people came to see “Strange | Interlude” as something of a freak, at- | tending its performances in the spirit | of a lark. The idea of going to wit- | ness a play from 5:30 o'clock in the afternoon until 11 at night, with a din- ner intermission of an hour and a quar- ter, was regarded as something more | than a mere novelty. But this interest in the play as a freak soon gave way to a deeper, a more thoughtful consideration. The dramatic intensity of the story of Nina Leed's struggle for happiness and her search of the lives of three men to find it, must be ascribed as the real reason. This role of Nina Leeds, is one of the longest in dramatic literature, and it is regarded also as one of the finest of histrionic opportunities for the player. Many prominent actresses have ex- pressed the desire to play it. | The Theater Guild, however, has| chosen Pauline Lord, who was called by a symposium of New York critics | America’s greatest actress, to play this | exacting role. In her appearance at the National Miss Lord will be_ sup- ported by Harry C. Bannister, Ralph Morgan, Donald Macdonald, Helen Ann Hughes and others of a typically finc Theater Guild' cast. STRAND—“Dimpled Darlings. ‘The show booked for Christmas week at the Strand Theater, commencing with the Sunday matinee, December 23, is sald to be the “pet” of all Mutual Burlesque lovers, and bears the title | “Dimpled Darlings.” = Everything con- nected with the show is new, with the | exception of the stars, old standbys who | have demonstrated their ability to please critical audiences. The cast is headed by George Leon and Fay Norman, assisted by a strong ny Obkers N eign sta THE PLAYERS Pr GREATEST COMEDY James T. Powers Wallace Eddinger Brandon Tynan Wilfrid Seagram Howard Kyle Marie Ca Minnie D “THE BEAUX' —ONE WE MAIL O Prices: Orch., $4.40; Balcony, $3.00. Pr The Most Extraordin: S INTE IN NIN! With This Theatre Guild Cast: Pauline Lord Donald Macdonald Harry C. Bannister Ralph Morgan Helen Ann Hughes Walter Vonnegut James Todd Lester Sheehy Maud Durand ATIONAL The only theater in Washington offering e. Frances Starr Fritzi Scheff Valerie Valaire IN GEORGE FARQUHAR'S HILARIOUS FARCICAL COMEDY STAGED BY HOWARD LINDSAY. - Coming Attractions. aggregation of players and a “Dimpled Darling” chorus. Several attractive scenes, as well as novel lighting effects, help to make this Yuletide offering noteworthy. = i e e Musical Charms in Fanlasy‘ 'HE musical embellishments of the Fox Movietone production, “Forge Me Not,” Marcel Silver's all-dialogue fantasy, are said to be worked out with infinite detail. Even a clock plays a tune when it strikes the hours in the toy shop where some of the action occurs The opening is marked by the playing of chimes heralding the arrival of Ciiristmas day, and the spirit of Yule tide it is said, probably has never be given finer expression. The bells closely associated with the morning of the Savior's birth ring out a message that is promised to give any audience a thrill of ecstacy. Among the musical groups is a mili- tary band which ushers French troops into the little German village wherc Hans and Dolly live and love. Then there is a dream orchestra which ac- companies the march of the wooden soldiers which are presented in this Fox Movietone production from an entirely different angle. The MESSIAH Central High School Monday, Dec. 17, 8:30. P.M. Tickets, 50c & $1.00 JUNIOR LEAGUE CIRCUS At the Washington Auditorium WEDNESDAY, 3 P.M. Tickets on Sale at 190 Q St. Children, $1.00 A Few Ringside Seats Ady 50 5200 5250 Subscription Tickets Now PHILHARMONIC SYMPHONY ORCHESTRA OF NEW YORK Conductors WILLEM MENGELBERG ARTURO TOSCANINI 3 Concerts, Tuesdays, 4:30 Jan. 9, Jan. 29, Mar. 5 NATIONAL THEATER Tickets, $9.00, $7.00, $5.00, $3.50. T. ARTHUR SMITH BUREAU, 1330 G St. in Homer L. Kitt's. STRAND BURLESQUE AS YOU LIKE IT of Proininence Jogetker, ONE WEEK ONLY, BEG. TOMORROW NIGHT. NIGHTS AND SAT. MAT. 5100 TO $3.00 WED. MAT. $100 70 rely Ameri d for= 72 of the Mret Tamk .o : CLUB, New York. nts ST EVER ASSEMBLED Raymond Hitchcock Henry E. Dixey Percy Ames John Westley S. Miller Kent rroll upree STRATAGEM” DIRECTION GEORGE C. TYLER EK ONLY— BEGINNING NEXT SUNDAY—DAILY AT 5:30 P. M. RDERS NOW—SEATS AT BOX OFFICE All §2.00 and THE THEATRE GUILD OF NEW YORK THUR: $1.00 seats have beenm sold, esents iary Play Ever Written EUGENE O’NEILL’S TRANGE RLUDE E 'ACTS Now Playing at JOHN GOLDEN THEATRE N slentn THEATRE NO MATINEES—PLAY STARTS PROMPTLY AT 5:30 P. M. P. M.—Final Curtain 11 P, M. e