Evening Star Newspaper, December 30, 1928, Page 47

Theater, Screen and Music AMUSEMENT SECTION he Swndiny Shw. Motoring -and Aviation News Part 4—12 Pages WASHINGTON, D. €, SUNDAY MORNING, DECEMBER Earle A Public Artis BY PHILANDER JOHNSON. In spite of the reports announc- ing “Strange Interlude” as a drama of phenomenal power and unprecedented interest, there was a lingering spirit of skepticism when it first began to unfold its series ‘of scenes on the stage of the National Theater, whose de- monstrations during the season have been so comprehensive and versatile and have set some ex- ceedingly high standards for com- parisons. * % % % Descriptions freely given out, both from the press departments of the Theater Guild and by con- tributions in critical print, com- ment ranged from extraordinary admiration and through a state of confessed baflement and then to uncompromising condemnation. The presentation had defied all accepted rules of playmaking, some of them honored through centuries past and some no less rigid because they relate to the tyranny of custom which a slight departure from the usual estab- es if it has made a success. *x Kk Xk * At the outset a nine-act play seemed impossible except when given in a language of its own in a Chinese theater. The idea of starting a play at 5 o’'clock in the afternoon with intermission at 7:30 for dinner and the notice to the audience that it would have to stand up during an act if it re- turned later than 9 o'clock, did not imply a very favorable pros- {)ect. To sit through five acts of he play and then leave a con- enial dinner table to return for lour more acts seemed a little too much to demand. The so-called “asides,” which are, in fact, soliloquies, some of them very long indeed, inspired little faith when described in advance. In fact, at the opening of the play many a heart sank as the character “dear old Charlie” consumed the better part of an act reciting with small conversational variation of inflec- tion apparently to an empty stage. * ¥ % x Audiences accustomed to the most deferential invitations to lend their kind applause were never before so bullied and brow- beaten. They were reduced to abject submission and studied the Program admonitions amounting n effect to “retain your seat stub so that you won't get lost,” also- “keep your door checks as identi- fication tags” and “due notice that late comers will not be seated while the curtain is up.” In some cases patrons brought luncheons 50 as to be sure of being on hand at 9 o'clock when the delivery of the second installment was to be- gin. Intermissions extended 4 minutes, in one case 5 minutes, in another 11 and in another 13. * %X X X No plan of construction could have seemed more formidable in ponderous eccentricities. As work- ed out by O'Neill genius, the drama proved neither ponderous nor eccentric. The solilonuies were revelations of the int! mental workings of the chara 3. More was conveyed than . possibly have been gathered i. m stage conversations relying en- tirely on terms of voice, on gesture and on facial expression to hint at what goes on in secret thought. Everything counted in the course of the performance. Even the intermissions, including the long tically Bullied and the happenings of the story were discussed and curiosity kept warm with reference to how it would all be worked out. * KRR It is a gloomy revelation dealing with human nature that moves in turbulent unrestraint. It goes even so far in a defiance of ordi- nary critical standards as to turn a play of tempestuous violence which seems to point only to utter emotional catastrophe into a reminder that in this Interlude of life between two eternities the ‘| moralists have a certain vindica- tion. The elaborate schemes of highly develoged intelligence are liable to crash and leave the in- nocent and faithful one alone secure in happiness; even though the bliss is that of ignorance. * Xk ¥ X A\ If “Interlude” is to be accepted as typical of the spirit of the hour, the public must learn to laugh all over again, and the Savoy Co. went back not merely to the musical frivolity of Fred Rankin and Baldwin Sloan, but beyond’ them to Mother Goose herself- and fairyland interpolations for “The Gingerbread Man” and his coterie of Christmas playmates. It was a merry mosaic in reminis- cence of the Christmas pantomime as an invariable feature of the holiday season. Some of the music tinkles with echoings of more substantial operas and even the libretto goes straight to “Faust” for the character of a Mephisto S0 malevolent as to jump from behind a scene and scares little children by saying “Boo!” * oK K K Perhaps there was a philan- thropic intention to afford relief from the sombre experience of “Interlude” by the presentation of “Well, Well, Well.” It was at least an invitation to laugh heartily at trifles; leaving it to the individual to decide as he looked an@ listened whether or not he would accept the invita- tion on terms of hilarious unre- straint. * % k X A commercial tendency led up to an extraordinary result in the theater itself. In demanding good value for good merchandise, the managers have incidentally faced the necessity of providing what will be accepted as worth the money. Assuming that a comedian such as Eddie Cantor demands unprecedented compensation, (an assumption quite plausible), the natural response from Mr. Zieg- feld is: “Very well, if you can demonstrate your ability to bring the extra money into the theater, {you can have it.” Up go the {prices at the box office, and, as lusual, it is the public that pays. * X X X % The necessity is felt of offering stupendous productions in music or stupendous novelties in idea— hard to find and expensive in royalties. So playgoers are taught to wait for the big thing and often pass by offerings that are most ;nelritorlous, sincere and delight- ul. | From Pulpit to Prison. JFROM an cvangelist's tent to jail is the step which Esther Ralston takes in tran: Paradise” to_Josef production, “The Case of Lena Smith.” now being filmed at the Paramount ‘West Coast studios. Miss Ralston played the part of a woman evangelist in “The Sawdust Paradise.” As the Hungarian peasant one for dining, were not merely blank spaces, but neriods of suspense during which characters girl, Lena Smith, who is stripped of L | “Waterfront.” May \WARD- National LoN CHANEY and ARY NOLAN- Palace. 4 BERT LYTELL- /V\efropolrf“an ALBERT DIEUDONNE- Little Jheater Arliss' Memoirs Brailled. “UP the Years From Bloomsbury,” the autobiography of George Arliss, is being brailled by Miss Ferris of the Westchester, N. Y., country of the Braille American Red Cross depart- ment, and by Miss Catherine Pomeroy of the Waterbury, Conn., chapter. One of these copies will go to the New York Public Library and the other to the Library of Congress, Washington, D. C. So far as can be ascertained no other actor’s biography has been transcribed for the blind. Titles of books for Braille are suggested either by blind readers, the transcribers or a member of the committee. In the case of the Arliss book, it is explained, Edna R. Smith proposed it, after which it was ap- proved, as all suggestions must be, by the committee. Such a volume is said to be literally priceless. The first Braille was written in France in 1829. Since then the sys- tem has passed through many changes and has become the universal type for the blind. Braille is a system of raised dots, representing letters, groups of letters, figures and punctuation marks, em- bossed in sufficient relief to be read by touch. The embossing may be done by hand with a simple apparatus, by which method only one copy can be made at one time. It also can be prepared on thin metal sheets with a stereotyper, and from these numbers of impressions may be taken on paper. This “press” Braille is so_expensive that it makes hand-copied Braille a necessity. For such work volunteers are trained by- the Red Cross director of Braille transcribing of the Library of Congress, Washington, D. C. The devotion of these voluntary Braille writers is evi- denced when it is said that the 9x11- inch page, the standard size, contains only about half the text of a printed page of an ordinary 8vo book. The usual novel makes from seven to nine volumes as large as can be con- veniently handled. Because of the bulk {and cost of Braille books, there are few private collections. How It Happens. HREE months ago Larry Banthim was a deck hand on a San Fran- cisco tugboat which was pressed into service for atmosphere when they were making “atmosphere” for Dorothy | Mackaill and Jack Mulhall’s picture, ! "But Heaven didn't intend Larry to be {2 dock hand. Somebody discovered that he was really movie material and he was tried out in several other First Na- tional pictures. Now Larry really belongs to the gang. First National has signed him up and he is going to be seen with no less a her child, Esther Ralston is thrown in Jaily : - R beauty than Billie Dove in “The Man and tha Momente” LOCKWOOD™ Strand In the New York Theaters BY PERCY NEW YORK, December 29. 1928. HESE are darksome hours for show buSiness and there is little, if any, dancing in the Broad- way streets. Theaters that once were full of shoppers are now and the intake of the box offices i empty is not commensurate with the overhead and the upkeep. Where recently the drama reveled in profits, it is at present prostrated by losses. Red numerals, indicating bad investments, spread themselves across the Muse’s ledgers and warn the showmen that it is time for them to go into conference. ‘“How portentous,” said one of them to me yesterday, quoting his favorite night thought. “How portentous is prosperity —how cometlike it threatens while it shines!” Hard-boiled economists of the drama seem to be of the impression that the art is fundamentally sound as a com- mercial proposition, but that it is suf- fering from inflation. Realtors, desir- ing to do their bit for culture, have built so many playhouses that the sup- ply has become greater than the de- mand. Their enthusiasm results in a surplus of theaters, too large for the meager product of the dramatists. In- efficient entertainments are, therefore, called upon to stock the vacant shelves. Gypped by these shoddy wares, the cus- tomers have become cautious in their purchases. Having bought “The Sign of the Leopard,” “Potiphar’s Wife,” “One- Way Street,” “The Lady of the Orchids” or “That Ferguson Family,” they figure that drama-going is too precarious to spend time, trouble and .money upon, Every uninteresting “show” breeds a dozen drama-haters, and the current season has been remarkable for unin- teresting shows. LGy R. ZIEGFELD with “Whoopee,” Mr. Belasco with “Mima,” Mr. Hop- kins with ‘“Holiday,” Mr. Harris with “The Front Page,” Mr. Rogers with “Three Cheers” and the Theater Guild with “Wings Over Europe” are doing their best to stay the wave of indiffer- ence. “Wings Over Europe” is one of the cleverest of the guild's shrewd and intellectual stunts. In it the British cabinet is brought face to face with the end of the world by a birdlike scientist who has invented a means to destroy the universe in less than the six days required by God to construct it. This frail giant is so powerful that all he has to do is to whistle and the cosmos will crumble into ruins as cha- otic as Mr. Belasco’s infernal machinery in “Mima.” “Wings Over Europe” is a stimulai- iIng prospect. Its British cabinet min- isters, I think, are burlesqued too vividly; but that, no doubt, is a con- cession by its English authors to the greedy humor of American audiences. It might have been a saner fantasia if its leading character had been of the type of Byrd or Lindbergh, a calm ad- venturer into the unknown, instead of a hysterical imitation of the poet, Shel- leyr Mr. Ahmndes plays the destroyer HAMMOND. with all the lovely sounds and noises of an angry nightingale singing at tea- time. “Wings Over Europe” is an in- telligent and an exciting theatrical pamphlet, teaching us that we are slumbering upon a volcang's brink. * K K K I HESITATE to compliment Miss Barrymore upon her performance in “The Kingdom of God” for fear that she will regard my oblation as insuf- ficient. Still I am bound to say that in a drama remarkable for its inertia she is beautiful, eloquent, magnetic and holy. At the beginning of the play she 1s believably a humorous social worker, aged 19, catering to the senile eccentricities of the inmates of a home for the aged. In the next act she is 29, the lovely and sympathetic superintend- ent of a haven for unmarried mothers and their illegitimate offspring. At the end she is to be seen and heard as a sagacious abbess 70 years old, ex- pounding to the hungry orphans’ in her impoverished asylum, the doctrine of the king of God. The play, written by Sterra, composer of “Cradle Song.” is a puny religious vaudeville, and if it were not for Miss Barrymore's appear- ance in it “The Kingdom of God” would be a dull tub-thumper, preaching a slow and affected sermon. “West of Zanzibar." ‘HERE are educational angles to “West of Zanzibar,” Lon Chaney’s newest Metro-Goldwyn-Mayer picture, as well as mystery and drama such as no other Chaney picture has possessed. The locale for most of the action is in the tropical jungles of equatorial Africa where “Dead Legs,” the character Cha- ney portrays, becomes master of an ivory colony by displaying his stage magic to bewilder the natives. The picture is both extraordinary and star- tling in its realism. The story introduces, in a novel way, a native custom of healing men w have become victims of the terrific heat, malaria and the poison of insects which live in swarms over the slimy swamps. Also it refers to a native custom of of- fering the daughter of a dead native father as a human sacrifice on the lat- ter's funeral pyre. Interesting bits of voodooism also are introduced in the development of the plot. Tod Browning, who directed “West of Zanzibar,” has given the original screen story a novel photographic treatment throughout. Betty a Hula Champion. ETTY COMPSON, who plays with Milton Sills in First National's pic- ture, “The Barker,” is reputed to be one of the most accomplished hula dancers in Hollywood. Clad in the usual grass skirt, she danced.by the hour in front of the side-show tents for this pioture. . June COLLYER Fox “The Three Musketeers™ Coming to National ITH Dennis King as its star, Flo- renz Ziegfeld's gorgeous operetta, “The Three Musketeers,” will be the at- traction at the National Theater for the week beginning Monday night, Janu- ary 14. It comes here’from Phila- delphia and almost direct from the 46- week record-breaking run at the Lyric Theater, New York City, to play a re- turn engagement, for it was at the Na- tional Theater that the first perform- ance was given on February 21, 1928. It is coming with the original New York cast practically complete, but one or two minor changes having been made. Furthermore, it will now be shown here as a flawless performance, the rough edges always noticeable on an opening week long since having been all ironed out. ‘The marvelous Rudolf Friml music, the gorgeous settings of Joseph Urban, the beautiful costumes of Harkrider, the Albertina Rasch ballet, together with one of the finest acting and singing casts ever welded together, all tend to make this operetta stand out among the Ziegfeld masterpieces. For exactly 46 weeks “The Three Musketeers” ran neck-and-neck with “Rosalie” and “Show Boat” in New York. ; ‘The cast is brilllant, headed by Den- nis King as D’Artagnan, the fiery young Gascon always ready for a feat at arms, or a bout at love, and including Lester Allen, the split-pint comedian, as the clever Planchet, valet to D’Artagnan, wih prima donna honors shared be- tween Vivienne Segal and Yvonne D'~ Arle. Others include Reginald Owen, Harrlet Hoctor, prima sballerina; John Clark, Joseph Macauley, Douglass R. Dumbrille, Detmar Poppen, Ruth Lyons and many others, Vitaphone's Big Challenge. N no picture yet made, so Holly~ wood holds, has there been a more convincing demonstration of the un- canny power of vitaphone than is shown in “On Trial,” the all-talking picture now at the Metropolitan Theater. Produced with the new screen tech- nique this picture is destined to show the strides made in the endeavor of the screen to “hold the mirror up to nature.” Jack Warner has said the novelty of the screen would soon be the silent picture, meaning, of course, that it was passing out of sight. And that the passing of the silent picture will be due to the growing effectiveness of Vitaphone in bringing the human voice to the screen. The courtroom scenes of the great murder trial in “On Trial,” around which the story revolves, present a com- plete picture of the proceedings. This, it is thought would have been impos- sible in a silent picture without the intrusion of a long succession of printed subtitles—so many, in fact, as to com- pletely slow up the action of the story. With the Vitaphone, however, it is claimed every word plays its part in heightening and speeding the interest in the scenes, and in presenting to theatergoers a trial which is full of surprises of dramatic value. “On Trial” is based on Elmer Rice's famous play, and the screen version features Pauline Frederick, the well known actress of the legitimate stage. Home of the Unattached. "JHE roster of free lance players now working at the M-G-M studio reads like a blue book of Hollywood's unat- tached, plus a few “borrowed” celeb- rities. Among the players now doing work on this lot are Lily Damita, Olive Tell, Lowell Sherman, H. B. Warner, Ray- mond Hackett, Charles Bickford, Kay Johnson, Carol Lombard, William Aus- tin, Don Alvarado, Willard Mack, Bea- trice Banyard, Jane Winton, Sylvia Fleld, Esteli@®Taylor and Lupe Valess ~ ALicE AGNEW and ROBERT C APRON- Belasco Attractions in - Playhouse evening. BELASCO—“Lady, Be Good,” evening. POLI'S—“Burlesque,” comedy. STRAND—“Parisian Flappers,” evening. NATIONAL—“The Wooden Kimono.” A wind-swept night, fitful streaks of lightning, a deserted inn nestling on the edge of a cold and lonesome lake— pistol shots, silence. Into this atmos- pheric scene come strange characters, each motivated by a different purpose, and each of whom weaves through the mazes of the mysteries which abound in “The Wooden Kimono,” which is to be seen at the National for a week’s engagement, beginning tonight. A famous writer of detective stories, a detective from the city, a sheriff from the village, a physician, a maniac, his strange and foreboding wife, keeper of the sometime inn; a New England spin- ster of peppery personality, a courage- ous heroine, and many others make up a large number of characters. ;Scenes of amazing mystery, packed with un- expected thrills, and sharply punctuated again and again by comedy situations, it is announced, assure an evening of fascinating and breath-taking enter- tainment. “The Wooden Kimono” played a whole year at the Fulton Theater, New York; then followed long runs in Chi- cago, Boston and other cities. London is now the scene of a duplication of the New York success of this latest mystery play. The entire original production is being brought here, with a cast of Broadway players. The herotne is depicted by May ‘Ward, well known English actress, who was brought from London to play the part. Other important members of the cast are Edmund Dalby, George Bogues, Elizabeth Dunne, Vera Temple, Thomas Collins, Richard Beach and William Balfour. A special technical staff is carried for the management of the in- tricate lighting and other effects, and the play is to be presented here with all the detail which characterized its New York run. BELASCO—“Lady, Be Good.” ‘Lady, Be Good,” the outstanding musical comedy hit by the great master of jazz—George Gershwin—will be the New Year week’s presentation of the Savoy Musicomedians at the Belasco Theater, opening this evening. After record-breaking runs in London and New York, this will be the first time that up-to-the-mirfute musical show will be presented here at stock prices. “Lady, Be ,” is a spicy, modern- istic operetta, involving two orphans, who have been inattentive to their creditors, and are turned out into the world, penniless, by a heartless land- lord. Their laugh-provoking efforts to extricate themselves from this uncom- fortable predicament are the basis of the plot. There is a missing heir, a Mexican senorita who pretends to be his ‘widow, a subtle and slightly dishon- est lawyer (the Catlett role, played by Robebrt Capron), an English detective (played by Eddie Morris) and a scheming heiress. ‘The book is by Guy Bolton and Fred Thompson, the lyrics by Ira Gersh- win, and George Gershwin supplied the music. Robert Capron is said to be as good in the Catlett role as the origi- nator. Thelma Parker and Frank Gal- | lagher appear in the parts made famous by the Astaires. Reenee Hamilton's beautiful voice will be heard in two or three fine numbers. Jack Closson is the vagabond hero. Edward Metcalfe, Rosa Snowden, Vance Leonard, Robert Bur- ton, Bruce Torrence, Elaine Capron and the gorgeous garden of the girls will do their brilliant best. In addition to the regular Wednesday and Saturday popular-priced matinees, there will be an extra matinee New Year day. STRAND—“Parisian Flappers.” According to custom, Manager Burk- _hardt of the Strand Theater announces an extra performance of “Parisian Flappers” on New Year eve (tomorrow), his current week's attraction at the Ninth street burlesque playhouse. One of the high spots in this show, it is explained, is the Tunney-Dempsey fight, with its long Chicago count. Another outstanding scene amid a routine of several “bits” and comedy encounters introduces golf for its inning, with the | girls of the chorus lined up in cos- tumes unlike those worn by link en- Washington s This Week IN WASHINGTON THEATERS THIS WEEK. NATIONAL—“The Wooden Kimono,” mystery play. Opens this musical comedy. Opens this Opens tomorrow evening. burlesque. This afternoon and This charming entertainer, it is stated, won stardom by sheer force of out- standing ability, Miss de Vere embodies in her work every element that consti- tutes a burlesque “queen.” In this season’s offering of “Parisian Flappers” many cld favorites grace new situations, with new .associates in the persons of Harry Leff, Dick Richards, Gladys Lockwood and Jackie Ryan. The chorus, scenery and lighting effects are promised to please the most critical holiday show shopper. JANET RICHARDS, Tomorrow. Miss Janet Richards will give the second talk in her course on public questions, home and foreign, tomor- row morning at the Masonic Temple, Thirteenth street and New York avenue. In addition to the usual review of recent developments, both political and international, Miss Richards will give an_account of her observations as a visitor last September to that part of the old Austrian Tyrol which since the World War has been under Italian control. Prospective legislation by the lame duck Congress will also be touched upon. The talks begin at 10:50 am. and are aided by the use of large maps. NORMAN ANGELL, Thursday. The Community Institute of Wash- ington will present the noted political speaker and writer, Norman Angell, in a lecture, “Crises in Democracy,” at Central Community Center, Thirteenth and Clifton streets northwest, Thursday evening, at 8:15 o'clock. This is the fifth in the series of 10 events offered this season by the institute. Norman Angell ranks among the great of English pamphleteers, and is an outstanding authority on interna- tional politics. He has lectured at all the big American universities, and also at prominent English, French and Ger- man universities. . Tickets may be had at the Willard newsstand, the American Automobile Association and at the door of Central Community Center Thursday evening. *Christmas Tree Lane.” '‘HE famous natural “Christmas Tree Lane” of Pasadena, Calif., is t make its debut in motion pictures. For the first time the 2-mile road of a landmark of “The y” that stretches from | the edge of town up a sharp incline to | the foot of the mountains, is to figure |in a celluloid drama. It was the scene of “road shots” in First National's “The Children of the Ritz,” which co-features Dorothy Mackaill and Jack MuMhall. . Each year, weeks before Christmas time, Christmas Tree Lane is decorated by the city, its hundreds of towering firs being covered with colored lights and huge “icicles.” Tourists from all parts of Southern California come to see the sight, and it is necessary to post motor cycle officers at each end of the lane at night for several hours to reg- lulate traffic. Cars are allowed to go down the lane with their lights off, so that the tree lights may be seen to ad- vantage, “Children of the Ritz” is a $10,000 prize magazine serial by Cornell Wool- rich, 21-year-old author, who wrote the story for both fiction and film usage. ALIC‘E WHITE has been sent to college—incog. Not really, but only in her next First National picture, a_college story by Robert Carr called “Hot Stuff.” “To refresh her memory” and get “up-to-the-minute” atmosphere from the co-ed’s point of view, it had to be done. S0, having a friend at the University of Southern California, the gay Alice plotted with her to stay several days in a dormitory and in general to take part in_college life. Her name became “Miss Black”! Moreover, she took advantage of the miovie “quick-change” methods to turn thusiasts on the green. In the comedy scenes Frank Ander- son, a tramp comedian, is featured, but the star is Flossie de Vere, who leads the feminine contingent in many as- | saults upon the optics of the “fans.” her blond hair dark with a temporary dye. No one recognized her, not even the rabid movie fans of the campus. Not so long ago, 1t is claimed, Miss White really attended school at Roa- noke Goliege in Virginia.