Evening Star Newspaper, January 13, 1929, Page 58

AMUSEMENTS. Moving Picture Album BY ROBERT E. SHERWOOD. HE American in London is al- ways amazed to observe how seriously the British public takes its movies. One would think that the natives of this highly civilized island would rn the canned dramas that comes from South- ern California, but such is far from being the case. The a ge English- man appears to be a singularly ardent | fan. We Americans art apt to feel sheep- ishly ashamed because we make such a fuss over the representatives of royalty who occasionally visit our democratic shores. But our domonstrations of en- thusiasm for king, queen or prince have been as nothing compared to the demonstrations that have greeted Adolphe Menjou, Tom Mix, Jackie Coogan and other American s they visited London. When a ship bearing Douglas Fair- banks and Mary Pickford arrived off the British co it was met by a squadron of airplanes which dropped roses on the decks. Wherever Doug and Mary went in England, they were literally overwhelmed by their ador- ing but obstreperous admirers. has told me that even when th mingled with the nobility, they were among fans of the most rabi as, “What is Charlie Chaplin like?” “Is Colleen Moore happily married or “Is Hollywood really so immoral “I met one charming old duchess said Doug, “who knew a great deal more about the technical side of mo- tion pictures than I ever did.” It was his observation that the dukes and carls are just as loyal in their suppori of the cinema as are the ’'Arrys and *Arriets. ‘When Alophe Menjou visited London with his bride last Spring he was treated as though he had descended straight from Olympus. This pleasant and competent Cornell graduate from Clev: | land, Ohio, was accepted as the world’s ideal of perfection in breeding, manner, social grace and dress. London tailors and outfitters fought for his indorse-| ment as Chicago haberdashers would fl?hl for the indorsement of the Prince of Wales. The London papers were crowded with pictures of him, inter- views with him and articles on the| various aspects of his personality. | There was one series of articles, signed by a titled lady, which purported to set forth Mr. Menjou's secrets of love. * ok ok K Two magnificent picture palaces have lately been opened in London. One is the Empire, constructed by Metro- Goldwyn on the site of the old Empire Music Hall. The other is the Regal Both of these grandiose temples are designed along the extravagant lines that are familiar enough to movie- goers in North America. They are filled with gilt paint, costly carpets, marble statuary, orchestra pits that dis- appear into the cellar, crystal chande- liers and all manner of elaborate ap- pointments. They have given the Brit- ish moviegoer the supreme thrill of enjoying gaudy luxuries that are not rs when | Doug | d_order, | who continually asked questions such even to be equaled in Buckingham | | Palace. In a description of the Empire Thea- | | following flossy line, chairs for 3,500 guests.” The word “guests,” of course, means cash custo- mers. The same description goes on to say, “from the magnificent gilded dome, ronze ribs extend downward till they terminate in a wide circle running en- tirely around the building. The sectors between these ribs are treated in a graduated leather tone of a warm tint and contain a series of 48 circles, alter- nately filled with one of the signs of the | Zod:ac or some other allegorical symbol. The proscenium arch is a fine filigree work, affording a frame to the highly | ornamental safety curtain when lowered, or to the remarkable tableau curtains and pelmet when raised. These special | curtains are composed of three shades | of velvet—wine, rose and sand. Life- sized embroidered cartouches occupy the | contral positions in the main curtains, surrounded by ornamentation of gold silk applique. In the pelmets, unique effect is produced by the use of the three colored velvets in the overdrape, | valance and underdrape.” I'm not entirely certain what all that means, but it certainly sounds as though the British were taking up American ideas of art with a vengeance. On the walls of the Empire Theater are handsome photographic portraits of Marion Davies, John Gilbert, Norma Shearer, Buster Keaton, Greta Garbo and Lon Chaney. Rk ‘There has been much speculation as to how British audiences would take to the talkies, and it was freely predicted that, however they might feel about the Vitaphone and Movietone, they would never accept the raucous American ac- cents that went with them. In spite of which, talking pictures from Hollywood have been received more cordially in London than they were in Kansas City. All the big Lon- don theaters are now wired for sound and the proportion of theaters so wired throughout the rest of Great Britain is much greater than the proportion in the United States and Canada. Al Jolson in “The Singing Fool” has scored | the same triumph over there that he scored *over here. All of which leads to a strange and disturbing thought; the tremendous number of American movies that have been shown in England have caused the younger folk of that venerable king- | dom to adopt American styles of jazz, chewing gum, slang and wearing ap- parel; it has even been complained that American films have introduced that awful American institution, tne cock- tail, into England, and have thereby caused British youth to flame. Now, with the advent of the talkies, it is entirely possible that the American accent will become standard throughout those nations which once spoke Eng- lish. We shall hear cockney flappers trying to talk like Clara Bow. What, indeed, is this world coming 2 i {(Copyright, 1920.) Talking Films tion pieture, both in and out of the industry itself, appears to have been largely dissipated by now. Without reference to the tech- nical development of the device which brought a voice to films, there appears to be a definite acceptance of its per- manence. While the conjunction of sound and sight in the movie form may still be scientificaliy experimental, producers seem willing to take a full part in the evolution, rather than await perfection. It is significant that one of the large companies, First National Pictures, Inc., has just completed a contract (the first of its kind) with Corinne Griffith, speci- fying that the star will appear only in talking pictures. Interest attaches to the announcement in view of the fact that Miss Griffith is essentially a prod- uct of the silent drama and has had little, if any, stage experience. In respect to this lack of legitimate dramatic work during her career, Miss Griffith shares the position of many other Hollywood players. The trepida- tion which followed the first faint her- aldry of talking pictures was widely shared among those in cinema colonies who, while confident of their mimicry, were dublous of their voices. Silence to many of them was a charity whi undisturbed, afforded them protection and a salary. However, many of them, born in the South, coming inevitably (according to their press agents) from “distinguished old families,” might have carried out the grace and accomplish- ments of their lineage, it was notable that in an embarrassing number of cases inflection and grammar failed to support the pretty tradition. There arose, obviously, a more exact- ing demand for uniformity of culture in the work, not alone in drawing Toom scenes, but in all circumstances under which the sound of the voice, as well as the sight of face and figure, was to play a part in the characteriza- tion. It was the same requirement which actors had to meet before the footlights; the principal distinction be- tween the stage and the scrcen was eliminated. But those who played be- fore the iens were, in many cases, un- qualified, either by natural imperfec- tions of their vocal systeyn or by lack of training in the proper dramatic use of the voice, to meet the new require- ment. The outcome of many of these cases remains undetermined. If the form of Miss Griffith’s new contract comes to be a standard, it would seem probable that many of the presently acclaimed stars would fade from the scene, As inexorable as this might ap- pear, it is scarcely to be doubed that the sagacious producers will find new players to fill the gaps. If new sys- tems demand new pelicies and new con- HE first skepticism which greeted I the advent of the talking mo- cessions they will surely be forthcom- | ing. In five years, perhaps, but even- tually. One clearly fertile field from which ;/—‘ draw talent to the new cinema form 18" the age itself. L t $ROF_AND MRS. L. A. ACHER STUDIO, 1127 10th st. n.w. Classes Mon., Fri.. 8 to 11 p.m. with orchestra. Pointment. _ Pr. § MR STAFFO ALL STYLES STAGE, Btud.o. 1124 Conn. Private léstons by ap- “Established 1900, > PEMBERTON. DANCING. 3322, 1% private t, Waltz, 14° MISR GIRARDEAU lessons, $5: single. $1.25. Fox Hop. Class inst. Friday. 8: orcl 1. 2035 P st. n.w., up one flight JOSEPHINE JACKSON. PRIV. single lesson, $1; six. 5. Class da nights, 9 to 12.” 1636 19th n.w SMART BALLROOM ING taught by young I binners_specializ i 449-8, Star o < DAVISON’S Teach you i dunce ctly in a_few less L Prof. Mrs. 3 2329 M S ki National ‘3341 n at 8 Class Tuesday Eve. in New Dances & T CATHERINE BALLE Every type of stage and ballroom dancing Limbering. rhythm. poise, reducing. ~Class gance Ties. Orchestra.’ 1341 Coin. Class Sat. Ev'ng Ciasses mow Torming for . RHYTHMIC DANCING . Institute of Musical Art 31 _1Ath_St. ____ Franklin 2511 LEROY H. THAYER State Supervisor, Dzneing Masters ‘of America, Inc. tz, Hop and_Tango. Private Club_class Tues- ith_orchest Decatur 5150 _* day, evening Studie, 1226 . - o~ THE TCHERNIKOFF-GARDINER SCHOOL OF DANCING Graded Classes for Babies and Children Advanced and Elementary Evening Classes for Youns Men and Women. Physical Cul- o Britain. of evidence that this has already come about. Musical comedy stars are fea- tured in musical comedy films. Straight drama has a sufficient overflow to sup- ply the films with potential Hamlets and Lears and Ophelias. That opera will follow, presenting the human voice in its most cultivated form, is a natural conclusion. There are, of course, many in the film ranks to whom the necessity of speaking and acting at the same time is no novelty and no hardship. Ope troupe of Paramount players, now en=- gaged in making “The Wolf of Wall Street,” their first all-talking picture, has unanimously the feeling of home- coming in regard to the vocal side of their production. Each of the players has had years of stage experience in delivering lines, spacing phrases, pro- ducing all the nuances of vocal expres- sion which contribute to the drama, pathos or humor of the scene. From George Bancroft, erstwhile actor in “The Trail of the Lonesome Pine,” “Paid in Full,” “Cinders” and other at- tractions, and Nancy Carroll, who went from an amateur dancing act through song and dance turns in the various “Passing Shows” and then to more se- rious productions; to Rowland V. Lee, the director, with a background of stock work, repertory direction and New York experience, the players have all the sensation of approaching in sound pic- tures only an old friend in a new dress. 'To their number may be added scores of fortunate others who have had the advantage of stage work, to whom the new field offers wider and more impor- tant opportunities. ‘To those others, unadapted by their professional pasts to the modern form, ‘there remain schools of vocal culture or their own capabilities for bringing into their work a disused factor. For those brave and lovely peacock, endowed by an ironic nature with all the attributes save music, there is the door of retirement through which they may go, as always, gracefully—but without words. g Shell to Shoot Before a “Mlke‘" MVAURICE MANNE, effect director for Pathe pictures, is said to have perfected a special shell to be used shots fired before the microphone. This shell, which is fired in a regulation gun, is used for the first time in giving sounds of encounter to thrill sequences in Pathe’s “Ned McCobb's Daughter.” It is well known that if guns are fired in proximity to a microphone that the microphone would be “blasted” and prove worthless. Various contrivances have been used by various studio sound experts to register gun shots, but Manne, after months of experimenting, is said to have perfected his special shell which allows a gun to register its own sound. e A Dog Has His Day. IN-TIN-TIN, who is declared as great a favorite abroad as he is in this country, has been awarded a five~y thousand-pound prize as the winner of the Dog Film Star Popularity Contest {just concluded throughout Great ‘The Warner Bros. canine star | received nine times as many votes as his | nearest. competitor, and “he” will do- nate his cash trophy to the Royal Vet- ter, forwarded from London, I note the, there are arm-| THE. SUNDAY “Honeymoon Lane" at Belasco. «]JONEYMOON LANE with Kate Smith in her original role, will fol- low the second week of “Hit the Deck” at the Belasco Theater, in the Savoy Musical Comedy Co. It was announced that “Sally” would be the coming at- traction, but when Mr. Cook discovered that Miss Smith was planning to leave shington in two weeks' time for an nded vaudeville tour on the Keith Circuit, he switched his offerings, so that this popu'ar artist might be able to appear in the role which brought her fame on Broadway. This wil be | the last chance that Washington ad- mirers of Miss Smith will get to see and hear her in a long time. Robert _Capron, Thelma Parker, Frank Gallagher, Rence Hamilton, Jack Closson, Edward Metcalfe and the Gorgeous Garden of Girls will all add | to the melody and merriment of “Hon- eymoon Lane.” Ziegfeld's “Sally” will follow Eddie Dowling's greatest musical h Learning to Speai( VEnglis}\. PEAKING the part is equally as im- portant as looking it at film studios in Hollywood. This is demonstrated strikingly in Paramount's all-talking picture “Inter- ference.” which Roy J. Pomeroy directed. With the entire action of the story lald in London, it is essential that the characters depicted as Londoners speak with a real London accent. Merely look- ing the part no longer suffices. The voice, accent and inflection now must also be in keeping with the character. Clive Brook, Evelyn Brent, William Powell and Doris Kenyon, the four fea- tured players in the production, have all lived in England a sufficiently long period of time to acquire a British ac- cent. Brook is a native Briton, as are also Brandon Hurst, Donald Stuart, Clyde Cook, Raymond Lawrence and Wilfred Noy, who play supporting roles. The 100 per cent talking production of “Interference” was adapted from the Roland Pertwee-Harold Dearden stage play and is based on a Lothar Mendes production. The screen story and dia- logue were prepas by Ernest Pascal. Production to Be Doubled. CONSTRUCT!ON of an additional building 50 by 200 feet was begun last week by the Paramount at its Long Island studio, where the company is n(mkmg talking pictures with Broadway stars. The new building, which will house the motor generators, heating plant and other mechanical departmcnts, will re- move entirely all the supplementary machinery which might cause noise or vibrations to delay the making of talk- ing pictures, and it will more than dou- ble the available floor space ior picture sets on the lower stage. It is expected the construction will be completed by March 1. The new build- ing will consist of a basement and one story, with foundation for additional stories. It will stand immediately in the rear of the studio, on the edge of the open lot used for exterior sets. From Argentina MONA MARIS, The first Argentine screen star to in- vade the Hollywood colony. Her last work was with a Berlin company, and she has signed a contract with Criginal Screen Stories. INTEREST attaches to the recent an- nouncement of the FBO Pictures Corporation that Ben Hecht and Charles MacArthur, co-authors of the current Broadway play, “The Front Page,” have been signed to the com- any’s contract, each of the dramatists to write an_ original story for FBO production. Mr. Hecht is reported to be already at work on “Upperworld,” and work will be started at the cor- poration’s Hollywood studios as socn as the scripts have been completed. “The Front Page” covered botih Hecht and MacArthur with a mantle of acclaim. The play purports to be a presentation of the spirit and methods of Chicago journalism as they existed during the ~authors’ reporting days. Hecht has been a prolific writer, having sponsored 12 mnovels and plays since ong them “Erik Dorn,” “Gar- “Count Bruga,” “The Ego- st,” a vehicle for the late Leo Diet- richstein, “The Kingdom of Evil,” and, for the screen, “Underworld.” Mr. MacArthur's dramatic successes include “Lulu Belle,” the Lenore Ulric success, and “Salvation,” in collabo- ration with Sidney Howard. ‘Warner Bros. 15 now releasing a silent version of “The Singing Fool,” notwithstanding Jolson's “terrific” song erinary Hospital in London, the War- d. | A708 8 St NW. Catalogue N, 874 A hit, “Sonny Boy,” in the sound version of the picture, STAR, WASHINGTON, D. C, JANUARY 13 Fay Wray and Clive Brook, who have important roles in the new Paramount picture, “The Four Feathers.” IN THE SPOTLIGHT Notes of the Stage and Its People. “Recessional,” a play by William Hurlbut, will probably be produced this season by George Kondolf, jr. Mr. Kondolf and George Cukor are at pres- ent operating a Winter stock company in Rochester. A comedy by Thomas Louden, co- author of “The Champion,” in which Grant Mitchell appeared several sea- sons ago, is announced for production by Charles Deland. Florenz Ziegfeld, who is now at work on a musical version of “East Is West,” hes asked the First National Picture Corporation for the release of Richard Barthelmess, which has two years to run. The request has been taken under consideration, Mr. Barthelmess’ work in the sound picture “Weary River,” de- termined Ziegfeld to make a try for his services. Rehearsals of “The Broken Chair,” a play by William J. Perlman, which Jacob A. Weiser will sponsor, were started last week in New York. It is to open in New Rochelle the Jast of this month and is scheduled for Broadway, February 11, According to a cable received by Mor- ris Gest, Nikita Balieff and his com- pany of the “Chauve-Souris” sailed for this country last Wednesday, and will be ready to open in New York January Leona Pennington, who was active in the international rodeo in Shawnee, Okla., has been engaged by Charles Dillingham to join Will Rogers and Dorothy Stone in “Three Cheers.” This performance will mark her first appear- ance on the stage. Tt is rumored that the next offering of the New York's Actors’ Theater will be a play called “Penelope’s Web,” which will call for Laura Hope Crews in the principal part. The plans of this organization al include a production of Ibsen’s “The Lady From the Sea.” Alexander McKaig, who has not had a production on Broadway since “The Racket” two seasons ago, has casting for “The Tender Age,” a play by Arthur Richman, which he plans to present in New York the latter part of this month. Mr. McKaig has two other plays for late Spring presentation. Genevieve Tobin, who recently re- turned to New York from London, where she played the leading feminine role in “The Trial of Mary Dugan” for 44 weeks, will join the cast of the company presenting the same play, opening to- morrow night in New York. “Mary's Indiscretions,” lay by Myron C. Fagan, has been placed in rehearsal and will open in New York J. | next month. Minna Gombell heads the cast, which also includes Madge Evans, Edward Pawley and Mabel Colcord. Mary Fowler has been engaged for the principal feminine role in “The Broken Chain,” which will be produced by Jacob A. Weiser. Mark Schweid, recently assoclated with the Yiddish Art Theater, will direct the play. After conferring with Eva Le Gal- lienne over the forthcoming presenta- tion of their translation of “The Lady From Alfaqueque” at _the Civic Reper- tory Theater, New York, Helen and Harley Granville-Barker have left for Arizona. Joseph Tierney, for the past four years general manager for Charles L. Wagner, has resigned that position to inaugurate a Winter season of musical stock in Buffalo. His first presentation will be “Hit the Deck. “The Town's Women,” by Martin Mooney and Thompson Burtis, is now in rehearsal in New York and is due for presentation at an early date. The producer is Bernard Levey, hitherto a theatrical press representative. A new comedy called “Hot Water,” by Helen Smith Dayton and Louise Bascom Barrett, is due to open in New York next Wednesday night, replacing “Sun Up” at the Princess Theater. Beatrix Thompson, who was seen re- cently in Charles Horklnn' production, “The Unknown Warrior,” has returned to England, where she is to appear in a lay called “Two Women” in London his week. The play, by Cosmo Hamil- ton, is said to be destined for this coun- try later in the season. ‘Two new plays are scheduled to open in New York during the week of Janu- ary 21. “Judas” of which Basil Rath- bone is co-author as well as chief player, nd *“Merry Andrew,” by Lewls Beach. “Judas” is the work of Mr. Rathbone and Walter Ferris. “Merry Andrew,” which opened in Atlantic City last Mondlg‘nuht, has Walter Connolly and Effie Shannon in the chief roles. Clark Ross started his try-out period of his “Cane Crop” in New_ Rochelle last Thursday night. Bates Hunter is the author of this melodrama and Miriam Hopkins is featured. Harold Vermilyea, Joseph Granby, Ethel Wilson and J. Malcolm Dunn are in_the cast. “Cane Crop” is scheduled for New York the week of January 21. Helen Chandler, whose last New York performance was in the Theater Guild’s production of “Faust,” has joined the cast of “The Marriage Bed.” This is Ernest Pascal's dramatization of his own novel, which Sam Harris, in association .with Felix Young, will pre- sent for the first time tomorrow night. Local Movie Enterprise. 'ASHINGTON is perhaps one of the last places in the world that would be expected to have attained prominence on the movie horizon, yet the Capital is the headquarters of what is claimed to be one of the fas‘est growing theater chains in the country. Usually New York or Hollywood is con- sidered to be the seat of progress in the film world, but the Motion Picture Guild, exhibitor of “unusual and ar- tistic” films, is a local institution, be- gun as an experiment in May, 1926. In Washington the Motion Picture Guild is best known for its operation of the Little Theater, that tiny play- house on Ninth street which opened its doors to the public in April, 1927; but Washington is not the only cily with a “little film theater,” for at the present time the Motion Picture Guild owns and operates similar playhouses in Baltimore, Philadelphia and Detroit, and will soon, it announces, inau- gurate other theaters in Boston, Pitts- burgh, New York and Chicago. The rapid growth of the Guild is at- tributed by its founders to the fact thaf its presentations have tried to fill a demand for a new type of entertain- ment. The policy of the organization is to bring out the unusual and “dif- ferent” in films, in the belief that the movies can be more than a means to while away a couple of hours. The Guild, it feels, has shown that the cinema can be as interesting when it deals with sclence, history, philosophy and religion as when it deals purely with popular fictional entertainment. The Guild has specialized in import- SHUBERT-BELASCO GE WEDNESDAY 50¢ AND 35c; MAT! ing numerous foreign films, long, short, comic and tragic. The record of those already presented at the local theater, for instance, shows in the past two years, films from such far-away places | “= Germany, Italy and as India, Austria, Japan, Russia, Samoa, England, Spain. ‘Among the productions sponsored by the Guild have been such films as “The Light of Asia,” a biography of Gau- tama Buddha actually filmed in India with a Hindu cast; “The Armored Cruiser Prince Potemkin,” “The Cab- inet of Doctor Caligari,” the German impressionistic film; “Secrets of the Soul,” the psychoanalytical drama supervised by Dr. Sigmund Freud; “Czar Ivan the Terrible,” an historical drama filmed in Russia by the Mos- cow Art Theatre; “Lucrecia Borgia,” filmed in Italy, and “A Romance of Japan,” a native Japanese feature pro- duction. FLORA McGILL KEEFER MEZZO-CONTRALTO IN RECITAL ANK LA FORG! Planist and Accompanist, of N. Y., HARRINGTON VAN HOESEN Barytone, of N. Y, MAYFLOWER HOTEL FRIDAY, FEB. 15—4:30 Maagement Mrs. Wilson. Concert Bureau, Droop’s, 13 TONIGHT 50c to $1.50 ATURDAY 50¢ TO $1 IN RESPONSE TO OVERWHELMING DEMAND! Savoy Musical Comedy Company‘s Smashing I-.ll'm With Washington’s Own Favorite NEXT | WEEK | KATE SMITH HONEYMOON LANE with KATE SMITH — . o~ In an entirely new repertoire of “Blues” and negro “Spirituals” Next Week's Photoplays METROPOLITAN — “Abie’s Irish Rose,” Nancy Carroll and Charles “Buddy” Rogers. PALACE—Emil Jannings, in “Sins of the Fathers.” FOX—Dolores Del Rio, “The Red Dance.” EARLE—Jack Holt, in “Sub- marine.” COLUMBIA—Dolores Del Rio, in “Trail of '98.” in Washington Little Theater. "[HE Washington Little Theater, a dramatic organization, is resum- ing activities this afternoon with a tea in honor of Prof. Will Hutchins of American University, who has been as- | sociated with the theater in some ca- pacity for most of his life and par- ticularly with the Little Theater move- ment. He was the promoter of the | Morningside Players and of the Beech- wood Players at Scarborough, N. Y. At one time Prof. Hutchins was di- rector of dramatics at Yale and he also has had experience as a director of plays in New York City. At present he is in charge of the dramatic depart- ment at the American University. The tea this afternoon will be given in the ballroom of Stoneleigh Court and all who are interested in the Little Theater movement are invited to come. An Infan.t‘ Prodigy. JIGHTEEN-YEAR-OLD June Nash made her debut in motion pictures at the age of 4, it is claimed, and for soveral years thereafter played im- portant roles in pictures made by Vita- graph_and Famous Players-Lasky at their Eastern studios. At 8 she was selected for a role in the cast of “Daddies,” with Jeanne Eagels and Bruce McRae as principals. Following this she played in support of David Warfleld in “The Return of Peter Grimm.” At 14 the enterprising youngster filled a featured role in George White's “Scandals,” with which she remained for several seasons. During the past year she has de- voted herself entirely to motion pictures, and has had several featured roles, her first talking picture being “The Missing Man,” Pathe's first all-dialogue pro- duction. Temperamental Canary. A TEMPERAMENTAL canary bird recently caused more trouble at one of the big motion picture studios than a herd of elephants. And incidentally the feathered songster lost an opportu- nity to warble before millions of people. The bird, with a reputation as a fine singer, was purchased by Roland West, producer-director for United Artists, to appear in the talking picture, “Night- stick.” It twittered happily while the actors were rehearsing a scene laid in the living room of the heroine’s home. But when West signaled for lights and cameras, and the players began speak- ing their lines, the canary refused to sing. Scene after scene was started, then scrapped. The canary would sing any time but when the powerful lights, needed to light the set, were on. After wasting a whole morning West ordered this par- ticular canary “fired.” A hurry call to bird store brought another warbler— and this one didn't mind the lights. Fawcett in Cl.xevalier Film. GEORGE FAWCETT will have the role_of Maurice Chevalier's father in the French music hall star's first Paramount film, “Innocents of Paris.” Sylvia Beecher of the stage will play the heroine in this all-talking produc- tion, in which Chevalier's famous voice will be heard singing a number of songs which have been written especially for him. Richard Wallace will direct this story of a romance in suburban Paris from the novel by C. E. Andrews. William A. Wellman is to direct Rich- ard Arlen in “The Man I Love” by Herman J. Mankiewickz, which is to be an “all-talker.” Current History Lectures CLARA W. McQUOWN Every Friday, 11 AM. The Washington' Club, 17th & K Admission. 65¢ '| BOSTON SYMPHONY KOUSSEVITZKY, Conductor January 30. 4:30 Concert Bureau, Main_6493. SERGE Pol “Things Talked About” Mrs. Wolfe Smith. Mrs. Swalm Reed Every Monday Morning The Willard Hotel Season tickets, $5.50 Single admission, §1 Franco-Belgian Festival Patronage Belgian Ambassador FRIDAY, JANUARY 18; 8:45 P.M. CESAR FRANCK Elena de Sayn. Miksa Merson. Jn‘l‘gfi'.lL/‘ll“l.Bhffila:'.Lfilcn‘A” yn Quartet _Ticke! “Willard Social nu‘:{g:): i Library of Congress January 20, at 3:15 P.M. Curtis String Quartet And Harry Kaufman, Pianist Tickets at T. Arthur Smith, 13 St beginning January 14. cket 25 cents. his eoncert will he broadeast by Station NAA of the Danser Whe Racked the W 'ARMUSEMENTS.T Ziegfeld “Fon over a quarter of a century I have been producing musical plays on Broadway, but never have I sponsored a production that has given me more personal satisfaction than has “The Three Musketeers.” Somewhere in the back of my head T had been harboring a desire to make an operetta of this Dumas classic for many, many years. But each season there was always the “Follies” to pro- duce, then other plays demanded my attention and I kept putting it off. The most important reason for this was that until I met Dennis King and saw his performance in “The Vagabond King” I never had been able to picture any actor in the role of D'Artagnan who could play it the way I wanted the role layed. I first read “The Three Musketeers” when I was a small boy, living with my parents in Chicago. I remember that I was enthralled with it, even though I'm afraid that I missed most of its significance at that time. Many years later, after T had become a producer, I read the book again and decided that some day I would make a musical play of this classic. The dashing, handsome, romantic D’Artagnan would make an ideal char- acter for the stage—if the right actor could be found to play the part. - And what a perfect heroine is Constance— beautiful, full of romance, tender. And what a really polished actor could do with the role of the Cardinal! Every- thing was propitious for a production. And there was another, all-important, reason for my desire to produce the story. It carries a vital message—a message of loyalty, devotion and com- radeship. My long-slumbering idea to produce “The Three Musketeers” as a musical play first sprang into active life when I saw Dennis King playing in “The Vagabond King.” “Here,” I thought, “is the man ideally suited to the role. | I talked the matter over with Willlam Anthony McGuire, who was to write the book, and he was enthusiastic. Then I communicated with Mr. King and he was even more enthusiastic. The production got under way. I secured the services of Rudolph Friml to write the music because I believed that he could do that particular job better than any other man in the world. To Joseph Urban I intrusted the job of designing scenery fitting to the period, and John Harkrider designed the costumes. I searched high and low for the right actors for the right parts, and, as I watch the performance now, I do not believe, in all modesty, that I could improve on the cast. What more regal and beautiful prima donna could be found than Yvonne D’Arle for the role of Queen Anne—or what more charm- ing heroine than Vivienne Segal for Constance, Lester Allen. the dimin NEXT CONCERT | | PHILADELPHIA ORCHESTRA | 0SSIP GABRILOWITSCH | January 22—4:30 Tickets: 2.50, 2.00, 1.50, 1.00 T. Arthur Smith Bureau G St., in Homer L. Kitt ATIONAL The only theater in Wash- ington “offering _exclusively American & foreign stars of the first rank. Tells It. tive comedian, was well suited to the role of Planchet and Reginald Owen, polished, suave, distinguished English actor of the legitimate stage, is superb as the Cardinal, I feel. Joe Jefferson's Son. 'HOMAS JEFFERSON, son of the famous Joseph Jefferson, creator of the stage Rip Van Winkle, was signed recently by Paramount for an impor- tant supporting role in the Charles Rogers-Nancy Carroll picture, “Close Harmony.” Mr. Jefferson himself is a well known character of the legitimate stage. hav- ing succeeded the late Frank Bacon in his memorable role of Lightnin' Bill Jones in the stage hit “Lightnin’". The story, “Close Harmony,” was written by Eisle Janis and Gene Markey and is a tale of life back of the foot- lights. It is now being produced in Hollywood as an all-dialogue film under the direction of John Cromwell. Jack Oakie and Richard “Skeets” Gallagher will appear in it as a song-and-dance team. Harry Green, a well known vn‘udcvulc favorite, also has a featured role. Coming to Strand. Beg'nning with the matinee next Sunday, the Strand Theater will pre- sent “Stolen Sweets,” “show of a thou- sand laughs.” Harry Levine and Edith Palmer head a great company, with special mention coming to La Jade, the “dancer su- preme,” and a temptation chorus. There are a number of clever “bits” in “Stolen Sweets” of an original character. TENOR, METROPOLITAN OPERA Poli's, Friday, January 25, 4:30 POLI'S THEATER. Tut 2 an. 15, 4:30. Mrs. Greene’s Concert Bureau, Main 64V3. THE GERMAN GRAND OPERAG COMPANY PRESENTS RICHARD WAGNER'S DER RING DES NIBELUNGEN With All the Traditions as Heard at the Bayreuth Festspielhaus, “DAS RHEINGOLD,” Wed., Jan. 23 “DIE WALKUERE,” Mon., Feb. 4 “SIEGFRIED,” Thars., Feb. 7 “GOETTERDAMMERUNG,” Sat., Feb. 9 SPECIAL PERFORMANCE b5 P “TRISTAN UND ISOLDE,” POLI'S THEATER Season Tickets for the Ring, $20, $16: 12, $10, $8. on_Green: ert G st.; Main 6493. MONDAY AND POSITIVELY THIS WEEK ONLY & SAT. POP. _DMAT.. WED., §1 to §3 WELCOMED HOME TO THE CITY OF ITS BIRTH AFTER 46 GLORIOUS WEEKS ON BROADWAY Ziesteld attraction, $1.00 to $4.00: Wed, for thi Mat. engagemen $1.00 to 3. ZIEGFELD’S FAVORITE DENNIS KING " ERIML'S FASCINATING MUsIC 800K Us BY WM. ANTHONY MCGUIRE- IN A MUSICAL VERSION OF w ET FROM THE WORLD'S GREATEST ROMANCE BY DUMAS with the original Hew York cast & complete producty o VIVIENNE SEGAL - LESTER ALLEN. 5 H MACAULAY - REGINALD OWEN - JOHN CLARKE ARRIET HOCTOR. - DOYGLASS R.DUMBRILLE- 16 SOLO DANCERS OETMAR POPPEN « RUTH LYONS - ALBERTINA RASCH~ & YVUONNE DARLE EWMAN Garden of Allah, Jan. 20 Spaine. . . ... Jame 27 Motion Plctures TRAVELTALKS *'¢i Vicms 5 SUN. MATS. BEG. JAN. 20 ROMANTIC RAMBLES IMPRESSIONS OF 1928 Germany, 1928 .Feb. 3 London. ......Feb. 10 England, Scotland. . . .Feb. 17 Box Office Sale Tomorrow. Orch., $1.50; Balc., $1.00; 2d Bale., 50¢, POLI’S WILLIAM A. BRADY, VIOLET KEMOLE PER FERDINAND GOTTSCHALK MELVYN DOUGLAS TONIGHT MATINEES THURSDAY Mat. AND SATURDAY , JR., and DW In Assoclation’ with JOHN TUERK, Present MARY.NASH Ev Sal to 52, T DEERE WIMAN, HENRY « as sedulously naughty a play as one ever sees in a , blandly, briskly performed and received with una lexander Woolcott. World = —dlezander Woolcott, N, Y. World. COMING WEEK COM. SUN. EVE., JAN. 27TH SEAT SALE STARTS WED, A. M., JAN 23RD. MAIL ORDERS NOW LAURENCE SCHWAB MUSIC by SIGMUND ROMBERG. My Maryland” and o “The Show Boa With the Original New LEXANDER G'HAY ERNICE WITH A d FRANK MANDEL'S composer Mo % lnfl" OSCAR arie,” THE NEW MOON< York Cast Including gflmn GRANVILLE STIRRING MALE CHORUS 30c to $2.30 80 to $2; Sat. Ma