Evening Star Newspaper, February 3, 1929, Page 55

. Theater, Screen and Music AMUSEMENT SECTION he Sundiy Star, Part 4—14 Pages Scene from, “THE LITTLE WILDCAT," RICHARD BARTHELMESS axdl ‘ Fox LORETTA YOUNG, Earle- The Theater in Process of Concentration. BY PHILANDER JOHNSON. ‘The luck of the theater game has shown extraordinary favor toward the musical stock company, which has established itself on a footimg of popular favor compar- able only to the popularity of the annual “Summer opera season” when operetta still retains a re- lationship to the more responsible musical forms. “Summer opera” was a term of accurate definition and was by no possibility consid- ered due excepting along with the flowers that bloom in the Spring. To attempt musical stock produc- tion in Midwinter when the theater is expected to be at the height of Broadway glories would have been regarded as an eccen- tricity of showmanship closely akin to a delirium. * ¥ ¥ % The unprecedented condition which is now closing down one at- traction after another has left the Savoyans with little opposition and given them opportunity to make friends with all the town. Yet even when prosperity seems secure the uncertainties which cause theater enterprise to be re- ferred to almost invariably as a “game” were in evidence. The small beginning with large result was shown by the production of “Little Jesse James,” a piece not favorably regarded, but because of previous rehearsals in Canada quickly available. Its week while not dazzlingly remunerative brought a prize as the distinctive personality of Thelma Parker be- came immediately recognizable and ready to be capitalized. s So many times has the story of the artist’s early struggles been told by romantic publicity experts, usually about stars whose orbits were accurately preordained by London backing, that it is refresh- ing to find one such story entirely accurate. When Miss Parker ioined the company she was over- ooked in the preparations and al- lowed to feel like the traditional stepchild. Her part had not been copied and her costume not pre- ared. It was such a small part hat the agents who provided the lay on royalty apparently thought his role might as well be omitted. Like very many actresses Thelma did not agree with the ways of Broadway supervision. She found the manuscript and personally copied her part. She also bought material and by means of her own | needle work provided herself with correct costuming. Fully equipped she presented herself at rehearsal ready to take cues and go on with the show, which proves that a ttle «promvessive .determination )fluenced.in character by -his sur-ition. gets action much faster than mere patient waiting to be “discovered.” A Bl O Just when her plans seemed going at their best they were un- ceremoniously attacked and de- feated by a wandering germ. An understudy was needed and Helen Ault took the role on short notice. The result was an opening per- formance lacking in the custo- mary ensemble accuracy. Miss Ault after the first performance became quite secure and added herself to the list of favorites, who help playgoers to forget that Washington, D. C., so far as any relief from Broadway is concerned, is now in the Winter of its dis- content. * ¥ X X “The Desert Song” brought one of those melodious echoes from the recent past that assert no strong vitality. It goes to familiar sources both for material and workmanship, with remorseless de- mands on faithful industry that would seem to deserve occasional relaxation. Sigmund Romberg has already written a liberal share of music. The always trustworthy Otto Harbach is evidently destined to be kept in action until as a prolific American librettist he ties the score with Harry B. Smith himself. Bernice Clare is a charming star; but a little like the dainty little miss perched high on the gilded globe of the circus chariot, occupying the position of conspic- uous honor and managing to smile bravely even when the vehicle wabbles precariously. * iy “Scars” disappointed a com- paratively few people for the rea- son that a comparatively few peo- ple attended to give it attentive serutiny. It is another of the assemblages of ideas from many sources, ideas often too divergent to be ac- curately grasped and managed. It accords abject submission to the assumption that a success is to be attained only by imitation of something else that has succeeded, and starts out with a rugged rem- iniscence of “What Price Glory,” managing in point of wild dialogue to accomplish a rather difficult step from bad to worse. The play has a meaning and a suggestion which are soon lost in an imita- tive confusion. A study of the in- fluence on youth of a terrific war Period and the courage and intel- igence necessary for adjustment to the new world into which in- habitants of the civilized earth have emerged would have been something to think about. The principal character is not made to speak as one who has been in- 3 WASHINGTON, D. C, SUNDAY MORNING, FEBRUARY 3, 1929, Amusement s DELORES COSTELLO, %ez‘m/voéam SUNSHINE SAMMY, o OUR GANG! Fox Stage roundings. He is only an individ- ual type, headstrong and defiant of all restraint at the outset of his story no less than when he makes selfish wish the dominant in- fluence of his personal life, whether in war or peace. * K oK K “Gi the public what it wants” is going to be a matter of increasing difficulty if the public continues to demand some stu- pendous stroke of originality as in “Strange Interlude” or else as in “Mima” some marvel of stage equip- ment regardless of all considera- tions of cost in making the pro- duction. Never has the theater had everything its own way in ad- vertising exploitation so much as it has at present. When publicity was cautiously accorded, a play or an actor could be rescued from obscurity only by some especial assertion of merit or novelty. ‘The press agent’s chief stock in trade was the unidentified burglar who invaded hotel or dressing room and departed with a double handful of priceless jewels. This was considered the limit of im- aginative exploitation and made but a short story, for there is no recollection of any sequel in which the burglar was discovered and brought to justice. ! At present the theater swims in printer’s ink. The tiniest item concernln{ any of its people is dis- played with so much prominence and the meritorious details of each new enterprise discussed with such literary sympathy that it be- comes almost as satisfying to read about a new presentation as it would be to see lt,‘. What the future of the Ameri- can theater will be is a matter for interesting speculation, with but little encouragement for atcemgt at positive prophecy. Visits to cities not yet rivaling New York and Chicago as centers of theater- loving pulation are no longer undertaken by producers simply as a matter of routine. A remark- able alternative asserts itself. It may be less risky to meet the direct loss of closing a theater than to attempt the costly trans- portation of a big production. Belasco’s “Mima” was built into the theater with no chance of going on the road. In the general process of commercial concentra- tion New York is localizing itself to a remarkable degree. It be- comes more and more inclined to regard itself as the mountain and the public at large as the philo- sophic prophet, who decides that, the mountain remaining obdurate to his commands, he will solve the situation by going thither himself. e ok The "automobile has played a tremendous part in theatergoing, making it emsl‘:l for the suburban resident for the average city to attend whatever type of amuse- ment may be available and pleas- ing. A part in theatrical attend- ance may before very long be played by the airplane, enabling a metropolis to establish attrac- tions permanently, to be ?atrun- ized, without great expenditure of time in travel, by the residents of a vast geographical area. It is a fantastic idea, not likely to grip the attention of those who do not possess the sense of mass service. and cannot scrutinize the future with a Ford-like imagina- SEDNA BEST, National. VILMA BANKY ax/ WALTER BYRON, Palace In the New York Theaters By Percy Hammond. ‘HE “anonymous lady of quality” who wrote “Serena Blandish” tells Mr. 8. R. Behrman that she is aston- ished by the excellence of his dramati- zation of her book. All her precious words are there, she says, and all her scenes, and the stitches with which she has put them together are so small that she cannot find them out. Thrilled by the prospect of the gains that are said to reward the production of an intelli- gent drama upon the sidewalks of New York, she sets out for Paris, there to buy dresses with her share of the pro- ceeds. As one who has heard that dis- appointment sometimes lurks in the most promising of theatrical ventures, I pray that she has not dropped her bucket into an empty cistern. For “Se- rena Blandish” is a friendly though a bitter comedy, and nearly every one concerned in it deserves remuneration. * ok k% It is right that the novelist should compliment Mr. Behrman for his re- modeling of her work. He has ripped it reverently apart and with the skill of a deft compressionist has sewed it up again. While fitting it to the smaller figure of the stage he has preserved its personality and has sacrificed few of its outlines. One of the most amusing items in “Serena Blandish” is a collec- tion of several of the book’s separated episodes in the scene which introduces the play. There in a stylish London restaurant poor Serena (Miss Ruth Gordon) shows the reasons for her failure as a woman of the world. She is desperately in need of money, and her host, & rich young man, has en- joyed the more intimate pleasures of her beauty. Timidly she reminds him that never has she had a gift from him in appreciation of the liberties she has permitted him to take. So he guiltily begs her pardon, promises to be more generous to his next girl and leaves her, penniless, to pay the check. As she ponders the disadvantages of being a giver rather than a receiver, Mr. Clarence Derwent enters as an oily old jeweler, discharges her obligation, and with his fantastic schemes for her en- richment the fabulous comedy begins. * ok ok K Thereafter she is adopted by an aberrant Brazilian countess with a fad for dumb animals. In her gorgeous Berkeley Square menagerie the countess has accumulated a host of pets, includ- ing a sick Arab, a pontifical butler (A. E. Matthews), a school of flying fishes, a tame wart-hog and several unicorns. It is the countess’ pleasure to introduce the waif Serena to her eccentric com- gmlons, for the purpose of marrying er to one or another of them. But Serena is cursed with a passion for compliance. Though not at all a carnal girl, she is unable to refuse the applica- tions of her man friends to be good to them. That benevolent weakness im- pedes her ambition to be married. Her suitors, finding her easy to kiss, bid her begone and hurry away to more difficult the book Se: 1%' i Booking & Aondescript prince of great wealth, only to discover that he has black blood in his veins and that his mother is a brunette and com- plaisant Nicaraguan. In the play she elopes to Monte Carlo with a musical giggolo and plans to live happily for- ever after as his partner in a Riviera supper club, catering to vagrant Ameri- cans, * k k% Mr. Behrman keeps his adaptation of “Serena Blandish” in the “Arabian Nights” mood of the novel, and I join the author in saluf his achievement. Miss Gordon, as the docile push-over, seems a bit too simpleton now and then to voice the sagacious epigrams that fall from her lips; but she is as good a ena as you will find outside the book—a combination of sorceress moron and ingenue. Mr. Matthews as the papal steward is, as usual, a cathedral of histrionism, and Miss Constance Col- ller as the hippogriff countess plays with the brilliant enthusiasm for which she is renowned. It has been said that Miss Collier's impersonation of this majestic clown is reminiscent of the late Mr. Bert McCoy’s description of Marge, who until the passing of her creator was one of the popular females of Broadway. . . . . The stage direc- tion by Mr. Jed Harris is in harmony with the story of Serena, excepting a few unimportant details. In that scene, for instance, where the countess and Serena ride from the slums to Berkeley Square in a swift Danier the atmos- pheric Bovril sign remains static. And the animated bus on top of which Se- rena is a beguiling passenger never moves an inch beyond the Nelson Mon- ument. Nevertheless the play is expert stunt in the sophisticated the- ater, and I hope again that it will enable the “lady of quality” to pay the bills of her Parisian dressmakers. Harriman Leaves. ‘OLBY HARRIMAN, for the past six months managing director of the Loew Theaters in Washington, has been transferred to the executive staff of Loew’s, Inc.,, in New York, it has been announced, and will serve as assistant to Louis K. Sidney, director eral of 'ihenter and movietone production work. Mr. Harriman's particular assign- ment, it is stated, will be the supervi- sion of production at the Capitol Theater, on Broadway, and the new Valencia, at Jamaica, Long Island. He will also represent Loew’s in connection with Loew-Publix presentations. It was in Germany, in association with Max Reinhardt, that Mr. Harri- man is said to have acq 2 know- ledge of production and lighting effects, and his subsequent experience in that field has been extensive. Mr. Harriman's successor in ington will be named within days, it is eanounced. BABE ABBOTT, Strand HAYES HUNTER, the American * director, now in England, has started production on what has been termed the world’s best known melo- drama, “The Silver King.” It is being produced for Welsh - Pearson - Elder Films, Ltd., at the Cricklewood studios. Percy Marmont take the part of the Silver King and is supported by Donald Stuart, the buddy in “Beau Geste.” To Film "The Silver King." Motor, Aviation : and Radio News [ WILLIA New Tl\eat;r in Laurel. SIDN!:Y B. LUST, operator of a chain of moving picture theaters in Wash- ington, Maryland, Virginia and West Virginia, has just completed plans for the immediate construction of a new theater in Laurel, Md, to replace the one recently destroyed by fire. The deal was consummated through Kent R. Mullikan and Charles H. Stanley of Laurel. The new theater will be of Spanish design, with a seating capacity of 1,000 and equipped with a modern multi- sound organ, a large stage and typhoon ventilators. In addition, there will be space for four stores on the ground floor. The structure will cost $70,000 and will be situated on Main street just afl‘dthe ‘Washington-Baltimore boule~ vard. The name of the theater will be se- lected by Laurel patrons. ChERE . o " Film Daily's “Ten Best. AN interesting list of the 10 best pic- tures of 1928, based upon the opinion of 295 critics, representing 326 newspapers, 29 trade and fan publica- tions and 8 newspaper syndicates, has just been published by the Film Daily of New York. “The Patriot,” in which Emil Jan- nings starred, is given first place of honor with 210 votes. ‘The list with votes is as follows: “The Patriot,” 210; “Sorrell and Son,” 180; “Last Command,” 135; 125; “Street Angel,” 124; “The Circus,” 122; “Sunrise,” 119; “The Crowd,” 105; “Ku".s 6cv( Kings,” 99; “Sadie Thomp- son,” 95. Washington Favorite. HAV!NG Jjumped into a leading role at a half-hour’s notice, following the sudden’{liness of the original holder, Helen Ault, Washington favorite with the Savoy Musical Comedy Co. at the Belasco, has been signed by Charles Emerson Cook as a regular leading member of the company, it is an- 20 | nounced. She will have the part of the wife in “Oh, Boy.” The role which Miss Ault filled upon such short notice was, it must be said, no stranger to her, for she had already earned star honors in it during two seasons. It was in “Honeymoon Lane” the original holder, Thelma Parker, having become indisposed Miss Ault was assigned the part and under- studied Miss Parker for the following week's title role in “Sally,” a part which she was likewise called upon to “Four Sons,” | D evening. afternoon. BELASCO—"“Oh, Boy!” Renee Hamilton comes into her own again in “Oh, Boy!” presented by Mr. Cook at the Belasco Theater this week, beginning Sunday evening. P. G. Wode- house and Guy Bolton wrote this bril- liant musical comedy hit. “Oh, Boy!” also marks the return of Frank Gallagher to the Belasco boards, after a week’s vacation, as George Budd. Miss Hamilton will lend her lovely voice and sparkling personality to the role of Jackie and Helen Ault's charms seem ideally suited to the role of the little wife. The part of Jim Marvin, Jackie's artner, goes to Robert Capron, and Josie Intropodi, a newcomer to the Savoyards, but long famous as a comedienne of first rank, will be the Quaker aunt. Other roles will be taken by Thomas Spree, a Broadway comedian; Jack Classon, Edward Met- calfe, Rosa Snowden, Gladys Hunting- ton, Mary Deery and Bruce Torrence, while the beAuty chorus and the male octet also will figure prominently in the singing and dancing. The plot centers around Jackie Sampson, a young actress, whose ad- venturous spirit gets her into a free- for-all fight at a roadhouse party. Quite unintentionally she hits Consta- ble Sims in the eye and, panic-stricken, flees Wfldlfi into the night. She seeks refuge, via the fire escape, in the bachelor apartment of George Budd. George isn't home, having eloped with the girl of his choice, but his friend, Jim Marvin, happens to be in when Jackie makes her dramatic entrance, followed shortly by Constable Sims. In order to protect her from the arm of the law Jim passes her off as Mrs. Budd. The arrival a little later of George's do before the week was up. -— Davey's First Star Film, € QONNY BOY” will be the title of the first Vitaphone production to star Davey Lee, the 4-year-old young- ster whose role with Al Jolson in “The Singing Food” afforded one of the most notable performances ever given by a child on the screen. The public’s immediate acclaim of this remarkable little actor was quickly followed by ‘Warner Brothers’ decision to star him. “Sonny Boy” will be a starring vehi- cle exclusively for Davey, although he | will be surrounded by a strong support- Wash- | ing cast. Alan Crosiand will direct the | W & fow: now being prepared by Harve) y Quaker aunt adds fuel to the bonfire of merriment, which often reaches a riotous pitch. The famous Jerome Kern song hits, directed by Vincent J. Colling, are be- lieved to be especially suited to the fine voices of the Savoy Musicomedians and include the internationally known “Till the Clouds Roll By,” “You Never Knew About Me,” “A Pal Like You,” “Nesting Time,” “The Letter Song,” “An Old- fashioned Wife” and “Words Are Not Needed.” GERMAN OPERA COMPANY THIS WEEK. The German Grand Opera Com- pany's season of Wagnerian opera in ashington, which was inaugurated January 23 at Poli's Theater with a performance of “Das Rheingold,”" will < NATIONAL—Newman travel talk, “Germany of 1928.” M HAINES, Columbia % Attractions in Washington Playhouses This Week IN LOCAL THEATERS THIS WEEK BELASCO—“Oh, Boy,” musical comedy. Opens this evening. POLI'S—German Grand Opera Co. Opens tomorrow evening. STRAND—‘Jazztime Revue,” burlesque. This afternoon and This WARDMAN PARK—“Little Women,” Friday at 3:30, Saturday at 2:30 and 8:15, by the Junior Theater Players. be resumed at the same theater tomor-~ row, at 7:45 pm., when “Die Walkuere” will be given under the local manage- ment of Mrs. Wilson-Greene. ‘The cast will be headed by that world- {‘::?10:: Wagnerian star, Mme. Johanna sk, After the performance of “Die Wal- kuere” tomorrow the performance of the Nibelungen Ring will be for one evening to permit the presentation Tuesday, at. 7:45 p.m., of “Tristan und Zilken, noted Ger- man tenor in the role of Tristan and Juliette Lippe, an American singer in the role of Isolde. The “Ring” will be resumed Thurs- day, at 7:45 pm. with a performance of “Slegfried,” with Karl Joern in the title role. The final performance of the German Opera Company’s Wash- ington engagement will be presented Saturday, at 7 p.m., when “Gotter- dammerung” will be given. Dr. Walter Rabl will conduct the final hour of Saturday's per- formance—7 o’clock. Seats for the remaining operas are on sale at the concert bureau, in Droop’s, 1300 G street northwest. STRAND—“Jazstime Revue.” The attraction at the Strand Theater this week, beginning today, is “Jazztime Review,” featuring Kitty Madison, and the “Darktown Strutters”—in other words, & “double-header.” Last year this bright and snappy entertainment was well up with the leaders and this year's production, ale though new in almost every departe ment, is being equally as well received. {The cast hi‘ncl‘l’ldels the best-liked per- ormers urlesque, among Kitty Madison, soubrette; Harry Evan