Evening Star Newspaper, April 7, 1929, Page 55

. Theater, Screen and Music Lois WiLsoN and CONRAD NAGEL-Fox - Sunnybrook Farm Gives Relief to the Woe-Weary BY PHILANDER JOHNSON. It is the privilege of an author to have the last word even though his auditors may be but few and| skeptical. Much the most interesting part of that weird phenomenon en- titled “An American Tragedy” is the note at the foot of the pro- gram beginning, “A great moral Nine Muses. can nor tragedy and to proclaim it a distinctive picture of Ameri- can life is to burden the citizen- ship of this country with all the miserable follies that have been committed by reckless youth since | |time immemorial. It is not| tragedy because it lacks the mo-| tive of the inevitable and plods| 1t is neither Ameri- | | Jhe DivINE LADY "= ) /- | Qcexe from Metropolitan . _'AMUSEMENT SECTION - The Sunday Star. WASHINGTON, D. C, SUNDAY MORNING, APRIL 7, 1929. AGE and | SCREEN ROBERT BRISTER- y [\la’rl'onal ’Motor, .Aviation 77'and Radio News i eere from Sonny Boy- lesson is taught in this play,” and proceeding with a solemn state- ment that “the story was written from actual scenes in life.” * Xk ok X |along through a mire of episodes | | which trace the progress through |the most ordinary events of ill-| | doing and finally delivers only the |very obvious retribution of -the | An announcement of this kind | is a fitting part of an enterprise | distinguished by a sublime liter- ary naivete which evidently im- agines that some sort of internal mental warmth has suddenly burst into a flame to warm or dazzle mankind. It is a subjective de- monstration, and there is no doubt that the authorship of the| play must have experienced deep | mental hardships which, like mental hardships in general,| sought relief in expression. * ¥ % X A company of 28 people is ke busy telling the story of a bell hop who secured his chance in| mercantile life through the bene- ficence of his uncle, a prosperous collar manufacturer whose family looked down on the lad as a social inferior. This might have made foundation for a rather rollick- some farce if the bell hopper had assorted knowledge acquired by his observation of the usages of opulent society and told the family, famed for collars, just which forks to use at table, and where to get on and off the high horse of priggery. But the bell hop shared the fate of all the characters in the play by proving utterly destitute of a sense of humor. If the dramatists concerned in the creation could have taken the benefit of a conference with that kindly and helpful student of the stage, the late Brander Matthews, they might have been persuaded at least not to get off to a false start, as they did by revealing the most contemptible role in the piece as apparently the unsophis- ticated youth who is going to make good in spite of persecution and by introducing the really sensible and kindly cousin as a man instinctively vindictive and unfair, t * % ok % It requires a little time to read- just and find that the boyhood recollections of Horatio Alger, who piloted so much struggling youth through literary and other pit- falls, has here gone entirely to the-bad. * ¥ k k “An American Tragedy” is a libel on Uncle Sam and all the electric chair. P s It is perhaps fortunate that the Communist censors decided to bar “An American Tragedy” from the Russian theater, although Stanislavsky is said to have fa- vored it, and to have been reluc- tant to consign it to the local oblivion now being participated in, to greater or less extent, by al- most every dramatic writer from Shakespeare to Shaw. The reason assigned for not doing the play | was that it was too grim to accord with the lighter moods now de- sired in the popular mind, as a public seeks to forget a dark past and adjust itself to hopes of a new and brighter era. * X X X The death of Brander Mat- thews closed the interesting, yet graciously unostentatious career of a man, who, according to the measurements of time, might have been considered venerable, but who defied the adjective be- cause of the enduring vitality of his thought and his unremitting sympathy with everything per- taining to letters and the play- house. His own plays were not nearly so numerous as his books designed for students and crafts- men of the stage. Some of the most remarkable figures of his time were close friends and ad- miring associates. His critical word was always heard with re- spect, even though it was in vari- ably given in support of the ideals that mean the best of which the theater is capable and with small deference to commercialism. He never ventured far into the broil and battle of practical producing, but was content to live a long story and to make his own career a classic. * X ¥ X A public that does not insist on being pained or terrified crowded the theater to see that entirely demure and soothing drama, “Re- becea of Sunnybrook Farm.” The gentle auditor is probably weary of being bruised and welcomes something which does not irritate, but, on the contrary, is calculated to lpmve healing to a troubled soul. Robert Brister and Fate. “ ALWAYS a bridesmaid, never a bride,” is the. theme of an old ;enume lament oné¢e put into song jorm.. It is but a slight variation to say that the man who usually plays the villain seldom if ever gets to be the ro. In the play of the week at the Na- tional, “The Bad Man,” Robert Brister, villain after villain in man, ing. It is a sort of turning .of .the tahbles, so to speak. Robert Brister, “Handsome_ Bob” he used to be called in the Far West, has been filling important nooks on the stage of the National Theater, member of the National Players, for He has never failéd to nce, accord] ins | s is inclined to the belief that this re- semblance is going to manifest itself further in the portrayal of the leading role in “The Bad Man.” Robert Brister is one of the ablest actors with the National Players and he has had extensive experience in the theater. He has played in stock in many cities of America and has toured with some of the greatest stars of the day. He has had Broadway engage- ments, and also is one of the few actors who can claim the authorship of a play now running on Broadway. The play is “The Penthouse.” It already made a tour of the tryout towns and has just appeared on the Street of ‘White Lights. First British Tali(er. sent a British. w'zglny, with a large British cast, Brif director and a British production across the Atlantic, and I ,” to make—in the United States—1 first British talking picture with a British cast. , New. York, In the Gramercy Studios, recently opened by R. C. A. Inc. R - are These effects will range singing of the kettle on the the fatal crash of an airplane to the PBRITISH International Pictures has | The life artistic is that suffered by Miss Margalo Gilmore as the undone-ingenue in “Man's Estate.” Miss Gillmore, in this Theater Guild comedy, is a like- able orphan, who, with no mother to guide her, falls into trouble of a most serious kind. ‘The situation is poignant and full of reason for tears. Her companion in error is a gifted youth, whose archi- tectaural plans for a cathedral have won the prize. But he is addicted to himself and a career unimpeded by matrimonial responsibilities. It is par- ticularly a sad dilemma, since Miss Gillmore’s illustration of the innocent sinner is good looking and sympathetic. By all the rules of human conduct we should feel sorry for her. ‘Yet on Monday night when Miss Gill- more was denoting with accuracy the hysterics of an important distress, the audience laughed. There she was, poor child, delirious and swooning upon a divan. So penetrating was Miss Gill- more’s delirieation that it deserved a solemn tribute. How discouraging it must have been to see her agonies fall lightly upon the drama lovers. Her afiction was neglected by the audience, for a comic remark made by another character in the play, and she must have returned to her dressing room, sullen with disappointment. “Man’s Estate” is a sort of flappel thing, a promising mediocrity " indica: tive that its authors, Miss Blackmar and Mr. Gould, both of them eminent New York journalists, fresh from prairy land, will eventually help to make the drama more human. A discarded proj- ect of Jed Harris, a major wizard of the Broadway theater, it is now under the protection of the guild, the safest of the stage’s fortifications. Miss Jane Cowl belongs in any au- thoritative list of first actresses in the United States. of America, being a pretty girl, a hypnotic personality, and a shrewd show woman. Though she is not a martyr to her art as Miss Eva Le Gallienne and Miss Blanche Yurke are, she is still anxious to alternate profitable pot-boilers with the: better things, “Thus she goes from the senti- mental hoakum- of her own writings to the !meuc severities of the classic bards—f prosperous' Swan of Avén and the starving Stephen Phillips. ‘A bit ed, per] ), “The Jealous Moon,” the now turns lips’ “Paolo, 3 1t is one of the minor works of that fine t ‘minstrel, written when was ind slept in the straw. tragic has T ai The - recital of . its episodes none of the sonorous vitality of {7 " for instance; and the tale 1t tells has few excitements. In it Miss Cowl as Francesca and Philip Merivale as Paolo seem to be involved in rather a white ,flirtation between a brother- in-law and a sister-in-law—he re: to her “from a hook in a roses,” On the ‘Broadway Stage By Percy Hammond. NE of the minor woes of the ous in a golden wig and also in Mr. | with all the conscientious ; Miss %lfi her talents to’ Stephen o and Francesca.” DumMy - Palace Phillips’ silvery rhetoric, which is sel- dom affected or pretentious. Mr. Meri- vale looks very pale and fragile in| Paolo's armor, and he makes Italian love bashfully. As the lamed Giovanni, Sir Guy Standing limps and limps, muffling his speeches melodiously . . . It is altogether a grim traditional toy, with only Miss Cowl's personal love- liriess -to save it from being thoroughly dull and funereal. When in the final scene the undertakers carried the dead bodies of Paolo and Francesca to the footlights upon a theatrical bier it was so ridiculous that one was forced to laugh, even as ome did at Miss Gill- more’s. misfortunes in “Man’s Estate.” Measuring Emotion. MoVIE aydiences in Los Angeles and nearby cities are being analyzed by an “emotional response meter.” 'This new development of talking pic- tures was brought into use for the first time at a preview of Paramount's all-talking comedy-melodrama, - “The Dummy.” One of the most difficult phases of talking films lies in timing the action of the players in relation ‘to the au- dience’s reactions. Whenever a player, for example, does or says something humorous, time must allowed for the resultant laugh to die down before he resumes his action and speech. Microphones connected to a small sensitive meter were installed in the theater at the preview and the informa- tion obtained was turned over to the cutters of the film who timed the play- ers’ voices in accordance with the du- ration of the audience’s laughs. A Weepie, Please. WHEN Archie Mayo came to direct little Davey in “Senny Boy,” he confided to Edward Everett Horton that the job would probably be a difficult one. “You know Davey is only 4!” he said. Mayo started to explain his first scene in a very careful and detailed way, in words of one syllable. David appeared slightly puzzled at first, then g look of boredom suffused his face. “Pardon me, Mr. Mayp. You want a weeple, don't you? Let's twy it,” and assurance of a seasol r he went through the scene. - ““Well, Archie, that takes the right off your shoulders,” said Horton. “Some kid,” answeredthe beaming di- AR T L 3 2 Another One. ONI more New York stage iperson- ality has arrived In.Hollgl‘md. to talk from the screen for the first time Barbara Stanwyck, chiefly disf ished her performance in . “Burlesque,” in Los Angeles recently at the | legitimate Artists She . ‘will . have chief role in “The Locked Door,” version of Channing. Pollock's | Sign on the Doot,” - ned | said to be one of men in load | popularity, has caused something of a sensation. . ARY LEE TUCKER- Strand Charmed With Her Dancing. FEATURE of unusual interest at the supper dances at Wardman Park Hotel during the week has been the delightful terpsichorean specialties presented by Miss Harriette Caperton and her partner, Vernon-Biddle. Miss ,Caperton is a Southern girl of- rare charm ‘and accomplishment, and since her appearance. as featured ' artist with Ned Wayburn's “Gambols,” last season, she has been devoting herself | to higher class night club entertain- ment. Her graceful and exquisite num- bers have attracted much attention, and keen regret was expressed last eve- ning that her engagement would ter- minate this week. From Pit to Sereen. WH!N A. P. Frankenstein left the orchestra pit at the Orpheum Theater after 31 years of fiddling and wielding the baton, he climbed right up on the screen and landed in “The Broadway Melody.” This veteran Los Angeles orchestra leader will be seen and heard playing the violin that made him a famous character in the theater world of the Southland. Prankenstein resigned from the the- ater post “because he wanted a rest,” but after sitting around home for a few weeks he befin fidgeting and - wonder- ing what “this new-fangled talking pic- ture” business was all about. He visited Director Harry Beaumont at the Metro- Geldwyn-Mayer studio_and before he left .his name was signed to a contract. Nagel's Success. ‘With' five' featured roles a year con- sidered a average for a movie star, the Since 1930 Nagel has played leads consistently, but l;p 3 more ‘than he attraction of his nt - proportions. git:diu now vie with one. ummrp for' Born ‘and reared in Keokuk, Iowa, Nagel, aftér graduation from Highlands Park College, entered upon a stage ca- ter gol to the screen. His! has served him in good stead for work, in‘the talkles. By nature he is home-loving, domesticated and conservative in his tastes. He shuns alace (- Stage) “ LL)( d::‘/&’ Fromt L slbuttles J Will Lend Their Aid ‘HE National Theater Players will attend the ball of the Sons of Con- federate Veterans to be held in the Will- ard Hotel Wednesday evening. The players, with their manager, S. E. Cochran, will go to the ballroom of the Willard immediately after the perform: ance of “The Bad Man,” in the Ni tional. Miss Mary Newton will sing several of her songs, and other members of the cast will contribute dram: and vocal entertainment at the ball, ich is be- ing given under the auspices of the local camp, 305, Arthur Clarendon Smith, commander. for the benefit of the Con- | federate Veterans' Home, in this city, | and to provide funds for the mainte- nance of the battlefield of Bull Run, | at_Manassas, Va. Maj. U. 8. Grant, 3d, grandson of | Gen. Grant, who commanded the Union | Army during the war between the States, . will be one of the prominent guests, with Gen. Summerall, chief of staff of the United States Army. Wonnds as Needid. FANCY 2 Red Cross station estab- lished for the purpose of supplying wounds instead of dressing them! One was used, however, aboard each of the vessels of the French and Eng- lish fleets represented in “The Divine Lady,” starring Corinne Griffith, The picture reproduces the famous naval victory of Lord Nelson, the bat- tle of Trafalgar. It was filmed on old sailing ships rebuilt to duplicate exactly the ships used by Nelson and the French, over 100 miles off the Califor- nia coast. Each ship had its “Red Cross” sta- tion, composed of seven or eight make- up men, who were kept busy “wound- ing” soldiers and sailors by means of artificial blood and other devices. s;rtoria] Orgy. CLARA BOW indulges in an orgy of clothes in her new and first all- talking picture, “The Wild Party,” pro- duced at the Paramount studios Hollywood. The costume plot calls for: A green satin teddy with green velvet mfil!ge. lack chiffon and lace pajamas with black velvet, fur-trimmed jacket. A sports outfit of skirt and sweater, An abbrevial tume of hlack bodx".‘;flulu. and with one shoulder strap. A outfit of red skirt, cream bhAu: with red tle. 7 i e gown of pe: chiff budedi and fwnp of peach velvet with [ox. A One bleu satin . A set of peach sal A set of same, blue satiri, with Japa~ nese kimono. Another college outfit of tan skirt, tan and n sweater with scarf. A travel cg;mmetmuy nng. :rlmmn dress, gray fur coa gray hat. 1t 13 described as the mosi elaborate for Miss Bow, htgown, t'n‘::d face undies. | ANITA PAGE and BESSIE LOVE- Columbia YING the LOOP= heater ~ EArLE CARPENTER Fox (s 7d7e) Attractions in Washington Playhouse NATIONAL—“The Bad Man,” ning. POLI'S—“Ta Bouche” Opens this evening. Opens Friday. STRAND—“Nite Life in Paris,” evening. NATIONAL PLAYERS—"The Bad Man.” Porter Emerson Browne's comedy, “The Bad Man,” will be enacted by the National Theater Players this week be- ginning tomorrow night in the National Theater, with the usual matinees on ‘Wednesday and Saturday. Originally a sensation in New York, where it ran an entire season in the | Comedy Theater under the direction of | William Harris, jr., “The Bad Man” sterling of American actors, the late | Holbrook Blinn. It is the play with | which his name will always be asso- | ciated. Essentially a comedy, it has much of romance and a genial love story that is never lost in the shuffle. The main action fakes place in the | Gilbert Jones American ranch house, just over the border from Mexico. A mortgage on_ the place is to be fore- closed. Pell, the villain, is stirring things up in the proverbial manner when there is a ‘clatter of horses’ hoofs, the thud of a rifle butt on the door and an in- stant later, behold “the Bad Man" in person, Pancho Lopez. He and his band in | of desperadoes have come to get a little action. He picks out the Jones house- hold, and Pell in particular, for his nefarious work, and then he recognizes Jones as the man who once saved his life. As even bandits have hearts, Lopez proves he has a real one and the play moves on to a happy concl . In drawing the character, the author edu- to Mexico n in ap- i WARDMAN PARK—“A Midsummer Night's Dream.” ‘The Junior: Theater at Wardman Park will. present “A -Midsummer Night's Dream” next Friday and Saturday, with ing BTk Snaespeare. Dy tor youth re you that one feels m‘nm:’“m all about | brought to the fore one of the most |SPe s This Week IN LOCAL THEATERS THIS WEEK. comedy. .Opens tomorrow eve- BELASCO—Helen Menken in “Congai.” Opens this evening. (The Kiss), French musical comedy. WARDMAN PARK—“A Midsummer Night’s Dream,” with music. burlesque. This afternoon and lovers, and fairies, and an actor band of queer, simple folks who do a most amazing play at court, a funny play. And what more modern than this plot? There’s a wedding, an elopement, and then Fairland, with Puck and Queen Titania and King Oberon.” *The Junior Players have been fitted into the fantastic_roles, with George Vivian playing Bottom, Marguerite | Thorne, ~Titania; Betty Kilbourne, Oberon; Henry Fonda, Demetrius: Kent Smith, Lysander: Kay Conway and 'y Horton, Helena and Hermia, re- vely: Leslie Kent as Hyppolita, | Milred Natwick as Puck and Melvin | Fox as Theseus. George Vivian will stage the play. Mr. Vivian has been playing Shakes- | peare since he was a child, and—think |of this for a record—he has played in it 1,983 times, touring this country from coast to coast with the Russian Sym- phony . Orchestra to play the noted Mendelssohn music. that was written at the command of King Ludwig. Once, for a week, he played it with the Boston Symphony Orchestra, so important is music’s part in the play, and the Men- delssohn music will be used this week. STRAND—"Nite Life in Paris.” Lou Reals, producer of “Nite Life in Paris,” the Mutual circuit attraction in the Strand Theater this week, is no novice in this field of entertainment, and his years of dccumulated experi~ ence are said to be cleverly reflected in w. A company that lists some of the best | liked players in burlesque includes Charles “Tramp” McNally, the starred funster, in his old characterization, but | with. much new patter, in & series of the | comical parodies for which he is noted; + La Villa Maye, a comely French sou=- * brette; Mary Lee Tucker, also a sou~ | brette and & madcap stepper of whirl- wind tendencies; Zella Stevens, ingenue | prima donna, with a wide voice range: | Jack Goodman, second comic, in eccen- | tric_buffoonery; Jack Wright, straight i e b oo 58 necing i original, an a spirited chorus of 16. o4 r scenes stand out, Two ?eem:nh “Rock_of ,”_with a multitude of —wm'!gu_m“m“_‘%f X