Evening Star Newspaper, May 26, 1929, Page 48

2 "AMUSEMENTS. 'THE SUNDAY STAR, WASHIN! GTON, T. C, MAY 26, 1929—PART 4.’ Flashes Fro By C.E TRANGE and peculiar are the ways of the reformers, and probably the most absurd argument ever advanced against the movies came at a ses- sion of the American Crime Study Commission in Chicago last Tues- day. According to news dispatches Prof. Justin Miller, dean of the Law School of the University of Southern California, informed members of the commission that the motion pictures, because they reproduced lavish interiors and exteriors, gave poor children a chance to compare their sordid environment, thereby starting them off on the road to crime. The professional gentleman talked at some length on this sub- ject, but he did not blame the photoplay for the recent floods along the M sissippi. popularity of the racdio has been blamed for storms and ter- restrial disturb- ances, but the veformers have not turned their attention to the movie. One of the leaders of Co- lumbia University issued a recent report entirely absolving the The Blue Noses Are on the Job. photoplay from blame in the so- |it. called crime waves. This man, a thorough, painstaking worker,| was not satisfied with giving out | his ideas on the subject; he made | tests with children, and the tests | covered quite a period of time. His final report showed that the| movies had little or nothing to do with child delinquency. = In most | instances he found the motion picture, while exceedingly popular | with children, was forgotten with- in a few minutes of the time the child had left the theater. There was nothing in his tests and in- vestigations that would indict the movie. The statements of the Califor- nia professor are of such a nature that they bring about a well known physical ailment commonly known as a pain in the neck. It would be just as logical to draw blinds over the shop windows to prevent the children from viewing fine garments. High fences—hun- | dreds of feet high—should be | erected around the beautiful gar- dens and homes, so that the youngsters of the poor neighbor- hoods cannot see how others are living. Such sights might tempt them to the road of crime. The photoplay, because it is popular with the younger element, m the Screen . Nelson. | from which to feed their talkies, | transferring the prestige of the footlights to the screen. Even this subsidy of the legitimate by movie money, of which the screen was to be the ultimate beneficiary. | could not avoid imparting a meas- | ure of health to the stage itself. | |One thing it evidenced was an | admission from moviedom that the legitimate was still important, perhaps vital, to its own welfare. The mutual interdependence, Lhc‘ bland and soothing overture of | co-operation was a welcome sign | out of chaos. Consider the scene when the talkies first began their savage raids on Broadway and it does not seem strange that loud lamenta- | tions filled the air. Prophecies of | the death of the stage within three or five years gained credi- | bility when the actual pinch of | casting and producing plays be- jcame felt. Broadway dramatic, | operatic and musical comedy | stars, dancers, playwrights, direc- |tors and song-writers had been | drawn movieward at fabulous sal- :nrics. and the stage reeled at the | first shock. | The movies refused to admit| | that there was anything the stage | could do that the talkies couldn’t do, and they came close to proving Boldly the talkies declared they would do straight drama, melodrama, comedy, mus: cal comedy, opera or Shakespeare; that they would provide these things to a greater number of people and at a lower price than the stage could. The economic principle (as far as the talkies are concerned) was sound. If they couid dangle $500,000 before Chaliapin; if they could pay Jeanne Fagles or Ruth Chatterton 10 times more for one talkie than either actress could make in a year on Broadway; if they could spend five times the money on a talkie version of “Rio Rita” that even Ziegfeld might have spent on his stage production—if they could do these things they could at the same time do a box-office 'gross in their talkie houses on Broadway and all over the country that kept their net profits sky- high. Stage plays were presented in houses of 1,500 or 2,000 seats. A good week’s gross was from $30,: 000 to $40,000. A talkie house just next door seating 4,000 or 5,000 people, took into the box office two or three times as much. By now a little order has come out of the first disorder. Lines of distinction between the stage and the talkies have asserted | that | | bert Rawlinson, Hollywood's “Ambas- Photoplays at Washington Theaters This Week WEEK OF MAY 26 Sunday Tuesday Wednesday Thursday Friday Satmrday Alice_White n “Hot Stufl.” Novelty reel Ambassad’r “Hot Stuff.” Novelty ree!. AIE!I White Alice White n Mar an “The v garet Li on_ Margarct Livingston 1 tin and Holmes Herbert in o ““The Charlatan.” Vitaphon: reel vingst d Holmes Herber! Charlatan. on_reels ia Fields and Robert Ames_in “Voice of the City." Song_cartoon. Bessie Love and Charles King in “Broadway "Melody." A Apollo Ave. Grand Cameo Mt Rainier, Md. Carolina 8n Sylvia Robert, Ames_in Voice of the City."” Song_cartoon Bessie Charles King in “Broadway_ Melody.” Cartoon e Duke Steps Out ‘omedy. “Have Patience.” oV May Mcavoy T Fields and Loye and ; Melody.” _ Snapshots. @ Steps Out.” medy. _ Cartoon “The D! Snapshots Texa “Queen of The Quillan 2 Vitaphone_subjects. Thelma 7odd in T} “Seven Foolprints to Satan.” Comedy. edy ____“Technicolor reel. __ Geare O Bren a “Tin-Tin_in “True Heaven t Tozen River. Coredy. Sportliht. Vitaphone subject.” R Speed.” Vitapnone recl __Our Gang comedy. Glenn Tryon n “It Can B> Done.” Vitaphone res Vitaphono subjec ‘Technicolor reel. he Quillan Family *Nolsy, Neighbors. Comeds ttaphono_subject ‘The Red dventire Vitaphon Bebe Daniels e Me_Home." n, “Ben-Fur." “Beyond the Si Tim M-Coy in i “The Mating Call”” Buster Keaton and Ernest Torrence Douglas Fairbanks in “The Gaucho. Ramon Novarro in “The Flylug Fleet.” Centrai Ramon Ncvarro in “The Flyiug Fleet.” Davey Tee “Sonny Boy." % ity reel. éhevy Cl;;. Milton & His Capiive Edmund Lowe and “Making the Grade " Comedy. Thelma Todd in “Seven Foolprints to Satan" Comedy. Cartoon. _Shapshofs. Lois Moran_ in Vita. reel Milton Reginald Denny i3 ‘Red Hot Speed. Circle Reginald Denny in “Red Hot Speed.” Corinne Griffith Colony Corinne Griffith in “The Divine Lady.” Song_cartoon John Giibert in s “Desert, Nights Elite Seiccted short subfect Lia Tora ‘n “The Veiled Woman." “The Empire in Lia Tora Veiled Woman.” cile Leatrico Joy_in “Tne ‘Bellamy Trial” “The Comedy. Hippodr’me Leatrice Joy, Corinne ith “The Divine Lady. Pathe Review. Cameo_comedy. Home G Corinne Grif “The Divine Lads. hin_ Helen meo_comedy Leader Clara Bow and Charles Rokers n Wi Rogers in “Wings."” Doris “The Hi “in Martha Slee Ches Taxi Vita. reel Slara Bow in Clara Bow in c “The Wild Fa “The Wild Part Reginald Denny Nagel and in Wilson_in “Red Hot Speed " ik Vitaphone subjects Conrad Lois itaphone el Tim McCoy in “Bevond the Sierras.” T t he_Quillan_ Family, in *Nolsy Neighbors. Technicolor reel. Vitaphone rcel Taines in Steps Out.” ed: “On Comedsy. Hoot Gihson In 4 of the Barthelmess in “Kenvon ome-Towner Vitaphone short and NMrs. Martin Johnson’s “'Simba Vitaphone reel Variety teel. Comea: T. and Mrs. John: m 3 Noveltv. Cartoon. _ Ramon Novarro in “The Flying Fleet."” Vitaphone reel. per_an Willard Mack and x Conklin'in Ivin Fields in ce of the City Victor MvLaglen Buster Keaton n Strong Boy."" “Spite Marriege " Vitaphone _subjects. Bix Bov_ comedy. ‘Apaches in Paris.” “The Floating “Behind the German Lines.” Vanishine episode 1. Chance.” Shrial, - Comedies. ~ News Ploneer, & Doris Kenyon in “The Home-Towners. Short subjects. “The Liberty Doris Kenvon Short subjec Dolores Costello Home-To N “Glorious Betsy.” Lia Tora in New rhe Veiled Womarn.” “The Richard Bartheimess 1 in “Weary River. Princess Lia Tora in Velled Woman.” in “Glorious Be Monte BI “The Grey) Am! Leafrice Joy in | “The Bellamy Trial. Comedy. WS in ound Olive Bordl d Ralph Graves in “The No ternal Woma: ity. Comedy. Savoy Silver Dark. Seco sprine. ot Noah Beery in “Hellship Bronson.” Coredy News. in £ Uncle Tom's Cabin.* _ Jack James Lowe and Virginia Gray Speclal foreign cast in T Greta Garbo in Rin-Tin-Tin in ‘In the Land of the Silver Fox."” itaphone_act. Ne Ken Mayn: “The Canyon veniure " Gomedy. Vitaphone act. en Maynard in, “Code of Scarlet.” ““The Homecoming. portlight reel ino Lane comedy. Tom_ Mix_in “Sun of_the Golden West ew “Wild Orchids. Comed: News. Louise Fazenda in “The Terror.” Takoma Louise Fazenda in “The Terror.” Conrad Nagel and Dolores Costello in “Glorious Betsy. ~_Comea. Cizeus drama. Leatrice Joy in Loolng the oy in “The Bellamy Trial.” Bessie Love and Charles King in “Broadway Melod: News._Snapsh oli Bessie Love and Charles “King in “Brosdway Melody.” News. Snapshots Davey Lee i “'Sonny Boy. Eddie Cantor reel. Krazy Kat cartoon. York Davey Lee Eddie Cantol Krazy Kat cartoon. Milton Dorothy “His Capti Sync. song_cartoon. ‘Sonny Boy. T reel. s and Dorothy Macl “His Captive W Sync. i Charles King in Jessie Love and “Broadway Melody.” Snapshots. Willard Mack and Sylvia Fields in “Voice of the City." Vita. short subjects. Quillan_family in, “Noisy Neighbors." t subject, comedy. Milton S song cartoon, Buster_Keaton in “Spite Marriage." Technicolor reel. “All at Sea.” Vitaphore. Comedy. An “Ambassador of Joy." T.HE polished gentleman who wields the baton and introduces the per- formers at Loew's Palace now is Her- sador of Joy.” “From his early boyhood,” says Sam Rubin, the Loew press agent. “Herby"” wanted to go on the stage. When his | parents objected he ran away. But go- | ng on the stage was no easy task, even | in those days, so_instead of becoming LAURA AT THE STUDIO STAGE NOTES From Here and There HE New York engagement of “Strange Interlude,” scheduled to have ended last night, has been extend- ed a week. By its final performance it will have played 420 times. Berlin is to see it next season, and Pauline Lord | "AMUSEMENTS.” ON THE BROADWAY STAGE A Review of Theatrical Affairs Along the White Way By Percy Hammond. ERTAIN managers, though godly | tomers. But what action can he take men, are preparing to make the | to preserve his subjects from working New York Sabbath a further ‘ overtime if the managers protest thing of shreds and patches. | against a day of rest wins the attention Seeing it frayed with impunity | it deserves? by numerous desecrants from vaudevilie | and the cinema, they find no reason Mr. Gillmore is at present beset with why they, too, should not be sacrilegious. | other annoyances that make uneasy the So, according to the announcements, | head that wears a crown. Miss Jeanne they propose to open their theater on a | Eagels, expelled, fined and all but im- Sunday evening and defy the ram-| prisoned by Equity for impudences un- shackle ordinance that hitherto has; becoming to an artiste, is now victorious prevented them from doing so. Why, |in the cinema as she plays a film edi- they ask, is the drama isolated by qut- | tion of Somerset Maugham The Let- worn blue laws and kept from observing | ter” to more money than Miss Kather- the Lord's day according to the dictates | ine Cornell ever thought of attracting of its own conscience? If Roxy, Keith-| to a box office. He has also the per- Albee, Warner Bros. and Paramount- ‘ plexing case of Miss Helen Kane (or is Lasky are allowed to work on Sunday, | it Cane?) to handle. Miss Kane was a why should it be wrong for other man- | soubrette in Mr. Hammerstein's produc- agers to enjoy a seven-day week? They | tion of “Good Boy.” her errand being do not understand why it is legal to 8ing | to intone its theme-song, entitled “I and dance at Proctor’s or the Palace | Wanna Be Loved by You and Nobuddy and a crime to play “Journey's End” at | Else But You.” Although highly paid Henry Miller's. | by Mr. Hammerstein for rendering that Their mystification is excusable. The | gitty, Miss Kane forgot her obligations tradition that shuts the Guild Theater | to him and left “Good Boy” flat upon and opens the movie shops and song- | its back in Boston, of all plas With- and-dance houses is one of the minor |out her starry. presence the entertain- 2 e hypocrisies of New York’s otherwise im- peccable government. Its Puritan rigors deprive many citizens of opportunity to seat themselves upon the drama’s knee | and learn about life from its patient | instructions. ~Knowledge seekers in | other more advanced metropolises have | the advantage of Sunday night classes and are not driven by law to waste their holiday in sheer amusement provided by vaudeville and the aeolian screens. While the drama is free to teach th inhabitants of those liberal communi. ties 365 days in a year, it5 mission of | culture and progress is retarded in New | York by the balls and chains of our ec- centric piety. We lose, if my mathe- matics are accurate, 52 chances annu- ally to be edified by the regular or old- fashioned shows. As one who is indebted to show busi- ness for all he owns in the way of “sweetness and light,” one extends the hand of encouragement to the man- agers as they fling their gauntlets against the jowls of this lopsided Man- hattan bigotry. If and when their chal- lenge becomes more than an idle item in the newspapers, they will find this reviewer standing, as usual, stalwartly behind them. ‘The managers’ indignant gesture, however fortified by justice, may add to the tribulations of Frank Gillmore, the benevolent Mussolini of the Actors’ Equity Association. Mr. Gillmore is a gentle but strong dictator, ruling the mimes and their employers with an alu- minum hand in a rayon glove. He and his cabinet are careful of the actor's cause, never forgetting that the player's theé thing. Ever since he has been in the throne of show business, equity and square dealing have been triumphant. Seriously, I believe that he has never issued a decree that was not beneficial to the theater, its employes and its cus- ment curled up and died, leaving Mr. Hammerstein to bring it back for bur- ial in another Cain's Broadway church- yard. Miss Kane is now said to be per- forming in Hollywood at a rapaclous salary and answering Equity's pleas to be reasonable with a flit of her skirt and a lifting of her esthetic, thougk mercenary, eyebror * x MR. ZIEGFELD, a bit annoyed by Eddie Cantor's smug farewells to the public, views them with a doubtful squint and promises that he will with- draw from the Broadway drama as con as Mr. Cantor does. “Any one making as much money as Cantor is making is going to thi twice before leaving his profession With the salary I am now paying him in “Whoopee,” $5000 a week, he i getting all the money from the shov Actually, the production itself can't make any money, at all. and the only profits come from the theater. “When and if Cantor retires” con- tinues Mr. Ziegfeld, “I shall ask him to return to me all the money he h: made on outside work while he ha been under contract to me for exclusive services. Only recently he has made three pictures for Paramount, for which he was paid large amounts. It 8 im- possible for the legitimate theater to d> business when stars demand immens> salaries and then work outside the legitimate theater field at the same time.” How startling 1t is for us revue-lovers to learn that all is not laughable and harmonious behind the scenes of such a jolly show as “Whoopee.” I shall not be surprised some day to learn that Will Rogers is doing his best not to be jealous of Dorothy Stone. (Copyright, 1929.) * Death Valley Jaunt EORGE MIDDLETON, prominent figure in the stage world, play- desert scenes in “Behind That Cur- tain. ‘We had a pretty tough time of an astor, he fouqd himeelt through oe | been re-signed by the Theater Guild | has become a target for the re- formers. There are bad movies and good movies, but the reformer sharpshooter does not make a distinction; he uses a few blank cartridges now and then, but he certainly is always on the job. He is very busy with our morals, our habits, our books, our stage and gu; 'phot,oplay. ‘We must be pretty ad! * ok K % 'HE momentous question of whether or not there is room in the world for both the legiti- mate stage and the talkies, vehe- mently denied a few months ago, ‘seems by now to be resolving it- self quietly in the affirmative. Broadway producers are busily planning their next season’s schedules, and the talkies, need- less to say, are as excited as ever over their gleaming ‘future. That some rapprochement, .some compromise, should have .come out of the belligerence be- tween the stage and the young talkies was en- tirely natural; the only course possible was that they should supplement rather than an- tagonize one an- other. Arrayed squarely face- to-face in fight- ing mood these few months back, the stage and the talkies seemed bent upon only one outcome, and “that a mortal one. The sound movies, far more powerful, far ‘more wealthy than the stage, car- ried the offensive. Competition _within their own ranks gave them | “a desperate bravery. And the stage suffered, was badly hurt, but ap- pears now to be mending. More than that; rather than have the talkies continue as an enemy, which had already proved its ruthlessness, the stage adopted an attitude of friendly concilia- tion, philosophized itself out of “some of its troubles and proceeded to borrow an ally’s strength from this new titan of the amusement world. Realizing that the legitimate -theater could not compete with the talkies on the basis of ad- ‘mission prices, net returns as compared with production costs and kindred considerations, a number of the most prominent New York producers banded to- gether and declared that they would go into the talkie business on their own account, making sound movie versions of their own stage successes for showing on the road, thus protecting themselves from both sides. Meanwhile, day by day, they continued to discover comforting “ benefits whi~h might result to the - stage from the popularity of the . There were those all through the chaos who main- tained stoutly that nothing could kill the stage, that there would always be actors enough even if : they had to be drafted from the ranks of the amateurs; new talent . would have a chance on Broadway ¢ and that the talkies were really the best thing that could have happened to the stage, since they would rid the legitimate of the : clutter of mediocre plays, which was its greatest curse. Also if there were to be fewer plays there were naturally to be * better plays with a lesser per- centage of failures and financial « loss. Not all of this optimism w theoretical, not a mere whistling The Stage and Screen. themselves, indicating that both may live and prosper. Some of the blood which Hollywood drained from Broadway is proving super- fluous. All of the stage people, all of the big names snatched to the films have not made good and are drifting back to the legitimate. A surprising number of the old movie stars have held their ground, proving even more ac- ceptable in the talkies than they were in the silent movies. When the talkies have at last developed a technique which shall logically contain elements from both the stage and the cinema, when talkie consumption shall have reached a level within the present saturation point, then it seems reasonable to expect that the stage will still be strong in its own right. There may be a few lean seasons between now and then, with better, if fewer, plays on the stage, but one is inclined to hold with Henry Becque’s de- cisive cry, “La fin du theatre! C'est impossible!” for, somehow, the curtain seems to rise with each new season. * X X X HIGH-CLASS vaudeville is com- ing back. Not on the stage, in all probability. but on the screen. This fact is evident by a preview of the Fox “Movietone Follies,” at the local Fox ca- thedral last Wednesday evening. The picture also shows what the movie patron may expect in the future, for it opens up a new era in entertainment. It is a revue staged in a lavish manner and in a masterly way, with good musie, splendid photography and a touch of color in the tableaux. As has been mentioned in these columns before, the screen at the present time is not large enough to take in the full scope of a stage presentation—that is, the stage picture of the musical comedy as we know it. This, however, is a defect which will be remedied as time goes on. Either the screens will be made larger, or the tech- nique will be changed. Screen sets will become smaller, more concentrated, than on the stage. ‘This is done to a certain extent in the “Follies,” but it is only the first step. And the emaciated chorus girl has passed to the land where all | chorus girls go. Each and every | “Follies” stepper has a certain | ]plumpness—and the change in | style does not detract from the { picture. An Early Peep at the “Follies.” i i Photoplays This Week. (Continued From First Page.) snnovation introduced to lovers of the silver screen in “Shooting Stars,” pre- | ! sented by the Film Arts Guild at the { Little Theater this week. | g Stars,” directed by An- ] nd produced in Eng- land by New Era Films, Ltd, tells | once more the story of the eternal tri- angle and utilizes as a background the movie lot. Julian Gordon, the hero, |is married to Mae Feather, his bea ful leading woman, Mae is in love Andy Wilks, star comedian and Julian's best friend. Julian trusts Andy im- plicitly, but his friend’s treachery is | discovered. Julian comes home unex- edly from a hunting trip and is stening to the radio. Word is broad- cast that Andy Wilks has been s riously injured on location. Julian pr pares to go to the studio to investigate and as he is going out the door he d's- icovers his wife in Andy Wilk's arms. cessity, labeled, Herbert Rawlinson, | Property Man, which implies that he | was the man called upon to dig up | such articles called “properties” as were | not carried by the show and to safely | care for those that were. But he was a property man for a_circus, not for a | theater, and his work was not entirely a cinch. “However, this circus went the way of all small circuses and came the day when it was stranded in Oshkosh or maybe Prairie Junction. Riding Hood’s mortal enemy from the door Rawlinson then shipped as a sailor on a Great Lakes steamship and served before the mast for two years. “Finally an opportunity prese: it self for him to join a “Rep” show under canvas, and he was graduated thence into a stock company .and later to a small traveling road company, The season for this show ended, however, ' and the congenial Mr. Rawlinson then | became stage manager for the {Belasco | theater stock company. From this he stepped into the movies, reached the coveted goal of stardom, becamé Known as the official greeter of the famous Breakfast Club which hés entertained royalty and rags with the plebian dish of ham and eggs, earning the title, “Ambassador of Joy.” “And this is the brief life gtory of the new master of ceremonies &t the Palace, e . 2oty " " Quirt” and Flagg. 'HE fire of France. The romance of | Russia. The coquetry of Coney | Isiand! | All are interwoven in “The Cock- | Eved World,” with Edmund Lowe, Vic- | tor McLaglen and Lily Damita, the fea- | tured players. Lowe and McLaglen are again “Quirt’ and “Flagg,” who fought for their coun- try and over their loves in “What Price Glory.” ‘Ten yvears later, with their Nation at peace, they are still in the Marines, still single and still battling over prize beauties of various countries. Their bitterest battle is over Lily Damita, the effervescent French beauty whom they encounter in Nicaragua, but Olga = Russian charmer played by Lelia Kar- nelly and an easy to look at Coney Island girl likewise serve to stir their emotions and close their fists ready to sock each other. ‘To keep Red | : LAURA LA PLANTE, Star of “Show Boat” and ether pictures, photographed in her dressing room in Hollywood. If you are interested, the neglige is made of cream-colored cut chiffon velvet and fasiens at the front with an orange-colored velvet ribbon bow. Puts Aladdin to Shame ALADDIN would be a piker and the products of his much-touted Jamp would be dwarfed to insignificance were that noted citizen of by-gone days to return today to the movie studios in California. Technicians at one motion picture plant, the First National, have wrought magic in settings and prop- A ROSEBUD BRIDAL COSTUME to keep up the stage’s COUrdge. | qpen begins the tragedy within a | Much of it came from authorita- | tive persons. Reverse the case of the stage + producers who planned to go in for talkies and one has the case of the movie magnates who de- cided to establish stock companies melodrama that has made “Shooting Stars” one of the most unusual pic- | tures that has emanated from the Eng- | lish movie lots. The supplementary program presents Stan Laurel and Oliver Hardy in the comedy, “From Soup to Nuts” and a hold-over from last week, “Your New throughout the country and to produce -legitimate -stage Works Y York and Mine,” with the weekly news- re¢l and the Little Trio, It is worn by Mary Brian, a i . June featured player of the Hollywood corps. And the bride may obtain an idea or two, L4 erties for various productions there that they claim would make Aladdin’s famed wizardry seem commonplace. From the four corners of the world | they have assembled trappings and | properties. ‘They have brought distant seas and mountains to the studio’s gates. 'They have constructed ocean liners on dry land and built subways far above the ground. They have moved pine forests as Macbeth never dreamed of do'ng and made New York | streets grow in alfalfa fields overnight. | | Motion picture companies still go on location tc the sea, to the mountains | and elsewhere, but the close-up scenes ,on these locations are usually made at | the studio, both for convenience and | economy, and also because of the re- quirements of sound recording. And so ihe technical departments are called upon to reproduce on the lot anything from a mountain to a dozen ships; to build subways and railroad trains, city streets and country villages. Forty-two wrecked ships, ranging from ocean greyhounds and battered destroy- » s to Spanish galleons and private yachts, were bullt for one setting. A :omplete subway train and stations were onstructed for another. The whole ction of a mountainside, with tall pine trees and cabins, was bullt for the close- ups of a third, and English castles and grounds were constructed for a story of England recently fllmed. An Early Start. ¥ any moving picture actress in the after years wants to claim a title for senfority, she'll have to beat the record of Joan Marle Liebelt, who made her debut at the age of 7 weeks. This latest “movie star” acted a cry- ing infant role in one of Paramount's all-talking films. Miss Joan Marie, | whent interviewed, indicated she liked | talking pictures because thereby an art- | Iist was enabled to preserve her charac- | | teristic moods for posterity. The young Istar is the daughter of Wiiliam Liebelt, one of the gatemen at the studio. n.W.. uUp_one flight. _North 731" 2 PROF. AND MRS. L. A. ACHER STUDIO, 1127 10th st. n.w. Classes Mon . Pri., 8 to 11 DM With orchiestra. = Private lessons by ap- poitment. _ Fr. 8567. _Established 1900. 30% ’§ Fox ‘Trot. Hop., Waltz, DAVISON'S 0%, 8 et in W e Iessons, ny ‘ngs. e 173 Y H. a . Dancin LERO THAVER Fox-Trot, Waltz. Hop and Tango. Private lessons by appointment. Class Tuesday eve- aiag. 1226 Connectlcut Ave, Decatur 5470 | | thing is in the manner of the original b o star on tour next year. | e new play by J. C. Sherriff, author | of the immensely popular “Journey's d,” will be concerned with the theme Arctic and Antarctic exploration. Mrs. Minnie Maddern Fiske is plan-! ning to appear next season in a series ! of four or flve comedies which, after | their New York season, she will take| on tour as a repertory group. At least | two of the plays will be new; the others | will be, like her current “Mrs. Bump- stead-Leigh,” works that have stood the test of time. Willlam Harris, jr., will revive John nr]llnkwater‘s “Abraham Lincoln” in the Margaret Anglin has joined a stock company in Kansas City, her first ven- ture into stock in recent years. Florenz Ziegfeld's “Show Girl,” from the book by J. P. McEvoy, has gone nto rehearsal and is expected to try out in_Atlantic City in a few weeks. Having commenced its engagement in New York in October, Horace Live- right’s production of “Dracula,” the hriller, has made a gross total of 11,000,000 from its metropolitan and road showings. From San Francisco comes word that Walker Whiteside, one of the few re- maining actor-managers in the country, s the latest star to be signed by Henry Duffy. He appeared last week in his )ld success “The Hindu.” Robert Edeson is to return to :the | stage in Karel Kapek's comedy of in- ccts, “The World We Live In,” which will be produced by the Repertory The- ater in Los Angeles. Edward Everett Horton apparently has won success with his revival of Dion Boucicault’s “The Streets of New York” at the Majestic in Los Angeles. Every- o production. Max Reinhardt has arranged a series of festitval plays to be presented in Munich between June 19 and July 18, under the auspices of the Bavarian State Theaters. The most prominent stars of the stages of Berlin, Vienna and Munich will take part in the per- formances, it is announced. Among the plays will be Maughan's “Viktoria,” s;_k;‘ulc{’s ;;’Klbclle Und Liebe,” Tolstol's “The Living Corpse” and Buec! X “Danton’s Death.” B G. B. Stern's “The Matriarch,” her own adaptation of her book, is said to have delighted Londoners since its pro- duction at the Royalty Theater recently. All critics praised Mrs. Patrick Camp- bell’s acting of the ancient matriarch. ‘The energetic and prolific Edgar Wal. lace, who writes plays when he isn't writing books or short stories or direct- ing movies, has & new work on the boards of the Shaftesbury Theater, Lon- don in “Persons Unknown.” ‘The recent performance in London by a private producing company of “The Shanghai Gesture,” which had a long run in New York, brought a storm of condemnation. The work was put on at the Scala Theater. Socially, it was a brilliant first night. There was a great deal of bitter criticism and a little praise for the acting. The Chinese le- l|'s'ulh)ny vr;:ced di.sllpprovnl. London and ew York, agreeing on some pla; o fer on this one, SR Recent successes in Farls include Tristan Bernard's “Jules, Juliette and Julien,” presented at the Maison de I'Oeuvre, where Lugne-Poe, now re- wright of note and president of the |t Middleton said after achieving ten Dramatists’ Guild of the Authors' |hours sleep and three or four baths League of America, made his first visit | upon his return to Hollywood, “but it to Death Valley, America's lowest and great! I wouldn't have missed it! hottest spot, not as a sightseer but in | “When we got away from the Tail- the line of duty. road they had to make their own road Although known as a globetrotter | with tractors to move the trucks and | ¥ tiring from the management, has been a leading discoverer of talent and loyal Ibsenite for 40 years; “Lossie,” a mu- sical comedy with Koval piaylng an English clergyman, at the Bouffes Parisiennes; “Cocu Magnifique,” Crom- satire, at the Theater arius” at the Theater de “Vivre,” being done by the Pitoeffs at the Theater des Arts, and “Suzanne,” at the Comedie Champs Elysees. A DELIGHTF y CARS OF WASH. RY. & ELEC CO- MARKED GLEN ECHO OR CABIN jO} RU G EVERY FEW MINUTES YOU DIRECT TO THE EN- 1 CAR RIDE 1 TA TRANCE FREE ADMISS | O AMUSEMENT. PARK TODAY AND EVERY DAY FOR YOUR FUN FROM MORE THAN AMUSEMENTS FROM NOON 'TIL MIDNIGHT who has included most of the far places of earth in his travels, Mr. Mid- dleton has not had an opportunity of fulfilling his desire to traverse the low- est spot on earth until he went there in his capacity as supervisor of dialogue for Fox pictures, a post he recently ac- cepted. | Irving Cummings, the director, led a | caravan of eighty-three people, includ- ing Arabs and Hindus, an airplane, nine camels, fifty-five horses and all the impedimenta, to Furnaee Creek ranch in Death Valley for the filming of generators and other paraphernalia and there was quite a wind—the tents blew down a few times and mussed things up. “I reached Death Valley Junction on the railroad at half-past four in the morning to start a twenty-five milg drive across the desert. Having been forewarned, I had breakfast with me— sandwiches and thermos bottle of cof- fee—and made out very well. A shower bath would have been acceptable but one can always waive some of the re- finements of civilization in an emer- gency. Songs of the Izléins COLLEGXANS and flappers the world over will soon be dancing to the tunes of cowboy songs, while jazz will be relegated to the heap of old-fash- ioned and passe things. This belief is expressed by Ken May- nard, Western star who has been pop- ularizing songs of the range in his pic- tures. ‘“The Wagon Master,” his most recent film, is synchronized and con- tains several songs that have hitherto been known only to the boys who ride | the prairies. Hollywood has listened to the plain- tive, rhythmic tunes and decided they | are just the thing to dance to. “There is more real music to these | cowboy songs than to the jazz pieces ' being played by dance orchestras these days,” stated Maynard. “The songs have a swing to them. People dancing to such accompaniment are naturally more graceful than they are in follow- ing the contortions of jazz music.” Maynard was born in Texas and has lived most of his life on the range, among cowboys, and in circuses. Many of the old songs which he is using in his films have never before been re- corded on paper. Maynard has a col- lection of them, having jotted down words and tunes while a crowd of cowboys gathered in a shanty door in the evening to sing. “Songs of the plains have a croon- ing, lonely quality to them that is go- ing to make them very popular with NATIONAL $1.00, 75¢ and 50c folks who are fed up on snappy jazz tunes and smart-aleck blues songs. Many of the prarie songs originated in old English, Irish and Scotch ballads, with words changed to fit the lingo of the cowbo; He Explained Why. i TOM O’'BRIEN was a little squeamish: when directed to go up in a plane for the first shot in the Pathe picture “The Flying Fool.” “What's the atter, Tom?” ked William Boyd. “Losing the nerve: ‘Then Tom explained. Two years ago he crashed with Fred Hoyt, the stunt flyer, at El Rio, Calif., and had to be fished out of a eucalyptus tree by the fire department. He hadn’t been up since. Players of THEATRE ARTS SCHOOL present 4 one-act plays Pierce Hall, 15th & Harvard Sts. Tuesday Evening, May 28, 8:15 o’clock Tickets, 75 cents. Now selling, 1726 M St. N.W. Phone: Decatur 2140 Under Direction_of LUCY ANN ROGERS MAT. WED. ALL SEATS 50c Sat. Mat. 75c¢, 50c Only Theater in Washington Presenting the Legitimate Spoken Drama EXTRA MAT. THURS. Decoration Day POSITIVELY ONE WEEK ONLY NATIONAL THEATRE PLAYERS e crear OFFER EST MYSTERY PLAY OF THEM ALL~~ Allan Langdon Mart 277 M SEATS NOW EXT WEEK BEG. MON. /. % A REVIVAL BY POPULAR DEMAND Fantastic Comedy which brought World renown to Jane Cowl. ILIN' THROUGH’ |. ¢ rare veln of huma nterest and m wistful sweetness 1 e nnytning ever seen on the stage. JUNE 10th—100th WEEK—JUNE 10th DAVID BELASCO’S e Story ot Early Califo: a Days RL OF THE GOLDEN WEST”