Evening Star Newspaper, November 26, 1929, Page 5

FLYING SQUADRON WLLRECENECIP § Safety Record Wins Schiff Trophy for San Diego Nayal Group. By the Associated Press. SAN DIEGO, Calif, November 26.— | A record of safety in flying unequaled by any other group of American naval aviators has brought the 1929 award of the Herbert Schiff Memorial Trophy to training plane squadron No. 7 of the San Diego Naval Air Station. When an accident claimed the life of founk Lieut, Schiff in 1924, his family, | tead of being embittered, gave a trophy in his memory in an effort to make flying safer. From 1925 through 1928 the trophy arded to individual aviators es- the best annual records of safe and efficient flylng. This year, for the first time, the rules were altered to award recognition to an entire squad- + rom. Lieut. Reginald D. Thomas, Capt. H. D. Campbell, U. S. M. C.; Lieut. Arthur code which Ernest Pascal, writer of | stage confections, has discovered in a high altitude on the borderland of what might be called futuristic art. His idea yboys and playgirls in this some- what amazing realm is unfolded at the Belasco Theater under the title, “The Amorous Antic.” There are several antics in the production, but it appears that Mr. Pascal had in mind the major antic of the artistic wife, about whose indiscretions all the lesser antics have been futuristically grouped. It may be that there is no objection to visiting the monkey house at the Zoo, but there ought to be a law, when the Simians lose theirg restraint, to prevent them from being too free with their chatter. One resulting conclusion is that, in most affairs of this kind, when the thoughts and actions an | motives of the specimens become riot ously abnormal, there is some compen: sation in violently expressed amuse- ment. That is what happened at the playhouse last evening, at the opening of the play. It might be “crude,” also, to refer to the chief figures in this piece of genu- ine burlesque as possessors of poker faces, but the truth is that there is here presented an apparent study of certain persons devoted to painting, so-called contempt for passion have the volce of culture, but nevertheless exhibit the roving eye of tite street corner. A proper description of the play would emphasize the conclusion that a futu- ristic moral code is to be found in the midst of that kind of art. Clever little Gavin and Lieut. James E. Dyer were the four individual winners, | Lieut. Dyer’s record of 1,251 hours 15| minutes of flying, without accident or in- jury to any one, constituted the best| record of the first four years of compe- | tition. | This year Lieut. Dyer again is hon- ored, as executive officer of the win-| ning squadron. Other officers of the | fonored squadron are Lieut. Thomas Gearing Pisher, commander; Lieut. B. H. Johnson, Lieut. J. C. Cronin, Lieut. Campbell Keene, Lieut. Warren Berner, Lieut. C. W. Greber and Chief Boat- swain A, E. Baker. They are assigned as instructors at the elimination school for officers and enlisted men of the bat- tle fleet at San Diego. Lieut. Fisher is executive officer of squadron VB2-B of the airplane car- rier Saratoga. Lieut. Dyer is attached %o the sister plane carrier Lexington. Lieut. Fisher, representing the squad- ron, will receive the trophy from Presi- dent Hoove: at the White House. AMUSEMENTS NATIONAL—“Wings Over Europe.” Intellectualized melodrama, billowed 1n philosophy and rhetoric and rounded to the contours of a “sporting, upright, honest” British situation, came to the National Theater last night in “Wings Over Europe” the Robert Nichols- Maurice Browne play with the Theater Guild of New York closes its first ‘Washington subscription season. It is terror wrestling with logic that this play gives us, a proposition of fan- tastic threat couched in terms of a de- bate among men who cannot forget that they are gentlemen as well. The | concerns & young physicist, who 1 the hope of man’s emancipa- tion from labor (and from the intoler- ance that springs from the social and political distinctions that labor brings about) and who discovers how to con- trol the energy of the atom. Fully aware that he has the secret of blowing up the universe if he chooses, the youth offers his formula to the British cabinet. He asks these politicians to prepare a pr m by which his secret, if he con- sents to yeve: , will be used for the g:d of all mankind. When the min- rs comprehend the magnitude of the discovery, their fear of what damage could be done outweighs their hope of benefit. Returning subsequently their answer he sees that they are in- capable of associating with him in his great ideal of the liberation of hu- manity, and so determines that if he cannot remodel the world he .will de- stroy it as something unworthy to con- tinue in degradation. This destruction he arranges, alone possessing the knowledge of how to cause or prevent impending doom, and fflves the cabinet, himself and th hole world just 15 minutes more to live. He is frustrated through the very simple medium of & revolver shot through the breast. He thus becomes harmiess, a sacrifice to the immediate salvation of humanity, but it is. ironically disclosed to the cabinet while the young crusader lies dead before them that his same secret has been achieved by another ‘group which has taken the most fastidious to compel ruthlessly the accept- ance of its benefits. So much for the story. One cannot escape comparing its general outline and denouement with those of “R. U. A which shared so peculiarly this samec philosophy and dramaturgy. In the Capek play, too, we had a roomful of human beings facing the annihilation of & world which they had sought to ideal- jze. Man's emancipation from labor, from the menial performance of life, is in both cases advanced as a desirable | attainment. In “R. U. R the idea ‘was anced with all the action and physical movement of traditional me drama, whereas in “Wings Over Euroj the turmoil takes place essentially the brains of the characters, and this, ‘more remotely, in the brains of the au- dience, a thing to be cogitated rather [ than merely viewed. The theme of the melodrama (the essential proposition that & man possesses the vast power 1o destroy the world and all his fellows) frequently tends to become turgid and nebulous; it lacks pictorialization, even | while possessing a profound potentiality for it. I the character of Prancis Lightfoct, the physicist, the authors have etched skilifully and with understanding a re- fined picture of idealism. The youth ic idealistic to the point of inspired m: mess, and he is characteristically the former. What he cannot sway to his own P! s he is willing to destroy or disregard. All that matters to him is that he is honest. To others that is not enough. 1t happens to be important to .them that he is mistaken, too. Alexander Kirkland's playing of the ‘Lightfoot role is full of vigor and feel- ing for the emotional values. Among a large cast of splendid plavers (all men) may be mentioned the work of Ernest Lawford as the prime minister and of Morris Carnovsky as Evelyn Arthur as ersonifying a grasp of values contrast- ng with those of the young idealist. A word, too, in this brief mention of names for Rouben Mamoulian's direc- tion, the .discretion and shading of which were apparent many tlmesé F.C. BELASCO—"The Amorous Antic.” “It is positively crude to pursue one's wife when she is on an emotional bits of the humor of fine arts ing such observations as tha fool who paints nothing but tomatoes.” Specimens of work that appear on the stage exhibit the crudeness of the pseudo-creative genius who re own superiority. however, is purposely cmitted ‘by the playful dramatist, and in his enterprise of producing what he describes as a drama of sophistication he has created a small group of characters who seem to be lacking in that trait at points which call for intelligent action. ‘Unnamed persons in the play, merely models, hold the center of thLe stage for a brief period in which concentrated wit of a scintillating character shines forth. The roles are in the hands of Harry Clarke and Mortimer Lepey, exponents of unadulterated burlesque. The chief characters are in capable hands. Alan Mowbray, notable among the poker faces and so good an actor that he lives the silenit part, appears as Percival Redi- gote, sculptor, who has an affair with the married lady of the art circle. Frank Morgan as Harlow Balsam, hus- band of the erring but serious-minded ing and Emily Gunning, woman of the world (played by Vera Neilson), are en- gaging figures. D. C. C. «++. YOUR GRANDFATHER dealt here and used the same useful CREDIT PLAN that we now extend to you o No Extra Charge for Credit GROGAN'S 817-823 Seventh St.N.W. Homefurnishers Since 1866 CHOICE PIANOS « . FOR_ ENT FREE TUNING UNDER RENTAL CONTRACT WORCHS 1110 G EsT.1879 “ It’s always a problem of what to give your ashman. May we suggest a solution? oilent Automatic. You Banish him with a will give yourself a gift that will serve you well and faithfully, keeping you warm and comfortable annoyance pof ashes or cli ingtonians will be glad without the bothersome inkers. 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