Evening Star Newspaper, December 15, 1929, Page 71

WThéater, Screen and Music Part 4—14 Pages AMUSEMENT SECTION he Sunday Star. , DECEMBER 15, f A‘Gl |E élllfld "SCREFN_ BeTTY COMPSON- /7 “The Great Ropbion “TRIO- alace Stoge) Gabbo ™ Revue the Survivor In Electric Lights BY PHILANDER JOHNSON. All the benefit that could arise from a monopoly of the theatric field was placed by the varying influence of Fortune at the dis- posal of the “Vanities,” an enter- tainment of the revue type made famous by its own magnificences, as well as by episodes quite apart frcm the work of entertainment which found eager celebration in the Rrinted pages that depict the playhouse as a realm of perpetual | astonishment, defiant of all the| usual rules by which human rela- | tionships are regulated. * ko ox | One of the difficulties confront- | ing the perennial producer of | spectacular novelties is the obli- | gation arbitrarily assigned to him by popular patronage to maintain a perpetual climax. This year’s edition does not assume to over- top the pinnacles of pictorial randeur that have made other ssues memorable. It rather drifts into the lines of revue of which the “Chauve-Souris” has offered 80 widely accepted an inspiration. * ok x * “Vanities” has no incidental| feature corresponding in droll humor to the “Parade of the| Wcoden Soldiers,” but it has a| point of aorresponding unique in- terest, as 1t touches upon serious modern economics with interpre- tative intensity. The theme set forth by the Theater Guild’s Robot play is taken up from the angle of music and the ballet, and the result is an overwhelming im- pression which causes an audi- ence, alert thus far only for light song-rhythms cr a laugh, to ap-| laud with eager appreciation a| Eallec number unlike anything the ballet has hitherto known «xd presenting in new terms the | cold, uncompromising thought of | the mechanistic drama. v | > ok % X S0 far as comedy is concerned, “Vanitles” this year is a one-man show, with W. C. Fields as its enjef reliance and a group of per- sormers willing and energetic, but whose fame in electric illumina- tion is still to be won. Like so many musical comedians, Fields began his career by physical ac- complishments and not by any great claim to artistic thought- fulness, But ever in his juggling he managed# to assert a whimsi- cal personality, and he finally emerges entirely independent of previous gymnastic limitations. It is quite possible that if he had been a ‘better juggler he would not at last have proved so good a comedian. It is in this way that a seeming temporary disadvan- tage often disguises itself as the opening to a new and more de- sirable career. * R % % ‘The playhouses to which Wash- ington people have been turning for so many years with confident expectations of Jiberal endow- ment toward the Winter’s enter- tainment recall with grim em- phasis the Shakespearean adage, “All the world’s a stage.” George D. Prentice of Louis- mortalized the' humble “Carrier’s Address” to a ranking place in English-speaking poetry, began his remarkable blank verse pro- duction with a reference to “Time, the Tomb Builder.” Many great- ly admired stage personalities have made their “exits.” Time condescends even to take upon himself the cares of the scene shifter as cherished landmarks of dramatic art are gradually caused to crumble and fade. * % ¥ % Reports of the disappearance | from the electric landscape of the Shubert-Belasco Theater proved only too true. Mr. Taylor and Mr. Bonneville are both to remain in Washington under present ar- rangement, in general supervision of "Shubert properties, but the Taylor office rooms, which had become a shrine of cherished me- mentoes, where pictures and sou- venirs seemed to smile with a serene superiority on the endeav- ors of those who made their “en- trances” upon the scene in more recent years, have been disman- tled, and the little bit of theatric setting built by the loving hands is on its way to the storehouse. e One of the souvenirs in the Taylor office was a bust of Edwin Booth in the role of Hamlet. It had been presented to Charles B. Hanford, for a long time promi- nent in association with Booth, who gave it to Mr. Taylor, through whose kindly thought it now finds itself newly owned where it will be cherished not only because of admiration for its subject. but of affectionate remembrance of those who have cared for it in | reverential estimation. “Viewing" a Thankless Job. )/IOTION picture and stage critics have the never-failing sympathy of one of the outstanding stage producers and newest motion picture directors, Robert Milton, who has just completed the filming of Paramount's all-talking picturization of W. Somerset Maugham's “Charming Sinners,” now at the Metro- politan Theater. Milton considers re- view writing the most thankless job in the world. Lured from Broadway, where he pro- duced many plays and musical shows, Milton has had the expecrience of hav- profited and lost by printed criti- cisms and is a qualified speaker. ‘Critics are the despair of actors and producers because their writings often Jeopard: reputations and money,” he says. “No one likes to be told that he has financed or is identified with a faflure. It is the unhappy lot of critics, reporting the truth as they see it, to break the bubble of hope. I know from experience that criticism which appears after a production’s premier is almost & final verdict.” News Re;{Thea;ers. ‘!THEATEH.B for the exclusive showing of sound news reels are#o be bullt by the Fox group on the West Coast, according to announcement from Los Angeles. Eventually the chain is to be extend- ed across the country, with about 100 houses. The first theaters will be built ville, who, one New Year day, im- and Seattle, p 4 BARBARA STANWYCK- snd ROD LAROC QUE- /i * The Locked Door “ MACKAILL- I~ The X Love fsck ” Earle Rose From the Movie School. OSEPHINE DUNN, now an actress of reputation, who appears in the Pathe picture “Red Hot Rhythm,” fea- turing Alan Hale, was born in New York City, and her first contact with motion pictures came through an invitation to join Paramount’s Junior Movie School at the Long Island studio. She appear- ed in the first picture made with the junior stars, “Fascinating Youth,” and her work was regarded as so clever that she was given good roles in several other Paramount pictures. Subsequent- ly she appeared in pictures for M-G-M, and later for Fox and Universal. Among the photoplays in which she has been seen are “Love’s Greatest Mis- take,” “Fireman, Save My Child,” “Swim, Girl, Swim,” “She’s a Shelk,” “Rolled Stockings,” “Excess Baggage,” with Al Jolson in “The Singing Fool,” also in “Sin Sisters” and others. Sitting in the Audience. 'HE successful screen writer must mentally he is writing stories and not behind a desk, in the opinion of John F. Good- rich, who adapted Dorothy Mackaill's latest First National Vitaphone picture, “The Love Racket” for the screen. It is now at the Earle Theater. “We are in the business of manufac- turing entertainment,” Goodrich de- clared. *“And it is a business—a very serious business. The successful writer must sit in the audience, mentally, as he writes. He cannot sit behind a desk and write for some director or execu- tive if he hopes to succeed. He must write for the public.” “The Love Racket” was a successful stage play under the title “The Woman on the Jury,” and on the screen version adheres closely to the stage version, “When I adapt a play for the screen I know that the lines of the play have been proved before an audience—befora many audiences,” Goodrich sald. “So I treat those lines with respect. Of course we ‘have to alter the mechanics of a picture because of the differen: limitations of stage and screen. Then there are added sequences to show on the screen ‘business’ that was only re- ferred to by the actors on the stage.” Sidney's New Palace. THE Cameo Theater, in the flourish- ing Washington neighbor, Mt. Rainier, has been taken over by the Sidney Lust Theaters Co. and activities have begun toward making :t one of the most, modern and compleately equip- ped neighberhood movie palaces in and about Washington. Entirely new sound equipment, ca- pable of projecting both Vitaphone and Movietone pictures to the edification and enjoymentof the most sensitive ears and eyes, is being installed. All the big musical shows, comedies and mystery plays for which the talk~ | ing screen is famous are being booked | following their dowhtown Washington showing, including such successes gs | Will Rogers’ “They Had to See Paris,” | “Sunny Side Up,” “Four Feathers” and | their like. Each week also thrilling new talking Westerns, will be shown with Vitaphone shorts, talking comedies and other sound novelties appearing regu- larly on the programs. Mr. Lust, one of Washington's master showmen, has announced in the same breath that the Cameo will purvey the same excellent quality of film entertain- ment that characterizes his chain of in Los Angeles, S8an Prancisco, Portland | Motor, Aviation aascan i Scere //7:0”1 /V\AD\///[’) o o ! i i SHALL OX MEL KLEE- Fox ($#age) RUTH LEVINE- Gayery Gillette January 6. ILLIAM GILLETTE will bring his revival of the Conan Doyle play, “Sherlock Holmes,” to Washington the night of Monday, January 6, according to definite announcement from New York and by the National Theater man- agement here. Insistent public demand led the pro- ducers to extend the New York engage- ment by three weeks. It required the sacrificing of the scheduled Philadelphia engagement and results in a rerouting, which will bring the production direct to Washington. From here it will go to Baltimore. Success of the Gillette revival of the play that was first presented in New York in 1899 has astonished the re- viewers and the “wise uns,” despite their acknowledgment of Gillette’s excellent performance in their opening reviews. Out of curiosity files of papers contain- ing reviews of the original production were dug out. It was found, to their consternation, that the original play left the critics a bit cold. “Sherlock Holmes” followed by only a short interval the play “Secret Service,” in which Gillette had ap- peared as_the bold investigator, Capt. Thorne. His critics apparently thought he should have waited longer before re- suming his sleuthing. After all these years thé play is ac- claimed as a hit. Mr. Gillette or the critics are getting better. | Thanksgiving day matinees. “Mr. Gillette’s farewell to the stage has aroused an interest for which many years show no precedent,” declared George C. Tyler, who is associated with A. L. Erlinger in the production. “Entire families, in some instances representing three generations, filling rows of seats from aisle to aisle, have flocked to the performances. One such family gathering was that of the Lyman Beecher Stowes of Hartford at the Repre- sentative Ruth Hanna McCormick of Chicago wrote Mr. Gillette that the en- tire McCormick family, ranging from 8 to 50 years, was seeing the play. Charles Dana Gibson told Mr. Gillette: ‘Some years ago I took my children to see Joseph Jefferson in “Rip Van Win- kle” In the same spirit I now take my grandchildren to see you in “Sher- lock Holmes.’ " “Numbers of the playgoers of the elder generations have remarked at the box office that Mr. Gillette had brought them back to the theater for the first time in years. Holmes’ ‘is even greater than was that of ‘Trelawny of the Wells,’ in which John Drew was on tour when he died. “Booth Tarkington announced that he would rather see Gillette play ‘Sher- lock Holmes’ than be a child again on Christmas morning. And so the chil- dren are coming to see what it is all about —and particularly to satisfy themselves as to whether anything’s wrong with Tarkington.” Stage and Screen Attractions This Week. COLUMBIA—“Hallelujah,” King Vidor’s colored epic. This after- noon and evening. FOX—"“The River.” This afternoon and evening. R-K-O KEITH'S—“The Great Gabbo,” with Eric von Stroheim. This afternoon and evening. METROPOLITAN—“Charming Sinners.” evening. This afternoon and PALACE—“The Locked Door,” with Rod La Rocque. This after- noon and evening. EARLE—“The Love Racket,” with Dorothy Mackaill. This aft- ernoon and evening. RIALTO—"Red Hot Rhythms.” This afternoon and evening. WARDMAN PARK—“The Cock-Eyed World.” theaters in Washington, Maryland and Visginia g and evening. This afternoon ‘The appeal of ‘Sherlock *Good Times" Festival! A NATION-WIDE “festival” of optl- mism and good cheer, with a slogan of “Good Times Are Here!” is to be launched in January, with Loew’s Thea- ters in Washington taking an important part. Heeding President Hoover's vigorous attempt to spur the country on to big- | ger things in 1930 and especially the President’s idea that the mental atti- tude of the Nation needs cheering up, | the Loew’s Theater organization, with hundreds of playhouses from coast to coast, including the Loew Theaters in Washington, is planning to provide es- pecially ambitious shows for “Loew’s January Festival,” with talks and stunts directed at the audiences to make them see that most of the depression is mental and psychological. The photoplay producers are co-oper- ating with Loew’s to release exceptional pictures during January and enlarged vaudeville and stage programs are be- ing arranged. Bootbleck Geta His "Break.” WORKXNG for 12 years as studio bootblack while waiting for his “break” as a screen actor had its re ward for William Allen Garrison, othe; wise known at the Metro-Goldwyn- Mayer studios as “Slickem,” in charge of the studio bootblack stand. “Slickem,” then a small-time colored vaudeville dancer, came to the studio for a chance to act, but when this wasn't forthcoming took the shoe- shining job and waited. When King Vidor filmed “Hallelujah,” Metro-Goldwyn-Mayer’s all-talking pic- ture, “Slickem” not only was given the role of “heavy,” but because of his long acquaintance” with studio operations was made second assistant director, and handled the colored extras in the plan- tations on the Mississippi where the talking picture was filmed. . Filmed Without Songs: INCENT YOUMANS, writer of songs and producer of plays with songs, is to produce a play without songs, ac- carding to advices from New York. The %hy. “The Treasure,” was writ- ten by Bayard Veillers, with the assist- ance of Becky Gardiner, who went East from the Hollywood movie colony. It has entered rehearsal and Youmans said it should be ready for presentation about the first of January. A ELuJAU-Columbia CUATTERTON- h\\Ciarm/bjM&}mers! UNCANand CHARLES FARRELL: “The River” ALAN HALE. and KATHRYN ~ e+ropo|i+an CRAXFORD -l \Red Hot Rhy+hm* Rial o One Play and a Picture NEW YORK, December 14, 1929. HE life of Isadora Duncan—splen- did and tragic, radiant and ma- cabre. It was a poor play and, to some, a rather ghoulish at- tempt to dance, and supremely pitiful—was the subject of one of the week’s plays, on the grave of a great artist. Under the title “Diana,” the story picked up in Paris, at the height of the Great Isadora’s success, and carried through four episodes, including a bit of the bitter Russian adventure, and ending with the fatal motor ride in Nice. No dramatic theme knit the separate episodes together, the lines were without lift of light. One listened to an exposition in which everybody assured us that Diana was perfectly wonderful. One watched Diana for a time rhapsodizing about art, love, “cre- ation” and so on. And one saw her, finally, broken and disillusioned, at the end of the road. Miss Mary Nash, who essayed the title role, is not as much at home in the grand lyrical manner called for in the circumstances as she might have been more strenuous, naturalistic and topical drama, but the task of giving warmth and persuasion to a mere enu=~ meration, so to say, of some of the objective’ high spots of the great dancer's career was all but impossible. It would have taken the golden voice and the conquering personality of a Bernhazdt to give the lines the life that was supposed to lie behind them. * kT IOHN BARRYMORE'S new “talkie,” ¥ “General Crack” (the word “Crack” is made from the initials of its hero, Prince Christian of Kurland, who has a string of names—Christian, Rudolph and so on), strikes us as a first-class show of its kind. Barrymore plays the part of a daredevil, eighteenth-century fighting man, illegitimate son of & gypsy girl by the Duke of Kurland. He ranges apout Europe as a sort of free-lance Naponeon, wins a throne for the de- cadent Emperor of Austria and then because the Emperor flirts too seriously with Crack’s own gypsy wife, takes the throne away from him again; runs, rough-shod and debonair, over pretty much everybody and everything and ends as Duke of Kurland himself, with a pretty Austrian archduchess to share his principality with him. It is all crisp, swift, witty and well done—romantic bunk, but intelligent, sophisticated, first-class bunk. Mr. Barrymore’s voice came over ex- cellently, as did that of Lowell Sherman as the Austrian Emperor. The ladies, Miss Marian Nixon as the archduchess and Armida as the gypsy girl, were less happy. The enunciation of both was rather cloudy, and their words marred by that lisping which seems a common failing of the talkies. We are anything but an expert in the new medium, but must confess that, lively as the show was, it didn't change our impression that the talking films, while unques- tionably popular and obviously useful for news and educational purposes, as an art form, seem simply to imitate more or less imperfectly something bet- ter done on the speaking stage. Rk [T happened that we were invited to attend, on the same day as that on which we saw Mr. Barrymore’s picture, The Quiet Season Along Broadway the movies and movietone and rather hoped to be enlightened further there as to the artistic possibilities of the talkles. The only person present, however, who spoke as ‘a practical participant and insider, a gentleman engaged in the editing side of production, breezily dis- claimed any interest in such matters. “There’s a lot of ‘boloney’ talked about ‘art,’ ” said he, “and whether the films are really ‘theater.’ Of course, they're theater. ~ It all boils down to the producer, old style, new style, is out for the kale. The only difference be- tween the two is that the old-fashioned producer was limited by the number of people he could get into his theater, while the film producers are limited only by the number of people to whom they can carry their films.” “The ‘kale’ ay, there’s the rub!” as Albert Carroll says in the pai of Hamlet'’s soliloquy with which he bur- lesques Mr. Barrymore and his supposed musings about Hollywood, in the same program with “General Crack.” The net impression of the day’s brief excur- sion into new fields was that it was rather a pity that anybody whose voice and presence and real dramatic fire could make such a good show of “Gen= eral Crack” should be taken away from the theater which his family have so long adorned. ———e Stage Star Enters 'I;alkies. NEW star has come to the talking screen with the appearance of Wil- liam Boyd in United Artists’ all-talking picture “The Locked Door,” adapted from a Channing Pollock stage thriller and under the direction of George Fitz- maurice. This is not Hollywood’s own Willilam Boyd, the playboy of the cinema, but William Boyd of New York. He is the William Boyd who was a sensational success as Sergt. Quirt in the stage presentation of “What Price Glory?” opposite Louis Wolheim; the Willlam Boyd who has been on the stage since infancy, the Willlam Boyd who has played leading roles with Mrs. Fiske, Ethel Barrymore, Margaret Anglin, Emily Stevens and others, and who has also made pictures with Miss Barry- n:ore, Anita Stewart and Justine John- ston. He was born in New York, the son of William Boyd and Florence Richman, both of the stage. He began his the rical career as an infant in Astray,” in which his mother was starring. Otis Skinner Wavering. OT!S SKINNER, after nearly half a century on the stage, is to appear in the talkies, according: to reports from New York. He has been signed by First National to make five talking pictures in the next four years. Details of the contract were not dis- closed, but it was said Skinner would not leave for the West until he has com- fl_l‘lted his appearance with Mrs. Fiske a New York play the title of which has not yet been announced. Skinner’s last play in New York was “A Hundred Years Old.” _Previously he had appeared with Mrs, Fiske in an a dinner discussion on the subject of / all-star cast in “The Me: wi Windsor.” iR g e