Evening Star Newspaper, January 19, 1930, Page 54

AMUS NATIONAL—"“The Vagabond King.” “The Vagabond King,” which will be seen at the National Theater for a week, beginning tonight, will rank very high in the list of musical-theatrical offer- ings of the theaters, Its impressive numbers, its thrilling choruses, with great orchestra and fascinating ballet features, its massive scenic effects and superb lighting and colorings—all com- bined with a notable cast—make up a veritable feast of entertainment. ‘The “Song of the Vagabond: Flagon of Wine,” “Only & Rose, morrow,” “Huguette's Waltz Son; “Love Me Tonight” are gems whose melodies are sung and played in almost every home throughout the land. Not in American theatrical annals has a musical play gained more instant and lasting popular favor than this musical- ized version of Justin Huntley Mec- Carthy’s beautiful romance, “If I Were King.” From the three original companies of “The Vagabond King” the present cast has been chosen. The same is true of the singing and dancing ensemble. The touring orchestra also has been selected from the original organization identi- fied with the long New York run at the Casino Theater. POLI'S—American Opera Co. ‘The American Opera Co., a company of young American singers that has twice before charmed the Capital with performances of grand opera entirely in the English language, will make its third annual appearance in Washington at Poli's Theater tomorrow evening at | 8 o'clock in the first of a series of four operas in English to be given at three evening performances and one matinee under the local management of Mrs. ‘Wilson-Greene, The opening attraction tomorrow eve- ning will be “Yolanda of Cyprus,” a much discussed new American opera by Cale Young Rice and Clarence Loomis. This will be followed on Tuesday eve- ning with a production of Puccini’s im- mortal “Mme. Butterfly,” while Bizet's “Carmen” and Gounod's “Faust” will be presented Wednesday at both a matince and an evening performance. The evening performances all will start at 8 o'clock and the matinee at 2| o'clock. All operas have been staged under | the personal direction of Viadimir Ros- | ing, artistic director of the company, and will be conducted by Isaac Van Grove, recently conductor with the Chicago Civic Opera Co. Robert Ed- | mond Jones is responsible for the set- | tings and costumes of the several operas. GAYETY—"Girls From Happyland.” “Girls From Happyland” is expected to draw the crowds to the Gayety Thea- ter this week. It comes with an ab- solutely new burlesque production, a new program and a newly chosen company of burlesque favorites, “each claimed to be especially suited to the requirements of modern burlesque. Aside from the singing and dancing acts, all interesting, “the spirit of fun reigns supreme.” The two scenes of most importance, “Trial on Trials” and “China Breaking,” are farcical, but not of the slapstick variety, although forci- ble in a laugh-compelling way. The comedians, singers and dancers include Charles Marshall, boob come- dian, and Violet Buckley, a charming singing and dancing soubrette, who head the cast. Others are Ben Lerner, Henrl Kellar, Tim Benson, Tenny Hil- son, Millie Kennedy and Rae Le Anse. +R-K-O KEITH'S—"Hit the Deck.” “Hit the Deck,” Radio Pictures, gor- eous screen production of Vincent rouman's musical shows that swept the Nation with its famous song “Hal- lelujah,” is at R-K-O Keith's for & while. Jack Oskie and Polly Walker, with hundreds of singers, dancers and layers, ind a new and greater stage this mighty talking-singing-dancing plcture. Exterior sequences, such as a life sized village street; a real landing wharf with liberty boats plying between shore and as huge flect, resting at anchor; an | exotic African jungle, and a mansion for Mrs. Payne's home ere some of its outstanding features. _The battleship deck and the “Smith party” with 30 players is treated all with technicolor. The Vincent Youman's stage hit moves in an easy narrative fashion, without the obvious pauses for songs, d there are five new song numbers added to the many already familiar. Eight telling sequences help to e “Hit the Deck” as the dance novelty of the season. The elaborate “Shore Leave” number utilizes 23 girls, 24 men and all the principals, and “Hallelujah,” in con nection with a negro spiritualist meet- ing, is a wonder to behold. A finish number features a galaxy of mermaids being dragged aboard by sailors—a unique dance in technicolor. The story of this sea-going romance needs no telling. A cast of distinguished names includes Polly Walker, Broadway star; Jack Oakie, comedlan; Marguerita Padula, mammy singer; Roger Gray and Franker Woods of the original New York cast; Ethel Clayton, June Clyde, Wallace MacDonald, Harry Sweet, George Ovey, black-face comedian; Dell Henderson, Nate Slott, Andy Clark and Charles Sullivan. Space forblds the mention of more. FOX—“A Song of Kentucky.” Lois Moran is the Fox star this week in “A Song of Kentucky,” a musical movietone, with the famed Kentucky Derby as a background. Every story of Kentucky should, and most of them do, have the famous horse race for its background. Never- theless, “A Song of Kentucky” is not really a horse race story; rather it is a comedy-drama, with the race as an incidental. It concerns an aristocratic girl (Miss Moran) who falls in love with a rising young musical genius. Their romance is marred by intrigue, planned and executed by a jealous woman, & | mendacious suitor and a scheming sunt, and it leads to an amazing de- nouement. Throughout it all is the glorious historic atmosphere of the Southland. The supporting cast presents Joseph | Wagstaff, a young Broadway musical star; Dorothy Burgess, who will be re- membered from “In Old Arizona,” and | other stage and screen players. On the stage Fanchon and Marco'’s “Sweet Cookies” will bring another un- usual idea from this Hollywood pro- ducing combination, which will feature | the new Fox master of ceremonies,) Alexander Callam. The players will in- ¢ clude Jones and Hull, Eva Mandel], Bobbe Tomson, Roy Loomis and Marie and Dolly, with the Sunkist Beauties, of course, The Fox Orchestra and the | Fox Movietone Newsreel will complete the entertaining bill. PALACE—*"Their Own Desire.” ‘With promise of bigger and better | shows during Loew's January festival, Loew's Palace announces for this week | the return of Wesley Eddy as master of ceremonies, and Norma Shearer's latest ture for Metro-Goldwyn- | Their Own Desire,” with Belle Bennett, Lewis Stone and Robert Mont- gomery in the supporting cast. DANCING BERTH Ballroom | STUDIO. Daneing. Phone North 3322, 31% Fox Trot, Hop, Waltz taught correctly 'in a few Iessons, private any hour. FORD tyles Stage- 1124 Conn. Ave. DAVISON'S L 8, Class Tues. E 1nst. & practice, Member MAE DAVISON 370 % fne. All types of Stage and Ball Room Dancing Classes or private for children and adults &I cs In Tap Dancing. ~ Ball room o, 11 w. ““National 3341, * CING SSIONAL _ KIND DAN EMENTS ‘The story of the film revolves around Tally, who finds her father in the arms of another woman, Beth. She tries to hide the fact, but her mother learns of it and decides to obtain a divorce. Mean- while Jack and Lally fall in love and to Lally's consternation she finds that Jack is Beth's son. Her mother per- suades her to give him up. She goes out in his motor boat with him to say good- by and they are overtaken by a storm. Their boat is found overturned. The distracted parents are brought together in the search for their children, and with the rescue all ends well. On the stage Wesley Eddy is featured with his bag of tricks i the exquisite Loew presentation, ‘“Les Parfums.” Adler and Bradford, a sensational adagio group; Mills and Shea, a unique dance team; Charlotte Woodruff, prima donna, and Chester Hales' Charmers are also featured in the unit. The Hearst Metrotone News, the Palace Orchestra, under Harry Borjes; Charles Gaige at the organ and short subjects will be other attractions, EARLE—"So Long Letty.” “So Long Letty,” brimful of laughs and boasting the unusual comedy talents of Charlotte Greenwood, who starred in this famous musical comedy on the speaking stage, has taken up a week's residence at the Earle Theater. It is a Warner Brothers and Vitaphone talking picture. ‘The unique abilities of Miss Green- wood in singing, dancing and general cutting-up were never utilized to bet- ter advantage than in this famous play of the stage. She is supported by & cast of past masters in farce, including Bert Roach, Harry Gribbon, Hallam Cooley and Grant Withers, together with the clever Patsy Ruth Miller, Helen Foster, Marian Byron and Claude Gillingwater. “So Long Letty” is a sparkling pa- rade of comedy complications, song hits and dancing. It concerns the efforts of the heirs to a considerable fortune to convince their wealthy uncle, summering at a beach resort, of their love for the old-fashioned life which he_champions. In addition to this outstanding com- edy hit the bill includes The Evening Star-Universal and Pathe Newsreels, Vitaphone Varieties and music by the Earle Orchestra. RIALTO—"His First Command.” Contalning all the romance and color of the United States Cavalry and that can surround historic Fort Riley, the background of its action, “His First Command,” starring Willlam Boyd, is this week's attraction at the Rialto ‘Theater. Dealing with a millionaire's son who is sent West to escape the wild life he has been living, the story is full of ad- venture from the moment that Boyd meets the daughter of a Cavalry offi- cer to the very end. There are many fine “shots” of outdoor skirmishes in the picture, both in sound and color. The cast includes Dorothy Sebastian, Gavin Gordon and Mabel Van Buren. A screen comedy featuring Pat Roo. ney and his family, famous vaudevil- lians, and The Evening Star-Universal Newsreel will add to the program. COLUMBIA—"The Love Parade.” The third superprogram announced for Loew's January festival brings to Loew's Columbia the international idol, Maurice Chevalier, in the musical come- dy “The Love Parade.” _Supporting Chevaller are Jeanette MacDonald, Lil- lian Roth and Lupino Lane. “The locale of the story is the mythical but modern kingdom of Sylvania, where Queen Louise reigns in & peaceful land, hapgy and contented with the exception of the Queen's cabinet. These wise old men desire their Queen to be married. Reports come from Paris that their emissary, Count Alfred, has become en- tangled in numerous aflairs of heart and has éarned the name of being quite a Romeo with the ladies. The Queen orders Alfred home, and then asks him to demonstrate his ability as a lover. He succeeds so well that soon they are mar- ried. ‘Taking orders from his royal wife, however, bores Alfred and he threatens to leave her. As the country is ncgo- thunf for a loan, the Queen begs him to walt so there will be no scandal. The time comes, however, when the count can no longer suffer the indignity of taking orders, and he goes to say good- by forever to the Queen. At the last moment she has him crowned King and —what_would you? The Hearst Metrotone News, the Co- lumbia Orchestra and short subjects will complete the program. METROPOLITAN—“General Crack.” Laughing, loving, fighting, John Barrymore, in his first talking picture, “General Crack,” a Warner Brothers Vitaphone production, is continuing his success at the Metropolitan Theater through a second week. The first appearance of this emi- nent stage and screen star in a talk- ing picture has created considerable in- terest in Washington, as evidenced by record business at the Metropolitan. ‘The title role of “General Crack” fits Barrymore like a glove. The character is that of Prince Christian of Kurland, a noteworthy lover and fighter in Cen- tral Europe of the eighteenth century. Son of the Duke of Kurland and & gypsy girl, Christian_aspires to the hand of the beautiful Princess Maria Louisa of Austria. His battle for royal recogni- tion and the heart of the girl he loves make a story that has few equals for suspense, action, romance and grim humor. Barrymore has two charming leading women in this picture—the pretty Mex- ican “find,” Armida, and Marian Nixon, who is_well known to Washington film fans. In the cast also are Lowell Sher- man, Hobart Bosworth, Andre de Segu- rola and others. Due to the length of the feature ple- ture, many sequences of which are filmed in Technicolor, the shorter films of the Metropolitan program have been omitted. NEWMAN TRAVELTALK—Today. “Argentina” is the topic of intere: chosen by E. M. Newman for his firs traveltalk this season et the National Theater this afternoon. With a new group of beautiful color views and rare motion pictures, the famous traveler will introduce South America and bring his audience into intimate contact with the Argentine from the wealthiest ranchero in the “camp” to the mem- bers of the smart set in the Newport of the country, Mar de Plata, with its clubs, famous beach and promenade, known as the Rambla. Few countries are said to have pro- gressed more in recent years than Ar- gentina, and the influence of the United States on living conditions is declared very noticeable. Modern skyscrapers have risen, the streets are filled With American-made motor cars. Hollywood contributes most of the pictures in the cinemas. Jazz is & craze and “pep” in business methods 15 & symbol of the | times, while thousands of our repre- MATINEES TH REGINALD DE KOV | | OLGA “TMISS ELLEN WALLER Modern Ballroom Dancing Private_lessons by sppointment; apy hour. P on r"dlg;é.w.' Adems o And a Chorus of PULAR atie AT i 4 RAT, MAT.—§2.50, ICES POLI’S—Hext Week THE SUNDAY STAR, WASHINGTON, D. C, JANUARY 19, 1930—PART FOUR | | LORNA DOONE JACKSON, Contralto, who has a prominent role in “Robin Hood,” coming to Poli’s Theater for the week beginning January 27. sentatives, men who speak the language of the country, are spreading the doc- trine of good will. In this glowing traveltalk the audi- ence is given an_opportunity to study the people from intimate and personal observation, JANET RICHARDS, TOMORROW. Miss Janet Richards will give her usual weekly review of “Political His- tory in the Making” at Masonic Tem- ple, Thirteenth strect and New York avenue, tomorrow morning at 10:45 o'clock. Under “Home Affairs,” Miss Richards will speak especially of the progress of alleged propaganda in favor of American membership in the League of Nations_under the leadership of Gen. Jan Smuts. Three other acute problems now demanding both executive and legislative action, as well as several important phases of ‘Eurcpean compll. catlons, will also be considered. The use of large maps helps to clarity the subjects under discussion. “CURRENT TOPICS"—Tuesday. ‘The Philippine question, with the re- cent revival of the agitation for inde- pendence, will be discussed by Mrs. Georgette Ross Howard in her “Current Topics” lecture at 11 o'clock y morning, in the club house of the American Association of University Women, 1634 I street. Personalities and activities at The Hague, recent developments in Mexico and the latest news of the London Con- ference will be among the topics which Mrs. Howard will sum up in her reylew of the many affairs of interest e ing public attention at./'the monient. Some comments on the President’s group of secretaries and a resume of the activities of Congress and the im- portant questions, prohibition enfarce- ment and the tariff, will complete the program, “QUESTIONS OF THE HOUR"—Friday. Miss Clara W. McQuown will give her weekly talk Friday morning on “Questions of the Hour in National and International Affairs.” She will discuss matters before Congress and questions that are of special interest at the moment in home affairs Under foreign affairs her principal subject will be Soviet Russia—govern- n‘lentul structure and socialization poli- cles. These talks are given every Friday morning at 11 o'clock in the assembly room of the Washington Club, entrance, 1010 Seventeenth street. They are open to the public. STATE—“Sunny Side Up.” ‘The State Theater at Bethesda, Md., announces for this week a program of especially interesting entertainment for its patrons, in which the outstanding feature is “Sunny le Up,” with Janet Gaynor and Charles Farrell as its stars, ture in which these already famous players make their musical comedy debut and which recently attracted much attention at its downtown show- ing in Washington. ‘The schedule for the remainder of the week will bring Elliot Nugent in “Wise Girls,” Wednesday; Joan Craw- ford in “Untamed,” Thursday; Richard Barthelmess in “Nowheres,” Friday, and Clara Bow in “Saturday Night Kid,” Saturday—all pictures of unusual attraction and quality. “Oliver Twist" W matiie 1o bemmars:intoin 2k Metro-Goldwyn-Mayer, browsing in the library & short while ago, came upon that “best seller” of the eighteenth cen- tury, Charles Dickens, and decided at once to make the immortal Oliver speak for_himself. Just who will play the role of the over-abused young boy has not been de- cided upon as yet. But the producers have promised that Lionel Barrymore is to direct it. And that ought to be a good beginning anyw: National Symphony ORCHESTRA OF WASHINGTON, D. C. RUDOLPH SCHUELLER, Conductor (80 Musician: TITUTIO] STl Fri CON! iday aftern Droop's. 1300 G St. Tt ct 649 ‘Conces Distri Begins Monday URS. AND SAT. MAIL ORDERS NOW—SEAT SALE WED. 'S FAMOUS OPERETTA ROBIN HOOD With the All-Star Jolson Theatre Cast, Including WILLIAM STEGK—DANFORTH—EVANS GREEK Vol N Ty Mo 1.50, §1, b0e. 60 Gold tomorrow and Tuesday. This is the pic- . ORD has been flashed that “Oliver On the New Comment on the Latest Productions F you have a taste for near-antiques, for those reproductions which are 80 nearly like the original that you i can scarcely tell the difference, you will like Edwin Justus Mayer's new piece, “Children of Darkness,” which is lald in Newgate Prison, in May, 1725, and so cleverly done in speech and manner that it might almost have been written by one of the wits of that day. Several curious and interesting char- acters meet in this debtors’ prison. There is an elegant but more or less renegade French marquis, with a king's blood in his veins, who masks his real name under the. title Count La Ruse. There is the historic Jonathan Wild— the play is said to have been suggested by Fielding's story—a young poet, and, above 2ll, the jaller's daughter, Laetitia. ‘This young woman, described in the author's stage directions as “29," “a ravishing woman, vital to the excess of carnality,” bestows her charms on those favored among her father’s enforced { guests, whom, for a consideration, he admits to his private table and permits the freedom of his private apartments. At the beginning of the story La Ruse, a man who requires beauty, romance, a stray tune, a lyrical line, for his happiness, rather than congentration cn any utilitarian end, is her lover and really adored by the girl as well. La Ruse affects to despise her, but is help- ways, at the first twang of her | siren’s song. Then the young poet turns up, with his earnestness and his poetic notions of love, tumbles head over heels in love with Laetitia, whom he pictures as the queen of all the virtues and beauties. and between him and the woman and the elegant and light-minded rake who feels like a father to the ingenuous boy, there comes the main dramatic clash of the play. It is all artificial, of course, as almost any cotemporary drama done in the manner and speech of the eighteenth century needs must be. But Mr. Mayer writes with distinction. There are flashes of poetry, a very unusual felicity of rhetoric. It is a trick, but the author does it with a certain conviction, and exceeding well. The net effect, barring some occasional intervals of talkiness, is decidedly entertaining, with a certain elegance, & cynical eighteenth century touch to the wit, that was novel and, in its somewhat precious way, refreshing. Miss Mary Ellis, as the “jaller's wench,” is really splendid—radiant, poised, assured, with an “attack,” as the singers say, and a purity of diction that is a constant delight to the ear. Basil Sydney, as the elegant, cynical La Ruse, always giving the light touch and the bite of his raillery to the most desperate situations, is scarcely less compelling. It is a pleasure to listen to him, too, and to watch his disil- lusioned and slightly nostalgic smile, the .way in which nothing found him at a loss. Altogether a novel entertain- ment, and decidedly superior, in its rhetoric at least, to what usually appears on Broadway. * * * % EO BULGAKOV'S production of < Gorky's “At_the Bottom"—known as “The Lower Depths” in an earlier Coming A NATIONAL—Otis Skinner in ‘“Papa Juan.” ‘Washingtonians need not be remind- | ed that Otis Skinner has charmed them | in many roles of widely varying char- acter during his long and distinguished career. The National Theater an- nounces that, beginning Monday eve- ning, January 27, Otis Skinner will ap- pear at that house in the title role of his newest comedy, “Papa -Juan,” of | Spanish origin, which he has presented | already in Chicago, Boston, New York and Philadelphia. Critics of these cities have agreed that his portrait of Papa Juan will have an honorable position in the long and famous gallery of his por- trayals, and it is said that in many respects this portrayal is one that Mr. Skinner himself would like to have re- called at the mention of his name. The new play is by the Spanish dram- atists Serafin -and Joaquin Alvarez Quintero. It was adapted by Helen and Harley Granville-Barker, and after it was produced in London, with great de- light to those who witnessed it a year ago, it was first made known in ‘this country by Mr. Skinner in Chicago last Spring, where it ran for 10 weeks. It is the story of an elderly gentle- man of sweet and gentle character, of rare philosophy and wisdom, always sparkling with humor and without a trace, in physical or mental activity, that the age has arrived when all good people are expected to quietly make thelr exit from this life. But Papa Juan is about to celebrate his next birthday, with a horde of relatives sur- rounding him, all more or less plain folk, in nature and disposition not un- like' the villagers in many a civilized country. - The characterizations are many and varied, according to the posi- tion each holds in the community, an the ripples of pleasant humor, cheer- fulness and the picturesqueness that might be expected from situations aris- ing where families do not always agree run throughout. POLI'S—“Robin Hood.” The masterplece of romantic opera, “Robin Hood,” with its famous score by Reginald de Koven, which glitters like a_diadem of diamonds, and its book and lyrics by Harry B. Smith, that made the ancient story of the noble bandit of Sherwood Forest leap into life it had never known before, will be the attraction at Poli's Theater next week, starting Monday evening, Jan- uary ‘27, The brilliant success of the old Bos- tonians, whose performances are still recalled by many and which entitle the distinguished players_and singers to joint credit with De Koven and Smith for the creation of a masterpiece that seems endowed with immortality, this gallant company no longer exists in the land of the living. But the Poli man- agement announces that its present- WELDCN CARTER Masonic Auditorivm Tickets, 1 1.00. T Arthur Smith 1330_G_St. KAROLIK Tenor Formerly of “The M Assisted HARRIET COLSTON, Soprane. FRIDAY, 4:30, JAN. 2 National Theater mith Bureau, Homer L. Kiit Third Concert PHILADELPHIA ORCHESTRA Leopold Stokewskl, Ossiv Gi Conductors TUES., 4:45, JAN. 21 Constitution Hall —Weber Overture, “Oberon.” No. 4—We 5: ¥ In Homer L. MINNEAPOLIS SYMPHONY York Stage English version here and as “Nacht- asyl” when the Irving Place company first put the play on in German some- thing like 20 years ago—is thoroughly | well worth seeing and, on the whole, a satisfactory presentation of Gorky's | tragic gallery of down-and-outs, but William L. Laurence’s English transla- tion is something less than acceptable. | The translator has tried an experi- ment somewhat akin to playing Shake- speare in modern dress—turned the Russian into. cotemporary American slang—and the result is a hindrance rather than a help. The intention un- doubtedly was admirable. And the translation itself may well be out of the ordinary as a literary tour de force. But the constant interruption of action and atmosphere, essentlally somber and tragic, by phrases and expletives the connotation of which - is essentially trivial makes a handicap often difficult to_surmount. It is scarcely the job of this depart- ment to fight the battles of authors with their producers, but the plaints of the author of one of the recent unsuc- cessful plays are so specific and plaus- ible that we find it difficult not to quote some of them here. While the luckless wretch was engaged in another part of the country, unable to attend rehearsals, the title, the “curtains” of | all eight scenes, the very drift and idea | of his story, were changed, while the characterization was so cut and modi- fied that the heroine’s acts became, as the critics quite reasonably pointed out, without reason or explanation. An old story, of course, over which, generally, there is small cause to shed tears, but there was enough that was promising in this particular piece to| give a certain sound of reasonableness | to the long list of specific grievances which he presented to his producer. “If,” says he, “you had produced the play exactly as written, it might have, and probably would have, been too long, too talky, too draggy, etc. But, had it been produced as written, it could not possibly have taken a worse licking than it did; it could not have been a worse failure with either the box office or the critics. And, had it been pro- duced as written, it might have been as bad a box office flop, but most posi- tively it would not have been such an overwhelming flop with the criti They might not have liked it as a play, but they would not have had cause to give it such a terrific, and deserved, lambasting.” THE week was dull, with several sad efforts which scarcely call for men- tion here. Not so sad was the revival of “The Prince of Pilsen,” with Al Shean as the brewer from Cincinnati, and “Strike Up the Band” a new musical comedy with music by George Gershwin. ‘The Theater Guild announces Ber- Shaw’s new play, “The Apple Cart,” as its next production—the first esentation "ol a new Shaw play since * ok R ttractions day successor, which will appear next Monday evening, is composed of artists of ability and experience that promises a revivification of the romance, comedy, rhythm and ringing songs that are as tmpuhr today as 40 years ago after ts first presentation by the Bostonians. GAYETY—"Parisian Flappers.” “Parisian Flappers,” a burlesque show familiar to admirers of this character of frolicsome entertainment, comes to the Gayety Theater next week. Its title was doubtless suggested to convey the impression that its feminine contingent is just a bit more lively than the Amer- ican species, The sponsor for “‘Parisian Flappers” claims that the only object he sought was a burlesque show that would meet the up-to-date conditions and provide many laugh surprises, with elaborate scenic and costume appoint- ments, The company, in which Jean Bodine, Irene Cassini, Bobbie Nissen and Harry Morris are featured, was chosen re- gardless of high salaries, and also in- cluding Mickey Ramsay, George Leon, Pete Segretto; Sidney Presson and Frank Naldo, with a chorus of pert flapperites, which appears in two big scenes of surpassing fun, appealing songs and frantic dancing. g o Umq\uty Not Imqmty. O one who has ever met Charlotte | Greenwood offstage has failed to| succumb to her rare charm of dignity | and genuine womanliness, which always carries a twinkle in her eyes and the | spirit of humor in her smile. And yet | no girl who ever scored a pronounced | hit upon her first appearance on the stage can be compared to Charlotte when she breaks loose in the comedy that envelopes her as Letty in the famous “So Long Letty.” She was once asked how she ac- counted for it. Her calm reply, with a bland smile, was “I suppose it is my uniquity. not my iniquity. GAYETY THEATRE “Girls From Happyland” Red Marshall, Violet Buckley Tenny Hi Rae Lo A Millie Kenneds.® As “Papa Juan” OTIS SKINNER, In the title role of “Papa Juan,” com- ing to the National Theater Monday, January 27. Ccnte; of the U. g. THOSE who relish a touch of reality or a dash of history served with their movies may find “His First Com- mand” worth considering. The exterfor scenes of this picture were taken at Fort Riley, which is said to have the distinction of being the exact center of our country. Fort Riley, ever since iis first stone was laid in 1853, has probably witnessed more Indian war dances than any other fort in the country. Prominent among the tribes which have left intimate souvenirs—such_as scalps—at its front door, are the Pawnee, Wichita, Chey- enne and Osage Indians. Not that any of these scalps are fea- tured in_“His First Command,” but Willlam Boyd is, and that means tha there ought to be plenty of action. Dennis King's Rival. pAUL KEAST, who appears in the leading role of Francois Villon in “The Vagabond King” at the National this week, was born in Philadelphia, and early in life developed a singing voice of indisputable beauty. At the age of 20 his parents gave their approval to his desire to go upon the stage. His first appearance was in Gilbert & Sullivan’s “Pirate of Pen- zance.” He was then engaged for im- portant roles in “Countess Maritza” and “The Love Song.” A short season as headliner in vaudeville preceded his appearance in “The Vagabond King.” Applying too late for the role of Fran- cois Villon, he was given an assignment in the chorus. The second day of the rehearsals he was singled out for the important role of Rene. Four weeks laters he was given the star role of Villon with the Western company. His success was so great that he was singled out from all other interpreters of the role for the current tour of the famous operetta. Mr. Keast, it is said, holds the dis- tinction of being the first male singer who ever broadcast over the radio. ~ JANET RICHARDS POLITICAL HISTORY IN THE MAKING Every Monday morning at Another pleasant enter- tainment surprise came to Washington yesterday— A Fleot Load of Gorgeous Girlsl A Floring Pageant of Riotous Color} A Bombardment of a Cast Almost Large as the Navy! Now at $1 at the Barl Carroll Theatre m New TYork City. Regular Popular Prices at ORCHESTRA rugghen, Conductor DAY, “"?l, FEB. 13 ‘onstitution Hall Tiekets, 88, 82,50, 50, 81, x Ak SRt B arean. Th30 Henri Be. G 8t 15th St. at Gee N.W. | some of us critics. | tradition. AMUSEMENTS. The Moving Picture cAlbum By Robert E. Sherwood. 143 HAT pernicious song,” is graduall: from the langu But it is not be! driven out the sour protests raised by s It is going because one song is no longer enough for any O e feems to be but small doubt films, disa lne ly d ot the. dny T ‘There seems i that the “all-singing, all-dancing ked with peppy song numbers, are far more popular than are the straight dramas or comedies which struggle along without benefit of music. e biggest hits of the past year were the girl-and-music shows, and _there is every indication that the Hollywood producers will contin pacl l\|¢ to rely heavily on jazz throughout 1930. Strangely enough, they haven't yet discovered a way to introduce songs in a reasonable and natural manner, ex- cept by going back to the old formula established in the first talker, “The Jazz Singer,” in which Al Jolson ap- peared as Al Jolson, and consequently had a perfe tdexcuse for introducing Al Jolson ballads. All sorts of mew experiments have been tried, and not one of them has worked to complete satisfaction. “There have been several out-and-out musical comedies, such as “The Desert Song,” “Rio Rita” “Sally” and “Hit the Deck,” which have been lifted bod- ily from the stage, retaining all the extravagant artificiality of the original productions. There also have been the revues, which have departed in no im- portant way from the standard stage have been temporarily Hollywood knows won't last. The to grant to e of license ‘There is Most of these profitable, but even that this form of graft public as & whole refuses the screen the same degre: that it grants to the stage. an essential realism to the screen that the stage can never enjoy, and the public won't permit that reallsm to be sacrificed. In “The Desert Song” were some magnificent pictures of the desert and of cowboys in sheik costumes riding madly across it. The movie fans have reason to be accustomed to views of this sort and have learned to be im- pressed and convinced by them. But when the squadron of sheiks burst out into the chorus of a song number, sing- ing it in the manner of a well trained college glee club,” the fans merely laughed. Their credulity had been strained beyond the breaking point. * ok Kk * NE of the most curious attempts to avold this difficulty is made ln‘ “No, No, Nannette.” This, of course, | is an adaptation of a popular musical omedy, the plot of which was con- cerned with the benevolent attempts of a prosperous Bible salesman to provide costly clothes for beautiful young ladles. It is a typlcal musical comedy plot, but the movie producers have chosen not to treat it as such. They have tried to treat it as realism. They have re- vised the story so that the heroine is an_actress, the young hero is a song writer and the Bible salesman is a wealthy angel who backs the show. Thus they feel that they have the right to introduce songs and chorus girls whenever they feel like it. For instance, the heroine may say to the hero, “Come on, Tom, play us that new melody you've just composed.” Tom replies diffidently, “I'll play it if you'll sing it.” So then the lovers proceed to render “Tea for Two,” which was writ- ten in 1924 by Vincent Youmans. . The same formula is employed in “Gloritying the American Girl,” which also has a song writer for a hero. His compositions, it must be admitted, are considerably fresher than “Tea for Two,” but they are not, it must als> be_admitted, so good. Both “No, No, Nanette” and “Glorify- ing the American Girl” wind up with reproductions of the shows, photo- graphed in Technicolor, which have Questions of the Hour in National and International Affairs Miss Clara W. McQuown THE WASHINGTON CLUB Assembly Room Entrance. 1010 17th St. Every Friday, 11 A.M. n Tickets, §¢ Admiss| Current Topics Georgette Ross Howard Every Tuesday Morning at 11 A.M. American Association of been so laboriously written &nd re- hearsed throughout the early reels. ‘These Technicolor ng\une. are be- coming as standard and as lmwmed and as monotonous as were the ts. in the old Alaskan melodramas. of them are interspersed with view of audiences applauding frantically. But 1 have yet to see one that gave an ade- quate explanation of the spectators’ intense enthusiasm. LR IN & picture such as “The Love Pa- rade,” with frankly fantastic char- acters and scenes, sudden and unex- plained song numbers are perhaps per- missible. No one can complain very loudly when the dashing hero steps out on a balcony and sings his farewell to Paris, especially when that hero hap- pens to be Maurice Chevalier. Nevertheless, even if you can make allowances for the songs, you would find 1t extremely difficult to accept the scene it Chevalier were to be joined in his solitary retreat by 16 chorus girls and 16 chorus boys, all time-stepping and kicking and being cute. Perhaps the movie fans will abandon their pronounced insistence on realism and will concede that anything what- ever may be allowed to happen in & musical film. They may agree to dis- criminate between straight dramatio subjects and absurd extravaganzas. It is not likely, however, that they will do so. For the time being, at any rate, they will continue to force the producers to grind out stories of back- stage life, in imitation of “The Jaza Singer” and “The Broadway Melody.” ‘Which cz2lls our attention to a strange state of affairs. While the talking pice tures are said to be ruining the theater and driving Ziegfeld and Belasco and all the other old timers out of existence, these same talking pictures are also handing the theater more advertising than it has ever had before. If you want to be given the idea that the stage is the home of glamour and romance, and also of easy fame and fortune, go to see almost any all-talke ing. all-singing, all-dancing film. ‘The movie moguls had better stop their campaign to put the theater out of business, because if they were to succeed in it they would find them- selves deprived of the main source of their glorfous inspiration. (Copyright, 1930.) Jan. 25, 8:30 Seat: VIOLINIST ‘rea: BOSTO Droep's, Dr. SERGE KOUSS! Poli’s, Tues . Sat. Eve. rs. Green ert Bu- 131 st.i Dist. 6403, PHONY EVITZKY, I’J‘olhdn N SYM s ‘Coneart ‘Burea . 1300 _G. Distriet 6493, fad FRED CLARK’S R. K. OLIANS will give your dancing party Class, Pep and Novelty Avuilable After 9:45 PM. Address R. K. O. Keith's Theater Beginning Tomorrow Eve. Opera in English AMEPICAR e GPERA 8 o'Clock | COMPAEY ... Three Evenings and One Matinee, January 20, 21, 22 Viadimir Rosing, Artistle Direetor. Robert Edmond Jones, Staxe Designer. Yolanda of Cyprus Mme. Butterfly Faust Carmen University Women 1634 Eye St. Season Tickel Adi NATI The only nrli‘er I FIRST TIME IN ANY American an E. preiense 727 % 7 7 % 32 WEEKS AT THE GREAT % 7% NEXT WEEK--BEG. M SKINI "*Niehta: Orcir, $9.00: Bal ch,, $3.00: Bal, Mater Brenr: §.00) Bale $il 2 % inner 55 and THE TH OF . 1.50 and 1.005 24 B SAAC VAN GROVE. Conduetor .00, $2.50, $2.00, 81 reene’s Concert Rureau, Do istrict 6403 & Box Offies of Poll's A STARTING fering exclusively Tu"ml‘" t ) first rank. CITY IN THE WORLD Theatre, AT POPULAR PRICES Nights 50c, $1.00, $1.50. Mats. Wed. & Sat., 50c, 75¢, $1.00 ‘COMPANY AND ENSEMBLE OF 100 63 WEEKS AT THE CASINO THEATRE, NEW YORK NORTHERN, CHICAGO 74 WEEKS AT THE WINTER GARDEN, LONDON AIl, ORDERS ACCEPTED SEATS THURS. ONDAY ™ INNER»PAPA JUAN of the most ¢ pelling of his performances in rece 01,24 Bal, 50c. Wed. and Sat. NEW YORK PRESENTS “STRANGE INTERLUDE" EUGENE O'NEILL'S EXTRAORDINARY NINE ACT PLAY EVENINGS ONLY AT 5:30 SHARP Dinner Interm; Late a; $3. ivals are seated Prices: Orchest: EWMAN TRAVEL TALKS MOTION PICTURES COLOR VIEWS SOUTH AMERIC. | Jan. 26, Br Yienns, $1.50; Bal, §1.00; 24 Bal, 50e. fssion, 7:40 to 9 P. M. Final Curtain at 11:00 only during intermissions B TODAY AT 3:30 ARGENTINA A AND EUROPE ;-::“r». 2, Around South Americs; Feb, 9, The Rhine; Feb. 16, Bexoffice Open at 1 P, M.