Evening Star Newspaper, March 16, 1930, Page 65

AMUSEMENT SECTION The Sunday Star. 1930. Theater, Screen and Music Motor, Aviation and Radio News " Part 4—14 Pages WASHINGTON, MARCH 16, D. C, SUNDAY TAGIE and MORNING, VILMA BANKY and EDWARD ROBINSON- //)WL'ad)/ 7o Love _ LIGHTNER- /7 1 “She Couldn't Say No CECILLEANGnd-CLEO MAVFIELD-% “Vomty N, Fairof /930" National () EY K, MARY MILES snsMILDRED PERLEE- . Fox “ < (Stage) “ Scere from IneCOHENS 3 KELLYS / SCOTLAND-RK@KerHid . VIVIENNE S EGAL and < : JOHN BOLES-/ " Song of the West" /‘/\e'h'opo“-f'an RoOBERT DOWNING- 1"~ Dsrronsnd Py thias” Variety of Attractions in The Capita NATIONAL—*“Vanity Fair of 19. ‘Tonight the new musical revue “Van- ity Fair of 1930,” with Cecil Lean and Cleo Mayfield featured, comes to the National Theater for a week’s stay, prior to a Spring run at the Illinois Theater, Chicago. T! spirit and intent of “Vanit; Fair,” as in the early days of e revues, is satirical humor; thus, several phases of our modern life are good- naturedly lampooned. William K. Wells, author of “The Cockeyed World,” wrote the book and lyrics, and George D. Wiest composed the musical score, which contains conspicuous song and dance numbers, including “When “Stay _Out of the Shadow: Your Feet," You, Baby,” and “Love's a Wonderful Thing.” Two of the most imposing scenes are the Broadway Night Club on New Year's eve and the jungle tom-tom scene. From London Mr. Wintz has brought @ fresh (g}up afsg"mer girls and he %:l engaged Harry Shannon's recording or- chestra for a musical background and to set the tempo for the plece. One of the novelties will be found in “The Shadowgraph” (third dimension illusory effect), first introduced in this country by Florenz Zeigfeld in his “Follles of 1926,” and which remains the only con- ceit of its kind in the theater. Cecil Lean and Cleo Mayfield have heretofore been seen more in musical comedy and operetta than in musical Tevue, although as one recalls, they were co-starred a few seasons back, with the French beauty, Mistinguette, in “Inno- cent Eyes,” at the New York Wlnter‘ Garden. | AUDITORIUM—Robert Downing “Damon and Pythias.” Robert Downing, an actor of high accomplishment and distinguished as- sociation with the true greatness of the American theater in a preceding gen- eration, a native of Washington inter- | nationally known, will be presented at | the Washington Auditorium this week, | by Henri Gressett, with an excellent supporting company, in a revival of two famous plays with which Mr. Downing | won fame and success in the course of & notable career. Monday, Tuesday and Wednesday | evenings, and at the matinee on Wed- | nesday, Mr. Downing will be seen in “Damon and Pythias,” the famous play in five acts by John Banim, based | upon a Greclan legend of brotherly | love and sacrifice, which suggested and | underlies the rites of one of the noted | fraternal organizations of modern times, Thursday and Saturday evenings and at the matinee on Saturday the beau- tiful and poetic love classic, “Ingomar,” translated from the German by Maria Lovell, will be presented. The locale of “Ingomar” is the ancient Grecian city of Syracuse, and the story deals with the filial love and duty of the Greclan maiden, Parthenia, who tames theJ flerce barbarian, “Ingomar,” and then | becomes his bride, the final v.‘urnln] falling on the immortal lines “Two souls with but a single though!; two hearts that beat as one.” It was in “Ingomar” that Mr. Down- ing’s name was linked with that of Mary Anderson, in her time one of the test and most beloved actresses of American stage, Anderson Piying the role of Parthenia and Mr. 1 Playhouses Downing the title role of “Ingomar.” “Ingom: also was a favorite role in the repertories of Edwin Forrest and John McCullough, famous Shakespear- ean and classic actors of their day. Mr. Grossitt, the New York producer, has vided Mr. Downing with an un- usual company of players. Helen Dun- can, the leading woman, comes direct from the New York Theater Guild, re- cently playing the feminine lead in “R. U. R.,” in the Guild production in the metropolis, Herbert Delmore, the lead- ing man, has been leading man for Margaret Anglin, Mme. Bertha Ka- lisch and Otis Skinner, also playing important roles with Mrs. Fiske, John Drew, Willlam Faversham, William Farnum and Dorothy Donnelly. Others include J. W. Bayley, last season with the Boston Civic Repertory Theater, Wwho played Judas Iscariot in the “Passion Play”; Eugene Bergman, for two seasons with Robert Mantell, also with Margaret Anglin; Harry Hawley, Wwho played with Jane Cowl in “Lilac Time”; Ken Cartier and Aimee An- dree, whose records in the theater are most creditable. Mr. Gressitt also stresses the beauty and impressiveness of the settings pro- vided for the plays to be presented here together with the fact that, in accord with the latest trend In the theater, the prices for seats have been very sub- stantially reduced. GAYETY—“French Models.” “French Models,” which returns this week to the Gayety Theater on Ninth street after four years of uninterrupted prosperity, brings an entirely new batch of novel numbers staged in the most modern manner. Phil Perry, producer, presents Viola Elliott and” Jim Bennett as featured performers, supported by Ella Sears, Billy Sullivan, Alice Sohn, Jack Reynolds, Irving Witt, Frankie Clark and other comedians, singers and dancers, in new song and dance fea- tures, staged and costumed with the proper regard for conceptions of the present day. A dashing and efficient chorus will be much in evidence in one of the most important scenes, “Red ce,” de- scribed as “a poem of flowers.” FOX—"“Men Without Women.” John Ford, who directed “Four Sons,” the Photoplay gold medal winner in 1928, is sald to have contributed an- other outstanding achievement in “Men Without Women,” the current screen | attraction at the Fox Theater. The | worthiness of the production and the | fact that it was made with the co-op- | eration of the Navy, whose officials have been urging its early showing, are said | to be the reason for bringing the ple- | ture to Washington at this time. It 18 |2 Fox Movietone talking picture and gives a thrilling glimpse of what h:g- pens when a submarine is sent to the bottom in a collision and its men are trapped in a steel prison many feet be- {1ow the surface, The manner in which | the danger brings out the hidden quali- | ties of each man and the incidental | S0lving of one of the World War's unex- | plained mysteries lead to a striking climax, Kenneth MacKenna and Frank Al- are featured in the cast, which (Continued on Second Page.) ! uditorium *Ad-libbing." 'ARLE DEWEY, comedian of “Jon- ica,” which comes to the National, not content with making the public laugh, has decided to let them in on a secret of how he did it, especially when he is “ad-libbing.” “Ad-libbing,” he says, “is rarely ex- temporaneous. Most of the time it is something prepared before hand and then carefully, very carefully rehearsed. ‘Then, it is put over the footlights so simply, naively, that the audience be- lieves it has just been created for the delight of the one particular audience there 1nthered Now, nothing, of course, is so pleasing to an audience as to find itself getting special attention. The fact that a comedian is making up Jokes especially for its benefit gives that particular audience the impression that 1t is not only brilliant, but capable of appreciating humor that no other audi- ence could appreciate. “Of course, to keep the audience be- lieving this little bluff is the comedian's task and he has to be extremely careful that he is not caught at it.” True to Lif;. IT has long been a Hollywood rumor that dearth of adequate material for cinema vehicles has brought despairing scenarists to the point where they use biographical data of the stars themselves laTnufl!‘eS forhscreen plots. 0 those who are at all familiar wi the life of William Haines, his :11:3. recent picture, “She Couldn't Say No,” will probably more than remind them of the similarity between the outline gf this plot and the actual circumstances of its star's own post-college life. There is the inevitable awakening to the dis- illusionment of cold business facts; the awkward bungling in putting over finan- clal deals; the post-collegiate wise-crack.. ing, the romance with the boss's seore. tary, and other incidents which Mr. Haines will probably admit are closely akin to those which he himself experi- enced during his pre-movie period as a bond salesman. Everything, in fact, true to the life, except perhaps binding and gagging a lovely lady about to trot to the altar, and marrying her, which it may be doubted ever really happened, to Wil- liam Haines. A Cast Cosmopo]itnn. VILMA BANKY, who makes her first full-length talking screen appear- ance in Sidney Howard’s “A Lady to Love,” directed by Victor Seastrom, has a cast cosmopolitan to say the least. The players literally come from the four corners of the earth. Miss Banky is Hungarian, Director Seastrom comes from the land of the “Swedish icicle,” Edward G. Robin- son, who plays the role of the Italian Tony, hails from Bucharest, Rumania: George Davis is a native of Belgium, Gum_Chin curiously enough first saw the light of day in Canton, China; Harry Bucquet, assistant director, was born into & London fog, and besides the honest-to-goodness Ital , Henry Ar- metta, Robert Ames, Lloyd Ingraham, Richard Carle and Anderson Lawler are the upholders of the talent of our own native A/ | HAINES-and LEILA HYAMS-/» Colum evening. morrow evening. evening. | | FOX—“Men Without Women.” evening. R-K-O KEITH'S—"The Cohens afternoon and evening. COLUMBIA—"“The Girl Said No. TWO more bright lights in the galaxy that will compose the National ‘Theater Players this season have been added to those already introduced. Their records speak for themselves and also bear out the promise of the man- agement in the first announcement that the records of the supporting cast would be commensurate with those of the leading players. Pirst, Dudley Hawley, character man With a record of 6,000 performances in New York alone and a total of 12,000 performances over the country. Haw- ley's last engagement was with M Fiske in “Ladies of the Jury,” a cur- rent season success which never left Broadway. His last appearance In Washington was in “Congai” at the Belasco, Prior to that, Hawley appeared lo- cally in Belasco's “Ladies of the Eve- ning” which had its premier at the National. For the last 15 years he has played only in Broadway productions, though when playing repertoire prior tc that he was rated the highest-sala- ried character comedian in that branch of the show business. Mr. Hawley prizes, among other things, a letter from Julia Murdock, | one-time critic of the Washington Post, | who said in part, “Take it from one whose soul Ku been steeped with | of the plays backward and forward, that your reading of the lines (Mercu- tio) is a delight to the ear, and your interpretation of the part one that is conspicuous by its merit. Your work is as perfect as I have seen.” Mr. Hawley GAYETY—“French Models,” burlesque. METROPOLITAN—"“Song of the West.” Shakespeare, and who knows every one | m been on the stage for 35 years and, if it adds to' the archives, has been murdered 1,178 times, shot 620 times, 10 Giirl Sand No 13 Stage and Screen Attractions This Week. NATIONAL—“Vanity Fair of 1930,” music show. Opens this AUDITORIUM—Robert Downing in “Damon and Pythias.” To- This afternoon and This afternoon and evening. This afternoon and PALACE—“A Lady to Love.” This afternoon and evening. and Kellys in Scotland.” This EARLE—“She Couldn’t Say No.” This afternoon and evening. .” This afternoon and evening. Two Ne& (_)lles. poisoned 558 times, but is still & hand- some dog. Edward Poland, poet laureate of the Lambs' Club as avocation, has been acting for 30 years and is yet far re- moved from the category of old men whose characters he portrays. He was educated at Fordham University, had his Qrst important stage assignment with Annie Pixley, then a favored sou- brette. Foliowing came engagements with Maggie Mitchell, Joe Murphy, Ma- rie Wainwright, and of late he has been in “The Shannons of Broadway,” “What Ann Brought Home,” “Ghosts” with the late Mary Shaw. Also, he has been associated with such celebs ties as Douglas Fairbanks, Amelia Bingham, Mabel Taliaferro, Maclyn Arbuckle and the Dolly Sisters. He 1s the author of many vaudeville sketches, one of which, “Strictly Confidential,” is a standard vehicle in the varieties. One of Steve's Plays. THE talking picture rights of Philip Barry's delightful play “Holiday,” which, incidentally, will be on view at the National Theater when Manager Cochran’s stock company comes out, have been acquired by Pathe for Ina Claire, according to a recent announce- ent. “Holiday” will mark Miss Claire's sec- ond appearance on the talking screen, her debut having been made in Arth Richman’s comedy, “The Awful Truth.” It will provide her with one of those suave, sophisticated roles for which she is justly famed, a role which was played last Winter with much success by Hope Williams. /n “Men itHour KENNETH MAKENNA a7 FARRE.LL MADONALD” Women” Fox ErLra SEARS Gayety Will Make Music for “Lilliom. RXCHARD FALL, the Viennese com- poser, who had this country as well as his own crooning “Oh, Katerina,” a few years ago, recently, came to these shores to write the music for Beatrice Lillle’s new plcture, “The London Pa- rade.” Fate, however, in the form of the managerial Winfield Sheehan, or- dered things otherwise, so that when Mr. Fall reached Hollywood he found he would have to do the music for “Lil- liom” instead. Incidentally, “Lilliom” will serve Janet Gaynor for a return to the straight and legitimate drama. Stock Experience Counts, TAGE experience with a small stock company is the best training for a talking picture career, says Stanley Smith, whose performance opposite Nancy Carroll in “Sweetie” won him a Paramount contract, and a part with the same star in “Honey,” soon to be released. “In the silent picture days stage training was not a necessity ylor l\‘l‘m success,” Smith explains, “Today, however, casting directors are not in- terested in young people who have not had dramatic expression. It is my sug- (l;es:lnn tl.o kfl?ue ‘\Ailth screen ambitions 0 try stock for at least two years before trying to break into the films. This kind of training is invaluable, because it keeps the actor and actress working during practically every hour. When you are not playing in the theater you are rehearsing for next week’s perform- ance, all of which helps to build up the voice and the memory, which, incident- ally are the greatest assets to a suc- cessful screen career.” Didn't Sign on Dotted Line. ARY LEWIS, Metropolitan Grand Opera star, recently agreed to enter the fleld of the talking pictures through the Pathe studios, and her contract is unique in theatrical history for the agreement was wholly without signa- ure. The arrangement was consummated before microphones and cameras that recorded sound upon film. Mr. Derr and Laura Hope Crews, representing Pathe, and Miss Lewis sat quietly, while the terms of the contract were repeated verbally. Every word of the principals to the transaction was registered. - What Downing Has Done. FTER years of retirement from the legitimate stage, Robert Downing, a Washingtonian, is this season re-enter- ing the arena of his former histrionic achievements. Mr. Downing began his theatrical ca- Teer in 1876 as a member of a stock company, and by hard and persistent effort advanced in four years to the leading position in the company. He played with all the great comedy and tragedy stars, who in those days trav- eled from one prominent stock to an- other as “guest stars,” as they were called. He then became associated with Mary Anderson, Temaining with her until she made her first trip to Europe. It was to Mr. Downing's Ingomar that Miss Anderson played Parthenia, in which she became famous. He had been in- vited to accompany Miss Anderson to Europe, but recelving an offer from Joseph' Jefferson to play light comedy roles in his repertoire, and believing that a season or two in comedy would complete his training, he remained with Mr. Jefferson for two years. While with Mr., Jefferson he was ap- proached by the poet of the Sierras, Joaquin Miller, who had just finished & play dealing with the life of the fa- mous stage driver of the Sierras, “Hank Monk.” In this play he made his first stellar appearance, with his own com- pany. After a two years' run of this play, he made a large production of WO'Rthhuuncome via Quinn Martin at wel h th possib] been_achieved. St et oy nh; reporter has managed to worm his way into the sacred den of the dean of the literati, G. B. Shaw, and has made the %n‘r'x'n_)dest sage talk. The result fol- Says Mr. Shaw: “It may tak elght years, but by that time ax artiot who is e‘:elunlvely a opflued a stage, or silent film artist, have been evolved. Let producers stop trying to improve machinery that is already excellent and concentrate on the human side of ‘talkie’ : enced T made. & taremnl o ome me , made a persol &) rance on the talking screen, aum’mc ex- lowing which Miss Lewis and Mr. Derr shook hands and announced to the microphone that they were entirely sat- isfled with the terms of the contract. 4 “‘Vantour, the Exile,” which had been translated from the French for the American stage. Joseph H. Mack then made him an offer of a long-term con- tract to play “tragedy.” He began his career as a ti in “Spartacus, the Gladiator.” ually he added to his “Othello,” “Virginius,” * “Ingromar, the Barba the Fall of Tarquin,” lilah,” “St. Marc,” “The Saracen,” Gladiator,” and ot! head of Mis own company, he toured this country and Canada. About. 20 years ago, at the height of his popularity, he gave up the stage to devote himself to the lecture platform and Iyceum work, for which his person- ality and oratorical ability were emi- nently adapted. A few months ago Henri Gressitt, the well known theatrical manager, ap- roached Mr. Downing with a view to directing and staging classical plays. perience I have become convinced that Teprodused s eeckvely o e msern ec on 85 1f he were addressing the After arranging the necessas relimi- naries, Mr. Downing lunn? to the work with the enmu&lm and vitality of a young athlete aspiring for a cham- plonship. Both T and star actor believe that a revival of the older worth-while plays will be welcomed as an interest novelty to the younger generation ygoers and vevive joyous memories their elders. Made Shaw Talk. himself. But that person must know B e that “talkl “I consider at my e’ was - cessful beca med -t e manner. Film uired, cannot of n‘run excinugvely ::; of entertainment ‘talkies’ can be