Evening Star Newspaper, March 23, 1930, Page 53

| Theater, Screen and Music Part 4—14 Pages LAWRENCE [IBBETT omns CATHERINE DALE OWEN- In" The Columblag - Rogve Jbfly i JOSEPH WAGSTAFF ans LOLA LANE - /n " Lets Go Places” Fox Classics Continue as a Theater Force. BY PHILANDER JOHNSON. ‘Thanks to the Theater Guild and its judicious librarians, and thanks also to the late William Shakes- peare, whose plays established a pattern in English drama which germns an actor Iatitude beyond he strictly Shakespeare produc- tions, the season in Washington has managed to step confidently on toward the annual event rep- resented by that once humble en- terprise, the stock company. Having played both sides of the Avenue, the classic drama sought a refuge in the halls of the Audi- torium, which have not echoed to the robust declamation of blank verse since the late Robert Man- tell varied his scale of prices in deference to the tradition that Shakespeare was a playwright for the people, and not necessarily a box-office aristocrat. x % * X In order to be a Shakespearean actor, it is not positively necessary to play Shakespeare. The two g‘lays which oecupied the Down- g week were “Damon and Pyth- ias” and “Ingomar,” the first written by John Banim in the early years of the previous cen- tury and the other adapted from the German by a most talented woman, Marie Lovell. “Ingomar” is one of the few cases in which translation is regarded as prov- ing in some respects even better than the original. Miss Lovell made some of the lines ring so true in our own language that they are still quoted. Parthenia’s definition of love as “Two souls with but a single thought; two hearts that beat as one,” is still quoted in moments of old-fash- joned romance, despite the prob- lems arising from current efforts to limit the responsibilities of wedlock almost as carefully as the responsibilities of a financial cor- poration. The excursions back into the realms of early poetic fancy ap- parently are enjoyed by a public that has studied a new world since the one when conservative ideas raised hands in holy horror at what now seem trivialities. Commentators invented the hrase “fin de siecle,” in recogni- ion of what seemed a mad rush which must land the world in an- other century where life would seem almost as strange as if it ‘were encountered on another plan- et. It is strange to find death- daring devotion so enduring an element in popular literature as reflected on the stage. It survives from the time when standards were so illiberal that the police felt called upon to paste adver- tisements over the pictures of bur- lesquers whose costumes appeared too scant. The police have turned to more important duties, as they chase racketeers or check up on overtime parking. * % ¥ * Mr. Downing's company in- cludes some first-rate support among the men and a very charming leading woman in Helen Dale Brown. It also calls into service talents which have not It is no easy matter to hold a place in a picture where a vet- eran like Mr. Downing asserts himself with such calm security. It is argued that an actor must feel the emotions of the roles he fllyl with great intensity. Yet t is the actor who knows so well what he is about to do that he dismisses any agitation of mind on his own account, and some- times conveys the impression- of greatest emotion when in reality he is mentally most serene. It used to be said that after thrill- ing an audience with his mag- netic presentation of a great role, Edwin Booth would sometimes amuse himself by a deft touch on the banjo, which was then con- sidered the most frivolous of in- struments. * % %k % It is the very young actor who finds himself with new work in hand which calls for powerful presentation who is likely to feel the part too much and set for himself a temperamental task which it is beyond the physical nature of humanity to perform completely. While a rather long list of dramatists have succeeded In making their work worthy of high rank in a classical repertory, it has been recognized as absolutely necessary to avoid any hint im- plying a denial of the supreme di- vinity of the master poet of the English language. Such a literary atheism found swift retribution at the hands of the gallery gods. A melancholy fate awaited a stanch American poet whose name is graciously omitted from the anecdote by all biographers. The manager was so deeply im- pressed by the merits of the man- uscript that he hailed the author as “the American Shakespeare.” The author wailed and protested. He had the intended compliment suppressed as far as possible, but the shafts of ridicule immediately released were so many and so swift that he could never over- teke them. e The fear that successes would be but few in New York City has been dispelled. But the successes are cherished with so much en- thusiasm that the old practice of arranging to send them on the road early in their careers has been abandoned. Any one in the Middle or Far West desiring to organize a theater party to see them can telegraph for seats and charter an airplane. ‘This city has not been greatly favored with try-out productions of history-making value. Loyal audiences are entitled to look for- ward with a sense of confidence to the presentation of “Jonica,” which is announced under distin- guished auspices as a New musi- cal comedy. The word “New.” as apolied to a musical comedy. is not always reliably significant. To some overtested ears they all sound very nearly alike. Yet when there is reallv a New mel- odv show the public is joyously thrilled. The hove is confidently weathered the seasons which must pass before a man can look anehely like what the imagina- expects of a Roman senator. entertained that “Jonica.” with its eorgeous ballet, will hark back to the days of the “Show Boat” and prove a Real One. AMUSEMENT SECTION he Sunday Star. ‘WASHINGTON, D. G L JoycE BARBOUR.- .\ /n UJonica” “The Merr Polis STANLEYSMITH and NANCYC ARROLL- In *Honey “Metropolitan le'l‘ week's attractions at the photo- play houses, which will get their start this week, some on Priday, others on Saturday, will bring Lenore Ulric's second talking feature, “South Sea Rose,” to the Fox Theater Saturday morning. The Belasco star of many successes is supported in her exotic picture, in part, by Charles Bickford and Kenneth MacKenna, and the fea- ture picture will be sufplemented with the usual excellent bill of stage acts and entertainment. At the Loew Theaters, also opening the week on Saturday, “The Rogue Song” will entertain Columbia audiences for a second week, while at the Palace, Gary Cooper and Mary Brian will be seen in the Paramount talking produc- tion, “Only the Brave.” Leading the stage entertainment at the Palace, the Ritz brothers will be outstanding in “High 8 L” & Loew attraction that comes ectly from the Capitol The- ater, New York. At the Warner theaters, the Earle will present a new crook story and the Metropolitan will feature George Arliss in “The Green Goddess,” a talking fea- ture adapted from the play in which Mr. Arliss won additional honors on the legitimate stage. The R-K-O Theater has not an- nounced its ‘new bill for publication, The Warner theaters, the Palace and the Metropolitan, will start their week hereafter on Friday; the others, which have started their week on Saturday, have not announced any change in this respect. Contract of "Gay Nineties," | Re: HARRY BEAUMONT, while browsing amidst his theatrical library in quest of tradition for Marion vies’ new picture, “The Gay Nineties,” dis~ covered the contract of the famous Floradora Sextet with the Schuberts back in 1900. It seems that “they could not en- courage, contract for, or engage in any marriage during the engagement,” that they could not participate in the follies of early-morning parties, or accept at- tentions from e-door Johnnies,” and that at the slightest indication of dissipation they would be fired. Telephone Hot on “Whoopee' TH.! February telephone bills for transcontinental telephone confer- ences between Samuel Goldwyn and Florenz Ziegfeld are reported as $1,630.25, all on account of “Whoopee,” Eddie Cantor’s first starring picture under the recently formed Ziegfeld- Goldwyn ‘p-nnmhlp. There was an average of more than three calls a day. Among other things, musical themes played on the plano were transmitted over the telephone for eonlldlentlon & score i calls were of an hour’s duration, Natrons/ | MAXINE EVELWN; Palace &3 faye) Wello Sister SUNDAY MORNING, MARCH 23, 1930. Motor, Aviation and Radio News HELEN DALE BROWN- With /%krfDOWfl///y Co- OLIVE BORDEN and LLOYD HUGHES- / Earle HELEN MORGAN - 570 CHARLES RUGGLES- I RoadhouseNights ‘; Palace GILLETTE-} VITALE -Gayety She Is an English Girl. 'OYCE BARBOUR, who plays the title role in the musical play, “Jonica,” which opens tonight at the National ‘Theater, has the distinction of having created the flapper chorus girl vogue in London. Miss Barbour is one of our English cousins who came over with an English play in 1924 and has since visited us intermittently. ‘The fashion in London at one time was the more mature chorus girl. At the age of 14 Miss Barbour gave an audition at the Galety Theater which resulted in her engagement. She rose from the ranks to become one of the most popular musical comedy artists in_London. In 1924 she was offered the oppor- tunity to come to America in the dramatic play “Havoc,” which also brought several other fine actors to this country, among them Richard Bird, Leo G.!' Carroll and Ralph Forbes. Incidentally, it is the only dramatic part she has played, for, in spite of the fact that she was extremely well re- ceived in it, she feels that her forte is musical comedy, which gives her wider latitude for the display of her talents as a singer and dancer. While here she was drafted to re- place Gertrude Lawrence in Charlot's vue, when Miss Lawrence suddenly e ill. This was no mean assign- ment, but Miss Barbour came through With colors flying. She remained here for two years and then went back to England to appear in two plays, and then return in 1928 to appear Stage and Screen Attractions This Week. NATIONAL—“Jonica,” musical comedy. Opens this evening. POLI'S—“The Merry Widow,” operetta. Opens tomorrow evening. AUDITORIUM—Robert Downing in “Virginius,” classic tragedy. Opens tomorrow evening. GAYETY—Lake’s “Big Revue,” burlesque. This afternoon and evening. COLUMBIA—Lawrence Tibbetts in “The Rogue Song.” This after- noon and evening. R-K-O Keith’s—Evelyn Brent in “Framed.” This afternoon and evening. METROPOLITAN—“Honey,” with Nancy Carroll. This afternoon and evening. FOXl—-Lcla Lane in “Let’s Go Places.” This afternoon and eve- ng. ni EARLE—i'x;Hel]o, Sister,” with Olive Borden. This afternoon and g. even| PALACE—Helen Morgan in “Roadhouse Nights.” This afternoon and evening. inl sion of hair-raising experiences. “Present Arms,” in which she intro- duced the song hit, “You Took Advan- tage of Me.” At the close of her play she returned to her homeland, but came back in 1929 to appear last sea- son in “Spring Is Here.” Her appearances here, it seems, have been annual events, interspersed with trips back to London. She has been almost commuting between the stages of Broadway and Piccadilly. Arliss in “Green Goddess." "THE Green Goddess,” from the thrilling play by William Archer, and featuring George Arliss in his char- acterization of the Rajah of Rukh, will be the next attraction at Warner Bros. Metropolitan Theater, beginning Friday. Those who saw, heard and admired Arliss in his matchless performance of the title role in “Disraeli” will be de- lighted with his assumption of the suave, sinister personality of the wily rajah in this latest Warner Bros. and Vitaphone classic. ‘The picture describes the startling ad- ventures of three English strangers— two men and a woman—whose plane is forced down in the kingdom of Rukh, where the green goddess is worshiped, in the fastnesses of the Himalaya Moun- tains. Unwittingly trapped in the castle of the rajah, they have a rapid succes- Palace (\S“lage) Jimmy Lake Stars. ANAGER JIMMY LAKE of the Gayety Theater will star himself in his own burlesque show, which he calls “The Big Revue,” at the Gayety this week, thus illuminating his theater in a dual capacity; for although he will return to the boards as & performer— and he is said to have a highly cred- itable record in that line—he will do 80 without relinquishing the managerial reins of the theater. This, it is believed, will be of much interest to the large clientele of the Gayety, which is now ‘Washington's lone temple of burlesque. Manager Lake has been closely iden- tified with the movement of the Mutual burlesque circuit, under President Herk, to modernize burlesque while yet pre- serving to that type of entertainment the characteristics, without the faults, | Rogu that made it widely popular in days gone by. He is thoroughly familiar as well with the duties of the burlesque entertainer, and as such should be a competent judge of those who seek to fill that role, no matter in which of the branches of burlesque the desire may Tun. He has fitted out and equipped a show designed to meet the demand of the times in spectacle, funmaking, singin and dancing in all of its phases. An he himself says “The Big Revue” will make the burlesque fan forget his trials and tribulations and enable him to revel in the land of make-believes, “where ge;ythlnz 1s lovely as the goose hangs gh Sy Greta Making “Romance.” AH‘E‘R having shattered box-office records _throughout the country with her first talking film, “Anna Christie,” Greta Garbo is now busy with “Romance. ‘The picture, in which the star takes the role of an Italian opera singer who has to choose between love and a ca- reer, is taken from the well known play in which Doris Keane appeared a number of seasons. Clarence Brown is directing. Others in the cast include Gavin Gordon, Lewis Stone and Flor- ence Lake. Radio Buys Sardou Play. VXC‘IOM SARDOU'S hfiglflmfl!y lamous play, “A Scrap of Paper,” has been purchased by Radio Pictures, and will be produced as a special talking production, according to an announce- ment by William Le Baron, vice presi- dent in charge of R-K-O productions. FRAMED" Audrtorium R.KO. Keiths Moving Picture cAlbum By Robert E. Sherwood. HE rare and priceless virtue of simplicity is astonishingly evi- dent in John McCormack’s first film, “Song o' My Heart,” and is responsible for the consid- erable and deserved applause that has greeted this unpretentious production. Of course, Mr. McCormack's singing also contributes somewhat to the pic- ture’s success; but I doubt very much that it would have sounded so well in a more elaborate setting (such as that provided for Lawrence Tibbett in “The e_Song,” or for Dennis King, in realized this, and who steadfastly re- fused to involve himself in anything remotely resembling an extravagant movie musical show. He would not con- sent to be converted, by the phony al- chemy of Hollywood, into a romantic lover, He rejected every standard plot that was submitted to” him, with the result that “Song o’ My Heart” is prac- tically plotless, and therefore simple and thoroughly charming. Its merit increases as one considers what it might so easily have been. ‘There was every temptation to use all the properties that have surrounded Irish tenors in the t; the old mother, the tumble-down ick with the pig in it, the unspeakably villainous landlord, the gay broth-of-a-boy with a hat with & buckle on it, the impish colleen with her ‘fists on her hips and her elbows thrust forward, the horse race in which the colleen dresses up as a jockey and rides the Irish mare to victory over the English horse, and such words and phrases as T8, bers,” “bedad” and “bad cess to ye. It must be admitted that “Song o’ My Heart” does make use of a pair of comi- cal Irishmen who bear a perceptible re- semblance to the Pat and Mike of tra- i . However, it so happens that these two happen to be really comical, thanks I to excellent perform- i i Koo d Fae . Mr. Kei ar achieves a characterization that will be & source of pride and delight to his old cronies of the Abbey Theater in Dublin. * ok k% JOHN McCORMACK has considerably more than a beautiful voice; he pos- sesses an absolutely superhuman amount of good sense. That which he put into “ o' Heart” is no more impor- Talking screen rights to the play were acquired from Sardou’s estate, the film company having purchased the original French manuscript. A special English translation and adaptation is being made for the talking screen, ac- cording to Le Baron. that which he kept out of it. unselfconscious as Rin Tin Tin, or Rex the Wild Horse, or Jackie Coogan (of blessed memory) and, in his pleasantly effortless manner, he is remnhbsi nielghborly and, if I may use the nice. Although Mr. McCormack sings a dozen times in the picture, he imposes no strain on the audience’s eardrums. The songs are introduced casually, and have been recorded perfectly on the ever= improving movietone. To hear Mr. Mc~ Cormack sing Eugene Fleld's “Little Boy Blue” is to undergo a genuinely har- rowing emotional experience. = Incle dentally. there is none of the “Sonny Boy” taint in Mr. McCormack’s rendi- tion; he does not sing with a mechani= cally broken heart; he sings only with the sincerity of an artist. Thanks are due to Frank Borzage for directing “Song o' My Heart” as it should be directed, with admirable re= straint, and to Tom Barry for equip- ping it with free and easy dialogue. And there must certainly be complimentary mention of John Garrick and Maureen O'Sullivan, who contribute the love in- terest, and do it in an entirely painless manner. Indeed, “Song o’ My Heart” avolds the “typical” all along the line. It is the most unmovieish movie since “Stark Love.” T HERBIZRT BRENON must feel pretty bitter about the reception of “The Case of Sergeant Grischa,” on which he has lavished so much time, energy, %€ | brain power, courage and money (not his own money, to be sure, but still money). Every one is patting Mr. Brenon on the back with one hand, and him on the jaw with the other. being told: “We congratulate you warmly on your great daring in adapt- ing Arnold Zweig's fine novel to the screen—but—you have a - able botch of the job.” As one of Mr. Brenon's admirers 1 should like very much to detach myself from this dismal chorus and say some- thing really cheerful about “The Case of Sergt. Grischa”—but here I T have to confess that the picture bored me beyond words. In mitigation of which, I may as well confess that so did oy & /o Wil taginess a le s about “The Case of Sergt. Grischa” which destroys all illusion of reality. This He never makes the slightest attemp: to act. He gives the effect that he is walking on and off the scene in his own clothes and at his own discretion. He is as utterly artless and ingenuous and staginess is due to the dialogue (the German soldiers converse in \d doughboyese) and to the acting, which is ham. (Coprright. 1080.)