Evening Star Newspaper, June 8, 1930, Page 48

AMUSEMENTS THE SI'NDAX-' STAR, WASHINGTON, D. C., JUNE .8, ] 1930—PART FOUR. Coming Attractions *Your Uncle Dudley,” National Flayers Next Week. EORGE C. TYLER, whose name to silver, originally “Your Uncle Dudiey the National Players will offer will be its first appearance in Wash- ington, although its run: Chicago and on the Wes Howard Lindsay and Bertrand Rob- suthors of the Players had on their schedule a | season ago. to the theater is like sterling Mext week, beginning June 16, This more than gratifying. “Tommy,” _which Uncle Dudl Christine. s affairs, are swayed by a dic- tatorial sister, who, with her two chil dren and Dudley mother, reside with him. The sister's dominance reaches the unbearable stage, when Ethelyn, her daughter, competes for and wins an Fdith Gresham. operatic prize which calls for a sojourn | abroad. Dudley sees rescue here from a situation that is becoming intolerable, but Ethelyn jams the works by decid- ing to_stay at home and carry on her own affair with one, Robert Kirby, with whom she is in love. Fatg, in guise of a happy circumstance, comes to th rescue by dispatching the sister abroad and Dudley and his mother are left, facing a freedom they have longed for, This_surface sketch of the them gives but little idea of the situation and line that the authors devised for 8 laughable evening The New York Evening World said of the play: Your Uncle Dudley’ wins_the comedy loving-cup, if only for the reason it is about wholly human and thoroughly amusing people.” Shakespeare’s “Tempest,” National Sylvan Theater, June 19-20. (GOPDESSES and woodland nymphs will mingle with William Shake- speare's imaginary fifteenth century in New York, | presentation of “The Tempest” at the | National Sylvan Theater, in the Monu- ment Grounds, Thursday and Friday >venings. June 19 and 20, at 8:30 o'clock, where the Community Drama Guild promises to exceed in artistry and the beautiful _production of " given last June, which at- | tracted no less than the First Lady of | the Land herself. The guild states it has assembled the finest cast of players, singers and danc- ers that the Capital City can produ | for an out-of-door Shakespearean play. Juno, Ceres ar ) vy Fiora McGill Keefer, Miriam Bangs Hilton and Fran- | ces Bingham Cole, who will sing the marriage song, composed for “The Tem- pest” by Sir Arthur Sullivan. A chorus | of sprites will include Helen Bury, Ma: zaret Barnhart, Frances Cooper, Fau Grindle, Alice’ Neal, Mary Ready and Helen SmeNzer. 'he entire score of Sir Arthur Sul- livan's “The Tempest” will be used by the orchestra of the United States Ma- rine Band, under Capt. Branson, which also will play the incidental and dance music for the spectacle. Lisa Gardiner will direct the Tcherni- | koff-Gardiner dancers in two groups— the reapers, who will offer an old Eng- lish Morris dance, and the nymphs, who will attend the goddesses—and the imps, attendant on Caliban. | . Anne Ives will have the leading fem- | inine role in the play, Miranda, and Laura Barrett will portray Ariel. 'Oth. | er groups will include Judy Lyeth, Lo Tetto Murphy, Ivy Randall, Helen' Zel- ler and other The audience will sit on the grassy lopes at the base of the Monument, but | there will be a limited number of re- served chairs available, Wednesday, at | T. Arthur Smith's Bureau, 1330 G street; the American Automobile Asso- iation, Mills Building. and the Drama Guild office. in Franklin Administration Building, Thirteenth and K streets, “Lulu Belles” Gayely Show Next Week. "LULU BELLES" will ring out in merriment at the Gayety next week. The cast will include many with plenty of “it” as well as talents. ‘The male stars are also sald to register in a big way, as they are veterans in the art of comedy. All new faces, new scenery, new lighting effects, with new kings and princes in the spectacularcostumes, are promised. The Moving Picture cAlbum By Robert E. Sherwood. HERE is nothing so desirable in the eyes of movie producers as a “punch finish.” If & genuine knock-out wallop can be packed | into the last reel of a photoplay, then all sorts of weaknesses and insuf- ficiencies in the preceding five or even 10 reels are apt to be forgiven. “If you can send ’em away with a smile or a tea, or both—then you've got @ hit.” So runs the Hollywood maxim. I can recall very few punch finishes as thoroughly effective as that which | has been tacked on to Marion Davies' new picture, “The Florodora Girl.” The ending is in the form of a musical com- edy number, photographed in Techni- color. As such, it should be stupidly imitative of all the colored chorus festi- vals that have been splashed on the screen since “The Wedding_ of the Painted Doll.” But it isn't. It is & r production of the loveliest, most melo- dious, most thrilling girl-and-music number that has ever been staged, the Florodora sextette, rendering “Tell Me Pretty Maiden, Are There Any More at Home Like You?” Most of the picture “The Floredora Girl” seems to me to be drearily dull. Some of it is actually painful. A bur- lesque-romantic tale of the gay nine- ties, it is filled with laborious and lam- entably unsuccessful attempts at slap- stick humor, In the last reel, however, when I saw Miss Davies and her colleagues come tripping forth to the strains of that eternally popular song, I forgot all the crudities and vulgarities and frailties that had gone before. I forgot such trivia because there was so much of vast importance to remember. George Jessel once said of the late Bam Bernard that he was so sentimental he would cry at card tricks. I can un- derstand that degree of sentimentality, for I cry at the very thought of the Florodora sextette. Whenever I hear that tune played or sung—and there are some old dodderers still alive who histle it on occasion—my heart is whelmed with beautiful thoughts of my home town (New York City) as it was in the vanished days of its charm and simplicity and genial gaiety. There were & few other scenes in “The Florodora Girl” that aroused nos- talgic _emotions —one of & German band, blaring away on a bright carner, and another of a singing waiter, war- bling “My Mother Was a Lady” while the boys in the back room sobbed into their schooners. Both these scenes and many others in the picture are copies of the tenderly humorous drawings by R. V. Culter, who originated the highly appropriate term, “The Gay Nineties” and who recorded so skillfully the glories of that golden epoch. Y ' A LL the big movie producing compa- nies are now issuing their schedules for the coming season. The number of pictures that they are to manufgcture is positively appalling— | features, It is my privilege to present herewith an exclusive announcement from one of the hugest organizations of them all— the Colossal-Lavish-Epic Corporation, of which Sol Colossal is president, Max Lavish, vice president; Moe Epic, vice president; Howard Dietz, vice presi- dent, and John Held, jr., vice president. It is from Mr. Held, who is also public relations counsel, that the announce- ment comes. Colossal-Lavish-Epic was formed, writes Mr. Held, in the infant days of the Aifth largest industry (which was then only the fourth largest) solely in the interests of exaggeration. It was really the realization of the dream of one man, Sol Colossal, who had come all the way from his native Latvia to these United States to engage in the pants business. ‘When Mr. Colossal drifted from pants into pictures, he took with him as part- ners his brother-in-law, Max Lavish, and his nephew, Moe Epic. It was Mr. Lavish who coined the new company's immortal Ilcrln “If it's a Colossal Ppicture, it's big! Later came the gigantic merger where- by Abe Stupendous joined the firm, which came to be known as Colossal- Lavish-Epic-Stupendous, Inc. This was only temporary, however, as Mr. Stupen- dous skipped to the Riviera with some of the company’s funds and one of its most attractive stars, which constituted a direct violation of the Will H. Hays code of morals. So Abe was voted out by the majority stockholders. Now the company has purchased a sound synchronization device which just misses Infringement on other patents and is going in for production of talk- ing pictures on a grand scale, under the trade name of Colossal-Lavish-Epic “Pix-Tox." Their wonder program for 1930-'31 includes 4,966 super-superior 365 outdoor romances (pre- viously known as “Westerns” or “Cow- punk Operas”), a number of unthink- able musical revues (the exact number will depend on how many tunes are left r from -other pictures) and 2,888 Pix-Tox" short subjects. ‘The first of the bi Kohinoor-Ruby-Emerald ~ speclal en- titled “The Blue Pastures,” featuring Norma Lavish, personally supervised by Sol Colossgl, jr., fram the story by Moe Eplc, jr., dialogue by Greta Colossal, music by Milton Lavish, & Cecil B. Epic production. Following this is & BSable-Ermine- Mink-Chinchilla special, titled *“Jour- ney's End in Scotland,” a sequel to “Journey's End in Atlantic City.” This will be all-singing, all-dancing, all-color, ll-cockeyed, featuring “Buddy” Epic, personally supervised by 8ol Colossal, jr., with dialogue specially written by George Bernard Shaw, Eugene O'Neill, W. Somerset Maugham and Samuel Ship- man, all of whom are now employed on the Colossal lot, with additional dia- logue by Harry Lavish. features is a and 50, perhaps, will be the pictures themselves. That, of course, remains be seen and heard. i In fact, as Mr. Held puts it, “This is 0ing to be a Colossal-Lavish-Epic year.” (Copyright, 1930.) Two Wars on the Screen. HERE is a pretty fable which says that man must have his war every 30 years to prevent the earth’s becom- ing too crowded. That war is a his- torical habit which has proved bene- ficial throughout the ages. The last war certainly did its bit toward weeding out the two-footed ani- mal. Now along comes the screen, and in one of its most realistic moods. shows the details of some of this butchering in the most powerful of all war dramas, “All Quiet on the Western Front.” This picture, promised Washington for an early release and now relegated to a late harvest presen- tation, can be, perhaps, should be, seen - by the film enthusiast through the sim- ple_expedient of an hour's train ride to Baltimore. It should be examined at this time, because in most cities it is being skown at rival theaters with “Journey's End,” and because one finds in the two distinct evidence of a dual mwar—or rather two mirrors held up to different sides of the same war. “All Quiet—" makes this “weeding process” one of the most trying night- mares ever; “Journey’s End” shows it in a more 'kindly vein, touching it up with the flavor of Tomanticism. “Jour- ney’s End” builds a slow picture of herofsm, “All Quiet” gives flashes of it, but bears more at length upon the fun- damental spirit of fear—even cowardice —that was more often present than not in the front-line trenches, The futility of such a war—the “historical necessity war” envisaged by some fanatic—is ap- parent_in-“All Quiet,” as it is in “Jour- ney's End.” As a promoter of peace, however, the former is more potent. It is more potent because the possi- bility that such atracities will ever oc- cur again seems Uiveny absurd and be- ezase the sacrifice of o much unknow- 4ng youth, as pictured with the utmost brutaln is & theme that will not stand repetition. To have seen this picture once is sufficient, just as one war of this kind is sufficient. The gentlemanly side of the officer’s war, made sometimes bearable by the whisky mug, and the herolc struggle that went on in the officers’ quarters has made “Journey’s End” seem sym- bolic of what went on at the front, The screen has dealt with it in direct, but never inspirational fashiof. It" has #aken Mr, Sherrifi’s play asd literally to| | blotted it onto & film. As a tribute to cleverly manipulated transplanting it is & grand achievement. In “All Quiet,” however, the genius of the director has been responsible for the really inspiring and totally dif- ferent angle of war, which the camera bas focussed. It seems & more imagis native, & more perfect and more horri- ble record of front-line fighting. The scenes in it are padded with'the mini- mum sentiment—if it can be called sen- timent. when & young boy is watching hix comrade die just after his leg has been cut off; and the effect upon the observer is likely to be more indelible. In fact, the scenes of hysteria and mad- ness in the trenches are done perhaps a trifie too well. Whether one ltkes it or not, “All Quiet” is the most forceful of the war’s dramas, with “Journey’s End,” following it on a side track, & close second. Be- tween the two one might almost say “enough is enough.” There is no more to be said—they have said it all. Lonsdale Story for Colman. REDERICK LONSDALE salled on the Mauretania recently for a short visit to England. The noted English dramatist is returning from Hollywood, where he wrote his first original screen play for Samuel Goldwyn. Ronald Col- man is to be its star. Between now and late July Mr. Lons- dale plans to complete the dalogue and finish production details of the play. On his return he will direct the dia- logue for its production on the Samuel Goldwyn stages. Mr. Lonsdale explains that his screen play is & distinct departure from the adventure and melodrama type of story with which Colman has been associated, notably ‘Bulldog Drummond” and ““Ratfl His is a modern romantic tale, a “love stor! Will Write for Nuncy. ONALD OGDEN STEWART, humor- ist and playwright, has been signed by the Paramount New York studios to write the dialogue for “Laughter,” Nan- ¢y Carroll'’s next pieture, Fox Looking Ahead. PRODUCTION plans have _recently been announced by the Fox Film Corporation, among ~which Hardie Meakin is now super mogul, During the year 1930-31 the following | films will be produced: “A Connecticut | yan Will Rogers in First”; “Oh, for ! Gaynor and Ch: Who Came Bac and Maureen O'Sullivan in “The Princ and the Plumber’: “She’s My Girl (yes) with*Charles Farrell; “Alone With You” with the help of Janet Gaynor | and John Garrick; “One Night in Paris” with—or rather—starring Janet | Gaynor nor. And that fixes up the Gayno and the Farrell Other pictures on the chart of the future include: Victor McLaglen in “On the “The Cisco Kid" with Warner Baxter and Edmund Lowe; Scotland ~Yard”; “Renegades” and The Spider’—the last two including the services of Warner Baxter. Then | among other musicales “New Movietone | ollies of 1931.” “Woman Control,” | 'Girls Demand Excitement,” and other | to be: “Young Sinners,” “Blondie,’ “The Spy,” “Luxury” “The Heart Breaker,” “The Dancers, oing No- | where,” “She Wears the Pants” (with | Fifi Dorsay Wwearing ° them); “Fair | Warning,” “Wyoming Wonder,” and | “No Favors Asked.” As_ Bert Lahr would say, fun—heh ki “Some Huston an Actor. WWALTER HUSTON always swears by his beard, because no beard has ever foresworn him. As Ephraim Cabot, hand-picked by Eugene O'Neill, he achieved tremendous success on the New York stage in sire Under the Eims.” Now, as Ab; ham Lincoln, in the D. W. Griffith pic- ture production just completed, he has done so well that United Artists have signed him to a long-term contract, Huston has done some good things on | the screen, as well as on the stage. In playing & “power role” e doesn't rant. He gels more out of the knuckles of his bony hands than three-a-day thun- derers “getout of ripping fistfuls of thatch from their skulls, He refused to emote when he went into the talkies, and instead of playing such roles s he had on the stage, in “The Barker” and “Elmer_the Great,” he tackled the job of the harassed reporter in “Gentlzmen of the Press” and the intellectually honest and mature father of “The Lady Lies” 'The power was indicated by a sign somewhere along the highway, the works were never turned on, and the movie audiences liked the restraint they have always liked. Even his bad man in “The Virginian"” was Thor pulling punché. Arthur Hopkins thinks he's & pretty good actor. So does Eugene O'Nelll. So does George M. Cohen. ‘They've all hired him and all praised him. D'Annunzio Screen Interview (GABRIELE D'ANNUNZIO, Ttaly's ec- | centric and picturesque poet, nov- | elist, soldier and statesman, is to be introduced to American audiences via the Fox Movietone News. | A picture interview with the Italian | patriot is & featured subject in the cur- rent release of this dialogue news eol- umn., The locale of the interview is D'Annunzio’s Vittoriale sea castle, which was once a battleship, Naval routine is maintained on the beached man-o'- war, with each visitor receiving the cannon salute due his rank and posi- tion in life. A great mountain forms the background. The Movietone News pictures disclose | the poet listening to an orchestra. After | the music he chats informally with his | guests and then recites & line of verse | for the camera, | Pictu;;d for.Cover Page. (GARY COOPER is having the distinc- tion, unprecedented among_ screen stars, of appearing on the cover of an issue of the Saturday Evening Post. The noted Paramount cowboy str has been portrayed by Norman Rockwell, celebrated artist, for whom he posed specially in the Hollywood studio. He is shown being prepared by & make-up expert for his Western role in “The and Spanish. A MOVIE RATTLESNAKE BITE to be reckoned as a | Barcelona” with Janet Gay- | George Westmore, make-up expert of the Metro-Goldwyn-Mayer studio, putting the final touches on a rattiesnake bite. rt of the William left. the make-up i3 a Niblo, director, at Leila Hyams is the “bitten” and Haines picture, “Way Out West.” Frell Photoplay Attractions ___ (Continued From First Page.) Behrman, is described as a smart so- clety drama of love in the four hun- dred, with & number of amusing and effective twists, Its four major charac- ters are a writer, a rich widow, a rich chemist dabbler and & poor girl friend. Trouble arises when the impecunious girl friend puts out her hooks for the petted poet. Director Hugh Herbert is sald to have provided & novel opening and & refreshing climax. Short films and Fred Clark and his R-K-Olians round out the bill. FOX—"Movietone Follies of 1930.” 'HE management of the Fox Theater launched its new policy of starting “the new weck” on Friday instead of Saturday, as heretofore, and its attrac- tion, “The Movietone Follies of 1930," | featuring El Brendel, the vaudeville | comedian; Frank Richardson and Mar- | jorie White, will continue through the current week. The new “Movietone Follies” is not a revue type, but rather a farce comedy, whose music, songs, dances and other incidents are interwoven into the slory, the management states, “as never be- fore on the screen.” El Brendel, known as “the Swede comedian,” is, as all the vaudeville ad- mirers of America know, always and originally funny, and against his rugged hilarity Marjorie White, beautiful and talented in the lighter accomplishments, fits admirably in contrast. The cast also boasts of other players who have their large and admiring following, in- cluding William Collier, jr, Miriam Seegar, Noel Francis and 250 other singers, dancers, comedians and girls whose beauty i thought to furnish a fair -setting for thelr varied accom- plishments. Benjamin Stoloff directed the pro- duction, William K. Wells wrote the dialogue, Joseph McCarthy, James F, Hanley, James Brockman, Con Conrad, | Jack Meskill, Cliff Friend and Jimmie Monaco provided the varied and beau- tiful music. On the stage “Carnival Russe” & Fanchon-Marco idea, provides a Rus- | slan_spectacle, and the Fox Movietone | News completés the entertainment. ‘ EARLE—“Safety in Numbers.” | CHARLES (“BUDDY”) ROGERS in | & & musical romance with strong fun appeal, “Safety in Numbers” is the | offering at Warner Bros' Earle Thea- | ter this week. It is sald to abound in action, beauty, music and eclever comedy dialogue. Romance and & sextet of whistleable tunes, written pecially for this production, & | added Ture. ‘ Rogers is cast as the heir to an im- ;m-n.‘e estate, which his guardian uncle ear: cau: w n s he may be unable to manage be- of his frivolous habits. So he s the youth across the Continent New York, to be educated in the /s of the world by a trio charac- erized by the uncle as “three old fem- inine friends,” who, it appears, turn out to be Broadway show girls, whom | ths uncle has retained to educate his | nephew. There are unexpected and dramatic developments, but the play ends happily. Kathryn Crawford, Carol Lombard and Josephine Dunn are the “feminine friends.” Also in the cast are Geneva | Mitchell, Rosecoe Karns, Virginia Bruce, | Prancis McDonald, Raoul Paoli, Louise Beavers and Richard Tucker. In addition, the Earle will show Vita- phone Varieties and both the Pathe | and ‘The Evening Star-Universal news- | reels, with Graham McNamee news- | casting for the latter. There also will be music by the Earle Orchestra, COLUMBIA—*“Caught Short.” i ARIE DRESSLER and Polly Moran and_their 3 talking picture, | being held another week at Loew lumbia. Anna Page and Charles ton appear in the supporting cast. Marie and Polly are depicted as two boarding house Keepers in the Wash- inglon Square section of New York. Polly is successfully playing the stock market and wants Marie to follow suit, but Marie cannot see her way and an | argument about stocks culminates in & bitter enmity. Polly and her son go to a fashionable beach. This "stirs Marie into action. She takes a chance on the stock market, is suc- cessful and she and her daughter go to the same beach. A crash in the stock market follows and then the fun begins. But it's then thelr common misfortune reunites the old eronies. Benny Rubin in an M-G-M Colorfone Revue, “The General”; the Hungarian Rhapsody interpreted ' in music and action on the een, the Hearst Metro- tone News and the Columbia Orchestra | complete the program. Gaynor and }-:nrr;“ _Swop. | THE spparently imminent “swop* system that is being inaugurated between Hollywood and New York has 4 | received a tremendous and almost ¢ Lena Malena, German, and Nina Quartero, English, who have the same role in {wo-language versions of the picture, “Monsieur Le Fox.” that Director Hal Roach will also turn out the sound records in French, Italian 1t is probable A Gruesome B Powell's most uncomfortable motion picture experience. Powell has been dragged by a lari knocked down, | trampled’ upon and thrown overboard from a ship during his screen career, but he unhesitatingly lists the coffin imprisonment episode as worse than all | those experiences. It occurred during the flming of escape s for “Shadow of the Law,” his new Paramount starring picture. “It really very curious,” says Powell. “There was no danger attached | to the experience, and not nearly the physical discomfort that has come with others I have undergone in pictures. It} was the psychological effect of being imprisoned in a near-coffin that ‘got’ me, I guess. Doctors call the feeling claustrophobia, I think. “I did not give a thought to the busi- ness until I had crawled into the box LAST DAMAGED THEATRE O FRMI 11pm. Adm., 50e | fresh, air. Experience. EING nailed up in a box is William‘innd heard the nails being driven. Then| came the reaction. tion. Air holes had been bored into the box, of course, but they seemed frightfully inadequate. For a mament I experienced the terrible sensation of suffocation. I was gasping, almost pan- icky. Then I relaxed and forced myself 10 breath naturally. “T was unspeakably glad when I could crawl out and drink in big gulps of For the first time I could comprehend the true horror of Edgar Allen Poe's tale wherein the 0 be- lieves he has been buried alive. ‘There was just room | nough tor me to lie in & crgmped posi- | ATIONAL NIGHTS $1.00, 75¢ & 50c | matic piteh. For there is word that | Jariet Gaynor and Charlie Farrell may | desert the screen long enough to appe: |in & musical show being sponsored by Lew Cantor. | “This breath | aking bit of news 1s at present only fi t cousin to a rumor, because it is Mr. Cantor who has an- nounced it. and not the film stars. | However, after demonstrating that their | vocal accessories are not all that they hould be in “High Society Blues,” Miss | Gaynor and Mr. Farrell may very likely | succumb to the lure of Broadway. In that case they would be able to do & | little £ brushing up on their tonsils and at the same time demon- strate that their art is not a one-sided affair linking them solely with the duo- dimensioned screen, |~ Furthermore, since the Fox Corpora- | tion does not seem particularly willing | to have this couple do their stuff in | unison so to speak, the chance of doing warbling together for New York's studded and bald-headed front may be a pleasing antidote for | all’ concerned. Reachlnfi Out to Brondway. HAT the hand of Hollywood may soon be Tocking the Broadway cradle is foreshadowed by the announce- ment that two musical shows are to be financed by Warner Brothers Pictures, Inc. the coming Winter. Neither the exact type of the praductions nor their authorskip has been decided upon, but the eminently successful firm of Con- noily & Swanstrom is to do the pro- ducing. This news comes four days after a speech made in Atlantic City by Harry M. Warner, in which he told executives of the Warner Brothers that his com- pany would seriously enter the Broad- way theatrical field after a little more exparisnice in New York play produc- tion. Unknown to many, during the past season the firm financed “Fifty Mil- lion Frenchmen,” “Top Speed” gnd sev- eral plays presented by A. H Monday and Week MATS. WED. & SAT. 25¢ & 50c 8. B, COCHRAN AND CLIFFORD BROOKE OFFER NATIONAL THEATRE PLAYERS in DAVID BELASCO'S OHARMINGLY BRAZEN AND FURIOUSLY FUNNY PLAY SOULS A _THRI STORY OF TRAFFI IN SOULS THAT W atn Vo8 HREATIH T BACHELOR FATHER By EDWARD CHILDS CARPENTER NEXT WEEK SEATS SELLING ‘YOUR UNCLE DUDLEY! Flying in “White Weather" Dreaded. **\WHITE WEATHER" is the nemesis "' of aviators in the Antarctic, ac- cording to Willard Van der Veer and Joseph T. Rucker, Paramount camera- | men, who made many flights with Rear | Admiral Richard E. Byrd during his South Polar expedition, “White weather” may come suddenly |at any time. The sky becomes over- cast. The sun disappears. tantly the horizon and all shadows vanish, and your plane seems flying in & void, for the snow-covered ground cannot be seen, ‘One has to fly ‘blind’ and land by | | instinct in such weather,” Van der Veer { explained, “for it is impossible to see the ground even at a distance of 25 feet. A man walking along the snowy wastes may fall into a hole or stumble ! over a hillock without being able to see | it at all. | “Our planes never went aloft in such | weather. If it caught them before they | could land, the pilots dropped pieces of board painted black or any other dark object which would lie on the snow and give them an idea of their altitude.” CRiliiDIsysPromisess LTHOUGH the Winter season is not exactly imminent, it can do no harm to remind patrons of the Theater IGulld what is in store for them at the | National when once more the guild sends its -acting company southward. Five plays are to be the maximum presentation of the repertoire, and these will be selected from the follow- ing: “Elizabeth the Queen,” by Max- well Anderson; Bernard Shaw's “The Apple Cart,” “Roar China,” “The Gen- jus and His Brother,” “Lysistrata” (which the guild seems to have taken under its wing after its great success in Philadelphia), “The Coward,” “The Good - Soldier Schwelk,” ‘“Hotel Uni- verse,” “The Lonely Way” and “The Second Man.” New plays also are promised by Eugene O'Neil, Maxwell Anderson and Sydney Howard. ‘The acting company will consist of the following, augmented by luminari who may be gathered along the wa: Alfred Lunt, Lynn Fontanne, Alla Nazi- mova, Tom Powers, Glenn Anders, Earle Larimore, Alexander Kirkland, Elllot Cabot, Dudley Digges, Henry ‘Travers, Helen Westley, Elizabeth Ris- don, Gale Sondergard, Frank Conroy and George Gaul. DOROTHY MACKAILL Fooled her director, Michael Curtis, when she donned this costume of a Mexiean boy and appeared as an extra in the new picture, “Bright Lights.” Mother by Profession. BACK in the buggy-riding days of 1906, Emma Dunne was screen mother to Mary Pickford, Cecil B, De Mille and Charlotte Walker. That was in “The Warrens of Virginia.” After that Miss Dunne almost mothered_the life out of herself on the stage. Now | she is doing the same thing for the screen, Since she was 16, Emma Dunne has specialized {n the maternal side of character parts. She has always re- fused ta be & flapper. She has always played parts far in excess of her actual years. She thinks that mother parts are the ideal relaxation for any woman blessed, or cursed, with a theatrical flare. Twenty-four years of her life have been devoted to grease-painted motherhood—and she loves it. In “The Texan" Miss Dunne thinks she is the mother of Gary Cooper, al- though every other member of the cast knows she isn't. That's the story. If you don't believe it, trot around to the Palace and see for yourself, Steve's Company ljp and Duwn. T 'HE National Players went up in the alr this_week, not figuratively but literally. ~ Floating on Washington's Summer breezes, they encircled the va- rious buildings and looked down upon the Natlonal Theater's creamy surface. Although tea quaffing was said: to a part of the afterncon’s joyride, Dame Rumor hath it that for gastronomical reasons both the tea and its subsid- iarles were dispensed with—also that the plane came sneaking down well ahead of its schedule. Ferhaps Count Dracula was amongst FREE ADMISSION AMUSEMENT PARK PRESENTS ITS MORE THAN FIFTY ATTRACTIONS FROM NOON 'TIL MIDNIGNT THE IDEAL PLACE FOR RECREATION SPACIOUS PICNIC GROVES KIDDY FUN AREA AND ENJOYMENT FOR “MA” & “PA” “BRO” & “SIS” COUSINS AUNTS UNCLES AND GRANDPARENTS TAKE WASH. RY. & ELEC. CAR MARKED CABIN l:lil '. PaRK ENTRANCE. THEY RUN"EVERY PV MINUY AMUSEMENTS. Drama Old and New By Percy Hammond. N ROUTE from St. Louis the, other day Samuel Chotzinoff, | the musician and eritic; Sig- mund Romberg, the operetta | man, and Robert F. Coleman, | the Broadway sage, were discussing the | state of the drama. Since all of them | are successful in their contacts with the | theater, they found its condition not! unsatisfactory, considering the handi- | caps under which it strives. The pub- | lic's passion for dirt, it was agreed, in- | terfered with its natural inclination to | be wholesome. The same public’s de- sire to be amused rather than edified stifies its yearning to be profound. Ex-| citement instead of sobriety riles the conduct of the stage, and therefore as an instrument of progress it is limited in its operations. “The drama's laws the drama’s patrons give.” In these precarious times, the argument con- tinued, it offers’ few solutions to the heavy problems that annoy us, and, whereas it might lead, it lags behind. The statesmen, laboring so vociferously on our behalf in the Capitol, look to it in vain for aid. Although it is a platform from which many helpful ideas should | spring, it remains, as Mr. Coleman aptly said, the clown of the arts. As such, despite its canonization by superstitious pedagogs, it is a romp and of no_more significance than a baby's toy. These cynical decisions, I must add, were not entirely harmonious to my companions on the journey, Mr. Chotainoff, Mr.| Romberg and Mr. Coleman. * % ¥ x 'HE Green Pastures” and “Thei Last Mile,” perhaps, represent | last season's drama in its most serious mood. Mr. Connolley’s sympathetic ex- folure of the religion of our fathers urns, I daresay, no bellevers into in- fidels and leaves the Old Testament just about where it was. “The Last| Mile,” a popular emphasis of the ob- scenity of capital punishment, stops few murders and makes few converts to the doctrine, “Thou shalt not kill!” Both “The Green Pastures” and “The Last Mile” are expert amusements, but as advice o humanity they are only water in a sleve. The mission of the drama, it seems, as Mr. Coleman said, to gmvoh recreation, mot to inspire conduct; and in that function it is adept every once in & while. What more could be expected? * % x x “YHJJAM A. BRADY, having won a Pulitzer prize, is, after the fash- ion of most heroes, a little contemptuous of his badge. He writes me as follows: My dear friend: _Last Sunday, in chatting about the Pulitzer prize and other interesting theatrical matters you said: “When ‘Street Scene’ was in peril from non-attendance it was saved by the Pulitzer award.” May I be 50 bold as to correct this statement. “Street Scene” played to the absolute capacity of the Play- house for a full year, never hav- ing an_empty seat either before or after the Pulitzer award. Happy to correct you, I remain, yours as ever. WILLIAM A. BRADY. ol 48 'HE players’ revival of “Milestones inspired F. P. A. of the World to write a semi-mournful song in bailade form, reminding the middle-aged that they are growing older. Recited by Edwin Milton Royle, himself a hoary milestone, it made many of those pres. ent conscious that threads among the gold. Where, Mr. Adams asked, are the mimes of vyes. terday? Gone, he answered, as Villon's girls and snows are gone. ter Daily and Elfie Fay.” He might have in- quired about Jerome Sykes, Thomas Q. Seabrooke, Dan Daly, Johnny Slavin, Blanche Ring and Wilton Lackaye, all of them lively in his younger days, but now dead or dormant. Among the gone and forgotten he might have included Weber and Fields, Lillian Russell and the legs of Frankie Bailey. Mr. Adams should have showed interest in the whereabouts of Lulu Glaser, Mabel Bar- rison, the Dolly girls and Carmencita, Does he not remember ‘“Honey Boy” Evans, George Primrose and Lew Docl stader, Glen Macdonough, Julian Mitchell, Henry Blossom and George Ade? Lotta Faust, Julia Sanderson, Billie Burke, Donald Brian, Klaw and Erlanger, the Rogers Bros. and Pinero?* * + s’ Well, the winds, as Villon says, have blown them all away. So here we are left, with Gertrude Law= rence, Buddy de Silva, Bert Lahr, Frances Williams, William Mahoney, Earle Carroll, Butler Davenport, David Belasco, Myron Fagan and others, in- cluding the everlasting Ziegfeld. Outdoor Amusements GLEN ECHO PARK. | ARER than the proverbial day in | June is said to be the man, wom- an or child who visits Glen Echo and fails to have a good | time. The big free-admission | park is a land of fun. Each year new amusements are added, and this season among the new ones is & glant Ferris wheel, with a big free at- traction, a magnificent electric foun- | golf-playing device, | regulation golf clubs. Crowds without | regard to age find pleasure in the roller coaster, the big Dip, the Derby Racer, | the Aeroplane Swings, the Midway, and | the picturesque Old Mill. A regular feature every night except Sunday is dancing in the ball room to the music of McWilliams' Orchestra, | from 8:30 until 11:30. ‘The picnie season is under way, and | parties will find everything in readiness for their comfort, in the line of shady | spots, tables and chairs, Motorists will | find free parking space, and Glen Echo and Cabin John cars maintain regular | schedules. | SEASIDE PARK. ! G EASIDE PARK, the new amusement resort which has replaced the old | boardwalk and concessions at Chesa- | peake Beach, is located just a few steps | from the @hesapeake Beach Railway station, to which rapid and convenient train service is provided from the Dis- triot line station. A new bus service from Ninth and Pennsylvania avenue supplements the service provided to the District line. Typical outdoor amusements are to be found at the new park—from a thrilling roller coaster to a miniature railway that offers a unique ride about the park. A | new swimming pool will be completed shortly, one of the largest in the East,| with accommodations for 12,000 bathers | daily. In the new ballroom every evening Joe Lurell and his famous musicians from the Grand Central Palace, New York, make whoopee for the dancers, In the | afternoon when the band is off duty, | dancing is possible by an excellent broadeasting arrangement that has been installed. MARSHALL HALL. | ARSHALL HALL, a beautiful and historie pleasure resort on the Po- tomac presents a number of entertaining | attractions, dancing in an | —NOW PL sel, airplane swings, shooting bowling alleys, etc. Delightft grounds are lable, with ample tabl and benches. The steamer Charles Macalester year leaves the Seventh street whart 10 am, 2:30 pm. and 6:30 pm. Marshall Hall, CHAPEL POINT. 'HE steamer City of Wi | makes a trip to Chapel Pom day except Tuesday and for moonligl rides every evening except Tuesdag Chapel Point is famed chiefly as & bathing resort with a beach safe and sandy and up-to-date accommodations ‘for riding, boating, athletics and danc- ing. This steamer has a capacity of 2,200, makes 18 miles per hour, and its dance floor will hold 300 couple: Music is furnished both day and night, the lat- ter being a feature of the moonlight rides. The boat leaves for Chapel Point lla: am. and for the moonlight ride at pm. Glenn Hunter ‘Goes Talkie: LENN HUNTER, famous as ‘‘Merton of the Movies," has returned to the motion picture field and will make his first talking picture at the Tiffany Studios. Phil Goldstone, chief studio executive, has signed Hunter for the leading masculine role in “Why Marry,” a farce melodrama. Frank Strayer will direct. - Vera Reynolds has been signed to play the leading feminine role, Others in the cast include Nita Martan d_Paul Hur: MARSHALL HALL STEAMER Charles Macalester i R T A Dancing—Bathing—Al A ments ROUND TRIP, 50c GAYETY THEATRE “JAZZTIME REVUE” with ERI%/ JACKSON The Personality Queen of Jais- AYING— THE YEAR’S MOST SPARKLING, SOPHISTICATED TREAT! Solomon had a hundr i he baek compared with this thrill-jaded playboy with a thousanc sweet- wa number there are silver '