Evening Star Newspaper, October 5, 1930, Page 59

| Theater, Screen and Music AMUSEMENT SECTION he Swundwy St Motor, Aviation and Radio News Part 4—10 Pages FRED\WARING - D,mm Ortestra-Earle (Stage) WASHINGTON, D. C, GLORIA SNWA N\ hata \Widow “Columbiz NSON- /n RoLAND YOUNG, REGINALD DENNY &7 KAY JOHNSON - /n* Mada e CHESTER HALE GIRLS - Ps/ace(S¥g9 Old Friends and New in the Playhouse. BY PHILANDER JOHNSON. In spite of conflicting opinion as to the merits of the play, “Pagan Lady” remains in impres- sion the gutstanding occurrence of a season struggling toward il-| lumination. It is a slow and foggy moon rise, with the stars awaiting opportunities which time may bring about to assert their old- time effulgence. * ¥ ¥ * “The discovery of the new generation” is asserted as a theme of philosophy in the school that now assumes to make so-called philosophy a means of jovial and perhaps slightly irresponsible en- tertainment. The theater, as it remains the brief and abstract chronicle of our time, reflects this quest for the new generation as it has always reflected the im- pulsive tendencies of mass pro- duction. The theater, for instance, was the ‘original and remains the most conspicuous exponent of the chain store idea. The artist to whom the question of discovering * the new generation was brought, an artist resuming his task and struggling for recovery from the moral and intellectual devasta- tions of the war, replied, “We are the new generation.” x ok % The ‘theater carries on with brilliant beauty with the ideals established before the world was shocked by experiences which were beyond belief, even beyond imagination. Those now making our entertainment are the ones who were trusted and admired in the day when the theater was regarded as an exponent of re- sponsible cultural influence. Charles Dillingham, most ver- patlle of theatrists, equally at home in presenting a Julia Mar- lowe or the Duncan Sisters, lends prestige to the restoration of the favorite, Fred Stone, to the foot- lights. Not content with rope dmcinfo and broncho busting, Fred Stope would insist on avigt- He comes back from a crash all the old-time glint of mer- m Satan” riment in countenance and ges- ture, and, by way of introducing the new generation on tactful terms with their elders, ‘presents his two charming daughters, apt | pupils in what he was best able to teach, rhythmic expression of | physical grace. |~ Parents in the theater, regard- less of pecuniary estate, leave a priceless legacy of reputation. Ethel Barrymore, for instance, | herself a beautiful example of hereditary prestige, is introduc- | ing her daughter in serious drama |with every advantage that a | debutante 'in the theater could | enjoy. * ¥ ¥ % Anna Held has a daughter who is actively interested in modern productions. Asking no assistance | from later arrivals on the scene, |Maud Adams and Mrs. Fiske line |up names that carry reverential | expectation along even with that | expression of indomitable vitality and experience, David Belasco | himself. George Lederer emerges from the days when the Casino in New York meant everything in| musical merriment and lends the luster of tradition to a tuneful creation called “Pajama Lady.” From a distance, the title does not seem so good, but Lederer was never much bothered about titles since he piloted to fine success “The Lady Slavey,” which persons uninformed as to the phraseology of the London household thought | probably related in some way to ethnological complications orig- inating in Africa. The name “Casine,” -in the - vicissitudes of Broadway, has come to meah very little and the name of Lederer| continues to mean a fot. The degree in which the theater rests its faith in reputation even more than in literary attainment is shown by the extraordinary de- votion to Lenore Ulric, which followed her regardless of a rather frazzled manuscript through a torrid week in Wash- ington and commanded a large box office sale in Newark, N. J. It is not to be taken for granted that Newark will set the theatri- cal pace for Manhattan. It is an unwritten law that no reviewer for metropolitan print permits himself the luxury of carfare to any point outside the recognized white light area. 4 * ok ok ok 'nuv émpnflm- *{ “Pagan Pslsce Lady” to “Rain” appear.to be en- couraged by the promoters. It is not a justifiable comparison, for “Pagan Lady” is an uncompro- mising and irretrievable “vamp,” while Sadie Thompson held the powerful psychological advantage of one who struggles with fate and , circumstances against tre- mendous odds for the attainment of her own inborn aspiration. The theater in its analysis of mental and emotional processes, frankly powerless to estimate the forces it employs, mfght have been vastly benefited if the learned Dr. Freud had condescended in his varied wisdom to interest himself for some passing moments in dra- matic criticism. The success or failure of a play depends, after all, on the degree in which it can ap- peal to the imagination of an au- dience for at least one brief eve- ning as a wish fulfilled. *x ¥ ¥ ¥ “Broken Dishes” came into evi- dence with a not very reassuring title as a simple domestic farce. It is hardly qualified to go into competition with the almost des- perate desire for intensified ex- pression on lines of mental rebel- lion. Having tasted red meat, the | | public will no longer be content | with porridge. * ok K x The permanence of the theater as an institution, its social economy, demonstrates itself by the manner in which October fol- lows its same old playhouse cus- toms, regardless of geographical and architectural changes which sweep across the ma?. Earl Car- roll pursues his publicity at any sacrifice and writes to the news- papers, whom he once forbade to attempt serious criticism of Lady W Cathcart, requesting advice con- cerning song numbers for his spectacular road show. Robert Long, who represented Carroll for some time and contributed a few apt phrases to. his publicity re- pertoire, reappears with sunrise smiling to represent “Abraham Lincoln.” It is evidently not the intention to admit that the last word on this magnificent topic was spoken by John Drinkwater. W. W. Warner conveys stimulat- ing assurances that there is still song and satire to be expected un- der the Lederer banner. Wallace Monroe conveys the pleasant news that Madge Kennedy will lend her brisk talents to the support of the | Belasco Theater, where Stoddard Taylor holds the fort coura- geously, even in the face of the Government itself ready to de- scend at some more or less dis- tant period with a writ of eviction served by State authority on all the nine muses. [ SUNDAY MORNING, OCTOBER 5, 1930. SCREF evening. and evening. On the evening. evening. PALACE—“Madam Satan.” and evening. evening. HEN D. W. Griffith was preparing | to produce his screen production, | “Abraham Lincoln,” he discovered there | were not less than 45 men and 2 women {in the United States who bore a strik- | ing resemblance to the Great Eman- | cipator. One of these, a minister, | strangely enough, was baptized “Lin- |coln.” 'He is Lincoln B. Caswell, a Methodist minister of New York City. Scores of applications were received by the producer-director. The most remarkable discovery was that the two women so closely resem- ble Lincoln as to compete with pro- fessional impersonators. One of these is Lucille Verne, the American actress who recently startled London by appearing as Shylock in “The Merchant of Venice.” She is better known in America, where for five years she ap- peared as the star of “Sun Up.” Incl- dentally, she is a member of the “Abra- ham Lincoln” cast. The other is Sophia A. Hume of Los Angeles, who went to the trouble and expense of being photographed in an exact duplicate of Lincoln’s presidential costume, not even omitting the umbrella, the beard and the small mole on the right cheek. Out of 148 applications, Griffith dis- covered only 45 of the required height; uunqolnm!mumcheemm Stage and Screen Attractions This Week On the Stage. NATIONAL—“The Pajama Lady” (premiere). BELASCO—"“Everybody’s Secret.” GAYETY—Steppe’s “Big Show” (burlesque). COLUMBIA—“VYhat a Widow!” This afternoon and evening. METROPOLITAN—“Sinner’s Holiday.” FOX-—Arlen and Wray in “Sea God.” ‘This afternocn and evening. R-K-O KEITH'S—“Africa Speaks.” This afternoon and evening. EARLE—The Warings; “For the Love o’ Lil.” RIALTO—"“All Quiet on the Western Front.” This afternoon and Look Like Lincoln. GRANT WITHERS ard EVELYN C.HCROKER-KING = /7 - “Everybodys Secze 2 KNAPP- /7" Sinners'Holiday ” Metropolitan /\I_Ewaanny- X /r The PAUAMA T i Nations/ - W . ” Seene From AL QUIET onthe WesTERN FRONT Rialto Opens tomorrow Opens tomorrow evening. This afternoon Screen. This afternoon and This afternoon and This afternoon | stockinged feet. | Walter Huston, who was not an applicant, was selected be- cause he, more than any recognized actor, approximated the real Lincoln, in height, temperament and physicai appearance. An amusing story is assoclated with Huston's engagement. For several years he had played for George M. Cohan. Mr. Griffith went to the Yankee Doodle comedian and asked him whether he thought Huston could play Abraham Lincoln. “Play Lincoln!” exclaimed Cohan. “Why, hell, man, Huston could play Grover Cleveland.” Huston became widely known through his appearance on the stage in Eugene O'Nelll's “Desire Under the Elms,” and later in Kenyon Nicholson’s “The Bark- er.” He is considered one of the most versatile actoss of the New York stage. Cast for “Aloha. STRONG cast has‘been set for Ti- fany’s forthcoming special, “Aloha,” which is well under way. This special is being produced and directed by Al Rogell. The cast includes Raquel Tor- res, Ben Lyon, Robert Edeson, Thelma Todd, Robert Ellis, T. Roy Barnes, Alan Hale, "Donald Reed, Otis Harlan and Al 8t. John. ELtioTT NUGENT T, and SALLY STARR - /12” For the Love O'Lil ¥ £ar/e B&,” A* SunkisT g Gyesy? Fox (S7age) Short—But, Oh, My! 'TY-EIGHT years ago the circus came to Chicago. It was a big cir- cus with a big appeal for a little boy then 9 years old. When the caravan left Chicago, it had taken on one more member—Lester Allen. During the period of more than a quarter of a century since then, the little boy who had run away from home has gained comedy and dancing expe- rience in the greatest school of all— the same school that has taught most of our theater great—experience. In “The Pajama Lady” there are girls: there are singers and dancers of all kinds. But the burden of comedy is placed on the shoulders of this pocket edition star—the smallest big star in the world. Lester Allen is short of stature—so short, in fact, that one of the episodes of “Three Musketeers” made sport of the occurrence when Cardinal Richelieu, upon commanding him to stand before him, discovers that he has been stand- ing all the time. Let Allen go on for a while. “All that I have I owe to my circus and vaudeville training. In fact, I don't think there is any better training school than these two rough and ready testing grounds. If you have the stuff they bring it out; if not—well, you don’t linger very long. They give you the foundation upon which to develop a technique all your own.” N N ESTELLE WINWOOD, the English actress who has starred in several plays in this country and in England, but who retired from the stage a few years ago, returns to the theater to act the role of Cinder in “Scarlet Sister Mary,” the play in which Ethel Barry- more appears. Miss more met Miss Winwood at a luncheon in London last Summer and told her she was the one person to act Cinder in the Peterkin story. One of Miss Winwood's greatest successes was in “Spring Cleaning.” She also was seen in Somerset Maugham's “The Cir- cle” as a co-stor with John Drew and Mrs, Leslie Carter. Work on }‘ngh Seas. WHILE there were but five featured players, Louis Wolheim, Mary Astor, Hugh Herbert, Alan Roscoe and Ian Keith, in “Sheep's Clothing,” Radio Pictures’ nautical melodrama, nearly 300 cameramen, electricians, “grips,” property men, painters and carpenters ‘were required because of the difficulties encountered in m: on the seas. £ RichArD ARLEN ang FAY \/RAY= /n N The SeaGod NATIONAL—"The Pajama Lady.” HE world premiere at the Na- tional Theater on next Monday night of George W. Lederer’s intimate and uproariously fun- ny musical conceit, “The Pa- jama Lady,” has aroused more interest Jocally than any new play of recent seasons. This gay and sophisticated music, girl and laugh show marks the return of Mr. Lederer to the pre- ducing ranks after several seasons of relative inactivity and is ¥he culmi- nation of three years cof constant cffort on his part to adapt, cast and bring to the stage a sensationa! con- tinental success by the author of “The Command to Love.” “The Pajama Lady” reveals an entirely new de- parture from the routine musical com- edy. Most notable of its unique fea- tures, it is promised, will be the good taste and ingenuity displayed in de- veloping its libretto. It is no hit-or- miss vehicle on which to hang songs and dances, but & swiftly paced, inti- mate and droll comedy idea, knitted to- gether with songs, dances and girls into an entertaining whole. whistle-able and dance-able—a catchy, diverting and altogether melodious series of tunegems. In presenting “The Pajama Lady” Mr. Lederer has assembled a great cast of stars and near stars. Lester Allen was never funnier; Barbara Newberry never more divinely graceful and charming, nor John Barker’s voice dis- played to better advantage than in this f‘y and sophisticated music girl and augh show. Lester Allen. BELASCO—“Everybody’s Secret.” 'OMORROW evening at the Belasco Theater the Professional Players will present a new comedy, entitled| “Everybody’s Secret” with a large cast, including many players who are u- lar in Washington. ke and has been adapted in the English by Frederic an Fannie Hatton. zTha rights for production in this country were secured last Summer by Lee w- The score is | The play is by the | Hungarian dramatist Attila von Orbok, | Fox bert when he visited the Continent for the express purpose of obtaining the | most recent successes for the present season of the Professional Players in this country. J “Everybody's Secret,” which is cred- ited with being a fine example of the noted - dramatist’s mature - artistey, s the first of a series of six plays to be predsenwd “iume Belasco this season under auspices of the Washington branch of the Professional Players, an korsmmuon of theatergoers now oper- ating in 10 important Eastern citles. | The plays are acted by the regular tour- | ing companies. Subseribers for” the se- | ries have their choice of séats at a con- siderable reduction from the reguls» | box-office prices. | The company includes Edward Crau- | dall, Hugh Miller, C. H. Croker-King. Anthony Kemble Cooper, Theodore & | John, Herbert Standing, Willlam Ke- shaw, Arthur Barry, James Dunn, Emil Littler, Wells Richardson, Roman Ar- noldoff, Jane Bramley, Lillian' Bren- nard, Gertrude Maitland, Marcella Swanson, Peggy Conklin, Louise. Bate- man and Isabel Atwill. “Everybody’s Secret” has been staged by Stanley Logan, the English actor £nd director who in New York directed the successful French comedy “Topaze,” which will be {)resmted here later by the Professional Players, GAYETY—Steppe's “Big Show.”. ARRY STEPPE brings his “Big Show” to the Gayety Theater this week. Steppe is acknowledged as one ‘of the prominent Hebrew burlesque comedians on the stage, and he is said to. live up to his record of keeping in touch with the times. In support of the star first mention is due Jeanne Steele, a popys lar singer. Ann Claire, pretty and tal- ented ingenue, follows a close second. Next in order come Morris Lloyd, ver- snlle“ to thleémlt. and Helen Ardell, equally so. ere George Raymond and a host of capti- vating entertainers, all -helpful in rounding out a program of merriment and surprises wherein fun reigns su- preme. Heading the vaudeville specialties are Dixon and Morrell, a well known sister act, and there is also a chorus of young beauties very much in evidence through= out the performance. - -