Evening Star Newspaper, January 4, 1931, Page 47

I é’éage Ne\ys and Screen | and Gossip | AMUSEMENT SECTION he Sundwy Star. = Motor, Aviation, Radio Programs Part 4—10 Pages Fier Dorsay, YoLa dAvriLSAnDRA RAVEL-"Thase Three FrenchGirls” 13 I+o DOoNNA PAsDELOU " Philp ALEcC FRANCIS and LEsLIE HowaRD- In *Ourward Bound” Metropolitan Hope for th By W. H. HE King is dead! Long live the King!” Well, that does for the year as well as for the sovereign.| ‘There are very few sovereigns left | in these days of turbulent democ- racy. For reasons of state, per-| haps, it is just as well to forget the dead monarch and to get busy with the new year. The fading hours of 1930 brought to the resurgent theater a really de- lightful comedy, “Bird in the Hand,” John Drinkwater’s first| endeavor, we are told, in the lighter side of life. It breathes the spirit of Old England and its| conservatism, and yet it has a| touch of the modern to prove that “the sun ‘do move.” So fasci-| nating was it that happily an arrangement was effected where- by it might linger beyond the| time .usually allotted to a play| during the Christmas season.| Following closely upon its heels| came the David Belasco produc-| tion, “It's a Wise Child,” equally| delightful, but with a dash of modern sophistication tempered to the taste of the bon vivant by the skilled touch of the master.| ‘While the straight-and-narrow | viewpoint may or may not find in this latest contribution that for which the producer should be slapped, it was observed that goodly audiences found in it| many moments of laughter and | of seeming pleasure. Further-| more, its patronage increased as| the days wore on. Two new plays | just beyond the tip of our noses give promise of a further joyous new year in the local theater, while just beyond other delectable surprises seem to be crowding the horn of plenty that will pour out our entertainment while the Winter months hang heavily over our heads. =k S a matter of fact, the world takes its theater pretty much as it comes. If it likes it, it pat- ronizes it; if not, it stays away. Only the few who give serious thought to matters mundane ap- pear, as a rule, to get wrought up over scandal in the playhouse. When it comes there is a bustle and a buzz of whispered conver- sation mingled with speculation as to what may happen next, but with never a thought of what harm it may deal to our current culture. After the first flare of sensation it is regarded as so much garbage to be hauled away and fittingly disposed of. Generally the car- rion attains that status and is buried in oblivion by the patron who does not temper his theater shopping with discretion. It is much with the theater as with other institutions. Calamity may threaten, newspapers may flare their banner headlines and folks who have the time may stir themselves into a sizzling stew, when, just as suddenly, the com- “ motion will simmer down and die out, and the world is ready for a new sensation. Its argument seems to be that things have never gone to smash before, so why should they now? The man- ager, mindful only of his box- | his ways, but he will never be ‘ drawers. e New Year Landvoigt. % chasers. He has no interest in education, religion, uplift or their general effect upon the body| politic. You might talk yourself| blue in the face on the error of impressed as long as the lines form at the box office and the “long green” pours into his money The inquiry may arise, Is the manager alone at fault if things are not as they should be? Is the general public really inter- ested in efforts to purify the} theater? No matter what may be | offered, or how, the public takes| what it likes and leaves what it| doesn’t. The natural effect of this is easily deducible. If the public| storms the theater and pays its money to see plays that are off- keel to the strait-laced the manager is going to present that kind. The grocer will supply onions if his trade demands them, and those who like oranges may go elsewhere to satisfy their wants. Opinions of the individual count for little or nothing in the matter. It is the general public alone that must bear the responsibility if its theater be desecrated; it alone can make it what it should be. * % xx A FACT outstanding, regardless| of what may be the report or the opinion of booking offices, is| that Washington will generously patronize good plays. And that means plays of intelligence, that reflect something in the way of originality and are well per- formed, plays of sparkling di- alogue, plays that present one or| more fine characterizations, that | deal with new ideas, or with old |and sterling ideas presented in a new and interesting way, and| | always plays that are attractively | |and artistically presented. Many a play of poor quality in other respects has achieved a fine | record for attendance in Wash- ington merely for the excellence lof the performance. The art of | the actor is always entertaining, always has its appeal, even though the material furnished for its display be but mediocre. It is the art of the theater which appeals to the masses. Tastes vary much |as do appetites. People” go to the theater to be entertained, |and by what pleases them most. | They are interested in and in- fluenced very little, if -at all, by the opinion of others. If their | taste betokens spiritual disorder it is for religious influence and authority to correct it, not for a reporter with a typewriter. Even |the policeman cannot reach an }inlectlon curable only by the remedies for the soul. This poor, old world is staggering on and on just as it has been doing for centuries, one minute with an | outburst of repentance and self- abasement, to be followed in the next with a fling that would shame the orgies of Belshazzar. Nothing has happened to physi- cally deter it. It is willing to take a chance that nothing ever will. This spirit, it may be confessed, doesn’t lead far in the promising lane of progress. But even at that there are still many who office receipts, plies his trade with Myihe wares that find ready pur- contend that we have gone on- ward and upward a blt.‘houh WASHINGTON, SCREEN o Goes Forth "4 Na'ho/rla\lu JEAN HARLONY/- /7 SHells Angels” Columbia French Fashion Show. N the Metro-Goldwyn-Mayer picture, | “Those Three French Girls,” at the | Rialto Theater, there is a lavish fashion | show number, with the smartest of Fall and Winter 'styles, designed by Rene Hubert, a Parisian designer, and dis- played by six beautiful French girls. The lines of the dresses, their deco- rations and the colors used are all set | off by the skill and loveliness of the models. Starting with a striking black- and-white dinner costume, the parade | is on. This dress, accompanied with a | large tulle hat which shows a silver | bandeau and chenille pompons, dis- | closes & deep border of white fox fur | and silver trimming on cape collar. Black and white is also used for an afternoon costume, with accompany- ing toque and muff. Turquoise and black, an approved combination, forms another afternoon suit, with large pirate hat adding a dashing finish to the cape-styled suit. Three distinctly different evening dresses_are on display—one of tulle and ruffles for the ingenue, one of white crepe and silver bands for the sophisti- cate and one of silver lace of Grecian style for the lovely modern girl of 1930. | Blays A0Vt M laiAdims! ARY ELIZABETH FORBES, who appears in the new Philip Barry play, “Tomorrow and Tomorrow,” at the 'Shubert-Belasco, has played with Maude Adams, Lillian Russell, Doris Keane and J. K. Hackett, Arthur Byron, Henry Miller and other prominent stars. The daughter of & prominent physi- cian now a professor at Columbia Uni- versity, Miss Forbes, was educated at Elmira’ College and went on the stage after securing her degree. She played Mrs. Dariing in “Peter Pan” with Maude Adams on tour through the United States. She has also been associated with motion pic- tures a great deal. She starred in the first_serial picture ever made in this country by Thannhouser, entitled “The Twenty-Million-Dollar Mystery,” and also in the first picture ever made by Famous Players. For some time now she has been in Hollywood, where durlnf) the past year she appeared in the D. W. Griffith film, “Lincoln,” in the part of Mrs. Prancis, and in the screen version of Philip Barry's play “Holiday,” in which she played the role of Mrs. Ames. mrhapl not as far or as high as e best of us might wish. How- ever, with due consideration of our needs and of the graces which await our acceptance, let us hope that the New Year, with all its joys and prosperity, may do | {i"\hdins something for our theater, It needs much. 2 D O, RICHARD BARTHELMESS a7d M T {7// Laskh” Ewarle SUNDAY GARY CooPE /n SMorocco ” MORNING, “The PRINCES I 7 R Stage and Screen Attractions This Week ON THE STAGE. BELASCO—“Tomorrow and Tomorrow.” ning. NATIONAL—“Philip Goes Forth.” GERMAN GRAND OPERA—“Goetterdammerung,” Opens tomorrow eve- Opens Wednesday evening. tomorrow evening; “Don Juan,” Tuesday evening. JUNIOR THEATER—“Wizard of 0z.” Opens Saturday morning. GAYETY—“Frivolities.” This afternoon and evening. ON THE SCREEN. RIALTO—"“Those Three French Girls.” evening. FOX—“The Princess and the Plumber.” evening. R-K-O KEITH'S—“The Criminal Code.” evening. EARLE—"“The Lash.” PALACE—"“Morocco.” This afternoon and This afternoon and This afternoon and ‘This afternoon and evening. This afternoon and evening. COLUMBIA—“Hell's Angels.” This afternoon and evening. METROPOLITAN—“The Bat Whispers” (until Wednesday). ‘This afternoon and evening. Wednesday, “Outward Bound.” Youth Being Served. YOU’I’H is getting its chance in the talkies of today! At first, the talkies turned from the old line players toward the stage stars. Now the trend is toward youngsters who prove by voice and camera tests that they have what talkers are thought to need. Just a glance at the list of youthful players who are getting “breaks” in cur- rent productions at the Radio Pictures studio is interesting. The studlo, which in past years never carried more than three young stock players under contract, now has 11 girls and several juveniles. A single production has three of the stock girls in important roles. “Private Secretary” is using Roberta Gale, Velma Valentine and Katya Serina in support of the principals, Mary Astor, Robert Ames and Ricardo Cortez. In the same Eerodumm Noel Francls “and Kitty lly, although from the New York mu- méhm;e, qualify in the matter of youth, In “Ladies for Hire,” which George Archainbaud, another friend of youth- fu! players, is directing, John Darrow man. He is one of Radio’s youngest juvenile leads and s relative newcomer, Edward Cline, directing Bert Wheeler and Robert Woolsey in “Assorted Nuts,” brought both Chaplin and Buster Kea- ton to the fore in the old days, but he was never prouder of a player than he is said to be of little Dorothy Lee, whom Radio plans to elevate to star- dom in a few months. Miss Lee, incidentally, is living proof that the talkies have opened the door to new, youthful blcod. TWwo years ago she tried in vain to crash the gates of the same studio. She made her debut as a chorus girl, came into pictures on the tide of the talkie, played her first important role in “Rio Rita” and after that appeared as comedienne in every Wheeler-Woolsey film. Rochelle Hudson, a little Claremore, Okla., girl, just signed by Radio, is an- other newcomer. She is 17 years old. ‘There will probably be a place for her in “Madame Julie,” which is to be di- rected by Victor Schertzinger. Leni Stengel is now playing an im- rtant supporting role in ‘“Assorted uts.” Lowell Sherman’s next actor- director picture, “Bachelor Apartment,” and the production provide important chances for Lita Chevret, Roberta Robinson, Rita La Roy and other contract youngsters, some vir- tual strangers to camera .ens and mi- crophone, JANUARY 4, 1931. Saro Z1TA JOHANN 7 N Torr10rroN end Tomorrow ” Belasco ARY AsToR § \EEDDllE PARDO- pPalace Wanted to Make 'Em Laug}\ GUS SHY, one of the expert fun- makers of the musical comedy stage, the young man who created the roles of the bewildered foot ball substi- tute in “Good News” and the flirtatious bondservant in “New Moon,” is now under contract with Metro-Goldwyn- Mayer film company. But Schwab & Mandel found that the role of the motion picture comic in their new musical show, “America’s| Sweetheart,” would fit Shy like a glove, | and they immediately got busy. The result is that the film company has re- | leased Gus Shy to Schwab & Mandel | until next September so that the accom- | plished laugh producer may appear in the new musical comedy when it opens at the National Theater, Monday, Jan- uary 26, prior to its Broadway premiere. Bandit Dick. ICHARD BARTHELMESS comes as El Puma, a fearless Spanish bandit, in his new picture, “The Lash.” Not since “Scarlet Days,” an carly First National production, has the First National-Vitaphone star appeared in | the character of such an outlaw. The part is as it was written in the original best seller, by Lanier and Virginia Bart- lett. EI Puma derives his nickname from his pet pumas, a species of moun- tain lion, “The Lash” is now at Warner Bros. Earle Theater. “The Lash” is a historical romance of early California. In addition to a silver handled six shooter, Barthelmess sports an outfit of black leather trimmed with silver braid. He also rides an ebony black horse. New Role gr.Wnshington. UNE WALKER, who will be seen at the National Theater this month in the new Theater Guild production, “Green Grow the Lilacs,” in the lead- ing role of Laurie, impersonates a wholesome and unworldly girl of the frontier days of Oklahoma, a part wholly unlike those in which she has been seen heretofore in Washington. Miss Walker is khown to local thea- Nervous Wreck” and as Lorelel Lee in “Gentlemen Prefer Blonds.” She next Euhyod the leading role in David Be- 0’'s production of “The Bachelor Father,” and last season she was co- fun!d with Glenn Hunter in “Water- Miss Walker is a native of Chicago. She began her stage career at an early , and has won her present high po- the theater hard | AABEL a1/ M Fox (S’f/gqé Seene fiom <% CRIMINALCODE RKO.Kerths » DoroTuy WHITE - Palace (S7age) ARCIA ) The Moving Picture cAlbum By Robert E. Sherwood. T is necessary to add the name of “The Royal Family of Broadway” to the list of best pictures of 1930. It is one of those exceedingly rare offerings which possess both grown- up wit and childish sentiment in copious quantities. The wit and the sentiment are equally legitimate and equally telling. I doubt that there is any one neutral enough to resist them. Edna Ferber and George S. Kaufman, in writing “The Royal Family,” and Jed Harris, in producing it, contributed riches to the theater. It stands as probably the warmesf, most glowing comedy that has ever been born in New York. There was every reason to believe that its marvelous quality could not be reproduced on the screen, and there are times, early in the pic- ture, when it seems that “The Royal Family” has become a pale shadow of its flesh-and-blood self. But the re- production has been made with so much skill that, as it proceeds, it gathers illusion and effect. The characters in the Ferber-Kauf- man play are generally described as members of a ‘“certain well known theatrical family.” to have gone around that this family is at least distantly related to the Barry- mores. At any rate, both of the stars of the picture seem to have heard of it. Frederick March gives an uncanny impersonation of John Barrymore; but an impersonation, however uncanny is' not necessarily a characterization, and Mr. March’s comical grimaces be- come a bit tiresome after a while. Surely John Barrymore has more than one gesture, more than one expression. In an early scene Ina Claire displays her great ability as a mimic in emulat- ing the throat tones and the protracted sibilants of Ethel Barrymore, but hav- ing shown once that she can do it, she wisely returns to her own character and stays there. She is gracefully deft and, when occasion demands, she is violently powerful. She also knows how to wear clothes. In “The Royal Family” there are ‘The rumor seems Claire (as Julie) felt that she could not convincingly appear in the role of any one’s grandmother. * koK K IN the Film Spectator Welford Beaton announces: “The crazy notion that stage and screen are identical arts cost the film industry untold millions of dol- lars. That’s all the stage has con- tributed to the screen. It is all it has to_contribute.” The first of those statements is true. For among the stage’s past con to the screen one may mention Charlie Chaplin, Emst Lubitsch, Douglas Fair- banks, Greta Garbo, D. W. Griffith, Harold Lloyd, Emil Jannings, John G- bert, Nancy Carroll, Ronald Colman, James Cruze, John Barrymore, Joan Crawford, Wallace Reid, Buster Keaton, Ruth Chatterton, Jesse Lasky, Lon Chaney, Marlene Dietrich, Cecil B. de Mille and a few thousand others of varying importance. % It is obvious that, in recent years, Hollywood has drawn far too heavily on Broadway. Incalculable sums of money have been wasted on actors, di- rectors and writers who possessed & modicum of stage experience and were utterly unsuitable in temperament, E- e pearance and other respects to Nevertheless, the worst mistake that needs of the sereen. off from all contact with a Hollywood had the lhlfltz to_discover and develop its own talent and its own 1Tt Tt abtity: wad Lo Bspecis sn’t that al AN are “that it never will have, not while factory methods of production tinue to prevail. The Broadway theater is continually experimenting with new ideas, new personalities. year it presents a new crop of celebrities who were un- con- three generations of Cavendishes— |in Fanny, Julie I:d Gwen. In the the shape of G held by her dying t the final c) n tuat; great-g and dedicat h of the fine old fam