The New York Clipper (January 1920)

January 14, 1920 THE NEW YORK CLIPPER 25 <mM USICML 'TIGHT OF THE WORLD" BEAUTIFULLY PUT ON DESERVES LONG RUN Although a earions mixture of dramatic Ingredients, including religions symbolism, "The Light of the World," in several re- spects, marks a certain advance in dignity in the local theatre. The production is billed as a modern drama, in three acta, by Pierre Saisoon, who has handled his material in a powerful and masterful manner. The author has taken for his dramatic clay, the people of the little Bavarian village of Oberammer- gau, "where the "Passion Play" is pre- sented once in a decade. Here the simple but beautiful character, of Anton Rendell, a carpenter and wood carver, is revealed in his home, together with all the smallness and meanness of the men and women who are interested in the pious preparation of the great drama of the Passion. Briefly, the story weaves itself about the wood carver, who has been chosen for the honored role of the Christus. Dishonor comes to his name when he befriends the woman whom his friend has wronged, but, eventually, he is exonerated in time to fin the coveted role. With dignity and a rich humanity, Pedro de Cordoba, plays the role of the wood carver. Jane Cooper was a peasant girl, and Miss Percy Haswcll acted the role of the carpenter's mother with feeling. Clara Joel was the wronged girl, and Wallis Clark and Arnold Lucy were admir- able as two contrasting types of villagers. KLARK-URBAN COMPANY SPLITS The Klark-Urban stock company has split and the owners, Harder Klark and Frank Urban, have gone- their separate ways. Klark got his company together and ia going to the Bermudas, while Urban sailed on the 8th of January for the West Indies. HAMMERSTEIN'S NEW SHOW, "ALWAYS YOU" SHOULD GET OVER "ALWAYS YOU." A musical com- edy in prologue and two acts. Music by Herbert P. Stothart: book and lyrics, by Oscar Hammerstein. 2d. Presented by Arthur Hammerstein at the Central Theatre, Monday eve- ning, January 5, 1920. CAST. Tolnetto Fontaine Helen Ford Bruce Nash Walter Scanlan An East Indian Pedlar ; Edouard Clannelll Julie Fontaine Julia Kelety Charlie Langford Russell Mack Montmorency Jones Ralph Hera A Conspirator Bernard Gorcey Joan Summers Anna Seymour Thomas Joseph Barton A Waitress Emily Ruaa Dancers Cortex and Peggy "Always You," Arthur Hammerstein's latest venture in the productive field is a wholly delightful musical comedy, dainty, piquant and abundant in good wholesome humor. This piece should prove to be one of the season's best musical divertisements. Oscar Hammerstein, 2nd., who is re- sponsible for the book and lyrics, has displayed some of the talent inherited from his father, the late William Hammerstein, and his grandfather, the late Oscar Ham- merstein, and gives promise that he will be heard from with marked effect in the theatrical world. The musical setting, which is the word of Herbert P. Stothart, is of the conven- tional musical farce variety, tuneful and sprightly, but not over burdened with original style. Some of the best songs are "Always You," a love motif, heard several times in the course of the eve- ning, "Syncopated Heart" and "Drifting." In construction, the story might be Mfasnd to a well woven fabric, when com- pared to the usual musical comedy plot, which in most cases is nothing more than a snarl of threads basted here and there. "Always You," sets forth the romantic story of a young American officer who meets the "only girl," when in the French hospital at Trouville. He returns to America and becomes engaged to another, only to revisit France a year later and find that, after all, he loves dear little Toinette. However, complications are unravelled when a friend promises to take his fiancee off his hands, and all ends happily. Walter Scanlan, in the role of the hero, displayed an exceptionally fine tenor voice, which, together with his equally fine interpretation of his role, brought him considerable applause. Helen Ford, as the little French girl, possesses a pleasing soprano and is all that could be desired as a Toinette. Ralph Hen, in the role of the English valet, is very funny in a quite unob- trusive sort of way, and Anna Seymour did not let the evening pass without one of her humorous impersonations of Eddie Foy. Both Julia Kelety and Russell Mack were good and Handle their mate- rial in a capital manner. Arthur Hammerstein has shown consid- ' erable judgment in selecting his chorus, which, although not large in number and perhaps lacking the many changes of cos- tume found in some other musical shows about town, is one of the best-looking aggregations of femininity seen on Broad- way this: season. '•FRIVOLITIES OF 1920" OPENS AND SCORES AFTER MANY MISHAPS "FRTVOLITDSS OF 1920." A revue In two acts and seventeen scenes. Music and lyres by William B. Fried- lander, Harry Auracher and Tom Johnstone; dialogue by William Anthony Magulre. Presented by G. M. Anderson, at the Forty-fourth Street Theatre, Thursday evening, January 8, 1920. PRINCIPALS. Nan Halperin. Henry Lewis. Nellie and Sara Kouns, Ames and Win- throp, Mlgnon, Doraldina, Edward Gallagher, Joseph Rollcy, Burr Twins, Tom Nip, Charles O'Brien. Frank Davis. Bella Darnell. Glenn and Jenkins, Zelda Santley, and John Flynn.. In an effort to establish an annual pro- duction that will become a national in- stitution similar to the "Ziegfeld Follies," or the Winter Garden show, G. M. Ander- son, the former "Bronco Billy" has con- ceived the "Frivolities of 1920." The production has had considerable stormy sailing since its first out-of-town presentation in Providence several months ago. At that time it ran until the early hours of morning, and it was found neces- sary to call it in for doctoring at the bands of William Friedlander. Anderson, it is said, had already expended consider- ably over $70,000 on the piece, so a second attempt was made at launching, after much cutting, revision and enlarge- ment of the part to be played by Nan Halperin. Anderson then took his company to Bos- ton, where it rehearsed for a week before opening at the Boston Opera House. After a four-week run there it was planned to bring the show to Broadway. Again, there was a streak of bad luck. Nan Halperin suddenly became ill, and the piece was without a leading woman. However, Anderson at once engaged Dorothy Phil- lips, well known as a vaudeville performer through the Western States, for the role, and the piece was brought in. The play, as witnessed last Thursday night, proved to be an elaborate array of scenery, beautiful costumes and well formed femininity. Like other musical revues, this one proves to be lengthy and leans heavily on the vaudeville stage. From the lulls of variety came the pop- ular Kouns Sisters, Doraldina, Henry Lewis and the'Barr Twins. These per- formers, together with an exceptionally large chorus frivol through twenty scenes, which prove to be a veritable kaleidoscope of color. Most striking of the acts in this big vaudeville show, was one which closed the first part of the program entitled "Omar, the Winemaker." Against an Oriental background, one relay of girls after an- other marched into the eye-filling spectacle. Another act that proved to be more than interesting was a jocular version of Cosmo Hamilton's "Scandal," done in such a broad vein as to make one gasp. At times, there is plenty of fun, when Henry Lewis makes his appearance and Frank Davis, with the glibbest patter heard in a long time, combines some genuine originality of material with a fresh phase of stage fun. Fletcher Norton, Gallagher and Rolley, Nip and O'Brien, are also among some of the laugh factory brigade recruited from the variety stage. Doraldina was especially good in her dance numbers and Ames and Winthrop displayed some clever burlesque steps on the dance classic. There is still room for pruning and revision, but taken all in all, it looks as if the dream of an annual "Frivolities" has been realized. All such efforts start in a small way, even as did Z ip -fi el d. They are a development. ■'■■■- FILE WAR RELIEF REPORT San Francisco, Dec 29.—A committee composed of Mrs. E. W. Crellin, Mrs. Ku- gene Roth and Mrs. Fred Belasco, placed on file its report of the final distribu- tion of $3,700 collected by the San Fran- cisco unit. Stage Woman's War Relief. The report shows that $400 was used for Christmas presents for "the patients 'at *■" the Letterman Hospital, $1,000 was sent to the Service Home in New York City, and the balance of $1,400 is to be dis- tributed among.needy soldiers. "THE ACQUITTAL" MYSTERY DRAMA WITH A GRIP •THE ACQUITTAL." Melodrama in three acta, by Rita Welman. Pre- sented by Cohan and Harris, at the Cohan and Harris Theatre, Monday evening, January 5, 1920. — CAST. Barton Franklin Hall Nellie Miss Barbara Milton Madalelne Winthrop Miss Chrystal Heme Dr. Hammond William Walcott Edith Craig Miss Ann Mason Joe Conway William Hanigaa Kenneth Winthrop Edward H. Robins Robert Armstrong...Morgan Wallace Claflln Arthur V. Gibson McCarthy Wlllard F. Berger Alnaley Edward Geer Wilson John Bowan Hedges Harold Gwynn Burke Norman Lane With a murder mystery and suspicion cleverly scattered, and suspense well sus- tained, "The Acquittal," ia a piece that goes to an extreme of melodramatic extrava- gance in its complicated and well worked out plot. It is oddly bare of sentiment, although emotional throughout, with a powerful human interest tinge. In all, the new piece ranks as one of the beet melodramas to make its appearance on Broadway during the current season. The play opens with the entrance of Madeleine Winthrop, coining home after her husband's acquittal on a charge of murder. She is nervously affected by something that has not as yet happened, and in fact, throughout the whole first act there is an atmosphere of mystery and suspense, which leaves the audience a trifle in the air when the curtain falls and nothing in particular has transpired. However, the plot begins to develop rapidly in the second act. Winthrop, it Is revealed, is guilty of the murder as charged. He has committed a capital crime in a vain effort p> cover up the domestic duplicity of which his wife has been a victim. Mrs. Winthrop, however, has known the whole truth all the time. She has stood by her husband while the latter was in jail and during the time of his trial. Now, in a scene tensely dram- atic, she tells Winthrop all she knows, proclaiming her proof and ordering him out of her life. With the prompting ol a cur, Winthrop turns to bark and threatens to bite. But he is finally cowed and convinced isto a bargain of self-erasal by one Conway, a newspaperman who has a very special reason for wanting to run down the mur- derer. In fact, the slain man has been a friend and benefactor to his family. And so the piece ends, following -three acts that carry a restrain in action and delivery that is amazingly effective. Chrystal Heme plays admirably the role of Madeleine Winthrop, a part in which are long silences more difficult to cover than moments of speech. William Har- rigan distinguished himself in the role of the reporter, especially in the comedy touches. Edward H. Robins played the husband with prime discretion. And there were other good bits by the rest of the cast as well. . i