The Billboard 1923-06-02: Vol 35 Iss 22 (1923-06-02)

10 The Billboard JUNE 2, 1923 (THE NEW PLAYS ON BROADWAY PROVINCETOWN THEATER, NEW YORK Beginning Thursday Evening, May 24, 1923 THE PLAYERS COMPANY, INC., Presents “SUN UP” A Play in Three Acts by Lula Vollmer Staged by Henry Stillman and Benjamin Kauser THE CHARACTERS (In order of their appearance) NS, . cconcce es oodebne Lucile LaVerne Pap Todd..... paehe ....Owen Meech EMMY ..0c2.00ss<seee nebo nhl Anne Elstner ckves bah bat oukeee eee Eugene Lockhart Sheriff Weeks.......-. Rufe Cagle....... ..France Bendtsen ..Alan Birmingham Preacher rr Burnside Babcock The Stranger......... . ...++.-Elliott Cabot DD) eine uuckubdnexvaukesses saves Norman Dale It is safe to say that dramatic talent of a very high order has been unearthed in Lula Vollmer, the author of “Sun Up”. Her play is one with genuine American folk flavor. It is the sort of play that by no stretch of the possibilities could have been written by anyone save an American, and, at that, one who had lived with the people of the Carolina mountains and knew them intimately. There is every evidence of authenticity and knowledge of their habits in the writing, and combined with this is a story of a strangely moving quality. This story is built around a mountain woman who has a vast contempt for the law and a huge admiration for those who administer their own justice. Her husband has been shot by a Revenue officer for running an illicit still, and when the war breaks out her son has a hard time convincing her that he should join the army, for that represents the law to her. Finally he goes, after marrying the girl of his choice, and the mother carries on in the old home. A deserter from the army takes refuge in her cabin just as she learns that her son has been killed in action, and when the sheriff comes to get him she takes the law into her hands and promises to shield him, even tho she has to shoot. Then she discovers that the runaway is the son of the man who shot her husband, and, turning the gun on him, she is about to bring the law of the feud into action when a _ spirit message comes to her from her dead son and she allows the boy to go. This latter episode is the only weak spot in the play, and it could be so easily avoided that it should not be left in. That part of the play which has preceded it is so real that anything smacking of the spiritual is doubly out of place. Aside from this defect, tho, “Sun Up” is gripping in its intensity, compact in its writing and faithful in characterization beyond most dramas. The playing of the piece is pretty nigh perfect. Lucile LaVerne, as the mother, has created a character that will long linger in the memory. Never by even a hair's breadth does Miss LaVerne diverge from the dour personality of the character. Grim without and soft within, and ashamed of that softness, she realizes all the possibilities of this combination and brings tears to the eyes more than once during the performance. The Widow Cagle will easily take its place among the best wrought characters of this season. Alan Birmingham, as the son, was ideal for the part, and Anne Elstner, who played his sweetheart, gave a remarkably faithful performance of the role. Among the balance of the cast there is none who stands out above the others, for every one of them plays with real acting skill. There has not been a better balanced cast seen by the writer for a long, long day, and the fact that Bugene Lockhart, France Bendtsen, Owen Meech, Burnside Babcock, Elliott Cabot and Norman Dale are in it is commendation of the highest order. That is enough to stamp each and all of them as players of the most genuine sort of merit. The single setting, a cabin interior, is a fine bit of scenic art, and the direction of the play is excellent. “Sun Up” is one of the treats of this year, both from the sincerity of its writing and the magnificent performance given it. A fine American folk play, moving and sincere; splendidly played by a fine cast. GORDON WHYTE EQUITY 48TH STREET THEATER, NEW YORK EQUITY PLAYERS, INC., Offer “THE ANTIGONE OF SOPHOCLES” For Three Special Matinees—Thursday, Friday and Saturday, May 24, 25 and 26, 1923 PERSONS OF THE PLAY Daughters of Oedipus and Sisters of Polynices and Eteocles: RON sccicdccsedn Edith Wynne Matthison TaMeRO .cccccecse peeerencenecce menrgaret Gage Creon, King of Thebes...Charles Rann Kennedy A. Watchman. ......0. eosces+ss-Margaret Love Haemon, Son of Creon, betrothed to AntigOME ..c00 eo ervccccesccceseceseed Alnah James Tiresias, the Blind Prophet...Margaret Lippitt Attendant to Tiresias...........Virginia Avery A Messenger.......... 000008 Margaret Underhill Eurydice, the Wife of Creon....... nchene 90054e5550es 006000008 -Millicent McLaughlin Another Messenger.......+..++. Katherine Durell ee ee ee ere Berry Middleton Chorus of Theban Citizens—Frances Aikins, Elise Hackett, Eleanor Lewis, Josephine Lanier, Liora Breyfogle, Elizabeth Weaver, Georgie Young, Ann Jessop, Nancy Masten, Elizabeth Getty, Ann Willard, Helen Ward, Annie Wilson, Emily Hotchkiss. Attendants of Creon—Jane McElroy, Elizabeth Hoogland, Adeline Rowles, Jean Judd. Attendants of Eurydice—Lucille Martindill, Anna Porter. Priest of Dionysus...........e+++++5..0ean Judd This reviewer approaches all performances of Greek tragedy with fear in his heart. While appreciating the solemn majesty and dignity of the Grecian drama, his experiences at performances has been a sad one. As a rule the players are overawed by the thought that they are playing a classic and, even when they are competent, the performance is dull. From all this I wish to except this performance. If anyone had hold me that the “Antigone of Sophocles” could be played into such a thoroly enjoyable afternoon I would have been tempted to try some particularly cutting remark on him. But the fact remains that Charles Rann Kennedy, Edith Wynne. Matthison and the Bennett School managed to make a Greek tragedy entertaining. It was not any light sort of show, of course; the stark grimness of the tragedy prevented that. But the work of the chorus, with their splendid dancing and singing, gave a swiftness and tone to the proceedings that was altogether different from the air of lugubriousness which has surrounded all other performances of Greek tragedy that I have seen. Too much prise cannot be given to this chorus of girls and those who trained them. They presented a strike ing picture in their Greek tunics, sandals, white wigs and blue-gray cloaks; and they danced with the precision of a flock of Tiller girls. Their singing was good and they entéred into their work with a spirit of wholeheartedness. It was in no dilettante performances comported themselvs sense an amateur or for these girls s with dignity and did every bit of their work seriously and well Charles Rann Kennedy was the Creon and gave a remarkably fine performance of the role, reading it with impressiveness and acting it with real authority. Zdith Wynne Matthison was the Antigone and invested the part with a fine atmosphere of dignity. There was something of fire lacking in her reading, but, aside from this, her performance was splendid. Margaret Gage played the small role of Ismene well, and Margaret Love, as the watchman, was excellent. All the male parts, with the exception of Creon, were played by girls, and they succeeded to a marked degree in simulating masculinity. This was particularly true of the Tiresias of Margaret Lippitt and the Messenger of Margaret Underhill, for in both cases there was illusion, as well as acting ability of no mean order. The Eurydice of Millicent McLaughlin and the Haemon of Alnah James were well done, too. Special mention is deserving for Berry Middleton, who, as the Leader of the Chorus, did much solo work as singer and dancer, and did it excellently. A school which can and does put on a production of such merit as this must be an institution of very high caliber, for when all is said and done, it was the chorus that lifted the performance to its high plane of excellence. It is to be hoped that an annual performance of a Greek play will be given by them, for they can make them enjoyable. There may be others who can do it too, but, if so, they have not come within my ken. The setting in which the “Antigone” was performed was splendidly devised by Woodman Thompson. He used a background with a big splash of red in the center. There was the skene, orchestra and Dionysian altar of the Greek theater. Altogether it was a fitting setting for the production. A thoroly admirable performance of a great Greek classic. GORDON WHYTE. WHAT THE NEW YORK CRITICS SAY “Antigone” (Equity 48th Street Theater) WORLD: “A thoroly creditable and wellschooled production.’ TIMES: “Scholarly thruout and inspired by high artistic intelligence."’—Johbn Corbin. POST: ‘‘The particular representation proved to be a highly respectable and interesting achievement which was evidently enjoyed by a large and appreciative audience.”—J, Rankin Towse. “Sun Up” (Provincetown Theater) TIMES: “As precious a collection of fine acting as has been on display this past season and the first demonstration of a playwriting talent that, undeniably crude and uncertain, nevertheless held forth the clear promise of better things.’""—John Corbin. WORLD: “For the most part here was a play rich in observation of native American life.”"—Heywood Broun. POST: ‘‘It is, despite its deficiencies, a thoroly interesting and, at times, a delightful piece, with flashes of deft humor and skilful characterization.”’ TRIBUNE: ‘Honest and excellent sob stuff, and appealing to the sympathetic persons who know that such things happen.”—Percy Hammond, MORE NEW PLAY REVIEWS ON PAGES 36 and 37 “THE WHITE ROSE” SPLENDID GRIFFITH PICTURE David Wark Griffith's latest screen produetion, “The White Rose"’’, which opened last week at the Lyric Theater, New York, is the greatest tear-Jerker since that same producer's “Broken Biossom"’, tho in many respects not nearly as good picture material as this earlier opus. “The White Rose’’ is a ‘“‘simple tale’? with a big heart-throb, romantic to a marked de gree, beautifully staged and acted by a most capable cast, which, by the way, brings May Marsh back to the screen after a long absence and introdvces Ivor Novello to American audi ences for the first time. = Arthur Hammerstein, feeling sure that all's well with “Wildflower” at the Casino Theater, New York, booked passage for London on the Berengaria, wailing June 5. NOTABLE RUNIS ABOUT TO CLOSE William Hodge and ‘‘For All of Us” To End Long Chicago Engagement oo Chicago, May 26.—The long, happy run of “For All of Us’’ at the Studebaker, with William Hodge the star and author, is drawing to a close. The engagement opened at the Studebaker on the -birthday of Frank A. P. Gazzolo, the manager of the theater. During the run several birthdays occurred on the ff. tieth, seventy-fifth and one hundredth performance, with parties and spreads back stage. Mrs. Hodge, who was known to footlight fame as Helen Hale and who played opposite Mr. Hodge in ‘‘Peggy From Paris’’, by George Ade, at the Studebaker years ago, came on here from their home at Greenwich to celebrate her birthday with a big all-star birthday party at the Cordon Club in February. The two hundredth performance happened on Shakespeare’s birthday, and then to finish up in an appropriate manner the show closes on John J. Donnelly's birthday, he who so quietly and unobtrusively guides the destiny of Mr. Hodge's productions, Out of this happy family stay of ‘‘For All of Us’’ has developed many friendships, particularly the regard between Mr. Donnelly and Mr. Gazzolo, who find the future holds big things for Chicago in the producing field. Mr. Gazzolo has made the grade in realms theatrical from usher to producer, while Mr. Donnelly holds the record as promoter of stars, having guided the courses of James K. Hackett, Mary Mannering, Bertha Galland, Viola Allen, Olga Nethersole, Blanche Bates in ‘‘The Girl of the Golden West’’, and was manager of Augustin Daly's theater for Daniel Frohman. TRAVELING SALESMEN ATTACK PULLMAN CAR SURCHARGE New York, May 28.—Thirty-four million dollars a year is the staggering sum collected by the railroads from the people of the United States in the form of the existing 50 per cent Pullman car surcharge which the public is compelled to pay in addition to the standard Pullman fares, and for which it is claimed the railroads do not render any compensatory service, declares the National Oounct! of Traveling Salesmen’s Associations, which is vigorously pushing its plans for the removal of this burdensome regulation. Its staff of legal and statistical counsel is busily engaged in preparing evidence and argument for presentation at the forthcoming hearing on Pullman rates and surcharge, which will be held by the Interstate Commerce Commission, in Chicago, June 20. A. M. Loeb, president of the National Counefl, says: “Half a decade is passed and the Pullman surcharge, admittedly a war-time regulation, remains to confront the traveler every time he approaches a railroad station to arrange for his transportation. The Government does not any longer benefit by this surcharge. Neither does the Pullman Car Company, upon which is foisted the compulsory collection of this extra fee. The added revenue goes directly and entirely to the railroads— and for what? Having paid the established passenger tariff, and having paid the estallished Pullman tariff, what does the present 50 per cent surcharge cover? And why does the Government permit this unwarranted gouge to continue to be exacted from a long-suffering public? “To get right down to brass tacks the imposition of this Pullman surcharge means that the public is called upon to pay $34,000,000 more per year than is necessary, Just or excusable. This is only a small part of the total loss to the nation which is pyramided as ®& result of this particular rate excess, but considering only the amount directly reverting to the railroads it constitutes a tax of thirtyfour cents each upon everf man, woman and ebild in America! “The National Council of Traveling Salesmen’s Associations is now compiling an exhaustive survey of all facts and figures in relation to the surcharge matter and it ¢%pects to prove conclusively to the Interstate Commerce Commission that the surcharge !% fundamentally unsound, discriminatory and confiseatory, therefore unconstitutional, and 4 menace to business generally and to the public at large!” “Icebound’, which won the Pulitzer pri?* for Owen Davis, will be published in boo form by Little, Brown & Company, of Bosto" Harris will move this play on June 4 from his theater on 42nd street, New York, to tie Vanderbilt, where it is expected to run for! the summer months. Still another product under Harriss banner is ‘Peter Westo! Fronk Keenan, playing the star role in it, will be seen in New York early in the autum®