Variety (January 1919)

14 LEGITIMATE THE INVISIBLE FOE. Barker D«««y Vlrlan Morton Grant Frank Andrews Richard Bransby J. H. Ollmour Dr. Latham .H. Cooper Cllffe Heloa Brnnsby Flora MacDonald Hugh Brooke Robert Barrat Stephen Pryde Percy Mannont Angola Hilary Marlon Rogers Mrs. Lcavltt Mabel ArchdsU Walter Hackett^ erstwhile of New York and now scemlnfOT permanently located In London, bad hta latest English stage success produced here this week at the Harris Theatre. It Is "The Invisible Foe," which enjoyed.some vogue In the Brltleh metropolis when presented at the Savoy last year by H. B. Irving. Thomas Dixon has now taken over the Harris and oners the Hackett piece as his initial production. "^ "TUo Invisible Foe" is genuine old-fashioned melodrama, but written and acted with modern verbiage and accoutrements, with the addition of an augmented "Thirteenth Chair" twist that looked at one point as if it were going to be a la "Peter QrUnnt" The new twist brings it up to date In a manner ttaat is at once interesting and entertaining, and. in addition, brings up the old question as to whetber a departed soul can communicate with a living being. When It is all over you bave had an enjoyable, evening and are no further advanced in your views on the subject The piece starts oS as a mystery. All Hackott's pieces do—he has a genius for in- triguing you from the rise of the Qrst curtain. The old bookkeeper of a wealthy English ehlp* builder intrudes on the privacy of his em- ployer's country home when the old man has been forbidden to dlscuas business by his pbystclan. He tells the employer there has been a theft of $50,000 from the business which had' been covered for a long time by false entries in the ledger to which no one bad access excepting the old bookkeeper, the employer's nephew and the nephew's step- brother, the latter practically a permanent guest at the house and tacitly understood to he headed for matrimony with bis host's daugh- ter. Bookkeeper luslsts the theft must be laid at the door of the young step-nepbew, and the head of the Arm Is compelled to admit such is the case through the entries being made In the young man's handwriting. At this Juncture the daughter tells her father she and Hugh are engaged. He refuses his consent, and when she demands to know the reason her father brings Hugh before him and In the presence of his elder step-brother and the daughter asks Hugh to explain. Hugh admits having gambled awhile back, had gotten . Into the clutches of the money-lenders, etc., but protests be has straightened himself out and is Innocent of the crime, but unable to account for the entries being apparently in his ' own hand. He is in the uniform of a lieu- tenant and promises the old man he will go away until be can clear his name. He must resign his commission in the army, hut ne- glects to write out his resignation before departing. The elder brother is a member of the firm and endeavors to persuade the old man to embark on aeroplane building. Stephen, the elder brother, Is told by the old man to write Hugh's resignation as a commissioned officer, and when he does so, Bransby, the old m^n, realizes the handwriting resemblance. He compels Stephen to write a confession and drives Stephen out. At this juncture he is seized with a heart attack and unable to summon aid, places the resignation and con- fession In the front.leaf of a copy of "David — Copperfleld" he had>been reading, goes to the door and dies. His sister, a tidy old maid, on entering, returns the book to ita proper place in the library shelf. Second act opens six months later. The room bad been locked up by the daughter, . Helen, who had gone to London to live. Ste- phen arrives with an order from Helen to her denoueropot .9CCoropllsh8d. hy. ths. »M of •-. spiritual communication is more or ••••_9'»' Inal, the nearest approach to which In recent years wa« "The Thirteenth Chair." The star part in the Hackett piece is the villain, brilliantly handled by Percy Marmont. who does not make of him an old-faabiDned, cringing sneak, but a forceful, dominant per- sonage who will let nothing stand between his ambition. J. H. Qllmour la old Bransby, and while In but one act, stands out with bis One personation. H. Cooper CllSe is the phys- ician with a bent for splrltualfsm. Flora Mac- Donald, as the daughter, grows on you with an Intelligent portrayal of a well-bred English girl who is spiritually in tune with her de- parted pater, and Robert Barrat makes a manly and attractive juvenile lead as the Innocent brother. The piece was well staged by Hartley Gushing. "The Invisible Foe" was well received by the first-night audience. JoUt. BACK TO EARTH. John Baker Charles Cherry George Carr H&rold Hendee Harry Kennedy; James Dyrenforth Ambrose Strange Wallace Eddlnger Parsons • James Kearney O'Neil Jay W11b«» The Old Man Fred W. Peters Emily Carr Ruth Shepley Marjorle Haddon Paula Sterling Grace Carr. Minna Qombel Anna Kirby Davis William Le Baron wrote "Back to Earth," the play suggested by a story In the Century Magazine by Oscar Oraeve. In story form it may have been Interesting reading, perhaps more than In the form of drama. It is hard to discern bow, as a play, it can achieve success, and certainly not popularity. "Back to Earth" is "different." Having for a plot the coming hack to earth of an angel, in male form, it couldn't be anything else but different. True, other playwrights have for the purposes of the drama brought back to earth what -are acceptedly celestial celebri- ties, but Mr. Le Baron brings forth a common or garden variety of heavenly inhabitant—an angel. In the other "come-backs" there was some sort of popular conception of the ap- pearance of the visitors, that through age old paintings and such. But the common impres- sion of an angel is either a winged cherub or a beautiful maiden with a Jierioo spread of wings. Naturally when for Mr. Le Baron's purpose an angel in cheese-cloth robe and sandals, as is Wallace Eddlnger adorned when be suddenly stalks forth from the recesses of a reversed arm chair. It Is a shock. Had the audience in the Henry Miller Theatre been less polite, it might bave giggled enough to embarrass the serious pose of the angel. But it didn't, 'Dot only because of the preposterous situation hut a desire to learn jrhat such a "visitor" had to say for himself. Young Mr. Angel calmly spoke forth, say- ing be bad secured a two weeks' leave of ab- sence from heaven, that recalling the army or labor unions or something out of the picture. He explained he dimbly remembered about 76 years ago when he left the earth, but remem- bered nothing of human customs. Charles Cherry, bis self selected host, demanded why the angel had picked on him, and the angel replied that John (Mr. Cherry) could well aflord to finance his two weeks' stay on earth, and also that John was Interested in spirit- ualism, which brought in a connection of. "mediums" and angels not before suspected. John gave the angel a name, that of Am- broue Strange, and Ambrose forthwith entered John's little social set, ending up by fall- ing in love with John's fiancee (Ruth Shep- ley). At the conclusion of the two weeks' visit Ambrose decided be would not return to ——t »« ».,.., «.,«- .i,« i,o»« K„i !..» .» I,.- heaven but remain on earth and marry. He ?f,hL'*hiv^n.. n»«,,^rti {,li«n'°.?^»f. ^»,o! _J»asn't Certain it could be done, saying he father, having persuaded Helen It wasneces- -%^^^^ test it out by telling the seoreu of sary to seek some business papers. Stephen knows his written confession must be some- where about and Is worried about It. He starts searching the library room when Helen returns. She has had a "communication" from her dead father that the proo( of Hugh's innocence was to be found in the library. She and Stephen search the room, but to no effect. (A dlecuBslon on spiritualism had been brought up by her father's physician the night of bis death.) The physician Is being courted by a frivolous and flirtatious young widow. The widow smuggles Hugh Into the library. He enters in the uniform of a con-commlssloned officer, having enlisted under an assumed name as a private and risen to the rank of sergeant. On the battlefield of France be, too, had had a "communication" from old Bransby to seek his proofs in the library. Stephen had been endeavoring to get Helen to forget Hugh and marry him, explaining it was the wish of her father before bis death. . Third act occurs that evening. No evidence* la forthcoming, when Helen receives another "message" from her father and starts toward the bookshelf, but Is broken Into by Stephen. Later it comes to her again, this time that her father bad been reading "David .Copper- flold," and she remembers the very passage he had quoted. She repeats it and the book is secured. They look up the passage but nothing In it shows "the light" A third time she ^-■■gooa J.o.-tUe bookr'OTJecs if at the flrsf "pBge and finds there the confession. Later she says: "Daddy did bear me." The physician mutters, half to himself: "I wonder. Who knows?" to which she responds "Daddy and I know." The tbett committed by the bad brother and for which the good brother suffers i^calls a piece on that subject In which Agnes Herndon . starred about a score or so years ago, but the heaven. That disclosure would forever bar blm, he said. So he receded Into the arm chair and started telling of the opening of the pearly gates. As be was about to describe the sight, his voice failed. The chair was quickly re- versed and therein was a little wizened man of 75—the human form of Ambrose when be de- parted this earth, cut down to a 35-year-old angel up above. That situation was one of tho most Interest- ing, but It could not atone for the extremely talky preluding section. At the finish it is explained it really was a play which John had written and that they (the set) had acted. That, however, doesn't balance the defects. The transition from the ordinary living pace of the characters into tho action of the piece itself is crude and most unconvincing. 'The humor of the whole may appeal to some, but It is to be hardly enough. Smart sayings have been interspersed freely and heln ma- terially in saving "Back to Earth" from utter boredom. Many of these lines are allotted to Minna Gombel. Mr. Cherry could not under- stand how an angel would accept Broadway in preference to heaven, and one of the men, when It was explained Ambrose was an angel, Immediately demanded "^or whom?" which, while funny enough, failed to fit, along wltb some'Of the other bright dialog. Tho chanyter of Ambrose.Is perhaps.otws of ' "tfaoiiirtthgest cvbr attempted by Mr. Eddlnger. Tho role Is difficult enough but one 111 fitted to the usually strong Impressive player. For Ambrose is wishy-washy, one who doesn't smile, neither does he sleep. The Miller Theatre Is one of the few modern Broadway houses fitted with a gallery. "Back to Earth" will never draw them In the upper region, and It probably won't attract capacity In the better seats. Vttt. THE MELTING OF MOLLY. Judy Mrs. Charles O. Craig Mrs. Carter Maude Turner Gordon Dot Carter Gloria Goodwin Molly Carter .leabelle Lowe Tom Morgan -.Ted Lorra'no Ethel Morgan Marjorle Dunbar Pringle Judge Wade Frank KIngdon Doctor Moore Charles Purceil Athletic Instructor Vera Roehm St Clair McTabb ...Edgar Norton Miss Chester Alison McBain Guest George S. Trimble Miss Proctor Betty Carter Miss Pearl Gladys Miller Miss Pierce Gladys Walton This Is the fifth attempt to bring "The Melt- ing of Molly" to Broadway. The first three were alongUhe straight comedy lines, and then Dorothy Donnelly and Harold Orlob supplied a musical version. Later this was discarded, and tbe current version Is by Edgar Smith wltb music by Slgmund Romberg and lyrics by Cyrus Wood. The piece reached the Broad- hurst Dec. 80 via Chicago. That city Is said to have liked 'he show, but it is highly doubt- ful if New York will follow suit. Lee and J. J. Shubert present the piece, which, according to the program, was produced under the personal direction of J. J. Shubert, who did not evolve as attractive a piece of stage merchandise as "Maytime," for which he was also personally responsible. "The Melting of Molly" is a very draggy affair in Its musical form. Those that saw it as a comedy state that it is about 100 per cent Improved. If that is the case then It must have been a sorry comedy Indeed. Mon- day there was an audience at the rear of tbe orchestra floor mighty friendly disposes, as was evinced by the applause they gave. This applause was so drawn out that those who wanted to really see the show did a little "sushing." 'The best that can be expected of "Molly" In her present form is that it will remain at the Broadhurst for about four weeks and then be ready to depart The piece is presented In a prolog and three acts, three sets belng^used for the development That of the prolog Is also utilized for the final act It ^ows the exterior of the Carter home, intended to be somewhere south of the Mason and Dixon line, although the dialog at times suggests it Is on upper Fifth avenue. The first act is a living room of the Carter mansion and the second the sanitarium for exercising and growing thin. The Maria Thompson Daviess story has been held to rather faithfully. It .is one that all the girls that have been practising the "Eat and Grow Thin" code will be Interested in. Molly is the daughter of the very high and mighty Carters from Virginia. In the prolog she has two admirers, one a celf-centred Indi- vidual about to go abroad in the diplomatic service, whom she really loves, and the other a young doctor, very much in love with her, but his case in her eyes is rather hopeless. 'The action takes place four years later, after the diplomatic lover has gained fame and for- tune abroad; the Carters have gone broke, and he is about to return to claim tbe band of his alflanced, who has been waiting for blm and growing plump. As he intimates that he is going to expect to see the slim girlish figure that bade him adieu, Molly has to struggle for three months to lop oil 40 pounds ol plumpness. Tbe young doctor has remained in the neighborhood and is conducting a health farm for the reduction of girth for heavily weighted ladies. He does the trick for her, and when the once slim lover returns, very mui^h broadened as to vision and waistline, the shock is too much for the girl, who turns and is delighted to find that the doctor has really married her, although she had supposed that the performance of a marriage ceremony 'by proxy had linked ber to the now fatted calf. The story is told in a very hesitating man- ner, and as for comedy there is little or none. Isabelle Lowe is now playing Molly. She is altogether charming in the prolog, quite a comedienne in the first act, captivating in knickers in the second, but it remains for the last act to permit her to shine In ber real forte, which is dramatic. Her renunciation of her batted lover is extremely clever. Charles Purceil plays the youthful doctor, and his performance left naught to be desired. He was in good voice and sang several num- bers nicely. His dancing brought applause, and while he suggested his former role in "Maytime" at times, he was nevertheless at ease In the part. A comedy number in the first act between he and Miss Lowe scored. Gloria Goodwin and Ted Lorraine were given the task of furnisblDg the Juvenile interest, and they sang and danced their way Into favor. The only voice, other than that possessed by Mr. Purceil, was revealed by Marjorle Dunbar Jrlngle. She is charming In appearance and can sing and dance. Mrs. Charles G. Craig, as a colored mammy, cornered practically all the Idughs outside of the Molly role. Maude Turner Gordon, as the mother of Molly, gave a neat portrayal of the role, as did Frank KIngdon as an old friend of tbe family. Then there was Vera Roehm, with all her shapeliness displayed as an athletic Instructor tor tbe ladles. She bad one number at the opening of the gym scene that she put over effectively by talking It The figure display cad th« boxSag bOTit dtacs doue with buo"bf the other girls was full of pep. Incidentally, that gym scene as to costuming of the girls suggested a Mack Sennett comedy. It con- tained the real "pep" of the whole show. It also held another little film touch, the Intro- duction of a series of fade-ins Illustrating two of the numbers which were handled by the raising of a frame In the back drop. Tbe score of "Molly" contains nothing that will be whistled to achieve any great popu- larity.. A number in the flrat act that Pur- ceil sings is pretty, but otherwise .there is nothing. Several attempts at popular stuff with a jazs lilt but they do not contain the required swing. The opening number or ine last act comes nearer than anything else m popular appeaL ... ,. The show has a chorus of 13 girls, although there are 16 on the stage at times. The three additional are listed as principals, two of them stand out as specialty dancers. They are Gladys Miller and Gladys Walton. The two Interior sets of the show are not expensive, although adequate, and that of the exterior Is "hanging stutL" It is -effecUvo In giving the illusion of great trees about the home of the Carters. There is a particularly effective back drop for this set The dressing of the girls is pretty in the first and last acta, but the costumes in the second act are far from becoming. This is especially true of those worn T)y some of the girls that had as head gear a particularly tight cap with great flaglng wings of silk. Taken as- a whole, "The Melting of Molly" does not look as if it will do for Broadway. Fred. KEEP IT TO YOURSELF. Charlie ..." Dallas Welford Dr. Dubois • Robert Lowe Benjamin Albert Brown Edouarde Chaumet Edwin Nlcander Dr. Ferdinand Brodard ". .Alphonz Ethler Amelle Brodard ..Ethel Stanard Marie ^t""^',? ^*li Francois John Burkell Marguerite Chaumet Helen Holmes Raphael Macey Harlam A man, an easy subject to hypnotic Influence, a couple on a honeymoon trip, and the former s mistake In bedrooms, and you have the three component parts which make up Mark Swan's farce, which had its premiere at the 38th Street, Dec. 80. ^ . On the program Mr. Swan states the ground, worts of the piece was taken from the French of Keroule and Barre. This statement is al- most superfluous, after the first few minutes of the first act, as the farce Is Preachy—very Prenchy—and it Is hardly to be recommended to those who object to the portrayal of delicate situations on the stage. But the situations are treated In such a funny manner they are really amusing instead of offensive. The first scene opens in the bridal suite of a hotel which for the time being is occupied by the hypnotic one. With the sudden arrival of a bride and groomrTro^»-«aked to vacate to an adjoining suite, which he does. From then on the fun starts. A physician calls upon the "subject," who is suffering from Insomnia, and puts him under the "Influence" and orders him to retire as the clock strikes ten. .Unfortunately, he does not know of the switch In apartments and the arrival of the honeymoon couple. Punctually at the time stated he becomes a victim of the physician's stronger will and starts to carry out his Instructions to the letter. The bridegroom leaves the room to go and look after his wife's Jewel case, which she had left at the station. Naturally complications arise—many of them. The second act. Instead of unraveling the tangle, merely leads to further complications, but in the third act everything Is explained, and the Indignant bridgegroom, who has mur- der In his heart, confesses that be has been deceived by a chain of circumstances instead of by his bride, and the wedding tour la continued. Tbe fact that the locale is at the Hotel Splendlde, Ostend, adds color to the farce, as Ostend is notably wicked, even for Euro- pean watering places. 'The company is generally able and Includes a number of prominent players. Edwin Nl- cander has full scope as tbe hypnotic subject, and Alphonz Ethler is the thundering farce husband to perfection. Dallas Welford con- trlhutes an amusing characterization of an absent-minded English waiter. Ethel Stanard looks her prettiest as the young wife, and Albert Brown and others contribute in a lesser degree to tne evening's fun. ' A prince'there was. Charles Martin Robert Hilllard Bland Ernest Btallard Jack Carruthers '.....George Parsons Comfort Marie Vernon Miss Vincent Wanda Carlyle Gladys Prouty Rath Donnelly Mrs. Prputy Jessie Ralph Short Ralph SIpperly Katharine Woods, M.S.C Phoebe Hunt "You've missed the greatest thing in life^ roughing It—fighting y^ur way through. You were born rich and have always been success- ful. Then when you received a crushing blow yt)u were unable^^o recover from It." In some such words oni(*^ character says this to an- other, and It is the theme of George M. Cohan's comedy, "A Prince There Was," adapted from a story by Darragh Aldrlch, opening at the Cohan, Dec. 24, in which Robert Hilllard Is starred. Charles Martin (Mr. Hilllard) is a middle- aged millionaire who retired from business four years previous to tbe opening of the piece, a broken-hearted man who has taken to drink to drown bis sorrow in the loss of his wifp...and..child, by. dewlh-- He trjt-valj-- about tbe country aimlessly with his valet, never quite Intoxicated, but always stupefied with liquor. He Is revealed In his sumptuous apartment at tbe Plaza Hotel, having Just returned from California. An old friend, a magazine pub- lisher, calls and analyzes his condition as above Indicated. While the publisher Is doing this the phone rings and it Is announced that a child Is downstairs seeking tbe pub- lisher. The magazine man tells the valet to