Variety (April 1919)

aw: fiB**! ill' 14 LEGITIMATE * •'. % / "■"Uijf: II n£ 'Kiji-'l'' ::•>; ill H3R Ml! will rl 11 . m • i ! ir -V * ■ :• |$£ 1 ; THE CAVE GIRL Atlantic City, April I). Another Cohan & Harris success at the Apollo Monday night under the title ot "The Cave Girl," by Georgo Mlddletoo. /."' The play was enthusiastically received. Each st the ten principals gave a splendid perform- ance. The settings of the three acts are the moat magnificent brought to Atlantic City in many a day. '1 be crusty old bachelor of "Daddies" la here again as a New York millionaire who bad at iust persuuded bis family to a vacation In the wlldejrncss of Canada. Robert McWade played the role, but without the softening note of tho Uelasco production. Surrounding himself with the comforts of city life as far as such a dis- tance would allow, he found bis family incon- venienced by his theories on rustic life. The situation complicates when a young girl of especially attractive mien Is discovered to be thieving from the family storehouse, where neighbors are supposed to be unknown. Lola Fisher plays this role with a charm that is de- lightful and makes them overlook the lack of physical strength which Miss Fisher does not ..! Iug to the outdoor life of tho "Cave Girl." As the nomad ot the wilderness she in- troduces tbe family cave, where ber Father Professor is trying out certain personal theories of life in the primitive. The humor is thor- oughly enjoyable when tbe rich man's dwelling burns down and leaves them all a "Community" for tbe professor's experiment. There Is a lit- tle of the excitement of a melodrama for a moment and plenty of the grandeur of stage- craft at its best Russ Wnytal was the Interesting professor, and there was Katharine Grey as the mother of a young lady who just "hung on." Which young woman was Wary Newcomb. Frank . Thomas played the youth who wooed with true romance, while John Beduin made a perfect butler, and' kept his poise fairly well in the primitive scenes. With Sue Van Duzer as a mother the cast was complete. The first performance went very smoothly, though tbe hour of the final curtain was some- what late, an indication that the play will im- prove with its stay. A GOOD BAD WOMAN. Richard Brant Robert Edeson Dr. John Calvert Wilton Lackaye Rurh Brant Margaret Illlngton Dollte Bennett Katberlne Kaelred Evelyn Maftln Hazel Turney Harold Spears Richard Taber Hilda Jones Amy Ongley Somewhere about the year 1760 a French- man named Diderot, in a treatise on play acting, said, among other things: 'Think no more ot the audience than if it had never ex- isted. Imagine a huge wall across the front of the stage, separating yon from the audience, an,d believe exactly as if (he curtain bad never risen." The Quotation is here. made for Margaret Illlngton, who seems to, have a play- ful habit ot holding communication with people In tbe audience while impersonating a character back ot the footlights. A- tow' years ago, when Miss Illlngton was the wife of Daniel Frohman, she appeared at the Lyceum in "The Thief." A member of Variety's staff was present one evening when, at tbe conclusion of the performance, she was called before the curtain to acknowledge ap- plause. As she retired to the left entrance she was heard to distinctly say to a party ot friends in the stage 'box on that side: "I'll see you after tbe show." At the metropolitan premiere ot ."A Good Bad Woman" at the Harris Theatre Tuesday night, during the sec- ond act, while Robert Edeson and Wilton .Lackaye were having a scene to the right of the stage, Miss Illlngton's role required her to stand alone to- the left and^ express repressed v emotion. Instead she pantomimed familiarly to someone she knew seated In the front ot tbe auditorium and winked) at ber acquaintance! Hence the Diderot quotation. ¥--...] ? "A Oood Bad Woman" is a drama by Will- iam Anthony McGuire, presented by H. H. Fruzeo and staged by Richard Bennett. It was presented in Chicago under the name of "Everyman's Castle," and elsewhere under other titles, having been several times rewrit- ten. Like the film feature, "Where Are My Children?" it Is a preachment against abortion, and while such subjects are undoubtedly In- teresting, It is questionable it it Is a fitting topic for "a drama of today," as the program describes it. The future of the piece In New York Ib not an easy one to determine, but a safe prediction to make would be that it will cither attract capacity audiences or none at nil. As a piece of dramatic construction it is ex- cellent and woll written, or apparently so, with . the leading characters portrayed by so com- petent a cast of Wilton Lackaye, Robert Edeson, Margaret Illlngton and {Catherine Kaelred. This quartet ot stars would make even a bad play sound interesting. The crux of tbe plot is that a woman, hap- pily married ono year, Is approaching mother- hood with trepidation. A woman friend paints n picture of the drudgery of motherhood and the inevitable loss of tbe companionship of her husband, whom she adores. She prevails upon tho wife to visit a physician whom she names and have an illegal operation performed. Two days later the physician calls, and the husband, who looks forward with ecstatic joy to being a father, and suspecting' nothing, answers tbe phone, bears the name of Dr. Calvert, recognizes a college mate, and be- lieving the physician had called, htm an to re- new old friendships, bids htm come right over. On learning what bus taken place, quite by accident, tbe husband declares his Intention to kill tho doctor for having murdered his unborn child. He sends for Calvert, and in the last act Is seen Impatiently awaiting tlit doctor's arrival, revolver in hand. Eyorythlng_ is straightened out by the doctor revealing tho fact that the woman who recommended blm was divorced by him for having refused to boar him children and that he had only urotended to perform the Illegal operation. in the denouement of the wife by her husband he refers to marriage without motherhood as legalized prostitution and kin- dred speeches that -we have heard and read many times, and which are Introduced in tbe play for palpable sensationalism. Physicians desiring gratuitous advertising might secure some newspaper 'publicity by communicating with Mr. Frazrea press de- partment, sending along endorsements ot "A Oood Baa Woman." Miss Illlngton as the wife Is splendid. She probably has never appeared to greater ad- vantage, taking a very emotional role without over-acting or ranting. Robert Edeson as the husband is forceful and dignified in a very natural way. Wilton Lackaye as the doctor Is dominant, with no apparent effort or resorting to pedantry. Katherine Kaelred has an un- satisfactory part as tbe meddling neighbor, wbo turns out to be the divorced wife of the physician. Amy Ongley has a "fat" character role, and bandies it wejll. Hazel Turner and Richard Taber enact acceptably a pair ot young lovers for comedy relief. A friendly audience gave the piece a fairly hearty send-off tbe opening night. It will be Interesting to note bow future spectators will accept it / Jolo. _^_ C0ME-0N~CHARLEY. William J. Drew Charles Abbe Howard Garvey., Russel Parker Dorothy Drew. ....Amy Leah Dennis Jerry Page >.... Russell Morrison Amanda Hlgglns Eunice Elliott Jacob. Lubin Maurice Barrett John O'Brien Dan Kelly Josiab Wainwright W. H. Dupont Perclval Teeters Frank McCormack Tony (a newsboy) Edwardo Flammero Harry Cuthbert Lynham ...Robert Rendal Charley Carter Lynne Overman Mrs. Bascom Millie Butterfleld Pansy .- Lllyan Tashmsn Panatella Estella Taylor .Maurice Bannerman M. Teilo Webb Teddy Ball Vinton Freedley Victor (a waiter) Pierre Fordeaux Hugo (a waiter) Alphonse Metier Madeline Norrls Marguerite Forrest Jennie Miss Arpentihl Major Norris James Hester William Negley Charles Keane Robert Kearney Charles Mason Morton Butler Walter Allen Inspector Shaw...; Rawlln Herbert THE FABLE. Once upon a time there was a tired business man who bad a pet theory and a headache. And in due course of time the headache collided with and then turned around and slde- swiped the pet theory to the utter undoing of both. . Whereupon a foolish person, with an angel- fears-to-tread expression on his storm-battered countenance, attempted to make entertainment from the resultant chaos. And it came to pass that when the headache had been dramatized, lo and behold! there ap- peared the Inevitable moral. Which Is: Don't try*to play Destiny—yon can't even make up for the part. Here is one of the biggest laugh wallops that has hit Broadway, It Is a play with almost three plays in it Tbe idea underlying has a dash of "Seven Keys, to Baldpate," a little of "Walllngford" andatben some of that spooky stuff, and finally ends in an expose that all of the action with the exception of the opening and closing scenes was but a dream. The chances are»tbat It Is going to stay at the 48th Street for a long season. Other than that there Is the tremendous hit scored by Frank McCormack in the principal comedy role. He was a revelation, and it murks him as a comedian of the dear, old "hoak" type that gets bis material over with a smash. , - • "Come-On Charley'' is programed as a fable In three acts,and five scenes, founded on the stories of Thomas Addison and adapted for the stage by George V. Hobart. The moral to the fable is, according to the program, "Don't try to play Destiny—you can't even make up for the. part" There are 25 characters, and in selecting those George Hobart picked a couple of names new to Broadway, although they have Berved tnair apprenticeship on otber stages. The re- sult Is a cast that puts the show over In cork- ing shape. Tuesday night the entire company gave an exceedingly nervous performance. Time and again those on the stage went up in their lines, but this did not prevent the house from laughing its hefd off. It is a laugh show al- most from the start, and once the dream action Is under way there Isn't a moment In the piece that does not deliver a comedy punch. The action opens In the office of William J. « Drew, an attorney, who 1b about to fulfill the request of an old friend and turn $10,000 over to the> man's nephew. Tbe lawyer has a theory that money makes money, and to give tbe youth an incentive, be is going to inform him that the uncle left him a million dollars, providing be can take the $10,000 and run it Into $500,000 In six months' time. The lawyer has a daughter and a headache. The daughter drops Into the office with some new tangled headache powders, and father confides his lit- tle scheme to her. She remonstrates, but with- out avail, and finally leaves In a huff. The headache refusing to leave, the father finally resorts to tbe powders, and lntsead of taking one, be figures that one can't get too much of n good thing, nnd swallows a double dose. As he drops oft to sleep the second scene showe the Interior of a shoe store at Stam- ford, Conn., where tho young heir Is clerking it at $22 per. Here the $10,000 is turned over to blm with the promise of a million to fol- low ir he makes good In getting the $600,000. He starts right on the trail of the money. The second act is in a hotel in New York where tbe boy baa gotten over $200,000 of the sum inside ot ten days after his initial por- tion of tbe bequest was turned over to htm. The lawyer then-fearing that the boy will make good, and he will either have to fork over a million ot his own or be exposed as a trickster, enlists the aid of a gang ot crooks to fleece him. The opening scene of the third act is a haunted house with the crooks cor- nering the boy and the tables are turned on the lawyer at tbe last minute. Tbe latter awakes from hla dream in bis own offices, nnd all of the characters are again Introduced in their proper aspect as the old man pieces tbem Into the scenes be dreamed. The staging Is very effectively handled, and for the lay audiences there need be no fear that they will begin to suspect the dream plant at the opening for the action into toe con- tinuation comes about naturally. i Charles Abbe plays the lawyer and endows it with all of the required touch ot sincerity. Amy Leah Dannie Is his daughter, and handles the Ingenue lead in a very clever manner. Lynn Overman in the title role slips over a characterization that is going to keep him on Broadway for a long time after "Come-On Charley" no longer needs him. He scored de- lightfully with comedy lines and situations, although he was exceedingly nervous. But again to Frank McCormack. He played all over the stage and put all of the slapstick ot a rather quiet sort Into the show. His de- livery was pitched a la Bert Savoy, and after he had put over his first few lines the audi- ence was with him and they roared at every- thing be did after that. There Is a booking.agent and a "sister act" in tbe piece. Tbe sisters are played by Lllyan Tashman (really Lilyan) and Estella Taylor. They are a couple of real "hicks," and their agent, played by Maurice Barrett, Is a re- minder of the days of six or eight years ago when there were a lot of "hoys" in the game that were like him. Since that time they have either dropped out or have acquired polish. Others who scored were Dan Kelly, Eunice Elliott, Robert Rendal (who gave a particularly good performance) 'and Marguerite Forrest. There 1b nothing on the program or in the outside billing matter regarding the show that would indicate who the-producer is, bnt it looks like Mr. Hobart was personally taking a chance. That last is a mistake; be Isn't taking any chance at all now for "Come-On Charley" is "In/* • Fred. COME ALONG. / A New Musical Comedy. Under Direction of Frank Jackson. Book by Bide Dudley. Music and Lyrics by John Louw Nelson. Staged by Edward Royce. Special Numbers Arranged by Jack Mason. Cast. PROLOGUE. Jim Doollttle Harry Tighe Barbara Benton Reglna Richards Tom McManus Paul • Frawley, Frank Marshall Charles Stanton Charles Williams Edward Bailey Salvation Army Girls— Corporal Sue Taylor Connie Madison Private Jane Miller Ellen King Private Louise Brown Ellen Best PLAY. Major Barbara Benton Begins Richards Mess Sergt Doollttle Harry Tighe Lieut. Frank Marshall Charles Stanton Pvt. Peanuts Barker Allen Kearns Madelon '. Mile, Marcelle 'Carroll Mrs. Crosby Ethel Du Fre Houtson - Peggy Penny Patsle De Forest Mme. Juliet.. Julia Kelet*» Pvt. Jeff Scroggtns Billy Clark Sergt. Chauncey Holmes Dan Dawson Gen. Baker, A. E. F .Ernest E. Pollock Col. Mitchell (S. A.) -.John Rolden Algerian Robert Mllasch Cuckoo Marian Lytle Alotiette Marjorle Lytle Salvation Army Girls— Corp. Sue, Taylor Connie Madison Pvt. Jane Miller Ellen King Aviators; Motor Corps Girls, Salvation Army Girls, Alsatian Populace. Members of the A. E. F., etc. ENSEMBLE—Connie Madison, Ellen Kinfc, Grace Evans, Betty Burch, Hazel Morgan, Dorothy Beattle, Rose Maynard, Merrill Ross, May Weston. Emma Smith, Margaret Daniels and Anna Beet. MALE ENSEMBLE—Messrs. Fage, Reisnay, Henry, Bailey, Joe Page, Allen, Chase, Alter, . Le Roy, Smythe, Vanard, Bartels and Fatovsky. Might as well give all necessary space to the program, for there's little to the show.-"Come Along,'/ Is a musical comedy with seldom a laugh and little music • The piece has been on and. off tbe road. Someone of its unknown writers Is reported backing It. The chances are that the Bayes Theatre, where It opened April 8, Is rented. "Come Along" will likely remain on the 44th Street roof just as long as its backer will pay rent and salaries. He can't expect this piece to draw upstairs in that house when down- stairs is "Take It from Me," another musical, comedy—with at least comedy. It must have been a satirical streak that placed these two scratch shows of similar type In tbe same building, with tbe poorest one the tartherest from the street An overseas revue idea appears to .be the weak foundation tor "Come Along," with a Salvation Army Hut the principal scene. That Is tho first act. A prolog ran Into It Tbe combination kept going for over an hour. It seemed all night. Perh aps, some remajned after 0.50 to writhe through the second act. If this - show ever bad a chance, which It didn't, why did Bill Morrlsey take hla original "Overseas Revue" WestT Plainly, and if not plainly, then somehow, "Come Along" suggests tbe BUI Morrlsey scheme has been taken and put on the stage Ja opposition to his show. MorrlEey's principal scene is a Hut Mor- rleey's bos not seen Broadway as yet. Besides which "Come Along" attempts to trade upon the popularity of the Salvation Army among , the boys. And then it flops. The principals are helpless. They have nothing to work with. Therefore their chance to "show" or "make good" is lost. The book is full ot nothing in dialog, business or situ- ations. Its nearest approach to wit are a couple ot childish puns. It's about' as stupid a book in every way as could have sneaked into New York, even on a pay-as-you-enter basis. The numbers seemed plentiful enough on the program. Tbe only musical song was "When They're Beautiful," lead by Harry Tighe. It sounded muchly like a number Mr. Tigbe did long before he joined this troupe, although the program mentions the only interpolation as a song is by Blanche Merrill, sung in the show by Allan Kearns and Patsle DeForest, who bad done that number when a two-act in vaude- ville. Mr. Kearns did as well as he could; Miss DeForest looked petite and saucy in ber uniform. . . - Some of the other principals did as well as they could, what they could do and what they had to do> it with. Others did what they' could, which looked as though it was all they could. The only bit and ginger up to the end of the first act was when Jessica Brown drew down all the applause the audience had through her single dance, that had to be re- peated by ber. Miss Brown did a right foot side swivel that won the bouse. It's a com- bination of a regular dancing kick step and the one Chorlote Greenwood does. Tbe audience had been bo friendly it ap- plauded some of tbe principals on each en- trance, finding no other reason. So when Miss Brown appeared, they went to it She seemed to have less friends In front than any of the others. Miss Brown's was the only specialty listed, though Julia Kelety was programed. Miss Kelety may have appeared in the second act. But she nor no one else could have made this bad show good. Tbe chorus bad a dozen girls and the same - number of boys. The chorus boys looked very young, younger and better than the girls. Not much costuming was called ~ for. Nearly everything was uniform, mostly the same. The chorus acted as though lately drilled before the show opened on the roof. No one indicated any vocal quality. They just sang. The concerted singing was hor- rible. Perhaps tbe best voice belonged to Billy Clark, fa blackface, as a crap shooting private who didn't want to go home. He had one number. Clark, like one or two or the others, appeared to have everything to do something but nothing to hang it on. In the matter of merit through talent the program looked very light, much lighter than the evi- dent salaries might suggest. Marie Carroll came the nearest to notice as a French maid TMadelon), but she was under the same handi- cap. As a musical comedy "Come Along" should have been a moving picture. But as long as It had to die, for the benefit of the* company and to save transportation home, there was no place like New York. Sime. GRAND GUIGN0L, PARIS. Paris, March 20. The new shtfw at tbe UtUe. Grand Guignol consists of four pieces, and, as usual, merry ' and sad. "L'Ame de 1'Enemy," by P. Veb.er, Is a war sketch'. A man dressed as a peasant is taken prisoner. He calls himself an Alsaclan de- serter, formerly a barman in Paris. He sows Jealousy among three French officers, re- vealing the infidelity of their sweethearts. But a superior Intervenes and pacifies them. The false barman Is found to be a spy and shot "Perle Fausse" is an amusing study of Parisian life, by Regis Gignoux. A good nalured man bas a mistress wltb whom he is not too happy. When the woman encourages a second suitor the first is quite willing to withdraw. However, the second is only a sponger or Imitation lover, "a false pearl," according to the title, who on learning of the proposed sacrifice is afraid to assume sole possession of the lady's affection and alone • bear the expenses of ber up-keep. So he jibes and diplomatically disappears, leaving tbe first to continue his miserable lite. "L'Atroce Volupte," two acts, by E. Neveux, ot tbe psycho-physiology order, is the adver- tised attraction. A hysterical wife has a mesmeric influence over her husband. As a punishment or fiendish spite sbe puts him into a paralytic condition, leaving him powerless but conscious. She then makes love to a rival in his presence. In the next act the husband has died, tbe other fellow having tnken his place in the home. He is also mesmerized by this curious creature, but by nr means powerless, for be finishes by strang- ling her. Mme. Maxa in tbe leading role acts splendidly. This Is followed by "La Peau," by Nancey and Birabeau, and Is of the bedroom category so dear to French playwrights. Loulou is waiting for a'dlvorce, but inadvertently ac- cepts the visit of her husband one evening. He finds himself In the position of hiding in his former home, for tbe wife's lover ar- rives, and he also has to bide when the new fiance is announced. The situation of former husband and lover taking ?efuge. together under a bed while the lady receives another fellow caused hilarity. Ken drew. ,..,;/: <-•