Inside facts of stage and screen (February 15, 1930)

PAGE FOURTEEN INSIDE FACTS OF STAGE AND SCREEN SATURDAY, FEB. 15, 1930 WILBUR CUSHMAN’S OWN REVUE STRAND THEATRE LONG BEACH (Reviewed Feb. 9) For the final week of his limit- ed engagement at this house Wil- bur Cushman picked a logical for speed and laughter in “Sweet- hearts Again,” a comedy slant on the divorce question by Margaret Eckhard. The beachites went for this one plenty forte. The plot evolved around a quarreling old couple who are tricked into be- lieving they have been divorced on the eve of their fiftieth wedding anniversary as a cure-all for their continual bickering. It was packed with laughs and clever situations, which, together with the flashy musical interpolations, gave the Cushman company an opportunity to display their wares to best ad- vantage. Rudy Wintner, as the old cod- ger, garnered the comedy honors with a perfect character delinea- tion and an excellent judgment of comedy values. He has a style all his own and takes advantage of every opportunity to build his role to conform with the script without recourse to familiar horse- play and mugging. Madelyne Mathews made an excellent foil as his wife and aided the comic in putting across the various sit- uations for a maximum of re- turns. Their individual singing and dancing specialties were good for repeated encores. Vivian Vance made a charming appearance as the married daugh- ter and met the requirements of her role in a faultless manner. She was assigned the prime task of unfolding the plot and did so in real trouper style. Her vocal rendition of “One Night of Hap- piness” was one of the highlights of the musical offerings. Wilbur Cushman, as the son- in-law, Ray Parsons as the lawyer and Ray Angwin as the brother, added to the hilarity with highly creditable performances of their respective roles. The lighter vein of comedy was in the capable hands of Dale Jackson as the boy friend and Gertrude Reed as the sister. The ensemble included Maurine Sullivan, Reva Ogden, Vera Lloyd, Maurice Sullivan, Mary DeSano, Kathryn Wion, Jocelyn Wion, Dorothy Lee, Grace Sullivan, Mabel Francis, Marjorie Walker, Lillie Jolly, Car- men McCann and Lucille Van Dorn. All musical interpolations, ar- ranged and directed by A1 N. Berube, were splendidly mounted as to scenery and costumes while the dancing specialties, staged by Ann Hart, bore the stamp of originality and met with well- earned approval. Worthy of spe- cial mention were the solo dances of Dorothy Lee, Kathryn Wion and Gertrude Reed. Joe Linde- baunt’s orchestra, under the di- rection of A1 N. Berube,, took good care of the musical end of the program. ‘OH, SUSANNA’ CURRAN SAN FRANCISCO (Reviewed Feb. 4) San Francisco already has taken to “Oh, Susanna.” If for no reason other than the present dearth of local stage shows this Franklyn Warner production, directed by George Roesner, should have a profitable run at the Curran. While it has its deficiencies there is much to recommend it, particularly the striking vocal ensemble numbers, the well balanced performances turned in by the majority of the cast, pleasing music and excellent settings. | Story of the play, as written by Bernard McConville, already has been narrated in a previous re- view of the show when it was at the Mayan in Los Angeles. Since then, however, the produc- tion undoubtedly has been ironed out considerably until at the pres- ent time it flows in an even, un- interrupted course. If there is an outstanding performance given it is that of Wallace McDonald, who as the Spanish Don Jose, meas- ured up adequately to all demands of the part, handling his lines and songs with ease and assurance. The title role of "Susanna” is taken by Stella Seager who dis- plays a pleasing voice and person- ality in her efforts. kichard Powell plays the judge, taking the part in an airy style that is above the average. As the Chinese, Georgie Harris displayed much versatility of makeup and dialect that elicited- applause for him. Redmond Wells as the boob deputy sheriff and Georgia Caine completed the quartette who handled most of the comedy. Some of the "funniest” lines were pretty weak stuff but the performers de- serve a lot of credit for putting it over to its fullest extent. Lva Rosita in a Spider dance and James Ford playing opposite her were okay while George Burton was especially convincing in his role of a rough miner. Bud Averill took care of two parts and did them nicely. Remainder of the cast includes Harold Hodge, Phyl- lis Soule, Ed Murray, Harry Staf- ford, Carlo Peters, Manuel Eman- uel, Edward Delgado, Fred Mil- lard, Charles Millard, Leslie Ever- son and George M. Vail. Of Aubrey Stauffer’s musical number outstanding were “Gold,” “Hot Coffee,” “Bells of Monterey,” “Sacramento Packet” and “Love Is Whispering.” “Gold” on the night of review, took four encores while each of the others garnered three apiece. Dances and ensembles, directed by Bud Murray, were highly orig- inal and mighty nifty. The or- chestra was directed by Umbreto Sistarelli. Bock. ‘SUN-UP’ VINE STREET THEATRE HOLLYWOOD This epic or the Carolina moun- tains by Lula Vollmer is more of a character study than it is a play, but it is for Lucille La Verne what “Rip Van Winkle” was for Joseph Jefferson. Perhaps no woman has ever reached the heights of this type of characterization that Miss La Verne attains as the Widow Cagle and we dare say that no actress has ever perfected a character to the degree of excellence shown in this performance. With perhaps as few lines as anyone in the cast, Miss La Verne has developed the art of making her silence felt. The dramatic pause in her hands can be held longer than is usual with gripping effect. Her voice has the reson- ant quality of a man and a moun- taineer at that. When she speaks, one knows it is meant and her power is not only to the characters on the stage but is likewise felt with a thrill in the audience. She possesses the knack of in- ducing tears, laughter and deter- mination at will, and even her sophistries against the law call for a sympathetic accord. Even though this play ran for a long number ALLES ME. 4872—224 E. 4th St, Los Angeles—ME. 4873 SHOW PRINT of months at the Egan some two years ago, the house was filled to capacity with a distinguished audi- ence that was so appreciative as to warrant the observation that it is again due for a sizeable run. Miss La Yerne has surrounded herself with a cast that distin- guished itself in every instance. All of the roles are more or less difficult and call for unusual char- acterization, but in no instance was anything left wanting. Don Travis grabbed most of the male honors for his portrayal of a slow-witted boy. Time and again, he received enthusiastic scene re- calls. L. Byron Shores also gave a very consistent interpretation of the son. He was nice to look upon and read his lines with a deep sincerity that was pleasingly minus the theatrical. Harry Willard also played a character somewhat on the order of “Lightnin’ Bill” that was ex- ceptionally well thought out and executed. Grace Treon played the girl role. Grace, we understand, is the daughter of Miss La Verne and has inherited a considerable amount of her mother’s talent. She was sweetly demure and repressed her emotions most cleverly. The part had every tendency to induce a youngster to overact but in no in- stance did Miss Treon offend. James Page, in the role of a sheriff, also gave a sterling per- formance. He looked the part and played him in a businesslike man- ner without any heroics nor at- tempts at bluster even though many situations might have tempted a less experienced actor to rant. Joseph Buckley played a moun- tain parson with just a touch of broadness which was permissible as the comedy relief. Ferdinand Roderiguez gave a fine account of the stranger and while the part was not large he played it for the utmost of effect. James Lee also had a bit. The staging was very well done, showing the polish of years of familiarity with the play ’ and the highest effects were obtained, par- ticularly in clever lighting. The direction was by Miss La Verne and was faultless. Jacobs. ‘THE PEEPHOLE’ GREEN STREET SAN FRANCISCO (Reviewed Feb. 8) This Green Street Theatre is without a doubt the most unique spot of its kind in the entire West. Retaining all the Bohemian flavor that San Francisco was once noted for, it remains a decided novelty for the natives and an event for out-of-towners. To Julius Horst’s spicy Viennessee farce Sid Goldtree has added music and “The Peephole” excepting for the lack of a flock of chorines is next thing to a musical comedy. Per- haps it’s the effect of the talkies with their theme songs, but what- ever it is music is interpolated often and the songs are spotted just when the suggestive lines have piled up enough to permit customers taking “The Peephole” more than racy stage fare. With but few exceptions Gold- tree has recruited much of his cast from vaudeville, and it is to them that the palms go for han- dling adequately the songs writ- ten by arry Yoell, Bob Spencer and Helen d’Asalena. The title of the play derives its name . from the Parisian houses established for the sole purpose of permitting cash customers to spy on loving couples in another room. The vehicle itself concerns the affairs of a capable husband and satisfied wife and an incapable husband and an unsatisfied wife. Ensuing complications give rise to a number of genuine belly laughs that make the show a ten- strike in its particular class. Joe Kemper takes the leading role of Chicot, exemplifying the well dressed Parisian man about town "whose telephone is 33-44 and always satisfies.” He capably handles, singly and with others, six of the show’s 11 musical num- bers. in the absence of Betty Blossom, Valerie Noyes handled the maid’s part in pert fashion, making the most of hex' numerous opportunities with her songs and lines. Conny Carlisle displayed ability as the unsatisfied wile, do- ing ner two numbers nicely and presenting a nitty appearance. In addition to his part of the satisfactory husband, Hugh Met-, calf directed the show and showed considerable ability in his han- dling of sides. Okay in both ca- pacities. Gudy Swanson and Bruce Payne as the old couple from the country . drew plenty of laughs for their characterizations, Miss Swanson's number, "What’s Come Over Me?” pulling some of the show’s best chuckles. Jack Lind- sey as the American and Larry Cook as his guide were well cast in their parts, while Taylor Graves as the inadequate husband also was good. Carol Winston, the satisfied wife, Anna Closs, Gerald Heather, Gene West and Muren Fleurnoy completed the cast. Larry Yoell and Bob Spencer had one outstanding commercial number, "You’re So Sweet,” and several other good show tunes, including "33-44,” “Watch the Old Peephole” and "What’s Come Over Me?” Helen d’Asalena’s mu- sical contributions, all okay, were "Don’t Forget,” “Within Your Loving Arms,” “Maybe Baby,” “I’m In Love With You Cherie,” and “Love.” Corp. Pete Peshon and his the- atre raiding squad haven’t taken action against this racy farce yet, but they haven’t failed on any of Goldtree’s previous productions in- cluding “Easy For Zee Zee,” “The Married Virgin” and "The Flat Tire.” Bock. ‘AND SO TO BED’ HOLLYWOOD MUSIC BOX HOLLYWOOD It is a very charming comedy that James B. Fagan has con- structed about the character of Samuel Pepys, but we doubt the advisability of its selection as the first of the new Civic Repertory’s season. It is a very difficult play to get interested in principally be- cause the strange phraseology of the 17th century does not register at first because the actors give a modern intonation to the lines. Throughout the first act one won- ders what it is all about. Then again the play suffers from very bad direction. Arthur Greville Collins who staged it un- doubtedly restricted his liberty to the printed instructions of the manuscript which were wholly in- adequate. The first act dragged insufferably whereas time after time, opportunity for bolstering up the action with comedy business was afforded that could have in- trigued interest, and sent the play off. with the hilarious bang it re- quires, but which was entirely overlooked. In the second act, with Pepys hidden in the chest, his wife and the king in the room and the lady singer in a very diffi- cult situation, no director could ask for a finer chance to build up a great scene. In this instance, the direction stuck strictly to the text. There was no suspense or impending disaster suggested. The singer stood about impassively as though it were an ordinary affair with her to have the king and another man present in her bou- doir and both in hiding from the irate wife of one. The man in the chest simply stayed there in- stead of frequently trying to make an escape and almost getting caught to the consternation of the singer. Hokum truly but it would have been pantomine of this sort that would have taken the dullness from the unusual manner of speech. The play is a fanciful incident written into the life of the famous Samuel Pepys, diarist. It shows him as a man of affairs, a charm- ing roue, a henpecked husband, a musician and patron of the arts. He happens to be of ser- vice to one of Charles II’s sweet- hearts and is invited to her rooms to hear her. sing. While he is there the king makes an unex- pected visit and Pepys is hidden in a chest. While the king is present, Pepys’ wife follows him there and insists on searching for him. She finds the king and per- mits him to make love to her. The balance of the play is set to straightening out the marital dif- ficulty. Olaf Hytten was sadly miscast as Pepys. He neither looked, read nor acted the role which was one of the handicaps under which the play labored. The honors of the evening went to Boyd Irwin in the character of the king. He was magnificent and gave the part many little touches that were truly delightful. In the flirt scene with Elise Bartlett no more finished nor delectable treatment could be imagined than these two contrib- uted. Elise Bartlett Schildkraut was most charming in a very difficult role that ran the gamut from de- mure coquetry to the raving shrew. Elise gave a performance that is deserving of the highest rating for finesse and understanding, to- gether with perfect reading. Mabel Gibson had a very fine part, in which she looked stun- ning but was seemingly at a loss to know exactly what to do. Her two chances at singing fell flat principally because the songs were of the unhappiest selection. Maude Fealy, once known as “the girl with the tomboy smile” was in the cast in a small part. Miss Fealy is a splendid actress and it is hoped that one play at least will be selected for her to star in. Paul. Irving gave a good char- acter interpretation of a minor part. Others in the play were William Tead, Jean Temple, Stephen Zebrock, Jack Parker, Is- abelle Murray, our old friend Charles Spelvin, his pal, Frank Spears, Karen Morley, Franklin Seymour, Eric Snowden, Kenneth Duncan, Nance Dorland, Marion Clayton and Frederick Harring- ton. Jacobs. 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