Motion Picture Classic (May 1921 - Dec 1927)

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WEST-ANGUS SHOW CARD SERVICE 7 4 Col borne Building Toronto, Can. Current Stage Plays ( Readers in distant towns will do well to preserve this list for reference when these spoken plays appear in their vicinity .) Ambassador. — In “The Lady in Ermine” we have a musical comedy with a plot that it follows effectively or comes back to after each departure as if it really meant to be something more than vaudeville. The action concerns a romantic legend about an ancient European castle. Wilda Bennett as the heroine sings charmingly. Apollo. — “Daffy Dill.” Stereotyped girl and music show. If you like Frank Tinney, you’ll like “Daffy Dill” ; if you dont, you wont. Bclasco. — Lenore Ulric in “Kiki,” David Belas.co’s production of his own piquant adaptation of Andre Picard's French farce. Miss Ulric scores one of the big hits of the season with her brilliant playing of a little gamine of the Paris music halls. You will love Kiki as you loved Peg — but differently. A typically excellent Belasco cast. Belmont. — “Kempy” is a personal triumph for the Nugents. Father and son wrote it; and father, son and daughter act in it. Genuine comedy of suburban domesticity. Bijou. — “To Love.” Grace George is the star. Review later. Booth. — “Revue Russe.” Vaudeville d la “Chauve-Souris,” but sufficiently dissimilar to be worth while. The lively handsome Maria Kousnezoff has the leading role. The settings are by Leon Bakst. Broadhurst. — “The Faithful Heart.” Review later. Casino. — “Sally, Irene and Mary.” An impudent, fresh little musical show of New YorkIrish manners. Some catchy music and a ballet ensemble that is excellent. Central. — The home of Shubert vaudeville during the week. Two concerts are given on Sunday. Century. — “Hitchy Koo of 1922.” Review later. Century Roof. — The “Chauve-Souris” of Nikita Balieff and his Russian entertainers from Moscow. Third bill. Review later. Cohan. — “The Queen of Hearts.” Review later. Comedy. — “Thin Ice,” in an odd, likable little comedy with a demobilized English captain down on his luck for hero. Worth while for the man who enjoys listening to clever lines. Cort. — “Captain Applejack.” Amusing melodrama delightfully done with Wallace Eddinger and Mary Nash. Earl Carroll. — “The Gingham Girl.” A very tuneful interesting musical comedy with a chorus of eight lively flappers. Helen Ford is the gingham girl, and Eddie Buzzell furnishes the comedy. A triumph of quality over quantity. Eltinge. — Florence Reed in a Maugham melodrama, “East of Suez.” Interesting study of the unbridled emotions of a beautiful half-caste and the tragic complications she caused.-^.The heroine is gorgeous to look upon, but^Viot so pleasant to hear. Empire. — “La Tendresse.” Henry Miller plays remarkably well the fading, wistful old husband who goes about kissing perfumed handkerchiefs ; and Ruth Chatterton, as the spirited young wife who deceives him, gives an excellent performance. Eorty-Nintli Street. — The Equity Players present their first play, “Malvaloca.” It is an oldfashioned, sentimental, tcar-drcnchcd romance. Jane Cowl plays the coquette of the streets, and Rollo Peters the unhappy lover. Erazee. — “Her Temporary Husband.” Amusing entertainment. Quite conventional and safe. William Courtenay is the handsome hero. Classic’s List of Stage Plays and Revues in New York That You Should See •8? “Shore Leave” “Greenwich V illage F ollies” “Rose Bernd” “The Torch Bearers” “The Old Soak” “Orange Blossoms” Fulton. — “Orange Blossoms” is a perfect example of co-ordination between dancing, music and dialog. The settings are Ziegfeldesque in splendor. The costumes are by Paul Poiret, and the entrancing tunes are by Victor Herbert. The dancing is a delight, especially the Mosquito Ballet. Do not miss this show. Gaiety. — “Loyalties.” An engrossing Galsworthy play, brilliantly acted. The story of a conflict between a rich Jew and a distinguished British officer and his friends. Mr. Galsworthy leaves a moral behind him : Loyalty is not enough. Garrick. — “R. U. R.” A murderous social satire done in terms of the most hair-raising melodrama. The play concerns the invention of mechanical people without souls called “robots,” who are to do the labor of the world. Soon the earth swarms with them, they discover their own power and the play ends in their uprising. Excellently staged and acted. Globe. — “Scandals of 1922.” George White’s gay extravaganza; pretty girls ; good dancing — and Paul Whiteman’s orchestra, whose saxophones and other instruments discourse most eloquent noises. Greenwich Village. — “A Fantastic Fricassee.” All that the name implies. Harris. — “It’s a Boy.” Ostensibly the problems of the first year of parenthood is the theme of this play, but the action is mostly concerned with the troubles arising from that situation favored by modern playwrights — living beyond an income. Fair entertainment. No surprises. Henry Miller. — Ina Claire and Bruce McRae in a smart tho slight comedy of manners, “The Awful Truth.” Its principal theme is the fact that virginal truth is a very much overrated boon to humanity — that, in fact, it is an awful thing to have it in the house. Hippodrome. — “Better Times.” The largest, costliest, most naive and prettiest of its series. The Fan Ballet of more than four hundred persons is perhaps the star feature. Hudson. — “So This Is London !” George Cohan’s new English comedy which suffers somewhat from exaggeration, but is a most amusing study of clashing temperaments — the English and the American. Worth seeing. Jolson’s Fifty-Ninth Street. — “Blossom Time,” a musical comedy compounded of the grossest meddling with Schubert’s music. For those who can stand this, the music is pretty and tuneful. The principals are extremely poor, lacking both beauty and ability. However, it is extraordinarily popular. Knickerbocker. — “The Yankee Princess” is a miniature grand opera built about a conventional romance between an Indian prince and an American prima donna. The scenery is by Urban. Some of the music is excellent, and some of the humor is real. Klaw. — “Hunky Dory.” A clean, pleasant Scottish comedy that proves itself eligible for membership in the chuckle school of the theater. Liberty. — “Molly Darling” has nothing dangerously novel about it, but the music is catchy, and the comedian, Jack Donahue, keeps one well entertained by his dancing and his jokes. Mary Milburn— ' “Molly” — has a charming voice, but is a self-conscious actress. Little. — “Spite Corner” is a cheerful, modest, amusing homespun comedy, hut very skimpy as to plot. The honors go to Madge Kennedy and ( Continued on page 102) (Six)