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USIC
'Summer Stage
he machinations of a drug ring, and proving hat a purveyor of such genteel doodads as laberdashery can own a scoundrelly black leart. This time Mack reverses the curent procedure and implicates the real riminal pretty clearly from the start, in.tead of leaving him in the dark until he umps out at the final curtain and says 'Boo !'' Whatever lack of surprise lies n that method is more than compensated )y the picturesque developments of he melodrama, one act of which passes n a primrose house not usually menuoned before the children.
The Temple of Temptation
HThis episode, ■*^ with the police actually dawdling acqui "
escently about the premises,
avoids offense for the reason that Mack takes his tenderloin light-heartedly rather than fiercely. Does Sergeant Dcdin seek the murderer in this fleshly temple solely in order to preserve law and order? Well, when did any fictional redcoated cop ever act on stage or screen from motives of law and order? He does it because Katherine Wilson is in the cast, being a sweet young ingenue, with Clark Marshall portraying very skilfully her brother, the young man who is suspected of the mur der between sniffs of the stuff. As a moviesmitten servant girl, .Alice Moe gives one of the best eccentric comedy impersonations in years, ranking her with May Yokes, and Mack, besides his own dashing performance, has ably directed Marie Chambers. Bessie Banyard, Joseph Sweeney and the rest to such a degree that in the last act they make even a laundry look thrilling. At the
From ihe bottom up: Janie« Gleason •nd \\i* wife in "The Shannons of Broadway"; Irene Delroy in "Here's Howe." and Willard Mark, and Katherine Wilson in "The Srariet Fox"
Vandamm
^
opening performance Mack said that if this play didn't go he'd turn to and write another, but it doesn't appear that he'd have to fulfil his tlireat for some time.
"Volpone," the latest production by the The
/atre Guild, resembles "The Scarlet Fox," in that it seeks merely to give entertainment, rather than to dissect life and brood over it. Perhaps the Guild directors felt impelled to revive this fourhundred-year-old classic by Ben Jonson because in such earlier offerings this season as "Strange Interlude" and "Marco Millions" they had done Lucas Kanariin Considerable brooding.
Jazzing Ben Jonson
O
White
|THERWiSE, this gay interlude might seem to hold only an antiquarian interest, especially since the comedy in its original straggling state took almost as long as Eugene O'Neill's sprawling play to pass a given point. Yet it is J I rather diverting to see I / how immemorial are I / human impulses, par' / ticularly when brushed up with current sprightliness by Director Philip Moeller, and when Alfred Lunt turns the dialogue into modem slang with his modern twang. The same motives of greed, vanity and lechery {Continued on page 83)
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