Screenland (Oct 1923-Mar 1924)

SCREENLANB Direaory of New York Speaking Theaters APOLLO — Poppy. Madge Kennedy better than ever and W. C. Fields a riot. Here is the real musical hit of the new season. BELASCO— Jf ary, Mary, Quite Contrary. Dull English comedy with Mrs. Fiske as first aid. Very, very polite stuff. BOOTH — The Seventh Heaven. One of the long run hits of the New York theatres. BROADHURST — The Good Old Days. A brisk comedy of the Volstead Act, before and after taking. George and Charles Winninger assist the production materially. CASINO — WUdflower. Attractive musical score with ingratiating cast. COHAN — Adrienne. One of the most entertaining musical shows of the summer. Good score and a good company. Enlivened by Richard Carle and Billy B. Van. COMEDY — Children of the Moon, a tragedy built around family lunacy. Considerably talked about just now. Henrietta Crosman in cast. CORT— Merton of the Movies. Much of the delightful satire of the book preserved in dramatic form. The one satire of the movies, well done by Glenn Hunter. EARL CARROLL — Vanities of 1923. A summer revue, with Peggy Hopkins as the star. ELTINGE — The Woman on the Jury. A drama of the effect of the feminine gender on a jury box in an important criminal case. FORTY-EIGHTH STREET^Z^. Full of battle, murder and sudden death. Almost the ultimate in mystery dramas for such as likes 'em. FRAZEE — Twee dies. Delightful Booth Tarkington — George Leon Wilson comedy with Gregory Kelly and Ruth Gordon as the usual adolescent lovers. GAIETY — Aren't We All? Amusing comedy from London, with Cyril Maude as the chief gentle funmaker. GARRICK — The Devil's Disciple. Revolutionary drama with a typical George Bernard Shaw last act. GLOBE — Fifth edition of George White's Scandals. Profligate display of costumes and settings and a cast of more than ordinary worth. Best show of the White series. KLAW — The Breaking Point. A drama of amnesia, by Mary Roberts Rinehart. McKay Morris has the leading role. LIBERTY — Magnolia. Old time Mississippi river gambling days told in gilded drama by Booth Tarkington. Pleasant enough. LYCEUM — Little Miss Bluebeard. Avery Hopwood song play that has charm — and Irene Bordini. Which is enough. Ingratiating. MAXINE ELLIOTT'S — Rain. Powerful and absorbing drama of morals and ethics in the South Seas, superbly done by Jeanne Eagels. MOROSCO— Red Light Annie. Lively stuff about cocaine, gats and gum shoe men. You may like it. PLAYHOUSE — We've Got to Have Money. A fast moving comedy of finances and romance, with Robert i Ames in the leading role. REPUBLIC— Abie's Irish Rose. An Irish-Hebrew comedy of prejudices wiped away by the patter of little feet. Has been running more than a year. RITZ — In Love with Love. Light stuff but entertaining. AND there's Lynn Fontaine to help matters. SAM H. HARRIS — Peter Weston. Creaky drama of a family ground down by a tyrant, with Frank Keenan as the household czar. SELWYN — Helen of Troy, N. Y. A smart musical comedy, with a vein of satire, plenty of laughs and a score that is whistleable without being pretentious. Queenie Smith makes it doubly enjoyable. SHUBERT — Artists and Models. The Shuberts undress the girls further than any one has attempted West of the Folies Bergere in Paris. My, my ! VANDERBILT — Tzuo Fellows and a Girl. A comedy of adolescence by Vincent Lawrence; prepared for home consumption by George M. Cohan. WINTER GARDEN — Greenwich Village Follies of 1923. More beautiful and lavish than ever. The Bathing Girl is Back Again! C,Mack Sennett has selected his successors to the famous one-piece flappers of yesterday. ftYVho are the Harriette Hammonds, the Phyllis Havers and the Mary Thurmans of tomorrow? CThe pictures of this new squad of seaside beauties will appear in the January Screenland. No Deposit of any kind Read this— the fairest diamond offer ever made! 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