Shadowland (Sep 1922-Feb 1923)

SLlADOWLAND R] The Hamlet of a Generation (Continued from page 39) ECASTING could do very little for Rain, A Texas Nightingale or Seventh Heaven. Nothing, in fact, could save the threadbare and theatric romanticism of Seventh Heaven; even Helen Menken's performance — which, with the aid of an inferiority complex, moistened my eyes twice during the evening — cannot save it. Personally, I should like to see some other actor than Robert Kelly play the missionary in the drama which John Colton and Clemence Randolph have made out of Somerset Maugham's splendid story ; and I should like to see Jeanne Eagels a little less violent and caricaturish in her movements as the cheerful young prostitute who is the heroine of Rain. But the general effect of John D. Williams' cast is good. As for A Texas Nightingale, the fact that Zoe Akins wrote the play for the explicit purpose" of starring Jobyna Howland as an eccentric prima donna is doubtless excuse enough for not demanding harder — and softer — work from Miss Howland. She is very amusing indeed, but it is possible to believe that the comedy contrasts would seem less easy and regrettable if this comic Juno did not come down on them with her heaviest emphasis. Into the month must fit somehow or other an American tragedy of mixed merits, Hospitality, written by Leon Cunningham, produced rather well by the Equity Players, and intermittently rewritten by all concerned ; a French boulevard contraption called The Love Child, which A. H. Woods and Martin Brown have succeeded in making far more offensive than the none-too-sweet original by purifying its cad-hero for the benefit of Sidney Blackmer and his fastidious public and finally a visit from one of the really grand ladies of the Comedie Franchise, Cecile Sorel. Equipped with shoddy scenery, a repertory of the vintage of 1852, and a company of good training and not much talent, Sorel flashed over the Broadway sky as a portent of what a great personality and a fine tradition can accomplish between them. iiiMiiMHiiiMimiiiiMiiiiiMmm A Mid-Season Musical Review (Continued from page 73) Monteux with the Boston Symphony Orchestra is commencing to run his Philadelphia and other rivals closely, and the brilliant Frenchman has done wonders with the material he has got together — the best material for the most part — while his programs are models in the matter of novelty and interest. As for the Philharmonic, that institution gives me few opportunities of hearing its performances, and so I shall not venture to criticize it beyond saying that on the one or two occasions I have heard it Stransky has conducted with greater insight and effect than I have hitherto observed in his work. Of course, the quality of the orchestra is unimpeachable. Apart from Paderewski's playing, the best pianism I have heard this season has come from that musical aristocrat Siloti, pupil of Liszt and teacher of his kinsman Rachmaninoff ; Ernest Schelling, pupil of Paderewski, who played with the New York Symphony, his master's early Concerto, a most melodious and fluent work, in admirable fashion ; Ernest Hutcheson, a trifle too reserved, but who none the less is doing a fine educational work with his series of programs exemplifying the great masters of piano music ; Rachmaninoff, who startled the critics and cognoscenti with a remarkable interpretation of Chopin's Sonata, including the Funeral March played as it was never played before ; and finally Hoffman, who remains in a class by himself, and who swept us off our feet with some of the loveliest Chopin playing we have ever heard. It is a great season, a marvelous season, and the mind becomes almost bemused in recalling what one has heard and in anticipating what is yet to come. 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