The Billboard 1922-05-06: Vol 34 Iss 18 (1922-05-06)

MAY 6, 1922 The Billboard spite my limited wardrobe, I was engaged as ieading man, Later I returned to New York. Was unable to get the kind of engagement 1 hoped for. But I went to work, anyway, as a Negro waiter, in ‘39 East’, And I made the most of the part. No part is so small that it should be slighted. Then, one day the leading man was taken ill. I went on and played his part at an hour's notice. I finished the New York season as leading man, and then went on tour.” “After that?” “Back to New York. Circumstances forced me to accept an engagement in musical comedy, but that experience was short-lived. I was en gaged by Max Ellis to play the role of the son in ‘Trimmed in Scarlet’, Maxine Elliott's successful starring vehicle, It was the best role 1 ever had—up to that time. “Later I was engaged for the leading male role in ‘Not So Long Ago’, with Eva LeGallienne, We played a season in New York and a season on tour, “Trimmed in Scarlet’ closed on a Saturday and I opened on Monday in Clare Kummer’s oneact plays at the Punch and Judy Theater. “Then I went South to study the mountaineers preparatory to opening in “The Mountain Man’. aogier Sea Island romance, ‘Still Moana’ (a try-out), and the roles of Romeo and Orlando in the Shakespearean Revival at Peterboro, N. H. After that ‘The Mountain Man’.” “Is it a difficult part to play?” “Yes, in that it requires vitality. I went into physical training for “The Mountain Man’ just as I used to train for a football match." It would be difficult to find a more physically perfect specimen than Sidney Blackmer. He is tanned from outdoor exercise. His is the repose of a healthy mind and strong muscles, And there’s something odd about Sidney Blackmer, too. His strong masculinity is topped by silken black hair that grows like a poet’s. It is the outward evidence of the golden strain of the esthetic thonght running thru his virility. “Now, let’s talk about your voice. The critics have pointed to it as an example” “Good vitality is the foundation of a good voice,” replied Mr. Blackmer. “I try at all times to keep the motor running smoothly. Vitality is the driving motor. And, of course, if the motor is in good order, the physical machine, voice and all, is carried along happily.’ “Hard work and fair play win,"’ were his parting words. A boy's idealism practised by a strong man! WARFIELD TO PLAY SHYLOCK New York, Apri) 28.—David Belasco {s making elaborate preparations for his forthcoming prodection of Shakespeare's ‘‘Merchant of Venice’, in which David Warfield will play Shylock. It will be quite a novelty to see David Warfield in the “unsympathetic’’ role of the Jew, after having seen him in so many “heart interest” roles. It is gaid, however, that it has heen Mr. Warfield’s cherished ambition for thirty years to play the role of Shylock, and the fulfillment of this ambition has been promised to Mr. Warfield by Mr. Belasco for several years. Mr. Warfield closed his long tour fn David Relasco’s play, “The Return of Peter Grimm", in Akron, ©O., last Saturday night, after one of the most successful seasons he has ever known, HASSARD SHORT Again To Direct Equity Finale New York, April 20.—The postponement of his prospective trip to Europe will make it Possible for Hassard Short to direct again the finale of the Equity annual show this year, according to Percival Knight, chairman of the Entertainment Committee. A new and novel Equity pageant, entirely unlike that seen last year, will be staged by Mr. Short, with stars from practically every production. The all-star show will include William Farbum, who will make his first stace appearance since he entered motion Pictures six years ago. Mr. Farnum will play Mare Antony's great Scene over the body of dead Caesar immediately after the assassination. “THE CIRCLE” WILL OPEN THE NEW SELWYN THEATER ee Pee April 28,—The new twin theaters, arris and the Selwyn, at Lake and Dear ay are only about sixty days from compleon, and announcement is made that the Selwyn wilt open September 15 or 16, with ‘The Circle’’, ‘Walter Duggan, who will manage the house, 1s in Chicago to stay. His entire season has been Mapped out, Be elght weeks of ‘The Circle’, the Selwyn "make way for Jane Cowl in a new play. After that favorite will come Lucien and Sacha Gultry, and the latter’s wife, Yvonne Printemps, 0 Parisian plays. The next billeting shows Nerney Bernard and Alexander Carr, in ‘Partners Again’’, Chicago, But in the meantime I played “Tane’ ing CABLES FROM LONDON TOWN Billboard Office, 18 Charing Cross Road, W. C. 2 APRIL 29 By “WESTCENT” COMMITTEE ON PERFORMING ANIMALS CONSIDERS GEN. COLVIN’S REPORT A special meeting of the select committee on performing animals of the House of Commons has been called for May 2 to consider the draft of the report on the hearings in regard to the charges of cruelty to performing animals as submitted by Brigadier General Colvin. There have been twelve public sittings, 43 witnesses called, giving evidence extending over a period of 25 years. The report states that some difficulty was experienced in obtaining evidence of cruelty from persons who were dependent on the profession for employment. Independent and impartial evidence was given by Evard Calthrop, Mice and Mime, and Dr. Chalmers Mitchell, Cc. B..E., F. R. 8., F. Z. 8. Their views were, however, an indirect contradiction. It is admitted that trainers and proprietors have expressed their willingness to open their establishments to qualified inspectors. Altho such inspection would not necessarily eliminate all cruel practices it would tend largely to their discontinuance. The report says further that the select committee is convinced that there have been in the past and probably still are cases of ill treatment and wanton cruelty in training and performances of animals, but they also realize that best results are obtained by kind and patient treatment. On the other hand, the calloused trainer will endeavor to obtain his object by inspiring his pupil with a fear of bodily suffering. The committee thinks that there has been a marked improvement in animal training during recent years. The committee opines that the training for exhibition of lions, tigers, bears and the larger apes involves a certain amount of risks and dangers to the trainer, who must necessarily enforce obedience to his authority, but it by no means follows that discipline cannot be maintained without cruelty, Chimpanzees, etc., are unreliable and dangerous. The evidence is pretty conclusive that wild animals in traveling menageries are kept in good health and that they benefit thru traveling. Clause 13 says that the committee is of the opinion that there are certain exhibitions and acts which are undesirable; performances in which the animal is subjected to fire or in which it incurs any risk of injury should not be permitted. 14: Treatment of animals and birds in conjuring tricks have come under consideration. Evidence on this subject has been given by both professional and amateur conjurers, who have demonstrated the cruelty of certain mechanical appliances which are used in the execution of tricks, (This is evidently direct action against Carl Hertz’s vanishing bird cage trick.) The committee says that instances of cruelty to animals has been brought to its notice which can be seen in certain films, and that any protection afforded to any classes of performing animals should be extended to animals figuring in film productions (these films to be excluded from Great Britain). The committee admits that British trainers enjoy the reputation of being more humane in their methods than those of foreign origin, namely, ex-enemy aliens. Summary—The committee was impressed with the honest, genuine desire of the profession to eliminate every possibility of cruelty from their exhibitions of performing animals and with their willingness to co-operate with the Society for the Prevention of Cruelty to Animals in restricting performances to such as will meet with general approval. Conclusion—The committee is therefore of the opinion, 1: That the exhibition of performing animals should not be prohibited. 2: That measures should be taken for better supervision of trainers, training establisiments and all animal performances, Recommendation—The committee recommends: (a) That a committee of supervision should be appointed of representatives of animaf protection societies and members of the profession in equal numbers, with an arbritrator to be mutually agreed upon, and that this committee should have the power of prohibiting any performance or exhibition which it considers undesirable. (b) That all trainers and training quarters should be registered. (c) That officers of the R. S. P. C. A. and the police should have access at all times to any training establishment or any exhibition at which performing animals should be engaged. (d) That penalties for cruelty to animals should be revised and amended. “‘Westcent’s’’ Comments—It is a Pontius Pilate report, inasmuch as the committee throws the whole onus of solving a very difficult question by suggesting a crank and anti-crank special advisory board, with judiciary powers as to prohibition. Parliament would never allow any section of the general public, let alone such a minute section of the entertainment world, to have its own laws. Apart from this the report is not at all bad, and is ‘‘temperate in language and judgment’. It gives far less than that voluntarily given by animal trainers when the agitation was on in 1913, Anyway, the Variety Artistes’ Federation and Captain Joseph Woodward, of sea lions fame, are to be congratulated on having beaten the p‘ohibitionists very badly. DAVIS FIGHTING REGISTRATION BILL Tom B. Davis, president of the Theatrical Managers’ Association, is working hard to kill the joint committee's bill for the registration of theatrical employees. He is circulating pamphlets in regard to what he calls ‘‘The New Inquisition’? because the bill was introduced by C. W. Bowerman, as secretary of the Trade Union Congress, on behalf of the Variety Artistes’ Federation, Actors’ Association, National Association of Theatrical Employees and the Musicians’ Union Davis alleges that “it is a pure labor move to control in the long run the entire industry"’. This is a political stunt on Davis’ part, but the Variety Artistes’ Federation has countered it. In this agitation and lobbying all the work has fallen on the V. A. F., as the officials of the Actors’ Association seem too occupied with extraneous matters to attend to so vital a question. It must be honestly confessed that the officials of the V. A. F. cannot understand the Actors’ Association's policy, it seemingly being more interested in academic questions than in any real live actions in things of present-day life. The second reading was not reached Friday (April 28), but Sir Walter Defrece put down a blocking motion that the bill be read this day six months. This is the usual parliamentary procedure to kill bills, Altho Defrece did most excellent work on behalf of the Variety Artistes’ Federation in regard to performing animals, be is naturally fighting the labor section of the industry on behalf of his managerial interest. The V. A. P. is trying to get a select committee appointed along the lines of the performing animals committee. LORD ASQUITH RULES AGAINST M. U, As forecast in last week's issue, Lord Asquith ruled against the Musicians’ Union on the matter of the union’s contro] of musical directors. Lord Asquith found and awarded, with interpretation, on a point raised at the hearing that the words ‘‘settled only thru union” are equivalent to ‘‘are settled thru union oniy"’’ or “not otherwise than thru unions’’, as follows: (a) That those musical directors have interests, duties and responsibilities which differ from, and may be at variance with, those of other members of the orchestra and are a part of the executive staff for the administration of the theater, responsible to the manager for the efficiency of the orchestra, and acting on behalf of the management, and expected to give independent advice, and that the answer to the first question must be in the negative. (b) In view of the foregoing decision the second question does not arise upon this award. “WINDOWS” A WITTY PLAY John Galsworthy’s “‘Windows’’, produced at the Court Theater April 25, altho not his best fis one of his wittiest. Irene Rooke, Herbert Marshall, Ernest Thesinger and Marie Odette are all well cast. Despite the lack of unanimous reception the play should succeed, ATTRACTIONS CURRENT AND IN PROSPECT It is said that Sir James M. Barrie completed the last act of Haddon Chambers’ posthumous play, “The Card Players’’, which was produced at the Savoy Theater April 26. The acting was better than the play, which is a novelty, Martin Lewis, Lyall Swete, Godfrey Tearle and Pepita Bobadilla were good, with honors going to C. V. France. “Running Waters’? dries up at Wyndham’s Theater tonight. J. E. Vedrenne, however, starts the management again at the Comedy Theater June 6 witb Miss Tennyson Jesse’s “Quarantyne’’, with Owen Nares and Edna Best. Peggy O'Neil opens at the Coliseum May 1 with a sketch, ‘“‘Kippers and Kings’’, supported by James Dale. Good reports of this show come from the Hippodrome, Boscombe, where she produced it April 24, Mystic Clayton opens at the Holborn Empire June 15. Resista contemplates returning here the end of May, but her plans are uncertain. She came over for eight weeks and has played twenty, DOESN’T WANT TO REDUCE PRICES Taurillard is making a fuss about reducing his prices at the Empire Theater, but if the exenemy play, ‘‘Love’s Awakening’, were such a success he wouldn't need to reduce, would he? ORLOB IN CHICAGO Chicago, April 28.—Harold Orlpb, author and composer, is in Chicago as the representative of the Broadway Productions, Inc., recently organized. ‘his company has entered the field to contract with authors, actors and managers. The first production of the new corporation to come to Chicago will be ‘‘Lilies of the Field’, at Powers’ Theater next week. Among wellknown men connected with the Broadway company are George W. Lederer, Harold Orlob and to operate as a complete unit—producer, manager, lessor of theaters, owner and booking agent— John McKee, treasurer and general stage director for Henry W. Savage, Inc. OLDEST ACTORS ARE GUESTS OF YOUNGEST New York, April 28.—The eleventh anniversary of the Stage Children’s Fund, celebrated on April 25 at the Hotel Astor with a luncheon and dance, was a very sentimental and lively occasion. The liveliness was supplied by the combined chatter of 200 guests and the senti ment was supplied by the presence of Kate Claxton and F. F. Mackay, the two oldest active actors, both of whom were members of the original cast of “The Two Orphans”. These two old favorites greeted each other with warmth and forgot the festive occasion for a brief space of time to indulge in reminiscences of other days. Speeches were made by Daniel Frohman, Mrs. Russell Basset, president of the Professiona’ Women’s League; Mrs. Amelia Morgenroth, the ehildren’s coach; the Rev. Dr. Bentley, spiritual advisor of the Stage Children’s Fund, and Mr. Mackay, the veteran actor. ‘CANDIDA’ RETURNSAND DEPARTS New York, May 1.—The Greenwich Village Theater, which was dark the fore part of last week on account of a death in the family of Moroni Olsen, reopened with Bernard Shaw’s “Candida”’, which enjoyed a three nights’ run. Robert Noble, an English actor, played the role of the minister, taking Mr. Olsen’s place. The next attraction at the Greenwich Village will be Strindberg’s ‘Creditors’, which will open tomorrow evening for a week’s run. Reginald Pole will assume Mr. Olsen’s role in this play, with Ellen Van Volkenburg and Manrice Browne in other important roles. “Creditors’’ will be preceded by St. John Hanken’s comedy, ‘“‘The Constant Lover”, with Janet Young and Charles Webster. MISS RAMBEAU TO PLAY LONDON New York, April 27.—Marjorie Rambean, who is starring in ‘‘The Goldfish’* at Maxine Elliott's Theater, is going to play in London next Season. Negotiations are now under way with a prominent London producer for her appearance in the British capital in a repertoire of plays. Miss Rambean will go to London at the close of her engagement in “The Goldfish’? at the Maxine Elliott Theater and a tour of the principal Eastern cities. Her London repertoire will include her present success, ‘“‘The Goldfish”, “Daddy Goes a Hunting’, ‘“‘Eres of Youth’, “Where Poppies Bloom” and “So Much for So Much", GRACE GEORGE GOING TO PARIS New York, April 28.—Grace George will not be seen in New York this season in her new play, ‘“‘The Exquisite Hour’. Following her season in Chicago she will ‘fill a short engagement in Philadelphia and then sail for Paris, with the view to adapting some French plays to the American stage. Among the plays Miss George has in mind for adaptation are Paul Geraldy’s “Aimer”, which is running at the Comedie Francaise, and “La Flamme’’, the work of Charles Mere, running at the Ambigu Theater, Paris, While abroad Miss George will also visit Berlin and Vienna in quest of good dramatic material for translation into English. SMITH SAILING HOME New York, April 26.—Winchell Smith, the playwright, sailed from Europe on the Homeric yesterday, according to a cable received by John Golden. Mr. Smith, who is accompanied by Mrs. Smith, will arrive in New York in time to witness the closing performance of his play, “Thank-U"’, at the Longacre Theater on May 6. “Thank-U”’ has played over 250 consecutive performances and is in its thirty-first week. Mr. Smith will bring back with him two new plays, written during his trip abroad. TO LIGHT DARK HOUSES Chicago, April 27.—The Studebaker and Princess, now dark, will both be started up again for late spring and summer runs, according to Shubert representatives. Charlotte Greenwood, in ‘‘Letty Pepper’, will probably be seen at the Studebaker, and ‘“‘Whispering Wires’, a new mystery play, will go to the Princess. The dates have not yet been set. “THE ROTTERS” TO BE PRODUCED New York, April 28.—The special performance of “The Rotters’’, an English comedy by H. PF. Maltby, announced for Sunday night, April 30, at Maxine Elliott’s Theater, has been postponed until Sumlay evening, May 7. The postponed rehearsal will be given at the Thirtyninth Street Theater instead of Maxine Elliott's. LAURETTE TAYLOR CLOSES New York, May 1.—Laurette Taylor concluded her long and successful engagement in J. Hartley Manners’ play, “The National Anthem”, at the Henry Miller Theater last Saturday night, after a fourteen weeks’ run. rk ie i oiigialine aay Lar ay is Rn NM atone: gis ae Pay: ye lili Re ley ions agit ; Mosangoigh