The Billboard 1924-01-05: Vol 36 Iss 1 (1924-01-05)

: : ’ t 8 P « ra JANUARY 5, 1924 The Bi llboara 105 oo Sosa je excellent as Roseanne, but John Harrington, who played the preacher, wae not all he should be. He had every appearance of pumping up bis emotional scenes and of allowing them to get out of hand when he had them inflated properly. rhe gitl, as played by Kathleen Comegys, was weak. It is true that the part has Little fm it for a player to get @ grip on, but still there js enough to bulld a character on, tho it escaped the efforts of Miss Comegys almost entirely. Morray Bennett, Marie Taylor, Tracy L'Engle and Blain Cordner did well with other roles and a bost of bits were splendidly conceived by the players of them. The ensemble scenes of “Roseanne™’ have been etagcd with skill. There ts some excellent singine cf spirituals. But these are not enough to keep the play up at the requisite level of interest. One finds a certain measure of satin faction at getting what ie evidently an authentle picture of some aspects of Negro Life, but one comes away dissatisfied with tire play as a whole. It can truthfally be said that “‘Roseanne” ts good and bad in spots. Whether the good sufficiently outweighs the bad to put the play over is for others than myself to say. An intermittently interesting play of Negro life. Not too well cast. GORDON WHYTE. “THE ALARM CLOCK” (Continued from page 10) this admirable comedienne with the magnetic personality, and now, more than ever, does she dominate for every second each scene in which she participates—in fact ome can never get enough of Blanche Ring, and this is the best pert she has had since ehe replaced Hattle Wiliams as star of ‘Vivian's Papas’. The former ‘Jersey Lily of Bedelia’’ fame certainly was an outstanding feature of the production, altho by no means was she alone in excellence of playing. The entire cast is superior and worthy well balanced, well typed and eminently capable. Marion Coakley, first as @ gawky country girl and later as a sweet ingenue, was most convincing, and showed passing emotional depths, which primarily had been well camouflaged. She was dainty and charming. Gail Kane, as Mrs. Dunmore, bad an ungracious part, but made the most of it, playing with force, beautiful enunciation and superb diction. Eruce McRae bad a fine grip on the part, altho inclined to be rather explosive in his delivery, reminding me at times somewhat of Ferdinand Gottschalk. Vincent Serrano as Reggie Wynne, a man about town, was well cast, playing the bit with assurance and just the right touch. A less clever plarer than Mr. Serrano could easily have overdone the role. Charies Abbe, who years ago played witb Proctor’s Fifth Avenue stock company, had a couple of good acenes; Helen Flint as Lulu Deane was pretty and effective, reading her lines beautifully; Ernest Lambart made the tole of Charlie Morton stand ont well; Harold Vermilye made an excellent Homer Wickham; John Troughton wes an acceptable butler, and George Alison, who had but one scene as Dr. Wallace, lent a rare and foreeful distinction, a polished manner and an intellectual dominance. The dialog of ‘The Alarm Clock” is scintillating, effervescent and well punctuated with comedy punches. The one set, an Interior, designed by Paul Alten and painted by Edward G. Unitt, reflects great credit on them. There was one reflection, however, that should be remedied by whoever directed the lighting. The action of the piece takes place in a room in Bobby Brandon’s home, New York City, on & summer morning, the second act being an AFTERNOON three months later, while the last ix the following morning. In all three acts the sunlight coming thru the window fell actoss a painting, stage left, at exactly the same angle, showing a vertical shaft of Night which fluminated perpendicularly about onefourth of the picture. This never changed in the slightest, and recalled to me Joshua, who made the sun stand still. As this was the only defect, perhaps I shouldn't have mentioned it, but perchance it may be corrected. If so, it oxe been worth while. The story of this adaptation by Avery Hopwood fs of a Mrs. Dunmore, still married, but who hovers about Bobby Brandon, and, thinking he is living too fast an existence, induces Dr. Wallace to scare Bobby by telling him he bas gout and that it is serious. Further adviee from the doctor Is to the effect that Bobby must have rest, nething to excite bim, or more serious results will obtain. Reference i* made to the “ting-ading’, the “Alarm Clock", 80 ‘0 speak, altho the applicability of the term (iid not seem as clever as the title In French, which really means the ringing of the alarm-—me might have thought that “The Signai’’ might have been better, As for “The Warnug’, there was a play by that vame if I have hot been incerrectly informed. Mrs. Dunmore invites Robbg's nephew, Homer, together with the nephew's family, down from Camps Corners to introduce a tit‘le quiet home life into the Brandon camp. rhe nephew is engaged to Mary Kent, and Theodore Boom, a friend, is in love with Mrs. Kent. In three monthe a wonderful change {akes place. Both Mre. Kent and Mary Kent hecome New Yorkified, their appearance and dressing improves, they drink cocktails, smoke and go to the “Purple Pup’. Homer alone remains unchanged and interested in teaching a foreign language at Columbia University. At the conclusion Brandon |s in love with Mary Kent, Charlie Morton in love with Mrs. Kent, Homer bas eloped with Luin Deane, and everything ends happily. It would be impossible to recall all the laughs, but that one about the lean of a bundred dollars with the ‘‘gooby’’ punch was a scream, and the tag—oh, that tag was a WOW! The construction of the last part of the final act is the most admirable I bave seen in many and many a day, holding a suspended interest until the fast moment and keeping all in their seats until the final curtain. Considerable eredit for this should be given to the actors for their speed, the tensity of playing—and Miss Ring. By all appearances “The Alarm Clock’ is in for a good run. MAREK HENRY. “SAINT JOAN” (Continued from page 10) Canon D'Estivet ..... ++---Albert Perry le Courcelles, Canon of Paris.Walton Buttertield Irother Martin Ladvenu......Morris Canorsky The Executioner seecececees+sEerbert Ashton An English Soldier. .Frank Tweed A Gentleman of 1920..........Ernest Cossart Court Ladies—Doris Du Mont, Lois Hardy, June Mansfield, Althea Brodsky. Courtiers, Monks, Soldiers, Ete.—Walter R. Winter, James Sumner, Philip C. Niblette, Louis Cruger, Warner Tufts, Willard Tobias, Henry Clement. ee eee eee eeee Perhaps it is not so surprising as some people seem to think that Bernard Shaw should choose Joan of Arc as the heroine of bis latest play. Becanse she was a mystic, a saintly person, is no reason why the bumanity, the power, the intensity of her should not be felt by those who specialize in the application of common sense to their thinking. Rather ts it the reverse, Joan of Arc drove Anatole France, a confirmed agnostie, to writing a life of her; Joan of Are drove Mark Twain, a confirmed agnostic, to writing a life of her; Joan of Are drove Bernard Shaw, if not an agnostic then a nonreligionist, to writing a play of her. Each one of these men conceived Joan differently, and under Shaw's treatment, as you might expect, she is less the saint than the girl, less the mystic than the peasant with the Messianic mission. It is Sbhew's intention to demonstrate again that saints are made when they are dead and not appreciated when they are living. In “Saint Joan’’ Joan is pictured as a gir! driven persistently on by her ‘‘voices"’ to overcome the greatest obstacles, achieving all that she set out to do, ready to go back to her home with her mission accomplished, only to be dragged before the inquisitorial court on a charge of heresy, condemned and burned. Shaw pits her clarity of mind against the doll wits of a lot of dunderheads set in high places. He does not call her trial a malicious act. He shows ber before her judges, condemning herself repeatedly, In spite of thelr expressed intention to find a way of escape for ber, if that be possible. She persists in doing the one thing which forees them to condemn her. She is, by her acts and words, a confirmed heretic, and this crime is so enormons that it entirely outweighs the good she has done in their eyes. That is historically correct. It has been so always; it is so today, The leader of thought is alwars in danger when he challenges the existing state with his innovations, That is the crime of erimes and he must suffer, This is Shaw's lesson in “Saint Joan”. It fs, with the exception of an eplilog which to me seems unnecessary, beautifully told, sincerely told. There is little of the old Shavian wit in ‘Saint Joan’. A shaft or two there is, mainly at the expense of England, bat of the brilliance of the earlier plays, bardly a trace. Instead there is conviction, sincerity and consideration shown fn almost every line of the play proper. As Mark Twain's style changed when he came to write his Joan of Arc and a sweetness and simplicity came to his writing of it, eo has it come to Shaw; tempered only a little here and there by his irrepressible need of taking a sly dig at the English on every possible occasion. 1 am now speaking of the play itself. The epilog is another matter. This ts crammed with typical Shavian thrusts, but they don't quite come off. They seem out of key with the play, and besides, this extra act makes the performance inordinately long. If I had my way, and I bow to no one fn my admiration of Shaw, I would throw the epilog in the alley and 1 dare say the Theater Guild would too, did it dare. But Mr. Shaw is a grim man to deal with when It comes to tampering with his plays, and it is “hands off when it comes to touching them with alien fingers, So I suppose the epilog will stay in, tho I belleve that anyone but the author himself would throw it out. As to the Guild's part in producing the play it calls for nothing but praise. It is cast splendidly—mounted with lavish care. Winifred Lenihan, as Joan, gives a magnificent performance of a trying role. She looks the part and gets almost all of ite value out in the acting. In the earlier scenes she could not be improved on. The trial scene, she needs to work into. I have no doubt that after a month of playing she will be just as fine here as in the preceding scenes. As it is Miss Leniban is giving a mighty competent reading of the role and reaching a height she has not attained before. At her present rate of progress she is going to be one of our finest actresses and that before long, too. Joan is the center of attraction thruout the play, of course, but there are several other parts which are well drawn and just as well played. The Robert of Ernest Cossart is one of them. It is a fine, straightforward bit of acting, with conviction attaching to every line of it. William M. Grifith, as the steward; Frank Tweed, as Bertrand; Albert Bruning, as the Archbishop of Rheims; Herbert Ashton, as constable of France; Yhilip Letgh, as the Dauphin; Maurice Colbourne, as Dunols; Ian Maclaren, as Cauchon; A. H. Van Buren, as the Earl of Warwick, and Joseph Macaulay, as the Inquisitor, all give splendid performances. Henry Travers is magnificent as Warwick's chaplain, a little priest with a waspish tongue, who ts entrusted with most of Shaw’s flings at the English. Mr. Travers whips these over with great gusto, builds up a solid characterization by painstaking work and in a burst of remorse in the last act shows a power of emotional expression that one little expects of him. This role ealls for a wide range of acting and Mr. Travers lacks nothing called for in It. As an example of acting virtuosity it bas no equal on roadway at the present moment. Besides the performances noted there are quite a number of smaller parts, all of which @re exceedingly well played. The play has been carefully cast and ably directed. Philip Moeller, who was responsible for its staging, has never done better work. I suspect that his fingers itch to get the scissors out and wield them unmercifully, but despite the arid places im the play—and there are a few—and that long epilog, he has succeeded in making the performance one that is full of beauty and interesting. The settings by Raymond Sovey are excellent; the details of lighting have been well attended to. Altogether the Guild has spread itself om this play, and it was macnificently well worth the doing. It is the most significant play on Broadway, and if it is not Shaw at his very best it comes mighty nearly being #0. It is the sort of play that even a play reviewer, weary of mind and tired of body after seeing his eighth production during the week, wants to see more than once again. Shaw almost at his best and given a most worthy production. GORDON WHYTE PANTOMIME AND HARLEQUINADE (Continned from page 10) Jack Horner ....ecececccecsees Louise Lorimer Mary, Mary, Quite Contrary ....Helen Doyle Goldie Locks ...-cecseseeeeeeee-Dorothy Nash Mistress Pru@ cescceccceecssecessess Jean Field Bobby Shafto ......-..-.+..Margaret Pryvogal Dick Whittington .............Grace Pryvogal DOR ccccccecceccceccccccececqccccee ee Facey TR cccoccceceococceccccecccceese Baggies Doggie .....--e.+-e++--++++--Christopher Wain } f Florence Bryson Little Wolves \ ; Anna Pepe Little Bears f ssseseee* | Mary Corine | Paul Jaccia \ Peggy Smith The Little Fairies ....... | Anna Alexander Queen Rose ........2ececceececes .-Helen Doyle BORGTEG oon ccc vccccccccsccccsensses Jean Field i Charlotte Saks The Orchids .......-++-«++-} ain Meee The Buttercups .......--. on Emily Meera Sadie Ruggles Margaret Pryvoga} Grace Pryvogal } Nell Prichard The Harebells ‘ Bessie Lane The Viabets ccccccccsccccecee Alice Sea The Guards f Messrs. Joseph Mullen, The Waggoners Brewster Board, William The Demons Irving and Jack Croft The Blue Knight ...............-Dorothy Page The Red Knight ...............-Louise Lorimer The Green Knight ............Elizabeth Taylor The Purple Knight ...............-Mabel Long The Harlequinade ColumVine ..cccccecccervassecesees Betty Lyons Harlequin ........e-seeeee----Fletcher Norton CIOWR cccccccccscccccceccccccccess Mike Morris PURRERIIGE cncccnedctececccceses Charles Carden It seemed eminently fitting that the English pantomime and harlequinade, a British Christmas tradition for more than seventy years, should be staged in Greenwich Village Theater, situated as it is at the intersection of several quaint thorofares, dotted with ye old-time curiosity shops and old English style tea rooms. The location deepened the effectiveness of the piece for us at least. But to concentrate on the Tarlequinade and its players. The story of Littl Red Riding Hood and the Wicked Wolf formed the nucleus of a musical elaboration that branched off into the roads that led to the world of Mother Goose characters and fairyland, Florence Liss as Little Red Riding Hood Was as lovely as childbood’s mental picture of Sleeping Beauty, altho little Miss Liss was very much awake to her opportunities and made the most of them. Her miniature soprano, sweet and flute like, carried well and was always pleasing to the ear. ‘letcher Norton, as the Wicked Wolf, who was the sly villain who pursued Little Red Riding Hood, gave his youthful anditors many a thrill with the sheer pewer of his voice and startling adroitness of movement, while the slimness of his Harlequin was the envy of every corpulent adult in the audience. Barbara Bruce «as Robin, Prince Valiant, Little Red Riding Heod’s protector and suitor, was a picturesque and gallant figure, acting and singing with delightful spiritedness. Edoa Bachman made a radiant and beautiful Good Fairy, while Rita Matthias was as darkbrowed and naughty as an Evil Fairy should be. Alfred Hemming as Little Johnnie Stout, and Rupert Cuthbert as little Jimmie Green tmme diately won the confidence of the Httle ones present and took them on a gay excursion into the land of boyish pranks that was marked by great hilarity. Joe Edmunds as ‘‘The Dame" scored heavily, especially with this reviewer, becanse he reminded her in method and voice of her favorite slap-stick comedian, the late George Monroe. The first time we saw George Monroe, in our kiddy days, when be was Aunt Bridget in vaudeville, it was necessary for us to be escorted from the theater because of a violent attack of hicconghs prought on by laughter. And, oh, my, there were little bear and little wolf choruses that were just toe cute and funny for words, a baby pig who made as much ado and weewee as the tem little pigs that went to the market, and a collapsible horse that sat on the clown. A ballet, arranged and directed by E. Betty Miller, Is deserving of praise, as were also the costumes executed by Olga Meerwuald. The settings designed Dy Rhea Wells, after the style of those used im the old English pantomimes, offered just the right colors and themes to hold juvenile eyes. Last, but not least, there was a chorus that toned for the fewness of its members with a beauty and lithsome grace that outshadowed Ziegfeld’s best. Here’s to Mr, Alfred Hemming! May he live long and prosper, and stage each year in Greenwich Village ye olde English pantomime and barlequinade! ELITA MILLER LENZ. NEWS NOTES (Continued from page 42) it is needless for me to say thet we all certainly appreciate your kindness and the eplenadid manner in which you served us in thie respect, and you may rest assured that it will not be forgotten, We found Mr. Buckner and his company to be fine people, courtoeus, coneiderate and very generous with tBely program and with a diversity of selections that met the approval of all. I have been im the entertaiament business as a member of clubs and organizations for the past several years, part of my work being to secure talent, but I can truthfolly say that I never put on @ number that made snch an unqualified hit and was so much appreciated.’’ Mrs. Sue Ernest Hewling and her Ladies’ Saxophone Band and Orchestra, lyceum and chautauqua entertainers, scored the bit of the season in local music circles December 15, when they gave a concert for the Kiddies’ Christmas Fund in Elks’ Convention Hall. The coneert was given under the auspices ef the Gloversville (N. Y.) Lodge, B. P. 0. EB. The Jewish Chautauqua Society held its annual meeting in Washington from December 23 to 27. The Jewish community of Washington was host to the national organization, which was formed about thirty years ago by Dr. Henry Berkowitz. The purposes of thig chautaugua are to promote a better feeling for pepular edueation, to stimulate a reading of Jewish literature and to perpetuate a greater love of Jewish ideals. It is also proposed to provide more lectures fg summer schools and at chautauquas along Jewish lines generally. A closer study of the Jewish religion is also one of its objects. According to reports emanating from Palmyra, Mo., the first number of the lyceum program for that city, given November 3 and entitled “The Climax”, was more or less of a disappointment, and since that time the committee in charge of the program has taken it up with Charles F. Horner at Kansas Oity. He advised the committee that if they could secure the signatures of ten patrons, not among the guarantors of tbe lyceum course, to a statement declaring that the play failed to give satisfaction, another play would be furnished free of charge. The committee secured the necessary ten signatures, and it is ezpected now that Horner will furnish an extra number. Since that time a cartoonist has appeared there, whose name was not mentioned in the press notices, but be gave entire setiefaction, and the committee has the burean to send an extra number of the caliber of that entertainment, which proved a decided success, : ‘ re sien