The Billboard 1924-03-22: Vol 36 Iss 12 (1924-03-22)

'¢ bila anon Mi MARCH 22, 1924 The Billboard YOU ARE THE JUDGE! Here is an offer that no Musician, either Amateur or Professional, can afford to pass; an offer made especially for advertising purposes, as we know that the lessons are in themselves their own strongest possible argument. for this purpose. You may have these samples to do with precisely as you like. We have set aside a limited number of the lessons No money necessary—just your name and address. The University Extension Conservatory now places at your disposal the broad teaching experience of some of the greatest Master Musicians of both America and Europe—lessons that are no less than marvelous in their simplicity and thoroughness, leading you from the first rudiments of music to a complete mastery of your favorite instrument. 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A written examination on each lesson, in connection with ample original work, develops your knowledge and firmly fixes the important principles in your mind. An ounce of proof is worth a pound of promise. Get catalog and four (4) lessons from the course which interests you most. Courses in Harmony, Cornet, Piano, Violin, Mandolin, Guitar, Banjo, Organ, Public School Music TRY THE LESSONS—THEN JUDGE! University Extension Conservatory Dept. 951, Siegel-Myers Building CHICAGO, ILL. Constable Neckert......... ....-George Hoskyn Constable Gregory...... eseeeLawrence Coghlan MGs cvabeubaticscaneanckes Alec Harford Act L—The Ghosts’ Walk, Chesney Wold ‘a late afternoon in autumn). Act 11.—Scene One, a Street in London (some weeks later. Scene Two, a Drawing Room at Chesney Wold Act IIl.—The Act IV.—Scene don (three dars ters’ Field (the . Place, Eng'and Period, about 1850. Few great minds have written a more compelling love tale than Charles Dickens when he dreamed the story of Bleak House, with its draperies of grave clothes, its weird potters’ field setting, its moment when wits played desperately against hates, its mother love nailed stark against a background of despair; its medieval ficures, its ceaseless play of emotions and its great moments’ where souls rise to sheer heights thru the agonizing grind and pressure of an unsought crucible. In this grim, Same. One, Another Street in Lonafter). Scene Two, the Potsame night) tense ungarnished tale, sordid, tragic, sinister, Margaret Anglin plays with vivid brillianey the dual role of Lady Dedlock and Hortense, a French maid. Fortunately much of the interminable Dickens detail is stripped from the dramatization Dickens {is not an easy author to dramatize. Somewhere, back in shrouded years, Lady Dedlock stepped on unsafe ground with an early sweetheart. Her sister told her the child born of the unsanctified tryst died. As Lady Dedleck she ts perpetually under the suspecting eye of Tulkinghorn, the Dedlock family solicitor, who bides his time for proofs of her past. The the Dedlocks is in his keeping, in his quest for letters bearing on family honor of and the situa he opines, tion, he is alded by Hortense, who hates her mistress, and Inspector Bucket, who is in his employ a® a matter of business, The wide gulf betwetn the of her role as Lady tragic repression Dedlock and the piquant recklessness of the termagant mald is singwularly manifest in the amazing versatility of lss Anglin. There are times when the more or less incidental role of Hlortense overshadows With its adroit brilllancy the more somber charact of the grande dame. There are eerle Moments when one but hardly realizes that he js looking at the same woman playing the scheming Hortense who plays the role of the woman Hortense seeks to destroy, The child, born of the early attachment, did Bet die, and, grown to young womanhood, en knows ters the lives of the others as the fiancee of a likable young fellow. Tulkinghorn obtains letters which he reads to Lady Dedlock, who learns the girl is her daughter. Tulkinghorn forbids the approaching marriage and tells Lady Dedlock he will tell her husband all. He has led Hortense to believe he will aid her for assisting him in obtaining evidence against Lady Dedlock. When she is discharged ‘‘without a character’, Hortense goes to Tulkinghorn and is told he has no further interest in her movements. The enraged maid vows vengeance, The inspector, Bucket, and his assistants trail Lady Dedlock to a house in the slums where she has Jearned that her former lover, Jeffrey, died. In the semidarkness she kisses the door of the house and sinks down in an agony of grief. Her jeweled hand against the door, seen in a ray from the inspector's dark lantern, reveals her identity. The night Tulkinghorn threatens to tell Sir Leicester Dedlock of his wife's past he is shot dead in the parlor by some person behind a curtain. Lady Dedlock is suspected. In her heroic efforts to save the happiness of her daughter is seen some of Miss Anglin’s finest work, Inspector Bucket, apparently making love to Hortense, tears the letters from her bosom that she has taken from the dying Tulkinghorn, and Hortense is removed by the constables with a charge of murder lodged against her. In the meantime, mad with hopeless anguish, Lady Dedlock has disappeared from the house. Joe, the crossing sweeper, guides her to the potters’ field where Jeffrey is buried and she piteously struggles at the gates for entrance. The inspector's searching party, with the daughter, find her there where she dies in the daughter's arms. The play rotates about Lady Dedlock, Tulk Shadow the rare acting of Mr. inghorn, Hortense and Inspector Bucket. The transcendent excellence of Miss Anglin’s portrayals of a dual role, however, do not overIvan, in playing the part of the inflexible, calculating Tulkinghorn, the guardian of the Dedlock honor. Mr. Ivan comes to us unknown, an actor of unusual distinction and _ personality. Mr Baverstock, as Inspector Bucket, does a role of exacting dimensions with signal ability. Janet Cameron, as Lady Dedlock’s daughter, does attractive and appropriate work and the rest of the cast contribute successfully to a polished and even performance. Departures from the original version of the book have been made and were doubtless necessary to a rational dramatization of the same. If the audience felt the reflex atmosphere of a morgue, a charnel house or a lazaretto when the curtain dropped on the last act, it is but fair to remember the. bold, strong beanty of the acting, of a piece dealing in unobsenred frankness with the lower as well as higher levels of the emotions. FRED HOLLMAN. WHAT THE NEW YORK CRITICS SAY “Fata Morgana” TIMES: “The Theater Guild has a rather risky enterprise on its hands. Highly original. «. Highly artistic and amusing. ... Also highly Hungarian. Production, as a whole, on a level with Guild's best.""—John Corbin, MORNING WORLD: ‘For a long time we have been aching for a play about adolescence which should travel the road between ‘Seventeen’ and "“BALDA'S COMIC TRICK DRAWINGS) MAKES 'EM LAFF'!! STUNTS WITH PEP AND REPUTATION $1.00 brings Laugh Frege Ing Program of 23 Trick Drawings, with Chatter and Instructions Four other Snappy Prorrams at $1. FOR CHALK TALK ENTERTAINMENTS VAUDEVILLE STAGE CARTOONING, CLUB, LODGE, AND PARLOR ENTERTAINING Write for Free Descriptive Circulars of PERFORATED FAKE SHEETS, make to order PEN AND INK CARTOONS, BALDA’S TRICK «DRAWINGS CHALK ¢ ee and REVOLVING DRAWING LETTERHEAD DESIGNS, CIAL BRAG PICTURES and PERFORATED SHEETS, * RAG _ PICTURES, STANDS. We ENGRAVING ¢UTS, SPE BALDA ART SERVICE, Dept. A, OSHKOSH, Wis. ‘The Awakening of Spring’. We need ache no longer. ... There is a warmth of affection between the creator and created in this ironic comedy that gives it a sunset glow.’’—Heywood Broun. HERALD: “An artful and pungent comedy, full of heartche and ruefu!l laughter. ... Craftily staged with a superb cast.’’—Alexander Woollcott. TRIBUNE: “ ‘Pata Morgana’, skating on thin ice, breaks thru. The first scene proves embarrassing to the andience. The others are amusing, well played.’’—Charles Belmont Davis. “The Outsider” (Forty-Ninth Street Theater) TIMES: “A stirring if somewhat theatrical play.”’ TRIBUNE: ‘Acted superbly by Lionel Atwill and Katharine audience to evidences of ment.’"—Percy Hammond. POST: “This is * piece of real dramatic substance, and more than commonly well written.""—J. Ranken Towse. HERALD: “A strong and original drama, brilliantly and sensibly acted by an an unusually well-chosen cast."’ Cornell, the play moved its intelligent excite “The Lady Killer” (Morosco Theater) TIMES: “Nearer the fiber of a libretto than a comedy or farce."’ WORLD: “Truly an inept piece of work. It is, therefore, an act of mercy not to go into detail.’’ TRIBUNE: a tadpole, Hammond. POST: “An absurd trifle, “The play was as immature as and almost as intelligent.’’—lercy amusing in spots. “We Moderns” (Gaiety Theater) HERALD—“A shallow and without the accent of life in Woollcott. TRIBUNE—*‘The first act, is a Zangwill his passi sententious play it.""—Alexander play, after a chatty delightful muddle, in which Mr. seems to have forgot his story in nm to repeat all his own bright quotations and those of other writers.’’—Percy Hammond TIMES—“First “and last, ‘We Moderns’ is a plexus of strained attitudes.""—John Corbin. WORLD—"Mr. Zangwill presents his situations and thrusts natural facts into their faces with the result that they become ridiculous.”* ; 4 ; 4 ; : fe Mel