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

AAT 2S MARCH 22, 1924 The Billboard 61 --—-— . ' MILY STEVENS gives particular charm to _ C_.___ net only types of what they repre ; the naughty Mra, Vey in “Fata M mu i// s AVA ~ stature and features, they are men . CF “ »— “ai . Seduction of youth is a risky subject. Not it/ hi [<< =e <i .7 Gi \ of profess onal personality and deliberate judgj only is that the subject of the piey, buat NUS i at s-7 (A J ment. ‘The Sir Israel of John Blair is low4 \ pb al AN voiced and grave of manner. Kenneth Hunter ' subject is demonstrated in some of tl Beer Ss y Ley: actors sent in on tne stage “The God «cf Ven > wet represents the you iger and more modern idea ; no further In showing what may actually bapé of viel professi " is oe Par os have id . tha di«tin« li ve indene \ particular charm V hitfore Kane is the easyrie pee Dey Por ] a y and ss sacle "A fa Conducted ry “WINDSOR P. DAGGETT going doctor, forgetful ef professional pride, | difference otreatine me thar difference and Lester Lonergan is the ee able father J ‘Pinnloae oOo > 9 > » » ac in subject, Tere is no “dirt” in the play &t foliowed that profession, he world have built corrected by perfect love, just as perfect love pes — a ~ i makes née _— ter 4 the Gurrick. Its most ha lous scenes &f¢ pyramids rather than sea-shore cottages, and is the final miracle in healing the crippled Sar aes v1 hout aneee bay Be i! managed in fanciful deta ae from the a. a actor he needs feundation characters Lalage who puts her faith in him. The angutre. The scrape of ren rence dne Fes i physical plane. Emily Stevens lnptuoUS rather than imitations, for whatever he makes Jarities of Kegatzy, tho a bit fantastic, have — see n eo ernanda pe gest ‘a 5 and naughty only 1 ethereal splendor. SeX he makes solid some significance in representing the good that ans support to th 7 ow pong j attract ¢ "3 far 1 ' . : 7 a ~, Story, and Pat Somer well cast as the q attraction, after Ail, may f u a fre Mr, Atwill has the odds against him in “The ™&y come out of darkness and chaos if we ex sheteenie ulted at une i) the primitive and brutal, aad M Stevens Outs! ler’? The viey tes @ mixture of realiem *™ine the theme of the story without cong 7 ad \ #} » ’ nvaw nda rx on he : > re ‘ r hinerw »ve ye eon . é h fae oul aisitine: ; — _ and m ved ymbolism, and the character of demning its — hinery too s¢ —— Answers rae igi Exggnenesss ints ges the Outsider is an unknown q ity. That is The Russian dialect of Mr. Atwill is Rer.—In pronoun cing the possessive case of Pas ot : ; “eat) im the weakness of the play if one wishes to press linguistically faithful and musically satisfying. words ending in ‘‘s”, i an extra syllable daring : at helps one } en ne ee it literally, tho in Liberal interpretation the The rich sympathy and sincerity of Mr. Atsounded for the possessive ending? In ‘‘Jones’s te ne ayer = oe ee : paMesccscgsn gr ll ass 7 idea of the story Is perfectly clear. It is a will’s voice and smile offset the Ragatzy imhat’ does yes’s’’ bave one syllable or two pra Pend er rs “Sh ya el ~ conilict between closed minds and professional pudence, and in scenes of defiance against in spoken Enclish? , iieeaee a bik oft gre Gicht at the sight jentou and ven minds in defiance of tixed medical arrogance his acti ug is powerful. His Ans.—*‘Jones’s"’ has two syllable s as if the , of a morning clor) That ‘ charm of the ideas and limitation. The part of the Outsider love scenes have a vant reserve, for word were wr tten “Fon ses hat (dzho.oon-2i4 { play, for while it deals w Potinhar’s wife “~ a sity compared to the norma! types they are scenes of on rather than of hat). “Es was the common genitive ending i it sidestens the ts of Exyot : Beth with of characte that surround him on the stage. wooing, and Mr. Atwill ds an intellectual and in old English, which was pronounced as ap : em. Kanal ettte ieee ; : their The medical doctors are normal types of prosymbolic symmetry to character by giving additicnal syllable and sometimes written apart ; = a re : ; = fessional dignity and egotism Miss Cornell as this interpretation to the audience. It is alfrom the nown. As late as 142) such phrases ; pro naan ah aia ges geet ; rs 1% : = t ripple as 2 part of tremendous sympathy ways profitable to watch Mr. Atwill closely, as “vynes rootes’’, ‘‘strengthes qualitie’’ were ar a lie ai a er ; pn ty poe and natural cppeal Mr Atwill, as the inventor for you may rest assured that he has analyzed used. ; Lat r came t! e e! on of the vowel ings, and the boy's ‘“‘secret’ ated till of a mechanical table for mending bodies, reprehis character and will plas it not only for and the introdi tion of the apostrophe whieh . the same azure and gold without a speck of almost anything from a quack doctor to entertainment put with ideas to think about marks our modern possessive case, but this : common dust to defa F elf “we is the handicap that he has as well, — = = come = gt — us+ a — ' or fh -an’t make nerfe shar. : , le «& he seventeenth century. »wth's ; is wbeets etl of duel tte. OE cin ces ct ee ee ns ate Miss Cornell has 2 more perfectly written (0 os. 1708 mess iss 00.8 oneal ; eteabiy bandied ae eileen. deel dhe alleen ; a? a A al red pad ‘ . * % te oe Tr part than the actor who plays opposite her. iii Wigs cee cea Lam Pr ight { a a ie ea ns ee ee toreizm dialect, 2 ‘There is nothing fanciful in Lalage that : Genitive case In My OpiRhe ae direction. There father and mother, the charlatan’s impudence and Svengali magnetism be much more properly formed by adding borders on stage character. The story of her : . : : aunts and cousias, the children, the neighbors, are external attributes of this strange man. }ignood inspires sympathy from the begin“> °& See he OE ee ee : the hostler, t dog barking in the yard and All these excresences of Ragatzy-ism have to ning. As a women she Genctes and connotes without the apostrophe." ; birds singing in the treet There i « molded sympathetically, not to say connearly every aspiration that can motivate a sefore the *s became established as the final : and bustle, a word word vincingly, to give us a conquering genius, & woman's life. To find this teeming and even form of the possessive some other experiments ; ite and a Ired Lt t es to give symbol of divinity and a heroie lover in the gancorous spirit confined in the death house Y°Te also tried. As the Anglo-Saxon endings that gon — of actuality that comes oni last act. of a worthless body is in itself dramatic. With dropped i alpen Mirelmamerst pean — a | by studious observation and a gentle handling Mr, Atwill's Outsider is fundamentally a Miss Cornell's voice of the spirit, her expres‘™e* Siven to a noun by & simple justapem | of etage motion. One ne Cetall of “ort human being, a forerunner of a new idea, a sive eyes and sensitive facial muscles, the part —— without —_ 6 termination, as Vea z Praag Te regen lth ple . that breaker-down of man-made obstacles, If there of Lalage is one to remember for concentrated a Te met} — 7 eactealy : can be seen thru the cottage window. This 18 4. anything cheap and selfish in his character force and entire naturalnéss, pnges @ ant iin, te. ee all atmosphere without a word from these ; “a ‘ ° Fs ae forn » j icate the possessive araec y ’ Pc at the opening of the play, his “errors” are The medical doctors are judiciously cast. The > We Seen wall -xrrexentelien. see pet = characte rs, and Helen Westley sits partly ’ an apostrophe, as for “righteousness” sake’’. screened from view to half the audience. But -—-— —_—— Another way of indicating possession that he «s eating her bre fact ith hose — —_——_———— — a mg int Peannon . rae ‘ pogo hege € her breakfast with those (XR RRMMM NS RMN MEE RRM MME MNO RD came into frequent use was by placing the pro at the table, and as nearly as I could make 52 f%} noun ‘his’ after the noun. Shakespeare has out she ate a stage reakfast as realistically ; Aes as ! * () “Mars his gauntlet.” This use continued for as if it had been the feature of the show, in 3 %) several hundred years. In the 18th century it spite of th fact that « y ulf of the andi3g . 3) , i f ] a 1 tl x was a@ common practice for the owner of a ence cou! d even tell that she was there. That 2 book to write his name upon the flyleaf thus, is the spirit of the Guild and of Helen West& “John Smith, his book.” ley. I wonder if anyone ca think of her %& anes te ehetacten, ti te tn : oa ene” Te Mess’ FARLEY has crown up. [He is Mr. Farley from this day, a Broadway i) Altho the Anglo-Saxon genitive in -s belonged , ~~ * , . ctor and a young artist of romantic spirit. His playing of George in ‘Fata fa only to singular nouns, modern usage has estabA 7 of her best parts, but someh« she seems to X Morg ’ at the Garrick is } rs lestone in his care 7 nhood t a : : lorgana’’ at the Garrick is his first milestone in his career of manhood. I fs] lished *s as the plural possessive termination get more * rd*’ characters t : of ones & ss fulfills a vision that Mr. Farley has had of his own future, but it e > sey a meets RN A, 2° us ' or medium 1 a omise t i s ever made to his andience in previous parts. In 1921 Mr. %j also, with the apostrophe alone when the plural botled gS ! ‘harles to Lionel Atwill's Deburau. It was a part to make re already ends in -s. A rule at one time crept a > . of , Young Farley was ia his element, his face radiant fsa) into the grammars fer the placing of the as : 3 } a ; pirit ire Vi 1 » r » ° “ , ' 2 Aatattn x Wits GRIMACWE, BiB 0: ashing with — itual fire. W nat would he do next? It isd apostrophe after the -s as a means of dis in self-de fen aS was hard to say. He had a boy's figure it would tip the scales to little more Sj tinguishing the lural f the in whitewashing > eading parts he could not play. Would he have to play sixteenBa a : i el ey rom 7 > : : sieorediie * . motive to arous é ra ‘ iously old and manneristic, or would he add inches to isa) singular in nouns wh ir and ploral , : : r= n bin eS are alike, as ‘“‘a shee “four sheeps’ Westley in this new part to realize again un yal ’ ‘ps : , : 5 x in “The Grand Duke", the boy flapper age, seventeenpas heads”, But this is istained either b . how continuous nteresting she is 3 ! ” 3) : y , : * ions and plenty of “business” and body acting to set them off. 8 modern usage or by riéal reason, Wheel Sterling H yh way 1s probably S itwardily the type. He could ‘“‘act’’ the Glenn Hunter, Gregory 5 there is danger ; t can be avoided , » tw” sae pA } 1€ s anger of am i oF ec . acter parts and possibly to a n + gton brand of juvenility, the audience encouraged him to “act 1 ; . p eae character 5 con teanine ¢ “S to expectations. Then came less colorful parts in ‘‘Mary the = «(OF use of a prepositional phrase haracters. can imagi I x< mh tah ME cer + ake oan bx a ee P ; the stage sound< no more like x ‘ Fires ° and finally a whole bag fall of tricks, mouthing of = Since 's is the modern possessive termination, t : ) i “3 ting “huh in “The Wild Wescotts’. There was comic outside si it igs well that the exception: the rule should than a cat's mew But in + youth within, but no great subtlety of comic spirit, for Mr. = 1 t en, ik : ye Guild has feund fer him Mr. Hollev S & ka the suggestive touch of a born comedian. He was not especial a th as few as possible. I sage is not entirely gem In “The Failures’ he was a phantom. 6% imitater of an imitation, a good salest of theater-made ficti 5 uniform on the question of adding ‘'s to @ In “Fata Morgana” he is a moron The inx) sing pe riod of externalization. The Charles of Deburau entirely =, singular noun that already ends in -s. But the ' rit . with his exit the spiritual eve became a mirror of footlights. The = gone eetic ain ilies af aa oes he one ten tail e in the & . , ) i s| general practice and tenden seems to be ence Of his wore can De felt even ip tae Fe alist arl seemed to have been the accident of a day. a wholly in favor of t! sesuler tennteell . vacuity of mind that he makes so captivating. © ing a breath between the acts of “Laugh, Clown, Laugh", I saw i @teee 2 igees ~ en rmination. t 3 ~ ' r st . itt “ . ; His light voice so truly connotes the phan5 Mr. Farley was also taking an airing in front of the Belasco = there Ig usualy no Meulty for either the k tom intelligence of his character that his work tilted to one side, his stride ample and firm, he strolled in front 5S ear or the eye in adding ‘s to a noun ending S > rs c que The how-case leture v e "f yr is i i 3snallv > , Te is almost truer to life than life itself. He s first conquest. The show-case picture by the door caught hi in -s, tho it must usvally be pronounced as a 4 seems to have every qualification for Sir AnSe —— nal 8 ee eee Sq Separate syllable as “James's Lat’ (dzheim-zis oy . yee a peed ii 3 ht ae wees cl gg = , on 4 ae P i} hat), “Thomas's ball’ (taw-mu-siz bawl). drew Axuecheek if be ever has opportunity to & lown upon him, and, under the spell, he was another Atwill in little in his St ° play the part. Sei for “big ” » arte, parts with laughter that shaded into pain and with the se he possessive sign is seldom added to names Josephine Hull as the mother, and William x om hin On i aa — t If he was dreaming of such a part at this other than those of persons, A few special Ingersoll as the father keep an even tenor of & His George in “Fata Morgana” brings him back to his greater self, his idealism, qunntantions ae Receme im = —— steresparenthood that adds to the atmospheric sue= his sympathy, his suffering, his forgetfulness of the trivial. He throws aside the typed eo 8 day’s work » “the sun's rays’’, cess of this summer comedy. Mr. Ingersoll tricks ef comic juvenility iike east-off garments. He is a new being. At no moment “life’s fitful fever’. Modern journalistic ‘ : simeneeh eumert en a beckon’ does he ‘‘a Iie breathes the part, rises to it, keeps it intact in his inward writers are also fond of adding the termination gives well-measured svt . a mind and subjects himself to artistic discipline with keen devotion. He plays with to the names of places, as “New York’s figure, but he fs never lost im the crowd. His + a restraint that he has never shown before. To me it was thrilling. I kept expecting . — ee final scene with the boy brings th father’s © him to break thru his Wigh-tersion control, but he never lost his grip. I kept ex(Continued on page 64) silence to an eloquent ending. 2 pecting a word to roll out thru a loose mouth, or an emotion to storm forth un. Fr cae . : seen tion 0 <hat eame awares, but it never did. Mr. Farley was again in his element, his imagination ‘ emily Stevens’ individuality © olce com sd more mature, his poetry more finely tuned. His spirit outgrows his body and his bined with her temperament gives her speech Sa body grows to his spirit. Once in the course of the evening I heard a “Wild a ; an intangible fluency. Her tone is pleasingly 4 Wescott’ “huh” knock at Wis decor and ask to be admitted, but Mr, Farley killed Theatrical Sho $ refined and spins out in smal! compass. It is 34 od soon = , saw gg "ae ce bg ioe as if it were e 2 ‘ nner re ee ab 7 an insect on the rose. There was the 00 hat Morgan Farley had grown up. ‘ less varied in rich undercurrents “ « > res ka For four years Mr. Farley has been a source of pant carey Even in Gnaiaten his B I MILLER i expanding music than Mrs. Fisk s mat 2 a speech was off color with cockney dialeet, or city dialect—whatever you wish to y ed quality and inflectional sulbtiety there often 34 eall it. There were “‘back-a sounds’ in many words. “I’’, time’, “lot” and a striking resemblance. One can hardly imagine 49 “futher” shaded on = vulgar, these eng es with ae mae grown in Ballet Slippers 4 Steve or Mrs. Fiske hold ng a word or 3g tl comic juveniles tven these traits have become a matter of the past. The a a decent @mphasig except as that 3g ena se be me at tl Garr If the direction of Philip Moeller did it, Mr. Farley Clogs Roman Sandal ean thank him. If the sympathetic presence of Emily . . 3 Stevens did it, he e; hank emphasis springs from an emotional impulse 1 it ean thank s¢ her. Whether the part did it, or conscious study, Mr. Farle y bas corrected some of Jingles i to speak and hold. The su!conscious mani“4 his worst fenits in pronunciation. He has also refined it where it was already Russian Boot ' festations of speech in both cases have the 3) good, and he has adopted an economy of effort in his speech that adds force and . . a fresh stamp of personality, and the art of 7 pres he n to — = nee, : ae P : = adit te tnin ahean Imitation ‘Dutch Sabot : el » important than the art of Of e part o jeorge requires tha ne fire of manhoo: e addex o the ealism : thinking seems more importar ha ‘ Y 34 of ad cence and that the urge of manheed be softened by youthful fancy. To «peaking, Roth follow good use in pre nun yo x keep the poetic balance of these opposite characteristics is no idle task, but Mr. tion, but aside from that the meehanies of 4 Farley plays youthful comedy witheut comicality and. masculinity without mannerspeech, are absorbed Im the personality more § isms, lie plays poetry by nature, because romantic beauty, a feeling for the 1554 Broadway State St. at Monroe than the personality is projected into perfect > rossed purposes of life and an Atwill sense of bigness come much nearer to his SELLS SEDS 34) BESSA DBS DS Dae EIDE BIE BE) BHI HIE Zz) | EW GO . artifice of elocution be quality than all the juvenile eccentricities put together. He will have to play funny N YORK CHICA speech or any artifice of ek . 4 boys again to earn his bread and butter, but very likely he will play them better Lionel Atwill is back tn a big part. That x9 in the future with a new sense of reserve steadying his nerves. When the “big” Ladies? and Gente’ Glasiie . » , 54 arta come ere wil . iMiculty in finding the actor. Until Sidney Blackmer x alte j l means that the real Atwill is with us. His oj part e there will be no dificult ! : ; y n x) Beits and SUPPORTERS, for ‘= Grand Duke and his Comedian were iuterest> learns technique and grows into his body he will have a colossal rival in the little ps4) Desai g, Athletics and Res . 2) P 10W i y » Ga Se <) luciz E ing, but they left oat of account hie strong be man now playing at the Garrick. 37) duci Edward Kennard, 131 rs 7 W. 63d St.. New York City. Phone, Columbus 4069. Send : for new Circular B, feeling for reality which is the driving force of bigs nature. As an architect, if be had pisses: SIRO