Variety (September 1960)

Wednesday, September 7, I960 PfiSZlETY LEGITIMATE 59 Sparreri Can’t Sing London, Aug. 25. Theatre Workshop presentation of • .two-act comedy by Stephen Lewis; Staged by Joan Littlewood: setting. John Bury. Features Amelia Bayntun, Murray Melvin^ Fanny Carby. Sean. Lynch. Opened AUg. 24. '60, at the Theatre Royal. Stratford, London; $1 top, Cranny Migs- Amelia 1 Bayntun Bridget Jiig .... .■■*..;. Bettina Dickson Fred Jug .... ...Bob Grant Jimmy .... Murray Melvin J fellie• ...-........... Barbara Ferris ack. Budge ............ Brian Murphy •Willie Dolly ;.__ __ ___ Griffith Davies Lily.Dolly Fanny. Carby Wilkie . Stephen Cato B.Q. Man :. -.-.:;..... . . ..Roy Kinhear Georaie Brimsdown _.... Sean Lynch Joe Barker ....:.. J ... . : .. Frank Coda Sid. .. ..Roy. Kinnear Charlie Gooding.. Maurice Good Magie Gooding Claire Isbister Considering the current, vogue for slices of low-life, ; “Sparrers Can’t Sing” . may perpetuate the Theatre.. Workshop, tradition -of thumbing a quick lift to the West End. Oh arrival,... it’s. likely to conform and. provide another hit, •even though it lacks plot and struc¬ ture: When Cockney Stephen Lewis has. done In his first piece of stage visiting is, in fact, to provide a ustained Crosstalk act involving some dozen characters living in the East End of London. . He has cap¬ tured with astonishing realism the rapid flow of wise-cracking Xto,use an American word) dialog. His characters, are straight from 1 the slummy street corner, and albeit fondly observed: and presented in ah ' ever-endearing light,. are cap¬ tured in all. their, unself conscious amoralitv, shrewdness, generosity arid Iikeability. Trying to sum. up precisely what happens on stage is a problem, ex¬ cept to report that there’s a welter .of. expertly coordinated incident. While Fred Jug gallantly, and drurikenly tries to shift'- neighbor Lily. Dolly’s bed 'upstairs* (a first- rate knockabout, sequence) lodger Jack Bridge prattles on about can¬ aries. *. ,. After Granny Miggs has dis¬ covered- that young ; Knocker has been stealing things again,. she nevertheless gives the itinerant Willie a pair of trousers that , she knows he’ll pawn: for .a drink. When Budge wins on the nags,; the •whole, street joins him. eagerly and uninvited at the local saloon. Nothing . in particular develops along the line, not-even the one slini thread of a returned jailbird’s attempt , at reunion with the-wife- .whose head he . bashed in. The whole, affair, which is described as being “in twoacts” merely because there happens to be an interval parkway through, just photographs “The .Present^ Friday arid the first warm day of the year,” with often riotous' gloss and without any at¬ tempt at deep focils; Joan Littlewood has staged With her familiar machirie-guri pace, while the simple, realistic setting, of. John Bury also could scarcely be bettered.; The performances are generally tops, / with Bob Grant, Murry. Melvin, Fanny Carby, and Amelia Bayntun earning hon- ; ers; . Author Lewis, uridre the liame of Stephen. Cato, conies near ..to -Stealing: .his own show with a ripe portrait of a. hilariously wily eccentric -With a gift of, as it were, the monosyllabic gab.. Emu , Rose Marie London. Aug. 23. Tom Arnold A Leslie A. Macdoniiell presentation of. a two-act. (nine scenes) operetta. Stars David Whitfield, Stephaniie Voss, Ronnie Stevens, Maggie Fitzgibbon, GiUian Lynne. Book & Lyric's by Otto Harhach & Oscar Hammeratein 2d; music by Rudolf Friml A Herbert Stothart. Staged by Freddie Carpenter; decor, Peter. . Rice; choreography. Rosa Taylor; musical directors, Bobby Hoyitn £ Paul Conrad.. Opened Aug. 22. ’00, at the Victoria Pal¬ ace;.. London; 92.45 top. . Indy. Jane ... .. ' Maggie. Fitzgibbon Sgt.. Malone Andy Cole. Emile La Flamme......... James Sharkey Edward Hawley- .......... .-John Martin Wanda .... .-,..-..... Gillian. Lynne. Black .Eagle . Anthony Chinn Hard-boUed Herman.. .. ..Ronnie Stevens. Rose Marie .. -- . Stephanie Voss Jim. Kenyon . .v....... , David -Whitfield Ethel Brander.. - ..Rosalie Haddon. Dancers;-Pat Burgess,.Virginia CoUrtney. Natalie Hewlett, Beth Irving, Johanne Lee, IaobeUs Mileno, Angela . Spar shot t. -Brenda Voak, Eric Howard. Bernard Jamelson. Michael Lee, Lex-North, John Walsh, Leon Ward. Singers: Pamela. Deane, Mafie Fidock. Del Gay,. Carolyns Gray, Laveme Gray. Maeve. Leslie. Alison McGuire. Elizabeth. McKenzie, Mark Antony,. John. : Bohea, Richard Clough, James Corvu. Gordon Dobson, Philip Johns, John' Kavan, Tony Marshall; John Orchard. Rex Port, Peter Scotty.-Tony Stanley. / First staged in London in 1925, with Edith Day, Derek. Olrham and Billy Mersbri, ‘‘Rose Marie” has been revived three times arid is a regular standby for amateur operatic companies. But the Wis¬ dom of a revival in I960, even with some fresh songs arid the' book being slightly updated, is question¬ able. Only the music conies over, gaily as of. old, and even that has suffered froin constant ham¬ mering on the radio. The lyrics now seem naive, the book fairly silly arid the huirioir terrible. ‘‘Rpse Marie” may provide nos¬ talgic pleasure . for middleaged audiences. Stephanie Voss sings charmingly and looks attractive. Maggie Fitzgibbon . is. a lively Lady Jane arid Gillian Lynne, as the sinuous; half-caste girl, dances well, though her singing is . no great shakes. RosaUe Haddon scores in a smallish role. Director Freddie Carpenter Is less happily served by his . actors. Making his debut in musicbmedy is top pop singer David Whitfield. He’s a good looking lead, but stiff and awkward in his stage ; move¬ ments. Most of the time he sings as if recording or facing a tv camera. Playing Hard-boiled Her¬ man is Ronnie Stevens. He’s clever, comedian; James S harkey makes a pleasant minor. impression aS the heroine’s brother arid John' Martin, Andy. Cole and Anthony . Chinn cope With colorless roles. Audiences geared to the slick American tuners. Will find .the production of ; “Rose Marie” lacking in pace .arid vital¬ ity, though the dancing arid sing¬ ing gals; and boys are lively. “The Indian Love. Call;” ‘‘The Totem Dance,” the title song and “Friendly Kisses’? stand- up well frdrri the score, but on the whole this .pro¬ duction of ?‘Rose Marie;” even as a filler till the Crazy; Gang’s back in. harness again, seems a curious gamble.:; Rich. humor) are others who help to keep a frail evening alive.,. Roger Purse’s decor and cos¬ tumes are bright and Warm, arid Jo Arina’s choreography is spirited,; Without taxing the resources of the dancers; Rich. This Property Is l ondemned and Thc Zoo Story : London, Aug. 26. . Arts Theatre Club presentation (in asso¬ ciation. with Hairry; Joe Brown & Robert L. Livingston) o£ two one-act plays, “This Property Is Condemned," by Tennessee Williams, -staged by Donald Howarth, and "The Zoo Story," by Edward Albee. staged, by Henry Kaplan;. decor, Stephen .Doncaster: lighting,- Richard -Pilbrew. Opened; Aug. 25,.’60,. at.the Arts Theatre, London; $1.75. top. THIS PROPERTY IS CONDEMNED Tom: .... •..... .. Ralph William* Willi Marcia Stillman THE ZOO STORY .Jerry- KennetnHaigh Peter. Peter Sallis The Princess ; London, Aug. 24. Ted Kneeland, In assocukion with E. P. Clift, by arrangement, with. Send Manor' Trust, presentatioa of three-act (nine scenes) ballet, musioal. with story and choreography .by Jo. Anna, music and lyrics by Mario Braggiotti. Staged by Kneeland.: decor and costumes, Roger Furse: lir“’ ^ ... — -~ Opened Aug. 23. *60. atthe Strand Thea¬ tre, London; 93:85 top. Princess , '.Violette .Verdy Princess as Tittle girl.Claudia Gravey Michael Pierre Lacotte Michael as yoiing boy. .....Terry Gilbert Tears - ....1............ Jo Anna- I^inghier ..Donna Rae Wisdom Selfena Fylie Love. *'jVictoria Leigh Beauty Christina Coleman Self appoi . Keith Beckett King.", .. ... David Davenport Spirit of-Prayer .' . Patricia Baird Oriental Sit'd- . ...... Janet Overton Prince of the East..: Richard Morris His Attendants ... Anna. Delany. Jackie ■ Sands. Eileen .Stevens, SaUy Webb Shoemaker ... . Donald McAlpine Spider. ...— Eileen Stevens Ballet Mistress .... Karen' Jensen Chancellor _.Kenneth Handel Urchins. .Cberelyn Beswick, Susan Purdie, Fleur ShaW, -Jennifer Freeman Duenna Audrey Rawlings Court Dancers... Seraphina Lansdown. Rodney .MacDonald. Nicolette Payne: Barrie Wilkinson Village Girls, and Tear Drops. .Pat Cassie, Maureen Connor. Eileen Cropley, Anna. Delaby. Joy Fisher, Karen Jensen, Seraphina Lansdown, Anne Morrell, Nicolette Payne.’ Jackie. Sands. Eileen Stevens, Caroline Symonds, Sally Webb. Carol Yule ■ Village Children- .Pat Cassie, Patricia de ‘ Dulin. Diane Kelly. Bakers. A illage Boys. etc;.. . Alim Joiies, Donald McAlpine, Rodney Mac¬ donald; Richard ■ Morris* Barrie Wilkinson. Anthony Gardner, John Quayle, Patricia Bentley, Bob Hogan Singers Frank Davies. Fergus O’Kelly, Richard Gordon, Colette Bartrop, Silvia- Beamish. Joy Evans. Garth Gislason. Pauline Greta, Cynthia Jblly, Denise Paynter, Grahame Skidmore. Freda StarloWe . Coloratura Soloist . Joy Evans. BaSs Soloist ■•:. . .- John Harvey Frost “The Princess,” originally done at Palm Beach,. Fla., turns out to be an odd mixture of ballet, musi- comedy arid pantomime. It niay not satisfy ballet purists/ hut should : please: those, who find bal¬ let, mildly eniertairiirig. It’s un¬ likely to have a - long run, but is worth seeing for its. gaiety arid color arid for the personalities; of the two: of its principals. It is a fairy tale about a prin¬ cess who, : under a magic Spell, loses the ability to smile. A: poor young village^ is blamed and given a few days to cure her or be be¬ headed. This artless little yarn is mostly played out in ballet, with ihterpblated songs T,e n d e r e d through loudspeakers, from stage boxes. The: music is reminiscent of the more lush composers,'the lyrics are banal and the singing mediocre. But “The Princess” scores in. the secorid act, when, the. audience meets an enchanting 12-year-old ballariria, Claudia Gravey, With technique .and assurance Way her yorid her years.. This riioppet assur¬ edly has a big; ballet future and her performance sparks the eve¬ ning.' There is also a virtuoso portrayal by Violette-Verdy as the grownup princess. Pierre . Lacotte, . Terry Gilbert and Keith Beckett.' (re¬ sponsible for most of: the slight . These two American orie-acters provide an offbeat evening, but the bill is too slight and short for con¬ templated transfer to the- com¬ mercial theatre. The curtain raiser is Tenesee Williams’ “This Prop-, erty Is Condemned,” clearly an Carly ' and immature work; It amounts to little more than a short sketch, a brief encounter in the au¬ thor’s, inevitable vein of sex-ridden {southern decay. It’s an atmosphere lo which Williams has. introduced British audiences - constantly, per¬ haps to a point of saturation; “Condemned” is merely a some¬ what rambling arid inconclusive conversation between a, slatternly teenage girl delinquent, pathetically dressed in. the handed down finery of her dead tart of a sister, and , a simple boy puzzled about human /nature, sex arid the business of ! commuriication. From the girl’s, inflated, imagi¬ nation flows lurid reminiscence of i Life with Bister and Her Men Friends. It’s “sick” stuff, not w r ell written, and the play owes huich to the two youngsters, playing the roles, Marica Stillman, as a kind, of junior Baby Doll (surely the prdlo- type for the Blanche of “Street¬ car”?) gives a drably touching per- fTcrmance as the waif; though her accent ..sometimes def ts clarity. Ralph Williams is just as. good in the more straightforward and less vivid role of the perplexed boy. “The Zoo; Story” has had a big success off-Broadway and it reaches Britain at a tirile When audiences are, through Harold Pinter, Ionesco, N. C. Simpson arid others, becoming acclimatized to a form Of = surrealistic writing, in. which the play wright’s intention is usually obscure. Albee’s play, again a two characted conversation piece, is. unevenly Written but has force and vitality. It has liuriior and yet; below the surface, there is. a sad philosophy trying to break out. It is one of despair arid futility, reiterating the difficulty of com¬ munication between human beings. Kenneth Haigh is excellent as the intellectual yoiing beatnik who forces conversation on a Whiter collar type, minding his own busi¬ ness in the park. Haigh steers, the often curious conversation tb its powerful arid violent ending with great skill arid observation. Equally good is Peter. Sallis, who apart, from the beginning and the. end, has little to. do except sit arid listen. : Henry Kaplan’s staging of “The Zoo Story” seems , more firiri and authoritative than Donald Ho¬ warth’s soriiewhat untidy handling of his characters in the Tennessee Willianis’ piece. Rich. LONDON SHOWS (Figures dendte opening dates)' Amorous Prawn. Savillc (12-9-59). Art.6# Living, Criterion (8-18-60). Bridot of March, St. Martin's (7-13-60)., Candida, Wylidham's (6-13-60). Caretaker, Duchess (4-27-60). Fin*s Ain't, Garrick (2-11-60). Flower Drum Song; Palace (3-24-CO). . Follow That Girl, Vaudevfllo (5-17-50). Gazebo, Savoy «3-26-60). Irma La Oouco, Lvrlc (7-17-58). . Life of Galileo. Mermaid (6-16-60). Majority of One, Phoenix (3-9-40). Mari for All Seasons, Globe < (7-1-60). Most Happy Fella,: Coliseum (4-21-60). ' Mousetrap, Ambassadors (ll-2S*52i, My .Fair Lady, Drury Lane (4-30-58) Next Time Yes, Lyric Opera (9-3-60). Oliver, New <6-30-60). Passage to India, Comedy (4-20-60). Places of Eight, Apollo (9-23-59). . Prince**; - Strand (8-23-60). . Repertory, Lyrle Opera (8-22-60). Repertory, Old Vic (9-3-59). Rose Marie, Victoria Pal. <8-22-60). Ross, Hayniarket (5U2-601. Simple Spymen, Whitehall (3-19-58). - Sparrers SIng, Th'tre Royal E. (8-24-60) Suzie Wong, Prince Wales (11-17-591. Stars In. Eyes, Palladium (6-3-60). Talking Jerusalem, Royal Ct. (7-27-601 Tiger A Horse, Queen’s (8-24-60), Visit, Royalty (6-23-60). Watch It, Sailor, Aldwych (2-24-60). West Sid# Story, Majesty's 12-12-58). When l n Rome, Adolph! (12-2649), Zoo Story, Arts (8-25d0). SCHEDULED OPENINGS Waiting in Winga, Duke York’s (9-7-60). Happy Haven, Royal Court (9-14G0). Once Upon Mattrass, Adelphl (9-20-60). . CLOSED Tometrow-Plcturov Duka York(6-27-60). Shows Out of Town Fiorpllo Detroit, Aug. 24. E.. Edwin Knill & Martin Tahse. by arrangement with. Robert E. Griffith A Harold S. Prince, presentation of touring production of. musical comedy..with book by Jerome Weidman and George Abbott, music by Jerry Bock, lyrics by . Sheldon Harnick. Staged by Abbott; choreography. Bob . Gennaro; acenery, costumes and- lighting. William and Jean Eckarl: musi¬ cal direction. George S, Hirst: orchestra¬ tions. Irwin Kostal; dance music arrange¬ ments. Jack Elliott. Features Rob Cnrrcll. .Rudy Bond. Charlotte Fairchild. Henry .Lascoe, Jen - Nelson. Zeme North. Clint Yoiing. Opened Aug. 23.. ’60. at the Riviera- Theatre, Detroit. Announcer Sam Kirkman FioreUo.. Bob Carroll Neil. Arthur Bartow Morris .. Henry Lascoe Mrs. Pomerantx LuciUe Blackton Mr. Lopez .. Michael Paras Mr. Zappatclla . iLee Murray Dora _....... Zeme North Mari ............... Charlotte Fairchild Beiri ..:.. Rudy Bond Ed Petersen. ..Tom Vauxhan Card Players.Sam Kirkbam. Peter Costanza. Ed Dumont. Henry Leclercq, Martin Ambrose. Seedy Alan . .Kip Andrews Hecklers.:. .Bob Bernard, Allan Charlet, Keith Willis. Kip Andrews Nina .. .....t __ Jeannie Rogers Floyd .. Clint Young Sopbio .Georgia Knoebel Thea ..._ Jen Nelson. Secretary... Judith Corbett Senator .:. Sam Kirkbnm Commissioner . Peter CosUnza Politician ... Ed Dumont Frankie Scarpini ...'..John Petry Mitzi _........ Rosemary O’Reilly Reporter ...... Martin Ambrose Other Men:... 'ip Andrews, Keith Willis Tough Man .... Henry leclercq Derby .. Bob Bermrd Frantic . Tom Vaughan Judge Carter .... --... Michael Paras Singers: Lynn Bui ton, Judith Corbett. Charlotte Finan. Amber Lynn. Rosemarri Sheer, Elise Warner, Martin Ambrose. Peter .Costanza. Ed Dumont, Michael Paras, Sam Kirkham, Henry Leclercq. Keith Willis, Tom Vaughan. - Dancers: Marjorie Dean. Jecn. Ann Einwick. Judy Jordan. George. Knoebel. Pat. Palumbo, Jeannie Rogers, Marilyn Wekerle; . Kip Andrews. Bob Bernard, Bob Betker, Allan Charlet, Dick Prescott, Chris Scott, Keith Willis. World of Suzie Woojg Chicago, Aug. 19. Manny Davis presentation (by arrange¬ ment with David Merrick) of the JoEhua Logan production of the two act <11 scenes) comedy-drama by Paul Osborn, adapted from the Richard Mason novel. Staged by Neil Hartley. Features Romt Yamada, Robert Carle and Joel Thomas. Opened Aug. 8. ’60. at the Shuhcrt The¬ atre, Chicago; 96.60 top. Robt. I.omUx . Robert Carle Suzie Wong... Romi Yamada Ah Tong. loshi Nf.ka Typhoo . Cir. l.ili I.co Gwenny .Edna K. Law Wednesday Lulu. Dehbi Ruzikl Minnie Ho. Gia-Mo Wong Fifi ... ......Erin Murphoy George O’Neill Spencer Davit “Fiorello” is a serviceable but not particularly exciting roadshow musical. It loses much of its pep¬ perpot flavor because the highly seasoned arid individualistic char¬ acter of . the late Mayor Fiorello H. LaGuardia is riot projected. There¬ fore,; it becomes just another show about 3 politician who assumes the composite character of .a popular view that most politicians are op¬ portunistic, patriotic, lovable and need watching. Despite being more general than specific, this E. Edwin Knill and Martin Tahse production probably will be moderately successful at hinterland bpxoffices. Its Broad¬ way success will be si factor, as will word-of-mouth about this road show. The nearly capacity opening night audience at the 2,700-seat Riviera plainly liked the musical which had just concluded a two- week brerik-in at Dallas. The com¬ petent company benefits irameas- ureably from the direction of rGeoi’ge Abbott,, and the scenefr is of a . quality and quantity seldom seen oh the road. Bob Carroll strives valiantly but Vainly to recreate the image of the redoubtable mayor. At times, he sounds and acts more like James Cagney than the Little Flower. Yet there is enough of the familiar image of a politician in his charac¬ terization to keep the audience in¬ terested and satisfied, and “The Name’s LaGuardia.” The show stopper of this produc¬ tion is “Little * Tin Box,” per¬ formed extremely well by Rudy Bond and his wardheelers. Many in the audience, may not know the history of New York City’s little tin box, but they apparently know all about that kind of “savings bank” and show their appreciation resoundingly. This emphasizes again that the success of this pro¬ duction depends on the broad image of LaGuardia. . The best voiee in the company belongs . to Jen Nelson as LaGuar- dia’s first' wife. Charlotte Fair- child does a capable job of acting the part of the Mayor’s secretary, but has difficulty riiaintaining the pitch, of her voice in her singing assignments. Her contributions might be riiore melodious if her numbers were transposed into a lower register. Arthur Bartow and Henry Las¬ coe, as the law assistants, perform creditably. As the lightheaded gar¬ ment worker, Zeme North Shows dancing and comic talent. The.en¬ semble is young, alert and talented. Williaim and «Jean Eckart have done a superb job of designing this touring edition. The well ex¬ ecuted sets unfold as an accordion- pleat system, and also drop from overhead. They can be expanded or reduced to fit stage conditions. The costumes are colorful and ap¬ propriate. However, there’s much to be done on the lighting, which was very badly mishandled open¬ ing night here. Tew. The second touring version of “The World of Suzie Wong” is sec¬ ond rate. Mounted in summer stock and then sent on the Iwofer trail, it has a nondescript cast and lacks the dazzling stage trappings and water effects that dressed up the original. Subtlety may be too much to expect at two-for-one prices, but Neil Hartley’s staging stresses the vulgarity unduly, and in this form, “Suzie” is merely a coarse play. Hardly credible even under, the best circumstances, Paul Osborn’s adaptation of the Richard Mason novel about the pure-of-heart Hong Kong prostitute requires an actress who can convey a sense of innocence behind the “bar flow¬ er’s” expedient toughness. But . Romi Yamada strikes an in-be¬ tween attitude that comes out as petulance. The lack of a wistful quality dulls the point of the play. Robert Carle is reasonably. con¬ vincing as the idealistic artist Who falls in love with Suzie, and Joel Thomas’ playing of a charac¬ ter role has style that is notable i by contrast. Inga Hagborg shows ! promise in a minor part. Other- I wise, it’s a drab cast. Les. Tom Curtiss’ Tiptop 6. J. Nathan Anthology, Entr’Acte to a Biog By ABEL GREEN Thomas Quinn Curtiss, the fan¬ cy byline he uses on the European edition of the N.Y. Herald Tribune, ; as its drama and film critic and [amusement editor, or as Tom Cur- * tiss, when covering legit for [Variety, has edited an excellent anthology of George Jean Nathan’s ! writings on the world of the thea- ; tre. Just. as intriguing is Curtiss* ! own introduction to “The Magic j Mirror by George Nathan” (Knopf; j ?5>. | This intro Is the shape of things ; to come in the biography that Cur¬ tiss has been assigned to do for ! Coward-McCann next year, with the authorization and cooperation of Julie Haydori (Mrs. Nathan), widow of the famed drama critic. As Curtiss points up, Nathan’s dis¬ cernment of the mediocrity that attended some of the sainted Broadway figures of the early 1900s (Belasco, Augustus Thomas, Clyde Fitch. Charles Klein) had much to do with paving the way for Ameri¬ can recognition of O’Neill. Saroyan, Maxwell Anderson, Sam Belirman, Tully, Dreiser, Cabell, Ernest Boyd, Vincent Lawrence, Arthur Rich- man, Arthur Miller, George- Kelly, Sean O’Casey, Jean Giraudoux, Christopher Fry, and countless Eu¬ ropean playwrights from Haupt¬ mann to Ludwig Thoma, the Ca- peks and the Quinteros. Curtiss has an arresting stylo while seemingly sympatico to his subject, he is sufficiently detached to report dispassionately on his mercurial attitudes, including the schism that attended Mencken when their American Mercury fol¬ lowed the scintillating Smart Set As for the bulk of the Nathan an¬ thology, the biting, brilliant brand of iconoclastic appraisal is, in many instances, even more to bo savored in retrospect. As Curtiss has organized hi book, there is more than a smatter¬ ing of the Nathan style. It starts With “Nathan on Nathan.” and the pieces range from an analysis of dramatic criticism to personality closeups on players, ’playwrights and “some theatrical personalities.” Among them are some of the brighter barbs as Nathan appraises Belasco, Woolleott, Max Reinhardt, Ziegfeld, censors, and “Eugene O’Neill as a character in fiction.” As seen through the discerning typewriter of Nathan—and the equally discerning editing job by Curtiss—^Tho Magic Mirror” re¬ flects a vast panorama of tiie pass¬ ing show and, in many instances, of the global theatre.