Variety (February 1914)

18 VARIETY OTHELLO. On the program of the Lyric, where William Favcrsham opened Monday evening in "Othello," it is announced that "durinf? his New York engagement Mr. Favcrsham will also present his spectacular |)roduction of Julius Caesar." The Favcrsham engagement is but for throe weeks. Perhaps he elected to take no rhances of register- ing a run to empty houses or to admit it was necessary lo revive "Caesar." But such a course will i)robahly not be requisite. The magnificence of the pro- duction and the good taste surrounding the whole thing as a whole will un- doubtedly carry it through to satis- factory box office takings. Although "Othello" does not now meet the requirements of metropolitan taste, it is one of Shakespeare's best acting dramas. Still, what chance has it for popular approval when one woman seated in the orchestra in an evening gown audibly remarked to her escort: "Don't tell me the story in advance—don't spoil my pleasure." Some surprise was manifested among the first-nighters. It did not seem to have been generally known that Mr. Favcrsham had cast himself for the role of lago and not the titular part. This was a clever bit of diplomacy, if not downright common sense. He is an experienced and facile actor, better endowed for the Macchiavclian role of the scheming and artful lago, and was a fine contrast to the dynamic por- trayal of the violent Moor with his "free and open nature." Mr. Favcr- sham dressed his lago a trifle spectacu- larly, and never once, during any of their numerous scenes together, gave Othello the front of the stage. In fact, Othello's big scene of jealousy in the third act was marred by the prom- inence of lago. .\t other times, espe- cially in the scenes with Roderigo and Cassio, he resorted to clowning for comedy eflfect. which is a distinct de- parture from the traditions. MacLean achieved considerable effect with his fine voice, and carefully avoid- ed all bombastic ranting, but fell short in the violent transition when seized with mad jealousy. Forbes-Robertson rol)ed him in white, but the stage di- rection of the present production had him clad in black velvet, studded with gold. He well concealed his natural portliness, which the color of his dress- ing may have assisted. Cecilia Loftus had the physical equipment for Desdemona, but was totally overshadowed by the two dom- inating male characters and passed along with a certain sensuous grace, but never once rising to heights with her colloquial diction. Constance Col- lier was Kmilia, which gave her small opportunity until well toward the end of the piece. lamest Rowan as the Duke of Venice proved a poor reader; Arthur Flliot as Brabantio was ex- cellent, and Pedro de Cordoba gave a fine inter- retation of Cassio. The interest of the audience was sus- tained throughout, to which the fine scenic investiture contributed in no small amount. It appears to be the modern fashion to announce early cur- tains and then hold them until consid- erably later, and Mr. Favcrsham took advantage of this. Jolo. MAJOLIKA. "Majolika." a new German farce, had its American premiere at the Irv- ing Place theatre last Friday night and was greeted by an appreciative audi- ence. The piece is by Leo Walter Stein and Ludwig Heller, authors of "The House Next Door," produced by Lchan & Harris at the Gaiety some five years ago. The story deals, in a comedy way, with the efforts of a German duke to engage in a business enterprise, but this point will not strongly appeal to Americans who can see no objection to any impoverished individual earning n oney. Among royalty such a thing would be regarded almost as a dis- grace and is well understood by Euro- peans. Frederick, the duke, is in need of money, and an informal reception is a.ranged at his castle, at which he is lo meet a number oi bankers to talk matters over. Hamburger, banker, who has helped out the duke before, is unwilling to go deeper into his pock- ets, but offers to finance an enterprise for the exploitation of a certain brand of clay which has been found on one of the duke's estates and which pro- vides excellent material for the manu- facturing of "Majolika." The second act shows the office of the factory where the duke has in- stalled his army officers as heads of the various business departments. The business is conducted by them more in a military than in a commercial fash- ion, and before long the enterprise is in financial difficulties. Hamburger is called in, and in conjunction with his auditor, straightens out the tangled af- fairs. Thus triumphs business sense over the aristocratic and military regime. In the end it transpires it was really Princess Elizabeth, of a neighboring prmcipality, who conceived the idea of establishing the majolika plant to pro- vide the duke with an income, in order tr obtain her father's consent to their marriage. Direktor Rudolf Christians was the (li;ke. Miss Rub-Foerster the princess, and they were capital. The remainder < f the cast, as well as the production, was adequate. Jolo. BROADWAY GIRLS. "The Broadway Girls" is a good bur- lesque title, as it gives Toledo or Toronto a fair sample of the Big Lane girlie on view. Without pos- sessing too expert an opinion, it might be said that the only novelty presented by the choristers of this troupe are the variegate(h assortment of burlesque legs, perhaps the most ex- traordinary ever seen at the Columbia, where the show is this week. The girls may be good looking in the main, but it's hard to watch their faces while wearing short skirted cos- tumes as they most often do. Maybe it is these costumes that give the nether extremities their funny shapes. The costuming isn't attractive, .\fter the oi)ening enseml)le number of the first part, when the young women are rather well downed in light gauzy ma- terial that sets them off all around, the dressing runs to dull colors and not ovorbright materials, the latter pos- sibly from the customary wear and tear. The choristers are used in num- bers, singing their best, which, while it isn't the worst ever heard, is bad enough to be termed that. "Bungalow Ragtime" is the song the house must sit through while Pam Lawrence as the leader of it stands around to give the ladies of the line the chance to show what they missed in vocal train- ing when young. George P. Murphy is the highly fea- tured player of this show, that has the title Jas. H. Curtin formerly employed on the Western Wheel. Now the pro- gram says The Theatrical Operating Co. is managing it. Quite a number of Eastern Wheel companies seem to be running along under a corporate man- agement this season. Mr. Murphy is a large part of "Tinkle's Troubles," the two-act piece that is ashamed of its author. He plays in German character and makes the per- formance entertaining. Murphy has a nice way in addition to his catch lines, two of which are "Dot's Nice" and "For God's Sake." although Nat Fields worked thV* latter for a long while in burlesque. Jimmy Connors is the straight. Billy .Armstrong plays opposite Murphy, and Mr. .Armstrong might clean up his fa- cial rough beard red nose make-up; Sol Powder and Bert Chapman take very ^ood care of their roles in the pieces, besides doing a specialty and one put over a "nance" bit that is worth while. Besides, there are two or three minor male parts. .Among the women Ruby Bailey looms up largely in looks. She is a dandy blonde, young, pretty, and poises herself as though in the past used on the stage as a Gibson Girl model. While Miss Bailey is a bit shy vocally, that may be easily forgiven consider- ing the rest of her. Katheryn Howard plays in Spanish, with a dagger, and Miss Lawrence is the conventional soubret. who leads several of the or- dinary collection of mostly uninterest- ing numbers. Miss Bailey has one or more and Mr. Murphy a couple of his own. Murphy is able to get some fun out of a telephone at this date, and works a bartender scene for many laughs. The setting in the first part is a trifle gaudy, looking like freshly made candy of the 12 cents a pound variety, and the pink tights don't hold to one shade, but these things will not affect the standing of "The Broadway Girls," for it's going to pass along as the average burlesque show, with better principals than the average, but with Mr. Murphy reaping the most credit. Sinie. PALACE. The Langdons, billed second, were not on the bill at the Palace Tuesday night and Burns and Fulton set down to close the show, though not in the program. Howard's Ponies were changed from the closmg spot to sec- ond and scored a strong hit. In fact, everything on the bill went well. Lockctt and Waldron, who opened at S\7, played to a scattering of people :nd unfolded a very neat two-men stepping turn. Inasmuch as the ma- jority of the Palace patrons elect to come late, why not start the show at 8.30, or even 9 o'clock and let it run till midnight? It would probably meet with popular approval. Mary Elizabeth was third. She has a fine routine of exclusive talk and songs—and an individual personality. Howard aiid McCane, fourth. Miss \icCane should learn to pronounce the word "realization" and refrain from starting to undress before she is out of sight. Her fine sartorial repertoire pleased, as usual. "Celluloid Sara" (New Acts) closed the first half. Claude Golden reopened the enter- tainment. He has an original way of presenting a high-grade card manipu- h'tion act and is ably assisted by his straight man. Blanche Bates, in J. M. Barrie's play- let, in three scenes, "Half An Hour" (in which Grace George appeared ear- lier in the season at the Lyceum) btings to vaudville the "class" it is so badly in need of. We cannot have too many such artists and playlets in the two-a-day. One such act will do much for "Supreme Vaudeville." The "at- mosphere" of upper class life in Eng- land is admirably created in the Bar- rie sketch, due to a considerable ex- tent to the cast of eight, every part in which was excellently played. The Jack Wilson Trio fared well, Wilson, as usual, making pointed ref- erences to the remainder of the acts on the bill. Jolo. COLUMBIA. Fciber & Shea presented a ten-act bill at the Columbia Sunday that would stand comparison with most of tl;e big time shows offered hereabouts. The house held complete capacity at tne matinee. Four of the turns are under New Acts. They are Dunlap and Virden, Rose and Moon, Merritt and Douglas, Werner Amoros Family. The bill opened with Gordon and (•ordpn. wjth a combination contortion ai'd acrobatic turn showing a number of original gymnastic and contortion tricks. They started things off at a lively clip. Will Rogers was a great big riot in third spot and may now be classed among our foremost monolog- i>>ts. When he has an apparently diffi- ci.lt trick and doesn't get it over at oiice he says: "Jack Norworth has the ri,t,ht idea; I'm going to get a moving picture of this and tell about it." When he finished a man in the audience rc- Mir.rked to his companion: "He's good, that feller." Rogers was succeeded by Harlan, Knight and Co. in their bucolic com- edy-dramatic playlet, "The Chalk Line" I«: is a clean-cut comedy, intermixed with heart interest. Innes and Ryan had the cream spot seventh, and made good use of it. Maud Ryan pulls one or two old "gaRs" in her generally ex- celicnt kidding stuff that are uimeccs- sary. Innes might also change his cane with his clothes. Miller and Lyle open with some new talk preceding their boxing, dancinu •specialty and for an encore do a com- edy Texas Tommy. Camille's Poodles closed the show. Jolo. don't n(lvertiM> at itll.