Variety (February 1919)

-■: 42 VARIETY le.£ fi*-'- AMONG THE WOMEN By PATSY SMITH r —■■ «' i Edith Roberts in "Sue of the South" to say the least had an over indulgent director. The idea of a southern girl well into her teens making a pet of a goodly sized pig could hardly have a grain of humor in it, so try and pic- ture the absurdity of' carrying the smelly swine to the city, traveling by rail, arriving at the station, taking a taxi, etc., with it tucked under her aim I As Sue Gordon, she features mostly picturesque old fashioned clothes, "Granny Sue" unearthed from an old trunk in the garret After ■ Granny passes out and Sue has tried life in the Peyton home fthe Sr. Pey- ton an old sweetheart of her mother), she comes back to the mountains to Chad. Peters, her girlhood'sweetheart, who is an enemy of the Peytons, be- cause of an old family feud. The actions throughout are senseless and the plot void of a vestige of inter- est to the intelligent moving picture devotees. One unnatural bit, which everyone in the theatre seemed to re- mark aloud, at the same time, was . the girl jumping up, as soon as her Granny died, never looking at her, picking up a bag evidently already packed and going away with the doc- tor, merely affixing a sad look on her countenance. A couple of flounced 1830 frocks were becoming, doubtless the reason for their being dragged in- to the plot, but in the latter part of story in modern apparel, she didn't show up to any great advantage. "The Woman the Germans Shot," now billed simply as "Edith Cavell" with Julia Arthur featured, has been cut considerably since reviewed at the Strand in November. The bit where the English nurse assists the English soldier to escape from the filthy cel- lar of the temporary hospital is out While he is escaping she is flashed several times in her room evidently praying. No direct evidence is shown of her complicity in helping prisoners to escape, thus making a' stronger ap- peal to the sympathies -of the audi- tors. Vivian Martin as Jane Neill in "Jane Goes a Wooing" h carried through the experience of having her greatest wish gratified only to find she does not want it after all—a phantom hap- piness that disappears as soon as it is within hef grasp. She shades the character of the serious little stenog- rapher nicely and is pretty throughout without any effort apparently to ap- pear so. A satin gown and wrap showy with spangles and jewels which she frankly acknowledged were "paste," was a bizarre attempt at the society she had but caught a fleeting glimpse of. Despite the grotesqueness of the Ziegiield Follies prima donna costume and the innocent youthful face, she made an attractive picture. She was at her best, however, in the prim dark dress she wore at her daily occupa- tion, taking dictation from the eccen- tric old playwright. Byrdine Zuber as, Nita Arliss, fea- tured a pawing vampish manner that made her stand out as anything but a society girl. She was more like a graduate of the east side than the lit- tle star. Her smile as well as her clothes were exaggerated and she had a penchant for wearing conspicuous headgear that robbed her of any chance to appear "class." Helen Dun- bar, the ambitious penniless society mother, ran true to form, and dis- played some good looking furs. Twin girls of -about -seven years- -pktyed .a,-:- small part in the story. "A Romance of Happy Valley" is a rare little gem that cannot help but make a sincere appeal throughout the Christian world, where English is un- derstood. Whether the delightful in- troduction of familiar old hymns, "backsliders," etc., into the simple story hit the New Yorker right or not, makes very little difference. The fea- ture has "bigness" written all over it for faithful portrayal of the simple homely characters. Thus the "Master Hand" demonstrates the greatness of simplicity. Lillian Gish again depicts a patient true little sweetheart, waiting through her girlhood, until it has fldwn, for the boy she feels will re- turn to her. While Kate Bruce, the boy's mother, smiles on with perfect understanding as she reads her bible for the boy she knows will come back. "Jennie Timberlake's" quaint little frilly^ dress, made with much love, in an effort to enthrall her beau and ward off the growing temptation of New York City, failed in its mission and its worldliness nearly spoiled her father's perfect Sabbath day. In a be- coming mushroom hat and demure little dress she welcomed home the prodigal in the sweetest, most for- giving manner. An instance of small bits registering was Lydia Yeamans Titus as "Auntie Smiles,"- an ancient, but happy toll gate keeper. on side of head. An oriental costume, consisting mostly of chiffon trousers and iridescents and a white silk bal- lerina .skirt was liberally trimmed with white cock feathers. For the finale they flashed big banners announcing the "Can Can/' but the result was sad to anyone who has ever witnessed the lively French dance, from which no doubt our own cakewalk was inspired. True, they playecLthe recognized "Can Can" music and appeared in what might have been meant to represent a "Frenchy" attire, but there were only two "Can Can" movements in it. Apache and cake walk steps predomi- nated. And heres an idea—why not some one really revive the proper old dance. It is nowhere near as naughty as those being seen weekly in our the- atres. Talk about getting your money's worth, you should have seen the show the first half at the Fifth Ave. this week. It might have stepped in any first class theatre in town and made good. The big laughs of the bill were "The Corner Store" and "The In- truder," "The Memory Book" and Howard and Ross, and the rest stood out on sheer merit. • Three of the Five Avalons were in pink lace skirts almost covered with pink and blue ostrich tips, turquoise bodices and fancy hair bandeaus. The littlest one, however, from the clever work alone, and through no fault of makeup, can hardly be adjudged "one of the girls." Kitty Ross, of Howard and Ross, in an ecru net sparkling with iridescent bandings, and turquoise maline flounc- ing sort of "bursting out" in spots, displayed a happy personality quite as scintillant as her gown. First as Pagliacci, followed by the Toreador in "Carmen" and Marguerite in the prison scene from "Faust,"' she ap- peared behind a scrim opening with appropriate backings, and surprised the audience' with her robust tenor voice. The announcement of the im- personations or operatic impressions could be omitted and Miss Ross should make her bow in the Marguerite cos- tume, or a cloak" specially for that purpose. The little girl of the dark curls in "The Intruder" jvas youthfully attired in pink and blue chiffon, and Mrs. Wayne in black crepe and georgette, the sides trimmed with fringe. The details of the set in the oval opening of "The Memory Book" were well carried out. The horse hair up- holstery, crazy quilt table cover, lace "tidies," corner brackets and picture frames bespeaking the furnishings of grandmother's day. The "Granny" who turns the leaves of the memory book was adorable in a black chantilly lace head scarf, and voluminous black silk dress. Two children are delight- ful and the wholesome characters throughout well drawn. There is a new girl in "The Corner Store," strong on "looks." She was neatly garbed in a sport silk suit, flashy, but becoming red hat and bag that belonged to the outfit. A graceful gray crepe worn by Frankie Heath had a Japanese scenic border embroidered on lower part of skirt and wide sleeves. A novel way Of" "weafirtg the -hair,---was- severe, but becoming. Ma Belle appeared a little too heavy for Mr. Blome to handle at times. In front of a national blue circular drop they ?«ppeared in a trio of double number.* *nd a couple of singles. A peach ulk costume, opening up fan like in front was" finished with a frill of orchid net and a big choux of orchid and white net was fastened Three productions at the Palace this week made individual but widely dif- ferent appeals. "The Toy Romance" stirred sweet memories of childhood, the Greater Morgan Dancers highbrow interpretation of terpsichorean • art, was decidedly modern and 'The Man- neqin" smacked of Futuristic possi- bilities. Miss McMahon's Raggedy Doll stands out strongly in 'The. Toy Romance," even more so than her scarecrow or rag figure of previous seasons and is the feature of thejact One young* woman in salmon pink silk and ecru lace is a frail French dollie, and another a chubby Buster baby. The act is somewhat like an offering of several years ago in which Bert Walton portrayed such a remarkable wooden soldier. The Morgan Dancers, presentation, aside from its poetic grace and beauty, is essentially dramatic. The story of Hun invasion of Northern Italy dur- ing the days of the Roman Empire and their cruel rapacious deeds, quicken the pulse with the thought of their recent exhibitions of brutality. The girls are fairy like at times, al- ways up on their toes. There is little posing in this act and much difficult work, which they take seriously and ■ soulfully asking for no applause or bows until the finish. The lighting and color schemes are splendid until the very finale, the drop in back show- ing the burning Roman city being quite ordinary and inadequate for the production. Edna Goodrich in the revival of "The Mannequin" is a splendid flash, but the company is nowhere near as good as when first presented here. Even the young man does not stand -out so vividly despite his fat part. She first appeared in an oriental sug- gestion, pink and white chiffon veiled with perpendicular snands of crystal beads from bust line ■*» hem, held in about hips with a semi fitted girdle of 'brilliants. A geranium georgette flounce edged with silver braid and brilliants, and headed with band of shaded flowers, tan into a tram at one side, partly concealing a silver foundation. A tiny shirred zouave effect of the georgette, outlined with the floral banding, finished bodice top and a broad band of spangled blue and geranium stood out around hips, dropping to points at sides, where great bunches of shaded artificial blooms were a conspicuous adorn- ment A small hat was trimmed high with shaded blue plumes. Green vel- vet drapery, faced with scarlet, over' a delicate lilac foundation was out- classed by the elaborate display of brilliants worn with it, the most at- tractive piece being a fan shaped broach fastened on front of bodice. The "bride" costume was effective for its simplicity. Ruth Roys who deputized for Belle -Baker, -.eouXft ... improve, her .clever, offer- ing by instilling in it a little more versatility in the way of "action" and "grimaces." She gesticulates-, bends and unbends, exactly the same in her "Rube," darkey and French numbers. Last, but not least, of the fair sex was Ruby Norton, now reunited with Sammy Lee. A burnt orange velvet eton with a plaited crepe skirt, had a becoming little orange turban cov- ered with self tone flowers. More care should be given "kicks" in this outfit, for bare limbs do not go with boots. A changeable N pink taffeta trimmed with lace, should be discarded, in fact there are quite enough changes without it. A stunning orchid and silver cloth mantle edged with deep metallic fringe was used for a Spanish number. A broad brimmed green and blue hat helped carry out the charac- ter. A brown net spangled with blac£ splitting at the side, under, a broad blue sash, matching headscarf, re- vealed spangled bloomers and pretty lace hose. For the final number Miss Morton was. in black net ballet skirt, topped with fitted long waisted tunic of jet and sequins and finished with a band of brilliants around the hips. A skeleton headdress of bands of iri- descents was topped with a tall bunch of black aigrettes. Dorothy Gish's little mannerisms are beginning to appear "apeing." Like the small child who has done something clever and been'praised for ' it, and then does the thing over and over again, so Miss Gish is repeating her little "tricks" in every picture until they are getting tiresome.. She is quite clever enough for something new and just 'now she should watch herself. Carelessness is shown in her costum- ing in "The Hope Chest" One evening gown of soft white material trimmed with deep fringe of ostrich, flues is very pretty and another looks like a badly fitting nightgown. Two simple dark suits and one dark satin full skirted tucket dress showed no at-. tempt to register youth. She was an adorable round faced doll in the little Brittany peasant apron and bonnet of the chocolate shop. A cloth one piece dress with double full length apron front—the bottom one of satin to match broad girdle—was good looking. She is either wearing a wig or her hair is too primly curled and pulled too far over her brow—"The Hope" Chest" is a trunk full'of things left by Sheila's mother, but not much time is spent going through its contents- it appear to have been just rung in to furnish a mysterious, title for the pic- ture. Carrol Dempster, who plays the role of Ethel, ward of the Ballantines, wore some pretty fluffy frocks. Just what a "ragtime kidder" is, was not explained—but the title is twice ap- plied to the little star. The first part of the bill at the Royal this week was top heavy. The Musical Hunters in red riding coats and white breeches started the bill off nicely, and Bradley and Ardine presented probably the best dancing offering that ever played a No. 2 position on any bill. Wallie has graduated from the bicycle, but now he is singing a little too much. Grette Ardine opened in the popular short coat trimmed with tiny buttons. It was of scarlet satin with white vest embroidered in red poinsettias. A white net dancing skirt had a band of white satin finishing back and front panels, embroidered in bright flowers, and a red hat had a trailing feather fancy at back. For a Chinese number she was in a - circular cape-dress of yellow georgette embroidered in gold and blue spangles that might be de- scribed as "nifty." Mr. Bradley would have looked far'better in a handsome regulation Chinese suit instead of the old China blue satin affair so elabor- ately trimmed in green and white bril- liants. A short blue satin skirt split up in panels, faced with lilac ruffles same as bloomers, was accompanied by a small poke with deeper blue feather pn^it For a Spanish number, orange skirt a^'b'166nier1s''ald T pMds'of"brae~"~'--' > and green chiffon fell from a girdle bodice of gold cloth. A small gold turban threw superstition to the winds, flaunting long peacock feathers to the right and to the left of it. For this number her partner was wrapped in a velvet cape lined with iridescent em- broidered gold cloth. An encore in • '■I i\ % . 1 •■ ' i. H I f l-V'v. ' lllMll ..III