Variety (February 1919)

.' I. , MOLIERE Baltimore. Feb. 2&V ' 'Mollere," which had Kb premiere Monday at Ford's, Is one of the most striking plajre that has been seen in the Monumental City for years. Here and there throughout the play one has a feeling that the author, Phillip Moeller, has failed In what he set about to do, particularly In the matter of comic relief for tho profound lines, but there Is a rare element of nobility'about tbo performance, and some of the lines blto Into tho mind of the hearer by the force of tbelr incisive reality. Henry Miller, Blanche Bates, Holbrook Bllnn and Eatclle Wlngood guarantee good act- ing. They portray their parts In a realistic way rather than after a romantic fashion. "Mollero" has littlo of tho elements of a spectacle about it, the cast Is pmall, and the stago Is never crowded with figures merely to make a feast for the eye, but the costumes aro rich and hueful and measure up to the .re- quirements of the times. Contests between the wills of Mollere, who would write life bb be Raw it, even though he make a painted fool of his king, and Louis, "Trttfr- i- king's Impatience of ridicule of him- self, contest between Mollere and Montepason, , who would make him her lover, and the beauty and youthful bloom of character of Armande Bejart, Mollere's wife, furnish the chief ele- ments of the production. The setting, the loose standards and Intrigue of the court, en- hance the element. Iris difficult to Imagine anything more ap- pealing or more faithful to life than Miss Winwood's manner of presenting Armande. She Is youth, delicacy and beauty personified. Miss Bates measures up to expectations fully and shows to best advantage In tho scene whore she attempts to win Mollere. .The character of Mollere Is drawn out re- markably well, and this was without doubt the hardest task of the author. Mollere Is to France what Shakespeare fs to England, and one feels grateful that the author has chosen to Ignore the scandal about the relationship between Mollere and his wife, which all other authors have used whonever they bring In tbo character of Mollere. Mr. Bllnn makes a splendid Louis XIV, suggesting the great figure in history by his . combination of regal bearing and frank, natu- ral speech. Of course, Henry Miller in the title role acts the part In a splendid manner. The faults of the play are chiefly minor ones, the action drags a little at the opening of each -act, and some of the minor roles are tbo stagey at times—they are acting "Mollere," and he bated staglness. Also it is unnatural for Mollere when he beholds his wife un- faithful to him to turn immediately from the window and go off Into a long discourse on plnywrigbting with the king. Also the part In ,Mme. de Montepason'c black page is inanely written, tbo dance of Madame and the page is capable of being developed into a very diverting Incident; as It Is now. It fails of tnat. On the whole It is a very unusual perform* ance, and those who enjoys the higher values of the theatre should not miss It. and in his renunciation showed that although a man ho still was a fighting man. Malcolm Duncan carried the greatest re- sponsibility throughout the play as the Doc- tor, and bis performance was most con- vincing and contributed materially to its success. Grace Carlyle as the Nurse was sin- cere. Mrs. Priestly Morrison substituting for Rose Cogblan who was taken ill shortly be- fore the opening, was very good, and the only criticism that could be offered In con- nection with the cast gathered together by William Moore Patch Is the performance of Richard Gordon as the minister who lost many comedy opportunities. "The Aftermath" Is a frank exposition of conditions as they are today. The audience was warned In the prologue that they might be shocked, but this was not fulfilled, be- cause, apparently, audiences have become ac- customed to the language of the clinic and, what Is more Important and speaks well for the work being accomplished by the theatre, does not become alarmed at serious dlscuB- kIodb of serious matters. THE AFTERMATH. Washington, Feb. 26. ■ "The Aftermath." telling of wHat Is to come when the soldiers return from France was favorably received Sunday night at the 8hu- bert-Garrlck, the press, as well as the first night audience, although not acclaiming it, pronounced it a good play and likened it to another step in the theatre's work for the public good. The ortors ana' actresses of this country have given many hours of patient work in the way of entertaining the soldiers both here and abroad and their first step "toward aid- ' lng In reconstruction is really worth while. George Selbel, the author, Is apparently new to the theatre and bis mechanics are notice- able, In many cases mostly because of the lack of them. He has built a story around a theme that will hold Interest and the sin- cerity with which he has delivered his mes- sage speaks well for future efforts from this author. "The Aftermath" Is frankly propaganda ' from the foreword in the program, to the ringing epilog when the Doctor and girl be has just saved from a marriage that fore- , told misery, pledge their efforts to the en- llgbtment of the world on tbo peril of social disease. The story is laid in 1010 during the return of tho soldiers from overseas and at a time when the strict Army rules are bolng relaxed, and Is a • compliment to the Army authorities in their efforts to return the men unsullied. Mr. Seibel's play Buffers, of course. In comparison with Brleux's "Damaged Goods," but Is still convincing. *Capt Hobart and Alice Montgomery, a nurse, return from France deeply In love with each other. Tom McKlnney, a doctor who has lovod Alice before she left for over- seas, Is called upon to prescribe for what Capt. Hobart claims to be ailments due from -—IHsJn. the trenches. Instead the Doctor finds that the Captain's blood Is severely tainted with the scourge that follows a fast life. He endeavors In every way to break off the en. gagement, even throwing- tho cthtcB of hlB profession aside, but Alice, urged on by a match-making motber, Is firm In her desire to marry the Captsln, who Is battling against the belief that his ailment is uncurable. In the last ecene, where the Doctor breaks bonds -of secrecy, "The Aftermath** reached Its most dramatic moment .as the Captain -.-v.. — •. -waits- tar--tbe -telephone.. mcjsago. from the i /■ specialist that will'seal his'fate or make his marriage possible. In this scene Malcolm i', Fnnsct save an excellent performance, and ,' ■-■ gained tho confidence In himself that seemed , to be lacking In the early stages of the play, THE ROYAL VAGABOND. Chef check, Innkeeper.... Chas. Wayne Marcel, the barber Roger Gray Janku, the apothecary Louis Simon Anitza Cbefcheck, the milliner Tessa Kosta Colonel Ivan Petroff John Goldsworthy Sixtus, an officer Julian Winters Professor Robert Aubrey Montague Hopkins, Robinson Newbold Princess Violetta, first lady of the bath, Frances Demarest Princess Helena Grace Fisher Queen of Bargravla Winifred Harris A Page Helen Bterre Wanda ..-..«« Gladys Zell Josete Edna Pierre Carlotta Dorothy Dickson Captain Dantzlg.. .-...Carl Hyson Drodono, gypsy chief Walter Palm Rozello, the charming gypsy Mary Eaton The Messenger Dorothy Dickson The Queen's Guard. Messrs. Jack Connors, Chas. Callahan, John Ross, Edward Ryan "A Cohanlzed Opera Comlque" quite faith- fully classifies "The Royal Vagabond," which bad its metropolitan premiere at the Cohan & Harris Theatre Feb. 17. By Thursday night a capacity audience, which is an index as to how the piece impresses Broadway, but a crowd free of the enthusiasm of first nights, was delighted at the brightness of it and the melody of sev- eral of its many songs. What "Vagabond" was when it opened out of town several weeks ago doesn't-matter. Re- ports had it that it was a harmless operetta. Stephen Ivor Szlnnyey, who Is credited, with the book and lyrics, but who is really the trans- lator of "Vagabond," came away from Balti- more with lamentations over the way "bis" book bad been manipulated. William Cary Duncan, who actually did the dramatization, said nothing, and now that the piece is a hit Mr. Szlnnyey has sheathed the hammer for a trumpet. George M. Cohan changed "The Royal Vaga- bond" from Just a musical play into the most talked about new offering in New York. He accomplished the trick almost over night. Personally appearing in "A Prince There Was" was nothing at all to George M. when it came to converting a doubtful asset into a dividend payer. He rightly conceived that the one way out was to "kid" bis and Sam H. Harris' comic opera; and forthwith he did that by inserting a lot of little things in the way of satire all through the running. But his vein of satire was not razor edged. Mr. Cohan would prob- ably say it was "Just kidding," and that about tells it. A majority of the 16 musical numbers are from Dr. Anslem Goetzl, with lyrics by Mr. Duncan, but Mr. Cohan figures in no less than five, three all his own. Harry Tlerney and Jos. McCarthy also have a couple. Mr. Cohan's "In a Kingdom AH Our Own" sounded the best of all the score. It's a short beat number that could bo described as "cute," a sort of melody that grows. It was the best staged number of the evening. A whole bunch of kiddies figured in one chorus that called for repeats, and among tbem was one/tit the tiniest kldlets that ever paced across the stage. All the kids fol- lowed a leader who was sucking a lolly-pop. "Love of Mine" and "Love Is Love" are the prettiest of the other melodies, with the former the best. , ■' The story concers one or a couple of love affairs wound In and around the royal purple. The queen la intent on stamping out an in- cipient revolution that wants a republic, and picks on one Florenze, a prince in disguise, who 1b for anything so long as he be permitted to marry Anzlta, a youthful milliner, and of the "people." The villagers, of whom there Is an abundance, sing "Good-bye Autocracy, Hello Democracy," except when the queen flows by, when the lyric is changed to the re- verse. The coronation of the prince approaches and anent that the full measure of the Cohan wit comes. It has been tbe custom of all kings of llargravla to be trombone players. The prince explains that to Hopkins, his tutor, and tfle latter, through whom most of the Cohan satire cmplates, replies that "be knowB a lot of trombone players who should have been crowned long ago."/ And when the prince "stalls" on taking his lesson ho is advised not to gum the works, for "the brass band has been engaged, and please don't make a tool out of the musical union." One of the big laughs came with the queen's Invitation to tbe royal breakfast, to "sip coffee out. of the royal cups and munch royal biscuits made out of Roval Baking Powder." •• By "alf rales of comic opera "The Royal - Vagabond" should bave stopped at the end of tbe second act. The third came along with an easy alibi, and In fact it was the best of the performance. Not alone were the costumes there the finest display of tbe evening, but several of the best bits of the play were pre- sented. It was there that Robinson Newbold had bis chance, and be landed a wallop. It uterus this same Mr. Newbold had been touted for a long time with no takers until now. His "Mikado" number found a perfect place among Mr. Cohan's pleasantries. He used a chorus of "The Flowers That Bloom In the Spring. Tra La," singing it as it might be sung by "a fellow with a marble In bis throat," as a coun- try, villager, as by a hair-lip, then by "Lord Dundreary," a Frenchman, and by a "tough guy," whose Idea was "the hell with the flow- ers In spring." Mr .Newbold played "Hopkins" In a bright,, easy fashion that won plenty of admirers, but It was the "Mikado" bits that won the score for him. Tbe thir act, too, saw Dorothy Dixon with Cary Hyson with their best dance number. The pair are always worth while. They have attained Importance In several Broadway shows, and no less so here. It was Miss Dixon who gathered the first big returns earlier In the show. Many of ber appearances were alone and her lithe beauty, Innate grace and that ever present saucy back kick make her a fas- cinating, stage dancer. One number she danced with a comic opera soldier quartet, tbv Messrs. Jack Connors, Chas, Callahan, John Ross and Edward Ryan. Tbe quartet was on early with a dance that scored strongly, doing well enough to have been accorded another later on. -Mary Eaton,-a toe dancer, also drew attention after a novel entrance at tho close of the second act, while Gladys Zell and Edna Pierre had stepping bits. "* Tessa Costa made good the promise of two seasons ago, singing sweetly as Anzlta. Grace Flsber and Frances Demarest both did well, white Winnltred Harris made a stately queen. Rodger Gray as Marcel, a barber with out- spoken revolutionary tendencies, was teamed wltn Louts Simon, the village apothecary, ana Charles Wayne, the innkeeper, they forming a comic trio. Mr. Gray, however, realized more out of bis role than bis partners, al- though Mr. Simon developed a clever charac- terization. John Goldswortby contributed In the singing of several of his best melodies, as did Frederic Santley, who was a bit plump as tbe prince. / Lyrics counted for much at most times, es- pecially at act opening, where all the lines were Cohan's. And the chorus did' plainly ennunclate the lyrics for a change, and there were real voices amoung the bunch, which ex- plains why a percentage near the front were not young. However, that was made up by the show girls, among whom were some real beau- ties. Julian Mitchell and Sam Forrest com- bined in the staging. One of the unusual features of the current New -York season Is that comic' opera has flourished. If the straight brand can deliver at the Park Theatre, then, the "Cohanlzed" kind as exemplified in "The Royal Vagabond" must win, for it will draw the lover of comic opera and also those who like theirs with a dash of tun, and "those" are In far greater abundance. Ibee. Will Scarlet Friar Tuck Alan-A-Dale Lady Marian ACTORS'FUND BENEFIT. Washington, Feb. 26. Washington's annual benefit for the Actor's Fund, with Daniel Frobman presiding, waa held at the National Theatre Friday after- noon and was a success both artistically and financially. Twelve acts made up the unusual bill offered and It waa really the oft-time claimed, but seldom realized, bill of all head-liners. One of the most enjoyable numbers presented bolng the address by Mr. Frobman on the work being done by the Fund and what It has done In helping the members of the pro- fession. He referred to tbe profession as a precarious one at best, but the audience was impressed that it could not be quite so precarious vas long as such men aa Mr. Frob- man waa at the head of an organization that cared for its members in case of Illness, ac- cident or any other misfortune. The moat novel section of the program was, of course, held for the closing spot of a more than three-hour program, it waa the appearance of ten light opera composers of the United States at pianos. They were, Ray- mond Hubbell, Gus Kerke'r, A. Baldwin Sloane, Jerome Kern, Hugo Felix, Louis A. Hlrscb, Slgmund Romberg, Silvio Heln and. Lleutv-Gitz-Rlce. Each composer played one of his most popular compositions and the others Joined with him at their respective pianos in playing the chorus. It surely did go over big! "Nettle," a sketch by George Ade and pre- sented by Mr. Frobman, easily won second honors. Those appearing in the cast were Orrin Johnson, Harold Howard, Ben R. Gra- ham, Harry Quealy and Jack Merrltt. Bea- trice Hereford in her always delightful mono- logue was recalled repeatedly. Mr. Roland S. Bobbins, manager of Keith's Theatre, con- tributed "The Belle of Blngville," appearing at his theatre and the three players, Fted Whitfield, Marie Ireland and Lew Murdock secured many laughs. BUI Bailey and Lynn Cowan, sons of syncopation, and Frank Gaby, also from Keith's, won their share of the audlenco's approval. MIbb Bthel forde and Ralph O'Brien or "Oh! Boy!" appearing at Poll's, save a specialty dance as did Olga and Mlska from "Tumble In" at the Belaaco. Both were equally well received. A panto- mime "Moonshine" presented unusual effects while M»ry Nash of "Remnant," .appearing. at the National, paid tribute to Mr. Frobman bx reading one of bis poems. Anna Wneaton and Hal Forde of "Obi Boy!" through their clevernasa won equal honors with tho others. ROBIN HOOD. Robert of Huntington (af- {cfll^Camobefl forwards Robin Hood).. |Harold Ifake The Sheriff of Nottingham. .William Danforth Sir Guy of Olsborne (his ward)..John Phillips Little John. 1 I James Stevens I John Quine Outlaws.... Herbort Waterous Bertram Peacock Cora Tracy Fltzwalter (al . „ ward of the Crown, after- } £!* B w 8e 3.. ward Maid Marian) J Helena Morrill Dame Durden (a widow) Kate Condon Annabel (ber daughter) Gladys Caldwell The second season of opera comlque by the Society of American Singers, - Inc., at the Park Theatre, is now In its seventh month. Announcement Is made that the society la a co-operative organization for the managament ot American singers and American com- posers. In its two reasons of progress It has acquired a repertoire of 18 operas, and its lists ot artists Includes stars of In- ternational fame and many young American singers who may become the stars of tomor- row. The society has this season proved that there Is a cordial and appreciative public for opera comlque in English presented by Amer- ican artists of achievement, at a scale ot price ot which the' top scale Is $2.50 tor or- chestra seats. This fs the last week ot "Robin Hood" at the Park and next week they will offer "The Bohemian Girl," to he followed before the close of tbe season by several Gilbert « Sul- livan revivals, the first of which will be "Pa- tience" and "Iolanthe." The presentation of "Robin Hood" isn't all that It should be. While there Is an excellent singing organization and a large and compe- tent" orchestra under the direction of John McGble, tbe stage direction of Charles Jones Isn't inspirational. The costuming, for in- stance, lacks homogeneity in tbe second act scene In Sherwood Forest the outlaws have no arrows in their quivers (sheaths for .car- rying arrows), though they are equipped with bows. . > * On the night the show was reviewed, Craig Campbell sang tbe title role, John Qulne was Little John and Anne Bussert was Lady Marian. The alternates for the role of Robin Hood are Orvllle Harrold; James Stevens for Little John and Helena Morrell for Lady Marian. Campbell does not suggest in physique the part ot Robin Hood, though he sang the role well. To those who are not. actual dyed-ln-the- wool music lovers, opera comlque la a tire- some affair. It seems silly to try to combine acting with singing. They somehow don't seem to blend. Perhaps It i-j because most good singers are Inferior actors. > _•; To Judge "Robin Hood" by modern standards would work to the disparagement of the Amer- ican classic. It is full of asidea and ridicu- lous inconsistencies. Its development of plot is childish, with such situations as Lady Marian's aside: ""I have it. I- will dress . as a village maid," etc. One cannot, however, help but enjoy the gems of the opera, like "Oh Promise Me," "It Takes Nine Tailors," the serenado to Anabel by Robin Hood, Maid Marian's flute obltgato solo and the others. There must be a large number of people who are satisfied to sit through the twaddle In order to bear the gems, as witness the se- venth month ot the successful engagement at the Park.. /<#>. * Sheeny With Cort. John Shcehy, for many year* man- ager of the Barnum-Bailey Circus, is now managing "Listen Lester" for John Cort. As it looks as though that attraction is going to stay at the Knickerbocker ail summer, the chances are thaf Sheehy will forego the pleas- ure of the circus lot this year. Musicalixing Farce*. Harry Carroll and Harold Atteridge are at French Lick Springs with rhe books of seven farce comedies that they are to revamp into musical come- dies. It is reported that they are work^ ing .under retainer to Henry Waterson who may commence producing next saeson. . . Lee Shubert Resting. Lee Shubert finally decided that none of the other managers in town should have anything on him' so he is taking a rest at Palm Beach. He left New York last week immediately after the opening of "A Sleepless Night." Georgia O'Ramey Engaged by Butt. Georgie O'Ramey has been engaged by Sir. Alfred Butt for a three-year season at the London Palace, begin- ning next September. She will sail at the close of the current season. J. j. Shubert Sailing Saturday. J. J. Shubert intends sailing tomor- row (Saturday) 'for the other side. . :xhi