Variety (February 1921)

16 LEGITIMATE Friday, February 4, 1921 OUT OF TOWN REVIEWS AT THE VILLA ROSE.I Chicago, Feb. 2. .... Mu<j« line Delmar Jeffreys Lewi* ....OctHViu Kenmorv ...Clarence Dorwent Otl» Skinner Hotnaine Callenrfar .... .Miriam Lewos .Uob«rt I>onal«1»on Charts N. Or«en* Stanley Edwards Perrichet J° nn „ Ko *f ™ r>un*tt« Robort Brenton A NurM Kleanor ggrkolt A Doctor Janaea Church Cells llarland t'amllle Dauvray Heleno Vauquier Henry Wethcrnnll ] lanaud. ....••••••••••• Tat'0 .......•••••«»•••" Adele Tace Servettas • Flcurldt )tt;nnard. ........ ...... Otis Skinner's first local appear- ance in three years brought out. so- ciety. Society and the tlrst-nighters clattered an enthusiastic approval of this vehicle—a four-aeter by A. B. W. Mason. On the third-act cur- tain there was clamorous applause, rising to an ovation and forcing a speech. The play is a modern melo- drama of crooks and a detective (Mr. Skinner), and appears an as- sured success. It marks Mr. Skin- ner's return to the Frohman banner and is worthy in tone, settings and general atmopshere of the beloved star and the dignified stamp he once more bears. The piece Is not a logical selection for Ctis Skinner, but it works out as a satisfactory one for him. It calls for poise, suavity and repression rather than some of the more ag- gressive and virile faculties which in the past have added to the Skinner laurels. He appears for only a few moments In the first act, not at all during the second, the third is vir- tually his monolog, ^and In the fourth he does an Impersonation throughout and up to the last mo- ment, when he sheds beard, wig and hat In the standardized melodrama form, and lo! he is Hawkshaw. There are some minor inconsisten- cies and improbabilities, but on the whole "At the Villa Rose" is skill- fully written and holds with a clutch that rarely breaks despite the easy deportment of the star. It is a tale of a rich old woman, superstitious and maudlin in sentimentality, who picks up a waif girl in a cafe and loves her. The woman has been the. victim of fortune-tellers and other sharpers for years. The girl tries to shake them off. To do this she tries a fake seance In order to show her benefactress what fraudulent thing it is, but the woman is so impressed that the girl dares not confess to her and has to keep on summoning the "spirits" nightly. A band of thieves know of this through the maid In the house, who is in league with them and with a ruined young Romeo who is desper- The man makes love to the 1.. WHAT'S YOUB NUMBER ? Washington. D. C, Feb. 2. 1st Ktewart WUIard Fo«t*r 2nd Rtewart Robert Harngan 3rd HtSWart No*d Ureb Jack Stanley RUhurd Taber Mm. Jack Stanley Dorothy Mortimer Mr?. IV Maktpeaco Witter.lsab< I O Madiiran Mr. 17. Makepeace Wlttt-i Tom I.ewi« Percy Jonex Purnetl Pratt Vt,otoire. Merlin ,..9«moini« Nicolai Robert Adama l'u.ust VVlnah! Roberta Adams Marie Carroll Taxi Driver Anton Awcher Sliip'i Officer J*imes A. liouhell Th© theatre-going public had come to believe the day of the bed- room had passed, but at the Shu- bert-Garrlck Sunday another one made its bid, starting with an atro- cious first act, burdened with im- possible stage direction and \p most instances badly miscast, but still brought hearty laughter after once under way. Adallade Matthews and Anna Nichols, responsible for the authorship, appear to have supplied Jules Hurtig, the producer, with a Grange pickers promised to be a some charms of his faithful wife, Chicago Is glad to hava the confi- dence and respect of Its broad West, of which California Is the shining spot. Therefore Chicago is essen- tially interested In Western prod- ucts, and therefore theatrical Chi- cago put on its Sunday clothes and turned out to greet this California bhow. The Fanchon and Marco affair had set a few road records between here and the Pacific sands without ever getting a Broadway O. K. Shamelessly, it flaunted its West- ern origin, even its California chorus, daring to Introduce into re- vue business what theretofore had only survived in pictures. Mack Bennett made the Los Angeles bathing girl immortal, meeting the* best that New York had ever shown in shapeliness, exposure, lure and chic; Funcbjon and Marco took the movies for a text, but eliminated the overdone and undercla* beach peach, and had the audacity to ad- vertise a chorus not "intact from the Broadway production." That sounded enticing here. Not that most of the New York chorus pips aren't from the W T estera sticks— bit after they get New Yorky they become stamped into a type. These ate. foHter-daughter. She is tricked Into starting one of the seances, but in- stead of having her hands lightly bound she is tied with ropes and knots, and while the room is in darkness the man steals in, strangles the woman and attempts to steal her fortune in Jewels. The scene in the dark is terrific, the victim fancying that she Is being strangled by the spirits. Mr. Skinner acts a detective and falls in love with the girl, though he hasn't a love scene with her until the final curtain. He unravels the mystery and takes all the culprits. Some of the back-working detective material is Intensely interesting. Throughout the audience is "let in" on the truth and tho detective has to find out from clews what the audience already knows, which is the other way to tell a detective story, the most popular being to create a mystery to be gradually solved by the audience, as in "The Bat." In this treatment Mr. Mason has many sound precedents, such as "Macbeth," also considered a pretty good melodrama. Mr. Skinner is tremendous in his fluency and piano tempo, backed by the hysterical speed and tensity un- der which the others continuously operate in his support. He yields the "biggest" scenes to others while he is off stage, but has no difficulty in completely dominating when he is in view, despite the nonchalant character he assumes, except in the last act, when he Is disguised as a crook-clairvoyant and Is called to do some broad "acting." Jeffreys Lewis, one of the historic grand dames of tho American stage, I: superb as the eccentric old woman, and Miriam Lewis, as one of the conspirators—by far the most nat- ural role in the play as written and delivered—scores an artistic tri- umph. Miss Delmar, as the leading woman, seems overcast. Octavla Kenmoro performs with sterling fidelity a difficult, unsympathetic role as the maid. Tho remainder of the east Is efficient. "At tho Villa Hose" is a departure potential success. A great deal depends on what Mr. Hurtig now does during the early development stages. In the first scene of the second act a really clever scene is presentt <1. The young fellow has slept on the ad- joining cot in the stateroom of a steamer the night through. When the two awaken in the morning, that 15-minute scene was a gem of real artistry and legitimate humor. The balance of the play endeavors earnestly to hold up to this scene, and It will when the "pruning" knife is properly used. Tho situa- tions are there, but played upon to too great an extent. If the whole thing is now handled with careful thought, it will become what the produced has claimed for it. a "farce comedy;" it isn't quite that yet, but if a director of experience, one who can appreciate a situation, get the meat from it without taking too long to do so, that which starts on a pier in Bordeaux when an ocean liner is about to leave for New York will be a mighty funny enter- tainment. The piece drifts Anally - to the conventional love scene, and suffers greatly from over-emphasis and tiresome •repetition of incidents basically funny but become boring because of over attention. The two principal roles are en- trusted to Forrest Winant and Marie Carroll. They handle them splen- didly, particularly in the stateroom scene, where one is Ird to believe that these two have been left to work out their own destinies" to novelty. The sun-kissed maids look so fresh snd sweet that most will probably never get back to Cali- fornia again, except It be with a couple of maids, a chauffeur and a suite at Pasadena. Nifty kids, run- ning largely to the medium and pony sizes, their eyes sparkle and their nimble limbs lilt lightly with youth and the sizzling enthusiasm of playing a "stand" at last. Here for once Is a chorus that looks pleased rather than bored, excited rather than annoyed. The Fanchon-Marco show, all the way, reflects some such spirit. It reeks with talent, most of it In- cipient. Many a New York star will come out of this Western troupe. They say Ziegfeld and Shuhert and other producers in the Omniscient Metropolis have shot scouts to the Olympic already. If those scouts have any vision, here is what they saw: Muriel Stryker, as superlatively beautiful and sensationally stellar a dancer as has been uncovered (the word is used advisedly) in 20 years. — Nelson and Chain, a team of spontaneous ■ miles — original, unctuous, harmonious, heartily amusing, versatile and bristling with personality. Arthur West, a "fat boy" charac- ter comedian of delicious individu- ality, intimate approach, inoffensive yet explosive methods, rich, humor- ous conception and IN THE NIGHT WATCH Lieutenant Bramboury CyrH Scott Alice Perlet Margaret Da • Eugenie De CorlaU J ** nr ? ,?**? U Lieutenant Commander Duleo.Paset Hunter Commander Far ya— on Knox Urue Lieutenant D'Artells* Edmund Lowe Captain De CorlaU Robert Warwick Chief Engineer Btrodat Robert Thorn* Surgeon Ribot Hap.ld Do Beojwr Daaorne B. Hmit tnaflon Le Due Max Firman Cabin Boy..* •»- • .Albert Oilier Signalman •£>«"*■ K. RWer Quaiiermaater Frank H. Miner Petty Officer « Aujruatua Holland Clerk of the Court Kenneth Lawto" Commander Mowbray Maclyn ArbuckU Captain De L'Eatiaaso John Webster Rear Admiral De Lutaen Walter Walker Rear Admiral De ChaJlemont, Joaeph Morlaann Rear Admiral De I,oubat... Jefferson Murray The newspaper ads for "th the Night Watch" describe it as a super- spectacle. It's all of that and more ■cenically. a sinking battleahlp scene in the second act transcending the best shown over here. The play, which opened at the Century Jan. 29. was produced by tho Shuberts, is in three acts and four scenes, and originally authored by Farrere and Nepoty as "La vcille d'Armes." It was produced origi- nally In Paris some three years ago. and later In London, having long runs In each city. Michael Morton "freely adapted" the piece, tho ver- sion showing at the Century being the same as that played in London. Despite the cast holding an array of stars : Jid "names" that would do and now has that difficult combina- tion "sol ved r sophistication trickling through simp demeanor. He is a hearty chap, round and smiley, cheerful and cheery. Wohlixran, also familiar here, steps out as a light comedy leading man, at the same time a specialty singer of the Jack Nor worth school of some years back. He is a hand- some chap, athletic in structure, a clothes-wearer de luxe, and a line- re..der of poise and nonchalance. He knocked out a couple of indi- vidual hits. West, following the whole gang, held the house with a quiet specialty at 10:45. You never saw such a show for singles and doubles stepping out unexpectedly and making 'em like it. Miss Stryker, alone, of the prin- cipals, got no solo opportunities; that was a pity. Fanchon and Marco do not ob- trude themselves on their guests. They are seldom in evidence. Marco expression, | runs one scene, Addling and sure-fire laugh wallop and a healthy I dancing, largely in support of a greater degree. Mr. Winant In a drunken scene in the awful first act doesn't come up to the mark at all. and Miss Carroll is entirely too sugary sweet, too much the little flapper. Here it would seem the director has done his worst. As the play progresses these two more than retrieve themselves. Dorothy Mortimer does handle the role of the busy-body bride, whose talking causes all the trouble, with the greatest effect. She was a de- light. Richard Tabor as the youtn« ful bridegroom was satisfactory in a typical juvenile role. Gcsmonde Nicolai will, when her performance of the deserted French girl is toned down, be a success in the role, but Purnell Pratt was entirely too heavy for Percy Jones, while Tom Lewis tried very hard with a supposedly comedy part that was not funny except for what he put Into it. The scenic investure is excellent, depleting the dock and later the decks of the liner. The faults to- night are not such but that they can be easily overcome and there Isn't any valid reason why "What's Your Number" should not prove that there is still one kick left in the Bedroom farce. Mcakin* FANCHON-MARCO Chicago, Feb. 2. An Offlce Boy Arthur Weat A Stenographer Daiiiy De Witte Scenario Edrtor John Kheehan Director Al Wohlman Child Actreaa Lucile Harmon Social Lender Eva Clark "Nut" Appllcanta Eddie Nelson and Doll Chain Indian Idol Muriel Stryker P^pny Kldn.lvanelle Ladd and Sibyl Stuart Mine Smile* Marrla Adair Dancers The "Wright Dancers Clpsy Olrl Mile. Fanchon Roy Wilson's San Franc ifti'o Orchestra. No more interesting event has hit the local rialto in seasons than Fanchon and Marco's "Satires of 1920." Chicago regards itself —as it for Mr. Skinner which presents him, I'«— of th © West, it is nearer New in view of his past roles, as a star I York by thousand* of miles than it is to California, but it is nearer California by thousands of tradi- tions and inter-relations. Chicago Is the switchboard, the communica- tion center between Fast and West. It is the Fast of the West, but still of the West. To New York It is a rich uncle with lots of money and red flannel underwear; to the West It Is a beloved hi ad of the family— revered, worshiped, idolized. Chicago knows It will never dent the flinty crust of the supercilious and sneering Fast; so. like a yokel who ha* Ighed for a dizzy wild woman, but despaired of evar im- pressing her, and turns then to con of tremendous versatility and that throbbing power which can cause one individual to predominate in the background where others cannot match him In the limelight. And It is a box-office success. Lnit. Borrowing McNaugliton. Charles McNaughton, In "Three JJv Ghosts," Is to be loaned to iwinchell Smith for a new piece the latter has in mind for Imminent pre- sentation. Pending the "loan," Max llmrdn |* deferring his proposed American t roductlon of "Piccadilly Jim. voice. Al Wohlmsn, a more than splen- did straight man of striking ap- pearance, with a two-handed sys- tem, making him equally punchy in comedy songs and lyrical semi- ballads, with a sangfroid that puts an audience at ease and a kick to his double entendre cracks that makes them snap and echo. Eva Clark, •». prima donna with a heavenly voice that stops the show, and a chautauqua delivery. Wright Dancers* some young girls who can't dance well enough to be used in the chorus, so do a flat specialty. John Sheehsn, a silly-ass British character man, who looks all right, who points his points so pointedly that they broaden like soft-nosed bullets. Lucils Harmon, a harmless In- genue. Fanchon, a weightless dancer, who looks like Galll-Curcl, speaks in whispers, sings like Ann Pen- nington, acts like Irene Castle, yet gets over the footlights an artistic something which is indefinable, which registers in keeping with prominence over this company of able entertainers, and Impresses. Marco, a foreign-looking youth of sturdy frame and fragile manners, temperamental of mien, modest in his often beautiful work, gifted as a violinist, an exceptional dancer in several styles, an actor who ap- parently recognizes his own limita- tions (the rarest work of God), and a stage gentleman. Miss Stryker is the And of a gen- eration. A godly sized child, amazingly beautiful of body and features, she dances as well as Ruth St. Denis did—and that is a considerable statement. In an Indian dance with an indescribably brilliant exit across stage in a series of flowing splits, and in an Egy, tlan .bit in which she executed credible contortions with miracu- lous grace, sho shone resplendent. Her future Is "in." Nelson and Chain hit the house with a couple of bang scenes of their own, one the eccentric "nut" specialty, in which they enter on boys' bicycles; the other a burlesque mind-reading episode, with Nelson working the aisles. Either Is a next to closing stunt for the Talace; both, with other moments and a dancing splash by Nelson, stamp these young fellows as top-notchers. Chain's appearance and deport- ment. Nelson's childishly Ingenuous "nuttisms," and their* many tricks and satirical wisdoms carried them to their fat hits and "made" them here forever. is, theatrically, a lie has developed i template again Tie dunxMe, whole- «: Arthur West local ^product. Immensely si . vaudeville days, I beauty. others, then goes over the top in several sweet figures with his sister, Fanchon, who seems to weigh nothing, nd who dances en- tirely without effort. The Wilson orchestra is of the 'Frisco Jazzy family, as good and as strong. ts any that came from there. The leader of tho pit orches- tra, Reuben Woolf, and the pit drummer, work along all through th i show, the leader using cornet and entertaining during intermis- sion. He and the drummer could do a musical turn on any stage. Tho production is fair. One scene, the finale drop on the first half, seemingly woven of vines and leaves, v through which the whole company and choru. protrude their heads for an encore chorus of a California hymn of praise, is a masterpiece of construction and de- sign and will be largely imitated. It is said to be by the Universal Scenic Studio of Chicago, and was added for the local premiere. The costumes are, with few exceptions, small time. A set of Indian wear Is piffling, and an attempt at a "flash" in the second act finale was a- feeble smear of tinsel and rhlne- stones, passe and obsolete. The "book," by Jean Havez, Is punk. But on the whole the looks and tho action, the surroundings and the personalities, dovetailed Into an eveninr of speedy, decent, frolic- some entertainment. California has nothing to be ashamed of in Fan- chon and Marco's claims. This en- terprise did not cost as much as some vaudeville acts and probably not as much as one set of costumes for a Winter Garden revue. Maybe New York would sneer at Its un- pretentious simplicity. New York would want to dress up its girls at once—but they would never look as well again. C ming from Cali- fornia, and being somewhat of a success in Chicago, the bhow is hopeless for New York, anyhow, so what's the difference? No; New York will just strip Fanchon and Marco in time of all the talent they collected In this en- semble, ari send those ambitious young folks back to the West, the mother lode of Eastern stars, for more with /Inch to enrich the swollen pockets of Broadway. But New York will not admit that a show out of which it will stear Muriel Stryker, Nelson and Chain. Al Wohlman, Arthur West, and rraybe Fanchon and Marco, is worth a whoop. Meanwhile, Chi- cago and tho West will hug this re- vue and Its charmers and Jesters and artists to its bosom like a rural mother its growing daughter, know- ing the City Chap will lure her as soon as he sees her Innocent, boob Lnit. credit to a Lambs' Gambol, the d*t formance was notable for it- em oothness as regards "team wort? on the opening night. Robert War wick as the hero, a French naval captain, who had most of the "fat? gave an impressive performance mat the real honors were capturaS by Max Figman. who made whit would have been an Inconsequential part of u common seaman stand out above every other character in tha play. Macklyn Arbucklo was an other of the "names" who roea above the limitations of a relative!? small part, not appearing until the third act and playing the role of i testy naval official. Cyril Scott did a heavy with con- summate artistry. Edmund Lows also playing a heavy, endowed his' performance with a distinction and spirit of dare-devil youthfulnest that made a striking and desirable contrast to the deeper and craftier wickedness of Mr. Scott's character Jeanne Eagels am' Margaret Dale are the only women. Miss Kagels has the principal female role, that of a weak-willed woman, the wife of the naval captain. Miss Eaguls has two big scenes—one in the second act with Mr. Lowe and the other in the last act. Both were character- ized by superior quality of emotion- alism, not of the ranting, weepy type, but marked with a sincerity that gets directly over the foot- lights. Miss Dalo is buried In a minor role. rn the third act Walter Walker gets a lots-out of a French naval officer presiding as the Judge of a court-martial. The rest of the male principals have contributory roles, all of which, however, are very well played, even to the smallest "bits." "In the Night Watch," while frankly melodramatic, is different from the usual scenic melodrama in that its authors have oaflppled up the latter idea «Jritli a familiar problem play theme, that of a wife not re- ceiving the attention she believes she deserves from her husband snd. accepting the advances of a younger and more solicitous lover. Instead of the customary drawing-room background for the clandestine af- fair, the action for two acts is laid aboard the French battleship which tho woman's husband commands. The lover is a lieutenant on the same ship. The play opens with a striking stage picture, a dance aboard ship. It is the night on which war is de- clared between France and Ger- many, but there Is still a belief early In the evening war may still be averted. The captain's W*fe (Miss Eagels) Is visiting her husband. The latter (Robert Warwick) Is ab- stracted, his mind being engrossed with the expectancy of war. The lover (Mr. Lowe) induces the wife to go below to his cabin. Meanwhile the captain thinks his wife has gone ashore, and, assembling his officers • on the deck, tells them he has mis- read a telegram to make his wife believe no declaration of war has as yet been made, and announces the war Is on. The decks are" rapidly cleared for action, and the awning which served for the dance being removed show* a realistic gun turret, with three long-range guns. A water and night sky effect makes a highly effective scene. The ship which has been at anchpr sails away, the wife and lover below oblivious of what has taken place in their absence from the deck. First scene of the second act shows the wife and lover discov- ering tho ship Is moving snd later that war has been declared with consequent consternation of the lover and utter terror of the wife. This is In "two," showing two sec- tions of the cabins. Mr. Lowe sod Miss Eagels ha\j a stirring scene here. The second scene o* the second act is preceded by lowering the drop for a minute, the house being dark- ened. This Is the big battleship scene. The ship, through a me- chanical arrangement. Is made to roll with the waves. The bridge, with Its signaling apparatus, is Id full detail and the set is realistic. A sea fight follows, with roaring cannon mingling with a medley of shouted commands and all of tha attendants thrills that arises with two battleships fighting a duel to the death. The German ship, which has nmouflaged Itself as a French vessel. Is sunk, but the deception haJ permitted It to get within range to deliver a raking fire on tho French boat, a torpedo striking the latter In Continued on page 18.) Leading Makers of Stage Attire For Men and Women \Vc costume completely mu-; [steal and dramatic produc- tions, moving pictures, acts,. «revues and operas. i: 143 West 40th St., New YorK * ♦♦♦•♦♦♦♦♦♦♦♦♦♦+++++++*^ i • • • i