Variety (March 1921)

I 16 LEGITIMATE Friday, March 25, 1921 NEMESIS .>»~, .Carlotta Montfr-y ..Kl.-jiM.tr Woodruff ,F h-l 'Viiithrop Mar. la. Kalian • JrH.'c Lonarby Mrs. Purtly 1 >r. Simpson -. Mi. Jovniiu- Vvilra D* ^•" , du»»a Mr. Purely Frank M R»-adlck J>r l>avlM Jt>nn i.ralK Mr. Kallatt Kmiwtt 1'orrixan «'oun-el for I>«?fen»e « harl.-» I*, llutos ably good, aod a great disappoint- ment as the husband. His famous repression was never better exem- plified. It is real acting. On the •/•^'C.^V^'.V... Marie Joft I other hand, the conception of the i.. .VRblantt. wmetttfyy' *ndvucver'ls th* bigfcX'st Aete to->t»o Philadelphia, March -3. Tha work of rehabilitating this latest effort from the pen of Au- gustus Thomas, which, in its first form, started from nowhere and ended about in the same place, has been half accomplished. George Cohan, with or without the authors help, has clarified and strengthened the final act so that it contains the play'a strongest punch, instead or the third act, which was tie original bright spot. But Cohan has failed as yet to infuse life into the heavy, disjointed first act and the uneven, spotty second act. Per- haps he can do it; he has accom- plished as much in the past, but in the present case it looked as if the best remedy would bo the entire elimination of both acts and their rewriting and combination into one. "Nemesis" had ita metropolitan opening here at the Garrick, follow- ing tho lucky precedent set by "Mary." It -is th© third Cohan play to have its first extended run here before ita Broadway opening. The other was the ill-fated "Genius." The crowd at the opening night was cool to "Nemesis," and Tues- day night positively cold. Comments in the lobby and after the final cur- tain were unfavorable, or, at the best, damning with faint praise. The courtroom scene in the last act got the biggest applause. That scene has been given a ter- rific overhauling and has the kick of an army mule as it stands. It is realism plus dramatic effect, and it hit this city partly heavy because of the many recent murder trials here. The work of John Craig as the Dis- trict Attorney and Charles P. Bates as the counsel for the defense stood out in cameolike relief right here. These two and Cordoba as the pris- oner had to carry the entire act. Corrigan hasn't a single line. The opening act Is still hopeless. Starting with a Plnero-like exchange of society small talk, well enough written, but irrelevant, it succeeds in advancing tho plot only so far as to explain a few of Thomas' theories on the subconscious workings of the mind and to show that an ciderly husband has a reason to be sus- picious of his young wife and her artist friend. The rest is merely tedious chatter, and the act ends (in fact, three of tho four do) on a low spot in the action; in fact, on a period of dead silence. Instead of being effective this curtain was dead. The seeond act discloses tho ar- tist's studio and introduces the author's real motive, the fallibility and untrustworthiness of the finger- print as evidence. The act has clever stretches and is generally well-written. It has the shadow of "impending doom" to some extent, but it failed to raise any enthusiasm. Its only part in advancing the ac- tion is to inform tho audience that tho artist and the young wife are planning to elope, and to let the audience see the elderly husband abstract a piece of putty from the artist's latest sculpture. This act also concludes on a commonplace incident. The third act, which takes place in tho wife'u boudoh, is powerful and exceedingly well written. The • passages given to Miss Monterey as the wife, in which she complains of her existence, are brilliantly done, and they aro approximate literature. The same goes for the husband's denunciation which tips tho audi- ence off to the fact that he is con- templating something desparate. His murder of his wife is brutally and effectively accomplished. The interlude on tho street before the house is short and comprehensive. The third scene of the act, again in the bouxjjnr. is also cut to the bone, and geW Its desireil effect. The fourth net, which has been so much improved since the opening, has the courtroom scene. There it is that Thomas proves his thesis of the finger-prints. The audience hav- ing seen him "plant" the artist's finger-prints around the boudoir by means of impressions secured iu the piece of putty, takes tho idea In good part. In fact, this is the basil on which the show should both he played nnd plugged, it is as perti- nent as the .same author's hyponotic idea in "The Witching Hour. Cer- tainly the idea is newer than the marriage of May an<! December, and tho triangle stuff. * The last scene of the fourth act. outside the gates of Sing Sing is gloom and horror intensified. It is, however, strongly sketched and log- ical. There is no last-minute re- prieve and there is the feeling that the husband is not going to have a veiY pleasant time of it. with the memory of the innocent artist's death In the chair. Emmett Corrigan is both remark- play. The murder of the woman by this stolid, unexcitable man is hanf to explain. He seems abso- lutely without feeling, and his act is thus not made plausible. One of two things must be done: either his character and temperament should be. altered, which would probably not be according to the author's theory, or he must be given more incentive. There is not enough an- tecedent material to show his g. ow- ing passionate Jealousy which ter- minated his desperate act. The acting is excellent all the way through. High spots are hard to find, and its average is really higher than Cohan's other show, "The Ac- quittal," which has some pretty high-flown moments with a lot of hand-clenching. Eleanor Woodruff, known to all picture fans, plays a "vamp" role with dignity and ef- fect. Cordoba is polished and graphic as the artist. The staging is in good taste and gives attention to smaller details which will probably be increased as the show lengthens Its Infant career. Considering what he has done al- ready, there is an ever brightening hope, that "Nemesis" with its first two acts radically revised, will go big. It is certainly Mr. Thomas' most worth-while effort since "The Copperhead" and in parts ranks with "The Witching Hour" and "As a Man Thinks." Afjual, BLOSSOM TIME. Atlantic City, March 23. Monday at the Globe the Shuberts showed for the first appearance "Blossom-Time," a new "musical play." The difference of the event from the usual, the effective com- binations of music and story with a background of actual occurrences In the life of a great man, com- bined to make the occasion a set- ting for an enthusiastic reception. Franz Schubert figures as the cen- tral figure of this newest develop- ment of the "Maytmie" theme. A love affair in Schubert's life, allow- ing for interest, pathos and in- trigue builds the substance. Principal of the nearly continu- ous musical score are the most beautiful of the Schubert melodies. Almost en masse the audience de- manded again and again repetitions of "The Serenade," "Song of Love" and "Tell Me Daisy." They en- thused with the dainty trio of dan- cers who interpreted the "moment musical" and found pleasant rev- erie in the excerpts from the famous sonatas and symphonies. The play originally had four years' run in,Vienna. Its book and lyrics have received generous treat- ment by Dorothy Donnelly. The music has been abetted by II. Bert and the Schubert original as well has received the moulding trim of Sigmund Romberg who seems to un- derstand the soulful harmonies par- ticularly well. The tale is founded on the sup- positious love story that existed m the life of Schubert and is told by all his biographers with more or less misgiving. It relates to his love of a beautiful girl who finally com- mits herself to his dearest friend. A plot of intrigue involving a famous opera singer forms the complexities of the event. Sevdral of the people Identified with Schubert's life appear in the play, particularly Franz Schober, and Bertram Peacock gave a most impressive performance of the Schubert role, a baritone part. Colin O'More, the Irish tenor, was Schober, and Zoe Barnett put a fire into the vamplsh opera singer much better suited to her abilities than her recent musical comedy roles. A great deal of the charm of the performance was due to the be- witching ways of Olga Cook as the sweetheart on whom revohed the plot of the turning tale includes eight musical numbers to amplify the theme. Originally played last season for a brief period as a sentimental piece of the Billle Burke type of l»ght comedy under the title of "A Dis- located Honeymoon," the producer in its new form seeks to increase its attractiveness. As an experiment It's interesting, being away from all forms of mus- ical pieces yet essayed. A big premier© audience applauded its '«sMhhen2« laughed at tik Jijif*and in the main approved the cast, com- posed of nine well-known principals and eight contributory singing, act- ing and dancing girls down on the payroll for salaries of $86 per. The title cornea from the way a wealthy family of the social sort regard the young bride a spendthrift son brings home, the girl being a popular favorite of Broadway mus- ical comedy. From the moment of the girl's entry into the home, every friend and relative of the bridegroom join In a conspiracy to disrupt the union they had failed to prevent. The effects in situations developed run a varied course, from hilarious farce to moments of real comedy. Juliette Day appears in the name part with songs and dances. The young bridegroom is Creighton Hale, back to the speaking stage after a protracted session in the filn.s. The spirit of the piece is the plea of youth for happiness. Amelia Bingham as the frustrat- ing mother of the stagedoor bride- groom proved specially effective In coloring the role with the gentle hypocrisy it demanded, and was satisfyingly foiled by Frederic Burt as the boy's father, irate in his op- position to his boy's marriage to the stage divinity until the Mage girl's charm envelops him. The difference from the average musical comedy model consists mostly in the way the drama of the plot is sustained, the musical num- bers and dances not being permitted to obtrude irrelevantly upon the* main scheme of conveying a human story of love and sentiment. The farclal situations begin to explode with generous profusion when the stage wife plans a counterplot to circumvent the de- sign of her husband's parents to spoil her marriage. She affects to be the sort of flirtatious, pleasure loving, inconstant fay of the foot- lights tradition paints all lusical comedy girls. The coup builds up a series of cumulative flirtations with everybody in the fan-Ily in- volved amusingly in some way. In the end the young wife's ruse brings everybody to her side, and all ends happily. Vinton Freedley, Arthur Shaw, Ada Meade, William Cameron and Juanita Fletcher are in the cast. The musical part of the opening was directed by Harold Vicars, Julian Alfred staged incidental dance num- bers. George Gershwin wrote the music and Arthur Francis the lyrics. Edwin Emory assisted Edgar Mac- Gregor in the general stage manage- ment. The $85 per girls are: Mary Jane Woodyatt, Mae Carmen, Violet Vale, Victoria White, Lorna Sonderson, Flora Crosbie, Dorothy Dorsey, Virginia Clark. ACTING GOOD, BIZ BAD. New Orleans, March 23. "Three Wise Fools" is drawing mildly at the Tulane this week. The comedy has some of the best acting seen South in Ave years. BROADWAY REVIEWS & TBY-OUT AT YONKERS. The Warburton stock in Yonkers, N. Y., is trying out a new play, "Symphony," by Kenneth Bradshaw this week. Tfcttw is a slight break J ni i he story's thread by tho injection of a small chorus at uncalled for moments, distinguishing the new ve- hicle from the more continuous methods of "Maytime." The cos- tuming of the early 19th Century was especially effective an.I pictur- esque. Amid the splendid voices of Messrs. Moore, Peacock and- the Misses Harnett, Cook and a little Mower girl named Ennie Niclas. there was a surplus amoun. of that hesitantly spoken humor which stutters forth from the straight faced Ralph llerz. S>h< ucr. Lew Fields Casting "Prince Charming. Lew Fields is casting his forth- coming "Mr. Prince Charming" musical show written by Ted S. Barron. Mrs. Lottie Meaney did the liberetto. The piece Is due for a summer run. MARY STUART. Andrew Boyd... •••••....Rasa "Whytal John HunUr Charlta Francis Mary Btuart • Clare Kanwi Mary Beaton Florence Johns David Rlcck> Prank Belcher iMtutty .. ....... •A-«i*v*4v£ka:rl<*R Widtfrew Thomas Randolph Leslie P*im*.r Bothwell Thurston Hall A Man About Town. Chronicler Ernest Hunter Popo Austin Rtrons Toto 4 Oeorsre Mitchell Dodo Henry Clapp Smith Soao Deems Taylor The handclaps went to the actors when William Harris, Jr., brought "Mary Stuart," by John Drinkwater, who wrote "Abraham Lincoln," to the new Ritz March 21. The show has a chance thanks to the clever appeal made by its backers to the society crowd who turned out In force for the opening, but frankly, it is tiresome. Its value to society and the highbrows lies here: They can pretend to like it and so look down on those frank and naive souls who do not conceal their boredom. They will enjoy doing this and so may make a spring success of it. What makes it tiresome is Mr. Drlnkwater's attempt to refashion lovely, clever, courageous Mary into a Scotch Presbyterian's idea of a "good woman." He introduces her by means of the cut-back. At the" opening we are face to face with a modern library in which Russ Whytal as an older man is lectur- ing a younger who cannot under- stand how his wife can love two men and remain an honest woma*n. Neither Mr. Drinkwater nor Mr. Whytal's atrocious sing-song helped establish tha truth of this far- fetched declaration, and so Mary Stuart is brought back from the past to establish it as a fact. We fade into her living rpom. Rizzio, the Italian secretary, c- es on to have his love laughed at and rejected. Darnley, Mary's husband, enters and makes only too clear by his cheapness and suspicion the rea- sons why the Queen has ceased to love him. She summons Bothwell to help get Rizzio out of the country, and we see his physical charm over- come her scruples. The rescue, how- ever, is too late. Rizzio is murdered at Darnley's instigation and Mary sums up what the action has shoWn. It is that no man has come to fill her life fully, to drink completely her capacity for loving. The acting was excellent, and Lester Lornergan's skilled hand as a stage director never showed to better advantage. A richly exquisite setting by Livingstone Piatt made those present feel like forgiving him for past attempts to steal by gor- geous color the attention from the actors. In any case, he would have had hard work doing this in "Mary Stuart." Three roles stood out. Others were at least adequate, but Charles Waldron as the King and Frank Reicher as Rizzio gave high wa'er mark performances. Mr. Reicher perhaps took the palm, for he stuck strictly to Continental method. He suggested rather than chalked out tho character. He was, in short, the craven poet, while Mr. Waldron, by his gestures and manner, approached caricature just near enough but not too near. Clare Eames as the Queen gave an amazingly intelligent perform- ance. There wasn't a trick she missed. Everything adequate train- ing, clear elocution and high-class tricking could do to put the im- pression properly before you, she did.' Nevertheless, she is handi- capped physically. She was never, and could not be, try as she would, the seductive Mary, the Mar: cen- turies of imaginative men down to Swinburne have wanted to rescue from the past and kiss at least once —and if Miss Eames could not bring us at least a suggestion of what Mary means to most of us, what was tho use of her playing the role at all? The main piece was preceded / an amusing pantomime called "The Man About Town," presented by the Amateur Comedy Club of social fame. Austin Strong and Henry Clapp Smith particularly distin- guished themselves in it. Lced. >.,..•• TOTO. A DANGEROUS MAID Atlantic City, March 23. Edgar MacGregor in producing sponsor for this new twist to the none too numerous musical comedy family. Termed a music play, Charles W. Bell, author of 'Parlor, Bedroom and Bath," fathers the play part of the composition, which Leading Makers of Stage Attire For Men and Women ►We costume completely mu-y osical and dramatic produc-o ^tions, moving pictures, acts,'! °revues and operas. Jj > 143 West 40th St., New York J ^ ♦♦♦♦♦♦♦♦♦♦♦♦♦♦4»» ♦ ♦♦♦♦<►* If You Don't Advertise in VARIETY Don't Advertise • r. Victor Oitslav li<>\sh:<n I.miis.' De Tilloiu l'hot'b- Pouter Henri Do TerKy Orlando Daly fJeonce I>e Pontillrt Clyde Veaux Robert L)e Kivarol AHm rt Pruwn PucaMnt ,••« ,T<pii« Marry Jrannetto Nellia Hurt Olivette Huth '1 lioniHK Kiinrhun Kdith Hose t^coir Antolne l)<- Tillois, "Tot<>," Lro Pitrid stein Paronos* P* Vtfdlere Paula Shay Haron Do Verilicrc Deo Millar Auvuste M. A. Kelly Kvarlste D>- Mi rinville Beach Cook*' Madame I >e Tillois. ... I'm nets I 'nil«rwoO«l Madame I*sntor ..Josephine Hamner Mile, Columbe Knima Knill Sevt r Sf M> rinville Edward II. See "A Comedy Of Parisian life" Is what the program describe* "Toto," ■ play adapted from the French of Maurieo liennequin and KVlix Du- quesnai i»y Achmed Abdullah, which was preaented by Lee Bhubort .• t tha Hijou Monday evening. This depietion of a certain phase 'ufi Parisian life is altogether too so- phisticated for general asslmila. tion. For the general theatregoer It lacks sufficient "obviousness" and for the worldly wise Is too obvious, and is. therefore, neither fish nor flesh. Whatever merit It possesses oe> stage cntertalnroea* JP\s in the Intermittent flashes of brilliant dia« log and an all-too-few number ofc characterizations. The rank and fllo of the cast are not worth dwelling upon, either In detail or otherwise, Leo Ditrichsteln plays a middle- aged, wealthy man about town whose wife left him years before and Is living in the country, occu- pying herself with church work and allied charities. One year prior to the opening of the play their only child, a daughter, had emerged from a convent, aged 19, and is permitted to spend eight months of the year with her mother and the remaining four with father in Parts. Both love her to the full and her father takes her about with him to the wild night life that embraces cham- pagne suppers to chorus girls, even in their home. The girl is thor- oughly conversant with her father's mode of living, his mistresses and the male companions who attend upon his orgies. Among his visitors is a young diplomat, just returned from Amer- ica, who falls in love with tho daughter nd is very glum about having her consort with her father's friends. When they are alone and he wants to criticise her for ap-. parently falling in with the life her father leads, she anticipates his protestations of love and his offer of marriage by telling him she knows ho loves and wants to marry her—that she loves him—that she dearly loves both parents, is not in sympathy with her father's modo of living and will never marry until her parents are reconciled. The lover falls in with her plans for a reconciliation of the parents, tells the father the situation and pleads with him to give it up. For his daughter's happiness the father agrees to return to the country homo and seek his wife's forgiveness. All this takes place In the first act, which is very fast, and constant action, apparently leaving nothing for the remaining three acts but tho details of the reconciliation and showing th<i young lovers in each. others arms. The second act takes a new twist, showing the sportively-inclined, father not one whit reformed, but going through the family reunion in order to make his child hsppy. A hypocritical old church worker and his nephew are plotting to treak up the match, scheming to effect a marriage with the nephew and an- nex the million franc dowiy. The rascals go to Paris, bribe the maid of the father's mistress and secure the letters the libertine has heen daily writing. In the third act they return with the letters, which they givo to the roue's wife, advising her to break off tho daughter's engagement on the ground the young diplomat Is a crony of the father's and hence the same type of man. But they re- mained away one day too long, for the marriage had taken place that day. The plotters persuade the saintly mother it is not yet too late. as the marriage had not yet been consummated and on that ground it can be annulled. It Is arranged to take the young bride awaj', pending the annullment of the marriage cer- emony. But they reckon without father, who tells his new son-ln-1: \/ to climb up tho vine-clad side of the house and spend the night in his bride's arms. The young man ne< il» no further urging and does so. There are some exceedingly risque lines in the last act, wherein tha mother, unaware of what happened. remarks: "My poor, dear ohi.d; 1 suppose she hardly closed !.er < yes all night," and later to the bride: "How pale you are—you didn't sleep, did you?" Another very Frenehy twist is given to the story when the hus- band of the libertine's mistress eomes to inform the roue that the mistress had run way to Monte Carlo wi»b her husband's secretary. In a very pretty wimf-Uft the roe- seeks a genuine reconciliation with hds own wife, having once more fallen in love with her a..d she, flustered, says: "Why, I'm nearly 40 years old." and he replies: "I'm 50—you don't look it and I don't fe*d it." Ditriehstein brings to the Imper- sonation a most lovable character! • zatlon. designed to show ho was n<>t reallv immoral at heart, but merely loved life and that it was really his wife's fault for not sharing with him the beautiful things of life— the joy of living. It is well writ- ten and teaches the "moral" that t wife must enter into the gaiety *■'' Parisian life in order to keep her husband by her side. As a matt* r of fact, he would never ha\ > loOktd once more upon his wife's charm* had not his mistress sloped with n younger man and made him V. pear ridiculous in the eyes of his cronies. Kdward H. Be* as the scheming old hypocrite'scored a hit on » f , - ,i " with that of the star; Frances I ' - '•' II »i t ah*