Variety (March 1921)

Friday, March 25, 1921 LEGITIMATE 17 derwood as the saintly wife gave a line performance and Albert Brown as the serious-minded suitor for the daughter's hand acquitted himself creditably. Ditrichsteln has a following that should insure him a healthy patron- age for a limited time in New York, wilh a part so well fitted to his personality, but It is doubtful if the play has sufficient popular appeal for the general public. Jolo. . * (THE <JHO£T BETWEEN Sr John Dillard Arthur Byron thel Brookes Laura Walker Richard Hunt Glenn Anders Jenkins Walter Brown J^urse ..Kathryn Keys J>r. Jerome Buxton.... W. Messlnger Bellis Fresh from an initial tryout of several weeks on the road, and only waiting for the competition of other opening attractions to abate even during the pressure of Holy Week, Stanley O. Sharpe and Charles Stuart opened "The Ghost Between." at the 39th Street. Tuesday night before the customary first nighters: friendly to actors and friendly, to the author and as friendly to the producers. But In many respects deservedly so; in others it was ,a case of overenthusiasm. "The Ghost Between" in the ver- dict between* the acts seemed to be between and betwixt That is. it -Has not voted a "hit," neither was it declared a flop. With the assur- ance of the brokers in on the "buy," the show holds out a promise of catching on.' It is that kind of a show "Which, after the last curtain has rung down, gives you the feeling that it has an abundance of entertaining features despite that the author's effort is one of the worst examples of choppy playwriting that has been seen In a New York theatre in a long, long time. The principal fault with Vincent Lawrence's vehicle for Arthur By- ron (in the star role) is that it is never 'definite in any one purpose— not so much as a starring vehicle as it is indefinite in the form of a play. It is a combination of serious writing in the prolog, of a descent to exaggerated farce in the first act again modulated by a tempo of intervening moments of seriousness. Yet it lapses into broad farce in the second act und concludes In extrav- agant farce in the third. It would seem from all this better to mould the whole into straight comedy. And in this it could,have achieved greater results than the t*i*V assumes in its present form. TlSre is such an obvious change of tempo, a sliding from sUre-fire pur- r>6fae into aggravating comedy that its truer moments lose effect. The theme of "The Ghost Be- tween" Is suggested in the title Itself. In explanation, it bridges to- gether the bereaved widow of one whom a devoted doctor could not save in that terrible moment when science is helpless before a greater and unknown power—death. The ghost between is only symbolic of the element that stands between the doctor and the widow, whom he marries in name only. By killing the dead the doctor wins her love. The action- transpires over three acts in addition to a prolog. The last introduces the principal char- acters in this cast of six. In it the audience is made acquainted with the story that to any experienced playgoer is almost told there and then except for the actual process of the telling. Here the doctor re- cites his impression of his admira- tion for this woman who feels so much for the man who Is about to pass on. Two years after (the first act) he has achieved fame as a sur- geon and is even wealth through the pcrspicaclousness born of the In- spiration that night when he so un- selfishly tried to save a man's life but failed. The proud widow pays him a visit with the object of pay- ing the first instalment on the debt previously contracted for his serv- ices. She lives apparently for the memory of her former husband. Nothing but that matters. The doc- tor, anxious to help her, wanting her as the only one who will make life worth the living, acts on the advice of a friend. He will marry her In name only. The union, how- ever, is marred by the Intervention of the youthful friend who falls In love with the doctor's wife. The doctor, true to his promise, has kept his word. Reacting to the knowl- edge that the youth can win her ..merely because of exsreisinjg his will to lovo, the doctor takes advantage of the situation and as forcefully as Intelligently asks her to blot out the past and choose between the two. The curtain rings down on a hap- pier union—the time, apparently, six months later. Tho performance of the entire cast was on the whole one of merit and showed careful rehearsing and staging on the part of W. H. Gil- more. The direction of the piece is accredited to Stanley G. Sharpe. This first-night audience witnessed one of those bungling curtain drops In the second act before the con- cluding lines had been spoken, with the result that after four curtains the artists were permitted to finish the scene as it was written. What moments ^of genuineness Were offered in Mr. Lawrence's text were to be found In the prolog. In this Miss Laura Walker carried off all honors. She distinguished her- feelf beyond any degree of doubt by the genuine sincerity of a grief- stricken woman saturated with the FEMME DE LUXE. Paris, Feb. 23. Alfred Savoir has had two excel- lent comedies produced within a month, but the Potiniere with "Blue 2ocj«xi's SUghtti.-W*S»" ha^thrt.betr ter. In "La Femme de Luxe," pro- duced at the Theatre Michel, he has compiled a three-act comedy por- traying the moral downfall of a confrere. Franclne has been a demi-mondaine bespoken by a wealthy royal lover, but she has a secret friend who finally marries her, living on the fortune she pos- sesses until it is squandered. She is then willing to share the more humble home her husband, a journalist, can afford, but she has expensive tastes, and moreover, is less attractive in cheaper dresses. Indeed, it is Jean who grows tired of the mediocrity and realizes his wife is more suited to the rich demi-mondaine class of society. He is sufficiently a cad to resume love intrigues with former acquaint- ances, and Francii.e knows she can only retain Jean's attention by her- self again being a femme de luxe. She decides to icturn to her gen- erous royal lover, and writes a let- ter to the husband explaining the situation. He reads it before her departure, and the couple have a confidential talk. After tho expla- nation the journalist consents to her project, promising to visit her when opportunities occur. So the wife resumes her former existence, living in the lap of luxury, which the husband shares. The comedy is amusing, but the subject is strange, even distasteful. Jane Marnac is not at her best in the part of the demi-mondaine, while Peyrlere as the unsavory hus- band so willing to slrire his wife's automobile, is not in his usual good form. The comedy is preceded by a curtain raiser, "Le Sauveur." by Mme. J. M. Fontange. Kcndrcw. friends. Among them was Anselme, whose child the valet had formerly nursed. This daughter, Angelique. was budding into womanhood when Don Juan noticed her, and she be- came enamored of the famous figure. •"►»?& ?&P .MGW.J-fl. ^ 9finlmK« horn* with the object of courting Arl- gelique Don Juan elicits the as- sistance of his valet as being so well acquainted with the family. But Sganarelle refuses. His scruples were unavailing and only led the fellow Into trouble. Angelique elopes with Don Juan, and when her accredited betrothed interferes he is killed in a duel with the fickle lover, poor Sganarelle being accused of the deed. Mile. Lucile Nycot impersonates Don Juan, but the travesty is not satisfactory, though perhaps novel. On the other hand, Jacques Ballmer, who hitherto has appeared in the cabarets, is a revelation as an actor. Kcndrcw. LA PAIX. Paris, Feb. 23. One of the posthumous plays of Marie Leneru, who wrote "Les Af« franchis," has been mounted by Gaveau at the Odcon. "La Paix" was written during the Peace Con- ference, in 1917, and embraces that issue. It was refused by the Come- die Francaise, which is in this case natural. The authoress proclaims the necessity of n tural 'defense, but at the same time makes war on warfare. But it consists of a se- ries of long tirades and the action out ceasing to love him. Barnac in anger drives her from his home. This second act is the gom of the entire work and Mile. Y. de Bray is superb. Two years later the play- wright and actress meet again. Marthe Is still living with Scrgyll. The screen actor has got into trou- ble, and Barnac. as president of the Society of Authors, Is able to save him. Marthe seizes the opportunity to try to renew her relations with Bar- nac, but the elderly man realizes the difference of age. What he desires . .***ai thtfr «Jf uctl srn/ay Jnt ourc to hatred, shall not sink Into indif- ference, but be replaced by a true Platonic friendship, that tenderness of friendship which can only exist between two creatures who under- stand one another. Sergyll agrees that Marthe shall again create the leads In Barnac's plays, for he Is not placed In a position of con- tempt thereby, while the actress again brings into the lonely life of the unhappy playwright the charm of her presence. Kendrcw. drags. Nevertheless, it Is beautifully written and an interesting thesis. Mme. Gresves' husband and two sees "his daughter-in"-~law Is deceiv- sons have been killed during the [ n g his son, but as he has become LES DEUX MASQUES. Paris, March 4. This little house has existed for years, with variations of class. It is now reopened as a sort of rival to the Grand Gulgnol. The first program comprises five pieces with- out any particular attraction. Per- haps the plat de resistance is "Les Detraquees" in two acts, by Patau and Olaff, describing two mentally deranged women who assassinate children, or even worse. It is a pathological problem which might have been left to the medical pro- fession. The lunatics are finally placed In an asylum. Far more entertaining Is "La Griffe," by Jean Sartene, a drama already presented elsewhere. An aged peasant, formerly noted In the village for the strength of his hand, fortune compels him to keep up a respectable appearance, so it is Luclen with whom Charlotte U mostly seen. But by a stroke of luck on the French Wall Street Jacques Is ruined and Luclen be- comes wealthy. Instantly the lat - ter assumes respectability — and Charlotte telephones details to her mother. In the third act It is Luclen who has become fussy and has reversed roles with Jacques. Persuaded by his artless mistress he engages tne> ru'ruu guy as his secretary, and tho tfit* ltSi\>*1cT- 2HMBCJt*»< V9% <4fit r/\t>>> »> know in what circles the talented author of "Daniel" finds his char- acters, but he draws the average Parisian society in very shady lines. Kendrcw. SCRUPLES DE SGANARELLE. Paris, March 6. This Is another Don Juan play, produced by Lugne Poe at the Oeuvre. Henri de Regnler, acade- mician, in this version has shown us the famous lover in a more tra- ditional light. Bataille sketched the character In "L'Homme a la Rose" (which is being withdrawn from the Theatre de Paris shortly) as a scep- tic ' philosopher. Rostand left a piece, "Le Derniere Nult de Don Jean," which has been only Issued as a supplement to an Illustrated weekly, wherein he is described as .a melancholy troubadour, Regnler paints him as a young noble seeking pleasure and adven- ture. The Oeuvre has not the means of giving an elaborate mounting, such as L. Volterra could provide at the Theatre de Paris, otherwise the latest Don Juan would possibly be as great a success as Its predecessors. Sganarelle, a role created by Moliere, was the valet of Don Juan and accompanied his master to Verrleres, where he had formerly resided and had many thought that the only man who mat- tered was leaving her alone to face the world and everything cruel in It. The Impression was one in which she swept everything before her in a moment that was terrible in Its anguish, in its grief and In Its d«- spondency. It was, nevertheless, a great disappointment when, through the course of the evening, Miss Walker's continual wailing gave the impression more of a heroine- whose lachrymose tears were of the glyc- erine kind and, furthermore, that she was suffering from a cold in the nose. Frankly, the part never stood up any more after her work In the prolog had finished. In the role of Richard Hunt. Glenn Anders made the most out of a Juvenile part, "fat" as any one In the profession could wish for, han- dled with care, but overplayed at times in a manner that could not be condoned. As for Arthur Byron In the star role, it is frankly not a star part. The mason seems to be imbedded In the fact that the major part of the work fell on the shoulders of Miss Walker and Mr. Anders. While any audience may be expected to bestow its sympathy on trTe doctor, the pari itself Is never forceful despite Its subtlety by comparison to the roles of the preceding principals, respect- ively. That he made the most of It there was no doubt, but It missed fire more through its text and situ- ations than by any reason of the player himself. The bits were well handled, of which there are three. The scenery as "sets" are well done, b'Jt it is doubtful If any phy- sician would have permitted him- self to live In one such as construct- ed for the second act. It Is highly doubtful if people o' m< ana would live in them at all. At the conclusion of the Second act My Byron took the occasion of introducing Mr. Lawrence to the audience, whom, he declared, had been waiting 14 years for a hearing Mr. Lawrence might have tried vaudeville in the interval, for he is better fitted, It would seem after a thoughtful observation of his part public hearing St*p. war, but the third son returns home with the intention of embracing a military career. He is engaged to marry a flapper, who declares she 1 only admires soldiers and will smile on no others. But when the young man realizes the calamity that -has befallen his family he becomes an- tagonized to militarism, resigning his commission in the army. This leads to the rupture of his marriage. Among the guests entertained by Mme. Gi ..ves in her mansion (for we move in the highest society) are a French General and Lady Mable, a former English nurse with the Red Cross. She has become a fer- vent pacifist after her brother died from his wounds and whose agony she had watched from his bedside. The general proposes marriage, and Lady Mable would fain be his wife, but she stifles her sentiments, re- fusing to be united to a man who has adopted militarism as a definite career. This piece Is more a lec- ture than a theatrical work. Kendrexo. \ LA TENDRESSE. Paris, Feb. 27. Barnac Felix Huguenot Scrgyll a. Lusuet Oeniui A. Bour De Jolllngy Mauloy Carlos Jarry , p. Juvenet Cabriac N Glide* Legardler J. Ayme Guerln Fernal Azincourt J. Devalde Marthe Mme. Yvonne de Bray Marcelle Mme. M. L. Herouett Mine Mme. Descorval Mabella Mme. L. Legrand erny m.iuena mme. L>. L.eg Mile. Tlgralno. governeas ..Dancourt B Piece in three acts, by H. Bataille. Theatre du Vaudeville, created Feb. 24. Period, present. H. Bataille did not Invite the for- eign theatrical press to the dress rehearsal. He did not even invite all the Paris daily press. Some of the Paris scribes adversely criti- cised his former plays. In "La Tendresse" Bataille han- dles- a splendid subject In his best style, though it Is not his best piece. Barnac is a dramatist, rich and fa- mous, and president of the Society of Authors. He lives happily with his sister and Marthe, the actress, who is the leading lady In his plays. They are not married because of conventional obstacles. Marthe has two children during a former liaison, but Barnac shows them a grand- fatherly attention. For he is grow- ing old, there being a difference of 30 years between him and his mis- tress. Marthe is of a passionate nature. It is not astonishing, there- fore she has an intrigue with a young cinema actor, Sergyll of lit- tle t*}*nt but handsome. We were previously initiated Into the woman's longing for youthful companionship by her coverted re- gards toward a youth who visits the house. Barnac has a suspicion that Marthe is false by Insinuations made by his confreres Genius and Legardicr so he feigns a Journey Into the country, hiding his stenog- rapher behind the curtains. Sergyll visits Marthe during his absence. It Is the first time he has thus called on h?r. Barnac returns later and requests to listen to a scene he has written for his latest comedy. He then reads the conversation she has had with Sergyll, which the secre- tary has faithfully transcribed. Th<> woman Is astounded, breaks down and confesses. She respects and admires her rich protector more than any other man, she has thoughts for no one else, but «he was tempted to seek pleasure t where. She realizes she Is a wretch snd begs for pardon. She explain < In paralyzed and is dumb he is power- less to Interfere. But one day. noticing his son Is about to enter a cellar* where the steps have fallen way, but only known to the wicked wife, who Is anxious for her hus- band to disappear, the father gains sufficient voice to give a warning cry to the victim. It Is too lat<g he falls to his death. Whereupon the horrified peasant finds sufficient strength to strangle the guilty woman. "Le Dlndon de la Farce," by P. Despras and Willemetz, in three short acts portrays a Jealous hus- band who suspects his best friend, boxes his ears 'and abandons his wife. What he Imagined then really happens, but in the meanwhile the husband realizes he may have been mistaken and receives back his spouse, confident there was a mis- understanding. He no longer has suspicions, ignorance being bliss, and makes his excuses to the friend. "La Petite Maud," by Guy de Tera- mond (who has adapted American films for French readers), explains how a lady having become too poor to keep her servant, It is the latter, married to a laborer earning big money, who takes the flat and re- tains her former mistress as cook. The roles are reversed. It Is a skit on the times. Kcndrcw. L'OMBRE ROUGE. Paris, Feb. 24. Irenee Mauget, who has conduct- ed a small al fresco entertainment in the Bois de Boulogne, known as the Theatre Pre-Catelan, having taken over the little auditorium in the Musee Gravln, has opened it as the Nouveau Theatre. Gustavo Qulnson, of the Parals Boyal, etc., started here. We have had several houses in Paris at different periods by this appellation. The main item Is a pantomime in two acts by Al- fred Fortler, "L'Ombre Rouge." mimed by the artiste, Severln. It is rather gloomy, but admirably acted. A sailor kills a traveler In a com- mon lodgln house to steal his purse and marry tho Innkeeper's daughter with the contents. The police arrest an innocent man. Betsy, the sweetheart of the latter, traces the criminal, and to causa him to confess his crime, a de- tective, inspired by the well-known drama, "The Bells," dresses the ac- cused to resemble tho victim and simulates before tho eyes of tho sailor the principal scenes of tho murder. The guilty sailor takes fright and confesses. On the same bill Mauget presents "Pierrot Minlstre," an act in verso by Lachaze, and "Sophie Arnould," a playlet In verse by Gabriel Nigond which is a gem worthy of the Odeon. The once beautiful Sophie (whose biography has been compiled by Robert Douglas) is growing old and the revolution has dispersed her admirers. Living a retired life In the suburbs with a faithful servant, she Is still visited by Count Laura- guals, her truest friend, who pre- sents On her birthday the rose that bears her name. This leads to ten- der memories of past love, but while they examine the portrait of their son killed in battle tho souvenir raises a cloud between them and the former lover is calmed. Blanche Toutaln and Henri Beaulleu play, this charming trifle to perfection. Kcndrcw. THEATRE DES ARTS. ' Paris, Feb. 23. The co-operative of playwrights has again changed its program, and Dorzans has given hospitality to the Swiss troupe of G. Pitoeff, which appeared at the Theatre des Arts last season. As in 1919, We have "Le Temps est un Songe" piece in six tableaux by II. R. Lcnormand (already reported l.i these columns). It Is accompanied by two short plays by Georges Duhamel, the first being "Lapointe ct Roplteau" (which has appeared in book form in Geneva) performed during the war in ambulances by soldiers. It is the dialog of two mutilated poilus. Corporal Roplteau* having lost a leg, and Private Lapointe having lost an arm. They compare their artificial limbs, and each one prides himself on being the more unfortunate. It is patriotic rivalry which almost brings a lump Into the throat. A stuttering nurse Is in- troduced, but the role does not add attractiveness to the clever little playlet. The second, "Quand vous voudrez" (When You Like) Is a sketch of an eccentric man in so- ciety. This latter is interpreted by Pitoeff and his wife. The bill is evidently put on. awaiting F d« \CtreV* "Gomedie a* •G«mle,"- rhteh Is due at this house shortly. Kcndrcw. L'AMANT DlTcOEUR. Paris, Feb. 27. Risky comedy in three acts, by Louis* Verneuil. The Baron has caught Luclen (Signoret) visiting his mistress, Charlotte (Jane Renouardt) and given her the sack. The rich protector must be replaced. Is the new protector to be young or old? It is a toss up, as Luclen, the puppy who never pays his footing, votes for an aged successor. How- ever, Charlotte having cashed the last check of the Baron, decides for Jacques, a well disposed youth with plenty of money (C. Dechamps), and so Informs her mother over the telephone. Chrfrlotte Introduces Luclen a«* I «,orl of brother-in-luw. Al the *nd of the fi; | ;i<t the trio k>> out to dinner. In ttie second set. Ihrrc month*, later, .tacquej* i- funs* .i*'i THE HOUR AND THE MAN. London, Feb. 20. Nothing striking about this new play by H. A. Vachell and J. C. Snalth. The strong, hard, self- made man with a heart of gold who marries above him socially only to And trouble, out of which ho emerges with flying colors, Is a favorite character with dramatists and has been increasing in popu- larity for some time. Apart from the struggle between democracy and autocracy the motif is political, but the characters do not live and the plot is not con- vincing. "The Man and the Hour" lacks strength, it is badly constructed, and except for certain passages in the third act Is devoid of grip and punch. If anything can save it it will bo the brilliant work of the players. One thing stands out vividly -» the brilliant acting of W. Cronin Wilson. The big first night audi- ence insisted on his taking a "star" call. Marie Lohr is very good as the aristocratic but foolish wife, Dawson Millward made the most of the Duke, and Ellis Jeffrays was quite good as tho Duchess, a putt scarcely worthy of her talent. SI QUE J'ETAIS ROI. A despair she has deceived him with- object* io Chartertt smoking, lils Paris, March 1. The new show mounted by Ben* thez at the Capuclnes is billed as a' fantastical revue in two acts by Hip and Gignoux. It is brimming full of political allusions and Is a most entertaining show. A former curb seller with the gift of gab becomes a deputy in the French parliament, causes the dverlhroW of the cabinet and is called to form a new min- istry. But the post of premier is not sufficient, and ho has himself, proclaimed king of Paris. He has many troubles of tho realm, a famous poet taking pos« session of a small island in tha Seine river and posing as dictator. He is finally dethroned after many topical events are enacted. Per* haps the feature of "SI quo J'etais rol" (If I Wero King) Is Pauley, a former cafe concert singer, who is revealed as a talented revue artist In the role of the democrat, whs becomes an autocrat. The music; Is a mixture of popu* lar airs executed on the plana l»y Esteban-Marti, whoso services) should not he overlooked. Tho revue Is well presented by Mar* ku« -fit*- i). vai. George, Plerade, Gab/ Gladys, Dracy, Christine d Or. An* dreo Alvar arid Others. There is na pret< nse of gorge©u i mounting; It Is \ witty show intended for %. i i publJa, Acndi-.uf, -