Variety (May 1921)

■ LEGITIMATE Friday, May la, mi JACK LAIT'S REVIEWS THE LAST WALTZ. fieneral Mlor.u Krasian... .Clarence Harvey Knslgn Oralnaki Rex Carter • 'aptaln Kaminakl John V. Lowe Lieutenant llatlain ....Ted Lorraine Adjutant Labineacue Irving Rnae Marietta Ruth Mills '«';»Ask ■..1 w ..... .4 . * H „, TivaM&y- Daly Lieut. Jack Iferrington, I). 8. N Walter Woolf Mat Maltby ....James Barton Vera Llaavota Eleanor 1'alnter <'cunteaa Alaxandrowna Corpullnakl Florence Morrison Annuschka Beatrice Swanson J lannuachka Marcella ISwanaon l'etruschka Gladys Walton ltabuschks Eleanor Griffith Karon Ippollth Harry Fender Grand Duke Hubenatltch George Evans Carmenina Isabel Rodriguez .Dancers ....Giuran and Ifarguerite l'rtnce Paul Harrison Brockbank Chochette Rena Manning I<ok>...............••.. Nan Ralnsford Sylvette. ..Helen Herendeen Babette ••••• ..Carolyn Reynolds Francins... .Jean Thomas Zadie Amelia Allen This is a "Chocolate Soldier" without Any "My Hero." Oscar Straus, the composer. Is starred In the billing. "The Last Waltz" has some slashing finales and some climactic ensembles, some tuneful solos and not one representa- tlve duet The love duo has been the heart's heart of every light opera success, especially the waits light opera. Straus, one of the greatest compounders of this fortune-making type of waits sensations, failed to come back with one in "The Last Walts." In truth the song hit of the even- ing was "A Baby in Love," by Al Goodman, Interpolated. It proved one of those seven encore-taking jingles in the cute hands of Eleanor Griffith and Harry Fender, mostly Miss Griffith. That and the un- ashamed comedy dancing of James Barton corraled the loud applause largely, with incidental dance spe- cialties going strongly, as usual. Eleanor Painter, featured prima donna, was charming. Her crystal soprano rang high and bell like, but Straus had exported little for her except as tests of her range and the superfine Quality of her notes. Her role worked up to a peak at the end of the second act and down to light comedy soubret tempo in the third. The third act in all Is a glaring anti-climax, marked by sorry show- manship in running order and theme, and appending a makeshift ending to what was until then a powerful love story, the main asset this offering had toward wide popu- lar patronage. Incredible things were done In that third act. Miss Griffith and Fender, having exhausted "A Baby in Love" midway in Act 2, came back out of nowhere in Act 3 and did a repeat chorus, which, of course, died. It is the only instance known where an encore was taken in a succeeding act. All this took place considerably after 11.16, the operetta ringing down about 11.35. Miss Painter, following regal gowns and operatic melodies, returned in a frock and light and frothy "Ooo- la-la" number suitable, perhaps, for Ethel Levey. That, too, tapered off, whereas earlier every peep from | every performer had been madly I applauded. The close of the story, which was left knotted at tho sec- ond act end, was unraveled so swiftly and abruptly that few knew it was over when it had ended. If anything sells "The Last Waltz" It will be tho appealing story, though that failed to bring home "The Lady of tb% Lamp," with a similar plot in Chinese atmosphere. This has the happy ending, unhappily as it was engineered. The settings are rich and gorgeous. The music probably has an academic charm to students of light opera construction, but none of. it la popular and the number from which the title Is derived, which is done as a duet at the close of Act 1, somewhat as the Immortal waits and song were done in "The Merry Widow,* drew recognition but no salvos such as were required there. It Is not a rememberable melody. The end of Act 2 comes nearer to it. but Is tragic and inter- pretative rather than sentimental, and therefore may scarcely bo a substitute. The story Is essentially Viennese In every throb and all Its progress. Harold Atterldge and Edward D. Dunn ar* credited with It no men- tion being made of a foreign libret- tist. But It Is scarcely conceivable that Americans wrote "The Last Walts" as an original thought, for It Is as certainly Austrian as "Mary" is American. It Is some time since the old flare of uniformed hussars, dens of semi- savage princes and hostile grand dukes coming with tartar seneschals has been seen. This in itself Is a welcome novelty—the return of Ihe old as the successor to the new. The decorous chorus, also, was re- freshing. Surprising that 1921 mer- ries could be induced to so far hide their charms when they can reveal more in a stroll down Broadway any afternoon. As at all Shubert openings, the handclapplng was overabundant. At times it grew somewhat annoying to those with entirely neutral vibra- tions. It seemed like the city hall machine at a political rally for the administration. Waller Woolf as an Amorhan naval liteutenant, tho perfect hero. wjui manly and handsome, if At times saccharine. He reminds at times of Donald Brian a generation ago, save for dancing, of which he attempts little, not even waltsing with any degree of illustration to the waltz piece de resistance. The Misses Swanson and Gladys Walton, In gv&£i!ftg -ingenue trip-let parts, went through breezily. Harrison Brockbank as a royal "heavy" was perfect. Of the specialties those of Giuran and Marguerite scored most re- soundingly. Isabel Rodriguez in Spanish dances was partly eclipsed by clowning. Barton, with next to the funniest feet on earth, dripped with "fat." He had all the fat lines and all the hoakum, with fancy disguises, com- edy shoes, a souse, burlesques and plenty of support thrown to him to sap the fun out of all the straight love stuff. It was a night of tri- umph to him, and low comedy tri- umps at the Century have not been frequent. J. C. Huffman and Frank Smith- son are credited with the general staging. Musical numbers are pro- gramed as by Allan K. Foster. Jack Mason was the chorus director, and he turned out as artistic a run of light, brisk, seemly numbers as ever did the famous chorus guides of yore, when such things had current standards. Mason avoided any er- rors of "flyness* and his girls com- ported themselves admirably and fetchingly. If "The Last Walts" is to be a big hit It would be well to put Into it at once one great melody. Herr Straus' feelings notwithstanding, there are a dozen- men In Hew York who might supply the need—if the art of writing waltses has not been for- gotten. (This is the first of the series of productions to be made with the ul- timate end of picturization by Fa- mous Players. "The Last Walts" was among the bundle of scrips bought en masse In Germany and Austria early this season- It was written by Julius Brammer and Al- fred Grunwald. Critics viewing the presentation at the Century from a film angle state that It is excellent for that purpose.) PALACE. Speaking as a veteran New Yorker of almost nine hours' resi- dence, your not so humble servant, the undersigned, can find little to rap this week at vaudeville's capital except the length of the acta. If a few of the performers who get the string-lt-out fever when they hit the Palace had to stand back of the main floor seats with the Monday night dockers, touts, railbirds and the rest of the talent they'd get to It, do it and beat it. And this after two of the most famous time-eaters in the game were shushed hard by the management—Herschel Henlere and J. Rosamond Johnson. Johnson was trimmed down to 12 minutes, Henlere to 19, working minus Mrs. Henlere entirely and sloughing the bit in the pit The Santos and Hayes revue was sentenced to close. It proved strong enough to hold In the visitors, but it was a cruel test for an act that is episodic in its construction. At the end of each scene a walkout might have been precipitated by any thoughtless or heartless few, and there would have been a stampede, according to the well-established vaudeville rule of last come first left flat. That the crowd remained In as a body until 11:17 was a fine tribute both to the holding propensities of the act and the'courtesy of the pal- pably friendly and effusive audience. At the matinee It rang down at 5.46. Henlere Is not to be blamed. He chopped his entire opening, ellml- atlng the feminine element from his turn, making It a bald single (very hard to do with Henlere's artistic hair), and passing up some tried and certain comedy. He did 28 min- utes at the matinee. His viewpoint Is neither remote nor culpable. When a man has worked up In a few years from No. 2 on Association time to next to closing at the Palace It Is a bit vexing to have to elimi- nate major portions of his routine 'In the high spot of the national map In his profession. As It was he stopped the show working entirely at the piano. He made a very kind little speech, recommending the closing act, and retired when he could easily have encored. Johnson's act went well enough In the deuce slot, though It was chiseled down to about half Its western Ingredients. It was a better act from a standpoint of solid value than when his troupe and their leader stall and jockey and demean themselves for recalls and hand- claps. It went roarlngly, and there was plenty of It. Tempest and Sunshine, with a six-scene production that looked like a conglomerate collection of scenes from a light opera with a series of songs strung around to fit the succession of settings, played third and ran swiftly and handily If not rouslngly. Miss Sunshine looked and danced like a wind-blown blaek-eyfwl Susan, young as ever, delightfully frminlne. Tempest was soon In boys and young fellows, playing leading man to her dashing slstor. Tho final scene was sweet— a w««Hing set with a rural church drop two-thirds across stags and a blue scrim ever tho rest, lighted from upstage. It took throe seat curtains. Gordon and Ford got laughs, most of them seemingly on nothing. Gor- don reminds of Willie Howard In physique and technique, though at one time broadly Imitating. Miss Ford has a diva voles, which she uses for straight to the laughs and for honest vocalics. Held up and kept the sitters amused; four bows. Hyaras and Mclntyre opened the second half. ThJs was one of the long babies. "Maybloom" is an In- finitely stronger comedy vehicle than it was when It was young, but good-slsed chunks could be torn out of It without harming anyone and for the betterment of Hyams and Mclntyre and the cause. If a few performers could hear some of the comments In front at times they'd be surprised. The "victory" of stringing out material is hollow. The soul of vaudeville is speed; the heart of vaudeville in variety; the body of vaudeville is brevity. Ella Retford of the 'alls carried home the individual honors of the bill. Closing intermission the fair British girl took the eye and the heart of the audience on entrance. Miss Retford is a girl of wholesome lines and toothsome vision. She is not too English to be entirely appre- ciated by Harlemltes and visiting buyers, yet she has the spice which is the main asset of the Alice Lloyd style of English music hall artistes. Starting with a couple of London- esque ditties that suffered a jot be- cause of the custom of two-and-two where an American performer would do one-and-three with catchlines, Miss Retford made exit to strong applause. She made a rapid change in view to snow Marilynn Miller In "Sally," which she did fairly, falling as a dancer In a perfect imitation of one of the greatest. She then essayed Laurette Taylor, which per- ished pretty, for In voice Miss Ret- ford lacks any similarity to the familiar creator of "Peg." But next she visualized and vocalized Belle Baker singing "It's All Over," and this was a triumph and a hand- made riot. The Imitation was su- perb. Belle herself would have gone wild over It. It sent the stranger off happy and "In" by a mile. The Santos-Hayes revue, seem- ingly feeling the handicap of Its po- sition, tore in with that snap and vim which characterizes the Moore St Megley system of presenting mult I-people acta By the time the stars entered the support had it warmed up nicely, and the comedy come-on wowed it with a bang and clinched the hit. One of the come- dians interpolated a line or two that had not been heard in the earlier showings of the turn—but had been heard in other turns, notably one lifted from Val and Ernie Stanton. This is all wrong, as it hurts this beautiful and exclusive act, hurts the performer and hurts the right- ful owners of the lines. Otherwise this now established miniature evening's entertainment (50 minutes long) was flawless vaudeville. The r.nants opened. The clowning and tumbles got many a laugh, and not until the closing were any human forms revealed. Very strong opener. Ben R. Roberts took his place Monday as the new leader of the new Palace orchestra. The change was electric. With probably the lone exception of the wonder orches- tra at the Palace, Chicago. Roberts' organization has no competlon in an American vaudeville pit. The orchestra problem at this stellar stand has been long and consist- ently in controversy and discussion. On Monday's showing it seems set- tled. LaiL _ehow lacks sufficient distinction to elevate her to stardom. Ton Ilka her In a cold. Impersonal way. But two people stood out In the oast—Hugh Cameron, a surefire low comedian who Is intrinsically funny, and Anne Page as a companion to the dowager. She goes through the piece without uttering a word until the finish. Her pantomiming elic- ited roars of laughter. Robert Pit- kin as a Russian baron played his role with legitimate distinction, and Frank Greene contributed an excel- lent characterization of a lovable Englishman, the majority of the otherg barely getting by. The spe- cialties were dragged In by the heels. The opening performance ran to 11.45, due in no small measure to the insistence of the song pluggers, who demanded encores on the num.-* bers until the remainder of the au- dience was well-nigh frantic. "Princess Virtue" is no worse than many other musical comedy produc- tions and not as good as some.. It strikes a fair average. Jolo. PHOEBE OF QUALITY ST. Phoebe Throsael Dorothy Ward Susan Throeasel Jessamine Newcomb ValentHne Brown Warren Proctor Beret. Terenco O'Toole Shaun OlenvlUe Patty Gertrude Mudfe Miss Wlllouchby ......Muriel Tlndal Fanny WiUoushby Mary McCord Henrietta Trumbull Marie Pet ten I.leut. Spier Lucius Mets Knsigrn Blades..... Joe Tlnsley Charlotte Gertrude Blair Harriet . Lillian Wilck Isabella Elaine Mcintosh Elisabeth Marie Farrell Georgia Master Alfred Little William Smith Master Thomas Victory Jon* Miss Usrda Burnett ON BROADWAY 1 PRINCESS VIRTUE. Gautler Pierre Francine.....«•••« Mrs. Demsrest.... M las Lesdbeatsr.., Bourbon Bruce Crawford.., Carre • Hiram Demsrest.. Mszlne Baron Transky... Llane Demsrest..* Sir Arthur Cower. Claire Morln...... Francois.......... Chariot............ ChlO....a......... Poisson......... see ...........Jules Bpainy .•■••••••••..Allen Fagan •••.. Alms Malson .....Sarah Edwards reeeeeeeseeeee sAllD$ *£&b6 ,.•• Hugh Cameron Bradford Klrkbrldge .......Barie A. Fox •••••••.•..Frank Moulan —... Sylvia Ellas ...........Robert Pitkin .............Tessa Kosta ...........Frank Greene ..........Zella Bambeau ....••....Charles Jerome ,—.. Grady Miller .«•••..Leroy Montesanto •• Harold Gouldsn The metropolitan premiere of "Phoebe of Quality Street" Is an occasion for Joy and thankfulness. There wss so much to be grateful for. In the first place—the very first place—there was a story to be followed that is so far removed from the imbecllic plots that ordinarily prevail in current day musical shows as to be almost idyllic. It Is an adaptation of Barrie's "Quality Street" and furnished an Inspira- tion for the legitimate, dig.-.ified score provided by that Austrian composer, Walter Kollo, who, some claim, should be mentioned in the same breath with Strauss and Le- har. Be that as it may, he has pro- vided a catchy waits number that may not class with "The Merry Widow" or kindred continental waltz success, but is likely to be heard from in this community. The adaptation of Barrie's story is rath- er literal, halted only by somewhat ponderous lyrlclsing to fit the orig- inal Austrian score. The cast is headed by Dorothy Ward, a statuesque Englishwoman who has for years been identified with "pantomime" productions in Great Britain and*who. according to American standards, overacts a bit On second thought, when did one ever encounter any acting in our musical comedy productions? That may account for the feeling that our English visitor seemed to "overact." But she sings well and the role calls more for prima donna work than light comedy—though she has a big emotional scene that requires a lightness of touch in which she was palpably ponderous. Another recruit from England is Shaun Glenville, the low-comedian of the cast, who dances well and unbuckled a number of bits of com- edy business that are new to Amer- icans and excruciatingly funny His work at times suggests that of Wilklo Bard, and at other times other English comics. It is a singing cast throughout and therefore capable of sustaining the high class score, especially in the ensembles and concerted num- bers. The audience-accepted the pre- sentation throughout with respect- ful and dignified appreciation, there being a merciful absence of "plug- gers." As a result there were but one or two encores for the gems of the opera and the curtain descended before 11 p. m. to an apparently well pleased audience of first nighters. The production by the Shuberts is bright, in keeping with the Na- poleonic period, but not necessarily expensive. "Phoebe of Quality Street" stands a good chance of remaining all summer at the Shu- bert. If It doesn't It will be be- cause our public prefers "leg shows." Jolo. "Princess Virtue," a musical com- edy, had Its metropolitan premiere at the Central May 4. It Is by B. C. Hilliam and Gits Rice, staged by Leon Eirol and Is presented by Ger- ald Bacon, with Tessa Kosta feat- ured. The story Is one of the oldest in musical comedy. An American heir- ess is courted by two European ad- venturers who want to marry her for her money. She has a childhood sweetheart who loves her for herself. A bogus cable arrives to Inform her she is penniless, whereupon the ad- venturers renege, leaving the field clear for the dashing American tenor. Tho remarkable part Is that pro- ducers can still be found to pay royalty on such stories. The dialog isn't unusually brilliant; the mjsic is reminiscent, but an attempt is made to counteract these defects by half a dozen comedy roles, a prima donna who can sing well, and at- tractive scenic and sartorial equip- ment. Although Miss Kosta has a sweet, well-trained voice and is pretty, she BIFF, BING, BANG! Boss RSmaton, "Red" Newman, Albert Plunkett, Jack McLaren, Alan Murray, Arthur Holland, Fred Fenwlck, Charles McLean, BIU Tennant, Frank Brayford, Tom Young. Jack Aver, Jimmy Goode. Leonard Young, Ted Charters, Ben Allen, Morley Plunkett, Bobby Scott, Bert Wil- kinson, Percy Campbell, Arthur Wltham, Arthur Nicholson and Capt. M, W. Plunkett. two years as a regular theatrical at- traction. The show doesn't reach the stand* ard set by "Yip Yip Yaphank* which was composed mostly of pro* fessionals, but tbe Canadian bunch unearthed a femalo Impersonator im Ross Hamilton who can remain in the States as long as he wishes and take his pick of (he many offers which ha is about to be the re- cipient of. Not since Julian Eltinge. first flashed across the theatrical horizon has sn impersonator of the gentler sex arisen with the same sweet feminine personality that en- tirely destroys the illusion of sex. In addition, Hamilton has beauty of form that would grace a Ziegfeld number leader and a falsetto so* prano that Is remarkable for sweet- ness and range. "Red" Newman also stood out in a single with "Oh, Oh, Oh. It's a Lovely War." As a trench Tommie with a Cockney accent "Red" was forced to encore a half a dozen times. Jimmy Goode contributed a blackface specialty of songs and. monolog. The war and anecdotes of service incidents were the theme which got over before a sympathetic gathering of about a half house full. In one of his specialties Goods play a several brass pieces borrowed from. the orchestra. Every one of the cas. got a chance to lead a number during the action, and the ensemble singing was un- to Broadway standards. The stage was enveloped in a proscenium velvet drop ornamented with a maple leaf. The full stage numbers were followed by special* ties in "one,'* no trace of a book be- - ing claimed or discerned. The opening, showing a trench, scene,' with bursting shells and other effects of battle, transpired on a darkened stage. A strip change from khaki to flannel trousers fol- lows the announcement the armis- tice has been signed. "Behind the Lines," a skit enact- ed in an estanment, was a faithful reproduction in detail of the little French lounging holes that helped while away the hours when the boys had a chance to get out of the sewers. Charles McLean as Ma- dame, the ancient proprietress of the restaurant, gave a fine char* acterisation. Her daughter Marie (Fred Fenwick) was also cleverly- handled. The other characters were worthy, with Frank Brayford as a Cockney, taking the scene with an excellent portrayal of a LImehouse limey. "The Duchess Entertains," an- other full stage scene, was a com- edy high light. The boys convalesc- ing back of the lines are invited by a titled Englishwoman to a musi- cals at her home. The humor of the high brow entertainment offered was high travesty. A daring dance c. Flossy Fuclose (Alan Murray) caught on with the mob so strongly it nearly broke up the party. Charles McLean as Mile. Tres Moutarde, a French music hall artist, had sev< eral funny bits. An octet of old songs showed splendid voices, while Albert Plun- kett captured the personality honor* for the non -Impersonating members with his two numbers, *T Know Where the Flies Go" and "Down Texas Way." The last mentioned was sung before a cabin prop with Plui.\ett in cowboy attire. Jock Holland as a Scotch lass led a number and danced gracefully be- fore a chorus of male Scots in a whirlwind hornpipe. •• The program credits Jack Mc- Laren with the skits, Alan Murray; the dances and Leonard Young the gowns. Had "Biff, Bing, Bang," come in on the crest of the service wave it might have remained indefinitely. Tbere is meaty entertainment which despite a few rough spots, could have been added to the local bill of fare several months ago. The edge was taken off following the cessation of hostilities when vaude* ville acts harboring male choris- ters were as common as split weeka It hasn't a chance for a run locally* Con, "THE BEASON WHY" IN STOCK* Toronto, May 11. The Edward H. Robins stock which has started its annual season at the Royal Alexandra, Toronto, is to present several new plays during the summer. One will be given the week of May 30 when "The Reason Why" will have Its first showing. This drama Is by Mrs. Lillian Trim- ble Bradley arid Grant Morris. Mrs. Bradley is the general stage director for George Broadhurst. She will stage the piece here. This soldier show that made Its metropolitan bow at the Ambassa- dor Monday night is first rate en- tertainment, but why the delay? A week or two locally is about all that can be gained by the New York showing. Unless the American Legion adopts it for a swing around the Legion post cities under spon- sorship it hasn't a chance to con- tinue in the States. Capt. M. W. Plunl.ett presents the troupe, an all-Canadian aggre- gation of ex-service men who com- prised the official entertainment corps of the Third Division of the C. E. F. After the war the company was kept intact by Captain Plun- kett and have been appearing in England and Canada for the past Leading Makers of Stage Attire For Men and Women We costume completely mu-;; oSical and dramatic produce ^tions, moving pictures, acts,'! 4 revues and operas. I !1 143 West 40th St., tfew York J