Variety (September 1921)

FriJay, Septombcr 9, 1921 LEGITIMATE 17 JACK LAIT'S REVIEWS GREENWICH VILLAGE FOLLIES tUgrd and doHixncd bjr John Murray AndorsoD, music by ("arey Mofkud, lyrics by Ailbur SwauBtroni, roKtumer^ by liocber, Hingle hccumi by lilanclio Merrill. H. F. Maltby, (Jrotrhcu Kust- mau, II. I. rbil ips; Irciio FrunkliirH BuuK^ by horHpIf and Kurton (irccn. i*riiietpal»: Irrno Frunklin. .JninoH Watts, Ted Lewis, (irotclion lOiiHtinan, Donald Kerr, Itird Millinan, Fluronor Noriuand. Uobert Pitkin, Al Horinnn, Jlobcrt Castleton, llaiui tun Condon, |)orp, Kvelyn Darviilo, Addle Kolfc, nicliard Bold. Hooslind Fuller, I'ogx.v Hope. HaHil Hmith, Ilami ton London^ Charlen KdniondH, Ada Formau. The third of the Village revues is a cocktail of color, liKbts, scenes and dress. Blanche Merrill gives it the only touch of brightness in idea that it has, and (iretchen Eastman supplied the wallop of the performance as both the star and the pantomime author of the t.hrill-bit. The idea of it is not sew across the water, but it was here, and it banged the smart overflow first night audience between the eyes, com- ing as the meat of a sandwich which was otherwise all mayonnaise and let- tuce leaves. Irene Franklin contribut- ed several songs of her own and of her own kind. Otherwise the show it devoid of wit and is smeary^ with smut. There is a popular impression that anything smacking of the **Villidge" must be at least "blue," and that Is the color which predominates in this kaleidoscope of shades. James Watts, always a little rude in his talk and cavortions, outdoes himsolf. And Al Herman on the opening night was so disgustingly dirty in his talk that this wise aet, who wouldn't mifis any kind of a "Follies" at a premiere, talked right up and said it audibly without flowers. Such wretched taste as Herman here disp'ayed should not be lightly disuuHseo. He revived for the occa- sion the delectable bit iu which he describes with moist lips and much gusto how he peeped through the key- hole into his married sister's bed- room. Other equally stomach-distres- sing monolog surrounded it. To punc- tuate it, he pointed with the wet end of the cigar stub that he uses as a prop. His single was as a wet and dirty blanket on a show which was at least optically beautiful if not as pure as it might be, and he died on his feet. His efforts to chide the audience by asking it subtly if he were keeping anyone awake went lame. The au- dience was awake—but it was sick. Herman kil'ed the artistic finale, leaving the audience in no humor for light prettiness. Even n girl with two jet stars placed with marve'ous marksmanship just where they would excite the most attention on a tsn triqunt waist that fitted like her skin about her sensational curvllhears, failed to rouse the nauseated first- nighters. That finale, with a frenzy of colors streaking and streaming in from everywhere, was a thing to marvel over. Miss Eastman's dance, which drew the heaviest recognition of the exhibit, had the able sunport of Dona'd Kerr, who here and elsewhere showed him- self a dancer of great skill and per- sonality. This was an apache concep- tion in which, just before the climax, his girl i.4 shot dead bv a jealous lover. The po ice storm in. Kerr picks up the dend girl and goes through the motions of a dance and the police see business as usual and depart. The dance was such a dramatic sensation in Paris it was described in A.ssociated Press cables when first put on over there. It is doubtful whether it was as well done there. Miss Eastman was su- perb, both in the animation of a pa.i- sionate dcnii-mnnde and limp in the embrace of death and reception. Kerr was as splendid. MIk.s Frank'in, looking roUy-poUy and working without strain, reached the top whenever she appeared alone. Irene Franklin in "one" did not wait to 1)0 fjiscovered by revues. Her songs Hve zippy and liave kick lines Avherc the Ivicks are needed. In a scene by *] F. Maltby. one of the most sala- cious bits ever served with a cold nt- tj^nipf af comedy, sho suffered from Ine (lictales of th:it trying job— tiving to stay clean amidst niire. A less nhle eoni.Mlienne wouM liave brought in the |»o ico. 'Pile piece de resistance of the cute little plot is an exchaiipe of frouMers betv.een the stranj»er whom slie liiis in her flat and the Inisband who cotnes home unexpectedly, the comedy «limnx" coming in tbe Jti-ingcr walking off wearing the luis- band's pants. To the credit of the di- rplor it must he set down that hix '^I'uMail was n«»t hanging out. a loinli f^f reprossion for which gratilmle sli'.iild not go unspoken. ynfts again nrsumes groJo^iine fe- TnMlc ro OS llnongliont. Some of h'i l>e:irls nf retort c;niie from oysters no longer fresh, and some Iin<l other odors <'';»' iiiii.v be typical of (;cen\vich Vil- •U'e l>iil not savory in any other vil- iiiTo. ^ Me was lang!iid)Ie. of course. '•'!.] Millinnn lia<l p s<'rne :ind a song ".'•I lor 1,0,. She siifTered ;mi ac. ident. •'"■"- ..fr the wire before ^he had i.iv.r^.d it the first lime. The finis "N "lo <i,.,,^ „,„i j^],p ^^.„^ in ^ |,|f „f ^'•'•>"!iia until on(j inlellisent actor came forth and gave her a hoist. After that she tied up the show. A punl- ing specialty with girls in the audience ho ding violins which played "re some wireleMS telephone aiiparatus. did not "go" with any enthusiasm, de- spite the sycophantic strivings of t'harles Edmonds, the inventor and spokesman of the turn. A little one named Peggy Hope shone forth with a fetching figure and no little dancing ability of the floppcr- sonbret order. Richard Bod sang himself to several mild triumphs by vitrue ot a clean tenor voice, lie has a negative personality which may be due to nature or to an imitation (per- haps unconscious) of the easy grace of John Steel, foremost of his kind in that btyle of ballads iu that style of shows. In an episode on too early. Miss Merrill's witty lines stood forth like gems against the mud and muck which slopped over the rest of what script there was. Miss Merrill is naughty, too; but she is smart: she Is wise; she is a satirist, not a uirty-story teller. If she had written the show, with that staging and those clothes and those settings around her brilliant ideas and brilliant expressions of those ideas, this would have been a great "Fol- lies." As it was, it may draw and draw and draw. But, somehow, it must alienate millions of people whose presence such barroom farces as the early morning apartment mix-up and ■uch a'ley garbage as Herman's mono- logue make imposalble. Ted Lewis did his last season's act almost without change. He used shoo- worn nnmbers and strutted and made much of himself for no apparent rea- son most of the time. He did not rattle any seats loose the opening night, either. It was whispered that Jimmy Duf- fy, late of Duffy and Sweeny, was to be added to the show. He will be a welcome relief. Duffy is "low,*' but he has always been reasonably de- cent. This show needs both rcasonability and decency. It has everything else that a great show needs. Lait, THE SILVER FOX Frankle Turner Vivienno Osborne Edmund Quitter Lawrenc* Orossmith Christopher Stanley. .William Favershara Helen Kullter Violet Kemble Cooper Capt. Bclgrave Ian KeXh keen chick. Perhaps Hamilton gave her the pro name of Erankie after he saw her do a rehearsal in skirts as brief as those she wears in the performance. The curves undulated all about her and she did Justice to the part of the iucenuous vamp who stole an<l stormeu her way into n phlegmatic writer's life. A phlegmatic writer at't!''<4 moment is saying so, therefore ' \ is the verdict of an ^ ■ . ' .■tf. l' .ML ' . was not as ripiding. but equally effcc tive. in a r.ew character: lens dilficult to play than the sweet and nimple (not too simple) minister's chee-iUI, but far more inviting to over-exertioU' She, like the withers, held herbelf in almost perfect check. Mr. Keith had but a bit. He en me on with prejudice against blm by the fdot. But he swept it away by man- iness uud that square-shouldered presence that, on tbe stage, requires more than talent—it can come only with breciiing. *'The Silver Eox" again wipes out that popular fallacy that a play dare not be *'talky." This one is all talk. A play may be deaf and dumb, or it may be all done in the dark, or it may be in a foreign tongue—'if it is good enough and is done well enough. This one is so good and is done so well that it outdistances ordinary carping. Its main elements of delight and success, similarly, run away from commonplace analysis. It may only be said that it does everything better than others of its kind And. after aU, isn't that saying everything? Lait, T!ie sm&rtest comedy New York has seen since (Tlyde Fitch died before his time, this. Cosmo Hamilton, au- thor of 'Scandal,'* adapted it from the original of Frana Herczeg. One of them is a great playwright. There Is enough glory in this to establish them both. Hamilton does not exactly need establishing. But 'The Silver Fox" is so far superior to anything that had hitherto borne his name that he may better rest on half of it than on the very superior but scarcely im- portant fluff he had sold before. Here is a gem of epigram, satire and human interest, dealt with skep- tically—almost cynically—yet ringing true and hitting clean though it nt times becomes delicious farce*. Life at times becomes farces—and happy the life if that farce is delicious. The stcry? There isn't much. There in almost none that the blunt pencil oi th»^ Itrtr-rjcd re"i.v-':^ir_c«<»i transmit. It is just a sketch of re- lations between men and women, be- tween women and men. between men and men. Shakespeare's finest drama (Joethe's crudest tragedy. Wagner'.s roaringcst opera, Schnltzler's most a<id comedy, was no more than that. William Faversham stars. He di- rected '"Hie Silver Fox." For both he should be given the croi.x dc the- atre, and is herewith smacked on eitl'.er cheek. The same elegant re- pression, the same honest expres.sion, the .same gentlemanly trust in the iu- telligence of American audiences, the same magniticcntly open and above \ board tactics with his public that have always marked his services to his puMic are aRoin the slarif and sliipc^ of his flag and apaiu he is a hero and a conqueror. Only n Faversham would pick for himself the leanest role of a ^reat |)Iay and let his support drink of the pravy while lie fed si/diiiigly bi:t ihanninKly on the pristlc. Artists are rarely gluttons; and gbittons so rarely become artists. To Lawrence (Irossmith falls the Brac<«fnl comedy role of an indiilRcnt novelist who c;in love an iceherp and a volcano in onf> play and be cinially true to both. Here again perliaiis lli;iril<s to yiv. Faverslinm's direriirwi and p«»vlinps tlianks to Mr. (Jros- MiiiiU's \Vv>ll Known tact as a i)liivcr -- ijiei'e 1^ til it rc^isfan'-e :it';iiiist 1 ( iiipt at ion to overdo f(» (ireaiM-n to vult,'arize. >ii' i ('iM>i)er has her nfTeeralioiis. Her lole calls for many. Hut she lias ;i iirii!!;ri' tli:il si'i-ins to ii;-lif_\ ;iliii''-r ;iny ec'ciit ricities of deport merit and ;.(' his a \>ii<r tli:ii must )•!• swcci j m'lsic to an author's ear. T.iTie^ .arc | liopefiilly written for snrh voices, j Ml\va>s, Imt they find tliem s'-ldom. In tr.uHinility with under the -nif.icr s|priiii;.s in eruption an«l, (inally. in full outhur-t. Mis?< t'uopcr is l>ril- liint. Ilifou^'ioiit. Miss O.shorTie is refre.^jiinj; as the j THE TRIUMPH OF X Carlos Wupperman's name is on this as the author. Lee Shubert's and Jessie Bonstelle present. Wupper- mtn Is dead. He was murdered in Coblents after the armistice, having been a U. S. secret service man with a brilliant record in the war. Frank Morgan, who plaj's the male lead, was his brother. Ralph Morgan is an- otper brother. Frank tried it out in Miss Bonstelle's stock last season, in Detroit. It was a success. Miss Bonstlle had parts of it rewritten. It may yet be a success, despite her meddling. It is now a weird hybrid of the poetical work of Wupperman and the clumsy hand of some pottering hack who, after as great a central inter- est and human suspense had been created as has been known at tbe end of a second act in months of playgoing, it becomes distorted, di- verted, distracted and ail but de- stroyed: The name of George Scarborough is privately whispered as the fixer. Surely an experienced and sane playwright like Scarborough, who has done some good things, could not have single handed so brutally mauled so pretty a manuscript. There must have been an accomplice, at least. . Morgan's role becomes very broad after the switch. Can it be that an effort was made at the eleventh hour to exploit him as an actor by jiujitsuing the theme of a lovely drama? As he gets broader he gets worse. It is no favor to him. Sing- song, monotonous, anticlimactic, he drools along and monopolizes the stage when the interest is solely with the girl, who is at times .shelved en- tirely and ot times sentenced to phony and progressless hokum supposed to be "inside uuderworld atmoKpbere," meanwhile. The girl is Helen Menken. Like a b eautifu l bolt out of a high sky she TJfHinnrrTitnr~(in'' - ri/<.-.irr;-.i- • -.rlif :•• t r: k " ■ everything sizzles. Not extroordiuarily beautiful—as the namby pamby iti- gcuue beauty of the stage is usually measure<l up—she becomes idealized in the unafraid and unashamed a.t of acting n real girl like a real girl —and a remarkable real girl «iud n remarkably real girl. Whatever becomes of ''The Triumph of X," Miss Menken will not be for- gotten by those who saw lier play those lirst two acts—thoae^ two real acts. After that s!ie is almost in- credibly aixl certainly unforgivably sidetracked and warped by the dis- tastes of the pervertetl scenes that follow. An attempt to start, a new furore (»ver Morgan when everyone is yefirninj; to have tnore of and know about her, n)uk<>s him imi)ossihle and wastes her- wastes her when shi' has b(;comcs potentially nt the second curtain n million dollar asset, not to mention altruistic art at all. The st(n\v is of a fjirl whose father was a httm and whose mother was a tramp. The iirofessor raises her to down the hereditary traits he fears may crop out. They do when slio tastes ch.'impaKiic at a party given to honor her eiiKagement to a nincompooj) juvenile. She gets a sweet slew ami mamma crops o-.t and she proiuMly sla|)s his face. The pr(»fcssor takes her home. She dis- appears in the night. 'I'he boy comes iiack like :i wiiip|>ed pup ;iii<] with- draws. The piofes.-or !:i'| ^ a letter that slie left saying she jcfi l)e<'ause she love.-! him. the hoy lia\i;ig told her in the drunk scr'rie that it v.asy't her real fatlier. The girl goes out Info fl.e v.orld (here ain't no such world, hut 0»e fnids it. 'I'll'" profcs-rii' Iii'c.niM*-' a \eiy Inlld and \r\\ ;i f;:il I:" ,. t llive aiul \'"r\ lilillierin; !)oo/.> lioMiid :in I !:;i'is .iway what r;ii'.iiit ha\'e l.nii ;i ela'-'ir. It Nsonld lake mudi lo ruin what llioso fir.it two acts !ert\i'. 'D.c-r is •iliiiost ( nr»iit;!i in what f»l!oA'.M to ru"ii it—or anything. I'ut it is a close test between I lie good of the first two and the trash of the third. If the start witis, "The Triumph of X" will be indeed a triumph of x, the unknown quantity —that being the problem of how luuch liands with live thumbs can do to .a-tists' concepUons and still make moiicy. Lait, Not enough comedy. The Broad- way audience is Just between a wise and skeptical Palace bunch and a wide eyed Harlem aggregation of yawi)ing yaps. It craves uubstantial vau(leville, luugh-acts preferred. And it rises to uuything that has merit. x\ny turn that thinks it has anything and wants to show it where on audi- ence will help should whisper to its agent that an opening at the Brood- way is the first choice. It is close to "home" where bookers can easily bo induced to run in, and it provides an ideal admixture of Broadwoy strays to dig up the deep Htuff, out- of-town visitors to be in the right humor for amusement, and regulars of tbo fan order who always respond to the goods because they are enthu- siastic over vaudeville. The bill Monday was not quite up to what such a collection deserved. And the orchestra Jimmed up what there was of it almost without ex- ception. The girls in the pit sawed and blew and hammered out as weird a flock of sour notes and bum tem- pos as ever drove penformers to profanity. Betty Washington, a little cutis in the Nun>ber 2 spot, suffered most from the orchestral vagaries, and only by quick thinking and ready showmanship that included repeating bars to cover orchestra gaps and by eluding notes and bridging chasms, was she able to finish her fiddling at all. Miss Washington, by the way, is a little peach, aU dimples and curves and talent, and she took a hit despite the pit. The opening act did buaines.s with the audience, also. Walthous and Princeton, cydiats. started off the bill with speed and spirit. liou and Jeaa Archer, also bitterly crimped by the rausician.s, missed their accus- tomed putover until tbe finish, when they closed well. Duval and Little, a neat light comedy double, seemed spotted wrong and couldn't wring the laughs. The talk is good and the turn is clean and classy; the Broad- way likes just a little more hokum than they provided, however. The earlier portions of their material are especially devoid of punctuating punches. ''Sawing a Woman in Two" is the unsubtle title of the headline feature, which runs about 7 minutes. It seems that a billing which would leave the climax as a surprise would be preferable, but perhaps it draws by telling the story in advance. It is Horace Goldin's illusion (and it is claimed it wAsn't his first, at tbatj, anyway, the lecturer, who operates the trick, credits Goldin. Tbe stage committee was obviously composed of plants. The deception, quite simple to insiders, gave the audience a gasp- ing thrill, and was as deftly executed as always. Tbe applause was not spectacular. Anger and Packer, in their talk and son^c act, which has been seen re- peatedly, drew intermittent laughs* Anger is a comic who is seldom idle, and Miss Packer looks gre:it and works a wicked straight. Some of the gags are aged and' one or two might be dry-cleaned. They ended with a whole skin, and that won -.r..:.r:'>'.y~^..:a.JLk;..-.i:lLi^^.. iu.,. « l^.m I>einons (Slayman'i Arabs) closed the show with a lot of whooping and acrobatic activity, moking a very ac- ceptable blowolT. Owen Mcfiiveny was not seen af this show. Lfjit. LINCOLN .SQ. The easy-going Lew Cooper head- lined, lie did the name act as at the opening of the Strife, even to the in- troductory gag: "Miller may be th^ governor, Imt Loew runs the State." 11 got nothing here, as the liincoin Squareheads didn't know Loew had the State, or probably any other the- atre except the one in which tiiey stretched their legs and .>|»rawlcd, ha f-awake, with set jaws and hard- boiled exlerir)rs. Loi'w introduced a songplugger in a box. It called for more than tint to arotise enthu.-'i«iniii .^a the rickcly .•>;;!- lad he pulled. When a silvery-ilii o.j;- ed ienor in a box with a spot on him, f atting a bit at the emotional (juiver of an M^ghth avenue s.-ntiiuent s.t to Jcr.soy ('ity poetry can't get CMjijgh to let him sliii ")V('r an encore rhorus, something is sour. Mxcopt for this episode, ('oapcr w,.rk(Ml his fhwiit in- dolence and lii-< .^iiappy m.'iterial to gorxl advantage. IIi' walked away from tiio re ,| of the show, ('ooy)er isn't the tojijiirsf .single in the world, ImjI he can give ilie average hig timer ol hi;< sort les^.in-i. l>oM<I.is I" int pot lauulis !»y iiiii:Ii»v Ii;i-d '.^ork i'l the sketch ^ipof. A>-,-s(- ed l>y a feeh'.e vfticod !ind rdiri-ig mun aiid a ! lUf )us girl with an I .a.i ;ir- <eiit Mtid a l)o:'er-wori:s d':;\f:y. he swung fuiioM-. Miuj U'iM, ;i)l 1 tl rw .\:\-\ I !ien he I'it ^oj ..m jjng ,\t the ri:i;-!i he VM-^ I'lli'iiiu' r:;oMIl^|Ji(!(' i:i !i: ^ li.iir v.'ifli "lie Laud, vv.-niu;,' lo ili.- aU'lieti. c V. itii il;e o(}i"r- ;iiid in.)t;"ui!ig t'i> n ;• I'i'itiT to !;<<•], \Y\(» ciirt:!;;) '^n'l,- ,'it1| \\. ^ r e.t. f iiii' is all r:^!-! 1 >;■ liie time.- He is a laborious comedian who shouts and throws his hands about and fights for laughs. When Bert Baker gets through plsyinj^ "Prevarication,** Flint should Toase it, and they wilt both make inMcy. The grouch thing he has now is not essentially fuuuy, and Flint defeats his talents by the neccHsity of overdoing underdone lines, devoid of any situations. Joe and Clara Nathan opened. The girl is short of the stuff that gets to ' U 'S L ' l. i JlJJ.L '! *" ' : *f^'' -- r rii-inT\Vj-T_ too. Between his ditties and hers, some ten minutes are bur;?ed up. Then he ^oe.i into his cartooning with chalk, which be works for hands iu most ua- ashamed frankness, even asking out- right for applause. .Miss Nathan ro- appears, dressed a-lu studio, and.she "assists." Jack Martin Trio closed. Martin is a neat monopede dancer who does two fast numbers without a wasted move or a false one. The rest of the turn is apple sauce: two girls sing, ono a'so toying with tbe piano. The soubret docs two full single numbers that would be better and might go better if rendered by a Viotrola. The au- dience was brutal to her. La Beige Duo opened. Lait. STOCKS (Continued from page 14) player to return. "Civilian Clothes" opening, followed with "Scandal." Corinno Cantwell succcds Gertrude Jevona as leading lady and Smyths Wallace replaces Barry Townsloy iu the male leads. Guimes & Ilughca operate the house. Jack Ball has concluded a deal whereby he obtains an iuterest with tbe Hawkins-Webb Co., and the Jack Ball Co. will be merged with tiiis or- ganization, which has been playing at Muskegon, Mich., ending its summer run there Saturday, Aug. 27. The company moves to Little Rock, Ark., to play all winter at the Kemper theatre. Dallas. Sept. ?. The Capitol will be opened Septem- ber 18tb with stock, according to a recent announcpment of the S:>uthern Enterprises, Inc., lessees of tbe prop- erty. Allen T. Morrison, assistant general manager of the corporation, is in New York selecting a company at tbe present time. It is expected that Carl Ps^ra, formerly of the Jefferson (Loew vaudeville) will manage the stock theatre. The Capitol in the old "le- git" days was part of the Oreenwald- Welss circuit. Toledo, Sept. 7. Stock season opened at the Toledo Theatre Monday, ^ept. fJ, with •The Pipes of Pan," three act comedy by Rdward Childs Carpenter. This la the second season of stock In this city. Spring Byington. I^sie Bnrtlett, Ade- laide Hibbard, Mary Stephens, Bar- bara Bevett, Laurra Lovett, John Sears Storey, Carroll Ashburn, Ald- rlcch Bowkcr and Neill Pratt are in the company this season. The Liberty Players at Dayton, O., led by Henry Hull, has close<l, leaving the city in stock to the Mabel Brown- ell <'ompnny. Both stocks ran all summer, causing an admission fighA and (he ex tra expense of local fea- tures. The Lynch Brothers will play their annual stock at the CapltoU Dallas, opening Sept. IS. Stock companies will open Labor D.iy in Montreal, Ottawa, Halifax. Canada; Lowell, Lynn, Haverhill, Brockton, Mass.; Wilkesbarre, Pa.; Newark, N. J., and Bridgeport, (!onn. Harry Clay and Charles lllaney will open .'•toek coinpajiies at the C >tha:n, Brooklyn; Pro'spect, New York, and Orriheum, Newark, ou Labor Day. The t wer;ty-fir>l con-^ 'euiiv"* "season of the Baker Stock (^nnp.Tny the re- orgarii/ed east presented ff>r the first time 'Tiie Wonleifid Thing." Selmar .T«'I;K,»n, leading man, has been re- L'lrned. tjlaving o;>[>r)site Marjorle I 'osier. Other ne',/ menil)erH are those of .lane (iilroy, Hccond woman; Kan- ••: n Mansfi-ld, juvenile, and (leorge l\ileieo, character mm. Wal.er B. Cil^Tt again directed. Oil the same dale trie I.yric re- •^'pened for ils \?,*h ^e.l.l^on of musical coiri'dy .s^ock with Al Frank."*, t'T inf':);il e')i>,'>d'.ni, direr^Min for Ke.i'iiig n\)(\ Flood. \;- '1 T;' 'OH- •,'"! .T'»'.ri ^Tr:'',,be ;,Mv,. ; , .,,.j .',,. r',,i ,•;.,! i» .,y,..- , r'-tM field, M 1.^.!., til" f"*ir.'T J'^ leadinR lidv. T'le ^le I; . .■;,;. ;'- v/iM • lake an aMi':;p» f-) cvn »!.') .at t!ie ''''ocial ''irmigli Ih" ui'.lT. \\';;!l, I ! 0^»er o-eiied f;i;-« N\eol \y\} i t ',n' ^I !;■• • ■• I" ; v •-■i i!i Ffica N V. '!-i'^ r..l.»ni'<| l»| iv.TM PiM.sfield !^' , •« w il. n .•;■;..a iu'i.'.'iuJt -.'ly.