Variety (January 1922)

16 LEGITIMATE Friday, January 20, 1022 .1 BROADWAY REVIEWS ELSIE JAMS Elsie Janis and h«r "Ganc" in a revoe written by Miaa Janis. Principal*: Jurien Thayer, Charlie Lawrence. Monk Watson, Duane Nelson, Lane McLeod. Q«a Shy. Bradley Knoche, Herbert Hoff. Frank Miller, James F. Nanh, W. Domfeld. Red Murdock, Lewis Held, Dan Walker, Chester Grady, Elizabeth Morgan. Mau.le Drury, Inez Iiauer, Elva Magim*. Margaret Bouea, Eleanor Ladd, I'aulette Winston, Florence Courney, Buddy Merrlatn. Asta Valle, Alda de St. Clair. Fatri< La Mayer, Claire Daniels and tbe Eight Bobs. American star who would ever have l tried that—and he has decided not to try anything in England. Lait. Elsie Janis hadn't heen in New York in a couple of year?. She had been abroad. The revue she brought back, slightly shuffled up and revised for American consum- ers, has the earmarks of England and France. Over there it would seem wartime conservation is still the order, for Miss Janis' produc- tion will not turn the "Music Box Revue" green v ith envy or pale with fear. It is a somewhat more sumptuous "investiture" than her first "gang" show c joyed. This one must have cost as much as $1,700, net. One scene, depicting Broadway at its most hectic corner, shows two prop Ujnp-posts, a cardboard set-up of th t Times building and a blue cyclo- rama. This is typical of the entire presentation. The show might hcyve been named "Just a Suggestion." Miss Janis rather prides herself on her economy of scenery. She utilized the war-made type of show when it was pat to instant advan- tage and has adopted it. She seems to have no worries getting away with it. Not only in the physical properties does she conserve; in her er.tire support there are eight chorus girls, and not a "name" any- where in the cast. Ed Wynn at least goes more heavily on chorus. If Wynn is "the perfect fool," Miss Janis is the perfect economist. Had she surrounded herself with all the masterpieces of the studios and all the treasures of the shops, she couldn't have played to a bigger, finer or more boisterously friendly audience than that which over- flowed tMe Gaiety Monday night. They applauded in turn and out of turn. The Janis shows thrive on speed, and encores are out; so the amiable appreciation at times threatened the progrers of the rou- tine. There are numerous scenes, step- ping on each other's heels in kaleidoscopic succession. The inter- acts are piffling, being largely juve- nile "satire" by Charles Lawrence, who drawls like Frank Tinney, which is his sole distinction. W. Domfeld does a small-time magic bit, and here and there the full stage scenes are either started or begun In "one"; otherwise the elisions are so brief as to constitute virtually instantaneous changes. This is simple enough, since there is little to change from and little to change to. _ Two of the sketches are clever. A Montmartre jibe, while not a new idea, is as well done as it ever has been, and Miss Janis sings "My Man" in French, around which it seems to have been built. An em- ployment agency skit, with nine ex- service men in line looking for a job, which finally goes to a. Heinle, is biting and too pungently true to be just funny. There are plenty of old bromides and not a scene is strained for the spectacular in anything, scenic or k otherwise. There are no real spe- m cialties, except Miss Janis', though W here and there the performers are W assigned individual moments. There is very little important dancing. In truth, there is very little in the whole of any importance. Yet— It is a rr.ttling good show and an evening's an usement, and will got the money here. First of all, it has Elsie Janis, who has a theatrical horseshoe and two rabbits* feet. Second, it's clever. Thirtl, it's fast. And the third cannot be over-esti- mated in its value. After 11 o'clock the star does her specialty of imitations. One need not now discover or even reiterate that Miss Janis is the single-handed queen of imitators" of all times. This year she does Bert Williams, Sam Bernard, Ethel Barrymore, Fannie Brice—an ordinary enough routine, it sounds. But the 20 or rj minutes that she pu*s into her de- licious mimicry, which is as much lampoon as it is imitation, can take its place with any 20 minutes on any stage, anywhere. Without no ensemble of American light theat- ricals could call Itself "all-star." Coming in the "next-to-closing" spot as it were, it rooks the theatre and punches home the impression. It is followed by a red-white-and- blue effusion of drapes and cos- tumes that doesn't get a quarter as much applause, proving either that Miss Janis I* greater than the flag or that the Broadwayites have had their fill*of cheering the grand old symbol through half a decade of war, Liberty bonds, elections, in- come tax and prohibition. Not that Americans aren't patri- otic; but they can't quite see the idea of springing that stuff in thea- tres, where they have come to laugh and cry, not to cheer or enlist. It's a safe bet Miss Jnnis didn't use that Amerioan flag in England for a Vlnale. There was only one THE BLUE KITTEN r>ouis Dill Hawkins (tigiais. a Parisian Victor Morley Theodore VanuVrpop Joaeph Cawthorn Durand George Le Solr Octave ». .Robert Woolsey Kifl Betty Barlow Cri Cri Marion Sunshine Marcciie Carola Parson Totoche Lillian Lorraine Armand Davella Douglas Stevenson Mme. Lucile Vanderpop... .Jean Newcombe Madeleine Vanderpop. ..*-.Lorraine Manville Popinet Dallas Wclford In its original form "The Blue Kitten" was a French farce, played in a little theatre in Paris, its title being "Le Chasseur de Che* Max- im's," literally "the- porter at Max- im's." As a Parisian delicacy it was far too racy for American adapta- tion in play form, and so it was used as a basis for the book of "The Blue Kitten." Otto Harbach and William Carey Duncan turned out the lines and lyrics, Rudolph Friml the score. Whatever the original story may have been, the adapters so denatured it that it wouldn't harm a kitten, certainly none that hibernate along Broadway. But Broadway did turn out in its befurred best to greet the return to the footlights of Lillian Lorraine, who has been off the boards for a season or so. Miss Lorraine was the victim of a painful accident a year ago and was long abed. She exhibited no trace of the injury and was radiantly pretty, gorgeously gowned and a perfect choice for the role of "Totoche." a bewitching habitue of "The Blue Kitten" cafe, location in Paris. 'To her was given "Cutie," the outstanding song hit of the score. Joseph Cawthorn was coupled in th i electric lights. His was the role of "The Blue Kitten's" porter, Pa- risian but without a French accent because of his Flemish origin. The job of porter,, he explained, was a most lucrative one, bringing., him something like 250,000 francs a year. But Theodore's family, whom he has established in a fine country house, never did know what his real job was. They thought him night edi- tor of the "Figaro." That is why he contended he really led a double life, or, as he qualified it, a least a life and a half. Theodore's 18-year-old daughter has fallen in love with Armand, a marquis, well known around "The Blue Kitten," and whose favorite has been Totoche. That lady had been a charmer, too, of Theodore. The latter, though technically the porter, it is to be explained, is pretty nearly the whole works around the cafe. He aids the ladies in their little supper engagements, places bets on the ponies for the sporty youths uid is confidant of everyone. It's a rather bright line which he speaks—that "he makes his money on tips he gives and takes." Theodore raises a racket when he learns the identity of his daughter's fiance, but when his family gets the low down on him everything comes out even. Douglas Stevenson was a very fashionable Armand, and though not blessed with an exceptional voice did very well with "A Bud Among the*Roses," one of the best of the numbers, always topped by "Cutie," however. Lorraine Manville in the daughter's role impressed as likable as the performance wore on. But the reports she was possessed of h/iftlantly vocal charm, cultured abroad, did not bear out. She danced lightly and did please, how- ever. It was Friday, the 13th,. for Vic- tor Morley, who had the first num- ber and danced with May Corey Kitchen, whom he neatly dropped in making the exit. Mr. Morley came back with a corking number at the opening of the third and final act with "Smoke Rings." The scene was the interior of "The Blue Kit- ten" and the prettiest flash of the settings. A smoke effect, with the aid of a scrim drop, lent a splendid illusion. In this same scene Grant and Wing appeared for a legitimate hit, winning the sincerest volley of ap- plause. This dance team was brought on by Arthur Hammerstein from "Tickle Me." The girl is really an athlete, and the precision with which they accomplished the tricky stunts in the action dance provoked the plaudits. Miss Kitchen was the only other dancer in the show. She looked especially good at the open- ing. Robert Woolsey and Dallas Wcl- ford were the eomical aids to Mr. Cawthorne. Welford's role as Ar- mand's tutor fitted him. He sput- tered ..so faithfully the crimson How to his puffed cheeks looked very natural. Woolsey was amusing as the r.mhitious youth who would suc- ceed Theodore as the chasseur at the "Kitten." He came fast with "I Could Do a Lot for You" in the last aot, the number providing a spe- cialty for him. Marion Sunshine teamed with Woolsey with "A Twelve o'clock CJirl in a Nine o'Clook Town" and Jhigh-kicked her way to favor. Mr. Cawthorn's spe- cialty number came in the second act with "The Best I Ever Get Is the Worst of It," and he sent it over for laughter, using his full complement of extra verses. One of the vivid bits that lighted the rich last act was the waltz number by Miss Lorraine with Mr. Stevenson. Her frocks showed a full back. Miss Lorraine chosing the mode of longer skirts to center all attention on the dip of bodice and the full flash in back from shoul- ders to waistline. Edgar Selwyn staged the book. Leon Erroll and Julian Mitchell put on the numbers, the outstanding chorus movement coming with the surefire "Cutie." Mr. Hammerstein did not have a chance to repeat the premiere sensation of "Tickle Me" by having the chorus pass out little bottles of the stuff that put the Anti-Saloon League on the map. But "The Blue Kitten's" advertising has aroused attention, describing its choristers as "playful pussies." The choristers were mediums, the pro- ducer appearing to favor that type to the exclusion . of ponies. He dressed them exceptionally well, and in the cafe scene the frocks of silver and lace made for a richness that fitted the occasion. "The Blue Kitten" ought to land, for though its first night did not establish it as a blue ribbon winner there is thoroughbred in its make- up. That goes for the players and the others concerned. Ibee. OUT OF TOWN REVIEWS ZlEGFELiyS FROLIC fif k ' n ,S,& ,,g ^!" n ' "H» c --. SAHGENT SCHOOL'S PLAT "KITTY MACKAY' (Special Matinee) Angus Ifacffregor Jerry Isaacs Sandy afcNab Gerald Lundegard Lieutenant David Graham - Kenneth Dalgneau Philip Grayson Alfred Alexandre Lord Inglehart William H. Van Thomas Acille Angtine Mra. afeNab Agnes Grant LU ale Nab Blaine Polak Mag Duncan Martha Madison Kitty alackay Lulu Mae Hubbard Mrs. Grayson •Janet Short J**n .Dorothy Haines This was t!--e first matinee this year given by the Sargent School, known officially as the American Academy of Dramatic Arts and Em- pire Theatre Dramatic School, and now in Its 38th year. It was given Jan. 13 at the Lyceum, and revealed encouraging dramatic talent soon to be available for Broadway. Espe- cially was this go of Martha Madi- son, a daughter of Magistrate O'Dwyer; but Miss Madison, while her performance was a gem, had the luck of a comedy part, and in si illed observers' eyes did not out- shine Lulu Mf.r Hubbard as Kitty in "Kitty Mackay," by Catherine Chisholm Cushing, the play pre- sented by the school. Miss Hub- bard brought a blithe gaiety to the earlier portions and read the last act scene with unusual charm. "Like Cinderella, my clock has struck twelve," requires no little delicacy to render so it lift:; to the spec- tators' eye. the veiling tears. Miss Hubbard managed that. The play is remembered from its Broadway showing, and it was suffi- ciently well mcunted for the pur- pose and skilfully directed. In Kenneth Daigneau, a former Ameri- can officer, the screen at least has a future lead, while Acile Angline got a lot from a butler's part. Agnes Grant made a good deal of a cross old Scotch woman, and lesser roles were for the most part adequately assumed. • Lccd, DRIFTING With the withdrawal of Alice Brady from "Drifting" at the Play- house and the substitution of Helen Menken (after Florence Reed had rehearsed the part for a couple of days and then reneged) renewed in- terest was created for the play and it enjoyed a second "opening night" on Monday evening. It Is hard to visualize Florence Reed in the part pf Cassie Cook, and it is easy to believe that Miss Brady might readily be seized with an attack of appendicitis after por- traying Cassie before New York audiences for a brief spell. It is a "fat" enough role, Judged from the standpoint of melodramatic enter- tainment catering to the proletariat, but the play is so theatric—so supinely inconsistent it won't stand the acid test of analysis to be placed upon it by the patrons. A second review is superfluous, but it is necessary to chronicle the interpretation of Cassie Cook by Miss Menken after about five days' rehearsing. In her big scene, which occurs in the fifth of the six acts, she was very nearly "great," but not quite so. Her main fault scorned to be that she played too much on a single key, very much like a vaudevillian attempting to extract music from a one-string violin. She is supposed to portray a woman of many moods, but seemed to be lack- ing in the artistic temperament requisite to the depiction of a per- son of a variegated nature—partially good and alternately wicked. The author has tried to create the char- acter of a girl marked with a love of life and adventure, driven to a life of immorality through a chain of circumstances and who is re- deemed through the love of a man in a similar situation. She-is sup- posed to be the victim of fior own temperament, but this *he fails to convey with sufficient conviction. Possibly when more familiar with her lines Miss M*»nkrn will bring to the part that which was lacking Monday night. Jolo. Philadelphia, Jan. 18. On its opening night last week the new Ziegfeld "Frolic" ran until nearL 12.30. A week's cutting and arranging go cut it down that Mon- day night the final curtain fell at 11.10. All that seems to be neces- sary at present is the smoothing of some rough edges, speeding up in one or two places and plenty of practice for the ensemble numbers, some of which seem to lack the Ziogfeld polish. As seen at the Garrick the "Frolic" looke like a sure-fire hit despite Will Rigors' remark that Ziegfeld, having made much money with such suc- cesses as "Sally," "The Follies" and ' The Intimate Strangers," was put- ting on the "Frolic" to save himself from paying a government surtax. "As long as those other shows make money," declared Will, "we'll stay out." Many of those who have seen both here prefer the "Frolic" to this year's "Follies." Rogers* monologs, while not exactly fresh in material, have not been heard for three years, whereas there were many criticisms of a sameness in the gags pulled by Hitchcock in the "Follies." Then, too, Rogers does not take up a great deal of time for his intimate stuff. Just why Jack McGowan, who was well spoken of at the opening per- formance, is no longer with the "Frolic" is unknown, but Alexander Gray, the substitute Juvenile tenor, while he obviously wor'-- hard, has neither the voice nor the personality to warm the audience. Luckily, each song he is required t» sing is ac- companied by an unusually beauti- ful ensemble effect, to his faults are likely tc be forgotten. The comedy, outside of Rogers, is in the hands of James B. Carson & :d Arthur West. Carson has dropped his "Securing an Auto Li- cense" skit, which went rather flat t N j opening night, and has substi- tuted a monolog which, despite a few clever cracks, is a weak spot on the program. Weet. with another r.onolog, placed after one of the show's biggest hits, started mildly, bwt warmed the audience into en- thusiasm as he went along, mainly b: his repeated requests that they should not laugh at his jokes. In many cases,-be it said, they would never have thought of laughing without the exhortation. His patter song on the crime wave question as a scream. Rogers' comedy (he included his rope stunts, of course) included a number of clever shafts at local items such as the bridge and the "L," but he also paid his respects Xj the Disarmament Conference, the Irish question and others. The for- mer was also the subject o. a long skit (one of the featured bits)', which has been speeded up since the open- ing and now has flashes of hilarity. Rogers was Hughes, Brandon Tynan a splendid Balfour, West an amus- ing China and Jimmy Duffy a clever Japan. The antagonism of Japan and China and the long-windedness of England were the points stressed especially i.. the funmaking. Another was a' fairly amusing bur- lesque thriller, "The Curse of Gold," by Clyde North. Rogers played the heroine, but the real hit was scored by Brandon Tynan as David Belasco, its producer. Thai impersonation, well known in New^itork, went sur- prisingly well here. Tynan had a seat in the second row r.chestra when the curtain went up and Rog- ers made his first remarks. Rogers introduced him to the audience and asked him to comment on the show. Later, Rogers brought out Eva Clark as "a young girl who wants to meet the great Belasco." Tynan goes up on the stage and the two stage a very funny rehearsal, in which Be- lasco uses physical force to make her say "I hate you" as he wants her to. The "Curse of Gold" sketch was then staged. Jimmy Duffy's "Horrors of 1921," cut to the bone, got only a fairly warm reception, but deserved more. Some of the prettiest of the chorus girls appeared wearing freak cos- tumes of the style of 1860 or there- abouts. The act had some crude stuff, but is generally clever. "A Double for Trouble," with a "David Work Griffo" and a movie rehearsal background, had amusinr; moments, thanks to Rogers, Duffy and beauti- ful Barbara Dean. Far above the comedy In It? effect, however, was the appearance of Way burn's "Dancin* Dozen." Their clogging to old and new songs Warmed the audience to the highest pitch of the evening. Nearly as suc- cessful were the California Ram- blers, with Oscar Adler as their di- rector and Eva Shirley and Al Roth as added attractions. Here was jazz at its best, With a little interlude of grand opora medley, well sung by Miss Shirley, and some excellent dancing by Roth. Next to the "Dancin* Dozen" it received the Oft applause Musically the "Frolic" is about -average. "Hello, Springtime," well sung by Lotta Miles, was about the best number. The rest were notable mainly for the go\ ns of the chorus and the lighting and posing effects. Theso wero all remarkable—the die, electric, lantern, etc.). "Beautiful Feathers Make Fin. Birds" (In which the girk were dressed to represent many-colored parrots and parrakeets) were th* best. Three Ben All Haggin tableaux were, if anything, above the average of these. Simplicity reigned in nearly eve.y setting, and the opinion was expressed that scenlcally this show is abovo the high Ziegfeld average. Waters. LONDON FOLLIES Portland, Ore.. Jan. 18. Albert deCourville's "London Fol- * lies," which came from London through Canada under the name of "Hello, Canada,'* closed a highly successful engagement here Jan. 14 despite It made this its second stand in the United States, practically un- heralded. DeCourville has some- thing new, novel and elaborate in this show. • "London Follies," opening woefully cold, took Portland by storm after the first night, when it was dis- covered that here was a most re- freshing combination of the sublime and the ridiculous—comedy, vaude- ville, burlesque and spectacle. The redoubtable Harry Tate won rousing plaudits for his fun-mak- ing; Henri Rosen with his weird violins got a fine reception, and half a dozen other funmakcrs were ac- corded honors. But it remained for pretty little Connie Browning and tall and gracious Lillian Coles to take the lion's share. These girls, on very short notice, replaced Shir- ley Kellogg, the American girl, counted out by illness a week be- fore. Miss Browning was proclaimed the daintiest girl who has been on the Heilig stage since Marguerite Zender. She was the central figure in an entrancingly beautiful num- ber. "The Rag from Home," in which a fair-faced chorus wove a British union jack from streamers of bunt- ing with which they danced. v Miss Coles took the spotlight in "The Rainbow of Flowers" number, which was proclaimed one of the most col- orful and well staged spectacles this town has ever seen. It's only rival for color and splendor was in "Chu Chin Chow." An interesting feature was the precision and the harmony in which the chorus worked throughout. The "Follies" boasted no singing voicep, unless Miss Browning's might be so termed, but from start to finish the show held its audiences, and every line was wholesome humor. "Let's All Pull Together" was the most important number. Harry Tate, author of a number of vaudeville acts that have been over here, is Just a little overdone as to makeup, but he is a whiz with his British humor—a style that Portland fully appreciated. Brounh f. LEGIT ITEMS Justice Cohalan has affirmed Referee Falk's recommendation for the granting of an Interlocutory de- cree of divorce *o Alice Brady (Crane) in her suit against James A. Crane. No alimony was -sked. Talulla Bunkhead replaces Marie Goff as leading womar with H. B. Warner in "Danger" at the 39th St. theatre, New York, Monday. The change was made in order to bolster the piece and prolong its run on Broadway. "S. S. Tenacity" closes Saturday at the Belmont, New York. The piece, which completes a run of three weeks at that time, will not be sent on the road. The departure of the "Greenwich Village Follies" from the Shubert, New York, this week, gives the pro- ducers three companies of the "Fol- lies," each of a different year, on the road. The original company Is playing a southern route, with the 1920 show in the middle west and the new show opening in Philadel- phia for a run. A dinner to celebrate Ralph Trier's 30th anniversary as a publisher of theatre programs will be held at the Biltmore hotel Feb. 4. Trier's activ- ity in this field covers the period from 1892 to 1922. Originally the company with which Trier is asso- ciated had the opera glass rental machines in the theatre and also a number of candy vending devices as well as publishing programs. It was then known as the Frank V. Strauss Co., Several years ago a change in the firm brought about the formation of the New York The- atre Program Publishing Co., Which now practically control the program "Rivers of the World." "Lovelight" I WlntlUg of every legitimate theatre (in wbi«h the girls'represented varl- in New York City,