Variety (January 1922)

Friday, January 27, 1922 LEGITIMATE 17 OUT OF TOWN REVIEWS "THE CZARINA" Washington, Jan. 25. Th* Csarlna - I>orl« Keane Annl« Jascnivoka, lady in waiting Anm * J I^>ls Meredith Marie lady In waiting Phyllis Alden Th- Chancellor Frederick Kerr The French Envoy Ian Keith Count Alexia raerny Basil Rathbone Nicholas Jaschikoft Kenneth Thompson £„nikv William Devereux {5«now. Richard Malchjen vischumowsky Edwin Nbel slakoff William H. Thompson yy 0 nne Blanche Oervais Maids—Jane Page. Miriam Stoddard, Vir- ginia Trabue and Elisabeth Collins Lackeys—William Marr. Bertram Hanuer, Stuart Kemp and Charles Frank. Guards, courtiers, etc. •The Czarina" was not meant for Doris Keanc, but because of artistry she surmounts a handicap before which many others would have 0 fallen. ■ Her handicap lies in the lick of physical strength to "top" (to revert to the parlance of the theatre) the scene when the ruler in Catherine asserts itself. The masculine side of this great ruler of the Russians is not done convincingly by Miss Keane. It would seem more that the star were playing at being the Czar in these moments rather than presenting the true Catherine, whose real self is the masculine side of her character, whereas she but surren- ders to the passions of the woman in her nature when she cares to lay aside the burdens of state. It is here that the splendid direc- tion of Mr. Miller asserts itself. His work is done so exceedingly well that this weakness, which might otherwise be magnified to such an extent as to mar, is so covered in the presentation of the p!ay as a whole that it be?omes subordinated in the engrossing interest of it all. Melchior Lengyel and Lajos Bird. the authors, present a most inter- esting study of Catherine, and with it have constructed a play that never for a moment lacks interest. It is true that spots of the second act appear to be weak, but these only lead to great moments and must be forgiven. Catherine is ruling Rus- sia with a stern hand which is tem- pered with justice and love for her people. She has but recently dis- missed a lover when a young lieu- tenant, nephew of her very able chancellor, without whom Citherine would fall, arrive/; after a two-day ride to disclose to his Czarina a plot against her life. She likes the strength and the youth of this loyal soldier, and re- wards him not only with .advance- ment in rank but with her favor; in other words, to quote the others of the palace, he becomes the "wife" of Catherine, there to please her when she desires to be pleased and to amuse when she would seek amusement. This is not to his lik- ing. Conspirators in the palace play upon this and finally win him over to betray her, which betrayal is stopped by the ever-present fore- sight of the chancellor. She sen- tences the lover and the ohers to death. She would repent in her lover's case, but he prefers death. He leaves, and here the chancellor brings forth the next one, in the person of the youthful French am- bassador. Catherine repeats her- self, and the play ends with the Frenchman repeating the words she so loves to hear: "What a wonder- ful, wonderful woman you are." The cast, English, is adequate. To Frederick Kerr as the chancellor must be accredited the outstanding characterization of the performance. Under an exterior that is very hu- man Mr. Kerr gives us a gem-like portrait of the crafty statesman. Ian Keith as the French ambassador who waits so very long upon the wishes of the chancellor for the right moment to rhe presented to Catherine to take his place also Rives an excellent performance. He is the polished lover, the Frenchman to his finger tips, creating just the contrast Mr. Miller must have de- sired against the roughness and strength of the soldier lover, so very admirably presented by Bisil Rath- bone. Lois Meredith is delightful as the first lady in waiting to Catherine, the betrothed of the soldier, whom he casts aside in his infatuation for the Czarina, but whom ho really loves because he is the master, and who are united because of the joy brought to Catherine in her new love *or the Frenchman. The play is told in three arts with but one set depicting the Inner au- dience chamber of the imperial pal- ace at St. Petersburg during the year 1765, and is beautifully mount- ed, while the costuming is such that °ne is deeply impressed. Mcakin. The leas* of the Steinway, As- toria. Long Island, held by Charles and Harry Clay Blaney, was taken tvor this week by John Holly, who n Pened a picture policy Monday. The stork company under the Bla- ney management closed there Sat- urday, The new management con- templates installing valid- villc . within the near future. 3C GOODNESS SAKE Atlantic City, Jan. 24. There was pretty music, always present if rather restrained humor, and a tremendous amount of real stage charm in "For Goodness Sake," the new musical comedy, latest pro- duction of Fred Jackson, of "Two Little Girls in Blue" fame, which opened at the Globe Monday night. The usually rather callous board- walk crowd took to the new pro- duction with seeming enthusiasm, and there is every reason to believe that the latest musical venture is due for profitable growth. Its plot, if plot it can be called. is a plain story of a young married couple, of whom the feminine mem- ber is inclined to flirt. There is a planned death scene which, being overheard, comes to a rather in- glorious end. Altogether it was a pleasant even- ing. The music was delicately fas- cinating, as William Daly and Paul Lunnin had composed it. Some of the melodies were richly entranc- ing, especially the motif of the first burs of the second act waltz. There were songs that were -effective with voiceful volume, and yet no complex in composition, duets and choruses that harmonized easily and fittingly with swinging rhythm. • In the lyrics there was more humor than usual, and a plain spoken freshness of phraseology that made them attract in almost every in- stance. Fred Jackson's book suc- ceeded splendidly in not colliding with either Arthur Jackson's lyrics or the musical program. The latter had the advantage of the successful Allen K. Foster, who devised some of his best effects for the dance numbers of "For Goodness Sake." Priestly Morrison had the credit of staging the offering. The burden of the p?rformance was well shared, but Fred and Adele Astair had so much to do with keep- ing the pace lively and constantly moving that they were foremost in the public eye. providing dances that were eccentric as well as intri- cate, and offering a variety of so- ciety steps rich In effect of terpsi- chorean delicacy. Marjorie Gateson was once more with us with another phase of her diverse personality; Vinton Freedly was nervous; the diminutive and pretty Helen Ford pouted and smiled; Charles Judcls muddled the English language when he did not forget his mission, and John Haz- zard kept his place with festive cele- bration as of yore. That was "For Ooodneafl Sake," with accent on the "Goodness." Schcuer. BLUSHING BRIDE Washington, Jan. 25. Possessing moments that posi- tively scintillate wit', brilliant com- edy and a truly tuneful score, this latest production of the Shuberts by Edward Clark and Cyrus Wood, who supplied the book and lyrics, and Sigmund Romberg, who wrote the music, had its first showing at Poli's here Sunday night. Between these bright moments, however, are many gaps that come close to boring one, but these can be brightened, so there remains nothing to do but concede that "The Blushing Bride" has splendid chances for success. "ceil Lean and Cleo Mayfield are starred. Fifteen minutes after the curtain rises Mr. Lean makes his first entrance, and then things com- mence and bright spot No. 1 Is brought out. Here Mr..Lean has the funniest racetrack chatt.r that has been put together in a Ions; time, and he handles it beautifully. He was interrupted with applause on numerous occasions throughout this bit. To Miss Mayfield is entrusted a song that is bound to go over, namely, "A Regular Girl." It pos- sesses a dandy set of lyrics and a catchy melody of the sort you want to whistle, but there are many others in Mr. Romberg's score that hold this attribute also. e story, too, is better connected than in most musical comedies. It is rather light, but it serves to bring many really funny moments. What more could be asked? There is a supper scene in the first act that is moment No. 2. It is a positive gem. but in this as well as throughout the entire evening Mr. Lean cannot be accorded all the credit by any means. Tom Lewis is there. Need more be said? The greatest burden falls upon Mr. Lean and Mr. Lewis. They keep things going in fine shape when they are on the stage, but it is when they are off that strengthening has to be done. The second aet is superior to the first. In this second act "Dif- fereht Days" is offered, a satire on what the restaurants used to be and what they are now. Mr. Lean must have had a hand in conceiving this number, for when he was hers last in vaudeville the act presented by Mr. Lean and Miss Mayfield was made up of stories told in nc. and this is what was done in this num- ber. Supporting -the stars, th • Shu- berts, aside from Mr Lewis, have gathered together* a good company of i inclpais and a fairly likable ChOrUfl. Clarence Nordstrom i^ I lag the naturalness that was once hii greatest asset Everything he does now is too studied. This will explain why numbers allotted to him did not bring the returns merited. Harry Corson Clarke, a name that brings many memories, has a bit of a small town judge, and he does it splendidly. Robert O'Connor gets a good deal out of the Frenchman, while Gertrude Mudge handles the n ther well. The rest, though, are open to objection. Edythe Baker, ex- cept during a very capable piano specialty, proceeded to walk through the ingenue role, while the Swanson Sisters depend entirely upon their blond loveliness to put over what they have been allotted. A dancing team failed to impress, possibly be- cause of nervousness, during the opening of the second act, while Harold Gwynne endeavored to be sincere as the man who would steal for the girl. What little faults have been set forth can be so easily remedied that they should not be overlooked. Mr. .Romberg's score is chockfull of tuneful melodies, and in addition to the two set forth above, "Bad Little Boy and Bad Little Girl," as well as "Springtime," are bound to prove their worth. The Shuberts have mounted the two acts beautifully and the cos- tuming also leaves nothing to be de- sired. BROADWAY REVIEWS MARJOLAINE Admiral Sir Teter Antrobus Albert O. Andrews Jtro Hoyal Cutter &fVa. Pamela Poskett Daisy Uelmore Rev. Jacob Sternroyd, D. D.Colin Campbell The Eyesore B. L. De Urocq Punch and Judy Man Paul Warren Barbara Sternroyd Mary Hay Mr. Basil Pringle Maurice Holland Jerome Brooke-Hoskyn Lennox Pawle Jane Merle Stevens Madame Luele Lachcsnals... .Nellie Strong- Nanette O.ga Treskoft Lieut. HayIc Irving Ilvebe Tom % Irving 8. Finn Joe Addeson Youngs John Sayle Worthe Faulkner Marjolaine I.achesnals Peggy Wood LEGIT ITEMS Judgment for $3,875 was secured by Laura Walker last week against Stanley Sharpe on a breach of con- tract suit for services rendered in "The Ghost Between," a legit at- traction of last season. She claimed 14 weeks' salary at $350 .per, ac- knowledging receipt of $1,025. Marc Klaw, who held an option on the American rights to "The Little Dutch Girl," a foreign musical comedy, has permitted his right to lapse, as he believed the piece too pretentious for use In his Klaw theatre. Before sailing for England last week, Hans Bartsch, who repre- sents the foreign author and com- poser, executed a new option to George W. Lederer. Milton Harris, formerly assistant manager of the Flatbush. Brooklyn, X. Y., joined the Shubert staff this week, assigned to the Central, on Broadway. Louis J. Hartman succeeds him at the Flatbush, nnd Frank Halllgan moved from the Central to the Lyric. The Jefferson, Portland, Me., play- ing Shubert attractions for the past year, closed last week. It is said that the house will plov pictures. "Maytime> ends It road tour Saturday <ht the n -\x O. H., New York?*— Ralph W. Long, general manager for the Shuberts, was ordered away from Atlantic City where he went to recuperate from pneumonia. He is now in Lakewood, N. J., and is reported growing stronger. Henri Baron's "The Rubicon" will open out of town within, the fort- night. Violet Heming Is featured in the cast. Baron is making the production himself and is atT>resent arranging a booking agreement. Richard P. Carroll and John Mul- grew have written a new edition of "Happy Hooligan," which Gus Hill will send out shortly. It is titled "Down on the Farm." "Erminle" with De Wolf Hopper closes its road tour Saturday in Cin- cinnati. The piece has been play- ing to an average gross of $12,000 on the week for the past few weeks, which has proved insufficient with the heavy salary list. A. H. Woods Is reviving "Getting Gertie's Garter" for a road tour, starting Feb. 20, over the Subway Circuit. The piece, which will have its original cast with the exception of Hazel Dawn, will play five weeks around New York, after which it will go to Philadelphia for a run. "Happy Go Lucky" closes Satur- day in Boston. The piece has been given two trys on the road since the start of the season. "Bluebeard's Eighth Wife" closes at the Ritz Jan. 28. The piece will play the subway time around New York for about four weeks and then go into Chicago for a run. Joe Leblanc left Broadway this week. He is headed for Nassau in the Bahama Islands and then Is going to Havaaa for a few weeks. The Florida season will find Joe at Miami for a month's stay William Harris has accepted for production a new play by Eugcno Brieux, which he will place in im- mediate rehearsal. The new piece, which has been adapted from the French, has a case of six people. The Orpheum. Newark. N. J., which closed with a dramatic stock Saturday, will, be reopened January 30 with a popular priced legit policy. The house will play travel- ing attractions at $1 top, opening NATIONAL ANTHEM Marian Hale T.aurette Taylor Madeline Trent Lillian Kemble Cooper Maud Kthel (Miss) Jo Wallace Etta Until Kemble Cooper Arthur Carlton Ralph Morgan John K. Carlton Dodson Mitchell Tom Carroll Frank M. Thomas Reuben Hale Ritchie Ling Jim Picket Robert Hudson Ned Scoofy.... Ray Wilson Dr. Virande Paul Porcasi Waiter s]k . .William Armstrong Some years ago—maybo it was 20, maybe less—there came to us from England an artiste who could sing, dance, act and was pretty. Her name was Evie Greene, and unless memory is faulty we have not had another until now—in the person of Peggy Wood in the name part in the musical version of Louis N. Parker's "Pomander Walk," as presented at the Broadhurst Tuesday night. Whatever differences of opinion there may be as to the merits or de- merits or predictions of success or failure of the production, there can be no two ways about Peggy Wood. From her first appearance dellver- ir.j the prolog in recitative form, wherein she asks you to follow the players, and you will be sent far away from turmoil, to the days when George IM was King of England, down to the finish, she entertains to the full, alternating with a Very sweet singing voice, neat dancing and always characterizing with a legitimacy worthy of a play without music. As to her pulchritude—that is always a matter of individual taste, but it is safe to assume she will be voted "eye-pleasing" to the average. Russell Janney presents the new musical play, which is entitled "Marjolaine." The book is by Cath- erine Chisholm Cunning, lyrics by Brian Hooker and music by Hugo Felix. It was staged by Oscar Eagle, dances and ensembles by Bert French and program acknowl- edgment is made of the assistance of W. H. Post "in the preparation of the play"—whatever that means. Miss Chisholm has adhered close- ly to the original piece, retaining ™*„?Z^i* 0 ^*"r* the atmosphere and gentility of the Parker comedy. Only it does seem odd to hear the heroine, residing In isolated Pomander Walk, a secluded little nook on the river in the out- skirts of London in 1805, remark that nobody young ever comes that way, and then have oodles of chorus maidens appear and make merry. Brian Hooker's lyrics are excel- lent and the music always- dainty and in keeping with tno story. There are not likely to be any outstanding song hits, despite the insistent de- mands for encores which carried the show through to 11.45 on the open- ing night. Did you ever look around to see who does the applauding at a metropolitan premiere? It is a reasonably safe wager three-fourths of them came by invitation. The piece is well cast. Lennox Pawle is featured equally with Miss Wood, and deservedly so. Ho con- tributes an admirable character role as Brooke-Hoskyn. Mary Hay as the ingenue is all that could be de- sired; Irving Beebe, the tenor-hero, is manly and sings well; Worthe Faulkner as the_father of the hero also sings well but acts atrociously; Marie Strong sustains througnout the dignity of the role of the hero- ine's mother, and Albert G. Andrews as the old admiral is as good an ac- tor as he was in the days when he supported Richard Mansfield. "Marjolaine*' bears the marks of a substantial hit Jolo. with Gus Hill's colored "Mutt and Jeff," recently brought in to be re- vamped. | The Orpheum will play musical attractions of the popular priced variety whenever available in preference to dramatic shows. The Payton stock company, which opened at the Supreme, Brooklyn, last week, closed after one week. A company headed by Ethel Rosemon and W. O. McWatters opened at the house Monday. Betty Linley will replace Estclle WInwood in "The Circle'' when the Maughn comedy leaves the Fulton for a two-years' tour, starting Feb*. 13. John Drew, Mrs. LeslfV Carter, John Ilolliday and Ernest Lawford will remain in the cast. Miss Linley has the title of countess, having been the wife of an Austrian noble- man. She has appeared in several well known legitimate attractions. "French Leave,* which played all Canadian territory during the fall, was closed lost month in Vancouver and lumped back *o New York. It is .•■aid the rinht 'and of paper was not prepared foi us" in Western American stands The Canadian tour was prod t\e. Marc Klaw had the show out The Shuberts' production of "Maytlme" closes at the conclusion of its week at the RfOWC opera house, January 28. ttu /1fth suson. iry 28, Its/.I J. Hartley Manners wrote a play for Mrs. Manners (Laurette Taylor), dramatizing the classic tragedy of the young feminine film star who, at the breaking-point of a series of wild nocturnal Paris escapades with her young husband, took a deadly poison. He elected to adopt the accident version of the deed. But he reversed fact for fiction then, and killed the husband off-stage, let- ting the wife live physically and perish with a dose of anti-climax artistically, on stage. The last act, ruining what had until then been a crashing success, was a deplorable thing. When the third act curtain came down and the thrilled audience whacked its hands together in boisterous and honest enthusiasm, Miss Taylor and Mr. Manners stood three down and one to go toward a mutual ringing triumph. When that fourth act rang up there was a foreboding in the air— that sense of danger which fanciful people Imagine they sensed before a tragedy—in telling of it after that tragedy. That third act had been so terrific, and what had gone be- fore had lifted the climax so high, that any fourth act was dangerous; then began this fourth act. It be- gan flat and became ghastly. Mr. Manners had been a great reporter for three acts; he had turned a poor romancer for one. , The tale differs from the movie- couple's sad melodrama in that the principals are not of the stage, and that the girl is unusual to liquor and jazr until after the marriage, when she slips along in the Influence of the young scapegrace whom she New York grows stupid despite its mad post- prohibition life. They seek Paris to put a bead on the booze and to gild the champagne corks. They quarrel, they lush, they degenerate. Then comes the poison-by-mistake. Then comes that awful fourth act. Then comes—no one knows what, now, whereas before Act 4 was revealed it seemed that a*mighty masterpiece of stagecraft in its every element was being unveiled. The fourth act: The girl has been ill for 10 days. The besotted husband has been killed in an auto accident while driving madly to fetch a physician for the wife. She does not know he is dead. The audience is kept In suspense as to whether she, herself, will live. A doctor goes through an examination lacking in only one standard essential exactly what they do when examining an applicant for Insurance. He says she will live— she doesn't look it, but he says so. The boy's father laughs and talks hard facts. The girl's father smiles and seems glad about something. She is about to move from the hotel. At the end she takes a wrap and walks off. That's the way it ends. The audience walked out with chins on breasts, tut-tutting and bemoaning. Something had been done to the audience, the audience which had come to welcome Lau- rette Taylor, had mounted with her to elevations of exaltation. Never in her entire fascinating, romantic stage .life did Laurette Taylor give a greater performance than she did for those three acts, and the fourth, for that matter; her only culpability in that last episode lay In exaggerated make-up and that she consented to play It at all. Where was'George Tyler—where was A. L. Erlanger—when that sheer drop into twaddle from the heights was suggested or propound- ed or ventured? Where was Miss Taylor's great good taste? Whero was Manners' known and so often proven skill and resourcefulness as a playwright? Let it be said in kindness—as it was of that unfortunate girl in Paris whose whole life had been so bril- liant a romance until the curtain rang down after she had swallowed poison—that it was a mistake. Let it be hoped that—as in this instance of the playwright's imag- ination—that mistake does not prove deadly. The girl was too beautiful and beloved and young and sweet to die. Tills play is all of those things. too, until the-poison and its stomach-, pumping after-reaction, and it should not die. Laurette Taylor establishes her- self in "The National Anthem" as America*! most brilliant, most able and most worth-while artiste of the Stage. Manners adds many laurels to his record of play construction and exposition for three corking, masterly acts. One fourth nef, even as deplorable as this one is. should not be allowed to overbalance so much that Is so admirable. Lalt. -