Variety (February 1922)

M LEGITIMATE Friday, February 10, 192^ BROADWAY, REVIEWS PINS AND NEEDLES THE CAST UATTy Pilcer, K»lith Kelly Goulrt, Jack ;314orrlscn. Rupert Haze!!. Ewart Scott. Amy Verity, Jimmy NVrvo, Maisle iiay, Teddy Xnox, Alice Poliard. Jane Taylor. Tommy Moatol &D<J Nan C. Uearn«. At the Shubert, Feb. 1, Albert do Courville presented an Englisli revue, with the original cast tout- aide of the chorus), that is a con- tinual reminder of the past. The show finally opened, following re- peated postponements said to have been through absence of scenery. The producer could have delayed somewhat longer. Herald as having played at the Gaiety, London, for nine months. the lenf, '' of that stated run car- ried some weight. The show looked decidedly bad the opening night, but perhaps the revue should be allowed a "break" through the audience it confronted. The house was prone to be cynical from the initial scene— and there was an abundance of of low comedy values were Yalrly shouted acrop,*j the lights In a deaf- ening, continuous howl. "Whether the script called ^or the straining of the vocal chords or not, It was no- ticeable few of the other members of the cast outvoiced Mis.s Gay. A song in "one,'' with lyrics that very much smacked of London's inter- mediate class of "halls" and ac- cordingly grazed the border, was her most substantial contribution. Doing "straight," Jack Morrison impressed nicely, working particularly well from an aisle at the opening, but mlt the players to make costume changes. . . The first two "acts" might be said to have been there Just to start the show. •Torcelalne de Doxe" had two girls posed 'neath a clock, then stepping down for a courtly dance. "Songs by Glinka" came next. Here the duettlng of two songstresses was pretty enough for the concert platform, but the sister turn passed by without starting much. The third number, "The Parade of the Wooden Soldiers" ("vooden," Nikita called them), drew a solid hand. The number was given by nine chesty "soldiers" with starched trousers and curious toy-like steps. The movements conveyed the im- pression of automatic motion. So well did the number please that some of the admittedly highbrows in the exclusive private showing assembly pounded palms feroclous- camo close to ruining himself after 11 when offering a song that led , Balieff, in announcing the num into imperl^onationp, Rupert UftieU. ^ wittily said that was all the programm-d as having done some ^oldiere left after the Washington of the lyncs, had opportunities at various intervals, ■" ^ best a trav- esty on the slow action moving pic- tures done in conjunction with Teddy Knox. Alice Pollard deliv- ere<i her songs acceptably, while Miss Kelly i^ould, opposite Pilcer, gave evidence of very little in either voice or dancing. She only aggra- Pllcer Mr. de Courville has taken a ter- rible chance in bringing a London revue here for production when material on which to indulge that | vated the responsibility allotted to attitude. Especially did It seem the "hoof- ers" present reveled in the limited stepping of Harry Pilcer, who was showing on an American stage for the first time in eight years. Added to that were the inhabitants of the lower floor, not finding sufllcient entertainment to hold their interest, continually talking among them- selves with an evening dress upper- box party. Impressing as highly elated, dropping programs on friends sitting below throughout the per- formance to gain recognition—all of which failed to aid the morale of either the assemblage or the cast. Heading matter at the head of the program said: Albert de Courville Production "Pins and Needles!" A Revue with Points From the Gaiety Theatre. London With the Original Cast Including Edith Kelly Gould and Harry Pilcer Book by Albert de Courville, Wal Pink and Edgar Wallace Lyrics by Ballard McDonald, Rupert Hazell and I. Caesar Uuslc by James Hanley and Frederic Chappelle Produced by Albert de Courville, with the assistance of Julian Mitchell The show deviated from the pro- crram schedule In the arrangement of the scenes with considerable switching, also the elimination of one entire* programed episode. Close to three hours were consumed in the running, with the finale still being worked up at 11.30. Numerous short stage waits between scenes, which added up, were partly responsible for the long drawn out evening though in the nain it was due to the length cf the separate tabs. The complete performance comprised 19 Interludes with the majority carrying melodies or num- bers. It's a straight revue attempting to Disarmament Conference. He quickly bowed to the applause and called for encore. "A Souvenir from the Past," next In line, was a song of the A. K.'s. Two old lovers sang what might be a counterpart to our "Silver Threads Among the Gold." Into "two" for a travesty bit in panto- mime, offered "The Death of a Horse, or, The Greatness of the Russian Soul." A prop horse was used, it suppo.sedly drawing an open hack, wherein was doubtless the those shows over there from this side for years. Unless tremendous touching up. eliminating and rear- ranging can be immediately done, he will find a certain bloomer on his hands. In its present state It's hard to see how "Pins and Needles" got by in London for nine months, but if the present performance and cast are acceptable to the English play- goers the members of the company (especially the dancersJF should be able to pick up enough pointers during their stay here to insure them of popularity on the other side for the rest of their lives, with the general opinion of the first night audience of a standee that "the King couldn't save this one." Skic. CHAUVE-SOURIS Real Imported Russian caviar, served a la Nikita, at the Shuberts' new 49th Street, a house opened in December. Not every one goes wild over caviar, yet it Is a novelty among appetizers, and fetches a nifty price on the menu. That ap- plies to "Chauve-Souris," brought hence after showings in London and Paris. In the former city it was presented at the Coliseum and then at the Alhambra, quite suc- cessfully. What the prices of ad- mission were is of no matter. Com- stock & Gest have lifted the menu idea for New York, and the seats down front are $5. Last Friday evening at a special showing there was life at the box office during Intermission, several blocks of tickets being sold to persons who were in the house. Mr. Gest didn't bother about the ticket specs, figur- be somewhat of the Intimate type. I ing they could make a buy or not. Its beginning Includes a ballet num- I Reports are the attraction pulled her, "A Tropical Fantasy," along the lines of those presented at the Win- ter Garden; the usual idea had at least one parade of show girls dolled up, with the book carrying the remainder of the action hither and yon at its own discretion. If Mr. de Courville hasn't done anything else, he's supplied a chorus that on looks holds up with other Broadway shows now playing, but further than that It's Impossible to compare the piece with other mus- ical attractions, revue or comedy, now holding forth in the theatre district. In Pilcer's dancing, which Is ex- tremely reminiscent and in no way can compete with the present day footwork as done on this side of the water, lies the keynote of the whole show. It is geared to the chorean art undertaken in Juvenile roles popular some six or 8e\ -n years ago. Every Jimmy Nervo, who carried the other half of the male dancing burden, failed t- re- veal anything that could be said to be modern made his most noteworthy bit felt during the finale when It was far too late to in any way help the show out of the depths into which It had been descending for the previous three hourr they've been lifting material for» ^^ughter of a duke off on a lark .. ^ .^. ^ - ^ . ■ ^..^jj ^ lowly lover and pursued by the old boy himself. The cabby beats the nag so much It drops dead, and in walks the lord and master. The "greatness" probably was implied from the refusal of the driver to accept 10,000 rubles for the death of his animal. It is said that was but one bit out of a playlet used abroad. Concluding the first portion of the bill was "Katinka," that di- vulging at last where Arthur Ham- merstein got the title. It was a novelty, purporting to show the old Russian polka of the 60's. Balloon- like costumes covered parents of the dancing girl. All sang, but what about no one knew. A male quartet was Just ahead, all sport- ing trousers that made them look like ads for Michelin tires. M. Wavltch, the baritone, and the leading male singer, scored the first of his successes during the evening. Resuming Mr. Wavltch led a gypsy scene depicting the Interior of Yards, said to have been a famous cafe In Moscow In 1840. Nikita said it was famous before the revolution, also explaining the gypsies would sing "sad songs." Nevertheless one of the several numbers certainly lent the impression that it was Russian blues. Another quite resembled a "get hot" song and to strengthen that one of the women left her seat and started prancing about. The gypsy interlude appeared to have all the company, which Is not large, on the stage together for the first time. "A Tartar Dance" looked more promising on the program that it proved. Yet In spite of its short- ness it was strange, the scenic bit being effective. Balieff announcing the number to be done by M. Kotchetovsky, pronouncing it as .savagely as would an American, and the result was a new laugh. "La Grande Opera Italiana" was a marionette Idea, the headt of the singers thrust through a curtain, all having small bodies. It was a car- icature all around, the lyric Joking with various musical terms. The voice of Mme. Birse counted In making the singing end important. "Chastoushkl" turned out to be "Russian workpeople's ditties" and had one chap In smock playing a concertina. "Next to closing" was a sort of minuet, "under the eyes of the ancestors"—the portraits of a young couple's forefathers. The finale was the "chorus of the Zaitzeff Brothers." Wavitch was the "conductor," leading eight or nine men warblers, all garbed as types. The cab driver, a porter and other nondescript characters were in a row. The songs didn't count so much as the burlesque manner of working and all was not Russian, a portion of "Mon Homme" <"My Man") being plain. The number was laugh getting, with a surprise com $6,500 advance sale before opening (Saturday night), and that means something. The managers have limited tht; engagement at this time for Broadwiiy to around six weeks, and the intimate house (about 740 seats) fits the Intimate style of performance to a tee. "Chauve-Souris" isn't pronounced the way it's spelt. Souris is French and enunciated as "soree," the term actually meaning a bat or bald mouse, and standing for the Bat theatre, Moscow, where this troupe of specialty artists hail from. The idea is said to have sprung from the players in the Russian Art the- atre at Moscow, meeting to make up their own entertainment. Nikita Balieff's "Chauve-Souris" may be described as Russian vaudeville, with many comparisons period of that style of the terpsi- | to those so minded to make them As seen at the Initial showing this provoke the grin or '.he laugh, but English revue lacks a comedian capable of satisfying the American sense of humor (Maisie Gay will never do It); an acceptable number leader outside of Pilcer; no femi- nine dancer at all (though a miss stepped forth in the "Vanity Box" offering to solo to applause), and a general routine that becomes seri- ously tediou.s. Just how serious that particular situation is may bo Tioted by the fact that they began to walk out early, with it being doubtful If there were 200 peoi)le loft in the orchestra at the time the linal curtain came down. Mu-sic^lly. the piece offers average melodies, of which two, "Vanity Box" and "Pic- cadilly Walk," stood out through tuneful orchestrafons. IM'oduction, as to scenery and costumes, .so-so, with only one instance of oo.stuming, that of Miss Gould, bringing a re- sponse. Miss Gay predominated, not nec- essarily through ability but at least With but two exceptions the whole entertainment is a collection of numbers or bits, the entire per- formance is one of chuckles. There is comedy in the form of satire, caricature or burlesque at every turn. That the lyric or language used Is strange becomes secondary In this presentation, which builds up as one of the funniest novelties offered in seasons. The action or song or bit given might not of itself following Balieff's always present announcements they can't miss, for this man is a comedian and humor- ist. He cons and Jokes his audi- ence into good humor all the way. Balieff outshines his "ChAuve- Souris." He might aptly bo called the James J. Morton of Russia, an- nouncing the numbers In a similar humorous wny and at times just as abrupt. He looks like John, the barber, would like to look, if clear of beard arnl in a well-tailored dress suit. His funny way of pro- nun, iation plus the dialect is an asset hero, but, as he said, perhap.s in ten years he would do much bet- ter. Nikita stepped before the curtain that may have been the original inspiration for our futurist painters (velvet dr.ipes were mo.»^t- ly employed, with here and there a little scene section, at times very effective), and he got laughter from the start. Later ho alibied, saying he didn't make the announcements THE LAW BREAKER Jlra Thorn© WllHam Courtenay Joan Fowler .Blanch* Yurka Father Bpalding v,-*^*"^ Bherldan lOwlnff Fowler » Clifford Dempsey Walttr Homer John Cromwell Tom Fowler Frederick Blckel Bill Dobb« ...,Mor»an Wallace Gibson ;...... Frank Bylveater Donovan., ^o^^ Milton C.Tlggm Herbert Rathke Kit Urey Marguerll* Maxwell William A. Brady appears to have nicked his hoodoo and blown life Into a potential hit at the Booth. "The Law Breaker," by Jules Eckert Goodman, a rattling melodrama, has a fine chance despite the haz- ards that the author stuck In its path gratuitously here and there. It is a peculiar sort of hybrid, a half-breed issue of verbose philos- ophy and dive patois. But a love child, apparently, since It seems a sincere effort to accomplish some- thing more than earn royalties. Plays with a purpose were never more strikingly satirized than by Mr. Goodman's plaj^with a purpose, which takes them and Itself ser- iously. It is an attempt to sur- round some corking dramatic fire- works with a "reason"—not an apology or an alibi; a lesson. The propaganda teaches that a crook will yank a necklace off a lady's neck but will not of neces- sity go down into her corsage after it; also that a shot in the arm (from a revolver) makes a girl play the curtain scene In a chair; also that it Is worse to steal faith than to cop Liberty bonds, and l«ss profit- able; also that the soul of a heel can't win a girl who has "done everything wrong except one thing," when a handsome crook has re- stored the wavering faith of a lady with blonde hair and a welfare fad; also that Blanche Yurka is one of the finest, surest, truest and great- est actresses gracing that abused institution, the American theatre. One fat blue pencil, guaranteed to copy-read out a lot of vapory verbiage, would make "The Law Breaker" a cinch. As it is, it has its dull moments between the flashes of dramatic animation, a heavy love interest (which comes to nothing in the end), and some ex- traordinary acting. William Court- enay, miscast but game and always the polished, human, lovable fellow that he is, suffers next to the most from the lagnij^ppe of words; Miss Yurka, however, bears the heavier cross. Unto her fan speeches that go on like chunks clipped out of lectures at the midnight mission of the Little Sisters of the Fallen. Talk, talk, talk—about responsi- bilities, theorie.?, bromidic debate topics, unawakened moral con- sciousness, complexes—Mi.ss Yurka has a Portia portion and should dress it in cap and gown. But what a staff of life she is for Mr. Goodman! She makes all the drivel react like the wisdom of all the ages and all the sages; she makes herself the heroine of a love theme not Intended to be love, but becoming it because one cannot visualize anyone not loving her; she modulates and graduates and climaxes speeches which have none of these gradations except In her voice and In her delivery and per- sonality. She Is as much better than the play as grand opera Is better than second wheel burlesque. She scores a triumph so resounding that the great career so often pre- dicted for her by the farslghted has bloomed—she Is a star, the more luminous because she glitters and scintillates through a barrel of ink. Not that "The Law Breaker" is uninteresting. It Is fascinating. It has action and it has surprises and it has punches. It has no story— nobody could report its narrative, for it is devoid of one, unless steal- ing and returning, tru.sting and betraying, double crossing and cold feet, gun plays and bonehead plays, are dramatic progress. They are thrilling, and they are mighty well done, and In the spot around the animated episodes they are whack- ingly well written. But whenever they get In high, In comes the pamphlet stuff, as though someone had picked up a book of es.says and started to read random chapters from any page to change the sub- ject each time the subject becomes ing when a "nance" Joined the lii e- intriguing. Maybe that's a super up. As one showmen put it "they closed the show with an after- piece." One thing prominent because It was missing was so-called Russian dancing. There were no "hock steps" or anything like that style of danc- ing at any point. The novelty and fun of "Chauvc-.Souris" (or "The Bat") will probably attract all those who love the bizarre and the un- usual. A ticket speculator has it figured out that the highbrows will fall for the downstairs seats and the Bolsheviks will fill the balcony. Everyone who sees the entertain- ment will agree on the cleverness and humor of Nikita Balieff, railed the "stage-autocrat." But he is very democratic about it. J Ice. sense of the dramatic—keeping the hungry audience in suspense; but specialties would be more enter- taining than lectures. Mr. Courtenay plays a silk-lined all-around gun; he steals $60,000 from the bank belonging to the father of Miss Yurka; he is nailed; it turns out her brother has become involved, having been badgered by a pretty Aggie Lynch (played and beautifully played by Marguerite Maxwell); Miss Yurka wants to save her brother, though heaven knows why after we've seon the brother iH a few scenes, and she also has faith in Courtenay, prob- ably because she has seen him act before in other successes, and she layi«i down her $75,000 necklace (piker?) as security that Courtenay will return the 60 grand. Ho does. has power, appeal and appearance eloquent eyes and a future. ^ Frank Sheridan, always an unr tlous stage priest (those who r^* member him in "The Boss" *in testify), contributes to his role aS that anybody could—anybody. Mor gan Wallace has a fat Leo Donnellr role and gives it none the worat of it, though nobody could miss it except an English actor. The third act climax, a very in. volved scene, has as much wallon as the shooting of Garson in "Within the Law" or the table-turninif iJJ "The Deep Purple." Every stand- ard trick is utilized, and skillfully The first act i-Valmost all talk; the second act has fine comedy relief and some good conflict; the third act has a flock of talk and stage- waits, but five final minutes of blaz- ing glory; and the fourth act—only Goodman knows what that one is all about—has an ending in which the crooks (the good-looking ones) strike up a match, and Miss Yurka walks off to accept John Crornweil, who doesn't deserve her, and who has never Jarred her faith though he has sneered at it. The acting and the action ought to keep this piece above board until the hot weather, despite the apple sauce. Lait. FRANK FAY'S FABLES Cast—Frank Pti>. Bernara Gran- ville, Herbert Corthell. Fania Mar- inoff, Eddie Carr, Helen Groody, Robert Cummings, Olga Steck, (Jeorgiana' Hewitt, The Fifer Trio, Louis Cassavant, "Olivette," Donald Lee Roberts. More Managerial Changes Additional changes in the Shuhr rt' !\»i,V.'^^y^I^'^,^"'ly >;r.* ^"«^s: J^« J"^- «^« !..♦ «.«.). IT, - iPtoros hrr faith, though he doesn't by boistc.-ousnc.'ts. Her conception I Tor li'.s own amusement, but to p«:r- theatres were made last weelr. iJur ry M. Wilncr, man.ngor of the Astor, was switched tc the Casino. Fred Kimball, manager of the latter house, went to the Astor. Johnny Harper, assistant Ireasurrr of the Fulton, la now In charge of the box ofT!:© at the Nora Bajtft. do it because he's honest; and he marrios the Aggie I--ynch who has taken a .44 in tlio wing for him, who has sassi J a prie.st and who has done "everything wrong but one thing." The one thing Mr. Good- man mcan.s—could, it have been acting? That s one thing Miss Maxwij] never did 'A;org. The girl Following a prolonged attempt, which dates back to last spring, to secure presentation Frank Fay's revue finally pushed off up at the Park Monday night at a $2.20 top backed by a performance that, per- haps would have found it to better advantage had the premiere been put off until the warm weather, when It could have made its bid as a summer entertainment. The sub- stance (^ the present situation seems to be that the show has a chance at the scale, and if it can draw enough to ke«p its head up, the ultimate move should be a nigratlon to a more centrally located house where the incandescent dis- play will attract attention other than from persons on their way home. As seen at the opening Feb. 6, "Fables" indicated in more ways than one that it wasn't quite "set" to permit of a smooth running per- formance. The mechanics were re- vealed and audible due to the thin- ness of the drops which failed to . depress the conversation of the stage c^ew and could be seen through whenever a light flashed behind it. At that Fay overcame the diflflculties with his kidding to the satisfaction of the partisan house for the one night, but it leaves an enormous amount of work to be done before the show will be whipped into a normal state. A total of at least half an hour. Is open to elimination as with the waits and various bits that will eventually feel the knif*». the finale took place at 11.45 after having started at 8.30. The show Is a straight revue minus any definite program Infor- mation as to the scenes, having the book call for the unfolding of the episodes by means of a "plant" t. b. m. (tired business man) sitting In a box conversing with Fay, who works from the aisle, to the effect that he will donate $50,000 if the performance pleases. Fay contin- uously requests his Ideas as to Just what he'd like to see. All selections are compiled wiih. The fifty thou never comes to light again but the "plant" (Robert Cummings, and a corking straight he Is too) calls for a schedule that Includes seven scenes in "full," fel- lows for a sextet of happenings in "one," is toned with»15 melodies and backed by 13 number.". The book is credited to Fay, the music to Clarence Gaskill wiih both rombin- ing for the lyrics; Kuy Kendall staged the ensembles besides step- ping in on the first act linale for an Ann Pennington impersonation. Fay again gets credit for the stag- ing and Harry L. Cort is doing the presenting. According to report the file carrying the names of those who are "in" on the piece is beholding of a quantity of names with it being said that if the rogiilar attendance equals that of the rehearsals the show will last throug' the hot weather -ithout much difficulty. Of the oast which comijrises U principals, Bernard Granvillo, Fania Marlnoff and Herbert Corthell are reooiving outside illuminated bill- ing with others who take unto thomselvos various degroes of prom- inence being Eddie Carr, Helen Groody, Georgiana Hewitt. Olga Stock and "Olivette." Fay. Corthell and Carr are taking caio of the comedy, which mainly runs to h®*** and all w.irble at Intervals. Corthell is allotted a spot for the usual timely lyric which is below par. and Fay easing ovrr to the piano f*"^ * modley with Ga.skill preo»^ding the llnal number. Helen Groodv >' offering half of the feminin*^ danc- ing and is seemingly capable oi t.aking care of more than her .illt't" ment while "Olivette" is siipplyi^ij the remaining portion stopping; fovlh from a «"horus number to specialize for her most substantial bid. _ The Mi.sacs .Stock and Hewitt i th« former announced as coming from the Coa.st and thje latter p:c\..oi.eJy