Variety (March 1922)

Friday, March 10, 1922 LEGITIMATE 17 BROADWAY I REVIEWS ROSE OF STAMBOUL Kernel Pasha Henry Warwick Kondia Oul. his daughter Tes»a Kosta AchmeJ Hey ....Marlon Green Howard Kodfiey Smith Jack Mcfiowan Bob hia valet James Barton Iflldili. Koudja » dearest friend *'° ' Mabel Wlthee Deslree, Kondja's companion........... *'" ' Eltrabeth Reynolda Abdul guard of th* Harem.... Lon Hascall RodneV Sn»iih. Howard's father '*'*^ • Rapley Holmes Yitil.Rul Elmira Lanp gTada ..: Ottilia Barton Maada Baada «iu?ela Fatima .•#••••••.•• ..Sibylla Bowhan ...Kmma Wilcox Maude Sutterfield Helle Mazelle Durlane ;['"!'•'»" ^y^e^'r Kmpiri' Haldee Marjorie Wayne /ita !..o<'Utur<l Haswm • Nuro I.ockford Neidial John V. I.ciwi' De«h:i ^*"*" I>e«lia Felicia ....' Felicia .Sur^*! Helen ii«;.>ii Neli«lov.i Jack Jack SCLitt Y.iuiig Women of the Kp«emble Porothv Addison. Violet Aiuierson. Irma Anseil OUvif Brown. Betty Brown, Alieo Burns," Bunny Castle, Marion Courtney, Alice C'uiry. Jeanne Daiijou, l.eonorf Darcy, Murgot Daw.son. Ann D'-*l:Hi"!d. Mary Punr.e. Katherine l>uffy. Bae Fiflds, Hazel l-'risbe, Jenee tJib.-oii, Alice UariiM. Peggv Jfof!uann, Corinne Jacksim. Theima Johns. Kitty JCane, ■Margan.-t Kfur«.s. Mo- nica Kcefe, Mary K1hs*.1, I'laun IvO.xki. Alice Mack, Ma'-garet Maekay, JCtth^rine Manion, Truda Marr. Kay Mad'ausland. Myrtle McCIoud. Ualores MeinU-z. Alia Kova, Helen O'Brien. Edna Kichmoiid. Madaline .^^cisson. Hence Thcurii.c. Jean Th^)Ula^. J^iilly Wagnor. EUiitbtli ^^as.l:. Teggy White. Men Irxing Arnold. Sol Foldnian, Wi.liani Brandt. Harry Howell, CKscar Martin, John O'Hanlon, Clifton Randall, R. B. Maiwick. The heavy Tuesday downpour re- fused to dampen the ^pirit-s of the enthusiastic lirst night audience at the Century, where the Shuberts introduced their lavi.«h, strictly American version of the Au.<<tiian composer, Leo Fall's operetta. "The Kose of Stamboul." And it was none otlicf than Sigmund Romberg who was responsible for the nieta- iTiorphosis. "Lovey Dove." with its four-four fox trot rhythm, would astonish the Viennese if Fall's name were connected with it. Tessa Kosta, James Barton and Marion Green, the latter replacing Donald IJrian, are the co-star trio, with Mabel Withee and the Lock- fords (Zita and Naro), importatiotis from the Folies Bergero. Paris, fea- tured in the support. However, it is Jim Barton who predominates the show, which explains tlie reports about Brian stepping out because of the comedian being assigned the ••fat." Ostensibly an operetta—and the appeiation is no misnomer in spots where the Fall score predominates —it degenerates at times in frank burlesque (that's where Barton figures) and at others into a lavish fashion display of exotic .sartorial creations. The Shubeats were no pikers on the production end, the 43 young women of the ensemble. 8 choru.s men and 25 i>rincipals making so many changes of costume it looked as if all they did way exit, rc-drcss and enter. Leo Fall, who gave \:n "The Dollar Princess" and "The Count of Luxemburg," has delivered at least two pretty tunes which Harold At- teridge, the Shuberts* omnibus librettist, h^is christened 'The Rose of Stamboul" and "My Heart Is Calling." Romberg's 'Lovey Dove," "Which frankly does not belong in an operetta credited to Fall's com- position; Is the "plugged" number. It will soon become a ballroom and phonograph disk favorite. But just like "The Last "Waltz,' where "Baby Dreams" was the exploited «ong. it fooled everybody, the title song gett.ng a more than even break. Similarly the title song here may catch on as the distinctive se- lection of tli«» show. A nii'lodious waltz compo.-«ition with an indelible .Viennese stamp on it, it is dainty and fetching. Operetta plots mean nothing at any time. The story starts in the first act harem sceno of Kernel Pasha of Stamboul, Turkev. Kondja (Tes.sa Kosta), the Pasha's daugh- ter, is enamored of a poetical lover who has wooed her with poems under his nom-dc-plumc of Andre. As Achmed Bey (Marion CIrcen) he becomes betrothed to Kondja against her wishes, both meeting for the first time. Achmed vows to win her as himself and not as Andre. That is the plot which is extended Over three acts, bringing in Jim Barton in a valet role, who admit.s he must be good if ho wins the narem girls two at a time. Mabel Withee as Midili, Komlja's dearest rriend, duets the "Lovey Dove" <iUty with Jack McCIowan through- out. MKiowan was enthusiastically Welcomed, being remembered for the "Love Nest" f^ong in the l<»ng l*un of "Mary." "Lovey Dove' luoUb like another "Love Nest." But after all is said and done r.«r- ton is the «how. They <(»iilil tot get ennugh of him, audible remarks once or twice criiieizing "he do<s not do entHigh." They crave>i that peculiar .'>hufflc dance that i-? .'-o distinctly I'.arton. and he ga\e i^i. t.) them in moderation. I'or I lie rest he clowns and mugs and biirIe.^(juos Unassumtdly and unashamedly. He JTiakes no pretext at oriK»«i.ilily. He just sells the hoko at what lie c.\n get away with it for, and lli.it is ^i^^if^^-iiible. He has been assigned lumbcrSj "A Blue Book of Girls," "Mazuma" (with a splen- did Oriental ballet back-up) and "Why Do They Die at the End of a Classical Dance" (the only song Interpolation written by Alex Ger- ber and Jean Schwartz). Barton shined here witli his burlesque on a classical dance, stopping proceed- ings several tiine.s. Another highlight were the Im- ported Lockfords from the Folies Bergere. They are dancers of an undifCerentiable order. Tltey com- bine acrobatic, gymiiastie, aesthetic and syncopated stepping as fancy moves them, and the result, to re- sort to the vernacular, i.s a wow. Not until the second act do they make their appearance in the chorus of the elaborate Oriental ballet which was one of the sar- torial flushes of th." tontintious iridistent fashion displ.ty. In the third act they led oft the iu-:il num- ber with an Apathe nmnber which stopped the show. Th.-y might also have bi'cn used to advantage in the first .stanza, whieh is an all bong ses.sion. iiomberg's adaptation of the Fall score is l>eautiful. as is his original contribution. The orche.-,tratians. running strongly to the sningj with approjiriate bra.ss fanfares, are per- fect. Albert Goodman, wielding the director's \tatun. exacting all the charm and beaity from tlie score. Atteridge "adapted" the book and lyrics (the oiMginai librettist is not mentioned). J. C. Huflman staged the show under J. J. Shubeft's supervision and Allan K. Foster is credited for the staging of the num- bers. Fo.ster has created a couple of novfl effects, tlie girls being will- ing workers in the.ir manouvers. They :»rc a nice looking bunch col- lectively, of a little above average height. Tlie several "lookers" are ai i>ropriaiely spotted in the show- girl get-ups clotie to the footlights, although the staging did not per- mit for any distraction by a capti- vating coiyphee or end girl. Always the center of tlie stage with the principals p»'rforining was the cen- tral focus. That is both good stag- ing antl casting. Although the show let out at 11..30 it was fast and not overdone. The enthusiastic lirst night recalls were responsible mostly for the dela.\, whi<^!i \\ ill be cut down in time. Watson Barratt should not be slighted in the credits for his stage settings. They elicited approbation with each set, one scene each for pvery act. Mabel ^^'itJlee in the ingenue role led her four numbers* charmingly, impressing heavy on personality. Jac'K McGowau was a perfect strai^;lu. "The lio^e of Stamboul" ought to bloom in New York for many nionllis. Abvl. BACK TO METHUSELAH (Cycle 2) r.XRT Iir-'The Thing Happen*" Burff-'-Lubin A. P. Kaye B:irnaba«t Moffat Johnston • '•>nfu<'lu') t.'laude KitiK Minister of lloaUh Mary I.awton Archhi.sliop Stanley Howlett Mra. I.utpsti ii.)5 Margaret WycLerly PART IV—"i:iJ-Tly Gentleman" niJerly Gentleman Albert Brunlng Worn.'tn Erlit.a Lnscollcs llozim riau<Ie Kin^ Napoleon Dennis King Dracle Margaret Wycheriy JCnvoya Wif" Shirley King Knvov's Daughior M.nllia Bryan Allen The second word-storm of the series of three which compose Georgo Bernard Shaw's 'Back to Methuselah" rattles the ancient walls of the venerable CJarrick this week. And next week there is a third to come. The "inside stuff" about this pre- sentation by the Theatre Guild is that Shaw aiivisfd against i>iuduc- ing his three-linked philosophical sausage on this side at all, predict- ing its failure. This seems to have egged the Guild on. "VVlien rep- resentatives persistently pestered Shaw for permis::ion. he advised that the live parts be played in five consecutive evenings, with other lill-in entertainment. Th^^ fill-in idea he had worked very well with his "Androcles and the Lion," pad- ding out with "Th.^ .Man Wlio Mar- ried a Dimib Wife." But the Guild \etoed both ideas, to let it alone altogether and to cut it five ways, and d 'Cided to make three segments of llie five episodes, and play each segment a full week. BO that instead of five fairly endur- able evenings. aJtei whicii the thing would be over wit:., we have three whf>le evetiings extended over three weeks, and each one of them a lear- some adv^ .iturc. Tlie review last week strained itself to lind ade.ii;ate words to ennvey the verbosity of tie- fust two episodes. All those words and all the otln-r word? add»'d couhl j.ear'^cly (l.» ju-itue to the words and words and words of this wordy .'-•''- ond ..el|)in:T. Albert Bruning, a> th<' i:iderly Giiitl'in-in t.ilUs for two .<olid hour.-'. M«*moii;',uig hi-, rolf would be a t,Uuntle feat, it wouM \^f so f.»r il ha-nt been done. Mr. Bruning broho in with "er—er" a hundred time.-^. but he made most : of It. If he s|iii.p.<d a fi-w thous.'jnd j woid-- no oti«» noticed it or f-'lt bittep j towa:-d him lor it; iliere weic plenty ' left in. The start nr\<i the .second half of the Elderly Geiulemaa cliapter wera rather brisk and entertaining. The mid-part of the evening, however, was entirely flooded beneath the in- cessant peltlnsr of monologue and dialogue, which, like the pitiles?^ and ceaseless rain outside, fell pitilessly and ceaselessly within. It was liko an elderly gentleman with a shock of white hair that was still noble and well polished boots, but with a protuberant mic>lff that showed he had dined or drunk too copiously. It is sad to contemplate Shaw In his progress of what ideas of his glint through the befuddled mess of phraseology, scolding and spitting, striving to pay oft a miscellany of old scores. They are dragged in without coherence or continuity or congruity. He hits at politics, sport, manners, beliefs, individuals, fa- mous men and women and un- knowns over whom Shaw must have chuckled when ho wrote, but who elude Americiin audiences, at least — the whole thing more the reaction of senility than a comidex of lit- erary frenzy. The (halh of tlie Elderly Gentle- man, ringing down the curtain, is impie'isive. It is luie drama, though no one knew what it was inteiuled to teach or portray or establisli. If Shaw had his joke on the Guild, the Guild had its joke on Shaw—for the character was dressed and made up as a caricature of Shaw himself. And what could be more fitting than the name of the role and the squir- rt l-on-a-wheel clatter of hi-s tongue. to go with a visual cartoon of the autiior of "Back to Methuselah"? The second cycle jumps to 3000 A. D., by which time Kngland has become the retreat of the highest civilization, where men and women live to enormous ages. The rest of the world is lagging behind, and gray beards from Bagdad and else- where come to learn the secrets of longevity from the wise Britishers. They are charmed with flappers of 50. who are mere children. A. P. Kaye, who played Boycc- Btirge (Lloyd George) last week, is now his descendant, but Claude King, who was Asqulth. has re- verted to Confuciu.s. Cloing both ways from the middle, in more cases than one, seems Mr. Shaw's idea of dramatic marksmenship. In 3000, .science has developed so that a man may talk to anyone in any part of the world merely at wish, and the person appears in the flesh or by some magic of .astral- corporeal transmission. Thus Boyce- Burge can talk to th© world; and that makes him happy. A tvpical touch of irony is in Shaw'.s handling of the Irish prob- lem. A clumsy xatirist would liave had the Irish still fighting and the nationalist question still unsettled in 3000. But Shaw twists it so that Ireland has been long calmly at peace, but the Irish have left it and have scattered over the world to wherever there is still a natioiiuli»t question alive. Lee Simonson's stagings and set- tings are spectacular, as they were in the earlier episodes. His Bay of Galway is a masterpiece of paint- ing, lighting and construction, and would be a novelty ai i a revelation in the commercial theatre. Just what the Theatre Guild is t/ying to do or prove with this weird project Is still a mystery to this proletarian reviewer. But he is certain It is neither a "Parsifal" nor a "Passion Play," and scarcely justifies the bothersome experiment- ing. Lait. ■ MADELEINE AND THE MOVIES Cast: James Rennlo. Georgette Cohan. Frank Hollins, Ruth Don- nelly, Kdward Nannery, Harry Mes- tayer, Thomas Jackson, Louise Orth, Jean llobert.son, Charles Hal- ton. Frank Sheridan and Martin Malloy. After having tried out In Atlantic City, George Cohan's Initial produc- tion since his declaration of a non- producing policy in this country, had its premiere, March C, at the C;aiety. The show is programed as a farce, though it seems to fall somewhat shy of that classification and appears to come more appro- priately under the heading of a comedy—but it's mostly the way one per.sonally analyzes the two words. "Madeleine" has been Cohanized into an evening's entertainment that, following a rather tedious first half hour, picked up its mystery theme to roimd out entertainingly if not sensationally. The main interest opening night was Georgette Cohan, who, as a shoj) girl Irightened into a plot to coerce a picture star, overcame th«» handi- cap of putting the story under way by means of n monotonous speech. It must have run five minutes (tr more, but Miss CJoorgetto gave a creditable pfrformance anil tool; unto her.'^»'lf the proverbial idiom of "a comer." However, It was James Bentu'e a.i tin* film ht-ro, I'rank Ilolhns .is the biiihr and " Ituth Donnelly as Madtleine's girl friend, who were mainly resi>onsible for carryitig the piece along. The trio ujthold the s«'»iuence of events inau^uiated by .M1.-..S Cohati, besides t iking a:e of a m tjority of the "meat"' liiies. with one or the other always dowiifront for attention. Bennie, e>:pe<-ia!iy, ijivcs a corliing show as tlie pei- plexed central figure in the case. looking the f)art of \ .screen f.ivorite and plavitig it without over indul- gence of tlio character, whiio Miss (r,,. '•,,,,..,1 ,, page 33) £: BED-SIDE CHATS BY NELLIE HEVELL (NeMia Revel! has been for nearly three years confined to her root and cot in the St. Vincent's Hospital, Seventh avenuo and Twelfth str Now York City. Without having moved from one position within the pa six months (Mist Revell having lost the uto of hor spine) she has wri and dictated these weekly articles for Variety, at the same time havin variously contributed to other periodicals. Miss Revell has been call* the bravest woman in the world by many.) •Do you think I'm happy?" aa the lamented Joe Welch used to sa; opening his monolog. No. far from it. I am not having half of thi fun here that my mental flip-flops might lead you to believe. But tho who know me, and thank goodness many of jou do, can hardly imagine me in a convulsion of joy at having to lie on my back all done up llki Joan of Arc, staring at the ceiling of a sunless room for two yeans and the only outside view I have of life is through a window which over- looks some factories and wholesale houses. And the only moving thi that I can see from where I lie is the flag on the 14th street armo! (life, liberty and the pursuit of apartments) and «ometlmes even t flag disappoints me. for I often see it at half mast and am remind that we all can't win the fight. At night I lie and watch the lights on the clock of the MetropolU Tower and wonder what other "shut-ins" are watching and what th are thinking about as the red lights announce the flight of time a find myself wondering who they are, how long they have been shut i and what for. Wonder if they have homes and loving friends to ca: for them. AVonder if they are In hospitals. Jails, or perhaps In unhapp; homes. And a feeling of fraternallsm such as would be hard to descrl overcomes me. I wonder if they are half as well taken care of by the families as I am by my friends. All I have to do whenever I feel attack of self-pity coming on because I have to lie back and look at o spot on the ceiling is to just think how much worse off I would be If could not see that spot, and I thank God I can. Dear Miss Re veil : Apropos of your comment in this week's Variety as to-how well thlni had gone during your period of Inactivity, may I not call your attentii to a few things that are radically wrong? Of course, there is prohibitioi to start with, but that is such a distasteful (yes, I am thinking of hoocl and home brew) subject that I shall exercise great restraint and dismii it without further comment. I am tempted to add, though, that I knoi you are in no way to blame for that. No red-blooded American girl woul be the perpetrator of the Volstead act. Next- comes another unpleasant subject. And that's this theatric season. Could it be any worse? The army of Idle actors, agents a; managers on Broadway will give you the answer most emphatlcal Cain, with his bulging storehouse, undoubtedly disagree^s—for he sure packing 'em in—but as he Is the only theatrical man displaying t1 S. R. O. sign over the door, he can't be considered an authority on th< excellent show business this year. Also note the newspapers failed come out one day. Of course, as you say, the sun rises and sets Just the same evei day. But, dear lady, it doesn't seem to be the orb of old and I am sui it doesn't shine as brightly as when it helped to make brilliant y< presence on Main street. And speaking of the sun reminds us thi duritig your illness that defunct planet, the moon, so old aa to be garded heretofore as one of the most steady and reliable of celesti l>odies, has, according to the dally papers, been cutting up didoes wandering away from Its beaten path. Then, too, don't forget that thi earth is disturbing the scientists by shifting its axis or trying to mo^ tho North Pole south or the South Polo north, or something like thai So, with a shimmying earth, a wayward moon, prohibition, a rott season, and a few trifles like that, much as I dislike disagreeing with lady, I am obliged T6 take this Issue with you.that things bavo gon< very well withqut you. The facts prove, dear lady, 'taln't so. C. F. Thanks, Jimmy Lyons; also the others on the bill with you: Wllbuf and Girlies, Morton Brothers, "Willing and Jordon, Fred La Reine and Co, It's stimulating and inspiring to know that you all think of me and take time to send a letter of encouragement signed by the entire com* pany. And it In most gratifying to read that my example has helped anyone to be more tolerant and patient. You know, Jimmy, that most of our troubles never really happen. Keep on rooting and I will make It. I am Improving. I feel It and know it. And some day you will look down and see me In the front row applauding you and your fellow artists. Molly and Nellie King, In most becoming mourning costumes (having recently lost their mother), make Sunday seem less lonely for me by tiieir presence and flowers. I am ofCa Willie Collier and R. H. Burnside. They promised to coma down and put on their act, "Nothing But Cuts," for me; then failed to deliver. I'd hate for my contribution toward tnelr fame to be in the nature of a breach of promise case, but they should be careful how they make promises to the weaker sex. For in a case of trial the bympathx is always with the girl. Just by way of apology to the Pittsburgh lady who took umbrage at my not writing to thank her for tho cake she so kindly sent, I must explain that I did not nave her address. It was on the outside of tl^e package. But the wrapper was lost. I am unable to open packages. And sometimes addresses get mislaid. There was no letter inside telling from whom or whence it came. As I explained in "Bed-Side Chats" several weeks ago, I am unable to write letters, as I rcgulre all my strength to write my column. So forgive mo if I seem ungrateful. I do not mean to. X hope you will never again write a loiter like that to anyone who is ill. It's like a cow that gives a fine bucket of milk and then liieks It over. Frank Fogarty, "the Dublin Minstrel" (you remember him). Is now secretiary to the president of the Borough of Brooklyn and notifies ma that I have no copyright on "Bed-Side Chats." And that Frank Fogarty, Jr, who arrived at his home laul week, has a line of "Back Talk" that has it over mine like a brass band has it over a hand organ. All right, Frank; put him ' vaudeville and I will take as much pleasure In writing about him as I did about you when you illuminated the I'ercy William theatres wliile I hud the privilege or exploiting them. The line in my column about having "no Indian to guide me" Invoked much comment. The Lee Kids (Jane an«l Katherine) eent an Indian scarf table cover that when hung over tho ,screen in my room gives it an air of co.'^:lnef;s very restful to one's jaded nerves. E.xpecialiy when the scene in supplemented by a fine set of Indian head pictures forwarded by Cal Stone, former trafiic nianai:'c of the G»eat Northern Railway, v\h'j thr.iignt 12 Indian pictnr.s vould hr-ip guide me. My room ooks - ■ ry «leriuish. Now if .sonn^one would only .send a log i.re I \\ouId be all b't. I can supply the a.sh tray. Fl"-,v<r3 from Mr--. Frank Canir>bell, Mr.q. Stiuirt I!ob«on, William C;rady, H. F. KIbre, I'i.sire Ollara, Con^lanr e I'arber; fruit fiom William rr»:i!er. Norma Talmadge; candy from Trixlo Friganza, Zelda Scars, F.d.vard Darling and Jenlo Jacobs, all tlie same week, remind me that while I lave been three years away from the firing line I am not lor- goUen^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ——