Variety (July 1922)

iMPWBViHPV Friday. July 14, 1W8 LEGITIMATE 17 FOREIGN REVIEWS GRAND GUIGNOL Paris, June 15. Still another show offered by M. Cholsy at the Grand Guignol, await- iJie a summer program to include ••Au Telephone," which the Comedle Francaise does not want. The main dish at present Is a two-act drama by Gustavo Freja- ville adapted from Charles Dickens' •'Black Veil" In sketches by Box. The French author has eelzed tl e •Ituatlon, ably dramatizing the ■tory of the"tveiled woman calling ori a physician late at night and imploring his skill to save a dying Datlent. She leaves an address in a London slum. When the doctor 'later calls he finds his visitor nurs- ing a corpse—that of a young criminal hanged the previous day and far beyond his professional aervices. Another two-act drama, "22 Rue des Vertus," by Madeleine Guitty, Is a strong work, but rather un- savory. The title Is the address of a brothel, such as are tolerated on the continent, owned by-a wealthy individual supposed by his neigh- bors to be living on private means. As a matter of fact the neighbors are correct. Thi* man's son is in love with one of the inmates of the brothel. One night he mistaltfia the owner for a frequenter of the re- sort, particularly sweet on the un- fortunate creature he prefers, and kills his own father before recog- nizing him. To change the atmosphere the show includes two farces, one di- verting and a clever study of the horse-racing community. Henry Lee in this latter sketch. "La Glori- euse Incertitude." describes how a workingman, Pierre, has promised his wife to give up betting, but, , tempted to try his luck for the last time, he puts his savings on a favorite. The wife, influenced by friends, has ^ bit oiv another horse unknown to her husband. Pierre's mount is first reported as the win- ner, but later disqualified, the wife, however, having put her money on the horse getting the stakes, the family savings thus being saved after Pierre has been thoroughly scared. This slight plot Is adroitly handled. "La Premiere Consultation," by Albert WiUemetz, is likewise slight, but correspondingly broad. A physician has recently married, and starts his practice under new condi- tions. His first patient Is a former mlstre.ss, calling to claim money. To hide the true situation from his jealous wife, continually eves- dropping, he is obliged to put his imwclcome visitor through a med- ical examination while they whisper their private grievances. Another show will be due at the Grind Guignol in the.near future. Kendrew. PASTEUR London. June 21. Pasteur is a one-part play spe- Wally written for Lucien Guitry, who Is a remarkable actor, sober in bis gesture, but who possesses in his eyes the greatest emotional powers !^no man other than Guitry will •ver play the part. Yes, after bis death, but never with his ma- jesty, his simplicity nor his strength! His make-up is marvel- ous. It seems, from the photos, that bis genius is still alive. And al- though the play does not refer to any love affair or intrigue, to any- thing else but the great loye of a man for humanity, it is very mov- ing. The play is simply the life of Pas- teur, who was not a doctor, but a research chemist. He had to fight against the ignorance of the mem- beis of the medical academy—they did not actually laugh at him, but they handicapped him. The only people who understood and felt in him the birth of a genius were, as usual, the Germans, wh" paid for his laboratory. But when the war of 1870 broke out Pasteur refused any help and reward from them. Long after (20 years of constant studies and discouragement) Pas- teur has discovered the serum against hydrophobia (rabies) he has made his experiments; now he is waiting for his first patient. He comos from Alsace; a little boy and his father terribly bitten on the leg and arms. Pasteur is anxious; will the injection be a success? The doctor who is going to make the in- jection is afraid—there is a tense moment. The boy comes very late, 10 days. I'asteur says he docs not like dealing with a child- it is too much for him- because he has for children a great tenderness and the respect of what he miglit bo one day (perhaps a genius). The child is cured, and when three years after the boy returns he hard,- ly recopnlzcd him. and the boy tells him: "Vou saved by lif*-." Pasteur is moved to tears, l.ut mastering nimsolf, ho says: "Is it not ^ood to hear tlioso words from .sii« li a pretty littlo inouth?" He was very ill when the boy ''•'»ni»\ and his .«;iMht brings n(>\v f'.renmh and health, and following njs doctor's advice ho poos f> the south of Franco to take a nst. and Rives sfiniH addr(\Ms«Ml ('n\»'lopos to ^"t* fliiUi so that he can write to him, but he does not expect to live very long. The child asks. "Where are you going then?" "Where I would not let you go." "Why?'' 'It is too far for little boys!" This cure ha« brought the whole of France on its knees at the feet of this man of genius. He is made a member of all the academics of science in Paris and France and everywhere. He Is decorated with all sorts of crosses; then at his re- ception at the Academy the Presi- dent of the Republic, who was Car- not at the time, came and kissed him In the name of France, the doors of the Academy open, Carnot offer- ing him his arm leads him in the room. We hear the "Marseillaise" and the mad cheers of the crowd. There is not a woman seen on the stage. The plot Is simple, great; the whole thing livery pathetic and most splendidly acted by the won-* derful Lucien Guitry. The play was written by his son, Sacha CJuitry, who knew how to fit his father, and he succeeded largely. JcAo. LE REFLET Paris, June 15. Such Is the title of a so-called psycholgolcal study in four acts by Pierre Frondale just mounted at the Theatre Femtna. It is doubtful whether it will reflect for long. It paints the portrait of a woman, turned 40, widow and mother o* a bright youth already engaged to marry into a respectable family. In this circle Mme. Balta meets a fashionable novelist, Gaston de Ruppert, and he makes a deep im- pression on her. She is not made of wood, although the first gray hair is apparent when she neglects to hide it. For she has passed through a long widowhood alone, having passionately loved her de- ceased husband. Mme. Baita has as an Intimate friend, a young woman, Vedded to a fellow not ap- preciating the ardor of a healthy young novice. Thus the novelist has not much trouble in paying court to the friend, mated to the wrong husband, visibly preferring her to the more experienced Mme. Balta. In view of this choice the latter gives herself to Gaston by proxy, as It were. She teaches her younger fflend the science of love, the art of being desired, the profes- sion of coquetry. She reflects her passion for the puppy she dotes on through her friend, and facilitates their meetings, unselfishly disguis- ing her ow« feelings. Even when her young friend and her beloved Gaston are on the point of being discovered by the outraged husband she fearlessly substitutes herself for the wife and publicly proclaims she is the novelist's mistress. ^Thls situation is not new.) The ^ wife is not grateful and Imagines the confession to be true. Gaston knows otherwise, naturally, and tries to make amends by offer- ing to supply data by which she may tranquilize her conscience of having uttered a lie. But Mme. Baita is no fool, though her years of widowhood were on the point of leading her astray. She realizes the young man Is only trying to ex- press his gratitude for avoiding a scandal, and the difference of age Is sufficient to discountenance any idea of true marriage. So she wisely accepts the offer of a former Platonic friend a bit older than her- self and whose heart is still gree.i. This comedy met with only a fab: reception, for many better psycho- logical essays of the same order have been given by unknown play- wrights at the various Independent stage societies' performances dur- ing the past season. But regular managers seem only willing to con- sider the efforts of well-known playwrights and decline to try out the unknowns. Kendrexo. MADAME ET SON SATIKE Pari.s, July 1. ThSb title has a sound that the authors suppose will fetch 'em to the Theatre des Ternes. Jean Conti and Maurice Moreaux have concoct- ed a three-act farce on the old model with up-to-date broad situa- tions. Carmen Is a youthful actress who foolishly gave her heart and the rest to a smart guy about town named Lafourchette. A child was the result, but the fickle father also kept up a correspondence with a buxom lady, signing his missives in the name of a friend, Mauvoisin, and even gave a date at hi.i villa. Carmen appropriated a letter and realized .^^he was being neglected. Confidinpr her suspicions to an old rhap in the dramatic troupe, Poche- vide, he sought Mauvoisin at the address stated.-and on the preten- sion of being the parent of Carmen threatened the supposed culprit with Instant death if he failed to marry the Rirl he had wronged. He iinfortuiiafely mistook the men. and the innocrnt MauVoisin was the vi^'f im. DurinL,' this mane iver he oncount- ered the Imxom lady and rerognizcMl a form«'r sweetheart who liad given him a lom;-lost (laiit»hler. This off- sprini? was proved to he Cirmf^n. PoelievMe made amends by w«-rl- ding the aforesaid buxom lady. while the fickle Lafourchette asked the said parents to give him the right hand (he apparently already had taken the left) of their daugh- ter. Carmen, in legal matrimony. This rollicking farce is not par- ticularly attractive, and certainly not an object to be used for t2ie propaganda of French literature. JACQUELINE London, June 27. In a very good and concise first act we learn that Berton' (Lucien Guitry), a wealthy banker, loves his wife and Is jealous of her. He is not loved, but feared by her. She Is late coming home that evening; he Is anxiously waiting for her and refuses to believe his wife may have Incurred any danger. ^ Suddenly the commissary of po- lice comes—his wife has been killed by another woman, friend of hers, who found her in her husband's arms. Berton is in a rage and de- cides to help the woman to be ac- quitted. The strong brute appears in him. But when Vincelon. the friend he was talking to, has gone, disgusted by his cold cruelty. Berton sees on a chair the little coat be- longing to his wife. He takes it in his hands, caresses It, a sob com^ to his throatt the beast becomes hu^ m^n again, but his strong character tries to fight this weakness. "Come, come!*' he says to himself, but the sob is still there, and tlie curtain comes down. Then he travels, seeking for ob- livion. He meets a girl, Suzette (Yvonne Printemps), who is one o* the souls on the market. She likes him and wants him to like her. but he cannot, and she wants to leave him. "Not until you have told me why." And she explains all her feel- ings towards him. He realizes what there is in him that he cannot con- quer; he Is sorry for himself; sorry for his dead wife, whom he now for- gives. Yvonne Printemps has a most ex- cellent scene at the moment. When she has told Berton of her sym- pathy first, then of her fear, then of. her loathing, she bursts out sobbing, a sob that changes Into a hysterical laugh which holds the audience gasping, and a roar of applause ac- companies her off the stage. Berton Is like an oak that fell broken under a storm. Dejectedly he says: "Happiness is a courtier, misfortune a master! Poor little Jacqueline!" In the third act Berton has re- turned home a very different man. A lady calls on him—It Is Madame de VUleroy, the acquitted murderess. Berton receives hetv She Is embar- rassed, for Berton seems calm and quite composed. He patiently Its- tens to all she has to say—she blames Jacqueline, and as she had divorced her husband she tries now to fascinate Berton and get hold of him; he Is so Hch. The beast who sleeps in Berton suddenly wakes up. and he relieves his heart talking to the woman as to a dog. She is afraid, find takes her bag, In which Is her revolver. Berton sneers at It and gets wilder. She Is going to shoot him, but he holds her wrist and disarms her. Then he catches hold of her throat and tells her the last few bitter words. He releases her a moment to ask: "What were her last words before you shot?" "Pardon!" "And you did shoot? Well, die, you dog!" and he presses on her throat. This play again fits Guitry splen- didly. He is the real Impersonation of the character. As usual his act- ing is sober and highly emotional. Yvonne Printemps Is very natural and bright, yet in her final scene of the second act she rises to the level of a great tragedienne. "Jacqueline" takes the audience by storm, and Guitry and Yvonne Printemps had to answer many en- cores. Then followed "Un Monsieur at- tend une dame.'» It is extremely funny, and the author-actor, the in- imitable Sacha, made the audience shed tears of joy. Yvonne Printemps gave us an op- portunity of hearing her voice in a song at thA piano, and she has a very beautiful voice, very full and warm and clear and expressive. J(Ao. and restored to his former condi- tions, where ho was led to believe his previous elevation was but a dream. Neverthclets, agitators aroused the people and demanded the return of the prince, bringing him back to rule. At first he thought it was another dream, hut reality being now apparent, Sigismond, re- membering the past, changed his method and swore to govern with justice. As Sophocles In "Oedipus," Cal- dcron would fain impress on his audience that we are mere victims of destiny, which can never be avoided. It Is a most Interesting work and the Atelier is to be con- gratulated on revealing such ancient treaaure<^, notwithstandinir many of the world's dramatists have fre- quently dipped for inspiration into the volumes of Calderon. Kct%dreyo. LA VIE EST UN SONGE Paris, July 1. Such is the French title of a translation by Alexander Arnoux of a work by the Spanish author Cal- deron do la Barca (born in Madrid, 1600), rehearsed by a dramatic so- ciety known as the Atelier, run by Charles Dullin and recently present- ed at a special matinee at the Vieux Colombler. so ably managed by Jacques Copeau, who was at the Greenwich in New York for a sea- son a few years ago. Bazile, King of Poland, has been warned by gypsies that his son Sigismond would succeed him by a reign of cruelty and injustice. To avoid this Bazile had the infant reared in a lonely shod In the forest, attended by a faithful servant, but later, struck by remorse, he plaecd the young man in power to lest the prophecy of the horoscope. His brutal surroundings had not fitted the prince to rciprn and he im- rn«(lialely re- ealed traits of tyranny. slauRhlr-ring thos»« opposing: him and In.'ulting his eldeis, even ord»>r- in;r the hrini.-«hm*nt of his roya! sire. Kincr Bazile ronse<|uentIy cause.1 Prince .Siyismond to be ki<lnai)pod IE SOUFFLE DU DESOBDRE Paris, Juno 15. The Grimace Dramatic Club con- tinues its successful es.says at the Mathurins, revealing some new (^lever authors albeit no genius Is yet apparent. Lugne Poe of the Oeuvre, discovered Sarmant and F. Gemler is reported with the inten- tion of taking on the "Couronne de Carton" at the Odeon but this new school will nevor appeal to the average playgoer; while G. Pitoeff enhanced the value of Lenormande, but the style will never please the real public. So Bastide with his ^imace group Is doing good work m bringing out latent talent, v Last week ho presented a three- act piece by Faure Fremiet, "Lie Souffle du DcHordre," perhaps one of the theatrical events of the sea- son, albeit with a fragrant odour of autumn. Two brothers, Antolne and Comille formerly loved the same girl, Jeannine, but married other damsels, as did also their bone of contention who was wedded to an- other swain, she being a mother. Consequently, the elder, Antc^ne, while remembering the old passion, faithfully observed his marriage vows, whereas Camille broke his conjugal chain, and renewing his relations with Jeannine, who ob- tained a separation, enabling them to wed. The emancipated couple were later compelled to seek shelter in the home of Antolne. and at the sight of his former sweetheart he felt the old love revive to bursting polntr Madly jealous of his brother and Jeannine's happiness he set out to poison their domestic biiss at its source by injecting the \5ancer of suspicion In their respective minds. They become estranged, and quar- rels are frequent between them. This, the 'breath of disorder" as premised In the title is wafted through the home. The son, aged 16 years. Is led to attempt to take his own Ufe. due to jhis contagion, and order lis only restored when Camille and Jeanne become recon- ciled, thanks to the repenting brother, and quit the unhospitable roof. There are qualities in this study, marking the advent of a solid play- wright, but It should be said much of the success Is due to the admir- able acting of an excellent comedian, Constant Uemy, not often seen on a regular stag^ Nevertheless, "Le Souffle du Desordre" is of the new school which has not a big cVowd of admirers, but a public is being rapidly formed for this class of psychology, provided It Is offered under the name of an author prom- inent in local stage circles. Thus the Grimace, and similar or- ganizations are doing good work in Revealing this up-to-date talent, which would have no opportunity otherwise. Kendrew. seeming to b« * skit on modern operetta. This work, also compar.i- tively unknown, is in Gluck's linciit style. There Is a rich store of old musical works hidden In IJurope. and thouKh it remains to be seen whether the present playgoers would appreciate them, the efforts of groups like the Petite Scene are extremely interest- ing. And I remember the success of Guy's "Beggar's Opera" during the past three years. Kendrew* DEUX MASQUES V Paris, June 28. Marcel Nancey runs this little theatre of horrors on the line of the Grand Guignol, with frequent changes, and presented another show of the usual mlxrd order last week. His principal item is a two- act drama by F. Juvenet, "Vers le I*ole," concerning three Swedish ex- plorers making their way toward the North Pole (or it may be the 8outh). Bears discover the place ^here they hid their reserves, and wh<>n they go to get supplies find an empty cupboard. The men go through all the tortures of hunger, one soon expiring; his companion in a moment of folly cuts off a hand ' of the corpse and eats It. Later ho kills himself just previous to the arrival of a relief column, which comes In time to rescue the sur- viving explorer. The men promise to keep the secret, and plan to re- port the demise of their companions as of privations, so that their names will go down to posterity as victims of the polar expeditions. The drama Is solidly constructed and the only thrill is thf brief act of cannibal- ism. A risky farce with a rtide termina-* tton Is "Le Testament de Prosper," by Maurice Pain, rclativ« to a forged will, but concerning which there is little to be added. The remainder of the program ronnprlses a sporting sketch, "Un Tuyau," by Jack Abeille, also "Le Dlndon de la farce," by F. Despas and WiUemetz, held over from the previous bill, probably because nothing better was forthcoming, which does not prove they are genui of humor. KefiAtcyo, OUT OF town] THAT DAY \ "That Dair." s pl^r by Loals Anapachar, at tba Apolto, Atlantic Cltjr. July S. week. SANCHO FANCA DANS SON HE Paris, June 15. One of the many old operettas forgotten by the older and unknown to the younger generations was re- vived by a private theatrical group here designated as La Petite Scene. This musical comedy is the Poinsinct Philldor, the latter responsible for fhe muHic. and he is the famous chess player, born at Dreux, France, In 1726. His family name was Francois Danlcan and he acquired the pseudonym from his grand- father who was permitted by Louis XHI to call himself Philldor after an Italian composer attached to the court. The grandfather was choir master in the king's chapel, and young Danlcan was likewise a choir boy at the private chapel of Louis XV. He later devoted himself to mu.Hlcal compositions, writing sev- eral operas, "Sancho Panca dans son He" being produced In 1762 at the Comedie ItalUnne, Paris. But I'hilldor Is much better known now as a chess player. There arc probably many who hear of him as being among first to solve problems without a board before him realize he was a musician by profession, and that he left to posterity 22 import- ant compositions, his best opera probably being "Blaise le Savetier" for which Sc'lalno wrote tho lyrics. During the I-^rench revolution I'hilidor cHcaped to London, and he (lied th» ro in 1705, !iuri*-d in the .St .lim«.s' chur<h yard. Wisfminstcr He was acquainted with Haend*'! arid (Durk. Thr- I'ttilc Scene society thus pro- (hicod on the same occision "Th*- l)iiirilc;«rd CorrprtfMr' by GIikI' creilt'd in \'iorina In 1760, un<l Oaraldina Duq«Mn« Hadda Hopper Dr. Krlo McKay...•....a«orpr« MacQuarrIa I'loyd Asnas Atherton Kllnor Wyndham B*rtha Mann Robert Sinclair \\«tay Mowbray Sylvevter Carhart Frederick Trueadala Mrs. Robert Sinclair Francei Nelleon Mrs. Mildred Dunham Bllla Baker Seyntnur Kpencer Kdward Kleldlnff Ro/ McKay Raymond IlackeCi Atlantic city. July 12. A forceful play for thinking people with a tale as virile and holding as an Ibsen theory, marked the pre- liminary venture of the Belmont theatre repertoire company Into the actualities of stage existence. The play deals with a husband who Idealizes his wife until learning she lived with another previous to his marriage. He finds It hard to recon- cile himself to the happiness he possesses and the love that is his. The author has made his problem very real, impressive In Its force- fulness and Intelligent In Its con- cluding theory. In construction the play peculiarly deals with a definite climax to eaqh act, making fairly consecutive action as of a series of episodes. With one exception, the performance was splendidly cast. Bertha Mann held the principle ff>m- Inlne role with continued Interest. George MacQuarrie was opposite as the doctor - husband, Frederick Truesdale offered a suave, sly, polished trickster lawyer; Agnes Atherton scintillated in a . "Gold Digger" part. Kdward Fielding played excellently and Ellis Baker put in youthful charm. A play for intelligent audiences. Bcheuer. The Lexington opera house on Lexington avenue and 61st street. New York, was recently sold by the Chicago Opera Association, which controlled it through tne l^exlngton Theatre Corp., to Fred- erick Brown, a real estate man. The consideration was in excess of a half million dollars. Several film people were dickering for the house, including the managers of trie Plaza, an East 59th street plcturw house. It is understood the theatre win be razed and an office building erected. Date books for the next theat- rical season have again been issued by Fred and Billy Murray, stage I lighting experts, it Is the 14th year the little books have been distrib- uted and list of professionals with date of birth is again credited to ' J^avonport" Kdward O'Brien. It's the .«ame OTJrlcn known around the Friars iS "Saturday Night Eddie.* At the last Frolic he was ro- hri^t'OU'd and the "Davenport"' I in<li<> given him. •Ii.; 1, ••.»< '»li >«J,>:|