Variety (August 1922)

Friday, August 11; 199% LEGITIMATE 3«: 15 U GOLONDRINO' AND ItEAR CAR' MEW COAST PRODUCTIONS JdcGroarty'f Hi ''Mission Play'' of Spinal ThrHl Week Drama Preferred to Hit Edward E. Rose's Melodrama -Both Pieces First Shown This Loa Angeles, Aug'. 9. The Iate«t play by California's favorite home-grown author, John fitevcan McGroarty, had its pre- miere Monday at San Gabriel. It Is *'La CJolondrino," and a historical arama in three acta, running about three hours. The critics say it Is a greater drama than McGroarty's "Mission play," a celebrated California prod- uct with a long career, but it is doubted if "La Golondrino" has as much popular appeal. "La Golondrino," translated from the Spanish, Is "the swallow." It has plot and plenty of dramatic action besides romance, whereas the /"Mission Play" is purely atmospheric and historical. The latest of McGroarty's Is slightly hampered through a lengthy seance of Spanish dancing, singing and music. A little of this is enough to detract from the in- terest. But "La Golondrino" Is really remarkable for its historical value. Mr. McGroarty has succeeded, If nothing else, in adding a new chap- ter to California's dramatlp litera- ture. % Patia Power (formerly Mrs. Ty- rone) is most effective as the hero- ine. William Ellingford and E. A. Pyke were others of the cast to notably score. Remainder of the comjiany is the same as in the "Mis- aion Play,** which closed a week ago. J. M. Cox directed the new play. Rose's "Rear Car** At the local Majestic Sunday and for the first time Edward E. Rose's "The Rear Car" was produced, with Richard Bennett In the lead. It is a meller of "The Bat" type. Mys- tery, murder and almost mayhem arc in the plot. The action Is set In a Pullman, ilfhcre a passenger is found strange- ly sUin. The piece's players are called upon* to perform crazy stunt after stunt until the audience Is bewildered. The story moves entertainingly tmtil the final climax, when the author evidently "blew up." It is the only disappointment. Mr. Bennett has not a role here ^qual to hia talents, but lifts the Character of a silly ass insaiite Sher- lock Holmes far above the ordinary. Kana Bryant and one or two others jbxceptlonally good. "The Rear Car" may get to Broad- Way, but if It does it will be only through the rear door, despite It rivals some of the New York melo- dramatic hits for spinal thrills. LOVE. AND KISSES Boston, Aug. 9. "us Rdgar Hamilton Conductor Georfre Henry Biiaa O'Day Walter F. Jones lack Hay don Ttu-ssell Mnck Xtbby ODay j», I^oulsft Allen Mary ThompaoB Helen Ford Harrl.son Bartlett Alan Kdward.s Mildred Ripley Klennor Dawn •phn CouBlna K<M\*i Buzi'll •Ca^tie I.elcwer Dolly Lowla Bonya Mnlson Tiertee HoRumont Sophia Tra* Amelia Summervlllc Pauline...* Valdene Smith ^"l***''* Dorothy Faye Smith J**'*'"*" Martin Olhbons ^•'"i' Helene Coyne ^rmaii 1 Henri Frmrh »'JtIer John Monser City Censor .John Casey, the man who compiled the now famous "Pur- iUr Code of Theatrical Blue Laws." appurntly suspected that 'Lovo ami Ki.sses" sounded sugrgestlve of salacity, which was not perhai)r; nn entirely unreaaonible suspicion. So he houf^ht him a railroad ticket to Staniiord, Conn., and he found Lrove and Kisse.s" as stapcd by LawroMce Schwab (erstwhlU' Keith ag<'nt) and Danny Kusell (prodncer of .snnj)j)y vaudevillo acts) was rlo.in onouMh to enter the Sinless City. O* isTinally "Love and Kis.sos" tried out in Atlantic Cif>', in .luno, with 16 In the chorus. It nromi.seil rniK li. *>ut was miscast. Etoanor Dawn. Anielia Summerville. Ru.«sell M.i'-k f^nd Louise Allen were insertrd. the (^htjuiM eut in half, and Statnford Pckf.i for nn oppninp last Fri<l.i.v niRht. The j)erform;ince was li.st- jesM .-ind lanRuid and tho otitlook f«»r IJutilor, Inc." (apparently Drmny **"*' L.irryX was rather glooniy. hiiiulay and M(»ndav rehea's.ils in •io.stoM worked a miracle and at the •remiere Monday nipht at the Shti- >orts" Wilbur, with a capacity house Tought In on a two-for-ono basis, ^^td with a month's open time in Boston as an incentive, ''Love and Kisses" knocked the house for a goal and had Charley Hertzman babbling with joy. As a musical comedy "Love and KLsses" has more real comedy linos and less whistly music than the av- erage of the last few years. Albert von Tllzer's score was obviously ground out to order during a season when he was batting low in the mel- ody league, falling behind even Ne- ville Fleeson's lyrics. Comedy sit- uations are also weak, but as re- gards nifties and laughijig lines the show is there. Kusell has made a flash invasion into the musical com- edy field from vaudeville, and, re- gardless of what hapi>ens financially ta the present venture, he is going to find that the musical comedy field is going to knock at his door from now on for books, or better yet the doctoring of lineless, gagless books. Eddie Huzzell, who should be fea- tured and who undoubtedly will be in the next run of programs, has been using Kusell's lines in vaude- ville and has tho effeetive knack of nibbling every bit of meat off them. His role is that of the small town smart Aleck hick who has all the belated wise cracks that Ulter out of the local poolroom and bar- ber shop. He gets a howl on "That's the cat's ankle" merely because It is antiquated by a calendar year and the geographical distance be- tween New York and New Hamp- shire. The gags in Kusell's dialog are of the type of "What have you got on your hip? Nothing but a birth- mark," and ''Bring me a needle. 1 want to sew some wild oats in Greenwich Village," and "You can't teach me anything. I spent a year at Hollywood." Hokum and bur- lesquey comedy permeate the plot, including the country yokel taking a chorus girl to dinner, bringing his own table cloth to duck the cover charge and producing a bag of bananas, ordering the waiter to bring two knives and two pitchers of cream. When the girl finally or- ders the yokel (Buzzell) orders an aspirin tablet, and on his exit, when the waiter wants something for his services, he tells him he can have the aspirin tablet. The cast is Inconspicuously com- petent, Louise Allen and Helen Ford giving tho dominating performances, and having a golden opportunity. The entire production Is flash, the ensemble of 20 looking like a stage- ful, especially In the intimate Wil- bur, a small capacity house. If ever a flash was made with eight chorus girls, Edgar MacGrcgor In staging and Sammy Lee In dancing and en- sembles have certainly done it, pro- vided the {Tirls live through the summer. The Misses Lombard, Breslaw and Geesling have been given trio dancing specialties, and if they continue to develop the way they have since June 1 they should be able to hold th^ir own even if the production is expanded for New York. The flash showing is carried even farther by tho program, whioh carries duplicate names and tlie names of the larger chorus which marked the original ill-fated Atlan- tic City opening. In scenery and costumes the money has been spent wisely and far from niggardly, and toned up the production until it looked tlie honey from out front. Thne full sets and a drop are used for the three acts, with a second scene in the second. Tho plot IP another crack at th** CindertUa thoine, which apparontly is going to be worn theatrically for another season by successful musi- cal comedy producers. In a New Hampshire town a giil is pushing a cookie known as "The Blue Bird." Her hick sweetheart departs to knock Broadway for a row of ash ean.«t. and in leaving gives her half his bankroll out of sympathy under the subterfuge of buying a leg of the IMiie Bird Cookie Co. A city chap, who.se father is a cookie king, seos a ill lUi-e to back the cookie imdor cover and prove to the old Uiont that ho has l)iains. The cookie is a .siiccr.<ss, tiio hick bats aronrnl New York and (mally land.s in the new jMM'kic factory lf)oking for a job a.« a .salesman "U tho theory that if business i.^ bad on the roa<l ho ''an always oat his simj>les. From here on th.o plot tries to tie U|» a sob or t'.vo, I'Ut it miqlir a.v well try to swim the llixlson Kiver with a "fi.'-.fii! of t^el.s. _ Civo "Love i.n<l Ki.sses a vib.t.n f-.r plot interest, let ii ;jnnex at le.ast one puni;:hahle njel'^Iy. ''n.! keoi' Kuseli relentle.-sly" injecting his como.ly needle into tho occaJ-ion..! creakinj< ioitit in tho dialog, watch out for bluo sloff ill lyrirs (esp-- cially the Newlywed number) and Danlor, Inc., will have some federal income tajtes to pay In New York, even thoufh the biggest bundle oC dough will have come In off tho road, where it should send thum off their seats. And, somehow or other. It seems as probable as anything is for New York when viewed from the bushes, that the sweet little New Hampshire cookie girl wandering through Greenwich Village may bring in the golden guilders in tho wisest city in the world. Lihbey. THE NERVOUS WRECKI Sally Hor^an France* Howard Henry Wllllnms ICdward Kverett Horton Mr. Underwood James Marlowe Cheater Underwood 8tanley Taylor Harriet Underwood B«tty Roam Clarke Tim, the chaufTeur Hryce Kennedy Andrew McNabb MofTatt Johnaton Mort, a cowtwy <.'!»« Hecktn«*r Danny Hryanf Adam Oo(»dman Liob Wella. the sheriff Hal Urlggs Atlantic City, Aug. 9. It hardly seemed like going to a play—it was more like being at a parly, this new adventure from the pen of Owen Dc vis. They did not program it as simply a comedy, but as a 'burlesque comedy," and in that mood it possessed all the habiliments of a wild west melo- drama set to a rollicking tune ^f constant laughter. The situations were exceptionally keen, the fun a constant patter and the people really human beings, set to explosive outbursts. After the plain and gradually growing tire- some melodramas of recent years, the recollections of past days and then the unexpectedlv sombr^ do- mestic "The Detour," what kind of a man is this Owen Davis of 1922'? This is a story of a nervous man, addicted to pills^n *. ills, who finds himself on a momitain road, in com- pany with a most attractive maid, and without gaa. A peppery old man refuses him a supply and this surprising young bundle of nerves proves a highwayman sufficient to his purpose. The story goes on at a ranch, whence the peppery man prove; the owner, his ranchman in need of a cook and a therlflC in search of the highwaymen, who have now grown to nine. The story races on—and the youth and the maid become the cook and the waiter by force of duress. The girl, engaged to thi sheriff, the whole gang accused of crime and the tale magnified like the growing acts of "The Tavern" proves farce and then again more farce. It Is buffoonery that persists with a steady speed of seeming reality and makes for a refreshing, clean, merrymaking evening of the best kind of fun Imaginable. It Is an event worthy of an all next season run for Sam H. Harris. The play was first produced on tho coast by the Wilkes stock. It is therefore fitting the leading role should be held by one of their own members, Edward Everett Horton. Mr. Horton played "Clarence" on the coast and in this role keeps muchly to those personalities made popular by Alfred Lunt plus one pair of spectacles. Certainly the role could not have been more en- Joyably spread forth. Frances How- ard was the girl, whose eyes fairly raced with fascinating attraction for every man nearby, and she put herself behlYid the mere element of beauty. James Marlowe has not been so pleasantly cast since he sauntered through the gates of the Cape Cod village in "Shavings." He was the landlord with nerves and little reason. Schcuer, THE GUILTY ONE Ronald Short. Charles WalJron Dick Kawt'n Ian K«»lth Mr. S'-.it'in I'avles Charlcn Dalton T>r. DraH«««y Henry Warwick Iron" .Short Pauilne FrcdPririt Mii<l<(> L'llis Mitry Moors Aunlo riori'nce Kdnty Atlantic City, Aug. t. Being a screen actress gives an indefinable accent of association with the public. Others have ven- tured forth tipon tho stage and thereby found a public ready to see them in the flesh. Thus the appoiirance of Pauline Fro<bTlck at Woods' Sunday even- ing pioved an i»\»ii«*ii ft>i nhe wliu lon« triumphed in plays of striking calihre rmd bizarre setting under the same baniu'r of A. H. A'oodii, quite a fow years ago. Ti.e role i)rovlded by Michael Morton, with assistanco from I'eter Traill, was highly emotional in the second and especially the third act. It is a play wherein a man uses hl.i extreme device to ompt^l his wife to know him as her husband. It stresses tho hnman impulso to tho breaking point in tho wife's role and ^'ives Miss Frederick an op- portunity for many tear.s, more sohs and much exclamation. A surprise twist In the third net hfightened the vividnes.i of the story, not mu( h above the usual level but still a worthy evening's entert linment. wh". < nl the audience Kainod a <ertain risin?? s«'nse <yt ox- ))octalion that was finely climaxed witl! a till ill. Ono rtdo held foith for marked inl( test--it \n .is tho i,<«w.spaper man-detective handhd by that skill'd actor Cl'irl's Dal'on In the !oa lin»r malo role Charles Waldron t;avo a \ ory satisfying porformanco, popieto with : eriousnesH, whicii Kained admiration second only to the nppl'iUKo ;i( lorded Mi'«s Fred- erick, f PUSH ALONG Chicago. Aug. 9. Selected from somo 35 musical comedies and operettas submitted, "I'ush Along, Chicago" was pro- claimed by the I'ageant ot Progress Opera Association as the most sym- bolic and consistent extravagaftxa submitted, with Charles Bohler awarded the honor of producing It. Bohler was selected by Dr^John Dill Robertson, president of the Pageant, from some 60 contemporaries. This was probably due to the fact that his work at the Terrace Gardens (Morrison Hotel) had been observed by the City Hall ofllcials. and they felt that he could be entrusted with giving their theatrical "pet" the proper presentation. To do this was a gigantic task, as •*Push Atong" had been written as an operetta which would take some three hours for presentation. Ac- cording to the book, lyrics and mu- sic provided by Wirt Denison, the author and composer of all, some 150 people will be required to prop- erly interpret It. The story deals with the history of Chicago from 1812 until the present time. Bohler took the story, etc.. and boiled It down so that on the opening per- formance It consumed just 75 min- utes to an audience of some 2,500 persons In Congress Hall, a theatre which had been especially con- structed on the municipal pier for its presentation. A good and wholesome entertain- ment was presented by some sixty people in unstinted style. The news- papers clarloned forth Hifi virtues and good points of this attraction, with the result patronage was very heavy. This was evidenced by the fact that on two nights during the past week, when the city was crip- pled through the car strike, the at- tendance at Congress Hall wSs ca- pacity. "Push Along" In Its present shape Is presented In a prolog and two acts. The prolog is laid on the banks of Lake Michigan near old Fort Dearborn, July 1, 1912.. At this time Black Wolf, the medicine man (Robert Clifton Long), has a dream of the future. This dream is entirely In song, with long lyricizlng for some 15 minutes his predictions of the future greatness of Chicago. Aiding him In this endeavor are Chief Sllvertongue, a Paw Paw In- dian chief; Oriana Abbot Jen/iison and Charles F. Wiley, all capable vocalists. The scene of the first act Is Michigan boulevard looking north from Monroe street 110 years later, with the story brought up to the present clay entirely In song, with the scene of the second act the re- ception ro4>m of the Chicago Yacht Club in Belmont harbor. Scenleally the production Is built as elaborate as the average first class musical comedy, with nothing being stinted In bringing out the minutest details that are necessary to interpret the author's story and its enactment. All of^ the music is of the special kind and adapted lyrically to the story. Ruth Fischer, a plump and pleas- ing looking dramatic soprano whom Bohler recruited from amateur circles IKst winter, acquitted herself most creditably In singing tfte stel- lar feminine role. She looked most charming as she led the flash num- bers of the extravapan^a, and sang most superbly the solo numbers that were entrusted to her.' .In leading the "i'eacocks the lilrd" number backcrd up by eight peacock girls, each wearing a peacock contrap- tion revealing 1,000 peacock feathers on each. Miss B'lscher on the open- ing night brought the audience to their feet cheering. This number is tho prelude to the grand finale in which the Que< n of the Page?nt Is crowned affid it served as a most meritorious entree. Frankie Klassens, the domure premiere dansetise who Is doubling from the Terrace (Jarden revue, proves as refreshing as ever before in her Interpretive dance solos and ensembles. Itoth as an Individual dancer and a leader of ensembles one becomes quickly smitten with Miss Klassens' work, due to the grace and ease it is rendered ..Ith. The ballet which supports Miss Klassetis i.i iuv ^amc thai appo.irs with hop in the Terrace (Jarden revue, but their duties here are en- tirely different than (ho-se there, for there is no similarity- in numbers and costumes between the two places. Others that appera here as well as at tho other place are Bill Pruitt, the "cowboy" singer; Chief Silvertongue and Ethol Dean, a charming blotide soubrette of the da.'hin^:, vivacious type. Besifles the.sf\ miscellaneous roles arc entrust'd to IjOtiise Channlnf^, Argues Mack. Norah I^o^e, Dorothy Ardon and Jean Breon. Wirt Denison in addition to being rosi)onsible for the entire produc- tion alr.o serves as conductor of tho orchostra, nnd achlevoH individual di.sllnclion when he wields the baton in 'I'tish Alonrr. Chloago," the ofll- oial pageant of jiroprc.sH song, whi^h Is Hting by ];iil Pruitt and a chorus f»f twenty hh<»w «;irlH. Tho coslumin^T for th" show Is more tlian arIe(j»Mte. with all of the fairnenlK and cofdumes l^eing of .an olaliorate order. Two sets of cos- tnrno»<. "Tho P» acoeks' and ".fowel f'.own.^." are exceptionally elaborate nnt\ vTive to the pr(»(* ictlon that tone uhiih class generally nocessilates. • Bohler m ly do with this production when It leaves tho pier is not known, but from what was seen of it. It appears «• though it would be an unusual flash novelty for a floor or outdoor revue show with a bit of pruning in spots and a reduction of the amount of prin- cipals and members of the ensemble. Thi» could be easily done, it ap- pears, at a moderate expense, with the show developing into a "blue ribbon" among the floor and revue shows. Bohler is said to have received In the neighborhood of $12,000 for the production Intact and no doubt will be several "grand" to the good when all expenses are met. SINS OF HOLLYWOOD Detroit, Aug. 9. Tho drama In three acts by W. C Herman that opened Sunday after* noon at the Orpheum. for its first out on any stage, has two surprises under Its lurid title—they are that it treats picture folk kindly and is fair entertainment. The purpose of "The Sins of Hollywood" seems to have been two-fold, to defend the good name of the picture play< r as a class and to administer a slap to the profes- slonjil reformer. In doing both much sloppy senti- ment and vast quantities of heroics are there, relieved though by hum- orous passages and several worthy serious ones. The ca.st is uniformly good. It includes Adel Chare, Otis Oliver and Vanda Hellman. Tho piece is at the Orpheum for the current week. Jacob Smith. BRISTOL GLASS Cleveland, Aug. 9. '•Bristol Glass," a new comedy by Booth Tarklngton and Harry Leon Wilson, was given its first perform- ance on any stage at the Ohio Mon* day. Gregory Kelly and Ruth Gor- don appeared In the leading roles, and the production was staged by George Farren. In "Bristol Glass" Tarknigton con- ceives the Idea of pitting the claims of urban distinction against rural pedigree, weaving a sweet love story enmeshing two young hearts repre- senting each class, and latterly de- termining, in a spirit of iconoclasnv to shatter the Idols of aristockacy and vaunted ancestry. The scene Is an antique shop and tea terrace in a rural summer re- sort, where Julian, the only son of the Castleburys, becoming enamored with the niece of the proprietress, buys a stock of Bristol glass as a subterfuge to visit tho store and so snatch brief spasms of ecstasy with his adored one. Gossip and scandal reach the ears of the pompous Castleburys regiird- ing tho attentions of their son to the girl of low estate. They scorn the idea of such a union; their pre- eminence in society makes the mat- ter prcposterouH, and after takinflr Julian to task Iruitlcssly they seek to break off ths attachment by an appeal to the girl's father—Adam Tweedle. Then follows a verbal duel be- tween Castlebury and Tweedle as to their illustrious ancestry. Caslle- bury's claims are deftly turned to advantage by Tweedle, resulting in tho latters dictum that a Casilehury Is not worthy to bo linked with sue h nobility as tho Tweedles. But the young hearts still beat as one. Julian smashes the vahiablo case of Bristol glass to prove that it was tho girl he wanted und not tho glassware. This rIarlfl»»M mat- ters to some extent and miH tho stage for the flnul cncoanter be- tween the Castleburys and Tweedles. Incidentally, Philemon, tho rural <;onHtable. an offshoot of tho Twee- dlPB. outlines the real story of his lauded progenitors to Julian, thus serving the young lover with ammu- nition to blow up tho ramparts of the presumed illustrious family while proving arithmetically what a small proportion of Castiebury blood is in his veins. The young couple, with a com- mendable determination in love af- fjiirs, settio tn«» maffor for ttiom- selvcs and leave tho picture loel<ed In each othor's arms and heart.-!. The charactoilr.atlons are drawn and manipulated with dexterity, and the players generally gave a T*»od Interpretation of th^ dramatist's dream. Mr. Kelly as Julian Castiebury and Miss Gordon .is Winsora, tho antique shop waitress, give an excellent ren- dition, but Kelly Inclines to over- draw tlie obtu.sene^i^ of the ardent lover in the earlier scenes. When he deMl/o>fc the Bristol glass urnl fights In the open for his hea't a desire ho plays a more realistic role. HI.-? periormance, however, on Monday nh,'ht proved that a happy choice had b'.en made for the part. Buth Gordon's look, gesture and emotioi, were faultless. As In ad of the Tweedles—a man of piou« and sincere intc'ntion.i—tieorge Far- ;■ ti y/ivo a notablo performance His work was most efTective. Georg« I'ox'h was refreshing. Bernanl J. Mc(>wen, Irving Mitchell, Patil Cor- t«z. Florence I'endleton and Mabel M< Ids also played with credit. Unquestionably. "Bristol c;iafl8" l« easily the most interesting prxjue- * tion offered at the Ohio during th« summer stock regime. Hoy. (