Variety (October 1922)

'± •,"»,/-!.iTV- jSTr^.'»,«iT::'- Li* ' y*7*'**!?f'7^S?^"''^«^ "^i^'T^'' .s»T.: ■ I (^.'Jl-'-Jr.'- :(r»n;, f"», ,^rtl, TT^.j ' ^^ .;■( »■, LEGITIMATE '■f^v^-^r^;:?^ •■ ■'.-c ■■•»'•"♦- •F^-i . > ■■■J- ■ Friday, October 6, 1922 THE TWIN THEATRES" Cliicago*! Unique Theatre Building Proposition That Has Placed Ji4. Two Theatres Under Different (Aniership Side hy Side Dy WALTER S. DUGGAN (The matter lelow appcaml in the souvenir program gotten out for the opening of the Ttvins. the Hehrvn, starting Sept. 18 tvith 'The Circle," end tht Harris, due to open Hept. Jf5 with "iiij: CylimJer Love") Thorc'seoms to be a wonderful misundcrst.amling nmong the majority ©f architects of the present day as to the very nature arnh meaning of originality, and all of which wherein it consists. Originality in expression does not depend on invention of new words, »or originality In poetry on invention of new measures, nor. In painting, ©n Invention of new colors or new modes of using them. The chords of music, the harmonies of color, the general princlp'es of the arrangement Of sculi)tural masRos, have been determined long ago, and. In all prob- ability, cannot be added to any more than they can be altered. And thus do we hurriedly go on with our vein of thought until history assures us that the art of the thirteenth century was the foundation of all art—not merely the foundation but the root of it; that is to aay, succeeding art^ was not merely built upon it, but is all comprehended in It, and is developed out of it. Passing that historical century, history further refers ua to three successive branches developed from It in each ©f the three following centuries. The fourteenth century was pre- eminently the age of thought; the fifteenth the age of drawing, and the eixteenth the age of painting. Observe, first, the fifteenth century was pre-eminently the age of thought. It began with the first words of the poem of Dante. SufTlcient In number are the names of marvelous artists who adorned this century In Italy, but it can be more easily recalled as the age of Dante—the age ©f thought. The men of the succeeding century felt that they could not rival their predecessors in invention, but might excel them in execution. Original thouKhts belonging to this century (the fifteenth) were completely rare; even Raphael and Michael Angcio themselves borrowed all their principal ideas and plans of pictures from their predecessors, but they executed them with a precision -np to the time unseen. History guides us to the Information of the fifteenth century as having been the age of Leonardo, Michael Angelo, Lorenzo Ghiberti and Raphael—pre-eminently the age Of drawing. The sixteenth century produced the four greatest painters, that la to Bay, managers of color, that the world has ever seen, namely, Tintoretto, Paul Veronese, Titian and Correggio. Naming of this quartet is sufficient to call the sixteenth century the age of painting.. Searching back in the distant centuries, the architects of the Twin theatres, C. Howard Crane and H. Kenneth F'ranzheim, employed the thought of the fourteenth century, the drawing of the hfteenlh century and the painting of the sixteenth century to achieve perfect ideas which v/ere later ro'led into proper afflliation with tasteful selections of the following centuries until they were all grouped and met face to face with the skilled workmanship of the twer^ieth century. A man who has the gift will take up any style that is going, the style cf his day, and will work in that, and be great in that, and make every- thing that he docs in it look as fresh as if every thought of It had Just come down from heaven. It is not to be, inferred that he wl'.l not lake liberties with his material, or with his rules. Neither is it to be insin- uated that strange changes will not sometimes be wrought by his efforts, or his fancies in both. But those changes will be sometimes marvelous, and those liberties will be like the liberties that a great speaker takes with the langu.agc; not a defiance of the rules for the sake of singularity, but inevitable, uncalculated and brilliant consequences of an effort to express what the language, without such Infraction, could not. Very fitting, therefore, in the.se days of ostentatious "palaces" erected t;y the majority of theatre-owners, particularly tho.se In the cinema field, it Is with a sense of relief that one finds such theatres as the gelwyn and Harris, where the sole aim has been one of simplicity and sincerity in the use of material. An effort has been made to achieve luxury, comfort and ease, but to avoid the tinsel, sham and make-be- lieve so long associated with the theatre, and to use Instead the very finest material in order to produce a setting for the drama befitting its place in the realms of art. Thus Chicago—the Wonder City—has today an unchallenged institu- tion in the 'Fwin Theatres, two perfect temples of the seven arts of the stage, thoroughly functioned in erection after a common scn.so undcr- Bt.'inding of what is meant by originality. Motk'sty attends the Twin Theatres openings, but after all there is an under-current of pride which no one could possibly confuse with con- ceit. The Twin Theatres mean something more than merely new the- atres in Chicago. Our Great Metropolis, patriotically saturated with the •'I Will" .«<pirit, has seen other theatres built and opened. The slg- Tiiflcant thing behind the Twin Theatres la that it Is the most impor- t.int move towards equipping the faithful playgoer.^ of llil« city with theatres that can be looked upon as institutions in pointing with pride to the many civic undertakings In the progress of Chicago. Chicago may well be proud of having been the birthplace of tlje Twin Theatres—the Joining of hands of America's foremost theatrical pro- ducers, the Pelwyns and »Sam H. Harris. Is it not accurate iu'a hurried description of the Twin Theatres to claim Chicago stands alone In the "United Kt.ites or in the world, for that matter, of being the only city Jinving Twin Theatres for the highest form of art? The buihling operations were conceived and begun In the complex <lilIUulties of labor unrest with commercial and industrial chao.s to con- tend with. Hero it Is mi).<^t proper to congratulate Crosby CJaige for his xnoBt wonderful manipulation of situations that were heart-rending at times, yet so triumphantly and skillfully functioned that it isn't exagger- ating to say Mr. CJaige staniis alone as a genius in the matter of promot- ing such an institution as the Twin Theatres completed are brilliantly credited wjth being. In the making of a modol institution like the Twin Thralres a thou- sand dements combine with which the average playgoer Is \nifamlllar Fpace foj bitls a complete detailed ac(«)iiiit of placing the credit, the frmalln>t particle of it, iv where It covild be Joyously an«l rightly tab- ulated in thi.'i hour of greeting. The Longacre Construction Company Is to bo credited with the major work in the construction of the Twin Theatres. Tl»e Bkill<(l workmanship as accomplished in every trade filiiliated with the institution Is bewildering, and conveys positive as- surance that the management of the Twin Theatres has gone to enormous expanse in having their Ideas of what they wanted to give the Chl- —tago public fully fulfilled. To the credit of Charles Hunter ppftls must i;o honorable nKntion of the highe«t rank for tasteful b*1<!hiin in dc aigna and decorations. The exterior of the Twin Theatre*? speaks for Itself, being ediuoes that will be points of interest for the sightfieers In our Wonder City. J^oetlcal exp»esslons could be employed to describe the impressions that the exterior ©f the Twin Theatres inspires, but again Bimplicity and Ulncerity form the pa^:K^ng comment. Th<> Interior of the Sclwyn Theatre, while Oeorginn In general char period exactness which helps to give an air of quiet gcnuinenew In per- fect harmony and accord with the period represented. The entire walls, from the carpeted floors to the coffered ceilings, are of the finest English walnut, especially selected for grain and texture. The walls are divided into large panels, devoid of all -rarving, except for the over-box, cornice and proscenium treatments, th^ effect being achieved by the beauty of the wood Itself. In contrast to the soft brown tone of the walls, the ceiling is an elaborate coffered pattern, In perfect scale, executed in antique gold and greens, mellowed by the patina of time. The lighting fixtures hanging from the ceiling and in the boxes are of the finest old cut ci-ystal and gold. The boxes and proscenium are hung with exquisite green and gold French silk damask, draped in simple folds and avoiding the elaborate' festoons, cascades, and volumin- ous valances ordinarily seen in theatres. The whole effect Is one of simple richness, such as is found in the homes of the most discriminating. The effect of luxury has been carried throughout the whole theatre—in the lobby, foyers, lounges, smoking rooms, ladles' boudoirs, manager's Office and even in the spaces to which the general public has no admit- tance. , ^ The main lounge room In the basement Is one of the finest examples of English Georgian in the country. Th§ wood paneled walls repainted in a parchment color that makes a perfect background for the unusually fine collection of furniture and paintings. The soft blues of the Adams con- soles, painted in the manner of Angelica Kauffman, harmonizes perfectly with the neutral tone of the walls, the paintings and the coloring of the needle-point tapestry. In fact, the whole color scheme of the room Is so perfectly balanced that It may be likened to a musical composition worthy of Rubenstein or Tschaikowsky. The ladies' boudoir adjoining the lounge on the north Is finished In a soft apple green. The furniture is In iJfcrchraent-Jone, illuminated by deli- cate decorating in the manner of the Venetian furniture of the sixteenth century. , The men's smoking-room, while Georgian also ir^ character. Is finished in a more robust manner. The paneled walls are in old ivory and the furniture is walnut with deep-seated divans and chajr^ covered with fine tapestry. ."::■-•:• . ■ ■'.'■': ~:-. -'"'''' '.^ The lounge arfd ladles* boudoir on the mezzanine ftoor, arranged for the balcony patrons, are finished as beautifully as "the remainder of the theatre. The walls of the lounge are paneled in the same walnut as the auditorium, and the simple groined ceiling Is frescoed with medallions and vignetted figures. The ladies* boudoir Is done in a soft lavender tone and the furniture Is delicately painted, as is that in the boudoir on the lower floor. *In fact, the whole collection of furniture, paintings and "objets d'art" Is one worthy of a place in any museum, and volumes might be written en individual pieces. , ■ ■- ' ;* The Harris theatre haabeen designed, as has Its twin, the Selwyn, with the paramount idea—luxury, comfort and ease. The interior treatment here is also of wood, but the architectural style Is entirely different. Instead of going to England for his architectural ins^iration Mr. Harris has gone to Italy, the land of sunshine, music and romance—the land of Verdi and Donizetti, whose names emblazon the cartouches in the frieze of the auditorium. Here, instead of drawing from the eighteenth century, Mr. Harris has gone back into history two cen- turies earlier, to Florence at the zenith of its culture and artistic exuber- ance and splendor, and has taken his inspiration from the palazzos of the old Florentine podestas. But while the theatre is in the style of the Flor- entine school, it also is in no sense a stupid reproduction. The walls are paneled in dark Italian walnut, embellished with elaborate Intarsia and gold ornament. The box treatment, as a contrast to the dark m«'llow ttoncs of the walnut, shows an antique gold and polychrome balcony window, hung with the richest oxblood tassels in the form of baldlchlnos. FRISCO GUILD STARTS V CAREER AUSPICIOUSLY i U. of Calif. Professor General Director—Society Sponsors Venture MRS. WM. HARRIS' ESTATE Florence Quail Harris, widow of William Harris, the theatrical pro- ducer, left an estate of $25,300.23 when she died April 25, 1921, ac- cording to a transfer "lax State ap- praisal of her property, filed last week in the Surrogates' Court, New York, showing that It consisted of the following'. Equity in realty at 42 West 90th street. New York. $2,487.60; at Bay- slde. L. I., $550; cash, with banks, $728.10; personal effects and chat- tels, $13,896.76; Liberty Loan bonds. $332.37. and In securities, $7,305.40. Under her will, executed April 23, 1921, it passes over as follows: LEGIT ITEMS The Nugents' "A Clean Town," which Dick Herndon is to produce, started rehearsing Monday. The "Dramatic Mirror," which sujspended circulation last season. which were Inserted In the "Mirror" Victor N. Quail, nephew, of 252dJ and bills sent. out. street and Independence avenue, and Susie W. Scarmut.sos, niece, of 307 East 50th street, etch $7,197.70, be- ing $485.40 in specific bequests and $6,712.30 of the residue to each. Frank Wilklsson, nephew, of 383 East 28th street, Brooklyn, $6,712.29: Georgiana Wilklsson, sister, of 63 Sheridan avenue, Brooklyn, china and glassware valued at $140; Jx)- seph N. Qpail, brother, of Vine- land, N. J., a set of Dumas books valued at $80; Dorothy and Florence Quail, grandniece.s, of Vineland, $195 in furs to each; Sarah Quail, sister, of 1209 Park av nue, .a set of Bulwer I-.ytton*s works valued "t $13; Grace Miller, step-granddaughter, whose addres.s is not given, a $30 pair cf silver antique candlesticks; Minnie Sterne, stepdaughter, of 350 West 55th street, a $30 pair of .silver an- tique candlr.stieks; Mary Burl\hardt, of 542 Warien street, Roxbury, Mas.s., $30 in person.il effcct.s; and Joseph r. IJickerton, Jr., friend and executor, of 220 West 42d street, a set of Pepys' works valued at $27. Mrs. HariiM, who was Florence Nightingale Quail, lived ,at 357 East ."lOth Htreot, New York, where, .after I brief illness, she died of pneu- monia. She was born in Brooklyn in 1872, and went on the stage as a young girl, using the name of Flor- ence Thornton, where she achieved considerable success In boys' part.*?. By contract, on March 18. 1913, '^^hc became the wife of William Harris, 'ho witnesses being William Harris, Jr., and Irene W. Harris. She then loft \]\e st.agc an<l went to live lit Haj.^ido, L. I. Duiiiif^ the war she was prominent in theatiical war work. Under the will of her late huf- iiand, she was left a life interest In his residuary estate, over $700,000, ind the principal at her death Dave Schneider, formerly of the Republic, New York, is manager of the Astor. Harry Levey remains as treasurer. Charles H. Thomas has been transferred from the Winter Garden to the Century box office. Grace Merritt has gone Into pic- tures, appearing in her first film for the State Pictures Corporation of New York. San Francisco, Oct. 4, Sun Francisco now has a Stage Guild. The first production of tho newly organized association waa 'given last week at their new play- house, The Plaza, renamed and re« decorated from the old Savoy. On«i thing Is certain it would be hard to recognise 'in the now beautiful Plaza any semblance of the old Savoy at the time of its closing some months ago. The'San Francisco Stage <Juild'« first offering is "Mies Lulu BeU'». with a cast of real ability includmg M^ry Morris, Lloyd Corrigan, I^eral Lee, Eleanor Hestall, Harold Min- ger, Irene McSwain, Warren DufC and Irving Dillon. Irving Piohel who gained some fapie here recently as the producer of^ "Wild Birds" is the director. Sam Hume of the University of California dramatic department and head of the Hearst Greek Theatre is general dii'ector. Mrs. Jessica Colbert, local concert manager, Is business manager for the guild. A large number of wealthy residents here are named as sponsors. The opening night the local critics praised the production, the playerw and the enterprise generally In a liberal fashion. No orchestra is u.sed and the stage lighting is alone; the most modern lines, being all done through indirect lights and no foots. LITTLE THEATRES Gustav Blum, director of the East-Vest Players in New Yorlt, has selected four new plays for presentation early in November, two of which never have been^een in America before. They are "Din- ner,' by Franz JiAolnar, published in "Smart Set," and "Progress." by St. John Ervine, published in the "Saturday Evening Post." Blum has the permission of both authors to present the pl^vs. The other two plays are "Fancy Free," by tie late Stanley Houghto:), and "Turtle by Margaret Scott Oliver. has placed a number of advertising |jDove." a-miniature "Yellow Jacket," accounts in the hands of attorneys for attempted collection. Some of the claims include charges for the insertion of photographs for which no order was ever given. Several managers were asked for pictures. A Little theatre group has been formed at Fitchburg, Mass. Thejr will be called the Basil Loveland Players. Basil (Loveland) Church- hill is the director, with X Luceia Lamontague, business ' . ina|M.ger. Among the Players Are Itibert Sayers. John Meilanen, Ernest J. Crerie, John Tryspeck, Cecilie Amiett, Gertrude Ryde«^ Thelma Witcomb. pa.vsed over to her husband's chll- acter, WJth the influence of Giinling Gibbonn, has a freedom frcm n^iid ] drcn and a granddaughter. _._ Albany is to have a new afternoon newspaper. Announcement was made in the "Knickerbocker Press" Wednesday that the Press Company, publisher of "The Press," will launch an evening newspaper next week. The name of the .sheet wll] be the Albany "Evening News." Frank W. Clark, the man who made the "Knickerbocker Press," twelve years ago and who has recently ^returned to the managing editor's chair after an absence of five years, during which he edited the Binghamton "Press ' ,'ind Syraeu-e "Herald," will supervise the c<litorial dei^rtment of the new pnprr, in * conjunction with his duties as managing editor of "The Press." No dramatic edi- tor has been named for the- "News," whose initial publication date Is set for next Tuesday, The Pasadena (Cal.) Community Players have a program of 20 plays for this season, to be produced under the direction of GilmoP Brown. The first will be presented next week, "Polly With n Past." IVM the sixth year for the organization. The Union of the East and West will open its season on Oct. 15, pre- .senting the English version of a Hindu play, "Malatj and Madhava,*' by one of India's greatest poets. A' sketch in Bengali by Rabindranath Tagore also will be shown with Hin('u actress and actor for the first time in New York. ANOTHER MYSTERY PLAY Another myster> play in rehearsal is named "MsUning In." Jt was wnffrii iv r;,)l.\]. KToore^ The leads engiiged are Ernt^st Glondinning and Regina Wallace Ira Hards will stage the play. The opening has been set for Oct. 23. The production is being made by the Milton Productions, Inc., under- stood to have ^uhstantiul showmen behind it. The Threshold Players will open in New Ycrk for the second season Oct. 16 with the follovving lour new one-act plays: "Trains," by Evelyn Emig; "The Long Box," by Zillah K. MacDonald; "Respectable," by (Jlndy.-, Hall and Dorothy Donnell Callioun. and "Here We Art Again," by Robert V/. Sneddon. XThe new ofTcieis of tlic Auburn (N^Y.) Dramatic Club have decided to increase its membership. Invita- tions to join have been issued. The club opene«l it.M season Sept. 30 nt Osboi ne hall with "A Pair of Sixes." Tho F< rrier French Thr.-itre an- nounces that it will reopen here on Oct o be r —l¥i—tiwi JttUiwI t>fo4 uot io ft being "Le Voyage <le M. IVirichon." BRADY REHEARSING 'SWITTY* "Swifty," n play on which Walter Percival (vaudrvil'e) cf)llahorated, has been ttovX into nlw.'Msal by William iA. Biady, v. ho will present the pic( c. i : ... _ -X i i V-;