Variety (October 1922)

^ Hi HM' L E G1TIM ATE mSc a=x: SEs: OUT OF TOWN REVIEWS ii "1. Friday, October 13, 1922^ MERTON OF MOVIES Dramatisation of Harry L.«on Wilson'a "Bat. Sve. Post" story of the aanne title l>y Qto. B. Kaufman and If arc Oonnrlly, presented by QeorKo.Tyler Initial presen- tation at the MoQtauk. Brooklyn, N. Y, Oct. 9, 1021'. Merton GUI Glenn Hunter Amos O. Oaiihwller Kdward M. Kavor TesRle Kearns Kuther Pinch icimer Huff Uert Melville Mrs. Lemnffwell Thelma Wilson Lieater Montaarue J. K. Murruy The Montague Girl Fiorpnci* Nafh CafltinK Director...., Lucille Webster Big^niund Hosenblatt. a director Kdwin Maxwell ( .Albert Cowles I B. J. Chatteriy His Cameramen J. 81oane Ilenshaw, aootht r director. Komaine Callender "Woller, hii assifrtant Tom lladaway Hia Cameraman Walter Wygart Jeff baird, also a director... .John Webster Harold Parmalee Alexander Clarke. Jr. Peulah liaxter Gladys Feldman Felice, her maid Betty Uftrlow A MysteriouB Visitor Lynn I'mtt Muriel Mercer Mary Elixabeth Forbes Max, a violiulst Saul Mile A Bheik G. 8. Spclvin Tofo. Parroalee's valet Yashi Turi Jimmy Billy Jannry Kddle Wilton Lackaye, Jr. The Crosri-Eyed Man Sidney Wolf Mrs. Patterson, Merlon's landlady Clara Sidney Mr. Patterson A. L. Bhrman The Man from Bltrart Edwin Maxwell To the "wise 'una" this is going to be a wow. To the near-wise who want to appear to be in on the know it will be a great laugh, but to the poor, unsophisticated nut of a movie fan It is going to be a horrible diu- illusionment. The latter are legion, both along Broadway and more so away from the main street. Tliere are a million nuts just as nutty as the principal character of the Harry Leon Wilson story and play, namely, Merton. They may not have gone through to the extent that he did; that is, breaking their ties and going to the coast and getting into the' giune, but their at«home stunts are just as serious in their intent as those of the hero of this tale. All of this leads to the question whether or not they will be offended at the fun poked at them, and in regard to the play whether or not it is over their heads through being replete with wise cracks that only those that are film and studio wise can get. To those that "get" the stuff that -the original author and his two dramatists have evolved the play is bound to be a hit. The movie folk themselves won't be crazy about the play, for it certainly does hold the mirror up to nature a little too close- ly. It is going to touch their inna'te vanity, and that is the worst that any author can do to tho.«<e that have become public personages through the medium of the screen. The word- what is what, he Immediately de- velops the same streak of vanity as the others do, with the'flnal curtain shoeing him a.s full fledged a self- confessed SwiXt Premium as any of the others. Mr. Tyler has certainly given the piece a corking* production and managed to stick so much studio atmosphere of the real sort into the two "on the loi" sets that one be- lieves that it is the real thing. There are laughs in the action, to be sure, but they, are not laughs gained from exaggeration, but laughs that are compelled because the real thing compels them. In the matter of cast there has been nothing spared with Glenn Hunter and Florence Nash as the principal players. Hunter is "Mer- ton" and Miss Nash the Montague Girl. There is little to choose be- tween them In the matter of scor- ing. Hunter gave a fine perform- ance in the character after he once recovered from his natural nervous- ne.sa of a first performance in the first act. Miss Nash when she ap- peared in the second had all the as- surance in the world, and the man- ner in which she handled the role will make it stand out as the big- gest thing that she has done since Aggie Lynch in "Within the Law." It is a fat part and she gets all there is oXit of it. Of the other numerous roles sev- eral stand out. As an instance in the castftig director of Lucile Web- ster one can actually see Rose Mul- laney working out on the Metro lot when she was there a couple of years ago. Miss Webster's per- formance is a corker, as is also that of Alexander Clarke, Jr., as the da.shing leading man star of the ro- mantic society type. The hoak that Beulah Baxter is surrounded with, with Gladys Feldman playing' the role, makes it a l em, although it nasn't over five lines and a walk across stage. Of the three direc- tors. Romaine Callender as J. Sloane Henshaw does a remarkably clever piece of work and Edwin Maxwell as Sig Rosenblatt, husband and di- rector of the beautiful Beulah, re- sembles one of the "great" directors of the screen to a remarkable de- gree. For a first night performance Monday night's was a remarkably smooth one. Hugh Ford knows the inside of the studio game perhaps better than a great many others, and he handled the staging with an eye to efTectiveness. When the piece comes to IJroad- way the first nigh* is going to be a tremendous one, for every last child comes to them, only to be taken away when Just four yearn of ago. Into thijs scene of domeetlcity comes the other man, so rightfully named by the author Challange (Mr. Warwick) who, with bis overbearing and domineering methods, sweeps the wife before him until she confesses her love for him and tells the hus- band she wishes to leave. She hates herself because of her love for both men, but when alone realisation comes to her as .to Just what she Is giving up. and though she left with the other man, she would still be the wife of her first love, her hus- band. It is excellently told. Even the first act has its place and is excel- lently played. Mies George has a truly splendid role which she han- dles In a most finished manner with a restraint th{it Is convincing in Its very sincerity. This performance should bring additional honors to her already long list of delightful perfornrances. Mr. Trevor and Mr. Warwick present two strong men. The author has given them two characters that are complete, drawn in such a manner that not one word deviates from what that man should be. ' Mr. Trevor Is the reserved power. Mr. Warwick the demanding, impatient lover. It is truly diflflcult to state who is deserving of the greater share of credit. Mr. Trevor has the better opportunity in the last act, which he did beautifully, while Mr. Warwick had his oppor-' tunity in the second act. The author never brought these two men together in a clash, each making his fight for the woman In his own way, for which the author Is to be thanked. This work of the Frenchman has placed the eternal triangle before us in an entirely dif- ferent manner. Who is presenting Miss George is not stated on the program, but two charming sets for the three acts have been provided. The lighting is the only thing open to censure, the light coming from above. It is be- lieved In this case the older method, which would have materially soft- ened the features of the players, should have been used. , The audience was composed al- most in its entirety from Washing- ton society and iiplomatic circles. Altogether the opening was one that gives all Indications that Miss George has a play that will last her a considerable period. Meakin. BROADWAY REVIEWS caricatures that Harry L. Wilson •penned are transferred to the stage 1 "^^n, woman and child of the movies in the George Tyler production in a ^''1 want to .see it, but teyond that manner that is going to cause many i there is going to be a question of of the four-flushing picture near- stars and almost directors who have been getting by on their "fronts" for so long to raise a mighty protest. Mtinday night was a great night In Brooklyn. But Brooklyn didn't realize it until it was too late for them to make good. The audience at the Montauk permitted Mary Pickford to slip into the theatre ac- companied by Doug, her ma and a couple of ftiends and never gave them a tumble. In dramatizing "Merton," Kauf- man and Connelly have naturally taken the essential points of the story here and there, and they have added at least one character. It is Will H. Hays in cj^ricature. He is a mysterious visitor who wanders through the studio scenes and final- ly discloses himsf-'lf just before the final curtain. That is going to be another laugh to the '-wise "uns." There are 29 speaking parts, and in addition about 20 extras are util- ized. Tho production is a corker. It must take all of the 40 stageimndn George Tyler claims are necessary to handle the effects. From these figures it may be possible to gain some idea of the magnitude of the production. There are four acts with six scene's, with the first and the final only laid outside of the motion-picture lot. The play opens in the Gashwiler general store in Simsbury, 111., where Merton is clerking and at the same » time taking a correspondence school course in movie acting as taught by a picture institute in Kansas. After he gets his nicely engraved diploma and with $270 in cash he starts for Lios Angeles, land of sunshine and , flowers and bull and sliowers. The second act shows the rasting whether or not the piece is too "wise cracking" for the mob. How- ever, the making of the production at this time, within a few months after the serial publication of the story, is sure to have its effect on the box office draft. That much was apparent in Brooklyn at the Mon- tauk, where the show, opening cold^i had a bigger advance sale for Mon- day night and the week than did "The First Year" after its long run on Broadway. If the play does hit the mob right in New York and later in the rest of the country the fan magazines can look for a drop in circulation, for this play more than anything else will wise 'em up to the bunk that they have been handed is^ue after issue by the writers of these publications who cater to the out and out movie nuts. At that Mary and Doug seemed to like the i)iece immensely, even though there must have been a few .shotn that w«'nt home in tlu*ir im- mediate circle. Fred. TO LOVE Washington, Oct. 10. Henri Normnn Trevor Helene Grace «Joorgc Challange Robtrt Warwick Sometimes it is to be regretted that plays Necessarily have to have first acts because at the close of the opening act of this play from the French of Paul GeraUly, which had Its first American presentation Monday at the Garrick, the thought that it.—was nothing more than Ji mere bundle of words predominated This thought was not entirely taken office of one of the lots with Merton J away dui ing the remainder of the trying to break in. He meets Flip, ! performance, but it was all so bfan- the girl wonder who doubh's for all i tifully done that it might bf .stated the big ones. In the first .scene of the third act he is working extra in a dinner jacket in a scene calling for some society stuff. After the fTrst day he is canned. The next scene shows him a week later, after he has been living in the prop sets and sleeping in stage beds, on ;i ■^Ight scene where Flip is dtnibimrt for his high ideal of the films. Hls' disillusioning comes as a great blow, but I'Mip is i»n the job and pulls him from the rut, platiting him with a director of comedies to buile.squc the film heroes. Merton, believing he is really doing something serious In screen work, docs not wake up he is so bad as to be funny a>id therefore is picked as a comic. In the final act a few weeks later. When be comes to a realization of the thouf^ht was forced back to such an extent that it delighted as well as gratified and, wliat is mt>re es- sential, interested and i>le.n>«d with the oMtcotne. With but three jiersons in the east it gives sph-ndid oppo: tiniitie.-> to Miss <'."ori,'e, Mr, Trevor and .Mr. WarwH |te. ' <n yri<*cttng-thfr-rwty^nen to supilpt Miss (Jeorge no two other actors no\y on the American stage piesent tlnniselves who e<ui]d liave taken the loli s to better .'ulv.uitago or luul the n.itur.il qnalilic.jt ions to fulfill tho author's idea in (oniiast. Thi.'^ contrnst has been exe<>«.<lmg- ly well drawn. There is \h" hus- band, who has l>een the pillar of support to his wife. Slu lived through him and he throtii,'h hei- during ten years, in whi« h time a SHOWS IN CmCAOO (Continud from page 15) pewspaper readers, with the result the play will have to make itself via word-of-mouth advertising if it holds Chicago merit. Tabbed for $7,500. **8ix Cylinder Love" (Harris Ist week). Premiere drew $2,000, with the critics refraining from giving the Chicago author, William An- thony McGuire, anywhere near the credit for the vehicle hurled at Mc- Guire on Broadway. Both tnatinees were off, but Saturday night came strong and the week finished for $11,800. It is believed this comedy will settle into a big winning gait, for it is a good Chicago show. Fritz Leiber (Olympic, 2d week). Shakespearean enthusiasm has spread into school and college cir- cles, with business warranting an extension of the engagement. Oct. 21 is now marked as the farewell date. Hit around $6,000. "The Guilty One" (Woods, 7th week). Last four weeks of the Paul- ine Frederick play now announced. Clever handling of the cut-rate tick- ets holding attraction above loss fig- ure, since brokers' agencies are util- izing full percentage returns. Clicked at $11,200. "The Circle" (Selwyn, 8d week). Extreme hot weather lowered the week's gross over previous week, with further injury done the balcony trade by ticket scalpers caught in a jam by weather conditions selling orchestra seats on the street at $1 a pair when attempts to get tickets returned at box-office failed. The Thursday matinee has turned out to be a big success. Another profit with $14,500. "Bombo" (Apollo, 3d week). Sail- ing along at a phenomenal clip. Won't fear competition until arrival of "Tho Music Box" In six weeks. Capacity again, reaching $38,000. ''Good Morning Dearie" (Colonial, 6th week). No indication of the Dillingham show drawing out of the "flop" area before It turns over house to "Tho Music Box." Steady high prices alone caused the empty seats. Estimate stopped at $20,000. "Thank-U" (Cort, 5th week). Trading independently with ticket scalpers, with public realizing good seats can l)C had at box office win- dow at all times. This system makes sticcessful run for the Golden .«how. plus the standard $2.50 prices. Did $11,400 on this week. "To the Ladies" (Cohan's Grand. 7th weM<). Further bouquet throw- ing by the critics proved u.^^eless in attempt to puH this cometly out f»f hole. (Joes out Saturday, with house adopting movio policy for DotiK^las Fairbanks picture. Did about $G.OOO. "The Cat and Canary" d'rineess, ath week). Going along on its n)en*y way for record run. Gets mystery play opposition witii arrival of "Th«i Charlatan." Clipped off $ir..ooo. • "The Green Goddess" (Great Northtrn, 2d we<k). Hasn't struck winning gait expected and which REVUE RUSSE Ever since Morris Gest brought "Chauve-Souris" to Broadway, and that is nine months ago, there have been rumors of a similar attraction entering the field. It seems a thea- trical axiom that when a surprise success Is planted by one manager others seek to declare In with sim- ilar offerings. Gest'o Russian nov- elty was a sort of miracle smash. It wa^s and is caviar among attrac- tions, and It was priced Just that way. Whether the theatrical bill of fare can stand two coursee of this sort of show is doubtful. The "Revue Russe" Is a Russian variety show brought to the Booth by Elisabeth Marbury and the Shu- berts, Oct. 5. Its scale was made $5.50 top, the same as obtains for the Gest attraction In the Century Roof theatre. "Chauve-Souris" dared that price when things were looking very bad along Broadway l{\st winter. It was announced that the attraction was here for only five weeks. The ticket brokers were told they need not "buy" for the show, in fact, Gest told them they couldn't. "Chauve-Souris" became a vogue and the lofty admission scale counted as part of the "at- mosphere." It is likely that the scale for "Revue Russe" would have been $2.50 or $3, but its sponsors doubtlessly resort to'logic and^ be- lieved if the prices were any' leas than "La Chauve-Souris* it would be an acknowledgement the new show was not of the same standard as the original. "Revue Russe* la akin to "Chauve- Souris'* in that it has the violent colors, the curious little sets and the strange jumble of foreign lyric and tune. Artistically it does not measure up to "Chauve-Souris," and it fails in other ways to pick up the pace of the Balieff troupe. Some of the numbers are as good, and one or two seemed the same as In the first program of "Chauve-Souris" when it opened at the 49th Street theatre. It is possible, in a meas- ure, that the n6we- arrival will take a bit of the edge from the Century outfit, but that is speculation. It is somewhat of a surprise that the Shuberts, who are interested in "Chauve-Souris," should also figure in the counter attraction. Gest put on a third program of "Chauve- Souris* Tuesday. That was a check on the counter show. It is inevitable that the two at- tractions will be compared. But it is r4ther unfair to expect the same standard of production from a lone woman, Maria Kousnezoff, who stars in thA "Revue Russe." The latter has no Nikita Balieff and It has no Gest. There is a team, world's champions both. Balieff is dubbed a "stage autocrat" or "conferencier." He is a humorist and a showman skilled in all the tricks of the game behind the footlights. Gest knows the works on this side. Balieff made "Chauve-Souris" a smash attraction. Gest is the pilot, on the bridge all the time, but he never could have docked without Balieff. Without a Balieff. "Revue Russe" starts under a handicap. There is a conferencier, a solemn individual who made two announcements on the opening night and no attempt at humor, the saving grace of "Chauve-Souris.** Julius Tannen was invited to do a Balieff. He trotted up the Century to see the moon-faced artist in action. Then he asked the advice of a showman whether to accept the offer for the Booth and was told to let his con- science be his guide. Julius was present at the premiere, but in front. The performance brought forth a surprise. That was Nathal, the French monk imitator and the best in his line. He was billed as "The Caucasian Obezianna" and was in- serted at the last moment. To in- clude his billing special slip pro- grams were printed. Nathal is a great performer. It is said that play deserves, But fully expected to climb. Raked in $10,000. "The Rubicon" (Central, 2d week at this house, 6th week in town). If persistency deserved reward this play was entitled to long stay in Chicago, but goes out this week. Did $6,000. "The Perfect Fool" tIllinois, 6th week). Fell $600 on Sunday night, but still winning rage. Held up its big average with $"1,000. "The Dover Road" (i'layhoupe, 3d week). Failed to catch on, and de- parts Saturday, with "The Charla- tan" hurriedly booked. Another wrong pick by critics. Tabbed for $6,500. "The Goldfish" (Studebaker. 6th week). Failed to appioaeh $10,000 figure, »M> U'.tv«s .S.«turday, with "Anna Chjistio" doing unexpected by returning on the strength of Mel Uaymimd's eonfi«U'nce Chicago was not Isnished attending this juize medal play when it departeil from Cort last spritig. "Lightnin'" (Blackstono. 57th week). No more SuiJ»»Jay night per- formances by liavor^ Hit. Will liold around $15,000 foi*', ftny weeks to come, smashing ^^'^ ^lown records for this town. . / \ > V. ■ .0 when J. J, Shubcrt first saw him ' last summer at the Princess, Lon- 1 don, he was skeptical about the man ' being human until an agent accom. ; panying him spoke to Nathal in French and made an appointment ^ for the following day, when he was ' given a contract. The Shuberts had decided to use the act in ' "Hitchy-Koo," but the sudden shift " was made to strengthen "Revue Russe." Nathal appeared on this side some years ago, but not in the monk bit. He is an acrobat, which gives his work superiority over all others. Nathal is extremely strong in his legs and particularly 'his feet, hay- ing mastered the Jap trick of uainjr the toes in rope climbing and th^ like. His sudden appearance brought a ripple of amazement, especially when he left the stage and nimbly climbed back over the tops of the orchestra seats. He scampered ujp to the boxes by means of a knotted rope and along the balcony rali, finally returning to the stage. Nathal then took to the webbing and mounted beyond the tormentors. The ease in working on the rope brought applause, particularly the descent, performed by his sure grasp of the rope with his toes. Mme. Kousnezoff is primarily a vocaliHt. A selection from "Travi- '; ata*' seemed too much for her. Cer# i tainly the music sharps present ' were impressed the wrong way. and her high notes at the finish were ' accomplished with h.ird wo.k and some apparent strain. But tho for^ eign artist sported u collar of CListA monds and emeralds which if real is worth a fortune. Also a diamond chain to which was attached an emerald of robin's egg size. Mme. Kousnezoff was much bettor liked in an Ukrainian song in the second section. "The Swing" was perhaps the -; nvost striking of the peasant num- . hers. It had three girls swaying side* .i ways on the swing instead of forward and back. They sang in ensemble i with three beaux. One of the girls had the funny little squeak that marked the work of a songstress in "Chauve-* Souris." "Old Spain," used for the finale of the first section was led by Mme. Kousnezoff and count<<> ed strongly. The opening night th« , applause thing was overdone. Pres» ence of a claque was indicated, and It was reported the same bunch v:a.A used that are professionally used for a visiting operatic organization. There was a lot of class among the first nighters. A "mimodrama,"" called "Coward- Ice,*' opened the second section. Boleslawskl, who announced, said It was a tragedy of the peasants. Leon Bakst (pronounced Laon Bochst by the conferencier) de- signed the setting and costumes. There were five characters, with at- mosphere provided by rows of dum- mies, occasionally stirred to motion from the wings. The number was too long and sombre. Balieff might have gotten away with It because ho would have killed it beforehand. Waits were frequent, that, too, explained because there was no announcer to kill the mo- ments between changes of set and costume. Some of the numbers wouia have gone much better if cut, a point that is a rule with the "Chauve-Souris." "Revue Russe * was presented In Paris at the Femin theatre, and the*v program also mentions the Imperial ^ theatre, Petrograd. Some of the artists who turned cut the "Chauve- Souris" production were concerned in "Russe." the manner of staging being a difference between the two Russian attraction.s. It has been a long time since the Booth held a musical attraction. An orchestra of 26 filled the pit and outnttmbered the players by a thfrd. Jbcc. LOYALTIES —^ Just why New York was allotted , an English provincial company of players to present "Loyalties," by John Galsworthy, and produced at the Gaiety, New York, Sept. 27, by arrangement with "The Rendean of London," is a question. This drama, in three acta and seven scenes, bears little resem- blance to the London production now running at the St. Martins', be- cause of tho Inferiority of the cast. The basic theme leans to the usual mystery type. It tscapes the con- ventional by introducing in a novel way the old qtaestion of race, camou- fiaged by coupling it with the not so old question of snobl^ery. Charles Winsor and "Lady Adcla. his wife, have invited some guests to spend the week-end at their es- tate, Welton Court, near Newmar- ket, early in October. "Early in October" being the rainy season in England figures neutrally in the plot. Ainuug the ;i;uests, who represent , the elite of soi'iety. is a wealthy Hebrew, Ferdinand De Le\ is. Among those present are Captain Ronald Dancy, D. S. O., hi^ wife. M.ijor Col- ford, and Ceneral Canyiigc who are Dancy's closest friends. During tl^^ day Dc Levis had .sold a valuablor lilly for 10,000 pounds. I'pon retij> ing that night he put the mctffny under his i)ilIow and left the rrloni. When returning he lookcjl to Vec that the money was fcafe and foiiSnJ >nu