Variety (January 1923)

"■" Friday, January 5, 192S LEGITIMATE . 17 pfoprlate out of baseball season, though there is a description of the American game in the play which suggests this title. The English woman, who Is wealthy, thinks she is in love with a member of Parliament and wants to be divorced, to marry him. He fears that her divorce may result in a scandal that will injure his po- litical chances. She is willing to have a dummy lover for the pur- poses of divorce. They go to a London business woman, who pro- vides for the wants of people through her knowledge of human nature. She knows a gentleman in reduced circumstances who will serve. It is in this role Mr. Pollock appears. He visits the lady at her country home, being introduced by the member of Parliament. Here he makes a hit with the woman, her husband, her husband's niece, and with everyone excepting the M. P. It all results in the disgrace of the politician, the reuniting of husband and wife, and the happy love of the adventurer and the niece. Pollock plays the role of the gen- tleman forced to stoop to things that he despises to do to avoid work. He makes the part attractive and Rives a clever portrayal, which is in- teresting and amusing. Pamela Gaythorne plays the wife splendidly. Mildred Booth is so natural and charming in the role of the ingenue niece that it is difficult to accept her as acting at all. Kate Morgan is ideal as the female, booking agent. Gordon Gunnies plays the Member of Parliament with proper priggish- ness. Edgar Kent gives a delightful performance of the husband. Pol- lock. Kent and Miss Booth stand out particularly, though all six players are capable. "Fashions for Men," which opened between holidays, and perhaps got no real opportunity to show its draw. The possibilities of a draw for the new play are as great as in the works of Shakespeare himself. It may succeed here more than In London, but in any event it is one of the season's most important presentations. I bee. BROADWAY REVIEWS WILL SHAKESPEARE Anne Hathaway Winifred Lent*** Will Shakespeare Otto Kruger Mra. Hathaway Angela Ojgden Henslowe John L. Shine Queen Elizabeth Haidee Wright Mary Fitton Katharine Cornell Kit Marlowe Alan Birmingham Stage Doorkeeper Wallace Jackson Stage Hand Herbert Clarke X Boy Lewis Shore Landlord Harry Barfoot X Man Samuel Godfrey Another Man William J. Kline Maid of Honor Cornelia Otis Skinner Street Hawker Anne Williamson Secretary William Worthington A Seneschal Charles Romano Quartette—Robert Mills. Alexander Mason, Ralph Odlerno. George Hastings Again from foreign shores Broad- way was given an impulse of dram- atic power. This time from Clemence Dane the gifted English- woman whose "Bill of Divorcement" made her name familiar a season or two ago. Her contribution of "Will Shakespeare" at the National Mon- day night, Jan. 1, comes at an almost prepared period when the plays of the Immortal Bard are engrossing several of the most accomplished American producers. Miss Dane's play is one of great power and great interest. If it misses in popular ap- peal, it cannot but rebound to the credit of its author and Winthrop Ames the producer whose aims have been for things that are big and fine in the theatre. Miss Dana wrote brilliantly. She has woven together her story partly from history and partly from the mystery than has always surrounded the life of Shakespeare. She ex- plains "Will Shakespeare" as an in- vention whereby she "aims to give dramatic reality to the romantic spirit of a mysterious life." Mont- rose J. Moses in an explanatory article in the program gives some hint of the sources from which in- formation which may have supplied Miss Dane. He states that Queen Elizabeth was often sought for aid by theatre managers and that she did welcome development of the English stage that she might over- step the works of the playwrights of Italy and France. Whenever genius could be found, the queen was greedily anxious it should be nourished. Will Shakespeare was of that genius, a player of parts and a writer of plays. That he should rise from the level of a husbandman to a favorite of the court, then, is the invention of Miss Dane. Her "Will Shakespeare" is a play of the the- atre and the palace. Through it she lifts the profession of the stage to a glorified standing not generally understood to be that of the early* English theatre. Some of the sup- posed authentic historical events of Shakespeare's life have been elim- inated or discarded. Her character is built upon the emotional ex- periences set down in his Sonnets which deal with the dark lady—the flaming beauty maid of honor Mary Sitton—a woman of mad pranks, who has been described as a "witty wanton." Passionate love or the sex interest Is a vital part of ''Will Shakespeare." His two big affairs, for he passed on as a young man, are (in the play) Mary Sitton, his mistress, and Anne Hathaway, his first love and foresaken wife. There are six acts which suggest a touch of Shakes- peare's always many scened dramas. The first is in his cottage at Strat- ford-on-Avon. He is then 20, his wife somewhat older and jealous of his attempts to write plays and his determination to go to London. With one Henslowe -manager of a traveling band of actors, he departs. That after a bitter scene with Anne who he believes lied to him about her claim of approaching mother- hood—to gain his hand in marriage and now to stay his going. With his bundle he is off and the wife Anne in despair cries "Oh God, the years before me." In the play l»e never returns. The son is born and news from Anne at times tinges his success on the stage and in court with th»* !>;tiiKs of d»ep sorrow. His affairs with Mary dates ten years after his arrival in London. His early promise has somewhat weakened. Henslowe tells the queen Shakespeare needs the inspiration of a love like Mary who would pre- fer his friend Kit Marlowe, to an actor and play writer. The queen commands and Mary obeys. In their first scene of tenderness Shakes- peare tells Mary: "I will ride you around the world on the back of a drWm." He writes for her "Romeo and Juliet" and together they con- ceive the story of the two young lovers of Verona. The play is a great success. The queen is en- tranced and Mnry gives herself to Will Shakespeare. Just at the moment he is off to answer the call from Stratford that his son is dying and needs him. The cooling of Mary's passion and her midnight visit to the quarters of Marlowe, dressed as a boy; the tortured Shakespeare breaking in on them in each other's-arms; the fight and accidental death of Marlowe, change the destiny of the poet and playwright. Mary is banished by Elizabeth, and though Shakespeare would go forth with her. she turns on him with the same speech he had made Anne, that she would never again see him in this or any world. But the queen lays bare her barren life to Shakespeare, demands that he continue to write for the glory of England. That is the final dramatic episode. The bard obeys. He falls to work but always the face of Mary is before him i.nd he cries out the words of Anne: "Oh God, the years before me." There nre four big pa.rt3 in "Will Shakespeare" with Otto Kruger in the name role doing the finest play- ing since he attained prominence. In appearance lie looked the hard in his youth, as judged from the exista.it likenesses. In companion was Katherine Cornell, a young actress who when fresh from college rose to distinction in Miss Dane's "Bill of Divorcement" here. Her Mary Sitton is of extraordinary Leauty and power. Tender in love making, fiery as the queen's maid, her selection was most fortunate. After the death of ^Iatlow\3 the scene between Miss Cornell and Kruger was a brilliant bit of emo- tional playing, particularly on her part. Kruger has lost nome of the little mannerisms that would have been out of place in this play. He has a fine understanding of his char- acter at all times. Haidee Wright, playing the same role as in the English production, was admirable as Queen Elizabeth, imperious always but touched with humanness at times as credited to the cold, unwed ruler of Britain. Her first scenes were carried off with clarity and understanding. In the final scene, through a long, tire- some speech to Shakespeare, she was put to a hard test. Winnifred Lenihan as Anne Hatheway, per- formed excellently. *She was only in the first act, but such good play- ing could not be forgotten through this long play. Of the others, John L. Shine, as Henslowe, was easily best. He came near spoiling his good performance, when in telling Shakespeare of how he found things in the cottage at Stratford, he dropped his voice to an almost in- audible pitch. Alan Birmingham made Marlowe a strong role. The opening night found the finale curtain dropped several minutes past 11:30. It is possible the play will be able to proceed without eliminations, but more probable that other first night audiences will become fidgety and walk. Both the first and last acts seemed unduly long. The settings and costumes by Norman Bel-Geddes are effective and of heroic lines and a number of effective pictures were struck by means of skilled lighting effects. Mr. Ames doubtless directed the play, no other name being indicated unless it be John Higham. who is listed as~ technical director. His "Will Shakespeare" has been a long time coming but it is a splendid effort. It is. by the way, another play in New York where the audi- enee is requested not to applaud during the performance, that the mood of the play be preserved. There were no curtain calls until the end. "Will Shakespeare" is a costume play, a type that is always a spe- cial hazard as. a financial v^nturo, and one hardly open to prediction of play going support. With Ames' own theatre (Booth) holding a hit, the producer sought the National as a second choice, and it Is said to have been agreed to guarantee the house $4,500 weekly, to be the first money. That arrangement caused the switching to the Belmont of WARFIELD'S SHYLOCK David Belasco's production of "The Mer- chant of Venice." in Are acte and 11 scenes, with Incidental score of Norman O'Neill and scenic Investiture by Ernest tiros. Specialists in London. Paris and Venice are credited with providing numerous details. At the Lyceum, New York. Dec. 21. Duke of Venice A. B. Anson Prince of Morocco Herbert Grlmwood Antonio I*" Mac *>aren Bassanlo Philip Merivale Oratiano W. I. Fercival Lorenzo Horace Braham Salarino Herbert Ranson So'anlo I Reginald Goode Shylock *. David Warfleld Tubal Albert limning CI,us Morris Strassberg Launcelot Gobbo Perc4val Vivian Old Gobbo Fuller Melllsh Balthazar Charles Harbury Stephano Edward H. Wever Leonardo Edward C'randall A Jester at Belmont Warde do Wolfe Clerk of the Court Nick Long A Ducal Messenger Henry Brown Portia Mary Servos.* Nerlssa Mary Ellis Jessica Julia Adler The long anticipated Belasco- Warfleld excursion into Shakespeare has brought a tremendously inter- esting production to Broadway, a production that is destined to ex- ercise enormous popular appeal by its sheer beauty and grace of pres- entation. This is Belasco at the very peak of his artistic career. Of David Warfield's performance there is likely to be some difference of opinion. That he creates a flesh and blood Shylock, a real and hu- man portrait is true, but he merely draws a character where tradition has set up a heroic type and sym- bol. His Shylock is interesting and appealing rather than great, an hon- orable addition to the gallery of Shakespearean creations, perhaps unique in sympathetic quality, but lacking in that majesty with which tradition has invested the role. Shylock's anguish is enormously poignant in the two big moments of the play—on the discovery of Jessi- ca's flight and the end of the court scene—but the man's passionate hate is but faintly conveyed. It is probable that sound Judgment dlcr tated this treatment. Mr. Warfleld has always been identified with sen- timental rather than florid emotional roles. His *flair is for the note of human feeling, matters of shadings of mood as against vigor of acting method. His stature and his pecu- liar mannerisms of voice may also have had weight in fixing the inter- pretation. It is difficult to see how "The Music Master'' could have achieved a really robust Shylock. And, indeed, there is no reason why Warfield's human Shylock should not be as valid Shakespeare as Booth's epic creation, since that is the Shylock Warfleld reads In the play. And tastes and prejudices of students and actors aside, thi« new- est of Shylocks is undeniably inter- esting and understandable from the popular standpoint. But about the presentation there can be no variance of view. It is stunning-Jn its richness and splen- dor and in the grace of its back- grounds. As brilliant a first-night audience as has gathered on Broad- way this season responded to the stage pictures as enthusiastically as to Warfield's big scenes. Portia is introduced in a revel of feminine daintiness for the second scene of the first act, a silken idyll of a room and the uttermost perfection of a background for the highest of high comedy. The casket chamber matches it in deft romantic sugges- tion, but the triumph of the whole achievement is the poetic picture of the last act. Here is a very elo- quence of romance and poetry ex- pressed In stage properties. A sun- dial stands in the center. Across the back of Mm stage is a half moon of massive high clipped hedge relieved by slender stone obelisks, and over all the deep night sky, with twin- kling stars and an immeasurable sense of depth, color and distance. The traditional garden scenes, with its jollity and feasting. Is gross by comparison with this gem-like setting for Shakepeare's loveliest poetic flight. If the whole produc- tion had nothing else it would be memorable for this single perfect jewel of stagecraft. Here, at any rate, is an adequate setting for the genius of Shakespeare. The sum total of effect is that for once a stage artist has matched in theatri- cal background one of the great bard's greatest creations of supreme romance and high comedy. In quite another vein is the court scene. The note here is oppressive and grim. There is a world of maj- esty in the treatment. The gorgeous robes of the Duke contrasted with the somber menace of a gaunt monk in the background, but the pervading tone is utterly grim and threatening. Two bits of business in the closing -ages of this act have the Belasco touch. After the defeat of th<> Jew, and when he is being jostled by the Onlookers, a push frum Cratiano semis him staggering and clutching wildly into the supporting arms of the victorious Antonio. Again, as he departs into the Jeering crowd outside, the silent monk steps in his path and forces him to pass beneath an upheld crucifix as he totters* away, a stunning symbolism of the whole dramatic situation. Belasco achieves another capital theatrical effect in the third scene of the second act. Bassanlo has come to negotiate the loan, and the conference takes place on a street in front of a synagogue. While the scene is working up, and even dur- ing its progress, the rich Jewish church music pours across the stage, adding a fine embellishment to the old version. Perhaps Belasco, since symbolism is a new element in our theatre, intends a new meaning here—the suggestion that the hated Christians have come on the Jew's own ground, in subtle suggestion that they stand in Jeopardy of giv- ing themselves into his power. The choral effects of the syna- gogue scene are matched by many other touches of musical beauty. Belasco has overlaid the whole play with a charming musical interpre- tation, an embellishment that reaches surprising elaboration for that producer. Besides the musical interludes of the entr'actes, which approach the proportions of a mu- sicale. there are backstage choral effects at brief intervals. Bassanlo's choice of the caskets is delayed for the space of minutes in stage busi- ness while an off-stage chorus makes voluptuous music. The presentation is all a revel in music, for the players have been picked for voices of melody to match the lyrical fascination of Shakespeare's meter. Mr. Belasco informed the audience in a curtain speech that Mary Servoss (Portia) had played through the perform- ance with a temperature of 102 and a sore throat, that required the at- tendance of a doctor, but there was nothing of such a state apparent in her readings. The company Is particularly happy in Its women. The comedy scenes of Miss Servoss and Mary Ellis as Nerjssa are exquisite. It was only in the main'court scene that Miss Servoss falls short, al- though this may have been delib- erate, the production being a ve- hicle for a male star instead of for an actress, as has been the case of most prominent Portias, notably Bernhardt and Ada Rehan. Julia Adler brings a wealth of grace and charm to the small part of Jessica. Philip Merivale's Bassanlo de- parts from tradition. It leans to- ward the vigorous masculine inter- pretation at the expense of courtier grace and elegance. But for his readings there could be only praise. Every word was clear and musical, and for the gracious melody may be forgiven his rather attractive awk- wardness of- gesture and deport- ment^ Ian MacLaren is an alto- gether admirable Antonio. Percl- val Vivian is rather hectic in his comedy scenes as Launcelot, play- ing opposite that fine Shakespearean player, Fuller Mellish. Herbert Grimwood as the Prince of Morocco was generously vociferous. The theatre is on the eve of a great Shakespearean vogue which promises much, but no matter what is in store no theatregoer can afford to miss this truly fine production of "The Merchant of Venice." Rush. where she wrings her father's neck and goes over a fence after Romeo in spite of tfce idiotic restriqtions of. the plot. Miss Barrymore might create a new criterion of dramatic accomplishment. But this whining, weeping weakling; this sighing, simpering simpleton—no! Arthur Hopkins' production Is of the same general school as his "Hamlet." It is severe, but in keep- ing with the general gloom. la McKay Morris, who was also Miss Barrymore's leading man in "Ross Bernd," he found or made a vehe- ment, elocutionary Romeo; he looks his part and plays the part he looks—a strapping, ^swashbuckling Veronese rich man's spoiled son. with two notes—to shout and to wail. Miss Barrymore. in a blonde wig that would go well with a Martha, and tubular white clothes that ac- centuated the lines that Juliet might well treat for diminuendo, was drowned out by Mr. Morris in the tew scenes that these most famous of lovers have together. Romeo's grief was something mors than poignant—It was fierce. Basil Sydney, as Mercutio, earned the honors of the revival, with Barry Macollum in the two double- bits at his heels. The great nurse role was slovenly and un-Shake- spearean in the keeping of Charlotte Granville. The ensemble scene at Juliet's home was beautifully staged and executed, and was a delight and 4i Shakespearean novelty that re- freshed the spirit galled by too much wincing and whimpering, stabbing and suiciding. If the com- pany had ranked with the presenta- tion, it Vould have been perhaps another story. Now it will be an- other play. . • Lait. ETHEL BARRYMORE'S JULIET Sampson Barlow Borland Gregory Albert Reed Bait baser Howard Merling Abraham » James Hull Benvollo Jerome Lawler Tybalt Kenneth Hunter Capulet ffarvcy Hays Lady Capulet Lenore Chippendale Montague Frank Howson Lady Montague Alice John Escalua I'M win Brandt Romeo McKay Mori is Paris William Kolghley Peter Barry Macollum Nurse to Juliet Charlotte Oranvllle Juliet Mis* Barrymore Mercutio Basil Sydney An Old Man John C. Davis Friar Laurence Rubs Whytal An Apothecary Barry Macollum Tags to Paris Vivian Geison The Barrymore Shakespearean complex was bound to come a crop- per somewhere. Lionel, as Macbeth, had been happily forgotten when John was acclaimed to the skies as a great Hamlet, and the echo of that had scarcely dulied when Ethel flitted forth as Juliet. John is still the Shakespearean star of the bril- liant Barry mores. This worshiping scribe ha^g apos- trophised our First Actress In no end of roles—happy, gray, scarlet, blonde, brunet; courteean. secre- tary, lunatic; betrayed, buoyant, stolid, sparkling, sombre, salubrious, dashing. But he went to the well- known well once too often and saw his idol play Juliet. Miss Barrymore Is not a Juliet. That means no more than that she would, not be a good Irene or Sally or Mary. Jack is a great Hamlet, they eay, but perhaps he would not shine as a Llghtnin' Bill Jones or Abe Potash. Hamlet, at least, is a man—Juliet is a child. John loves to be sad, and Hamlet Is the saddest thing that struts and yamrrers. Ethel is an emotional dramatic prima donna, ripened and matured; Juliet is not emotional—she Is a Jerky young virgin who plays "Straight" to everyone, is subdued and smothered, and has one princi- pal runctlon: to look appealing and .stunned. Mis« B.arrymore has too murh natural fibre, too much vibrant woman—-despite all her artistrles, tiie illusions of make-up, the appli- cations of her generous genius -to eompo.se a pluusible mummery of any such Juliet as Mr. Shakespeare contrived. If a version were written JOHANNES KREISLER Johannes Krelsler Jacob Ben-Ami Theodor Erskine SanforS Cyprian Manart Klppen Ludwlg Cecil Owen Vincent Frits Adams Othmar y Hyman Meyer Sylvester .Oliver T. McCormlck Julia Mark l Undine J Ixitus Rob* Mr. Mark Charles R. Burrows Mrs. Mark Anna Bates) Father Ignatius Manart Klppen The Rich Man Cecil Owen Gottlieb Edward Le Dae Prince Von Soden F. Eckhard Dawson Sekonda Burr Caruth Cuno Allyn Joslyn Assistant Stage Manager A. If. Busk Baron Puekler Frits Adams Mme. Van Benson Millie Butterfleld Undine's Voice Rosa Nler The 'Fishermen , Berthold Busch His Wife Alta Virginia Houston Their Son Hilda Rtelner Don Ottavlo Josef Batlsttsk Leporello ...OMver T. McCormlck The Selwyns came onto the fair- way of a weighty dramatic season with the most interesting and novel production ever brought from abroad, at their Apollo, New York* Saturday (Dec. 23). It Is "Johannes Krelsler," known In Germany as "The Mysterious Tales of Herr Krelsler." It is in Its second season in Berlin, though the conception and invention is by a Scandinavian. "Krelsler" is almost sensational In its departure from the accepted manner of dramatic presentation. The billing describes it as "fantastic melodrama." The play itself, writ- ten by Carl Melnhard and Rudolf Bernauer, is poetically conceived. But it is actually the link between moving pictures and the dramatic stage. Svend Gade. who invented the technical effects and scenery, doubtless had that goal In mind and he admirably accomplished it. He has been able to almost fuse the scenes, of which there are 41 in'all, not of course with the speed of the films, yet there is not a deal of dif- ference when the titles necessary for pictures are considered. The American "On Trial" had Its Inspiration from the "switch-back** in pictures and provoked all man- ner of Interest a few years ago. That went about as far as possible on a flat surface. Gade has made use of another dimension—height. And thereby has invented half a dozen stages on one. There are at least three miniature stages (in- teriors) about 10 feet above the stage floor and three upon it, be- sides the stage itself. As a rule but one isoised at a time, the miniature stages being on tracks, and rolled on and off. That permits a rapid change of scene, an actual visuali- zation of the story as spoken by the central characters, the counter- part of the scene change anticipated by the titles in moving pictures, but a vastly more vivid, colorful and satisfying effect. "Krelsler" has a myriad of novel features. There was no invitation for applause until the show was over and the two leads stepped from the folds of a tableau curtain. That was the only time the house footlights were thrown on. The play is given in entirety behind a decorated scrim drop, through which nothing is visible save when the numberless spots beyond the orchestra line are in operation. As the prolog commenced, the house went into total darkness except exits, and that applied for the three acts with all tho changes of scene in between. Only were the players and the srenes visible when th* director signaled the spots turned on. The scrim drop Is permanent, stretching from the back of tha orchestra pft to the top of the proscenium arch. Throughout, the audience is invisible to the players. But tho latter knew the house was filled with an admiring throng which went into plaudit- a numbs*