Variety (April 1923)

Thursday* April W V A R I E T r • 4l« T-4. m '-«<.: ■'f^rr^ "if" '*••''' »■ ^'«'B <«.«*.'>« p J-?-; xi r' FOREIGN REVIEWS N THE ALTERNATIVE ; '%: "'"• liOndon, M4rch If. PoMowinff on thji PJ^^JL?* 'J^' iiuently changinar l»i* program at W« Hampstwd theatre the man*««ment Si taken off "Mrs. Beams" to make SSr Ca new plarby Lucy Wilson Sd Adrian Allington. entitled "The Alternative." The play In Itself Is on the lines of divorce reform propaganda and has undoubtedly been inspired by one of two recent cases in which women inarried to convicted felons »*rvlnff life sentences and to criminal lunatics have t^^^ refused relief and are still bound to the convicts. In this case the woman has really sev- eral altecnatives—she can asso- ciate with a man with whom her name has been coupled; she can elope with a man whom she does love or she can remain true to her wretched husband. There are long and wordy arguments for and agai.ist each until the convict, a xnadn.an. who has murdered the man oi the first alternative arrivea upon the ir'*ene. The secona a^'t brings more alter- natives—she can save her husband by revealing a secret doctor's description, by concealing it she can become the wife of her lover. She decides to save the husband. Two more chances or alternatives come with the third act. She can go to her uncle, a clergyman, and help in the 'good work," or she can settle down to look after her aired mother. While her family are thus settling her future she staggers them all by announcing that Hhe has determined to throw convention to the windf" and go nway with her lover. More talk and curtain fall flnda her determined to remain faithful to her man-iage vows. The play as a play is not a particularly brilliant work. It in too talky and occasionally loses Its grip. Lucy Wilson herself played the part of the harassed wife with ability, but the acting success of the production is Gordon Bailey's im- personation of her lunatic husband. "The Alternative" which is of the type of play generally produced at special matinees by seml-profes- sional societies has little chance of any lasting success. BOYAL SURBEY THEATBE London, March 13. Some time ago the management of the famous old South Side thea- tre, whiQh was the cradle of many of our best known West End actors of today, asked Ita patrons what they really did want. The audience voted and vaudeville won over the drama, pictures coming second, legitimate last. In accordnace with this the theatre returned to vaude- ville March 12 with one of the poorest programs ever submitted to a London audience. Spalding and Vanguard showed signs of promise when they opened with a burlesque dance In which the man mimicked Charlie Chaplin and the girl Mary Pickford. They soon went to pieces, however, and showed no excuse for an elaborate trapeze rigging unless it was for an exhibition of vulgarity on the part of tho man and the display of the girl's figure, which was the best thing In the act. A. S. Graham and Co. presented a sketch of an- cient style. It was, however, re- markable for the appearance of a particularly masculine, raucoue and aggressive leading woman of the old school. The other turns Included Joe Archer and Karr and Kooncy. both 1^^ "* were well known in the Old days, but are now relegated to small halls. Bad as the whole thing ; ^as, 6. densely packed audience ac- cepted everything put before them Jith something like enthusiasm. Ane people who were not pleaeed ri^'"t *"^"^bera of the old Surrey fl!!i ,f^"^P''^"y who were present. tH^.. J^'^'^?^^"^ Conquest must have ' l^lll '" ^'^ 8^»"^ve when the new ^.It^u^r ^0"<l^«cended to coupla i"e still famous name with his own. Cf ore. his mother has cast otL Hme. Su- sanne Despres Is a great actress and ifl willing to impersonate the fervid Spanish amorette. There is another "stag" story on the same bill entitled "La Messe est Dite." This one-act farce (or drama) concerns a widower living amicably with a friend he suspects of having been his wife's lover and even the father of his daughter. He. nevertheless, prefers such company to gloomy solitude. The daughter learns of the situation and demands the other to clear out. considering his presence a sacrilege to the hon- est home. She refuses to listen to any suspicion of her natural sire and defends for her legal father. Despite her objections the father continues to visit his former rival, hoping to discover the truth later. It Is a curious sort of play, ably constructed with many dramatic Imperfections, but in Its right frame at the Oeuvro. Yet we are led to think we live in a funny generation when budding playwrights devote their energies to depicting the bitter flavor of love stories and not the romantic side of life. _, Kendrcw. J'TE VEUX the roles strengthened with new re- cruits, notably thkt of Barbara Hoffe as Lady Tybar. No pains or expense were soared for the metro- politan engagement. To the readers of the book Nares is not exactly the type for Sabre, but he more than overdone this by the sincerity of hit characteri- sation. Barbara yiotf^ was sufll- ciently dignified as Lady Tfh&r, and Helen Spencer, while uninspired, gave a generally competent per- formance of Effle. Grace Lane con- tributed a skillftil interpretation of Mrs. Sabre that will pass muster with the non-readers. One of the outstanding hits was that of Tarver Penna in the role of Mr. Twyning. who brought to the part a scricN of mannerisms ^hat made the role stand out splendidly. It would In- deed be difficult to improve upon the general excellence of the acting. "If Winter Comes" appears to have registered one of the most em- phatic hits of the current season. Jolo* •.•«M*' RATS Paris, Mfirch 12. "I Want You" is the title of a song written for the so-calUed •'comedy-operetta' in three acts, by Wilned. Grandjeun and Battallle- Henri, music by Gabaroche, Fred Pearly, A. Valslen and R. Mercier, evidently inspired by the extraordi- nary success of "Ta Bouche." This effuston by seven tailors (not necessarily making a man) was pro- duced, with dances by Stilson. by Dr. Deval (being nine at least) at the Marigny, Champs Blysees. last week with undefined results. It is moc*^ of a cafe chantant entertain- ment, a dttty being introduced at every available opportunity. It may be a draw, even a trump, for there are more flukes in stage ventures than in any other enterprise on this planet, but it is not an ornament to dramatic literature or an embellish- ment of theatrical art. Tho plot plot- ted by three plotters explains how Madeline (Mile. Pyrac), the divorced wife of Tapin, is compelled to find another husband«by the same name In order to retain the trade-mark of her dressmaking busines.s. A fel- low mending china (Milton) is traced and for a reasonable allow- ance agrees to marry Madeleine, the union to remain white. It is the in- tention of the said Madeleine to ul- timately marry a government offi- cial called Vignac (Adrien Lamy), who has therefore abandoned Vir- ginie. but egged on by Zouzou (Mar- guerite Piorry). who Is casting a glad eye on Vignac. the fre::h hus- band Tapin claims his matrimonial rights, receiving a box on the ears, which he returns by a vigorous kiss. It first appeared he would ulti- mately display his superiority, but the trio of authors decided other- wise by Madeleine obtaining a di- vorce from Tapin No. 2 and getting spliced with her doting Vignac while the naughty Zouzou Is obliged to be contented with Tapin No. 1. Denise Grey with a flutelike voice, ably plays the ginger role of Vlr- ginie. The four composers have got together and dug up a series of mod- em fox-trots and so on, which con- stitutes an enjoyable musical eve- ning hardly intended for mothers' meetings. There is also a bit of the light fantastic of a kind, of which the least said the better. Jane Pyrac Is a new comer and I ween she makes good. Her part of the thrice-married Madeleine Is a sub- stantial composition. After all "J'te veux" Is as good as the aver- age Paris revue for a light after- meals distraction. Kcndrcw. MAISdlJ DE L'OEUVBE T,. Paris. March 13. •ine professional dramatic so- LiM • '^"o^'» hero as the Oeuvre. with lis own little playhouse under jne direction of Lugne Poe. is con- J'nually interesting the local critics. Ji uoes not pretend or intend to ap- peal to the general public, but caters to a cliqu,. of literary folks anxious to sample the various schools of let- ters ofTertd by various advanced authors of this mixed world. After several diffusions of P^enth thought »>y .voum;; fellows we have a version Lu >^*i»ic Allegro- by the Span- sh author. Puh; y Ferete;-. tran.j- •Ued by .lean Peiiai. The action p.isst..H in (.'..talonia. Tli- AlloTro -aUy IS. f.iM of alle;,'rosKe when sUe tmuKs of lovo. which is rath-r rf en. jndet.d. vvviy fc'iow in the vl'lago bai d IS J.iir.d (o the scandal. i i a her Bo n , JacUt -wii.'n •^ ivturn:. f.„m Mn.^land. where In- aj been .-.t v.cbr.ol. and he impl.)rei i.s amorous pmont to reflect on tho IF WINTER COMES London. March 10. It Is difllcuU for one who has read a novel and been impressed by it to siLlhrough an adaptation without making comparisons. This is what Owen Nares had to contend with on the opening In Ijondon of the dramatization of "If Winter ComcS," In which Nares, probably the most popular of the younger generation of British leading men, plays Mark Sabre. Probal)l.v 96 per cwit. of those who attended the London premiere had read thfr book. From the chatter in the lobby, some mu.st have read it very recently or had brushed up on it. That Nares scored a triumphant success in the face of this handicap argues more than columns of fulsome praise. The main dilTlculty enrounterod by the adaptor, 15. Macdonald Ha.'-t- Ings, was in tho concrete visuulir.a- tioii of the psychological complex of the Mark S^abre ob.«^esHion to look at every proldom from both un^ka This necessitatod a tendency to pro- lonj; tip- diali ,; t.. sulllolcntly plant the characterization in the mlndn of non-reader.'*. It h.'is. however, been clt verly ai complished ar.il di- rectly the iday gots ftarled it trave's a!on/7 villi cumulative vo- qnenc. Tix' t>r«*d uoo i i j » hn vo had Lha vantaK'^ of I'O weeks* tour out of town in which to polish cfi \hv rougli edges, and on it.< arrival in London if wa^ prevntnl a.'< a fm- l;h(d product. The weaker mem- bers of the ti'st were assign;«l to one f.f the road comi)anies .'ind tho Li ndon cngasoiueiit had sevc;*al cf THE DANCERS London. March 4. A brief summary of the plot. of "Tl» Dancers." produced at Wynd- ham's, Feb. 15, starring Gerald du Maurier, would probably give the impression it Is a very poor play. Any technical analysis of same would confirm this opinion. Never- theless, It is a very good entertain- ment, and all indicationa point to A successful run in London. It has a peculiar appea!l to the lay theatre- goer, due in no small measure to the excellence of the acting. The piece has a family resem- blance to l^dwin Miltoa Koyle's "The Squaw Man," which had quite a vogue in England under the title of "The White Man," and thTS sug- gests it might make a vehicle for William Faversham in America. Paversham is better equipped, physically than du Maurier for the' principal role for the reason that du Maurier does not look formidable enough to cope with the patrons of ! a dance hall over which he pre- sides in the first act of the play. The piece opens showing **Tony" running an old-style dance hall In western Canada, patronized by cowboys attired In "chaps" and women who are in "the oldest pro- feflsion in the world." One of its performers is a dancer, lHaxine. who is "as hard as nails," but neverthe- less of virginal purity. She loves "Tony" and Is willing to give her- self to him on any sort of arrange- ment. He, however, tells her he betrothed himself at childhood to a girl in England and had not seen or communicated with her for 10 years. At the end of the act he re- ceive^ a cable announcing the death by accident of an uncle and cousin, thereby inheriting the title of Earl and a large fortune. He cables his solicitor to make ar- rangements for his marriage to his betrothed the day of his arrival. The second act shows the English girl addicted to the craze for dancing with a slight predilection for dope. She resides In a flat with a middle-aged woman who is very fond of her and confesses having gl^en herself one night to a youth- ful dancing partner and fears she will become a mother. A cable from "Tony" arrives announcing his coming to make her his wife. She cannot even recall "Tony" and has no recollection of the betrothal. The woman with whom she lives persuades her to go through with the naarriage and say nothing about the fall from grace, and she agrees to do so. In the third act "Tony" ftrrlve.«», and Una, the girl, recalls the entire youthftrt love affair, realizes the nobility of the man's constancy, falls In love with him, and, rather than deceive him, commits suicide with an overdose of dope. Act four takes place in Paria in tho dressing room of a famous dancer, who turns oi^t to be Maxine of the dance hall. Maxine has re- jected all lovers and even offerq of marriage to wealthy noblemen, having preserved }^r purity through love of "Tony." who. realizing the strength of the dancing girl's affec- tion for him, takes her off to honor- able marriage. The play is advertised as written by "Hubert Parsons," and on the opening night, in a curtain speech, du Maurier brought forth Viola Tree and announced that he and Miss Tree were responsible. In the last act "Tony"' tells Maxine he blames the woman with whom Una resided for not having confided to him l^nas one misstep and that his love was so big he would have for- given Iter. It seems incredible tho authors could not have lntroducp<l a scene between "Tony" and the woman in which "Tony" could have told her off in a speech of dramatic intensity. V Du Maurier gives a fine perform- ance of "Tony," and his physicil and histrionic r.hqrlcomlngs are counterbalanced by his local popu- larity. The daily papers shower ful.some prai.se upon Audry Caj-len in the role of Una, but thie reviewer sce.{ in lier little niore Ih-in a .sin- cere am.ateiir who may some d-iy thing v;ortli while. In lii • opinion, the characterization cff .Maxine in the hand/; of Tallulab r.anklu-id is a mii.h more lininhod performance, thoiigli nothing in 11 iii 'inspired." With all its rnilts, "The Panc.Ts * will probably i-i'^)* e a di-.«>.v ft Wyndham's for i.-mc time. Jilo. London.'Match f. Andre Chariot presented at the A'audeville theatre yesterday after- noon for the Ilrst time another of his series of intimate revues, in which he depends more upon wit rather than elaborateness of pro- duction. The Vaudeville is a small house that will not permit of an ex- pensive production with a large cast and unlimited chwus. The Chariot scheme depends principally upon the brilliancy of the skits, and the new production, entitled "Rats." is on a par with the previous revues of that caliber which he has presented at that house for several seasons. The first performance ran for three hour^. which willtpejjnit of the ex- cision of some of the less desirable material and the building up of the more successful scenes. The production derives its name from the prolog and epilog, which is a modern application of the "Pied Piper of Hamlin," The principal comedian is Alfred Lester and the leading woman Is CJerlrude I^w- rence, although Herbert Mundin api>ears to have scored more strongly in the various character bits in which he has. been cast. There ia a marked absence of dis- tinctiveness in the music, but, all things-considered, the presentation gives indication of settling down to a successful run, and ^ith the pres- entation of a second edition should carry on for the remainder of the current season. liy far the cleverest skit Is "A Cabaret Drama." which will un- doubtedly be annexed by some en- terprising American producer, by purchase or otherwise. This con- sists of a travesty of a modern drawing room play viewed by a gentleman who has imbibed too freely of "the cup that cheers." As the piece progresses he becomes more and more intoxicated until he sees the various characters doubly, trebly, and finally there is visualised hazily a hctei^ogeneous mass of the respective players. Another clever bit consists of a series of very brief thumbnail skits entitled "Incredible Happenings," such as a restaurant waiter refus- ing a tip, a barber advising a cus- tomer never to put anything on his hair and a polite subway attendant. The book and lyrics are by Ron- ald Jeans, music by Philip Braham, dialog produced by Herbert Mason, dances and ensembles arranged by O. D. Harris. Jolo, MONS. DE PYGMALION . ' ■ :\ ; Paris, March 8. Charles Dullln disposes of modest means at present but ho has applied them to his productions at the Atelier stage society to th»greatest advantage possible. This group is now installed at the Theatre de Montmartre, a district drama house in an out of the way quarter, for years devoted to pictures, and one of the oldest playhouses In Paris dating back over a century. His latest effort Is a French translation of a four-act tragedy farce .by Fran- cis de Miomandre from one of the numerous works of Jacinto Grau, which, however. Is not the Spanish •uthor's best seller. It is a cloudy emblematical essay on the baser side of humanity, and depicts mankind of all ages under the mask of an ani- mated doll. "Monsieur de Pygrmalion" has created a number of marionettes whose movements are life-like, and with the possession of a mind. Indeed his dolls are as marvelous as the famous Galatea of hl|^ prototype. He arrives In Madrid and secures an engagement after having worked marvels in America. The owner of the theatre Is a duke and he Infag- ines himself In a society drawing- room in watching tho antics of those wonderful marionettes In rich at- tire, led by a more* cunning poli- tician dressed In black and resepti- bling the medium of X)r. Callgarl In the curious German film released last season. The female characters are like- wise realistic, particularly Pom- plnlna. who Is so pretty and ca- pricious that tho duke falls in love with the selfish little doll (as many others have done). The owner Is jealous of this mechanical, master- piece and he shuts her in her box for the night. Later when the the- atre is dark and empty the marion- ettes automatically come to life and jtrove they are just ns vain, deceit- ful, wicked as real people. Pom- pinina Joins the richest pretender in his box. ignoring the heart- breaking serenade of- her former lover. The politician then preaches revolt against their creator, the im- presario who compels them to work while he pockets the profits. The T)nkc enters the theatre to steal the beautiful Pomplnina, at the mo- ment tho remainder of the dolls escape through the window. They arc led (or rather the more simple .'jre encouraged to go first and get the hard knocks if any are coming) by .a boasting captain, who remains .• afcly In his box until he knows the field iR safe, and when all are ont.'-ide without npparefit danger he .loina them demanding Jhe death of tiuii- master. Uy promises of rJclva the Duke provail.'a on Pumninlna to elupc. and 'Mi-jies her off in his automobile. Owji.rr to an acc!ilent they are .'.tranded and are glaVl to take shel- tr-)- in a c.'ibln. 'J hei^Mijion the pam- j red doll becomes an;;r.v. reproach- i» ;r 'I'l'.f theutre ownt?' with havin;; prr»niised her a palace jn'>tead o( hva\i a huvcl, and in h<4- rage-she lucks him in the shed, jolaing i...* liberated companions, i'ygmalion, having heard of their esrap^dn. hastens to subdue the revolted dolia. Armed with a whip he attempts %*$ drive them back to their respective boxes. He succeeds in capturing many, but a few show light, and finally kill their creator. "A man shows his superiority by destroying his fellow creatures," is the argu- ment of the leader of these dulls, and he proves his rebcmblance to real human beings by committing murder. The agitator then picks up the whip and uses it on his dis- ' enchanted companions, compelling-, them to obey him as meekly as they obeyed their former master, the. unique change in their condition be- ing a different boss. Such is a rough resume of the. 'symbolical play written by thj Spaniard. Jacinto Grau. which has' not yet been played in his own country. Shakespeare has told us "A^ll the world's a stage" and this modern author similarly contends we are all marionettes. He imprints lliu*. Barc&itlic IruiHin in diveritnt; dialogue. The Atelier troupe ad- mirably Impersonates the animated dolls In this fantastical tragedy, and we can only admire Charles Dullln for his courage in realistically mounting the curious foreign farcu in spite of its obscurity. Dullln holds the role of Mr. Pygmalion, the marionette constructor, with credit. We shall watch the progress of this Atelier, now performing nightly as a regular playhouse, with interest. Kendrew. UASKTLTNE'S MTSTESIES London, March 11. One of the oldest shows In Lon- don, this entertainment of magic was originally at the Egyptian Hall in Piccadilly under the name of Maskylyne Sc Cook'a After many years it moved to St. George's Hall, where it still la under the name of Maskylyne A Devant. Then David Devant retired to go into vaudeville and It became simply Maskylyne's. No entertainment in the world sticks as It does to tradi- tion and conservatism. Its acts seldom alter in form and billing of. any sort seems taboo. When a "Variety" representative dug It out he found very much. the same sort of show occupying " the stage as his great-grandfather enjoyed. Clive Maskylyne t>«lng the presiding magician. There were conjurors, card manipulators, en- tertainers, and Illusionists galore. Cllve Maskylyne's own act made an attempt to conform to modern times by the introduction of the kinemato- graph In one of his big tricks but ^ his star turn was an illusion named - "Oh!" which his grandfather did 36 years ago and which Is now being done with the original apparatus and props. Louis Nikola performed the ordi- nary school treat conjuring tricks but was much more successful in^: that secfTon of his act devoted to shadowgraphy. Billy O'Connor proved a good card manipulator and ', patterer but his laugh is irritatingf' and he sees too much humor in hl» ? own gags. Lingha Singh provided anothei^.:' touch of modernity In his act of ln«v dian 'magic and performed some ' very successful tricka Both he and Clive Maskylyne considered It nec«, essary to make a pretense of hyp*"^ notlzing their assistants. This entertainment. If only on ac- count of its age. Is well worth a visit. The audience Is tranported from the present day to the age of Queen Victoria, a fact further em- phasized by the great reduction ori' program and cloakroom charges?, and the t«»» provldorl at half th« ^ usual West End prices. Whatever ; can be said of Maskylyne's Mys- teries the management cannot be t accused of highway robbery. ^" COUSm FROM HOWHEBE , London, Marrtj 7 It has often been asked. What is the difference between comic opera and musical comedy. The answer can now be given as "Tho Coiisttj, from Nowhere," which is a cross between the two. It was presented by Edwlird Laarlllard at Princes Feb. 24 and was adapted from the book of Herman Haller and Rldea- mus by Fred Thompson, with music by Edward Kunneke. The Knglis-h lyrics are by Adraln Uoss, Robert C. Tharp and Douglas Furber. There is no chorus and but half a dozen principals, with two sets of scenery. Much concerted singing and a modest supply of legitimate com- edy. Both are in competent but not necessarily brilliant hands and the piece goes through without making any bid for sensational succe-ss. It is a kind of entertain- ment that, when asked about it, ^i^u reply it Is "very nice" in a sort of half-hearted manner. The principal feminine role Is In- tho hands of Helen Gilliland. a dainty prima donna, who sings well but is wholly unintelligible lyrical- ly. Cicely Debenham scored a tre- mendous hit as an eccentric low comedy Ingenue. Walter Wllllamar was admirable as the hero and sang the role effectively. James Godden and Jloy Royston took excellent^_ ' care of two character-comedy roles. There is nothing In the plot to wan ant synopsis. Artistically. 'The Cousin from Nowhere" ma\ be set down as a success. Whe'hT it will draw paying patronage trt Prince's, wtilcM i.i a little off the , line, remains to be seen. JoJo.