Variety (April 1923)

.■"»ii*iV *^ -■ LEGITIMATE :'''-;".vr^9ir-' Thursday, April 19, 1923 -> =c=ar OUT OF TOWN REVIEWS AS YOU LIKE IT Washington, April 18. A Shepherd Albert Powera Orlando, aon of Sir RowUnU de .«ol» Ian Keith Adam, aervant to CMtv^r Arnold Lucy Onx»r, •lift brother of Orlando ^^ Jeromr Lawlor Denis, iervant to 01iv»»r Hail Hl»;ey Charlea. FitU^rlcli-* wroatlcr „ ,. ^ Rianley Kalkhurat PagM *tten<Unff Predorlck Edn* Rivera. Dorothy Chaa*. Hilda Dallmann. Adelo Schuyler noaallnd. dauebter to banlshe*! Duka Marjoiia Uanibeau Celia, d«usl>i«r to Frcdsrictc Margalo Olllmore Tou'hatone. a c'.own Krneat I^wford 1^ Beau, a courtier Edgar Norton ITradarlck, the naurplng Duke...John Oralg Amleoa, tord attending banished Duke Frank Arundel Jaquea, attending banished Duke A. R. Anaon Tba Duke, banished by his brother J. Malcolm Dunn A Lord, attending baniahcd L>nko Walter Abel Corin. aa old ahepherd l->lgar Norton Sitvlufl, a young ahepherd WIULim Wililama Audrey, a country wench... Hoi tenee Alden I'boeb*. a ahcphcrdeas Owyne«lt» Vernon WUliani, a country fellow. .Ptnlval Vivian First Page O. Anderson 8«ioad Page Norton Meyers Jacques d« Boij» Walter Abol Ifyntcn Mercedes d« Cordoba There is Indeed much in this magnificent production by the American National Thratre of Shakespeare's "As You Like U" for commendation, with but very little room for censure. The story at Its best is but thin, depending almost ewtirely upon its rendition, and In thl« phase, thank.n to a remarkably capable cast and the splendid direc- tion of Robert Milton, the piece, a.s presented, excels to such an extent that It can be candidly stated that another epoch In the worth-while things of the theatre has been reached. Everything was in such accord tonight that one is Inclined to not fully realise the exceptional worth of the ^rforraance of Marjorie Rambeau. Around her has been placed a cast so tuned to her per- formance that In Its completeness a Jewel is made with Mi.ss Rambeau the brilliant center of the gem. Tt actually seemed that this artist wse imbued with a new spirit, that she THE CHANGELINGS Philadelphln. April 18. Philadelphia had one of its treats of the current theatrical season last night when Henry Miller and his company of stars stopped off on their way to the Pacific coast to present Lee WIlBon Dodd's new American comedy, "The Change- ling!"," at the Broad street theatre. "The Changelings" is a llret-rate play, with an extraordinarily fine first act. That about sums it up, or at lca.'5t aa much as It can be summed up while the present ar- ray of cflebritlOB occupy the stage at one time. There Is no reason at all why this domestic comedy shouldn't repent the success of "The Famous Mr.s. Fair." though the climax Is neither 8o satisfying nor so warm in human appeal. Mr. Wilson uses as his text the quotation attributed to Talleyrand, "Plus ca change—plus c'est la meme chosw*," which can be trans- lated a number of ways, but rough- ly rendered means "The more change—ttie more similarity" or "the more things change—the more they remain the same." • The principal characters in "The Changeling.s" arc two middle-aged married couples. The son of one family has married the daughter of the other, and when the play opens all Is serenity and amity. Then come tho disclosure of an es- trangement of the young people and news that the young wife has run away fVom her husband. Immediately the parents take spirited 8ide.9. but ^ot, surprising as it may seem, family against family. Instead, the father of the girl and the boy's mother form one side, and the glrl'a mother and the father of the boy the other. Bick- ering and quarreling begin at once, and all hands come to the sudden conclusion that they, too, are un- happily married and are unappre- ciated by their mates. The daughter comes in suddenly to find her mother in the arms of Kerr, never In the iMUt American either in actions or speech, had the role of the young husband, but he made it unobjectionable. Felix Krembe received a deservedly big hand for hia playing of the role of the lever. Miss Chatterton had an ungrateful i>art and her work was not uniformly of top rank, but she struggled nobly to save the third act from going to pieces. The staging was more than ordi- narily good, the two settings be- ing in splendid taste and marked by a gimplicity and an artistic effect that made them notlceablo in a day when stage Interiors, especially li- braries or living rooms, are pretty much all the same. On the opening night the play was over at 10:40, and that despite 10 or 11 enrnres after the first act. and fully 15 after the second, to- gether with brief speeches by Miller and MIi>9 Bates. The enthusiasm following the first act was re- m.arkable, probably unparalleled here in many years. The Interim between the third act and the epilogue, supposedly a year stick, which resembled an electric fan in the overture^ and working from the score and his eyebrows. He is a real card, and should be given an amber spot. Seenlcally the prr>dnr^Ion Is cred- itable. There are four dancing girls In the oborus who are still working ragged; six chorus women who double In an orchestral number, us- ing instruments taken from the walls of the curio shop, and six chorus men who apparently are working toward a vocal sextet spe- cialty. Costumes stood out favor- ablv. The cast as a whole Is a delight. -Minnie an' Me" Is old-fashioned, fantastic and romantic, and will probably draw heavily as a slvow that the whole family can safely attend, with the possible exception of father and his oWest .son. Lihbry. Atlantic City, April 18. A rather light-hearted farce . tripped into the Apollo Monday, later, was only momentair, and ^gj,j ^nd furnished a series of ex this was a mistake, as it did not give the audience an opportunity to appreciate the lapse of time. The third act Is now being given a thorough overhauling, which prob- ably means the putting back of some lines and business cut the first night (an unusual thing, by the way), and If It can be whipped Into even an approximation of the sturdy first and second acts "The Changelings" ought to be one of the best American high comedies of the last few years. Waters. MINNIE AN' ME Boston. April 18. W remedy with musio. In three acts and a pruU)g, presented by Henry W. 8avage-«t the Colonial theatre. Boston. April 16. Book and lyrics by Zelda Sears, m\i*ic by Harold Levey, staged by Ira Hards, musical num- bers staged by Julian Alfred. Zobelde Ruth I>'!rh The Vizier John Hendricks Abdallah Worth Faulkner Henry Rrockway Sydney Greens'.reei Fhoobe Brockway Bertha Ballinger Tom Hammond Boyd Marshall Polly Church Mitzl .Mrs. Bellamy Vira Rial Iris Bellamy Jeannctte MacDonaid Mo« Bernbcimer Adrian H. R<«>y Stella EsUlla Bimey THE FIRST THRILL . - ^. , , , ,. , Dancer Percy Oskes her father-in-law. and, disgusted j partner Pameia De Lour and disillusioned, drives to the I ■ apartments of the man who has been trying to persuade her to was particularly happy in the role, I elope as she actually lived It. and the one J These apartments form the set- enchanting scene In the forest with ting for the second act, with the Orlando will prove a source of In- spJrattlon and Joy to those who have foUdwed the career of this gifted star. • The hand of Robert Milton 1« seen even in the performance of Miss Rambeau, and to him must be ac- corded the greatest measure of the success. Using the William Winter version of the play, Mr. Milton has added to this bits from other ver- sions, bringing about a concleely connected story, beautifully un- folded. His greatest accomplish- ment, though, Is the business throughout. To those who have seen "As You Like It" this one thing alone WiIU bring to Mr. Milton un- limited praise. four parents coming there to per-» suado the girl to return to her hus- band. The lover proves himself an insufferable cad, and finally tells the girl that he wouldn't have her under any circumstancee. This naturally provokes the older men to angry demonstrations, but the upshot Is that a reconciliation is effected between the young husband and wife, and that their parents also find that their first choices were best after all. This action occupies the third act, which Is followed by an epilogue showing the two couples, now grandpar- ents, back in their old state of friendliness and Intimacy. The third act Is the weak link ^^ ^ ^ , » , ...V. P"* ^^^ '^rst place. It runs in more The ca«t has been selected with conventional channels, and, second the greatest of care, with illss ruimboau's particular mode of ex- pression as the keynote of the selec- tion. The performance tonight, however, was pitched In too low a key for the alze of Poll's, which made it difl^cult for tho.«!e even half- way ba«k in the house to distinctly hear, and which would have been a serioua thing had not the text of the play been so well known. A. E. Ahson as Jacques read the part beautifully. His conception of tho famous "seven stages of man" speech is different from any we have ever heard before, but It must be admitted that It was liked better than any other reading ever heard before. Ian Keith as Orlando w<i« most effective, being natural and sincere. John Craig as the usurp- ing Duke held the dominant note throughout his brief moment, wWlc the scene between Sllvius, as played by William Wlnter.s, and Phoebe, by Gwynedd Vernon, was another well- done bit of work. Margalo Glllmore ■ as Cella was excellent, as was Ern- est Lawford as Touchstone. In fact, each of the cast is worthy of len- ticular mention. Tho produrijon Is heantifully done, the lighting effects being par- ticularly effective. The forest scene suggesting depth throuRh lighting was exreplioiuilly commendable. The presentation is made by the Producing Managers' Association and was de«»igned by Lee Simon.son. A special musical scoio has been written by Theodore Bendix that is most worthy, Mr. Bendix al.so di- recting the orchestra. The performance I.^ one that is hound to demand attention, the opening tonight attracting rapacity to Poll's theatre. Among the audi- ence were many members of tlie rahlnet, as well as Chl» f Juoticc Taft. Mnukin. ly, It lacks the sparkle of line that makes the first two acts often bril- liant. By the curtain of the sec- ond act It was evident that the parents were decided against chang- ing mates after their brief period as "changelings," and the only thing left was the reconciliation of tho young couple, which took an unconscionably long time. Blanche Bates has the part of the girl's mother, a woman of modern tendencies and beliefs who later de- cides that they are not worth so much after all. Henry Miller has the role of her husband, disgusted at her apparent callousness in the timo of the daughter's elopement plan. John Miltern is tho other husband, a pedantic and moralizing editor who imagines himself, for a brief moment, the ideal mate for Zelda Sears and Harold Levey promised Henry W. Savage and Mitzi a successor to "Lady Billy" In the form of "Minnie an' Me." It looks as if they had Lived up to their promise. The preeent outstanding faults of the production are the absence of a belly-laugh comic and a couple of real numbers for MItsI. All other weak spots—and there are plenty— are already In the hands of the tinkers. The advisability of the "Minnie an' Me" title is open to de- bate, those opposed to It contending that it does not savor of a Mitzi show, while thoee who favor it de- clare that it is novel and eaally remembered. The plot stands without hitching, opening with a prolog back in the days of old King Tut. Tho grand vizier leaves his harem and returns to find his pet wife in the arms of her lover. He invokes a Wandering Jew type of curse on the lover, con- demning him to eternal life until .«K)me woman pure of heart and free from deceit shall wear the gold ring which the lover has Just finale- hopped from the finger of his most favored and faithless wife. It is well staged, but creaks. The action then Jumps to an an- tique shop of today, Mitzi's entrance being that of a street waif with a hand organ and a monkey, the monk being ninnle. Mitzi is verging toward what might politely be called chubblnes.«j and Is not wearing trousers, a sartorial srurprlse, which, together with Savage's pen9hant for long, lean blonde Ingenues, domi- nated the smoking room and lobby male chatter. She is put up for the night on a chair In the antique shop, run by a bibulous Pickwickian character aggerated events which kent the audience guessing. "The First Thrill" was the title, and it dealt with the necessity of giving a rather blase young man his first love thrill. The story was one of those not uncommon admixtures of feminine plotting and police interception which hasten from one complica- tion to another until the array is that of a chase which meet;-* eert4»l.i vital halting places and then races onward again. As a first night performance the j play revealed possibilities necessi- tating some rewriting to thA rnther full amount of plot which was de- vised by the author. Beulah Boyn- ter. The play was likened by some to "Oflftcer 666." which It resembled in the nature of the frequent en- trances and exits of the police. In interpretation the play was m«>st unfortunate, the cast not ful- tilllng the author's de.-ires within any expectant rea.son, due to mis- conception of the parts and lack of knowledge of the lines. An Interesting event of the eve- ning was the discovery of Eleanor Griflflth in a straight dramatic role, which we h;ive long been of the belief was her best forte. Miss Griffith put a keen, ♦•xpres.-^ive touch to her work as a younger sis- ter who set out to thrill the bach- elor despite other plans of her sl.s- ter. A somewhat maturer appeal was manifest In her work, which had the elements of charm and persistent fascination of her musical comedy enjoyments combined with a defi- nite understanding of her part and a certain ability to make it inter- esting. Schcuer, the Impress of naturalism. Some of the plentiful humor falls to his llnMi The tensest dramatic moment of th« play, when the father faces bis daughter unexpectedly at the shady restaurant. Is very capably handled.' Juliette Crosby, as the spoiled daughter, carried off female honors with her fine Interpretation of 4 modern flapper, with her line: "Your face Is familiar. Aren't you reputed to be my father?" Mrs. Lenox was skillfully characterized by Adelalds Prince, as the mater of hysteria. Dissipated, headstrong Brother filer- tie. Is convincingly drawn by Gavin Mulr. Florence Johns, as a worldly wise chorus girl, scored a personal hit with her demonstrations of af« fections with bald-headed Uncle George, capably. played by George Graham, Curtis Cooksey, as the chauffeur, handled his character very naturally. Being up to the minute in Its theme, snappy in its dialog, and having the quality of having the audience entirely In sympathy witk the children, despite some of the situations, the play should be a hit. Considering that it was the first presentation, it was. exceedingly well done—going over with a smoothness that made last night's premiere exceptional. The cast, showing care In se'eclion as to types. Is competent In every role. PEPPER BOX REVUE San Francisco, April 18. Ackerman A- Harris revue op<^i»lng at tha r*#ntury April 14. Muaic and lyrica hf Fanchon and Marco, who alao did tte ^taring:. Book toy Oecrge Le Maire. In two acts and eight scenes. «*»9t includes Sophie Tucker. 0«CTge and William La Maire. Ju^ Pbiillp.^, Conuor^ .*=i<t:<>rtt. Allrt4 and Burnoff. W. C. liayea Sextet, mal* cboruB and 2G sirls. GOODNESS KNOWS Pittsburgh, April 18. Mra. Fron«n Lenox Adelaide Prince Bronson L,enox Charles Richman Marion Lenox Juliette Crosby Butler , ...Fred J. Nicholls Lord Rockmere Geoffrey Millar H^nry Curtis Cooksey Miss Tate Eursula Ellsworth George Crofton George Graham Footman Charles Adama Bertie Lenox Gavin Mulr W.i'.ter , Joseph Burton Millie F'iorenoe Johns Alice O'Neill Betty Weston Karen Aldoroft (Blanche Bates). I <'^>'<'"!.y ^^^S^'^^^^t),,^*' *^s shrew The fourth member of the married,?^ * ^y^fe (Bertha BalHnger). Lodg- quartet. the sentimental and old- P"*^ T[w** ^^^'^^ ^^ f^® H^^"*^^tf*'"^.*'^ a millionaire pork packer, who has been oast out from the hog-render- fashloncd mother of the boy. Is ^ niilllonaire pork packer, who has "Sweethearts** in Play Form 5?.amurl Shipman's vaudevil^^ sketch. "Sweethearts," in which Lee Kohlmar starred for many months. fs being elaborated Into a three-act comedy for i?ioadvvay. Andy Rice I5 collal>orat!ng on the adapt ntinn. ., , . .. , played by Laura Hope Crews Ruth Chatterton is the philander- ing young wife, Geoffrey Kerr her college profe.s.sor hu.sband. and Felix Kreinbs the bachelor with whom *he nJmoMt fled to Europe, It doesn't take much ingenuity to llKure out just who will be seen In "Tho Changelings" when Miller treks back east again next fall. We prophesy that Miss Chatterton will llnd a vehicle elsowherc. tho samo going for Kerr and probably I>auja Hope Crews. Miller and Ml>s Bates have ideal roles and ran oarry the show by theniselvei? if their sup- port is substantial and adequate. Mi>s Bates h.'u? never brrn r;ccn to better advantage, and her<^ is really tho strongest role of the plav. .She had as many of tho finer nuances of character drawing on the open- ing night as most star.s do after a full sea,son in a play. Miller, save for ore or two In.stances of indis- tinct rejidini; of lines, put a wealth of sympathy and appeal into his role. lUa ciuaiTel scene with his (laughter's lover was a superb piece of work. Mi.ss Crows lent her finest effoits to a role that didn't deserve them. Miltern was perhaps a shado less finished than the remaining meinlirrs of the marriage tangle, but he, too, had his moment?. ing works for a year to e>arn $1,000 as a songwr ter or be disinherited. Jlitzl gets the ring, rubs it, the spirit of the Romeo of the seraglio appeaiTJ as her slave and gives her the regu- lation threo wLshcs that constitute the test of the ring. She dre<ams a song, gives it to the pork packer's son (Boyd Marshall); he sells the song for $1,000 to a Potash and Perl- mutter type of musical comedy pro- ducer (Adrien II. Roslcy), and her la.st wLsh is that the genii lead her lover to the woman who will always mako him happy. The hero da-shes in, the gonil announces that he is at last freed of his cui-se—and another .show i.s over. Mitzl is working more and more toward a straight comic, an<l put over hckirty laughs by her drolleries that were never even hoped for in the Bcjipt. Sho is using her life- time's bag of tricks, and put every one over. The one big musical nuin- ber, "The I^ve .Son^," Is built up and plugged with as mueh zeal ius the "Molly Darling" evolution of a popular song;. But Mitzl needs morp. not so much to bolster up the production, but for her own drawing power In Veaus to oome. Harold Levey I.s letidlnjr personally wHh rare contortlonlstlc agility, the mon In the pit disregarding the "Goodness Knows," a dramatiza- tion by David Grey of his Saturday Evening Po.st story, "The Self-De- termlnatlon of the Lenoxes," opened last night at the Nixon. The com- edy Is in three acts, the first In the living room of Bronson Lenox, In New York, the second in a private dining room of a Broadway restau- rant, and the third back in the living room again. The story is that of Indulgent parenthood finding itself flaunted by a modern flapper and her rum-hound brother In an effort to keep from being bored. Bronson Lenox, head of his household, finds his spoiled daughter breaking off her engagement to Lord Rockmere because she has changed her mind. She then proceeds to fall in love with the chauffeuV because she wants an animal tamer for a hus- band. Meanwhile. Bertie, the spoiled son, has fallen In love with a chorus girl who will not marry him be- cause he drink.s. The father, with L'ncle George, who is scandalized, in an effort to buy off the chorus girl, meets her in a private dining room of a Broadway restaurant. He finds her to be a much more demure miss than the accustomed blonde third from the end. Another pri- vate room in the restaurant pre- sents the daughter proposing to the chauffeur, and another scene brings tho rejection of the intoxicated son by the chorus queen. Father is stunned by developments hut is a good sport and tries to straighten matters out. Tlie third act reconciles the father and mother to their offspring's choice of mates, after it was al- most the death of iMrs. Lenox when they realize that by opposition to their children's wishes they will lo.-e them hotli. l-^ather makes a plea thfn to -lir (.hjrrJs of his chil- dren's affections to marry them and save him and them from further difflculties. Finally both children marry as they wish, ably assisted by Alice's chum Millie, Charles Richman, as ,the father. J t i i i 1 The third legit coast production of Ac'terman & Harris was well re- ceived by the prese and first night audience. It was overboard on run- ning time and the show will delete at least 40 minutes. Sophie Tucker easily scored, mak- ing one appearance ir. each half to total 11 songs. Leniency on the part of the producers allowed more freedom and Miss Tucker hopped on for emphatic returns with hot lyrics but not offensive. Her "King "Tut" number waa exceptionally re- ceived. The two Lc Malres and PhllUpi handled the comedy to corking re- sults with scenes formerly used b/ George Le Maire in the east. The osteopath, shooting gallery and shOA shop bits and minstrel first act finale formerly done with Marilyn Miller in the "FolUee" were tb# main contributions. The show was handicapped Iff opening "cold" and against a bad orchestra. It looks certain for thl« section, though buslne.s.s has been somewhat off the first few night& Shy on Individual dancing and voices, it depends upon comedy and speed to get across. The production end Is fair with the "Rose Garden* number in the first act outstanding for setting and costuming. The girls combine nicely on looks and work. The best of tbM staging is the entrance of the chorus at opening, bursting through 24-- sheet posters advertising the shoir< and an audience number having men button the girls' shoes. An- other front of the house bit had Xh0 girls asking the patrons to powder the>ir backs. The Connors Slsrtere present • fine appearance and good voices but are unschooled In delivery. Th« Covey Sisters drew attention with footwork but had little opposition* Irma Allred scored on her appear* ance. Local talent among the glrii i is depended upon to lead number* f Miss Tucker Is eecuring circus billing aboul town with her nam« above the title. It is five years sine* ^ she has been out here. The show Jr is in for four weeks, followed by » $ week on the road and four weeks lU |:. Los Angeles at $2.20 top. Producers could have eplurged td h make show sure-fire, but should make money a.«» it is, for the locality seems show hungry. Skiff- 1 THE BRIDE Toledo, April 18. Jnmen Neil Pratt Wllron Traversi James Crana Mortimer Trnvi-a James A. Bllsi Marne I^uqu^^pne Violet Henilnf Honr!<tte Trovers Tteul.ih Uondy officer O'Brien Irving Mitcliall In.spertor «;ill.«on Ptokes Mo<.?une Dr. Kidheley .'^au.lross B. N. I-ewln McC.raw NirhoIa.<? Y< ilenU Inspector »Jarth Charles Boara i "The Bride." a mystery comedy by <.;rant Morris, whieh may be selected by Daniel Frohman for Violet Heming next sea.son, was pre- .sented for tho first lime on any sta^e by Miss Homing. James Crane and the Toledo Theatre Players in the Tolrdo theatre Monday. Daniel Frohman occupif'd a box and lauded the star, play and players in a cur- tain spce«h. "Tho Bride" has to do with tWO brothers, Wilson and Mortim«r Traver.-?. Into the peace and quiet of their sfdato nnd pri>p< r homo appears a )iio-t nr^l' rioin but-» charming (>reatwre. .1 l)'antiful kJ" ' arrayed in tlio garments*of a brld«« ^ SheVloes not attempt to explain h*' ' presence or tell who phe is she asks is .shelter for the night, i Tho chivalrous brothers, who are heads the cast. On him'falls nuuh' both taken with her beauty and responsibility of trying to set his charm, acquiesce. -Then start • houfe in order, lie gives the part series of exciting and enigmaUCal