Variety (September 1923)

Tburaday» September 6, 1988 ■•HF^'^ir^'qwnywKWfwrowg'yff^g^ ^m LEGITIMATir -'Wfc-Tyr, IMIJII HIM illli |i i i H HI Hi i i i ■av^S^WBT-''? 17 NEW PUYS PRODUCED OUTSIDE NEW YORK CITY GREENWICH VULAOE FOLLIES Atlantic City, Sept. 6. "The Qreenwlch Village Follies," minus some o( its scenery and, ap- parently, most of its clothes, opened «t the Apollo Monday. Neither de- tail marred the enjoyment of an audlenc? that stayed until 12:C: and then askef for more—or perhaps it would be more exact to siy less. The honors went to the draft from the ranks of vaudeville. Vaudeville long ii(fO "discovered" Buster West and Virginia and John Wells, William and Joe Mandell and the two Brlants. They have cer- tainly come into their own. There is little of the spectacular In this new edition. The opening scene is one of the best. An artist watches the long tubes of paint in a gigantic paintbox revolve and prove to be beautiful girls in long shim- mering gowns of silver cloth with high collars that look for all the world like screw caps. The most artistic bit was "The Golden Trail," where picturesque Indians in gor- geous colors give place to the con- ventionalized simplicity of the pio- neers traveling across the country In their covered wagons. The blend- ing of voices and the artful artless- ness of the stage grouping is most effective. "The Spanish Fiesta" is another bright-)9pot—with most of the credit going to the Cansinos, who dance as though their salary depended upon It. Strenuouc work—and ex- cellently done. Probably the most epontaneolis—and certainly the most Aurprising—enthusiasm was called torth by a serious adaptation of "The Raven" to music. 'Ie.sitatlng fct.flrst about whether to lauch or crj, the audience suddenly fell into the spirit of the thing and Marlon Oreen was fairly stormed with ap- plause at the end of his song. "Hot Hindu" and "Cock-a-Doodle Coo" will probably be the first things to get on ten-Inch records. As far as humor goes, there was plenty of it. but "The Raft," with Joe Brown, Tom Howard. Joe Lyons and Dcnman Maley. deserves a spe- cial pat on the back. Four marooned jnen with a half of a mouldy biscuit and a drink of stale water gamble for their lives and manage to ex- tract more fun from that gruesome liltuation than most people can from tL side-show. There are several scenes cither tut or omitted. Rube Goldberg's "Whiskers" was one, but perhaps bec.iuse the beards hadn't arrived. There was still enough, however. to furnish the ingredients for about three-quarters of a corking good fchow and nve-elghths of a pretty poor one. The cost mes and scenery are less artistic than they have been in other editions. The mys- tery is that with the amount of tostumes that are worn they cari ■till assemble such an impressive list of baees of supply as are ap- pended to the program. But then Once In a while they do wear hoop- •klrts Just to show you how they're taken off. RKth Oahom Bwan. does Is not always convincing, and her young admirer and his sweet- heart are both developed in an im- probable manner. Several of the characters are introduced for no purpose germane to the plot. The cast played delightfully and showed no weak spots. Mrs. Flske played cleverly and well, but she did not rise to the heights expected of her. As the crotchety old bache- lor, Aubrey C. Smith played with great skill in characterization, and A. P. Kaye as the manager was a delight In the part of an eccentric church worker, Florence Edney brought many laughs, but she had rttle to do, and was totally unrelated to the plot. The others did well in less colorful roles. The production revealed Httle of the BclaSco touch. An exception was the pleasing use of Mrs. Westlak«'8 Japanese maid (not named on the program) for decorative purposes in two scenes. Notable was the vlcar'.i cottage, a striking set apparently of solid stone. Of the lighting the program has this to say: "Mr. Belasco announces for the first time on any stage a new elec- trical equipment, the outcome of scientific research and experimental work by himself and Louis Hart- man, chief of the Belasco eledtrical department. This original method of lighting was suggested to Mr. Belasco by his study of the rainbow. "The ray Is projected into a silver reflector In a concentrated form like sunlight or moonlight, thus remov- ing all necessity for using spotlights, footlights and border lights. The ad- vantage of this system is.the per- fect blending and hamiony of color, admitting of tints and shades which exactly correspond to the varied ef- fects of nature." Actually the lighting seemed In- ferior to that of Belasco's other shows. In the grarden scenj sunlight was well counterfeited as it shone on the flowered arbor, but it re- mained set and unchanging for a whole act. Throughout the entire play there w^s no variation of light. As a result of the new system the mountain which rose beyond the garden remained a flat bit of paint, lacking in depth. Never the shadow of a cloud passed over it, nor did it vary In color. The blue sky was poorly done—and even had a wrinkle in it. Remembering the mountains In "The Easiest Way," the new mode was a disappointment by compari- son. Austin, KAEY, MART aUITE CONTRARY Asbury Park, Sept. 5. Comadf In thre« acts by St. John Br- Tlnn«. atarrlns Mm. Flake. Directed by David Belaaco. and pr<Mluced br him nt the Main Street theatre, Aaburr Park, Aor IT. Mra. Conaldlne Winifred Pra.ier Bhella, her niece Nora Swinburne geolTrer. her aon Franda I,later Ir Henry Conaldlne C. Aubrey Smith Rev. Canon Peter Conaldlne.Orlando naly Mary Weatlalce Mra. Flake Mr. Hobba A. P. Kaye Jenny Audrey Cameron Mlaa MImma Florence Kdney Hr. Beeby Lennox Pawle This comedy will not add to the reputation of either Mrs. Flske or Belasco. It is very slight theatrical farce, and while the names of the producer, star and author will, of course, attract, the play itself is in- substantial. The story tells In brief how Mrs. Westlake, an actress of uncertain years, disrupts the household of an English vlciu- In two days. On a visit to hear a play written by the vicar's son she wins him away from his sweetheart, although she doesn't want him, then listens to the girl's entreaties and vamps the young man's elderly uncle. Anally getting herself compromised with him. Hi-s nephew. Insists that one of them must marry her, and she cnRaRos herself to both. Then she tolls the younger that he had made love to her only to get his play produced, leaves the phlcr's statu i unsettled. and hurries h.ick to London with her manager, leaving the household Oreathitin more freely. The ch.irni of the pl.iy lie.s in the numor of the characters, especially "• '•"'■'■•''Poiisible and unscrupulous ih k""' "'" cockney man.Tger, and ine t)aclipi„r unrle, and also in the ,™"*""« li'H's. The first act is weak, ine s(T(„„i sieiie gj ^^^^ second act Konuiiieiy riinn,v. < and tho other »cene.s ;,re fMir What Mrs. Westlake THE LULLABY Hartford, Conn., Sept. S. The Old Woman Florence Reed The Toung airl Roae Hobart Marlette Alice Fleming Claudet Leonard Mudie Kllae Mary Rolwon Madalon Flortnce Reed Jacquea Hnrold Elliott Roulllard David Olasetord Roaalle Grace Perklna "La Poule" Marianne Walter Sallgnac Henry Pllmmer Freddie Maynard Chairlea Trc-wbrldgre Victor Leoeau ;Rupert Lumley An Organ Orlnder Frank Howson A Driver John Gray Count Carlo Borettl Frank Morgan Itaroneaa Dax Alice Fleming FellK de Parme Peter Carpenter A Waiter Frank Howson A Police Officer Bernard Thornton Two Other Men, John Doucherty and John T,eahy A Oulde N. Frelae A Toung Sailor Leonard Mudle An Older Sailor Oerimrd Thornton A Wa'dreaa Mary Robflon Father St. Joaeph David Glaa'sford A Policeman. Negreaa. Araba. "The Lullaby," by Edward Knob- lock, opening at Parsons Aug. 20, was a decided success. The play. With 12 scenes and 26 characters, presented plenty of stage problems, but even in the opening night every- thing went smoothly. Florence Reed plays the lead and during the four acts goes through a period of S3 years, yet carries all the roles perfectly. Grace Perkins and Marianne Walter, as the French courtesans and friends of Madelon, do much with their light and sure portrayals. Leonard Mudle also did excellent work as the peasant farmer early and later as a drunken sailor, coming Into next to the Last scene as a new character and domi- nating the action. The play is liarrowing and yet thrills by its very repulsiveness. A prolog with an old woman of the streets in Pnrls and a young Rirl as the ch.aracters serves as an ex- cuse for the older woman to n.tr- rate the story, told in the surceeJitiR scenes, ending with the death of Mailelon. the heroine (if called that). In a prison cell in Tunis. The pMy proper starts with the scene set in a pea.sant cott.iKe in .Normandy in ISGO. The next two :ire In Normandy in 1S74, and then the scene shifts to Paris in 1875, 1877, 1878 and 1881. In the fourth act the action Is in a low resort on the old city w ill of Tunis, where Miynard, a former lover of Madelon, Is shown the un- derworld of the African city l.y a giiide and finds his former flamf there. Iti the final .^scene Madelon is released from prison In Tania to go out into the night. At the flrst performance Madelon died In prison, but this was changed after one performance and she was allowed to live and get her freedom from the penal institution. Tho play Is dedicated "to the women that men have forgotten," staged by Fred O. Latham, under the supervision of the author. The play rehearsed at Hartford Tuesday and Wednesday before opening Thursday, and played Friday and Saturday, with a matinee Saturday afternoon. Charles Dillingham, producer of the play, came to Hartford for the last rehearsals and attended the opening night. At one time during hl» career he worked on a Hartford newspaper, and he waa bora In Hartford. NOBOOrS BUSINESS Cleveland, Sept I. Frank Mandel and Guy Bolton, authors of "Nobody's Business," at the Ohio Theatre Monday, is splen- did entertainment The question discussed is whether or not a young girl can brave successfully the struggles and currents of New York —handicapped by lack of friends, money, or worldly wisdom—and re- tain her respectability, Messrs. Mandel and Bolton say It is pos- sible—and they prove theft' case. Marjorie is poor but courageous; she leaves her little home town In Oregon for Gotham. She Is an artist, with abundance of hope and determination. She is given her flrst warning by a vaudeville actress—a fellow pas- senger on the Bastbound train. Vera is wise to men and their ways! But Marjorie does not Intend bothering al>out male friends—her work must be paramount. In due course, the foolish young virgin meets with the usual schemers —the rich broker, the man with mil- lions who Is "Interested" In her. His suavity almost prevails, but an Im- pecunious musician enters the lists, and he has the Inside track for a time, but his perfidy Is unmasked by the vaudeville actress' ex-husband and partner, who knew the raaoal- musician to be a real bad chap. Everything works out Just beauti- fully. The rich broker makes Mar- jorie chief beneflclary of his fortune, and Marjorie comes through the fiery furnace unscathed. Hurrah! "Nobody's Business" is clever, cheerful and snappy. Many of the lines sparkle with wit and wisdom; at times the dialog Is "talky," but with a few performances this will be overcome. All the members of the stock try- ing the play out gave a good account of themselves. Minna Gombel made a splendid Marjorie; in her tense moments she played with skill and precision, and carried her lines throughout with realism and prestige. Josephine Drake waa excellent as Vera, the vaudeville actress. Her work was amusing and praise- worthy. William David was clean-cut and di.<;nif)ed as the rich broker: he pL-xyed his part faultlessly. Wallace Ford as the small town lover was good; his was a thaoktess role, but he made the most of It, and won distinction. George Probert made a good Im- pression as the musician who sought the downfall of Marjorie. Frank Dae, as the ex-husband of the vaudeville actress, did welL He was seen at hla best while the minor parts were taken by Burke Clarke, Joaeph Sweeney, Richard Marsden. Edmund Rot>erU, Blaine Davles, and Paul Taple^ DUST Wllkes-Barre, Pa.. Sept t. "Dust," a comedy-drama by Wil- lis Maxwell Goodhue and produced by Oliver Morosco, opened the re- constructed Irving theatre Labor Day. "Du4t" tells the story of a parish priest's efforts to save a girl of his church from following "the easiest way." Following a recent trend the author has filled his dialog with oaths and raw lines that the local audience resented by failing to ap- plaud. The priest is the central figure and Taylor Holmes sent It over as a clever portrayal. He carried dig- nity and scored a personal success .Selma Paley. as the factory girl was "as hard as nails" throughout. Juliette Day and James Spotts- wood wore effective in the comedy scenes, and Barney Oilmore did o bit of a rough factory hand satis- factorily. Others in the cast were Jennie L.imont, Douglas Wood, Ed- win Fosberg, Grace Valentine am Uoris Moore. The .author and producer havt sliirted to make changes in several of tlie scenes, and the pl.iy is to be rcnrty for Broadway in two weeks The Irving, which will house the traveiini? .'ittraetions this season, is th<- Majestic made over. The Majes- tic was formerly the burlesque house and eh.inced its policy with the rlos- ItiK of the r,r?nil. formerly 'he hlRh- cliss house of tlio city. The Irving. .sc^ilinR 1.700. is bonked in connec- tion wilh the .Stnn'-, I!itii;h imton; Ar.idrrny, .'^••r.intoti, nid a few shows illoted to I'iltston. I'eler Schafer of Chicago IS the local mana','er. NEW PLAYS PRESENTED . WITHIN WEE ON BlAY ,i POPPY Ifuslcal comedy in three acta by Dorothy Donnadiy. Muaic by Stephen Jonea and Arthur Samui-la, Staged by the author and JuUan Alfred. Presented at the Apollo, New York. Sept. ». by Philip Ooodman. Sarah Tucker Maud Ream Stover Amoa SnilTra Jimmy Barry Mary Delafleld Lualla Gear WlUlam Van Wyck Alan BSdwarda Prlnceaa Vronakt Mameluke Paaha Tut>ba Bmma Janvier Mortimer Pottle Robert Wooiaey Prof. Buitace McUargla W. C. Flelda Poppy McOargle Mlaa Kennedy Judge Delafleld Hugh Chilvera Premier Dancer Marion Chambera Special Dancera—Hilda Burt. Lucretin Craig. Violet Vale, and Victoria, White Madge Kennedy reappeared on Broadway this week In a musical com'edy entitled "Poppy." returning to her first love in the theatre after having appeared for several years in straight comedy. "Poppy" is the work of Dorothy Donnelly, who wrote the book and lyrics, while the score was Jointly provided by Stephen Jones and Arthur Samuels. The advent of the production at the Apollo Mortday night marked the debut of Philip Goodman as a pro- ducer on hla own. Last season he was the partner of Arthur Hopkins in "The Old Soak." Monday night's audience seemed to enjoy the piece thoroughly despite the curtairk did not rise until nine o'clock and it was midnight t>efore the performance concluded. "Poppy" appears to be one of those musical comedy productions that is going to make an appeal rather gen- erally. Miss Kennedy, while not particularly long vocally, makes j^p for the deficiency with her charm- ing personality and delightful man- ner of handling the role. The cast Is so wholly a comedy one that on the whole the play is replete with laughs. Not the least responsible for these is W. C. Fields, whose work here marks him as one of the real come- dians of the musical comedy stage. Fields heretofore was mostly util- ized with shows as a stunt man. He carries a real comedy character in this story and handles it so well he was the real hit of the performance. W. C. Fields has arrived on Broad- way in a new guise, one that will keep his services in demand for a long time with the producers of the lighter form of entertainment. The story of "Poppy" is that of a little circus orphan, who Is traveling with a man whom she believes is her father. The two "make" the county fairs as a medicine show. The girl does a couple of numbers and works the "mitt Joint," while father sella the bottle stuff and works the shells on the side. The opening is on the grounds of the county fair at Grcenmeadow, Conn., in 1872. The girl and her father "cop a reader" to operate on the square, but dad also fixes with the constable to operate the game. The copper is to get a 50-SO split and he tips the grifter to the "live ones." In retailing their history he In- cludes the fact that the head of the Purity League Is a woman who has inherited the entire fortune of an elderly uncle, because he had not heard from his daughter since she disappeared a number of years be- fore. When the grifter gets Jammed tor running a game, he lays claim to the estate, passing oft his sup- posed daughter as the heiress. His claims, however, are discovered to be fraudulent, and he is about to be placed under arrest when he makes good his escape. The girl, however, is held and placed in the custody of one of the villagers until it la dis- closed in the last act that she is the heiress in reality. At present the piece Is about 20 minutes overtime, but it can be cut easily and when trimmed down will be a smooth running entertainment that will make for laughter. AH told there are 10 principals In the cast, a chorus of 16 girls and eight boys. In addition to Miss Kennedy and W, C. Fields, Jimmy Barry, Luclla Gear, Emma Janvier and Robert Woolscy_are In on the comedy. Fields plays the father of the little side show girl. In the first act he has locrltimato opportunity to Intro- duce his Juggling and comedy hat stuff. H<<'has one piece of business with tissue pa|)er and a sticky paper pie-plate that was a scream from start to finish. Miss Kennedy Is the girl and han- dles the role deilKhlfully, also five numbers erfeoliveiy. Woolsey as a fussy vill.ige lawyer contributed a great share of tho comedy, and with Miss Coar put over the song hit of the evening in ".Vlary," a corking number tliat la going to ba danced all over tills town during the com- iiiij winliT. Mi.ss Gear, inridentally. proved to be pretty mu<'h the life of tho party" after she warmed to her work, which wasn't, however, until the seeoiul act. In the llr.st act she had a num- ber that did not seem to hit, hut later in the evening when she got to moving about as only she can, she was an umiualified sueoess. Miss Jaiivifcr in .a eh-iracler rol" did not have her usual work as al- lotted in the past, but with what she had she scored, getting a couple of comedy scenes over in good shape. Jimmy Barry was the town con- stable who held a rather exalted opinion of his prowess as a charmer of the fair sex and as such, landed. Alan Bdwards was a rather accept- able juvenile lead, although he waa shy in the vocal department. There are IS numbers in the thret acts, the flrst act with the Countjr Pair scene holding eight, the second act five and the last act two. The second act set is a very pretty in- terior of the living room of a coun- try home, while the last act is laid In a farm house living room. Julian Alfred's work in staglnf numbers was effective. His utiUzlns of four special dancers through the show with the backing of the It chorus girls worked out cleverly. All of the girls dance and there arc voices among them that carry tha numbers. A specialty dancer, Marion Cham- bers, scored heavily In the flrat act on her initial appearance, and later In both the second and last acta won solid applause with her toe stepping. "Poppy" looks like it will be her* for a good many months. Fred. WHOLE TOWN'S TAIKIHO Av H. Wood* preaonta the three.act farca by J^n Kmaraon and Anita X,ooa, picture acenarloiata. The authora "wiah to ac- icnowledge their Indebtednoaa to Frani Ar- nold and Brnat Bach for the central Idea of the play." One interior acene la uaed for the three acta. At BIJou, New York, Aug. M. Henry SImmona..' Jamea Bradbury Mra. SImmona Lucia Mnnre Chealor Binney Grant Mitchell Bthel SImmona June Bradley Roger Shielda QatlJd Oliver Smith I,ela Wilson Violet Duun Sally IVIIaon Alice Dunn Donald Swift Harold Salter I,etty Lytha Catherine Oaen Sadie ,.,.... Jeanne Qreene Annie Bleanor Kennedy Taxi Driver Bllaworth Jonae- Two dull acts are rescued by a funny third act In this burlesqije on the "movies" by the writers, who have fared very well In a material sense in that field and do not appear in a gracious aspect In this satire that has something of bitterness In Its travesty on the people of the studio. All the fun Is based on the con- - ception that the picture folk are a stupid lot, ridiculous In their pomp- ous self-e.Tteem and objects of deri- sion before the world; in short, the attitude of a large portion of the outside public. Coming as It does from the Intimate Inside of the pic- ture business such an attitude con- firms the critics of the screen and is calculated to do a good deal of damage to its preetige. If you take your ideas of picture people from the Emersons you get the Identical reacatlon as that of a small town editor. All the emphasis Is on the theme of "hectic Holly- wood," "movie queens" talking flash slang and wearing bizarre clothes. As a matter of fact the Emeraons know better but they write pdpular hokum because they think there's money in it If they don't beljeve a true por- trait of picture people can be made Interesting and even amusing, they might for instance look over some of the short flctlbn written by Gouverneur Morris for the "Post.'' Here Is an artist who sees truth and conveys It in terms of gentle humor. AH the Emersons have achieved la ~ a crude travesty made of hokum. As travesty the last act Is laugh- able. A small town business man wants to marry a modern young woma«i. She Insists upon a man with a past and he counterfeits an ancient love affair with a movie queen. The scandal in broadcast and is the topic of local go.ssip when the Identical "movie queen" mokes a "personal appearance" (the piece is full of trade Jargon) In the city. It appears that the queen is ac- companied by her director, who also Is her fiance and the gossip reaches the latrCr's Jealous ears. He gets drunk and comes to slay the small towner, but the tatter's faithful friend soothes the director's fury by telling him he's the greatest film di- rector in the world and so working upon his balmy vanity by quoting the sloppy sentimental titles of his pictures, that he gets maudlin with self-admiration and agrees to shako hands. And that's the best laugh in the piece. The first two nets are me- ch.anlcal devices to pump up com- edy. The mechanics creak as characters are lugged back and forth through the familiar farrial compli- cations. Grant Mitchell has a color- less rf>le as the miserly bachelor and only his natural unction helps htm over sucJi hoke hits as the comedy triimp business of saving cigar butts in his card r.a.se. James Bradbury has some amusing moments, but he also sufTers from the deterinin.Tlion of the autliors to sledgehammer their comedy iiome. Catherine Owen a» the movie queen has an arresting liaek ,nnd .'ilioiilders and Is .as blatant as I lie stage director required. Us uiilik'-ly tiiat a »lay going M> >