Variety (April 1924)

le VARIETY LEGITIMATE Wiednesdajr, April 16, 1924 NEW PLAYS PRESENTED OUTSIDE NEW YORK CITY SMILES OF 1924 J.09 Angflca. April 15. Pacific Amusement Corp. preiien:« Dc Recat-lioitlck ■ "Smiles of lUS'l/' a utlrlc musical exlmvapanza In two acts and I'O ■cencs. Music aw\ lyrics Ljr Joe liurroMM. BiaKed by Emll De llecat. Cast Inclu'lca Annette Kpiltrman. Zella Simpson, W.lxr Pisti'ia. Frp.lcrlck Otlo, Lamb Hl.stcrs. Ciii- nian Williams. Harry Gribt)on. Oirtiu.le OCunnor. Ucx St iry, Jim and H'tty M"r- itan naisv and Fred Rial. Clifford C :irk. Toy'LockriJgc. Hull Montana, f'-d Johtiion. "Smiles'' is a West Coast revue proiluced by Kmll Pe Re?ut and C. T. Bostlck, it being their Initial ef- fort In thi.s direction as ijartners. Tlie local ens.it^oinent was conald- trid the show's metropolitan show- Ins on the Coast, having played about one week away from this city Kettlnc Into shape. It arrived hero somewhat r.iKKed, but even In its roughness displayed the InKredicnts to give sufflcient value for this type of show in the West Coast territory. Being of the revue type, no great amount of continuity was expected in its make-up. It is a combination of numbers and bits, with nothing In the way of a book being notice- able at any part of the performance. The opening Monday night at the Philharmonic Auditorium was be- fore a near-capacity house. The show secured corking advance pub- Hcltv, and on the strength of being a purely local attraction should turn the trick on the week. Scene one of the first act brings to the front the members of the en- semble and discloses a chorus which compares favorably in looks and work with any Broadway show, not excepting the Zlegfeld productions. Recruited locally, the chorus la of the first order and one of the show's Kreatest assets. While the girls are on the stage the show has little trouble, which cannot be said of other times. Following the full stage openmg, the action goes to "one," where It remains for some time, with bits introduced by the various princi- pals. Annette Kellerman, the fea- tured member, appears in the open- ing scrne for a toe dance. Special- ties are then offered In order by Fid Johnson and Harry Grlbbon, Oilman Williams and Weber Sisters, I.amb Sisters. Harry Grlbbon, Ger- trude O'Connor and Itex Storey, Hetty Morgan and girls. Harry Grib- lion, Zella Simpson. Gilman Wil- liams, Toy Lockridce and Annette Kellerman, Jimmy Moigan and Fid Johnson, and a harem scene which Is used for the finale of the llr.'^t act. Gbibbon is called upon for a lar^e portion of the comedy work In this act. He ha.s not been siip- !>Iiod with any material and suffers accordingly, although working dili- gently. 'The Rials are one of the bright spots, hut should curtail their < fforts. Fid John.=on .md Jimmy .Alorgan provided one of the bright i-pols with violin work. Gertrude (I Connor, a Bre:it comedy asset, was- given little chance. The second act has a full stage opening, with the Annette Keller- man physical culture stunts used as the Introductory bit for this staiizii. During this Kellarman gives several tills to women as to how to keep in shape iiliy:-ieally and uses niost of tlic girls for vaiioiis deiiinn.'^ti-alions. Hull Mont.ina appear.s during this scene, but it doesn't make muib (lilTerence whether he does or not Harry Grlbbon follows In "one" tor a few gacs. with a production niim- her, "Dixie Davs." next brought Into p:.i.v. after which Cliff Cl.uk come.-^; forth as one of the leaders in the applause ranks, with re"llation^■ and songs which never missed. "Coveied Wagon Days," .mother production ntimlier, is effectively (lope, with a satire on the ],ittle 'I'hi'.itro nuiveiiieiit, next, fr-r one of the comedy hlKhliKhts of the i)er- fidmance. lic.tiy Mmgan. with tlie j-'iils, and f'.lliiian Williams supply stmio of the voc :il work lieiween the full sta'.:e episodes, with KeUennan coming in for more dance work with the neMier b;illet. .lust l,cf..re the finale o' tlio .'^■enind .-n-l .lint .'uid Hclty Morgan arc given an nppor- lunity with their reg^Jir v.iiiiU'ville work, and on the oiiening n.>;lit <':ir- rled off the first honors of the per- formance. The fijiale is in the na- ture of a bathing beauty piiraile, with ICelliini.Tii doing sever.il dives upstage, siipiiosediy into a tank, but actii.illy iiili) a net. The final mo- ments are fjiKhtly and will hold aiiy audience until the last eurt.ain. "Smiles" has been routed up the Coast and will play the bl,T stands with the small. It Is reported the show carries 55 people .at present. ■which makes rather a large over- head to play Coast onc-nighters. The Kellerman name is e.\pe<'ted to prove a draw. Whether U will Is _ problematical. The physical culture IdeA and diving business are the star's best assets. The dance work should be cut down. A doctor is needed to dovetail the performance, •nd a comedy provider would be welcome. The Coast boasts of few pro.lucers Who will ta'KC a chance on big mu- sical productions. This new combi- nation, while producing what U ap- li.irently a big show, have not gone to any great expense In the way of liroduction or costumes, although both fill the bill. Salaries are the thing to keep them guessing unless they cut down. With the salary list held down. It should have a chance in the territory for which It has been framed. Hart. HAST7 FUBDmO SHOW Boston, April 16. Nothing but praise for this latest production of the Hasty Pudding Club of Harvard. There Isn't a dull spot In It and it's chock full of laughs. Sometimes the laughs aren't Intentional, but there's no end of legitimate mirth Inspiration. The music is consistently tuneful, and although good voices are not plentiful, all the song numbers were put across smartly. "In Our Happy Minister's Home" and "I'm a Lonely Senorlta" were best lllced. The plot Is inclined to Incoher- ence, but It served as a satisfactory background for the music and dancing numbers. The book abounds In sparkling lines and smacks of keen originality. Opening Is on a bare stage with an Irate director Informing the male Pudding chorus that "this Is the worst Pudding show in 10 years," and that It Is sure to flop without some sudden and violent trans- formation. Enter a troupe of pro- fessionals, "girls," who announce that they have hired the theatre for the same nights that the boys thought they had It. That makes for convenient complications, and a love theme Is then led In by the ear. The second act Is set in Southern California, where the plot falls Into an oil well, only to be resurrected for the final scene. Louis Silvers, who directed the entire show, ani Sammy Lee, who staged the dances, a:e deserving of much credit. Silvers, though handi- capped by material which was de- cidedly mediocre, has turned out a smartly finished product. And some of Sammy Lee's dance num- bers were great, two In particular tying up the show completely and necessitating as many as six en- cores. Of the performers, Henry N. Pratt, '24, made a handsome "femi- nine" lead. E. N. Carson, '24, in a minor "feminine" characterization, however, really copped the honors among the "ladles." His Spanish vamp stood out like a lighthouse. A. B. Cassedy, '24, also stood out for the delightful spontaneity of his comedy characterizations. The obvious m<).sculinlty of most of the "ladles of the ensemble" added to their naive attempts to disport themselves In manner femi- nine. The book Is by William L. White. '24, and Joe de Ganahl, '25. The lyrics are the products of L. J. Ab- bott, '24; E. St. R. Reynal, '24, and Joseph Alger, '22, and the music Is by L. J. Abbott, '24; M. H. Harris, '24. and Theodore Pearson, '25. "The Itinerary, exclusive of the three performances at Cambridge, Is as follows: April 14-15, Hot Springs, 'Va.; April 16, Washington; April 17-19 (two performances). Plaza Hotel, New York; April 24- 26 (two performances), Boston. NEW PLAYS PRODUCED WITHIN WEEK ON B'WAY SITTING PRETTY Musical comedy In two acts pro<1uced by P. Ray Comslock and Morris Gest at the Fulton. April 8; written and composed by Guy BoUon, I*. O. VVud*'house and Jerome Kc*rn; Queenic Smith fe,iiurcd: staged by Fred O. Latham and Julian Alfred, Mrs. Waggstatr, a teacher... .M. Kgglcston James, a footman Albert Wyart Rnper, a butler Harry Lllford "Bill" Pennington ... Rudolph Cameron Judsun Waters, liia friend., .Kugene Revere nabc T-oMarr, a chorus girL.Myta Hampton May Tolllver Gertrude Bryan Uixie, her sister Queeuie Smith The Pennington relatives: Ja.''por Edward Flnley Wilholmlna Jayno Cliesney OtlH George Syivi'ster Wlliulmina Marian Dickson Mr. Pennington, head ot the Pennington family .• George .Mack }|orace Dwinht Frye Joe, his uncle Frank Mclntyre I'ruf. Appleby Ue irgo Spelvin Bolt, a coachman George O Donnell Jane, a housemaid Terry Rlaine Kmpress Eugenie Dorothy Janice Florence Nightingale Jayne Chesncy Comstock & Gest. after experi- menting with thrillers and short plays at the I'rinccss. years ago, started a vogue of Intimate musical comedies in llie houee. The writing trio, IJolton, Kern and Wodehouse, ttirned out sucli successes as "Very Good, Fddie," "Oh, Lady, Lady," and "Oh. Hoy.' While those attractions could lUiike but little money in the ^99-Keal Princess, they were played to long runs there and sent to the road to considerable profit. F. Ray Comstock, who liae had that part of the lirni's production under his direction, finally decided tliat th'j I'rincess was too small, and for that reason "Leave It to Jane." of s.ame authorship and management, was spotted at the Longacre. Since then, or about six yc.irs ago. the i)laywilting three did not team until Coinstnik decided to again musically iiroduce. Two have been a.sfioclated in other shows, but "Sit- ting Fretty" Is tliclr lirst trio work since "Jane." They recently turned out two pliiys for Comstock, anl "Sitting Pretty" was to have been held off until the fall. A cli.iiige (f IliaII, however, canio about through <asting dlfllctilty. ".sitting I'retty" Is a pretty .show. It biis four or live jingles wliich or- ilinaiily sliuuUl be sulllcient to I.tr.d any musical ciimedy among the win- ners, but the new piece somenow misses the tun of Its predecessors. The book may lie at fault. The.e are too few lauglis. "Sitting Pret ty," with the comedy of "Very Gojd 10(1(1 ie," would be a riot. The new show has a cast of ex- ceptional length for a. piece of Its kind. Rits In tlie lirst act probabl.v re(iuiie the extra people. 'They ere used for a ballroom costume scene later, but the impression Is that the cast is costly bec.iuse of numbei* more than anything else. The action takes place on the grounds of the Pennington home In Jersey, and the same wealthy man's summer place In Hellealr, Florida. Pennington Is an old boy tv'n Is llick of his m.my relatives kowtow- ing in the hope of being rewarded in his will, eu he adopts a youth, whom he introduces to Ills family as his only heir. The youth h:ip-. pens to he the decoy of a jail bird uncle. The old boy mistakes the latter for a special instructor whom he had sent for to tutor the lad The further plan of the eccentric millionaire Is to adopt a girl whom he selects from the near-by orphan- age, the ultimate Idea being to have the boy and girl marry. The comedy la in the hands of Frank Mclntyre, George E. Mack and Dwight Frye, they playing the respective roles of the corpulent crook, the rich man and the adopted son. It seemed the strain of the crook stuff was played on too heavy. There was some fun worked out of It, and a numlwr or two, but It grew tiresome. Mclntyre entr.anced with an ancient cuckoo clock tucked un- der his arm, the antique being filched from the hallway. Though kicked about under the bushes, tlie cuckoo cooed, and when the old man said he never heard one so late in the season the crook explained the bird was on ite way South. Mclntyre and Frye scored best with "Dear Old-Fashioned Prison of Mine." One of the lines of the number was, "How I miss the peace and quiet and the old-fashioned diet," referring to Sing Sing, of course. Refoie the number the jail- bird had explained to his nephew that Sing Sing was not so ba".; "It's the only pliice you can see all the shows without being gypped by the specs." Queenle Smith. the featured player, who stepped from vaudeville Into the musiciil comedy limelight last season. In "Helen of Troy, N. y.," easily won lop honors. \\'itli "ShufClin' Sam" at the finish of th. first act, her nimble stepiiing brought a W'orld of .apiilause. Mi.^s Smith, in addition to being a dancer with a Honiewliat exceptional roti- tlne, hae a very pleaa.ant singing voice, which counted in several duet numbers. "Sitting I'retty," which came at the close, found Miss tnilth ag.tin In full dancing flight, and there were those out front disposed to express themselves audibly. Miss Smith Is one of the orphanage girls, but the playwrights crossed the tal- ent by not making her a Cinderella character. Gertrude Bryan, who In the show is Miss Smith's sister. Is the lucky choice of the millionaire for his adopted daughter. Miss Bryan had many numbers for her comeback. She has been off the stage for about 10 years, at th:it time appearing In "Little Roy Blue." an H. W. Sav- age mu(sical comedy wlilch was given at the Lyric. With Rudolph Cameron, a juve- nile who has been in pictures. Miss Rryan duetted "All 'You Need Is a Girl," a number with such a cork- ing swing and melody that it la apt to be one of the hits of the street. Miss Bryan has a personality, in fact, It Is one of her principal as- setB, and counted a good deal l»i the encoring of "A Year from To- day." also duetted with Cameron. ftJost of the numbers are .either duets or trios, there being only two solos. The orchestrations, excel- lently worked out, seemed to be well suited to that form of rendi- tion. One of the earliest numbers, "Worries," was a trio, having Mlse Smith, Miss Bryan and Cameron putting It over In fine form. A nov- elty number, "Bongo on the Congo," was one of the best of the score, and, as given by Mclntyre, Mack and Frye, was also freely encored. Dorothy Janice, a confectionery blond with quite a voice, had a soli- tary entrance and number. It was "Days Gune By," sung in the ball- room scene. The number Introduced a flock of historical figuree. Not the least Important feature of the num- ber, however, was the low pitched patter lyric of the ensemble. Mc- lntyre in this scene described him- self as being the late Lane Bryant. That is a firm that specializes in women's stouts (frocks), and drew quite a laugh from the feminine contingent. Latham and Alfred have teamed well In the direction. Not only is the chorue skilfully handled, but at- tention has been given to the detail work of the principals. The cos- tuming is exceptionally well done; in fact, is one of the features of the production. Some of the chorus displays held a distinctly Russian tone. Chorus boys are used, but quite moderately. The production It- self Is one of the prettiest of the season, to the credit of P. Dodd Ackerman. "Sitting Pretty," If It had a mod- erate operating cost, would stand a good chance for a long run. The Impression is that it will not draw capacity, though good business is sure for about three months. lice. PARADISE ALLEV Carle Carlton'* two-act musical produc- tion, opening at the Casino April 1. C. 'W. Hell and Edward Clark, authors. Score by Carlton. Harry Arther and A, Otvos, with the staglns credited to the producer. Mttle Annie Rooney Hallle Manning Sweet Marie Evelyn Martin Mother O'Grady Dorothy Walters t-'asey Wm. Renaud Quinnir Iji Salle Ida May Chadwick nonnle Brown Helen .Shipman Spike Muldoon Arthur West JacK Harrlman Chas. Derlckson Rudolf Zots Georse BIckel Kylvia Van De Veer Gloria Dawn Edward Harrlman Edward Wonn Dusty Ben Benny Benny Burke Western Alex Huxley t.eslle Barrle Stas* Door Keeper Arthur Atkinson A musical so light It floats and never assumes sufflcient Importance to arouse any one after the first act imposes. The most drastic fault lies in the comedy deficiencies, all too prominent, and for which a mediocre cast cannot compensate. It's doubtful If the show can linger at the Casino two months. However, If the production doesn't satisfy any one else, It may prove a boon to the taxidrivers as the 10.34 "break" should permit the cab boys to get back to the district In time for the general 11 o'clock exodu.1. Carlton has given the piece ade- quate background, minus any splurging, with an ordinary first act set supplemented by a four- scened second and final Installment. An uninteresting book played in- differently by a below par assem- blage of pl.ayers and meagrely flavored with but two promising melodies provide an avalanche of catastrophes. Helen Shipm.in possesses the only personal characteristics equal to claiming the responsibility of be- ing listed as a principal. Charles Derlckson is not only hopeless and colorless, but miscast as an ex- ponent of pugilism in the role op- positfc, while George BIckel and Arthur West are futile, mainly due to the material given them. Ida May Chadwick has been do- nated a fat assignment that Is mean- ingless to her because of the laugh- less dialog written into the part, despite she Is all over the stage In the first act. Her hardshoe danc- ing, with which she gets two cracks at the customers, served to wake the house up late In the running, but, as was true of the earlier portion, there was nothing following to sus- tain It. The script carrie;. the tale of a boy and girl, both inh.ibltants of the title thoroughfare, who split over their personal Ideals of attainment. His wish is lightweight champion, and she to see her name In lights over a theatre's marquee. Two years later, and the second act, sees the girl's London premier during which time the former fiance has come Into his millions and the happy end- ing. A chorus of a duzcn, six show girls, male quartet, two youths who dance, and a specialty stepping miss total the company in round num- bers, for which the costuming Is not unattractive, though midest, and the dance arrangements de- cidedly restricted to fundamentals A series of 20 numbers space the action, having but the theme song and a lively tune, next to closing, revealing possibilities. Extremely brief in running time, the production looks as if It may have been aimed for an 11 o'clock finish with the Idea of 26 minutes for applau8<e going wrong, fifcitf. Jack Charash who handled Jacob Ben-Ami's jpubjiclh' •since the actor hit Broadway ts now p. a; for the Independent Theatre, Inc , sponsors of "The Shame Woman." FORHCN REYIEWTI THE CONaUERING HERO London, April 4 It Great Britain has the sIlKhtesH expectation of participating in an other war, it had better divert thi activities of Its Play Censor from calling attention to the inadequate dressing of the Hoffman Girls «? the Hippodrome to that of hanninp such plays as "The Conquerinl Hero," by Allan Monkhouse pro duced at the Queens theatre last night by Sir Alfred Bu.t and Basil Dean. This play would do more to dissipate hysterical recruiting than the ordinary arguments of a regU ment of conscientious objectors It was performed by the Play Actors' Society for a single showing Sunday evening, March 23, and, with the certain and Inevitable demise of "Conchlta," Messrs. Butt and Dean were fortunate In securing an Inter- esting play, thoroughly rehearsed and with a cast of actors it would be ditficult to Improve upon. The plot of the piece Is the psychological study of a man's character—a man who doesn't be- lieve In war and has the courage to • abstain from recruiting in England from August to October, 1914, de- spite the jeers and contempt of his own family. There are no mock heroics. He Is just an ordinary man able to think for himself, physically timid, endeavoring to be honest with himself and to those about him. His fiancee and sister are especially bitter and vitriolic In their condemnation of his attitude toward the world war. His sister Is married to a soldier, and she gloats over the fact he is going to fight for his country. When word comes he has been killed she holds her head high and declares she is the proudest woman In the world. His fiancee breaks oft the -engagement, and when he pots the proposition to her she practi- cally agrees to resume the engage- ment if he will enlist. He Is called a traitor and a coward time and again, but struggles manfully to adhere to his principles. Three months later, Chris (ths hero) enlists as a private, and his family immediately want to secur* a commission for him. He rejects the offer and says he will take his chances with the others. In act three we find the hero a prisoner In a bam In the north of France. As he Is thrown Into the barn he begs for a bit of bread, as he Is starving. Another British sol- dier Is there. When Chris discovers the other captive munching a bit ot bread and refusing to share It with him he tries to choke him to get It away. A Prussian officer enters, followed by several soldiers, which Interrupts the tussle. He discover* the hero wearing a German over- coat. Prussian—'Where did you get that coat? Chris—I must apologize; I waJ freezing. I found it. I'riisslan—What is your regla ment? Chris—The Jrd Wessex Infantry. Prussian—You are in General Rigby's division? Chris—Yes. Prussian—Then, how did you gst apart from your regiment? 'YOU were appointed to spy? What? Chris—Spy! No, no! We wert scattered. I was lost. I've been wandering about. Prussian—You are a man ot In- telligence—one suitable to be sent on a little mission? Chris—I have not been sent on any mission. (The other British soldier Is taken out by command ot the Prussian, who again turns to Chris.) Prussian—Tou are not what !■ called a common soldier? Chris—I enlisted like anybodr else. Prussian—General Rigby's dl»U slon. He Is wounded—what? Chris—I haven't heard that. Prussian—Let me see. He !■ operating with—what is the dlyl« slon on his left? Chris—But ought I to tell yott that? Prussian—'Why not? Chris—Pardon me, sir. but as • fellow-soldier I'russlan—What! Chris—We are both soldiers. Tou arc an officer, of course Prussian—You have the ImpU" dence to speak to me as an equalT On your knees! Cliris—But Prussian (drawing a revolver)-** On your knees! Chris (kneels)—You might hav* spiired me that. I'russlan—What did yon say !• the division on General Rigby's leftT And. remember, I know something! You had better not ip.ike a njl»« take. Cbrls—My father la a colonel In tlie Rrltish Army. 1 am a genii** man. I appeal to you Prussian — Stand up! (Chrlf stand.s up.) Two paces hack, please. (Ho takes them.) You make a mis- take, I only asked for information such as any prisoner lets out In gos- sip. A matter of curiosity. I haVT" one or two little wagers with com- rades. Your answer may dcclds them. Now! Cliris —For God's salip, don't preii me. iConllntied on )>aj,(' 13)