Variety (May 1924)

It VARIETY LEGITIMATE Wednesday, Hfay 88, 1624 NEW PUYS PRESENTED OUTSIDE NEW YORK CrTY THE DREAM GIRL Boston, May 27. IjM and J. J. Shubcrt muaical play by Victor Herbert and RIda Johnson Young, adaptad from "Th« Ro«d to Yeaterday." Sta(«d by Laura Hosw Crewi; dancei and ensemble* by David B<>nnett: aettlnce by BiMUKir Abbott and Wation Barratt: Oscar Bradley In the pit; Robert M. Kvans, bual- nesa manacer; Bud Murray, state director. Opened May IS at the Wilbur, Boston, tor lnd«flnlt« run. Klasetcb T»y Balnter Matena VIvara Dolly Follls Wyn Richmond Wilson Addison Oeorre Lemaire Aim'. Harriet Bdna May Oliver Jlmmle.Van Dyks Billy B. Van Bllnor Levlson Florence Rayfleld Nom Maude Odsll Jaek Warren ;,..., Walter Woolf Will lAvlson John Clarke Bobby Tborapklna Bill Taylor Ken Panlton Edward Basse Antonio William O" Neal Crlatofora Edmund FltzpAtrick Spsolalty Danesr Bill and Blllle Taylor mattter of pfomlacuous love, ■will probably build up well, and the aame holds true for John Clark and VIvara. 7 Tho Shuberts obviously have a valuable bit of property In "The Dream Girl" and the great danger seems lo be that of getting com- placent back stage based on the complacency of the box office. lAbbey. Although Fay Balnter Is being ■tarred and Walter Woolf featured, it Ifl Billy B. Van who has put the breath of life into "The Dream Girl," which opened cold here and which is playing to an on>the-level turnaway at the Wilbur at a 13.30 top for the entire floor. The advance sale, pactlt^ularly the agency business, is huge. Whether the business is due to the show itself or due in part to the fact that Boston has been ahow-hungry, with Ideal show weather, only time can telL George M. Cohan has pulled an aver- age of $20,000 a week for the past four summers out of Boston When everybody' else had wilted. The fact remains that the produc- tion looks good for all summer, al- thpugb scaled high for Boston in a itniiall House that requires $3.30 top for a, musical show with 16 girls, 12 men ahd a three-star nut. It's a long way from being all set, however, and It looks as though the heavy driving back stage had let up already. The girls are a bit indifferent as to their lack of synchronization, and, with a Mte-runnlng show, unrequeeted en- cores ^e being hand-organed Out, and draggy stretches of dialog are ••tin slowing up the last scene. Miss Balnter la a pleasant sur- prise, playing her role with cameo- Itke charm that is a little too subtle for the type of audience. Her sing- ing voice is Inoffensive and, despite Its weakness, carries way back clear- ly, though faintly, and registers true. She steps a little In the numbers and makes an ideal opposite for Woolf, who goaled the town In the same house last season with "The Lady in Ermine" and who is a surprisingly big draw In Boston. But Van, a last-minute acquisition, has hoked up the show with gags and a conglomeration of ad lib stuff, some released and some new, that has given It the belly-laff pep that it needed. Harry Delf dropped out after the first three days, and Van's origi- nally small role was fattened dally, until the town began to wonder why he wasn't given better billing. The book has a satirical "Tavem"- like touch running through it that is delightful. The story has been fol- lowed with surprising faithfulness from the last generation's "The Road to Yesterday," and is the now familiar theme of the girl carried back in a dream to olden days, where she meets the same characters In en- tirely different atmosphere. It plays In three acta and six scenes, and is set well but not lavishly. The same holds true on the costuming. Herbert's score Is average for him, "My Dream Girl" and "Bubbles" be- ing the best sellers to date In the Rheet music. It is a male voice pro- duction at present, there being two excellent male chorus production numbers, and the male principal voices dominating. A top-line so- prano Is needed to balance the num- bers properly, as Miss Bainter'a voice Is weak and the supporting princi- pals, while satisfactory, do not stand out on the female side. The show as it Is now running Is probably lighted about as iinintelll- gently as Boston has seen this sea- son. Normally stage lighting is ap- parent only to the profession, and Is valuable when well done because of what It adds. One scene In "The Dream Girl" had such a glare refrac- tion Thursday the audience was using programs for eye shades in an attempt to follow facial expressions of principals. Outstandlner novelties would tone the action admirably. The novelty that at present outshines all the rest is that Fay Bainter has not bobbed her hair. In fact, she takes It down . to show It to the audience In one bit 4;f action and, strange as it may »ieem, the breakfast table chatter among the women folk of Boston seems to concentrate on this fact. Outside of Miss Bainter, Woolf and —Van, the remainder of the cast does not seem to have settled down to their roles as yet. George Le.Maire Is playing straight, but has stuck In a revi.sion of the Insurance policy sale to help save the last act, nnd, although apparently hopelessly inter- polated and out of character, it goes big. Van again being the factor that weaves it in. KUna May Oliver as an aunt who, when transposed into iiltlen days enviiontncnt, tuins out to bs 'at the grateful age" in the FLOSSIE Baltimore, May 24. "Flossie." musical oamedy In two acts. Book and score by Araand RoM: lyrics by Ralph Murphy; dances and ensembiea by Jack Connors. Book aFaced by the author. Produced by Charles Mulligan and pre- sented at Ford's, May 10-week. Marie, French miald Jeanne Danjou Mr Van Cortland Wllllaiu H. Mack Nellie, salesslrl , Mildred Kent Mildred, aaleartrl Viola Boles Kl KU salescrrl ..Trlz Taylor Sally, salessin ..Jane McCurdy Irene, salesslrl Bernstlce Hampshire Adrlenne, salesgirl Betty Oarson Poppy, ssleSRirl Mildred E^rown Mary, ssJesflrl Ilaiel Frisbie Liza, sslrsslrl • Betty Creditor KIsle, sslesBlrl > Nellls Rol>erti Jans, salearlrl Carol Seldler Two Dolls The McGoshlon Twins Bessie Alice Cavanaush Flossie Doris Duncan Archie... Sydney Orant S«-nor Don Riberro Robnrt Mamelocb Tommy Ray VIr Den Mrs. Van CoKlnad Rose Keaaier Flick and FlocK, salesmen Ilanders and Mlllls TTncIe Exra , Franklyn Hanna Chummy ...... i Edward Fettaerston "Flossie" Is not an alias for "Sally," "Irene" or "Mary." In brief, here Is a musical comedy wholly Cinderellalesa. It is a revamping. Instead of' the old one about the breezy, relative turning up unexpectedly from the great open spaces and the conse- quent alleged neceseity of all the unfed females pretending to be mar- ried to all the single males with a lot ■ of ultra-Hopwoodlan t>rldal night ribaldry projected with the subtlety of a sledge hammer. From this you may conclude that this Is not a musical ccimedy.'but a farce with music. You are right. The musical numbers seem ap- pllqued to the plot rather than ah integral part of It. The score Is by far the most satis- factory part of the entertainment. Roibl's music, while contributing nothing new to musical history, reminisces most pleasingly, and the orchestra, augmented by Paul Specht's performers, conducted by Harold Lewis, makes it sound even better than It Is. The chorus Is by far the real fea- ture of the show as It now stands. An agile ten, slender, supnie, spirit- ed, they dantK as the Tiller Girls would if the Tiller Girls had indi- viduality. The principals fall somewhat be- low the standard set by the chorus. Doris Duncan, in the titular role, has a pleasing voice and a fetching smile. She Is rather good, and knows It. That is why she isn't better. Alice Cavanaugti, an un- usual type of beauty, does very nicely as an Ingenue, while Sydney Grant is the fai-cical Juvenile. Most of the other males are entirely too "heavy" to put over lines that have to dio with what happens when the wrong people get In the right bed- rooms in the wee sma' hours. The McGushlon Twins are also heavy, but In a physical sense. Handern and Mlllls, an eccentric comedy dance team, perform dex- terously with their feet, their hands and the black derbies. They easily head the male contingent of the cast. The production Is Inexpensively mounted with one adequate but not remarkable Interior. There Is throughout ao attempt to dazzle ttie eye. It Is essentially as a song and dance show that the production ex- cels. Several of tlie numbers are unusually "catchy." while the lyrics to the "Walla, Walla" number are brlcht and snappy. The show would be Improved by Jettlsohing some of the farce ele- ment and the acoulsitlon of a richer mlse en scene. The chorus and the score are of metropolitan summer show quality. "T." cocted Into tb« mlzturs as wea As for the portrait of WhUUer, It Is expertlr eoncelved and faithfully executed, even to the extremely in- dividual manner In which the "mas- ter" used his brushes while painting. The story recounts Incidents of the artist's Ijondon days as a por- trait painter, revolving about two themes. The first of these Is a slightly idls- gulsed account of an actual con- troversy carried on by Whistler In the English courts In regard to an unflnlshied portait of a Bareness, In the case of the play, by name. Hardy. Sir William Hardy, suspecting an affair between his wife and Whistler, whom he detests, refuses to permit her further sittings to complete the portrait. Lady Hardy herself has come to believe that she has won a place In Whistler's heart, but to her chagrin, learns that It Is a place only In his art. Whistler caring for her simply as a subject which to paint. Sir William pays for and demands the unfinished portrait which Whistler refuse^ to deliver, main- taining that a picture belongs to the artist until it Is completed. The question arrives for action In court, and though Whistler la In the first defeated, the law subsequently up- holds him. The second theme is the pseudo- love of Whistler for his model, Jo Costello. Whistler's love is a deli- cate, gossamer-Uke passion, con- ceived for Jo In relation to the beauty he sees In her for use In his beloved art. Jo, a beautiful and faithful creature. Is mutual partner in love with Walter Hardy, son rf Sir William and Lady Hardy, but through her deep understanding of the eccentric artist and the knowl- edge of all she means to him as an inspiration, she invmises to marry him. Whistler, however. Is soon able to see that Jo would only be sacri- ficing herself for him, and hands her graciously over to the man she loves, the play ending upon this note of benevolence on the part of the artist. The charming, temperanoental caustic character of Whistler, so capably played by Mr. Heggie, has been drawn with infinite -care. The authors have been faithful to the painter, which, 21 years after Whist- ler's death, has been banded down about this exceptional English ar- tist and ironio conversationalist. The famous Whistler-Oscar Wilde battle of wits is introduced, and on this point, a minor one, the play Is not full blown. Wilde Is brought on In the guise of an art critic named Harry Stetson, and the contempt of the artist for the author and the au- thor for the artist is exhibited. The title role Is perhaps the best Mr. Heggie has held for some tipie. The model, Joe. is personably played by Betty Linley, a Titian-haired edition 6f Malrgalo Gilmore, Lady and Sir William Hardy are well- handled by Ernita Lasoellies and Ar- nold Lucy, while the reqt of the cast is adequate throughout. The Baronet and The Butterfly," ought to interest artists &nd art students, especially the followers of Whistler and of the colorful atmo- sphere of his time and place. This attraction, combined with the whimsical lightness and humor of the character, gives the play, despite its clumsy title and lack of a sustained story, a little more than an even chance. Pratt. display of her limbs; of downing and mugging and to put over a fast "•Jazz" number or two. When it comes to followtni a script and acting in front of an au- dience Instead of via the sliver s^eet it Is a difCerent story which would be better untold. Miss Devore was diligent in her endeavor, strove very hard to please her admirers, ot whom there were a great many on hand, but was handicapped in be- ing compelled to step on the rostrum to put over something which Just could not be. :• The story of "The Morning After" Is the tale of a widow who, through the ingenuousness of her father-in- law. Is scheduled to marry her de- ceased spouse's brother, whom she had never seen. Ruth King, who appears to be a stock veteran, plays this role and does the best acting of the company. Miss Devore aS her chum appears on the scene, follow- ing a night of orgy which the two had indulged in. with a coupla of chaps, and announces they have another day of Joy ahead^ The widow discloses this is to ■m ! Iver wedding day, and is much perturbed, as the minister is already in the house and the expected groom is to arrive shortly. Then the matter of mistaken Iden- tity enters, with Miss Devore mis- taking the prospective groom for one of her friends of the previous evening, making love to him and marrying him within an hour. The widow has passed off the Other man as the "vamp's" husband, saying they have two children, and when word Is given that the coupla are married the father becomes ln» dlgnsnt and chases every one In th* house about, firing an automatie for the finale of the second act. . The third aet oauMs the widow ta explain. Mr. Newton wrote the skein of th# plot, but from witnessing the per« formance one would gather that some film ga^ men supplied dialog that antedates "Joe Miller" and in- serted scenes and situations sure fire in pictures for the alap-sticlc comedian, but have no place in the $2 theatre. Many of the "gags" were very risque and might hava been better unsaid. Miss Devore sang four numbers, of which two were of the syncopated order, and got over. The other two, of the ballad type, did not seem to measure with her talents. Cyril DelevantI as Reginald has to his credit that he has a set of "tvories" which Cecil Lean would be envious of, but his acting is along the screen slap-stick order, quite noticeable after a 'bit McNuIty, as the father. Is a typical screen com- edy type and talked his lines In a raspy provincial manner, which Is negative. The balance of the cast meant well, 'but would probably have Scored In the old Keystone comedies for which their talents seem to have been better adapted. ('ng. NEW PLAYS PRODUCED '-TWr WITHIN WEEK ON BlAY THE MORNING AFTER Los Angeles, May 24. it. A. Company, Inc., presents Dorothy Devore in a "Snappy Comedy*^ with music. In three acts and ona scene, by C. A. New- ton. Staged by Chas. NIsgemeyer and pro- duced at the Maaoa Opaim House. May 19. Marie Lucille Holder Mr. Johnson Ancyn T. McNulty Josephine Johnson Ruth Kins Constance Johnston Dorothy Devore Rev. Jullen Holland Hugh MetcaJte Reginald Cyril DelevantI Jay Wllkeu Rafael Brynetto I'LL SAY SHE IS \ Musical retue presented by James P. Beury at tbs Casino,'May 19: The Marx Brothers fsafured; book and lyrics by Will O. Johnst^P: music by Tom Johnstone; di- rection by Eugene Sanger; numbers by Vaughn. Godfrey. Theatrical Agent (Richman) Edward Metcalfe Office Girl Crissia Melvln Doctor Herliert Mara Poorman Leonard Mara Lawyer...., ; Julius H. Mara Bcggarman Arthur Marx Chief Prank J. Corbett Merchant. Phillip Darby Thief Edgar Uardlnsr Chorus Olrl.. Hazel Oandraau Nanette Allcs Wsbb Social Secretary Florence Hedges Beauty Txitta Ullea Pages ...., 4. Melvln Bisters White Qlrl snd Hop Merchant Ceclle D'Andrea and Harry Walters Street Osmins Bower Sisters Chinese Boy Florencs Hedges Bull snd Bear Hssel Qaudreau and Edgar Qardlner Gold Man Ledro Stifller Pierrots Jans Hurd and Alice Webb Hazel Hazel Gaudreau Maroella Mareslla Uardle Martha Martha Pryor Baronet and the Butterfly Stamford, Conn., May 27. Mrs. Brown..; Alice Belmore CHffe Rose Sheila Hayes Jo Costello Betty Linley rapt. Costello Edward Fielding Walter Hardy Oavln Mulr Huirh Knapp Ktlward Forb*'B Lady Violet Hardy Emita Laacelles Sir William Hardy Arnold Lucy Snnbnm Gcorsre Hollander Whistler Q. P. Haggle Rowley Barry Whiloomb Michel Tm Mama Luis Albeml Harry Stetson Charles Warburton "The Baronet an'd the Butterfly." a romantic play ba.<!eu on the life of the artist, .lames McNeill Whist- ler, by Pauline Bradford Mackie ond Sarah .Jeffries Curry, opened au- spiciously here. (). P. Hrggle plays the title role. The play Is more of a portrait of Whiailer than It Is « drama, though fleeting and effective moinents of action have been con- There are times when one wishes there is no "Morning After." Had one a bad night and then been com- pelled to undergo this "Morning After" the dark brown taste left by it might not be lost for a long time or forgotten. Nlggemeyer. who staged the play, produced it last summer with a Milwaukee stock company under the title of "Between Showers." He had negotiated to get Frances White to play the lead in the offering, but for some un- known reason the deal fell through and Dorothy Devore was permitted to make her legit debut as a star in this vehicle. Miss Devore has been quite a lum- inary In Christie comedies for a number of years and prior to that was a vaudeville performer. In which ranks she would fit. Though being away from the speaking stage for some time. Miss Devore was not annMMd or worried on her debut, vvhiW was cold here. Unfortunately, some one did n little lll-advl«lng with respect to the limitations of this actrefts' abil- ities and reach In the leglt Held. They probably figured that as Miss Devore was well known In Holly- wood, and had a penchant to get over on the stage, this vehlrle was as good as any. . Miss Devore was entntsted with the role of a village vamp. Having KOne through the Christie school of "slap-.stick." she felt it iio-ossaiy to Interject this portion of her expe- rience into her stage work. She is a good looking brunet, shapely, and has a luminous and penetrating pair of eyes. Augment- ing nature's gifts, she has a pleas- ing speaking voice; the faculty of .-ittractlng attention by the generous be the sole owner This Is the best burlesque show (extravaganza, if you wish) of the season. It has everything the popu- lar type of muaical comedy should have. It has a full cturgo of laughs, a lot of excellent daneing and some fair Jingles. It has the brightness of attractive costumes, with many changes, and the production Is all that's required. The show Is worth every penny of the <3.00 top, and nobody Is likely to feel cheated. Above all, "I'll Say She la" is happy In possessicin of the Marx Brothers, long among the most pop- ular of vaudevllllans. Of the four brothers, three are comedians, and two are extraordinarily effective with the musical comedy back- ground. Julius H. (Cracking) Marx and Arthur (Harpo) Marx had the house in an uproar, not once, but a num- ber of times. Harpo was introduced as -"Sir Joseph Ginzburg," a spark that set the audience laughing. Julius, with his painted mustache, and always smoking a rope of some kind, flashed in and out with humor- ous comment. The Pantomimic Harpo was, per- haps, best In a bit borrowed from the old burlesque afterpiece, "Irish Justice." The courtroom scene had Arthur and Leonard Marx In a card game that got a real quota of gig- gles, but Harpo. singled out as an honest boy by a "bull" seeking three Palm Beach suits, sent the house into si'asms with his knives and forks bit. The amount of Junk hidden up his sleeve is surprising. Harpo is the world's funniest dropper of silverware. There were howls, too. In a bit labeled "Court Reception at Ver- sailles." Julius Is the chief funster in the number, which is one of the freshest in the show, and which a Broadway revue producer has been after for some time. As Napoleon, he constantly returns for his sword, .suspicious of Josephine, whom he .says Is probably true to the whole army. Harpo's harp was Introduced in the Napoleon scene, and It landed a fine score, in addition to hs bell- ringing comedy. "I'll Say She Is" is a combination of Marx Brothers' vaudeville turn and Joseph Galtes' Shubert unit pro- duction, "(Jimme a Thrill." While the so-called book has been worked over, the main ideas are still pres- ent. Uaites produced the attrac- tion last summer, it being Phila- delphia's first summer show. James P. Beury, of the Walnut Street Theaire there, was the principal backer and is now understood to After touring all season the show returned to J Phllly recently, where the pryduc- j tion and costtuning were almost en« j tirely renewed at a cost of t2£,000. j That was accomplished as soon as { the Broadway booking was obtained. ] In Philadelphia there were several - cast additions. Included was Martha • Pryor, who is down next to clo&lng, j but she seemed unnecessary. Mlia ^ Pryor sang two Jazs numbers, then J retired, not enough customers urg- I] Ing her to remain. Also added was ^ Philip Darby, tenor In a New \ Rochelle church, who had never been on the professional stage before, i Vo.ung Darby has a sweet volee and made good in two numbers, Indicat* Ing a future. The show Is better ■ in male voices than feminine. Frank J. Corbett, a baritone, drew atten- tion and ^cored nicely with "Onlr You," which has no contender la melody in the score. Lotta Miles, the prima donna. i»] sweet looking and has something of i a voice as well. She got her nam*' as the model for the girl used lii'< the tire ads, but has been around i before, appearing In the "Midnights Frolic" and a musical called "Flfty^ Fifty." Miss Miles can wea»« clothes, handles a smile that Is con- fectionery, and looks quite a bit like Lillian Lorraine did. The general irtot thread is tha bidding for "Beauty's" favor, each suitor attempting to give the girl a thrill. That accounts for tha scene changes to Chinatown and the Stock Exchange during the • first act. In the Chink section the ; f>pecialty dancing startled. Also j Florence Hedges, a girl with a frealt ' voice, reached high notes. The j dash of dramatics in the bit wa« j lightened to a laugh when an un- i derworld character with a gun ap* t peared and Julius Marx said, "Oo ] ahead, shoot; you're on Broad way .*• ' Among the dancing contingent. , Cecil D'Andrea and Harry Walters ; rode to high favor. Their Apacha I number was spotted well, but in th* : extended interpretive dance, "Tha j Lure of Gambling," the coupl* ] aroused enthusiasm. Miss D'Andre* ] parti ularly caught the eye. On he*.' toes part of the time, she twinkled ' about the stage. The slender glrl'^ throws were so graceful they lookeJI fearless. The couple's work really carried the first act finale, "The Tragedy of Gambling," considerably built up from the unit appearance. As Pygmalion and Galatea the team asrain drew attention in the second act. The liveliest sort of soubret is Marcelle Hardle, who is a num-j ber leader, but so peppy a little, dancer that the good work of the ; chorus behind- her is only at- mosphere. A ntmtiber of times Miss Hardle won applause on her step- ping and'she is one of the new faces In the show slated for future Broadw.Ty revues. The Melvln Sisters and Bower Sisters, two sets of twins working in one number, was a novelty. All four are cute and about the same size. Jane Hurd and Alice Webb dolled up and out of the chorus several times, kicked prettily, and looked pretty as pages in the Napoleon bit. Ledru Stlffler, with body en-" tirely bronzed and later a .blue tar- tar, also counted a novelty; j Near tho nnl.<<h stepped forth I Hazel Gaudreau In an Oriental number. Perhaps It was the thing to expect, but the number was strictly classical. AmopK the dance numbers came what was called "The Death of Love," a travesty dance bit, that