Variety (June 1924)

U VARIETY L B et r«ri iH A T« Wtdandiy, Jum 4. MM NEW PUYS PRESENTED OUTSIDE NEW YORK CTTY Baronet and Butterfly (LIFE OF WHISTLER) Worcester, Mass.. June I. Redlo ProduotloBa, Inc. present* "The Baranet and the Butterfly," by Pauline Bradford Mackle and Sarah Jefferia Curry, with O. P. Henle. Production deilgned and executed under Livingston Piatt. Play directed by Mr. Hecsle. Mxm. Browo, Whlatler'a housekeeper Alice Belmore dllTe Roae, model Sheila Hayes Jo Coatello, Whistler's model. .Betty Llnley Cap«. Coetello, her (athw. .Edward FleJdInc Walter Hardy, o{ Royal Navy..aavln Mulr Hush Knapp, Xoltower of Whistler Edward Fcrbea Lady Violet Hardy, Sir William's wife Krnlta Lascelles Sir WUllam Hardy, Bart Arnold Lucy Sanborn, Whistler's tailor.Oeorce Hollander .Whistler O. P. Heggle Rowley, bailiff Barry Whltcomb MIchH LeMarne, friend Luis Alberni Harry Stetson, critic Charles Warburton "The Baronet and the Butterfly" Is a romantic play built on the life of the artist, James McNeill Whistler. It is well cast and Mr. Heggle has done no better work In any of his long list o< successes, but It Is ex- tremely doubtful If the play will appeal to Broadway. It Is clever, there are bright lines, sparkling wit and unusually excel- lent characterizations, but the life of Whistler Is not aufllciently well known In this generation to create Interest. This with the knowledge that he has been dead but 20 years. Other than that, there Is a lack of action and It seems to drag ex- cept for the moments when Mr. Heggle Is on the stage. The climax comes apparently In the second a«t when Mr. Heggie rises to tbe heights In portraying the artistic arrogance, sharp tongue and bitter humor of the Ijowell, Mass., arUst which made him one of the most talked about men of I>ondon In his day. "The Baronet and the Butterfly" might well b« termed a musicleas "C!os8om Time," for there Is great similarity in themes. In "Blossom Time" the composer Schubert loves, fears to make It known to his In- spiraitlon and produces haunting melody in his sorrow. He triumphs in the end when knowledge comes that bis affection la reciprocated. In "The Baronet" the painter Whistler loves bla model Jo Cos- tello. He realizes that faer love Is for the dashing sallorman, WaHer Hardy, but that there is also a deep-roo>ted affection in her heart for himself, which would lead to any saoriflce, born through her as- sociation with him in times of triumph and lean days. The difference Is that in the end Jo promfces to marry Whistler, but, knowing'her love for the royal navy man and proving through clever word-play that his suspicion Is Justified, he gives her to her lover. In "Blossom Time" there Is haunting melody, song and action to keep interest. In the "Baronet" one has to depend on Mr. Heggle and then it is principally because one wonders what eccentricity the artist will contribute aext. The action takes place tn Whis- tler's studio In Chelsea, LenJon. He Is painting the picture of Sir Wil- liam's wife. Her infatuation for the artist is discernible. Then comes that second act when as the beauty poses (and beauty is no flgure of speech In describing Miss Lascelles) she suddenly moves in her apparent supplication for an embrace from Whistler. The artist storms and raves violently, declaring she has spoiled everything. There Is comedy in her husband's dislike of the ec- centric Whistler, there is pathos In the unexpressed love between the artist and Jo, and there Is tender romance in Walter Hardy's love scenes with the model. It would be unfair to characterize any of Mr. Heggie's support as ex- celling the other. All measure up to whatever they have to do, but ■ Betty Llnley, Gavin Mulr, Edward Fielding and Arnold Lucy made an especially excellent Impression at the Worcester theatre the latter balf of last week. and their emotions are recognisable. ?hey are skillfully drawn and amus- ing. E^ach has little conflrma*.ory touches that add appeal. The play in Its entirety seems an adequ&te transcript of actual dally life in a small town, the authors having taken common things and with a fine satirical sense and understand- ing of character, made them uncom- monly interesting and entertaining. Junior Jones has an opportunity to buy 260 pigs for $250, the marked down price being due to the fact that the farmer who owns them be- lieves they have cholera. Young Jones, an amateur veterlna'ry, who experiments off and on with neigh- bor's goats and an Indolent uncle, has an idea the pigs are not as bad as reported, and that, anyway, he can cure them. Much of the early action of the play Is given over to efforts to raise $2S0 with which to make the ex- periment. In thia young Jones 1& assisted by Mildred Gushing, his sweetheart, and everything up to youthful blackmail is resorted tn. Finally, Mother Jones, having faith In her boy, takes off har engage- ment ring and gives tt to him. Things have not oeen going well financially with the Jones family. Father Jones, a kindly man, but a lawyer without a punch, has met setbacks, and Is about to lose the family home. It is saved, however, when Junior Jones buya the pigs through money realized as a loan on the ring, cures them, and sells them for $2,500. Of course, the ring is redeemed as the home is saved. In addition, young Jones and his sweetheart marry. Nydia Westman Is a delight as Mildred Gushing. This young ac- tress, with an appealing perisonal- Ity, displays admirable enunciation and an uncommonly fi^esb co ncoy' sense. Wallace Ford Is happily cast as Junior Jones, playing the part with a naturalness and en exhibi- tion of Individual methods that pleases. Richard Carlyle gives a kindly impersonation of Father Jones, and Jane JSllison is a de- pendable and enjoyable Mrs. Jones. Maude Granger does exceptionally fine comedy work aa Grandma Jones. Philip Barrlson, Robert Keith, James Kearney and Rose- mary Hilton round out a most com- petent cast. John Golden attended the open- ing performance. "Pigs" was given four times here, following the open- ing night, to capacity audiences, be- ing taken to Atlantic City for the week of June 2-7. Present plans are to produce it in New York in the fall. RIGHT TO DREAM VUr te tkrea acts by Irvine Xaye Davia Kidooad kj 6. K. mat B. K. Knauer at Um Dck and Jndy May M. Mn. Anna Bermolla....Ancusta Burmeatcr Sylvia Bmersiia-Dean Bertha Broad David Dean Ralph Shirley Typewriter Clerk Edward Colebrook Mrs. IXhal Kmerson Marlon Barney Dr. Bmll Meyer Sardoa Lawrence Edward R. Steele James Hughes Milkman Oeorge Jones New lyroducers are offering "Tlie RlgM to'Dream," but the selection -If a debut attraction hardly gives promise of ttiem developing any- thing worthy In a theatrical way. Davis, Who wrote the piece, la credited with press work that drew at'tentioo last season to Bertha Broad, said to be his wife. At the time there was much ado over the Shakespearean craze. Miss Broad appeared somewhere In Brooklyn as Juliet, It is said. "One Helluva Night," deliberately announced as the world's worst play, seems to be beyond that rat- ing before it opens, as "The Right to Dream" arrived first. The "Dream" piece haa to do with a young couple Who no more than exist In a squalid rooni for the rea- son that the wife will not permit her husband taking a Job with a popular lk>tlon magazine, as that would hurt his writing style. He finally is atung into going to work over the protest of the wife. Regular meais and a comfortable home that came as the result only brought unhapplness to the couple. In fact, the poor boy shot himself at his desk. Instead ot going home to a intle dinner party to which his momma-in-taw had invited his boss. Mayl>e the kid didn't like the boss or was suspicious of his Intentions. Miss Broad played her part well enough, but Ralph Shirley, the hus- band, aeemed to be In pain at all times. Augusta Burmester as a Gei-man landlady used a natural dialect. She was Intrusted with the comedy Mne of the show, a line permitted only through the author's peculiar sense of humor. "The RIgM to Dream" got atwut )1,200, mostly In cut-rates, a-t the Punch and Judy last week. It Is probably guaranteeing the house. Indications are it will close this week. There was some report about the backer tielng in on the picture rlgbta If the show lasted i>ast last Saturday. Otherwise it could have closed thea. 7 bee. PIGS John Oolden presents "Pigs," by Anne Morrinn and Patterson McNutt, staged by Frank Craven. At Lyceum theatre, Sl- mlra. May 2>. Richard Oarlyla John Jones, Sr. Wallace F^erd Johnny Jonea, Jr. Philip Barrlson Hector Spencer Maude Granger Orandma Bprncer Jan* Blllson Ellen Jones Robert Keith Spencer Jones NydIa Westman Mildred Cushing Roaemary Hilton Lenore Hastings Jame* Kearney...., Smith Hastings Elmira, N. T., June 1. "Pigs" may be set down as a — rousing success, and worthy a place among clean, wholesome plays. It reminds of Booth Tarklngton, and Is mostly a play of youth. It Is an unusual achievement In light comedy, done with consummate skill, and attaining a whimsical ef- fect that many will say has not been excelled on the American stage In a long time. There are serious spots, and the comedy Is stronger because of It. THE WER-WOLF Duchess of Capablanca..Laura Hope Crews Camilla, her niece Marlon Coakley EHphas I,cone Lennox Pawie Florencio de Vlana Warburton Gamble Paok) Morelra Leslie Howard VIncente Beda Lugosl N Ina Gaby Fluery Caterlna Ruth Mitchell The Priest Sidney Faxton Stamford, Conn., May 28. Designated as a romantic farce, "The Wer-Wolf," by Dr. Rudolph Lather, opened here and made a rather unusually favorable Impres- sion, even to a super-lndlfferent audience such as only the sticks affords. The play Is aided considerably by the excellent playing of the cast. The story is unusual, based in a far-fetched manner upon the legend of the Wer-Wolf, half man and half beast, and upon the capabili- ties of the original Don Juan as a love-maker, added to which are 36 hours spent In a Spanish castle. The Duchess of Capablanca is en- tertaining at the family castle In Spain. With her lives her niece, Camilla. Guests are Eliphas Leouc, president of the Barcelona Society for Psychical Research; Florencio de Vlana, state attorney and part- ner in a loveless contract to mar- riage with Camilla, and Paolo Mo- relra, professor at the girls' college at Barcelona. The Duchoss Is a lineal descendant of Don Juan, possessing the mask which that gentleman once wore upon hla amourous adventures. Eli- phas Leone has set about the task of calling forth the shade of Don Juan by means of a seance. That he has succeeded too well In doing this, or possibly in calling forth the Wer-Wolf, is evidenced through three peasant girls attacked the previous evening and seduced by some unknown thing or man wearing the mask of Don Juan. After collecting various evidence, Eliphas Leone decides that, since the young and shy Professor Mo- relra is at once a writer of love poetry and is also In love with Camilla, it is his astral body which has caused the panic among peasant girls. Upon learning this the professor proceeds to faint with fright. When the news of the professor's attractions as a )ove-maker gets NEW PLAYS PRODUCED IN LONDON AND PARIS HIAWATHA Irf>ndon, May 2S. Oo^erldge-Taylor'a aettlns of Longre>l«w's poem In operatic form. Performed by the Royal Choral Society, in aid of charity. M the Royal Albert ball. Noitblng can be quite satisfactory at the Royal Albert hall. It Is one of the world's worst buildings. If music is to be heard at all, it has to be created on a mammoth scale, and then arouses a deafening echo. As the auditorium Is circular, there can only be a clumsy makeshift for a stage. Consequently, "Hiawatha" has been perfo-med under great dlftl- cuMies. It was, so It is said, Cole- rii:ge-Taylor's dream to see hie work performed as an opera. But, as the parts for the soloists are negligible, this Is not easy to under- stand. The "star" of the present produc- tion is the Royal Choral Society it- self. Six hiMidred members, dressed and painted as red Indians, apart from a plentiful besprinkling of eye- glasses, practically fill an arena created In the body of the hall. They have a great deal to sing'— something In the nature of a feat of endurance—and it is not alto- gether surprising the words some- times become jumbled, especially as they have their backs to the con- ductor. The scenery consists of a great stretch of canvas covering the organ and one sectioi of the hall, besides trees, a waterfall and a wig- wam. The transformation from summer to winter was unintentiofl- aJly comic. Hiawatha has been represented by Horace Stevens and Harold Wil- liams alternately; Minnehaha by Ruth Vincent and Kathleen DIs- toumel; Nokomls by Elizabeth Mel- lor and Olive Jenkin, and Chiblabos (who sings "Onaway, Awake, Be- loved") by Webster Millar, WllHam Heseltine, Frank MuUlngs and £3d- ward Leer. The .ballet Included Lydia Kyasht and was conducted by H. Coleridge- Taylor. maid, Nina, and finally by the Duchess herself, Thait lady makes a date with him and forces lilm to promise to meet her. Meantime the distracted professor brings fonth and declares his love for Camilla, an emotion which has been smouldering for articulation between them both for some time. VIncente, the butler, has a ren- desvous with Nina (who decided otherwise) in the very spot the Duchess expects the profeesor to be waiting for her. In the darkness there Is a mutual misunderstanding. In the morning more misunder- standings, with the professor on the Bide not mutual. The Duchess and her maid, Nina, both believe the professor or his astral body to have been with them the night before. Nina's visitor Is now accounted for by Florencio de Vlana, the affairs of three peasant girls by VIncente, while the entire shattering of the Wer-Wolf and astral body theory breaks the household into many pieces,, with the engagement of Camilla and the professor as predominant. . . Leslie Howard makes Professor Morelra delightful; Laura Hope Crews as the Duchess renders an expert portrait; Lennox PawIe is distinctive as the didactic Eliphas Leone; Warburton (Gamble is capa- ble as de Vlana, and Camilla is made personable by Marion Coakley. The entire tone is romantic, and almost fantastic, farce, light and audacious enough to give It a good chance of catching on. The only false note Is the illusion that all brunet Spaniards speak with an accent, while all blond Spaniards have no trace of one. "The Wer-Wolf" is presented by the London producer, George B. Macl<ellan, In association with the Shuberta, The play goes to Buffalo and then to Chicago. Pratt. THE PUNCH BOWL London, May 22. Revue In tliree ac48 by ArcMl>aId de Bear, produced by the author In association with Andre Chariot and Violet Melnotte ait tho Duke or York's May 21. Incidental and l>a]let music by Norman O'Neill: additional scenes and numbers by Aahley Stemc: staged by Herbert Mason. Starv—Alfred Lester, Monih Blaney and Qwca Fairar. about, he The characters 6f "Plgs'''ipc fcai girls from is bt'Slegod by halt tho the Viriigi.'^Oi'e Dubh^jfe'rf JESSELL-EUSELL MUSICil. Oeorge Jessell Is collaborating with Dan Kusell on a comedy that may bit the stage under the name "Oil's Well." Jessell expects to take a part In the new show and he may have EMdie Cantor as an asso- ciate producer. This disposes of a report that Jes- sell had signed for the new "Music Box Review." "Low 'Em and Leave 'Em" Juna 30 John V. A. Weaver's new comedy, "Love 'Em and Leave *Km," In which Gertrude Bryan is to be fea- tured, will open at Asbury Park, N. J,,iMii4 Ui 'lO *i'i>t Cll.' For many years past the old puppet-showman has been perform- ing the merry, tragedy of "Punch and Judy" by Irving's statiie behind the National Gallery. As an excellent view of his pitch can be obtained from the windows of Variety's Lon- don ofilce, it cap be vouched for that the audiences include only poor peo- ple—and a few actors who want to learn something about acting. Yet this ancient drama haa the makings of a West End success. Though few people will loaf at a street corner to watch it being per- formed, they would be carried off of their feet by its Incessant action if brought to a theatre. In other words, snobbishness has been the sole cause of Punch's decline. At the Duke of York's is now full proof. In one scene this same street showman presents his puppets in ex- actly the same fashion as by Irving's statue. The result is a storm of ap- plause, showing plainly, the audience would like the complete play to be given instead of a. portion. This episode is the most popular In Archibald de Bear's "The Punch Bowl." Nevertheless, this must not be interpreted to mean the rest of the show is negligible. On the con- trary. It Is a high compliment to the puppet play that its merits should have outshone so many whimsical notions. The revue takes its title from the second part. Alfred Lester appears as a puppet-showman Just home after another unlucky day. His wife's insistence his stunt should be brought up to date causes him to dream his dolls have come to life to demand "production." After a black-out, "Punch and Judy" Is shown in ballet form. All the old familiar characters carry out their usual antics, but gorgeous dresses, pretty scenery, ingenious lighting and pretty girls have worked a transformation. The showman awakes. The dream has Impressed him deeply, but he Is defiant. The old show must not be changed. He offers to give a "pro- fessional matinee' to his wife to prove to her how good it Is. That Is how the real street-corner perform- ance Is Introduced. If anything could add to its success, this has been ac- complished by de Bear's charming touch of sentiment in portraying the old showman's loyalty. The rest contains several fresh ideas. Even the least successful only needs to be quickened to Justify lt.s Inclusion. The scene represents sev- eral volumes of Shakespeare's plays. ^Ophelia, tired of her melancholy, «10*er,-«#ps but to Vrarigte^d haeeting with Romeo; Juliet, bored with ro> mance, wants some of Orlando's "cave man stuff"; Hamlet sees his affinity in Portia. Here is an Inge- nious scheme that needs brighter dialog to emphasize the points. Like most comedians, Liester needs time to discover his best gags. He has, all the same, a good number of clever skits to reveal what a sound actor he is. One of his songs con- cerns an Invalid who has taken to gardening and has mixed the names of flowers with those of his illnesses. Thus he refers to his malarias, double pneumonias, creeping paraly- sis, convulsions, and so forth. Quite apart from the humor of the verses, his character study—sug- frcsting the gentle valetudinarian in every gesture—is a comic master- piece. His idea of Hamlet we have seen before (in a revival Of "The Shop Girl"), but an electrician who Interrupts a love duet, takes the man's place, turns the dance Into an apache wrestling bout and drops tha girl out of the window, shows him in : a new role. The main disappointment Is Billy Leonard, who has been steadily los- ing touch with his own particular style ever since he made his name In a fop part. He also has some ability aa a comic dancer, but these are the things he neglected In order to posa as a dude, and as that he Is colorless. But Sonnte Hale has style and the family vivacity of his father and sister. "Chill Bom-Bom" Is a good song, and He makes It. better. His partner is Hermlone Baddelcy, who last won the critics' praise when she did a leap in Galsworthy's "The Forest." As you would expect, shs brings that leap with her. As It is as simple as it Is effective, she will probably go on leaping 'till the end of her career. Norah Blaney cannot act, but does. Fortunately she can sing, and does. Her usual piano aet with Gwen Far- rar. Their new numbers, especially the verse about Lady Godiva's de- sire to be "bobbed or shingled,", arouses howls of delight. Never before have they had such an excel- lent batch of comic stuff. There Is no more popular man than Archibald de Bear among stage girls. He is quiet, doesn't worry about them, but listens to their troubles— and consequently his chorus Is on* of the prettiest in t<ondon. Jolo. THIS MARRIAGE London, May 15. Vera Tarington Cathleen Nesbitt Christopher Maltland Herbert Marshall James Farington A. Bromler Davenport Yvonne Taylor Tallulah Bankhead Nan Courtfleld Aurlol Lea Goodson Tom Reynolds The new play at the Comedy by Eliot Crawshay Williams is the two- women-and-one-man story all over again. It might be termed an elab- oration of the same author's sketch, "Rounding the Triangle," played two years igo by Sybil Thomdike. The Idea of both pieces Is that a wife accepts the fact of her husband hav- ing a female attraction outside the home, and formulates an agreement, to share the man with the other woman. , .. "This Marriage" begins wltH Christopher Maltland and Vera Far- Ington talking matrimony. Th« young things are In love and she, to Insure the perfect running of the marriage machine, sets down 10 commandments which they both agree to obey. Four years after the wedding It is , evident the wheels are clogged, for. Christopher is found In the flat of Yvonne Taylor, a blinding blonde' vamp. He is a poor fish and Yvonne wants to land him. It takes her 10 minutes, and then the curtain dis- • erectly falls. There follows some clumsy play- wrltlng by means of which wife, Vera Is made aware of her hus-, band's infidelity. When the wife Is away from town the vamp calls upon Chris, but he is out, so she' leaves him a loving letter. Vera returns unexpectedly. Chris, by optician's orders, has to treat his eyes with drops, and the result Is that immediately after treatment he can see notWng near him. He there- upon asks Vera to read aloud his letters. When she reaches the In- criminating missive of Yvonne, she dissembles and keeps the knowledge of the discovery to herself. There follows the Interview be- tween the two women to which the whole play has been laboriously leading. The wife Is one in a thou- sand—or more. She instructs Yvonne in the art of understanding Chris, telling her she may keep the physical man while she herself will retain the childman. It naturally takes some time for Yvonne to realize this point of view. When she does, she decides to have nothing more to do With the man who has such a good wife. Chris Is left to the tenderness of Vera and he finds she really does love her after all. She forgives the broken com- ' ■ '' (C^ontiivued on pagfe 38)