Variety (February 1925)

VARIETY LEGITIMATE •^" •*•■»•«* Wednesday, February 4, 1825 NEW PLAYS PRODUCED WITHIN WEEK ON B WAY PUZZLES OF 1925 Revue In two acts producrd by Charles Dillingham at the Fulton Feb. 2; material •nd number* by EMe Janla, Blanche Mer- rill. Bort Kalmar, }Jarry Ruby, Vincent Srotto. Musical numbers staged by Julian Alfred. KIsle Janls starred with Jimmy Hussey featured, supported by Helen Brod- •rlck. I,e»ter Crawford, the Commanders, Dorothy Appelby, Walter PIdgeon. O'Don- nell, Blatr and Co., DeHaven and Nice, Janet .Stone, Shirley Vernon, CyHl Rltch- *rd. Edward Hlckey, Irma and Dorothy Irving, Corte* and Peggy. Ceorglc Hale, 'H'llllam Holbrook and Borrah Mlnnevltcb. Following the war Elsie Janis (pronounced with the "a" as In Jane several tiines during the show) came forth In an intimate revue with her "gang" of former doughboys. Her newest venture, presented by Charles Dillingham and billed as a bird's-eye revue. Is more ambitious than her original revue idea. Yet the same general theme Is followed—that of talent rather than production. The first act of "Puzzles," evi- dently promised as an annual event, was speedy and effective. The sec- ond section was permitted to slo\f up. but there were two smashing hits opening and closing that part which should be enough to put the show across. One was delivered by Miss Janis Just before the finale, the "Impressions" stamping her a truly rifted artist. The other wallop was landed by The Commanders, bands- men and entertainers extraordinary. Karly In the show Miss Janis worked with Jimmy Hussey, who trotted forth a number of new songs. On a bench Elsie said to Jimmy: "Shall we play a love scene," with Jim replying: "If mom Isn't here." That was a first-night laugh. Miss Janis wrote (he first two numbers, ••We Beg to Announce" and "Unde- cided Blues." The opening was novel, the company being introduced as foreign artists, but halted by Hussey as an Equity deputy, with the news that all must Join or there will be no show. It is explained that foreign stuff was just to get the money, but it is decided that everybody be them- selves. Miss Janis came into her own with Impressions of other stars, trotting forth a new assortment that seemed better than previous routines. She looked like John Barrymore as Ham- let singing "Bananas." She also gave Fannie Brice playing "Peter Pan." Lienore Ulric as a songster and an Idea of Beatrice Lillie warbling a ballad, and did Will Rogers. A splen- did bit of characterization came in the middle of the second act, when the star appeared as a French ac- tress, remaining in character throughout, sang ragtime songs in French dialect and then used the language itself. The Commanders repeated the success stored by the musical unit at Atlantic City last week, virtually stopping the show there. As the Versatile Sextet the band was a corking group. Now with 11 men, which necessitated the change in name, the Commanders, under Irving Aaronson's direction, is a production find. The quartet landed surely and so did the amazing trombone. But the two dancers roused the house, and only the explanation a quick change was necessary for the next •kit quieted the first-nighters. Jimmy Hussey landed with one number in the first act, "Irish-Jewish Jubilee," a Kalmer and Ruby ditty. The line "Here comes McBride" (nothing to do with tickets) was the laugh-gettef. But It was in the second act that Hussey was best, at that time having two successive numbers by Blanche Merrill. The first was a humorous lyric. "Old Established Firm." followed by "We're Jumping Into Something," sung with Helen Broderick. A bit ahead of that Hussey was the judge In an Irish justice courtroom scene, with Miss Broderick the chief aid. Charged with shooting her husband, she and the Judge started calling each other by their first names. The bit is somewhat similar to that in Hussey's revue of several years ago and of other shows. "Judge Nott," however, is credited to Kalmar and Buby. Miss Broderick and Lester Craw- ford had a few minutes in one, a rather bright interlude for a scene change. Miss Broderick finished •lone With a Merrill number, "The Lady Osteopath." O'Donnell and Blair with their new •<rt, "The Plasterers," which was played but a few weeks in vaude- ville, was spotted late in the show for a shower of laughs. The turn is rough, but Is an exceptional combi- nation of nonsense and nervy acro- batics. De Haven and Nice were successfully Inserted in the second act also, using the balloon "dance." The boys appeared as dames in ballet frocks and wigs, and proved well worth while. There Is « smart little trick in "Puzzles." • eomparatlvo newr-omer. ago. She first appeared in 'T. incess April," which failed, but drew atten- tion to Miss Appleby. There is u lo*. of personality in little Miss Ap- pleby, and she la quite natural on the ttaije. One of tha Merrill rongs was sung by her—"When the Cat's Away." Janet Stone, toe dancer; Shirley Vernon, who followed Mari- lyn Miller in "Sally," and Irma and Dorothy Irving comprise the femi- nine support for Miss Janis. The latter sisters and Miss Sto:ie were In "Madame Pompadour." A surprise score in the first act was annexed by Borrah Minnevitch, a harmonica virtuoso; in fact, this youngster was the first hit of the evening. Minnevitch has been some- thing of a novelty around the pic- ture houses and was groomed by Hugo Rlesenfeld. He scored recent- ly at a Vincent Lopez concert. Min- nevitch coaxes real music from his mouth-organ, and he was called on before the curtains for encore. "You've Got to Dance," a number written by the star, soandcJ like a popular melody. There .'s a French melody that ought to lanJ, and rev- eral others are tuneful, with "Doo Dab" most promising. An Inter- polated number, "Just a Flower from an Old Bouquet." Is a published bal- lad, inserted at Miss Janis' request. It, too, is an attractive melody. Cortez and Peggy fitted in twice and were rewarded for their graceful exhibitions. Cyril Rltchard, an Eng- lish Juvenile, attracted attention, as did Walter Pidgeon, baritone. ' Georgie Hale and William Holbrook teamed with Miss Janis for dance bit, one having the star in male eve- ning wear. Of the skits by Kain.j.r and Ruby a crossword puzzle sana- torium got over best. "Puzzles" is a show of talent, and more along the lines of the Chariot revues than the American type. It may not be Intended for a long stay in New York, but it should have a successful engagement here and elsewhere. Ibee. THE DEPTHS Anna Jane C»»l Karl Hollo I'eters Lawyer Gordon Burby Housekeeper Ji'ss'e Ralph Ilonka Marion Eveusen Gustl Edith Van Cle»e Herbert Vernon Kelao Karl's Mother Jennie Eustace Pasacr-by Charles Brikaw Tta«r» reslly Int say. H to more «t • "MooiiBi«air tkaa m manuscript. As aiMb It trmkm with obsolete vl«ws of moraJitr, ctliiai snd "a woman'^ aouL" Rswritten by Hart- ley Campbell it might have made a t«n-tw«nt melo of 40 years back. Rewrltt«n by someone, palpably, for the limousine trade and for our foremost star, it Just talks itself blue and says nothlniTi does noth- ing. The saddest consequence is that, since tbe material Is so thin and actlonless. It makes bad actors of the whole cast, principally Miss Cowl and her leading man. RdUo Peters. They have to do voice tricks and manual gyrations and no end of broken speeches and throat- clutching and the whole bag of stock company tricks to keep it pulmotored at all. Peters is sad to see. Miss Cowl, at least, is always beautiful, and no matter what she does, as long as it is she who does it. it must have some human charm. But—Peters! The Romeo. Anthony. Pelles. He is reduced now to running his fingers through his hair, changing neckties, clenching his flst. using a throaty tremolo and a forced ha-ha laugh, tenderly embracing his fat mother and being sacharrine, earn- est, temperamental and so much in love. He is neither Peters nor Karl, nor an improvement on either. And no one could be better at it. for the j>art Is deadly dull. Miss Cowl resorts to a crying festival, remojnbering that she has clicked in the past as one of the most heart-touching little weeperc our stage has ever known. She Is hysterica] throughout, even In comedy moments, few and forced as those are. The sets and the lighting are of the Greenwich Village "art" brand. The sets are unnecessarily syn- thetic and stagey, and the lights are boresome and irritating, with a retching effort to ret something out of effects where there is noth- ing to be gotten. Dimly illuminated scenes, stuck in for' no reason, put the watcher's teeth on edge. There is nothing to save In "The Depths.'' The ash-can, whence it came. Is pacing It. If it is still running when this regretful opinion of its merits sees the light. It will be picking at the coverlet. Even Jane Cowl can't blow life into this one. lAiit. all the ease and aplomb sf Grace Oeorge. "She Had to Know" Is played In three acU and but one setting, a handsome living room interior by Livingstone Piatt. The stage direc- tion by John Cromwell Is never at fault, and except for Mr. Worlock and Miss Ives the cast I« quite nice. But principally the charm of Grace George pervades the whole thing, and "She Had to Know" is a ve- hicle which not only absorbs that charm but which rebounds It to the audience. So it's going to be a success, that's the prediction, but for pic- tures It is not to be considered. Thafe Just one of those cases. Biak. Miss Cowl, whose career budded with "Within the Law," blossomed with "Smilln" Through" and broke into full bloom with "Romeo and Juliet," has been steadily chiseling away her miraculoift possibilities. She is apparently striving, straining for something—not one definite something but something now and something else again. As a result, her current showing at the Broadhurst is a pitifully misdirected effort, without a chance of surviving, with no credit to any- one associated with it and neither artistic service nor practical re- sult. Why a star with the drawing power, the charm and the standing of Miss Cowl need struggle so for the Improbable is not clear to this reviewer, who has for years been in the van as a Cowl enthusiast. Why she should drag from some German waste-paper box such a script, neither actable nor palatable, is one of those mysteries indigenous to the stage and to no other craft or Industry. One might diagnose the philosophy of it but it would consume .a library in the analysis. "The Depths" is a flat German story, as subtle as a frankfurter and about as stuffed with hash and sweepings. It purports to lay bear the heart-throbs of a Jezebel and composer. The problem has been told better thousands of times and never was of any profound use or comprehensive human interest. "Hans Mueller," whoever he might be (the name in Germany is the parallel of "John Jones" in America) is the putative author. But It is obvious that "The Depths" Is the mixture of many, for it talks in streaks and strains not con- .sistent with one another. It has a tragedy third curtain, when the girl leaps from a porch; at the end of the second act she falls in a faint on the floor, blathering that she is to become a mother; the first curtain Roes down on the musician coming back to reclaim her after he has fallen in love wltli her fn a church and has Just found out. Just what she is, never is made clear. Twice, once by her and once by the lover, something is breathed in a hushed whisper which is a broken word starling "Prost ." If the word were flnlshed it would be a Illy compared to the phrase- ology of other modern stage dis- sertations on the sisterhood of the oldest profcssl&n. Ti^ch time the part of a word. here, however. Is SHE HAD TO KNOW WUllam A. BradT praaentatlon of the play by Paal Oaraldy. adaptad by Grace Oaors* from "Si Je Vonlala" Ulss George ■tairad aad Bnsoa MoRaa fcatorad. Pro- doead at tha Tlmaa Bqoara Fab. X Staged by Joba Cromwan. Oarry Oraca Oeorge Pbllfp Bmce UcRae Rtfvan. Frederick Worlock Ja^k H. Tyrrell Davla Beaagmrd Edward H. Wever Kitty Charlotte Ives Loulae, m maid Anita Damroscb Catharine, anotber maid....Barbara Kitson aimed to shock, or at least thrill; Dorothy Appleby, who won a beauty I it never even disturbs the yawns. ■rise In rortland, Jit., abaut ajearj The story is difficult to transcribe. It's been some time since Grace George has had a real rousing suc- cess but on the dope it would cer- tainly appear that "She Had to Know." tbe second Geraldy piece in which she has acted, is over for a long enough time to qualify it thor- oughly as a success. This play is one of those very light comedies founded on nothing and thereby rising to no heights. Yet its delicate fabric Is fully blown by the fine acting of Miss George and Bruce McRae. Their perform- ances are fine things, sustained and always In the light and right mood. For the mood of this play is so light that heavy handed acting by all hands eould very easily weigh It down. Frederick Worlock con- tributes some pretty heavy acting and by doing eo doesn't help mat- ters at all. while Charlotte Ives, as the other woman of tbe cast. Is also out of place. But Miss George and Mr. McRae more than make up for these deficiencies and carry the whole thing through to a splendid conclusion. Miss George, it may be said, eeems once more to be peren- nially young and the handsome out- line of her face seems to grow in attractiveness. The plot of "She Had to Know" Is simple. Into the home of Gerry and Philip, a middle-aged married couple, comes Kitty, a rather gad- dlsh friend from nearby. Imme- diately -it is evident that Kitty has the appeal which attracts men, and when Steven, their life-long friend, falls, Gerry begins to worry. Re- spectable, etc., she begins to worry whether she has the appeal which attracts. And then. In a quite proper and well handled manner, she goes down the list to find out, the most amusing circumstances arising when she asks her young cousin, a perfect aes if ever one existed. This role, it is but fair to say. is played finely by H. Tyrrell Davis. The dialog is bright and never runs to epigrams. Moreover, there are but few sagging spots. For this Miss George can take a great deal of credit, for she did the adap- tation. Previously she adapted "The Nest." in which Lucille Wat- son played with much success, and "Aimer" (To Love), by the same author, which she used as a vehicle for herself. Norman Trevor and Robert Warwick. The current piece, however, fits her Just as snugly as the role of Mrs, Malaprop fits Mrs. riskc. and she Oils that role wllL OUT OF STEP Comedy In four acts by A. A. Kline, pro- duced by Dramatists' Theatre, Inc.. at Hud- aon theatre Jan. Si; directed by James Forbes. Incidental music by I.,oula Grosa: Incidental dancea directed by Liconard White. Henry ("Babe") Harrison Erie DreaaJer Maurice Harrison George W. Williams Mrs. Harrison Dallas Tyler Kdlth Rayder Marcia Byron Albert Rayder Edmund Elton Charles Raydar Percy Moore Fred Rayder Malcolm Duncan Harry Gelden Arthur Allen Daisy Gelden Renlta Randolph Agnes Martin Miriam Doyle Marie Warner. Ruth Garland William Hawk George Foster Helen Sears Anita Booth Tom Lynch t.Arthur Hughea victor Uarahali Mllano Tllden Barney Harn areaharo Mrs. Brown Uadga Surteea Nettle IfvrtaT KlrkUnd Adela Malda Harries Ray Alllana I/oeb Margery Batty Utmore 0«rt1e Roaa Hobart Charlotta Sarah Haden OarmeUa Berry MIddleton Hilda Ermee Wlllett Jen Alice Mason B«aa Mary Arden Ireot Virginia Sinclair Joe Clarke Painter Dudley Richard Abbott Andy Allen Vincent .<4ammy Winston I.ee Dave Leonard White Jack , Bert Tarborough Rill John Bralnerd Peter William 8. Hllea Bert Arnold Taylor —— * Jass as a theme has twice ac- companied the new plays of the last few weeks. "Processional." offered by the Theatre Guild at the Gar- rlck. aroused diametrically opposed comment. No doubt the claim for that play, that it was written with the Jazz rhythm, seemed too far fetched in a drama. "Out of Step" la a comedy and Instead of being impressionistic is quite true to dance-han atmosphere In the Jazz aspects. Yet the author somehow misses delivering the stuff amid his skill- fully attuned topic. His hero does find himself—the boy discovers he l9 a natural band conductor. Per- haps he will develop into a White- man, the rather faint implication being there since he declares for life In New York Instead of dry- goods in Zanesville. O. The heroine is even less clearly defined. As the wife of the groping "Jazz baby" her faith in him seems somehow a weakness. It Isn't exactly convinc- ing. A. A. Kline is a new play- wright. "Out of Step" being his first play on Broadway, although he has authored a number of one-act pieces. The manner in which young Babe Harrison lands among the Jazz band leaders Is most roundabout. Down at the old "Paradise Pier." Atlantic City, he is tbe niftiest dancer among the hoofers—a class of youth affecting the nifty styles In suits, high waisted and three but- tons In a bunch. He wins prizes easily, then gives them to his part- ner, though the girl means nothing to him. So when Edith Rayder, whose father has a string of de- partment stores, comes along and falls in love with him, it's good- bye to the boardwalk. Four years In Zanesville as man- ager of the store have meant little to Babe. Jazz is in his blood. He believes there Is some missing fac- tor in current music. So. when the constant panning of the Rayder family leads him to quit the store, it is on the old pier at Atlantic City where he realizes that which he was unable to express. But the urge to be a dance hound has gone. Taking the baton from the pier band leader he Injects a rhythm, which he ex- plains is a split in the usual tempo, and evokes an original conception that delights the dancers. He pre- viously mentioned having toyed with the various Instruments In the band when there as the Jazz baby, but there was no preparatory mu- sical training. And It's possible that musical training isn't necessary to the successful development of a leader, although that's doubtless news to the musical trades if true. The genera] idea of "Out of Step" appears to be that Jazz and trade don't mix, at least in business any- way.' The author seeks to point out that both are legitimate In their respective fields. In the working out of the f>]ay, the level of Jazz is kept pretty low. Certainly It Isn't lifted anywhere near the plane at- tained by present-day syncopated orchestras. There are several natural touches in the pier and department store scenes. In the latter particularly when two salesgirls express hatred of the small town. Two young leads stand out in Eric Dresser •■ "Bab* Harrison" and ICareia Byron •• "Kditli Rayder." Both were In tli« Dramatists' Guild first produetloB, "Th* Goose Hangs High." Dresssr is a bright young I actor, lucky in having a bright smile and gifted with a personality. There are a number of bits well played by Miriam Doyle. Ruth Gar- land, George Foster and Anita Booth. ..The latter's role, as a dancer on the pier, is quite more than a bit and intelligently acted. The Dramatists have good pic- ture property in "Out of Step." even though It does not land as a play. It is easy to visualize the plcturlza- tion, with "Babe" the lionized leader of a crack Jazz orchestra. The lat- ter touch Is obviously impractical for the stage version. There is an offstage Jazz band, however, led by Matthew Lieb. The cast has 29 players and seven musicians In the band. Many roles are bits though all are claimed above the chorus, meaning more expensive than choristers. "Out of Steps" must draw more than average business to break even and the Indications are It is not a money show, though It is a Kood play Idea. Ibce. THE SMALL TIMERS A comedy In three acts by Knoules Kn- trikln. Staged by Henry Ktlllman and the author. Produced by the Art Theatre at the Punch and Judy, Jan. 27. Lola Benson Camilla Farquhar Frances Hewitt Alice Lald'ev Sf."^*/. ''«'»'" Kirk Ames Bin Hamond Gilbert Cowan Betty Dewitt Suaanne Austin Tommy Devlin Leslie John Cxwley Eugenia MaUory Hdene MItchel Abigail Mallory Julie Barnard Bstelle Mallory Mary Marsh Hector Mallory Mortimer White Jeremy Devlin Parker Fennelly Joseph Caldaron Owen Meech Wind and Wave, the Brcesy Siatera— Malsle Bertha Grey Grade Dorothy Grey The Russian Duo—' McCavendlah Albert RecJ Pocock Thomas Faddea Ben, the stage manager of th« Playtime Palace Louis Maaon Mme. Angellqua. tbe Cockatoo Queen.... Blanche Seymour The Pianist Charles Wagner Tbe Manager Marshall Hale Mra. Duggaji Kate Mayhew The Art Theatre, Henry Stillman. director, presetits this play as the first of four at the Punch and Judy. It Is by Knowles Entrikin, an au- thor, who knows his vaudeville, the second act being suspiciously similar In theme to Flanagan and Edward's former vaudeville stand- ard, "On and Off," and the last act, a theatrical boarding house, re- sembles several other plays with a theatrical theme. Despite a dreary, talky first act, amateurishly acted, the second and last act are entertaining. The cast dooms the play beforehand, and the first act gives it a start hard to overcome. The story concerns two young- sters, son and daughter of mil- lionaires. Both children have ar- tistic leanings, and are badly mis- understood at home. They decide to run away and go on the sta^e. In act two they are in a small-time theatre. On the bill, and in the next dressing room, is a small-tima vaudeville sister act. A pair of "acrobats" are dressing up-stairs, and Madame Angellque. the Cock- atoo Queen, attempts to usurp tb* youngsters' dressing room. The treatment of this scene, when the acts appear for their vaudevUls turns, is the same as in the afore- mentioned vaudeville act. Tb* acrobats appear first, then the sist^ team and finally the youngsters, Tb« girl, badly frightened, breaks down and they are ordered from the stag* by an Irate manager, who runs down the aisle. The last act is the theatrical boarding house. The troopers ar« showing the kids all sorts of sym- pathy and Malsle (Bertha Grey) slips the boy enough money to pay room rent. The parents arrive, tba girl's mother to be properly bawled out by Malsle when she intimates the boy has compromised her daughter. The mother wilts be- neath the slang tirade and admits she lacked understanding. The cast seems to be a mixture of professionals and amateurs, with the latter predominating. Those who stood out were Kate Mayhew as "Mrs. Dugan." boairdlng house mis- tress; Helens Mitchel, as "Eugenia Mallory." and Dorothy Grey, as a vamplsh member of the sister act. Bertha Grey, the wise-cracking and slangy member of the team, talked continuously on laugh,? and over- played constantly. She had the fattest lines In a book in which the author muffed many opportunities for sparkling and slangy dialog, due to the situations. Owen Meech. in a Belasco im- pression of a theatrical manager, was too theatrical for anything but travesty, and Thomas Fadden's English accent, as "Pocock," the acrobat, was as clear as static. Leslie John Cooley, as "Tommy Devlin," the boy eloper, played in a continuous lifeless tempo, and Ju- lie Barnard, as "Abigal Mallory," his artistic partner, .^aved him time and again. "The Small-Timers" has an Idea and there are possibilities with re- vision. The first act boiled down to a prologue, the slang pepped up and modernized in the second and third nets would qualify it s.'^ an cnttrtaining comedy drama il tbe