Variety (March 1925)

Wednesday, March 4, 1925 LEGITIMATE VARIETY NEW PLAYS PRODUCED WITHIN WEEK ON BROADWAY THE WILD DUCK Presented hr th« Actnri' Theatre (Equity) Feb 24 at ihm 48th St. theatre; a revival nC U>« play by Uenrlk Ibsen; ataged by Dudley Dlggea and Clare Kamea; produc- tion dealcned by Jo Mlelslner. rettenen •^""'"'o ^J^^^ jenaen Francla Sadtler Old Bkdal Cecil Yapp ifa.. sorter P?"' Slndelar w\of Henry Carvill 2^11 */. '............■.Charles Angelo . Xaapa'raon John Brewster Werle Moffatt Johaston Oracera Werle Tom Powera HJalmar Bkdal Warburton Uamb^e Qraberc Milton J. Bernd Qtna Blanche Yurka HedviC - Helen fhandler iteiiinc Thomas Chalmers llolvlk i'hlllP Le'Kh To those who think the name of ■ Ibsen pieans highbrow, sordid, clin- ical analysis ot the subconscious, or some process i;emoved from the easy grasp of the jkverage heart and mind, this reporter begs the privi- lege of recommending the best, fin- est and most entertaining show in town—"The Wild Duck." It may not reach the box office grosses of the petty penny-snatch- ing works of Ibsen's latterday imi- tator, Eugene O'Neill; that is be- cause Ibsen, while he always wrote freely and fearlessly, never descend- ed to garbage-heap billingsgate and peep-show eroticisms. But it O'Neill Is an idol, Ibsen should be a god. lor idols are of sjiining brass and gods are of the texture of the ephemeral spirit. •The Wild Duck" was first pro- duced in America some 30 years ago by William A. Brady. It was revived In 1918 by Arthur Hopkins, starring Nazlmov.i, supported by Lionel Afwill. Naaimova chose to play the role of Hedvlg, the child and she did it as badly as only Nazlmova could portray an ingenu- ous. Innocent, unawakened Scandi- navian girl of 13. But here is "The Wild Duck" cast. directed and performed with loving. pious, understanding touch by ar- tists. If it is fitting that America should have an actors' theatre its apotheosis could be no effort more congruous than such an offering of such a play. Ibsen, in "The Wild Duck." dra- matized himself; and he did It as pitilessly as he had through his long literary life unveiled the foibles and the sycophancies of others. He had preached idealism, the abnegation of. the fleshly for the great and grand underlying and everlasting Intangible principles, ethics, spirit- ualities. In "The Wild Duck" he turned on himself, like the true philosopher always must at some time, crying "After all, what does it all bring us to? We are imperfect and so we must remain—and only for a few years may we remain, so let us live while we live." For sheer poignancy that pene- trates into the soul of one immersed In the illusions of a theatrical arti- ficiality, this masterpiece of the highest type of artistic construction is perhaps unmatchable In the library of the theatre's treasures. It was a mellow Ibsen, aiv old master, who chuckled as he wrote it, who knew his theatre as well as he knew his ' Vorld; who had the developed kwordsmanship In satire that only three score and more years may |»erfect; who had much on his heart to say, and who knew so well how to say it. This opus, tortured and misrep- resented in its earlier presentations, was rescued from the dusty, musty garret of discarded "failures" by the Actors' Theatre, reverently re- stored, and laid before this City Without a Heart In a season most distinguished for pornographic mis- demeanors In llie theatre. How the public will react is not a question of the merit of the play, but of the discriminating response of New York, which should be heartily ashamed should It let a glorious revelation of art be neglected once again. I The direction of "The Wild Duck" Is something to build monuments to. Dudley Dlgges, who this sea- son has already to his credit a tri- umph of the pract'lcal as well as the theoretical In Shaw's "Candida." was associated with Clare Eames In this work. To one who has never missed an Ibsen premiere in 25 faithful years of metropolitan the- atregolng, this appears to be the* high peak of Ibsen interpretation. The cast Is as laudable. Blanche Turka, essaying the logical "lead," Glna, the tired, mundane, everyday wife of the spouting photographer (the "Show-Oft" of Denmark), plays It as no part has been played in America since Pauline Lord In "Anna Chri.stle." that lurid counter- felt of Ib.senism. Miss Yurke has given some of the most memorable performances In the recent records of our stage, but none to compare with her OIna. not even the mother of Hamlet that she did with Barry- more. Tom Powers, for years a promis- ing young actor, redeems the prom- ise here as the Irrltatlngly smup Idealist who brings havoc and mis- ery on all sides through his mtilish worship 6f truth. Integrity and those other copybook virtues which are noble to write rhymes over, but are poor sustenance In this rocky, un- even and carnal existence. Cecil Yapp, as the broken old father, can- not* be treated In less than hyper- boles, for his portrayal is the es- sence of perfection from all view- points. But perhaps the greatest playing of all Is that which flows so hon- estly from the lips and eyes and limbs of little Helen Chandler, in- deed a wonder child, as Hervig. Here Is no hard and affecfed Naslm- ova; the girl doesn't play Hedvlg— she is Hedvlg. Warburton Gamble emphasises too stridently the irony in Gina's husband, making It at moments more buffoonery than irony. That is the only flaw that even a hypercritical foe might find in "The Wild Duck." It Is scarcely believable that this exquisite work so eloquently done can be passed by in a city of so many millions of people, all sorts of people. And, as a prophecy, this re- porter ventures a'substantial New York run for it. Lait HOUSES OF SAND Michael MIndlin (Houaea of Sand, Inr >, presenta thia three-act play In alx acenee by O. Marlon Burton: atarrd by Clifford Brooke. At the Hudson. New York. Krlc Ford Theodore Westman. Jr. SjchI-• Naoe Kando Mlaa Kano (Oolden Frasrance). VIvlenne Osborne Brace Demareat Bthelbert Hales Hal Schuyler Charlea A. BIckrord Arthur Demarest i Paul Kelly ^umalo Georse Probert Alice Demareat Edith Shaynt- Jepaon Oeonri- Hpelvin Mra. Steele Gladys Hanson Dorothy Steele Blale Bartlett MIndlin, one half of "the two Mikes," who picked a winner in "The Last Warning," a mailer suc- cess of two seasons back, has not displayed the same astuteness In "Houses of Sand," his sole effort on behalf of the Houses of Sand Corp. The play Is so much piffle, allotted over a period of three acts and 'twice as many scenes. The lobby frames herald this as "a sequal to 'Madame Butterfly,'" and the program distinguishes it as a Move drama." Here the Oriental Is Golden Frag- rance, who first meets Arthur De- marest. Harvard undergraduate, at an All-Nations' bazaar, where she Is In charge of the Japanese booth. It's a case of love a^ first sight. Their racial differences are further adul- terated with complications which lead to the long suspected denoue- ment that young Demarest's inner call to the Japanese girl Is an hereditary heritage. The skeleton In the family closet is that the boy's mother was a native whom Demarest senior married during bis official stay In that country. A machinating mamma and her daughter, who she plans to marry off to the young and wealthy De- marest. are also Introduced, this paving the way for the rattling of the family skeleton. Of the cast, the scheming mother, despite her consistent lack of char- acter-sympathy, won the greatest attention. She is capably Imperson- ated by Gladys Hanson. VIvlenne Osborne, as the Nippon maid, was a lovely principal woman. Paul Kelly, opposite, as young Demarest. played with intelligence, although Theodore Westman, Jr., despite his obvious flare for light comedy roles, did not ring true as a fellow-class- mate of Demarest's. Ethelbert Hales, George Probert and EMith Shayne did well with character parts. "Houses of Sand" will not land for a run. As picture material It has possi- bilities for elaboration of its Oriental settings. The elder Demarest's ro- mance with the Japanese girl would probably make a fetching flash-back in the exposition of the theme. The All-Nation bazaar is another scene that suggests Itself likely for elab- oration. AbeU SKY HIGH ■ The New York premiere of "Sky High" marks before a metropolitan audience Willie Howard's first ad- venture In going it alone. His brother Eugene, associated with him through his entire professional ca- reer heretofore, stood near the door, wearing the tuxedo of the "man- ager," while Willie, single handed, held the center of the stage and the bright effulgence of the spot as a star In the eccentric costumes of the oomsdian. Maalcal comedy preaented March 2 by the Meaara. Staubert in aaaoclatlon with Kusene Howard, at the Shubarl theatre; adapted by Harold Atteridita from the EnrUah book by Capt. Harry Graham, then known as "Wlilrled Into Happlneaa"; mualc by Rob- ert Stoli. Alfred Ooodman. Carlton Kelsey. Maurle Rubens; lyrlrj by Atterldne and Clifford Gr»-y: stased by Fred O. l^atham and Alexander Laitwlcb; dances by Sey- mour Felix. Principals: Willie Howard (starred). Shadow and McNeil. Dorothy McNulty, Joyce Barbour. Marcella Swanaon. Rroily Miles. Walter Johnaon, Roland Hogue, Dorothy Hathaway. Edward Douclaa. Ann Milburn, Thomas Whitely. Vannesal, James R. lilddv. Florenx Amea. Violet KngledeM. Stella Shlel, Betty Pecaa. It seems to presage a success for both the brothers, and it will be no novelty for Etigene to stand by and listen to Willie's applause; also to collect the stipend for both. Willie can now proceed to try out the proverb that he travels fastest who travels alone, and Eugene can put his tenor voice into mothballs, for in his new vocation he will need a deep basso prof undo; managers must not pipe up—they must squawk from the chest The Messrs. Shubert have done themselves proud in this offering. Rarely have they presented so tasty, fleet and Innocent a divertissement. The costuming Is refreshing, the scenery Is splendid, and the staging Is the breath of the whirlwind tem- pered by the zephyrs of youth and the soft breexes of beauty. It Is a show one may take adolescent chil- dren to, and the* children wlU love it; so will their parents and grand- parents. To Seymour Felix goes the main credit a« disbursed to the Shubert staff after an analysis of the show- ing. Never has this time-scarred reviewer seen girls work with the breathless pep, spirit and sklU that bound through "Sky High." And they are pretty youngsters, remark- ably drilled through endless new, fantastic and intricate formations, steps and maneuvers. Time and again the opening audi- ence cheered the ensembles. Willie, himself, shared the honors with the yet nameless girls, some of whsm will be in lights before long. There was the usual synthetic enthusiasm for the personnel of the main cast, but the recalls to the chorus and the minor principals working in the dance numbers were spontaneous, honest and Impersonal. And It ex- ceeded the appreciation of even that famed chorus In "Keep KooL" Of the Individual players. How- ard, of course, took the lion's share. Willie hasn't changed much through the years. He works about as he did in the early "Passing Shows"— with much the same material,,plus a few hot current gags, some of them snappers. Ann Mllbirm. as an Irish maid (neat), and Florenx Ames doing a broad old man roXe followed. If another Individual hit may be scored, it should go on the records for Dorothy McNulty, a little newcomer whose fluent acro- batic dancing tl«d up the show thrice. The rest of the cast was the usual supporting stuff, and hopss that Vannessi. the flaming former part- ner of a Miss Williams In vaude- ville, would ring the bell were not Justified at the opening. She was placed for a Gaby Deslys triumph, dressed and promoted to that same end. But someone (maybe she, her- self) Insisted that she act—and even sing. Miss Vannessi, as a specialty danseuse. Is charming, though lim- ited in range; as a vamp character portrayer she is Inaudible, uncon- vincing, despite her physical and facial beauty. The story Is less than nil and If royalties are being t>ald on It they should be charged to profit and loss. And the American adaptation Is nil—plus. There Isn't a laugh In the book except the quips Howard shoots and some grotesque business Interpolsted by or for Ames. Had "Sky High" a real comedy book It would be acclaimed today a sensa- tional success Instead of Just a good show and would run on Into the whiskered future. The situations are trite, stilted and obvious. All ths "compUoa- tlons" are cleared up In three- quarters of a minute at the end with no reason and no solution except that all the lovers agree to lore and all the character actors agres to take their noses out of the plot. People come in and go out for no cause known even to musical com- edy, and never for a moment Is there a thread of dramatic surprise, suspension, tension or sympathjr. That Willie Howard should not foresee his own possibilities In any role except that of a wise-cracker Is almost inconceivable for so bright and experienced a comedian. Ex- cept for one claptrap song, "Let It Rain," he hasn't one word of sin- cerity or semi-sincerity through It all; not a tear, not one whisper on the level, not a stab at that human touch of nature. Honrard Is funnjr enough. Every time he opens his lips a laugh must and does come. Much of his wit la Irrespective of the atmosphere or anything else. But It Is good side- walk stuff and he lets It go superla- tively well. He has had many shows In which he got far more volume of laughter, however. The music is nothing to throw handsprings about, though one or two Jingles are simple and bromldic enough to be remembered. As for the lyrics, except when Howard was singing, none was distinguishable, since Misses Milburn and Barbour and James R. Liddy, who carried the next three singing roles, all smother the words of their songs. A radio party in the second act was the planted spot for Howard's imitations, which finished with Can- tor and Joison and were heartily taken. A barber-shop scene in the third .ict was reminiscent of many that have gone before and not as good an some of them. But those clrls! Thtj an4 the personality and talents of the star sustain the entertainment lustily at all times and keep It vibrant and even thrilling. If their tempo and their zip can be kept as It was at the opening, "Sky High" will never lag or drag, despite Its many flaws. The show should easily run out the season at important money and stand up for two years on the road. Lait. ARIADNE Comedy in three acts by A. A. Mlln*. pro- duced Feb. 2S at the Garrick by the The- atre Guild. Directed by Philip Moeller with settlnca by Caroline Hancock. The fourth production o( the current aubacrlpllon sea- aon. Ariadne Winter Laura Hope Crewa John Winter I^ee Baker Mary Armlna Marahall Hector Chadwiok Orlando Daly Heater Chadwlck Catherine Proctor Janet Ingleby Frelda Ineacort Horace Meldrum Harry Meatayer A. A. Milne has been known here as a writer of light and fluffy com- edies, always of the polite variety and invariably amusing and deft. His books, too, bear much of that same quality. But It is not to be so with "Ariadne." It is neither good nor bad. For the moment it is not boresome/ but that Is largely due to Laura Hope Crews and not the djalog. obviously written in spots to ftroVoke a smile. The plot concerns Ariadne Win- ter, a whimsical, humorous wife, and her stolid husband, who Insists that she at least be civil to a rich client. Horace Meldrum. The wife, because she secretly resents her husband's Invitations to the man Ui their home, resolves to be very nice to Horace, whom she dislikes. When she finds Horace Is going to Lon- don on the same day with her. he leaves a note to her husband that she has run away. Soon after he reads the note she pops back, un- concerned and provocatively cool. By kidding the hubby through the second and third acts she gets him around to the point where be Isn't quite so stolid but more attentive about the house. And It ends where It began—In calm. The thing of worth is that Miss Crews Is once more given a glove- like role which she Randies with mastery. After seeing Grace George in "She Had to Know" and Miss Crews In "Ariadne," It Is apparent that the gents who have been, dur- ing the past seasons, hailing various comediennes as America's greatest, are merely silly. Miss Crews and Miss George need no hailing. The rest of the cast Is quite nice and capable, with Armlna Marshall shining brightly In a small servant role. For this probably much of the credit goes to Philip Moeller, di- rector of the Guild shows. This season he has been working with unflagging persistency on every production. The single setting Is a modest living room Interior by Carolyn Hancock and done with commendable fldelity. "Ariadne" cost little to produce and It won't cost much more to run. Considering that the Guild's next productico, "Caesar and Cleopatra" opens and dedleaten the New Guild House, there Is little doubt that the Guild will keep this one running in order to keep the Oarrick filled. For after "Caesar and Cleopatra" there will be but one more produc- tion, and that limited to subscrib- ers. In the Garrick and with Its small cast. "Ariadne" may All some time, but placed in Broadway competition and under normal running expenses. It appears unlikely as a strong show. Not that It Isn't fair enough amuse- ment, but It lacks that decisive punch which makes hits. Its pro- duction Is easily explained when one considers that for a subscrip- tion audience there must be pro- duced a wide variety of plays—and this Is the first of its type which the Guild has put on in some time. As a picture proposition "Ari- adne" doesn't qualify, for most of Its amusement lies In the dialog— and Laura Hope Crews. 8i$k. NIGHT HAWK Drama in three acta by Roland Oliver. Produced by Charlea Mulllsaa and Paul Trebltaeh. Stated by Arthur Hurley. Pre- aented at the BIJou, New Tork, Fab. 2S. Asaca Merrill Kathleen Lowry Dr. Perry Oolt Byron Beaaley Walter Colt Leonard Doyle Malala Buck Mary Newoomb Mra. Hayaa Kathleen Traeajr This Is a "gland opera" In three acts, dealing with the rejuvenation of a prostitute, yet the most human and harmless ot the "dirt show" series. i Malsle Buck, a burnt-out "ladv of the evening," has beseiged "Doc* Colt to use her as an experiment of rejuvenation. She has promieed that if he restores fieeting youth she will not ply her given profes- sion, but will go straight with the hopes of Interesting some one who will accompany her to the altar of matrimony. The experiment is a success and fate, queer prankster, makes the doctor's younger brother the Instru- ment by whlth she may be returned to respectability. The M. D. Is furious and can only see her as a scheming Ingrate. He has suggested that she snare some unsuspecting male, but when he finds hUi brother Is Involved, upbraids the former proslltute, tells his brother the facts In the case, sending him out of the picture disgusted, and the girl back to her brother In Kansas when the curtain falls. The play is not cut from the cloth of those with lasting qualities, but may fool everybody and stay In for muclr longer than expected. The re- juvenation angle cannot miss with Broadway's femlna, and the lon- gevity of the piece will rely solely upon feminine support Regardless of what the play majr achieve, Mary Newcomb has regis- tered as Malsle Buck as forcibly as Jeanne Eagels registered as Sadls Thompson In "Rain." Her perform- ance Is convincing from the outset and gives her excellent scope to dis- play her power as an emotional actress. Her delineation Is a gem of acting and if "Night Hawk" should go by the boards one will not forget her remarkable delinea- tion of the prostitute who, at the end of the rope, has begged for re- generation and made good her promise to disavow her nefarious trade In quest of happiness. Byron Beasley gives a remarkable- portrayal of Dr. Colt, who performs the glandular operation that restores youth to Malsle. Leonard Doyle Is convincing as the younger Colt who Is enamored of Malsle, while Kath- leen Lowry does splendid as the nurse assistant who has been wor- shiping the "Doe" at a distance. From all angles "The Night Hawk" holds one of the best bal- anced casts In town and If It were within the province of good acting the piece would undoubtedly be In for a run. As It stands, its longevity is problematlcaL Sailing In on ths tall end of • enisade against so« called "dirt shows," this piece la the least offensive. It's theme may be questionable, but never once does the dialogue achieve heights that could list It as tenderloin drama. Its picture value will suffer through Its theme being somewhat similar to that of Gertrude Atherton's "Black Oxen," which nar rsnder It valueless, but as a thsatrloal pro- duction It has certain saving graces such as suspens* that may get It over. It looks as though this piece could be forced in a larger capacity the- atre with liberal Lsblanging. But as a legltlmtas box office buy. It hasn't got • ohanos. JSdha. OUT OF TOWN THE STOLEN LADY Oakland, Cal.. Teh. 23. "The Stolen Lady," one of several plays for which Crane Wilbur hopes to get a Broadway audition next season, was given Its premier at the Fulton theatre. The play has all the elements of popular success, dealing with motion picture stars, Mexican bandits, melodrama and farce, but these slements, at tha present writing, are in need of con- siderable doing. As it stands "The Stolen Lady" Is good entertainment but It has possibilities of being much mors when Wilbur weeds out some of the creaking hokum. He evi- dently set out to write a melo- dramatic comedy but It developed into a sort of hybrid, being some- thing of fares comedy and some- thing of old fashioned melodrama, with firing squads on the heels ot boudoir pcenes and ral*tlesnakes crowding uopn radios. The story lias to do with the love of an educated Mexican bandit for a picture star of French origin and International fame. A woman hater, he adopts rather crude methods, abducts the star and her party and hikes them ofl^ to his mountain cave. On the face of it the plot does not seem to reek with originality but Wilbur has achieved the heights of originality In his treatteent. He has Incorporated a series of new ideas In dramaturgy, all of which are ef- fective, but he has also relied heavily on ths time-worn hokum of a dialectic onTer, even stooping ts the expediency of putting a musical comedy caricature or two In th« line-up. The play, as a whols, entertained the flrst-nlghters. It has much of the appeal ot "Ths Bad Man" and with Miss Caubst playing th« actress it should be a bit • Miss Caubet is a French girl who has not yet mastered the Intricacies of American pronunciation. The re- sult is her dialect is perfect and far overbalances what lack of dramatic technique she may have. Added to that she has charm and appeal and an excellent wardrobe, which makes her a rather eye-filling morsel. In the local presentation Wilbur essayed the role of the Mexican bad man and gave a splendid account of himself. The balance of the com- pany was acceptable but In no par- ticular outstanding. "The Stolen Lady" Is the first of -^ four or five plays Wilbur will trjr during his season at the Fulton. Next week he plays "The Fool." following It with a new one of his own "Sea Horn." Other original pinys are "Easy Tsrms" ahd "The Cinema Crime." Moang*.