Variety (March 1925)

■inr. '■n t i- t H t^ te VARIETY LEGITIMATE t^ Wednesday. March 11.1925 -<n « MZ "Ladies of the Evening" (SECOHD KEVIEW) (Second revJew by Variety of the David Belaaco production at the Lyceum, New YorU) Through the dirt show crusade "Ladles of the Evening" waa revised In dialog and scene. Following the clean-up or changes the play con- tinued to do capacity business, $17,000 weekly. Comment by playgoers is now more favoratle tovTard the piece as an entertainment without the strictures formerly heard. Jack Conway reviewed the Belasco show upon its premiere Dec. 23, and is also the writer of the second review herewith. "The lAdles" piece is now in its 12tl w?<ik in New York. When turning in his review to the copy desk aUer the first night's performance, Mr. Conway said to the reader: ' "You had better get a load of this show before they back up the wagon." Mr. ConAvay was afked if he said :hat in this notice. Answering no, be was advised to add it on. , "Ladle-: of. the Evening' missed the wagon, but has missed nothing else. • . AS OF DEC. 23D Vour-act comedy drama by Milton Her- bert Qropper, tiroduced by David Belasco at the Lyceum, New Tork. Opened Dec. 28. CalTln Kins H. Dudley Hawley Tom Btandlsb Vernon Steele Jerry Strong James KIrkwood Kay Beatty Beth Merrill Phllllpa Bernard J. McOwen ClaJre SUndUb Kay Stroxil Dbt Miller Edna Hlbbard Frank Forbee Robert B. O'Connor Andrew Kenncy.. Jobn Carmody Daddy Palmer Thomas Reyno'ds A Waltresa Allyn Qlllyn A Head Walter JoM« Tovin AS OF MARCH 7TH Calvin KIntc H. Dudley Hawley Tbm Standlah Vernon Steele Jerry Stronc • Jamea KIrkwood Kay Beatty Beth Merrill Phllllpa Bernard J. MeOwen CIaln> Standlah Kay BtronI I>ot Miller Bdna Hlbbard Frank Forbea Robert B. O' Connor Andrew Kenney John Carmody Dnddy Palmer Thomu Reynolda A Waitress « T«rls Lorlna A Head Waiter Joe* ToTia This bird, Dave Belasco, has gone and done it again with "Ladies of the Evening," a comedy drama con- cerning itself with a couple of prosties in about the most exhaust- ive and frank manner yet. Milton Herbert Gropper, the author, has given both gals post-graduate courses In cussing that make the oaths of "What Price Glory" eoiud like baby talk. Beth Merrill as Kay Beatty Is on^ of the leather-lunged ladies, remind- ing at all times in mannerisms, de- livery, etc., of Jeanne I^gels in "Rain." The other is Edna Hibbard as Dot Miller, Kay's girl friei^d. Miss Hibbard walks away with the hit in a part that is a comedy classic. She has been handed a flock of fat and , witty lines. Her stage Jag in the studio scene will go down as one of the most realistic and flnished bits of character work seen in ages. The story Concerns itself with a bet made between Jerry Strong (James KIrkwood), Tom Standlsh (Vernon Steele) and Calvin King (H. Dudley Hawley). Strong is an artist with decided theories about the regeneration of fallen ladies. His theory is that many are not touched spirltnally by their experi- ences and can be reformed, given the proper Incentive and environ- ment. To prove his theory to his cynical and skeptical friends be picks up Kay. They go ao a -hotel, but Kay is suspicious when her cavalier fails to respond to her amorous advancee. He prefers to talk. She thinks he's a copper [which shows what Mr. Gropper doesirt know about the vice squad.] Jerry succeeda In arousing her curiosity and offers to pay her $200 a month to pose for him. At his fhention of her mother she flies into a rage and calls him everything on the calendar, using the strongest language heard so far In this open season, linguistically. Her gl^2 friend gums things up inter Kay has about decided to be Vflecent by telling her about the bet. 8h« heard of it while on a party with Calvin King. Kay ijiaves In a rage without allowing Jerry to ex- plain. In the next act the two broads are ensconced In a swell suite in an Atlantic City hotel. They have a $380 nut In the form of an unpaid hotel bill. Kay has crabbed four or five chances to trim suckers by not playing ball and weakening at the last moment. Dot bawls her out to a fare thee well, and she promises behave. Dot calls up a room cons a couple of Jaepers from the word-of-mouth advertising which goes with revolutionary frankness of speech on the stage. The transition lends credulence to the original theory that the objec- tionable matter was deliberately In- cluded to start something, box- ofQcely speaking. At any rate, it di<f, and the entertainment Is now rolling along to capacity on Its own momentum^ for It's an artistic, In- tereeting comedy drama splendidly ckst. ^«^ Mr. KIrkwood, In an unusually dlfRcult role, has greatly improved, which gives the cast a perfect score. Miss Hibbard as the slangy, worldly pal of Beth is the last word In hicks, and Miss Merrill's per- formance of the epiritually awak- ened street walker would pull a suspended sentence in Night Court. The two false situations will, never bother anyone but a plot technician or an Algonquin luncheon hound, but it requires a big Mague digestion to swallow the portions where Tom (Vernon Steele) con- fesses to Jerry his (Tom's) Inten- tion to lure the girl back to her original atrata. And It requires equally marvelous assimilation to stick the sce»e In Act 3 where Jerry oomes to the room of the two girls, and, after flndlng Tom there, leaves without seeing^ Kay after dasing Standlsh to do his dirtiest, "so strong is my faith in that girl." The public swallows It whole, however, so that's that. Con. "Ladies of the Evening." th« MUton Herbert Groper - Belasco produced comedy drama, has been sterilised so thoroughly since the opening night It would pass Inspection anywhere and give offense to none bat the most extreme type of .stage laun- derer. The job of reconstruction has been done so cleverly the play retains all of its original appeal, spice, flavor and modernity. Barring two false situations (but in the original) is a human, credulous, dramatic and slanglly painted picture of the spir- itual regeneration of a 1926 prosti- tute. The rewriting chiefly concerned It- self with the flrst act, after the pro- ,log. The prolog scene and dialog between the man about town, hotel manager aijd artist, which results in the painter wagering he can awaken the spiritual nature of a (alien wo- man, remains as before. The flrst act, however, has been switched from a hotel bed room to a street .scene in the slums. Here the artist meets the girl and Induces her to give up her present life to pose for him. The original scene in the hotel bedroom was one of those objected to by the local authorities. In the bedroom scene the g:lrl, after considerable skepticism anent her chance acquaintance's motives, is Anally convinced he has no amorous Intent and agrees to work for him. In telling him the story of her past she said her mother was dead. He doubts this and she upbraids him with a verbal tongue lashing which included two strong oaths casting doubt on his ancestry. The same dialog is paralleled in this new ver- sion but the apex of her wrath is reached with "dams" and "hells." The curtain line of the flrst act was originally. "And he never even touched me." This has been elimi- nated by the change of locale an'" becomes the harmless but equ;ill: effective, "Gee, I didn't know thry made guys like that." The street scene has been realls- tfcaUy produced with the usual Belasco realism and is a perfect bit of reproduction showing the exterior of a cheap tenement house in which the street walker resides. The second act, in Jerry's studio and in which the girl Is posing re> mains about the same except the deletion of one line formerly spoken by Edna Hiti{)ard after she had ac- quired one of the funniest stage jags ever seen. The rest of the act is unchanged. The third act, "A Suite In an At- lantic City Hotel," is as before in raterbury into dropping in. At this e^ene but some of the dialog has been stage Mr. Belasco shows he knows j edited and one situation changed, hie hokum and vaudeville. The In this act the two girls are trying Waterbury gents are a couple of the jto induce someone to pay their hotel funniest looking Babbitts seen off bill. Orf?, through subterfuge, strikes the two-a-day. Vp ^ telephone acquaintanceship with After making advances the wise AS 07 DECEMBER 23D (Continued from column 1) her latest, a middle-aged banker. She has flexible bracelets on up to her shoulder. Jerry, Tom and King arrive. They are discussing the mysterlBus 4i«appearance of Kay. Dot leaves with her sap after telling bim "those men are staring at me so." Kay is a waitress in the joint and appears to relieve another girl. She and Jerry clinch at the bell. KIrkwood. labors hard and dili- gently to make Jerry seem human, but.misses by a couple of fathome. The play is stilted and uncon- vincing in several spots, but the faithful portrayal of the two girls' saves it from complete rout. It looks like a natural for the box office, and even with the oaths edited Miss Hibbard will probably make it stand up. Don't be sur- prised if her name goes out in lights before the end of the run. If ^*B mint have plays about prosti- tutes, this girl deserves the palm, for she is the cutest and most lov- able fallen lady who ever stubbed a toe. Don't faU to get a load of thte be- fore the wagon backs in. Con. to an LOUIS THE 14TH Zlerfeld torodaetlon starring Leon Brrol, Musle by glcmund Romberg with American adaptation, from the Oerman. by Arthur Wtnperla. Staged by Edward Royce with aettlna dealcna credited to Qretel Urban. Programmed as a musical comedy In two acta and six scenea Opened at the Zleg- neld-Cosmopolltan. theatre, March 2 Major Byngham Hugh Wakefleld The Village Cure Frwlerick Qraham Captain Qalllfet Joseph Lertora Colette de CasMvnac Doris Patston Francois Pochafd «..Bdouard Dnrand Captain Brent. A.,B. T Harry Fender l/oute Ketchup Leon Errol Oabrlelle Trapmann Ethel Shutta Oaneral Chansoq Alfred James The Comptesae de Bellac Judith Voaaelll Marie Pochard Slmone DeBouvleit Patricia Brent Pauline Mason ^'aul Trapmann J. W. Doyle y-id>ime Trapmann Cittierlne C. Doucet ! I'oriiinlqne DIndon Frederick Uraham ' "ii^tlde Briaaae Alfred Jamea J 'rcntlne ...Florentine Gosnova J 'el.vn Evelyn Law I'he Major Dome Louis Casavant cracker of the clown pair nearly swoons when Dot hands him the hotel bill. The boys go into con- ference and finally add up enough jack to settle It. Kay weakens again at the "crucial" moment. Furious, J)ot phones Tom Stand- two men in the same hotel and in vites them to their room. The two Babbitts from Waterbury enter but after assembling the money from various secret caches, Kay (Beth Merrill) revolts and the money is returned by Dot (Miss Hibbard). The original script left no doubt as Ish, telling hlm«Xay wants to see to the purpose of the two drop-ins him. Tom is very frank about having a strong yen for her—and not spiritually. Jerry arrives, but doesn't see her. Standlah iells him he is going to take her to the coast with him. Jerry is so sure of her he tells Standlsh if he can get her to go ahead. She tries to warm up to Standlsh in order to punish Jerry, whom she realizes she's in love with, but agal» balks. Standlsh leaves. The long arm of coincidence Is a bit fractured in the fourth act, to bring the principals together. It Is a restaurant downtown, with booths. Dot Is there dining with (Continued in column 3) but the remodeling paints them as a' couple of egg and butter benefactors to girls in distress. Dot's Idea of their intentions and the Invitation extended to her by the more wordly male, as in the initial version, has been dropped entirely. The last act, in which the painter (■James KIrkwood) discovers Kay working as a waitress in a down- town restaurant and Dot with her middle-aged millionaire "eponsor" lunching remains unchanged other than a slight modiflcation of the relationship existing between Dot and the roue. • The nfw edition of "Ladies of the Evening" loees nothing ex.rpt Advance heralding designated this latest of Zlegfeld presentations as stupendous production of little book and less comedy. The prediction Droved to be accurate, far "Lonls" J.' more spectacle than entertainment. The furore caused by an opening that turned as many away from the initial performance as were there to see It, failed to arouse any distinct enthusiasm among the eye witnesses cJtslde of sponsoring gasps by means of the costuming. There can be no question that this attraction Is the richest and most lavishly bedecked fiat has ever been seen in New York. "Jhe attire of the principals, chorus and production veritably screams money and that the show was $236,- 000 "in the box" before the curtain Tcnt up at the Cosmopolitan is easily believable upon the viewing. The show is a stupendous eyefull throughout the entire two hours and three quarters it consumes, actually awe inspiring, and if the intention was to storm the public by sheer weight of numbers, their groupings before marvelously painted cyclora- mas and the elaborateness of their dressing, Zlegfeld got his wish. How Zlegfeld can ever get on the right side of the ledger within the bounds of a New York run seems beyond posBlbillty. "Cold " and esti- mated figures point to the fact that the house, at complete capacity, can do $36,000 at the $5.50 top with a cast reported to niinfibcr 102 people and a payroll of $10,900 exclusive of Errol (mayhaps "in" on a percen- tage), the stage crew and orchestra. Charging In everything It isn't con- ceivable that the show can come out from under if it lingers at the Cosmopolitan for a year, and the dctuar performance hasn't Bufllbcienti entertaining qualities to hold it in for that length of time. Th^|^nly chance is to pool show and bouse, which may be done. Regarding numbers there may be counted 88 people on the stage at the flrst act flnale, exclusive of all principals with one or two excep- tions. Divisional stipulation'would list this complement, by a flash count-up, as comprised of 39 dancing girls, 12 "show" girls, 32 men and 20 principals. Other than this the pro- duction, mostly of "set" pieces, looks to n6ed a crew of at least 25 men while the orchestra has volume enough for a like total. The program schedules 20 numbers of which none equal the tunefulness with which Romberg invested the "Student Prince" score. Some are closely related to the melodies as be- ing played one cross-town block east. Romberg's music is melodious but lacks staying qualities and as heard there do.esn't appear to be a solid hit j»rchestratlon In the show. The flrst act. running 100 minutes, and In which Errol doesn't make his flrst ai^>earance until 32 of these have passed is the most Imposing handicap. The pace during this epi- sode is so slow as to make "Louis" a boresome trial and belle the musical comedy billing. And Errol, after he Anally arrives, does little ,to relieve the situation, for Errol Ms always Errol and herein Is no new material to upset that fact. There Is no com- parison to be drawn between his personal performance in.this Show and "Sally," nor does this gigantic production commence to amuse as did the Miller - Erfol predecessor. All of which is obviously the fault of the book. Edward Royce's command over the chorus is strictly professional and gives every evidence of his worth aa a technician, the cast both play and •ing capably and the production Is as something heretofore unlmagined, but even with these, the performance gives the Impression of being un- ending which can only emphasise the inadequacy of the "story" and its comedy asides. The plot is strictly a lightweight and laid in France after the Armi- stice. An American captain loves a French gttl. Between the flrst and third scenes of the flrst act he goes to America, is demobilised and re- turns to meet her in Switzerland. That the story gives Errol the op- portunity to display himself as an army cook, a Swiss guide and under an acquired nobility title among the social strata is its most important mission. The second stanza is given over to the proverbial misunder- standing of the love interest parties and its smoothing out.' Two full sets spaced by brief pas- sages while the stage crew is in action, mark the routine of scene se- quence in both acts.' AH are pic- turesque, especially the mountain "eyes," and are enhanced by the cos- tuming. The "hot" number of the show, "Pep," is spotted in the flrst act lead by Pauline Mason, whose territory Is invaded by a girl out of the chorus line soloing with a flend ish "Charleston" to effect. Harry Fender is allotted the male chorus inteirlude, sans orchestra, backed by 32 mefT singing the most reminiscent of the Romberg melodies while Doris Patston is immediately after the opening in a lyric and dance, ^thel Shutta is Errors feminine foil, rival ing him for comedy honors, ^nd es- pecially clicked in a con>edy dance with him. A flrst act i>ageant flnale had Joan of Arc as the theme, mean- ingless but beautiful. • The costuming of the entire show is perhaps overshadowed by the opening of the second act and the flashing of 24 men, led by Louis Casavant, in gold livery supple- mented by the gold service pro- grammed as used by the Courtesy of the Gorham Company. This led into the reasonableness of a banquet table, set for 14, coming up through a trap door. Errol here found leeway for some "hoke" to offset the production mo- rale long enough to grab a couple of laughs. The show could stand more low comedy at almost any point. Royce's punch number was In "Regimental Band" — led by Hugh Warfleld, who acquitted himself as well as anyone in the personnel, and which utilized 48 girls. Miss Patston (English) handled herself nicely, harmonized with the surroundings and sang agreeably while Mr. Fen- der was fdl-ward with his usual standard performance albeit effect- ing ^n unnecessarily heavy makeup. Miss Mason provided neatly in ful- filling her assignments and Evelyn Law found a corking spot in the banquet scene, by which she en- trances up and from under the table, for a solo dance. Incidentally, this girl is doubling from the "Follies." However, the cast other than Errol and Miss Shutta, are comparatively relegated to the background through thtf mammoth chorus and the welgjht of the production. That the show will attain a run and th.Tt it will go a long way in re- establishing this house is a cer- tainty. The piece is rigidly clean, would be better styled if termed an op- eretta, and that anyone who puts on such a production as this deserves success—still go^s it ,^iegf^(jl,J)J9ar^ PUPPETS Drama In three acta by Frances Lightner produoad at tb« Belwya Marcb tt by Brock Pern barton. Saadro Rublnl Ralph J. Locke Bruno Mont*.....•..• Frederic Marru Roaa. .....MIchelette Burunl Joe MorettI ..Frank McDonald Mike Remo Hufii ni> Lttlcl Ascanio Spolidoru Blanca Florence Koehle* Frank Mohaca Dwight >'rye Nicola Rlccottonl C. Henry Gordon Mamie O'Brien Bllsabeth Taylo- Ang«la Smith .' Miriam Hopklna A Meaaenger Stanley Urand McSweeney Chas. D. Brown "Turkey" Abdullah... .Alexia M. FoUunov Brock Pemberton has been nurs- ing this play, having started It out at least three times. Recently it was tried o\it under the title of "The Knlfs In the Wall." Probably that was a toe melodramatic label, al- though Frances Llghtner's piece is billed as a romantic melodrama. When flrst It reached the boards last season it was known as "The Marionette Man." "Puppets" Is skillfully produced yet It's questionable whether the play Is worth the effort. The story has a novel background, an aid in making it interesting, though in entertainment value It seems lack- ing. Two of the leads are dialect characters, supposed to be "Wops." For laughing purposes that la gen- erally effective, but there are few laughs in "Puppets," which aims for drama. The action occurs in the room be. hind the stage 4f Nlckl Riccobonl's marionette theatre on Mulberry street, which Is In the heart of New York's downtown Italian section. One OB two relatives aid Nlckl and his establishment is somewhat like a little family, save for the fact that Nlckl has not married. Into the place comes a slip of a girl, run away from home in Georgia, Angela Smith, who fills the eye of Nlckl. He proposes mar- rlage instanter and she accepts. Being 16 and he perhaps 80 means nothln to the Latin race. Nickl is summoned to war (the world war) earlier tifan expected. He hastens to the prtest and weds Angela, leav- ing at once for the front—called to Italy's colors. Three years pass. Word had ar- rived a year before that Nlckl had been killed. Sandro, general fac- totum in the theatre, bellev«8 Nickl will come back. Angela believe* him gone forever and falls In love with Bruno, cousin of Nicki. The soldier suddenly returns. He ex- plains he had lost his memory for a time and planned a surprise re- turn, though unaware of being re* ported omcially dead. Nlckl is deaf as the result of shell shock, doctors saying his hearing might return later. That happens after a fight In which white slavers attempt to kidnap Angela. The deafness permits the others to talk behind Nicki's back. There is a sort of a side contest over Angela between Bruno and" Frank, piano player with white slavery as a side line. The girl is willing to leave with Bruno, feeling her marriage with Nioki was never consummated and that she was under age when the ceremony was performed. But Nicki proves to the girl he Is the best man. From the stairs she watches Nickl and Bruno match fingers (Italian game) for the pos- session of a dagger, the loser to bare his chest to the winner. Bruno Is finally permitted to win but ha cringes at the thought of killing. Into Nicki's arms com«« Angela. The bit, coming In the third act, la the best of the dramatic moments.' C. Henry Gordon as Nlckl iwr- trays his character feelingly and Intelligently, and most of the cast seemed well chosen. Miriam Hop- kins, a youthful actress, exhibited bright promise through her Angela. (Miss Hopkins Is about 18. She was last season in "Little Jessia James," this probably being her flrst straight part on Broadway.) Ralph J. Locke, an excel^nt char- acter man, did Sandro excellently. Elizabeth Taylor handled the sparse comedy lines, which at times sha failed to speak clearly. The working of various dolls used In the marionette performances which It seems are always being rehearsed for play changes, provided novelty. Three or four manipula- tors who looked skilled In that art appeared for those bits. "Puppets" should make an Inter- esting picture. As a dramatic money draw on Broadway its chances aro not so good. , net. Bklg. THE COMPLEX Drama In three acts by Louis E. Bisch, presented by tha Reed Producers, Inc., at tha« Booth for special matinees startlns March 8. Directed by Miss Percy Haswell. Blink Robert MontRomery Septhna WIndle Miss Percy Haswell Terry Peters Qeorgea Backus John WcKton Pacle Rlppla Felicia WIndle Dorothy Hall Roger Amory Weston.'William A. Wllllnms Dr. Hale Robert Harrison Miss Birch Mildred Lea Felix Whitteredge William Balfour This Is probably the flrst play dealing withe nsycho-analysis in a thoroughly sonous vein. It was written by a speclallet, Louis E. Bisch, and it may be that It la based upon a case coming under his at- tention as .a physician. Psycho-analysis Is, or wa.«!, re- garded as a fad, but there is no dqiibt^ abput .its SjClentMlc ptifJjdljip, nnd ft hns produced sorhe excep- Uonul results. There is undoubted