Variety (March 1925)

Wednesday. March 85,108S LEGITIMATE VARIETY 29 NEW PLAYS PRODUCED * OUTSIDE OF NEW YORK POLITICS Los Angeles, March 19. Kolb and Dill In tlir«e-aet comedy with ■laslc br Aaron Hoffman and Max Dill; PTMantad hy KoUt «nd Dill at Blltmore. Loa Anvelaa. March 1ft. (ka Wtneolar....-. 'Bdward M. O'Brlan ludsa Spanaita Monnan R. Feualcr lack Dorety • Mlka Donlln Arthur Fall Ramon R. Ripley Peagy Qreybull....••.•..Buaenle Clinchanl SImond Bovine John H. Eilliott Karl K. Krauae Max U. DUl Kaapar K. Koanlns G. William Kolb Marten Boyd May Cloy Guest of Honor Ernest R. Ball Olrla: Florence Rose Cleveland, Clorlne ISncle, Mildred Carroll, Dorothy Bunhner, Marlon L>orraine, Olive Qray, Stephanie Newton. Kolb and Dili are an Institution In this section such as Weber and Fields are all over. One from the east daring to extQl the virtues of Weber and Fields to the admirers of Kolb and Dill would And that it would be necessary to run to cover, as folks out this way feel K. and D. were copied by W. and F., and therefore are the original comics of their type. In size both resemble Lew and Joe, but that is as far as any comparison can be made by one having seen both. Kolb and Dill are simply "Kolb and Dill." When Weber and Fields put on a show they always considered their surroundings first. They made sure to get a supporting cast of top-notch actors and an aggrega- tion of girls that were the pick of the nation. Kolb and Dill, on the other hand, seem to be differently inclined. Their supporting cast is one that many a turkey producer wouldn't carry. And their collec- tion of girls do not augment mat- ters any outside of increasing the size of the company. ' The current vehicle, "Politics," Is accredited as coming from the pen of the late Aaron Hoffman. Un- doubtedly the basic Idea might have emanated from Mr. Hoffman, but after getting one flash of the hodge-podge and gagged-up enter- tainment it Is doubtful whether or not Hoffnuin would have wanted It credited to him. The story that the vehicle re- volves about is a city called Orey- bull, Wyo., operated by a dishonest political clique. No one could be <ound to oppose them until two tramps in the local Jail were ap- proached on the matter. These tramps were Kolb and Dill. They a^eed for their freedom to do any- thing, so Dill was nominated for Mayor, and elected. This covers the flrst act. The second act II to allow Ernest R. Ball to render aome of his com- positions. For 40 minutes Ball and the six women of the ensemble, aided by a violin and cello player, ■end over the Ball compositions and ■ome others. Kolb and Dill are In this scene, too, and do a little warbling on their own account as well as trying for a bit of comedy with Ball as "straight." The third act deals with the trials and tribulations of the new Mayor and his "corporation coun- <sel," whom the ousted ofTlclals ere trying to legislate out of office, with the tramps revealed as Secret Service agents who. have come on to trap, and do trap, the two boot- legging individuals posing as high- powered and respected citizens of the town. Most of the time during the two hours or more the show runs is tised for Kolb and Dill to propound their gags and bits that are musty with wear and age. The duo work diligently with material that Is even more than familiar here, and And it rather hard to make ends meet, due to the fact that their act- ing aids are not adapted in talent or appearance to the parts cast for them. Mike Donlin in a "hick" role struggles through it valiantly and really makes a better showing than any one in the support? Ball is no part of the regular or- ganization, Injected in the perform- ance for singing only. As he usually does, Ball made a hit with his new and old ballads. Were he not ham- pered by the addition of the sextet of female vocalists. Ball might have becm better off, but did nobly de- spite the handicap. Kolb and Dill are exponents of the old "Dutch" comedy school. "Politics,' were It to be road- showed In the east in its present form, would hardly fare aa well as the average small town turlcpy that , change.s It.s location nightly. Prob- ably Koll) nn.l Dill have had better vehicles in the past whicli miffht merit commendation In their be- half, but this one and "I,oncsonio Town" that thev played at the Circle. New York, in 190H. arc tot of that t,\ p? .so far as this :ei)orter can see. I'liti. "Devils" and Brady Wi!l!um A. B.'-ady hi.s atinl.ed the production rightH to "Devil."." which he will place in rehearsal in three week.t. and will .sot at a Broadway house "early in May. WINGS OF CHANCE Worcester. Mass., March 19. Adolph Klaubar preaenta "Winga of Chance," romanoa o( the South Beaa, by Hush Stanlslaua Stansa, staged by Ira Harda. Cost Includes Charlea Francis, Harry Hanlon, Jrxsle Royoe I.andla, H»rry S. Allan. Henry Bloome«ld, Ilamid Writ, Johnnie Lewis. Mary Blair, Frank T'olly, Batty Llpley, Paul Hanray. Qordon Hamil- ton. John Ward. Possibly the "Oods of Chance" will take note of the "Wings of Chance" and bring It through with flying colors once it gets In real running order, but it's going to take more than a thrilling fourth act to attract attention. The play will profit from the fact that few have knowledge of the South Sea Islands, where the principal scenes are laid. They will be ready to accept such fanatical customs as the "love tal>oo" without serious question. On the other hand, the play will suffer from its similar- ity to "White Cargo," for it Is on the same plan but without the sustain- ing interest and excellent technique and workmanship that marks the Leon Grordon play. There must be no presumption "Wings of Chance" Is not without interest. There is some excellent acting in spots, a plot that is not hopeless, a little but not quite enough humor and much attractive scenery. The ' trouble is the exaggerations which at times test the credulity of a person seeking nothing more than amysement. Even as Paul Harvey, with his gigantic bulk, stands physically alwve the rest of the cast, so, too, his acting stands out in sharp contrast. His adventure-seeking Capt. Kanaka is a remarkable bit of acting. With- out him the "Wings of Chance" might become useless protuberances. Betty Linley is Well cast as Matey, the devoted pal of Capt. Kanaka, and Mary Blair Is all that could be ex- pected In a Queen of the Solomons. Add to these Harry S. Allen, who appears as Sergt. Billy Highty, and you have said all you can for the cast. Douglas Warren, ready to end his drab existence on the beach at Hono- lulu, la dissuaded by Phyllis Mount- ford. She gains his promise to quit drinking and start afresh. Neither divulge their identity. Three years later It is Commissioner Warren in charge of an Island group for his British government. Pbyliis, on her way to another island, lands at War- ren's place because of hurricanes, and prepares to remain a month un- til more favorable weather .conditions prevaiL The unexpected meeting of Warren and Phyllis under these new circum- stances, after separation for three years, is al>out as thrilling sus helping your mother-in-law to bring in her trunk for a protracted visit. The suspense reaches the climax In tha fourth act. when Capt. Ka- naka commands his crew, accom- panied by a treacherous black man, designated as his aide by Warren. There Is real action in this act. Ouilfovle. verbal fenclnr, the woman presents her alibi and nndermines eacli and every argument with which her husband attempts to Justify his sus- picions, leaving him at the end slightly bewildered. To really enjoy the play one must concentrate, for seemingly unimpor- tant quips suddenly become keys In the quick turns which the clever dialog takes. Miss Gahagan outdoes herself as the wife. In the final act, when she is accepted without question by her partially dazed husband, she does thany a fine bit, while Mr. Gaul, as the doubting hust>and, is letter perfect. Kenneth McKenna, as the "lover" (at the end of the play one is not sure whether the word should be enclosed In quotes or not), also does well, as do all members of the supporting cast. A scintiUatinfr. sophisticated play for.sophisticated people. New York- ers are supposedly sophisticated, so figure your own odds on the play as a potential success on "the street." "The Sapphire Ring" received the best of notices from all daily critics and did the best gross business of any new production presented here this season, and tb->r« have been several. Warner. BRINGING UP FATHER Worcester, Mass., March 21. Jiggs Mahoney Pete Curley Maggie, his better half Belle Belmont Kitty, their offapring Bessia Leonard Patsy Moore, her aweetheart..Harry Culver Dinty Moore Eklward J. MorrlH Eugene Mendoza Fanny KIdstun Sandy MacPherson Tom Barrett Steve McKenna Phil York Now it Is vastly interesting. The authors have succeeded in utilising the tried hokum of thrillers in an orlginid and unhackneyed setting. All that Is necessary is one over- look a certain creaking of the mechanism. The plot has to do with the ad- ventures of a party of archaeolo- gists who retire to the Valler of Kings to dig up ancient Egyptian royalty. The Expert and the En- gineer are both in love with the daughter of the Backer, but the Engineer is engaged to her. Enter the triangle. Papa insists that daughter's fiance be appointed en- gineer of the expedition, while the Expert objects with violence and threats. Enter impending tragedy. Then comes the real mystery when the tomb is opened and the treasure is within a day's reach. At this moment the ancient curses of the dead are invoked upon those who meddle with the mummies. Long, bony arms (so necessary to mystery plays) reach out of closets in the tomb and clutch eagerly for the lily-white throat of the heroine. Murder and sudden disappearance are the rule rather than the ex- ception. Usual happy ending is an- other rule observed. Teresa Dale, single-handed, car- ried many of the scenes across. As the hysterical wife of the Backer she provided as many shocks to frayed nerves as did the maid in "The Bat." Larry Fletcher and George Alison, both excellent. BcchleU THE SAPPHIRE RING Providence, R. I., Marph 18. In three acta by laaalo L.akatoa, Hun- garian author, and adapted by Isabel Lelghton. Presented by Qeorge Chooa. Staged by t<ester Lonergan. At the Overs Housa. Provtdenoa. waek of March 10. Marl Ell2at>eth Holman Josaaf Mllano Ttlden Krlsta Helen Oahagan Karoly Oeorge Oaul Dr. Emo Nemeth Kenneth McKenna Elaa Mildred FIow>nce Qarzo Marcel Rousseau Tantalizing, fascinating and so- phisticatML is this play shown for the flrst Mne in America last week. It is now running in three European cities, Vienna, Budapest and Berlin. Cleverness and subtlety are In the lines. The play is a worldly piece of writing, apparently with little. If any, of the "spice" which char- acterizes most continental offerings. It treats a sex theme in an in- finitely more acceptable manner than the tawdry "modernism" of American writers. Helen Gahagan and George Gaul, as man and wife, open the play with a Jealous scene totally unlike that of any American playwright. There are no declamations, no rav- Inps; it is a verbal fencing duel with the man on the offensive. hi.s rapier-like thrusts slowly over- comine the counter thrusts of his wife. The points of the whirling rapiers are all l)Ul visible in. the s.irdorilc rc|)artec. The plot Is this: t'nknown to the wife, a m.iiil has stolen a sapphire rinK. The hus'.)ard becomes In- (liiisiiivc about the Jewel. The wife, believing .in indiscretion rc- spon.iible for Its disai>pearancc. con- fessps. Later she discovers that the rinK has been stolen by her maid -nd ;ii:r!.i; n to rctri'.ct Iicf "con- fession" to hey liiiKliantl. There la a scene between the wife, the luisband an<1 tlie sii|'P"»e(l lover. Each appears to be perfectly at ense. yet there is an undercurrent of diinper. In another bout of This cartoon musical comedy in two acts and six scenes will please those who like an entertainment that requires no mental strain. The plot is simply an excuse for the funny lines and hokum of Jiggs Mahoney, Maggie and the other characters made famous by George McManus. There is a liberal sprin- kling of musical numbers which are not difflcult to listen to, but only few Instances call for encores. The casting is excellent and the make- up of the characters perfect. Transplanting the Moores in Ire- land gives opportunity for Maggie to angle for a title. Her ambition seems about to be realized when discovering Miss Mendoza Is a lunaticVho imagines herself a titled lady with privilege of bestowing titles. The Jiggs of Pete CuVley Is a bur- lesque scream, and his bit with Miss KIdstun when he poses as Pan and his Pipes is one of the biggest laugh producers of the show. Belie Bel- mont's Maggie is also a clever bit of character work Bessie Leonard Is there because a Kitty is necessary to carry out the "Bringing Up Father" Idea. Harry Culver is equipped with a splendid voice and with Miss KIdstun car- ries the burden of the song numbers. Miss KIdstun is a little better than the average burlesque singer and gets away with some hard numbers satisfactorily. Edward J. Morris is an exaggerated Dinty but can't help his conception of the character. Tom Barrett does the Scotch part well and is not bad with the volfe and hoofs. But even with the laugh stuff of the principals the show would hardly go over if not for the 10 young women programed as the chorus but getting principal atten- tion. They do a noble stunt on the choruses, and while their dance numbers are nothing to brag alwut it gives the proper finish to the pro- duction. The scenic effects are all needed for a cartoon musical with the ship and castle scenes showing up espe- cially well. -Love Is All," "Old New York." and "Give Me a Man" carry off the musical honors. Miss Bel- mont reveals her vaudeville ability in a special number where she sings blues and otherwise. IleP person- ality and her llghtfoot capering de- spite a Sandow physique get the house. John P. Mulgrew Is author of the book, Leo Edwards is credited with the music, Richard F. Carroll staged the production, and Edward Hutch- inson arranged the production. Hlll- dale Amusement Co.. Inc., is behind the venture, with Harry Hill in personal charge. DEAD MAGIC Cincinnati, March 20. Myntery play In three acts and a prolog l)v Karl Knunt ard Stephen ."^anford. The Kxpert Oeorge Allwin The Knglneer Larry Fletcher The Young Lady Ann Davis The Backer Aldrlch Bowker The Reporter Karle r.*rimore The Amanuensin Reglna Stannel The Reprraentatlve William Kvarts The I'rient Ralph Urmy The Fireman. Boyd Agin The Deteivtlve Jack King Davis The Oup.'tlon Mark Teresa Dale The Shadow Charles Lyon Trolog- The otTloe of The Fxpert In London. .Vet I -The antechamber of an old Egyptian tonib, AC II The tnmb (noxt morning). .V.t III The tomb (that evening). ON BROADWAY THE LITTLE MINISTER Revival of the James M. Rarrle comedy, presented by Charlea Dillingham, starring Ruth Chatterton; staged by Basil Dean; at Globe theatre. Thomas Whsmond Thomas FIndlsy Snecky Robert Drysdale Roh Dow Walter Roy Joe Cnilckshanka J. M. Kerrigan MIcah Dow William Vulnn Rev. Oavln Duahart Ralph Forbes Lady Babbie Ruth Chatterton Barl of RIntoul Hubert Drutc Capt. Halllwelt Kenneth Hunter Sergt. Davidson W. Boyd Davis N'anny WalMter Molly Pearson Jean Louie !£m(iiy Felice Marjoria Wood Andrew Mealraaker Barlowe Burland Bllva Toah Roy Cochiana Twaites Francis Louden Karl Kniist and Stephen Snnfoid have something rather nice in "Dead .M.-iKic." but as it stands at the pres- et; t moment It is more the basis of a corlciiiK Kood mystery play than a finished product. But what pos- siliilitles if someone like Mary Itob- ert.<i Kinehart and Avery Hopwood were to be given the opportunity of working it-over! . Of the many telegrams of felicita- tion which Ruth Chatterton must have received on her distinguished premiere In a Barrle revival, fol- lowing only the semi-sainted Maude Adams in a classic role, there should have been one of sympathy—per- haps of condolence—from Marilynn Miller. Miss Miller, a superb little artiste, alone, must have known what Miss Chatterton was f.acing. For Miss Miller had Just withstood the storm. To succeed Miss Adams in a Barrle role appears to many as almost a sacrilege of the theatre. But—why? , - The retirement of our most be- loved actress is a beautiful and rev- erent chapter in our dramatic his- tory. But, because she felt the call to leave the footlights behind, why bury with her forever in the living grave of her lament the lovely works of the Immortal Barrle, as great a prose-poet as Miss Adams was a stage-spirit? And, If the Barrle thread of silk and gold Is to be taken up again by whom more suitably than by Marilynn Miller and Kuth Chatter- ton, two of the sweetest creations of our native art, two of the most beatific gifted of our younger stars? Prejudicial comparisons are easy, and as easy as they are so are they iingallant. Miss Adams played Peter Pan divinely and Lady Babble dellclously. Miss Miller was prob- ably too young, and Miss Chatter- ton perhaps too busy to see her essay those roles. They have fallen to these two younger women, fig- ures of a succeeding generation. Why must it devolve upon thera to mimic Miss Adams in them? With all due fealty to and wor- ship of Miss Adams, It still stands forth as a certainty that Peter Pan and Lady Babble will be played long after Miss Miller and Miss Chatter- ton have passed, for they, like Peter I'an. will never grow old, and, like Lady Babbie, will always sing and dance and radiate Joy. Let us, therefore, in this estimate, consider Miss Chatterton as a per- K< n, an artiste, a star, in her own rinht, she having yarned these e.states. and Judge her as though she were playing not a new role, but one such as Ophelia, or Little Eva, or nny of the many which no longer may be held in escrow as the re- deemable mantle of any one lum- inary. And, by that criterion. Miss Chat- terton Is a charming and worthy liady Babbie. In it she quite sur- passes herself, even in her roles of "Come Out of the Kitchen" and "Daddy Longlegs." If she does not play It a-la Adams, she does play 1: ;i-la Barrle. There Is always an unspoken but sensed spirit in aJ ,j.j^^{j^j^ Itarrie play. If the player exuden"" that spirit, that player is interpret- ing Barrle. Mi.ss Chatterton does. At times she seeme<l Just a bit sophisticated, not ns child-like as the mischievous IHtle B.ibbie whom Hurrie dreamed; only now nnrl tgain. In the main she Is delightfully fsntastle and romantic fancy. Her person conveys th<9 charms with which Sir James en- dowed her, of that there need l>e no doubt—the American stage ha.-* rarely nourished a more kiasable girl than Ruth nor a more fascinat- ing actress. Like all Barrle heroines. Lady Babbie is most convincing though never plausible. If this be a para- dox, may the gods of genius send us more of them. But, to be always convincing though never plausible i.«i no task for the mediocre mum ■ mer; It demands a soul as deep an<l yet as child-like as Barrie's own to play his major roles. Miss Chatterton, as the phrase goes, has "caught it." She ha.i found the Intonations of voice, the expressions of eyes, the graces and quirks of, Barrie's Babbie. Sir James, surely, would Indorse her and weep tears of happiness, as did the many at the proud premiere who do him reverence. Ralph Forbe.8, in the name part, seemed to give a studied perform- ance. Not that he did not in a measure also "sell" Barrle, but he is neither the phi perfectly polished artist that is Miss Chatterton, nor is he entirely en rapport with the author as she is. This reporter first saw "The Little Minister" some 20 years ago. Rob- ert Edeson, since, strangely enough, identified with parts of power and virility, then played Gavin Dishart. He was a memorably plaintive, love- sick, harrassed youth, puzzled, con- fused, earnest, bewildered by the sudden oncoming of love, to him a mysterious yet marvelous, poignant yet ecstatic visitation. Forbes' Gavin Dishart hasn't all of that. He plays him frail endugh. boyish enough, yet he misses the stern Scotch severity through which that wondrous love must penetrate. He shows us the boy, he shows u.-i the lover, but he does not show un the hard-shelled Presbyterian clergyman of the harder-shelled rural Scottish kirk. Fortunately, the undarstandlng staging of Basil Dean has in a largo measure supported him there, for never, even in the Frohman presen- tations, was the atmosphere as in- delibly printed, the color so tellingly impressed. The playing, throughout. especially in FIndlay's Whamond, Roy's Rob Dow, Molly Pearson'j Nanny, Is of the most superb Bar- rle standards. The Dillingham production Is in keeping with the generally faithful and painstaking fidelity to Bsltain's great Barrle. It Is better than tho original because since then we have learned some things, some modern things which mellow and gild with- out violating the best of the tradi- tional. One may ask whether in this day "The Little Minister" Is still wel- come. It seemed on the openin,; night refreshingly free from com- plimentary, synthetic or vandalistic over-applause, that, while Barrle revivals may scarcely hope to,com- pete with the newer, more fashion- able and more emotionally agitating things of the theatre, and must tak^ its fortunes with the fortunes of revivals generally, it can still l>e crowned with glory and be reward- ed with patronage. The Dillingham revival will not take New York by the ears. But it will not fail either as a contribution to the asts or as a practical work In the commercial theatre. It should run into the hot weather, surely. Lait. COAST TICKET SCRAP (Continued from page 20) here. That play was taken off. In brratiiing, vlbrntlng figment of his l*KaJ matters, was two weeks. This Is the flrst time in Los An- geles theatres brokers have been asked to pay premiums by the local houses. The latter were always will- ing to supply the brokers with a reasonable amount of seats as the latter had their stands In hotels and they were serving the patrons of the establishment. When the Macloon-Smlth announcement for help In fighting the brokers was printed, none of the local managers became excited. Several declared that the hotel stands were all operating on a BO-cent basis and they felt that persons buying seats from them were satisfied to pay that amount for service. Ban Mscloen-Smith Houses The brokers held a meeting and agreed that they would make no endeavor to establish business rela- tions with the Macloon-Smith forces and would refuse to handle seats for attractions playing In any houses they operate In the futt -e. According to Information from the brokers here, Macloon while operate ing the Playhouse alone was get» ting 15 cents premium from them for seats when he had a "hit" at- in the house. At the time he was accepting these premiums from the brokers at the Playhouse. Smith was acting as an associate manager for Macloon who was traveling between Los Angeles ar.i ',J|'^|New York to attend to vnriep^ T' V-1« - « v|