Variety (May 1925)

'-iTs.'if-': V?vr-- r >7ARIETY LEGITIMATE -•r'v • wavs^'jrs^ i.¥< WtdneMlay, iCay 27, 1925 "1 •"business" may be given that name In full right. Is gorgeous—natural, restrained, punctuated, modulated, In excellent mood throughout. The direction would seem to have been ■plendld. This reviewer can think of no one who could improve on It. But It Isn't counter merchandise, and nothing could make It attractive to the beagle-nosed, eagle-eyed hunters after sex reaction, "belly" laughs, mushy tears, spurious and specloua thrills, synthetic stimulants and "happy ending" glee. It seems a pity, but "Odd Man Out," a lovely and sparkling thing, seems to have none of that which ticket scalpers and hard-shelled stage crews call "appeal." It hasn't a dime's value for pictures, even. This sympathetic but score-scarred reporter reluctantly gives it a month. Lait. LADY OF THE ROSE Drama In thre* acta by Martin Flavin. Produced by Jacob A. Welser at the 41Hh Street, New Tork, May 19. Staged by Henry Herbert and Jacob A. Welaer. John Meredith Henry Herbert The Lady Margaret Hosier Lorraine Margaret Mower Barry Trevclyan Howard Lang Peter ,..,.William Podmore Richard Bralnerd Kenneth Fox Dan D. V. Peering Max Lujftln Edwin Maxwell Doctor O«orge Spelvln Martin Flavin authored "Children of the Moon," produced last season by Jacob Welser . In conjunction with Jones A Green, which survived for a spell at the Comedy. Flavin again elects to glorify lu- nacy In his latest as he did In "Children of the Moon," but with different treatment in the newer one, a composite of fantastic trag- edy that is heavy drama, and while showing occasional sparks of ge- nius, it will hardly survive at the box office, especially as warm weather fare. The romance is about the theatre, and in one scene of the first act it gives the outsiders an inside glimpse of how a rehearsal }s con- ducted. John Meredith, an elderly fiction writer and poet, is a victim of his own'imagination. He has conjured an Ideal myth whom, he calls the lady of the rose, bom of an early brain child, a play he had written years before. It was lost in the shuffle before ever reaching produc- tion. While puttering around the the- atre Meredith meets a young ac- tress whom he believes is a mortal replica of his subconscious rose " iady. Lorraine, the girl, ambitious for position and fame upon the stage, marries Meredith despite the years between them. The marriage does not crowd out the dream maiden, and Meredith, in- stead of fulfilling promises to author plays for his young wife, remains stagnant to figure out his fantastic problem. He becomes a fanatic and frequently closes himself in his study to confer with the spirit g^rl. Meanwhile Meredith's play has been resurrected by Max Lubln, . theatrical manager, who sees in it a part for Meredith's wife and launches, her as a star. It is pro- duced as an anonymous play through the title page being lost in the graveyard of untried plays. Lorraine recognizes it as her hus- band's play, but wants her big chance and withholds details from him. On the opening night he wit- nesses the premier and is driven to lunacy through his ideal being shat- I tered through changes and the In- terpretation by the wife for whom he has ceased to care. At the final curtain Meredith is sprawled on the table of his study, dead from a stroke of apoplexy. The story grips and halds from the BUirt to finish and i«|H|^^rama from a literary If not a vMRbrcial standpoint. As entertainment it is rather morbid, although several of the cast -give brilliant performances. . Henry Herbert is superb as the au- thor-madman, rising to stellar heights In the second act with emo- tional work. Howard Lang, as Meredith's friend, also gave a capi- tal performance, while Margaret Mower was likeable as the wife and . Margaret Moosier charming as the dream girl. The play looks a great bet for pictures, providing a star of capa- bilities equal to Herbert can be found among screenland's male lu- , minaries. "The Lady of the Rose" is here ' for a limited run at best. Kven if weather were not against it, the piece could not have landed. Flavin called the turn himself in one of the lines allotted to the theatrical manager, who said a mouthful when he chirped: "They don't want to cry for $2.76. They wouldn't pay that for a bucket of tears." This Is strictly a weep show and for the ladles—and they won't buy it, either. Edba. , GARRICK GAIETIES Rem* In two acte, prcaented by th« Junior Group of the Theatre Guild. Music by Richard Rodgers and lyrlcR by l<orrnt Hart. Production directed by Philip iMfb. with aettlnga und contumr* deirimed by Carolyn Hancock. Herbert Plelda alec cred- ited la preparation of show. 22 scenet Hated. is In the Garrick for Sunday mati- nees and nights fur a while, prob- ably to act as the Guild's special subscribers' production of the sea- son. It is a good money's worth for the subscribers. Although It held some dull stuff Sunday night (May 17) and also some amateurish cut- ups, it qualified as a corking revue, holdint; some fine music and several lyrical pieces worthy of $5 notice. Uichard Rodgers and Lorenz Hart, responsible for the music and lyrics, are not (actually) of the Guild. They're boys who've been hitting around Broadway for some time— bright fellows, but who have not yet been able to click with anything smartly. This gave them the outlet, and their stuff clicked here like a colonels heels at attention. " Opening and in '-one," Sterling Holloway, James Norrls, Romney Brent and June Cochrane did a turn, "Soliciting Subscrlptlon.s." The men were dressed to kid the Provlnce- towners, the Neighborhood Play- house and the Actors' Theatre, and the lyrics kldied the Actors' Thea- tre considerably. Followed a mock plea for funds by Miss Cochrane. A gre .t number. "Guildlng the Guild ' was the next, a full-stage turn led by Betty Star- buck and a chorus of 10 girls. Miss Sfarbuck scored heavily here and later. She can be filed in class A on the looks, class A in the personality, and who's gonna make a fuss about the voice if it didn't hit the high ones? Next an Inept burlesque on "The Guardsman" redeemed by good Impression of Alfred I.<unt, Lynne Fontanne and Dudley Digges by Romney Brent, Xldlth Melser and Philip Loeb. Miss Melser plays the maid in "The Guardsman," and here took a burlesque on the Fontanne part. The fault with this thing was its idea and working out—too crude for use anywhere. Drew tame ap- plause from a sympathetic crowd. "Butcher, Baker and Candlestick Maker," next, a risque song, but riotous In its laughs A comic scarf dance, full stage, by Eleanor Shaler, drew plenty of laughs, while novelty sketch, "Sh! Shh!" followed, at first acted In pantomime, where It looked pretty dirty and National Winter Gardenlsh. But Theresa Helburn hustled down the aisle, in- terrupted for a gag and told the kids they could go if they'd use words. With the dialog, It waa an tame as taking your cousin to din- ner. Song in "one" next, by Bdith Melser. She wrote it and. sang It, wanting to know where the old- fashioned man was, he with the red flannels, etc. Fine revue song for a character comedienne. A full stage ensemble next, led by Romney Brent, who cinched the male honors of the show. The num- ber was called "April Fool," and had the crowd whistling. Betty Starbuck was also in this, which made the Reparations problems seem less weighty. A satire on "They Knew What They Wanted' next, and good, by B. M. Kaye (he's a downtown law- yer). Peggy Conway played the Pauline Lord part and in one speech her vocal iaflections range so true to those of Miss Lord that spontaneous applause stormed the house. The others were okay, but it was her act—^jers and Mr. Kaye's. The Stage Manager's Chorus, by Dudley DlggGS, followed, with eight boys singing it. The lyrics were funny and the action great, for It consisted In give-aways of the back-stage noise producing tricks, each trick being a reference to some Guild production. Then Hlldegarde Halliday did an eight-minute Impersonation of Ruth Draper that would have brought her a dozen bows had she been working the two-a-day. "The Joy Spreader," a kidding Jazz opera, followed, this also being concocted by Rodgers and Hart. A department store was the scene, and the employes formed the chorus. A benevolent employe was the princi- pal singer, while a boy and girl locked in for the night furnished the vicarious kick. The lyrics weren't so good, but one strain plugged constantly and the general bumncsa as a musical proposition made it a howl. Act 2 started with a long "Ran- cho Mexican" number, designed by Miguel Covarubbias, the Mex car- toonist now in our midst. It didn't seem much. "Ladies of the Box Office," a trio of girls kidding the Broadway producers, goaled the house, using the same catchy tune the boys had in opening the show. And next, the wow sketch of it all, "Mr. and Mrs." This one, by Arthur Sullivan and Morrie Rysklnd, had Oal Coolldge and Mrs. CoolUlge talking big affairs over in the home town way, with Cal getting bawled out for coming In late—10:05 p. m. Followed a song kidding Manhattan as a summer resort, also goo^, and then another, "The Three Mus- keteers." which didn't mean so much. Next a song, "Do You Love Me?" in which Louise Richardson flashed a fine soprano voice that outshines flocks of them along the street today. Rose Rolando ap- peared in this number, as she did in the Mex turn, but not for any rem returns. A sketch by Howard CJrcen, of the vaude producing firm. Hockey and Green, next. It was a satire on credit lines and a howl. "Black and White" was a novelty This show, the first musical piece | ensemble number in which lights •ver sponsored by the Theatre Guild, and bare backs produced the effect. FOREIGN REVIEWS ON WITH THE DANCE London, May 1. Charlaa B. Oockraa'a r«*a* at tha Lbn- don Pavllloa April 80. Boak and lyrlca by Noal Coward; mualo by PhlUp Brabam and No«I OowanI: atagad by Frank CoUlna; balleta by Lw>nld« MaaiCnc; daocna ar- ranged by Max BlTara. ting on a popular IrtTU* which will ii!<i> appeal to the leaders of taste. "On with th« Danoa" should be booked for New York when the West End tires of Its glamor and light-heartedness, which Is a long time away. Jok>. Criea of "Good luck!" crashed out like a hallelujah chorus when Coch- ran took his call. Though almost choked with emotion, he made an excellent speech. In which he re- ferred to "On with the Dance" as his "second birth." Without a doubt this excellent show will put him on his feet And the credit will be hla Making full allowance for the skill of RlTers and Ifasslne In han- dling the beet band of hoofers yet gathered In London, still It Is ob- vious that tf Cochran's share were omitted nothing would be left. The author's work is entirely negligible. His only comic scene is an exhibi- tion of oildressing by two old hags. Thirty years ago Marie Lloyd and Dan Leno revealed their underwear In a Drury Lane pantomime and the crltlea objected. If those genii^ses did not Jnstlfy the Idea, how can a couple of erdlnary actors do so? The music la fttr more satisfactory. but the audience carries away barely a tune. Their enthusiasm has been created by the show as a whole. For once a revue lives up to Its title. "On with the Dance" is both Cochran's slogan and the muttered comment of the audience. Every style Is represented, from the old- fashioned to the freakishly futurls- tio. Profiting by Diaghileff's folly in neglectinc: the truest source of his inspiration, Cochran has en- gaged Massine, who is the only choreographlst who understands how to bring ballet into direct touch with everyday life. Conse- quently his art Is as much at home In a revue as In an opera house. At the Pa'villon Massine has composed a masterpiece in "The Rake," which brings to life the debauches Ho- garth used to depict. It is a thrill- ing spectacle of vice, so treated that It is picturesque without being alluring, .thrllllngly real without be- ing repulsive. In "Crescendo" he seeks to express the spirit of our own age. From the sensualism of the eighteenth century we are transported to the manls of me- chanics. Three classical ballerlne are swept from the stage by Mas- sine In his shirt sleeves. Film stars, stenographers and chauffeurs whirl about In movements suggestive of machinary. It Is a bewildering and VUSMlboK ballet, but Massine un- doubtedly Conveys to us his Idea of the crude but bracing times we live In. Never has a company been so thoroughly disciplined. No encores are taken. At the precise moment one dance stops another begMis. Max Rivers must haVe the will of a drill sergeant, but Cochran has pro- vided him with excellent recruits. One of the most remarkable Is Percy Val, whose, dance Is a series of varied somersaults. Then there is a pas de quatre In the style of the old Oalety, brilliantly and humor- ously (Carried out by Greta Beronius, Vera Bryer, Thalia Barberova and Terrl Storl. The old naughtiness of the Moulin Rouge is gaily taves- tled by Amelia Allen, Josephine SSfni-^*w^J?Sf S"' T^^'i? Divine Here is yet another danger to be- :^ '^,?*^^"-J^*^^''"* "^ ^^»r« .«" *hen changlng_an>merl- GRAND GUIGNOL Paris, May 8. The newest program at the local Grand Guignol is more original than the outgoing one. but not of any particular attraction. The best item is "Le Monde Ren- verse" ("World Upside Down"), a one-act comedy by Regis Glgnoux. A retired laglstrate, living on a meagre pension. Is forced to sell his little house to a nouveau rlche. land- lord of a neighboring mansion. The purchaser calls to demand why he is not yet in possession, and recognizes the magistrate who sentenced him years ago for embezzlement. At first the former Jailbird pokes fun at his former Judge, but takes pity on the retired magistrate, and finds him a Job as bailiff of his estate. Seller, a newcomer, is excellent in the role of the Jovial ex-convict millionaire. "La Cible." drama in two acts by Rene Berton, was less pleasing. A husband discovers his wife has de- ceived him. and succeeds in chloro- forming the unfortunate lover, sus- pending him behind the butt of a shooting gallery, where the guilty wife is tempted to try her prowess with a rifle. The Improbability of the plot handicapped the dramatic effect. "LtEtrelnte." a two-act drama by Pierre Chalne and A. de Lorde. is the other blood curdler of the new bill. In a Russian castle a mother is nursing her son Serge, a young nobleman badly disfigured by vitriol thrown by an abandoned sweet- heart. The poor fellow shuns stran- gers, even wearing a mask. But the mother, realizing the young man's mental imhapplness, engages a beautiful girl, Vioreka, as reader. Serge soon becomes passionately fond of the maiden and she, more in a sense of condolence, reciprocates his friendship, never having seen his features until one day she entered the room while he is without his silk mask. Vioreka screams with repul- sion, whereupon the man, in a fit of passion, seizes her in his arms. A servant, attracted by the noise, loses his head and shoots his young mas- ter dead. A farce by Romaln Coolus, "La Flfille a sa memere." closes the show. It Is the story of a lost pet dog and the tender meetings of a masher with his demi-mondaine.. The effort is hardly worthy of Coolus. Kendretp. ion. Whenever tt bseoaieg poeUe tt la alther ntaiteniglbl* ar banal. Otherwlae It la merdy hadly, motivated melodrama. The play treats Wilde tNtm tb* time of hla greatest success and fame to hia death In a eheap Paris boarding house. It shows the evil Infiuence of Lord Wilfred Douglaa upon him and his degeneration un- der the infiuence of homo-sexuality. Only one character is at all alive, namely that of the Earl of Dun- more, one of Wilde's best friends. This part was, moreover, played with splendid vitality by Hermann Valentin. Rudolf Forster also did a fine piece of characterization in the title role. The play has caused a bit of a sensation owing to the subject mat- ter but can have no lasting success, as it leaves the audience quite cold. Traak. and Albert Zapp bounce on each other's chest in a strenuous dance. Max Rivers, with the Trocadero Four, appear as Guardsmen in a toe-and-heel specialty—but there are too many of these good things for all or even half to be mentioned. They all appear at the end in a "Hungarian Wedding" ecene which Is beautiful as a spectacle in Its music and dancing. Delysia tualij arouses the old en- thusiasm with a smile or a glanoe, but the show does not solely depend upon her. She has three or four characteristic aongs and also an un- usual one, a ballad. London is thankful Cochran Is on the active list again, since there is no other showman capable of put- TORCH BEARERS London, April 22. Comedy In three acta by Oeorga Kally, presented by Marie Tempeat at the Ambaa- aadora, April 21. Mr. Frederick Tower*. .W. Orabam BrMrne Jenny : Dorothy Hamilton Mra. Tfwers • Muriel Alexander Mrs. J. Dure Pamplnelll Marie Tempeat Mr. Splndler Frank Allanby Mra. Fell Athene Seyler Mr. Hoasefroeae Ito Dawaon Mr. Teddy Spearing CVrll Cunningham MIM Florence Corbctt Phyllla Shannaw Mr. Ralph Twiller Norman Lorlng Mr. Stage Manager George Bellamy Mra. Sbeppard Hope Tilden Llbby Holman handled the song for results. "Fate in the Morning" was A rowdy take-off pn "Fata Mor- gana." Sterling Holloway lost a chance for a legit triumph here by rough-housing his imitations of Emily Stephens. The windup had the six directors of the Guild caricatured by mem- bers of the Junior organization. Their meeting blended Into a full- stage finale which held a reprise of the song numbers. Worked over a bit and some of can piece into an English play. The adaptation of George Kelly's "The Torch Bearers" has beep very thoroughly done. The action takes place at BarchestM- and the charac- ters behave exactly like English provincials. But it has been over- looked that the "little theatre move- ment" is still an American Idea. Amateur dramatics are not yet hlah- brow over here. Therefore, though the hokum of "The Torch Bearers" remains surefire, the title means nothing over here, and the point of the satire is missed altogether. Con- sequently the play Is merely one act of knockabout fun sandwiched be- tween two unnecessary episodes of slow comedy. Only Marie Tempest's popularity will pull this play through. Graham Browne is genial as the annoyed husbat^, and Athene Seyler de- lightfully funny as 'the prompter. The «thcrs are no more than ade* quate. THE ROUND TABLE London, May 15. Play In three acta by Lennox Robinson, preeented by -Sybil Thomdlke at Wynd- ham's, London, May-11. Mot. Drannan Clare Greet De Courcy Drenoan Arthur Hambling Oalsy Drennan Sybil Thomdlke Bee Drennan WIninM Onghton lonty Drennan Raymond Maaaey Ofartstopher Pegtun Henry Calne Mrs. Pegum Henrietta Leverett Miss Pegum Ann Uowse MIsa Wllllams-WUllaiDS Ada King Philip Flahlve Bllnt Makeham Fan Franka; Vera Shepstone A Woman Beatrtce Smith IStockwell Hawkins Two Passengers { Lewis T. Caason An Blderly Woman Blaa Palmer A Railway Porter Thomaa 'Warner Adaptation is a bad habit. When a play's nationality is changed, the chanced are the meaning disap- pears. Therefore it is strange to find Lennox Robinson, critic of the "Observer" and lecturer on the drama at Liverpool University, err- ing In this way. He wrote "The Round Table" was an Irish play, but to insure production in London changed his characters into English people. In' consequence they have become Incredible. There is a large family named Drennan, all hopeless except Daisy. She bears the burden of the do- mestic drudgery. An outcry when she announces an Intention to marry Christopher Pegum. Things quiet down when Daisy arranges that her mother and her mother's old school friend shall live with them. Her future is to be like her past, only more so, for Christopher has a mother and a sister who also will sit tight while Daisy does the housework. Still, Daisy promises herself the luxuy of smashing the round table she has polished every day. Chris- topher declares that in the home of the Pegums there is Just such an- other table. Daisy broods in despair. Suddenly through the window comes her second self — a female tramp who wanders the world at will. So Daisy takes a ticket to Liverpool and sets sail for any- where, leaving Christopher to mind his own relatives and hers. E^ven if translated back into Irish. "The Round Table" would still pos- sess one serious drawback. It is a mixture of the psychic and the farcical, and the two are badly blended. But It provides Sybil Thomdlke with a role well suited to her, while Clare Greet as Mrs. Drennan, and Ada King as the old school friend, are a-delightful pair of middle - aged, muddle - headed darlings. A money-loser. OSCAR WILDE Berlin, April 22. Carl Sternheim, author of several clever satirical farces about German middle-class life, has fallen for the Oscar WlMe mania. Most Germans believe that, outside of Shakespeare the"^i*nk'*eirmrnared"an'unnece88ary[*"«* Shaw Oscar is the only half cuss word or so cut, the chorus work speeded and some of the clowning stopped, "Garrick Gaieties" on the strength of its excellent cast and material may easily draw Sun- day audiences to the Garrick for several weeks and radically re- staged, figures to hold its own on a regular basis. It's that funny. Slak. way decent dramatist that ever .set English words on paper. Stemheim's enthusiasm has even gone so far as to lead him to write a play about his ideal. And that is dangerous, for he has over-esti- mated himself as well. The play h-ies to be very "daring" in its sym- pathetic treatment of perversity, but only succeeds in being very. German-English Players Berlin, April 12. A group of German players who speak English have begun a series of performances in this language at the Neues Theater am Zoo. From an artistic angle the acting was un- even, with several very strange ac- cents noted. From a financial angle the project seems to be okay as Adele Haxtwlg, who is managing, has I good connections with the iCng- lish-speaking Germans and the at- tendance at the four matinees was satisfactory. The first production was Arnold Bennett's tomedy "The Great Ad- venture." Thisj)lay is known In America and needs no comment here. Be it merely «ald that It seems as fresh today Is In 1913 when it had its phenomenal London run. The star of the afternoon was Arnqld Korff In the role of the shy artist. This actor, known in New York from his work in Pirandello's "Living Mask," gave a magnificent Interpretation and the part could .not have been better cast in Lon- don or New York. Adele Hartwlg. directress of the enterprise, played the leading woman's role. Although somewhat hindered by a strong accent she nevertheless overcame this handi- cap by the vivacity and grace of her playing. Other good work was done by Sigmund Nunberg, Frieda Richard, Dr. Manning and Linke, the stage manager whom Relnhardt took with him to New York to help put on the "Miracle." Prospects look good for the con- tinuation of the enterprise. The next performances will be Sutro'S "Laughing Lady" with Tllla Durieux in the lead and Wilde's "The Im- portance of Being Earne.st."