Variety (January 1926)

FX-' te VARIETY LEGITIMATE Wednesday, January 13, 1928 n ■ever edgea over on Watson and Tombca" territory, while Miss Smith certainly impedes no one. These four principals carry the ■tory with it something of a sur- prise that Miss Smith has made her dancInK secondary to vocallzInR. The part is limited as to comedy possibilities, so if this girl is at- tempting to get away from her terpsichorean assets in favor of es- tablishing a permanent reputation as a comedienne it might be termed a tactical error. As her perform- ance currently stands, it's doubtful If Miss Smith is doing three minutes of dancing throughout the entire performance and that amounts to something of a shame in lieu of her past record on her toes. She is only ■een.once to this advantage. Kearns is a boyish Juvenile, op- posite ^Ilss Smith, who pleari^es members of both sexes out front and consistenty regl.stera on his own. Accurate perception as to Just how far he can go without stepping over the line to aln laughs is a de- cided asset, while he alv;-"9 coi.'l and still can lead numbers. A color- ful performance well dona. Behind this first groun of players comes Jeannette MacDonald and Robert Ilalliday, both adequate. Gertrude McDonald, Lovey Lee and Amy Revere are the dance special- ists, the latter reminding very much in woric and form of Evelyn I^w. Miss McDonald offers a standout appearance, especially in the clos- ing scene, while Miss Lrce is cap- able of more dancing than she is showing here. Sammy Lee or Earl Lindsay has Inserted a couple of new wrinkles in the modified "hot" ensemble num- bers, while the groupings are con- Blstentiy picturesque and routined by a well drilled chorus. Grant and Wing are on late for a fast inser- tion that is more than averagely worthy. In plot it tells of a vaudeville threesome (Watson, Tombes and Miss Smith), who arrive in Florida for a party engagement. The hus- band of the social wife having pre- viously flirted with "Tip Toes" (Mips Smith), pays off the trio without their performing, in fear of the wife. With this money, the two men -de- cide to dress their feminine partner, on the chance she will snare a mil- lionaire. Kearns is the moneyed youth from a Maine village who "falls" for the girl, whence later she must explain her masquerading as •n heiress, etc. The music's the thing, however. With Ohman and Arden added Its value is enhanced. This combination Is seemingly the happy medium be- tween a dance orchestra playing a •how and a fuU orchestral instru- mentation. It Inserts the dance floor rhythm into the numbers while retaining the advantage of the strings and woods. Besides which Ohman and Arden know something about a piano. They're not on the stage at any time, as they were In •^.-irty. Be Good," but they're Just as prominent with the orchestra- tions deleting the "hot" brass in tavcr of the keywork of these boys, and It's great. "Tip Toes" is pretty to look at. It's rigidly clean, there are laughs and there's music. That's enough for any musical to have, and its Broad- way run will prova It Bkig. THE PATSY Richard Hcmdon presents Barry Conners' threo-act comedy, featuring Claiborne Fos- ter. Staffed by AUan Dlnehart. Opened Doc. 23 at the Booth, New York. Mr. Hnrrinirton Joseph Allen Mrs. Hurrington L,ucla Moore Grace HarrinRton Mary Stllla Pntrlcl.i Harrliiston Claiborne Foster Billy Cnldwell John Diggs Tuny Anderson Herbert Clark A bright Utile comedy, a bit dull In spot.s, generally obvious, replete with trite "wise-cracks," and yet likely to attain a moderate run. Barry Conners has naively strung together a flock of familiar bon mots and epigrams, but the curse is off through tfie fact that "Patsy" heroine (Claiborn^ Foster featured) is cast In the role of a little Uiss Nobody who has subscribed t<^H)course of "Wise and Witty Sayings for All Occasions" as a means of insuring popularity for herself In lieu of her supposed shortcomings in physical appeal. Patricia, alias The Patsy, thus is somewhat of a problem to her testy mother, who cannot f.athom her in- termittent nifties, such as "no use crying over spilt milk; there's enough water in it already," or the philosophical wise-crack, "life is a stage, but most of us are only stage- hand.s." Patsy is a human If conventional sort of ch.Tracter, a female counter- part of the fall guy, the butt of her mother and elder .sLster, but the pet of her understanding father. The gagging becomes a hit too much up to the point wh^re Patrl.ia confesses the source of her wl.se- crack.s, all of which makes a plau.si- ble explanation. A wholesome romantic Interest Is Interwoven as the major motif and. all In all. "The Patsy" Is a fetching •lice of life in a serio-comic vein. Without Claiborne Foster, whose young and capable shoulders hear the brunt of the appeal, "The Patsy" might not amount to so much. Not that the sirpport is not as tta)-top as the featured player. But The tIfU- role is a tough assignment, an4 Miss PLAYS OUT OF TOWN SWEETHEART TIME Boston, Jan. 12. Two-act musical comedy adapted from "Never Say D.e." Opened Christmas Kve at the Majestic. I>yri.-s by Ballard Mac- Donald and Irving Caesnr. Score by Wal- ter Donaldson and Joseph Meyer. Book by Harry B. Smith; directed by Willie Cul- ller. Oanc< B ty I.Arry Ceballoa and Will- iam Se.'ibury. rrdiluitlon by Bufiu l*- Mulre. John i>. MrManus directing. James Starke Patterson .Mina Lalne Blalre Mashle Harry Cogert .N'lbllck Dick Motto Marlon Stevenson Marion Sakt Itoy Henderson Al Sexton Dr. Al>e Splnch Harry Kelly ■Mrs. Stevenson Marie Nordstrom Violet Stevenson Mary Mllburn I^ord Hector Raybrook Fred Leslie Dr. Ralph Galesby George LeMalre Uriggs Wllmer Bentley Dion Woodbury Eddie Buzzell Alphonse M. Marcel Rou!<seau I'arlta Rita Del Marga Walter Bob Callahan Dorothy Dorothy Van Alst Alice Alice Wood Betty Betty Wright Bessie Bessie Kademuva Dorothy Dorothy Brown Bobble :.Bobble Breslaw Rufus LeMalre had so much faith In the old Willie Collier success that he apparently took its original title of "Never Say Die" as a slogan for the musical adaptation. His first idea of calling it "Leave It To Me," has now been changed to "Sweet- heart Time" for absolutely no rea- son other than the hunch that the public was ripe for a musical that was neither revue nor travesty type. The show has taken hold here amazingly in view of the fact that it opened cold, is a long way from being well cast and needs a couple of strong lobby-sellers in its score. It is being made by its dancing, and if the chorus continues to im- prove the show is set for both in New York and the road. Le Maire has kept it clean as a whistle, both in book and costume, and intends to stick to that policy. George LeMalre was added to the cast Friday night, replacing Olln Howland as the "straight" doctor, while Harry Kelly, in a rather sad comedy role as the "horse doctor," and hoke detective, is apparently going to continue in the hope that the part can be built up. Two stick-ins are Nick Lucas, Bruns- wick recording star, and Coffee and Cake, this latter act having little to do. Lucas is being plugged and in the spot where he has been in- serted to fatten a garden fete scene is going strong. Eddie Buzzell and Mary Milbum make a neat team flanked by Mar- Ion Saki and Marie Nordstrom, al- though much of Buzzell's stuff, in- herited from Willie Collier, is going over the heads o' the musical com- edy audience. The story, although radically re- vamped during' the several attempts to make it a sound book for a dancing show, is substantially the same as when Collier played it, and concerns Buzzell aJa a young mil- lionaire with only a month to" live who marries a girl he loves at first sight In order to leave her a for- tune to be enjoyed by a titled Brit- ish friend he Imagines she loves. The dancing bits hold well with no outstanding feature except speed and variety of routine. Several girls from the show are being built up Into teams and soloists. While a little short of making the grade at the present time they bear every Foster fills the part most convinc- ingly. The reliable Lucia Moore as the mater was excellent, as was Mary Stills in the thankless sister part. Joseph Allen in the father role did vtell, and John DIggs and Herbert Clark as the girls' beaus rounded out a satisfactory cast. "The Patsy" is a bit lightweight to register heavily, but with cut-rate assistance It should linger around these parts for some time. Aside from that, tho play should make a corking musical comedy libretto which, coupled with the excellent film possibilities, should not hurt the Herndon-Conners' exchequer. Abel MASTER OF THE INN Three act play by Catherine Chlsholm Cushlng. suggested by Robert Herrlck'« book of tho same name Produced by Druce aad Streett at the I.lltle. New Tork, Doc. 1!2. Staged by Hubert Uruce with Robert Loralne starred. Ian Keith and Virginia Pembcrlon featured. One-set show. Master Who Tills Story Geoffrey iJavId Thome Robert Lomlne Guests Who He.ir .Story The I^awyer Kenneth Gondhue The r.roker George M. Wiseman The "Plllsllnger" Forrest ZImmer The Architect Kdwnrd Borrale The Artist Ralph WeMhnas TJio Newcomer Klward Forb'-s Pc-.p!" Who Play Story (■■.eofrrey I>avld Tliorne Robert l,or.i!iie Tony Norton, a y.iung nurgeon. .. .Ian Keith Andree I.elBh Virginia Pemherton The "Plllsllnger" Korresl ZImmer .Tudge Asrhe Walter Howe Harriett .N(,rt<-.n Verreo Tensd.ile Sammy, the '"hln'^e B-.y Helen Woo FM'tro, thn ll'tle Wo;. Vincent Hardi, Jr. Mammy, the cc»>k Marie Taylor Bffore this one came Into town there were «fo.-l«H from I'hKadelj.hla that its buBincfls was as low as $127 indication of developing into really good material. "Step On It." "Two By Four," "Sweetheart Time," and "Who's Who" seem to have the best chance of clicking as musical numbers, but the need seems to be a popular fox- trot that will build from pianos and dance floors. As It stands "Sweetheart Time" looks safe, dancy, and destined for popularity because it is clean, fast and baa the novelty of a good book. Libbey. MAGDA Chicago, Jan. 8. Rerlrai of Hermann Sudermann's four- act drama presented at the Princess, Chi- cago, atarrlng Bertha Kallcb. Staged by ICdgar MacGregor from a revised transla- tion by C. E. ▲. Wlnslow. Setting by Ru- dolph Adier. Ueut. Col. Laopold Sefawartse (Re- tired) Charlea Waldron His Daughters: Magda...' Bertha Kalloh Marie Josephine Royle Augusta, Ills seeoDd wife. .Lioulse Muldener Franslaka yon Wsndlowakl. ber slater Sybil .Carlisle Max T«a Waitdlowskl, their nephew.... Albert Uecht Heftsrdlnst, paator •( Bt. Mary's Henry Stephenson Voa Ksllar. «oiiiiclllor at law Warburton Gamble MaJ. Osa. Ton Klebs <on half pay).... Lester Alden Prof. B«ckiiiann Cyril Scot Mrs. Von KlelM Mathllde Baring Mrs. Justloa KIrlch Jenny RIckerson Mrs. Schumann Florence Pendleton Therisa, maid •( the Schwartze family - Emily Bolleau Bertha Kallch secures the princi- pal credit for such vogue as "Mag- da" will enjoy, either in Chicago or elsewhere. It will bring forth a few students of the drama interested in seeing this old classic for itself, but essentially it will be Madame Kalich the customers come to see. A survey of the audience at the Princess revealed a preponderance of Tiddish, German and foreigners. The house was almost capacity, at any time sufflciently remarkable at the Princess to deserve mention. The Princess has frequently domiciled interesting shows, but does not often approach capacity—even with cut rates. The Kalich "Magda" is superla- tive. Mr. Wlnslow's translation is clear, business-like and forceful; Mr. MacGregor's stage direction in- telligent, finely shaded and eminent- ly successful. E>ich member of the cast flta. The whole thing is beau- tifully done and very interesting, but of questionable commercial value because of Its old-fashioned theme. "Magda" has been acted for 30 years by a long series of emo- tional actresses. It is gravy for a star like Kallch. Not only the Magda part, bat the old army offlcer. Pastor Hefterdlng, and Councilor Von Keller are rich in dramatics. Charles Waldron, as the white-bearded retired lieutenant colonel, is every inch the picture of the Teutonic Rigorist! Henry Steph- enson is an ideal choice for the pas- tor. Warburton Gamble was ade- quate as the man who was "practi- cal" in his honorableness. After all these years Sudermann's authorship stands out "Magda" Is compact, neatly turned, real, moving forward with aureness toward a finely sustained climax. Scattered through the early acts are a few bits of what the movies call comedy re- lief. While ambrosial in its oppor- tunities for heavy acting, an act- ress must have won her sours to cope with the part. Hoi. nightly. Now that It Is in New York, it's fate will probably not be any better—If as good. "Master of the Inn" is a trashy play of maudlin sentiment, written as badly as a thing of this kind can be written and miscast as badly in a leading role. That Robert Loraine is in the cast means a great deal, for his work is excellent, but Loraine at no time has to exert himself to do all that the role requires, while Virginia Pemberton is guilty of overacting over all the lot. The plot is the old one about the fellow who turned the other cheek for slapping purposes. That being the case, his romance is recounted with one Andrce Letfeh, who mar- ried young Tony Norton in prefer- ence to David Thome. Mr. Loraine is starred, although his role Is subordinate to that of Misa Pemberton, who is featured along with Ian Keith. Nobody around Broaaway can volunteer much information about Miss Pem- berton. If she has really gone to the extent of backing this certain flop, then by all laws of tho past, it should be her inalienable right to do with her role as she sees fit. The sole refreshing performance, aside from that of Mr. Loraine; Is offered by (Miss) Verreo Tco..sdale. who makes a silly part attractive. The play is the second production of Druce and Streett, and they have the Little under guarantee for sev- eral weeks, at a price reported to be 14,500. extraordinarily high for such small seating capacity. It Is not predicting too freely to say that "Master of the Inn" will last as long aa the bankroll of Its backers. Not a chanc*. Mitk. CLOSE QUARTERS Washington, Jan. IS. Oaorge C Tyler presents a modern play by ▲. K. Thomas based on the French clas- sic. "J..S Demi-Monde," by Alezandr* Du- mas. National theatre, Jan. 11. Hon. I.«urle St. Ives Wallace Eddlnger Taptalii Oliver North Geoffrey Kerr Marquis of Bourne Bruce McRae John Tarleton Frederick Worlocic Rogers Siaplclon Kent Mrs. Harley-Uuest Elsie Ferguson Mrs. Camilla Claiborne.Margaret I>awrence I.,ady Avuion Ktfle Shannon Allen Darnley Gladys I.loyd Nathalie Mabel Mortimer Fallon Patricia Morris If Mr. Tyler means to send "Close Quarters" into the highways and byways it is a cinch the piece with the present cast will attract a steady stream of dollars into any man's box otTlce. But, if the play is headed for New York, that's something else again. All of Washington's elite turned out for Elsie Ferguson, Bruce Mc- Rae, Margaret Lawrence, Wallace Eddlnger, Effle Shannon, Godfrey Kerr and Frederick Worlock. Taking the Dumas classic, first produced in 1855 in Paris, A. E. Thomas has modernized the story well enough. There Is reference made to all the present day "goings on." But they could do the same thing with "East Lynne," and it would still be "East Lynne." That is the trouble with this one. The story doesn't creak, but the idea behind it does. There is a great first act, but after that Interest in the play, not the players, skids considerably and at times even comes to a full stop. Tho performance is a beautiful piece of team work, each of the cast being seen to great advantage. The bet- ter roles fall to Miss Ferguson, as the mistress who would marry the boy; Wallace Eddlnger, the last lover, being cast aside for this same boy, and Margaret Lawrence as her friend and confidant. All in all it's a great evening in the theatre, for -those past 40 and those ahead of 20 who would weep with the woman with a colorful past and hope she lands the nice boy whom she loves and who loves her, but who has his doubts and lets it PAUL WHITOIAIf S CONCERT Unique and extraordinary in his field, Paul Whiteman has no com- parison. While the logical successor to Sousa as an itinerant band at- traction, Whiteman is not to be compared with or classified for the reason he is Individual unto himself. As a result, at the Jazz maestro's first of a couplet of Carnegie hall concerts last week (Dec. 29 and Jan. 1), Whiteman attracted the most flattering attention, not alone from the symphony men like Damrosch et al., but from the paying patron- age, which was a peculiar admixture of I^rk avenue and tin pan alley. The high hats were muchly in prom- inence for the atmosphere, and even the melody boys resurrected the boiled shirts as a token of respect for their regal emissary into the strange and suspicious . musical world that shrugged its shoulders so disdainfully in the past at anything linked with the odoriferous sugges- tion of Jazz. But not so Tuesday night! The critical gentry particularly was most warm in its acclaim, and even though the plece-de-reslstance of the Whiteman program, the Gershwin-deSylva colored opera, "135th Street" or "It Happened on Blue Monday" was handicapped by inadequate lyric interpretation, the instrumentation was ultra and as such rightfully treated. All of which speaks considerable for Whiteman and his acceptance by all as a standard and a staple. It makes one marvel at the change in the general attitude, considering that only a short two seasons back some of the critics rapped his oflerlng of Gersh- win's "Rhapsodle in Blue" and to- day this self-same critical gentry was the first to "throw raves." Whlteman's program, as offered, opened with Ferdlc Grofe's "Missis- sippi" suite. The second number was a Jazz section of the symphonic order. No. 8 was Deems Taylor's "Circus Day" suite and a straight- away rhythmic Jazz marathon con- cluded the first section. Following the Interval, a 19-minufe one-act Jazz opera was presented. With the kiyout in mind, one might argue that Ferdle Grofe's "Mississippi" was too worthy to be wasted as tho opener; "wasted" should not be Interpreted literally because the number did much to set everything pretty. Hence, It was really good showmanship to insur» things in general by commanding respect with a corking opening number. The Grofe suite (a tone Journey that embraced "Father of the Waters," "Huckleberry Finn" and tho "Mardl Gras " finale) ran 11 minutes. ■The «ymphonlzcd Jazz that com- prised the second number on th« program was given a poor start by John Alden Carpenter's attempt, which again proves that Jazz is onlv to be entrusted to the gifted Jaz?. Interpreters like Ger8hwin, Berlin Youmana. et aL Whiteman gra- ciously stepped aside from the roa< trum to permit a trio of reeds and a piano to do a Confrey-PerelU composition as a specialty. A cork' ing arrangement of J. S. Zamecnik'i "Indian Dawn" and RImsky-Korsa- koff's "Hymn to the Sun," both »^x- cellent Grofe arrangements, wers individual highlights, but it rv malned for Chester Hazlett, as snxo* phone soloist with "Nadlne" (Hln- ton) to tie up the works and fore* an encore, stopping the concert completely. Hazlett Is possessed of a tonal quality that Is to be encoun- tered but occasionally. What Is more surprising, Haziett's comedy work on the family of reeds he man* ipulates, matches any comedy spw- cialist before afllllated with White- man. Deems Taylor's "Circus Day" suits, with its octet of musical impres- sions, was brilliantly scored by Grofe to bring out all the comicali- ties of the clowns, street parad^ trained animals (this section was particularly mlrth-provoklng) <Jid other circus appurtenances. The pop Jazz section had Charl** Gaylord and Austin ("Skin") Young, violin and guitar specialLsts, step- ping out for vocal snatches. It was in this portion that Wilbur Hall with his bicycle pump sonata and the aria from "Turkey in the Straw" on the fiddle, mopped up humor- ously. Harry Perella and Raymond Turner, manning twin baJ>y grands, also stopped the show ana extended themselves to three encores. "Meet the Boys," a Whiteman trade-mark, introduced the specialist^ for som* corking solo snatches. In retrospect, after the first sec- tion, Whiteman showed the same ultra sympho-jazz organization he has alw.iys been Identified with. That brass section is a bear for individual impression. The battery of 12 first violins, coupled with the other strings. Is sufficient counter-balance to bring out all the niceties of the symphonic scoring. The reod sec- tion is also in a class by it.self. Particularly Impressive w.'i.s the Ferdle Grofe arranging. Grofe U the ace arranger of the Wliilcman organization. His retreat Is In New York, while tho Whitemanltca are ■touring and his sole task Is to score for the record.s and the stage presen- tations. Grofe is a genius in hl8 line of Jazz arrangement, and Whiteman has 1 cen a most encour- aging sponsor and guide to Crofe'e Individual talentg. Whiteman (an* this Is "In.sidc" stuff), while pos- ses.<ilng Ideas on how he wanted certain numbers done, has never ordered Grofe to follow certain sug- gestions, merely outlining the ide* in brief and leaving it to Crofc W develop his product, as his J"^* ment rules. Sometime."* th'> ^°tt have coincided; as often rnt, but Whiteman, nppreclatinp tJm <■>"'">■ of his arranger, has nevrr hnnai- (Conllnued on page 63) be known he won't marry anvon* not Just right. anyone New York will possibly take thi. one, due to the list of names i? may get a longer run than the uguai all star affairs in camoutlaged rT " vlvals, but Ita gold mine Is on thI NOBODY'S WIFE Chicago, Jan. 8. Three-act faroe by Mark Swiin p... rnrVaWdV^jYhraV/en*'''"•-•='''-2: pe;^n;::::::::::-v;;;;.v°sl^n^?"^ Evelyn Shore Enl" Marii* Ann Carter Ullzaheth ni.J ' ^•.rryWi'e"* ::.::c&s'^scr,";3 g'u'i^i.^'sriL^f^:::::::::: jam4i • C;.ii:s • Mr.-. Richard Jermyn Valerie Valaii Buck Packer Philip lSm ' In a nutshell "Nobody's Wife" la the worst kind of a flop. Im.igina- tion Is required to figure how it can ' last a fortnight. It presents the ' spectacle of an actress of Elizabeth Risdon's standing doing farce as stltled, stupid and silly as ever found a producer. The whole thing concerns one lady who looks like another. Atrocious stage licenses are taken and anything that might get a laugh is condoned. The only equipment for authorship Mark Swan here re- veals Is a certain Imitative knack for double entendre a la Avery Hop. wood. This, however, is only a minor note. It doesn't even succeed In being risque. The "mugging" to which the stage director makes these repu- table actors resort to smacks of darkest Iowa. Pieces of business ' that were ancient before the movies filed them arc used. Bevis and Per- kins, the hokum butler and maid of ancient farce, are restored to life, while another congenital idiot is played by James Spottswood, ordi- narily a first rater. Enid Markey and John Litel are best simply because their roles were the lea.st impossible. Miss Markey is a rattling good ingenue. The production is shoddy. The reason, excuse, whyfore or other extenuating circumstances of "No- body's Wife" is probably nobody's business. Hal. ..I-