Variety (April 1926)

Wednesday, April 7, 1926 LEGITIMATE VARIETY 19 SHOP TALK By J. C. NUGENT When a "kidder" Ls taken seriously, he becomes confused. Kidding is a charaoterftic of America. It Is not necessarly confined to America, or to Americans, but it seems to blossom and flourish her© with natives and foreigners alike. I think the natives starts It In its American form and the Incomers absorbed It and called It "American liumor." As such It Is referred to with varying degrrees of dlareapect, according to the viewpoint of the immigrants, "non quota" or otherwise. Anyhow, it is the spirit of sanity which refuses to take things too aerlouBly. So I, who have had the kidding complaint chronically all my life, am a bit confused to And that some""of my technical show stuff in Variety is being read to the dramatic classes of schools, colleges, schools of acting, drama leagues and amateur societies of the nation. That is not my fault. I refuse to become suddenly an authority. It entails a dignity which is exhausting, especially In warm weather. No sane man is unduly dignified except for a salary, I prefer comfortable ■hoes and a pipe. Anyhow I have In mind, when writing, cnly the regular stage, and as the regular stage is the conscious or unconscious goal of the amateur who can view the stage as a whole, and does not confuse a temporary amateur triumph with the real stage. I mlsht say, also at random, that he has one thing in common with the highest professional, and that is, a* chance before an audience. I am presuming, of course, that he gets that far. And while there is as much difference in audiences as between the highest professional and himself, there are certain Identical elements in all audiences. Low Intelligenco To compel a response from any audience It Is necessary first to reach their average Intelligence. And the average Intelligence is unbelievably low. Never mind the high or low individuals, you must realize the average. At least fifty-one per cent of them must respond or they swing against you. The confusing point is that an audience which Is predisposed in your favor can give no verdict of applause or approval that is of any value In an encounter with a "legitimate" audience. A legitimate audience signifies Its wlllin*Tness to be entertained when It buys tickets. After that, there are two kinds of "legitimate" audiences. Sy which I mean, audiences whose verdict mean anything as to your ability as an actor. The first is that which responds to what you do on the stage without previous knowledge or prejudice or favoritism toward you. And the second containing a "following" which you have gained by pifevlous meritorious performances. The first Is the best for getting a line on yourself. The second la the XDOst valuable If you have been lucky enough to ea^ it. The audience of relatives, friends, teachers, comrade* la amateur circles, represent a social and not a legitimate following. Just as the playwright who takes the flag, the dead child, the name of a great character, religion or institution in real life and slaps the audlenee in the face with its own emotions, taking its response to them as a response to him—Just so the amateur is often misled by the praise of Aunt Emma and Uncle Joe. Classifying Audiences " After getting the response of the average intelligence in an audi- ence, the next point Is to classify that audience. Cummunlties are basically much the same. The appeal of a play Is to the emotions. Emotions are much the same everywhere. But the conscious Intelligence must be won over before those above the moron stage are touched in the emotions. So after all, audiences Vary In the ratio of their intelligence. Conscious Intelligence must vary according to its opportunity to be- come Intelligent. Granting that natural Intelligence may exist any- where, and that a mill or farm laborer may become an Intellectual giant, his class reflects its environment, if he doeff not, and his special claim to recognition is in the ratio of his escape from his class. The "great stars who have come out of vaudeville" had to come out to prove It The great artists from the little theatres and amateur stages must also prove It on the regular stage or be content with a phase of fame which amuses them and, it Is true, harms no one else. Time was when the "regular stage" meant a definite thing. Now, only a small part of It means a definite thing. The escape of many mediocre recruits from traveling and second rate shows and vaudeville onto the "regular stage" is not due to their artistic ride but to the lowering of the branches which up until lately give them shelter. This has flooded the regular stage with cheap popular plays, often, or simetimes. successful. At least successful In changing entirely the bottom and middle of the so-called "legitimate theatre." Differences Just as, in the country, there is a difference between the factory, farm hnd mill audiences and college town, stale capital and county seat audi- ences, and Just as flne plays, classics and thoughtful plays, Shakesperean revivals and such are appreciated more in the south and west where people think ard read more and talk and laugh less, and revues, comedies and musical shows are appreciated more !n the crowded centres where people want immediate relaxation. Just so there is a difference in New York, Cliicago, Boston and Philadelphia audiences, where there are both, and all, kinds of people. The price of admission reflects the financial standing of audiences. It hardly refiects their Intelligence but to some extent it must reflect the Intelligence of the producer. And tho producer who tries to exist on cheap prices, cut rates and the tax on rasses (lately becoming quite an item in the keeping alive of failures in order to corral the stock and picture rights) has hardly shown as much dramatic Intelligence as those who can maintain the legitimate prices of admission. Those who can, have attracted a "legitimate audience"which represents tl»e highest achievement of producer, actor and dramatist. They represent the only part of tho "regular stage" whose verdict as m^^**" or plays need make anyone feel important artistically. vaVrt** m^^*^ legitimate audience is at the bottom, the plain unadorned auaeville or stock audience at cheap prices who please their following iihout names or aught but the goods provided at the prices. The pictures which do likewise and do not bunk their audiences with any- ining but what they deliver. And that mustn't be bunk of its class. In '^tween there are audiences which poy well to see plays and shows, sustained in the main by bunk namos, fronk advortisinp. press agents, rrionds, relatives, personal folio\vin^,'s. liaclars. accidental "breaks" and a 1 tho rest of the curious mob psjchoioKy which now and then make people rich ty a fluke. But none can aspire to the aristocracy of th« stage. None can claim the tilump and standard of artistic authority. 'y^^' "'^ liave errovvn luimMe with the years are well content ^Ith IcHM, dear amateur. JiuL iC the niKhobt and worliiicst goal is in your mind, you are starting on a long road, far ^^-^^^ ^^^^ another thought over bond selling or civil engineering or thtTr^ drygoods or wet poods. Still, to end with a n<.:e of hope to e intelligently sincere, and this is not kidding, I think that of the mass of mediocrity and incompet ence and insincerity which is the Amcr- theatre, in no profession is honest talent and competent technique ■o quickly recognized and rewarded. UniE THEATRES The Portal Players. Minneapolis semi-professional Uttle Theatre group, has chosen Lenormand's "The Failure" as the second pro- duction of their season. Aldls Bart- lett. seen here at the Metropolitan earlier in the season with Flske O'Hara in "Land o' Romance,** will come from Chicago to play the lead- ing male roltk Joseph B. GlfVord, head of DrcJce University dramatic department, has resigned. He's been there six years. There was talk that his resignation was precipitated by the disbarment of Thomas W. Duncan from college dramatics. Duncan had been cast for leading roles, but two days before the shows were presented the university suspended him. INSIDE STUFF ON LEGIT George Tyler sailed this week on his annual Europ»»an Jaunt but un- like previous years he' is unaccompanied by a critic. Two years ago Doc Hall, the Chicago scribe, was Tyler's tnivoling companion and last spring Percy Hammond Joined the nianacrer abroad. Tyler has one success on Broadway, "Young Woodley" and a money maker on tour, "Close Quarters." with a star cast. Tho nearest the attraction got to Broadway was Brooklyn. Though opening in Chicago this week it may never reach New York. "Close Quarters " got $40,000 In two weeks In Philadelphia. The r.rooklyn date grossed 119,000 in- cluding two matinees of "Divorcons." The British Drama League in Toronto has received an invitation from the committee of the David ^elasco Little Theatre Tournament In New York for an English com- pany to be sent to compete In this tournament, which Is held in May. A preliminary contest la on and the successful group will go to New York. The Theatre Arts Club, San Fran- cisco, direction Talma-Zetta Wil- bur, presented a program of one act plays in the Players' Guild. The program included "So That's That'* (John V. A, Weaver), "The Neigh- bors" (Zona Gale). "Rlchea** (Gil- bert Emery) and "Suburbanlsm" (Ray Parish). "Hallelujah,** a new three-act play by Anne Murray and Fulton Dent, will be staged by the Play- crafters in Los Angeles at the Gamut Club April 20. Lulu War- rington Is directing the cast. It in- cludes Edith Yorke, Marjorle Ben- H. A. House, wealthy hu.'^band of Martha lledman. wrote "UHiat's the Big Idea" at the Bijou, is also backing the show, thou^jh prcsentt'd by Richard Herndon. Business is among the very lowest on the list but the Houses believe the attraction has a chance. To date they have paid no attention to the grosses and are willing to string along in- definitely. "What Every Woman Knows" is listed to open at the Bijou next week, however. The father of Mr. House saw tho show early last week. On his ^^Tiy west he died In Cleveland. It Is understood he bequeathed millions to the son. The "Clarence Reed" of the "Kongo" cast, who received special men- tion for his stage work last week, is tho same colored giant who ap- peared In Comstock & C.est s "Aphrodite" under the name of Clarence Redd. Redd is a New Y'ork boy who possesses a corking voice t»it which he la not using for song purposes in the new show. At one time he ap- peared with the "Black Patti," Williams and Walker and "Smart Sot" shows. Redd is one of the few colored nctors in the New York colony who manages to keep continuously employed on the stage. With the Shuberts "In" on tho Zlegfeld Cosmopvolitan where their "Two Orphans" Is being revived with an all-star cast, the Hearst con- nection in the theatre has accounted for the New York "Journal" being "opened" to the Shubert attractions. Benny Holtzman was responsible for this, getting the Shut>ert ads back Into'She "Journal" and otherwise straightening things out. Jones and Green, managing directors of the Bohemians, Inc., are plan- ning a more extensive production program for next season. It is re- ported that accompanies a vrealthy young min's ambition to enter show business. The latter la expected to Inveat In some of the Jones and Green enterprises. Bertram Harrison haa been called in to shape up "The Duchess of EllMu" now in Baltimore, before it goes into Chicago for a run. Tho piece was originally directed by George Cukor. It is also being re- written on tour, the first two acts proving unsatisfactory after tho nett, Kenneth Chryst and Frieda | Brooklyn opening. Franclne Larrlmore is starred. Byard. The "Greenwich Village Follies" ads last Monday were devoted almost Ramona,* the Helen Hunt Jack- I entirely to Joyce Hawley, the model who figured In Earl Carroll's bath- son story, will bo presented at the tub party, being in the cast Miss Ha^wley Is In a sketch which em- natural amphitheatre at tho foot of jjioys a bathtub and the ad carried a line drawing of a nude woman Mt. Jacinto, near Hornet and San | i- *iik Jacinto, California. April 24-25 and May 1 and 2. Doriso Schukow will 1 ^^^^ ^, . ^i. • u..* « ^^i.- again play Ramona In tho pageant, With tho awarding of the Pulitzer prlxea but a few weeks off, thero while a cast of Coahuilla and So- I are any number of responsible people along Broadway who insist that boda Indians are In tho play. | tho play to bo given the prise will bo "Craig's Wifo." George Kelly la the author. Shakespoaro with an all-male | Last year's prise was given to "They Knew What They Wanted" only cast will be tho spring offering of | after several on the committee had voted for "The Show M," an earli< tho Mountebanks, dramatic sodoty | Kelly play, at Union College. They will give The Taming of tho Shrew* as part of Junior week program. junior weeK program. COLLEGE OIRIii "COVERED" Tyler D. Wood, oocloty prosidoot vwiiiowxi vxamv w m,mm^^ wUl direct tho play. | Kansas City, April 6. "Wanga Pango," musical produc- Lewls Beach's -A Squaro Pog* will I tlon staged by the Women's Self be presented by tho Studio Players, | Government Association of the Kan Minneapolia Little Thoatro group, "as State University, with promi some tlmo In April, preceded by a nent co-eds in the chorus, received ecturo by Carlton Mllea, Journal front page publicity when Agnes dramatic editor, on "Contemporary 1 Husband, dean of the women, de American Dramatlata." | clared the girls must cover up. Miss Husband witnessed the open The George Kaiser play, •'From I performance and Informed the Morn Till Midnight" will bo pre- director that no more performances sented at the Potboiler Art Theatre, could be given unless the girls wore Los Angeles, for Hvo nights, start- Utocklngs and also cut out some of Ing April 28. It will bo directed by ^^e "lap-landing" stuff In one of the Kdgar Ulmer, art director, for Unl- | ^*1<* west saloon bits, versal Studios. "Solid Ivory" for Bryant The Little theatre of tho Unl verslty of California announces a I "Solid Ivory," the baseball comedy revival of Sheridan's "The School by young Theodore Westman, Jr., for Scandal" April f to 10 In com- which had a brief run last amamw memoration of tho 150th birthday at the Central, New York, Is^elng of this famous play, | recast for Chicago by Lester Bryant. The Players' Guild theatre of San I ^^^^^ Milwaukee Francisco Is to do Ehigeno O'Neill's -^P*"" 25 following into the Play The Hairy Ape" with Reginald house, Chicago, a week later. Travers directing. RehearsaU are '^^^ company is being organized now going on and tho production | rehearsed In New York, will be ready about April 15. Guy B. Klbbe will play tho title role. | Wl U M OB'ff STOCK Tho Cort-Wlndsor, New York. Fred BuUer stages for tho Flor- currently oporaUog aa a eomblna ence Doblnson Players at tho Oa- tlon legit and tryout house, changed mut Club, Los Angeloa. May 17, to a stock policy April 6. "The Sin of David,- pootle drama Sam Taylor and Augustus Pltou by Stcfen Phillips. Tho cast will will be Jointly interested, taking the be entirely professionaL | house over from John Cort for spring and summer, with Cort re Mary Alice, Esq.** tho musical | sumlng road shows after Labor Day. comedy by Grace Johnson, Univer< 2 in Indianapolis Chicago, April C. William V. Hull, sUge director for Charles Berkell, waa In town last week securing people from tho MIlo Bennett agency for the Berkell Players which begin their fourth consecutive summer oeason at the English Opera House In In- dianapolis on April 19. Indianapolis, a great town for summer stock, has had as many as five companies current at the Hame time. This season It is expected the Berkell Players will compete with a company to bo Installed at one of the theatres by Stuart Walker. Miltcn Byron and Edith Klllott will handle the leads for the Berkell troupe. "The Boomerang" will bo the opening bill. sity of Utah co-ed. will bo pre- sented this week in Salt Lake by the University engineers (all male cast). Julia Arthur at Mats Only Los Angeles, April 9. Because there was no regular theatre available and tho I'hilhar- „ ,. w , V .inonic Auditorium was engaged for produced by the Kansas City Little ...s.^ant Joan" this and next week Thtatro with I-rances Jane Jones In the title role. Logan Smith di- | opening attendance has EMERSON'S LOST VOICE John Emerson, head of Equity, la under a vocal handicap as the result of acute laryngitis. He has been without the use of his voice for the past six weeks, using pad and pencil. A trip to Florida was partially curative, but tho affection returned after a /ew days. JOE OUCK TOOK ADVICE Joe Click, the gambling Friar, has walked out on his hiccoughs. Ho had 'em for 10 days, divided tho time between the Monastery grill and three different doctors. Joo Anally took ihe advice of a nearby druggist who suggested i:M old- faHhlonod remedy, and tliat turned tho trick. rected. Four shows were given In Ivanhoe Temple, Kansas City. hern small. Tho rotboI'*»r Art Theatre. I>o9 Antrelcs. will give "Tho Showing Up of r^l.'inco Posnet," by G. B. Shaw. witli two other ono-acters. starting ^^o Instexid of "Gaietiea," which lias April li. 1 been canceled. "The Fimpcror Jones." with J imos IjOWP), negro, s'.arrc'd, will opon April 7 at the Potboiler Art Th^a- "Acrets Street" in Summer "Across tho Str. ot," the late Rich- ard Purdy's Chautauqua prize play, produced In New York by Oliver Morosfo, will be revived in Chicago next sijinmcr with Jamos t^putts- V'x.fl ff-^*•■- ■•> In the former Robert Em mot Keano role. A now producing group is spoa* SOI ing. "MoKy MagdaUne" Accepted "MkMv M icr<l iIrno," a nf^w play by <"r;in«; WjJhnr. b is hfpn :ic.-».;,i,.j f^y pro.luciii>n by A. ii. Woods.