Variety (Sep 1926)

46 VARIETY LEGITIMATE Wednesday, September 28, 1826 PUYS ON mmm YELLOW Three-act melodrama in el^ht leenM by Slargaret Vernon "under the manacement 9t G«orve If. Oohan." ataged by John Maebaa. Opened Sept. 21 at the National. Maw Torn. Hotel Porter Joseph Guthrie ,Vyar* Parker ChesUr Morria Hotel Waitor Joae Rivaa 'Polly**••.••••••••••••••••••*• Balena Royl6 lack Crompton Hale Hamilton Jen Wllkea Marjorie Wood I>alsy LIngard Shirley Warde Jimmy Wilkes Spencer Tracy Thumaa W. Sayre Frank Kingdon Mrs. Say re Jane Wheatley Paul Richard Freeman Donaldson Daniel Pennell Carrie Williams Kva Cassanova Welles Martin Malloy Inspector (Jraney Harry C. IJanniater Louis H. I'^ul D'lucet Ctgaret Ulrl.Mary Meehan Page lioy.. «V»*:»«»»***»* L.ee Channer Check Girl..,••.•,*.» Helen Macks An Old Rouo Frank Ilurbeck Jobfiiaon Frederick Smith in Paul Hanson Ben Selvin'a Orcheatm The ••dope" la that the Shuberta had this acript but declared George If. Cohan **in** for purposes of pres- tige and Cohanesque treatment. The deal (If the premise be true) shapes up satisfactorily all 'round. "Yellow" Is a modernized "Within the Law," highly melodramatic and ITlpping once a slow first scene is disposed of. Upon analysis, the merits of the Cohan touch in cast- fog and dtreotlon are Justified, it be- ccming necessary to plant the In- tense love interest between the Bewljrweds in what is mors or less an overly "mushy" scene. The cast- ing of Selena Royle as the bride becomes the more impressive as the story unfolds and her architect-hus- band Is switched into a "light- IJk; I)-.- :-i p.'. • v-:i oTf.-rt:? v.-ii.it might otherwise be an obvious piece Of ten-t went-thirt melodramatic trash. The story la conventional. Toung architect marries .heiress. His trusting amour who has been "maintained" in a hideaway under the impression of ultimate legality for their expectant child, turns to the oldest profession as a means to give her little girl the best In life, from 160 per visit baby specialists to $200 baby clothes. The usual crossing of paths and her attempted murder of the double-crossing boy friends finds her getting oft free through his recovery. The wires are pulled by the Influential friend of the family for tlM Wife's taks to avoid scandal. It switches at this point. Jack Crompton Hale (Hamilton) and hia more than casual interest in the wronged wife (Mias Royle) is Im- plied rather than stated. The mar- ried pair separate while Daisy Lin- gard. the hide-away girl (Shirley Warde) continues her ,trade. The action covers a span of two years and concludes uncertainly in the lobby of a cafe. The sympathetic charactera are celebrating a finan- cial coup when Daiay ataggera in with an old roue, her latest pick-up. The errant architect also happena OB the scene. He attempts to ac- cost hia former paramour, who cre- atea a scene, the diners emerging from the restaurant into the res- taurant lobby. The friendly police inspector takes hold, ordering Daisy to stay "below the line" and the vil lain to stay out of New York under threat of prosecution. There Is a delicate suggestion that Hamilton, who has a iBore or less tough as signment in the role of a "fair haired" boy friend, will eventually make the architect's wife his own. That's the only hint at the "happy ending" stuff, lightly touched on, and a question is sufficient for mass appeal. The casting has a few unusually good perfornuinces by Spencer Tracy, Hamilton, Miss Royle, Ches- ter Morris and Harry C. Bannister The house location is against it hut a switch in theatres may help In time. If the current vogue for ■lellers Is not just a passing fancy, •TsMow** should enjoy a successful run on Broadway. AhO, west In the other two acts, doing cross fire and conversational dialog of the 2-act sort without any espe- cial brilliancy. It's linked into the story of Fanny caring for Leah, the fursuken. an elderly woman who ap- parcntly always travels with her Gideon in hand. When Leah Isn't moaning over her Bible, Fanny is moaning over her. Everyone else plays "straight" to and for her. In fact, after any of the wise cracks Fanny is full of, should any- one burst in with a mention of Leah, Fanny goes ripht into the sob rou- tine, looks weepily at the floor or the-celling and starts to tsll wkat Leah has done^for her. In return Fanny is trying to lo- cate 160,000 that Leah's late brother left behind, with everyone apparent- ly knowing about it excepting the two women. Sounded as though WiUard Mack had grown econom- ical, making it sixty. It's only a matter, of ciphers with the unadded cipher *TPanBy.'* Fannie Brice here is unconsciously funny for nothing and her regular line is being funhy for money. It's not a bad idea on or off the Stage to stick with the money. Fannie Brice is a comedienne with a dialect. Outfitted in such a com- edy as may fit her accent sha should make laughter, but •Tanny's* con- struction here Is Fannie Brice and dialect for over two hours, an ex- tension of the vaudeville timo. "Fanny" does not give Fannie the chance she wanted to bring out any spark she may possess; ^rfannsr" is a badly written iiud flljrtfl play, un- real and unfunny* ^^^^h SANDALWOOD Robert Milton production by arrangement with Hassard Short and Sam H. Harris. Stars Pauline LArd with William Har- rigan featured. Baaed on Fulton Oursley's novel of the SMie seane. Owen Davis dramntlalnr. Vum t iU by Mr. lillton Opened at the Gaiety, New York, 4topt 22. In three acts and alz acenea. Lucy Carpenter Pauline I<ord Dr. Clarke Jameo Seeley Joe Splndell Stanley Jessup Eddie Carpenter William Harrlgan Mrs. Carpenter,;*,,* Marlon Ballou Dr. Carpenter Joseph Brcnnan George Carpenter Robert Strange Rev. Harold Carpenter Douglas Wood Faith Waring., , Qllda Leary Minnie Cerpenten^,.,..Mahal Montsomery Bella Carpenlar............... .■«« Ooadon cause there is too much ^plaining to do. The story opens with the doctor called in for Eddie, who is fast siBkiny. It takes the entire next scene and the following act to ex- plain Eddie's cynicisiB^ with Eddie meanwhile evoking little sympathy. The house becomes pretty well fed up on Ed and his viewpoints, which is a possible result of the manner in which Harrlgan plays him. The main Interest centers on the wife, the woman and their scenes together. Miss Lord's subdued per- formance in an unsympathetic role has an abundance of power behind It and Is ably foiled by Miss Leary (not so long ago In musical comedy). These two women are the show, give more than creditable performances but are helpless in re- spect to the boxofflce because of the mass of side issue conversation. Lesser parts are nicely takea care of, particBloHir'tlM <U>etor (James Seeley). This is a two-set show, the action being divided between the living room of the Carpenter home and E3ddie*s bedroom, tho latter . in two." Not an exorbitant produc- tion outlay nor a big money cast, yet the shew doesn't Impress as be- ing able to trail along for ^Wnite or profltable results. Milton's direetlon has Its points, but Eddie and his "piffle" can't hope for much of a run with the chances agnlagi trwrn m BlsdstiHo ialstonce. the super-stnoeato of stock eom- pany technique. The single set Is in excellent taste, easy on the eye and quite versatile in its exits and offoots for the uses of the aqtion, **The Bheir* may possibly strike a aubcutaneoua nerve in women. If it does, it is one that entirely eludes the male. A reasonable forecast is that it will enjoy no extended or distinguished tenancy of the prin- cipal theatres. LaiL JUST LIFE Drama In three acta by John Howie, star- ring Marjorie Rambcau. Produced by Jacob Oppenhelmer at the Henry Miller theatre. Sept. 14. Staged hy Oaesr JBagle, with set- tings by TaltontL ■ • * Mes Chaae ..•«••••>> Vlvlaa Tobln Dlok Fellowa......**i, .N<mnan Foster Robert Hennlnff Boyd Marshall Druslnda Jane Burby 3ordon Chase Clyde Fillmore Grace Norton Ethel Wilson Florence Sllsby Elaine Ivans Philip Post Franklin rarker Madame Bemioe Chaae. .Marjorie Rambeau Porbea * .Jamea A. BoShell Eileen Ilicr ..Lea Penman Miaa Austen Mary Wall THE SHELF William B. Friedlander present* a new comedy by Dorrance Davis, staged by the producer: at thf Motrosoo theatre, Sept. 27. Stanley Risdala;,«.W»V»»*i,...I<Ottla Kimball Emma Smith. .,.,*«•*, Jessie Ralph Mrs. Chetawold*•,*••„, Leah Winslow Mrs. Plumnier.,****, Lotta Linthlcum Mlaa Batterson<,,«** Thelma Ritter John Wendhani.*.*{*,..WsdarlAk Tniesdell Carolina Wand|uusi**4*»**4.,..n;^ Patrick IIL^^diln C^&'*''*'**''I2S^ uaiowin v>ssiw«*,«,,*****#4l>wTnM0a L.esiie Sen. ■ Rtsdala v* • « ;**»jl^WiP^ ^[r^P Rev. Chetawold. Meek FANNY Melodramatic comedy In three acta, writ ten by Wlllard Mack and David Belaaeo. Produced and sUged by Mr. Belaaeo. Fannie Brice sUrred. Settings by Joseph Wtakaa. Opened at Lyoenm, New Tork. ft, $8.86 top. Onw Punchers on the XT Ranch- VPP^^*" Davis Francis rierlot • Hnmpty" RIgga spencer Oinrters "Slim" Hawklna IiOuis Manon Joa White Warren William •Hjyp" Oradyear, Foreman. .John Cromwrli High Low Samuel Leo ••Hollywood" Haswell GoorKe Shrrwood JCora ('npspll Huih D.tyton Miss I.eah Mendoza Jane Kllison Faaay yiebaeoa.. Fannie Brice I; Should "Fanny" remain at the Lyceum for four weeks, that may be ef some comfort for David Bclasco In the attempt to recover his not heavy Investment in this vain at- tempt to Initiate Fannie Brice as a tragedienne and a hit And If it re- mains the four weeks it will be of no prPHffgfl value f»r Miss Rrlftft., A terrible dull first act witn a ter- rible duller second act and a terrible dullest final act is some building up. In the first act Miss Brice is a Yid- dish girl with an accent in the ranch hotlse way out west. But it doesn't look west, somehow; it's always on the Lycoufn's stage. "Sandalwood" clicked as a novel, especially among the older tried and sometimes true married set. That It will enjoy equal success as a play is extremely doubtful, despite Pauline Lord. The migration from the printed page to the stage has not been a happy portage, too mvch dialog encumbering the trip. Oursler's descriptive phrasing of suburban oxistonce brought the book many readers. Besides which he had the twist of the other woman forced into the home of the husband to nurse and save his life, with the wife barred from the sick room. That's the punch of the story, al- though the finish has the head of the house sticking to his home through surrender to convention when offered a runaway career with the wealthy outside love. And that's the part most of the book's male readers doted upon, each evidently and secretly con- structing himself as under a bond of fallow mai'tyrdom. But that mascuTlne appeal Is missing in the stage version. After two scenes of William Harrlgan playing Eddie Carpenter, the husband, in Tied Plus an avalanche of monotonous conver- sation from the other ohnracters. there's not much Int ore st loft In what becomes of Eddie, his wife or the lady that's known as Faith Waring (Gllda Leary). In the novel the "Waring woman commits suicide when Eddie refuses to take a boat Journey with hor. not so much because of Eddie as due to the collapse of her conception of love and dleap p o intn ie nt o v er her Pan's disinclination to stray from home. Within the Gaiety. Eddie still favors the pre-IU apartment al- liance and Faith passes the bid, but she doesn't destroy herself nor leave him $10,000 in remembrance as Oursler wrote It. Faith ends the affair, w^alks out, and the climax has Lucy, the colorless WHO (Miss Lord), talking her recuperative husband into another suburban home and in anotHoT Suburb. fiddle's complex Is too much fam ily and too much wife. So much so that when afflicted with sleeplnp sickness he simply resipns him.self to die. Simulating unconsciousness over a period of two weeks he hears all the conversation around his be( nnd sums up the total as "Piffle.' In f.irt life Is very much all "piffle. o Kddie. Tho characters, Inoludinp Kddlo's parents, brothers and sls- ters-ln-law. seem broadly drawn for fronulnc portrayal while the fussinp Ing of (he part, Our.slor In print tinqucstlon.ibly !)lanted the idea rtf wliat a <1r:inr n supervising family and a meek wife can become on a man after 10 years of marrlape and In the throes of an under cover romance. Davis has somewhere ml.ssed the author's to i w n hi 'ndaytlBy il; "ifajho It's ho An episode of no magnitudinous signlfleaheo to tho theatre ntftOhds the advent of William B. Fried lander as a producer in his ow^ right and In tho so-oallM legiti- mate." Not an unpleasant evening at all, nor a very nourishing one, either Simply an Inconsequential affair worthy of neither orchids nor rocks. ' Frances Starr, recently and fa- mously a Belasco l\uiinary. carries *he new Friedlander banner in its first parade past the gUuro Of the footli^lits. Miss Starr as a light comedienne is a new adventure, and not entirely a felicitous one. In her direction she at moments re- minded this reporter profanely of another debacle through which he suffered a few days back, when Dempsey. accustomed to the expert guidance of Kearns and now denied t, staggered about and was knocked from under his crown. Miss Starr, alas, found Mr. Frlodlsnder In her corner no Belasco. The theme has to do with a wo- man at that stage of her sex career when she Is about to go passe, to be pushed onto "the shelf." It is not a flattering selection for any feminine artiste, and to say she did it well might be a tribute or an af- front. Since Miss Starr did not do it well, she is privileged to accept the verdict as an accomplishment. It is the story of a woman in her Indian Summer or the Labor Day of her life, so to say it, proving dazzling to men, old and young. A trite old premise that, baked over and over in the ovens of the "par- lor" comedies. In this case she soon disrupts a puppy-love engagement, sets a Kiwanls town about her ears and plays the smarty by saving a land investment through rewarming an old amour with the Governor. That is, she attempts it because she Is challenged to prove she hasn't lost her sex appeaL She returns and In a tragic (but palpably phoney) scene makes It appear that she did the terrible deed, sinned the deadly sin; of course, they all then turn on her, though she sayed them at their own suggestion. Later It develops she merely out- smarted the Governor, and the gos- pel of the piece is that she would rather have the women think she was a suQjMssful strumpet than a romantic nip and a clever, decent female. She observes that all wo men will understand and sympathize with that view. This reviewer is no woman, but he begs to dispute it emphatically. And so, probably, will most people, even on broad- minded Broadway. Miss Starr minces, gyrates, primps, grimaces and "acts up" all the way. She either Jumped the ilirectorial traces or had poor direc- tion. The dialog Is verbose, usually bro midic and at times rattlingly tin- can, with here and there a fresh wheeze or a sensible observation The construction Is villainous, most of the Instrument's and subterfuges of story progress and suspense be According to tho thesis of most play-writing persons, matrons who wo,uld sojourn abroad for a space should be careful to bring their families with them as a sort of so- cial Mtfety first. No sooner does the feminine head of a household return, and even before the maid has taken her cbilt, hat and gloves, than she is apprised son, daughter or hubby has strayed from the path of recti- tude and hei^ homo is a scattered, shattered maelstrom, trembling on the brink. Sometimes the whole "caboodle" are "Involved," which makes the untangling of the dra- matic skein moniiotricaU ftnd "sus- penseful." "Just Life" is by a new author, John Bowie. It tells of a grand opera prima donna, still prim, who repairs to the other side to earh enough to keep her loved ones quite snug in their Park avenue apart- ment. For purposes of upkeep, she even drags her art into foreign vaude- ville. Almost her very first vision upon returning to Park avenue is to see her husband in the arms of another woman. And before she has recov- ered from the initial shock, comes daughter to tearfully advise she has eloped to the caprkes of callow urging. But she doesn't rave or tear her hair. She's calm, composed, imper- turbable, not Just as a trusting, doting mother might bo under the circumstances* She squares things. Jake Oppenhelmer, programed sponsor of all this, is no kidlet in theatric pastures. After listening to the script, he must have had good reason to rush In- with this 9M, a very good reason. ^ There is a highly competent cast, headed by Marjorie Rambeau, who earns new laurels, even in this tedi- ous play. Considering the material at hand, she proceeds brilliantly and alone saves "Just Life" from bocom- ing ludicrous at times. ' Other members of the company rise to a high degree of proficiency, especially Clyde Fillmore and Lea Penman. "Just Life" wtil last Just a few weeks. SamueL and making snro that she neither loved her husband or that the hus« band didn't love her, pleaded his case. Hated her? Tos, ho hated her as any man hates a woman ho woiUd lovo. but cannot Possess her? Yes. he would do Just that. She begged him not to do it. Not selfishly, but because sbo didn't want him to fall again. It Was probably the only decent thing she'd ever done (as all hero- Ines make great capital of the "one decent thing" In their lives), but In a tempestuous scene which closed the second act, the one man swept the light from the table and got rough. Wlien that third act began it was « set-up that she would leave her husband and go to the other fellow. After much talk, persiflage, imita- tion Oscar Wilde dialog, etc., sho did and It ended very Elsie Dins* more, with the man and thO looking toward a rising sun. The show is well played and well directed. Moreover, its leading players are good players. Rosa- linda Fuller, for instance, did finely in the second act, but the annoy- ingly staccato quality of the dialog allotted her and the rather i^onoto- nous -delivery she gave It hurt tho rest of her performance. Never- theless, it is hard to imagine how anyone could struggle against some of the dialog. Philip Merivale aa the One Man was powerful, reserved and forceful. Just as the script de- scribed him. and in addition he did plenty to make the second act hit a high spot. Fred Tilden did hia husband role well, and David (Noel) Tearle played a cad most amusing- ly. The laughs, few that there were, went to his lines and his delivery. "Scotch Mist" was presented in London with Godfrey Tearle in the part played by Merivale here and with Tallulah Bankhead in the part Miss Fuller now handles. iCs run there has been called "fair," and if "Scotch Mist" goes here for* mora than two months (approximately) to nnir kind o< bnsteosB It will bo a surprise. Notwithstanding its reputation for being off color, it 1* one of tho tamest exhibits on Broadway, and even in the days when Olga Nether- sole shocked the boys, this ono would have been far down tho llBt where dirt was concerned. inadequate and wholly plain Luoy o Miss Lord Is only made interestinp; til rough this "'Mr'ws' thtatrln plctr | ing shabby, synthetic and unclever The curtains are all flat. The char ncters are without exception over drawn and with few exceptions overdone. A^;thur Byron is the only natural nctor of the lot, and Donald Meek tho most effective. Louis Kimball as a Juvenile^ though eccentric, oliote • ViM^ioot MW all-lncHttod to SCOTCH MIST Comedy-drama In three acts by Patrlcic Hastings. Produced by the Dramatists' Theatre, Inc.. at the Klaw Sept. 20. Philip Merivale and Rosalinde Fuller featured. Staged by ISdward Chllds Carpenter. Freddie LAnsins David Tearle Mary Denvers Rosalinde Fuller Betty Lorna Lawrence Alice ...Audrey Ridgwell Claude Montague %HaroId Webster Jonathan WaterhoU8e...«..k. .Percy Moore Hir lAwsoa l<ei<)WB.«>,«».».Fred D. Tiden Merton. ...«.«.•...,••„«•..^.Dilly Hedges T>avld CaaMMMll...,.*, Philip Merivale Elizabeth h# Carrie Glenn NAUGHTY RIQUETTE Mitzl. starred by Lee and J. J. Shubert at the CosmopoliUn. Stanley Lupino feat- ured. Opened Sept. 13. Score by Oscar Strauss. Book and lyrics by Harry B. Smith, adapted from the German of K. Schanser and E. W HI SI h . PtllS Staged by Seymour Fells. \ ' ■ Alphonse La nS|ir.«...».<Ocorge A. Schiller ClarlipS:^.. it Audrey Mapla Oastsa KtVMie.. • • • * • V* • • •. Alexander Qrajr Simoaa • • . .«•••• .Connie Emerald Yvette .Leonoria Spiro Theophlla MIeha.*..••«*••..Stanley Lupino Rlquette Dttval.. Mltsl Llane De Soucy ....Mary Marlowe Dupont Oliver JIsi^ Maurel Peter Hawley Abri-Dabri Edward Bafese Lord Dillington Oliver Hasen Maltre d'Hotel Joseph 8pre« Prof. DuBoae Walter Armin Dean Sylvan Julie Jane Moore Col. Latour.....•.•..«.«•....Oliver Hagan Oas^ Deroe... * * .*.. .«.• *.. ..Psiir Hswlcy A highly touted comedy from London, where 'tis said to have hurt a few folks' feelings antf to hnl^ offended the morals of others. At its recent try out in Canada some piou s f o lk got heated up over its presentation of the familiar triangle theme. One critic qiade so bold as i6 say that Jt mli^t tiro hotter when dumped 'into th* iiWit «f Broadway." Perhaps if that fellow knew more about plays as plays than about plays as "morality-destroyers," he would have k^'pt still. Laying stress on the alleged "Immorality" angle of the show Is all wet, for it's a tame play, nicely played and nicely mounted, but certainly more than a little dull in those spots, where It tries to strir^ airy conversation to the stretching point. True enough, there is plenty of elemental and conflicting drama in the second act, but there Is but one second act to a play and unless It touches the very peaks of Olympus it can never hope to prove the savior of two mediocre sessions. That's the case with "Scotch Mist." Its idea Is the very trite and well worn ona about thA rnntinunii.q vir When Mitzl passed from the man- agement of Henry W. Savage last year the Shuberts starred her in "Naughty Rlquette." The show opened out of town and was kept on tour all season, though several times reported coming to the Cos- mopolitan. The reason for delaying the Broadway showing was based on the close similarity in plot be- tween "Rlquette" and ••Naughty Cinderella," a farce In which Irene Bordoni appeared. The latter show wai billed as coming froin a YVeneh source and the Mltsl plocO CTOdltoA to German origin. The "Rlquette" cast appears to bo the same as last season, Stanley Lupino being the featured member ta sdpport. "Naughty Rlquette" has several good melodies, without a smash number, however. Its dances are OxceptlonsJiy weH arrenged Seymour Felix. In general pattern it is a familiar type of musical play, spotty in eoihedy. The second act is much better than the first, tho finalo, of which is permitted to slow up. The opening scene is that of n telephone exchange, the company's new director having a young wife inclined to play around with a wealthy young bachelor. She plans a trip to Monte Carlo, and, to cover up his presence at the resort, they scheme for him to be accompanied by a gifl as a sort of "smoke screen" for his affair with the director's wife. At the resort. In tho second act. It Is the other girl who captures the youth's affections, and a wed* ding Is in sicrht. MItzi is the pseudo sweetheart, who loses her Job in the exchange and who agrees to the scheme in order to provide for her kid brother, ill and ordered to tho seashore by the doctor. Mitzl looked as fresh and whole- some as ever, her little mannerisms stature poing tow.ard making her a real cutie. In most of the numbers led by her she has a back- ground of chorus boys for dance evolutions and business, such as be- ing tossed In the air. "Naughty UI- quotte," one of the theme songs, was well worked up that way. Phe duetted prettily with Alexander gin who pretended she was wild as the deuce, but who actually kept herself spotless-^^probably a selfish gal. Th^e had been one real man In her life and she had temporarily ^disgusted him, and after she mar- ried a respectable and not-so-dull M. P. But the real man came back •and After sislnff «t'iil••••*^lMt4on^€Hray'lor•VtrMoy|^• Agared, too*