Variety (Oct 1926)

I 98 VARIETY LEGITIMATE Wednesday, October 20, 1928 By the end of the third week the heiress turns down the title and the poor man sprns the rich widow, the two whose eyes have been opened run away (platonlcally) and leave the duke and widow, who loathe one another, to their mutual company, snowbound, to thin!: It over and, os- tensibly, to "find- themselves. Not a very hot yarn at any stage, and sustained only by repartee, which Is without exception delicious, and at times and turns tridescenUy bright. The end Is abrupt and un- convincing. The first act lacks progress. The second moves and has some excellent lowish comedy. The third seems to wander and stag- ger a bit, and is at no time plausible. In the performance the two play- ers not featured—Violet Kemble Cooper and Kathleen MacDonnell— take the chief honors. Miss Cooper Is somewhat a la Craig's Wife. She has perfect diction and deportment. She is a thorough Englishwoman at all times. Miss MacDonnell, for an American, conveys the British spirit admirably, looks attractive and plays with poise and punctuation. Hugh Wakefield, better known as • broad Comedian, rises in spots to admirable delineation of higher com- edy, and in the moments when he "puts it on a bit thick," Is stellar. Wallace Eddlnger alone Is miscast and misfit. He Is as English as Joe Frisco. His enunciation is muffled and mumbled and his readings are In a sing-song of monotonous ca- dences of rising and falling Inflec- tions placed with regular recurrences that are dictated by mannerism and habit rather than dramatic emphasis and fluctuation. Since the expense Is not heavy, as ■ such things go. and since Mr. Dill- ingham owns the show and part of the theatre housing it, "On Ap- proval" may remain until the week before Christmas. Under other cir- cumstances it would eat Its Thanks- giving turkey In Mr. Dillingham's storehouse. And this. It may be re- peated In justice to all. speaks of a clever, sparkling comedy. Lait. IF YOU OON'T AOVERTI8E IN VARIETY DONT ADVERTI8E THE HUMBLE Tragedy in three acts by Laurence Irving baaed on Dostoievsky's novel, "Crime and Punishment." presented by Carl Reed at the Greenwich Village Oct. IB, with Basil Sidney and Mary Ellis featured; staged by Bertram Forsyth. Scale. $3.30 top. Kaahkln, a student Thomas Chalmers Dr. Zoslmoff Junius Matthews Nastaaia. a servant Mae Noble Kodlon KaakolnikofC Baall Sydney vSonla Martlnova Mary Ellis Qromolt , David Landau Doonla Romanovs Florence Maaon Pulcherln Kate DeBe?ker Katlnka Verna Dean Keller Kranklyn Fox Solskl Maurice 1'eln KoltzofT Curtis Karpe Mlkolka George Rratt Dmitri Wallace House Bezak Sydney Greenstreet Sergeant of Police V. P. Newmark A Policeman T. H. Bunch Another rollceman Arthur Gray Cossacks Michel Barroy and Barlngton White "The Humble" is technically a re- vival In that it has been played be- fore. It is a tragedy, with Dostoiev- sky's "Crime and Punishment" the basis. More than one version has been used on the stage. In the past gen- eration two great actors appeared in the play. E. H. Sothcrn did the Laurence Irving version, using the title "Kodion the Student," which version Carl Reed is using for the present showing. Richard Man^fleltl employed It for a time under an- other and longer title. It Is a morbid story as a novel and little less so in play form. Dos-, toelvsky thought In terms of mor- bidity. A Russian radical whose life was one of much misery light- ened his soul in writing such a book as "Crime and Punishment." Years of anguish in a Siberian mine was only one form of torture that this Russian went through. Small wonder his mind should turn to homicide and an attempt to justify it. Nor that he should be an atheist. The story centers around liodion Raskolnlkoff, Russian stu dent, living in poverty. In the book he is not quite the character the late Mr. Irving would .have him Rodion, as the author conceived 1 him, was on intimate terms with the lrl who lived In the same hoi She piled her trad* on the streets and he partook of her earnings. In the play the student befriends the pure-minded Sonla, who is about to be evicted for npt paying the rent. Her father had been led back to drink by Oromoff, the gruff land- lord, and run over and killed. With her sister ill, Sonla appeals to Ro- dion for aid. He swears she will not be put out of the house that night. When her friends have gone Rodion slinks upstairs to the land- lord's room and slays him with an axe. Here Is a hideous murder which the playwright would have the audi- ence believe the student's pity for the girl was the incentive. Gro- moft's advances to the girl would hardly be a convlncer because the relationship between Sonla and Ro- dion Is not established. However, there are other points in the play which are realistic or at least more believable. The third- degreeing of Rodion by Bezak, the examining magistrate, put the per- formance In the realms of melo- drama. It is very well enacted. A picnic scene is excellently done, and Bertram Forsyth's direction stands out. Basil Sydney plays the student, a role ethereal In some ways* At times Rodion Is nearly crazed with the fear of being found out and ever he s.-cmed half demented, probably the correct impersonation. During the scene with the magistrate, when Rodion Is determined not to confess. Sydney rose to the best work of the evening and the most exciting, if "The Humble" is to be so regarded. Mary Ellis, once of the opera and a prima donna of note along Broad - way, plays Sonla, she of the pure heart and the devout belief In her Bible. Miss Ellis appears willing to accept either a singing assign- ment or one of a dramatic nature She started with "Rose Marie" a year or so ago, only a bit later to be heard from down In the Village's theatre. Her vocal prowess is un- disputed and it begins to look as though she Is quite some actress as well. Sydney Greenstreet. ponderous but very neat, is the other important character, the magistrate. As an examiner Greenstreet handled him- self like a person who knew his business and proved his theory. Kranklyn Fox made a sleek district attorney, less efficient 'than the magistrate. Verna Dean as the student's sister Impressed favorably. Carl Reed probably did not see a commercial success in "The Hum- ble," else he hardly would have an- nounced his next attraction, "The Witch," which will star Alice Brady. "The Humble," despite its homi- cidal theme, Is rated as highbrow. As a production effort it Is credita- ble. The producer might well have called the play "A Russian Trag- edy," but while our own "An Amer- ican Tragedy" looks like a real hit. this one does not figure to linger and will principally draw the intelli- gentsia. I bee. Only a few more days before we may have the pleasure of inviting you to this new home of beautiful footwear! £hare Its 'Beauty with I. zMi//er! Tke New Showfolk'a Shoeshop is built especi- ally for you! Its spacious- ness, designed to give you leisurely comfort—its soft carpets and delightful decorations, to give" you pleasure—its cordial, in- formal atmosphere to give you welcome and make you feel that this is in- deed your shop, as well as ours! I. MILLER i Q$howfollis £hoeshop 1554 BROADWAY OPEN UNTIL NINE P. ii J- !i»'»i; I ^ ^ . ^ ^ ^ ■ J L. WHITE WINGS Wlnthrop Ames' production of four-act play by Philip Barry. Staged by Mr. Ames. Settings by Woodman Thompson. Opened at the Booth. New York, Oct. 15. Joseph (a horse).., Geo. All Mary Todd Winifred Lenlhan Archie Inch Tom Powers Herbert (a cabman) J. M. Kerrigan Mr. Ernest Inch .Wlnlam tforria White Wings- Paul pillsbury Donald MoKee Ralph Otis Earl McDonald Clyde Sims Ben lackland Kit Canari .Donald Maedonald Mrs. Fanny K. Inch Jessie Graham Mnjor Philip re. Inch Albert Tavernler Charlie Todd .Arthur B. Allen Dr. Derby E.«-l McDonald Dr. Bowlea Donald McKee A Taxi Driver. ..Ben Lackland A City Employs .Phil M. Sheridan To paraphrase the ancient ditty, "White Wings. They Never Grow Weary," that doesn't count as re- gards the auditor's reaction in view- ing this fantasy by Philip Barry which Winthrop Ames introduced at his Booth playhouse. Far fetched, fantastic, this whim- sy has little In Its favor excepting for a few bright moments, but soon the exposition anent an ancient and honorable heritage, which takes Its street-cleaning tasks eo seriously, begins to pall. The family of Inches, who pride themselves on being every inch an Inch as regards their chosen profes- sion of "following the horses," col- lectively dread the advancement of civilization with the introduction of the petrol wagon, the horseless car rlage of yesteryear that's the flivver of today. There is one discontented soul In the Inch family who Is smitten with the practical information that gaso- line buggies do not leave any waste traces, unlike the horseflesh which Is so much the pride of his relatives. The fantasy covers a couple of generations and becomes so much horseflesh with each passing mo- ment. What Mr. Ames saw In it is be- yond a hazard. The cast struggled hard, but in vain; ditto for the Barry play. Looks like "White Wings" will go the way of all waste. Abel. TREAT 'EM ROUGH Comedy In three Acta, by Frederic and Fanny Hatton. Presented by Richard Herndon at the Klaw, Oct. 4. Genevieve Tobln and Allan Dinehart featured. Staged by the latter. Dan Carson George Torrencs Marco Walter Connolly Joe M. Charles Palaazl Beppo Himself Itosle Mere May Hopklna Lisa Toaelll Nedda Harrlgan Trials Colette Helen l.an.lis Gua Robert Dye Miml I.a Verne Marguerite Forrest Pansy La Motts Myrtle Miller Tony Barudl Allan Dinehart Tomasso Salvatora William Rlcciardl Buff John Shanks Sergeant Burns James Manning Nora O'Hare Genevieve Tobln Father Flynn Thomaa MacLarnle Demetrius Jack RIgo Lola Carson Helene Slnnott Sum Lois Shore widower but has adopted Tony Ba- rudl, a young man who continu- ously alludes to "Tom" as "the big boss." There is a small floor show in the place and among the choris- ters Tony is the big noise. Tony la the kind of a chap who takes 'em where he finds em, treats 'em rough, socks 'em down and then kisses 'em. That Is, until Nora O'Hare comes along. By the end of the second act it's a cinch that Tony has fallen in love and that he will marry this bit of'blarney. In tact, the love story is transparent from the earlier scenes. One of the show girls makes false claims against Tony, nearly forcing his marriage to her; but that is necessary to work in a third act. Despite certain Interpolated bits, much less effective than expected, the strength of "Treat 'Em Rough" is its love scenes and that entirely through the charm of Genevleva Tobln. Like her sister, Vivian, she has a musical and engaging speech, t Is the same Miss Tobin who sev- eral years ago was so delightful in "T.Ittle Old New York." Allan Dinehart tried something new as the supposedly tough Tony and does net manage it too well. He neither looks the roughneck nor acts it True, when smitten with Nora a reaction to his former ways sets in. He does not seem to be the type for the character. William Rlccardi. who has played a number of Italian character parts, is the most natural of the mala players. His Tomasso Salvatora looked the real thing. He played the "big boss* well in all scenes. Helene Slnnott Impressed favorably as an Italian woman who could not make her eyes behave. The bringing on of the chorus girls Is not the same idea as In "Broadway." They are used to show Tony to be a bad youngster. "Treat 'Em Rough" has a few laughs but falls short In comedy. When Miss Tobln Is on the stage the going is pleasant, but the Im- pression registered was that it needs more play sustenance to land. It seemed neither comedy nor drama, and is doubtful of drawing enough business to stick. Ibee. The Hattons were credited with discovering Long Island as a spot for high jinks among the so-called social set, and every time a play with that background comes along the couple are blamed for it. Their latest collaborative work will at least not recall the earlier writings. "Treat 'Em Rough" is so much dif- ferent, both in atmosphere and plot, there is no comparison. That is not meant to Imply the new play is superior. It isn't as imaginative and is less entertaining. "Theat 'Em Rough" is enacted In the apartment of Tomasso Salva- tore, owner of an Italian cafe in that secion, wiiere he is a power socially and politically. He Is a IMMORTAL THIEF Walter Hampden's first production of the season Is a biblical drama by Tom Barry, designed and staged by Clauds Bragdon. directed by Mr. Hampden. In three act* and seven scenes. Action Ukes place In Jerusalem In time of Christ. At the Wal- ter Hampden theatre Oot. 2. Naomi ~.........Marie Adela Poetar ," Cecil Tapp Thrss Thieves J. P. Wilson. Marcel Dill, S. Thomaa Gomes Old Thief of Bagdad P. J. Kelly Sfllnua Geta Erneat Rowan Ben Sarken Dallas Anderson Marius Ruflnus Walter Hampden His Mother Mabel Moors His Old Nurse Adelaide Fits Allen Septimus Celeus C. Norman Hammond Old Offlclal of the Law...William H. Sams A Young Offlclal Howard Claney Asper Hart Jenks Merzah Susanna Jackson Her Daughter Edith Barrett Keeper of the Bordello..Robert Paton GIbbs A Hasheesh Eater V. J. Kelly Old Boatman Anthony Andre The thief of the title, as might ha suspected, is one of the malefactors crucified with the Christ, and la investing this vague character of sacred history with an individuality, the author has chosen to Incorpo- rate In the drama much of his own attitude toward religion and t>ward the Christian doctrine specifically. His meanings are not always clear, but one senses enough to gather that the views expressed are not orthodox. It is rather startling at times to get the impression that the author is deliberately declaring his agnosticism, an agnosticism col- ored with utmost tolerance and tinged perhaps with a graceful reverence. This reviewer may have misin- terpreted Barry's meaning, but that was what he got dimly at times from the play. What other meaning could be gathered from the circum- stance that the thief (played by (A $1 tVA NITE CLUB TEN'-TEN MTU STREET On WetlnviMtar ISIffht of Your Week In Washington, D. C. 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