Variety (Oct 1927)

Wednesday, October 12, 1927 LEGITIMATE PLAYS ON BROADWAY VARIETY RAIZELLE (Both reviews below written by the same staff member of Variety) i»s«b "li* IH »>JMeW U'l S rn'JW Wn WK' I'D pmid n?jfDcaKJ K;n no ■•"run IMP'S <>ko no dp<vj ,wo • .oki iki no nto -rn<?Kp mn tii 1 mfS t ■ ' >iib n<<m i"t ,pv >3i <i vrD:'U Kim IKS's '?KD m»B< l>3 I'M .JW>1 Jon iibhj — — — f' nn l'# *» »ra"'" 3 a<no:"» B'B;mB | lytssiiB D in noiK-ii kj'jvt — ye'runno »i .v?jnj"ir m«i3itow Di'Jirn mil in'K *wu lo?t» ™ •pUKIyO IKBIVo I D'VBn IKDBS1J 33'IWIK lypieW 8 naiJBow kjk n:o?K its ,kovi3 'pWKISJ — WM'I K D<D TK 8 3M10J"" ,TP31 >B 33? H .rati :33i>i3Kn im no Did pk rmnn B y>lM"i —vno yal )K l<« BVJI'3 D JWPn—>".iO JJB2 ■B.'K — B"* H3 pmi iKiaiysyi ytr> lyotjp input: fsr'J si lytyiw ,"ivmi3 avi'iyapK- .Bpi'lVf. 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BHn B ,„j opujKii yj!K^ •»'J "npw m BKn By*3Kii t"P b«"';a .nsinn n M"^?j«k ir3".ny3:K "i ijaKn yp'iyoK pk 'H33 Byi no tynyi ki .lyay^ ": k * .B3y8K3 yjyTKS ,bib lyi^: K S'S mm ysymrya t.i K hk3 ya*"ipy: '<* pt lyin'B k lyiKiiys t>k 'k:; iyi "1 1*K .IKapKISKp IKp E»1BB K iyi "30^ ik ikb aSyts'iKB tt E!<n y~yi .By3T'3 ly^y'i "*VU K BK',1 1y'3KO K «1MK ^y'BI3* K *"'iyoK ,iy3iyiKO iyi pb »»•■ iys MMByn ,e;n^ .iy;Kn vn ~'k "tpj ~<* iyi 1yi"K BtKS-BJKpyS PB V.pB K rm BiM'SKpnyOK tS*2KA5'K Eiy.i iiiKia f,* ik lyEKye k cik -jm e:it .vsyny uwyB pi bik ]'k Jarab Kallca production. Starring Mollv Picon. Presentwl by Joneph KumfibiHkv and Jacob Kulich. Two-act muftlcal com- edy by I'h.n .■ <iottc»(ielJ. afuslc by Josepb numrhlxky. IjrUn by Molly Picon. DanccH.by Dan Doejr. At the Second Ave- nue, Ort. A. f- : top. Rabbi of (ilembock ltorla Roaenth.il The" Itebetaln. 2d wife Hew GreenfeM Kalaele, only daughter Molly Picon David Oemhon Rubin Rlvohe. dnuahter L.u*y Ijevin Ballche, anotbt-r dauebter Francea Welntraub Shelndele Regina l'rager Nuchem, her aon Julius Nathannon Cliune, chuMd Kalman Juveller Jonah, chuKld Herman Saretslty Louis, iirlflcflithter Irving Grossman Bertha, a widow Anna Nathanson A Jew with pitcher Leon Nadolsky Leah, neighbor Rebecca Welntraub Ab a production, "Raliele" typl- fles the amusement cravlngrs o£ a considerable number ot present day Jews, still somewhat wrapped in ancient beliefs, hemmed' In by floods of jazz on one side and re- ligious severity on the other. On the Terye of becoming completely Americanized they choose this method of being Introduced to new channels of light entertain- ment. It is no simple matter to deliver this kind of a show. The basic prin- ciples must necessarily rest on re- ligious and national ties. And yet. If it is to draw the wily shekels from other parts of the town, In addition to Second avenue, the play must be Interwoven with prolific characterizations of American life as It is known and experienced here. It's the last stand of the patronizer of the nationalistic theatre. If dis- pleased ho turns to Broadway and its multifarious, elaborate diver- tissements— amusement-bound in the direction taken by the mem- bers of this tribe who arrived a dec- ade ago. Crude, in a way, the standard of production, but more than suffi- cient here. The book is hollow, the lyrics are simple and boring at times, and the music quite interest- ing in spols. The Yiddish theatre patron is easily satisfied in com- edy. Here delivery registers for greater returns than wit. But the sharp, snappy, humorous repartee that characterizes Broadway musi- cals wouM be. perhaps, a total loss, foreign and far-fetched. Besides, the crowd that Jammed the house to the rafters didn't come to hear gags or listen to music. They came to see about four feet five Inches of brilliant stardom in the person ot Mollle Picon. Watch- ing the lithe, supple little Mollie prancing up and down the stage In a close-fitting gown of black velvet, with a hu^o question mark attached to the hollow of her back, draw- ing roars and applause with every lyric, it seemed unfortunate that one with such possibilities had not made for a spot on the international stage. But even here, once given a script capable of drawing mixed patronage. Miss Picon will undoubt- edly grasp the opportunity, if it comes, to prove herself conclusively of far greater than sectional ap- As an East SWe draw, Mollie Picon may be considered unpar- alleled. As opposition tonight Lud- wig Satz, another district favorite, is at the Public. A block or two further down the street Is em- blazoned in hugo electric lights, "Tolstoi's Hesurrectlon," film. Any kind of an excuse to put the name of Tolstoi in electric lights around here and admission prices don't matter. More than in any other part of tile country do the residents in this section, as a group, live In the glories and literature of the past. For them, America has pro- duced no literature. Coupled with one of his most famous works, "Resurrection," it's a pipe for heavy grosses. And still the Second ave- nue might have been the only the- atre in town for all the difference it made. In the second half the star held them with a rendition of a aeries of ditties entitled "Der Yiddlsher N-jeh." This N-jeh business went In bis style. Miss Picon said Can- tor Rosenblatt had it In his beard, Kumshisky in his baton and that she had it. too. but that it was still growing. "Per Yiddisher N-Joh" is evidently what Klinor Glyn com- mercialized in "It." If so Miss Picon doesn't have to grow much more. Would h.. terrible if she did. They'd have to hire the Yankee Stadium to hold the crowds. The story starts off with the Wed- ding of Kaizele, a rabbi's daughter. A crummy bird, this rabbi, con- tinually shaking his linger at some spirit of evil omen hovering In the air. He is sun minded by three yesmen. known in Yiddish as a "Oahe" and two "Chasidim." Every- time the rabbi yelled "Shlcchtcr Satan" and the three yesmen beat their breasts hastily, shivered re- spectfully and muttered "Shlechter Sutan" in a lower, but equally con- vincing tone. The boys uptown ought to get a Shows in Rehearsal •The Banshee". (Banshee, Inc.). "The Show Boat" (Florenz Ziegfeld). "The Royal Family" (Jed Harris). "The Racket" (Alexander McKalg). "Send No Money" (William Street). • "Happy" (Murray Phillips). "Wild Honey" (Crosby Galge). "Tropical Love" (Harry Cort and Clark Ross). load of Gershon Rubin as a straight man. He should- give lessons. With the short, black knickers, white socks, skull cap, beard of approved orthodox length, long, curly side- burns and the holy comforter known as a "laptzidekel," Rubin Is a scream. First they talked of the rabbi's daughter. Some one dared suggest she was not so-and-so. "My daugh- ter," roared the rabbi of Glembock indignantly, "My daughter! my daughter is ay-ay-ay. Which David (Mr. Rubin) amended, "She's not only ay-ay-ay, but ay-ay, ay-ay- ay." Ralzele finally discovers that her sweetie, whom she is not allowed to see until after the wedding cere- mony, according to the old Jewish custom, has no "Vontzls." But It's okay with her; she loves him just the same. In America the newlyweds start with a grocery store. A merry widow, across the way, is drawing all the business. Raizele decides to become a vamping widow, too, get- ting hubby to pose as her brother. Complications follow with a prize fighter trying to make the alleged widow, and hubby almost falling for the bona fide widow across the street. But business is good, so it's all straightened out. Julius Nathanson, male lead. Is not over strong. The balance of the supporting cast is exceptionally tine. Lucy Levin, Irving Grossman and Regina Prager are good vocalists. In addition, Miss Prager panicked the mob, chanting recital of a cou- ple of difficult paragraphs in He- brew. Very few women of her race have even a nodding acquaintance with the holy tongue. Her evident familiarity is accountable only through frequent praper and syna- gogue attendance. A rarity. In the first half Miss Picon's quaintly expressed desire for a bridegroom with mustaches (Vont- zls) furnished a great measure, of the comedy. The word "mustache" may not strike English-speaking patrons as especially funny, but In Yiddish its "Vontzls," different en- tirely. The pronunciation In itself was sufficient to cause fits of near- hysterics In the gallery. Joining hands and hoofing to the tune of "Chusen Kale Mazel Tov" were about six or eight chasidim in complete orthodox regalia—kapa- tas, laptzedeklech, white socks, tzitzis and abundant supplies of hair. A cleanup in any side show. It got everybody. But while the happy, clean cut, almost Americanized group of men and woman shrieked with delight at the laughable eccentricities of by- gone. European orthodox Jewry. It seemed obvious that an unextin- guishable vein of sympathy, some- thing again to a deeply rooted bond, mellowed their laughter and made It light to bear. It is the night following the end of the Day of Atonement (Yom Kip- pur). And though some of the cus- tomers may have come from River- side drive or Park avenue on this day they're almost nil Second ave- nue under their belt. HIDDEN David Relasoo production, co-featuring Itoth Merrill and Philip Merlvale, in Will- lam Hurlbut's three-act play (ono set). Opened October 4 at the Lyceum. New York. Nick Faring Philip Merlvale Ellen Faring Mary Morrla Violet Cadence.. Reth Merrill Kate Du Plessis Marjorle Cateaon Mary Mary Wall A Freudian-type heroine with suppressed sex desires who covets her brother-in-law, is the central character and chief attraction of William Hurlbut's frugally-peopled play which the eminent Mr. Belaaco introduced as his season's initial production at the Lyceum. Like all Belasco productions it attracted a substantial audience, commonly de- noted as "class," which for all its predisposed Inclination to enthusu and be Impressed, could not wax excited about It. Beth Merrill, remembered for her "Ladies of the Evening" work, and nioro recently in the not so forte "Lily Sue," la seemingly being groomed for stardom by Belasco. Co-featured with Philip Merival,— sole male player—.Miss Verrill gave a good account of herself. She was handicapped by a verbose Hurl- butian script with the second act curtain speech being a linguistic marathon; one of the longest single speeches ever written and spieled Nick Faring (Merlvale) Is married to Ellen (Mary Morris) who has her sister, Violet Cadence (Miss Mer- rill) living with them. The hus- bands sister-in-law is oppressed with strange Inhibitions thai have their outlet in the forms of severe headaches, faints, etc.. whenever Faring is in her Immediate presence. Her sex-starved consciousness con- jures up a distorted conception anent Nick Faring. Violet has blindly let herself believe Faring is a promis- cuous Lothario, who makes no dis- tinction between Mary, the house- maid, and an abstract Miss Iverson, the family's flapper friend. When Mrs. Faring refuses to be- lieve her sister's lies concerning Firing's alleged infidelity, Violet in a temperamental outburst states that her own brother-in-law has been trying to make dishonorable love to her. This drives the wife out of the home, accomplishing her sister's purpose. Four months later, after Violet has had herself mentally dissected and vivisected, she returns to her brother-in-law to freely confess her yearning for him, explaining that through her distorted love for him, which turned to hate when she found she could not have her sis'er's husband, she grew to hate all men; that this was the reason for her seeming preoccupation with charity and altruistic humane endeavor, and nothing as material as love and life. The girl's suicide ultimately clears up the situation—although there Is a little spice Inserted through the husband having, for one night, proved weak under the girl's tempt- ing confession—and the Farings are left to continue their heretofore blissful marital existence. There is much at fault with the Hurlbut script although "Hidden" may become one of those "Squall" foolers. Where the 48th Street had the advantage of the LeBlang bom- bardment, Belasco has a piore dis- tinctive alliance on his name, rep, and the prestige of the Lyceum. As a play, however, "Hidden" is drearily slow and talky. It cannot stand analysis. "Hidden" In toto Is not the type of play that will cause a stami>ede at the box office for any great length of time. This critical box score business, of course, sometimes re- solves Itself down to a guessing match between reviewer and pro- ducer as to the latter's plans and Intentions. This particular case Is a good ex- ample. "Hidden" is a five-people play, one eet, in Belasco's own house. Plenty of profit can be made on modest intake, a gross that would otherwise not sustain a heftier pro- duction. Where BelaBCO would not be content with an $8,000 to $10,000 gross with an average Lyceum at- traction, a piece Like "Hidden" can do a healthy profit at that gait. That's the box office end of It. As a play, It still goes about "Hidden" being too slow for general playgolng satisfaction. The prediction, there- fore, Is that the combination of both elements will count against a run. Abel. PORGY TheeAre C-ulld presents a folk-play of colored life by Dorothy and DuBose Hey- ward. dramatized from the novel of same title by Dul'oae Heyward, directed by Rou- ben Mamoullan, settings by <.'len Throck- morton; at Guild theatre, Oct. 11. W.ao top. Maria Georgette Harvey Jake Wesley Hill Lily Dorothy P»ul Mingo ■ '....Richard Huey Annie Rlla Madison .Sporting Life Percy Verwayne Ser. na Itose Macf.icmlon Robbins /. Uoyd Gray Jim Peter Clark Clara Marie Young Peter Hayes Pryor 1'oray Frank Wilson Crown Jack Carter Hess Kvelyn Kills Detective Stanley de Wolfe Policemen.. .Hugh Rennie, Usuries McRae Undertaker Leigh Whipper s, j|,io Melville Greene Frazier A. B. Cometliiere NalaoB G. F^lward Brown Ar.ii.I.ile Bdward Fielding Crib Man Leigh Wblpper Jenkins' Orphanage band, singers, eatras. etc., cast of 50. The first production of the The- atre Guild's 10th subscription sea- son Is a novelty, big, important, and a success. It is quite fitting for the Guild, foremost of all the commercial in- stitutions that operate In the name of Art, to do this almost all-colored (there are four white male actors in a troupe of 50) realization of a book Which, If It did not take Amer- ica by storm, was accepted as a work of moment and magnitude. The author and bis wife made this dramatic version, she a playwright who gave us "Nancy Anne," a finan- cial failure, but a Harvard prize play. The story of Catfish Row, the rookery home of the lowdown blacks of Charleston, with their weird re- ligious fanaticism, their frank im- moralities, their small affairs and Iheir mighty tragedies Is naturally followed with reverent regard for the original. It deviates only to allow for the imntre of lowllum. It i.s iutclli gently transformed for uses and limitations of the stage. The direc- tion Is "arty," as Mike Mlndllti would say, with plenty of dim light- ling, stitge-walts atid atmosphere that holds up action. But on the whole it is that sort of presentation and without Its eccentricities might lose some of its distinction. There arc two scenes, both tre- mendously dramatic, of negro wakes for the dead during which spirituals are moaned and the practices of the low negroes at such functions are followed out in amazing and usually fascinating detail. Some coloreil guests or patrons (they are allowed to sit in the orchestra for this show and did at the opening) declared these two the most honest of all the episodes as reflecting the true char- acteristics and color of the clam- digging, stevedoring, catfish-net- ting, superstitious, superreligious, brawling, crap-shontlng, woman- switching "niggers." The tale Is of a wench Willi "it,:' which causes two murders, breaks in on the colony like a streak from hell, and winds up eloping with a dandy dope-peddler when Porgy, her crippled and sanctlmoni i- beg- gar has strangled her bad-man, who had killed another man for her edi- fication. This Is no Lulu Belle— nothing high-toned about her. She'a a gutter-rat, comes that way, stays that way and goes back to her gut- ter -this time to New York. When the frantic Porgy gets out of jail and brings her fineries he learns she has gone her easiest and next way, to the devil. "la she dead?" he gasps. "Worse'n dead," answers a mam- my, "She's in New York." The acting Is a thing of wonder. Where the Guild dug up so many colored legitimate actors, psalm- warblers and character-types Is hard to imagine. And their training and directing must huvc been a most intricate and tortured job. But they went through almost letter- perfect. All gave performances of credit and several of fine and mov- ing quality. Kvelyn Ellis, one of the best- known of her race within her race, was brilliant as Bess, the wicked gal. Broadway will acclaim her. She has a gift for heart-breaking pathos, straight-shooting sinfulness, passion and low-high comedy, re- markable in view of the narrow lines of development allowed her people. Georgetto Harvey, known In vaudeville. Is a tower of perform- ing strength, in comedy and rough character. Frank Wilson, as Porry, while not physically the Porgy of the book, gave a convincingly ex- cellent show, while Rose MacCIen- don as a holylied widow and Jack Carter, as the bad-man, acted down to the life, even when at times their roles seemed a bit stretched. Leigh Whipper in a bit as a crab-hawker got the house. The Guild brought an entire colored orphanage band from Charleston for a moment of noise and atmosphere This drama is in four acts. Its main scene. Catfish Row, triple- deck masterpiece,of stage-building and designing, which got a roar of honest applause on first rise, la one of the mosj; Involved and many- Itemed sets" ever constructed. The scenery throughout la critic-proof, and it is not easy scenery to attain. While there are a few minor faults In the direction, especially in length, due to unnecessary waits at Intermissions and persistent use of the actlon-before-rlse trick, this is u production of note ami of tone, and must go into the records ur a perfect high-brow deed of low-brow folk-plny presentation. Should outlive its subsidized pe- riod easily, and will probably be worth moving elsewhere. Lait. MY PRINCESS operetta In two acts presented at the Sbubert by Alfred E. Aarons Oct. 16. adspted by Dorothy Donnelly from a play by J-Mward Sheldon and Miss Donnelly, the latter writing the lyrics to Slgmund Rom- berg's acure; book staged by 8am Forrest; ballet dances by Albertlna Rasch; dances directed by Dave Bennett; settings by P. Dodd Ackerman. Faxon Leo Stark Mrs. Johnson Made Stoddard Darwin I'. Johnson Donald Meok Augustus Tonks Robert Woolscy Minnie Jnhnson (Nlmosa).. .Hopo Hamilton Maud Kutlerloe Kvelyn Darvllle l"olly Carter Miriam Wootton tlulseppe Clccilni (Chick).. .Leonard Ceeley Mrs. (Vuger Ten Byck Audrey Maple I*r»I Harchesler Vernon Kelso Peter Loomis Robert F. Ford Mitchell Granville Bates The Amtwissador Lula Alberal I'olckl James Moore Mamma PompUla Phyllis Newklrk Rlchotto John f->nerson liuynes Street Singer.... Frank Pandolphl After a production lapse during which lime he was general manager for A. L. Erlangcr, a post he with- drew from last year, Alfred E. Aarons emerged Oct. 6 aa an op- eretta impresario, offering "My Princess" at the Shubert with Hope Hampton in the prima donna lead. It Is a show adorned with color and good taste, in costumes and setting. A large orchestra Is employed, the score being pretty enough but with- out a slund-out number. Of com- ely there Is little but of good en- semble dancing there Is plenty. one thing "My Princess" does es- tablish is the rating of Hope Hamp- ton as a prima donna. Last season there was a controversy during tho premiere of Madam Pompadour" In Philadelphia, Miss Hampton with- drawing and Wilda Bennett going In. The show came to New York (Martin Beck theatre) and flopped- It would have had Just as much of a chance with Miss Hamilton, slim, delicate, pink of hair and song- bird of power. N'i matter what the ultimate classification of "My Princess" may lie as to success or failure at the