Variety (Oct 1928)

54 VARIETY L EG I Tl MATE Wednesday, October 3, 1928 Plays on Broadway CHEE-CHEE . Lew Fields' musical production nulhored by . Ilerbevt FlcldB (book), Lorcriz Hart (lyrics) arid Rlohttrd Roduors (music), adapted from Cluirles Potlf's novel, "The Son of tho Grand. £unuch." Staged by Alexander I>6ft\vlch, dances by' Hack Has- kell, orchestra .' by Roy Webb, costumes by John Eooih. . In two acts and seven Fcenes,' cpenlnfr Sept. 25 at Fields' Mans- flcld, New York; ' A Eunuch .Ralph Qlover Another i.... .Alan Lowe Prince Tno-Tee.i..........Stark Patterson Ll-Ll-Wee. Betty Staibuck .Ll-Pl Slno...................George H.issell .Miss .Smile... ..Dorothy Roye LI-PI Tchou ......William Wllllhms Chec-Chee Helen Ford Ban Toy George All Narrow-MIndcd Owl William Grfflth Innkeeper ,. Philip Loeb Tartar Chief.. .George Houolon Leader of. Khonghouscs. .Marshall Bradford Radiance and Felicity WiUlnm Grfflth Profundity ......Philip Loeb Holy Emperor.; ..Ralph Glover Dancing Idols..Masai Sanamli Violetta Aokl Girls of Ensemble—Gloria Rymar, -Biddy Boyd, Helm Mlrtel, Jean Caso-well, Cath- arine Huth, Ann Mycue, Velma Valen- . tine, Eugenia JReno, Betty Glass, Betty Shirley. Grace Shipp; Marie Felday, Ruby Poo, Evelyn Hannona, Evelyn- Kane, Bunny Moore, Urllda Smith, Pauline Hartman, Helen Bheppard..- Men—Gene Byrom. ' Charles Townsend, Frank White, Robert Davla, Al Blrk. T^sd White, Jay Llndsey, Jnul Jensen, Jamos Dale. Bob Matthews, Buddy Penny, R. P. HaM, Richardson Brown, George Xeh- rlan, Ted Shultz, Eddie Larkln. liah. He should stick to these triple rhymes, Intricate construction and original phraseology and foi:get all well meant but misdirected advice. "CheeTChce's" chance at the gate Is problematical. It's, not good en- tertainment and yet a morbid curi- osity in the daring theme may prove a financial life-saver.. What good elTect those songs may have must also bo reckoned with. One can never forget what an "I Love You" song hit did for a medioci-e musical, "Little Jessie James," some years ago. However, everything else con- sidering, "Chee-Chee's" appeal is decidedly limited to a class draw at the $5.50 scale. Abel. BILLIE Koss and Carl I'Yancis were among the ofreotive leads. "nillle" is enjoyable, entertain- ment. Thore are some .slow moments but with the performance lasting beyond 11.30 on the opening night it should not be much of a trick to prune a bit. A muslral. comedy moderately scaled, it is aimed for popularity. ' Ihee. . Between "Ch6e-Chee". and Mae West's newest opera, "Pleasure Man," West 47th becomes the theat- rical red light district and the great American neutep gender Is In Its element, : For all of Its cleverness, for all of its radical departure in operetta construction, for all of 'lis tuneful- ness of score <and Richard Rodg- ers haa never before fashioned a more > tuneful collection of song settings), "Chee-Chee" not alone is decidedly limited for a class draw, but further negates Its economic opportunities by an unhappy theme which leaves t^e auditor consider- ably uncomfortable, whether he Is alone 6t in mixed company. As far as Variety's thick-skinned mugs are concerned, anything goes T-and does—but between this and "Pleasure Man," the . ^xploslveness of "Front Page" and the utterly vlcloui expletives of "Jarnegan," careful Indeed must the layman be where he escorts any feminine com- panion. "CheerChee" hasn't even the sav- ing grace of a provocative theme. Its libretto is decidedly dull and Its unfolding Is lethargic and well nigh boresome. Young Fields' yoe- man endeavors to colloquially adapt such old saws as "I wish I had a hotel with 1,000 rooms and flrti you dead In every one. of them" by paraphrasing, it as "wouldst that I had 1,000 pagodas so I could !.;rangle you in every one of them" only served to heightew the natural comedy deficiencies of It all. Charles Petit's original nova!, "The Son of the Grand Eunuch." the source of libretto inspiration for "Chee-Chee," has to do with two elements: masculine sterility, and feminine laxity. If that's fit- ting fare for stage reflection, much less in musical form, then Mae West Is the feminine Shakespeare. Helen Ford as the title player, "Chee-Chce," wife of William Wil- liams, who plays the son of the Grand Eunuch, flits through two acts and seven scenes engaged in the dutiful task of saving her hus- band's ll.'e at the expense of her "honor." However, she thinks noth- ing of it, because, says she, "1 have kept mysplf pure in mind." Betty Starbuckr a "G a r r I c k Gaieties" alumna, teamed with Stark Patterson in the juvenile parts, reg- istered on thoir own with a song . and dance and a natural conception Of CTsnredy values,- although they were additionally fortified by some excellent song a!5.slgnments. Wil- liam Griffith, for all his Edwynnlsh- ness, was a welcome comedy high- light. George Houston, as the Tartar . Chief, was equally effective and ^larshall Bradford, Philip Loeb. and jMa-sa Sanariii assisted by Violetta Aokl, the latter a pair , of unusual "dancing idols," completed the oper- etta persohae. This marks Houston's debut in mu.slcal comedy, having toured as soloist with different sym- phony orchestras In concert as well as with the Schola Cantorum and the Oratorio Society. He impressed favorably as one of Chee-Chee's" several not too menacing "menaces."' The elder Field.s has done well by his favorite authors on the pro- duction end . and general mounting. Jack Haskell on the dance staging contributed nicely on behalf of the 18 girls and 16 boys, as did Alex Leftwich on the book staging, liandlcappod as he was by Herbert FieTdTgnffirfetto T • • ■ ■ Musically, it Is to be regretted that Rodgers wasted the best score he has -ever turned out on "Chee- Chee." With L?irry Hart's collabo- ration, they, have five cinch clicks in "I Must Love You," "Moon of My Delight," "The Tartar Song," "Dear, Ohi Dear" and "Better Be Good to Me," the latter two corking for dance. Hart, lyrically, seems to have been ultra, class-conscious and striven hard for simplification. This, too, Is regrettable for Hart is at his best when he Is at his best En£^- . Musical comedy In two acts presented at Eriangcr's Oct. 1 by George M. Coliari; book, lyrics and score.by Mr. Cohan; 8t(iged by Edward Royce and Sam Forrest. Maid..;.' .June O'Dea Hahkin '.., Joe Ross Bob Wallace. .....Robinson NcwbolO Jackson Jones. Joseph WagstafC Winnie Sheldon. .......Marjorle. I^ane Mrs. Ambrose Gerard Ina Ha^ward Peter Pembroke...............Carl Francis Blllle Polly Walker Wilbur Cheatlngton .Emie Stanton Sir. Alfred Huntington... Vul Stanton Harry Thompson David London Higglns.. Richard Barry Judge SpotswoQd Joseph Kennedy. Page..... ..Ethel Allen Will.. .Billy Bradford Marion..... .Marlon Hamlltoa Charles. Charles Sabln Sheriff..... ............Larry L. Wood Gnbver Sheldon.. Albert Froom With a tuneful score, holding three or four potential sonig hits, good book with a goodly. share of laugh-comedy, plenty of dancing and an all round clever cast, George M. Cohan's new "Billie" as at Jilr- langer's Monday night figures to be a winner. It is an all-Cohan show as to writing and score. The book is based on his success of other sea- sons, "Broadway Jones," but it hat: been . smartened up. : The satire Is more pointed. In the second act especially, the fun bubbles?. "Billie" is Cohan In his very best humor. Polly Walker, the dainty lass who shone In Cohan's "MeiTy Malones" last season, is the star of the new show. Her name Is In lights atop the theatre, the show's billing and title being elsewhere on the ex- terior. Such a quip cracker as Rob- inson Newbold is again aniong Cohan's comedians and such a laughable pair as Val and Ernie Stanton have been added. There Is a. new face. Joseph Wag^taff, handsome youth and a model juvenile, a kid vvho was out on the road with a musical show last season. From his perfprmance he belongs to Broadway. The first nighters went for him hard. "Where Were You?" ductted by Miss Walker and Wagstaf£, Is a peachy number. So is Miss Walker's "Billie" and the boy's "Happy"— they wanted more of Wagstaff with it and later. The duo again come to the front just at the close of the show with "The Two of Uis." It is a slow tempo numbor. in fact no little of the score is akin a.nd perhaps it's Cohan's idea to show a chanjre of p.aoe from the usual dash and. rush of the modern musi- cal comedies. The finnle was given a gentle curtain, different too. Billie and her boy are left >standing before the silken curtain and for the actual end thoy are in embrace. The'Stantons, Val as an. English- man and Ernie as his lawyer, were in front of the .«!ilk drop in the first act. It was not a specialty sincc- the dialog hoid^t^ do^ with'the story. The second act f ound "tire "brothers again alone and in a .spot. It was an olfice scene, partly mentioning the plot but the phone bit was the reail idea and the laugh of the even- ing. The story has to do with young Jackson Jone.s who has g;one broke and gotten, hlni.self entangled to a somewhat worldly widow. Comes a message his uncle died leaving him the chewing gum factory. All hands off to the Connecticut town and there the kid meets the girl, Billie, the secretary. Jonesy Is .all for her and of course they marry, tossing off the factory for a mere five million. The mentor-, kidder and what not of the proceedings is Newbold. He coaches Billie how to catch young Jones, HtalLs off the widow (Ina Hay ward), threatens to sock the English gent in the mush and han- dles the Cohan comedy lines in the telling way he ahvjiys has. Many a laugh in his spare system come.'' ^o.u.t.audj:igM.=^;^,-_^^^.^_„^:_^_^ Miss W.'ilkor in addition to^hei-; sweetness and plea.«ant voire is n' graceful stopper, nnd so many of the others .show d.mce skill the ver- .satlllty of the oast is noi.ahle. Billy Bradford and M.ai'ion Ilamiltoh are the specialty dancers, rating well in the second act i)artioularly A ballet of eight toe dancers attracts attention. They were not billed as from any special Instructor or train- ing school. Charles Sabln d.anced one number with Miss Walker. Marjoric Lane, Miss Ilayward, Joe ADVENTURE Miplodr.ima In thn>e actd by John Wlllari^. Pre.<ientPd n,l the Republic Sept. 25 by Ber- nard Steele, Inc. Staged by Steele and RoUa Lloyd. Roberta Arnold featured. Kitty...., .Ruth Hunter Clerk Harold Kennedy Ctol. Stetson.. , ..Joseph Kggcnton Michael O'.Shanfe.; John B. Liter Jane Merwln , ; Helen Mayon Dolores Hampton .;.... .\ .; . Roberta Arnold "Spider"..... Clyde Dllson First Herder .;.J. Gordon Kelly Pedro. Hollo Lloyd Second Herder... Ernie Telle "Angel" Evans ,...Harry E). Southard Steve Lane ....,.T.feo Kennedy Jed Hampton..,.......... .William ingersoll Rather attractive title, but as a play it resembles a western picture, and they have gone out of style. "Adventure'" Is a long-drawn-out tale. It has some color supplied by the cow hands and sheep herders of the Wyoming ranges, but that Isn't enough to lift it above the. rating ol a cut-rater. John Wlllard, author-actor, whose mystery play, "Cat ,and Canary," was his most successful writing,- hegan with a good. Idea, that of the Adventure League, composed of men who had been overseas. In the big war. and who still are imbued with the over-there spirit, rather than routine work.- Applied to his Story here the idea seems to have been wasted. (t. too lengthy first act in the lobby of a small uptown New York hotel introduces the hero, called Michael O'Shane, and the heroine. Dolores Hampton. She has been east four years and Is about to re- turn to her father's cattle ranch when she meets the romantic O'Shiane.. The. latter has been of- fered the job of breaking up the depredations against a sheep range by the cowboys of the Hampton cat- tle ranch; adjoining. Ho takes the Job because it is out there close to the elusive Dolores. Scene shifts to Bitter Creek with- in what Is billed as a hotel. Cow- hoys and sheep herders are gam- bling, rough mugs. Somebody has been picking off Jed Hampton's cow hands with a rifle frorri the hills. Nobody suspects Michael, regarded as a. tenderfoot sent- out for his health. The old rancher hires Angel Evans, bad man from Texas, to dis- cover the shooter. Evans rates him- self as second to none on the draw, and bumps off a herder in a poker game to prove it. It Is Evans who ferrets out Mich- ael, though, of course, Dolores has known It all along. In the. end the girl gets her man. Michael had 5ust snuffed out Evans, beating, him to the draw. Except for the shooting "Adven- ture" is too even. Comedy content is Ineffectual and the drama is hard- ly thrilling. Roberta Arnold is love- ly as Dolores. John B. Litel, put ol stock, looks and iacts very well the romantic,, nervy Michael. Sev^ eriil bad men were capably done by Harry D. Southard and Rollo Lloyd, while William Ingersoll Is a good pick for the old rancher. Bernard Steele is presenting the .show. He is a stage director an;l teamed with Lloyd In putting on "Adventure." It is understood that outside money is backing Steele, but thiere is no chance of the attraction being profitable.^, Ihcc. BY REQUEST Farce comedy In three acts. . Prosr»iile(l .by George M. Cohan at Hudson Sept. -7. WrUte.n by J. C. Nugent nnd Rlllo.tt N'u- gent." ."Blagen"'b7^'Sam"-Fo^K^st;-•-]Clllo^^ Nugent featured. William Abbott. .Elll.Ht Nugc-m Jean Abbott Norm.i Loo John Hector Henry... J. C. Nugent Claudia Wynn Verree Tea.sdalc Hal Curtis,-} Grant Mill." Judith Swimn.. .Eleanor Wlnalow Wlllliims Froddl(! Page Harry McNaushton Antonio Ulnl , Jules Epallly Gerald Onglow...., : .Wills rialre I'Ullman Porter.............Charles Ualturi "Hcd Cap".... .....Milton C. Herman Geo. M. Cohan behind the newest play by the Nugents. Both are in the cast. Nothing new for the Nu- gent family, but this time the pater thrusts the son forward, Elliott be- ing the sole featured player. "By Request" has been showing in ao.'ir- by stands for some, six weeks and liked. That goes for the premiere at the Hudson last Thursday, thougn in a more Intimate theatre its run pos.sibilitlcs might be more favor- able. - "By Request" is comedy with a farcical trend. Tells the talc of a small-town boy who thinks he is Jnow^J.liy;edjwItji the New York hug. Often the char^^cTers~staik'^Tyn-=^at: surprising times, but the dialog i." mostly bright and humorous. J, C. and Elliott Nugent wotu home in localing their horo. Wil- liam Abbott is assistant editor of tho Independent at Massilon, O. He is in New York, for tho purpo.^es of the play, to sec John Henry, who has added the paper to his string. The Nugents are from Ohio, but their town is Dover. Bill is for becoming New York correspondent. He has sr^ibbed himself a picture star's studio tem- porarily, and likes life in the big town, along with its artists, actors and so forthi Bill is Just about fall- ing for Claudia, blonde vamp, but he tells her' frankly he has been married to Jean for four years, still very miich in love with her and never thought of having an affair. Joan suddenly bursts in from Massilon. She is all agalrist Bill's idea of moving to New York; she misses the front porch out home. It doesn't, take Jean, long to see there Is. something on between the confectionery Claudia and her Bill. There is a tifC. Acting on the ad- vice of a girl friend who believes a man who strays once In awhile Is glad to come back home, she insists that Bill take a trip to Bar Harbor with the vamp, . . The final act sees Bill and Claudia In a Pullman drawing room, the situation being most comic at that point through Bill's shyness. He escapes for a moment to pep up with a drink, returns to squabble with Claudia, who exits to' a single berth. In an adjoining, compartment (s little Jean. Through a similarity In dressing robers, he carries her . into the drawing room, dumps her abed and climbs Into the upper berth himself. He hag been kissing her picture In his watch, and freshly realizes Jean is the only woman for him. Henry Is pn the same train, and be.ore the party troops Into breakfast Bill gets the editorship of the Massilon paper, happy to take, air from New York. Elliott Nugent as the young ed- itor Is quite the Juvenile and gulli- ble, even fpr Massilon. There is a drynfess about his comedy that re- sembles that of hia father's, but no imitation. The .^qulet - and always effective individuality of J. C.'s im- personation of the newrgpaper mag- nate comes to the fore at important stages. Norma Lee (young Mrs. Nugent) was peppy . but sweet as Jean. Verree Teasdale Is the pretty Claudia. Somebody in the audience remarked that if Bill didn't take her to Bar Harbor he would. Harry McNaughton did very well a;s an illustrator who made funny or fresh rem-arks when in liquor. Balance of the cast so-so. "By Request" principally depends on its dialog for the first two acts, and then It is a matter of situations. The second act sagged In the mid- dle, but the show is amusing and should achieve moderate success.. , Ihee. A PRINCE THERE WAS (Yiddish) Operetta in three acta and a prolog. Produced by Schulninn and Goldberg un- der tlie supervision of Ludwlg Satz. Writ- ten by Harry Kalmonovltch. Musto by Herman Wohl, lyrics by H. StutchkofC and Lndwig Safz. Starring Ludwlg Satz. Dances arranged by- Katchatofsky. At Public. New York, Sept. 28, $2.00 top. Rob Bainl.slr.'..' Sam Blunri First Jew .Chalm Kornfeld Second Jew .M. Bermaii S Prince ., Leon-Gold Mlrelo '. Nadya Dranova Schnlndele ....Pauline Klelda Lalbke I. Ijuplnsky Esther Fannie T<ubrlt-/Uy Chatzkel Ludwlg Satz An Officer- ., .....Charles Nathanson Tfjrtar General Michael Wllen.sky A Tzar .....Sidney Hart A Priest Boris Rosenthal Olga .Zlna Goldstein From the common, low-brow, or commercial point of view it's not a success. De.spite that it's another pan on Russi.a and a mythical czar, and with the oppression of Jews as its major theme, it will not please the people whom this play was ex- pected to dr.aw because the patron- izers of the Yiddish, theatre rarely fall for operettas, regardless of -(luiility. Aside from that, it has .1 «la))sti(k oyniedian attempting the loading role without the vocal de- livery renuhed. Ludwlg Satz is billed over the title, his nanie evi- dently being used for whatever it niay be \v.orth~"to^dmw"-Dn'"the East Side. Having tlio star of the play mis- cast in a weak, Inappropriate, in- sufficient role is only one of tlie minor faults. It's a weak produc- tion from every angle. The story unfolds and blossoms Into a repe- tition of Xvhat. hiis already been written and staged for these many score years now—relative to the cruelties and stupidities of oppres- sive Russian rvilers, and. there are no. new or novel angles to recom- mend It for a renewed lea.se of life. The lyrics hold a few odd laughs but only in spots. Music, like the book, also has a. familiar tinge. Practically every Yiddish musical produced on the .street has had. something similar. It seems that the Yiddish composers are limited to a scale of five notes , with which they make endless combinations, all registering alike. Of tho performers Faimie Lu- britzky socms to be the only player KuitJibly cast; and carrying through her ~ wlMM{""ih ii!ft=lilrerublc^=i^ tho prima donna, 5Iina Goldstein, .another songstress, who also has the role of the court vamp, has cul- tivated a deep gurgle that ruins everything. . Sat^ does well with a few com- edy, situations, but these arc lack- ing In strength and there isn't enough comedy called for in the book' for him to really appear at his best. Boris Rogenthal delivers a convincing, through slightly overdrawn, characterization of the slnigtcr. Intriguing Russian High Priest. Aside from that there's the mea- gre story o£ the country lad whoa© quick-mindedness saved tho Prince from the Tartars. As a reward the Prince brings the boy to court, tries to' take his girl, and at the same time sets the High Priest and the court vamp to w-ork in an endeavor to convert him to the Christian faith. Ifrom the artistic angle there would be no I'eview. There is no art in weakness. Mori. ' The Would-Be Gentleman Opening the third aeaaon of the Clvio Repertoire Theatre, directed by Eva Le- GalUonne, with the revival of a play by MoUere, adapted by F. Anstey (Thoman Anatey Guthrie); .staged by Miss LeGal- llenhe; settings and cdstumea designed by Aline Bernstein and Jacqueline Knight; settings by Cleon Throckmorton, painted by Horace Armlstead; dances by J. Bliake Scott; at-the Civic Reper;tolre theatre (14tU street), Oct. 1; $1.50 top. Muflic Master ,. .John Eldriedge Nicole ...Beatrice de Neergaard Dancing Master.............j. Blake Sobtt M. Jourdaln. ....,»..Bgon Brecher Baptlste, Lackey.........."...Walter Beck Second Lackey. ^... Robert Ross Music Master's Pupil.. . .. .Adelle Scl)uyler Fencing Maister..............Paul Loyssac Profeesor of Philosophy.... .Sayro Crawley Madame JoUrdaln Alma Kriiger pomte de Chateau-GalUard Donald Cameron Luclle Jourdaln , .RIa Mbone/ Cleonte Dubois. Harold Moulton Covlelle, Valet to Dubois J. Edward Bromberg- Tailor Lewis Leverett Ills Assistant;...'.....:....L{tndon Herrlck Marquise de Mpntlgnac...... .Mary Morris Page. .Harold Francis Cook's Assistant.... ..Vernon Jones Dancers^.. .J, Blake Scott, jocelyn Gordon Muslclam: Theodore Zarkevlch, Coostantlna Sheytchen, Peter Tcharkoveky. Abra- ham Bfttken and Paul iZamulenko Slave-H........ Herbert Shaplrof, Ted Fetter Dervishes: Margaret I.<ove, Glesca Marshall, Jocelyn Gordon, Robert Ross, Lewis Leverett, Landon Herrlck. Mufti, .,... .John Eldredge Guests.,...Agnes McCarthy, Leslie Cooley Nothing of great consequence. Miss Le Galllenne's worthy effort is predicated on the need ow a non- commei*cial theatre to present profitless plays which otherwise would not get a hearing. So far she has given the world "Cradle Soiig" —and that would be a money hit for any producer. Her repeated of- ferings of other esoteric, drahias, comedies and tragedies, have borha little fruit. "Le Bourgdis Gentilhomme" of Moliere, which is the original o£ this sea'son's opening opus, is - a credible and ctedltable farce. This day and generation could stagger and struggle along without it. But it will see and support worse. Thus, it Is only so-so. . And who wants to go to 14th street to see the so-so? Egou Brecher, a Teutonic .actor of. the "bid school" whp Seems to be an especial favorite of Miss Le Galllenno (and not entirely for naught) gets the role of Jourdaln, almost a monolog. Except for an occasionally Qermanlc dialect that bobs through, Brecher-^more ac- customed to heavy and drab dra- matics than light and low comics- hands fotth a rather decent show. The other principals are famil- iars of lagt season, recoignized by- the overflow audience that graced the season's premiere of the bo- loyed Le Galhehne's third period of stage elevation. Among these the beauteous Beatrice de Neergaard and Marry Morris shone, forth in mionr, but notable Moliere-Itles. Miss Le Gallienhe did not deign her personal presence in this offering, nor w'as there any sign of Nazim- ova, broadcast as the guest star of this year's Civic Repertoire. The settings were excellent and tho costumes, of a medieval pe- riod, truly splendid. IMo Outlay was spared on this affair. Miss Le Gal- lienne, poor as she and her uplift may be, is no piker. The prodigal Al Woods would not have invested It with anything more lavish. But —he probably would not touch any pjart of it with a stage-brace. It u n veil lit?' 7the""^non - fiscal -is Migs Le Galllenne's mission, she is true to it here in every way. The principal charm of "The Woiild-Be Gentleman" (as in "Vol- pone," though the Theatre Guild's middle-centuries resurrection had far more sex appeal) lies in Us adaptability to modern . isatire. Played with all fidelity In the at^ mosphere of Its time, acting' its age, it is still a costumed modern. It has'to do with an amorous and pgotistlcal commoner, who, grow- ing rich and bald, experiences and pursues the urges of gallantry, fashion, dame-copping and those other absurdities which go with the silly age of an idle pinhead. His harriden wife rUles him, his Im- pecunious and flattering young friend uses and bamboozles him, tho tradesmen and servants take, and trim him, !ind he preens him- .solf nnd fanc'l9s ho is a Don Juan wit, hail fellow' and sly rogue. It runs on, developing the char- jT-cter ^with int^'donts rather than Aviih fVr'o"grps.s~Tn'^1otr'£inTd--"tho-^^^ ing is what might be termed "hapi)y." Tlio acting i.s about as up-nnd-up as is usu.ally found in revivified seventoonth century com- edies. Tlie direction is intelligent iC not brilli.Tnt. There are laughs .and the evening spins along kind oC pleasnntly. That the Civic Repertoire The- atre, founded on Ml.ss Le Oallienne'.^ motto—"The theatre Is Important (Continued on p.a^o 55)