Variety (Feb 1930)

52 VARIETY WOMEN'S PAGE Wednesday, February 12, 1930 Uncommon Chatter By Ruth Morris Audience Week at Palace This seems to be Audience" Week at ibo Palace, which fits In nicely with RKO's flair for slogana, Phil Baker Is having a grand At Home on 47th street. Lita Grey Chaplin, smartly rigged in a beige ensemble with deep nutria trim, took a pretty bow at Monday's matinee. Then Roslta Moreno was applauded Into doing a neat song and dance, followed by her father orating on the art of bull-fighting. To oblige the house While Fannie Brlce changed Into her Dying Swan costume Jimmy Savo crooned an Italian song to tlie accompaniment of the' Baker ac- cordion obllgatoa. Previously none other than Bill Copesettic Robinson had climbed over the footlights to team up with Adelaide Hall. In- formality of the afternoon provided swell entertainment. Fannie Brlce fans will be delight- ed with her reprisal of old favorites. One moment she's Cieopatra; the next Mrs. Cohen watching over her brood at the sea-side, and then an opera singer worried over the in- attention of Otto Kahn. In all the numbers she's Fannie Brlce—which means that she's grand. To cele- brate a Joint appearance with Phil Baker she mounts a piano and be- comes the Juliet who changed her name from Caplin to Capulet, The scene is a howL The new lines become Miss Brlce's slim flgiare, swathed in a simple gown of green crepe bright- ened by brilliant bracelets and squareT-cut crystal and emerald necklace. Adelaide Hall's costumes are well chosen In the bright shades that suit her dueky and husky voice. She makes her first entrance in a white cape of ermine collared In eoft white fox, looking very up- towny. Kay Spangler registers agile kicks in graceful dance routines. Her prettiest ffock is in white tulle, with "crisp -white taffeta- -moulding- the waistline and lower bodice section. If this column mentions it enough times, at least one or two dancers may read and believe that dance shorts fashioned- of flesh crepe, black lace and rhlhestones can do nothing but cheapen their act. Pat Hennlng's Mama wears a blue suit with embroidered jacket that is out-dated but nice anyway, and Gladys with Adolph and Eddie does "Dances As Tou Like Them!' In cos- tumes as you don't. Telling It Again There la nothing In "Burning Up' that hasn't beenus^ In other fllma . which concerned themselves iJvith.a motor race the herb promises to "throw," but doesn't, due to a sud den change of heart and script. But the performances of Mary Brian and Richard Arlen make the story appealing' and succeed in holding audience-interest over trite situ- ations. Mary Brian is one of the few pretty ingenues who can be counted upon not to go too sweet. Her frocks in "Burning Up" have that same quality—simple and girl- ish with crisp touches that give them character. Playing-Card Unit Elaborate costuming carries out the playing-card idea in Para- mount's "Ace High" unit, smartly produced and neatly rounded-out entertainment. All effects hinge upon the card theme, with princi- pals Introduced as face cards, and the stage backed with red, black and. white poker chips and card combinations; Silver and gold, in this gambler's paradise, become ap- propriate punctuations for scenes and costumes. Jed Dooley Is the Joker who runs somewhat wild with too lengthy comedy that is oc- casionally in bad taste, and a battle of Three Kings over the Queen of Hearts provides a beautiful Intro- , (taction for the sensational work of the Myrio-Ayres adagio quartette. It may be thought that adagio In- genunlty had been worn threadbare, but this troup has conceived some new twists to keep audiences gasping. Roxy Goes Occasional The Roxy is never more happy than when it has an Occasion to celebrate-^occaslons which are al- ways spelt with capital O's and treated with a solemnity that may give Irreverents in the audience a reverse reaction. Abraham Lincoln, having lived a life obligingly full of anecdote, always has a Happy Birthday at the CathedraL This year It's the one about the Old Negro and the Snooty Admiral. White, yellow and green are de- scribed in the cunning ruffles of the period in a dance before the cur- tain by the Roxyottes, and spot their color beautifully In the full- stage finale, combined with the brilliant hues of plantation dresses. After weeks of classical Interpreta- tions Patricia Bowman and Masslne must have a grand time doing their hotcha Cakewalk. Ferdle Grofe's ''Mississippi Suite" provides a dig- nined and beautiful introduction to the program, * Collaljorating on "Kirby" Lots of collaboration in "Cameo ICirby." Booth Tarkington and Harry Leon Wilson got together for the original play; Walter Donalson and Edgar Leslie teamed up for words and music; J. Harold Mur- ray and Norma Terrls made a duet out Of starring honors, and Stepin Fetchlt's face got together with Stepin Fetchlt's voice (except in moments where erratic projection split them) for lugubrious comedy. Results of these collaborations are nice if you happen to like a thick spread of southern treacle and mu- sical comedy graiid-manner. Norma Terrls seems much im- proved In her second film, She has greater ease in front of the camera and gives a warm and sincere p'er- formance. She looks quite lovely in the "fluted ruffles and full skirts of whatever days the story happened to take place in. Murderous Caracul Katherine Cornell, since that shin- ing performance of the flapper in "The Bill of Divorcement," has been the essence of dishonored, but gal- lant ladles. Scripts which rob her of virtue alVays have given her a supreme sacrifice to raise her above her righteous sisters. "Dishonored Lady" runs true to form. Miss Cornell plays a conniv- Tng murdress—a'^realljrlrorrible pei;- son who redeems herself only by giving up the man sh^ loves. She sits surveying the broken pieces of her life and the blank future as the play ends. It is here that the playwright has given her the grand- est gesture of all. "Ah well," she says softly as the curtain falls, summing up In those two words poignant sorrow for all that has gone before and a thoroughbred, unwhimperlng attitude for what is to come. Never before has an au- thor been kinder to a completely dishonored lady. Her performance is unwaveringly true, etching In the motives that detei'mlne action In the simple way that engages audience sympathy. To hear her, in the presence of her victim, arguing herself Into poison- ing him. Is to witness one of the most flesh creeping scenes iever en- acted. Some In the audience. may forgive her on grounds that the vic- tim is a tenor. Gowns fashioned by Mrs, Pem- berton's Studio at Saks have the glamor that should go with dis- honored ladles. One is a gorgeous ensemble in heavy canary satin. The gown moulds beautifully into super- fluous trails of self-material. A coat, appropriately trimmed with sable, and long* brown gloves complete the costume. Her dinner gown In brown lace has very little bodice left by a deep decolletage, and a skirt that sweeps to the ground in three slightly-flaring tiers. A gown of black chiffon and accompanying coat of black caracul gain murder- ous Intent in the dim light of the scene of the killing. gestures. With very few exceptions even their costumes are alike— long trousers molded into high waistbands over full crepe blouses. Evening dresses would be more at- tractive since the leader's batlc" Is turned to the audience most of tho time and the gown could be given original treatment with daring decolletage and Interesting trim. But no act has ever set the prece- dent. Jean Rankin's Blue Belles at the 86th Street are, naturally, clad in blue silk evening gowns, very, grace- ful with their diagonal flounces trimmed on the hips with large chartreuse bows. Their leader wears velvet turquoise, trou and a char- treuse blouse. Aside from the sing- ing of a girl who leads a number in front of the orchestra, the vocalising Isn't so hot, but the playing Is ac- ceptable. Procedure Is strictly rou- tine. Half way through the bill, with the various 'principals slipping in and out of each other's acts, one realizes that an unprogramed unit Is sneaking to a get-together flnale. The Blue Belles work into the last scene, wearing—surprise, surprise— velvet trou and crepe blouses, and do a cute banjo specialty seated on a large prop slice of watermelon. This department's two pet hates— ostrich feathers and rhinestones— are worn by Shirley Dahl for a hot number with Raynor Lehr, but the materials have been combined with such chic that the costume looks swell. Another rig for a strut num- ber is of ail-over sequins, black for the trunks and silver for a baekless vest. Diamond-studded topper and shoes, black gloves lengthened with bracelets to the elbow, and a rhlne- stone care complete Its smartness. With a voice that can gargle notes In the darktown manner, it is in- evitable that Miss Dahl should go Into a Lulu Belle imitation, weai-ing a wicked-looking outfit in red taf- festa. Clothes and Clothes By MoUie Gray- German Puzzle Witnessing "Caught in the Berlin Underworld" is very much like gaz- ing at the separate pieces of a jig- saw puzzle. Only difference is that there Is some hope of eventually getting an unbroken picture out of the puzzle. The German opus re- mains broken up in little pieces which never flt anywhere. ~ Fritz Kortner plays the chief fly In the plot's ointment as a malig- nant underworld character. Acting plpds. along at a maddeningly slow pace. Possibly the worried looks on the faces of tho cast were, occa- sioned by wondering what the whole thing was about. Lady Orchestra Costumes Lady orchestras have grown from a novelty Into a vaudeville institu- tion and have, accordingly, become standardized. Each one Is as like the other as separate prints from the same stamp. Girl loaders con- duct their groups with duplicate Paramount's "Pep Ball" Starting a party oft by calling It a 'Pep Ball" Is an awful handicap, but Paramount's annual party developed Into a very nice affair. The Brawl Room -at-the Astor-was-prettlly .decr. orated with green festoons arid no crepe paper, and the floor was dotted ^ith gaily colored frocks^aqua- blue, pale green apd lipstick red predominating. There can be no doubt about the new long lines (it really seems about time to stop calling them "new") adding dis- tinction to any dance floor. Entertainment was so gpod that Rudy Vallee appeared as an opening act, with Charles Ruggles m. c'lng the various turns. Frances Williams appeared in a lovely sUver-lace gown, looking Chanel-lsh, and touched off with bright green slip- pers and paler chiffon handker- chief. Jessie Matthews also chose green to compliment a ruffled frfcck of white, organdy. Helen Kane boop-oop-a-dooped In a princess gown of black velvet, with ermine tails bunched' on the left shoulder and a band'of ermine circling the hem. Ginger Rogers caused an audience gasp in blue lace describing ^ full, tiered skirt and bodice-trim over flesh crepe. The gasp came in hav- ing the underblouse such a decided flesh tint that the bodice appeared to be made of nothing but lace and Ginger. The girl with the Tommy Atkins Sextette wore a ruffled black taffeta for fast and graceful rou- tines. Fun With A Theremin Lionel Partegas is mystifying visitors to Paramount's music room with his "Mystery Music Marvel of the Age," over which he waves magic hands to extract a tune. Many of the witnesses, never having heard of Theremin's Ether Music, gaze in awe as his pantomime draws forth tones that can be as deep as a 'cello or as tremulously high as a musical saw. If his tone at times falters It is only because Mr. Partegas ha,s grown interested in the comment about him. . So far he has heard definite statements that he has a radio concealed on his person or an electrical device yp his sleeve which turns on a victrola concealed In the box. Other speculations voice the opinion that he Is a ventriloquist with a whistle In his mouth. Still others believe that he has an or- chestra concealed under the floor of the music room. He has a swell time watching his audiences trying to figure what it's all about. Spilling the Heart Among the most entertaining per- formances never given on any stage can be mentioned the conversation of almost any talkative taxi-driver. (Continued on page 64) Two Hours of Riverside I Riverside now has a two-hour show, continuous from 1 p. jn. un- til 11, making five shows for the acts. In person are Bob and Lucy Gillette, juggling; Willie-West and McGlnty, who must have to work fast between shows to collect props; Walt Hoyt and Fred Coots still under the Helen Kane ■ Influence. Miss Questelle looked nice in a puffed sleeve frock of coral net over satin, sash of grosgraln ribbon, blue slippers. Danny Small's assistant has new frocks since her Academy days. Black velvet ensemble with points of hem and sleeve lined with pink, rhlnestoned bodice and cuffs, pink roses posted on the flaring collar. Aflame with coque feathers and some sequins for her next strut, the unnamed miss looked very attrac-^ tive in white crepe frock and sliver bolero, silver petals on one side of the scallbped-hemmed skirt. Florence Meyers and her talented and personable girls' band liven up the show. Girls' costumes are mili- tary affairs of white satin and black leather belts. Singing. Is their one weak point and could easily be omitted. Screen entertainment was above average. "He Did His Best," did Taylor Holmes, and though overdo- ing it for the camera, he still got results. Carmel >Myers displayed a shimmering negligee of lace and ostrich and a mink coat. Yes, to- gether. Katheryn McGuIre's frock, was a black satin with skirt points at the sides, light fox scarf; simple but appropriate. "Wednesday at the Ritz" paced too slow for the farce It was. Evelyn Knapp In satin pa-; jamas and lace jacket. Best of the screenings was that Silly Symphony," "The • Skeleton Dance," original and amusing. Repeat Gown Barry and Whitlege studying au- diences and learning anew the value of hokum—at the 68th St. Size of the house probably accounted for some of the laughs getting, lost; Miss Barry's gown has been re- ported before. AndtTier l^efo' from Hollywood braving the perils of personal ap- pearances and discovering they never needed courage before. Rlcar- do Cortez gets little chance to prove himself the "romantic idol of the silver screen" in a gangster sketch, called "Wanted." His one real con- tribution was his short and unpic- ture-like speech of thanks. Girl In the sketch, Doris Kemper did very Well. Her frock is a simple black one with flared skirt "Glorifying" Minus CIpthea "Glorifying the American Girl" as all the world knows, depends very little upon clothes. Two spectacu- lar numbers, a ballet and "Love- land," about all there was of eye- ease. Feather costumes in the for- mer were remarkable. Set for Helen Morgan strikingly pictured. Olive Shea gives promise of fac- ing many a camera and doing it a favor, too. Her face registers deli- cately y£t decidedly. Mary Eaton appeared extremely uneasy most of the time. A Tibbett Rave Moving pictures liave done ter- rible things to Catherine Dale Owen She obviously Is suffering from the fact that Hollywood considers her the type to enact a haughty, bored, high-born lady. Iter beauty screens perfectly, her speaking voice is lovely and she can be a fine actress, but in "The Rogue Song" any emo- tion that escapes through her frozen exterior has to worlc its way through layers of affectation. She is beautifully dressed In "The Rogiie Song" In the manner becom- ing a princess. A travelling en^ semble in beige Is neat and practical looking, softened with a frilly ruf- fle at the neckline. A tiny velvet hat, severe but for a coyly drooping feather on one side, completes an effect that Is simple and expensive. The selection of her ball gown was an Inspiration. The usual choice would have been something in white, heavily studded with bril- liants, but nothing could give more of an effect of refinement and noble birth than the simple black chiffon she wears. Its low decolletage Is covered with a rail, all-around chiffon cape that has two strands of large square-cut crystals pendant from the shoulders. Tho necklaces are so rich that they might be royal BIRTHS Mr. and Mrs. Walter J. Cowan, son, Feb. 2, Los Angeles. Mrs. Cowan Is Lenore Coffee, scenarist. orders, yet they are a distinct part of the dress. But for its star, Lawrence Tib- bett, the picture Is moving picture hoke, dished up for the box office. But a dignified though ' popular score, sung by one of the most magnificent voices In the world, and occasional color sequences of awing . beauty, make it fine entertainment. No scenario can make a rogue out of Tibbett. His voice may express a flerce glee, but there Isn't a wicked note In Its entire range. When he sings of love It's not of the vagabond affection, but of the grand passion. His voice bespeaks all of the noble emotions of the world. South with Eddie Leonard Capitol stage show Is 'way down South, but not entirely in the land of cotton as concerns costumes, though appropriately enough a newsreel shot presented cotton frocks for all hours of the. day. Very good looking, too, on the screen. "Southern Melodies" is arranged for Eddie Leonard's benefit, and the stage troupe probably will be ex- » hausted when the week is over, if the audience keeps up its enthusias- tic encouragement. Opening In white froojks whose taffeta bodices ended with" a ruffle at the hips, very full organdy skirts of many folds,' touch of violet at the waist, puff sleeves. Berta Don, if she was the soprano, looked sweet In blue buf- fant with pink bows at the sides. The flrst being a garden scene, there had to be some of those large, drooping hats and floor-touching skirts—but just a few. Secgnd half combines Aunt Jenilma and minstrel atmosphere, curtains of red-dotted yellow, steps like dice and the or- chestra in high hats and brown skins. Girls In bandana frocks and a banjo finish. Dennis Sisters har- monize and so do their frocks, each of the three a different shade ot^ pink-and all "with blue datin .sashes. No master "to coiemony the show/ which was no catastrophe. Mile. ° Cherie's Coiffure The Slst Street audience seemed satisfied with Larry Rich and his friends, of whom Mile. Cherlels the most Important It may be the Helen. Morgan coiffure, but this Mile, doesn't seem the same Cherie of the past One costume was a dull one-piece affair under a robe that fitted so poorly it parted where It shouldn't have. Another was of red satin and net ruffles. Production about the same. Eflna Torrence has a new* femi- nine partner—a cute little blonde. For her first dance Miss Torrence floated about in unruffled mallne, with small bunches of violets show- ing under the circular flounce that ended the hip-length velvet bodice, Mary Dunn made a striking picture In an abbreviated costume of dark green velvet with but one tight sleeve, and neckband, and a hug» taffeta bow where the supposed-to- be skirt was shortest—the left side. For the flnale a pleasing picture resulted from all three. Including Brother Johnnie Torrence, wearing white and each with a touch of a different color. Miss Torrence'a costume was a pajama idea with a circular flounce at the waist Brother's tie and kerchief were dark blue and Miss Dunn used a green kerchief, her charming frock made with circular skirt and peplum that tied in front A most engaging trio. Women and Consequences Richard Barthelmess will prob- ably play Atlas In his next picture. He's been training to carry the world on his shoulders with many inferiority complexes, "Son of the Gods" is a weekly release selling as a specIaL Filled with the wisdom of Chinese philosophy, and proving how wrong Is the" attitude of the world, it reneges at the last minute, leaving him nameless instead of Chinese, Constance Bennett Itfoks lovely but acts—via the character—just the opposite. Why Is a woman In- variably shown as unable to take the consfequences of something she has brought on herself while a man un- der the same cohditlons will smile wryly and "be big"? Miss Ben- nett's white silk velvet gown fitted beautifully; skirt of two flat tiers was yoked to a point In back, giving back dip a point, too. Wrap w.is' short and foxed. Black velvet eve- ning ensemble without any fur, delicate black lace negligee with (Continued on page 64)