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New-York tribune. (New York [N.Y.]) 1866-1924, July 03, 1921, Image 39

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As We Were Saying?
By Heywood Broun
iSM HE trouble with a good many musical shows is that they are con
?^ij caived in too altruistic a spirit. "I know this is terrible stuff,"
??/ the v/riter of tho libretto is just as likely to say, "'but it will
hand the dear old public a laugh." More than that, the players
through a lot of stunts out of which they derive not an
;" pleasure, just to amuse the audience. "Shuffle Along," the negro
tow : iv playing at the Sixty-third Street Theater, is not a bit like
We don't suppose the members of the cast and chorus actually
privilege of appearing in the performance, but there is every
is nothing in the world which they would rather do.
. all terribly glad to be up on the stage singing and dancing. Their
professional, but the spirit is amateur. The combination is
A Pride That Laughs at Yale's
No musical show in town boasts such rousing and hilarious team?
work. Even a Yale crew could well be proud of such an esprit de corps.
They would die for "Shuffle Along," each last one of them, and so great
k the frenzy and vigor of some of the dancing that one wonders that
'??????y don't.
The person looking for a new school of entertainment will not find it
in "Shuffle Along." There arc occasional snatches of music which comes
from deeper jungles than Broadway. In the choral work and in the ;
of a male quartet there is the hint of primititve power. Dancing :
ernes hack to some of its essentials.
But on the whole "Shuffle Along" follows Broadway models. The
African contribution is not large. Most the music ?b lively and agree
able, but not much of it is new. The book could be rewritten for any
:air of German dialect comedians. It is a pretty good book at that.
There is an idea, although the development is not always.skillful. Now
and again a worth-while line appears. We liked, for instance, the retort
of the newly elected Mayor to the man who asked for the appointment
tl Chief of Police on the ground that it had been promised to him before
election : "If you haven't got sense enough not to believe an election
promise you haven't got sense enough to be Chief of Police."
A Show Worth the Seeing
Our greatest disappointment lay in the voices of the principals. We
?>eard no voice in any of the solo numbers of distinctive quality. Miller
and Lyles, who carry the bulk of the comedy, are excellent, and Eubie
Blake at the piano is a performer of unusual merit. In addition to play?
ing the two chief r?les, Miller and Lyles wrote the book and Sissle and
Blake did the music. "Shuffle Along" is well worth your attention.
Hawaiian Festival Dances for
^Greenwich Village Follies"
i</V?OST people go to the Ha
??l w'aiian Islands for a com?
plete change of climate,
scenery and environment," says Ada
forman, the dancer, "but the trip
1 have just made to this land
?* alluring attractions had nothing
*? do with picturesque groves of j
cocoanut palms, forests of ferns and
the smooth white bathing beaches. It
Was t0 study the native folk dances of
the Hawaiian? and gather at first hand
Uw id(..a3 for a dunce creation I have
?flevised for the new "Greenwich Village
The few days I spent in Honolulu
wade me realize how little of the old
native life one can see in that city.
^he younger generation in Honolulu
h?s really discarded the native dances
*b<1 now aspires to the modern jasz
and the shimmy. One is impressed by
*fe fact in Honolulu of the passing of
~8 old Hawaiians in some such fash
l?n as our American Indians. I could
*? help but wish the younger genera?
ron would refrain from the modern
""ported dances and ^reserve the sira
Dll?ty of their ancestors.
"l got in contact with some old Ha?
sans on Maui Island and had an in
*it*t?on to be present at one of the
**tive festivals where one sees only the
?W Hawaiian folk dances.
"Th? Uatinl took place at sunrise in
a scene of gorgeousness unexcelled
anywhere. The dances began in an
environment of happiness reflected in
the simple childish nature of the par?
ticipants. The dancers were not the
young men and women, but the blithe?
some grandparents. There was, of
course, an absence of technique, but
there was a touch of the grotesque
which gave charm to the dances and
lifted them out of the commonplace.
Here one caught the real atmosphere of
the old Hawaiian dances. There was a
story or legend back of each dance.
This projected an impression so vivid
that it held your attention and you
could really follow the story with de?
light. The grotesque beauty and sinu?
ous grace of these evolutions have the
spirit of joy which is the element un?
derlying all old Hawaiian folk dances
and is in vivid contrast to the crude
imitation of the vulgar modern dances
given by the young people in Honolulu.
"I ?pent the entire day at Haleakala,
and I learned many dances and also
familiarized myself with the legends
on which they are based, and I think!
my trip to the festival day celebration
on Haleakala has given me an oppor?
tunity to create a new dance such as
has never before been seen in New ?
York, and which I will give for the first
time in the 'Greenwich Village Follies'
of 1921.?? j
Al Woods Takes
All Seven Veils
Off the Future
By A. H. Woods
rfS&l? good prophet begins with the
?L bird in the hand before he goes
to the bushes. In other words,
he tells you what's going to happen
before he whacks the bushes for revela
; tions of what might happen.
In the language of Elijah, that's me,
| all over.
Having now donned the skullcap and
spangled robes of the seer, polished
; the crystal and adjusted the spectacles,
I make the following announcement:
On August 1, at the Republic The
| ater, I will present a small and price?
less bijou yclept "Getting Gertie's
! Garter," a fetching fable of innocent
| amours scented with new-mown hay.
j The principal narrators will be Hazel
Dawn, Walter Jones, Dorothy Mackaye
and Adele Rowland. There will be
about a dozen others in costly robes
and costlier disrobe, thereby assuring
a prosperous season for a small but
choice group of thespian artists, pro?
vided the critics run true to form, and
the public remains as heedless as usual
of the solemn admonitions of the
learned journalists.
"Back Pay" Has No
Relation to Equity Contract
On August 29 at the Eltinge Theater
there being still, in spite of the huge
success by that time scored of "Get?
ting Gertie's Garter," a vast number
of footlight artists unemployed and in
soak, I will proceed to diminish their
number by presenting Miss Fannie
Hurst's moving story christened "Back
Pay" and having no connection, ?
priori or otherwise, in epite of its
title, with an Equity contract. Miss
Helen MacKellar, in the grandeur of
a star, will head the employed in this
Still dismayed by the roving bands
of hungry actors looking for work, I
will further silence the raven by pro?
jecting a play with tuneful numbers
called "The Pink Slip" at the Central
Theater on September 6. Messrs. Bert
Williams and Harry Fox will be the
chief beneficiaries of the managerial
largesse in this instance, but they will
be ably supported by a large number
of salaried co-workers. In spite of its
title, "The Pink Slip" will not appeal
t: those who think what I think they
think when they read it. This clas3
is having "Getting Gertie's Garter"
pioduced for their espeeial benefit.
With these three ventures prosper?
ously launched and turning away
thousands of buyers at each perform?
ance, I may go further and insure work
(CoattniMd ?MB p**9 ?**>
# ?>tage (^o??tp ?$
? ~ ."" .
The clang of closing shutters was |
.heard again last night in the theatri?
cal district, when the Belmont, Colum?
bia, Eltinge, Harris and Forty-eighth
Street theaters simultaneously shut
up shop upon the withdrawal of "John
Ferguson," "Peek-a-Boo," "Ladies'
Night," "Sun-Kist," and "The Broken
Wing," respectively.
"Peek-a-Boo" will offer fresh oppor?
tunities to those who have not yet
seen it when it returns as the opening
attraction of the Columbia Theater's
regular season, on September 5. Until
then the burlesque house will take a
vacation, duing which period the the?
ater will be redecorated.
"Sun-Kist'' will go back to the Coast,
whence it came, with fresh laurels
and new friends, added during its New
York sojourn. This production, which
has played New York for two months,
reversed the usual order of things the?
atrical by beginning in California and
working its way to the Ea3t. One of
the original features of the "Sun-Kist"
production, which has been made by
Miss Fanchon and her brother, Marco,
is the fact that in addition to being
the chief dancer in the organization
this versatile lady is also the author of
the words and music of the revue, de
signer of all the scenery and costumes
and stage manager on top of all the
Louis Chalif is to build a miniature
theater, seating about four hundred
persons, on the fifth floor of the Chalif
Studio Building, opposite Carnegie Hall,
where he will present his own pupils
in aesthetic, folk, classical and mod?
ern dances. He will also endeavor to
encourage young dancers who are seek?
ing a professional career but who have
neither place nor opportunity to ex?
hibit themselves and their talents. Mr.
Chalif is most desirous of stimulating
a wide general interest in the higher
forms of dancing, and it is with these
ideas in mind that he has planned his j
little theater wherein he hopes to help |
many an embryonic artist unfold his |
Elsie Ferguson will make another
return to the legitimate stage this fall,
when Sam H. Harris will present her
in Zoe Akins'3 new?play, "The Varying
Shore." Miss Ferguson's last stage ap?
pearance here was in Arnold Bennett's
"Sacred and Profane Love," more than j
a year ago. Since then she has been
(Continued on pac? three)
Scat's i^ftatjn j5eto iorfe Cfteaterfi
AMBASSADOR?"Dumbells" in "Biff! Bing! Bang!"
BOOTH?"The Green Goddess." Arllss In melodrama.
CENTURY?"The Last Waltz." Musical comedy, with Eleanor Painter.
CO*IAN?"Two Little Girls in Blue." A musical comedy.
FORTY-EIGHTH STREET?-"The Broken Wing." Comedy in Mexico.
FULTON?"Liliom." Theater Guild production.
GAIETY?"LightninV Frank Bacon in comedy of Reno's divorce industry.
?.ARRICK?"Mr. Pirn Passes By." A. A. Miine comedy.
GLOBE?"Ziegfeld Follies of 1921."
KLAW?"Nice People." Francine Larvimore in Rachel Crothers's comedy.
LITTLE?"The First Year." Frank Craven in his own comedy.
MOROSCO?"The Bat." Thrilling mystery play.
NEW AMSTERDAM?"Sally." Ziegfeld's musical comedy production.
SELWYN--"Snapshots of 1921." Nora Bayes, Lew Fields, De Wolf Hopper.
S?XTY-THIRD STREET?"Shuffle Along." All-colored melange.
SHLBERT?"Just Married." A farce comedy.
THIRTY-NINTH STREET?"The Ghost Between." Arthur Byron in comedy.
TIMES SQUARE?"The Broadway/Whirl." Musical comedy. Richard Carle,
Blanche Ring. '
WINTER GARDEN?"The Whir! of New York." 1921 version of "The Belle
o? New York," v
! A Slump in Stage
Twins, Says Mears
: Of ^Broadway Whirl'
3F YOU are twins, petite, young, at?
tractive, good dancers and singers,
and want to share honors modest?
ly with such stars as Richard Carle,
Blanche Ring, Charles Winninger,
i Wmona Winter and Jay Gould, call on
; John Henry Mears, producer of "The
Broadway Whirl," at the Times Square
Theater. If you can't call phone or I
write, for there's a hearty reception j
waiting for the right pair of girls. I
Mears has been looking for them a
long time. You don't have to be real j
twins, so long as you look enough alike. I
Nor do you require stage experience,
for if you have the talent you'll get all
the schooling necessary.
The fact is that there are two per?
fectly good new r?les in "The Broad?
way Whirl" waiting to be filled and
1 two good salaries still unpaid because
there seem no suitable applicants.
i Of course, Mr. Mears has tried the
theatrical agencies, but maybe he is a !
little fastidious. When "The Broad- j
way Whirl" went into rehearsal several ?
months ago, instead of taking girls !
from the choruses of other shows Mr. j
Mears advertised in the daily papers,
just as he would have advertised for a j
cook or a secretary. From several hun
dreda he selected the present score of !
beauties of the ensemble. Of these
twenty, Mr. Mear3 now reveals, four
<Continued on page six)
At the Hippodrome
The Hippodrome to-day enters the
third week of its motion picture policy,
presenting upon one bill two feature
pictures, in addition to the usual edu?
cational, topical and comedy numbers !
and a full program of orchestral and j
organ music. The new foreign picture, j
"Tradition," a tale of two worlds, based j
upon Der Tod and die Liebe, by Paul
Otto and George Jacob, is presented j
for the first time in America, and the
Malcolm Strauss photodrama, "The
Twice-Born Woman," is continued. The j
music program is arranged by Edward j
Howe, who has written the musical set- j
tings for both pictures and who also i
directs the orchestra. Frederick Kings
iey gives a short organ recital at each
performance, preceding the overture
and Norka Rouskay, a South American
daneer who is making her first appear?
ance in the north, does some interpre?
tative dances.
Through the Telescope
A Glimpse of the Early Theatrical Sea?
son; "Back to Methuselah"
WIN oases in the desert of July, the "Scandals of 1921" and Zieg
feld's "Midnight Frolic" are to be reached by the caravan on
July 18 and 20, respectively, while the promised theatrical season
is suspended like a mirage in the nebulous sapphire of August
and September.
The only definite points of reference by the guides to that promised
land are "Getting Gertie's Garter," at the Republic on August 1, which Al
Woods says is without blush or blemish ; "Tangerine," with Julia Sander?
son, at the Casino, on August 8; "The Poppy God," a Chinese tragedy,
at the Hudson, and "Back Pay," at the Eltinge, both on August 29. Mr.
Woods's "The Pink Slip," at the Central on September 6, is the only
other definite point descried on the northern slope of the year.
Of the scores of other prospects the Theater Guild's high resolve to
present Shaw's latest play, "Back to Methuselah," is as interesting as
any. Their success with his "Heartbreak House" and Moinar's "Liliom"
is the warrant for their undertaking. The guild also will revive "The
Devil's Disciple," by Shaw, which has not been prominently sponsored
here since Richard Mansfield's production. The guild's list may also in-i
elude a dramatization of "Potterism," one of Britain's best sellera.
Summary of the i
New Season's Prospecta
Charles B. Dillingham'a announce?
ment of Lennox Robinson's "The White
Headed Boy," with the original Irish
company, is of unusual iaterest. His
list embraces "Bulldog Drummond,"
adapted from the novel of that name,
full of thrills and goose-flesh; also
Aaron Hoffman's "Two Blocks Away,"
with Barney Bernard.
Here is a summary of other produc?
tions that New York theatergoers prob?
ably will see:
By David Belasco: "Kikl," a French
comedy, with Lenore Ulric; "The Wan?
dering Jew," an original pageant play
already seen in London.
By the Shuberts: A dramatization
by Harvey O'Higgins and Harriet Ford
of "Main Street," by Sinclair Lewis;
Cosmo Hamilton's "The Silver Fox,'
Louis Evan Shipman's "Fool's Errant,'
William Hodge in his own "Beware oi
By John Golden: Frank Craven'i
"The Spite Corner," Montague Glass'i
"Easy Come, Easy Go," Austin Strong';
"Three Candles," Winchell Smith an<
Tom Cushing's "Poor Man's Pudding,'
Winchell Smith's "The Wheel??
By the Selwyns: Roi Cooper Me
grue's "Honors Are Even," Somerse
Maugham'3 "The Circle," with Mrs
Leslie Carter, John Drey and A. E
Matthews; Edgar Selwyn's "The Lovi
Chef,'? "The Poppy God," "The Whit
Peacock," a Spanish play, with Olgi
Petrova; George V. Hobart's "Sonny,
b- - ?
with Emma Dunn; Hubert Osborne'S;
"The Puppet Master."
"The Hero" Again
With Richard Bennett
By Sam H. Harris: "The Hero,"
Emery Pottle's play, tried out success?
fully last season, then with Grant
Mitchell and in September with Rich?
ard Bennett; William Anthony Ma-?
guire's "Six-Cylinder Love," with Ern?
est Truex; A. E. Thomas's "The Turn
in the Road," with Miss Mary Ryan;
"St. Ursula," by Edward Sheldon; Zo*
Akins's"The Varying Shore," with Elsie
By George Broadhurstt A drama?
tization of "Tarzan of the Apes," o?
film fame. Mr. Broadhurst has four
other pieces for which definite ar?
rangements have not been made.
By William Harris: "Blue Beard's
Eighth Wife," with Mary Servoss and
Edmund Br?ese.
By George C. Tyler: Eugene G.
O'Neill's "The Straw." with Mar?alo
Gillmore; G. S. Kaufman and Mare
Connelly's "Dulcy," with Miss Lynn
By Arthur Hopkins: "Daddy Goe?
a-Hunting," by Zoe Atkins. ?
By William A. Brady: "Drifting," ?
play for Alice Brady.
By Marc Klaw: "Sonya," from the
Polish, with Alfred Lunt.
By Charles Frohman, Inc.: Dj??ez'a
"Blood and Sand," by Tom Cashing,
with Otis Skinner.
By Brock Pemberton: "Swords." tj
Sidney Howard, with Ciare Fames.
- By Arnold Daly: "The Children'?
Tragedy" and Shaw's "Man of Destiny.'
By Max Marcin and Guy Bolton:
"The Night Cap," a mystery farce.
"The White Headed Boy" and
The Abbey Theater of Dublin
T is doubtful if any activity o? ;
the coming theatrical season will
exceed in interest the advent in
America of the Irish Players, repre?
sentatives of the Abbey Theater, Dub?
lin, and therefore of the rapidly grow?
ing British and Irish repertory system,
who are to be brought here by Charles ;
Diilingham to present in the Henry :
Miller Theater Lennox Robinson's com
idy of rural Irish life, "The White
Headed Boy."
The story of "The White Headed
3oy" is too well known even in Amer
ca to require any extended review. \
The play was produced in 1915 at the
\bbey Theater, where its author also ?
?appens to be manager and therefore
i dominant figur* in its policy.
The work of Rolg'nson at the Abbey |
Theater sets one wondering how he
ever found time to write a play of any
sort, to say nothing of a piece as ob?
servant and as truly reflective of Irish
life as "The White Headed Boy." He
began his management of the Abbey
Theater three years before the war.
Last year the Abbey Theater produced
forty-five plays, of which seventeen
were new. In snatches of time he
wrote a volume of short stories. He
attended to numerous outside activities,
one of the most important of whiish was
his post as librarian of the Camegia
Trust in Dublin, a position to which
he was recently reflected.
Robinson is a native of Cork, the iva
of a clergyman and his theatrical ac?
tivity dates from a visit of the Abbey
players to Cork.

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