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New-York tribune. (New York [N.Y.]) 1866-1924, July 23, 1922, Image 45

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1K3ett> ?tot*
^feeklyReview oftRe Arts?
SUNDAY, JULY 23. 1922
IH? ofc
*4? T^ 1
Wtttch Shelton Brooks, of "The Plantation Revue," at the piano, folks.
Hcrroic "The Darktown Strutter's Ball," y'know. "The Plantation
Rene" is another of those musical shows that remind you of getting
in next winter's coal supply.
The Playbill
?m Productions Getting Rea dy for Showing on Broadway
THE first major production of tho new season will be made by
DAVID BELASCO. "Shore Leave," which opens at the Lyceum
Theater, with FRANCES STARR, is sub-titled "a sea-goin' comedy
5?Hubert Osborne." It is a story of the New England coast. HUBERT
OiBORN- wrote "April," which was produced in New York several
j?rs ago. In handling various "little" theaters in Pittsburgh and the
! Wes* he bas ;ho* n the knack of doing things in an artistic way. JAMES
cast. ... Pri*du?ers' nerves are jumpy as the summer swings to the
new theater season. One manifestation of nerves is the hurried draft
on Korea of nomenclature. A. H. ??-~
WOODS has just Tenamed two pieces I
that are now undergoing the surgery of
lairing* vehicle, "By Right of
Craqwst," is now "Playing With
Fire." And "Who's Who," furiously
rt-raiten and recast with CHARLES
HIGGLES in the feature role, Is re
rsmed ''Lonely Wives. ... BA?
TAILLES "Wedding March," which
Woods is to do in association with
? Henry Miller, will go into rehearsal
?oon. . , . And another Bataille
play, which will not be Ion_ tarrying, is
'The Child of Love," or, for the benefit
of Americans who since the war don't
read or speak English, "L'Enfant de
?Amour." ... Mr. Woods's "Lawful
Larceny" company will leave for Eng?
land on August 1. In London RUTH
SHEPLEY is to appear in the role
created here by MARGARET LAW?
continue in his part. BERTRAM
HARRISON ), l0 direct. . . .
MACK.W, are sailing for the Orient,
to i-pcnd several months in Hawaii
?d China. . . . One of the
Sost popular of the young act?
resses who nrr? definitely made
'??s se'ason is M?RGALO GILLMORE,
?"* Consuelo in "He Who Gets
Slapped.?* It is said that every im
P?**rtant manager in New York has of?
fered Miss Gillmor'? a role for the
Mhcoming season. . . . DOROTHY
?RANCIS, the porgeou-s. raven-haired
ioonc loprano who sang second part
'i "The Merry Widow" at the Knicker- j
take/, and on tour san*_ the widow, is |
?Wiring i,, concert this summer in
Franr?. and Italy. She has declined of
krs to remain abroad for the grand
?pera season in ?Stockholm and Monte
?Ho, and will return to New York
?A?e Aquitania September 2. .. . .
?ADORA DUNCAN and her troupe of
?KMers are coming to America for a
?on-th's tour, beginning next October,
>")der the direction of S. HUROK. . . .
filbert vaudeville is to invade the
*cific Coast. At present twenty
**v*.n units have been prepared, each
^'??Pped as a regular show. . . .
??RTON are to open the Empire
?e?ter in September in "La Ten
sse. ' This piece was an outstanding
,v,?ccss in France. It was given re
^nt'y.at the Columbia Theater in San
?taeisco. . . HENRY BARON
I ??W "The Rubicon," at the Olympic
I '^at"r-- Chicago, August 27. Baron
f b ..\r0dUCe 'n Ncw York in SePtem
I ?J "Mon Homme," a Parisian hit. by
WWB PICARD, author of "Kiki."
' ? ? HOLBROOK BLTNN is to visit
??? Pacific Coast with "The Bad Man."
,! season sUrts late in September.
L__' MARTIN HERMAN, chief of
ff to A? Woods, has returned from
rn!?terniission spent in Canada. . . .
a warm welcome in the West for "Letty |
Pepper." Her Los Angeles engagement I
has been extended to five weeks.
The Washington Square College
Players of New York University, un?
der the direction of Ralph Somerville,
will present four one-act plays at the
Lenox Little Theater, 62 Ea3t Seventy
eighth Street, next Friday and Satur?
day evenings. The bill: Malcolm
La Parde's "Checkmate," Lady Greg?
ory's "The Workhouse Ward," Dorrian'a
"The Age of Reason" and Stuart Walk?
er's "The Medicine Show."
Four productions opened out of town
last week preparatory to a showing on
On Monday, July 17, at the Ap-ollo
Theater, Atlantic City, Sam H. Harris
produced "It's a B*oy," by William An?
thony McGuire, author of "Six Cylin?
der Love." The cast: John Daly Mur?
phy, Jane Adair, Robert Ames, Charles
Lawrence, Dorothy Mackaye, Hortense
Alden, Peter Lang, Joseph Kilgour,
Millicent Hanley, Richard Pitman,
James R. Waters. The press of Atlan?
tic City said:
"It's a Boy" -will go strong after
the pruning It needs. It has an excel
lent cast and the prologue and first act
possess a freshness and vivacity that
promise greater things than are actually
accomplished. The second and third
acts descend to the old story of the ex-,
perlences of the small town family that
gets submerged In the awlft currents
of New York life. . . . The comedy Is
a good entertainment.
On Monday at the Woods Theater In
Atlantic City George Broadhurst pro?
duced "Wild Oats Lane," his own play,
with Maclyn Arbuckle, Richard Barbee,
Douglas Wood, Daniel Davis, James
Bradbury jr., John Ellis, Thomas Gunn,
Howard Nugent, James Jefferson, Leah
Peck, Edna May Oliver, Hope Suther?
land, Camilla Lyon, Judith Vosselli,
Florence Earle, Vera Finlay, Edna von
Buclow, Pauline Breustedt. The press
The play Is a direct appeal to the
heart and it doe? strike home. A very
delightful play and one that touches the
ernotlors deeply. Lovable as he
?was In "Daddy Dumplln'," Maclyn
Arbuckle 1r, if possible, more delightful
as kind-hearted, jovial Father Joe, In
the adaptation of Gerald Beaumont's
story of "Tho Gambling Chaplain." He
is the central figure through five scenes
and' an epilogue of the three-act play,
the locale of which never changes from
the home of the gentle shepherd of
souls. For frequently exquisite touches
of character study the play Is a treasure
On Monday, at the Majestic Theater
in Buffalo, the Bonstelle Stock Com?
pany produced "Mister Man," a new
play by Marion de Forest, author of
"Erstwhile Susan." It is based on a
story of the same name by Frank R.
On Monday, at the Shubert-Garrick
Theater, Washington, the Garrick
Players presented "A Turn in the
Dark," a melodrama in three acts by
George Henry Trader. The cast:
Katherine Pritchard, Brandon Peters,
George Henry Trader, Henry Goldstein,
Garry McGarry, Imogen Taylor, Ger?
trude Augarde, Ada Meade, Dennis
King, Edwin Trusheim, Mrs. Charles
B. -Hanford, Granville Palmer, Mary
Bunday, E. J. Bender.
We made the mistake of telling our wife we were going back-stage at the "Ziegfeld Follies." She took pencil and paper away from us, know?
ing darn full well what a poor memory we have for telephone numbers. Consequently we were forced to do the above sketches from mental
notes. The crowd looking on from the wings is enjoying Will Rogers. This note proved to us that Will's stuff Is different each night. When he
goes "on" everything stops back-slagc. The whole troupe, including seventy-five stage hands, crowds into the wings and laughs fust as heartily
a$ the audience out front. It is difficult to tnake mental sketches'?one couldn't possibly draw what is in one's mind?no-sirree?not in these
day? of censorship. Upper left?Typical Ziegfeld chorus girl. By the way, we wonder how many miles a Ziegfeld beauty "walks" each night.
(We mean during the show!) Upper right?An impression of Gilda Gray. Lower right-?A gypsy. After the final curtain who knows but that
she hits the open road In a $12,000 covered wagon.
Every Man in
His Own Humor
The Elite of Vaudeville
DEAR SIR: Whenever I read the
dramatic critics' compilations
at the end of the theatrical
season of the best plays, the best
Bcenes and the best bits of acting of
the year I wonder why they do not
also offer a list of the best vaudeville
Is the job of picking the ten best
acts of the year from such profusion
too staggering to attempt? Or ?do they
find no real merit there? It seems to
me that from the wealth of material
produced in the course of a year in our
vaudeville houses?particularly at the
Palace?ten acts of exceptional merit
could be selected that would constitute
a sort of ideal American Chauve-Souris.
And, unlike the plays which are
lauded at the end of the season, when
some of them have gone to their last
long rest in a storehouse and are for?
ever lost to the sight of those of us
who neglected to see them during their
first presentation, many of the vaude?
ville acts selected for such an honor
roll would probably still be playing in
the outskirts of New York.
And perhaps this choice of vaude?
ville's best would inspire some spend?
thrift manager to gather them together
on a gala bill for a week or two. I am
sure that such a move would arouse in?
terest in vaudeville among the be?
nighted people who haven't yet formed
the habit of going to vaudeville. And,
too, I dare say that it would provide
vaudeville with some worthy standards
to measure up to.
Any ?election that I might suggest
would not be a fair one, for I have not
attended the Palace every week and
my visits to the Shubert vaudeville
houses were even less frequent. But
I am sure that on any such list these
New Theatrical Offerings
TUESDAY?At the Threshold Playhouse, within the Lexington Theater,
the Threshold Players will offer four one-act plays?"The Twilight
of the Moon," by Charles Bui ton Going; "The Importance of Being
a Roughneck," by Robert Gal land; "Possession," by Lawrence Hons
man, and "When the Whirlwind Blows," by Essex Dane. The bill
will run for three weeks, the performances on Tuesday, Wednesday,
Friday and Saturday nights and Thursday matinee. The cast: Emily
Gilbert, Ruth Valentine, Mary Carter Lee, Paul Gnilfoyle, William
Dengold McWilliam and others.
favorites of mine, at least, would be'
sure to appear: Fanny Brice, Will j
Rogers, the Marion Morgan dancers,
the Rath Brothers, Joe Cook, Paul
Whiteman's Band and James Barton, of
course. There should be a singing team
on the lists, but I have not heard
enough of them to make a choice.
It would be much easier to choose
twenty-five than ten, and perhaps even
more acts than that would seem to
merit a place on a list of really great
bits of entertainment.
Can we not have such a list by some
?one in a position to know?
It would be interesting to see after
a few years if some of the old faithful,
sure-fire acts wouldn't hold thei? place
on this list year after year. I am sure
that Joe Cook's one-man vaudeville
show would. I have seen it at inter?
vals ever since the early spring of 1915
and it still seems to me one of the most
riotously funny offerings on the stage,
79 Seventh Avenue, N. Y. C.
A Jury on Beauty
Dear Sir: The unusually pretty lit?
tle blonde chorus girl in "Sue Dear"
suggests a brand-new method of se?
lecting the chorus girls for the "Fol?
lies." Instead of abiding by Mr. Zieg
feld's judgment and letting him select
the American girls who are to be glori?
fied why not let the public do a bit of
deciding for itself?
There's the piquant blonde already
mentioned; when she flashes the pock?
et, light in front of her face in the
dark scene she's irresistible, and when
she modestly gathers her chiffon robe
as close as possible about her in the
lingerie song she profits by her asso?
ciates' frankness. Then there's the
prettiest of the girls who sing the fan
song in "The Music Box Revue," and
the "Follies" can of course supply a
number of girls; after all F. _. is a
pretty good picker. But why not let
the public help out? E. K.
New York City.
Spirituals in the Theater
Dear Sir: in the Sunday Tribune of
Jun? 9 there appeared an article under
the caption, "Spirituals, Gay and Sad,
Ring Through 'Strut Miss Lizzie.'" It
called attention to how the negro spir?
ituals were being exploited in the com?
edy show, "Strut Miss Lizzie."
To start with, these songs do not
belong in the theater, and the mem?
bers of the "Strut Miss Lizzie" com?
pany have done injury to them in
carrying them on the stage and exploit?
ing them for commercial value. The
theater does not provide the proper
environment and background for the
best expression and interpretation of
these songs, and it is rarely that a
company of entertainer?, especially
those who work in the theaters, can
bring to these songs the proper- relig
ious ideals, the thing which actuated
the negro when he sang them as a
slave. The negro spirituals are the
most sacred of the negro folksongs;
they were sung at the religious meet?
ings, and represented the spontaneous
outburst of a people. To sing them
in the theaters takes them altogether
out of their setting, and when they
are heard in such an environment they
lose much of their value.
The negro schools and colleges of
the South are teaching their students
to revere and love these songs. To
love them for the character they ex?
press, and what they meant to the
negro when he had no other weopon
to rely on but these songs when he
faced tho long stretch of slavery. Fisk
University, at Nashville, Tenn., sent
out the first group of singers, in 1871,
to give to the world the message of
these songs. At this university there
Is nothing more sacred than this
music. The attempt to sing these
songs hy unscrupulous minstrels has
worked injury to the music, and has
brought about a. misconception. When
Roland Hayes, the negro tenor, sang
before the King of England the King
and England got an altogether new
conception,of these songs, because of
their proper interpretation. The songs
had been sung before in the cheap con?
cert halls of London by entertainers
who knew nothing of their value. As
a student of this music who knows its
sacredness I want to protest against
tho abuse of these songs by exploiting
them in theaters.
- ' ' ?
At the Palace
Ted Lewis and his jazz clowns, the
Four Mortons atid Van and Schenck are
the headliners at the Palace Theater
this week. Blended into the bill are
the standard acts of Jack Rose, Kramer
and Boyle, a revue entitled "The Little
Cottage," headed by Frank Sinclair, and
? Cliff Dixon.
Florence Mills, "coloratura" with "T
I he bright spot of the piece and with
Tired Busineis Man on his feet for
? =__*
he Plantation Revue." She i?
her six Dixie Vamp? can put a
an entire week without sleep.
Play Producing
More About Making Dramatic Directors of Amateurs
THERE is in progress In New York City an unusually interesting?
example of the intensive "workshop" course in amateur drama
which Walter Prichard Eaton referred to in a recent number of
The Tribune. This institute for the development of dramatic directorship
is being given in response to demand from out-of-town people who want
to spend vacations in New York and at the same time have advantage
of some such course of instruction as Mr. Eaton refers to as being given
by the national Drama Leaeue. ?-*?-?
It Is at the Art Center, 65 East !
Fifty-sixth Street, under the auspices ?
of the Inter-Theater Arts, with Miss
Elizabeth Grimball, president of that
organization, as workshop director.
Among those on the staff prominent
in work connected with the allied arts
of the theater are Mme. AlbertI, of the
School of Expression, of Columbia Uni?
versity; Rhea Wells, theatrical costume
designer and illustrator; Miss Helen
Ford, director of the Educational
Dramatic League; Miss Miriam Loder
Wallace, director of pantomime dancing
and pageantry; Miss Berta Elsmith,
professor of music in the drama and
pageantry, and Oscar Berner, wig and
theatrical make-up expert.
The students, necessarily rigidly
I limited In number, include women from
?Tennessee, Colorado, Washington, D. C,
Kentucky, New Jersey, Pennsylvania,
I North Carolina and France. The de
, mand for this particular course came
entirely from women, and almost en?
tirely from those already mor?or less
actively engaged In some sort of
amateur dramatic work; therefore, the
interesting demonstration in progress
at the Art Center is of what would
normally be a year's course for amateur
workers concentrated into the course
of a few weeks.
The choice of produceable material,
pantomime and characterization in act?
ing, incidental muslce and dancing and
their relation to dramatic action,
period costumes and costuming; end,
on the technical side, the making of
scenery and costumes and the manage?
ment of lighting as a ??dramatic factor
are developed in the practical working
out of a play by the students under
direction, both with some regard for
the practical problems "back home" and
as a public performance to be given at
the end of the course.
If newspapers have, as Mr. Eaton
points out, been oblivious to the tre?
mendous effect of such "workshop"
courses on the American stage, the
serious artists of the theater have not
?neither have-the students of Bocial
life the country over. It has come to
be pretty generally recognized that the
most artistic innovations of the com?
mercial stage during the last few years
have come from small experimental
groups, which, being quite free fron:
the "Broadway" tradition, have every?
thing to give and nothing to gain from
it. What the "little" theater has con?
tributed to the artistic effectiveness of
the stage as whole can best be seen in
New York. What it has contributed to
the social life of the country can'best
be seen elsewhere. Hundreds of little
bare platform stages have been draped
with old curtains, lighted with automo?
bile searchlights with colored tissue
paper slides, and have become a clear?
ing house for home talent where the
! best "little" theater classics are playee
with an atmosphere and a beauty thai
the movies and the poor road companj
could never attain. Because "teacher'
has become a dramatic director, so has
the playground director, the churcl
worker, the community worker of manj
towns and neighborhoods of larg?
cities. The "Opera House," the Towi
Hall, the Elks Club hall, the loca
theater ar? all beginning to be used
regularly by local groups. Even the
church hall. One student of the sub?
ject has recently said that there ?re
over ?.000 church basement dramatic
groups in active existence to-day. And
the active demand is for more directors
soundly trained in the technique of the
"little" theater workshop.
There is a new desire just since the
war for group self expression and for
more imaginative sorts of recreation.
All the means of artistic expression
normally found in community life are
called into play in the theater "work?
shop" for community dram?? of the
sort which is so fast becoming a part
of our everyday community life over
the country in general. The acting,
I the incidental muslo and dancing, the
making of and decorating of the
scenery, the costuming and lighting
give everybody something to do. And
the result of some programs which
have been In existence for s sufficient
time to have resulta ara of auch a
kind that it is not visionary nor flighty
to say that through some auch means
as this we are at last to attain a real
art of the American people, which?*
like all art of all times?is destined ttf
have its roots in an expanding aoclal
That Difference of Opinion
The following letter, which has bean
received at The Tribuna office, speaks
for itself:
Miss Har-riette Underhlll.
Dear Madam: Misled by yont
"boost" of "The Past Mail" and your
statement of your intention of seeing"
it a second time, we saw it last evening?
In our opinion stern Justice should
compel you to see it every night for a.
These Old Playa Are New
Oldtime cheap melodramatic sue*
cesses are to have their Innings anew?i
in pictures. "The Great Metropolis,*
"Romany Rye," "Black Flag," "Undei?
the Gas Light," "Lost in New York,".
"In the Ranks" and similar shows are*
being made ready for the camera,*
Cheap casts and cheap cost of produc?
tion averaging about $12,000 each war?
rant this, for there is a public demand,
as Lincoln Carter's "Fast Mail" showed.
Dove's-eye View of Hollywood
Billie Dove is out In Hollywood
making pictures for Metro, and she
says the quiet is driving her mad.
What she expected was quite differ?
ent from what she found. Thie is
what ohe saw:
A colony of peaceful bungalows
and quiet streets.
Attractively simple cafeterias and
I tea shops, where grape juice was
the wickedest thing In sight.
An occasional hokey-pokey man
selling Eskimo pies.
A club of screen actruases which
had all the earmarks of a Y. W.
C A.
Well known stars mowing their J
V lawns and working their gar?en-.. j
I- .

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