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?m i r - ma IH MUSIC--4?1RAMA-?BOOKS PAKT V TEN PAGES ART?MOT?O? PICTURES SUNDAY, OCTOBER 8, 1923 Ine , ? MES, e ^ .****?. f??*tnr.t> Rccd, Hotsard Lang and Catherine Proctor in "East of Suez" he Theaters The Actors' Equity as an Audi ence Rather Than as a Producer By Percy Hammond T I II -vS been suggested that the Actors' Equity as a first night audi? ence is even more interesting than it is as a producer of the unmer * cer.&ry and worth while drama. That, in fact, "Malvaloca" suffered a '.Up. hst Monday night from the unintentional rivalry of its brilliant .?'.ron?ge. What a superattendance it was, this swarming of the theaters' .zaiaeoes.' Composed of the fine flower of the players, a thousand or r? 8K4? and women of unusual "personality" and striking appearance, ???as an electric and distracting congregation. So lustrous was its ?nten^?hat it seemed to seduce our attention from -'Malvaloca" to the r^ifc and balconies. * ? * '? Tar occasion was of a kind to inspire bucyancy in its participants. ' *cs <.'????; launching of another thunderbolt by the most picturesque and ?ni of ?*? most successful of the revolutions. These winsome mutineers, i?y?u '. y know, have made some bruising dents in the obnoxious forces *h ?; said to have been abusing actors and the drama. Some of the ?-?v. ir apacious and commercial managers are now reduced, it is said, ?! h- : ite of docility known as eating out of the hand; while others, less rats, have come to regard the Equity as a blessing. * * * I ?iquently there was a fascinating air of exultation in the audi t riu ; the Forty-eighth Street Theater on Monday night before, during fsnd ' i the performance, though perhaps more before than during and rtere were embraces and "hoo-hooes" in the intermissions, blown lispered amenities, confidences and pretty parades up and down ?. We do not realize the charm and magnetism eseential to in until we encounter the players in bulk. A' hundred of them ?? If in a room will set the atmosphere a-quiver with pulsating cur . ??specially if excitement ?3 afoot. It was that way on Monday night, -udkapping, as has been suggested, the performance of "Malvaloca" by i ,'!-'? g ;t secondary. This was unfortunate, for Miss Jane Cowl was in ||he play, which is by the Quintero Brothers, composers of a hundred |frks; and it had a long run in Madrid'at the Teatro de la Princessa in W1 '' M*e" P*ayed by the famous Guerrero-Mendoza company. * * ? ontinuing to chat about the Equity audience, it? was quite the Most diligent in its applause of any of the first-night assemblies of *'??.. ?'?? have been a member this season. The lay first-nighters are m#! pping their hands at lampshades and pianofortes, as well as **$$ -ntrances and exits. The Equity, however, was discreet in its f ask ns, though there was fine enthusiasm for Miss Cowl, the queen ?f the ?* ening, and for the others. This vice of foolish demonstrations st ights, by the way, is one that the Audiences' Equity, after it is X. 1. should take measures to suppress. Another attractive thing 5'" v t: ? premiere of "Malvaloca" was the expression of the society's * an-d admiration for Mr. Francis Wilson, its president, when he took ?a stag, to make a speech?a temperate though indomitable citoyen .Moderately haranguing the tribunal with auspicious words and thoughts. 'ft Mr. Wilson spoke the tricolor seemed to burgeon in an imaginary ? ?'????"kade hard by his brow; and the chiffons and satin slippers of his H??rers seemed to turn into the camignoles and sabots intrinsic to re ?'Milan, ?S?rie time ago we confessed, in other periodicals to Which we con PnbBt*?. ? desire to eat most of the many sneers with which at the "min,: of the Equity movement we airily derided its aims and o'pera c>i He found ourself chagrined at the success of an institution which ?? hs?i aooh-poohed as a ludicrous dido, a fantastic, ephemeral harle **a*de ?anced by capricious temperaments in a state of neurosis. That & w?* had jauntily dismissed as a hysterical gesture developed into a PSfequtntial crusade, intent upon rescuing the Drama's sarcophagus ^? the infidels of commerce, raising, meanwhile, the wages of those who ^nf**m? in it. So, begnawed in our conscience by the inaccuracies !. ear shallow prognostications, we hastened tardily to admit that the *ifW'&.is prosperous and powerful, and that it sits pretty, as the army **?#-?* '-sed to be, on top of the world of the theater. Fortified by a *h" enthusiasm, a consciousness of right, a record of minor achievements "?Ml ?a ?ppreciation of its strength, it is at least the most conspicuous ; ekipm^Qt in the theater to-day. It is probable that through the effi **r" ' '? its executives and the determination of its members it will put ?'ei^f** "closed shop" in 1924, when the agreement with the managers 1 ... We are glad to repeat the humiliating apologia to-d#, especially ithi f8Pe in bed' 0Ur rignt ^g in a cast' as tJle resu*fc oi try*nK t0 De lc UP?" the tennis courts, though portly and a little sere. * * * ? Malvaloca" was selected as being commendable by a committee com V#Ee n ? *"0W' is *ove*y to'look upon, however, as a seductive Spaniard, a Bloom, Professor Burton and Owen Davis, an admirable jury. Yet pJfCWe(* not to be an appropriate thing to mark the beginning of a PJOvest against the reactionary forces of the Broadway theater. Though "?antic and Andalusian, it is also laborious and somewhat of a tiresome wfel ff?lSS C0Wi is *ove,y to ?ook uP?n? hwever, as a seductitve Spaniard, ? despite the innocent fragility of her morals, is oak-bound as to souL The Playbill -' a By Beauvais Fox H JOHANNES KREISLER" wil ,_J make his New York home at the Selwyn Theater late next month This is the spectacular German melo? drama which the SELWYNS are to present with BEN-AMI in the star r?le, It is playing in Berlin under a long titje, and at first the producers thought of calling it "The Mysterious Tales of Hoffmann" here, but "Johannes Kreis ler" is a second and better thought. "Partners Again" will close at the Sel? wyn on November 11 and folow "The Circle" at the new Selwyn Thea? ter in Chicago. Because -of the numerous mechanical and electrical features required for the new produc? tion, the Selwyn will be closed for two weeks for the installation of an iron bridge inside the proscenium and for other structural changes. Meanwhile Ben-Ami is resting in Yarmouth, Nova Scotia, preparing for the role. . . . EUGENE O'NEILL is going over the script of "Hamlet" for ARTHUR HOPKINS. CHARLES KENNEDY, who played with GENEVIEVE TOBIN in "Little Old New York" and with LIONEL BARRYMORE in "The Claw," is to be the Polonius in the JOHN BARRYMORE Shakespearean venture. A young singer in musical comedy, who returned recently from a summer spent in study abroad, is to be the Ophelia, it is said. Her name? One may not mention it yet . . . Word comes that Hopkins has chosen a new play for Genevi?ve Tobin and that he plans to work on'this production even before taking up rehearsals in "Hamlet." Also, it is whispered, when Mr. Hopkins finally produces O'Neill'B "The Foun? tain" RICHARD KEAN is to be among those in tne cast . . . CHARLES DILLINGHAM'S next musical produc? tion, "Punch and Judy," is to go into the Globe Theater opening around the 22d of next, month. George White's "Scandals" will close on November 11 ?nd go northing, to Boston. ANNE CALDWELL and HUGH FORD wrote the book and JEROME KERN theit-fnusic of "Punch and Judy." . ? . JOHN ?CORT i? New Theatrical Offerings "R. U. R."_The Theater Guild starts its fifth season at the Garrlck Theater to-morrow night with this fantastic melodrama by Karel Capek, Czecho-Slovakian dramatist. "R. U.?-R." stands for Rossums Universal Robots," or "Knowcll's Universal Hands." Robots are mechanical men invented to do the work of the world. Paul 8elver made the translation and Philip Moeller and Agites Morgan directed the production. Lee Simonson designed the costumes and .scenery. Basil Sydney, Kathlenc MacDonell, Henry Travers. Moffat Johnston. Louis Calvert, Helen Westlcy, William Devercaux, John Anthony, John. Rutherford and Mary Bonestell are in the cast. "CHAUVE'SOURIS"??Morris Gcst will present Nikita Balieff and his players in a third program at the Century Roof on Tuesday evening. The second bill closed last night after a run of eighteen weeks. None of the favorite numbers of the first two bills have been held over and the material presented Avili be new to America. A dra-.na of the harem, "The Fountain of Bakhchi-Barai," from the dramatic poem of Alexander Pushkin, is one of the feature numbers of the new program. "At the Gates of Judgment," "Scenes From Life In Little Russia," two dances by A. Kotchetovsky and folk and peasant songs and tales arc also to be included. "QUEEN O' HEARTS"?Nora Bayes will come to the George M. Cohan Theater on Tuesday night in this new musical play, with book by Frank Mandel, lyrics by Oscar Hammerstein 2d, with additional lyrics by Sydney Mitchell and music by Lewis Gensler and Dudley Wilkin? son. Max Spiegel is making the production. It is his d?but in the legitimate field. Included in the cast are Edna Hibbard, Florence Morrison, Norma Terris, Arthur Uttry, Franker Woods, Harry Rich man, Lorin Raker, Max Hoffman jr., Sidney Brook, Laura Alberta, G?orgie Brown and Eva Taylor. "THE FAITHFUL HEART"?Max Marcin and Frederic Stanhope will present Monckton Hoffe's cemedy drama at the Broadhurst Theater on Tuesday night. The play was produced originally in London. Tom Nesbitt, Flora Sheffield, Daisy Markham, Edward Poland, Lionel Pape, Daisy Belmore, G?raldine O'Brien, George Thorpe. Charles Romano, Peter Carpenter, Herbert Belmore and Thomas Gillen are in the cast. "THE EVER GREEN LADY"?The postponed opening of Abby Merchant's play will take place at the Punch and Judy Theater on Wednesday evening. David Wallace is making the production with a cast which includes Beryl Mercer, Robert T. Haines, J. M. Kerrigan and Jane Meredith. preparing to start rehearsals of "Elsie," a musical comedy, for which most of the music has been supplied by SISSLE and BLAKE, composers of "Shuffle Along." Elsie, however, is to be cast in Caucasian. . ?.. . FLO ZIEGFELD has an option on the American rights to "The Cabaret Girl," now playing in London, word comes from across the water. . . . The DUNCAN SISTERS are to sail from England on the 25th of this month to commence rehearsals in the play, with music, in which they, will bo presented here by SAM H. HARRIS. . . . WAGENHALS and KEMPER are preparing to follow the ?same course with "Why Men Leave Home" that they pursued with "The Bat." The second company of the. Hopwood play will be organised in time to open in Chicago on Christmas or Now Year'-:-. . . . The Threshold Playhouse will open its children's theater on Satur? day afternoon, October 21st . ? , KILBOURN GORDON cables that the first English performance of "The Cat and the Canary" will take place at Portsmouth. After a week there, and one each in Plymouth and Chester it will open at the Shaftesbury Theater, London, on Tuesday night, October 31. MARY GLYNNE will play the rol? played here by SYLVIA FIELD and HENRY HULL'S part will be taken by FRaANK DENT?N. . . . There will be an invitation perform? ance of "The Torch-Bearers" at the Vandcrbilt Theater on Sunday night next. . . . CYRIL MAUDE has se? cured the American dramatic rights to "If Winter Comes," according to news from London. . . . New York is to have it3 share of operettas this season, it seems. "The Yankee Princess" and "The "Lady in Ermine" have come in already and others due soon are: "The Springtime of Youth," "Old Heidel? berg," "Dove in an Inn," and "Fras : quita/' the latter by - Frans Lehar. . "Paradise Alley," CARLE CARLTON'S musical production, has closed to permit necessary changes in the cast and the script. . . . The Union of the East and West is to open its season with an ancient Hindu play called, "Malati and Madhava," written in the eighth century A. D. by Bhavabhuti, an Indian poet. Two performances in English will be given on October 15 and 16 at 3:15 p. m., at GEORGE GREY BARN? ARD'S Cloister, at Fort Washing? ton Avenue and 190th Streeet, Hindus and Americans are in the cast. A sketch in Bengali by Rabindranath Tagore will also be presented. . GEORGE M. COHAN is casting "The Song of the Dragon," a dramatization by AGUSTUS THOMAS of the story of the same title, by JOHN T. FOSTER. FLORENCE ELDRIDGE has been en? gaged for the lead. Rehearsals are to begin at an early date. . . . Pro? duction of the Charles Dillingham and George White starring vehicle for ANN PENNINGTON has been post? poned until next spring. Meanwhile Penny will appear in vaudeville. . . . The name of<* HERBERT DRUCE has been added to those of HELEN MENKEN and GEORGE GAUL in the cast of "The Seventh Heaven," by AUSTIN STRONG, which is to be JOHN GOLDENS next production. To-day is the sixty-fifth birthday of E. F. Albee, president and head of the B. F. Keith vaudeville organization. Many plans were proposed to honor Mr. Albee with dinners and other celebrations, but he vetoed all of them. Still, he is always glad to honor others. "The Inspector General" ("Revizor"), by N. Gogol, will have its American premiere to-night at the Jewish Art Theater. It has-been staged by Vladi? mir Viskov.ky, r?gisseur of the Mos? cow Theater "Korsch," and is his first production in America. Maurice Schwartz, Leonid Snegoff and the Jew? ish Art Theater repertory company make up the cast. There will be a benefit at the Lex- ? ington Opera House to-night for the '< Saranac Lake Day Nursery and Girls Community Camp. The organization is kept up through the influence of Mrs. William Morris and the yearly benefit Is necessary to supply funds. Impressions American and European Drama Contrasted By George Middleton THE war has entirely changed the European audiences. The finan? cial gravity has shifted and the so-called intelligencia simply cannot afford to go to the theater. This new audience is more naive and | elemental and less sophisticated. Playwrights all over Europe have told j me that they are greatly discouraged since plays, which in most cases j make enormous successes, are on a low plane. Then, too, managers are ! relying greatly on revivals, for this new public is not acquainted with ; other plays. The theater is undoubtedly sick, but no sicker than any other | institution which relies on a bewildered and overstrained Dublic. In Germany the revolutionary drama' which appeared immediately after the armistice pave promise of a vigorous reaction against many of the forces which had made the war, and several important plays were written and pro? duced?one of which the Theater Guiid has?but the hopelessness of the pres? ent political situation has brought about a sense of despair in which the writers are now floundering. The most vital things then? are, as before, the new tendencios in production?"expression isni" more than ever?and the deter? mined effort to'break with the rigid? ities of stage conventions. The depre? ciation of the mark has seriously af? fected new productions, but certain in- ! teresting standards are maintained, be- J cause it is still possible for the Ger? mans to utilize, their marvelous light equipments. But French farces seem to be growing in favor in Berlin, though Munich upholds its tradition aa a stimulating producting center. The German theater is not taxed as is the French theater. All the man? agers in Paris?and that is the French theater?are feeling this handicap, w,hich has so raised the price? of ad? mission that only the big successes pay. This has resulted in the man? agers taking no chances on new men and making no experiments with new producing) methods. Here, too, the safe repertoire is called upon, and? fortunately for me?I ?saw at least thirty revivals ?fold plays during two years of theater going. In Paris there is a realization among many critics, authors and producers that the French theater needs to open itself more to the plays and produc? tions of other nations; and I am happy to say that even within two years 1 have found an increasing interest in our American drama. There are few stages open or given over to plays not French, but the need of go doing as i tonic is universally recognized* ther? by all real lover? of drama. I hav? been constantly surprised at th* Frenchman's surprise on learning thai we have a vital drama developing ou of our own native life. The impresnioi has long been prevalent?which wai once true?-that we were a nation o dramatic adapter? draping our vocab ulary upon the skeleton? Europe sup plied. Though we ?till welcome tin best they have to offer?and soim times the worst?we nevertheles have a drama, with all the crudities o guilt, which represents our own lif much more than the present FrencI drama represents French life. And ; drama to be vital must flavor from it own soil. France permits herself t be misrepresented by her bou?evar comedies which are far removed fror the real spirit of her life. The French, too, have misjudged ou life, because, with very few exception! the only plays of ours which have ha the slightest vogue in Paris have bee: Our farces and polk? plays. Thes? in their essence, are exaggeration! The curiosity of critics concerning ou drama bas not been satisfied, parti because, so far as I know, not a singl Americas play ?f importance has. a yet been translated and published for the reading public. The critics and public are thus ignorant of important plays, Buch as "The Great Divide," "Kindling," "The Easiest Way," "The New York Idea" and the vital pictures which. Eugene O'Neill has been doing. I only mention a few offhand. But' they have been eager to know and I have been asked by a half dozen differ? ent papers and reviews, to write some? thing on our drama. Few Frenchmen have visited us to make a study of our theater, and no Frenchman ever : travels looking for material; a French Al Woods is an impossible conception. But this aroused interest, has stimu? lated the American library in Paris ? to set about getting the published I plays by our representative author?, and I have been happy to help in ob? taining this collection. We are also hoping that in this way we may 1a tcrest in Paris not only the English reading public, which wants to keep in touch with what we are doing here, but that we may be able to have cer? tain plays translated for those who only read French. Several manager? have also talked with me along to. line of the possibility of arranging for an American season with the best plays obtainable. Gemier, the new director of the Od?on, has personally told me that he will be happy to read plays by Americans; he is, with Pitoeff and, ia a measure. Copeau, one of the few direc? tors interested in the foreign author. I feel sure, in spite of many obvious dif? ficulties, that soon the American drama wilt have an important place upon the French stage. The American film is already eagerly enjoyed and it has been one of the greatest forces in open? ing up to the French public an interest in the infinite variety of our Amer? ican life. American singers, musicians and compose? last season made a pro? found impression upon the French pub? lic, and J. K. Hackett's performance of "Macbeth" in English attracted wide attention not only for its achieve? ment but for the promise It held to other of our actors. There ere sev? eral tentative plans in that direction. An American company playing reper? toire would, I am sure, awaken the gen? eral public to the growing force and vitality of our drama. Perhaps this also would tend to make disappear from the French stage the idea that all Americans are rieh. In fact, it is rather regrettable all over Europe to see how this idea has taken hold. But the exchange is responsible for many things, to say nothing of a certain type of American who has helped along the idea. The greatest trouble in Eu? rope to-day is that people do not un? derstand one another. So long as lan? guage and customs c&nnot be funda? mentally changed art is the only al? chemy of understanding. That is why I feel strongly that that which is best in *ur own dram? should b? presented abroad; it might come nearer to ap? proximating the real spirit of our life than the utterances of many self styled . atatcsfo-m which European papers gobble up aa gospel.