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Evening star. [volume] (Washington, D.C.) 1854-1972, January 14, 1923, Image 55

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Part 3—12 Page*
ANOTHER demonstration of the suitability of the picture screen as
a vehicle for the standard novel is the production of “Oliver
Twist.” Many stage versions of the play have been made, but
never before has the child title role so completely dominated the
cast. Dickens has been a fruitful source of inspiration for the drama—and
will continue to be so. There will be other players to impersonate Tom
Pinch as well as E. S. Willard did—but you will never get great-grand
father to admit it. Other players will portray Cap’n Cuttle as well as
W. J. Florence, and Little Nell or the Marchioness as sweetly as Lotta
Crabtree herself. When “Oliver Twist ’ was the play, it was always Bill
Sikes, or Nancy Sikes, or Fagin, on whom attention was centered. Little
Oliver was usually the child of one of the members of the company, cast ,
not because he was peculiarly fitted for the role, but because he was
readily available.
♦* * *
In thi* most modern presentation of “Oliver Twist’’ the little child
leads them. Jackie Coogan is net only the big name in the program,
flcetingly flashed on the screen, except in his own case. lie is also billed
on the outer walls as the proprietor of the film. That his name has been
heavily capitalized is easily believable, but that in addition to his ingen
uous art he takes on the actual responsibilities of a film magnate is not
so readily accepted. Any way, it doesn’t make any difference. The boy
is a real, live boy, sensitive, too, and with a gift for comprehending the
subtleties of a scene. The gift is not so exceptional in children. They
often possess it, but lose it as the idealism of stage art slips from them
and the realism of bread winning asserts itself.
♦* * *
This eager, wistful-eyed boy* pursuing the adventures of a waif, sets
you worrying a little about the future. Not his personal future, which is
secure, it is reported, to the extent of an offer of half a million for four
pictures, hut his future as a figure in public entertainment. For he has
that most perilous of distinctions, that of being a ‘ prodigy. A prodigy
does not necessarily fade into ordinary maturity, probably more useful
and comfortable than the theater provides for many accounted successful.
Yet the clever children whose careers ended with their childhood arc
numerous enough to cause apprehension that the rosy promise of talented
youth may not be fulfilled. Two favorite actresses of today were prodi
gies, Ina Claire and Elsie Janis; neither of them great dramatic players,
but both highly esteemed in the world of popular entertainers. Wallace
Eddingcr, who played “Little Lord Fauntleroy,” went steadily forward
and rests secure as a legitimate star. But for one bright child who pur
sues a stage career for life, scores drop from the footlights in early dis
illusionment. A clever child usually reflects the cleverness of an older
person. A spirit of trustful dependence renders him pliant and the joy
of pleasing others is strong in him. with little thought of reward beyond
that which trustful affection craves in compliment and tender care. The
thought of subsistence does not obtrude itself and there is always some
one to take his part should some overwrought stage director become un
reasonable. The child sense is mimetic. Jackie Coogan has a personality
of his own. Yet for an instant in "Oliver Twist,” when he starts a smile
and suddenly checks it as he realizes the rclcntlcssncss of a pursuer, there
•was a glinting reminder yf his old associate, Charlie Chaplin. And Chap
lin, whatever may be said of his special brand of fun, is a pantomimic
technician. Whether Jackie Coogan will evolute into “Jack” and then
into “Mr. John Coogan,” and be presented by manager of celebrity in
legitimate drama is a question. His future will be in his own hands as
that of no other prodigy has been before, for when he decides that he
wants to play Shakespeare, as every eminent actor sooner or later does,
he will have financial backing at his own command. His danger will lie
in too much independence of restraint, for the player who casts himself
as his own fancy dictates often makes mistakes. Whatever may be the
disappointments they hold for older folk, the motion pictures arc unques
tionably good to children.
** * *
How little an artist can mold his destiny to conform to his own de
sires is shown by Dickens himself. No man strove harder to be tragic as
in the scenes between Nancy and Bill Sikes, or even grewsome, as in the
song about the sexton who leaned on his earth-worn spade and chanted
jn basso profundo: “I gathem ini I gather them in!” Yet even the
sublime height he reached in the character of Sidney Carton in “The Tale
cf Two Cities” somehow melts into an impression of splendid pathos and
becomes kindred to those who have evoked a smile. He laughed without
ft sneer and his tears were of gentle human sympathy and never of tem
pestuous, ungovernable passion. But there is danger in Dickens. His
characters'live so vividly that they seem to walk the ways we tread to
day. only differently costumed. Should a Dickens revival take place it
*vou!d be too easy to pick out Micawbers and Pickwicks and Peck
sniffs—yes, and even Bill Sikeses and Uriah Keeps in the midst of any
community. A nnnute acquaintance with Dickens, commonly shared,
fvould be a formidable temptation to ill-bred satire,
** * *
Art* of screen and speaking stage are not always interchangeable,
if the Japanese actor, Sessue Hayakawa, who appeared in “Tiger Lily” at
foli’s, succeeds in transferring himself permanently to the footlights he
Will have better luck than Theda Bara, who appeared at the same theater
Jn “The Blue Flame” several seasons ago. Mary Pickford, in “The Good
kittle Devil,” a Belasco presentation, gave no promise as an audible
ftetress of the eminence she was to attain in films. Part of the fascina
tion of the stage lies in experimentation. It is a sort of laboratory where
®o one can be sure whether he is going to get a useful, stable product or
merely a distressing explosion.
*** * *
One of the most interesting experiments is that conducted in the
play “Jetta’s Atonement.” It is an effort to combine two styles of ex
pression that are absolutely unrelated. The original play is by Siegfried
Trebtsch, and its adaptation is by G. Bernard Shaw. The impression as
fterts itself that Trebitsch was taking his three-cornered love affair very
#criously, attempting to measure mathematically the relative devotion
•f a woman to a live husband and a dead sweetheart: and that Shaw de
cided to follow- his customary theory that morals differ in various social
circles and one code is about as good as another. Thcbitsch is a remorse
less triangulationist and Shaw is an enthusiastic circle squarer. The first
process is the more responsible; the second the more amusing, even
though its results arc never definable with absolute accuracy. It is hope
ful to see Mr. Shaw forsaking politics and contemplating a return to the
theater. America is fond of him. Even though he jeers at us and refuses
Jo visit our shores, he is the idol of the amateur cynic and the pet of the
lokumville Literary Society. To this extent, at least, Mr. Shaw proves
that he is a politician.
* * * t>
Jn spite of the title, there -wasn't an unkind word spoken at “The
Scandals.” It was a gorgeous dancing show; a highly developed form of
the idea introduced from Paris by “The Follies” in years agone that meas
ure the length of a Rip Van Winkle sleep. Only Rip would never have
(one to sleep at “The Follies”—not in those days. If he had accidentally
(one so and had awakened at the “Scandals” he would have been as much
surprised at the change in spectacular entertainment as Rip was at the
funicipal improvements in the town of Falling Water. The Rip Van
r inkle experiment was tried by the veteran minstrel man, who was play
g in a “for old times’ sake” act at Keith’s, Frank E. McNish. No inti
mation is intended, of course, that Frank has been asleep, but he has been
away from Washington a long time. As he approached the new New
National Theater fie reminisced: “That’s the theater where our show dis
banded —‘McNish, Slavin and Johnson’s Minstrels,’” and as he passed
Into the lobby he remarked, “There used to be steps here.” What par
ticularly caught the fancy of the veteran minstrel was George White’s
dancing. “I regard him,” commented McNish, “as the best dancer on
the stage today”—which is a criticism worth having, for McNish was a
marvel of rhythmic nimbleness and fun when he was playing England and
/tmcrica in his pickaninny solo act, “Silence and Fun.” “I like a show
es this kind,” he went on. “It shows that there arc still good performers
Eho haven’t gone into the legit. I once thought I was going into the
gitimate myself.”
“No. Happy Hooligan. I thought I was going to have nothing to do
feut act and recite speeches. f I had just become a grandfather, and I
thought it was time to give up the acrobatics. When I got the manuscript
»f my part I was exuberant, but my dream faded as soon as I read the
trst line. It was, ’Enter Happy, with neck fall.’ Since then I have never
aspired to be a dramatic star.”
perhaps many players would be spared the anxieties which prevent
a ripe old age, if they were equally philosphical in accepting their fates
fts the public taste decrees them.
** ♦ *
•‘Th® Scandals” Is typically American, and for .. this reason proved
ene of the most interesting shows of the week. It is typically American.
ft proclaims a condition of intellectual depletion—not depletion, rather
Puraky Piaf.
Ciatjeltj Ciitj Club National v ;
Ol£a Samaroit -
Masom'c AudiHovmwo
Current Attractions
GARRlCK—Margaret Anglin, in “The Sea Woman," drama. Opens
tomorrow evening.
NATIONAL—HeIen Hayes, in ‘To the Ladies,” comedy. Opens to
morrow evening.
POLLS—“Liliom,” Molnar comedy. Opens this evening.
PRESIDENT—“Abie’s Irish Rose." Performance this .evening.
KElTH’S—Fanny Brice, vaudeville. New show opens tomorrow
BELASCO—“Twentieth Century Revue," Shubert unit. Opens this
COSMOS—B. A. Rolfo’s “Misses and Kisses,” vaudeville. New show
opens tomorrow afternoon,
STRAND—"Dolly’s Dream,” vaudeville. Opens this afternoon.
GAYETY—“Bowery Burlesquers,” burlesque. Opens this afternoon.
QAEEIGK Margaret Anglin,
“The Sea Woman.”
The Shubert-Garrick attraction this
week Is Margaret Anglin, In a new
play, “The Sea Woman,” by Willard
Robertson. The play is under the
direction of Lee Shubert and waa
staged by George Foster Platt. A
cast, including Harry S. Mlnturn, who
was Miss Anglin’s leading man In
“The Woman of Bronze”; Rea Mar
tin, talented daughter of Ricardo
Martin of Metropolitan Grand Opera
fame; Claude Cooper, Joseph Sweeney
and Raymond Van Sickle, has been
chosen to support Miss Anglin.
It Is seldom that Miss Anglin pro
duces a play which has not elements
of success, enduring esteem and both
esthetic and popular appeal. So, in
“The Sea Woman” the audience will,
it is thought, find these concomitants
and. besides this, a rich and alluring
character. Molla Hansen, the daugh
ter of all vikings, strikes a new and
fertile vein and makes a romantic
canvas for Miss Anglin’s facile and
artistic brush.
In alt legendary lore from Isis and
say supercilious indifference to what American drama has to offer. The
present genius of America is inventive and mechanical. “The Scandals”
makes its appeal on terms of sheer physical energy. There is not a back
author on the list of the New York producers’ play readers who would
dare attempt a play which touches vitally on the topics which are of real
interest to American citizenship. The theater revels in a luxuriant ex
oticism which makes it a playground for the opulent, or a refbge for
crudity. There is nothing for the mental middle class in the output of
the New York theater. The entertainments most written about arc
least patronized. A single concert "singer, an orchestra or an instrumental
soloist is far more interesting than the play, because it reflects sincere
artistic energy, even though in the form of straggling excerpts. A lec
ture before a few hundred in the‘ballroom of an intellectual grande dame
exerts more influence than an entire season of rehearsed dialogue. People
are weary of studying the matrimonal squabbles of make-believe people
and of listening to the lyrical twittering of the Broadway snowbird. They
care more for Mussolini and the fascist!—the principal and chorus of a
world drama that has history for its stage. The theater here perhaps
needs a fascisti —a body of sincere people demanding protection for the
intellectual middle classes from the upper and nether millstones' of art,
super-society and the underworld. PHILANDER JOHNSON.
Osiris to the days of Robin Hood
there is nothing that Is more fasci
nating, more tremendous, than that
which surrounds the vikings of the
north; these sailor men of ancient
days, who ventured forth on the ter
rifying sea, whose ends they knew
not, whose limits were beyond ken,
with joy In their hearts, a smile In
their eyes and a cheer on their lips,
to their women, who waved them
good-bye from the shore. And their
women, not one whit weaker and not
one step less adventurous than their 1
mates, who went back to their weav- :
Ing, sewing and the rearing of their
man child, to become the warrior his
father waa Like their long-haired,
brawny, fighting males, they feared
nothing that swam the sea, walked
the land or flew In the air. 1
Os this stock is molded Molla Han
sen, the character Miss Anglin por
trays—a woman In everything a
woman should be, and a man when
the moment arrives for a man’s light
against terrific odds.
It is a character unlike anything
Miss Anglin has ever portrayed. For
several weeks Miss Anglin lived In a
fishing hamlet In Norway, studying.
not only the habits, but the Innermost
depths of the Norsewoman, the folk
lore, the nursery'tales and the effect
of their sagas when they would sing.
Then, and not until then, did she
realize the depth of feeling these
women of the north possessed.
NATIONAL—HeIen Hayes, “To
the Ladies.”
Monday night will bring Helen
Hayes to the National for a stay of
a week In "To the Ladles.” by George
S. Kaufman and Marc Connelly,
authors of "Merton of the Movies”
and “Dulcy.”
Reversing the situation of "Dulcy”
(In which a wife was continually get
ting her husband Into trouble), "To
the Ladles’’ presents the case of a
penniless young married couple
pulled over thin Ice to safety by the
bride's resourcefulness. The authors
have gone In for a bit of satire quite
outside of the plot and their targets
are business efficiency gone mad and
the trade banquet, at which every
body talks and nobody amuses. The
banquet scene Includes everybody
from the off-stage man with the
cough and the waiter clattering
dishes to the flashlight photographer.
In this also a politician tries to blend
the democratic party into the success
of the piano industry.
Miss Hayes, last seen here In "Bab,”
plays the tactful wife, who saves the
day for her husband after he has
"flopped” In his banquet speech. In
the company are Isabel Irving, Jean
Dixon, Carl Anthony, Louis Harrison,
William Seymour, J. Warren Lyons,
Russell Medcraft. Junius Matthews,
Harry Irving and Joseph Hyland.
The Theater Guild production of
Fran* Molnar’s comedy of life,
“Liliom,” with Eva Le Galllenne,
comes to the Poll Theater this week,
opening tonight.
“Liliom” is the story of a Hungarian
bouncer and barker in a merry-go
round In Budapest, and Its universal
success is claimed to be due. to a
great degree, to the scrupulous re
spect for reality, the picturesqueness
of its scenes and, its strong appeal to
the Imagination. The first is attribut
ed to the direction of Frank Relcher,
who was brought up in , a school
where veracity was understood and
practiced as in no other period of
theatrical history. The Imaginative
beauty of the production is largely
due to Lee Simonson, who has been
responsible for many of the beauti
ful effects of the h’Peater Guild pro
ductions. It Is said he can "convey
tho sens® of the out-of-doors, of the
free air. of the gardens and wide
spaces. His spring really blooms, his
autumn is russet and full of melan
choly. His railroad embankment in
the fourth scene is declared a tri
, umph of "the imaginative vision of
i reality," and his "courtroom in the
| beyond" of "an airy restrained com
pelling fancy*” One of the beautiful
| bits of "Lillom” is played in a moonlit
| garden which is really silver in
J quality.
I "Lillom" is presented as it was
| presented in its original tongue.
, The supporting cast Includes
Charles Ellis, John Harwood, Lillian
Kingsbury, John Crump, Philip Wood,
Brandon Peters, Maud Andrew. Rose
Hobart, Carlton Rivers. Howard
j Claney. Marylyn Brown, M. C. Her
man, Cilf Heckirger and Barbara Kit
PRESIDENT—'Abie's Irish Rose’
(Eighth Week).
"Abie's Irish Rose,” the comedy by
Anne Nichols, reaches a new apex of
popularity in Washington this week
with the announcement that it will
continue at the President Theater for
its eighth consecutive week, begin
ning tonight at 8:30 o'clock. This
establishes a long-run record for a
play in Washington. It eclipses the
Washington record of even “The Birth
of a Nation,” which held the screen
record up to the present time.
Eileen Wilson and Henry Duffy have
the chief roles. Harry Manners staged
the President’s production, and the
cast includes Robert Lowe, Harry
Shautan. Anne Sutherland, Guy D’En
nery, John Carmody and many others.
“Abie’s Irish Rose” is regarded as
the greatest collection of comic lines
and situations the theater has known
1 in years. It concerns the secret mar
riage of a Jewish boy and an Irish
girl and the effect of the discovery by
their outraged families. The situa
tions and episodes arc irresistible In
ther appeal.
KElTH’S—Fanny Brice.
i Fanny Brice, with her famous ac
; cent and her laughable manner, comes
to Keith's this week a« the chief
magnet, and it is needless to explain
that her repertoire will include all
the old songs as well as a few new
The added attraction will be "Fifty
Miles from Broadway," which brings
the White Way and Main street to
gether In such away that mirth,
melody and dancing result, Harry
B. Watson and Reg. B. Merville are
the featured comedians. Madeline
Collins, the Covent Garden prlma
donna, occupies third place on this
unusual bill. The other acts will
include Shaw and Lee in "Nature's
Gifts;’’ Raymond Bond and company
in his new act, “The Minute Man;”
Oakes and Delour in "A Cycle of Cy
clonic Dances" and Canova’s Plastic
Posing Dogs. The usual house fea
tures, Aesop's Fables, the Topics of the
Day and the Pathe News Pictorial,
will complete the program.
BELASCO—“Twentieth Century
The best laughing show on the Shu
bert circuit, headed by the four Marx
brothers and called the “Twentieth
■ Century Revue,” is announced by the
Belasco for this week, beginning with
’ the matinee this afternoon.
' The bill is composed of six vaude
' villo acts and a musl-comedy revue
i that enlists the services of a company
of fifty entertainers. The featured
1 players are the four Marx brothers,
t who have won a reputation as fun
makers, in a new and original act.
, The revue is an up-to-date melange
( of melody, comedy and dance com
. binod with pleasing specialties, in
which a bevy of pretty girls assist in
| the ensemble.
I , Other acts are Olga and Mishka, in
> a beautiful and artistic dancing act
\ called “A Thousand and One Nights,”
. in which they are assisted by a com
■ pany of six people: the Novelle
, brothers. In “Clown Classics”: Marie
Rossi, a silver-toned soprano; Frans
’ (LouUiiued on t ourth Page.)
I **
♦ •-« ■*!
Concerts —Lectures
Newman—“Victoia Fall*,” To
B. M. Newman will continue his
1 “Across Africa” Cape-to-Cairo Jour
ney at the National Theater this even
ing and tomorrow afternoon- "Vic
toria Kails" Is the territory to be cov
ered and en route the African jungle
will be visited and a word and pic
ture story of the wild life will be told.
The journey in motion pictures and
color views includes glimpses of Dur
ban. the Islands of Madagascar and
Marltius and of Victoria falls—which
arc twice as wide as Niagara and two
and a half times as high.
Many fine types and studies of sav.
age life will be shown. Including Zu-
I lus In their homes, their dances and
ceremonials. Mafeking. Bulawayo,
Motopos hills, the Khaml ruins, Zim
babwe, Rider Haggard's setting for
“She." "King Solomon’s" mines and
Allan Quarterman ail will be covered.
Janet Richards Tomorrow.
Miss Janet Richards will give her
weekly talk on public questions to
morrow morning in the auditorium
of the New Masonic Temple, 13th
street and New York avenue.
The talks each week are an Inter
pretive review of outstanding world
events of national and International
Importance. .The review this week will
include the alignment of the allies in
the Ruhr crisis, the order for with
drawing the United States troops from
the Rhine, pending congressional
legislation, etc. The talk will begin
at 10;45 a.m.
Evening Symphony, Central High
Under the auspices of the Washing
ton Society of Fine Arts, the New
York Symphony Orchestra, under the
direction of Albert Coates, the dis
tinguished guest conductor, will give
an evening concert in the auditorium
of Central High School tomorrow
evening at 8:30 o'clock.
The program will include: Sym
phonic poem. “Don Juan.” Richard
Strauss; “On Hearing the Cuckoo,"
Delius; scherzo from "Manfred.”
Tschaiitowsky; Symphony No. 5. Bee
thoven, allegro con brio, andante con
moto. allegro (scherzo), allegro, presto.
New York Symphony, Tuesday.
The New York Symphony Orches
tra, under the direction of the dis
tinguished guest conductor, Albert
Coates, will be heard in the New Na
tional Theater Tuesday afternoon,
with Frieda Hempel as the soloist.
Mme. Hempel will sing an air from
"Der Freyschutz,” by Weber, and a |
group of songs, consisting of “Battl,
Batti, O Bel Masetto," from “Don
Giovanni,” by Mozart; "Cradle Song,”
by Humperdinck, and “Saper Vor
restn,” from Verdi's 'The Marked
Mr. Coates’ program of orchestral
pieces will include the Brahms
“Fourth Symphony In B Minor”; “In
the Steppes.” by Borodine, and the
prelude and finale from Wagner's
"Tristan and Isolde.”
The occasion will mark the begin
ning of Mr. Coates' second season in
Washington, and the interest evinced
by the London conductor’s many
warm admirers bids fair to make his
visit one to be remembered. In Eng
land Mr. Coates is the conductor of
the London Symphony and the Royal
Philharmonic Society. Last summer
he directed the first performances
since the war of the Wagner “Ring”
dramas In Covent Garden.
Tickets are on sale by T. Arthur
Smith, Inc., 1306 G street northwest.
Walter Damrosch, Wednesday.
Under the auspices of the Washing
ton Society of the Fine Arts, Walter
Damrosch, the distinguished con
ductor of the New York Symphony
Orchestra, will give a series of three
explanatory recitals on the Nibelun
gen Trilogy in the Central High
School auditorium, beginning Wed
nesday evening - at 8 o’clock, with
Mr. Damrosch will illustrate these
lectures on the Wagnerian operas at
the piano, reciting the text from a
translation of his own. which Is said
to preserve the picturesque force of
the original. The various scenes will
I ——
A Record of Achievement.
AS a record of achievement and as
** evidence of fine energy, resource
ful capacity and a hospitable mind,
consider Margaret Anglin’s programs
of the last twelve years and think if
you can name any other player on the
American stage whose work In the
same period can surpass it.
Here is the list of the plays In
which she has appeared:
1910 — "The Awakening of Helena
Ritchie," by Margaret Deland, in New
York; "The Antigone of Sophocles." in
California; "Mrs. Dane's Defense,” by
Henry Arthur Jones; "Shifting
Sands.” by Helen Ingersoll, in Seattle.
1911— “Hippolytus," by Julia Ward
Howe, in Boston: “Green Stockings,”
by A. E. W. Mason. In New York.
1912 “Lydia Gtllmore.” by Henry
Arthur Jones, in New York; “Egypt,”
by Edward Sheldon, in Chicago: “The
Child" (Harvard prize play), by Eliza
beth McFadden, in Houston, Tex.
1913 “The Electra of Sophocles,” in
California; “As You Like It, in San
Francisco; “The Taming of the
Shrew," in San Francisco; “Anthony
and Cleopatra.” in Winnipeg.
1914 — Her Shakespearean repertoire
in New York; “Lady Windermere's
Fan,” by Oscar Wilde, in New York.
1915 -"Beverly’s Balance.” by Paul
Kester, in New York; “The Iphigenia
in Aulis of Euripides,” in California;
“The Electra.” in California; “The
Divine Friend," by Charles Phillips,
in San Francisco.
1916 “The Vein of Gold,” by Rupert
Hughes, in Pittsburgh: "A Woman of
No Importance,” by Oscar Wilde, in
New York; "As You Like It.” at the
Open Air Theater In St. Louis; "Caro
line,” by Somerset Maugham, in New
Helen Hayes ’ Spirituals.
THERE appears to be no let-down
In the vogue of the negro
"spiritual” among the recital singers
since, in 1916, the Burleigh transcrip
tion of "Deep River” served to in
dicate the rich field of melody which
lay in the half-forgotten hymns and
chants of the plantation and the
jubilee of slavery days. Many of the
singers from continental Europe have
included two or three transcriptions
of old spirituals in their concert
programs, Galll-Curcl and Frieda
Hempel being the first of the foreign
ers to realize their melodic and emo
tional values.
Now comes Claire Dux. in the
United States less than a year, with
an entire group of spirituals. Her
attention and Interest In this song
form were enlisted by Helen Hayes,
star of "To the Ladies’”, who, in the
first act of that comedy, sings two
to her own accompaniment. One is
the familiar Gulon arrangement of
"Nobody Knows the Trubble Ive
Seen,” but the other, made over from
the original chant, by Zoel Parenteau,
owes its circulation entirely to Miss
Hayes’ use of it. It Is called "Happy
Days,” and fs one which seems to
have escaped the attention of Mr.
Burleigh. *•
Miss Hayes makes no pretensions
t<? the gift of song; the episode gt
thus be given with all the dramatic
force of a real representation.
Seats are on sale at T. Arthur
Smith, Inc., 1306 G street.
Olga Samaroff, Thursday.
Mme. Olga Samaroff, who Is said to
lead the women pianists of today, will
be heard In recital at the Masonic
Auditorium Thursday evening at 8:15
o’clock, under the local management
of T. Arthur Smith. Inc. This concert
will be the fourth In the master
pianist series.
Mme. Samaroffs program will be as
follows: "Sonata. Op. 10, No. 2"
(Beethoven); “Intermezzo, E Flat,
Caprlcclo. B Minor, and Rhapsody. E
Flat" (Brahms); “Sonata, B Flat,
Minor" (Chopin; “Prelude, G Minor"
(Rachmaninoff): “La Catheldrale
Engloutle” (Dcßussy); “Danse"
(Deßussy), "Lotus Land” (Cyril
Scott), and "Ride of the Valkyries"
(Waarier-Hutcheson) (by request).
Tickets for this recital may be had
from T. Arthur Smith, Inc., 1306 G
Siloti, Thursday Evening.
Alexander Siloti will give his first
recital in Washington at the City
Club Thursday evening at 8 o’clock
under the management of Mrs. Wii
The announcement of the return to
the United States of this distinguished
Russian pianist has occasioned much
expectancy among music lovers, as
Siiot) Is considered one of the great
est living masters of the piano and
is known throughout the world as an
Interpreter of the music of Liszt,
whose pupil he was. While professor
in the Moscow Conservatory he num
bered among his pupils his distin
guished cousin, Sergei Rachmaninoff.
His program will include "Fantasia
in C Minor," "Gigue in B Fiat.” “Pre
lude to Cantata No. 29. in D"; “Or
gan ("hora! Prelude, E Minor” tßach),
"St. Francis Walking on the Waves,”
"II Pcnseroso,” "Au bord d’une
Source”: "Benediction dc Dieu Dans
!a Solitude" (Liszt). "Nocturne. C Mi
nor"; "Etude, F Minor, No. 26”; "Bal
lade. A Flat" (Chopin); “Etude, E
Major" (Roger-Ducasse); "Kaddisch."
Hebrew Melody (M. Ravel); "Pour
Russian Folk Songs, from Op. 58 for
Orchestra; "Lesginka.” a Caucassian
dance (A. Rubinstein).
Seats are now on sale, Mrs. Wilsor-
Greene's concert bureau, 13th and G
Ruth St. Denis, Friday.
Rith St. Denis, Ted Shawn and the
Denishawn Dancers will make their
only appearance this season in
Washington at the National Theater,
j Friday afternoon at 4:30 o'clock, un
der the local management of T.
Arthur Smith, Inc. The organiza
tion will be assisted by Martha Gra
ham, Pearl Wheeler, Betty May, Ne
nore Scheffer, Julia Bennett, May
Lynn, Louise Brooks, Charles Weid
man and Paul Mathis. Accompani
ment to the dances will be furnished
by an instrumental quartet, con
ducted by Louis Horst.
A partial list of the attractive
numbers Is as follows: "Spanish
Suite." "Soaring” (Schumann's),
"Waltz, Op. 09, No. 15” 'Brahms’);
"Liebestraum” (Liszt’s), "Xochltl,” a
dance drama based upon an ancient
Toltec legend. “Otientalia"—China.
Crete, India, Siam, Japan, Java, and
Tickets may be had from T. Ar
thur Smith, Inc., 1306 (J street.
Cleveland Orchestra, January 21.
Those who remember the ovation
which the Cleveland Orchestra re
ceived a year ago will be Interested
to know that the orchestra will ap
pear at Poll's Theater Sunday after
noon, January 21, at 3:30 under the
management of Mrs. Wilson-Greene.
This, one of the two youngest of
America’s twelve symphony orches
tras, was organized In 1918 by Adella
Prentiss Hughes, the only woman
manager of a symphony orchestra in
this country, under the auspices of
the Cleveland Musical Arts Associa
Under the direction of Nikolai
Sokoloflf, Its Russian-born American
trained conductor, this organization
has been commended for richness of
tone, for elegance of phrase and yield
and interplay.
Seats are on sale at Mrs. Wilson-
Greene's concert bureau, 13th and G
1917 “Billited," by Harwood and
Jesse, in New York.
1918 — "The Medea of Euripides," in
New York; “The Electra," in New
York; “The Open Fire,” by Hulbert
Footner, at Springfield. Mass.
1919 ‘tThe Woman of Bronze,” by
Henri Klstemacker. in Baltimore;
“The Trial of Jeanne d’Arc,” by Emile
Moreau, in San Francisco.
1920 —"The Woman of Bronze.”
1923—“ The Sea Woman." by Willard
Robertson, Washington. D. C.
It is an impressive list. For one
thing, it is of great variety. It
ranges all the way from the glories
that were Greece’s to mere pot-boil
ers, some of which did keep the pot
bubbling and some of which left it
chill. It includes the airest and most
Inconsequential of modern fooleries
with the loftiest of the old tragedies,
for she. who once wallowed in the
grief of Mrs. Dane till speculators
began bidding for the handkerchief
concession at her theater, has seen fit
to remind us all from time to time
how featherllght her touch, how un
quenchably gay her spirit can be In
This list tells a story of work done
from one end of the country to the
other, of plays staged within the
strict limits of a Broadway theater
and of larger enterprises wher- . he
had joined hands with the con.n.i .iity
that had called her. It has its stop
gaps and its experiments and its old
reliables. It has its failures and its
triumphs. For the most part it re
cords an association with the best of
living authors as well as with the
finest of the classics. Above all. it
tells a story of fine ambition and end
less work —hand work with the head
held high.
the piano, wherein she sings the two
old negro tunes, is part of tthe play
itself. Hearing her sing them at a
1 performance In Chicago led Miss Dux
to ask about their origin, and, asking,
she proceeded to make acquaintance
with the growing literature of the
transcribed ’’spiritual.’' .
Margaret Anglin s
Honors .
ANGLIN, who comes
A here in her new play, "The Sea
Woman,” has, during her notable
stage career, been the recipient of
, great honors
Miss Anglin states that the moment
of her greatest pride was when she
was chosen to read Jules Bols’ poem
In French to Marshal Foch at .the
dedication of the Edward Hines, Jr„
i Hospital, at Speedway Park, Chicago.
While Miss Anglin is a Canadian by
birth,, having been born in the house
of commons, Ottawa, when her father,
Timothy Warren Anglin, was speaker
1 of the house, she speaks pure Parisian
French like a native and has trans
-1 lated numerous plays from French
script. In fact, so deftly did she
read the poem that It was difficult to
convince Marshal Foch that Miss
Anglia was not a French woman.

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