Evening star. [volume], February 20, 1923, Page 14, Image 14

About Evening star. [volume] (Washington, D.C.) 1854-1972

Image provided by: Library of Congress, Washington, DC

                
14
AMUSEMENTS
NATlONAL—Lauretta Taylor in
“Humoresque.”
In the bosom of & atrunllnr family
of New York's East Bids which finds
life real and earnest there Is a stolid
woman of the tenements. She hopes
that her children may have careers,
but beyond that scorns all except the
practical things. With solemn mien
she believes that her thoughts are
upon the task of making ends meet.
Yet sentiment with a capital "8”
creeps up unannounced, finds Us way
into that tenement and before the
woman is aware It has her In its
grasp. This happens not once, but
numberless times. In "Humoresque,
the play with which Lauretta Taylor
opened a week’s engagement lest
evening at the National Theater. In
“Humoresque," Is that woman —not
Lauretta Taylor, as we have known
her but the woman of the tenements,
sober and hard working, yet caught in
the grasp of Intruding sentiment. She
>s going Into New York next wee *J
for a metropolitan engagement and
this city ha* the last view of her
production before that event becomes
a matter of theatrical history.
The role of the star is typical of the
new ago upon which the world has
entered. Some of the great actors
have been most successful in imper
sonating the man of fortitude, who,
for a time, proudly represses emotion,
but discloses in every movement the
urge of devotion to the finer things.
In this play the man has given way
to the woman of fortitude.
It is useless to refer to the film pro
duction of this same story. Striking
scenes may be vividly shown by the
camera, and more of them may be
presented, but It Ss on the speaking
stage that such characters as that of
Sarah Kantor are most effectively de
veloped. It is a matter of special in
terest that the famous Peg, who »om«
years ago stepped forth from a 'Cali
fornia stock company and took the
country by storm, is the one to create
this far different role.
"Humoresque, as given this week,
may be regarded as a mingling of the
talents of Miss Taylor and J. Hartley
Manners. Every detail has Its p!ace
In presenting a picture fi-om life
which emphasises human qualities
and furnishes e . l U«Jt aln ™ en h There
is a background of music which in
itself contributes to the strength or
the emotions that are represented.
The musical selections would be ap
preciated apart from the drama.
Merry child life Is shown in the vig
orous family of the Kantora and the
voung daughter of a neighbor. A lit
tle girl who sings her conversation
is a feature. The passage of time
makes necessary a large f** 4 -
der to present the Kantor family,
both as children and as persons of
of the elevated trains
is a frequent reminder of the char
acter* of the surroundings. The dia
lect of the East Side is faithfully
reproduced without exaggeration. A
pillow battle at bedtime In the
crowded tenement la amusing.
Miss Taylor never departs from her
character. As Sarah Kantor the
strength of her understanding ol
reality Is brought into contrast with
a mystical thought that when Imag
inary strains of music reach her ears
it is evidence that all is going well
with her children. In carriage she
faithfully represents the woman of
many duties When she reveals emo
tional depths they are not of the
ordinary kind, but vibrant with de
votion, oulet but tense.
Sam Sldman, as Abraham Kantor,
the husband and father, is true to
type and presents a pleasing contrast
to the less vivacious wife. Lutha J.
Adler, as Leon Kantor (grown), who
gives up a career as a famed vio
linist to serve in the great war, is
somewhat less flexible than might be
desired, but is dignified in his strong
er moments. Ada Hewitt, as Esther
Kantor (child), the singing member
of the family, performs her juvenile
Sart with skill. Elsa Gray, as Gina
lerg. is not only graceful in her
role, but also sings, effectively, ‘T
Have a Rendetvous With Death,”
making the substitution of “love” for
"death” out of consideration for the
feelings of Mother Kantor.
Miss Taylor was received with
special warmth by last evening's au
dience and was compelled to respond
to repeated oalla
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GAESICK—“Kempy.”
| Homemade comedy, with clever dia
logue and humorous Interpolation,
characterise, the week's offering at
the Garrick, In "Kempy," which open
-1 ed last night and whteh, Incidentally,
closes for a time the road offerings
at Washington’s little playhouse. The
current play comes to the Garrick
after a run of many weeks in New
York, during which It Is said to have
been received cordially.
Redolent of the day's back home
and mother’s good cooking. "Kempy"
brings to tbs Garrick a homelike at
mosphere which 4s Intensified by the
pessimistic head of the home, a re
tired harness maker who represents
himself to be almost driven Into debt
by the financial excesses of his un
married daughters. "Sure firs'* persi
flage makes even more enjoyable a
situation ludicrous enough in itself—
the spectacle of the entire household
doing its best to marry off the sec
ond daughter to a young millionaire.
“Kemy" has in It nothing particularly
new, except possibly its sustained in
terest. There is not a moment when
the situation loses interest.
The play was arranged by J. C.
Nugent, a veteran vaudeville monolo
gist, who takes the part of the father,
and who Is ably supported by his son i
and daughter. Grant Mitchell, star of 1
"The Tailor Made Man” and "The i
Champion,” and Isabel Withers are
admirable reinforcements to the com- ■
pany.
Kempy James, a plumber's assist
ant, comes to the Bence house to re
pair the kitchen plumbing, and before
he leaves is spirited away to be mar
ried to "Kate” Bence, the second
daughter, who Imagines herself mis
understood by her family and her
lover, the millionaire Duke Merrill.
Kate has aspirations for a career,
but her lover understands she is not
talented and tries to coax her to give
up her artistic yearnings. Her mar
riage to Kempy, the plumber's as
sistant, brings In its wake ail sorts
of amusing situations, emphasised by
a growing infatuation between
Kempy and Ruth, the youngest
daughter of the Bence family, who
polishes Kempy's wrench and uses it
as a “wrench” to win his affections.
Os course, Kate gives up hsr career
when she finds she really loves Duke
and naturally Kempy is found under
age and the marriage annulled.
B. F. KElTH’S—‘Bings of Smoke.’
The elaborate production, “Rings of
Smoke,” with Pat Rooney and Marlon
Bent as the stars, is the outstanding
attraction at Keith's this week. The
offering has been shown hers before,
but Pat Rooney is such a big favorite
and the company supporting him so
clever that It still remains a strong at
traction. Little Pat works like a
Trojan from start to finish, dancing ail
the steps of the different stars in that
11ns of work and Introducing many new
ones. His comedy work also gets a
hand, and Marlon Bent, although she
has but little to do, is entitled to
praise for her efforts to please. In the
supporting company are Ted and Kath
ryn Andrews, whose artistic dancing
created something of a sensation,
easily sharing the honors with the etar.
A jass orchestra, “Kings of Harmony,”
helps to strengthen the organisation,
as do Maude Drury, Anita Nieto and
Billie Ralnsford, riohiy costumed, in
songs and dances. Pat Interjects him
self into the equillbristlc act of Davis
tt Pelle just before the final curtain
and secured many laughs. Florrls Mil
lershlp and Alfred Oerrard have little
trouble registering a hit with popular
songs and neat dancing. Miss Miller
ship is tastefully gowned, and the
pleasing personality of Gerrard helps
very nicely.
Other entertaining numbers include
the well known colored team, Moran
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■ , ... , \ - • , • T ,
THE EVENING STAB. WASHINGTON, D. C., TUESDAY, FEBRUARY 20,' 1923.
and Mack, whose foolish talk kssps ths
audience laughing Incessantly; the
Origins! Four Phillips, In wonderful
forehead balancing; the Darling Twins.
In songs and dances: Herbert Clifton,
In female Impersonations; Kate BUnore
and Sam Williams, in a sidewalk oon«
venation, and Aesop Fables, Current
Topics and Pithy Paragraphs, the
house attractions.
Rosalind Puller and Anita Enters
at Barn’s Head Playhouse.
An original program was pressnted
last night at the Rams Head play*
house by Roealind Fuller, ethger of
English folk songs and Interpreter of
Ophelia to John Barrymore's Hamlet,
and Anita Enters, composer and cre
ator of dance tmpreoslons, seen here
last season as the dancing partner of
Michto Itow.
Given in the Intimate atmoephere of
the tiny Rama Head theater, the en
tire program was as charming as it
was Informal. From ths, moment the
two young artiste appeared before the
curtain and. In the style and costume
true to the beat traditions of the
Mummers of olden times, gsvs a brief
Prolog, to the climax and finals of the
program, the “Mad Scene” -from
“Hamlet,” given by Miss Fuller with
the tragic appeal that mads her
Ophelia so deeply human on ths big
stage of the Harris theater. New
York, every moment was one of pure
delight.
The audience filled the little audi
torium and gave constant evidence of
spontaneous approvsl. Miss Enters'
“Moyen Age." (Kuhnau), dance* was
especially enjoyed.
Two play aonga of childhood. “Here
Comes a Duke a-Rldtng” and “We
are the Roman Soldiers” given by
Miss Fuller, and Miss Enters also
won enthusiastic applause.
Before the program waa concluded
each waa requested to give an added
number; a Japanese dance impression
done in Mias Enters' own Inimitable
style, and a tragic English tale In
ballad form of a maiden who poison
ed her lover, sung deliciously by Miss
Fuller. The intimate atmosphere of
the Rams Head playhouse is Just the
setting for this type of recital. The
same program will be given again
tonight at d o'clock.
N. Y. Symphony Evening Recital.
This winter's series of evening con
certs by the New York Symphony Or
chestra came to a cloee last night in
the Central High School auditorium.
The gueet conductor, Albert Coates of
London, had arranged a program of as-.
fectlTOnesa and was ably seconded in
ita presentation by the excellent musi
cians of the orchestra.
Mr. Coetes began unpretantioualy
with two little pieces for string orches
tra. by Sinlgaglla, composed in a free
and chartnng style and pleasantly con
trasted In character. The violas had
rather more than their usual ahara of
prominence and proved themeelvee
worthy of the trust. The strings were
on their mettle, Indeed, throughout the
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evening. They pronounced the opening
Phrase of Uia "Parsifal Overture" with
a fullness, firmness and flexibility which
left nothing to be desired, and reveled
like a virtuoso in the sparkling "Pissl
cato Sohsrxo” of tha Tschalkowaky
Pyro phony.
The “Parsifal Overture" and its ac
companying Good Friday spall may have
been suggested by tha Lenten season
and wart happily la harmony with it.
but their high spiritual quality sad over
powering beauty of theme add orches
tration make them wholesome food and
eagerly to be welcomed at any season.
It waa natural that Mr. Coates should
choose to say farewell with a symphony
from Russia, hla second home,'and when
• Tschatkowsky s Fourth" la played it
seems somehow a sounder and mors suc
cessful piece of work than either hla
‘'Fifth** or tha "Pathotlqus," It seems,
also, tho most nationalistic of the three.
The first movement, although marked
by nothing of the folk song type, could
only have oome out of Russia. The
symphony ia an unrivaled show piece
for the orchestra as welt, and the man
from New York took full advantage of
their opportunity. The audience was
large and heartily responsive, recalling
the conductor many times and bringing
the orchestra to their-feet twice.
The gratitude of the community in
general is due the directors of the Wash
ington Society of the Fine Arts, who
have for a number of years provided
this unique series of night concert* of
purely orchestral music.
COSMOS—AII Hew Vaudeville.
The Cosmos Theater this week is
presenting a complete array of new
vaudeville, and judging by the laugh
ter and applause of the first-night
audience last evening, the manage
ment has evidently made a popular
The usual headliners, with fillers,
as the leaser acts are called, la miss
ing, and in Its plaoa la a galaxy of
attractlona as good taate, cleverness
and punch that make the time pass
qulokty. The Cromwell Sisters, one
a girl juggler of wonderful gifte,
and the other a pantomimic comedi
enne. started the applause and
laughter and it seemed for a time
that the audience was content to
have them remain indefinitely. The
juggler la unusual in her feata, the
articles used and in her methods of
handling them. The comedienne is
a "ecream” all by herself. Tower
and Darrell, another team act, in
“Food for Squirrels," hava a vary
amusing tall, thin girl, who intro
duces new methods in nut eomsdy
that are really funny and give pep
to the act, while Alexander and Field,
in "A Braes# of Aristocracy,” offer
new methods In low comedy that
make It onjoyabl* while their songs
and joke materials are both now and
amusing.
“Shadows," a clever and prettily
■taged sketch arranged by Marie
Nordstrom, introduces Colletts Bain,
a charming toe and oharaetsr dancer,
whose dance*, interspersed with the
romantic dialogue and melodies of
her company, furnish a near headliner
of realcharm. Sharing honors with
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this act ia tha new photoplay, "Tho
Second Piddle," with Glenn Hunter
as its star. Its story la a dean and
wholesome, rural romance, with a
charming heroine and two brothers,
one a college-bred youth, who faela
his oats, and his stay-at-horns young
er brother, who furnishes the title
to the picture. It is interesting and
entertaining to the dose and Also
ha* the thrill element.
The Stone Do Luxe Novelty Five
in a new Jass organisation, with new
features, including the washboard,
and Lanlgan and Haney score with
davar Imitations of noted stage
dancers by Mias Haney and burlesque
classic by Mr. Lanlgan. "Four Or-
Phooo* amusing comedy: the
Movie Chats and the news pictures
complete a bill rich in entertain
ment.
OAYBTY—“HeIIo, Good Times!”
Tho Show at tho Oaysty Theater
thja week Is one that io going to
When unexpected guests
drop In* end you do not
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ret many * laugh from the married
men who patronise this house of bur
lesqua. The qomedy, for the mod
part. Is derived from the marital
troubles of a jovial fat man In his
efforts to extricate himself from a
series of etnbaraealnr situations Some
of the methods used convulsed the
audlenoe last night. The fat married
man as played by Ohio Hainea is a
laughable character, well portrayed,
and his lines are witty and new.
Lou Leo Wright, as the wife, is well
oast. All triangle# muet have throe
sides and the third is well taken by
Fay Tunis, who, as the ‘Vamp,’ 1
causes most of the trouble. Vlo
Plant, the aeoond comedian, is a whole
show In himself, his partrayal of the
Hebrew, always In wrong, causing
many a laugh.
One of the best numbers in the
show Is a song offering by June
Le Veay and George We lit who* Just
returned from a vaudeville tour. It
is one of the neatest turns In bur
lesque, Louise Wright made quite a
hit in her specialty. One of bfir
songs wu a Show-stopper. A quar
tet oompoMd of Oeorge Welsh Jun«
Lo Veay, Vlo Plant and Louise Wright
received merited applause. Pay
Tunis sing's a number of songs and
displays dassllng costumes among
them a bathing suit that was never
Intended to touch the briny. This
show Is built for laughing purposes
only, and the foundation Is well laid.
GEN. XACAKTHXJB ON LEAVE.
Brig. Oen. Douglas MacArthur for*
mar superintendent of the Military
Academy, who has been on duty with
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Brooke last year, sailed from Manila
on the transport Chanmont Saturday
for San Francisco on leave of absence
to visit tbs United States.
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