January 26, 1922
MUSICAL COURIER
56
AMUSEMENTS
“Hippodrome’s Greatest Show.”—Evening World. CHARLES DILLINGHAM’S 6th Annual Wonder Show
“GET TOGETHER”
with a Cast of National Fame
PRICES CUT IN TWO *00.!$££'״,EVE’S ״*ft¿
Direction J. L. Plunkett, Broadway at 47th Street Week Beginning Jan. 22.

GEORGE ARLISS
in “The Ruling Passion ”
THE STRAND SYMPHONY ORCHESTRA
Carl Edouarde, Conductor
B’way at 51st St. “Subway to Door” EDW. BOWES, Mng. Dir.
CAPITOL
World’s Largest and foremost Motion Picture Palace
Week Beginning Sunday, Jan. 29
“THE SILENT CALL״
A First National Attraction
ERNO RAPEE Conductor
CAPITOL GRAND ORCHESTRA
Presentations by S. L. ROTHAFEL
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RIVOLI
Theaters under the direction of Hugo Riesenfeld
Broadway	I Beginning
at 49th St.	J Sunday, Jan. 29.
Jesse L. Lasky Presents
“ONE GLORIOUS DAY”
With WILL ROGERS and LILA LEE
RIVOLI CONCERT ORCHESTRA
Frederick Stalilberg and Emanuel Baer conducting
Beginning Sunday, Jan. 29.
RIALTO | Times Square
BEBE DANIELS
In “Nancy From Nowhere’
FAMOUS RIALTO ORCHESTRA
Hugo Riesenfeld and Joseph Littau conducting
Continuous noon to 11:30
CRITERION Times Square
Weekday All CA«	Evenings QQP
Matinee Seats ׳׳^״״	All Seats ״״t*
John Emerson-Anita Loos Production
“RED-HOT ROMANCE”
A First National Attraction
tained such names as Theodore Roberts, Florence Vidor, Gertrude Claire and Lloyd Hughes, still her artistry dominated. It seems that Thomas H. Ince, the producer, has found in this young woman a second Lillian Gish.
May Johnson.
Artist Writes Poem to Charlotte Silverson-Foreman
Charlotte Silverson-Foreman, who gave a short program of modern music recently in Chicago at Recital Hall, Fine Arts Building, has been especially successful in depicting the moods of the modern composers. Apropos of this comes to notice the following charming poem, written by Mark Turbyfill, the well known artist, on the occasion of hearing this gifted artist playing Debussy’s “Gardens in the Rain!”
IMPROVISATION (To Charlotte Silverson-Foreman)
Rain, rain, rain,
Invading, enveloping the gardens,
Shaking bush and tree
In showers of tremulous, jeweled insistency.
The hungry storm dashes and slashes,
Swerving the foliage up and down In a furious white and green passion.
Water sloshes over the terrace,
Making a rainy music along the gleaming tiles.
Limpid leaves, crisp leaves, shining dripping leaves,
Yielding to your lover, the rain.
What incommunicable ecstasy Delineates your tall rapt gestures, poplars?
You are slender green thoughts
Moving above the melting, dripping, devastated gardens. What whimsicalities
Have you snatched from this disheveled foliage,
From hedge and rain,
From grass and tree,
From shrub and fluttering flower?
What indiscretions
That you stand so slenderly
And look so insinuatingly, patronizingly down?
Have you kissed the white mist of the upper air Before she knew transmutation To fall flashing in a shower of rain-jewels Out of shining heaven?
Namara Did Not Sing “Thais” Again
The Musical Courier, in last week’s issue, printed an announcement that Marguerite Namara appeared for the second time in the title role of “Thais” with the Chicago Opera Association in Chicago on January 14. Namara did not appear in that role as scheduled and announced by the Chicago Opera Association in the newspapers, another opera being substituted at the last minute for some reason or other. It is announced, however, that Namara will appear in New York with the same company.
Musical Comedy-Drama-Motion Pictures
orchestra played splendidly, and secondly, Erno Rapee, musical director, gave a reading that surpasses a great many of his more ambitious efforts. The movie fan is certainly not tired of “William Tell.” The ballet divertissement was also good. Doris Niles, Gambarelli, Oumansky, with Thalia Zanou, contributed the solo numbers. While the Capitol News was being shown, one of the pictures was changing guard at the court of St. James. This picture received considerable applause. During the showing the orchestra played “Pomp and Ceremony”; it was a perfect bit of synchronizing. The soloist was Herma Menth, who played with the Capitol Orchestra the last movement of Liszt’s E flat concerto, and well deserved the enthusiastic applause which was bestowed upon her at every performance. She has been secured for another long engagement at this theater in the near future. The other musical feature was a solo for czymbalom composed by the solo artist, Ladislas Kun, also a member of the orchestra. These numbers never fail to attract.
The feature picture was “The Man from Lost River,” with House Peters as the star. It was one of those wholesome and thoroughly enjoyable pictures, that characterized the true American type of the West.
“The Blue Kitten."
A new musical comedy has come to our midst, “The Blue Kitten,'' the first production of the season by Arthur Hammerstein. The lyrics are by Otto Harbach and William Cary Duncan, and the music is by Rudolf Friml. Joseph Cawthorn and Lillian Lorraine are the featured stars, and the cast contains many well known comedians, among them Robert Woolsey. “The Blue Kitten” has been lavishly produced, the costumes are beautiful, and the scenery is most effective.
The present version is a translation from the French “Le Chasseur de Chez Maxim’s.” There are innumerable song hits, such as “Cutie,” “A Twelve O’clock Girl,” and "When I Waltz with You”—in fact the whole score is very tuneful and sends the audience away with at least a couple of the melodies jingling in their heads. The second act is going to be responsible for the success of this musical comedy. There is considerable originality in the “runaway scene,” and the company seems to get the spirit of the thing. It is highly entertaining and should have considerable success. Of the new musical comedies that have arrived in the last months this certainly is the best of them all. Lillian Lorraine is very handsome and sang her solo numbers surprisingly well. It is hard to realize that she had such a frightful accident last year. Joseph Cawthorn is just Joseph Cawthorn, a comedian who has the knack of winning his audience. “The Blue Kitten” certainly has a good chance of running through this season.
At the Motion Picture Houses
The Rialto.
For the last weeks the audiences at the various moving picture ,houses have had innumerable solos by the czymbalom players in the different orchestras. One should become thoroughly acquainted with this unique instrument. Last week at the Rialto the overture was the fourth Hungarian rhapsody (with czymbalom solo) by Bela Nyary; Hugo Riesenfeld and Joseph Littau conduced. This was followed by an educational scenic, “Dawn to Dusk in Egypt,” hat was unusually interesting. Eduardo Albano, baritone, was the soloist, singing “Lolita” (Buzzi-Peccia). After the feature Marjorie Peterson, of the New York Denishawn School, danced a dainty little number called “Parisienne.” The program ended with a Harold Lloyd comedy, “Captain Kidd’s Kids,” which was very funny despite the fact that it has been seen before.
It was an altogether too good a background for the feature picture, Fola Negri in “The Last Payment.” This feature, “The Last Payment,” can no more equal some of her other films than if she were an entirely different person. The picture lacks all of the beauty, the direction, the artistry, that the others abounded in. It was exceedingly disappointing and it seems hardly worth while to show these imported films if they have no more to recommend them than this one has.
The Strand.
The feature picture, “Hail the Woman,” was so intensely interesting that it mattered little what else the program contains. But as it frequently happens at this theater, an exceptionally fine feature is surrounded by a program out of the ordinary, and this was the case last week here. The program opened with selections from “Robin Hood,” played by the orchestra with Carl Edouarde conducting. Mr. Edouarde knows how this music should be played and it is always a pleasure to hear him. The last selection was the “Armorer Song,” sung by the well known basso pro-fundo, Herbert Waterous. Mr. Plunkett had created, to emphasize the number, a small setting not unlike that left hand side of the stage in the opera. Mr. Waterous was in costume and of course had his anvil. The audience thoroughly enjoyed the number. Vocally, Mr. Waterous is too well known to go into a lengthy discussion.
The vocal prologue was sung by Kitty McLaughlin and Richard Bold. Their voices blend beautifully. Miss McLaughlin has never been heard to better advantage than last Friday night. The comedy was one of those very original studies, by Windsor McCay, “The Midsummer’s Nightmare.”
Those patrons of the Strand who failed to see the feature, “Hail the Woman,” shown last week, missed a picture that will remain long in the memory of those who did see it. It is hard to say which was the most salient factor in making this a picture beautiful. The photography was excellent, the cast exceptionally good, and the story was almost real. There were so few inconsistencies that this one fact alone places the film in a class of the select few. The part of Nan was taken by a young girl, Madge Bel-lany. At the moment the writer cannot recall having seen her before, but the beauty of her acting in this film is such that it is impossible to overlook it, and in a cast that con-
Elsie Janis and “Her Gang,” in a revue of two acts, opened at the Gaiety Theater last week. This artist has a tremendous following, so there is little doubt that there will be good business for the attraction during the limited stay here. It is reported to have been booked for six weeks only. Most of the criticisms were favorable and all declare the revue clever and original. It was the only premiere for last week.
Closings.
“Bluebeard’s Eighth Wife” leaves the Ritz this week after a nineteen weeks’ run.
William Gillette, in the “Dream Maker,” leaves the Empire, after a ten weeks’ stay.
“Face Value,” with Leo Ditrichstein as star, goes on tour after five weeks at the new 49th Street Theater.
Last three weeks for Lionel Atwill in the “Grand Duke” at the Lyceum.
“Greenwich Village Follies” goes on tour after twenty-two weeks at the Shubert.
“The Squaw Man,” William Faversham revival, goes on tour after five weeks at the Astor.
Last two weeks of “The Circle” with an all star company at the Fulton—the season’s big dramatic success.
“The Claw,” with Lionel Barrymore, leaves the Broad-hurst after fourteen weeks of fair business.
“The Green Goddess” has two more weeks at the Booth--then on tour. George Arliss has played a solid year in this remarkable drama.
“The Varying Shore” leaves the Hudson after a short stay of two months. Elsie Ferguson and original company will be sent on tour.
“The Wild Cat,” at the Park, has been a decided success and will be sent on tour next week.
“Madras House” closed at the National. It was a Neighborhood production.
“Fool’s Paradise” closed at the Criterion.
Maude Adams Gives Home to Sisterhood.
Maude Adams, the famous actress, has given her estate on Long Island to the Roman Catholic Sisterhood of Our Lady of Cenacle. Besides the handsome residence there are numerous other buildings and 300 acres of land. The offer has been accepted by Bishop Thomas E. Malloy of Brooklyn. Miss Adams is not a Catholic.
The Earl Carroll Theatre.
The Earl Carroll Theater is nearing completion and the announcement of the grand opening states that it will take place on Monday, February 20. The Carroll will be one of the handsomest theaters in New York, and the young manager, Earl Carroll, promises something very fine in the way of a novelty for the opening attraction.
“The Wild Cat” Breaks Record.
“The Wild Cat,” an operetta by Penella, playing at the Park Theater, passed its fiftieth consecutive performance last week and holds a record for operettas and music drama, in which all of the words are sung. The previous record was held by Puccini’s “Madam Butterfly,” when produced in English by Henry W. Savage. It ran for forty-seven performances. It will go on tour next week.
Openings.
“The Nest,” by Paul Geraldy, at the 48th Street Theater, January 28.
Doris Keane, in “The Czarina,” at the Empire on January 31.
“Pins and Needles,” de Courville’s London Gaiety revue, at the Shubert this week.
“Marjolaine” opened at the Broadhurst this week.
Arthur Hopkins will revive “The Deluge” at the Plymouth beginning this week.
John Emerson-Anita Loos production “Red Hot Romance,” began on Sunday night.
Notes.
At both the Rialto and the Rivoli, “Saturday Night” is being shown.
George Arliss, the well known actor, is seen in the film version of “The Ruling Passion” at the Strand this week. Madeline MacGuigan, violinist, is the soloist.
Emanuel List, basso, long associated with the Riesenfeld theaters, is soloist at the Capitol.
Alice Delysia, the French actress, has sailed for Paris. She toured this country in “Afgar.”
Marie Lohr, the English actress-manager of the Globe Theater, London, makes her first American appearance at the Hudson Theater on Monday night, January 30, in "The Voice from the Minaret,” by Robert Hichens. Miss Lohr is supported by an all English cast, the same that appeared in London.
Owing to the illness of Alice Brady, “Drifting” closed at The Playhouse. Helen Menken has taken the leading role, and received much favorable comment for her portrayal of Cassie Cook, when “Drifting” reopened last week.
“The Grim Comedian,” by Rita Weiman, is the Capitol feature picture for the week.
Shubert Vaudeville has ended at the 44th Street Theater.
“Up in the Clouds” has moved over from the Lyric. For the present the Winter Garden is the only Shubert Vaudeville house in New York.
The Criterion Theater, under the direction of Hugo Riesenfeld, has returned to its original policy of a continuous performance, that of showing a feature picture with an elaborate presentation. The theater opens at 11 :30 a. m.
The Capitol.
The entire program here for last week was most entertaining. The overture was “William Tell.” The old musical war horse has helped to educate thousands of people to a keener appreciation for good music, and though the various big motion picture houses feel that they must offer this as an overture at least once during the season, the Capitol management should be greatly pleased at the ovation the number received. In the first place, the members of the