February 2, 19 2 2
MUSICAL COURIER
64
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 №*$1.00,EVE’S »¿ft
Direction J. L. Plunkett, Broadway at 47th Street Week Beginning Feb. 5.
MARK	1־^
X RAN U
HOPE HAMPTON
‘Star Dust’
in
THE STRAND SYMPHONY ORCHESTRA
Carl Edouarde, Conductor
B’way at 51st St. “Subway to Door” EDW. BOWES, Mng. Dir.
CAPITOL
World’• Largest and foremost Motion Picture Palace
Week Beginning Sunday, Feb. 5.
Metro Presents
"The Four Horsemen
ol the Apocalypse”
First Time at Popular Prices
CAPITOL GRAND ORCHESTRA ERr£°n^0EE
Presentations by S. L. ROTHAFEL
iPara/rwunX S^lclare^
Theaters under the direction of Hugo Riesenfeld
nit/Al ■ I Broadway I Beginning lilVULI | at 49th St. | Sunday, Feb. 5
"MORAN OF THE LADY LETTY”
With DOROTHY DALTON and RODOLPH VALENTINO
RIVOLI CONCERT ORCHESTRA
Frederick Stahlberg and Emanuel Baer conducting
RIALTO l Times Square | Sun^da^rFetL 5
"BOOMERANG BILL״
With LIONEL BARRYMORE
FAMOUS RIALTO ORCHESTRA
Hugo Riesenfeld and Joseph Littau conducting
Littau conducted the performance beginning at 7:20, and Hugo Riesenfeld at 9:20. The writer heard the first performance, and Mr. Littau and his musicians gave a very-good reading of this interesting number. Owing to the length of the picture the surrounding program was considerably curtailed. Betty Andersen, soprano, sang for her solo “The Last Rose of Summer.” So many times has the beauty of this young singer’s voice been commented upon in this column that there is very little else that can be said. She sings these old ballads exquisitely.
S. L. Rothafel and His Program.
Mr. Rothafel, director of presentation at the Capitol Theater, has some excellent and very decided ideas on the making of the program that surrounds a feature picture. In discussing his work at the Capitol he had this to say:
“We do not place ourselves on a lofty pedestal and from the all-seeing altitude of our position decide that the public wants this, that, or the other thing. We make no attempt to ‘please the public’—a phrase which is so easily bandied about, for the simple reason that we do not presume to know what it is the public does want.
“But we do know this: We try to keep faith with our public. We try to create a program based on the fundamentals of good taste, honesty and sincerity, and created within the bounds of commonsense and average intelligence. We have a critical standard of our own. I agree with the contention that the picture is the thing. It is important and we could not do without it. But, what we have tried to do is to build around it an atmospheric program that. is colorful and interesting. This type of program with its ballets, musical presentations, stage settings and lighting effects, is conceived to form a series of pictures.
“Now as to the music. We have never advocated in this type of entertainment the presentation of operatic arias sung in a foreign language which few enjoy and even less understand. We have tried to eliminate the hokum and the insincerities from our program. By the same token we have refrained from presenting ‘jazz’ numbers which in themselves might be popular and successful but which reviewed in the program in its entirety would be a jarring note in the harmonious effect of the whole.
“The music, in my opinion, should do more than merely accompany the picture. Its function is to interpret the action and character of the picture, to lift it up and carry it over the flat dimensions of the screen. The music should not Obtrude itself on the spectator. We carry out this principle in the shorter film as well as in our regular features.”
May Johnson.
Sevcik Sails February 4
Prof. Sevcik, who has been teaching at the Ithaca Conservatory of Music, is in New York prior to sailing for Europe on February 4. He is the guest of Sascha Culbertson, the violinist.
Musical Comedy-Drama-Motion Pictures
that the rest of the program was considerably curtailed. Instead of the usual overture there was an especially edited pictorial that opened the program. This was followed by a musical number, “Serenade” (Schubert). This effective selection received considerable applause. The singers were Marian Lax, soprano; Evan Sobel, soprano; Susan Ida Clough, mezzo soprano, and Inga Wank, contralto. As usual a comedy completed the program.
During the week of January IS this theater presented a pianist, Carlo Marx, who played the Liszt concerto in B flat major with the Rivoli orchestra, Frederick Stahlberg and Emanuel Baer conducting. The success that this pianist achieved was phenomenal. On Saturday night, when the writer was present, he was recalled four times and for a few moments it. seemed as if the program could not continue until he played an encore. This was an extraordinary occurrence in view of the facts that it was a Saturday night audience and the selection that the artist played and his superiority of musicianship over the average concert artist heard in the motion picture theaters. It is understood from the Riesenfeld management that Mr. Marx has been re-engaged and will appear again at an early date.
Carlo Enciso Dead.
(See obituary on another page.)
The Strand.
George Arliss, the distinguished actor, was again the film star at this house. Several months ago his splendid interpretation of “Disraeli” was shown here so naturally there was considerable interest in “The Ruling Passion,” his newest film. There was some excellent acting, not only by Mr. Arliss himself, but also by Doris Kenyon, as his daughter, and Ida Darling, as his wife. Edward J. Burns, as Bill, was a very romantic lover. The same features that characterized Mr. Arliss’ former pictures predominated in this. It was an altogether entertaining and enjoyable picture. There was a Harold Lloyd revival, “Look Out Below,” that was exceedingly funny.
The “1812” overture (Tschaikowsky), with special scenic effects, opened the program. Carl Edouarde conducted and the orchestra gave an acceptable reading. This selection has always been and will certainly continue to be for many years to come a favorite at the motion picture theaters. Its descriptive music attracts and it never fails to get considerable applause.
Madeleine MacGuigan, violinist, played the Spanish dance No. 8 (Sarasate). This artist has played much more effectively and authoritatively than she did last Thursday evening. She was also unfortunate in her selection of an encore; she played “Mighty Lak a Rose,” with the organ accompanying, and this powerful instrument proved too heavy for her muted instrument and most of her best effects were drowned in the accompaniment. This is a habit that is indulged in much too often by the organists of the motion picture theaters. They seem to feel that it is necessary to thunder out great volumes of tone, and believe that it is appreciated. It is, however, quite the contrary. The same thing happened at the end of the overture when the organ joined in the finale with the orchestra; the orchestra was almost completely drowned. This fault is not confined to the Strand Theater alone; it is a habit that many other organists are also acquiring, and if not changed will bring about some detrimental results.
The second soloist on the program was Kitty McLaughlin. Her selection was Tosti’s “Good Bye.” Audiences always like this number. Miss McLaughlin sings with considerable musicianship and her upper tones are beautiful.
The Capitol.
The finest thing on the program here last week was the musicianly rendition of Tschaikowsky’s symphony No. 4, under the baton of Erno Rappe. The progress that this splendid organization has been making for the last year has never been in such evidence as it was last Friday evening. Mr. Rappe and his musicians received a veritable ovation after the number. Seldom does one hear this selection played with more verve in our symphony halls. The second selection in importance offered the three dance interpretations by the solo dancers at the Capitol, with Doris Niles in “Anitra’s Dance” (Grieg). This young artist has improved so steadily in the recent weeks that it seemed to culminate in a very excellent interpretation of this well known number. Gambarelli, the premier danseuse, also danced a number by Grieg (“The Moth”). Mr. Rothafel gave her an effective setting, and the number was well received. The last selection was an old fashioned “cake walk” to the music of “Georgia Camp Meeitng,” danced by Oumansky and Zanon. It seems years since the writer has had the pleasure of witnessing this famous old dance, and the audience evidently felt the same way about it, because it was the “hit” of the group.
The feature picture was “The Grim Comedian,” by Rita Weiman. There was nothing particularly new in the story, but it was well done, and Jack Holt, the star, is always interesting. The prologue to the feature was given by Emanuel List, basso profundo, who sang a special song written by William Axt to words by Martha Wilchinsky, both members of the Capitol staff. Mr. List’s voice is familiar to movie fans, inasmuch as he has been one of the chief singers at the Riesenfeld theaters for several seasons. His voice is splendid, but he should give considerable care in his diction. The program ended with a Hy Mayer comedy.
The Rialto.
The feature picture was the same at both the Rivoli and the Rialto, Cecil B. De Mille’s production, “Saturday Night.” Conrad Nagel was the star. This picture is characteristic of all De Mille’s special films. There was a thrilling episode, a lavish society scene where the most fantastic and ultra-modern costumes were used; there was comedy and a tiny bit of pathos to make the picture interesting. It showed to big audiences all week. The program opened with “Capriccio Espagnol,” by Rimsky-Korsakoff. Joseph
“The National Anthem.”
The most important event for the past week was the arrival of Laurette Taylor in “The National Anthem” at the Henry Miller Theater. This newest play of J. Hartley Manners is going to be considered by many not nearly so sincere or entertaining as his former successes, and some admirers are not going to care for it at all. Regardless of the attitude, this newest play of Mr. Manners is so very true it appears more preachy than it would be otherwise.
One infers from the title that this play might be patriotic, but “The National Anthem,” according to Mr. Manners, is “jazz.” The story is vividly told. A young society girl marries a boy who has a charming personality but who drinks and is swayed by the “fiend jazz.” Of course the girl marries him thinking she will reform him, which she does not.
The writer has been fortunate enough to see Miss Taylor in all of her plays in recent years, and regardless of the shortcomings of “The National Anthem,” her acting rises to artistic heights and there are moments when she is more effective than ever before. The second act is particularly fine and the fourth act also has some good climaxes. This play at least shows Miss Taylor’s versatility, and she continues to be one of the foremost stars before our public today. The play made a deep impression and will be a much discussed production during the season. It possesses many qualities which will keep it playing for some weeks.
Miss Taylor has surrounded herself with a splendid cast. Ralph Morgan, as the young husband, did some creditable acting and Lillian Kemble Cooper is sympathetic in the part of Madeline. “The National Anthem” belongs to the class of the worth while plays, and it is a most welcome relief from the usual run of plays that have been offered for the past months.
“Marjolaine.”
“Marjolaine” also opened last week. This is a three-act musical comedy based on the story of the famous _ “Pomander Walk,” by Louis M. Parker. The music is delightful and Hugo Felix has created some very attractive melodies. Peggy Woods and Colin Campbell are the prominent stars in a long list of familiar names. This newest of the musical comedies arrived at the Broadhurst Theater and received favorable comment.
Nikita Balieff and His Chauve-Souris Arrive.
Under the direction of Morris Gest, Nikita Balieff and his Chauve-Souris, of the Bat Theater of Moscow, will begin a New York engagement this week at the Forty-ninth Street Theater. The engagement has been limited to five weeks and the bill of ten of a dozen numbers in song, dance and pantomime made up from the hundred and more in Balieff’s repertory will be changed weekly.
From his long and successful engagements at the Theater Femina in Paris and at the Pavilion, the Apollo and the Coliseum theaters in London, which followed his flight from Moscow over a year ago, Balieff brings to this country his entire company, staff and repertory. In its underground home in Moscow, before and during the war and the early part of the revolution, the repertory of the Chauve-Souris consisted of scores of short plays and sketches, in addition to songs and dances and pantomimes. Among the most favored numbers, which will be repeated from the Paris and London engagements, are “The Parade of the Wooden Soldiers;” “Katinka,” a polka of the 1860’s: the songs and ballads of Glinka, folk songs and dances of the Russian peasant villages, “A Musical Snuff Box,” “Sevres Porcelain” and “Chinese Lacquer,” with song and dance against pictorial backgrounds from which the figures come to life; “The Black Hussars,” old Russian military tunes; “La Grande Opera Italiana,” a travesty with semi-marionettes ; “The Sudden Death of a Horse, or The Greatness of the Russian Soul,” a comic sketch by Tchek-hoff; “Photographic Poses,” a satire on family groups, and “The Chorus of the Zaitzeff Brothers,” a series of old Russian drinking songs.
Balieff’s company has no stars, but he is bringing his most versatile entertainer from his Moscow staff, Mme. Deykarhanova. He has also added Mme. Karabanova, formerly of the celebrated Kamerny Theater in Moscow, and M. Kotchetovsky as maitre de ballet from the Great State Theater in Moscow.
At the Motion Picture Theaters
The Criterion.”
The entire program at the Criterion Theater is new. The feature is “Red Hot Romance,” presented by John Emerson and Anita Loos. This picture was shown for the first time on January 22. The program begins with an overture, “Serenata” (Moszkowski), Victor Wagner and Drago Jovanovich conducting. Both of these conductors have been seriously ill with grip, but have fully recovered and are again looking after the musical welfare of the Criterion Theater; the number was well played by this small orchestra. The next offering was a film potpourri which was instructive and contained some good pictures. It ended with a Mutt and Jeff cartoon appropriate to the feature, “The Bull Fight.” The third number is programmed as a “Spanish Jazz.” in which Cynthia Perot and Elliott Taylor took part. This preceded the feature.
“Red Hot Romance” must not be taken too seriously. It is a satire on a more serious work of the same type. The cast contains some well known names and in the most part the acting is very good, particularly the King of Bunco-rino and his Counsel. The names of the characters, for instance, are extremely funny—.King Caramba, General de Castanet and Signor Frijole. There is sufficient plot and story to be entertaining and the comedy and satire make up for the rest. It is considerably different from the average feature that is usually shown at the Criterion.
The Rivoli.
The same feature, Cecil B. De Mille’s production of “Saturday Night,” by Jessie Macpherson. was shown both at the Rivoli and Rialto last week. The film is so long