February 9, 1922
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
Direction J. L. Plunkett, Broadway at 47th Street
Week Beginning Feb. 12.
MARK
T RAN
o
IVAZIMOVA
in
”The Doll’s House”
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, Feb. 12.
A FEATURE PICTURE
Soloists ־ Ensemble
CAPITOL GRAND ORCHESTRA E Conductor
Presentations by S. L. ROTHAFEL
iPara/rwurU Pictures^
Theaters under the direction of Hugo Riesenfeld
Beginning Sunday, Feb. 12.
Broadway at 49th St.
RIVOLI

FANNY HURST’S PLAY
"BACK PAY
RIVOLI CONCERT ORCHESTRA
Frederick Stahlberg and Emanuel Baer conducting
Beginning Sunday, Feb. 12.
99
RIALTO I Times Square
CECIL DE MILLE’S PRODUCTION
"FOOL’S PARADISE
A Comedy and Pictorial News Features FAMOUS RIALTO ORCHESTRA
Hugo Riesenfeld and Joseph Littau conducting
A lengthy account of his career appeared recently in the Musical Courier. The engagement is for one week and began Sunday, February 5. This undoubtedly is the feature attraction at this house.
Selections from New Productions
Chappell-Harms, Inc., New York.
“Little Miss Raffles,” a play with music, lyrics by Clifford Grey and music by the late Ivan Caryll. The five vocal selections—“Santiago,” “Little Mother,” “I’ll Dream of You,” “Romance” and “Manana”—are to be produced here during the month.
Leo Feist, Inc., New York.
“Tangerine,” a musical comedly now playing at the Casino. Music by Carlo Sanders and lyrics by Howard Johnson. The six most popular vocal selections are: “Sweet Lady,” “It’s Your Carriage that Counts,” “We Never Grow Old,” “Listen to Me,” “There Is a Sunbeam,” “In Our Mountain Bower.”
T. B. Harms, Inc., New York.
“Lady Billy,” a musical romance, with Mitzi as the star, is now on an extended tour throughout the country. This is its second season. The two most popular selections are “Good-Bye” and “The Legend.”
“Good Morning, Dearie,” a musical comedy now playing at the Globe Theater.” Music by Jerome Kern and lyrics by Anne Caldwell. The three most popular vocal selections are “Didn’t You Believe?”, “Ka-Lu-A” and “Blue Danube Blues.”
“The Blue Kitten,” now playing at the Selwyn Theater. Music by Rudolf Friml and lyrics by Otto Harbach and William Carey Duncan. The two_ most popular vocal selections are “Cutie” and “Smoke Rings.”
May Johnson.
Mary Biffin Wins Success in Boston
Mary Biffin, the soprano, made a most successful concert appearance recently in Boston, Mass., before a large and thoroughly appreciative audience. Miss Biffin’s program was an interesting one and included the “L’Altra Notte” aria from “Mephistophele,” a group of songs by Landon Ronald, numbers by Rimsky-Korsakoff, Poldowski, Boro-dine, Mazzone and the “Bel Raggio” from Rossini’s “Semi-ramide.”
D’Alvarez Soloist at Brooklyn Concert
Marguerite D’Alvarez, contralto of the Chicago Opera, will be heard as soloist at the joint concert of the Chaminade and University Glee clubs to be given in the Brooklyn Academy of Music on Friday evening, February 17. The proceeds will be devoted to the Children’s Museum of Brooklyn.
being visited by members of the board of directors. The quartet sang “School Days” and “Little Tommy Went Fishing,” and each of the girls did a specialty dance and song. One of the youngsters stopped the show with an excellent bit .of eccentric dancing. The audience enjoyed the comedy immensely, and it proved to be such a success that it is hoped that the management will arrange another one on the same order.
The feature picture was “School Days,” with Wesley Barry, the boy actor, as star. The musical program was arranged from the famous melody by Gus Edwards.
The Rialto.
The writer was present at the first performance Monday night of last week. The assistant conductor directed the orchestra in the prelude to “Die Meistersinger.” The orchestra, although small, usually gives a very good^ account of itself. This prelude is well known, and when it is not played well there are hundreds in the audience who know it, and such was the case the other evening. It was rather an indifferent reading of a selection that is popular.
Victorina Krigher danced a mazurka from “The Firebird” (Puni). Not since this artist first made her debut has she had a performance equal to the artistic achievement that she deserves. In the first place, the Rialto stage is small and hardly large enough to stage a dance such as Mme. Krigher is capable of giving. She has had such favorable comment on her dancing that she should have the opportunity to show her versatility.
George Richardson was the second soloist, singing “Danny Deever,” the famous baritone song* that David Bispham made his own. Mr. Richardson pleased the audience, which seemed to like not only his voice but also the selection.
The feature picture was Bebe Daniels in “Nancy from Nowhere.” As a film it did not attract particular interest.
Joseph Alessi, trumpeter, played as a solo “Hungarian Melodies,” and the program closed with the usual comedy. Among the pictures shown in the news items was a most interesting one of Rosa Raisa, the Chicago Opera singer, as she was singing in San Francisco to a multitude in the streets.	.	.
Lionel Barrymore is the star in “Boomerang Bill’ this week.
The Rivoli.
The overture here was “Morning, Noon and Night” (Von Suppe), conducted by Joseph Littau. It seemed that the Rivoli Orchestra was not quite so large as it used to be, but even so it played well, with a sufficient amount of tone, and it did not make the mistake of having the organ help it out. This orchestra does not need the assistance of the aforementioned instrument. The great strides that have been made by the theater organists will be depreciated if they continue to “thunder and lightning” in the future as they have in the past. The audience is going to protest. This condition is unfair to the great, noble instrument, and those musicians in charge should observe at least a few of the rules of artistic playing.
Carlo Marx, the pianist, played his second engagement here, using for his selection Tschaikowsky’s concerto. Mr. Marx had the same reception accorded him as he had two weeks ago. It seemed to the writer that he did not play quite so well at the second hearing; or should one say that he played so vigorously that he failed to get the full tonal beauty from his concert piano? This perhaps was not what happened at the other performance.
The orchestra had a second selection, the “Barcarole” from “The Tales of Hoffmann,” which was enjoyable, and a stupid comedy finished the highly successful program.
The feature picture, “One Glorious Day,” with Will Rogers, was an excellent piece of photography. Aside from its novelty and the mechanics that were perfectly obvious, the film itself was well done and highly amusing. It should have a ready demand and be popular throughout the country.
• The Capitol.
Rarely has there been a picture offered at a local theater that has the human appeal or the interest of “The Silent Call,” a story from the Saturday Evening Post, arranged for the screen by Jane Murfin and Laurence-Trimble. Photographically the scenes were splendid. The leading interest was that of Strongheart, the wolf-dog, who is really the center around whom all the action takes place. The pictures of this dog are marvelous, and those who did not see the feature missed one f the rare treats offered at a picture house. John Bowers pla3׳ed the part of the master and did some very splendid work. The music score of this feature had been arranged from “Friend o’ Mine,” by Sanderson.
The program opened with the overture from “Mignon” (Thomas), directed by Erno Rappe. It was a very musi-cianly reading of this familiar score. Some splendid dances followed. The little silhouette number, danced by Gam-barelli, Oumansky and Niles, was dainty and received considerable applause. Emanuel List was again the^ soloist, singing that old, familiar song that all bassos revel in, “The Man on the Big Bass Viol.”
The second episode, a story of the Bible presented by the Merit Film Corporation, was “Cain and Abel.” These are most impressive and well photographed. The_ second soloist was William Robyn, tenor, who has again joined the forces of the Capitol Theater. It will be remembered that last season Mr. Robyn was the principal tenor at this house when excerpts from grand opera constituted the feature musical attraction. Since that time he has had innumerable return engagements. During the summer and fall of last season Mr. Robyn had an extensive concert tour. He received quite a hearty welcome on his return. His solo was “Song of India” (Rimsky-Korsakoff). With this delightful feature and musical numbers the Capitol had an excellent program.
Nahan Franko Guest Conductor at the Strand. Nahan Franko, conductor and violinist, follows the recent example of Victor Herbert by accepting the post of guest conductor of the Strand Symphony Orchestra. Mr. Franko is too well known to all musicians to give a lengthy discussion of his musical attainments and accomplishments.
There was considerable activity at the local theaters last week. The attendance shows marked improvement, consequently the managers are encouraged and there are new productions galore. On Monday night at the Hudson Theater, Marie Lohr made her American debut in “The Voice from the Minaret,” a play by Robert Hitchens. It is agreed that she is an actress of considerable ability, but that her play is not one that will cause any great excitement among our theater going public. Edmund Gween, a member of her all-English company, seems to have made a fine impression.
“Mr. Faust” was presented at the Provincetown Theater.
It is a venture of Maurice Browne and his wife, Ella Van Volkenburg. This couple is very well known, for they have been connected with many productions here. For several seasons they were in charge of the dramatic department of the Cornish School in Seattle and they have also assisted Miss Anglin with her classic productions, both in California and here. Their recent effort is considered favorably.
Mr. de Courville’s English revue, “Pins and Needles,” opened at the Shubert Theater and did not receive any too favorable praise.
“The Pigeon,” by John Galesworthy, opened at the Greenwich Village Theater and had a very splendid premiere.
Frank Fay’s “Fables,” a revue, opened at the Park.
“The Nest,” adapted by Grace George from the French (Paul Geraldy’s “Les Noces d’Argent.”)
“The Deluge.”
Revivals seem to be in order this season, but none of the rejuvenated successes can justify their appearance on the same grounds that prompted Arthur Hopkins to present “The Deluge.” In August, 1917, this play by Henning Berger had its first American production. After a bare two weeks it was withdrawn, notwithstanding the fact that it had been translated into many languages and presented in almost every country in the world, being considered a work out of the ordinary. Thanks to Mr. Hopkins for his courage, otherwise the present season would register fewer plays worth while.
“The Deluge” is a play that exposes the frailities that exist in almost everyone. In normal times, we are what we are, but under adverse circumstances, or while passing through a great crisis of some kind, that spark of good that exists asserts itself. A saloonkeeper, his waiter, a grouchy promoter, a clever lawyer, a Swedish immigrant, a small time variety actor, a girl about town and her erstwhile lover, are marooned in a saloon during a storm that gives every evidence of destruction to a small town, somewhere on the Mississippi. For a day and night this heterogeneous crowd adjusted itself as one, only to return to their real selves with the realization that there was no deluge and that the old scheme of things is as before.
Katherine MacDanell was the only one who seemed unreal. The rest of the cast, including many who created the original roles, were emphatic in their portrayals, and made the “Deluge” a play that restored the belief that there are good plays for those who really enjoy the .theater. It is a brilliant comedy with lots of satire that is thoroughly enjoyable. One of the best of the season.
“The Czarina.”
After eight or nine years with the same play, “Romance,” Doris Keane was presented here last week by Charles Froh-man, Inc., in “The Czarina,” a charming romantic comedy. If everyone is as enthusiastic over this new offering as the first nighters were, Miss Keane has another play that will continue for many months to come. _	•
The story is a few short weeks in the life of a great Czarina of Russia, Catherine II, at the Imperial Palace, St. Petersburg, 1765, who loved her subjects and yet ruled them with an iron hand. Despite her masculinity, she was the woman with her love and her passions and weaknesses. Miss Keane showed this striking contrast in a most delightful and convincing way, also proving herself to be a real comedian.
Basil Rathbone was the wild, romantic lover, Count Alexei, and was exceedingly picturesque in his uniform of a Cossack. He was an excellent contrast to Ian Keith, the suave and distinguished French Ambassador. Perhaps the most striking role, aside from the Czarina, was that of Prince Soltikoff, the chancellor, played by the well known actor, Frederick Kerr. To mention all of the good acting would be to include the entire cast, because there was not one that did not create his or her role creditably.
The play is by Melchior Lengyel and Lajos Biro, and translated into English by Edward Sheldon. Mr. Sheldon has produced an uncommonly interesting play and a romantic comedy that has not been equalled in many seasons.
As for Miss Keane, she was delightful with her different moods. She was particularly fascinating in the wild love scene at the end of the first act, in which she shows her sudden infatuation for the rough soldier. The costumes are in excellent taste and make a fine effect. The setting, too, was in harmonious accord with the play. It is a riot of satire, humor, wit and romance. It is a production that will compel those who saw it to want to see it again. It is an individual and collective triumph.
At the Motion Picture Theaters
The Strand.
For an overture Victor Herbert’s “Babes in Toyland was- used. Since revivals are so popular, it is strange that this delightful opera has not been restored to the local repertories. The assistant conductor directed the orchestra, and again the organ played a loud part in the finale. Aside from the noise there were many bad notes that attracted undue attention. Owing to the length of the feature there was no comedy and only a short topical revue.
Joseph Plunkett, director, staged a miniature musical comedv, “School Days,” as a prologue to the feature, and it must be stated in all fairness to the various programs that this novel idea is one of the best ■hits of the entertainment seen at a motion picture theater—perhaps because it was totally unlike anything that has been offered for some time. The Strand Male Quartet was assisted by girl dancers. The setting was a country school with the teacher and his pupils