March 2, IP 2 2
Musical courier
56
AMUSEMENTS
HIPPODROME’S DOUBLE ATTRACTION!
APPEARING TWICE DAILY For the Same Admission Price
“6ET TOGETHER” I JACK DEMPSEY
(HIMSELF)
Dally Mats. 2,000 Good Seats $1 Evenings 50c, $1.00, $1.50, $2.00
THE RECORD PAGEANT
SAME PRICES
Musical Comedy-Drama-Motion Pictures
Direction J. L. Plunkett, Broadway at 47th Street
Week Beginning Mar. 5.
D
MARK
T RAN
ALBERT E. SMITH Presents
“THE SHEIK’S WIFE”
A Love Drama of tire Orient
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, Mar. 5.
CARL LAEMMLE Presents
THE FIRST REAL MILLION DOLLAR PICTURE
“FOOLISH WIVES”
By and with VON STROHEIM
CAPITOL GRAND ORCHESTRA E Conductor
Presentations by S. L. ROTHAFEL
iriSML
Theaters under the direction of Hugo Riesenfeld
R8VOLI ^ RIALTO
B’way & 49th St.	Times Square
“THE MISTRESS OF THE WORLD”
A Series of Four Paramount Pictures with MIA MAY
First Episode Beginning Sunday, Mar. 5.
“THE DRAGON’S CLAW”
RIVOLI CONCERT ORCHESTRA
Frederick Stahlberg and Emanuel Baer conducting FAMOUS RIALTO ORCHESTRA Hugo Riesenfeld and Joseph Littau conducting
oniTCBIAIi I Broadway | Continuous I Third unl I UllUll I at 44th St. I Noon to 11 P. M. | Week
Ernest Lubitsch’s Production
“THE LOVES of PHARAOH”
With Emil Jannlngs, Paul Wegener, Dagny Servaes
A Paramount Picture
Current New York Musical Attractions. “BLOSSOM TIME,” Ambassador. Operetta.
“BLUE KITTEN,” Selwyn. Musical comedy.
“BOMBO,” Jolson. A1 Jolson as the star. “CHAUVE-SOURIS,” Forty-ninth Street. Balieff’s Russian Company.
“FOR GOODNESS SAKE,” Lyric. Musical comedy. “GET TOGETHER,” Hippodrome. Extravaganza. “GOOD MORNING, DEARIE,” Globe. Musical comedy. “MARJOLAINE,” Broadhurst. Musical play.
“MUSIC BOX REVUE,” Music Box.
“PINS AND NEEDLES,” Shubert. English revue. “SALLY,” New Amsterdam. Musical comedy. “SHUFFLE ALONG,” Sixty-third Street. All negro revue.
“TANGERINE,” Casino. Musical comedy.
“THE PERFECT FOOL,” Cohan. Ed Wynn’s show.
“UP IN THE CLOUDS,” Forty-fourth Street. Musical comedy.
Selections from New Productions
Waterson, Berlin & Snyder Company
“Stolen Kisses,” song, with music by Ted Snyder and words by Francis Wheeler.
“My Cherry Blossom,” song, with music by Ted Snyder and lyric by Harry B. Smith.
“My Mammy Knows,” song, by Harry De Costa and M. K. Jerome.
“My Sunny Tennessee,” song, by Bert Kalmar, Harry Ruby and Herman Ruby.
“The Sheik,” song, with music by Ted Snyder and words by Harry B. Smith and Francis Wheeler.
Chappell-Harms, Inc., New York “Sweet William Waltz,” by Archibald Joyce.
“Closer,” valse song, with words and music by Leon Du Parc.
Victoria Publishing Company
“The O’Brien Girl,” a musical comedy, presented by George M. Cohan, with music by Louis A. Hirsch, book and lyrics by Otto Harbach and Frank Mandel. The most popular selections are “The Last Dance,” “Learn to Smile,” “There Can’t Be Any Harm in Saying Just Goodbye,” “I Wonder How I Ever Passed You By,” “The Conversation Step,” “That O’Brien Girl,” “I’m All Excited,” “My Little Canoe.”
Jerome H. Remick & Co.
“Out of the Shadows,” song, with music by Walter Blau-fuss and lyric by Gus Kahn.
“Whisper to Me in the Starlight,” song, with music by Jerry Jarnagin and lyric by John Steel.
“After the Rain,” song, with music by Arthur Sizemore and Guy Shrigley; lyric by Gus Kahn.
“Yoo-Hoo,” song, with music by A1 Jolson and lyric by B. G. De Sylva.	May Johnson.
duced by Augustin Duncan, will begin at the Neighborhood Playhouse on March 4.
The Threshold Playhouse will be open for a season oi several weeks. This is a new venture in connection with the School of the Theater, located in the Lexington Opera House. The plays will be acted by the students and the entire production will also be made by them.
Earl Carroll Theater opened last Saturday night with “Bevu,” written by Mr. Carroll. There are many unique features regarding this theater. Mr. Carroh is not only a manager but also a playwright and a musician, and now he owns his own theater, a rather wonderful combination for so young a person. Everybody is waiting with keen interest to see what this newest venture is going to be like.
In the comedy “To the Ladies” there is a song “Happy Day,” written by Zoel Parenteau. It’s a tuneful little number and Miss Hayes and Mr. Kruger get considerable applause. It is published by J. Fischer Bros:
The Capitol.
The Capitol Theater celebrated Washington’s Birthday by having an all-American program. The first number was called “American Cycle.” “Stars and Stripes,” Sousa, was the overture. The big orchestra gave a spirited reading of this well known selection under the baton of Erno Rappe. This was followed by a tenor solo, “To a Wild Rose,” MacDowell, sung by William Robyn. A few weeks ago an old-fashioned “cake walk” was one of the features at the Capitol. Its success was so instantaneous that it was added again last week by special request, Oumansky and Zanou dancing.	.	.
Another soloist was Caroline Andrews, singing Lo! Here the Gentle Lark.” Daniel Maquarre, flutist of the orchestra, played the obbligato. Miss Andrews’ debut was quite a success. She has a coloratura voice of lovely quality and she uses it with a great deal of skill.
One of the most striking numbers of this altogether satisfactory program was the first of Robert Bruce’s “Wilderness Tales,” entitled “And Women Must Weep.” The photography was of the most beautiful seen on any screen and the acting of the young woman who took the part of the wife of the young fisherman was exceptionally fine. Her name is not given.
S. L. Rothafel arranged a series of original tableaus to precede the feature picture. They were very colorful and blended beautifully with the atmosphere of the feature, “Cardigan,” from Robert W. Chambers’s novel of the same name. The picture was interesting, due only to the story, which was of the American Revolution. There was a certain spirit of the time transferred to the screen, but it seemed to lack some of the sturdiness and vigor that one gets from reading, say, for instance, one of Hugh Pendexter’s stories. The musical score was good, so much so that you were constantly aware of its appropriateness.
It was arranged by Mr. Rothafel from harmonizations and transcriptions by Mortimer Wilson. There were innumerable old ballads, and of course “Dixie” and other similar compositions. The program ended with a nocturne in D flat, played by Mauro-Cottone, organist. It was a striking contrast to some of the selections heard recently. It was played as it should have been and it was apparent that the big audiences enjoyed it.
The Criterion.
“The Loves of Pharaoh,” an Ernest Lubitsch production, has started off with a tremendous swing. It has been declared to be the best of this German director’s films that have been shown in this country.
The Rialto.
A very good program was offered here. The overture was Beethoven’s “Lenore,” with Hugo Riesenfeld and Joseph Littau conducting. Another Triart production, ‘The Young Painter,” was one of the features of the program. The story was based on the paintings of Rembrandt. These films have attracted considerable interest on account of the uniqueness of the story and of their great educational value. They were begun as an experiment and have developed into a very popular type of entertainment. There is sufficient plot and story to enhance their drawing power. One of the soloists was Gaston Dubois, cellist, and a member of the Rialto orchestra. His selection was the “Ele-gie,” which was cordially received. The second soloist was Betty Andersen, soprano, who is perhaps the most popular artist of the Riesenfeld forces. Her number was “Bonnie Sweet Bessie.” This present week will be the end^ of Miss Andersen’s season at the Riesenfeld theaters. It is understood she is ieaving for her home in Seattle, where she expects to enjoy a well earned rest.
The feature picture was Ethel Clayton in “Her Own Money.” A comedy ended the program.
The Rivoli.
Hugo Riesenfeld is ever on the lookout for innovations for his theaters and he was unusually successful last week in presenting something entirely new at the Rivoli Theater —a solo played on the clavilux, or color organ, with Thomas Wilfred, creator, at the instrument. Darkness prevailed throughout the auditorium, not a sound came from the organ, but on the motion picture screen colors of gorgeous hue— reds, whites, blues, purples, greens, etc.—moulded themselves into all sorts of designs. It is said that before very many years this instrument will be used extensively for educational purposes. It certainly made a deep impression on the audiences last week at this theater.
Another number of particular interest was the overture, Liszt’s second Hungarian rhapsody (conducted by Frede-rich Stahlberg and Emanuel Baer), with Victorina Krigher, prima ballerina of the Moscow Grand Opera, who very realistically portrayed in dance the joys and sorrows of gypsy life. An attractive background was furnished for Susan Ida Clough, mezzo soprano, for her solo, “One Fleeting Hour,” by Dorothy Lee. Miss Clough possesses personality and has a voice of good quality and power. The feature picture was Gloria Swanson in “Her Husband’s Trademark.” Of course there was the usual interesting Rivoli pictorial; also a comedy.
Openings.
“The Rose of Stamboul” opened at the Century, with Donald Brian, Tessa Kosta and James Barton as the stars. This operetta is by Leo Fall and Sigmund Romberg. The American book and lyrics are by Harold Atteridge.
Bernard Shaw’s “Back to Methuselah” opened at the Garrick, produced by the Theater Guild ; it began on Monday. This play will be given in three sections, a week being devoted to each section.
Mme. Yvette Gilbert began a short season at the Thirty-ninth Street Theater. .
“Your Woman and Mine” opened at the Klaw.	_
A George M. Cohan farce, “Madeleine and the Movies, arrives at the Gaiety Theater, March 6, with his daughter in the leading role.
Closings.
“Danger,” with H. B. Warner, closed at the Thirty-ninth Street to go on tour.
"Dulcy,” at the Frazee, closes next week, with a thirty weeks’ run to its credit. It is one of the few early fall productions that has made anything like a good season here.
Elsie Janis and “Her Gang" leave the Gaiety this week The engagement was extended one week, making a total of seven weeks.
“Fay’s Fables,” at the Park, was withdrawn after three weeks.
“Lilies of the Field” ends at the Klaw after a twenty
weeks’ stay.	.	,	,	,	...
“The Deluge,” an exceptional drama, closes at the
Plymouth.
“Foolish Wives,” a film, leaves the Central.
“The French Doll.”
Irene Bordoni came to the Lyceum Theater in a little French comedy, “The French Doll,” adapted by E. A. Thomas. This charming play was obviously built around the lovely Irene. There is not an awful lot to it, as a play goes, but it is great fun, and one can certainly spend two and one-half hours being delightfully entertained.
The entire cast is equally as good as Miss Bordoni. Edouard Durand is the father, and it has been some time since he has had a part that was so sympathetic, or one that shows his ability as a comedian as does this present comedy. Adrienne D’Ambricourt was equally as good in the role of the mother. The first honors, however, fall to Thurston Hall, as T. Willington Wick, the multi-million-aire.
The story is very simple. This French family, consist-ing of mother, father, daughter and son, find themselves in straightened circumstances. It seems the only hope for financial relief is a successful marriage of the beautiful Georgine to some rich American. The entire play is a riot of comedy and withal is exceedingly well played. In the second act two songs have been interpolated in order to give the fair Irene a chance to sing. There is nothing particularly original in the numbers, but she manages to get considerable applause. It must also be noted that Miss Bordoni’s costumes are magnificent, and the production is in complete harmony. This form of entertainment cannot be too highly recommended in view of the fact that the season has offered so many plays that have been worthless from every viewpoint; it is an amusing, clean little comedy that cannot fail to make a very strong appeal to the theatergoers.
“To the Ladies.”
On this same Monday evening of last week “To the Ladies,” a comedy by George S. Kaufman and Marc Connelly, was presented at the Liberty Theater. They are the authors of “Dulcy,” a charming comedy that has been playing at the Frazee all season. After the première of "Dulcy” every one felt that these two new contributors to the theater had provided an entertainment that was unique and full of originality. “To the Ladies” is even more worth while. Helen Hayes and Otto Kruger are the stars, and it must be admitted that in the role of Mrs. Beebe Miss Hayes has had an opportunity to show the quaint comedy and the piquant individuality that are hers. Her two former plays of the present season were pitiful failures, through no fault of her own.
The plot centers around a young couple who live in a suburb. The boy works in a piano factory and the entire action is based on the activity of these newlyweds.^ The play is well written, exceedingly sincere and exceptionally well acted by the principals. From the time the curtain goes up until the very last moment it is one long, continued, well deserved laugh. At times the comedy sparkles, particularly the banquet scene. There is only one suggestion that the layman could possibly make, and that is, the action could be speeded up a bit—not in any one particular scene, but just a little cutting here and there to reduce the time about ten minutes.
At the moment a more delightful comedy cannot be recalled for this season. The entire local press was enthusiastic and from the way the first audiences have received this contribution it is easy to prophesy that it will play well on into the summer. It is thoroughly human.
Notes.
“If Winter Comes” is to be a feature fiilm. The William Fox Company has secured the screen rights for the famous novel by Hutchinson. It is to be made into a big special production. The cast is not yet selected.
Beginning this week, Jack Dempsey, the champion, will be the feature attraction at the Hippodrome. His act will illustrate the routine of a prize fighter while training for a match. There is considerable excitement over this engagement and it is something quite new and out of the ordinary for the big playhouse.
“Chauve-Souris,” the Russian company now playing at the Forty-ninth Street Theater, has become such a vogue that Morris Gest, the manager, has been forced to give additional matinees.	.
John Philip Sousa, after a long tour which included Havana, will give a “home-coming concert” at the Hippodrome March 5. This will be the only New York appearance and will end his long season.
A new play by Eugene O’Neill, “The First Man,” pro-