March 23, 1922
MUSÌCAL COURIER
56
AMUSEMENTS
SELWYM THEATRE Now
Sunday Nights, Mar. 19, 26, Apr. 2, at 8:30; Tues. & Fri. Afts., Mar. 21, 24, 28, 31; Apr. 4, 7, at 3.
Ruth Draper
in ORIGINAL CHARACTER SKETCHES.
Tickets, $2.75 to 55 cts. Mgt. James B. Pond, 50 E. 42d.
Let’s
“GET TOGETHER”
Atthc HIPPODROME
Matinee every day The Record Pageant
Daily Mats. 2,000 Good Seats $1 Evenings 50c, $1.00, $1.50, $2.00
PRICES CUT IK HALF
Direction J. L. Plunkett, Broadway at 47th Street
Week Beginning Mar. 26.

ALBERT E. SMITH Presents
"GYPSY PASSION”
a Louis Mercanton Production
VITAGRAPH
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. 26.
JOHN GOLDEN AND MARCUS LOEW Present WINCHELL SMITH’S AND JOHN E. HAZZARD’S GREATEST BROADWAY SUCCESS
TURN to the RIGHT
A METRO-REX INGRAM PRODUCTION
CAPITOL GRAND ORCHESTRA ER^0^״ErE
Presentations by S. L. ROTHAFEL
SParcmmiuil Pictures-
Theatres under the direction of Hugo Riesenfeld
Continuous Noon to 11.30 P. M.
> I ALTO
Times Square
Paramount Super-Week Complete Change of Program Daily Two Orchestras.	Three Conductors.
Sunday—Hugo Riesenfeld Conducting ‘‘THE MIRACLE MAN.” Monday—Josiah Zuro conducting.
John Barrymore in “DR. JEKYLL AND MR. HYDE.”
Tuesday—Joseph Littau conducting.
Mary Pickford in “MADAME BUTTERFLY.” “OLD WIVES FOR NEW”—All Star Cast. Wednesday—Hugo Riesenfeld conducting.
Geraldine Farrar in “CARMEN.”
“ON WITH THE DANCE” with Mae Murray and David Powell.
Thursday—Josiah Zuro conducting.
Pauline Frederick in “LA TOSCA.”
Cecil B. De Mille’s “OLD WIVES FOR NEW” Friday—Joseph Littau conducting.
“BEHOLD MY WIFE.”
Saturday—Riesenfeld and Zuro conducting.
Cecil B. De Mille’s “MALE AND FEMALE.”
to 11:30 P. M.
DAVIES
Continuous Noon
MARION
IIVOLI
B’way &
49th St.	|n “BEAUTY’S WORTH*
RIVOLI CONCERT ORCHESTRA
Frederick Stahlberg and Emanuel Baer conducting
I Continuous | Sixth I Noon to 11 P. M. I Week
Broadway at 44th St.
RITERION
“THE
LOVES of PHARAOH”
Directed by Lubitsch with Emil Jannings, Dagny Servaes, Paul Wegener, Henry Liedtke.
c
Selections from! New Productions
T. B. Harms, Inc., New York.
“Sally,” a musical comedy, music by Jerome Kern, book and lyrics by Guy Bolton and Clifford Grey. The most popular selections are “Wild Rose,” “Whip-poor-will,” “Look For the Silver Lining,” “On With the Dance,” “Schnitza Kotnisski,” “Sally,” “Lorelei” and a “Selection.” “The Love Letter,” presented by Charles Dillingham, with music by Victor Jacobi, book and lyrics by William LeBaron. The most popular vocal selections are “My Heart Beats For You,” “The Girl at Home,” “Canzonetta_,” “Dreaming,” “I’ll Return For You,” “Scandal Town,” “I’ll Say I Love You,” “We Were In Love,” “Upside Down,” “First Love” and “The Only Girl.”
“Two Little Girls in Blue,” a musical comedy, presented by A. L. Erlanger, with music by Paul Lannin and Vincent Youmans, lyrics by Arthur Francis. The most popular selections are “Honeymoon” (When will you shine for me), “Who’s Who With You,” “The Gypsy Trail,” “Oh Me! Oh My!” “Dolly,” “Just Like You,” “Rice and Shoes,” “Orienta,” “You Started Something,” and a selection.
Leo Feist, Inc.
“Blossom Time,” a musical play, presented by the Messrs. Shubert and Heinrich Berte, by S. Romberg, and lyrics by Dorothy Donnelly. The most popular selections are “Three Little Maids,” “Serenade,” “My Springtime Thou Art,” “Song of Love,” “Let Me Awake,” “Tell Me, Daisy,” “Only One Love Ever Fills the Heart,” “Keep It Dark,” “Peace to My Lonely Heart.”	May Johnson.
Musical Comedy-Drama-Motion Pictures
days, it became evident that the programs at these two houses would have to be strengthened to maintain the high standard that has always prevailed at the Hugo RiesenfeJ.d theaters. The severe criticism that has been accorded this picture is in most cases just, but after seeing the second episode entitled “The Race for Life” it must be admitted that it contains some unusual scenes. Particularly interesting are those of the natives, which are well acted. One would presume that they were taken in the German provinces of Africa. Often the serious moments were accompanied by loud laughter and much applause.
The feature picture was “Bought and Paid For;” Jack Holt and Agnes Ayres were the stars, and the picture proved to be of the usual type of feature productions, directed by William de Mille.
The original piano trio was held over again and continued to be the musical attraction. To the writer its selections could have been improved upon if it had given one more serious composition. “Bimini Bay” was well played but there was not enough contrast for the second number, “Chanson Dansante.” This setting, with the three Knabe grand pianos, is very effective, and evidently the three players have become popular.
The overture was “If I Were King,” with Frederick Stahlberg and Emanuel Baer conducting. George Richardson, baritone, sang an aria from “Hamlet.” There was a novelty picture entitled “The Yellow Girl” that was a fantastic study in black and white. This week the third episode of “The Mistress of the World” will be shown, together with the feature picture.
The Strand.
That old warhorse, the second Hungarian rhapsody of Liszt, was played by the Strand Symphony Orchestra, Carl Edouarde conductor, as the opening number on the Strand program last week. The czimbolom cadenza, played by Bela Nyary, scored its usual success and Mr. Nyary was compelled to bow repeatedly at the close. In commemoration of St. Patrick’s Day, glimpses of “The Emerald Isle” were shown, and Colin O’More charmed every one with his singing of “Little Town in the Old County Down” of Corlo-Sanders. Not only is his voice one of unusual beauty and sweetness but also his diction is remarkably fine and called forth much praise. His audience refused to allow him to go without an encore, and even then seemed loth to part with him.
The cinema feature was “The Seventh Day,” with Richard Barthelmess. The scene is laid almost entirely along the New England coast, and has to do with the fisher folk, whose haven is invaded by a yacht party of irresponsible young people. The vocal prologue, “Bells of the Sea,” was written especially for this occasion by Alfred Solman. Herbert Waterous, basso, sang it with sonorous tone which was very effective. Scenically, it was one of the finest things the Strand has done. Mr, Waterous, clothed in yellow oilskins, stood upon the prow of a boat which looked like a real boat and plowed along through a sea which would have passed muster from the most critical. The scenic artist was not mentioned on ■the program but he cer-tanly deserves a special word of praise. Percy J. Starnes, Mus. Doc., and Ralph S. Brainard played the organ solos as usual.
The Rialto.
What with the second installment of serial, “The Mistress of the World,” another feature in “Travelin’ On,” by William S. Hart and with William S. Hart, and the regular Rialto Magazine, the musical program at the Rialto was reduced to merely an overture. In honor of the day, it was Victor Herbert’s “Irish Rhapsody,” with Hugo Riesenfeld and Joseph Littau conducting. Owing to what appeared to be deliberate bad manners on the part of the members of the orchestra themselves, this number was not enjoyed as much as it should have been by the audience at the particular performance which the writer attended. The regular performance does not begin until seven-thirty, of course, but happening to drift in a little before seven, it was impossible to enjoy either the picture itself or the organ accompaniment, played by Frank Stewart Adams and J. Van Cleft Cooper, because of the loud talking and remarks which was going on in back of the curtains through which the members of the orchestra go in and out. Several times an usher disappeared through these curtains, evidently with the intention of quelling the disturbance, but without apparently making the least impression. And when the members of the orchestra did begin to assemble, they made such a hubbub that they fairly drowned the organ, and gossiped so loudly among themselves that one could scarcely believe them to be grown men so much did they resemble a crowd of little boys quite overcome to find themselves the cynosure of all eyes and madly striving by this means to appear at ease.
The Capitol.
St. Patrick’s celebration predominated at the Capitol last week. After the Capitol News, which opened the program, Gambarelli followed with a little dance number “Glow-Worm,” which the program stated was “by request.” In this column the stories of the Bible have been mentioned before, and the third episode was “Noah’s Ark.” These pictures are exceptionally well photographed and are excellent pictures. What would be more appropriate as an overture than the Irish rhapsody by Victor Herbert? It was given a very snappy and energetic reading by Erno Rapee, conductor, and his musicians. This was followed immediately by what the program called an Irish Divertissement, which had both dancing and singing. Doris Niles is developing into a very clever dancer as was evidenced in this number. The soprano was Marguerite Schuiling, a pupil of Frank La Forge, the well known musician. She made a creditable appearance and the audience seemed to like her voice. Caroline Andrews and William Robyn, two familiar singers^ of the Capitol staff, also assisted in this pot-pourri of Irish atmosphere. The musical program ended with a selection on the organ by Mauro-Cottone.
The feature picture was “Come On Over,” by Rupert Hughes, and proved to be entertaining.
After this coming week the fate of the present season will be determined. All indications point, however, to a great majority of the theaters closing. The past two weeks have been noticeably poor in attendance and the outlook is rather discouraging, even the most popular “hits” have dropped off considerably. It would appear that after Easter there will be little in the way of new productions with the exceptions of the usual summer revues. For this week the most notable production perhaps is “Voltaire,” produced by Arthur Hopkins and staring Arnold Daley in a romantic comedy at the Plymouth Theater. “Bavu,” by Earl Carroll, served its purpose, and a musical comedy, “Just Because,” opens at the Earl Carroll Theater this week. There are many well known names in musical comedy composing the cast. Walker Whiteside comes to the Comedy Theater in the “Hindu.”
“The First Fifty Years.”
An uncommonly good play was offered at the Princess Theater last week. “The First Fifty Years,” by Henry Myers, with Clare Eames and Tom Powers constituing the entire cast. Mr. Myers is a new playwright and his present offering is his first production. The play shows a remarkable dramatic sense for a young man of twenty-six years. He has constructed a play along lines that are original, and has taken a viewpoint that is certainly not commonplace.
Mr. Myers was educated in Germany to become a concert pianist. At an early age he showed remarkable talent for music and for several seasons was a special pupil of Humper-dink. While he was studying with this master he developed a talent for musical compositions. Numerous songs by him have been published and he has many scores for musical comedies and one or two short operas to his credit; however, it is as a dramatist that he achieves his first artistic success.
The play has only the two characters, Miss Eames and Mr. Powers. The first scene shows the young couple after their honeymoon, and each successive scene marks a wedding anniversary, first, fifth, tenth, fifteenth, twenty-fifth, until the fiftieth year is reached. In a remarkably clever way, Mr. Myers has shown the life of these two, and even though he has taken a cynical view, nevertheless he has formed a play that in itself ranks with the season’s best, and in the artistic work of the two stars they contribute to the season’s best acting. Tom Powers was particularly convincing, and the progression from youth to old age was remarkably vivid and well portrayed. Miss Eames was perhaps not quite so successful in the first scene, but she made a beautiful picture and the scene showing the tenth anniversary which in itself was remarkable for its dramatic power and the fact that it was a pantomine, offered Miss Eames at the height of her ability.	_	.
The production received unanimous praise, and it is likely that “The First Fifty Years” will continue for many weeks at the Princess Theater, but whether it does or not Mr. Myers will have become a recognized playwright, and in this his first play he is assured an artistic success that is seldom accorded a newcomer.
Hippodrome Will Close Soon.
The Dillingham office announced last week that the production, “Get Together,” is drawing to the close of its season. The big playhouse was opened on September 3, and it has been conceded to be the best extravaganza that the Hippodrome has ever housed. The actual date of closing is not stated, but it would appear to be some time within the next month.
“The Bat” Nearing Eighty-fifth Week.
Perhaps the most successful mystery play that was ever offered in this country, “The Bat,” is still holding its own, and there is no telling when the public will cease to have interest. “The Bat” has also been produced in England since the first of the year and from all reports seems to have interested London as much as it has New York.
“Candida” Comes to the Greenwich Village.
Ellen Van Valkenburg will play the title role in Bernard Shaw’s “Candida.” Miss Van Valkenburg is well known locally and for some seasons past has been connected with the Cornish School in Seattle, Wash. She also assisted in the direction for Margaret Anglin in the classic productions of “Medea” and “Iphigenia,” offered here during past seasons. Her husband, Maurice Brown, is a director.
Ruth Draper In New Recital Series.
Ruth Draper began a series of new recitals at the Selwyn Theater last Thursday afternoon. This series will extend for three weeks. A detailed review will appear in the next issue of the Musical Courier.
Shuberts and Erlanger Combine.
The two biggest managerial firms, the Shuberts and A. L. Erlanger are reported to be forming a managerial combination that will control practically all of the important theaters throughout the country. Definite plans have not yet been announced, but it is supposed to be for the purpose of regulating the various attractions and causing much more successful booking arrangements than have existed in the past. This is a tremendous move on the parts of the big powers in the theatrical world, and if their plans materialize the public would benefit greatly by this combination.
“The Loves of Pharaoh.”
The imported film, “The Loves of Pharaoh,” continues to show to good business at the Criterion Theater. It is a marvelous picture, and aside from its educational value is something that a movie fan will enjoy and appreciate to the utmost. The motion picture theaters are suffering ■to a small extent from the same depression that seems to exist in all forms of amusement, particularly noticeable here in New York. The Criterion is a small theater, and with the four showings a day, is holding its own in view of box office receipts.
The Rivoli.
The German picture, “The Mistress of the World,” being shown simultaneously at the Rivoli and Rialto, has not lived up to expectations. The feature is divided in four parts, one part being shown each week. After the first few