March 3 0, 1922
MUSICAL COURIER
56
AMUSEMENTS
SELWYN THEATRE Mow
Sunday Nights, Map. 19, 26, Apr. 2, at 8:30; Tues. & Fri. Afts., Mar. 21, 24, 28, 31; Apr. 4, 7, at 3.
Musical Comedy-Drama-Motion Pictures
Ruth Draper
in ORIGINAL CHARACTER SKETCHES. Tickets, $2.75 to 55 cts. Mgt. James B. Pond, 50 E. 42d.
“GET TOGETHER”
At *he HIPPODROME
Matinee every day The Record Pageant
PRIfiFX OUT IN MAI P 5aiiy. Mats• 2»000 Good Seats rniOCO bill IN HALr Evenings 50c, $1.00, $1.50, $2.00
Direction J. L. Plunkett, Broadway at 47th Street Week Beginning April 2.
D
MARK
T RAN
CHARLES CHAPLIN
in his latest Laugh Provoker
“PAY DAY”
THE STRAND SYMPHONY ORCHESTRA
Carl Edouarde, Conductor
B׳way at 51st St. “Subway to Door״ EDW. BOWES. Mng. Dir.
CAPITOL
Beginning Sunday, April 2.
World׳« Largest and foremost Motion Picture Palace
Week
GOLDWYN Presents
WILL ROGERS in “A POOR RELATION”
A Goldwyn Picture
CAPITOL GRAND ORCHESTRA ERNO raphe
Conductor
Presentation* by S. L. ROTHAFEL
SP,'arcurwurzt SPicXures^
Theatres under the direciion of Hugo Riesenfeld
RIALTO
RIVOLI! 49Th St& I Continuous Noon to 11 P. M.
POLA NEGRI
in “THE RED PEACOCK”
ORIGINAL PIANO TRIO—“The Lamplighter” RIVOLI CONCERT ORCHESTRA
Frederick Stahlberg and Emanuel Baer conducting
Times I ~
Square | Continuous Noon to 11 P. M.
DOROTHY DALTON
in “THE CRIMSON CHALLENGE”
Orchestral and Vocal Selections FAMOUS RIALTO ORCHESTRA
HUGO RIESENFELD and Joseph Littau conducting
Directed by Lubitsch
with Emil Jannings, Dagny Servaes, Paul Wegener, Henry Liedtke.
Egyptian Temple Dance—Intimate Orchestra
Another American Orchestral Society Concert
On March 12 the American Orchestral Society, under the baton of Conductor Dirk Foch, gave its fourth concert at Cooper Union under the auspices of the People’s Institute Concerts. The program included the Schumann’s fourth symphony, “Death and Apotheosis” of Strauss, and the second Hungarian rhapsody of Liszt. A capacity audience was present.
Ney’s Playing “Grand”
Elly Ney has found an admirer who has succeeded in condensing all of the eulogies heaped on this fine pianist into a sentence. After her recent appearance in Chicago, Mme. Ney was• greeted by this enthusiast, who, on being introduced, intoned as follows; “Gee, you’re playin’ is the grandest thing I ever heard in my young life!”
Meadville to Hear Patton
Fred Patton has been engaged by the Meadville, Pa., Choral Society to sing the bass solos in “The Messiah,” which will be given by that society on April 6. This will be Mr. Patton’s first appearance with the Meadville organ-ization.
Godowsky Appears Almost Nightly
“As busy as Leopold Godowsky” promises to be a new standard simile before long. On his present concert tour to the coast Mr. Godowsky is appearing almost every night. Five recitals a week seem to be the usual schedule.
the dance number, “Caprice Viennois.” The settings were made by Clark Robinson, and of course the fine lighting effects were Mr. Rothafel’s idea. Oumansky and Gam-barelli interpreted the famous Kreisler music, and although Gambarelli’s dancing lacked originality and she failed to introduce anything new in the number, still she was graceful. She has a certain lightness that undoubtedly appeals, and considering the fact that she has been dancing every day for almost two years at this theater, it is but natural that she oftentimes repeats her steps. This part of the divertissement received the biggest applause of the evening.
Thomas McGranahan, tenor, appeared for the first time, and Lilly Kovacs played a return engagement. She made such a splendid impression three weeks ago at her debut that it is not surprising Mr. Rothafel gave her a second appearance. She is a young woman of about twenty years of age, who possesses considerable musicianship and plays with a brilliancy that is delightful for so young an artist. She deserves success.
There were some colorful pictures shown after the Capitol News, entitled “California.” While each scene, one more gorgeous than the other, passed across the screen, the orchestra played selections from Victor Herbert’s “Natoma.” These various melodies are indeed lovely. The feature picture was a Goldwyn production, “The Glorious Fool.” This week the feature is a Rex Ingram production of that popular play, “Turn to the Right.”
The Strand.
Rex Beach’s romance, “Fair Lady,” founded on his novel, “The Net,” was the film attraction which drew large audiences to the Strand last week and certainly proved thrilling enough to satisfy even the most blase. It deals with the undying hate and love of vengeance of the Sicilian and the scene of the vocal prologue was laid in' a Sicilian garden. Carlo Ferretti, baritone, sang Di Capua’s “Torna Sur-riento” with verve. In the picturesque costume, with the guitar slung across his shoulders, he looked and sang the part commendably. The return of Estelle Carey, soprano, was made a pleasing feature with Oliver’s “Come to the Dance,” which _ proved well suited to her voice. “Les Preludes,” by Liszt, was the opening number, played by the Strand Symphony Orchestra, Carl Edouarde conductor, with unusually fine effect. Some interesting “Odds and Ends,” the regular Mark Strand Topical Review, without which no Strand program would be complete, a Harold Lloyd comedy revival and the organ solo, played by Percy J. Starnes, Mus. Doc., and Ralph S. Brainard, were the remaining numbers on the bill.
The Rialto.
On the program at the Rialto Theater last week the unusual was provided in the solo which Daniel Maquarre, flute virtuoso, gave, the selection being Francois Doppler’s “Fantaisie Pastorale Hongroise.” Mr. Maquarre proved himself a finished artist, giving much pleasure by the excellence of his playing and the artistic worth of his interpretation. The Rialto Orchestra, with Hugo Riesenfeld and Joseph Littau conducting, gave a delightful rendition of the “Sakuntala” overture of Goldmark. Gladys Rice, soprano, gave DeMoya’s “The Song of Songs” in her usual good style. The remainder of the program comprised the Rialto Magazine, Ethel Clayton in “The Cradle” and the final installment of “The Mistress of the World.”
The Rivoli.
The feature picture, “The Green Temptation,” starring Betty Compson, was an uncommonly good film and dominated the entire program. The story not only held the interest, but also in many respects it is better than most of the pictures shown lately. The acting of Theodore Kos-loff was the best thing that he has done on the screen, despite the fact that he starred in a special production shown at this theater several weeks ago, which at that time was considered the superior production and showed very intelligent action on Mr. Kosloff’s part. The program was long, due to the fact that that impossible film, “The Mistress of the World,” a fiasco, took up considerable time. The usual musical presentation was limited to just two numbers. By the way, this German thriller was reported to have been in fifty-two reels originally and was cut to twenty for its American showing. After the first week there were additional cuts and last week it was the bare-bone story, and the third and fourth serial were combined.
Fred Jagel, tenor, sang “I’ll Sing Thee Songs of Araby” as his number. The delightful old ballad was pleasingly rendered. Mme. Victorina Krigher again offered a special number, Brahms’ “Hungarian Gypsy Dance.” The feature was so thoroughly enjoyable that it mattered very little what else there was on the program, but, as usual, dance numbers and the vocal solos are always in good taste and harmonize with the program.
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.
“SALLY,” New Amsterdam. Musical comedy.
“SHUFFLE ALONG,” Sixty-third Street. All negro revue.
“TANGERINE,” Casino. Musical comedy.
“THE HOTEL MOUSE,” Shubert. Musical comedy.
“THE PERFECT FOOL,” Cohan. Ed Wynn’s show.
May Johnson.
Hurlbut Pupil Engaged
Charles Wood, tenor, a pupil of Harold Hurlbut, the de Reszke disciple, has been engaged as soloist with the University Glee Club of Brooklyn, for its concert at the Auditorium in April.
Pavloska to Sing in “Norma”
Irene Pavloska, one of the busiest members of the Chicago Opera Association, has been selected for the important role of Adalgisa in the company’s revival of “Norma,” which will take place in the near future.
Music Festival Week at Rialto.
This is Festival Week at the Rialto, arranged by managing director Hugo Riesenfeld in conjunction with the Super Paramount week in which revivals of film masterpieces are shown. Mr. Riesenfeld has two orchestras and three conductors. The program starts at twelve o’clock at noon and continues until midnight. It is the most elaborate and pre-־entious musical offering that Mr. Riesenfeld has ever arranged for his theaters.
On Sunday last the festival opened with the “Tannhäuser” overture, Hugo Riesenfeld conducting; the feature was “The Miracle Man.”
Monday, Josiah Zuro was the conductor, offering Tschaikowsky’s “Romeo and Juliet”; the film was John Barrymore in “Doctor Jekyll and Mr. Hyde.” “An Irish Tune from County Derry,” arranged by Grainger, was played by the string quartet. Marion Lax, soprano, and Martin Berffel, tenor, were the soloists.
_ Tuesday, Joseph Littau wielded the baton. His selection was Liszt’s second Hungarian rhapsody. The feature was “Old Wives for New.” “Madame Butterfly,” a film opera, was given an elaborate presentation.
Wednesday, Hugo Riesenfeld was again the conductor for the day. “Carmen,” the film opera that was shown several weeks ago and met with such favor, was made the feature of the program. The film was “On with the Dance,” an elaborate picture with Mae Murray as the star.
Thursday (today) Mr. Zuro again leads the orchestra, the overture being Liszt’s “Les Preludes.” The film feature is “Don’t Change Your Husband.” “La Tosca,” another film opera, is given prominence on the program.
Friday (tomorrow) Mr. Littau will conduct; the overture will be the “Rienzi,” and the film feature, “Behold My Wife.” Saturday Mr. Riesenfeld and Mr. Zuro will alternate at the conductor’s desk, the overture ׳being Tschaikowsky’s “1812” and the feature film, “Male and Female”; Inga Wank, mezzo, and Martin Breffel, tenor, will be the soloists.
This week will certainly show to what extent the musical programs in the picture theaters have grown. So far the attendance has been so great that it would not be surprising if the festival were to continue for another week.
“Voltaire.”
The most interesting opening for last week, without a doubt, was Arthur Hopkins’ production of “Voltaire,” at the Plymouth Theater, a romantic comedy by Leila Taylor and Gertrude Purcell. Robert Edmond Jones is responsible for the one set he has used, and it is always thoroughly understood that when Mr. Jones has charge of an Arthur Hopkins’ production the theatergoer is to see something out of the ordinary.
“Voltaire” has many things to recommend it. There are all too few historical plays produced and these few incidents in the life of the great Frenchman make a good evening’s entertainment. The story deals with about twenty-four hours’ happenings at the country home at Ferney, the estate of the great Voltaire. The cast is headed by Arnold Daly, and the other members of the company are equally competent in their various roles. “Voltaire” will not prove a big drawing card, nor will it have any very great appeal to the average audience, and more the pity because it is worth while.
“Up in the Clouds.”
“Up in the Clouds” closed at the 44th Street Theater March 18, and has gone to Philadelphia. It has been a tremendous success in other cities, especially in Boston and Chicago. This has proved a rather bad season in New York for many good plays, and “Up in the Clouds” is one which has had to go by because the cost of production could not be met longer. Because of the illness of Grace Moore, the show was advertised to close on Wednesday night, March IS, but fortunately there was one in the company who was ready to step right into the leading part. Florence Hedges was quite captivating in the lead, giving successful performances for the remainder of the week. Her natural grace and charm, her spontaneity and vivaciousness, as well as her sweet voice, made a real hit.
Notes.
Henry Myers, the young playright who has come into considerable notice on account of his production, “The First Fifty Years,” now showing at the Princess Theater, not only received excellent notices from the entire daily press, but last week when the weekly magazines added their voices it was also found that almost without exception he was praised for his first play. The organization at the Princess, too, is unique; the managers, Mr. Hart and Mr. Strauss, are two young men recently graduated from Columbia University. Mr. Myers is a Columbia boy also. They represent one hundred per cent. American.
The Hippodrome is reported to be ready to close within another few weeks. The three hundred and fiftieth performance has already been passed. This season is shorter than formerly, but it seems to be the usual tendency among the theaters to have an early closing.
Ethel Levey is coming to America to be starred in a musical piece entitled “Go Easy, Mabel.” It will open some time in April.
Reports state that the famous French actors, Lucien and Sacha Guitry, will come to America for a short season under the management of the Selwyns. Arrangements are being completed to have this notable father and son appear in New York for four weeks in December. It will be their first trip to America.
The Capitol Theater sends out the notice that Fred Frad-kin will assume the duties of concertmaster of the Capitol Grand Orchestra beginning this week. It will be remembered that Mr. Fradkin was connected with the Boston Symphony Orchestra and was very conspicuous during the recent strike of that organization.
A Ben Turpin comedy, “Step Forward,” is the feature at the Strand this week. The Strand Male Quartet is singing a special prologue.
The Capitol.
First honors on the program at this theater last week go to the charming arrangement that S. L. Rothafel gave to