May 4, 1922
MUSICAL COURIER
56
AMUSEMENTS
Direction J. L. Plunkett, Broadway at 47th Street Week Beginning May 7.

SECOND BIG WEEK
A D. W. GRIFFITH’S p“‘״'״«״
ORPHANS t°hfe STORM
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 May 7.
JOHN BARRYMORE in “SHERLOCK HOLMES”
The greatest detective character in fiction
CAPITOL GRAND ORCHESTRA ERNc?,Xct״ErE
Presentations by S. L. ROTHAFEL
Theatres under the direclion of Hugo Riesenfeld
RIVOLII 49ti!St& I Continuous No»0 to 11 P. M.
GLORIA SWANSON in “BEYOND THE ROCKS”
by Elinor Glyn, author of “Three Weeks"
A Paramount Picture
RIVOLI CONCERT ORCHESTRA
Frederick Stahlberg and Emanuel Baer conducting
RIALTO ISq^ro I continuous Noon to 11 P. M.
“THE BEAUTY SHOP״
with RAYMOND HITCHCOCK and all star cast
FAMOUS RIALTO ORCHESTRA
HUGO RIESENFELD and Joseph Littau conducting
BROADWAY at 44th ST.
CRITERION
4THE MAN FROM HOME״
with JAMES KIRKWOOD
Special Summer Schedule of Popular Prices
New York Current Musical Attractions
“BLOSSOM TIME,” Ambassador Theater.
“BLUE KITTEN,” Earl Carroll Theater. “CHAUVIS-SOURIS,” Forty-ninth Street Theater.
“FOR GOODNESS SAKE,” Lyric Theater. “FUNMAKERS,” Jolson Theater.
“GOOD MORNING DEARIE,” Globe Theater.
“MAKE IT SNAPPY,” Winter Garden.
“MARJOLAINE,” Broadhnrst Theater.
“MUSIC BOX REVUE,” Music Box.
“ROSE OF STAMBOUL,” Century Theater. . “SHUFFLE ALONG,” Sixty-third Street Theater. “TANGERINE,” Casino Theater.
“THE BLUSHING BRIDE,” Forty-fourth Street Theater. “THE PERFECT FOOL,” Cohen Theater.
“THE HOTEL MOUSE,” Shubert Theater.
POPULAR MUSIC IN
CURRENT ATTRACTIONS
T. B. Harms, Inc., New York
“WHY I LOVE YOU," song, with music by Alfred Newman, and words by Irving Caesar.
“BYGONES," song, with music by Max Kortlander and Harry Alpert, and words by Louis Weslyn.
“KIKI" (My Wild, Wild Rose), with music by Zoel Parenteau, and words by Schuyler Greene. This play is presented by David Belasco, with Lenore Ulric as the star.
Leo Feist, Inc., New York
“VENETIAN LOVE BOAT," song, with words and music by Frank Magine and Ted Koehler.
“THE WIND IN THE TREES," song, with lyric and music by Betty Boutelle.	.	,	_
“TY-TEE," song, with music by Irving Bibo and words by Leo Wood.
“STEALING," song, with words and music by Dan Sullivan.
“PLAY THAT SONG OF INDIA AGAIN," with music adapted from Nikolas Rimsky-KorsakofFs theme by Paul Whiteman, and lyric by Leo Wood and Irving Bibo.
Edward B. Marks Music Company
“SAL-O-MAY," song, with music by Robert Stolz and lyric by Bartley Costello.	.	,	_ ,	.
“LALAWANA LULLABY," song, with music by Robert Stark md words by Allen White.	.	,	״	,
“SONG OF INDIA," song, with music by Rimsky-Korsakolt and yric by Wilson and Brennan.	-״•	!
“CHANSON INDOUE," from the legend . “Sadko," by Rimsky-ECorsakoff, with piano arrangement by A. Gabrielli.
“PAINTED DOLL,” song, by Lou Herscher and Joe Burke.
Goetzl-Oelschlagel Wedding
On April 27 Dr. Anselm Goetzl, composer and conductor, was married in Hoboken to Charlotte Oelschlagel, known to fame as Charlotte, première ice skater of the Hippodrome, New York, and of the Admiral Palast, Berlin. Dr. Goetzl has been conducting the music for the ice ballet at the Hippodrome all winter and fell a victim to Fraülein Oelschla-gel’s charms. He came to this country first with the Diag-haleff ballet and is known as composer of “The Royal Vagabond” and other musical shows. Mrs. Goetzl is now under the management of Dr. Goetzl and the newly wedded couple will soon go to Mexico for a joint engagement in the ice ballet there,.
Musical Comedy - Drama ־ Motion Pictures
be. She made a good impression, however, and received considerable applause. The overture was followed by the fourth episode of the story of the Bible—“The Deluge.” The soloist of the program was Helen Allyn, soprano; her number was the “Shadow Song,” from “Dinorah.” This was followed by an original dance arranged by Mr. Rothafel and Oumansky. The music was the intermezzo, from the “Jewels of the Madonna.” The orchestra gave a fine reading of this fascinating music, and Gambarelli, Oumansky, Niles and Zanou danced charmingly. There is no more־ tuneful music from any opera (certainly the modern operas) that has the appeal that this intermezzo has, and an original dance added to its beauty. As a sort of prologue to the feature picture, “The Glorious Adventure,” the orchestra played excerpts from “The Merry Wives of Windsor.”
This greatly advertised and commented upon picture is an English importation. For two reasons it occupied considerable space in the local newspapers: First, because it is a full length feature in colors by the Prizma Improved Color Process, and second, because the English beauty, Lady Diana Manners, was the star. After viewing this film it must be admitted that neither was sufficient cause for excitement. The color pictures are in their experimental stage, and, as with everything else, will have to go through developing processes in order to attain a perfection that is necessary to make pictures in colors interesting, or of any great commercial value. In its present form it hurt the eyes of the writer, at least, and soon became monotonous ; undoubtedly the poor plot had something to do with it. As for Lady Diana Manners, she takes a charming picture, but as an actress she is nil, and her personality is not sufficiently powerful even to dominate her scenes. The picture is a wild melodrama with a story based on the time of King Charles II and London’s great fire.
There is a new color process that will be ready for the market in the fall, and from the limited amount of film that the writer has seen it would appear that at last a more perfected form of colored pictures is about ready. However, “we shall see, what we shall see.”
The Rivoli.
The Rivoli program this week began with Offenbach’s overture to “Orpheus in the Underworld,” played with great spirit, Frederick Stahlberg and Emanuel Baer alternating as conductors. ־ There was a nature picture, “Voice of Gladness,” of exquisite beauty, and a delightful dance interpretation to several numbers from Schumann’s “Carneval,” presented by Paul Oscard, Grace Eastman and Fred Burgstaller. Then came the pictorial, followed by an aria from “La Favorita,” not particularly effective as sung by somebody who called himself Ivan Dneproff. The other musical feature was the “Forge in the Forest,” which , kept the orchestra very busy, especially Max H. Manne, who provided all sorts of effects, from cow-moos to cuckoos.
The pictures were, to use a homely but vigorous expression, “crackerjack.” The principal one, Wallace Reid in “Across the Continent,” had an extensive automobile race which began in Jersey City and ended in Los Angeles, playing both ends against the middle, so to say. In this, Wallace in a Detroit “Dent” machine outdistanced cars costing twenty-five times as much. The locations were actually photographed all across the country and it was splendid photography at that. It was the kind of film upon which the audience repeatedly breaks in with applause, laughter and even shouts of approval. Exoiting is the word! The comedy was “The Little Rascal,” with the abnormally bright Baby Peggy, though the oldest motives of comedy film—even the custard pie—were employed. The picture managed not to bore one because of the cleverness and brightness of the protagonist.
Notes.
Hannelore gave her second and last recital of original dramatic dances. and tableaus at the Princess Theater last Sunday evening. Armand Vecsey’s orchestra furnished the music. The program was made up almost entirely of classical numbers.
John Barrymore, as “Sherlock Holmes,” comes to the Capitol next Sunday for a week’s stay. This is considered by many to be the finest film that Barrymore has made for some time.
“Just Because,” at the Earl Carroll Theater, has closed. “Back to Methusaleh,” at the Garrick, has also ended its local engagement.
“The National Anthem,” starring Laurette Taylor, has also closed at the Henry Miller.
“The Mountain Man,” the first dramatic offering of Charles Wagner, the concert manager, has closed at the Thirty-ninth Street Theater. The play was never a big box office attraction and its run on Broadway far exceeded expectations.
The Russian Opera Company, that has had such an adventurous and exciting tour, will begin at the New Amsterdam Theater on May 8. Everywhere that the opera has been produced there has been unanimous praise for the splendid organization. It is looked forward to by New Yorkers with considerable interest. A detailed account will be given later in these columns.
During Music Week the Society of Theater Organists has been given the use of the Wanamaker Auditorium and organ for one day, Friday, May 5; in the afternoon there will be a unique demonstration of the possibilities of the organ.
Walter M. Wild, organist at the Sheridan Theater, will open the program with an organ solo and will play the accompaniment to Tony Sarg’s cartoon, “The Tooth Carpenter,” showing that a “trick organ” is not a necessary adjunct to comedy films. George Crook, organist at the Brooklyn Strand, will play the post-scenic, “Raindrops,” and Frank S. Adams, of the Rialto Theater, New York, will play an adaptation of Hugo Riesenfeld’s orchestra score to “Dr. Jekyll and Mr. Hyde.” Mr. Adams is an expert at adapting such a score to the organ. A detailed report will be published later.	May Johnson.
“The Shadow.”
Last week at the Klaw Theater, “The Shadow,” a play by the English novelist, Eden Phillpotts, with Helen Mac-Kellar as the star, began an engagement here. As a play it is rather doleful and tedious. The story takes place in a small village with the usual character types to cast local color. Two men are in love with the same girl, and after making her choice she finds that the other man is arrested for murder, only to learn that it is her husband who is the murderer, but the self sacrificing lover stands trial and is convicted. The husband attempts suicide, but his desire is thwarted, and all ends well in a sort of hopeless, drab fashion.
The actors played in a much too leisurely manner. It should be reduced at least thirty minutes. The diction of some of the principals was so indistinct that most of the time they were inaudible beyond seven rows' back. Dallas Welford and J. M. Kerrigan were real reliefs with their comedy parts. They were finely portrayed and received rounds of real interested laughter and applause. Helen MacKellar took the part of Hester much too seriously, but there were moments when she at least dominated her scene. Percy Waram, as her husband, looked the part and gave a good account of himself. The fate of the show is doubtful.
The Rialto.
An unusual ovation was that tendered George Richardson, baritone, at the Rialto last week. Mr. Richardson was on the program for the delightful “Tommy Lad,” of E. J. Margetson, and he sang it so well that upon the occasion which the writer attended the audience manifestly desired a repetition. Applause which quite drowned the orchestra continued until the feature picture, which followed, was well under way. And even then, the enthusiastic listeners seemed loath to give up hopes of a second hearing. The feature was Thomas Meighan in “The Bachelor Daddy,” a picture which is especially noteworthy by reason of the splendid work of five remarkably gifted children. It was the sixth anniversary week and perhaps that was the reason the sixth Hungarian rhapsody of Liszt was chosen to open the program. With Hugo Riesenfeld and Joseph Littau conducting, the Rialto Orchestra gave this work an interpretation which called forth much praise.
Marjorie Peterson, who is winning an ever widening circle of admirers by reason of her excellence as a dancer and of the charm of her winsome personality, gave a dance interlude to the music of Gottschalk’s “Pasquinade.” In connection with the Rialto Magazine there was a remarkable set of motion pictures showing the inauguration of President McKinley, March 4, 1897. The motion picture industry was new at that time and the results looked odd enough to present day audiences—as odd as the first flivver looks besides a Rolls-Royce. There were also portraits in costumes and civilian clothes of two members of the Metropolitan Opera Company, who began their careers in the Riesenfeld theaters—Jeanne Gordon and Mario Chamlee. A Max Fleischer “Out-of-the-Inkwell” comedy, “Mosquito,” completed the bill.
The Criterion.
An entirely new program was offered at the Criterion which began last week for an indefinite run. The program opened with “Panamericana,” by Herbert, which was the overture. The orchestra at the Criterion is so very small that it is quite natural that it can not get the same effects as the big orchestras of the other two Riesenfeld theaters— the Rialto and Rivoli. It would seem advisable to use this small band of musicians in some sort of a prologue and do away with the overture. The men play very well under the direction of Victor Wagner and Drago Jovanovich, and could make some good effects in original numbers.
The first soloist was Susan Ida Clough, mezzo soprano, who sang the old favorite, “Mighty Lak a Rose. Miss Clough has a lovely quality of voice and sings- with .intelligence. The next number was a short picture entitled “The Adventures of Sherlock Holmes.” It was ^ interesting and well photographed, but it was left to Lillian Powell, the dancer to make the real musical hit of the program. Her number was called “Eccentric Fox Trot,” and it proved to be a charming interpretation of “Do It Again,” which is being sung by Irene Bordoni, in the “French Doll,” now playing at the Lyceum Theater, Miss_ Powell has never seemed more graceful. She was vivacious and danced so well that the audience demanded an encore.
The rest of the program was given over entirely to the feature picture, “Reported Missing,” starring Owen Moore. The heroine, Pauline Carol), and little Mickey Bennett, appeared in person, but the audience did not seem to be particularly enthusiastic. As far as the picture itself is concerned it was melodramatic, and the story often times seemed far fetched, but there was a corking good fight in the last scene which had something of a thrill in it.
The Strand.
The entire program at this theater remained unchanged for a second week. The feature picture, “Smilin’ Through,” with Norma Talmadge as the star, met with such instant public favor that it became necessary to hold it over for this week. It was a remarkably good film to have been arranged from a play of the same name, that, too, was one of the season’s big dramatic productions. Another notable feature of the program was the prologue sung by the Strand Male Quartet, with Frank Mellor, tenor, as the soloist, singing the ballad “Smilin’ Through.”
This week D. W. Griffith’s “Orphans of the Storm,” is being shown, and it goes without saying that nothing short of a two weeks’ run will satisfy the public.
The Capitol.
The program opened at the Capitol last week with Edna Baldwick playing the Rubinstein concerto in D minor, with the Capitol Symphony Orchestra, under the direction of Erno Rapee and David Mendoza (associate conductor). Miss Baldwick played well indeed, but Mr. Rothafel has offered many excellent pianists to his audiences so that at a first hearing it is difficult to say how remarkable she may