February 22, 1923
MUSICAL COURIER
64
AMUSEMENTS
B’way and 38th Street. Eveninrs 8:15 Matinees: Wed. & Sat. at 2:15
KNICKERBOCKER THEATRE
Seats 6 Weeks Ahead—Buy in Advance Henry W. Savage offers The Comedy with Music Sensation
“The CLINGING VINE”
with PEGGY WOOD and a Brilliant, Singing: Cast
Book and Lyrics by Zelda Sears	Music by Harold Levey
B’way at 51st St. “Subway to Door” EDW. BOWES, Mng. Dir.
CAPITOL
World’s Largest and foremost Motion Picture Palace
Beginning Sunday, February 25
MARSHALL NEIL AN’S
“MINNIE”
The Finest Picture He Ever Made!
With LEATRICE JOY and MATT MOORE A First National Attraction
CAPITOL GRAND ORCHESTRA
Erno Rapee, Conductor Presentations by S. L. ROTHAFEL
iParamounl iPlx'JMreS'
Theatres under the direction of Hugo Riesenfeld The RIVOLI BROADWAY AT 49th ST.
CECIL B. DcMILLE’S PRODUCTION
"ADAM’S RIB”
By Jeanie Macpherson
With star cast headed by Milton Sills, Elliott Dexter, Theodore Kosloff, Anna Q. Nilsson, and Pauline Garon.
״Greater than DeMille’s ‘Manslaughter Riesenfeld’s Classical Jazz—Rivoli Concert Orchestra
The RIALTO BROADWAY at 42d ST.
BETTY COMPSON In
"The White Flower”
“THE MESSAGE OF EMILE COUE”
Riesenfeld’s Classical Jazz—Famous Rialto Orchestra “THE EINSTEIN THEORY OF RELATIVITY”
Sunday at noon—Daily at eleven
setta’s Valse Song, from La Boheme, and Dream, by Seis-mit-Doda. Her Elegy by Massenet won the hearty approval of the gathering. When Apples Grow on the Lilac Tree, that delicious episodical lyric, sung as an encore, also called for great applause.”
Telegram Announced Gunster’s Success in Atlanta
After Frederick Gunster’s recital in Atlanta, Ga., on February 9, the following telegram was received by his managers from the president of the Fine Arts Club, under whose auspices the affair was held: “Gunster scored great success in recital for Fine Arts Club.” On February S, the tenor was equally as successful in a recital for the Music .Lover’s Club, of Rome, Ga.
Paul Althouse on Tour
Paul Althouse, tenor, of the Metropolitan Opera Company, continues to score one success after the other on tour. Among his recent recitals were appearances in Norfolk and Omaha, Neb.; Belton, Texas, and Atchison, Kans.
Washington, D. C., Feb. 23. Philadelphia, Pa., Feb. 24. Trenton, N. J., Feb. 24. Hartford, Conn., Feb. 26. Waterbury, Conn., Feb. 28. Boston, Mass., Mar. 2. Montreal, Can., Mar. 3. Watertown, N. Y., Mar. 5. Rome, N. Y., Mar. 6. Youngstown, Ohio, Mar. 7. Columbus, Ohio, Mar. 8.
Samaroff, Olga:
Niagara Falls, N. Y., Feb. 24. Philadelphia, Pa., Mar. 1.
San Carlo Grand Opera Co.:
Los Angeles, Cal., Feb. 22-24. San Francisco, Cal., Feb. 26-Mar. 8.
Salvi, Alberto:
London, Can., Feb. 22. Toronto, Can., Feb. 23. Ottawa, Can., Feb. 24. Brooklyn, N. Y., Feb. 28. Detroit, Mich., Mar. 1. Milwaukee, Wis., Mar. 2. Minneapolis, Minn., Mar. 3. Lewiston, Mont., Mar. 6. Great Falls, Mont., Mar. 7.
Shawn, Ted:
Lynchburg, Va., Feb. 22. Washington, D. C., Feb. 23. Philadelphia, Pa., Feb. 24. Trenton, N. J., Feb. 24. Hartford, Conn., Feb. 26. Waterbury, Conn., Feb. 28. Boston, Mass., Mar. 2. Montreal, Can., Mar. 3. Watertown, N. Y., Mar. 5. Rome, N. Y., Mar. 6. Youngstown, Ohio, Mar7 7. Columbus, Ohio, Mar. 8. Smith, Ethelynde:
Pullman, Wash., Feb. 22. Cheney, Wash., Feb. 26. Spokane, Wash., Mar. 4. Mitchell, S. D., Mar. 8. Swain, Edwin:
Palatka, Fla., Feb. 26.
Winter Park, Fla., Feb. 28.
Thomas, John Charles:
Brooklyn, N. Y., Mar. 2. Van Emden, Harriet:
Berlin, Germany, Feb. 22.
Pryor, Okla., Feb. 26.
Coweta, Okla., Feb. 27.
Broken Arrow, Okla., Feb. 27. Pawhuska, Okla., March 1. Sapulpa, Okla., Mar. 2. Bristow, Okla., Mar. 5.
Letz Quartet:
Northampton, Mass., Mar. 7. Levitzki, Mischa:
Philadelphia, Pa., Feb. 22. San Francisco, Cal., Mar. 4. San Diego, Cal., Mar. 7.
Maier, Guy:
Springfield, Mo., Feb. 23.
St. Louis, Mo., Feb. 24.
Marsh, Helena:
Harrisburg, Pa., Mar. 1. Washington, D. C., Mar. 2. Middleton, Arthur:
Emporia, Kan., Feb. 27. Novaes, Guiomar:
Boston, Mass., Mar. 3. Nyiregyhazi, Erwin: Rochester, N. Y., Feb. 22. Boston, Mass., Feb. 23.
O’More, Colin:
Brockton, Mass., Feb. 18. Providence, R. I., Feb. 25. Lawrence, Mass., Mar. 1.
Onegin, Sigrid:
Buffalo, N. Y., Feb. 27. Boston, Mass., Mar. 4.
Paderewski, Ignace:
Santa Barbara, Cal., Feb. 23. Los Angeles, Cal., Feb. 25.
Pattison, Lee:
Springfield, Mo., Feb. 23.
St. Louis, Mo., Feb. 24.
Ringling, Robert:
Los Angeles, Cal., Feb. 25. San Francisco, Cal., Mar. 4.
Rubinstein, Erna:
Chicago, 111., Mar. 4.
Denver, Colo., Mar. 6.
St. Joseph, Mo., Mar. 8.
Russian Opera Company:
Chicago, 111., Feb. 22-Mar. 8.
St. Denis, Ruth:
Lynchburg, Va.j Feb. 22.
Musical Comedy, Drama and Motion Pictures
an unusually good film, and it met with sufficient interest to have the management of the Capitol Theater hold it over for a second week. The program began with an excellent reading of the Tannhäuser overture which Erno Rappe directed with great skill. The only other musical number was Bruno Huhn’s Invictus, sung by Eric Bey. William Axt created an original orchestral prologue and the stirring number was greeted with great enthusiasm. The entire program is repeated again this week.
The Rivoli.
Perhaps the number which aroused the greatest interest on the program at the Rivoli last week was the Einstein Theory of Relativity. This was an abridged version of the popular scientific film on Prof. Albert Einstein’s Theory of Relativity, edited and adapted by Prof. Garrett P. Ser-viss and Max Fleischer from the European production. The one hour version of the film was presented every morning at that theater. The film was a thoroughly interesting one, and served to show what a great'factor the motion picture can be in an educational way. Other cinema attractions were Marion Davies in Adam and Eva and a Pat Sullivan Cartoon Comedy, Felix Lends a Hand.
As for the music, the program opened with a colorful rendition by the orchestra of the overture to La Boheme. This was followed by Riesenfeld’s Classical Jazz, and there was much enthusiasm shown because of the many different colored lights thrown upon the curtain—an altogether effective number. Some fine singing and dancing were done in Pastoral. There also was a dance divertissement by the Serova Dancers, all of whom are graceful and have a keen sense of rhythm.
Notes.
Joseph Plunkett, managing director, and Carl Edouards, musical director, of the Strand Theater, are introducing this week a new feature for the Strand program to be known as popular melody symphonies. The first one will be Irving Berlin’s Lady of the Evening.
John Barrymore has signed with the Warner Brothers as the star for their forthcoming film version of Deburau and Beau Brummel. It is understood that Belasco will supervise these productions.
Lorette Taylor will be seen in the much looked for production, Humoresque, by Fanny Hurst, at the Vanderbilt Theater, beginning February 27.
Henry Myers, a young musician of considerable talent and ability, made his first appearance last season as a playwright. His play, The First Fifty Years, was one of the artistic achievements of the season. It is announced that on March 2 a special matinee will be given of the Blond Beast at the Plymouth Theater.
With the success of the Moscow Art Theater, Morris Gest is in negotiations with Max Reinhardt, Germany’s leading producer, to come to America next season to present some plays here. The plans are not yet definite, but if Mr. Gest makes up his mind to have him, Max Reinhardt is pretty apt to come.
Elinor Painter, prima donna, and for the last three seasons seen on Broadway in musical comedy, is announced to appear in a romantic comedy.	May Johnson.
Seismit-Doda Artist Scores in Concert
Mrs. Alfred J. Rifkin (Helen Marshall), mezzo soprano, created an excellent impression when she sang at the Academy of . Music in Brooklyn on the evening of February 4, accompanied at the piano by her teacher, Maestro Chev. A. Seismit-Doda. Her selections were the Un bel di vedremo, from Madame Butterfly, and Dream, by Seismit-Doda, dedicated to and sung by Caruso. Three days later Mrs. Rifkin sang at the Masonic Temple in Brooklyn, and, according to the Brooklyn Times, “She sang beautifully Mu-
WHERE THEY ARE TO BE
From February 22 to March 8
Gabrilowitsch, Ossip:
Buffalo, N. Y., Feb. 27. Hayden, Ethyl:
Detroit, Mich., Feb. 25. Hempel, Frieda:
Denver, Colo., Feb. 26. Colorado Springs, Colo., Feb. 28.
Hess, Myra:
Greensboro, N. C., Feb. 24. Hinshaw’s Cosi Fan Tutte Company:
Phoenix, Ariz., Feb. 22. Tucson, Ariz., Feb. 23. Brawley, Cal., Feb. 24..
Los Angeles, Cal., Feb. 26-28. San Francisco, Cal., Mar. 1-3. Eugene, Ore., Mar. 5. Monmouth, Ore., Mar. 6. Caldwell, Idaho, Mar. 8.
Hinshaw’s Cox and Box Co.:
Morrillton, Ark., Feb. 22. Russellville, Ark., Feb. 23. Clarksville, Ark., Feb. 24. Okmulgee, Okla., Feb. 27. Ottowa, Kan., Feb. 28. Hiawatha, Kan., March 1. Sedalia, Mo., Mar. 2. Oskaloosa, Iowa, Mar. 5. Fairfield, Iowa, Mar. 6. Boone, Iowa, Mar. 8.
Huberman, Bronislaw:
Lansing, Mich., Feb. 23. Jollif, Norman:
Brooklyn, N. Y., Mar. 3. Karle, Theo:
Willows, Cal., Feb. 23. Mercer, Cal., Feb. 27.
Los Angeles, Cal., Mar. 3.
Kindler, Hans:
Washington, D. C., Mar. 2. Konecny, Josef:
Douglas, Ariz., Feb. 22. Clifton, Ariz., Feb. 23.
Althouse, Paul:
Portland, Ore., Feb. 23. Emporia, Kan., Feb. 27. Barclay, John:
Harrisburg, Pa., Mar. 1. Bonelli, Richard:
Los Angeles, Cal., Feb. 22-24. San Francisco, Cal., Feb. 26-Mar. 8.
Brookhurst, Claire:
Utica, N. Y., Mar. 1. Casella, Alfredo:
Cambridge, Mass., Mar. 1. Coates, Albert:
Philadelphia, Pa., Feb. 22. Cortot, Alfred:
Boston, Mass., Feb. 23, 24. Philadelphia, Pa., Feb. 26, 28. Reading, Pa., Feb. 27.
Baton Rouge, La., Mar. 3. New Orleans, La., Mar. 5. D’Alvarez, Marguerite: Ottawa, Can., Feb. 23. Deeks, Clara:
Jamestown, Pa., Feb. 22. Brooklyn, N. Y., Mar. 2.
Detroit Orchestra:
Buffalo, N. Y., Feb. 27. Dobkin, Dmitry:
Greensboro, N. C., Feb. 24. Dux, Claire:
New Orleans, La., Mar. 6. Dupre, Marcel:
Pittsburgh, Pa., Feb. 26. Easton, Florence:
Portland, Ore., Feb. 23. Flonzaley Quartet: Cooperstown, Pa., Feb. 22. State College, Pa., Feb. 24. Gettysburg, Pa., Feb. 26. York, Pa., Feb. 27.
Brooklyn, N. Y., Mar. 1.
With the beginning of Lent the local theaters felt a decided dropping off in box office receipts. The season up to now has been unusually good, financially and artistically, the theaters housing more successful offerings than hitherto for a long time. The only important premiere of the week was at the Longacre Theater, where Ethel Barrymore offered her third play of the current season, under the management of Arthur Hopkins. Her new play is The Laughing Lady, by Alfred Sutro. After her unsuccessful attempt as Juliet, we once more have Miss Barrymore in a role in which she is supreme; where her art and her talent assert themselves to the highest degree. The play is a modern comedy of English life. Miss Barrymore has surrounded herself with a capable cast including McKay Morris, Violet Kemble Cooper and Cyril Keightly. The general impression is that the play is clever, and unanimously the cast received much praise.
The Chastening, a modern miracle play by Charles Rand Kennedy, was offered at the Forty-ninth Street Theater at special matinees. The Equity Players are loaning their playhouse for special matinees during Lent. The cast contains only three:	Edith Wynne Matthison, Charles Ken-
nedy and Margaret Gage. The play was not over-enthusi-astically received.
Understudies Have a Romp.
On Friday afternoon, February 9, all the understudies of the Clinging Vine Company had a great chance to show what they could do, for a complete performance, styled a “special dress rehearsal of understudies,” was given at the Knickerbocker Theater, with the regular company sitting out in front and enjoying the work of those who have studied to replace them if necessary. It was an astonishingly good performance, with scarcely a hitch. The youngsters went at it with great vigor and enthusiasm. Some -of them, in fact, proved themselves quite worthy of a place in the regular cast.
Irene Dunne, who played Peggy Wood’s leading role, evidently made a careful study of Miss Wcod. It was, on the whole, imitation, but very clever imitation. Nathanial Wagner as Vacarescou deserves special mention, both for his singing and acting, and Royal Hallee, in the hero’s roie of Jimmy Manning, had a good voice and irresistible appeal. There was indeed hardly a weak spot in the whole cast, and it was a pleasure to hear the fresh young voices. Never did the sextet of the first act get over better. Composer Harold Levey directed the regular orchestra and had as good a time as anybody. There was a good sized and friendly audience, which surely enjoyed itself.
Society of Theater Organists Entertain.
An entertainment was given by the Society of Theater Organists at the Haven Studios, February 12, at midnight. Several distinguished guests were present:	Hugo Riesen-
feld, managing director of the Rialto-Rivoli theaters; Josiah Zuro and Joseph Littau, conductors, Rialto Theater, and Erno Rapee, conductor, Capitol Theater. After, dinner President Robert Berentsen announced coming events for the remainder of the season; the Wanamaker demonstration March 9, and, in Music Week, a party April 2; also, the examination held on February 20 last. Mr. Riesenfeld made a few witty remarks particularly pertaining to theater organists (especially one of his own). A novel feature was the recitation of two original poems, Cher Ami and Bally Shannon, by Harry Webb Farrington, formerly a major in the French army. He is a graduate of Syracuse University and Boston University Theological Seminary, and lectures in the public schools and elsewhere for the Board of Education.
The program concluded with a number by two dancers from the Brooklyn Strand.
The Strand.
Unusually delightful was the overture at the Strand last week which was designated as Scene de Ballet. For the first part there was the Festival Dance and Valse of the Hours, of Delibes, excellently played by the Strand Symphony Orchestra, Carl Edouarde, conductor, and with the added attraction of beautiful Prizma flowers, faintly showing upon the regular drop curtain and not the real screen. The second part was a Valentine Dance, music by Bocherini, charmingly given by Mile. Chabelska and M. Bourmann. The setting was a huge valentine of the lace variety so common some years ago, and without which no Valentine’s Day was complete. The feature picture was Fury, with Richard Barthelmess and Dorothy Gish playing the leading roles. It is a story of the sea, and accordingly the prologue scene. was the deck of a ship. The Strand Male Quartet sang Three for Jack (Squires) and an old sea chanty, Eight Bells, in the finished style which invariably marks the work of these artists. M. Bourmann lent additional reality to the scene by his excellent rendition of the Sailor’s Hornpipe, and so much did the audience enjoy his work that he was compelled to repeat it. The regular Mark Strand Topical Review, and the organ solo, played by Percy J. Starnes, musical director, and Ralph S. Brainard, completed the program.
The Rialto.
Java Head, after enjoying a week’s run and marked popularity at the Rivoli, moved down to the Rialto last week, where it scored with equal effectiveness. Dog Sense, an extremely interesting comedy, likewise changed its scene of action. The remainder of the program was different. First there was the Egmont overture of Beethoven, well played by the Rialto Orchestra, Hugo Riesenfeld and Joseph Littau conducting. It was followed by that popular feature, Riesenfeld’s Classical Jazz, which this time was Homesick, with Borrah Minevitch soloist, on the Wurlitzer Hohner harmonica. Evidently most people are homesick, for this particular number never fails to score. Then there was the Rialto Magazine, and Ruth Chase, soprano, who displayed a soprano voice of much color and power in Dream Melody, from Victor Herbert’s Naughty Marietta. A Ballet Burlesk completed the bill, Nervo and Knox of the Follies, creating many laughs with their crazy antics in a Leventhal Music Film.
The Capitol.
The feature picture here last week was The Christian,