April 12, 1923
MUSICAL COURIER
64
AMUSEMENTS
KNICKERBOCKER THEATRE
Pop. Wed. Mat. Entire 1st Bale. $1.00, 2d Bale. 50c., Orch. $2.00 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
iParamounX S^lcUires^
Theatres under the direction of Hugo Riesenfeld The RIVOLI BROADWAY AT 49th ST.
POLA NEGRI
in her first American-made picture
”Bella Donna”
Produced for Paramount by George Fitzmaurice Riesenfeld’s Classical Jazz—Rivoli Concert Orchestra
The RIALTO BROADWAY at 42d ST.
GLORIA SWANSON
in "PRODIGAL DAUGHTERS”
with Theodore Roberts and Ralph Graves
Riesenfeld’s Classical Jazz—Famous Rialto Orchestra
B’way at 51st St. “Subway to Door” EDW. BOWES. Mng. Dir.
CAPITOL
World's Largest and foremost Motion Picture Palace
Beginning Sunday, April 15th
PRESENTING A PROGRAM OF SUPER ENTERTAINMENT
CONSISTING OF
DE LUXE PHOTOPLAYS
TOGETHER WITH THE
CAPITOL GRAND ORCHESTRA
Erno Rapee Conducting CAPITOL BALLET CORPS—SOLOISTS
Salvi’s April Bookings
Rounding out his usual season of one hundred concerts, Alberto Salvi, well known harpist, is appearing in the following cities; ,Wichita Falls, Amarillo, Tulsa, Fort Worth, St. Louis, Scarsdale, Wilmington, Kitchener, Tp-ronto, Roselle Park and Port Chester. Early in May, Mr. Salvi has two recitals in Havana, Cuba.
Easton Recital, April 20
Florence Easton, assisted by Elinor Warren, composer-pianist, will appear in recital at Aeolian Flail on Friday evening, April 20. .A״ interesting program will be given.
MANY NEW CONTRIBUTORS TO MACDOWELL COLONY FUND
When on December 30 last, Mrs. Edward Mac-Dowell was disabled by a taxicab accident so that she is still unable to leave her apartment, Joseph Regneas was the first to propose, in a letter to the Musical Courier, that a fund be raised for the support of the MacDowell Colony at Peterborough, N. H., this year, which will lack the usual support given it from the earnings of Mrs. MacDowell herself. Mr. Regneas’ letter was as follows:
I have just heard of the unfortunate accident to Mrs. Edward MacDowell, on the eve of her departure for a recital tour. Mrs. MacDowell is likely to be incapacitated for some time under the most favorable conditions.
Since the income from these recitals is one of the great mainstays of the Peterborough Colony, it would be a nice compliment, and at the same time act as a balm during her days of convalescence, if a fund were raised to partly take the place at least of the income lost through her indisposition.
To further such a plan, I beg to subscribe $100 (one hundred dollars) with the understanding that twenty-five of my colleagues, or those interested in the Edward MacDowell Association, will subscribe a like amount.
May I ask you to give publicity in your valued paper and also act as recipient of this fund?
Faithfully yours,
(Signed) Joseph Regneas.
New York, January 1.
Following Mr. Regneas’ suggestion, the fund has steadily been gaining by voluntary contributions from individuals, from various MacDowell Clubs (of which there are many scattered throughout the United States), and from other musical organizations.
A number of additional contributions have been received during the past week. A Poets’ Benefit for the Colony, given at Charleston, S. C., netted $130. Other contributors were as follows:
MacDowell Music Club..............Washington, D. C.
Mrs. Farr..........................Wilkes-Barre, Pa.
Monday Musical Club............Benton Harbor, Mich.
Cheshire Music Club..................Cheshire, Conn.
Emilie Frances Bauer.................New York City
Mrs. F. R. Hazard....................Syracuse, N. Y.
The value of the work which, by the aid of this fund, Mrs. MacDowell will be able to continue, is beyond question. The Musical Courier again urges all in any way connected with or interested in music to be generous.
The Musical Courier will continue to act as collector for the fund. Contributions, which will be acknowledged in these columns, should be addressed to the MacDowell Colony Fund, care Musical Courier, 437 Fifth Avenue, New York.
Musical Comedy, Drama and Motion Pictures
Rainbows. The Three Little Maids proved to have supple bodies and nimble toes and their eccentric dance was one of the special features of the program. C. Sharpe Minor at the Wurlitzer gave two numbers, The Holy City and a rural oddity designated as The Village Wedding; the latter was by far the better and won hearty applause. Johann Strauss’ delightful Roses of the South served an excellent medium for the art of Orilee Dix, dancer. The feature picture was Grumpy which moved down after a most successful week at the Rivoli. Of special interest was a Bray Radio film. The Mystery Box, which endeavored to make clear the mysteries of radio. The Rialto Magazine, and Felix the Cat in The Ghost Breaker, completed an excellent program.
The Strand.
During the season there have been many pictures shown on Broadway which have drawn enormous crowds, but seventy-five to one Harold Lloyd in Safety Last heads the list of successes in point of the number of people clamoring for admission. On the evening the writer attended the performance the theater was packed to the doors, the lobby presented a typical subway scene during rush hours, and many people stood around the entrance to the theater unable to gain admittance. Undoubtedly some of the interest manifested in the picture is due to the fact that the “Human Fly” lost his life during the filming of it; but there are those who contend that this would keep many people away from seeing the picture. However, Safety Last is well worth seeing on its own account, for the situations in which Harold Lloyd is placed, though many of them are exceedingly perilous, is funny from start to finish. During the entire picture the audience either screamed with laughter or held its breath for fear of what would happen to Harold Lloyd. It is not surprising that the management of the Strand Theater has decided to show the picture for a second week.
The principal soloist at this theater last week was Eldora Stanford, who sang A Kiss in the Dark, and the setting arranged for her was most effective. When the curtain went up a gentleman was seated comfortably in a big armchair reminiscing, and Miss Stanford sang to him apparently from a gold framed picture on the wall. This charming young coloratura soprano is a great favorite with Strand audiences, having been billed frequently at this theater.
The Rivoli.
The picturization of Edith Wharton’s Glimpses of the Moon, with Bebe Daniels, Nita Naldi and David Powell, was the feature at the Rivoli last week. It was an Allan Dwan production, and one of fine photography. An exceedingly clever Buster Keaton comedy, The Electric House, the regular Rivoli Pictorial, and the last scene from Queen Elizabeth, the first American picture made by Sarah Bernhardt, and here shown as a tribute to the great tragedienne, made up the remainder of the pictorial program. As for the music, it began with the sixth Hungarian rhapsody of Liszt, played by the Rivoli Orchestra, Frederick Stahlberg and Willie Stahl conducting, and with the effective czymbalom solo played by Bela Nyary. It is interesting to note that whatever audiences may think of other works, there is never any doubt as to the success of one of the Hungarian rhapsodies. Another favorite is Riesenfeld’s Classical Jazz, which followed the overture; while it was being played there was a feast for the eyes in what appeared to be a mosaic over which various colored lights were played. Agnes Neudorff, soprano, and Laurie Boone, baritone, sang Hawthorne’s Whispering Hope. The voices were unusually well matched and blended effectively. The Serova Dancers, Alma, Lucy and Hedwig, lent the proper balance to the program with their terpsichorean offering.
The Capitol.
The musical program at the Capitol last week was unusually well arranged and rendered under the skilled baton of Erno Rapee (at least the writer heard the orchestra play under his direction on Friday evening last), and following the picturesque setting of the prelude to the feature, Where the Pavement Ends, the applause was tremendous. The prelude, entitled A South Sea Island Incident, began with a well rendered solo by Harry Truax, which was the ever popular and tuneful On the Road to Mandalay. Then the eye was carried to a portion of the South Sea Islands, where a chorus and solo voice, Betsy Ayres, gave a fascinating interpretation of Maori Moon, music by William Axt and David Mendoza, assistant conductors. It is a catchy tune and should become exceedingly popular.
Henry M. Dunham’s tone poem, Aurora, was finely given as an opening number and the Impressions of Cavalleria Rusticana, Mascagni, proved to be the high light of the evening. Elsa Stralia’s rich and powerful voice was heard in the romanza of Santuzza, in the duet with Alfio (Desiree La Salle) and in the final number of this operatic conception—the Prayer—in which the work of the ensemble was rnost commendable. William Robyn deserves special mention for his excellent singing (off stage) of The Siciliana.^ The Capitol, in giving these weekly excerpts froni various operas, is doing a great deal toward educating and interesting the non-opera goers.
Where the Pavement Ends, with Alice Terry and Ramon Navarro in the leads, offered much to interest, and gave a few thrills to the capacity audience.	May Johnson.
Paderewski to Return
Paderewski will return next season for a tour of this country. This announcement has been made by George Engles, under whose concert direction Mr. Paderewski made his triumphant return to the world of music last fall, after an absence of five years. Mr. Engles said that the pianist will begin his American engagements next season in the latter part of November.
Dunning Normal Glasses Announced
Harriet Bacon MacDonald has announced normal classes in the Dunning System of Improved Music Study for Beginners, Inc., in Dallas, Tex., in June; Cleveland, O., in July, and Chicago, 111., in August. Five of the accredited normal teachers of the Dunning System are from Mrs. MacDonald’s classes.
Despite Holy Week and Easter, the theaters here havi enjoyed unusual success recently. The circus drew capacity audiences to Madison Square Garden on account of the school holidays and the crowds in town at this time. The Hippodrome also attracted full houses for the same reasons. It was the unusual fine attendance at all of the theaters that was the great surprise. Added to this there were several new offerings to induce visitors to attend.
If Winter Comes opened at the Gaiety on Monday night of last week. Charles Dillingham is responsible for the American production of perhaps the most talked of play in some time. Hutchinson’s novel is an acknowledged masterpiece so naturally the dramatization was awaited with mingled curiosity and keen interest. The entire company is English and a rather distinguished one at that, headed by Cyril Maude and Mabel Terry-Lewis. With all the play had to offer there is no doubt it will fall far short of the novel. All of our local critics have agreed that the company could not be better—in fact it is said by many to be excellent—yet with all to recommend the play to our public, it fails to impress or even to touch on the subtle philosophy which the book does. This is by no means the fault of the production. But just another case where a great novel is not material for a play. If Winter Comes will enjoy something of a run here for the simple reason that every one will want to see the play and judge for himself.
Irene, that record-breaking musical comedy of several seasons ago, came to the Jolson Theater for a short run. Surely there is no one who did not see that charming production. Perhaps having enjoyed it once there will be enough to fill the big house, who will want to listen again to the music and spend a pleasant evening.
Mrs. Fisk was star of. The Dice of the Gods which had its premiere at the National Theater last Thursday evening. She received fine notices, and this new play is considered her best in years.
Morphia, which was presented at special matinees at the Eltinge Theater, with Lowell Sherman as star, was also given as a regular attraction at that house last week.
Cinders.
On Tuesday evening of the same week, Edward Royce presented Cinders, which, as the program states, is a comedy with music. But in reality it is the modern type of musical comedy. This dainty and charming production inaugurated the new Dresden Theatre which thousands of people will be surprised to know was the former home of the Ziegfeld Midnight Follies, atop the roof of the New Amsterdam Theater. Gone forever is the old atmosphere, and in its place is a rather attractive little theater seating only a few hundred people, given an entirely new decoration and renamed the Dresden. There was really something regrettable as we sat there and remembered the dozens of times we had visited this famous place, and we missed the really remarkable performances that Mr. Ziegfeld had, and the galaxy of famous beauties that made up the Midnight Follies.
Rudolf Friml wrote the musical score for Cinders. There were a great many numbers which were very catchy and tuneful, and yet at the same time they seemed reminiscent —but only reminiscent of former Friml scores, for this musician has an idiom all his own. This new musical comedy is another Cinderella story in a new dress, and Edward Clark who wrote the book did not exert very muen effort nor originality, and yet with all its banality Cinders is a most entertaining and colorful production. The title role is played by Nancy Welford, a youngster, who radiates youth and personality which is rarely experienced these days with musical comedy stars. She gives one the impression of being about fifteen with her singing and her dancing and naturally her looks. She is the daughter of Dallas Welford, the clever comedian. If Cinders were the poorest of material, Nancy Welford would make it a “hit.”
The next in interest was Queenie Smith, the dancer. We saw Miss Smith in the early fall with Edith Day in Orange Blossoms, and while she was oftentimes amusing, and of course dances very well, her part in Cinders, that of Tillie, the cashier girl, gives her a much better opportunity. She seems to be developing a keen sense of humor and her dances and songs with Fred Hillebrand were among the bright spots. The cast also had Margaret Dale and John Brewer, both well known in the dramatic field. They had little to do—which was of course surprising. And the next thing that impressed us most was a sextet of singing show girls. These statuesque creatures are only supposed to wear gorgeous and startling gowns, and this they do in Cinders, but—surprise of surprises•—they sing. And surprise number two, several of them have very good voices. Their ensemble singing was unusual for show girls. They made quite a hit in their Hawaiian Shores Song, with Miss King as soloist.
Mr. Royce has made a most artistic production out of this musical comedy, and with its many elements it undoubtedly will be one of the summer attractions.
Mitzi in New Play.
Mitzi, the dainty little Henry W. Savage star, opened her new comedy, Minnie an’ Me. Reports from Bridgeport say that the crowds that saw her at the Majestic Theater have broken all records for one night stands around New York. This new musical comedy begins at the Coloniel Theater, Boston, on April 16. Zelda Sears and Harold Levy have written the book and music. This is the same clever pair who are responsible for Peggy Wood’s success, The Clinging Vine, now playing in New York at the Knickerbocker Theater.
The Rialto.
Last week’s program at the Rialto opened with the Dance of the Hours from Ponchielli’s La Gioconda, Hugo Risen-feld and Joseph Littau conducting the Rialto Orchestra with their accustomed skill. More than usually interesting was Riesenfeld’s Classical Jazz which followed. It showed the plagarism which characterizes so many of our modern popular successes, playing first the classic and then its modern counterpart. For instance, there was the Minute Waltz of Chopin made over into Castle of Dreams from Irene; Un bel di, from Madame Butterfly, camouflaged as The Vamp; music from Tosca masquerading in Avalon, and Gounod's Faust dressed up as Broadway Rose, as well as another Chopin work transformed into I’m Always Chasing