April 19, 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
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Theatres under the direction of Hugo Riesenfeld
The RIVOLI BROADWAY AT 49th ST. on 0Broadway F* O L A. NEGRI
in her first American-made picture
"Bella Donna”
A George Fitzmaurice Production
Dr. Lee DeForest’s Phono-Film—Rivoli Concert Orchestra
The RIALTO BROADWAY at 42d ST. Anniversary Program—A George Melford Production
׳,YOU CAN T FOOL YOUR WIFE’
with Leatrice Joy, Nita Naldi, Lewis Stone and Pauline Garon
Riesenfeld’s Classical Jazz—Famous Rialto Orchestra
B'way at 518t St. “Subway to Door״ EDW. BOWES, Mng. Dir.
CAPITOL
World’s Largest and foremost Motion Picture Palace
Beginning Sunday, April 22nd
LOUIS B. MAYER Presents
“The Famous Mrs. Fair”
CAPITOL GRAND ORCHESTRA
Erno Rapee Conducting CAPITOL BALLET CORPS—SOLOISTS
London Quartet on Long Tour
The London String Quartet is on an extended tour through the Canadian Northwest, by way of Duluth, Winnipeg, Regina, Edmonton, Calgary, Victoria, Vancouver, Seattle, Tacoma, then to San Francisco and other cities in California, returning by the southern route and playing Texas concerts postponed from February. The tour has been highly successful although James Levy, first violinist, has not played. He is now well again and will be in his own place next season.
The quartet sails for South America May 5, returning in time to take part in the Pittsfield Music Festival in September. A year from this spring the quartet sails for Australia and en route will play in Honolulu.
Marguerita Sylva Busy in North and South
Marguerita Sylva recently gave one of her “At Home” recitals in St. Petersburg, Fla. Judging by the opinion of the critics on the two St. Petersburg newspapers, she took the town by storm, and from the very first moment she walked on the stage until she had sung her last encore, the audience was spellbound. Mme. Sylva’s charming personality counts for a great part in the big success with which she is meeting in the concert field, especially in the type of “At Home” recital which she has made her own.
From April 12 to 23 Mme. Sylva is filling engagements in Philadelphia, Richmond, Tarrytown, Boston and New York.
Erna Rubinstein Creates Sensation in Denver
Erna Rubinstein gave the final concert in the Slack series of appearances by world famous artists at the Denver Auditorium on March 6, and as elsewhere this season, thrilled her audience by the beauty of her playing and the wonder of her interpretation. Her youthful appearance amazed her hearers and her performance gained for her eulogies from the press.
• Frrr,’	12 to 23 Mme. Sylva is filling engagements
m Philadelphia, Richmond, Tarrytown, Boston and New York.
Donald Fiser Gives Recital
Donald Fiser, baritone, gave a reital in Rumford Hall on April 5 He was heard in four groups: the first, an aria from The Mask Ball; the second, a miscellaneous group including Gounod, Pergolesi, Ferrari and Brahms; the third group, a Strauss, Schumann, Tschaikowsky and a Hildach song; the fourth group, Lift Up Thine Eyes, F K Logan • Trees, by Rasbach; Passing By, Purcell, and Mornin¿ Hymn, by Henschel. Harold Genther played the accom-paniments.
Johnson Guest Artist with Male Chorus
Edward Johnson, tenor of the Metropolitan Opera Company, was scheduled to appear as guest artist with the Swift & Company Male Chorus in Orchestra Hall, Chicago on the evening of April 11.	6 ׳
Samaroff and Rich in Joint Recital
Olga Samaroff is to play in the Foyer of the Academy of Music, Philadelphia, on April 19, when she will be heard m joint recital with Thaddeus Rich, concertmaster and assistant conductor of the Philadelphia Orchestra.
Musical Comedy, Drama and Motion Pictures
entire production with its surrounding musical program for a second week. The title is somewhat misleading and no doubt there have been thousands of persons fighting their way in to see what they thought was going to be a sensational sex film—and if this is what they thought, they were certainly disappointed. The story shows how big features are made at Hollywood, and those persons who have never been to one of the big studios certainly had the thrill of their lives in witnessing just how it is done. It is a film of the making of a feature film. To the layman it seems like propaganda and a defense of Hollywood, shattering all of the false opinions that the life in the motion picture world is one beautiful dream of luxury, wealth and romance. Instead, we see a young girl struggling in the beginning for a mere opportunity as atmosphere, and then small parts, until one day her opportunity comes, a famous star having been crushed by the falling of a huge light. The climax of the film is reached when the entire company of hundreds of persons has assembled on the lot to “shoot” the exterior and interior of a big circus ring in which the feature film takes place. A storm comes up and tragedy ensues and yet the picture is ground out to the last moment. We have seen bigger and better films but 'we have never sat through one that held the interest more than this one, Souls for Sale. It _is an excellent piece of mechanical filming and the principals are certainly everything that one could desire. We feel sure there are thousands of persons today who understand and can appreciate this great industry more intelligently than they ever did before they saw Souls for Sale.
The picture was so all-important that Mr. Rothafel’s surrounding musical program was forced to be secondary. He offered his Impressions of Aida, with Erno Rappe conducting the orchestra and Elsa Stralia singing Aida, and Desiree LaSalle, Dorma Lee, and Alfred Bedeschi interpreting the other roles in Verdi’s famous opera. The finale pf the second act was the part used. There was a large ballet and chorus to add to the general good effect.
The Rivoli.
At the Rivoli last week, the prologue to Pagliacci, played by the Rivoli Orchestra, Frederick Stahlberg and Willie Stahl conducting, opened the program. The number was weil played and equally well enjoyed by large audiences to most of which the work was familiar, judging from the manner in which it was being hummed by a number who sat well within hearing distance of the writer. The feature picture was The Nth Commandment and as a prologue Ocy Shoff, soprano, and Laurie Boone, baritone, sang Francis Doret’s Calling Me Home to You; it proved a thoroughly effective number, the two voices being well suited to duet work. It was indeed a Danse Extraordinaire that Marie Haun and Sedona gave and one that the audiences liked. The Rivoli Pictorial and a Max Fleischer Inkwell comedy, Surprise, completed the bill.
The Rialto.
C. Sharpe-Minor at the Wurlitzer had the musical honors all to himself at the Rialto last week. But what the audience may have missed of quantity was made up in the enjoyment which this number afforded. It was called A Singing Contest and while the familiar songs were being played on the organ, the screen showed the words and everyone was invited to participate. With the exception of The Long, Long Trail, which was the first number, most of the words were parodies. It took time to get the audience into the spirit of the thing, but by the time Mr. Gallagher and Mr. Shean was reached everyone was singing lustily and evidently having the time of their lives. The Dance of the Match Sticks, an eccentric dance by The Three Little Maids, proved delightful and proved anew that the addition of these little dancers to the Rialto programs is a distinct feature. Another of the charming Cappy Ricks stories formed the basis of the feature^ picture, The Go-Getter, and Buster Keaton in The Electric House, after a successful run at the Rivoli, moved down to gladden the hearts of Rialto audiences. The regular Rialto Magazine completed the pro-
Will Hays has contributed $5,000 for school films. At a meeting last week with prominent educators from various parts of the country it was decided to use the funds provided by the motion picture producers towards assembling films suitable for school use and various phases of the film industry that would be feasible for school work.
S; R. Rothafel wrote the song which is being used in conjunction with the feature picture, Souls for Sale, by Rupert Hughes, at the Capitol this week. Evelyn Herbert sings the number as a solo.
May Yohe has returned to the American stage after many years of retirement. She was seen at the Colonial here two weeks ago. It will be remembered that she was formerly Lady Francis Hope.
Channing Pollack, the author of The Fool, which has had such extraordinary success here in New York, has announced the fact that he has rented the Apollo Theater from the Selwyns for next season, where he intends to inaugurate what he will term the “Dollar Theater.” Mr. Pollack states that he will engage well known stars to take part in the various plays which he will offer, charging a dollar for admission, and the limited seating capacity of the Apollo precludes any possibilities of a financial success to the project, but Mr. Pollack feels sure that he can make up for this monetary loss with artistic productions.
Mr. Rothafel reports that he has engaged Edith Fleisher for an early appearance at the Capitol. She will sing the part of Nedda in Pagliacci. Mme. Fleisher came to this country with the Wagnerian Opera Festival.
The Strand Theater has been celebrating its ninth anniversary, and owing to the great demand to see Harold Lloyd in Safety Last, the film was held over for a second week. Eldora Stanford is the principal soloist and musical attraction.
For the last two weeks of Better Times, the extravaganza at the Hippodrome, there have been added features to mark the end of a very successful season in the big playhouse.	May Johnson.
Zander the Great.
On Monday night of last week, Alice Brady returned to our local stage at the Empire Theater in a new play by Salisbury Field, Zander the Great. The play, on the whole, received very good notices, particularly Miss Brady, for she is a favorite and her admirers always flock to see her in her new plays. Mr. Field’s play is a mild melodrama. The combination of play and Miss Brady has caused a great many, who have been to see her during the first week, to say that it is the best thing she has ever done, and that, taken as a whole, it is really a fine performance. The atmosphere is Western. The story deals with cowboys, bootlegging, the influence of a small child, and, of course, a love theme, the same old popular idea.
The supporting cast received equally good praise, particularly the acting of Jerome Patrick. If one oan rely on those people whose business it is to go to the theater and inform the public of the plays they should see, and if a personal opinion can be taken for anything, it is a safe bet that Alice Brady and Zander the Great will play for some time.
The Exile.
This new play with music, by Sydney Toler, was the means again of introducing Eleanor Painter, who, all of our readers know; is a charming singer and for the past nine years has been singing to the delight of all of her hearers. In fact we have often boasted that Miss Painter possesses the finest voice heard on the musical comedy stage today. The Exile, which began a week ago Tuesday evening at the Cohan Theater, not only had Miss Painter as its star but also Jose Ruben co-starring with her. This is the first time we have heard Miss Painter in a straight dramatic role, but her admirers were not disappointed, because there were many opportunities for her to sing. The time of the play is during the French Revolution, so of course the big moment is when the Marseillaise is introduced, and no wonder the stage crowd was impressed because the audience thrilled at the beauty of Miss Painter’s voice. In fact it is the best scene of the whole play. With considerable interest one noted Miss Painter’s ability as a dramatic actress, and the combination of an exceptionally fine voice, a lovely stage picture and real ability—these qualities alone should create a long run for The Exile. We must not let our enthusiasm over Miss Painter run riot, because Jose Ruben also made a fine impression and his ability as an actor of romantic parts is well known to the theater.
Elsie.
On Monday evening, April 2, a new musical comedy by Charles W. Bell arrived at the Vanderbilt Theater. The music and lyrics are by Monte Carlo and Alma Sanders. It will be remembered that these rather clever musicians were responsible for the musical score of Tangerene. Many of the selections have also been contributed by Sissel and Blake. As far as musical comedies go this is an entirely satisfactory and highly entertaining production and will take its place in the first rank of the present musical offerings. There seems to be a lack of originality on the part of the various contributors who supply books of musical comedies, and in Elsie we have another time-worn subject. But this can be pardoned on account of the high standard of the cast, the production and the music. The title role was played by Marguerite Zender, and while she had many things in her favor she did not come up to the requirements of the principal star in the musical comedy, and we understand since the opening there has been a change in this part. Maud Turner Gordon, as Mrs. Phillip Hammond, gave a particularly fine performance, as did also John Arthur. Stanley Ridges was rather clever with his song and dances.
The chorus was exceptionally good to look upon and raher spritely. Elsie deserves a run in view of the fact that this is the type of entertainment most people enjoy when the warm weather approaches.
The Wings.
The Wings, a play by the late Josephine Preston Peabody, was presented by the Woman’s Poets Auxiliary League at the Booth Theater on Thursday afternoon, April 12. The proceeds of the benefit went to the Poets’ Guild at Christo-dora House. The performance was arranged and directed by Mme. Alberti. As an interlude, poems of Miss Peabody’s were read, and the cast of The Wings included McKay Morris, Leonard Meeker, Henry Thorne Clement and Julia MacMohan. Among the notables who paid tribute to Miss Peabody were Percy Mackaye and Zona Gale.
The Hippodrome Celebrates.
On Wednesday evening of last week the Hippodrome celebrated its eighteenth anniversary with a special program added to its regular performance of Better Times. One of the biggest features was the presence of John Philip Sousa, who was called from the audience and led the orchestra through several of his famous marches. A picture of Frederic Thompson, founder of the Hippodrome, was thrown on the screen. Belle Story was there and sang her famous Poor Butterfly, which was the sensation of The Big Show offered in 1916. Raymond Hubbell, the composer, who for years has composed the music for the Hippodrome extravaganzas, led the orchestra in some of his best known numbers. The boxes were filled with notables from the diplomatic and society circles.
Plays Closing Last Week.
The God of Vengeance, at the Apollo; Anything Might Happen, at the Comedy ; Sandro Botticelli, at the Province-town, and The Guilty One, at the Selwyn, were the closings last week.
The Capitol.
The big sensation of the motion picture theaters last week was Rupert Hughes’ new film, Souls for Sale. This movie was written and directed entirely by Mr. Hughes. The cast contains many important names before the screen today, including Richard Dix, Frank Mayo, and a new star, Eleanor Boardman. So tremendous has been the interest that all records of the Capitol Theater have been broken and the management has been forced to carry over the