New-York tribune., 1920-10-05
By Haywood Broun

MOTIFS Gests production of Mecca y
which was shown at the Century last
night, is more beautiful and more dar-
ing than "Aphrodite" To complete
the statistics it might also be added
that it is bigger. The most potent
appeal is visual. Of all the various
authors, composers and painters who
have contributed to the production the
chief credit should 60 to Michel Fokine,
the Russian choreographist. The bac-
chanale which he arranged for the last
act is easily the most striking incident
IN the performance. Probably only Dr.
Straton could tell whether or not it
was more sinful than the correspond
ing number in "Aphrodite." 1t was so
fast and furious that our impression
was blurred, but we did carry away
mental picture of the final tableau in
which the stage was paved with scores
and scores of recumbent women as
thick as good intentions. But perhaps
fully into motives. Perhaps it will
suffice to say that the ballet is beauti-
full as we'll as startling.
Everything about the production is
lavish and some Of it is better than
merely generous. The elaborate changes
of scenery were handled so expedi-
tiously that the melodramatic features
Of the big musical show were not
drowned out by the wealth of move
ment, color and dancing. The play con-
Germs a sultan, his rival and a beauti-
full singing girl, and though it pauses
now and again for ballet interludes
there are authentically exciting mo-
ments, such as the wrestling match be-
tween the sultan and the villainous
strong man who tries to kill him, the
raid upon the caravan to Mecca and
the slave market. Lionel Braham plays
the strong man with gusto. Orville
Caldwell is effective as the heroic sui
tan. Gladys Hanson is a splendid fig
ure and Hannah TobGck carried the
part of the singing girl pleasantly. But
the most striking performance of all
was that of Ida Mule as an old Chinese
woman, a part which had hardly ten
lines in all but was rich in enormously
skilful pantomime.
Oscar Asche wrote the book and
Percy Fletcher composed the music.
The smoothness of the first night per-
formance entities L. Lyall Swete to all
.he credit which should 60 to good
job.
OF it's kind mecca" Is absolutely
first rate. We must confess, however,
that we find drama generally more ar
resting IN plays which require some
thing less than three or four hundred
persons AS a theatergoer one heroine
clothed and in her right mind out
weighs even two hundred dancing girls
clad only in the mosquito netting Of
their native land.
The first of Nine. Borgny Hammers
lbsen matinees, presented yesterday at
the Little Theater. was q pretty be-
wildering affair. Nine Borgny Ham
mer was presented by Lawrence
Clarke, who announced her "Hcdda
Gabbler"Ithe two BIS being the pro
grams idea-as her American debut.
1T announced her further as "of the.
National Theater of Christiania, Nor
way. The latter of these statements
is probably accurate, though the
former is not. but being "of the Ma
tlonal Theater of Christiania" did
Nine. Borgny Hammer little enough
service in acquaintng her with what
'Hedda" was all about. She PLAYED
her now in evangelical sweetness. now
In a sort of Alpine boredom, once or
twice in a tantrum To a spectator
Hedda must have seemed to be, in so
far as she was anything, sweet
woman with fits.
Nine. Borgny Hammer has a fine
physical command Of stage, and. at
times, great beauty. She delivers lines
with at least an intelligent idea of
what those lines mean. But of the
gift of adding up lines and scenes and
totaling a human being, she showed
none.
Her supporting company contained
two acceptable players, Rolf Fjell and
Mercedes Desmore. Another item from
the program states: "Mme. Hammers
gowns, General Gabler's portrait. the
lighting of the play and the execution
and painting of the scenery by the
Wits and Fingers Studio"