The New York herald. [volume] (New York, N.Y.) 1920-1924, 1920-11-14
Says Trick Garb
Spells Effect in
Musical RevueS
J. NJ. Anderson Prefers Sim
pie Costuming, With Proper
Stage Lighting.

y John Murray Anderson might be called
the Gordon Craig OF musical comedy. for
the man who directed the destinies Of
the first and second Greenwich Village
Follies" has tried to present his revues
with the same earnest attention to the
general eject on the eye a. thouGh he
we're PRODUCING Hamlet" with hangings
like scandinavian ford. He admits t,
which few musical producers would do
even II backed into a corner. Natural
ICED here but born the son of one time
Governor-General of New foundand, this
young man has been dancer, parlor en-
tertainer,- director of a little theatre for
society and producer Of pageants.
Now Mr.. Anderson has been chosen by
Charles B. Cochran to have share in
staging n new extravaganza In London,
and on the eve of sailing a few days ago
with a trunl1ful of American beauties he
spoke of the creed with which he hopes
to make musical comedy another OF the
arts and something that will not require
a lack of brains TO appreciate. II was
at the Shubert Theatre, while the Fol
lies" company was rehearsing a new
number.
Like every one else in the theatre
who doesn't want to stand STILL" he
said, "I've been Influenced very much
by Gordon Craig. for he was the pioneer.
and I'VE DEVELOPED a producing theory
OF my own--even for musical comedy,
where theories are not supposed to APP
ply. My underlying belief. confirmed by
observation, IL that sfmplihcation is
much needed and that whole lot Of
useless truck supposed TO decorate the
average musical comedy Is dead loss
on the spectator. My idea is to go on
simplifying costumes and scenery until
there are scarcely words TO describe how
simple the production is--though, OF
course that's more ideal than real But
single simple effect In costuming Is
more striking than lot of trick clothes
with confusing detail, such as I saw
recently in a production imported from
the other side. where the girls seemed
20 have on everything but the kitchen
stove.
After all, musical comedy producer
IL only arranging little daubs OF color
exactly like an artist. except that his
pictures are livelier because they have
motion and can command higher prices.
A movement toward sniplification In
the theatre is only an outgrowth OF i'm
pressionisn In painting. though II hasn't
yet grown dizzy with futurism. You
can gain better effects in n revue by
posing girls beautifully gowned In
graceful pastures than by having row
OF them kicking in uniform wildness. ]
never could understand why lot OF
girls should be expected 20 get the same
| thought TO kick at exactly the same
moment.
Much can be done with lights for
settings-in fact. with the almost un-
| touched possibilities in lighting at their
full development II would be possible
| TO have only scenery furnished by illu-
rnination, outside OF few ORA eries. In
| that way you could suggest atmosphere
| admirably and also do away with
| grease paint and make actors look real.
We're far more advanced than England
| In stage lighting--so much so that I'm
taking over even the lighting frames
! for this London revue.
| "All my life I'VE been studying vari-
Gus things with the stage In view. I
started with musical comedy produc-
! lions because they have the widest APP
peal But would like 10 go on ultimately
/ 10 straight productions--I would even
be willing to do something Russian. for
| the Russian theatre during the war has
become n good deal OF riot. Any plays
| will do 80 long as they are plays. but
| am inclined TO prefer those with a
| slight edge OF fantasy. and I have n
| chance now TO do such piece, though
| II has the fearful name OK The Haunt
| ed Pajamas.' Most Of all want to do
! a series Of plays appealing TO children
| and grownups. and / hope to meet Sir
James M. Barrie this autumn and have
n shot at doing Peter Pan In my own
way"