The Washington herald., 1920-03-08
PoIrs-.Chu Chin Chow.-

Has "Chu Chin Chow been
crossed with "Aphrodite" to make
its second edition" a rather dar-
ing affair?
Washington last season welcomed
this gorgeous spectacle of Bagdad
and other towns on the Arabian
Nights circuit with tepid enthusi-
asm. This year its welcome must
inevitably assume q more roseate,
not to say hectic, hue. The manne-
quins of the Bagdad bazaar are
thrust before our astigmatic gaze
in the most astonishing shbrevia-
tions OF costume. Relentless real
ism in the revelation of feminine
anatomy Is the dominant note in
i"Chu Chin Chow" this season. Ap-
parently Messrs. Comstock and Gest
believe that their phenomenally sue
cessful extravaganza of the Orient
can barrow a hint or two from
"Aphrodite." which Broadway has
taken to its sensuous heart. Bag
dad has been moderated by Paris.
"Chu Chin Chow preserves it's
wealth of color, it's haunting sting
of Oriental fatalism, its picturesque
ness leaning so strongly to the
African touch, its grandiose note OF
extravaganza. Its new edition is a
dazzling thing-there is no worn
or faded touch to 1t.
Lionel Braham is still playing
"Chu Chin Chow" and Eugene
Cowles is still singing splendidly In
the role of Abdullah. The cast Is a
highly competent one. Helen Gunth-
er as Marjanah, the singing slave
girl: Albert Howson as kaslm Bah,
Marjorie Wood as Zahrat- al Huda-
the desert woman; Gladys Earlcott
as Mahuba. the shrew, were all ex-
cellent.
The brilliant score of Frederick
Norton, the succession of Oriental
melodies which contribute so much
of whatever substantial element Of
art there is in "Chu Chin Chow" are
still sung effectively. The produc-
ton. indeed, need fear no COMPARE
son with the first edition, and in one
important respect, already touched
upon, is superlative.
The costume designer for the
clever merchant at the Bagdad ba-
zssr has left little for Poiret, Pa
quin. Worth, or any of the other
Parisians to do. He has anticipated
the ball rooms of the Faubourg St.
tGermain and Fifth avenue by at
least a decade.
Gayety-A Reeves Beauty show.
Al Reeves aud his Beauty Show
presented their 1880 Revue" at the
Gayety Theater yesterday. 1t offers
an entertainment that best illus
strates the idea OF the newer form
| n
tional means of laugh-gathering
associated with this field OF amuse-
ment.
Instead, the audience finds a
bright and breezy three-act extray-
aganza free from the slightest
old era, a scenic investiture that
compares favorably with that pos
sessed by the .big-time" produe-
tions. an elaborate outlay in cos
tune and cast OF the highest
merit.
Mr.. Reeves personally heads the
cast and the author Of the famous
phrase, Give me credit, boys" ap-
years in his time-honored. yet ever
new. banjo speciality. The principal
comedians are Dick Fitzgerald and
Jack Carroll, while others In the
cast include Marcia Moore. Flor
ence Wilkinson. Ada Morse. and
Amanda Love.
Featured speciality attractions in
clude the Big Four Quartette-
Frank Pickett. Elmer Brown, Eddie
Drury and Frank Stanhepe. or
course. as has always been true OF
Al Reeves production, there is a
large chorus Of that high order of
attractiveness which he long ago
established as . standard.