Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1922-11-18

ID 4 week gave OppOrtuuity tOT VsV""MB
around among the attractions already
seen. Tint study only intensified the
smpression that Blossom Time" 10 the
.ost wholly delightful Of the current
sbows. The sonorously stirring strains
a The Unfinished Symphony drown out
ths puny syncopations Of the ordinary
|swsiral show, and Bcrtram peacOck's s
-istf,ii and human Schubert makes the
sSntimentnl plot seem generally rlau.
Ws ara more and more impressed that
Svnne Oyerinan 10 pretty much three.
.s"srters Of "Just Married" instead OF
Xs;ns The worst half of the usual mari.
ri souation. Ills intoxicated scene Is
seariy classic, even IN an age OF Errols,
5sck Barrymores and Frank Lalors,
and he reads much into the common.
niace lines Of this honeymoon farce.
Sess Dandy, viviun Martin and the
Ssst are, unfortunately not so ssnsr'
'uii,' y :sa0TS'oi ssssrS 10 "sally," which ends
lts stay tonight, an Interesting piece
Of news has come from New YorS. Mary
Eaton, who was called IN suddenly to
nisy the leading role during Marilyn
EiiIer's illness, will head another com.
ssny Of this popular musical comedy,
Ksesuse Of the excellent way she stepped
iSeo "a role here. We hate 10 spoil q
"a yarn, but the fact remains that
~ Eaton aid not have to learn the
~ over night. She rehearsed once
6siore q year ago when Ziegfeld was
ssns!dsnns. sending a second company
A Sorn,er stage combination will find
lteif playing different houses here
Ssst week, Joseph Cawthorn, tho
smusing Otto Of "The Bunch and
Judy" 10 one, and Julia sanderson:
vho comes to town with '"Tangerine"
n the Shubert, 10 the other. The two
Il them appeared here in THE Canary"
not 20 many years ago, this musical
comedy following the successes in which
he same two played together with Don.
SN Brian. incidentally, speaking Of
''Ths Bunch and Judy" that Dilling.
ham musical infant shows strong in.
lieations OF reaching z happy and sue.
essstul maturity. The Scotch scene has
been improved 30 per cent.
THE temporary hiatus in Philadel.
! ph,a gave opportunity for a hasty
glimpse at some Of the interesting at.
fractions now playing on Broadway.
Particularly did 1t allow visit 10 the
iong. awaited and much. discussed pro.
duction of Hamlet BY Arthur Hop
kins, with John Barrymore as the
Dane.
Here wa. n King come into his own.
and 1t ~ difficult to discuss the per.
Iornence as a thing entirely apart from
the tulnult Of the premier, the "bravos"
and the standing cheers, the noted
guests and the general atmosphere Of
dramatic millennium. However. even
with the thunderous applause dying
away. and the glow OF the first might
fame becoming dim. the one unalterable
II the much. played role was equal to all
expectations.
He has managed the almost impossi.
ble-a commingling Of an intellectual
richness and a sonorous dignity with u
wistful and simple human quality that
makes even the long and almost de-
tached solilOQuies part of the play. and
that presents us not an oratorical und
mythical Prince, but a young man who
suffers much, and in that suffering
reaches supreme heights Of philosophical
potency.
Barrymore pitched his voice In low
tey-probatly the lowest ever employed
IN its portrayal. In the reor rows,
what with the nervous unrestfulncss Of
the first might audience. there were
times when his rich. beautiful voice
became almost an echo, but the general
eject wns to accentuate his scenes Of
ayony-of passion-of bitter denuncia..
ton, and make them vibrnte and re.
verberate as they seldom have before.
Humor was not lacking In this new
Hamlet-even at times a glimpse OF
the old Jack was there in a turn Of the
bead, a quirk Of the mouth--and there
scion Of famous house possesses.
Every movement was q curve. never a
eugsestion Of clumsy turn or angular
twist Of arms or legs. lie was such
fencer as to make the usual Shake.
spear!ean veteran gasp, and his 1.-the and
Pantherike pOsturings as he watches
!he Kings face during the players per-
Sormance was n thing of vivid fire.
The production which backed this
new and truly great Interpretation was
: thing Of conflicting standards. Vir.
nally only one stage setting was used.
massive, turreted, vaultlike affair
surrounding a long flight Of steps which
took up all but a fraction Of the stngc.
IN the rear was tremendous tlOmeil
door, which gave the impression OF
rising far. above the theatre itself ia
meet the heavens without. Back Of II
W blue, recalling the background
Sgainst which Lionel barrymore as
THE Jest"
Iaken as n unit, this scene came m
close to describing the majestic under.
current OF Hamlet" as any could. and
ny use OF lights alone II could be trans L.
formed from the dim and gh0stly para .
pets to the fire. .reddened banquet o,
THRONE. room.
Not so successful was the use OF this
eame setting, with variations Of light
tns Tor the graveyard scene or for the
Xueen's bedchambar. In the latter case
mere was a garbled and distorted effect
that reminded one Of the unfortunate
hopkins, production Of Macbeth. y
s. some Of the scenes were acted. ia,
sowh ~ front, with a rich green curtain
- nnckground: Here the King. glo.
noGsly played by Tyrone Power, prayc,
Ss Hamlet hesitated at slaughter. and
Here again the news OF Ophelia's deatl
Mus wrought, thus leaving out the usua
sled form. " "s
mere was no visible ghost, only ar
sene light against the sky and a voic,
from from oifstage. which would have beer
tremendously effective IL more distinct
~Gnella sr had no flowers to pass around
S an Imaginary hou0uet. far NOR,
%;,L;,hg ;.Lihg hsr wrackcd mind. The play
N.oL N pay was done against the blu,
Shk'. SSSk drop, illnmined in a golden livh
Sften aSt EaSe adaed lmpressivcness 10 ~
pMyers did NOT speak, tho voices bcin,
Ground. """''" !" tue 'ore
Aim M conclusion it may be said that tn