Evening star. [volume] (Washington, D.C.) 1854-1972, 1926-02-14

SatlOn and the embellishments OF
rhythm convey no great sense OF
smartness or originality.
y x
The musical shows which have
gained most favor recently are those
which tend to revert to the ancient
light or comic operas. Such works
as Blossom Time Rose Marie
and Louie the Fourteenth CORE
spond more nearly than anything
heard in decade or so TO works like
Black HuSsar," "Olivet" or the Gil
bert and Sullivan. Gilbert is still
spoken OF in tone OF some supercill
Gus condescension by London cdi-
torialists. Nevertheless, the jaunty
operettas with which he was asso-
ciated were pacemakerS. After them
London had nothing better to send
US than highly collaborative efforts
OF much simpler structure, such as
The Geisha," San Toy The Run
away Girl and the multifarious
specimens OF their kind. They were
apparently easy to make for those
with talent in that direction. One
of the most popular of them was
said to have been written by Lon
don man about town with no prevl-
Gus experience, as the result OF a
bet made otfhand in the smoking
room OF club. 1t remained Tor New
York TO develop musical comedy
into its most lavish and convincing
expressions under the auspices of
George Lederer, with such produc-
tons as Lady Slavey" and The
III
to continuing the supply even OF this
earlier and more responsible must
cal comedy" state of depletion
soon ensued. Recipes were used, old
material revamped and the system
OF standardization, which, as in the
case of Suzanne" makes a musical
show a mere lottery ticket, came
gradually into being, productions be-
ing made in a spirit of sportsman
like hope, but without the confident
expectation of well grounded and in
telligent artistry.
The play "Aloma" illustrates the
process of Standardization which as
sembles various inventions and ap-
planes in some sort of hit-or miss
fashion, rings up the curtain and
proceeds to rattle about, its principal
reliance being the fervent prayers in
the box Office that the machine is 60
ing to work. Once in a great while
such a contrivance does work, but
never when, as III the case of
"Aloma," the material is all purely
initiative and lacks the electrical
spark of a genuine vivid thought to
explode the gas "Aloma" has its
imprecations and its improprieties,
but its lack of morals IS of the barn
yard, quite apart from temperament.
Z; x X
The especial interest Washington
has always had IN the endeavors of
Mr.. Belasco makes the fact that
. since Salvage" flickered in this city
and went out in Baltimore, he has
moved further up the railway track
and made Philadelphia the scene of
his first presentation of Lulu Belle"
with an interesting, and, according
to reports, very talented chronological
congress as its cast OF characters.
The dialogue is reported to be rough,
the scenes sordid, the theme a COL
loquial reinterpretation of the story
OF Carmen" or "Manon Lescaut."
Apparently the play deserved at
least as much castigation as was
melted out on Broadway to Ladies
of the Evening" The New York re-
viewers after the unboumded success
of Ladies' have apparently decided
to be philosophical in contemplating
Belasconian impudicity. Their dis
approval is registered Enthusiastically
but with a certain degree of rhetori-
cal caution. The usual praise is &C
corded the stage craftsmanship.
The sense of social and artistic alarm
is apparent. But the impulsive en-
dcavor 70 grab Tire veteran producer