Evening star., 1926-12-26
Extravaganza From
''Evangeline'' to Betsy
BY PHILANDER JOHNSON.

move along toward the serene alti-
tude of the higher propriety.
A Ziegfeld show now is relied or
to offer nothing in the way Of
studied effect that would jar pre-
war sensibiities. Betsy the new
show, is typical of the entertainment
to which producers now aspire. If
that it offers no material depending
on clumsily contrived suggestive
ness-save that which may be
dragged in by some obdurate come.
dian prone to ad-libbing.
Betsy has a little plot, but not
enough to make the. situations re-
liably helpful in any effort of acting
Nor is the song material SO piquant
in appeal as to promote the impress
sion of exceptionally smart person
atty.
It is the chorus that counts: in
fact, it has gone beyond the chorus
and needs a bigger word. 1t is the
gorgeous ensemble that counts
arrayed in priceless fabrics. with
draperies designed to reveal physical
charms on terms to delight the eye
of an artist.
The spectators of a beauty show
and this means a revelation OF
beauty in painting, in costuming and
in stage grouping-have gradually
progressed toward the mental atti-
tude of students in an art school
A model may pose, since it is her
profession to do SO. and arouse no
the lady with the decorous skirt
who by accident or design displays
a glimpse of garter who can stam-
pede the entire class.
X n
Some of the funmakers have given
excellent account of themselves. but
do not near prevent decided inn
preston that while Betsy" has
morals, she lacks principals.
A play of this type is still sex
travaganza," although it does not
faunt the descriptive title. Early
entertainment in this form fourished
perhaps with less beauty-for the
joke about aged chorus girls was
then in its palmy-day prime-but
with riotous superabundance of
wit, bubbling and sparkling in sheer
response to the joy of living and
the enthusiasm of good-fellowship.
A laugh was more valued for its
own self and the pleasure it could
bring than for the hope it held out
of an increasing wage.
r II X
Fun depended greatly on trarksty
and its designers were expected to
appeal to the same audiences Though
in merrier moody that applauded
the poetic dignities of the great
serious actors and their plays. The
CLINT of satire was usually present,
though never under any circum-
stances allowed to break over the
bounds of Difference to a reasonable
intelligence and to the self-respect
which competent and popular play
ers valued with much jealousy.
An example of the early extrava-
ganza, as developed into Revue,
which has absorbed European conti-
mental ideas and patterns, as the
English language has absorbed
words and phrases, was Rice's
"Evangeline." 1t was necessary to
say "Rices" in order not to confuse
attention that had been directed
with admiration to the great Long
fellow poem.
E. E. Rice was not one of the pro-
ducers who proceeded entirely by
recipe and who depended on systems
of financing involving unlimited
promissory value. 1t is true that
he used the systems of verbal credi,
and contigent profits as others did
but he never quite let himself ir
for the predicament of the manager
who found, when ready to ring ur
the curtain on his first performance
that he could not possibly make the
enterprise, however popular, a math.
ematical success.
you have great hit remarked
a friend,
What's the good of it?" inquired
the manager, whose face was rueful
mo matter how much money we
take in we can't keep going. have
party or another, and now find a.
! figure up the accounts that I have
given away los per cent of the
show"
The debonaire person of E. E
Rice, as we'll as the instructive reluc.
tance of the theater man to risl
losing what might be prospect If
the gold mining fields of talent, wa
illustrated by Rice's habit of avoid
ing conclusive dismissal of aspiring
applicants and invariably admonish
ing them. "Be sure you don't do any
thing until you hear from mel"
Two song composers arrived t
show some of their work. with on
singing and the other assisting a
the piano. Rice heard them anc
bade them good-by with his Gus
tomary admonition. In a few day
they returned. We've got some
thing new we want you to listen to,
said one of the pair.
we have just worked up the bes
line for a topical song that ever hi
Broadway said the other.
They were. of course. invited t.
show their wares and the please'
expression of the producer suddenl,
faded as a rollicking ditty rompe'
suddenly into a tuneful refrain t
the words of
BE Sure You Don't Do Anything
Until You Hear From Mew
They had no further encourage
ment.
Even in those circles of liberal an,