Evening star. [volume] (Washington, D.C.) 1854-1972, 1927-04-10

what a majority of the preceding
musical and speaking entertainment
were able 10 win.
The tendency TO harp on one strlnG
has created the condition OF th(
sheerest monotony The trlal-nlar.
rage idea has been hammered unit
only the wittiest OF dialogue car
make it tolerable. Equatorial terror
has been depicted so often that little
hope is retained of enough dramatic
interest in a play OF the tropics tc
relieve il from the impression OF
commonplace degradation.
loose Ankles came along with
a rather sounding title and
some new names. It resolved itself
promptly into a repetition OF the
story which has aged so rapidly
within the past two seasons, the
story of impecunious young men who
make a profession of hiring them
selves to mature ladies' OF wealth
as dancing partners and dinner es-
corts.
The topic is not particularly chic
or pleasant and has proved enter
tanning only in one OF many efforts.
Cradle Snatchers" took it up and
used the slapstick, metaphorically
speaking fact. almost physically
speaking-and gave it precisely the
kind of setting it deserved, both as
a study in improperly and as an
appeal irresistible TO any audience
in search OF rough fun. Cradle
Snatchers" depended entirely on
breaking down reserve and over
whelning any conscientious scrupIeS
upon the part of the spectator by
his own uncomfortable laughter. 1t
was frank and uncompromising
applicant for membership in the
dramas Total Depravity Club.
x * x
Lady Do" proved a smart, quick
moving, gayly costumed rythmicism
limited in its story possibilities by
the necessity of adapting the thread
of narrative to the fabrics of female
inpersonation. 1t lacks certain ele-
ments usually to be found i'll the
Immediately successful musical COM
edy. 1t has no low comedian Of
broad methods, such as is usually
in evidence TO claim laughs by his
own personality and to afford con-
trast to the graces of dancing and
song with which he is lavishly sur
rounded.
Even musical comedy demands
comedy relief.
There is also missing the unmis-
taxable and irresistible combination
OF melody and catch line to set the
citizenship Immediately and unani-
znously whistling.
Neither of these observations war
rants q presage OF unfavorable dcs-
tiny.
There is nothing more mysterious
In the lottery of the theater than
musical entertainment which finds
audiences turning from the most
modern equipment of gowns, dances,
scenery and ebullient gayety in terms
of the vernacular to the venerated
antiquities of Gilbert and Sullivan.
Audiences apparently have become
not only illogical, but archaeological.
Karyl Norman is new type of
female impersonator, more impress
sive in his legitimate comedy than in
the usual efforts to rival the Paris
revue star in displays OF ultra
magnihcence of attire, together with
an imitation of the languishing arti-
Gcial graces of the mannequin. He
enters into the spirit of his role as
an actor, rather than as lay figure,
and gives a breezy, vigorous inter
probation of youngster fnasquerad-
ing with more or less mischievous
intentions.
There has been a field of some
distinction for men in the impersona-
Eion of comedy women. Neil Bur
CESS, as the Widow Bedott, won a
vast army of laughing cohorts.
Etienne Girardot made many actors
envious by his success with "Char-
sey's Aunt" play that il might be
worth while for the National Stock
60, TO consider as q possible re-
Sival.
Francis Wilson never forgave him
self for letting the manuscript OF
"Charley's Aunt" go out of his
hands at time when he was con-
sidering a career on the speaking
stage to follow his lavish produc-
tions of comic opera Mr. Norman
will be we'll worth keeping an eye
on as a prospect for roles which
make the comedy i'll feminine char
acter a consideration outranking
dainty apparel and delicate vocal
stimulation.
Like so many recent productions
"Lady Do" assemblies many new
names in its sponsorship. The old
trade marks Distinguishing presenta-
4ions are still in evidence during a
season, but the experimental effort
necessarily meets with unusual en-
couragement when the dearth OF
plays is sigualed Enthusiastically by
darkened theaters during weeks that
ought TO hold out the best box Office
prospects.
The situation gives the motion
picture theater a tremendous advan-
tage in prestige, especially as it as
Serts a vigorous claim 10 credit for
following the course taken by vaude-
willie in reforming the variety stage.
The present day films have taken
their own affairs in hand and freed
themselves from the rough sugges-
ton that often characterized the
Biograph or Cincmatograph and the
other devices of what has proved
20 be preliminary experiment. with
the present result Of a screen de luxe.
These two most important branches
OF amusement industry. vaudeville
and films, made it plain that the
cieaning-up process must be under
taken under the systematic super
vision of highly responsible organiza-
1ions.