Evening star., 1928-11-26
the days work is over takes MS family

the days work is over takes MS family
to the movies.
A perfect rendering of difficult over
ture, Tschaiowsky's "Capriccio Italienne,"
was highly appreciated, giving full
credit to Leon Brusiloff, conductor Of
the orchestra, as master of his art.
Tyler Mason, black-face comedian, as
master of Ceremonies, keeps the au-
dience amused with anecdote and song
between introductions of special acts.
Mary Reads famous Tillerettes ex-
emplif1fy the poetry of motion in sew
eral charming numbers; Helen Yorke
reaches and holds some high, bird-like
notes in her coloratura; Amerique and
Neville are picturesque in the adagio
dance with Greek poStures; Morton and
Mayo give a hilarious performance in
Spanish burlesque; the Lovey twins are
cute, but the most enthusiasm was
evinced over the last act, Rio Brothers,
the boy collegiate dancers.
The Fox Movietone News shows Eng
lish ceremony with King George paying
tribute to war heroes; two survivors of
the Inflated Vestris tell of narrowing
experiences; a good picture of Dart
mouths victory over Cornell in foot
ball scrimmage; and Robert Benchley,
dramatic critic, attempts to carve the
turkey.
PALACE-"The Masks Of the Devil"
This latest Of John Gilbert pictures
is significant for sundry reasons, not
the least of which is the return to the
screen of that venerable actor-gentle-
man, Theodore Roberts, after a pro-
longed illness. He is still supreme in
his field, always natural, sincere and
lovable. AS for the star, the picture is
| essentially his, and considering that he
is attempting one of the most difficult
roles of his career, makes that fact
still more obviously in his favor. Gill
| bert is called upon to be "super-lover
with the face of an angel but the soul
| of Lucifer," and he succeeds in large
measure in assuming all three.
The film, based on the story by Jacob
Wassermann, carries out the profound
psychological study of the characters,
| gaining great effectiveness by showing
occasionally what the players are think
ing. 1t is gripping drama artistically
treated, at once from a directorial,
| Photographic and hiStrionic stand
point. A well timed and subordinated
synchronized score enhances the action
and builds with the theme toward
| powerful climax.
Although Alma Rubens is supposedly
| CdSC OppOSlIe CllDerC, the major nOTlOrS
for the feminine support are divided be-
tween Eva Won Berne, an Austrian i'm
| portation in her first American picture,
and Ethel Wales, the veteran character
| actress. Miss RubenS' performance is
good, Notwithstanding. Both Ralph
! Forbes and Frank Reicher are excellent
in what they have to do, which is too
little.
"Crinoline VS.. jazz" aptly named and
sumptuously set, brings to the stage one
of the best offerings seen recently in
Washington, with music aplenty. both
old and new, especially in Wesley Eddy's
composition Blue Moon" which he
personally introduces, and in Gershwin's
Rhapsody in Blue" John Quinlan,
with fine tenor, sings the hits of yes
terday, while Nell Jewell and some of
the Felicia Sorel girls represent the
danes of the hoop and hustle era with
grace and slow-Swinging rhythm. Chap
man and Snyder with the other Sorel
steppers are the spirit of jazz incarnate.
Carl Dobbs and company, meaning a
girl and two men, clown q bit, then fall