Evening star., 1928-03-18
Old FavOriteS and New
Friends in the Playhouse
)ONZO and SYLVAN DELL Palace.
BY pHILANDER JOHNSON.

little bedtime story a guidine
influence in drama and literature.
Even If an interesting pace is set
it has become customary to draw
/ the event out until it is so long
that everybody yawns.
No play has ever stood more
completely for the triumph of the
poet in drama than the "Mer-
chant of Venice" All effort tc
overwhelm what has become the
central role with obloquy has
lacked the support OF popular
! interest because of Shylock'S S
searching human analysis. A
story based largely on the impu-
dence of BaSSanio, a Self-confi-
! dent cockScomb, who risks a
friends life in order that he may
go a-fortune hunting. would be
rejected as absurd even If offered
in similar guiSe to a director in
Hollywood. The climax of the
plot is negligible in most Of the
Shakespeare plays. the real climax
of each important scene Is at
tanned by some magnificent ex-
preston Of thought. In phrase
which generations have tried IN
vain TO initiate.
How much a singer has the ad-
vantage over the purely dramatic
artist is shown by an engagement
like that Of Arliss. The singer Is
regarded as delivering as much as
may be reasonably expected If two
or three performances a week arc
given. The dramatic artist plays
six or eight performances and is
expected to be without the aSsiS-
] tance Of orchestra or chorus, on
temperamental qui vive in every
oft-repeated line. It is rather a
large order.
Ranging from old English
j poetry TO the most ultra modern :
istic style Of entertainment. the
theater proved its ability TO out
Jazz itself. Good News" fully
lived up TO the gently prophetic
suggestion Of its title. It left the
old-style revue far behind as it
! romped and frolicked into the
cleaner atmosphere which 1t has
been the fortune Of the 1929
season TO bring about.
It looked as If "Old Man The
ater" had explored the paths trod
/ by Ponce de Leon and really dis
covered the fountain of youth.
The play Of college slang is worthy
/ Of George Ade himself In his most
! efferveScent moments. The wit
! aims at no philosophical dazzle
and the fun Is natural and unaf-
lected. Much Of IL might be de-
( scribed as horseplay. 1t is better
than that. II Is colt play.
~
It may be that Good News" will
fulfill an important mission in the
/ economies Of the theater Many
/ singers. dancers and marchers
have been trained for the pur~
! poses Of the revue which Is being
/ abandoned in large degree by pro-
ducers who see handwriting on
the wall sufficiently plain in It's
demand for primitive decency 10
contradict the glorification"
! propaganda on the biIlboards.
This new style Of revue must, If
well initiated, offer occupation for
many.
BY not attempting TOO much,
Good News rises securely 10 a
new level Of merit. It offers no
, exploitation Of theory, seeking 10
place jan composition In classical
j company, but lets its orchestra
blare and toOt IN mon0t0nOus din,
| whose rythm is reinterpreted 10
the eye In swift and graceful
! physical motion, II the inccsgant
| use of horns In the orchestra III
Intended 10 convey an impression
II the slridencies suitable 10 foot
! ball on a great day, IL must be
IeckOned as artistic and interpr"~
tive, II IT Is only accidental, IL
stlIl eHpFesge8 a cOngenial sym =
pathy with the subject In hand,
even though promising no par
tnuiar progress in meiOdic orig
| inaiIty.
| The air has been rife with fu~
NOR as w changes In theatrical
interests. The changes relate only
70 recastIng 0f boards of directors.
| manager Cochran still thumbs the
calendar in anticipation Of the
| Spring stock season and listens
fDf the whistle 0f the first robin
10 sound in harmony with Chris
Aftll's orchestra, In The meDn~
time some 0f The most notable
events. employing conspicuous
new material OF exploiting Old
| fagoriiess are scheduled as hiqi,
spots IN ia" current aesson