Evening star. [volume] (Washington, D.C.) 1854-1972, 1929-01-07
ACKNOWLEDGEMENTS"

There are many well tried frlendS at
the National Theater, where Earl Car
roll steps forward with the most ex-
travagantly beautiful production for
which his name has ever stood IN
sponsorship.
Even the story of the play has
pleasant reminders OF old acquaintance
as a heroic swordsman follows in the
footsteps of Don Caesar de BaZan and
finds himself about to be put to death
for violating an edict that forbade
duelling. If Don Caesar found an
earthly reward of melodious tribute N
Mariana, as once more reincarnated in
new realms of romance, he Is here re-
warded not only by the triumph Of
affection. simple and intense; he is
transported to the lavish luxury and
the bewildering beauty Of Mohan-
medan paradise.
In case Mussolini is really serious
about reviving old Italian glorieS, he
need hardly go so far as the Statuary
and colonnades of ancient Rome. He
might at least pause on the backward
trip along the corridors of time and
study this idealization of Venetian
magnificence, as gondolas are revealed
with silver oars and boats have SlIken
sails, while speech is turned always
either into witty phrase or else set 10
irresistible melody.
The music of "Fioretta" is one OF its
most prominent elements of endear-
ment. It succeeds often In asserting
itself to admiring attention even above
and beyond the pictorial pageantry that
makes the proscenium arch the frame
for a ficture where some Pygmalion, by
his prayers, breatheS life into Wilder
ness of GalateaS
A theatrical program takes on deli
cate distinctions. The cast is an
nounced and then a final "e' is added,
and the word "caste" appears to the
Imagination.
Leon Enroll, Fannie Brice and Lionel
Atwill are big typed. George, Houston,
Dorothy Knapp. Theo Karl and Jay
Brennan find honor in achievement
though announced by less conspicuous
display. A half dozen other performers
are abundantly entitled to admiring rec
ignition in comedy or songfulnesS.
So many names are mentioned IN
giving credit for incidental service per-
tanning to costumes, scenery and "direc-
ton" of one kind or another that the
work begins to resemble demonstra-
ton of the theory of efficiency" with
head men," "key men" contact men"
and all the rest of the functioniSts who
figure in large enterprise.
The production Is not permitted to
remain only mechanism of appeal to
love of beauty Leon Enroll finds, when
he first appears, complicated set OF
lofty stairs which threaten to claim CO.
star recognition. His comedy, improv-
ing every season, becomes more and
more humanity vital as well as ire
sistibly absurd.
Positive as she is in her chosen ways
Of fun-making, Fanny Brice manages
to keep from stepping entirely out OF
the picture, and in addition to the
characteristic chatter which never fails
to compel laughter, establishes
climax as she holds her center of the
stage in a really comic comic song"
Just how Lionel Atwill could make
himself at home in such rollicking and
tuneful company seemed matter for
question, since most Of this players
career has been devoted to work COM
manding serious and often thoughtful
effort. He does not venture the mis-
take Of trying to excel in traveSty, but
makes his role of cold and calculating
master of court intrigue a kind OF
dignified safety. zone" amid maze
of reckless driving along highways OF
comedy. His abilities are finely favored
IN SOluOQuy OH AuiIldu !oVcS po0A
of genuine excellence which should
arouse curiosity as to its authorship.
The stage pictures are revelations OF
creative imagination fortified by un-
limited resources. At times they seem
to threaten almost superhuity of
splendor.
AS a revelation of feminine beauty
the spectacle is transcendant-the
costumes, gorgeous as they are, cannot
put into the background the physical
graces Of those who wear them.
"Fioretta," with its assemblage OF
artists of all kinds, is sure to rank as
one Of the greatest musical mergers OF
the year. PHILANDER JOHNSON.