Evening star. [volume] (Washington, D.C.) 1854-1972, 1929-11-11
DOT TIC Like a war-whoop at
1llAl y H,arist.,anc rart,. the shirt
Little of hurlv

ACCIDENT more or less dainty ana
sacred precincts of maternity hospital
at Polls Theater this week, Little Ac-
cident." the selected title of the play
as well as a career lady's descrip-
ton of a newborn member of the hui
man family, appears to skate over thin
ice of propriety and the most intimate
affairs of life, without so much as max
ing a dent in the glossy surface.
It would be perfectly correct, at GER
tain points in the course OF the eve
ming, to raise the eyebrows in re-
fined sort of way and to draw down the
corners of the mouth, but even at the
very moment of thus expressing dis
elimination there comes sudden turn
in the direction of wholesome human
nature-a ray of kindly devotion COM
bined with humor, which penetrateS the
brain, Strengthens out the eyebrows,
changes the course of the outer sec
tions of the mouth, and paves the way
for resounding laughter.
What it is all about seems to be less
important than the question whether 1t
is good comedy, or comic stuff which
provides an evenings entertainment.
The question might properly be an
Swered in the affirmative, and while the
authors, Floyd Dell and Thomas Mitchell,
are to be credited with clever mantp-
ulation of situations which depend for
their effect upon rapid changes to avoid
the danger line, it should be stated
that the members of the fairly large
cast are both interested and interesting
in the Interpretation of their roles. Be-
sides. that, they possess varied talents
which make them good actors.
An old theme, Mother love is VIC
toriouS over the ambition for a career"
underlies the action, without too SER
iously interfering with the chief pur-
pose, which is to produce mirth. The
fact that the young man in the case,
according to the admissions of his own
parent, is ga son of the most prominent
family in this city," gives point to the
story of a suddenly postponed wedding.
The climax of the farce, when three
women who have loved the hero meet
in the same apartment, and two CT
them individually relinquish their rights
in favor of the college sweetheart, who
had preferred a career in art, but
finally is won to the idea of marriage,
is an appeal both to sentiment and to
Q sense of the ludicrous. In fact, the
entire production may be said to il
illuminate some old truths in breezy
atmosphere.
Mr.. Mitchell, co-autbor, fills the role
of Norman Overlook, whose stirring
adventures in love are here portrayed.
His vigorous personality requires no
artificial establishment for this farce,
O fact with which theater-goers are
familiar. Rachel Hartzen as Isabel
Drury, the young woman who is finally
persuaded that marriage is not incom-
patible with art, contributes vitality,
effective reading of her part, and versa
tility of expression to a difficult role.
Jane Marbury as Mrs. Case, boarding
house keeper, and Katherine Hastings
as Monica Case, her daughter, are ac-
tors of good quality. Fleming Ward as
Gilbert Rand, friend and adviser of
Overlook, acts with vigor and poise. A
dozen others might be mentioned as
contributors to the general effect, in
GLIDING Susan Conroy, owen Martin,
Adrian Rosley, Lora Hays and Elizabeth
Bruce. D. G. G.
GAYETY I s S6@a pin n tbs, en Tari
"Jazztime Gus lines, sing and dance
Review" and wise-crack the
"JaZztime Revue" to
boisterous public favor at the Gayety
this week. Opening audiences hailed
the revue with shouts of applause.
Kitty Madison, singing bird Of the
affair, took the spotlight Of credit at
early shows and babe fair to repeat
these triumphs through the week. Jack
Hunt, chief comedian, turned in a cap
lery and song, and won favor With the
patrons. Others prominent in the re-
vue were Babe Abbott and Harry Left,
Gladys Lockwood, Eloise Dwan and
Dolly Ashton.
A word, too, in passing for the gal
liant girls of the chorus. Some 20 OF
them Whirled and tapped through the
routine of the show, herewith accorded
credit for their efforts in addition to
the actual handclapping which they
had in the theater.
METROPOLITAN most mos Il inter- err
George Arliss in eSsng g,, shI
"DiSraeh" a. 81 - ~ ~ ~ =
speaking stage, Louis N. Parker's Dis
raeli," which served as a starring We
hicle for the distinguished actor George
Arliss for several years and in which
he was enabled to present one OF the
finest personal characterizationS of the
theater is shown at the Metropolitan
Theater this week in the form of a
Warner Bros Vitaphone production.
The photoplay, with its talking char
acters, is, of course, gratifying re-
minder of the play, but the most en-
thusiastic admirer of the talkie will not
venture, it is safe to say, the judgment
that it in any sense compares with the
play, although capacity audiences at all
the performances seemed to enjoy 1t
with wrapt attention.
While the Parker play is not an &C
curate transcript Of history, its varia-
tons are not sufficiently important to
matter. The story of the play, almost
identical with that of the photoplay,
Is thoroughly entertaining and in the
photoplay Mr.. Arliss' wonderful pre-
sonality in its creative form is finely
preserved. True, there are sound de-
fects In the reproduction of his speak
ing voice, but these seem to quickly be-
come adjusted.
Joan Bennett and Anthony Bushell
meet the requirements of the young
lovers of the story, presenting an Eng
lish type of acting entirely in keeping
with the story, while Mrs ArliSs in her
own attractive personality is as real
istically present in the picture as in
the play. Doris Lloyd as Mrs Travers,
the English spy in the pay of the Rus
sian government, mechanically meets
the requirements Of her part, and Da-
vid Terrence as Lord Probert and Ivan
Simpson as Hugh Meyers, who furnishes
the millions to purchase the stock Of
the Suez Canal, thus enabling Disraeli
to expand a SNUG little England into
an imperialistic role and to make his
beloved Queen, Victoria, Empress OF
India, both provide fine characterize
tons.
Others in the long list of characters
include Margaret Mann in a brief but
far-oh view of Queen Victoria; Gwendo-
len Logan as the Duchess of Glastonbury,
Henry Carvill as the Duke, Norman
Cannon as Foljambe, Michael Visaroff
as Count Bosrinov, the Russian Am
bassador, and Charles e. Evans as
Potter.
The story, of course, has as its out
standing plot the circumstances leading
up to the purchase of the shares of SueZ