Evening star. [volume] (Washington, D.C.) 1854-1972, 1930-03-24
NATIONAL OPENS TUESDAY.

actual imposSibility OF installing the
scenery Of the new musical comedy,
"Jonica," was responsible for the dark
house and lack Of a performance at the
National Theater last evening, as sched-
uled.
Manager Cochran states that, despite
herculean efforts to overcome obvious
obstacles in the proper presentation OF
the settings and scenic beauties of the
new show, poStponement of the open
ing night until tomorrow was impera-
tive. Meanwhile. he states, tickets for
performances last night and this eve
ming may be exchanged at the box
office.
lCOT TIMRTA How that boy
"The Rogue Song" That was heard
| on every side as
the audience that packed the Columbia
afternoon seeped slowly toward the ANAL
exit and fresh air. That, in short, is
The Rogue Song"
There is beauty in the technicolor
mining, the charm of fascinating seem
cry In wild country and the contrast
ing effectiveness of scenes in a Iuxuri-
Gus palace are also among this pictures
| attractions. Lionel Barrymore is said
to have directed it, and he is to be con-
graduated upon many fine groupings
| OF people In various scenes. The COM
edy is capably handled by Stan Laurel
ana Oliver Hardy. The humble bee
scene Is undoubtedly one of the fun
| NEST incidents ever filmed. All the
actors seem to do their best to bring
! reality to a story sufficiently Graus-
tarkian to fill the romantic need of the
ladies' In the audience. and with plenty
OF Russlanized opportunity to suggest
SttnctS of the audience generally.
Just the same, the final impression
is mat II Is the glorious voice of Law
renee Tibbett and the perfect artistry
or his singing that overWhelns all else
Many In Washington have had op-
portunity to hear this young Californian
in operate roles with the Metropolitan
opera Co. He also has appeared in
concert programs and won a definite
place with local music lovers "The
Rogue Song" his first "talkie." nm
doubleday will add to his fame. He
screens very we'll. Always noted for his
enectlve makeup in opera, he brings
very different personality to the
screen from that to which his concert
audiences are accustomed. Instead of
sleek-haired. chubby faced tall Young
man In correct morning clothes. here
Is Swash-buckling CoSsack with fuzzy.
rumpled hair and bold glance. His
speaking voice is excellent. clear and
not too vibrant. His singing, too. has
TINS quality generally, although there
are TWO or three numbers that lead one
10 suspect either that he was too close
70 the microphone or else, by some me-
chanical process, his tone had been
T3Vsterampllneo. In such songs the au-
oitor senSed photograph. The illusion
pletely. N0A"
The songs that Tibbett sang BROUGHT
out the qualities that have proved his
pest individual assets in concert and
opera. "A couple of songs were written
evidently to recall Tibbett's mastery
singing Of Moussorgsky's Song of the
Flea. Other songs were simple love
songs OF popular melodious appeal,
every number was well done, and the
choruses we're excellent.
In the role of the beautiful Russian
princess, Catherine Dale Owen Is lovely
THE Rogue Song" is splendid enter.
tainment admirably put together. but IL
IS not great picture. From the sub
oued, but ever-present, accompaniment
Tor all Mr.. Ttbbett'S songs, which are
supposed to be spontaneous, original
songs Of the Cossack, to the beautiful
put obvious, wig that Miss Owen wears
IN the latter part Of the picture there
Is just enough intrusion Of the artificial
to destroy any sense of reality. Every
one knew perfectly well that those huge
weltS on T1bbett's bare shoulders as a
result Of the fiogging were merely paint
ed there. The picture undoubtedly will
please. H
PALACE Ben Hecht, q writer
who has supposedly
E0adhouse pfumbed the depths of
Nlgnts' the newspaper world, has
fashioned tale for the
screen called "Roadhouse Nights"
which Is to be seen this week at Ioew,s
Palace Theater
There is in this yarn much of the
stun that went into broadway and
gentlemen Of the Press" and vet the
Illusion OF reality is somehow missing.
Inc 1ault lies probably in the direction
which forces the actors to assume
grlmaceS more villainous than one is
accustomed to nowadays. There is in
this story much shooting, much boot
legged liquor, much turmoil in the ofice
OF the Chicago Times, and a girl, of
course, who has to sing when her heart
wen nlgh breaking-and yet in spite
OF all this, the film never gets to be
intensely exciting, never gets really be-
yond the mildly interesting state.
Just what might happen If a news
paper man tried to reveal the actions of
pretty tough aggregation of bootleg
gers In an inn outside Of Chicago is
the theme around which Mr.. Hecht has
fabricated his plot. The action is d.
v1ded between the inn and the ONCE of
the Times, the telephone playing the
most important role Of all. The first
reporter who comes to the den of
iniQuity is shot as he Is about to tell
his story over the phone. The remainder
OF the story centerS around his brother
reporter who comes to find out about
1t, avenges him and rounds UP the
gangsters to make a perfect ending.
Charles Ruggles Is seen In the role
of reporter, being especially effective
in the scene where he taps a code story
to his paper while pretending to tell
something quite different. Fred Kotler,
as the bootlegger, Is the exponent of
villainy, and Helen Morgan, who at
tanned fame by sitting on the top of
piano in a night club, is good at
times and at other times not SO good.
Pat Henning is the featured performer
in the stage entertainment, Southern
Melodies" and Bobby Gillette a pleas
ing master of ceremonies. HenninR,
incidentally, dances with considerable
gusto and Gillette does very nicely on
banjo. Others include the three
Dennis Sisters, who sing prettily; the
-Four Flash Devils, who fall around on
a