Evening star. [volume] (Washington, D.C.) 1854-1972, 1930-11-02

YUST before the first act ends in
musical comedy the knowing
playgoer leaves his seat and waits
~ IN the foyer until the second act
begins. 1t is then that the GUS
tcmary misunderstanding occurs be-
tween the hero and the heroine in 10
minutes or so of lament and recrimina-
ton. The habitue has seen it numerous
times, but seldom with any changes. and
so he absents himself from the monoto-
nous formula and seeks refreshment in
the open air. Musical comedy romance
is dire at any time, and in the finale
preceding the intermiSSion 1t Is at its
worst. At such a moment librettiStS and
composers abandon their work and let 1t
find its lowest levels. They walk out on
it, as do the more sagacious members of
the audience, regarding 1t as tiresome
tradition too strong to BE- overcome.
The fact that Girl Crazy" deviates
from this hopeless design is one of the
several reasons for its encouraging
popularity. 1t Is frontier operetta
dealing In a brash Broadway fashion
with the song. dance and sentiment in
digenous to life on dude ranch in the
far interior. Inspired by its Wyoming
breeZeS its authors contrive a new type
of climax. Thus Miss Ginger Rogers as
a Montana or perhaps an Arizona
ingenue falls in love with Alan Kearns
as an attractive New York debauchee.
They disagree at 10 pm. as usual. But
instead of following the routine pre-
scription Miss Rogers pulls two guns.
These she aims at the feet of her Times
Square sutton. She blazes away at Mr..
Kearn's city dogs Miss Rogers is shoot
ing and Mr.. Kearns is dancing vehe-
mently as the curtain falls on pleas
ant detour
1t is my precarious duty further to
recommend Girl Crazy" as a point to
be visited by those in quest of light,
vigorous and musical entertainment.
The score, by George Gershwin, the sole
aristocrat of the Broadway tune busi-
ness, is a fine accompaniment to the
sprightly ritual, now tough, then tender,
here surprising, there expected, and al
ways blessed by the composers irresisti-
BILE originality. 1t was lucky for him
that the producer lured Miss Ethel Mer-
man from the vaudeville theaters to
sing some of his better songs. AS a wise
chanteuSe from the mountain or prairie
| honk-a-tonks Miss Norman intones Mr.
Gershwins atmospheric melodies just as
suspect, he would like to have them
intoned. When Miss Norman sings and
acts Il Got Rhythm" all other activities
should cease. 1t should be a national
holiday moment, with banks closed and
factories idle. Willie Howard. noted as a
comedian with little charm but with
considerable talent. is the clown in
/ Girl Crazy" giving accurate limitations
/ of many of his confreres from George
Jessel to Al Jolson. He is an advantage
| to good show, and so is quartet OF
! cowboys who drone a philosophic poem
entitled I'm Bidin' My Time" The
girls of the chorus are subtle and dar-
ing exhibitionists, confessing with more
art than any other Longacre ballet the
secrets of their shapes.
NEW YORK'S Olympian trio, Miss
Libby Holman, Clifton Webb anc
Fred Allen, deserters from The Little
Show" are now engaged in banishins
such care as may furrow the brow Of
the trivial drama lover. In a dashins
| revue called ''Three's a Crowd" they
perform their engaging feats engaging.
! ~, assisted by the sophisticated wit anC
humor Of Howard Dietz, a brilliant
though modest Broadway haneur. The,
make a popular show of "Three's
Crowd" without depending upon the ex
travagant expediencies of Mr.. Ziegfeld
Mr.. White and, If one may be permitted
to whisper the name in polite circles
Earl Carroll. Mr.. Allen is this column
favorite in the partnership. He IS
quietly funny fellow, who, lie zoe Cool
in Fine and Dandy" is expert in othe
departments of the drama He cal
juggle and he can blow a saxophon
while cracking modern jokes, an &C