The Waterbury Democrat., 1932-10-14
Earl Carroll Serves His Girls With
Dressing In Come back To The Stage
BY GILBERT SWAN
NEA Service Writer

New York.-Drop him as YOU
will, Earl Carroll has a way of
bouncing back.
So here he Is again, after travail
and financial upset, adding more
lights to Broadway and shouting
that his new "Vanities" spectacle
is in every way Bigger and bet.
ter" Well, it is bigger!
Wherever he may get the money,
Carroll manages to give the i'm
preston that he spends 1t with
lavish hand and goes to extrava-
CANT limits. That his products
could be in far better taste at half
the cost is, of course, something
else.
But Carroll Is devoted to the
visiting buyer from out-of-town,
the uptown and side-street crowds
of New York that want plenty of
birthday cake scenery, the ex-
tremely tired business man and a
male audience in general. For
whatever he may or may not put
in his shows, he does get beau
tiful girls. He chooses this year
| the most part, the "Vanities" is
costumed this time.
Fact Is. the current edition is
quite a different Carroll show. 1t
Is a sort of international vaude-
willie revue. For Carroll went
scouting over the globe, picking
up this Frenchman and that Brit
Usher and several other fellows.
He even has a touch of the higher
art, as displayed by Harriet Hoe
tor, the wave-like danseuse who
has just returned from long Lon
don season.
He has Milton Berle, a promis-
ing young r-of-ceremonies
who has been fast growing up in
the vaudeville sector; he has Will
Fyffe, the Scotch comedian and a
fine old-time performer; and Hell
en- Broderick, from the smarter
revues; Lillian Shade, the blues
singer; Keith Clark, a suave ma
gician who deals in lighted cigar
cites; Edwin Styles, London CO.
median, and list so long that it
must help the theatrical depres-
sion.
CAROLS mechanical tricks are
as interesting as ever; neon rods
that light up for the chorines;
scenery that splits many ways and
lifts and drops and dissolves;
stages that lower and rise; novel;
ties of every sort.
Many blocks down Broadway,
in the old Maxine Elliott theater.
there is mama for the moderns,
the thinkers and the satirists. the
liberals,the smart crowd, the folk
who take their minds and their
emotions to theater with them.
| For John Howard Lawson is
back in the playwright field, after
many gold-lincd seasons in Holly
wood. And his play is Success
Story" done with something of
the white heat and mockery and
aliveness and tempo that marked
his professional" which now
holds quite a place for itself.
AS the title suggests, it concerns
young man who becomes hero OF
the typical success story" but
doesn't know what to do either
with his money or success after
he gets them. He rises with quick
bounds, taking whatever he seems
! to want with him. His love-life
Is messed up and in the end he Is
violently removed from this earth
by his attractive secrctary-sweetie.
| But, as in other Lawson plays, 1t
isn't the story so much as how it's
told. And Lawson can pile excite
ment upon caustic commentary;
can build a melodrama while en-
gagged in debunking; can create
| the semblance Of life while view
ing his people as symbols.
| Stella Adler and her brother,
Luther, carry the leading roles.