Evening star. [volume] (Washington, D.C.) 1854-1972, 1933-01-08

S you may nave heard, "IWen-
" tieth Century" is a nlirthful pic
~ ture of what might happen on
4 4 Chicago-New York express train
in case there were showfolk
aboard People of the theater are excit-
ing even in their natural state, and
when Skillfully touched up and elabo-
rated in drama as they are at the
Broadhurst they become irresistibiy in
teresting. Ben Hecht and Charles Mac
Arthur, authors Of Twentieth Century"
are the playwrights best qualified to
make these superfluous Improvements.
Saucy men, confident, experienced and
artistic, they are not afraid to tear
down, knowing that 1t is in their power
to build up again. VandalS in spirit,
they are constructors in practice, and
so their operations result in an en-
hancement, if they will not laugh when
use that pretty word, of the play
worlds recreating values. In my time I
have had my share of contacts with the
ring masters and artists of show bust
ness, from Al Woods to Chaliapin. but
never have I found them so funny as
they are in Twentieth Century
On the train as it leaves Chicago,
bound for home as the actors call it.
are q. theatrical impresserio CMoffett
Johnston) and his retinue. Despite the
fact that he is temperamental SYM
postum of Morris Gest, Belasco, Jed
Harris and Roxy, he has just produced
ruinouS failure and is lettering on
the rim Of bankruptcy. A drama hating
New York bank is about to foreclose
upon his Times Square Theater, and
other creditors are similarly impor-
tunate. Troubles, however, do not
daunt him, for he is Broadway fusion,
as his press agent calls him, of DAT
tagan, the Little Corporal Attila the
Hun and Machievelli If he can per-
suade the reluctant Lady Garland, a
primadonna de luxe, to sign contract
he can take that priceless document to
Wall Street and get 81 600, 900 900 on it,
She boards the Twentieth Century on
the outskirts of Chicago. incognito, &C
cOmpanied by maid and sweetheart:
and, brilliantly played by Miss Eugene
Leontovich. she gives amusing battle to
the hero. She is SO stubborn that he has
to shoot himself in the last act before
she will write her name on the dotted
line.
George Abbott, the director of the
play, keeps it in motion as smooth and
swift as that of the great ambulance
from which it gets its title. The con-
ductor, the brakeman, and the porters
are more real than those of the Penn
sylvania system or the New York Gen.
trail, as tactfully they handle the spec
tacular dilemmas of the journey BY
cunning manipulation of curtain, and
machinery Mr.. Abbott enables you to
peer into the secrets of a Pullman
palace car, permitting you to believe
that you yourself are passenger. The
whistles, the bells, and other mechanical
instruments Of railroad atmosphere are
faithfully counterfeit, and cause you
to feel that you are really en- route. from
Chicago to New York with cargo of
sensational companions. Among these
is the frenZied maeStro'S press agent, a
profane and humorous two-bottle chap
who when assisted by couple of drinks,
thumbs his nose wittily to art and the
universe He civilian Frawley) is no
ordinary Broadway yeS-man, dispensing
mimeogTaphed and insignificant infor-
nation to the newspapers, but ruth
less field marshal, telling one and all
where to get off. His speech, when in
vigorated with alcohol, is arrogant and
Satirical He calls his employer Sire"
and, though loyal to the phony cause,
he sneerS earnestly, and quizzically at
grotesque weaknesses. When mascu-
line lady-physician enters breezily and
shouts, It am Doctor JohnSon!" Mr..
Frawley looks her over coldly and in
quires (which Doctor Johnson-Sam or
Benz" That line may give you an idea
Of the authors urban and literate
huuOr