Evening star., 1936-04-26

The most interesting and most op
cess of Ghosts" which precede it into:
town, is the story of the New York
opening. New York doesn't care par
ticularly for revivalS-and in fact few
of them in the past have dared to face
the fire of Broadway's first-night boys,
remaining content to stick to the
road" considered a safer and more
lucrative procedure.
NaZimova, however, seemed to think
New Workers were as smart as the citl-
zens of the other towns where she had
played and would greet her revived
Ghosts" with cheers instead of jeers.
She must have been right for the
critical occupants of two-on-the eaisle
we're almost unanimous in the "okays"
they turned in and the original two
weeks scheduled in Manhattan were
extended to four.
Perhaps it isn't news, though, that
Nazimova has been successful in her
revival of Ghosts" for she has long
been recognized as the leading ex-
ponent of Ibsen women in the land.
She made her debut. in English, i'll
Gabler" and then went on from that
triumph to "A Dolls House." THE
Master Builder" Little Eyolf" and
THE Wild Duck" her successes being
responsible for bringing much popular
and critical acclaim to the Norwegian
master of drama
Nazimova's appearance in her cur
rent role, Mrs. Alving in Ghosts" is
another of those ''realizations" at
tanned by leading actresses after long
preparation. After the star had studied
under Stanislawsky at the Moscow Art
Theater and had become leading
woman just out of her teens, she
translated Ghosts" into Russian AMI
played minor role
She played the same role when she
came to this country with Paul Orleneff
and his dramatic company. but never
did it in English. and even after she
learned English and began her long
line OF Ibsen successes. the playing of
Mrs. Alving was left among Nazimova's
dreams.
1t was last Spring while the star
vas playing IN The Simpleton of
Unexpected Isles" for the Theater
Guild that she finally decided to play
Mrs. Alving. Ghosts" was opened in
Milwaukee, where. according to re-
ports, it aroused the audience to cheers
which lasted for five minutes. Then
came Detroit. the Ann Arbor Dramatic
Festival and now the triumphant tour.
FURTHER Ziegfeldiana comes from
Norman Pyle, still footing a silver
herald's horn over the merits of the
Metro -Goldwyn- Mayer musical spec
tacle. The Great Ziegfeld," dedicated
to the life of the famed producer.
Ziegfeld, it seems, went through
life living contradictory characteri-
Eation-dynamic, yet reposed. While
the people who worked for him were
tearing their hair, struggling, swear
Ing and worrying themselves to dis
traction over details of the current
show. ziegfeld was wont to lie COM
fortably in luxurious bed, propped
up in pillows, with telephone placed
at such an angle he didn't even have
to lift it.
He used to begin his day early
sometimes at in the morning. And
five minutes after he was up he
would start waking his entire staff.
No matter how tense or exciting the
day, though, he always could throw
of the excitement and relax. He
used to fall soundly asleep on the
way home in his car. He was adept,
too. at holding a newspaper up in
front Of his face and cat-napping
while directors. singers and dancers
shaved for his favor at rehearsals.
His principal relaxation came, how
ever, 1t seems, from thinking I'D
strange ways of annoying his staff A
favorite trick was employing two men
for the same job and then watching
them battle to see who kept it.
THE deathbed scene of Little Nell
in Dickens "Old Curiosity Shop"
was responsible for Tony Sarg's Mari
onettes. Some 20 years ago, when Mr..
6arg was studying art and designing
and sketching in England, he created