Judge — December 27, 1919 — page 24: what you’re looking at

Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.

a by Hemsay Pavan OR an actress t quish the ré n- ing pretty requires either fortitudeorres- ion. When the Ingenue finds she r land ‘em with time-worn tricks she must ca tions. If sh can remain a star while f rry I Jay.) as she is today ign can no long as succeeded in put viduality to impress wi } toa humble place a | becomes the heroine's gray-haired | ring old housekeeper Cruel are the years to the she e with but a shape So carpe diem. ( | Lead out your trumps at the } start to make sure of your bid for favor Be preem tly , pretty now or never i And yet there are personable ; damsels who deliberately waive | the right to be good-lookins ‘| joyous Georgia O’Ramey for A swears all that is fetchi id i - 1 rf never permits herself mo- b ment’s grace. In “Leave it t Jane” and the “Velvet Lady” rstick stunts were t uly ddening. Probably in ; real life Miss O'Ramey is quite ihe comely. No doubt at a party ihe she can dance like a gazelle. | i On the stage, however, she is a i super-Sis Hopkins, an elfish He elephant, with the delsarte of | a duck | We don’t know estimable lady is at. present. Some place between Boston and Los Angeles, we suppose. We wish she Broadway shealthy here this show on now. Her does clear the were in a right hilarity ong those present in Tomboisterousness B Lawrox Mackaut about i ore Was never so admirable, so subtly or if 1 who irab the public while you Parertaste Percuniteve Beue new direc- vera personality, sIder parts. cha f the ex-ingenue has failed to impress dividuality upon the public, h, then a ne has had no relegates her ¢ cast: re oF rming she othing to the show is over, oafish as they first pretended rlish Brooxtyn 1x laugh at h Jewish-French coquette, or a Jewish-Indian squaw (called “Hawk, ish-Greek classic d Manin, E gets, Bro bigs” fool c As Most clown comedien THE Jest of all. e says, be Janseuse, is to grow weak in the It takes temerity for herself. atmosphere in a stuffy sea- son. How she could clear a farce of its lingerie cobwebs Fannie Brice, another ex- ponentofhighlydeveloped low comedy, also has the courage of her clowning. She is will- | z to leave with us an impression of grotesque gawki- ness. Herself a Jew, she travesties Semitic traits with (Ethel — uproaric ration, and members of her own race To see and hear her as a ‘ause of her “beak”’); or a young woman to She deserves every guffaw es like to demonstrate, before that they aren’t really as dowdy or >be. “In “Head Over Heels,” monkey-shining Mitzi was an ungainly acrobat for two acts only, appearing at the end as a normally nifty miss ina be coming evening gown. You can hardly blame her; the strain of remaining incog in uncomeli- ness is only for Spartan women Even Charlotte Greenwood, the “Linger Longer Letty” person, weakens on the job of being a lummox. For just half the evening she wears gawkify- ing garments and looks like a human mistake. Then she re- volts and sets out to be stur ning. Olin Howland’s tran formation from seedy sailor t snappy sport is funny because underneath his sudden swagger there lurks the lout; he has style, but he has to go some to get away with it. But Miss Greenwood is a bit too earnest in convincing the audience that she is really attractive. We be- lieve in having clowns kept in their place and not emancipated. comicbooks.com