Judge — April 24, 1920 — page 24: what you’re looking at

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

Drown by Hemaax Parsee tate interests upon which they naturally desire annual rathe than seasonal returns. This in a measure explains why the theatre has come to be a basis of business rather than an inspiration to art. At rare intervals New York is struck by something like “Lightnin’.”. Now and then comes a play which 1 has all seasons for its own. But very few productions of the regular season survive in hot weather. And before the crocus blooms many a manager dreams about and plans for entertainment that fits or is superior to caloric. There are roof shows and play houses that advertise refrigerating plants; but the play’s the thing. he Summer show must have breeziness, color, music and song, dances, and at least a little deviltry. Above all else it must have bevies of young women that embody a beauty exhibition, and their physical charms must be re- vealed. If there is also novelty in idea, so much the better. A lot of metropolitans seek the open air in Summer. Some of them aid in enriching hotel- keepers in the mountains and by the For the masses there are Coney Islands with multiplied attractions. Yet the town’s gates are open to other masses who are sure the city is the greatest of vacation places, and to whom during their joy-secking labors perspiration is but an incident. These support Summer shows. About everything produced from Spring’s beginning has a Sum- mer ambition combined with a ne se: | j season hope. ‘*What’s in a Name | projected tat the Maxine Elliott Maxjory_ Rasne ‘ Theatre, will be a Summer show if it Nev to Ger ru survives the interval, as it promises to d In stage drapings—some of them half diaphanous and others quite trans- TRAL,” Lu Isstaeaest Wirn 24 Her Terernosr HE managerial fancy lucent—in lighting and in in Spring turns to . soe other features it plays upon the Summer show. Summeritis the fancy. It has freshness Our — entrepreneurs and a lack of continuity t have large real es- By J. A. Watprox satisfies for one moment and piques curiosity as to the next It has crowds of girls in a va- riety of disclosing draperies, and it presents many attractive ensembles, some of them poetic in con- ception. One scene of special note, “A Young Man's Fancy,” is str kingly dainty and charming. Another of its abstracts, “Highlowbrow,” by S. Jay Kaufm animatedly tabloids little literary classics, and opens a new field. Beatrice Herford’s individuality gives a line on the entertainment’s distinction. One or two of its features, fresh from vaudeville, might well have left something of that environment behind. But John Murray Anderson, the creator of the entertainment, has shaken up the traditions, and commendable novelty is the result. All the young and newer managers scem to be prophetic of better things, for they all have a forward look. The enterprise of another of them, Joseph Klaw, is not preten- tious or particularly significant, ex- cept that its first night brought sincere tributes from his actors and authors as well as the audience. It is “Mrs. Jim- mie Thompson,” | comedy by Norman S. Rose and Edith Ellis. Reminis- cent in characters and story, it nevertheless has new and amusing angles of interest The scene a boarding- house presided over by an ex-actress whose professional memories are unfailing. A love- sick stenographer, uncared for in her drab estate, takes a vacation and returns pretending she has mar- ried a man who has gone to South Amer- ica. At once she becomes the amato' object of the males, including the man on whom she has set her heart. The play develops an idea with skill, and is clean This is a distinct merit in these days of lingerie and lubricity in such pieces. Is Deter- NuMBER Site Asxep For, Even tr Sur Has ro Crawr Aut tHe Way ro “Ces- AU Hex comicbooks.com