Judge — October 30, 1926 — page 20: what you’re looking at

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

JUDGE JUDGING ‘be SHOWS* * By Geospe Jens: Neth, ¢ > | “Broadway” | (Broadhurst) — very good | | &: ] ‘s melodrama of Broadway fowl. “The Captive” (Empire)—A fine production of a thoroughly interesting play. “The Woman Disputed” (Forrest)—By a movie scenario writer. “The Immortal Thicf” flubdub. “Black Boy” (Comedy)—Jim Tully's vivid tale of a negro prize fighter. (Hampden}—Biblical “Sez” (Daly’s)—Dreadtul slop. “An American Tragedy” (Langacre)— iol their palm-pounding camara Patrick Kearney's dramatization of Dreiser's dos, perceive it is. NE of George Ade’s old fables novel. . dealt with an idiot who “Juarez and Maximilian” (Guild)—Franz I joined so many secret soci- Nedsts' lets: eties and fraternal orders that his right hand, by virtue of the constant execution of lodge grips, got to look “The Jeweled Tree™ (48th St.)—A so-called . ” . Egyptian fantasy of 1350 B.C, with. the gEP River,” by the Messrs. an characters played by actors named | farling and Stall; ia Oecd Bat Walshe Harling and Stallings nounced on the program a: is an- ‘a native Me teva-naraly rab: ‘Thisicharacs “The Judge's Husband” (49th St.)—William seal? “Tks egente ee like a paralyzed crab. This charac | Hodge in the dramatic kindergarten. opera.” If Deep River” is an ter the MM. Kaufman and Man- i oR — opera, “Lohengrin” is a farce comedy. | ‘ideatte, have taken overvand iad ke Donoran Afair” (Fulton)—Childish pa ee aces | iewicz have taken over and made quiver-melodrama. The underlying idea of the exhibition | ths central Beure of pats called “Sandalzond” (Gaiety)—A weak play with | : a ounce and Valuable one, he Good Fellow. n the open- one or two good spots. o wit, to give expression to Louisiana ing night, all the Algonquin friends “We Americans” (Hartis)—More Yiddo- life in its Creole heyday in terms of of the authors were duly on hand to American comedy-drama. various native musical themes and see to it that the exhibit, good or men Ficles Blonder’ rman Sauare) rhythms. To object to the validity bad, got enough handclapping to CS RNY RMR SATE ane f the plan, < B f R “ Dorotly: of the plan, as one pro! make the policeman on the curb out- the ground that modern side think that Shakespeare and are slightly anachronistic to the ssor has, on zthythms “Deep Rirer” (Imperial)—See this i i F i “Treat'Em Rough” (Klaw)—A very bad one year Moliére were back in town staging a by the Hattons. si 1835 is as absurd as to object to big pinochle game. Despite the “Countess Maritza” (Shubert)—The best “Salome” on the ground that Richard \ tributes of their boosters and well score from Vienna in many a da; Strauss’ tonal eccentricities are even . wishers, however, it must be la- “Tuo Girls Wanted” (Little)—Innocuous more anachronistic to a period 1835 mentably recorded that the authors mush, years earlier. But though the im- have produced a very feeble affair, “Loose, Antles” (Biltmore)— Vaudeville pulse is admirable, the accomplish- | with but one scene—a highly amusing | cme backs embellishing « poor play. ment falls far short of that. For all one showing a meeting of the lodge— “Fanny” (Lyceum)—Prime flapdoodle with that the authors of the exhibition Saas Nl Fannie Brice as the star. A : . to give it any life. i. ae oo ; bie Clark i have realized is a fairly good music ‘ Both Kaufman and Mankiewicz earn” Sate) Bobbie Claresin show book punctuated at intervals ' are intelligent and talented fellows «The House of Vasher” (Mayfair)—A funeral. with melodies. As an opera, they and both certainly have enough good en ne Ean ne have gone little farther than Arthur common critical sense to know that “Just Life” (Millec)—Anotber. Hammerstein did last year with his the applause vouchsafed their cur- i Tis SHAE: Otoronco): Neances Stare Russian “Song of the Flame.” rent effort by their backslappers is i a ia a Technically, “Deep River” follows ridiculous. All that they have writ- “Yellow” much the same plan of organization ten, aside from the single scene “The Good Fellow" (Playhouse)—See this as the latter. | National) —Cheap meller. alluded to—as they themselves un- mar . ; Of the three acts, the first is the | doubtedly appreciate—is a one-note, a ee Sele and Sulli- most interesting. The second, con- | machine-made comedy that gabbles sic Hy BakGs Piloccu) OS US alice sisting of a voodoo ceremony, is A uy, Buy Baby” (Princess)—By ors See a es : | incessantly about a character-theme of “The Cradle Shatchers” bat tok to be come weakly imagined and is twice too long without ever dramatizing it save in pared with it. for its relatively scant material. | the most superficial manner. A “Crias-Cross” (Globe)—Fred Stone. And the third is just average musical competent troupe containing John “White Wings” (Booth)—Next week. comedy. For their ambitions, the Hazzard, Clara Blandick and Ethel “The Wild Rose” (Beck)—Ditto. Messrs. Harling and Stallings, to- | Taylor—to say: nothing of some “The Shanghai Gesture” (46th St.-—Amour gether with Mr. Hopkins, their im- searchingly cast character types in Chinoise. presario, deserve congratulations. minor réles—is of assistance in giving the play the appearance of being somewhat better than the authors, “The Home Towners” (Hudson)—Geor, i ride | | Cohan's entertaining dialogue. - But tor their socevemiente i am | “The Little Spitfire” (Cort)—Drivel. sorry “ Ted at a 4 River ‘ontinued on page 28) comicbooks.com