Judge — February 15, 1930 — page 20: what you’re looking at

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

EP FSET OT ree eMWW EVERAL Years a called “. s publisher to “Power.” As JUDGE ING w= GAOW SG By GEORGE JEAN NATHAN novel arful of offending the Jewish trade in America, its title as changed by the local er” had already been used in the title of a play done here and also nervous lest the caption “J the novel i the Ame Jew Siiss,” producer has Following this line of al of Hall Cait urm” by way of not ali tian” to be ing the Gentile t Baptiste.” And it ce ttached to the dramatization of » England, alienate lc al Hebrew: theatregoers, a re-titled the exhibit mmmercial logic, "The Chris- nly seems strange that, under the circumstances, Anne Nichols didn’t have the foresight and good sense to safeguard the “Abie” out of its title. “Josef Suss” the title to believe that the } men or even d bout a vensen ¢ that the play isn’t named “r play from strikes me as being « promise, if a compromise had to be 1 spective Jewish customer, however sensitive, will | sn’t quite impress me. ure by leaving pretty dull com- irely no pro- led by bout a couple of Trish- couple of Presbyterians from Butfalo. T' management's theory that he n y be influenced to im woatall but about « : It would have been just as intelligent for Al Woods to el: title of “Potash « as “The Ethie: nd Perlmutter” to or for Marlowe to be published in the Americ: Culturist of Abbé and Meuri n edition Malta.” In y safety and success of Sam Bernard's old titl Mr. Hoggenheimer,” Charlie Dilling! more astutely have called hiy present it isn’t too | Syracuse ws The B “devel Suse” (Frianger)—\ sometisnes im Prewive but generally sketchy dramatization of Feachtwanger’s “Po “The Challenge of Youth" (49th Strcet)— Awful tripe. dake” (Awerbly) — Don Marquia conleets ane comical scene and Crowns it in a poor play “Children of Darkness” (Biltimre)—Some of the most adroitly written dialogue of the tenon gives interest to a play deficient in mooveent “w atertoe (Fulton)—The familiar tale of the wanton purified by love, the writing bringing nothing new to it “Strike Up the Band™ (Times Square)— The antics of Bobby von Clark and an original book go to make it a hilarious evening. “Michael and Mary” (Hopkiss) — Another tafly-pulling contest by A. A. Milne. “Strictly Dishoserabie”™ (Alvin) — Very entertaining boulevard comedy of amorous didoes in a New York Prohibition Nachtaryl Theatre “Phantoms” (Wallack's) ef rubbush, treet Scene” (\ mbasslor)—Meritori- ieture of a cheap New York fat-bouse. “Heads Up!” (Alvin) —The droll Moore is the feat A magnificent this one Scandals” (\pnllo)—As the travesty on Metican presidentia ishonered Lady” viewed. [tis Katharine Cornell's new vel “Death Takes » Holiday” (Barry ore) N uld have made it some- ‘but Walter Perris has the job, ““Recapture” (Ftinge)—To be reviewe. “dune Neen” (Iroadhurst)—Your money's worth of grand laughs “Bitter-Sweet™ (Ziegfeld)—Evelyn Laye to look at but Noel Coward hanily tolisten to, “Bird in Mand” (Forrest)—Amusing com English roadhouse by Johann Drink= forehand. Tf “The Rich Josef's surname—doesn't Mr. Oppenheimer’—that is strike Charlie’. faney, how about “Half-Jew Suss” whie ly revealed Suss is , in view of the fact that it bastard, would offend pro spective Jewish customers at most only fifty per cent, or— tage of the Noel Coward hit at the To get to the play itself. nigh impossible job of cont bulky novel within the tw span, Ashley Dukes has. gfeld— Confronted with the well- > rich materials of the with sugyesting the historical background of th fo ing against it the acters. There was implication; there was. time higher lights of conflict and passion. could get the novel onto the stag re melodr: ither time nor room for subtle emotions of its char- only for a recording of the In so far as anyone I suppose that Duke dthings about as well as the next man could. surmountable difficulties of the tcomings of th » dramatist. Wh get, there- ged spectacle that periodically mes to life with th pires because of an La posing marble railway tern derous departure of a series of trolley cars. Si sl lung power. great and im- wz to the thun is there, al and liste nd a certain impressiveness too, but the happenings ¢ them on the sta; urice Moscovitch, fort tre, has the role played i re dwarfed by the ghostly : architecture. ly of the New York Yiddish London by Matheson Lang. This Moscovitch has in later years played in England to loud acclaim, but so, for that matter, have a number of other bad American actors. Some (Continued on page 31) Digest “Top Speed” (46th Street) —Soeme agile chorus wutmbers but ont much else, “Berkeley Square” (Lyceum)—I seem stand alone in not being able to eee much i “beteer” (Guild)—S. N. Bebrman’s often- curiowly interesting study of egotism, admir- ally acted by A. Lant. “Sweet Adeline” (Hammerstein) —Some of the best songs and some of the best comely in tows, “Many a Slip” (Little)—To be reviews, “It's 2 Wise ChHG™ (Belasco) — Anatomical jecomities. “Sense? Guns” (Imperial) —\_ musical show with « lot to recommend it, including Jack Doabve. “General John Regan” (Irish) —George Birmiegham's excellent satirical comely “Fitty Million Frenchmen” (Lsric)—The wheetes are goo! and low and the lyrics are above the average. 18 “A Wondertul Might (Majestic) —"Die Fledermaus” still gayly flapping its wings “Broken Dishes” (Masijve) — Common. place boke. 8 End” (Miller)—See my com ereley Square. “Nine-Fitteen Reves” (Music Box)—To be reported on. “The Criminal Code” (National) —William Harri, Jr, doen himself peoud, but Martin Flavin haa done little to speak “The First Mrs. Fraser “At the Bottom” (\Walderf)—Adaptation of Gorki's “Night Refuge” with the Rusian characters saying “chrerio” and “skiddo But the acting i efficient, “Redound™ (1"ymouth)—Arthur Hoping? of Donat Oglen Stewart's ‘ornment to follow. comicbooks.com