Judge — January 1933 — page 25: what you’re looking at

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

THE THEATRE (Continued from page 18) appear and disappear. What ap- peared and disappeared is not mate- rial to the memory; only the general idea of the prestidigitator himself i: Long and detailed reviews of girl and tune shows belie, as I have ob- served, the good time their writers allege to have had at them. “Walk a Little Faster,” still an- other music show, had, in addition to Beatrice Lillie, Clark and McCullough in it and any music show that has | Clark and McCullough in it is O.K. by me. I have never been able, in point of fact, to understand why I didn’t like even “Here Goes the Bride,” that eminently sour one, as he two boys were participants in it and that, logically, should have been enough. As a critic, I should doubt- less be booted right out of my job for always falling for the MM. C. and McC., whatever they may do. There’s | no sense to any such loyal love. But bring on Bobby Clark with those specs, segar, and enter him in a conversa- zione with his eminent stooge, and s world-famous c! ist and pun- dit goes haywire. What can you do about such a walnut? “The Great Magoo,” by Ben Hecht and Gene Fowler, has an_ insistent Mae West odor. Despite a scene or two that seem to have been contrived with a measure of dramatic honesty, the exhibit as a whole amounts to little more than an obvious effort to shock money into the box-office and, once it is there, to soften the shock somewhat by occasional injections of old-fashioned ntiment. suggests Edward Sheldon’s fifteen- year-old “Princess Zim Zim,” that fable of Coney Island passion, re- written in terms of “A Hot Baby in Paris.” And its effect is of a man in the smoking-car who tells dirty stories, with time out only to light a number of Spuds, all the way from New York to Chicago. Of Mr. Fowler’s antecedent literary and dramatic endeavors, I know naught. But Prof. Hecht has proved himself much too talented a fellow to stoop to such Rue Furstenberg minsky. The best performances are those of Claire Carleton, a very attractive newcomer, Dennie Moore, an amus- ing little comedienne, Victor Kilian and Jack Hazzard. Paul Kelly plays the leading male réle like a second- rate James Cagney. Nathan’s Opinions z “Biography” (Guild)—S. N. Behrman’s intelli i not always Much better, however, days. Ina Claire, any perform it with muc atically magnetic pst of more and com “Take a Chance” (Apollo) butloonery in this one — Some good and that cane, and that old | The play | Making the telephone MORE VALUABLE to more people The constant purpose of the Bell System is to make the telephone worth more and more to all who use it. To that end eight helpful ways to increase the usefulness of the telephone in your home or office are listed below. . . . Some of these you may know. 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Call the Business Office of your Bell Tele- hone Company for full information about any of the services listed above, AND TELEGRAPH COMPANY “The Dubarry" (Cohan)—Millocker’a songs Grace Moore's singing atone for a dreary book. “Musie in the Alr* (Alvin) — outstand- ing musical entertainment of the year, recommend it highly “Success Story” (F dash by John How lott) —Passic awson ° balder- “Walk Cu vi Little jer? (St. James) —Ct neh, all atrice Lillie, for t ‘Their material. hi “Flying Colors” (Imperial) —Mediocre 23 revue, fe Christopher Bean’? 1 Jerived from the French I played. Ably “Autumn Crocus” (Morosco)—Zero. ner at Eight (Music Box) — A big I success, but a dramatic dud demolselle™ (Playhouse somewhat juicelessly adapted. has the leading r Deval's comedy Grace Georse “The Mad Hopes" (Broadhurst)—Nothing jn this one. “The Great Magoo’ ture of smut and factured with an eye to Hollyw: “Of Thee I Sing” (46th Street)—Who doesn't know it's a grand show by this time? comicbooks.com