Life — August 31, 1916 — page 21: what you’re looking at

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

time between scenes, thus obviating the usual lowering of the curtain or ex- Planatory matter on the programme. Louise Dresser and Mr. Tom Wise head the competent cast, which manages to get a very considerable amount of fun out of not very promising material. Blanche Ring brings her buxom and pleasing personality into view again in an urbs in rure contraption called “Broadway and Buttermilk.” The old contrast of city characters in country surroundings is worked with much better results than at this late day might be expected in the way of providing laugh- able lines and situations. The Dolly Sisters, conspicuous among the products of the dancing craze, are certainly more eloquent with their feet than in speech or the art of acting. They are so dainty to the sight that they should never make the mistake of ap- pealing to the sense of hearing. Their similarity in looks gave Mr. Rising, the author of “His Bridal Night,” the idea of using them as twin sisters in a farce which is more suggestive than mirthful or skilfully contrived, Turned into a pantomime, or with its twin stars as dumb girls, it would have potentialities lacking in its present form. “"THE GUILTY MAN,” as its title indicates, is another crime play, but it also has a couple of side issues, in the Brieux vein, touching on birth control and the responsibility of men for the sins of their youth. It is a strong play in the sense that the adjective is sometimes applied to butter. Irene Fenwick has ample opportunity for the display of girlish emotionalism, and avails herself of it creditably. A curious young actor named Gareth Hughes is very appropriately cast as her artistic lover. Emily Ann Wellman plays a painful part painfully, and the cast throughout is a wood one. “ The Guilty Man” seems likely to please those who are fond of the old style emotional play, and to give food for thought to persons who think that plays should take their clothes off to teach a moral lesson. “WHY! JOMN HENRY, WHERE AXE YOUR EYES?” Gen. Washington: wenor, ULYSSES, ONCE OUR SUPERIORS, NOW OUR EQUALS It will be seen that the season is very young yes and feeble, but its product to date is just the right sort of thing for folks who have no more sense than to go to the theatre in August. Metcalfe. CONFIDENTIAL GUIDE _ Astor.—" The Guilty Man,” by Ruth Helen Davis and Charles Klein. ‘See above. Bandbox.—Closed. Belasco—" The Boomerang.” by Messrs. Winchell Smith and Victor Mapes. Second year of a witty farcical comedy dealing amusingly with certain weaknesses of the medical profession Booth.—Closed. Casino.—" Very Good, Eddie. comedy with musical interludes. Century.—Closed. Cohan's.—* Seven Chances." See above. Comedy —The Washington Square Players in mixed bill. Cort.—Closed. Criter Civilization.” See above. Eltinge.—" Cheating Cheaters." See above. —Closed. rth Street—Closed. Mr. James T. Powers in “ Somebody's Lug- ¢ above. " by Mr. George Broadhurst. Notice " by Mr. Avery Hopwood. An ex- alcoholics made the subject of a laughable and well- Flippant but amusing farcical periment played farce. Hippodrome. —Chosed. Hudson.—Closed. Longacre.—" A Pair of Queens.” Notice later. Lyceum.— Please Help Emily.” See above. Lyric.—Closed. Marine Elliott’s.—Blanche Ring in “ Broadway and Buttermilk.” See above. Playhouse.—" The Man Who Came Back,” by Mr. J. E. Good man. Notice later. Princess.—Closed. Punch and Judy.—Closed. Republi ‘The Dolly Sisters in “ His Bridal Night.” See above. Shubert. py, Ending,” by the Macphersons. Notice later. Thirty-ninth Street. Pee. josed. Winter Garden.—* Passing Show of 1916." See above. Ziegfeld’s Frolic.—Midnight cabaret. See above. comicbooks.com