Life — February 15, 1917 — page 24: what you’re looking at

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

ee ee The Gay Life Here and in Jerusalem (Gaines COTTAGE” certain- ly housed a lot of birds, but they were of the human genus and came, apparently, from the breezy circles of San Francisco society to while away their time at‘the curi- ous bungalow in the mountains, The production of this lively musical piece marked the addition of an- other new place of entertainment to the already theatre-crowded neighborhood of Longacre Square. Mr. Oliver Morosco, the energetic ifornia manager and pro- ducer, is the proprietor, In addition to providing a new color scheme in the decorations and dispensing with the gallery, Mr. Morosco has given us one very agreeable innovation. The seats themselves are not only unusually comfortable, but be- tween the rows are an extra two or three inches of space which is a generous concession to the long-legged and removes a fruitful se of annoyance for both those who stay in and those who go out between acts. The usual long list of writers and composers, including Mr. Morosco himself, is made responsible for the words and music of “Canary Cottage.” With the exception of Trixie Friganza and Mr. Herbert Corthell, who are the principal fun-makers, the members of the clever cast are mostly unfamiliar, The manager has a way of digging up new people and giving them congenial roles with agreeable results to every one. “Canary Cottage" is evidently intended to amuse, and only to amuse, very knowing and up-to-the-minute audiences, In the era shortly to arrive when over-indulgence or any in- dulgence at all in alcoholic drinks will be absolutely an un- known thing in our goodly, godly United States, a great many of the allusions and a great part of the fun now present in the piece would be entirely incomprehensible to the straight- backed Americans of that period of complete and pious bliss. Alcoholic humor is not of the highest type but, as in the present case, it can be made laughable without being revolt- ing. The chorus contingent is quite up to the standard in beauty and symmetry. The music of “ Canary Cottage” is of the whistleable type, and not entirely bereft of the essential rag-time. Persons in good health, not too high-browed and willing to be amused will find entertainment and novelty in “ Canary Cottage.” AG G2~ fm HE young ladies whom the Prodigal Son met when he went up to Jerusalem to spend his share of his father’s money were picturesque even if they were not regular church-goers or members of the Jerusalem Four-hundred. At least this is the impression to be gained from “The Wanderer,” a version of the New Testament parable, turned into spectacular Old Testament drama by Wilhelm Schmidtbonn, a German, and Americanized by Mr. Maurice V. Samuels. The second of the three acts of this Biblical play is de- voted entirely to the young-lady experiences of the hero, who is called Jether by the authors, Without this act there would be little excuse for “The Wanderer” as the appeal of the other two acts is a sober one and not calculated to reach the senses of the New York public. The spectacular second act, however, makes up for all the scriptural theeing and thouing in the other two. The establishment of Madame Nadina was evidently located in the red-light district of Jerusalem, and gives one a new impression of just what went on in that great Jewish metropolis. Even New York, its present-day successor, has never seen anything quite so gorgeous in the same line. The stage of the Manhattan Opera House is a big one, but its capacity was taxed to hold the crowd of young women and their gentlemen friends who gathered at Nadina’s to feast and revel. In such surroundings Jether’s money didn't last very long, and at the end of this episode we find him stripped of his fine raiment and thrust outside the gate with no other resource than to return to the mutton industry on the farm of his father, Jesse. HIS gorgeous and barbaric scene, set in the art nouveau style by Stern, who was also responsible for the setting of “Sumurun,” was in di- rect contrast with the delightful pas- toral picture shown in the other acts. In the first of these we have pictured the discontent of Jether and his desire to try life In the last act we have it as the background for the return of the prodigal. It was a realization of the most ambitious mental picture of life in the patriarchal days and no details were lacking to the picture, even to the farm animals, including a numerous flock of sheep coming down the hills and crossing the stage upder the guid- ance of a shepherd and some very modern thoroughbred collies. The author and adapter have expanded the parable, partic- ularly in the matter of Jether’s Jerusalem experiences and by in the city. “HURRAN! I'M ELECTED TO OCCUPY THE HEART OF A Boy!” Comicbooks.com