Life, 1922-01-19 · page 21 of 34
Life — January 19, 1922 — page 21: what you’re looking at
What you’re looking at
This page is a **theater guide and review section** from Life magazine, listing Broadway shows with brief critical assessments. The text appears to be theater reviews circa the early 1920s (based on references to performers like Al Jolson and shows like "Bombo"). The **cartoon illustration** at the bottom depicts what the caption identifies as "Intimate Glimpses of American Generals of Industry No. 20. Messrs. Abercrombie and Fitch depart for a day's sport." The drawing shows two well-dressed gentlemen (caricatured with exaggerated features typical of the era) departing on what appears to be a sporting expedition, laden with elaborate equipment—suggesting satire about wealthy industrialists and their leisure pursuits. The humor likely mocks the pretentious, overly-equipped nature of wealthy businessmen's recreational activities. The page itself functions primarily as **entertainment/cultural commentary** rather than political satire—typical of Life's role as a sophisticated humor and culture magazine for educated audiences.
📄 Transcribed text from this page (OCR, searchable)
Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.
LILIES OF THE FIELD (Klaw)—Kept- ladies in a poor play with good lines. THE MOUNTAIN MAN (Maxine Elliott's) —As nice a start as a little comedy ever had, but not so good in the end. NATURE’S NOBLEMAN (Forty-Eighth St.) —Louis Mann imitates some nice animals off- stage. : SIX-CYLINDER LOVE (Sam H. Harris)— The tragedy of suburban automobiling made hilarious by Ernest Truex and little June Walker. THANK YOU (Longacre)—Good clean hokum and entertaining. More or Less Serious CHRISTIE (Vanderbilt) — Eugene ANNA O'Neill's drama of the sea made memorable by Pauline Lord’s acting, THI: BAT_ (Morosco) —There have been, roughly speaking, about a thousand killings in this mystery melodrama since it opened, all of them -plendid. A BILL OF DIVORCEMENT (Times Square) —Allan Pollock in a remarkably moving prob- lem play. BULLDOG DRUMMOND (Knickerbocker) —Reviewed in this issue. THE CLAW. (Broadhurst)—The disintegra- tion oi a French politician’s moral fibre shown by Lionel Barrymore at his best. DANGER (Thirty-Ninth St.)—A_ biological function in three acts. THE DREAM MAKER (Empire)—William Gillevie in a crook play, thrilling in spots, but not worthy of Gillette. (Playhouse) —To be reviewed Eye and Ear Entertainment THE BLUE KITTEN (Selwyn)—To be re- viewed later. BOMBO = (Jolson’s Jolson, BLOSSOM TIME (Ambassador)—For those who like music. THE CHOCOLATE SOLDIER (Century For those who like “The Chocolate Soldier. Fifjty- Ninth St.) — Al HE WHO GETS SLAPPED (Garrick)—To be reviewed later. THE IDLE INN (Plymouth)—Jewish peas- ants in the process of going mad, with Ben- Ami in the lead. LAWFUL LARCENY (Republic)—To be re- viewed next week. THE MADRAS HOUSE (National)—A great many words, but most of them well spoken and worth hearing. THE MARRIED WOMAN (Princess)—Nor- man Trevor in a rather wordy play of more than ordinary value about ten years too late. THE SQUAW MAN (Astor)—Reviewed in this issue. THE VARYING SHORE (Hudson) — Elsie Ferguson in a career of refined shame which runs backward, THE WHITE PEACOCK (Comedy) — Re- viewed in this issue. Comedy and Things Like That ALIAS JIMMY VALENTINE (Gaiety)—The old burglar success back as good as new. KLUEBEARD’S EIGHTH WIFE (Rits)— Ina Claire in bed. _ CAPTAIN APPLEJACK (Cort)—Reviewed in this issue. THE CIRCLE (Fulton)—The quintessence of smart comedy, and something more besides, acted by an all-star cast. THE DOVER ROAD. (Bijou) — Delightful English comedy, with Charles Cherry in the leading réle. DULCY (Frazee)—The lady bore who fixes her husband’s business for him, in a highly amus- ing satire on several native customs. cE VALUE (Forth-Ninth St.)—To be re- viewed later. HE FIRST YEAR (Little) —The great American family play. THE GRAND DUKE (Lyceum) — Lionel Atwill on a piece of French pastry. 'HE INTIMATE STRANGERS (Henry Miller)—A very pleasant little thing by Booth | Ta rkington with Billie Burke less kittenish than T MARRIED (Nora Bayes}—It would Owing to the time it takes to print Lire, readers should verify from the daily news- papers the continuance of the attractions at the theatres mentioned. TOGETHER (Hippodrome)—A great big show at a comparatively small price. GOOD MORNING, DEARIE (Globe)—Try to get in and you'll see how good it is. GREENWICH VILLAGE FOLLIES (Shu- bert)—Great for the eyes. THE MUSIC BOX REVUE (Music Box)— Almost worth the price, and that’s saying a lot. THE O'BRIEN GIRL (Liberty) — Tuneful and dainty. THE PERFECT FOOL (George M. Cohan’s) —The show doesn’t matter; it’s Ed Wynn’s, SALLY (New Amsterdam)—Over a year old and can read without glasses. SHUFFLE ALONG (Sixty-Third St.)—Negro singers and dancers constantly in action. ANGERINE (Casino)—Julia Sanderson in a good show with weak jokes. UP IN THE CLOUDS (Lyric)—To be re- viewed next week. THE WILD CAT (Park)—Spanish opera that is so Spanish you can hardly stand up afterward. be just plain bed-room stuff if Lynne Overman weren't so funny. KIKI (Belasco) —A character study of a Parisian cocotte by Lenore Ulric which is a Masterpiece. INTIMATE GLIMPSES OF AMERICAN GENERALS OF INDUSTRY No. 20. Messrs. Abercrombie and Fitch depart for a day’s sport. comicbooks.com