Life, 1922-01-26 · page 21 of 34
Life — January 26, 1922 — page 21: what you’re looking at
What you’re looking at
This is a theater review page from *Life* magazine featuring a satirical cartoon captioned "Intimate Glimpses of American Generals of Industry, No. 21: Mr. Lionel Strongfort neglects to change his business suit for evening dress." The cartoon mocks Lionel Strongfort, a real early-20th-century bodybuilder and physical culture entrepreneur famous for promoting muscular development. The humor lies in depicting him at what appears to be a formal evening event (note the elegantly dressed guests and formal setting) while he remains shirtless, displaying his physique—suggesting his obsessive focus on his muscles overrides social conventions about proper formal attire. The satire targets both Strongfort's narcissism and the broader early-1920s trend of wealthy industrialists being portrayed as culturally uncouth or absurdly self-absorbed. The page's theater reviews above provide context for *Life's* role as a general-interest publication commenting on American society beyond just entertainment.
📄 Transcribed text from this page (OCR, searchable)
Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.
More or Less Serious Anna Christie. Vanderbilt—A memorable bit ting by Pauline Lord and an excellent cast in Eugene O'Neill’s play of the water-front. The Bat. Morosco.—Goes quietly on through the aces, murdering, burning and stealing to the delight of thousands. A Bill of Divorcement. Times Square-—A of unusual force acted with great rstanding. \dog Drummond. Knickerbocker. — De- lly impossible crook melodrama. er. Thirty-Ninth St.—Advertised as “the t of all the sex plays.” Now you know. The Dream Maker. Empire.—William Gillette in a fairly exciting blackmailing plot. He Who Gets Slapped. Garrick.—To be re- viewed next week, Lawful Larceny. Republic.—Reviewed in this ¢ Squaw Man. Astor.—William Faversham evival that shows its age. The SS, Tenacity. Belmont—Reviewed in thi ssuc. The Varying Shore. Hudson.—How to be respectable though abandoned, with Elsie Fer- 1 being both gracefully. ¢ White Peacock. Comedy.—Olga Petrova ving the eyes in Spanish fashion. Comedy and Things Like That Bluebeard’s Eighth Wife. Ritz—A French quilting-party at Ina Claire's, tain Applejack. Cort.—Wallace Eddinger genuinely entertaining mixture of burlesque and excitement, The Circle. Fulton.—Last two weeks of this st distinguished comedy of the season. The Demi-Virgin. Eltinge.—Very small chil- dren get spanked for writing things like this. The Dover Road. Bijou.—Delicious English fun, with Charles Cherry and an excellent cast. Duley. Frasee—Amusing results of a wife’s attempts to help her husband in his business. The First Year. Little—Frank Craven's epic of the unimportant still keeping its place among the important events in our dramatic history. m The Grand Duke. Lyceum.—Lionel Atwill in a papier maché réle translated from the French. The Intimate Strangers. nry Miller’s—A pleasant morceau (Fr. for ttle piece’) by Booth Tarkington, with Billie Burke fluttering through it, Just Married. Nora Bayes.—The usual honey- m jokes made somewhat funnier than usual by Lynne Overman. Kiki. Belasco—A remarkable characterization by Lenore Ulric in the réle of the Parisian choy us-girl. Lilies of the Field. Klaw.—Marie Doro in a rashackle play containing several entertaining wonen of low morals but high spirits. The Married Woman. Princess.—An intelli- gent but over-long discussion of marriage, with N n Trevor as the friend in the cutaway. The Mountain Man. Maxine Elliott’s.—A weak little play with some very charming moments, Six-Cylinder Love. Sam H. Harris.—Hilari- ous tragedy of suburban automobiling, with Er- nest Truex and June Walker in the front seat. Thank You. Longacre.—Got a_press-notice on the front page of the New York Times—that’s how wholesome it is. 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. . The Music Box Revue. Music Box.—No show Eye and Ear Entertainment in the world is worth the price of this, but this The Blue Kitten. Selwyn —To be reviewed comes nearer being worth it than any other. next week, The O'Brien Girl, Liberty.—Nice music and — aceful dancing. Bombo. Fifty-Ninth St—Al Jolson making 8*@°°' . iedinere daterel into & #4. The Perfect Fool. George M. Cohan's.—Ed Wynn at his best and busiest. Sally. New Amsterdam.—They say it is very good. Shuffle Along. Sixty-Third St—Perpetual mo- sion demonstrated in rhythm by a Negro company. Blossom-Time. Ambassador.—A real score, made from Franz Schubert’s melodies. The Chocolate Soldier. Century.—The old favorite revived in large style. Elsie Janis and Her Gang. Gaiety.—To be re- Tangerine. Casino.—Julia Sanderson, in her viewed next week. bluff, uncouth way, making a success of ‘a pretty Good Morning, Dearie. Globe.—A justly popu- good’ musical comedy. lar combination of good singing and dancing. Up tn. the Cleats, Zyrie— To be veviewel Greenwich Village Follies, Shubert—Beauti. next week fully staged, with Irene Franklin's comedy the | The Wild Cat. Park—Real, honest-to-José high spot. Spanish opry. B INTIMATE GLIMPSES OF AMERICAN GENERALS OF INDUSTRY No. 21. Mr. Lionel Strongfort neglects to change his business suit for evening dress comicbooks.com