Life, 1925-12-31 · page 21 of 37
Life — December 31, 1925 — page 21: what you’re looking at
What you’re looking at
This single-panel cartoon satirizes extramarital affairs and infidelity among the wealthy. The illustration shows a man and woman in what appears to be a bedroom, caught mid-confrontation. The caption—"HARRY! YOU LEFT YOUR WIFE FOR ME AND I LEFT MY HUSBAND FOR YOU! DON'T YOU DARE TO STRIKE ME!"—depicts the absurd entanglement of their scandalous affair. The satire targets the hypocrisy and moral chaos of romantic infidelity: the woman threatens the man with violence while simultaneously acknowledging their mutually illicit relationship. It's a commentary on "high society" relationship drama, poking fun at the melodrama and irrationality of affairs conducted among the privileged classes. The cartoon appears amid theater reviews, suggesting such behavior was a familiar subject in contemporary stage comedies.
📄 Transcribed text from this page (OCR, searchable)
Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.
Owing to the time it takes to print Lire, readers should verify from the daily newspapers the continuance of the attractions at the theatres mentioned. More or Less Serious Chivalry, Wallack’s—Violet_ Heming and Edmund Breese. To be reviewed next week. Craig's Wife. Morosco—Chrystal Herne na fine play about a woman with a fetish oi_lares and penates. The Dybbuk. Neighborhood—To be re- viewed later. Easy Virtue. best in a_well-told old story, The Enemy. Times Square—Channing Pollock's exposure of War, with Fay Bainter. ire—Jane Cowl at her The Fountain. Greenwich Village—Re- viewed in this issue. The Green Hat. Broadhurst—Hanging- den truck, with Katharine Cornell and a cast than it deserves. In a Garden. Plymouth—Laurette Taylor in a play of great delicacy and considerable depth. th. The Jazz Singer. Cort—The great Jewish heart laid bare by George Jessel _ A Lady’s Virtue. Bijou—Mary and Flor ce Nash fighting over Robert, Warwick. The Makropoulos Secret. Chories Hop- —With Emily Stevens. To be reviewed "The Man Who Never Died. Province: town—Reviewed in this issue. . The Master of the Inn. Little—With Robert Lorraine. To be reviewed later. Merchants of Glory. Guild—Reviewed in this issue, The Merchant of Venice. Hampden's Ethel Barrymore and_Walter Hampden. The Moscow Art Theatre Musical Studio. Jolson's—This week: “The Daughter of Madame Angot. Open House. Daly's—With Helen Mac Kellar. To be reviewed next week. . Salvage. Belasco—With Mckay Morris and Genevieve Tobin. To be reviewed later. Shanghai Gesture. Eltinge—With Mrs. Leslie Carter. To be reviewed later. Twelve Miles Out. Playhouse—Rum-run- ning and romance on the high seas. The Vortex. Henry Miller’s—The low: down on high society, bitterly and effectively sven by Noel Coward. Young Woodley. Belmont—Glenn Hunter in a beautiful performance in a play of young love. Comedy and Things Like That Abie's Irish Rose. Kepublic—One, two, three, four, five, six, seven, eight, nine, ten. Alias the Deacon.” Hudson—Benign card- sbarping. Androcles and the Lion. Kicw—One of Garrick—One of Shaw's most amusinj Arms and the Man. Shaw's least amusing, but Lynn Fontanne and Alfred Lunt bring it back to life. Beware of ws, Maxine Elliott’s— Fun on a houseboat, with Madge Kennedy at the top of her form. The Butter-and-Egg Man. Longacre— Gregory Kelly as the sap who bad some money to throw at Broadway, with con siderable entertainment, resulting Cradle Snatchers. Music Bor—The rather hawdy awakening of spring in three middle aged ladies. “Easy Come, Easy Go. Biltmore—Otto Kruger and Victor Moore in rough-and-tum- be_ farce, Fool's “Bells. Criterion—To be reviewed later. Is Zat So? Central—Tough talk de luxe. Laff That Off. Thirty-Ninth St.—Amus- ing enough to move from theatre to theatre. he Last of Mrs. Cheyney. Fulton— Drawing-room crook work, made very pleas- nt to watch by Ina Claire, assisted by Roland Young and A. E. Matthews. Morals. Comedy—Satiric thrust at re- formers which isn’t quite so bold as it once was. Naughty Cinderella. Lyceum—French and Bordom, One of the Family. be reviewed later. The Patsy. Booth—To be reviewed later The Poor Nut. Forty-Eighth St—Col legiate stuff in its most entertaining form. These Charming, People, Gaicty-—Cyri Maude and Edna Best good in spite of the Arlen small-talk. The Wise-Crackers. be reviewed next week . Young Blood. 2—The Younger Gen eration problem again, involving Helen Hayes, Norman Trevor and Eric Dressler. Forty-Ninth St—To 66 Fifth Ave—To Eye and Ear Entertainment Artists and Models. Winter Garden— The Hoffmann Girls and Phil Baker in the best of the “Artists and Models." y the Way. Liberty—To be reviewed later. Captain Jinks. Martin Beck—Ada-May and Joe Brown in a good evening. Charlot’s Revue. Selwyn—A continuation of the success of the Lillie-Lawrence- Buchanan combination. BSA ety Aare at. The Cocoanuts. Marx Brothers. To be revie Dearest Earn. Kni ‘or Lyric—The ‘kerbocker—Very nice indeed. Helen Ford and Charles Purcell. _Gay Paree. Shubert—You'll like Chic Sale, anyway. Greenwich Village Follies, Chanin's—To be reviewed later. Mayfowers. Forrest—Joseph Santley and Ivy Sawyer in a pleasant—and clean—musi- cal comedy. Merry, Merry. Vanderbilt—Small but fast, jo, Nanette. Globe—Just as tuneful as ever, Ob! Oh! Nur reviewed later. Princess. Flavia. grand scale. Rose-Marie, Imperial — All. those haven't seen this please leave the room. he Student Prince. Ambassador—After a year uptown, this success has come down ten, blocks Sunny. New Amsterdam—Marilyn Miller and a whole theatreful of stars in a big eveniny f I Were Cosmopolitan—To be Century—Operetta on a who The Vagabond King. Casino King” made into a booming comic opera ENR a HIGH PRESSURE MATRIMONY “HARRY! YOU LEFT YOUR WIFE FOR ME AND I LEFT MY HUSBAND FoR you! YOU DARE TO STRIKE ME!” DON’T comicbooks.com