Life — April 8, 1926 — page 29: what you’re looking at

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

TER our five days in France last week it is a little difficult for us to get accustomed to hearing English spoken on the . but we have been very attentive and have repeated the words softly after the actors until we finally are right back swing of our mother tongue again. And what do we hear! Well, there was a lo’ ¥, moaning sound which turned out to be the Stagers frolicking through $ , that corking little mortuary piece in which every charact has something the matter, even if it is only a sore throat. First you hear (by rindberg’s “East means of the “as-you-already-know” method of exposition) that Daddy is in jail, Sister in an asylum, Elis is a hypochondriac, and, to top everything, Benjamin has flunked his Latin, It does Seem as if was going right. And, added to this, when you ¢ that every one talked in 13 othing ider ge which seemed to have will understand ut at the end of the second act to smoke and couldn't for the life of him fi back when the time came. He hunted everywhere, but the only door that he could discover led to the coziest little bed you ever saw. Easter” had been preceded by a Conrad entitled “One Day More.” Conrad fan, this came been fashioned in architectural iron, yc t v this careless reporter went nd the way ct wow by Joseph To one who is not a as no surprise at all. HEN there were a couple of native “Hush Money” and “Ninety He which could be covered in one evening by a reviewer who could walk very fast between the Forty-Nir the Ritz Theatres. We took it with an easy, swinging gait and still had time to catch the trained-flea act at Huber 's Museum, OT having been in town to hear all the preliminary smooch about “Juno and the Paycock,” we were not so disappointed in it as many seemed to be. It smacked a little of the days when three curtains out of five arose on Rollo Peters huddled in front of a peat-fire muttering “Da,” and there were long stretches in it when the pace would have permitted travelers to get out and pick daisies by the track and still keep up, but. the whole, it was a pretty impressive performance with a grand idea behind it. The talk is rather Irish, but as the scene is 1a doesn’t seem to be anyth Duncan and Claude Cooper are, in the lat “darlin pair. a ae T first it scemec 1 else po be going t ent fer Heaven” its own and if “Devils” were ins version of “Hell and ‘ ¢ long it struck « became a tense and thrilling drama of re ania and gio persecution. John Cromwell's scene with Ruth Mero cai stand by itself with no reference to any scene that we have ever seen played before, and the en comp: unite, as the play progresses, to make “Devils” for any one who docs not necessa at the theatre. OT even a tiny leg who used to ex ily on is left to those re the banal stuff in prod. shows by saying that there was not There is enough clever stu nt by now to have trekked di ing writter ¢ Bunk of 1926” ( wn from th Trading Post to civiliza m) to furnish t ¢ show Messrs. S$ + or Short. Gene Lockha: and Percy Waxman are re le for the very nice music and about the sut the future lyrics and there are evidences of cere ake one revue, whole affair which n of the Americ very cheerful al NDt ing about the low st ought to take up quite a lot of space Lorenz Hart, whose word melodious music of Richard Re Gaieties,” “Dearest emy” and recently in a ve factory show call The Girl Friend.” Mr. Hart's lyrics are both facile and funny, and, like those of Mr. Waxrr ve been worry- of us calamity-howlers who of musical comedy lyric ailing have graced the gers in “The show unmistakable signs of the writer's hav sonal thought to the matter. g given per- Robert B comicbooks.com