Life, 1927-11-24 · page 25 of 44
Life — November 24, 1927 — page 25: what you’re looking at
What you’re looking at
This page contains theater reviews by Robert Benchley discussing three Broadway productions: **"Ink"** — A play about newspaper work that Benchley dismisses as "pretty punk," noting the irony that its dramatic critic character is portrayed as a libertine, which he finds implausible. **"John"** — Philip Barry's play about John the Baptist confronting Christ's gentler teachings versus his own moral militancy. Benchley praises its serious dramatic moments but notes the difficulty of finding a modern equivalent to Jesus for the comparison to work. The cast includes Constance Collier and Anna Duncan. **"A Connecticut Yankee"** — A Rodgers and Hart musical adaptation of Mark Twain's novel, featuring Williams Gaxton and Constance Carpenter. Benchley finds it entertaining but somewhat slow, attributing this partly to the British cast's unfamiliarity with English pronunciation. The satirical cartoons are decorative elements typical of *Life* magazine's theatrical coverage. The overall tone is Benchley's characteristic wry humor about Broadway's mixed quality.
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Undue Enthusiasm Orr experience in the City Room of a newspaper was limited to six months of the worst reporting then done al the Atlantic Most of the ed toa project whieh the New York Tribune then had on foot for shaming the Navy Depart seaboard ewe were assig ment and winning the War, a campaign for “Marjorie’s Battleship.” It was our daty that Marjorie got to her speaking dates ing ind that the for the condition hildren dimes contributed by the sel pur chase of a battleship got to their proper destination (Nobody scems to remember what that destination turned out to b have that we never got a dime of the Under these conditi side of newspaper life, unless having to hear Marjorie our bank-book te show fund is we never really saw the seamy but we ts a week could be called seamy are therefore to life is the picture of inside newspaper workings in “Ink.” We were naturally horritied to find that the Dramatic Critic on the paper was that, because we know, so few dramatic critics in their private life. an do know, however, that “Ink” was a pretty punk play. make her speech six n unable to say just how true 1 libertine, but we can't even refute N “John” Philip Barry has written one of tl plays which, this season, can lay any claim to | important. It has moments of thrilling drama and the central thesis on which the play is built—that of John the Baptist finding his militant morality in conflict with the gentler teachings of Christ—is, in itself, enough to raise the play far above the types of adding-machines and adultery with which it finds itself We gather that if John had been alive to- reformer, concerned and obscenity current ste competing. day, he would have been a more with stamping out liquor, swearing than with whether or not men loved their neighbors The difficulty carrying this present-day comparison farther comes in locating a modern teacher to represent Jesus. EN-AMI makes John a roaring moralist with some fine moments—at times, however, a little under sus- picion of being slightly stewed himself. What slowness of e the play may have would seem to arise from \N Fuglish words Constance Collier Salome, and the John the number for Salome his having to familiarize himself with the before pronouncing them Herodias and Anna Duncan further distinguished f others tist in that it cor All in all, “John season. plays play ‘is about Bap- tains ne dance is one the tine things of the ah HERE endeavor at present Hart Their present opus, seem to be two divisions of musical comedy the shows written by the Fields, ation, and all the oth Yankee k Twain book combi hers. \ Connecticut Rodgers and -a _mod- ernized and musicalized version of the Ma accomplish With ind Norris, is another in the noteworthy series of these young a very of Williams Gaxton ments to the credit of men pleasant cast consistin, Constance Carpenter and June Cochrane, and h what loveliest: musical comedy Heart Still”), A is perhaps the years ("My Stow Connecticut Yankee” emertiin \ JF. must have been in a very opening of “The hours and hours of talk about and the Young g Volks of England of the talk was very new, some look back on it, there to hold one’s interest benign mood at the sat through Freedom, the War, ked it. None f it was specious, and Fanatics” bec we Sex ind Vi should have been vers And yet we ate to the ill-English cast as we little Some it up smooth Even of this may have been due very performance of a practically the Americans in the company sounded English and Ann Andrews, frank lady with past, took one whole and did it proud, t Among the English members w tind Richard Bird (last seen here as Marchbanks), Paul Gill and Joan MacLean. Miss Maclc the handicap of having first appeared in’ Amer ina had to say “Piteh In fact every ns the A past (a very nice though), scene for her very own 1 has ove play (Galsworthy’s) in whieh Dodo, pitch!” at ten-minute intervals body in “The handicaps, a author, as well Fanatics” seems to have overcome all neralization which includes Miles Malle son, the Or perhaps we were just in the me wd talk di for comicbooks.com