Life — January 19, 1928 — page 22: what you’re looking at

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 an Laboratory Theatre. Hast $4th St— er sort of experimental repertory, but ntal repertory, nevertheless. Behold the Bridegroom— Cort—An intensive but interesting study of a modern woman who dies of love, Judith Anderson as the woman, Caste. Mansfeld—The Jewish problem as it affects just the very highest and most elegant society that Cosmo Hamilton can imagine. Civic Repertory. Fourteenth St—Eva LeG lienne carrying the standard with consideral success. Coquette. Maxine Elliott—Helen Hayes giv- ing one of the outstanding performances of the year in a tender hittle tragedy. Dracula. Fulton—Thrills incident to. secing people who ought to be dead going around biting other people. An Enemy of the People. Hampden's—Walter Hampden doing Ibsen to everybody's satisfaction. Escape. Booth—The progress of an esc convict from prison, through various strata society and back to prison again, thrillingly t by Galsworthy, with Leslie Howard as the c viet. A Free Soul. Playhouse—With Kay Johnson and Lester Lonergan. To be reviewed later Interference. Empire—The old melodramatic ory of love in a London flat, enlivened by erling perfor nces by A. E. Matthews and others. The International. viewed later. Irish Players. Kuickerbocker—Y: wrong. no matter what they are playi: The Ladder. Belmont—Look out. be charging money to get ‘o this now. The Merchant of Venice. Broadhursi—W Georse Arliss and Peggy Wood. To be reviewed later Ameri The be expen. Playwrights'—To be re- can't go They may Guwe: Tourist: Is it? Mongolia. looked Nightstick. melodrama. The Patriot. Majestio—To be reviewed later. Porgy. Republic—An epic of Negro life. of the things to see. The Prisoner. exactly good. The Racket. Ambassador—The best of the melodramas dealing with the hard feeling between the police and the gunmen. Red Dust. Greenwich Village—Easily over- Cohan—Good policeman-ts.-crook One Provincetown—Earnest but not . Daly's—Our advice would be Reinhardt Repertory. Cosmopoliten—In Ger- man. Sometimes good, sometimes ham. You ought to know yourself whether you want to see it. The Trial of Mary Dugas der trial which is really finish, Who Knows? Wallack's—Olga Petrova in something of her own. Comedy and Things Like That The Baby Cyclone. Heury Miller's—Grant Mitchell in a slight but highly amusing farce. Bless You, Sister! Forresi—Bechind the scenes at Salvation, with Alice Brady as the lady evange- list. Broadway. Century—Now at popular prices— as if the price hadn’t always been popular. Burlesque. — Plymouth—Small-time with swell moments. Celebrity. Lyceum—The ii fight racket, shown with con: ment value, The Command to Love. Longacre—Mary and Basil Rathbone in amorous diplomacy. Notional—A mur- resting from start romance de of the prize- rable entertain- “Th ByILT IN | And it's very nearly four hundred years old. It tastes sort of green to me. Excess Baggage. Rits—Vaudeville from back- stage, with several high spots and some good smart cracks, ItIstoLaugh. Eltinge—Fannie Hurst puts her characters on the stage with moderate success. The Ivory Door. Charles Hopkins—Nice f tasy by A. A. Milne, if you can stand an evenin of it. The Marquise. Biltmore—Light talk by Billie Burke and others, all very meringue. The Medicine Show. Princess—To be re- viewed later. The 19th Hole. Littlh—Prank Craven's good golf story. _ Paris Bound. Music Box—Reviewed in this issue. Restless Women. Morosco—Just so-so. The Royal Family. Selwyn—Reviewed in this issue. The Shannons. Martin Beck—Good comedy, good pathos and good hokum mixed. Spring Song. Bayes—Don't bother. The Taming of the Shrew. Garrick—Shak speare made popular by Basil Sydney and M Ellis in modern dress. Eye and Ear Entertainment Artists. and Models. Winter_Garden—Gox Winter Garden entertainment. Florence M. Jack Pearl, Jack Osterman and Ted Lewis. A Connecticut Yankee. Vanderdili—If yc want nice music and a different kind of comed: here it is. William Gaxton and Constance Carpenter. The Five O'Clock Girl. Forty-i7ourth St— Mary Eaton and Oscar Shaw in theatre-party entertainment. Funny Face. Alrin—Some swell dancing by the Astaires and comedy from Victor Moore and William Kent. George Gershwin's music. Golden Dawn. Hammerstein's—Something very high-class in operettas. Good News. Forty-Sixth St “Happy” below. Happy. Earl Carroll—If you have seen “Good News” you don’t have to see this. If not, you better see “Good News.” Harry Delmar'’s Revels. Shuber!—A revue which has no startling features but few poor ones Prank Fay is the chief comedian. Hit the Deck. Belasco—If_you haven't seen this yet it won't do you a bit of harm to try it. Lovely Lady. Som H. Herris—Good ballet work and Edna Leedom at her best. Manhattan Mary. 4 follo—Mostly Ed Wynn, but, after all, what else is there in life? The Merry Malones. Erlanger's—Prett ventional musical comedy, with George M. in person. My Maryland. Jolson—Singing through the Civil War. The New Moon. later. Rosalie. New Amsterdam—With Marilyn Miller and Jack Donahue. To be reviewed la’ , She’s My Baby. Globe—Reviewed in this issue. Show Boat. Ziegfeld — Big entertainment. with Charles Winninger, Helen Morgan,and Jules Bledsoe. Take the Air. Waldorf—Some very comical stuff by Will Donahue in a generally classy show. White Eagle. Casino—The old “Squaw Man” made into a good comic opera without much comedy. See note under cons ‘ohan Imperial—To be reviewed comicbooks.com