Life — March 29, 1928 — page 20: 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 vic Repertory. Fourteenth St-—This is the Eva Le Gallienne company you hear so much about. “Hedda Gabler™ to be revived this week. See daily papers for full repertory. Coquette. Maxine Elliott's—Helen Hayes making a sad little tragedy beautiful. Diversion. Forty- Ninth St—Youthful infat- uation made quite harrowing but dramatic by Richard Bird and Cathleen Nesbi The Doctor's Dilemma. Guild: lengthy but highly bearable comedy, flavelessly do Dracula. Fulton—A horror-play built around the novel that stunted the growth of the present generation, A Free Soul. Klaw—One of the minor the- atrical events of the season and yet not without its good points as a show. The Furies. Shubert—With Laurette Taylor. To be reviewed later. Interference. Lyceum—A. E. Matthews and others making something out of old-fashioned melodrama and London love and poison. Killers. Forty. Ninth St—To be reviewed later. King Henry V. Hampden's—Walter Ham den reviving this one of Shakespeare's. The Ladder. Belmont—The longer this runs the more money its backer loses—which about sums the matter up. Marriage on Approval. Wallack"s—Unimpres- sive treatment of an impressive subject. The Merry Wives of Windsor. K nickerbocker— Another swell revival. With Mrs. Fiske, Otis Skinner and Henrietta Crosman, The Mystery Man. Buyes—Not much one way or the other. Napoleon. Empire—With Lionel Atwill. To be reviewed later. Porgy. Republic—Last week of one of the outstanding productions of the season. A play of Negro life, acted by Negroes, and produced by the Theatre Guild. The Silent House. Morosco—Something t scare you with. Real six-cylinder melodrama. Spring $100. Littl—General kidding of every thing, which doesn’t quite come off. Strange Interlude. John Golden — Eugene O'Neill's partly successful and always interesting attempt to crowd the life of a woman into a five- hour drama. Lynn Fontanne splendid in the leading réle The Trial of Mary Dugan. National—Here you are part of the courtroom crowd, while a big murder trial acts itself out Twelve Thousand. — Garrick—Dealing with Hessian hirelings at the time of the Revolution. Basil Sydney and Mary The Wrecker. Cort—To be reviewed later. Comedy and Things Like That ‘The Bachelor Father. fBelasco—With June Walker. Brick comedy of an assorted family. Burlesque. Plymouth—The love-life of hoofers, told with considerable poignancy at times. ‘The Command to Love. Longacre—Diplomatic liance, featuring Basil Rathbone and Mary sh as the male and female units. Excess Baggage. Kits—Mantal troubles in the two-a-day with a big smash for the finale. Tue Knicut: What, you say that there is a villain in yonder village who can conquer me? Tue Cuurt: Yea, ire, for he is an expert safe cracker. The Ivory Door. Charles Hopkins—A {airy story by A, A. Milne which seems to be out- lasting some of the more virile dramas. Our Betters. Henry Miller's—Mr. Maugh smartly bitter comedy, with Ina Claire to make it even smarter. Paris Bound. — Music Box—Eacellent light comedy for grown-ups. Madge Kennedy as th wife who has the old problem to face. The Queen's Husband. Playhouse—R Young in a part made to order, in which he portrays a new type of king in an old type of trouble, The Royal Family. Selwyn—A witty and acted outline of life in a mad family of patr stage-folk The Shannons of Broadway. Martin Be Good, solid entertainment with no frills. Cer tainly worth an evening. Whispering Friends. — Hudson—Mr. Cohan thinks this ts one of his best plays. Maybe we're wrong. Eye and Ear Entertainment A Connecticut Yankee. Vanderbilt — Thy Knights of the Round Table try a little syn ation. Some of the best music in town, wit William Gaxton and Constance Carpenter. The Five O'Clock Girl. Forty-Fourth Si Mary Eaton and Oscar Shaw in a good show to go to after a dinner-party. Funny Face. Alcin—Don’t wait to be invite! Treat yourself to the Astaires' perfect dancing : Victor Moore's priceless comedy. Golden Dawn. Hammerstein's — High-gra operetta set in darkest Africa. Good News. Forty-Sixth St.—The origi speed show. The liveliest music and dancing i town. Greenwich Village Follies. Winter Garden—T be reviewed later. Keep Shufiin’. Daty's—Colored comics set t jazz. With Miller and Lyles. Lovely Lady. Sam H. Harris—Wilda Bennet: in a moderately entertaining show. Manhattan Mary. A pollo—Don’t tell us you haven't seen Ed Wynn! My Maryland. Jolson's—A singing Civil War Rain or Shine, Cohan—Joe Cook in top f Rio Rita. Majestic—Across the Rio Grande with a splendid score and good dancing. Ada May and Bert Wheeler supply most of the fun. Rosalie. Yew Amsterdam—Eleven scenes of gorgeousness, with music, and our own Manlya Miller and Jack Donahue. Show Boat. Ziesfeld—Some fine harmony ani a sumptuous production. Charles Winninge Jules Bledsoe. Helen Morgan, and Puck and White. Sunny Days. Imperial—Regulation musical comedy, with Frank McIntyre and Billy B. Van for laughs. Take the Air. Waldorf—Will Mahoney's clowning and dancing make this one worth whil The Three Musketeers. Lyric—Dumas ¢ fied by Mr. Ziegfeld. To be reviewed later. Yours Truly. Century. Leon Errol back again in an old favorite. Experimental The American Laborat 222 East S4th St. —Better than most Little Theatre work, thanks to Boleslavsky’s genius. Greenwich Village Theatre, Mixed entertain- ment. Well-balanced bill of drama, motion picture and dancing. Hoboken Blues. Playwrights'—The newer drama in its chaotic state. comicbooks.com 1 ‘ 1