In the Realmof the Stage and Screen
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In the Realmof the Stage and Screen

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MOULIN ROUGE, based on a story by Nunnally Johnson: music and lyrics by Al Dubin and Harry Waren; directed by Sidney Lanfield; a Twentieth Century production; released by United Artists. At the Rivoli.

Helen Hall Constance Benett Douglas Hall Franchot Tone Victor Le Marire Tullio Carminati Mrs. Morris Helen Westley McBride Andrew Tombes Joe Russ Brown Frenchman Georges Renevant Eddie Fuzzy Knight Ramon Ivan Lebendeff

“MOULIN ROUGE” is a musical film that introduces the plain spoken Constance bennett, for the first time to film fansin a role in which she actually sings. She acquits herself admirably.

The story, and it would be strangely familiar to play-goers in Budapest, was written by Nunnally Johnson. It unfolds the tale of a young married woman (Constance Benett) who has musical comedy aspirartions and her huband (Franchot Tone) who is opposed to the flowering of this talent. He discourages her ambitions by telling her that she is devoid of talent but our heroine is undaunted. She disguises herself by changing the color of her hair and speaking with a French accent, tries out for a show. Her husband is at the rehearsal, but simple fellow that he is, does not recognize her. She is an instant hit and no one is more enthusiastic than her husband. Not only is he enamored of her voice but he shows more than a casual interest in her, as a person. This of course leads to compications but before the “finis” is fiashed on the screen things right themselves.

“Moulin Rough” is a gay, bright and amusing picture. There is of of course much dancing and a number of tuneful songs that will soon be floating out of your loudspeaker. As a comedienne, Miss Bennett is in a happy role. The dialogue is good, the situations amusing, the direction intelligent. There are present all the ingredients of a sucessful picture and they blend nicely.


“DEVIL TIGER,” a screen drama made in the Malay Penisula, directed by Clyde E. Elliott and presented by Fox at teh Rialto Theatre.

“Deviel Tiger,” as the title so clearly indicates is another animal picture, in which the audience is shown a series of ocnficts between some of the better known inhabitants of the jungle. The film was made in the Malay Penisula and the director, Clyde E. Elliott, was responsible for Frank Buck’s “Bring ‘En Back Alive. He is a conscientious worker and has fashioned an entirely exicting and interesting picure.

There are fights between a leopared and a python; a tiger and leopard; and a water buffalo and python. This last is the main bout and it would draw well even at the Garden. In addition to these animal quarrles there is a thin plot concerned with lvoe in the Malay jungle but it is secondary to the animals. footage devoted to recoreding the antics of monkeys, bears, elephants, et all.


“Hell on Earth,” the International film, which opened for a preliminary run at the Acme Theatre in Union Square before its national release under the banner of Aeolian Pictures Corportaion, will be held over for another week, it was announced today by Mr. Matty Radin, the manager of the unique cinema house in the square.


In conjuction with the Ukrainian Art Theatre, of which Dimitri Chutro is director, The Art of Musical Russia will add Tchaikovsky’s little known opers, “Maqzeppa,” to its repertory at the Casino Theatre this week. “Mazeppa” will be sung on Monday evening, with Paul Ouglitzky conducting. The chief roles are assigned as follows: Motrya, Lola Monti-Gorsey; Mazeppa, Alexis Tcherkassky; Kotchubey, Mikhail Shvetz; Lubov, elena Bussinger; Andrey, Dimitri Criona.

The repertory at the Casino, through Wednesday, Febraury 14, togther with the chief singers will be as follows: Sunday, February 11, “Boris Godounoff”: Monday, February 12, “Mazeppa”: Tuesday, February 13, “Le Coq d’Or”; Wednesday, February 14, “Ol-Ol” and “Oolanthe.”

“Mazeppa” was given simultaneous first performances in St. Petgersburg and Moscow in 1883.

Tchaikovsky’s earliest reference to his opera “Mazppa” is found in a letter to Nadejda von Meck. written from Kamenka on the banks of the Tasmin in the spring of 1882. “A year ago,” he writers, “Davidov sent me the libretto of Mazeppa adapted by Bourenin from Pushkin’s poem “Poltava.” I tried to set one or two scenes to music but made no progress. Then one fine day I read the libretto again and also Pushkin’s poem. I was stirrede by some of the verses and began to compose the scene between Motrya and Mazeppa. Although I have not experienced the profound creative joy I felt while working at “eugene On-gin” I go on with theopera because I have made a start and in its way it is a success. Commenting on this, Rosa Newmarch say: “Not one of Tchaikovsky’s operas was born to a more splen did destiny. In August, 1883, a special meeting was held by the directors of the Opera in St. Petersburge to discuss of the opera in both capitals. Techaikovsky was so astonished at the lavishness of the proposed expenditure that he felt convinced the Emperor himself had expressed a wish that no expense should be spared in mounting “Mazeppa.” It is certain the royal family took a great interest in this opera which deals with so stirring a page in Russian history.”

Tohalkovsky’s “Mazeppa” differs from Byron’s romantic here in that he is shown as a ruthless and cruel soldier of fotune. Motrya has been described as a Ukrainian Ophelia. “Mazeppa” was recently presented in Washington, D. C. by the Ukrainian Art Theatre with many of the same singers as will appear at the Casino.


Richard Aldrich and Alfred de Liagre will move their comedy “By Your Leave,” from the Morosco to the Barrymore theatre, which is more spacious. The Messrs. Aldrich and de Liagre also announce the acquisition of John Howard Lawson’s play, “The Pure in Heart,” which will be played in rehearsal shortly.


“Queer People,” will open at the National Theatre tomorrow evening. It is a dramatization of the novel of the same name and the work of Carroll and Garrett Graham. The dramatization is the work of John Floyd and Hal Skelly. “Queer People,” in novel form, sold out several editions.

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