Critical Moments

Besides the revival of “The Pirates of Penzance” at the Majestic, the only new thing in the legitimate field to lift a curtain during the past week was Frederick Jackson’s “Wife Insurance.” What happened to all the other productions scheduled for first appearances I do not know. Producers have a very disturbing and annoying habit of announcing in loud round tones that a certain play will open on a certain night. Then for reasons which are rarely explained, everything goes black and the much tooted production is either completely forgotten by everyone but the author, or postponed to some very future date. In this age of economy something should be done about this. A tremendous amount of news print is wasted in this way. I suggest some system be introduced where by producers who too exuberantly commence to cheer for a show that doesn’t reach a curtain rising stage, should be penalized by having the news columns bared to them.

However, if openings were not profuse in numbers, closings were above par. Last night “Peace On Earth” folded, as did “Sing and Whistle,” “Three Saints in Four Acts,” “The Perfumed Lady” and “Brain Sweat.” In addition three other plays may close their respective doors. What will open during the next seven days is hard to guess but on Wednesday “Stevedore” will have its premiere and Crane Wilbur’s “Are You Decent” and “Furnished Rooms” are also on the list.

MANY GOOD PICTURES

As I warned you above, the week was rife with good cinema offerings. Leading the list is the Metro-Goldwyn-Mayer “Viva Villa.” Bloodthirsty and realistic even to the point of painting a man’s body with honey and setting him before an army of ants as a meal, “Viva Villa” should do business and got off to a good start. Wallace Beery’s performance is one of the best the veteran actor has ever turned in.

OUTSTANDING FILMS

There are two other pictures that are miles ahead of the usual cinema fare. At the Strand, Warner’s have brought a pasteurization of Miss Carroll’s best selling novel “As the Earth Turns,” and at the Roxy there is “Sing and Like It,” from Aben Kandel’s original story.

“As the Earth Turns” follows the book with some degree of consistency. It is a picture in the subdued manner, in which passion plays a minor part but it is an interesting portrayal of farm life as it is really lived, not as the dreary novelists or sentimentalists have pictured it. The cast plays through the scenes with intelligence and the work of Jean Muir is especially to be noted.

“Sing and Like It,” on the other hand, is a satirical treatment of a gang leader who becomes susceptible to the call of Broadway and goes into the theatrical business. It is an exceedingly broad farce and Kandel’s story is adept and clever. Zasu Pitts and Bert Kelton are the featured players. The music and lyrics, which are surprisingly tuneful, were supplied by Dave Dreyer and Roy Turk.