Critical Moments

Wilbur Crane, whose white pompadoured hair was a familiar sight to those old time denizens of the nickleodeons of silent picture days, has been devoting much of his time this past decade to the legitimate theatre. The other night at the Ambassador his latest effort called “Are You Decent?” was produced by Albert Bannister and George L. Miller.

To those who consider themselves sophisticated “Are You Decent?” will appear to be dated but to the great unknown public whose capacity for indignation is unfathomable, this play might even seem a bit daring. Set on an expensive and elaborate houseboat, Mr. Crane’s piece tells what happens to an independent lady who decides that she would like to have a baby but not a husband. Her old fashioned grandmother is shocked and so are two suitors who, nevertheless, are willing to acquiesce to the lady’s request.

SCHMOSS GALORE

“Are You Decent?” is one of the {SPAN}##{/SPAN} plays of the season. It ambles along from act to act with the players sounding some of the more familiar formulas of the Freud age and finally exhausts itself by sheer verbosity.

BROADWAY INTERLUDE

Another production whose days are numbered is “Broadway Interlude” which was written by Achmed Abdulah and William Allan Wolff. It was presented at the Forrest Theatre and I wouldn’t be surprised if the producers are already sorry. Most of the audience was, because they left in great numbers at the end of the second act.

BASED ON BOOK

Some years ago a book by Achmed Abdullah and Faith Baldwin, which was said to be based on the life of the late David Belasco, was published with a great noise. Nothing came of it and it soon found its way to the remainder counters of the drug stores. Why anyone thought a play could be made out of this material is a trifle puzzling.

“Broadway Interlude,” the play, is no improvement. It unfolds with flowery details, the intimate career of a theatrical producer, and shows how this villain must have young women for his inspiration. From what I could gather, aspiring actresses, if they would become proteges of Grant Thompson, the producer, must be ready to sacrifice. His reward was a necklace placed around the lady’s neck, ceremoniously. The idea behind the play is satire but only a detective can find it. It is heavy handed, obvious and maudlin and may be passed up with complete impunity. Robert Emmett Keane, who many years ago played skits in vaudeville, plays the role of the producer.

“Broadway Interlude” will make you realize what a grand play “Twentieth Century” was. They both deal with the same theme, but that is as far as the comparison may be carried.

‘SHATTERED LAMP’ CLOSES; ‘YELLOW JACK’ STAYS OPEN

Despite tremendous efforts by the producers, “The Shattered Lamp,” the third anti-Nazi play of the season was closed last Saturday night. Supported mainly by benefit performances and theatre parties, theatregoers of the city refused to allow themselves to be upset by this disturbing drama.

“Yellow Jack” at the Martin Beck, which posted a notice to close last week end, will continue for another two weeks at least. A sudden spurt in attendance influenced Mr. McClintic.