Times Union from Brooklyn, New York • 29

for SUNDAY THE BROOKLYN DAILY TIMES JANUARY 9. 1927 5B NEWS OF PLAYS AND PLAYERS IN BROADWAY THEATRES LOBBY GOSSIP CARTY "Chicago" seems a queer sort of play to come out of Professor Baker's at Yale. One would sooner have expected it to have issued from course a. dirty alley than from Yale University, where the young is supposed to be to cultivate his ideals and work for betterment of the modern trained, "Chicago" is just one oath after another. Kelcey Allen after seeing "Up the Line," a product of Harvard when Professor Baker encouraging playwriting desire under the elms of the Harvard "Yard," remarked: "If this is Harvard, I am going to Yale." Well, after seeing "Chicago," which is a product of Yale, we feel like remarking, "If this is Yale, give us Princeton." And, to paraphrase O.

Henry's famous ending of "A Municipal Report," I wonder what's doing at Cornell? Is that university preparing to give us a play showing the horrors of Ithaca? There is something rather amusing about this teaching playwriting to college students, for, as a matter of fact, nearly all of the successful plays that have come from Professor Baker's courses have been written, not by young college students but by women who 'have been out in the world and have learned something about human nature. at first hand before tackling the drama. In other words they are either graduate. students or men and women past 25 years of age. a Harvard or 8 Yale student know about life? What can they give the world that is of any value? Cleves Kinkead's "Common Clay," which came out of "English 47" at Harvard, was written by a man who had been a practising lawyer for years and a member of the Kentucky Legislature before he ever went to Harvard.

Me, Xantippe," by Fred Ballard, another Harvard prize play, was written by a man who had been graduated from college years before went to Harvard and who had served as a stage hand in a Chicago theatre before Cambridge claimed him as its own. And now comes "Chicago" from Yale, written by Miss Maurine Watkins, another Kentuckian, who had worked on a Chicago newspaper before she went to Yale to 'learn playwriting. "What," you may be asking, "is the point of all this?" Why, just this: that plays, real plays, will never be written by Harvard or Yale sophomores or even seniors because they do not possess sufficient knowledge of life or human nature. All that Professor Baker or any other, college professor can teach them is the technique of the drama. may apply to the writing of plays after they have first learned something about.

life. And you will continue to find that the plays that 'are written in college playwritipg courses and actually produced on Broadway are the work of men and women who have first been educated in what Elbert Hubbard called "the University of Hard before they sought the finishing touches of Harvard or Yale. Not this season or in many seasons have we been so thrilled by acting as we were last Monday evening when the Theatre Guild put on its eagerly awaited production of "The Brothers coached by that fine artiste of the theatre, M. Jacques Copeau, who also had hand in adapting the play from the Dostoevsky novel of the same name. So much is written about plays and playwriting that one is rather inclined at times to overlook the art the actor or else to minimize it.

But it is the art of the actor that keeps "The Brothers Karamazov" alive. If this were acted by an ordinary aggregation of Broadway actors It would be utterly impossible and incongruously horrible, but Alfred Lunt, Lynn Fontanne, Dudley Digges, George Gaul, Clare Eames, Edward G. Robinson and others of the Guild repertory company vitalize and illuminate the text of this gloomy story until it fairly thrills one, like the playing of splendid symphony orchestra. The present writer has been an inveterate playgoer from the time he was big enough to purchase a ticket "peanut gallery," as the second balcony was called in the Mauve Decade period. But he has never at any time seen such remarkable ensemble actIng as that of the Guild company in "The Brothers Karamazov." Sir Henry Irving, Richard Mansfield, Robert Mantell, Sothern and Marlowe and all the rest were wont to surround themselves by most indifferent players in order that their own outstanding merits might be seen to the best advantage.

Therefore most of the parts, except the star parts, were generally played by mediocre actors. But "The Brothers Karamazov" enacted by six stars--count 'em -six! And the amazing. thing about it 1s that you never of them as stars at all, so easily. and naturally do they fit into their parts. This is art at its highest development.

New York has clamored for a repertory company. It now of the finest in the world. We never, of course, saw the famous Stock Company in those "palmy days" that old actors like to reminisce about, but we are wager that the timbre of its stock was inferior to that of the willins. to, Guild today. Certainly the Theatre Guild has launched its repertory plan most auspiciously.

It is now possible at the Guild Theatre and at the John Golden Theatre to see Shaw's Sidney Howard's two plays, "Ned McCobb's Daughter" and "The Silver Cord" and move "The. Brothers Karamazov," acted admirably on alternating weeks by Guild Players. In the Theatre Guild this country has, for the first time, a theatre that is on a par with the Comedie Francais and the that Europe offer. Students of the drama and intelligent lovers the best in modern dramaturgy and acting should give it their unstinted support. Brooklyn is successfully holding its own these days as the champion try-out centre of the country.

Last week the new musical comedy, "Bye, Bye Bonnie," had its first metropolitan hearing at Teller's Shubert Theatre, and beginning Monday two more new offerings will have their premieres Brooklyn playhouses. They are "Judy." a new musical comedy with Patti Harrold, which be offered John Henry Mears at Werba's Brooklyn Theatre, and "A Night in Spain," the pretentious musical revue, which will be presented at the Majestic Theatre by the Messrs. Shubert. At Werba's Brooklyn Theatre last week, Sam Bernard also concluded his stay of two weeks at this house in his amusing musical comedy, "That's My Baby," which did an excellent business for the two weeks, thus shattering all local theatrical precedents. Which only goes to prove that Brooklyn is looming increasingly large upon the New York amusement map.

Laurette Taylor Writes 1927 Rules for Girls Miss Laurette Taylor, international dramatic star, who will headline the E. F. Albee Theatre this week in a new comedy, "The Comedienne," by her husband, J. Hartley Manners, has written a 1927 series of rules for girls who want to succeed and remain successful on the stage. The pithy expression of her wisdom follows: 1-'Keep your figure! 2-Remember acting is a mental picture first, then a physical representation of that mental picture.

Imagine completely the queen or beggar you are playing and they will play themselves. Half imagine them and all your technique and personality will not make them real. ImagInation is the thing to cherish. Watch two children play murder, stealing or mothering. a doll.

What stage manager taught that little face to look so tenderly, so ferociously or so slyly? Her imagination! When a young actress comes under a bad director directs her so minutely in the business of the part that her imagination flees in terror because there is nothing left" for it to do. For instance, you hire somebody for your office. She must be instructed in the routine of that of. fice, but if a crisis comes up where routine is useless, and the boss happens to be absent, the woman or. man worth anything is the one who can use imagination.

It is valuable in any walk of life and absolutely necessary to an actress. 3-Love your audience, enemies and all. Again, this is the imagining power, You know there are enemies there -people you have oftended unintentionally and intentionally--and people who were born disliking your kind of personality. To you, on the stage, they must not exist. If you are completely inside your part, they cannot exist, because as queen this or Annie that they should be meeting you for the first time.

4-Keep your figure. 5-Believe your part or nobody else will. 6-Remember there is only one true, aristocracy--the aristocracy of talent. No matter how popular you become in other circles, remember you entered them through your gifts as an actress. Give up the theatre, but don't play half way with it.

Halt of yourself in a becoming hat is enough at a fashionable luncheon, but only all of you will hold together the different temperaments that 'come to see you at the theatre. 7-Keep your figure. 8-Read other things, talk with tries. other As people, an actress, a lot of people travel to other counshould speak through you. As a poet once said: "Who knows England.

who only England knows?" who knows the theatre, who only the theatre knows. All your knowledge other things will be food for imagining different parts. 9-Perfect your voice. It is the only difference between you and the movies. I should not take lessons in elocution.

Singing lessons -are better. I studied singing for years and developed my speaking voice without being conscious I I. had been taught to speak. Never was I able to sing to my nation satisfaction, made because feel my like imagi- a never me singer. 10--Keep your figure! THE NEW PLAYS MONDAY The Guitrys in "The Illusionist," a play by Sacha Guitry.

At Chanin'8 49th Street Theatre. Mrs. Fiske in "Ghosts" at the. Mansfield Theatre. "Tommy" at the Gaiety Theatre.

Arabian Nightmare" at the Cort Theatre. Russian Habima Players in "The Deluge" 'at the Cosmopolitan Theatre. TUESDAY Sam Bernard in "Piggy," a musical comedy at the new Royale Theatre. THURSDAY "Bye, Bye, Bonnie," a musical comedy by Bide Dudley and Louis Simon, at the Ritz Theatre. THE PICTURE GALLERY 'By J.

C. The old saw about strength in numbers went the way of defeat last week, when Pola Negri, so often and nauseatingly called the actress of thousand emotions, came back to town in "Hotel a of her press-agented substitutes for ability, Imperial." Stripped. loosely characterized as "flashing moods" and other of that ilk, this actress presented a straightforward interpretation of an interesting role, minus frills and furbelows, and the result was most pleasing. place of those thousand emotions about which so much has been written, she equipped herself with one-a desire to act sanely, intelligently and pleasingly. And the fact that "Hotel Imperial" was by far her best picture of recent days, is nothing less than conclusive proof that one emotion well in hand is worth easily a thousand on the publicity man's typewriter.

Too long had Miss Negri been laboring under the impression that she was the cinematic Duse, or the Bernhardt of the celluloid. Saccharine encouragement poured in half -barrel loads into her right, or possibly her left, ear, had brought her to the conclusion that in the palm of her hand she held. the world. Movie fans gasped, their hearts palpitating, at each varying light and shade of her histrionic gyrations, she thought. Until finally, all restraint to the winds, she came forth in a Kleigburst, attired, literally, of course, in pink tights, upon a histrionic trapeze that oscillated a giddy rapidity, propelled by the force of misconceived ability.

Sunday there came to the Paramount Theatre a new Pola. Or perhaps we should say, old Pola, for picture, was the first to indicate that she was an actress with fundamental and ability since the days when she made "Passion," with the help of the since well Emil Jannings du Berlin, some years ago. "Hotel Imperial" is not an extradinary film; it is unlikely that it will mention when next year's frenzied compilation of "ten best" gets under way. But it was excellently photographed and remarkably well directed. Miss Negri acted her part splendidly; she left her unpleasant propensities for ultra-dramatics at home when she set about to make the film.

She gave a clear-cut, intelligent and restrained performance. More than this no one could ask. a 1 now the twinkling star of "Betsy," the musical comedy at the New Amsterdam Theatre that is "turning 'em away." Belle Baker is making even a bigger hit as a musical comedy star than she did as a headliner in vaudeville. She RUTH LEE DOWNS A QUART EVERY NIGHT But It Does Not Hurt Her Because It Is Stage Stuff, Not Bootleg. By WILMA SOSS, In every season there are small performances whisked all too soon from the stage by the rapid current of the plot; yet long after the play has gone aground, they float on top of the theatre stream.

One picks them up at different points of interest, exclaiming: "Why to be sure--here is that capital stage butler from 'Pomeroy's Past'!" or "Isn't that glorified child in the French pastry dress, the tiny fairy who enchanted us as 'Iolanthe'?" If you applauded Mary Lawlor's refreshing bit of dancing in "No, No Nanette," you are quite cocky about your judgment now that she is playing the lead in "Queen High." Who can deny that Arthur Wontner's brief appearance as the Lesbian lady's husband in "The Captive" is one of the high lights of the season's acting? Not every talented actress has the certified label of Mr. Belasco's prophecy to "Watch Beth Merrill!" It may be only a chorus girl whose earnest effort attracts your atten-and the producer's. It may be a charming expressive face, a casual entrance, or someone who makes you chuckle. One of the laughs in "We Americans" is Ruth Lee's characterization of the girl friend. She does appear until the second act, does not act until the third, and having told all, departs before Papa has taken his prodigal daughter to his breast and the final curtain.

Along Came Ruth I stepped around to her Broadway hotel where before an evening performance Miss Lee was quite willing to discuss the gentle art of drinking that cheers her audiences enormously. But she wore mourning for her stage transgressions; a demure, black moire frock with a white satin. Brown collar. She looked up at me with friendly gray eyes and smoothed back her auburn marcel. "What is the formula," I inquired, "of the 'prop' beverage that inebriates?" "Grape Shice," she' announced.

plaintively, "and nine parts water. How do I manage to down a quart every night? At first I tried nibbling spices to make me thirsty. Then I took to eating ham at supper but I had to give that up. I should not have felt in character with an orthodox Jewish play. Now I just talk myself dry! Like Wet Scenes "A drinking scene always holds the house.

I can feel people leaning forward in their seats waiting is. for laughs. Vaudeville experience invaluable training for building up small parts. There you have only few minutes to do your turn and make good. Out front folks either stamp applaud or go to sleep.

play an interior decorator who nips bottles instead of snupping them. My part was tacked on to the original script for comedy relief, but my best lines were with the wayward daughter in our Greenwich Village apartment. That was stricken out because, like the young man's poetry that sounded so beautifful, it did not mean anything. "Is. this your first experience with Yiddish actors?" "Yes, they are wholly delightful, finished to the last detail.

People Most extraordinary of all about "Hotel Imperial" was the way in which the film was received. It was a story of the early days of the war, laid in Galicia during the invasion of that territory by the Russian Army. Pola played the part of a slavy in a The hero of the film was a lieutenant in the Austrian Army. He was decorated by a general, before the steps of a' cathedral, while all the citizens raised their volces in prayer that their armies might be victorious. These armies, ten years ago, were our enemies.

And it is a credit to the liberal viewpoint of the American populace that "Hotel 'Imperial" unrolled its full length without hissing. "Hotel Imperial" was directed by Mauritz Stiller, a Scandinavian who' came here recently with all the cinematic honors of his homeland heaped high upon shoulders. Should he never again do anything extraordinary, he is to be congratulated upon having tempered Miss Negri's overenthusiasm, and by virtue of that feat he stands alone successful where many have failed. We to report some measure of success in our meek campaign for better music in the movies. Twice in the past month the Capitol orchestra has played Tchaikovsky's "Capriccio Italienne," specifically recommended in this column, some time ago; to say nothing of Charvet's exquisite "Rhapsodie Espagnole," which the Capitol outfit played on its Christmas program, incidentally, the finest that we have yet heard or seen in that house.

The New York Strand proved somewhat annoying by following the lead of Major Bowes in adapting one of Liszt's Hungarian rhapsodies for orchestral purposes. The result achieved was not much more successful than at the Capitol. Compositions that are written for the piano may well be reserved for that instrument, while such a tremendous storehouse of light orchestral music still remains untouched by the musical directors of the movie houses. Rudolph Friml, Lionel Monkton, Franz Lehar, Offenbach (with the exception of the Barcarolle and that 'Apache dance), Planquette, Lecoq, Ivan Caryll, and a host of others of this fraternity of light opera still almost untouched by the maestros of the cinema orchestras. It is the type of music which 1s most admirably suited to organizations where a complete change of program is necessary each week.

In that much-touted musical library of the Capitol must lie hundreds of comsuch as those named above. Come, fetch them positions by, composers Dr. Mendoza, and let us have some music that will send your listeners out, away with happy hearts. ask me whether 'We Americans' is 'another 'Abie's Irish I hope not, because I have never met anyone who saw Ann Nichol's play--I mean, anyone who admits he saw it. The theme of 'We a Americans' deserves discussion.

It touches a very real problem of the foreigner who educates his children above him. But isn't the language of every new generation foreign to the older one? are like trees, they must Peoplen growing and they die first at the top. "Isn't the night school scene unique? Perhaps. it appeals to me because of my interest in teaching. After I graduated from a dramatic school in Minneapolis I accepted a position to give dramatic readings- A Real Highbrow.

"Then just to be highbrow," said the oldish young man who came in with Gyp, the biting Boston bull, "she started her career as a Laura -Jean, Libbey heroine on the night stands in the Middle West!" "Well, it was thrust upon me. I did not have the faintest desire to go on the stage, but our next-door neighbor was the manager of a road show. The leading lady fell ill and he begged me to finish the season. I thought practical experience would be very helpful in teaching, but along came Mephisto again with what I thought was a fabulous salary. "About the same time that wanted to go into pictures, Charles Ray wanted to go on the stage.

He made a four -act play out of his success, 'The Girl I I was cast for the girl, but I was too tall to play opposite Mr. Ray. So I took an eccentric comedy part. I suppose my forte really is Sis Hopkins! That I played leads in a Los Angeles theatre and married the manager, Mr. Lemon, and came East with Mabel Normand's show, which lasted just four weeks.

"The best part' 1 ever had was Gertie in 'Hush We played next door to 'Gentlemen Prefer Blondes' in Chicago. One night Mr. Selwyn strolled in and asked me to take Edna Hibbard's role as Dorothy in number two company and go to London with the show. But preferred a sort of female Charles Ray part with O. P.

Heggie, from which I jumped, like the girl with a parachutew hen the plane is about to 'We "What is your ambition?" I asked. "Did you ever an actress who did not want to be a star?" scoffed Miss Lee's husband, adjusting his horn-rimmed spectacles. Speaking of Stars. "Here is one!" insisted his wife. "It is very difficult to find a suitable vehicle to feature a player successfully.

Laurette Taylor has done many parts, but there has been only one 'Peg o' My Jeanne Eagels has had her but will she find more clement days in any other play? Stars may come and stars may go, but it is the versatile actor of lesser parts who is always sure of his pay envelops and a welcome on Broadway. "Yes, I have an ambition, but it does not concern the theatre. It is to settle down in a California bungalow and have a lot of little Lemons." The manager put his arm about his leading lady. "We Americans!" he said softly. "Quick curtain." SIDNEY HOWARD AND HIS PLAYS Sidney Howard, author of "Ned McCobb's Daughter" and "The Silver Cord," which the Theatre Guild is alternating weekly at the new John Golden Theatre in 58th was born in Oakland, in 1891.

He matriculated the University of Callfornia in 1915. His first play, which is nameless, was written about this time and was based on the Black Death. After. ward he enrolled in Prof. George Pierce Baker's famous Workshop at Harvard and began writing newspaper articles.

Then he wrote a masque (for which he was paid $500) for a Detroit millionaire. In this Constance Binney played the leading role, while Howard ducked off to Europe and began driving an ambulance on the western front. After the war he a play for Mme. Nazimova. This was never produced, but he was paid for it.

hence absence worry his part. Then, when the Nazimova script was given back to him he gave it to Margaret Anglin, and received from her warm praise, in addition to a request. to write a play from a scenario of hers. "Swords" was the result, but when it was comI pleted, Miss Anglin liked it not. So Miss Lee doesn't seem to mind drinking a quart of liquor every evening in "We Americans" at the Eltinge Theatre.

One of the real "inside secrets" of the movie game has been revealed by the announcement by Universal that work will soon begin on a new film called "It Can Be Done." An eagle-eyed press agent, sensing a "play." points out that these four little words constitute the motto and esprit de of the Universal outfit. One can almost visualize the following scene corps enacted in the office of Mr. Laemmle, or one of his subordinates. A director enters, his eyes burning fevproperly. glorified erishly, his hand grasping a eared, manuscript.

"This script," he yells frantically, "calls for a mob scene, a fire, a devastating flood and a passionate love affair all in the same scene. Does that author think I am a magician?" The magnate speaks not, but placidly lighting a huge cigar, points to the motto, emblazoned on cloth of gold and hung conspicuously above his desk. The director becomes suddenly becalmed, salutes his superior. and takes a of cigars leave. A month later the bright lights of Broadway proclaim to the world that another "super-superspecial- ultra" movie has come to town.

PLAYHOUSE NEWS Howard turned it over to his playagent and it was sold to Brock Pemberton, who engaged a rising actress, Clare Eames, as its star. The play was a failure, but the court Sidney Howard had been paying to Miss Eames was successful. Howard then adapted S. Tenacity." Next the Azertis play, and later the Lengyel piece, "Sancho Panza," which served Otis Skinner in New York and on tour for two seasons. After this he went to work on an investigation of the narcotic traffic for the International Magazine and turned in a series of articles which were marked by some of the most brilliant and thorough reporting of recent years.

After this great job (for great job it was) he went abroad and there he wrote "They Knew What They Wanted," which the Theatre Guild produced: which won the Pulitzer Prize; which played a year York: which toured for 8 season, played in London, and which is even now being played by Richard Bennett. "Bewitched," with Edward Sheldon, was his next dramatic venture. It failed. John Cromwell produced this show and had such great faith in Howard that he later produced Howard's "Lucky Sam McCarver," which was highly praised in some quarters and ignored in but which has since been accounted a fines play despite its commercial fallure. Then came "Ned McCobb's Daughter" and "The Silver Cord," produced by the Theatre Guild at the John Golden, The history of "Ned McCobb's Daugher" is already being written vigorously in many parts of the land.

In New England some of the newspepers went high into the air and instructed their New York correspondents to get the true data on Howard's assertion that Cape Cod was ugly, but that the Yankee talk of Maine was magnificent. Howard stood by his guns and the New England papers went at him hot and heavy. And "The Silver Cord" has aroused great interest in New York. Treating as it. does of mothers and a very meretricious type of mother love, it is bound to stir up more commotion than anything Mr.

Howard has yet written. But he is not worrying. Already he is at work on a new play and a novel which will be called "Jacob Ely." "BYE, BYE, BONNIE" L. Lawrence Weber's new musical comedy, "Bye, Bye, Bonnie," which was at Teller's Shubert last week, will open at the Ritz Theatre, New York, Thursday, night, January 13. It was regarded during its out-of-town sojourn at Newark last week and Brooklyn this wek.

The book 'is 'by Louis Simon and Bide Dudley: music by Albert Von Tilzer; lyrics by Neville Fleeson: dances by Earl Lindsay. Dorothy Burgess, who recently -achieved a personal success in "The Adorable Liar," makes her musical debut in the title role. A large cast includes Louis Simon and Rudolph Cameron. An official announcement from George Tyler confirms the report that Mrs. Patrick Campbell is to appear under his management in a play called "The Adventurous by Frederick Whitney, a young English author.

Mr. Tyler first brought Mrs. Campbell to this country in 1901 and on her two other journeys to these shores in 1907 and 1914. L. Lawrence Weber has purchased through Laura D.

Wilck a new play by Zoe Akins called "Veils." It is based on I. J. Davis' story of convent life. After the presentation of "My Maryland" the Shuberts will turn their attention to two other operettas for this Willow by Harry B. Smith and Sigmund Romberg, and "The Circus by Emmerich Kalman.

Dorothea Nolan played the leading woman's role in "Beyond the Horizon" on Tuesday night when Aline McMahon suffered an injury to her foot. Miss MacMahon has recovered and played the role last night, The drama will be seen in an extra matinee this afternoon. Brady Wiman reaffirm their intention to produce Francis Langer's "Periphery." It has been adapted by George Abbott and will be seen here the title of "The Ragged Edge." Robert Ames will be in the lead and Marion Gering, formerly director of the Meyerhold Theatre in Moscow, will direct the piece. In addition to Ralph Morgan, who will be featured. the cast of "Damn the Tears" will include Eleanor Griffith, Reginald Barlow, William Rainey and Virginia Farmer.

Alexander McKaig will present the play at the end of the month. preparation. "Pin Wheel," the new play to be given by the Neighborhood Play- The Civic Repertory Company yesterday began rehearsing "The Cradle by the Spanish playwright Martinez Sierra. Its first performance will be January 24. wald in the production of "Ghosts" Theodore St.

John, will be the Oswith Mrs. Fiske at the Monday night. His appearance in the role will be his metropolitan debut. La Merl, a dancer known as the "Queen of the Spanish Shawl," has been added to the cast of "A' Night in Spain," the new Shubert revue in house, is announced as being play of New York." Edward Faragoh is the author, Another living auditor of Jenny Lind's first concert at Castle Garden in 1852 has been found, She is the mother of Stephen Rathbun, dramatic editor of The Sun, and the information is contributed by, the press agent for Nightingale." William J. Perlman and J.

J. Sholl, owners and operators of the Mayfair Theatre, announce that they will redeem all stubs for the New Year's Eve performance given with unpleasant results by a lessee of their house with $3.30 tickets to their production of "The Emperor Jones" at the Mayfair. Kenneth Macgowan and NormanGeddes will go to Chicago on Monday to start work on the producEugene O'Neill's latest play, "Lazarus Laughed." Lorenz Hart, Richard Rodgers and Herbert Fields are to write a revue for a summer companion piece to their "Peggy-Ann" at the Vanderbilt. Rodgers and Hart will sail for London in February to complete some songs for Jack Hulbert and Cicely Courtneidge, now playing in their "Lido Lady" there. "THE VIRGIN MAN" "The Virgin Man," a comedy of youth and love, by William Francis Dugan and H.

F. Maltby, will open at the Princess Theatre on Tuesday evening, January 18. Dorothy Hall, Donald Dillaway and Virginia Smith head the cast. The play, under the title of "Three ran for a year in London. Anne Caldwell, who won notoriety in a successful breach of promise suit against a Pittsburgh millionaire, was originally engaged to play the leading role now essayed by Dorothy Hall, 'but withdrew from the cast.

"THE ROAD TO ROME" William A. Brady, and Dwight Deere Wiman announce that they have engaged the following players to support Jane Cowl in "The Road to Rome," the new comedy by Robert Sherwood which opens in Washington on Monday, January 17: Philip. Merivale, Jessie Ralph, Joyce Carey, Ritchie Ling, Fairfax Burgher, Charles Brokaw, Alfred Webster; Harold Moffet, Louls Hector, Barry "Jones, William Pearce, Lionel Hogarth, Jack McGraw, Lewis Martin, Clement O'Loughlen, Ben Lackland, Willard Joray and John McNulty. The author of the play is the managing editor of Life and a well known motion picture critic. NEW O'NEILL PLAY Eugene O'Neill's newest drama, "Lazarus Laughed," will be given its first production on any stage at the Goodman Memorial Theatre in Chicago in March.

The play will be directed by Marion Gering for the Play-Producing Company. The settings and costumes for this very elaborate production are being designed Norman Bel Geddes. The principal actors will be engaged on Broadway, Thee two hundred ex tras, whom play calls, will be recruited in Chicago. Thomas Wood Stevens, director of the Goodman Theatre, will assist in the production..