to realize their responsibility for this tragic development. A claim will certainly be made for suitable compensation in due course."

Honduras Strife

The progress of the second Honduran revolution of the year (TIME, Aug. 11) was obscured by revolutionary haze. Close upon the reported killing of two Americans came the news that Gen. Gregorio Ferrera had fled to the mountains, without, however, neglecting to take troops, rifles, vast quantities of ammunition.

In Tegucigalpa, Honduran capital, the Liberal Party was blamed for the outbreak of the new revolt. The Government arrested the leaders of the Party, reorganized itself, prepared to squelch the revolutionaries. An official communiqué said:

"The Republic of Honduras is enjoying relative calm, and the Provisional Government has the situation, created by the treason of Gen. Gregorio Ferrera under full control. . . . The commander of the Government troops has been ordered to pursue Ferrera, who has gone into hiding in the mountains. The War Tribunal has been instructed to institute proceedings against him, as he is charged with treason against his country."

Nevertheless, six U. S. warships were sent to Honduran waters, 300 bluejackets and "devil dogs" were landed.

Visiting Prince

The good ship San Giorgio, pennants a-flutter, hove to in the magnificently festooned harbor of Buenos-Aires. Guns boomed a welcoming salute. On the dock were the President of Argentina, his suite, hosts of Cabinet Ministers, statesmen and politicians, le Corps Diplomatique, numberless other dignitaries, all supported by a crowd estimated in hundreds of thousands. Italy's Crown Prince had come to pay an official visit to Argentina.

The evening of his arrival Prince Umberto was guest of honor at Government House. President de Alvear and 150 distinguished officials were present. After food, wine and speeches had been mixed, the Prince viewed from a balcony a torchlight procession staged by the gleeful denizens of Buenos-Aires.

The U. S., as the El Dorado of surplus Italian workers, is no more. Trade between the two countries is declining. Italy is, more strongly than ever, cultivating the good relations of the South American States with a view to stimulating trade, to providing her ever-increasing army of workers with another El Dorado. Hence the visit of the Italian Crown Prince.

MUSIC

Farrarized Carmen

Geraldine Farrar's modernized version of Bizet's masterpiece, Carmen (TIME, Apr. 21), will open at Portsmouth, N. H., on Sept. 26. After a tour of New England, it will enter Manhattan, surely with many triumphal trumpet-blares. The preliminary fanfare announces that this will be different from all other Carmens, in

NED WAYBURN

"Famed as chorus-master"

cluding even Miss Farrar's own Metropolitan-Carmen and her cinema-Carmen. It will be an "operatic fantasie," with the score treated in a distinctly novel fashion and the whole production "completely severed from all operatic tradition."

Mr.

Genuine weight, ponderosity even, is lent to this manifesto by the explanatory information that Ned Wayburn, now turned impresario, is to be Miss Farrar's master of ceremonies. Wayburn is famed as chorus-master, inveterate, indefatigable scout and discoverer of twinkle-toed "ponies" and statuesque beauties for Mr. Ziegfeld's super-gorgeous Follies. He will introduce new and unusual lighting-effects, will, of course, reign as Tsar of the ballet.

For the eye, then, there will be superabundant scintillation. For the curious ear, there will be whatever is left of "Jerry's" once resplendent voice. Best seats will sell at $5.00.

Two years ago the impetuous prima donna retired from the Metropolitan. She announced then that she would

spend two years on the concert platform, after which she would stage her own Carmen. To this plan she has strictly adhered, without temperamental swerving.

Mascagni Sulks

Pietro Mascagni, due to arrive in the U. S. in a few days, together with the score of his new opera, Il Piccole Marat, and a company of Italian singers (TIME, July 28) is not coming, after all. Something very unfortunate has undoubtedly occurred.

Said Mascagni, according to a Budapest despatch: "I had a contract to go to New York, but I am not going. New Yorkers don't know anything about Art. They have money, but no conception of artistic things. I know what I am saying; I am saying what is in my heart. I sent my program to New York. Suddenly I got a cablegram asking me to change it. But I simply won't do that. I am not going."

Frenzied yawps of indignation followed on this side of the water. Defenders of American Artistic Ideals lacked no words, minced no words. A typical statement was that made by Herr Fritz Reiner, guest-conductor of the New York Philharmonic Orchestra:

"Mascagni has said that he would not come to America because it is a dollar country, empty of Art. His music is not good enough for Americans. American audiences are the best in the world. New York is the greatest centre of music in the world!"

Pietro's last visit to America, in 1902, has now been recalled. It was an unmistakable fizzle. He was to collect $60,000-$4,000 per week. Received enthusiastically, his popularity rapidly waned. His manager turned against him and enmeshed him in embarrassing lawsuits. There was even a movement to deport his alien orchestra. He left in disgust. And now he remains abroad in equal disgust.

Notes That Stun

Everything is Big at Hollywood. It is very fitting, therefore, that the Biggest pipe organ in the world should be installed there.

The largest "orchestral organ" in the world is soon to be assembled in the great Hollywood Bowl, a natural open-air amphitheatre. The largest pipe in this musical monster will be 64 feet long. This single pipe will contain as much lumber as is used in the construction of a fairsized bungalow. It will give out the note "CCCC," three octaves deeper than the lowest "C" on piano. This note has only 16 vibration per second-the lowest perceptible by the human ear. If blown by the powerful electric bellows, without any accompanying notes, the impact of the tone emitted would knock any unfortunate listener unconscious.

In Chicago

a

The Chicago Civic Opera Company announced its intentions for the coming Winter's season, which opens on Nov. 5. The season will be inaugurated by a revival of La Gioconda, Ponchielli's grisly, melodious thriller. First produced in Milan, in 1876, it tells in music a terrible story of love, licit and illicit, revenge, suicide, murder, Inquisition horrors and Venetian gondoliers. Giorgio Polacco will conduct. Rosa Raisa, Giacomo Rimini and Antonio Cortis, a new Spanish tenor, will sing.

Other productions will include Bizet's Pearl Fishers, Montemezzi's Love of Three Kings, Debussy's Pélleas et Mélisande, Auber's Fra Diavolo, Meyerbeer's Prophet, Offenbach's Tales of Hoffmann. Entirely new stage sets have been built for several of these. Among the singers there will appear Mary Garden (of course), Louise Homer, Florence Macbeth, Edith Mason, Charles Hackett, Feodor Chaliapin.

TIME, The Weekly News-Magazine. Editors-Briton Hadden and Henry R. Luce. Associates-Manfred Gottfried (National Affairs), John S. Martin, Thomas J. C. Martyn (Foreign News). Weekly ContributorsErnest Brennecke, John Farrar, Willard T. Ingalls, Preston Lockwood, Alexander Klemin, Frank Vreeland, Peter Mathews, Wells Root, Agnes Rindge, Niven Busch. Published by TIME, Inc., H. R. Luce, Pres.;

S. Martin, Vice-Pres.; B. Hadden, Sec'yTreas, 236 E. 39th St., New York City. Subscription rate, one year, postpaid: In the United States and Mexico, $5.00; in Canada, $5.50; elsewhere, $6.00. For advertising rates, address: Robert L. Johnson, Advertising Manager, TIME, 236 E. 39th St., New York; New England representatives, Sweeney & Price, 127 Federal St., Boston, Mass.: Western representatives, Powers & Stone, 38 S. Dearborn St., Chicago, Ill.; Circulation Manager, Roy E. Larsen. Vol. IV, No. 7.

CINEMA

The New Pictures

Janice Meredith. Paul Revere is watching the Old Old North Belfry, Washington is crossing the Delaware, and America is running the Revolution over again these nights; all for the greater glory of the Cosmopolitan Motion Picture Co. What is more, Paul, Washington and America are doing it exceptionally well.

From the foregoing it can be gathered that Janice Meredith is primarily a slice of American history. It is served between heavily buttered slices of romance. Romance must inevitably seem heavily buttered in such violent contact with reality. Yet it makes good motion pictures. Accordingly it will survive and flourish.

The Romance is told of a Colonial bond servant who becomes George Washington's nearest and dearest colonel. The daughter of the Tory family to whom he was indentured turns Rebel. Between them, they win the war. Conveniently, he happens to be of noble English birth. Conveniently, when he is captured she rides to Washington with the dispatches. Later, a shell drops on the British firing squad as they are sighting the whites of his eyes. As 'Romance the play has all modern conveniences.

Marion Davies plays the title rôle. She is the worst of a thoroughly excellent cast. Specially satisfactory was Harrison Ford's hero, Maclyn Arbuckle's Tory father, and W. C. Field's gorgeous comedy as the drunken British sergeant.

There are those who agitate boisterously about the unquestionable excellence of the Delaware and Lexington episodes. There are also those who comment favorably upon the brilliant accompanying score of Deems Taylor. But to at least one witness the finest single detail was the charm, fidelity and taste of the successor of exquisite Colonial architectural interiors.

Monsieur Beaucaire. There has been a general proposition floating around for a long time that you cannot argue with a woman. There is a fact quite absolute that you cannot argue with a woman about Rodolph Valentino. He is beautiful, and he harrows the heart. Since women compose the vast majority of cinema

customers, criticism of Rodolph seems futile business. Nevertheless:

Rodolph returns to the screen in a generally excellent version of Booth Tarkington's romantic tale of France and England in the days of Louis XV. How he impersonated the ambassador's barber; was thrown out of polite society; regained his introduction by detecting an English duke with an ace in his sleeve; was betrayed, and won the great duel, is familiar fiction. These elements of the production are vigorously invested. A softly padded introduction at the French court drags. Audiences are advised to come a half-hour late for the maximum effect.

It seems the producers were worried lest the public might think Rodolph's vitality had been vitiated by his having been so long buried in beauty clay. Therefore they stripped him to the waist for several minutes and let him play Lionel Strongfort. Also, they let him go on talking out of the side of his mouth for masculine effect. Otherwise he was sane, suave, and at moments scintillating.

With the exception of Bebe Daniels, the cast is shrewdly chosen, and includes Lois Wilson, Flora Finch, Lowell Sherman.

Love and Glory is a curious conglomeration of good intentions and bad judgment. To the French campaigns in Algeria (1869) two heroes are dispatched. When they return to their little French village the heroine has disappeared. Fifty years intervene and a ridiculous reunion is maneuvered with the weary principals in long white hair. The producers tried to be tragic, and succeeded in being funny. Sagara battle scenes and the acting of Charles DeRoche are the major marks of excellence.

Wine of Youth. Rachel Crothers' play Mary the Third has been poured into the cinema mold and turned out in the old, familiar fashion. There was a note of uncertainty in the original that reminded one of A Doll's House and gave the visitor a mental bone to gnaw. But the mentality of cinema audiences is not nourished on bones. They are supplied with oozing fritters drenched in the syrup of the happy ending. The story has to do with three generations of married life, with various reflections on modern youth. Eleanor Boardman is an acceptable heroine.

Faery Epic*

Cabbages and Thunderbolts; Trolls, Unicorns, Twilight

The Story. It all began because The Parliament of Erl was to some extent imaginative. In their ruddy jackets of leather, the twelve members appeared before their stately lord where he sat in a carven chair in his long red room. They desired to be ruled by a magic lord. And though he feared them foolish, he agreed, and sent forth Alvaric, who was his son, to find and wed the King of Elfland's Daughter.

Alvaric came to Witch Ziroonderel, his father's friend. Out of 17 thunderbolts which he dug up at her bidding from the soft earth under her cabbages, she fashioned him a sword and enchanted it with runes and bade him be off. So Alvaric set his face toward the Elfin Mountains, whose changeless peaks were the color of forget-me-nots, and in due time passed the frontier of twilight that bordered the fields men knew and was the rampart of Elfland.

Time was not in Elfland, nor dawn nor sunset nor any change at all. The deep blue of summer gloaming, the pale blue of Venus flooding the evening, the night-blue deeps of twilit lakes-these were hints of Elfland's color, as the rarest of earthly smells and shapes and sounds were hints of Elfland's other beauties.

Alvaric strode among them with his sword and was not welcomed, being an intruder. From great oaks the coiling ivy rushed down at him and, when he lopped the tendrils, the trees themselves moved upon him in a foremost phalanx, forcing him to blaze his trail to the lawns of the palace of Elfland. There he slew the palace guard-four splendid knights whose thick and curious elfin blood was awesome to behold. And Lirazel, the Elf King's daughter, stood among the bluebells and gazed and wondered and loved and went away with Alvaric to the Vale of Erl in the fields men knew.

Their son was Orion. Lirazel had

*THE KING OF ELFLAND'S DAUGHTERLord Dunsany-Putnam ($2,00).

wanted to call him "an elvish name full of wonder and made of syllables. like birds' cries at night." But Alvaric was ten years older when he returned from Elfland and took se

thobai Few off rendor of vlim Paul Thompson.

LORD DUNSANY
He shambles about

riously the admonition of the Freer of Christom. He only compromised on "Orion," a name of the heathenesse and, with time, grew more set in his mind against all things elvish.

So Lirazel, who understood nothing of men and Earth, read a rune that had come to her by a troll from her father. And she was blown away by the northwest wind into Elfland again, leaving Orion with Witch Ziroonderel to nurse him. When Alvaric asked the witch, "Whither," she shook her head all mournfully, saying: "The way of the leaves. The way of all beauty."

A moonstruck man, a poet, a madman, a lovesick lad and a shepherd boy well used to lonely spaces set out with Alvaric then on his second quest, which was a weary one. Elfland had ebbed away, its King being fearful of Alvaric's enchanted sword.

brave chase and when Orion brought home the head, the Parliament of Erl began to feel their lord was indeed a magic lord. When he employed the trolls for whips and the will-o'-the-wisp marsh-folk to help him hunt unicorns by night, they knew his magic beyond a doubt. In fact, there was so much magic loose in Erl that a reactionary movement began to set in.

But at that point, the Princess Lirazel, hungry once more for the pleasures of Earth, prevailed upon her father to employ his last rune in pushing forward Elfland's frontier so as to include the Vale of Erl. Just as Alvaric returned, sore and weary from his travels, a shining line was seen gliding over the fields and houses, making all that it passed young and calm forever.

The Significance. The book is a faery epic, astonishingly perfect. Its creatures will be recognized by Arthur Rackham and others who have traced the fairy folk. Its uncertain twilights are those that Yeats and Fiona Macleod and James Stephens have peered through. James Branch Cabell, who well knows the uses of buttered willow withes, will understand its magic. It must have been written "at an hour when hawkmoths first pass from bell to bell." Its meaning and its melody are "like the notes of a band of violins, all played by masters chosen from many ages, hidden on Midsummer's night in a wood, with a strange moon shining, the air full of madness and mystery; and, lurking close but invisible, things beyond the mystery of man."

The Author. Edward John Moreton Drax Plunkett Lord Dunsany, 18th Baron, is descended from an ancient Irish line whose title was 'conferred in 1439. He has filled his 46 years with a true Hibernian's two diversions-fighting and dreaming. He found the former with the Coldstream in Africa, and with the Royal Inniskilling Fusiliers more recently."

Lord Dunsany jocosely boasts himself the most ill-dressed man in all County Meath. He shambles about the Irish countryside, an excessively tall, loose-jointed, rawboned figure, with a heron-like stoop and enormous

He has the simple, eager nature of a child, always ready to converse with voluble intimacy with any casual acquaintance or to fly up in unaccountable excitement over the most trifling pleasure or displeasure. His fairy stories, written rather for grown-ups than for children, have all the imaginative charm of Grimm or Anderson and in addition show the versatility and richness of a more cultured mind.

New Books

The following estimates of books much in the public eye were made after careful consideration of the trend of critical opinion:

DING DONG BELL-Walter De La Mare Knopf ($1.75). Two people—a young lady with a silk sunshade, an old gentleman with an umbrella-meet on the platform of a country railroad junction. They have hours to wait. An express goes by; in the hush that follows its passing the old gentleman remarks: "Fifty years ago you could have cradled an infant on that tombstone yonder-Zadakiel Puncheon'sand it would have slept the sun down. Now, poor creature, his ashes are jarred and desecrated a thousand times a day-by mechanisms like that." To scan more closely Puncheon's mound, the two enter the ancient graveyard and stay there reading the epitaphs till twilight falls around them. This is the tenuous framework upon which Walter De La Mare has shaped one more unearthly, sad and lovely book. Turning, as always, from what is to him the stench, trespass and futility of the present, he breaks bread with phantoms; in these pages the dead stand up and breathe, the living are the ghosts. His words-like the matches the young lady strikes to read epitaphs by in the darkening graveyard-light, for a shining second, Death's crabbed and timeless lengendry. Equally exquisite in verse and prose, the beauty of the book makes this brief review an impertinence.

THE GARDEN OF FOLLY-Stephen Leacock--Dodd Mead ($2.00). Stephen Leacock, Harold Lloyd of Letters, prefaces this volume with a quotation from Confucius or Tut-ankh-Amen: "This poor old world works hard and gets no richer; worries much and gets no happier. It casts off old errors to take on new ones; laughs over ancient superstitions and shivers over modern ones. It is at best but a Garden of Follies, whose chattering gardeners move a moment among the flowers, waiting for the sunset."

Some of the beds which Prof. Leacock weeds are those wherein spring up the tares of Big Business Bunkum, Correspondence-School Quackery and kindred varieties of contemporary sophistry. He then invades the field of Animal Psychology. The subject of his observations, carried on under enormous difficulties, is that elusive but familiar animareptile, the Hoopoo. The results are: "1) When the Hoopoo is unable to step over anything, she walks around it. 2) The Hoopoo will drink water when she has to, but she will drink champagne whether she has to or not. 3) The religious belief of the Hoopoo is dim."

Sara Cleghorn

Pacifist, Socialist, Antivivisectionist

Coming back to town from quiet of Vermont hills is trial enough, without writing about town authors. Therefore, I am choosing one of the Vermont group with which to reopen my column after an ever-so-slight vacation. Sara Cleghorn has been lecturing at the School of English, Bread Loaf Inn, Middlebury College, Middlebury, Vt. She is poet, novelist, essayist. Those of you who read The Atlantic Monthly know her work well. I had always heard of her as one of the group of writers who live near or in Manchester, Vt.-a friend of Dorothy Canfield Fisher and of Robert Frost. In Who's Who you will find that she was born in Virginia-a mere accident of birth, for she is a Vermonter through and through. Her family happened to be wintering in Virginia in 1876. She was born, as a matter of fact, in a hotel. Who's Who further carries information that she is "pacifist, socialist, antivivisectionist."

Who's

Who can be most misleading; for, although she earnestly believes and carries out certain doctrines (she is, for example, a vegetarian), she has none of the formidable qualities which a statement of her creed implies.

Slight, with light, sandy hair, blue eyes, quiet, intense ways, she gives an immediate impression of great friendliness. She believes thoroughly in people and in life. She wants happiness for people and she is willing to make real sacrifices to create it for them. Her great ambition now is to be a fine teacher, and, if need be, she intends to give up writing in order to become one, and has accepted a position as a teacher for next year. I sat in some of her classes and they were unusual for their discussions. She seems peculiarly fitted to draw out the opinions and idealistic conceptions of those sitting under her. She has derived, perhaps, something of her method from Robert Frost, whose teaching methods are well known to be radical.

My admiration for my native state is well known. It now includes a great admiration for Miss Cleghorn, although many of her opinions are far from my own. Here is a liberal, almost a radical mind, finely tempered by New England sanity and balance. It is a combination, rare in literature, perhaps rarer still in teaching. Her passion for humanity, tinged with mysticism, makes her verse memorable, and I imagine that as her work as a teacher develops, she will add not a few disciples to her already large list of friends.

J. F.

THE THEATRE

The New Plays

The Theatre rubs its eyes, sleepy with Summer, this week and begins to look about Broadway for Winter quarters. Five plays will be produced as the overture to the ten months' performance of the season. In their wake, nearly ten score will follow before another June empties the playhouses. Scanning the list of these, one finds the following of primary importance:

Peter Pan-The U. S. had come to believe this fantasy of J. M. Barrie the exclusive privilege of Maude Adams. Some months ago, Charles B. Dillingham went to London with the photographs of 20 actresses. Examining them all carefully, Mr. Barrie selected Marilynn Miller, musical comedy star. She will desert the musical stage to pick up the torch abandoned by Miss Adams.

Hassan Literary individuals have long wondered why this magnificent poetic spectacle by James Elroy Flecker, English poet, dead in Mesopotamia ten years ago, had never reached the boards. Its success in London last year tempted U. S. producers. It will appear with Mary Nash as star.

Orpheus Offenbach's operatic comedy will be the massive contribution of German Max Reinhardt to the season's list. Herr Reinhardt will later produce Schnitzler's Dream Play.

Caesar and Cleopatra-The Theatre Guild will finally perform its promise of displaying this play which many consider the best of Bernard Shaw. Helen Hayes and (possibly) Roland Young will have the title parts.

The Guardsman-Ferenc Molnar's first contribution to the Manhattan season will be this continental success in which the Theatre Guild will present Alfred Lunt and Lynn Fontanne (his wife).

The Firebrand—A new author, Edwin Justus Mayer, has contrived a satirical romance of incidents from the life of Benvenuto Cellini. Joseph Schildkraut is principally concerned.

Comedie Francaise There is a well-defined suspicion, unverified by actual announcement, that Morris Gest, modern Barnum, has persuaded this most famous theatrical organi

zation in the world to come to Manhattan for a brief season.

on

father and son,

The Guitrys-Scarcely less famous the Continent are the Guitrys, and the latter's wife, Yvonne Printemps. They are expected for their U. S. début in the early Spring of 1925. They will play in English.

Old Man Minnick-Edna Ferber's noted short story has been dramatized by herself and George S. Kaufman. Appearing as the old man will be O. P. Heggie.

None but the Brave-A bitterly objective War play by Laurence Stallings and Maxwell Anderson is now in rehearsal with Louis Wolheim (Hairy Ape) as star. In the cast are 15 men and 1 woman.

The Werewolf-Laura Hope Crews, Leslie Howard and J. Lennox Pawle will appear presently in what is rumored to be the most offensive (to censors) play that has ever appeared on the U. S. stage. It is adapted from the German of Rudolph Lothar.

prolific and versatile of native dramatists, opens his seasonal attack with a comedy, with Martha Bryan Allen leading the cast.

Simon Called Peter-Jules Eckert Goodman and Edward Knoblock have dramatized Robert Keable's novel. The play found considerable success in a Chicago run last Spring.

Grounds for Divorce-Ina Claire's name will be in lights when this new comedy reaches Broadway. Prominently associated with her in the cast is Bruce McRae.

The Fall Guy-Frank Craven, despite his meditated retirement, will appear as the star of a comedy by himself, and James Gleason.

Pigs-John Golden is the most consistently successful manager in the U. S. Percy Hammond, famed critic, called him the producer of pink plays for pale people. His first this year is a comedy of small-town life.

The Best People-Chicago thought well of a Spring showing of this comedy by David Gray and Avery Hopwood. It is a comedy of modern Americans and will be produced almost immediately.

The Awful Mrs. Eaton-From the life of Andrew Jackson, this play was fashioned by John Farrar and Steven Vincent Benét. Frank McGlynn (Abraham Lincoln) has the lead.

Nerves-The same authors have elaborated a one-act War play by

Mr. Farrar into a full evening's entertainment. Kenneth McKenna is the most important player.

Love 'Em and Leave 'Em is the

MARILYNN MILLER Mr. Barrie selected her

(See preceding page)

title of a U. S. dialect comedy by John V. A. Weaver, poet and critic.

The Exiles-Robert Milton, often spoken of as "the leading director," will open operations as an independent producer with a play by Charles J. Richman.

Izzy-The late George Randolph Chester wrote the stories that George H. Broadhurst and Mrs. Trimble Bradley have condensed into a comedy.

Gilbert Miller, internationally noted producer, recently returned from Europe with three potentially valuable manuscripts-viz.: The Roman Holiday by Ferenc Molnar, High C by Ernst Vajda and a new play by Arthur Schnitzler.

Mrs. Fiske will be missing from the Broadway roster in consequence of heading an extended tour of allstar players in a revival of The Rivals. New plays by Shaw and Barrie are also conspicuous by absence. George M. Cohan has retired for a year to write his memoirs and will make no productions. Reports of David Belasco's plans are thus far fragmentary. Nor is it known what John and Ethel Barrymore contemplate, though it is possible that the latter will play The Ruby Fan by a Hungarian dramatist, Protzov.

Musical

Annabelle-Billie Burke will be starred by her husband, Florenz Ziegfield, in a new musical comedy by Clare Kummer. The comedian is Ernest Truex.

Rue de la Paix-The most imposing revue of the season will be headed by Raquel Meller, Spanish girl, who is the sensation of Europe; Maurice and Hughes; the Russian Lilliputians and Grock, the great Swiss clown.

Greenwich Village Follies-The annual production will be headed by the Dolly sisters.

Ritz Revue-Hassard Short, director of the great Music Box Revues, will produce his own, with the lanky Charlotte Greenwood highly concerned.

Be Yourself-George S. Kaufman and Marc Connelly have written a new one for Queenie Smith.

Pompadour-Martin Beck's new and pretentious theatre will open with this great Continental success. Hope Hampton, cinema celebrity, deserts the films to sing the lead.

Topsy and Eva-Western reports credit this musical Uncle Tom's Cabin with vast possiblities. The Duncan Sisters share the spotlight.

The Purple Cow-Gelett Burgess and Carolyn Wells have concocted a piece in which Dorothy Francis

(opera) has the lead.

Come Out of the Kitchen-Ruth Chatterton usually plays straight comedy. But this is a musical version of one of her great successes.

The Grab Bag-Ed Wynn in a review of, by, about and with Ed Wynn.

The Comic Supplement-The Zieg field factory will turn out a musical comedy by J. P. McEvoy, starring Leon Errol.

The Passing Show of 1924 comes along on schedule with Jim Barton and George Hassel prominently pres

ent.

The Music Box-Another hardy annual. This year with Clark and McCullough and Grace Moore.

Vanities The second edition will boast mainly about Joe Cook and Margaret Hawkesworth.

The Dream Girl-Victor Herbert's last operetta will appear presently with Fay Bainter in the lead.

Al Jolson, after three years in Bombo, is at work on something new. Clo-Clo-Franz Lehar's success from Vienna will be naturalized and a little later, his Paganini. Another Viennese importation will be the highly successful Mariza.