Variety, 20 February 1929

[too_much_in_the_sun]

Here's an excerpt from the 20 February 1929 edition of Variety; this is from Hannen Swaffer's column "London As It Looks". Mostly I found this of interest because it's a relatively early review of Journey's End, appearing in an American publication as part of their regular feature on recent happenings in London.

Also he says nice things about Colin Clive, so I couldn't not post this.

A Real Play About War
 

 

"Journey's End" is a faithful portrayal of war, just a reproduction of a trench in the front line during the days of the great advance in May, 1918. It breaks all the rules. There is no woman in the cast. There is no love interest. There is no "curtain" at the end of any scene. There is no fashion. There is no leading man. There is no name in the cast. There is no Tallulah bedroom scene. There is no music. Yes, it breaks every rule, and yet it gets away with it.
 

 

The author, R. C. Sheriff, has written down what he saw in the war, without passion and without heat. I should think he is a one-play man. He did not write it as a protest against war. Indeed, I believe he rather approves of war, thinking if nations did not fight, they would grow weaker. Still, the effect, in spite of him, is peace propaganda.

 

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An Actor Steps Right In
 

 

Colin Clive, who scored the great success, had been taken straight out of "Show Boat," where he had a small role. He was just a musical comedy actor.
 

 

Yet, in the first act, he played a long drunk scene, in which gradually he became overcome by alcohol, with all the skill and artifice of an experienced mime.
 

 

George Zucco has played consistently for years when there were jobs to do. He was nothing in particular, just one of those minor men. Yet he gave a fine performance as a schoolmaster turned soldier.
 

 

If we had some Jed Harrises over here, or some Arthur Hopkinses, certainly if we had one Belasco, things would change. Cleverness like this could be used.

Notes:

Swaffer made a couple of obvious mistakes - the play is set in March, not May; Sherriff is spelled with two Rs - and drops a couple references that have become a little esoteric. (Translation: I had to go Google some of this.)

"Tallulah bedroom scene" - Tallulah Bankhead was then working in the theatre in London, and was well-known for her larger-than-life personality.

Jed Harris, Arthur Hopkins, and [David] Belasco were all American theatre producers. Harris and Hopkins were still relatively early in their careers; Belasco was nearly at the end of his.