Word: korff
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Dates: during 1920-1929
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...there is opportunity for occasional satirical sallies against the Victorian morals of the day. Much of the humor is supplied by the skillful way in which Susan Blake handles the role of May van der Luyden. Among the male parts, John Marston as Newland Archer and Arnold Korff as Julius Beaufort perform creditably...
Cast of characters Alice Fordyce Alixe Walker Tom Hamilton James Vincent Lucy Duane Frances Allen Sillerton Jackson Ian Wolfe Jessie Lefferts Brenda Dahlen Mrs. Henry Van Der Luyden Isabel Irving Mrs. Manson Mingott Katherine Stewart Mr. Henry Van Den Luyden Frank Andrews Julius Beaufort Arnold Korff May Van Den Luyden Susan Blake Newland Archer John Marston Countess Olenska Katharine Cornell The Duke of St. Austrey Robert Hobbs Anastasia Giannina Gatti Stephen Letterblair Albert Tavernier Carlos Saramonte Edouard La Roche Jean Pierre Villon Newland Archer, Jr. Henry Richards...
...fairly swarming with devils and nightly shaking the stage when its steel hell collapses in the denouement. There is Katharine Cornell in a poor dramatization of Edith Wharton's novel, "The Age of Innocence", the star at her finest and given brilliant support in a stuffy play by Arnold Korff. Alice Brady graces with effective acting the rather trivial play based on the old badger game, "A Most Immoral Lady...
Katharine Cornell is Countess Olenska; swinging her skirts and thrusting her neck forward, she interprets the part according to the grand manner. The most sad, true and unusual scene in the play is made by Arnold Korff. As Julius Beaufort, he launches into a declaration of love for the Countess Olenska, couched in German accents and florid with metaphor, which is the more tragic because it is so nearly ridiculous...
William Faversham pronounces even the simplest line as either a benediction or a curse. Arnold Daly is a living exhibit of all the tricks of the trade, flourished one after the other. Arnold Korff, who made a distinct impression in The Living Mask (TIME, Jan. 28), here sounds at times like Eddie Foy. Lowell Sherman, save for one or two humorous moments, is hysterical and seems to be constantly limbering up his fingers for typewriter work. Even the extremely honest, intuitive Helen Gahagan gets a little off key from the general falsetto...