Word: myrtile
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...screen plays; unfortunately, it is also more literary. Charlotte, represented as a cute little turkey, is the most fictional creature in the film; she also happens to be the most lively and convincing character. Branwell, theatrical as he is, does have his moments of authentic, bitter agony. Odette Myrtil has very little to do as a Brussels schoolmistress, but she does it so well that for a little while the whole film looks intelligent. Such intelligence is the measure of the good movie Devotion might have been. It measures also the general shallowness of feeling, thought and characterization...
...Muny" opera, this summer, has $77 citizen-guarantors, a backing of $103,000 and a roster of well-paid performers which includes Evelyn Herbert, Odette Myrtil, Katherine Carrington, Gladys Baxter, Marguerita Sylva, Leslie Adams, Robert Halliday, Alexander Gray. The "Muny" way is to have local choristers and dancers who work very hard for very little and get their pictures in the papers. For "Muny" opera some 1,700 seats are free to first-comers who arrive hours before curtain time, munch their suppers while they wait. In the $2 seats early-dining socialites sit comfortably on cushions hawked at every...
...Roberta" has the unusual distinction of having the feminine leads quite the most interesting. Fay Templeton, during her lone scene in the first act, holds majestic sway over all the proceedings. Odette Myrtil, in the part of the violently self-assertive star customer of Madame Roberta's couturier establishment, handles admirably her difficult task in replacing Lyda Robert. It is no easy trick to supplant the dynamic, hip-swinging Lyda in a typically Roberti role, but Odette Myrtil is really all that can be desired short of the genuine Miss Roberti herself. Tamara, in the role of Stephanie, the successor...
...first act of Broadway Nights a group of tinted chorines dance before a mammoth synthetic rosebush. In the second act the celebration is repeated for orchids. The cast is headed by Odette Myrtil, a rough-voiced Parisienne who makes pantherlike glides around the stage while playing cardiac tunes on her violin. This combination of music and motion is popular, but by any comparative standard the name of Laura Lee, the show's small, vivacious song-plugger, should also be featured...
...most romantic species of the art of the stage. Hence in White Lilacs there is not much effort to trace too accurately the mazy path of history. Nor is wit important to the operetta, and White Lilacs puts business before pun. Guy Robertson (as Chopin), De Wolf Hopper, Odette Myrtil supply these; the legitimate copies of the composer's original tunes especially help produce in White Lilacs an engaging show...