Indianapolis Times, Volume 34, Number 140, Indianapolis, Marion County, 22 October 1921 — Page 7

‘TOTO’ AND ‘UP IN CLOUDS’ TO PLAY AT MURAT (Continued From Ph<* Six.) lassies, sigh. In number, will contribute an act Including native singing, dancing and music. They dress In the regulation tartans and kilts. Edward Preesler and Blanche Klalss, who have a bright line of patter which they sandwich between some singing, dancing and music, are well-known Keith favorites. Alexander Brothers and Evelyn are jugglers, who have made this mode of entertainment a science. They appear In an act called “All Balled Up,” in which a nnmber of rubber balls in their hands are made to do all sorts of tricks, a bit of comedy Is added to the act for good measure. A treat for the little folks will be the act of Corradlnls Animals, which consist of monkeys, dogs and ponies, who will be seen in a miniature circus. Other acts and motion pictures will complete the program. -I- -I- -1TWO HK.VDI.INE ACTS ANNOUNCED AT I.YKIC. Two outstanding features of the Lyric’s vaudeville bill next week will be the Sutherland Saxo Six, a talented aggregation of Instrumentalists in a large repertoire of popular and other numbers done on ssxophones, and Jean Leighton's revue “The Temple of Ministrelsy” In which five clever blackface stars and a woman interlocutor stage a miniature minstrel performance consisting of a melange ot songs and dances done In approved “first part” fashion. Other acts completing the bill will consist of Staley Burbeck and company, the musical blacksmiths who also offer a spectacular scenic transformation oddity; the Green trio presenting singing, dancing, piano playing and athletic accomplishments all rolled into one; Smith and Crump, colored comedians, singers and dancers; Morin a bdy ventriloquist whose sub-vocal feats are highly entertaining; Thomas and Carl, billed as “Singers De Lue;” Kahn and Boone, whistlers, comedians and singers, while on the screen there will he A! St John in a farce "Fast and Furious,” the Bray plctograph and the Path# review. -I- !- “THE BATHING BEAUTIES” AT THE PARK NEXT WEEK. “The Bathing Beauties” with Jack Hunt will be the offering at the Park next week. Mr. Hunt Is the leading funmaker of the organization and he is assisted by Ed Baxter, Loa Austin, Grace Furnslde, Pep Bedford, Marie Dreves, Horry Van, Oscar Lloyd and a large chorus. This show is said to run to comedy and dancing. The engagement Is for a week with matinees daily. -I- -i- -|- JAZZ BAND HEADS NEW BILL AT RIALTO. The Rialto Theater next week will offer Its patrons another bill of eight acts of vaudeville. One of the features will be Ray V. Troy’s Syncopated Jazzers, featuring the Atlantic City Famous Jazz Band and Orcnestra. This organisation also presents whr.t is called "The Short and Snappy Revue.’’ The company consists of men and girls. The bill also Includes Paul Peno and company In "The Baggage Checkers;” Lewis Miller and company In a comedy sketch, “Progress;” King and Rose, singing and talking; Wilson Smith and Caddy In “Lessons In Golf;” the Conways In whirlwind dances, ond Durno, a novelty offering.

, EVERY DAY NEXT WEEK CETOHA A POSITIVE SENSATION THE .GIRL IN THE GOLDEN Cl L 0 6 £ WITH THE BA.THIMG BEAUTIE S This coupon and 10 cents, v/ith 3 cents war tax, entitle lady to reserved seat at any matinee during the week except Sunday.

CONTINUOUS 1 TO 11 P. M. 2-HOUR SHOW ALL VAUDEVILLE 8( Big Acts) A Going On AH the Time i 20c -- 30c—40c Ift N ' WAR TAX PAID I \gl|f|/ Short and Snappy kING~AND ROSE CLASSY REVUE Comedy Dancing ROY V. TROV & CO. ' PAUL - RENO &, 00. 7 Syncopators of Jazz The Baggage Checker WILSON SMITH AND CADDIE DURNO—-Novelty JuggleT idd LEWIS MILLER & CO. CONWAY~AND wTeR Progress, a Comedy Bketch Whirlwind Dances

IN THE LAND OF MAKE BELIEVE (Continued From Page Six.) chair of the Moorish room of her suite at the Claypool and talked to and with me. Before the hour was over I had seen nearly a million dollars’ worth of emotions and every mood revealed a little more of this marvelous woman. "I was a reporter once,” she said. "I never succeeded In being one of those kind who could pnnch the clock at nine. I had to be on the job earlier.” “I can remember the days (the music hall days) when they threw eggs and tomatoes at me,” she said. I gasped. I asked myself if It could be possible that this had really happened to this successful artist. “Twenty-five or thirty years ago,” she stated. "And I am glad they did. It made me a better actress. I have suffered Yes. In vaudeville I recited Riley’s ‘Don’t Cry Little Girl.’ One must have cried to say that. One must feel tears to say that.” I told Madame that 1 was sure that vaudeville brought her closer to the American people than anything she has done. I told her of a young man, who mad© his living by delivering ice who ; witnessed her in vaudeville at least three , times and that he was enthusiastic over her. “Oh, I am so glad,” she said as she nervously clinched and recllnched her expressive right hand. “Some people say I am highbrow. I appear on the stage only In things that 1 believe. The play I am appearing In now Is my thought. Those In the company repeat my thoughts or react to or against them. See?” She then outlined her "thoughts" expressed In “The White Peacock.” She told me that she has studied woman for years and the "thought” in this play belongs to her. “I brought the play out hear tr. find out how the people received It,” she said. “1 could have taken It to New York, opened or closed as the case might be. 1 snail know tonight what the audience feels toward me and my thought. They may hate me. I am sorry then, not for myself, but because I have disturbed them, caused them Inconvenience. 1 have tried In my play to give them beauty, a remance, that’s love, and a story. I hope | J have given them something that they ‘ can take home with some—some thought to think over the next day. They may hate me. Yes?” “How can any one hate you?” I asked. Just then, Madame’s secretary entered, conversed with her In French. “I am Just deciding,” she explained,” where I em going to live in Pittsburgh while I am there.” Some more French conversation. Th“ secretary departed apparently convinced that I was right—that no one can “hate” Madame. “Dislike, possibly,” she said. “I might tear my heart out for the vultures to feed upon and yet I could not please all the people.” So dramatic, so Intense aad yet so real was this part of the Interview, that I had trouble in restraining myself from applauding. That la the secret of Petrova. She Is a great actress every minute and yet she never acts. She is Petrova. She Is a thought—a great mental force. These thoughts may cause her to present another phase of this marvelous Petrova She Is natural. Many times an audience gets the Impression when she “sweeps” In on the stage In her grand manner (I am speak lng of her vaudeville entrance now) that

U ‘ high brow.” Those who think that are all wrong. ‘T have no stage tricks," she said. "The other night in Cleveland, one critic wrote that I was a bag of tricks. Another one said I had no tricks. 1 hope that I walk on the stage like a lady of refinement and culture.” She repeated for mo the lines she utters In one of the scenes of her play. Her thoughts, her acting—herself. Whether you will like the play or not, there Is one thing you can bank upon—Petrova be lleves what she says and does. 1 haTe great admiration for any one who can speak out what they feel. People are honest when they do that. Petrova is honest and she is willing to mount the ladder of fame or be crushed to dust. She Is brave, she wagers all. Isn’t she a brave soldier? Again the secret icy appeared. It was 5 o’clock, Madame must rest. "You haven’t naked me a question,” she said. “You haven’: asked me what I thought of the administration or anything. What can you say?” “I have discovered the most wonderful thing about you—you are real and that Is what I want to tell my readers.” So meit Olga Petrova—the real woman. •I- -I- -IThe appearance of Francis Wilson and De W olf Hooper In a revival of “Erminle” this week at English’s has recalled to Mr, Edward J. Gausepohl of 38 West Washington street, Mr. Alex Ernestinoff of the Indianapolis Colleg ■ of Music and Fine Arts and many others, the pleasant memory of the Lyra Society presenting this famous comic opera with an “all Indianapolis east” about twenty-five years ago at the old Grand theater, now Keith's. Mr. Ernestinoff, who directed the orchestra at the performances of the Lyra Society in "Erminle,” recalled that Lulu Mae Burt, who later became known professionally as Helen Bertram, sang the title role and that Tilly Schelsmidt had the role of Princess De Gramponeur. Among others that Mr. Ernestinoff recalled were Frank Richards, Andrew Smith and Lulu Weegman. Mr. Gausepoh] played In the orchestra. The evening that Mr. Gausepohl attended English’s this week he saw several In ths audience who took pnrt In presentation of “Erminle” by the Lyra Society many years ago. -|- -|- -|. If the railroad men walk oat the Rothacker Chicago film laboratory Is preparing to get First National pictures out to the theaters—strike or no strike, this department is informed. Forrest J. Alvin, general manager of the United States Motor Truck Company, has placed the entire automotive transportation facilities of bis organisation at the command of Watterson R. Rothacker, whose Chicago laboratory multiplies film negatives Into ths positive prints which the theaters use, This means that no matter how long the railroad strike should last It will never be necessary for ths majority of theaters to be dark or to run old pictures. os far as the releases of First National and other Chicago laboratory clients are concerned The trains may stop running, tut s* long as tho gasoline supply holds out the motor trucks will deliver the pictures—and without any very great delay over railroad delivery time. The Chicago laboratory la peculiarly favorably located from a distribution

AMUBEM ENTS. or THE Ml \ MAN VAUDEVILLE SHOW DoritSUssThe SpeclaLXlotOn Stunts Alexander Bros. Corradrnis and Evelyn Animal Circus “AIL BALLED UP” wtth I,o> f on %^ y and PRESSES? & KLAISSJfoRD & GOODRICH Pathe News Weekly Night Prices— 3oc, 35c, Aesop’s Fables 85c ’ Digest Topic., £!£, HOOT MON! 'THCRJE'S A GATHERING O’THE CLANS FRAE THE HEATHER AHO THE HIGHLANOi SCOTLAND JACK-WATT^ AND HIS

Roller Skating-Riverside Rink Now Open for Winter Season, a KF BF?| U UNDER NEW MANAGEMENT J. OcHOWSH

INDIANA DAILY TIMES, SATURDAY, OCTOBER 22. 1,21.

viewpoint Over 50,000,000 people llvo within a night's train ride of Chicago—• and withlu a motor truck radius of about twenty-fonr hours. It will be entirely practical, in caso the emergency warrants, for the laboratory to deliver prints by automobile to over 75 per cent of the American theaters. Mr. Alvin la recognized as a leading authority on automotive transportation. During the war he was Identified with the motor truck Industry for the Government. If the union men carry out their threat to tie up rullroad transporion, Mr. Alvin will come to Chicago personally to direct the automotive delivery of Rothacker prints. It is announced. “Trunk line” trucks will leave Chicago for the principal cities of the East, South and Middle West. At each exchange city a truck will unload films for that territory. The United States truck distributor of each exchange city will hurry the photoplays on to the larger cities served by that exchange. -I- -I- -!- The bill at B. F. Keith’s for the week of Oct. 31, will bring to that playhouse as headliner, "Blackface” Eddie Rosa and his famous African harp. Ross 1* one of the best of the blackface comedians and his playing of the banjo, which he calls an African harp, has become a classlo. The surrounding bill will Include the musical comedy “Dummies,” with a company of pretty girls who will assist Ernest Wood in putting the act over, Frabk Gaby, oomedian, Ralph Bevan and Beatrice Flint in “A Slight Interruption,” Dal la,. Walker. “The Girl From Texas,” The McDonald Trio trick cyclists, and Bradley and Ardlne assisted by John Irving Fisher In “The Follies of Song and Dance.” -|- -1- -|- That the California motion picture I ndlos are fast recovering from their ■ummerlong slump and that the comini winter will be one of unprecedented fllxj activity la Indicated by an announcement of present and future production plans emluetlng this week from the Thomas H. Inca Studios, one of the most repre-

MOTION PICTU RES. [WOMEN ONLY] Shows Start—lS-2-S iSO-5-fl:80 CONTINUOUS—I* TO 8 F. M. [MEN ONLY] Night Shows Start t sad BiSO. BROAD WAT THEATER.

ssntative of the Los Angeles picture plants. Two Thomas H. Ince companies are already In action, two more will commence feature productions before the end of the month and three additional, independent companies will be in full swing before Nov. 1, a total of seven pictures in production at the Ince Studios at one time, shattering last winter’s high -ecord of five simultaneously working uclts. Tlie two Ince stories now being produced are “Jim,” an unusual drama of the Southwest by Bradley King, and “The Hottentot,” In which Douglas MacLean will be presented In the star role made famons on the speaking stage by Willie Collier. "Jim” is enacted by an all-star cast which includes John Bowers In the title role, Marguerite Do La Motte, heroine of Douglas Fairbanks’ current success, “The Three Musketeers;” Milton Sills, Aggie Herring, Harry Todd and others. John Griffith Wray, who directed "Lying Lips,” “Beau Revel" and a number of other successes, will be the man behind the megaphone. The drama Is characterized by much thrilling out-of-door action and a considerable number of the scenes will be filmed in the Imperial Valley of California and in the mountainous country adjacent to the Mexican 'border. "The Hottentot,” a comedy of a man who Is afraid of horses and Is forced to ride a vicious thoroughbred to victory In a steeplechase In order to win the young lady of his choice, will be directed by Dol Andrews. A company of featured players will appear In Mac Lean’s support. The two additional stories to be Immediately started by Thomas H. Ince

/ Society Drama I I Gtst. MS J I••

If it requires something extraordinary to whet your appetite for screen entertainment, here is a picture that will hit you a mighty wallop and make you sit up and take notice. Made in Europe, it introduces for the first time in America Lucy Doraine, a Franco-Slav beauty and dramatic actress who even outshines the brilliant Pola Negri. “Good and Evil” is a wonderful combination of romance, melodrama, pomp and magni licence, with Paris, Naples and the capitals of the Old World supplying its lavish settings and the biggest company ever assembled for a single production enacting its characters. AL. ST. JOHN in “Fast and Furious” Fox News Weekly Topics of the Day

will be In charge of noted directors and will feature all-star casts. Maurice Tourneur, among whose successful pictures are “The Last of the Mohicans,” “Treasure Island,” "The Foolish Matrons,” and others, has leased space at the Ince studies and will start work on a now story within a short time. A similar wave of activity, the reault, according to expert opinion, of vastly Increased theater attendance throughout the country and a demand for productions of tremendous scope, has hit the other studios in the vicinity of Los Angeles, bringing conditions back to normal and Insuring an adequate supply o feature films for screen fans during the coming twelve months.

CONCERNING THE WHITE PEACOCK*

If I were a member of a Jury in the case ot the State vs. "Th White Peacock,’’ 1 believe that I would keep the Jiirv out many hours before I would vote either fur acquittal or conviction of the defendant. I realize that no one ever has straddled the fence more successfully than X have done In this Instance, but for the life of me I am unable to say whether "The White Peacock,” as written and acted by Madame Olga Petrova, Is fair entertainment or Just ordinary weak stuff. At times I had the fueling tht Petrova would come Into her own both a* a playwright and as an actress while witnessing her In the opening performance of a two-day engagement at the Murat last night. And then that feeling was wiped away by too much talk, mere word#, and not

[(jJood^Evir *s* as'c/i a < J&r , o and u cti on I The Story of a Youth io Search of His Soul

enough action. At "The Whtte Peacock" now stands, the acting 1 better than the rlay as a play. I can see no reastn of calling the situations “reasonable” In the first act. Here la the situation—Revette dl Ribera fiantallos (Madame Petrova) Is the “wife” of Don Miguel dl Ribera dantalloa, who Is a high official of Spain and who aspires to be minister of the Interior. At heart he la a acoundred and a murderer, as it is he who planned the murder of Gonzales, Sr. In the first act, his wife had left him and taken up quarters in a studio—she is an artist. During the first nlgbt of our acquaintance with her, a man, who turns out to be ths son of the murdered Oonzaies, steals into her chamber. It developes that Revette’s husband as a Justice had ordered Don Caesar, the son of the murdered man, to be afoot, but Don Caesar esoapsd. He en- j ! tsred the bed chamber of Revette with no' dean thought*. He flashei a revolver on her, attempts to make her kiss him and when sho refuses, he consents to sit in a chair la her bedroom while she nestles very comfy alone oa her bed. In tbe second act Don Caesar, nnder an asumed name, baa become ths model for Revette. While aha is painting, her husband appeara, calls her a “nasty” natn while Don Caesar Is hiding. Don Gadsar appears and the crafty Don Miguel recognises Don Caesar and leaves while the leaving Is good. Then Revette discovers that she really loves Don Caesar. It .s In this act that you see the real Petrova—the powerful, magnetic ard overwhelming Petrovt. That part of the show nearly throws one off his guard because It la real theatrical emotional work. But when one asks the thinks of the terrible first act. In the third act Don Miguel has sum-

MOTION PICTURES.

moned hit handy man, Rafael RodrlgtMfc who had murdered the elder Gonzales Oft orders of Don Miguel. Rafael is drunk , when he appears, tut he accepts anothet | Job which might result In another mur* ; der. Oh, bow this man Rafael lovea to murder. This time it is to get Don Caesar out of the way. 1 Don Miguel sends Rafael with noted summoning Revette and Don Caesar to I his home. Revette arrives before the not* Is delivered for the purpose of asking mercy for Don Caesar, but Don Miguel will not listen. He leaves tbe room and | arranges It so it Is Impossible for Ro* | vette to escape. Rafael re-enters tho ; room for the pnrpoae of finding a kntfO which he had taken from the murdered | Gonzales Sr. For some minutes Revette j plays the role of being Rafael’s “woman** I —ln title only. Rafael “spills the beads* 1 while Revette Is playing for time until 1 the police arrive. Things become interesting Just as Don Miguel finds Revette In the arms of the "soused” Rafael. Rafael charges Don Miguel of "framing” on him. There ia a fight. Revette Is shot—not seriously (that was my lmpresvlon, because aha r.atcg that she will live). Don Miguel Is shot by Rafael r.nd the Impression ia that be did a good job. The last remembered Is that somebody Is running after a doctor (It should have been ths undertaker), and Don Caesar Is being assured ty Revette that she will live. At times, lime. Petrova utters and causes her characters to state some startling “truths.” Some of the remarks are brutally frank. The high lights of the show are ths frequent specimens of high emotional acting by Mine. Petrova; the really mar(Continued on Page Nine.)

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