Indianapolis Times, Volume 35, Number 188, Indianapolis, Marion County, 16 December 1922 — Page 7

DEC. 16, 1922

‘Tis thè Week Before Christmas, and All Through thè House — The week before Christmas on thè locai vaudeville stage does not refiect anv pre-Christmas weaknesses. The bills at thè Palace, Keith’s and thè Lvric will not offer several novelties, but several high priced acts will be presented. Keith’s will feature Venita Gould in her impersouations. The Palace will feature our own “Indianapolis Follies.’’ The Lyrie will have Robyn Adair and her “Sunkist Serenaders.

At B. F. Keith’s Vanita Gould will head thè bill at B. F. Keith’s next week with impersonations ot famous stage folk. Among ,her impressiona axe Lenore Ulric, Fay Bainter, George M. Cohan, Belle Baker, Eddie Léonard, and others. The bill will include: OLSEN AND JOHNSON —Known as “The Likable Lads Lo ad ed with Laughs’’ are comedlans, slngers and dancers. Thelr act ls a blend of song, piano, and patter. PRINCESS RADJAH—Famous Continental exponent of terpslchore will oer her "Dance of Cleopatra,” which ls a pantomimic portrayal of thè tragedy of thè immortai queen. This act is offered in an elaborate stage setting. THE SHOW OFF—A comedy sketch having to do with a domestic tangle In which a mother-in-law keeps things going at a high rate until thè tangle ls unraveled. It ls a George Kelly comedy featurlng Fred Summer. EMILIE LEA —Formar musical comedy star will be seen In a dancing act assisted by Clarence Rock and Bam Kaufman. An aerobatic dance by Miss Lea and Mr. Kaufman ls one of thè high Ughts of thè act. LUCAS AND INEZ —Are aerialists who offer an "Art.Classic” introduolng "The Slow Motlon Camera.” BUI lncludes: The Pathe News Weekly. Topica of The Day and Aesop’s Fabìes. At ti Lyrlc From California cornea Robyn Adair, a beauty cf thè “Golden State,” who, with her “Sunkist Serenaders,” will top next week’s biU at thè Kyrie. Miss Adair ls a dancer, musical com-

iCONTINHOIIsS 1\ 11 WHERE THEB fl Vaudeville U 1 Mll m t crowds co g H 1 UNTIL (~) ■ t ■9 ; : The Acme of Class and Syncopation gp || JOE CENNETT & CO. R 0 In th© Merry Farro •S * “A Telephone Tangle” Hb fl ~AA .u CONN&’HART Bnng the IylClulCs Two Ruflned Gentlemcn To Meet PHTL LA TOSE A si li Santa Claus Th© Talkatlv© .Togglfr I (Tn Person) KNOX COMEDY FOUR j£ M On the Mezzalune FlOOl? Harmony Singing Comedlans By I at 1516 Lyric LÉONARD & WILLARD 3 Tuesday, Wednesday, “Seldom In” W Thursday, Fnday and Sat- . K* B urday afternoons of this TEI) SCHWAB / V B Week. Ile 11 have some- Master Banjolst thing for each of them! fi 1 i SCHEPP’S I ►Hg Botr-wow-lsin and Monkey ShJnes wt 1 £2CTIU 1 A REGIMALO/(k ' LI I 1 60 DEMNV QV ' gOp I ITO lE/UHHI £ A resumption of the popular serìes which waa v V. g * Jp discontinued with “ROUND 6” owing to an acci- j I Round 7 S will be presented this week, and thè rest of the H series will follow. They're great! r ì Ili

edy player and star of the filma. Her serenaders are a company of singing i nstrumentalists. The bill w ill include: "A TELEPHONE TANGLE” —A farce with music in which "Abe Kabibble," of newspaper cartoon fame. is portrayed by Joe Bennett, who is assisted in his fun making by Adelaide Black, Myrtle Gray, Max Steiner, Tiliie Green, Rufus White and Mrs. Steiner. ( KNOX COMEDY FOUR—Harmony singing comedians, offering a melange of new song hits. TED SCHWAB—Banjoist, in a program of snappy numbers. CONN AND ILART —Comedians, who bill themselves as "Two Reflned Gentlemen.” LÉONARD AND WILLARD—In a medley of up-to-dat© fun and song. PHIL LA TOSKA—The Talkative Juggler. who keeps up a running Are of comment as an accompaniment to his feats of dexterity. SCHEPP’S CIRCUS Dogs and monkeys, featuping the monkey “nutcracker.” ON THE SCREEN —A resumption of the photoplay series, "The Leather Pushers,” adapted from H. C. Witwer’s talea of the roped arena, and temporarily discon'inued with "Round 6," owing to an accident sustained by Reglnald Denny, who stara in the role of a gentleman pugillst. Each of the series ls a complete Story in ltself. "Round T’ will start them off agaln. + + + At th© Palare Necrt week’s bill at ths Palar haa 1-een designateci aa Gala Week. "The

AMUSEMENTB

Plays Lead

ELIZABETH RISDON She will be one of George Arliss’ chief players In “The Green Goddess,” opening at the Murat omJan. 1. Arliss is bringing a laFg© company bere.

IndianapoUs Follies" will be th feature attractlon. The Follies ls not an amateur attractlon. The principals are New York musical comedy peopie and the cast is augmented with fifty locai girls. The costiunes anrl scenery are on an elaborate scale, lt ls said. HENRY CATALANO and Company —"A Timelv Revue of Class," with Mlldrecì Davies, tliree Sturm Sisters and Billy Carr, in an up-to-date song, dance and musical production. The act is presented by T. Dwlght Pepple. “THE FOUR OF US”—A qunrtette of young raen, CAITS BROTHERS—"The Tallor Made Boys." A comedy, talklng ami singing act. WHITFIELD AND IREJLAND— Will present thelr new act called

THE INDIANAPOLIS TIMES

‘Dad’ Gives Good Picture of Family Lise As Is f

tftie opening scene of “Dad,” Max Parry’s three-act comedy ot Hoosier home lise, to bo revived by the Little Theatre at Masonic Tempie on Dee. 28 and 29, plunges forthwith into the dìfferences which threaten to disrupt that sprlghtly famlly. It is Sunday morning. The paper is on the steps and Mr. Breedlove (Dad) comes out and sides it over the rim of his spectacles. The feminine part of the famlly is at church and Bob, the son, is stili In bed. That’s three ways of looking at Ufo to start with. Stili another appears In Lyall Worth, superlntendent of Dad’s automobile plant and manager of his cainpaign for mayor. Presently mother and daughter ,7kne come back from church, each espousing a separate and widely divergenti polnt of vlew. This makes flve, and before the

“Umphs-VUle.’ They will be remernbered for thelr work in “The Belle of Bingvllle.” RUTH GLANVILLE Bllled as “Arnerica’s gre&test saxophonlst,” with Hai Sandars, violinisi PHOTOPLAY—"The Sin Flood.” It is an adaptaition of the Swedish play by Henning Berger. Ths eleven characters aro made to revenl thelr ugliest traits. Then, under the speli of impendlng doom, the evil In thelr hearts disappears. On common ground all tlie characters unito In a. universa! brotherhood. Tlien it ls discovered that the death which threatened them ls an illuslon. Gxadually, they return to thelr norma! selflshness—all but three, who have leamed thè lesson of humanlty and go forth agaln lnto the world with a new understandlng. In the cast are Richard Dlx, Helen Ch&dwlck, James ICirkwood and many other well-knowm characters.

\4/cM Derbùì (HIGCtodIDIJ Kins Bsggot7 , REGINALD DENNY ■ ' Theftimousheroof ”THE LEATHER PUSHERS’seiieS | £éj j TS thè reai thlng. with the famous race scenes at ChurchillDowns, Loulsvllle, the A race track, tho Derby crowd, even the famous horse, Morvich, figured In this glorious j romance, and the screen’s flrst Mg epic of racing Kentucky. A story filled with thrllls , that stira one with lts big moments and breath-taking sltuations— as the son of thè I proudest familles in Kentucky gamely batti es agalnst a crushing fate to eave the honor of his famlly and regain the posltlon wrested from him by treachery. I j r

strike noon a slxth retums from Chicago in the person of Bonnie, the unrepentant prodigai, exile of a foriner famlly quarrel. The fun beglns the moment two members of the famlly come together and it waxes hotter as more of then engagé. To bring the final curtain down on a scene illustratine the injunetìon, “behold how good and pleasant it is for brethren to dw'ell together in unity” is some task, but Mr. Parry is triumphantly and convincingly equal to it—on the stage at least. Tho cast, now undergoing intensive rehearsal by Mr. Mitchell, is as follows: Mr. Breedlove (Dad) .. . .William F. Cleary -Mre. Breedlovo. .Elizabeth Waterson Hughes Bounie Breedlove .... Alieo Baxter Mitchell Bob Breediove Elmo L. Kicliey Jano Breedlove Marie Karrer Lyall Worth Edwin J. Wuenseh The Housomaid. ... .Eunice Jameson Peirce The Doctor G. H. Morehead The Professor Alvan lioy Dittrieh

I Spied Today

Bclongs in Movles I saw a man clip cn the top step of his porch, fall down the other flve, toli over In the yard and get up unhurt. —L. J. F. ’At’s AH Kight. They Buy 'Eni I saw a crowd In front of a locai stor looking at the display of children's toys. The crowd was so dense that some youngsters on the outsklrts dldn't have a ghost of a show to seo the toys.—L. Thos© Who Qulbble Over Word Don’t, or Aren’t Siri —I see by th© paper that *Man dlffeiw FROM brutes.’ Please teli me w’hat possible interest that statement would have: the persona who would

MOTION PICTUREB

Back Again

' '' 1 C " ; ! taxi 3 ' ‘ Sj* • 1 ’

OTIS SKINNER Some seaeons ago Otis Sklnner appeared in Booth Taikington's “Mister Antoneo.” This season, he is using a new version. In thè earlier edition, the opening ecenes were placed in a saloon. They had to change that for this season. Opens at Engllsh's on Jan. 1. want to read an article on the subjeet the head Implies would be so disgusted at the Jack of educatlon dia s played they would go no farther—and all others know wlthout belng told that man ls DIFFERENT from brutes. —Peda Gog. Doesn*t Belleve !n S!gns I saw a baby carrlage, oocupied. standing on the side walk agalnst a “no-parklngr" sign.—G, O. R.

William De Mille Tells How He Makes Motìon Picture Hits \ By JAMLB \V. DEAN NEW YORK, Nov. 16.—“From now on I expect to make good movies. In the past three years I have gathered together a staff of assistants who aren’t afraid of me. They teli me when they think I’m wrong.” Thus I begin at thè end of a chat with William De Mille, for in that he epitomized what he been telling me in the previous hour. Eliminating direct quotations for the sake of brevity I repeat

here the method by which De Mille constructs his photodramas as he told it to me. Clara Beranger selects plays. She gives a rough sketch, orally, of the play to De Mille. If they decide then to produce it, Mrs. Beranger Works out the play, s’tuation by situation, and tells it to De Mille. The* go over the play until De Mille visualizes the action and growth cf characterization. Then Mrs. Beranger writes the script* De Mille selects his cast. He calls the players together and tells them the story of the play. He dwells on the psychclogy of the story and of each character. When the players are satisfied that they have graspeci the significance of their parta De Mille is ready, for rehearsal. Seta have been constructed in the meantime; De Mille Works out his camera angles with his photographer. One assistant follows through this preparation eonsidering thè picture only from the audience viewpoint. That is, she visualizes thè compieteci cene. Another assistant record thè rnechanical preparations. It is In this part of the work that De Mille uses the script. He nevor allows his players to read a script. Ile doesn’t read it himself until he gets to the purely rnechanical details. When De Mille is set for action he makes aa many as twenty scenes in a day. No scene is photographed until each player “feels” his character and says he or she is ready. Then three

The Circle Theatre Management Takes pardonable pride in arinouncing as the Ch ristmas Week attraction, startin g Sunday , Dee. 24 MARY PICKFORD In thè Crowning Achievement . of Her Career An entirely New Production of the Tender and Appealing story that first made Her America’s Sweetheart A. ÌJjkJÒ OF THE STORM COUNTRY” Eight years ago Mary Pickford in “Tess of thè Stormy Country” first gained thè place in the affections of thè American pubLic that she stili occupies today. At thè time the picture was perfect. But the motion picture industry has advanced tremendously in eight years and so has Maiy Pickford ’s art. Because of this picture’s priceless them©, and \he numberless and insistent. demands, has re-created it, in an entirely new 1922 production, with every artisti© and rnechanical facilita possible, that “Tcss of the Storm Country” may remain the crowning achievement of her career.

cameras film the story in the sequence cf action. The player benefits through the progressive development of characterization. There are no interruptions for close-ups or change of ttnij-o. De Mille seldom shows a player how to act the part. wants hlm or her to do the character naturaJly aster the psychology of the role and situation is understood. “Once in a while t show some young bonehead what to do, but I always feel like kicking myself afterward,” he told me. “The result is an imitation of tho way I would imitate.” De Mille at rest is like a sailor on furlough “pacing the deck” iu thè kitchen aster dinner. He is ontinuously m motion. If he isn’t walking he has stopped only to tamp tobacco In his pipe or to point the pipe stem at you in emphasis of some point. He is tremendously eamest. He ls sincere and frank. “Sincerity is thè sister of truth and truth is art” was one of the things he said as he paeed before me. Usually the man who talks about sincerity is really not sincere, but I’ll leave it to any one who iias seen William De Mille's pietures to decide whether he Is sincere. "Buffalo Bill” Historical At last lt ha been proven that “Buffalo Bill” is an historical character. Uni versai had to go to law to prove that no one htS exclusive right to the name of "Buffalo BilL”

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