Indianapolis Times, Volume 39, Number 142, Indianapolis, Marion County, 22 October 1927 — Page 5

OCT. 22, 1927

‘PEG 0* MY HEART’ AND ‘FOG’ WILL BE HERE NEXT WEEK

Civic Repertory Theater Company to Send 'Cradle Song’ to English’s—Another Big Booking Is William Hodge in a New Comedy, Drama with a “punch,” romance and comedy of the most hilarious nature, together with a story that is filled to the brim with thrills, chills and suspense so tense as to make one’s very hair stand on end, will be the portion served out next week to the patrons of English’s when “Fog,” the latest spooky mystery play by John Willard, author of “The Cat and the Canary,” will he presented for one week, and thereby increase the blood pressure of all local theajtergors. Frankly, “Fog” is an unusual mystery melodrama that was produced last season at the National Theater, New York City, nd overnight it took rank as one of the biggest successes of the season.

Theatergoers like to laugh, ry and be thrilled, but they don’t want to laugh ?fll the time or cry constantly, and a thrill every minute would soon cease to be a thrill, but you need have no fear that “Fog” will do any one of these tilings to you continuously. John “Mystery” Willard, as he is ometimes called, certainly “knows his groceries” to use a slang expression, and how to mix an entertaining cocktail that will warm the cockles of your heart. His recipe for “Fog” is one mystery schooner, nine different souls unknown to each other, one black Zulu head hunter, a dash of thrills, chills; shake them together with love and romance and serve with laughter in “Fog.” So if you think that you need a tonic for your nerves—try this “Fog Cocktail,” it will either give you chills or giggles and make you so cautious that you will look under the bed before you retire and keep you excited for an entire evening to your finger tips. “Fog” is just a concoction of all these things and we are certain that it will keep you wonering for days after you have seen it, how it all happened, and how so much excitement can be crowded into one evening’s entertainment. Cast'feicludes Nellie Burt, Leslie King, Jal Adair Young, Gage Clarke, Fred Garland, Robert Toms, George Seydenham, James R. Garey and Prjnce Singh and the entire original scenic production that was used at the National Theater. “Fog” was staged under the personal director of Arthur Hurley, farmer general stage director for Arthur Hopkins. “PEG O’ MY HEART” DUE AT COLONIAL “Oh, there’s nothing half so sweet in life as love’s young dream.” Such is the motto prefixed to “Peg O’ My Heart,” the charming comedy of youth by J. Hartley Manners. This play, which has been described as “A breath of perfume from a rose-scented garden,” will be the offering of the Berkell Players at the Colonial for the coming week, starting tomorrow night. Miss Idabelle Arnold, ingenue with Mr. Charles Berkell’s various stock companies for several years, will appear in the name part. No better role could have fallen to Miss Arnold than this exquisite one of “Peg,” the Irish-American girl whose Irish brogue at first shocks her aristocratic English relatives and later endears them to her. J Miss Arnolds will, perhaps, be best remembered for her artistic work in “Pollyanna,” done a few weeks back, and it would seem that the present opportunity is but a just reward for

MURAT 8U^ Y 3 O’CLOCK >ON NOV. 6th GERALDINE FARRAR PRICES (Tax Included) *B.BO, $2.75, $2.20, $1.65 and sl.lO Mail orders accompanied by remittance and self-addressed stamped envelope wiU be (Iren immediate attention.

TODAY MAT. NITE I.AST 2 TIMES

PATRICIA COLLINGE WHAT EVERY WOMAN KNOWS

ENGLISH’S 1 Bil: OCT. 24 GREATEST OF ALL MYSTERY PLAYS EThe National Theatre New York Success By JOHN MILARD Author of 7 L OF THRILLERS’* rapped in Rudderless Boat iT HAPPENED!! <EW YORK GUESSING 1 YEAR 'Cat and the Canary.’ ” PRICESSIII.S&SS MATS. WED.- SAT. $1.65

WEEK BEGINNING MONDAY, OCT. 31 „J.*S!:SV The Civic Repertory Theatre of New York PRESENTS THE CRADLE SONG” Produced Under the Personal DirectV>n of EVA LE G ALLIEN NE , With a Cast Including MARY SHAW HART HONE ' PHYLLIS RANKIN VIRGINIA GREGORI HARRY DAVENPORT ALEXANDER KIRKLAND ZITA JOHANN NOTE: The chief aim of the New York Civic Repertory Theater is to present the best of contemporary dramas, worthily acted and mounted, at as low an admission price as may be charged. The prices here will be as follows: Evenings: SOc, 73c, sl.lO, $1.05 and $2.00. Wed. Mat., 50c and sl.lO. Sat. Mat., Me, 75c, sl.lO and $1.05. MAIL ORDERS NOW. SEATS THURSDAY

‘The Patsy’ Orville Caldwell will play the leading male role opposite Marion Davies in her forthcoming Cosmopolitan starring picture, "The Patsy,” adapted from Claiborne Foster’s famous stage vehicle. Caldwell has had wide stage and''screen experience. He created the role of the Knight in Morris Gest’s spectacle, “The Miracle.”

her graceful talents, her unique and charming personality. Eight other parts revolve around her in next week’s offering, bringing into view practically every member of the company. “Peg O’ My Heart” is a play of love’s young dream, much as its author intended it to be. It takes a child from her squallid home in New York, where poverty and lack of opportunity have been the order of the day, and places her in England in the midst of culture and refinement, where many opportunities of marriage come and where true love finally sweetens her life, and with happy wedlock the culmination of her dream. But one setting is required for the entire piece. Harvey Schlueter, the company’s scenic artist,. will mount the production with a replica of an old Tudor 'house in Scarboro, England, the living room of which will open into a fine old English garden. The play lavishes in a true English atmosphere, and Pd|’s English relatives are not caricatures, but they are genuine Britons, such as are seldom seen behind the footlights outside of England. The play has a rare quality of humanness, and one is so beguiled by the sweetness of the heroine, that it is easy to forget for the moment that anything exists but delightful living. “CRADLE SONG” BOOKED AT ENGLISHS A young actress of exceptional personality and ability, who plays the role of the youthful heroine in “The Cradle Song,” with the Civic Repertory Theater Company, is Miss Zita Johann—well and favorably known to New York playgoers but as yet & stranger in many other cities. In this respect Miss Johann has reversed the usual procedure of gaining reputation in the theater. Ordinarily a long apprenticeship in touring companies is followed by the coveted “New York appearance,” but Miss Johann first made a success in the metropolis and now goes forth to gain acquaintance with the greater public in the vast territory

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PRICES Nite, 50c to $2.75 Mat., 50c to $2.20 Seats Selling

known theatrically as “the road.” With the Theatre Guild Miss Johann played the leading feminine role in “He Who Gets Slapped,” with Basil Sidney, and also the leading feminine roles in v “Peer Gynt” and “The Devil’s Disciple.” She was the Alohma in “Alohma of the South Seas” during the greater part of the long run of that play in New York, and later played leading roles in “Dawn” and “Merchants of Glory.” In “The Cradle Song” Miss Johann plays the exacting role of Teresa, a waif who is left at the door of a Convent in the Pyranees and who grows up to be the idol of, and the symbol of romance to, a group of gentle and gracious Dominican nuns. Eva Le Gallienne, who rehearsed and produced “The Cradle Song,” experienced great difficulty in finding the ideal person to play this delicate role, and she was over-joyed when it was learned that Miss Johann was av'.ilable. It will be seen at English’s the week of Oct. 31. WILLIAM HODGE BOOKED HERE Long-legged William Hodge and his crisp tight-lipped humor comes to, English’s Monday, Nov. 7, for 3 nights and Wednesday matinee, in his latest offering entitled “The Man at Home,” in which he is said to have as congenial a role as he enjoyed in “The Man From Home.” The new comedy might be termed a whimsical comedy of love, mystery and a home building. A well-de-veloped mystery story runs throughout the play. The stellar part is that of a famed stage star spending his sujnmer amid the confusion of a home in the process of being completed, ticune of the characters in the play are a painter, carpenter, plumber, Bolshevik mason, vampish female interior decorator, philandering architect, two charming young girls, the inevitable young man, and “brother,” a typical boy who, with his dog at his heels, might have stepped from the pages of Mark Twain. There is a cast which also includes a detective and a policeman who intrude themselves into the action following a sudden and mysterious murder. The piece, however, abounds in the dry and homely humor which is characteristic of any offering to which Mr. Hodge lends his droll individuality.

The •Film Shop

BY DAN CAMPBELL United Press Staff Correspondent HOLLYWOOD, Oct. 22.—1n limp, lifeless rows they hang, dead as the tales of which they were a part, but yet breathing untold romances of filmland. Month after month, picture after picture brings new additions to the morgue of the studios wardrobes and there they repose possibly never to be used again but with the intangible charm of their wearer clinging to them forever. The wardrobe of the Paramount studios houses almost 10,000 dresses, many of which will be used but still hundreds which carry such distinction of line that they are of but little use after serving in their initial role. The musty odors of the wardrobes speaks of romance, success and often heartaches. Meandering through Movieland— Clara Bow wandering around with Ruth Mix, Tom’s daughter—Raymond Hatton looking like a musical comedy prince in a trick uniform— Richard Arlen in a cage with a leopard and skeptical about the cat’s purring—Gilbert Roland giving lessons in the art of fencing—Cosmo Kryle Bellew, son of the famous Kyrle Bellew, playing a role with John Gilbert in “Fires of Youth”— Colleeen Moore in a fringed panne velvet shawl, shaded from pale pink to cherry red—slave girls and gallant Spartan warriors playing bridge between scenes.

—-DANCING “ ’Neath Spanish Skies” ’Neath Twinkling Stars MARDI-GRAS TONITE Fun—Favors—Frolic The Music That Has “IT” HOOSIER HARMONY KINGS “Syncopation Supreme"

fiti- , GIiOFtIFVING 'DANCING ' (

SUNSHINE DANSANT Sunday Matinee 3 to 6 SUNDAY NITE FROLIC Where “Indianapolis” Dances MASK-O-WEEN BALL HALLOWEEN NITE, OCT. 31 Prizes and Surprises BUY TICKETS NOW!

THE INDIANAPOLIS TIMES

1— Idabelle Arnold will be seen as Peg in “Peg o’ My Heart,” opening Sunday night at the Colonial. 2 Jay Adair Young will have

ROUNDING THEATERS

We are now face to face with an old problem as far as Indianapolis is concerned and the problem concerns the poor or only fair support given to worth while legitimate stage offerings. ' The fact is that “What Every Woman Knows” did not receive the attention from playgoers that this type of play and production deserved.

I do not care to drive people into the theater because it is my duty to tell you what is going on, but I have made up my mind to do a little plain talking. The fact is—if we do not support the better comedies and dramas presented at English’s, well, we are not going to get much attractions. Many people are now bemoaning the fact that there is no longer “two a day" vaudeville. My answer to that is this: Did you support such a policy when it was presented here? The fact is the continuous vaudeville and movie policy is in effect in nearly every city, the two a day houses giving way to the new order of things. The fact also remains that the Berkell Players did not get the business that they expected either with “Merton of the Movies” last week or with “The Donovan Affair” this week. Last Saturday I told you about going to Cincinnati to see the Civic Repertory Theater of New York present “The Cradle Song,” which was the big triumph of the Eva Le Gallienne season in New York. Am most happy to tell you that arrangements have since been made to present “The Cradle Song” at English’s for the week starfthg day night, Oct. 31. Realizing the only fair business that “What Every Woman Knows,” received here before the school teachers arrived, it is most important that we seriously consider the significance of the coming of the Civic Theater production. A. F. Miller of English’s tells me that the Civic Theater idea of prices will prevail in Indianapolis with the highest evening price at $2.20, and the highest Wednesday matinee price at sl.lO. The highest matinee price Saturday will be $1.65. The balcony at all times will be only 50 cents. So you see that Eva Le Gallienne and the Civic Repertory Theater is keeping faith with Indianapolis. It will be necessary to do capacity at all times. Miss Le Gallienne has challenged

I** Hep, Hep/And Rah, Rah, Rah/ I /leru Umdersiip R And A VreCbp CbEd in at Riot J j - Harmony, Songs Si, Steps j , WARD S WILSON ] RUBIN & MALONE j 'Laughs And Moge LaughC l 'What Do Men Pnefere" 1 A BREEZE FROM THE WEST I, PASCALE AND LILLIAN PERRY | I (!! Shooting Ballets/// v ' . | I RUSSELLSARMSTRONG) EDMOND D'ORSAYSGD. 1 i 'Squirrel Food Peraomfied'\ 'fn A MirLhfulFarceCbmedif EXTRA ADDED ATTRACTION g ft Hi l the MerryMusiC'SongdDanceNovelty J COOKS TOUR.* J A Clever* Array of Artists Including' —- ClaireS Raymond Aula j I ON THE SCREEN 1 / 'd** Comedy 'Blue I Jpi andR e daC 7?,, I] ClassicdOngofSportsQuJihlrrv, "HolStufr | /“UThi NOLL? n VAUDEVILLE STARTS 2:00'4-:20- TOO S’ 9-ZO

an important role in “Fog,” a mystery play, starting Monday night for the week at English’s. 3—Hilda Wilson will be among the important people present at

ROUND With WALTER D. HICKMAN

Indianapolis and it is up for us to decide if we want great theater at honestly moderate prices. The cast is headed by Mary Shaw, just as it was when I went to Cincinnati a week ago to see this play because I feared Indianapolis was going to be slighted. I know the beauty and worth of “The Cradle Song” as well as its cast. Here is a big event coming this city. Indianapolis is going to be tested. Have received from Betsy Anne Schellhase of New York, inteview which she obtained from Miss Le Gallienne. Here is what Miss Le Gallinne had to say to Miss Schellhase: Ideals are not dead... .commercialism does not rule and art. true art Is still available to the appreciative many who crave it. These were the thoughts that flashed through my mind as Eva Le Gallienne. standing on the steps of the shabby old Fourteenth Street Theater, now know as the Civic Repertory Theater, waved me adieu after my Interview. A strangely symbolic scene, too. the background, that theater where old New York was accustomed to disport Itself, and Miss Le Gallienne standing there in its shadows, strong, courageous, a determined light in her clear green eyes, defending, as it were, old ideals against the approaching white lights of commercialism. For the Civic Repertory, in Eva La Gallienne's own words is a theater run on Ideals. Its aim is not to make money, but to make itself a part of community life, as do the repertory theaters of Europe, a part of community life Just as the library, the museum, the symphony orchestra, are a definitely established part of it. | "When you were a child, and went to the theater,'' said Miss Le Gallienne, "there was a certain glamour about it. The theaterl It meant that you were going to sec something that you would remember, always. That is the kind of theater the Civic Repertory is. Every production is something you will remember, always, because each one deals with things that really matter in the lives of human beings. It may be tragedy It may be farce, but it will be real. "I want peoplo to feel that the Civic Repertory Theater is a sort of library of plans,” said Miss Le Gallienne, " a place where a few cherished moments have been spent, and can be respent whenever any one so desires. You know,” she sgid turning to me impulsively, "how you treasure a book that has meant a great deal to you, how you put it away where you can be sure to find it whenever you feel th need, the urge to refer to It. . . .That is the wav I want people to feel about the plays we put on here in the Civic Repertory. X want them to know that there is a place where they can always find the real thing. And I believe," she said slowly, "that they will want to come back again and again, not always to see anew play,

AMUSEMENTS

the Lyric all of the coming; week. 4—Jane Greene, a singer of blues, will be chief among; those present at B. F. Keith’s all next week.

but often to relive through one they have already seen produced. "So far this kind of theater has been neglected. In America," continued Miss Le ■Gallienne. “and surely, surely, there are many who feel the definite need of it. "I wonder If there are many.” I mused, "or whether Broadway does not offer what the public In general Is seeking. "But the Civic Repertory Theater Is not In competition with Broadway,” put In Miss Le Gallienne. "There Is Broadway for those who enjoy It, offering a very definite kind of entertainment, and In great variety, too. Such great variety, in fact, that one can hardly make a choice. New music, beautiful women, clever dialogue, almost perfect entertainment of Its kind, only our Is a different kind. It will never be a question of ‘Shall we go to see, such and such a play on Broadway, or shall we go to the Civic Repretory?' They do not stand for the same thing. Those who feel that they cannot afford merely to be entertained will turn to the Civic Repertory. Students, young people struggling *o get along In New York, actors, artis s, authors, any one. every one who rea..y craves true artistic nourishment will Instinctively turn and return to the Civic RC "But° r Jon’t misunderstand me." went on Miss Le Gallienne. "The civic repertory theater is not purely educational; In fact. It 13 not even primarily educational. And I believe there Is a popular misconception about really good plays. People imagine that Shakespeare, for example, or Ibsen, could not possibly be entertaining because they are recognized as great. Asa matter of fact, great art and great artists are the most entertaining of all. which Is only naural, it seems to me, since, they are the most Inspiring " Miss Le Gallienne then went on to explain to me that she had no desire to make money out of this repertory theater project. Her work of building the civic repertory theater is no money-making SC "l"should feel.” said Miss L Gallienne "as though I were betraying a trust If I tried to make money on the theater. j. want to make only enough to put into the work, enough so that we can go aheau and develop he civic repertory theater in New York and other repertory theaters throughout America. I feel that this theater should be a free gift to the public—that It should be of some service." Miss Le Gallienne told me that she holds the old Hindu belief that when you compromise your art. that Is to say. commercialize it, vou are automatically deprived of the gift. She feels that It would be as wrong for her to make money on her art as It would be lor a healei to capitalize on what he can do to heir others. For this reason, the prices of he Civic Repertory are made to fit the pocketbooks of those who care for real art, but can rarely afford It. As Miss Le Gallienne said, "The people who care about this sort, of thing rarely have the money to pay for It. although at times they can with great effort. find the money to buy a balcony seat from which to view the performance of a great artist.” Miss Le Gallleene's Idea, then, is to bring real art to this group at balcony prices. The Civic Repertory Theater first opened on Oct. 25, 19*L when Miss Le Gallienne appeared in Jacinto Benavente's play, "Saturday- Night." On successive nights she appeared in "Three Sisters" by Techekoff. and after three weeks, four plays were alternating at the old Fourteenth St. Theater. Before the end of the season. Miss Le Gallienne’s dream of a repertory theater that would be a part of New York’s community life had proved to be an actual fact. The theater was a great success, and presented In actual repertory eight plays. The Civic Repertory Theater opened. Its new season Oct. 18. with the Dutch play, "The Good Hope." Blonde Villians Wanted Blonde Villians in the movies usually are as scarce as hen’s teeth. Ever notice it? But Freeman Wood is one of them. He has just been signed by Paramount to play “the bored man” in “The Legion of the Condemned,” sequel to “Wings.” \

Drama Club

Anew drama club is being formed in St. Paul’s Episcopal Church, corner of Illinois and New York Sts. The intention of the club is to give a play each month during the winter at the Parish house, together with a series of dances, and an invitation is being extended to all who are interested in becoming members. Mrs. Alexander Hamilton, who for the past seven years has filled the position of executive secretary of the Little Theatre Society of Indiana and general assistant to George Somnes and the director, has been engaged as dramatic director. The season will open with a Hallowe’en frolic at the Parish house, Oct. 31. Bebe at Work on “The Shlek” Bebe Daniels, now at work upon “She’s a Shiek,” will make her next picture on a story of an imaginary invalid who is a millionairess. The title will be “Wooden Dollars,” according to B. P. Schulberg, Paramount associate producer.

ICOLONIALI Week Starting Sunday, October 23rd “PEG 0’ MY HEART” By J. HARTLEY MANNERS With Idabelle Arnold as ‘Peg ’ MATS. tilS ■ NIGHTLY WED -THL'KS.-SAT. —————— AT g.jj Week Starting Sunday, October 30th A Comedy of American Home Life “ADAM and EVA” By GUY BOLTON and GEORGE MIDDLETON

KEITH’S

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Shriners to Have a Big Event Keith’s to Have Special Benefit Bill Week of Nov, 6, With the slogan: “Murat to Miami in May” the first of a series of public amusement events for the purpose of financing a pilgrimage of the uniformed organizations of Murat Temple Mystic Shrine to Miami will be given during the entire week commencing 6unday Nov. 6, at B. F. Keith’s theater in this city. This will also mark a novel experiment on the part of the local vaudeville house in that so far as known no such a plan lias been tried by a legitimate theater for an entire week. It is stated that a certain percentage of the proceeds of “Shrine week at Keith’s” will be turned over to the pilgrimage fund of the local Shrine temple. Heretofore such split-profit events in theatrical houses of this city have been confined to one night only. For the Shrine week events the feature picture “Les Miserables,” based on Victor Hugo's immortal classic story of Jean Val Jean and the French revolution will be the cinema events and Shrine leaders consider the organization is most fortunate in being able to show this tremendous production immediately after its general release for the entire country. In addition to the feature picture there will be five acts of Keith vaudeville with some notable headline acts, and it is announced that the program will be continuous, starting at 1 o’clock each afternoon and running until 11 o’clock at night. The new continuous policy of Keith’s precludes seat reservations, it is pointed out, and the rule of first come first served will obtain during Shrine week. Every Shriner of Murat temple Is expected to be a booster for the week and an effort will be made to have “sell-outs” every day if possible with the view of breaking the local Keith theater attendance records.

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