Indianapolis Times, Volume 39, Number 150, Indianapolis, Marion County, 1 November 1927 — Page 7
1, 1927
‘THE CRADLE SONG’ IS ONE OF BIG EVENTS OF THE SEASON
Ballroom Has a Big Dance Fete Hundreds Celebrate at Halloween Dance at Indiana, More than 3,000 citizens of Indianapolis frolicked and made merry in celebration of Halloween in the Indiana ballroom last night at the Mask-O-Ween ball. The setting for this dance fete was prehaps the most colorful and most ideal of this type that has ever been witnessed in this city. As Owls hooted and Ghosts predominated, and all the witchery that goes to make up a real woozy time, 3,000 people shouted, stomped and demanded more. Looking down from the balcony on this new palatial dance palace, receiving a panamoric view, all one could see was banks of serjtfitine and piles of confer on hundreds of people. The entire Publix unit was brought into play, along with the Hoosier Harmony Kings and the Indiana Novelty Orchestra. These three units answered encore after encore as the merry mad gang of revelers stomped and shouted more! more! at this time, in celebration of Halloween. Two diamond rings, one wrist watch and various articles were presented to those wearing the most original costumes, along with many other prizes which were awarded persons competing in various other contests. Managing Director Jonas Perlberg appeared as the sheriff of the Ballroom village and was in charge of the affair. - v BUS HEARING IS SET Arguments on W. Washington St. to Be Heard Friday. Oral argument on whether the Hoosier Transportation Company Will be permitted to pick up passengers on W. Washington St., will be heard by the Public Service Commission Friday. The company operates busses to Ben Davis and other points, but has ttot been permitted to pick up city passengers. City residents want the service but the Indianapolis Street Railway Company objects. Warm October Results Bn Timeß Special HENRYVILLE, Ind., Nov. I. Blooms and half grown fruit on a cherry tree, rambler roses and hollyhocks are warm October products at the farm of C. J. Simpson located between here and Charleston.
Mengelberg Is Most Commanding of All the Symphony Directors
Going to a symphony concert to me is not a fad, a habit or a disease. * It is just another experiment in my desire to become better acquainted with better music. When I tell you of a concert it if controlled by my years of experience in attempting to great music played as it should be played. I take all the responsibility when I tell you it is my qpinion that William Mengelberg as conductor of the Philharmonic Symphony Orchestra of New York gets a truer response from the members of his Organization than any conductor I have heard. This verdict was reached after I heard the Philharmonic last night at the Murat in the opening concert of the Ona B. Talbot season. f Mengelberg seemed to be able to get definitely everything he desired from his players. He was always the leader, the positive "force which controlled the mood of every movement. The Philharmonic came to us last night backed with one of the most flattering records of musical achievements of any organization in this country. His positive attitude on the conducting stand was so pronounced that he and his orchestra obtained one of the most flattering and pronounced ovations that a great Indianapolis audience has ever given. This orchestra seems to be equally strong In every department. It is
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A Jolly Comedy Is ‘/dam and Eva’—Healy and Cross Deal in Smart Songs—Good Tap Toe Dancing Found in Brandell’s Brevities, a Dance Revue, BY WALTER D. HICKMAN • Just as “The Cradle Song” was the commanding achievement of the Civic Repertory Theatre last season in New York, it will be one of the most commanding and outstanding performances of the present season at English's. Here is a play that has symphonic purity as well as the grace and good manners that goes with a masterpiece. Here is a big comedy done in a masterful way. It is impossible to be in two places at one time, and so my
review of “The Crade Song” is based upon' the performance 1 saw in Cincinnati some days ago. English’s this week has the same production and the identical cast that I saw in Cincinnati. I was at
the Murat last night to hear the symphony concert and so I base my review of “The Cradle Song” upon my acquaintance with it in another city. This is completely safe and honest. This department after seeing “The Cradle Song” some weeks ago made the plea that Indianapolis be included in the
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Harry Davenport cities to be visited by this masterpiece, both as a play and because of the way it has been directed and produced by Eva Le Gallienne. At that time I went into detail regarding the story of this play—the experiences of a group of cloistered, enclosed Dominican Nuhs rearing a waif of a baby girl into glorious young womanhood. The first act deals with the finding of the baby girl on the steps of the convent. Then we have an interlude in verse, telling of the lapse of eighteen years. Then we have another room of the convent and there meet face to face Teresa, the girl in the basket, now a marvelous and beautiful creature who is splendidly in love with a real chap. It is in the second act that we see the nuns receiving a call by the young man who has won the heart of Teresa. Here we feel the heart beats of the nine nuns who have mothered Teresa into glorious womanhood. Here is a scene that will creep into your very mind and heart. Here is rare human beauty. “The Cradle Song” is important in marly ways, especially because of the majesty as well as the humanness of the direction of Miss Le Gallienne. I am willing to go cn record stating that we have here the perfect cast or at least the nearest approach to the perfect cast that I have ever seen. Heading the cast is Mary Shaw,
a known fact that Scipione Guidi, the concertmaster, is a most gifted violinist and Mengelberg often accorded him special recognition by shaking his hand and compelling Guidi to share in the ovation. It is this high standard of individual perfection that gives Mengelberg that quality being able to get positive and accurate results at all'times. No symphony orchestra is stronger than the individual worth Its weakest member and I was unable to find any weakness present last night. And that is one reason that I feel safe In stating that this orchestra is the acccurate organization at all times. There is going to be much talk regarding Goldmark’s “A Negro Rhapsody,” which close dthe first half of the program. Here is a modern composition based upon many themes which the composer is convinced is of true negro origin. It is the developement of these several themes that probably causes most of the controversy and difference of opinion. At times it sounded more Oriental to me that Negro and then suddenly the composition returned to safe ground. And yet I consider this rhapsody as a commanding study of modern writing. At times the melody became irresistible. The thing that I will remember and cherish from this concert was the playing of Tschaikovsky’s “Symphony No. 6 Pathetic,” in B Minor, Op. 74. Here individual and collective artistry of the members of the orchestra and the commanding ability of Mengelberg to obtain the truest and most exacting results was best demonstrated. In part two we had the greatest possible musical beauty. In the third movement we get volume and forfce and in the finale we get tragic musical surprise. Here was great and intelligent playing that brought out the beauty of the difficult score. Here was commanding direction which is high are. (Reviewed by W. D. Hickman.)
Stage Verdict COLONIAL "Adam and Eva” is healthy and good comedy entertainment. Merrily done by the Berkell Players. KElTH’S—Three easy winners on this variety bill. LYRlC—Dancing of merit is featured in Branded Brevities. ENGLISH’S—"The Cradle Song” is one of the Veal treats of the season. Here is on£ show that is giving more for the money than its top price. Great acting here. MUTUAL—"High Life,” featuring Jack Hunt and June Rhoades, measures up to the burlesque standard and makes a fair show.
orife of those rare individuals who for years has given so much of art and honesty to the American theater. Miss Shaw appears as the Prioress. Here is a characterization of such sincerity that it becomes a masterpiece. The same can be said of the work of Mary Hone, Phyllis Rankin and Virginia Gregori. I am sure that I will cherish in my memory box the delightful work of Harry Davenport as the doctor, the only man who is allowed to enter the convent. Here is big acting. The cast is so important that I give it to you in full: Sister Sagrarlo Elizabeth Chester Sister MSrcella Fanny Davenport The Prioress Mary Shaw Sister Joanna of the Cross Mary Hone The Mistress of Novices. .Virginia Gregori The Vicaress Phyllis Rankin Sister Tornera Pamela Robinson Sister Inez Mary Arden Sister Maria Jesus Eleanor Lewis The Doctor Harry Davenport Teresa Zita Joham Antonio Alexander Kirkland Lay Sister Agnes Brady Claire Albertson Nuns..* Marie Pincard ... . Gertrude Brady Monitors..•••••••••••••• *]£isa Van Loan If you have any faith in my opinion of what is big and worth while on the stage, then be sure and see “The Cradle Song.” Here is one of the most delightful experiences I have had in the theater in the last ten years. Because of its merit and human beauty, this play deserves capacity at every performance. “The Qradle Song” is on view alb week at English's. DANCING ACT HAS REAL MERIT AT LYRIC Scotland has quit doing the Highland Fling ,and has taken up the jazz dances of the U. S. A. And the girls in Brandell’s Brevities show you how they do it. By the use of the telephone the members of the cast are gathered together, a singer or two, some dancers and a couple of men from Chicago. Anyway, they make you think that they are from Chicago, for-vthey try to hold up everybody. A dance, in which all the girls are sailors, is the finale of the act. The eight girls in the act do a taptoe dance in which they all work in unison. This sort of thing is hard to do, but the girls work like machinery. The act is a miniature “Follies.” Romaine has perhaps the most unique female impersonation act that has come to Indianapolis. Ke is dressed as a “mama” from th? torrid zone, and what I mean, he, or she, is sure black. He wears a coat that he says is made from "unborn mule” and enough “diamond” rings and bracelets to sink a battleship. Castel plays the piano while Romaine struts his stuff, and what a pair. They bill their act as “Beautifying the Girl of Vaudeville. See for yourself if she is. Good tlmblers are hard to find, but when the good get better they burlesque the art. Anyway Maurice and Rotham are a riot in their act. Some of the positions that they get intb defy explaining, but they do it and get out again. Taylor and Marckley present their songs a little differently, for instead of a piano or violin or some such thing they use a banjo as the accompaniment. A five string one. Miss Taylor knows some good blues, too. Markley jazzes up some of the classics while his partner is getting her breath. ° The Kimiawas Troupe of Japs end the bill with a bang. One of the men climb out over the audience on a rope that is stretched from the ceiling to the stage. And then he slides down backwards. Quite a thrill. There are two good barrel jugglers with them and I have not seen any of these kind of actors for a long time. The Worths give an impression of the tango and the old gavot, before the advent of jazz. They know some eccentric steps too. Their accompaniment is the xylophone, and this fellow plays the music of the day using four sticks. A clever act. Jack Marcus and Company have a little skit based on the man who couldn’t make money and the girl who would marry him if he did. And she was hungry to boot. A lot of laughs in this. Comedies and news reels complete the program. „ At the Lyric this week. (Byt the Observer).
“ADAM AND EVA” IS MIGHTY GOOD FUJ^ The Adam of “Adam And Eva” is not the same Adam that we had in the Garden 'of Eden. This Adam is a modern dreamer who, as a bachelor, dreamqd the pretty dream of a home where everything was harmony, love and kindness. But Adam received a terrible awakening when he found himself the head of a “ready to wear” family by the name of King. This King/family was some outfit. Nobody worked but father and everybody worked father. As far as his family was concerned, father was only important the first of the month when the bills came due. Adam became the head of the King family when old man King decided to take a trip to South America. He wanted to treat his pleasure loving family a lesson. And the way that Adam tapied this family and made real human beings out of the entire gang is told in the comedy, “Adam and Eva,” as being presented this weex by th* Berkell Players. You will be interested in these observations of mine—“ Adam and Eva” is the smartest and funniest comedy of a high order that this cofnpany has presented so far in
THE INDIANAPOLIS TIMES
their winter location; also it is nicely acted by Herbert Dobbins as old man King, Idabelle Arnold as Eva, Larry Sullivan as Uncle Horace (good comedy work) and by Milton Byron as Adam; also the settings, both are beautiful and appropriate. “Adam and Eva” is a mighty good comedy buy. It should make mqny new friends for this company. I can recommend this comedy with ease. At the Colonial all week. PICKING THE WINNERS ON CURRENT KEITH BILL According to my way of thinking there are three easy vaudeville winners on the current bill at Keith’s. * The winners are: First—Healy and Cross. Here are two close harmony singers who know how to pick their song num-
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bers and after choosing them they know how to dress they up in nifty harmony clothes. They have good voices and personalities that match their voices. They do not over do their program but give enough to keep one wanting for more. That’s good showmanship. Second—'“Peggya trained dog and her trainer, Foster. Here is an unusual dog, entirely do, I take it, because of the patience and understanding of her trainer, Foster. This man does not appear as a trainer. He is a pal of Pegey and the dog loves to please both her master and her audience. The ability of Peggy to play real melody upon a special musical instrument is really astounding. A most unusual dog as well as a trainer. Third—Gus Fowler. Here Is a magician who specializes in watches and alarm clocks. He palms watches with as much ease as the ordinary magician handles a pack of cards.
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Margo adn Beth In "A Carnival Night” have what I consider an ordinary musical and dance revue. There Is Individual talent here but general showmanship Is lacking In pres anting the act. Lester Crawford and Helen Broderick are eccentric comedians whose material and delivery Is similar to what they have been using for some time. The movie, “The Wise Wife,” features Phyllis Haver, Tom Moore and Jacqueline Logan. What I saw of this movie, convinced me that here was a wise wife. At B. F. Keith’s all week. CONSIDERING NEW SHOW AT THE MUTUAL “High Life” reminds me of later day revues in that the leading women, anyway, do not overburden
themselves with excess clothing. But that is neither here nor there. Jack Hunt, the tramp comedian, is featured with June Rhoades. Hunt, with his toothless smile, works all through the show. Bert Marks Is the other comedian, the Jewish one, for what would burlesque be without a Jewish comedian? Gilbert Mack and Billy Gilbert make Hunt and Marks the butt of most of their many quips. “Just Kids” is a duet featured by Bebe Tobin and Pearl Wilson. These two have good voices and are also eccentric dancers of some ability. Miss Tobin was in the city last year with another show on the burlesque curcuit. The chorus is like the majority of choruses in that the girls are fair dancers and well costumed. The shawl seems in be the predominating effect now. Two Hawaiian girls
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that are in the chorus do a specialty dance of the land of the grass skirt. All In all Joe Leavitt has written a show that is standard burlesque. It Is not unusual in any way, but it is not a bad show. (By the Observer.) Other theaters today offer: APOLLO—PoIa Negri In "The Woman on Trial.” INDIANA—"Rose of the Golden West” and a presentation, Charlie Davis, his orchestra and assisting artist. OHlO—Connie and his band and Laura La Plante in “Silk Stockings.” ClßCLE—Stolarevsky presenting a beautifully done version of “The Moonlight Sonata” and a movie, “Now We’re in the Air.” BAND BOX—“Is Your Daughter Safe?” ISlS—“Flesh and Blood.”