Indianapolis Times, Volume 39, Number 228, Indianapolis, Marion County, 31 January 1928 — Page 5

JAN. 31, 1928

EUGENE O’NEILL NINE-ACT PLAY STIRHOTHAM First Night Contingent Is Patient Through Five * Hours at Theater. Bn United Frees NEW YORK, Jan. 31.—Restless Broadway, having sat comparatively still for five hours for the first time in history, received with a degree of uncertainty today Eugene O’Neill’s new nine-act drama, “Strange Interlude.” Never before had a play of that length been attempted in New York, and never before had first nighters shown up for a play at 5 o’clock in the afternoon. But they did for the opening of the O’Neill performance and if the judgment of the critics is of any value they will continue to patronize the longest of all American dramas. Although the critics praised it as a startling, but impressive, novelty which will wear at least through the season, there were many who believed the play was too intricate and too long to be digested and catalogued in less than a week. “Strange Interlude” was a strange play in more ways than one. It was a strange plot, involving the newly designated “eugenics baby,” and extending over a period of twenty years. Also, it was a strange portrayal, the characters speaking not alone the lines that developed the plot, but in long asides that revealed what they were thinking. The play deals with the life of Nina Leeds (Lynn Fontanne) and her relations with six men, including her father and five husbands and lovers. Nina is a psychopathic case before the first curtain, having lost her fiance in an airplane accident. The asides by which she reveals her true attitude toward the men who figure in her life are occasionally of a caliber that would shock a Boston policeman.

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THE BIG THING IS HERE—SYMPHONY At Last Ona B. Talbot Realizes the Dream of Years in Trying to Give This City Great Orchestral Music on Real Programs. By WALTER D. HICKMAN At last the victory is here—a great public ready to buy seats and standing room for a symphony concert. It has taken years for this public to find itself. But the day has come when this city will pack a theater, every seat and every legal foot of standing room, to hear a symphony concert. That happened last night at the Murat when Ona B. Talbot presented Walter Damrosch and the New York Symphony Or-

chestra on the sixty-sixth birthday of the conductor. There was a beauty and an understanding on the part of the members of this orchestra that I have never seen in the years that I have had the duty of covering orchestral music. Symphony concerts are not a disease. Such music is the climax of an understanding of big music. It is not highbrow. It is the language of years. And it is a glorious feeling to see a packed theater to hear this language. It was not just fashionable to go last night to hear Damrosch. I got much nearer last night to that fact than I ever have. Often people have expressed in letters that they would patronize a symphony concert if they could get in. I know that every seat was taken. Last night, I, as usual, was tendered my critic seats. No complaint with Mrs. Talbot. Those I did not use. I went to the box office two minutes before Damrosch went on the conducting stand. There I bought standing room. I stood with many people. I am not too good to stand up for great music. Many people stand. I wanted to be last night with those who stand. Standing did not change my verdict of this concert. I was glad to stand last night. I know now more than ever when people write me and tell me that they would go through anything to hear orchestral music. In my time, I have gladly gone into the “roost” to see Robert Mantell in Shakespeare. And out of this experience last night came the big thought—lndi-; anapolis wants great orchestral music. People sat and stood. Damrosch and his men came through with a program that was great music, dignified by conducting that inspired those present. Brahms, Rimsky-Korsakoff and Wagner yielded to the baton of Damrosch. Here was the conductor, softened and made glorious by many years as his men played on his sixtysixth birthday. Wagner took on new glory and beauty while this man directed his men. Then, during one number, the master left the conducting stand,

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went to the piano, played and then directed his men. Here is a concert that spells anew day in the musical future of this city and the State. We want big orchestral music. We will sit and we will stand. Ona B. Talbot has won. The great day has come. The future is secure. a a a “IT” IN MANY FORMS AT KEITH’S To my way of thinking there is a complete harmony bill at Keith’s this week. Meaning that the acts work in that understanding which results in one being satisfied. Let us start with Ryker and Mack, two girls who play banjos and other instruments. They have that good taste not to try to crack wise jokes. They stick to their banjos, their singing and several other musical instruments. They get harmony out of their work. They bring that soothing jazz something out of their playing that gives one a sort of restful feeling. Then we go to Bud Carlell. I hope the spelling of this name is correct. This man is from the great open spaces, it seems. He handles ropes and how! He does not attempt to be another Will Rogers. This man is just himself and he wins. Carry and Eddy and several others appear in a dance revue. Their individual dancing and then ensemble at the beginning of the act, brings a bright and new touch to an old idea. There is a suggestion of the classical dance, but such is kept within the bounds of v'hat I call popular vaudeville. There seems to be an understanding of good and

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THE INDIANAPOLIS TIMES

The Master

r Vu/rtR Damrosch //T-T' —. Coin.clac-tor"* \ of lha Y.,i J j

Here is a pen sketch of Walter Damrosch, the master, who directed the New York Symphony Orchestra through a great concert at the Murat last night.

sound stepping in those who appear in this act. Sidney Marion is an eccentric funmaker. He is assisted by Ottalie Corday. I give credit to this man and woman because they use a very old idea, they sell it because they know how to serve it. This act must be judged by results. lam satisfied to praise them because they got results when I was present. I have a weakness for elephant acts. Weir’s elephants are present. A fast “dumb” act. One of the best in the business. I am sure that these elephants know how to dance. The movie is “Let ’Er Go Gallagher.” At Keith’s. nun GOOD SHOW AT THE LYRIC The Original Four Aristocrats, who have made a name for themselves as Vitaphone recording artists, are on the bill at the Lyric this week with a program of popular numbers. This quartet plays their own accompaniment on the piano, uke, guitar and Hawaiian guitar. These four fellows have several of the snappiest jazz tunes that has struck Indianapolis for some time. Several solos are played by the man with the Hawaiian guitar. Among the numbers is the late one, “Henry's Made a Lady Out of Lizzie.” Hall. Ermine and Brice have a

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skit called “A Night on Broadway” in which nearly everything imaginable is presented. *This is a song act that is unique in itself by its presentation. I was impressed with the way the man in the company sang quite a lengthy song, at the same time concealing a burning cigarette in his mouth and blowing smoke out every now and then. The Four Flashes have a dance act in which all the dances are of the tap variety except one. And that one is well worth the break. One of the young ladies in the company does some real dancing while bent double. Ido not exaggerate a bit when I say that you have never seen the likes of this in many a day. Here is an act that is intended to warn the prospective husband and father what he is likely to get Into. Edwards and Morris have a clever comedy skit that transpires while the father is trying to take care of the baby. There is real humor in this. Doran and Soper have a lot of slapstick hokum that goes over pretty good. The best is last for they Doran plays some blues on the piano, after he has done enough clowning. The Six Bohairs are what you might call acrobats delux, for they specialize on one form of the ancient art. That of throwing and twirling people by the use of the feet. It

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is spectacular and done with real finess. The Mcßans have been here before. Their act consists in throwing o fhats and juggling Indian clubs, but there is a lot of comedy and hokum mixed up in the performance. However it is good, stuff. This bill is especially good vaudeville. At the Lyric. (By the Observer). CONCERNING BURLESQUE SHOW Here is burlesque in all It freedom. And Bimbo Davis is the chap who helps make it free. “Stolen Sweets” Is the name of this show that is one of the better examples of burlesque. This Bimbo Davis is the chief comedian and he presents as some of his act bits that have seen light in Indianapolis before. But it is still good. He Is the man who puts this show on the map. Thelma Lewis is the prima donna of the outfit and she is a good little dancer, although she Is surpassed by one of the principals whose name I don’t know. This girl Is also the best singer of the company and knows how to present herself to the best advantage. Bee Bell is one of the feature members of the company and does some good work in her dances. Billy

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Lewis and Gus Flaig are also In the cast. This is good burlesque and done very well. At the Mutual. (By the Observer.) Other theaters today offer: “Wings” at English’s; “The Rink” at the Colonial; “The Big Parade” at the Ohio; “The Sheperd of the Hills” at the Circle; “Chicago After Midnight” at the Apollo and “The Valley of the Giants” at the Indiana. walb in court Friday Former Chairman of G. O. P. Up on La Grange Bank Charge. Clyde A. Walb, former Republican State chairman, and Valentine D. Weaver, former president of the First National Bank of La Grange, will be arraigned at Ft. Wayne Friday before Federal Judge Thomas Slick on a grand jury indictment charging conspiracy to violate the national banking act. Walb is former vice president of

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