Indianapolis Times, Volume 39, Number 231, Indianapolis, Marion County, 3 February 1928 — Page 11

FEB. 3, 1928

Here Are ‘The Merry Wives of Windsor’ Dolls

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Doll making is something that attracts the attention of many people oesides those who make their living at making little girls happy with new dolls. The above pictures are dolls made from life models as they represent three of the principal characters in “The Merry Wives of Windsor” coming to English’s Monday night for three days. Upper left is known as the Mrs. Fiske doll and show's her as Mistress Page, one of the characters in the Shakespeare play. The upper right is the Henrietta Crossman doll or the Mistress Ford of the comedy. The lower picture is the Otis Skinner doll or Skinner as Falstaff. The dolls were made by Mrs. Ruth Murphy, wardrobe mistress with the three-star organization. Unlike the critics, Mrs. Murphy gets her views of the "merry wives” and the victim of their propensities for practical joking from the “other side” of the footlights. An important though unseen member of the great organization headed by Mrs. Fiske and Otis Skinner, with Henrietta Crosman, it is her duty to see that the hundreds of gowns and costumes worn by the forty odd members in the course of the nine scenes in which thq comedy is being presented are in immaculate condition. Mistress of the needle and thread, the success of each performance is gauged for her by the freshness of the wardrobes and as a “no man is a hero to his valet” so, too, to her is the artistry of the three brilliant artists measured by a sartorial rule. No wonder then that when she finally gave expression to her views on the Shakespearean production it look the form of hand-made reproduction of the Mesdames Fiske and Crosman and Mr. Skinner in their

btcifirc clotbes Here they are just as the photographer caught the three dolls, whose remarkable likeness to the subjects show that if Mrs. Murphy were not a very successful wardrobe mistress she might have been a mighty good sculptor or painter. . , . , . .. The dolls were Christmas presents to the adored originals, but have become community property to the entire company.

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MILES SEEKS U. S. JOB Ethan A. Miles, attorney for the Anti-Saloon League of Indiana for several years, is seeking a job as attorney for the Federal prohibition department, it was learned today. Miles already has passed the writ-

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. THE INDIANAPOLIS TIMES

SEEING MUSICAL PANCAKES MADE The Early Birds Seem to Be the Ones That Turn Out Sweetest Melodies for the Gennett Company in Its Studio at Richmond, Ind. BY WALTER D. HICKMAN The early birds get the worms, according to Moran and Mack, but it seems that the early birds turn out the sweetest melody. That was my thought when I landed the other morning in the Gennett studio at Richmond, Ind., to see the “musical pancakes” made. I left Indianapolis by motor the other morning at 4 a. m.

I and a little after 7 o’clock, i Emil Seidel and his assisting J musicians were getting ready j to record on the musical pancakes. * Have seen many rehearsals of acts on the stage, but getting ready to record popular tunes is even a more exacting process. In the first place the players must get “hot” or rather get into the mood of the song. The Gennett recording studio looks just like a radio broadcasting studio. The first thing that attracted my attention was a microphone, just; • like those used in broadcasting. The ! , singers and musicians sing and play i i into this microphone which is attached to the recording machinery | in another room. i The musical pancakes, the trial j ! records and the master records, are j set in a sort pi an icebox with botu | cold and heat. A strange mixture, but that is the way it seemed to me. J Seidel and his assisting artists : made themselves to home by taking I off their coats and warming up on the two melodies they were to record. Sidel hacf with him when I visited the studio a singer by the name of Les Backer who is well known on radio and also as a Gennett artist. I Seidel also had with him two vio- j linists, Paul Brown and Kenneth Glass, who play in Indianapolis orchestras, and George Harper a hot | saxophone player. This organization, j the instrumentalists, are known as i the Emil Seidel Ensemble. Os course Seidel is at the piano and you know just as I do that this man is a wonder at the piano. After Seidel and Backer had ob- | tained what they wanted from “Just j Across the Street From Heaven,” a j blue light and then a red light was ! flashed. That was the signal for the j men to make a test record. | If one coughs or even thinks of a sneeze, the test must be made all over. Even if an innocent telephone bell should jingle and that sound should get near the musical pancake, then it must be done over. As soon as the first test record was made, we all hurried into the room where the musical pancake had caught the vibrations. They do not sing into a horn any more under the new electrical recording process.

As soon as we landed in the room, the musical pancake,, which is the test record, was played for Seidel and his men. They checked up and made corrections with Backer. Then more test records. Then the master record was put upon the machine. This of course is the mother of all the future records of the number recorded. This “master” is an irrtportant pancake and I understand an expensive one. Seidel makes at least three master

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recording.' of each number. The other number recorded was “G’hloe” or “The Song of the Swamp.” This number looks like a riot to me with the Seidel background and with Backer singing. Backer has a strange way of singing into his records. He gets nearly into the microphone and seems to whisper the melody and the words into this sensitive instrument while Seidel and the others are playing normally. I know that this system gets splendid results because I heard many musical pancakes when I was at the factory. The musical pancake business is hard work—especially for the artists as well as the experts who work at the recording machinery. There is no fuss in this studio, everybody is an expert and knows his business. We remained at the studio until about 10:20 a. m. when Backer rushed to a 10:55 o’clock train for Chicago and we started back to Indianapolis. Gennett has just finished two other new Seidel records. One contains “Beautiful,” with Les Backer singing and the Emil Seidel Ensemble playing. On the other side is Backer singing “Are You Happy” with piano, violin, cello, trumpet and guitar. The other record contains Emil i Seidel and his orchestra playing | “She Wears the Pin of Xi Psi Phi” l with Cliff Williams singing. I un-

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Much Interest in Foot Contest

Only a few more hours remain to enter the Cinderella contest. More and more small feet are stepping out, but there must still be many dainty pedal extremities in Indianapolis that have not been entered in the competition to determine the tiniest feet in town. Remember, the prize is distinctly worth trying so pair of I. Miller shoes, valued at $lB, of your own choosing. The Cinderella contest is being conducted by The Times in cooperation with B. F. Keith’s theater to determine whether there are women in Indianapolis who have feet as small or smaller than Carrie, of the derstand that some think that Williams is a real record find. The other side reveals Seidel and his orchestra playing “Beautiful,” with Benny Benson singing. These two records are now ready for release. Indianapolis theaters today offer. “Wings” at English’s; Four Aristocrats at the Lyric; Weir’s Elephants at Keith’s; “The Big Parade” at the Ohio; “The Rink” at the Colonial; "Chicago After Midnight” at the Ap\dlo; “The Shepherd of the Hills” at the Circle; “The Valley of the j Giants” at the Indiana and burlesque at the Mutual.

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