Indianapolis Times, Volume 39, Number 303, Indianapolis, Marion County, 16 April 1928 — Page 5

APRIL 16, 1928_

PARDO MAKES GOOD WHEN HE MEETS YOU Dave Silverman, Guest Conductor From St. Louis, Aids Circle Orchestra in Receiving Marvelous Ovation Under New Policy. BY WALTER D. HICKMAN Lots of times when you first meet a fellow you have the thought that he is all right. And that is the way most of us felt yesterday when we first met Eddie Pardo as “master of ceremonies” under the new policy of the Circle. Pardo, in addition to being backed with ten years of experience on the stage, has that brand of personality which makes one want to welcome him as friend.

When it comes to this master of ceremonies’ job, much depends on how one gets started. Pardo first lets you know that he is an actor and that he has been with some

things that have been good and otherwise. He does not squander time in getting his performers on and off the stage and he has an individual introduction for all. He tells you that Billy Adams should have a crazy house setting and this comedian with his “nut” song about rain lives up to his introduction. Pardo tells you that a

Dorothy Mackaill

tenor is a guy with one of those high voices and Orville Rennie lives up to the introduction. During his love ballad number he has the assistance of a number of the dancing girls in pretty costumes This song number is well worked out from a production standpoint. In connection with this band presentation act we have the Novello brothers who are doing “love bird” impersonations which reminds me of another act. Pardo is a wise showman as he does not attempt to force himself in front of his assisting artists. He gives all a chance, as they say now days, to strut their stuff. Pardo by his introduction and his comedy with Alice Weaver, a dancer, aids in giving this pretty little dancer a definite chance to make good. Pardo wisely confines his work to one song number, a crazy number, and he is glad that they like such numbers because he just loves crazy people “and we will got along fine.” The way Pardo’s song number goes over proves that this man is there. He certainly gets a lot out of a number. The stage setting is not elaborate, but it is striking and the stage band makes a good appearance. The girls of the dancing chorus do some pretty stepping, not complicated, but pleasing. It takes time to get a group of dancers in that clnck-like precision and it takes lot of work. But much has been done in the short time that the dancers have been together. Dave Silverman, guest conductor from St. Louis, helped to make the Circle orchestra in the pit, receive one of the most profound ovations that the orchestra has received. Twice after the overture, Silverman had to bring the members of the orchestra to acknowledge the ovation. And that is a triumph these days when you consider that the overture is not jazz. Silverman has that fine sense of showmanship which permits one to realize the importance of a director. When this man is on the conducting stand, he is the center from which all the musical expression starts. The men of the orenestra are giving him earnest and sincere support. Quite a pleasure to oe able to tell you about the way this otchestra is being received. Dessa Byrd, probably the best known organist in the State, is presiding over the organ, one of the appearing elevated ones. When the slides get going a little better (the sldies didn’t work correctly when I was present) Miss Byrd will be able i to make everybody sing whether j they can or not. The movie feature is “Ladis - Night In a Turkish Bath.” The feature ! Players are Jack Mulhall and Dor- ! othy Mackaill. It is made from a lapid stage farce of the same name. ' The plot centers about what happens in a Turkish bath when ‘ a couple of men get “lost” in such an institution on ladies’ night. The Circle has been all dressed up with new paint, carpets and about everything else. It looks like anew house. The Circle has made a good start with its first stage presentation bill under the new policy.

n tt a DOUBLE MOVIE BILL AT THE OHIO He was an athlete when he went to college, and when he got there he thought that he had found anew "ay to train. But for three years he didn t amount tc anything on his ■style of training. The one big thing that he did find, however was that his character was built or moulded into a better shape. This was the thing that happened to Hugh Carve., the fastest runner in his high school in “The Plastic Age.’’ And Cynthia Day, played by Clara Bow, was the girl that put him on the right track. As I recall the book there were many occasions when Hugh fell, and not until he graduated from school that he realized what he was doing. The picture has tried to build the plot around the fact that Hugh was susceptible to the wiles of Cynthia only, and nearly wrecked his career on account of her. And when he graduates he goes back to her, after she had made a man of him. As I recall the book, Carl Peters, the

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rival, makes the greatest strides with Cynthia. About all that is retained of the book is the namjKand the characters. Donald Keith fakes the part of Hugh Carver. This is a youthful and rather bashful part and is handled very well. As Cynthia Day, Clara Bow has to spread more “it” about and does it remarkable well. She is the ultra flapper type that keeps all the boys guessing. Others in the cast that do good work are Henry B. Walthall, the father and Gilbert Roland, who plays Carl Peters. They both have small parts, but do them in a pretty fair fashion. The other feature is "The Great Mail Robbery,” which gives the marines a chance to show that they are good detectives, and watch dogs. This is melodrama of the old school and shows how one of the marines captures a band of robbers that Lave been robbing the mail trains and gold shipments. It is quite thrilling when they have their battles and have to send for the aeroplanes to come and drop bombs on the bandits, who are in a canyon. The comedy of the picture is contributed by Sergt. Bill Smith, who is traveling as a tramp and gets a lot of information while he is in jail. The love theme concerns the daughter of the railroad division superintendent, who is in love with Major Howard, the marien that captures all the robbers. It develops that Ma and Eli Davis are the heads of the band that do all the robbing. Both picture have been show in the city before. Connie and his band play some very hot music. News reel and comedies complete the program. At the Ohio. (By the Observer.) ana NOAH BEERY AT IIIS VERY BEST IN THE DOVE” When you are told that Norma Talmadge is in a picture, you are bound to have the thought that Norma is the whole works. Not so with "The Dove.” Miss Talmadge is beautiful and a’l that, but “The Dove” Noah Beery's picture. Not because Miss Talmadge is not still a good actress, but because the

central character is the guy that Beery plays. Beery is cast as the bluffing Don Jose who brags that he is “the best damn caballero” in the business. Let us approach “The Dove” from two ways. First, the direction and the photography. Roland West, the director, has -made use of the moving and elevated platform to get certain striking results.

Al Is Sr v ! /

Norma Talmadge

You get the impression that many of the scenes that end in a close-up are actually moving toward you. The scene does seem to come right up to you. not the camera moving, but the entire scene. This system is used by West through the entire picture. “The Dove” is always interesting, but I think the mechanics of this picture deserve a lot of study. From a photographic standpoint, “The Dove” is one of the most beautiful of the season. After you get acquainted with the mechanics of the picture, you then will be able to consider the second point under consideration—the acting df Noah Beery, Norma Talmadge as the good little dance hall girl, and, Gilbert Roland, the romantic and fighting love companion of Norma. Noah Beery has never had a better part suited to his style of work. If I were going to name the ten best performances of the movie season so far, I am sure 1 would head the list with the work of Beery in this picture. This role was a mighty “fat” part on the stage and Noah certainly has lost none of the weight in the .movie \ersion. The character has so much comical conceit, the type that Beery know's how to develop so w'ell, that one gets the opinion that the role was made for him. Even when the character is near the brink of personal ruin, his conceit comes to the rescue and you actually believe that he is the “best dam caballero” in the business. Here is anew type of conceit. Beery is good for many laughs and he is always in character and he will give you a bunch of thrills. Norma as the dance hall girl has her best scenes while making romantic love to Roland or trying to keep him from getting killed. “The Dove” is adult romantic entertainment. The central theme is w T ell, just a little tough,, but it is grand theater. The director has kept the redblood in the story and that is something this day w'hen most directors are trying to even make prize fighters just “nize boys.”

Verdict of the Movies CIRCLE—The sensation of the new policy at this house is the way that Eddie Pardo, master of ceremonies, made a hit himself and then carried the stage show to success. Another positive factor in the success of the new policy is the way that Dave Silverman, guest conductor, caused the audience to give the Circle orchestra a grand ovation. LOEWS PALACE—“The Dove” is Noah Beery's picture. He is doing the best work of his career. The picture is an .outstanding one, due to the acting as well as come new ideas in projecting the scenes. APOLLO—“The Keeper of the Bees” is pinch hitting at this house for today. This theater will close tonight after the shows until Saturday, when anew policy will be introduced. OHlO—Double bill includes Clara Bow as the flapper student in “The Plastic Age.” A fair story that does not follow the book. “The Great Mail Robbery” is a fair picture of the marines protecting the mails. A melodrama. INDIANA—The feature picture of the surprise bill includes a picture! of the trials of domestic life. The stage show is good with Charlie Davis playing several “hot” tunes.

Here Tonight

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Fritz Reiner Tonight at the Murat Theater Ona B. Talbot will present the last orchestral concert of her present season. The Cincinnati Symphony with Fritz Reiner con- | ducting will be present. j This play has nerve and I am glad that it has been retained in the movie version. The stage presentation this week is called "Northern Knights.” It I gives the management a chance to j introduce a male chorus. Why in j the world they all have to shoot revolvers is beyond me. There is no need of staging a young battle. It is Emil Seidel and his orchestra who are actually making this stage presentation whatever it is. After one of the shows Saturday, it suddenly developed that Teddy Joyce, who has been the alleged master of ceremonies since Loew’s Palace opened, is no longer with the theater. Seidel jumped into the sudden vacancy and came through the task with flying colors. Seidel can play a piano as few can. His piano solo this week is the type that is stopping the show. Os course, to my way of thinking, Seidel should have been master of ceremonies all the time because it is Seidel’s orchestra and he alone is responsible for the success of the orchestra, starting from its organization and its growth into a hot-play-ing band. The work of the orchestra this week proves that the only master of ceremonies that this organization needs is the guy who directs it—Seidel. Seidel does not attempt to be a comedian, he goes at His introducing job in a business like fashion The Chester Hale girls are present with some stepping. The chief visitor is Emile Boreo formerly with “Chauve Souris. ’ He states that he created “The Parade of the Wooden Soldiers” and the best thing that he does is h’s impression of one of those soldiets. His cemedv is continental and therefor dull. Sylvia Miller sings one number with the chorus. Lester Huff is at the pipe organ. On view at the Palace with other events. if tt a MYSTERY BILL ON VIEW AT INDIANA It is one thing to tell about a picture and still not give away the point when that picture is a good mystery story, and another to tell about the picture and still not tel. the name. This picture tells the story of a woman who was so meticulous in her home that finally she nearly lost her husband. She left him when she found him in the kitchen kissing her best friend, who had just gotten her divorce. The contrast between the two women is widely separated in that the divorcee, Peggy Nash, is very modern, while Cynthia Grey, the wife, is so plain in her dressing to be out of the times. When Mrs. Grey is in Paris getting her divorce she meets Peggy Nash and the friend makes the wife a fast stepper. In fact she is so fast that Mrs. Nash, who has a reputation, is lost in the dust. This is as if a fast car was coming from the back and passing a slow car and finally leaving it in the distance. Mrs. Grey's friend. Henri de Briac, takes the husband under his wing to show him how to get his wife back. It all develops out finally that the wife is not so neat in keeping her rooms, and that she really loved her husband. Then Henri de Briac, who had arranged the whole thing after he knew of the husband, goes out with Peggy Nash. It is, indeed, a study in human nature, trying to show that love is human and that a man can not love a vacuum cleaner In human form, Henri de Briac has a strong part, that cf a gentleman, and a Frenchman v/ho becomes infatuated, but gets over it easily. He is made a constructive character. Mrs. Nash also is strong, being cast as a flashy background for the strongest part, that of Cynthia Grey. Phillip Grey makes the plot around which the story weaves. He is the cause for the change in his wife. He is also the cause of bringing de Briac and Peggy together, which leaves you with the assumption that Mrs. Peggy Nash will shortly become Mrs. Henri de Briac. There is a good stage show and Charlie Davis plays some “hot” tunes. I am afraid that if I keep on I will give away the secret

THE INDIANAPOLIS TIMES

about tho acts and the news reels and the overture. At the Indiana, (By the Observer.) it a a APOLLO GETTING READY FOR A NEW POLICY Asa pinch hitter before the Apollo goes dark after tonight’s shows for a few days, Clara Bow is being seen in a movie version of Gene Stratton-Porter's “The Keeper of the Bees.” -As this movie was reviewed in this department some time ago it is not necessary to go into detail again. Other theaters today offer: “The Spider,” with the New York cast, at English’s: Gene Greene, at the Lyric and burlesque, at the Mutual.

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Kindler Delivers Fireworks BY WALTER D, HICKMAN ONE expects fireworks from a pianist or a violinist in a concert, but the cello generally is not associated with musical fireworks. I know that the cello can belong to the fireworks family after seeing Hans Kindler, cellist, in concert at the Academy of Music before a

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Maennerchor audience yesterday afternoon. Kindler is a rare showman and he is truly a big artist. He just sheds that so-called temperamental genius stuff all over the stage until one becomes as much interested in the man as the music. This is not told to you in any laughing way, because it is the personal element of Kindler’s concerts that make them so individual. Kindler has that starlight gazing attitude, so much so that I heard a woman near me whisper to her companion, “He looks like a genius.” He works his audience up to really great ovations. He sold Ravel so successfully yesterday that he had to repeat “Habanera” after one

of the most sincere ovations that I have heard this season. Even with his “genius” attitude or look, one can study with each the technique of Kindler. He seems to get into the mood of every number that he plays. And he gets a true tone always, a brilliant tone, and every once in a while the fireworks of his artistry seemed to drag out even new tones, strange ones. Personally, I enjoyed the melodious firewarks of the “Suite Espagnol” by De Falla with its many surprises and the melodious “Asturiana.” The “Concerto, Opus 33 in A Minor,” in one movement, by Saint-Saens, was an interesting study as played by Kindler. Os course, his choosing of Valentini's

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“Sonata” to open his program wa3 a happy one. In Kindler, you have combined two great qualities—sincere atmospheric showmanship and real ability. And this man can win on both. The audience made a great favorite out of the way he played “Toccata,” by Frescobaldi. This Kindler concert was sensational. It had tons of personality and real cello playing. Ralph Angell was at tb' piano. Here is another artist .id aided much in the success and beauty r s the concert as well as the fireworks. An archipelago is a sea with many islands.

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