Indianapolis Times, Volume 40, Number 2, Indianapolis, Marion County, 14 May 1928 — Page 8

PAGE 8

PARDO BECOMES HIS OWN ‘TED LEWIS' fddie Takes a Song by the Name of ‘Laugh, Ciown, k Laugh/ and Lifts It Until a Member of the Audience Honestly Says 'Tremendous/ BY WALTER D. HICKMAN IT may not be good business to judge another guy by another guy, but I can’t help it while I tell you about Eddie Pardo singing a song by the Jiame of “Laugh, Clown, Laugh.” There are certain things that Ted Lewis does so well and when another fellow comes along and goes beyond the first idea, well, then, I am for the other fellow.

There is such a thing known in the show business as suppressed artistry, and it is far to find. Pardo could have pulled the scenery all to pieces. No, he didn’t, while singing this song. He went into the heart of the meaning and into his consciousness of a sorrow in his own life and out of that comes his dra-

matic m o ments of thought while singing “L a ugh, Clown, Lagh” as a part of the stage show at the Circle this week. When I saw Pardo do this number a man in the audience (just a customer) said to his wife after Pardo had finished the number: “Mary, he is tremendous, tremendous.” And the ovation carried out the opinion of the man

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James Hallin

who said tremendous. There is dramatic color and the mission of song as Pardo does this number. The number is gigantic, but it could be just, ten, twenty and thirty routine, unless the artist who sings it failed to bring into the personal note of pathos. A1 Jolson told me '•■ce on a trunk in Evansville that comedy came from pathos and that suffering came from life. That is what this song is in the hands of Pardo. Here is a magnificent example of the tragedy of dramatic action as expressed in a song. Here we have Pardo at his best, his most sincere self. Here is a man who knows how to act a dramtic song without getting too wild. He knows that pathos comes from life. The stage show has the services of “Miss Indiana” and some of the other girls who tried to get the same honor. Pardo has a carefree way about him in announcing the girls that puts them at ease. As Pardo says, “This show is called ‘Songs for Sale’ and for that reason we will have a dance.” And the show also has a finale. Bebe Daniels in “The 50-50 Girl” Is a picture of a dame just like Bebe. That is the type of a story that is Bebe. She is cast as a dame on a train. Then she becomes a half owner of a mine. She didn’t work, for it. An uncle or somebody with "a memory recalled loyalty. This mine stuff is Bebe’s idea of comedy or she would not be in it. Just an

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average change, not so good and not so bad. Just fun. James Hallin is Bebe’s leading man in this story of the mines or what have you. Here is a theatrical farce dressed up with the services of Bebe Daniels. , The overture, conducted by Dave Silverman; an organ invitation to sing by Dessa Byrd and other events make up the bill. Now at the Circle. a a LOOKING AT CHARLIE ON HIS BIRTHDAY— Charlie Davis puts on a musical entertainment that is worthy of his I,oooth performance. In fact the whole show is Charlie and his band. Davis sat down to the piano, when I saw the show, and played a

little number and ;ang a few words that told how glad he was that he had been there that long. Then he introduced the boys in the orchestra, one by one, and in groups, and played an accompaniment for them while they did a solo. The first of these was the boy that sings all the “blues and jazz.” Then

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Conrad Nagel

there was the fellow that plays what is called a “broken bow” violin. Then a trio of violins. Charlie introduced the fellows that played the trombones and the trumpets, and they played “Mighty Lak a Rose,” and did a mighty good job of it. Dick Powell sang “Suppose Nobody Cared.” This was good. Then Charlie did something that made me feel good. He called all the boys out around him, and they all sang a “mother” song. Asa finishing touch Davis played “There must be a silver, lining” on the trumpet. The stage show, the “Hula Blues,” opens with four men and a woman, Chief Tui Po and his Royal Samoans, who do an old Hawaiian dance, sitting down. This has all the expression in the time and body swaying. Then while the men played the accompaniment on “ukes” the girl danced the “hula.” Then the men did an old war dance with swords. This is really goou Greta Beach, I think the name is, does a leopard dance and the chorus furnishes the background. The chorus also does a form of hula dance that is fair. Moore and Powell 1 do some jazz times on the saw and harmonica. This is fair entertainment. There are a pair of dancers, of the trick variety, Fritz and Jean Hubert, who have a dance act that consists of Fritz falling all over the stage. He takes some good falls. “If I Were Single,” the feature picture, tells the story of a man and his wife who, after several years of married life, nearly break it off because the husband gets tangled up with the best woman friend of his wife’s. Conrad Nagel takes the part of Ted Howard. He wants to keep in the good graces of his wife and has a hard time doing it. May McAvoy has the part of .May Howard, his wife. Andre Ferange is cast as the piano teacher who is in love with May. Joan Whitley, played by Myra Loy, is the woman friend who starts all the trouble. Nagel makes a rather poor husband. One would imagine him more as “the boy friend.” Miss McAvoy is much stronger In her nart as the wife, and does a better piece of work. Berange is good as the music teacher who moons around his pupil’s house. A rather esthetic type of person. “If I Were Single” is but fair

entertainment in relation to the stage show. There is nothing unusual about the picture. At- the Indiana. (By the Observer.) * u n a GRIFFITH FORGOT HIS VERY GOOD PAST D. W. Griffith, when he made “Drums of Love,” must have had his eye only upon the box office. Just why this man who knows better should have made a Belasco nothing out of nothing is beyond me. Now don’t get me wrong. Griffith probably tried to make a two-buck picture out of “Drums of Love,” but he failed. “Drums of Love” has the much showing service of Don Alvarado,

and when I saw this picture there was no reason to go to a prize fight to see men in nature. Griffith has timed this entire picture to cause excitement at the box office. Alvarado is dressed for the occasion. I would not be surprised that Griffith is kidding the entire world with this picture. He has gone way beyond anything that

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Don Alvarado

Glyn could'ever dream in her wildest moments as a one-minute or three-week thing. Griffith has Mary Philbin as the dame who causes all the temperature within Don. She dresses her moonlight by you Don thing with that cleverness that makes a guy want to know if it will ever stop. “Drums of Love” might as well be called “Rising Temperature,” This picture has a wad of scenery. Hundreds of people are in it. Beautifully directed and all that. Here is something that should cause Will Hays to ooze the oil of his non-indulgence all over this picture. If he tried to make Sadie Thompson mentally pure then he should get wise to this lesson in knowing how to dress for a bedroom. Here is a bedroom picture that is bedroom and much more. It is the Belasco-bedroom touch done with a smile by a great director, Griffith. This picture may cause anew day on the screen. Who can tell? It is the wildest thing that Griffith ever turned lose upon the screen. This picture has the services of a member in the cast of the Barrymore family. Lionel is his first name. If there was ever a “hot” picture made this one is that. “Sadie Thompson” is only a gesture compared with this baby. Have your fun with this one but forget that Griffith ever directed it. Harry Fox is the name that you must consider with the stage show this week. Here is a big name and a personality that reminds, when the audience takes him seriously, of A1 Joison Fox has his own way of putting over a song. Also his own idea of comedy. He brings a bunch of “ancient dames” on the stage in a towel chorus Here is a laugh. Beatrice Curtis is with Fox. Not in the towel chorus. Here is smart fun. It may go wrong with an audience or it may have more class than the presentation stage has seen for

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THE INDIANAPOLIS TIMES

many a day. There are other members in this stage show. Forgot to tell you about the way that Dusty Roads is connecting with his audience this week. He is there. The finale has a revue touch of magnitude. The girls form a part of the curtain. A fine idea. Now at Loew’s Palace. n tt u “JAZZ SINGER” NOW AT THE APOLLO I have told you before that “The Jazz Singer,” with A1 Jolson, is one of the finest accomplishments of the screen in recent months. This picture is now at the Apollo. I consider it one of the most interesting steps in advancement that the screen has revealed in its recent history. By Vitaphone, this picture brings you Jolson as he is on the stage. Here is a gigantic picture, as I have told you before. Everyone should hear and see this one. The bill includes Movietone News and Vitaphone vaudeville. Now at the Apollo. u u * TWO FEATURE BILL AT THE OHIO This department has told you about Richard Barthelmess in his fight-love picture, “The Patent Leather Kid.” Here is good entertainment. Wisely directed and as well acted. Here you have Barthelmess as we like him in a role that has both comedy and pathos. The other feature on this double movie bin is Virgiina Lee Corbin in “Bare Knees.” Now at the Ohio. Other theaters now offer: “East Side, West Side,” at English’s; “The Fest” at Keith's; Bedford and Wallace at the Lyric; “The Merry Whirl” at the Mutual; “Sorrell and Son” at the Uptown and Ritz; “Speedy” at the Oriental and St. Clair; “The Big City” at the Strand; “Man Crazy” at the Dream; “Chubby” Parker at the Colonial, and “Love” at the Fountain Square. Another Classic A version of Victor Hugo’s novel “Toilers of the Sea,” is to be preduced by Robert Kane with a cast of notable players.

Old Gold’s smoothness was so obvious 99 said Miss Anne Morgan after the blindfold Cigarette test

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Ann Has Right to tie Very Big Indiana Girl Deserves to Have the Very Best Training. BY WALTER D. HICKMAN rr'HERE is no way getting beyond this point that Ann Kaufman of Shelbyville has the right to have the very best training possible in this country and abroad that is possible. This is the most extreme verdict that I can give after hearing this young girl in her first concert of importance. Miss Kaufman suggests the -promise of going even beyond Isa Kramer when it comes to the songs of the race. It was during “Yohrzeit” that we had the soul and the great promise of the future. There was so much soul and fine dramatic feeling In this number that one has the right to trust to the future of this singer. Just as Mayor Slack told us yesterday— Shelbyville and all of us must not forget the future of Miss Kaufman. Here is a girl who should not now go cn the concert stage, but she should be given the chance that Marian Talley had. If it takes all the Chamber of Commerce of the State; if it takes every Ona B. Talbot and every guy who writes an editorial, and above ei one who can give one dollar, this girl should be given a chance. Suppose that every man over voting age and every woman who will not admit her age, should send Ona B. Talbot today one dollar for the future musical training of this •girl—well that is building up a ! greater and bigger Indiana. Here is Ia girl in the thought of Mayor Slack

who will carry on the fine traditions of the State. The mayor called our attention to jus , the short period of training that has produced Miss Kaufman. Let us not forget this one thing, this fine girl proved yesterday—she has earned the right to carry on b” getting the very best training. Os course, she must learn and yield to that quality which gives one a commanding state presence. Yes, she must learn how to separate the artist from the individual, right upon the stage. Yes, and bless her for it, she must lem to project Miss Kaufman across the footlights. But Miss Kaufman has this—a voice that is rich and growing. She is now billed as a mezzo contralto. Her lower register has that magnificent tone that causes one to dream of her future. Here is growing quality. Not a gesture, but a fact. Miss Kaufman really startles one with her voice. Her concert yesterday at the Murat under the direction of Ona B. Talbot plainly and with all certainty gives her a right to have the very best possible training. If Marian Talley deserved it. then Ann Kaufman has the same right. Here is a singer who will grow if she is placed in the sunlight of great teachers. Pathos and fire is now present in her voice and mood. There is more than the spirit here —there is soul in Ann Kaufman. Shelbyville turned out with a band and many people. The mayor of that city and the mayor of Indianapolis both were there. A mighty fine audience was there. Williard MacGregor, pianist, was present both as a soloist and at the piano while Miss Kaufman was singing. MacGregor showed his fine worth while playing the Chopin group. Here is an artist who will become commanding. I admit that he played too much as a so>Mst on a program that was introducing a new singer. No thought of finding fault with the artistry of this artist but rather that a shorter program would have achieved greater results. Here is a man who will become great and more so with every appearance He, too. will get that vision of stage business that makes

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Miss ANNE MORGAN Mis* Anne Morgan, the daughter of the late J. P. Morgan, resem* bles her distinguished father in both ability and breadth of vision. 9

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honesty, of an individual nature, which is so important. Ona B. Talbot has the right to be praised by the way she helped create Ann Kaufman and also in giving Williard MacGregor a major opportunity in this city. The Woman’s Relief Corps, Major Anderson Post No. 44, will hold its regular meeting, Tuesday, May 15, 1:45 p. m., at Fort Friendly, 512 N. Illinois St.

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