Indianapolis Times, Volume 40, Number 203, Indianapolis, Marion County, 12 January 1929 — Page 6

PAGE 6

PAULINE LORD TO HEAD CAST OF ‘STRANGE INTERLUDE’

To Hear Critic in Lecture Kenneth MacGowan, Noted author and Producer, Will Talk, Kenneth macgowan, outstanding contemporary dramatic critic, producer and author, will be in Indianapolis next Thursday evening, Jan. 17, when, under the auspices of the Indianapolis Little Theatre and the New York Theatre Guild, he will lecture on “The Value of the Little Theatre Movenent to the Community” and also on “The Strange Interlude,” O’Neill's nineact play soon to be presented in this city by the Guild. Mrs. Raymond P. Van Camp, chairman of the MacGowan lecture. announces that the critic will speak at the Propylaeum, Fourteenth and North Delaware streets, at 8:15 p. m.. as the Little Theatre’s Playhouse will be in use that evening. She further announces that all members of the Little Theatre and their friends are invited to hear Mr. MacGowan, as well as anyone else interested in hearing the well-known critic and writer. On Boston Transcript Mr. MacQowan first began his dramatic criticisms for the Boston Transcript immediately after his graduation from Harvard university in 1911. After three years on the Philadelphia Evening Ledger, from 1914 to 191*7, where he acted as dramatic critic, photoplay and literary critic, he moved to New York, where after a short time he became dramatic critic of the New York Globe, Vogue and Theatre Arts Monthly. From 1924 to 1926, MacGowan worked in association with Eugene O’Neill at the Provincetown Playhouse, and with Robert Edmond Jones, the designer. in the production of “Fashion,” “All God’s Chillun Got Wings,” “Patience,” and “The Spook Sonata” by Strindberg, and revived “The Emperor Jones,” introducing Paul Robason. "Diff'rent” and “S. S. Glencairn.” Beginning in the fall of 1925, Mr. MacGowan also directed the Greenwich Village Theater for two seasons, working in association with O’Neill and Jones, and produced “The Saint,” by Stark Young, “The Fountain.” “Desire Under the Elms” and “The Great God Brown.” by O’Neill; “Outside Looking In.” by Maxwell Anderson and Jim Tully. "Love for Love,” by Congrove. “The Last Night of Don Juan,” by Rostand, “and “Bride of the Lamb,” with Alice Brady. Several Successes Several recent Broadway successes, including “Young Love” with Dorothy Gish and James Rennie, “The Marquise” with Billie Burke, and “These Modern Women” with Crystal Herne, have been produced by Mr. MacGowan, who now totals twenty-five plays as a producer. Mr. MacGowan is now making a survey throughout the country for the American Association for Adult Education and Carnegie Foundation of little theaters, community theaters, university theaters, and the road. His research will be published in book for next fall under the title of “The Local Theater.” Mr. MacGowan has already written books on the theater, namely “The Theater of Tomorrow 7 ,” “Continental Stagecraft.” and “Masks and Demons.” He is the author of numerous magazine articles which have appeared in Harper’s, Century 7 , Collier’s, New’ Republic, Dial, Cosmopolitan, Theater Arts. Theater, Book, Woman’s Home Companion and Red Book.

At Colonial

Buddy Kane, the comic who has always been associated with a beard and brown derby in his “Old Man" characterizations, will shed his chin whiskers in this week's bill. Buddy will come out in the open in “George Washington Jr" as the broker who must tell the truth so- twenty-iour hours and his efforts to win his point presents many amusing situations. Leon McDonald, the whispering baritone, familiar to radio listeners, accompanied by Miss Marie Chess at the piano, will present a special musical act of song numbers. Is Signed Thomas Jefferson, son of the famous Jefferson, creator of the stage conception of Rip Van Winkle. was signed yesterday by Paramount for an important supporting role in the Charles Rogers-Nancy Carroll picture, "Close Harmony.” Mr. Jefferson himself is a wellknown character of the legitimate stage, having succeeded the late Frank Bacon in his memorable role of Lightin' Bill Jones in the stage hit. “Lightin*.” Jannings Film In his next Paramount starring Him, “Sins of the Fathers,” Emil Jannings plays the role of an American of German extraction, his own actual racial status. It is the first time since he appeared in “The Way of All Flesh,” his initial Hollywood photoplay, that the famous character actor has played such a part.

M U RAT a t f o t m e °r r n r o°o w n RACHMANINOFF WORLD'S GREATEST LIVING COMPOSER-PIANIST PRICES: $3.00, $2.50, $2.00, $1,519, SI.OO BO>T SUNDAY AT 1 O A. M. —Telephone Lincoln 7951

Curtain on O’Neill Play Will Go up at 5:30 P. M. (With Time Out for Supper)—‘Rose Marie’ to Play Return Engagament at English’s Soon. EUGENE O’NEILL spent more than two years in the writing of “Strange Interlude.” He began and finished it at his home at Spithead in Bermuda, and the revision w’as done in New York, before and during the long rehearsal period, which stretched over eight weeks instead of the customary four. He hsd already sold “Marco Millions” to the Theatre Guild. At that time “Strange Interlude” was in the air, George Jean Nathan 'hac written a long and exhaustive piece about it in the American Mercury, telling the entire plot and analyzing it in great detail. Nathan pronounced it a superb play; as great a play as the world

had seen in years; certainly the finest thing from the extraordinarily productive brain of O’Neill, Inasmuch as Nathan is a critic of discernment and a man seldom given to praise in advance (indeed, he seldom praises the finished productions) this article meant a great deal. Asides? Yes. it was filled w'ith asides, the spoken mental speeches of the characters. Long? Yes, it would take twice as long to perform as the average play. Difficult to produce? Enormously so, for the director had to devise a system whereby these mental speeches might not be too artificial. The Theatre Guil, which is presenting the play on* tour with a cast which holds PauUne Lord, acquired the play from Mr. O’Neill when but six acts were completed. The enthusiasm of the Guild directors w-as something remarkable. They were told on all sides that they were crazy to think of producing such a play. That it could never hold its audiences. That it was doomed to a certain failure. That it would be unbelievably boring. That no players could act it satisfactorily. There were a million and one objections. The last acts were completed and the script delivered to the Guild. Philip Moeller, its director, worked carefully w’ith O’Neill for many days in a small and secluded office so that between them they might thrash out the more subtle points. They argued back and forth over many issues, yet always came to an amicable understanding. O’Neill, a playwright of both experience and knowledge, was born of an actor-father. James O’Neill. He knew the theater and he was taking no chances W'ith this, his favorite and most important play. He was therefore, a firm man in his opinions. Mr. Moeller, a director of great experience and ability, was just as firm. It was a friendly argument all the way through and each gentleman supplied reasons for his beliefs. That the acting script went sc beautifully, is a tribute, it would seem, to the long hours of preparation which they made. “Strange Interlude” opens Thursday afternoon, Jan. 31 for three days at Englishs’. nun •rose Marie” to RETURN TO ENGLISH’S We are again to have at English’s Jan. 28, 29, 30 Arthur Hammerstein’s “Rose j^arie.” “Rose Marie” is unquestionably a smashing hit, a joyful entertainment, a masterpiece of production, and altogether a superb exhibition of showmanship. It is said this musical melodrama lends itself readily to superlatives; it has everything that goes to make a great show — brilliant cast, a score, adequate story, a marvelous chorus and magnificent stage decoration. It is sure to again break all records here as elsewhere, and then some, for it is exciting, clinging, full of color and rhythm. In the sensational dance arrangements three-score chorus girls are handled with positive genius. In the “Totem Pole” number the direction is superb. Seldom on the stage does a chorus work with more stirring effect, and the punches are delivered without a bare skin or immodesty. It is all as decorous as a seminary and yet the results outdo all the daring of the undressed shows. The chorus patterns and steps and always effective graceful and startling without calling in suggestiveness or nudity, escaping rigidity and mechanation, the numbers flow along in easy, happy fashion with every girl a personality and are amazingly ingenious in ventions. The “Rose Marie” chorus is a knockout from every angle. The story of "Rose Marie" starts in the Canadian Northwest in a snow-bound hotel with red-coated police, miners and frontier girls. There are campfire scenes, snow storms, smart tourist hotels and then a series of episodes in Quebec. There is every opportunity for local color and the settings and costumes take full advantage of the pictorial possibilities. There is a long procession of luxuries for the eyes. From the production angle “Rose Marie” has figured 100 per cent successful. The costumes are strikingly attractive throughout and the decorations make gracious backgrounds for them. Virginia Fox as “Rose Marie” La Flamme. the belle of Fond au Lac, Saskatchewan, plays with archness and charm and sings superbly. Her rich, warm voice has color and dramatic quality and Mr. Hammerstein has found sparkling songs for her. Paul Donah, Mirva Nirska. Charles Meakins. Peggy Pates, Houston Richards. Daisy Gibson, Santo Marco, Ross Gibson, Gus Buell and the numerically large fchorus to sing.

AMUSEMENTS

In Stock

Hill r igjgfeg| ■H X ' f MBm j wp w * vC ' >

Buddy Kane

One of the regular members of the stock revue company at the Colonial is Buddy Kane.

Chaplin Picture for 1929 Many Famous Stars to Be Heard in New ‘Talkie’ Films. FIVE all-talking pictures, three of them already in production, are scheduled for United Artists release during 1929. They are Mary Pickford’s “Coquette,” Roland West’s “Nightstick,” Herbert Brenon’s “Lummox?’ Ronald Colman’s “Bulldog Drummond” and Vilma Banky’s “Childs, Fifth Avenue.” In addition, s;x part-talking films, four of them now in production, have been announced. These are Douglas Fairbanks’ “The Iron Mask,” Charlie Chaplin’s “City Lights,” D. W. Griffith’s “Lady of the Pavements,” Gloria Swanson’s "Queen Kelly,” Henry King's “She Goes to War” and Harry R'chman’s “Say it With Music.” In United Artists’ talking pictures released during 1929, voices that w’ill be heard (all of them on the screen for the first time) are those of Mary Pickford, Gloria Swanson. Vilma Banky, Douglas Fairbanks. Ronald Colman, Lupe Velez. Alma Rubens, Walter Byron, Pat O’Malley, Eleanor Griffith and Mae Busch. Directors making talking pictures for United Artists release in 1929 are Erich von Stroheim, D. W. Griffith, Herbert Brenon, Henry King, Charles Chaplin. Allan Dawn, Sam Taylor. Roland West, Alfred Stantell, Alan Crosland and F. Richard Jones. United Artists Pictures that w’ill be released during 1929 w’ith sound and without dialog, include the Max Reinhardt-Lillian Gish film written by Hugo von Hofmannsthal; Ronald Colman in “The Rescue,” direction of Herbert Brenon; Dolores del Rio in “Evangeline,” direction of Edwin Carewe; John Barrymore in “King of the Mountains,” direction of Ernst Lubitsch; Norma Talmadge in a film to be based on an original story written in Hollywood by William J. Locke, the English novelist; Constance Talmadge ir “Vensus,” and Rex Ingram’s “Three Passions.”

‘Camel Glide’ Is Latest Dance

Here’s the latest in dancing—The “Camel Glide.” Anyway, it’s the latest in Indianapolis and threatens to spread over a large section of the country, according to Tom Devine, manager of the Indiana Roof ballroom where the step was created. The “Camel Glide,” said Devine, proves to certain extent that the old adage, “necessity is the mother of invention,” holds true in many things. “For instance,” he said, “a slower, more graceful dance is absolutely necessary as a result of the new type of popular songs that now are being accepted over the country as hits of the day. They are, almost without exception, much slower than those to which we have been accustomed for the past few years and the greater part of them made their debut as a theme song for some motion picture. “These songs, in order to make the picture more effective, are in slow tempo in almost every instance. Because of their wide circulation they quite naturally are heard over the nation and as a result the tune becomes popular. The next development is a demand for it in the ballrooms and then a slower dance step results.*’; ! The “Camel Glide.” he added, was created here by Frank Levay. Srroll Mushrush, Mrs. Jacqueline Beale, and others at the Indiana Roof as the slower tunes became more in vogue. In order to assist the roof patrons in keeping up with the times, Devine has arranged to give free dancing instruction each night for one aeek beginning next Tuesday, he announced. Lessons will begin at. 7:30 each night except Monday and will continue until 8:30 when the regular dancing program begins. In addition to leval. eirw-yrr.tr,

THE INDIANAPOLIS TIMES

Theatre Date Is Changed Little Theatre Play Date to Be Week of Jan. 21. Henrik ibsens “The wild Duck” will be presented by (he Indianapolis Little Theatre as its January bill at the Playhouse, Nineteenth and North Alabama streets, throughout the week of Jan. 21, with a special matinee performance at 2:30 on Saturday, Jan. 26, the dates orignially announced having had to be changed. This particular work of Ibsen has 'teen acknowledged as one of his most powerful social dramas, not only because of the ideas which he exploits and which is expected in this dramatist’s works, but also because the character element involved, which is usually incidental, is of equal balance with the doctrine expressed. A fine symbolism also runs throughout the play—w hich draw's a parallel between the wild duck shot by Old Werle, that respectable rascal w'hose somewhat unethical acts furnish most of the motivation of the play’s action, and old Lieutenant Ekdal and his family, who, having been injured by Werle. buries themselves in the entanglements of harmless delusion, and are later harmed even tajore by the efforts of Gregers Werle, the son, who wishes to redeem the w’ounded family by offering to it a recognition of the truth. The study in human nature Is rich and handled with Ibsen strength—that of Hialmar Ekdal. an idle dreamer, w’ho does nothing but assume poses and orate conventionally; his father, whom his more fortunate and crafty friend regards as an injured fowl, who “shot to the bottom of the depths, and bit himself fast in the tangle and seaweed,” as v'ild ducks always do. George Somnes announces the complete cast, among which there are names which are well known in Little Theatre productions, as follow's: Gregers Werle Robert S. Wild Old Werle Wm. Austin Bruce Gina Ekdal Jeanne Merrill Wagner Hialmar Ekdal Alex Vonnegut Lieutenant Ekdal Hardin Callithan Dr Relling Volney Hampton Molvlk Allen Miller Jensen Almon Coble Hedvig Ekdal Virginia Beyers Mrs Sorby Grace Clark Pierce Pettersen Hamilton Clarke Graberg t Gordon Engeler A Flabby Gentleman Walker Winslow A Short-Sighted Gentleman Anthony Lauck. Jr. A Thin-Haired Gentleman.. .Edward Green Guests at Werle's dinner party will be played by W. G. Bastian. Paul Harrington, Vernon Bronson and Julian Fix.

An Old Friend

Constantine Bakaleinikoff, at one time director of the Circle theater orchestra, and now regarded as one of the great orchestra leaders of the country, has been signed to score and synchronize “The Younger ■Generation,” the special talking picture adapted from Fannie Hurst’s stage success, “It Is to Laugh.” He has had a long and distinguished musical career, is a noted composer and an accomplished cellist, and is at present musical director of the Criterion theater. Los Angeles. Mr. Bakaleinikoff’s musical accompaniment will be in addition to he dialogtue sequences of this vehicle, which is one of the “talkie” specials recently announced by Columbia. A novel and unusual feature of the synchronization is the fact that the theme song is not used merely as the motif of the score as in other films but plays an important part in the plot. It is closely linked with the character development of the hero, a Tin-Pan-Alley song writer. Plays Old Banker Ricardo Cortez, w’ho is playing the leading role in the Tiffany-Stahl production temporarly titled “Life,” W’ill be seen as an old banker. His make-up w'as so perfect that when he arrived on the set for his first scene very few’ people recognized him

have been made to have a number of competent instructors available during this hour in order that all will receive careful attention, according to Devine. The manager of the Indiana roof frankly admitted that he does not know exactly •what the future holds in the way of dance steps, but predicted in no uncertain terms that slower steps will be the vogue for some time to come.

AMUSEMENTS

MUTUAL HIGH-CLASS BURLESQUE Direction of Mutual Burlesque Association of New York THE NITE CLUB GIRLS Headed By EVELYN WHITNEY and BILLY TANNER in FOLLIES and SCANDALS ASSISTED BY CHORUS OF BEAUTS

ikw Ji&m IfL ffc; a RL ik

Ray Allen is in the cast of “Nite Club Girls,” starting Sunday matinee at the Mutual.

ROUNDING ROUND THFATFRS With WALTER \ j iI<IVO j). HICKMAN i

BECAUSE there seems to have been an honesty of purpose behind a request stated in a letter from a man who writes that he is in prison at Huntsville, Texas. The letter bears the name of J. E. White and he states that he is a native of Indiana but went wrong, finally landing in prison. This man writes me that he wants people who are interested in music to write him letters and keep him posted on what is new in the world of music. I have decided to print his letter in full as follows:

I am well aware of the fact tjiat you are not running a correspondence -jClub, but being something of a musician and lover of music myself, I thought I might prevail upon you to publish this poor excuse for a letter. I am an inmate of the Texas prison here, serving five years for highway robbery. I'm guilty, too. I don't profess to be a victim of circumstances or try and lay the blame on anybody else. I alone am responsible for my present condition. To tell you the truth, I'm lucky that I didn’t get several more years than I did. We are denied all daily papers here and as a result most of us have lost touch with the outside world. This, primarily, is ir,y reason for writing you this letter. We are allowed to correspond with any one and are allowed to write as many letters as we wish. Being a native of Indiana, I intend to return there and locate in Indianapolis as soon as my present contract expires. I intend to follow music for a livelihood upon my release and consequently would like to exchange ideas with musicians and music lovers there. I play trumpet, xylophone, drums and traps. I play such numbers as “Poet and Peasant Overture,'' “Light Cavalry Over l ture” and several classical numbers as xylophone solos. Os course I play all late popular numbers In addition to the above. We give entertainments here each Sunday afternoon. I am inclosing two of our programs. I take part in practically every one of these. I play drums aiid traps with the orchestra and entertain at our Sunday shows with the trumpet and xylophone. I am 24 years of age and want to become as good a musician as possible. Considering everything I feel that I have made remarkable progress since being here. I realize my shortcomings and it is my earnest desire to show people on the outside that I can be a man. even though I have been in the penitentiary. Assuring you that I have no ulterior motive in writing this, other than a desire to exchange musical ideas with people who count. I will answer letters from any and all who write, and wish to thank you in advance for everything you may care to do in my behalf. With best wishes I am, Sincerely, J. E. WHITE, P. O. Box No. 32, Huntsville, Tex. s tt a More and more Indianapolis people are playing an important part in the movies. Emil Seidel, noted pianist of this city and former master of ceremonies at the Palace the-ater-here. is now in New York. He is cn the staff of M. G. M. Movietone and has supervision of music for all acts and short subjects.

AMUSEMENTS

/ ""I AUIHUK HAMMtWoiEIN'S MUSICAL HIT | a==JSMJ ' r ENGLISH’S inn EC orders now/ s SrcLBUH ZZB Ki Monday, _ __ ■BM 50c to $3.00 ~ / aSy AHIC , L. COM PAN V OF 100- SVMPHONV ORCHESTRA “STRANGE INTERLUDE” 3 Nights Only—Jan. 31 and Feb. 1-3 With PAULINE LORO, RALPH MORGAN. DONALD MACDONALD, HARRY C. BANNISTER AND OTHERS Mail Orders Now SI.OO. 53.00. $2.50, *3.00 and $4.40 |

Louise Mayo is on the new bill starting Sunday afternoon at the Lyric.

Seidel also condupts and plays piano for the big feature synchronizations. Emil played the hot piano nunibers which make up the background for the movie, “Alias Jimmy Valentine,” which opens today at Loew's Palace. Seidel deserves his great success because he is not only a great pianist, but a sincere worker for better theater.

Strikes Twice

“Ligtning never strikes twice in the same place, or the same family never produces two famous persons.” These sayings do not find credence in the experience of Robert Armstrong, Pathe player. Armstrong’s uncle, Paul Armstrong, was one of the most famous stage producers a decade ago, Rolf Armstrong, his brother, was a wellknown artist. The nephew, Robert, has had remarkable success in pictures, recently resigning with Pathe for a long time. Writes Song Abel Baer and L. Wolf Gilbert of the Leo Feist publishing offices have just completed the theme song, “In the Land of Make-Believe,” for the Tiffany-Stahl production, temporarily titled “Molly and Me,” starring" Belle Bennett, with Joe E. Brown and Alberta Vaughn in the cast.

AMUSEMENTS

SUNDAY NIGHT AT 8:15 INDIANAPOLIS J. C. C. A. OPEN FORUM RICHARD WASHBURN CHILDS SUBJECT: “ASTOUNDING AMERICA” KIRSHBAUM CENTER MERIDIAN AT TWENTY-THIRD Admission 50 C

Here Sunday

'll a# WM ;<>■;* 'Wvßt II

Rachmaninoff

At the Murat Sunday afternoon, Rachmaninoff, pianist, will appear in recital under the direction of Henry Burton.

Acquire Rights Paramount has acquired the film rights to Sir Philip Gibbs’ dramatic story, “Darkened Rooms.” It is to be filmed as a 100 per cent dialogue picture and will feature Evelyn Brent and William Powell in the two stellar roles. They played together with notable results in “Interference," which still is playing to capacity audiences at the Criterion theater, New Yonc. Lothar Mendes will direct.

AMUSEMENTS

8E W^^ t kFno E in 1 ARTHUR PETLEY I AND COMPANY RRESENT/H6 7/ “gl |\\ COMEDY TURNOVER g S LING TEY CO. ~, M World’s Greatest Balance Wonder SSB LOUISE MAYO f| g AidL Singing; Comedienne v, *** ELKINS, FAY & ELKINS S Wi Blackface Versatility 9 BRANDEIS, CARROLL & MANN JS In “Int>rrnptlons” cik JEAN SCHWARTZ REVUE I nj A Talented Company of i Singers And Dancers g (UARLES DEL4NEY M S An intriguing drama £& gg and LOUIS NATHcAUa of the th who IXd ong*d to go straight but H impesjj Prices—Matinee, Un- fSS r" Ti J WU til 6P. M., All Seats jIA \jf | 25c. Eve., Sun. and HKj pp Hoi., Lower Floor, mmmfimmmimM

JAN. 12. 1929

Petleys Top Bill at Lyric Bill Includes Picture ‘Stool Pigeon' and Music Revue. THE Five Petleys, a standard name in circus, fairs and vaudeville for more than a generation on both sides of the Atlantic, will present the headline vaudeville attraction on next w r eek's bill at the Lyric. The Petleys are a London family, w'ho for many a decade bounced on their trampoline and performed breath-taking feats on their human trapez. Arthur Petley, the clown in their “comedy turnover,” is greatly aided by nature who fashioned him to be one of Pharoah’s lean kind which is accentuated by his extraordinary costumes when he gambols on the trampoline doing hair-raising stunts with the aid of his two bearers. Jean Schwartz Revue Jean Schwartz is a student of the Vienna Conservatory of Music and plays during the performance of his little revue. "The Rhapsody in Blue.” He has with him two gorgeously gowned songbirds, who were featured members of “The Student Prince” and “My Maryland.” Kay Macrae and Mina Claire. Then there is Maurice, a young Russian dancer, with his dainty partner, Paige, recruited from the “Greenwich Village Follies.” The entire act is a hodgepodge of talent in which Bohemia, Russia, Ireland, Germany and the United States are all represented. Ling Tey Company—An oriental trio composed of two charming daughters of the east, and a very lissome young man in a diverting routine of difficult balancing and contortionistic feats. Louise Mayo—Presents a classy comedy song revue. Elkins, Fay and Elkins—Three blackface versatile boys w'ho do some singing and dancing of a high order. Brandcas, Carroll and Mann— Present a talking and singing act entitled “Interruptions.” On the Screen—A Columbia production, "Stool Pigeon,” will be the feature photoplay attraction for the week. It presents a thrilling story of the underworld, developed from anew and human angle—that of a youth who longs to go straight and loves his home life; but because of environment is forced to go along with a gang of crooks. The picture throbs with the interesting events in the daily lives of those w'ho run afoul of the law. It takes you into the homes of those persons, shows their love of mother and sweetheart and then plunges the spectacle into the atmosphere of the corner case, the roadhouse, etc. Olive Borden is cast in the leading role.

AMUSEMENTS Don’t Miss It That Wonderful Display of Poultry, Cats, Pigeons & Rabbits Tomlinson Hall, Indianapolis Jan. 11, 12 and 13. Admission 50 cents Open 9 A. M. to 10 P. M.