Indianapolis Times, Volume 41, Number 170, Indianapolis, Marion County, 26 November 1929 — Page 7

NOV. 20, 1929.

TRADITION HAS RESULTS IN THIS DANCE CONCERT The Name of Isadora Duncan Always Held Charm In This City. BY WALTER D. HICKMAN. Past history seems to cash in here to a certain extent whenever the name of the late Isadora Duncan is used in connection with a dance program. Last night at the Murat we had the “Lsadora Duncan Dancers,” directed by Irma Duncan with Maurice Sheyne, pianist, appear before more people in numbers than many a fine individual artist has had in the audience here. There was not scenery but drapes and a few- lights. If a revue had been displayed with such little scenery and no orchestra, there would have been a riot. Not so w r ith art. Not so with a number of young girls dancing around in bare feet. No orchestra was present nor was one announced. This bare foot dancing has art and yet there was a lot of applesauce present in this program. It is perfectly true that the highest compliment that I can pay these dancers is that they did reflect youth. And that they did. The two intermissions were plenty long enough. I will probably get a bunch of letters telling me that I am not a highbrow and do not appreciate art. All right, I will stand the talk. Art certainly approaches the state of being indicated. Art does not talk to everybody in the same way. I heard many people finding fault with the similarity of the first and second parts. But what can feet and arms do? It was in the third part, that these dancers found a story and a symbol, “Impressions of Modern Russia.” Here was a definite aim to create a dance picture. I found with the similarity of expression in movement in several numbers in the first and second parts. The greatest beauty came when Irma Duncan w’as on the stage. She is the director. The others come in the class of interesting students. Her last number in the second part was magnificent with ensemble. This type of dancing is its own. I admit that the Duncan name means a great deal for the success in bringing so many people to see this group. Ona B. Talbot presented the Isadora Duncan Dancers at the Murat last night.

CONCERNING MAENNERI’IIOR OPENING German Jieder, strains of the Blue ; Danube coimtry—of Richard Strauss ; —and a bit of Donizetti and Handel j executed perfectly, warmly and with a nativity of understanding, formed a pleasant Monday evening at the Academy of Music. Against the background of the Indianapolis Maennerchor, the audience heard Maria Olszewska. contralto. and Chicago Civic Opera Company star, sing. We say she sang against the background of the Maennerchor. a male chorus, and a finely directed group of lieder singers, as praise for Ure evening's blend. As Mme. Olszewaka opened her j program with Handel's Largo, it j was if—the Maennerchor had pre- I ceded her with two numbers—one I were closing in on tine tapestry and ! glimpsing its central figure. Her “largo'’ was rounded, full, restrained only when the composers demanded it. She took no liberties —took only that which Handel gave her and. made the most of it. Some differ as to Mme. Olszewska's interpretative gem. but to us the “Lullaby” with its lack of stageness. its opportunity for being overdone and not being, proved her voice assurance in the simplicity with which we watched her cuddle a figurative babe to her bosom vocally. Mme. Olszewska's range is artistically glorified in concealment. One never knew’ the heights it might ; reach. In Donizetti's “La Zingara,” she seemed barely to lift the cover off her high notes. You felt as if her full, mature, contralto could find no chord too high, too soft and low. Strauss’ "Ruhe Meine Seele” and tlie poetical “Wiengonlied" linger in the quintet of songs she sang by

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Following is the explanation of Ripley’s “Believe It or Not,” which appeared in Monday's Times: The Amoeba Multiples by Dividinp—'The amoeba, which looks not unlike a drop of animated jelly, reproduces itself by a simple process of division. It separates into two parts and each part becomes a perfect whole. It creeps about, enfolds and digests its food, and gives

the composer of the "Beautiful Blue Danube.” An encore number at the conclusion of her program sent an audience away with a wish that she would visit again. The Maennerchor, celebrating its seventy-fifth year in Indianapolis’ musical history, rolled out its power in “Hab Sonne im Herzen” and “Das Kirchlein.” “Abend” was a gentle contrast. In Franz Mair's “Wie die wilde Ros' im Wald”—the opening number—the Maennerchor won plaudits and set not only the stage for Mme. Olszewska, but their ow return in other numbers of the program. Karl Reckseh, director of the Maennerchor. and Mme. Olszewska’s accompanist, Frederick Sehawecker, are deserving of the general meed of praise given to a concert program easily and finely done. (By observer.) HELD TO GRAND JURY City Man Under Bond on Charge of Driving Stolen Automobile. Raymond Roose, 616 North New Jersey street, was held to the federal grand jury under $2,500 bond by Fae W. Patrick, United States commissioner, on a charge of driving an automobile stolen from Mrs. Anna Miller. Terre Haute, to Texas. A brother-in-law, Benjamin Cruse, is held in the Marion county jail on the same charge.

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100 ATTEND BANQUET Annual Father and Son Fete of K. of P. Is Success. More than one hundred fathers and sons attended the annual father and son banquet of Capitol City lodge No. 97, Knights of Pythias, in Castle hall, 230 East Ohio street, Monday night. Dinner was served by Banner temple No. 37, Pythian sisters. Charles F. Remy, appellate court judge, and his son William H. Remy, former Marion county prosecutor, were principal speakers.

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THE INDIANAPOLIS TIMES

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‘FOUR DEVILS’ IS A ! MIGHTY FINE MOVIE / George Lovett With His “Marveltone” Act and “Princess Pat” Are the Highlights at the Lyric. BY WALTER D. HICKMAN HAVE been waiting a long time to tdll you about ‘Four Devils." one of those human but spectacular stories of continental circus lifeCircus life in France, especially Paris, is vastly different from the big top idea in this country. I was interested more in what F. W. Murnau as the director accomplished with his idea of lights and direction than the acting or the story. It seems that “Four Devils” was made prior to the time that the allspeaking craze arrived. And so we have a little talking on the part of Charles Morton, J. Farrell McDonald. Janet Gaynor and Barry Norton near the end of the picture. “Four Devils” has such a splendid musical

background that really gives one the very tempo as well as the meaning of every scene that it is not necessary to have the spoken word. Here is a story of foreign circus life, starting out with two boys in their teens

who was hired out by their guardian to become acrobats. These boys were put through the terrible and cruel training which a circus beast of an owner insisted would make them the greatest acrobats the world has ever known. In the care of the circus owner were two girls, played by Janet Gaynor and

Bert Nelson

Nancv Drexel. The four youngsters found a friend in the old circus clown, played by J. Farrell McDonald. So the five escape irom the tyranny of the circus owner following many a painful scene- We then see the four growing in their art until they become the sensation of Europe known as “Four Devils,” who make leaps in the air without the use of a net. It is in these circus scenes that the director is supreme, his art of projecting hurling bodies through the air is really marvelous and all the time he keeps up the heart interest. The team approaches the top of their fame, the boys of course loving the two girls in the act. But in comes the vampire of high social standing, played by Mary Duncan. This woman specializes in secret with well built athletes and so she starts her program of distraction by throwing roses at the feet of her hero every night. This is the first time that Miss

Duncan ever on the screen has given any indication that she could be as famous on the screen as she was on the speaking stage. She makes this woman red hot and the result is that one can easily recognize the fact that the oldest brother of the devils is riding for a bad fall. And when the crash comes it Is poor little Janet Gaynor who falls from the high trapeze and crashes to the ground. This simple little story is told by some of the most sincere melodramatic acting of the human school that I have seen in many a month. Although the story is tragic, it is so human and so well acted and directed that I am sure you are going to love “Four Devils.” The vaudeville part of the bill has at least two outstanding acts. George Lovett, who for years has been projecting the thoughts and desires of people in the audience to two women on the stage, now has used his idea in anew way. In place of actually seeing his assistants, you see them on the screen. It must have taken a fortune, a lot of brain power and mastery of the art of projection to create Lovett’s new act. He has always been * great showman and still is. It may take one some time to get accustomed to his new act, but the novelty and artistry of his genius is still there. “Princess Pat” is a trained lion of movie fame. Bert Nelson, her trainer, puts on a fine human act witff Princess Pat. Nelson is so different with his lion than any other trainer I know. A real act and the children will love it. I have seen Herberta Beeson on the wire many times- I consider him one of the best. He has been a

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at the Circle. “Sweetie" at the Indiana. “Sporty Widows” at the Mutual, and “Passing Revue” at the Colonial. There are from 14 to 18 square feet of skin on the average adult human body.