Indianapolis Times, Volume 41, Number 260, Indianapolis, Marion County, 11 March 1930 — Page 5

MARCH 11,1930.

NEW DANCING FEET GO PITTER-PATTER Arthur Corey and Allan Mann Bring Myrna Celete Back to Her Home Town as a Featured Dancer. BY WALTER D. HICKMAN. BACK home in Indiana to Mary Louise Feltman means the city of Indianapoli3. Some time ago, Miss Feltman quietly began studying to be a dancer on the stage. She went to Arthur Corey for the needed training, and now she is enjoying her first season with Corey and Allan Mann in their dancing revue. So there will be no confusion, Miss Feltman has taken a stage name, that of Myrna Celete. I believe if this young dancer is abie to keep her own sweet and natural personality along with her mighty clever

landng feet, it seems to me that he name of Myrna Celete will beomt an important one. This danc-

ing game is a tough one and it requires years of etudy, especially along classical lines. At present, her toe work is easily her strongest point. Her classical work with Corey as well as the rather strenuous whirls and jumps in which she goes through, shows that the training so far has resulted in the needed

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fyrna Cek te

results. It is not because this girl omes from Indianapolis that I raise her, but only because she has -amed her lessons well so far and ;ives promise of growing in artistry' is well as in that great thing known is showmanship. Os course, Corey and Mann have hat needed sense of showmanship. Both are wise in using a novelty introduction with Corey playing the piano and Mann dancing. The dancer wants to be the pianist and

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the pianist the dancer. So they change places and that gives the act a nice start. Mann has mighty loose feet and in one dance it looks like he might fall to pieces. Mighty hot dance work. I have seen Corey in several different dance offerings, but I consider this revue the most sensible and most reasonably entertaining tnat he has given the stage. One can be too artey on the stage. Hie is not thus time. Just the right compromise. Dell O'Dell is a unique commedienne. She knows how to toss a bushel of nutty Ideas to an audience and see those nuts become the parents of many laughs. She uses probably as much ice on the stage as Frank Van Hoven. She dashes here and there doing her burlesque on magic. Everything she does is the extreme. You either roll out of your seats while seeing this woman or you freeze up. I rolled out ox my seat at her brand of hokum. I rather suspect that the young men who assist her never want to see eggs or ice again. But they help get the laughs. The name of Carl McCullough has stood for a definite brand of songs and stories on the stage.

Years have not changed him. His stories are about the same and lxis songs modem. He scores easily. The three Melvin Brothers have a good athletic offering. The movie feature is "Let’s Go Places.’’ Now at the Lyric. # r # # CONCERNING "JOURNEY’S END ’ At this time in the history of ‘Journey’s End’’ in this city, we are chiefly concerned cn its second visit p ere with the worth of the com-

pany. We have with us now what is known as the Chicago company, the first one that we had being one of the several companies now on tour. The question now is the Chicago company as good as the really splendid one we had first? Os course, that question can be answered only by those who see

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John Williams

both companies. As fine as was the first company here, I can tell you that I think that the Chicago company plays "Journey’s End’’ with more realistic restraint. By that I mean they do not keep the show going as melodrama or do they go fishing after the laughs. If there are tears and laughs in the story, these players now with us permit them to fall as they may—natural, just a part of the great moving drama of real men putting on a war. John Williams’ Captain Stanhope seems to me to be a more natural captain than the man in the first company. He allows his captain to be a captain of real war instead of the theater. In that way we can get the strange and interesting contrasts in the character of a man who fears war, drinks to keep his spirits up and a man who deep down in his heart knows that

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war is silly bunk, but a job that had to be done. I judge Williams' artistry by the natural way he mounts when he threatens to kill a fellow officer when the yellow gets too thick. Also, the way that he handles the letter reading scene. He makes it one of pathetic beauty. Also the way that he handles the death of Second Lieutenant Raleigh, played by Edward Woodings. To my way of thinking, Woodings is easily the best Raleigh I have seen, because he does not make him just a dumb but lovable lad, but a youngster realizing the beauty of life as well as the mystery of death. Really great character work. At times I preferred the first man who played Lieutenant Osborne, this time being played in natural restraint by Reginald Mason. Mason recognizes the tempo of the way the story is being told now and keeps it realistic and natural instead of over-acted theater. On the whole, I consider this company as giving the more sincere and more able performance. There was a mixup when the curtain dropped at the wrong time last

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night. No reason for such carelessness, and I call it that. The cast now presenting "Journey's End" here is as follows: Capt. Hardy Henry Mowbrny Meat Osborne Reginald Mason Private Mason Fred Monti Second leieut. Raleigh.. .Edward Woodings Capt. Stanhope John WUUan s Second Lieut. Trotter Raic.i Nairn Second Lieut. Hlbbert Leslie Barrie Company Set. Major Koval Beil The Colonel Lionel Pape German Soldier Henry Von Zynda It has been my opinion that "Journey’s End" is the best war play buy on the American stage for years. I have no reason at this time to change my opinion. See it. At English’s all week. n a a Other theaters today offer: "General Crack” at the Apollo, "Her Unborn Child" at the Ohio, "Son of the Gods" at the Circle, “Street cf Chance” at the Indiana, "Hit the Deck” at the Palace, "Step Lively” at the Rialto, George Fares at the Colonial and movies at the Granada. The American government pays the transportation, expenses of undesirable aliens who are deported to their native countries.

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