Indianapolis Times, Volume 43, Number 227, Indianapolis, Marion County, 30 January 1932 — Page 6

PAGE 6

‘THE GREEN PASTURES’ OPENS MONDAY AT ENGLISH’S

Wallace Beery and Clark Gable Stage Thrilling Scenes in Airplanes in ‘Hell Divers,’ Which Opens a Week’s Engagement at Palace. “TTELL DIVERS," Metro-Goldwyn-Mayer's sensational romance ol J. naval aviation, opens today at the Palace, combines remarkable airplane maneuvers staged by the navy with a dramatic plot that with all its romantic qualities, has something heroic in it. The picture co-stars Wallace Beery and Clark Gable, the latter having risen to stellar rank as a result of his outstanding popularity in ' Susan Lenox,” “A Free Soul" and other films. Prominent supporting roles are filled by Conrad Nagel, Dorothy JorMiljan MarJ ° r C RambeaU ’ Marlfc Prevoßt - Clm Edwards and John

Beery, a government licensed aviator, actually participates in some of the unusual flying stunts shown in the picture. Filmed at Panama during the naval maneuvers, aboard the aircraft carrier Saratoga, and at North Island. Hundreds of planes wheel and dive through breath-taking stunts in formation. The bombing planes, known as “Hell Divers," hurl themselves straight down to miles in less than half a minute, to catapult bombs at a ship target. A giant Zeppelin makes a landing on the battleship deck. The story deals with the rivalry between Beery, as a navy veteran, and Gable, anew style of sailor, and typifies the conflict between old and new ideas in naval operations. The central romance is between Beery and Miss Rambeau, as a keeper of a Panama resort, who has waited years for “her man." The original story is by Lieutenant Frank Wead, with screen play by Harvey Gates and Malcolm Stuart Bteylan. In the climax. Beery gives his life in rescuing his rival, in line of duty carrying on the true spirit of the navy. George Hill, who filmed “The Big House," “The Secret Six,” “Min and Bill,” and other hits, directed the new production. Flip, the Frog, in his newest cartoon comic ‘Spooks,” and the latest issue of the Hearst Metrotone News will round out the program. tt tt u INDIANA HAS A SMART MOVIE Married life with a husband “who does not understand.” Is the lonely wife justified in turning to her husband’s best friend ior consolation? Is the husband wise in fostering this companionship of his wife with a man who can offer a more pleasant congeniality? These psychological questions, reflecting tense dramatic situations, prompted Philip Barry to evolve the theme of his drama, “Tomorrow and Tomorrow,” which held the Broadway stage for a long run and Is still being played in the minor cities. Paramount adapted Barry’s drama to the screen, and now Ruth Chatterton, directed by Richard Wallace, personalizes a woman who takes her happiness in her own hands and faces dramatic situations that are vivid, pathetic, almost tragic, yet in the end bring a ray of sunshine. In Paramount’s “Tomorrow and Tomorrow,” currently showing alt the Indiana theater, Miss Chatterton plays the part of the unloved and childless wife of Robert Ames. She chooses to become the unconventional companion of another man. Miss Chatterton’s recent starring pictures include “Anybody’s Woman,” “The Right to Love,” “Unfaithful,” “The Magnificent Lie” and “Once a Lady.” Paul Lukas, one of the screen’s major personalities, plays the role of a doctor of philosophy and a lecturer on the “science of emotions.” Miss Chatterton becomes impressed with his theory that women should recognize realities, truth; and ignore “social taboos.” He falls in love with her; and thereby are developed an unusual series of complications. Added entertainment on the Indiana’s program is provided by comedy short films and a sound news reel. tt tt tt POWELL IS SEEN IN “HIGH PRESSURE” William Powell is seen at the Apollo theater during the current week in the Warner Brothers production, “High Pressure.’’ in what has been described as a cyclonic characterization, utterly at variance with the melodramatic roles which have made him famous. Powell is thought to be recognized as a past master, not only in the portrayal of suave men of the world, but of sodden derelicts —and as Gar Evans of “High Pressure," is given an opportunity to play both dandy and down-and-outer, but this resemblance applies to externals only. The real Gar Evans is unique, conscienceless, aggravating, lovable, ludicrous, eloquent, compelling, nonchalant and is as gaily appreciative of a bottle, in times of depression, as he is for buyers, when his latest bamboozling balloon is on the rise. Gar Evans, in short, is king of all blue sky stock promoters, most adept of all modern arts of bucketeering. “High Pressure" first discloses him as his aid rouses him from unshaven slumber to introduce anew financial angel who has just bought an invention purporting to convert sewage into marketable rubber. Gar the garish, skyrockets to at-

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tention-rents vast quarters—dolls himself up in the latest Park avenue togs—hires a huge staff and proceeds to harangue the suckers on the virtues of his virtueless stock, with such convincing eloquence that he all but believes his lies are truth. The supporting cast includes Evelyn Brent, George Sidney, Guy Kibbee, Polly Walters and Evalyn Knapp. Mervyn Le Roy directed. Short subjects include “The Man Everybody Knew,” which is being shown in conjunction with the Rockne Memorial Association and Rudy Weidoft and his orchestra in “Dam Hootin’." “MEN OF CHANCE" NOW AT THE CIRCLE The latest screen venture of the popular romantic team of Mary Astor and Ricardo Cortez has again been filmed by RKO-Radio Pictures and is currently offered as the main attraction at the Circle theater, under the title of “Men of Chance." A background of high drama, interspersed with love, drama, fun, and intrigue is the chief characteristics of the theme of “Men of Chance.” Paris—of the gay boulevards of the cases de lo Paix, Trocadero, Sacre Coeur; Montmartre, and Longchamps are among the interesting locales covered by the picture. The comedy of “Men of Chance” is chiefly in the form of French humor interpreted by French comedians and comediennes. The story, written by Louis Weitzenkorn, also the author of “Five Star Final,” was adapted to the screen by Louis Stevens and directed by George Archainbaud, master of the fast-moving technique. It deals with a good little girl who tried to be bad and a gambler who found themselves enmeshed in a maze of their own mistakes. John Halliday, Ralph Ince and Georges Davis are important among the supporting cast of “Men of Chance.” In addition to the feature picture, “Men of Chance,” the Circle is also offering a special film attraction on their entertainment program. A print of the complete Tulane-South-ern California national football championship game that was played recently in California will be shown. Particularly exciting parts of this game are shown in slow motion so that the audience may “catch” every action of the players. Among these are the “pass” that officials ruled “incomplete,” causing Tulane to lose the game. This film is said to give a different “angle” on this play. A Dessa Byrd program concludes the program.

ROUNDING ROUND HTT-TT? A r TT?T> Q with Walter I rliljA I LKu D. HICKMAN

AMONG many interesting personalities in the unusual cast of.“ The Green Pastures y ” the outstanding one is Richard B. Harrison, who traveled widely as a dramatic reader, lecturer and educator until making his stage debut in “The Green Pastures” at the age of 66. Having arrived in New York as a lecturer for the Federated Churches of Christ at the time the producers were casting the play, he was offered the role of “the Lawd.”

Wary of possibilities, he submitted the manuscript for the approval of church authorities before considering the engagement, but after his acceptance his zeal has been such that he never has missed a performance. So, no other person has ever appeared in the part. Other artists known to theatergoers, or who have achieved unusual success in “The Green Pastures,” include Daniel L. Haynes, Salem Tutt Whitney of Indianapolis, Samuel Davis and Alonzo Fenderson. Haynes starred in the motion picture “Hallelujah. He started as an understudy for Charles Gilpin, and succeeded that great actor in “The Bottom of the Cup”; later he played the blind preacher in “Earth,” was in Miller & Lyles “Rang Tang,” and played Joe in the original production of Ziegfeld's “Show Boat,” when Jules Bludsoe became ill. Whitney’s naive interpretation of •Noah” has lifted him from a production and vaudeville comedian

WEEK COMMENCING SUNDAY NIGHT s^^l ii mm ilfA pj ■ miTTM I _LJ HIT* I gftf| [ M llr-. ?_> g*j> *jy m:lslf LI . Ks W \ with lllVkil mm ( sew I /MARGERY WILLIAMS and PHILIP BRANDON \rruCATDCf IN THE BIGGEST NOVELTY EVER OFFERED IN INDIANAPOLIS ? f I m jjJ TJ^] J&T, by a Dramatic stock company THE MERRY MUSICAL PLAY THAT KANplHpl FOR ONE SOLID YEAR ON BROADWAY \p®i& V „ J K^HkSßß^^ (7 •(7 1 * * now! / CLEVER A RIOT / j SONGS DANCES AND OF FUN! j WM j*™ } EIGHT PATTRIDGE GIRLS MT <M W fV features I GENE’S SAXO-MAIDS vWm) U ffi NIGHT 60c, 35c, 25c MATS. 35c, 25c L ” M M ff ALL SKATS RESERVED WEEK of I GALA revival of the “IN OLD FTB 7?k CLASSIC OF ALL SOUTHERN c ll V,,A Vv lr^isa#C^S~’il9 FEB. 7th I racing comedy dramas - KENTUCKY

1— Tutt Whitney as Good Ole Preacher Noah in “The Green Pastures” which opens a week's engagement at English’s. Monday night. 2 A1 Jolson opens on Thursday night, Feb. 11, at English’s in “Wonder Bar,” for a three-day engagement.

Builhl m

1— Clark Gable along with Wallace Beery do some wild stunts In the Metro-Goldwyn-Mayer production “Hell Divers,” which opens today at the Palace. 2 Bill Boyd has one of the roles in an adventure on the high seas during the war in “Suicide Fleet,’’ now on the talking screen at the Lyric.

and writer of comedy sketches to a position of dignity on the American stage. He has . written extensively and was the author of much material in “Blackbirds” and “Hot Chocolates,” and was at one time the owner and producer of “The Smarter Set.” The laughable, yet movingly tender characterization of Gabriel, “yes-man of Heaven” in the hands of Samuel Davis has won recognition far afield from comedy, in which he was a veteran when called upon to replace Wesley Hill, creator of the role, who was killed by an automobile soon after the New York premiere. Many assert Davis brought improvement with the only change made in the cast since its organization. Fenderson played the father In “Harlem,” and through that circumstance is known in the theater, but he has been raised to anew status by his sympathetic charac-

AMUSEMENTS

THE INDIANAPOLIS TIMES

terization of Moses—from a lusty youth to his demise in doddering senility within sight of the Promised Land —involving a range from dialect low comedy to fine emotional acting. tt tt A rare feast of music and dance is the fare to be offered by the Martens Concerts, Inc., within the coming weeks. Three world famous personalities whose names spell magic in the world of music and art. The list will include the phenomenal Spanish pianist, Jose Iturbi, on Monday evening, Feb. 25; the dancing sensation of the age, Kreutzberg and his company, on Sunday afternoon, Feb. 28, and the first Indianapolis apppearance of the favorite singer of the Metropolitan Opera Company, New York, Rosa Ponselle, dramatic soprano, March 14. From knowledge of the triumphs of Iturbi’s since his American debut in 1929, one can easily say he is apparently one of the greatest pianists of today, and artist whose audience is held enthralled so long as he plays. Os Kreutzberg and his genius, one can only repeat what we have said of him after his two appearances here. Kreutzberg’s dancing becomes gigantic dramatic theater. America proudly claims Miss Ponselle, for she was born in Meriden, Conn., but an Italian ancestry, rich in its native inheritance of song, has contributed the

3 Otto Gray and his Oklahoma Cowboys top the new bill opening today at the Lyric. 4 Beatrice Leiblee stars in the Ferkell production of the comedy with music, “Little Jessie James,” which opens Sunday night at Keith's.

3 William Powell is a high pressure salesman In “High Pressure,” now at the Apollo. t 4 Mary Astor is in the cast of “Men of Chance,” now showing at the Cireie. 5 Ruth Chatterton has the most important role in “Tomorrow and Tomorrow,” now at the Indiana.

glowing warmth of voice and temperament. The family name was Ponzillo. It was with Miss Ponselle’s transformation into a prima donna that Mr. Gatti-Casazza, director of the Metropolitan, suggested the name “Ponselle” as being less difficult to pronounce.

1 MMMcfISSIP DON SANJ 0 and EXIE [ OJR£I i lEf FRANK SWANEE I . and JOE DALY k _T Southland's Tenor and JgjfA l gg (w , 9 the Fopnlar IManist I l/* / aind>A\ MEYERS-LUBOW and RICE H, Jb - HI _ “A Dance Escapade’* I ' GORDON and DEAN '” h jf ' -“-***■• j in “Peach Pie’* OfILAIIO/HArk VICTORIA and LORENZ COWBOYS I; __ ||g pp 1 All Seats till IP. M. 25c Plus—RKO-Pathe’s Rousing Adventure Melodrama I* B *SthßrsnsoYlP-3SSnESGLE3SoN l,, | ROBERT ARMSTRONG—GINGER ROGERS,^

—MARTENS CONCERTS, Inc.-v 3 ENGLISH'S a WORLD FAMED ARTISTS £ THURSDAY EVENING—FEBRUARY 25TH ITURBI SPANISH PIANIST—EIRSX INDIANA APPEARANCE "An enchanter, a super —Gilman, X. Y. Tribune. “One felt it a pitv Liszt did not hear him”—Henderson, X. Y. Sun. SUNDAY AFTERNOON—FEBRUARY 28 KREUTZBERG c COMPANY Modern Times I MONDAY EVENING—MARCH H QAC A DAUGPT T V DRAMATIC Favorite Singer Metropolinv3A rUNaLLLL SOPRANO tan Opera Cos., New York "The only person at the Metropolitan who is faithfully carrying on the traditions of beautiful singing as exemplified in the old days by singers like Eanies, Melba. N'ordica and Seeiibrich.” —New York World. TICKETS OX SALE. PRlCES— B3.oo —*2.so—*2.o0 —*1.50—*1.00 LI. 8921 MARTEXS TICKET OFFICE. 33 MOXt’MENT CjKCLE__

mum SPECIAL MIDXITE SHOW SATURDAY XITE—“TANYA” “OMAYA”' DELORIS SHAW-LEE NASH ANN NORTON—MARGIE CARROL WITH FOLLIES BURGERE r* AND CHORUS OF GOOD LOOKING FOLLY GIRLS

Bob Gets a New Home Robert Montgomery’s New England blood has rebelled against living in one of those Spanish homes for which California is noted. The Mltro-Goldwyn-Mayer star has leased an early American home in Beverly Hills and will move in very soon.

AMUSEMENTS

_____— ______________ Berkell Players Will Present 'Little Jessie James,’ a Comedy With Music, Starting Sunday Night for the Week at Keith’s. I * THE opening of “The Green Pastures” at English's Monday night, Feb. 1, recalls the fact that while imitations of the 1930 Pulitzer prize play are quite common and fashionable now, only a few years ago Marc Connelly traveled about with the manuscript under his arm, and the two dominating firms and a host of independent producers shied away from ’ his opus with shivers. Under the circumstances a recounting of the conception and birth of the play might not be amiss. “Ol’ Man Adam an’ His Chillun,” by Roark Bradford, a member of the staff of the New Orleans Times-Picayune, was published in 1928. It

was full of a darky version of the Old Testament tales, with a decided bent toward the slapstick. Its humor appealed to the professional reviewers and they gave it, for the most part, a patronizing pat. Bradford collected some royalties, then sales began to shrink and the book began to enter a gentle decline in the manner of many a worthy volume. Rollin Kirby, chief cartoonist on the New York World, of lamented memory, and a Pultizer prize winner himself, believed he saw in the Bradford yarns possibilities of dramatization and invited his friend Marc Connelly’s attention to it. The latter, too, perceived the dormant germ of the theater lying beneath the cover. He got in touch with Bradford and received his blessing, though, it is said, Bradford took the matter none too seriously. As his plot took form, Connelly made numerous trips between New York and New Orleans—studying types, listening to the unadulterated Negro dialect, visiting Negro churches. He read, re-read and poured over the Old Testament like a monk of the middle ages. When finally formulated in Connelly’s brain, the actual play was written in less than two weeks. Completed one warm evening in the summer of 1929, the author read his “fable” the same night to Jed Harris, an important New York producer who was known as a theatrical pioneer. Harris was very favorably disposed toward sponsoring its production; perhaps all would have been well in that direction were it not that Connelly insisted on doing the casting and the staging as well. To this the producer refused to acquiesce and the author commenced his journey. Another distinguished producer, Crosby Gaige, was immensely pleased with the manuscript. He chuckled through the reading and wished Connelly well. It was a great work. Unfortunately he could not see his way, clear to risking good money on it. The public would have none of it . . . the churches would not stand for it. The Theater Guild board considered its sponsorship. But, so goes the story, the members decided after a divided vote not to risk the wrath of their subscribers if it should transpire—and there seemed to be an excellent chance of it—that their clientele would not appreciate seeing heaven populated by a Negro cast exclusively. And so the Guild produced Shaw’s “Apple Cart” instead. Royland Stebbins, a newcomer in the theatrical field, who had produced a few artistically successful plays and was feeling his way toward others, had his attention called to Connelly’s play by his general manager. C. G. Stewart. It is said that Stewart telephoned Mr. Stebbins after merely hearing the first act of “The Green Pastures.” Connelly was authorized to choose his players and direct to his heart’s content. The celebrated scenic artist, Robert Edrriond Jones, ■ as summoned to build the sets. Hall

.A.. u.xo it STARTS £i| I*l I Cll MATS * m* • MONDAY C.ll lILIOII Wed. and Sat. % NIGHT The Answer to Two Years Waiting & Complete Original Production, Cast and “Heavenly” Choir Brought Intact Direct From 640 Perf. in N. Y., 160 in Chicago "THE CREEM ks PASTURES Ml Only One Week Only Presentation in State ■ ■ Nights—s3, .$2.50, $2, $1.50, $1 Matinees—s2.so, $2, $1.50, $1 a=s==Sßl==aS aJf •ft Be Disappointed for Earlier Performances. Enclose Retorn EnTelope. Feb. 11-12-13 UIRUTQ ORCHESTRA. $3.K3 INC. TAX nIU n1 O Bale.. $2. $2.50, $3.00. Oal. $t SAT. MAT. ONLY 52.50 MORRIS OEST. In Association with A Surging Niagara of Entertainment with More Girls, More Fun, More Story and More Jolson Than You’ve fjoffihsl als cmms/M ih, Effl ii> Woeuft 6*wut (monß Allwylt.Wjlit WHO V M POISON Wiir THE SENSATION Os LONDON, PARIS, BERLIN, VIENNA and NCWyOHL Inter “ Galaxy of Stars W Claire Windsor Luana Ancaniz Patsy Kelly Chilton & Thomas Mangini Brothers Al Segal Walter Armitage Rita Montaner Clarence Harvey FAMOUS WONDER BAR DANCING GIRLS

Johnson contributed his choir. The rest is theatrical history. tt tt B BERKELL PLAYERS GIVE MUSICAL COMEDY When Charles Berkell opened his season of dramatic stock at Keith's theater, he promised that it would be spiced with many novelties. He has already staged one. a revival of “Sis Hopkins,” which was presented to crowded houses, and now he follows with another—this time a musical play, “Little Jesse James,” in which the Berkell Players will appear next week, commencing Sunday night. “Little Jessie James" ran for more than a year on Broadway when it was originally produced in New York by L. Lawrence Weber. The plot has to do with the adventures in New York of Jessie Jamieson, a corn-fed damsel from Kansas, who invades the metropolis bent upon unfolding the illusions of the Great White Way on short notice. Mirthful situations abound, and there are a lot of catchy songs, the latter including “Come On.” “Dancing,” “My Home Town in Kansas.” “Suppose I Had Never Met You,” “Such Is Lift in a Love Song,” “The Blue Bird” and the number which scored an international hit, “I Love You,” all of which will be introduced by various members of the Berkell company. Additional features will be the eight Pattridge girls, an operetta of well-trained dancers whose stepping will enliven the song numbers, and Gene’s Saxo-Maids, a quintet of girl saxophonists who will appear in a melodious specialty. The usual matinee performances will be given on Wednesday, Thursday and Saturday. OTTO GRAY*AND COWBOYS AT LYRIC Music, song, dance and the homespun humor of the western plains will be brought to the stage of the Lyric for one week, starting today, when Otto Gray and his original Oklahoma Cowboys open their engagement as headliners of the usual six-act RKO vaudeville bill. Three popular screen stars are featured in the new RKO-Pathe picture, “Suicide Fleet,” namely. Bill Boyd, James Gleason and Robert Armstrong. Five other RKO vaudeville acts augment the headlined attraction. Don Santo and his comedy partner Exie are next important in the lineup. The duo engages in a gagging contest punctuated with songs and comedy acrobatics. Frank Swanee, billed as “Southland’s tenor, and Joe Daly, wellknown composer and pianist, * are to present a revue of songs and music of the light and popular style. Meyers Lubow and Rice present what they call “A Dance Escapade.” “The Honeymooners,” a musical melange in three scenes, is the offering which Roy Gordon and Ulah Dean are to present on this bill. An acrobatic pair, Victoria and Lorenz have an oddity in which a speedy routine of tumbling and gymnatlc feats are offered.

AMUSEMENTS

JAN.. 30, 1932