Indianapolis Times, Volume 47, Number 282, Indianapolis, Marion County, 3 February 1936 — Page 4

PAGE 4

WALTER HUSTON TO APPEAR IN 'DODSWORTH' AT ENGLISH'S

Star of Stage and Screen Returns Here March 13,14 in Cast of Popular Play Actor’s Part in Dramatization ot Sinclair Lewis’ Novel About Americans Abroad Acclaimed by Critics Throughout Country. An event of no little importance to Indianapolis drama-goers is to be the appearance at English's theater of Walter Huston in the now famous play, “Dodsworth,” booking of which was announced today by Vincent Burke, English manager, for Friday and Saturday, March 13

and 14. Mr. Huston has made for himself a name known to radio and screen fans as well as those who follow the legitimate drama on Broadway. His role in “Dodsworth” has been acclaimed throughout the country by critics in the cities where he has presented the play on the current tour. The company is now appearing on the West coast. “Dodsworth,” a dramatization of Sihclair Lewis’ widely read novel about Americans abroad, opened for the first time on Broadway at the Shubert Theater Feb. 24, 1934, and ran for 147 performances. Then it was revived in August, the same year, and ran for 170 performances before the present road tour was begun in January, last year. Mr. Huston was seen last here on the screen in a brief sequence in “Transatlantic Tunnel,” Richard Due’s latest film. In this picture Mr. Huston appeared without charging the producers any salary. He portrayed the President of the United States w’hile George Arliss represented the Prime Minister of Great Britain. “Dodsworth” was dramatized by Sidney How'ard and directed by Robert Sinclair. Jo Mielzner de-

'Security and Rights' Is Object of Movie Workers' Labor Guild

Individual Artistry Forgotten as High-Salaried Group Seeks Complete Unionization of Industry. BY WILLIAM FLYNN United Press Staff Correspondent

HOLLYWOOD, Feb. 3. Film royalty, the high-salaried boys, are forgetting individual artistry in an effort to secure asserted “security and rights” through complete unionization of the motion picture industry.

Actors, writers and directors are taking the lead in formation of an industry labor council that is to affect every one from Garbo to the humblest “yes” man. Members of the groups whose favorite pronouns are personal have been holding non-official confeiences with representatives of the American Federation of Labor. Murmurs from the conference chambers indicate the artists may unite with the truck drivers, the longshoremen, the waitresses and other organized groups to further the “cause of the working man.” The last gap in a united front of film workers to oppose producers was closed with formation of the screen directors guild. Organiation of the union was followed immediately with a meeting of officials of the actors’ and writers’ groups. A coalition between the bigmoneyed guilders and the already unionized technicians, who have achieved a closed shop on Hollywood lots for their members, is more than a vague idea. It rapidly is becoming a reality. 125 Leaders Take Tart More than 125 of the top-flight directors here attended the first organization meeting of their infant guild. Among those present was Cecil B. De Mille, Norman Taurog, Frank Borzage, Mervyn Leroy, Marshall Neilan and King Vidor. Dorothy Arzner, only first rank feminine director, also attended the meeting. Directors are organizing because they have one common cause—self preservation, they declare althuogh artistically they are subject to frequent attacks of ‘“incompatibility.” “We are given screen credit,” one explained. “If the picture is terrible, we take the rap because we directed it. But we don't have anything to say about it and have to make it even if we know its going to be terrible. “We’re not consulted about stories, or the cast or don't have anything to say about the cutting of the picture after we finish it. We just have to turn 'em out on a factory basis.” The directors discussed another little matter. That was the possibility of a guild as a defensive organization when and if producers suggest any more 50 per cent salary cuts. Zaring Showing War Pictures Official Films of World's Conflict on View. A German cameraman wh o strapped himself to the wing of an airplane and took pictures of an air raid which involved the shooting down of the very plane to which he was fastened, contribute considerably to the "Four Aces,” official World War films, at the Zaring today and tomorrow. Appearing with the picture i* Indianapolis is Private C. K. Slack, who speaks before each showing of tht picture. The films were taken by the signal corps cameramen of severe 1 countries and have been unified into one picture in the cause of world peace. One of the most spectacular scenes In the film is one showing the Hoosier soldiers in the famous Rainbow Division, going over the top in the Meuse-Argonne battle. What is said to be the only complete picture story of an air combat between two planes is shown in the film, with an American and a German plane doing the fighting. The reason why several of the scene* were cut short was because the cameramen were killed while taking the pictures, the films being recovered later by other soldiers, fn fact, more than 700 cameramen contributed to “Four Aces.”

a a a

Walter Huston signed the sets and Max Gordon produced the show. It is presented in three acts and 14 scenes.

Musicians Back Piano Festival Encouraging Note Received by Sigma Alpha lota. Indorsement of the 125 grand piano ensemble festival, to be presented by Sigma Alpha lota, national professional musical sorority, in Butler University fieldhouse, May 3, has been given by the Indiana State Symphony Society. A letter from J. L. Meuller, symphony socieety president, to Mrs. F. H. Sterling, general chairman of the festival, reads: "Attention of Indiana State Symphony society president, to Mrs. fact that your society is sponsoring a 125-piano festival May 3, and that the festival is to be given in behalf of the student loan fund. “The symphony society is impressed with the aims and purposes of this student loan fund and, at a meeting of the executive committee, passed a resolution to encourage so worthwhile a musical endeavor. We trust you are to b£ successful in furthering your efforts to help many worthwhile music students. In charge of the festival arrangements, besides Mrs. Sterling, are Mrs. Berta Miller Ruick, music committee chairman; Miss Gladys Alwes, finance committee chairman. and M. M. Miller, festival manager.

Lyric Soprano to Join Concert Elma Igelman Slated to Be Guest Artist. Miss Elma Igelman, lyric soprano and artist teacher at the Arthur Jordan Conservatory of Music, is to be guest artist at the Mu Phi TenPianc concert, Feb. 21 in Caleb Mills Hall, for the benefit of the scholarship fund of Kappa chapter, Mu Phi Epsilon, national honor musical sorority. This is to be Miss Igelman’s second concert appearance sponsored by the sorority since her return from Boston five years ago. A graduate of the New England Conservatory of Music, from which she holds a bacheloi of nr.isic degree, Miss Igelman. has studied and concertized extensively in the East. She was a pupil of William L. Whitney in Boston, in whose school she later taught, and coached oratorio with Emil Mollenhaver and French songs with Povla Prijsh, Danish soprano. Soloist in Boston She has appeared as soloist with the Boston Symphony Orchestra, and has been heard in concert in New York, Hartford, Cincinnati and Chicago. An artist noted for her splendid interpretations and excellent voice production, she has appeared on programs with such noted figures as Rudolph Ganz. Arthur Friedheim and Lambert Murphy. Mrs Berta M. Ruick is to be Muss Igelman’s accompanist in the forthcoming concert. Pianists in the ensemble, which is to be directed by Bomar Cramer, have been announced by Miss Imogene Pierson, sorority president and general chairman of the concert. They are the Misses Mary Kapp. Ramona Wilson, Frances Wishard, Helen Sommers. Mildred Allen, Mabel Pruitt and Mary Gottman, and Mesdames James L. Wagner, William N. Fleming Jr. and Erwin Luessow

HAROLD LLOYD'S ROAD WAS LONG AND HARD, BUT NOW HE IS A MILLIONAIRE

BY JOHN W. THOMPSON HAROLD LLOYD has not always looked at the world through rose-colored glasses. In fact, the glasses he wears in his comedies aren't glasses at all. They're just horn rims. Once upon a time, when movies were in their infant stage—with custard pies, Keystone cops and wild “horse oprys” holding forth —two yotmg men sat close to a fire in a barn-like old house that served as their studio in Los Angeles. “Do you supj. ise we'll ever get any place in this crazy business?” one of them muttered. “Me?” said the other, “I'll be satisfied if I can wear silk shirts like you.” One of the disgruntled gentlemen was Hal Roach, now one of Hollyw'ood’s most successful comedy producers. The other was Harold Lloyd. Their “crazy” business grew rapidly. It became one of the country’s largest industries — movies, in every shape end form evolved from the simple slapstick comedy of .he first “flickers.” a a a HAROLD LLOYD was a native “hick” boy with a hankering to go on the stage. He was born in Burchard, Neb., a little town of 300, where his parents lived in moderate circumstances on a farm. As long as he can remember, he says, he wanted to become an actor. Walxing between the plow handles he dreamed of the footlights, and the fame it might bring. While watching a magician who visited Burchard with a traveling medicine show, Harold got a passion for legerdemain, got together a collection of card tricks and magic. Besides he had two “clown suits” and he mastered several circus stunts. At that time he was short, stocky, black-liaired and freckled. He ivas as earnest in his various endeavors as Mark Twain's Tom Sawyer. He didn’t know then, but he found out years later, that he was getting started on the wrong foot, trying to become a great actor when the style in which he was to achieve the most was just being himself. Harold Lloyd's professional acting debut was made in Shakespeare’s “Macbeth.” The youngster thought he had found his field—that of serious acting in character roles. ana IT was at Beatrice, Neb., that the “first night” took place. A stock company visiting the Nebraska territory, cast about for local talent and picked Harold for the role of Fleance, Banquo’s son. After the minder of Banquo, Harold was to run off the stage shouting, “Help, help!” continuing his shouting out into the wings of the theater. His voice failed him when he reached the side of the stage and saw the rest of the cast standing there, grinning at his funny movements. An old-timer took up the cry for him. The Lloyd family moved to Omaha, and it was there that Harold Lloyd met John Lane Connor, leading man in the Burwood Stock Company, who was to become one of Mr. Lloyd’s closest friends in the years to follow 7 . He taught Harold a great deal about make-up and.later took him under his wing as a sort of protege. In 1907, Harold appeared with the Burwood company in “Tess of the D’Urbervilles” as Abraham, Tess’ brother. The season closed soon after and Harold's voice changed, making it impossible for him to play child roles any longer. a a a ABOUT this time Harold’s father, J. Darsie Lloyd. w 7 as struck and injured by a wagon. He collected S6OOO damages. It was decided to spend the money in moving to another and perhaps more fruitful business district. But the Lloyds knew not where to go. So they tossed a coin. Heads meant they w 7 ould go to Nashville or New York; tails meant they w 7 ould go to San Diego. It w 7 as a fateful moment and when the coin came up tails it probably decided the destiny of the young actor. Harold Lloyd went into the movies against his will. He was helping his father in a lunchroom and pool hall in San Diego when the old Edison producing company issued a call for actors. Harold w : as doing nothing important at the moment and decided to pick up some money. So he was painted up as a half-naked Yaqui Indian and flitted in front of the camera for one scene. With no stock companies opening there. Harold was driven to other movie studios for w 7 ork. He sat all day long for weeks without being called in for a test. Then he nbticed that the character actors working in the pictures were re-admitted each day without question from the gateman. So he hit upon a plan. He made up, marched in. a a a INSIDE the gates, Harold met Hal Roach and the latter confided that he had saved several thousand dollars with which he was going +o produce one-reel comedies. The first man he hired was Harold Lloyd. It was hard sledding and the one-reelers came back so fast that Roach thought someone was meeting the train in Kansas City. At last they sold one. With the last of his money Roach hired Roy Stewart and Jane Novak, already well known movie players, as leads for his pictures. Lloyd was the “low” comedian in the picture. The job resulted in Harold quiting Roach when he discovered that Roach was paying Stewart $lO a day and he was only getting $5. Against Ford Sterling’s advice, Harold finally went back to work for Roach at SSO a week, doing slapstick. He didn't like it though, and told Roach he would quit again if they didn't let him do a “natural American boy,” no funny clothes, no imitations of Charlie Chaplin. That was the birth of the famous spectacles character. It was a hit almost overnight. They

THE INDIANAPOLIS TIMES

When movie directors of the old school failed to take him as he was, Harold Lloyd used to appear at the casting offices attired in

made nine pictures in as many weeks with Bebe Daniels playing the lead in several of them. The first of the series was “Bumping Into Broadway.” The last was “Number, Please.” a a a THE studio had to get anew leading lady when Miss Daniels went to another company and Mildred Davis, a wide-eyed beauty, got the part. Harold and Mildred fell for each other at first sight. But the girl was ambitious and wanted to quit to go to another studio with a better offer. There was only one way to stop her. So Harold Lloyd married the girl. This year they will celebrate their thirteenth wedding anniversary. Shortly afterward, while posing for a comedy “still” photo, Harold was injured, almost fatally, when a bomb exploded nearby; doctors told him that even if he lived he would probably never see again. Immediately Harold started planning anew career as a director.

Apollo to Get Latest Device ‘Wide Range’ Equipment to Be Installed. An important step in the movie progress of the city is being taken by Kenneth Collins. Apollo Theater manager. He is installing what is known as “wide range” sound equipment in the theater. This new amplifying apparatus, which will be ready for use in the Apollo in about a week, is the result of long research by Western Electric engineers. Here is just what “wide range” round is; It is an extension of the frequency range of sounds which it is possible to record and reproduce. The ordinary sound equipment will give a range from 75 up to 5000 cy- | cles. The new equipment is said to ! provide a range for sounds from 40 | up to 10,000 cycles. | Almost every movie fan knows by now that the singing and talking in soundpictures is mostly “dubbed in” after the picture is taken. Especially is this true of the recent opera pictures. The films are taken of a scene but no sound is recorded. Then later, under more efficient accoustical conditions, the singer sings the song for the recording. Then it is up to the sound engineers to fit the sound track onto the film, for perfect synchronization. That system is not the ideal one. Movie men realize that, and they want to eventually reach the place where they can record the scene as it is filmed. That, was done in “Professional Soldier,’ in which Victor MacLaglen and Freddie Bartholo- | mew recently starred. The development of talking pictures has been, of course, the outstanding milestone in the march ci the industry since “flickers” were first invented. The first talking picture was “Don Juan,” and it was presented first at the Warner Theater in New York, Aug. 7, 1926. The

H| Enow showing* mniMU THEATER 1

get-ups such as the one above, a grimy pirate. Below he is shown as “Scrooge” and at the right below. as himself, the only make-up with which he could succeed.

But the gods were kind and he recovered, except for the loss of his hand. After their marriage, Mrs. Lloyd retired from the screen. Jobyna Ralston became Harold’s leading woman. His last pictures for Hal Roach were “A Sailor Made Man,” “Grandma's Boy,” “Safety Last” and “Why Worry.” After that came “Hot Water,” “The Kid Brother” and “Speedy.” The Lloyds built anew house in Beverly Hills. Recently they have taken a winter place at Palm Springs. They now have three children, Gloria, 11; Peggy, 10, and Harold Jr., 4. A few years ago Harold decided to quit. He had made almost a million dollars and what did he want with more? But his family and his friends wouldn’t hear of it. And he himself found that loafing wasn't cut out for him. So he’s still making ’em. His latest, “The Milky Way,” has been booked at the Indiana Theater, tentatively for Feb. 21.

second and more popular talkie was A1 Jolson’s “The Jazz Singer,” produced in October, 1927. Mr. Collins intends further improvements at the Apollo, he said today. The installation of the new sound equipment is being made at night and the old system will be left intact until the “wide range”- is ready to be used. Sign Language Aids Dog Star Spoken Commands Banned on Sound Lots. Timex Special HOLLYWOOD. Feb. 3.—Even a dog must adjust himself to the pace of the modernized world. The coming of talking pictures threw many trained dogs out of work, but Rin-Tin-Tin Jr., son of the star of silent days, and his manager have coped with the changes. The dog had to learn the deaf and dumb alphabet to hold down its role in “Tough Guy,” which stars Jackie Cooper and Joseph Calleia. It was Lee Duncan, trainer of Rin-Tin-Tin Jr., who hit upon the idea of the sign language. For two years he accompanied his commands with the corresponding sign instructions.

SHfILU rSenwi I PAT O’BR>EN 1 I ‘CEft®® 1 ffr 7 EBO’ J.-Xopsy Turvy Revue” I featuring COOKIE BOWERS ■ , t -T S "vlit Douglas 1 Albee Sister* J r,s q.iT^ 2Se Viil 6P. M. 15c and 40c Afte- BP. M. J v jpp7T?Tj| h' f 1 ;

Many Travel to Cincinnati to See Opera ‘Tristan and Isolde’ Scores Hit Among Local Enthusiasts. BY JAMES THRASHER After listening to a performance of Wagner’s “Tristan and Isolde” one regrets that this rich musical experience so seldom is granted to us in the hinterlands. The proximity of its production by the Cincinnati Symphony Orchestra in Cincinnati on Friday and Saturday nights induced many Indianapolis opera enthusiasts to brave the week end’s cold weather, and those attending were rewarded by a satisfying presentation. Many scholarly volumes have aidled Wagner's music in convincing listeners that “Tristan” is its composer’s greatest work. Here is the pinnacle of a career of genius, a music-drama of heroic proportions and heroic difficulties. Asa tonal delineation of the passion of love, its supremacy remains unquestioned after mce than 70 years. Dorotl e Manski, rather than the announced Gertrude Kippel, was the Isolde of the Cincinnati production. Her interpretation was for the most part authoritative, and her voice grew in richness and beauty as the evening progressed. The role is a taxing one, and to sing it on successive nights is something of a feat. Voice at Best in Act II If, then, she showed signs of vocal strain during the first act, it is no cause for wonder. Not until the end of Act II was the full loveliness of her voice revealed in moments of truly gorgeous singing. The conflict between the length of the opera and a relentless train schedule prevented our hearing the “Liebestod” in the final act. The Tristan of Paul Althouse was of rather uneven quality. As the delirious, mortally wounded knight, he was admirable, but the movingly dramatic portions of his performance were offset by a good deal of inadequate singing and acting in the earlier parts. We scarcely can expect in one person an ideal personification of either Tristan or Isolde, but we still may complain against the histrionic laxity which taints many .a vocally adequate operatic production. Supporting Cast Excellent The lesser roles of Brangaene, Kurwenal arid King Mark were excellently handled by Kathryn Meisle, Fred Patton and Chase Baromeo. Mr. Patton, the Wotan of the orchestra’s production Os “Die Walkuere,” again distinguished himself while Mr. Baromeo was in splendid voice for his part as the greathearted Cornish monarch. We may pass over charitably the settings, which were ill-conceived and badly executed, to come to the orchestra. Though mentioned last, it is of course the dominating ‘character” in “Tristan.” Eugene Goossens, the conductor, was at all times master of the score and his players. In the superb music of the third act, one of the most brilliant “tours de force” in all orchestral literature, he created a plastic, closely knit performance, wrought with care yet vividly pictorial. “Tristan and Isolde” again stamped Mr. Goossens as a sensitive and highly capable musician. The tremendous ovation accorded him upon his reluctant appearance before the curtain at the end of Act II clearly indicated that to the audience he was the hero of the evening, and with this opinion we most heartily agree. House Suits Her Dog Rosalind Russell is moving into a new Spanish bungalow in Westwood—not only because she likes the house, but also because she is fascinated by the modernistic dog house for her wire-haired Cracker. Started in “Rio Rita” Bert Wheeler and Robert Woolsey, now co-starring in the giddy comedy, “Silly Billies,” began their professional association in the Ziegfeld.musical hit, “Rio Rita.”

A Aoramounf Htl.ro milk Gary Cooper * w. C. Fields Charles Laughton • Jack Oakie , \ George Raft < Charlie Ruggles A iMrtary Boland-May Robson^F IKARLOFF® 1 IU, ..<• Bela LUGOSI .

mil I NMMfln Bin tRSI'LA PARROTTS W-wf/iiytrnw r< Ijj HtßniTrr. ~ittn~; "" ~;irn~'i;

Sylvta Sidney In '•MARY BURNS, FUGITIVE'* Al Wheeler A Wol*ejr "THE RAINMAKERS''

SINGS TONIGHT

Ife, ■ K if u

The season’s second Indianapolis Maennerchor concert tonight is to feature a local singer as guest artist for the first time in the society's history. He is Edward LaShelle (above), who is to be heard in two groups of German and English songs. John M. White, baritone, is to have the solo parts in Grieg’s “Land Sighting,” which is to close the concept. Following is the complete program: Schweighsam Treibt Ein Morscher Einbaum Attenhofer Beim Liebchen u Haus Pffeil | Indianapolis Maennerchor Der Doppelgaenger Schubert Widmung Schumann Traum Durch Die Daemmerung .. Strauss Zueigung Strauss Der Erlkoenig Schubert Edward LaShelle Minnelied De La Hale Early Thirteenth Century melody arranged for Choral by Karl Reckzeh Elslein Von Caub Moehrlng Indianapolis Maennerchor Homeland Mine Gretchantnoff Myself When Young (Persian Garden) Lehmann Hills of Home Fox Captain Stratton’s Fancy Taylor Edward LaShelle Land Sighting Grieg Indianapolis Maennerchor. John M. White, baritone solo At the piano. Bonnie Loder LaShelle and Clarence Elbert.

WHERE, WHAT, WHEN ACADEMY OF MUSIC Concert by the Indianapolis Maennerchor, Karl Reckzeh, director, and Edward LaShelle, bass-baritone soloist, at 8:15. APOLLO "Paddy O'Day. ’’ with Jane Withers, at 11:44, 1:44, 3:44, 5:44, 7:44 and 9:44. CIRCLE “Invisible Ray •’ with Boris Karloff and Bela Lugosi, at 11, 1:45 4:35, 7:20, 10:10. Also "If I Had a Million,” at 12:30, 3:30. 6:05 and 8:55, INDIANA “Anything Goes,” with Bing Crosby. Ethel Merman and Charlie Ruggles, at 1:16, 3.32, 5:48, 804 and 10:20. KEITH’S “A Midsummer Night's Divam,” with Jimmy Cagney, Joe E. Brown, Jean Muir. Dick Powell and Olivia de Haviland, at 2:30 and 8:30. LOEWS ‘The Ghost Goes West,” with Robert Donat and Jean Parker, at 11. 1:45, 4:30. 7:20 and 10:05. Also "One Way Ticket.” with Peggy Conklin and Walter Connelly, at 12:30, 3:19, 6 and 8:50. LYRIC “Topsy Turvey Revue” on stage at 3:47, 6:30 and 9:20. “Ceiling Zero” on screen, with Jimmy Cagney and Stuart Erwin, at 11:03, 1:50, 4:43, 7:30 and 10:16. OHIO “Mary Burns' Fugitive," with Sylvia Sidney, 10:30, 1:37, 4:18, 7:25, 10:06. "Rain Makers.” with Wheeler and Woolsey, 11:53, 3.00, 5:41, 8,48.

[ij ROBT.DONAT J I Plus "One Way Ticket" J :alloway Screen: Franehnt Tone

lil TO NIGHTS A Hs?sspentauoNS If/lv NEiOHBORHOOP THEATER^

WEST SIDE O 'T A F 2~<>2 w ,n,h Rt - STATE "SIX' “IT S IN THE AIR” “LITTLE BIG SHOT” np T IfA\TT W. Wah. A- Belmont BELMONT n rJ , f p ut. “FRISCO KID” “WHIPSAW” Di * ri 2510 W. Mich. St. A1 S Y “ Cagney* “FRISCO KID” "MILLIONS IN THE AIR” NORTHSIDE Ri m rr niinof* at 34th I I A Double Feature 4 4 *-* Will Rogers “IN OLD KENTUCKY” “WELCOME HOME” UPTOWN Sibh Fea°tur? ~n George Arlisa “MISTER HOBO” “SMILIN’ THROUGH” a tys n icif/ 30th and Illinois (IARRICK Double Feature umvivivti Kay Francis “THE GOOSE AND THE GANDER” “RENDEZVOUS” nnn /"If irk St. Clair * ct. Wayne SI IjI.AIR Double Feature kJA. Clark Gable “MUTINY ON THE BOUNTY” “TO BEAT THE BAND” n K H.\ Double Feature EVX -' a * Frodric March “DARK ANGEL” “THE CASE OF THE LUCKY LEGS” TALBOTT 3K& WE lilEiDVi a Jamea Dunn “THE PAYOFF” “THE THREE MUSKETEERS” n . , e t 19th A College Stratford Double Feature juauuiu May RobM>n “THREE KIDS AND A QUEEN” “PETER IBBETSON” Mri /y /y i Noble f Mays, r I , I . A Double Feature tr Vj VJ t\ Burns A Allen “HERE COMES COOKIE” “PURSUIT” ryn ts a if 2381 St. DP RAM Double rt ^“ r, UI’.L/mil William Powell “RENDEZVOUS” “STORM OVER THE ANDES” EAST SIDE R.i r/\ § | Dearborn at 10th IV() L I Double Feature 1 T v 1,1 Will Roger* “IN OLD KENTUCKY” “FRISCO KID”

FEB. 3, 1936

Danseuse to Make Debut Here Feb. 22 Anna Ludmila to Appear in ‘Hold Your Hats’ at Civic Theatre. Anna Ludmila, former premier danseuse of the Chicago Opera Cos. and an internationally-known ballerina, is to make her first appearance here in “Hold Your Hats!.” musical revue new in rehearsal at the Civic Theater. “Hold Your Hats!” is to open Feb. 22. Miss Ludmila is to present two numbers, the first a waltz similar to her interpretation of “The Blue Danube,” and the second, a Viennese ballet. The first she danced with Anton Dolan in London severe! seasons ago. Miss Ludmila, though a resident of Indianapolis for three years, has not appeared in any local dance presentation. A native of Chicago, Miss Ludmila began her career as soloist with the New York Symphony Orchestra under the direction of Walter Damrosch. She was only 13 years old at the time. After several appearances she returned to finish her training with the Chicago Opera Ballet Company, and three years later she became premier danseuse. After engagements with Fred Stone and Fred Allen in two revues in New York, Miss Ludmila accepted offers to dance abroad. She became soloist with the Nijinska-Rubm-stein ballet, and later was Anton Dolain's partner for a season in London. In Buenos Aires she danced at the National Opera House in a special performance for the Prince of Wales, now King Edward VIII. Miss Ludmila returned to America several year§ ago, and opened a school of the* dance here. Her appearance in “Hold Your Hat!” is to be her first appearance on any stage in two years.

Offers Course in Choir Work Cheston L. Heath to Stress Training of Boys. Course in training and tone production of boys’ voices, designed for choral conductors, teachers and musicians in general, has been announced by Cheston L. Heath, organist and master of choristers at Christ Episcopal Church. The first session has been set for Feb. 15. Practical in character, the series is to embrace such subjects as the psychology of the boy mind; methods of imparting musical knowledge to the child; problems of conduct and organization. Illustrative work is to be done with boys who have had no previous training. Mr. Heath is well known as a trainer of boys’ voices, having served as choirmaster at Christ Church for the last 10 years, and in the same capacity at St. Paul’s Episcopal Church in Norwalk, 0., for 12 years.

* Good Scafi jdjr' Available jf §, MAX REINHARDT'S Produdnm 4 I A MIDSUMMER I £ NIGHT’S DREAM fit W%. \ If WM SHAIESPEAIS IJH Muaie Lt MINDZIfiSOH* * 2 SHOWS'DART All Seats Deserved) '<% % Tel. LI. 9000-9514 B. F.

EAST SIDE TUXEDO Double Feature Marx Broa. ..-I* NIGHT at THE OPERA” “THE CASE OF THE LUCKY LEGS’* I TACOMA 1 William Powell “RENDEZVOUS” “MUSIC IS MAGIC” I D \T T \T n 3507 E u ’ a,h - st I £V V i IN Double Feature George Arlisa “MISTER HOBO” “A.NIGHT AT THE OPERA” EMERSON Dtck Powell “THANKS A MILLION” I “THUNDER IN THE EAST” HAMILTON Diek Powell “THANKS A MILLION” “WHIPSAW” Pa rs 1/ P n 2936 E. 19th St. AKK h K Double Feature ah in tv u Charlfg LaU(thtor , “MUTINY ON THE BOUNTY” “FOUR STAR BOARDER” S' T n i \I pv1332 F. Wash. St, [RAND ° ub i E ‘“re i Marx Bros. “A NIGHT AT THE OPERA” “TWO FOR TONIGHT” RA V V 2721 E Wa*b. St. ” L' X Doable Feature Special Feature Attraction Paramount Miriam Hopkins “BARBARY COAST” “WHISPERING SMITH SPEAKS” SOUTH SIDE FOUNTAIN SQUARE Double Feature Loretta Young “CRUSADES” Admiral Byrd's "LITTLE AMERICA” In * \rr\pnn At Fountain Senate | SANDERS Double Feature UtimyGiu; C i r k Gable “CALL OF THE WILD" “SKY BOUND" Air a | .a v Pmsoeet-Churebmew VAL O N Double F,,ator T u v/ ii Diek Powell “SHIPMATES FOREVER” “THUNDER MOUNTAINORIENTAL ’ 4 1 l4j William Powell “RENDEZVOUS” “STORMY” GARFIELD aSKS* - IL/GLr Charles Laurhtoa “MUTINY ON THE BOUNTY 1, Comedy—News—Cartoon