Indianapolis Times, Volume 47, Number 289, Indianapolis, Marion County, 11 February 1936 — Page 6

PAGE 6

Composer Rehearses Singer in Civic Theater Musical Show

He; Ready, begin. She: “Hold your hats. Pull yourselves together. And laugh at the weather . ,

Leader Talks on Music as Players Tune Up in Cold Dr. Vladimir Bakaleinikoff Predicts Great Future for Indianapolis Symphony Orchestra. BY JAMES THRASHER As violinists ran practice scales with cold-numbed fingers and frigid trombones emitted complaining tones, Dr. Vladimir Bakaleinikoff, guest conductor of the Indianapolis Symphony Orchestra, talked about music above the increasing din that preceded a rehearsal for the next concert on Feb. 18.

“There is a great future for this orchestra that is my sincere opinion,’’ said the distinguished director, as he removed his overcoat, looked through his .scores and gave instructions to librarian Sam Bremen. “It needs some slight improvement, to be sure, but every orchestra does, even the big ones. A conductor coming to New York or Philadelphia would tell you the same thing.’’ He smiled toward the assembled players, and continued in his rapid and highly Russian-flavored English:

“Their enthusi-, asm and co-oper-ation are remarkable, especially in America. Money seems to be the prevailing idea in this country, a sort of contagion contracted in childhood. Y e t these players have come to each rehearsal faithfully, not for the little' money involved,

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Bakaleinikoff

but through their love of music. “Os course, the orchestra some day will need a permanent endowment. The public is too inclined to sit back and enjoy the music without realizing that such an organization can not run itself. . . . However, in Cincinnati, when the word was given out that the orchestra would have to disband for three years because of lack of funds the concert attendance increased 30 per cent. The same thing happened in New York and would here under similar circumstances, I am sure.” Cities Have Symphonies We asked Dr. Bakaleinikoff if European cities the size of Indianapolis have symphony orchestras. "Indeed yes, and good ones, too,” he replied, his black eyes sparkling with enthusiasm. “In my country a city of this size would have an eight-month season of opera every night, both legitiimate theater and musical comedy every night, and orchestra concerts once a week. You see. music to them is a necessity instead of an entertainment.” He spoke of Cincinnati's initial season of opera, sponsored and presented by the Symphony Orchestra. “In America, opera is still a novelty. To the people, it must be a spectacle, although Europeans can be satisfied with simpler presentations. So when big orchestras like the Cincinnati and Cleveland and Philadelphia produce it on a big scale, it attracts attention. "The three operas presented in Cincinnati so far this year not only have been satisfyingly done, but actually have made money for the management.” Tuning Is Completed Meanwhile, tuning had been completed. and the players sat waiting, or softly played over difficult phrases. Dr. Bakaleinikoff rapped for attention and raised his baton for the opening bar of Borodin's overture to "Prince Igor.” music of tsarist Rusisa in which the conductor was born and reared. Asa child he studied violin at the Imperial Conservatory in his native Moscow under Grimalgi, and received instruction in composition from Sergei Taneieff, teacher of many famous contemporary Russian composer. His career as performer, conductor and composer has been a brilliant one. His first important position was as a member of the string quartet of the Grand Duke of Mecklenburg-Strelitz, with whom he remained for 10 years. He has held professorships in the St. Petersburg Conservatory, the Imperial Conservatory of Petrograd and the Moscow Conservatory. Before coming to Cincinnati in 1926 as solo violist and assistant conductor, he had served as conductor of the Theater of Musical Drama in Petrograd, the Symphony Orchestra and Opera in the same city, and the Moscow Art Theater. At present he is associate conductor of the Cincinnati Symphony Orchestra and conductor of the Louisville Civic Symphony Society. Last year the University of Cincinnati conferred upon him the honorary degree of Doctor of Music. Wears Pajamas 8 Days Robert Taylor is wondering when, if ever, he is to be able to get dressed up again. He has spent eight days on th* “Small Town Girl” set in pajamas and dressing gown, and is scheduled to remain attired thus informally for another week or o.

Hollywood Has Its Own Slang ‘Tiddypunka’ There Is Same as ‘Baby/ ‘Toots’ Here. BY PAUL HARRISON HOLLYWOOD, Feb. 11.—(NEA) —A talkietown lexicographer would have to get around to a lot of cocktail conferences if he wanted to keep up with new deveolpments ; n slang. Here are a few additions to the glossary: Spiggolater—A person who is in right with the wrong people, and vice versa. Tiddypunka —Word coined by Mona Barrie and used in informal salutations for “baby,” “honey” or "toots.” To give—To put extra effort into one’s acting. First used by Jack Oakie; now in all vocabularies. Flopola—A bad or unsuccessful picture. A “turkey.” Let's catch a chop—Let’s eat. An expression employed by Ida Lupino, which Indicates how quickly an English actress can go Hollywood. Mugg—Exaggerate To mugg—To exaggerate an expression before the camera —or anywhere else, if one is putting on an act. Take it big—Exaggeration of action before the camera. Dick Powell may be said to “take it big.” Neehorhappo—Phonetic adaptation of Cantonese phrase meaning, literally, “nuts to you.” Onkapringa—More Chinese, or something. Means “good.” Snidder—Excellent. This term saves a lot of verbiage and can be used instead of “stupendous, terrific and colossal.” Genius—Any producer under 30. Let’s have a Gish—Director’s request for a mournful expression. They got me, pal!—Bing Crosby’s

WPA Theater Provides New Entertainment for Negroes ‘Walk Together Chillun’ Is First of Plays to Be Staged in New York Under Federal Project.

BY WJLLIAM ENGLE Times Special Writer In that part of Harlem where the first floor show opens at midnight and the last at 3 a. rn., anew means of entertainment was offered this week by the Federal government, and nightly, now, a fair-sized audience goes to the Lafayette Theater to see "Walk Together Chillun,” first of the plays to be produced by the New York Federal Theater Project under the WPA. They came the "first night.” quiet, respectable people with a middleclass look, most of them Negroes, and they witnessed something Harlem has not had before—a Negro theater. Not a hot spct for Negroes and whites. Instead, a serious, vigorous effort to establish the drama for homogenous audiences. with Negroes comprising the cast and production crews. Red-capped, blue-gowned Negro girls ushered the patrons to their seats. A Negro orchestra played. And the drama's message—frankly an impassioned message—was directed sharply to a Negro clientele. Frank Wilson, whose performances in "Porgy” and “In Abraham's Bosom” were outstanding, wrote it and John Houseman, the managing producer for the PWA project, has put, it on with fidelity to the playwright’s hope. It is by Negroes and for Negroes, a fervent dramatization of the struggle between a working class with white overlords. Although the plot was trite, there was something electric about the thing. Stirs Audience It stirred the audience to robust applause. It elicited every once in a while little waves of murmured approbation or disdain. But it was not'in the climatic moments that emotion in the audience ran at a peak. The homely depiction of happy Negro traits, of customary Negro reaction to the

He: Now, swing it. She: “Life is like a sleigh ride. Let’s make it a gay ride . .

WHERE, WHAT, WHEN APOLLO “The Jones Family” In "Every Saturday Night,” with Jed Prouty. Spring Byington. June Lang and Thomas Beck, at 11;58, 1:58, 3:58, 5:58. 7:58 and 9:58. CIRCLE "Rose Os The Rancho,” with Gladys Swarthout and John Boles, at 11:40, 1:45, 3:50, 5:50, 7:55 and 10. INDIANA "Next Time We Love,” with Margaret Sullavan, James Stewart and Rav Milland. at 11:21. 1:30, 3:37, 5.45, 7:50 and 10. LOEWS Cab Calloway and his Cotton Club Orchestra, at 3:53, 6: o and 9:39. "Exclusive Story,” on :He screen at 11. 1:53, 4:46, 7:39 and 10:30. LYRIC "Spices of 1936” with Count Bernl Vici, on stage at 1:07, 3:56, 6:44 and 9:31. "The Murder of Dr. Harrigan” on the screen, featuring Mary Astor and Ricardo Cortez, at 11:40. 2:28. 5:16. 8:0ft and 10:27. OHIO "Hands Across the Table.” Carole Lombard, 10:30, 1:35, 4:27, 7:32, 10:16. "I Found Stella Parish.” Kay Francis, 11:50, 2:55, 5:47. 8:52.

acknowledgment, that a shot just completed of him is satisfactory. Let’s wrap it up—Grace Bradley's way of saying “Let’s quit work.” an a Clark Gable has tea every afternoon at 4 o’clock on the set. With his tea he has pound cake. After weeks of eating pound cake, it may be that Mr. Gabie would like a nice crisp wafer, or a sandwich, or some other kind of cake. Mr. Gable is gallant about it, though, because the pound cake is provided by a 15-year-old admirer named Katherine Minnick, who also happens to be the daughter of M-G-M’s fire chief and thus has access to the studio. She bakes one every afternoon — a labor of lo—ah!—admiration—and rushes it to the lot. Katherine herself worries a good deal about the monotony of Mr. Gable’s tea-time diet, but it happens that pound cake is the only thing she knows how to bake. a an W. C. Fields says he always wanted to be a banker because he heard they never went to work before 10 o’clock in the morning. That, though, was before he thought about the theater. He switched to acting when he realized that matinees don’t begin until afternoon. Henry Wilcoxon once was a tailor’s helper, but that doesn’t make him the best-dressed man in Hollywood. Charles Bickford went around the world as a coal-passer with Teddy Roosevelt's fleet. Barbara Stanwyck went to work at 14 as a pattern cutter, and was fired when her boss found she had never cut a pattern. Now he’s proud of having discharged her and invites her to luncheon every time she goes to New York.

superciliousness both of some whites and of some of their own race, was what swept the house with spontaneous laughter or shrugs and grunts. When Gus Smith, playing the role of a leader of Southern group brought North as laborers, first hears thfc bland, conciliatory advice of Oliver Foster, playing the educated parson, he snorts and says'. “Preachers ain’t no better than anybody else. Jest got a job like me.” The audience enjoyed that. It enjoyed anything that put into the players’ speech the pent-up rebellion of a race which has felt set apart. It enjoyed enormously, too. the come-uppance administered to Martha Ray Browne, cast as the snooty social worker. Some of the smiles out front were as broad, then, as the gay, derisive ones on the stage. Accent of Professionals Back-stage, between acts, the players came out of their parts as imperturbably as those playing Broadway. The Southern accent faded away, the inflexion was that of any able professional. “You see," Mr. Houseman said, "we had talent to work with. These people learn lines, and the way to say lines as quickly as any I’ve ever seen.” That is one reason why the next PWA play they are going to have there in the entertainment center of Harlem will be “Macbeth.” “Thty take to blank verse like ducks to water," the manager producer said. So he, and all the others so enthusiastically at work in what they hope to be a permanent contribution to the theater of America, feel that they are off to a happy start. They are willing to work long hours to give the Negro theater the dignity of an institution to last even after they are no longer back of the footlights.

THE INDIANAPOLIS TIMES

Shown singing the title song from the Civic theater musical show, “Hold Your Hats,” is Margaret Beeson, and coaching her from the piano is the song's composer. Charles Gaynor, New York tune specialist, who is aiding Frederick Burleigh in producing the revue. They were “caught” by The Times candid cameraman during a rehearsal at the Civic Playhouse. n tt k tt tt Amateur Players Working Hard for 'Hold Your Hats' Revue Directed by Frederick Burleigh, Charles Gaynor to Open on Feb. 22 and Run for Week. BY JOHN W. THOMPSON “One and two and three, and . . “Hey, Charlie, you and Betty go through your number. Let’s see how it looks in costume.” That’s about what you would hear were you to step into the Civic theater almost any night and listen in on a rehearsal of “Hold Your Hats,” the musical* revue which the Civic is to present here for a week beginning Feb. 22. , The revue is being directed by Frederick Burleigh, Civic director, and Charles Gaynor, New York composer who wrote the music and lyrics for the show.

Jac Broderick is directing the dancing numbers and Louise Spellman Spark:; is aiding in the musical direction. ,The production is one of the most lavish Mr. Burleigh has attempted, and the Civic stage literally :s jammed every night with props, sets, costumes and singing, dancing, jabbering performers rehearsing their parts In the show. So anxious was Mr. Burleigh to produce a musical this year which would be as good or better than last year’s “Meet My Sister,” that he cajoled his former Dartmouth classmate, Mr. Gaynor, into helping him build the local revue. Mr. Gaynor Gets Surprise Mr. Gaynor, busy in New York writing music for various Broadway celebrities, finally gave in and came to Indianapolis, quite honestly expecting, he said, to have to work With a bunch of “amateurish, stagestruck kids.” “I was astounded,” he told us recently, “to find that the folks in Fred’s cast are unusually talented and have a mania for working hard and long.” The Broadway tradition of promiscous title-changing has been observed in the production of the Civic’s show —mainly because of Mr, Gaynor. When the young man from Manhattan arrived on the local scene, he found that Mr. Burleigh had settled on the show title, “Times Is Diff’rent,” and that some progress had been made under that name. Not because Mr. Gaynor, who is curly-headed, bright-eyed and looks nothing like a composer, was contrary, but because he had written an opening number for the show entitled “Thirteen In A Bed,” he thought the show should go by that name. Mr. Gaynor being the guest of honor. Mr. Burleigh relented and let the title be changed. Revue Gets Third Title The Broadway tradition, however, would not be denied. For In secrecy, Mr. Gaynor was toying with another tune, “Hold Your Hat,” which he hoped he could finish before the show opened. One Saturday night after rehearsal Mr. Gaynor announced his new idea and tapped out a phrase for members of the cast. As no one screamed in disdain the composer finished the piece. The cast became enthusiastic. But cautious Mr. Burleigh wanted to see the music and lyrics on paper. In a flash of faked temperament Mr. Gaynor withdrew to his apartment to show the director exactly what he meant. For two days nobdy heard from the closeted composer. Then suddenly one night he appeared with the completed song. And even the ever-careful Mr. Burleigh agreed that his show should be called “Hold Your Hats.” So unless Mr. Gaynor thinks up another hit song before Washington’s birthday, the title is to remain as announced. While at Dartmouth, Mr. Gaynor wrote the music for the 1928 school show, “Grpen Peach,” in which Mr. Burleigh played a role.

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He: That’s good. She: “Let it be your by-word, I’m giving you my word. That the first rule of diplomats Is ‘Hold Your Hats.’ ...”

He also wrote "Double Trouble” in 1929, which Mr. Burleigh directed. Mr, Gaynor studied composing in Vienna for three years after graduating from Dartmouth, came back to New York in 1933 and since then has been writing all kinds of music for night club performers, radio dramatizations and Broadway revues. 'Our Gang' Juveniles to Tour Middle West Timex Special HOLLYWOOD. Feb. 11.—Movie fans of the Middle West are to see the famous juveniles who comprise “Our Gang” when Hal Roach’s “rascals” open a brief personal appearance tour beginning April 17 and visit Minneapolis, Chicago, Detroit and a few other key cities. Those in the act are to be “Spanky” McFarlgnd, Darla Hood, Billie “Buckwheat” Thomas, “Alfalfa” and Harold Switzer. They are to be accompanied by Joe Cobb, fat boy of the original “Our Gang,” now grown up, and Mrs. Fern Carter, who has acted as teacher to the various “generations” of juvenile actors since the troupe's inception, 15 years ago. At the conclusion of the tour the youngsters are to return to Hollywood to begin work on anew series of screen shorts. Frer.ch Star Picks Hollywood Leaders By United Prrse HOLLYWOOD, Feb. 11.—Charles Boyer, French film star, today joined the ranks of movie personalities picking the most interesting persons in Hollywood. The actor did not attempt to pick any interesting men, but devoted his list to 10 women headed by Pat Patterson, his actress-wife. Others on the list were Claudette Colbert. Merle Oberon, Mrs. Samuel Goldwyn, Ginger Rogers. Katharine Hepburn. Marlene Dietrich, Margaret Sullavan, Ruth Chatterton and Mrs. Marcella Bannet Rabwin, United Artists studio executive. * Seeks Professorship Ray Mayer, whose comic talents are to be displayed in “Farmer in the Dell,” is studying to get a Ph. D. degree and admits that his greatest ambition is to be a college professor.

IEOCARPIUOi■KTOI ARUNE JUDGE Fred MaeMurray—Carole Lombard "HANDS ACROSS THE TABLE” Kay Frances "I Found Stella Parrish”

Eye-Nachronism Walter Wanger, usually a little saner than the average run of Hollywood producers, should have a hard time explaining this one: He has cast Joan Bennett in the title role of “Big Brown Eyes,” and it just happens that she has deep blue eyes. And near-sighted at that.

City Girl Plays in Lyric Show Luella Schilly Is Drummer in Berni Vici Band. If you attended Shortridge High School a few years back and have attended the Lyric Theater this week you may have thought that the girl who plays the drums in Count Berni Vici’s orchestra looked familiar. And well she might. For Luella Schilly who calls Indianapolis her home town, in 1927 was made a member of the Shortridge chapter of the National Honor Society as a reward for her scholastic ability. Zero weather or not, she said she was glad to get back to town, after having been across the continent and back with Count Berni Vici and his band. And Indianapolis has not forgotten Miss Schilly. For no sooner had she landed here than Ted Nicholas, Lyric manager, began to get cards *and letters telling him that a former Shortridge student was on his stage. In Love With Her Work Although Miss Schilly is in lovfe with her work, and thinks there is nothing quite as thrilling as beating a drum, she also is an ardent sportswoman, and when time allows (which isn’t often), she likes to beat her opponents at tennis or handball. She played basketball at Shortridge, but says she hasn’t seen much of a basketball court since. Louella’s mother, Mrs. Pearl Patterson, lives in Indianapolis, and is playing a happy hostess to her daughter at her home, 837 N. New Jersey-st, this week. At the conclusion of the present engagement at the Lyric, Louella will travel eastward with the band for a series of appearances in theaters. Later in the spring she will accompany the orchestra on a European tour. Director Is War Flier Stephen Roberts, director of “The Lady Consents,” was a flying instructor during the World War, and later barnstormed through Texas with his own flying circus.

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FOLKS! THIS IS A REAL CO. SEE—— GLADYS CLARK SHE’S GOT IT!

MUTUAL The One Theatre and Only DUNCSOUfi i" the Exclusive 1 Middle Weat HAWAIIAN NIGHTS Features Ruth Wilson Soubrette Chorus

She: How did it sound? He: Pretty good. But put more animation into it. Let’s try it again.

Television Demonstrations Arranged for Indiana Roof Dancers at Tonight’s Entertainment to See Themselves on Receiving Screen 100 Feet Away. Step right up folks and get yourself “televised.” Beginning tonight at the Indiana Roof ballroom dancers are to be invited to appear before a real television sending apparatus and see themselves on a receiving screen 100 feet away.

Demonstrations of the television equipment are to be given at the regular dance intermissions and are to feature the moving image of the person in front of the sanding set as well as the reetption of the voices of the “performers.” Both are to be synchronized through the more than two tons of electrical equipment. The theme song of the evening is to be “A Talking Picture of You.” according to Tom Devina, Roof manager. Francis X. Hutter is a former construction engineer for the Sanabria Television Cos. which owns the set. The sending equipment has been set up in the end of the large ballroom and the reception equipment is to be placed on the wall of the ballroom near the stage. Dancers will be able to see and hear their friends upon the screan. This afternoon at 4 Mr. Hutter is to address Indianapolis high school principals, teachers of physics and engineering and newspaper men at the ballroom, and give a special demonstration of the television set. This is the first public showing of this type of television apparatus in Indianapolis, and it is a part of a series of showings being given in the cities of the country in order to educate the general public along the line of television, which soon may be available on as simple an instrument as the home radio set. Myers and Band Return After two years of tramping about the country, playing for shows, Chic Myers and his band are coming home for a while and are to play a limited engagement at the Indiana Roof ballroom starting tonight. Their last appearance in Indianapolis was at the Roof and their act was reviewed by Henry Santry, then doing a turn about the vaudeville circuits with his “Soldier of For-

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WEST SIDE St aTP 2 ‘ n2 w - 10th st--1 A. 1 Hi Warren Williams “THE CASE OF THE LUCKY LEGS” Comedy Novelty BELMONT Will Rogers “IN OLD KENTUCKY" “BARBARY COAST” Da. vn tr 2540 W. Mich. St. ANY Doable Featare x A Barbara Stanwyck “RED SALUTE” “WAY DOWN EAST NORTH SIDE Rf rp rw Illinois at 3~4th $ I /. Double Feature * * Jack Oakie “BIG BROADCAST OF 1936” “SHE COULDN’T TAKE IT” UPTOWN 42nd & Colle ‘ e Ul IvJ TY IN Double Feature Will Rogers “IN OLD KENTUCKY” “A FEATHER IN HER HAT” /-<i 4 > 30th and Illinois GARRICK sas/ass “THE DARK ANGEL” “IN PERSON” pm ji m St. Clair Sc Ft. Wayne ST. CLAIR a? sgy “BIG BROADCAST OF 1936” “IT’S IN THE AIR” n 30th at Northw't'n. K r X Double Feature Dick Powell “THANKS A MILLION” ••WELCOME HOME” TALBOTT “IT'S IN THE AIR" “I FOUND STELLA PARISH" 77, ~g. \ 19th Sc College Mrattnrn Double Feature dllaliUlU Kathleen Burke “MUTINY AHEAD” “MOTIVE FOR REVENGE” MECCA Double *Fe”uVe " ITI Li C a Kane Riehman “SILENT CODE” “JUDGMENT BOOK” r,p r' A 2361 Station St. I >F F A M Double Feature LiXVitl Wheeler Sc Woolsejr •THE RAINMAKERS” “FIGHTING YOUTH” EAST SIDE . vr t a Dearborn at 10th I V (l L I Double Feature * * w * Claudette Colbert “THE BRIDE COMES HOME” “SHIP CAFE” TUXEDO ST “THANKS A MILLION” “MARY BURNS, FUGITIVE”

FEB. 11, 1936

tune” sketch. He liked Mr. Myers band and engaged it for his trip through the theaters and night clubs. The tour lasted more than a year and extended Into Canada and Mexico. When Mr. Santry gave up his personal appearances Mr. Myers and band organized their own shows and retraced their steps and revisited the spots where they had played on the first trip. But Chic found out that his men liked to play dance engagements better than straight theater music and he has returned to his original field. Before they left Indianapolis the boys had played practically all the local night clubs and entertainment spots. Besides Don Baldwin and Don Ferrell, Myers’ regular vocalists, the band is to feature the singing of the Three Southern Co-eds, girl harmony trio which recently joined the Myers’ outfit. Tonight, tomorrow (Waltz Night) and Friday are to be the regular ladies’ nights at the ballroom.

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_ EAST SIDE TACOMA litvitmiii Dick Powell “THANKS A MILLION” FRECKLES” _ IRVING t a x s vj Burns * Allen “HERE COMES COOKIE” “PERSONAL MAID'S SECRET” EMERSON Double Feature "I FOUND STELLA PARISH” “WHIPSAW” HAMILTON^KI6 Frank Morgan “THE PERFECT GENTLEMAN” “MARY BURNS, FUGITIVE” PARKER Jack Benny “IT S IN THE AIR” “FRECKLES” STRAND 1 !^ George Arliss “MISTER HOBO” “SEVEN KEYS TO BAI.DPATE” RA \r V 2721 E Wash. St.” DAY Edmund Lowe “KING SOLOMON OF BROADWAY” Paramount n ° ub,e Feature *** Rochelle Hudson "WAY DOWN EAST" “AMATEUR HUSBAND” SOUTH SIDE FOUNTAIN SQUARE^ Double Feature Claudette Colbert “THE BRIDE COMES HOME” “THE RAIN MAKERS" C A \TINrno At Fountain Square SANDERS s:sf 'stsr “THE WEDDING NIGHT” "THE FIGHTING PILOT” ATI A I v I Prospect-Chu'-chman VAL U;N Doub,e T Lauvr is Charles FarreU “FIGHTING YOUTH” “PERSONAL MAID'S SECRET” ORIENTAL Dick Powell •THANKS A MILLION" “CHARLIE CHAN IN SHANGHAI” GARFIELD fftMWr VJt Carole Lombard “HANDS ACROSS THE TABLE" “THREE KIDS AND A QUEEN”