Indianapolis Times, Volume 47, Number 307, Indianapolis, Marion County, 3 March 1936 — Page 8

PAGE 8

FEDERAL PLAYERS SCORE HIT IN FIRST PRODUCTION AT KEITH'S

Full House Chuckles at 'Clarence' Presentation to Continue Every Day tor Week by WPA Actors. BY JOHN W. THOMPSON A surprisingly adept cast kept a packed house at Keith's chuckling last night through the four acts of Booth Tarkington s comedy, “Clarence,” the first presentation of the Federal Players, directed by Charles Berkell. The play, which is to be given each night this week and Saturday afternoon, is a light, swifty moving tale about the Wheeler family affairs. Mast of the trouble is caused by Clarence, a serious-minded boy whose personality attracts the women of the household. In the opening ceremony, Dr. Lee R. Norvcllc, state WPA theater project director, introduced Mayor kern, Gov. McNutt and Dr. Carleton B. McCulloch, who welcomed the players on behalf of the city, county and state, respectively. In the play, Clarence, a former soldier, wanders ihto the office of a business man, Mr. Wheeler, in search of a job. Bespectacled and wearing a drab, misshapen uniform, the two younger members of the Wheeler family, Bobbie and Cora, who happen in, take pity on him and talk their father into giving him a job. At the Wheeler home, Clarence becomes a handy man. He also becomes a confidant for Bobbie, C<>ra and Violet Pinney, Cora's tvrtor. They all have problems. Bobbie has kissed the maid, Della, and she is about to blackmail him. A widower, Hubert Stem, calls on Cora, but her father is attempting to stop him. Miss Pinney wants to get away from the din of the irksome household and Clarence lalls in love with her. Mr. Wheeler Gets Suspicious As bits of Clarence’s past are uncovered, Mr. Wheeler gets suspicious. He starts an investigation, but it stops when Mr. Stem returns wnth a paper carrying a picture of an army deserter whom he claims is Clarence. Clarence denies it. Della, the maid, falls for Clarence after he appears in anew suit playing a saxophone, as does the flighty Cora. Even Mrs. Wheeler seems to be under his spell. But Clarence, in his peculiar way, proposes to Miss Pinney, she accepts, and they plan to run away. With the others blocking the way, he displays a letter, addressed to Clarence Smith, an entymologist. It develops that he is an authority on beetles, and a high-salaried job awaits him. He didn’t return to it after the war because his assistant had taken his place. Clarence did not want to endanger his friend’s future by claiming his old job, but the assistant is called to Washington and he gets his position back. Clarence also gets Violet and everybody is happy at the final curttain, except Cora, Della and Bobbie, who secretly loves Violet. Cast Does Well With Play Mr. Berkell’s cast has done well with Mr. Tarkington’s play. There are rough spots, over-acting and some clumsiness, but the comedy is excellent. The settings are unusual for this type of a production. Hal Hawkes as Clarence is outstanding, and as the dull-witted bug-man seems just as he should be. Seldom does he waver from a professional portrayal of the role. Ned Le Fevre also is fine as ■ Bobbie. He makes an excellent juvenile and looks well on the stage. Among the women in the cast, Betty Anne Brown as Cora, stands out. She is a bright and agile actress, with fine stage presence and clear voice. Her violent arguments with Bobbie were high spots. Alice Arnold Is Heroine Alice Arnold makes a gracious „ heroine, as the more serious and • sensible of the cast. She keeps the family from going completely haywire. Jack Duval does well as Mr. Wheeler. Ruth Benefiei (with a voice like Jean Arthur) kept Della on a dramatic keel. Others in the cast were Par.! Rouse. Elsa Ewell. Ricca Scott Titus (assistant to Mr. Berkell) and Gene Brittain. Asa whole “Clarence” bespeaks a tribute to the work of more than 60 WPA workers who aided in its production. Although not a polished performance, the play is thoroughly entertaining.

Variety Club to Stage Benefit Group Gives Film Machine to Orphans’ Home. At the midnight show to be presented by the Variety Club on March 21 at the Lyric, theater goers are to have the opportunity to aid in tne most ambitious of the club's charity projects. All proceeds of the show, of 10 acts of vaudeville and a preview of a first run picture, are to be used to pay for the movie equipment recently presented to the Indianapolis Orphans' Home. The equipment is to be used for the first time this week, and the show is to be open to children of other orphanges. Films are to be supplied by city distributors, and the loqal Operators Union, through its ag'ent, Arthur Lyday. has promised iu supply operators free. Tickets may be obtained from Variety Club headquarters, club members and at neighborhood shows soon. Player Reads Novel a Day Katherine De Mille, featured in “The Sky Parade,” reads on an average a novel a day.

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BY NORMAN SEIGEL TTOLLYWOOD, Cal., March 3.—lt may A-l have taken you six months to read “Anthony Adverse.” but next fall you will be able to see it on the screen in a period of two hours. The screen version of Hervy Allen’s wandering novel is now being completed. Comparatively speaking it took as long to make the picture as it did to struggle through the detailed adventures of Anthony. The average motion picture takes six weeks to make. Making this long story short took 13 weeks of steady work. And still it isn’t short enough, for about half of the material that was filmed will have to be cut to make the picture an interesting movie vehicle. We arrived at the Warner Bros.-First National studio at 9 a. m., the hour that all movie stars have to be at work when in production. Although 9 is the starting time, most of the cast had been at the studio since 7 a. m. making up for their parts. The scene in the picture that they were working on was the one in which Anthony, as the 10-year-old youngster, arrives at the Casa Da Bonnyfeather with Father Xavier. There he is accosted by a group of ruffians who tear his clothing from him. Young Anthony is played by Billy Mauch. His twin brother, Bobby, is used as a stand-in. A “stand-in” is a person who resembles the star and takes his place during the tedious moments of getting set for action. The youngsters, in addition to looking alike, talk identically and have given the directors many puzzling moIncnts trying to decide which is the actor and which is the stand-in. Henry O'Neill, veteran of the legitimate stage, plays the part of the priest. The action takes place in an Italian wa-ter-front village built next to a modern New York street. The large square with its ornate fountain adjoining the Bonnyfeather place is alive with goats, rams, donkeys, crates of chickens, officers on horseback, elabo-rately-costumed women in carriage, fishermen trades people and a flock of romping youngsters. tt tt tt Director mervyn le roy, one of the best in Hollywood, is going over details with Tony Gardio, the chief cameraman. Lc Roy is wearing a brown coat

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Mr. Le Roy, in working (not riding) attire, interviews the Mauch twins, Billy and Bobby. Billy, at the left, will be young Anthony Adverse. Bobby will be his stand-in.

and Tyrolean hat. He is anxious to clean up the day's shooting, for it is the last of the big work to be done on the picture. Le Roy has been working for 25 weeks on “Anthony Adverse,” the first 12 being spent in testing actors for the various parts. In those 25 weeks he has averaged three hours’ sleep a night and lost 14 pounds. After the picture is finished he will take a three-month vacation trip to Europe. Bill Cannon, husky assistant director with a magnified voice, is placing the 200

Leonard Schure Made His Debut as Guest Artist Here in 1923 Broadcast Saturday Night Recalls His Brilliant Piano Playing to Local Listeners. Leonard Schure. one of the best of our young American pianists, made the first of his many guest artist appearances 13 years ago with the Indianapolis Maennerchor, whose director, Karl Reckzeh, was his first teacher. As local radio listeners heard Schure’s masterful playing of the Beethoven E Flat Concerto with the Boston Symphony Orchestra Saturday night, many of them recalled the 9-year-old youngster who used to astound Academy of Music audiences with brilliant pianistic feats.

Schure began his piano study in Chicago with Reckzeh when he was I 4. Five years later. Reckzeh asked j the late J. P. Frenzel. president of ' the Maennerchor. to hear the boy play. Young Leonard’s impressive audition resulted \n his engagement as guest soloist with the society. He hppeared here for three seasons, j and those who heard him still are talking about his conquest oi the | prodigious difficulties of Tschaiko- ; wskv's B Flat Minor Concerto. Schure is advertised as a pupil of the distinguished Beethoven interpreter, Arthur Schnabel, but Schnabel would give credit to Karl Reckzeh for bringing the pianist to his present artistic position. "I can do nothing more for you i along the lines of technic and interpretation.” Schnabel told 13-vear-old Schure when he came to Berlin for lessons. ‘ All you need is to know more literature.” The young pianist coached with Schnabel for three years. At the

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or more people who will take part in the scene in their places. The first hour is filled getting set for the camera action. Mauch and O’Neill pace up and down rehearsing their lines. Some of the other members in the cast are gathered around an open wood burner trying to keep warm in the chilly air. On the indoor sets small heaters serve the same purpose as it doesn’t really get warm out here until around 11 in the morning, if that's any consolation to you. A staff of 24 people, plus large crews

age of 16 he made his first European concert tour. Schnabel made him his assistant. His career in Germany came to an end in 1933, when he was one of many Jewish musicians asked to leave the country. At present Schure is concertizing and teaching at the New England Conservatory in Boston. He has been soloist with the New York Philharmonic-Symphony and Boston Symphony Orchestra since his return. Claudette Lists Favorites The 10 favorite motion picture stars of Claudette Colbert are Marlene Dietrich, Carole Lombard. W. C. Fields, Clark Gable, Charles Laughton, Gary Cooper, Joan Crawford, Fred Mac Murray, Edward Everett Horton and Edgar Kennedy.

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THE INDIANAPOLIS TIMES

• “Anthony Adverse” in the making. A scene at Warner Brothers’ big lot. Center: Our Mr. Seigel (with hat) talking with Mervyn Le Roy on the “Adverse” set.

of sound men, electricians and carpenters handle the production on this spectacle. The producing staff on an average picture consists of a supervisor, who acts in an advisory capacity; cameraman and two assistants; sound and electrical crews that always work with the same cameraman; a wardrobe staff, which often includes seven members; hairdressers, sometimes as many as 10; an art director and an assistant; a script girl who is at the right hand of the director ail the time checking off production; a property man and two assistants; standby painters who touch up spots on the set and a large crew of carpenters. tt tt tt AS the action in the particular “Anthony Adverse” scene we sat in on took place over a large distance, the camera was placed on the end of a large crane which was moved up and down a track by a group of workers. An assistant cameraman was seated at the end of the crane grinding away as his camera followed Anthony and the father up the street into the Bonnyfeather establishment. The chief cameraman does very little actual “shooting.” He sets the camera and supervises the actual filming. Huge reflectors to direct the rays of the sun in the right directions were placed all over the set. A loudspeaker to pick up the sound dangled on the end of a contraption that looks like a telescope. The sound it caught passed through a portable control room at one corner of the set and was transmitted into a sound studio where it was recorded. This sound is some distance away from the actual pickup point, but the machine that records the sound is geared to the same speed as the camera. When the final film is developed, it is synchronized with the sight action. The camera in place, Le Roy started rehearsing the youngsters in following Anthony and the priest up to the building where they pounce upon young Anthony. It was 11:30 before they were finally set to “shoot” the scene. “All ready,” shouted Director Le Roy. A guard blew a whistle. Two other guards stationed about the “lot” picked up the signal and whistled. This is notice that there is camera action on the set. Two ticks from the sound booth indicate that everything is set for action. The first tick comes when an assistant stands in front of the camera with a slate on which is marked the name of the production, director, cameraman and number of shots. This is important as it is from these numbers that the film is finally put together. The second tick indicates that the camera is up to “shooting” speed. u tt n “ A CTION” it is. The background acxV tivity is started. Anthony and the priest start walking. The camera grinds as it moves ahead of them catching their every movement. A pig squeaxs. The priest is talking to Anthony. The youngsters spy him and, yelling, follow the boy and the priest up to the entrance of the big establishment. “Cut,” yells Le Roy. Whistles are blown to indicate that the “shot” has been

WHERE, WHAT, WHEN APOLLO ''Ceiling Zero.” with Jimmy Cagney. Pat O'Brien, Stuart Erwin and June Travis, at 11:40, 1:38, 3:36, 5:34, 7:32 and 9:30. CIRCLE ‘‘Rose Marie.” with Nelson Eddy and Jeanette MacDonald at 11, 1:15, 3.25, 5:30, 7:40 and 9:55. KEITH’S “Clarence.” Booth Tarkington's play, first production of the Federal Players. WPA theater project stock company, directed by Charles Berkell, at 8:15. INDIANA “Klondike Annie," with Mae West and Victor McLaglen, at 11:50, 1:50, 3:50. 5:50, 7:50 and 9:50. LOEWS “Modern Times,” with Charlie Chaplin, at 11, 12:50, 2:43. 4:36, 6:56, 8:16, and 10:05. LYRIC “The Bohemian Girl.” with laurel and Hardy, at 11:25, 2:15, 5:15, 8:05, 10:46. “Continental Revue” on stage. A. B. Marcus show' with Ha Cha San, at 12:56, 3:46, 6:46. and 9:36. OHIO “The Virginia Judge." at 10:44, 1:04. 3:24. 5:44. 8:04, 10:10. “Four Aces.” with Private Slack, at 11:48, 2:08, 4:24, 6:48, 9:08.

Writer Given Contract Edith Fitzgerald, scenario writer, playwright and former executive assistant to Sam Harris, Broadway producer, has been given a contract and assigned to work on the script of “The Old Maid,” to star Fred Stone.

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'Follow the* Fleet' to Come to Indiana Screen on Friday Fred Astaire and Ginger Rogers to Sail Into Town on Waves of Irving Berlin’s Melodies. Fred Astaire and Ginger Rogers are to sail into town on the waves of Irving Berlin melodies in “Follow the Fleet,” beginning Friday at the Indiana. This pair has broken some sort of a record with two smash hits, “Roberta” and “Top Hat,” within a year and in so doing has set the country dancing.

Hollywood studios are busy uncovering talent to keep pace with the Astaire-Rogers combination and to satisfy the demand for terpsichorean entertainment. Eleanor Powell, Eleanore Whitney, Clifton Webb, Dixie Dunbar, Bill Robinson and other fast-stepping artists have been drafted to keep the cycle going. The dancing boom is reflected in the mushroom growth of dancing classes over the country, with teachers working overtime to create steps and keep up with the parade. Berlin’s score for the picture preceded it here by way of radio. Since Horace Heidt and his orchestra recently devoted a broadcast to the tunes, “We Saw the Sea,” “I’d Rather Lead a Band,” “Let Yourself Go,” “Face the Music and Dance” and

l iiffil E A,! 21 Sat. .Mat.—Eve. SEATS NOW Eve., 8 Sharp—Mat. ! Sharp Final opportunities to see a favorite star In hia greatest role FAREWELL TOUR!! m sosnowD qostsm* Great Heroic Comtdg CYRANOdeBERGERAC ss played by Mr. Hampden nearly 1,000 tlmfs Slat. * Eve.. 85c. *l.lO. *1.68, *2 *O, $2.75, incl. tax.

taken. But Le Roy isn’t satisfied with it. The youngsters didn’t come in right. Another “shot” is taken with them standing at the entrance waiting for Anthony -and the priest. This isn’t right. The supervisor is called. Le Roy thinks the conversation between Anthony and the priest should be eliminated and only the shouts of the youngsters recorded. rr he supervisor agrees. Again the “shot” is taxen shortly before 12:30. This time it is perfect and everybody knocks off for lunch. The principals and director eat in the Green Room of the studio restaurant. Other members of the cast eat in the regular dining room. The food is the same, only it costs more in the Green Room. The extras eat lunches they have brought with them on the lot. At 1:30 we are back again on the set. By 2:30 we are ready to "shoot” a water scene across the harbor. It has to be taken over as one of the Eighteenth Century boatmen is wearing a wrist watch, which Le Roy < ’scovers much to his dismay. Another is eading a Los Angeles newspaper. Finally this shot is taken. Then the rest of the afternoon is devoted to taking closeup shots. By 5:30 we are ready to call it a day. So is everybody else. tt tt tt ALTHOUGH the picture is practically completed, the “shots” Le Roy took were of things that occur near the start of the story. In shooting a movie, the action isn’t filmed in the order in which it appears on the screen. If there is a high-priced actor in the cast, one who gets paid by the day, such as Fredric March, who takes the part of Anthony Adverse, the man, in the cast, then all of his scenes are taken as soon as possible. March was through working on this picture about a month before the action we saw was filmed. Anita Louise, George E. Stone, Claude Rains and Louie Alberni, other principals, were also finished long before the end of the filming. However, the general procedure is to •take all of the action occurring on one set before going on to something else. If the hero meets the girl in a lobby at the start of a picture those sequences are “shot” after each other. Sometimes the ending is filmed before the beginning. The whole thing is straightened out in the cutting room. Director Le Roy is also responsible for selling Warners on the idea of filming Allen’s novel. While aboard the S. S. Britannic a few years ago, he noticed that 160 of the 400 passengers were reading “Anthony Adverse.” He finally borrowed a copy and after going through it wired Warners to buy the book. He read the novel three times before the end of the trip. The result of his work yesterday was a little better than two minutes of usable film. That’s about the average for a day’s work on a picture. Nine hours’ production work for two or three minutes of successful “shots.” This is no business for Henry Ford. TOMORROW—A Hollywood Premiere.

the rest, they have become nationwide hits. “Follow the Fleet” also marks the film debut of a radio songstress, Harriet Hilliard, who was singing in husband Ozzie Nelson’s band when signed. Others in the supporting cast are Randolph Scott and Astrid Allwyn.

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Former Lyric Usher Is in 'Revue Continental/ Now Playing at the Theater Betty Edwards Rappaport, Technical High School Graduate, Makes Jump to Featured Show Girl Within Two-Year Period. From usher to featured show girl—that’s the jump Betty Edwards Rappaport made in the last two years. Betty is appearing as a dancer with the “Revue Continental” at the Lyric this week, the same theater where she used to direct patrons to their seats.

Betty is a personable brunet (she was a blond for a while last year), and as unaffected as she is pretty. Recently she and Jerry Rappaport, an acrobat in the revue, got married. They had quite a time because the license wasn’t valid until three days after issuance, and the show didn't stay long in one city. Finally, the ceremony was performed in New Cumberland, W. Va. A wedding breakfast and a special show for the couple were among the day’s festivities. Betty was born in Columbus. Ind. An an early age she decided to go on the stage, like her uncle. Bobby Leßue and several other members of her family. She came here, where she lived with her aunt, Mrs. Ethel Knight, 4105 Keystone-av. She attended Technical High School, majored in science and stagecraft, and graduated in 1932. While at Tech she trained several choruses for the "Sketch Book.” At the first show Friday, Betty was seen watching the ushers moving up and down the aisles. “I was thinking about the time I did that,” she said. She had told Ted Nicholas, Lyric manager, that she could dance, but he more or less discouraged her desire to try out with shows that came here. But, when Jimmy Hodges needed a girl for his “Miami Nights Revue,’’ Betty tried out and got the job. For the week the show was here, Betty ushered on her shift and then rushed back stage to rehearse. She was a tired but happy girl by the end of the week.

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WEST SIDE §m .rp r 2702 W. Kith St. [AIK Frank Morgan * *■ C. Courtneidge “THE PERFECT GENTLEMAN" Comedy Novelty BELMONT~ w VF nl “SHOW THEM NO MERCY” “AH WILDERNESS” DA IO \7 2540 W. Mich. St. A 1 J I Double Feature H ill Rogers “IN OLD KENTUCKY” “HONEYMOON LIMITED” NORTH SIDE Rv m rs Illinois at 34th 11 L Double Feature . Jack Oakie “COLLEGIATE” UPTOWN Wallace Bee^y Lionel Barrymore “AH WILDERNESS” /”i A I* I* V 30th and Illinois LIARRILK D °“ bl ' Feature Marx Bros. “NIGHT AT THE OPERA” “MISTER HOBO” CT' I'M A IT* st - clair & Ft. Wayne 01. UvAIR ?u ul ? le L t,lu : e Shirley Temple “LITTLEST REBEL” “WHIPSAW” nDV 30th at North w’t’n. IA-llrA Frank Morgan “THE PERFECT GENTLEMAN” Mickey Mouse Cartoon rr\ if D ATT Talbot A 22nd TALBOIT Double Feature Myrna Loy “WHIPSAW” “FRISCO KID” rY Yr J 19th & College Stratford Double Feature juaumu Ken Ma , nard “HEIR TO TROUBLE” “EAST OF JAVA” af t-s /y a Noble Si Mass. M YJ Li A Double Feature itiu U U a Jharles Farrell “FIGHTING YOUTH" “WESTERN FRONTIER” r-vT'j r\ a a 2351 Station St. IJKhA A1 Double feature xui wm Rogers “IN OLD KENTUCKY” “MAJOR BOWES’ AMATEUR THEATER OF THE AIREAST SIDE RI VO LI ’SSS2K Joe Fenner “COLLEGIATE” “MISS PACIFIC FLEET”

.MARCH 3, 1936

The next two years kept her busy. She appeared in revues and night clubs throughout the country and trained choruses for many other shows. She joined the Marcus unit to be with a friend. “This is the life for me.” she said yesterday. “I wouldn’t give a dime to bp in the movies. I’d rather see a terrible stage show than two good pictures.” Incidentally. Betty looks like she’d make the film grade, too, if she had that ambition. Betty's hobbies are horseback riding and swimming, although she rarely gets a chance to take part in sports.- On tour she knits in her spare time. “I cooked breakfast for my husband this morning,” she said bashfully.

aKSim 1 9 I ( iSIIsA to ill, #T^. of A* if A. "DAVID 4 JU rW m COPPERS THE FEDERAL PLAYERS In Booth Tarkincton’s Great C'omeily “CLARENCE” Nieht Tricon: 1 Hr, 25c, 40c Saturday Matinee: 10c, 20e, 30e —Thone J.lncoln !(000— Next Week— “ Turn to the JRiKht"

EAST SIDE TTTVLTVA *6211 E. New York" IUXLDU rouble Feature Ronald Colman “A TALE OF TWO CITIES” “TWO FOR TONIGHT" TACOMA ‘ tiivui'iii Will Roger* “IN OLD KENTUCKY” “SHE COULDN'T TAKE IT” irving ■g?,* Miriam Hopkins “SPLENDOR” Comedy Cartoon Novelty EMERSON Wallace Beery “AH WILDERNESS” “MUSIC IS MAGIC” HAMILTON “RIFF RAFF” “WE RE ONLY HUMAN” PA D 1/ P n 2936 E. 10th St.—" A R K L R Feature Ginger Rogers “IN PERSON” “WHIPSAW” STRAND ’Do^ie^tufr r Ronald Colman “THE MAN WHO BROKE THE BANK AT MONTE CARLO” JjSYLVIA SCARLET” n A V \7 2721 F. Wa'h. St.RUX I Surprise a K, *Y! Edward Arnold “REMEMBER LAST NIGHT" "HERE'S TO ROMANCE” Paramount cLrfs w ß‘c h kford a uiumuuiii Elizabeth Young “EAST OF JAVA” Comedy Novelty SOUTH SIDE FOUNTAIN SQUAREDouble Feature Wallace Beery ”.4H WILDERNESS” ! “IF YOU COULD ONLY COOK” SANDERS Preston Foster “LAST DAYS OF POMPEII” "LA CUCURACHA’^ A If A I A XI Prospect-Churchma* VAL O N I> , oab,e *r.-* , * ,r * Jane Wither* THIS IS THE LIFE” “GUARD THAT GIRL” __ HDirMTAI n "’’ * SUSSS su UlVIUif 1 fVL Burns and Allen “HERE COMES COOKIE” GARFIELD Shirley Temple “LITTLEST REBEL” “SHE COULDN’T TAKE IT” §