Indianapolis Times, Indianapolis, Marion County, 9 November 1936 — Page 13

She'll Use Own Technique!

and Interpret the Comedy of Living, Actress Writes

Knowledge of People, Theatrical Career and Sense of Humor Claimed as Assets for Future Job

in Movie

Industry.

BY MAE WEST

Times Hollywood Correspondent HOLLYWOOD, Nov. 9.—I'm going to direct pictures some day and I don’t mean maybe. Some folks out here say that it isn’t a gal’'s game. I write the story, the dialogue for my pictures now; I’ve been in the show business all my life—

so what? Oh, there may be camera, sound and technique.

a few tricks to learn yet— Well, I got my own technique

—if you know what I mean. The screen is just show and a show is my life. Right now I've got my hands full with “Go West Young Man,” my next picture. What's more there are three leading men in the story, which means that I've also

got my arms full most of the time. I want to write and produce stories about people, as I know them, and believe me, I know them from 6 to 60, from Broadway to Hollywood-blvd. Now get me right, I don’t want to “do them wrong’— I'm big-hearted. But some-

how or other we just don’t get down to brass tacks enough about the average male or female. On the screen we glorify the pent-

house hostess, we dramatize the pathetic wife who doesn't understand her husband, we lead our opera singers from church choirs to fame and an offer of marriage from royalty. And as for love! Love must be heavy—the night must be moonlit. Love must be tragedy! Who said so? What about the kid born in a Brooklyn tenement who goes out when she’s five and impersonates Eddie Foy and Eva Tanguay and makes 'em laugh? What about the little kid who sang “Father, dear Father, come home with me now,” while she tugged at the coat-tails of her drunken parent in “Ten Nights In A Barroom” and made ‘em cry? What about any little kid ‘who begins life in the theater and learns early to laugh and cry at the shake of a hat? That's me. Any part from Little Willie in “East Lynne” to Little Mother in “The Fatal Wedding.” Love situations, hundreds of them, I played them all in the theater!

+ Life Can Be a Laugh

There are thousands of kids in tenements all over the country who begin to see life at five and who, by the time they reach voting age, learn that most of the sad situations were something to laugh about. In Hollywood, where everybody is either an actor or a screen writer, you hear, “every man’s life is a drama.” Each man’s life is a laugh to me; sometimes its a howl. Take Mr. Average Man, He gets himself born in a poor family. When he’s six he cries for candy and stuff his mother can’t afford to buy. Five minutes later he’s playing marbles with the kids on the corner and laughing his head off. He has to go to work when he’s 18; he wanted to be a lawyer. He kicks for a while—family drama —and then a year later you couldn't get him away from his “swell” job if you tried. He falls in love at 22. She won't marry him—no money, no social position. He tries to decide between poison and drowning, but he meets Suzy. Two weeks later he shows her the moon and says he “was never happier in his life.” They marry. Six years of bliss. He

“works nights; his wife slips out and-

one day, away. He wails over the injustice of mankind. He tells the office girl all about it. She sympathizes—she’s a good listener, too, and what have you got? A big laugh and another wedding. Am I cynical? No. I'm amused. Why make the business of living a melodrama? Those gay nineties when girls hid their feelings under “hair-rats” and round hips, when a lady was a gal

who had a family tree and lived C

in a brownstone front and when a dancing girl of the theater who showed a bare leg above the top of her stocking, doing the Bunny Hug, was the vampire creature to keep son John away —those were the days of a big laugh. No, a “lady” didn’t use “sex” to attract in those day—or did she? I'm not much for past history— high-brow subjects. I leave that for the professors. But taking my *world from Brooklyn, then over the bri to Broadway and across the co to Hollywood I've found the women primitive, sometimes traveling in disguise and sometimes wearing her feelings on a sleeve of gauze. * Poor Diamond Lil. What a piker she would be today on Broadway, or ritziest brownstone front.

: 1s BoE

Hetioh

of the nineties will argue that only a wife can be good; that Silas Weathervail was not to blame for his actions. It was that siren who came from the big city and spoiled the little town. The fact that Sophie Weathervail, his wife, had such a mean disposition, that she threw knives at her husband, had nothing to do with the case—dear me, no. The professors, who learn about life studying books in darkened libraries, treat the wife versus city gal as a calamity. “Ah, yes,” they argue, “the wicked but interesting female from the metropolis had some hidden charm, some of the qualities of the vampire. Could it be that a good wife should study and absorb some of the wiles of such creatures? Wouldn't that solve for all time the fateful triangle? Wouldn't the male be inclined to remain in his own nest? Yes and no to that one, if you get what I mean. * The modern guy won't analyze or condemn either—he won't think that far. Old Weathervail slipped up--let it slide. So the siren sends Weathervail back to his wife. Why not? He's a wiser guy and what a home-coming! But will any one laugh at the comedy! You say it sounds like drama to you? Hand me a pencil and I'll dialogue those scenes for you and there’ll be a laugh a line. That’s what I want to do when I direct a picture—make ‘em laugh— niost people are cryin’ for a laugh anyway.

Productions of ‘Hamlet’ Argued

Gielgud and Leslie Howard Interpretations Differ.

Times Special NEW YORK, Nov. 9.—The burning question of John Gielgud vs. Leslie Howard as Hamlet, which is to a Broadway gossip what the English royal romance is to Park, Madison and Third-avs, occupies the leading position in the November issue of Stage. Guthrie McClintic, producer of the version of “Hamlet” which stars John Gielgud, has written an article stating his view on how the Immortal Bard should be treated by modern adapters and actors. His rules for a successful Shakespeare production in 1936 include: 1. Omission of absolutely no entire scenes, In the McClintic production, lines and parts of lines are deleted, but every scene of the text is kept. 2. Only one intermission during ‘the play. (Originally Shakespeare ‘had none.) 3. Every laugh and every familiar quotation is preserved.

Howard Has Leading Role

Leslie Howard, who within the next few weeks will bring “Hamlet” to Broadway, with himself in the leading role, took time out from rehearsals to write for Stage a defense of his interpretation of the play, vastly different from Mr. Meclintic’s. “I have gone,” he says, “to Shakespeare as one man of the theater to another. I have tried to understand his craftsmanship and the conditions under which he worked. I have had the nerve to consider the two of us co-workers in a theatrical enterprise, and have tried to forget that my partner is separated from me by over 300 years.” Mr. Howard's plan for the peral on calls for: . etion of the contem allusions which are hard for he average modern audience to unyo 3 tting the play to fit the twoAdana hour show period of toay. 3. Allowance for intermissions. 4. Natural and realistic manner of acting. :

ing ith Sie fact that Shakespearean plays were written with no background in mind. The use of modern lighting effects, however,

Bobby Breen Cast in School's Show

By United Press

HOLLYWOOD, Nov. 9.—An actor’s life is never his own.

5. No change of scenery, in keep-’

Mae West, actress, playwright—movie director?

Gullible and Ambitious Movie Amateurs Often Racket Victims

‘Training Theaters’ Flourish on Promoters’ Promises of Lucrative Screen Contracts.

BY PAUL HARRISON OLLYWOOD, Nov. 9.—(NEA) —When actors and actresses pay good cash money for the privilege of playing before free audiences, that’s news. Or a racket. Anyway, it’s Hollywood. .

Nowhere else in the world could you find people willing to buy parts in plays. And even in Hollywood it is often difficult to scare up enough people who are willing to squander an evening, without cost to themselves, as spectators of such dubious entertainment. The scheme works like this: A man who once played butler roles in third-rate stock companies finds himself stranded in Hollywood and decides to open a little theater. A “training theater.” He takes a lease on an old barn, moves in a few benches and some outmoded movie spotlights, carpenters a

small stage and remodels the stalls’

into dressing rooms. Then he hangs up a- sign reading: “The Dark Canyon Show Shop,” or something like that. In the bottom of his trunk, kicking around with some sets of false whiskers and a few old copies of Variety, he finds the script of a play. He acquired the script in 1919 as security for the loan of $3 to a Broadway author who was starving. The piece is called “Agatha’s Aunt” and strictly ham, but it will do all right for his purpose. 2 2 ”

E calls in a solicitor or two to canvass the studios. Such agents ferret out newcomers to the screen colony and tell them that Herman P. Jitterwhisk, the distinguished actor-director, is accepting a few talented additions. to his class of apprentice. players. And—surprise!—he is also assuring each and every one of them a part in his production of that riotous laugh-carnival, “Agatha’s Aunt.” knowing the histrionic prowess of Mr. Jitterwhisk, will of course practically live at the Dark Canyon Show Shop during the run of the

play, and doubtless will sign up all

the characters to fat movie tracts. The cost? Well, Mr. Jitterwhisk is something of a philanthropist, ha-ha. The tuition is a mere pittance—$100. Of course, if a little chorus girl were especially anxious to secure the ingenue lead, the amount might run a little higher— perhaps $200. 2 ” 8 Y penciling in additional roles, the producer. enlarges the production to accommodate the entire available cast. If there are 15 students,r he probably collects from them a total of $2000. The play is rehearsed for a couple of weeks, then is presented for six days to a handful of curious transients and some stooges disguised as movie scouts. The players are graduated with a pretty speech by Mr. Jitterwhisk, who confides that three major studios are preparing contracts for some of them. But the offers never materializs. Now, of course, there are some perfectly legitimate training schools in Hollywood, but as a rule the more legitimate they are the less

con-

they are not paid. So the rack-

Guild and Actors’ Equity Association have forbidden their members to appear in plays for which they are mot paid. So the rack-

De Monte Carlo MURAT—DEC. 7 and 8 Seats $1.10, S165, $2.20, $2.75, $3.30 Mail Orders Now to Indianapolis

Every movie talent scout, |\

she pointed out three other girls who had been offered chances to buy roles in a shoestring drama “with a guarantee that the play would run for a week.” It hadn't occurred to them that they were lucky already to be in the movies, and that they were more likely to be noticed there than if they had bit parts in a cow-barn convention of hams,

Pianist Joins

School Staff

J. K. Whetstine to Teach at Burroughs-Jackson.

The appointment of J. Kelton Whetstine, well known local pianist, as instructor in piano and accordion at the Burroughs-Jackson School of Music has been made by Mrs. Jane Johnson Burroughs, director. . Mr. Whetstine, a former teacher at the Metropolitan School of Music and the Arthur Jordan Conservatory, received his early training with Marion Van Dusseldorp and Earl Victor Prahl. He graduated ‘from the Metropolitan, where he was a pupil of Flora M. Hunter, in 1923. During the past eight years he has been studying with Ernst Hoffzimmer, professor of piano at Indiana University. At present Mr. Whetstine is engaged with. Mr. Hoffzimmer in editing a system of technique by Busoni, and re-editing a complete edition of Bach’s music. He has had 14 years experience as teacher and performer. -

New Pons’ Picture Finally Gets Title

Times Special HOLLYWOOD, Nov. 9.—Lily Pons’ second motion picture, which was half completed dnd still unnamed, finally has been titled, “That Girl From Paris.” In it the Metropolitan diva will not only sing an aria from “The Barber of Seville,” but also several popular numbers which have been written by Arthur Schwartz. Gene Raymond and Jack -Oakie are to be with Miss Pons in the picture, and further acting help will come from Herman Bing, Lucille Ball, Mischa Auer, Frank Jenks, Patricia Wilder, Vinton Haworth, and Willard Robertson. “That Girl From Paris” is based on a story by W. Carey Wonderly and is being directed by Leigh Jason.

Indianapolis Youth Given Scholarship

Times Special NEW YORK, Nov. 9.—Carl Miller, 22-year-old son of Mr. and Mrs. Jesse Miller, , 3534 Carrollton-av, Indianapolis, has been awarded a 28-week scholarship to the Hilda Spong School of Dramatics, as a training course for the Broadway stage

Mr. Miller, now a member of the.

uniformed staff of the Radio City Music Hall in Rockefeller Center, came to New York only two months ago to start the career he plans for himself as an actor. He is a graduate of Butler University, class of ‘35, where Be took part in college dramatics. '

CIRCLE

San Carlo’s

Newcomers ‘to Sing Here

Troupe to Stop at English’s Nov. 18-19 for Two Performances. Two new faces will be seen in leading roles when the San Carlo Opera Company returns to English’s Nov. 18 and 19 as

the second attraction of the Martens Concerts.

new to the San Carlo troupe, is to be heard as Turiddu in Mascagni’s “Cavalleria Rusticana,” which with “I Pagliacci” forms the double-bill offering for the night of Nov. 19. Mr. Sakos made his debut in the same role last month in Chicago. Of the performance, Eugene Stinson said in the Chicago Daily News that “Sakos’ Turiddu was admirably sung and well acted. He has a vibrant lyric voice, easy in its expression, agreeable in its color and having a likable amount of nervous force.” The other newcomer is Santa Biondo, who is to be the Musetta of “La Boheme,” the opening night’s presentation, and Nedda in “I Pagliacci.” 3 Bianca Saroya, who sang the title role in “Aida” last year, is to have the leading parts in both “La Boheme” and “Cavalleria Rusticana.” Dimitri Onofrei, the Lohengrin of last season, is to sing Rodolfo .in “Boheme,” and the other principals are to be Mario Valle as Marcel; Harold Kravitt as Colline; Stefan Kozakevich as Shaunard,

and Natale Cervi in the roles of Benoit and Alcindere.

Other Troop Members

With Mme. Saroya and Mr. Sakos in “Cavalleria,” we are to hear the young mezzo soprano, Charlotte Bruno, as Lola; Philine Falco as Lucia and Mr. Kozakevich as Alfio. Aroldo Lindi, who with Mr. Onofrei was a leading singer at the Cincinnati summer opera this year, will sing Tonio in “Pagliacci.” Mostyn Thomas, the excellent’ Amonasro of last year’s “Aida,” is to be heard as Tonio; Mr. Kozakevich will sing Silvio and Francesco Curci, Beppo. An incidental ballet, with solo parts by Lydia Arlova and Lucien Prideaux, is to be introduced in “Paglidcci,” Carlo Peroni again is to direct all performances.

Bing Gets Longest Letter on Record

‘Times Special HOLLYWOOD, Nov. 9—Bing Crosby this week received what is believed to be the longest fan letter that ever arrived in Hollywood. The letter was so long that it came as. a “two-part serial” in different en-

velopes. Closely hand-written, the first letter contained 30 pages. It was continued to a 16-page conclusion. The writer is a Milwaukee girl who signs herself merely as “Clara Belle” and from whom the crooning star has received an average of one letter a week for two years. This last and record-breaking “fan note” was inspired, according to the writer, by having heard Bing broadcast the new songs from his latest picture, “Pennies From Heaven.” “Clara Belle,” though admitting she’s a Crosby fan who collects Bing’s records and published photographs, never gives her address, nor does she ask for autographs.

Ex-Business Man Is Screen Writer

Times Special HOLLYWOOD, Nov. 9—Leonard Lee, 38-year-old store manager, yesterday signed a long-term contract to write original stories for the screen. Lee is that rare individual, a writer who sold his first effort. He was broke and thoroughly disappointed with the business of merchandising, so he wrote a story called “Too Perfect.” A magazine bought it, asked for more. That was two years ago and in the interval Lee has sold 15 more to the ‘same. magazine. :

Kenneth Sakos, Greek tenor

ex-department |

FILM DIRE

FOUR BALLET RUSSE DANCERS

David Lichine and three young ladies of Col. W. de Basil's Ballet Russe, who are to be seen. at the Murat Dec. 7 and 8 under the sponsorship of the Junior Chamber of Commerce.

WHERE, WHAT, WHEN

APOLLO “Cain and Mabel,” with Marion

Davies and Clark Gable, at 11:32, 1:32, 3:32, 5:32, 7:32 and 9:32. CIRCLE “Wedding Present,” with Joan Bennett and Ca Grant, at 11, 1:55 4:50, 7:35 and 10:30. Also “Don’t Turn Em Loose,” with Lewis Stone

and Bruce Cabot, at 12:50, 3:45, 6:30 and 9:25.

KEITH'S “Penny Arcade,” presented by the Federal Players, at 8:15. } LOEW'S “Tarzan Escapes,” with Johnny Weismuller and Mguseen O'Sullivan, : . . a

a , 1:50, 4:45, T: n 0. Also “Adventure in Manhattan,” Jean Arthur and Joel McCrea, 12:30, 4:20, 6:15 and 9:10.

LYRIC

“Carrol’s Mardi Gras,” on at 1:05, 3:51, 6:46 and 9:32. “The Captain’s Kid,” with Sybil Jason, Guy Kibbee and May Robson, . at 11:29, 2:15, 5:10, 7:56 and 10:33.

ALAMO

‘“Hopalong Cassidy Returns,” with William Boyd. Also ‘The Two-Fist-ed Gentleman,” with Lew Ayres.

AMBASSADOR

oy Man Godfrey,” with William Powell. Also “Yellowstone,” with Henry Hunter.

OHIO

“poor Little Rich Girl,” with Shirley Temple. Also ‘Three Cheers for Love,” with Eleanore Whitney.

Chic Sale Rites This Afternoon

Screen Humorist Dies of Lobar Pneumonia.

stage Also

By United Press HOLLYWOOD, Nov. 9.—Friends he once kept in laughter will walk sorrowfully this afternoon to the

Little Church of the Flowers to at-|

tend funeral -services for Charles (Chic) Sale, actor and humorist of the stage and screen. Sale died Saturday of lobar pneumonia after a week’s illness. The Rev. Ruth Ray of the Unity Church will conduct the services which will be attended only by close friends and Sale’s family.

O'Sullivan Is Given New Leading Role

By United Press HOLLYWOOD, Nov. 9.—Maureen O'Sullivan, accustomed to the antics of wild animals from having appeared in several “Tarzan” pictures, today was named leading lady for the Marx Brothers in their new picture. The actress politely refused to say she 'was given the role because she had the proper preliminary training but others said it for

NATIVE CALIFORNIAN Harvey Stephens, who is playing a leading role with Claudette Colbert and Fred MacMurray in “Maid of Salem,” is one of the few screen actors who was born in Los Angeles. He also attended the University of California at Los Angeles.

MOVIE ACTOR AGAIN Kenneth Harlan, star of the silent days, has a role in “Hideaway Girl,” with Martha Raye, Bob Cummings and Shirley Ross.

| Extra! Gemeral Motors Safety Reet |

Norma France to Teach Here

Contralto to Hold Classes at Morris Studio.

Miss Norma France, former Indianapolis contralto, has returned to this city to conduct classes in vocal training and coaching of song and opera repertoire. She is to occupy the studio‘of her former teacher, the late Fred Newell Morris, at 1722 N. Delaware-st. Miss France has studied in this country and in Europe with such teachers as Stephen S. Townsend, Mme. Charles Cahier, formerly of Indianapolis, and William S.: Brady. Her training also includes study of vocal literature with Pasquale Amato, Arthur Rosenstein and Karl Riedel, who at present is conductor of Wagnerian opera at the Metropolitan opera house.

Ann Sothern Cast With Joe E Brown

Times Special HOLLYWOOD, Nov. 9.—Ann Sothern is to play the feminine lead opposite Joe E. Brown in his first RKO Radio release which Harry Beaumont will direct. Miss Sothern scored in her last two pictures, “Smartest Girl in Town,” recently previewed, and “Walking on Air,” in both of which she was teamed with Gene Raymond. She also played opposite Mr. Raymond in “Hooray for Love.” Her other pictures include “Grand Exhibit,” “The Girl Friend,” “Eight Bells” and “Folies Bergere.”

Two Stage

| Hits Coming

* to English’s’

‘End: of Summer’ and ‘First | 4 Lady’ to Stop Here Briefly.

Two brilliant New = York successes will shatter a three weeks “darkness” at English’s when the Theater Guild play, “End of Summer” opens a

a two-day engagement-Nov. 30,

and, after a_day’s respite, “First Lady” moves in on Thursday, Dec. 3, for three evening performances and a

matinee.

Stars of the two productions will be two leading candidates for the title of “first lady” of the American theater. Ina Claire is the drawing card of the first play, and Jane Cowl of the second, J Both plays are. satirical comedies of present-day life. “End of Sume mer”’ takes “high society” over the jumps, and “First Lady” does the same for diplomatic Washington. The Theater Guild production, in which Miss Claire co-stars with the accomplished comedian, Osgood Perkins, is the work of S. N. Behr man, who wrote Miss Claire's previous success, “Biography,” as well as “The Second Man,” “Rain from Heaven,” and other hits, Guild members in the supporting cast include Nicholas Joy, Shepeperd Strudwick, Susan Fox, Van Heflin,: Stiano Braggiotti, Jean Adair and Clifford Brooke. “First Lady” was written by atherine Dayton, famous for her political satires, in collaboration with George S. Kaufman, who staged the play. It is not, as the name would suggest, about a Presi=dent’s wife, but rather tells the story of the ambitious spouse of & Secretary of State. Ann Mason in Cast

It is she who dictates things poe litical and social, and who hopes to put her husband in the White House. Her rival, played by Ann Mason, is the wife of a Supreme Court Justice who hopes to install her protege, a young senator, in the same high position. The leading role furnishes Miss \ Cowl with a character which one critic has said “belongs in the great gallery of English-speaking comedy, hung on the same walls as Milla« mont and Lady Teazle.” Miss Cowl’s supporting cast will include, besides Miss Mason, Hunter Gardner, Oswald Yorke, Ethel Wilson, Thomas Findlay, Florenz Ames, Helen Brooks and many others.

LPI Y =a RI 6071

'MON., TUES., WED., NOV. 16, 17, 18 masz |

“MOST GEORGEOUS PRODUCTION THE THEATRE HAS EVER KNOWN"

: M GORDON Presents the % sk % % Musical Play Peoduction conceived and directed § HASSARD SHORT

TWO SEASONS’ PHENOMENAL RUN AT THE CENTER THEATR DIO CITY IN ROCKEFELLE CENTER, N. Y.

Music by JOHANN STRAUSS, SR. & JR. Book oss Hart Dances by Albertina Rasch

‘RESERVED SEAT|| SALE TODAY]

IN INDIANA LOBBY! Evenings: Orch.: $2.75, $2.20, $1.65 : Loges: $2.20 Balc.: $1.65, $1.10, 55¢ (TAX INCLUDED) Wed. Matinee: Orch.: $2.20 and $1.65 ‘Loges: $2.20 Balc.: $1.65, $1.10, 55¢ (TAX INCLUDED) MAIL ORDERS: Send checks or money orders payable to ‘‘The Great Waltz’’ to the Indiana Theatre, with

self-addressed stamped envelope for safe return of tickets!

Tonight's Presentations at ‘Your

NEIGHBORHOOD THEATERS

WEST SIDE

STATE 2702 W. 10th St.

Double Feature Warner Baxter “ROAD TO GLO “BACK TO NATURE”

RY” W. Wash. & Belmont BELMONT Hu herbert ” \ 2540 W. Mich. St. D A I S Y Dick Powell ‘STAGE STRUCK” “WE'RE ONLY : NORTH SIDE ’ Illinois and 34th R I T Z Anne Shirley “M’LISS” . “SWING March of Time—Mickey Mouse Double Feature Clark Gable “DANCING LADY” “BIG HOUSE” ; 30th and Illinois “EARTHWORM TRACTORS” St. Clair & Ft. Wayne ~~ Double

Double Feature “LOVE BEGINS A “END OF THE TRAIL Double Feature HUMAN” $ Double Feature “IT’S LOVE AGAIN™ Special F Fred Astaire TIME” UPTOWN ‘oubie restate * Double Feature “HIS BROTHER'S WIFE Feature

EAST SIDE

RIVOLI ouble Fea

Doors Open 5:45 P. M.

2442 E. Wash St. TACOMA bout fisiee “CHINA CLIPPER” ___ “THREE CHEERS FOR LOVE”. TUXEDO “YOURS FOR THE AS “NOBODY’S FOOL” 5507 E. IRVING Doubles “SING, BABY, 8 Jane Withers “PEPPER”

EMERSON ‘Deuls Feature

Oth Double Feature Fred Astaire “SWING

“GRAND JURY”

HAMILTON “bousis Feature”

Double Feature Astaire

a Shir Temple “CAPTAIN JANU. Ef “SMALL TOWN GIRL"

STRAND ‘Seti Wiitut™” “ONE BAL APTURRGON" Paramount Deus Festere BUOY a PEA “FIRE TRAP”

( SOUTH SIDE wig

. FOUNTAIN SQUARE