Indianapolis Times, Indianapolis, Marion County, 27 January 1938 — Page 7

THURSDAY, JAN. 27,

1038

Paulo Gruppe Is Cellist For Musicale’s Program: Miss Call to Give Recital

Professional, Amateur and Student Appearances On Week's Calendar; Cincinnati Symphony Has Heifetz.

A busy week for concert-goers is promised in the schedule of music by professionals, amateurs and students in and about Indianapolis. Among

the coming events is a concert by

the Indianapolis Matinee Musicales

Choral Ensemble at 8:15 p. m. tomorrow in the World War Memorial

Auditorium.

Soloists will be Paulo Gruppe, solo cellist of the Indian-

apolis Symphony Orchestra, and Mrs. Martha Rucker Foreman,

The chorus is to be heard first®

in a five-movement paraphrase on Tschaikowsky music for women's voices and solo violin, by Samuel Richard Gaines. Two other original compositions for four-part chorus by Mr. Gaines will close the program. Mr. Gruppe will be heard in a group of compositions by Boellman, Lalo, Glazunov, Granados and Saint-Saens. Harry Danziger will be the accompanist. Eimer Andrew Steffen is the ensemble’'s director, and Mrs. Natalia Conner, the accompanist. Mrs. Frank J. Billeter is the group's chairman. There will be no charge for the concert, and the public is invited.

= " ®

On Tuesday evening Miss Marjorie Call, the symphony orchestra's harpist, will give a recital in Meharry Hall of the DePauw School of Music, Greencastle. Her appearance is being sponsored by the DePauw chapters of Pi Kappa L.ambda, Mu Phi Epsilon and Phi Mu Alpha. Her program will include Salgedo's Variations on a Theme in Ancient Style; a Haydn Theme and Variations; a Giga by Corelli; the Gavotte from Gluck’s “Iphigenia in Aulis”; transcriptions of Palmgren’s “May Night” and Debussy’s “En Bateau”: two French Folk Songs arranged by Grandjany, and Ravel's Introduction and Allegro. Henry Kolling, of the DePauw piano faculty, is to play the orchestral parts in the Ravel composition,

= = =

With our own orchestra idle this week-end, attention turns to the second pair of concerts in the Cincinnati Symphony Orchestra's Brahms cycle, which will be heard at 1:45 p. m. tomorrow and 7:30 Pp. m. on Saturday. The renowned violinist, Jascha Heifetz, will be the assisting soloist playing the Brahms Concerto in D Major. Orchestral features of the program will be the Fourth Symphony and the Variations on a Theme of Haydn. On the following week, Artur Schnabel, the Austrian pianist, will play the first Brahms Piano Concerto in D Minor. Other of the

German master’s works will be the

Symphony No. 1 and the “Tragic” Overture. Eugene Goossens is cone ducting all the concerts in the cycle. Robert Casadesus, French pianist who was soloist on the first Cine cinnati Brahms program, will make a guest appearance with the St. Louis Symphony Orchestra tomorrow and Saturday.

Franklin Taylor, voice teacher at the Jordan Conservatory of Music,

Lodge Choir in an appearance at the Fifty-First Street Methodist Church Sunday morning. = = =

Voice students of the Central Studios of Music will be heard at the Cropsey Auditorium of Central Publice Library this evening, with dance pupils of Helene Eger assisting. Singers to take part include Ruth Girton, Pauline Bade, Theresa Leebowitz, Keith Shock, John E. Hill, Millard McCubbins and Joseph Williams. ® = =» A program of music representing the four seasens will be presented by piano students of Grace Lillian Eaton at 8 p. m. tomorrow in the Brookside School Auditorium, 10th

and Dearborn Sts. Assisting will be Jack Baxter, cornetist, and Gordon Williams, singer, The students, and their respective seasons, are as follows: Spring—Marilyn Louise Brock, Lois Dale Horning, Constance Poulos, Janet Marie Steinkamp, Janet Mae McKinney, Dorothy Ann Allbright, Lavona Preisall, Louise Paulos and Winifred Uebelhack. Summer — Shirley Ann Dean, Marilyn Louise Brock, Richard Brock, Janet Marie Steinkamp, Robert Bruce, Albert Uebelhack, Virginia Reinhard, Eleanor Mundell and Vora Jean Green. Fall—Mary Jane Taylor, Richard Brock, John Taylor, Car! Bordenkecker, Janet Mae McKinney, Carolyn Zink, Mary Eleanor Piper, Norma Auch and Eleanor Mundell. Winter—Tomimy Kingston, Jean Irish, Roso Lacy, John Edward Meredith, Dorothy Ann Allbright,

Bill Kitch, Norma Auch, Vora Jean Green and Winifred Uebelhack.

IN NEW YORK —s, ceoret ross

Blend of Shoreline and Waistline Newest Wrinkle to Foil Gotham's Antinudity Law.

NEW YORK, Jan. 27—Burlesque has been banished from this city,

leaving moguls of that dubious art high, They've tried everything since the law clamped down on

standards.

ary and destitute by their

them and on 42d St. they still make a pretense of selling sex when, in fact, they are hewing to the line of the law.

But the other day,

had an idea.

an entrepreneur of the outlawed strip-tease A Mr. Lynch who used to put on naked tableaux for the

Minskys came to the conclusion that a nautical fleshpot is an good

as one ashore. Hudson River,

And so he’s gone as far as bidding for a boat on the and his intention is to steer her to midstream. out of

New York jurisdiction and stage the gosh darndest strip-tease show

since Gypsy Rose Lee. “Blending the shoreline with the waistline,” this fellow Lynch calls it, and unles the authorities can parry with an anti-Lynch law he means to go through with it. Which will show you how resourceful the burlycuers can be when they are cornered.

A Surrealist Ballet S. Hurok, who brings arty troupes over from Europe and gave Dignity a jolt lately by sponscring Benny Goodman's swing concert in Car-

negie Hall, has another prenk up his sleeve. He tells us that his next big novelty will be a ballet by the surrealist, Salvador Pali, who once turned up at a London lecture attired in a deep-sea diving suit, with a jeweled dagger at his belt. a billiard cue in one hand and leading a pair of Russian wolfhounds. “Tristan and Isolde,” Dali's ballet will be based on—but it will be augmented with a couple of “blues” songs by Cole Porter and costumes by Schiaparelli. Furthermore, the operatic Tristan will be fashioned after Harpo Marx, the curtain will consist of a large human hedd reste

ing on a crutch and Isolde will take the form, probably, of a combination of Greta Garbo, Mae West and Zasu Pitts. “Tristan Fou,” this Dali ballet is entitled, but of course, S. Hurok hopes the critics won't amend it to “Tristan, Pooh.” It will be over here in April, when we'll be able to tell you more about it, if you still care. Joe Rines wonders if you can remember away back when an etching was an art attraction, not a heart attraction; when Billy Rose used to make a spectacle of his shows and not of himself; when little children were seen and not married; when a dummy was something thrown over a cliff and not Charley McCarthy; when movie theaters featured hot numbers, not lucky numbers? Or don't you?

will direct the F. & A. M. Center

THE INDIANAPOLIS TIMES

PAGE 7

SONJA GOES TO TOWN AGAIN—AT GARDEN

Sonja Henie's new picture, “Happying Landing,” which comes to the Indiana tomorrow, will have to step some to surpass this large and

Helen Hayes Seeks Wide Audience for Victoria’

One of the reasons why Helen Hayes is among the most popular, as well as the most gifted of American actresses, is related by William

Schneider, advance agent for Miss Hayes currently course of a limited Chicago engagement of eight weeks. The engagement easily could be stretched to 10 more, for Chicago is flocking to see Miss Hayes’ portrayal of the British Queen. But because the actress has promised to appear at English’s for three days beginning Feb. 21, and finish the split week in Columbus, O., she is terminating the Chicago stand as announced. This, of course, entails additional expense. A lesser and more mercenary actress might forego appearances in these smaller cities. But to Miss Hayes an Indianapolis audience is as important and as deserving of the theater at its best as one in New York or Chicago.

50 Cities to See Play

This tour began last September after the actress had played “Vice toria Regina” for two seasons in New York. The play wil! be seen in about 50 cities, closing in Los Angelds late in June. Everywhere she has played to record- breaking box office receipts. It is estimated that the Chicago engagement will “gross” approximately a quarter of a million dollars. Included in Miss Hayes’ supporting cast are Werner Bateman, the young Viennese actor who plays the Prince Consort; Abraham Sofaer, who will be seen as Disraeli; Charles Francis, Alexander Clark and Harry Plimmer. The play was written by Laurence Housman, brother of the English poet, A. E. Housman. Gilbert Miller is the producer, and the 10 settings and hundreds of costumes were designed by Rex Whistler. Three 70-foot baggage cars are required to transport the scenery, and a crew of 30 to stage the production. ee

SCRIBE, TOO

As a hobby, Douglas Fairbanks Jr. writes articles for “Vanity Fair” and other national periodicals, illustrat ing them himself,

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ANTITRUST RUMOR MAY BE DISCUSSED

HOLLYWOOD, Jan. 27 (U. P.) — Will H. Hays, president of the Motion Picture Producers and Distibutors of America, the arbitrator and censor of the movies, was due here with Mrs. Hays today for his annual winter conference with producers. They were reported to be planning to discuss antimonopoly action that the Government is said to be contemplating against the movie industry.

CLOWN TO GREET KEITH'S PATRONS

An honest-to-goodness professional clown will be on hand to greet Keith's juvenile patrons at a special children’s performance to be given at 10:30 a. m. on Saturday. Included in the picture program are an hour of new animated cartoons, a new western feature with Buck Jones, and a Charlie McCarthy short subject.

| MET MY 10VEF 46

ALAN MARSHAL

handsome real-life “set.”

Times<-Acme Photo.

Miss Henie and her assisting artists are

shown in Madison Square Garden, New York.

WHAT, WHEN, WHERE APOLLO

“The Lives of a Bengal Lancer,” with Gary Cooper, Franchot Tone and Sir Quy Standing, at 11, 2:14, 5: = Jd 3 Syn, . 2 with George Arliss and John Loder, at 12:48, 4: 02, 7:16 and

CIRCLE

“She's Got Everything,” with Gene Raymond and Ann Sothern, at 11, 1:48 4:36, 7:24 and 10:12, ‘Charlie Chan at Monte Carlo,” with Warner Oland, Keye Luke and Sidney Blackmer, at 12:36, 3:24, 6:12

INDIANA

“The Jury's Secret,” with Kent Taylor and Fay Wray, at 11:20, 2:31, 5 2 and 8:53. “Hollywood Hotel,” with Benny Goodman, Dick Powell and RoseMaly Lane, at 12:26, 3:37, 6:48 and

LOEW'S

“The Hurricane,” with Jon Hall, Dorothy oahgue, Mary Astor, at 12; tA 3:40, 6:50 a Paid to Dance. with Don Terry, Jacqueline Wells, at 11:20, 2:30

Braddock-Farr Fieht Pictures, at 11, 2:11, 5:20 and 8

LYRIC

“Ted Weems and His Otehstra, n ob stage at 1:10, 3:55, 6: and

“The Invisible Menace,” with Boris Karloff, at 11:51, 2:36, 5:31, 8:16 and 10:25. KEITH'S

“Ali Baba Goes to Town,” with Eddie Cantor. Also “The

Specimen. OHIO

aiate of Emile Zola,” with JPaul Mum. Also “No More Women.”

AMBASSADOR “The Firefly,” with Jeanette MaecRonald. Also “Murder on Diamond ALAMO

“Girl With Ideas,” with Wendy Barrie. Also “Alcatraz Island.”

Perfect.

Ban Film Work For Stage Actors

LONDON, Jan. 27 (U. P).—A movement was under way today by theater managers to prevent actors from working for film studios and at the same time playing in the theaters.

The firm of H. M. Tennent, Ltd, controlling the Globe and Wynhams, posted notices in the two theaters reading, “Will members of the company Kindly note that the management definitely has decided that permission will not be given to any artist to make films during the run of the above play.” The decision was regarded as tantamount to advising the players that they must choose between the theaters and the films. Other managers were expected to post similar notices on the grounds that the players arrive at the theaters in the evening worn out and unable to give a good performance after a day at the film studios.

ENGLISH "i. ie

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Eveny glowing, Blusliing moment of that fost... or won... first love comes back to you with this compelling story of two who went afar te seck happimess only to find it in each other's arms. “Summer Lighting,” the widely read Cosmopolitan Magazine novel, reaches the screen as one of the truly grand love stories of the yeanl WALTER WANGER soon JOAN

BENNETT FONDA

with DAME MAY WHITTY

LOUISE PLATT

ALAN BAXTER

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TIM HOLT

Directed by ARTHUR RIPLEY and JOSHUA LOGAN

Released thre UNITED ARTISTS -_ B

Screenplay by DAVID BERTZ

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TOMORROW!

Hj 1883

Fame Won on First Role May Spoil Film Actor: Morris Snaps Out of It

Adulation Heaped on Naive Newcomer Is Often

More Than He Can

Bear; Robert Taylor

Confesses How Hard It Is.

By PAUL HARRISON

HOLLYWOOD, Jan. 27—Probably the dream of every beginning movie player is to get a good part and score a tremendous hit in his

or her first picture.

That sounds dandy, but it's bad medicine.

There are a number of

people in Hollywood, including Wayne Morris, who can tell beginners that

one of the very worst things that &

could happen to them would be overnight prominence. It makes no difference how naturally modest a person may be; with sudden fame thrust upon him, he just can't keep his feet on the ground or his héad out of the clouds. I remember Robert Taylor telling me how tough it was: the new social demands, the heaped praise, the interviews, the inter ferences with his private life. And Tyrone Power, after his trip East—the hysterical adulation, the photographs, the remoteness of old friends, the inaccessibility of old haunts. A fellow can stand only so much of that; then he eithev has to change or toss his bright new career out the window.

Youngster Is Naive

First a young player is naive. Then, with success, he finds himself first clutching at his naivete for protection, finally casting it aside to enter the Great-I-Am stage. If you had been applauded on the screen at a preview, swamped by autograph seekers afterward, thumped on the back by big executives, asked to one of the Countess di Frasso's parties, sent to New York for the inspéction of writers and swooning fans—if all those things happened to you, you'd reach the point of bewilderment where you'd say to yourself. “Golly, I must be pretty good!” Jon Hall is in that stage now, but blame Hollywood for it, not the newly celebrated he-man of “Hurricane.” Wayne Morris entered the I-Am stage a few months ago when “Kid Galahad” was released. To his everlasting credit let it be said that he now has come out of it. But some of the handicaps remain, and it may be a few months before Hollywood gets over the idea that young Mr. Morris is a bit big for his britches.

It Went to His Head

Put into “Kid Galahad” with fine actors such as Humphrey Bogart and Bette Davis, he made a hit because the role of the bashful boxer fit him like a glove, and be=cause everybody helped him. Basking in the huzzas that followed the picture, Morris began to feel that

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he could tell John Barrymore how to play a scene and make him like it, Then came “Submarine D-1,” and next a little item called “Everybody Was Very Nice.” The latter was not an important picture, but it had a veteran director and a sea~ soned cast. “Everybody WAS very nice,” said Morris. “And it took me quite a few days to realize what was going on. If I was nervous, nobody said anything. If I made a mistake nobody bawled me out. The other people simply did their stuff so perfectly that I felt uncomfortable,

Veterans Help Him

“Finally I realized that I needed the help of these mare competent actors. When I began asking whether they thought this or that was the better way to do a scene, they were swell. Everybody had wanted to help me, but they were just waiting to be asked. “The worst moment of all is when you suddenly suspect that maybe you're not much good after all; that maybe your previous success was a fluke; that if you're not going to fall off your perch you've got to get in there and work harder than ever before.” Morris now is working in “Men Are Such Fools,” and working hard. He's out to show ’em that his former success wasn't a fluke. Also he's trying to earn consideration for the top role in “Brother Rat,” when the studio gets around to putting that play into celluloid.

RESUMES HOBBY

Errol Flynn has again taken up candid camera shooting after getting his expensive camera back from the factory. It was damaged in Spain when he visited the war front and had to be entirely rebuilt.

Friday! wgWING YOUR LADY”

Last Day! SHE'S GOT EVERYTHING And CHARLIE CHAN AT MONTE CARLO

And on the Same Program!

LEE TRACY in

ne

SHING HOLLYWOOD"