Indianapolis Times, Indianapolis, Marion County, 4 February 1939 — Page 8
ansel and Gretel’ Due
Children's Theater Will Back
SURE, RIGHT IN CALIFORNIA! (Schaefer
Barrymore Returns to
Dominates
Danzinger, 4 the Indianapolis Symphony Oorchestra’s first violin section, will be A guest artist at the Broadway M. E. : Church vesper service at 4:30 p.m, tomorrow. He is to play. confposie tions of Gluck, Vivaldi, Svendsen,
The shy-looking
I an
‘Whiteoaks’
Actress’ Great Artistry Reaches Peak in Role
Of Gran.
By JAMES THRASHER There are virtuosos both musical and dramatic, who can take a mediocre work and, by the power of personal artistry, make of it some‘thing engaging and exciting. Ethel Barrymore, among the dramatic contingent, is one who possesses this rare gift. And because of it, she provides a very pleasant
theatrical experience at English’s : this week-end in “Whiteoaks.” ~The character of Gran Whiteoak must be a source of pleasure to Barrymore as well as to her Those who read the “Jalna books” of Mazo de la Roche «will remember Gran as a crusty .-old matriarch of the Whiteoaks, who retained her faculties and zest for living past her 101st birthday.
Star Creates Character Gran hardly was a great literary
figure, and she gained no theatrical |
immortality when Miss de la Roche
brought her to the stage. But once"
- under Miss Barrymore's spell, one has a hard time convincing himself - of the fact. It is a joy te observe Miss Barry.more’s performance. In the first - plaée, she disdains the cracked and querulous voice with which most _actresses would burden the part. _ Furthermore, she has almost no re- _ course to makeup. - So, when she first appears, it is Ethel Barrymore that one sees, not .. the venerab Adeline Whiteoak. But before long, Miss Barrymore begins to slip away. The little nods and smirks and characteristic vocal inflections merge into a credible ~ character. Miss’ Barrymore’s. Gran . deminates the stage as surely as Miss de la Roche’s Gran dominated her children and grandchildren. And when Gran dies at the end of Act II, the play dies with her. This is no reflection upon the other aciors, but upon the writing. Only the traditional but- doubtful necessity of three acts could be offered as an excuse for anything further.
Plot”From Novels
The plot is taken from several of Miss de la Roche’s books, which are a sort of provincial reflection of the late Mr. Galsworthy’s history of the Forsytes. In the cast are Augusta, Ernest and Nicholas, . Gran’s children; her grandchildren, . Renny, Piers, Finch, Wakefield and Me=g, and Pheasant, Piers’ attracttive young wife. _- All the children and grandchil- . dren, except Finch, are on pins and " needles to know the heir to Gran’s fortune. She has niade countless “wills, with the understanding that her money wasn't to be cut up like _ a pie. Finch is a sensitive, timorous, browbeaten lad of 19. He lives only for music, something the healthy, - ncrmal relatives don’t understand. But Gran senses his intrinsic _ strength and talent. So it is to him the fortune goes. The third act is taken up with the family’s reaction. Some are decently resentful, others mean and nasty. But in the end it is Finch’s oldest brother Renny, the lord of Jalna, who finally understands and ~apnroves. In this act the cast’s effort is - valiant. ' The characters are sharp- _ lv drawn, the humor is broad and “‘the action speedy. But nothing can --quite overcome the anticlimax. We -all knew the family’s character, - and how they would react to Finch’s ‘legacy at the end of a very effective second act. Barrymore at Best
Here Miss Barrymore gives us the ..feeling of Gran’s approaching death with rare skill. The writing;. too, is dramatically telling. There is a final sparkle in the old woman’s . character; her courage leaps up in one last, bright flame; we feel that .Gran’s last vision is not of a life to . come, but of great days already lived. . There is a rewarding moment, _ for the casual patron as well as for . the faithful who haunt the theater in the hope of such things. The production’s Finch is Harry Ellerbe, one of the successful Stuart “ Walker alumni remembered here “with particular fondness. He plays the young musician with great sympathy and subtlety. The other “players are, for the most part, ex‘cellent. But the combination of Gran Whiteoak and Miss Barrymore ‘is too much for any competition, as ~~ you will discover if you visit today’s concluding performances.
TARZAN JR. WORKS
Johnny “Tarzan” Weissmuller has a son. He is Johnny “Tarzan, Jr.” Sheffield, 5-year-old youngster se- + lected to play the son of the Ape Man in the next of the Tarzan : jseties.
WHAT, WHEN, WHERE APOLLO.
“Mississippi,” with Bing Crosby, W. 5 Fields, Joan Bennett, at 11:05, 1:54, 4:43. 7:32 and 10:21, “Little Miss Marker,” with Shirley Temple, golphe ,] Menjou, ab 12:36, 14% an
3:25, 6: CIRCLE
“St. Louis Blues,” with Dorothy. La-. mour, Lloyd Nolan, at 12:40, 6:55 and 10:05. “Persons in Hiding,’ with Lynn Overman, Patpioa Morrison, at 1h 30, 2:35, 5:45 and 8:5
ONGLITI'S “Whiteoaks,”’ a lay by Mazo de la
Roche, starring Ethel Barrymore. Tonight, at 8:30. INDIANA se James,” with Tyrone Power, Nos Kelly, Henry Fonda, at 11:46, 2:13, 4:40, 7:07 and 9:34. ; tyarch, of. Time at 11:29, 1:56, 4:23, 6:50 and 9:17.
LOEW'S “diets Th with Clark Gable, Edward Arnold, an Senildkrait, at th 1:10, 3:25, 5:40, 7:55 an 10.
Sie
‘“The Arizona Wildcat,” pith J Jane Withers, Leo Carrillo, on | Vaudeville on siage.
1 QUALITY S| SHOW Ss! ROBERT PRESTO N—MARY C
CES! “ILLEGAL TRAFFIC”
i DICK
“AIR DEVILS"
| No matter what the Southern say, they do ice skate in the land
California chambers of commerce of sunshine. Just to prove it, here
are Ann Sheridan (left), Ronald Reagan and Jane Wyman, who took time off from picture making for a whirl at the winter sport.
Song in ‘St. Louis Blues’ Draws Audience’s Cheers
| For the second time in the last 12 months, the movie people have
picked one of America’s classics in dance tempo and made it into a movie.
name of “St. Louis Blues” (taken it
. First it was “Alexander’s Ragtime Band.”
Now they have taken the in vain, one is impelled to add). and
converted it into a vehicle for Dorothy Lamour.
It’s at the. Circle this week. The film is rather typical of the
clambake assembly line. There are plenty of songs, and some amusing twists to the plot. For instance, Miss Lamour gets tired of being the favorite sarong-clad singer for ogling Gothamites, so she slips into something tailored and flees. Stalled in a Mississippi flood, she clambers aboard a showboat run by Lloyd Nolan and Jessie Ralph. She doesn’t click at first, but eventually her talent is recognized, and Mr. Nolan plans to launch her in a big way— wearing a sarong. This is because Miss Lamour fell into the Father of Waters one night, and later wrapped herself in a piece of burlap. Mr. Nolan, with his showman’s eye, gets the idea right]. away. There are complications, of course —mainly an injunction which Miss
product from Paramount’s musical-|.
Lamour’s manager wields like a villain with the mortgage. She gets
around the injunction by a ruse that even strains the credibility of the most guileless movie-musical lover. Miss Ralph and William Frawley strive valiantly on the comedy front, and Cliff Nazarro has a most amusing line of double talk. Maxine Sullivan is present to sing the title song and “Loch Lomond,” for which she drew cheers at yesterday's show. For an inveterate villain, Mr. Nolan does well with a sympathetic part. Miss Lamour wanders sleepily through the picture, but manages to look quite fetching in her South Sea uniform. The rest of the cast is slightly sub so-so. Also on the Circle bill is “Persons in Hiding,” which took its title and part of its plot from J. Edgar Hoovei’s book.—J. T.
IN NEW YORK
Even After 20 Years,
Hug” was all the rage, then. Today, those Roseland girls c
——By GEORGE ROSS
» 8 »
Roseland (Taxi Dance
Hall) Is Hoofing Right Along.
EW YORK, Feb. 4—After 20 years, Roseland is still going strong. It was 1919 when blase Broadway first heard of Roseland where girls would dance with gentlemen at 10 cents a dance.
The “Bunny
laim the depression and the jit-
terbug craze has cut into their business terribly. According to Flor-
land, there was a time when the girls used to receive as much as $100 tips. Then, too, many of them used to meet millionaires at Roseland and some were lucky enough to marry them, like Claire Patton whose marriage to Archibald Graustein, rich head of the International Paper Co. made all the front pages in 1924. Miss Forder, formerly a musical comedy singer, says that most of the ballroom hostesses are from the mining districts of Pennsylvania, although there are a great many college girls in the hostess line. She says- the girls, making seven cents out of every “10 cents a dance,” used to earn between $85 and $115 a week. Nowadays: they are lucky if they make $30. But that isn’t stenographer’s pay, either. Ironically enough, when Roseland first opened, someone dubbed them as “l0-cents-a-dance” hostesses. But actually it cost over 10 cents to trip the light fantastic with them, in those days. You had to buy three dances at a time, which really cost 35 cents. Now, it really is 10 cents a ‘dance. ;
® s ”
I =ouen her years of experience, Miss Forder can eye a prospective dancing patron very carefully and tell exactly. what sort o a dancing partner he is going to ike. According to Miss Forder, and according to records kept at Roseland during the last 20 years, the male patrons of Roseland seem to be pretty consistent in “preferring blonds to brunettes’ The girls are dressed in evening gowns for the evening sessions and in sports clothes for the three matinees weekly. Miss Forder sees to it that the girls rest properly and acts as a sort of head counselor, on the dance floor as well as in the dressing room. She claims that often she is also called upon to be a love counselor to the girls when the confess their “heart troubles” to her. The season when the college boys drift into town on a rising tide is an overwhelming one for the host-
TOMORROW ONE NIGHT. ONLY
4. Vir SH
Tickets On Sale Indiana Theater News Shop
TSh™ 80c nck
DANCE TONIGHT
Amos Otstot Orch.
INDIANA
ence Forder, head hostess at Rose-¢
esses. These are the times when college hopping adds lots of wear and tear to the working lives of the hardy Roseland hostesses. The college boys cram in all the steps they have been. practicing in the comparative quietude of fraternity houses. However, the hostesses find the college lads a welcome relief to the
javerage New York visitor's penchant
for the outlandish jitterbug *‘jiving.” The hostesses, as a group, have voted themselves to be the most tired people in the city, after any average working day. But they say they can match all comers in endurance, for when it comes to swing, the big town’s oldest ballroom % feeling the “cricks” in its bones.
2 2 2 A” its 20th anniversary, Roseland discovered through a review of past records that 17,538 ,946 had paid admission to this home of the dance. Over a period of 20 years, each patron hes averaged 18,892,800 dance steps, making a total of 165,680,098,474,400 steps taken by all the patrons, wearing out approximately 231,600 pairs of shoes. If stretched out in one long walk, this would make 8,976,947,640 miles, enough to encircle the globe 258, 116 times. Our arithmetic isn’t guaranteed. (Editor’s Note: It suits us.) More Roseland data: The general age limit for a dance hall hostess is from 18 to 25 years of age. She uses up six pairs of shoes a year.
NOW
Janet Gaynor—! ot Gay. _s i TH Fairbanks Jr. Akim Tamiroff “Ride a Crooked Mile”
Roy Ro Toit “SHINE = Mary Hast MOON’ June Travis “FEDER AL MANHUNT” “SPIDER’S WEB”—News
Dance Every
2%. SK HARBOR
Special Tonight and Sunday
ee SKY HARBOR DERBY TING ATEOVIeE. Winners.
t d - r the Tace Se evs for sur | Tovorets. ase One ous Slyck South of Municipal Airport
NANCY
Featured With
avo CHORUS
ao Te
MATINEE 2:15~TWO SHOWS AT NIGHT 7 AND 9 {
First of Two Week-End Concerts Features 'New Music. . The Indianapolis Symphony orchestra concerts of yesterday after-
|noon and tonight are the occasion
of Ferdinand Schaefer's second appearance in his present role of
founder and conductor emeritus. At the risk of being obvious and redundant, it should be remarked once more that the city can never overpay this venerable music enthusiast for his contribution’ to our artistic progress. His annual appearances with a larger and better orchestra which he helped to build are right and proper. If nothing. more, they allow . his many grateful friends a public opportunity to express a kindly feeling not confined to a single week-end in the year. This year Mr. Schaefer has selected some unfamiliar music for his program. Listed as “first time at these concerts” is the Bruckner Symphony No. 3, in D Minor. The Overture to Mozart's “Abduction From the Seraglio” is not often played here: Mr. Schaefer’s concert ending to the Overture is brand new, And the Symphonie Concertante By Mozart, which brings forth the concert’s soloists, is even more of a novelty.
‘Result of Broadcast
Eudice ‘Shapiro, violinist, and Virginia Majewski, violist, ‘broadcast this delightful double concerto from Philadelphia last year. Mr. Schaefer heard the broadcast, which accounts for their presence here today. Both the music and its interpreters were excellent choices. The work gives us Mozart at his most captivating, if not his most profound. The genius who disappoints us least, Mozart here gave the world another example of his abundant gifts. There is vivacity and sparkle to the music. The Andante flows from the composer's apparently inexhaustible well of melody. In the final Presto are found those matchless, captivating, surprising turns of musical phrase which were Mozart’s unique possession. Of course the Concertante is written with a discerning eye and ear|¢ to the solo instruments’ character and capacity. And the youthful guest artists realize these possibilities in a thoroughly satisfying manner. Neither of these young women can be far into their 20s. Yet each combines with youthful vitality a polished style, lovely tone and a taste and understanding that belie their years. Their technical grasp
metrical ensemble is excellent. All of which permitted yesterday's audience to sit back and revel in beautiful music beautifully played.
Symphony Seems Long
As for the Bruckner Symphony, it is woefully long and repetitious, to this listener, despite its moments of beauty. In choice of key and opening subject, Bruckner seems to have been under the spell of Beethoven’s Ninth Symphony, despite the work’s dedication to Wagner. It is not, however, another Ninth Symphony. Perhaps a more’ compact and seasoned performance would have brought greater joy. But unless one were a follower of the Bruckner cult, it is doubtful that this massive, discursive work could bring a great deal of inspiration or satisfaction. ’ Also on the program were Abert’s | transcription of a Bach Prelude and Fugue (the intervening Chorale being his own) and the Overture from Mendelssohn’s “Midsummer Night's Dream” music. The Abert work is one of the earlier Bach transcriptions for orchestra. The Prelude originally was that in C Sharp Minor from the “Well Tempered Clavichord,” Book II. The Fugue is the “Great” G Minor for organ. In it Abert set his chorale as added counterpoint, not always with the happiest effect. Mr. Schaefer demonstrated again yesterday that the years bring no lessening of energy, spirit or devotion to the music at hand. The orchestra, in its tur, matched him with whole-hearted effort.
NOW " 25¢ UNTIL 6
LOEW'S
Oa 30c AFTER ONY 300 AFTER 6 EE
GABLE AS A SONG AND DANCE MAN! NORMA AS AN EXOTIC BLONDE!
NORMA
SHEARER CLARK GABLE '1DIOT’S DELIGHT
DLTLD, FYI
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A CLARENCE BEOWN PRODUCTIO
MUTUAL,
STARTING AT SATURDAY MIDNIGHT SHOW!
KELLY
HI FLYERS
vELY. GIRLS
, ML
LOVEL
Symphony|
never falters, and their tonal and|
{Parker
ck | EXTRA! aades to Last Show Tonight!
rE Emerson, sis eo a
damsel is - Trudi Schoop, _ whois bringing her comic ballet company ~ io English’s Monday night to dance her own creation, “The Blond Marie.”
RAFT, BLONDELL
Joan Blondell and George Raft, who checked out of high-paying film jobs recently, had new contracts with other studios today. Mr. Raft, who left Paramount because -he was tired of slick male vampire roles, signed with Warner Bros. Miss Blondell, who persuaded the Warners to cancel her contract so she could free I=ucs, signed with Columbia.
‘COPIES REJANE
Hats and other costumes worn by Claudette Colbert in “Zaza” were copied from costumes worn by Mme. Rejane, who originated the role in Paris in 1898.
SIGN CONTRACTS
HOLLYWOOD, Feb, 4 (U. B)—|
Henry Busse will bring his orchestra to Indianapolis for a brief visit tomorrow when he plays a
one-night engagement at the Indiana Roof.
Shirley Pouts, Bing Grows ‘Mustache, W. C. Spouts O Off.
At 5, Shirley was a “doll” to the bunch of gamblers and bookies in “Little Miss Marker” but now it’s ‘Miss Temple” because the little box office record-breaker is almost In her teens. “Little Miss Marker,” one of Shirley’s earliest pictures, is having a revival this week at the Apollo. The kids still say, “Gee, Mom, there’s Shirley!” And the grownups still just sort of ‘sigh. Of course, Miss Temple can sing and tap much better now, but in her earlier days she was a “natural” . said embarassing things like any child does—threw a mighty convincing = tantrum, and when she showed those two little dimples at the corners of her mouth—undisputed 1939 ummph! She sang then, || too . . . in a little kid's voice that missed notes sometimes. Shirley has had a successful growing up—usually a tough process for child stars—and she’s still tops with box offices. The other nostalgic number on this twin-revival bill is “Mississippi.” That’s the one wherein Bing Crosby grew a mustache and won Joan
in rare form, drank gallons of mint juleps and was forever boasting about the time he “cut my way through a wall of human flesh, dragging my canoe behind me.”
Bennett, and in which W: C. Fields, |
Apollo Bills 2 Revivals, Lyric “Trucks on Down
/
Singing, Acrobatic Numbers Are Included in "Varieties.
Lots of “truckin’ on down” acrobatics, balance acts and singing are featured in “Varieties,” current vaudeville at the Lyric—but mostly “truckin’ on down.” F “Mammy and pappy” got out with the kids in a jitterbug vs. dancing-
in-ye-old-days session. And by cracky, they shagged and trucked
de plume. Herman Timberg, eccentric comedian, assisted by Audry Parker, Don Dixon and Bert Rogen, presents a bright concoction of comedy bits, songs and dances. The France and ‘LaPell aerial act makes you wonder |_ “what would happen if she’d fall”
APOLLO
MISSTSSIPRT
way before 1939—only under a nom!
Presentation. Feb. 11.
The Children’s Civic Theater will sponsor a p:rformance of Humper-
|dinck’s opera, “Hansel and Gretel,” i |to be presented by Junior Programs
at Caleb Mills Hall next Saturday. Saul Lancourt directs the presentation of this favorite musical fairy tale,and the professional cast includes former members of the San Carlo, Cleveland and American Opera Companies and the New York Opera Comique. Cecile Sherman, the company’s Gretel, was a leading soprano for four years with
Goossens’ direction. She also has
Jbeen soloist with the Rochester
Philharmonic Orchestra and formerly was a member of the New York Opers; Comique. Junior Programs was established three years ago with a view of providing children with better cultural enteriainment. Its first ballet production, “Pinocchio,” was performed at the Murat, and last year another ballet, “The Princess and the Swineherd,” also was seen here. The Children’s Civic Theater sponsored hoth events,
UDELL REOPENING IS: DUE TOMORROW
The Udell, neighborhood theater at Udell and Clifton Sts, will reopen tomorrow under G. J. Kinney’s management. Art H. Lichtenauer is the thecter’s owner. The opening double bill, Bing
"= |Crosby’s “Sing You Sinners” and
“Barefoot Boy,” will play. rough Tuesday.
and the acrobats work hard at their numbers, 00. Other aitractions are Billy Wells and the Four Fays and Ezra Buzzington’s “Rustic Revelers,” Jane Withers is featured on the screen in “Arizona, Wildcats,” concerning a band of Mexican outlaws that purged a whole town.
LAST TIMES
Ey Barrymore n “WHITEOAKS”
y Mazo de Ia Roche Eves., ne I $2.75. Mat., 55¢ to $2.20
TYRONE POWER - HENRY FONDA NANCY [ELLY - RANDOLPH SCOTT
J. iDGAR HOOVER'S
“PERSONS in HIDING”
Chopin-Wilhelm), Glazounov and
Ries.
the American Opera, under Eugens
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S d Toot n t ra n Janet Gaynor Billie Burke—Doug. Fairbanks Jr. “YOUNG IN HEART” Preston Foster—Slim Summerville “UP THE RIVER” (Continuous Matinee—Saturday & Sunday) Starts Mon. Chas. Boyer “ALGIERS’ Sally Eilers “TARNISHED ANGEL”
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Sat., Sun., Mon. Joan Crawford
Robert Young—Margaret Sullavan “THE SHINING HOUR”
Madge Evans—Preston Foster “ARMY GIRL” ' Donald Duck Cartoon 116 E. 10th St.
Hamilton ices’ creme
“SUBMARINE PATROL” Penny Singleton “BLONDIE” Sunday—Mickey Rooney—-Lewis Stone
“Out West With the Hardy's” Chas. Bickford “THE STORM”
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Anne Shirley—Alan Hale “STELLA DALLAS” Sunday, Monday, Tuesday, Wednesday Valerie Hobson—Raymond Massey Sabu "DRUMSA d—0l Bradn “BAY IT IN FRENCH Also! The Three Stooges.
East Robt. Armstrong “NIGHT
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EAST SIDE
5507 Kk. Wash. St. | RVI NG Fred MacMurray 3 Louise Campbell “MEN WITH WINGS” “ALWAYS IN TROUBLE” ‘Sunday—Mickey Rooney—Lewis Stone
“Out West With the Hardy’s” “TOUCHDOWN ARMY” 4 . Wash. Toe. Talbot
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Edw. E. Horton Mary Boland
“Little Tough Guys in Society”
Gene Autry “Western Jamboree” Sunday—Richard Greene—Nancy Kelly
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