Indianapolis Times, Indianapolis, Marion County, 21 February 1939 — Page 15

\ockritz in Concert at Athenaeum Maonnerchor's Visiting Baritone Is First Over Long Period.

By JAMES THRASHER The Indianapolis Maennerchor . had two out of the ordinary features to offer its audience at Athenaeum last evening. In the first place, the society presented its first out-of-town guest soloist in nearly three seasons. Secondly, that soloist, Hubert Kockritz of Cincinnati, displayed a keard of such distinguished dimensions -@8 scarcely has graced a singer since the days of Gogorza and the de Reszke brothers. Besides the beard, Mr. Kockritz displayed a baritone voice of fine natural quality, There was a

pleasing resonance in all dynamic] gradations and throughout the]

singer's entire range, which in its upper reaches had considerable tenor timbre.

Acoustics Unflatiering

As to Mr. Kockritz’ employment of the voice, one’s judgment is balked again by the Athenaeum concert hall's tricky and unflattering acoustics, Consequently a sometimes inaudible pianissimo and a faulty adjustment between voice and piano cannot be held against the performers. It seems certain, however, that Mr. Kockritz, as interpreter, did not penetrate far beneath the surface in his German songs. The emotional content of his songs in English made no great emotional demands. From a purely vocal standpoint, Mr. Kockritz’ technic was considerably short ‘of exemplary at times. And the “Evening Star” from “Tannhaeuser,” added as an encore, was ‘the vehicle for some unconventional phrasing. His first group included Schumann’s “Provenzalisches Lied”; “Liebesbotschaft” and “Gruppe aus dem Tartarus” by Schubert, ‘and two Wolf songs, “Gesegnet sei” and “Der Tambour.”

Applause Wins Encores

In the English group were Ireland’s “Sea Fever”; an Irish folk song arranged hy the late®Herbert Hughes (substituted for Horsman's “In the Yellow Dusk”); “A Lover's Litany,” by Kramer; Elgar's “Pleading,” and the “Cossack Love Song,” by Kountz. Hearty and insistent applause was rewarded by two encares. Miriam Otto was the able accompaliist. The chorus, under Karl Reckzeh'’s direction, sang with rare good spirit and excellent tonal balance. Especially creditable was their account

the|

Keith Stock Unit Forms

Round Up Resident Players For Coming Season.

Plans for the Florence Webber Productions season of stock at Keith’s are materializing hourly rather than daily, conversations with Miss Webber and Walter D. Hickman, press representative, disclose. : Definite arrangements to secure Gordon Duff as stage manager and Herbert Ganet Andrews as scenic artist were made yesterday. A resident company of players is being rounded up in New York by Melville Burke, director, and Mitzi Hajos will be starred in the stock company’s opening production, “The Curtain Rises,” which will play the week of March 24. \ Among the players under coisideration for the resident company is Owen Davis Jr.,, who was featured at English’s last season in “Yes, My Darling Daughter.” He has had some experience in the movies and more recently has been a network broadcaster on dramatic programs. His father is the famous and prolific playwright.

This trio of performers will headline Russ Morgan’s show when he brings his orchestra and its “music in the Morgan manner” to the Circle stage beginning Friday. Above is the song-writing team of Shea and Raymond, caught in painful pursuit of inspiration; on your

right is the grown-up and beauteous Mitzy Green, who, as a child, held a place comparable to Shirley Temple’s in’ the movie public's hearts, and who now is well up on the comeback ladder, after starring

in “Babes in Arms.”

ACTORS FETE ARTHUR BYRON, BEHIND FOOTLIGHTS 50 YEARS

(Arthur Byron’s half-century in the .theater has brought him to Indianapolis on many occasions, though not in recent years. Besides personal appearances in such hits as “The Lion and the Mouse,” “The Boomerang,” and “Tea for Three,’ he will be remembered for his featured parts in many films, including “Gabriel Over the White House,” “The President Vanishes,” ‘The House of Rothschild” and “Oil for the Lamps of China.”)

By DOUGLAS GILBERT Times Special Writer NEW YORK, Feb. 21.—In the Academy of Music in Jersey City on Feb. 21, 1889, a lad named Arthur Byron stepped into a role in his father’s play, “Across the Continent,” a timely show, referring to the opening of the Union Pacific Railroad. In the half century since, Mr. Byron, now president of Actors’ Equity, has played more than 300 characters and given 10,000-odd performances, an achievement which the cast of his present play, “Jeremiah,” will celebrate with a backstage party in honor of their distinguished colleague tonight at the Guild Theater. It is a terrific range. Here is a good share of the American theater in the mind of one man—f{rom. the fur-collared Hamlets to the Dead

critical in its view of life, and that is’ all right, too. In-the ’€0’s it was heroic, and moulded on larger lines. That is why we had such great stars. And they were great—great off stage, upstanding men and women, high class. : : “In ‘those days the theaters were individually owned by competent ‘managers, themselves men of affairs, and -they attracted people of high type who sought out the stage as a career, 3

Cites Changing Trend.

“In after years the theaters got into. the hand of profit K managers, ‘who formed great syndicates to operate purely on a basis of financial return. Men like Frohman and Hayman and Klaw and Erlanger. A theater thus controlled was no attraction for exceptional people who rebelled at the thought of having their careers dominated by such interests. In fact, they brought about conditions that eventually led to our successful strike.” Mr. Byron is from a stage family whose annals cover almost a century in the theater. His father was Oliver Doud Byron, a friend and contemporary star with Booth. His mother was Kate Byron, sister of the great Ada Rehan. Thus, Mr.

Oriental Calls ~All “Jitterbugs’

: The Oriental Theater tomorrow

night will begin a series of “jitter-|} bug” contests on its stage, which,{f}

it is hoped, eventually. will settle questions as to the City’s best swingdancing couple. in \ The weekly contests will be of-

double feature programs. : row’s bill is “Blondie,” with Pennie Singleton, and Glenda Farrell in

“Prison Break.”

PLAN 'WINTERSET' ATL. U. THEATER

- Maxwell Anderson’s “Winterset” will be presented by the Indiana University Theater at Bloomington tonight and tomorrow night, with Joe Hayes of Indianapolis and Martha Martz, Bloomington, playing the leads. Dr. Lee R. Norvelle is the director. : Others in the cast are: Gaylord Allen, ‘Indianapolis; Ray &outhworth, Monon; Robert Lee, Eau Claire, Wis.; Richard Houk, Logansport; Ray Carter, Orleans; Dave Strauss, Newark, N. J.; Marion Sanders, Roswell, N. M.; Jack Leas, Petersburg; Howard Evans, Russell-

Carlos Salzedo, the internationally famous harpist, and his wife, the former ‘Marjorie Call, are in Indianapolis following a visit with

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Eleanor Powell Robert Young @eorge Burns @rapie Allen

x : nn | TheHistory fe L ; of a Hit! T GOES ALL THE WAY BACK TO A MAN WITH \A LONG WHITE BEARD This picture will show, you what our artist thinks 2.

Bernard Shaw looks hd 71

like.

Mr. Shaw wrote a play called

“PYGMALION"

and a very successful play it was too. So successful, in fact, that many people wondered why it wasn’t made into a movie.

MR. SHAW COULD HAVE TOLD THEM TH ANSWER! | The answer was that Mr. Shaw didn’t think anybody in the world was capable of | transforming his stage play into a screen play.

SO HE DID IT HIMSELF And what a picture has been made of the story, about the handsome professor (LESLIE HOWARD) IE who took a flower girl from the streets and transformed her into a glamorous orchid of society. (Discovery | WENDY HILLER gail. in both roles.)

Famed producer, § Gabriel Pascal, brought Pygmalion to thescreenand M.G.M.,

- of “Old Black Joe,” in Protheroe’s arrangement. For this Mr. Reckzeh is to be thanked, since he has the goodness to conduct Foster’s songs as if they belonged in the concert

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GIRLS’ WINTER COATS—$3.98 to $5.98

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Helen Stewart very likely will play the feminine leads—except when the guest star is a woman— and A. H. Ban Buren and Dorothy Bernard seem the most probable

ville; Margery Stewart, Wabash; Harry Prebish and Everett: Bonnell, South Bend, and Richard Reed, Dick Haskett, Philip Correll, Bob|} Jaiues—to close Martz, Robert Hankins and Betty

Byron feels that the stage was his cradle, that he was marked for the theater at birth. “But I wasn't carried on as a

End kids. Mr. Byron scans it with no muttering laments. His comparisons are sound, his summary a leavening critique.

hall rather than the barber shop.

Mr. Reckzeh, like Orlando di Lasso, has written an “Echo Song,” which ended the program.: The singers who retired backstage for the occasion surpassed nature's acoustical phenomenon in one reThey created an echo that

spect: sang flat. 2 2 =

Before the Propylaeum Club yes-

terday afternoon, Marie Dawson Morrell gave one of her too infrequent violin recitals. She was accompanied by Ramona Wilson. Mrs. Morrell chose a generous and rather taxing program. It included " Kreisler transcriptions of a Bach Gavotte, a Paganini Caprice, a Slavonic Dance by Dvorak and a Mozart Rondo. There also were Franko’s transcription of the familiar Scarlatti Pastorale, arrangements of two: Debussy piano pieces, “Le Plus Que Lente” and “The Girl With the Flaxen Hair,” and Cyril Scott's “Gentle Maiden.” All of which left a Bach Adagio for solo violin, the last two movements of Mozart's D Major Concerto and Hubay’s “Zephyr” approximately as they were - written originally for the violin. Mrs. Morrell’s playing was marked by unfailing purity and sweetness of tone, as nearly faultless intonation as one may hope to hear in a violin recital, technical brilliance and sureness, and many niceties of interpretation. The Mozart-Kreisler Rondo was especially delightful in every respect. It was an entirely pleasant * occasion, and the listeners’ approbation was justly deserved. . 2 = = ; Anyone who journeyed K to Cincinnati in Sunday’s vernal sun and showers found an uncommonly rich reward in the piano recital by Artur Rubinstein. : Mr. Rubinstein’s appearance was the second of the College of Music's series in Taft Auditorium. Mischa Levitzki precided Sunday’s artist, and Artur Schnabel, Josef and Rosina Lhevinne and Rudolph Serkin are to follow on March 5 and 19 and April 2. Last year Mr. Rubinstein returned * to the United States after an absence of some 30 years, during which he has won an enviable reputation among European pianists. The pres- - ent tour, judging from Sunday’s performance, finds him at the height of his powers. And these powers scarcely are matched by anyone. Artur Rubinstein is an heir to the great piano traditions handed down by Liszt and Anton Rubinstein, The present Rubinstein certainly deserves to wear that distinguished

NOW (EIIE)

"Lionel Barrymore—Le “YOUNG DR. KIL Jack Benny—Joan |

“ARTISTS AND MODEL

- WE WITH THE HARDY’S” OY Martin “UP THE RIVER” Chapter 1 “FLYING G-MEN”

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|ORIENTAL

TALBOTT

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choices for character parts. The resident company, according © to present plans, will be made up of New York players, while the management -and house personnel will be chosen from Indianapolis residents. Miss Webber has lived in Indianapolis since her retirement from a successful career in light opera, musical comedy and dramatic productions. Florence Webber Productions .is operated on a subscription basis and, for the subscribers’ protection, funds are being held in escrow by a local bank until actual production on the first play is begun.

name. Not only does he possess physical and digital power of an olympian nature, but he plays the piano as though he regarded it certainly as the king of instruments. Much of his program has been belabored by students until it might be called hackneyed: The Schumann “Carnaval” ‘and a Chopin group that included the A Flat Ballade, the Preludes in F Sharp Minor, PF Major and D Minor; the Berceuse and the B Flat Minor Scherzo. Yet he played them as though they were new discoveries, and so they really became, through the magic of his fresh, vital approach and unerring artistic intuition. Besides the music referred to, Mr. Rubinstein played the Bach d’Albert Toccata in FF Major; a suite by the Brazilian Villa-Lobos; Granados’ “Maiden and the Nightingale” and Bartok’s “Allegro Barbaro,” Listening to Mr. Rubinstein, the thought recurred of Indianapolis’ loss in its dearth of recitals by visiting pianists. The city’s piano students are to: be pitied especially, for such consummate playing is a lesson, an inspiration and a revelation

~ Theater Was Heartier “The theater in my early days was heartier, more serious. Audiences demanded the red meat of tragedy and melodrama,” Mr. Byron recalled. “Today the note in the theater is satirical, and acting is real rather than imaginative. It works out all right. In a realistic theater that is the kind of acting that is required, and it is all to the good. “The theater has become more

WHAT, WHEN, WHERE

APOLLO

“The _Plainsman,” with Gary Cooper, Jean Arthur, James Elliso at aL 2: d 10. Th

Crosby, Bob Burns, Martha Raye, Shirley Ross, at 1:12, 4:52 and 8:33,

CIRCLE

“You Can’t Cheat an Honest Man,” with W. C. Fields, Edgar Beren, Charlie McCarthy, at 11, 1:50, :40, 7:30 and 10:20. “Gambling Ship,” with Robert Wilcox, Helen Mack, at 12:45, 3:35, 6:25

and INDIANA

“Gunga Din,” with Cary Grant, Douglas Fairbanks Jr., Victor Mce La len, at 11:10, 1:48, 4:26, 7:04 and

‘March of Time at 1:31, 4:09, 6:47 and 9:25. LOEW'S

“Honolulu,” with Eleanor Powell Robert Young, Burns and Allen, at 1, 1:50, 4:45, 7:35 and 10. “The Girl Downstairs," h Frane chot Tone, Francizka Gaal, Walter S anolly, at 12:30, 3:20, 6:15 and

LYRIC

“Wings of the Navy,” with George Brent, Olivia de Havilland, on screen,

Ruth Page Ballet Postponed Due to Influenza Till March 21

Seats. Now on Sale 418 Guaranty Bldg.

to them, as well as a joy to every music lover.

LI ncoln 9508 .

child,” he says. “While my parents were touring I lived with my grandfather and grandmother in Brooklyn, where I was born. I was sent away to school, mainly to rid me of an Irish brogue, and when I was in my teens my father said ‘nobody seems to be able to teach you anything, so you had better become an actor.” That is-how I started.” His tours since have built a store of theatrical yarns. oo “I remember once touring with John Drew, a fine man whom it was a delight to play with. An actor who did a-bit part, played a butler, said to me, ‘I am going to quit. Thexe is nothing in this acting business. I am going to quit and do imitations of John Drew for clubs and societies.’ : : . “Well, he did quit the company.

and saw a very funny act, aman with his wife. And, sure enough, it

was that bit actor. . And his name was Victor Moore.” oo

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IN DIANA POL 1s WAT ER com PANY

brought it to the public! And what a sensation it caused. It opened at the famed Astor Theatre in New York with little fanfare and hullabaloo, Write to any of your friends in New York. They'll tell you how it’s jamming the theatre (3rdmonth!) The critics were a great help. Just look at some of the nice things they said.

#!Pygmalion’ magnificent!” . =N. Y. Herald Tribune

: o ZA grand show!“ —N Y. Times . |

{Drop everything and rush i see itll —N Y. World-Telegrom

J "Worth seeing twicel’’~N.v.Post ® { “Don’t miss it!‘’—Lovella Parsons

PRACTICALLY EVERY CRITIC IN NEW YORK CHOSE :

“PYGMALION"

on the list of the “TEN BEST PICTURES OF THE YEAR”. But New York was only the beginning, A triumph followed in Los Angeles. Critics and public went wild! It was then presented in a group of eight test cities across America. City after city the same response, a veritable sensation, unique in all ‘the annals of show business. '

WHEREVER IT PLAYS

“PYGMALION“

is the talk of the town! People quote its clever lines — they see it again and again. Frankly, we're absolutely certain you'll enjoy it too — and not merely enjoy it, but i GO CRAZY ABOUT ITI IT’S JUST THAT SORT OF THING!

SPECIAL PREMIERE THURSDAY