Indianapolis Times, Indianapolis, Marion County, 12 February 1942 — Page 13

THURSDAY, "FEB. 12, 1942 _

riatin' ton *\V'© to Open

*» Murder

Given Leads.

| Starring Fanchon Fattig and R. | Kirby Whyte in the title roles, [“Mr. and Mrs. North,” a comedy about murder, will open tomor-

row night at the Civic Theater and play through next Wednesday. T h e drama was adapted by Owen Davis from the New Yorker maga- . . zine stories writMiss Fattig ten by Richard Lockridge, New York Sun critic, the same stories which Mr. Lockridge and his wife later incorporated into a book, “The Norths Meet Murder.” Mr. and Mrs. North come home to their Greenwich Village apartment ‘one October night, and upon going to the liquor cabinet, find not only that but also a corpse. Presently | the" police arrive. Mr. North, a harassed young pub- | Iisher, finds the cross-examination plainly boring but his wife is excited by it all and, gabby person that she is, implicates one {of her peculiar | friends. Kermit Arnold will be seen as Lieut. Weigand and William H. Cook as Detective Mullins. {Others in the hcast include Harold Arnholter, Diane {Harry Latham Jr., Betty Peffer,| | James MecDaniels, Leslie Aye, Paul] McNamara, Harry Eller, Harry| Wade and Kenneth Badger. Richard Hoover directed.

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be “The Wolf Man,” and Warren William.

The other feature will

RECORDINGS

By Fremont Power

Liszt: “The Mefisto Waltz”; conducting (Victor).

the Boston Orchestra, Serge Koussevitzky

Like the composer's own life, the music of Franz Liszt is a colorful,

| turbulent, at times voluptuous affair. This second from “Two Episodes

| From Lenau’s Faust” is a rather good example. | There are “quiet” periods of solo passages which forebode more climactic events to come—and when they come we find a good deal of

| sky-Korsakow’s opera, Trago,

| spends a brilliant, pliable tech- | {| nique on music that | bright and delightfully unimpor- | | tant. Mr. Slonimsky writes in the | that Chabrier's |

| program notes | shake all his hair out some day

the satanic element in them.

The album is comprised of two records, with an excerpt from Rim-

side. The Boston Orchestra, as

usual, pours the music out richly, |

with room both for sternness and soft sentiment, as the occasion may require.

Chabrier: “Trios Valses Roman-

tiques”

bia).

The brilliant Casadesus duo

| waltzes were born in a time be-

| tween Schumann and Ravel, but | i it seems that the composer was |

{ a little uncertain as to which way | he was heading.

| to him directly Kane Richmond * ‘POUBLE CROSS" i

{ performance, Mr.

There is an engaging crispness |

hi usic—and at times a solid | Se Juid gue | bouts. By repeating a simple little

| phrase and giving it the variations | Walton: Concerto for Violin and |

boredom.

Orchestra; Jascha Heifetz, violinist; the Cincinnati Orchestra, Eugene Goossens conducting (Victor).

Finished in October of 1939, Mr. | | Waltons concerto was dedicated , to Mr. Heifetz. But because the | composer is devoting his services

England, he was | : | lent accompanying ensemble. The

to his country, unable to hear a performance of it until this recording was flown

presses. Though a recording will never suffice for an actual, in-the-flesh Walton never-

| theless must feel gratified over the | playing of Mr. Heifetz, and also

| of the Cincinnati Orchestra under |

Mr. Goossens’ hand.

There is a hard glitter in the | | concerto, which Mr.

| to admire so much. Too, there is

| a brief melodic episode which finds a |

|

in the third movement , ready place in the memory. Mr. Walton sticks to solid harmonics, fetching rhytams and brief scintillating cadenzas — all the time allowing no thematic statement,

| once put forth, to go unresolved. | | The concerto is of about “aver- | | age” length—six sides—and there

are three movements: Andante tranquillo, presto capriccioso (with Mr. Heifetz displaying great amounts of his digital agility) and vivace. On first hearing, it impresses this reviewer as good, not great, music.

Singles

THE PHILADELPHIA Orches- |

tra, Eugene Ormandy conducting,

| makes the waltz movements from

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THE E Anu ABOUT EARL HARBOR. = ACTUAL SCENES!

"Oh,

Richard Strauss’ “Der Rosenkavalier” light and fluidal, while the Boston “Pops” Orchestra, Arthur Fielder conducting, comes forth with a couple of light numbers: Susannah!”

Victor label.

Of a vocal nature there is the | Passover scene of

Halevy's

{ Juive,” Act II, wherein Jan Peerce.

22¢

the rising New York tenor, displays his clear,

Victor Orchestra, Wilfred Pelletier directing, with the solo soprano

{ role taken by Dorothy Sarnoff. It’s

an attractive Victor item.

Gift.” from Verdi's “Don Carlos.” and ‘Thanks Unto Thee, Angelic Voice,” from Ponchielli’s “La Gioconda” (Columbia). Igor Gorin, baritone, is in full legato voice (which he unfortunately never seems to be for his Indianapolis appearances) in “From the Immortal Summit,” from Verdi's “Attila,” and ‘Lift Thine Eyes.” “Queen of Sheba.” The fact is. Mr. Gorin sounds very good, which may be a surprise to those who have heard him fight a sore throat

“The Invisible City of Ketezh,”

on the fourth

for two pianos: Robert 3 n and Gaby Casadesus (Colum- |

is witty, |

from the RCA |!

Heifetz seems | : ‘ | “Cielito Lindo,”

and the well-known Indianapolis smog in his performances here the last two seasons. Leonard Warren’s baritone is well handled, but there is none too much vocal life “Sparkle, Diamond,” from Offenbach’s “Tales of Hoffman,” and “Even Bravest Heart;” from Gounod’'s “Faust,” Act II. Both are Victor releases.

# z ”

In Lighter Vein

Gene Krupa (Okeh), who may

the way he plays those drums, gets the honors of the day with “Ball of Fire,” the title of which

comes from the Barbara Stanwyck movie currently on view herea-

treatment, Gene scores a solid hit. The backside presents a hushing lullaby, “All Through the Night,” also from the movie of that name. Second in the parade is honeyvoiced Ginny Simms (Okeh), who warbles in “Someone’s Rocking My Dream Boat.” There a clever change of pace in the middle, with some hot work by the excel-

THE INDIANAPOLIS TIMES

flipover, “Sometimes,” is not far behind. | Benny Goodman (Okeh) gives | “Somebody Nobody Loves” just the right bounce with his clarinet and his new vocalist. Art London, sounds slightly like Frank Sinatra in “Let's Give Love a Chance.” Deanna Durbin’s voice (Decca), accompanied by Victor Young's orchestra, comes out clearly and appealingly in “Estrellita” and both sung in Spanish. Miss Durbin lacks only the added “fire” that makes for top-notch singing. |

FOX:

ENGLISH—ToniGHT, 8:30 ALSO FRI. & SAT. AT...

Disney Tax Film Shown

It's Here at 3 Theaters, But

Who'll Pay?

THROUGH the courtesy, it appears at this moment, of no one, Donald Duck will be cavorting on the downtown screens next week in a new cartoon called “The New Spirit.” It opened at Loew's yesterday and will start at the Circle and Indiana tomorrow.

This is the one Walt Disney ripped off in six weeks for the Treasury Department, the idea being that Donald show the American populace how to pay the Federal income tax with a smile. The U. S. House of Representatives, however, didn’t catch the“ new spirit” so quickly. Already purple in the face over the hiring of a rhythm dancer at $4600 yearly as a “defense” measure, the legislators said they'd be hanged if they'd pay Mr. Disney $80,000 for Donald Duck. All of which leaves the Treasury Department with an unpaid bill on its hands, Mr. Disney with a headache, and the theater managers pleasantly amused. The film costs the theaters nothing, and the audiences like Donald. Maybe Mr. Disney can deduct the $80,000 from his income tax—

Comes to Fox

Beverly Lane, with Bimbo Davis and Al Pharr as comedians, heads up the new stage showing opening tomorrow at the Fox.

without a smile.

Gable Left All In Carole's Will

HOLLYWOOD, Feb. 12 (U. P.).— The will of the late Carole Lombard, killed in an air crash last month, has been admitted to probate in a brief and routine procedure. Her entire estate was left to Clark Gable, her actor husband.

Give YOUR child same expert care used when

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