Indianapolis Times, Indianapolis, Marion County, 16 July 1948 — Page 12

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By ERSKINE JOHNSON HOLLYWOOD, July 16 — “Mr.

triangle — William Powell, his

Sample Nunnally Johnson dia-

the meaning of modesty to her. After much groping he settles on: “Modesty is something that if you haven't got people get shocked.” » n ” MOVIE THEATER attendance is still way off, despite a flood of good pictures in recent weeks. It’s obvious that people are stay-

are too high and that Hollywood needs a sales campaign to get them back into the habit of regular attendance. Proof that thé high price of tickets is the big reason for a slumping boxoffice was demonstrated in Chicago. A theater chain cut the price in half. Grosses increased 50 per cent within 48 hours.

jof high operating costs and Hol-

! the part, as does on the air.

shelf at Warner Brothers for a { rewrite. Lou Edleman will pro|duce, . . . Off casting? A Mexican mule playing an Irish donkey in ‘a scene with Doug Fairbanks Jr; for “The O'Flynn.” . . . Warner Brothers has writers working on ia remake of the old Dick PowellRuby Keeler hit, “Flirtation

t the exhibitors scream that they can’t reduce prices because

lywood is screaming that production costs are in the clouds. You figure it out. ¥

» ” “Mr. Blandings Builds His Dream House” has been booked into 49 veteran hospitals around the country. It's in line with David O. Selznick’s policy “of mot forgetting the vets. . . . Foggy Wiliams, the weatherman character on the McGee-and-Molly air shows, is headed for the screen via a Ul short. Gale Gordon will play

. ” n” “THE EDDIE CANTOR STORY” has been taken off the

Walk.”

IU Students Again Prove Talent in ‘Down in the Valley’

By HENRY BUTLER Times Staff Writer

—Indiana University’s School of Music last night gave another demonstration of what students] can do in opera with expert direction. Before a near-capacity house in the IU auditorium, Dean Wilfred Bain’s young singers and instrumentalists put on Paul Hindemith’'s musical farce, “There and Back,” and the pre-

opera, “Down in the.Valley.” The greatest merit of “Down libretto: by Arnold 8

night and acknowledged deserved applause, has written an

known folk song from which the opera derives its title.

Close to the Heart

Thomas Bouche, a prosperous, villainous and drunken rival, in

dance.

up to the law and death.

ily impressive.

even help move some of the economical scenery.

ic BLOOMINGTON, ind., July 16

miere of Kurt Weil's one-act

in the Valley” is its simplicity. With an admirably expressively yj, It's a wonderful little mu-

The story is the tragedy of Brack Weaver, Alabama country lad, who loves and is loved by Jennie Parsons. Brack kills

He uses a chorus, Greek tragedy fashion, to comment on the rant, and This Is It.

OPEN SUNDAY EVENINGS action. ~The chorus mempersi|ogy § Noble St. MA. 8834

from her lover. He then non-

absurd effect. And all this -business is accompanied by some pretty Hindemith music| played by’a largely wind-instru-ment ensemble . spanked into rhythm by three pianists on two

“There and Back” will be repeated Sunday at the Indiana Author's Day luncheon down at

rIgical gadget which deserves a

Mr. Weill, who was Present last| oy 1a review.

New, Young, Vital

extended treatment of the well] Principals were Louise Herber,

Guymon, Okla., as the frustratedprimadonna wife who sprays her throat before she vocalizes; Anns Weeks, Longview, Tex., who has sung with the Indianapolis Symphony and Philharmonic Orchestras, as the maid (her featherdusting, hip-wiggling routine brought down the house last

a fight at the Saturday night Hight), and Howard Kahl, New Al-

bany, as the pistol-packin’ hus-

Brack is sentenced to hang. On|Pandthe night before his execution,| All this wonderful musical he escapes from jail in Birming-| ham and makes his way back to the valley for one last visit with| Should be seen and heard in InJennie. At dawn, convinced of|dianapolis. After such a satisfy-

Jennie's love, he gives himself|\n8 program as last night's was,

entertainment IU is producing— new, young, vital and full of ideas

you wonder why people tolerate

All this is close to the heart some of the commercial touring of American folk songs and bal- shows we've had in Indianapolis lads—simple, unsophisticated, al-|theaters. most, but not quite, corny. With skillful but unpretentious writ-

ing, Mr. Weill has made his MILANO INN

brief music drama extraordinar-|| In Every Town There ls

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Scenery Simple, Effective In place of ‘elaborate, artificial and cumbersome settings we've learned to expect from the, Metropolitan and other big-time opera, “Down in the Valley” uses a valley picture projected on a screen in the background, plus such accessories as jail bars, a church door and a cottage porch with a bit of fence and a mailbox. Those things, symbolic and sug-

Times Amusement } Clock -

BUTLER BOWL “The Desert Song,” "Romberg operetta, at 8:30,

CIRCLE “Are You With It?” with Donald + O'Connor, Olgas San Juan snd Marana sa at 11:14, 2:30, 5:30

ter From an Unknown Wom an,” with J Joan Fontaine and Louis Jordan, at 13:40, 3:50, 7 and 10:10.

a QUISE The Gre r. Handel,” with misabeun ‘Allen and Wilfrid Lawson, t 6, 8 and 1 ak DIANA “Romance of Nhe High Seas,” "with

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gestive, rather than crudely realistic, plus .excellent lighting and the marvelously directed, vigorous action of the principals and the chorus, give the opera tremendous effect. Ernst Hoffman, conductor, and Hans Busch, stage director, who produced the knock-cut version of “Tales of Hoffman” earlier this year, outdid'themselves in “Down in the Valley.” Mr. Hoffman, who had a largely new orchestra of summer-school students, again achieved - the miracle of getting students to sound like first-rate professionals.

Jack Carson, Janis Paige, Pore and Doris Day, at 12: 3, 3:45, 7 and 10:18. “Blonde lee,” with Leslie Brooks, at 11:20, 2:35, 5:45 and 9

KEITH'S “Anna Karenina,” with Vivien igh and Ralph Richardson, at , 2:45, €:25 and 1 ial »" of My Heart,” with Frank Joh ang : Audrey ay. at 1:20, 85 and 8:40.

LO! EWS “Raster Parade,” with Judy Gare land and Fred Astaire, at 11, 1:13, 3:26, 5:39, 7:52 and 10:08.

LYRIO “1, Jane Doe,” with Ruth Hussey, John a and Vera Ralston, at 11, 1:51, 4:42, 7:33 and 10:2 “Secret Service Investi a. * with nne Roberts ard Lioy Bridges, at 12:51, 3:42, 6:33 and 0's.

. |ensembles you'll ever hear—good,

Mr. Busch seems to have a knack of getting his singing actors and actresses to behave like people and not like the usual operatic arm-flailing screaming orators. Ensemble’ One ‘of Best George F. Krueger, chorus master, trained one of the best vocal

clear tone and plenty of volume. Marion Bell, Broadway star of “Brigadoon,” gave a beautiful performance, both in singing and action, as Jennie. James Welch of Jacksonville, Ill., was splendid

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as Brack, as was Charles Campbell of Dallas, Tex., as Thomas Bouche. Incidentally, the fatal fight between Brack and Bouche was just about the best stage fight I've

2 Aiken, Benton, Ill, wh g and acted so excéllently i

a last night as the guitar-totin leader and narrator.

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ever seen. It made conventional operatic sword - clanking seem sillier than ever by comparison.

Tate of Hoffman,” did a fine!

The Hindemith brief opus, now 20 years old, has many characteristics of its era, A man shoots his wife because she gets a letter

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