The Daily Worker Newspaper, October 16, 1933, Page 5

DAILY WORKER, NEW YORK, MONDAY, OCTOBER 16, 1933 The Lost Shirts H AT WORLD! By Michael Gold ‘Ww: WHO ‘have lost our shirts, may expect to be ordered by the dictator #6 don a brand new one most any day now, perhaps with the Blue Eagle embroidered on it,” writes Bob Brown, the poet and novelist. “Tt will be a hair-shirt of cotton, for we must do our patriotic best in keep- ing the Nation’s cotton ploughed under in support of the price of over- alls.+, ‘sl. we. were offered an optional choice in the color of this coming shirt wwe might select the red hue of Garibaldi’s men and go forth singing the chorus of Hood’s ‘Song of a Shirt’ which took the stitch out of the sidé Of thousands of sweated seamstresses in London nearly a century ago. “Sut red ‘would be a bad influence that might lead to the singing of the*Internationale. Besides, it’s dynamite to ever offer the people a choice. So’ thé Senate will vote the power to the President to make the color selection and this will only add one more worry to his care-stooped shoulders, for.most of the shirt colors are already taken. Khaki color would,never do, of course, for we must avoid the appearance of regimenta- * tionx«It can’t be black because Mussolini picked that prophetic mourning for his own peasants long ago. Brown is out because Hitler has already made:such use of it that it leaves a brown taste in our mouth. “The Blue Shirts of Old Ireland wouldn’t do either, for Portugal has copped that:and Eleanor Blue is strictly reserved for the White House. Perhaps the First Lady of the Land will take the burden of selection when next in New York on an airplane shopping tour. She might snatch time to consult with daughter Dahl, Bernarr McFadden, and the others high- mindedly devoting their lives to Liberty. Together they could be trusted to pick.out the best shade that would suit our complexions. ‘Then we.can tuck in the tail of our shirts once more, get together withthe hand over the N. R. A. sewed over the heart of our new shirt and-shout: ‘Hurrah, America! A-Note on Bob Brown Over the top. Go it, Shirt-tail’.” * ’ * foregoing ‘letter is interesting to me not only for its own sake, but because it is written by Bob Brown, one of the chief wits of the old Masses, He later ran a series of trade magazines through South America, was a stock market gambler, then became one of the exiles who wrote and_drank so nobly in Paris during the post-war years. Many of the old Masses galaxy have turned sour, like Max Eastman, or, smaug, like Floyd Dell, or viciously fascist, like William English Walling. But ‘some of the crowd seem to have improved with age, notably Art Young and Robert Minor, of course. And here is Bob Brown waking up and raising his voice against the Nira drift to Fascism. “Bob Brown always had the most delicious sense of fantasy. Before the First World War it was easy to believe in cani enjoyed kicking all the bourgeois stuffed shirts in the face. own ftles for short stories and poemst he had a good time. ist stability. But Bob He made his But the war sobered him, and brought him down to earth, Hjs recent novel, “You Gotta ,” is a romantic yet accurate report of the wanderings of American “slackers” who had escaped from the world war. We knew then no other way of resisting that war except by going to jail.as a conscientious objector and being a martyr, or crossing the Rio.Grande under the guns of the border patrol. In_the next war, of course, the youth will go into all the armies and organize their anti-war work there. this ‘and fear it. Hitler and all the dictators know Millions of conscientious objectors, drilled and armed, are.a force not to be regarded lightly by any militarist. + Bob Brown suffered from the post-war disease of tourism that afflicted so-imahy of the intellectuals. They hated the fat sordid complacent Ani¢ri¢a of the boom-period. Everything seemed finished: capitalism was to lest forever and breed a race of crass young Wall Street heroes. rope. i realities. he poets thought they'd beat the game by feeding off the old culture But nobody can cheat history, and even the best of them, 's like Hemingway and Glenway Westcott, have lost all sense of the But Bob-Brown has managed to stay alive; witness his . first-pea-shooter against the Nira. Now bring up the Big Berthas, Bob. ‘The.Bob Minor Troop of the Bronx has issued its.own paper, “The Pion- eer Voice.” It is small (only two sides of @ single sheet mimeographed), but it isa fine little bulletin and shows promise. . . . Lucy Pavlowsky of De- troit wants totknow if it isn’t time we) saw Some résults of the work of} Pioneers in the schools. Well; we @o°see sore The other} day we got a letter from Raveli Brod- ‘sky; fofmerly of Brooklyn and now of Chicago,“w student at the John Marshalt- High School. She told us that-her Pioneer troop was preparing for the school strike to take place the next week .. . 1500 students of Raveli’s school and two others struck the next week against cuts in ap- prepriations for schools . . . How about‘some more results. The ‘Finnish Troop of Pioneers in Cleveland went to Chiagrin Falls in a big-Ford truck last week to give a ‘m-of sohgs and poems... They pr hada swell time and so did | people: of Chiagrin Falls... Young Sprouts Squad of San Fran-| cisco decided ‘to do something about the faét. that no news seemed to be| reaching New York from their city. . +} So they’ elected an Always Ready) News Reporter to send news to the New<Piviteer and to the Daily Worker Mauline Troghtenha - porter elected, wants to know if she gets.an ARN card. You certainly do, Pauline .. . Any young reader interested in stamp collecting can write in to the New Pioneer and get a batch to add to his collection or to start a collec- tion. Eugene Debs Jensen, of Muskegan, Mictigan, tells us his father, voted for Debs when he ran for president hut novi vaies for Fo ..+ The Red=Star ‘Troop, Brooklyn, N. Yw ts concentrating on a school . They intend to force the author- ities to continue giving free hot lunches instead of just the milk and crackers they started to give out this term... The NRA affects even school lunches. Jee Johnson, cf Fort Worth, Texas, JIM MARTIN FORGET ABOUT THE TLL DEFEND eaten With Our Young Readers | over, but just beginning . writes to tell us how three comrades, Barlow, MacComb, and Hardy, were arrested for being in an unemployed demonstration, how Barlow was mur- dered by the authorities in jail, and how the workers forced the release of the other two on bail . . . Comrade Johnson adds that the fight is not} . We have| a lot of letters from the Soviet Union from Pioneers who want to corres- pond with American Pioneers . . Stories are beginning to come in in answer to our announcement of a story contest. A Pioneer wants to know if there will be any choice of prizes, because, he points out, if a Pioneer wins the contest he might not want anything as difficult as “Leninism,” by Stalin. There will a choice of prizes. Any book of the same value may be sub- stituted for any of the books that were announced as prizes. Pretty soon we are going to announce the} names of the judges of the contest. Don’t forget to tell your mothers, fathers, sisters, brothers, local John Reed Clubs, etc., about the contest... N.R.A. Every store and shop display Eagles blue in wild array. Mad parade down Broadway eon's shout. che “on4 bray! “Yay for Roosevelt! Hooray! Three cheers for the NRA!” Taxes, strike-breaks are in session, There’s no end to this Depression. All of us already know Roosevelt's NRA’s no go! “Down with Roosevelt,” we say, “Down with the NRA! We eanmat tive ov hay! Wages drop day by day Prices high we must pay. That is our NRA'” Roosevelt and his helpers quake For they know we never fake. This land of ours we mean to take! OUR New Deal WE must make! In that onrushing day We'll need no NRA! MARTHA MILLET. SWELL FELLow- ITS ALIGHT The World of | the Theatre By HAROLD EDGAR | NEW LIFE | After a cloying series of sweet plays. | this department turns with a sense of refreshment #to the copy of “New Theatre,” organ of the Workers’ The- atre of the U.S.A. just issued, and to the “Program of the Theatre of Action” ers’ Laboratory Theatre. The literature of the Workers’ The- atre in this country has the oppor- | tunity at the present moment of mak- ing really original and valuable con- tributions to our general literature of the theatre. Writing about the the- atre on Broadway is almost exclus- ively limited to the hit-and-run re- views of the journalistic chain-gang. | The reviewers, honest énough fellows for the most part, are familiar with ali the minute gossip of show-busi- ness, but are woefully lacking in the most elementary information about. the real theatre. The criticis of the liberal weeklies write more expans- ively and are somewhat more “sensi- tive” but they remain strictly within the confines of a Bachelor of Arts conception of the theatre. And such a monthly as “Theatre Arts, though it has performed a valuable function in its time, is so anxious to please everybody, to avoid polemics, and to escape the dogmatic that it lacks all substantial character. The Workers’ Theatre publications are not bound by the many fears of the bourgeois press and therefore they are in a position to strike out boldly and make new discoveries for them~- selves. An analysis of acting on the Broadway stage from the revolution- ary point of view, for example, though a difficult thing to do, might prove extremely illuminating; a study of | the work of men like Robert Edmond Jones or Lee Simonson, not in the sugar-water style in which most ar- ticles on such subjects are written, bat done with a trenchant Marxian ob- jectivity, would be genuinely instruc- tive; articles on the Stanislavsky sys- tem of acting, on the relation of the- atre organization to theatre art, on the technique of Soviet playwriting, on the history of the proletarian ele- ments in American dramaturgy, on revolutionary dramatists through the ages—all of these subjects and many more would provide excellent mate- rial for renewed investigation. The first issue of “New Theatre” (formerly known as “Workers’ The- atte’) begins promisingly with an- SwWers to a questionnaire on the pros- pects for the American theatre by ‘mown theatre people cluding Sidney How- and ard, Barrett H. Clark, Michael Gold, Albert Maltz, Paul Peters. The ques- tions themselves tend to oversimpli- write! fication in the answer-yes-or-no tra- dition, and the replies suffer as a result. Nevertheless, the idea of such @ questionnaire is a good one, and vhen all the answers have been pub- lished we shall have an interesting document to examine. . . . Mordecai Go) ’s article on scenery is also very much in the right direction. Gorelik is one of the most important scene de- signers in the American theatre and his writing is strongest where it re- fers to actual matters of craft. The more workmanlike it becomes the more useful it is. In general, however, “New Theatre” gives evidence of one serious error, an error shared by many who enter the field of revolutionary culture. On the one hand it proves the need for a workers’ theatre and the inevita- bility of its rise by pointing to the collapse of the bourgeois theatre; on the otmer hand it stands somewhat in awe of bourgeois technique. What |is wrong with this is that it unwit- tingly robs the workers’ theatre move- ment of its own organic and inde- pendent basis. The revolutionary the- atre must develop not because the bourgeois theatre is at its last gasp— he present season thus far has been xceedingly prosperous on Broad- ay—but because it alone has the seeds of life in it, it alone is signifi- cant for the future, it alone proceeds from the creative soil of reality with the aim of reacting on life, enrich- ing it, changing it. Actors, play- wrights, scene designers must come to the revolutionary theatre not be- cause they will go hungry on Broad- way—with the least sign of “recov- : uch as the number of hits now g, this argument loses some of its validity—but because the whole set-up of the Broadway theatre leads inevitably to artistic sterility and death, More important still, the proletariat creates its own needs, its own “fo orce, its own objectives which the bourgeois theatre, even if its 2% were better, could not satisfy. Finally, the Broadway theatre, like many of the overnight wonders of e»nite'-+ society, is a fully grown fruit fwaich gives very little nour'shmen, its bourgeois audience, or, to put it more accurately, the Americy; **-- atre is weak even from any sound standards of bourgeois art. That is why, though certain things can be learnt from it—it has its talented craftsmen—its technique should not be taken as final in any sense. The Moscow Art Theatre before the rev- olution was a bourgeois theatre, so were the theatres of Meyerhold, Tai- rov and others, but many of our suc+ cessful theatres reveal a stagecraft that, aside from sheer mechanics, is childish from any legitimate artistic standards. Much of the direction of O’Neill’s “Ah Wilderness!”, for ex- ample, is amateurish, and there is hardly a moment of genuine acting from one end of “Sailor, Beware” to another. This means then that the workers’ just received from the Work- | "WOMEN’S COURT sine? ban | ‘HE district attorney twirls one end| of his watch chain. He is fidgety. | His short body moves constantly,| are shown to the court as evidence | nervously. His trousers always seem | about to drop. One chubby hand fills his pants pocket when he speaks. | ‘The other is poked into the face of the defendant, adding terror to his snapping questions. Around his bald | head there is just enough hair to) form a horseshoe. His head seems| enormous—like a balloon on top of a bottle. His face is pasty, pock- marked; his eyes bulge through thick glasses. One suspects that the dis- trict attorney did not obtain his job by virtue of his personality. Only Tammany knows his charms. The judge is robed in black and, as protection against the poor light- ing system, wears a green eye shade. | His face is handsome but pale. He looks tired and yawns gracefully, tapping his palm against his half- open mouth. A soft voice, cultured, speaks with unfaltering- assurance. | The words sound as if they come| from the pulpit of a church. Yet) there is something steely, firm, ada- mant, beneath his ingratiating smile. The women fear him as he probes. Lakes of tears fall before him, but he queries coldly, as if with a knife, opening the guarded secrets of the defendants. And the defendants are loaded with secrets. In this court the cases deal with prostitution. The girls are hard, made rough in the manhandling of a wretched life. They have tasted the bitter gall of poverty, of an un- sympathetic world. They were nur- tured on lies, deceit, betrayal. So one must not wonder at their cynical behavior, at their feeble and some- times childish attempts to vindicate themselves. Their lies are their only defense in a society that created them and simultaneously punishes them. These girls must prowl like thieves, and hide like hunted animals. Their faces are twisted, coarse— carved by the system's brutal hands. When caught plying the only trade available for their livelihood, they are brought into the women’s court. There they face a judge and a dis- trict attorney who have nothing but contempt for them. The court is not conzerned about their hardships. It is too callous for that. It is only interested in certain facts that either convict or free the prisoners. It does not describe cures. It punishes. The judge knows, after years of experience, how the girls try to wriggle out of their guilt. Their tes- timony crumbles beneath the savage thrusts of the district attorney. They are helpless victims, the few caught in the law’s clutches because they were not “clever” enough to pay for protection. Every word the girls utter is damning to themselves. The judge taunts and jibes, makes them appear foolish. The girls writhe in a mael- strom of contradictions. Case after case brings a verdict of guilty and a prison sentence. The procession is endless. The judge’s calendar is al- ways full. The prisons are jammed. And the world outside seethes with potential victims. . * (OT all the girls who are brought to trial are guilty. Many are un- justly arrested, framed. This day in Women’s Court, a ticklish case (for the court) comes up for trial. The defendant is a Negro girl. She is accused by detectives of having been half-naked ‘when they entered her apartment. “Marked dollar bills that she accepted money from them. The detectives talk glibly. They are Scurvey vice squad sléuthes, “The first question’ I asked her was ‘how much’ says one of them. “What a question sto ask—even be- fore you enter her apartment: the defending attorney lashes out. “You come to catch someone and you'd do anything to succeed!” The district attorney builds up the case, showing the judge “clear proof” of the girl’s guilt. “You say you saw the lower part of her body and it was naked?” the defending attorney "asks one of the! dicks. “Well, how Jong did you look at her while she was in that naked condition?” | Theatre Union to Give First Play Here Next Month) NEW YORK—A new theatre, which will produce working class plays at prices within the reach of workers, is about to open in. New York. “Peace on Earth,” a powerful anti-war play, will be presented,..by the Theatre Union in November. It was written by George Sklar and Albert Maltz, whose “Merry Go Round” was nearly suppressed by Tammany Hall because of its exposure of civie corruption. The play is now in rehearsal. Its unusual setting has been designed and built by Cleon Throckmorton. The Theatre Union is organized on a broad basis and has the support of trade unionists, revolutionary or- ganizations, and .of many authors. playwrights and directors. It plans to produce plays that meet Broad- way standards of technical excel- lence; its company is composed of professionals, most of them with working class experience. It will dif- fer sharply from the- Broadway stand- ard of “entertainment’—sex dramas, mystery stories, drawing room come- dies. To quote from the Theatre Union program, it will “dtamatize the sig- nificant aspects of «this period in which we live. The’Pheatre Union is not guided by reigning social stand- ards; neither does-itvaffect an unreal Olympian detachment. Its point of view is the only oné which offers a constructive guide—the interests of the great masses of the people, the working people, the: workers as a class,” 2 The second play;-im- the Theatre Union will be “Dr;-Mamlock’s Es- cape,” an anti-Nazi play written from his personal experiences by Friedrich Wolf, now in exile in France. Wolf is one of the best known proletarian playwrights in Eufopé. The Theatre Union also expects to produce his “Sailors of Catiaza,”Swhich won a prize at a Spartikiage f Moscow, and “Wharf Nigger,” by Paul Peters, All its productions will have low admis- sion prices with many 30 and 60 cent seats. Executive and :Advisory Board members of the Theatre Union in- clude Joseph Freeman, Manuel Go- mez, Paul Peters, Charles R. Walker, Liston M. Oak, Sherwood Anderson, Countee Cullen, H.°W."L. Dana, John Dos Passos, Rose McClendon, John Howard Lawson, | Lewis Mumford, Sidney Howard, Elmer Rice and others. TONIGHT’S PROGRAMS WEAF—660 Ke. 7:00 P. M.—Charlie Leland, Male Quartet Billy Bachelor—Sketch o—Lum and Abner 5—The Goldbergs—Sketch 8:00—Dramatic Sketch 8:30—Floyd Gibbons; Young Orch. 9:00—Gypsies Orch.; Frank Parker, Tenor 9:30—Ship of Joy, With Captain Hugh Barrett Dobbs 10:00—Eastman Orch.; Lullaby Lady; Gene Comedian; Arnold, Narrator 10:30—Jules Lande, Violin; Morton Bowe, ‘Tenor 11:08—Scott! Orch. 11:15—Jesters Trio A. M.—Meroff Orch. ci Daan WOR—710 Ke P. M.—Sports—Ford Frick 5—News—Gabriel Heatter 0—Terry and Ted—Sketch 1:45—The Fusion Campaign — Bainoridge Colby 8:00—Detectives Black and Blue—Mystery Drema Billy Jones and Brole Hare, Songs Variety ‘Musica 0—Dennis and Reis, Songs theatre, by keeving its own true ends clear to itself, can, without succumb- ing either to an abstract disregard of the bourgeois theatre or of an equally blind envy of its technical competence, lay the foundations of a really healthy, mature, complete theatrical art in America. This is the arduous, thrilling, essential task that the various workers’ theatres, and “New Theatre”: as their-organ, should set for themselves. In the meantime, we welcome it again as a'sign of new life, 12:00—Holst 01 9:45—The Whitch’s Tale :15—Current Events-—Harlan Eugene Read 10:30—-Alfred Wallenstein’s Sinfonietta 11:00—Weather Report 11:02—Moonbeams Trio 11:30—Robbins Orch.«% SDRC Andy Hi Wi” 7:00 P. M.—Amos 1:15—Bady Rose 7:30—Golden Orch.; ..S2y ieCoy, Sopra- no; Betty Barthel ‘Songs; Sports Talk —Grantland Rice 8:00—String Symphony, Black 8:30-—-Potash and Perlmutter- Sketch 8:45—Red Davis—Sketeh™ 9:00—Minstrel Show 9:30—Pasternack Oreh.; ‘Phil Duey, tone 10:00—Sanford Orch.; ‘Gloria La Vey, S0- prano; Fred Hufsmith, Tenor; Theodore Webb, Baritone; Stone and Smolen, Plano 11:00—Leaders Trio 11:15—Poet Prince 11:30~Hahn Orch. 12:00—Bestor Orch. 12:80 A. M.—Gerson Oveh” WAB c—860 Ke. 7:00 P, M.—Myrt and Marge 7:15—Just Plain Bill--Sketch 7:30—Travelers Enc-i'ls ” 1:45-—News—N 8:00—Green Ore! Harriet Les, b 8:15—News—Edwin © 8:30—Bing Crosby, Son: Tou Raymond, ‘Songs “Direction Prank Barl- Men About Town Trio; Hayton Oreh.; 9:00—Agnes Moorehead, - Comedienne; Bhilsret Orca, i :15—Kate Smith, Songs * 9:30—Gertrude Niesen, Songs; Lulu Me- Connell, Comedienne; Jones Orch. 10:00—-King’ Orch, 12:00—Belasco Orch. _ 12:30 A. M.—Rapp Orch. 1:00—Hopkins Orch. “The Judge Is a Swell Fellow” BESIDES, ONLY REDS USE TOE I.LD, Gotta OFFENSE, SUST| MPLE. VE ae BE CAREFUL You WELL, Sim! TouESST Wow USE THE TLD. waat ABouT You? “About a minute,” the dick replies. “Are you sure it was a minute?” interrupts the judge. [tyes “Take out your watch,“ the judge | orders. “Look at it. Watch the | second hand go around until the minute is up. Then let us know if| | it was that long you looked at her.” | The court is silent. Nobody moves | All eyes stare at the detective sitting in the witness box. Sixty seconds pass—slowly, too slowly to give cred- | ence to the story. do you still think | “Well, it’s a minute?”, the judge asks. |. "Sen" | “And she said nothing?’ “Yes.” At this juncture the defense at- | full minute, did you notice any scars | on the girl’s body?” “No.” The attorney thereupon calls for a woman court doctor who had ex- amined the girl's body, to testify | She walks up to the witness stand, | raises her right hand, and the judge | so help——” “Are there any scars on the girl's body, any visible scars?” the defense attorney asks, “Could anyone see it easily?” “Yes,” “Is it a recent scar?” “No.” “That's all!” the lawyer snaps, feeling he has scored a decisive point. district attorney looks discon- certed. The doctor has dealt a nasty wallop to the whole structure of his case. Imagine dicks looking at a girl for one full minute while} she was undressed and missing the sight of a very large, obvious scar. The ratty smell of a frame-up be- gins to loom around the case. The district attorney sums up the facts for the judge. His short legs walk up and down. He turns casu- ally, here and there, as he speaks. He tries to attain poise, whilst his mouth emits poison. After all, a prosecuting attorney must prosecute, even in the face of the most inno- cent. “You are aware, judge, that pris- oners haye deliberately scarred them- selves in jail in order to win a point in their favor. Couldn’t it be-——” “But,” interrupts the attorney, “the doctor says the scar is not re- cent!” The district attorney looks perturbed, half-defeated. He has heard every word the doctor said. His ears and memory are well trained. It’s his business to be alert. through some loophole, spring some trick to heave the defendant behind prison bars. He tries often, but fails. “Your honor, you must also con- sider that human beings are fallible. It is possible to overlook the scar) in this situation.” His plea is feeble. The rest of the testimony is too; trumped-up, too flimsy; not even the judge believes it. The judge seems eager to drop the case. It echoes the doings of the recently exposed vice squad. No use fooling with it. “Not guilty,” the judge concludes. en ek (PON leaving the court, one begins to wonder dbout all the cases of the day. One wonders about a lot of things, about these cases of pros- titution and the way they are | “solved.” The problem of why girls | have to enter the “profession” is | never aired in the Women’s Court. It appears that no judge has ever heard of our four-year crisis. The court still asks girls if they are em-| ployed, and if they are not, a major} | point is scored against them. | When ultimately found guilty, the | girls are put in prisons that are schools of crime. There they learn about gun-molls and dope fiends, racketeers and degenerates. When released, they have any of these al- ternatives to choose from. For the crisis still keeps them unemployed. They are ever hounded by the vice squad and parole board. Their prison records, ‘ike whips, drive them out of decent channels of livelihood into the slums and hellish sewers of society. Young proletarian daughters, their homes smashed By the crisis, hurled into poverty and unemployment, are forced to give their bodies for the price of food and shelter. Nobody has yet taken statistics of the increase in prostitution during the crisis. They are not easy to ob- tain. It is an undercover trade that has always thrived in capitalist so- city, and one can only guess how big the trade is. Today a safe con- jecture would be that the economic conditions of our country in the past four years has more than doubled the profession of prostitution. An examination of the Women's Courts, not to speak of the increase in street “oliciting, would greatly substantiate this guess. | For contrast in treatment of pros- titution, it would be good to look at the Soviet Union. cial evil is practically eradicated. The few prostitutes that still exist and are incurable, are sent to sani- tariums, not to prisons of torture. The others now develop in the sun of self-respecting, useful work. Thus, “the oldest profession” in history has been torn up by its roots in a land that has destroyed capitalism. by QUIRT T HAVEN'T aANYouwE ELSE 50 1M Goana siick TO THE TL O A WIN LOSR OR ORAW! Da | torney asked, “and having looked one| mumbles “promise to tell the truth, | “Yes, a large scar on the thigh.”) | But it is also his business to lunge | There, this so-| — Page Five Baltimore Workers School to Open on Thursday, Oct. 19 BALTIMORE. | School of Baltimore | second season on Thursda; »| One of the outstar | its fall term will be a class des | with: “The Communist Position | the Negro Question,” to be H, Williams, section organ: Communist Party. be on “Principles | “Leninism,” “Trade “English for Wo competent ins All classes will be given on Thurs- day evenings, between 7:30 and 9 p. m., from Oct. 19 to Jan. 11, at 1206 East Baltimore St. There will also be a branch’ school |at 418 Druid Hill Avenue, where “Principles of Communism’ nd “Negro Problems” will be gk e Workers School Committee invites members of all sympathetic organi- | zations to attend these classes. MUSIC Proletarian Music on Program At Orchestra Recital At New School Tonight NEW YORK —The American Chamber Orchestra, under the direc- tion of Bernard Hermann as guest conductor, will present a program of works by members of the Young Composers’ Group at the New School for Social Research tonight at 8:30 o'clock, The program consists of works rep- ern American music: dissonant har- monic style by Henry Brant; Lehman Engel; dissonant polyphony by Bernard Herrmann and Vivian | Fine; proletarian music by Elie Sieg- meister and Lahn Adohmyan, and deified Broadway show music by Jerome Moross. The guest artists on the program are Betty Lasley and Henry Brant, pianists, and Charles Haywood, tenor. Chicago Opera Company To Present “Aida” Tonight “Aida” will open this week’s sched- ule of operas at the Hippodrome this evening. Other operas to be pre- sented by the Chicago Opera Com- pany this week include “Rigoletto,” on Tuesday; “La Gioconda,” Wed- nesday; “Carmen,” Thursday; “Cav- alleria Rusticana” and “Pagliacci” on Friday; “Aida,” Saturday matinee and “Tl Trovatore’ on Saturday night. WHAT'S ON Monday JOHN REED CLUB SCHOOL OF ART FALL TERM starts Oct. 23. Day and eve. classes in lfe drawing, painting, Presco, | Sculpture. Poster, Political Cartooning, Lithography, under Minor, Gellert, Loso- wick, Refregier, Dibner and other promi- nent artsts. Office open for registraton this week from 2 to 4 p. m. Address: 430 Sixth Ave., New York City. ei tac LECTURE ‘Soviet Work Under the Sec- ond Five-Year Plan.” Speaker, Alfred G. Morris. Russian Christian Home, 120 Glen- more Avenue, Brooklyn, at 8:30 p.m. Aus- pices, F.8.U., Brownsville Br. . Cea. REGULAR Membership Meeting, Down- town Br., Anti-Imperislist League. Rep. from Porto-Rican Anti-Imperialist Associa- resentative of the tendencies in mod-| and} Stage and Screen “The School For Husbands” Opens Tonight At Empire; “Ten Minute Alibi” Tuesday and Lawrence the the s headed by June Bartlett, | Osgood eldman and Doris Hump! md Rick- ett has arranged a special music score. Ten Minute Alibi,” a mystery drama by Anthony Armstrong, will have its premiere on Tuesday night at the Ethel Barrymore Theatre. Bramwell Fletcher, John Williams, Daphene Warren-Wilson, Oswald Yorke and Sebastian Braggiotti are in the cast. “Keeper of the Keys,” a melo- drama by Valentine Davis, will open Jon Wednesday night at the Fulton Theatre. he play was adapted | from the novel by Earl Derr Bigger. | The leading players are William Har- |rigan, Robertta Beatty, Dwight Frey and Ruth Easton. Mordaunt Shairp’s play, “The Green Bay Tree,” by Jed Harris at the Booth Theatre |on Friday night, with O. P. Heggie, James Dale, Jill Esmond and Lau- rence Olivier heading the cast, “Let "Em Eat Cake,” a musi comedy sequel to “Of Thee I Sing, with book by George S. Kaufman | and Morrie Ryskind, and ‘music and lyrics by George and Ira Gershwin, | will have its opening on Saturday | night at the Imperial Theatre. The cast includes William Gaxron, Victor Moore, Lois Moran, Florence Ames and Dudley Clements. will be presented | “Faust” Heads Stage Show At Radio City Music Halt | Gounod’s “Faust” is the principal musical number on the stage show at Radio City Music Hall this week, Specially arranged by Maurice Baron, leading arias from the opera will be played by the Symphony Orchestra lunder the direction of Erno Rapee, and sung by Viola Philo, soprano, Jan Peerce, tenor and the choral en~ semble. Other items on the bill in- clude “Chandeliers,” with Douglas Stanbury and “Jewels,” a ballet. The film feature is “The Private Life of Henry the Eighth,” starring Charles Laughton. “3.0.8. Iceberg,” whieh ran for three weeks at the Criterion, is the current attraction at the Cameo Theatre. tion will speak on Porto-Rico at 33 East 20th Street. | _ 2. LOUIS ENGDARL Workers Club, Mem- bership Meeting and Lecture, 3092 Full Avenue, cor, 204th &., 3:30 p.m. A. Struuch will lecture on the “History of the Beginning of Socialism.” . 8 : Tuesday DANCE, Entertainment for Daily Worker at 316 ita St. Brooklyn. Auspices, Unit 1, Bee. ‘ * Newark, N. J. REBEL DANCERS Meet Every Monday st 7-8 pm. at Greenwich Studio at Market Street. All those interested in the revo- lutionary dance are invited. Small fee. For information call Waverly 3-9320. oe ee Boston, Mass. DR. ALICE HAMILTON on Germany. John Reed Club, 825 Boylston Street. Adm, 15 cents. Monday. AMUSE MENTS THE THEATER with GEORG! GUILD THEATRE | EMPIRE THEATRE EUGENE O'NEILL'S COMEDY AH, WILDERNESS! bend St., MOLIERE’S COMEDY WITH MUSIC THE $CH OOL ror HUSBANDS Adapted in rhyme by ARTHUR GUITERM AN and LAWRENCE LANGNER Musle by EDMOND W. RICKETT Broadway and 40th Street. Matinses GUILD Presents E M. COHAN West of Broadway. Evenings 8:26. Matinees Thursday and Saturday 2:20. Evenings 8:30 Saturday, ‘Thursday and “4 Stars, A New Last 3 Days asterpic THE P With Narrative Dialssue in ADDED ATTRACTION STRATION IN ‘JOAN of ARC 9— SOVIET YOUTH DEMON. ce In Sound’'—Daily Ni ASSION OF English LEN INGRAD \ ACME THEATRE inion savant | HNION SQUARE | 15.2" RADIO CITY MUSIC HALI— SHOW PLACE of oa marion Direction “Roxy pens AM. “ThePRIVATE LIFE of HENRY the 8th” with Charles Laushton and a great cast and a great “Roxy” stage show %5e to 1 p.m.—dSe to 6 (Ex. Sat. & Sun.) BEKO Greater Show Season 8 pages. Increase your bundle order for Saturday! On Saturday the Daily Worker has | i Basha Jefferson \t 8. 4 | Now KAY FRANCIS pad ery TALBOT ee “MARY STEVENS, M. Also “DEVIL'S MATE” with PEGGY SHANNON and PRESTON FOSTER | JOE COOK in HOLD YOUR HORSES ‘A Musical Runaway in 24 Scenes Biway & 50th St. Evs. 8:30, Mats, | Winter Garden Thursday and Saturday at i omruaes Meet ar BRONSTEIN’S Vegetarian Health Restaurant ‘58 Cleremort Parkway Brom | Garment Section Workers Patronize Navarr Cafeteria 333 7th AVENUE Corner 28th St. CULTURAL 2»EVERAL GOOD APARTMENTS Lexington Avenue train to White Plains Road. Stop at Allerton Avenue Stal Tel, Estabrook 8-1400—1401 Workers Cooperative Colony 2700-2500 BRONX PARK EAST (OPPOSITE BRONX PARK) has now REDUCED THE RENT ON THE APARTMENTS AND SINGLE ROOMS Kindergarden; lasses for Adults and Children; Library; Gymnastum; Clubs and Other Privileges NO INVESTMENTS REQUIRED Take Advantage of the Qpportunity. ACTIVITIES & SINGLE ROOMS AVAILABLE Office open daily Friday & Saturday Sunday 9 am. te 8 pm 9 a.m. to 5 p.m. 10 am, to 2 pm.