The Daily Worker Newspaper, October 25, 1933, Page 5

WH AT WORLD! = By Michael Gold FP a brief memoir 6f'Horace Liveright a little time ago I said something to the effect that-there wasn’t a publisher in New York who possessed integrity (International Publishers, of course, excepted). I have received some indignant replies to this careless statement. So to explaifi; Jet us discuss the word integrity. DALLY WOKKHR, NEW YORK, WiUNeSDAY, The World of the 'Theatre By HAROLD EDGAR The Artef and Others The Artef—the only Jewish work- ers’ theatre in America—is present- ing Saturday and Sunday nights at the Hecksher Foundation (Fifth Ave. and 104th St.) a translation by Mois- saye J, Olgin of “The Third Pa- rade,” a drama of the Bonus March, by Cherles Walker and Paul Peters. As the Artef has produced a great- workers’ organization in New York, and has built up a permanent com- pany and something of a permanent The finest essay written by the vacillating bourgeois poet and statis- tician, Stuart Chase,is, I believe, the one titled, “The Luxury of Integrity.” I have -no:copy of this essay by me, but I can remember its stirring thesis. Stuart Chase maintained that amongst the bourgeois intellectuals and brain workérs ‘there Was a race for luxuries. They had been psychologized into wanting and: “working for slick cars, and fancy apartments, and swell prep schools for their children, and smart cockta*’ parties, and Paris ) ~ dresses, and the like,.ad infinitum. | The women of the tribe were the ones to bludgeon and nag the males into this’quest. The mten resented it at times, yet felt their pride was in- volved,. and tried ‘to.thake good. (This was all before the bottom dropped out of the bourgeois world and Stuart Chase's slick bourgeois philosophy.) Anyway, each bourgeois felt that he must provide every luxury for his family, The @he“lexury he could not afford was the simple one known to animais, lovers,"ahd Communists, viz.: the Luxury of Integrity. The bourgeois doctor, lawyer, executive, college professor, et al, might even- tually earh fine’ metor cars and country homes, but he could not afford to speak the Truth as he saw it. This was the great luxury he denied him- self, and it, was the want of this luxury that had ruined his character and made’ bim-an anemic cad, self-scorner and neurotic. Thus spake Stuart Chase! What Is‘Truth? UTH,, one’s own sacredly-felt truth, the truth for which one is ready ‘to die, (or more Wesdtul) the truth for which one is ready to go ragged and poor! The bourgeois World had even found a phrase with which to defame those who were still healthy enough to feel strongly about Truth; the man who allowed himself,the luxury of integrity, the man who spat at the weasel words and click. compromises and bourgeois evasions, he was called a Fanatic! . Today it is clear even to Stuart Chase that capitalism is not at all sgcure. Communisni“@oesn’t work, the Stuart Chases used to say: and canitalism,; while-dt Ras faults, is working, and can be patched up. Today is is gtinilf apparent fo anyone that capitalism is NOT working, and that not even another world-war can make it function. We are livingin @ transition period. It is a period of wars and revo- lutions. ‘It is the périodl when the main political problem that remains is: how fast can we movéin educating the Working Class to TAKE POWER? The question of Glass Power is the main political question. It is the : foremost truth. And every day it becomes plainer thai this, really, is the Integrity that the .yasillating Stuart Chases cannot permit themselves to See or ahnounce. This is the true luxury of integrity—the guts to speak ‘out and say, Capitalism is dead, Long Live Communism! ¥ I don’t mean, being a wild bull in a china shop. One can bore from - awithin,“on8' can use ofte’s head and make compromises. But the man who ~is so cowardly. that hé cannot admit to his own unconscious that there are two worlds, one gz, the other struggling to be born, that man is com- - pletely. lost, and- ‘ing, and when I read his weasel words in the Nation; New Republic, American Mercury and jhe like, I want to go out somewhere and.avatch. the honest robins at their spring mating. | signed a Code‘saying about as follows: “business to make money primarily, If at the same time I “can express or help-afew of the truths I believe in I do not ask for more. It is all that is possible under a commercial pattern of life.” But no! Publishers have a peculiar vanity. They want to be regarded as vestalvirgins- ofthe written word, they want to be looked up to as idealists. is if “F6hIFy too much. I have known some of the publishers, are tine mén among them. But who can respect the pretensions isher like Alfred Knopf, for example, and all the hokum he has surrounded himself with? “Meedchen:fur~alle!” How many New York publishers hate Hitler Well enough to refuse to publish anything by him or his foul and venial press-agéiits? I coh’t know ... and an old sober, godly house has led the “way in ‘printing thétmemoirs of that bloody pervert who rules Germany. There is. ‘money in t.'They will publish Communist books, too, if there is money init. They Will publish the works of Mohammedans or masochists, | they will do anything. for money. MarysBeard-has..exposed this godly publishing house in its sordid commercial liaiton“with Hitler. They softened his most vicious and foolish talk so as to please American ears. They eliminated all anti-American or anti-democratic “pastages. ‘They have proved themselves little short of a publicity “pgent for*‘hire. Maedchen fur alle! or, as we say in English, prostitutes! Publishing is a business. One does not expect philanthropists there. But neither does one welcome hypocrisy. Publishers try to do their best. They are no bettét em worse than the rest of us. But the one luxury none of them can afford {$ this luxury of integrity, ‘When an American publisher fails because of principle, instead of the usual cOmMercial orlidies and stupidities, I will be glad to eat every book- jacket. blurb he @¥ver=published, and Iend him ten dollars to get home with besides. What is really geeded is an Author’s Publishing Co-operative, but it doesn’t yet-scempagsible, this side of the social revolution. Helping. the Daily Worker, Through Michael Gold “Seymour Karlin - x Nettie .. Mike and Sonia Friedman. . 1.00 Rebecca... J. Odin Saving Box Sally Pulinger . ; J. O'Hara ’ * Previous ‘Total ~ TOTAL TO DA’ NEW YORK,—The. Workers’ Lab-;}New School for Social Research, 66 oratory Theatre ispolishing up the | West 12th St., on Saturday at 8 p.m. hilarious ‘satire, “Who's Got the|, Other workers’ dramatic groups on Baloney,” that made such a hit at| Workers School the Prot wurnens lection ‘Rally Worse School, the Prolet Buhne, a ES) selected Jewish Drama at the New Star Casino and in/group, and the New Dance Group. ‘ ‘Coney They will present it as| Tickets are on sale at the League of their of the program in the| Workers Theatres, 42 East 12th St. show, “ a mentee of Action On|the Workers Bookshop, 50 East 13th a Parade,’ it is. rel Staged by the'St., and by members of the partict- eatres at the|pating groups, | League of W | 4 NOW DAD, EVE THouauT | ITOVER AND I'M Wit | THE T.L.O, © . MOT AT ALL. ALLSHANES OF Pout. 8 ee | AND zusT THE WAY CY Case IS TAKEN UP BY THEM 5 AS ComPaRED ry GUT THEY ARE REDS Look at ICAL OPINION ARE IN THE I. INCLUDING Commudist— an audience, its work should be seen by every one interested in the develop- iment of a_ revolutionary theatre, | Their productions always have an in- |ner simplicity and conviction and jeven a kind of maturity that com- ;municate themselves to the audience | despite many serious obstacles. One feels that the roots of this organiza- tion are set deeper than those of al- most any other similar group, and that whatever may come to disturb the progress of their movement, the Artef will nevertheless survive. discuss the shortcomings as well as the qualities of this group, for they | will be the shortcomings of other groups who -propose to present full length revolutionary plays for work- ers’ audiences, The present production suffers somewhat from being a translation of a play typically American in its idiom and in its characters. It is true, of course, that the conditions of the class struggle are virtually the same for workers everywhere, nad ‘that since the Bonus March is as fa- miliar to the audience of the Artef as to any other, this play is a proper vehicle for production by them. But such a rational argument does not nold in the logic of the theatre. |'To be exciting and convincing in the theatre, the audience: must feel that the workers represented are not ideo- logical abstractions, but men and wo- men whom they know well, people whose rhythm of thought and habits ‘cf life are akin to their own. In such a play as “The Third Parade” the workers are the laconic, hard-boiled, open-road type of American born of the pioneer industrialism of the West. This type of worker is difficult for any but an equivalent type of actor to suggest, and the pale-faced actors of the Artef, more characteristic of shop-workers than of the heavy in~ dustry workers the authors had in mind, bring to the play an elemént so} foreign as to create a sense of un- reality. We must not press this criticism too far, since every workers’ theatre , must choose whatever plays are available, and the repertory of revo- lutionary plays in America is still ex- tremely limited. But it should be part of every workers’ theatre program to do, as much as possible, those plays which are closest in their background to the actors who will perform them and the audience which will see them. In such a play as “Four Days,” a Jewish drama of the unsuccessful Bolshevik revolution in Poland, the production by the Artef proved far more organic than the present one. And if there are plays of American | Jewish workers, those are the plays that the Artef should give preference to, and should encourage dramatists to write for them. More serious than this, however, is the matter of direction. The sense of authenticity that we got from the Ar- tef productions comes entirely from | the actors: it is they who have within {them those qualities of simplicity and {maturity we have mentioned, Theirs is the chief reality of the plays they present. But these qualities tend to be hidden rather than released by the | kind of direction imposed upon them. Not that this direction is unskillful, but the more skillful it is the more damage is dene to the actors. It is the kind of direction that em- phasizes stage-business, numerous de- tails of individual action, theatre ef- fects, tricky outward characteriza- tions. Such directions might be very | useful in a Second Ave. theatre or on | Broadway, but for actors compara- tively new to the stage, and more- over for actors whose natural quali- ties are much fresher than those of most professional actors, this direc- | tion only creates self-consciousness and an actory posiness entirely alien to the spirit of a revolutionary theatre. In other words, the direction of the Artef endeavors to make its ac- tors appear experienced and stage- wise in the manner of a Yiddish Art Theatre actor, which militates against the Artef actor’s spontaneity and in- jects -n element of false and incom- pet: theatricality into the play. What is needed is a direction that will preserve the actor’s natural en- dowment and allow him the freedom to be himself in a way that is both unforced and yet interesting on the stage. This is a problem that faces all stationary workers’ theatres. To make the actors of a workers’ theatre pro- ficient in the Broadway. manner is impossible, except with actors of Broadway experience, and it is un- desirable in any case. To make them theatrically alive in their own right —es young actors of a revolutionary theatre—takes time, hard work, and a properly trained director. But there will be no truly satisfying workers’ theatre without this, On Saturday the Daily Worker has 8 pages. Increase your bundle order for Saturday! er number of plays than any other! For this reason it is important to) AYLEY, third helper on No, 5 Open Hearth, peered through a the molten steel, and growled, “God- dam!” ‘Trouble stirred his mind. Trouble, and a growing ang Straightening his lanky frame, nimbly dodged a switch-eng! shunting a string of charging box and strode towards the chartboard, and watched the fluttering needle of the pyrometer with a vacant eye. His mind saw not the needle. In- he peeling paint and struggling flo A woman, almost a girl, in the do way, heavy with child, seeing her mate come home when he uld be working. Hearing him say, with affected nonchalance, “Yeah, th” boss fired me today. Hansen, that sneak: stool-pigeon, squealed that I was try. ing to organize the fellows into th’ Steel and Metal Worker's Union.” Dayley spat out a gob of Copen- hagen, and again growled, “Goddam, taint right!” “What's not right?” Dayley turned and saw Logan, second-helper on No. 5. Logan was O.K. “Ain’t yuh heard? Red was pop- pin’ off this morning, arguin’ with me an’ some of th’ floor gang about how we ought to get together an’ organize in this new union. ‘Course I was kiddin’ him, sayin’ th’ workers ain’t got no guts. That they won’t stick together. An’ Red, you know how he is. Gets real excited when yuh razz him that way. He was talkin’ loud, sayin’ th’ company union was th’ bunk, which o’course we know it is, just as old Hansen comes sneakin’ around th’ corner. We all shut up lio clams, but th’ lousy rat had heard cnough, He hoticots it down to Ramsey’s office an’ throws him an’ earfull. Pretty soon Red gets a call to go on down, an’ he ain't showed up since. That was half an hour ago. Red’s gettin’ th’ can, an’ his wife's due to have a kid in a coupla weeks, I tell yuh, it ain't right?” “This N.R.A. gives us th’ right to belong to any union we want to,; don’t it?” replied Logan with a wry} grin, stead, a gray, frame cottage, with! door-port at a seething lime-boil in} “Aw, hell!” Dayley caught Logan's} that now he ought to stand by Red.) ped might; grin and then knew he was kidding. | But Rayley, lean, dry, and humorless, !| was in no mood for joking. An open hearth man for fifteen years, he was as hard as the steel he helped make, In soiled, sweaty woolen underwear and dungarees, ned slightly and with a ight we ed, wotta a, ‘Well, "bout it?” levers asa | 3 The hissing of oil ed for a second, a dull “Blump” sounded, and the doors of | No. 5 swayed out with clo of b! smoke, as the direction of the fi sweeping through the furnace were changed. “Do? Wot can we do?” hey! muttered. shifted | | N individualist, a proud American, ent in the National Guard, Dayley always felt contemptuous of| ; the Mexicans and Bohunks and gen- eral melee of nationalities and races that did the work of making steel.| His thoughts revolved around that burning spot of anger in his body. They tried to put that anger into words. Red, now. Well, Red was a Wop. He talked broken English, with a gutteral accent. He was one of these here Boolsheviks. Reynolds, | the red-faced, hard-faced Superin-| tendent, knew it. Everybody knew | it. Red sure had talked enough. | Then why hadn’t the boss fired him before? Daylev, tracking down un- familiar thoughts grimly, suddenly knew. Talk was harmless. Talk of revolution meant nothing. But a Steel Union, a fighting union—now | —that was a horse of another color. | That meant action, and action was! cangerous, Razzing Red was alright. Imagine getting all these Slavs and greasers and everything to act together! Dayley always liked to get Red riled up by snorting, with a short laugh, that “It just couldn’t be done.” But now Red was on the carpet, facing those piggy grey eyes in puffy sock- ets, that Reynolds knew how to use so well. Red was being fired, right now. And Red was a good guy. Dayley felt, in a vague, loyal way, | Revolutionary Co ym posers Perform Programmed as works of revolution- ary character, “Luftmenschen” by ;Lehn Andohmyan and “May Day” jby Elsie Siegmeister were performed for the first time last Monday night }at the New School for Social Re- | search, as part of a program of works by young American composers. A fair analysis of new compositions, at first hearing, is always difficult— to the manifestly insufficiently re- hearsed orchestra. Both Siegmeister and Adohmyan are members of the Composer's Col- lective of the Pierre Degeyter Club, and have for the most part experi- mented with the mass song in the field of proletarian music. To the best of our knowledge this is their first attempt at proletarian music in the larger (symphonic) form. Though in the opinion of this hearer at least, justify their claims to “proletarian” music, Adohmyan’s “Luftmenschen” deals according to his brief talk and the program notes, with the declassed bourgeois Jewish elements in the Soviet Union... . “a satire and a way out”, Though he cleverly uses orchestral effects for his satirical thrusts, the way out was not revedled and no trace of proletarian content was discernable. Elie Siegmeister’s “May Day,” in- and in this case much more so, due) well-intentioned, their efforts did not, ' a workers demonstration, shows @ healthy trend, Siegmeister is com- paratively new to the workingclass movement, which perhaps, in pari, accounts for the confusion in his “May Day”; yet, he has decided vi- tality, vigor and hope in his march- ing workers. His composition util- izes many popular revolutionary tunes as its body, His treatment of Hans Eisler's “Comintern” is good writing. The “Internationale” fares less wel!, however. AS a whole, “May Day” is | too long, and too blatant. One gets | the feeling of riot rather than of the self-disciplined proletariat on the march, Others heard on the program were Jerome Moross, Henry Brant, Ber- nard Herrmann and Lehman Engel. “Ballet,” by Jerome Moross, is a@ noisy, exuberant, jazzy, dance-like work, that is nevertheless interesting, for it has a strength and a love of fe. Mr. Moross should go “left.” It would strip his work of Broadway influence and give to it the reality it needs. Bernard Herrmann’s “Pre- lude to Anathema” has its moments of beauty, as has Henry Brant’s “sec- ond and third choral prelude” for two pianos. Lahn Adohmyan conducted “Luft- menchen” and “May Day.” Messrs. Herrmann and Engel shared the con- | spired by his first participation in gram. ductorship for the rest of the pro- Go | TONIGHT’S PROGRAMS WEAF—660 Ke. 7:00 P. M.—Male Quartet 7:15—Billy Bachelor—Sketch 7:30—Lum and Abner 5—The Goldbergs—sketch 8:00—Olsen Orch.; Bert Lahr, Comedian 8:30—Lyman Orch.; Prank Munn, Tenor 9:00—Troubadours Orch.; Ethel Merman, Songs 9:30—Phil Duey, Baritone; Reisman Orch. 10:00—Corn Cub Pipe Club 10:30—Problems Faced by Agriculture — George N. Peek, Administrator, Agri- cultural Adjustment Act. 11:00—Dance Orch. 12:00—Ralph Kirbey, Songs 12:05 A, M,—Rogers Orch, 12:90—Sosnick Orch. WOR—710 Ke. 7:00 PF. M.—Sports—Ford Frick ‘1:15—News—Gabriel Heater 1:30—Terry and Tod—Sketch 7:4$—Talk—Harry Hershfield 8:00—Detectives Black and Blue—Mystery Drama 8:15—Bille Jones and Ernie Hare, Songs 8:30—New Deal on Main Street—Sketch 9:00—Jack Arthur, Songs; Ohman and Ar- den, Piano 9:18—Macy and Smalle, Songs 9:30—Variety Musicale 10:00—De Marco Sisters; Frank Sherry, ‘Tenor 10:15—Current Events—Harlan Eugene Read ‘30—Market and Halsey Street Playhouse 0—Weather Report 11:02—Moonbeam Trio WJZ—760 Ke 7:00 P. M.—Amos ‘n’ Andy 7:15—John Herrick, Baritone; Sanford Orch. 7:30—Potash and Perlmutter—Sketch 7:45—Hollywood—tIrene Rich 8:00—Black Alibi—Sketch £:30—Dangerous Paradise—Sketch 8:45—Red Davis—-Sketch 9:00—Warden Lewis E. Lawes in Years in Sing Sing—Sketch 9:30—John McCormack, Tenor; Daly Orch 10:00—Pedro Via Orch. 10:30—Ruth Lyon. Soprano; Edward Davies, Bartone; Shield Orch. 11:00—Macy and Smale, Orch. 20,000 Songs; Wirges 11:15—The Poet Prince 11:30—Dance Orch. 12:00—Spitelny Orch. 12:30 A, M.—King Orch. * 7 8 WABC—860 Ke 7:00 P. M.—Myrt_ and Marge :15—Just Plain Bill—Sketch 7:30—Travelers Ensemble :45—News Boake Carter 8:00—Green Orch.; Men About Town Tric; Vivian Ruth, Songs 8:15—News—Edwin ©. Hill Violin; Conrad Thi- Voorhees Orch. Cobb, Stories; Goodman 9:00—Irvin Orch. 9:15—Kate Smith. Songs 9:30-—Lombardo Orch.; Comedy. 10:00—Waring Orch.; Comedians 10:30—Alexander Woollcott—Town Crier 10:45—Warnow Orch.; Gertrude Niezen, Songs; Clubmen Quartet 11:15—News; Music 12:30 A, M.—Pancho Orch. 1:00—Light Orch, Burns and Allen, Moran and Mack, gonna do] ‘e | dor OCLObER 25, 1933 FIRED! - A Story of Steel Workers -- By JOHN GREGORY fter all, Red had been fighting his, | Dayley’s battle, and every worker's battle | His eyes swept ng the gloom ging floor. No. 9 was . The floor gang, sweat | the hole loose, and as 1 poured | into the waiting ladle a the twilight of the va ted iron shed. More men were making up walls of No. 6, heaving ¢ with rhythmical swings. A c was carrying a ladle of pig-| for No. 7 ig crane was urm in and out of| z in scrap and lime-| grunted, and swung iron overt tined into action. He fir: that the iter’s office, O'Malley, the Superintenden on the telephone, and talked quiet-| Wi Yeah? Him an hot and ida A ed, but he wasn’t taking it layin’ spe do’ Good! So he called Rey- nolds a lousy slaye-driver! Said he'd organize the Steel Union in the Open Hearth if he starved trying!” O’Mal-| ley hung up suddenly. Ramsey had keen ears and maybe he'd heard through the half-open door into the outer offi OWN the floor Dayley went, talk- | ing quietly to this man and that.| Tried friends of his, good and true. And each man grinned, and nodded, and went back to work, talking in whispers to each of his friends in turn. Down the line until he reached the last furnace, No. 9, The floor gang, the helpers, a craneman, and the melter were there in a loose group. Dayley, no public speaker, but with a something inside him spurring him on, barked: “Listen, fellows. Yuh know Red, th’ guy that’s always talkin’ union. Well, Reynold’s got him down in th’ office now. Red’s gettin’ fired for tryin’ to organize th’ Steel Union. | He's got a wife with a kid due. He| was tryin’ to help us an’ now we) ought to stick together an’ help him! Wotta yuh say?” Silence. Dayley felt suddenly empty, facing the puzzled, undecided faces of the group before him. Mexi- cans, Croats, Italians; he should have known better than to pop off | this way! Wardell, workers representative on the Company ‘Union, blustered up. ‘Say, there, Dayley, wot in hell are yuh tryin’ tuh do. Buttin’ in like this! I'll take up Red's case at the next meeting of the Council. nothin’ but a damned Bolshevik any- “Th’ hell yuh say!” This sarcasti- cally from a young laborer in the group. “Beat it, stool!” growled sev- erel rs shifted rest- lessly They were not articulate; not good talkers. “Weil, c’mon, wotta we wajtin’ for?” muttered a Slav. * (ARDELL slunk off, his pudgy pomposity suddenly gone. He linked the little importance gained from being on the Board of the Com- pany union. He paused, and then turned back to the group, and grinned sheepishly. “All right, fellows, I'm with you,” he said. Dayley glowed inside, felt warm and exalted, suddenly realizing that the men were with him. All these s he had inwardly despised. Even Wardell! “Now to line up the rest of the gang. Come along, and bring your and shovels!” he added, a trifle grimly. Back down the floor they came, 20 strong now. And every man they met, they speedily convinced. Maybe some felt like wavering, but the sight of their fellow wo grim faced, armed with picks and shovels, added | a tone of menace that was persuad- ing. A sudden, unusual quiet descended upon the ig floor, Hissing oil valves wi ut off as helpers left their furnace Cranes ceased to clank as the operators climbed down and swept along with the growing gang of angry workers. Even the dinky switch engine stood dead. Down the iron stairs they poured with a clattering of heavy shoes. The | few men working below speedily gathered up. Then outside, and un- der the high-line, Dayley held up his arm. The men paus:d and gathered | around. “Let's pick three men to do the talking,” he said. “You, Dayley!” they shouted back. d “And yy more ” others cried, nominations?” There were none, Wardell, and Kolkosky, a fiery Hun- garian and a laborer, stepped out of the ranks and Joined Dayley. “Then all vou w will by what we say and reise your I B Every hand went up. A hoarse cheer rang out. All swept across the narrow yard and followed their com- mittee into the red brick office build- ing, jamming the corridors and pil- ing ‘nto Ramsey's outer office. Red, discharge slip in hand, was stepping heavy footed out of the of- fice building; the burden of his wife and the coming child hung heavy on his shoulders, He was not whip- I TELLYOU DAG, THEY s MaVE THE RIGAT ANGLE. / ANYON ONT ANGLE: ae CaN FREE Me IT WiLL BE Tue WELL, MAYBE T Want you TOREAD Just THESE Two LITTLE BoOKS-— with You? “by QUIRT NOTHING DOING | I’ve ALREADY GIVEd (NOM THE TAL d glare lit| t went to the little shanty | He's | he had felt the company’ n agitator, steel mill. harder to organi ” he thought g: . ted, and he w 's of men cot flickered in his hi dell, and Kolko Coming up to Red, they linked arms Helen Hay we're | | goin’ to tell Reynolds where to head ith him and said, “C'mon, off slid his fat haunct upholstered chair. damned union in the open hearth!”! His pudgy, “The slaves'd be scared now. They'd] Oct. if | Ross He heard | Colt, Leona Maricle, and Robert Keith a rumble of feet and hoarse voices | head the cast. | knew now that they'd be fired they opened their traps!” ’s| and, he knew that now, fired} he was black- “Well, now across the yard | Nove ‘rom the open hearth. Al ray of nl ACK in his private office, Reynolds|play by Owen Da Page Wive | Theatre Guild Will Present “Mary Of Scotland Alvin Theatre At The Nov, 13 Ande Helen Manck Tallulah Bankhes ill some seven week: | hearsal in a few days 2 Guthrie s into a well-| McClintic is planning to bring to New “There'd be no| York on December 12 ‘ “Under y Eva Kay Flint hard grey eyes squinted., and George Bradshaw, will open on 30, at the Ambassa Alexander, Ethel Barrymo: outside; growled irritably. Then the, “Thunder on the Left”, Joan Per» door swung open: a black mass of| guson Black’s dramatization of Chis- hard-boiled men packed the outer| topher Morley’s novel will have its | office. Red, Dayley, Wardell, and!premier next Tuesday night at the Kolkosky entered. Wardell spoke first Red back!” “You're taking Maxine Elliot Theatre. James Bell, Hortense Alden, Louis Jean Heydt and Katherine Warren play the leading roles, Apologetic red surged up through crectmreantenenocicsenaniecianiiots | thick, beefy neck into Ramsey’s| « 7 7 ” heavy jowls. “I am,am I? You go| /he World Changes” Opens to hell—I'm running the open hearth | department, not you!” | “No work until Red goes We'll let the steel freeze up,” Kolkosky. “An’ we're goin’ to have the right | to organize in any union we want!” said Red. The others nodded assent. Reynolds tried another tack. He | softened his harsh voice into a fath- |erly tone and said: “Why, men, I’m back. | added to work and I'll forget all about your coming here and starting this; trouble. Let the Council take up Red’s case.” “You lay off Red and let us or- | sanize or no work. Let the steel freeze!” Kolkosky replied grimly. “We men are all sticking together. We walk out in a body,”! Dayley added, thinking to himself, “And I'm |th’ guy that always said that work- ers wouldn't stick together!” “Go to hell! Get out of my of- fice!” screamed Reynolds, verge of a stroke. “O. K.,” the four workers replied, | and turned ~ 80. IS bluff falling, Reynolds felt like | he was tumbling into a pit that | had no bottom. What had happened |to these workers? He had con- temptuously compared them to cat- tle all these years, bulldozing and manner. His thoughts swept to the molten steel in the open hearth fur- naces. It would cool and harden. ruined. He called out hastily to the grievances. Now you just go back! on the| bluffing them with his hard-boiled; The expensive furnaces would be} | Tonight At The Hollywood Paul Muni’s new picture, “The World Changes”, will have its Broad- opening tonight at Hollywood Theatre. The story was written by Sheridan Gibney and directed by | Mervyn LeRoy. Mary Astor, Aline MacMshon and Jean Muir play im= |portant roles in the film. | The Roxy screen feature this week : laa fa is “Walls of God,” screened from | ee And pepecially, at you Kathleen Norris novel, with Sally Werks Council to consider your Se ou Sona ee “Wild Boys of the Road”, is now playing at the Palace Theatre. The stage show is headed Paul Tiesen, |and his gypsy orchest Night Flight”, with Helen Hayes, | Iionel and John Barrymore and Ro- bert Montgomery is showing at the State Theatre. Roy Atwill heads the vaudeville bill. WHAT'S ON Wednesday ELECTION SYMPOSIUM arranged by. the il be Bt Left Wing group of Local 22, at Memorial Hall, 2 P.M. Letters have been sen munist, Socialist, Fusion and Parties. helt EARL BROWDER and Hubert Herring, | of the Committee for Cultural Relations with Latin America will debate on “What | Next In Cuba” at the National Stugent League, 583 Sixth Avenue, at 8 p.m. Ad- | mission 15¢, GENERAL MEMBERSHIP MEETING of Workers Film and Photo League at new headquarters, 116 Lexington Ave. near 29th Street. committee: “Hey, wait a minute. I reconsider. I grant your demands!” | “Put that in writing. Red gets his| job back and we have! the right to organize in the Steel and Metal Workers’ Union,” Dayley said, and turning to Wardell and Kolkosky, SCOTTSBORO Br. LL.D. meets at 271 Schenectady Ave. Brooklyn, at 8 p.m, 6S REHEARSAL of Daily Worker Chorus at 108 B. 14th st. Rice ae OPEN Meeting of Mt. Eden Workers e i Center, 288 E. 17ith St, Bronx, at 8:30 asked: “Do you agree?’ p.m. Auspices, Imperial Valley Br. 1D. “Yeah,” replied Wardell, after a| J. Oapson, delegate, will report on Anti-+ pause. He looked at Dayley with} W* Consress. = | | surprise. A breezy ~“good-fellow,” a “politician,” he went with the wind. “But you always argued with Red here against the union. How come?” Red grinned. Excited and happy, he blurted out; “Dayley always: said the workers wouldn't stick together, and then he turns right around and organizes them!” “Aw, I just wanted to help you out, Red,!” replied Dayley. “And a | guy has a right to change his mind, hasn't he?” SACCO-VANZETTI Br, LL.D. will ‘hold general meeting at 792 E. Tremont Avenue. Samuel Goldberg will give a talk on “Self Defense in © Thursday SPECIAL Meeting of ali soe workers in Bronx at 1483 Seabury Place at 8:30 p.m; Sunday GRAND CONCERT given by Bronx Icot at 2700 Bronx Part Bast Auditorjum. Rob- ert Minor will be the main speaker, at 8 p.m. AMUSEMENTS »| ACME THEATRE | TH STREET AND LAST TWO DAYS. “THE RED-HEAD’ From the (¢¢ 3 9PEnglish sense 4 Great Novel “POH deCarotte’ nc: | | cos satay” yaar’ “Three Thieves” %2¥.~ psc | midnight ‘Show Sot ,-RADIO CITY MUSIC HAL SHOW PLACE of #) NATION Opens 11:30 A.M. -PPLEBY Maker of Men’ Farrell and Wynne Gibson “Roxy” stage show to 6 (Ex. Sat. & Sun.) RKO Greater Show Season CITY AFFAIRS BEING HELD FOR THE BENEFIT OF THE Daily qlorker Wednesday, Oct. 25th: Pelham Parkway Workers Club pre- sents a program of movie, showing JOE COOK in HOLD YOUR HORSES ‘A Musical Runaway in 24 Scenes Winter Garden “i.” esa hae. Eve, 9:90, Mate Thursday and Saturday at 2:30. | THE THEATRE GUILD _presents— EUGENE O'NEILL’s COMEDY AH, WILDERNESS! with GEORGE M. COBAN GUILD ; Care 2d St., W. of Mat.Thur.,Sat MOLIERE’S COMEDY WITH MUSIC || The School for Husbands with Osgood PERKINS—June WALKER EMPIRE wena 2 10.88, 0; Mat. Thur.,Sat.2:20 | EN MINUTE ALIBI A New Melodrama “Is | herewith recommended tn the highest terms.”—Sun. ana girugele for Bread’ cn Amer: || ETHEL BARRYMORE THEA. W. 47th 8. and “Struggle for Bread,”’ an Amer~ 1| Eves. 840. Mats, Wed. Sat., 2.40. CHT. 4-8839 Daily Worker will speak, iinet Oct. : 26th: : nd the Threat of Fas- by Sam Don, of the aff of the Daily Worker, at the Coop Auditorium, 2700 Bronx Park East. Given by Unit 35 Sec- ton 15. JACOB BEN AMI in “The Wandering Jew” BKOCAMEO'¢ 5". | 25c Me ‘Mon, to | 8° Jefferson 3: S| Now ard Ave. LEE TRACY ond MAE CLARKE tn ‘TURN BACK the CLOCK’ and “GOODBYE AGAIN” with WARREN WILLIAMS & JOAN BLONDELL For Unemployment Insurance, Immediate Cash Relief — Vote Communist! WORKING CLASS ORGANIZATIONS! Do You Like the improved “Daily?” YOUR SUPPORT will make it a still better weapon in the hands of the workers! Send Your Representative to Celebrate with Us at the DAILY WORKER BANQUET Sunday, November 12th IRVING PLAZA HALL, Irving Place and 15th Street SURPRISE PROGRAM + The Best Program of the Season!