The Daily Worker Newspaper, November 14, 1933, Page 5

— DAILY WORKER, NEW YORK, TUESDAY, NOVEMBER 14, 1933 Page Five WwW HA T WORLD! 2% the absence of Michael Gold, at present on vacation, “What a World!” will be conducted by Joseph Freeman, author of “The Soviet Worker” and other books, and editor of the New Masses. . . * ALWRDAY morning, shortly after eleven o'clock, a group of writers, ‘lawyers, editors and school teachers visited the German consulate at Battery Place. ‘vt Was @efirie crowd. There was Malcolm Cowley and Kenneth Burke and: Edward-Dahiberg and Horace Gregory and Dr. Addison T. Cutler of Columbia and" tifiny others, some twenty-four altogether. When we ar- tived ‘at the*conisilate we found in the waiting room several newspaper- men whom we had invited. A male secretary, fat and pasty faced, came out with a sour look in his eyes and asked what we wanted. We expiained briefly. We had come to present a letter of protest to the Consul General. We had come to voice our indignation at the frame-up of Dimitroff, Torgler, Popoff and ‘Taneff; we had come to demand through the consulate that these four innocent men be liberated. ‘Thé Consul General was very busy. He could not see us. How did Pastyface know the Consul General was busy? You go and tell him we The World of the Theatre By HAROLD EDGAR Broadway Theatre Technique | At least two recent productions, “The Green Bay Tree” at the Cort ‘Theatre and “Her Master’s Voice” at them- the Plymouth, differentiate selves from the mediocrity—“Double Door,’ Beware’—which distinguishes season. “The Green Bay this Tree” stands out by virtue of its careful | direction, “Her Master’s Voice” by virtue of good actors and a pleasant | For those interested in the| technique of the theatre there is| script. something to be learned from these | productions. Being distinctly above | the average they reveal the nature | of the Broadway theatre better than | @ treatise. “The Green Bay Tree” is one ot| those “daring” plays dealing with a | “delicate” situation which when seri- ously examined prove themselves completely fake. If you like or if you are in the know—that is, conversa- | tionally familiar with Havelock Ellis, Freud, Proust, or simply with Broad- way theatrical tittle-tattle—the play is about the making of a homosexual out of @ weak-willed boy; or if you IT HAPPENS EVERY DAY Short Stories from the Experiences of a Home Relief Bureau Inv as told to HELEN KAY The following series of short stories are actual éxperiences of differ- ent Home Relief Bureau Investigators in New York City bits of sordid reality showing the degradation, the poverty, the horror and misery of life among the unemployed workers. bankruptcy of charity, the falseness of metropolitan relief, and the need to strengthen the fight for Unemployment Insurance. The Old Woman Who Lived in a Box! 1 HAD to go through narrow East Side alleys and walk through piles of garbage and pushcarts to get to the street number in this morn- ing’s assignment.. Even then I couldn’t find the place. The apart- ment held no such resident. I went out into the street again. I looked around, and asked some people if they could tell me where the old woman lived. “Oh, yes,” one of the children answered me, “in the yard.” I walked into the rear court of the house, and there was a huge packing box. And in this packing stigator They are tiny They show the | | FIGHT AGAINST CISM, published monthly by the Psp teioicye League Against War and| seism, 104 Fifth Ave., New York Gave knw whee: City. November, Five cents. Some had died; Some were, she She was younger than she looked. | Her creased face was mammylike. | Her eyes were colorless. She looked | like what one would imagine a 100 years to look. She was 63. She used to sell newspapers on one of the corners, but her stand was taken over by other people. She didn’t have any money to buy the papers with and so she had to give it up. When she filled out the applica~ tion for relief she had lived in one of the dark little holes in the apart- By ROBERT KENT This is the first number of the League Against War and Fascism or- | ganized at the U. S. Anti-War Con-| | gress held recently in New York. | ganization, containing in diverse viewpoints, is also reflected in its publication, although with the | pacifist note dominating, which was |not altogether the case at the Con- gress, at which militant working class elements predominated. pear jonar WAR AND F. ‘as. | 2 | sweeping staten official publication of the American | concerned not so much wit jary and workers’ theatres. The united front aspect of the or- | comes a serious matter, inasmuch as | its ranks | A Bad Review of a Good Revolutionary Play NATHANIEL BUCHWALD Daily By portra HE orthless, nt of cont dramatic | ¢ ct its its cha: nstance of characte to bear out Even if th ent zation or direc his | | general statements wer nithe Artef in giving an authentic a review of a play cow dignified | sidered otherwise than But Comrade Elgar though th ! matter histrionics, he make-up box contains a great | variety of facial complexions. And-as | matter of elementary observation, Comrades Edgar's theses about the| tne jewish workers are no more pres revolutionary theatre and related | antly pale-faced than the bo- topics do not at all tally with the marchers were predominantly principles commonly accepted in the|*'Gay and robust!) revolutionary theatre movement here |" _-” ies revolutionary i Proceeding with his code for the and abroad. | h ‘ e e: >» ad- | revolutionary workers’ theatre, Com- Comrade Edgar questions the ad-| de Edgar states with finality that | ing the Artef production as with lay- es ing down the law for all revolution- | ;, This be- box was the old woman who had | ment. At that time she had a dis- Despite an important shortcoming, | Visability of a Jewish workers’ the- | To mabe the’ actos (Ot Caen i =O REST MET SIRE TOES ———ae insist-on seeing him. Pastyface went and came back. The Consul could not receive so many_people at once. If we would choose a committee of three he would see them. Very well, we said. We shall choose a committee. But they will be accompanied by the press. _Pastyface. went in to report, and we set about electing a committee of five Suddenly the door at the far end of the waiting room was flung open, and a tall, red-headed man loomed on the threshold. It was Herr Johan, Borchert, the Consul General, making Nis first personal appearance before a committee of protest. ‘Where is the press?” he Shouted. “Where are those newspapermen?” ees not @ question; it was a complaint. Herr Borchert’s indignation vas easily comprehended. He is a Nazi official, and no Nasi official feels comfortable Am the: presence of a press which is not directly controlled by the-fascists. . ‘Here we are,” the reporters announced themselves. with, the hats_on.” We had our-hats off from the time we entered the elevator in the lobby below.*\.An old civilian custom. But reporters at work keep their hats on. You cannot hold-a pencil in one hand, a pad in the other and ‘keep.your hat off at the same time. ‘The newspapermen stepped forward. *“Who invited you here?” the Consul roared. “Who asked reporters to comie “here?” as The reporters were silent, but from the ranks of the delegation Allan ‘Taub, stepped forward and said: <fWe invited them, the National Committee for the Defense of Political Prisoners. We have come here to protest against the frame-up of Dimitroff and“his companions. We have received a cable from Paris saying they are fh danger of immediate execution, and we are here to demand their freedom!” » “Zhe trial is not over!” the Consul yelled. “They are getting a fair trial, and you have no right to make any protests until the verdict is Tenderet.” » »-'¥he words rang familiarly. We had heard them before from a liberal lawyer who, returning from the fire trial in Berlin, had said the same thing. “You cannot tell whether the trial is fair or not until the verdict is handed down, On’ this point the Nazis and the liberals agree. Do not protest against the execution BEFORE it takes plece. That might prevent it. Wait until AFTER the execution, then protest as much as you like. That is how many. liberals:acted in the Sacco-Vanzetti case. Do not have mass demon- strations. Do not interfere with the courts. Wait until they decide. Wait until is too late. A flimsy frame-up, in which the doom of the de- fendants is seeled from the moment the clerk calls the court to order, is not siti ‘until the electric chair burns or the axe falls. BZ tnt evatybody shares the views of Nazi Consuls and liberal lawyers. ‘David Levinson, a Philadelphia lawyer with the delegation, shook some papefs in thé Consul’s face. “They are-hot getting a fair trial,” he said. “I have just come back trgaj-Germany. 9 ‘I offered my services to the defense. The court passed the buck to the German defense attorneys, saying i could serve only with their permission. The defense attorneys passed the buck back to the court, saying I could serve only with the court’s permission. I was thrown Outs Here are the letters to prove it—letters from the presiding judge and:from Defense Counsel Teichert.” “Thé Consul, faced with this evidence, fell back on an old military trick which: he had learned either in the army or by reading Clausewitz, The best trm of, deférise is an attack. When you cannot answer well-founded charges you seek refuge in propaganda. Look at those two great Nazi chiefs, Goering and Goebbels, They sat on the witness’ stand in the fire trial and-when they could prove nothing and refute nothing they poured out abuse, lies, slanders and cheap political propaganda. A mere consul could do nothing better than to follow these sublime heroes of the “na- tional” revolttion,” Herr Borchert struck the pose of a martyr pursued by people incapable « of minding their own business. “I am not interested In these papers!” he shouted. “What right have you got here anyway? You are interfering with my work. I have nothing to do with the.case. That is up to the court. The men are getting a fair trial. Americans object to Nazi propaganda in this country. Why do you interfere in Germany’s affairs? Good-bye!” He-slammed the door, One of us shouted: “You are murdering four innocent men! We will fight to prevent it! We shall expose your frame- up throughout this whole country!” “We. walked to the exit. Suddenly Allan Taub wheeled around and shouted: “Let's give a hearty cheer for Dimitroff!” “Hurrah!” twenty-four voices rang out. “A cheer for Torgler!” “Hurrah!” “A cheer for Popoff!”* “Hurrah Ln, “Avchee¥ fof Taneff!" Parse aeeneht Hurrah!” * * * Tre sr consulate office who had been watching the proceed- ings in sHetice“sprang to attention, clicked their heels, shot up their right hands in the Nazi salute, and shouted: “Heil Hitler!” From our ranks some one shouted back: “Down with the Nazis!” 2 Ae ive weft the Consul’s office, two cops came in. Downstairs we found several: police. cars, In the lobby the reporters interviewed the delegation. We explained: the Consul is mistaken. It is quite customary for people te_protest against class injustice in other countries. In every country of the world there have been protests in the Sacco-Vanzetti case, the Mooney case, the Seottsboro case. Even in Germany there were such protests be- fore Hitler suppressed every critical voice. The Consul ‘led because he knew we were right. Dimitroff and his cony 1panions are ‘not getting a fair trial. It is not a trial in any sense of the vord. There is no attempt to find out anything. It is simply > farcical prelude to carry out an execution determined upon beforehand, It is a political inquisition, and millions of people the world over know it, That is why-in every country there are mass demonstrations for tho liberation of Dimitroff, Torgler, Popoff and Taneff. ‘The next ttay.the Sunday Times reported: CONSUL EERE BLOCKS NAZEVTRIAL: PROTEST. The Consul's speech was quoted. There was not’& word Of the-interview in which the delegation explained its position, ‘ Consul 1 need not have been upset at the presence of newspaper- mei ‘Times’ may be indignant at the persecution of rich German | Jews; Bi it will Support Nazi officials when it comes to the “legal” murder “We are the guys prefer an interpretation a little less “sophisticated,” softening influence of luxury, From either point of view, the play is bare- Jy comprehensible, since the char- acters, though trickily decked out with theatrical traits, are never pre- sented so as to be understood as three-dimensional human beings— and were it made understandable the | play would still be fundamentally in- consequential, Then why the fuss? The answer, from the New York Times angle, is the play's literacy— the characters speak the King’s Eng- Iish!—and the production. What about this production? It is sSuave—set and lit in (almost dis- tressingly) good taste; it is clear— every point the director wished to make is seen as it were in a tiny frame; it is dramatic—an importance as of something extremely signifi- cant and highly charged with emo- tion is lent to each detail of action; it-is theatrical—the director has not been afraid to allow his climaxes the flash and excitement of conflict in the most picturesquely explosive sense. This is not said ironically. These are theatrical assets we find in few Broadway shows, and only a really capable director like Jed Har- Tis possesses them. But when all credit is given, what indifference of feeling, what emptiness of idea, what lack of true personality are betrayed here. Cleverness, yes, astuteness in the calculation of effects, maybe; but how removed from genuine love of life, passion of thought, fire and courage of conviction or any of the essential attributes of art. All we can admire here is a mechanism, a mech~ anism to persuade the audience that what it is seeing is really entertain- ing and worth while. But one soon has done admiring these little tricks of the trade—and we leave the show with a sense of having been cheated, with a growing suspicion that if this is the best the theatre has to give, the theatre has become the least re- warding of the arts. This technique that we begin by approving, we real- ize in the end, is the kind that subtly eliminates all traces of meaning from the playwright’s script, all life from the actors’ performances. Like the food in an expensive grocery display, this technique is designed to catch the eye, but offers nothing to our vital appetites, Far less pretentious but much more authentic is “Her Master's Voice,” a very slight, middle-class comedy by lan author with an almost pre-bour- geois touch of aristocratic removal. The tone of Miss Clare Kummer’s plays remind one of something that might have been written by an 18th century lady in England or in co- lonial America. She has a humorous appreciation of the ordinary oddities of human character, and she writes about typical middle-class situations in a way that makes one think that although she profits richly from the bourgeois order of society she is not very much engaged in it. This combi- nation produces a type of play that is a little boring to the present writ- er, as it would be to most readers of the Daily Worker, yet it would be false to deny its talent or to fail to observe that despite its wholly artless manner it reveals a more definite and organic personality than, let us say, O'Neill's “Ah, Wilderness!” Thjs play, moreover is well acted by a cast of expert performers. But here again we are confronted with the paradox of the Broadway the- atre. The total impression made this very light, pastel-like, comedy is almost one of heaviness and crud- ity! The reason for this is a lack of unified style. Roland Young py mentally, Laura Hope Crewes p! with effective old-i fashioned timers cal archness and pointedness, Eliza- beth Patterson plays with a homely realism and Frances Fuller plays with that non-theatrical simplicity which is the Broadway naturalism of today. Broadway theatre technique, then, in the majority of its better examples, tends to develop a moderately arrest- ing surface without life, that is, veal creative purpose, or to exhibit individual talents whose separate abilities may be applauded but which are rarely co-ordinated to form a lu- old, satisfactory whole. There is no creative way in the theatre except the collective way. JIM MARTIN OLO. the play is a moral | tale about the breaking down of a/| young man’s character through the | given two weeks later. Jin'’s TRial 18 SEVERAL OAS THE JUOGE Aas PROTECTED CHIEF BROWN FROM TIM'S QuESTioNs- AMD REPRIMANDED iM - filed application for relief. She was older than the old woman who lived in a shoe, and her home was less picturesque. The shoe would have been by far the better dwelling place. A few dirty rags were piled onto the floor of the packing box, and it was there that she lived. An old woman wrapped in bundles of rags, sitting on piles of filthy clothes. In the rear of this rat-infested tenement, with the stench of the outhouse over the yard, this poor human be- ing was living her last days. At one time she had so many children that she didn’t know what to do. Eight. Her husband had died young, and she had to rear them. But now they were all gone. possess notice, and on the basis of | that she had come to the Relief Bureau for aid. By the time an investigator was sent around she had been evicted. The janitor permitted her to live in this rear court. I returned to the relief agency | articles, drawings and pictures the im- | this publication deserved much praise, | tre producing a play in which non- Simply yet very attractively printed| Jewish workers are portrayed. He and made-up, it has the elements for | writes: popular appeal to the American} “Im such a play as “The Third masses, Stressing in a number of| Parade” the workers are the laconic, hard-boiled, open-road type of American born of the pioneer in- ine 7 ¢ war, it fills a e perepat sf tptans rege | dustrialism of the West. This type most urgent need, that of waking up | theatre proficient in the Broadway |manner is impossible, except with actors of Broadway experience, and it is undesirable in any case.” Lead- ers of the revolutionary workers’ the- atre the world over hold to the very ite: that prole letarian actors of s can and should be- Veiligte and reported, They refused to help. | “Only heads of families,” they said. 2) re She was not the head of a family, | “Other world murder bath Several weeks later I again came to look up the old woman. She was gone. No one knew where. The fandlord had had her evicted from the packing house box, as a nuisance. |the imperiali: “full of war } menaces,” faced by all the workers of | the world and the Soviet Union, | | “struggling against war and fascism.” | No compromise between the two is| possible, Barbusse shows, and he calls on all intellectuals, professionals, pacifists to join ranks with the work- “Grim—But No Fairy | tage and Screen Shakespeare Civic Theatre At St. Nicholas Rink Nov. 18 The Shakespeare Civic Theatre, a new group organized by Julius Hopp to present Shakespeare repertoire, will open this Saturday night at the St. Nicholas Rink with a special pro- The first be Prices at the ‘The program for Saturday night will in- clude Ernest Davis, tenor; Maristelle Malie, soprano; Baruch Altman, 10- year old violinist; Harry Sothern, in Mme. Dore’s Empire State Grand Opera troupe | gram of music and drama, Shakespeare performance will theatre will not exceed 50c. Shakespearean recital; and others. “The Dark Tower,” a melodrama by George S. Kaufman and Alexander Woollcott, will be presented here late in November by Sam. H. Harris. The cast is headed by Basil Sydney, Ernest, Milton, Margalo Gilmore, H. Reeves- Smith and Margaret Dale. “Eskimo” Opens At Astor Theatre Tonight “Eskimo,” a new Metro-Goldwyn- Mayer production, directed by W. S. Van Dyke, who did “Trader Horn” “White Shadows in the South Seas,” will have its premiere this Peter and evening at the Astor Theatre. Freuchen is the author. The Strand Theatre is now show- ing “College Coach,” a new Warner Bros. picture by Manuel Seff and Ann Niven Busch. Pat O’Brien, | WHAT'S 0 | ers against the war monger: “Negroes Speak of War,” ston Hughes, shows effecti | the Negro people can expect notl but i; ng intensified persecution, incr Leo Ornstéihi i lynching, for fighting for the imperi 0 In Recital At alists. “The Murder Makers” hy Town Hall Tonight Fenner Brockway, Chairman of the 6 | British Independ: Labor Part; Leo Ornstein, pianist, who has been absent from New York for some four seasons, will appear in Town Hall} this evening, presenting a program | poses the work of the n itate another world of Ceasar Frank,. Schumann, Ravel | by the Ame and Chopin. fully indi Edwin Strawbridge and his group | Ni < will open the Students’ Dance Recitals’ course, this Friday evening at the Washington Irving High School. Vera de Villiers, English contralto, will give a yprogram of classic, modern and folk songs on Thursday night at Town Hall. Grete Stueckgold, soprano of the| Metropolitan Opera House, will give her recital on Sunday afternoon at ‘Town Hall. | written ar 2 | War Peril,” by 3; B. Matthews, man of the Am | War and Fase: for ut it remains lack Directives ar Roger Baldwin, writi aa ———— | scientious objector in th and Dick Powell head the| war, starts fi cast. | premise thet war is caused by coi Richard Dix in :“Ace of Aces” is the | flict among capitalists for mari screen feature at the Palace Theatre| Accurately enough he shows that co: this week. The vaudeville bill is} scientious objection by rel headed by Bert Lahr, Vic Oliver, Jack! who want to save Major Roye and Maye. by the individualisis, =,| who hold that no societ Dvorak not rely upon. poses is equally illusionary, and out pacifist solution. the American people to the danger of | In “Two Fronts,” Henri Barbusse | points out that there are two sides, | by Lang-} ty that | “| that ar has the right | problems of the class struggle out- to conscript them, are forces we must | side the given locality, But the cure he pro-| given and_an| open road” The | task of the revolutionary workers’ of worker is difficult for any but an equivalent type of actor to sug- gest, and the pale-faced actors of the Artef, more characteristic of shop-workers than of the heavy in- dusiry workers the authors had in mind, bring to the play an element so foreign as to create a sense of in the art of acting Broadway manner, if you , Comrade “A ar). This idea of re needing only toute atnnars and to fi6/tie type in r to be effective, is sheer rub- In its initial stages the revo- lutionary theatre suffered a good unreality.’ ie eet ee fr H "i iM so: | eal from lack of training of its ‘The “sense of unrea oa fl could not and some “theorists” tried’ to have been created b; ance of “The Th shortcoming a virtue of t 2 ory” that the jis remarkable i A | poignant dramatic reality both as e could learn widual character - portrayal and learn nothing ensemble effect. Rather it is the up-| theatre. Happily shot of Comrade Edgar’s precon- \§ ee Oh a been thoroughly ceived idea about “the pale-faced | edited and is being rapidly dis- rs of the Artef, more character-|C2%ded everywhere—except in the on of the Daily Work- sided over by Comrade Edgar. i gainst proficiency in m a woeful under- proletarian actors for learning the shop-workers than of the | avy indui workers the authors | din mind.” lee Comrade Edgar sets out “to dis- i Ss as well as the s of this group, for they will ee of other groups oseto present full length | is a case in point. These plays for workers audi- | Jewi rkers have attained the en" anid Rr ys down the law: “qualities of simplicity and matur- ‘It should be part of every work- y rade Edgar grudg- heatre program to do as much |‘ precisely as a re- as possible those plays which are ng and study, precisely gest in their background to the |>y following the basic methods of will perform them and | “professional” acting. And if their es which will see them.” | previous productions have had “an proceeds to specify: inner simplicity and conviction,” it “If there are plays of American | ‘8 in no small part due to the very Jewish workers, those are the plays | able and quite “professional” diree- that the Artef should give prefer- | tion of their gifted and artistically e to showld encourage dra- | sensitive teacher and director, Beno s to write for them.” Schneider. To liken the fine direc- a political standpoint this|tion of “The Third Parade” to Sec- ‘ould be correct if it were not |ond Ave. Theatre, as does Comrade While workers’ theatres | Edger, is to know nothing of Second deal with matters |Ave. and as little about the art. of. al concern to their | the theatre. also are expected to| It is, indeed, very regrettable that the splendid production of the —a fine revolutionary play, force! and beautifully presented — received such unfair and incompetent treats ment at the hands of Comrade Ed- gar. Such views of the revolutionary theatre in the Daily Worker will hardly contribute to the growth of city ult of trai: th {YPEE | use the theatre as a means of broad- audiences, |ening the revolutionary outlook of |their audiences, linking them with outside the “pale- faced” or “hard-boiled, national group. It is the NOTB: THERE IS A MINIMUM CHARGE | gene: i 1 farm sf . OF 25¢ FOR 3 LINES FOR AN INSERTION | eters) sti ike, the refusal vies farm) ae | theatre to integrate the forces of |the workers’ theatre movement or to IN THE “WHAT'S ON” COLUMN. NoTIcEs | to help w is his main solution, To| the working class as well as to treat|its correct political and MUST BE IN THE OFFICE BY 11 A. M. OF | prove the effectiveness of this. he c of local problems. orientation. ’ THE PREVIOUS DAY. the wholesale refusal of the Russian| But Comrade Edgar's “theory” be- ‘ReRee OR Tuesday | and peasants to serve in the | comes doubly false when he bases it Harold Edgar's answer to Nathan- OPEN NIGHT Y.C.L. 7 at 1961 Prospect | last war. on artistic considerations, on the| iel Buchwald will appear in tomor- Ave. Lecture on -U.8.8.R, Entertainment./ Mr, Baldwin forgets that their re-| principle that Jewish actors should! row’s issue. All welcome. | fusal followed only after heroic TUNING IN by the Bolsheviks. This, the most ef-| up imperialist war, activity within the military ranks, is ignored by Mr. | Baldwin and by other writers. The publication is extremely worth reading; it contains additional TONIGHT’S PROGRAMS | WEAF—660 Ke 7:00 P. M.—Mountaineers Music 7:15—Billy Bachelor —Sketeh 7:30—tum end Abner 1:45—The Goldbergs—Sketch 8:00—Julla Sandersonand Frank Orumit, ‘Songs 30—Wayne King Oreh. 00-—Bernie Orch. 9:30—Ed Wynn, Comedian; Voorhees Orch. 10.00—Lives at Stake—Sketch ]0—Beauty—Mme. Sylvia 10:45—iri Campo, Baritone 11:00—2oxy’s Gang To be announced 2A. M.—Childs Oreh. WOR—710 Ke 1:00 ?. M.—Sports—Ford Prick 1:15—News—Gabriel Hentter 1:30—Terry and Ted—Sketch 1 wai 1:45—De Marco Girls; Frank Sherry, Tenor 8:00—Grof fe Orch.; Jean Sargent, Songs; Frank Parker, ‘Tenor 0—Prank and Flo, Songs 45—Male Trio ‘00—Jack Arthur, Baritone; Arden, Piano 9:15—Tom Blaine, Songs 9:30—Footiight Echoes 10:00—Blubber Bergman—Sketch 10:18—Current Events—Harlan Eugene Read 10:30—Eddy Brown, Violin; Symphony Orel hs. 11:00—-Moonbeams “Trio 11:30—Nelson Orch. 12:00—Trini Orch.” WIZ—760 Ke 7:00—Amos 'n’ Andy 7:15—Borrowing Yor Current Necds—E. Fleetwood Dunstan, Investm: 8:45—Billy Hillpot. and Scrappy Lambert, | 19:15 A, M.—Male Quartet Ohman and | 10:45—Symphony Orch. it Bank- crs Association of America; Profes- sor Thomas T. Reed, Chairman Com- mittee on‘ Citiz 4 Councils for Con- structive Econo 1:18—-Dog Chat-—-Dan Carney 8:00—Hot Ice—Sketch 8:30—Adventures in Health—Dr. Henry Bundesen it a remarkable first issue. Differ as we methods for stopping war, we can agree whole-heartedly with its pu pose of arousing the masses ags the new world war danger. Its forth- coming issues should be watched with | great interest. Songs 9:00—Alice Mock, Soprano; Poet 9:30—Men of Daring—Dramatic Sketch 10:00—Dinner in Honor of Bishop James Hugh Ryan of Catholic University, Mayflower Hotel, Washington, D. C.; Speakers, Patrick Cardinal Hayes, Archbishop Michael J. Curley of Edgar Guest, Detroit Pen and Hammer Open Forum Baltimore, Former Governor Alfred E. Smith 10:80—Coneert Orch. eee 11:00—Mastersingers DETROIT — Scientific methods 11:15—Old-Timers of the Stage lin social research will be dicus- | 12:30—Act TIT of Manon, with Lucrezia Bort, Soprano; Alfredo Gandolfi, tone and Others, from San Pra! cisco 2 e 8 WABC—860 Ke P, M.—Myrt and Marge Bili—Sketch : onnie Lang and Paul Small, Songs -News—Boaké: Carter | ‘Yesr—Sketch | university of Wisconsin, when he speaks at the first meeting of the en & Hammer forum, Thursday | evening Nov. 16, at 111 Forest | West. to the public and will be held every Thursday evening throughout the season. BUT MRS. NORMAN THOMAS WAS. New York. 8:15—Singin’ Sam 8:30—Voice of Experience 8:45—Male Chorus 9:00—-California Melodies 9:18—Helen Morgan, Songs; Robinson Comrade Editor I am sending you one dollar to- ea eecny Oreh, exposing the Socialist slave driver and exploiter, Mrs. Norman Thomas. I was not at all surprised when TI read the article. 11:18—Gertrude Niesen, Songs 11:30—Jones 0} 13:00—Lopes Orch, 12:30 A. M.—Haymes Oreh. 1:00—Hopkins Orch. —Paul Davis. propaganda within the Russian army | fective method yet found for breaking | | ar- | ticles and an anti-war playlet as well | as pictures and drawings that make | may with its vagueness as to} st te | THE THREAT! \sed by William Chalmers, of the | Meetings of the forum are open wards the Daily Worker drive for | AMUSEMENTS so ___., AMERICAN "PREMIERE OF NEW SOVIET FILM | FIRST PICTURE of the YIDDISH MARI | SHOLOM ALEICHEM’S | comeny | “LAUGHTER THROUGH TEARS” Yiddish Dialogue—English Titles “The Moscow Art Theatre actors caught the essential spirit of Sholom Aleichem’s representations.” — Daily Worker. ACME THEATRE “575 A JOE COOK in HOLD YOUR HORSES A Musical Runaway in 24 Scenes with GEORGE . rng ? way & Winter Garden 3°" «°C e GUILD grits MOLIERE's COMEDY wiTH MusIC [| _. Thursday and Saterday af % The School for Husbands EN MINUTE ALIBI with Osgood PERKINS—June WALKER A Se eiacaies Thea., Biway & 40 St.,Bv. wl EMPIRE saoniatsrnars.asnt240 || Is herewith eae mended. te | the highest SUILD _presents—| EUGENE O'NEILL’s COMEDY AH, WILDERNESS! ‘sta Weot Bway ts, Thurs. &Sat.2.20 ~ | Eves., 8.40. Mats. Tues., Wi Sat, 2:40 nxo Jefferson 1 8 & | Now |~ zane Reha xs JOHN BARRYMORE ayn HELEN AYES MUSIC ir’ NIGHT: PLAGHOP =| 2 ire oe ee also “STAGE MOTHER” with TOWN HALL, TONIGHT AT 8:15 ALICE BRADY and FRANCHOT TONE —RADIO CITY MUSIC HALL— SHOW. PLACE of the NATION Direction “Roxy” Opens 11:30 A.M. “ONLY YESTERDAY” Margaret Sullavan—John Boles and » colorful “Roxy” stage show B50 to 1 p.m.—Sie to 6 (Ex. Sat. & Sun.) RKO Greater Show Season LEO | Piano wt ORNSTEIN | ARTISTS’ SERVICE Steinway Piano | Phitadetphia PHILKINO THEATRE 2222 MARKET NOW “Kuhle Wampe” or “Whither Germany?” The Film Hitler Burned! ‘The Daily Worker fights Fascism. | Fight for the “Daily” with your | dollars. Rush all funds to save the | “Daily.” You WERE at TAR Smita PLANT TAR CAT thas oy ARREST 7 He Who Laughs Last . ABOUT MY aARRiwWar THERE AMD ALL OTHER THINGS THAT AAPPENED ? WELL, WHEN HE COMES Down THERE Wire & SLID WHICH Says TO PUT HN TOWORK, WE SAYS, “ Just A MINUTE GUD, GUT WOME OF US GRUEVED aim — FULL OF BOLOWEY WO ORL AD AD OB Fo ORS REI @ ced | one et e 4 > § ~ | ETHEL BARRYMORE THEA., W. 47th B ~ ) of four Communists. DON'T YOU Kwow THERE'S 5, A STRIKE GOIN’ OW Grre?, — AND HE SAYS, “Wo! THEA Uk GETS uP ae ouR STAND aa’ says AS dow HED BEEN SEaT GY AcSCOOT AND CHIEF BROWN THE WORKRRS STAGED @ ORMONSTRA TION IY COURT AT THISEKAMPLE OF CAPITa@L- KI TUSTICE ANG THE TUDGE CLEGRED THE Court ~ MASS PROTREY FORCED IT OPEN AGAIN TO THz PugLlic- THR WITHESSES FOR YUR STATE ASSERT, Tim HAO A GUN IN GIS RIGHT HAND Coat POCKET~ WE PROCEED WITH TIM QURSTIONING AIS DEFENSE wiTASSES. ane Helping the Daily Worker through Michael Gold. | Contributions received to the credit of Michael Gold in his Socialist competition’ with Dr. Luttinger, Edward Newhouse, Helen Luke, Jacob Burek and Del to raise $1,000 in the $40,000 Daily Worker Drive: 0° -$0.50 North Carolina 5 Y. 0. Ler, Toledo + %% A Caradian Vet 25 John R: