The Daily Worker Newspaper, November 28, 1933, Page 5

DAILY WORKER, NEW YORK, TUESDAY, NOVEMBER 28, 1933 WORLD! By Joseph Freeman. 1 bs fact that the Modern Monthly falsifies and slanders a book written by Joshua Kunitz, Louis Lozowick and myself is of little general tm- portance. The significant question is this: “Was there a “literary inquisition” which “persecuted” writers to such an extent that it created a “veritable death-valley desert?” The charge, when honestly believed, proceeds in part from an illusion common among the midtile classes. These assume that the Soviet Union is directed not by the organized working class, but by a few powerful Party leaders, particularly by a bogeyman named Stalin. And if anything goes wrong it is due to the will, the desire, the deliberate direction of this bogeyman and his “machine.” This is a childish fantasy. If the Russian Party neglected the literary field to the point where RAPP was able to indulge in harmful excesses, it was not because there existed such a thing as “Stalin's literary inquisition.” Tt was because the period of RAPP’S domination coincided with the First Five-Year Plan, when the best minds of the country were busy day and night with the colossal task of building soctalist industry and agriculture. ‘The magnitude of that task and the remarkable manner In which it was fulfilled is known to everybody. With Dnieprostroy, Magnitogorsk, Cheliabinsk, Stalingrad, and the collectivization of agriculture on their hands; with the necessity of preparing against the constant threat of war; with sabotage by bourgeois specialists anxious to disrupt the Five- Year Plan; with these and a hundred other tremendous economic, political and social problems to be solved, the Party can scarcely be blamed for paying a minimum of attention to literary problems. 'HE period covered by the Five-Year Plan was one of the most critical periods in the history of the Revolution. In the economic field it was in many ways comparable to the October Revolution in the polftical fleld, Tt was the economic verification of the October Revolution. At all critical turns of the Revolution, class conflicts are very acute, and these conflicts are reflected in literature. The fellow-travelers tend to vacillate, and their vacillations tend to increase the rigor of the pro- letarian writers. During military Communism and the N. E. P., while the Party was absorbed on the military and economic fronts, various groups attempted to seize hegemony of the literary front. The Na Postu group, which later was to control RAPP, attempted to do so after the introduction of the NEP. Voices of October describes how the Party, when circumstances per- mitted it to turn to the literary fleld, censured and halted the extremists. In the 1924 resolution that Party made it clear that it was opposed to a igid and dogmatic dictatorship in arts ‘and letters by any one group. . HE Five-Year Plan, inaugurating another critical period, aroused literary manifestations similar to those which marked the NEP period. There was vacillation among certain fellow-travelers; there was a militant at- tempt by certain proletarian writers to keep them in line. Eventually that necessary attempt created certain excesses of group hegemony. And on April 23, 1932—as on July 1, 1924—the Party, dissolving all literary sroupings, reaffirmed its policy of a free revolutionary literature. * T = Party was not responsible for RAPP’s blunders. All through the Five- Year Plan, when the Party's attention was directed to RAPP’s excesses, it came to the defense of fellow-travelers. This was true in the case of " Pilnyak, Afinogenov, the Moscow Art Theatre, Serge Eisenstein, Pasternak and others. And when the success of the Five-Year Plan was assured and the Party was able to divert its attention from fundamental to literary prob- lems, it reaffirmed its unbroken support of # policy favoring the free covetopment of revolutionary literature. z . 2 1 ia accusation that the Soviet Union “persecutes” writers is an old one. It has been made persistently by enemies of the U. 8. S. R. Preceding the Modern Monthly by six years, a group of white-guard emigres in Paris, headed by poet Konstantin Balmont and Nobel Prize Winner Ivan Bunin, circulated a declaration allegedly signed by “Rus- sian authors living in Russia.” This white-guard “declaration” said - Unat literature and literary workers in the Soviet Union were in a wretched state. | All literary societies and groups in the Soviet Union, whether pro- letarian or fellow-traveller, immediately repudiated these allegations, They branded the “declaration” as a calumny and a forgery. But the emigres were stubborn in their slanders. They forwarded their “declaration” to Romain Rolland and asked him to protest against the alleged persecution of literature in the Soviet Union. Romain Rolland attempted to check the white-guard charges by writing to Maxim Gorki, Gorki’s reply is of unusual interest for a number of reasons, He has been a leader of revolutionary literature in Russia for many years both before and after the October Revolution. He knows Russian life and literature as no other Russian writer does, And he carries on an enormous correspondence with young Soviet writers of all tendencies. UT what is most interesting in connection with the specific problems under discussion here is that Maxim Gorki and RAPP were from the very beginning bitter antagonists. More than any other individual in the Soviet literary world, Gorki was responsible for efforts to dissolve RAPP. It was Gorki who called the attention of extremely busy Party leaders to certain unhelathy manifestations on the literary front. Gorki’s conflicts with RAPP were no secret. He never hesitated to avow his literary position. In 1927 he declared that he did not care whether he be considered a “proletarian or non-proletarian writer.” At that time, workers in all parts of the Soviet Union, celebrating the thirty-fifth anniversary of Gorki’s literary activity, were calling him “our own,” “proletarian,” “comrade.” Lenin, too, had called Gorki the fore- most proletarian writer. “The voice ofthe workers is, of course, more imposing to me than the critics’ voices,” Gorki wrote. And the criticis he meant were those of RAPP who attacked him as a “non-proletarian” writer. In view of Gorki’s differences with RAPP, his reply to the charges of the Paris white-guards, so like the charges of the Modern Monthly, is of unusual significance, It throws @ great deal of light on the role which one group, however powerful or however mistaken, may play in Soviet literary life as a whole. )ioxkm Gorki’s reply to Romain Rolland will appear tomorrow. 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 Bs Burck and Del to raise $1,000 in the $40,000 Daily Worker Drive: oo H. Klein :... $1.00 Dolitzky Party ....,........ » 3.25 ~ I. Haarvista . 1.00 Local No. 22, Bakery and Midland. Unit . - 8.00 Confectionery Workers ....15,35 Previous Total . sreee $450.16 TOTAL TO DATE . $473.76 JIM MARTIN =) WELL PROCEED WiTd MY CAARGE Yo THE JURY WHERE & LEFT OFF VESTER DQY— Twoa't TARE, MUCH OF YOURE TIME - I CONT BELIEVE (N LONG- WINDED SPEECHES: QES(DES, T AAVE @ GOLF DATE ! a IF X REMEMBER CORRECTLY, THE PRISONER 13 CHARGED Witt MYUROER , ARSON AND RAPE — eer oa New Jobs Just a ‘Driblet’, Admits State Relief Head As Thousands Line Up for Registration( Workers Applying toe| Jobs Find Out That | Notices Lied By BENICE MICHAELSON “90,000 Jobs Here in Works Pro- gram. 50,000 To Be Employed by | Applications—But No Jobs! Dec, 15. Others as Various Proj- ects Are Extended.”—N. Y. Times, Nov. 23.” ee Wa up Broadway towards | 28th St., you see a line of men, two and three deep, along 27th St., around Broadway, and swinging back to 28th St. to the doors of the State Civil Works Administra- tion. The men are pushed close to the buildings. Mustn’t interfere with sidewalk traffic! A committee of three, representing the Unemployed Councils of New York Clty, come to see Frederick Daniels, executive director of the New York State Temporary Relief. They want to put a few pointed questions to him on the disposition to be made of thé thousands of single men and women who have been denied relief and jobs, “Ain't You the Reds?” At the entrance are two mounted police, @ sergeant, three footmen. An officer stops Richard Sullivan, sec- retary of the City Unemployed Coun- cils, glances at the credential handed to him. “You're the Reds, ain’t you? Wait right here. I’ve gotta see if Mr. Daniels wants to see you—but don’t start any monkey business!” A few minutes later he returns. “This way!” The committee is led up the stairs, past more officers, past flunkeys of the State Relief, and into an ele- vator to the sixth floor. Towards a Part of a group of unemproyed waiting for jobs in New York City. This scene was repeated on a vastly larger scale when over 5,000 stormed the Unemployment Service headquarters on East 28th St, Jast Friday, ‘What happened is told in the accompanying story bee Benice Michaelson. tions to the local municipal adminis- tration offices to employ a certain number of Negro people, say 10,000.” He juggles figures as if they were marbles. A young man comes into the of- fice. Mr. Daniels introduces him to the delegation. “They are from the —uh—Unemployed Council for in- formation about single people.” The newcomer, evidently an assistant, is’ |young, faultlessly dressed, and ex-/far as Mr. Daniels is concerned. In| remely affable. His smile is a little | the hall, his secretary takes the mes- ‘oo bright, too Pollyannish. Almost | sage, “We'll be back,” and flashes a ‘mmediately the Relief chief excuses | honeyed smile. “Goodby-y,” she uimself for a moment, leaves. croons. Roth directs his remarks to the; Out in the strect, the line is still | ‘oung man. He tells how a delega-jthere, but renewed with thousands on of unemployed workers went to|more. No down-and-outers here. The 1¢ Jewish Social Service for clothes. | majority Have winter coats, some it happened that there were some on|even woolen searfs. Many look like | hand, and everyone was taken care of.| professionals, white collar workers, | But when another delegation of | Young, most of them. A new crop single Gentile workers went to the|of unemployed, a new throng of New Joint Application Bureau, the officials | York’s jobless men who a few months The assistant’s cheerful smile fades as he listens, presumably sympa- thetic, But he can’t stand the stark facts presented to him so quietly, but with cool decision. He rises, “Excuse me a minute, won't you? I... telephone call .. . ” He’s gone. | A ‘few minutes pass. No sign of either the executive director or the assistant. The committee smiles. It | knows that the interview is over, as ! declared they were “swamped”; |ago, probably, drained their last re- *plain-clothesman the cop bends, | “swamped”; they hadn’t the facilities | sources and are now forced to join whispers, “It’s the Reds!” to take care of the needy; there was | the millions on the streets. ci? ae not a stitch of clothes in the ware-| Half-way up the block near the Upstairs the atmosphere is/house. “As far as relief for sin- line, @ small newspaper fire was sur- changed. Warm, well-heated offices; low, modulated voices; polite young women whose radiant, perfunctory smiles flash at you, then vanish a second later. But even the sheltered compla-. cency of the offices do not drown ont the spontaneous shouting of. the thousands below, impatient and. angry at being forced to wait for hours in the raw morning cold. “Mr. Daniels will be with you in a few minutes.” The committee waits fifteen. Mr. Daniels, a pleasant-faced young man, blonde, slender, assumes a very considerate manner towards his three visitors. (Evidently relieved at sight of only three, No trouble, this time!) He listens politely to Dick Sullivan, who wants to know what the State Relief will do in the way of jobs for the single men and women of New York City, Did the executive director know that nothing had been done for them, that they were being discrimi- nated against? Sullivan, short, sturdy, clad in a brown leather wind- breaker, leisurely rolls a cigarette as he speaks. No “Instructions” to Discriminate “Why, no instructions, as far as I know, have gone from this office, or from Washington, about discriminat- ing against single men and women,” was the reply. “We tell our agencies | to take applications of single people along with those of families, and they just have to take their chances, along with the next fellow. Of course, in cases where jobs are open, a family man would get the preference. On jobs for single people, well . . . I don't have to tell you there aren't even enough for family heads, And these new jJobs—they don’t even touch the question of the unem- ployed. They're just a driblet .. .” He crushes a cigarette in the ash tray. “Now, the Federal Government, and we here, are taking steps to care for some of the transients—you know, intra-city unemployed who drift from town to town, have no place to anchor. . .” Immediately, Jack Roth, a represen- tative of the Downtown Unemployed Council speaks up, slowly, quietly, but with unmistakable persistence: “What about the unemployed single residents of New York? From my experience in unemployed work, I know that when single men and women apply at the Home Relief Bureau, they get no break at all. They're kicked out. What provisions are you making to give them jobs?” Mr. Daniels, cornered, smiles a little wanly. “Well, we take single applica- tions along with the rest,” he an- swered smoothly. “As I told you, in- structions are not to discriminate against them. Now if I made a spe- cial case of these single men and women, it would be discriminating for them... . ” He lights another cigarette, holds it daintily between long, smooth fingers. Admits Discrimination Against Ne jegroes 'ULLIVAN continues. “The Negroes of New York City, especially in Harlem, have received practically no relief, much less jobs. What do you intend doing about them?” “All the agencies deny such dis- crimination. Oh, I’m aware it exists, all right.” Daniels waxes confidential; he bends forward. “What we have to do is get figures. That’s the only ‘way we can prove it.” He admitted the relief and jobs given to Negro workers (“group,” he called them!) were practically nil; admitted that the discrimination was varied in meth- ods; and hinted vaguely about reme- dying the scandalous situation by, perhaps, maybe, possibly, even “plac- ing colored people in the agencies. ‘We may have to give direct instruc- gle people goes, the men have it bad enough, but the women are worse off. They register down the Central Reg- istration Bureau, get sent to the Sal- vation Army or “Y” for a week, then are turned out into the streets again. They register under a_ different name, some of them, and then go through the same procedure.” rounded by a few men trying to keep their hands warm, their feet from | setting numb, Around the corner on Broadway, a newspaper photographer was crouched.on the sidewalk, his | camera focused on feet—thousands of feet of the unemployed, hungry for jobs—each hoping he would get in on | tthe “driblets.” |38 WorkersTheatre Groups Represented | at Midwest Conference Held in Chicago CHICAGO, Ill—Sixty-four dele- gates, representing 38 Workers The- ater groups in the Middle West, re- solved “to make the workers theater & powerful weapon of the class strug- gle in the basic industries,” at a con- ference held here Nov. 18 and 19. Workers, farmers and students, Negro and white, these delegates hailed from Cleveland, Detroit, Milwaukee, Arkansas, South Dakota, Minnesota, Iowa and Illinois, Unanimously they pledged themselves to root the cul- tural movement in the American masses as an aid in their day-to-day ! struggles. and to build the Workers| Theater until it could successfully combat the propaganda of the bour- geois stage and movies. ‘This two-day conference, held at) the Workers School of Chicago, | marked the first concrete organiza- tion of the Midwest District of the League of Workers Theatres. A Dis- trict executive committee was elected with representatives from each of the already-organized sections (Milwau- kee, Detroit, Cleveland and Chicago) and representatives of each of the farmers’ groups. Arne Howe, secretary of the League tival, which is to be held in Chicago| in April, 1934. At this Festival groups | from throughout the country will meet | in theatrical competition and critical} discussion. The conference also heard reports frorn the delegates, as well as speeches on The Political Situation and the Workers Theater,, The New, Theatre Magazine. Artistic and Rep-| ertory Problems of the Workers ‘Theater, The Revolutionary Farmers Movement and the Workers Theater, | | and the Position of the Communist | Party toward the Workers Theater. | Among other decisions of the Con-/| ference is the establishment in Chi- cago. center of the Midwest district, | of a Clearing House for working class | plays. Anyone In the Middle West | who has plays to contribute should | send them to this Clearing House, where they will be mimeographed and | distributed among all theater groups} who request them. In this way it is hoped to enrich the repertory of all workers theater groups, so that they} will be able to enter more effectively into the day-to-day struggles of the workers on unemployment insurance, higher wages, better living conditions, and so on. Send all plays or requests of Workers Theaters, brought greet-j| for plays to the Workers Theater Re-| ings from the National Executive| pertory Committee, temporarily loc. Committee and presented plans for | ated at the Workers School, 2822) the National Workers Theater Fes-' So. Michigan Aye. TUNING IN | TONIGHT’S PROGRAMS WEAF—660 Ke. 5:45 P. M.—Nursery Rhymes | 6:00—Frances Alda, Soprano | 6:30—Midweek Hymn Sing :00—Mountaineers Music 15—Billy Bachelor—Sketch :30—Lum and Abner 1:45—The Goldbergs—Sketch 8:00—Julia Sanderson and Frank Ccuinit, | 7:1$—Pruning the City Budget — Peter} Grimm, Chairman Citizens Budget Gommission of New York; Harlow 8. Person, Managing Director Taylor Society; Harlod §. Buttenheim, Editor American City Magazine 7:45—String Quartet 6:00—The Paper. Ears—Sketch $:S0-saarenbiawyy 0 Health—Dr. Bundes 84S—Billy Hillpct and Scrappy Lambert, So ongs 9:00—Alice Mock, Soprano; Edgar Guest, Poet; Koestner Orch. 9:30—Men of Daring—Dramatic Sketch 10:00—Markel Orch.; Sid Gary, Songs; Bid- ney Mann, Bopenno: Nordstrom 8is- ters, Piano Duo 10:30—The Man Who Died Twice—Sketch 11:00—Leaders Trio, 11:16—Anthony Frome, Tenor 11:30—Whiteman Orch, 12:00—Harris Orch. 12:36 A. M.—Sosniek Oren. WABC—860 Ke 7:00 F. M.—Myrt and Marge 7:18—Just Plain Bill—Sketch 1:30—Denny Oreh. Jeannie Leng and Paul Stell, Songs 1:45—News-—Boake Carter 8:00-—Eimer Everrett Yess—Sketch 8:15—Singing Sam 8:30—Voica of Experience 8:45—Danea Orch. 9:00—Philadelphia Oreh., Leopold Stokew- sky, Conductor 9:15—Kentucky Colonels’ 19:00—Gray Orch. 10:30—News Bulletins 10:45—Nino Martin!, Tenor; Symphony Orch. | 11:15—Gerthrude Niesen, Songs 11:30—Jone1 Ore: 12:00—Lopes Orci 12:30 A, M.--Brigade Oreh. 1:00-—-Hallett Oreh. Heary | Songs 8:30—Wayne King Orch, 9:00—Bern‘a Orch, :30—Ed Wynn, Comedian; Voorhees Orch. —jves at Stake—Sketch 10:30—Seauty—Mme, Sylvia 19:/3—Revert Simmons, Tenor 11:09—Taik—J. B. Kennedy :i8—aterof! Orch. vis Orch. al ch, 12:30 A. M.—Childs Ozeh. WOR—710 Ke 7:00 P. M.—Sports—Ford Frick 7:15—News—Gabriel Heatter 7:30—Terry and Ted-—-Sketch ‘1:45—De Marco Girls; Frank Sherry, Tenor 8:00—Grofe Orch.; Jean Sargent, Songs; Frank Parker, ‘Tenor. 8:30—Frank and Flo, Songs 8:45—Song of India—Sketch | 10: 00—Blubber Bergman—Sketeh 10:13—Current Events—Harlan Eugene Read 10:30—Eddy Brown, Violin; Concert Orch. 10:00—Weather Report 11:02—Moonbeams Trio 11:30—Nelson Orch, 12:00—Trini Oven. WIZ—760 Ke 7:00 P. M.—Amos 'n’ Andy Program. jin —| with the exception of Helen Ford in |“Champagne Sec,” | productions are almost wholly lack- Page Five ae The World of |The Young Pioneers Present the Theatre By HAROLD EDGAR Variety Not many years ago, in the heyday of the art-and-little-theatre move- ment, young reviewers imbued with the new aesthetic talked about some thing they called “pure theatre.” | a) Those plays were “pure theatre’ | Ba which involved no moral or social) problems, character portrayal for their inter-| ¢ est, but simply employed conven-| tionalized figures treated with clev- erness, fantasy, and attractive color. ville show, seemed more than 4 little arty, and only the devotees of the} workers’ movement w ried old Neighborhood Playhouse sup-| ported them. Today, however, with | the attempt to forget some of the | harsh realities knocking at our! doors, this kind of show is being brought back to us, without benefit of aesthetic Justification, in the form of costume plays. “Champagne Sec” at the 44th St. Theatre, and “The School for Husbands” at the Emrire| are outstanding examples. It is interesting to note the treat- | ment they receive at the hands of Broadway theatre managements—for | whom such productions are rather the nature of experiments. “Champagne Sec” is Johann Strauss’ “Fledermaus” (The Bat), a Viennese operetta of the last century, and “The School for Husbands” is based on a play by Moliere. Here, in other words, is an opportunity for theat- rical people to show what they can do} in the “pure” craft of the theatre: no psychology to worry them, no depth of thought, no message. Here ‘'Potamkin’s and did not depend on| ti patterned movement . To most audi-| Joa ences these plays, when they weren't | ‘,), simply a musical comedy of a vaude-| tieiq of revolution children’s editor and as executive of the Reed Club. to Potamkin’s spirit was his operetta, | | burlesqui | today’s children. By MURIEL RUKEY NEW YORK. kin er ned revolt e es With Low eph Freeman, lan Potamkin as i criti ember hose g many and poetr; and sm, and as a dev him into including iterature fields, activities as But the most substantial witness produced and staged by the Young Pioneers and the J Reed Club, ith a cost of 0 Pioneers. trike Me Red” up, in its ree the ironic comination of and suffering which faces Passing be the sum th: moments play reached of aa schoolroom scene, which was, pure farce ridiculing the ways of. teach- ers who intone, nd and roun y ng the students to reply, men have the money, and earth goes . a »| the poor men pay the taxes”; and they have an opportunity te “play hacia» Wea in almost the literal sense of the Saint full ‘chorus, “Strike Me word—to have fun for no other pur- | pose than to amuse themselves and) the audience. | The result in both cases is a com- plete giveaway of the poverty the) American commercial theatre suffers. | There is little joy in either of these| shows. In one, we hear the nicely upholstered tunes of Johann Strauss, entertainer par excellence of a com- fortable European bourgeoisie, in the other we see library imitations of seventeenth century clothes. But who is a cute! Irish soubrette, and June Walker in “The School for Husbands,” who the most genuine of ingenues, both ing in theatrical exuberance, gusto) and human charm. Not only that, but the kind of plays these actors and producers are accustomed to pre- | sent make them unfit to create vivid! and was receive so that in both | by about 100 pi stage movement, he movement which such plays need is furnished not only by the}y acters but by especially engaged for the purpose. The actors are incapable of play ing—Osgcod Perkins in “The School for Husbands” seems like a college professor trying to be bright and modern in the recitation of ancient | verse—and many of the performers} Tuesday in “Champagne Sec,” for all their efforts to appear carefree and gay,| the length of the show’s run and) the doubtful source of their future | Earth,” | Theatre, These actors, for whom 8D | union, 0c, $1, $1.50. income. unemployment piay might provide more appropriate material, wear their rich costumes as if they felt ridiculous in them, and make merry as if their hearts were bitter with a satiety of bad lunches at semi-luxurious Broad- way restaurants, These old comedies made for a people who were living well, accerd- ing to the standards of their times, | are static, strained and bloodless on evictions, Mercy's Window,” by the club which including | stage from the {Action of th 4 Theatre, at the Blue Eagle giving Eve. 42 E. 12th St professional dancers | Theat = 5, look as if they were worried about $° Hall, 113 W. Sith St. Brookly The scenes went through the en-/| tire range in the Young Pioneer's} life, with street scenes followed by by hristmas before “R. H. ‘Strike Me John | t revolving on its} A Red!” example ma- ‘om ptation of a revolutionary terial for children's use. Scenes could very easily be smaller groups. than ich acted in this Memo- Me of Harry proo: oe the film, but excellently aoe ‘tor performance by unique talents, talents which have not been replaced. Besides devoting himself to a care- ful study of the Soviet film at « time whi by the bc n was given it » he followed the trer wood, dissecting Sud ting out with ination the tre- Spun scope of the revolutionary film, In his preliminary speech, Jo: seph Freeman declared the need for this art in the revolutionary move- ment, and h pe that the younger critics of t) ilm would pay to Harry Pot n the effective tribute of following his example of knowl- edge and application, and of con- tinuing the tradition which he so brilliantly began. d man, the sym- pathy which produced “Strike Me Red” was but one facet of the sum of talents which made Harry A’an Potamkin a pioneer in the revolu- tionary cultural movement, |Theatre of Action \To Present oad tre on Thanksgiving Ev NEW YORK. everal new pi: visboy,” adapted for the oem by V. J. Jero tomorrow, 8:30 p “Newsboy” was preview ed that it was som new in the history of the Workers p. m. si PREVIE anti~ ¢ Workers Industrial it. Admission 30c, LL.D. Labor DR. JOSEPH MILLARD OSMAN will speak logical Progress in Soviet Litera- ning America Institute, Steinway at 41 Chester Ave., 12th Ave), at 8:15 LL.D, CHORUS m: Ave., $1421 it 1, Prospect Bee, 5. BLUE EAGLE 1 Nite given by our Ne ork 1933 stage. Their to- | Theatre clu Action at 42 tal effect is that of a large decorated | 5, it St Ament, Dance pastry made entirely of old rubber} CONCERT for the and cotton wool. The reason for this is twofold, Such plays can be produced properly only by organized collectives, in- ; spired by a desire to perfect them- Selves in the special technique re- quired for them. Also, the mood of the general run of American actors is not naive, robust or free enough to permit them to enter naturally into the spirit of these plays. They can be wise-cracky, they can be ner- vously energetic, they can be flip- pant in a mental way, but that com- ment given by the 0: at Park Palas Admisston 35¢ Angeliot’s orchestra will supp mission voluntar ber 29, at 8 p. m Ber 1 ve., at 8 p. FIRST ANNUAL Auspices. YOL. 'Noven-| edy which can be expressod only Boston, Mass. | through the coordination of al wm. L. PATTERSON, MAIN mares healthy, joyous spirit with a supple,| 1D Banquet and Dance, International | trained body and a real aliveness of | Hall. 42. Wenonah 3 agar ie the sense: American actors possess, and others, who might possess them, generally lose. So that in the matter of “pure theatre,” which is the theatre of physical action plus a sense of style, | Broadw: is even More deficient than in plays of social significance! The | only substitute for such a theaire is| our musical comedy, which is deter- jorating throuth endless repetition of hackneyed formulas. and in oc-| casionsl farces like “She Loves Me! Not.” The latter—playing at the 46th |} St. Thestre—is the kind of old-fash- ioned crazy-quilt comedy in which the American Theatre before the war ex celled. With a good-humored juvenile quality, it weaves all manner of topi- cal m: 1 into an ingeniously com- plicated plot. The subject matter} is up-to-date, the spirit is small! town. The whole thing is no more serious than a Saturday Evening something very few! November 26, 1933. ne IRD BIG. '-SHOLOM ALEICHEM’ S SOVIET YIDDISH COMEDY (ENGLISH TTTLES) Lok wie or acomntie t | spitit of Sholom Aleichem’s representation: THEATRE Pitisburgh INTERNATIONAL Concert and Dance will *| Cagney '| Keller is the screen feature at Loew's | Boys at the Knights o: Stage and Screen i Eugene O’Nei New “Days Wit In Rehea Play ut End” Placed sal By Guild D: season, Maxwell An- opened last 1 Theatre being the urice Schwartz's Lion Feuchtwanger’s ame name, wil Ihave its is evening at the Yiddish z, who is now appearing ng For Home” at the Public . wil be watret in a new Sirging Thief.” The ten by the Shuman Sisters, esented for the week end: “Little Women” In Second Week At Radio City “Little Women,” REO picturization of Louisa May Alcott novel, starring | Katherine Hepburn, which has been breaking records at the Radio City Music Hall, will be held over for a second week. Paul Lukas, Edna Mar liver and Douglass Mi eiraineh play z roles in the sh version of : “Farewell to 1 Jan Kiepura, Heather Angel and Betty Stockfield im the ding roles is now being shown st u Cameo Theatre. Rudolph Valentino in “The Shiek* lea | is continuing at the Fifty-fifth Street t | Playhouse. +; next picture in this series of revivals “Beau Geste,” will be the of silent pictures. “Footlight Parade,” with James ‘oan Biondell and Ruby State this week. be held on Nov. 30th at 805 James St., ¥. & Concert wil Ibegin at 3 p. m. to 8 p. m Dancing will start at 7p. im. Admisston 38. Red Bank, N. J. SOCIAL for the benefit of the Scottsbore Pythias Hall, West 29th, at 8 p.m. Ad- Bergen Place on Nov. bisston 25¢ AMUSE MENTS WEEK OF ACME “NEW SOVIET “LAUGHTER THROUGH TEARS” essential DAILY. WORKER Mth STREET UNION SQUARE ‘The actors COME, SE E and HEAR LITVINOFF and BULLITT SPEAK from the sereen in special movietone int EMBASSY NEWSREEL ANY SEAT, 2% erviews. Also latest soviet film-news, THEATRE {3 § TREET AND BROADWAY ic, ANY TIME Post story, though much more divert- n't “pure theatre,” it is an example of’ “popular” howmanship, The Frame-up Cang Makes a Compromise RUN MY CouRT? bntclael Tak CHARGES ARE MURDER, || ARSON aNd RADE |! AaD— */ ANO- TLL ADD ANOTHER— GEG TODIFFER! Says XL PROSECUTED Od INCITING To RIOT AND CARRY- ING AGUN cdarcEs! comp ON TH! DIONTASAY S07? WE CAN Cuarse ! Ed? by QUIPT TuocE! way ROMISE — Last a o ——THE WA, 9-750. for Saturday’ THEATRE GUILD _ presents— EUGENE O'NEILL's COMEDY AH, WILDERNESS! with GEORGE M, COHAN GUILD 22% 5228. W. of Bway | Ey,8.20 Mats, Thur., Fri, Sat. MPLIERE'S COMEDY WITH MUSIC ‘The School for Husbands Osgood PERKINS—June WALKER EMPIRE Thea. B'wey & 40 St..2v. y*n Jefferson sts st. 4 Naw JEAN HARLOW i me in “BOMBSHELL Also “THE KENNEL MURDER CASE” with WILLIAM POWELL & MARY ASTOR ROBERTA A New Musical Comedy NEW AMSTERDAM Theatre, West 42nd Bt Evs, $1-83; Mats. Wed. &Sat.500-$2.50, plus tax 8.40Mats.Thurs,&Sat.2.40 MAXWELL ANDERSON'S New Play MARY OF SCOTLAND with HELEN — PAILIC HELEN MAYES MERIVALE MENKEN ALVIN ea: 524 St., W. of Brway Ey.8.30.Mats.Thur.& Sat. 2,30 Opens Tomorrow Night ‘THE THEATRE U! resents ‘PEACE ON ‘EARTH? new play by George Sklar & Albert Maltz | authors of “MERRY-GO-ROUND” ivie Repertory Theatre, 14th St. & 6th Ave, PRICES: 30¢ G00 $1.10, $1.65 On Saturday the Daily Worker has/ pages. Increase your bundle order First Annual Entertainment CAFETERIA WORKERS’ UNION Sectoin of Food Workers Indostrial Uniow Wednesday, November 29th Thanksgiving Eve. Dance and PARK PALACE 110th ST. FIFTH AVE, Subscription 35¢ At Door 40 Julio Melis Orchestra ee Oe il