Evening Star Newspaper, October 14, 1928, Page 76

2 'AMUSEMENTS.” More of Craig’s “Macbeth.” DOUGLAS ROSS, the producer, who is staging Gordon Craig's produc- &ion of “Macheth,” a George C. Tyler Promised attraction of the coming sea- #on, has this to say: “My firm belief in this production is ®osed on the premise that it be taken As an integer and not as a series of component parts.” S0 _far as scenery is concerned. says MT. Ross, the guiding principle of Mr. Craig is that scenery is not to be seen. Tt is to be felt rather than seen. It mssists to an atmosphere instead of obtruding as a picture It is with this intent that Craig has employed screens and architectural masses for his sets in “Macbeth,” drenched in a mood of mystery, fear, horror, or flooded with high-lighted glory of power and kingship—mood ef- feeted not only by physical form but by’ the subtle and skillful commentary of the lighting scheme and of authentic music of the twelfth century period “As the supernatural element fur- nishes the controlling motive in ‘Mac- beth’ care has been taken by every possible means to preserve the con- tifiuity and the verity of other-world forces from the opening witch scene on he rocky, blasted heath to the final reck of Dunsinane, with the figure of “Macbeth lying a heap of human ashes vith his burnt-up ambitions. ‘Macbeth’ represents the greatest, ~rimiest, most stupendous conflict be- veen good and evil in our literature. he supernatural overcasts and sub- ‘'nds the play. “In order that the tremendous power the evil influences may be properly « *noted, it is necessary for the witches » be played by men—tall, thin, cadav- + ous men. Mr. Craig's suggestive awings of these witches represent and epitomize pure evil, hate and de- struction. The witches are not playful little dames; they are the anti-type of angels. ' “The castle courtyard, with its men- acing masses, will suggest mystery, a [sense of dread. It is a place where anything might happen, a scene of primitive passions, of lurking danger, its tones of shadow a prelude to the murder of King Duncan. | ~“The color notes which will | through the play are represented vertical arrangement on the curtain |used between scenes. These are the | primitive Celtic colors that were preva- {lent in the twelfth century, the period lof «;ur play. And they are very beau- | tiful. | _“The same holds good of the music. There will be no orchestra. Just as | fingers were before forks, so the voice |was antecedent to the instrument. | Voice is to predominate. Trumpets and | drums, which has always been the vbice |of martial commands, these we will {have, of course. But certainly the | dominant music of these armies was epresented by the war song. That is "rue of all armies—war songs in the | bivouac, on the march, going into bat- |tle. In the World War there were ‘Tipperary’ and ‘Over There.’ ‘ “'Our music will be authentic of the period—songs, battle cries, such as were sung by the soldiers and by the troubadours that were carried with the | armies. | echoes of this type of music carrying through from one scene to another, marking the continuity of the play— chorales, dirges, war songs. The music alone, its character and its functions, | might be made the topic of voluminous comment. Of course, this means a tre- | mendous company, and truly it will be ! tremendous.” run in Capricious Career A BOUT the career of Josef von - Sternberg, Paramount director, has hered a curious obscurity. In the ‘r short years since he came o llywood. the story of his activities h before and after his entry on the st Coast scene is said to have been orted and garbled in rumor and “ort, is generally known that Von Stern- 1 first came into general notice when oroduced a picture called “The Sal- on Hunters.” It is known also that later worked with varying degrees “uccess at several studios. They are = many, but it is said, occasionaily, Joe von Sternberg has been kicked of every studio in Hollywood.” His in, his* family, his education, his aplace. even his overcoat are sul s of discussion and the dissemina- * of gratuitous and mostly erroneous rmation. + he fact stands out clearly, however, + In the past year von Sternberg directed three of the most success- ~9ictures released by the Paramount- us-Lasky Corporation. They, in have been acclaimed artistic suc- >s and have proved box-office hits, ne of them started a picture vogue. Y was “Underworld.” That vigorous jdrama rocketed George Bancroft to dom and started the cycle of pic- s glorifying the American gunman > quantitative scale. The other two Emil Jannings’ “The Last Com- d” and “The Drag Net,” another »roft underworld melodrama. hen Von Sternberz was able to 2 four years ago at the storm of ission “The Salvation Hunters” ed, gossipers began to say that a y break had placed a tyro in the light. Nothing could be further 1 the truth. sef von Sternberg had had 10 years’ on picture experience before he ¢ to Hollywood in 1924. He had ted in almost every capacity in ios in Fort Lee, New York and Lon- He began in 1924 as a film patcher the old World Film Co. He had ted as property man, cutter, head of camera department, cameraman, and assistant.director, eventually g_chief adviser to William A when director general of World . 1 the World War, he was motion ire expert to the chief of staff of United States Army. The war over, went back to motion picture pro- ion work in what he now says was apprenticeship. It was not “all %, no play,” however. n Sternberg varied his study of °n technique with extensive travel- in Europe. He has lived in London, ‘na_(where he was born in 1894), s, Prague, Naples and Berlin. He ses to talk about his travels, doubt- that the public can have any inter- for instance, in his smoking a pipe top of the Pyramid of the Cheops. 1 1924 Von Sternberg terminated of these jaunts in England, and irned to New York on a cattle boat. proceeded to Hollywood immediate- making the entire trip in day “hes. He went to work as assistant R. William Neil. who was directing the Grand Asher and F. B. O. - lios. e was scarcely “acclimatized” when found himself a sensation. He wrote directed “The Salvation Hunters,” Juced it for $5.000, had it acclaimed West Coast critics and celebrities, .1 won, first, a contract to direct 'y Pickford, and, soon afterward, a ctorial contract with Metro- dwyn-Mayer. The Salvation Hunters” was made efly) in a mud flat at San Pedro bor. Von Sternberg produced it at instigation of Arthur, an English edian, who at that time had eved only mediocre success in 'ywood. He raised, with consider- DANCING 3 GIRARDEAU L'EGARE—S5 private les- . 35 single, $1.25 = Class dancing Fri- 8 practice’s 1o 11 2035 P st. n.w,, up ehit 2 £ AND MRS L. A ACHER STUDI loth st mow Classes Mon, Fri. 8 to th orchestra. Private lessons “iment.” Fr. 8567 Established 1000, 16% VISON’S Teach you to dance cor- rectly in a few lessons, Mrs. strictly private, any hour. } M St. NW, Class Sat instruc- Main 1732, ni tion at 8. Dancing §-12. 10, 11 ACKSON. PRIVATE DANCING: T Tomson, A1) si%. 35 Glass gances Fric ghts. 9 to 16: 6 19th m.w._Pot. 318, GERTRUDE L'EGARE -7 private les- 35; single, $1. Before 11 a.m. and afler (up 1 fiight). _ * 2035 P st. nw Miss < Tchernikoff-Gardiner School of Dancing - American School Recognized in Europe Graded Closses for lure and Plastia y Class tasses now forming ¢ dren. Physical anced_and Young Men and & placed in New )8 S St. Catalpgue CATHERINE BALLE ve & ballroom dancing, icing. stretching, ‘e who qu: ges, 113 NW " MRS. roductions. N. 874 3 MAE DAVISON on — New Bal Dany 165, Campus Drax, Pa-re-sw Children at 4 P.M. Wed Ballroom Class Tuesd; uck and Wing Class Thursday, Enroll Phone Main o 1329 3 N.W.. at Thomas Corcle * EVELYN DAVIS SCHOOL ‘133 Modern De V' Dramatic Dancing T Authentic Orienta Limbe d Conditioning Children’s classes Saturdays Hich School ballroom groun Fridave Women's groups and private lessons and evening Leaflet sent on request 1773 Columbia Road a v Columbia 9031 able pains, part of the necessary money. The picture completed, Arthur pre- vailed on Kone, Charlie Chaplin's valet, to show it to his master. Through Chaplin, who liked it, it came to the attention of Douglas Fairbanks and Joseph Schenk, who purchased a half interest for $20,000. Fairbanks’ inter- est resulted in Miss Pickford’s signing Von Sternberg as her director. Nazimova, Elinor Glyn, William De Mille, Marion Davies, Frank Keenan, Jim Tully, Tom Geraghty, the late Thomas H. Ince and Al Kaufman were other film notables who are said to have praised “The Salvation Hunters.” It received tremendous publicity before and after it was released by United We will hear continually the | THE SUNDAY STAR, WASHINGTON, D. €. OCTOBER 14, 1998 _ PART 4 AMUSEMENTS.’ BELIEVES IN YOUTH INTHROP AMES says he does not fear youth in the theater. His career as a producer of notable plays is marked by his discovery of a number of players who since have be- come prominent on the stage. When he brought out Maurice Maeterlinck's | “The Betrothal” the cast included five | unknown girls, June Walker. Winifred | Lenihan, Sylvia Field, May Collins and Flora Sheffield, who now are featured as_stellar names on the billpoards. Ronald Colman was seen in Ames’ production of “The Green Goddess," with George Arliss in New York long before Hollywood had heard of him. Greta Nissen, another popular film star, was first shown to the American public when Ames presented Deems Taylor's ballet, “The Princess of Xandu.” in Kaufman and Connelly's “The Beggar on Horseback.” In this satire also was Osgood Perkins, now | prominent in “The Front Page” in New York. It was Perkins' first appearance on_Broadw: One of Ames’ most interesting dis- coveries is Frieda Inescort. The daugh- ter of a well known London actress, Miss Inescort, believing one actress in a family was sufficient, turned her back on the stage. She came to America, worked in the British consulate, and then on the editorial staff of a trade shipping journal, where she was em- ployed when Ames engaged her for A. A Milne's “The Truth About Blayds.” Last year Ames featured her with Leslie Howard in John Gals- worthy's “Escape,” and now, having watched her growth, he has intrusted her with Portia with George Arliss in “The Merchant of Venice.” Miss Ines- cort is still in her 20s, a young age for an actress to reach Portia, though the role calls for youth and seldom gets it. One of Ames’ greatest coups of dis- playing unknown players to Broadway was his Gilbert and Sullivan company. For years these operettas had been staged with a set of well known Gil- bert and Sullivan standbys. Ames had an idea that he could secure a certain freshness and vitality by assembling a cast of able singers and actors who were new to the Savoy operas. Most of these players were young in the the- ater and barely known to New York. After his first production of “Iolanthe," the metropolitan press rang with super- latives for the manager's triumph, Something Noisy in Checks. "THE proprietor of a “one-flight-up” clothing store in Los Angeles had a big surprise the other day when two immaculately dressed men entered his place and asked to see the loudest thing in checks he had. Artists. Critics, largely, praised the artistic merit of the picture. Exhibitors agreed, almost unanimously, that it was gmson at the box office—just another op. About October 1, 1924, Von Sternberg went to Pittsburgh, and there wrote a story for Mary Pickford against the in- dustrial background of that city. In “The Salvation Hunters” there had been a mud dredger. In the Pickford picture there were to be further and greater evidences of this mechanicai age. But the picture was never made. Miss Pickford disagreed with Von Sternberg, and he was supplanted by Marshall Neilan. Previously, however, Metro had contracted to have Von Sternberg direct for them on expiration of his Piekford agreement. His first Metro picture was “The Exquisite Sinner,” ~featuring Renee Adoree and Conrad Nagel. The National Board of Review selected it as one of the 40 best pictures of 1926, But before it had been released there had been trouble over retakes between the di- rector and studio officials. His second work for Metro was a Mae Murray pic- ture, “The Masked Bride.” The Von Sternberg-Metro contract was broken by mytual consent when it was half finished. The report went around Hollywood that Von Sternberg tem- peramentally objected to supervision. The director then went on one of the European trips. On return he was signed by Charlie Chaplin to direct a picture designed to bring from retire- ment Chaplin's former leading woman, Edna Purviance. Von Sternberg made the picture, called, variously, “The Gull,” “The Sea Gull” and “The Wom- an From the Sea.” It was never re- leased, Chaplin rather taking a loss— said to be $30,000. Preview crities said the picture was beautiful, not human. Rumor said the director's treatment had given the supporting players too , much importance. Von Sternberg mar- ried Riza Royce, an actress, and went | to Europe on his honeymoon. B. P. Schulberg, associate producer for Paramount, hired Von Sternberg on his return, as “director of photo- graphic effect” on “Underworld.” Before the picture started, he was as- signed to direct some added scenes of “Children of Divorce,” co-starring Clara Bow and Esther Ralston. The added scenes so impressed Schulberg that he assigned Von Sternberg to di- rect “Underworld.” Hollywood thought, and said, that Schulberg was crazy, Results, as have been previously stated, vindicated his decision. Von Sternberg's association with Miss Ralston on these added scenes inci- dentally accounts for his next assign- ment after “The Docks of New York.” He will then direct Miss Ralston in “The Case of Lena Smith.” He says his brief experience with her convinced him she has great ability. Other facts about Von Sternberg are: He was brought to America at the age of 7; he wears “loud” suits and over- coats; a sister is a school teacher in New York: he holds a Ph. D. degree from the University of Vienna; his pic- ture starring Emil Jannings’ “The Last Command” broke the weekly house record at the Rialto Theater by $4,000 with a gross of $51,000. Mystery Plays. “QEVEN FOOTPRINTS TO SATIN,” by A. Merritt, is to be second of the series of mystery stories to be made by First Natignal Pictures. “The Haunted House,” recently completed, was the first. “The Haunted House” dealt with a queer old structure perched precari- ously on a cliff, wherein many weird things occurred. The new film deals with a strange individual, known as Satan, who plans to rule the world. His house .Is a magnificent mansion filled with myriad wonders, and the hero is forced to undergo fortyres of mind that are almost unbearable before he escapes from the clutches of the monster in human form. Like one of Sax Rhomer's masterful pieces of imaginative fiction, “Seven Foatprints to Satan” deals with its sub- ject in a Gargantuan way, with extrav- agant ideas displaved in the strange fit- ting of the sanctum of the central figure. MRS. WILSON-GREENE’S CONCERTS, 1928-29 “onductor. R Celebrated KREIS- and R ANDIZAGAS. §i tarists Opera. Thinking that to the tastes repre- sented by the quiet and well cut tweeds of his callers loudness in checks meant something almost invisible, the cloth- ing man produced a suit as quiet as a Sunday at the North Pole. It took Some argument on the part of his call- ers before he finally trotted out a mas- terpiece in screaming checkerboards—a klassy kollege kut of Black and white with a by no means invisible pin stripe of Mandarin red. This creation having been purchased, the visitors completed the outfit with @ blue and white shirt broadly striped, a red tie and a gray derby. Still gulping feebly, like a perch out of water, the clothing man sought to velieve his curiosity. “Mebbe it's for a fency ball, yes?” he inquired affably. “No.” was the answer. ture people.” Alan Hale was buying. BRI e New Lights First Used. NEWLY PERFECTED incandescent nfhflng equipment, a revolutionary step in motion picture advancement, was used efclusively for the first time in filming “Our Dancing Daughters.” The new studio lighting equipment was brought to the Metro-Goldwyn- Mayer studio from a New York lab- oratory especially for the production, which Harry Beaumont directed upon a lavish scale. Because of the new lights, all of the players had to experiment with new make-ups and an entire scheme of stage settings were created to provide a background for the photographic artistry made possible by the new lights. The new lights, it is claimed, elimi- nate the danger of Klieg eyes and greatly facilitate the making of motion picture scenes. “We're pic- Bosworth No Novice. OBART BOSWORTH, who has been a featured player and a star in motion pictures ever since the da: when they used to nail the camera ?: one position and scenarios were written on cuffs, has a prominen role in Esther Ralston’s Paramount pifture, “Sawdust Paradise.” Bosworth last set foot on the Para- mount lot 11 years ago, when he ap- {earrd With Geraldine Farrar in “Joan, he Woman.” He also gained fame in a series of Jack London stories, notably “The Sea Wolf.” “Behind the Door” and “Below the Surface” added to Bosworth's popu- larity, and recently he has appeared in “The Chinese Parrot” “The Blood Ship,” Mary Pickford's “My Best Girl” and “Freckles.” . Tivo]-i to Have E‘kiea. WHAT is considered the greatest event in the history of the Tivoli Theater since its opening, four years 130, is to take place on Sunday, Oc- tober 21. The Tivoli is now being equipped with vitaphone and movietone, the first neighborhood theater in Washington to be accorded this honor, so states John J. Payette, supervisor of theaters for the Stanley-Crandall Co. in Washing- ton and nearby territory, and the thrill which talking pictures have brought to the audiences in the downtown Wash- ington theaters will be felt by the patrons of the Tivoli Theater, when SILENCE IN THE STUDIOS B. F. KEITH'S, Washington's famous “Home of Polite Vaudeville,” now takes its rank as a “continuous per- formance house,” with stage attractions, along with the Earle, formerly “its younger sister”; the Palace, the Pox and other houses presenting motion pictures, presentations and vaudeville of the lighter sort. Willilam Fox, with eyes askance and minding his own business, is ignoring Paramount, the Warners and the com- binations of the now famous banking- movie genius Kennedy, pushing cn and for the day when he can vith Monte Cristo, “The world ‘This, apparently, is w] Film Daily, “The Movie Bradstreet,” opines. Legislative situations, sound pictures and labor connected with the business of motion picture exhibitions, it is re- ported, will occupy the attention of the convention of the Motion Picture Thea- ter Owners’ Association, which cpens in Toronto, Canada, Tuesday. If the reports in the movie trade journals have it correctly the Radio Corporation of America, backed by General Electric, will assume control of the Keith-Albee-Orpheum circuit and of F. B. O. as soon as the auditors com- plete their reports and proper financing can be arranged. It is then expected that the fate of vaudeville, with a big V. will rest with the Radlo Corporation, which already has a large array of tal- ent on hand for the purpose. Nazimova, now being called “the screen star,” has a contract with Ed- ward Small, it is reported, whereunder she is to appear in a Bristolphone talk- ing picture, based on “India,” Edgar Allen Wolf's play of the stage. ‘The “world premiere” of “Noah’s Ark,” which has been agitating the movie men for a long time, is scheduled for Grauman's Chinese Theater in Los Angeles, November 1. This is said to be a bill of guarantee of its worth. Dolores Del Rio is to be starred in “Evangeline,” based on a script pre- g:rad from Longfellow's poem, by Finix , and Roland Drew is to play the part of Gabriel in it. Capt. John Loder, British actor, who was “discovered” by Jesse L. Lasky, has been assigned to his first role in “Half an Hour,” which William De Mille is to direct and in which Ruth Chat- terton, H. B. Warner, Robert Edeson and Joyce Marle Coad will appear, A Chicago architect, Walter W. Ahl- shlager, says that revolutionary changes in design and construetion of theaters will be brought about by talking pic- ture development. Charlie Chnfinn‘s mew picture, “Cl&y‘- Lights,” will have dialogue sequences and the entire picture will be synchro- nized, but Charlie will be seen and not heard. He will not talk in it. It is uc]hedulm for release about Janu- ary The RCA-Photophone, according to & news report published in Film Daily, “the movie Bradstreet,” has made cor tracts for the manufacture of 200 sets of that device a month, and this de- vice, 1t is added. will be instailed over SILENCE! - - - SOUND- PROOF With the new sound-recording devices in all the Hollywood studios, silence is golden, unless it has a part in the picture. Pomeroy Just outside the Paramount picture factory, FILMOGRAMS Nancy Carroll is warning Roy J. the entire Keith-Albee-Orpheum Circuit of theaters. Carl Laemmle, president of Universal Pictures, presented his first talking pic- ture at the Colony, New York, last Sun- day evening, and it is reported that the Rialto Theater In this city is shortly to resume and that the Universal “talkie” will be an attraction. ‘William Fox has opened up “Movie- tone City,” in California, with Ben Jackson as general manager, assisted by an elaborate staff for the nfAnufac- ture of sound pictures. It cost $10,- 000,000 to build it, so it is claimed. While the fever is on the .general public there is a strong tendency in many big theaters to run “midnight matinees” that sound pictures may get all that is coming their way. The movie industry seems prepared to do business 24 hours of the day. “Hell's Angels,” now 14 months in the making, is undergoing the cutting process to reduce its 1,500,000 feet to exhibition length in time for its an- nounced premier in December. Virginia Valli, for a time at least, has forsaken the movie for the legitimate stage and is appearing in the Hollywood Music Box Theater in “Tarnish.” Paramount has bought and will make into a talking picture Edith Wharton's latest novel, “The Children.” It 1s now the fashion for producers to have song writers “on the lot" to | write songs for their productions, and Billy Rose, Herb Brown and Arthur Fried are doing the job for Metro-Gold- wyn-Mayer. The Warners have signed Lois Wilson for four talking pictures, the first, “Kid | Gloves,” a Vitaphone picture, with Con- rad Nagle as its star. King Vidor has arrived in New York to take tests for “Hallelujah,” his new Metro-Goldwyn-Mayer plcture of negro life. Only one white player will ap- pear in it, and exterior scenes will be taken in the Sout! William. J. Locke, the English novelist | who wrote “Stella Maris” for Mar Pickford, is to write another original | story for United Artists, and has gone to the Pacific Coast for that purpose. | ganized by the Joseph P. Kennedy in- | pictures in the East. Every One a Talkie. VERY picture made by First Na- tional hereafter will be a dialogue picture. This announcement was made by Al | Rockett, production and studio man- ager at the Burbank plant, upon his re- turn from New York recently. | "While in the East he conferred with Irving D. Rossheim. president of the organization. and other officials, and it . was then decided that First National Studios will be completely converted to talking pictures. This announcement means that Stanley-Crandall's Metropolitan, _the pioneer Vitaphone house the Earle Theater and the Tivoll Theater, where Vitaphone is being installed, are to be assured of a plentiful supply of talking pictures for the coming year. First National product is shown for first run in Washington exclusively by the Stanley-Crandall theaters. S e FBO's First "All-Talkie." OBERT KANE, president of Sound Studios, Inc., has announced the purchase of “Stepping High.” a novel bv Gene Markey, to be made into an all-talking motion picture by FBO at the Sound Studios, Inc.. recently or- terests for the production of talking A novel innovation conceived by Mr. Kane will be utilized in the direction of “Stepping High.” The picture will be co-directed by two men—one an expert motion picture director, the other an expert, stage director. Gene Markey, the author, will col- iaborate with "these directors in the preparation of the scenario and the dlalogue. Josiah Zuro, musical impresario, re- cently named general musical director for all FBO and Pathe sound films, and his orchestra of 35 pieces will prepare the musical synchronization for “Step- ping High.” . Elsie's First Hit. “OUTCAST." famous play by Hubert Henry Davies, which had its| Broadway production more than a dec- ade ago, and has been revived on the road a number of times in the past few ¢ vears, is being brought to the screen by First National as a starring vehicle for Corinne Griffith. The stage version of “Outcast” brought Elsie Ferguson from compara- tive obscurity to the leading rank of legitimate actresses. Edmund Lowe, who supported Miss Ferguson. now plays opposite Corinne Griffith in the screen version of the play, in which he also won his fame as an actor. The screen version of the play now serves to bring into prominence a hith- erto unknown youth, James Ford. for- mer baker and street car conductor, who journeyed to Hollywood to join the army of extra men. shcwn Under Many Names. CECIL B. DE MILLE'S Pathe special, “The King of Kings,” it is said, is being shown in every civilized coun- try in the world. In France it is being shown under the title “Le Roi des Roi: in Hun- gary as “Kiralyok Kiralya;” in Nor- way “Kongernes Konge:"” in Holland “De Koning der Koningen:” in Brazil “O Rei dos Reis;” in Sweden “Komun- garnas Konung;” in Germany “Der Konig der Konige:" in Mexico “El Rey de los Reye: in Cuba and Spain “El Rey de Reyes;” in Poland “Krol Krolow;” in Portugal the same as Brazil; in Belgium the same as in France: in Italy “II Re dei Re,” in Finland “Konungarnas Konung,” and in Denmark “Kongenes Konge.” The meaning of all the titles is the same as in English. Kenesaw Cafe 16th & Irving Sts. N.W. Dinner Breakfast 5-8 P.M. 7-9 AM. 75¢ 35¢, 50c Sunday Dinner $1.00 Oscar E. Marx Prop. Phone Col. 712 1 for every day the; FRANIK DAMSELS sents A SHOW »ew vitaphone and movietone attractions are introduced on the date given. Gal., 506, tow's Theater Washing S\ Lyle D. And Marela Byron M @ B SHUBERT GMT, LEE AND J. J. SHUBERT 7y Beautiful Presenting the Foremost Foreign and Native Artists_and Aitractions of the Speaking Stage Prior to Its New York Engagement No Tioket Tax, ews' wresents/ A SATIRE BY ARTHUR SOMERS ROCHE Staged by Alexander Leftwich Kate Pler Roemer Josephin, e Jgnaclo Martinetti aidel Turner ladys Feldman o willing WO ORCH! No single sold_at Frankly, this o ma known a how unknown play. bargain night, Y. for MONLAY' N ake a chanc 'RA SEATS T ONL ot ra has w0 much oy o realize the enuine woldh SO A ORCHESTRA SEAT. . Morchants have barg: va §3.00 by heing a fir; TAGE N.TABLES, is eminant e of the offe FOR MONDAY $@, NITE ONLY ,2 » ‘6 with us on the opening night. you FOR TWO DOLLARS by presenting is price. 2 to quickly . n days, this is our and fs mow running in Collier's n the theater been offered i An e vroduct at the and a1 production to PO ADI ¢ C 100, LILLIAD HARRY -HE b 2 FAVORITE RTISTS IN THE OSEDALE STOCKWELL JIANE 1N LI’S TONIGHT at 8:20 “MATINEE SATERDAY ONLY.- Independent Producing Compan; 1y presents WORLD'S GREATEST COMEDIANS CWWYREHE $200,000 MUSICAL EXTRAVAGANZA N'SOUTH BOOK BY EDGA. LYRI’E’SEY Al % s MUSIC BY JEAN SCHWARTZ UNRIVALED CAST. INCLUDING JANE TAYLOR VIVIAN “ HOLT ANDY 'ALBANO Beauty Chorus of 50 ON ACCOUNT OF THE LARGE ®APACITY OF POLI'S THE PRICES FOR THIS ENGAGEMENT ARE: Nights: 50c to 32.50—$a¢. Mat.. 50c !1:’?__ Week Oct. 22—Seats Wednesday—Mail Orders Now WILLIAM A BRADY, JR. AND DWIGHT DEERE WIMAN - ven A NEW ROMANTIC FANTASY ‘“THE JEALOUS MOON" BY THEODORE CHARLES AND JANE COWL With PHILIP MERIVALE te §3.00. Thure. Mat,, 50e to SMITH L. BRYAN ERIO TITUS BERT AUGMENTED ORCHESTRA GUY STANDING E 2.00. Sat. Mat., 30c to §2.50. No Tex. Personality Counts. AS your family cat sonality? If 5o, there's a chance for him—or her—in’ Hollywood. Cats playing just extra roles, so to speak, earn 50 cents to a dollar a day, while if they show a knack for taking | direction they bring down salary checks of $7.50. | The records of Dan Kelley. casting director at the First National Studios | in Burbank, are said to show that it is possible to hire the acting services of | any bird, beast or reptile. from fleas to clephants and back to humming birds A flock of honking geese which have | learned to swim about strange ponds | unconcernedly, no matter what mad action or noise goes on about them, | earned for their owner 50 cents each appeared in scencs of Colleen Moore's “Lilac Time.” Bozo. a trained goose who travels| from studio to studio in a limousine, received $35 a day for sharing close-ups with Jack Mulhall in “Lady Be Good.” An ordinary farmyard cow received $3 for going about her usual business of munching alfalfa, providing she does | it before a motion picture camera. Pigs are paid $2.50 a day: horses, $2.50 and up: ordinary dogs. $1 and $2. One man in Hollywood has a trained screen per- | asked of them, chicken who struts her stuff at $15 a day and keeps so busy uplifting the standard of screen acting that she scareely has time to lay eggs A monkey that has played in more pictures than most stars has earned enough money to buy his owner a bun- ga court Common, ordinary fleas can pur- chased outright for $3 a dozen, But the trained variety receive a straight sal- ary of $5 for each day's work. A man who specializes in supplying the studios with reptiles and insects offers bedbugs at $3 and $4 a dozen. According to Dan Kelley, the flea sal- ary scale is due to jump. Trained mice offer their services at $2 and $3 a day. A trained deer earns $100 a week. Snakes work for a half dollar a day upward. Lions and elephants are paid accord- ing to the amount and kind of work their minimum wage being approximately $25 a day. Included on the list of willing work- ers who seldom receive credit are bees. Trained bees—ones who will not fly | away end who will not sting actors— can be had for a day at $50 per swarm. ingle bees are bought outright at & dollar each. What La sky Says. ESSE L. LASKY. first vice president | in charge of production of the Para- mount-Famous-Lasky Corporation, has recently returned East from Hollywood, and has something to say of the out- look for Paramount pictures. “Save for a small number of excep- | tions, sound pictures shown so far have | succeeded on the basis of novelty. Few of them have presented real quality. We have been passing through months of expetiments and promises. “The time for talk has passed. Pro- ducers of talking pictures now must show results. ‘Interference’ is a picture which we are proud to show. It can meet the test of solid merit. I believe it will set a new standard as a quality talking picture. “ ‘Interference’ brings to the screen a faithful representation of the fine | stage play, which had a long and suc-|" cessful run on Broadway last season. It will be the first stage success to be brought into pictures with complete | sound and dialogue synchronization. We | are proud to offer it as a typs of the talking picture which Paramount will make this season.” “Interference” was directed by Lothar Mendes and has a cast_which includes | Evelyn Brent, Clive Brook, Willlam Powell and Doris Kenyon. | Mr. Lasky announced that prepara- tions are nearly complete for the pro- duction of “Burlesque,” another of the ' hits of last season, and “Drums of Oude,” from the famous play by Austin Strong. Both will have dialogue. Wil- liam de Mille has been assigned to direct the latter. “Silent pictures still will receive the most careful attention, being considered as of no less importance than those sound,” Mr. Lasky said. ‘e realize that the great mass of moving picture supporters still live be- yond 1each of sound films. Their theaters have mnot installed sound equipment. The needs of this tremend- ous public are not being overlooked in the slightest. I can promise sincerely that the pictures produced for them will be of the highest quality, that their need for better films to meet sound! be supplied to the| competition will fullest possible extent. “Among our new pictures already in! production or soon to start, T want to call particular attention to “Sins of Fathers,” starring Emil Jannings: Three Week Ends.” with The Canary Murder Case,” “The Wolt of Wall Street,” “The Shop Worn Angel.” “Wolf Son Ellls 1s- land” and “The Saturday Night Kid.” Nils Asther, appearing in the M-G-M sound picture “Our Dancing Daugh- ters,” has been in America but one year and has had important roles in eight pictures. He is only 27 years of age, but was an intimate friend of Sarah Bernhardt. He was the first civilian invited to Soviet Russia after the war, & is claimed. Washington Co-operative Artists Concert Course |} Single Seat Sale Now Open for Josef Hofmann Thurs. Eve.. Oct. 25 Course Sale Now Open for Wachington Co-operative Vesper Concert Course Traturing W Leading W ARTIST SERIES 12 Events for $8, $6, $4 ENSEMBLE SERIES 12 Events for $8, $6, $4 Buy Seats Now: | Baldwin Piano Studios | 1010 Conn. Ave. | Willard Theater Ticket Bureau | A. A, 17th and Pa. Ave. All Co-operative Concerts at Washington Auditorium NATIONAL, TONIGHT, 8:30 Yhe Martinclohnsan African bpedticn & DANIEL E.POMEROY Fres. Presents The Sensation of the Season MrgMrs Martin Johnson & THE MOST TALKED ABOUT PRESENTATION OF AFRICAN JUNGLE UFE EVER MADE 2:30—TWICE DAILY—8:30 Mats. 50c, 75c. Nights, NEXT WEEK. BEG. MON. Harry Wagstaft Gribble's “REVOLT” " MATS, WED, & SAT. 50c, 75¢, $1 SEATS THURS. significant American play by the author of “March Hares.” Witk Hugh Buckler and Elisabeth Allen 11 A, M.to 11 P. M. Continuous 4 Shows—Last Performance 9 P. M. Sunday 2 P. M. to 11 P. M. Prices: 0 A CARNIVAL OF FUN AND COLOR MelL Musical Vaude Revue 30 People 9 Scenes A Riot of Laughs and Tunes 25-35 cents Mats. 35-50 cents Eves. Except Sat. Eve, and Sum. 2 Great Attractions oc ue AND SUE CAROL in the Rollicking Romance