Evening Star Newspaper, September 29, 1929, Page 66

AMUS EMENTS. The Moving Picture cAlbum By Robért E. Sherwood. CRYPTIC report in ‘Variety re- veals the interesting news that in a mansion in Beverly Hills, Calif., there dwells a man who knows all that there is to know about the art of movie scenario writing. It seems that this astounding genius has compiled a series of infallible charts, developed from careful study of all the great hits and all the great flo) that have ever been produced on the screen. These charts are said to be as exact and as scientific as any of Presi- dent Hoover's governmental yardsticks. ‘Whenever one of the Hollywood au- thors has a story and is doubtful of its box office value, he can take it to the master mind, who begins to function after his palm has been crossed with the sum of $1,000. As soon as this money has been paid and rung up on the cash register, the great man takes the manuscript, steps behind the velvet curtain and goes into his trance. If the story happens to deal with the theme of mother-love, the master mind hauls out the charts that he has based on analyses of “Over the Hill,” “The Old Nest,” “Where Is My ‘Wandering Boy?” and_similar notable triumphs of the past. He compares the story under consideration with the per- fect chart and notes any discrepancies. When he returns to the consulting room, he may bring with him an en- couraging report, such as “Your story is perfect except for one consideration; you describe your juvenile hero as hav- ing ‘neatly brushed hair'; this must be revised. In mother-love drama, the hair of the juvenile hero must always be curly and trousled.” Or the master mind may announce flatly. “I regret to report that your story disagrees with the chart in every particular. It is 100 per cent original and, therefore, worthless. Here is your manuscript and also your hat. Good | afternoon!” Fortunately, the mysterious wizard of Beverly Hills doesn't have to render un- satisfactory verdicts very often. His patrons quickly learn not to bother him with original ideas. B I'r is probable that some of you who happen to be reading this column will want to know the name and ad- dres of the master mind, so that you can send him your own scenarios for analysis, inclosing with each of them a certified check for one grand. Please don't write and ask me, be- cause my only answer T haven't the One Thing After Another. faintest idea.” If I knew the master mind’s identity, I should hasten 'to consult him myself. He might be any one of a dozen different people: Will Hays, Charlie Ross, ex-President Cool- idge, Welford Beaton, King Victor Em- manuel, Willard Huntington Wright, Mrs. Ella Boole, H. L. Mencken, what's~ his-name who wed away on that French transatlantic airplane, or even Lon Chaney. ‘There's one thing certain: The master mind actually and unquestion- ably exists. Furthermore, his inituence on the literary output of Hollywood is simply tremendous. His advice, ever expensive, is eagerly solicited ant his commands are obeyed. The stories that we see on the screen prove this, conclusively. d * ok kX 'HE master mind probably hasn't had time as yet to concoct any charts that will be of value to those who write dialogue for the screen. There will have to be a ater number of sure- fire models before he can create any really scientific formulae. However, there has been a beginning. Even an observer less sapient than the master mind could take all the dialogue in “The Singing Fool,” “The Rainbow Man,” “The Melody Man” and “Say It With Songs,” place it in a chemical re- tort and bring it gently to a boll, and discover that it all comes down to the one line, “Though friends forsake me, I still have you, Sonny Boy.” Or you can put “The Broadway Melody,” “On With the Show,” “Broad- way"” and “The Dance of Life” to the same test, and the result will be, “Listen, baby—one of these days you and me is going to be up in lights.” * K % % THOSE who are calling most loudly for more and better art on the screen and demanding that Hollywood imitate Moscow are wasting their time and their lungs. There is only one thing for such up- lifters to do if they really want their ideals to be realized. They should stop talking and stop writing and journey at once to Beverly Hills, Calif. On ar- riving there they should disguise them- selves as scenario writers, go at once to the home of the master mind, shoot him dead. and then dissolve his collec- tion of charts, graphs, formulae and rubber stamps in some reliable, high- powered ac This would seem to be the only hope for the screen. (Copyright, 1929.) IFE in the picture studio is not the| grand, glorious feeling for the richly-paid and highly-pampered screen star that it used to be. | Just as the little lady had begun to Joll in luxury and to acquire a tempera- ment that would do honor to the most pampered operatic star of theatrical history, somebody sprung sound upon her, and her life has not been over- happy since. 1 As if the difficuities of acquiring a! rich, melodious voice and a technigue in enunciation that she had never | thought worth considering in her really | palmy days were not enough, somebody else is springing color production on her. The modern girl in her wildest fights of imagination would not be likely to compass the woe which that means. She will go to see “Gold Diggers of Broadway” and run wild about its| beauties, but she will never for an in- stant comprehend what it cost the girls in that show to produce their beauty. Why? Because in making this pic- ture Roy Del Ruth, the director, em- loyed what is known as a new natural- ne make-up which differs from that used for the ordinary picture, and even from that used with what is known as panchromatic film. It is almost im- possible for a novice to explain it, but an idea in part may be gained by know- ing that a deep orange lip rouge and a glightly lighter shade for the cheeks is employed to get the natural flesh tones. Also the dark shading formerly used around the eyes to accentuate and beautify them must, of all things, not be used under the new process, because the color negative is extremely sensi- | tive to dark pigmentation. That's what &n expert says. And that is why the screen girls are not as happy as they were. —— De-cricketing Crickets: | A NEW hazard has developed for the makers of sound pictures in the open air; it's not airplanes, automobiles, | birds, or squeaking shoes. It's crickets, | nothing less—not the domesticated va- | riety that chirps blithely on the hearth, | but the loud-legged variety that infests parade grounds and stubble fields and such as that. Playing back some sequences taken at Fort Riley, Kans., for “His First Com- mand,” with Willlam Boyd, sound engi- neers listened intently to what came from the “mike.” Underneath all the conversation, the tramp of marching feet and the blaring of a band there was & sharp rattle like that of many machine guns. Some entomological ex- pert on the stafl finally isolated the dis- | turbance as having been caused by crickets, and investigation proved the fact. The noisy little insects use their hind legs like the bow of a bass fiddle and charm their lady friends with these strident lays. To take the crick out of the crickets officers at the fort obligingly directed a 3“ attack against the raspy-legged | little chaps and, according to Boyd, they cried themselves to death. Ushered to Fame. THOSE persons who have been awed or amused or intimidated by the grandeur of the ushers' uniforms in several of the local theaters should be beguiled by the story of Roscoe Karns and how he started his career as an actor. . He was attending a certain military academy, it seems, and at the fag end of one month when his spending ‘money was all gone felt a high-pressured impuise to treat himself to a theatrical performance. Not having the where- Wwithal, he merely removed the insignia from the collar of his dress uniform and found, quite naturally, that he was then arrayed like any other spic-and- span usher. Mustering his dignity (who, in his normal status, can be as dignified as a resplendent usher at his post of duty?), he passed the ticket taker without question. And enjoyed the show. Some inspiration from the perform- ance may have crystallized his ambi- tions, but, be that as it may, Karns took up the study of what is often re- ferred to as “dramatic art” on leaving the academy and has been on the stage ever since. DANCING. i 5 DAVISON'S ot rrectsy in & few . Mrs. lessor private any hour. at. Ev'ngs, instr'n Ia: Walts. Tatieo aid season's new dances. 29¢ THE PHIL HAYDEN STUDIO | STAGE DANCING AND BODY CULTURE You are cordially Invited to inspect our new aquarters at No. 6 Dupont Circle. ~All branches of stage dancing and body culture | NED "WAYBURN METHOD. | Private and class instruction for adults. Simplified stage dancing for children on Saturdavs. _Phone 594. Evelyn D chool Reopens September 30 with eatly Renee’s ~ F- ‘THE (Continued From First Page.) phonograph star, the “crooning trou- badour.”, ‘The cast is famous, with Nancy Wel- ford and Conway Tearle in the leading | roles, and others including such favor- ites of and screen as Ann Pen- nington, Broadway's dlncmw;n dll’llnl} g % of ‘Winnie Lightner, the musical comedy; Lilyan Tashman, the blonde beauty from the “Follles”; Al- bert Gran, Helen Foster, Willlam Bake- well, Nick Lucas, Lee Moran, Neely Edwards, Julia Swayne Gordon and Armand Kaliz. 5 FOX~—May McAvoy in “No Defense.” A romance of bridge bullding in the ‘West, “'No Defense,” is the screen fea- ture at the Fox Theater this week in which May McAvoy and Monte Blue are co-starred. The picture was direct- ed by Lloyd Bacon, who has been a guiding genius in the making of Al Jolson pictures. Bacon is stated to have done a mighty fine job. As an added screen feature, Willlam Fox is presenting A. Conon Doyle, famed British author who created “Sherlock Holmes,” in a Fox Movietone appear- ance. This also is & “special” in its particular sphere. { On the stage is offered the third of the Fanchon and Marco ideas, “Gobs of Joy,” which stars Arthur “Pat” West, 'who has been a featured player in Zieg- feld's “Midnight Prolic” and his fa- mous “Follles,” with “Paradise Alley,” “Our Nell” and in “Good News.” Oth- ers in this “idea” are the Paige sisters, Scotty Western, Dolly Kramer and the Emperors of Harmony, with the Sun- kist Beauties. John Irving Pisher will | be featured in a stage oddity which will include a piano solo. The Fox Or- chestra will offer the Leoncavallo “Pag- liaccl” overture and Fox Movietone | News will complete the program. RIALTO—"Tonight at 12.”* | “Tonight at 12,” Owen Davis' play of philandering husbands and wives, which was a sensational success on Broadway, has been made into an all-talking pit ture and is the feature at the Rialto this What thrills in “Tonight at 12" is the treatment of the theme, dealing with the tangled lives of cheat- ing husbands. i A wife finds a note written by her husband. She accuses one of three women—all married and all good friends—of an affair with her husband. The son of one and the daughter of another is enmeshed in the circum- stantial plot that looks serious for the happiness of the married couples until the amusing end of the story. Featured in “Tonight at 12" are Madge Bellamy, Robert Ellis, Margaret Livingston, Vera Reynolds and George Lewis. Others in the large cast are Norman Trevor, Hallam Cooley, Mary Doran, Madeline Seymour, Josephine Brown and Don Douglas. The picture was made for Universal under the di- rection of Harry Pollard, who handled the megaphone for the screen version of “Show Boat.” A short-reel comedy and sound nov- clties will supplement the feature pic- ture. COLUMBIA- ncy Carroll in “The Dance of Life.” | “Burlesque,” | 'and worry about his wife. He is fired, RENEE ADOREE, Who has a featured part in the new | screen version of “Redemption,” wear- | ing a red crepe frock adorned with Russian embroidery. John Gilbert | plays the leading role in the sound pic- ture. Direct Sound Control. RI'MOTE control, already known as a radio process, will be used in an adaptation to talking picture reproduc- tion at the premiere of RCA's version of “Rio Rita” at the Ear] Carroll Theater in New York next Thursday evening. By means of the new devel- opment _fingertip control of sound volume during the showing of the pic- ture will be possible, direct regulation to be made by a listener stationed at all times in the rear of the house. The old method of using push- button signals to the operator in the projection booth, who made the advised gradations in volume in the booth, will be superseded by the new device. The system is made possible by a special motor connection from the auditorium dial to the volume control knobs in the mjecflon room. Careful supervision always been necessary in the repro- duction of sound pictures in the theaters and RCA feels that the new method of direct control will be helpful in avoid- ln¥ the pitfalls which often cause “blasting” or inaud!bility. The Year's Gr THE CHAS. K. GORDO! ST B8Y HADL Prior to its New 1 venings, 50c to $2 enlarged facilities in its new location. 1418 Rhode Island Avenue b Ain.enmn‘nl and evening classes for e, d:"ll“l;)““{iofi,’ {dmun :: I!Io%?:.l'll ballroom cing On Priday stternoons. ‘Children's classes Saturdsys. Each class limited to twelve members. All private lessons 4l peivate Monday to ay. inclusive. . Norin 5548, Leaflet sent on GREAT CAST OF B 1 {he Selntill POLI'S TOMORROW MATINEES, THURSDAY and SATURDAY FHRILLS » MVSTERY < MELODRAMA With a Brilliant Cast of English and American Actors POPULAR PRICES—— Mats. STARTING NEXT SUNDAY——/2a MAIL ORDERS NOW---SEATS WEDNESDAY After a Year in New York and Chicago GEORGE CHOOS sa 'HELLO | YOURSEL CLONIC MUSICAL COME e ROADWAY PAVORITES “The Dance of Life” continues to bring forth tears and laughter at Loew's Columbia for its second week. The Paramount talking, dancing, sing- ing production features Hal Skelly of the original play version of the story, and the popular Nancy Carroll. ‘The picture opens with a petty quar- rel in a tab show in a tank town. The argument ends in Skid, the comedian, leaving the show. In the deserted sta- tion he meets the girl over whom the argument started. Both are jobless. In looking through a theatrical publict tion they see an advertisement for a comedian. Skid is urged by the girl to apply, and he agrees, if she will join him in an act. They send a wire, and practice a routine in the station. are | accepted for the job and make good, | especially Skid. 8kid, however, has lit- tle ambition, and is inclined to drink. | Nevertheless, under the girl's influence he is steered right. Finally they marry, | and shortly after Skid is offered a con- | tract with a Broadway production. The | girl forces him to go. In the rush of | later events he forgets her, and finally she is ready to leave him for a wealthy | man who desires to marry her. In the meantime Skid slips because of drink | and his friends desert him. The girl, | however, comes to save him from him- self, and to do their old routine in the burlesque show. The picture has sequences in natural colors, and in addition to the “beef | trust” burlesque chorus a chorus of 80 | irls appear in the “Follies” sequences. | here are six new song hits as well as new dance routines and some lavish | sets. Ukulele Ike, Clif Edwards, is pre- | sented in a Metro Movietone act. The | Fox Movietone News and the M-G-M International News round out the pro- gram. + LITTLE THEATER—"Nana.” “Nana,” the fllm transcription of Emile Zola’s novel, is the current fea- ture at the Little Theater. The film was directed by Jean Renoir, son of the distinguished French impressionist g-mur, and has been produced with idelity to the original, various mem- bers of Zqgla's family having aided in the preparation of the film manuscript and the supervision of many of the scenes. Catherine Hessling, French film fa- vorite, is Nana, and Werner Kraus, of Caligari fame, is the Comte Muffat. Jean Angelo plays the Comte de Van- deuvres. They are assisted by a cast of French players, including the ballet of the Moulin Rouge, the famous music hall in Paris. Some well known things pictured in .the film are the famous Theatre des Varietes in its heyday, when Offenbach conducted his operettas there; the Bal Mabille, a famous music hall and cab- aret of the gay Parisian 90s, and the Bols de Boulogne, whree the Grand Prix is annually held. Screen novelties complete the Film| Arts Guild presentation of quiet movies, | NIGHT and all WEEK eatest Thriller! P PARAD EY WATERS [, York Engagement N_PRESENTS A PLAY OF- Thur. an 50¢ to | the basis of the SYLVIA FIELD, Who plays a prominent part in the New York Theater Guild's production, 's three presentations follow “The Connecticut ‘Marco Millions.” The guik Yankee” at the National Thea The “Hollywood Revue.” THZ greatest cast of celebrities ever assembled on any stage or before any motion picture camera, it claimed, is to be seen in “The Holly- wood Review,” Metro-Goldwyn-Mayer's | big special musical extravaganza, which | 1s soon to be shown in Washington. | Marion Davies makes her bow as a| “Tommy Atkins on Parad with a male ensemble of 6-footers as dancing bodyguard Norma Shearer star in & modernized “Romeo and Juliet” skit and Bessie Love again wins honors witly her inimitable clown- ing and acrobatic dancing as well as in participating in novel song num- bers with Polly Moran and Marle Dres- sler and CUff (Ukulele Ike) Edwards. Karl Dane and George K. Arthur also lend voice to the festive film. Jack Benny, vaudeville star, acts as master of ceremonies and introduces Conrad Nagel as a singer. Anita Page shares the act with Conrad, and Charles King of “Broadway Melody” fame again croons lyrical lads. Stan Laurel and Oliver Hardy join the show as magicians and the Brox Sisters again burst into song. Gus Edwards | sings one of his original numbers with | n_appropriate chorus. | Joan Crawford does a neat song and | dance turn with The Rounders lending | a tuneful background. The Alber- | tina Rasch Ballet appears in a techni- | color scene and the_ Natova company thrills with a daring adagio. Willlam Hafnes and Buster Keaton add merri- | ment with featured skits and Gwen Lee is included in the elaborate cast of fun- maker ] Zola’s Pagan Frankness. Film Arts Guild, which has its outlet in Washington at the Little Theater, on Ninth street, is exhibiting | from week to week a rare type of silent motion picture. In fact, the motto of the house, “The Home of the Silent Pic- ture,” is notice to the world of the type of its picture entertainment. ‘There is, however, another feature of its entertainment which is being frank- ly declared in advance, that no chance patron may be misled and especially, on occasions, it plllnl{nmuesn that the picture it is presenting is not entertain- ment for the young and unsophisticated. But in thus frankly notifying its possible patronage in advance it is making, equally clear that it is catering to the | sophisticated, not to the depraved taste of entertainment seekers. Readers of Emile Zola's famous novels are well aware of their style and con- tent. One of these novels, “Nana,” is| icture that is being | shown at the Little Theater this week. | When “Nana” first apperaed in the pages of Le Voltaire, a Parisian dall the response was sensational to a de- gree and protests were received by the editor from individuals who professed to be shocked at what they termed Zola's “pagan frankness.” In London the publishers of the first English edition were brought to trial for publishing such literature and for quite a while Zola's name was anathema in England. On the continent, however, “Nana” was a tremendous success. Yet, it is contended, Zola was essen- Next Week's Photoplays. METROPOLITAN — (Prob- ably) Paramount’s “Four Feathers,” featuring Wil- liam Powell, Richard Ar- len, Clive Brook and Fay Wray. . FOX—Will Rogers’ first talk- ing picture, “They Had to See Paris.” COLUMBIA — “The Holly- wood Revue,” with a cast of famous Hollywood stars, talking, singing, dancing. EARLE — Jack Oakie and Evelyn Brent in ‘Fast Company.” PALACE—John Gilbert in “His Glorious Night.” tially a moralist, and his “L'Ammoll‘."l dealing with the evils of the dram shops | of Paris, was actually utilized by a Lon- don temperance soclety as propaganda to further its cause. - “Nana,” the theatrical press agent states, is one of the great examples of naturalistic fiction; it strips the .demi- mondaine of every vestige of romantic ilamour and various members of Zola's amily aided in the preparation of its script and in the supervision of the story’s film production, B Bennett Brillancy. ¢'T'HREE LIVE GHOSTS" is based| on the famous comedy-drama success of the New York and London stage. Directed by Thornton Freeland, | the picture features a notable cast, in- cluding Beryl Mercer, - Charles Mc- Naughton, Ciaud Allister, Robert Mont- gomery, Hilda Vaughn, Joan Bennett, Shayle Gardner, Harry Stubbs, Jack Cooper, Jocelyn Lee, Nancy Price and Tenen Holtz. Joan Bennett, its attractive feminine lead, who is but 19, literally stepped from the classroom of & finishing school in Paris to play the feminine lead in “Jarnegan” opposite her distinguished father, Richard Bennett, on the New York stage. - Her mother, Adrienne Morrison, is an_ actress of distinction, so it seemed quite natural that Miss Bennett should decide on the stage as a career. Miss Bennett is a sister of Constance Ben- nett and Barbara Bennett, stage and screen favorites. ‘When talking picturés became an es- tablished fact and thus revolutionized motion picture making Miss Bennett, having completed her New York stage engngemt’.ntfi cam& to Hollywood to ree GAYETY THEATER Matinee Every Day MUTUAL BURLESK PHONE DISTRICT 9324 THE COMMUNITY INSTITUTE THIRD SEASON TEN EVENTS Oct. 23. KEDROFF QUARTET Lorado Taft Rabbi Wise R. L. RIPLEY HUGH WALPOLE Nov. 6. Nov. 20. Deec. 12. Jan. 16. A. E. THOMAS and | Jan. 29. Feb. 13. Feb. 26. Swastika Quartet S. K. Ratcliffe “OLD NOBODY” with EDITH WYNNE MATHI- SON, Charles Rann Kennedy and Mar- garet Gage RUTH ST. DENIS and TED SHAWN (at McKinley High Auditorium) Mar. 26. Charles Gorst CENTRAL COMMUNITY CENTER 13th & Clifton Sts. N.W. Unless Otherwise Noted Season Tickets, $3.00 Single Tickets, $1.00 On Sale at FRANKLIN ADM’NSTR’N BLDG., A. A. A, ine_Svneomtor TOMMY BOHN'S PENN-SIRENS Nights—50c, Matinee Satu! .00, $1.50, $2.00, $2.50. & risy Only 506, $1.00, $150, & 0 HEADQUARTERS & NEW WILLARD HOTEL NEWS STAND L. LAWRENCE WEBER presents WILLIAM AVERSHA | SUNDAY ° STAR, WASHINGTON, D. C., SEPTEMBER 29, 1929—PART 4. N event, or events, upon which the attention of Washington theatergoers becomes - more keenly focused as its occurence approaches, is the impending visit of the New York Theater Guild to the National Theater, playing its first subscription season here and presenting some of its t_known works, them O'Neill's “Marco Millios Vara's “Caprice,” Ben pone” and Karel Capek’ SUDR, “Marco Millions” inaugurates the Guild’s series, opening next Monday eve- ning, October 7. Some critics feel that the play marks the most advanced stage of O'Nefll's art, being in many vrespects a blending of all the divers forms of his great dramatic gifts. O'Neil!, coming 1o the American stage at a time when it was characterized by almost unrelieved dullness, has attempted nearly every kind of dramatic writing: social satire in “The Hairy Ape,” tragedy in “Desire Under the Elms,” realism in “Anna Christie,” symbolism in “The Great God Brown,” and a sort of Psychlc re- tearch in “Strange Interlude” and “Dy- namo.” “Marco Millions” has realism and romance and satire and poetry, much of that egrlier lyricism which “Dynamo,” for example, seemed to have lost or ignored. Briefly, the story deals with Marco Polo, misunderstood by his cotempo- raries and misjudged by posterity. In a foreword the author says: “Polo, the man of brass tacks, became celebrated as an_extravagant romancer, and ever since he has traveled down the preju- diced centuries a prophet thout honor, or even notoriety, gave in false whiskers.” Mr. O'Neill then presents his hero as the Babbitt ot medieval times. Marco Polo leaves Venice an idealist and dreamer; he rets a commoplace tradesman, who has sacri- ficed his dreams for gold. He travels into Cathay, toward enthralling ad- venture, only to let romance and love slip through the fingers that could close so tightly on a bargain in the bazaar. With stabbing satire the playwright shows the growth of a big business man, a sardonic reflection of the present age. In Kukachin, granddaughter of Kublai Kaan, O'Neill has crezted a beautiful and appealing figure. She is the dreain that Marco never made a reality, and her tragedy is itself largely the tragedy | of human life. 1 THEATER fare of a much lighter type than the Guild plays is hinted by Manager Cochran of the National for the late October or early November weeks. Among bookings for which he is an- gling are Earl Carroll's “Vanities,” with W. C. Flelds, and Ziegfeld's new “Show Girl.” which has had a highly success- ful time of it on Broadway since its opening on July 2. An interesting fea- ture of the attraction, among many others, is the dancing by an Albertina Rasch group of part of George Gersh- win's latest jazz symphony, “An Amer- ican in Paris.” The work, in its rhythms and strange harmonlies, is a highly pro- vocative composition, impish in some passages, sentimental in others. S soon as “Gold Diggers of Broad- way" hasgiven reasonable evidence of how much longer it will continue to at- | tract people to the Metropolitan, the management will book & picture, “The Four Feathers,” which has already won both box office and critical recognition. Meade by those hardy wanderers, Ernest Schoedsack d gave screen, “Four Feathers” has footage of the same remarkable pho- tography of native life in alien jungles that distinguished the two earlier works. Part of the film was made in Hollywood and spliced into the story later. 'VA LE GALLIENNE has announced that she will add Tolstoy's “The Living Corpse,” one of the outstanding classics of the modern stage, to the list of plays to be produced this season the Civic Repertory Theater. Jacol Ben-Ami will play Fedya, the role taken by John Barrymore in the first American presentation in 1918. Alex- ander Moissi, German actor, who made an extended tour in America last Fall, has alsq done the role in this country twice. "The Civic Repertory’s inter- retation of the play will be from the iteral translation. FALL FESTIVAL * BENEFIT St. Dominic’s Church 6th and E Sts. S.W. Sept. 30, Oct. 1 Neo A Charge | T. ARTHUR SMITH nounces 1929-1930 Series of PHILADELPHIA ORCHESTRA Conductors LEOT DKOWSRK| OSSIP GABRILOWITSCH Nov. 5, Dec. 10, Jan. 21, Feb. 18 at_ 4:3 - In the New CONSTITUTION HALL Sth and D Sta. X.W. 1i NW. Season Tickets, $7.50. 85, 84 | Xnown in theatrical circles all over the PHILHARMONIC SYMPHONY OF NEW YORK Mengelberg, Toscanini, Molinar, Conduetors CONSTITUTION ‘I;IALL D S 18th an, te. i Ma $3.50, 85, $3.15, 83 th in’ Homer L. Kitts' asic Stors Jan. Tickets, §9 Arthur Smi M 0o MONDAY Mats. at 2:30 Wed,, 5oe to $1.80 Sat., 50e to $2.00 in a MODERN COMEDY by HARRISON RHODES “HER FRIEND THE K With ARA GERALD, HUGH SINCLAIR, KATHARINE KOHLER, HENRY MORRELL, DAISY ATHERTON, CHARLES ESDALE, WM. DORBIN, WEEK BEGINNIN Arch Seiwyn and By Arrangement -with Bay EDMUND DALBY, G M ol PEGGY HOVENDEN AY, CCTOBER 7 as. B, Cochran Foster and Tom Miller LONDON’S REIGNING SUCCESS - “THE MIDDLE WATCH"’ A Romance By Ian Hay and the Nat Stephen King-Han The sensation of the Shaftesbury Theatre, London WEEK OF An_Outstanding LIONEL MONDAY, OCTOBER 14 ATWILL STRIPPED A New and Compelling of Me. Atwill Will Be NOTE— ble attractions Thra” envelope, The by Jane Advance Attention will be panied by remittance a prices Mo C and_“Lilae Surrounded by _a X iven mail orders accom- | selt-nddressed stamped for each of ‘the above be as follows—Nights, Orch., $3.00; l, $1.80, $1.00; Gallery, S0c. Wi ed, Mat.,, 50c to §1.50. AMUSEME NTS. First American Civic Theater Established by Woman Director From out the maelstrom of things theatrical that has existed for several seasons now has come a decidedly new development, a white hope of the theater, and it has come in the Middle West. 8ince road shows have been cut down, both stock companies and little theaters for amateurs have increased in number and widened their purfme- newest endeavor to have found firm footing, however, is different. It is the Civic Theater of Detroit, Mich., and Jessie Bonstelle, whose name is worid, is its director. Miss Bonstelle is noted both as a talented actress and as a director of ability. In a recent interview Miss Bonstelle are behind my endeavor with practical assistance. Many of them have only small financial pledges behind the theater, but that is what makes its civic aspect so truly significant. In time I hope that similar civic theaters may be spread all over the United States and that they will receive the national recognition that would mark the highest standard in cultural ethics for our country.” Miss Bonstelle is known as “the star lady,” for she has definitely had a hand in training and “making” many of the leading stage celebrities of today. A Tepresentative group of these who are internationally famous would inclu Mary Pickford, Alice Brady and Kath- erine Cornell. The latest effort that Miss Bonstelle has made successful is her production of Dion Boucicault's dramatic master- plece of the “mauve decade,” entitled “After Dark, or Neither Maid, Wife or Widow.” This play has run into its second dozen of weeks, playing to packed houses in Detroit. It is the same work that was initially revived by Christopher Morley at the now famous Hoboken playhouse. Miss Bonstelle's production is to go on tour later this Fall and it is understood that Wash- ington is included in the list of cities to be visited. In the meantime the Detroit Civic Theater reopens its door for the new season October 1. Foot Ball—With Sound. MISS JESSIE BONSTELLE. 2 told of how the idea for the civic theater grew in her mind and was realized eventually in the actual theater | established in Detroit. , “You know, of course” said Miss Bonstelle, “that all over Europe every town has its ‘stadt-theater, as they cail ‘ them in Germany. There are the pro- | vincial theaters just as there are pro- | vincial opera hous where people of all classes can see and hear the great classics given over and over, so (hxti they may become really familiar with these works. It is the sort of thing ! that makes for real cultural back-| ground. In Europe the whole attitude | is different, too, from what it is in thif | country. You know people here, for instance—in fact, we all do—who go| once to hear a certain play or opera | | and then, when that same work comes | here again, say, ‘Oh, no, I'm not going to see that; Such people don't realize that it impossible to get the real values of a good play or opera without hearing it many times. With a civic guidance to provide such entertainment for them by good professional 'rformers who can get the best out of their roles the public would change their attitude in | seeing a thing more than once. It is a very real need for the American | theater and I have found out by my experiment of several years' standing |* now in Detroit that my theory is cor- | rect. Thousands of people in that city 1 aiready have seen it.’| . NDER the title of “Gridiron Glory," Grantland Rice is producing a short picture for Paghe that will reproduce foot ball thrills, college songs and music and a snappy talk by Rice himself on the fine points of the amateur sport which of all others draws the greatest public attention, Which reminds us that in the old silent films showing foot ball games there always seemed to be something lacking. It was the rhythmic cheering of the college partisans, the blare of the undergraduate bands and the ex- cited cries of the spectators, all of which combined to create an emotiongl atmosphere which was lost in the films Rice’s Sportlight picture will supply the missing ingredients, the producers feel. Rgeee T Teatiatd e Gltcs: WILSON BENGE has worn out 23 dress suits playing his particular specialty on the stage and in the movies. The specialty is that of butler roles, and it seems reasonable to dub him ' “the best known butler in the world.” if the title interests him at all. Benge is an Englishman by birth, and for 20 years was known on the London stage. His interpretation of butler parts brought him into demand by movie producers, and by now he has butlered 1n millions of feet of celluloid. He donned his twenty-fourth dress suit for “This Thing Called Love,” which stars Edmund Lowe and Con- stance Bennett. National Forum J Jewish Commm“ty Center Beginni October 3 I3 Bertrand Bussel Count Tols Il Ceatt B e Eight Numbers—$6.00 All orchestra seats Open to the Public e T i Call Decatur 1521 " MRS. WILSON-GREENE’S CONC POLI'S THEATER, 4:30 PHILHARMONIC COURSE Nov. 26. ROLAND HAYES Celebrated Colored Tenor Dec. 6. FRITZ KREISLER Feb. 11. OTERO, New Coloratura. Feb. 19. ROSA PONSELLE Mar. 19. RACHMANINOFF ERTS Season 1929-1930 ARTISTS’ COURSE 4. VLADIMIR HOROWITZ “Greatest Pianist of the Rising Gener; Nov. WILSON-GREENE COURSE Opening with a gala performance, series of 6 Evening Concerts by famo: Nov. 2. Gala Performance. e and the Quarter Tone of tomorrow. Dec. 14. BOSTON WOMEN'S SYMPHONY OCHESTRA »l ETHEL LEGINSKA Playing her own concerto ATIONAL hts, $1.00 to $3.00 Mat., 50e to $2.50 Sat, eve, Nov. 2. A popular-priced us artists, at Constitution Hall, 8:30. Jan. 11. SIGRID ONEGIN World's Greatest Contralte Jan. 25. JASCHA HEIFETZ World-Famous Contralto HER DAUGHTERS charge to season ticket holders for the Gala Performance. Season tickets on for all three concert cor i Dre 13 TONITE AND ALL WEEK WED. MAT 50c to $1.50 LEW FIELDS and LYLED.ANDRI EWS pdapted by FIELDS, RODGERS and HART- ; IT '’ Large Singing and Dancing Ensemble. One Year at the Vanderbilt Th NEXT WEEK BEG. MON. Nights: Oreh., $3.00: Bal., $2.50, §2.00 & §: o reb., §2.00; Bal. ‘82530, 42,00, $1.60 & $1.00: 24 Ba SPECIAL BOX OFF THE N. Y. THEATER WILL LIVE FOREVER Augmented ~ Orchestra | re, New York MAIL ORDERS NOw Wed, M: SEATS THUR! : 24 Ba : 24 Bal, 50c. 50c. ICE NOW OPEN FOR GUILD’S WASHINGTON SUBSCRIPTION SEASON The Five Plays to Be Prexente Week of Oct. 7th “Marco Millions.” Week of Oct. 21st “R. U. Oct. 14th “Volpone. R” December 30th “Wings prices for all five plays—Nis] $8.50; Bal., $8.50 and $6. 98.50, Wed. Mats.. O Bal., $11, $5.50 and $6 Week of Nov. 11th “Caprice.” Week of Week of Over Europe.” Oreh., $13.50; Bal. $11 Sat. Mats., Oreh., THE THEATER GUILD ' OF NEW YORK Presen THE THEATER GUILD ACTING COMPANY In the First Pi fon of the First Washington Subscription Seaso EUGENE O’NEILL’S Satiric Comedy MARCO Original Production MILLIONS ' Company of 65