Evening Star Newspaper, April 26, 1933, Page 10

{ A—10 AMU SEMENTS. New Film Reiterates the World’s Strange Position| 'Ail T}u'ngs Are Topsy-Turvy and the Old Globe Is Upside Down in the Keith Picture Now Showing—Lambs' Gambol at National. By E. de S. Melcher. HE WORLD GONE MAD,” 1] the new flm at R-K-O Keith's, was _originally known as “The Public Be Damned!” Mr. Hayes' vigilant eye ecaught this title as it was about to be shipped to theater customers and, frowning on the fury of its message, he decided that it would be better to tell | cash customers that the “world” isitopsy-turvy (something which they may have suspected before) rather than rip them up and down the back by call- ing them “the Ppublic.” The result of this policy is to be doubted—since the prevalent title is a mild little name in the midst of current hurly-bur- ly, and the other would either have made soft-hearted persons blush or would have shot them full of fire into the theater to see what it is all about. The world does go pretty mad in this little sermon, which is built on the theory that you should never gamble with the almighty dollar. It also de- livers its original message, since Rich- ard Tucker, when he is forced to tell his honest business chief that he has gambled and frittered away the com- pany’s foundations, says that what he is looking out for is “himself"—and that “the public be—!" Thereupon, the honest and unsus- pecting president of the firm, gets his minion into an automobile and does a sharp left turn into a “Twentieth Cen- tury.” ‘There are other sharp turns made into the jaws of death in the film. There is also an unusually fat collec- tion of villians, rogues, rascals, and on the other side of the fence, district attorneys, newspapermen and Mary Brian. Louis Calhern, Richard Tucker and John St. Polis are the rogues; Neil Hamilton (who in the initial scene is unable to get a smile off his face) is the young D. A. who loves Miss Brian, and Pat O'Brien is the energetic young member of the press who puts two and two together and eventually gets four. It is Mr. O'Brien’s playing which causes the picture to come up smiling. Otherwise the world would be too ter- ribly mad. Mr. O'Brien injects a laugh into the midst of a number of murders and makes you forget temporarily that securities may not be what ycu think they are. Although we have a suspf- cion that the picture is a trifle long and that its message is too evident these days to be popular, Mr. O'Brien is likeable enough to keep the story rolling, and in that dim and dusky scene which he has with Evelyn Brent, a siren with a multitude of body friends, he makes you believe that he is mak- ing, as they say, very considerable “hay” with the lady, who in the next minute has him tied up and very nearly exe- cuted. It is all a little confusing, but some- times exciting, and always agreeable when O'Brien is around. If you have Jost your shirt in the market you will be cheered, too, at seeing so many of the gambling boys bite the dust. % ok x ¥ Another feature current at R-K-O Keith's is a film view of what we may expect at the National on Sunday night when the lambs come here in a body Mary Brian. to gamb:cl. Except for the fact that Julia Sanderson will not be present, this “short,” “Hear Them and Weep,” is full of the artists who will be doing duty on the National's stage. A full house is expected at this performance, partly on account of the artists and partly because it is rumored that Presi- dent Roosevelt will attend. EE If you want to hear modern music | presented in its best modern style don’ overlook Fred Waring and his Pennsyl- vanians this week at the Earle. Mr. Waring can get twice as much out of a tune as most other maestros. He can also reduce the “Bolero” from 20 min- utes to 3, and, although the fingl dis- sonances are not as great nor as fright- ening as Dr. Kindler and a larger or- chestra can achieve, they are sufficient to make you ache and tingle in the manner in which CompserRavel hoped that you would. Mr. Waring also combines “theater” with music. He knows that by present- ing the comedy Lane Sisters (one-time sisters-in-law of Lew Ayres), or the agile Evelin Nair; or Babs and her brothers; or Johnnie Davis—as well as brother Tom, whose voice is easy and smooth—you will want to come back for more and more and more. Members of his band are not afraid either of open- | ing their mouths. When they sing they roar—or they are as soft and satisfying as a certain noted a capella choir. You have only to hear them turn from “The | Voice in the Old Church Choir” to a | beer song to appreciate their versatility. Mr. Waring and his musical brethren | are, in other words, grand. * K *x * A view of the Benny Davis troupers | from backstage emphasizes their vir- | tues. They are the most excited group | of youngsters you have ever seen. They are babbling and gurgling to one an- other as the numbers progress and they can hardly wait to get up on their feet and show you what they can do. Chief among them this year is that young man who makes his feet slide from the top of those three steps down to the bottom. ‘With the proper Davis tutelage you are likely to hear more of him in the future. * X ok % Midweek news of local interest: One thousand Washingtonians will receive autographed copies of Benny Davis' new song sit, “Looking For- ward,” if they will step into Loew's Fox lobby. The fifth annual dinner of the Drama Guild of Washington will take place | tenight at Barker Hall. ‘Tomorrow is the day when the Earle Theater will announce its mysterious stage presentation for the coming week. Keith’s will play host to members of |the Women's Cong.essional Club on Saturday morning. Don’t forget the Mask and Wig Club of Pennsylvania University will be at the Belasco Friday night. This year's show is called “out of the Blues.” You can always count on a good show when | the Mask and Wig comes to town. | _ What Clifford Brooke students said they were not allowed to be this week’s | corpse in “Riddle Me This” because the | critics would recognize them and laugh? Be sure not to miss “Zoo in Budapest” | this Friday at the Fox. It is one of the | most beautifully photographed films ever created in Hollywood. It proves |that Jesse Lasky was really sincere | when he said that what he wants to produce is “artistic films.” | And—Mae West is now at the Tivoli in “She Done Him Wrong"—for the benefit of those who want to see her for the ninth time. Out Where the Movies Begin Joan Crawford-Franchot Tone Romance Continues High Spot in Hollywood—Absent Actresses to Find Some Roles BY MOLLIE MERRICK. HOLLYWOOD, Calif, April 26 (N.ANA) —Hollywood's high spot of romance continues to be Joan Craw- ford and Franchot Tone. Asked to name the three most captivating women in Hollywood, Tone's answer was: “Joan Crawford, Jcan Crawford and Joan Crawford.” His picture orna- ments her boudoir—dominates it, so to speak, since other photos have been demoted in its favor . . Actresses who have been away will find some of their roles given to others on their return. Greta Garbo's role in “Hungarian Rhapsody” has gone to Kay Francis. And some of the things Norma Shearer was to have made before the inforced vacation of Irving Thal- berg, neccessitated by ill-health, will be given to others . . . Lionel At- will, famous for his rich voice and fine diction, plays the rcle of a deaf mute in his latest Constance Cum- mings is romancing lightly with Ben Levy, playwright, chaperoned by Levy's pere and mere in a little jaunt to Italy . . . New arrivals include Mari Colman, Grace Bradley and Barton MacLare . . . Dorothea Wieck is trying hard to get the American idiom. “I am filled with pep and everything is okay,” was her answer to an executive's query as to how she liked Hollywocd. At a recent party she sat in a corner with Ernst Lubitsch and appeared to be having quite a fine time of it . . Director William K. Howard ordered one-tenth of a mile of crooked track for “The Power and the Glory,” since all lccal track seemed too fine and straight Every one is laughing at that g-down” suit of navy blue cordu- Where and When Current Theater Attractions and Time of Showing National—" Riddle Me This,” at 2:30 and 8:30 p.m. Gayety—"Prosperity Girls,” burlesque, at 2:15 and 8:15 p.m. Rialto—"Be Mine Tonight,” at 11:53 am., 1:50, 3:47, 5:44, 7:42 and 9:40 p.m. Columbia—"The Big Stampede,” a 11:25 am,, 1:10, 3, 4:45, 6:35, 8:20 and 10:10 p.m. Palace—“The White Sister,” at 11:15 am., 1:50, 4:25, 7 and 9:40 p.m. Metropolitan—"A Bedtime Story,” at 11:05 am, 1:05 3:10, 5:10, 7:20 and 9:25 pm. R-K-O Keith’s—“The World Gone Mad,” at 11 a.m,, 1:05, 3:12, 5:19, 7:24 and 9:39 p.m. Earle—"“Elmer the Great,” at 11:05 am., 1:45 4:25, 7:20 and 10:03 p.m. Stage shows at 12:37, 3:19, 6:14 and 8:57 pm. Loew's Fox—‘Pleasure Cruise,” at 11 am,, 1:50, 4:40, 7:25 and 10:15 p.m. Stage shows at 12:30, 3:20, 6 and 8:55 p.m. Tivoli—“She Done Him Wrong,” at 2:35, 4:20, 6, 7:55 and 9:50 p.m. Central—“42d Street,” from 11 am. to 11 pm. A r—"King Kdng,” at 5:45, } B 45 pm. Gone on Return. roy which Preston Sturges uses to write in . .. Will Rogers flew halfway across | America to address the Society for the Aid of Crippled Children . . . | When movie technicians want to | photograph a scene behind a shop | window, for instance, they use a fine | silk screen to represent the glass, since | glass itself would pick up the reflec- | tions of the camera. They have found, through experiment, that they cannot use the plain sets without changes, | since glass shows as a palpable sub- stance between the camera and the object on the film . . . Movie pro- | ducers consider the coming season will | be the banner one for jmporting new personelities into pictures: It is one | of the many ways of intriguing the | public into the theater . . . Twenty-two thousands dollars was paid for “Three-Cornered Moon,” story | of a middle class family hit by depres- sion, a New York success . . . Pro- ducers of “A Man’s Castle” may give the lead roles to unknowns, following | the new policy of inviting more at- | tendance by luring the public through | new personalities . . . Local theaters {will tell your fortune, give away cross- | word puzzles, boxes of make-up, and |in short, do everything but send you | home in cab if you will come to see two movies for a -quarter. To say | nothing of a news reel and a comedy |also . .. | Onme of the new pictures just begun | starts with the dramatic assassination of the Archduke Ferdinand at Sarajevo . . Darryl Zanuck and Joseph Schenck, | making pictures on United Artists’ lot, are regarded as one of the most formid- | able rivals for box-office hits that any prcducing unit in Hollywood can com- pete with. To Zanuck is given credit for the amazing ending of ‘“Public Enemy,” although it is said to be based on an actual occurrence. He saw its applicability to the situation and was not afraid of its dramatic intensity. His other coup was the ending of “I Am a Fugitive”—a black screen out of which a voice whispers “I steal” . . . Head-of-the-class this week to Ramon Novarro who looks abcut 22 at most after almost a dozen years before the cameras . . . Hollywood party — an event where, if the host is an outlander, the | guests do all their long-distance tele- phoning on his private wire . . . Holly- wood spree—an event where, if the in- dividuals are sufficiently pickled, they t | tclephone every place they can think of within a radius of thousands of miles and bitterly Jament the next morning— or when the telephone bill ccmes in . . . One of the latest pranks of two lads who have telephonitis included a long discussion, with much vituperative abuse, when they tried to telephone central it couldn’t be done. “Pish, tosh and cheerio,” shouted one of them in high irritability, “don’t tell me you can't give Casablanca a jingle in this enlightened age!” He managed to get | the head waiter at the Waldorf Astoria and a plumber in Montreal before pass- ing demurely out. (Sopyright. 10:11, by North American News- paper_All Inc DANCING. Feston Penn Studis, 1717 F N0 rn Met. 3050. Instruction in m ball room dancing Standerd_routines _Sat. evening dance. |MAE DAVISON “#z | Private and Class Instructi Ball Roem Da: Day"or Erening. Phone Natiomal 3311 * THE EVENING STAR. WASHINGTO SCREEN ODDITIES BY CAPT. ROSCOE FAWCETT. Screen Stars Set Own Color Scheme In 33 Wardrobes BY ADELAIDE KERR. PARIS (#)—American ‘screen stars choosing their 1933 wardrobes have set a Spring color scheme of their own. Instead of the navy blue and gray favored in many Parisian wardrobes, they have chosen a warm wood brown and a soft sand beige for every variety of clothes from sports to formal wear. Simplicity came next in their de- mands. When slender mannequins be- gan their parade through the gilded salons of the leading clothing designers, stars noted for the elaborate costumes they wear on the screen, chose for their own wardrobes clothes designed on the simplest silhouettes. Chose Sports Suit. Mary Pickford chose a sports suit of brown and beige checked wool, designed with a tailored jacket having a small collar and pointed revers and finished iwith two patch pockets over the hip- benes. Among her frocks was a dress of ibrown and beige checked crepe, fash- ioned with a short-sleeved upper bodice { beige crepe, the scarf necktie of | wg:ich tled in a soft bow under the| chin. Betty Compton added to her wardrobe lounging pajamas of beige crepe pat- terned with brown and black spots to resemble leopard fur, the long-sleeved blouse of which was belted and cuffed in brown velvet. Constance Bennett chose sand beige crepe for one of her Spring evening gowns. It was designed along slender lines, with a simple decolletage draped in front and cut in a vee in the back.| With it goes a little waist-length cape | of the same fabric, collared in coque feathers of the same shade. Jeannette MacDonald’s new Spring | street coat is a model of wood brown wool cut on tailored lines, belted at the waist and trimmed with nickel buttons. The frock which goes with it is made | of brown shantung stamped with little | white figures, designed with a tunic bluse which ties in a bow under the | high collar. | Variety of Color. A wider variety of color and design marks the frocks which screen stars chose for evening wear. Mary Pickford | has a formal frock of heavy white | crepe finished with fabric flowers at the | left side of the waistline and worn with a waistlength cape bordered in blue fox. Jeannette MacDonald wears a chiffon gown printed in a cream and green floral pattern, with a scarf of filmy green marquisette draped straight across the shoulders in front and floating to the hipline in the back. BANKSIDE PLAYERS IN SHAKESPEAREAN DRAMAS | Arts Club Audience Applauds| Scenes From “King Eward III,"” and “Measure for Measure.” | The Shakespeare Apocrypha, “The | Reign of King Edward IIL" and scenes from “King Edward III” were pre-| sented with scenes from ‘“Measure for Measure” last night at the Arts Club as a part of the club’s celebration of Shakespeare week by the Bankside Players. Interpreting remarks on the comparison of the Apocrypha and | “Measure for Measure” were given by Charles Edward Moore, author, lec- | turer on literature and winner of the Pulitzer prize for biography in 1927. Mr. Moore is also responsible for the | organization of these players, who take | their name from a small Shakespearean | Theater in England. 1 Last night's presentation of the Opoc- | rypha was the first time it has been produced in this country and though in, all probability written by a contem- | porary, it was largely rewritten by | Shakespeare, Mr. Moore said. “Measure | for Measure,” the plot of which Shake- | speare obtained from an Italian novel, | compared with “The Reign of King| Edward IIL" shows in some degree that Shakespeare was more stylist play- | wright than an original one, Mr. Moore | explained to his audience of Shake- speare lovers. ‘The members of the Bankside Players in the production were Maurice Jarvis, who played the role of King Edward with ~ strength and understanding; Katharine Tomlinson, who as Sara, | Countess of Salisbury, won the admira- tion of the audience; Martin J. Scran- age, who played the part of Lodowick, | and Joseph A. Haltigan, who played Prince Edward. In “Measure for Measure” the players | were Mortimer B. Morehouse, Vicentio, Duke of Vienna; Hall Hopper, Angelo Joseph Haltigan, Esculus; George Fin- ger, Claudio, and Dorothy A. Lawrence, Isabella. The scenes of both presenta- tions were under the direction of | Katharine Tomlinson and the costumes | by Mrs. Fulton Lewis. The Bankside Players were given much applause for | their work and many in the audience openly expressed their ndmln‘a’uorxlm | OPERA SINGER DIVORCED | Marie Caselotti and Guido Hocke Caselotti Parted by Temper. | | LOS ANGELES, April 26 (#)—Twen- ty-three years of married life termi- | nated yesterday in the divorce of Marie | Caselofti, opera singer, and Guido Hocke Caselotti. | The romance began in 1909 when | she was a choir singer and he a church organist. She charged that bursts of temper shattered the wedding idyll| after two decades. They Met in Casablanca, Morocco, and were told by[ 5% theater. ERIC LINDEN SDAY, APRIL 'WON HIS FIRST SCREEN CONTRACT| Y RECITING THE LORD'S PRAYER. BARRYMORE 4{:‘.\.00 ROUGH! DIANA WYNYARD’S HAIR WAS WAVED A DOZEN' TIMES DAILY .FOR. HER'ROLE IN YREUNION IN VIENNA.# Cuic SALE, FAMOUS COMEDIAN APPEARING IN SLUCKY DOG.¥ OWNS AN ADVERTISING OFFICE IN NEW YORK AND A PUBLISHING BUSINESS IN LOS ANGELES. —memmmm———. Eric Linden was making a radio broadcast in New York one Tuesday when he received instructions to report at a studio for a talkie test. | recite something dramatic, he delivered the Lord's Prayer as the most dra- The test was shipped by plane to Hollywood matic thing he could think of. Instructed to 26, 1 Improved Screen Entertainment Is Visioned by Hays By the Associated Press. tic mood, remarking there is assurance of finer motion picture entertainment to come and that the screen must re- flect ‘the best soclal standards of the family, Will H. Hays, president of the Motion Picture Producers and Exhibi- tors of America, left last night for the t. He boarded a train at Pasadena with Joseph M. Schenck, Nicholas M. Schenck and other motion picture of- ficials, who accompanied him here to ald the industry in the crisis which | arose in the national bank holiday and which resulted in a temporary pay cut of as much as 50 per cent. “Whatever sacrifices may be neces- sary in readjusting the industry to present-day conditions,” Hays said, “these cannot and will not be made at the expense of the quality of the enter- tainment thrown on the screen. “There is always a_market, of course, for the suggestive, the sordid and the vulgar. But the whole world is the customer of the movie theater. The kind of entertainment that the larger public demands must reflect the best social standards of the family. This is the only basis on which genuine stabilization can be effected.” ALTHOUSE WILL SING WITH METROPOLITAN Signs Contract for Appearance Next Season in German Sec- tion of Opera. By the Associated Press. NEW YORK, April 26.—Paul Alt- and at 3 am. on Thursday of that week, Eric also left by air for the film city. | house, it was learned last night has Arrivin, f there on Sunday, he went to work at the studio on Monday. Fifty-five motion picture cameras representing an investment of $330,000 are maintained at Paramount studios in Hollywcod. Each instrument has an ap- proximate value of $6,000 which incluces the cost of the special lenses, filters and other mechanical accessories necessary to its use in filming talkies. It is estimated that 120 behind-the-lines workers are needed to keep one camera working. Fred Linehan, captain of Yale’s 1930 football team, is in “Private Jones.” John Barrymore has an excellent singing voice. Elmo Lincoln, old-time silent films favorite, is & fireman in a movie theater. What’s What and W here Attractions Soon to Be Seen in Washington Theaters Ina Claire Success To be Revived by Players. NE of the funniest farces ever produced on the American stage will be offered by the National Theater Players for the week beginning next Mon- day night when they will revive Ina Claire’s famous stage success “Grounds for Divorce.” Following usual custom of “mixing” old and new plays, mystery farce and drama, they will, narration is supplied by Edwin C. Hill, noted radio commentator. | “Bondage” Monday at Columbia., THE problems of inexperienced youth in search of happiness, is revealed |in “Bondage.” the new Fox picture | coming to Loew's Columbia Theater |next Monday. Dorothy Jordan and thelr | Alexander Kirkland are co-starred in | | this vehicle. The story traces the de- | velopment of a young girl from her po- : sition of a simple shop girl to her achievement of a character that is rep- aftet | Tesentative of all womanhood. The pic- | opening in & mys- | ture has been taken from the novel by | tery play, “Riddle Me This,” which has never before been presented in ‘Washington, revert to the revival of a| play that has not only been done on the stage butstood | the test of the “talkies” as well. In this play Donald Woods, Leona Powers will . come into her own Claire. The cast will also include Donald Woods, Ona Munson, Romaine Callender, Kathryn Givney, Adelaide Hibbard, Forrest Orr and others. Hinda Wausau Sunday at the Gayety. INDA WAUSAU is “home” again, She is coming to the Gayety next week, starting with the Sunday matinee. ‘Washington's “own burlesque star” is making her final appearance of the season. Miss Wausau achieved the dis- tinction of selling out the Gayety Theater two seasons ago at every per- formance for 14 performances. Assisting Miss Wausau will be a cast including Joe Yule, Bimbo Davis, Lee | Hickman, Charley LaVine, Bob Sand- | in “Zoo In Budap:: berg, Connie Fanslau, Reggis White, Joy St. Clair, Nora Murray, Bobby Whalen, Tangara and the dancing trio Worth, Bryant and Werth. Wednesday is “Money Night” Friday is “Amateur Night.” and Summerville-Pitts Comedy Comes to the Rialto Saturday. “OUT All Night,” the new Universal Pictures comedy co-starring Slim Summervilie and ZaSu Pitts, comes to the Rialto Theater for the new week. Tim Whalen wrote the story and Wil- liam Anthony McQuire, the author of “The Three Musketeers” and “Six Cylinder Love,” brought the story to the screen. Sam Taylor directed and the supporting cast includes Laura Hope Crews, Alexander Carr, Rollo Lloyd and Shirley Grey. As a special added attraction, the Rialto management pre- sents, “The Fighting President,” the life of Franklin Delano Roosevelt. The | picture was prepared for Universal Pic- | tures by Allyn Butterfield and the Old Vienna JOHN BARRYMORE AND DIANA WYNYARD In a scene from “Reunion in Vienna,” scheduled for screening in a Washington NATIONA MATS. TODAY & SAT., NATIONAL THEAT! OFFER JORN GOLDEN Mystery C Success “RIDDLE ME THIS” B R st e he. T “*Grousds for NEXT WEEK 7 . a/way S 8 better show at... ‘WORLD GONE MAD' Pat O’Brien—Evelyn Brent Mary Brian—Neil Hamiitog added 50 Stars in Lamb Clud Gambol “RFEAD 'EM AND WEEP The Wander Miracie bictare of the Yearl BELOW THE SEA” Grace Sothcote Leake and adapted to the screen by Arthur Kober and Doris Malloy. Alfred Santell directed the picture. Others in the cast inclreg Merle Tottenham, Mydia Westman, Jane Darwell, Edward Woods, Isabel | Jewell, Dorothy Libaire and Rafaela | Ottiano. “Cavalcade” ‘Opens Friday at Palace. “CAVALCADE" comes to Loew’s Pal- ace Theater this Friday for the first time at popular prices. The film | in the role originally portrayed by Miss | boasts of a cast of 40 featured players, | | headed by Diana Wynyard and Clive | | Brook. Altogether 3.500 people were used in making this great picture, which | was inspired by Noel Coward’s play of | the same name. Besides Miss Wynyard | and Mr. Brook, the cast includes Ursula Jeans, Herbert Mundin, Una O'Connor, Beryl Mercer, John Warburton, Billy Bevan, Lawrence Grant, Lionel Belmore, Will Stanton and others. The picture was directed by Frank Lloyd, with screen play by Reginald Berkeley. “Zoo In Budapest,” | Olsen and Johnsen at Fox. | J_OEW'S FOX THEATER this Friday | will present Olsen and Johnson and | their “Atrocities of .1932” on the stage | and Loretta Young and Gene Raymond ""on the screen. | In their “Atrocities of 1933” Olsen |and Johnson present Kay Hamilton, | singing melodious blues; George Moore |and Emil Shy in humorous moments; Holtz and Holtz, in modern dance | moods; Happy Moore, the boy born to | be laughed at; Merrick and Allen in | son, Harlem's fastest stepper; Sidney | Gibson, Stormy and Bobby Graham, a future Broadway star. | . “Zoo In Budapest.” the screen attrac- | tion, is Jesse L. Lasky's first production for Fox pictures. The story tells of a Tomance between a boy, raised in a zoo, | and a girl, escaped from a reformatory. Loretta Youngsplays the role of the orphan girl with Gene Raymond as the boy. The entire locale of the story | takes place in Budapest. | Chevalier Film to Be Held Over Second Week. | D1AURICE CHEVALIER and Mon- sieur Zaby Leroy will' stay at Warner Bros.’ Metropolitan Theater for another week. They are the stars of “A Bedtime Story.”” In this film Chevalier is seen as a man-about-town who suddenly discovers that home and fireside have their charms. This awak- ening comes to him on his return from a voyage when he finds a_baby aban- doned in his car. He calls police to take it away, but by the time they come he has grown so fond of it that he has decided to keep it and raise it himself. Helen Twelvetrees, Edward Everett Horton, Adrienne Ames and Baby Leroy, the year-old youngster chosen from among thousands of others to play the role, head the cast which suppoert the French star. Com- pleting the program is a two-reel Vita- phone subject, “Yours Sincerely,” based on the famous musical success, “Spring Is Here.” “Central Airport” Featured at the Earle. FOR the week beginning Friday, War- ner Bros.' Earle Theater will pre- sent as its featured screen attraction “Central Airport,” a First National at- traction with Richard Barthelmess and Sally Eilers co-starred in the lead- ing roles. The stage attraction, for which negotiations are now under way, will include a famous group of enter- tainers. Their identity will be an- nounced tomorrow. The screen at- traction is a romantic-story of the air, with Barthelmess as an aviator who believes a flyer's place is in the air, not in the home; his yor r aviator brother, whose viewpoint Jjust the opposite, and the girl who wants Dick’s love but his brother’s security. In sup- port of Barthelmess and Eilers are Tom: ell and Willard Robertson. MIN Coming / TONI SATURDAY / Zasu o oviLLECPITTS SUMMEml‘our"lu.u. Dke FUNNIEST NIGHT” LOVE STORY / EVER FILMED/ high stepping dances; Speedy Patter- ! Brown, James Murray, Claire McDow- | | i signed a contract to sing next season with the Metropolitan Opera. Althouse, the first American born and_ trained tencr to make his debut at the Metropolitan in a principal role, will sing in the German section. The number of his appearances has not yet been decided upon. The tenor made his debut at the “Met” at the age of 20 in the first American _ production of “Boris Godounow” under the direction of Arturo Toscanini. With Lambs LEON ERROL Who appears with the Lambs all-stas “Gambol” at the National Theater for a single performance next Sunday night. LOVETTE CHORAL CLUB GIVES SPRING CONCERT | Voices of True Pitch and Excel- lent Quality Heard in Ex- cellent Program. ‘The Lovette Choral Club, Eva Whit- ford Lovette airector, gave its Spring concert last evening at Barker Hall. The stage was tastefully decorated with palms and flowers, while scarfs of or- ange-tinted velvet hung from the bal- cony, giving a touch of coler to the room. The chorus, dressed in white, was i grouped effectively against golden cur- tains. The club had as guest artist, Edythe Marmion Brosius, harpist. Mme. Bro- sius played two groups of numbers, in the first “Am Springbrunen,” by Zabel, | and “Pattuglia Spagnuola,” by Tedeschi, and later Debussy’s “La fille aux che- veaux de lin,” and’“Arabesque No. 1.” Her sensitive interpretive feeling was evi- dent in the fine effects she created in these numbers and especially so in the charming “Lullaby of the Winds,” which she gave as an encore to the first | group. She was recalled several times with generous applause. Two compositions by Mrs. Alfred S. Gillett, patron of the club, “The Message of the Rose,” and “The Lullaby,” were sung by Francis Bass Wilson, with vio- lin obbligato by Betty Basim. , Mrs. Wilson drew out every shade of expres- sion of the words, also composed by Mrs. Gillett, and displayed a sympathetic, well trained voice. Nellie Barber Brooks sang Rudolph Ganz's “A Memory,” and Gilberte's “Laughing Song” with excel- lent contrasted effect. In the second part of the program, Mathilde Kolb Bartlett gace Liszt's “Die Lorelei” and Ethel Lynn Fast sang the difficult aria from Weber's “Oberon,” *“Ocean, Thou | Mighty Monster.” The singing of the Choral Club is! natural and spontaneous, the voices true in pitch and of cxcellent quality. program, chosen by Mrs. Lovette and directed by her with minute attention to shading, was varied and of pleasing medolious character. Especially suc- cessful was the rendition of the choral prologue, “Salutation,” by Gaines; “The Last Song,” by Rodgers, and “Ashes of Roses,” by Woodman. In the final num- ber of the first part of the program, “Take Joy Home,” by Bassett-Riegger, the club was accompanied by the violin obbligato of Ruth Hobbs. Winifred Lakeman assisted the club at the piano and provided a sustaining background by means of her sympathetic adjustment to the needs of the singers and her artistic interpretations. A E. —¥ RNER BROS. THEATRES 2 7~ JOE E. BROWN i “ELMER THE GREAT® A BEDTIME STORY’ Wih BABY LE ROY The Unusual Melodies Close Chamber Music Festiwal HOLLYWOOD, Aprl 26 —1n optimis- | Bohuslav Martinu's String Sextet Heard Yester- day Morning and V iolinist and Pianist Give Sonata Recital Last Night. By Alice E HE crowded auditorium of the Li- brary of Congress was roused to I wild enthusiasm by the program offered at yesterday morning’s concert. It was the occasion for the first hearing of Bohuslav Martinu’s String Sextet, which won the Coolidge prize of 1932, and the performance for |the first time in public of Gustav Strube’s Quintet for wind instruments. Martinu’s String Sextet is by far the most noteworthy of the new composi- tions heard at the festival. Constructed with a positive feeling for form, it over- flows with exuberance and vitality. Re-‘ plete with rhytiim from beginning to end, it is alive and glowing with senti- ment that springs from a true inspira- | tion, the strength of which is not di-| minished at any moment. The power | and richness of his manner of expres- | sion are extraordinary and one feels that here stands a composer with a fiery thread of genius in his musical weaving that is forceful enough to carry him | to great heights. While distinctly mod- | ern in harmonization, it is logical in | structure and the color which he evolves flows from the spirit as well as from the brain. | The modern form which he has chosen to express himself cannot con- ceal the fact that the old-fashioned ma- terial from which’ the classicists drew inspiration is his also in abundance and that the true gift of music-making re- mains the same no matter what the new | notions for expressing it are. His mu- | | sic is vital and sincere and his ‘musical vocabulary rich in expressive terms. A perfect sense of dance rhythm, going so | far s to sometimes touch on jazz, Tuns | through the entire composition. The andantino is the finest of the three movements and while having a dance form foundation is also full of dignified power. The final allegretto is short and spirited_and rushes to a climax in a | way well calculated to arouse any au- ience. o eThE Kroll Sextet of New York, Will- jam Kroll and Nicolai Berezowsky, violins; Leon Barzin and David Sackson, violas; Milton Prinz and Ossip Giskin, cellists, gave it a splendid reading. Sonorous and well-rounded in tone | quality, they combine in an excellent ensemble. Whenever the occasion de- | manded one or another of the mu- sicians to step more to the fore, their individual artistry was easily recog-, nizible as the underlying reason of ! eir perfect unison. mThep'GusY.a\'c Strube Quinet was played by the Laurent Wind Quintet of Boston, Georges Larent, flute; Fernand Gillet, oboe; Victor Polatschek, clarinet; Adbon Laus, bassoon, and George Boettcher, French horn. The composition is no doubt a valuable addition to the literature of this combination of instru- ments and in its technical formation shows a deep musical sense. It is, however, long drawn out and monoto- ous, with little opportunity to do any- thing else than to play it well. The field of inventiveness for the well-known interpretive possibilities of the flute and oboe seems not to have been widely explored and the range of expression of these two instruments in particular kept | within rather pedantic bonds. The mu- sicians themselves did not avail them- selves of any points where pianissimo or crescendo could be employed to advant- age. The audience was generous in ap- preciation of what they offered and persistently applauded until Mr. Strube himself mounted to the stage to ac- knowledge the reception. The second number played by the Kroll _Sextet was Schoenberg's “Verk-, larte Nacht.” Without doubt this earlier work of Schoenberg’s, based on a poem by Richard Dehmel, proves that when the inspiration is real it will find its outlet in pure melody. Full of “stim- mung,” with descriptive phrases of | | great beauty, it was as refreshing and | relaxing as a contemplation of the starry heaven itself. No more exqui-| site interpretation could have been | given it than thit of the Kroll Sextet, | and the audience stood to applaud the | plavers, until finlly Dr. Engel appeared | toask if a repetition of the new Martinu Sextet was desired as encore. At the delighted acceptince of the audience, hardly any one leaving, the Kroll Sex- tet returned and gave a second mag- nifiicent rendition of the Martinu number. | DOLPH BUSH, violinist, and Ru- dolph Serkin, pianist, well known throughout Europe for their sonata recitals, were heard in the concluding | program of the Library of Congress Festival of Chamber Mu: Elizabeth Sprague Coolidge Foundation. Opening their program with the “Sonata in G,” Johann Sebastian Bach, after the original manuscript in the State Library at Berlin, they wcn and | held their audience almost spellbound throughout the entire evening, and after their final number, “Scnata in E | Flat, Op. 12, No. 3,” by Beethoven, they | had to come out rgpeatedly to bow before their listeners would ccnsent to | disperse. | Both artists played without any notes and they had a remarkable de- gree of unison, both in tonal quality iand actual playing. Mr. Busch, heard earlier in the week with the Adolf| | Busch String Quartet, is outstanding as a concert artist, his tones are rich and virile, and if at times his bow seems to produce harsh note, it is per- haps because he is more often heard in_concert halls of much greater size. Mr. Serkin's tones were always rounded and clear. His fingering and pedalling left nothing to be desired. | He had his most distinctive moments in the intriguingly Viennese waltz touches in the “Sonata in E Minor, Op. 122" by Max Reger. Both artists rose to real height in the final sonata, the Beethoven in E flat, opus 12, No. 3. Seldom has more perfect ensemble work becn heard in a sonata program. The Bach program, which opened the concert, was played | with due regard to traditions, yet it was | { not the gay, sparkling Bach of the pre- ; vious evening, when Koussevitsky led his chamber orchestra in the “Suite in B Major.” The Reger “Sonata in E IMInm’" was, perhaps, the most inter- | esting work, musically, because it was; | the least familiar. There were richly WARNER BROS. THEATERS J/ AND His GANG/ ‘ U COLLINS &PETERSON | AN Ty Al WTROCITIES of 1933 Davis’ sony Autographed Copy of Bt “Looking Forward” it Theusand Wamen Lee:PALACE | ™ T ik HAYES*‘GABLE |5 WHITE SISTER' 'METRO-COLDWYN- MAYER FICTURE versman, Ppoetic moments, especially at the end of both the adagio and allegretto espres- sivo movements. But the Beethoven, from a general concensus of opinion, seemed to be not only the most satis- fying and pleasantly familiar, but also the work which showed the two artists at_their jointly best performance. Mrs. Elizabeth Sprague Coolidge, who modestly refused to appear at the end of the program, was later surrounded by enthusiastic admirers, who gave her thanks for making this festival possible. A. MacF. N unusual musical program depict~ ing the history of American music from 1784 to 1933 was a special fea- turemc‘ the banquet of the National Society, United Daughters of 1812, last evening at the Willard Hotel, at which Mrs Franklin Roosevelt gave a short address. The program was conceived and carried out by Gertrude Lyons, who presided as “master of ceremonies.” Mrs. John Francis Weimann, na- tional historian of the society, intro- duced Mrs. Lyons and explained that the idea had been not to present the classical or folk music that was heard during the different periods, but the music that had appealed to the masses and so become the popular music of | the day. While Mrs. Lyons sang the openln‘ | stramns of “Just a Song at Twilight' the lights in the hall were dimmed and a spotlight thrown on the stage where two heralds in story book cos= tume drew the curtains as the singers appeared. Representing the year 1784, Marie Nolte sang “My Mother Bids Me Bind My Hair” and “Coming Through {the Rye” with piano accompaniment. A dainty minuet was danced by Beulah Brewer and Kathleen Davis and was followed by the playing of a medley | of war tunes of 1776 by the Marine | Band Orchestra, Arthur Witcomb, sece ond leader. The period of 1812 was expressed by | the Omaha tribal melody played by the flute and drums of the orchestra and a collection of popular tunes of that time ending with “The Star Span- gled Banner,” which the audience was requested to sing. Followed a picturiza- tion of 1840 by Neal Parrish, who, in cowboy costume, sang “Home on the Range” to guitar accompaniment. The favorite songs of 1860, “Juanita” d “Aunt Dinah’s Quilting Party,” were sung by the Florence Nightingale Chorus and the orchestra played the war songs of both the North and South. Vesta Pollock Lynn sang “Fiddle and 1,” with violin obbligato by Malcolm Toone, in apprepriate 1870 costume. The orchestra introduced the period of 1890 by playing the famous “After the Ball Is Over” and the other popular tunes of that day. “Little Annie Rooney,” sung by Eddie Moran: the “Merry Widow Waltz” and the “Chocolate Soldier,” sung by Irma Briggs: “Love’s Old Sweet Song,” by Mary Junkin, and “Last Night the Nightingale,” by Martha Woolley, were much appreciated. The orchestra played “There’ll Be a Hot Time” as appropriate for the Span- ish War era, and the songs that cheered the boys in 1918 were sung again by Phebe Stine, Catherine Hand and Neal Parrish. For the final and up-to-date numbers Gertrude Lyons gave “Spring Is in My Heart.,” by William Woodin, Secretary of the Treasury; Catherine | Toomey sang “Dance Away the Night,” John Cullen “Without a Song.” while a piano solo, “March of the Toys,” by Herbert, was played by Gertrude Dyre. MASK & WIG CLUB “Out of the Blues” Belasco, Friday Next, 8:30 P.M. Seats Now: Mrs. Dorsey’s, Droop's ACADEMY O rerst o Spoenas. E_Lawrence Phillips. Theater Beautiful MYRNA LOY, CONWAY TEARLE in “VANs ITY FAIR." 'SPENCER TRACY in “FACE IN THE SKY." CLARENDON. VA. DOUGLAS_FAIRBANKS. “PARACHUTE_JUMPER. CAROUNA 11th N. C. Ave. S8.E Double Feature—' 'UNDER- COVER M. " and “BITTER TEA OF GEN. _YEN EIRCI:E 05 Pa. Ave.. Ph. 0953 atinees Tues.. Thurs., Sat., Sun. LEO CARILLO. VIVIENNE OSBORNE, “MEN ARE SUCH FOOLS."__Comedy. DUMBARTON '3, "oiasie e MADGE EVANS in “HALLELUJAH. I'M A BUM." _Comedy. FAIRLAWN ANACOSTIA, D. C. “THE_BILLION DOLLAR SCANDAL." LYRIC GAITHERSBURG, MD. “ME AND MY TRACY and JOAN BENNETT GAL” PRINCESS Mot Stod Double Feature—LESLIE HOWARD in “ANI- MAL _KINGDOM ™ MBARD in_“BILLION-DOLL 2 STANTON _eine® HI AYES. ELEN H. 2 FAREWELL TO ARMS. JR. A. MD. Electrie Sor morrow—"ANIMAL KING- with ANN HARDING and LESLIE __HOWARD. medy. News. Mat. 3 P.M. TAKOMA %, %2 Brusemmut St PHONE GEORGIA 4312 WILL ROGERS and JANET GAYNOR in “STATE FAIR K Near 9th HIPPODROME .53 John Barrymore, ‘‘Topaze. Joan_Blondell. “‘Cen a CAMEO Joan_Blondell. “‘Ce: ARCADE "y3& “KING KC RICHMOND GG George Brent in_“Keyhole. | AMBASSADOR col R FAY WRAY, BRUCE CABO' ING KONG.” ROBERT ARMSTRONG. }KPOLL()*““ H St NE 1 JD;I‘N DIRECTION OF SIDNEY LUST LIONEL ETHEL BARRYMORE ASPUTI! Y. __IS_AGRICA.” _Short_Stibie |AVENUE GRAND 4% F% | consTance" Bennerr." 26 __TERS." _Laurel and Hardy. CENTRAL oth SLK Eel. D and B | “Smoking Permitted in Balcony Only “42nd |GOLONY o= A § grsssr s REDRIC MARCH. ELISSA LANDIL __"SIGN_OF THI 0SS, E JARBARA STANWYCK. “LADIES THEY ALK _ABOUT.” _Short. St. & CoL Rd. N.W. PAUL LUKAS, Comedy. 1 w2 |STLVAN , o2t & %, 5 3 WALLACE S| _Paki FALM THEATER DA% DOQUGLAS FAIRBANKS ia “MR. ROB- flg“" . ‘