Evening Star Newspaper, October 20, 1935, Page 62

< PRODUCING GROUPS INCREASE Number of Players and Character of Productions Contradicts Accusation Capital Is Cold to Theater—Handicaps Numer- ous but None Has Proved Insuperable—Houses Needed. By Margery Rice. HOULD all other signs fail, you would know it is October in Washington by the din of ham- mer and saw in church base- ments and the ring of voices in school auditoriums as a small army of non- professional technicians and actors start work on the amateur theatrical | season. seems nearer this Utopia than any of the others, for it has the exclusive use of its Guild hall at 2115 Fifteenth street northwest. The money is lack- ing to enlarge and improve the stage to make it usable and che Guild is still producing in the church hall next door, but at least it has a place of its |own in which to rehearse, build scenery and hold meetings and try- outs. The Montgomery Players like- Washington has been reviled rromJ wise have found a building which is time to time by various writers wWho| jdeal for their needs. but-there again believe the city does not appreciate money is lacking with which to re- | good theater and who deplore me| model and equip it. A number of the | fact that “it will not support even ; other groups are making a 1eal search | one legitimate theater.” ~Whether| for buildings which they can adapt | their criticism was merited is doubt- for their own use and their technical ful, however, in the face of the very directors and stage crews may be | keen and widespread interest in the| found prowling through alleys and drama evidenced by the several hun- | peering into likely looking buildings | dred persons who put their time and | aimost any week in the year. money into the amateur productions. When a group has rented a hall, re- A year or two ago a count showed | hearsed a cast, and built and put that there were no less than 200 dif- | yp its sets, however, plenty of diffi- ferent producing groups, including | cuities still remain, and Washingren's | try. One of these is Constance Connor ence greeted their production of “A Midsummer Night's Dream” last Win- ter, and when the “Dream” was re- peated at the Sylvan Theater last Summer, ad less than 12,000 people crowded the slopes under the Monu- ment to see it.. Every group includes some modern plays in its schedule, and they are frequently the work of the best contemporary playwrights. ‘The increasing interest in the the- ater in Washington has brought forth several projects which are without an exact parallel anywhere in the coun- Brown's Studio of ‘Theater Arts, where a group of ambitious young people are, finding the serlous study of the the- | ater to be almost pure pleasure. Miss | Browa 1s putting into practice her |own ideas for instruction in acting and stagecraft, which she has de- | veloped over a period of years spent on the professional stage and as a coach and instructor in college dra- church and fraternal organizations. presenting plays in the city during | the Winter. and since that time the number probably has increased. The | membership varies between the dif- ferent groups. but everywhere the tendency is upward. The Blackfriars Guild, one of the largest organiza- tions, boasts a membership of 80. The Columbia Players have about 70 | active members. The Drama Guild has a producing group of 40 to 60, as does the Washington Community Players. The Montgomery Players, the Pierce Hall Players, the Mount | Pleasant Players and others have large memberships, and there are many smaller groups which produce regularly. Some of these organizations play | to well-filled halls as a rule, though most of them run their shows for only | two nights. Others have small sub- | scription lists, but can count on a large audience for a particularly pop- ular play. All of them are self-sup- porting; there seem to be no theatri- | cal “angels” in Washington. Not only are Washingtonians join- fng the producing groups in large numbers, but they are paying out! good money for formal training in | acting and stagecraft. The Clifford Brooke Academy, started several years | ago by the then director of the Na- tional Theater Players. has prospered. The Anne Tillery Renshaw School of | Speech reports an increased enroll- ment, as do other such institutions. And last year saw the founding of etiil another type of educational in- | stitution when Constance Connor | Brown opened the Studio of Theater Arts. The amateur theater got its big start in Washington during the war, when a number of producing groups made a practice of presenting plays | at nearby Army camps for the amuse- ment of the soldiers. Shortly after the war public school buildings were opened for the use of dramatics or- ganizations and other community type projects, and then the players’ clubs sprang up like mushrooms. Of the groups organized during that period, only the Columbia Players and the Drama Section of the Arts Club sur- vive, As old groups disbanded, how- | ever, new places. in most cases utilizing as a nucleus players and technicians who had already got their preliminary ex- perience in the defunct organizations. At the same time dramatic groups were being organized in the high schools and colleges of the city, and & constant stream of theater-minded young people has come out of school and into the players’ clubs of the city. AT PRESENT the school groups are very active. The high schools produce regularly. American Univer- sity has an active theatrical organi- eation. George Washington Univer- sity’s Cue and Curtain Club has been presenting three plays a year since it was organized in 1931 by Constance Connor Brown, who was then an asso- ciate in the Department of Public Bpeaking at the university. Even though the various groups are able to make expenses ana can, within certain limits, get Lhe rights to the | plays they want to present, so many | difficulties iie in their way as to make producing a real struggle. Chief of these is the iack of suitable stages and auditoriums. There is, of course, the attractive ‘Wardman Park Theater, which was built for the old Ram's Head Players | when that organization was the town's foremost producing group back in the early 20's. sponsor, left the city, the Ram's Head Players broke up, and since then the Wardman Park Theater has been used by a score of acting groups. Church halls and school auditoriums are also available during the Winter, and for many reasons such houses are never ideal for theatrical productions. In the church halls the stages are small and the audience must be seated in chairs placed in rows on a flat floor with the result that only a few of the seats are really good from an audience point of view. Church or- ganizations meet, of course, in and near these halls, and it is frequently impossible to select dates for plays so that they do not conflict with some other gathering in a nearby room. The clatter of knives and forks as a church supper was coming to a con- clusion next door nas ruined many an otherwise good first act. School auditoriums, on the other hand, are likely to be so large that both players and audience are lost in their vastness. The chairs in school auditoriums are not as comfortable @3 theater seats should be. OT the least of the difficulties en- countered in using these impro- vised theaters have to do with staging. It is impossible in most cases to have the use of the auditorium for more than one or two days before the first performance, and oftentimes the show must be rehearsed elsewhere than the stage on which it is to be played right up to the final dress iehearsal. Some- times the sets must be built elsewhere and moved to the building where the | production will take place. Groups frequently find themselves forced to put up their set, arrange the lights on it and hold their one dress re- hearsal all in on: evening, which means & session asting from late afternoon until 2 or 3 o'clock the next morning. As a result of this situation, the @oal of every one of the larger pro- ducing groups is a theater of its own. At the moment the Blackfriars Guild .) ones arose to take melr' When “Bobby” Bell, their | matics. The students also study his- amateur producers frequently find | tory of the theater, eurythmics and themselves in very tight spots. other allied subjects, for it is Miss | There was the time the Blackirars | Brown's theory that any person will | Guild encountered the Fire Depart- [be a better actor, or technician, if | ment in the person of an inspector |he has some knowledge of the sent out to Wardman Park Theater 1o | branches of theater work other than | make sure that the sets for “Peter |his own special line. The studio was | Flies High” were fireproof. The group | organized only a year ago, but the | had constructed the sets with great | care, for this production was to be the high point of the year's schedule, | but nobody had thought to fireproof | them. So when the inspector touched a match to one of the “flats,” as the | acid test, it began to burn merrily. | The fire was put out quickly, but the | inspector would not permit the piay | to go on that evening unless the rets were fireproofed. So the stage crew commandeered & number of Ward- | man Park Hotel employe: snd hired them, at union wages, to help spray the flats with the chemical mixture | which makes them fireproof. When | the spraying process was finished the | sets were as fireproof as asbestos, but | the lovely maroon walls of the draw- mg room required for the first act had | turned to a horrible mixture of red | | and pink streaks. They were still wet 1 with the chemical spray when the curtain rose that night, and when the ‘ first act set was hauled up to make { way for the second act the players | found themselves working under flats | | liquid. that still dripped maroon-colored | ‘FIRE figured in a dilemma which | confronted the Columbia Players | back in the days when Paul Mallon, who has since become famous ss a ¢ | columnist, was an ardent little theater | worker and a member of this group. Mr. Mallon rushed home from work | one evening to get the elaborate cos- tumes and properties for the produc- tion in which he was to appear that night to find that his apartment house wes on fire and a cordon of police re- THE SUNDAY STAR, WASHINGTON, D. C, OCTOBER 20, 1935—PART FOUR. : DRAMA’S AMATEURS HERE PREPARE FOR BUSY SEASON “Becky Sharp” Profit James Kelley and Sally Hinman of the Studio of Theater Arts in a scene from the Somerset Maugham play, “The Circle.” The Drama Guild of Washington putting up the set for “Ladies of the Jury.” fused to let him enter the building. | The curtain rose on the play at some- | thing after 9 instead of the scheduted ! 8 o'clock. | _The stage at Pierce Hall is small, so | the Columbia Players had designed | | the set for “Moonshine and Honcy- | suckle” so that it rested flat againit the back wall and left no room for a | person to cross from stage left to stage | right behind the set. So it is casy | to imagine their consternation when | they found that the curtain had gone up with a leading player and all the | guns needed during the act on the its first seaso, both in the individual | | | | WEEK OF OCTOBER 20 Sunday Monday 1 success of its methods is apparent in | With the close of school last Spring, | the studio moved to Glenora-on-Lake 1Imrk of its members and in the ex- | Seneca, and spent two months in in- cellence of the three plays that were | tensive work i1 speech and acting | ington amateur work and one which dents, the movement met with much people gave those who work on the | produced by the group last Winter. ‘v.echmque, with time out, of course, | amounts almost to a phcuomenon is | success. Tuesday hikes in “the glen.” Another recent outgrowth of Wash- | 1 for frequent swims in the lake and the Roadside Theater. Organized in the Spring of 193¢ by a group of | George Washington University stu- Charlie Ruzsles and | Mary Boland in ameogle will Ta Al M wrong side of the stage. But some one thought of the window on tie Academy other side of the stage, and, seizing a ' Sth and G Sts. SEE. stepladder from the work shop, a stage = hand rusned outeide and auss. thy Ambassador building and boosted guns and player | | 18th and Columbta Rd. K George Brent in “Goose and_ the Gander. Charlie Ru«--xn and ary Bolan < Peosie Wil Taik." Also ““Make & Millio Kay Francis and George Brent in “Goose and the Gander.” erltfle The |Woman R Heart l< Callml Kay Francis and George Brent in lnflA alCiarke in Kid A Is |%Biood_of Cour Mulene L Dietrich Lew Ayres Qlarke in n M Devil Is Also “‘My M\ \\nm.n' Aso Heart o Is_Calling.” | _Blood of Gourage. | Red| Also “Miracle Rider. | Claudette Colbert in “Marta Eggerth in “She Married Her Claudette Calbert in ‘She Married “Unfinished Svm- Band: reel |Laurel and Hardy in | yBonnie su;.aml‘ arion Davies in “Page Miss Glory " 81 S\mb'!mn\ s ber Kitten.™ through the window in time for cn- | pollo trance from the other side of the | na4 us. NE " “Marion Davies in “Page Miss Glory."” Silly Svmphony’s “Robber_Kitten." age Miss. olory illy Svmohony's bher Ki | Burns and Allen in. “Here Comes Cookle.” Cartoon. Musical. Syivia Sidney 1 “Accent on Youth" d Kelly com stage. The Roadside Theater's stage crew Arcade had a bad moment last Summer when | Hyattsville, Md. George Raft and Frances Langford in “Every Night at 8" Comedy. _News. George Raft and Frances Langford in “Every Night at 8." Comedy. News. !velyn “Vaga Comeds. _ an B KM stone_Hotel. Spencer Tracy and Virginia Bruce in “The Murder Man." |_Comedy. Cartoon. | Predric March in “Smilin’ Through.” Cartoon. Band._| Venable bond Lady. “Smilin’ Through." News. ot o Cartoon. Norma Shearer and | e E Brown in *rignt Liants. Cartoon. Comedy. Tarzan serial the ceiling of the “Trilby” set cul- | A} lapsed shortly before curtain time. ton But Karl Gay, who is an old hand 1t | Clarendon. Va. Dark. Spencer Tracy in, “Dante’s Inferno.” Spe ncer Tracy in “Dante’s Inferno. John Boles and | Dixie Lee in “Red Heads on Parade.’ George_O'Brien in Zane Grey's = —__|*Thunder Mountain.” spenur ’rncv in urder | TR |_our_Gans come¢ | Katharine Hepburn in “Alice Adams. Cartoon. setting things to rights backstage, | climbed up on a ladder and with a | Avalon few well-placed screws fastened the | 5612 Connecticut Ave. Katharine Hepburn “Alice ‘Adams.” Cartoon. i Katharine Hepburn n *“Alice Adams.” Cartoon. !yhu Bldnn Norma Shearer and Predric March in “Aceent on Youth® “Smilin’ _Through. Cartoon n “Accent on Youth.” Joe Cook comedy. | _Jt joe_Cook_comedy. |~ william Boyd opalong Cassi ‘Keystone Hotel. rt_reel. Joe z Brotn “Bright Lights.” Band_reel. ceiling back where it belonged so | | switly that the delay was o soviced | Avenue Grand by the audience., | 645 Pa. Ave. SE. Joe E_Brown n *“Bright Lights." Band_reel. Joe E._Brown in “Bright Lights." Band_reel. Greta, Garbo “Anne Karenina.” Variety. Taurel and Hardy Greta_Garbo i n “Bonnie Scotland.” Comedy. n “Anne Karenina.” Variety. Cartoon Norma Shearer and Predric March in “Smilin’ Through." Cartoon. Band. News. ‘The Washington Community Play- | ers, who, under the direction of Bess | Cameo Mount Rainier, Md. Norma Shearer and Predric March in “Smilin’ Through." Cartoon. Band. News Noel Coward and Comeds. Madge tnn nd | Robert n, “Calm Youml Com. Cart. Novelty. George Raft and Prances Langford in “Every Night at 8.” | Comedy. News. George Raft and Frances Laneford in “Every Night New. Cartoon. Comedy. Alice Brady in - Lady Tubbs. McCov in Jus. tice of the Range."" Davis Schreiner, produce on a grand scale at the Sylvan Theater during the | Summer, have the weather to wnuni\ with. One night last June an audi- | | ence of several thousand had gathered on the slope southeast of the Wash- | ington Monument to watch a produc- | tion which was just getting under way, when with some suddenness the rains Eddie Cantor and Carolina ‘Anin Sothern 11th andN.C. Ave SE. Central 4 Oth Bt. NW. Circle | 2105 Pa. Ave. N.W. “Hot “Red H‘ad! on Parade.’ __Betty_Boop. Norma Shearer and Fredric March in “Smilin’ Through.” Eddie Cantor and Ann Sothern in |__“Kid Milllons.” | Hot_Tip. Betty Boop. Norma Ehearer and Predric March in “Smilin’ Through.” News George Raft in K George Ihfl in “The Glass Key. Evelyn Breni in ymphony of Livin." ‘ldl Lupino ln “8mart Girl John wune in “Westward. Ho!" 1da Lupino in "8 G ‘umbline | Night | e Cratord. 1h | “No More Ladies.” Nat Pendleton in “Claudette Colbert in “She Married Her Boss Color Ted Lewis and Nat Pendleton in “Here Comes the * ~ Comedi Robert Armstrong and Edward E. Horton in| “Little Big Shot.” Comedies. T Greta Garbo and Fredric_March 1 “Anna_Karenina. ‘Will Rogers in “Steamboat Rmmd |~ “the Bend." |““Crime Doesn’t Pay."| Greta Garbo and Fredric March in “Anna_Karenina.” ews. Comes _the ' _Comedies. Claudette Colbert in “She Married Her B rhapsody. Color Thapsods. Will Rogers in ‘Eul:mbou Round “Crime Docont Pay.” Spencer Tracy in | *“The Murder Man." Laure! and Hardy in “Pixin’_Uppers Spur to Jock Whitney’s First Gets Out of the Red, Color Films Feature Color Film Thus Causing Con- siderable Hollywood Speculation. By Mollie Merrick. (Copyright, 1635, by the North American Newspaper Allfance. Inc.) OLLYWOOD, October 19.—Jock Whitney'’s modest assertion that “‘Becky Sharp’ is now out of the red; we have paid all expenses, and from now on it will be pure profit” is giving Hollywood some- thing to think about. “With all eur costs back,” says this very quiet producer, “we should show a neat profit on this first long pmuu venture we mve made in techni- color.” When Jock Whitney decided w make a long color film, Hollywood resolved it would not be stampeded into copying this young man, believ- ing he had taken on more of a job than he was able to swing. When many difficulties—including the death of Director Lowell Sher- man, which necessitated delays, the choosing of a new director and the re-shooting of much of the film—ran the costs of this picture up from the $700,000, which was the initial cost figure, to $1,000,000, the producers who had kept out of color smiled. But now, as Whitney asserts he is making what he terms a “neat” profit on the picture, they have something different again to think about. cause, in the meantime, Alexander | Korda—acclaimed king of the cinema world today by Hollywood although he refused to remain here and make pictures—has said all the pictures of the future will be made Alexander Korda is the reigning spirit sively into United Artists, owning an equal fifth with Mary Pickford, S8am Goldwyn, Doug Fairbanks and Charlie Chaplin, and is accepted by them as as an autocrat in matters gelatin. But Hollywood, chary of color, is not to be stampeded into the manufacture of colored films which cost more money and require far more artistic equipment in the technical staff than does the ordinary gray and white or black and white picture. as they stand today, are pretty evenly divided. Three or four months ago, when I discussed the matter of colored film with Warner Bros. they stated very positively they would not go in for this new and expensive departure They indicated they could make “Captain Blood™ for $700,000, whereas, if they went into color, it would cost them $1300,000. Today, Warners, with their attempted deal with tech- nicolor, will make “The Green Pas- tures” in color. In my opinion, it is pretty certain that Warners will make “The Green Pastures” in technicolor if only to Be- | in color. | of London films, has bought exten- | The camps, | avoid the curse which has befallen all pictures with exclusive Negro casts. They have, to date, been artistic suc- cesses in many cases, but inevitable financial failures. King Vidor’s great Negro picture “Hallelujah” couldn't get by at the box office in spite of the fact that every critic in the country gave it highest praise as a cinema classic. “The Green Pastures” in color will be a sensation whereas made in con- ventional black and white it would seem repetitious. In the days when Warner Bros. little dreamed that they ever would film “The Green Pastures” took the Negro idea of Heaven as depicted in this play and introduced it into an Al Jolson picture. The | sequence was the setting which ac- | companied a song called “Going to Heaven on a Mule.” Willy Pogany made settings of unusual and whim- | sical beauty. The entire picture sequence was sensational and drew much comment, although everyone who had seen “The Green Pastures” readily recognized the inspiration Warners find themselves up against a unique situation, for they now own “The Green Pastures,” and therefore turn their eyes to technicolor to save | themselves from a disillusioning simi« larity of releases. “The Trail of the Lonesome Pine” which Walter Wanger is making, takes color out of doors to the Kentucky mountain district, and shoud be a most interesting film. Wanger is one of those who agree with Whitney and Korda that all films will be colored in the future. In fact, Walter Wanger voiced this theory to me before Korda expressed it to the world. He would have re- leased “The Peacock Feather,” with Ann Harding, long ago had that actress not suffered a breakdown and been forced to take a complete rest during the time this technicolor film was scheduled. Jock Whitney's “neat” profit un- doubtedly will sway Hollywood more and more during the coming months. they cleverly | LAME “hand props” if film edi- | tors age prematurely. Ralph { Dawson, for instance, has in- numerable gray hairs on his ‘umpkl He's been worrying about | “nand props” for years at the War- | ner Bros.-Pirst National studios here | and in England. You don't know what “hand props” are, probably, but neither do most uuse or in pictures. “Hand props” | are hand properties—i. e., eyeglasses, | cigars, cigarettes, pipes, hats, canes. |mngnzmes lipsticks, handbags, letters | and other objects actors and actresses | use for bits of business. In cutting a picture “hand props” assume great importance, Dawson says. Most players forget them. In a long shot they have cigars in their left hands and in close-ups they have the cigars in their right hands. Or in a cooking scene an actress will flip pancakes with her right hand for the long shot and flip them with her left hand for the close-up—unless the Those Intractable “Props” business before he comes on the set Unconsciously, if the scene calls for him to remove his glasses, he in- variably removes them at the same point of action. “You see, the eye follows the mov- ing object on the screen. For that reason, the film editor usually cuts or changes camera angles at the point of movement, such as sitting, rising, turning or gesturing. But if the actor does not always make these movee ments at the same point in the dialogue it makes it difficult for the editor to cut the picture smoothly. The best edited picture is that in which one is not conscious of cuts. That is why Mr. Muni is so partice ular about never changing his actions and pieces of business, no matter how many different angles are photo- graphed.” DANCING. Met. 3050. Private lessons by a Soelal _specialty. script girl or director catches her at it | There is one actor in Hollywood who never forgets his “hand props,” Dawson says. His name is Paul Muni | and right now he is remembering them in First National's “Enemy of Man,” in which he plays the microbe hunter, Dr. Louis Pasteur. “Mr. Muni realizes the u-nponancc | of handling his ‘hand props’ at the proper time, regardless of the num- | ber of takes” Dawson says. “As a | result, it is simple to get a smoothly | cut picture. It is possible to change | the camera angles in cutting without | having to worry about his cigar being | ‘ln his mouth when it should be out or his glasses on his nose when they | should be in his right hand. “He so thoroughly steeps himsel! in the character he is portraying that | he works out to the finest detail, each little movement, gesture and piece of | DAVCING. descended and the floods came. As one man, the audience rose, gathered up the blankets and pillows it had Katharine Hepburn in “Alice Adams.” Popeye. Colony Ga. Ave. and Farragut Katharine Hepburn n “Alice Adams.” Popeye. Katharine Hepburn n “Alice Adami Popeye. Gary Cooper and Richard Arlen in “The_Virginian."” Comedy. 8ylv! ‘Svlvia_Sidney in n “Accent on Youth.” “Accent on Youth." Comedy. ] Sidney George O'Brien in “Thunder Mountain. “Keystone Hotel. Sport_reel. Arline Judge and Kent Taylor in “College Scandal.” News. been sitting on and rushed for its au- tomobiles. The actors stuck to their | posts until they saw that they had Dumbarton 1439 Wis. Ave. N.W. Arline Judge and Kent Taylor in “College Scandal.” Comedy. Katharine Hepburn and Fred Mac in “Alice Adams. . Katharine Hepburn and Fred Machurrsy) in “Alice Ada: Comedy. Ghd'l 7. 9. lorml Bhelrer lnd "Norma Shearer and urray Sho Spencer Tracy and Virginia Bruce in “The Murder Ma No. 8 of Tarzan se: Tom Brown and _| 8ir Guy Standing in “*Annapolis Farewell.” Cartoon. been entirely deserted, then they, too, made for shelter. Later in the sea- son Miss Schreiner tried in vain to | Fairlawn Anacostia, P. C. o Jews. m Brown and 51! Ouv Standing in | “Annapolis Farewell.” Cart [ Joan Biondell and Glenda Farrell in “We're in the Money.”| _Musical Norma Shearer and Fredric March in, “Smilin’ Through.” Cartoon. ‘Norma Shearer lnd Predric March i “Smilin’ Through. Cartoon. Zasu le n “*Hot odduy Commy c-rmon Norma Shearer ‘and Fredric March i “Smilin: Thiough " Cart._Novelty. News. find a date to present her production of “Romeo and Juliet,” but time after Hlp podromc PeterLorre. - u-n Who | Knew Too Much. Ricardo Cortez in, | “Manhattan Moon.” Pelul.n Ricaras ‘Cortes in, “Manhattan Moon.” Arline Judge and Kent Taylor in “College Scandal.” Comedy. _Novelty. Arline Judge and Kent Taylor in Collexe Scandal * Comedy. elty. ‘Man Who, Much.” e Evans i - Wichous Names: Comedy.._Band. Sylvia Sidney in Accent on Youth.! Charlie Chase comeds. Serial (matinee only). gxe bo_an edric_March K near 9th Home 13th and C Sts. N.E. | time inclement weather prevented the use of the Sylvan Theater, and the project finally had to be abandoned Claudette Colbert in “She Married Her Boss. silly Svmphony. | Claudette Colbert in | “8he d Her Boss. Silly Svmphony. 8ir Guy, Bhndmx 8ir Guy Standing n ““Annapolis Farewell.”| Cartoon. Katharine Hepbm-n ‘Alice Ada Katharine Hepburn in m! “‘Alice Adams. Wrestling_match. Wrestling_match. l Plre'e]l » “Bhe Gets Her Man." "rhundr; in the Katharine Hepburn n "Ahce Adnml," entirely. However, those who work in Wash- Jesse | ington’s non-professional theater are 18th nr. R. 1. Ave. N-E.| Katharine Hepburn n “A]ice AdlmL" Jean l-nrlnw wnd ble 1 ‘Chin: comefly cum Fred MacMurray, d Fred MacMurray Madge Evans in “Men Madge Evans in "M ‘Without Nams Without Names. ymedy. _ Novelties. Serial. Jean Harlow and arl ble in “China Seas.” Comedy. _Cartoon. Edmund Lowe in “Thunder in" the Nigh! Also “Welcome Home.” not easily discouraged, and the plays D unne. are improving in quality, quantity and w‘"‘;,““‘o‘,".“‘.‘“‘ workmanship. Last year the Colum- Little 9th between F and G/ e — | m : ne. | Walter Huston and | Bdna May Oliver in |__“Ann_Vickers." ne_Dunnd Walter Huston -nd Edna May Oliv Sylvia Sidney and william Collier. Jr. “‘Street Scene.” Cariosh._¢ Ann Harding Ann Harding and | mmuomen in “Blnlnphy of s eh!hr c n i Vickers. Sylvia Sidney and |William Collter. Jr., in “'Street Scene. Cartoon. Comedy. CllrkOlN! Jean Hi ow md Wlfllu Bn" gn Sovetts - News. bia Players, who are incorporating the repertory theater idea into their sched- ule, tried a season of six plays and Milo Rockville, Md. Clark Gable, Jean Har- [low a n Ching Cart. Novelty. News.| Wallace Beery "Sea: o Gtoru Gracle Allen in _Comedy. jurns and o “gieambont Round the Ben “llenmbofit Rmmd the Bend. Cartoon P e le 2 Buck Jones in “Stone of Silver Creek.” 0on. No. 2 of *Tarzan. found it a financial and artistic suc- cess. This year they will do five new Palm Del Ray. Va. Dark. Tt Tavior and Jean Parker in ‘“Murder in t| th Comedy. _Novelty. Joan Blondell and Glenda Farrell in ““We're in the Money. .|Our_Gang. _Novelty. Spencer Tracy in ., It's & Small World.” Lew Ayres in_“The Silk Hat Kid." Serial. plays and will repeat Checkov’s “Uncle Vanya,” last year's outstanding suc- cess, which they have kept in produc- tion as the nucleus of the new reper- toire. The Drama Guild and the Pierce Hall Players will also do six shows this season, and a number of other groups are adding one more Robert Young in “Vagabond Lady. Jonn Boles. in’ “Orchids to You.” A Savoy 3030 14th 8t. KW. exandris, Va. “Hot Tip.” d! Robert Young in el thl‘fl; a n “Orchids to You.” Jean _ICO Jane Withers in anger. Paul Lukas in ‘Age of Indiscretion.” Ju l !ro'n and . -'nmht f.mhu e Comedy. Nancy Carroll in B o rt_Trail Jo! E. Brown and Ann’ Dvorak in “Bright Lights.” Comedy. _News. chtml" Norman P’oflal’ ““Buper: —— i Sir Guy_Standing n “Annapolis Parewell.” Cartoon. plays to their schedules. Seco mnr‘y Fonds . 3n "Thg ANY of the world's great plays P B Janet G ey Ponda e *'[Parmer Takes a Wife . |Comedy. . Ne Spencer Tracy and Virginia Bruce in Edmund Lowe 1n eep.” Tim MeGoy in”-The |_Fighting Marshal.” Silver Spring, Md. Comedy. Stanton 6th and C ts. NE. State M turn up with more or less regu- larity on Washington's non-profes- sional stages. Last Spring the Studio of Theater Arts produced “A Doll's House” and found that the town flocked to see Ibsen. Now the Pierce kl Edna Best and Peter| y|Lorre in “The Man ang “Deatn From & nu in the lpflu" “Paris ln the ln nl Wh‘l Price “what Price “Desth_From & mm Lad Crime!™ “gilk Hat Kid" and “Fair Warning." xn:' Toolhch " B wmdy ews. mmme Carroll in ““The te) urel and Hardy com. Tes-| Betty Purness in mdek!ne Clrnfl Jn llellnkl In“&-umkn “Keeper of the Bees.” |* ““The 39 8te) he River.” Blb!-hce Har-| ILaurel and Hardy com. n.” Domt and ‘Bethesda. Md. Sylvan Mgd%;lmm Gsn‘r:m‘lrdm Takoma Takoma BeihD: O Tivoli 14th and Park Rd. Hall Players are opening their season with "‘meWIldDuek. by the great and at least two other men yltfl' shni.u'. to be the Drama Guild will be with his play, “You Tell” The Wi Scandinavian, are iter. louny season mn grou, this seen gin i Never Tt Donat and ‘MacMurray, and| = | [Ered MacMurray and thout Name: Comedy. ™ Robert Youns i Manreen Ogullivan TSMm Yoyrseit.® | and Joel Mcore Comedy. “'Woman Wani Sariogn. o _z___ommtfm-‘ of 1] 50 * uud: mmu. |_____ingto Pred MacMurray and Novelties. | Comedy. Herding in n_Harding -rfie Flame Within.”| "l'hen e Flame Wi w‘zhmf' Mons_ Barrie n Love Danger. “Ladies i e L “Ladies Love Dange e - will in "lulmwl"ion the Bend.” “Orime Doesn’t Pay.”|"Crime Doesn't Pay.” "cflm- Doe ’i Pay. '_portnel. ] Betty Pnrneu in X Keeper of the Bee: Also “Bab: . inston.____ Jtckl! coogr and aerm. o Eaitoon, ames Dunn_in_ "&egamo Eg"" |_*Win o Hexet Ted Lewis "l!n es the W Community tried Shakespeare, and with grea cess. A large and enthusiastio sudi- Players have York Gs. Avs. and Quebes P) t suc- A lnv——&fi'fl’ G lgg.h- i E. -m::.&p- I. MAF. DAVISON ! ll!:lltlu?- ”|“.I“I Tl peiiicn, sen, fatipdng, the ] 11, T vate lesson Saturdays, $3 1 Clifford Brooke Academy of Stage Train- ing in the Dramatic Arts NEW DANCE DEPARTMENT For Children and Adults omplete Amateur and Professional Course in all types of dancing Bal -Tap—Acrobatio— 1000 Cona. Ave. N.W. National 8248 THAYER STUD You are taught individually learn how easy and simple it is master the most difficult ste Studios open until 10 p.m. LEROY H.THAYE 1215 Conn. Ave. 1 vate lessons by appt. Met. 1180, CATHERINE BALLE Introducing Her New Social Adult Dancing Instruction (COCKTAIL) Hour Saturday. 4 to 6 Ballroom _Instruction Class Tuesday. %:30 to 0:30 Private Lestons By Appointment For More Detalls Call POtomac 5338-J "EDWARD F. MILLER STUDIO 814 13th St. N.W. Na. 8093 1f_it_is_dance_we_teach it. o "brofessions s instructions Stage and r Lock Private an and children Boys’ Spins forming. in_ acrobatic, Rus Envoliment necessary’ $3.50 Month Connecticut Avenue N.W. 5360 and_Georsia 8116 ;‘X‘Xfi DR | & f% Canellis Dance Studios 607 15th St. N.W. DIst. 7089 Span llet, CLASS 50¢ en in ¥ e R pocial ‘Bates. to. Grouvs, Ta PER LESSON DANCE« LESSONS AT THE I0S COST LESS THAN YOU EXPECT by consclentious and sympathetic, tal- ented teachers who will make you a marvelous dancing partner. Visit the studio for a guest lesson and to s, R MEtropolitan 4121