Some Bright New Stars Shine in Cineama Skies

They Join Loretta Young and Dick Powell in Contest for Local Popularity—A List

of “Hopes” for the Future.

BY E. de S. MELCHER.

LOUISE BEAVER. Joe Penner, Francis Lederer, Loretta Young

and Dick Powell are momentarily the town favorites. Such a list, back a year, would have scarcely raised an eyebrow. Yet at this very second theater patrons are anxiously dishing

out their ducats to see this assortment of celebrities—and if you don’t know who Louise Beaver is, you’d better go to Keith’s and learn—she being the star of a picture in which Claudette Colbert ic tVio ctor_ onH icrVt

The screen's backdrop being thus illuminated with talented screen play- ers whom you may or may not know, it may not be amiss to remind you what has happened during the past season and why this list seems slightly cockeyed. Louise Beaver, for instance, a few months ago, was merely a husky, dusky maid of all work, featured In any film which needed a coal-black charmer in the pantry or kitchen. Joe Peruter was wrestling with his "duck” propaganda on vaudeville stages and over a vastly appreciative "air” Francis Lederer was playing "Autumn Crocus” to pleasantly surprised San Francisco I audiences. Loretta Young had skipped ! away from Warner Bros, and was \ awaiting a new career as a tree-lance player And Dick Powell was wishing :

that they would let him act as well as sing—something which the Warner Bros, allow him to do in "Flirtation Walk."

The signs for these players being all for the better, it seems logical to sup- pose that others will have a prosperous new season. Thus we hope tor some-

thing better than "The Painted Veil” for Garbo—something M-G-M ap- parently has if it does right by "Anna Karenina." We hope that Katherine Hepburn will knock them for a row in "The Little Minister"—a deed which should calm those Barrie fanatics who have already begun to write in and say that Miss Hepburn cannot possibly do the "Minister” justice.

We hope that the R-K-O color production of "Becky Sharp" (which Dickens did not write) will make all other studios experiment with color until they have a process that is right. We hope that Alice Brady will be given the role she deserves, and that Jean Harlow will no longer be banned from England. We hope that the public will not allow Bebe Daniels and Ben Lyon to slip from under their noses, and that "Ro- berta” will be as good as "The Gav Divorcee," thus putting Fred Astaire j in the winner class. We hope that Norma Shearer will stop breathing so loudly in all her pictures, and that some one will come along and throw Katharine Cornell in a film production of her Broadway venture of "Romeo and Juliet.” We hope that Rochelle Hudson (now in "Imi- tation of Life”) will be given a further opportunity to prove that she is a young actress who has great possibilities, and that more people will go and see Tarzan.

We hope that the Lunts will do another film and that Noel Coward ; will write it. We hope that the

1

Marx brothers will stop hiding away in Manhattan and will continue to be as crazy as they always have been and are. We hope that Paul Muni i will crash through with a really great film, something which he hasn't been allowed to do since he immortalized that chain-gang saga, and that Bar- bara Stanwyck will not try to do another "Lost Lady.”

We hope that Bob Montgomery will find another "Hideout" and when he does that he sees to it that it gets a better name. We hope that Ketti Gallian will not play again in "Marie Gallante” and that Tallulah Bankhead will return to the. films in something that doesn't smack of an infirmary. We hope that Jesse Lasky makes enough money so he can lose some of it on another production, such as "Zoo in Budapest,” and that Director Van Dyke isn't having too much of a head- ache with censor trouble in his "For- saking All Others." We hope that Joan Crawford will not do another "Chained,” and that Una Merkel will one of these days be starred in her own right.

We hope that only a very few people see "Student Tour” and that M.-G.-M. films a "musical” which is really worthy of M.-G.-M. We hope that Johnny Arledge gets another role as

‘good as the one he has in "Flirtation Walk," and that Mae West will not do another "Belle of the Nineties.” We hope that Marion Davies does a version of “The Barretts of Wimpole Street” just to get it out of her system, and that Busby Berkeley arranges a dance

JL ...- I

in which there are only two dancers. We hope great things for Herr Lederer, Madge Evans, Gary Cooper, John Boles, Irene Dunne, Donald Woods, Bette Davis, Frances Fuller, a young lady called Mary (Warner Bros.) Fuller, and Maxine Doyle.

In other word6—we hope. * * * *

T OCAL “hopes”: That the Drama Guild will

come out of that meeting tonight with flags flying.

That the Columbia (the rest of this we may not print without getting a

ducking from Carter Barron). That Irene (Fox) Weber sails

through the new year in a blaze of purple (she thought we were going to say “green”).

That Keith's has more “fronts” like the one it had for "Anne of Green Gables.”

That all ushers in town are as courteous as the ones at Loew s Fox.

That when Estelle Taylor arrives here next week we can have another lunch with her at that corner drug store.

That Audrey Sieber, now in her sixtieth week at the Earle, gets that screen contract she deserves.

That the Arts Club's most talented player. Ann Ives, lands with a bang in Hollywood.

That Addie Hibbard's imminent venture at the Clifford Brooke School will please her so that she never lets go of Washington.

COMEDY PERFORMED BY CUE AND CURTAIN CLUB

George Washington University Group Handles Kelly Play

in Splendid Manner.

The walls of the Wardman Park Theater probably are still trembling a

little from the roars of laughter which shook them last night during the two or two-and-a-half hours the players of the Cue and Curtain Club of George Washington University were on the stage in their interpretation of George Kelly's "The Torchbearers.”

It is said that Mr. Kelly wrote his play by taking a vaudeville sketch and putting a first act on one end and a third act on the other, but however he did it he succeeded in packing an eve- ning with just about as many laughs as it is possible to crowd into an eve-

ning. He pokes fun at the “Little Theater” and amateur dramatics with a mad farce almost totally lacking in plot but amply supplied with lines that cause the sort of guffaws which start down inside of you somewhere and end up by bouncing back and forth from one wall of the theater to the other. Last night’s production was a triumph for the players and for Anton Hardt’s direction.

Verna Volz, in the leading feminine role, turned in a stellar performance as the wife who thought she was go- ing to be a great actress. Maxine Kahn, as Mrs. J. Duro Pampinelli, the ultra-emotional director, and

Norma Mickelaon, as the flutter? widow, are also deserving of bouquets for stellar work. The others, Mar- guerite Demeritt, Amanda Chittum, Susan Slater, Machin Gardner, Ham- ilton Colt, Deane Bryant, Frederick Stevenson, Berry Simpson, Hamilton Colt and Harold Mullln performed Just as well. Every role In the play was given a smoothly turned char- I acterization.

Settings, designed by Katherine Cut- ler and executed by Karl Gay. were

well-nigh perfect. ‘‘The Torchbear- ers,” as done by the Cue and Curtain Club, is well worth seeing at the re-

peat performance tonight at 8 o’clock at the Wardman Park Theater.

H. M.

Stars of New Keith’s Film

Warren William and Claudette Colbert, the chief players in Fannie Hurst’s “Imitation of Life," which is having a successful run at R-K-O Keith’s.

Troupers .Glimpses of Stage Folk

in Washington.

CERDE GROFE and Paul Whiteman 1 Joined forces shortly after the close of the war, when Whiteman was

directing a small dance band on the West Coast and Grofe held a job as

pianist in the Los Angeles symphonic unit. Grofe continued to do double duty for some time after the begin- ning of his association with White- man, talcing off an evening now and then to play Hayden or Beethoven down town, while the portly Paul fretted, fumed and dug up another jazz pianist for the night.

Whiteman was and Is a talented showman, a man of sound concert Ideas and good musical taste, but he never possessed any vast technical knowledge of music. Consequently he regarded Grofe as a treasure when he discovered the rotund, kindly little man could handle a Jazz orchestration with the sure skill of Bach arranging a fugue, and a certain proportion of the knowledge, Grofe became his ar-

ranger, and Immediately set to work to build new and broader effects around the popular melodies of the day. He found the music house scores thin and almost purely melodic. For these he substituted his own Ideas, writing for the wind, string and rhythm section as

If he were arranging a choral number with quartet, parts.

Art Hickman had been a pioneer in the addition of ballasi to flimsy jazz. Whiteman's band, playing the full- bodied interpretations by Grofe, swept

to the fore In one bound, coming east

In 1920 with some pieces which at

once established the band nationally. Within a few years anybody who did not know “Whispering" and “Lime- house Blues” by heart, at least knew Whiteman by name.

Grofe continued to be the orches- tra’s sole arranger until a flood of new music, new wigagements, Vic- trola recordings and other insistent

1 demands necessitated the hiring of some assistants. These men later did individual work of their own, specializing in certain types of tunes, and since Grofe left Whiteman they have carried on the whole Job.

Meanwhile, the round and smiling young man from California was

tempted to try his wings as a com-

poser. He had applied symphonic treatment to such modern composi- tions as seemed to him potentially suitable, and in so doing skilled his hand in a new craft. He was like an

artisan who works for years fashion- ing fine wood for others and sud-

denly has a desire to make a bed and bureau for himself.

Broadway was a new and therefore exciting street for Grofe. With

Whiteman he found himself suddenly a prospector along the imitation Grand Canyon. He wrote “Broadway at Night," a piece never published ex-

cept for use by the Whiteman band. Grofe found musical expression

satisfying. He became more and more engrossed In the problem of evolving a language to tell of Amer- ica, in terms of its jazz, its legend and colloquialism, the Inherent and symphonic dignity in Its life.

The result was “Mississippi Suite,” which treats of the Father of the Waters from its source in the Minne- haha country down through the mid- dle South into New Orleans, the Creole country, the land of the Mardi- Gras. Next he experimented with “Grand Canyon Suite,” a composition detailing the austere magnificence, the blustering violence and celestial calm of nature in the marvel of the West.

Each movement of a Qrofe opus tells some little story or paints a scene. He prefers the narrative form because it is alive and full of movement. For example the “On Trail'’ movement from "Grand Canyon Suite” which he plays at Loew’s Fox this week simply describes a trek down a canyon trail on burro back. The burros bray. A cowboy sings a plaintive, aimless melody. The travelers pause for a moment at a little tavern. A music box tinkles. The caravan moves on.

Technically the most perfect and to us by far the most interesting of Grofe's works is “Tabloid.” a drama in which horns, violins, cellos and drums tell the story of the newspaper, the picture of life as reporters see it— crime, gilded weddings, yacht races and the tenements of desperation. Not long ago the composer himself directed an 85-piece orchestra in the perform- ance of this one at the Radio City Music Hall. By use of the revolving stage, the play was enacted in panto- mime as the orchestra played.

R. B. P.. Jr.

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