Keith’s Horror Bill Charms Thrill-Seeking Throngs

‘Dracula’ and ‘Frankenstein’ Merge Into Program Full of Mystery, Murder and Madness

Bv JAY CARMODY. Stout fellows, Washingtonians. Dared, yes double-dared, to come to

Keith's for horror week, they turned out virtually en masse and unafraid yesterday for the opening of "Dracula” and “Frankenstein.” In an atmos- phere of murder and madness, vampires and monsters, they remained calm and entertained, like people who had lived through Orson Welles and had

s learned that terror was just art for art’s sake. “Dracula” and “Frankenstein” are a pair of fine pictures for proving

that the movies can be more fanciful than any other entertainment me-

dium. Between them there are few corners of evil, black magic, or

whatever one prefers to call it into which the camera has not poked its nose in a hunt for thrills. Deadly monsters in the shape of men, and men in the shape of bats, move

mistily and murderously across the screen in Carl Laemmle's two shock- ers from the archives of Universal Pictures. But they are always more

fun than frightening, although this Is being written before this depart- ment has had a chance to dream on

what it saw.

Although “Frankenstein” is the better-made picture, “Dracula” is our choice as the more fetching horror concoction. Vampires, al- though older in legend, have not been featured so frequently on the screen and the dirty deeds of Count Dracula have about them an evil zip that canont be matched by the mon-

strosities of Mary Wollstencroft Shelley's mechanical man. Where “Frankenstein” is pretty much a

matter of brute strength, “Dracula” has such fascinating features of elixirs, charms, men shaped as bats, wolf's bane and a number of similar items that fell longer ago into dis- repute. It is good—and creepy— to have them back again, especially with the evil eyes of Bela Lugosi to give them murderous meaning.

“Frankenstein" seems far the more

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modern of the two pictures, maybe because its players are better known. Topping them is the late Colin Clive as the half-mad medical student whose obsession with the creation of life results in the pro- duction of Boris Karloff in his most menacing roife. An additional chill or two comes from the fact that Mr. Clive should be playing the character engaged in such nefarious work.

Producer Carl Laemmle and Di- rector James Whale have adhered closely to Mrs. Shelley’s frightening fancy, the one she wrote to prove to her husband that she could create something more terrifying than he could write. It is the story of a

laboratory produced monster who made with a criminal's brain, rav-

ages the community, turns upon his creator, and lives in a few brief weeks a life that represents a maxi- mum of destructiveness and horror.

At the risk of sounding old»fogey, or of revealing an appalling ignor- ance of yesterday's discoveries in child psychology, one might cal- culate that the current Keith bill is not for kiddies. It deals with creeps and chills with more realism than in a Roadside melodrama and can be a lot of fun for such as

like that sort of thing. In view of the bill's attractiveness elsewhere and the throng at yesterday’s sec-

ond show, one might guess there are a lot of people who do like their horror straight. Putting the two

pictures together is one of the bits of legerdemain from which cur- rent show business should reap a handsome reward.

If you have been wondering where you saw before that young man sing- ing at the Shoreham, it probably was “The Show Is On,” which Beatrice Lillie. Bert Lahr and lots of others did here last season. His name is Dick Satterfield and he was

the young man who introduced “Little Old Lady” and several other songs. The “Little Old Lady” num-

ber, you will remember, was the one

in which Mr. Satterfield had the as-

sistance of Mitzi Mayfair, and vice versa. Some of the other numbers of the same show found Mr. Satter- field harmonizing with Washing- ton's own Grade Barrie, which re-

minds us to ask Harry Anger why she is not brought back to the Earle some day.

# * * *

Something new in the way of en-

tertainment. the first annual hunt dinner, brought dozens of hand- somely dressed, ornamental people to the Raleigh's Pall Mall room last night. Tire customers ate venison, the waiters wore red coats, the room

was decorated in nice autumnal colors, and Mario di Polo played spirited music, including an ar-

rangement, very fine, of "It Never yas Anywhere You.” ... At Ward- man, later, Johnny Slaughter played still another arrangement, very fine, of the same thing Mr. Weill’s music is getting popular locally “September Song” is the next one

scheduled for a bigger play around town Loew's Capitol, which is getting to be the ballet center in

Washington, will bring Harriette Hoctor back on November 11 The gala doings at that theater tonight in connection with the premiere of Shirley Temple's new

picture, “Just Around the Corner,” will begin at 8:30 Many dis- tinguished people have been invited and said they would be there The picture, incidentally, represents Charles Farrell’s return to the American screen after a long ab- sence, during which he was making movies and playing tennis in Eng- land.

Howard Presenting Baron Lee’s Band

Baron Lee brings his orchestra to the Howard Theater stage today for its first American- engagement since completing a 14-week stay in Brazil. The bill also offers the Four Step-Brothers, dancers; Chuck and Chuckles, comedians; Ada Brown, blues singer, and Irene Court, interpreter of modern dance moods.

The screen attraction is “Devil's Party,” starring Victor McLaglen.

-•- --

Reception Planned For Albert Maltz

Contemporary stage will be host to Albert Maltz, dramatist and critic, at a reception tomorrow afternoon in the League of Ameri- can Pen Women Studio, Grafton Hotel. Mr. Maltz is to speak on

“Trends in Literature and the Thea- ter.”

Where and When

Current Theater Attractions and Time of Showing

National—“Yankee Fable,” a new

comedy with Ina Claire starred: 8:30 p.m.

Belasco—The National Opera Co. of New York in “Faust": 8:30 p.m.

Keith’s—“Dracula" and “Frank- enstein,” revival of the horror epics starring Lugosi and Karloff: 11:15 a.m., 1:50, 4:25, 7 and 9:35 p.m.

Capitol—“Just Around the Cor- ner,” Shirley Temple is Prosperity's ally: 11:10 am.. 1:55, 4:40, 7:25 and 10:05 p.m. Stage shows: 12:55, 3:40, 6:25 and 9:05 pm. __Earle—“Men With Wings,” an aviation cavalcade, filmed in Tech- nicolor: 11 a.m., 1:40, 4:25, 7:05 and 9:50 pm. Stage shows: 12:55, 3:35, 6:20 and 9:05 p.m.

Columbia—“Too Hot to Handle,” Gable and Loy find thrills in the newsreel business: 11:40, 2:10, 4:45, 7:15 and 9:45 p.m.

Palace—“Suez,” Tyrone Power as De Lesseps, canal builder: 11:10 a.m., 1:45, 4:20, 6:55 and 9:30 p.m.

Metropolitan—“Touchdown Army.f West Point life and the annual gridiron classic: 11 am., 1:10, 3:20, 5:30, 7:40 and 9:50 pm.

Little—“The Ghost Goes West,” revival of one of the top British cinema comedies: 11:15 am., 1, 2:45, 4:25, 6:10, 7:58 and 9:40 pm.

Their Inspiration

When the gridiron stalwarts of West Point take the field against Navy in “Touchdown Army,” now on the Metropolitan screen, they are spurred to daring exploits by Mary Carlisle. One of the blond young lady’s latest portraits is presented here.

‘La Traviata’ Well Merits

Applause Jan Peerce Stars; Miss Davenport’s Voice Pleasing

The keynote of the reaction to last night's performance of Verdi's “La Traviata” at the Belaseo Theater was that of approval. The large audience, which filled all the available seats, took every oppor- tunity to applaud at length indi- vidual arias of the three principals —Janice Davenport as Violetta, Jan Peerce, the Alfredo, and An- thony Meli as Germont—and also the ensembles of groups with or without the chorus.

The unsophisticated and girlish appearance of Miss Davenport was a decided departure from tJne cus-

tomary impersonation of fie title role by more mature looking singers. Her voice, fresh and unspoiled but thin at times, has the pleasing qual- ity of youth and her style shows good coaching in the best of op- eratic traditions. Her coloratura is flowing and her emission effortless. Effective were her long fermati on E flat, above high C, in “Ah. fors'e lui.” held over and above the al- lotted time, made possible by a good breath control evidenced also in long sustained passages throughout the score.

While all three principals had an almost equal share of success, Mr. Peerce was unquestionably the star of the evening, his stage presence, his singing and acting being those of a more experienced artist.

Endowed with a silvery tenor voice, brilliant and lyric at com-

mand, well placed, even throughout and flexible. Mr. Peerce uses it with care and discretion. His principal aria, “Lungi da lei,’’ in the begin- ning of the second act, scored him a well-deserved ovation. His acting was well suited to his role, and his economy of gesture was in keeping with it.

The portrayal of Germont, Al- fredo's father, by Mr. Meli. was

adequate and contributed to the ensemble. While Mr. Meli does not possess the vocal command of his two partners and his voice lacks steadiness, he rose to considerable heights in his concluding aria, “Di Provenza.’’ in the second act.

Rose a'Amato in her dual role of Flora and Annina, made a good impression. Less can be said of Bernard Poland as Gaston, Raoul

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Carrere as Baron Douphol and Myron Ehrlich as Marquis D'Obigny.

The performance was a spirited one with the chorus adding to the enjoyment and the success of the performance. Tomorrow night “Faust" will be given with Ruth Altman, Patrick Henry, Norman Rolland. Anthony Meli and Louise Bernhard. —E. de S.

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NATIONAL SYMPHONY HANS KINDLER, Conductor

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Oberon’s First Royal Role Is ‘Elizabeth of Austria’

Merle Looks Forward to Starring In Alexander Korda Production; Nancy Carroll Wants a Job

By SHEILAH GRAHAM. HOLLYWOOD.

Merle Oberon, who is a bit on the social side, gets a longed-for chance to play at royalty in her next picture for Alexander Korda. Merle appears in the title role of “Elizabeth of Austria.” Nancy Carroll tells me to tell the producers for her, “I don’t mind what type of parts I play—just so I’m working.” Jean Arthur’s favorite food—ice cream cones

Hedy Lamarr, who is publicized as Garbo’s successor, is certainly more beautiful than Greta, but her actings Is not half as good—to put It mildly

Errol Flynn and Lili Damita both have the number 82 in their car li- censes.

Luise Rainer is easier to work with since her separation from Clifford Odets. (At least that is what her lead- ing men say.) .. Carole Lom- bard’s f a v orite method of trans- portation is the black-a n d-gray motor scooter Sheilah Graham.

given her by Clark Gable. (Doesn’t this couple have fun?) Rosalind Russell states that the two things that surprised her most about Eng- land, were the overpowering ap- plause in the theaters and the lack of applause or emotion at the race

tracks Joan Davis is considering a strike agafnst her leading men. ‘‘I want to play opposite a good-looking guy,” she moans—and rightly.

* * * *

A note for husbands. Bing Crosby telephones his wife every noon when he is working Least conspicuous of the famous authors in Hollywood is Aldous Huxley, who is short- sighted, nervous and prefers anonym- ity ... I often have been told that the success of Wayne Morris has gone to his head, but this does not seem to jibe with an episode I wit-

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into the mood with husband Tony ! Martin's recordings. Joan Crawford prefers classical music. Norma Shearer, symphonic compositions. And Marion Davies employs—or, rather, employed—a seven-piece orchestra.

Eleanor Powell’s mamma Is always on the set when her daughter is working, but she has now changed her tactics—i. e., does not offer unasked advice. (The old-time movie mother is a nuisance of the past.) Seven years ago, Gene- vieve Tobin was instrumental in getting George Cukor a job in Hol- lywood. He recently repaid his debt by hiring her for a good-sized part in “ZaZa,”

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ROBERT DONAT in “THE GHOST GOES WEST.”

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“Safety in Numbers,” _THE JONES FAMILY.

STATE-BETHESDA Bet head a* Md*' At 6 and 8:40 PM—CHARLES ST ARRET r. “LAW OF THE PLAINS.”

At 7 and 0:40 P.M—JANE WITHERS la “KEEP SMILING.”