PART 7-PA -E

teInd BittStage rifle

Is MellowinLiterary Pie c e RevealsThat George Jean IsAllfor Cornell-A Im0 st.

By Burns Mantle.EW YORK.- [Special.] -Theseason dawdles toward anopening. It is lucky for theproducers that it does. The

'" I' a the I' turned midsummerishagain this week, and if there hadbeen the usual supply of Labor dayopenings there would have beenIit.tle trade to support them. As ithappens the second week of Sep-tember promises to provide the realopening of the new theater year.FIe plays and a revival arescheduled.Meantime the theater -minded

public, or that portion of it thatreads literature on the theater, hasbeen going back through last sea-son with George Jean Nathan in acollection of critical observationsentitled "The Theater of the Mo-ment," just published by Knopf,and a second collection of amusingobservations by Cornelia Otis Skin-ner, called "Excuse It, Please,"issued this week by Dodd, Mead &Co.Nathan grows mellower as he

grows older. There are a fairishnumber of things nowadays ofwhich he approves-usually withan apology, always with an explana-tion that, to him, still leaves theNathan ego rampant if not domi-nant. But this new graceful accept-ance is one that a younger Nathanpooh-poohed and pish-tushed as in-fantile and weak. He even has be-come a defender of the legitimatetheater as it is, not as he would 1'1"

mold it.

Likes the Theater Betterthan Any Number of Things."When all is said and done, there

is something about the theater thatall the moving pictures, radios,phonographs, automobiles, restau-r ant s -with-entertainment, dancehalls, free band concerts, and sea-sonal al fresco amorous impulses inthe world cannot kill," writesGeorge in a foreword glowing withoptimism."It is the gilded, and sometimes

golden, toy of the arts, and it hasbeen that for centuries on end. Ithas behind it tradition . . . andeach year, whether it is healthy orwhether it is ailing, it manages torecapture and to offer at least asnatch of its old glory." • . .Nathan finds evidence that the

literary drama is returning and, asothers have done before him, thanksthe movies for that. "The motionpicture, by ridding the theater ofits demi·emotional and demi-intelli-gent audiences, has created a resid-ual audience that, both emotion·ally and intellectually, is more orless a unit and that, unlike theformer miscellaneous audience, maybe approached by a producer uponrecognizable and at least partly an-ticipated and understood terms.This is his explanation.

O'Neill and Cornell AreAmong Few He Recognizes.He named Eugene O'Neill, Max-

well Anderson, and S. N, Behrmanas the three American dramatistsat present leading the procession.He selects Katharine Cornell, HelenHayes, Lynn Fontanne, and InaClail'e as the leading American8C'11'E'sses, If he were forced toH'Ime one of the four as the til'Stlady of the thpaipr hI' would, alittle l'eluctanlly, accept Miss Cor'nell. thus:"Miss Cornell has a swpep and

lUner something. ,for whichMiss Hayes seems at times to haveto struggle. Miss Hayes, on theother hand, has a vocal trickery,most cajoling, for which Miss Cor-nell in turn, on the other hand,often has to struggle. Miss Hayesseldom has given a distinctly infe-rior performance; Miss Cornell onoccasion has. Miss Cornell has anatural stage presence that MissHayes must create by artifice. ThatMiss Hayes is able to create it isdoubtless further to her actingcredit. . . _ However, taking ourarbitrary and questionable premiseas we find it, it remains a toss-upbetween Miss Cornell and MissHayes, with the favor, at the mo-

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PU Lie PEAKI GE FEeT E ISHANISH. FRENCH.

G ERM A N, I TAL I A Nhl titute of Modern Languages I%0 E. Jackson Blvd. Har. 825fl

oatw

A C'A' I

WALNUTROOM

Sha!ita and Carlton,t e '" m of ballroomdancers now in theBismarck hotel, havehad an internationalcareer. They came toChicago after a tour

of the orient.[Maur,ce Seymour Pnotc.]

ment, just a shade Miss Cornell's."This because of the greater varietyof Miss Cornell's r6les .•.•There are touches of the old Na-

than that are more stimulating. Hegives you a view of the currentBroadway, for example, that is dev-astating. A worm's eye view it is,and exaggerated, but vastly illum-inating. "Fiction and legend, work-ing their wicked will upon thoseinnocents, listing in the fartherreaches of the land," writes George,••have converted what is one of theugliest, cheapest, and most thor-oughly unromantic streets in thewhole world into a de luxe avenueof fairyland."

8 messy, overpraised, I' aggerated,small town affair. But the Nathanaccount is eloquent in its expres-sion of disgust.It is in this same chapter, too,

that he pays his respects to thefirst night portion of that superioraudience when he says the legiti-mate theater is building for itself."The present Broadway first nightaudiences continue to resemble inthe aggregate nothing quite so muchas' a zoo, minus only the peanutsand a small measure of the smell,"asserts George. "These audiencesdo not go to determine what effeci,a play has on them, but to deter.mine what effect they have on theplay, and to demonstrate it in sucha loud, vulgar, and generally offen-slve manner that the more sensitivellnd intelligent ushers promptly can.sider throwing up their ignominiousjobs and entering the somewhatmore delicate and less self-insult.ing profession of sewer repairing."

Calls First Night Audiencea Gathering of Half-Wits.You who have wished so long-

ingly to be a part of that glamorousfirst night mob may reasonably

rest a little more contentedly Inyour homes after reading that. Butif you are still intrigued by thethought of sitting with these gath-erings [and they really are worsethrough the early season], considerMr. Nathan's further estimate ofsuch an audience. "Its taste is thetaste of half-wits, its manners arethe manners of bounders, its inter-ligence is the intelligence of shoeclerks, and its smell, despite all itsexpensive perfumes of Arabia, isthe smell of dead and dying brains,"The old Nathan as you may see iss Lill on calLI would commend also to any

reader's attention a subdivision ofthe chapter on " Playwrights,"whJch Mr. Nathan devotes to theyoung propagandists, the youthfulradicals who seek to overthrow theAnglicized theater of the capitalists,and to substitute a theater of lifeand of living problems." Little Red Writing Hoods,"

George calls them .•• They seem atthe moment unable to make uptheir minds whether it is better forthem to go to Moscow, serve Stalin,make $15 a week and freeze todeath, or go to Hollywood, serve

Proves Times Square Isn'tWhat If- Is Played Up io Be.He then proceeds to take his

reader by the hand and escort himon a tour of Times square, shopby shop, window by window, pastall the cheap, grimy, second-rateexhibits that make up the marketplace that is the fabled" crossroadsof the world," and reveals it forwhat it has become.He could do the same, if hI' were

so moved, for the boulevards ofParis, or the Main streets of anysizable city in the world. And whenhe speaks of the old Broadway asa sweeter and better place to strollin than this new collection of flashyshops and hanky-tanks, he is forget-ting just how messy the old Broad-way was. Even without the huck-ster pushcart, and Coney Islandbarker atmosphere southern Euro-1)<''111AmeriC'ans brought to it, it was

j"ncln' lit

the D'O~ Jy

Met a rase ~:)vJ a "eet> ,'1'1 1l~~J{

Iii tn \\ C4l.ln Sin .•.

F,'ld- d~' S GnJ t Gl':eJiiyVvt;;,O' rdJ cf ,,/""i1-j,.r s,

L1? DJi..tS sncn eh..:Cp,t.l.l .ll~n 11JIS

as; h"h. 1-.1(.. ':':l ••1 I a: -,in f'ald d

tV1.1, ~"'\I)111,1 hnllZ, .rr.un ,\'e:\lArbcrt Et.~... J-'.•.JDPrt lU.dtZ, aud 11IE"

l,'l\:,....• s.~] Jar a.i.l .1-.:=1 EUj, H i.o il~fe

\;tHI.:.n most cf t ne plupagO'u~ •.Ot3{11(iS 1.ln~ed wu h Ie\.! lor G1ll~U,':"

r a.Ircal ~l.j\l\ cll-;,g gll.>'llJ~1 scru to

!j(Jlh \\ iH,,({ or' ~....~ll.ng rie lp t l"ull)t i.e ca!,.b1.~lic ,I,ggE'll1eir.l Fou n-dar.on l:le catches .ne socialtst uji;Jmer Rice bt' ••," C,1112d to a countby the governn.e n t 10' a shor t pay-ment on lin income of $151,000 a)ear. H,,, ex!,o.,l\i~~ !>,e ,<lIIH",,:;and reveaung,George .reau Nat nan ts a b ril t la u t

analyst of lhe theater. F'or 1I111'l,yyears 01' more he has sat, a \ Igilun L

if embitlered watchman, in his ownGotham towel' observinz the lifeand people of New York, theat r-icalNew York in particular, and hatingmost of what he has observed, Hebelieves thoroughly in the efficacyof so-called destructive cri ticis m. 11.is, he reasons, the only crit icismthat makes its targets mad enoughto stir them to reformative action,He is not always fan', nor in-

clined to be. I never have caughthim in a deliberately dishoneststatement, but I often have caughthim indulging his prerogative ofpersonal conviction, to me a dishon-est gesture, He can be cruelly un-Lair to an actor or actress to whomhe has taken a dislike, Many ofthem h" has read out of the the-ater. But curiously they continueto return and not infrequently tolive and prosper to the confusion ofthe Nathan judgment. .•.

Book of Unaeted Monolo9s15 Entertaining Collection.The Cornelia Otis Skinner book,

"Excuse It, Please," is made up ofa variety of what might be de-scribed as unacted monologs. MissSkinner, a credit to the stage fam-ily lineage she represents, has agift for wri1ing as well as charac-terizaLion. Having made a successof those mono-dramas with whichshe has toured the coun trv, shefinds time hanging a bit heavily onher hands during the tours hersuccess has dictated. Therefore shefills in the extra time writing newmonologs, Those that please herparticularly she adds to her spokenrepertory. Those that do not fitthe demands of the stage quite socompletely she allows to collect inher desk, I assume, until she hasenough to make a book."Excuse It, Please,' is such a

collection. Between these coversyou will find Miss Skinner's originaland amusing reactions to variousadventures, including dancing andskaling, horseback riding and t.ele-phoning. They provide good lightreading, parLlcularIy for the Corne-lia Otis Skinner public, which .sgrowing apace, or, perhaps, evenfaster.

v1

One thing about redAst",r - h , I «: S

comes up srnilinq,Mayb it' be: lie

h I.islI"lIy draws Giger 09'"( for~ reen partner.you know. prob bly,th two re now dp'pearing in "SwingTime," which is in itsthird week at the

Palace.

\ I' I lJ

Ii lui hllt

ti.e I I't IIIell I Ie Up III COIIIpa n..

•• ~O PI ourl l '\ e Hail" Opensfit< d/l~ a t tile 4filh St •.•'el, A playwrt h a elllllg ill R bovs' miu ta ryar-ademv. b,l Jo eph .1. 'Iellpl,w it h rl «ha rd l'tOJll\l 11, EdwinPhilips, .Ioh n Call. Jean Rouve rot,Cnar las Din 'II', Ed\ arrt Andre -s,Ethel .Iark on, (,ordon Nelson, andVe ruou Crane.

"A, Yon \~. re " Opens \"pdnp.-da a t Ihe 48th Sltep!. Anot hs-rrn ih ta ry sc-hool p.a: b .Ienrv R.Ii roc', 'J he cornpanv includ s

heorge Mak i 'on, Charles DlllH'811,FI'Podie St a ng e, Jame Spotr.sw ond,:Erirlie \ 'taage, Eddie lVUJ, and F'lo-reru-e Sunrist rnm.

Y01t want the be t job. with the': biggest "future" andthe 1110st pay that you t:~u get, don't you? . : '. nd111 the shor-test timel That mean IlL secretar-ial job--one of the best that business ha to offer young menann women today, [t's a Job that puts )'OU ne: t t~ bi~executives and the things they do-c-open- exceptionalopporf tmity doors on cvcvv e;;,id(' nnd pavs well. I'ort he quick, right f;t::t.l"t to a real career in business, Doth.ini compare! with itl

To Direct Frenclt Opera ..Paul Longone, genel'lll manrtgpr

or Ihe Chir-azo Ci t y Opl'ril «om-pAny, annou nr-es t hat LOllis l Ias-sp!nl'lIlS has been engaged Jot' t hecornlng season to direct Fre nrhoperas. The Fl'elleh repert.oue 'IIIInclude (j Lou is e," h L a k me,"~I Thais," If Car m e n," II Manon,"H Mig non,' "Let Ju ive," II Faust,"and "S~m~on and DelilRh,"

Cornell Premiere.Kal harine CorneJI \II tagp Max-pJI Ander Oil'S "The Winglp~,,!

Viet ory" in the • ational theaterIn Wash ing ion D. C, on Tuesdayni hi, ·OV. 24, after which hep la ns 10 pt ent the play in PillS-burgh, Bu fa 0, Cle 'elane!. and ne-11011. 'I hI' • 'ew "ork premiere itic'hpdllipo 101 Ch ri ImRS week.

ChicagoPlaybill

Opm\ING:{I Blossom 'l'inlc," ope ret ta, GrandOpera House, opened last night.

H 'J'h~ .•·i~ht of ,]nn. 16," drama,Selwyn IhPRle,', opens tonight.

(~f) I'iTIN I' KU:II JleC'rI ll;lld." elrama, sta~ed h~NOJ'mRnBel Gpddes, Studebakertheater: second week.

u Bro keu Dishes," cornedv "j1 hOscar O'Shea; American Repertory company [W PA I ; Rlack-stone theater; fiftcenth week.

o Tht' Old J\Jai«I," drarna, Chir-agn(~tOUp t heat.er [lllh Street ] :fourleenth week,

,. 1"';ole A Pln,'ghed 1 nrte>." VI P ~t·Lh·ing- Newspaper" s h n \Ch'i" thea ter: fifth '.Iepk, ll,:.lO,9: 10 p. m., except Mondays.

,,,,·;r';h.LY ellA -li.FJS:Chlcago theatr-r: Clnerna a nd sta aeshow, .' September Varieties"revue,

Pal"ee iIlpa!e,': Cinema and stageshow; "Shooling High ,. revue,

State-Lake t heater: Cinema andstage show; "All Girl" revue,

Orrental theater: Cinema and stazeshow, Bouche's \'illa Venicerevue.

Film Stars' Hopes..loan Crawford and Franchot TOil

Hollvwood star: will appeal' on theslage ne I year, either in England01' in a stock company at Maple-WOCln, ',H. Mis: Cl'awfor'n hasf h,'pe mnr» film, to do before sheis ["ee ror t h is experime nt,

"Green Pa tures" Author.111"(' Con ne llv i~ going to London

to br--ome ll. t beat rh-at manager.HI' will st a r: 'ittl" Till the CowsCorne j lome." h> Geoffrey Kerr,'.\ ilh L""'ip Bank .. A5 star.

••EDUCATIONAL~~~~ EDUCATIONAL

o which /te/p$ you win _ better job through'T'hp Stenotvne secured me entmrnr-di ate job arter '!l,!l vearof Idleness as au exprl'ieneedpencil ateucgranber .-:b'.H,·

* * * ::(In three yean the stenotvnehas carded me from JUUJ(lJ'Clerk. at a nominal satarv. toSecretarv to the sr-mo- Cht-cazo official of my crcat com-nanY.-M A. C,-

* * ))(*Seven months a Iter st at-rineStenotypy. J nassed the l!iOwords-a-minute t est. 'I'woweeks later I was eneaged bYa. nubltshtnc house, Within 8.

month I was ablf' to keen unwith ~ work schedule ecma} tothat of steno:rranhet'.!l. whohave been with tbr companyfour and five vears Lat~rwhen challze!"1 ('arne. 1 W;Il=>the onl:v :rirl retainf'd-and myRalarY wa~ raised.-L R.*

* * }/: *My emnloYcr~ often t'ollllllf'!nd

me UDOIl the speed RllU k('CU1'3C.V of my work.-A. N S.·

* * * }:~Without exccption m.v "m·nlo:rNR ha\'f~ be£'11 f'nthll:-ilP!'O-tic about tbe St('n{)t.vu{~,·.RA R'

* * * *Stenutyvy i~ Opelll11g' 110 n~wOlmortunitie~ tbat fouIIPr·r.v Jhad thnU/.!'ht imno~sJhk S:d('<"meetimre. executive I'epol'l~travplin~. ;tre a1l n<lI't, o( mv,w('retarial duHeR. 1\1Heh morelies ahead. H A V.·* :0;: * *

e-Iadly ~i H:D on re'

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You are al~o trfuned in bl1"mes~ English, secretaTl~1practice. typewritmg. cffice procedu:'c al~r1 persona vden lorment-then <lirled by our natton-wlde _place1ll~nt~en ice. Visit our fine quarters-modern office. eqU1~·ment throughout- and see for yourself how e<lsily t~I"new c;\'stem qu~lifi.("~ .vou for a preferreo secret analpositio~ or expclt rep01·tin~. Also g~t a }o'R~E d~mon.stratian of Stenotvpy, If yon can t come 111, !lImplyPhan the Dumber bpl1JWfor in(orma tion; write \15; orput YOUl· !lam •• And addrellljs ODmar,Jn of this adYerti~e.lDf'!nt and mail to Dept. T_

Hialio th~aler: Burlesque :Sl. Clair in .. ModesModels."

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"Lad~r "Precious St.ream.;" drama,Hart-Is theater', opens Sept. ~;first play of American Theatersociely season.

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• Sherwood gradllDte~ a,.t" Jeadf'rJ15I. all branches of Ml; SIC A DDH.Al\1A-radio. CODCt"'l't. movie.lhealf'r. leaching, etc. Oue hundredcapable instructor8 ~all help youdevelop YOUI' musical or dram.atj("talent. to pl'epat'e 1'01'a I'cmuncral ivecart"f'r. Fl'equent re(';laht .. COO('rrlli.plays. Sytnphooy orch{"slI'R. f'08em-bles, choru~ ••.~.. d,.:lma :zrOUJl8.

AUTUMN Cj)UARTER

Enroll nCH\. FnlIy a(,l~rcJjted C'mu' ~81(~ad 1.0 (' ••rt.ificales, tliplotnas Rnd d ,-~reef4 ill all in"truJuents, Compo8it;()fI.,Thf'ol·Y .. Voice .. Public School 1\lu8i(·.,Micl'ophone l'e(·hn.iql1t".. Oratnal'(·Art., Dancing. Student .l\itl •• ehol..,·-flhtl) opflorluni1 je~. \l rile or Vho.u·lhe Rt"t·.I'f'tltry for t·au.Jol!:".

SHERWOOD MUSIC CHOOLMusic and Dram••

410 S. Michigan Ave •• Harrison 6261

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IllSI-(. Wob"'l. Av",H lP

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