Evening star. [volume], September 22, 1946, Page C-6, Image 40

About Evening star. [volume] (Washington, D.C.) 1854-1972

Image provided by: Library of Congress, Washington, DC

                
Everybody Goes Insane
Most Sedate Characters No Longer Immune
in Movies’ Psychiatric Cycle
By Jay Carmody
For want of something handier to be nasty about, Hollywood’s
more relentless critics have been pummeling the place severely of late
for its obsession with psychiatric thrillers. It is obvious that these ob
jections are not entirely groundless. If the titles on movie marquees
' not such as to make midnight passersby whistle to keep their
courage up, then the strangle holds illustrated on the posters certainly
should. The race clearly is on between the studios to provide the most
convincing, and profitable, proof that the species is a phychopathic
mess.
It is quite possible that something should be done about it. at
least releasing the cinema's wide-eyed children from their obligation
to provide their especially eerie atmosphere to such drama.
Until something is done, however, the practice of amateur psy
chiatry by the movie studios can be light-heartedly defended on the
ground that it has broadened the moviegoers’ acquaintance with the
celluloid images of their fellow men and women.
Fascinating When Mad. .
Insanity is the great literary leveler, the ready device by which
the screen writer—or any other kind of writer—can lead his public
into any restricted zone in the whole social setup. Human beings who
In their normal habits and attitudes could not conceivably become
screen subjects, say, curators of museums or ghost authors of political
speeches, suddenly become no less than fascinating when the report
gets around that they are stark mad. The same is true of bankers,
people who live on Beacon street in Boston, philanthropists, and scores
of others whose existence was almost completely ignored until they were
invited into Hollywood's plushy snakepit.
mis process 01 widening ine moviegoers norizon Dy ninung to
him that the most scholarly, as well as the best, people are crazy is
most profitable (to Hollywood) when it is adapted to, say, Ingrid
Bergman and backgrounds natural to her.
Nevertheless, it works out interestingly in other respects also.
The authors of several recent movies, for instance, have unblush
lngly led their faithful followings into such fantastically cloistered
places as rare bookshops and art museums.
The maker of the rare-book picture was so carried away by his
own daring that his agents began a whispering campaign to the effect
that it was “the sleeper of the year.” Some critics, falling afoul of
these muttered words, and completely carried away by the notion of
a bookshop background, found themselves inclined to agree. The
more cautious among them looked at the picture judiciously. They sub
sequently agreed that it was quite a novel thing to see so many screen
* characters killing other screen characters for the sake of a pair of old'
Bibles. They did not think the picture, however, was the sleeper of the
year.
The New Is Appealing.
No normal human being can resist a feeling of satisfaction at the
sight of something new in movie locales and, of course, the humans who
occupy these strange premises.
It is this natural reaction that gives certain of Hollywood's prod
ucts more interest and attention than they actually merit.
There is no denying that this is the effect while looking upon
a current exhibit called “Crack-Up.” The villain of this composition is
a mad medical genius on the board of an art museum, a highly placed
human who is so carried away by his passion for two beautiful paint
ings that he counts murder a trivial misdemeanor.
He is quite a dramatic affirmation of the average man's feeling
In passing an art museum: “I'll bet some funny things go on in there,
If I only knew about them.”
The movies have taken the responsibility for seeing that he does j
know. Naturally, it would be painfully remiss of Hollywood to create ■
the impression that nothing else did go on in art museums, but until it j
does, it serves the purpose of pointing out that they are more lively J
than most citizens are accustomed to think.
Those Mad Ballet Folk.
A tendency to overwrite dramatically insane characters is bound
to be helpful in keeping these newly introduced characters and locales in 1
focus for those who go to the movies. That sort of overwriting is evident
in the contemporary Ben Hecht composition, “Specter of the Rose.” ;
Hecht, captivated by the Nijinsky legend, as who has not been, has writ- j
ten another tale of a mad male dancer. But, he has not been content to 1
rest his case as a screen author upon the paranoia of his leading male
character. The implication of “Specter of the Rose” is that every one is ;
insane in the ballet business, the degree and kind differing in the case
of each character.
It robs his picture of its intended dramatic effect. but that will do
nothing to deter the cinema in going on with its psychopathic cycle
even if it must include freckled young Butch Jenkins, who certainly
was a strange one in his last picture. “Boy's Ranch.”
Same Old Operetta Cliches
By Jock O'Brian
NEW YORK.
Edwin Lester turned an idea
which sounded fine on paper into a
sparkling operetta success when he
produced the excellent “'Song of
Norway,” ysing as a musical base
the compositions of Edvard Grieg
and adding lyrics and a libretto.
Last week he attempted to repeat
his earlier accomplishment by put
ting a lot of Victor Herbert music
together In a new book and lyrics,
calling the hybridization “Gypsy
Lady.” The result is a dullish af
fair.
Lester assigned Arthur Kay to
adapt the music from "The Fortune
Teller” and "The Serenade,” put
Robert Wright and George Forrest,
u’ho did a similar stint with "Song
of Norway,” to add lyrics, and
Henry Mvers, a sometime screen
■writer, to fashion a completely new
libretto.
About the only component which
comes out In decent style is the Vic
tor Herbert music which seems to
be indestructible. But the adaption
isn't anything approaching the
stature of the job Wright and For
rest accomplished with “Song of
Norway,” lacking a brisk fluidity
which keeps things moving along in
bright musical style. The various
Herbert tunes come out of this
melange in their naturally melodi
ous manner, notably "Gypsy Love
Song.” which incidentally retains
the original Harry B. Smith lyrics.
Tasteful Production.
Physically, the production is
tastefully arranged, with admirable
sets and costumes by Boris Aronson
and .Miles White. The dances are
good, and are executed in smart
fashion, and the choral groups do
nicely with their songs.
The story of "Gypsy Lady” is a
turgid mish-mash about a gypsy
girl who aspires to be a lady and
almost marries a marquis; but how
the producer could describe it as a
“new” book is quite beyond compre
hension. It contains one operetta
cliche after another and its at
tempt to lighten and modernize
old-style operetta books is as lum
bering a theatrical motion as has
been noted hereabouts since the old
Hippodrome housed the elephants
for “Jumbo.”
Pygmalion Twist.
Helena Bliss, who had a principal
part in “Song of Norway,” plays the
young gypsy girl who turns from a
larcenous young lass to a lady of
great beauty and social accomplish
ment in a slight switch on the old
Pygmalion saw. Her three swains of
the piece are John Tyers, George
Britton and Gilbert Russell, all of
whom find time to sing under her
balcony in good voice. Melville
Cooper, an operetta stalwart, plays
the expected low-comedy operetta
buffoon with which he has become
synonymous, in this case the king
of the gypsies to whom no one pays
much attention. Clarence Derwent.
Kay Connor, Jack Goode. Edmund
Dorsay, Val Valentinoff and the rest
of a large cast do what they can
with the heavy material.
Prom a purely musical standpoint,
“Gypsy Lady” sounds nice enough,
and if some one could invent a gad
get which would shut off all sound
as soon as the talk-talk-talk begins,
the evening would be pleasantly en
joyable. As it is, the music tilts
with a literary windmill, and I'm
afraid the production could only be
admired wholeheartedly by an un
regenerate Victor Herbert enthu
siast.
Coming Attractions
NATIONAL — “Come on Up,"
with Mae West, starting to
morrow night.
CAPITOL—“Young W i d o w,”
with Jane Russell, starting
Thursday.
COLUMBIA — “Monsier Beau
caire,” with Bob Hope, start
ing Thursday.
EARLE—"Two Guys From Mil
waukee," with Dennis Mor
gan, starting Thursdav.
KEITH’S—"The Killers,” with
Burt Lancaster and Albert
Dekker, starting Wednesday.
METROPOLITAN—“Of Human
Bondage,” with Paul Henreid,
starting Thursday.
PALACE—"Holiday in Mexico,”
with Walter Pidgeon and Jose
Iturbi.
PIX—“On Approval,” with Be
atrice Lillie, starting Tuesday.
CONSTITUTION HALL
CAPPEL CONCERT SERIES
PIVE GREAT ARTISTS
LILY PONS
BRAILOWSKY
TEMPLETON
FRANCESCATTI
putoir
DON COSSACK
CHORUS AND DANCERS
Srason TickcLs Now Available
SS. *6. $7. SR. S». $11 and *13.50
CAPPEL CONCERT BUREAU In
The Hecht Co.. Record Dept., RE. 350.1
NOW! WASHINGTON PREMIERE!
BEN HECHT’S
sftzjfa,
«• JUDITH ANDERSON • MICHAEL CHEKHOV
IVAN KIROV. VIOLA ESSEN • LIONEL STANDER
Mime* Sart-GEORGE ANTHEil • CIWMrtPt-TAMARA GEVA
NTOTCONBITIONWI
sl<HIPP0DR0ME
iustsozajEzra
GUESS WHAT SHE'S SAYING—It is, of course, Mae West at the
telephone, and the line she's saying must be that trade mark of
hers, “C'me up and see me sometime.’’ Miss West will be on the
local scene tomorrorv night and for the remainder of the week,
at the National Theater, in her neic comedy, titled oddly enough,
“Come on Up.’’
William Dozier: Happy Man
He Says It's Fine Being Wed to a Movie Star,
Especially When She’s Joan Fontaine
By Sheilah Graham
HOLLYWOOD. i
I’ve always wondered what it is :
like to be married to a movie star. :
So I had lunch with William Dozier, i
who is married to Joan Fontaine.
He says it's fine to be married to :
a movie star when the movie star i
is Joan Fontaine.
"It was only after we fell in love .
and decided to marry that we :
realized how much sense our mar- ;
riage made,” says Dozier, important
in his owtl right as vice president
and associate head of production
of the new Universal-International
Picture Co. "We are both in the
same business, but there is no con
flict. Joan asks for my advice
about her pictures and I can tell
her my problems and we both
understand what we are talking
about. It’s the ideal marriage.”
Neither Joan nor Bill has been
to England, although Joan was
born a British subject in Tokyo,
Japan. She had a difficult time be
coming an American subject at the
beginning of the war.
"We are planning to go to
Europe," says Dozier. “Joan will
star in a picture—Korda wants her
for ‘The King's General.’ But she
won’t go until we can go together
And that will be when I can super
vise a picture for Arthur Rank.”
A Gay Woman.
Joan and Bill were married May
2. 1946. The honeymoon started with
Bill accompanying Joan to Canada
for her location jaunt with Bing
Crosby in “The Emperor Waltz"
and continues in Hollywood on Sun-1
days, when the couple always give
their servants the day off so they;
can be alone. "After breakfast with
jjo one around,” says Bill, "we swim
in the pool.” Joan cooks the food
on Sunday. And Bill seems to sur
vive it.
It is very obvious that Joan is
happy in her new marriage. She
was married previously to Brian
i Aheme and in those days, she was
temperamental with the press and
difficult to work with. But now,
except for an ailment that makes
her put on weight and for which
. she takes shots, Joan is as gay as
a happy woman usually is and
popular with every one at the studio. ;
Joan and Bill own stock in the
new Universal-International and
they also have their own company,
Rampart Productions. Of course,
Joan will make pictures for both
LINDA VERRILL
in o concert of
Dances of
the Far East
Friday, Sept. 27, 8:30 p.m.
PIERCE HALL
16th and Harvard Sts. N.W.
Ticket* are on tale—Snow Concert
Bureau, I I OH G SI. N.W.—l.uther
Wcrki. 2010 S SI. N.W., and The
DmitreifT Studio of Music and Dance,
.5612 Connecticut Ave. N.W.
""MARIE
DOORS OPEN 1? 30 PH
EIRSI SHOW I PM.
dA<|| Myim Ivllft and Hmw
I ™ Far L»»« and LmII ...
'RlH&Ml'
A COlUMUA HCTUIE Starrm*
Ewtyn KEYES • WiHari PARKER
Larry PARKS - Eigar BUCHANAN
[WARNER BROS.Futurettr
l"ttn Of finrTtw"
■AMI DOORS OPEN 12 30 P.M.
fIRST SHOW 1 PM.
A Ntw KM tf Mardtf MytUryt
| P«t O’BRIEN - (lake TIEVO*
I Htrbcrt MARSHALL in R.KO.'s
"CRACK-UP*
tow*ll Ttwmai
■ompanies. She will be free of her
David Selznick contract after her
text picture for RKO, "Christabel
Daine,” and then she will be able
,o collect for herself the $150,000
ind $200,000 a picture she has been
;arning for Selznick.
•'Were looking for a movie to
;tar Joan with her sister, Olivia
De Havilland,” says Dozier. "They
ire very good friends now.’’
Only "A” Pictures.
That long-standing feud began
vhen so-called friends would tell
Joan what Olivia had said about
ter and tell Livvy what Joan had
aid about her. When they finally
;ot together and compared notes,
:hey realized they liked each other
zery much.
In addition to the sister picture
with Joan at Universal-Interna
tional, Olivia is starring for her
orother-in-law’s company in Sam
Wood's “Ivy.” Joan is starring for
Universal-International in “Written
an the Wind.” And Olivia or Ginger
Rogers probably will get the lead
in the MacKinlay Kantor story,
"Midnight Lace.”
It is interesting that these big
stars are working for Universal-In
ternational because before the
merger took place, as Dozier says,
‘It almost was getting to be a stigma
to make pictures at Universal be
lause they were making so many
B' pictures. The amalgamation
means that from now on every pic
ture is an ‘A’ product. Pictures
starring Universal stars like Deanna
Durbin, Maria Montez and Donald
O'Connor will be made with greater
ttare and they’ll have better writers
and better directors.”
Dozier is handsome enough to star
in pictures himself. I didn't ask
him how old he is, but it’s around
38 or 40. And he’s tall and dark.
He and Joan became acquainted
when he was production aide to the
late Charles Koerner at RKO. “But
I knew Joan casually for a year be
fore we really got to know each
other,” says Bill. That happened
when Joan was sick in a local hos
pitaly and Dozier called on her in
the line of duty. “You need some
one to take care of you,” he told
the then unhappy actress. She
agreed. And it looks like they are
going to live happily ever after.
(Released by North American Newspapei
Alliance, Inc.)
Not His Fault,
But Burt Is
A Film Star
By Harold Heffernan
HOLLYWOOD.
Hitting the jackpot with a single
picture is old stuff in movietown
and this year 1946 has seen more
than its share of boys and girls
suddenly catapulted to fame and
fortune. Today we have with us as
our hero, a one-start-star who can
look back on perhaps the most
! varied career of any actor in the
business.
He is Burt Lancaster, husky,
tousle-haired hero of “The Killers,’’
who came up to the big money from
| trapeze performer, ditch digger,
; floor walker in a ladies’ lingerie de
partment and singing waiter. And
j it was a chance meeting in an ele
vator with a stranger that led him
to the pot of gold.
Burt was brought West by Hal
Wallis to play the romantic lead
opposite Lizabeth Scott in "Desert
Town,’’ but before he could begin
it he was handed the plum role of
the big Swede in Mark Hellinger’s
“The Killers.”
A native New Yorker, young Lan
caster succumbed to a long repressed
desire to run away and join a circus
at the end of his sophomore year
! at NYU. He spent the next eight
j years doing handstands, flips and
; turns on the horizontal bar in the
sawdust ring and in night clubs and
supper rooms. Finally he checked
| in his spangled tights for a floor
walker’s blue serge and went to work
for Marshall Field <fc Co. in Chicago,
directing customers in the lingerie
section.
Acted for the Army.
Just before going into war service,
he took a job in a meat-packing
plant, swung a pick and shovel In
a construction gang and picked up
some folding money as a warbling
waiter. When he went Into the
Army in 1942 and was being screened
for classification, he expressed a pref
erence for the Engineering Corps,
reasoning he could put his experi
ence in ditch digging to the best
advantage there. But when he also
said he had been an acrobat, the
master minds immediately assigned
him to the special services and
shipped him overseas to help put
on shows for the combat troops.
Private Lancaster spent 26 months
with the famed 5th Army in North
Africa, Italy and Austria and got
his first taste of speaking lines in
the plays and skits which were pre
sented behind the lines.
The GI actor was in New York
on terminal leave when he received
his amazing introduction to the
Broadway theatrical world—and also
got the surprise of his life. He was
riding an elevator to call on a girl
friend in an llth-floor office and
felt himself being eyed intently by
a stranger who got off at the same
stop. Two minutes after he ar
rived at his friend’s office the tele
phone rang. It was his fellow pas
senger in the lift and he invited
the astounded Lancaster to read
that night for a new Broadway
play.
Had Seven Offers.
The caller was an associate of
Irving Jacobs, who was about to
produce “A Sound of Hunting.”
Burt found himself in his first
Broadway show playing a top role as
Sergt. Mooney.
‘‘A Sound of Hunting” lasted only
five weeks, but the rugged new face
in the cast was hailed as a 14-carat
find. Burt received seven Hollywood
offers during the short run, the best
one from Producer Wallis, who com
menced negotiations with him be
tween acts one and two, secured an
option practically as the final cur
tain dropped and arranged for tests
in Hollywood.
Burt's own appraisal of his cha
otic advent into the Broadway spot
light is considerably less flowery
than the encomiums of his boosters.
“Somebody thought my face bore
a faint resemblance to the Siegfried
Line and that’s what they wanted
for the play,” he said. “So. before I
could explain that acting was out
side of my territory I found myself
on Broadway. In the show I was a
j sergeant who yelled all his lines at
the top of his voice and I thereby
succeeded in making everybody, in
cluding the audience, completely
miserable, but they couldn't help
noticing me.” •
Burt’s screen tests won him a
long-term contract with Wallis and
a starring role as a Western deputy
sheriff In “Desert Town.” Because
the start of the picture was still
some time away Lancaster bought a
ticket back to New York to wind up
his affairs there before settling down
as a permanent Hollywood resident.
Aided by Sam Levene.
Before he could get on the Pull
man. producer Hellinger, casting
about for an actor to play the burly
fall guy in “The Killers,’' heard
about him and called him in for
another test. A couple of days later.
Lancaster walked out of Hellinger’s
office with a starting date for his
first movie.
Burt lives in a single room in a
, modest hotel in a Las Angeles
I NATIONAL * 1 WEEK ***■T#""'"8:30
ONLY litimi Wed. t Sat. 2:30
\ow Completely Air Cooled.
$gS@s3
2 - WEEKS • 2 Bee. NON., Sept. 30th JOT
MATINEES
Set.
JOHN C. WILSON MtiiMTt
CLIFTON WEBB
u NOEL COWARD’S tight c™.dy
tm™ DORIS MARTA
GARDEN DALTON LINDEN
MR STIRLING CHS ALEXANDER
»•"«•» kt DONALD OENSLACt*
Staged by MR. WILSON
l£
SEAT SALE f e™*.—fiJM, $1.80, fZM, »s.oof tz.to.
THURSDAY [■teta.-flJM, fi.M, JZ.M (Tu IiuL) $
"CINDERELLA” MAN—It never was Burt Lancaster’s idea to
become a movie star, but he was discovered in an elevator, cast
on the stage in “A Sound of Hunting,” and note finds himself a
leading film personality in “The Killers.”
Today’s Schedules
CAPITOL—"Somewhere in the
Night": 1:40, 4:30, 7:20 and
10:05 p.m. Stage shows: 12:55,
3:45, 6:30 and 9:20 p.m.
COLUMBIA —"Smoky": 1:40,
3:40, 5:35. 7:35 and 9:30 p.m. |
EARLE—"The Renegades": 11,
1, 3:10, 5:20, 7:30 and 9:40
p.m.
HIPPODROME — “Specter of
the Rase”: 2:05, 3:45, 5:25,
7. 8.30 and 10:15 p.m.
KEITH'S — "The Kid From
Brooklyn”: 12:15, 2:40, 5, 7:25
and 9:50 p.m.
LITTLE—“It Happened at the
Inn”: 1, 3:10, 5:20, 7:30 and
9:45 p.m.
METROPOLITAN — “Crack -
Up”: 1:30, 3:30, 5:35, 7:40 and
9:45 p.m.
PALACE—“Claudia and David”:
1:30, 3:35, 5:35, 7:40 and
9:45 p.m.
PIX—"Bohemian Girl”: 2:40,
5:10. 7:40 and 10:10 p.m.
TRANS-LUX — News and
shorts. Continuous from 1
p.m.
suburb. It has become a bit cramped
since his brother Bill, a New York
attorney who is built along the same
lines as the actor, has moved in.
Brother Bill has taken over the
management of Burt's business af
fairs and is helping him look for a
house large enough to accommodate
the two of them plus their father
and the lawyer's wife, both of whom
will join them soon. He has a sec-1
ond brother, Jim, who is staying in
New York where he recently was
promoted to a sergeant on the police
force.
Burt's favorite actor and his best
friend in show business is Sam
Levene, who, he says, has been an
inspiration to him. Sam appeared
rH/nv
' WEEK
SAMUEL GOLOWYN prnMnts
DANNY KAYE
At Kit fwminft in
Dm KID from BROOKLYN'
IN TICHNICOIOK
cool RKO KEITH’S r.
OKI IOiU l.M. • III. II IOM
EXTRA—“RIRRWAY MARIA"
ARR MMIY “CARTOOR"
Nwf "THE IllLaj"
I
NOW Doors Open 12:15
JOHN HODIAK
NANCY GUILD
"SOMEWHERE
IN THE NIGHT"
On Stage
NICK LUCAS
Stir if Stag*, Scrim ill Radio
LINDSAY’S LOVELY LADIES
THURSDAY
\L0UIS
JANE RUSSELL
HAYWARD “YOURS WIDOW
-stale
l LINDSAY'S LOVELY LADIES
y
PALACE
/Jth
NOW Doors Open 12:15
DOROTHY
McGUIRE
RODERT YOUNG
“Claudia
And
David''
Coming
. M-G M'S
HOLIDAY 1H MEXICO”
• il» Carnival
TECHNICOLOR
COLUMBIA
NOW Doors Open 12:30
Will Jamts'
“SMOKY”
FRED MkMURMY
ANNE BAXTER • BURL IVES
In Technicolor
A
with Burt both In “A Sound of
Hunting” and "The Killers" and
the young star credits the more
experienced actor with getting him
off to a flying start on the stage
and screen.
The full name of this Big Brother
of Cinderella is Burton Stephen
Lancaster. He stands 6 feet 2
and weighs in at 190 pounds. He
has blue eyes, a 41-inch chest and
32-inch waist. He takes 7's hat size,
which he guarantees will not get
any larger no matter how high his
new star climbs in the Hollywood
heavens.
(Released by North American Newspaper
Alliance. Inc.)
ft*
WEEK
2
*IT
"A FRENCH FILM
IN THE GREAT
TRADITION r
HERALD TRIBUNE
HAPPENED
AT THE
\
INN
f
Mac ARTHUR, STAR
*AYS:
"THE EMPEROR
IS nothing short
^OF MAGNIFICENT!''
''THE GOUPIS OF THE LITTLE'S
PHOTOPLAY ARE A RARE LOT!*'
u^umi 9sf
Stock Work
Still the Best
Training
•y the Aisociated Preei
HOLLYWOOD.
Movie Director Ray Taylor, who
has seen many a screen celebrity
come and go during his 25 years in
the business, believes the best place
to learn to act today is the same as
it was all the time—a stock com
pany.
“I don't mean a one-week engage
ment, either,” he said. “I mean at
least two years in stock."
Taylor pointed to Margaret Lind
say, co-star with Jon Hall on his
picture, "The Vigalantes' Return," as
a good example of an actress sea
soned by stage training before she
entered pictures.
It was much easier to crash the
movies and even reach the big
money brackets in the old days, he
continued. "Any girl with a pretty
face could break in 25 years ago.
You taught her a few mechanics of
acting, pushed her in front of a
camera and that was just about all.
"Sure,” he agreed, "a lot of so
called acting in those days was pure
ham. But the public wasn't so
fussy.”
Taylor recalled that movies then
were regarded as a poor relation of
the legitimate stage, and any actor,
famous or fading, who dared invade
the celluloid realm was regarded as
a "fallen woman.”
When the screen became vocal,
the situation changed.
"It’s not enough just to memorize
a script," Taylor said. "Reading
lines with proper impact requires
training—stage training,” he de
clared.
"I recommend the stock company
rather than the big-time theater as
a training school for the screen.
Roles are varied, a much wider
range of experience is gained."
Taylor knows his subject. He used
to manage stock troupes in the
Middle West and New England prior
to 1921.
BIG TRIAL ENDS
SIEBFRIED LINE BLOWN UP
BURNIN8 PLANE LANDS SAFELY
WMAL—Hourly NtWMcatt
Bohhumm 6mL J
STARTING
"MOST OARINO COMIOY I
?!It SICADI’’*^s^
B*a*io*
LILLIE
msosroN approval"
U Lu T.aJa.'iL f ___I I _
L:
kf fr*4*ritk L—dsI*
with CLIVE BROOK
MRS. DORSEY’S CONCERTS
C onstitution Hall, 18th & C Sts., X.W.
u ociniu^
Patrice Maned, soprano, Met. Opera
Prits Kreisier, violinist
HHfetx, violinist
Janies Melton, tenor, Met. Opera
Vladimir Horowiti, pianist
Eleanor Steber, soprano, Met. Opera
Series tickets (6 events). $6.30, $9,
$12.50, $15, $17.50 incl. tax.
nciitiLx'
Artur Rubinstein, pianist
Yehudi Menuhin, violinist
Jussi Bjoerlinj. tenor. Met. Opera
Bidu Sa.vao, soprano. Met. Opera
Casadesus. French pianist
Esio Pinxa. basso, Met. Opera
Series tickets (6 events) $5. $6. $9,
SI2.50, $16 tnel. Us.
TWO SPEC IAL EVENTS:
The ORIGINAL Don Cossack Chorus DRAPER & ADLER, tap dancer supreme
Serge JarofT. condr. and harmonica Tlrtuoso—in joint rarftal
Seats 90c. $1.20, $1 80. $2.40 and $3. Including tax.
Illustrated Circular on Request
Mrs. DORSEY’S CONCERT BUREAU. 1108 G St. N.W.
(Campbell Mnste Co.) Tel. NAtlonal 7151
MARK NELLINGER
prtMUts
THE
KILLERS
told the untamed
way!
some
guys
never
learn...
women
can
be
killers
too!”
, AVA GAIDNEt EDMOND 0 ItllN
IUIT IANCASTIK AllEIT DEKKEt SAM IEVENE
ADDED
STARTS
WEDNESDAY
WALT DISNEY’S CARTOON
IN TECHNICOLOR
AlGHTHOUSE KEENING"
STARRING “DONALD DUCK"
DOORS OPEN 10:46 A. M.
RKO KEITH'S
A WASHINGTON INSTITUTION
Ow- u. S. Trtittry •* lltk SI.