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What’s in a Name?
There’s a Long Life for Movies Having Characters Audiences Recall By Jay Carmody The favorite cad of some movie people we know has a test he applies to screen fans who chortle that such and such a picture is the best movie they ever saw. The dialogue at such times usually goes like this: Cad: So that was your favorite picture? Well, well, well. What was the name of the principle male character? Pan: I don’t exactly remember, now that you mention it, but there was this boy, see Cad: No, I don’t see. If that was the best movie you ever saw in your life, how could you forget the name of the hero? You remember the names of characters in the books you enjoy; in tlie case of the best books you never forget them. What, for instance, was the name of the Kero in "Wuthering Heights”? Pan: Heathcliffe, but I don’t see what that has to do with what we are talking about! It’s Not That Effective. The test is not the effective thing its sponsor believes it to be, but he does have a point that Hollywood does find proved in the case of its most enduringly successful works. The most successful of all of these, "Gone With the Wind,” is now on display here. After eight years and more than $20,000,000 worth of customers, it still is drawing capacity audiences. Even in THAT weather which followed its opening on Thursday, there were lines at the box office. By now it is fairly well agreed that these were not there because of Clara Gable and Vivien Leigh, but rather to see' Scarlett O’Hara and Rhett Butler. A large percentage of those in ~ * u, _ it.. x x— i_ i_ u* w»Vi nuiUJig UUV| til IA/U J V/ Ullg w 11HIV WVVil conscious of Miss Leigh’s repute as an actress. They have heard of Scarlett, however, a fictional heroine whose place in distaff history in America is more dramatically real than that of Betsy Ross, Clara Barton and a score of ethers who actually lived heroic lives. Miss Mitchell Responsible.' It was Margaret Mitchell of Atlanta, Ga., the original author, who assured the success of the motion picture which has made more money than any other, and which goes on having fabulous popularity eveiy time it reappears. She gave it this long life by giving it living characters, indentiflnable humans whose experiences, passions, joys and sorrows audiences could share. Miss Mitchell coined such characters on an almost fantastic scale, not merely in the case of Scarlett and Rhett, or of Ashley and Melanie, but of dozens of lesser ones ranging from father Gerald O’Hara through Belle Watling. These were all powerfully played in the picture which David O. Selznick produced and cast with such discrimination. But underneath, they were all powerfully written and memorable before they fell into the competent hands of Miss Leigh, Gable, the late Leslie Howard, Olivia de Havilland, Thomas Mitchell, etc. They were humans before they were transmuted into actors and happily remained human afterward. Even Crosby Had an Alias. The character name test is an interesting one to apply—if one has nothing better to do—to best pictures of the years and to Academy Award-winning performances by outstanding stars. Even if it is not as effective as its author maintains, and lacks the significance he attaches to it, it is not a bad way to while away the listless minutes of a humid day. One can take, for example, the character -portrayed by Bing Crosby in his prize-winning “Going My Way.’’ No personality in Hollywood is Crosby's equal in absorbing the creation of an author. It is such a quick way to obliteration—but with marvelous profits— that any writer might well think twice of his character before intrusting it to Bing. There are those who will say that not even Hamlet could resist Crosby, which it about as close to the unchal iengeaDie as trutn can come. Yet between them, the man written by Leo McCreary and the one acted by Crosby left their common mark so definitely that few who saw the picture will fail to recall that the young priest’s name was Chuck O’Malley. Tracy Won for Manuel. Even if it were not a classic, and readily referrable on many a library shelf, the “Captains Courageous” role in one of Spencer Tracy’s Academy victories was that of the fisherman Manuel. Even a drama and movie reviewer who encounters so many fictional characters that he scarcely can remember his own name, is surprised to find he needs no reference book to recall the hero’s name to “The Philadelphia Story” which won James Stewart his Oscar. The fellow’s name was Mike, or this department is going to have to eat a lot of words starting today. The test is amusing, if nothing more, when it leaps back over the years to Joan Fontaine’s periormance in “Rebecca” and realizes that the character she Rjayed in that was a girl identified as “she.” Last year's prize lor male acting went to Fredric March for has portrait of A1 Stephenson in "The Best Years of Our Lives.” And, vno one should have any trouble recalling that Joan Crawford got hers the year before for that woman, Mildred Pierce. ---- . For Audiences’ Protection By tht Associated Press HOLLYWOOD. The Production Code, under which American motion picture studios voluntarily censor their own prod uct, does not apply outside the United States. Every major pro ducer, however, maintains special facilities to see that his films con form to the various standards of good taste prevailing in every country where the pictures will be shown. A good example is “Fiqsta,” which Metro-Goldwyn-Mayer filmed largely in Mexico. Bull fighting figures prominently in the story, but in the United States this sport is never shown in entirety on the screen. Blood-letting is also frowned upon in other English speaking nations, in Scandinavia and in some other parts of Europe. As a result, the bullfighting scenes in several versions of “Fiesta” are sharply curtailed. The American version, for instance, show's little more than the skill and grace of the matador in dodging his horned ad versary. There are no picadors, and the bull is not killed or even in jured. The studio has followed explicitly the instructions laid down by the Motion Picture Association, or Johnston Office, which admin isters the production code. However, moviegoers in many countries, including Spain and the Latin-American republics, will see all phases of the bullfights which were filmed for “Fiesta,” the studio has announced. These scenes feature four world-famous mata * dors—Escudero, Estudiante and Ca lesero of Spain, and Briones of Mexico—and 25 blooded fighting bulls, all engaged expressly for the picture. The Production Code does not specifically prohibit the showing of bullfights. Nonetheless, it contains one clause confining violence u> the bounds of good taste, and an other requiring consultation with the Humane Society on any scene which might be construed as cruelty to animals. Both these restrictions are variable, and insofar as the United States is concerned either would eliminate bullfighting. Some countries dislike cinema themes based on divorce. Others! object to the portrayal of certain; crimes. Nearly all protest against unnecessarily gruesome detail. Thus, a film may be edited in five or six versions before its worldwide release. Respopsibility for this task rests with the studio foreign de partment. Like any set of rules, the Produc tion Code frequently decrees litnita tions bordering on the absurd. To cite only one instance, United States audiences may not see a slain per son twice. Once the body has fallen to the floor or ground it can not be photographed there in entirety. The dialogue of a picture shown in the United States can not in clude cries of "Fire!” presumably for fear of panic among the au dience. The words "louse” and “lousy” are never used in any sense. The list of forbidden terms is long and ever-changing, although it consists chiefly of profanity and suggestive slang. Equally long is the catalogue of topics which may receive only re stricted treatment in films. These include abduction, execution, seduc ffon, vise of firearms or alcoholic beverages, and almost every crime against the person. Report on Bergen Ry the Associated Press HOLLYWOOD. Excerpts from a' letter from ♦‘taw^He McCarthy: “There is an ugly rumor going around that Bergen has turned legitimate and that I am through. They also say I’ve worried myself so thin I can sleep in a pencil sharpener. Let me say I’m enjoying dandy health and am as happy as the day I killed my first wood pecker. “Now as for Bergen's acting, that’s a long story—and a dirty one. Some say it's out of this world. I say keep it there. “However, it is true that, he is doing a straight role in ‘I Remember Mama.’ He was chosen to play the dopey Norwegian undertaker after it was turned down by every other actor.” LAST TIME TONIGHT FREDDIE BARTHOLOMEW in “The Hasty Heart” With Nancy Holland ond Michael Howard Beginning Tueeday FRITZI SCHEFF and ESTELLE WINWOOD in "LADIES IN RETIREMENT" With Nancy Holland and Michael Howard DIRECTED BT CHARLES S. DCBIN DESIGN BT RANDALL BROOKS Tuotday through Sunday—8:45 Tieketi: Ballard *. 1300 O St. N.W. ME. 7S1S Admission: *1.20, *1.80. *2.40 i i ' Mi J&aniH&ifc .JSfi■ ■ kM , : .: u k:M ■ \ ■m*-’ ■.■.w.v./.-vVvi'.wwmwww’ii i i n, m i w i——^—————a———— JI/Sr A DREAMER—Being two of the flights from reality heavy odds. Right: Mr. Kaye again, as Walter Mitty, RAF \ that have emerged in the translation to the screen of James hero, bored by the adulation offered by the same beauteous Thurber’s masterpiece, "The Secret Life of Walter Mitty.” heroine, Miss Mayo. The picture is scheduled for showing at Left: Danny Kaye, as Two-Gun Walter Mitty, protects the the Palace, in the near future, beauteous heroine, Virginia Mayo, in a six-shooter duel against Making the Talent Scout’s Job Easier Little Theaters, Where Would-Be Film Stars Show Their Skills, Abound in the Hollywood Area By Harold Heffernan HOLLYWOOD. Studio talent scouts find their duties greatly simplified these days. No longer is there the necessity for more than an occasional extended trip through the hinterlands. They don't have to peer behind soda foun tains, lingerie counters, scour the gas stations around Hollywood or frequent the beaches in search of fresh talent, beauty and potential stardust. A new actor reservoir has. almost overnight, revolutionized the old system of digging up replacements for the screen. And it has its fast spreading roots embedded right in the heart of movieland. The Jane Russells and Dorothy Lamours of tomorrow are being groomed here on Hollywood's doorstep. Today, the talent scout has only to book himself for a round of the Little Theaters, Group Theaters, Laboratory Theaters, Tryout Thea ters and Maybe-We-Can-Get-There Theaters that have sprung up dur ing the past couple of years within a 50-mile radius of the film factories —something like mushrooms in a cowyard after a hard rain. Like mushrooms, too, sortie are edible and some are not: some are honest and some are suspect; some are legitimate and some are just plain graft. And it takes a pretty shrewd individual to ferret out the glib-tongued crooks that prey far and wide on naive youngsters pour ing out here from every portion of the land, equipped with neat bank rolls that beg to-be exchanged for movie-learnin’. The dishonest ones (far too many) trade on the most gullible and vul nerable of all human suckers, the stage or screen-struck youngster who has an abiding faith that it was good luck alone which elevated Alan Ladd, Bette Davis, Paulette Goddard and other stars to the po sitions of honor and affluence they hold today. Ask Ladd, Bette or Paulette what part luck had to do with their suc cess, and you’ll get a snort in reply. They may have had a break here and there, up and down the ladder, but hard work, study and the knacl? of taking advantage of an opportu nity when it knocked were the in strumental factors in their aduous climb. Today, one studio talent scout gives a hasty estimate: There are 50 or 60 so-called Little Theater groups active in the magic Holly Today’s Schedules CAPITOL—“Copacabana,” 1:55, 4:40, 7:25 and 10 p.m. Stage shows: 1:05, 3:50, 6:35 and 9:15 p.m. COLUMBIA—“The Fabulous Dorseys,” 1:40, 3:35, 5:35, 7:35 and 9:35 pm. EARLE—“Welcome Stranger,” 1, 3:10, 5:20, 7:30 and 9:40 p.m. HIPPODROME — “Henry the Eighth,” 2:05, 4:05, 6, 8 and 10 p.m. KEITH’S—“Slave Girl." 1:35, 3:35, 5:35, 7:35 and 9:35 p.m. LITTLE—“The Scarlet Pimper nel,” 2:25, 5:30 and 8:40 pm. METROPOLITAN—“The Corpse Came C. O. D..” 1:25, 3:30, 5:35, 7:45 and 9:50 pm. PALACE—“Gone With the Wind,” 1:15, 5:15 and 9:15 p.m. PIX—"Dillinger,” 1, 3:20, 5:40, 8 and 10:20 p.m. TRANS-LUX—News and shorts. Continuous from 1 p.m. Air-Conditioned for Health and Comfort • BeeiScq 4th < H N.W. • Newsreels & Shorts SENATE ENDS PROBE A* HUGHES BLASTS BREWSTER The New MARCH OF TIME! "Turkey'* $100,000,000” WMAL NEWSCAST- LAST SHOW 1045 BING CROSBY / JOAN CAULFIELD BARRY FITZGERALD | \ in Pmmmum's Hit (* — V Pffi NEWS GEORGE BRENT JOAN BLONOEU In Coluniba's __ CSoo-WARNEfrfolfi^EW^ I wood circle—that is, within a short motor trip from the studios. Ten years ago there were a mere dozen that got any notice whatso ever. And 20 years ago there were but one or two. That was before talkies, of course, and any one with a tinge of dramatic training had much lees chance than the boy or girl who could boast of nothing more than a handsome pan. Drama in a Tent. Now, in the year 1947, practically every school and college in Southern California has a student drama class. Some film companies, spon sor Little Theater “live” produc tions. The Selznick summer group, called the Actors’ Company and holding forth in the cooling sea breezes at nearby La Jolla, offered “Dear Ruth” as one of its neatly done presentations. It made no difference that “Dear Ruth” is Paramount screen prop erty, and that Paramount's Diana Lynn played Ruth in the stellar role. Diana was pretty fair, too. But not as assured as she is on the screen. Another group of drama-minded summerites put up a tent just off Highway 101 in the San Fernando Valley and there, nightly, offered “Dear Ruth,” “Dream Girl,” “State of the Union” or other of 1947’s Little Theater favorites. These were played against an obbligato of truck noises, motor backfires and hot-rod roarings which merely n a#] 4 a +U a pnfirfnof a f H all And. oh, yes, theirs was called the Tent Theater. Other groups include the long established Geller Workship, the Call Board, the Altadena Penthouse, the Circle Players, the Santa Mon ica Stock Company, the Conserva tory' Theater and the Starlets Group. Have Own Theaters. The Immaculate Heart Convent of Los Angeles sponsors an active and successful summer group. North Hollywood and the Los Angeles As sistance League, the Ebell Club and the Ben Bard Players (also an old timer) have their own theaters and well-equipped stages. These auditoriums may be leased on a nightly or weekly basis by other theater organizations which have no roofs, box offices, curtains or backdrops to call their own. The same studio talent scout quoted before, and who obviously must have his anonymity respected, points out that any such listing of Little Theater groups active in or near Hollywood must—of necessity— be incomplete. Some deserving to be mentioned must be omitted be cause of oversight or lack of space. Others not worthy might easily be included, with the resultant implied indorsement. Alan Allyn, editor of a Hollywood magazine called Talent Review, aimed at radio, television and studio talent scouts, is a self-appointed enemy of these unscrupulous drama groups and so-called training schools that promise a "career” for a fee. — He "aenea (ana namea names) [one television school, recently, to prove that it or its equipment could prepare any one for anything. A “school” to train children for a screen career, he termed, “just a new way to dispose of lousy photo graphs.” Enterprising School. But the good drama groups, such as tl)e Pasadena Playhouse (which, incidentally, is not a school but a commercial theater) do turn out promising screen material every now and then. Bette Davis. Alan Ladd, Howard da Silva, William Holden, Olivia de Havilland, Macdonald Ca rey. Virginia Welles, Robert Preston and any number of others came up from Little Theater (or amateur) training. * Dozens and scores of the younger players on the contract lists of all the studios, the so-far unheard-ofs, came out of last year’s and the cur rent Little Theater-around-Holly wood crop. But the most enterprising West Coast organization of them all is the Elizabeth Holloway School of the Theater of San Francisco. Miss Holloway picked up her classes of some 50 or more young hopefuls and packed them—bag, baggage and all—into Hollywood, where, leasing a rental theater, she had them pre sent “The Man Who Came to Din ner” in a highly professional way. Studio talent scouts were there in droves. No tests or contracts have been the immediate result, so far as we have been able to ascertain. But something certainly should come of it—if nothing more than addi tional invading Little Theater work ers. And that, Hollywood definitely is not encouraging. The market is glutted already. And the ways are fraught with danger. (Released by North American Newspaper Alliance. Inc.i Only a Decoy By the Associated Press HOLLYWOOD. On an expense sheet mailed home by Jules Dassin from New York, where he's directing “The Naked City,” was this item: "One Juggler, not to-be seen in the picture.” Auditors, as is their wont, howled: Why pay for a juggler if he’s not going to be in the picture? Dassin explained: New York crowds always get in the way when he tries to shoot a street scene, so he finally hired a juggler to work about 50 feet away. The juggler begins his act just i as the camera starts rolling and the interest of the crowd is on him— not on the camera. nowARDili MERLE OB€*ON|MmTg||fff MMW'mmxSla ; ...Mini...nil... '/Oil SIR ALEXANDER KORDA PRESENTS A DE BURGOS-INTERNATIONAL RELEASE eUntu LAUGHTON i\ HU Private 1HMt rfm&MUA TRciUt . . . AIR CONDITIONED SECOND WEEK! - OPEN 1:45 HIP in session. CARY GRANT, bachelor-about-town, and MYRNA LOY, glamorous judge, find each other in this closeup from RKO't The Bachelor and the Bobby-Soxer. SHIRLEY TEMPLE’s crush an Cary compli cates matters, makes film year's biggest laugh riot. COMING WED. AUGUST 20-RK0 KEITH’S t “1 i " Broadway: Eddie Dowling And Partner Are Busy By Jack O'Brian While the Theater Guild usually has its corporate finger in more dra matic pies each season than any other theatrical organization, a couple of fellows named Eddie Powling and Louis J. Singer seem set to give the great Guild planners a run for its heavy money. Dowling and Singer got together first to present Tennessee Williams’ "The Glass Menagerie” a couple of seasons ago, with such success that it romped off with a good many of the season's honors. They now have "Our Lan\” readying for a Broad way premiere October 4. Julie Haydon, who appeared in "The Glass Menagerie,” and in such other Dowling successes as “The Time of Your Life” and "Shadow and Substance,” has been engaged to play a school teacher in “Our Lan’.” Dowling is staging the pro duction personally. The Theater Guild is clasping hands with Dowl ing and Singer and has added it to its list of productions to be seen this season by Guild subscribers. , The second Dowling-Singer pro duction will be "Heaven Help the Angels,” an intimate revue starring the dance team known in fashion able supper clubs as the Hartmans. “Heaven Help the Angels” is slated for a first night some time after mid-October. me ujira item 15 me mgmeous Are Bold,” by Frank Carney, and the producers are hopefully haggling with David O. Selznick for the serv ices of Dorothy McGuire, last seen on Broadway as the star of "Clau dia,” with the opening date ap parently dependent on Miss Mc Guire's availability, The Dowling Singer partnership also has several other plays and one opera sim mering. Cuff Stuff: Angna enters, a young lady whose artistic enthusiasm runs off, like Stephen Leacock's horse, in all directions, has a second play to add to her previous accomplish ments as a serious dancer, painter, sculptor, movie script writer and a few minor accomplishments which make her our foremost esthetic parallel for the one-armed paper hanger. . . . Miss Enters’ new play, (See O’BRIAN, Page C-7.) AND (AIT COOm IN I 'NORTHWEST MOUNTED POLICE" I IN THIIUIIK TECHNIC0KH1 Another Step Forward —————————-1— ; ■ With Motherhood Nearing, Shirley Temple Embraces More Mature Film Roles By Howard C. Heyn HOLLYWOOD. Shirley Temple, captivating juve nile for a dozen years, is now an attractive young matron approach ing motherhood—yet to most of the movie public she is still a child. It is hard to predict how long this Peter Pan legend will prevail. In countries where the war impeded distribution of her films she is still being seen on the screen as a 7 year-old. Perpetuation of her babyhood is understandable, in such cases. But even in America the same feeling persists among many of her admir ers. Shirley herself is somewhat puzzled. “All people have to do,” she pb served in an interview, “is to look at their own children. I'm sure they will discover that we all grow up.” "Perhaps you should remember,” suggested a studio colleague, “that you have become an American in stitution.” An Adult Role. Shirley frowned. “I don't like that word ‘institution.’ ” As child and adult Shirley’s career extends over 15 years. Now she is making the transition from adoles cent to mature roles. She has been loaned by Producer David O. Selznick to Warner Bros, for “That Hagen Girl,” with Ronald Reagan. This presents her as a young woman in a small town, the victim of vicious gossip concerning her legitimacy. Unaware for a time, in the story, that she has been legally adopted, she even at tempts suicide. .nais. George xempie, smriey s mother, hopes the public will like her as an adult. “In previous pictures Shirley has had problems, of course, but these have usually been the problems of other people in the story,” said Mrs. Temple. "Now she portrays a wom an, with serious problems of her own.” Looking Ahead. Shirley is confident that she will bridge successfully the gap between youthful and mature roles, a process which many young actresses ha\>e found extremely difficult. She’s pretty, and her long experience is evident in her work. Mrs. Temple seems to have ac cepted with equanimity the fact of Shirley’s maturity. "I’m already looking ahead to the new generation,” she said with a smile. "Perhaps there will be a new Shirley.” The blond little actress happily announced, July 21, that she antici pated a baby next January. She also is looking forward to her next picture. "War Party,” in which she will apear for the first time with her husband, John G. Agar, 26, whom she married in Septem ber, 1945. This film, to be directed by John Ford, will mark Agar’s screen debut. Miss Temple (she likes to be called ComingAttractions NATIONAL — "The Red Mill,” starting tomorrow night. CAPITOL—“The Arnelo Affair," with John Hodiak, starting Thursday. COLUMBIA—“i Wonder Who’s Kissing Her Now," with Mark Stevens, starting Thursday. EARLE — “Deep Valley," with Ida Lupino and Wayne Morris. HIPPODROME—“This Happy Breed.” with Celia Johnson. KEITH’S—"The Bachelor and the Bobby-Soxer,” with Cary Grant, starting Wednesday. LITTLE—“Johnny Frenchman," with Francoise Rosay. METROPOLITAN—'"The Gun fighters,” with Randolph Scott, starting Thursday. PALACE—“Variety Girl," with an all-star cast. PIX—“The Game of Death.” TWI IN MTt! MIM TOMT TMMrai TtKMlT IUI DM "Ml" mm mi •m if m uwEinur yi Tiny AI . <"* . 2 WEEKS ONLY NAIIUNAL • «««•) beg. tomorrow VvMilnf* at ft:30; Weds, and Sat*, at 2:30 • DIRECT FROM 2 SOLID YEARS IN NEW YORK •' Paula Stent and Hunt Strombarg Jr. Present VICTOR HERBERTS Moot Famous Musical Comody i * With a Star Studded Cast Including * Jack Odatta Bastar Barathy Edward SaraAaa Bkarlat WHITINO MYRTIL WEST STORE DEW * MeCABE COLLINS * ARB A CHORDS OF SO HOLLYWOOD STARLETS! * EVB. $1.20, $2.40, $3.00, $3J0, $4.20 •Hili. $1.20, $2.40, $3.00, $3.40 One Week Only Beg. Mon., Sept, let wSrfs. « NttlMMjr .Jf MAKtl WMLNKIN .M UIIHIB, HCMNIVI •M Barbara EwmI MUy T**f« • Mm NmIHm • Valefla Omari • A. WhriWM Haaay WhwM. Ira • Mia Harris • LasHa Barry * Fraafc TwaSSaH Mary Ulrhail * tlchartf Barraas • Jack Metre* Mall Offers I K™-: *l u’ ,1'M' **.«, U N ( M_ Mata.: SI.*#. |1.8«. Entire Oreh. SS.M- (Tax BmL 'jRSPWt 1 — ■ a If a mm . _ - » _. — • **•m | rHMi EMI0BB Mn*AWr0BBN EHUEpN BwrMOpi, i * Mrs. Agar) nas no quanns aoour the forthcoming assignment. How ever, rumors that her condition would prevent her acceptance of the role in Ford’s film, a Western, because she .could not ride horse back, have disturbed her. It's Nothing New. “Mr. Ford knew I was going to have a baby more than a month before I announced it,” she said. “I had informed him, naturally, in discussing his picture. But he didn’t tell a soul. He has assured me that he will have me ‘car ried around on a feather cushion' if necessary. I won’t have to ride horseback, or do anything else that cduld possibly hurt me. "Besides, I have no intention of sitting around idle, worrying about myself. My doctor told me to live a normal life, within reason, for as long as possible. After all, hav ing a baby ish’t exactly new. It's been going on for years.' Neverthelesse, Shirley’s relatives are in close attendance on the “That Hagen Girl” set. Her mother is almost always there, and her father and her mother-in-law stand by much of the time. John watches over her solicitously whenever prep arations for his screen debut per mit. When a studio attache asked her what kind of career she planned for her child, Shirley snapped: “Are you kidding? It's going to have the career of a baby!” It Isn t Only Barter That Buys Tickets To Barter Theater By tht Associated Pres* NEW YORK, Prom Abingdon. Va„ Robert Por terfield, a leading exponent of the drama below’ the Mason-Dixon Line, informs us that no longer will a rag, a bone or a hank of ham be ac cepted'as admission to his highly professional tributary theater. “Uncle Sam refuses to accept po tatoes or spinach for amusement tax, is the way Bob put It, thereby ending at his theater the depres sion-born and highly engaging idea of trading a bologna, say, for a front seat’at a play. Now that the‘folks in Virginia are able to support the provincial dramatics handsomely, with a tidy assist from their State government in the form of an annual $10,000 grant, Porterfield wishes to dispel a few fallacies. “The Barter Theater does not now and never has been a playhouse to w’hich patrons are admitted on the payment of produce,” Bob empha sizes. “Back in the awful depression days, when we founded the theater in Abingdon, many persons could not afford the price of tickets. So we inaugurated the practice of en couraging these to pay their way in with Droduce or services. Thus was born the name ‘Barter Theater.1 Today very few bring produce to the box office, but the picturesque name is retained.” Bob points out that the Barter troupe is strictly a company gov erned by regulations of Actors’ Equity, the only such permanent professional company in the South It is composed mostly of players • with excellent Broadway records, such as Carrol McComas. Gordon Somers, Alexander Ivo, Herbert Nel son and Dor. Hart. I |p!NOw!T^oorjOp»?ljns hi MARX-MIRANDA ANDY STCVl M RUSSELL-COCHRAN II Gloria JEAN w copacabwa Pi LUBA MALINA ]B K Masiaal taoiaRy Star ■| JACK L LEONARD » E f«« >t • Tat j LII_THURSDAY_ ™ k M» Mat ■ (m. Haity • franca Mlrt ||||K “THE AWNELO AFfAIW" i |||\. CONNEE BOSWELL A ME o big Sitir _ I NOW , . . Doors Open lt:M 1 ■ | SEE IT TODAY! | • I COMPLETE! INTACTl | a ««nr ti oaioMaur muxnai ■ — I CONTINUOUS SHOWINGS | Mi I AT OUR REBUIAR POPULAR PRICES! I ■ | POV10 O. MUNICH'S a) | M MAkGAttT MfTCHf u S | ill GONE WITH | *1 THE WIND | if DRIWl Sr VICTOR Pi I MEMO I GABLE • LEIGH 1 A ■ LESLIE OUTtA I f II HOWARD • DeHAVILLAND I /ll "VARIETY CURL" A • V IT\ CROSBY ‘ HOPE /B jy -VW 1M1 Sim OHMf 500 LNOW ■.. Doors Qpaa 12fSD TOMMY DORSEYfl JIMMY DORSEY 1 JANET BLAIR | FABULOlf DORSEYS” Jf J