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THE SUNDAY STAR, Washington, D. C.
SUNDAY, SEPTEMBER 9, 1981 C-6 Leo G. Carroll Finds Words Fascinating An Actor Can't Be Deaf, He Says, To Their Sound or Their Meaning By Bill Hill You’re lunching with Leo G. Carroll. You’re thinking of all his stage and movie roles, why people always enjoy his acting even when they forget his name. He’s an erect man of middle height. When he Joins you on the rolling lawn of the Olney Inn, you don’t think about his age, the way you often do with players of long-standing distinction. You’re more likely to notice the British cut to the collar of his striped shirt. No, he won’t have a cocktail. Not a sherry either, though he smiles at mention of sherry. He plays a mouselike little man with a liking for sherry in "Home at Seven,” which closes today after matinee and evening performances at the Olney Theater. As you sit down to lunch, Mr. Carroll’s Interested in what you thought of "Home at Seven.” "It’s a well-constructed play,” he says, "but we’re experimenting with a different ending before deciding about New York. When Ralph Richardson first played it in England, it ended with the leading character committing suicide, you know. Now we have another variation in mind.” It Must Be Clear to You, Too He’s intense about “Home at Seven,” wants to talk about it. He tells you he’s acutely sensitive to words, both as actor and man. “They’re like ...” He pauses, not because what he wants to say isn’t clear to him, but because what he means has to be clear to you. “Words are like . . . music!” He’s thinking of the effect constantly as he talks, not merely the choice of words, but the way words should be spoken. “Remember in the play,” he says, “when I tell the doctor I like a glass of sherry every evening when I’m through my work, and he says, ‘So do I.’ Suppose he chuckles before he says, ‘So do I.’” Mr. Carroll chuckles and says, “So do I." Then he goes on: “Now suppose he says, ‘So do I,' and then chuckles.” Again he illustrates. “Do you see the difference in effect?” He takes other bits of dialogue and speaks them, a phrase like “I never have,” for example. "Notice the difference between 'I NEVER have’ and ‘I never HAVE.’” Mr. Carroll believes an actor should search each line of his dialogue to ferret out all the meanings it might have, all the effects. He says he’s very sensitive to the meaning of his fellow players’ lines, even to the point where, if another actor puts a new mean ing into the reading of a line, it changes the way he speaks a line In response. His Study Has Disadvantages “I never listen for cues,” he says. “I’m thinking too much about the meaning. If a meaning’s wrong in the way one word is said, I notice it the way a musician notices one wrong note in the playing of a concerto.” This study of meanings and effects has disadvantages, Mr. Carroll admits. It takes longer to prepare for a part. It even makes him read a book slowly. Books many people read in three days take three weeks for Mr. Carroll, who recalls some John Bus kin advice in “Sesame and Lilies”: Never leave a sentence until you’re sure you understand it. “Many actors can’t see the effects,” he said, “not even when they’re pointed out. I’ve known George S. Kaufman to drop a good line because an actor in rehearsal couldn’t grasp its possible effect. Mr. Kaufman would substitute a plainer line that could be read only one way. Studying the possible effects of each line is worth while. It helps the actor to build a character. You afto find the way to say a line to keep the audience interested. I’m sure you can remember people who know lots of interesting things, but remain bores. Personality is little more than a talent for variety, the ability to gain different effects from what you say.” Playwriting Has to Be Good Mr. Carroll admits his intensity about the meaning in each line of dialogue presupposes excellent playwriting. “If the wrif lng’s not good,” he says, "actors have to try to make up for it with action.” As Mr. Carroll talks, he sometimes gestures with his right hand, raising it with the thumb and forefinger pressed together. At certain intense moments he grips the edges of your small luncheon table with both hands. “Actors ought to have an ear,” he says, getting back to the way words are said. “If I were a director, the first time I assembled my cast I’d ask any one who was tone deaf or any one who didn’t want to be helped in the reading of a line to raise his hand.” Mr. Carroll raises his hand. “I wouldn’t want them in a perfect cast.” He also has an idea he’d like to attend a good school of play writing but not to aid him in writing a play, only to listen in enough to learn about the meaning of lines from the writer’s point of view. Doesn't Demand Starring Role Plays on television? Mr. Carroll’s been in them, of course. He feels, however, that they haven’t yet reached the point where he can do his best in a television play. They’re thrown together too hastily. Production problems and camera angles still interrupt the acting. A television play really is being performed for the first time when it’s being telecast. Mr. Carroll veers away from talking much about himself.' Is there any role he’s got a great deal of satisfaction out of playing, any role he’d particularly like to play? “I like to be in a good play,” he says, and the one he calls to mind is a first play by a clergyman, one in which Mr. Carroll played early this summer, a very human play growing out of the lack of understanding between father and daughter. “I don’t necessarily ask for a starring role, however,” he says, “just a good play with a depth of meaning in the dialogue, just a play that people like.” 2nd Record Breaking Week! “SCREEN RISES TO ITS MOST THRILLING STATURE .. . fOne of the finest transcrip tions of a classic anyone ever laid eyes 0n... Almost imposes an obligation on everyone to discover or re discover one of the world's great story-tellers.** CARMDY-STAR OLIVER TWIST' ROBERT NEWTON .132 cm. ALEC GUINNESS UUUUIIT oU|»nt 7500 v>'>. jl .. .A 'Bright Victory' a Cheerful Film of Human Courage Carmody—Star Bright Victory ‘•» ,,n 9 " •«»ovti Os TNI wuxr -ARTHUR KENNEDY PEGGY DOW -«-~~ Tha PLAYHOUSE I Ih and H Streets • ST 1300 I .• DOORS OPEN 13:30 .a it v — 1 ■ ★ V w «* f|:., jgßggiF lie ImWm mfl jHHKjC . jßf ■ , A if / f x ".■■is-- wJfB Hiii 'vJH Hf S H I tmmm $ I ■Oil * : i W HBfl 1 ■hp I wm mm iBB# hßh ■ i MOVIE IN THE GRAND MANNER—Susan Hayward and Gregory Peck play the title roles in 4, David and Bathsheba,” the movie made on a spectacle scale of the Biblical story. It will have its premiere showing here, with some fanfare, on Wednesday night at the Palace. I Hollywood Is'Heaven | Russell Nype, There for His First Movie, Likes It Fine By Sheilah Graham HOLLYWOOD. “It’s true what they say about Hollywood.” This comes straight from the film capital’s newest glamour boy, Russell Nype, who left Ethel Merman and “Call Me Ma'dam” to come to Hollywood to star in his first movie, “Young : Man in a Hurry.” “I’ve done nothing but lie in the sun. drive to the studio in a car MGM rented for. me, and I’ve even started pricing houses to buy,” said Russell, a studious looking. college-boy type with horn-rimmed glasses and crew haircut. “My first two days here I did nothing but jump in and out of swimming pools. On the first day I arrived at a luncheon given for me. wearing a navy blue suit and a tie. Within two hours, I was wearing shorts and carrying my street clothes over my arm. I went Hollywood very quickly,” said Russell, with an after-giggle that punctuates most of his sen tences. “I came here for a flat rate of Coming Attractions AMBASSADOR “Force of Arms,” with William Holden, starting Thursday. CAPITOL—“Meet Me After the Show,” - with Betty Grable, starting Thursday. COLUMBIA “Rich. Young and Pretty,” with Jane Powell, starting Thursday. KElTH’S—“Happy Go Love ly/’with Vera-Ellen. LITTLE “Tony Draws a Horse,” with Cecil Parker, starting Tuesday. METROPOLITAN— ‘ ‘Fugitive Lady,” with Janis Page, starting Thursday. .PALACE —“David and Bath sheba,” with Susan Hay ward, starting Wednesday night. PlX—“Pygmalion,” with Les lie Howard, starting tomor row. WARNER—"Force of Arms,” with William Holden, start ing Thursday. IV/J ;IZI 3 :9Mm im ml! ESPIONAGE and INTRIGUE • JOte PH COKtNNE EDMUND COTTEHCALVETGWENN PEKING EXPRESS Also At Ambassador Open 1 P.M. man jfMnr mmH’+m* In Paramount's Hilarious Hit TMftMBW Another Week Downtown Warn tn Bisoe. .GREGORY tmfiXh Virginia MON.-TUES. TICHNICOIOR Show Starts 7:50 E M. LOEW S MT. VERNON OPEN AIR DRIVE-IN i ROOTE i OWEj^ i SO j O£ > AIjEXANDRIA PATRICK HAYES CONCERTS GALA 1951-52 SEASON if BEST SEATS NOW * EVENING SELECTIVE SERIES: Die Fledermaus. N. Y. Philharmonic, Mltro ponlos cond., Nelson Eddy, Ana Marla Spanish Ballet, Trapp Family Sinters, Shan Kar Hindu Ballet, Slitetl, da los Anfeles, Rabinstein, BJoerllni. SERIES PRICES: (7 Concerts) $8.50. SlO, sl2, sls, $18.50 (Inc. tax) SUNDAY SELECTIVE SERIES: Die Fledermaus. Heifetz, Swarthout. Shan Kar Hindu Ballet, Slncinc Boys of Nor way. Rev and Gomez. First Piano Quar tet. SERIES PRICES (5 Concerts): fnz s tax*) 7 ' ,B ' so ‘ * lO - 50 * * l3 (lncJad - PIANO SERIES (Lisner Auditorium): Serktn, Solomon, Share, Baehaaer. SERIES PRICES (4 Concerts): S«. $7.50, SO, $lO-50 (lncladlnx tax). Write er Telephene far Seasen Felder Telephene and Stall Orders Accepted HAYES CONCERT BUREAU 1108 G N.W. (la Campbell Masle Ce.) National 7181 Stolnway Piano BOX OFFICE OPEN 10 TO 5:30 •mH ; I ; Br 3 §1 n . RUSSELL NYPE. '■ pay," he continued. “I have 12 weeks off from 'Madam’ and I’m ■ to return to the play in Novem ber. But MGM has an option on me which they either pick up or drop in March. I know I’ll want to come back in June. Hollywood is my idea of heaven.” Wants to Marry. “Are the girls in Hollywood angels?” I want to know. "So far I’ve only seen one—Joan Craw ford.” replied Nype. Joan, movieland’s reigning glamour queen, gave Russell the night-club treatment on their first date, dirmei* at Romanoff’s then Ciro’s and Mocambo. “Within the next year I want to be married. I want two children,” Nype said. “Do you have any one in mind?” “No, but I’m looking,” he re plied, adding, “I tried all last year to get married but she wouldn’t have me. I can’t tell you her name.” In New York, Nype lives in a three-room bachelor apartment. Here, he is housed in the palatial Beverly Hills Hotel. “But I’m a home-boy type. I’d much rather be home than in a night club. That’s why I want to marry, and I love children.” Nype is a good matrimonial prospect. He gets a , small fortune for his picture. He’s ’ 27 and, with his California tan, he looks very healthy. Three Leading Ladies.. “In my movie, I have three lead ing ladies, Ruth Roman, Denise Darcel and Nina Foch,” he re lated. “I’ve met only Denise so far. That was when they rushed me here for two hours from New COMPLETELY AIR CONDITIONED OLNEY, Opens Twes. Eve.. Sept. } 1 CAROL BRUCE in "Pal Joey" a musical comedy with Bab Fosaa Evei. at 8:40 p.m. SI.BO, $2.40. $3. Mats. Sat. and Sun at 2:40 p.m. $1.20, SI.BO. No Monday performance. Phone: Ashton 8888. Washlncton Bax Office: Jordan's, 13th and G Sts. N.W. Phane: RE. 1313. Lait timet toiavl Leo Q. Carroll in "Home At Seven" Reservations Now Available! |j Twenty-first Season 1951-52 National Symphony Orchestra HOWARD MITCHELL, Conductor Presenting the complete Beethoven Concerto Cycle for the first time in Washington and featuring the superb artistry of such world renowned concert personalities as: PIATIGORSKY HEIFETZ STOKOWSKI BEECHAM MUNSEL FIRKUNSY DORFMANN BOLET _ A .. AM KAPELL WILD FILAR WATKINS GOLDBERG LYWEN MEYERS MARTIN Twa Series—Wednesday Evenlnn—lo concerts each. Constitution Hall. 3 Prices: Odd ar Even Series (10 concerts) from 58.40 to $30.00. Bath Series (20 concerts) from 51A.40 to $55.00 Seasen tickets now an sale—Kitt's. 1330 G Street N.W. Telephone NAtioUal 7332. A telephone call will reserve your skats today. Mall orders accepted. EE—^■ f LATE SHOW TONHSNT! ■■■■■■■■■■■■■■ COMPLETE SMO*I2CO>- •** *«««N. 08k EPWfea^q UtTI SHOW YwAilhTt}-. MRlk IROADWAY VENUS BURLESQUE MW -ON tCMSN I laJERDER I v - InaBBH 4 m .. SH.omntn York five weeks ago. A car met me. I was whisked to the hotel and given a beautiful room. I met Denise at the pool, made a date to have dinner with her in New York for the next night. I borrowed a swimming suit, whipped down to the pool, had a swim, lunched after with MGM producers and then flew back to New York, with sleeper berth again. That’s what I love about Hollywood—no expense is spared.” What Nype doesn’t like about Hollywood: “In New York I never pay a check at the Stork Club. In Hollywood I have to pay. Ethel Merman and I went every night to the Stork Club for three weeks before I came here, a sort of good by to New York. On the last night, backstage at the show. Ethel gave a party, made a speech, looked at me sadly and said, ‘He’ll never be the same.’ ” May Film “Madam.” Merman and Nype may both do “Call Me Madam” as a film at 20th Century-Fox next year. Ethel was out here before but very much miscast in her pictures. “Madam” would put her right with the fans. “I’m in training for my MGM picture,” Nype revealed. “I’m go ing to bed early and getting up early.” “What time?” I asked. “Twelve midnight and wakjng up at 8.” Midnight is very late for Hollywopdians- “In New York I didn’t go to bed until 3 in the morning and I’d wake up at II am.,” he added. “The differ ence in time works out the same for Hollywoood.” Because of his tan, Nype won’t have to use makeup for his film. "Which is fine because I didn’t use makeup on the stage.” He will, of course, keep the crew-cut and wear his glasses. Crouse Responsible. “How come you wear glasses and a crew-cut on the stage?” I ask. “I”m very shortsighted,” ex -1 plained Russell, “and I used to ' wear contact lenses when I did i night clubs. When I started re hearsing for ‘Madam,* I wore con tact lenses and had very thick hair. I was the ugliest kid in town, but I thought I had to be glamorous. After three weeks of rehearsing,' I said to heck with the contact lenses. It was such a bore taking them out and putting them in secretly. I put my glasses on and Russell Crouse said, T like those glasses, they give you character. Keep ’em on.’ Two days before we opened in New Haven, he told me to cut off my hair. It was a good hunch, in a college town with all the crew cuts at Yale.” There are no other members of Russell’s family in show busi ness. His father is with the Edi son Co. in Illinois. “I was born in Zion, HI.” There are three sisters. His ambition: “If only I could do a picture with Judy Garland” (Released by North American Newspaper Alliance.) An Actress Talks About Marriage Joan Caulf ield Says All Women Need a Boss By Lawrence Perry NEW YORK. Lovely and accomplished Joan Caulfield talks about' marriage. A wife now, for a year-and-a-half, she has definite views about the successful conduct of domesticity. “I never was even slightly tempted to marry an actor,” Joan said. "You see, I never wanted to be a competitor in a race to the mirror.” So she married a director, Frank Ross, one of that large com pany of Princeton men who have contributed signally to the stage and screen. ' . Who’s the boss? “Frank is,” Joan said promptly, “just as he should be. All women need a boss, especially professional women. When they don’t have a master— well, there is where all the marital trouble starts. Os course, a girl should pick a husband qualified to rule.” "Is that so easy?” asked a sister star, Marjorie Reynolds, seated at table with us. “We won’t go into that," Joan replied. Second Thought. As with most female philoso phers, Joan had a second thought. She named an exception which involved two of her most Intimate friends, LaTalne Day and Leo Durocher, boss of the New York Giants, as you may know. - “Laraine is surely the boss there,” she said. "What she has done for Leo all friends of that fine little family know. Leo knows it better than any one—and ad mits it. Oh, yes, Leo is tamed, and he is the sweetest thing in the home, lovely with Laraine— and obedient—and adorable in playing with their two adopted children. “When Frank and I dine with them,” Joan continued, “if the Giants have played that afternoon and the Dodgers at night, we go to the Durocher living room right after dinner, and Leo entertains us by analyzing all that happens at Ebbets Reid. Yes, he is a sweet guy, that Leo.” Incidentally Joan, is soon to appear on the screen in a play palled “The Lady Says No.” Hecklers Thwarted. As you know if you roam about metropolitan night clubs, enter tainers therein are fair game for hecklers who have reached a stage of libation in which they develop a conviction they are funnier and wittier than the comedians and comediennes themselves. “But,” says that inimitable com ic, Peter Lind Hayes—who has Today's Schedules Screen. AMBASSADOR—“Peking Ex press": 1:25, 3:25, 5:30, 7:30 and 9:35 pin. CAPITOL—"CattIe Drive”: 1:40.4:25,7:10 and 9:55 p.m. COLUMBIA—“The Guy Who Came Back”: 1:35, 3:40, 5:45, 7:55 add 9:55 p.m. DUPONT—“Oliver Twist”: 1. 2:50, 4:45, 6:35, 8:35 and 10:35 p.m. KEITH’S "Plying Leather necks”: 1:10, 3:20, 5:25, 7:35 and 9:40 p.m. LITTLE—“Red Shoes”: 1:50, 4:25, 6:50 and 9:15 pjn. METRO POLITAN—"That's My Boy”: 1:35, 3:30, 5:30, 7:40 and 9:45 p.m. NATIONAL—“The Great Caruso”: 1:20, 3:25, 5:30, 7:35 and 9:40 p.m. PALACE "The People Against O’Hara”: 1:10, 3:20,5:30,7:40 and 9:50 p.m. P I X “lnternational Bur lesque”: 2:10, 4:50, 7:35 and 10:15 pjn. PLAYHOUSE —“Bright Vic tory”: 1:10, 3:20, 5:25, 7:35 and 9:50 p.m. PLAZA—"La Ronde”: 1, 2:35, 4:15, 5:50, 7:30„ 9:10 and 10:50 p.m. TRANS-LUX—“The Prowler”: 1, 2:45, 4:35, 6:20, 8:05 and 9:55 p.m. WARNER—“Peking Express”: 1135, 3:35, 5:40, 7:40 and 9:45 pjn. VAN HEFLIN and EVELYN KEYES tnr mSM VWWHi! Open ' P.M, ltth at H N.W. J lFW"Ther« nwer has been ;< I msjj ; I ]j m! I) TIONWCOIOI \ j , s aissoho«tios!o™™"™™T| ] ? Soc Rath-, LITTLE 008 ZTH XT. AT F MX IIZS 7th Big Week ‘LA RONDE* •A SAGA OF AMOUR* Cermety ■ Ccmln) star sis Roeie PLAZA^ WfW VQ>K AVI. At 14TM *T. *Jg Bf 'U Ik”'" mmmm MSKMSSm; ? 9Hm m - i || : wt 1 ipi§p. i dk ijßpM f 1 -* THE MOOD IS MUSICAL—CaroI Bruce, who has appeared in a number of stage and screen musicals, will be the star of a revived one, “Pal Joey," when it opens a week’s stay at the Olney Tuesday night. suffered as much as any enter tianer—"l am never bothered any more by these humorous tosspots. How and why? Bimply by crowd ing my act with unceasing noise, instrumental and vocal. Keep the uproar going from start to finish and the soused funnies never have time to think up wisecracks. I got the idea from Jimmy Durante when I caught his act one night at the Copa.” Legs Everywhere. June Campany, England’s most famous model, is in town mod eling, of course and we caught her between showings at a pleas ant midtown eaterie. She has not felt strange at all in her job in an alien land. Frocks speak an international language, die says. We asked her what about legs? Aren’t they stressed here more than abroad? “I find,” June smiled, “that legs are stressed everywhere.” Chorus Girls Strange as it may seem, all chorus girls don’t as movies would have us believe marry millionaires or indulge in all sorts of thrilling acts that make head lines. We discovered this melancholy fact during a backstage visit to “Gentlemen Prefer Blonds,” which is now winding up its sensational New York run, before taking off on the road. Os the 11 wardrobe women en gaged with that company, 10 in their glamorous prime were chorines, among them Ruth Jung, who shone in the chorus of the musical, “Have a Heart”; Ida Stanton, a “Tiller Girl,” appear ing in “Louis XIV” and a lot of Ziegfeld shows; Verne Howland, with Weber and Fields shows; Nettie Smith, in “Bringing Up Father,” and other hits, and so forth and so forth. The footlights know them no ETRSBEfWJIPJIjE TODAY AND TOMORROW! JaNePwEIL ‘ FIB El ItoHeeiu fIHDVS mthlMa’ VERA-EIIEN • ARLENE DAHL £2 <Aj£l*Z~*r THREE unuG with DEBBIE REYNOLDS IVftDIKT VJ* CARLTON CARPENTER Ilf/flUtf DOORS OPEN ■ifflfMiAMg 12:30 P.M. f JOHN WAYNE JWffjMKdf RYAN MmlmlML WMllEtlL SPECIAL PERFORMANCE! iS **k*ffiV J ft t J H *J 1 k BBflfljafg ’£ ontcrmM “ftvrouATMERNECKS" r ■■ - ■" w im * **•*'•• Mslarei mARLENE DAHL I L A Singing Star as “Thr« Little War*" / " CCI " c V /AFTER THE SHOW \ / BETTY GRABLE I H CATTLE DRIVE! M “L c *" r , I **l • y fecAnicotor \ tin d’hpciv i I LJ -■ “*“t kuM . K "TheDEODLE "&UN 1 t2oaindtoHMPA m \ « david & TSST joHh \ BATHSHEBA" m JP “THE BUY WHO CAMPNABN^ more. But they all relive memo ’ ries of a glamorous past In the . backstage atmosphere at the ' Ziegfeld Theater with all Its odors , of grease paint, frou-frou and the > hurry-skurry of a febrile musical, t And they love it all. We asked Frank Albertson of [ the Booth Tarklngton musical, : "Seventeen,” If, as the play runs , along, he doesn’t get a bit tired of being the father of that un predictable, lovelorn youth, "Wil , lie Baxter.” “No,” said the actor, "it's sort ; of a relief to have only one pa ■ temal headache; I have five kids of my own, at home.” i (Released by North American Newspaper 1 Alliance.) i ■PJamSSS3 »I Asr I W FALL SUBSCRIPTION I SERIES NOW ON SALE! I Arena State Reopenz Oct. 2 with 1 the ant in ita aertea as S plays > Shakespeare's JULIUS CAESAR . Serin SB.SO. Eyes. Tun. thru Sun. $7.50, Sat. Mat. Call DI. 8592 far reaervatianz and farther Infarmatian, ar mall In ardart. ' Hippodrome, Ninth fir Naw York i i^NATIONAL f « >tTwttH HHt k 14W. I . Hettestangeriia deg ; fig# : THE GREAT CARUSO Ln-mm^nalaiiSSSMMMM.n.i