Evening Courier from Camden, New Jersey • 4

Four COURIER-POST, CAMDEN, N. SATURDAY, DECEMBER 16, 1933 'DIVINE MOMENT' AND 'NO MORE LADIES' MAKE BOW NEXT WEEK- The Local Stage's Christmas Stars 3 ENGLISH ACTORS The Stage By James M. O'Neill fc" Prospectus The Screen's Moral Standards Come Under the Blue hagle; Peggy Fears Actress Manager "DESIDES' assuming control of wa. nnMhor nf wrV? i.it irN I- aK fix 'Divine MomentVand 'No More Ladies' Open Next 'Hold Your Horses' Due For Christmas rTto SSn55n fnd Wtn0t' itV'i, direct supervision IS. It Will Anrlaotrkw i ri, 6aJCKuara our morals Dy proxy, proxy being the undeTXrHnf VTTtho ne7 N.K.A., code for motion pictures, you find eVII, Part this promise: JfTVWAS the week before Christmas and all through the house not 'a creature was stirring, not even well, you get the idea.

Here we are. in mid-theatrical season, and there won't be a moral standards the production uAhTr A inar ena tne industry pledges itself to and-shall r.e2ulatl0ns promulgated by and within the industry to legitimate theatre in Philadelphia (the third largest city in the lantt you know) next That is, not until Saturday. And the festive season to be ushered in on Dec. 25 will find only three stage offerings for your entertainment; two of them untried and the third, fortunately, sent here by New York after a moderately successful stay in that cityk With "Love Story," a result of Theatre Fare "Divine Moment." opens nex Joe Cook, Peggy Fears, and Melvyn Douglas will be seen on separate stage during Christmas week in a variety of shows. Cook's manlacomedy, "Hold Tour Horses," in which he and Harriett Hoctor are starred, will open Christmas Monday at the Forrest.

Miss Fears will produce and star in a new play, "Divine Moment," opening next Saturday at the Broad. Douglas, returning to the stage after recent screen successes, will appear in "So More Ladles," opening next Saturday -at the Chestnut. i -a-r- A i if Thumb-Nail Sketches Frances Upton and Her Hector, An English Actor of 15 American Plays 1 Humble Beginning; Louis York Liberty Theatre. In "Lady Do" she had a more sizable assign' ment, but this one didn't do at all. Then in "Talk About Girls," a musical comedy that proved to have almost nothing to talk she played opposite Andrew TombeS.

Reviewers noticed her, so did Eddie Cantor, and presently she was 'signing with Mr. Ziegfeld to-be a foil to Mr. Cantor In the next "Follies" last year's. So successfully did she perform her chores in this! that she drew the ingenue assignment in "Whoopee." Another transplanted English mummer will be an important member of an American play when the new A. E.

Thomas comedy, "No More Ladies" opens at the Chestnut Dec. 23. Louis Hector was born and educated in England and his early talents being markedly dramatic" he allowed himself to be carried onstage at the age of 3 in a typically Victorian play in which the new heir of the house was hidden behind a mass of swaddling clothes and discreetly unveiled, but not tool unveiled, to the audience. Hector made his first American appearance in .1920. Since that! time he has appeared in something like 15 Broadway productions, including among others, Road to Rome," "Red Planet," that much praised but short-lived dramatic offering ot last season, "The Squaw Man," which William Faversham made famous and which served to introduce the talents of young Junior Durktn 'to the stage; "Arms and the Man," "The Rotters" with Raymond Hitchcock, and several others of considerable note.

With Jane Cowl he appeared in "Romeo and Juliet" and appeared in this hardy perennial for no less than 825 performances which if not a world's record comes to being one. close old house; Clark Gable off fori San Diego to take a look at the four race horses he bought; Michael Farmer joining Douglas Fairbanks at St. Moritz for a skiing expedition. I Dick Powell vacationing at Arrowhead Spriiigs; That's all today. See you Monday.

WILL HEAD TALKIE Alice White Plays Lead in 'A Very Honorable Guy' for Warners CHATTER OF HOLLYWOOD By LOUELLA PARSONS Motion Picture Editor, Universal Service Los Angeles, Dec. 16. A big splash in the puddle of 1934 -will be Carl Laemmle's ambitious production of "The Golem." Flayed on the stage all over the world in Yiddish and translated in other languages, this Frankenstein story which was also brought out as a novel, and as a silent picture in German, has had a circulation. Sounds as if no one else but Boris Karloff could play the title role, but Lhere's the surprise. Three actors from England who have played in "The Golem" for years will head the all-star cast with Karl Freund, cameraman in the German version, named as director.

There's something about Madge Evans that suggests the modern American heroine. More than any actress since Joan Crawford typified the American girl has Miss Evans seemed to fit into that character. That, is why other film producers continue to want to borrow her. She is now on the Fox lot, borrowed from M.G.M., for the lead in "Fox Follies" which Eddie Sutherland, once again free from matrimonial complications, and in circulation, di rects. Never, in Alice White's wildest dreams a few years ago did she hope to -be signed at Warner Brothers.

Alice started with Warners and made most of her successes there. Then came trouble and she left, with the feeling on both sides, that she might make other pictures but never at the Burbank studios. Time heals everything and Alice and Warner Brothers are on the same old pleasant footing once again. She plays the lead opposite Joe E. Brown in "A Very Honorable Guy." In fact, this will be her third Warner Brothers' picture within the last year.

Chatter in Hollywood: The prize line of the whole George Raft-Barney Glazer battle is credited to one of Raft's ex-prize fighting cronies. Everyone on the Paramount lot had been warned against giving any comments to the press on the fight. The ex-pugilist pal is also a Raft bodyguard and, when one of the newspaper boys asked him about the fight, he said in typical fight lingo, "Well, Georgie was in good shape." That excellent newspaper man, Nat Ferber, wa3 on the same train with Betty Compson and Irving Weinberg when they were married on the station platform at Albuquerque. Ferber wired, to say that as the cere-morfy was concluded every other lo comotive on the nearby rails clanged its bells and contributed to these unique wedding chimes. Betty wore a black suit trimmed with silver fox, wihle the groom wore the conventional blue business suit.

Friends of the newlyweds in Holly wood prepared to give them a re ception upon their arrival here. Snapshots of Hollywood collected at random: Mystery over the attrac tive brunette dining at Sardi's with Douglas Fairbanks, same afternoon Doug and Lord Donegal tea-ing at the Ambassador; Rowland Brown meeting train at the crack dawn to welcome Kathryn Carver Mertjou home from the north; Lou Holtz studying night life at the Beverly Wilshire hotel with Bi'llie Seward, pretty brunette the loudest coat of the season worn by mild mannered Johnny Mack Brown- at the Frank Borzage tea; Ramon Navarro in training with Mike Cant- CAST OF THE GOLEM "ic atittuiment oi sucn purpose." a ne is immediately tempted to shout, what about Mae West? Ana then, on second thought, one wonders if the motion picture industry's tongue isn't in its cheek. True, in an anonymous interview in the Variety a prominent movie magnate asserted that under the new code the pictures are to be as pure as the radio. But you may take that with many, many grains of salt. For if the movies are in an adolescent state compared to the legitimate theatre.the radio is suffering from an astounding case If.the movies were to adopt such drastic measures for little Kollo sake well, the prospect is rather shuddering.

Such nlms as "Little Women," "Cavalcade" and "Over the Hill" were artistic and financial successes, but a steady diet of that sort of thing would be rough on the American public's constitution. What else, be Bides cobwebs, would appear at the box-office, if John Public could get the same stuff over the ether waves free? But I have no fear that the screen will emulate the radio in puerility. In a closer perusal of that particular code item pertaining to moral standards 'reveals (at least to me, and I am not a Missourian) that it would not be amiss to look askance at this gesture of good For, if you will notice, the movie industry pledges itself to adhere to "the regulations promulgated by and within the industry." Not from outsiders, you see. Well, that brings us to the Hays organization, which, by the bye, will not be jettisoned -despite the setting up of anew group of movie people as a censorship board. It is not much of an effort to recall why the Hays organization was formed.

There had been a cumulative protest against what was deemed as unnecessary salaciousness on the screen. This criticism became so general and so heated that outside censorship appeared inevitable. But. the movie moguls dipped into their high hat and brought out a rabbit in the form of the Hays group. This organization was the industry's own censorship outfit, staving off outside interference.

It set up a list of rules, prohibiting immoral pictures or stories, undraped scenes, homosexual gags, antics in personal life which would bring unsavory publicity to the offender and to the industry as a whole, and lesser derelictions. Everything, in fact, seemed to be banned except poor pictures. This scheme plugged up the dike and ostensibly satisfied everybody. The industry held up the Hays code as a statement of its good intentions, and having thus vindicated its hotior in the eyes of an easy-going public, it set about breaking alt1 the Hays rules. One by one the various, restrictions went by the board, until there remains unbroken only the commandment about undue exposure and" out in Chicago, a nudist film is about to be shown.

I haven't heard of any widespread protect against immorality in the cinema in recent months, but such criticism either exists or is being anticipated by the movies in setting up this ne.w ethical code to point to, with the Blue Eagle stamp on it. Although ostensibly agreeing to federal supervision, the movies are really keeping censorship control to themselves. i I CAN'T see any cause for alarm. Those who have inhibitions about moral standards abide by them those who don't particularly care, certainly won't mend their ways through censorship of our motion pict ures. There has been a certain amount of salaciousness on the screen, I The definition of the term is rather vague, and suggests itself, in different degrees to different persons.

The N.R.A. movie code doesn't define its own term, "right moral standards." The manner in which some of our risque screen material is projected is am alleviating factor? the impish delivery of Mae West's broad humor takes jnuch of the sting from it; Sinclair iLewis' "Ann Vickers" and Fannie Hurst's "Back Street," to cite two examples which immediately come to mind, were treated by the screen' in a manner entirely inoffensive to almost any type of audience. In the matter of daring, the screen is lagging far behind the stage. There is scarcely any comparison. Yet there rs no clamor for reform in the theatre.

WHILE the Hays code, or lack of enforcement of this code, has permitted lasciviousness, it has performed the screen a greater benefit. This very freedom has given the screen a signal opportunity to educate the American people away from its inherent aqueamishness. History relates that the world has been given to periodical eras of mid-Victorian conduct, generally followed py reactionary freedom in morality. The post-war period has seen general trends characterized by alarmists as a debauchery. With the depression, there came another attack against this new moral code.

Whether the depression and the wave of protest are related, I for one cannot say. But the. fact remains that sensible censorship is all too seldom because censorship is not always in the hands of sensible and tolerant persons. At any rate, the movies have reached the adult stage under this freedom of moral standards. The wishy-washy films of the censorship-controlled silent era are gone, and in their place is a new type of picture that is cognizant that, after all, there is sin the world.

The pictures, at last, are grown up, and there are. those of us who do not wish to seethem set back tenyears. PEGGY FEARS has joined the exclusive clique of actress-managers. A former Follies beauty, she has been producer for the last two seasons, and a rather successful one at that. But now she is to be both producer and player.

The occasion will be Robert Hare Powel's new play, "Divine Moment," which will open at the Broad next Saturday. Miss Fears is the producer. And she will be one of the principals the cast. As a matter of further record, she will essay her first dramatic role, as prior to becoming a producer, she Was a musical comedy prima donna. Mics Fears first achieved prominence with the Ziegfeld extrava-tranzasappearing as prima donna in several editions of the Follies After her marriage, she turned producer.

Her entry into the managerial ranks with the production of "Child of. Manhattan' The following Fall she regaled local theatregoers with her production of the Jerome Kern operetta, "Music in'the Air. This was an auspicious sDonsorship: the show was one of the outstanding successes of the a year or more. Next was "Nona," in which Lenore Ulric was starred. 1 All this'was in accordance with her determination to forsake the role of an actress permanently for that of producer.

There were some flattering offers from both Broadway and Hollywood, which Miss Fears spurned. Even when she bought "Divine Moment" not so long ago, she had no thought of returning to the stage, and certainly did not dream of attempting to portray a serious role. "But with the passing of the days," she explained, "the role I have since assumed seemed to grow on me. There was something in it don't ask me to explain this that interested me and I finally resolved to do it." tJ When she was in musical comedy, rehearsal periods were dreaded "by Miss Fears. But now, Miss Fears admits, rehearsals appeal to her in her new work.

"I have found the drama fun rather than work," declared Miss Fears, in explaining away long hours of work. "So much so, that I have definitely decided on a career henceforth as an actress-producer." lt -PPea- that' 7 over the morals of our people. That of motion pictures as a form of HORSE TUMBLE LUCKY -FOR ACE CAMERAMAN A race horse on a Brooklyn track stumbled in the mud and fell right on his 100-pound jockey, little Artie Miller. When the doctors got through with him they knew and he knew he'd never ride again. And that, folks, is considered by Arthur Miller, ace Hollywood com-eraman, the luckiest break he ever got.

His latest work, "The Mad Game," comes to the Parkside Theatre tomorrow. KENTUCKY STAR MADE A VOICELESS DEBUT Una Merkel, bred in Old Keintuck', won her popularity in pictures be cause of her delightful southern ac cent. Yet her big opportunity came when she was appearing in" a New York stage play, "The Poor in which her voice was never heard In "Bombshell," which comes to the Clementon Theatre tomorrow with Jean Harlow and Lee Tracy in co- starring roles, she plays the part of Miss Harlow's snippy secretary. N. Behrman's good intentions, leaving us tonight after a four-day er ah run, the local stage will be in complete darkness until next Satur day.

On that evening, cunousiy enough, two new plays will open. One will be the previously announced "No More featuring Melvyn Douglas, at the Chestnut Street Onera House. The other will be Peggy Fears' newest production, "Divine Moment," in wnicn jaiss Fears is to essay her first dramatic role. This is for the Broad street Theatre. Christmas Monday will find Joe Cook and "Hold Your Horses" installed in the Forrest ready for business.

For January a revival of Noel Coward's "Bitter Sweet" and a return engagement of the Piccoli are definitely booked. Peggy Fears, one of the most active of our feminine producers, who delighted local playgoers with her presentation of "Muslo in the Air" two seasons ago, will bring her newest production, "Divine Moment," by Robert Hare Powell, to the Broad Saturday evening, Dec. 23. The cast- includes, besides Miss Fears, Tom Douglas, Charlotte Granville, Allen Kearns, Roy Gordon, William Ingersoll, Milly June and Royal Stout. Rowland Leigh is directing the play.

Tom Douglas, stage and screen player, came from California at the behest of Miss Fears for his role in "Divine Moment." He was featured in the movies in "The Man I Killed," "The Road to Reno" and "Sky Brides." He scored his first stage success in London, in "Young Wood- ley," which John Van Druten origi nally wrote with him in mind for the leading part. He was also seen in London in "Fata Morgana," "Seven teen" and "An American Tragedy." Rowland Leigh, who is staging the play, is best known in London as the author of two editions of "The Char-lot Review," "The Monkey Talks" and "The Jack Pot Revue." Comedy and the talents of those high in the theatrical firmament will be on view at the Chestnut Street Opera House on Saturday evening, Dec. 23, when "No" More Ladies" has Its premiere as the third play of the American theatre season, prior to its New York opening. "No More Ladies" is the first play from the facile pen of the eminently successful playwright, A. E.

Thomas, in the last few years, although his "Come Out of the Kitchen," Ruth Chatterton's most successful vehicle; "Her Husband's Wife," "Embers" and "Just Suppose," which first introduced Leslie Howard to America, are still well remembered. The story tells of philandering Sherry Warren and charming Marcia, who love each other very much and scandalize the sophisticated set to which they belong by getting married. What complications ensue as a result -of the hyper-cynical couple who marry for love is told in a trenchant and illuminating fashion by a playwright who understands his people. Prominently interested and responsible for the finished product is Harry Wagstaff Gribble, the noted stage and screen director, More Ladies" brings back to the stage Melvyn Douglas, who has been creating something of a furore in talking pictures. This iB his first stage appearance since the Belasco play, "Tonight or Lucille Watson, long one of the imost- distinguished comediennes of the theatre, Also reappears in this play Other players are Rex jO'Malley, Ruth Weston, Louis Hector.

Edward Broadley, Bradley Casts, John Brammall, Marcella Swanson and Mrs. Fitzwilliam Sargent. Joe Cook, wHo has made thousands of theatregoers laugh in past seasons at his cleverly nonsensical antics in "Rain or Shine" and "Fine and Dandy," comes to the Forrest Theatre on Christmas in the musical comedy, "Hold Your Horses," featuring Harriet Hoctor. The attraction comes to Philadelphia direct from a long and successful run at the New York Winter Garden, and after the Forrest engagement will travel to the National Theatre in Washington for one week. From there it will venture on to Chicago for another run.

"Hold Your Horses" is an entirely new type of vehicle tor Joe Cook, dealing as it does with the year of 1900, a period in New York history which perhaps contained moiesla-mor and color than any other. Mr. jCook plays the part of a horse cabby, Broadway Joe, who, after displaying some of the bewildering gagdets and contrapitions for which hi) has become Justly famous, becomes candidate for mayor of New York and rides to victory on one of the maddest platforms ever devised. In addition to Harriet Hoctor, late dancing star of "The Three Musketeers," "The Show Boat," "Simple Simon" and Earl Carroll's "Vanities," other principals in the large cast include Tom Patricola, singer and dancer who was featured in several editions of George White's "Scandals;" Inez Courtney, stage and screen star; Frances Upton, i who made a name for herself in "Whoopee" and in several editions of the "Follies;" Rex Weber, a singer and dancer who became famous for his "Brother Can You Spare a. Dime" in the Shubert production of "Americana Dave Chasen, the well known righthand man to Joe Cook, who talks for the first time on the stage; June O'Dea, clever ingenue who appeared with Lou Holtz in "You Said It" and "Of Thee I Sing;" Jerry Rogers, juvenile from "Walk a Little Faster" and "Strike Me Pink;" Dorothy Dare, popular radio singer from "Strike Me Pink" and former dancing partner of Hal Le Roy; Jack trick drummer from Ed Wynn'a "The Laugh Parade" and many others, including Harriet Hoctor's corps de ballet, beautiful show girls and 50 chorus girls.

Russell Crouse and Corey Ford wrote the book. Music and lyrics were contributed by Russell Bennett, Robert A. "Simon, Louis Alter, Arthur Swanstrom and Ben Oakland. The setting are by Russell Pater-son. The production was staged by R.

H. Burnside under the supervi- Saturday, Broad, featuring Peggy, mm Douglas and Char lotte Granville. "No More Ladien." onens Sat urday, Chestnut, featuring Mel4 vyn Douglas. i "Hold Your Horses," opens Christmas Mtmday, Forrest, featuring Joe Cook and Harriett Hoctor. i "Bitter Sweet," revival, oneni i 0 "Teatro del l'iccoll," coining sion of J.

Shubert. The dances and ensembles were directed by Bob Alton." Noel Coward's operetta, "Bider Sweet" will open a limited engagement in the Forrest Theatre, beginning Jan. Mr. Coward wrote tjhe book and; lyrics, and composed ail the musifi. This, will be his first complete musical work to be presented in America, and was the only piece of other than American origin that Florenz Ziegfeld ever produced.

A notable cast! has been assembled by the Messrs'. Shubert for this production, headed by Allan Jonjes, the young tenor who scored last season in "The Student Prince" and "Blossom Leonard Ceeleyj of "Nina Rosa" fame: Berna Deane, prima donna of "The Vagabond King" Hope Emerson, the sepisa-'f tional Amazon of Mary Starner, Clyde Kelly, Franlc Horn, Victor Casmore, Elizabeth. Crandall, Chester Herman, and others. The beautiful score has as its-, theme sorig the popular ballad' 'll'll Sec You Again." Following their stay in Hollywpod. to assist in the making of a motjion picture, tyttorio Podrecca's "Tealtra dei Piccoll'f are returning to Phlla- i delphia to IP'ay for a single weeli right after nhe New York engage ment in January.

This famous puppet theatre, with a cast of 800 puip-pet actors and 15 men and women, has traveled corrfypletely around jthe world with a repertoire that includes everything from ciriJiVS to grand opera. During their ITOaaeiphif, visit they will present familiaffleMfs and additional numbers which tlkey have not as yet shown here to com plete ineir new program. Summerville and Zasu Hilarious in' 'Love, Honqr, and Oh, Baby)' Two startling innovations are offered in the laughable "Love, Honor1 and Oh, Baby which is being shown for the first time, today at the Lyric Theatre. The Hrst is the work of Slim Sum mervllle, who co-starred with Za.14 Pitts, emerges as a dominating, fast-talking young in contrast to his roles as the easy going, bashful,) and always slouching comedian. The second is the superb direction of Eddie Buzzell, the Broadway comedian- who has turned direfctoi' Through a definite technique, hs makes the audience feel that they are Hn the screen, sharing in the fun with the players.

The story is different from anything in which that ace comic team, Summerville and Pitts, have yet appeared. It snaps and crackles and the laughs come every few seconds, making in one of their best efforts; Miss Pitts is a filing clerk who, kn get business for Summerville, her lawyer lover, tries compromising herself with a vegetarian banker, who always tries to take girls who work for him to Rochester. Wanting 'to make Rochester safe for working girls, as well as to help Summeriville she succeeds in her efforts. j. A satirical trial results in" "Which cast as an arch jllar, proves that all his enemies are (liars and leaves the irnpression that lie is a truthful man.

1 Universal obtained, the service's of Donald Meek to play the role Which he created on Broadway. Also in the cast are Lucille Gleason, Vrree Teasdale, George Barbier, Putnell Pratt, and Adrienne Dore. For those who like satires with broad crack' ling dialogue, this one is reborn mended. DAWN DE LEES HEADS BIJOU PRESENTATION Commencing with a regular matinee Monday, the Bijou Theatre presents a new show featuring Dawn DeLecs, Although I the past few weeks have brought to this a shows of anj outstanding character, this particular one proniiscs to be even hioi' n.t a) i' n-ing than its predecessors, With such able -jfun-' makers as Harry Harrigan a Billy Hagen the comedy, and Wth such a gjifted traleht-man a Dawn De Lw Lew Petel in their support, this show has one or ihe best combinations in the lesque profession. The Bijou Theatre' wishes to bur- talie this opportunity to Inform ita pfilrons that on Sunday mld-nlte, December 24, they will offer a.

gala midKnite performance with new novelties, a new cast, new scenery, wardrobe and costumes. Scats will be reserved and are now on sale. SlClliSi CRT SI LIC I- -JMSlh. COLLEGE MUSICAL TALKIE Buster Crabbe and Mary Carlisle Featured in 'Sigma Chi' College faculties to the contrary, the flirtatious co-ed is a necessary evil. Campus life would be as dull as a radio announcer's advertising talk without her.

Not only is she the life of every party, she scatters in fectious gayety wherever she goes and typifies youth, romance and feminine charm even to the grinds Grouchy professors may frown upon her but secretly they ad mire her colorful personality and chuckle at her antics. Instinctively a heart-breaker, she usually plays square, and manages to keep the friendship of her ex-suitors, even after she has "got her man" and gone merrily on her way. A typical example of one of these modern charmers is to be found in "Sweetheart of Sigma Chi," which comes to the Broadway Theatre to morrow. Vivian is her name, and she lives up to the traditions of her kind by collecting fraternity pins with the same avidity that the first Americans collected scalps. Loved by most of the Sigma Chis, Vivian finds her man among them, but jilts him unceremoniously when the occasion presents itself.

Everything i3 settled satisfactorily, however, ata the big crew race on homecoming week when Bob North, the favored man, proves himself a champion oarsman in one of the most thrilling races ever screened. Mary Carlisle, heroine of "College Humor" impersonates the irrepressible Vivian in "Sweetheart of Sigma Chi," and Buster Crabbe, ex-college athlete, and one time Olympic champion, plays opposite her. The rest of the cast includes such well known names as Charles Starrett, Florence Lake, Sally Starr, Eddie Tamblyn, Tommy Dugan, Grady Sutton and Major Goodsell, famous crew coach. An added attraction is Ted Fio-Rito with his orchestra and eight of his famous entertainers. Another one of those plays satirizing radio advertising is on the way.

It is "Bigger and Better," by Pierce Johns and John S. Williams, 'now in preparation for a January opening by Raymond Golden. Charles Halton, Kathryn Givney and Cesar Romero are mentioned for the cast. -ioaaw Reneice Rehan the learl of "Tobacco Road," a play of the Georgia back country. complications, amusing people, and hilarious lines.

BROADWAY'S rather acute scarcity of musical shows has been relieved to a very slight degree by the arrival of Lew Leslie's perennial "Blackbirds." Like most Negro "revues, it gives the impression of being half a dozen Harlem night club floor shows thrown together on one stage. It also has the very able and personable Bill Robinson in his tap routines. The hoofing and singing is fast and furious, and tends to leave the customers, rather than the performers, a. little exhausted. The best new number is a lament called ff.

Just Couldn't Take it y. I iif I wmK v- Plays About Little Known Americans Frances Upton, one of the Im portant principals in Joe Cook's musical comedy, "Hold Your Horses," is one actress whfo doesn't mind making public her hilmble beginning; she is, indeed, inclined to boast of it. The daughter of Detective Ser geant Frank Upton, for many years connected with the bureau; of missing persons, Frances Uptjon, after her high school days, went to business college. Her first job was in the music department oft a large store. But she wanted to be a dancer; a good part of her wages was spent on dancing lessons.

Eventually she was picked to dance, at a benefit for a hospital. Jubilating with the girls in her de partment over her chance to shine in a big affair uptown, New York, where she might even be noticed by Broadway managers, she Was show ing them how high she dould kick when a department head Walked in. This staid and sober gentleman could ot countenance such conduct. He fired Miss Upton, gently, but finally. She is strit grateful to him.

She. danced for the Junior League, New York. The late Julian Mitchell picked her out and told her, "any time you want a job on Broadway, come to me." Eventually, ithrough friend, she reached Harlem Thompson, the lyric writer, now in Hollywood but then about break out on Broadway with "Little Jessie James." He gave Miss Upton a chance in the chorus. Of 50 girls who tried out, the stage director kept only two, our heroine and Luciall Mendez. He saw a real talent in these two and promised them understudy assignments later.

They got those in "My Girl." Broadway next saw Miss Upton in a small but not so unimportant roie in "Twinkle, Twinkle," at the New well, husky who trained Max Baer; Sylvia Fox and Charles Beahan celebrated their first wedding anniver sary by getting married again; ceremony was held at Church of the Flowers; Austin Parker, Hopkins' ex, and Mrs. Keene were attendants; the Behans have moved into Miriam Hopkins' Hope Williams out of the Social Register, into the cast of "All Good Americans." tually wrecks. All this, and a good deal more that doesnt' look nice in print, elicits only a few droll comments from Jeeter. But he is stirred to the depths of his drab soul when some bankers, threaten to evict him and his wallowing kin from the strip cf land which has belonged to the Lesters for many rapid generations. Aside from some desultory trading in daughters, Jeeter'a only provident activities are looting his; neighbor's bins and cupboards.

Pearl (Miss Reneice Rehan) finally runs away from her husband. And Dude runs over his mother with the She dies, without the new dress, but not until she has pre. vente. Jeeter from returning, their daughter to the man she hates. At rea i iw" 1 1 1 By PAXIL HARRISON NEA Service Staff Correspondent NEW YORK, Dec.

16. Some of the authors who are always on the alert for strange goings-on have returned to Broadway with plays about two remote colonies of Americans. One of these is in the poverty-ridden back country of Georgia, a region; previously explored' by Erskine Caldwell and reported on in a novel called "Tobacco Road." The other is oh the Left Bank in Paris, a gay little band of expatriates who eke out a living by various means and wonder, half-caring, whether they'll ever, see their mother country again. The morals of neither group are better than they should be. And some of the things they say would sound perfectly scandalous to a missionary sent among them.

But there's a lot of difference between the two plays. "All Good Americans" is a sprightly little' comedy of the Left Bank. "Tobacco Road," as it has been adapted for the stage by Jack Kirkland, is giving Broadway the first twinges of repulsive shudders which have touched the callous old street in a long time. jC UmOBACCO ROAD" makes the Russian writers about squalor and misery look like a bunch of amateurs. It goes in for death, poverty, lust and deformity with ap outspoken thoroughness.

To begin with, there is Jester Lester, a shiftless reprobate who lives with his filthy brood in a forlorn shack on a barren little farm barren because Jeeter not get credit to buy anything to plant. His wife is a slattern with but one ambition to' get a dress to die and be buried in. His mother-in-law is a silent crone who finally totters out into a field-fire to die. Jeeter allows that he must' go out and have a look for her one of these days. One of the daughters, Ellie May, has a hare-lip, for which disfigurement her father is continually taunting her.

She spends part of her time squirming in the dust to show an avid passion for a neighbor, who is married to her sister. Legally married, that is. He acquired title to Pearl by paying Jeeter seven dollars, but now. wants his money back because she refuses to have anything to do with him. Then there's a son, Dude Lester (played by Sam Byrd), who spends his time bouncing a ball against the shanty, until a buxom and amorous female evangelist with a lurid past, comes along and abducts him.

She wins Dude by promising to buy him an 'automobile, which the-boy even- curtain time Jeeter Is dozing oh the porch, waiting for somebody else to dig his wife's grave. All this horror and cruelty! and tragedy is supposed to come under the heading of theatrical art because it is convincingly portrayed by a competent cast, and because jit is authentic in substance. Henry Hull gives a remarkable performance as Jeeter Lester, an impersonation that is a perfectly detailed study ot the limp and lecherous old farmer. But the fact remains that this is not the kind of entertainment most people want in the theatre. Why pay good money to be innoculated with a case of the jeeters? it A LL GOOD AMERICANS," a casual comedy, is notable Principally because it brings to the stage Hope the reformed society girl, and Fred Keating, the reformed magician.

Miss Williams still has her boyish bob, her bantering nonchalance and her ingratiating humor, in spite of having just been dropped from the Social Register. She also has some lines to say which should make many an Old-Lady-From-Dubuque choke on her upper plate. Mr. Keating, who was dragged from vaudeville to the stage by Tallulah Bank-head last year, proves again that he can hold audiences without yanking rabbits out of hats. The play in which these two- find themselves is something in the manner of Philip Barry, though it was actually written by Laura and S.

J. Perelman. The comparison is inevitable, but unfortunate because the play isn't up to the Barry standard. Where he made characters conceal their deepest feelings under playful conversations, the Pereimans incline more to heavy-handed gags. Anyway, the gags are plentiful and funny.

i As for the story: Julie Gable (Miss Williams) is a clever fashion designer who refuses to work for big money and big people because she can't endure their gushing artlflcali-ties. For years she has been ia love with Pat Wells (Mr. Keating), a lazy author who makes a faintly unscrupulous living by taking visiting suckers on tours of Paris. For the sake of security he finally decides to marry a silly. American girli with four million dollars.

For pretty imucb the same reason Julie becomes engaged to a dull young spendthrift over Jfrom New York. At the end, as was perfectly evident from the beginning, Julie and Pat give up their ideas of luxury and decide to marry and remain in Paris. Through this simple tale run a lot of amusing CHARITY BALL PLANNED WITHOUT FORMAL BIDS Salem, Dec. 16. No formal invitations are being extended for the nual Charity Ball to be held in the National Guard Armory on December 26, but B.

Reed Pancoast today mailed 25o' letters to former patrons asking them to serve as members of an informal committee on tickets. Pancoast announced that only a few boxes remain to be disposed of and that applications should be made to him. Mail applications for tickets 6hould be addressed to H. Norris Mangan, treasurer of the charity ball committee. Tickets may be purchased from him or from John Mc-Coubrie.

DANCE AT IXCASTON Under auspices of members and friends of the Lucaston Volunteer Fire Company No. 2, the first of a series of free dances will be held tonight in the company's headquarters, Aston and Derby avenues, Lucaston, Lindenwold borough. Music for the oancing will be furnished by Frankie's Orchestra, also of Lucaston,.