The Brooklyn Daily Eagle from Brooklyn, New York • Page 51

2 BROOKLYN DAiLY EAGLE, NEW YORK, SUNDAY, DECEMBER 3, 1935 Frivolous Impressions of Mr. Gershivin's Song and Dance Opus, 'Porgy and Bess 9 i 1 Success Story of a Labor Theater The Theater Union Tackles Economics on and off Stage HE THEATER UNION, nowTheater Union learned then that many people were ready and instantaneous success, and which I I I called for S. R. O. signs many nights I a week.

This penetrating, colorful fjt called for S. R. a week. This penetrating, colorful play about dock laborers has been seen in many parts of the country 1 well into its third season with "Mother," its latest production, comfortably ensconced at the Civic Repertory Theater, disproves rather completely the theory that, in order to put on plays, the first requisite is thousands of dollars in Mm since, for the Theater Union gladly CO-operates with groups in other cities that want to stage its plays. 1 the bank, a big-hearted angel, or anxious to volunteer their services for this type of theater.

Also actors who ordinarily receive large salaries willingly took the minimum Equity salaries to play in "Peace on Earth." Robert Keith, for example, who has been starring in "Children's Hour," was one of these. Milllcent Green, who had been in several Elmer Rice successes, was another and Miss Green is now appearing In her fourth Theater Union play. Another thing the Theater Union learned was that there was an au the backing of a motion picture con cern. This production, too, was put on at a modest cost. While other producers conceal the fact that they achieve economies in production for ever since Barniun, the theory has been that the public is attracted by fancy figures on expenses th It started with very little more than an idea and a group of en thusiastic men and women who now make up its executive board.

Its Theater Union cheerfully admits dience eager to go to plays put on by a labor theater. It learned this after the first reviews of the play Mr. Bel Geddes Experiments His'Dead End' Setting Em ploys Three Dimensions THOUGH audiences may not have realized the cause for the fascination exerted by the setting in Sidney Kingsley's play, that it tries to save money. Without such economy, it would be impossible to stage its plays at modest prices. It had early realized that economics was the rock on which so many previous adventures in staging plays of social protest had come to grief.

The production of "Stevedore" left Indicated that, according to ordinary Broadway standards, it would be far from a "hit" from the box-office point of view. It was this audience that stood behind the play in spite of the reviews, told Its friends about the play, made up theater parties, and finally put the play on such a substantial basis that it ran for fifteen weeks. Many of these people had never before been seen in a New York theater. Women with shawls over their heads, heavy-booted laborers no doubt in the minds of critics or the public that it was also staging its plays as competently and professionally as they could be done. In fact, though sometimes its plays have been criticised, its productions have invariably been praised.

In the case of "Mother," for example, its experiment In staging a new type of production has called forth favorable comment from many people who ordinarily do not consider "labor plays" important. When its second season opened Leo Perutz Has A New Drama To hich Strange Things Have Been Happening TOMORROW IS A HOLIDAY," the play by Leo Perutz and Hans Adler that John Oolden and Joseph Schildkraut are soon to produce together, promises to pro-Vide interest lor those who go to the theater. In fact, It has already become an interesting ease. One of the plays of Leo Perutz has been seen here previously, the one called "A Trip to Presberg." It had a hard time getting Into town and died very quickly after arrival. Pola Negri was star of that oae In one of Its try outs, giving it up because she couldn't remember her lines.

Thereafter two other important actresses, as well as a number of different adapters, were tried in and en It, to no avail. It was a good play (in the original German) nevertheless. The new Perutz drama has as yet had no tryouts, but ftrange things have happened to it, also. Mr. Schildkraut and Prank Reicher.

fine German director and actor of a few years ago, now in Hollywood, translated "Tomorrow Is a Holiday" from the Oerman and felt that it was a type of play that needed nothing more than translation and should be done with the crowded the theater night after night and stood outside under the marquee for hours after the play was over, excitedly discussing it. Many visitors commented on the enthusiastic participation of the office was one room, and its one paid employe received $10 a week. The idea was to present social plays from the point of view of those who work, whether at white-collar or blue-jeans jobs, and to present them at a price these people could afford to pay. This season it has lowered the prices for the best seats in the house from $1.50 to $1 for week-day shows, and Is experimenting with Sunday performances, to give those who are busy during the week a chance to visit the theater. Each one of its plays, from "Peace on Earth" to "Mother," has presented a vivid picture of problems that as a rule are never seen on the stage.

It has earned its title of the first professional labor theater in the United States. When it decided to present "Peace on Earth," its first production, the Theater Union was, of course, confronted with the usual problems of putting on a play hiring actors, getting a theater, and all the rest of It. And it went about solving these problems with hard work, enthusiasm, ingenuity and a minimum budget. For example, Albert Maltz, one of the authors of that play, sat down with a pencil and many sheets of paper, and figured out the cast so that many of the minor parts could be "doubled" that is, three or four of these were to be turned over to one actor. Getting properties and costumes became an exercise in telephoning and tact with neighborhood stores.

Getting people to, run errands became a matter of pressing even author George Sklar into service. One of the heartening things the audience in the play, and the actors with "Sailors of Cattaro," the Theater Union found that its policies had borne rich fruit. It had an audience, that, sight unseen, bought tickets for that play, and for the told of what an inspiration it was to have those eager, cheering people out front to play to. By the time "Peace on Earth" was over, there was a modest sum in the treasury for the second pray. This was "Stevedore," which scored succeeding "Black Pit," ten weeks in advance, so much faith had it developed in what the Theater Union was doing.

When "Mother" opened, more than 160 organizations Herb Williams had bought blocks of seats for the first six weeks of the play, and now those who have already seen the current play are putting in reservations for the one to follow and that without even knowing what the title is. A central idea, hard work, enthusiasm, careful budgeting, and an audience that believes in one's work is the new formula for success in the theater offered by the Theater Union. 'Dead End," at the Belasco Theater, Norman Bel Geddes, the gentleman who designed it and who therefore ought to know, believes that its power rests in a sort of third-dimensional achievement. He believes, in other words, that through the use of sound recordings and stage realism, he has amplified the locale and given it the breadth of the actual out-of-doors. Mr.

Bel Geddes' audible setting is made up of recordings obtained on city streets, so extensive that they include everything frpm the crackle of fire in an ashcan to the distant toot of a steamboat whistle. This is what the designer describes as his "third dimensional" achievement, and he Is inclined to think that the major element of realism is supplied by the audible rather than by the visual setting. The latter, however, was difficult enough to make convincing because of Its complexity, showing, as it does, the Junction of a pier that extended out into the East River, offset by tenement houses which abutted a fashionable apartment house with yacht club facilities. Most outdoor stage scenes, up to now, have been of an approximate symmetrical character, with a vista in the distance. And no matter how convincingly done, they have the earmarks of theatrical ism because of this symmetry.

Considering the manner in which this setting has been received as the maximum in realism, it is interesting to point out two conventions which are used and which have been employed previously in realistic daylight open-air scenes. One Is that the realistic scenery Is not carried off-stage on either side beyond the line of the proscenium opening. For instance, the sky. Instead of continuing all around the scene, as is usually done, is only the same width as the proscenium opening. Both sides of the stage are marked by brown velours in a purely conventional manner instead of by painted scenery.

The necessary part of this experiment is that audiences' eye stops at the point where the lours begins. Jitney Players Come To Academy Friday Hand-Picked Jury For Karen Andre A distinguished Jury is scheduled to try Karen Andre for murder at the extra performance this evening of "Night of January 16" at the Ambassador Theater for the benefit of the Stage Relief Fund. Both men and women will serve at this performance and the Jury panel in foreign touch. Since Mr. Schildkraut.

who owns it, brought It to New York for production, he has taken In Mr Golden as co-producer, though it It not what used to be considered John Golden's kind of play. And various adapters have been at work on it, Romney Brent emerging finally. Now it seems that George Kaufman, one of the best of directors, is to stage it. In the original it has been called a masterpiece of construction. What have Romney Brent and Mr.

Kaufman done to it? And what kind of play will it be on the opening night A variety of actors have been considered as possibilities for Its chief role, among them players so dissimilar as Mr. Schildkraut himself, Ralph Morgan. E. Robinson, Gene Lockhart and Al Jolson. Finally, a German actor Is to play It, Curt Bois Mr Bulnldkiaiit himself will be seen in a smaller role, having decided upon becoming a producer not to center hit activities on starring himself.

The Jitney Players, With Ethel Barrymore Colt a leading member of the company, will give two performances at the Brooklyn Academy of Music on Friday and Saturday evenings, Dec. 13 and 14. Assurance," a comedy of manners by Dion Boucicault, and "The Rivals" of Richard Brinsley Sheridan, are to be presented on Friday and Saturday evenings, respectively. The cast of players includes Ethel Barrymore Colt, John Neill. Thomas Bruce, Douglaa Rowland, John Ma-rohey, Pendleton Harrison, Barbara Benedict, Maynard Samsen.

Robert Oiler-Reich, Alice Cheney and Robert Caldwell. cludes Roland Young, Margaret Perry, Ernest Lawford, Muriel Kirk-land, Richie Ling, Sybil Bowan, Robert Garland, Franceses Bruning Margaret Wycherly and Fania Mari- noff. The regular cast will be seen in A. H. Woods' production of the Ayn Rand melodrama.

Seats are 50c to $3 without tax and the box office opens today at 1 o'clock. A nminsltiy of 4t Homr at ihf Winter Harden..