The Brooklyn Daily Eagle from Brooklyn, New York • Page 60

4 BROOKLYN DAILY EAGLE, NEW YORK, SUNDAY, OCTOBER 30, 1932 When Playwright and Player Agree More News of the eek in the Film 'DINNER AT EIGHT Sidney Howard Wrote His New Play Especially for Pauline Lord, Then Finished It in Rehearsals George Raft Rises to Movie1 Fame to His Own Amazement that "acted," and that to him the actor was the most Important element in the theater. The dramatist's task, he said, was to serve to Vermont te finish the play, he wrote her, telling her how it was coming along, repeating that the leading role was an ideal one for her, and finishing, "I know you childhood on the west side was quite normal, although the family budget was meager. At an early age. approximately four or five, he Indicated that he could tap dance and use his fists at the same time. This was something for 10 to Ave.

to contemplate. It was quite sufficient that one could use his fists, but when one could entertain at the same time that was really something. So Raft grew up to be not only a pugilist but a dancer. He was more successful in the latter role. Looking like Valentino and dancing like George Raft, whom the movie public discovered in "Scarface," is probably the most amazed star in Hollywood.

This week he is being starred in "Night After Night" at the Brooklyn Paramount. Two years ago he was "hoofing" in a Hollywood night club. This is not a success story because Raft really did not have a tough time getting ahead in pictures. Inherently, he is a "type." That's why he attracted so much attention in "Scarface." In that opus glorifying the machine gun, Raft's histrionic contribution con-sisted of flipping a coin in a cool, indifferent manner. It must be said for him that no hero ever died more valiantly than he did in "Scarface." MAURICE George White, he had no difficulty actors, and the real merit of any play lay in the depth and scope of its acting parts far more than in its story or writing or idea content.

"Sidney Howard." says Pauline Lord, "is essentially a man of the theater. In addition to the other, vital, more indefinable and indescribable qualities, he has at his command a perfect technique, a superb theatrical craftsmanship. Take, for instance, the extraordinary second act curtain of 'They Knew What They and the way In which it is built into the play. "He comes to grips with his subject as few playwrights seem to do. That is one of the differences between Just a plain story-teller, and a dramatist.

And he never points a moral, he never stands pointing the way to Heaven like a signpost. But the meaning is there, always, if you want to look at it. "You know," finished Miss Lord, "I was a little afraid when he went to Hollywood and stayed there so long that he might stay too long. won't answer this, but I wish you would." So she sent him a long telegram, and, as the story goes, they lived happily ever after, he finishing the play in Vermont, and she reading it, act by act, in New York. "As to Mr.

Howard's writing this play for me," says Miss Lord, "He says that is what he did, and Judg ing irom tne nature or the part, perhaps it is so. But I find it terri- bly difficult to believe authors when they say that. Because some years ago a woman sent me a play she nad written, with a letter that said 'I've been seven years at this play, writing it for "I began to read It with great interest; I was really touched and impressed. I reached the fourth page and there I found another letter that had been sent to another actress, who had carelessly left it there. The note to the other actress said that the play had been written expressly for her.

The seven years of hard work were mentioned, too." if I msmm if ySmX0iU LILLIAN GISII gelling a nice salary iu uiuae uaya when night clubs paid nice salaries. He danced his way to Hollywood and when Howard Hughes was casting for "Scarface," Baft was picked SCHWARTZ for one of those "nicer" gangster parts. Considering that Raft has had no If -X ft 1 ftS ti: Conway Tearle, who playt thm movie actor in the new hit at the Mutic Box, liiilllSt mm iillllllp, -slflliiliif llllipl si j- Js "Sv itgp. i Note to be seen at the Yiddish Art Theater in "Yoshe Kalb." formal education in the matter of 1 the drama, it inight be feared that his career will be circumscribed to the "type" playing. But those working with him believe that, in addition to his propensity for portraying parts, he has a natural sense of restraint and learns the mechanical essentials of acting very quickly.

He is reputed to be one of the most conscientious players on the Paramount lot. PAULINE LORD, who appears In Sidney Howard's comedy, "The Late Christopher Bean," which Gilbert Miller presents tomorrow night at Henry Miller's Theater, grew up in the theater, first as a spectator, and then to the present dav as both spectator and actress. When her parents moved to San from the San Joaquin where she was born, Pauline L'j went to the theater every afternon. In San Francisco weekly allowance was 25 cents, price of the cheapest seat at t. 3 old Alcazar Theater, so Pauline waited a long distance each Saturday from home to the theater and b.k asain, and as for candy money, for which the 25 cents were originally intended she decided she didn't really like candy anyway.

Once, during vacation time, she begged a little part from the manager of the Alcazar Theater and soon had another tiny part. Nat Goodwin saw her In one of these, and after the performance called out to her the now famous sentence. "Burn a little oil, young lady!" He also told her to ask for him if she ever came to New York and he would give her a part. Naturally, when the necessary parental permission had finally been won, Pauline Lord came to New York to get the part. Nat Goodwin did engage her in a road company, but in New Orleans she nas fired.

She went back to New York, appeared in a few more plays, then decided she had been away from home long enough, and went back to California. But when Pauline Lord went upon the stage it was for good. She returned to New York. This time Arthur Hopkins put her, the only woman in the cast, Into "The Deluge," and she made a distinct hit. "A Night's Lodging," and "Samson and Delilah" followed.

In each of these the critics applauded and the public came. In "Anna Christie," Eugene O'Neill's celebrated play. Miss Lord was starred. The play ran for two years, won the Pulitzer Prize, did an encr-mous and successful road tour, and was produced, with Pauline Lord still starring as Anna Christie, in London. Miss Lord was nervous about appearing in London.

She was frightened lest the audience should not like her and should hiss. Instead, audience after audience stood up and cheered and shouted, until, as one critic said, ''You could hear them in Paris." Close on "Anna Christie' came "They Knew What They Wanted," another Pulitzer Prize play, this time by Sidney Howard, and Pauline Lord was established as one of the first ladies of our stage. She will always be remembered as the Amy of that play. Mr. Howard, known for the vigor and intensity of his writing, achieved such a pitch of realism in "They Knew What They Wanted," and the actors (Miss Lord and Richard Bennett and Glenn Anders) helped to sustain that realism so well, that many stories have grown up about the play.

One evening, in the middle of the play, a telegraph messenger arrived backstage with a wire for one of the actors. Told that the dressing room was on the other side of the stage, the young man proceeded to cross over, traveling not behind the setting, but in front of it right across the Stage in full view of the audience. He was half way out in front of the audience before the stage manager realized what he was doing, and it was too late to stop him. Not seeing the audience in the darkened auditorium, the Insouciant uniformed brlnger of tidings sauntered across and disappeared on the other side. Miss Lord and Mr.

Bennett were on the stage at the time, playing one of their most intense scenes. So strong was the hold upon the audience created by the play, or the acting, or both, that the audience never noticed the intrusion. There was not a peep out of them; the play went on. Before "They Knew What They Wanted" opened, Miss Lord explained to the author, Sidney Howard, that in the second act scene where old Tony threatened to shoot her lover, Joe, she did not have enough to say. "I can't Just fill it in with a series of Oh's and Ah's," she said.

So Mr. Howard suggested that she invent lines as she felt inclined, in that scene. On the opening night Miss Lord proceeded to follow his Instructions, doing what is known as "adlibbing" in the exciting scene. Carried away by the emotion of the moment, she delivered a stream of hysterical scml-poetlc speech, which she cannot now remember. After the excitement of the first night furor had died down the play was one of the biggest hits In many seasons Sidney Howard reached her, somewhere in the backstage regions, and seizing her hand, cried, "Polly 1 You and Tolstoi!" "It was my only experience as a playwright," says Miss Lord.

Tomorrow night she appears as the star of her second Sidney Howard play. "The Late Christopher Bom" is founded on the Paris success. "Prencz Garde a la Pelnture," by Rene Fauchois, which is still a success nt the Theater des Paris. This double experience with Mr. Howard's work imparts to Miss Irrd's views on him an authenticity which makes them more Interesting than most.

"It is a great relief for any actor or actress." she says, "to work with a playwright who is as pliable, as understanding of the temperament and character of the actor as is Mr. Howard. He takes into consideration the Inclinations and qualities of the people who are acting his plays, and writes accordingly. And even rewrites accordingly. He docs not adhere to every 'and' and as though it was sacred." This is all the more sicnificant when one recalls Mr.

Howard's statement regarding actors, which he made not long ago in the preface to the published version of his play, "Lucky Sam McCarver." He said there that he believed In plays The new Camille in the revival of the old Dumas play at the ytorotco Theater, While Raft has been Identified as a bad boy in "Scarface" and "Dancers in the Dark," his roles at least manifested a tiny spark of human kindness. At least he was willing to marry the girl. So in "Night After Night" you may see him suavely extricate himself from a slightly embarrassing situation in which Wynne Gibson endeavors to "pump" him with some lead souvenirs. -Jtaft again proves that he can take it calmly. And again he proves that a bad boy may have a portion of sympathy in his make-up.

One might wonder how Raft re- tains that immobile expression, even under fire. Well, some of the boys in Hollywood have simulated stories about Raft's early environment in New York's "Hell's Kitchen," where a fellow had to learn to keep his head under any circumstances. This may be partially true. It is more likely that Raft is just one of those lucky fellows who was born with a blase spoon in his The facta reveal that his early He Is now under contract to Para' mount and he leally is quite amazed. Mr.

Howard, however, tells how, when he first read the script of "Prenez Garde a la Pelnture," the French play by Rene Fauchois, on which "The Late Christopher Bean" is founded, he saw in the comparatively small part of Ursule, the servant girl, a role for Miss Lord. In his American version of the play, therefore, Ursule is Abby, and the most important character in th play. nave oeen meteoric rises uc-fore in Hollywood but Raft's elevation seems so involuntary. At least if you talk to Raft he merely says that a few things have happened since he danced at the Parody Club. Incidentally, Mae West, another product of the New York night clubs, co-stars with him in "Night After Night." Others in the cast are Constance Cummings, Alison Skipworth and Wynne Gibsoni Peggy Cartwright in the, novel revue, "Americana" at the Shuhert Theater.

An Actor Searches in Vain Monday and Tuesday, "The Night of June 13th" and "Big City Blues;" Wednesday and Thursday, "Pack Up Your Troubles;" Friday, "Ride Him Cowboy" and "Illegal." 1 ORIENTAL Today and tomorrow, "Life Begins;" Tuesday to Thursday, "Pack Up Your Troubles" and "Blonde Venus." PITKIN Today and tomorrow, "Love Me Tonight;" Tuesday and Wednesday, "Downstairs." WILLARD Today and tomorrow, "Life Begins;" Tuesday to Thursday, "Pack Up Your and "Vanity Street." Films and Stage Attractions Enliven Week at Loew Houses A DRAMATIC film about children and divorce, entitled "Divorce in the Family," features Jackie Cooper at Loew's Metropolitan Theater this week. The picture is being presented in conjunction with a stage show in which Molly Picon, Owen Moore, the Three Keys and the Sensational Kikutas are the headliners. In "Divorce in the Family," Jackie Cooper is a tragedian and comedian both. He copes with many problems, some funny, some pathetic, in an intimate human interest story. The dramatic court sequence, the scene where the doctor gives his blood to save his stepson's life, the amusing incidents of an older brother's "puppy love," all figure Nick and Sue Are A Charming Team Not quite three years ago Sue Carol and Nick Stuart, who are appearing this 'week on the stage of the R.

K. O. Albee Theater, met in Hollywood. A few days later they were married, and they are still sweethearts. Miss Carol is a Chicago girl.

She attended Kemper Hall School at Kenosha, and after graduating went to the National Park Seminary at Washington, D. C. One of her school chums was Janet Gaynor. Miss Carol went to California for visit; looked up her old friend, who entertained in her honor. Among the other guests was Mr.

Stuart, It was apparently love at first sight, with wedding bells to follow almost Immediately. Having a picture star for a husband it seemed natural that the bride should be come interested in that business, She did. Mr. Stuart got her a screen test and she was a hit from the start. Mr.

Stuart, although a young man, is an old hand at the film game. He was working before the cameras 15 years ago. His advent into the picture business was somewhat of an accident. Nick was born in Abrud, Rumania. His father came to AmericV and settled in Salem, Ohio.

When established in a business way the family came over. Nick was then 10 years old. He graduated from the Salem schools. He went to Stevens High School in Dayton but quit after two years to go to work. He secured employment with a sport' ing goods store.

Tom Mix was one of the firm's best customers and had ordered some guns sent to the Coast for inspection. Stuart was selected to make the trip, became Infatuated with Hollywood, resigned from his position in the hardware or sporting goods line and became a movie actor. Miss Carol is a linguist. She speaks French, German, Bohemian and English. Their home is in California and as, soon as their vauaeviue tour is compietea tney wiu return to the coast.

"I have been with the Abbey The ater for 15 years. My chance came when a prominent actress was unable to fill 'an engagement in Shaw's play, 'Arms and the Being familiar with the role, I was called on to take her place. I did so and have been with the company ever since. "We are like one happy family. There are no stars or featured players.

We 'alternate in prominent parts, according to our special fitness for them. In certain plays we have leading roles and in others we play minor characters. I think it Is a very good idea, because it places the emphasis whore it belongs on the performance as a whole, rather than on the individual player. It is in keeping with Shakespeare's own belief, 'the play's the Despite the twinkle of Irish humor in her eyes, Miss Craig insists that her personal preference Is for tragic roles, because they permit a wider scope for histrionic talents. F.

J. McCormlck, who is one of the prominent actors with the Abbey Theater Irish Players now at the Martin Beck, Joined the theater in 1918 on All Fools' Day as he likes to remember. It may have been a foolish move on his part, for he was a civil servant with an assured career ahead of him, but it was no foolish day for the theater when it gave him his first part. He very quickly developed into an actor of great versatility. He is tall and handsome, with a great shock of wiry hair very difficult to control.

In poetical part he Is the Gang Fugitive announced that a movement was under way to exiraaire mm nu' California. So Bums disappeared a couple of days before Muni reached the studio. He returned East and was in touch for a time with officials of the producing company. Then he dropped out of sight once more, and his present whereabouts are unknown. So Burns and Muni have not met yet, though Muni, who is now on the stage once more in "Coun-sellor-at-Law," is hoping that the author may turn up before long for for a chat about the picture.

"It was impossible for me to play such a role as the one I had in 'I Am a Fugitive From a Chain Gang' without becoming intensely interested in the original character," said Muni the other day. "Of course I had hoped that he would be on hand at the studio while the film was actually In work. That went Irish Players of the Abbey Theater Alternate in Roles I mean that it might have had some effect upon his writing. But there is 'no indication of that. We need him so much in the theater that it would be too bad to lose him permanently to Hollywood." The rehearsal period was an excellent time to observe Mr.

Howard's methods of work. He puts the finishing touches to his play while it is in rehearsal. The script, when it arrives on the director's desk, has comparatively little "stage business" in it. Mr. Howard intentionally leaves the play a little "un-Jelled" and amorphous.

His explanation of this is that "an actor can do more with a piece of spontaneous stage business than a playwright can do in five lines. The actors, if they are any good at all, help to build a play. A playwright should listen very carefully to his actors; they can tell him much." During rehearsals Sidney Howard watches the players and carefully inserts into his script many of the little changes, repetitions and actions that find their way into the play. This, one is tempted to point out, is "theater" at its best, a composite art, with playwright, director an dactors collaborating, as it were, upon the play. Perhaps here, furthermore, is an explanation of why the critics have so often spoken of the conspicious "actabil-ity" of Sidney Howard's plays, of their great technical smoothness.

"Why, take Bernard Shaw," says Mr. Howard. "He never lets a producer change a word of his plays. They are published before stage presentation, as often as not, and must be acted verbatim. He refused to let the Theater Guild cut a single line of 'Saint The American production of 'Saint Joan' might have been a lot better if it had been ten minutes shorter.

That kind of holiness really doesn't go in the theater now any more than it did in the days of Marlowe. There aren't many playwrights today, I think, who disagree with me. You've got to do that kind of thing in an art if I may call it that that is as social and composite as the theater. I don't know how many others build their plays in rehearsal to the extent that I do, but I think most would agree with me on the principle involved." When Mr. Howard first conceived the idea of "The Late Christopher Bean," he wrote to Miss Lord at once from Hollywood to tell her about this play he was writing, in which she would have to play the leading role.

He was. he confessed, writing it with her in mind. She meant to answer his letter with a long enthusiastic one. but she kept putting it off until she should be in the right mood, and. of course, the letter was never written.

There followed other notes from him, which she also meant to answer, but by that time she felt so guilty that she did not dare to put a pen to paper. Finally, on his retirement I wrong, and when I came back to For a Chain Actors and authors seem at times to represent two distinct human breeds. All too often they fail to get along together in perfect har mony, though of course there are many conspicuous Instances to the contrary. But It Is certainly an un usual thing for an actor to cross the North American Continent with the main thought in his mind desire to meet a particular author. This unexpected event, however, recently occurred here.

The actor in the case Is Paul Muni; the author is Robert E. Burns, who wrote the book on which "I Am a Bugitive From a Chain Gang," Muni's latest picture, was founded. Burns' book, as Is well known, is based on his own life story; it is he who is really a fugitive, and, having twice es caped from the Jurisdiction of the State of Georgia, he lives in hiding, constantly in fear of being extradited and returned to the stripes and chains with which he became so painfully familiar In the past. It was owing to his status as a fugitive that Burns failed to meet Munt In California when the picture was being filmed. Burns had gone out to the Warner Brothers' studios, incognito, a few weeks before Muni's arrival to play the central role.

Every effort was made to keep his presence in Hollywood a secret; but presently one or two of the gossip, writers of the motion picture capital mentioned his name, and it was Abbeys greatest actor, and Is a noble Oedipus, a noble King Lear. in the very bad days of the Abbev Theater, when it seemed as if owing to wars and rumors of wars, the theater must close, he toured in Paddy the Next Best-Thing;" apart from that he has never been away and, beyond everything else, he wanted to visit the United States and has had recurring dreams sometimes a nightmare on the subject. I He wa born In a seaport north of Dublin, called Skerries. in this fascinating film. The picture features, In addition to Jackie Coogan, Lewis Stone, Lois Wilson, Maurice Murphy, Jean Parker, Lawrence Grant, Richard Wallace and David Newell.

"Tiger Shark," with Edward G. Robinson, is the new film offering at Loew's Valencia Theater. Real tiger sharks, elephantine tuna, killer whales and other man-eaters of the deep are seen in this exciting drama of the sea. "Tiger Shark" was adapted from the story, "Tuna," by Huston Branch. Richard Arlen and Zita Johann also are in the cast.

The stage show at the Valencia this week features Sophie Tucker, Anatole Friedland's Show Boat Revue, Marty May, June Carr and the Great Yacopls. Today and tomorrow Loew's Gates is presenting "Life Begins," featuring Loretta Young and Eric Linden, in addition to an entertaining vaudeville show. The latter includes the Three Willys, Pablo, Bob Carney and company, Douglas Stanbury and Larry Rich and company. From Tuesday to Thursday Loew's Gates will present on the stage The Andersens, Mae Francis, Lewis and Moore, Marry Burns and company. and Beth Miller and the Embassy BJ'S- The screen attraction will be Stan Laurel and Oliver Hardy in their new feature picture, "Pack Up Your Troubles I The week's programs at other Loew Theaters follow: BAY RIDGE Today to Tuesday, "Grand Wednesday and Thursday, "Horse Feathers" and "The Crusader." BEDFORD Today, "Life Monday and Tuesday, "Horse Feathers" and "Thrill of Wednesday and Thursday, "Pack Up Your Troubles." I BREVOOR ToSty, "Blonde Venus" and "This Sporting Monday and Tuesday, "Vanity Street" and Wednesday and Thursday, "The Crusader." BROADWAY Today, "Life Be Monday and Tuesday, "The 1 mik nth" ''Paniitu i Wednesday and Thursday, "Blonde Venus" and "Pack Up Your CENTURY Today to Tuesday, "Grand Hotel;" Wednesday and Thursday, "Okay, America;" Friday and Saturday, "American Madness." CONEY ISLAND Today and tomorrow, "Life Begins;" Tuesday to Thursday, "Pack Up Your Troubles." 48TH STREET Today and tomorrow, "Life Begins;" Tuesday to Thursday, "Pack Up Your Troubles" and "Red Haired Alibi." HILLSIDE Today, "Life Begins;" Monday and Tuesday, "The Night 0f June 13th" and "Vanity Street;" Wednesday and Thursday, "Pack up your Troubles" and "Blonde Venus." KAMEO "Life Begins." today; Monday and Tuesday, "Big City Blues:" Wednesday and Thursday TTn Your Troubles." KINGS-VToday and tomorrow, "Love Me Tonight:" Tuesday to Thursday, "Downstairs." ELBA Today, "Life Begins;" WHATEVER the conflicting notions of American actors may be, with the members of the Abbey Theater Irish Players at the Martin Beck Theater, artistic careers and family life go hand in hand.

In this respect May Craig, stately dramatic actress of the company, probably feels that separation from "the ould sod" most keenly, for it is her second visit away from her husband and their five children. Incidentally, the husband, Paul Fardy, although he is a well-known Dublin accountant and has also tried his hand at writing Irish plays, is an American. "He is a grand person," declares Miss Craig, with a caressing touch of brogue In her speech and a melting look in her Irish blue eyes. "That is why it has been possible for me to be a wife and mother as well as an actress at the same time. He understands my Interest In my professional work and encourages me in it.

"He was born here in the United States, of Irish parents, and we happened to meet while he was on a visit to klnfolk in Ireland. The war broke out about that time and he had to postpone his return to the States. But by the time the war was over we had been married by the priest at whose home we had first met and my husband had settled down to a business career In Dublin. I had been studying for the stage Just before that and I began my professional career about the time of my marriage. New York this time the uppermost thought in my mind was the idea that Burns would probably be somewhere in the neighborhood and we might meet and talk things over.

I hope he will still put in an appearance. What a life that poor devif has had!" "I Am a Fugitive From a Chain Gang" is now being edited and cut on the Coast, and will be released in a few weeks. Supporting Muni in the cast are Glenda Farrell, Helen Vinson, Preston Foster, David Landau, Sally Blane, Noel Francis and numerous others. The picture, directed by Mervyn LeRoy, is promised by its producers as an exceptionally vivid and realistic portrayal of the life of a man who, inveigled into complicity in the theft of a few dollars, Shas endured years of physical and mental suffering. When Robert E.

Burns sees the picture it will not be amid the flash- light glories of a Broadway pre' miere. He will steal into some neighborhood theater, like any other naving customer, to see his own tragic history enacted on tht sfrrn. For -'Mi a fugitive..