davidaulloa/AmericanStories huggingface dataset:
Evening star. [volume] (Washington, D.C.) 1854-1972, 1954-08-15
Little Old New York
The Sea Makes Loughton Sick
But ItAIso Brought Him Fame

greatest successes In "Mutiny
on the Bounty" In 1854,
"Caine Mutiny Court Martial
adds luster to his remarkable
career. this time in his ca
pacity as director. Both have
"mutiny" in the title and this
is appropriate, because Laugh
ton is a mutineer.
He is the great poseur of
the profession. Ask him
about his role of Capt.
Bligh. in "Mutiny on the
Bounty" and likely as not
he'll growl that he found it
abominable. I'm quite sure
that the contrary is true, that
he's secretly very proud of it,
but our Charles, dedicated to
acting, refuses to stop acting
when he's off stage. He would
die of chagrin if he ever gave
you the expected answer to
any question.
He's Sentimental
So Laughton huffs and puffs
angrily, invents great scowls
and black looks to conceal the
fact that he is easily the most
sensitive and sentimental of
individuals.
When Director Frank Lloyd
had worked out q deal for
his Metro production of "Mu-
tiny on the Bounty" back in
1884, the studio assured him he
could have Gable, Laughton
and Franchot Tone for his
leads. Lloyd was so delighted
with the casting that he re-
paired to the Clover Club that
night and lost a bundle at the
dice tables without suffering
too much.
The next day, he contacted
Gable. 81 read the script" said
Clark. Count me out. Frank.
It's not for me. Good luck
with it."
Then Lloyd dropped in on
Laughton. You are completely
berSerk, old man." growled
Laughton. in his most menac-
ing tones. IT hate the sea. It
makes me violently III even to
think about it. But even If /
loved the sea. wouldn't touch
that script or any lines in it.
It is quite frightful."
Franchot Tone said he'd like
to do 1t.
Lloyd is from Glasgow. Scot
land, and the Glasgow breed
(See SULLIVAN. Page E-3.)
Evening star. [volume] (Washington, D.C.) 1854-1972, 1954-08-15

Martin, the star, and Hay
ward, the producer. She's all
for televising the show, but
he is reported concerned over
the possible effect of the TV
version on the Broadway box
Office.
CHS Showers Stors
A major color enterprise at
CBS-TV will be the new
Chrysler Thursday night show.
scheduled to start on Septem-
Der 80. This will be an hour
long m Isle al extravaganza
titled Shower of Stars" one
week in every four, with an
hour-long melodrama series
titled Climax" on the other
three Thursdays.
The opening show will fea-
ture Betty Cradle, Harry
James and Mario LAMA elf he
shelves the required pound
age). This, too, will be an
original musical, produced by
Nat Perrin from a script by
Hal Kantor.
Bretaigne WinduSt is pro-
ducing the Climax" series and
he is another man getting
some impressive stellar names
on contracts. The October z
Evening star. [volume] (Washington, D.C.) 1854-1972, 1954-08-15
Toduy's Schedules
TODAY'S SCHEDULES
Stage

Stage.
ARENA-"Room Service; $3.50 pm.
CARTER BARRON ANIPHITHEATER-"Th Golden Apple;
$50 pm.
OINEY-"Heartbreak House; 2:40 and $40 pm
Screen
AMBASSADOR-King Richard and the Crusaders; l, 305.
Sis, 7:20 and 9:35 pm.
CAPTTOI.-"Gone With Wind; LOS, sos and pm.
COLONY-"The of Truth; 2:20 Ais, 610, and
9:55 pm.
CoIUMBIA-"orilla At Large; 1920 41o. and s:55
DuPoNT-"Beaues of the Night; l. 1885, 425, e:15 $40
and 10 pm
KEITHS-"The Mutiny"; 12:45 $685. $40. TAO and
9:55 pm.
ITTTLE"One of Happiness; 125. sos, 445, $780,
$40 and 9:55 pm
MacARTHUR-Turn Key Softly" 24O. 43o. 6:l5 sos
and 955 pm.
METRoPOITTAN-Kin Richard and the Crusaders" 1870.
1925, 5:35. 7:45 and 9:55 pm-
ONTARIO-Livng It Up' $780, $685. $40, TEAS and $3.50
PALACE-"Magnhcent Obsession; 1. 315, $685. 74O and
955 pm.
PLAYHOUSE-About Mrs Lesie lis, 1870, 525. 1880 and
$40 pm.
PLAzA-strange Deception: 2:4o $780, $780, $40 and
1905 pm.
-LUx-"Man With Million; LOS. $780, 4:4o 6:25.
$40 and 9:55 pm.
WARNER-'Ths Is Cinerama" $3.50. $50 and $40 pm.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1954-08-15
The Posing Show
A GoIo Adieu to The Golden Apple
Years Best Musical Hits Peck Of Deserved Popularity
In Its Amphtheuter Booking in Washington

ington. sounds livelier for its
absence. Not more difficult
to follow. It could not be
simpler. indeed, in its narra-
ton Of small-town folkways,
its picture of half-good and
half-bad women and the males
who are weak enough to be
torn between the two types.
AS it was at Troy in the days
of Helen. Ulysses. Penelope and
the others, so it is at the turn
of the goth century in Angels
Roost. This is the sum total
OF what 1.-THE Golden Apple"
has to say.
The English used by the
author of the amphitheater's
musical could not be palmer.
Its distinction and the secret
of its charm is the refresh
ing manner in which he has
shaped it. He has let it flow
to make it say something in
stead of straightjacketing
it in order to achieve merely
rhyming lines.
Have q Sample
Sample, from the lovely
Lazy Afternoon" number: IF
you hold my hand and sit
right still, you can hear the
grass as it grows"
AS employed by Librettist
SLaTouche. and set to Mr..
Moross' music. the words Of
1.-THE Golden Apple" lift the
cast members out Of the rut
in which most musical per-
formers exist. Nevertheless.
they find their work endlessly
inspiring by being less cut and
dried, which is pretty much
identical with what audiences
find it.
They could not be happier
Kaye Ballard, Washington's
Bib OSterwald, Portia Nelson
Stephen Douglas, Jack Whit
ing, Jonathan Lucas and the
others-to have been in THE
Golden Apple"
They could not be sadder
that such a distinctive and
highly honored musical runs
less than six months as against
"Oklahoma's!" more than 10
years, South Pacific's" five,
going on six.
But, they will remember
that it could not have had q
more cheerful reception than
its final booking in Washing
ton.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1954-08-15

apparently. But one thing
amphitheaters full of Washing
tonians do know is that 1.-THE
Golden Apple" is a beautifully
bright, amusing. melodic, af-
fectionately hooking musical.
Instead Of minding, they are
delighted that it is strictly a
musical, that every word in it
Is sung; that every note in
Moross' piquant score is either
sung or danced. Dull musicals
have dialogue. 1t is part of the
brightness of "The Golden
Applet that it has none.
Life In Angels Roost, Wash
Evening star. [volume] (Washington, D.C.) 1854-1972, 1954-08-15
On the AT
And Now for the 'SpectocuIors'
Both NBc and CHS Have Exte nsve Plans for Programs
T hat Will Give Color TeIevisio the Big Push

melodrama will be an adapta-
ton of Raymond Chambers
1.-THE Long Goodbye" with
Dick Powell and Teresa
Wright in leading roles. On the
following Thursday Ethel Bar
rymorey and Dennis O'Keefe
will appear in a IV version Of
Bayard Veiller's 1.-THE 18th
Chair"
In addition to special color
shows, CHS will start and
NBC will continue to rotate
the color cameras between reg.
ularly scheduled shows.
Fly in the Ointment
There is one fly in the two
networks multi-hued ONT
ment, but nobody likes to
bring it up. This is the UNI
avoidable implication which
accompanies the label, spec
tacular" or extravaganza"
applied to a program seen every
fourth week. The show seen in
that time period on the other
three weeks out Of four must
be less than spectacular or
less extravagant.
This is not the only dis
quoting note in the color pic
ture. There also is a solid lack
of unanimity among the re-
ceiver manufacturers. One
group, including RCA and
CHS, favors a comparatively
simple receiver with a compli-
Gated three-gun picture tube.
There is an opposition factor
leaning toward a simple, single
gun viewing tube, but that re-
quires complex circuits in the
set.
Philco, in the latter group,
has produced the tube, but is
not ready to produce sets until
the circuits can be simplified.
Philco officials have expressed
confidence that the. problem
will be solved.
The price reduction from
$1,000 to $495 recently an
nounced by RCA. incidentally,
means only one thing. It is not
that the price of color TV sets
is coming down. 1t is that RCA
wants to unload all of those
15-inch sets before introduce
ing its 21-inch receiver next
month.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1954-08-15
By Ed Sullivan
NEW YORK.

Loathing every ripple of any
large body of water, salt or
fresh, subject to seasickness
even if he visits an art gallery
filled with marine pictures,
Charles Laughton certainly
would be the first to admit
the ironic fact that the sea
has floated back at least two
large slices of bread in return
for his enmity.
In 1885, Laughton, con-
trolling his qusvering stomach
muscles, scored one of his
Evening star. [volume] (Washington, D.C.) 1854-1972, 1954-08-15
On the Air
By Harry Macarthur

It is not difficult to foresee
where the emphasis will be
placed during the coming tele-
vision season. Some set manu-
facturerS may hold back but so
far as CHS and NBC are con-
cerned color TV is here. Since
both networks are closely all
lied with makers of color re-
ceivers, they will be starting
in a few weeks to give color
programming the big push.
There is, of course a divi-
dend in the color plans for
owners of present monochrome
sets. In providing extraordi-
nary programs to make the
purchase of a color set a more
attractive proposition, the net
works also will be providing
extraordinary programs for
present viewers.
At NBC the plans seem not
to have changed materially
since they first were set forth
in the brief filed with the FEC
last year. Maybe they have
moved a little faster, following
the commissions approval of
the compatible color system on
December II, 1858.
Betty to Stort 1t
The first year was to be an
Introductory year for NBC.
Regular shows would be given
the tint treatment on a rotat-
ing basis. That has been done
and now the network is moving
into the next phase, the addi-
ton to the schedule of series
of Commute color spectacu-
lars"
These will be seen on Satur-
day, Sunday or Monday nights,
three weeks out Of four. The
Saturday and Sunday shows
go in alb will be produced by
Max Lehman. The 19 others.
to be seen every fourth Mon
day night, were scheduled to
be guided by Leland Hayward,
though his illness on the West
Coast may cause some changes
in plans.
NBC is holding decision on
this in allegiance for awhile,
since the first two Hayward
shows already have been rather
fully planned. Richard Whorf
probably will take over as pro-
Queer.
To launch the series of color
shows in the desired mood Of
excitement, Lehman will pre-
sent the explosive Betty Hut
ton in her TV debut on Sum
day, September IL. Miss Hut
toms vehicle will be an original
musical comedy, "SatinS and
Spurs" written by Lehman
and Billy Friedberg. It's must
cal score is being done by Jay
Livingston and Ray Evans.
who copied Motion Picture
Academy awards for Buttons
and Bows" and Mona Lisa"
Ann Sothern, Too
With his color shows separ-
ated by about two weeks. Lieb-
man will start his Saturday
schedule on September IS.
First on this list is Lady in
the Dark" the Gertrude Law
renee hit, which will have Ann
Sothern in the leading role.
The producer has an impress
sive list of stellar names slated
for subsequent "spectaculars."
Judy Holiday, Jeanmaire,
Nanette Fabray, Janet Blair.
Eileen Barton, Steve Allen.
Henry Fonda, Frank Sinatra.
Jack Buchanan and o num-
Der Of others viii be turning
UP on your TV screen.
Unlike Lehman, who Is re-
lying on a number of originals,
Hayward was planning to rest
his color cases on tested ma
terials. inspired no doubt by
the Comedy Hour" success
last season OF Anything
Goes" One planned show he
may not do Is the musical
version Of "Peter Pan" now In
San Francisco bound for
Broadway.
There seems to be o differ
ence Of opinion between Mary
Evening star. [volume] (Washington, D.C.) 1854-1972, 1954-08-15
The Passing Show
By Joy cormody


Almost from the day it was
opened five summers ago, Car
ter Barron Amphitheater has
been regarded as the perfect
landing field for a full-blown
musical direct from Broadway.
Last week, "The Golden
Apple" proved it,.
In its first Stanza here. the
musical which earned John
LaTouche and Jerome Moross
virtually all Of last seasons
blue ribbons, achieved the
popularity not even its laurels
could earn it in New York.
From opening night, when the
threat Of rain held attendance
down to a mere twice its
largest Broadway audience, it
was packed.
Rock Greek Park has never
known such massed delight
nor the sponsors of 1.-The
: Golden Apple" been so ecstat-
ically convinced that they
really had this potent an at
traction.
Strange History
Among prize musicals, "The
Golden Apple" has had per-
haps the strangest Of histories.
The majority Of reviews of its
off-Broadway opening at the
Phoenix Theater were paeans
Of praise for its brilliance, its
imaginativeness, the enchant-
ment Of its departure from the
tired pattern Of usical
drama. It made virtually q
clean sweep Of the prizes. It
was the most talked-of pro-
duction Of the 1854 season
with the exception of the
years prize play, "Teahouse of
the August Moon"
Yet when the production
closes here next Wednesday
night after 10 performances,
'The Golden Apple" will have
run less than six months
strange fate for the musical
hailed as the best and most
original since "Oklahoma!"
appeared in the spring Of
1943.
This is not only one of the
mysteries of show business,
but also the cause of a wave
of indignation that extends to
the most remote customer in
the great reaches of the am
phitheater.
Mystified Author
One Of the people most
mystified by it is Mr.. La
Touche who wrote the refresh
ing book and the sparkling
lyrics of 1.-THE Golden Apple"
To this departments question
OF how under heaven the show
could be closing, he could
only say he didn't know.
'It couldn't have pleased
more the people it did please"
he says. "Therir enthusiasm,
which Is the case of q musi-
cal always involves a genuine
affection, could not have been
greater. Everybody who liked
it liked it> enormously. But
here we are at the end Of the
road-from March to mid
August"
Mr.. LaTouche paused, re-
Elected a moment, then went
on:
Maybe it is the names of
the Observation-Disclosures, Pencil
ope. Helen (no. not Helen),
Paris. Lovey Mars, Madame
Hare. Maybe / should have
named Ulysses Joe. But, what
the heck. he is just a Joe re-
CARELESS Of what he is called.
Since I was paraphrasing a
couple of ancient legends (the
Iliad and Odyssey of Homer,
resetting them in modern times,
I felt more or less honor bound
to disclose the source of my
inspiration. This was it, an
attempt to show that the
human verities remain pretty
much the same. ! don't know"
Neither does any one else.
Evening star., 1954-04-25

without scoring. I can recall
in Smoky there was a shot
Of q horse rearing and making
q great deal Of noise. I pleaded
with the producer, Robert
Bassler. that it didn't need
music. But he insisted and so
I wrote the loudest piece of
music I could. It was so loud
and In keeping with the action
that it wasn't noticed! That
was the perfect tribute"
I asked Raksin if his craft
would picket Executive Suite"
which has no musical score at
all.
"It's MGM's privilege" he
replied. "I'll reserve Judgment
until I see the picture" He
added: II have great respect
for the producer, John House.
man. In fact, I wrote the music
for one Of his best pictures,
The Bad and the Beautiful"
Raskin has just finished the
score for the Hecht-Lancaster
film Apache" and he promises
it will be as sexy as any heard
in films. How does he do it?
With a medieval instrument
called the recorder.
Its actually obsolete" said
the composer, "but it's en-
Evening star., 1954-04-25
BY the Assoeiaisd Press
HOLLYWOOD.

IF you notice the back
ground music in q movie. then
it's not q good score"
This old saw can now be
relegated to the file Of out
dated cliches, along with what
this country needs is q good
flve-cent cigar" For years,
people in Hollywood have been
saying that a movies score
should be unnoticed to be
effective.
"Tain't true. says one Of
hlmdom's most accomplished
score makers. David Raksin.
II agree with william Wyler,
who has told me that the
music can amount to one-third
Of the effectiveness Of q
movie" he remarked. Con
sciously or unconsciously, the
movie fan is aware Of the
music in a picture. and
the emotional experience is
heightened by it. I have seen
pictures that could have been
much more successful with
more music.
"On the other hand, there
are scenes which are better
Evening star., 1954-04-25
On the Other Hand 1t Pays to Notice Musical Scores,
Says One Of HoILywoods Accomplished Score Makers

joying q comeback now. I
play 1t myself and l attend
meetings Of the recorder club
every three months; sometimes
10 people show up.
"I needed some kind Of in
strument for a love scene in
the woods with Burt Lancaster
and Jean Peters. The recorder
was perfect. It has a very sexy
sound with an outdoorsy
quality. It is also the closest
thing to the Indian stone flute,
so it fits right into the story
which concerns an unregen-
crate Indian"
Three Types Used
Film scores can fall into
three categories: Standard,
gimmick and theme.
Unfortunately. too many
of the producers are going
back to the Safe-and-sure
standard scores" explained the
composer. 'It's typical Of the
thinking in Hollywood today
going after the proven
formula"
Some gimmicks have been
used effectively. he added. He
cited the use of the either in
THE Third Man" and the
ballad in High Noon" But
the subsequent imitators have
been pretty poor, he said.
Raksin is a strong theme
man, and he has learned this
formula: when you think
you have used the theme too
many times. use it again."
THAT was proved for me in
Laura" he observed. II had
used it so many times I could
Evening star., 1954-04-25

not do it again: But Alfred
Newman. the conductor. told
me to repeat it again and he
was right. I don't think there
has ever been such o reaction
from q score.
II received 100 pieces Of
fan mail myself, and the music
department stopped counting
at 1000. All the letters to
Gene Tierney, Dana Andrews
and others in the picture men
toned the score and its haunt
ing theme"
Raskin started to learn his
craft as a boy in Philadelphia.
His father conducted the or
chestral backgrounds for silent
movies at the old Met and
young David would sit In the
pit enraptured. He came to
Hollywood to help Charlie
Chaplin score Modern Times"
Since then, he has scored
many top movies, as we'll as
the Life With Father" series
on TV.
Evening star., 1954-04-25
Macarthur
Continued From Page E-1.)

Continued From Page E-1.)
of a public service telecast does
not automatically cancel any
actors contracts.
The networks and stations
must be prepared, too, to get
back to normal at a time which
can't be foreseen in advance.
If a subcommittee being tele- ,
vised meets at 10 am, then
decides at 1925 to adjourn un-
til the following day, life must
go on for lone Mans Family"
at 10:30.
There is no way Of knowing
whether a morning hearing
will recess at IL or 1880.
either. This means. for NBC.
that bride and Groom" and
Hawkins Falls" must be
standing by to get in there and
earn some money.
The estimated production
cost per telecast of Hawkins
Falls" is $1,750. That of Bride
and Groom" is $4,000. Some
body has to pay it and you
can be sure it will not be a
sponsor whose program and
sales pitch did not get on the
air.
Should the hearings continue
for 10 days on television 1t
could have cost NBC some $750-
600. This probably would not
put it in the red or make any
Sizable dent in its bank ac-
count. But corporations do not
get more solvent by dropping
$75,000 a day.
All of this poses a question.
How far can q network be
expected to go. indeed how
far can it afford to go, in
this kind of public service tele-
vision? Clearly it can not con-
tinue for any extended period
to turn four or five hours a
day into non-revenue-produc-
ing time.
Solution Impractical
Actually. Of course, the
public Service is not doubled
or trebled by carrying these
hearings on two or three chan
nels instead Of one. 1t prob
ably would be less a public
service, too, If they were
carried by all four networks.
The Army-McCarthy hearings
may be what 80 per cent Of the
TV audience wants but the
other 10 per cent ought to
have the right to turn instead
to Billy Johnson.
The ideal answer would be
for the networks to share the
subcommittee telecasts, each
taking over one day out of four
for whatever stations along
the cable want to televise
them. This is as impractical a
thought as ever was advanced
here, however.
Competition is a considerable
factor in broadcasting as in
a number of other fields. What
the network executives may
learn now is who among them
is competing most cannily.
NBC apparently has decided
to get back to competing with
CHS for the loot from the ad-
vertisers, leaving ABC and Du-
Mont free to do what they will
with the Army Mccarthy
hearings. After all, a kline
scoped public service at 11:15
pm. is still public service.
Evening star., 1954-01-06

An aroused Don Bulge will be
out to prove he can still keep up
with younger opponents when
Jack Kramer's professional ten
mis- troupe opens a two-night
tournament at Uline Arena Fri
day night.
The 38-year-old Bulge. who
swept all amateur tennis titles
in sight during the mid and
late 3Os. is burning over criti-
cism of New York sports writer's
after his showing in Madison
Square Garden that he is
washed up" and will be an also
ran during the current pro tour.
Now in Philadelphia with
Kramer's troupe, Bulge pointed
out that he's always been a slow
starter and predicted he'll be
beating his fellow pros regularly
within three weeks"
Better Showing Last Night.
After losing in New York in
straight sets to Frank Sedgman.
former Australian Davis Cup
star, and to Pancho Segura, the
little Ecuadorian battler. Bulge
showed his fiery spirit last night
in Philadelphia by giving Pan
cho Gonzales a battle before
losing in three sets.
Bulge again will oppose the
25-year-old Gonzales in Friday
nights opening singles matches
at Uline. Sedgman will meet
Segura in the second singles
event, while Kramer and Sedg-
man will team against Gonzales
and Segura in the doubles.
Championship and consolation
singles matches and another
doubles attraction will complete
the two-night stand at Uline
Saturday.
Writer Says He's Slow.
Among the criticism Of Budge's
poor showing in New York, one
writer commented: 1T became
painfully obvious in Budge's first
/ two starts that the once-great
star no longer can move about
fast enough to compete with the
likes of Sedgman. Gonzales and
Segura."
I'm in better shape than most
athletes of IS years." Bulge says
in answer to his critics. land
! wouldn't have undertaken this
Evening star., 1954-01-06
Higher Pay Likely
For Four Senator's:
Some Face Cuts

Bob Porterf1eld. Mickey ver-
non. Jim Busby and Eddie Yost
are expected to receive salary
boosts in contracts mailed to the
Senators yesterday, but Vice
President Calvin Griffith says
cuts are in store for some of
the bench-Warmers.
Young Griffith refused to
divulge which Senators received
raises, but squabbling is expected
If the quartet above didn't.
Porterfield led the American
Leagues pitchers with % vic
tories, Vernon led the league in
batting with 1877, Busby batted
.312 and Yost .272, an improve
ment of 80 points over his 1852
average.
Griffith said no regulars were.
offered salary slices.