davidaulloa/AmericanStories huggingface dataset:
St. Paul recorder. [volume] (St. Paul, Minn.) 1934-2000, 1962-01-12
GUEST SPEAKER

AT ST. THOMAS
The Rev. George F. LeMoine
director of the newly formed De-
partment of Christian Social Rela-
lions of the Diocese Of Minnesota,
will be guest speaker at all Serv-
ices next Sunday, 7:3O, $50 and
IL am.
The public is invited to hear him
at any or all Of the Services. This
will be his first visit to st. Thomas.
St. Paul recorder. [volume] (St. Paul, Minn.) 1934-2000, 1962-01-12

violence. A man had finally bitten
a dog.
The hue and cry was compound
ed in almost equal parts out Of the
anguish Of those who genuinely
deprecate violence as a solution of
colonialism or any international
problem, and those who regard any
show of force on the part Of Asians
or Africans as a reversion of the
natural order Of things. If you
look at the problem from the want
age point Of those who are COM
mitted to the non-violent way of
life you've got to say that Nehru
was wrong and that he should have
tolerated the Portuguese occupa-
ton until a peaceful way could be
found.
St. Paul recorder. [volume] (St. Paul, Minn.) 1934-2000, 1962-01-12

Loafer: A man who likes to
NOW the lawn in the winter and
shovel snow in summer.
St. Paul recorder. [volume] (St. Paul, Minn.) 1934-2000, 1962-01-12
Turn Other Cheek

Tolerating the Portuguese re-
quires a great deal of patience, and
an almost inordinate ability to
turn the other cheek. England got
out of India shortly after World
War II and after centuries of oc-
cupation. The hard-headed French
gave up their Indian colonies with
much grumbling as soon as the
English left the country. The Port
uguese answered the Indian de-
sire for unification of the country
with unexampled impudence. They
just sat where they were and let
the world know they had no in
tention of leaving.
I'm not an expert in such mat
ters and I don't know how long
the Indians should have waited.
For that matter, I don't know how
long Americans would have borne
their wrath If, say, India had seiz-
ed Ventura county four hundred
years ago and had let California
know it had no intention of evacu-
ating the place. You never can tell
about such things unless you get
trapped in them yourself.
Do-Tt- Yourself
1t may not be very sporting to
say so but I can't escape the I'M
easy feeling that a part Of the
sense of outrage springs from the
fact that a nation Of colored people
had the temerity to brandish its
military might against a European
nation. Portugal isn't much Of q
St. Paul recorder. [volume] (St. Paul, Minn.) 1934-2000, 1962-01-12
Both KennedYs
Under Fire From
RIGHTS Leaders
Continued from Page ~
AVG Protests

NAS4NbS @SS4~h =
CONTINUED from Page ~
ave Protests
Kennedy's failure to issue the
executive order banning racial dis
elimination in federally assisted
housing was also vigorously pro-
tested" by the American Veterans
Committee.
Charging that racial discrimina-
ton exists today in federally as
sisted housing "fn every major
metropolitan area, the AVG, a
veterans organization formed dur
ing World War II, urged in tele-
gram to the President that the ex-
ecutive order should not be de-
layed for even a day, much less
the year limited at in recent press
reports.
1t was pointed out that during
the 1860 presidential campaign,
President Kennedy had criticized
President Eisenhower for failing to
eliminate discrimination in the fed
eral housing program "by a stroke
of PEN.
The Chicago Urban League also
urged that President John F. Ken
nedy Immediately issue an execu-
tive order requiring all federal
housing programs to be operated
on a non-discriminatory basis. Ed
win c. Berry, executive director
announced that telegram asking
Kennedy to fulfill this campaign
pledge had been sent by H. B.
Law, newly-elected president of
the League.
Regrets Congress Failure To
'Move In
The annual civil rights review,
published by the Ant-Defama-
ton League of B'nai Birth, said
it regretted both the failure Of the
Congress to move in many areas
and the dependence Of the Execu-
tive Branch on executive action to
the almost total exclusion of Ad-
ministration pressure for Civil
Rights legislation.
Clearly" said the report about
the early and unsuccessful anti
filibuster fight in the Senate,
'Kennedys intercession could have
made a decisive difference"
The comment reflects ADJ feel
ing about congressional-Adminis
tration relations in the whole civil
rights field. THE failure to de-
velop and press for legislation left
gap that could not be filled other
wise" the review said.
The Administration apparently
concluded, during it's first year at
least, it could make enough pro-
gress by executive action to war
rant postponement of legislative
initiative. And a softness on civil
rights legislation might have been
a strategic swap for other and
equally vulnerable social measures
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-07-29
SCREEN
BY MARGARET McMANUS
Nall av1dIcako

NEW YORK.-John Frank
enheimer is now a fast 80
years old. A little simple sub
traction indicates that in the
late SOS. when he was di-
recting Playhouse 80" shows
on the average of one a
month, he was a young man
in his 20s.
AS it has been for such
other successful directors as
Arthur Penn, Fred Coe and
Robert Mulligan, television
was the high diving board for
Frankenheimer. He was NOM
mated five years running as
best director" by the Acad-
envy Of TeleviSion Arts and
twice won Radio and Tele-
vision Daily's award as best
director Of the year."
He has to his credit such
Playhouse dramas as THE
Comedian" 1.-The Old Man."
The Days of Wine and
Roses" and For Whom the
Bell Tolls" He directed In
grid Bergman in her televis-
ion, debut, THE Turn of the
Screw"
Frankenheimer is now in
the motion picture business,
with two major films, THE
Bird Man of Alcatraz," star
ring Burt Lancaster, and
The Manchurian Candi-
date" starring Frank ST.
natFa, Laurence Harvey,
Janet Leigh and Angela
Lansbury, to come out in the
fall.
No decision is absolute and
nothing can change as quick
ly aS the human mind, but at
the moment, Frankenheimer
said he has no plans and no
interest in returning to tele-
vision.
Might as Well Be Big
He is a New York boy who
now lives at Malibu Beach.
In his suite at the Plaza Ho-
tel here, he looked as if he
might have just come in off
the sand. He was wearing
khaki trousers, a white shirt
open at the neck, and loafers.
He is a tall, slim, handsome
man, with dark hair and
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-07-29
SCREEN

AMBAsSADoR-"Musc Man; happy home town musical;
1855, $3.50 and 9:10 pm.
APEX-"A Summer to Remember; good Russian film;
l. 240, 4:30, 500, 8:05 and 10 pm.
CAPTTOL-"Mr Hobbs Takes Vacation; domestic farce
with Jimmy Stewart; 1855. $40 545, 7:5O and $50
pm.
DUPONT-"Mracle Worker" moving drama on the life
of Helen Keller; l. $685. Sis, TBS and $40 pm.
KEITHS-Bird Man of Alcatraz" striking prison film;
1885, 4:10 $50 and $50 pm
MacARTHUR-Only Two Can Play" Peter Sellers at the
top of his comedy FORM 2, 1885, g. 1855 and 9:55 pm
METRoPOLLrAN-"Music Man; happy home town must
! cal; 10:45, 100, T. $50 and 9:15 pm.
ONTARIO-Lolita"; film version of vladimir Nabokovs
/ novel; /, 3:45, $3.50 and 9:25 pm.
PAIACE-"Boys Night OUT; 1875. 1885. $40, TAO and
GAS pm.
PLAYHOUSE-"Advise and Consent; Otto Preminger
looks at politics. las, AIS 6:45 and Oils pm.
PI1AzA-"Sky Above-Mud Below; documentary; lis.
:. 2:40, 430, 6:15, 8 and $50
TOWN-"That Touch Of Mink; another comedy
romp Cary Grant. Gig Young, Doris Day. 1:O5, $685.
r sos, 705 and 905 pm
TRANs-LUx-"Advse and Consent; 1880 4, $50, pm.
UPTOWN-"West Side Story; Hollywood's camera adds
even more delightful luSter to Americas most be-
quilting stage musical; and $3.50 pm
WARNER-E CID; Charlton Heston the Spanish hero
in mammoth movie spectacle: g. Sis and 500 pm.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-07-29
Story, Not Stors,
Is Main Thino

HOLLYWOOD (AP).-Vet-
eran Director Tay Garrett
says Hollywood's current
troubles with hayward stars
stems from a slavish devo-
ton to the star system on
the part of financierS.
Stars salaries and egos,
says Garrett, are both in
flated to the explosive point
by hackers insistence on
guaranteed box office names.
Names don't make the
story" asserts Garnett.
Hollywood made hit pic
lures without big names be-
fore and should do it again."
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-07-29
By WILLIAM GLOVER
Associated Press Writer

NEW YORK.-"After a
while. you get scared" says
Irving Berlin of his long
Broadway silence.
"You start thinking of
your age. and wonder. Can 1
still reach up there and find
it?'"
The troubadour of Tin Pan
Alley, "a now, provides the
answer in Mr.. President"
a musical that doesn't pre-
miere here until October 20
but which is already causing
a boxoffice stampede. Almost
So million in tickets have
been sold.
The show. for which Ber-
lin provides as usual both
melody and lyrics, concerns
what happens to a Chief
Executive and his family as
a White House term expires.
Starring Robert Ryan and
Nanette Fabray, the venture
is being written by Howard
Lindsay and Russell Grouse,
directed by Joshua Logan.
The 100000 operation was
triggered into being a year
ago by a phone call to Pro-
Queer Leland Hayward from
Berlin. last represented on
the White Way by Call Me
Madam" in 1850.
Quit for Five Years
A couple of Berlin movies
and a hit tune, Count Your
Blessings" came out about
the same time. For a while,
the composer wrestled with
another stage project, then
quit writing completely for
five years.
Il went up to the country,
thinking, This is the thing
to do. Then I found out that
the trouble about retiring is
you've got to retire to some
thing else - to a hobby -
which I didn't have.
II thought I could become
a Sunday painter, but I
couldn't draw. I didn't fish
well enough, and I don't play
golf. So the only thing I had
to do was just living with a
fine, warm family - eating
well, sleeping badly.
Il had at least a dozen
offers to get involved in
shows - and several turned
out to be very big hits. But
the projects simply didn't
interest me. ! was afraid to
go to bat.
IT found myself gradually
getting worried about what
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-07-29
STAGE
You Get Scared, Says Berlin

AS the dean Of current
popular composers, Berlin is
mildly impatient with all the
talk in recent Broadway sea-
sons about increased integra-
ton Of score with story.
1--WE all do integrated songs
and always have" he de-
clares. They're Just making
a big thing out Of it now.
After all you have to write
to situations.
SwitchabIe Songs
would 1t be difficult, for
example, to take many Of the
songs in Oklahoma and fit
them to a different story? A
shy couple meet, fall for each
other but don't want to
admit it-there's your cue:
People Will Say We're in
Love Cole Porter songs can
be switched around from one
show to another in the same
way"
Complaints about the de-
cline of melodic content in
recent shows bring this COM
ment from Berlin:
II don't know about that.
Let's take How to Succeed in
Business Without Really Try
ing The biggest hit around.
They say Frank LoeSser didn't
write melodies. But he's done
a brilliant musical job.
Hits today are very diff
cult-and it's got nothing to
do with the quality of a song.
There are a very few single
recordings made today. But
they do sell albums"
The young generation of
songwriters, he feels, is def
nitely having a tougher time
breaking in, because there is
so much more competition"
He singles out Stephen
Sondheim, composer Of "a
Funny Thing Happened on
the Way to the Forum" as a
newcomer who has a very
good chance. His own all
time favorite remains Jerome
Kern.
Berlin talks along with
vigor and animation, eyes
swapping behind horn trimmed
spectacles, gesturing explo-
sively, a man who obviously
relisheS return to harness.
I'm delighted to be able
to keep going" he sums up.
Il don't think there's any
particular credit due anyone
just because they're old. And
I'm not going to lie down and
die if this show isn't a smash.
THAT huge boxoffice ad-
vance? 1t frightens me to
death. I'm delighted to have
it because it's insurance-but
you've also got to live up to
it.
I'm still not sleeping
much-but now don't worry
about it. I find work is
paradoxical. When you're
busy at something that is
part of you, you forget about
yourself"
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-07-29

eyes, and a manner much
quieter than the flamboyancy
he was sometimes reported
to use on the television set.
There are a lot of reasons
why I prefer the movies"
he said. II loved the excite
ment of live television, but
when most of the drama
went to film and tape, I felt
as If I were just making B
movies. If I'm COINS to
make movies, I might as
we'll make them with the best
facilities and for the big
screen"
He has strong feelings, too,
about television audiences
and television commercials.
when Playhouse 80 moved
out to the coast, I had my
chance to sit in peoples liv-
ing rooms and watch the
shows, because they were on
tape. The lack of attention
was unbelievable. Even with
with me sitting right there
in the room.
Movies Get Attention
They'd walk around and
talk, somebody would get up
for a drink, the phone would
ring and there would be a
prolonged conversation. I
used to think, if I wasn't
sitting there, they wouldn't
be looking at the set at all.
At least in a movie, no mat
ter how bad the picture is,
the audience watches. They
paid their money and they're
going to look.
And at least the mood is
sustained. How can you
build to a dramatic climax
when, bang. right in the mid
die Of a tense scene or a
tender vignette, comes a.
commercial for a deodorant
or a car wash. 1t is rare
that the commercials are
ever in tune with the show"
The son of a Manhattan
stock broker, John Franken-
heimer was born and grew
up on Long Island, went to
the Foxwood School in
Flushing and the La Sale
Military Academy in Oak
dale. He went to Williams
College in Williamstown,
Mass, hated every minute he
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-07-29

I was going to do. And I
realized: You can remain
this way and end up a very
nervous guy, or else get back
to work.
when I finally decided I
was going to dip my toe in
the cold water again, 1 called
up Hayward and said I
wanted to do a show with
Lindsay and Grouse. I had
worked with them only on
Madame - and it was q
helluva big hit.
And I wanted to do a
show for Ethel Norman. 1
had good luck with her in
Annie Get Your Gun and
Madam She knows her way
around a song-you feel safe
with Norman.
The lady of brassy pipes
wasn't available, however, so
the creative trio sat down to
kick other notions around.
The two writer's suggested
the presidential project, and
Berlin was intrigued.
Instead of digging into the
trunk, I went back to see if
I could write a couple of
songs to that idea" the
songwriter relates. ut was
as simple as that. First I
tried a couple of comedy
songs because they're the
toughest to write. They're
still in the show. I knew I
could get back in harness.
Then I became very en-
thusiastic and wrote more
than 1 have for any other
show"
Words Are Tougher
This is the 22nd Broadway
display to which Berlin has
contributed since 1910, and it
contains, as he puts it, "21
or % itemS-songS, Situa-
ton bits, all with lyrics"
Words come tougher than
music to the man who first
set the public whiStling with
"Alexander's Ragtime Band"
and who has provided since
such standards as Easter
Parade" God Bless Ameri-
Ca" and the entertainment
worlds anthem, There's No
Business Like Show Business"
900 tunes, all told.
II work mostly away from
the piano nowadays" he says
Of the creative process. Il
think mostly in ideas, situa-
tons. The lyrics come-or a
phrase, and then I try to set
that to a tune. When the
two don't fit together, you
sacrifice one for the other"
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-07-29
BY JAY CARMODY
Drama Critic Of The Star


Drama Critic Of The Star
The new theater season,
which begins in September,
could well be the one in
which 1.-The road" has it bet
ter than Broadway.
This exceptional prospect
is intimated principally in
two conditions of the mo-
ment. One of these is that
the Theater Guild and Amer
lean Theater Society have
assembled the best nine-pro-
duction program in many a
year. The other is that
Broadway never has been so
gloomy over the lack of
promising plays on the fall
production schedule which
tits sharply in favor of an
excess of musicals.
Washington especially, and
the east coast generally,
stand to profit by this I'M
usual situation. Its Theater
Guild program will be a COM
poSite of the most promising
Broadway-bound plays and
musicals and the hits Of last
season now taking to "the
road"
The glamour item of the
Theater Guilds schedule at
the National here is the mu-
steal Mr.. President" This
one. which opens with a
$100-a-seat benefit premiere
on September 26, is the joint
creative effort of Composer
Irving Berlin, newly reacti-
waited, and Howard Lindsay
and Russell Grouse. These
three last combined their
talents to produce another
Washington favored mu-
steal. Call Me Madam"
Major Excitement
Nanette Fabray and Robert
Ryan will head the cast of
"Mr. President" with the
directoral chore assigned to
Joshua Logan ("South Pa
cific," etc.. 1t is already the
new seasons major excite
ment and, so far as any
competitive prospect is con-
cerned, likely to remain so.
"Mr. President" however,
is but one Of two new musi-
Gals which Westinghouse
will be seeing, the other a
tuneful biography of Fanny
Brice. This one will be called
THE LuckieSt People," will
have a book by Isobel Len
merit, music by julie Styie, and
lyrics by Bob Merrill.
Supplementing this pair in
the most unsteady favored
program ever offered by
the Theater Guild here will
be two established hits yet
to be seen in Washington.
These are Meredith Wilson's
1.-THE UnSinkab BILE Molly
Brown" which will settle in
to the National for five weeks
on April 8, and THE Sound
of Music" The latter, the last
joint effort Of Richard Rod
gers and the late Oscar Ham
merStein II, will be next
summers attraction at the
National, opening on June IT.
1t will return the E-street
house to the summer musical
policy which was allowed to
lapse this year.
The unchallenged best play
offering is intimated in the
dateless booking of Robert
Bolts "A Man for All Sea-
sons" with Emlyn Williams
in the title role created so
triumphantly last season on
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-07-29
SCREEN
.MoviesWin T opTVDirector

was there and hates it still.
The only good thing he has
to say about Williams is that,
in a spirit of rebellion against
the conformities of the social
and scholastic life, he joined
the Williams Theater Group.
Il was floundering and
thrashing around anyway"
he said. Il had no idea what
1 wanted to do and this
theater group showed me
the way"
Later he went into summer
stock as an actor and during
his service in the Air Force
he was assigned to a motion
picture unit in Hollywood.
When he got out of the serv-
ice in 1858, he got a job as
an associate director with the
CHS television network.
His first assignment Of any
consequence was as a director
on the Climax" series, one
of the high budget and best
programs of its era. From
there he went to Playhouse
60"
Whether or not, as a COL
lege boy at Williams, he made
the right choice for the work
of his life, Frankenheimer
doesn't pretend to know.
II could be very glib with
you, and say, Of course, I'm
happy as can be with what
I'm doing. I have moments
of misery and moments of
qualification. There are
horrendous days and days
that just sail. I don't know
which outnumbers which,"
In general, he likes the
company of actors and people
allied to his profession, other
directors, producers, writers.
IT find I talk less shop
with them than with outSid-
ers who are so curious about
our business, they don't want
to talk about anything else.
Look, I really like to be alone.
I'm gregariouS only when
I'm working. Socially, I like
to be with no more than three
or four people, or with what
ever girl I'm taking out"
Casting Is Vital
Frankenheimer is divorced,
has two daughters, Lisa, 6,
and Christie, 4, who live with
their mother on the coast.
Under no conceivable circum-
stances would he ever permit
either of his children to per-
form professionally.
He said he considers the
right casting to be go per
cent of good direction and,
next in importance, is the
cutting and editing Of the
film.
"If I had to make a choice,
I'd cast the picture and cut
the film and let somebody
else do the actual shooting"
he said. eff you start with
a good script and exactly the
right cast, you're almost
home"
Frankenheimer has worked
with an impressive number
of the most talented and
most established actors and
actresses in the world. He
said he never felt defensive
about his youth, nor did any
of these stars question his
direction.
While he was in college,
John Frankenheimer took an
aptitude test to help him find
out what sort of work he
should do. The test pro-
claimed him to be highly
imaginative, highly creative.
abnormally subjective. This
would seem to be accurate.
He is also sensitive, ex-
tremely intelligent, inclined
to drive himself to exhaus-
ton when working, and with
enough confidence to take on
practically anything. He
claims to be afraid of the
theater, but there is the dis
tinct possibility that he may
direct a. play for next season.
The heights to which he
may go are quite unpre-
dictable. He's only 80 years
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-07-29
THE PASSING SHOW
The Road Might
op Broadway

Broadway by Paul Scofield.
Bolts work, based upon the
life of Sir Thomas More, not
only was the winner of the
1961-62 best foreign play
prize but quickly established
itself as the greatest nom
musical hit in New York last
autumn.
Among the new offerings
in The Theater Guild Sched-
ule for Washington is the
comedy, Harold" by Har-
man Raucher, which will star
Anthony Perkins, now busy
making films in Europe. It's
subject is the emotional tur-
bulence of a male, aged 26,
who falls in love for the first
time. 1t will bring young Per-
kinS for the first time to the
stage from which his father,
the late Osgood Perkins, gave
his last performance on the
opening night of Susan and
God"
This was in the late 30s
when the senior Perkins.
rated by many as the best
American actor of his time,
died a few hours after leav-
ing the stage that night. The
Susan of that comedy was
the late Gertrude Lawrence,
A Kerr Comedy
Jean Kerr, who learned
the art of playwriting in
Washington at Catholic Uni
verSity, will be represented by
her first direct from Broad
way offering here this season
in the Theater Guilds pro-
gram. The play is the enorm-
ously popular comedy,
Mary, Mary" which will
tour with a replacement for
Barbara Bel Geddes.
Mary, Mary" is scheduled
for February in the Guilds
Washington season.
Actually, a Theater Guild
play will launch the Nation
ais 1929, the offering a
popular revue from London
called Beyond the Fringe"
1t will open here September
6 with the original London
cast, Alan Bennett, Peter
Cook, Jonathan Miller, and
Dudley Moore. They are
also its authors.
For the Open Date
The ninth play of the
Theater Guilds program re-
mains to be named. How
ever, it could be, and may
well be, Harry Kurnitz's
adaptation of Marcel Arch
ards "A Shot in the Dark"
This popular hit of last sea-
son will travel without Julie
Harris, its Broadway star.
Her successor, will be a girl
well known to Washington,
however. She will be Eliza
beth Seal who made her
American debut at the Ma
tional two seasons ago in the
title role of Trina La
Douce."
"A Shot in the Dark" is
deemed the strongest candi-
date for the open, or ninth
spot in the Guilds next sea-
sons schedule. Another pos
sibility, however, is a new
play. "Andorra," adapted by
George Tabori from the work
of Max irish of Switzer-
land. Horst Buchholz, seen
here on the Nationals stage
in "Cheri." will be the star
of "Andorra," a widely
popular work in its native
Europe.