24

THE PLAYBILL

## WHO'S WHO IN THE CAST

RAYMOND EDWARD JOHNSON (Thomas Jefferson) makes his Broadway debut here- with, and it is to radio that one must turn to trace the greater part of his career as an actor. To millions of radio listeners, Mr. Johnson's is one of the most familiar voices on the air. Currently he may be heard every Sunday evening as Raymond the Host on the "Inner Sanctum" program. For ten years he has been a continuous network fa- vorite, appearing on such a variety of pro- grams and playing such an assortment of roles as he, himself, would be hard put to list. Most important of these, perhaps, would be his identification with Arch Oboler's early series of radio plays which emanated from Chicago and went under the title of "Lights Out"; and his later continuation with the series broadcast from NBC's New York studio under the general heading of "Arch Oboler's Plays." He has frequently ap- peared with such distinguished stars as Joan Crawford, Boris Karloff, Paul Lukas, Alla Nazimova and Claude Rains on the "Lincoln Highway" program; he was a psychiatrist in "The Rise of the Goldbergs," and played for three years in "Today's Children"; he was George Randolph in the "Ellen Randolph" series, Clive Alden in "Our Gal Sunday," and played the leading role in the radio ver- sion of Somerset Maugham's "Of Human Bondage."

Johnson was born on July 24, 1911, in Kenosha, Wis., and while still a schoolboy began to earn his living. He was in turn a caddie, soda-jerker, bookkeeper and teller in his home-town bank. In high-school he was active in debating and musical societies. In 1932 he was awarded a scholarship by the Goodman School of the Theatre in Chicago. Later he taught acting at Indiana University. He made several professional appearances with stock companies in the middle-west, but it was a job with his home-town radio station, Kenosha's WRJN, that launched him on his career as a radio actor.

HOUSE JAMESON (Alexander Hamilton), who bears the name of Colonel House—a close friend of his father's—proved that an artists puts business before pleasure by his distinguished and convincing portrayal of Senator Lodge in the recent "In Time to Come." Mr. Jameson made his New York debut in "Saint Joan" when that play was

originally presented by the Theatre Guild, and later played in Elmer Rice's "Judgement Day." He has been seen on Broadway in a variety of assignments including "Private Lives," "An American Tragedy," "The Tam- ing of the Shrew," "The Garrick Gaieties," and "The Grand Street Follies." On the radio he is well known as Henry Aldrich's father, and as Inspector Renfrew of the Royal Mounted—a form of activity and occupation which it is safe to assume would startle and bewilder Alexander Hamilton more than any other of "The Patriots."

EDWIN JEROME (George Washington) made his stage debut at the age of 19 as Mephistopheles at the Paris Opera House. Born in New York, he studied opera at the Conservatoire de Paris. At 23 he was back in this country singing in musical comedies and vaudeville. Last appeared in Max Gordon's "Band Wagon" and "Roberta." Since 1933 he has confined his acting to radio. His versatility in famous-men-of-history roles has long been known to radio audiences. As one of the featured players in the Cavalcade of America radio series for the last eight years, he has interpreted Washington, Jefferson, Lincoln and many other significant names in history. Recently, he played Abraham Lincoln on a Cavalcade broadcast costumed for his George Washington role in "The Patriots" because curtain time at the theatre immediately follows his weekly Cavalcade broadcast. Other radio programs he has helped make popular are "March of Time," "Gang-busters," "Ellery Queen," "District Attorney," "Crime Doctor" and "Manhattan at Midnight."

JUDSON LAIRE (James Monroe) made his most recent Broadway appearance in George Abbott's "Best Foot Forward." Mr. Laire became professionally interested in the theatre when the real-estate firm for which he was a salesman became a victim of the depression in 1935. Up to then he had done some acting, hobby fashion, with the Beachwood Players at Scarborough-on-Hudson. His first Broadway engagement was a leading role opposite Jane Cowl in S. N. Behrman's "Rain From Heaven," in which he followed Ben Smith. Again with Miss Cowl he played for two years in New York and on

*(Continued on page 26)*

26

THE PLAYBILL

## WHO'S WHO IN THE CAST

(Continued)

tour in "First Lady." He has also appeared in "Mr. Big," "All That Glitters" and on tour with Elissa Landi in "The Lady Has a Heart."

ROSS MATTHEW (James Madison) hails, appropriately enough, from Virginia, where his forebears settled in 1658 and were on intimate terms with many of the characters in "The Patriots." His recent stage appearances were made in "Winter Soldiers" and the revival of "As You Like It."

MADGE EVANS (Patsy) is a native New Yorker whose professional career began when—at the age of nine months or thereabouts—she posed for the painter, George DeForest Brush. Later on she decorated the covers of various publications, including the Saturday Evening Post, and was the fair-haired darling who sat on a cake of soap from coast to coast asking "Have You a Little Fairy in Your Home?" Between her third and fourteenth birthdays she established a reputation as a child film star which must have given Shirley Temple both pause and incentive during a more recent era. A stage debut at the age of six in "Peter Ibbetson" seemed of minor importance. In her early teens she retired from motion pictures, went to school for a few years and, in 1926, through a letter of introduction from William Brady, got a part in George Kelly's stage production, "Daisy Mayme." She appeared also in "Marquise," starring Billie Burke, in "Dread," with Spencer Tracy, and in "Our Betters," starring Ina Claire. In 1931, during the run of "Philip Goes Forth," she was offered a new Hollywood contract and made eleven pictures in the first year following her return. Among the films in which she subsequently appeared were "The Thirteenth Chair," "Espionage," "Pennies From Heaven," "Picadilly Jim," "The Age of Discretion," "David Copperfield," "What Every Woman Knows," "Dinner at Eight," "The Greeks Had a Word for It," etc. In 1939 she made a brief return to Broadway as Connie in the Philip Barry play, "Here Come the Clowns." In private life she is Mrs. Sidney Kingsley.

FRANCIS COMPTON (Colonel Humphrey) is a member of the celebrated British theatrical family, and has appeared in New York in Sidney Howard's "Yellow Jack," in "Kind Lady" with Grace George, in Robert E.

Sherwood's Pulitzer prize-winning "Idiot's Delight," with the Lunts in "The Taming of the Shrew," and in many other productions both in New York and on the road. Most recently he played the blind Spaniard, D'Alcala, in Maxwell Anderson's "Key Largo," when that earlier production of the Playwrights' Company went on tour.

PEG LA CENTRA (Mrs. Hamilton) has done considerable radio acting, but this is her first appearance in a legitimate play on Broadway. The inveterate radio listener will remember her from such radio productions as the Rudy Vallee program, Duffy's Tavern, Ellery Queen's program, the March of Time, and The Serenaders. She has also been a featured singer with the bands of Benny Goodman, Artie Shaw and other well-known swing maestros.

HENRY MOWBRAY (Henry Knox) came to this country from Australia with Cyril Maude some twenty-five years ago. Altogether, he has been actively engaged in the theatrical work for thirty-five years. Among his more recent appearances are "The Wookey" and "Knights of Song." Earlier he played in "Woman of No Importance" and "Woman in Bronze" with Margaret Anglin, "Lullaby" with Florence Reed, "Berkeley Square" with Leslie Howard, and with William Courtenay and Lola Fisher in "Honors Are Even."

THOMAS DILLON (Jacob) has recently been occupied with his role in "My Sister Eileen." Other plays in which he has appeared are the Abbey Players production of "Juno and the Paycock," "The White Steed," "Father Malachy's Miracle," the Earl Carroll "Vaniies," and "Cloudy with Showers."

FRANCES REID (Martha) was born in Texas and reared in California. Her early stage experience was acquired at the Pasadena Playhouse. She has appeared on Broadway in the revivals of "The Rivals" and "Bird in Hand."

LESLIE BINGHAM (Mrs. Conrad) has been distinguishing herself in character roles for many years. Among the recent productions she appeared in are "The Seventh Trumpet," "Johnny Belinda," and "The White Steed." On the radio she has acted on such programs as "Radio Reader's Digest," "Aunt Jennie's Stories," "Life Can Be Beautiful," and "Death Valley Days."

(Continued on page 28)

★ ★ ★ BUY WAR BONDS ★ ★ ★

27

THE PLAYBILL

## When the "Flickers" First-Nighted in Herald Square...

*Golden Wedding was already a famous name on Broadway*

April 23, 1896. At Koster & Bials Music Hall on Herald Square, every seat is filled. And a hundred top-pers gleam as the standees crowd, crane and tip toe for a glimpse of the strange white screen on the stage.

Suddenly the bright beam from the Kinetoscope cuts across the dim auditorium; and that blank screen comes unaccountably to life.

Dancers whirl. Boxers spar. Horses gallop. Then, "The Dover Surf" rolls straight in toward the audience; and in the front rows, people half rise from their seats to dodge the realistic spray.

Motion pictures... soon nicknamed "the flickers" ... are making their Broadway debut. And later, many a member of this audience will discuss the new art's future over a Golden Wedding highball.

Today, too, Golden Wedding's first choice for after-theatre drinks. And, though our distilleries

now work 100% for war, there's fortunately enough of this superb, all-whiskey blend on hand to meet reasonable requirements.

## Golden Wedding

Five Great Whiskies "Wedded" into One

Tune In! Schenley's Cresta Blanca Wine Carnival with Morton Goody's Orchestra, Mutual Broadening System, every Wednesday evening.

A blend of straight whiskies — 86 proof. The straight whiskies in Golden Wedding are 5 years or more old. Copr. 1943, Jos. S. Finch & Co., Inc., Schenley, Pa.

28

Distinguished entertaining calls for a distinguished liqueur.

de Krupper's
DELECTA
AFTER-DINNER Liqueur

Enjoy this great after-dinner liqueur, straight or half-and-half with brandy. You will be delighted with its delicious taste and distinctive bouquet. Made in America.

ANNO

1695

National Distillers Products Corp., N.Y. 86 Proof

The BEAU BRUMMELL of Brazil

JIMMY DURANTE
in that great new
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★ ★ ★ LOOSE TALK COSTS LIVES ★ ★ ★

THE PLAYBILL

## WHO'S WHO IN THE CAST
(Continued)

CHARLES A. BASTIN (George Washington Lafayette), young French actor, started his career in Paris, where he appeared in motion pictures. His first appearance in this country was in a Fox film called "The World Moves On," and he subsequently appeared in "Tom Brown's School Days." Like other members of "The Patriots" company, he has been involved at one time or another with radio. Before his assignment to his present role, he appeared in the New School's production of "Winter Soldiers."

## STAGED BY SHEPARD TRAUBE

Prior to producing and staging "Angel Street," Shepard Traube had been identified with matters theatrical for fifteen years. His career might well be said to have begun when he was a student at New York University and became a director and actor with the Washington Square Players. He continued his apprenticeship as an assistant stage-manager with the Jane Cowl company of "Twelfth Night." In 1931 he joined forces with Walter Hart and Sidney Harmon, and the trio caught the attention of the critics with their production of "Precedent" which began at the Provincetown Playhouse and later moved uptown to the Bijou. At the age of 25 he directed Jane Cowl and Franchot Tone in "A Thousand Summers," which he produced in conjunction with Arch Selwyn. The season of 1934 saw Traube's "But Not for Love," in which Hortense Alden starred, occupying the Empire Theater, and this was followed a year later by another Jane Cowl opus, "Sweet Bells Jangled."

Here, Traube took time out to write a novel called "Glory Road," which was a fictionalized account of the development of the motion picture industry. A year later he summed up his theatrical experience in a book called "So You Want To Go Into the Theater," and shortly thereafter he left for Hollywood, where he produced and directed pictures for about five years. Undeterred by the pitfalls and risks of Broadway production which he had carefully listed in his handbook on the theatre, Traube hastened back to Broadway the moment a likely script came to his attention. That script was "Angel Street." "The Patriots" is the third play he has staged since he returned from Hollywood. The second was "Winter Soldiers."

TASTES JUST RIGHT - IT'S MELLOW LIGHT

RUPPERT

Copyright 1943 by JACOB RUPPERT, Brewery, New York City

Warner Bros. Pictures, Inc.

666 Fifth Ave.

New York 19, New York

Warner Bros. Pictures

presents

John Ford's

Production of

"SERGEANT RUTLEDGE"

Technicolor (R)

Starring

Jeffrey Hunter............Lieut. Cantrell
Constance Towers...........Mary Beecher
Billie Burke..............Mrs. Fosgate

with

Woody Strode............Braxton Rutledge
Juano Hernandez...........Skidmore
Willis Bouchey...........Major Fosgate
Carleton Young...........Capt. Shattuck
Judson Pratt............Lieut. Mulqueen
Bill Henry..............Capt. Dwyer
Walter Reed..............Capt. MacAfee
Chuck Hayward...........Capt. Dickinson
Mae Marsh..............Nellie

Produced by Willis Goldbeck
and Patrick Ford

Directed by John Ford

Written by Jas.Warner Bellah
and Willis Goldbeck

Dir. of Photography Bert
Glennon

Art Director Eddie Imazu

Film Editor Jack Murray

Sound by M. A. Merrick

Music by Howard Jackson

Song: "Captain Buffalo" -

Words & Music by Mack

David & Jerry Livingston

Costumes Designed by
Marjorie Best

Set Decorator Frank M. Miller

Makeup Sup'vr.Gordon Bau, SMA

Asst. Directors Russ Saunders
and Wingate Smith

*****

RUNNING TIME: 111 MINUTES

-2-

## SYNOPSIS

Lt. Thomas Cantrell (JEFFREY HUNTER) of the 9th U. S. Cavalry faces a legal skirmish grimmer than any battle in which he has fought the Apache in post-Civil War days in Arizona Territory. He has volunteered as defense counsel at the court martial of Sgt. Braxton Rutledge (WOODY STRODE), a colored soldier charged with the rape and strangulation of 16-year-old Lucy Dabney (TOBY RICHARDS), and the fatal shooting of her father, Maj. Dabney, commanding officer of Fort Linton.

Rutledge has seemingly admitted his guilt by his actions. Following the killings he fled the post. When overtaken, he refused to make a statement. Cantrell was his captor. Rutledge told him that with a dead white girl involved, no one would ever believe the story of a Negro. Hence his desertion.

Feelings at the court martial, conducted by Col. Fosgate (WILLIS BOUCHEY), are tense. Counsel for the prosecution is Captain Shattuck (CARLETON YOUNG). Principal witnesses include Mary Beecher (CONSTANCE TOWERS), Mrs. Fosgate (BILLIE BURKE), Skidmore (JUANO HERNANDEZ) and Chandler Hubble (FRED LIBBY).

Cantrell enters a not guilty plea. The first witness, Miss Beecher, with whom Cantrell is in love, credits Rutledge with having saved her life when, after leaving the Army post, he found her at the railroad station, threatened by Apaches.

Dr. Eckner (CHARLES SEEL), post physician, reports he found Miss Dabney's semi-nude body and that missing from her person was a gold cross she always wore around her neck. Maj. Dabney was found dead of a bullet through the heart. Clutched in his hand was a revolver, fired twice.

Cantrell, called as a witness, testifies that he set off with a patrol to intercept Indians. At the railroad station the patrol caught up with Rutledge who had, meanwhile, saved Miss Beecher from Apache death. The patrol later found the Indian-mutilated body of Chris Hubble (JAN STINE), son of Chandler Hubble, owner of the camp store.

Rutledge takes the stand, telling of seeing the Apaches murder Miss Beecher's rancher-father, Sam Beecher (CLIFF LYONS).

Affixed to the headband of an Indian slain by the Patrol is found a gold cross on a broken chain -- apparently the ornament torn from the body of Miss Dabney. The Indian also wears a white man's buckskin coat. Inside are the letters -- C.H. These are the initials of Chris Hubble.

Rutledge's story emerges -- that when he entered Maj. Dabney's quarters he found the strangled body of the girl. Maj. Dabney suddenly appeared on the scene, suspected him of the violation and murder, and opened fire. In self-defense, Rutledge returned the fire, killing the officer. Cantrell argues that this was justifiable homicide.

When a question arises whether the gold cross was the one actually worn by Miss Dabney, Chandler Hubble volunteers to identify it. He explains that now that his son is dead the truth can't hurt the boy any more, and he doesn't want to see Rutledge falsely accused.

Cantrell elicits from Hubble testimony that the buckskin jacket Chris was wearing was not that of the son, but belongs to the father. He accuses Hubble of putting the cross in the jacket, of having attacked and killed the girl, and of trying to save his own neck by pinning the blame on his dead son.

Hubble sobs a confession, and thus a new chapter is written in frontier justice.

-3-

-4-

PRODUCTION NOTES
---

From official government archives in the nation's
capital comes the true-to-life background of the story
brought to the Technicolor screen by Warner Bros. in John
Ford's "Sergeant Rutledge."

The tale unfolds in the post-Civil War days when a
hand-picked group of Negroes -- many of them only newly
freed from slavery -- were chosen to make up the ranks of
the 9th and 10th United States Cavalry. Led by white of-
ficers, the colored soldiers fought on the crimsoned
battlefields of the Old West during the Indian Wars, serv-
ing with high courage and devotion.

The name of John Ford as director of a motion picture
long has been the hallmark of a distinguished contribution
to the cinematic arts. Winner of six Academy Awards, he
recently has been limiting his activities to a single pic-
ture a year, although such is the constant demand for his
services that he could be continuously at work on the
sound stages.

Toplining the splendid cast are Jeffrey Hunter,
Constance Towers, Billie Burke, Woody Strode, Juano
Hernandez, Willis Bouchey and Carleton Young, all
personally chosen by director Ford.

No director has ever carried on a love affair with a
geographical locale to match the one that has endured for
more than two decades with Ford and the awesome red spires
that ascend so spectacularly into the cerulean blue skies
in now-famed Monument Valley on the Arizona-Utah border
not far from the site marked as Four Corners.

For the sixth time since he first set foot on the
terrain of timelessness and legend, he ventured into the
remote frontier for "Sergeant Rutledge."

The valley lies in the very heart of the vast Navajo
 Reservation where live an estimated 80,000 Indians, many
of them under conditions as primitive as in the days be-
fore the invasion of the paleface. Very few white men can
be said to enjoy the friendship of the stoic Navajo, which
places Ford in a unique position because the hogan dwellers
have taken him to their hearts.

***