18

THE NEW YORK MAGAZINE PROGRAM

BREEDING WILL TELL

(Continued)

hesitancy as it takes to think a
thought when one is not accustomed
to it, says:

"Helena, since you have caught us,
I guess we'll have to let you in on
the secret. Eunice Maye and I are
engaged."

"Oh, my dear!" shrieks Helena in
the voice of a woman seeing the tra-
ditional mouse. "How sweet." Where-
upon they both unearth Eunice Maye
and both kiss her.

Edward, who has had a moment's
qualm, as it was not probable that
Eunice Maye had heard the conversa-
tion through the lavender
cushion, is much gratified to
find that her poise quite equals
his own. She sits batting her
eyes in that exquisite way she
has, and allows herself to be
kissed again by each.

Helena then draws her away

from Edward and takes her into the
next room where, by delicately secretive
smiles, glances and inuendos they all
but announce the engagement.

It might have occurred to a more
vulgar nature that there had been
collusion. But not to our Edward.

As Edward and his cane come down
the steps of Helena's home a half hour
later, Will Farley catches up with him.

"Congratulations, old man," he cries.
"But what, by the way, is Eunice Maye's
family name? It has escaped me."

"Ah," replies Edward, whom it has also
escaped, but who never loses his poise,
"It does not matter. We'll use
mine when we are married."

The effect is perfect. What
is a well bred man like Will
Farley to reply to this--
especially when it is not con-
sidered good form for a man
to hit his friend? Nothing.

The Breakers

Atlantic City
New Jersey

On the Ocean Front

Joel Hillman, President.

AMERICAN and EUROPEAN PLAN

Sea Water in all baths. Restaurant
facing Ocean. Orchestra. Dancing.
Afternoon Teas.
Hydro Therapeutic Baths.
Golf.

GARAGE

20

THE NEW YORK MAGAZINE PROGRAM

MISSISSIPPI

(Continued)

I'm a bird. And once in a while I
gets lucky one day. Then I don't
take Kiddo out of his stable a-tall
for a month or so. I spoils him."

He came from St. Joe, Missouri, a
long time ago. He was a feather-
weight fighter in his early twenties,
fought over two hundred
battles. Later he was a
jockey. He rode Gold
Heels, a horse of Diamond
Jim Brady's, back in 1902,
and J. B. Hagen's Briar
Sweet and Several others.

But to get back to
Broadway: "Kiddo and
I done lots of things.
Once we was in a pict-
ure with Corinne Grif-

fith. And once when there was a
big jubilee here in town they let me
lead the parade down Fifth Avenue.
I goes on the stage, too, sometimes.
Al Jolson takes me on with him now
and again. And I been on in vaudeville."

"I been in all kinds of business.
But now I wouldn't ever
do nothin' agin but drive
Kiddo. My heart's in that
hoss. I like Broadway.
I know ever'body an'
ever'body knows me.

"I likes to talk, and
so does other people. I
guess that's why I got
lots of friends. Oh, sure,
it feels good to have lots
of friends."

New Features Every Week in the
New York Magazine Theatre Programs

So Attractive!

So Convenient!

Here's Your
"Who's Who"!

NEVER again need you
wonder in what pro-
duction you saw So-and-So!

In this well-made, black
flexible-cover binder you
can save all your programs
in an instantly available
form.

Sent Prepaid for $1.00

New York Theatre Program
Corporation

114 Wooster Street, N. Y. City

THE NEW YORK MAGAZINE PROGRAM

MAJESTIC THEATRE

Forty-Fourth Street, West of Broadway
Telephone Chickering 2600

CHANIN THEATRES CORPORATION, OWNERS

IRWIN S. CHANIN, President

HENRY I. CHANIN, Treasurer

HARRY D. KLINE, Managing Director

FIRE NOTICE: Look around NOW and choose the nearest Exit to your seat. In case of fire, walk (not run) to THAT Exit. Do not try to beat your neighbor to the street.

JOHN J. DORMAN, Fire Commissioner.

WEEK BEGINNING MONDAY EVENING, OCTOBER 17, 1927

Matinees Wednesday and Saturday

WALKER & KAVANAGH
present

MILLER and LYLES
—in—
“RANG” TANG

Book by Kaj Gynt—Lyrics by Jo' Trent—Music by Ford Dabney
Dances arranged by Charlie Davis

Orchestrations and Vocal Arrangements by Russell Wooding
Settings and Costumes Designed by Olle Nordmark

Entire Production Staged by F. E. Miller
Orchestra Under Direction of Mr. Dabney

ACT I.
Scene 1—PUBLIC SQUARE, JIMTOWN

A.—DAYBREAK

Mrs. Jenkins .................................................... Lillian Westmoreland
Laborers, Washwomen, Cottonpickers.

B.—BARBER SHOP BUSINESS

Customer .................................................... James Strange
Villagers.................................................... B. Jackson, A. Allen, E. Thompson

PROGRAM CONTINUED ON SECOND PAGE FOLLOWING

BETWEEN THE ACTS
LITTLE CIGARS

MAJESTIC THEATRE

17

GOTHAM
GOLD STRIPE

REG·U·S·PAT·OFF·

Silk Stocking's that Wear

PROGRAM CONTINUED

"Everybody Shout"—Sung by Villagers and Jimtown Quartette (S. Mason, J. Willis, C. Todd, A. Allen)

Dance Specialty—Ralph Bryson

"Sammy and Topsy"—Sung by Inez Draw and May Barnes
Magnolia ....................................................Zaidee Jackson

Mrs. Jenkins ............................................Lillian Westmoreland

"Brown"—Sung by Zaidee Jackson and Jimtown Dandies.
Dance Specialty—Byron Jones

"Pay Me"—Sung by Jimtown Business Men

STEVE JENKINS, A Barber ....................................F. E. MILLER

SAM PECK, Another Barber ....................................A. LYLES

Sheriff ................................................................Edward Thompson

C.—"SAMBO'S BANJO"....................................Sung by Maude Russell and Banjo Ensemble

Scene 2—LOAFER'S LANE, JIMTOWN

A.—MISSING............................................Mrs. Jenkins, Alice and Villagers
"Some Day"—Sung by Miss Josephine Hall and

Jimtown Trio (J. Willis, Miss Revells, Miss Simmons)

B.—SPIRITUALS............................................Sung by Jimtown Glee Club
(Special arrangement by Daniel L. Haynes and Clarence Todd)

Scene 3—ADRIFT

A.—THE AVIATORS............................................MILLER & LYLES

Scene 4—THE SHORES OF AFRICA

"Come to Africa"—Sung by Josephine Hall and Native Girls

Scene 5—A JUNGLE TRAIL

STEVE AND SAM............................................MILLER & LYLES

Scene 6—THE BAMBOO FOREST

A.—"ZULU FIFTH AVENUE"................................Sung by Evelyn Preer and Zulu Steppers
Dance Specialties—Barnes and Mack, Ralph Bryson

B.—JUNGLE LOVE

Jungle Rose ................................................................Evelyn Preer

King of Madagascar ............................................Daniel Haynes

"Jungle Rose"—Sung by Daniel L. Haynes

HORTON'S ICE CREAM

1851

The Premier Ice Cream of America
For Seventy-six Years

1927

THE NEW YORK MAGAZINE PROGRAM

18

So Attractive!

Here's Your
"Who's Who"!

Sent Prepaid for $1.00

So Convenient!

MAJESTIC THEATRE

19

PROGRAM CONTINUED

D.—MONKEY BUSINESS

<table><tr><td>STEVE AND SAM</td><td>MILLER & LYLE'S</td></tr><tr><td>Jungle Rose</td><td>Evelyn Preer</td></tr><tr><td>Simian</td><td>L. Ransom</td></tr><tr><td colspan="2">"Monkey Land"—Sung by Miller & Lyles</td></tr><tr><td>Apes, Monkey Band, Missing Links, Baboon Quartet, Chimpanzees, Monkeys</td><td></td></tr></table>

During the Intermission there will be a Brief Concert by Ford Dabney and his Rang Tang Orchestra

ACT II.

A.—A DREAM

Scene 1

<table><tr><td>Jungle Rose</td><td>Evelyn Preer</td></tr><tr><td colspan="2">Handmaidens and Birds</td></tr><tr><td>The Queen of Africa</td><td>Lillian Westmoreland</td></tr><tr><td>Her Handmaiden</td><td>Gertrude Williams</td></tr><tr><td>The Queen of Sheba</td><td>Josephine Hall</td></tr><tr><td>A Courier</td><td>Frankye Maxwell</td></tr><tr><td colspan="2">Lantern Bearers, Handmaidens and Couriers</td></tr></table>

B.—"SWEET EVENING BREEZE" Sung by Josephine Hall

C.—A JUNGLE FAMILY

<table><tr><td>Chief Bobo</td><td>Joe Willis</td></tr><tr><td colspan="2">The Six Little Wives—Margie Hubbard, Irma Miles, Evelyn Keyes, Thelma McLaughlin, Susie Baker and Frances Hubbard</td></tr></table>

D.—THE JUNGLE SCHOOL

<table><tr><td>THE TEACHERS</td><td>MILLER & LYLE'S</td></tr><tr><td>The Natives</td><td>L. Ransom and C. Gordon</td></tr><tr><td colspan="2">Native Children</td></tr></table>

Moon Dance—By Natives

Scene 2—THE DESERT

A.—"SUMMER NIGHTS" Sung by Josephine Hall
Dance by Barnes, Mack, and Byron Jones

B.—THE PROSPECTORS MILLER & LYLE'S
The Queen of Africa Lillian Westmoreland

C.—THE MIRAGE

D.—THE DIAMOND DANCERS

E.—DANCE SPECIALTY Bryson and Jones

Scene 3—THE NATIVE VILLAGE

A.—"DOCTOR VOODOO" Sung by Maude Russell

B.—THE CAPTIVE

<table><tr><td>THE PRISONER</td><td>F. E. MILLER</td></tr><tr><td>THE KING</td><td>A. LYLE'S</td></tr><tr><td>Chief</td><td>George Battles</td></tr><tr><td>Jungle Rose</td><td>Evelyn Preer</td></tr><tr><td>King of Madagascar</td><td>Daniel Haynes</td></tr></table>

C.—"VOODOO"

<table><tr><td>Voodoo Chief</td><td>Gilbert Holland</td></tr></table>

PROGRAM CONTINUED ON NEXT PAGE

Contentmint!
after a
heavy meal ~

"Always good taste"

4

THE NEW YORK MAGAZINE PROGRAM

# HOW ANSON PURDY GOT HIS START

By

ROY K. MOULTON

ANSON PURDY, the village banker, mortgage shark and coal dealer, drove by the general store in his new six cylinder roadster looking neither to the right nor to the left and totally ignoring the little knot of hangers-on who sat sunning themselves before the door-step.

"I recollect when Anse wasn't so powerful high and mighty," ruminated Uncle Ezra Harkins, as he shifted his chew and placed his right leg carefully over his left knee. "I recollect," he continued, "when Anse didn't have a thing on earth but a mule and it wasn't much of a mule to look at. It was a raw-boned, bleary-eyed, pathetic lookin' piece of animile architecture with a paint brush tail and wings on the side of his head that hung despondent like till they nearly touched the ground. The only thing this mule could do was dodge and it was the best dodger that ever got out of the way of an otamobile or a street car. Anse used to make the county fairs with this animile, stick the animile's head through a big piece of canvas and let the boys throw eggs at it. The mule put all of the nigger 'Afri-can Dodgers' in this locality out of business in two seasons and had the field all to himself. Every feller that hit the mule's face with an egg got a good cigar, but few did the trick and Anse did quite well during fair time every fall.

"But that wasn't the way he got his real start, for Anse never got

very far on the
Rockefeller route
until he went into
the coal business.

Anse lived down by the railroad track and his back yard wasn't more than two rod away from the rails. One day Anse was clean, plumb bustled and he set in his back yard watchin' the trains go by. The mule set by him to keep him company. And between 'em they hatched out the slickest get-rich-quick scheme ever invented. Anse noticed that when the trains went by, the firemen often shied coal at objects along the road. That gave him his idee, and after whispering it to his mule, he went and got a pot of paint and borrowed a brush and made up a

Illustrations
by
Elmer Hader.

MAJESTIC THEATRE

5

The Shortest of
Short Stories

sign which he stuck up in
the back yard. The sign read
like this:

$5 REWARD TO ANY ENGIN-
EER, FIREMAN OR BRAKE-
MAN WHO KIN HIT THIS
HERE MEWL WITH A
CHUNK OF COAL.

"Anse hitched the mule out in the back yard adjacent to the sign and set down to await developments. Nothing happened the first day, but several train crews read the sign as they were goin' by. The word was passed along the line and the boys got into a good natured contest to see which one would be first to hit the mule and get the five spot. Anse got so he set on the fence and waved a five-dollar bill at 'em as they went by. Excitement soon rose to a fever heat. The second day Anse got about a half a ton of good soft coal which landed in the yard and Maud, for of course that was the mule's name, dodged every one of the chunks successfully. The third day Anse got a whole wagon load and hired a shed from Deacon Purdy to store it in. Coal kept comin' a little more every day until Anse had to hire two men to load it on the wagons and haul it to the shed.

"This kept up all summer and Anse didn't take the sign down till late in the fall. He had enough coal on hand to supply several good contracts and never lost a five-dollar bill. Toward the last that mule got so she would stand puffectly still and make faces at the train crews and Hee-

Haw like all git out every time they
aimed a curve or down shoot at her.
Anse peddled coal all winter and
made the mule pull the wagon, which
was the most ongrateful feature of
the whole business.

"The next summer he raised the
reward to $10 and got twice as much
coal as he did the summer before.
Then he quit. The mule dodged so
quick one day that she got tangled
up in the rope and broke her neck,
but Anse didn't care. He was runnin'
a wholesale and retail coal and wood
yard by that time and was rakin' in
the dough like a Monte Carlo gam-
bler. That's how Anse got his start."

Anse hitched the mule adjacent to the
sign and awaited developments.

THE NEW YORK MAGAZINE PROGRAM

What the Woman Will Wear

By MARGERY WELLS

Thoughtful Buying.

FASHIONS for well dressed women are becoming more intricate every day. And as their complexity progresses, so does their seeming simplicity and their almost universal becomingness.

"There are more good looking women in America just now than in any other country," so says a cosmopolite who knows. Why are they good looking then? Is it perhaps be-

Beret of Draped Velvet.

cause they are so well dressed? It may be.

Be that as it may, women are more and more particular about knowing their own fashions and relating the mode of the day understandingly to themselves. Women today purchase what they wear not so much because it pleases them at the moment but more because it tones in with a well worked out scheme of dressing. What is being done is of the utmost importance but how it is being done is of even greater significance.

Frocks for the theatre are a case in point. Evening gowns may or may not be worn just as each woman sees

fit. It no longer verges on the compulsory for women to wear full evening dress in orchestra seats. Afternoon frocks, when well assembled, are in perfectly good taste. Satin dresses all of one color, or perhaps in varying tones of that color, say beige, or brown or gray or some of the newer red shades, all distinctive colors, are good to wear just now. And your hat must match to a nicety for you may have been to some quite dressy restaurant for dinner, and there the bit of draping which is your head covering has been asked to play a more important part, even, than your dress.

Little draped berets of felt are the latest things for wear of this sort. They are by far the smarter when totally untrimmed. Then there are those of velvet which follow the same rules and are, if anything, a trifle more becoming because of their more evident softness. These hats complete their lines nicely with the wide fur collars that are so much in evidence this season. They have that happy faculty of hugging the head and the neck and at the same time making themselves exquisite frames for faces.

Bag in Brown
Suede With
Carnelian
Clasp.

Bags, too, are of vast concern to the woman who would be well dressed in every particular. Let them match wherever possible, or at least be right in tone. For the afternoon dress worn to the theatre the bag shown in the illustration is one of the newest and best. Its clasp is carved from Chinese jade, and on the black bag it is white jade, while on the gray one it is a soft pink, and on the ones in brown tones it is made of carnelian.

The New York Times

TUESDAY, JULY 12, 1927.

# 'AFRICANA' A SWIFT NEGRO MUSICAL REVUE

## Ethel Waters Leads in Show With Champion Cake Walker and Amusing Sketches.

AFRICANA. A Revue in Two Acts. Music and lyrics by Donald Heyward. Dances staged by Louis Douglas. Produced by Earl Dancer. At Daly's Theatre.

Principals—Ethel Waters, Rieley and Wilkins, Paul Bass, Ed Fugh, Billy Mills, Henry Winifred, Margaret Beckett, Baby and Bobby Goins and others.

At the playhouse where "Shuffle Along" held high carnival several years back, this week's negro invasion of the New York theatre began auspiciously last night with the presentation of a black-and-tan frolic in which Ethel Waters, out of similar presentations and vaudeville, is starred. Miss Waters is a comédienne and one of considerable talents. She is expert in the effortless retailing of a slightly "blue" song; she has personality and a natural comedy sense, and in her dancing there is something reminiscent of a dusky Charlotte Greenwood.

She wanders easily in and out of the entertainment, and seems destined to stop it with at least one number—her song specialty. The show—"Africana"—is the name they have given it— is a bit more presentious than some of its recent predecessors, but for all its external gaudiness and its copying of the Broadway mise en scene it retains a purely racial quality. It is a frank and uninhibited extravaganza which moves swiftly and generally contrives to provide an evening's entertainment—a short evening's entertainment, to be sure, for its curtain last night was the earliest of any revue in recent memory.

"Africana" contains some good dancing, which detail was attended to by Louis Douglas, who staged the Josephine Baker revue in Paris, and at least two fairly amusing sketches. One of them, "Jedgement Day," goes off in the later day white tradition, but this proves to be justified by its ending; the other is a duologue between a Chinaman and a negro sailor, which is believed to have had Shubert vaudeville origins. The chief comedians are Billy Mills and Harry Winifred, who appear to be funnier than most of the material they are given.

There are the usual romantic songs about the hypothetical delights of a Dixie paradise, the customary minstrel interludes, and a number of rough places that will be smoothed out in the playing. But the first act ends in a cake-walk finale—led, according to announcement, by "Pickanniny Hill, champion cake-walker of the world—which is as well worth seeing as are the gyrations of a sene-gambian team attemptig to perform the Mitty and Tilio sort of dancing. The show has pace, and whenever it halts that quality is restored by the simple expedient f permitting a pair of willing "holders," identified simply as "Eddie" and "Sonny" on the elaborate rhnstone belts they wear, to come before a curtain and go through portions of their speedy routine. The effect is instantaneous.

12

THE NEW YORK MAGAZINE PROGRAM

THE CRITIC'S POWER

(Continued)

She investigated, and brought forth—
a hat.

A man's hat, at that.

Instantly it flashed through her
brain—the actor's hat!

Now Mary had had a father, and
two brothers, and several fiances and
one husband. She knew how seriously
men take their hats. She considered
flight. But she knew she couldn't
escape with her guilt undiscovered, for
the lights had come on and revealed
her with the crushed ruin in her hands.
She did the only thing possible:

"I must have been sitting on your
hat," she gasped weakly.

"It doesn't matter at all," the actor
said. "It was an old hat."

His part in the opening show at the
Grand was small. But the critic

thought less about him as the eccen-
tric uncle in the play than as the good-
natured owner of a maltreated hat.
Her criticism in the paper, the next
day ended with the lines:

"Mr. Blank played with rare dis-
tinction the part allotted him."

The next week when a somewhat
fatter part fell to him, she again re-
membered and wrote:

"Last week Mr. Blank proved him-
self an actor of talent. The new role
gives him the opportunity to prove
his versatility."

And the next week . . . But
there is no need to go on further with
the story. It wasn't long before the
company reorganized, and he was play-
ing leads.

New Features Every Week in The New York Magazine Theatre Programs

THE STAGE

A Style that smiles its satisfaction at any stage of the wearing !

Mail Order Shopping Service

ROGERS PEET COMPANY

Broadway
at Liberty

Broadway
at Warren

Broadway
at 13th St.

Herald Sq.
at 35th St.

New York
City

Fifth Ave.
at 41st St.

Tremont at Bromfield, Boston, Mass.

Date

Theatre

Star

Also

Impression

In the party were

Feeling that a collection of the Rogers Peet cartoons might make an interesting record of
plays seen, we shall be glad to provide a little album for these clippings. Write to, or call
at any of our "6 Convenient Corners."

14

THE NEW YORK MAGAZINE PROGRAM

The Breakers

Atlantic City

New Jersey

On the Ocean Front

Joel Hillman, President.

AMERICAN and EUROPEAN PLAN

GARAGE

PROGRAM CONTINUED

Scene 8

The Mississippi

(Song) "Time Ain't Very Long"....................Africana Octette
(Song) "Smile" ....................................MISS WATERS

Scene 9

Specialty ...........................................Louis Douglas

Scene 10

A Romantic Interlude

Song—"Clorinda"..................Paul Bass and Edna Barr
The Boy—Margaret Beckett The Girl—Theresa Mason
Clorinda Girls and Boys
The Taskiana Four Baby and Bobby Goins

Scene 11

"Argufyin'" ....................................Billy Mills

DALY'S 63d ST. THEATRE

ELECTRIC FERRIES

West 23rd Street to Hudson Boulevard

Exclusively for Motor Vehicles. No Foot Passengers
Frequent Service All Night

Minimum rates

Maximum service

Minimum delay

PROGRAM CONTINUED

Scene 12

Harlem Transplanted to Paris

Scene—"Chez Florence," a colored Parisian Cafe

<table><tr><td>Master of Ceremonies</td><td>Paul Bass</td></tr><tr><td>Specialty</td><td>Africana Jazzers directed by Allie Ross</td></tr><tr><td>"Banana Maidens" a la Josephine Baker,</td><td>Margaret Beckett and the Ten Little Bananas</td></tr><tr><td>Specialty</td><td>ETHEL WATERS</td></tr><tr><td>Specialty</td><td>Baby and Bobby Goins</td></tr><tr><td>"Africana Stomp"</td><td>Miss Waters, Mr. Douglas and the Girls</td></tr><tr><td>GRAND FINALE</td><td>ENTIRE COMPANY</td></tr></table>

Costumes executed by Brooks Costume Co.

from designs by Charles Lemaire.

Scenery and effects by Walter Lewis and Tichenor.

Shoes by Barney.

Orchestrations by William Still.

Ladies of the Ensemble

Margaret Beckett, Theresa Mason, Juanita Boyd, Bertye Byrd, Margaret Burns, Bernice Ackins, Laronia Bradley, Eva Bradley, Roberta Lowery, Adelaide Jones, Jenny Salmons, Lucille Smith, Claire Wilson, Rose Young.

Executive Staff for Earl Dancer.

<table><tr><td>H. Edwin Keller</td><td>General Representative</td></tr><tr><td>John Dancer</td><td>Secretary-Treasurer</td></tr><tr><td>Allie Ross</td><td>Musical Director</td></tr><tr><td>Louis Douglas</td><td>Stage Director</td></tr><tr><td>Columbus Jackson</td><td>Stage Manager</td></tr><tr><td>Bessie Whitman</td><td>Wardrobe</td></tr></table>

PARK AVENUE

LINCOLN
DEALERS

ANTICIPATING years of pleasurable ownership, it is but natural for the prospective purchaser to conceive in his mind a picture of the perfect motor car — perfect in performance, flawless in mechanical design, and beautiful in appearance and appointments.

Lincoln owners know that the Lincoln, enhanced by the individual smartness and distinction which Park Central Motors so deftly adds, is the closest physical approach to the ideal motor car.

Park Central Motors renders an unending Lincoln service to New Yorkers. You may make your selection from a complete and varied display with the assurance that your own desires will be faithfully followed. And, after your final choice is made, there is available a complete and satisfying service to maintain your Lincoln always at its highest level of efficiency.

A unique type of storage service is offered at our
Garage, at 5th Avenue and 102nd Street.

Telephone Ashland 3020

PARK CENTRAL MOTORS
INCORPORATED

Park Avenue at 46th Street

GREENWICH—Branches—STAMFORD

PAGE TWO

What de mattuh, Sistuh?
What de mattuh, Sistuh?
What de mattuh, Sistuh?
Yuh can't stan' still.

Jedus gots our brudder,
Jedus gots our brudder,
Jedus gots our brudder,
An' I can't stan' still.

## Deat' Ain't Yuh Gots No Shame!

"Deat' ain't yuh gots no shame, shame?
Deat' ain't yuh gots no shame, shame?
Deat' ain't yuh gots no shame, shame?
Deat' ain't yuh gots no shame?

"Teck dis man an' gone, gone,
Teck dis man an' gone, gone,
Teck dis man an' gone, gone,
Deat' ain't yuh gots no shame?

"Leabe dis 'oman lone, lone,
Leabe dis 'oman lone, lone,
Leabe dis 'oman lone, lone,
Deat' ain't yuh gots no shame?

(Continued on page 7)

MISHKIN: STVDIO:
PORT RAITS

605 FIFTH AVENUE, AT FORTY-NINTH
NEW YORK

OFFICIAL PHOTOGRAPHER OF
THE METROPOLITAN OPERA

CHALIF RUSSIAN
SCHOOL of DANCING

"High Standards of Artistic Merit"

Children's, Adults and Teachers' Classes

163 West 57th Street, New York, N. Y.
(Opposite Carnegie Hall) Tel. CIRCLE 1927

PLAY BROKER
MYRA FURST

25 W. 43rd Street Vanderbilt 5221 and 1779

Authors' Representative in "Cradle Snatchers," "Vagabond King," "Wooden Kimono," "Dover Road," "Goose Hangs High," "Square Peg," "The New Englander."

This year's Theatre Guild production of "Faust."

All manuscripts receive my personal attention.

## LEARN ANOTHER LANGUAGE

It is easy by our
CONVERSATIONAL METHOD
TRIAL LESSON FREE

Classes and Individual Instruction—
Native Teachers

BERLITZ
SCHOOL OF
LANGUAGES

Est. 49 Years Over 300 Branches

NEW YORK—30 West 34th Street
BROOKLYN—218 Livingston Street

Catalogue sent on request.

## AWAKEN YOUR BEAUTY

ROUSE dormant charms—
revive the youthfulness of
your contour—obliterate every sign
of age with a scientific beauty treat-
ment at the exotic salon of Helena
Rubinstein, the world's foremost ex-
ponent of beauty culture.

Here, cooling, bracing creams and
lotions are skillfully applied accord-
ing to the particular needs of your
skin . . . quickly they erase
every symptom of skin fatigue—
delightfully they make your skin
receptive to simple daily home care.

Salon de Beauté Valaze

Helena Rubinstein

46 WEST 57th STREET

PARIS NEW YORK LONDON

PAGE FIVE

MAXINE ELLIOTT'S
THEATRE 45th St., W. of B'way
Matinees, Wednesday and Saturday 2:30

ARTHUR HOPKINS

presents

ELSIE FERGUSON

AND

NANCE O'NEIL

IN

"The House
of Women"

LOUIS BROMFIELD'S
dramatization of his novel
"THE GREEN BAY TREE"
Seats on Sale for First 8 Weeks

PLYMOUTH THEATRE

ARTHUR HOPKINS'
production of

Burlesque

A Comedy by
GEORGE MANKER WATTERS
and ARTHUR HOPKINS

## Notes on Porgy

The band which appears in the third and fourth scenes of the play has been brought to New York for this production. It is the original band of the Jenkins Orphanage in Charleston, and is a part of the actual aggregation described in the lodge parade of Mr. Heyward's novel. Anyone interested in assisting this southern negro orphanage can communicate with them through the office of the Theatre Guild.

For assistance in securing and recording the spirituals used in the play, grateful acknowledgement is made to the Society for the Preservation of Spirituals in Charleston, and to Miss Nan Bagby Stephens.

The dialect employed by the negroes of the South Carolina Low Country is known as "Gullah". It is so obscure, and contains so many words of African origin, that, in order to render the dialogue comprehensible it has been translated into a conventional negro dialect, retaining only certain characteristic grammatical eccentricities. The word "Buckra" means a white man, and "Shouting" means the bodily rhythms that accompany the music.

MESSMORE KENDALL
presents

Katharine Cornell

in

**THE LETTER**

By W. Somerset Maugham

MOROSCO 45th St. W. of B'way
Evenings 8.30
Matinees Wed. and Sat. 2.30

EMPIRE Thea., B'way & 40 St. Evs. 8.20
Matinees WED. & SAT., 2.20

"Freighted with Laughter and fond memories."
—ALEXANDER WOOLLCOTT, World.

"PICKWICK"
with JOHN CUMBERLAND
and a London cast of 50

PAGE SIX

## Spirituals Used in Porgy

(Continued from page 5)

"Leabe dese chillun starve, starve,
Leabe dese chillun starve, starve,
Leabe dese chillun starve, starve,
Deat' ain't yuh gots no shame?"

## We Will All Pray Togedduh
on Dat Day

"We will all pray togedduh on dat day,
We will all pray togedduh on dat day,
An' I'll fall upon my knees an' face de
risin' sun.
Oh, Lord, hab' me'cy on me!

"We will drink wine togedduh on dat day.
We will drink wine togedduh on dat day,
An' I'll fall upon my knees an' face de
risin' sun.
Oh, Lord, hab' me'cy on me!

"We will eat bread togedduh on dat day,
We will eat bread togedduh on dat day,
An' I'll fall upon my knees an' face de
risin' sun.
Oh, Lord, hab' me'cy on me!"

"Clara, Clara, don' let yo' sistuh con-
demn yo'
Way down in dat lonesome grabe-yahd.
Ummmm-Ummmm—Yeddy ole Egypt duh
yowlin'
Ummmm-Ummmm—Yeddy ole Egypt duh
yowlin'
Ummmm-Ummmm—Yeddy ole Egypt duh
yowlin'
Way down in dat lonesome grabe-yahd.
"Crown, Crown, don' let yo' brudder con-
demn yo'
Crown, Crown, don' let yo' brudder con-
demn yo'—
Crown, Crown, don' let yo' brudder con-
demn yo'
Way down in dat lonesome grabe-yahd."
(Continued on page 13)

## Bond issues
totaling
many millions
of dollars

are constantly being
offered American inves-
tors.

One hardly has the
time to sift through the
daily maze of new bond
offerings to find advan-
tageous purchases. Let
us do this for you.

Such service is readily
available through use of
our *Investment Memo-
randum*.

THE EQUITABLE
TRUST COMPANY

OF NEW YORK

37 WALL STREET

Madison Avenue at 45th Street
247 Broadway
28th Street and Madison Avenue

FOREIGN OFFICES:
LONDON · PARIS · MEXICO CITY

Total resources
more than $500,000,000

© E. T. C. of N.Y., 1927

PAGE SEVEN

(Program continued from pages 8 and 9)

Two Policemen..................................................Hugh Rennie, Maurice McRae
Undertaker......................................................Leigh Whipper
Scipio..........................................................Melville Greene
Simon Frazier, a lawyer....................................A. B. Comathiere
Nelson, a fisherman........................................G. Edward Brown
Alan Archdale..................................................Edward Fielding
The Crab Man..................................................Leigh Whipper
The Coroner...................................................Garrett Minturn

Residents of Catfish Row, fishermen, children, stevedores, etc.—Clarissa Blue, Mar-guerite Booth, Lillian Cowan, Muriel Collins, Zora Donahoo, Dorothy Embry, Catherine Francis, Ella Gordon, Rosa Johnson, Marie Remsen, Dorothy West, Musa Williams, Frank Allen, Charles Bailey, Duncan Bourne, Richard Bruce, Edward Chavers, Edward Perry, Smith Reed, Eugene Riddick, Charles Taylor, Philip Thomas, Wallace Thurman, Lafayette Walker.

Children—Eddie Williams, Ruth Williams, Eunice Belborda, Sylvia Harrigan, Thomas Trisven, William Carroll, Martha Donahoo.

Jenkins' Orphanage Band—A. J. Mills, Jesse Coon, John Richardson, John Wilson, Arthur Kennedy, Thaddeus Jenkins, Lester Hubbard, Walter Baske, Samuel Ladson, Aloza Mills, Jr., Erskine Clarke.

(Program continued on page 12)

The DAINTEE: An exquisite velvet sandal for evening wear, custom-made in black with gold, red with gold and blue, green or coral with silver.

IT IS BUT FEMININE TO WISH
TO BE EXCLUSIVE

I. MILLER

Custom Shoe Salon
FIFTH AVENUE at 46th

PAGE TEN

## "The Doctor's Dilemma"

As the Guild's subscribers long ago learned, no season is really a season until a play by Bernard Shaw has been offered. This year, *mesdames et messieurs*, it will be a satirical comedy *The Doctor's Dilemma*, a thrust at some gentlemen of the London medical profession. Among its other thrusts is one at a reporter; but there are kind words for two contemporary writers of England. One of them is J. M. Barrie who is referred to in the dialogue as "my friend" and the other is—Bernard Shaw. This man Shaw, so the author Shaw has one of his characters declaim, "is the most advanced man living."

The comedy is in five acts. For sheer droll exposition of his ideas, his play stands with anything Shaw has turned out. To the character of the rascally artist, Dubadet, scenes of fine humor, alternating with equally fine pathos, are allotted, while the requirements of the play demand that one of the best male casts ever brought together be assembled.

An Ibsen Play without gloom!

An Ibsen Play with thrills!

An Ibsen Comedy!

## WALTER HAMPDEN in AN ENEMY OF THE PEOPLE

"Thrilling story. Superb play. Enthusiastically received."—Times.

"Personal triumph for Mr. Hampden."—Evening World.

HAMPDEN'S THEATRE
Broadway at 62nd St.

Eves: 8:30 sharp; Mats: Wed. & Sat., 2:30

A cressett light from Cellini's time. Handwrought, it is as much admired today as it was 400 years ago.

## USE MELLOWS ITS CHARMS

USE never dulls the charm of a Pierce-Arrow because, in its building, craftsmen have kept alive the arts and integrities of hand-building. This undeviating pursuit of perfection that marks the artist's creation means, in motor cars as in lamps, the difference between mediocrity and superlative merit—the difference between passing fancy and lasting charm.

Enclosed cars $2495 to $8000 (at Buffalo, plus tax)

Virtually unlimited selection of color and upholstery combinations

Body by Pierce-Arrow

PIERCE-ARROW

PIERCE-ARROW SALES CORPORATION

Factory Branch

NEW YORK

BRONX

BROOKLYN

PAGE ELEVEN

## Spirituals Used in Porgy

(Continued from page 7)

### Bess' Lulaby

Hush, little baby, don' yo' cry,
Hush, little baby, don' yo' cry,
Hush, little baby, don' yo' cry,
Mudder an' fadder born to die!

Heard a t'under in de sky,
Heard a t'under in de sky,
Heard a t'under in de sky,
Mus' be Jedus passin' by.

Heard a rumblin' in de groun'
Heard a rumblin' in de groun'
Heard a rumblin' in de groun'
Mus' be Satan turnin' 'roun'!

### De Primus Lan'

Oh, I gots a little brudder in de new
grabe-yahd

What out-shine de sun

Out-shine de sun

Out-shine de sun.

What out-shine de sun,

An' I'll meet um in de Primus Lan'.

### Chorus

I will meet um in de Primus Lan'!

Oh, I'll meet um in de Primus Lan'!

I will meet um, meet um, meet um,

Oh, I gots a mansion up on high

What ain't make wid han'

Ain't make wid han', Ain't make wid han'

What ain't make wid han'

An' I'll meet um in de Primus Lan'!

### Jedgement

#### The Women

"All I know—

Several Men

I got to meet de jedgement.

#### The Women

"All I know—

The Men

Got to meet de jedgement.

#### The Women

"All I know—

The Men

Got to meet de jedgement,

#### Together

"All I know, All I know, All I know—

### John Murray Anderson—Robert Milton

#### School of the Theatre

128-130 East 58th Street
New York City

AMERICA'S MOST
SUCCESSFUL SCHOOL
OF ACTING

Instruction in Every Branch of Dramatic Art:

Dramatics, Musical Comedy, Diction, Pantomime, Scenic and Costume Design, Fencing, Stage Management, Playwriting, etc.

EVENING CLASSES IN ACTING
AND DANCING

#### The Distinguished Faculty includes:

John Murray Anderson, Robert Milton, James Light, Ward Fox, Martha Graham, David Burton, Robert Bell, George Currie, Adolph Bolm, Bertram Bloch, Clark Robinson, James Reynolds.

Fall Term Began October 3rd.

(Classes Can Be Joined Any Time)

An acting group, the Anderson-Milton Players, has been organized as an adjunct to the Anderson-Milton School and will give public performances in various theatres in the vicinity of New York during the season. It's first offering, a performance of Owen Davis's play "Icebound," will be given at Proctor's Lyceum, Newark, on October 29th next.

Send for Prospectus.

Plaza 4524 and 4525

PAGE THIRTEEN

(Program continued from page 12)

ACT IV.

Scene I—Catfish Row. The Next Night.

Scene II—Catfish Row. The Next Afternoon.

Scene III—Catfish Row. Five Days Later.

Place—Charlestown, S. C. Time—The Present.

Stage Manager........................................MAURICE MCRAE

Assistants ........................CHERYL CRAWFORD, HUGH RENNIE

Dunhill London cigarettes are given to patrons in our lounge.

At the conclusion of each performance the lounges of the Guild Theatre will be open and the refreshment fountain will serve play-goers who wish to linger there for a few minutes.

Pianos of the Theatre Guild are furnished exclusively by Wm. Knabe and Co., 657 Fifth Ave.

For Benefits at this Theatre, Apply to
Business Manager, The Theatre Guild, 245 W. 52nd St., Columbus 6170

For Advertising Space in This Program Apply to
NATIONAL PROGRAM PUBLISHERS, 286 FIFTH AVE., N. Y. CITY
Phone Lackawanna 6169

Douglas L. Elliman & Co., Inc.
15 East 49th Street
or
Represenative on Premises

Plaza 9200

Louis Cowan

Builder

Emile, your
Hairdresser

Supervisor of the world known es-
tablishment, whom so many try
to imitate in work and in name.

The **Buckingham**

101 WEST 57th STREET
Cor. 6th Ave., New York

LONDON

PARIS

ROME

LUCERNE

(Circle)
8873

PAGE FOURTEEN

THE THEATRE GUILD, Inc.

Board of Managers

Theresa Helburn
Lawrence Langner

Philip Moeller
Lee Simonson

Maurice Wertheim
Helen Westley

Executive Director: Theresa Helburn

Business Manager
Warren P. Munsell

Technical Director
Kate Lawson

Play Reading Dept.
Courtenay Lemon
Anita Block, Reader
of Foreign Plays

Press Department
Robert F. Sisk

Subscription Secretary
Addie Williams

Address communications to the THEATRE GUILD, INC.
245 WEST 52ND STREET, NEW YORK CITY

EXIT PLAN
of the
GUILD THEATRE

FOR ADVERTISING SPACE IN THIS
PROGRAM APPLY TO

NATIONAL PROGRAM PUBLISHERS

286 FIFTH AVE., NEW YORK CITY
Phone Lackawanna 6169

PAGE FIFTEEN

New Playwrights Theatre

will produce only American plays. Four
Spring productions are announced on the
present program. Eight more plays will be
introduced into the repertory during the sea-
son of 1927-1928. Each play will be retained
on the program as long as there is an audience
demand for it.

The active management is in the hands
of five working playwrights, in the interest of
their own and the work of other writers.
We aim to serve the new author. We are in
search of creative material. The entire output
of the five playwright-directors (with the
exception of previous contracts) is reserved
to this Theatre.

We advocate no "ism," but are not afraid
of experimentation, and we pledge our efforts
to the avoidance of dullness and aestheticism.

We are out to get audience support. We
cannot exist without it.

EM JO BASSHE

JOHN DOSPASSOS

FRANCIS EDWARDS FARAGOH

MICHAEL GOLD

JOHN HOWARD LAWSON

Programme for
"Loud Speaker"
by John Howard Lawson
Opening March 2
and
"Earth"

by Em Jo Basshe

Opening March 9. 1927

Music composed by HALL JOHNSON

Costumes by EVELYN T. CLIFTON

(run)
er.

N

ex Clough

L. Haynes

yes Pryor

Townsend

rie Young

Ruth Carr

e Morgan

 Winslow

line Evans

Winfield

ster Elkins

. Addison

ney Reeves

DesVerney

Staff for
New Playwrights Theatre

Alice Jayson
Business Manager

Helen Ingersoll
Press Representative

Edward Eliscu
Gen'l Stage Manager

Edward Cavanaugh
Master Carpenter

Jack Callahan
Master Electrician

William Duing
Master of Properties

John O'Neill
Treasurer

Thelma Burleigh
Asst. Treasurer

Louis B. Boudin and
Philip Wittenberg
Legal Advisors

NOW and choose the Exit nearest to your seat. In case of fire, walk (not run)

A neighbor to the street.

S

25 pu

March 14th thro' March 15th
"Loud Speaker"

March 16th thro' March 19th
"Earth"

March 21st and 22nd
"Earth"

March 23rd thro' March 26th
"Loud Speaker"

"Fiesta" by Michael Gold will
open during the week of
March 28th

"Pinwheel" by Francis Edwards Faragoh which is now being played at the Neighborhood Playhouse has been offered to us by the Playhouse for production, concurrently with their production and we will produce "Pinwheel" at this theatre immediately after "Fiesta."

Thelma Burleigh and George Heller have charge of the book stand in the lobby.

"Loud Speaker" music on sale
at the book stand.

HARRY WAGSTAFF GRIBBLE

Incidental music by
Lyrics by ED

Dances directed by

Characters in the order

Harry U. Collins
Peterson
Emma Collins
Maid
Clare Collins
Josephus

By arrangement with

Johnnie Dunne
Floradora Finnigan
A Stranger with a Beard
Dorothy Dunne
Armenian Iky
1st Reporter
2nd Reporter
3rd Reporter
1st Photographer
2nd Photographer

HARLEM C

Hemsley Winfield, Harold
Elkins, Wm. Townsend
McKinley

Reporters, Dum

—Intermissions 1

BENJAMIN KAMSL

Scenery built and painted by

Imperial S
Conductor, Lieut. Jacob W. B
The Baldwin Piano is a
Miss Lumbard's and Miss Gard
A. G.

Miss Douglass' dresses
The Annette Kellerman ba

["Characters in the order", "Lyrics by Ed\nDances directed by", "Incidental music by", "HARRY WAGSTAFF GRIBBLE", "By arrangement", "Harry U. Collins........................

apollo theatre

You Know You're Smart

When You Wear ~

Onyx Pointex

The Original
Pointed Heel
Stocking

ALWAYS AVAILABLE IN THE NEWEST COLORS

PROGRAM CONTINUED

<table><tr><td>JASPER WILLIAMS</td><td>EMORY S. RICHARDSON</td></tr><tr><td>EFFIE</td><td>LILLIAN FAIRLEY</td></tr><tr><td>JIMMIE</td><td>HEMSLEY WINFIELD</td></tr><tr><td>THADDEUS JENKINS</td><td>COLLINGTON HAYES</td></tr><tr><td>IPPY JONES</td><td>HILLIS WALTERS</td></tr><tr><td>MARY LOU</td><td>CARMEN MARSHALL</td></tr><tr><td>ROY CROWE</td><td>BILLY ANDREWS</td></tr><tr><td>BRIGGS</td><td>FRANK BADHAM</td></tr><tr><td>Will</td><td>A. B. Walker</td></tr><tr><td>Joe</td><td>Joseph Slocum</td></tr><tr><td>Mary Jane</td><td>Mary Jane Watkins</td></tr><tr><td>May</td><td>Mae Morrison</td></tr><tr><td>Tom</td><td>George Thomas</td></tr><tr><td>Rita</td><td>Rita Weldon</td></tr><tr><td>Al</td><td>Albert W. Patrick</td></tr><tr><td>Cora</td><td>Cora Parkes</td></tr><tr><td>Bill</td><td>William McFarland</td></tr><tr><td>Jen</td><td>Jenney Roe</td></tr><tr><td>Daisy</td><td>Daisy Pilgram</td></tr><tr><td>Bob</td><td>Robert Corbin</td></tr><tr><td>Irene</td><td>Irene Temple</td></tr><tr><td>Sharpy</td><td>Ernest De Sharpe</td></tr></table>

CONTINUOUS run in New York for 78 years.
More popular today than ever before.

HORTON'S ICE CREAM

[ 11 ]

apollo theatre

PROGRAM CONTINUED

<table><tbody><tr><td>Lil</td><td>Lillian Maxwell</td></tr><tr><td>Ed</td><td>Lorenze E. Graham</td></tr><tr><td>George</td><td>George Grissom</td></tr><tr><td>Aline</td><td>Aline Lewis</td></tr><tr><td>Grace</td><td>Grace Burke</td></tr><tr><td>Slim</td><td>Emory Bonner</td></tr><tr><td>Fats</td><td>Stanley Wolcott</td></tr><tr><td>Rad</td><td>Roy De Coverly</td></tr><tr><td>Wiggles</td><td>Gertie Chambers</td></tr><tr><td>Thula</td><td>Thula Ortiz</td></tr><tr><td>Rex</td><td>Rex Goreleigh</td></tr><tr><td>Matty</td><td>Emma Maitland</td></tr><tr><td>Larry</td><td>Larri Lorear</td></tr><tr><td>Winnie</td><td>A. Wheedlin</td></tr><tr><td>Sue</td><td>Suzanne Cartier</td></tr><tr><td>Mary</td><td>Mary Daniels</td></tr><tr><td>Archy</td><td>Alec Archer</td></tr><tr><td>Vi</td><td>Vera Barbour</td></tr><tr><td>Lee</td><td>Leah Chandler</td></tr><tr><td>Sandy</td><td>Ben Dalton</td></tr><tr><td>TOM</td><td>ROBERT BRAMLETT</td></tr><tr><td>Rose</td><td>Rosette Brown</td></tr><tr><td>Curley</td><td>Alberta Foster</td></tr><tr><td>Jim</td><td>Jimmy Young</td></tr><tr><td>HOT-STUFF MAN</td><td>BUD ALLEN</td></tr><tr><td>KID VAMP</td><td>ERNEST R. WHITMAN</td></tr><tr><td>DR. VOODEO</td><td>F. BARCLAY TRIGG</td></tr><tr><td>DETECTIVE SERGEANT PALMER</td><td>ARTHUR HUGHES</td></tr><tr><td>OFFICER SAM</td><td>NAT CASH</td></tr><tr><td>JANITRESS</td><td>ARDELLE DABNEY</td></tr><tr><td>JANITRESS' DAUGHTER</td><td>MALVINA DABNEY</td></tr></tbody></table>

ACT I.

The living room of the Williams' railroad flat in Harlem.
Saturday Night. Late February.

Refreshmint!
after
smoking~

"They take
your breath away"

"ALWAYS GOOD TASTE"

[13]

the new york magazine program

Contribute to Federation
—and you contribute to 91 charities

YOU, as an individual, cannot bear in mind the
pressing needs of 91 essential charities—but
Federation can—and does.

You cannot spend days and weeks in apportioning
your charitable dollars—but Federation can—and
does.

But you can contribute—generously and fully—
and Federation can’t do its work unless you do.

FEDERATION

For the support of Jewish Philanthropic Societies
of New York City

71 WEST 47TH STREET

PROGRAM CONTINUED

ACT II.

Roy's apartment. One hour later.

ACT III.

Same as Act I. Immediately following.

Scenery built by Frank Dwyer, Inc., and painted by Triangle Studio. Lights by Display Stage Lighting, Inc.

[14]

apollo theatre

PROGRAM CONTINUED

EXECUTIVE STAFF FOR EDWARD A. BLATT

<table><tr><td>GENERAL STAGE DIRECTOR</td><td>CHESTER ERSKIN</td></tr><tr><td>PUBLICITY DIRECTOR</td><td>C. A. LEONARD</td></tr><tr><td>BUSINESS REPRESENTATIVE</td><td>JEANE COHEN</td></tr><tr><td>BSINESS MANAGER</td><td>IRVING SALKOW</td></tr><tr><td>ART DIRECTOR</td><td>PAUL R. MELTZNER</td></tr><tr><td>Stage Manager</td><td>Hemley Winfield</td></tr><tr><td>Stage Manager</td><td>Nat Cash</td></tr><tr><td>Governess</td><td>Ardelle Dabney</td></tr></table>

GLOSSARY OF HARLEMISMS

RENT PARTY—A Saturday night orgy staged to raise money to pay the landlord.

SWEETBACK—A colored gigolo, or man who lives off women.

HINCTY—Imperious; snooty.

DICTY—Highbrow.

MONKEY-CHASER—A West Indian Negro.

LOVE-CHARM—A good-luck piece designed to attract a particular person of the opposite sex.

GOOFER-DUST—A supposedly magic powder which, if sprinkled judiciously will rout bad luck with a recalcitrant sweetheart, or chase a discarded but tenacious one.

MONKEY-HIP-EATER—A derisive name applied to a Barbados Negro; supposed to have originated with the myth that Barbados Negroes are passionately fond of monkey meat, particularly “monkey hips with dumplings.”

CHIPPY—A tart; a fly, undiscriminating young wench.

MESS-AROUND—A whirling dance; a part of the Charleston.

HOT-STUFF MAN—A seller of stolen goods.

38 AND 2—That's fine.

FORTY—Okay.

RIGHTEOUS—Right-o; correct.

SWEET MAN—A great lover.

BIG SUGAR, SMALL SUGAR—Terms of endearment.

JIVE—Kid; josh.

TWO-TIME—To double-cross.

LILY-LIVER—A coward; yellow.

DOWN-TO-THE-BRICKS — To the limit.

“MON”—A West Indian Negro's pronunciation of “Man,” therefore a West Indian Negro.

PICKED—Gyped, robbed.

NUMBERS—A gambling game peculiar to Harlem; a sort of lottery based on three figures of the daily Clearing House Statement. The banker holds the money bags, pays winners, if any, and allows his runners a commission on all the sums they bring in. The winning number is compounded as follows: Say the daily Clearing House Statement reads thusly for one day: Exchanges, 2,432,000,000; Balances, 250,130,000; Credits, 1,456,000. The second and third digits of the Exchanges with the second digit of the Balances make up the winning number which, if the report is as above, would be 435. A person can play any amount, from one cent up. The odds paid are 540 to 1, while the chance of picking the right number is 1000 to 1. Sometimes days pass without the banker having to pay, as no one picks the winning number. Often, when a number of people pick the correct number, a banker disappears. Also, runners sometimes pocket the bets, not turning them over to the banker. The whole business is illegal, so the number entrepreneurs, like the bootleggers, are open to hijacking, as they can hardly appeal to the police if their runners and collectors are held up.

[ 15 ]

By Bide Dudley

"Harlem"

Eve World-

S

OME of the best drama available in the Broadway District just now is in "Harlem," the play of Negro life in New York's Black Belt, which Edward A. Blatt presented last night at the Apollo Theatre.

At the same time there is more genuinely good acting in it than I have run across in one play this season. Naturalness is the foundation of all real acting nowadays and the players in "Harlem," all colored but one, have it. They act what they know—by not acting it, simply living it.

And since William Jourdan Rapp and Wallace Thurman, the authors, know their Harlem it is no wonder their play is downright entertainment. Now and then last night several of the cast showed undue enthusiasm. Among these was Isabell Washington, as Cordelia Williams, the bad girl. Miss Washington is a happy selection for the role, but she should pipe down a bit. Also, I'd like to whisper to Mr. Blatt that he doesn't need the exaggerated dancing displayed at the apartment party. It is anything but lovely and it offers the one chance for failure the play has. If you know what I mean. I have an idea its elimination will be suggested by others before long.

The story of "Harlem" revolves around Cordelia, a "high yaller hot mamma" who has lover after lover. There is one man who honestly cares for her. He is a West Indian Negro whom the others call a monkey chaser. There is a gin party given by Cordelia's father as a means of collecting rent money; there is the elopement of

Double Jeopardy is inevitable where here is both state and national authority. The repeal of the Mullan-Gage law has not obliterated it. A recent decision in the Court of Appeals at Alabama demonstrates this fact. The owner of a speakeasy was held guilty of maintaining a public nuisance, not because it was in violation of the Volstead act, but under the criminal law of the state. The defendant is still liable, doubtless, to prosecution under the Federal law for violation of the Volstead act. The interest of the Federal government may, in some cases, be purely one of finance. The interest of the state is quite a different matter. The paying of a penalty to one does not mean any way discharge the obligation of the delinquent to the other jurisdiction. The defendant is not prosecuted twice for one offense. He is prosecuted for two separate offenses.

CHARLES E. MANIERRE.
New York, Feb. 18, 1929.

## The Wilson Biography

To the New York Herald Tribune:
I have read with great interest the series of the Woodrow Wilson Biography by Ray Stannard Baker, which terminated in last Sunday's issue of your Glasgow, Feb. 11, 1929.

## Double Jeopardy

To the New York Herald Tribune:
A critic of a recent letter of mine on double jeopardy" in a letter published in your paper of February 17 makes it evident that most laymen fail to make an important distinction. The writer says it makes little difference to an accused person whether there are two sovereignties or not, if he is liable to

THE NEWYORK MAGAZINE PROGRAM

LIBERTY THEATRE

A. L. ERLANGER, President

234 WEST 42d STREET CORPORATION

J. W. MAYER, Manager

WEEK BEGINNING MONDAY EVENING, MAY 21, 1928

Midnite Show Every Thursday

LEW LESLIE'S
"BLACKBIRDS OF 1928"

A Distinctive and Unique Entertainment

Lyrics by DOROTHY FIELDS

Music by JIMMY McHUGH

With an All-Star Cast of 100 Colored Artists

Featuring

ADELAIDE HALL—BILL ROBINSON

AIDA WARD—TIM MOORE

Blackbirds Beauty Chorus

—and the—

PLANTATION ORCHESTRA

ALLIE ROSS, Conductor

Entire Production Staged and Conceived by

MR. LEW LESLIE

So Thin!

The New Smart.

Nocida

Vanitie.

FOR LOOSE POWDER

CANNOT SPILL-EASY TO REFILL

WHEREVER TOILET GOODS ARE SOLD

22

THE NEW YORK MAGAZINE PROGRAM

A COMPLETE MARKET—

“The Wealthiest Class”

Of the wealthiest class, there are 4,000 families alone, living on Park Avenue, New York, whose average annual income is $75,000. These are the people who, some contend, are not responsive to, or influenced by, advertising. But, of course, they are influenced by advertising. They are very human and very like other people with less money. They wield a tremendous influence, and the extent of their income indicates the character of their probable purchases.

These 4,000 families spend $5,000,000 a year for theatre tickets.

“The Visiting Population”—

The 100,000 people weekly from other cities, aggregating some 4,000,000 during the theatrical season. These visitors, aside from the commercial element, occupy in their respective communities the same relative position as the Park Avenue families, and others of the same class, do in New York. They are responsive to advertising, seen and read in New York, to a much greater degree than to the advertising seen at home.

These people spend upwards of $10,000,000 a year for theatre tickets.

The NEW YORK MAGAZINE PROGRAM

Circulation 17,500,000 Yearly in New York's Foremost Theatres

LIBERTY THEATRE

23

FOR QUALITY PRODUCTS

"The Sophisticated Resident"

TO this element there are over 13,000,000 tickets sold during the year. While these people do not attend the theatre as frequently as the Park Avenue families, their tremendous number makes up a staggering total expenditure.

These sophisticated residents are the warp and woof of the New York market for every quality product. They are not wealthy, but well-to-do—wise enough to make the money to buy what they want and need, and confident of their ability to continue making it. They are quick to recognize quality and value and willing to pay for it.

*They spend in excess of $35,000,000 a year for theatre tickets.*

And it is to these three classifications that the circulation of THE NEW YORK MAGAZINE PROGRAM is confined. To these all New York advertising is directed because they comprise all of the people who can possibly respond to advertising.

If, therefore, you sell your goods to any or all of these divisions, THE NEW YORK MAGAZINE PROGRAM unquestionably becomes for you the most logical, effective and economical advertising medium to use in New York.

New York Theatre Program Corporation
Publisher, 108-114 Wooster Street, New York City

Tremont Theatre

THOS. B. LOTHIAN, Gen'l Manager

LEW LESLIE'S
"BLACKBIRDS"

A Distinctive and Unique Entertainment
Lyrics by Dorothy Fields
Music by Jimmy McHugh
With An All-Star Cast of 100 Colored Artists

Featuring
HARRIETT CALLOWAY, HAMTREE HARRINGTON
Beebee Joyner, Clarence Foster, Emmett Anthony

JESSICA ZACKERY
CECIL MACK'S BLACKBIRD CHOIR

Worthy and Thompson
Blackbird Beauty Chorus

THE WORLD FAMOUS PLANTATION ORCHESTRA
Allie Ross, Conductor

HOSIERY OF DISTINCTION
AT POPULAR PRICES

Hosiery Values that are acclaimed the best in town. A few examples:

Silk to top Chiffon $1.00

Service Weight, smoothly woven $1.00

Extra Fine Chiffon, Picot Top $1.49

Heavy Service Weight $1.39

Other Values Equally Exceptional $1.19 to $3.30 per pair

All Pure Thread Silk

Full Fashioned

First Quality

HOSIERY SHOP

"The Best for Less"

110 Tremont Street, Room 326, New Studio Building

["## PROLOGUE", "### WAY DOWN SOUTH", "Scene and Place: DIXIE", "The Call of the South . . . . . . . . . . . . . . . . . . .

Catherine Robinson, Daisy Foster, Minnie Harris, Marie McCullough, Myrtle Watkins, Mamie Savoy, Evelyn Irving, Ethel Moses, Hazel Valentine, Margaret Jackson, Mary Clemens.

Aunts—Ida Rowley, Marie Boatner, Muriel Battey, Jewel Jenifer, Ruth Marie Roston, Henrietta Dunn, Margy Jones, Jessie Zackery.

Uncles—Clinton Jones, Roy Yates, Ernest Boyd, Leon Diggs, Barrington Guy, Ralph Harris, Donald Hayes, Jerome Addison.

Preacher .................................... Emmett Anthony

Intruder .................................... Harriett Calloway

Bride ........................................ Ed Thompson

Groom ........................................ Hamtree Harrington

JUST PALS

Beebee Joyner and Clarence Foster

DOIN' THE NEW LOW DOWN

Song .................................... Aarons Palmer and the Blackbird Chorus

Bill Robinson Duo ...................... John Worthy and Ed Thompson

All Steps Created and Staged by Bill Robinson

PICKING A PLOT

Cast

Undertaker .................................... Clarence Foster

Boss Jones .................................... Beebee Joyner

Do Little Jackson ........................ Emmett Anthony

A Departed Brother ........................ Jerome Addison

Little Bits .................................... Frederica Seymour

Another Departed Brother ................ Ralph Harris

A Friend of the Departed ................ Mamie Savoy

FOUR BAD MEN FROM HARLEM

John Worthy, Ed Thompson, Willie Green and S. H. Dudley, Jr.

A HAPPY BUSINESS MAN

Husband .................................... Hamtree Harrington

Wife ........................................ Muriel Battey

Lover ........................................ Clarence Foster

I MUST HAVE THAT MAN

Song .................................... Harriett Calloway

SIDEWALKS OF NEW YORK

A Pedestrian ................................ Emmett Anthony

A Woman .................................... Muriel Battey

A Policeman ................................ S. H. Dudley, Jr.

Another Pedestrian ........................ Beebee Joyner

HERE COMES MY BLACKBIRD

Song .................................... Aarons Palmer, assisted by
John Worthy, Ed Thompson and the Blackbird Chorus

A Memory of 1927—Impersonated by Harriett Calloway

FINALE — PART TWO — ENTIRE COMPANY OF BLACKBIRDS

ORCHESTRAL ARRANGEMENTS

Will Vodry, Ken MacComber and Arthur Goodman

EXECUTIVE STAFF FOR MR. LESLIE

Manager ................................ Leo Flynn

Business Manager ................................ Arch MacGovern

Stage Manager ................................ George Fredericks

Carpenter ................................ George La Forme

Assistant Carpenter ........................ John McHenry

Electrician ................................ Michael Fitzgerald

Assistant Electrician .................... Stephen Joy

Properties ................................ Ward Chambers

["NCE:", "TIMES, SUNDAY, JULY 7, 1929", "PART OF THE NEGRO", "DUCTION of Folksongs and Dances Which Reflect Their\nand Cultural Aspect—Notes of Current Interest", "The new wooden clogs are made\nwith two wide elastic straps, one\nacross the toe and the other across\nthe instep. These straps are trimmed", "across the toe and the other across\nthe instep. These straps are trimmed\nThe new wooden clogs are made\nwith two wide elastic straps, one\nacross the toe and the other across\nthe instep. These straps are trimmed\ngreen, black and purple grounds.\nThese successfully used in white on red,\nalso noted again this season in many\nof these shoes. Modernistisn't applied\nis a popular method of trimming and\nis successfully used in white on red,\nprinted effects. A moiré finish is\nalso noted again this season in many\nof these shoes. Modernistis' applied\nis a popular method of trimming and\nis successfully used in white on red,\nuppers come with both plain and\nsome have slightly raised heels. The\nalso noted again this season in many\nuppers come with both plain and\nprinted effects. A moiré finish is\nalso noted again this season in many\nof these shoes. Modernistis' applied\nThe successfully used in white on red,\nThese have rough-surfaced soles to\nprevent slipping on smooth floors and\nThese have rough-surfaced soles to\nprevent slipping on smooth floors and\nsome have slightly raised heels. The\nalso noted again this season in many\nof these shoes. Modernistis' applied\n prevent slipping on smooth floors and\n prevent slipping on smooth floors and\nalso noted again this season in many\nsome have slightly raised heels. The\nalso noted again this season in many\nThese have rough-surfaced soles to\nprevent slipping on smooth floors and\nalso noted again this season in many\nnew versions of the slip-on type.\nThese have rough-surfaced soles to\nprevent slipping on smooth floors and\nThese have rough-surfaced soles to\nprevent slipping on smooth floors and\nnew versions of the slip-on type.\nThese have rough-surfaced soles to\nnew versions of the slip-on type.\nIN addition to the usual rubber\nbathing slipper, there are now\nbathing slipper, there are now\nnew versions of the slip-on type.\nThese have rough-surfaced soles to\nprevent slipping on smooth floors and\nThese have rough-surfaced soles to\nprevent slipping on smooth floors and\nalso noted again this season in many\nsome have slightly raised heels. The\nalso noted again this season in many\nalso noted again

NCE:

TIMES, SUNDAY, JULY 7, 1929

PART OF THE NEGRO

## Action of Folksongs and Dances Which Reflect Their
and Cultural Aspect—Notes of Current Interest

IN addition to the usual rubber bathing slipper, there are now new versions of the slip-on type. These have rough-surfaced soles to prevent slipping on smooth floors and some have slightly raised heels. The uppers come with both plain and printed effects. A moliré finish is also noted again this season in many of these shoes. Modernistic appliqués is a popular method of trimming and is successfully used in white on red, green, black and purple grounds.

The new wooden clogs are made with two wide elastic straps, one across the toe and the other across the instep. These straps are trimmed with silver or gold kid cut in a

### New Bathing Slippers

It is reported too, in straight shapes in bright patterns with strong contrasting borders. For the coquetto there are many very small sinshades made of thin gauze-like silk.

Leonide Massine, Patricia Bowman and Florence Rogge, in Rehearsal for "Scheherezade," Which Is Announced for Production at the Roxy.

plained away in this manner. They are purely negro. The American negro is in a strange situation; he is removed from his African origin to such an extent that its influence is scarcely more than a shadow. He takes his ideas from a race foreign to him, assimilates them through his

motive characteristics, and presents them again as his own in a form markedly altered but still unmistakably derivative.

In order to get at the root of the negro's creative powers it is necessary to know his music and his dancing in particular, and whatever other

of his expressions that are outgrowths of his inner feeling rather than of his outward influences. In this small but workmanlike collection of dances Mr. Williams has taken a first step in a new direction. Perhaps in his further work along the same line he will be enabled to

direct himself to a larger audience than that of educators alone, for the subject is of interest to many who do not concern themselves with its applicability to school problems.

An Evening of
Negro Folk Music

SPECIAL RENDITION,
Complimentary to
MR. GEORGE FOSTER PEABODY
PATRON OF NEGRO AND INDIAN FOLK MUSIC

IN THE CHAPEL
OF
TUSKEGEE INSTITUTE

MONDAY, APRIL 15

7:30 p. m.

MUSIC

THE NEGRO IS KNOWN EVERYWHERE for his singing. All along the way from jungle to civiliation, his progress has been marked by song. He has sung in the bush, he has sung on the bloody trek to the coast and the waiting slave ship; he has sung through the long black night of bondage; and whether at work, at play, in love, or at worship, he is still singing his way into the hearts and recognition of all mankind. The world has always listened—sometimes with curiosity, sometimes with amusement, always with a ready response to the compelling rythm and the haunting melody of his songs. We offer them tonight for their intrinsic beauty, their artistic worth, and for the story that they tell of the triumphant progress of a gifted race from the low-grounds of sorrow to a place on the heights of creative art.

O BLACK AND UNKNOWN BARDS

James Weldon Johnson

O black and unknown bards of long ago,
How came your lips to touch the sacred fire?
How, in your darkness, did you come to know
The power and beauty of the minstrel's lyre?
Who first from midst his bonds lifted his eyes?
Who first from out the still watch, lone and long,
Feeling the ancient faith of prophets rise
Within his dark-kept soul, burst into song?

Heart of what slave poured out such melody
As "Steal Away to Jesus"? On its strains
His spirit must have nightly floated free,
Though still about his hands he felt his chains
Who heard great "Jordan Roll"? Whose starward eye
Saw chariot "Swing Low"? And who was he
That breathed that comforting melodic sigh,
"Nobody Knows de Trouble I See"?

What merely living clod, what captive thing.
Could up toward God through all its darkness grope,
And find within its deadened heart to sing
These songs of sorrow, love, and faith, and hope?
How did it catch that subtle undertone,
That note in music heard not with the ears?
How sound the elusive reed so seldom blown,
Which stirs the soul or melts the heart to tears.

THE POET AND HIS SONG

Paul Laurence Dunbar

A song is but a little thing
And yet what joy it is to sing!
In hours of toil it gives me zest
And when at eve I long for rest;
When cows come home along the bars,
And in the fold I hear the bell,
As night, the Shepherd, herds his stars,
I sing my song, and all is well.

There are no ears to hear my lays,
No lips to lift a word of praise;
But still, with faith unfaltering,
I live and laugh and love and sing.
What matters yon unheeding throng?
They cannot feel my spirit's spell,
Since life is sweet and love is long,
I sing my song, and all is well.

My days are never days of ease;
I till my ground and prune my trees.
When ripened gold is all the plain,
I put my sickle to the grain,
I labor hard and toil and sweat
While others dream within the dell;
But even while my brow is wet,
I sing my song, and all is well.

Sometimes the sun, unkindly hot,
My garden makes a desert spot;
Sometimes a blight upon the tree
Takes all my fruit away from me;
And then with throes of bitter pain
Rebellious passions rise and swell;
But—life is more than fruit or grain,
And so I sing, and all is well.

# THE NATIONAL NEGRO ANTHEM

By James Weldon Johnson

Lift every voice and sing
Till earth and heaven ring,
Ring with the harmonies of Liberty;
Let our rejoicing rise
High as the list'ning skies,
Let it resound loud as the rolling sea.
Sing a song full of the faith that the dark
past has taught us
Sing a song full of the hope that the pres-
ent has brought us,
Facing the rising sun
Of our new day begun,
Let us march on till victory is won.

Stony the road we trod,
Bitter the chast'ning rod
Felt in the days when hope unborn had
died;
Yet, with a steady beat,
Have not our weary feet
Come to the place for which our fathers
sighed!
We have come over a way that with tears
has been watered
We have come, treading our path thro' the
blood of the slaughtered,
Out from the gloomy past,
Till now we stand at last
Where the white gleam of our bright star
is cast.

God of our weary years,
God of our silent tears,
Thou who hast brought us thus far on the
way;
Thou who hast by Thy might,
Led us into the Light,
Keep us forever in the path, we pray,
Lest our feet stray from the places, our
God where we met Thee,
Lest, our hearts drunk with the wine of the
world, we forget Thee;
Shadowed beneath Thy hand,
May we forever stand,
True to our God, true to our Native Land.

Reprinted from Boston Evening Transcript, March 10, 1917

# "DEEP RIVER" POPULARIZES A COMPOSER

## The Rise and Progress of Harry T. Burleigh Through His Negro Melodies Into the Large Vogue of Song Recitals

THOSE who have heard concerts during the present season have probably noticed on the programs one song more than any other. This is "Deep River," credited to Harry T. Burleigh. Although this song is only Mr. Burleigh's arrangement of a famous old negro "spiritual" it has justly brought him into a prominence which he has long deserved. His songs have for two or three seasons past been sung by a list of prominent singers which would make any composer's mouth water. Recently, according to reports which have come from across the ocean, his song, "The Young Warrior," has gained great popularity in Italy as a sort of patriotic anthem of the present war. With orchestration provided by Zandonai it has been widely sung in concert.

These two pieces, fine as they are, only introduce the excellent body of work which Mr. Burleigh has accomplished in the past five or six years. Altogether Ricordi & Company, Mr. Burleigh's publishers, have issued some three dozen of his songs. In them one notices a marked facility in the invention of melody, an unusual cleverness in the construction of rich yet clear accompaniment, and a marked power of musical articulation. Indeed the "Five Songs of Laurence Hope" must be regarded as among the very best which have recently been produced in America. The popular qualities of this music are evident at the first hearing. One can easily understand that the melting tones of John McCormack's voice have made thousands applaud them. But it is not so evident, until one comes to study them, how much musicianship and taste have gone into their construction.

Mr. Burleigh modestly insists that he is not a composer. It is his way of saying

that composition has necessarily been little more than a luxury with him. He has been subject to the grind of the poor musician. He has been forced to earn his living as a singer, as baritone soloist at St. George's Church, at the Temple Emanu-El in New York, and as the efficient executant of all those little odd jobs that fall to the lot of the conscientious musician who must keep body and soul together as best he can. Mr. Burleigh was the son of two negro servants in the house of a rich woman of Erie, Pennsylvania. As a little boy he hung around the music rooms when eminent visitors came to play, and early he became conscious of the fact that somehow, somehow, he would be a musician. When friends made it possible, he came to New York in 1892 and through the interest of Mrs. MacDowell, mother of the composer, obtained a scholarship in the National Conservatory of Music, then under the direction of Anton Dvorák. Here after studying singing, harmony and counter point, he became an instructor, and presently established himself in New York as a baritone soloist. It was only some eight or ten years ago, long after his graduation from the conservatory, that the possibility of composition occurred to him.

The small group of songs by which Mr. Burleigh is best known include "Deep River," "The Grey Wolf," "Ethopia Saluting the Colors," "The Young Warrior," "The Soldier," and "Jean." The rune-like two-line melody of "Deep River" was Coleridge-Taylor's favorite "spiritual," and Mr. Burleigh was far-visioned enough to appreciate its availability for the concert hall. Supplying a very simple middle section, he built the tune into a song as compactly organized

as one of Schubert's. The moving climax
is hardly surpassed in emotional intensity
in many a renowned song. Mr. Bur-
leigh's accompaniment, however, is neither
difficult nor unusual. It makes no attempt
at exotic or racial effect. For Mr. Bur-
leigh has little faith in the availability of
the negro tunes as a basis for a special
style or "School" of music. Although he
has interested himself to the extent of
making choral arrangements of some of
the "spirituals," no one in studying the
songs would guess the composer's race.
Some may wish that "Deep River" had
been arranged with a view to carrying out
the negro elements of the melody, but
none could ask for a more effective piece
for the concert hall.

"The Young Warrior" was composed shortly after the opening of the present war to words by James Weldon Johnson, who was minister to Nicaragua under President Roosevelt. The lyric is the appeal of the young volunteer to his mother to think not of him but of the work he is to do. Mr. Burleigh has given the words one of those melodies that sing themselves—not exalted in style, but ruddy with the enthusiasm of the mob in its patriotic frenzy. Beneath this melody is an accompaniment composed of trumpet calls and crashing chords. Probably Mr. Burleigh himself would not claim high artistic excellence for this song, but it has that quality of mob enthusiasm which few of the highly trained composers can manage.

"The Grey Wolf" to words by Arthur Symons is a long declamatory scena designed for a robust dramatic voice. The heroic mood of this piece is all too rarely cultivated in present-day composition. The voice part is written with sensitive regard for the dramatic values of the words and the accompaniment with its constantly shifting harmonic scheme well expresses the emotional surge underneath. More notable than the actual musical content is the composer's feeling for structural effect. Here one finds one of his most typical devices, the repeated use of brief dramatic snatches—now entwined in the polyphonic structure and again dominant in the treble —toward a culminating emotional effect.

In "The Soldier" the use of thematic
snatches is less artistic, being chiefly con-
fined to quotations from English popular
songs. But it is highly effective and is by
no means without artistry in its manage-
ment. The words are those of Rupert
Brooke's now famous sonnet—"If I
should die, think only this of me." It is
a song of a soldier about to die, and the
tramp of the funeral march is never long

absent from its accompaniment. "Rule
Britannia," the "British Grenadiers," and
the English national anthem appear now
and again in the voice part of the accom-
paniment. But more effective still is the
brief theme of four notes, which is Mr.
Burleigh's own. Here again, though the
musical material lacks the final mark of
distinction, the structure is so canny and
well artificed that the song must be re-
garded as an able achievement.

Of the more ambitious songs, "Ethiopia
Saluting the Colors" is certainly the best,
The very choice of Walt Whitman's
words for musical setting indicates the
serious and ambitious quality of the com-
poser's musical instinct. The poem is a
brief ballad of Sherman's march to the
sea. The Union soldier sees an old negro
woman looking out from the doorway of
her hovel and curtseying to the regiments.
The half-witted hag understands nothing
of the mighty drama that is being enacted
for her sake, but the soldier catches
glimpses of the epic in which he is an
actor—that of the peaceful farmer called
from his mowing to right the ancient
wrong of two continents. The music
moves upon the discordant tread of the
marching army. A barbaric melody calls
to mind the dark continent whence-it and
"Ethiopia" were both fetched over sea
and now and then the opening phrase of
"Marching Through Georgia" enters to
give life to the picture. The scene is
moving tableaux, ably depicted, and ad-
mirably suited to the declamatory talent
of a singer like Mr. Witherspoon, who
has sung it and to whom it is dedicated.
One wishes that American song literature
contained a greater proportion of such ex-
tended piece, which combine the dramatic
with the lyric, and offer much more for
the listener to get hold of than is afforded
by brief jets of song.

The "Five Songs of Laurence Hope"
probably represent Mr. Burleigh's best
work. Here are haunting melodies; ac-
companiments rich in detail, yet not over-
written, striking bits of delineation, and
much skill in the wedding of music to
words. In sheer emotional effectiveness
these songs must receive high rank. Once
more the composer shows much cleverness
in the weaving of brief thematic snatches
into the harmonic framework. The second
song of the group, "The Jungle Flower,"
gains distinction from the exotic pulsating
syncopation that throbs beneath. The
third, "Pale Hands I Lov'd," is perhaps
the best achieved of the five. Here the
moody sentiment of the words is height-
ened into something approaching tragic

pathos. In the fourth song, "Among the Fuchsias," Mr. Burleigh has caught admirably that "oriental" exoticism which is none the less charming because it happens to be fashionable in present-day song-literature. The final song, "Till I Wake," is a lyric of real distinction. The impressive opening theme is intoned as though by the brass choir, giving way to its statement by the voice above an accompaniment of wide arpeggii. Later this theme reaches a passionate climax introducing the words, "If there be an awakening," and the song ends in an emotional lyric strain. Though Mr. Burleigh has taken pains in these pieces, as in all his songs, to give the text its full value, he writes in a melodic rather than a declamatory idiom. The chief characteristic of the accompaniments, beyond their clever use of themes, is their easy chromatic flow.

The remaining songs are more nearly of the conventional type of "light concert pieces," which are beloved of singers for the latter part of their programs. As such they are notably successful and reveal invention and musicianship well above the average. The four songs grouped under the general title "Passionate" (words by James Weldon Johnson) offer grateful material to the accomplished tenor. Best of them is "The Glory of the Day Was in Her Face," which is at once suave and impassioned. "In the Wood of Finvara" is admirable in its creation of atmosphere by simple means. Even better of the sort is "By the Pool at the Third Rosses," to words by Arthur Symons. "The Prayer" is a simple melody set over a hymn-like accompaniment, well constructed and modulated. "The Hour Glass" has a certain dignified sentimentality, with its chorale-like theme and its quotation from the Dresden liturgy.

"Memory," in spite of its conventional strain, is not without distinction. "Three Shadows," sung by John McCormack, is an ambitious and successful venture in the sentimental mood. "Just You" is a frankly sentimental and wholly delightful bit of melody which well deserves its popularity.

The "Southland Sketches" are four pieces for violin and piano, based on negro themes. Yet they are in no sense an attempt to set in relief the negroid musical characteristics. Rather, they are aimed and well fashioned for practical effectiveness in the authorized manner. The Andante, a wistful and ingratiating piece, preserves just a trace of the rhythmic sparkle of the negro tune. The Allegretto Grazioso, strongly recalling Dvorak's "Humoresque," is altogether charming, and the final allegro is brimming with high spirits.

In nearly all of Mr. Burleigh's work we recognize the earnest and talented musician. His choice of texts for his songs indicates a refinement of taste which is revealed again in his selection and moulding of his best themes. The robust spirit that dictated "Ethiopia Saluting the Colors" is one that is much needed to lift American song-literature from the deadly average of mediocrity which now holds it fast. Better things can be expected of Mr. Burleigh than those which he has thus far done. He has visibly grown in musical stature in the last five years, the later songs being so much better in workmanship than the earlier ones that they seem the result of a new inspiration. If he persists in the mood of his more ambitious undertakings he may prove a force as stimulating to musical composition as he has been charming to concert audiences.
H. K. M.

G. RICORDI & CO.

14 East 43rd Street

NEW YORK

AND AT

LONDON, PARIS, LEIPSIG, ROME, NAPLES, PALERMO, BUENOS AYRES AND MILAN

Jules Bledsoe was born in Texas twenty-nine years ago, of a talented musical family. He was educated extensively until the great war tore him from further academic work. At Columbia University, later, he undertook the study of medicine.

His voice, which for many years had been only the medium of vagarious expression for the strange canticles of his race and the street polyphonies of its youth, he began seriously to cultivate after the death of his mother.

This was in 1920. Now his voice has become a thing of power and color, and filters magically through many foreign tongues that he has already made his own.

Up to 1926 Mr. Bledsoe made an extensive concert tour of the country, which resulted in the enthusiastic acclaim of the press at large. In that year, however, he digressed from the concert stage by accepting an invitation from Arthur Hopkins, to take a leading part in the native American opera "Deep River."

His histrionic ability which was always noticeable in his interpretation on the concert stage, was fully realized in "Deep River," and more so later in the Provincetown production of "In Abraham's Bosom," where Bledsoe created the leading role in that Pulitzer Prize Play.

For the past year and a half Mr. Bledsoe has been appearing under the direction of Florenz Ziegfeld, in what is considered his greatest musical production "Show Boat," in which Bledsoe created the role of "Ol' Man River."

Since leaving the concert stage he has appeared but twice musically. Once in the opening program of the "Roxy Theatre," and later at the League of Composer's concert in Town Hall, where he sang the "Creation," by Gruenberg, as soloist with members of the Boston Symphony Orchestra, conducted by Sergei Koussevitsky.

## PRESS COMMENTS

*Sun* (Henderson)—"This singer proved from the beginning of his entertainment, that neither race nor color were to be considered in any examination of his art."

*N. Y. Times*—"He has dramatic intelligence and remarkable hushed tones of a natural beauty rare on the professional stage."

*Heywood Broun*—"Only last night I heard Bledsoe, a young baritone, sing 'Water Boy,' a little better than I have ever heard it sung before."

*Musical America*—"Vocally and artistically there are few baritones of any race whose singing can give more pleasure, and no voice of the present time that can play on the heart strings as does this one. It has a breadth and quality comparable only to a fine cello."

*N. Y. American*—"Mr. Bledsoe has acquired a remarkable knowledge and skill in the higher forms of song literature. He invested the classic works with art and charm, and revealed feeling and fine diction in German and French numbers."

*Musical Courier*—"He attained a delicacy of tone, of nuance, of varied interpretation altogether unexcelled, and sang the 'Volga Boat Song' better than most Russians could sing it."

*Chicago Herald-Examiner* (Glen Dillard Gunn)—"His voice is surely one of the most beautiful in cadence in the world, and is used with consummate skill."

## COMMENTS ON "THE CREATION"

*Times* (Olin Downes)—"The predominant feature of the concert given by the League of Composers, and one which resulted in resounding applause and even cheers from an uncommonly brilliant and representative audience, was Louis Gruenberg's setting of 'The Creation,' a 'negro sermon,' the performance by Jules Bledsoe, and Sergei Koussevitsky as conductor of members of the Boston Symphony Orchestra. It is a pleasure to say, the work was a sweeping success and the only one of the concert. Mr. Bledsoe showed exceptional intelligence and histrionic as well as vocale capacities in his performance. The composer, had he been present, would surely have thanked him."

*N. Y. Eve. Post* (Olga Samaroff)—"The work which enjoyed the greatest success, was 'The Creation.' Bledsoe was the solo singer and no one who is familiar with negro religious revivals in the South could deny that his emotional and dramatic delivery of the poem was a very real and powerful piece of racial expression. In my opinion it was Mr. Bledsoe who carried the work to success."

*N. Y. Tribune* (Lawrence Gilman)—"The final number on the program, 'The Creation,' derived its chief element of effectiveness from Mr. Bledsoe's very moving delivery of the discourse of the preacher."

**FIRE NOTICE:** Look around now and choose the nearest exit to your seat. In case of fire, walk (not run) to that exit. Do not try to beat your neighbor to the street.

Only Concert Appearance This Season of

**JULES BLEDSOE**

Assisted by

LISA ROMA, Soprano

EMMANUEL BAY at the Piano

And Members of the

NEW YORK PHILHARMONIC SYMPHONY

HANS LANGE & LOUIS GRUENBERG, Conductors

PROGRAM

I. Turn Not, O Queen, Thy Face Away (from Esther) ... Handel
Amarilli, mia bella ... Guilio Cacini
Non Piu andrai "Aria" ... Mozart

Du bist die Ruh Op. 59, No. 3.
Wer nie sein Brot, Op. 12, No. 2.
Nacht und Träume Op. 43, No. 2.

Der Wanderer Op. 4, No. 1 ... Schubert

II. Prelude in G Sharp Minor ... Rachmaninoff
March (from Opera "Love of the Three Oranges") ... Prokofiev
Etude, Op. 8.

Prelude, Op. 27 ... Scriabine

EMMANUEL BAY, Pianist

III. Scene from "Aida," Act III. (in costume) ... Verdi
Scene and duet—"Cieli! mio padre" (Aida, Amonasro)

LISA ROMA and JULES BLEDSOE
MEMBERS of the N. Y. PHILHARMONIC SYMPHONY
HANS LANGE, Conductor

INTERMISSION

## IV. Negro Spirituals

Jesus Sittin' on de Water Side
Wake Up, Jacob!
Don't You Let Nobody Turn You Around.
Clarence Cameron White
He Arose Bledsoe

V. "The Creation" Louis Gruenberg

A negro serman based on the poem by James Weldon Johnson

JULES BLEDSOE, Soloist

LOUIS GRUENBERG, Conductor

EMMANUEL BAY at the Piano

Steinway Piano

Lighting effects for Aida by Robert Karr.

## PATRONS AND PATRONESSES

Viscountess de la Jarrie
Prince and Princess Michavelli
Prince and Princess Serge Gunin
Baron Von Seebeck
Count Wichfeld
Miss Mary Hoyt Wiborg
Mrs. Louise W. Brown
Mrs. Alma Wertheim
Miss Mary White Ovington
Mr. Felix T. Hughes

Dr. and Mrs. Marshall Moss
Dr. and Mrs. Howard Bearden
Mr. and Mrs. Thos. B. Buchanan
Dr. and Mrs. Binga Dismond
Dr. and Mrs. Boutte
Mr. and Mrs. Walter White
Mr. Julian Triar
Mr. James Leopold
Mrs. Ethel Baird
Dr. and Mrs. Thos. H. Russell

Direction: ROBERT KARR, 51 West 46th St.

New York City

J. Rosamond Johnson

MR. JOHNSON was born in Jacksonville, Florida, and began his study of music under his mother at the age of four. Later he went to the New England Conservatory of Music in Boston and still later he completed his musical training in Europe. He studied the piano with Charles F. Dennee and Mme. Dietrich Strong, organ with George Whiting, harmony with Carl Riemann and Davenport Kerrison, and voice with William Dunham and Clarence B. Ashenden. He made his professional debut in Boston, and then became supervisor of music of the public schools of Jacksonville. Mr. Johnson toured the United states and Europe and for a time was director of music of Hammerstein's Opera House in London. He returned to New York to become head of the Music School Settlement for Colored People in New York City. He was director of the singing orchestra for Mrs. Emelie Hapgood's Colored Players in New York. Mr. Johnson served in the war as 2nd Lieutenant. He is the arranger of many negro spirituals and has composed more than 300 popular songs. In collaboration with his brother, James Weldon Johnson, he arranged the Book of American Negro Spirituals, now having a large sale and which has attracted wide attention. In 1917 he received the honorary degree of Master of Arts from Atlanta University.

Dates Now Being Booked for this and Next Season

J. Rosamond Johnson
and
Taylor Gordon

In Programs of Negro Spirituals Arranged for Piano and Voice
by Mr. Johnson

PRESS TRIBUTES

J. ROSAMOND JOHNSON AND TAYLOR GORDON ought to hire the Hippodrome twice a week and demonstrate to aspiring young singers of spirituals how it is done. These gentlemen sang, modulated and harmonized beautifully; their rhythms were superb; above all they recreated the essence of the old time religious spirit of a vanished generation.—The New York Sun, November 16, 1925.

"Spirituals Encored"—J. Rosamond Johnson and Taylor Gordon Provide Entertainment of Deep Emotion for Big Audience (Headline). The Negro Spirituals, through the medium of a notable pair of interpreters, ruled last night at the Garrick Theater, where what seemed a capacity audience had come to hear Taylor Gordon and J. Rosamond Johnson in an all spiritual program and stayed to alternate between intent listening and warm and deserved enthusiasm.

Both men are artists in the best sense of the word, and thus neither their performance nor the arrangements of Mr. Johnson, who has won a leading position among musicians of his race with his recently published arrangements of spirituals, suggested a denaturalizing application of Caucasian art. As Mr. Gordon sang and Mr. Johnson played and also frequently sang, the atmosphere was one of devoted earnestness, absorbed emotion.

Mr. Gordon's singing was intensely emotional, often to a dramatic degree, this intense feeling intensified by an expressive face. His voice is distinctly individual—a quality of tone with a certain sweetness, at first a certain huskiness, while later there proved to be ample volume and full resonant notes. Mr. Johnson blended his song happily with Mr. Gordon's, sometimes as a duet, sometimes more of a refrain, while keeping the piano part as a background, thoroughly in the spirit of the songs. With the air of unstudied naturalness, the performance

deserved admiration for rhythmic subtleties as well as its varied gamut of feeling.—The New York Herald Tribune, November 16, 1925.

J. Rosamond Johnson played his latest arrangements of American negro spirituals sung by Taylor Gordon with something of the untaught simplicity of elder days to a brilliant audience at the Garrick last night. It is Taylor Gordon's distinction to recall today that former character of humble folk music in tones of high range and untechnical human appeal.—The New York Times, November 16, 1925.

A large and emphatically modish audience foregathered at the Garrick Theatre last evening for a concert of negro spirituals by those eminent colored songsters, J. Rosamond Johnson and Taylor Gordon. The audience rioted in estacy over everything heard.—The New York Evening Telegram, November 16, 1925.

There was a look of unalloyed pleasure on many faces as these two musicians presented "By an' By", "Roll de ole Chariot Along" and other darky religious songs. Mr. Gordon is an out and out singer of spirituals of the old school, not too cultured for characteristic Negro expression.—The Evening World, November 16, 1925.

J. Rosamond Johnson and Taylor Gordon sang spirituals at the old Garrick Theatre last night and music of a finer timbre would be difficult to imagine. They sang their spirituals as they should be sung, with feeling and fervor, with heart and soul. At the conclusion of their songs an occurrence took place such as I have never seen in an American theatre. The program was concluded, but not a person in the audience that reached to the doors stirred from a seat. Not one moved. Five encores were sung and not a dozen started toward the exits. Johnson and Gordon scored a veritable triumph.—The New York World, November 16, 1925.

Three New York Recitals November 15, December 6 and 27 to capacity audiences

Management: RICHARD COPLEY, 10 East 43rd Street, New York City

Taylor Gordon, Tenor

TAYLOR GORDON was born in White Sulphur Springs, Montana. He got his first inspiration for crooning Negro Spirituals from his mother, who, back in the seventies, was regarded as the greatest leader of camp-meeting songs on Poindexter Farm, Lexington, Ky. Mr. Gordon came to New York in 1915 and began study with Mr. J. Rosamond Johnson at the Music School Settlement for Colored People, where Mr. Johnson's work was being sponsored by Elbridge L. Adams, Nataly Curtis-Burlin, David Mannes, Maud Powell, David Bispham, Walter Damrosch and many other prominent musicians and teachers. In a special article by H. Serwer about "the Guardian of the Spiritual," referring to the work of Mr. Johnson and Mr. Gordon said: "It is my humble opinion that Johnson rendered the spiritual better than has ever been rendered. He is the first singer to give me a real thrill out of them. He recognizes the proper voice for their singing. Taylor Gordon is a robust tenor with one of the best natural voices it has been my fortune to hear—of absolute pitch, which Johnson has been cultivating steadily. I prophecy great things for Gordon, even if his struggle has been an arduous one; but he is in capable hands and has no need for fear."

148

OPPORTUNITY

MAY, 1930

# He Smashed the Color Line
## A Sketch of Billy Pierce

*(Dancing Master of Broadway)*

By ELMER A. CARTER

Illustrated by ELMER CAMPBELL

WHEN you enter the dancing studio of Billy Pierce on 46th Street the roar of Broadway still lingers in your ears, but not for long. Hardly have you stepped across the threshold when another sound, at first faintly audible and then growing more distinct and clear, envelops you. It is a sharp staccato sound which seems to issue from the ceiling, the floor, the very walls. Tap-tap-tap-tap-tap above you, beneath you, around you everywhere. Unconsciously you find yourself mentally following the regular measure of this tapping; its rhythmic beat gets into your blood.

A glance at the walls of the office of Billy Pierce's studio is sufficient to establish his position in the world of the contemporary theatre. Every available niche and corner is covered with photographs for the most part of beautiful women; women whose names are in huge electric lights a half block away on Broadway; women whose grace and beauty and dancing have placed them at the very top of the theatrical

profession. A close examination of these photographs reveals in every instance a fine sentiment expressed in the handwriting of the donor; an ex-

expression of appreciation and gratitude to Billy Pierce for his patience and skill in teaching the intricacies of tap dancing.

BILLY PIERCE

Here on these walls there is a photographic directory that is a veritable Who's Who of the American Theatre. And in the class rooms, which are crowded from early morning until late at night, are the budding stars of tomorrow. Behind the closed doors one may hear the broad "a's" of New England, the nasal twang of the west, the gentle drawl of the far South.

From every section of the country they come, more often than not young women, the prize beauties of their communities, anxious to seek fame and fortune on the stage. It is a strange experience for some of them to find that Billy Pierce is a Negro. Solicitous mothers at first eye his rather stern countenance with apprehension, which, however, soon gives way to utter confidence when they come to realize that Billy Pierce is as anxious as they are for their daughters to

reach the heights of stardom. His courtesy and tact are completely disarming. And many who enter for the first time with suspicion and prejudice have be-

MAY, 1930

JOURNAL OF NEGRO LIFE

certain official who delighted in seeing native life
at its lowest.

And music played while streaming faces, black
and brown and even white, wet with sweat, but
full of joy, swept past like leaves blown by the
breath of tropic jazz. How they swayed! they
rolled; some twisted up their hips and shook; and
others tossed about. And two there were who
moved in perfect time—just hips and legs they
moved but on the square their feet remained. The
girl's great rounded breasts lay prest against a shirt
that hid a black and heavy bosom where a panting
heart beat close to hers. Sometimes one could
hardly tell just how they moved. They seemed as
one. It was a sacrament of sin—until the driving
music stopped when they broke away and clapped
their hands—and laughed—and clapped their hands
again and laughed.

Nessie and Grimes were children. Color and race
non-existent. Jubilee Hall had caught them in the
mesh and they clung together. Back in Iowa there
were sisters who wrote to Grimes weekly. Other
relatives he had none, but he was out to see the
world. He had loved Francine in Port-au-Prince,
for nearly eighteen months. Her black husband
didn't mind. He had left Yvonne at Brest in 1919
and he would leave Nessie in six weeks more. They
knew it was life. There were others. "C'est la
vie" as the Haitian girl had put it.

Grimes was seeing the world—however he did not
see the knife in Nessie's husband's hand until it al-
most descended, but he had not dodged Hun gren-
ades and other bouquets in vain. As he slipped to
the right he jerked the girl with him. But the
knife landed, ripped his shirt and—

Peterson dashed through the doorway before the
crowd had time to yell to stop him. He put his
foot where a loose brick had been removed and fell
below into the street with a screech and a sickening
plop.

The policeman rushed out and Grimes went into
the bar with Nessie to get a shot of gin. As they
drank she wiped a scratch on the white skin with a
very suspicious handkerchief. The ineffectual hus-
band had drawn two small drops of blood, wrenched
his ankle and was on the way to jail; all in three
minutes.

"O you black, black bottom! You slimy black bot-
tom"—moaned a brass saxophone that had seen bet-
ter days. The insistent guitars thumped to elo-
quence said, "bottom, bottom; black, black bottom."
And the "weero" hissed out, "Switchy to switchy
to switch, to switch, to switch!"

There was a hurried gulping of good gin and
cheap whiskey as the bar (opened in sneering de-
fiance of Prohibition) emptied. Black and white
brushed past as Grimes improvised a patch with a
safety pin and swung into the dance.

I Went To Him With Love

By PHILIP H. GARFIELD

I WENT to him with love,
And said,
"Tell me about your people."

Then there was music rich and deep;
As deep as life, life free . . .
As free as wind.
There was full utterance of song;
As when a summer night
Is full of stars.

There was clear joy, clear crystal joy;
Clear like a frosty night . . .
Yet clearer still.

I went to him with love,
And he
Sang about his people.

MAY, 1930

JOURNAL OF NEGRO LIFE

come his staunchest friends and most enthusiastic admirers.

From Virginia where he was born about forty years ago, Billy Pierce, after completing a common school education and matriculating at Storer College at Harpers Ferry, went to Washington, D. C., for the purpose of studying a profession at Howard University. He didn't stay there long. Wunderlust, the urge to see and know the great world beyond the confines of the campus, drove him forth in search of adventure. To the accumulated experience gained from years of travel and work in Europe, in the far East, along the African West Coast and in every part of the United States, Canada and Mexico, Billy Pierce ascribes his success. During these years he learned to discount the handicaps, real or imagined, of color and race. He learned that the similarities in men, black, white, yellow or brown were greater than their differences.

It is difficult to get Billy Pierce to talk about himself. He is naturally taciturn. From his casual conversation, however, he reveals himself as a man endowed with exceptional tenacity. Without this he must have succumbed long ago to the pitiless competition of Broadway. Every street that intersects Broadway in the theatrical district has its dancing schools and studios, and the great "White Way" itself is literally lined with them. It is no easy task for a white man to "make the grade" in a field already filled to the point of saturation. For a Negro it is little short of miraculous.

During his first year he suffered reverses that would have deterred most men. No pupils came to his door. His scanty funds soon were exhausted. Each month it became increasingly difficult for him to pay the rent of his studio. But he refused to quit. He went to the owners of the building and asked for the job of night janitor. He got it. And then night

after night he scrubbed the offices and halls of the building where now he leases two whole floors. When Billy Pierce speaks of this, there is no indication that he considers his efforts particularly praise-worthy. There is no hint of braggadocio. He merely smiles and says: "All of those tiles belong to me. I have counted them one by one."

The stamp of the Billy Pierce Studio is unmistakably imprinted on every one of his pupils. He gives them something other teachers cannot give. It is something of Negro abandon, enhanced and yet partially concealed by exquisite grace and a perfect sense of rhythm. The shrewd producers of Broadway send him promising young women and men in whom they see possibilities of future greatness. Few dance studios can boast of such a distinguished clientele of stage and screen stars as that which includes: Betty Compton and Evelyn Hoey, Ramon Navarro, Louise Brooks, Ann Pennington, Adele Astaire, Frances Williams, Mary Eaton, Ruth Fallows, Libby Holman, Clifton Webb, Jack Buchanan, Paula and Dorothy Stone, Anita Loos, Ruby Keeler, Bessie Love, Ed Wynn, Barbara Newberry, Ada May, Irene Delroy, Lily Damita, Zelma O'Neil, Bobby Agnew, Queenie Smith, Jack Hulbert, Marie Saxon. These are but a few of those who have come under the tutelage of Billy Pierce.

When you speak of the color line to Billy Pierce, he is apt to smile and say: "Well, you wouldn't take me for anything but a colored man, would you? And my secretary, Miss Jackson, is colored and my staff of instructors under Buddy Bradley is colored."

And you have to admit as you listen to the tap-tap-tap-tap and let your eyes wander around the walls of his office that Billy Pierce has beaten the color line.

MAY, 1930

JOURNAL OF NEGRO LIFE

NOAH AND THE LORD

anyone doing it better. He stands out in memory regardless of scene or episode. He gives sincerity to the character—a seeming impossibility—because of the sincerity within himself, which he is able to project to his audience. An actor of ordinary stage experience, no matter how talented, could not produce the same effect, and with due appreciation of others in the cast, the peculiar appeal of the play is due to Mr. Harrison in the pivotal part.

In fact it is the contrast between the richness of his portrayal of the Lord, and the professionalism of the others that the play falls short of complete perfection. If it were possible to train a group after the manner of the

players at Oberammergau, or even that of the Russian players, there would be a complete atmosphere of religious sincerity which does not now exist. To a surprising degree Mr. Harrison offsets the deficiencies of others by his carrying power in a role which demands superiority over them. He is the Lord, why should he not be superior?

Although Mr. Harrison stands out in retrospect, *The Green Pastures* is by no means a "one-man" play, nor has he created a part in the way that Frank Bacon created *Lightnin'*. It is a marvelous coincidence that Mr. Harrison was available for a role that demanded a Mr. Harrison to portray. The hearer is completely convinced that the qualities he depicts are part of his personality; that it is a rare type, and one whose possession draws from the public an affection given to but few of the outstanding artists.

The play does not depend upon thrilling scenes for its interest. There are but few of these—perhaps the most outstanding being the admirably conceived picture of the "exodus."

The country has learned in recent years that there are scattered throughout the land a large number of people who still interpret religion and Biblical figures in the realistic way shown in *The Green Pastures*. It would be difficult, however, to imagine a group of white persons performing the same play with the same effect—no matter with how deep a religious fervor. Instead of suggesting inferiority of the Negro race, the effect of the play is the reverse; instead of stimulating an attitude of superiority towards primitive beliefs, the effect is to soften and warm the heart. Unconsciously a tribute is given to the human qualities of the Lord, faith is renewed in the experience that unobtrusive goodness draws people together regardless of age or race.

THE EXODUS