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NATIONAL THEATRE

TWO OTHER SMASH HITS

presented by
The Playwrights' Company

MAXWELL ANDERSON'S

THE EVE of
ST. MARK

"Heroic and heartbreak-
ing, a play to be seen by
all means . . . its army
scenes are hilarious."

—*Journal American*

Now Playing

CORT THEATRE

48th St. E. of B'way • BR. 9-0046

ALFRED

LUNT • FONTANNE

in S. N. BEHRMAN'S

Extravaganza

THE

PIRATE

"An occasion for rejoic-
ing."
—N. Y. Times

Produced in association with

THE THEATRE GUILD

Now Playing

MARTIN BECK THEATRE

45th St. W. of 8th Ave. • Cl. 6-6363

2

THE PLAYBILL

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FLEX-ible EASE is the key to FLEXEES

FASHION

PRESENTING a clothes collection to New York's fashion-wise, critical, and often cynical eye is a chore no one envies, but it must be faced and gone through with twice a year by innumerable couturiers—more now than ever, since so many Paris and Central European establishments have transferred their goods and effects and talents to our local avenues and sidestreets. During these March weeks many designers new to New York are offering their wares here for the first time, along with American collections; but, foreign or native, one and all have been influenced by the need to limit their use of fabrics to conform with government restrictions, and since there are in the long run just so many ways of cutting a dress economically, there is, to the eye, a certain similarity in the spring clothes now being made available to the public.

Nevertheless, differences do exist, many of them lying in the construction mechanics employed by the more ingenious of our designers. Such features are likely to remain out of sight entirely, revealing themselves

only in the wearing. And there you have one of the great pitfalls that lie in wait for the not-too-careful shopper at a time like this. A hasty first glance over the entire crop of new clothes may suggest that there isn't much choice—that, especially, an expensive dress this year offers no great advantage over one which looks exactly like it and costs perhaps half its price. Actually, the reverse is true: it never has been more important to buy genuinely good, well-made clothes; for it isn't yardage you are paying for today, one-half so much as it is the dressmaking skill which has used that yardage to best possible advantage, not only from the standpoint of style, but from that of wear, as well.

One of the best of all examples of this occurs at the salon of Zoë de Salle. Here you will find the overwhelmingly popular skirt with top-width-looking very like all its sisters and its cousins and its aunts in all the price-ranges, and, indeed, using not an inch more fabric than most of them. Yet, the pleat in the de Salle skirt has a hidden feature, being manipulated in such a way that it expands comfortably when the wearer sits down. This special pleat, which is just like any other pleat to the eye, means that the skirt it adorns will not hike up above the knees in sitting, will not pull at the seams, will not develop a bag in back because of stretching and pressure—and because of all these things will wear and wear.

The two evening dresses seen in the foregoing column are, by the way, from Zoë de Salle's collection. Notice that both have that old-time, easy, full-skirted look. In the dark-topped dress (its bodice is of navy satin) this is merely an illusion, born of clever use of printed silk with a striped background. In the second dress there is actual yardage; it's of chiffon, and plenty of it, since there is no restriction on this old favorite among sheers.

Shown alongside is a handsome version of the shoulder-strap bag; developed in calf leathers by Mark Cross.

—B. H.

NATIONAL THEATRE

3

"The Funniest Band in the Land!"

AL TRACE

His

'SILLY SYMPHONISTS' ORCHESTRA & SHOW!

10 Screamingly Hilarious Merrymakers Featuring "Red" Maddock! A Riot of Fun!

A New and Different Show Every Hour!

Dancing in the Beautiful New PLANTATION ROOM Luncheon 45¢—Dinner $1.25

TERRACE & CIRCLE BAR

"The Arlene Trio" Luncheon 45¢—Dinner 75¢

NEVER A COVER OR MINIMUM CHARGE

(Special rates for Parties and Banquets) Visit New York's Unique CIRCLE BAR

HOTEL DIXIE

43rd STREET • JUST WEST OF B'WAY

★ ★ ★ LOOSE TALK COSTS LIVES ★ ★ ★

★ ★ ★ BUY WAR BONDS ★ ★ ★

4

THE PLAYBILL

THE WEDGWOOD ROOM
Victor Borge

AT SUPPER

Marina

DINNER & SUPPER

Carmen Cavallero

AND HIS ORCHESTRA

COVER FROM 10:30, $1

FRIDAY & SATURDAY, $2

SUNDAY DINNER-DANCE (No Cover)

MISCHA BORR & HIS ORCHESTRA

SELECTIVE DINNERS

THE WALDORF-ASTORIA

Keen's

ENGLISH CHOP HOUSE

36th St. Near 6th Ave.

"How about Keen's
before the show?"

"Right you are—
a prologue that
sets the mood!"

★ ★ ★ BUY WAR BONDS ★ ★ ★

5

THE PLAYBILL

What the Man
Will Wear —

EVEN the most acidulous churl will grant that to be well-turned-out is a cultural influence and a psychic up-lift. Notwithstanding the times, smartness in dress is just as self-assured as ever. When it comes to fashion, that's quite another thing. There is no fashion to-day in the old sense of *hoi aristoi* whistling and the crowd whinnying. That sort of servility went out when Europe went under. Yet, those with

whom to do the right thing, say the right thing and wear the right thing is a way of life continue to live up to their code as faithfully as conditions and regulations allow. Inasmuch as the fashion now-a-days, employing fashion in its broader meaning, is set by older men, one observes a return in London of the white shirt and the white starched collar for urban wear.

The change is engaging after so long a vogue of the slapdash "just-ran-up-from-the-country" air that many men used to affect. Then, too, the wider adoption here of the black Homburg and the bowler hat in town lends a spot of pseudo-formality that follows the lead of Londoners. They maintain that as long as "austerity fashions," a whimsical Criticism, are the accepted thing, let's be outright, downright austere, and no fooling. Black shoes—tan is out—complete the picture of smart simplicity and give you a sneak preview of London with its stylistic chin up while taking it on the chin.

A DRIFT in a world gone askew describes the plight of fashionables now-a-days when they turn to evening dress. We are told to wear it; we are told not to wear it. It is a sign of civilian morale; it is a sign of apathy. You'll be damned if you do and you'll be damned if you don't. As the poet warbled: "Altogether, they puzzle me quite;

they all seem wrong and they all seem right." Well, here as in Britain the evening tailcoat virtually has been laid away "for the duration" and, perhaps, properly. It is a turnout too festive and convivial when the world isn't minded that way. As concerns the dinner jacket, there are occasions when to assume it is almost imperative and when not to do so argues social don't-know-how. The question is one to be settled by discretion, not rule. Certainly, to wear one's evening jacket not flippantly or flauntingly but when the proprieties inflexibly prescribe it is not dimming the glow of *amor patriae*, and if anybody says that it is tell him to go chase himself around the gasworks. The gray-and-white evening muffler sketched in the first column is a smart affair with its alternating light and dark spots.

GOING to bed used to be the simple act of climbing into the feathers, shutting eyes and counting sheep. Then, the designers of sleeping clothes decided to make a ruddy ritual of the thing. They turned hum-drum pajamas into a sublimated lounge suit with emphasis not on cozy comfort, but on spruce fittings. Colder days—warmer ways! With fuel running low, they are running pajama trousers right down to the ankles where there are elastic-knitted bands to fend off chill and keep trousers from crawling up as they have an impish trick of doing. To be sure, the notion is not new, but its spread is significant especially in the army, navy and air force where a man quickly learns what's what and what's not in protective comfort. As illustrated here, such pajama trousers are roomily cut with a billowing bulge above the ankles. The accompanying pajama tops have a high crew neck, a breast pocket and a knitted waistband. Colors are tan, blue or green, and one may procure a hood of ditto material if one's hair is on a permanent fur-lough.

—DEAUNEL

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CANADA DRY GINGER ALE, INC.
New York, N. Y. • Sole Importer

6

NATIONAL
.. THEATRE ..

DIRECTION HARRY G. SOMMERS
208 WEST 41st STREET
NEW YORK CITY
TELEPHONE: PENNSYLVANIA 6-8220

EXECUTIVE STAFF:

<table><tr><td>HOUSE MANAGER</td><td>ABEL ENKLEWITZ</td></tr><tr><td>Treasurer</td><td>Thomas A. Clarke</td></tr><tr><td>Assistant Treasurer</td><td>William Joseph Harris</td></tr><tr><td>Master Carpenter</td><td>James Hornberger</td></tr><tr><td>Property Master</td><td>Robert Talbot</td></tr><tr><td>Master Electrician</td><td>Charles Messerschmit</td></tr></table>

BOX OFFICE REGULATIONS

Open from 9 a. m. to 10 p. m.

Requests by mail for reservations of seats and boxes must be accompanied by check or money order.

SUGGESTIONS TO PATRONS

Physicians who anticipate being summoned are requested to leave the number of their seats at the box office.

Lost articles should be reported at once to the box office or by letter to the manager. Patrons finding any article in the theatre will confer a favor upon the management by turning the same in at the box office.

This theatre can be leased for concerts, lectures, church services, amateur performances, etc., for Sunday mornings, afternoons and evenings; also for week-days, mornings and afternoons.

Applications should be addressed to Harry G. Sommers, National Theatre, 208 West 41st Street, New York City.

HOUSE PHYSICIAN,

Dr. J. Bruce Ferguson
Telephone: AShland 4-6078,
House—PLaza 8-0023.

★ ★ ★ BUY WAR BONDS ★ ★ ★

THE PLAYBILL

WHAT'S WHAT

Dear Sirs: Would you please tell me what plays Jackie Kelk appeared in as a child star? If possible, I'd like a list of these. And what was the last time he appeared on Broadway? —S. F., N. Y. C.

Jackie Kelk played the part of Peter in "Bridal Wise" at the Cort Theatre in 1932. Later the same year he had parts in "The Perfect Marriage," at the Bijou Theatre, and in "Goodbye Again," Masque Theatre. His last appearance here was as Prince Rudolph in "Jubilee," Imperial Theatre, 1935.

Gentlemen: Who was the feminine lead in "Follow Thru"?

—J. M., Pittsfield, Mass.

That was Irene Delroy. You may also recall Zelma O'Neal, the soubrette of this production; and Eleanor Powell in a supporting role. "Follow Thru" opened at the Forty-sixth Street Theatre on January 9, 1929.

What's What Editor: I understand Claudette Colbert started in the legitimate theatre. Could you tell me if she ever appeared on Broadway and in what play?

—J. B., N. Y. C.

Miss Colbert has, indeed, appeared on the stage in New York. The following is only a partial list of the parts she has played here: Sybil Blake in "The Wild Westcotts," Frazee Theatre, 1923; Ginette in "A Kiss in a Taxi," Ritz, 1925; Lou in "The Barker," Biltmore, 1927; Aggie Lynch in "Within the Law" (Revival), Cosmopolitan, 1928; Ada Fife in "Dynamo," Martin Beck, 1929; Nanette in "See Naples and Die," Vanderbilt, 1929.

What's What Editor: It's some time since I saw Ilka Chase in "The Women." Has Miss Chase appeared in any important leading roles since then? I seem to have missed her a great deal. —J. B. L., Staten Island.

Since "The Women" (Ethel Barrymore Theatre, 1936), Ilka Chase has been seen here in "Keep Off the Grass" (musical), Broadway Theatre, 1940; and in "Beverly Hills," Fulton Theatre, 1940.

This department of The Playbill welcomes inquiries by mail about plays and players. Please enclose a stamped, addressed envelope for a personal reply. Address What's What, The Playbill, 108 Wooster Street, N.Y.C.

7

THE PLAYBILL

For Distinguished Service

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8

# Case History Of a Non-Combatant

By RICHARD RODGERS

My job is writing music. I am forty years old. I have a wife and some children. Decided last March to win the war. Took and passed an Army Air Force physical. Received a letter from Washington saying sorry, they had enough composers flying bombers. My insurance broker enlisted. Fellow directed one of my shows enlisted. Another fellow directed one of my shows was drafted. My ex-sister-in-law started driving an ambulance. They gave her something very impressive to wear. My wife began to work for the Writers' War Board. My father, a doctor of only 72, was examining people and papers for Selective Service, and I was getting sicker by the minute.

* I developed a handsome sense of frustration and couldn't look a man in the uniform in the lapel. Called a conference with myself and attended. Sudenly realized a couple of things. I pay taxes, and promptly. If someone asks me for a song to help the war effort, I write it. I buy war bonds. My kids don't save any money — they buy stamps. I closed my house, which I love, to save fuel. I do not repeat rumors. I work hard at my job. I hoard nothing. Am I a sissy? You bet your life.

* I want to be able to look that man in the uniform in the lapel. I don't believe I'll ever be able to look him in the eye. I owe him too much.

Mr. Richard Rodgers is contributing the above article as a member of the Writers' War Board.

THE PLAYBILL

# AT THIS THEATRE

THE National's opening attraction was "Swords," a Brock Pemberton production with the late Clare Eames heading its cast. "Swords" was presented here on September 21, 1921. Among its history-making successors were:

"The Cat and The Canary," February 8, 1922. Henry Hull and Florence Eldridge in a spooky mystery thriller.

"Will Shakespeare," Jan. 1, 1923. Otto Kruger as the Bard, Haidee Wright as Queen Elizabeth. Winifred Lenihan played Anne Hathaway, and a young actress, Katharine Cornell, made a personal hit as Mary Fitton.

"The Gorilla," from the Selwyn on Nov. 9, 1925. Burlesqued spook-drama, with Frank McCormack as a nit-witted detective.

"The Monkey Talks," from the Sam H. Harris Theatre, Feb. 1, 1926. Philip Merivale, Martha Bryan Allen, in a circus drama.

"The Trial of Mary Dugan," Sept. 19, 1927. Ann Harding, Merle Maddern and the late Rex Cherryman in Bayard Veiller's now classic courtroom melodrama.

"The Criminal Code," Oct. 2, 1929. Arthur Byron in Martin Flavin's prison play.

"A Farewell to Arms," Sept. 22, 1930. Mr. Stalling's adaptation of Mr. Hemingway's celebrated romantic story of the Italian Front. Glenn Anders, Elissa Landi, Crane Wilbur.

"Grand Hotel," Nov. 13, 1930. Vicki Baum's tragic three-ringed circus, with a long cast including Henry Hull, Eugenie Leontovitch, Sam Jaffe, Hortense Alden.

"Within the Gates," Oct. 22, 1934. Sean O'Casey's dramatic poem, with Bramwell Fletcher, Lillian Gish.

"Ethan Frome," January 21, 1936. A dramatization of Edith Wharton's New England masterpiece, with Raymond Massey, Pauline Lord and Ruth Gordon.

"Tonight at 8:30," Nov. 30, 1936. Noel Coward, assisted by Gertrude Lawrence, in a whirlwind repertory of assorted short plays written and staged by Noel Coward.

"The Little Foxes," Feb. 15, 1939: Lillian Hellman's study in human viciousness. Staged and produced by Herman Shumlin.

"The Corn Is Green," Nov. 26, 1940: Ethel Barrymore as the magnificent heroine of Emlyn Williams' play about the Welsh coal mining country.

THE PLAYBILL

9

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10

THE PLAYBILL

TABLE FOR FOUR

By THE FOUR ACES

NEW LAWS OF CONTRACT BRIDGE No. 2

THE penalties prescribed in the bridge laws are seldom collected in social bridge games. This is a somewhat dangerous situation because when some laws are enforced and others are not there is always a possibility of misunderstanding. In club play strict observance and enforcement of the laws avoids argument.

The revoke law, however, is pretty universally observed. The change in the revoke law included in the code which is effective April 1st will therefore affect most games. Under the new laws:

1. Only one revoke by the same player in the same suit is subject to a penalty.

2. The penalty remains two tricks for a revoke, except that if the non-offending side loses more than two tricks by reason of the revoke they are awarded as many additional tricks as necessary to compensate the loss and to prevent a revoke from showing a profit to the revoking side.

PROBLEM NO. 29

There is no trump. South leads. North and South must win six of the seven tricks against any defense.

★ ★ ★ BUY WAR BONDS ★ ★ ★

THE PLAYBILL

Metropolitan Moments

by Wisdom

"A Patch or Two Will Add No Beauty But Conservation Is Now Our Duty"

Calvert's first and foremost duty is to produce high-proof alcohol for vital war purposes. But laid away in Calvert's huge air-conditioned warehouses are large reserves of rare selected stocks. Of these now irreplace-

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Used in moderation...Calvert Reserve...should last for the duration

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11

12

The Savoy-Plaza presents

BEVERLY WHITNEY

Canada's Enchanting Songstress
at dinner and supper in the
CAFE LOUNGE and SNACK BAR

RUSS SMITH
and his Orchestra

featuring the Tune-Smiths
Continuous Dancing and
Entertainment from 5:30 P. M.

SAVOY-PLAZA

FIFTH AVENUE AT 58TH STREET

"A PERFECT COMEDY"

ATKINSON, Times

"By all odds the most engaging, happiest play in town."
—LOCKRIDGE, Sun

OSCAR SERLIN presents
Clarence Day's

LIFE WITH FATHER

Made into a play by

HOWARD LINDSAY and RUSSEL CROUSE

EMPIRE Thea., B'way, & 40th St. PE. 6-9540
Evgs. 8:40—$1.10 to $3.30, Mats. Wed. & Sat. 2:40

AFTER THEATRE

NEW YORK personified appears nightly at La Maritnique in the person of Jackie Miles. The most successful comedian that spot has had since Danny Kaye, Miles is back in a new show that features singer

Wynn Murray, dancer Eunice Healy and a new batch of Martiniquettes. Wynn Murray puts over ably such old favorites as "Body and Soul" and that revival from Casablanca, "As Time Goes By." Eunice Healy is one of the pleasantest of girl tap artists and can dance like a graceful streak, as she proved in "Beat the Band." The show is topped, however, by the languid wise-cracking, dialect impersonations and comedy routines of Jackie Miles, who recently was classified 1-A, to his own and his body's surprise. This, however has resulted in a draft-board number worth adding to such of his specialties as the race-track tout, the Catskill momma, the Big Crosby accident, the burlesque salesman, and the hysterical swish version of "Honey-suckle Rose." Miles is pure New York, strictly from sidewalks, and if James T. Farrell had only come across him before he wrote Studs Lonigan, the history of literature might have been changed. The orchestras of Maximilian Bergere and Sacasas alternate to provide good, and continuous, dance music.

* Madame Chiang Kai-shek's visit naturally enough turned a lot of people's minds toward China, and Chinese restaurants. The House of Chan, in the theatre section was packed night after night, and sure 'tis a rare sight to see a waiting line at a Chinese restaurant. Owner Sou Chan is young and reportedly a descendant of China's first Emperor, and his wife helps him run the place. Either will help you order, and, as they are from Canton, you may find yourself dipping into such house specialties as Lobster Cantonese or Moo Goo Gai Pen, which combines chicken and mushrooms. Several courses are in order; go with others so you can each order something different, for a field day of sampling.

—J. A. T.

THE PLAYBILL

13

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