THE WORLD: SUNDAY, NOVEMBER 9, 1918.

# "Darktown Follies" in a Negro Theatre
## Is New York's Newest Stage Success

Listen! We'll Tell You a Dark Secret. The Best Show in Town Is Five Miles from Broadway and It's Not Coming Any Nearer. If You Doubt It, Drop in Some Night at the Lafayette—It's New York's Only Colored Theatre.

A

The last New York has some-  
thing new in theatricals.  
Producers of musical  
comedy in our merry  
village who think they know some-  
thing about putting on musical  
shows can learn by a visit to the  
Lafayette Theatre up on upper  
Seventh avenue.

Presided over by J. Leubrie Hill,
who wrote the book, music and
lyrics, who staged the show, who
manages it, and who plays one of
the leading roles of My Friend
from Kentucky, "The Darktown
Follies" is one of the cleverest
and fastest shows in town.

It runs for over two hours and
a half, is swift every second, with
never a stop in the laughs, and
the numbers are original and new,
with never a reminiscent note in
any of them.

And what is more, every laugh-
able line, every humorous situa-
tion, is gotten without the slight-
est hint of suggestiveness or raw-
ness. "The Darktown Follies" is
clean entertainment—the real old
negro comedy with music that is
music, and lyrics that mean some-
thing and that can be heard, being
enunciated by an aggregation of
trained voices that work in per-
fect harmony and tunefulness, to
the complete success of the show.

The upper part of Seventh ave-
nue is now the high class black
belt of New York, and the wealth-
ier class of negro wants good en-
tertainment and they get it at the
Lafayette. The houses are packed
from pit to dome at each and
every performance, with a line
stretching off down the street
from the lobby and box office.

A more appreciative audience it
would be hard to find anywhere.
Every joke and every gag is greet-
ing with a roar of delight and it is
great to watch the audience en-
joy itself alone.

There is a real natural comedian
up there named Julius Glenn who
will bear watching and belongs on
Broadway just as much as Bert
Williams does. He gets his stuff
over naturally and his expression
is simply a delight to watch.

Playing a shrewish colored wife

of this gentleman, J. Leubrie Hill
is a wonder and gets most of the
laughs of the evening, often by
nothing more than a glance of
the eye or a twist of his mobile
mouth.

One good thing about the Follies
is that they do not, as many col-
ored aggregations do, attempt to
imitate slavishly the white musical
comedy. This is where most such
shows fall down right at the start,
but the Follies stick to the old-
fashioned real negro comics and
naturally lands with the colored
audience—and with any, whites
who happen to stray into the
theatre. And there were quite a
few white men and women there
the other night too.

And they were well repaid, for
a better performance of its kind,

especially the songs and dances and
the concerted musical numbers, is
seldom seen off of Broadway, and
there has been many a two-dollar
show on the Gay White Way that
could not begin to compare with
"The Darktown Follies" in cos-
tuming or music or humor of the
clean kind or in any other par-
ticular.

There is a young girl in the
show with a Woolworth range of
contralto voice that has the Black
Patti in her palmiest days sung
clear off the musical map. Her
name is Grace Johnson and her
"Lou" song, sung from various
parts of the auditorium for encores,
was a little gem.

Then they have a dancer, Johnnie
Peters, who does some stunts in
the tango and turkey trot line with

three different girls, that has par-
ticular steps and whirls that are
absolutely new and original, and
it is doubtful if they can be dupli-
cated. Some Broadway cabaret is
missing something by not getting
this boy.

Costumes and lighting and
scenery are of the best and the
changes are bewildering. Every
few seconds, it seems, a new flock
of girls and boys in a still more
startling combination of colors
than the last burst onto the stage
for another whirl of song and
dance.

Outside the theatre the avenue is
Broadway in light and crowds and
even in the automobiles awaiting
their owners at the theatre front.

There were twelve in line last
Wednesday night after the show

was over and all were high-pow-
ered cars.

The ambition of "The Darktown
Follies" is to invade Broadway
and they are headed that way.
And Broadway is going to sit up
and take notice and seats to see
and hear this colored aggregation
of clean humor, clever lyrics, and
music that sets your feet to
dancing in tune to its sway.

There is a rag song at the final
curtain that kept the black audi-
ence in its seats until they had
heard it over and over again, and
the entire company of over sixty
men and women swayed in a long
single file movement back and
forth across the stage to a melody
that lays over anything Broadway
has ever seen in the same line of
number.

Colonial Theatre

SELWYN and WHITE....... Lessees and Managers
Broadway and 62nd Street, New York

NOTICE: This Theatre, with every seat occupied, can be emptied
in less than three minutes. Choose NOW the Exit nearest to your
seat, and in case of fire walk (do not run) to that Exit.

THOMAS J. DRENNAN, Fire Commissioner.

Ev'gs at 8.30—THURSDAY MIDNIGHT— Mat. Saturday at 2.30

WEEK BEGINNING MONDAY EVENING, OCTOBER 29, 1923

GEORGE WHITE
presents

America's Greatest Colored Comedians

MILLER and LYLES

Late Stars of "SHUFFLE ALONG"
In their Latest Musical Comedy

"Runnin' Wild"

Book by F. E. Miller and A. L. Lyles

Music and Lyricists by James Johnson and Cecil Mack
John T. Ricks's Orchestra

Dances Staged by Miss Lyda Webb
Scenery by Law Studio
Costumes by Brooks Mahieu
Shoes by I. Miller, Inc.

Cast
(In the order of appearance)

Uncle Mose................... C. Wesley Hill
Uncle Amos.................. Arthur D. Porter
Tom Sharper.................. Lionel Montagas

PROGRAM CONTINUED ON SECOND PAGE FOLLOWING

Blended by Connoisseurs
for Connoisseurs

EgyptianDeities

"The Utmost in Cigarettes"

Plain End or Cork Tip—twenty-five cents

18

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will for a multi-millionaire
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that you pay your debts.
PAY BY CHECK.

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of NEW YORK

1819 BROADWAY

at COLUMBUS CIRCLE

COLONIAL THEATRE

19 02

<table><thead><tr><th></th><th></th><th></th></tr></thead><tbody><tr><td>DANCING</td><td>EDGETT'S HARBOR INN</td><td>DANCING</td></tr><tr><td></td><td>BROADWAY AT 69th STREET</td><td></td></tr><tr><td></td><td>LANDAU'S SERENADERS</td><td></td></tr><tr><td></td><td>LUNCH 50c.</td><td></td></tr><tr><td></td><td>SPECIAL DINNER $1.00</td><td></td></tr></tbody></table>

PROGRAM CONTINUED

Musical Numbers

ACT I.

Scene 1

<table><tbody><tr><td>1</td><td>Opening Chorus</td><td>Company</td></tr><tr><td>2</td><td>"Open Your Heart"</td><td>Miss Hughes, Mr. Stephens</td></tr><tr><td>3</td><td>"Gingerbrown"</td><td>Miss Hall, Mr. Lee, Strutters</td></tr></tbody></table>

Scene 2

<table><tbody><tr><td>1</td><td>"Red Caps Cappers"</td><td>Mr. Wood and Boys</td></tr><tr><td>2</td><td>"Old Fashion Love"</td><td>Miss Duncan, Miss Hall, Mr. Porter</td></tr></tbody></table>

Scene 3

<table><tbody><tr><td>1</td><td>"Keep Moving"</td><td>Mr. Charles Olden and Chorus</td></tr></tbody></table>

Scene 4

<table><tbody><tr><td>1</td><td>Dance Specialties</td><td>Mr. Bryson, Mr. Stamper</td></tr></tbody></table>

Scene 5

<table><tbody><tr><td>1</td><td>"Charston"</td><td>Miss Welsh and Chorus</td></tr><tr><td>2</td><td>Finale</td><td>Entire Company</td></tr></tbody></table>

ACT II.

Scene 1

<table><tbody><tr><td>1</td><td>"Roustabouts"</td><td>Male Octette</td></tr><tr><td>2</td><td>"Log Cabin Days"</td><td>Mr. Harvey and Octette</td></tr><tr><td>3</td><td>"Ghost Recitative"</td><td>Mr. Charles Olden</td></tr><tr><td>4</td><td>"Pay Day On Levee"</td><td>Mr. Porter and Company</td></tr></tbody></table>

Scene 2

<table><tbody><tr><td>1</td><td>"Swanee River"</td><td>Miss Hughes</td></tr><tr><td>2</td><td>Song Birds Quartette</td><td>Misses Hughes, Duncan, Welsh, Harvey</td></tr></tbody></table>

Champee
MUSHROOM PASTE

A 2 oz. jar is equal to
a pound of mushrooms

Fresh mushrooms, finely ground, vacuum packed in glass jars. Write for free recipe book, mentioning grocer's name and address. Hupfel Mushroom Plantation, 161st St. and 3d Ave., New York.

COLONIAL THEATRE

21 22

You Go to
the Theatre

But have you any idea how many of you there
are in New York?

Do you realize the immensity of theatrical interests
in New York compared with other cities?

Send for leaflet explaining these interesting points.

New York Theatre Program Corp.

108-114 Wooster Street, New York City

Telephone
5500 Canal

PROGRAM CONTINUED

<table><tbody><tr><td></td><td>Scene 3</td><td></td></tr><tr><td>1</td><td>"Ghost Ensemble"</td><td>Ghost Assn.</td></tr><tr><td>1</td><td>"Love Bug"</td><td>Miss Hall</td></tr><tr><td></td><td>Scene 5</td><td></td></tr><tr><td>1</td><td>"Juba Dance"</td><td>Chorus</td></tr><tr><td>2</td><td>"Jazz Your Troubles Away"</td><td>Entire Company</td></tr></tbody></table>

**Girls of the Chorus**—Misses Lyda Webb, Percy Wiggins, Amey Roden, Mildred Dixon, Marie De Voe, Dorothy Rhodes, Hazel Anderson, Jessie Wallace, Leila Brogden, Therese West, Ela Thomas, Marguerite Howard, Beatrice Williams, Bessie Allison, Noma Davis, Dorothy Irving, Vivian Harris, Alice Allison, Adelaide Jones, Swendolyn Graham, Ruth Lambert, Leronya Bradley.

**Boys of the Chorus**—Ralph Cooper, Charles Saltez, Arthur Mason, Joseph Wilson, Monte Hawley, Billy Foster.

ACT I.

Scene 1—Market Place, Jimtown.

Scene 2—Railroad Station.

Scene 3—Four Corners, St. Paul,
Minn.

Scene 4—Rondo Street, St. Paul,
Minn.

Scene 5—Cabaret, St. Paul, Minn.

ACT II.

Scene 1—Levee, Jimtown.

Scene 2—Street, Jimtown.

Scene 3—A deserted barn, Jim-
town.

Scene 4—Street, Jimtown.

Scene 5—Country Club, Jim-
town.

POP MATINEE SATURDAY
BEST SEATS $1.50

Executive Staff for "Runnin' Wild", Inc.

<table><tbody><tr><td>Clarence R. Gray</td><td>Manager</td></tr><tr><td>Paul Floyd</td><td>Stage Manager</td></tr><tr><td>Frank Whitten</td><td>Carpenter</td></tr><tr><td>Edward Condon</td><td>Properties</td></tr><tr><td>John Sample</td><td>Flyman</td></tr><tr><td>S. Wm. Andures</td><td>Electrician</td></tr><tr><td>Clarence Wells</td><td>Asst. Electrician</td></tr><tr><td>Mme. Blanche Gray</td><td>Wardrobe Mistress</td></tr></tbody></table>

# “THE STAR OF ETHIOPIA”
## A Pageant Of Negro History

BY
W. E. BURGHARDT DUBOIS

(All rights reserved)

### ARGUMENT

#### EPISODE I. (50,000 Years B. C.)

African Savages fleeing from beast and storm, pray to Shango, and receive from his daughter, Ethiopia, the Star of the Fire of Freedom. They discover the welding of iron. Led by the dwarfs they disappear into the forest.

#### EPISODE II. (5,000 B. C. and Later)

Egypt coming out of Central Africa worships the black Sphinx. Asia mingles with the Egyptians. The Savage Shepherd Kings attack them. Ethiopia rescues them. The pharaohs of New Kingdom are crowned.

#### EPISODE III. (1000 B. C. and Later)

The Queen of Sheba visits Solomon and shows him how Ethiopia has triumphed. Christ is born. Three religions—Christianity, Mohammedanism and Fetich—threaten battle and Ethiopia flees westward.

#### EPISODE IV. (1500 A. D. and Later)

Ethiopia is on the West Coast in an African Village. Artists and merchants appear. Again the three religions threaten war. The Cross and Crescent agree and the Negroes are enslaved. Ethiopia is burned on the black rock. Death and Pain dance.

#### EPISODE V. (1750 A. D. and Later)

Following a black explorer who is killed by Indians and a black Bishop, slaves file in; they wail and dance. They are urged to revolt by black men and white men. John Brown fires the black rock. Ethiopia arises from the dead and her children march.

#### EPISODE VI. (1925)

Ethiopia and her heralds are on the black rock. Colored America appears. Prejudice opposes them. The heralds call the five rivers of Ethiopia, the Congo, the Nile, the Niger, the Mississippi and the Orinoco. They lead back the pageant with the stones of the Tower of Light. The Children of Song dance.

14

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Been Wanting!

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programs.

Keep your programs in this
orderly and available form, and
you will have an interesting record
of many delightful evenings spent
at the theatre.

Also an instant answer to the
frequently puzzling question: "In
what production did I see —?"

Sent Prepaid for $1.00

NEW YORK THEATRE PROGRAM CORPORATION
108-114 Wooster Street-New York City

APPLAUSE

Even when you applaud the
style and pattern, our interest
doesn't stop with the mere act
of selling a suit. We're just as
much concerned in the wear as
you are!

Money's at the "box office" for any-
body not satisfied with the way it
performs.

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."

THE FROLIC

15

PROGRAM CONTINUED

Synopsis

ACT I.—Lobby of the Hotel Shasta, San Francisco. Early Spring.

ACT II.—A Court-room. One week later.

ACT III.—Same as Act I.—Late Summer.

HORTON'S ICE CREAM

1851

The Premier Ice Cream of America
For Seventy-four Years

1925

52nd Street Theatre
306 W. 52nd St.
Columbus 7393

Matinees
Thursday and Saturday

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

ROLAND HAYES, tenor, was born at Curryville, Ga., on June 3, 1887. His first musical instruction was from a negro named Calhoun at Chattanooga, Tenn. Mr. Hayes was a student for four years at Fisk University, Nashville. Going to Louisville he was heard at a congress of fire insurance men. One of them urged him to come North. He first came to Boston with the Fisk Jubilee Singers in 1911. Here he made his home, was befriended, and on April 20, 1912, he sang in a concert at Steinert Hall, but his first recital was in Jordan Hall on November 11, 1912. He studied faithfully and intelligently in Boston with Mr. Arthur J. Hubbard, and gave recitals in Jordan Hall and Symphony Hall until his departure for Europe. His first recital in London was on May 31, 1920. In that city he has given sixteen recitals with remarkable success; he has sung with orchestra at Queen's Hall under Sir Henry Wood's direction: throughout the English provinces, in Scotland and in Ireland; and he has sung in oratorio, as in "Elijah" and "Hiawatha."

On April 23, 1921, he was commanded to sing before the King and Queen of England.

Going to Paris, he gave his first recital at the house of Joseph Salmon, the celebrated violoncellist. He has given a recital in the Salle Erard, and sung about forty times in Parisian salons. On November 4, 1922, he sang at a Colonne concert conducted by Gabriel Pierné ("O Sleep" from Handel's "Semele"; the Prize Song, from "The Mastersingers of Nuremberg," and Three Negro Spirituals). Returning to Boston, he gave a recital in Symphony Hall on January 7, 1923.

He went again to Europe, and sang again in England, and for the first time in cities of Austria, Hungary, and Czecko-Slovakia. After a tour in the United States he will return at the end of next January to Europe, where he has engagements for six months in England, France (he will sing again with the Colonne orchestra in Paris), Italy, and Austria.

Mr. Hayes sings in French, Italian, German, and he is learning Japanese. In Vienna and in Budapest, the critics, enthusiastic, spoke of his pronunciation of German and his diction, "which ninety-nine out of a hundred white persons might take as their example." The Parisian critics were equally warm with regard to his diction in French.

[Reprinted from the Boston Symphony Orchestra Programme Book, Philip Hale, Editor, for the concerts in Symphony Hall, Boston, November 16-17, 1923, at which concerts Roland Hayes appeared as soloist.]

The world's capitals praise

Roland Hayes with one accord

NEW YORK

(Début Recital, Dec. 1, 1923)

"Seventeen hundred persons, many of the singer's race, filled the floor and gallery of the Town Hall last evening at the first recital here of Roland Hayes, the American negro tenor, whom English, French and German critics had declared one of the great voices of the world today.

"Roland Hayes, intensely alert and very dark, sings the old songs of his people, as he did to rapt attention at the close of last evening. He astounds and delights, however, by virtue of both natural and cultivated beauty of voice, a tenor of skill and intelligence, his song ever surcharged at will with strong emotion."—New York Times (Dec. 2, '23).

"With singing remarkable for its artistic finish and at the same time for its entire naturalness, Roland Hayes, the young negro tenor, won an unqualified triumph in his New York debut last night at Town Hall. There are singers who have naturally fine voices; there are those who excel in artistic polish, but Mr. Hayes had an unusual combination, a tone of appealing beauty and a wide range of volume and expression."—F. D. Perkins, New York Tribune (Dec. 2, '23).

"He is a genuine artist. He has a good breath control, tone generally well placed, unusual command of head tone and falsetto, intonation nearly perfect, ability to give color to his voice, and excellent diction in several languages."—W. J. Henderson, New York Herald.

BOSTON

(Soloist with Boston Symphony Orchestra, Nov. 15, 16, 17, 1923)

"In seasons a singer has not had so enthusiastic a reception at these concerts. Roland Hayes is an extremely thoughtful and sensitive interpreter. He was recalled times without number after the last spiritual."—Olin Downes, Boston Post.

"Roland Hayes is a singer with a mind and an imagination as well as a voice; a singer who to vocal skill adds those perceptions, discriminations, intuitions, which lift song from an exercise to an artistry, multiplying and deepening the outflow of pleasure. He proved himself the musician, the artist, whose means and medium is song."—H. T. Parker, Boston Transcript.

(Recital in Symphony Hall, Dec. 2, 1923)

"Roland Hayes sang last night to one of the largest and most brilliant audiences which has assembled in Symphony Hall in several years. Every seat, including all the chairs that could be crowded upon the stage, was filled, and hundreds stood throughout the evening. He has an unusually beautiful tenor voice, capable of lyric delicacy, and dramatic, somber intensity. It is his rare musicianship that is Hayes' crowning merit. Musicians are born, not made, and too seldom does it happen that a great voice is given to a great singer. Last night a reviewer who thought he knew what Hayes could do, and had long admired him, was astonished, and deeply moved at the increased power and dignity of the tenor's art."—Penfield Roberts, Boston Globe.

"Dame Nature gave Mr. Hayes a beautiful voice. She also gave him singing brains. Not content with Nature's gifts, he has studied intelligently, learned by observation, by pondering his art, and by experience. Year by year he has gained in vocal control and in power of interpretation, until now in Great Britain, France, Austria, Hungary and Czecho-Slovakia he is hailed as one of the few leading concert singers. Last night he showed himself a singer well versed in all periods and schools of vocal composition. His art, his taste and his soul respond to each demand."—Philip Hale, Boston Herald.

TOWN HALL : : : : NEW YORK

Thursday Evening, January 3, 1924

ROLAND HAYES
TENOR

WILLIAM LAWRENCE, ACCOMPANIST

Programme

I.

<table><tr><td>a. Where'er You Walk (Semele)</td><td>HANDEL</td></tr><tr><td>b. Come Raggio di Sol</td><td>CALDARA</td></tr><tr><td>c. Eviva Rosa (La Calamita di Cuori)</td><td>GALUPPI</td></tr><tr><td>d. Amarilli</td><td>CACCINI</td></tr></table>

II.

<table><tr><td>a. Du Bist die Ruh'</td><td>SCHUBERT</td></tr><tr><td>b. Fischerweise</td><td>DUPARC</td></tr><tr><td>c. L'invitation au Voyage</td><td></td></tr><tr><td>d. Onaway, Awake, Beloved (Hiawatha)</td><td>C. COLERIDGE-TAYLOR</td></tr></table>

III.
NEGRO SPIRITUALS

<table><tr><td>a. Go Down, Moses</td><td>Arranged by H. T. BURLEIGH</td></tr><tr><td>b. Deep River</td><td>Arranged by H. T. BURLEIGH</td></tr><tr><td>c. I've Got a Robe</td><td>Arranged by ROLAND HAYES</td></tr><tr><td>d. Steal Away</td><td>Arranged by LAWRENCE BROWN</td></tr></table>

IV.
NEGRO SECULAR SONGS

<table><tr><td>a. "Water Boy" (Convict song)</td><td>Arranged by AVERY ROBINSON</td></tr><tr><td>b. The Little Chicken (East African melody)</td><td>Arranged by ELLA KIDNEY</td></tr><tr><td>c. O Rock Me, Julie</td><td>Arranged by H. T. BURLEIGH</td></tr><tr><td>d. Didn't It Rain</td><td>Arranged by H. T. BURLEIGH</td></tr></table>

Seats now on sale at the Box Office: $1.00 to $2.50, box seats $3.00 (plus tax).

THE WORLD: SATURDAY, APRIL 18, 1925.

It Seems to Me

By Heywood Broun

Paul Robeson and Lawrence Brown are going to give a concert to-morrow night (Sunday) at the Greenwich Village Theatre and the program will be made up entirely of Negro music. I have heard Robeson sing many times and I want to recommend this concert to all those who like to hear spirituals. It seems to me that Robeson does a little better with such a song than any one I know. Even such a finished artist as Roland Hayes is a shade less exciting in singing these chants of the camp meetings. Robeson is closer, I think, to the fundamental spirit of the music.

There ought to be a law requiring every singer who is going to do spirituals in public, or in private for that matter, to pass an examination before he can get a license. This seems to me a good proposal to license all possible crimes against man, and I am mitted every day in this take to do Negro spirituals motivating mood. I have not attempted to interpret them, but I have attempted something as fit Moses," and interpreted it or at any rate a qualnt

Into the voice of Rob
of the passionate feeling
composers of these mel
arrangement of "Joshu
does not turn out to be
perlences in your life,"
might, of course, prom
for the tickets in such a
who can't share this p
would much better be
wishes are concerned.

PAUL ROBESON

BASS-BARITONE

and

LAWRENCE BROWN

IN A PROGRAM of NEGRO MUSIC

GREENWICH VILLAGE THEATRE

Sunday Evening

APRIL 19th, 1925

8:30 P. M.

Piano by courtesy of William Knabe & Co., 439 Fifth Ave.

Greenwich Village Theatre

4th St. and 7th Ave., New York.

I enclose ________ for which please hold mail ________ tickets

in the orchestra for the Robeson-Brown Recital, Sunday, April 19th.

Name

Address

Price of Tickets:

<table><tbody><tr><td>ORCHESTRA</td><td>First 5 rows</td><td>$3.30</td><td>Including Tax</td></tr><tr><td></td><td>Balance</td><td>$2.75</td><td>"</td></tr><tr><td>BALCONY</td><td>First 2 rows</td><td>$2.20</td><td>"</td></tr><tr><td></td><td>Next 2 rows</td><td>$1.65</td><td>"</td></tr><tr><td></td><td>Balance</td><td>$1.10</td><td>"</td></tr></tbody></table>

The Plantation Songs known as "spirituals" are the spontaneous outbursts of intense religious fervor, and have their origin chiefly in camp meetings, revivals, and other religious exercises.

They were never "composed," but sprang into life, ready made, from the white heat of religious fervor, during some protracted meeting in camp or church, as the simple ecstatic utterance of wholly untutored minds, and are practically the only music in America which meets the scientific definition of folk-song.

Through all these songs there breathes a hope and faith in the ultimate justice and brotherhood of man. The cadences of sorrow invariably turn to joy, and the message is ever manifest that eventually deliverance from all that hinders and oppresses the soul will come, and man—every man—will be free.—H. T. BURLEIGH.

Paul Robeson, graduate of Rutgers College and of Columbia University Law School, was born in Princeton, New Jersey. He first attracted the attention of the New York public by his acting in the Provincetown Playhouse productions of Eugene O'Neill's "Emperor Jones" and "All God's Chillun Got Wings," in 1924. His debut as a singer was made last November in Boston at the Copley Plaza and received much favorable comment from the critics.

Lawrence Brown, composer, arranger and student of negro music, is a native of Florida. He has appeared in recital in Aeolian Hall and in other parts of the United States. During the past four years he has lived in England, acting as accompanist to Roland Hayes before the King and Queen, and to Beatrice Harrison, 'cellist, under the patronage of the Duchess of Norfolk. He has appeared on programs with Roger Quilter and other leading musicians.

PAUL ROBSON
BASS-BARITONE

and

LAWRENCE BROWN

IN A PROGRAM of NEGRO MUSIC

8:30 P. M.

THE NEW YORK TIMES MAGAZINE, FEBRUARY 28, 1926

HOW EMMETT WROTE "DIXIE"

By JOHN FRANCIS STEELE

O
NE dreary Sunday afternoon
in April, 1859, a puzzled
minstrel singer looked out
of the window of a New
York lodging house and exclaimed,
"I wish I was in Dixie," and af-
fixed his name to the scroll of the
Immortals, for regardless of the
nature of the sentiment any par-
ticular section holds for the song,
or what pathos may be connected
with it, we all love "Dixie." It stirs
an audience to a greater degree than
more dignified airs.

Dainel Decatur Emmett, the author
of "Dixie," was born Oct. 29, 1815,
in Mount Vernon, Ohio. His father
was a native of Staunton, Va.,
and his grandfather, John Emmett,
served as chaplain and surgeon in
the Revolutionary War.

Young Daniel Emmett had a talent
for music, played the violin by ear
in a Cincinnati orchestra, possessed
a charm of manner that won audi-
ences and as a fifer and drummer
had a considerable reputation.

In a boarding house on Catharine
Street, New York City, in February
or March, 1843, young Emmett and
his friends organized the first negro
minstrels. Emmett played the violin,
Billy Whitlock picked the banjo,
Frank Brower rattled the bones and
Dick Pelham shook the tambourine.
They made their first appearance at
the Branch Hotel on the Bowery,
a rendezvous for circus men of
those days. The bizarre costumes
were designed by Emmett. White
pants and striped calico shirts
were topped by blue calico coats
made with long swallowtails.

The performance in the hotel made
such a hit that immediately the min-
strels were called to the professional
stage. As the Virginia Minstrels
they played with marked success in

because his wife feared a possible
criticism by the ultra-pious.

Dis worl' was made in jiss six days
An' finished up in various ways;
Look away, look away, look away,
Dixie Lann—

Dey den made Dixie trim an' nice
But Adam called it "Paradise,"
Look away, look away, look away,
Dixie Lann.

The song was popular from its in-
tial performance. The tune was
sung on the highways and hummed
in the byways. In the political cam-
paign of that year, it is said Presi-
dent Lincoln heard the tune to Re-
publican words and liked it.

It is asserted that a publisher, P. P.
Weirlein of New Orleans, without the
consent of the author, brought out
the song under the title of "I Wish I
Was in Dixie." Later he made an
offer of $5 for the copyright. At a

convention of music dealers in New
York, Emmett was called upon to
state his complaint and show his
proofs of authorship. He presented
his case so convincingly that it met
with approval, and the publisher ac-
knowledged Emmett's claim without
reservation. By amicable arrange-
ment Weirlein brought out another
edition under the title of "Dixie," the
original title given by Mrs. Emmett

In 1861 the song became the rally-
ing cry of the Confederacy. Its pop-
ularity was strikingly recorded when
"Pocahontas," by John Brougham,
was being staged at the Varieties
Theatre, New Orleans. In the last
scene a Zouave march had been in-
troduced. For accompanying music
Carlo Patti, brother of Adelina Patti
and conductor of the orchestra, tried
out piece after piece, but could not
get the desired effect. Finally he
hit on "Dixie." At the first per-
formance the audience went wild
with delight; seven encores were de-
manded.

"Dixie" became popular in homes
and theatres and took its place with
"My Maryland" and "The Bonnie
Blue Flag." The Southern army
and navy took it up, and the camp
adopted it as the song which best
expressed the sentiments of the
South. It became to the South what
the "Marseillaise" is to France.

In the meantime, while the au-
thor's name was not always asso-
ciated with the song, dissenting pa-
trients learned who the author was,
and he received grave warnings and
expostulations. Emmett, son of the
North, whose father had aided slaves
to escape by means of the under-
ground route, was abashed and con-
fused at the political prominence that
circumstances had given to his min-
strel song.

Ohio.

Being a gentleman of the old school
he numbered among his friends many
men of eminence. His final appear-
ance was on July 1, 1904. He stood
up to sing, but tears rolled down his
cheeks and emotion almost overcame
him. The orchestra repeated and
repeated, and still he could not re-
spond. At last a young tenor
hummed the "Dixie" refrain. Then
Uncle Dan picked it up and sang it
through.

"Dixie" alone was sufficient to
bring him fame, but Emmett had a
number of other well-known songs
to his credit. His "Old Dan Tucker"
was named for himself and his fa-
vorite dog, Tucker. "Jordan's a
Hard Road to Travel" is another of
his compositions—an old-time tune
that few have ever associated with
the author of "Dixie."

MUSICAL EVENTS

A Lament for "Deep
River" — More and
Stranger Spirituals

TAKE out your pencil and list the seemingly obvious virtues of "Deep River," now on exhibition at the Imperial Theatre. First, the libretto is by Laurence Stallings, a gifted dramatist of poetic tendencies. Second, the music is by Franke Harling, who upset Chicago operagoers with a "jazz opera," whatever that may have been. Third, the production was made by Arthur Hopkins, a distinguished man of the theatre. Fourth, the locale of the piece is Creole New Orleans, a setting of patently romantic implications.

With all of these ingredients, "Deep River" ought to be nothing less than the beginning of an indigenous music drama, but something went awry early in the brewing. Mr. Stallings' plot, contrived on reasonably conventional operatic patterns, doesn't come off. The division of interest between three Kentuckians tends to take attention from the tenor, and an opera with the tenor partly obscured starts life with the breaks against it. The Voodoo ritual which makes up the second act is, in effect, a long intermezzo which damages the continuity of the tale. And the double killing which forms the catastrophe takes place in the wings, where, in fact, all of the four deaths with which "Deep River" is equipped are consummated.

Mr. Harling's music is well made, with sweet sweepings over the strings for tender episodes and massive sonorities for the Voodoo high jinks. Unfortunately, this facile workmanship cannot conceal the commonplaceness of the themes and the sameness of the tone coloring in extensive patches. Mr. Harling's talents seem to lie in light lyricism, and the evocation of mystery and terror apparently is off his beat. The second act consists chiefly of climaxes in the Italian manner, but there is no cumulative effect; there are many upheavals in the brasses and tympani, but, when the curtain fell, we feared that the composer was

THE NEW YORKER

the little boy who had cried Wolf-Ferrari once too often. It's usually unfair to dispose of a musician's work in a few words, but we don't think that we're treating Mr. Harling violently when we suggest that his score fails because it's atmospheric rather than dramatic. "Jazz" (the quotes are intentional) is confined to a few dozen measures of prettily scoredfox-trot motives in the second act.

The performance of "Deep River" is something more than passable, although there's nothing brilliant about it except the choral singing, which is first-rate in everything except dictation. Miss Lottie Howell, whom we recall as a light coloratura in Mr. Hindshaw's itinerant Mozart companies, manages the soprano rôle with assurance, making the most of a voice which isn't always at ease in the music. Roberto Ardelli as Hazzard Streatfield is approximately as Kentuckian as Signor Gigli would be in "Lohengrin." This tenor, however, sings superbly, which should be no news to our faithful, as his prowess has been recorded here on previous occasions when he appeared under the style of Norbert Adler with a terrible opera company. Julius Bledsoe, the colored baritone, contributes his fine voice to the evening's diversions and there is an assortment of acting by various hard workers, of whom only Arthur Campbell, as the plain-spoken Hutchins, was convincing.

Woodman Thompson's settings are charming, if somewhat monotonously lighted, and the large orchestra operated with zeal under Mr. Harling's eloquent baton. . . . We had hoped to like "Deep River." Sorry.

TURNING from the Creole and quadroon to the primitive, we nominate as a safe investment the "Second Book of Negro Spirituals," published by the Viking Press. As usual, there is an introduction by James Weldon Johnson, and the piano arrangements are put together by his brother, J. Rosamond Johnson.

Having collected the most celebrated of spirituals in their first volume, the Frères Johnson have done a little digging in less exploited regions for their second offering. There are some fascinating unfamiliar specimens in the book. Some are dramatic, like "My Lord Says He's Gwineter Rain Down Fire" and "Look-A How Dey Done My Lord," the latter being a cruder version of "Crucifixion." There are spirituals of lovely pathos, among

them, "Mary Had A Baby, Y
Lord," (a second cousin to "Po' I
Jesus," which isn't in this collection
"Death Come To My Home, I
Didn't Stay Long," and "Run, Ma
Run." There are several enchanting
grotesqueries, of which "In Dat Gr
Gittin' Up Mornin'," "Same Trai
(a real Charleston, incidentally
"Too Late" and "All I Do, De Chu
Keep A-Grumblin'" are accessions
any singer's repertoire. And there
samples of ragtime, the most strik
being "You Go, I'll Go Wid Yo
"Oh, My Good Lord, Show Me
Way" and the superb, "Can't Y
Live Humble?"

The piano-playing Mr. Johnson made his scores as simple as possible and we can testify that even an competent pianist can exercise scanty technique on them with result that are gratifying, at least, to himself. Occasionally, the harmonizations are a trifle thin, as in "Sometimes I F Like A Motherless Child" and "We You There When They Crucified M Lord?" but the few instances of underdevelopment are insignificant in side such brilliant strokes as the se ting of "Walk in Jerusalem Jus' L John" over a pastoral organ point the same fifth throughout, but why not give you a little erudition for your money?

Every arrangement bears a dedication, the roster of dedicatees including most of musical and literary New York. Nor is the ample humor of the book confined to the texts. What we think it that impelled the inscription of "N body Knows De Trouble I Seen" one of the publishers?

JUDGE

JUDGWG THE SHOWS

By

GEORGE JEAN NATHAN

THERE is more dramatic life in the MM. Rapp's and Thurman's slice of the black belt called "Harlem," on view at the Apollo, than in three-quarters of the theatrical goods presently on display in the local markets. It has the sharp smell of reality; it has a pulse that gallops; and it comes as a great relief from the currently promiscuous stage fakery about Long Island swells, idealistic East Side Jews, wives who insist that their husbands do not tell them of their affairs with other women, and soulful lady blackmailers. It is as easy to find critical fault with as a black-and-tan joint or a German tragedian, but it is just as amusing and just as peculiarly entertaining, and I commend it to your curious attention.

We will read, of course, various scholarly reviews of it that will tell us that it is crudely composed, crudely acted and just a little naïve. It is all of that. As an example of lofty dramaturgy it will surely never suffer the Pulitzer prize, find a place in Prof. Burns Mantle's annual compendium of dramatic art or be lectured on by Dr. Clayton Hamilton and Madame Irma Kraft. But, with all its holes, it gets under the skin of its characters and their lives and it has all the actuality of an untouched-up photograph. Here you will see a dozen and one vivid hints of niggerdom at its realest, with its lingo, emotions, anatomical socialism, ambitions, dejections and odors. Not niggerdom as it is portrayed by colored gentlemen with college degrees, creased pants, a superior disdain for gin, jazz and hip-rolling and other such evidences of Kultur, but the low-down, natural, authentic niggerdom up in the One Hundred

and Thirties, where no one has ever heard of colored literary movements save those of Josephine Baker.

There are no less than half a dozen characters in the play that step out of life with both feet: the young chippy as miscellaneously inclined as a member of the family Mustelidae, the sleek sweetback of the neighborhood, the black cop, the loafing young son of the household, the indolent but assertive patern-familias, the suspiciously regarded West Indian monkey-chaser, the odds and ends of coondom in all their pathetic humor. The leading rôle is handled with perfect conviction by a girl named Washington, said to be a relative of that Freddy Washington who, several years ago, gave such a remarkable performance, without previous experience, in Jim Tully's "Black Boy." And there are other interesting disclosures by some of our colored fellow artists who go by the names of Lew Payton, Richard Landers, Edna Wise Barr, Hillis Walters, Billy Andrews, Ernest R. Whitman and Nat Cash. Some of the dancing put on exhibition in the rent-party scenes, incidentally, may be described very insufficiently as hot.

"PLEASURE BOUND," the new Shubert revue at the Majestic, contains much that goes to pass a rompish evening. Phil Baker is on deck with some new and highly droll wheezes; there is a skit about a Pullman washroom that brings its curtain down on a reverberating laugh; a new dancing girl named Rosita Moreno is more attractive than any of her species I have focused an eye upon in some time; her

*(Continued on page 31)*

apollo theatre

# A BLOW BEHIND THE EAR

A Short Short Story

By

JACK WOODFORD

"You a school teacher! I don't believe it!"

BURGLARIES, it had always seemed to Martha, were things that happened only to other people. She found it hard to credit her senses when, waking suddenly, she found herself staring straight into a flashlight which had a paralyzing effect upon her senses.

"Scream," said the intruder, "and I'll blow you to hell!"

"This," said Martha, severely, "is the worst piece of impertinence I have ever been subjected to."

"Of course," amended the man, "I wouldn't really blow you to hell. That would make too much noise. What I would really do would be to

knock you behind the ear with my billy. Then you'd take the count for about an hour and a quarter."

"But," asked Martha plaintively, "why did you pick out *my* apartment to burgle? I've almost nothing. I'm a school teacher."

"A school teacher!" he echoed. "Well, I'll be damned! I thought school teachers were always hideous — you're pretty as all get out. And young. I'm half minded to kiss you."

"If you do I sha'n't like it at all," she told him very sternly. But he kissed her, and then grew plaintive, himself.

"Getting down to cases," he said, "haven't you, honestly, anything to burgle?"

"There's my horn-rim spectacles," she said, slowly. "I paid twenty-four dollars for them but you'd probably have to hunt all over New York for anyone who had the same astigmatism that I have, in order to get a good price for them."

"God, you're cool," he observed.

"Cool!" she echoed. "I've got a nervous chill that will last me for a month. Won't you please go and burgle somewhere else? Really, I need my sleep. School teaching in hard work."

*Continued on page 5*

[3]

the new york magazine program

## What the Man Will Wear
Continued

German in name, though English in contour. It is a smallish, compact shape with taper crown and close-rolled brim. This is the accepted town hat to-day among men whose word in fashion is law in dress.

Most Americans wear the soft hat with full crown and wide, flattish brim. It is neither smart nor becoming, because it tends to conceal, when it should reveal, character in the face. And—as has often been pointed *out here*, the man of fashion does not borrow distinction from his clothes; he lends it to them.

The reverse brim, commonly called the snap brim, is properly reckoned a field, country and riding hat.

### Morning.

Most men, bereft of collar and cravat, feel like exclaiming, “Open, merciful flow, and swallow me!” Only the dressed neck restores self-respect. So, it was inevitable that somebody would introduce the room or breakfast robe which ambushes the

Robe With
Attached
Muffler.

ricocheting Adam's apple, that crowning touch to masculine ungainliness.

Illustrated alongside is the new robe cut with neck in the contour of a V. The accompanying muffler, fastening with buttons, may be looped in the familiar "choker" style or knotted and pinned as a throw-over scarf is secured.

Thus, one is armed, or rather, necked, to meet one's worst friend or dearest enemy without trembling fingers that clutch the top of the robe to hide *pomum Adami*, as the lofty-domed would say, corrugating their high brows.

—BEAUNASH.

Addresses where merchandise described in the foregoing can be obtained may be had from the New York Theatre Program Corporation. 108-114 Wooster Street, New York.

# STAGELAND
LETTER-BOX

## Questions Answered
Regarding Plays and Players

STAGELAND EDITOR, Sir: I should like to know about Alice Brady's stage career; and if she ever appeared in musical productions. M. M.

Miss Brady, who is daughter of William A. Brady, was born in New York and educated at Madison, N. J. She studied for grand opera at the Conservatory of Music, Boston. Under the name of Mary Rose, made her first appearance at New Haven, Conn., 1911, in "The Balkan Princess" and, under her own name, her bow to New York in the same production at the Herald Square. Appearances followed in "Pinafore," "Patience," "The Pirates of Penzance" and "The Mikado." At the Playhouse, 1912, was *Meg* in "Little Women." Then came engagements in "The Family Cupboard," "Things That Count," "Sylvia Runs Away," "What Is Love?" and "Sinners." Following appearances in Gilbert and Sullivan operettas in 1915, entered the motion picture field, returning to spoken drama in "Forever After" opening at the Central, New York, September 9, 1918. Then was seen in "Anna Ascends," "Drifting," "Zander the Great," "Oh! Mama," "Bride of the Lamb," "Sour Grapes" and "The Witch." Her principal New York appearances since have been as *Nina Hopkins* in "Lady Alone," Forrest, January 20, 1927; *Marie Louise Voysin* in "The Thief," Ritz, April 22, 1927; *Mary MacDonald* in "Bless You, Sister," Forrest, December 26, 1927, and *Laura Sargent* in "A Most Immoral Lady," Cort, November 26, 1928.

For information address Stageland Editor, New York Theatre Program Corporation, 108-114 Wooster Street, New York.

A program containing answer will be sent on receipt of stamped envelope. No attention paid to unsigned communications.

4

apollo theatre

# A BLOW BEHIND THE EAR

*Continued*

"Why don't you get married?" he wanted to know.

"I'll bite," she returned, "why don't I?"

"Maybe it's because you've got too much sense," he diagnosed, shrewdly.

"You're a cynic," she charged, "and entirely too much of a gentleman to be a real burglar. You're not really a burglar, are you?"

He got up and switched on the light. Martha saw an extremely attractive young man in correct evening clothes. He saw an extremely attractive young lady in an orchid

There was an interruption. Two police-men burst in...

nightie, pulling the covers up over her breast in maidenly modesty.

"You! a school teacher!" he ejaculated. "I don't believe it. You're prettier now than you were with the white light from my electric torch making your hair look like cobwebby silk."

"I am a school teacher; you'll have to take my word for it."

He considered seriously. "That's all there seems to be to take! But I want you to go a little farther and give me your word that you'll have dinner with me tomorrow evening. I'll call for you about seven-thirty."

"All right," she agreed, "anything, if you'll only go now—please."

"It's a promise, then—" he persisted.

"Absolutely."

"All right, then, I'll go." He walked toward the door, after again switching off the light.

"But aren't you going to tell me how you happened to get into my apartment?" she called out as he opened the door.

There was an interruption. Two policemen burst in and the light was switched on again.

"About time you got here," Martha's burglar told them. "It's been fully twenty-five minutes since I 'phoned you. Here is the fellow I followed in here, down beside the bed; I stunned him by hitting him behind the ear with a paper weight I found in the front room."

[5]

the new york magazine program

So Attractive!

So Convenient!

Here's Your
"Who's Who"!

N EVER 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

114 Wooster Street, N. Y. City

When You Know—

That $50,000,000 per year is spent by the New York
Theatre Market for one luxury (theatre tickets), isn't it
reasonable to assume that there are additional millions
of dollars waiting for a message about your product?

NEW YORK THEATRE PROGRAM CORPORATION
108-110-112-114 Wooster Street, New York

HENRYCLEWS & CO.

Members New York Stock Exchange

7-9-11 BROADWAY (Ground Floor)

BRANCHES

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BONDS
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Letters of Credit

[6]

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><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></table>

ACT I.

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

PROGRAM CONTINUED ON NEXT PAGE

Refreshmint!

after
smoking ~

"They take
your breath away"

'A L W A Y S G O O D T A S T E '

[ 13 ]

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>Hemcley 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 ory 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 ]

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in half by equipping your
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same price you would have
to pay for any one of a dozen
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NEW YORK EVENING POST. WEDNESDAY, AUGUST 21, 1929

# “Hallelujah” Opens

The New Film: By Creighton Peet

Vidor's Negro Drama, "Hallelujah," Is Something of a Masterpiece—A Beautiful and Exciting Talking Picture

LAST night the great white flood lights which signalize the arrival of a new movie were deployed not only at the Embassy Theatre on Broadway but in front of the Lafayette Theatre at Seventh Avenue and 132d Street in Harlem.

From a seat in this latter house your reporter saw and heard King Vidor's "Hallelujah"—and saw and heard the reception it was accorded by the race with which it was concerned.

In only one short sequence is the film anything less than intensely absorbing. As drama it is episodic and tends toward biography. The conclusion is a little weak and lacking in emphasis, although on three or four occasions the sight and sound mechanisms have been so adroitly manipulated as to bring stunning climaxes.

One thing became obvious right at the start. The Harlem audience's ideas of humor are not—could not possibly have been—Broadway's. Even seeing the final sequence, in which Daniel Haynes, the hero, is tracking diam Fountaine through the Everglades with murder in his heart and

his ten fingers visibly itching for his enemy's throat, even at a distance of twenty feet the thing appeared to the audience to be slightly comic.

Vidor starts his story down on a cotton plantation—not a stage-set cotton plantation but a real one located, I believe, not very far from Memphis.

Zeke (Daniel Haynes) is sent to the town to sell the cotton crop. Finding himself with $100 in cash and seeing the lithe, vivacious and brown-skinned little Nina Mae McKinney around the corner, he sets out to put two and two together to have himself a swell party. I regret to say, however, that the lady is not only faithless but is merely a decoy for "Hot Shot" (William Fountaine), a gent in a loud suit who runs a crooked crap game. Fleeced of his money Zeke puts up a fight in which his little brother, standing in the doorway, is accidentally shot.

Wails, moans and lamentations follow when he reaches home. Zeke moans and laments so well, in fact, that he becomes a preacher, and in a little while is a revivalist traveling about in a private car with a retinue. This may sound fantastic, but to me it seems one of the best touches in the picture. Zeke is sincere. He prays to the Lord. He repents. He brings sinners to the Lamb. He goes about the country preaching the Word, in-toning, chanting and converting the sinful.

Then one day they are baptizing the faithful—long lines of sinners in white sheets—and among the repentant sinners who should come along but little Nina Mae, who flings her arms about his neck and makes him forget everything in a flash—he picks her up in his arms and marches away with her. Only his old mother's arrival stops him.

But a few nights later they are having a revival meeting in a church. The brothers and sisters are dancing frantically, rolling on the floor and shouting hallelujahs. In the crowd is a little Nina Mae. She seizes his hand and bites it. Again he reaches out and touches her—and now, quite beside himself, he picks her up in his arms and runs off with her. In the next scene they are living in another town and he is working in a saw mill.

ners loading quantities of five-inch shells into their guns. Again, he draws attention to the fact that the man wounded in the torpedo room leans through an open door and yells to the commanding officer in the control room that the leak has been stopped.

The torpedo room, we are informed, is in the very bowls of a battleship, while the control room is, of course, considerably nearer the bridge. There were many other points on which the naval gentleman was annoyed, particularly the maneuvers of the gun crews. No battle could ever have been fought with such wretchedly-trained gun crews as the film shows, he said.

## Nina Mae McKinney

Former "Blackbirds" chlorine, who has one of the leading roles in "Hallelujah," which opened last night at the Embassy on Broadway and at the Lafayette in Harlem.

“Hallelujah” Opens

The New Film :

By Creighton Peet

One thing became obvious right at the start. The Harlem audience's ideas of humor are not—could not possibly have been—Broadway's. Even-ving the final sequence, in which Daniel Haynes, the hero, is tracking diam Fountaine through the Everglades with murder in his heart and

Miss McKinney, who is reported to be but about seventeen, is not only extremely pretty but an excellent actress—and she has individuality and is full of an amazing star of emotional vitality.

Following the film, Bill Robinson, the negro dancer, introduced in person Miss McKinney, Daniel Haynes, Fanny Bell DeKnight, William Fountaine and Harry Gray, the eighty-four-year-old actor who played the father of the family.

As might have been expected the flood lights outside the Lafayette attracted enormous crowds who gaped and whispered and cheered when the stars entered the theatre, just the way they do on Broadway. A good portion of the audience was in evening dress. There were perhaps a dozen whites present.

Preceding "Hallelujah" was an inordinately funny Laurel and Hardy comedy called "Man O' War." It was received by the local audience (including this reviewer) with howls of laughter.

An indignant telephone message from a former American naval officer who has been to see "The Battle of Jutland," the British film at the Cameo, said to have been produced with the co-operation of naval officials from both the German and English Governments, leads us to think that all may not be so well with this picture.

The gentleman points out that the Battle of Jutland opened at a ten-mile range, using twelve and fourteen inch shells only. In the film we see gunners loading quantities of five-inch shells into their guns. Again, he draws attention to the fact that the man wounded in the torpedo room leans through an open door and yells to the commanding officer in the control room that the leak has been stopped.

Nina Mae McKinney

 Pitchers. Perhaps you should like to hear more concerning him. Mr. Moss first became the property of the Robins in 1926 after Nap Rucker, a former pitching star and now chief of the southern branch of Eblets' Field scouts, had discovered him doing some competent mound work for Memphis in the Southern Association. Later that summer he was formed to Jersey City and the following season he was sent to Los Angeles. Out there he did not do so well and soon a rattling can gathered up Moss and carried him back to the Robins.

TANNED SKIN FACTS

By R. S. Copeland,

U. S. Senator from New York.

RETETY soon vacation time
will be but a memory. I

trust it will be a happy
memory. But what permanent
value has it given you?

Of course, everybody has his own idea of what a vacation should be. I am assuming that during Yours you had a lot of exercise. You come back with tanned skin and sparkling eyes. If you

1929

WEDN

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COMPANY

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upon request

1929.

When the story gets under way, Zeke, a fine-looking negro, who has sold his cotton for nearly a hundred dollars, is seen in a dance hall crowded with darkies. Chick, the temptress, employs her feminine wiles and soon Zeke is lured into a dice game with a loudly dressed person known as Hot Shot. Of course Zeke loses his money and there ensues a struggle in which Zeke grabs Hot Shot's revolver and fires point-blank at the crowd. He mortally wounds his own brother, who dies in the cart. Zeke drives back to his home.

Why he wasn't punished for this shooting is not explained, but soon this Zeke becomes a rabid preacher, who talks of cannon-ball expresses to hell, while made up as a locomotive driver. The scene where Zeke calls upon a throng of darkies to mend their ways is extraordinarily gripping. Mr. Vidor turns his camera zintermittently to Chick, who at first sneers at Zeke but afterward capitulates to salvation until she suffers from religious hysteria.

When Chick returns from the revival meeting to her insalubrious home she finds Hot Shot, who at first endeavors to cajole her to come with him, but Chick won't listen, and then the wild Hot Shot attacks the girl and is met with an unexpected retaliation. When Hot Shot is on the floor, Chick picks up a poker and strikes her antagonist in a frenzied fashion, saying as she does so:

"Ain't no one goin' to stand in my path to glory!"

This onslaught on Hot Shot is exaggerated, so much so that one does not expect to see him again. But Mr. Vidor not only brings him back to the story whole, hearty and impertinent, but keeps him going as a menace until the end.

The audience was much amused by the scenes dealing with the baptism of the darkies, especially the first and second immersions.

These stretches are pictured with thoroughness, with a host of the white-clad hallelujah-raving blacks standing on the side of the water ready to go through the baptism but evidently somewhat fearful of the ducking. Mr. Vidor stresses the hysteria of those who claim salvation, even to showing a woman who confesses after her immersion that she has been a "bad woman."

The religious inclined Chick is, however, soon as dangerous to Zeke as ever, and he finally succumbs to her peculiar fascination, jilting a girl, as black as coal, for the chocolate-colored Chick, who once again leads him a pretty dance by accepting a proposal to elope with Hot Shot.

Chick, having whispered promises to Hot Shot before Zeke returns home one night, prepares to flee made a short speech about "our genuine stars" and then introduced the various members of the cast.

Revival scenes are especially impressive, although they are so powerful dramatically that it is difficult to watch them for long periods. The strain upon the nerves is intense. The pictorial composition is always beautiful, and spirituals and lighter songs are judiciously interspersed.

The leading masculine role is exquisitely portrayed by Daniel L. Haynes, who somehow conveys every changing passion of the character. In milder sequences his face is childlike in a certain sweetness of simplicity, but in rage he is truly terrific.

Nina Mae McKinney equals, if not excels, Haynes' performance in her rendition of the eternal temptress. Her dusky beauty, her husky voice, her pure animal magnetism are absolutely fascinating. Compared to her, the screen's most flaming flappers are like Greenland's icy mountains. The movies have never known what "It" was until Nina Mae burned the screen. In every gesture of the colorful, complex character she portrays, she betrays the sure, fine touch of the true actress.

The villain, William Fontaine; Harry Gray, as parson; Fannie Belle De Knight, as an ancient Mammy, and Victoria Spivey in the ingenue role are excellent, each and every one.

"Hallelujah" is a photodrama you should see, either uptown at the Lafayette Theatre or downtown at the Embassy.

—Regina Crewe.

The Afro-American, Baltimore, Saturday, March 8, 1930

ow for

MARCUS GARVEY
IS STILL FREE
ON APPEAL

Jamaican Leader Con-
victed of Libel, Wants
Jury Trial.

ASSISTANT HELD

Real Writer of Libel
Gets Short Term.

KINGSTON, Jamaica.—On the ground that he did not write the libelous article alleged and that he was denied a jury trial, Marcus Garvey, sentenced to six months in jail for seditious libel of His Majesty's government, is free on bond.

Garvey's attorneys complained bitterly that the magistrate had not the power to refuse a jury trial in the case of such a serious nature.

The libel suit arose out of an ed-
itorial printed in Garvey's paper,
"The Blackman," on January 14, just
before his seat in the city council was
declared vacant. The editorial was
headed "The Vagabonds Again," and
read in part as follows:

What the Libel Was

"The municipal council recorded yesterday the most atrocious, unprecedented deed of evil-daring yet witnessed in the annals of the colony. To understand the prejudice and hate, the immorality and the vice concentrated into this crowning act in a series of criminal efforts to injure a single individual and destroy the influence of his leadership among the people of his race, is to realize the limits of human depravity.

"We had long ago been convinced
that excepting those few whose
character from the saving clause in
its utter reprobation, the Council
presided over by Mayor Seymour and
his successor, Mayor Vaz were a
Garvey said that he had nothing
to do with the Blackman than
with the Negro World. another
U.N.I.A. paper published in New York.
The court stated it was plain that
Mr. Garvey never exercised any care
or caution over the paper and was
therefore responsible.

Letters and Art

The Literary Digest

May 5, 1934

# Trouble Down at the Docks Portrayed

*The Young and Violent Theater Union Continues Its Complacence-Shattering Program With "Stevedore," a Vigorous Propagandist Drama of New Orleans and Its Race Riots*

NOW, finally, the sturdy young Theater Union has kicked away its swaddling clothes and walks like a man. Its mission is propagandist drama, and that mission, twice this season, it has accomplished with distinction and turbulence. Burrowed down in the ancient Civic Repertory Theater, working with a budget more doughnuts than dollars, it has shattered the complacence of weary theatergoers and created a new, if sometimes dismaying, excitement behind the footlights. Once again Fourteenth Street becomes the symbol for something new and hopeful in the New York theater. It is a fractious child, this Theater Union, and probably will have to be spanked yet, but, so far, its tantrums have had reason, and—what is much more important—the magic of eloquence.

It was about four and a half months ago, perhaps five, that the Theater Union issued its first summons to Fourteenth Street. On a windy, ugly night it offered "Peace On Earth," a play against war which was so magnificently simple, so persuasively real as to make each person in the audience that night shudder at the stupidity of a civilization which still could think in terms of battle and destruction.

"Peace On Earth," hived modestly far beyond the roar and shout of Broadway and the commercial theater, attracted thinking, earnest people to its message for sixteen weeks, then followed that with three weeks uptown in the heart of the theater district. There, alas, it perished.

The other night the First Night Set traveled again to Fourteenth Street. This time, let it be admitted, with more confidence than the night "Peace On Earth" opened.

## Bristling Labor Melodrama

Three things it knew about the new play—"Stevedore"—and only three: It was a play with only one white woman in the cast, it was a play about the New Orleans docks and race riots and it was a play to which a mixed audience of Negroes and whites had been invited. An hour later, the Civic Repertory Theater was the scene of the most noisy demonstration of the season. Whites and Negroes, together, cheered the play, the propaganda, the actors, and the authors. The Hammer and Sickle lay down with the dollar sign and both of them found something valuable, enriching in the play. It was an audience divided into Red, White and Black, but it was as one in enthusiasm for this raw, crimson and brutal story of labor troubles on the steaming Louisiana docks.

The play is by Paul Peters and George Sklar. Peters happens to be an invented

name, Sklar does not. Together they fashioned a bristling labor melodrama which is acted excitingly, handsomely by a cast of Negroes; anemically and fumblingly by the few whites who are necessary to the play. In that curious circumstance there is a story:

Peters, whoever he actually may be, is a Southern-born white man, son of poor factory-workers in Kentucky. When he was fourteen years old, he went into the factory with the family. A college professor met him and found him of unusual intelligence. He took him away from the machines and schooled him, sending him to the University of Chicago, from which he was graduated, and, then, to the University of Munich for two years. Peters returned to this country and went into the newspaper business, working for eight or ten newspapers before he suddenly, on a summer day, became fed up and resigned.

He wrote his old professor a short note:

"I'm way out of touch with reality. I'll see you sometime."

In the ensuing five years he worked in textile mills, steel mills, on farms, on boats and on the docks of New Orleans. Each new job aroused his social sense to the point where he wrote a play about that job and its injustices. Each new play was as bad, as shapeless and formless and incoherent as the one before. Five years, five experiences, five jobs, five plays. The fifth—"Wharf Nigger"—he brought to New York and to Sklar. Sklar read it, changed its title to "Stevedore," and went to work

on it with both hands. What emerged is what the Theater Union presented.

The treatment Peters received on the New Orleans docks, the treatment his fellow, if Negro, workers received there, boiled up in him and made the basis for the play. His experiences there so embittered him that he swore vengeance on his white employers and trudged North to find the man who would help him accomplish that vengeance in the one most dramatic way—behind the footlights.

## Riotous, Grim Revenge

It is a riotous, but grim, revenge, and not the least subtle part of it is that every scene written for white actors is pale and unformed, making the whites seem stupid and amateurish, and every scene written for the Negroes is rich, robust and filled with vast drama and acting opportunities.

The story upon which this violently propagandist, but violently straightforward, play is hung is that of a "white-trash" girl, married, who has a rendezvous with her lover in an alley. The lover quarrels with her, knocks her down and she screams. Her cries attract neighbors, and, to keep them from knowing the truth, she charges that a Negro attacked her. The whole of New Orleans is aflame and police round up all Negroes answering to the description given by the girl. Lonnie Thompson, a strapping buck, is one of these.

A thinking Negro, outraged by the injustices worked on him, the wage-chiseling, and the suppression, he talks too much and

*(Continued on page 38)*

Vandamm Studio

Lonnie Thompson (Jack Carter) rallies the dock hands when they learn that a gang of white street hoodlums has been hired to break up the labor meetings, one of the stirring scenes in the highly-controversial "Stevedore"

Trouble Down at the Docks Portrayed by Theater Union

(Continued from page 23)

is classed as a "trouble-maker." This esti-
mate is not revised when it becomes known
to police and his employers, the Oceanic
Stevedore Company, that he is working
to organize the dock laborers.

Eventually he is "framed" for the attack,
esapes, is hounded down, and, in a final
scene, studded with live drama and tragedy,
he and his fellows barricade an alley and
fight it out with a white lynch mob. Lonnie
is shot dead, just as union workers—arriv-
ing on the scene much in the manner the
United States Marines used to dash in on
1890 drama—rush up and help the em-
battled Negroes rout the mob.

No less turbulent than the play was the
audience in which radicals and Negroes
sat with capitalists. The radicals applauded
and cheered all of the frankly pro-labor
utterances, the Negroes cheered and cried
out at all the scenes in which Lonnie defied
white supremacy. A few timid capitalists
cheered with both sides and wondered how
things were uptown.

You could comb the show-shops of
Broadway for nights on end and still not
find natural, direct acting to compare with
that of the Negroes in the cast. They make
you believe, they make you forget Man-
hattan, Fourteenth Street, the subways just
outside the door, and, for long periods at a
time, you are standing on the docks of New
Orleans, an appalled spectator of the grisly
doings.

The play is a triumph for Jack Carter,
who plays Lonnie Thompson manfully, up-
rightly and with great resource combined
with a natural simplicity which makes for
credibility. Scarcely less an exciting feat
of performance is Rex Ingram's as Black-
snake, another bulky and discontented
Negro. There are crowd scenes reminiscent
of the Catfish Row scenes in the unforget-
table "Porgy," and shrewd, atmospheric
settings by S. Syrjala. The whole makes
for an astonishing and powerful production.

The speech which was most incendiary,
most arousing to Reds, Whites and Blacks,
together, was this from Lonnie, haranguing
the cowering Negroes as the mob ap-
proached:

"The lowest animal in the field will fight
fo' its home. And all you can think of
doing is running away. Supposin' you do
run away? What you gwine to do? Whah
you gwine to? Baton Rouge? Missis-
sippi? Is it gwine to be any different dar?
Dey gwine to treat you better dar? You
gwine find jobs? You gwine get yo'self a
home? Nassuh! You got black skin.
You can't run away from dat. Make no
difference whar you are, dey hound you
just de same. . . . Every time de white
boss crack de whip, you turn and run. You
let him beat you, you let him hound you,
you let him work you to death. When you
gwine to put a stop to it, black man?
When you gwine say: 'You can't do dat.
I'm a man. I got de rights of a man.' . . ."

Joa
RECENT OCCUPANT OF A
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on the Ile de France

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Compare Chevrolet's low delivered prices and easy G. M. A. C. terms

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CIVIC REPERTORY THEATRE

## WHAT IS THE THEATRE UNION?

Ninety per cent of the people are barred from the theatre, we believe, by high admission prices, and also, though perhaps they are unconscious of it, by the remoteness of the average run of plays from their lives and their fundamental problems.

The Theatre Union is building a theatre of the ninety per cent. A theatre which will try to reflect with honesty and vitality the economic, emotional and cultural conflicts in the experience of our audience. A theatre which will try to contribute to those struggles that interpretation and excitement which seem to us the purpose of the theatre.

The Theatre Union will produce plays that have meaning for and bearing on the struggles and conflicts of our times. It does not expect that these plays will fall into the accepted social patterns. Its point of view is that there is but one constructive guide in the prevailing situation; the interests of the great masses of the people, the working people, the workers as a class.

Such a theatre must attract and build its own audience. "Peace on Earth," the first production of the Theatre Union, played in this theatre for sixteen weeks. It was seen by 125,000 people, more than half of whom paid less than a dollar for their seats. Ten thousand unemployed were given free tickets through the cooperation of the audience who contributed to a fund for the purpose. The play was supported by 158 clubs, unions, schools, and organizations which arranged benefit theatre parties.

The Theatre Union is not a business, but an idea. It is non-profit-making and will maintain its low price scale, producing several plays each season. Two forms of membership are available. They are described elsewhere in this program. We invite to membership all those who wish to support the idea—a permanent professional theatre producing plays of social content at low prices.

THE THEATRE UNION.

## "SPRING FEVER — —"

may simply be that well-known emotional state; or it may be quite literally, a slight temperature rise morning and evening—and one of the symptoms of tuberculosis

If you are at all suspicious of this latter possibility, have your physician give you a physical examination, including an X-ray; do not neglect this if you are a member of a family with a tuberculosis case.

If you cannot afford a private physician, we will make arrangements to secure this for you free of charge.

Call or write

NEW YORK TUBERCULOSIS AND
HEALTH ASSOCIATION

386 Fourth Avenue

CAledonia 5-2240

“You can’t fool these eyes!”

“‘WHATCHA doin’, Eddie?’ asked the girl who’s always curious. ‘Judging a tobacco *Beauty Contest*?’

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“Jimmy Schnozzola may think that *his nose knows all*—but with me, ‘the eyes have it.’ I can *see* the finer quality in Old Gold, can’t you?”

(Signed) EDDIE CANTOR

No better tobacco grows
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EDDIE CANTOR... America's premier comedian. Star of the radio and screen.

Tune in on TED Fio-Rito's sensational Hollywood
Orchestra every Wednesday night—Columbia Chain

AMERICA'S Smoothest CIGARETTE

8

THE NEW YORK MAGAZINE PROGRAM

THE THEATRE UNION

Executive Board

Michael Blankfort
Sylvia Fenningston
Joseph Freeman
Sam Friedman

Mary Fox
Manuel Gomez
John Henry Hammond, Jr.
Albert Maltz
Victor Wolfson

Liston M. Oak
Paul Peters
George Sklar
Tom Tippett

Margaret Larkin,
Secretary

Charles R. Walker,
Treasurer

H. William Fitelson
Counsel

Advisory Board

Sherwood Anderson
Arthur J. Beckhard
George S. Counts
John Dos Passos
Sidney Howard
Lewis Mumford
Elmer Rice
Cleon Throckmorton

Devere Allen
Albert Bein
Countee Cullen
Waldo Frank
John Howard Lawson
Paul Muni
Lynn Riggs
Mary Heaton Vorse
Blanche Yurka

Roger Baldwin
Stephen Vincent Benet
H. W. L. Dana
John Herrmann
Rose McClendon
Ida Rauh
Morrie Ryskind
Edmund Wilson

The Theatre Union
104 Fifth Avenue
New York City

I wish to join the Theatre Union

Sustaining Membership—$5.00

(entitles member to two orchestra seats for two Theatre Union productions during the year's membership)

Audience Membership—$1.00

Entitles member to a 20% discount on a pair of seats for two Theatre Union productions during the year's membership. (No discount will be given on 30c and 45c tickets.)

I enclose $........ as a contribution to the work of the Theatre Union.

I wish to be notified of future productions of the Theatre Union.

Your name

Your address

(Fill in, tear off, and hand to an usher)

CIVIC REPERTORY THEATRE

## ACT II.

Scene 1—Union Headquarters. Evening.

Scene 2—Stuyvesant Dock. Late that night.

Scene 3—Binnie's lunch-room. Immediately after.

## INTERMISSION

## ACT III.

Scene 1—Bertha William's attic. Next day.

Scene 2—Courtyard. Immediately after.

NOTE: Some of the scenes in this play are based on incidents which occurred during the attacks on Negroes in East St. Louis in 1919, the Chicago attacks in 1919, the Dr. Sweet case in Detroit, the Bogalusa lumber strike, the New Orleans dock strikes, the Colorado Bathing Beach fight, the attack on the Camp Hill, Ala., sharecroppers and the similar attack at Tuscaloosa, Ala.

Scenery executed by Wm. H. Mensching Studios. Lighting by Century Lighting Company. Sound effects by Frank McLaughlin. Mimeograph machine courtesy of A. B. Dick. Radio Station bell courtesy of Rudolph Wurlitzer Company. Office furniture courtesy of Glassman & Son. Other properties courtesy of New Royal Auto Repair Shop, Mercury Stationery Company and the American Can Company.

Songs arranged with the assistance of Jerome Moross and Wm. Elkins

For theatre parties or benefits, communicate with Sylvia Regan, Theatre Union,
103 West 14th Street, Telephone WAtkins 9-2451

### FOR THE THEATRE UNION, INC.

<table><tr><td>Victor Wolfson</td><td>Production Manager</td></tr><tr><td>Charles Friedman</td><td>Technical Director</td></tr><tr><td>Irving Gordon</td><td>Stage Manager</td></tr><tr><td>Jack Williams</td><td>Assistant Stage Managers</td></tr><tr><td>Frank Gabrielson</td><td>Press Representative</td></tr><tr><td>Margaret Larkin</td><td>Company Manager</td></tr><tr><td>Zelda Dorfman</td><td></td></tr></table>

### COMMITTEES

<table><tr><td>Marynn Myers</td><td>Properties</td></tr><tr><td>Wm. Schap-Kevisch</td><td>Costumes</td></tr><tr><td>Hilda Reis</td><td>Audience</td></tr><tr><td>Sylvia Regan</td><td></td></tr></table>

The Theatre Union sponsors the "Theatre Forum" hour on Station WEVD every Sunday evening at 8 P. M.—Tune in!

CIVIC REPERTORY THEATRE

11

REX INGRAM began a thirteen-year career in moving pictures when a casting director asked him to play in the first "Tarzan" picture. He has appeared in New York in "Ol' Man Satan" and "Theodora." He is a lieutenant in the U. S. Naval Reserve.

MILLICENT GREEN joined the group that founded the Theatre Union soon after its beginning. She was the girl strike leader in its first production, "Peace on Earth." She played notable roles in "Street Scene" both in New York and London, "The Left Bank" and "Machinal."

JACK HARTLEY went under contract with the old Vitagraph Studios when he was fourteen, and Anita Stewart was America's Sweetheart. He played opposite Jeanne Eagles in "Rain" for two years on tour, after which he appeared in New York in "Lulu Belle." His last role was that of Stanton in "Dangerous Corner." His hobby is aviation and he is a licensed pilot.

LEIGH WHIPPER is best known as the Crab Man of "Porgy." The musical call of the crab vendor is part of his unique collection

*(Continued on page 12)*

Copyright, 1934, R. J. Reynolds Tobacco Company

So if you find yourself with any of those little nervous habits, check up on yourself.

Get enough sleep—fresh air—recreation—and watch your smoking. Remember, you can smoke as many Camels as you want. Their costlier tobaccos never jangle the nerves.

SMOKE AS MANY AS YOU WANT...
THEY NEVER GET ON YOUR NERVES

12

THE NEW YORK MAGAZINE PROGRAM

Who's Who in the Cast

(Continued)

of peddler's street cries, of which he knows
over five hundred. He played in "Abraham's
Bosom," "Harlem" and "Marching Men."

DODSON L. MITCHELL recalls that the last time he played in this theatre was on the night of the great blizzard of 1888, but the performance of "Maggie the Midget," starring his aunt, Maggie Mitchell, was called off. He was a member of Julia Marlowe's Shakspearian company for ten years, and played Ibsen repertoire with Nazimova. He has more recently been seen in such productions as "Behold This Dreamer," "Her Supporting Cast" and "Black Sheep."

NEILL O'MALLEY has appeared this season in "Is Life Worth Living" and "Gentlewoman." He spent two years with Jessie Bonstelle's company in Detroit, and his varied experience in the theatre includes chataquas, Shakespeare companies and radio. He is appearing now in "Sunday Nights at Nine."

AL F. WATTS began his long stage career in 1899 as a member of the "Black Patti Troubadors," at the old Star Theatre on Broadway below Fourteenth Street. He played in "Oysterman" at this theatre twenty-five years ago. Besides many years on the vaudeville stage he has played in "Shuffle Along," "Lucky Sambo," "Savage Rhythm" among other productions.

SAVE YOUR PROGRAMS for future reference. There are so many occasions when you want to know in what production you saw this or that player or refer to some other editorial feature. Our attractive binder will be sent postpaid for $2.00 (check or money order) by the New York Theatre Program Corporation, 108-114 Wooster Street, New York City.

"CANADIAN CLUB"

Yale University Library
The James Weldon Johnson
Memorial Collection of
Negro Arts & Letters
Founded by Carl Van Vechten
1941

Gift of
Mrs. James Weldon Johnson

nonynoy-
good
over.
neries
been
more
you
and
pur-
you

are getting a whisky mellowed by the
age attested on the official government
stamp which seals the bottle; you also
have the same assurance of quality and
value in selecting any other product
bearing the Hiram Walker & Sons name.

"The Essential Guest," a new booklet of attractive recipes, can be had from your dealer or you may write for it direct.

Walker & Sons
'ARIO PEORIA, ILLINOIS