Critical Moments

Make a habit of glancing through the classified advertising columns. They may have a surprise in store for you.

Speakers— Max Gordon and John D. Rockefeller.

Act I

Max Gordon — Listen, Junior, with my brains and your money we can put a show into the Center Theatre that will make Broad-way forget Roxy.

Rockefeller, Jr.—My pocketbook is open and I don’t mean dimes.

Gordon — Great stuff, Junior, we’ll show ’em.

Juni###r—What, might I ask, are you going to do?

Gordon—Do? Why I am going to put on the biggest operetta New York has ever seen. Listen— here’s the idea. Moss Hart is a friend of mine—(Moss Hart, who is standing near Gordon, picking his teeth, nods in agreement) and he has written a story about the Strauss’s, you know, Johann and his son, the guys who write all the waltz music. Hart’s idea is to open with the old man at the height of his power. We’ll get H. Reeves Smith to play the part. He can sing like a canary. However, his son, who also thinks he can write music, wants to show up the old man. Johann won’t give the kid a break. He finally convinces him that he should go into business but at the crucial moment, a fairy appears (Rockefeller at this point raises an eyebrow). Don’t get me wrong, Junior, I don’t mean the chorus boy kind, a real fairy, like in the books. (Rockefeller looks relieved). But here she appears as a Russian princess and kidnaps the old man right before the start of a concert. She makes the young Strauss take his old man’s place, and, of course, he’s a big hit. Do you get the idea?

Rockefeller—It sounds very simple, but not very elaborate. In fact I believe I have heard a similar plot somewhere before.

Gordon—Don’t worry about that, the story is only the shell. I’m going to have a big cast, thousands of singers and dancers. Albertina Rasch will arrange the dances and ballets and she’s got some stuff that is almost as good as your girls can do across the street at the Music Hall. For music, I am going to use some of the Strauss tunes, such as the “Blue Danube.” It can’t miss. Then I’ve got Hassard Short who can do more tricks with a stage than a magician. He will use revolving platform, fade-outs and some stuff you never knew existed. For scenery, Albert Johnson will use all the latest gadgets and paint them in more colors than Joseph had in his famous coat. Costumes will be in period and designed by Doris Zinkelsen. Listen, fellow, you’ll think you are in Vienna when the spots light up the stage.

Rockefeller—Sounds all right so far. What are you going to call it?

Gordon — The Great Waltz, of course.

Rockefeller—Gee, I’ll bet Henry Ford will like it. I’ll write and ask if he wants to buy a couple of tickets.

Act II

Time—After the Opening.

He of the Audience—Cecil De Mille should see this; that is, if he likes waltz music.

She of the Audience—How did you like the singing?

He—It was swell, for the first two hours, anyway. There were so many singers that it looked like a convention of voice culturists.

She—Let’s go somewhere and dance.

He—Taxi, rush us up to the Cotton Club in Harlem.

She—But they don’t play waltz music?

He—You’re telling me?

THUNDERSTORM

Commencing tomorrow at the Cameo Theatre the cinema offering will be the world famous “Thunderstorm.” This is said to be the best picture made in Russia to date. It recently won a prize at the World’s Exhibition of Cinematography in Venice. Based on Ostrovsky’s play the cast includes many actors from the Moscow Art Theatre. The film deals with the religious and class prejudices of Czarist Russia. Although the dialogue is in Russian, English titles have been superimposed. With the opening of “Thunderstorm,” “Petersburg Nights” which has enjoyed a three week run at the Cameo will move down to the Acme Theatre at Union Square.

Make a habit of glancing through the classified advertising columns. They may have a surprise in store for you.