TV Radio Mirror (Jan - Jun 1955)

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Send xoc (stamps orcoin) for generous trial bottle to make our famous "One Spot Test"" Test It for yourself. Results may surprise you. Write today for vour test hold... Oiutlon: Use only .-is directed. Print ns'e plain!" Don't de'a". Sold by Li<j<iett and Wal()recn Drug store, and other leading Druogjsts. LAKE LABORATORIES Box 3025. StrMhmoor Station, Dept. 9804, Detroit 27, Mich. United States. "For the first time I saw my own country," he says, "and I learned a lot. My mother traveled with me and, when we played Chicago, my father came on for a few weeks." It was in "The Happy Time" that Warren learned what it is to "break up" in the middle of a scene. The actor who played his uncle mispronounced Warren's character name during a tender scene, and called him "Blibli" instead of "Bibi." Warren was only thirteen then, and for a minute he thought he would disgrace himself by not being able to go on, but he recovered and held his laughter in check. "Cats have strolled in unexpectedly, mice have darted across the stage, bells have rung when they shouldn't and failed to ring when they should, and I learned to take these in stride. Peter Hobbs, who plays my dad on the TV show, once had to cope with an alarm clock that went off unexpectedly while we were doing a scene, and I hope I can always be as quick-witted as he is. He managed to grab the clock and throw it off the set without letting it seem like an interruption of our scene. But the most dreadful experience I ever had was the time I 'went up' in my lines — forgot them — and the other actors had to cover up for me until I got back on the beam. They consoled me by saying it happens to every actor once — and once is enough!" Warren's biggest thrill to date was the time in Chicago when he had dinner with another actor from "The Happy Time" and a drama critic from one of the papers. At five minutes to eight, they suddenly realized the hour. A police car picked them up at the restaurant and shot them through traffic with siren screaming. But, in spite of this, the half-hour signal had been called before they arrived at the theater. Warren isn't sure yet it wasn't worth being scolded for, although he doesn't want that to happen again, either. From "The Happy Time," he went into "The Other Foot," an off-Broadway play with Thomas Mitchell. When he walked in to audition for that role, Mr. Mitchell was standing in the middle of the room, jiggling some change in his pockets. He looked at Warren, said, "Take off your coat." Warren did. "Sit down in that chair." Warren did. "Get up." Warren did — feeling pretty clumsy and embarrassed by this time. And he didn't know whether to laugh or be angry when Mr. Mitchell turned to the author of the play and remarked, "There's something ridiculous about this boy!" It was an expression of approval. It meant that Warren had a quality they were looking for, a natural flair for comedy they wanted in the role. So he got that job easily. Then he went into "Bernadine" and, after that, into "Take a Giant Step." "Anniversary Waltz" followed in due course. A flood of fan letters come in from girls all over the country, mostly in response to his appearances on The Secret Storm. Nice letters, mostly. They ask for his photograph. They want to know the color of his eyes and hair (hazel-gray eyes, dark brown hair). His height (5'6") What kind of clothes he likes best (casual: sweaters and slacks around home; gray suits, tweeds; no loud shirts or ties or socks — he tries to match them up but doesn't think he does a very good job of it; one black suit for dress, although the fellows rib him about it — he thinks black is conservative and he doesn't go for anything flashy). Girls sometimes recognize him on the street — more and more everyday, as a matter of fact. They have seen him on television or on the stage. "Mostly they recognize me from The Secret Storm and they are shy, and sort of hold back. I think it's natural to have a certain shyness at our age. But, when they say hello to me, I like it." One girl he met at a party didn't like him at all at first, because she identified him so closely with Jerry Ames — who, at that point in the story of The Secret Storm, was stirring up a lot of trouble for everyone. He tried to convince her that he wasn't really like that, but it took him a long time. "It made me feel bad, because I liked her," he says. The attitude around his neighborhood, however, hasn't changed since Warren played cops-and-robbers with the other kids in the street. The neighbors seem to like having an actor in their midst, and his family is pleased with his success. As for Warren himself, he is quite content to be an average kid who got a chance to do something different but wouldn't have been unhappy just going to school in Flatbush and looking forward to college and being a Dodger fan, which of course he is. "They're going to win the pennant this year," he predicts, grinning like any good Brooklyn boy rooting for the home team. Head in the Stars (Continued from page 55) There, but for the grace of God, go I. . . . She was in her teens when she stumbled upon the line in Plato: "Love is the desire for the everlasting possession of the Good, and all men desire the Good." "It set my imagination on fire," Katherine recalls. "From that time on, love in the impersonal sense became my creed." It was a line written by an old Greek philosopher, dreaming of Utopia. But a young girl in Alhambra, California, some two thousand years later, can also dream of an ideal world. And maybe that explains why she was going to be a great writer. If you don't find what you want in this world, you create a world of your own, a world where everlasting goodness can truly exist. More than the goodness, however, what she really wanted was love. For Katherine's parents were divorced, and the hurt in her childhood stems from this. She not only wanted love, she wanted the everlasting possession of it — which is security. But she was too young to know this, and too inexperienced to understand that people sometimes fear the very thing they want most. It was a strange creed, for a healthy young girl, but by making love impersonal, she had removed the hurt from it. And, by desiring the everlasting possession of the Good, she was completely safe. She had fallen headover-heels in love with the unattainable. Her creed of impersonal love, however, manifested itself in a sincere desire to help others. By the time she was eighteen, Katherine was already Dramatic Director of the Alhambra Playground. Here she directed the children in original plays which she wrote herself. And her love couldn't have been so impersonal, because the kids were crazy about her. After seeing a pageant which she produced on a shoestring, the playground supervisor allotted five thousand dollars to stage a big production the following season. "He believed in me," Katherine says — still amazed, still grateful. For their five thousand dollars, the people of Alhambra got a combination play and pageant — with a cast of two hundred children — which Katherine wrote,