Photoplay (Jan-Jun 1955)

MAGNETIC POT HOLDERS magnetic pot holders flat against any metal surface (stove, refrigerator, metal cabinets, etc.). Presto! They "stay put" ready and handy to use . . . flip them back against the metal -and they stay in place... as decorative as they are useful . . . tiny magnets are invisible and will last forever . . . washable and rust proof ... no modern kitchen should be without them... makes a stunning gift . . . Order yours NOW ! We pay postage! Use coupon. “TWIN KITTENS” $125 I a pair r 1 I World Wide ; 63 Central Ave., Ossining, N.Y. 1 / enclose $ for "Twin Kittens" j | Pot Holders. Name — — J < Street — — I | City Zone State j Send cosh or money order. Not the usual small size but High Gloss Studio Type Photo PDiriTI ILLUSTRATED CATALOG ri'tt. and SUPPLEMENT listing thousands of Moving Picture Stars and containing 87 ADDITIONAL PICTURES of Popular Stars. Send name of your favorite star and only 25c to cover handling charge. T-CROXTON STUDIOS Dept. MC-3 P. O. Box 2390 Hollywood 28, Calif. DANCING SHOES-SUPPLIES Tap, Toe, Ballet, Acrobatic Shoes; Tutus, Leotards, Nylon & Lastex mesh Opera Hose & Tights, Practice costumes. Theatrical fabrics. Elastic Leotard with Nylon Net Tutu. Ideal Recital Costume. Pastel Shades. Black & Red Child’s, 2 to 12, $3.95; Adults, Sm., Med., Lg. 84.7 5. Like picture, add 25c for postage. BATON — DRUM CORPS SUPPLIES Batons, Majorette boots, Skirts, Drums. Boot tops, Plumes, Feather stickups. SKATING SKIRTS — Roller or Ice. 28-page catalog 15c (applied to purchase) QUINCON DANCE SUPPLIES Box 422 Dept. P Quincy 69, Mass. LEARN AT HOME • to be a Nurse's Aide • Practical Nurse • or Infant Nurse Prepare in spare time for a fascinating, high-pay career. Thousands of men and women, 18-60, are graduates of this physician-endorsed course. High school not required. Easy payments; earn as you learn. Trial plan. 56th year. CHICAGO SCHOOL OF NURSING Dept. 23. 25 East Jackson Blvd., Chicago 4, III. Please send me free booklet and 16 sample lesson pages. Name City State Age Is Needless Fear Driving You Into Dangerous Neglect of PILES? Y©S— neglect that arises from fear of learning the truth is, usually, the one reason why piles and other rectal disorders can become really dangerous! So give yourself new peace of mind and safety from these rectal ailments. Get your FREE copy of the important new bulletin on rectal troubles and the latest treatment methods. It is prepared under the auspices of the medical P staff of famous McCleary Clinic and Hospital. 323 Elms Blvd., Excelsior Springs, Mo. Write for your copy today; this book is valuable to you! 104 Memo to my Husband ( Continued from page 57) think: He’s really nine-going-on-ten, you know, he doesn’t fool me for one single minute! You reminded me of a wistful little sixfoot-tall waif who, having been adopted by rich and doting parents, couldn’t believe that it was not all a dream from which he would awaken. You were sure you would awaken from the dream you were dreaming in Hollywood Almost from the time we first came to Hollywood, in 1943, we lived on a monthto-month basis in this pleasant, white brick Georgian house in Beverly Hills, which we now own. And not until Dena began to grow up would you buy the place. “We’re transients in Hollywood,” you’d say, “why buy? We belong in New York. Any day now we’ll be off and away . . .” You didn’t believe in yourself — or in your Star. You most certainly did not believe your own publicity. You still don’t. You didn’t think people liked you. You never dreamed they could love you. It was not until you began to realize they did that the turning point came for you. . . . It began to come, I believe, after the astounding personal success you had, seven years ago, in London. It certainly astounded you. A few years before, on tour with Sally Rand, which included an engagement at London’s Dorchester Hotel, you excited little attention. Characteristically, you expected more of the same when you went back for your second try. Instead, you received the greatest welcome of your career. Remember, we’d come out of the theatre, or a restaurant, any hour of the day or night and find the street crowded — with kids, of course (The Pied Piper of Hamelin would be a natural for you) ; but also with substantial looking citizens of both sexes and all ages and all of them calling, “God bless you, Danny!” And when it became known we were soon to leave London, they’d yell, “Take care of him, Sylvia!” as we drove away, echoes of, “Come back soon, Danny, come back, come back!” followed us for blocks. And remember that time in Glasgow, Scotland, when, on the night of your last performance crowds followed you from the theatre to your hotel, singing “Will Ye Nae Come Back Again?” — a song written in the time of Bonnie Prince Charlie and seldom sung, unless with meaning and emotion, by the Scots? I know you'll never forget that little old lady in the audience at the Palace Theatre in New York when you were headlining there a couple of years ago. When she had to leave, she spoke up as familiarly as if to a next-door neighbor in whose parlor she was visiting: “You’ll have to excuse me, Danny — I’ve been, but now I’ve got to go home.” In an equally next-door-neighborly voice you asked, “What’s the matter, have you got a pot roast on the stove?” “Yes. And the potato pancakes to be made.” This touched oft a discussion between you, the little old lady and others in the audience about how potato pancakes are made with favorite recipes swapped both sides of the footlights! Because you love your audiences so, it takes you less than fifteen minutes on any stage, anywhere in the world to make them feel they’re in your living room or you in theirs. You’re folks together, you and your audiences. The things you tell them are not from a file of jokes or from a script, but are off the top of your red -blond head or from within your heart. It’s because of this, I believe, that wherever you go the j’vc colt bou same homely love of Danny, the man, L well as Kaye, the performer is evidenci ' | It’s because you love the sound and rhytl f r of foreign languages and can double-t; V them perfectly (although you don’t unde ■ . stand a word!) that you can make a diences in Afghanistan or Akron, Oh feel equally at home with you. Just last summer, in Johannesburg, Soi ' ( Africa, where you played a vaudevi jj engagement which also combined work i ,j your film, “Knock on Wood,” a mob , 12,000 people stood outside your hotel wi j dow chanting, “We want Danny! We wj .j Danny!” And not until you made thi A. speeches from the balcony of the ho " would the crowd disperse. ?a, " With all these demonstrations of aff« tion for all these years, at home a abroad, why did it take you so long ^ realize that the audiences you love a love you? I always felt that the time ' took you to reach the top had something do with it. You’re often described as an “overnij sensation” but to you this hurts. “Anything but,” you say in what is i ^ you heated protest (off-stage you’re gent , spoken, mild as milk) . “What no one see ’ j to realize is that, for twelve years bef< " I got my break on Broadway with Gertru 1 J Lawrence in ‘Lady in the Dark,’ I play : "■ every whistle-stop in America and beat l .* brains out all over the world!” Very few actors — good ones — are “c 6 once they’re off the stage. Nine out of 1 ‘ J actors shed the ham in them along w f : their costumes and make-up. But I hs ’ ne^er known any performer so complete “off” as my Mr. Kaye once the lights d and the curtain falls. In contrast to your energetic, extrovt high-pressure, zany personality on stc ;u you are, in person, quiet, passive, un: suming and not zany. You walk like cat, soundlessly. Your voice is low-pitch gentle, sort of whispery. You don’t t: very much. I talk, you listen — that ty Yet, when we entertain here at hoi ~ which you love to do, or go to parties a ; you’re called upon to do a number you ‘ “on” in a flash, with a flash! Given a gc audience, whether half a dozen people ; our living room or troops number, thousands in any of the world’s hot sp< you’ll stay “on” until you are wring wet and your audience wrung out! If this seems a contradiction, it isn’t. 1 your modesty is a personal modesty. C stage, you have true magic, true spontai ity; you are also a very shrewd sho man. But you don’t like to show off oi the show is over — not even to me. 5: i don’t even tell me half the time about various awards you receive from J ganizations and societies in different pe of the world. I sometime go through y< jewelry case and find things, with inscr tions on them, which I have never e\ heard about! For you, the kitchen is a favorite s{ You’re a great mixer and fixer, a lover I putting together “mysterious dishes” in Blender — which remain mysterious i neither probing nor prying can induce 3 to reveal a single ingredient! Or you like the bright, airy room off main living room, known as “Danr 3 room,” where you make your phone cs ,3 entertain small groups, have your busin s conferences— and listen to music. The < tire north side of the room is occupied I a High-Fidelity sound system which 3 i use mainly to play opera records. You p / them so loudly that no one’s voice can 3 heard above the din, except yours; sii ing note for note, all the parts of an op< including the basso’s and the coloratur One of your favorite renditions, wh 1 ! _