42nd Street (Warner Bros.) (1933)

Current Feature When 42nd Street Was the World’s Theatrical Center All the Glamour of This Famous Thoroughfare Has Been Caught in 10 Star Hit “42nd Street” HE history of 42nd Street may not be as well known to the world outside of New York as that of its sister street, Broadway; but it is not less glamorous—nor less theatrical —on that account. Warner Bros.’ is now showing at the story of backstage life, ‘‘42nd Street,’’ which Theatre, does it poetical justice, for the first time, in motion pictures. The names of some of the theatres which have graced it read lke a Who’s Who of the American theatrical scene. Around the corner from Times Square is Oscar Hammerstein’s Victoria Theatre, once one of the most famous of New York’s theatres. and now plays pictures. Nearby is the Republic Theatre, originally known as Belasco’s Thea tre, where “Girl of the Golden West,” “Rose of the Rancho,” “Adrea” and many other famous shows were first produced. It became Belasco’s Republic, still later the Republic, and recently it was closed by Mayor McKee because of its racy burlesque. The New Amsterdam, home of the original Ziegfeld’s Follies is there, too, not a block from Broadway. On its roof, in the world. famous Ziegfeld Midnight Frolic, Will Rogers first gained fame. The roof is now the home of the National Broadcasting Station. The Sam H. Harris, built as a memorial to that theatrical figure, is next door, separated today only by the new and somewhat novel Flea Circus. It was finally turned into a vaudeville house The Liberty Theatre, which originally housed many fine dramatic productions, including the first production of “Within The Law,” is a few doors away. In the same block is the Eltinge, built by Julian Eltinge to house his own show, but going the way of many others into burlesque. It also was closed by Mayor McKee. The new Wallack Theatre, which replaced the very famous American Theatre, is in the same block. The Selwyn Theatre, which is still going, is there too, and opened reeently with “Forward March,” a musical revue by Lew Brown and Ray Henderson. You could toss a stone from either of them into the lobby of Shubert’s Lyric Theatre. Signs of the new day have crept in all about the famous old land marks. Barber shops, oyster grills, ticket brokers’ establishment, clothing stores, frightened by the splendor of the older day, but braver now that there seems some signs of early death to the famous block, are everywhere. The famous sign of a woman in a raincoat has replaced the gay announcements of new shows. The kittens playing with yarn, romp where great names alone once stood in splendid lights. The Nw X. been built straddling the first subway—now a honeycomb of subways —on the very spot where Reisenweber’s Restaurant caught the smart crowd in the gay 90’s. Two blocks west roars the Ninth Avenue Elevated. A block East the Sixth Avenue “L.” | The New Is Here | The old is nearly gone. The new is here. But Warner Bros. have captured something of the old glamour and the old grandeur, for they have put most of their stars into the epic of the street’s heyday, “42nd Street,” stars who are all familiar with the district. The members of this all star cast include Warner Baxter, Bebe Daniels, George Brent, Una Merkel, Ruby Keeler, Guy Kibbee, Dick Powell, Ned Sparks, Ginger Rogers and Allen Jenkins. The dance numbers and ensembles for a gigantic musical spectacle around which the dramatic theme of the _ picture evolves were created and staged by Busby Berkeley, famous New York producer, while the special songs were written by Al Dubin and Harry Warren, also of Broadway. The picture was adapted by Rian James and James Seymour from the novel of Bradford Ropes. directed by Lloyd Bacon. It was Current Feature Allen Jenkins Broke Into Stage Life in Job He Now | “42nd Street”’ tm Plays Has Worked as Assistant Stage Manager, a Role He Successfully Portrays in 10 Star Picture &6 KT Allen Jenkins—he looks the part!’’ Someone made that declaration when cast selections were being made for ‘‘42nd Street,’’ a Warner Bros. dramatic picture with music, based on the novel by Bradford Ropes, and now showing at the Theatre. The role under discussion was that of MacElroy, the assistant stage manager in the picture, and when the name of Jenkins was suggested for it, there was an instantaneous approval. Later Lloyd Bacon, the director, interviewed Jenkins for the role and in the course of their talk a strange coincidence came to light. Jenkins not only looked the part of an assistant stage manager—he not only acted the part—he had actually been one in the early days of his theatrical career! His job of an assistant stage manager had, as a matter of fact, been responsible for Jenkins’ first role on the stage. It was back in 1922 in New York. He was then only 22, but the urge for stage work which he had inherited from his theatrical parents finally broke through the bonds of restraint and drew him to the Sam H. Harris organization. He didn’t feel the actual call to perform, but he wanted to be near the theatre— a part of it and yet, not in it. He was on the fringe—backstage—and so he started—as an assistant stage manager. The title of the play was “Secrets” and as Jenkins saw it rounding into shape with Margaret Lawrence in the role of the heroine, the urge to act persisted in asserting itself. He got a copy of the script—studied it —learned it—became an understudy. Got His Break Then it happened. The actor playing the role which Allen had learned, became ill. Immediate replacement was necessary and when Jenkins stepped forward to demonstrate his capabilities he was instantly awarded the part. “Secrets” ran for over six months at the Fulton Theatre and was one of the most popular comedy-dramas of the season. Throughout the run of the play Allen performed capably and drew the attention of the critics. Thus he was launched upon a theatrical career. Following up his start with three years of preparatory work and a course at the American Academy of Dramatie Art, Jenkins found important roles without difficulty. Producers recognized in him a convincing player and, as the fates continued to smile, it seemed that every show he entered became predestined for success. Jenkins Brought Luck | Producers were always pleased to get Jenkins for it almost assured the show a good-luck charm. The records of his most recent Broadway shows read like a list of the best plays: “Rain”—“What Price Glory” — “The Front Page’?’—“The Last Mile”—“Five Star Final”—“Blessed Event”—all ‘big’ plays of Broadway. He even went to London with the “Five Star Final’ company. His work in “Blessed Event? on Broadway drew the attentions of Hollywood and then, when he had performed so creditably in the screen version of it—you remember him, of course, as the ‘hard’ gangster with a reputation to uphold—he was rewarded by a long, term contract at the Warner Bros. Studios. “=Puring his briet sta wood he. has appeared in many pictures, going from one to another in rapid succession. Often he has been | The . Current Feature Warner Baxter Had Hard Time Winning Film Fame ARNER BAXTER’S screen career was by no means what might be called meteoric. And* long before he ever thought of going on the screen, he was a leading man at Los Angeles’ old Burbank Theatre, where such stars as Lewis found their first success. Times building has| Stone, Richard Dix, Douglas Meliean and many others have Baxter’s initiation into the art of motion pictures, as a mat ter of fact, wasn’t auspicious at all. He looked, he says, so much WARNER BAXTER whose acting career reaches its zenith in “42nd Street,” the new Warner Bros. 10-star spectacle on view at the Strand. Cut No. opular novel of the same title by Bradford Ropes > “he ‘on. .~ Mat 10c playing in two pictures in production | like some of the reigning Aare Uibert syas then in the ascen simultaneously. He went “Three on A Match” “Blessed Event.” Then he was given an important role in “I Am a Fugitive From a Chain Gang,” and the Fox Studios borrowed him for one picture, “Rackety-Rax.” Back on his home lot he worked in “Employees’ Entrance”, “Lawyer Man “Hard To -. Handle” = and “Blondie Johnson.” He Smiled at His Role Then—in “42nd Street” they needed someone for the role of an assistant stage manager. Jenkins smiled as he won the part as he reminisced about the days when he actually worked as one. Now he’s going around with a clenched fist waiting for someone to say that he’s not the type for the role! “42nd Street” is a musical and dramatic spectacle of backstage life, with an all-star cast headed by Warner Baxter, Bebe Daniels, George Brent, Una Merkel, Ruby Keeler, Guy Kibbee, Ned Sparks, Dick Powell, Ginger Rogers and Allen Jenkins. The screen play is by Rian James and James Seymour, while the dances and ensembles were created and staged by Busby Berkeley, the noted Broadway director. Lloyd Bacon directed. Song hits are by Al Dubin and Harry Warren. you'll note—and there didn’t seem to be any special call to add another to their ranks. Nevertheless, because he is a very excellent actor, Baxter did get jobs. He worked in Northwest Mounted Police pictures, dog pic tures, outdoor pictures, western pictures and practically all the types of pictures from which the average screen star shies if he can help it. And then, hard on the heels of sound, he rose suddenly and dramatically to the very heights of motion picture fame for his immortal characterization of O. Henry’s famous bad man, the Cisco Kid in the early sound picture, “In Old Arizona.” He was so successful he found it difficult, for a while, to get out of the role. One after another of the Ciseo Kid pictures were made. In “42nd Street’’ His inclusion as one of the leading players in Warner Bros.’ gigantic metropolitan and backstage spectacle, “42nd Street,” now showing ibs (HOF ees er tee Theatre, gives him an opportunity to display again the talents for which he was known before the advent of the badman episode. He welcomes it as a chance to get the “feel of the stage again.” into| dency, and William Powell, and Ronald Colman, tall young men following| with becoming mustaches, SS oe “It’s something,” he says, “which never leaves you, no matter how many motion pietures you play in, if you’ve ever known the sensation it gives you to play on an actual stage.” The production of “42nd Street,” being back stage drama, is nearly all laid on a full sized stage in a full sized theatre set, and not only Baxter, but Lloyd Bacon, the director, Bebe Daniels, Dick Powell, Guy Kibbee, Ginger Rogers, George Brent, Ruby Keeler, Una Merkel, Ned Sparks, Allen Jenkins and dozens of the other featured players in the big spectacle are having something of “the feel of the stage” from their work in it. Baxter plays the role of the producer, a sort of cross between the young Jed Harris and Ziegfeld, and does most of the directing himself. Giant chorus calls, specialty dances, songs, hotcha numbers, drama and melodrama and comedy pass under the sway of his militaristic baton. Baxter gives a telling performance, in a role quite new to his repertoire of outstanding parts. The picture is based on the novel by Bradford Ropes and was adapted to the screen by Rian James and James Seymour. The dances and ensembles were created and staged by Busby Berkeley, famous stage producer. The song hits are by Al Dubin and Harry Warren. PROGRAM NOTES Mrs. Ben Lyon, Bebe Daniels to you, well known for her lovely singing voice, now states that two in the family sing well, her daughter, Barbara Bebe, haing developed a lusty soprano. It is said that pa possesses a lusty basso, also, but that is another story. * * * George Brent has taken up polo in a serious way, and when he isn’t working before the cameras plays a session every morning. He has joined the ranks of Will Rogers, Robert Montgomery and other chasers of the little white ball. Ginger Rogers has a whole list of pet aversions, viz: pencils without erasers, stamps without glue, coffee that isn’t hot, peo ple reading over her shoulder and people who dislike gum. The latter makes her all wriggly, she says. * * * Ruby Keeler, Mrs. Al Jolson in private life, says that she never tells people to “go to Halifax”... though her home town is one place that—as George Ade says of his native berg—she will neer go back on... or to. Page Twenty-five