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for October 19 3 3
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It was Frank Morgan who flatly refused to play second fiddle to John Barrymore in a picture whose leading role he had performed on the stage. He's a star in his own right.
Besides his impressive work in "straight" roles, Frank makes a vigorous, believable actor in character parts. Here he is — right — as a picturesque doctor, with Lee Tracy.
Frank plays with Ann Harding and Myrna Loy in one of his most important roles to date — the publisher in "When Ladies Meet," from Rachel Crothers' Broadway stage hit.
All about Ralph and Frankfamous brothers of the Broadway stage who've "arrived'' on the Coast— to stay !
By Ada Patterson
Of the first generation of actors were he and his elder brother Ralph, but their line ran back not to an acting ancestor nine times removed, but to Goethe and to the time of the war lord Charlemagne. That could be proved beyond a doubt. The family archives hold proof of a Wuppermann (Wupper, the river, and Mann, meaning the man of the river Wupper), who fought with the conqueror. Goethe was his father's cousin, as documents bore witness.
Yes, it is true that Wuppermann is the family name and Morgan the assumed one of the distinguished brothers. Raphaele bestowed it at the same time that he shortened his own christened name to Ralph. "Morgan"' was terse. Morgan balanced easily the chosen Ralph. Morgan it would be. Since Ralph was the first of the brothers to adopt the theatre his choice of the professional name was accepted by Frank, the younger, and Carlos, the middle brother — Carlos, who had the dramatist's gift and proposed to write plays in which his brothers should appear. Who indeed wrote "The Triumph of X" in which Frank made one of his earliest appearances. Carlos, the idealist, who went to war and
who died while a member of the Army of Occupation in Germany.
Raphaele Wuppermann, by family decree, was to become a lawyer. He trod the familydecreed path by finishing a law course at Columbia. W hile he was so preparing himself for submission to the weighty family wish he played often with Columbia students in amateur theatricals. Admiring friends persuaded him to appear in a special Ibsen offering at a special matinee, in "The Comedv of Love," in New York. Mrs. Fernandez, then the foremost theatrical agent in New York, saw his performance, and going back stage, advised him, in motherly and authoritative accents, to turn his back upon a career in the law and adopt the more colorful and romantic one of the theatre. Listening to the voice of the Circe of business, gently ignoring the voice of another mother, his own, saving "If you go on the stage I will disinherit you," he signed as utility man for a stock company in Richmond, Va. Passing the first rung he became a juvenile of the company. His minimum salary of twenty-five dollars a week grew commensurately. He remembers playing a soldier in "The Prisoner of Zenda" with Richard Bennett, and the next week becoming Clem, the juvenile of Rachel Crothers' first successful play, "The Three of Us." His middle-aged, motherly Circe, in her Broadway office, was thinking of him. She arranged for George Tyler's engagement of {Continued on page 82)