Screenland (Feb-Oct 1949)

the wishes yourself. You remember the old joke with the wishbone of the chicken and how all the children would fight to get it? Well, even as a child, I figured out that if you wished the other person got his wish, you couldn't lose." With such a philosophy, I thought to myself, you can't help but win, Glenn Ford. It Took A Kicking Around Continued from page 27 then sat back, beaming with feminine (canine) charm. One of the dreamy things about June is the simple fact that she's an actress. Not a society girl toying with histrionics. Not a college gal finding expression via the arts. Not a housewife stealing time from the baking of a pie to do a scene from "Camille." This one, pals, is an actress — it's her whole-time job . . . June acts all over the jernt — she can no more help it than she can help breathing. Yet withal, she's completely natural and thoroughly honest. The Havoc voice is well trained and is soothing to the ear. She made it good drama even when she said nothing more important than: "This old umbrella came from the Actors' Thrift Shop, on West 44th, opposite the Belasco Theatre. My pet theatre, incidentally, with its chandeliers studded with glass that looks like jewels — every theatre should look like the Belasco. That Suzetta!" June said, suddenly, "is absolutely unpredictable, I warn you. Right now she's in your lap looking up at you with loooove in her eyes but in ten minutes she may say horrible things to you. Where was I? Oh yes, the thrift place does a great deal of good. If an actor needs clothes for an audition and he can prove he's stonybroke, they give him the duds for free." The question of food came up, a menu was sent for and roast pork with red cabbage (in mid-afternoon) won. "I have always suspected," June said, eyeing a forkful of lethal red cabbage with deep suspicion, "that RKO — whom I love — considered my face sad but funny. Me, who isn't really a ha-ha actress. "Let me go back a bit," she continued, "along the lines of failure turning into success. At one time I was a model but I was always clowning, never amounted to anything as a mannequin. I desperately wanted to make the chorus line in several shows but no soap, I wasn't good enough. Now I realize that if I'd made the grade that way, I'd never have become an actress. Certainly I can sing and dance, but if I stop a show ( and she usually does), it's not because of my high C or time-step, it's simply that I've shown them that I can act. I'm a very shy person and I make jokes as part of a defense mechanism. Which, naturally, makes most people think I'm all ha-ha girl. "Anyway, after RKO bounced me, Mike Todd brought me back to New York to play opposite Bobby Clark in 'Mexican Hayride.' It was a hit — so were we all. I didn't sing or dance too well but I used to stand in the wings and listen to the applause when I'd stopped the show and wonder why — why? I was usually in a mood to take poison but instead I had to make a little curtain speech saying thanks." During the run of "Mexican Hayride," June broke her leg and was popped into a plaster cast — it was a very hot August. "The doctors said I'd be laid up for six months," she says, "but I was out in four weeks and on my way to Hollywood to make a movie." Lawrence Langer and Director Rouben Mamoulian of the Theatre Guild had called on her while she was still in the hospital. They had just dropped by for a social call but Mamoulian was later to wire June when Ethel Merman left the Broadway "Sadie Thompson." asking Suzetta's chum to rush East to replace Miss Merman. "I had to learn the role," June says, "almost on my way to the airport — 80 sfdes, seven songs and three ballets! And I got good notices, notices I lugged around to show everyone I met. True, I'd broken with the Sadie tradition of fancy shoes with white tops (June wore red ones), but aside from that quibble, the critics approved of me. And though I did some dancing and singing, it was mainly acting that they liked, so I was quite happy!" When the play closed, June suffered a nervous breakdown. She recuperated in a Florida hospital and was thrilled when director-writer Edmund Goulding called, said he'd heard on reliable authority that she was an able dramatic actress. He was writing a play, would she care to star in it? When the play was ready (in six months), she'd hear from him. This was precisely what the doctor had ordered . . . While she was waiting, and after she'd regained her health, June found that she still had the eating habit. So she whipped up a vaudeville act ( she'd been raised backstage — did you know?) and booked it into the Capitol Theatre on Broadway. Damon Runyon caught her act and pronounced her the greatest dramatic actress in the world — said so in print. "I bought 12 copies of his column," June admits, "and finally pasted one on a card so it wouldn't wear out in my bag. He predicted a big future for me as a serious actress and lamented the fact that I was a slave to eating and, because of that, had to do vaudeville." Goulding's play went into rehearsal, opened, and June fulfilled Runyon's predictions. It was an overwhelming artistic success but a financial failure — a gratifying state of affairs but starvation for eating actresses. "My next was 'Dunnigan's Daughter,' with Dick Widmark, for the Theatre Reducing Specialist Says: "I lost 3 inches in the hips and 20 lbs. in a few short weeks.'' says Nancy Lawton, N.Y.C. "Your Spot Reducer i3 marvelous." 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