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Lux Radio Theatre - "The Curtain Rises" (Old Time Radio, 1936) · The 50 Greatest Old Time Radio Shows | Old Time Radio

• 0:00
  Speaker 1: On October 12th, 1936, Lux Radio Theater presented episode 102,
• 0:06
  Speaker 1: The Curtain Rises. At a fashionable New York penthouse party, shy,
• 0:12
  Speaker 1: bespectacled Elsa Carling makes a decision. She will take acting lessons,
• 0:17
  Speaker 1: hoping for romantic scenes opposite a celebrated theatrical idol. Ginger
• 0:23
  Speaker 1: Rogers stars as Elsa with Warren William as Ronald Phillips
• 0:27
  Speaker 1: in this CBS presentation for Lux Soap, adapted from Benjamin
• 0:32
  Speaker 1: Marquet's three-act romantic comedy. The play opened on Broadway in
• 0:38
  Speaker 1: 1933 with Jean Arthur as Elsa. This broadcast is hosted
• 0:42
  Speaker 1: by Cecil B.
• 0:43
  Speaker 2: DeMille.
• 0:44
  Speaker 1: And now, the original broadcast.
• 0:47
  Speaker 2: Hollywood, California, Monday, October 12th.
• 0:56
  Speaker 3: The Lux Radio Theater presents The Curtain Rises, starring Ginger
• 1:00
  Speaker 3: Rogers and Warren Williams, with Alan Mowbray and Viri Teasdale.
• 1:13
  Speaker 2: Lux presents Hollywood.
• 1:14
  Speaker 3: Our stars, Ginger Rogers, Warren Williams, Alan Mowbray, and Barry Teasdale.
• 1:20
  Speaker 4: Our play, The Curtain Rises.
• 1:22
  Speaker 3: Our guests, Doris Kenyon and Mrs. Lela Rogers, dramatic coach
• 1:26
  Speaker 3: and mother of tonight's leading lady.
• 1:28
  Speaker 2: Our producer, Cecil B.
• 1:29
  Speaker 4: DeMille, and our director of music, Louis Silvers.
• 1:33
  Speaker 3: To you who crowd our theater tonight, and to you
• 1:35
  Speaker 3: millions whose theater is your home, greetings from Lux. This
• 1:46
  Speaker 3: hour in Hollywood comes to you with the good wishes
• 1:49
  Speaker 3: of the makers of Lux Toilet Soap, the pure white
• 1:52
  Speaker 3: soap whose active lather and delicate perfume have made Lux
• 1:55
  Speaker 3: Toilet Soap the favorite beauty care used by nine out
• 1:58
  Speaker 3: of ten of Hollywood's leading stars and lovely women everywhere.
• 2:04
  Speaker 3: And now, on with the show, ladies and gentlemen, that
• 2:08
  Speaker 3: distinguished producer of.
• 2:09
  Speaker 2: Screen and radio, Mr.
• 2:11
  Speaker 3: Cecil B. DeMille.
• 2:19
  Speaker 2: Greetings from Hollywood, ladies and gentlemen.
• 2:21
  Speaker 3: Just 444 years ago today, Christopher Columbus made good his
• 2:25
  Speaker 3: promise to see America first. He discovered a new hemisphere,
• 2:29
  Speaker 3: and we celebrate the occasion by discovering in Ginger Rogers
• 2:33
  Speaker 3: a new star. It's true that Ginger has appeared in
• 2:36
  Speaker 3: many pictures. She's the young woman of Fort Worth who
• 2:38
  Speaker 3: came to the screen in Young Man of Manhattan. As
• 2:42
  Speaker 3: a singer and dancer, she has few, if any, equals.
• 2:45
  Speaker 3: Yet every time she asks a producer for a dramatic role,
• 2:48
  Speaker 3: our young star is in the position of Christopher Columbus, who,
• 2:51
  Speaker 3: as a young tar, was thrown off a ship because
• 2:53
  Speaker 3: the captain swore he'd never be a sailor. Tonight, however,
• 2:57
  Speaker 3: Ginger's ambition to play a straight dramatic.
• 3:00
  Speaker 2: Role is fulfilled.
• 3:01
  Speaker 3: We shall hear her as Elsa Carling in the Lux
• 3:04
  Speaker 3: Radio Theatre's drama The Curtain Rises by Benjamin Kaye. Playing
• 3:09
  Speaker 3: opposite Ginger is Warren Williams. When a youngster, Warren was
• 3:13
  Speaker 3: the dashing hero who laughed at onrushing locomotives and snarling
• 3:16
  Speaker 3: villains and consistently rescued lovely ladies in the early serial films.
• 3:22
  Speaker 3: Graduating to the stage, he returned to pictures, played Julius
• 3:25
  Speaker 3: Caesar for me in Cleopatra, and will be seen next
• 3:29
  Speaker 3: in Go West, Young Man. He performs tonight in the
• 3:32
  Speaker 3: role of Ronald Phillips. Alan Mowbray will be heard as
• 3:36
  Speaker 3: Gregory Matthews and Viri Teasdale as Carol Stewart.
• 3:41
  Speaker 5: And now.
• 3:41
  Speaker 3: The Curtain Rises on The Curtain Rises, starring Ginger Rogers
• 3:45
  Speaker 3: and Warren Williams. There's a gay party in progress at
• 4:03
  Speaker 3: Carol Stewart's New York penthouse. The radio is turned on
• 4:06
  Speaker 3: full blast. And the living room overflows with a noisy,
• 4:09
  Speaker 3: good-natured crowd of merrymakers. Everyone seems to be having a
• 4:13
  Speaker 3: grand time. Everyone except Elsa Carling. Elsa, a plain, awkward-appearing
• 4:19
  Speaker 3: young lady in horn-rimmed glasses, stands in the foyer straightening
• 4:23
  Speaker 3: her hat. There's the suggestion of a tear in her eyes.
• 4:27
  Speaker 3: As she turns to leave, Carol Stewart comes from the
• 4:30
  Speaker 3: living room.
• 4:32
  Speaker 2: Elsa!
• 4:33
  Speaker 6: Elsa, what's the matter?
• 4:34
  Speaker 4: Nothing's the matter. You've got your hat on. I'm going home, Carol.
• 4:38
  Speaker 5: Home?
• 4:38
  Speaker 4: But the party's just begun.
• 4:39
  Speaker 5: I know, but.
• 4:40
  Speaker 6: Wait a minute.
• 4:42
  Speaker 2: Now.
• 4:43
  Speaker 4: You see, tell me what this is all about. Oh,
• 4:45
  Speaker 4: it's nothing, Carol. Really, it isn't. You've been sitting against
• 4:47
  Speaker 4: the wall all evening. I haven't heard you say a
• 4:49
  Speaker 4: word and you didn't dance once. Well, no one asked.
• 4:52
  Speaker 4: I mean, I've got a headache, Carol. I don't feel
• 4:55
  Speaker 4: like dancing.
• 4:55
  Speaker 7: Oh.
• 4:56
  Speaker 4: I'm sorry. Well, I'll call Arnie. Oh, no, no. Don't bother.
• 5:00
  Speaker 4: I can go home alone. Don't be silly, Arnie. Brought
• 5:02
  Speaker 4: you here. I know, but he only did it because
• 5:05
  Speaker 4: you asked him to. And I don't want to spoil
• 5:07
  Speaker 4: his evening. Oh, Elsa, stop it. Hey, Carol, what goes on? Stephen,
• 5:12
  Speaker 4: come here. Elsa's going to leave. Oh, that's too bad.
• 5:15
  Speaker 2: You want me to call the camp? No, we don't.
• 5:16
  Speaker 4: I want you to find Arnie.
• 5:17
  Speaker 6: Tell him to take Elsa home.
• 5:18
  Speaker 4: Really, Carol? Go on, Stephen.
• 5:20
  Speaker 8: Oh, sure.
• 5:20
  Speaker 4: Right back. I could have gone home alone. Of course,
• 5:24
  Speaker 4: but why should you? That's the trouble with you, Elsa.
• 5:27
  Speaker 4: You always let men think they're doing you a favor. Well,
• 5:29
  Speaker 4: it was awfully nice of him to call for me.
• 5:32
  Speaker 4: I suppose you told him that. Of course. Oh, Lord. Well,
• 5:34
  Speaker 4: it was nice of him. He didn't want to bring me.
• 5:38
  Speaker 4: How do you know? Did he say so? No, he
• 5:40
  Speaker 4: didn't say anything. Well, Stephen.
• 5:43
  Speaker 3: Hmm?
• 5:43
  Speaker 4: Where's Arnie? Oh, uh, he's coming. He's talking to a
• 5:47
  Speaker 4: couple of people and, uh... Look, Elsa, can't you stay
• 5:49
  Speaker 4: a little longer? Oh, he doesn't want to take me home? Oh, now,
• 5:52
  Speaker 4: I wouldn't say that. Oh, that's all right. I don't mind.
• 5:55
  Speaker 6: I'll speak to that low-down newspaper reporter. Where is he?
• 5:57
  Speaker 4: No, please, Carol. I'll go alone. Good night. Elsa, wait.
• 6:02
  Speaker 4: Good night.
• 6:03
  Speaker 2: Come on.
• 6:05
  Speaker 4: Hey, was she crying?
• 6:07
  Speaker 6: If she wasn't, it's not your fault.
• 6:09
  Speaker 2: Well, here I am.
• 6:11
  Speaker 6: Just a wee bit late, Arnie.
• 6:12
  Speaker 2: The press is never late. Where's our little wallflower?
• 6:15
  Speaker 4: She's gone home.
• 6:16
  Speaker 2: Oh, yeah?
• 6:17
  Speaker 4: Well, you needn't look so pleased.
• 6:19
  Speaker 2: What's the matter with her?
• 6:20
  Speaker 6: She said she had a headache.
• 6:21
  Speaker 4: The real reason is that she sat in that room
• 6:23
  Speaker 4: for almost two hours and not one of you, even
• 6:25
  Speaker 4: so much as looked at her.
• 6:26
  Speaker 2: Oh, now, Carol.
• 6:27
  Speaker 3: My dear hostess, I brought the lady to your charming party.
• 6:30
  Speaker 3: My responsibility ended there.
• 6:32
  Speaker 4: You might have spoken to her.
• 6:33
  Speaker 2: I tried that in the cab. Result? Terrible.
• 6:37
  Speaker 4: Orny's right, Carol. The girl can't talk without blushing. Oh,
• 6:40
  Speaker 4: keep quiet.
• 6:41
  Speaker 6: Elsa's one of the nicest girls I know.
• 6:42
  Speaker 2: Granted, but she's a prim little old maid.
• 6:45
  Speaker 6: Elsa isn't an old maid. She's younger than I am.
• 6:47
  Speaker 3: Being an old maid hasn't anything to do with age, Carol.
• 6:49
  Speaker 3: Some girls are old maids at 18.
• 6:52
  Speaker 4: Oh, poor Elsa.
• 6:53
  Speaker 2: There you are.
• 6:54
  Speaker 3: When you think of her, you say poor Elsa.
• 6:57
  Speaker 2: You're sorry for her.
• 6:58
  Speaker 4: Yes, I am.
• 6:59
  Speaker 6: She's missing so much in life. Inside, she's so sweet
• 7:02
  Speaker 6: and sympathetic and clever. Well, she is clever. Only somehow
• 7:06
  Speaker 6: she doesn't know how to let it out.
• 7:07
  Speaker 2: Well, I suggest she learn how.
• 7:09
  Speaker 4: Gather ye rosebuds while you may.
• 7:11
  Speaker 5: Right.
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  Speaker 2: But first, she'd better take off those glasses.
• 7:29
  Speaker 3: Hello?
• 7:30
  Speaker 6: Elsa, darling, where have you been hiding? I haven't seen
• 7:33
  Speaker 6: you for ages.
• 7:34
  Speaker 4: You've taken the studio? But why? Of course I can come. Stephen? Yes,
• 7:40
  Speaker 4: I can bring him. Arnie, too? Elsa, what is it,
• 7:43
  Speaker 4: a party? Who?
• 7:45
  Speaker 6: Gregory Matthews?
• 7:47
  Speaker 4: You mean the actor? Well, I don't know. I'll try.
• 7:50
  Speaker 6: Maybe Arnie can get him to come. Elsa, you've got
• 7:53
  Speaker 6: me all excited. What's it all about?
• 7:54
  Speaker 4: Well, I know, but... All right. All right. Tomorrow at nine. Carol,
• 8:06
  Speaker 4: I'm awfully glad you came before the others. What did
• 8:09
  Speaker 4: you do with Stephen and Arnie?
• 8:10
  Speaker 6: They stopped by for Gregory Matthews.
• 8:12
  Speaker 4: Oh, then he is coming. Arnie says so.
• 8:14
  Speaker 6: A new spellman can usually get what he wants from
• 8:16
  Speaker 6: the theatrical profession.
• 8:18
  Speaker 4: Well, so this is your studio. Do you like it?
• 8:22
  Speaker 4: It's grand. What's the idea? Oh, I have an income
• 8:25
  Speaker 4: of my own. I can afford to have a place
• 8:27
  Speaker 4: for myself.
• 8:28
  Speaker 6: But Elsa, you have a lovely home, so that's not
• 8:31
  Speaker 6: the reason.
• 8:32
  Speaker 4: Oh, Carol, my home has always been a prison. No,
• 8:35
  Speaker 4: I don't mean that exactly. The prison was largely myself.
• 8:39
  Speaker 4: First my outside self, and then my inside self. Outside? Inside?
• 8:43
  Speaker 4: What in the world are you talking about? Look here, Carol,
• 8:45
  Speaker 4: you're engaged to be married, aren't you?
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  Speaker 1: Yes.
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  Speaker 4: You love Stephen, and he loves you. Yes. He kisses you,
• 8:51
  Speaker 4: doesn't he? Of course. Carol, do you know that I've
• 8:55
  Speaker 4: never been kissed?
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  Speaker 3: What?
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  Speaker 4: Oh, I don't mean by my father or by my
• 8:59
  Speaker 4: uncles or at silly parties. I mean by a man,
• 9:02
  Speaker 4: a strange man. Is that why you've taken this studio,
• 9:06
  Speaker 4: in order to be kissed? I thought you'd understand. Oh,
• 9:09
  Speaker 4: I'm sorry, dear. I didn't mean it that way. Carol,
• 9:12
  Speaker 4: you're the only one I can talk to. Please let
• 9:13
  Speaker 4: me tell you. Go on, dear. Well, I know what's
• 9:16
  Speaker 4: the matter with me. I'm not pretty. I never was.
• 9:20
  Speaker 4: I have no charm for men. Even as a little girl,
• 9:24
  Speaker 4: I used to see boys putting their arms around other
• 9:26
  Speaker 4: girls and stealing kisses. Oh, I wanted that, too. I
• 9:30
  Speaker 4: want it now. But Donna... I want romance, Carol. I
• 9:32
  Speaker 4: want what every girl wants. Love, kisses, and the arms
• 9:35
  Speaker 4: of a man around her.
• 9:36
  Speaker 6: But what in the world has all this got to
• 9:37
  Speaker 6: do with your taking a studio and Gregory Matthews?
• 9:40
  Speaker 4: Well, I want to see if I can't arrange to
• 9:42
  Speaker 4: have Gregory Matthews give me lessons in acting. Lessons in acting?
• 9:46
  Speaker 4: But you surely don't expect to become an actress. Well, no.
• 9:49
  Speaker 4: But you see, I've seen all the plays that Matthews does.
• 9:52
  Speaker 4: I know all the parts. I got the books and
• 9:54
  Speaker 4: studied them. And I feel now that all I need
• 9:57
  Speaker 4: is a little, coaching. Oh, I see.
• 10:01
  Speaker 6: If you took lessons, you and Gregory Matthews could play
• 10:03
  Speaker 6: all the love scenes together, is that it?
• 10:05
  Speaker 4: Oh, Carol, really? Now, don't tell me that's not the reason.
• 10:09
  Speaker 2: Well, maybe.
• 10:10
  Speaker 6: You've got a crush on Gregory Matthews, haven't you?
• 10:12
  Speaker 9: I haven't.
• 10:13
  Speaker 4: I mean, I don't know whether I have or not,
• 10:15
  Speaker 4: but lessons in acting won't do me any harm. Elsa,
• 10:17
  Speaker 4: you're a fraud, but I can't say I blame you.
• 10:20
  Speaker 6: It must be rather nice to be kissed by Gregory Matthews,
• 10:23
  Speaker 6: especially when it's your first kiss.
• 10:25
  Speaker 4: Carol, am I wicked in thinking this way about it?
• 10:29
  Speaker 4: Thinking isn't wicked. I mean, it isn't wrong for me
• 10:32
  Speaker 4: to plan this.
• 10:32
  Speaker 6: Oh, of course not. Yet I'm a little worried about
• 10:35
  Speaker 6: one phase of it.
• 10:36
  Speaker 4: What's that? Suppose the handsome Mr.
• 10:38
  Speaker 6: Matthews gives you lessons, and you play scenes together, and
• 10:41
  Speaker 6: you really fall in love with him. Won't you be
• 10:43
  Speaker 6: letting yourself in for a lot of suffering?
• 10:46
  Speaker 4: I'll take that chance. At least I will have lived
• 10:48
  Speaker 4: for a little while instead of going along as I
• 10:50
  Speaker 4: am now, just nothing at all. I'm willing to feel hurt.
• 10:55
  Speaker 4: Even pain is an emotion.
• 10:57
  Speaker 6: And that's why you're giving this party to meet Gregory Matthews.
• 11:01
  Speaker 3: Yes.
• 11:02
  Speaker 4: And now that it's here, I'm just a little nervous.
• 11:05
  Speaker 4: I don't know how to explain it to him. Oh,
• 11:07
  Speaker 4: don't worry. You'll find a way. But if I could
• 11:09
  Speaker 4: speak to him alone. Of course, darling. I'll get rid
• 11:11
  Speaker 4: of the others. You leave it to me.
• 11:12
  Speaker 6: You'll have Mr.
• 11:13
  Speaker 4: Matthews all to yourself. Oh, thank you, Carol. You're such
• 11:16
  Speaker 4: a comfort. Won't you sit down, Mr. Matthews?
• 11:29
  Speaker 2: Thank you. But don't you think we'd better join the others? Oh, no.
• 11:32
  Speaker 4: I was telling Carol of something I particularly want to
• 11:36
  Speaker 4: ask you, and she was good enough to arrange this.
• 11:39
  Speaker 2: Oh, indeed. Yes.
• 11:41
  Speaker 4: An actor's life must be such an interesting one, Mr. Matthews.
• 11:45
  Speaker 9: Yes, it is interesting, but it means work more than
• 11:47
  Speaker 9: you have any idea. Now, we actors have very little
• 11:49
  Speaker 9: time to ourselves.
• 11:51
  Speaker 4: I think I've seen you in everything you've played.
• 11:53
  Speaker 2: So?
• 11:54
  Speaker 4: I like the play Late Blossoming Best. That love scene
• 11:57
  Speaker 4: in the orchard. After the soldiers have gone... Oh, it's
• 12:00
  Speaker 4: so lovely.
• 12:01
  Speaker 2: Yes, it was a beautiful scene. You liked it, eh?
• 12:03
  Speaker 4: Oh, you play it magnificently.
• 12:05
  Speaker 2: Thank you, thank you.
• 12:06
  Speaker 9: Now, a difficult scene with so many undercurrents of emotion,
• 12:09
  Speaker 9: so many nuances, needs the most perfect timing. Later this season,
• 12:12
  Speaker 9: I'm going to put on Romeo. And, of course, Juliet.
• 12:18
  Speaker 9: I have always believed Romeo a splendid part for me.
• 12:20
  Speaker 4: Oh, yes, a lover. You play love scenes with such fire,
• 12:24
  Speaker 4: such passion. Why, in late blossoming, when you kissed Lorena.
• 12:29
  Speaker 2: Yes, yes, of course. And, Miss Carling, you said there
• 12:32
  Speaker 2: was something you wanted to ask me.
• 12:33
  Speaker 4: Oh, well, I hardly know how to ask it, but... Mr. Matthews,
• 12:38
  Speaker 4: I'd like to have you give me lessons in acting.
• 12:41
  Speaker 2: Lessons?
• 12:42
  Speaker 4: Oh, it wouldn't be difficult. You see, I've studied all
• 12:44
  Speaker 4: your plays. I know all the parts by heart. I
• 12:46
  Speaker 4: got the books and studied them.
• 12:48
  Speaker 2: Miss Carling, this is impossible.
• 12:49
  Speaker 4: Oh, I realize how busy you must be, Mr. Matthews, and,
• 12:52
  Speaker 4: of course, the fee. I hate to talk about such
• 12:55
  Speaker 4: matters to.
• 12:56
  Speaker 5: You, but.
• 12:56
  Speaker 2: Miss Carling, please, this is very distressing. Don't you understand
• 12:59
  Speaker 2: that I am not to be hired?
• 13:00
  Speaker 7: Oh, of course.
• 13:00
  Speaker 4: That's what makes it so difficult to talk of a fee.
• 13:04
  Speaker 4: But I wouldn't care what the fee is. I'd consider
• 13:06
  Speaker 4: it a great favor.
• 13:07
  Speaker 9: It's not a matter of a fee or a favor,
• 13:09
  Speaker 9: Miss Carling. I simply cannot entertain your suggestion, not for
• 13:12
  Speaker 9: a moment. Me, Gregory Matthews, give lessons? That's preposterous. Please
• 13:17
  Speaker 9: consider this final.
• 13:18
  Speaker 2: Final? I said final.
• 13:21
  Speaker 4: I'm sorry. Forgive me for taking up your time.
• 13:26
  Speaker 2: My dear girl, here, stop it. Stop it. I can't.
• 13:29
  Speaker 2: But you must. I don't like to see a woman cry.
• 13:32
  Speaker 2: I can't help it if I don't feel like being
• 13:34
  Speaker 2: a teacher.
• 13:34
  Speaker 4: I can't help it if I feel like crying.
• 13:37
  Speaker 2: Well, there's something to that, of course. Tell me, does
• 13:40
  Speaker 2: it really mean so much to you, this learning to
• 13:42
  Speaker 2: be an actress?
• 13:43
  Speaker 4: Oh, yes, yes.
• 13:44
  Speaker 2: Well, I have a suggestion to make.
• 13:46
  Speaker 3: Yes?
• 13:47
  Speaker 2: Yes. Remember, it's only a suggestion. I'm not sure that
• 13:50
  Speaker 2: could be done.
• 13:51
  Speaker 4: What is it?
• 13:52
  Speaker 9: Well, at the theater, we have what is called an understudy.
• 13:55
  Speaker 2: You know, an actor who learns all the parts. Now,
• 13:57
  Speaker 2: this understudy, what's his name? Phillips.
• 14:00
  Speaker 9: Yes, Ronald Phillips. He's a very capable fellow. Of course,
• 14:03
  Speaker 9: he hasn't my appearance or my ability. But he knows
• 14:06
  Speaker 9: his business, and he's quite poor. Understudies, you know, get
• 14:09
  Speaker 9: little pay. I'm sure he'd be glad to give you
• 14:12
  Speaker 9: some lessons and be very grateful for the fees.
• 14:14
  Speaker 2: Well, what do you say, Miss Carling?
• 14:16
  Speaker 4: Well, do you think he'll come?
• 14:19
  Speaker 9: I will tell him that you are a very dear
• 14:21
  Speaker 9: friend of mine, that I'm very much interested in you.
• 14:23
  Speaker 2: Oh, don't worry. I will arrange it.
• 14:25
  Speaker 4: Then if he teaches me, and if I learn awfully well,
• 14:29
  Speaker 4: then will you play one scene with me?
• 14:32
  Speaker 2: Yes, yes, yes, yes. When he tells me that you've
• 14:34
  Speaker 2: learned how to act, I will play one scene with you.
• 14:36
  Speaker 2: Now shall we join the others?
• 14:38
  Speaker 4: Yes, Mr.
• 14:38
  Speaker 5: Matthews.
• 14:39
  Speaker 4: Thank you so much.
• 14:40
  Speaker 2: Now come along, and for heaven's sake, put some powder
• 14:42
  Speaker 2: on your nose.
• 14:54
  Speaker 4: Yes?
• 14:54
  Speaker 2: Is this Miss Carling's studio? Yes, sir. My name is
• 14:57
  Speaker 2: Ronald Phillips.
• 14:58
  Speaker 4: Oh, yes. Miss Carling's expecting you, sir.
• 15:00
  Speaker 5: Come in.
• 15:01
  Speaker 2: Thank you.
• 15:02
  Speaker 4: Who is it, Anna? Mr. Phillips, miss. Oh, you may go, Anna.
• 15:05
  Speaker 2: Yes, yes.
• 15:08
  Speaker 4: My name is Elsa Carling, Mr.
• 15:09
  Speaker 2: Phillips. How do you do?
• 15:11
  Speaker 4: It was nice of you to come so soon.
• 15:14
  Speaker 2: Well, not at all. Nothing's too much for a friend
• 15:16
  Speaker 2: of Mr. Matthews.
• 15:17
  Speaker 4: Has Mr. Matthews explained everything to you?
• 15:20
  Speaker 6: About the lessons, I mean.
• 15:21
  Speaker 4: Oh, yes.
• 15:22
  Speaker 2: I don't believe I've ever seen you at the theater,
• 15:24
  Speaker 2: Miss Carlin.
• 15:25
  Speaker 4: Oh, I go to the theater very often.
• 15:27
  Speaker 2: I mean backstage with Mr. Matthews.
• 15:30
  Speaker 4: Oh, I see. No, I haven't been backstage.
• 15:32
  Speaker 2: Mr.
• 15:32
  Speaker 4: Matthews calls on me here.
• 15:34
  Speaker 2: Oh, yes, of course. I suppose you've seen him in
• 15:38
  Speaker 2: all his roles.
• 15:39
  Speaker 4: Oh, yes. I think he's magnificent. You know, I know
• 15:43
  Speaker 4: all of his plays by heart. You see, I've accomplished
• 15:45
  Speaker 4: quite a little already.
• 15:47
  Speaker 5: Well, learning lines is a very small part of acting,
• 15:49
  Speaker 5: Miss Carling. The least important part.
• 15:52
  Speaker 4: But I can't learn to act unless I know the lines,
• 15:54
  Speaker 4: can I? You can't learn to act unless you learn
• 15:56
  Speaker 4: a lot of other things first. Well, I don't understand.
• 16:00
  Speaker 5: No?
• 16:01
  Speaker 2: Well, would you mind walking across the room for me?
• 16:04
  Speaker 4: Walk? You mean like this?
• 16:08
  Speaker 2: No, Miss Carling, not like that.
• 16:10
  Speaker 4: What's the matter?
• 16:11
  Speaker 5: Oh, forgive me, Miss Carling, but you have no poise,
• 16:14
  Speaker 5: no balance. An actress must have poise. You don't take
• 16:18
  Speaker 5: much exercise, do you?
• 16:20
  Speaker 8: No.
• 16:21
  Speaker 5: Well, you'll have to walk one hour every day, rain
• 16:23
  Speaker 5: or shine, one hour steady, with head up and shoulders back.
• 16:26
  Speaker 4: But I don't like to walk.
• 16:28
  Speaker 2: Mr.
• 16:28
  Speaker 5: Matthews told me that I was to give you lessons,
• 16:30
  Speaker 5: so you'll have to walk one hour every day. After that,
• 16:34
  Speaker 5: you will have bending exercises, stretching exercises, practicing facial expressions
• 16:38
  Speaker 5: in front of a mirror, and vocal exercises for accent
• 16:41
  Speaker 5: and enunciation.
• 16:42
  Speaker 4: I don't think I like your method.
• 16:44
  Speaker 2: No, perhaps not, but I'm sure you'll like the results.
• 16:47
  Speaker 4: Maybe.
• 16:48
  Speaker 2: That's the trouble with you amateurs. You think acting is
• 16:51
  Speaker 2: the easiest thing in the world. You don't want to work.
• 16:54
  Speaker 4: But I'm not an amateur.
• 16:55
  Speaker 2: No, what are you then?
• 16:57
  Speaker 4: Oh, I'm sorry. I guess I'm just nothing at all.
• 17:00
  Speaker 5: Oh, now, now, don't go to the other extreme. I
• 17:03
  Speaker 5: only want to see that you start right. There's a
• 17:05
  Speaker 5: lot to learn, Miss Carling. For instance, do you know
• 17:09
  Speaker 5: how many ways there are of saying ah?
• 17:12
  Speaker 4: Ah?
• 17:12
  Speaker 2: Yes, ah.
• 17:14
  Speaker 4: How many?
• 17:15
  Speaker 2: Um, hundreds. Look, I walk into a room. I'm cold.
• 17:21
  Speaker 2: I see a cheerful fire. I say, ah, a fire.
• 17:26
  Speaker 2: You hear it? Ah.
• 17:28
  Speaker 4: Ah, yes.
• 17:29
  Speaker 2: Then? Then somebody says something that I don't believe. Do
• 17:32
  Speaker 2: I say, ah? No. I say, ah. Ah. Exactly.
• 17:37
  Speaker 4: Well, that's fun. Let me try one.
• 17:41
  Speaker 2: All right.
• 17:42
  Speaker 5: You walk into the room. Your fiancé is there, in
• 17:45
  Speaker 5: the arms of another woman.
• 17:47
  Speaker 2: What do you say?
• 17:47
  Speaker 4: Ah.
• 17:47
  Speaker 2: No.
• 17:53
  Speaker 3: No.
• 17:55
  Speaker 2: No, that's disgust. We want anger. Ah! That's pleasure. You
• 18:02
  Speaker 2: aren't glad, are you?
• 18:04
  Speaker 4: Wait, let me try one more. I walk in. Aha!
• 18:08
  Speaker 4: Is that better?
• 18:11
  Speaker 2: Well, it'll have to do for now.
• 18:14
  Speaker 4: You know, I think I'm going to like this. Even
• 18:17
  Speaker 4: the exercises and making faces at myself.
• 18:19
  Speaker 2: And the walking.
• 18:21
  Speaker 4: Oh, but you're going to walk with me, to show
• 18:22
  Speaker 4: me how, I mean.
• 18:23
  Speaker 5: Well, the first lesson or two, yes. When you've learned
• 18:26
  Speaker 5: to walk properly, then, of course, it won't be necessary
• 18:29
  Speaker 5: for me.
• 18:29
  Speaker 2: To walk with you.
• 18:30
  Speaker 4: Oh, of course. But then the scenes, we will play
• 18:33
  Speaker 4: scenes together.
• 18:35
  Speaker 2: Yes, certainly.
• 18:36
  Speaker 4: Shall we try one now?
• 18:40
  Speaker 2: Well, if you want to. Do you really know all
• 18:43
  Speaker 2: of Mr. Matthews' plays by heart? Oh, yes.
• 18:46
  Speaker 4: Do you know the play Late Blossoming?
• 18:50
  Speaker 2: I am Mr. Matthews' understudy.
• 18:52
  Speaker 4: Oh, of course, but... Well, you know the scene in
• 18:54
  Speaker 4: the orchard when the soldiers are about to leave and...
• 18:57
  Speaker 4: and Dorina kisses him?
• 19:00
  Speaker 2: Oh, yes, that's, uh... Nice scene. That'll do as well
• 19:05
  Speaker 2: as any other.
• 19:06
  Speaker 4: As well as any other? Well, that's the finest scene
• 19:08
  Speaker 4: that Mr. Matthews plays.
• 19:10
  Speaker 5: Well, of course, the way he plays it with scenery
• 19:12
  Speaker 5: and opposite Helena Dale, of course.
• 19:15
  Speaker 2: It's beautiful. But here is a scene to run through
• 19:18
  Speaker 2: without scenery and costumes. Do you see what I mean?
• 19:22
  Speaker 4: Oh, I'm sorry, Mr. Phillips. I didn't mean to be
• 19:25
  Speaker 4: so in earnest about it. Would you rather play some
• 19:27
  Speaker 4: other scene?
• 19:28
  Speaker 3: Oh, no, no.
• 19:29
  Speaker 2: That'll do very well. We'll just take the end of
• 19:32
  Speaker 2: the act. Are you ready?
• 19:34
  Speaker 4: Oh, yes, I'm ready.
• 19:36
  Speaker 5: Dorina is by the fence, looking in the direction the
• 19:39
  Speaker 5: soldiers have gone. Albert enters from the left.
• 19:42
  Speaker 2: I see you. Doreen.
• 19:46
  Speaker 4: Albert, my darling.
• 19:48
  Speaker 2: Yes. Maybe you'd better take off your glasses for this.
• 19:54
  Speaker 4: Oh, excuse me.
• 19:56
  Speaker 3: There.
• 19:57
  Speaker 2: Oh, that's fine. We'll start again. Doreen.
• 20:03
  Speaker 4: Albert, my darling.
• 20:06
  Speaker 2: A little quieter, I think.
• 20:08
  Speaker 4: Oh, yes, of course.
• 20:10
  Speaker 5: Quieter.
• 20:11
  Speaker 2: We'll go on from there. Lorina, come here by the tree,
• 20:15
  Speaker 2: where we can't be seen.
• 20:16
  Speaker 4: But, Albert, I saw you march away with the regiment.
• 20:19
  Speaker 5: They're resting on the other side of the hill. I
• 20:21
  Speaker 5: slipped away. I had to see you just once again,
• 20:23
  Speaker 5: my darling.
• 20:24
  Speaker 4: Albert, you shouldn't have come back. A little while ago,
• 20:27
  Speaker 4: you went away. I cried, and then I stopped. But
• 20:31
  Speaker 4: when you leave this time, I shall cry and never
• 20:33
  Speaker 4: stop crying.
• 20:34
  Speaker 2: Miss Carling, don't be so nervous.
• 20:36
  Speaker 4: I can't help it.
• 20:38
  Speaker 5: But it destroys the feeling. You see, this is the
• 20:40
  Speaker 5: scene leading up to the kiss.
• 20:42
  Speaker 4: Yes, I know.
• 20:47
  Speaker 2: Well, well, let's go on.
• 20:50
  Speaker 5: If there be tears for every kiss you gave, and
• 20:53
  Speaker 5: yet more tears for every kiss that I'll be bringing you,
• 20:57
  Speaker 5: you'll not have tears enough.
• 21:00
  Speaker 4: Meanwhile, there will be tears. Oh, why did you return
• 21:03
  Speaker 4: and that one hour I should lose you twice? Courage,
• 21:07
  Speaker 4: my love.
• 21:08
  Speaker 5: Yes, yes, I know the line. Well, courage, my love.
• 21:15
  Speaker 5: What if you lose me twice? What if we lose
• 21:17
  Speaker 5: each other 20 times? A cloud may hide the sun,
• 21:20
  Speaker 5: erase the moon, but they return in glory like our love.
• 21:26
  Speaker 5: Was that a trumpet call?
• 21:28
  Speaker 4: Don't go. Don't go.
• 21:31
  Speaker 2: I must. One kiss.
• 21:33
  Speaker 7: One.
• 21:34
  Speaker 4: one kiss.
• 21:35
  Speaker 2: And then farewell.
• 21:37
  Speaker 4: One... one kiss.
• 21:40
  Speaker 2: I take it now, my love. What?
• 21:45
  Speaker 8: Here.
• 21:45
  Speaker 2: Here, Miss... Miss Carling. Miss... Miss Carling. Good Lord, she's fainted.
• 22:02
  Speaker 3: In just a moment, we continue with The Curtain Risers,
• 22:04
  Speaker 3: starring Ginger Rogers and Warren Williams. Right now, let's go
• 22:11
  Speaker 3: down to the colorful Mexican Quarter between Hollywood and Los Angeles,
• 22:14
  Speaker 3: an after-hours mecca for all who work in moving pictures.
• 22:17
  Speaker 4: Here, two extra girls meet. Where's Bill Sally?
• 22:21
  Speaker 6: And didn't Jack and Loretta come with you?
• 22:22
  Speaker 4: Oh, Bill's over there, buying me a Mexican lollipop. Jack's
• 22:26
  Speaker 4: around here somewhere, but he's alone. Oh, that's funny. You know,
• 22:29
  Speaker 4: it seems to me Jack hasn't been giving Loretta much
• 22:31
  Speaker 4: time lately. No, he hasn't. Loretta's in the dumps about it, too.
• 22:35
  Speaker 4: And you know, it's really her own fault. Somebody ought
• 22:38
  Speaker 4: to give her a tip about her complexion, that's what.
• 22:41
  Speaker 4: Anybody that ever worked in pictures would tell her what
• 22:43
  Speaker 4: to do.
• 22:47
  Speaker 3: Just a simple thing like the right complexion care can
• 22:50
  Speaker 3: mean the difference between popularity and loneliness. Any girl who
• 22:53
  Speaker 3: has a really lovely complexion is attractive. But unfortunately today,
• 22:57
  Speaker 3: there are all too many girls who have cosmetic skin,
• 23:00
  Speaker 3: enlarging pores, dullness, tiny blemishes, simply because they don't remove
• 23:04
  Speaker 3: stale cosmetics, dust, and dirt thoroughly. Luxe toilet soap guards
• 23:09
  Speaker 3: against this danger. You can use powder and rouge as
• 23:12
  Speaker 3: much as you like if you depend on the active
• 23:14
  Speaker 3: lather of this fine soap to remove them thoroughly. why
• 23:17
  Speaker 3: don't you try Lux Toilet Soap, the beauty care of
• 23:20
  Speaker 3: nine out of ten lovely screen stars.
• 23:23
  Speaker 2: And once again, Mr. DeMille.
• 23:25
  Speaker 3: We continue The Curtain Rises with Ginger Rogers, Warren William,
• 23:29
  Speaker 3: and an all-star cast. It's three months later. The dramatic
• 23:39
  Speaker 3: lessons have proceeded regularly. And under the instruction of Ronald Phillips,
• 23:45
  Speaker 3: Elsa has become a new person, gone as the old
• 23:47
  Speaker 3: timidity and awkwardness, and in its place, a newfound gracefulness
• 23:51
  Speaker 3: and ease.
• 23:53
  Speaker 2: Carol, Elsa's friend, is astonished at the change.
• 23:56
  Speaker 6: Darling, turn around and let me look at you.
• 23:59
  Speaker 4: Am I really so different? Different, Elsa? It's miraculous. You
• 24:02
  Speaker 4: mean the dress? Yes, even the dress. I've never seen
• 24:04
  Speaker 4: you look so chic, but it's everything about you. You're
• 24:06
  Speaker 4: so fresh, so vital, so youthful. Arnie Saunders says I
• 24:09
  Speaker 4: even walk and talk differently. Arnie Saunders? Has he been here? Oh,
• 24:13
  Speaker 4: he drops in once in a while. I see. By
• 24:15
  Speaker 4: the way, what happened to your glasses? Oh, I never
• 24:19
  Speaker 4: wear them anymore. Since I've been taking lessons from Arnold Phillips,
• 24:22
  Speaker 4: I've discovered I can really see quite well without them.
• 24:25
  Speaker 4: It's funny, isn't it?
• 24:25
  Speaker 8: Yes.
• 24:26
  Speaker 4: This Mr.
• 24:26
  Speaker 6: Phillips doesn't happen to be understudy to a magician.
• 24:29
  Speaker 4: No. He's still working for Gregory Matthews, understudy and assistant
• 24:33
  Speaker 4: stage manager.
• 24:34
  Speaker 6: I suppose Matthews drops in also?
• 24:37
  Speaker 4: No. I haven't seen him since the night you were
• 24:39
  Speaker 4: all here. Well, but you're getting yourself ready for him.
• 24:43
  Speaker 4: Am I?
• 24:44
  Speaker 2: Aren't you?
• 24:45
  Speaker 4: Honest, Carol, I haven't even thought of Gregory Matthews lately.
• 24:48
  Speaker 4: You haven't? Then what are you going on taking lessons for? Well,
• 24:51
  Speaker 4: they've done me a lot of good, haven't they? Yes,
• 24:54
  Speaker 4: but that wasn't the purpose when you started. It was
• 24:56
  Speaker 4: all to lead up to a kiss. Tell me, Elsa,
• 24:59
  Speaker 4: this understudy, does he ever kiss you? Oh, yes, whenever
• 25:03
  Speaker 4: the scene calls for it. Who selects the scene? Well,
• 25:06
  Speaker 4: you see, we go through our exercises and then we
• 25:09
  Speaker 4: just pick some scene and run through it. And he
• 25:11
  Speaker 4: kisses you.
• 25:12
  Speaker 2: Yes.
• 25:13
  Speaker 4: Well? Well, it's very nice. Such enthusiasm about a kiss.
• 25:18
  Speaker 4: What did you expect me to do? Faint. I did. What?
• 25:22
  Speaker 4: I did the first time he kissed me. Now, wait
• 25:23
  Speaker 4: a minute. I think I'm beginning to understand. The way
• 25:26
  Speaker 4: you look, the way your eyes shine. So that's it.
• 25:30
  Speaker 4: And I thought it was all from the lessons. It is.
• 25:32
  Speaker 4: How you must look forward to them. I do. carol
• 25:36
  Speaker 4: every lesson is like going to a play it's an
• 25:38
  Speaker 4: adventure before ronald arrives it's just as if i were
• 25:41
  Speaker 4: sitting in the audience before the play begins and then
• 25:44
  Speaker 4: and then he rings the doorbell and the curtain rises
• 25:48
  Speaker 4: elsa you're in love with him is it love to
• 25:51
  Speaker 4: be on pins and needles until he arrives yes that's
• 25:53
  Speaker 4: love and is it love to feel all empty when
• 25:57
  Speaker 4: he's gone yes that's love too well i seem to
• 26:00
  Speaker 4: have all the symptoms don't i not all of them
• 26:02
  Speaker 4: but it's a good start Funny. I had the idea
• 26:05
  Speaker 4: all along that it was Gregory Matthews. But I've told
• 26:08
  Speaker 4: you I haven't seen Gregory Matthews. That's just it. You've
• 26:10
  Speaker 4: been playing all these love scenes with Ronald. Perhaps if
• 26:13
  Speaker 4: you saw Matthews again, you'd find that it was he
• 26:15
  Speaker 4: after all. You really think so? I don't know. You
• 26:18
  Speaker 4: started with a crush on Matthews.
• 26:19
  Speaker 6: Tell me, Elsa, has Ronald told you that he loves you?
• 26:22
  Speaker 4: Well, that's it. That's what? I haven't the slightest idea
• 26:26
  Speaker 4: whether he loves me or not.
• 26:27
  Speaker 6: He kisses you, doesn't he?
• 26:29
  Speaker 4: Yes, but it's all in the acting scenes. Well, you
• 26:32
  Speaker 4: kiss him, don't you?
• 26:32
  Speaker 2: Yes, but.
• 26:34
  Speaker 4: But he probably thinks that's acting, too.
• 26:36
  Speaker 6: Doesn't he say anything?
• 26:37
  Speaker 4: Yes, but it's always about lessons. Oh, that's bad. But
• 26:42
  Speaker 4: sometimes I've noticed he just stands and looks at me. Ah,
• 26:45
  Speaker 4: that's good.
• 26:47
  Speaker 6: Do you still pay for your lessons?
• 26:48
  Speaker 4: Yes. Oh, that's bad. But he never asks me for it. Ah,
• 26:52
  Speaker 4: that's good. You know what I think, Elsa? No, what?
• 26:55
  Speaker 4: Over at the theater, they all look up to Matthews
• 26:56
  Speaker 4: as a sort of god.
• 26:58
  Speaker 3: Well?
• 26:58
  Speaker 6: That includes Ronald Phillips. And don't forget that it was
• 27:01
  Speaker 6: Matthews who sent him here to give you lessons. Maybe
• 27:04
  Speaker 6: he thinks you're Matthews' fiancée.
• 27:06
  Speaker 4: Oh, Carol! Well, you look pleased. Oh, what a thrill
• 27:09
  Speaker 4: that anyone should think that I was Gregory Matthews' fiancée.
• 27:12
  Speaker 6: Well, please make up your mind whose fiancée you want
• 27:14
  Speaker 6: to be, Matthews or Phillips.
• 27:16
  Speaker 4: Oh, Carol, I thought you'd know.
• 27:17
  Speaker 6: No, I don't know, and I don't think you do either.
• 27:19
  Speaker 4: Now, look here, Elsa.
• 27:21
  Speaker 6: If your Ron will think you're engaged to Matthews, naturally
• 27:24
  Speaker 6: he wouldn't dream of making love to you.
• 27:26
  Speaker 4: How loyal he is.
• 27:27
  Speaker 6: Loyalty fiddlesticks.
• 27:28
  Speaker 4: We've got to get that idea out of his head.
• 27:30
  Speaker 4: But how? That's up to you.
• 27:31
  Speaker 6: Is he coming here this afternoon?
• 27:33
  Speaker 4: Oh, yes, he comes every afternoon. Uh-huh.
• 27:34
  Speaker 6: Well, get him talking about Matthews. Try to find out
• 27:37
  Speaker 6: what's in his mind.
• 27:38
  Speaker 4: And then?
• 27:38
  Speaker 6: And then show him what's in your mind, if you
• 27:41
  Speaker 6: know what's in your mind.
• 27:42
  Speaker 4: Yes.
• 27:42
  Speaker 9: Yes.
• 27:44
  Speaker 3: Only.
• 27:45
  Speaker 4: Only what? I was just thinking, isn't it a shame
• 27:48
  Speaker 4: that I never got to play a scene with Gregory Matthews?
• 28:07
  Speaker 4: Come in, Mr.
• 28:08
  Speaker 2: Phillips.
• 28:08
  Speaker 4: You're late this afternoon.
• 28:10
  Speaker 5: Sorry.
• 28:11
  Speaker 2: We've been having the final dress rehearsal of Romeo and Juliet.
• 28:13
  Speaker 2: I won't be able to stay very long.
• 28:15
  Speaker 4: Then there won't be any lesson today?
• 28:17
  Speaker 2: Well, a short one.
• 28:19
  Speaker 4: You know, I've worked out a new way of saying ah.
• 28:22
  Speaker 2: Really?
• 28:23
  Speaker 4: Would you like to hear how it goes?
• 28:24
  Speaker 2: Very much.
• 28:25
  Speaker 4: Well, a girl has just had a quarrel with her lover.
• 28:28
  Speaker 4: You're the lover, see, and you've just gone out of
• 28:30
  Speaker 4: that door saying that you'll never be back. The girl
• 28:33
  Speaker 4: is heartbroken, and she goes over there and sits down
• 28:35
  Speaker 4: and cries. Now, the lover has changed his mind and
• 28:39
  Speaker 4: comes back through the open door, and he stands as
• 28:42
  Speaker 4: you are standing, looking at the girl. She jumps to
• 28:46
  Speaker 4: her feet, rushes over, and throws herself into his arms
• 28:49
  Speaker 4: and kisses him like this. Well, how was that?
• 28:54
  Speaker 2: Very good. But what about the hour?
• 28:59
  Speaker 4: Oh, the girl would probably forget all about that.
• 29:02
  Speaker 2: Yes, of course she would.
• 29:04
  Speaker 4: But didn't I do it well?
• 29:06
  Speaker 2: The pantomime, yes. But it lacked a little sincerity. The
• 29:10
  Speaker 2: feeling is improving, but.
• 29:11
  Speaker 4: Oh, you're always saying that.
• 29:13
  Speaker 5: Oh, but it's true. It's the same when we play
• 29:15
  Speaker 5: Romeo and Juliet. And in that other play we did yesterday.
• 29:18
  Speaker 5: The scene where the princess... Meet her lover.
• 29:21
  Speaker 4: Oh, you mean when you are gone, I cannot move
• 29:24
  Speaker 4: my lips except to breathe your name. And oh, my love,
• 29:27
  Speaker 4: when you are here, they are in dreamless sleep until
• 29:30
  Speaker 4: you waken them upon your own.
• 29:31
  Speaker 5: Yes, that's exactly what I mean. Can't you see? You're
• 29:36
  Speaker 5: just saying words. There's no lover standing before you.
• 29:40
  Speaker 4: Well, I tried it last night when I was alone
• 29:43
  Speaker 4: and it seemed to.
• 29:43
  Speaker 2: Go all right.
• 29:45
  Speaker 5: Look, forget all about me. Close your eyes. Now picture
• 29:49
  Speaker 5: your lover before you. Picture the man you love more
• 29:53
  Speaker 5: than anyone else in the world.
• 29:56
  Speaker 2: Now, again.
• 29:59
  Speaker 4: When you are gone, I cannot move my lips except
• 30:02
  Speaker 4: to breathe your name. And, oh, my love, when you
• 30:07
  Speaker 4: are here, they are in dreamless sleep till you awaken
• 30:10
  Speaker 4: them upon your own.
• 30:13
  Speaker 2: Yes. Yes.
• 30:16
  Speaker 4: Did you like it?
• 30:17
  Speaker 2: Glorious. It's incredible what you've learned in three months.
• 30:21
  Speaker 4: You're really pleased with me?
• 30:23
  Speaker 2: Pleased with you? Of course I am.
• 30:24
  Speaker 5: Soon there won't be anything left for me to teach you.
• 30:28
  Speaker 2: Oh, no.
• 30:29
  Speaker 4: You mustn't say that.
• 30:30
  Speaker 2: I beg your pardon?
• 30:31
  Speaker 4: Well, I mean, I'm sure there will always be something
• 30:34
  Speaker 4: for me to learn. I'll never know as much about
• 30:36
  Speaker 4: the theater as you do.
• 30:37
  Speaker 5: No, about the theater, perhaps not, but voice, technique. You
• 30:41
  Speaker 5: could step on the stage tomorrow.
• 30:42
  Speaker 7: Oh, marvelous.
• 30:44
  Speaker 4: Have you told that to Mr. Matthews?
• 30:45
  Speaker 5: No.
• 30:46
  Speaker 2: No, I haven't.
• 30:47
  Speaker 4: Why not?
• 30:48
  Speaker 2: Why? I never discussed you with Mr. Matthews.
• 30:51
  Speaker 4: That's strange. I think he'd be interested in how I
• 30:53
  Speaker 4: was getting along.
• 30:54
  Speaker 2: Haven't you been keeping him informed?
• 30:56
  Speaker 4: Why do you say that?
• 30:57
  Speaker 2: Oh, I'm sorry. I merely thought that.
• 30:59
  Speaker 4: What? What were you thinking?
• 31:02
  Speaker 5: I was thinking we aren't getting on with our lesson.
• 31:04
  Speaker 5: You'll never learn to act this way.
• 31:06
  Speaker 4: Maybe I'm learning something else.
• 31:09
  Speaker 2: Shall we do the exercises now?
• 31:11
  Speaker 4: If you want. Why don't you like to talk about
• 31:14
  Speaker 4: Gregory Matthews? What?
• 31:15
  Speaker 2: Who said I didn't?
• 31:16
  Speaker 4: But you never do.
• 31:18
  Speaker 5: Gregory Matthews is a splendid actor and my employer. I
• 31:21
  Speaker 5: have a great respect for him. We'll try the R-E-A
• 31:26
  Speaker 5: exercise first.
• 31:27
  Speaker 4: All right. R-E-A. R-E-A. R-E-A. Does Mr. Matthews do this
• 31:35
  Speaker 4: every day, too?
• 31:36
  Speaker 2: Of course.
• 31:37
  Speaker 5: Speaking is like singing. The throat must be kept open
• 31:39
  Speaker 5: and free. Now, the may-me-my-mo-moo.
• 31:44
  Speaker 4: May, may, may, may. Me, me, me, me. Do I
• 31:48
  Speaker 4: do that as good as Gregory Matthews?
• 31:49
  Speaker 5: You can't do anything as good as Gregory Matthews.
• 31:51
  Speaker 2: My, my, my, my, my.
• 31:54
  Speaker 4: My, my, my, my, my. You needn't be quite so
• 31:56
  Speaker 4: loyal to him.
• 31:56
  Speaker 2: That isn't loyalty. That's a fact.
• 31:58
  Speaker 7: Mo, mo, mo, mo, mo. Mo, mo, mo, mo, mo.
• 32:02
  Speaker 4: There's some things more important than facts.
• 32:04
  Speaker 3: What?
• 32:05
  Speaker 4: Mother facts. Mo, mo, mo, mo, mo. Excuse me. Hello? Yes? Oh,
• 32:11
  Speaker 4: he's here. It's for you, the theater.
• 32:13
  Speaker 2: The theater. Oh, hello. Oh, hello, Mr. Matthews.
• 32:17
  Speaker 3: Yes.
• 32:18
  Speaker 4: What?
• 32:19
  Speaker 2: How? What happened to her? Good Lord. Well, what about
• 32:25
  Speaker 2: Geraldine Day?
• 32:26
  Speaker 4: What?
• 32:28
  Speaker 2: Well, I don't know who... Yes, I do. I do
• 32:32
  Speaker 2: know someone. Elsa Carling.
• 32:34
  Speaker 4: What is it?
• 32:34
  Speaker 7: Shh.
• 32:35
  Speaker 2: I said Elsa Carling. Of course she can. Listen to me.
• 32:38
  Speaker 2: She can do it. She knows it backwards. I know
• 32:41
  Speaker 2: she can.
• 32:41
  Speaker 4: What can I do? What can I do?
• 32:42
  Speaker 2: Be quiet.
• 32:43
  Speaker 4: Hello.
• 32:43
  Speaker 2: Hello. I'll bring her right over to the theater. Right away. Goodbye.
• 32:47
  Speaker 2: Get your hat.
• 32:48
  Speaker 4: What?
• 32:48
  Speaker 2: Your hat, your hat.
• 32:49
  Speaker 5: Our leading lady has been taken sick and her understudy
• 32:51
  Speaker 5: can't be found.
• 32:52
  Speaker 4: What has that got to do with me?
• 32:53
  Speaker 2: It's got everything to do with you. Don't you understand?
• 32:56
  Speaker 2: They can't find a leading lady who knows the part.
• 32:58
  Speaker 2: You know it. You're going to play it.
• 32:59
  Speaker 4: Play what?
• 33:00
  Speaker 2: Romeo and Juliet with Gregory Matthews. Oh, no.
• 33:13
  Speaker 4: Three minutes.
• 33:14
  Speaker 2: Curtain going up in three minutes.
• 33:15
  Speaker 4: Carol, this is awful. I can't play Juliet. I can't.
• 33:17
  Speaker 6: Stand still.
• 33:18
  Speaker 4: Now, Elsa, listen to me.
• 33:19
  Speaker 6: You've got the chance of a lifetime.
• 33:20
  Speaker 4: I won't do it. You've got to. You can't let
• 33:22
  Speaker 4: Gregory Matthews down. Oh, yes, I can. All right, but
• 33:24
  Speaker 4: what about yourself? What do you mean? Don't forget the
• 33:26
  Speaker 4: purpose of your lessons. Matthews will hold you in his
• 33:28
  Speaker 4: arms and tell you that he loves you. He'll kiss you.
• 33:30
  Speaker 4: He won't. I won't let him.
• 33:31
  Speaker 1: What?
• 33:31
  Speaker 4: Not in front of all those people. But it's in
• 33:33
  Speaker 4: the play. I don't care.
• 33:36
  Speaker 2: Miss Carling, are you ready?
• 33:37
  Speaker 3: No.
• 33:37
  Speaker 4: Miss Matthews, she says she won't go on.
• 33:38
  Speaker 2: Won't go on, but she must. Curtain going up.
• 33:40
  Speaker 4: Curtain going up.
• 33:41
  Speaker 2: Hold it. Hold it. Miss Carling, you've got to help us.
• 33:43
  Speaker 2: Come out in the wings.
• 33:43
  Speaker 4: I won't.
• 33:44
  Speaker 2: Well, I can't start to play Romeo unless I know
• 33:46
  Speaker 2: whether I have a Juliet.
• 33:47
  Speaker 4: Well, why don't you get someone else?
• 33:48
  Speaker 2: Miss Carling, listen. I'm pleading with you. I, Gregory Matthews.
• 33:51
  Speaker 4: Oh, if I only had a chance to think.
• 33:53
  Speaker 2: There's no time to think. You've got to act. Come on.
• 33:55
  Speaker 2: Will you come or do I have to carry you?
• 33:56
  Speaker 2: Miss Matthews. Come on.
• 33:58
  Speaker 4: No, no, no. Put me down. Put me down. I
• 34:00
  Speaker 4: can't do it.
• 34:01
  Speaker 2: I'll die.
• 34:01
  Speaker 4: I know I'll die.
• 34:02
  Speaker 2: Well, of course you will. Juliet always dies, but not
• 34:05
  Speaker 2: until the last act.
• 34:15
  Speaker 4: Oh, Romeo, Romeo, wherefore art thou, Romeo? Deny thy father
• 34:21
  Speaker 4: and refuse thy name, for if thou wilt not... How if,
• 34:35
  Speaker 4: when I am laid into the tomb, I wake before
• 34:38
  Speaker 4: the time that Romeo comes to redeem me? There's a
• 34:43
  Speaker 4: fearful point. Then I'll be brief. Oh, happy dagger, this
• 34:58
  Speaker 4: is thy sheep. They're rust, and let me die. How
• 35:12
  Speaker 4: about a picture? How about a picture, Miss Carling?
• 35:15
  Speaker 2: We want a picture.
• 35:16
  Speaker 4: Thank you, thank you.
• 35:17
  Speaker 2: Outside, everyone. Miss Carling must rest. Outside. I want the story, Elsa.
• 35:21
  Speaker 2: Excuse me.
• 35:21
  Speaker 4: Yes, darling.
• 35:22
  Speaker 2: Not now.
• 35:22
  Speaker 4: Leave her alone.
• 35:23
  Speaker 2: Miss Carling.
• 35:24
  Speaker 4: Oh, Mr. Phillips.
• 35:25
  Speaker 2: May I congratulate you? You were wonderful.
• 35:27
  Speaker 4: Oh, thank you.
• 35:28
  Speaker 2: One of the finest Juliettes I have ever seen. Eleven
• 35:31
  Speaker 2: curtain calls. Eleven. Elsa, you were magnificent.
• 35:34
  Speaker 4: From you, Mr. Matthews, that's a great compliment.
• 35:36
  Speaker 2: Yes, but in our love scenes, you turned away.
• 35:39
  Speaker 4: Did I? I'm sorry.
• 35:40
  Speaker 6: I think she'd better rest, Mr.
• 35:42
  Speaker 4: Matthews.
• 35:42
  Speaker 2: Why, of course, of course. Come here, my dear.
• 35:45
  Speaker 4: Yes?
• 35:46
  Speaker 2: Let me look at you. You're beautiful, Elsa. Oh, Mr.
• 35:49
  Speaker 4: Matthews.
• 35:50
  Speaker 2: Beautiful. The world is at your feet, my child.
• 35:53
  Speaker 9: You will go on, onwards and upward, and the stars
• 35:55
  Speaker 9: shall ring with the name of Elsa Karling.
• 35:57
  Speaker 4: Please, please, I.
• 35:59
  Speaker 9: I ask no part in your new world, my dear,
• 36:01
  Speaker 9: only to be remembered occasionally as a humble mime who
• 36:04
  Speaker 9: recognized your genius and gave it its rightful place.
• 36:07
  Speaker 2: Just this, I ask. This, and a reverent kiss from
• 36:10
  Speaker 2: your most reverent admirer.
• 36:11
  Speaker 4: No, no, please, not now. Let me go.
• 36:14
  Speaker 9: My lips, two blushing pilgrims, ready stand to smooth that
• 36:18
  Speaker 9: rough touch with a tender kiss.
• 36:20
  Speaker 4: Oh, no.
• 36:21
  Speaker 2: Here, here, Elsa, what's the matter with you?
• 36:22
  Speaker 4: Oh, good heavens, she's fainted again.
• 36:34
  Speaker 3: Because for station identification, this is the Columbia Broadcasting System.
• 36:56
  Speaker 3: Ginger Rogers as Elsa Carling, Warren William as Ronald Phillips,
• 37:00
  Speaker 3: and our all-star cast return to the microphone shortly in
• 37:03
  Speaker 3: the concluding scenes of The Curtain Rises. The mother of
• 37:06
  Speaker 3: tonight's star, Mrs. Leela Rogers, today directs at RKO Studios
• 37:11
  Speaker 3: the only little theater of its kind. While this theater
• 37:14
  Speaker 3: produces plays for the public, it is maintained as a
• 37:17
  Speaker 3: dramatic training school which every new player under contract to
• 37:21
  Speaker 3: RKO must attend for a year. Our talk tonight contains
• 37:24
  Speaker 3: an important announcement To all theaters and theatergoers, ladies and gentlemen,
• 37:30
  Speaker 3: a writer, director, and mother, Mrs.
• 37:33
  Speaker 2: Lela Rogers.
• 37:33
  Speaker 1: Thank you, Mr.
• 37:38
  Speaker 4: DeMille.
• 37:40
  Speaker 10: We have a little theater on the lot of the
• 37:42
  Speaker 10: Arcade Studios where we produce plays with our young contract
• 37:46
  Speaker 10: players because we feel that it is in the theater
• 37:49
  Speaker 10: the inexperienced player will get the experience they need for
• 37:53
  Speaker 10: their motion picture work.
• 37:55
  Speaker 4: Here we forget film technique.
• 37:57
  Speaker 10: And produce a drama exactly as in a legitimate theater,
• 37:59
  Speaker 10: right down to the grease paint. And by the way,
• 38:02
  Speaker 10: when the performance is over, that grease paint is removed
• 38:06
  Speaker 10: with Lux toilet soap. Oh yes, Lux is the official
• 38:09
  Speaker 10: toilet soap of our little theater, just as it is
• 38:11
  Speaker 10: in the star's dressing.
• 38:12
  Speaker 4: Room on the lot. And now for the announcement Mr.
• 38:16
  Speaker 4: DeMille referred to. Mr. S.J.
• 38:19
  Speaker 10: Briskin, production chief of RKO Studios, has selected the Lux
• 38:23
  Speaker 10: Radio Theater over which to announce to the little theaters,
• 38:26
  Speaker 10: stock companies, and legitimate theaters throughout the United States that
• 38:31
  Speaker 10: he will lend to them, for their productions, any of
• 38:35
  Speaker 10: our young contract players, when available, as guest stars to
• 38:40
  Speaker 10: appear for one- or two-week engagements without charge.
• 38:45
  Speaker 4: Mr.
• 38:45
  Speaker 10: Briskin makes this offer because it is from the theaters
• 38:49
  Speaker 10: that motion pictures have secured so much material and talent
• 38:52
  Speaker 10: in the past. The motion picture industry has even been
• 38:55
  Speaker 10: accused of destroying the legitimate theater, robbing it of its talent.
• 38:59
  Speaker 10: This need no longer be a problem. In your theater,
• 39:03
  Speaker 10: our player will get the training he needs, and the
• 39:06
  Speaker 10: legitimate theaters will receive an impetus of new life by
• 39:10
  Speaker 10: being able to announce an engagement of a Hollywood actor
• 39:13
  Speaker 10: or actress.
• 39:14
  Speaker 4: So Mr.
• 39:15
  Speaker 10: Briskin asks you to file your application for one of
• 39:17
  Speaker 10: our players at his office in Hollywood, addressing him, Mr.
• 39:22
  Speaker 3: S.J.
• 39:22
  Speaker 10: Briskin, B-R-I-S-K-I-N, Production Chief, R-K-O-S-K-I-N.
• 39:30
  Speaker 4: Hollywood, California. Thank you, and good night.
• 39:34
  Speaker 2: Good night, Mrs. Riskin.
• 39:37
  Speaker 3: I congratulate RKO on the splendid effort to aid the stage.
• 39:42
  Speaker 3: The Curtain Rises, starring Ginger Rogers and Warren William, with
• 39:45
  Speaker 3: Alan Mowbray and Viri Teasdale. Elsa's night of triumph ended
• 39:56
  Speaker 3: when she fainted in Gregory Matthews' arms. The following morning,
• 39:59
  Speaker 3: her studio room has the semblance of a florist's shop.
• 40:03
  Speaker 3: And as she reads her telegrams of congratulations, Anna enters
• 40:07
  Speaker 3: carrying two more bouquets.
• 40:09
  Speaker 4: Here you are, Miss Caru. More flowers? Let me see quickly. Oh,
• 40:15
  Speaker 4: with love from Gregory Matthews. Oh, dear, who's the other
• 40:17
  Speaker 4: one from? Um, Mr. Arnie Sanders. Oh, Arnie. Anna, are
• 40:21
  Speaker 4: you sure nothing came from Mr.
• 40:23
  Speaker 5: Phillips?
• 40:23
  Speaker 4: Not a thing, miss. Oh, see who it is, Anna. Yes, miss.
• 40:28
  Speaker 4: Good morning, Anna. Oh, come in, Miss Stewart. Carol! Hello, darling. My,
• 40:32
  Speaker 4: look at all the flowers. How are you feeling? I'm
• 40:34
  Speaker 4: all right. Did you see the papers? Yes. The critics
• 40:37
  Speaker 4: were awfully nice to me. Except one or two. They
• 40:39
  Speaker 4: said I was competent. You're getting touchy. You mustn't mind that.
• 40:41
  Speaker 4: You were grand.
• 40:42
  Speaker 6: You have no idea how natural it all sounded.
• 40:44
  Speaker 4: Carol, do you really think I could be an actress?
• 40:47
  Speaker 4: Of course. You were one last night, weren't you? Yes, but... Oh,
• 40:50
  Speaker 4: I don't know. You did it once. You can do
• 40:52
  Speaker 4: it again. I wonder... Oh, it's marvelous to act. To
• 40:56
  Speaker 4: hear the audience applaud as they did last night. It
• 40:59
  Speaker 4: was thrilling.
• 41:00
  Speaker 6: The afterpiece was even more thrilling.
• 41:02
  Speaker 4: What afterpiece?
• 41:03
  Speaker 6: Your little scene with Gregory Matthews in the dressing room.
• 41:05
  Speaker 4: The kissing sequence. Oh, that.
• 41:08
  Speaker 6: What do you mean, oh, that? When he kissed you,
• 41:10
  Speaker 6: you fainted dead away.
• 41:11
  Speaker 4: Oh, I was excited. I should say you were. Oh,
• 41:13
  Speaker 4: not because he kissed me. It was a general excitement.
• 41:16
  Speaker 4: I was nervous and tired and all wrought up.
• 41:19
  Speaker 2: That's all.
• 41:19
  Speaker 4: Then his kiss didn't mean anything to you. Not that.
• 41:22
  Speaker 4: So it's Mr. Phillips again. Again? What do you mean?
• 41:29
  Speaker 6: You know Ronald's place in the theater is fixed. He's
• 41:31
  Speaker 6: an understudy. You may go up like a rocket. Do
• 41:33
  Speaker 6: you think you can go on taking lessons from him?
• 41:36
  Speaker 4: Of course. Ronald knows so much more than I do.
• 41:38
  Speaker 4: He may have other ideas about that. I don't understand you.
• 41:41
  Speaker 6: Elsa, if it's a career that you're after, then everything
• 41:44
  Speaker 6: is all right. But if what you want is love...
• 41:47
  Speaker 6: then I'm sorry you made such a success last night.
• 41:49
  Speaker 4: I don't agree with you at all. I'm sure Ronald
• 41:51
  Speaker 4: is very proud of me, and we can go right
• 41:54
  Speaker 4: on with our lessons just like before. For how long? Oh,
• 41:57
  Speaker 4: I don't know. I feel much more confident now.
• 42:00
  Speaker 2: Oh, good morning.
• 42:01
  Speaker 4: Good morning, Wayne. It's Arnie and Stephen.
• 42:03
  Speaker 2: Hello, Elsa.
• 42:04
  Speaker 9: I tried to keep this news hawk out, but he's
• 42:05
  Speaker 9: too persistent.
• 42:06
  Speaker 4: It's all right.
• 42:07
  Speaker 2: It better be. You know the power of the press,
• 42:09
  Speaker 2: my girl. Now, what about that story?
• 42:11
  Speaker 4: Oh, not now. I can't concentrate yet.
• 42:13
  Speaker 2: All right, then. What about having dinner with me?
• 42:15
  Speaker 4: All right. I can't. Oh, let her alone, Arnie.
• 42:18
  Speaker 3: Now, don't give me that, my girl. This is the
• 42:20
  Speaker 3: greatest story of the year. Unknown girl makes good.
• 42:23
  Speaker 4: Please don't, Arnie. That was only a freak performance. I'm
• 42:27
  Speaker 4: only taking lessons.
• 42:28
  Speaker 3: You mean to say you're going to go on taking lessons?
• 42:30
  Speaker 2: Of course. Well, I'll say that little professor of yours
• 42:33
  Speaker 2: knows how to teach.
• 42:34
  Speaker 3: Let me print this story and all the girls in
• 42:37
  Speaker 3: New York will be crazy to take lessons from him.
• 42:39
  Speaker 4: No, Arnie, you mustn't.
• 42:41
  Speaker 2: Why not?
• 42:41
  Speaker 6: Because it would give her a lot of publicity which
• 42:43
  Speaker 6: she doesn't want.
• 42:43
  Speaker 4: But I thought publicity is just what an actress needs.
• 42:45
  Speaker 4: But I'm not an actress. At least not yet. I'm
• 42:49
  Speaker 4: not even sure that I.
• 42:50
  Speaker 2: Want to be. Well, that makes a good story, too.
• 42:52
  Speaker 2: May I print that?
• 42:53
  Speaker 7: No.
• 42:55
  Speaker 2: Good morning, good morning.
• 42:56
  Speaker 4: Oh, come in, Mr. Matthews.
• 42:58
  Speaker 2: Thank you.
• 42:59
  Speaker 4: I had to drop by and see how you were feeling,
• 43:01
  Speaker 4: Miss Carley. Oh, I'm fine this morning. You know everyone here,
• 43:03
  Speaker 4: don't you?
• 43:03
  Speaker 2: Of course, of course. How are you doing, Miss Stewart? Well,
• 43:06
  Speaker 2: my Juliet. Wasn't she perfect, Mr. Sanders? Swell. Everyone is
• 43:10
  Speaker 2: talking about her. And what did you think of me? Okay.
• 43:14
  Speaker 6: I thought you were a superb Romeo, Mr.
• 43:16
  Speaker 4: Matthews.
• 43:16
  Speaker 9: Thank you, thank you. It's my favorite role, you know.
• 43:18
  Speaker 9: All romance and fire. Ah, those magnificent lines.
• 43:22
  Speaker 2: That man Shakespeare, how well he understood what I, what
• 43:26
  Speaker 2: we actors need.
• 43:28
  Speaker 6: Don't you think Elsa was marvelous in the balcony scene?
• 43:30
  Speaker 2: Charming, charming, yes. How was my voice in that scene, Mr. Sanders? Yeah.
• 43:34
  Speaker 4: What did you say?
• 43:35
  Speaker 2: Yes. Yeah, yeah, yeah.
• 43:37
  Speaker 9: It's difficult seeing that. You see, I am talking up.
• 43:40
  Speaker 9: The head is thrown back and the throat muscles are constricted.
• 43:42
  Speaker 9: That is where technique comes in.
• 43:44
  Speaker 4: And you really think I came through all right?
• 43:45
  Speaker 2: Yes, marvelous, marvelous. Really, I couldn't believe it.
• 43:48
  Speaker 4: I told you I was going to work hard.
• 43:49
  Speaker 9: Yes, but it's almost a miracle that you performed in
• 43:51
  Speaker 9: so short a time. Oh, Elsa loves to study. Miss Carling,
• 43:55
  Speaker 9: do you remember what I said the first time you
• 43:57
  Speaker 9: spoke to me about this?
• 43:58
  Speaker 4: What do you mean?
• 43:59
  Speaker 9: Well, I told you I would not give lessons to
• 44:01
  Speaker 9: anyone regardless of what they offered me. Well, I have
• 44:03
  Speaker 9: changed my mind. From now on, I will be your teacher. Oh,
• 44:07
  Speaker 9: that's great.
• 44:08
  Speaker 4: But what about Mr. Phillips?
• 44:09
  Speaker 9: Oh, that's all right. After all, it was I who
• 44:11
  Speaker 9: sent him to you to teach you the first principles.
• 44:14
  Speaker 9: But you are past that now.
• 44:15
  Speaker 4: But he's worked so hard, it doesn't seem fair to
• 44:18
  Speaker 4: suddenly cut off the lessons he's been giving.
• 44:20
  Speaker 2: Well, don't let that worry you.
• 44:21
  Speaker 9: I can get him other pupils, and after I finish
• 44:23
  Speaker 9: teaching you, we will play many plays together. Someday we
• 44:27
  Speaker 9: will play Late Blossomings. Do you remember that exquisite scene
• 44:30
  Speaker 9: of the orchard under the apples at the end of
• 44:31
  Speaker 9: Act One?
• 44:32
  Speaker 4: Oh, yes, but I don't think I'd like to play
• 44:35
  Speaker 4: that scene, Mr. Matthews. But do you know, the very
• 44:37
  Speaker 4: first day I met Miss Carling, I knew she had talent.
• 44:40
  Speaker 9: So when I spoke to Phillips, I said, Phillips, I said, Phillips,
• 44:42
  Speaker 9: I have a little friend I want you to give
• 44:44
  Speaker 9: lessons to. Who knows, perhaps we may make an actress
• 44:47
  Speaker 9: out of her someday.
• 44:48
  Speaker 4: You said that to Ronald Phillips?
• 44:49
  Speaker 2: Why, of course. You know, he has his pride, too.
• 44:52
  Speaker 9: To just ask him to become a teacher to a
• 44:54
  Speaker 9: wealthy girl, well, that might not have gone down so well.
• 44:57
  Speaker 9: And now you see how you have justified all that
• 44:59
  Speaker 9: we've done for you.
• 45:01
  Speaker 2: Oh, come in, Mr. Phillips.
• 45:03
  Speaker 4: Mr. Phillips.
• 45:04
  Speaker 2: Oh, excuse me. I didn't know you were entertaining.
• 45:06
  Speaker 4: Oh, that's all right. Really, it is.
• 45:07
  Speaker 2: Why, of course, Phillips. Come in. We are glad to
• 45:09
  Speaker 2: see you. Good morning.
• 45:11
  Speaker 4: Good morning. Well, are you proud of your pupil, Mr.
• 45:14
  Speaker 9: Phillips?
• 45:14
  Speaker 2: I said so last night. You give an astonishing performance.
• 45:17
  Speaker 9: Phillips, I congratulate you as much as I have Miss Carling.
• 45:20
  Speaker 9: You have justified everything that I've said about you.
• 45:23
  Speaker 2: Thank you, Mr. Matthews. That's high praise.
• 45:25
  Speaker 4: Let me add my congratulations, too. And mine.
• 45:27
  Speaker 6: You teach well, Mr.
• 45:28
  Speaker 2: Phillips.
• 45:28
  Speaker 6: Just to think of our Elsa becoming a star overnight.
• 45:31
  Speaker 6: Thanks entirely to you.
• 45:32
  Speaker 5: That's very kind of you, but I think you're giving
• 45:34
  Speaker 5: me entirely too much credit. And if you'll permit me
• 45:37
  Speaker 5: to say so, to Miss Carling, too. She isn't a
• 45:40
  Speaker 5: great actress yet. Oh, I thought Elsa gave a beautiful performance.
• 45:43
  Speaker 6: So did I.
• 45:43
  Speaker 2: Oh, now, don't take Phillips too seriously. You know, a
• 45:46
  Speaker 2: little professional jealousy. No, Mr.
• 45:48
  Speaker 5: Matthews, there's no professional jealousy. I'm trying to be completely
• 45:51
  Speaker 5: honest with Miss Carling. You wouldn't have me do otherwise,
• 45:54
  Speaker 5: would you?
• 45:55
  Speaker 4: No, of course not.
• 45:57
  Speaker 2: But Mr.
• 45:58
  Speaker 4: Matthews thinks I did very well.
• 46:00
  Speaker 9: I certainly do. And you know what I've promised her, Phillips?
• 46:03
  Speaker 9: That from now on, I will take her lessons myself.
• 46:06
  Speaker 2: Yes, I expected that.
• 46:07
  Speaker 4: No. If there are to be more lessons, Mr. Phillips
• 46:10
  Speaker 4: will give them.
• 46:11
  Speaker 2: I'm afraid that'll be impossible. You see, I am leaving
• 46:13
  Speaker 2: this morning for Chicago.
• 46:14
  Speaker 4: What?
• 46:15
  Speaker 2: Chicago? Yes. I'm opening there in a new play. I've
• 46:18
  Speaker 2: got a very good part, and I couldn't pass it up.
• 46:21
  Speaker 2: May I ask when you made this decision?
• 46:23
  Speaker 5: Well, the part was offered to me several weeks ago,
• 46:25
  Speaker 5: but I preferred to stay in New York.
• 46:28
  Speaker 2: However, I've changed my mind.
• 46:30
  Speaker 9: Well, of course, that is very unexpected. But that is
• 46:32
  Speaker 9: the life of the theater. But have no fear, my
• 46:34
  Speaker 9: dear fellow. After all the training you've had with me,
• 46:37
  Speaker 9: you will make good there.
• 46:38
  Speaker 2: I know you will.
• 46:39
  Speaker 5: You don't have to be patronizing, Mr.
• 46:41
  Speaker 2: Matthews. I am no longer a member of your company.
• 46:44
  Speaker 2: But my dear Phillips.
• 46:45
  Speaker 9: And I'm not your dear Phillips. But what in the
• 46:47
  Speaker 9: world has got into the fellow? You'd think we were
• 46:50
  Speaker 9: mortal enemies. Just because you're leaving the company... is no
• 46:52
  Speaker 9: reason why you should act like an angry schoolboy.
• 46:54
  Speaker 2: No, I'm sorry. Will you excuse me, Miss Carling? I
• 46:57
  Speaker 2: haven't much time.
• 46:58
  Speaker 4: You're going now?
• 47:00
  Speaker 2: I'll have to. I'm catching the 11.20 for Chicago.
• 47:03
  Speaker 4: Then our lessons are over?
• 47:05
  Speaker 2: Not for the present. Perhaps someday. Goodbye, Miss Carling.
• 47:10
  Speaker 4: Goodbye.
• 47:10
  Speaker 2: What an extraordinary young fellow... He's gone. Yes, well, I
• 47:15
  Speaker 2: shall have to get myself a new understudy.
• 47:17
  Speaker 4: Elsa, come and sit down. He's gone, and I still
• 47:20
  Speaker 4: don't know.
• 47:21
  Speaker 2: Don't know what?
• 47:22
  Speaker 4: I don't know.
• 47:23
  Speaker 2: My dear girl.
• 47:25
  Speaker 4: But I'm going to find out.
• 47:27
  Speaker 7: Anna!
• 47:27
  Speaker 2: Anna!
• 47:28
  Speaker 4: Elsa, what are you going to do? Don't stop me now.
• 47:29
  Speaker 4: Where is that girl? Anna! Anna! Did you call me?
• 47:32
  Speaker 4: Anna packed my bags, all of them, in my trunk.
• 47:34
  Speaker 2: Elsa!
• 47:34
  Speaker 10: He's coming!
• 47:35
  Speaker 4: Did you hear me, Anna? Hurry, I've got to leave
• 47:36
  Speaker 4: right away. Elsa, where are you going? To Chicago on
• 47:39
  Speaker 4: the 1120.
• 47:49
  Speaker 1: 11-20 to Chicago. 11-20 to Chicago on track 24.
• 47:57
  Speaker 2: Track 24.
• 47:59
  Speaker 3: 11-20.
• 48:02
  Speaker 2: Hey, y'all, sir. Section 14. Leave the large bag down here. Yes, sir.
• 48:06
  Speaker 2: Here you are.
• 48:07
  Speaker 3: Thank you, sir.
• 48:08
  Speaker 2: Thank you.
• 48:15
  Speaker 4: Hello.
• 48:16
  Speaker 2: Why, Miss Carling, what are you doing here?
• 48:20
  Speaker 4: I came down to say goodbye.
• 48:22
  Speaker 2: Oh, that's awfully nice of you. Won't you sit down?
• 48:26
  Speaker 4: Thank you. It makes me sad to see you going.
• 48:30
  Speaker 2: It makes me sad, too.
• 48:31
  Speaker 4: I'll miss the lessons. They were fun, weren't they, Ronald?
• 48:36
  Speaker 5: They were more than fun. Each lesson was another step
• 48:39
  Speaker 5: in the painting of a portrait. You were the artist, Ronald.
• 48:44
  Speaker 2: I helped, that's all. But now that it's finished, what
• 48:48
  Speaker 2: more is there to say?
• 48:49
  Speaker 4: You've been wonderful in all that you've taught me. No
• 48:52
  Speaker 4: one could have made me act the way you did. Ronald,
• 48:57
  Speaker 4: I don't think I want to go on the stage again.
• 48:59
  Speaker 5: Yes, yes, you go on. Onward and upward. With Gregory
• 49:03
  Speaker 5: Matthews helping you, why shouldn't you.
• 49:04
  Speaker 2: Reach the top?
• 49:06
  Speaker 4: Tell me, Ronald, why did you suddenly make this decision
• 49:08
  Speaker 4: to leave New York?
• 49:10
  Speaker 2: I've already told you.
• 49:11
  Speaker 4: But you said you wanted to stay here, and suddenly
• 49:14
  Speaker 4: this morning you decide to leave. Has it anything to
• 49:16
  Speaker 4: do with last night?
• 49:18
  Speaker 2: I'd rather you didn't ask that.
• 49:20
  Speaker 4: But it's something I've got to know.
• 49:22
  Speaker 2: Last night I saw him kiss you. I knew I
• 49:25
  Speaker 2: couldn't stay here any longer.
• 49:26
  Speaker 4: But, Ronald, that didn't mean anything.
• 49:28
  Speaker 2: No, it looked like it did.
• 49:30
  Speaker 4: Ronald, don't tell me you were jealous.
• 49:34
  Speaker 5: Before I go, I want to tell you something. We
• 49:36
  Speaker 5: may never meet again, and perhaps that's why I'm telling you.
• 49:40
  Speaker 2: I love you. For weeks I've loved you. In the
• 49:43
  Speaker 2: scenes we played, when I held you in my arms.
• 49:45
  Speaker 2: It wasn't the teacher.
• 49:47
  Speaker 5: It was me. And when you kissed me in those scenes,
• 49:50
  Speaker 5: I know it meant nothing to you, but I'd leave
• 49:52
  Speaker 5: with my heart singing.
• 49:53
  Speaker 4: You love me?
• 49:55
  Speaker 5: I'll never stop thinking about you as long as I live.
• 49:57
  Speaker 5: I'll never stop seeing you in my dreams. and hearing
• 50:00
  Speaker 5: your voice and every other voice.
• 50:02
  Speaker 4: Ronald, I love you, too.
• 50:03
  Speaker 2: You love me?
• 50:04
  Speaker 4: Of course. Why didn't you tell me all of this before?
• 50:07
  Speaker 2: But I thought you and Gregory Matthews.
• 50:09
  Speaker 4: Oh, Ronald, darling, please stop being an understudy.
• 50:13
  Speaker 7: Thank you.
• 50:33
  Speaker 3: Curtain falls on the curtain rises, but Ginger Rogers will
• 50:37
  Speaker 3: be heard again in just a moment. One of the
• 50:40
  Speaker 3: few who have twin careers, both of them successful, is
• 50:44
  Speaker 3: Doris Kenyon. Her work in motion pictures is only an
• 50:47
  Speaker 3: interlude in a busy career as a singer. Given her
• 50:51
  Speaker 3: first stage role by Victor Herbert, Miss Kenyon in films
• 50:54
  Speaker 3: has played opposite John Barrymore, Rudolph Valentino, and George Arliss.
• 50:59
  Speaker 3: Since the passing of her husband, Milton Sills... She's divided
• 51:03
  Speaker 3: her activities between the screen and the concert stage. You'll
• 51:06
  Speaker 3: see her next in Paramount's new picture, Along Came Love.
• 51:10
  Speaker 3: And now, just one hour before her departure on another
• 51:13
  Speaker 3: concert tour, she sings for us.
• 51:16
  Speaker 2: Ladies and gentlemen, Miss Doris Kenyon.
• 51:25
  Speaker 4: Thank you, Mr.
• 51:26
  Speaker 2: DeMille.
• 51:27
  Speaker 8: My song tonight will be in memory of Victor Herbert.
• 51:30
  Speaker 8: I'll sing Thine Alone from his operetta Eileen.
• 51:36
  Speaker 7: Tell me, why is there a doubt within my heart?
• 51:47
  Speaker 7: My own, tell me why.
• 51:49
  Speaker 3: Why?
• 51:58
  Speaker 7: But fear the time will come when we must part Alas,
• 52:07
  Speaker 7: I should die Evermore, by day, by night I'll dream
• 52:17
  Speaker 7: of thee, my darling My heart In thine arms and
• 52:54
  Speaker 7: upon thee, my dear love, let thine eyes look on
• 53:01
  Speaker 7: thee tonight, for thy love abends the sky. Thank you.
• 53:14
  Speaker 7: Thank you. Then I will live forever And forever.
• 53:58
  Speaker 3: More Thank you, Doris. Just one question before you go.
• 54:37
  Speaker 3: Since your return from abroad, have you noticed any change
• 54:41
  Speaker 3: in Hollywood?
• 54:42
  Speaker 2: Yes.
• 54:43
  Speaker 8: I'm delighted to find the motion picture producers more receptive
• 54:46
  Speaker 8: to something I've hoped would come to pass ever since
• 54:49
  Speaker 8: the advent of music on the screen. And that is
• 54:53
  Speaker 8: the introduction of grand opera in films. Perhaps when I
• 54:57
  Speaker 8: return for my trip, the first opera will have been chosen.
• 55:01
  Speaker 4: I'm leaving now.
• 55:02
  Speaker 8: And you can be assured, my trunk contains plenty of
• 55:05
  Speaker 8: Lux toilet soap. I've found that a lovely complexion is
• 55:09
  Speaker 8: just as important before a concert audience as it is
• 55:12
  Speaker 8: before a camera.
• 55:13
  Speaker 4: To you, Mr.
• 55:14
  Speaker 8: DeMille, to Lux, and to its radio theater, my thanks, congratulations,
• 55:21
  Speaker 8: and good night.
• 55:26
  Speaker 2: Good night, Dallas. Perhaps we'll meet in Grand Opera.
• 55:40
  Speaker 3: The music you're hearing is from Ginger Rogers' current picture,
• 55:44
  Speaker 3: Swing Time, and gives me an opportunity I'm going to
• 55:47
  Speaker 3: take advantage of right now.
• 55:49
  Speaker 2: Miss Rogers, may I have this dance?
• 55:51
  Speaker 4: Why, Mr. DeMille, so sweet of you to ask me.
• 55:53
  Speaker 3: So brave of you to accept. Let's dance closer to
• 55:56
  Speaker 3: the microphone. People are entitled to hear what we say.
• 56:00
  Speaker 3: What's your next picture going to be?
• 56:01
  Speaker 4: Stepping Toes.
• 56:02
  Speaker 2: Stepping Toes? Ginger, you're making me self-conscious. What follows that?
• 56:07
  Speaker 4: Mother carries chickens, and that will be quite a change
• 56:10
  Speaker 4: for me. No songs or no dances. Dancing, you know,
• 56:14
  Speaker 4: can be pretty hard work sometimes.
• 56:15
  Speaker 2: All right, all right. I can take a hint. I
• 56:17
  Speaker 2: can do it. Let's set this one up.
• 56:19
  Speaker 4: Oh, no. Dancing isn't that hard.
• 56:21
  Speaker 3: Gary Cooper lost eight pounds working for me in the Plainsman.
• 56:24
  Speaker 3: He never danced once.
• 56:25
  Speaker 4: How did he do it? Running away from Indians?
• 56:27
  Speaker 2: No, running after them. You ought to see the Indians.
• 56:29
  Speaker 2: They're just skin and bones.
• 56:31
  Speaker 4: Well, I'm telling you, the vanishing red men would vanish
• 56:34
  Speaker 4: faster if they had to rehearse the way Fred Astaire
• 56:36
  Speaker 4: and I do. Every number we dance is preceded by
• 56:39
  Speaker 4: about 30 hours of rehearsal. That's quite a strain, but
• 56:43
  Speaker 4: I love it. As soon as Mother Carrie's chickens is done,
• 56:46
  Speaker 4: I hear rumors that I'm going to do a film
• 56:47
  Speaker 4: in Technicolor.
• 56:48
  Speaker 6: At least, I hope so.
• 56:49
  Speaker 4: And now, Mr. DeMille, may I thank you and Luck
• 56:53
  Speaker 4: Soap for a very delightful evening.
• 56:55
  Speaker 3: Thank you for a delightful performance and a dance.
• 57:10
  Speaker 4: Thank you, Miss Rogers. Ladies and gentlemen, this is your announcer,
• 57:13
  Speaker 4: Melville Ruick.
• 57:14
  Speaker 3: In a moment, Mr. DeMille tells us of next week's
• 57:17
  Speaker 3: play and stars. Tonight, our cast included the following players.
• 57:21
  Speaker 3: Alan Mowbray, Gary Teasdale, Frank Nelson as Stephen, John Gibson
• 57:26
  Speaker 3: as Arnie, Leora Thatcher as Anna, and James Eagles as Callboy.
• 57:32
  Speaker 3: Ginger Rogers and Mrs. Leela Rogers appeared through courtesy of
• 57:35
  Speaker 3: RKO Studios. Warren William, through courtesy of Emanuel Cohen. Alan Mowbray,
• 57:40
  Speaker 3: RKO Pathé, Mr. DeMille, Paramount, and Louis Silvers, 20th Century Fox,
• 57:46
  Speaker 3: where he wrote the musical score for the new film
• 57:48
  Speaker 3: Ladies in Love. May I refer you now to Mr.
• 57:52
  Speaker 2: DeMille.
• 57:54
  Speaker 3: In the Casper Milk Toast school of comedy, Frank Morgan
• 57:58
  Speaker 3: is without peer. Next week in the Lux Radio Theater,
• 58:02
  Speaker 3: you will hear Mr. Morgan playing the role of timid,
• 58:05
  Speaker 3: mild-mannered Ambrose Applejohn. And what happens after Ambrose dreams that
• 58:12
  Speaker 3: he's his pirate ancestor come to life again. The swaggering buccaneer,
• 58:16
  Speaker 3: Captain Applejack. Our sponsors, the makers of Lux Toilet Soap,
• 58:35
  Speaker 3: join me in inviting you to be with us again
• 58:37
  Speaker 3: next Monday night when the Lux Radio Theater presents Walter
• 58:41
  Speaker 3: Hackett's famous play Captain Applejack, starring Frank Morgan and Maureen O'Sullivan,
• 58:48
  Speaker 3: with a brilliant cast headed by Zita Yohan and Arkim Tamerov.
• 58:54
  Speaker 3: This is Cecil B. DeMille saying goodnight to you from Hollywood.
• 59:00
  Speaker 7: Hollywood.
• 59:10
  Speaker 4: Is the Columbia Broadcasting System.
• 59:21
  Speaker 1: That was Lux Radio Theater's October 1936 presentation of The
• 59:25
  Speaker 1: Curtain Rises. Follow the 50 greatest old-time radio shows for
• 59:30
  Speaker 1: more classic broadcasts.