Lux Radio Theatre - The Curtin Rises

A high-budget anthology series adapting major films and stage plays for radio, often with the original Hollywood stars. It brought cinematic drama into living rooms weekly.

Episode Transcript

Speaker 1 (00:00):
Hollywood, California, Toba two.

Speaker 2 (00:08):
The Nuts Radio Theater presents The Curtain Rises, starring Tinger
Rogers and Warren Williams, with Alan Mowbray and Very Teesdale.
Nuts Presents Hollywood. Our stars Tinger Rogers, Warren Williams, Alan

(00:29):
Mowbray and Very Teesdale. Our play The Curtain Rises. Our
guests Jonas Kenyon.

Speaker 1 (00:34):
And missus Leela Rodgers, dramatic.

Speaker 2 (00:36):
Coach and mother of Tonight's leading lady.

Speaker 1 (00:38):
Our producer Cecil B.

Speaker 2 (00:40):
DeMille, and our director of Music, Lois Silvers. To you
who crowd our theater tonight, and to you millions whose
theater is your home, Greetings from Lux. This hour in
Hollywood comes to you with the good wishes of the
makers of.

Speaker 1 (00:59):
Lux Toilet Soap, the pure white.

Speaker 2 (01:01):
Soap whose active lather and delicate perfume have made Lux
Toilet Soap the favorite beauty care used by nine out
of ten of Hollywood's leading stars.

Speaker 1 (01:09):
And lovely women everywhere.

Speaker 2 (01:12):
And now on with the show, Ladies and Gentlemen, that
distinguished producer of screen and radio, mister Cecil B.

Speaker 1 (01:19):
De Mills.

Speaker 3 (01:26):
Readings from Hollywood Ladies and Gentlemen. Just four hundred and
forty four years ago. Today, Christopher Columbus made good his
promise to see America. First, he discovered a new hemisphere,
and we celebrate the occasion by discovering in Ginger Rogers,
a new star. It's true that Ginger has appeared in
many pictures. She's the young woman of Fort Worth who
came to the screen and young man of Manhattan as

(01:47):
a singer and dancer. She has few, with, if any, equals,
Yet every time she asked to produce her for a
dramatic role, our young stars in the position of Christopher Columbus, who,
at a young tar are thrown off a ship because
the captain before he'd never a sailor. Tonight, however, Ginger's
ambition to play a straight dramatic role is fulfilled. We
shall hear her as Elsa Carling in the Lux Radio

(02:08):
Theaters drama The Curtain Rises by Benjamin Kay. Playing opposite
Ginger is Warren William When a youngster, Warren was the
dashing hero who laughed at on rushing locomotives and snarling villains,
and consistently rescued lovely ladies.

Speaker 1 (02:23):
In the early serial films.

Speaker 3 (02:25):
Graduating to the stage, he returned to Pictures played Julius
Caesar for Me and Cleopatras, and will be seen next
in Go West Young Man. He performs Tonight in the
role of Ronald Phillips. Alan Mowbray will be heard as
Gregory Matthews and Verry Teesdale as Carol Stewart. And Now
the Curtain Rises On The Curtain Rises, starring Ginger Rogers

(02:48):
and Warren Williams. There's a gay party in progress at
Carol Stewart's New York penthouse.

Speaker 1 (03:06):
The radio is turned on.

Speaker 3 (03:07):
Poor Glass and the living room overflows with a noisy,
good natured crowd of merrymakers. Everyone seems to be having
a grand time, everyone except Elsa Carley. Elsa, a plane
awkward appearing young lady in horn rimmed glasses stands in
the floyer straightening her hand. There's the suggestion of a
tear in her eyes as she turns to leave. Carol

(03:29):
Stewart comes from the living room.

Speaker 4 (03:32):
Elsa, Elsa, what's the matter?

Speaker 1 (03:34):
Nothing's enough, You've got to have on. I'm going home, Carol, Home,
But the party's just begun now.

Speaker 4 (03:39):
But wait a minute, no plea to.

Speaker 1 (03:43):
What this is all about? Oh it's nothing, Carol, really
is You've been sitting against the wall all evening.

Speaker 4 (03:47):
I've heard haven't heard you say a word?

Speaker 1 (03:48):
You didn't done what? Well? No, I mean I've got
a headache, Carol, I don't feel like ante. I'm sorry.

Speaker 4 (03:55):
Well I'll call on it.

Speaker 1 (03:57):
Oh no, no, don't, father, I can go home alone
and be silly on it. I brought you here, I know,
but he only did it because you.

Speaker 3 (04:03):
Asked him to.

Speaker 4 (04:03):
And I don't want to.

Speaker 1 (04:04):
Spoil his e man, you know, Elsa, stop it? Hey, girls,
what goes on? Stephen? Come here?

Speaker 4 (04:10):
Else's going to leave more? That's too bad.

Speaker 2 (04:12):
You want me to call a cat.

Speaker 4 (04:13):
No, we don't.

Speaker 1 (04:13):
I want you to find Arnie. Tell him to take
else the whole, really, Carol on Stephen right back. I
could have gone home alone, of course, but why should you?
Now that's the trouble with you, Elsair. You always let
men think they're doing you a favor. Well, it was
off and niced him to call for me. I suppose
you told him that, courll lord.

Speaker 4 (04:30):
Well it was nice of him.

Speaker 1 (04:32):
He didn't want to bring me. How do you know?
Did he say so?

Speaker 5 (04:35):
No?

Speaker 1 (04:36):
He didn't say anything. Well, Stephen, where Bonnie.

Speaker 2 (04:40):
Oh, oh, he's coming. He's talking to a couple of people,
and look, Elsa, can't just stay a little longer.

Speaker 4 (04:45):
Oh he doesn't want to take me home.

Speaker 2 (04:47):
No, I wouldn't say that.

Speaker 1 (04:48):
Oh it's all right, I don't mind. I'll speak to
that low down newspaper reporter. Where is it? Don't please, Carol,
I'll go alone.

Speaker 4 (04:55):
Good night, Elsea. Wait good night?

Speaker 1 (05:00):
Was she crying? If she wasn't, it's not your fault.
Well here, I am just a wee bit late on it.
The press is never late. Where's our little wallflower? She's
gone home? Oh yeah, well you needn't look so please.
What's the matter with it? She said she had a headache.
The real reason is that she sat in that room
for almost two hours, and not one of you even
so much as looked at them.

Speaker 2 (05:19):
Now, Carol, my dear hostess, I brought the lady to
your charming party.

Speaker 1 (05:23):
My responsibility ended there. You might have spoken to her.
I tried that in the cab. Result terrible.

Speaker 2 (05:29):
Oh is right, Carol. The girl can't talk without blushing.

Speaker 1 (05:32):
Oh, keep quiet.

Speaker 4 (05:33):
Else is one of the nicest girls I know.

Speaker 1 (05:34):
Branded But she's a prim little old maid.

Speaker 4 (05:37):
Elsa isn't an old maid.

Speaker 1 (05:38):
She's younger than I am.

Speaker 2 (05:39):
Being an old maid has anything to do with age, Carol.
Some girls are old maids at eighteen.

Speaker 1 (05:44):
Oh, poor Elsa, there you are.

Speaker 2 (05:46):
When you think of her, you say, poor Elsa.

Speaker 1 (05:48):
You're sorry for her?

Speaker 4 (05:49):
Yes, I am.

Speaker 1 (05:50):
She's missing so much in life. Inside she's so sweet
and sympathetic and clever. Well, she is clever, only somehow
she doesn't know how to let it out.

Speaker 2 (05:58):
Well, I suggest she learned how ye rosebuds while you may, right,
but first she'd better take off those glasses. Hello.

Speaker 1 (06:19):
Help to darling. Where have you been hiding? I haven't
seen you for ages.

Speaker 4 (06:23):
You've taken the studio.

Speaker 1 (06:25):
But why of course I can come Stephens. Yes, I
can bring him Arlie two. Also, what is it a party?
Who Gregory Matthews? You mean the actors?

Speaker 4 (06:37):
Well, I don't know.

Speaker 1 (06:37):
I'll try. Maybe Arlie can get him to come.

Speaker 4 (06:40):
Elsie.

Speaker 1 (06:40):
You've got me all excited? What's it all about? Well?

Speaker 4 (06:42):
I know, but all right, all right tomorrow at.

Speaker 1 (06:45):
Nine, Carol, I'm awfully glad you came before the others.

Speaker 4 (06:55):
What did you do with Stephie?

Speaker 1 (06:56):
And I based off by for Gregory Matthews.

Speaker 4 (06:59):
Oh, then he is coming, Arlie said so.

Speaker 1 (07:01):
And you, Sylvan can usually get what he wants from
the theatrical profession. Well, so this is your studio.

Speaker 6 (07:07):
Do you like it?

Speaker 1 (07:08):
It's grand?

Speaker 4 (07:09):
What's the idea?

Speaker 1 (07:10):
Oh, I have an income of my own. I can
afoid to have a place for myself. But also you
have a lovely home. So that's not the reason.

Speaker 4 (07:17):
Oh, Carol, my home has always been a prison.

Speaker 1 (07:21):
Oh, I don't mean that exactly. The prison was largely myself,
first my outside self and then my inside self outside inside.
What were you talking about? Don't care, Carol. You engaged
to be married, aren't you. Yes, you love Stephen and
he loves you.

Speaker 4 (07:34):
Yes, he kisses you.

Speaker 1 (07:36):
Doesn't he? Of course? Carol? Do you know that I've
never been kissed?

Speaker 5 (07:40):
What?

Speaker 4 (07:41):
Oh?

Speaker 1 (07:41):
I don't mean by my father, but my uncle's are
at silly party. I mean by a man, a strange man.
Is that why you've taken this studio in order to
be kissed? I thought you'd understand. Oh, I'm sorry there,
I didn't mean it that way.

Speaker 4 (07:55):
Carol. You're the only one I can talk to.

Speaker 1 (07:56):
Please let me tell you. Go on, dear, Oh, I
know it matter with me.

Speaker 4 (08:01):
I'm not pretty, I never was.

Speaker 1 (08:03):
I have no charm for men. Even as a little girl,
I used to see boys putting their arms around other
girls and stealing kisses. Oh, I wanted that too, I
want it now. But I want romance, Carol. I want
what every girl wants, love, kisses in the arms of
a man around. But what in the world is all
this got to do with your taking a studio and
Gregory Matthews.

Speaker 4 (08:22):
Well, I want to see.

Speaker 1 (08:23):
If I can't arrange to have Gregory Matthews give me
lessons in acting. Lessons in acting, But you surely don't
expect to become an actress. Well no, but you see,
I've seen all the plays that Matthews does.

Speaker 4 (08:33):
I know all the parts.

Speaker 1 (08:34):
I got the books and studied them, and I feel
now that all I need is a little little coaching. Oh,
I see, if you took lessons, you and Gregory Matthews
could play all the other scenes together. Is that it? Oh, Carol? Really, now,
don't tell me that's not the reason. Well, maybe you've
got a crush on Gregory Matthews, haven't. I mean, I
don't know whether I have or not. But lessons in

(08:56):
acting will do me any harm. Also, you're a fraud,
but I can't say I blame you. It must be
rather nice to be kissed by Gregory Matthews, especially when
it's your first kiss, Carol, am I wicked in thinking
this way about it? Thinking isn't wicked?

Speaker 4 (09:09):
I mean it isn't.

Speaker 1 (09:10):
Wrong for me to plan. Of course, not yet. I'm
a little worried about one's phase of it. What's there
for those the handsome mister Matthews gives you lessons and
you play scenes together and you really fall in love
with him, won't you be letting yourself in for a
lot of suffering. I'll take that chance. At least I
will have lived for a little while instead of going
along as I am now just nothing at all. I'm

(09:31):
willing to feel hurt.

Speaker 4 (09:33):
Even pain is an emotion.

Speaker 1 (09:35):
And that's why you're giving this party to meet Gregory Matthews.

Speaker 4 (09:38):
Yes, And now that it's here, I'm just a little nervous.
I I don't know how to explain it to him.

Speaker 1 (09:44):
Oh, don't worry, You'll find a way.

Speaker 4 (09:45):
But if I could speak to him alone, of.

Speaker 1 (09:46):
Course, Darling, I'll get it to the others.

Speaker 4 (09:48):
You leave it to me.

Speaker 1 (09:49):
You'll have mister Matthews all to yourself. Oh, thank you, Carol,
You're such a comfort.

Speaker 4 (10:03):
Won't you sit down?

Speaker 2 (10:04):
Mister Malthews, thank you. But don't you think we'd better
join the others? Oh?

Speaker 1 (10:07):
No, I I was telling Carol of something I particularly
want to ask you, and she was good enough to
arrange this.

Speaker 2 (10:14):
Oh indeed, yes, and.

Speaker 1 (10:17):
Actors like me must be such an interesting one, mister Malthews.

Speaker 2 (10:19):
Yes, it is interesting, but it means work more than
you have any idea. Now, we actors have very little
time to ourselves.

Speaker 1 (10:25):
I think I've seen you in everything you've played, So
I like to play late Blossoming.

Speaker 4 (10:30):
Be that love scene in the orchard after the soldiers
have gone.

Speaker 1 (10:33):
Oh it's so lovely.

Speaker 2 (10:34):
Yes, it was a beautiful scene.

Speaker 1 (10:36):
You like today, Well, you play it magnificently.

Speaker 2 (10:39):
Thank you, thank you. There were a difficult scene with
so many undercovers of emotions, so many new onces need
the most perfect timing. Later this season, I'm going to
put on Romeo, and of course Juliet I have always
believed Romeo a splendid thought for me.

Speaker 1 (10:53):
Oh yes, a lover. You play love scenes with such fire,
such passions, so in late bloshemy when you kissed the read.

Speaker 2 (11:02):
Yeah, yes, of course. And Miss Carling, you said there
was something you wanted to ask me.

Speaker 1 (11:06):
Oh, well, I hardly know how to ask it. But
mister Matthews, I'd like to have you.

Speaker 4 (11:11):
Give me lessons, an act lesson. It wouldn't be difficult.

Speaker 1 (11:15):
You see, I've studied all your plays.

Speaker 4 (11:16):
I know all the parts by heart. I got the
books and studied them.

Speaker 2 (11:19):
No, but miss Carling, this is impossible.

Speaker 4 (11:21):
So I realized how.

Speaker 1 (11:22):
Busy you must see, mister Matthews. And of course the fee.

Speaker 4 (11:25):
I hate to talk about such matters.

Speaker 2 (11:27):
To mister Carling. Please, this is very distressing. Don't you
understand that I am not to be higher.

Speaker 1 (11:31):
Of course, that's what makes it so difficult to talk
of a fee. But I wouldn't care what the fee is.
I'd consider it a great favor.

Speaker 2 (11:38):
It's not a matter of a fee or a favor,
Miss Carling. I simply cannot entertain your suggestion. Not for
a moment me, Gregory Matthews, give lessons. It's preposterous. Please
consider this final. Finally, I said final, I'm.

Speaker 4 (11:52):
Sorry forgive me for taking a bod time.

Speaker 2 (11:55):
Oh my dear God, here stop it, stop it, but
you must. I don't like to see a woman cry.
I can't help it. I don't feel like being.

Speaker 1 (12:03):
A teacher, can't help it. If I feel like crying, well.

Speaker 2 (12:06):
There's something to that, of course. Tell me, does it
really mean so much to this learning to be an actress?

Speaker 4 (12:12):
Oh?

Speaker 1 (12:12):
Yes, yes, Well I have a.

Speaker 2 (12:14):
Suggestion to make yes, yes, remember it's only a suggestion.
I'm not sure that could be done. What is this
well Edwards Theater? We have what is called an understudy,
you know, an actor who learns all the parts. Now,
this understudy of what's his name, Phillips? As Ronald Phillips.
He's a very capable fellow. Of course, he hasn't my
appearance of my ability, but he knows his business, and

(12:34):
he's quite poor. Understudies, you know, get little pay. I'm
sure he'd be glad to give you some lessons and
be very grateful for the fee. Well what do you say,
miss Carling?

Speaker 1 (12:43):
Well, do thank you?

Speaker 2 (12:45):
Come. I will tell him that you are a very
dear friend of mine, that I'm very much interested in you.
Oh don't, Boddy. I will arrange it then.

Speaker 1 (12:52):
If he teaches me, and if I learn awfully well, then,
will you play one scene with me? Yes?

Speaker 2 (12:58):
Yes, yes, yes. When he tells me that you have
learned how to act, I will play one scene with you. Now,
shall we joined the other?

Speaker 1 (13:03):
Yes, mister Matthews, thank you so much.

Speaker 2 (13:06):
We'll come along and for Heaven's sake, put some powder
on your nose.

Speaker 1 (13:18):
Yes?

Speaker 2 (13:19):
Is this Ms Carling studio? Yes, sir, my name is
Ronald Phillips.

Speaker 1 (13:22):
Oh yes, Miss Carlin's expecting you, sir, come in.

Speaker 2 (13:25):
Thank you?

Speaker 4 (13:26):
Who is it Anna, mister phillipsmiths Oh you may go?

Speaker 1 (13:28):
Anna?

Speaker 2 (13:29):
Yesis no?

Speaker 1 (13:31):
My name is Elsie Carling. Mister Phillips.

Speaker 2 (13:33):
How do you do?

Speaker 7 (13:35):
It?

Speaker 4 (13:35):
Was the nice of you to come so soon?

Speaker 2 (13:37):
Were not at all? Nothing's too much for a friend
of mister Matthews.

Speaker 1 (13:40):
Has mister Matthews explained everything to you about the lessons?

Speaker 2 (13:44):
And Oh? Yes, I don't feelive i've ever seen you
at the theayter, Miss Carlin.

Speaker 4 (13:48):
Oh I go to the theater very often.

Speaker 2 (13:50):
I mean backstage with with mister Matthews.

Speaker 1 (13:52):
Oh no, I haven't been backstage. Mister Matthews calls on
me here.

Speaker 2 (13:56):
Oh yes, of course, I suppose you've seen.

Speaker 1 (14:00):
In all his roles. Oh yes, I think he's magnificence
you know where I know all. He's played by heart.
You see, I've accomplished quite a little already.

Speaker 2 (14:08):
Well, learning lines is a very small part of acting,
Miss Carling, the least important part.

Speaker 1 (14:13):
But I can't learn to act unless I know the lines?
Can I?

Speaker 2 (14:16):
You can't learn to act unless you learn a lot
of other things.

Speaker 1 (14:18):
First? Well, I don't understand.

Speaker 2 (14:20):
No, Well, would you mind walking across the room for me? Walk?

Speaker 4 (14:26):
You mean like this?

Speaker 2 (14:28):
No, Miss Carling, not like that?

Speaker 4 (14:30):
What's the matter?

Speaker 2 (14:31):
Or forgive me, Miss Carling? But you have no poise,
no balance. An actress must have poise. You don't take
much exercise, do you?

Speaker 5 (14:40):
No?

Speaker 2 (14:40):
Well, you have to walk one hour every day, rain
or shy in one hour steady with head up and
shoulders back.

Speaker 1 (14:45):
But I don't like to walk.

Speaker 2 (14:47):
Mister Matthews told me that I was to give you lessons.
So you will have him to walk one hour every day.
After that you will have bending exercises, stretching exercises, practicing
facial expressions in front of a mirror, and vocal exercises
for accent and denunciation.

Speaker 1 (15:01):
I don't think I like your method.

Speaker 2 (15:02):
No, perhaps not, but I am sure you like the results.
Maybe that's the trouble with you amateurs. Do you think
acting is the easiest thing in the world. You don't
want to work?

Speaker 4 (15:11):
But I'm not an amateur?

Speaker 2 (15:12):
No, what are you?

Speaker 1 (15:13):
Then?

Speaker 6 (15:14):
Oh?

Speaker 1 (15:15):
I'm sorry. I guess I'm just nothing at all.

Speaker 2 (15:18):
Na Nah, don't go to the other extreme. I only
want to see that you start right. There's a lot
to learn, miss Carling. For instance, do you know how
many ways there are of saying ah ah, yes, ah?
How many hundreds? Look I walk into a room, I'm cold.
I see a cheerful fire. I say, oh, a fire,

(15:42):
you hear ah ah?

Speaker 1 (15:44):
Yes?

Speaker 2 (15:44):
Then then somebody says something that I don't believe. Do
I say?

Speaker 4 (15:48):
Ah?

Speaker 7 (15:49):
No?

Speaker 2 (15:50):
I say ah ah exactly.

Speaker 1 (15:55):
Let me try one all right.

Speaker 2 (15:57):
You walk into the room. Your fiance is there in
the arms of another woman. What do you say? No, No,
let's discuss we want anger.

Speaker 1 (16:12):
Ah, that's pleasure.

Speaker 2 (16:15):
You aren't glad?

Speaker 4 (16:16):
Are you wait? Let me try one more?

Speaker 1 (16:19):
I walk in?

Speaker 2 (16:21):
Uh huh.

Speaker 4 (16:24):
Is that better?

Speaker 2 (16:24):
Well it'll have to do for now.

Speaker 1 (16:26):
Yes, you know, I think I'm going to like this,
and even the exercises and making faces of.

Speaker 2 (16:31):
Myself and the walking.

Speaker 4 (16:33):
Oh, but you're going to walk with me to show me.

Speaker 2 (16:35):
How I mean the first lesson or two. Yes, when
you've learned to walk properly, then then, of course it
won't be necessary for me to walk with you.

Speaker 1 (16:43):
Of course, but then the scenes we will play scenes together, Yes, certainly, showy, yes, chow,
we try one now, well.

Speaker 2 (16:52):
If you want to do you rarely know all of
mister Matthew's plays by heart?

Speaker 1 (16:57):
Oh?

Speaker 4 (16:57):
Yes, do you do? You have a plan blossoming?

Speaker 2 (17:01):
I am mister Matthew's understudy.

Speaker 1 (17:03):
Oh of course. But well you know the scene in
the orchard when the soldiers are about to leave and
and Dorina kisses him.

Speaker 2 (17:12):
Yes, it's a nice scene that that'll do as well
as any other.

Speaker 4 (17:17):
As well as any other.

Speaker 1 (17:18):
Well, that's the finest scene mister Matthews played well, of.

Speaker 2 (17:21):
Course, the way he plays it with scenery in opposite
Helena Dale. Of course it's beautiful. But here is a
scene to run through without scenery and costumes. Do you
see what I mean?

Speaker 1 (17:33):
I'm sorry, mister Phillips. I didn't mean to be so
in earnest about it.

Speaker 4 (17:36):
Would you rather play some other scene?

Speaker 2 (17:38):
Oh no, no, that'll do very well. Well, we'll just
take the end of the X.

Speaker 1 (17:42):
Are you ready, Oh, yes, I'm I'm ready.

Speaker 2 (17:45):
Dorena is by the fence, looking in the direction the
soldiers have gone. Albert enters from the left. I see you, Dorina, Albert,
my darling. Yes, u er, maybe maybe you'd better take
off your glasses for this. Oh excuse me, yes, well,

(18:05):
that's fine, we'll start again, Dorina, Albert, my darling, Oh
a little quieter, I think.

Speaker 1 (18:15):
Oh, yes, of course.

Speaker 2 (18:18):
We'll go on from there, Dorina, come here by the tree.
Well we can't be seen.

Speaker 1 (18:24):
But Albert, I saw you march away with the regiment.

Speaker 2 (18:26):
They're resting on the other side of the hill. I
slipped away. I had to see you just once again,
my darling.

Speaker 4 (18:31):
Albert, you shouldn't have come back. A little while ago.

Speaker 1 (18:34):
You went away.

Speaker 4 (18:35):
I cried and then I stopped. But when you leave
this time I shall cry and never.

Speaker 2 (18:39):
Stop crying, Miss Carling. Don't be so nervous. I can't
help it, but it destroys the feeling. You see. This
is the scene leading up to the kiss. Yes, I know, well,
well let's go on. If there be tears for every
kiss you gave and yet more tears for every kiss

(19:01):
that I'll be bringing you, You'll not have tears enough.

Speaker 1 (19:04):
Meanwhile, there will be tears. Oh why did you return
in that one hour? I should lose you twice?

Speaker 2 (19:10):
Ha Courage my love, Yes, yes, I know the lion. Well, courage,
my love. What if you lose me twice? What if
we lose each other twenty times? A cloud may hide
the sun, erase the moon, but they return in glory
like our love? Was that a trumpet call?

Speaker 4 (19:32):
Don't go, don't go.

Speaker 2 (19:34):
I must one kiss, one one kiss, and then farewell?

Speaker 4 (19:40):
Oh, one one kiss.

Speaker 2 (19:42):
I take it now, my love. But here here, miss
miss Collings, miss calling, good lord, she's fainted.

Speaker 1 (20:04):
In just a moment.

Speaker 2 (20:05):
We continue with The Curtain Risers, starring Ginger Rogers and
Warren william Right now, let's go down to the colorful
Mexican Porter between Hollywood and Los Angeles, an after hours
mecca for all who work in moving pictures. Here two
extra girls.

Speaker 1 (20:19):
Meet with Bill, Sally, and didn't Jack and Eretic come
with you all? Bill's over there, are buying me a
Mexican lollipop. Jack's around here somewhere, but he's alone. It's funny,
you don't use to me. Jack hasn't been giving Loretta
much time, lady, No, he hasn't. Lorettas than the dumps
about it too. And you know it's really her own fault.
Somebody ought to give her a tip about her complexion.

(20:40):
That's what anybody that ever worked in pictures would tell
her what to do.

Speaker 2 (20:47):
Just a simple thing like the right complexion care can
mean the difference between popularity and loneliness. Any girl who
has a really lovely complexion is attractive. But unfortunately today
there are all too many girls who have cosmetic skin
and enlarging yours, dullness, tiny blemishes, simply because they don't
remove stale cosmetics, dust and dirt thoroughly. Luck's toilets soak

(21:07):
guards against this danger. You can use powder and rouge
as much as you like, if you depend on the
active lather of this fine soap to remove them thoroughly.
Why don't you try Lucks toilet soap. The beauty care
of nine out of ten lovely screen stars, And once again,
mister de mill, we continue the curtain Rises with Ginger Rogers,
Warren william and an all star cast. It's three months later,

(21:35):
the dramatic lessons have proceeded regularly, and under the instruction
of ROANLD Phillips, Elsa has become a new person. Gone
is the old timidity and awkwardness, and in its place
a new found gracefulness and ease. Carol Else's friend is
astonished at the chain.

Speaker 1 (21:52):
Darling.

Speaker 4 (21:53):
Turn around and if you look at you, am I
really so different? Different? Elsa?

Speaker 1 (21:56):
It's miraculous. You mean the dress, yes, even the dress.
I've never seen you, but it's everything about you. You're
so fresh, so vibal, so youthful. Annie Saunders says, I
even walked and talked differently. Arnie Saunders. Has he been here?

Speaker 4 (22:08):
Oh? He drops in once more.

Speaker 1 (22:09):
I see, by the way, what happened to your glasses?

Speaker 4 (22:12):
Like? Oh, I never wear them anymore. Since I've been
taking lessons from.

Speaker 1 (22:16):
Amma Phillips, I've discovered I can really see quite well
without them. It's funny, isn't yees? This mister Phillips doesn't
happen to be understudied to a magician. No, he's still
working for Gregory Matthews, understudy and assistant stage managers. I
suppose Matthews drops in also, No, I haven't seen him
since the night you were all here. Well, but you're
getting yourself ready for him, am I aren't you? Honest, Carol,

(22:39):
I haven't even thought of Gregory Matthews lately. You haven't,
So what are you going on taking lessons for? Well,
they've done me a lot of good. Heavens they yes,
but that wasn't the purpose when you started. It was
all to lead up to a kiss. Tell me Elsa,
this understudy does he have a tissue? Oh yet whenever
the scene calls for who selects the scene? Well, you see,

(23:00):
we go through our exercises and then we just pick
some scene and run through it and he kisses you. Yes. Well,
well it's very nice. Such enthusiasm about a kiss.

Speaker 4 (23:10):
What did you expect me to do?

Speaker 1 (23:11):
Faint? I did what I did the first time he
gets me. Now, wait a minute, I think I'm beginning
to understand the way you look, the way your eyes shine.
So that's it. And I thought it was all from
the lessons. It is how you must look forward to them.

Speaker 4 (23:25):
I do, Carol.

Speaker 1 (23:27):
Every lesson is like going to a play. It's an
adventure before Ronald arrives. It's just as if I were
sitting in the audience before the play begins, and then
and then he rings the doorbell and the curtain rises, Elsa,
you're in love with him?

Speaker 4 (23:41):
Is it love to be on pins and needles until
he arrives?

Speaker 1 (23:43):
Yes, that's love? And is it love to feel all
empty when he's gone?

Speaker 4 (23:48):
Yes, that's love too. Well. I seem to have all
the symptoms, not.

Speaker 1 (23:52):
All of them, but it's a good start. Funny. I
had the idea all along that it was Gregory Matthews.
But I've told you I haven't seen Gregory Matthews.

Speaker 4 (23:59):
That's just it.

Speaker 1 (24:00):
You've been playing all these love scenes with Ronald. Perhaps
if you saw Matthews again, you'd find that it was
he after all.

Speaker 4 (24:05):
Do you really think so?

Speaker 1 (24:06):
I don't know. You started with a crush on Matthews.
Tell me, Elsa, has Ronald told you that he loves you?

Speaker 4 (24:11):
Well, that's it.

Speaker 1 (24:13):
That's what I haven't the slightest idea whether he loves
me or not. He kisses you, doesn't he? Yes? But
it's all in the acting scenes. Well, you kiss him,
don't you? Yes, But he probably thinks that's acting too,
doesn't he say anything?

Speaker 4 (24:26):
Yes, it's always about lessons.

Speaker 1 (24:28):
No, that's bad. But sometimes I've noticed he just stands
and looks at me. Ah, that's good. Do you still
pay for your lessons?

Speaker 2 (24:36):
Yes?

Speaker 1 (24:37):
Uh, that's bad, but he never.

Speaker 4 (24:38):
Asked me for it.

Speaker 1 (24:39):
Ah, that's good.

Speaker 4 (24:40):
Do you know what I think?

Speaker 5 (24:41):
Elsea?

Speaker 1 (24:41):
Know what? Over at the theater they all look up
to Matthews as a sot of God. Well that includes
Ronald Phillips. And don't forget that it was Matthews who
sent him here to give you lessons. Maybe he thinks
you're matthews fiance. Oh Carol, would you look please?

Speaker 8 (24:55):
Ah?

Speaker 1 (24:55):
What a thrilled that anyone should think that I was
Gregory matthews fiance. Well please make up your mind whose
fiance you want to be? Matthews of Phillips?

Speaker 4 (25:02):
Oh Carol, I thought you'd know.

Speaker 1 (25:04):
No, I don't know, and I don't think you do either.
I look here out there. If your Ronald thinks you'll
engage to Matthews, naturally, he wouldn't dream of making love
to you.

Speaker 4 (25:12):
How loyal he is?

Speaker 1 (25:13):
Loyalty Fiddlesticks. You've got to get that idea out of
his head. But how that's up to you? Is he
coming here this afternoon? Who is he comes every afternoon? Hot?
Well get him talking about Matthews. Try to find out
what's in his mind, and then and then show him
what's in your mind. If you know what's in your mind? Yes, yes,
only only what I was just thinking. Isn't it a
shame that I never got to play a scene with

(25:35):
Gregory Matthews. Come in, mister Phillips, you're late this afternoon.

Speaker 2 (25:54):
Sorry, we've been having the final rest rehearsal of Robo
and Juliet. I won't be able to stay very.

Speaker 1 (25:58):
Long then there won't be are you listening today?

Speaker 2 (26:01):
Well, a short one. You know.

Speaker 1 (26:03):
I've worked out a new way of saying, Ah, really,
would you like to hear how it goes? Very much? Well?

Speaker 4 (26:09):
A girl has just had a crawl with her lover.

Speaker 1 (26:11):
You're the love to see, and you've just gone out
of that door saying that you'll never be back. The
girl is heartbroken, and she goes over there and sits
down and cries.

Speaker 4 (26:19):
Now the lover has changed.

Speaker 1 (26:20):
His mind and comes back through the open door, and
he stands as you are standing, looking at the girl.
She jumps to her feet, gushes over and throws herself
into his arms and kisses him like this. Well, how
is that very good? But uh, what about the r Oh,

(26:40):
the girl would probably forget all about there.

Speaker 7 (26:44):
Is?

Speaker 2 (26:44):
Of course you.

Speaker 4 (26:44):
Would, but didn't I do it will?

Speaker 2 (26:47):
The pantomim is, but it liked a little sincerity. The
feeling is improving, but the door.

Speaker 1 (26:52):
You're always saying this, No, but it's true.

Speaker 2 (26:55):
It's the same when we play Romeo and Juliet in
that and in that other play we did yesterday, the
scene with the princess meet her lover.

Speaker 1 (27:01):
Oh you mean when you are gone, I cannot move
my lips except to breathe your name and oh my love.
When you are here, they are in dreamless sleep until
you waken them upon your own.

Speaker 2 (27:12):
Yes, that's exactly what I mean. Can't you see you're
just saying words. There's no lover standing before you.

Speaker 1 (27:20):
Well I tried it last night when I was alone,
and seemed to.

Speaker 2 (27:23):
Go all right, look forget all about me. Close your eyes.
Now picture your lover before you, picture the man you
love more than anyone else in the world. Now again, when.

Speaker 1 (27:37):
You are gone, I cannot move my lips except to
breathe your name and oh my love. When you are here.
They are in dreamless sleep till you waken them upon
your own.

Speaker 2 (27:50):
Yes, yes, did you like it? Glory? It's incredible what
you've learned in three months.

Speaker 4 (27:58):
You're really pleased with me.

Speaker 2 (28:00):
He's with you, of course I am. Soon there won't
be anything left for me to teach you.

Speaker 1 (28:05):
Oh no, you mustn't say that.

Speaker 2 (28:06):
I beg your pardon.

Speaker 1 (28:07):
Oh I mean, I'm sure there will always be something
for me to learn. I'll never know as much about
the theater as you do.

Speaker 2 (28:13):
Know about the theater. Perhaps not, but boy's technique. You
could step on the stage tomorrow.

Speaker 1 (28:18):
I'm marvelous. Have you told that to mister Malthews?

Speaker 2 (28:21):
No? No, I haven't.

Speaker 4 (28:22):
Why not?

Speaker 7 (28:23):
Why?

Speaker 2 (28:24):
I have never discussed too with mister Matthews.

Speaker 1 (28:26):
That's strange.

Speaker 4 (28:27):
I think he'd be interested now I was getting along.

Speaker 2 (28:29):
Haven't you been keeping him informed?

Speaker 1 (28:31):
Why do you say that?

Speaker 2 (28:32):
I'm sorry? I merely thought, what what were you thinking?
I was thinking? We aren't getting on with our lesson.
You'll never learn to act this way.

Speaker 1 (28:41):
Maybe I'm learning something else?

Speaker 2 (28:43):
And shall we do the exercises now.

Speaker 4 (28:45):
If you want? Why don't you like to talk about
Gregory Mathews?

Speaker 7 (28:49):
What?

Speaker 2 (28:49):
Who said? I didn't?

Speaker 4 (28:50):
But you never do?

Speaker 2 (28:52):
Gregory Matthews is a splendid actor and my employer. I
have a great respect for him. We'll try the I
EA exercise first.

Speaker 4 (29:02):
I E A R e A I E A. Does
mister Matthew do this every day too?

Speaker 2 (29:09):
Of course, speaking is like singing.

Speaker 1 (29:10):
The throat must be.

Speaker 2 (29:11):
Kept open and free. Now the may my mod move.

Speaker 1 (29:16):
Nay, may may may me me me do I do
that as good as Gregory Matthews.

Speaker 2 (29:21):
You can't do anything as good as Gregory Matthews. My
my my my my my.

Speaker 1 (29:26):
My my my my.

Speaker 4 (29:27):
You need be quite loyal to him.

Speaker 2 (29:28):
That isn't loyally. That's a fact.

Speaker 4 (29:30):
Mo mo mo mo mo, mo mo mo mo. There's
something more important than fat what mother fact?

Speaker 7 (29:38):
Excuse me? Hello?

Speaker 4 (29:41):
Yes, oh he's here.

Speaker 2 (29:43):
It's for you the theater. Hello, oh hello, mister Matthews. Yes,
what how what happened to her? Good lord? What about
Geraldine Day?

Speaker 4 (29:56):
What?

Speaker 1 (29:58):
Well?

Speaker 2 (29:58):
I don't know who? Yes, I do, I do know someone,
Elsa Carling?

Speaker 7 (30:03):
What is it?

Speaker 2 (30:04):
I said, Elsa Carling. Of course he can listen to me.
She can do it. She knows it backwards. I know
she can.

Speaker 4 (30:10):
What can I do? What can I do?

Speaker 1 (30:11):
Cue?

Speaker 2 (30:12):
Hello?

Speaker 1 (30:12):
Hello?

Speaker 2 (30:13):
I'll bring her right over to the theater right away.

Speaker 1 (30:15):
Goodbye, keept your hat?

Speaker 2 (30:17):
What your hat?

Speaker 1 (30:17):
Your hat?

Speaker 2 (30:18):
Our leading lady has been taken sick, and her understudy
can't be found.

Speaker 4 (30:21):
But what is that to do with me?

Speaker 2 (30:22):
It's got everything to do with you. Don't you understand
they can't find a leading lady who knows the pot?

Speaker 1 (30:26):
You know it.

Speaker 2 (30:27):
You're going to play it? Play what Romeo and Juliet
with Gregory Matthews dreamt Curt No up at dream.

Speaker 4 (30:42):
Minutes, Carol, it is awful. I can't play Juliet.

Speaker 1 (30:44):
I can't and still the Altos movie. You've got the
chance of the night time.

Speaker 5 (30:47):
I won't do.

Speaker 1 (30:48):
You've got to You can't take Gregory Matthews. Tho, yes,
I can write about yourself.

Speaker 4 (30:51):
What do you mean? Don't forget the.

Speaker 1 (30:53):
Purpose of your lessons. Matthews will hold you in his
arms and tell you that he loves you.

Speaker 4 (30:56):
He'll kiss it.

Speaker 5 (30:56):
He won't.

Speaker 4 (30:57):
I won't let him. What not in front of all
those people in a play.

Speaker 1 (31:00):
I don't care, Miss Carling. Are you ready?

Speaker 4 (31:03):
No, it's not, she says, she won't go on.

Speaker 2 (31:04):
Let's go on, but you must hurting out hold it,
hold it, miss Carling, You've got to help us come
out in the week. I won't well, I can't start
to play Romeo unless I know whether I have a Juliet. Well,
why don't you get someone else, Miss Carling, listen, I'm
pleading with you.

Speaker 1 (31:16):
I Gregory met you.

Speaker 4 (31:17):
If I only had a chance to think.

Speaker 1 (31:19):
There's no time to think.

Speaker 2 (31:19):
You've got to wat Come on, will you come or
do I have to carry?

Speaker 1 (31:22):
Come on? No, no, no, put me down, put me down.

Speaker 4 (31:25):
I can't do it.

Speaker 2 (31:26):
I'll die know, well, of course you will. Juliet always dies,
but not until the last day.

Speaker 1 (31:39):
Oh Romeo Romeo, Well for Arthur Romeo, DENI th.

Speaker 4 (31:45):
Father, refuse the name?

Speaker 1 (31:48):
If so, will not? How is when I am laid
into the tam I wake before the time that Romeo
comes to redeem.

Speaker 9 (32:05):
There's a fearful point. Then I'll be brief.

Speaker 1 (32:17):
Oh happy daggers, this is thy shame.

Speaker 10 (32:22):
They're rust and let me die.

Speaker 2 (32:35):
Pie, Thank you outside everyone, Miss Colling, mistressed outpie.

Speaker 1 (32:41):
I want the story.

Speaker 4 (32:41):
I'll son he's not known evil.

Speaker 1 (32:44):
Though, Miss Calling.

Speaker 2 (32:45):
Oh, mister Tiller, may I congratulate you. You were wonderful.

Speaker 4 (32:48):
Thank you.

Speaker 2 (32:49):
One of the finest Juliets I have ever seen. Eleven
cut and calls eleven else.

Speaker 1 (32:53):
You were magnificence, and you, mister Matthews, that that's a
great compliment.

Speaker 2 (32:57):
That's within our love scenes. You turned away, did I'm sorry?

Speaker 1 (33:00):
I think she better arrest mister Matthews.

Speaker 2 (33:02):
Ruse, of course. Come here, my dear, Yes, let me
look at you. You're beautiful, Elsa, beautiful. The world is
at your feet, my child. You will go on onward
and upward in the stars, shall ring with the name
of Elsa Carley. Please please, I ask no part in
your new world, my dear, only to be remembered occasionally
as a humble man who recognized George genius and gave

(33:24):
it his rightful place. Just this, I asked this, and
a reverend kiss from your most reverent ad man.

Speaker 4 (33:30):
No, no, please not let me go.

Speaker 2 (33:32):
My lip's two blushing pilgrims already stand to smooth that
rough touch with a tender kiss.

Speaker 1 (33:37):
Oh no, here, here, Elsa, what's the.

Speaker 7 (33:39):
Better with you?

Speaker 1 (33:40):
Oh? Good heaven? She said again. The cars are station identification.

Speaker 3 (33:53):
This is the Columbia Broadcasting System. Ginger Rogers as Elsa Carling,

(34:13):
Warren William as Ronald Phillips, and our all star cast
returned to the microphone shortly in the concluding scenes of
the Curtain Risers. The mother of tonight's star, missus Leela Rodgers,
today directs at RKO Studios, the only little theater of
its kind. While this theater produces plays for the public,
it is maintained as a dramatic training school which every

(34:34):
new player under contract to our KAO must attend for
a year. Our talk tonight contains an important announcement to
all theaters and theatergoers, ladies and gentlemen.

Speaker 1 (34:43):
A writer, director and mother, this is Leila Rodgers.

Speaker 4 (34:51):
Thank you for the mill.

Speaker 1 (34:53):
We have a little theater on the lot of the
RKS Studios where we produce plays with our young contact players.
Beco course, we feel that it is in the theater
the inexperienced player will get the experience they need for
their motion picture work. Here we forget film technique and
produce a drama exactly as in a legitimate theater, right
down to the grease paint. And by the way, when

(35:15):
the performance is over, that grease paint is removed with
lux toilet soap. Oh yes, luck is the official toilet
soape of our little theater, just as it is in
the stars dressing room on the lot. And now for
the announcement. Mister Demill referred to mister s. J. Briskin,
Production Chief of our Studios, has selected the lux Radio
theater over which to announce to the little theaters, stock companies,

(35:38):
and legitimate theaters throughout the United States that he will
lend to them for their productions any of our young
contract players, when available as guest stars, to appear for
one or two week engagement without charge. Mister Briskine makes
this offer because it is from the theaters that motion

(35:59):
pictures have secured so much material and talent.

Speaker 4 (36:01):
In the past, the motion picture.

Speaker 1 (36:03):
Industry has even been accused of destroying the legitimate theater,
robbing it of its talent. This need no longer be
a problem in your theater. Our player will get the
training he needs, and the legitimate theaters will receive an
impetus of new life by being able to announce an
engagement of a Hollywood actor or actress. So mister Briskine
asks you to file your application for one of our

(36:25):
players at his office in Hollywood, addressing him mister S. J.
Briskin b r I s K I M Production Chief
R K. O Studios, Hollywood, California. Thank you and good night.

Speaker 3 (36:44):
I congratulate our KO on this splendid effort to aid
the stage. The Curtain Rises, starring Ginger Rodgers and Warren
William with Alan Mowbray and Very Teesdale. Elisair's night of
triumph ended when she painted in Gregory Matthew's arms. The

(37:04):
following morning, her studio room has the semblance of a
florist chap and as she reads her telegrams of congratulations.

Speaker 1 (37:11):
Anna enters carrying two more couquettes.

Speaker 4 (37:16):
Here you are this, Carol, More flowers and me secrets?

Speaker 1 (37:19):
Oh, with love from Gregory Matthews.

Speaker 4 (37:21):
Oh dear, who's the other one? From mister Armie Saunders?

Speaker 7 (37:25):
Est?

Speaker 5 (37:25):
Anna?

Speaker 4 (37:26):
Are you sure nothing came from.

Speaker 1 (37:27):
Mister Phillips doesn't see this?

Speaker 6 (37:29):
See what is?

Speaker 9 (37:30):
Anna?

Speaker 1 (37:30):
Yes?

Speaker 5 (37:32):
Good body?

Speaker 3 (37:32):
Anna?

Speaker 1 (37:33):
Oh coming it's you, Carol, Hello, darling mine with all
the flowers. How are you feeling all right? Did you
see the papers?

Speaker 2 (37:39):
Yes?

Speaker 1 (37:40):
The Greigs were a really nice to me, except one
or two they said I was competent, you're getting touches?
It was my mate, You're grand You've no idea? How
natural at all sounded Carol, do you really think I
could be an actress?

Speaker 4 (37:50):
Of course you were won last night.

Speaker 1 (37:51):
Weren't you?

Speaker 7 (37:52):
Yes?

Speaker 4 (37:52):
But oh I don't know.

Speaker 1 (37:54):
You did it once, you can do it again, I wonder.
Oh it's marvelous to act. To hear the audience supplied
as they did last night, it was thrilling. The after
piece was even more thrilling for after Peace. You'll look
at theme with Gregory Matthews in the dressing room. The
kissing sequence.

Speaker 4 (38:09):
Oh that what you mean all that?

Speaker 7 (38:11):
When he kissed you?

Speaker 1 (38:12):
You fainted dead away? I was excited, I should say
you were. Oh, not because he kissed me. It was
a general excitement. I was jevous and tired or raw up.

Speaker 4 (38:20):
That's all.

Speaker 1 (38:20):
Then his kiss didn't mean anything to you.

Speaker 7 (38:22):
Not that.

Speaker 1 (38:23):
So it's mister Phillips again again. What do you mean?

Speaker 2 (38:30):
You know?

Speaker 1 (38:30):
Ronald's place in the theater is fixed. He's an understudy.
You may go up like a rocket. Do you think
you can go on taking lessons from him? O?

Speaker 4 (38:37):
Course Ronald knows so much more than I do.

Speaker 1 (38:39):
He may have other ideas about this.

Speaker 4 (38:40):
I don't understand you, Elsa.

Speaker 1 (38:42):
If it's a career that you're after, then everything is
all right, But if what you want is love, then
I'm sorry you made such a success last night.

Speaker 4 (38:49):
I don't agree with you at all.

Speaker 1 (38:50):
I'm sure Ronald is very proud of me, and we
can go right on with our lessons just like before
for how long? Oh, I don't know. I feel much
more confident now.

Speaker 4 (38:59):
Oh, good morning, Good morning. That's Annie and Steven.

Speaker 2 (39:02):
Also. I've tried to keep this news hawk out, but
he's too persistent. I'm sorry that better be. You know
the power of the press. My girl, Now what about
that story?

Speaker 4 (39:10):
Or no? No, I can't concentrate yet.

Speaker 1 (39:12):
All right, then what about having dinner with me? I
can't let her alone, Arnie.

Speaker 2 (39:16):
Now, don't give me that, my girl. This is the
greatest story of the year. Unknown girl makes good.

Speaker 1 (39:20):
Please, old Arnie, that was only a freak performance. I'm
only taking lessons. You mean to say you're going to
go on taking lessons.

Speaker 2 (39:27):
Of course, Well, I'll say that little professor of yours
knows how to teach. Let me print this story, and
all the girls in New York will be crazy to
take lessons from him.

Speaker 1 (39:36):
No, Ernie, you mustn't because it would give her a
lot of publicity, which she doesn't want. But I thought
publicity is just what an actress needs. But I'm not
an actress, at least not yet. I'm not even sure
that I want to be.

Speaker 2 (39:47):
Well, that makes a good story too, May I print that?

Speaker 1 (39:49):
No her? Good morning?

Speaker 2 (39:52):
Good morning?

Speaker 4 (39:52):
Oh come in, mister Matthew, thank you.

Speaker 2 (39:55):
I have to drop by and see how you were feeling.

Speaker 1 (39:56):
Miss College come on fine this morning?

Speaker 2 (39:58):
You know everyone you don't I'm miss Stewart. Well, my Juliet,
wasn't she perfect? Missus Sanders, well, everyone is talking about her?
And what did you think of me?

Speaker 1 (40:08):
Okay? I thought you were a superb rommi or this Matthew,
thank you, thank you.

Speaker 2 (40:12):
It's my favorite role, you know, all romance and fire. Ah,
those magnificent lines that man Shakespeare, How well he understood
what I what we actors need.

Speaker 1 (40:22):
Don't you think Elsa was marvelous in the balcony scene? Charming?

Speaker 2 (40:25):
Charming? How was my voice in that? Seeing? Missus Sanders
got to say, yes, it's difficult scene that you see.
I am talking up. The head is thrown back in
the throat, muscles are constricted. That is where technique comes in.

Speaker 4 (40:37):
And you really think I came through all right.

Speaker 2 (40:39):
His marvelous, marvelous. Really, I couldn't believe it.

Speaker 4 (40:41):
I told you I was going to work hard.

Speaker 2 (40:42):
But it's almost a miracle that you performed in so
short a time.

Speaker 1 (40:45):
Oh welse loves to study, Miss Culling.

Speaker 2 (40:47):
Do you remember what I said the first time you
spoke to me about this?

Speaker 4 (40:50):
What do you mean?

Speaker 2 (40:51):
Well, I told you I would not give lessons to anyone,
regardless of what they offered me. Well, I have changed
my mind. From now on, I will be your teacher.

Speaker 1 (40:59):
That's great.

Speaker 4 (41:00):
But what about mister Phillips.

Speaker 1 (41:01):
That's all right?

Speaker 2 (41:02):
After all, it was I who sent him to you
to teach you the first principles. But you are past
that now.

Speaker 1 (41:07):
But he has worked so hard it doesn't seem fair
to suddenly cut off the lessons he's been given.

Speaker 2 (41:11):
Well, don't let that word you. I can get him
other pupils. And after I finished teaching you, we will
play many plays together. Someday we will play Late Blossoming.
Do you remember that exquisite scene of the Ortogne of
the apples in the background?

Speaker 7 (41:22):
Oh?

Speaker 1 (41:22):
Yes, but I don't think i'd like to play that scene,
mister Matthews.

Speaker 2 (41:26):
So do you know the very first day I met
miss Carling, I knew she had telling when I spoke
to Phillips, I said, Phillips, I said, Philip, I have
a little friend. I want you to give lessons to
who knows, perhaps we may make an actress offer some day.

Speaker 4 (41:37):
You said that to Ronald Phillips.

Speaker 1 (41:38):
Why, of course you know he has his pride too.

Speaker 2 (41:41):
To just ask him to become a teacher to a
wealthy girl, Well, that might not have gone done so well.
And now you see how you've justified all that we've
done for you.

Speaker 5 (41:49):
Oh, come in, mister Phillips.

Speaker 2 (41:51):
Mister Phillips, Oh excuse me, I didn't know you were entertaining.

Speaker 4 (41:54):
Oh that's all right, really it is.

Speaker 2 (41:55):
I have cass Phillips.

Speaker 7 (41:56):
Come in.

Speaker 2 (41:56):
We are glad to see you.

Speaker 1 (41:59):
Well.

Speaker 4 (42:00):
Are you proud of your pupil, mister Phillips.

Speaker 2 (42:02):
I said so last night you gave an astonishing performance. Phillips,
I congratulate you as much as I have Miss Carling.
You have justified everything that I've said about you. Thank you,
mister Matthews. That's high.

Speaker 1 (42:11):
Pray.

Speaker 2 (42:11):
Let me add my congratulations.

Speaker 1 (42:13):
Too, and mine you teach well, mister Phillips. Just to
think about else to becoming a star of a night
thanks entirely to you.

Speaker 2 (42:18):
No, that's very kind of you. But I think you're
giving me entirely too much credit. And if you will
permit me to say so to miss Carling too, she
isn't a great actress, yet I thought I else. I
gave a beautiful performance, so did I. Oh, Now, don't
take Phillips too seriously. You know, a little professional jealousy,
you know, mister Matthews is no professional jealousy. I am
trying to be completely honest with Miss Carling. You wouldn't

(42:39):
have me do otherwise, would you?

Speaker 4 (42:40):
No, of course not.

Speaker 1 (42:42):
But mister Matthews thinks target very well.

Speaker 2 (42:45):
I certainly do.

Speaker 1 (42:46):
And you know what.

Speaker 2 (42:46):
I've promised her Phillips that from now on I will
take her lessons myself. Yes, I expected that.

Speaker 1 (42:52):
No, if there are to be more lessons, mister Phillips,
we'll give them.

Speaker 2 (42:55):
I'm afraid that will be impossible. You see, I am
leaving this morning for Chicago.

Speaker 1 (42:58):
What Chicago?

Speaker 2 (43:00):
Yes, I'm opening there and a new play. I've got
a very good part and I couldn't fast it up.

Speaker 1 (43:04):
May I ask when.

Speaker 2 (43:05):
You made this decision? Well? Part was offered to me
several weeks ago, but I preferred to stay in New York. However,
I've changed my mind. Well, of course that is very unexpected,
but that is the life of the theater. But have
no fear, my dear fellow. After all the training you've
had with me, you will make good there. I know
you will. And you don't have to be patronizing, mister Matthews.
I am no longer a member of your company with

(43:27):
my dear Philips, and I'm not your dear Phillips. But
what in the world has got into the fellow? You'd
think your model enemies just because you're leaving the company.
There's no reason why should act like an angry schoolboy.
I'm sorry, Will you excuse me, Miss Carling. I haven't
much time, so going now, I'll have to. I'm catching
the eleven twenty for Chicago. Then our lessons are over,
not for the present, perhaps someday. Goodbye, Miss Carlin, Goodbye,

(43:52):
what an extraordinary young fellow. He's gone here as well.
I shall have to get myself, and you understand it coming.

Speaker 4 (43:59):
He's gone, and I still don't know.

Speaker 2 (44:01):
Don't know what I don't know, My dear girl, but.

Speaker 4 (44:05):
I'm going to find out Hannah, Hannah else?

Speaker 1 (44:08):
So what are you going to do?

Speaker 4 (44:09):
Don't stop me out? Where is that girl?

Speaker 7 (44:10):
Anna? Anna?

Speaker 1 (44:11):
Do you call me an? A?

Speaker 4 (44:12):
Popid? Bags? All of them in my trunk? Also? Did
you hear me in a hurry? I'll go to leave
right away.

Speaker 1 (44:17):
Else, So where are you going?

Speaker 4 (44:18):
This is Icago on the eleven twenty No.

Speaker 2 (44:29):
But it's Wendy.

Speaker 1 (44:30):
It is a Corgo eleven? Whaty is the cargo on
crank twenty four.

Speaker 2 (44:35):
Rack twenty four eleven? Hey also says, and folking, leave
the lounge back down here? And yes, here you are?

Speaker 1 (44:45):
Donk you say thank you? Hello?

Speaker 2 (44:54):
Why is Colin? What are you doing here?

Speaker 4 (44:57):
I came down to say goodbye?

Speaker 2 (45:00):
Well, that's awfully nice of you. Won't you sit down?

Speaker 1 (45:03):
Thank you? It makes me sad to see you going.

Speaker 2 (45:07):
It makes me sad too.

Speaker 1 (45:08):
I'll I'll miss the lessons. They were fun, weren't they, Ronald?

Speaker 2 (45:13):
There were more than fun. Each lesson was another step
in the painting of a portrait.

Speaker 1 (45:17):
You were the artist, Ronald.

Speaker 2 (45:20):
I help, That's all. But now that it's finished, what
more is there to say?

Speaker 1 (45:25):
You've been wonderful and all you taught me No one
could have made me ask the way you did. Ronald.

Speaker 4 (45:32):
I don't think I want to go on the stage again.

Speaker 2 (45:35):
Yes, yes, you'll go on onward and upward with Gregory
and Matthews helping you. Why shouldn't you reach the top?

Speaker 1 (45:41):
Tell me, Ronald, why did you suddenly make this decision
to leave New York. I've already told you, but you
said you wanted to stay here, and suddenly this morning
you decided to leave.

Speaker 4 (45:50):
How did anything to do with last night?

Speaker 2 (45:52):
I'm brother, you didn't ask.

Speaker 4 (45:54):
That, but it's something I've got to know.

Speaker 2 (45:57):
Last night I saw him kiss you. I knew I
couldn't stay here no longer. But Brun, that didn't mean anything, no,
and it looked like it did.

Speaker 1 (46:05):
Run. Don't tell me you were jealous.

Speaker 2 (46:08):
Before I go. I want to tell you something. We
may never meet again, and perhaps that's why I'm telling them.
I love you for weeks. I've loved you in the
scenes we played. When I hold you in my arms,
it wasn't the teacher, it was me. And when you
kissed me in those scenes, I know it meant nothing
to you, but I'd leave with my heart singing you
love me. I'll never stop thinking about you. As long

(46:29):
as I live, I'll never stop seeing you in my
dreams and hearing your voice in every other voice round.

Speaker 4 (46:34):
I love you too.

Speaker 2 (46:35):
You loved me, of course.

Speaker 4 (46:37):
Why didn't you tell me all of this before?

Speaker 1 (46:39):
But I thought you and Gregory mexw.

Speaker 8 (46:41):
Ronald Darling, please stop being an understudy.

Speaker 3 (47:04):
The curtain falls on, the curtain rises, but Ginger Rogers
will be heard again in just a moment. One of
the few who have twin careers, both of them successful,
is Doris Kenyon. Her work in motion pictures is only
an interlude and a busy career as a singer. Given
her first stage role by Victor Herbert, Miss Kenyon in
films has played opposite John Barrymore, Rudolph Valentino, and George Arlis.

Speaker 1 (47:28):
Since the passing of her husband.

Speaker 3 (47:30):
Milton Sills, she's divided her activities between the screen and
the concert stage. You'll see her next in Paramount's new
picture Along Came Love and Now. Just one hour before
her departure on another concert tour, she sings for us
ladies and gentlemen, Miss.

Speaker 1 (47:45):
Darris Kenyon, thank you, mister Daniel. Nice song tonight will
be in memory of Victor Herbert.

Speaker 4 (47:58):
I'll sing Dinah's fun apreta.

Speaker 6 (48:01):
I rely my mile.

Speaker 7 (48:19):
Tell me.

Speaker 4 (48:24):
What the.

Speaker 7 (48:27):
Compliment famil we love be?

Speaker 5 (48:43):
My no mile is the mona.

Speaker 7 (49:22):
I co one my lo.

Speaker 3 (50:53):
Thank you, Darris. Just one question before you go. Since
your return from abroad, have you noticed any in Hollywood?

Speaker 1 (51:01):
Yes, I'm delighted to find the motion picture producers more
receptive to something I've hoped would come to pass ever
since the advent of music on the screen, and that
is the introduction of grand opera in films. Perhaps when
I returned from my trips, the first opera will have
been chosen.

Speaker 4 (51:19):
I am leaving now, and you can be.

Speaker 1 (51:21):
Assured my trunk contains plenty of Luck's toilet soaps. I've
found that a lovely complexion is just as important for
a concert audience as it is before a camera. To you,
mister Daniel, to LUTs and to its radio theater, my thanks,
congratulations and good night.

Speaker 3 (51:44):
My us Perhaps were perhaps we are meeting grand opera.
The music you're hearing just from Ginger Right, there's current
picture swing time and gives me an opportunity I'm going
to take advantage of. Right now, Miss Rodgers, may I

(52:07):
have this dance.

Speaker 4 (52:07):
Why, mister de mill says, wa of you to ask me.

Speaker 3 (52:09):
And so brave of you to accept. Now, let's dance
closer to the microphone. People are entitled to hear what
we say.

Speaker 1 (52:16):
What's your next picture going to be?

Speaker 4 (52:18):
Stepping toes?

Speaker 1 (52:19):
Stepping toes? Ginger? You're making me self conscious? What follows
that mother carries chickens and that will be quite a
change for me. No songs or no dances. Dancing, you know,
can be pretty hard work sometimes. All right, right, I
can take a hand back there. Let's set this one up.

Speaker 4 (52:34):
Oh no, dancing isn't hard.

Speaker 3 (52:36):
And Gary Cooper lost eight pounds working for me in
the Plainsman. He never danced once?

Speaker 4 (52:40):
How did he do it? Running away from Indians?

Speaker 3 (52:42):
No running after them? You are to see the Indians,
they're just skin and bones.

Speaker 1 (52:46):
Well, I'm telling you the vanishing red men would vanish
faster if they had to rehearse the way Fred Astara
and I do every night. That the dance is preceded
by about thirty hours rehearsal. That's quite a stray, but
I love it as soon as mother there is chickens
is don I hear rumors that I'm going to do
a film and technicologist, I hope so and now, mister
de Mill, may I thank you and luck Soap for

(53:08):
a very delightful evening.

Speaker 2 (53:10):
Thank you for a delightful performance, and the Dan, thank you,
Miss Rogers. Ladies and gentlemen, this is your announcer Melville Ruick.
In a moment, mister de Mill tells us of next

(53:30):
week's play and stars.

Speaker 1 (53:32):
Tonight.

Speaker 2 (53:33):
Our cast included the following players, Alan Mowbray, Derry Teasdale,
Frank Nelson as Stephen, John Gibson as Arnie, Learifacer as Anna,
and James Eagles as call Boy Ginger. Rogers and Missus
Leela Rodgers appeared through courtesy of r KO Studios, Warren
William through courtesy of Emmanuel Cohen, Alan Mowbray, r k

(53:54):
O Pathay, Mister de Mill, Paramount, and Lois Silver's twentieth
Century Fox, where he wrote the musical score for the
new film Ladies in Love. May I refer you now
to mister DeMille.

Speaker 3 (54:07):
In the Casper Milk Toast School of Comedy, Frank Morgan
is without peer next week in the Lux Radio Theater.
You will hear mister Morgan playing the role of timid,
mild mannered Ambrose aple John and what happens after Ambrose
dreams that he's his pirate ancestor come to life again,

(54:27):
the swaggering buccaneer Captain apple Jack. Our sponsors, the makers
of Lux Toilet Soap, join me in inviting you to

(54:47):
be with us again. Next Monday Night from the Lux
Radio Theater presents Walter Hackett's famous play Captain Applejack, starring
Frank Morgan and Marien O'Sullivan, with a brilliant casts headed
by Zeita Johann and Akim Tamerack.

Speaker 1 (55:05):
This is Cecil B. De Mill saying good night to
you from Hollywood. This is the Columbia Broadcasting System.