 Hollywood, California, Monday, October 12th. The Lux Radio Theater presents The Curtain Rises, starring Ginger Rogers and Warren William with Alan Mowbray and Viri Teesdale. Lux presents Hollywood, our stars, Ginger Rogers, Warren William, Alan Mowbray and Viri Teesdale, our play, The Curtain Rises, our guests, Doris Kenyon and Mrs. Leela Rogers, dramatic coach and mother of tonight's leading lady, our producer, Cecil B. De Mill and our director of music, Lewis 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 Lux Toilet Soap, the pure white 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 and lovely women everywhere. And now, on with the show, ladies and gentlemen, that distinguished producer of screen and radio, Mr. Cecil B. De Mill. Greetings from Hollywood, ladies and gentlemen. Just 444 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 in Young Man of Manhattan. As a singer and dancer, she has few if any equals. Yet every time she asks a producer for a dramatic role, our young star is in the position of Christopher Columbus, who as a young star was thrown off a ship because the captain before he'd never be 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 Theater's drama, The Curtain Rises by Benjamin K. 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 in the early serial films. Graduating to the stage, he returned to pictures, played Julius Caesar for me in Clear Potra 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 very Teasdale as Carol Stewart. And now, The Curtain Rises on The Curtain Rises starring Ginger Rogers and Warren William. There's a gay party in progress at Carol Stewart's New York penthouse. The radio has turned on full blast and the living room overflows with a noisy good natured crowd of merry makers. Everyone seems to be having a grand time. Everyone except Elsa Carling. Elsa, a plain, awkward appearing young lady in horn-rimmed glasses, stands in the foyer straightening her hat. There's the suggestion of a tear in her eyes. As she turns to leave, Carol Stewart comes from the living room. Elsa, what's the matter? Nothing's the matter. You've got the hat on. I'm going home, Carol. Home, but the party's just begun. I know, but wait a minute. To be in trouble with this is all about. Oh, it's nothing, Carol. Really, isn't it? You've been sitting against the wall all evening. I haven't heard you say a word and you didn't dance once. Well, no, I mean, I've got a headache, Carol. I don't feel like dancing. Oh, I'm sorry. Well, I'll call Arnie. Oh, no, no, don't bother. I can go home alone. Don't be silly, Arnie. Brought you here. I know, but he only did it because you asked him to. And I don't want to spoil his evening. No, Elsa, stop it. Hey, Carol, what goes on? Stephen, come here. Elsa's going to leave. Oh, that's too bad. You want me to call her camp? No, we don't. I want you to find Arnie. Tell him to take Elsa home. Really, Carol? Go on, Stephen. Oh, sure, right back. I could have gone home alone. Of course, but why should you? That's the problem with you, Elsa. You always let men think they're doing you a favor. Well, it was awfully nice of him to call for me. I suppose you told him that. Of course. Oh, Lord. Well, it was nice of him. He didn't want to bring me. How do you know? Did he say so? No, he didn't say anything. Well, Stephen, where's Arnie? Oh, he's coming. He's talking to a couple of people. And, uh, look, Elsa, can't you stay a little longer? Oh, he doesn't want to take me home. Oh, no, I wouldn't say that. Oh, it's all right. I don't mind. I'll speak to that low-down newspaper reporter. Where is he? No, please, Carol. I'll go alone. Good night. Elsa, wait. Hey, was she crying? If she wasn't, it's not your fault. Well, here I am. Just a wee bit late, Arnie. The press is never late. Where's our little wall flower? She's gone home. Oh. Yeah? Well, you needn't look so pleased. What's the matter with her? 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 her. Oh, now, Carol. My dear hostess, I brought the lady to your charming party. My responsibility ended there. You might have spoken to her. I tried that in the cab. Result? Terrible. Arnie's right, Carol. The girl can't talk without blushing. Oh, keep quiet. Elsa's one of the nicest girls I know. Granted, but she's a prim little old maid. Elsa isn't an old maid. She's younger than I am. Being an old maid hasn't anything to do with age, Carol. Some girls are old maids at 18. Oh, poor Elsa. There you are. When you think of her, you say poor Elsa. You're sorry for her. Yes, I am. 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. Well, I suggest she learn how. Yeah, gather ye rose buds while you may. Right. But first, she'd better take off those glasses. Elsa, darling, where have you been hiding? I haven't seen you for ages. You've taken to studio. But why? Of course I can come. Stephen? Yes, I can bring him. Arnie too? Elsa, what is it, a party? Who? Gregory Matthews. You mean the actor? Well, I don't know. I'll try. Maybe Arnie can get him to come. Elsa, you've got me all excited. What's it all about? Well, I know, but all right. All right, tomorrow at nine. Carol, I'm awfully glad you came before the others. What did you do with Stephen and Arnie? They stopped by for Gregory Matthews. Oh, then he is coming. Arnie says so. A new spell man can usually get what he wants from the theatrical profession. Well, so this is your studio. Do you like it? It's grand. What's the idea? Oh, I have an income of my own. I can afford to have a place for myself. But Elsa, you have a lovely home, so that's not the reason. Oh, Carol, my home has always been a prison. No, I don't mean that exactly. The prison was largely myself. First my outside self, and then my inside self. Outside? Inside? What are you talking about? Look here, Carol, you're engaged to be married, aren't you? Yes. You love Stephen, and he loves you. Yes. He kisses you, doesn't he? Of course. Carol, do you know that I've never been kissed? What? Oh, I don't mean by my father or by my uncles or silly parties. 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, dear. I didn't mean it that way. Carol, you're the only one I can talk to. Please let me tell you. Go on, dear. Well, I know what's the matter with me. I'm not pretty. I never was. 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 don't. I want romance, Carol. I want whatever girl wants. Love kisses in the arms of a man around her. But what in the world has all this got to do with your taking a studio and Gregory Matthews? Well, I want to see if I can 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. I know all the parts. I got the books and studied them. And I feel now that all I need is a little coaching. Oh, I see. If you took lessons, you and Gregory Matthews could play all the love 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 you? I haven't. I mean, I don't know whether I have or not. But lessons in acting won't do me any harm. Elsa, 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? Mm-mm. Thinking isn't wicked. I mean, it isn't wrong for me to plan this. Oh, of course not. Yet I'm a little worried about one phase of it. What's that? Suppose the handsome Mr. 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 willing to feel hurt. Even pain is an emotion. And that's why you're giving this party to meet Gregory Matthews. Yes. And now that it's here, I'm just a little nervous. I don't know how to explain it to him. Oh, don't worry. You'll find a way. But if I could speak to him alone. Of course, darling. I'll get rid of the others. You leave it to me. You'll have Mr. Matthews all to yourself. Oh, thank you, Carol. You're such a comfort. Won't you sit down, Mr. Matthews? Thank you. But don't you think we'd better join the others? No. I was telling Carol of something I particularly wanted to ask you, and she was good enough to arrange this. Oh, indeed. Yes. And actors' life must be such an interesting one, Mr. Matthews. Yes, it is interesting. But it means work more than you have any idea. Now, we actors have very little time to ourselves. I think I've seen you in everything you've played. So? I like to play late blossoming best. That love scene in the orchard. After the soldiers have gone, oh, it's so lovely. Yes, it was a beautiful scene. You like it, eh? Oh, you play it magnificently. Thank you, thank you. Now, a difficult scene with so many undercurrents of emotion, so many nuances needs 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 part for me. Oh, yes, a lover. You play love scenes with such fire, such passion. Why, in late blossoming, when you kissed Marina. Yeah, yes, of course. And, Mr. Carling, you said there was something you wanted to ask me. Oh, well, I hardly know how to ask it, but Mr. Matthews, I'd like to have you give me lessons in acting. Lesson? Oh, it wouldn't be difficult. You see, I've studied all your plays. I know all the parts by heart. I got the books and studied them. But, Mr. Carling, this is impossible. Oh, I realize how busy you must be, Mr. Matthews. And, of course, the fee. I hate to talk about such matters to you. Mr. Carling, please, this is very distressing. Don't you understand that I am not to be higher? Oh, 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. It's not a matter of a fee or a favor, Ms. Carling. I simply cannot entertain your suggestion, not for a moment. Me, Gregory Matthews, give lesson. It's preposterous. Please consider this final. Final? I said final. I'm sorry. Forgive me for taking up your time. My dear girl here, stop it. Stop it. I can't. But you must. I don't like to see a woman cry. I can't help it, but I don't feel like being a teacher. I can't help it if I feel like crying. Well, there's something to that, of course. Tell me, does it really mean so much to you, this learning to be an actress? Oh, yes, yes. Well, I have a suggestion to make. Yes? Yes. Remember, it's only a suggestion. I'm not sure that it could be done. Well, what is it? Well, at the theater, we have what is called an understudy. You know an actor who learns all the parts. Now, this understudy, what's his name? Phillips. There's Ronald Phillips. He's a very capable fellow. Of course, he hasn't my appearance or my ability. But he knows his business, and 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? Well, uh, do thank you 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 worry. I will arrange it. Then if he teaches me, and if I learn awfully well, then will you play one scene with me? Yes, yes, yes, yes. When he tells me that you've learned how to act, I will play one scene with you. Now, shall we join the others? Yes, Mr. Matthews. Thank you so much. Well, come along. And for heaven's sake, put some powder on your nose. Yes? Is this Miss Carling's studio? Yes, sir. My name is Ronald Phillips. Oh, yes. Miss Carling's expecting you, sir. Come in. Thank you. Who is it, Anna? Mr. Phillips, miss. Oh, you may go, Anna. Yes, sir. My name is Elsa Carling, Mr. Phillips. How do you do? It was nice of you to come so soon. Well, not at all. Nothing's too much for a friend of Mr. Matthews. Has Mr. Matthews explained everything to you about the lessons I mean? Oh, yes. I don't believe I've ever seen you at the theater, Miss Carling. Oh, I go to the theater very often. I mean backstage with Mr. Matthews. Oh, I see, no. I haven't been backstage. Mr. Matthews calls on me here. Oh, yes, of course. I suppose you've seen him in all his roles. Oh, yes. I think he's magnificent. You know, I know all of his plays by heart. You see, I've accomplished quite a little already. Well, learning lines is a very small part of acting, Miss Carling. The least important part. But I can't learn to act unless I know the lines, can I? You can't learn to act unless you learn a lot of other things first. Well, I don't understand. No? Well, would you mind walking across the room for me? What? You mean like this? No, Miss Carling. Not like that. What's the matter? Oh, forgive me, Miss Carling. But you have no poise, no balance. An actress must have poise. You don't take much exercise, do you? No. Well, you'll have to walk one hour every day, rain or shine, one hour steady, with head up and shoulders back. But I don't like to walk. Mr. Matthews told me that I was to give you lessons. So you'll have 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 enunciation. I don't think I like your method. No, perhaps not. But I'm sure you like the results. Maybe. That's the trouble with you amateurs. You think acting is the easiest thing in the world. You don't want to work. But I'm not an amateur. No, what are you then? Oh, I'm sorry. Yes, I'm just nothing at all. No, no, 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 are? Are? Yes, are. How many? Hundreds. Look, I walk into a room. I'm cold. I see a cheerful fire. I say, ah, a fire. You hear? Ah, yes. Then somebody says something that I don't believe. Do I say, ah? No, I say, ah. Ah. Exactly. Well, that's fun. Let me try one. All right. You walk into the room. Your fiance is there, in the arms of another woman. What do you say? No. No, that's disgust. We want anger. That's pleasure. You aren't glad, are you? Wait, let me try one more. I walk in. Ah-ha! Is that better? Well, it'll have to do for now. You know, I think I'm going to like this. Even the exercises and making faces at myself. And the walking. Well, but you're going to walk with me. To show me how I mean. Well, the first lesson or two, yes. When you've learned to walk properly, then, of course, it won't be necessary for me to walk with you. Oh, of course. But then the scenes, we will play scenes together. Yes, certainly. Shall we, shall we try one now? Well, if you want to. Do you really know all of Mr. Matthews' plays by heart? Oh, yes. Do you know the play, Late Blossoming? I, Mr. Matthews, understudy. Oh, of course. But well, you know the scene in the orchard when the soldiers are about to leave and Dorina kisses him. Oh, yes, that's a nice scene. That, that'll do as well as any other. Well, that's the finest scene that Mr. Matthews plays. Well, of course, the way he plays it with scenery and opposites 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? Oh, I'm sorry, Mr. Phillips. I didn't mean to be so in earnest about it. Would you rather play some other scene? Oh, no, no, that'll do very well. We'll, uh, we'll just take the end of the act. Are you ready? Oh, yes, I'm. I'm ready. Dorina 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, uh, maybe, maybe you'd better take off your glasses for this. Oh, excuse me. There. Oh, that's fine. We'll start again. Dorina. Albert, my darling. Uh, a little quieter, I think. Oh, yes, of course. Quieter. We'll go on from there. Dorina, come here by the tree, or we can't be seen. But Albert, I saw you march away with the regiment. They're resting on the other side of the hill. I slipped away. I had to see you just once again, my darling. Albert, you shouldn't have come back. A little while ago you went away. I cried, and then I stopped. But when you leave this time, I shall cry and never 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 that I'll be bringing you, you'll not have tears enough. Meanwhile, there will be tears. Oh, why did you return in that one hour I should lose you twice? Courage my love. Yes, yes, I know the line. Well, courage my love. What if you lose me twice? What if we lose each other 20 times? A cloud may hide the sun. Erase the moon, but they return in glory like our love. Was that a trumpet call? Don't go. Don't go. I must. One kiss. One kiss. And then farewell. One kiss. I take it now, my love. But here, Miss Carling, Miss Carling. Good Lord, she's fainted. In just a moment, we continue with the curtain risers starring Ginger Rogers and Warren Williams. Right now, let's go down to the colorful Mexican quarter between Hollywood and Los Angeles, and after hours mecca for all who work in moving pictures. Here, two extra girls meet. Where's Bill Sally? And didn't Jack and Loretta come with you? Oh, Bill's over there, buying me a Mexican lollipop. Jack's around here somewhere, but he's alone. That's funny. You know, it seems to me Jack hasn't been giving Loretta much time lately. No, he hasn't. Loretta's in the dumps about it, too. And you know, it's really her own fault. Somebody ought to give her a tip about her complexion, that's what. Anybody that ever worked in pictures would tell her what to do. 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 lodging pores, dullness, tiny blemishes, simply because they don't remove stale cosmetics, dust and dirt thoroughly. Lux toilet soap guards against this danger. You can use powder and rouge as much as you like. You can also use a pen on the active lather of this fine soap to remove them thoroughly. Why don't you try Lux toilet soap? The beauty care of nine out of ten lovely screen stars. And once again, Mr. DeMille. We continue the curtain rises with Ginger Rogers, Warren William and an all-star cast. It's three months later. The dramatic lessons have proceeded regularly. And under the instruction of Ronald Phillips, Elsa has become a new person. She has become more timid in awkwardness. And in its place, a new found gracefulness and ease. Carol Elsa's friend is astonished at the change. Darling, turn around and let me look at you. Am I really so different? Different, Elsa? It's miraculous. You mean the dress? Yes, even the dress. I've never seen you look so chic. But it's everything about you. You're so fresh, so vital, so youthful. Arnie Sanders says I even walk and talk differently. Arnie Sanders? Has he been here? Oh, he drops in once in a while. By the way, what happened to your glasses? Oh, I never wear them anymore. Since I've been taking lessons from Ronald Phillips, I've discovered I can really see quite well without them. It's funny, isn't it? Yes, this Mr. Phillips doesn't happen to be understudied to a magician. No, he's still working for Gregory Matthews, understudy and assistant stage manager. 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, I haven't even thought of Gregory Matthews lately. You haven't? Then what are you going on taking lessons for? Well, they've done me a lot of good, haven't 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 ever kiss you? Oh, yes, whenever the scene calls for it. Who selects the scene? Well, you see, 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. What did you expect me to do? Faint. I did. What? I did the first time he kissed 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. I do. Carol, 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. Is it love to be on pins and needles until he arrives? Yes, that's love. And is it love to feel all empty when he's gone? Yes, that's love too. Well, I seem to have all the symptoms, don't I? Not 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. That's just it. 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. You really think so? I don't know. You started with a crush on Matthews. Tell me, Elsa, has Ronald told you that he loves you? Well, that's it. 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? Yes, but it's always about lessons. 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? Yes. Ah, that's bad. But he never asks me for it. Ah, that's good. You know what I think, Elsa? No, what? Over at the theatre, they all look up to Matthews as a sort 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' fiancée. Oh, Carol! Well, you look pleased. Oh, what a thrill that anyone should think that I was Gregory Matthews' fiancée. Well, please make up your mind who's fiancée you want to be, Matthews or Phillips. Oh, Carol, I thought you'd know. No, I don't know, and I don't think you do either. Now, look here, Elsa. If you're Ronald, think you're engaged to Matthews. Naturally, he wouldn't dream of making love to you. How loyal he is. Loyalty's fiddlesticks. We've got to get that idea out of his head. But how? That's up to you. Is he coming here this afternoon? Oh, yes, he comes every afternoon. Uh-huh. 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 Gregory Matthews? Come in, Mr. Phillips. You're late this afternoon. Sorry. We've been having the final rehearsal of Romeo and Juliet. I won't be able to stay very long. Then there won't be any lesson today? Well, a short one. Do you know I've worked out a new way of saying ah? Really? Mm-hmm. Would you like to hear how it goes? Very much. Well, a girl has just had a quarrel with her lover. You're the lover, see, and you've just gone out of that door saying that you will never be back. The girl is heartbroken and she goes over there and sits down and cries. Now, the lover has changed 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, brushes over and throws herself into his arms and kisses him like this. Well, how was that? Very good. But what about the ah? Oh, the girl would probably forget all about that. Yes, of course she would. But didn't I do it well? The pantomime, yes. But it lacked a little sincerity. The feeling is improving, but... Oh, you're always saying that. No, but it's true. It's the same when we play Romeo and Juliet. And in that other play we did yesterday, the scene where the princess meets her lover. 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 awaken them upon your own. Yes, that's exactly what I mean. Can't you see? You're just saying words. There's no lover standing before you. Well, I tried it last night when I was alone, and it seemed to 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 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 awaken them upon your own. Yes, yes. Did you like it? Glorious. It's incredible what you've learned in three months. You're really pleased with me? Pleased with you, of course I am. Soon there won't be anything left for me to teach you. Oh, no. You mustn't say that. I beg your pardon. Well, I mean, I'm sure there will always be something for me to learn. I'll never know as much about the theatres you do. I know about the theatre, perhaps not, but voice, technique. You could step on the stage tomorrow. Oh, marvelous. Have you told that to Mr. Matthews? No, no, I haven't. Why not? I've never discussed you with Mr. Matthews. That's strange. I think he'd be interested in how I was getting along. Haven't you been keeping him informed? Why do you say that? Oh, I'm sorry. I merely thought that... What? What were you thinking? I was thinking we aren't getting on with our lesson. You'll never learn to act this way. Maybe I'm learning something else. Shall we do the exercises now? If you want. Why don't you like to talk about Gregory Matthews? What? Who said I didn't? But you never do. Gregory Matthews is a splendid actor and my employer. I have a great respect for him. We'll try the R-E-A exercise first. All right. R-E-A. R-E-A. R-E-A. Does Mr. Matthews do this every day too? Of course. Speaking is like singing. The throat must be kept open and free. Now, the may-me-my-mo-mo. May-may-may-may. Me-me-me-me. Do I do that as good as Gregory Matthews? You can't do anything as good as Gregory Matthews. My-my-my-my-my. My-my-my-my. You needn't be quite so loyal to him. That isn't loyalty. That's a fact. Mo-mo-mo-mo. Mo-mo-mo-mo. More important than facts. Motherfacts. Excuse me. Hello. Yes? Oh, he's here. It's for you, the theatre. The theatre? Oh. Hello. Oh, hello, Mr. Matthews. Yes. What? How? What happened to her? Good Lord. Well, what about Geraldine Day? What? Well, I don't know who... Yes, I do. I do know someone. Elsa Carling. What is it? Shh. I said Elsa Carling. Of course she can. Listen to me. She can do it. She knows it backwards. I know she can. What can I do? What can I do? Be quiet. Hello. Hello. I'll bring her right over to the theatre. Right away. Goodbye. Get your hat. What? Your hat. Your hat. Our leading lady has been taken sick and her understudy can't be found. What has that got to do with me? It's got everything to do with you. Don't you understand? I can't play it. Play what? Romeo and Juliet with Gregory Matthews. Three minutes. Carol, this is awful. I can't play Juliet. I can't. Stand still. Elsa, listen to me. You've got the chance of a lifetime. I won't do it. You've got to. You can't let Gregory Matthews down. Oh, yes, I can. All right. But what about yourself? What do you mean? Don't forget the purpose of your lessons. Matthews will hold you in his arms and tell you that he loves you. He'll kiss you. He won't. I won't let him. What? Not in front of all those people. But it's in the play. I don't care. Miss Carling, are you ready? No. Mr. Matthews said she won't go on. Won't go on, but she must. Curtain going up, curtain going up. Hold it, hold it. Miss Carling, you've got to help us. Come out on the wings. 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. I, Gregory Matthews. Oh, if I only had a chance to sing. There's no time to think you've got to act. Come on. Will you come or do I have to carry you? Mr. Matthews. Come on. No, no, no. Put me down. Put me down. I can't do it. I know I'll die. I know I'll die. Well, of course you will. Juliet always dies, but not until the last act. Wherefore art thou Romeo? Deny thy father and refuse thy name, or if thou wilt not. When I am laid into the tomb, I wake before the time that Romeo comes to redeem me. There's a fearful point. Then I'll be brief. Oh, happy dagger. This is thy shield. There rust. And let me die. Outside, everyone. Miss Carling must rest. Outside. I want the story. I'll say it. Yes, Sonny. Not now or even alone. Miss Carling. Oh, oh, Mr. Phillips. May I congratulate you. You were wonderful. Oh, thank you. One of the finest Juliet's I have ever seen. Eleven curtain calls. Eleven. Elsa, you were magnificent. From you, Mr. Matthews, that's a great compliment. Yes, but in our love scenes, you turned away. Did I? I'm sorry. I think she'd better rest, Mr. Matthews. Oh, of course, of course. Come here, my dear. Yes. Let me look at you. You're beautiful, Elsa. Oh, Mr. Matthews. Beautiful. The world is at your feet, my child. You will go on. Onward and upward, and the stars shall ring with the name of Elsa Carling. Please, please, I... I ask no part in your new world, my dear. Only to be remembered occasionally as a humble mind who recognized your genius and gave it its rightful place. Just this, I ask. This and a reverent kiss from your most reverent admirer. No, no, please, not now. Let me go. My lips, two blushing pilgrims, ready stand to smooth that rough touch with a tender kiss. Oh, no. Here, here, Elsa, what's the matter with you? Oh, good heavens. She's fainted again. She calls for special identification. This is the Columbia Broadcasting System. Ginger Rogers as Elsa Carling, Warren William as Ronald Phillips, and our all-star cast return to the microphone shortly in the concluding scenes of The Curtain Rises. The mother of tonight's star, Mrs. Leela Rogers, 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 new player under contract to RKO must attend for a year. Our talk tonight contains an important announcement to all theaters and theatergoers. Ladies and gentlemen, a writer, director, and mother, Mrs. Leela Rogers. Here, Mr. DeMille. We have a little theater on the lot at the RKO Studios where we produce plays with our young contract players because 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 the performance is over, that grease paint is removed with Luxe toilet soap. Oh yes, Luxe is the official toilet soap of our little theater, just as it is in the star's dressing room on the lot. And now for the announcement Mr. DeMille referred to. Mr. S. J. Briskon, production chief of RKO Studios, has selected the Luxe Radio Theater over which to announce to the little theaters, stock companies, 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 engagements without charge. Mr. Briskon makes this offer because it is from the theaters that motion pictures have secured so much material and talent in the past. The motion picture 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 Mr. Briskon asks you to file your application for one of our players at his office in Hollywood, addressing him, Mr. S. J. Briskon, B-R-I-S-K-I-N, production chief RKO Studios, Hollywood, California. Thank you, and good night. Good night, Mr. Briskon. And I congratulate RKO on this splendid effort to aid the stage. The curtain rises, starring Ginger Rogers and Warren Williams with Alan Mowbray and Vireteesdale. Elsa's night of triumph ended when she fainted in Gregory Matthews arms. The following morning, her studio room has the semblance of a florist shop, and as she reads her telegrams of congratulations, Anna enters carrying two more bouquets. More flowers? Let me see quick. Oh, with love from Gregory Matthews. Oh, dear, who's the other one from? Mr. Arnie Sanders. Oh, Arnie. Mr. Phillips. Not a thing, Miss. See who it is, Anna. Yes, Miss. Good morning, Anna. Oh, coming, Miss Stewart. Carol! Hello, darling. Bide with all the flowers. How are you feeling? All right. Did you see the papers? Yes. The critics were awfully nice to me. Except one or two, they said I was competent. You're getting touchy. Give us my map. You're grand. You've no idea how natural it all sounded. Carol, do you really think I could be an actress? Of course you were one last night, weren't you? Yes, but... You were once. You can do it again. I wonder... Oh, it's marvelous to act. To hear the audience applaud as they did last night. It was thrilling. The after-piece was even more thrilling. What after-piece? The little scene with Gregory Matthews in the dressing room. The kissing sequence. Oh, that! What do you mean, oh, that? When he kissed you, you fainted dead away. Oh, I was excited. I should say you were. Oh, not because he kissed me. It was a general excitement. Not that. So it's Mr. Phillips again? Again? What do you mean? You know Ronald's place in the theatre is fixed. He's an understudy. You may go up like a rocket. Do you think you can go on taking lessons from him? Of course. Ronald knows so much more than I do. He may have other ideas about that. I don't understand you. Elsa, 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. I don't agree with you at all. 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. Oh, good morning. Good morning, Wendy. It's Arnie and Steven. Hello, Elsa. I tried to keep this news-hawk out, but he's too persistent. It's all right. It better be. You know the power of the press, my girl. Now, what about that story? Oh, not now. I can't concentrate yet. All right then. What about having dinner with me? I can't. Oh, let her alone, Arnie. Listen to that, my girl. This is the greatest story of the year. Unknown girl makes good. Please don't, Arnie. That was only a freak performance. I'm only taking lessons. You mean to say you're going to go on taking lessons? 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 them. No, Arnie, you mustn't. Why not? Because we'd 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. Not yet. I'm not even sure that I want to be. Well, that makes a good story, too. May I print that? No. Good morning. Good morning. Oh, come in, Mr. Matthews. Thank you. I had to drop by and see how you were feeling, Miss Carly. Oh, I'm fine this morning. You know everyone here, don't you? Of course, of course. How are you doing, Miss Stewart? Well, my Juliet. Wasn't she perfect, Mr. Sandals? Well... Everyone is talking about her. And what did you think of me? Okay. I thought you were a superb Romeo, Mr. Matthews. Thank you, thank you. 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. Don't you think Elsa was marvellous in the balcony scene? Charming, charming. How was my voice in that scene, Mr. Sandals? Yeah. What did you say? Yes. Difficult scene that. You see, I am talking up. The head is thrown back and the throat muscles are constricted. That is where technique comes in. And you really think I came through all right? Yes, marvellous, marvellous. Really, I couldn't believe it. I told you I was going to work hard. Yes, but it's almost a miracle that you performed in so short a time. Oh, Elsa loves to study. Miss Culling, do you remember what I said the first time you spoke to me about this? What do you mean? 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. Oh, that's great. But what about Mr. Phillips? That's all right. After all, it was I who sent him to you to teach you the first principles. But you are past that now. But he's worked so hard, it doesn't seem fair to suddenly cut off the lessons he's been giving. Well, don't let that worry you. I can get him other pupils and after I finish teaching you, we will play many plays together. Someday we will play late blossoming. Do you remember that exquisite scene of the orchard under the apples at the end of Act 1? Oh, yes, but I don't think I'd like to play that scene, Mr. Matthews. You know, the very first day I met Miss Carling, I knew she had talent. But when I spoke to Phillips, I said, Phillips, I said, Phillips, I have a little friend I want you to give lessons to. Who knows, perhaps we may make an actress after some day. You said that to Ronald Phillips. Well, of course. You know, he has his pride too. To just ask him to become a teacher to a wealthy girl, well, that might not have gone down so well. And now you see how you've justified all that we've done for you. Phillips. Oh, excuse me. I didn't know you were entertaining. Oh, that's all right. Really it is. Of course, Phillips, come in. We're glad to see you. Good morning. Good morning. Well, are you proud of your pupil, Mr. Phillips? I said so last night. You give 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, Mr. Matthews. That's high praise. Let me admire congratulations too. And mine, you teach well, Mr. Phillips, just to think of our Elsa becoming a star overnight. Thanks entirely to you. No, that's very kind of you, but I think you're giving me entirely too much credit. And if you'll permit me to say so to Miss Carling too, she isn't a great actress yet. Oh, I thought Elsa gave a beautiful performance. So did I. No, now don't take Phillips too seriously. You know, a little professional jealousy. No, Mr. Matthews, there's no professional jealousy. I'm trying to be completely honest with Miss Carling. You wouldn't have me do otherwise, would you? No, of course not. But Mr. Matthews thinks I did very well. I certainly do. And you know what I've promised her, Phillips, that from now on I will take her lessons myself. Yes, I expected that. No, if there are to be more lessons, Mr. Phillips will give them. I'm afraid that will be impossible. You see, I am leaving this morning for Chicago. What? Chicago? Yes, I'm opening there in a new play. I've got a very good part and I couldn't pass it up. May I ask when you made this decision? Well, the 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 theatre. 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. You don't have to be patronizing, Mr. Matthews. I am no longer a member of your company. Good, my dear Phillips. And I'm not your dear Phillips. But what in the world has got into the fellow? You'd think we were mortal enemies just because you're leaving the company is no reason why you should act like an angry schoolboy. No, I'm sorry. Will you excuse me, Miss Carling? I haven't much time. You're going now? I'll have to. I'm catching the 1120 for Chicago. Then our lessons are over? No, for the present. Perhaps some day. Goodbye, Miss Carling. Goodbye. What an extraordinary young fellow. He's gone. Yes, well, I shall have to get myself a new understudy. Elsa, come and sit down. He's gone, and I still don't know. Don't know what? I don't know. My dear girl. But I'm going to find out. Anna! Anna! Elsa, what are you going to do? Don't stop me now. Where is that girl? Anna! Anna! Did you call me? Anna, pack my bags. All of them in my trunk. Elsa! Did you hear me, Anna? Hurry! I've got to leave right away. Elsa, where are you going? To Chicago on the 1120. Hey, y'all, sir. Section 14. Leave the large bag down here. Yes, sir. There you are. Thank you, sir. Thank you. Hello. Why, Miss Carling? What are you doing here? I came down to say goodbye. Well, that's awfully nice of you. Can you sit down? Thank you. It makes me sad to see you going. It makes me sad, too. I'll miss the lessons. They were fun, weren't they, Ronald? They were more than fun. Each lesson was another step in the painting of a portrait. You were the artist, Ronald. I helped, that's all. But now that it's finished, what more is there to say? You've been wonderful and all that you've taught me. Someone could have made me act the way you did. Ronald, I don't think I want to go on the stage again. Yes, yes, you'll go on. Onward and upward. With Gregory Matthews helping you, why shouldn't you reach the top? 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. How did anything to do with last night? My brother, you didn't ask that. But it's something I've got to know. Last night I saw him kiss you. I knew I couldn't stay here any longer. But Ronald, that didn't mean anything. No, it looked like it did. Ronald, don't tell me you were jealous. Before I go I will tell you something. We may never meet again and perhaps that's why I'm telling you. I love you. For weeks I've loved you. In the scenes we played when I held 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 as I live. I'll never stop seeing you in my dreams and hearing your voice in every other voice. Ronald, I love you too. You love me? Of course. Why didn't you tell me all of this before? But I thought you and Gregory Matthews... Oh, Ronald, darling, please stop being an understudy. 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 in a busy career as a singer. Given her first stage role by Victor Herbert, Miss Kenyon in films has played opposite John Barramore, Rudolph Valentino and George Arliss. Since the passing of her husband, 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 Doris Kenyon. Thank you, Mr. DeMille. My son tonight will be in memory of Victor Herbert. I'll sing thine alone from his operator, Eileen. Thank you, Doris. Just one question before you go. Since your return from abroad, have you noticed any change in Hollywood? Yes. I'm delighted to find the motion picture producers more receptive to something I have 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 return for my trip, the first opera will have been chosen. I am leaving now, and you can be assured, my trunk contains plenty of Lux's toilet soap. I've found that a lovely complexion is just as important before a concert audience as it is before a camera. To you, Mr. DeMille, to Lux and to its radio theater, my thanks, congratulations, and good night. Good night, Doris. Perhaps we'll meet in Grand Opera. The music you're hearing is from Ginger Rogers' current picture, Swing Time. And gives me an opportunity, I'm going to take advantage of right now. Miss Rogers, may I have this dance? Why, Mr. DeMille, that's way of you to ask me. It's so brave of you to accept. Let's dance closer to the microphone. People are entitled to hear what we say. What's your next picture going to be? Stepping toes. Stepping toes? Ginger, you're making me self-conscious. What follows that? Mother carries chicken, 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, all right, I can take a hint. Let's sit this one out. No, dancing isn't that hard. Gary Cooper lost eight pounds working for me in the Plainsman. He never danced once. How did he do it? Running away from Indians? No, running after them. You ought to see the Indians. They're just skin and bones. Well, I'm telling you, the vanishing red men would vanish faster if they had to rehearse the way Fred Astaire and I do. Every number we dance is preceded by about 30 hours of rehearsal. That's quite a strain, but I love it. As soon as Mother carries chickens, as Don, I hear rumors that I'm going to do a film in Technicolor, at least I hope so. And now, Mr. DeMille, may I thank you and luck soap for a very delightful evening. Thank you for a delightful performance. And the dance. Thank you, Miss Rogers. Ladies and gentlemen, this is your announcer, Melville Ruick. In a moment, Mr. DeMille tells us of next week's play and stars. Tonight, our cast included following players Alan Mowbray, Viri Teesdale, Frank Nelson as Stephen, John Gibson as Arnie, Leora Thatcher as Anna, and James Eagles as Cowboy. Ginger Rogers and Mrs. Leela Rogers appeared through courtesy of RKO Studios. Warren William through courtesy of Emmanuel Cohen, Alan Mowbray, RKO Path A, Mr. DeMille Paramount, and Louis Silver's 20th Century Fox, where he wrote the musical score for the new film Ladies in Love. May I refer you now to Mr. DeMille. In the Casper Milk Toast School of Comedy, Frank Morgan is without peer. Next week in the Lux Radio Theater, you will hear Mr. Morgan playing the role of timid, mild-mannered Ambrose Apple John. And what happens after Ambrose dreams that he's his pirate ancestor come to life again? The swaggering buccaneer Captain Applejack. Our sponsors, the makers of Lux Toilet Soap, join me in inviting you to be with us again. Next Monday night, when the Lux Radio Theater presents Walter Hackett's famous play, Captain Applejack, starring Frank Morgan and Maureen O'Sullivan, with a brilliant cast, headed by Zeta Johan and Arkim Tameroff. This is Cecil B. DeMille saying good night to you from Hollywood. This is the Columbia Broadcasting System.