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PURCHASED   FOR  THE 

UNIVERSITY  OF  TORONTO  LIBRARY 

FROM  THE 

CANADA  COUNCIL  SPECIAL  GRANT 

FOR 

DRAMA 


THE  THEATRE 


Illustrated  Monthly  Magazine  of  Dramatic  and  Musical  Art 


VOL.  XVII,  1913 


NEW  YORK 

THE    THEATRE    MAGAZINE    COMPANY 

PUBLISHERS 
8-10-12-14      West    Thirty-eighth    Street 


TN 

aooo 

T5T 

v./7 


CONTENTS 


Actor    With    Not    a    Word    to    Speak,    An,    by 

Wendell  Phillips  Dodge 68 

Another  New  Art  of  the  Theatre,  by  Ethel  M. 

Smith  90 

Antona-Traversi,  Giannino,  and  His  Plays,  by 

Frances  C.  Fay 138 

Apotheosis  of  "Blague,"  The,  by  Willis  Steell...  83 
Author- Actor-Director,  A  New,  by  Anne  Peacock.  148 

Becky's  Point  of  View,  by  M.  Morgan 9 

Behind  the  Scenes,  by  Anne  Peacock 64 

Booth,  Edwin — How  Success  First  Came  To,  by 

Rodney  Blake 60 

Boston's  Model  Moving-Picture  Theatre,  by  Alice 

Spencer  Geddes  59 

Burkeleigh  Crest,  The  Lady  of,  by  Ada  Patterson  28 

California's  Mission  Theatre,  by  H.  F.  Stoll 153 

"Carnival,"  The  Author  of,  by  Montrose  J.  Moses  28 
Classic  Curtain  Raisers,  by  Vanderheyden  Fyles.  114 
Composer  of  "Les  Ranz  des  Vaches,"  by  Mary  F. 

Watkins  135 

"Cyrano"  Heard  at  the  Metropolitan  Opera 

House  106 

"Damaged  Goods"  and  How  It  Was  Produced,  by 

M.  M 106 

Dramatic  Insurgency  in  Wisconsin,  by  B.  Russell 

Herts  :  ••  27 

Fairbanks,  Douglas,  A  Dressing-Room  Chat  With, 

by  B.  L 116 

Fiske,  Mrs. — Our  Intellectual  Actress,  by  Chester 

T.  Calder  ..182 

From  the  Chorus  to  Legitimate  Dramatic  Star,  by 

Pauline  Frederick  172 

Garden,  Mary,  Makes  Tosca  a  Human  Tigress,  by 

Clare  P.  Peeler 102 

Greatest  French  Dramatist  Since  Moliere,  The, 

by  B.  Russell  Herts 92 

Greatest  Grande  Dame  on  American  Stage  a 

German,  by  Ada  Patterson 144 

Green  Coat,  The,  by  Willis  Steell 50 


Special     Articles 


PAGE 

Handling  Humanity  in  the  Mass,  by  Mary   Mor- 
gan        146 

Hilliard,  Robert— A  Versatile  Actor,  by  A.   P 154 

Horniman's,  Miss,  Model  Manchester  Theatre,  by 

Johanna  Sherrick    Ill 

Hungarian    Invasion,   The,   by   A.    P 14 

Irish  Player,  The  Making  of  an,  by  M.  M 108 

Irwin,   May,   On   Popularity,   by   A.    P 175 

Is  the  Stage  a  Profession  or  a  Trade?  by  E.   E. 

v.    B 88 

"Joseph  and  His  Brethren" — A  Pageant  Play,  by 

Eva    vom    Baur 94 

Keane,    Doris — An    Actress    of    Serious    Purpose, 

by    Eva    vom    Baur 112 

Leading  Managers  Join  the  Movies,  by  W.  P.  D.  156 
Lincoln   Was  Shot,  The  Night  That,  by  John  S. 

Mosby,  Jr 179 

Little  Theatre  and  Its  Big  Director,  The,  by  Ada 

Patterson     122 

Little    Theatre    in    Chicago,     The,    by     Karleton 

Hackett    84 

Mackaye,     Percy,     On     the     Civic     Theatre,     by 

Montrose   J.    Moses 87 

Manager's   Comedy  of  Errors,   The,   by   X.   X 18 

Maude  Adams  of  the  "Movies,"  The,  by  Wendell 

Phillips    Dodge    , 176 

Morosco,  Oliver — A  Manager  Who  Looks  Ahead, 

by    C.    I.    D 42 

Music  in  the  Modern  Drama,  by  Robert  Housum.     21 

Novelties  in  a  Novel  Play,  by  A.  P 119 

Old   School,  The,   by   Marcus   Plimmer 126 

Opera,    At   The 8,  39,  and     69 

Opera  at  the  Metropolitan  Opera  House,  Rehears- 
ing Grand,  by   Wendell   Phillips  Dodge 12 


Our  Fashion  Department: 

January,      by  F.  A.  Brown xiii 

February,    by  F.  A.   Brown xvii 

March,         by  F.  A.  Brown xix 

April,  by  F.  A.   Brown xix 

May,  by  F.  A.  Brown xxii 

June,  by  F.  A.   Brown xviii 

"Parisina,"    Mascagni's    Opera,    by    Romanus 159 

Paris  Stirred  by  a  Patriotic  Play,  by   Frances  C. 

Fay    103 

"Plays  and   Players"    of   Philadelphia,   The 63 

Popular    "Movie    Actress,"    by    Mary    Chamber- 

lin    May,  xvii 

Racketty-Packetty   House,   by   E.    E.    v.    B 46 

Ruffo,   Titta — An  Extraordinary   Singer,  by   Clare 

P.    Peeler    .- 17 

Russell,  Annie,  And  Her  Unique  Adventure,  by 

Ada   Patterson   56 

Russian   Opera  Scores  at  the   Metropolitan 140 

Sarah    Again   With   Us,   The    Divine,   by   Frances 

C.    Fay    164 

Schildkraut,  Rudolf — Character  Actor,  by  F.  C.  F.     64 
Settling  a  Case   of   Disputed   Authorship,   by   W. 

T.   P 6 

Spring  Plays  in  Paris,   Some,  by  Willis   Steell...   169 

St.  Denis,  Ruth,  The  Art  of,  by  Ada  Rainey 117 

Suffragette  Play,  A,  by  E.  E.  v.   B 189 

Taylor,  Laurette — A  New  Star,  by  Ada  Patterson     82 

£10,000   For   an   American   Play 130 

Theatre  of  Thrills,  A,  by  Eva  E.   vom   Baur 186 

The  Poor  Little  Rich  Girl,  by  X.   X 71 

Toy   Theatre    to   be    Managed    By   Two   Girls,   by 

Ada   Patterson    168 

Two   Brothers,  by   Benedict   Bell 31 

Undone   By  a  Song,  by   Karl    K.   Kitchen 143 

What's    Wrong    With    The    American    Stage?    by 

Chester   T.    Calder 74 

Zimbalist,    Efrem — The    Artist   and    the    Man,    by 

F.   C.    Fay 48 


Scenes     from     Plays 


FACE 

A  Good   Little  Devil 35 

All  For  The  Ladies Feb.  Contents 

A   Lodging   For  a  Night    (Film   play) 177 

A  Man's   Friends 142 

Any   Night    165 

Are   You   a  Crook? 181 

Arizona    171 

Boris   Godunoff   (opera) 140  and  141 

Broadway  to  Paris 6 

C.    O.    D 24 

Cyrano    (opera)     106  and  107 

Damaged    Goods    134 

Divorcons    131 

Eva  37 

Everyman    April    Contents 

Fancy    Free    155 

Fear    155 

Glory    of   the    Morning 27 

Hawthorne  of  the  U.    S,  A 15 

Joseph  and   His   Brethren 33,  94,  95  and     96 

La    Chienne    du    Roi 103 

Learned  Ladies   63 

Liberty    Hall    97 


Lysistrata    189 

Mission    Play,    California's 153 

Miss    Princess    SS 

Moving  Picture  Made  by   Eclair  Company 158 

Never   Say  Die 18 

On    Baile's    Strand 84 

Peg   o'    My    Heart 7 

Racketty-Packetty    House    47 

Roly   Poly   44 

Romance    65 

Rutherford   and    Son 45 

Stop   Thief    43 

Tantalizing  Tommy    23 

The  Amazons 163 

The    American    Maid 99 

The   Argyle    Case 41 

The   Beggar   Student    , 139 

The   Clancy    Name 110 

The    Conspiracy    86 

The   Firefly    3 

The  Five  Frankforters. . , 105 

The    Geisha    133 

The   Ghost   Breaker 132 


The    High    Road 5 

The   Honeymoon   Express , 147 

The   Lady   of   the   Slipper March    Contents 

The  Magic    Flute    (opera) 13 

The    Master    Mind 100 

The   Mender  of  Nets   (Film  play) 177 

The   Money    Moon 183 

The   Poor   Little    Rich   Girl 71,  72  and  73 

The  Prisoner  of  Zenda   (Film  play) 156 

The  Purple  Road 162 

The  Rivals   56 

The  Spiritualist 98 

The   Spy    89 

The   Sunshine    Girl 67 

The  Switchboard  155 

The  Tales  of  Hoffmann   (opera) .' 69 

The   Unwritten    Law 68 

The  Woman   Haters 22 

Une  Nuit  De  Noel  Sous  La  Terreur 2 

What   Happened    to    Mary May  xix 

Widow   By   Proxy 123 

Years  of  Discretion 36  and  119 


A   Good   Little   Devil Feb.  xiv 

All  For  The  Ladies Feb.    xii 

A   Man's    Friends May  xiy 

Angelini-Gattini    Opera   Company June     xi 

Ann  Boyd  May  xiv 

Are    You  a   Crook? June      x 

Arizona    June     xi 

Blackbirds   38 

Broadway  to  Paris 6 

Chains    Feb    xv 

Cheer   Up    Feb.  xiv 

Divorcons    130 

Eva    , Feb.  xiv 

Fine    Feathers 34 

Fraulein  J  osette — Meine   Frau May     xii 

Gabriel    Schilling's    Flucht 101 

Giannetta's  Tears   68 

Hamlet   , 4 

Her    First    Divorce June      xi 

Hindle  Wakes   2 

lolanthe    June     xii 

Irish    Plays    68 

Joseph  and   His   Brethren 37  and     94 

Lead,   Kindly    Light Mar.  xxix 

Liberty    Hall    99 

Maid   in   Germany ...June      x 


Plays     Reviewed 

PAGE 

Marie  Dressler's  Gambol Apr.  xv 

Mere    Man    4 

Miss   Princess Feb.  xii 

Much   Ado    About   Nothing 6 

My    Friend    Teddy 67 

Peg  o'    My   Heart 36 

Princess    Plays   Apr.  xvi 

Quo  Vadis    June  x 

Racketty-Packetty    House    46 

Roly    Poly     6 


Romance    66 

Rosedale    , May  xii 

Rutherford  and   Son Feb.  xi 

Stop    Thief    Feb.  xi 

The  Amazons , 162 

The  American   Maid Apr.  xv 

The   Argyle   Case 37 

The    Beggar    Student 132 

The   Conspiracy   38 

The   Drone    Feb.  xxvii 

The    Firefly    3 

The  Five  Frankforters 98 

The    Geisha    May  xii 

The   Ghost   Breaker Apr.  xv 

The  -High    Road 

The  Honeymoon  Express 60 


The   Indiscretion   of   Truth ^ 

The  Lady  From   Oklahoma May    xiv 

The  Man  With  Three  Wives Mar.  xxix 

The    Master    Mind 100 

The  Mikado   163 

The    Miracle    Apr.     xv 

The    Necken   163 

The  New   Secretary 68 

The    Painted    Woman 100 

The   Paper   Chase 3 

The   Passing  of  the   Idle  Rich 162 

The   Poor    Little   Rich   Girl 71 

The   Purple    Road 131 

The  Question Feb.  xxvii 

The  Rivals    38 

The   Second   Mrs.    Tangueray Mar  xxix 

The  Spiritualist 132 

The   Spy    Feb.     xv 

The    Sun    Dodgers 4 

The  Sunshine   Girl 66 

The   Unwritten   Law.. , Mar.  xxix 

The    Whip    5 

The   Woman    of   It Mar.  xxix 

What    Happened    to    Mary 130 

Widow   By    Proxy 101 

Years   of   Discretion Feb.     xii 


PAGE 

I    Don't    Care    (song) 143 

Melisande,    by    R.    W.    Bruner 170 

-Opera  Porteri,  by  H.   E.   Porter 18 

Shakespeare,  by  Eleanor  Raeburn 98 


Poetry 


Spring  on  Broadway,  by  Leslie  Curtis 131 

The  Dancer,  by  Dean  Carra 152 

The  Love-Sick  Chorus  Man  to  His  Dance  Partner 

of  Last  Season,  by  E.  L.  McKinney 188 


The  Yellow  Jacket,  by   D.   M 87 

To  Sara  Allgood,  by  Louii  Untermcyer 110 


Portraits 


PAGE 

Abott,    Bessie    80 

Adams,    Maude    75 

^olian   Hall,    Concert   room    of 76 

-Alda,  Frances,  in  "Cyrano" 106 

Allen,   Viola,  in  "The  Daughter  of   Heaven"....  116 

Allgood,    Sara    108 

in  "The  Building  Fund" 108 

Althouse,    Paul,   in    "Boris   Godunoff" 140 

.Amato,    Pasquale,   in   "Cyrano" 106 

American    Dramatists'   and   Composers'    Dinner. . .  101 

Ames,    Winthrop     122 

Anglin,  Margaret    75 

Antona-Traversi,    Giannino    188 

Askenasy,   Betty    70 

Barrett,    Lawrence    74 

Bates,    Blanche    78 

Beechcr,   Janet    , .  136 

Belasco,    David    75 

.Bennett,  Richard  78 

Benzinger,    Ernest,  in   "The   Miracle" 160 

Bernard,  Sam,  in  "All  For  The  Ladies" 34 

Bernhardt,   Sarah   May  xx  and  161 

Corner  of  her  reception  room. .  .  165 

in    "La    Samaritaine" 166 

as  Theodora 164 

Bijou   Dream  Theatre 59 

Blinn,    Holbrook    186 

Boland,    Mary    Jan.  Cover 

Boiling,   Arline    44 

Booth,   Edwin    60 

as  Richelieu   74 

Booth,    John    Wilkes 179 

Boyne,  Eva  Leonard,  in  "Fanny's  First  Play"...  16 

Brady,    Alice    124 

Brady,   William    A 75 

Braun,    Carl,    in    "Gotterdamerung" 70 

Breston,  Gladys 147 

Brieux,  Eugene   92 

Broadhurst,   George    75 

Brown,    Josephine    159 

Brown,  Maurice,  in  "On  Baile's  Strand" 84 

Bulwer-Ly tton    74 

Burke,    Billie 28  and  29 

•Caldwell,   Gladys   79 

Cameron,    Frances    14 

Carmi,   Madame,   in   "The   Miracle" 160 

Caruso,  Enrico,   in   "Manon   Lescaut" 55 

with  his  son 79 

Casson,   Lewis    Ill 

Cavalieri,    Lina    145 

Chatterton,    Ruth    184 

Cheatham,   Kitty    32 

Cherry,    Charles    174 

Clark,  Marguerite   167 

Clement,    Josephine    59 

Cort  Theatre,  Auditorium  of 42 

Cottrelly,  Mathilde  144 

in  "The  Five  Frankforters" 144 

Courtenay,    William    32 

Crews,  Laura  Hope 120 

Crosman,    Henrietta    157 

Cushman,    Charlotte   74 

Daly,  Augustin   74 

Daniels,    Frank 79 

Davenport,   E.   L 74 

Dean,  Julia,  in  "Bought   and   Paid  For' ! 

De    Cisneros,    Eleanor,    in    "Lohengrin" 114 

D'Elmar,    Mabel    14« 

De  Segurola,  Signor,  in  "La  Boheme" 

Deslys,  Gaby    £8 

Destinn,   Emmy,   in   "The   Magic   Flute    51 

Dickinson,    Prof.   T.    H 27 

Didur,  Adarao,  in  "Boris   Godunoff" 140 

Dolly   Sisters    1* 

Donnay,    Maurice    1  j>» 

Drew,    Mrs.    John . .  •  •  •  •  •  • •  74 

Edvina,  Louise,  in  "The  Jewels  of  the  Madonna  1 

Elliott,  Maxine   l' 

Emerson,    E.    A 1 

Emerson,    John 148 

in  "The   Conspiracy' 148 

Erlanger,   A.    L 

Fairbanks,   Douglas  \] 

with    his    son 110 

Farnum,  Dustin  and  Hale,  Walter 78 

Farrar,   Geraldine,   in  "Faust" ; 

Faversham.  William  •  75 

Ferguson,  Elsie   Mar.  Cover 

Ferguson,    W.    J 179 

Field,  Grace  

Finlay,   Vera   , ! 

Fisher,   Sallie  


Fiske,   Mrs 


and 


Flaha'ut,  Marianne,  in  "La  Prise  de  Troie" 77 

Flemming,    Claude    15° 


Ford's  Theatre,  Washington,  D.  C 179 

Playbil  of 179 

Private  box  in 179 

Fornaroli,    Lucia   49 

Forrest,    Edwin   , 74 

Francis,   Adeline  May     xx 

Frederick,  Pauline   172  and  17S 

in    "Joseph    and    His    Brethren" 

34,  94  and  Apr.  Cover 

Fremstad,   Olive    135 

Frohman,   Charles  78 

Frohman,  Daniel  156 

Gadski,  Johanna,   as    Brunnhilde 40 

Gaiety  Theatre,  Interior  of,  Manchester,  Eng....   Ill 

Gale,  Zona    , 27 

Garden,   Mary,   as   Tosca 102 

Gatti-Casazza,    Signor    12 

Gaythorne,  Pamela   180 

Jerville-Reache,    Mme 137 

jilly,    Dinh,    in    "Aida" 69 

in   "The    Huguenots" 39 

Glaser,   Vaughn   and   Courtenay,   Fay 80 

Goldsmith,    Oliver  74 

Gordon,   Kitty    78 

Guitry,    Sacha    23 

Hajos,  Mizzie   14  and  174 

Hale,  Walter, -and  Farnum,   Dustin 78 

Harvey,   Gladys,  in    "Fanny's   First   Play" 16 

Hatton,   Mr.   and    Mrs.    Frederick 119 

Hedman,    Martha    99 

Heming,   Violet   , 169 

Hempel,   Frieda  151 

in    "Rigoletto"    40 

in  "The   Huguenots" 69 

Herne,   Chrystal    78 

Hilliard,   Robert    154 

in   "The  Argyle   Case" 41 

Hitchcock,   Raymond,  and  Zabelle,   Flora 79 

Hoffmann,    Gertrude    

Homer,   Louise,    in    "Boris    Godunoff" I< 

Horniman,   A.    E HI 

Irwin,    May    1' 5 

Janis,  Elsie  1*' 

Jefferson,  Joseph,  as  Rip  Van  Winkle 74 

Joyce,  Alice   ,vMaX  xvl* 

Kane,  Gail   Feb.   Cover 

in  "The  Affairs  of  Anatol    31 

112 

'in  "The   Affairs   of  Anatol"....     80 

in  "Romance" 112,    113, 

and  June  Cover 

Kellerd,  John,  as  Hamlet * 

Kennedy,    Madge    • ; 

Kiddies  in  "The  Lady  of  the  Slipper   79 

Klaw,  Marc    !*» 

Klein,   Charles   • J6 

Klein,   Josef,   in    "The   Miracle" 1 

Lackaye,  Wilton  }; 

Landor,    Edward   J; 

Lavedan,    Henri    J 

Le   Baron,  Louise " 

Leiber,   Fritz    

Leonard,    William    E • 

Lerner,  Tina    /•:,"'! ; , 

Little  Theatre,   Chicago,  Auditorium   of 

Tea   room   of °4 

Little  Theatre,  New  York ....... ..l. 

Loftus,  Cecelia,  in  "Hamlet" May  Contents 

Longacre  Theatre,  Interior  of l" 

Lopoukowa,   Lydia    • >."  \ 

Lorraine,  Lillian . . .  ...... .June  Contents 

Lowell,   Helen,   in  "The   Red   Petticoat      ........     I 

Macdonald,  Christie   Jan.   Contents 

Macdonald,   Donald    i% 

Mackaye,    Percy    ?' 

MacKenzie,  Compton ; 

Macnez,   Umberto,  in  "Rigoletto   •>» 

Maguire,    Edward   J J°" 

Mantell,    Robert    •• • '? 

Mantell,  Mrs.  Robert   (Genevieve  Hamper) 11 

Marcoux,   Vanni,    in    "Louise    j»* 

in  "Tosca"    !<>* 

Marlowe,  Julia ™ 

as    Ophelia    ; 

with  E.  H.  Sothern 79 

Mason,  John    -If 

Maude,  Beatrice    

Mayo,   Margaret    " 

McCullough,    John    '* 

McGarry,    George    A •  *~ 

Mornetgomery,nWi.liam,'  and  Moore,'  Fto«nVe.M«:      « 

Mooney,   Helen    

Morosco,   Oliver    

Morton,   Martha    '     *t 

Murdock,    Ann 


Keane,   Doris 


Mash,  Florence   18 

with    Mary    Nash 168 

Nelson,    Elizabeth   ti 

Newman,    E.   M 3 

Norman,  Christine   88 

Note,  Jean   76 

Noyes,  Florence  Flemming...  ...90  and     91 

O'Neil,  Nance   76 

Opp,   Julie    149 

in   "Julius    Csesar" 25 

Palace  Theatre,  Interior  of May  xviii 

Palmer,   A.    M 74 

Peterson   House    179 

Pickford,  Mary,  in  "A  Good  Little   Devil" 177 

in  "The  Warrens  of  Virginia". .   176 

"Plays  and  Players"  Playroom 68 

Powers,  James  T.,  in  "The  Geisha" 129 

Pratt,  Muriel   Ill 

Princess  Theatre,  Interior  of 188 

Reeves,   Frances    150 

Rehan,   Ada    74 

Rehearsing  a  Grand  Opera 12 

Reicher,  Frank    32 

Reynolds,    Carrie    188 

Risdon,  Elizabeth,  in  "Fanny's  First  Play" 16 

Rocholl,  Theodor,  in  "The  Miracle" 160 

Rockwell,  Florence,  as  Lady  Macbeth 191 

Rooke,  Irene   Ill 

Rosmer,  Milton  Ill 

Ruffo,  Titta,  as  Hamlet 17 

Rushmore,    Vivian    19 

Russell,  Annie,  in  "Much  Ado  About  Nothing". .     57 

Ryan,  Mary,  in  "Stop  Thief" May  Cover 

Sanderson,  Julia   109 

Sapirstein,    David    70 

Sauerman,  Carl,  in   "Little  Women" 88 

Schildkraut,  Rudolf   54 

in   "Caprice   Mortale" 64 

in  "Gott  der  Racbe" 64 

in  "Johannisfeuer" 64 

in  "King  Lear" 64 

•   in  "The  Merchant  of  Venice"..     64 

Scotti,  Signor,  in  "Tosca" 8 

Setti.  Giulio  178 

Shakespeare,   William    74 

Shaw,  Arthur,  in  "The  Yellow  Jacket" 62 

Sheldon,   Edward    75 

Sheppard,    Heloise    .*...  147 

Sheridan    74 

Sherry,  Mrs.  E.  P 27 

Shubert,  Lee    75 

Simone,  Mme.,  in  "The  Paper  Chase" 1 

Skinner,   Otis  75 

Skirvin,    Marguerite   60 

Sokoloff,  Nikolai  Ill 

Sothern,   E.   A 74 

Sothern,  E.  H 76 

with  Julia  Marlowe 78 

St.  Denis,  Ruth 117  andd  118 

Starr,  Frances 9 

Stevenson,  Mrs.  W.  Yorke 63 

Swain,  Eva 1' 

Swinburne,  Ann   150 

Tanguay,   Eva    143 

Taylor,  Laurette  ' 

in  "Alias  Jimmy  Valentine"....     82 

in  "Barbareza"    83 

in  "Mrs.   Dakon" 82 

in  "Peg  o'  My  Heart" 7  and     82 

Taylor,   Tom    74 

Teyte,   Maggie   128 

Thomas,  Augustus    75 

Thorndike,  Sybil Ill 

Titheradge,  Madge   • 

Underwood,    Franklyn   , 150 

Urlus,  Jacques,  in  "Tristan  ur.d  Isolde" 69 

Valli   Valli    174 

in  "The  Purple  Road" 185 

Victor,  Josephine    1* 

Von  Busing,  Fritzi,  in  "The  Merry  Countess"...     68 

Wallack,   Lester    74 

Walter,    Eugene    76 

Warfield,    David    76 

Washburn,  Grace   187 

Wayburn,   Ned    146 

Wentworth,  Estelle,  in  "Tannhauser" 61 

White  Rats'   Clubhouse 126 

Williams,  Hattie   81 

Winston,   Florence,   in   "The    Miracle" 160 

Wolff,  Marjorie  Helen 178 

Wyndham,  Olive,  in  "What  Happened  to  Mary".  ISO 

Zimbalist,    Efrem    48 

Zucca,   Mana   192 


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No  gift  affords  as  much  pleasure  to  both  the  recipient 
and  the  giver  as  the  set  of  two  handsome  volumes, 
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A  complete  record  in  picture  and  text  of  the 
theatrical  season  of  the  past  year. 

It  contains  over  720  pages,  colored  plates,  1500 
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Only  a  limited  number  of  these  sets  have  been 
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ONTENTS 


Photo  Lillian  George 


Edited    by    ARTHUR     HORNBLOW 


COVER  :  Portrait  in  colors  of  Miss  Mary  Boland.  PAGE 

CONTENTS  ILLUSTRATION  :  Christie  MacDonald. 

TITLE  PAGE:  Mme.  Simone  in  "The  Paper  Chase" i 

THE    NEW    PLAYS:     "The   High   Road,"  "Hindle  Wakes,"  "The   Firefly,"   "The   Paper  Chase,"   "Mere 
Man,"    "The    Sun    Dodgers,"    "Hamlet,"    "The    Indiscretion    of    Truth,"    "The    Whip,"    "Uroadway    to 

Paris,"    "Roly    Poly,"    "What    Ails    You"?    "Much    Ado    About    Nothing"                                                                      2 

SETTLING  A  CASE  OF  DISPUTED  AUTHORSHIP W.  T.  P.        ....  6 

SCENES  IN  "PEG  o' MY  HEART" — Full-page  plate .  7 

AT  THE  OPERA — Illustrated , 8 

BECKY'S  POINT  OF  VIEW — Illustrated .        M.  Morgan     ....  9 

MRS.  ROBERT  MANTELL — Full-page  plate 1 1 

REHEARSING  GRAND  OPERA  AT  THE  METROPOLITAN  OPERA  HOUSE — Illustrated  .         Wendell  P.  Dodge        .       .  12 

THE  HUNGARIAN  INVASION — Illustrated A.  P 14 

SCENE  IN  "HAWTHORNE  OF  THE  U.  S.  A." — Full-page  plate 15 

TITTA  RUFFO — AN  EXTRAORDINARY   SINGER — Illustrated Clare  P.  Peeler      .       .      ' .  17 

THE  MANAGER'S  COMEDY  OF  ERRORS X.  X 18 

OPERA   PORTERI — Poem H.  E.  Porter  .        .        .       .  18 

VIVIAN  RUSH  MORE — Full-page  plate 19 

Music  IN  THE  MODERN  DRAMA Robert  Housuin     ...  21 

THE  APOTHEOSIS  OF  "BLAGUE" — Illustrated Willis  Stccll  ....  23 

JULIE  OPP — Full-page  plate ,      •       • 25 

THE  AUTHOR  OF  "CARNIVAL" — Illustrated Montrose  J.  Moses       .       .  26 

DRAMATIC  INSURGENCY  IN  WISCONSIN — Illustrated B.  Russell  Herts    ...  27 

THE  LADY  OF  BURKELEIGH  CREST — Illustrated Ada  Patterson       ...  28 

BILLIE  BURKE — Full-page  plate • 29 

Two   BROTHERS .'     .       .       .                               Benedict  Bell         ...  31 

OUR  FASHION  DEPARTMENT F.  A.  Brown  .       .       .  xiii 


CONTRIBUTORS — The  Editor  will  be  glad  to  receive  for  consideration  articles  on  dramatic  or  musical  subjects,  sketches  of  famous  actors  or  singers,  etc., 
etc.  Postage  stamps  should  in  all  cases  be  enclosed  to  insure  the  return  of  contributions  found  to  be  unavailable.  Al!  manuscripts  submitted  should  be  accompanied 
when  possible  by  photographs.  Artists  are  invited  to  submit  their  photographs  for  reproduction  in  THE  THEATRE.  Each  photograph  should  be  inscribed  on  the  back 
with  the  name  of  the  sender,  and  if  in  character  with  that  of  the  character  represented.  Contributors  should  always  keep  a  duplicate  copy  of  articles  submitted.  The 
utmost  care  is  taken  with  manuscripts  and  photographs,  but  we  decline  all  responsibility  in  case  of  loss. 

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O*    .,i.    „.    r>.^'">cN:       ...       A  CHICAGO  PARIS: 

itS     I  el!    !frprP  Sn     DCy'  BosTOH  PHILADELPHIA  99  Rue  des  Petits  Champs 


THE  THEATRE  MAGAZINE  COMPANY. 


Published  Mon'.My  by 

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ENTERED  AT   POST  OFFICE,    NEW   YORK,    AS   SECOND   CLASS   MAIL  UATTES 


iv 


THE      THEATRE      MAGAZINE      ADVERTISER 


WHITE  FIVE  PASSENGER  SIX 
Eleclrica  lly  Self-Sla  rted  and  L  ighted 


THE  WHITE  SIX 

Electrically  Started  and  Lighted — Left  Side  Drive 

The  purchaser  of  a  high-priced  car  has  the  right  to 
expect  superior  design  and  equipment  as  -well  as  superior 
material  and  workmanship. 

The  White  was  the  first  Six  to  introduce  left-side  drive, 
and  today  presents  this  logical  method  of  control  in  its  most 
desirable  form — with  right-hand  operation  of  the  gear-lever. 

The  White  was  the  first  Six  to  incorporate  in  its  equip- 
ment an  electrical  starting  and  lighting  system.  The  White 
Electrical  System  is  designed  and  built  by  The  White  Company, 
in  The  White  Factory,  especially  for  White  Cars.  The  White 
is  the  only  Six  today  equipped  with  an  electrical  system  that  is 
manufactured  by  an  automobile  company  especially  for  its  own 
product. 

Gasoline  Motor  Cars,  Trucks  and  Taxicabs 


^ITI  snip 

!ft 


51 


'he  White 


MJII  Company 

HUB 

Cleveland 


When    writincr  tr 


THE   THEATRE 


VOL.  XVII 


JANUARY,  1913 


No.  143 


Published  by  the  Theatre  Magazine  Co.,  Henry  Stern,  Pres.,   Louis  Meyer,     Treat.,  Paul  Meyer,  Sec'y;  S-io-it-14  Wett  Thirty-eighth  Strret,  New  York  City 


Whit. 


MME.    SIMONE    AS    BETTINA    IN    "THE    PAPER    CHASE."  RECENTLY   AT    WALLACES   T 


Marion  la  Vivandiere    (Sarah  Bernhardt) 
SCENE  IN   "UNE  NUIT   DE   NOEL  SOUS  LA   TERREUR,"   IN   WHICH   MME.   BERNHARDT   IS   NOW   APPEARING   IN  VAUDEVILLE 


HUDSON.  "THE  HIGH  ROAD."  Pilgrimage 
in  five  parts,  by  Edward  Sheldon.  Produced 
on  November  ipth  last  with  this  cast : 

Winfield  Barnes Frederick  Perry 

Alan     Wilson Charles    Waldron 

John    Stephen    Maddock.  .  .Arthur    Byron 

Silas     Page Charles     Fisher 

Harvey    Lawrence Barrett    Clark 

Martin    Denison Lewis    Howard 

Scott   Harry  J.   Holliday 


Cornelius  Murray.  . 

.  Leslie     Farley 

James    R.    Kenyon. 
Leet 


Aldrich  Bowker 

Joseph     Selman 

.  F.    Van    Rennselaer 


.. 

H.    Holliday 

An    Expressman Charles    Burleigh 

Mary     Page Mrs.     Fiske 

Esther     Nina    Melville 


Mr.  Sheldon's  play,  "The  High  Road,"  devotes  two  acts  setting 
forth  the  early  pilgrimage  of  a  Woman  before  she  finds  herself 
and  her  place  in  the  world.    Three  acts  are  then  devoted  to  the 
play  proper.    We  have  seen  the  girl  driven  away  from  her  coun- 
try home  by  its  sordidness  and  narrowness  of  opportunity ;  we 
have  seen  her  living  a  life  of  refined  luxury  in  meretritious  re- 
lations with  the  man  who  lured  her  from  home,  and  then  her 
sudden  resolve  to  redeem  herself,  to  go  forth  in  the  world,  to  be 
good  and  do  good.    She  refuses  the  offer  of  marriage  that  would 
have  glossed  over  her  own  mishap  or  mistake  of  conduct.     She 
becomes   known    for   her   efforts   in   behalf   of   underpaid   labor. 
She  has  had  a  bill  prepared  that  is  now  before  the  Governor. 
The  Governor  has  known  her  from  childhood,  but  is  ignorant 
of  that  part  of  her  pilgrimage  where  she  turned  aside  from  an 
unworthy  life.     He  loves  her,  he  forgives  her,  he  marries  her. 
These  first  two  acts,  with  their  frankness  of  revelation,  may  not 
be  necessary  to  the  mechanism  of  the  play,  but  they  establish  the 
woman  in  our  respect  and  sympathy.     Mr.  Sheldon  knew  what 
he  was  about  when  he  adopted  this  rather  daring  method  of 
handling  his  material.     Moreover,  these  acts  are  short,  and  one 
does  not  become  impatient  with  them,  for  they  are  interesting 
and  picturesque.     The  interior,  in  the  second  act,  of  the  richly- 
furnished  apartment  is  the  last  word  in  modern  decorative  re- 
finement.   It  is  worth  the  while,  for  the  luxury  that  the  awakened 
woman  leaves  emphasizes  the  sincerity  of  her  resolve  to  lead  a 
better  life.    In  the  last  three  acts  we  have  the  "big  scenes,"  which 
Mr.  Sheldon  handles  with  a  skill  excelled  by  no  one.     If  they 
remind  one  of  "Mrs.  Dane's  Defense"  or  any  other  play  it  is  a 
coincidence  of  life,  and  it  in  no  wise  detracts  from  the  originality 
and  force  of  the  play.    A  newspaper  proprietor,  with  overwhelm- 
ing opportunities  to  discredit  and  damage  an  opponent,  having 
large  financial  interests  also  in  factories  against  which  the  labor 
bill  is  directed,  recognizes  in  the  Governor's  wife  the  woman  who 
lived  unmarried  with  the  man  now  dead.    He  threatens  to  reveal 
her  past  unless  the  Governor  kills  the  bill.  The  situation  is  a  nat- 


ural  and  not  entirely  unfamiliar  one,  but 
its  scenes  are  worked  out  in  a  way  that 
sustains  the  liveliest  uninterrupted  inter- 
est.   With  Mrs.  Fiske  in  them  they  could  not  be  merely  theatrical. 

MAXINE   ELLIOTT'S.     ''KINDLE   WAKES."     Play   in   three   acts,   by 
Stanley  Houghton.     Produced  on  December  9th  with  this  cast : 

Mrs.  Hawthorn Alice  O'Dea  Ada    Kathleen    MacPherson 

Christopher    Hawthorn.  .James    C.    Taylor  Alan   Jeffcote Roland   Yonng 

Fanny    Hawthorn Emilie    Polini  Sir    Anthony    Farrar Chas.    F.    Lloyd 

Mis.    Jeffcote Alice    Chapin  Beatrice    Farrar Dulcie    Conry 

"Hindle  Wakes,"  by  Stanley  Houghton,  much  heralded  before 
its  production  in  New  York,  proves  not  unworthy  of  the  praise 
bestowed  on  it.  It  is  not  an  unusual  play  in  its  subject,  but  it  is 
unusual  as  a  study  of  local  character.  In  other  words,  it  could 
have  been  written  from  living  models  only.  Again,  it  could  be 
acted  only  by  actors  familiar  with  the  life  depicted.  The  company 
was  organized  and  rehearsed  in  England  by  Lewis  Cassen,  stage 
director  of  Miss  Horniman's  repertoire  company,  of  Manchester. 
The  new  idea  of  the  play,  if  it  may  be  called  new,  is  that  a  girl 
who  has  compromised  herself  with  a  young  man  may  act  within 
her  rights,  and  wisely,  in  refusing  the  marriage  which  is  arranged 
in  order  to  right  her  "wrongs."  The  girl  certainly  takes  an  un- 
conventional view  of  the  matter,  but  the  importance  and  cor- 
rectness of  that  view  is  open  to  various  opinions.  However,  the 
play  is  what  is  now  commonly  described  as  a  "slice  from  life." 
The  scenes  are  capital.  We  do  not  find  them  uninteresting  at  any 
point.  Some  of  them,  perhaps,  move  slowly,  but  the  dramatist 
meant  them  to  be  slow,  and  an  audience  acquainted  with  the  peo- 
ple would  be  satisfied  with  the  incidental  minute  portrayal  of 
character.  The  girl  has  been  away  from  home  for  the  "week's 
end."  Her  parents  demand  an  explanation.  She  is  forced  to 
admit  the  truth  of  the  charge  they  bring  against  her.  Her  com- 
panion was  the  son  of  the  owner  of  the  mills  in  which  the  father 
works,  an  old  friend  who  has  made  a  successful  career.  The 
two  men  had  begun  at  the  bottom  together.  The  mill  owner, 
when  the  case  is  laid  before  him,  decides  that  his  son  shall  marry 
the  girl.  The  boy's  mother  objects.  An  engagement  with  another 
girl  of  social  position  has  to  be  broken  off.  In  a  scene  between 
these  two  we  have  the  real  philosophy  of  the  piece.  She  refuses 
to  marry  him,  holding  that  the  boy's  relations  with  the  girl  of 
the  mills  already  constitutes  marriage.  The  girl  of  the  mills 
refuses  to  marry  the  rich  owner's  son  because  she  does  not  think 
he  really  loves  her,  and  that  she  might  destroy  her  own  hap- 


THE     THEATRE    MAGAZINE 


piness  by  marrying  him.  The  acting  of  the  play,  uniformly  good,  dies,  Mme.  Simone,  as  the  Baroness,  is  delightful ;  and  she  alone 
makes  all  this  convincing.  The  actors,  imported  from  London,  makes  the  play  worth  seeing,  but  it  is  to  be  regretted  that  she  is 
were  new  to  our  stage.  A  highly  favorable  impression  was  made 
by  Herbert  Lomas  as  the  stern,  blunt  mill  owner. 


LYRIC.  "THE  FIREFLY."  Comedy  opera  in  three  acts  with  book  and 
lyrics  by  Otto  Hauerbach,  and  music  by  Rudolf  Friml.  Produced  on 
December  2d  last  with  the  following  cast : 

Sybil  Vandare,  Vera  De  Rosa;  Suzette,  Ruby  Norton,  Pie- 
tro,  Sammy  Lee;  Geraldine  Vendare,  Audrey  Maple;  Jack 
Travers,  Craig  Campbell;  John  Thurston,  Melville  Stewart; 
Mrs.  Vandare,  Katberine  Stewart;  Jenkins,  Roy  Atwell;  Herr 
Franz,  Henry  Vogel;  Nina,  Emma  Trentini;  Antonio  Co- 
lumbo,  Irene  Cassini;  Correlli,  George  Williams. 

This  "comedy  opera,"  to  which  Rudolf  Friml, 
a  retired  piano  virtuoso,  has  written  the  music, 
is  one  of  the  best  things  of  the  season.  There 
is  not  a  coarse  nor  a  vulgar  thing  in  it;  not  an 
act  nor  an  actor  that  hurts  your  finer  sensi- 
bilities; there  is  something  more  than  vacuum 
where  a  plot  should  be ;  the  music  is  good,  the 
libretto  is  clean  and  amusing,  if  not  startlingly 
clever  or  funny,  and  the  singing  is  excellent. 
The  piece  is  obviously  built  around  the  leading 
lady,  but  when  that  leading  lady  happens  to 
be  Emma  Trentini,  a  little  person  with  a  big 
voice,  much  charm  and  an  abundance  of  good 
spirits,  this  cannot  be  set  down  as  an  objection. 
Though  Miss  Trentini  has  excellent  support  in 


Matzene        £     M     NEWMAN 

This   popular   lecturer    is   giving   a   series 
of   interesting   travel-talks 


compelled  to  spend  her  talent  on  anything  so  insignificant.  The 
production  and  the  performance  have  many  pleasing  aspects, 
but  the  dramatic  action  of  the  play  is  too  tame  and  meaningless 
to  promise  more  than  a  complimentary  public  patronage  for  a 
short  time  in  recognition  of  the  fine  qualities  of  our  French 
visitor.  Mr.  Parker  describes  his  play  as  an 
"irresponsible  comedy"  and  "an  all  but  histori- 
cal play,"  which  latter  definition  means  that  it 
may  have  happened.  It  may  have  happened, 
but  not  quite  in  the  way  that  the  happy-go-lucky 
author  says  it  did.  The  Baroness  of  Schoen- 
berg,  a  lady-in-waiting  on  Queen  Marie  An- 
toinette, intercepts  some  papers  from  the-  Due 
de  Richelieu  (who  desires,  for  political  reasons, 
to  discredit  the  Queen  in  the  King's  eyes),  and 
thereby  saves  her  mistress  incidentally  placing 
Monsieur  le  Due  and  his  intimate  friends  in  an 
embarrassing  position.  The  Marquis  of  Be- 
lange,  who  loves  a  married  woman  who  will  be 
compromised  if  the  papers  are  discovered  by 
the  wrong  persons,  essays  to  recover  them.  In 
the  meanwhile,  his  fickle  nature  has  unwittingly 
transferred  his  affections  to  the  lovely  Baroness. 
This  lovely  unknown  admits  that  she  loves  him 
in  return.  Upon  discovering  her  identity,  and 
believing  she  has  lied  to  him  as  to  the  where- 


Roy  Atwell,  Vera  De  Rosa,  Ruby  Norton, 
Sammy  Lee,  Audrey  Maple  and  Melville  Stew- 
art, she  has  to  carry  the  greater  part  of  the  responsibility  of  mak-  abouts  of  the  papers,  he  turns  against  her,  and  determines  to 

secure  the  papers  at  any  cost.  She  now  agrees  to  return  the  pa- 
pers and  the  documents  to  Richelieu  provided  that  Belange  will 
marry  her  and  return  with  her  to  her  native  Austria.  Belange 
consents  with  good  grace ;  the  Baroness,  by  threat  of  exposure, 
compels  her  enemies  to  purchase  her  trousseau,  and  they  depart 
together.  The  ominousness  of  undefined  papers  !  Mr.  Parker  has 
relied  too  much  on  it.  No  one  knew  what  they  contained — not 
even  the  author,  who  declined  responsibility  at  the  very  begin- 
ning. They  had  as  well  been  waste  paper.  At  best,  the  play  is 
an  exceedingly  shoddy  piece  of  work,  hanging  together  by  the 
most  obvious  of  theatrical  devices. 


ing  her  audience  like  the  play,  and  she  does  it. 

WALLACK'S.  "THE  PAPER  CHASE."  Comedy  in  four  acts  by  Louis 
N.  Parker,  founded  on  Henry  Mountoy's  novel,  "The  Minister  of  Police." 
Produced  on  November  25th  with  this  cast: 

Langlois    Henry   Duggan 

Dubois    Alec  F.  Thompson 

Leseur   Frank  L.  Davis 

Duchess    of    Senlis Belle    Starr 

Marchioness  Joyeuse.  .Pauline  Frederick 
Countess  Harlancourt..  .Edith  Cartwright 
Bettina  Madame  Simone 


Duke    of    Richelieu.- Edgar    Kent 

Marquis  of    Belange.  .  .Julian    L'Estrange 

Marquis  of    Joyeuse.  ..  .Dallas    Anderso'n 

Lavenne   Geoffrey   Stein 

Gaspard     Charles    Francis 

Bertrand    Douglas   Ross 

Boehmer   Pedro  de  Cordoba 


In  "The  Paper  Chase,"  by  Louis  N.  Parker,  who,  in  his  more 
earnest  moods,  has  furnished  us  with  some  very  agreeable  come- 


White  Roy    Atwell 


Audrey    Maple  Emma   Trentini     Katherine    Stewart          Ruby    Norton  Craig   Camj.l 

SCENE   IN  "THE  FIREFLY."   NOW  BEING  PRESENTED   AT  THE  LYRIC  THEATRE 


THE     THEATRE     MAGAZINE 


From  a  painting  by  Ed.   Simmons 

JOHN   KELLERD   AS    HAMLET 

HARRIS.     "MERE  MAN."     Comedy  in  three  acts  by  Augustus  Thomas. 
Produced  on  November  2$th  with  the  following  cast: 


Mary    Helen  Hancock 

Annie   Fan  Bourke 

Judson   Tom  Graves 

Mrs.   Fanwood Kathryn  Decker 

Margaret  Helen  Orr  Daly 

Ada  Hawley Minnette   Barrett 

David    Hawley Clifford    Bruce 


Trowbridge    William  Sampson 

Dr.    Pierson Orlando    Daly 

Kinsley DeWitt   C.    Jennings 

Esther    Lennard Chrystal    Herne 

Molloy  Charles  Sturges 

Shoenbock    Robert  B.   Kegerreis 

Dan  Riardo Sedley  Brown,  Jr. 


"Mere  Man"  was  so  unsatisfactory,  as  a  whole,  that  it  was 
withdrawn  after  the  first  week.  Recent  managerial  policy  aban- 
dons a  production  if  the  receipts  of  the  box  office  fall  below  a 
certain  weekly  figure ;  in  other  words,  below  expenses.  There  was 
a  time,  not  long  distant,  when  this  rule  was  not  followed,  when 
adverse  newspaper  criticism  was  disregarded,  when  further  trial 
was  hopefully  expected  to  reverse  that  opinion.  A  manager  should 
have  judgment  of  his  own  and  not  adopt  arbitrary  rules;  but  in 
this  case  we  think  the  rule  was  properly  applied.  As  to  the  play 


itself,  interest  in  it  waa  centred  nowhere.  The  opening  scenes,  in 
which  a  maid  is  accused  by  her  mistress  of  stealing  a  pair  of 
gloves,  in  which  the  lie  was  passed,  the  servant,  although  guilty, 
finally  throwing  the  gloves  to  the  floor  as  a  present  to  her  mistress, 
were  by  no  means  pleasing  or  in  the  spirit  of  comedy.  To  give 
a  detailed  account  of  the  story  and  its  events  would  prove  that 
Mr.  Thomas  was  more  intent  on  delivering  his  philosophies 
eloquently  than  on  unfolding  a  logical,  real  and  dramatic  story. 
The  play  was  unquestionably  a  failure;  and  yet  its  individual 
scenes  were  in  the  usual  entertaining  manner  of  Mr.  Thomas. 
The  cast  was  of  exceptional  excellence. 


BROADWAY.  ''THE  SUN  DODGERS."  Fanfare  of  frivolity  in  two  acts 
with  book  by  Edgar  Smith,  lyrics  and  music  by  E.  Ray  Goetz  and  A. 
Baldwin  Sloane.  Produced  on  November  3Oth  with  this  cast: 

Praline   Nutleigh Bessie   Wynn        Hiram    Hubbs Nat   Fields 

Mrs.    Honoria    O'Day  .C-eorge    W.Monroe        Todd    Hunter Denman    Maley 

P.   V.    Hawkins Harry    Fisher        Sam    Porter Jerry    Hart 

Rose    Hubbs Ann    Tasker       Vera    Light Nan    Brennan 

Wakeleigh    Knight Harold   Crane       Trixie  Turner Maud  Gray 

At  last  it  has  come  out  in  the  open ;  at  last  it  has  crystallized : 
the  whole  vicious  organization  of  perverted  and  anaemic  minds 
that  devise  nothing  but  ways  to  escape  the  ennui  of  business  or 
any  wholesome  work — tolerated  only  because  it  is  a  necessary 
evil — to  find  a  continuous,  joyous  dissipation  of  the  things  re- 
quiring effort;  lo!  "The  Sun  Dodgers."  They  live  in  the  night 
in  their  dives  and  rathskellars,  their  lobster  palaces  and  their 
whirling  cars;  they  rise  when  the  sun  sets  and  go  to  bed  when 
it  glides  up  in  the  east.  Wakeleigh  Knight  is  the  dominant  spirit 
of  this  enterprise,  and  his  widowed  aunt,  rolling  in  wealth  and 
embonpoint,  the  financial  backing.  Together  they  found  Sunless 
City;  and  after  the  supposedly  mirth-compelling  qualities  of  that 
idea  are  exhausted  (and  the  audience  not  yet  having  their 
money's  worth  of  killed  time),  the  Widow  O'Day  sells  the  city 
and  purchases  an  automatic  restaurant,  and,  to  make  the  connec- 
tion logical,  gives  an  imitation  tabloid  melodrama  with  the  assist- 
ance of  her  fiance  and  a  stagehand,  says  the  Sun  Dodger  idea 
was  never  good  anyhow,  sees  the  nephew  united  to  Praline,  a 
vaudeville  star,  and  takes  the  arm  of  her  fiance,  assistant  eccentric 
comedian.  Is  everybody  happy?  If  not,  it  really  doesn't  matter, 
for  the  time  is  up  and  our  use  of  other  people's  originality  has 
run  out.  George  Monroe,  as  the  Widow  O'Day  in  this  amazingly 
bad  piece  of  theatrical  craftsmanship,  is  the  same  as  ever,  with  a 
healthy  laugh  and  a  contortionist's  ability  to  say  yes  and  no. 
Harry  Fisher,  as  the  fiance,  is  only  mildly  amusing.  Bessie  Wynn 
is  called  Praline,  but  she  really  is  only  herself,  an  infinitely  better 
identity,  for  she  is  pleasing  of  voice  and  manner,  although  her 
songs  are  foolish. 


GARDEN.     "HAMLET."    Tragedy  in  five  acts  by  William  Shakespeare. 
Produced  on  November  i8:h  with  this  cast : 


Claudius    Chas.    A.    Stevenson 

Hamlet   John   E.    Kellerd 

Horatio    Harvey    Braban 

Polonius   Elwyn  Eaton 

Laertes   Edward  Mackay 

Rosencrantz  Nicholas  Joy 

Guildenstern    Edwin  Cushman 

Osric    Aubri    Percival 


A    Priest David    George 

Marcelus    Robert  Vivian 

First   Player Harry   Calver 

First   Gravedigger. .,  .Theodore    Hamilton 

Second    Gravedigger Arthur   Edwards 

Gertrude Amelia   Gardner 

Ophelia    Margaret   Campbell 

Ghost   Theodore   Roberts 


Mr.  John  E.  Kellerd  is  giving  a  series  of  classic  plays  at  the 
Garden  Theatre.  His  personal  fitness  for  such  serious  work  is 
to  be  conceded.  His  principal  play  has  been  "Hamlet."  The 
production  has  been  very  simple,  but  accuracy  in  scenery  and 
costumes  has  not  been  disregarded.  It  is  possible  that,  of  recent 
years,  the  public  has  become  accustomed  to  elaboration  in  these 
particulars,  but,  as  Hamlet  himself  says,  "The  Play's  the  Thing," 
an  utterance  that  plainly  included  the  acting. 


HARRIS.  "THE  INDISCRETION  OF  TRUTH."  Comedy-drama  in  four  acts 
by  J.  Hartley  Manners,  founded  on  Wilkie  Collins'  novel  "Man  and  Wife." 
Produced  on  November  i8th  with  this  cast: 


Donald  Tweedle Richard   Purdon 

Capt.  Wm.  Greville,  R.N.. Henry   Mortimer 

Kate    Stirling Violet   K.   Cooper 

Lady    Stirling Nina    Herbert 

Sir  George  Stirling,  Bart., 

Frank  K.  Cooper 


Truth   Coleridge Anne    Meredith 

Mrs.   Radnor Muriel   Starr 

Bruce   Darrell Walter    Hampden 

Henry    Marston Alexander    Frank 

Ben   Knivett Dan   Collyer 

Thomas    William    Eville 


"The   Indiscretion   of  Truth,"   by   J.    Hartley   Manners,   was 
quickly  withdrawn.     The  play  was  founded  on  Wilkie  Collins' 


THE    THEATRK    MAGAZINE 


novel,  "Man  and  Wife,"  from  which  a  number  of  plays  have 
been  written  and  have  been  seen  on  the  New  York  stage.    Natu- 

rally this  play   lacked   novelty  in   Spite   Of  a  Certain   Originality  of 

treatment.    The  attempt  was  made  to  impart  more  comedy  to  the 

story  and  to  avoid  any  agonizing  emotion.    This  was  not  entirely 

successful.    A  middle-aged  guardian  of  a  girl  engaged  in  a  love 

affair,  if  it  might  be  so  called,  with  a  young  girl,  the  real  love 

scenes   coming  only  in 

the  last  act,  could  not 

give  importance  to  this 

part  of  the  transaction. 

Three  acts  are  devoted 

to  getting  the  girl  out 

of    her    entanglements. 

The  play  lacked  novel- 

ty and  for  that  reason 

failed.      It    was    well 

acted.       Mr.     Frank 

Kemble   Cooper   is   an 

actor    of   distinction, 

not  only  in  his  fine  art, 

but  in  his  history.    We 

hope    that    other    and 

better  opportunities  on 

our  stage  will  speedily 

come  to  him.     Players 

of  excellence  were  em- 

ployed in  the  perform- 


music by   Max   Hoffman,   and  additional   numbers   by   Anatol   Friedlaml. 
Produced  on  November  aoth  with  this  ca-t : 

A-P0"0 George  Austin  Moore       Anne   TreUwii'-y Gertrude   Hoffmann 

Momus    Henrv  Awd       Hilary    Kavcnshaw Lee  Chmpin 

Alfonse   Mr.  Maurice 

l-'ih      Florence    Walton 

Mr.    Montague    1'otash Sam    Mann 

Miss  Leonora  Longacre. .  .Louise   l>r«-sser 
An    Arliste Mile,    liordoni 


Isabellc    Montclair Marion    Sunshine 

Lafe    Sherlock kalnh    Austin 

Kafe  Holmes James  C.  Morion 

Meinrich   Le   Nois George   Hickcl 


ance     but 
availed. 


nothing 


A  lively  show  this  and  one  that  lives  up  to  the  best  traditions 

of  the  Winter  Garden. 
There  are  hosts  of 
pretty  girls,  no  end  <;f 
songs  and  some  fever- 
ish rag-time  dancing 
that  brings  down  the 
house.  With  such 
favorites  as  Gertrude 
Hoffmann  Florence 
Walton  and  Mr. 
.Maurice  as  special 
features,  little  wonder 
that  the  box-office  is 
besieged  nightly. 


T  H  I  R  T  Y-N  I  N  T  H 
STREET.  "Mucn  ADO 
ABOUT  NOTHING."  Comedy 
in  three  acts  by  William 
Shakespeare.  Produced 
on  November  25th  with 
this  cast : 

Don  Pedro,  Percy  Lyndal; 
Don  John,  W.  Mayne  Lynton 
Claudio,  John  Westley;  Bene 
dick,  Frank  Reicher;  Leonato 
Fred  W.  Permain;  Antonio 
Holland  Hudson;  Balthazar 
Clifford  Devereux;  Borachio 
Edward  Longman;  Conrade 
Harold  Meltzer;  Friar  Fran 
cis,  Thomas  F.  Fallen;  Dog 
berry,  George  Giddens;  Verges 
Sidney  D.  Carlyle;  Seacoal 
Littledale  Power;  Oatcake 
Robert  Murray;  Hero,  Rose 
Bender;  Beatrice,  Annie  Rus 
sell;  Ursula,  Henrietta  Good 
win;  Margaret,  Mary  Murillo 
A  Lady-in-Waiting,  Sybil  Mait 
land. 

Neither  tempera- 
mentally nor  physically 
is  Miss  Annie  Russell 
suited  to  Beatrice. 
With  her  intelligence 
and  training  she  natu- 
rally could  not  wholly 
fail  in  the  role,  but  in 
a  part  of  such  bril- 
liancy, fire,  truth  and 
poetry,  something  more 
than  capable  mediocrity 
is  needed.  And  so  "Much  Ado  About  Nothing"  has,  for  the 
time  being  at  least,  been  temporarily  retired  from  her  repertoire. 
The  method  of  presenting  the  comedy,  pseudo-Shakespearian, 
was  distinctly  novel,  sufficiently  illuminative  and  artistically  ap- 
propriate; while  the  costumes  were  beautifully  rich  and  pictur- 
esque. Frank  Reicher  was  a  capable  Benedick,  nothing  more; 
Percy  Lyndal,  a  sound  and  imposing  Don  Pedro ;  while  the  droll 
humors  of  Dogberry  were  brought  into  vital  relief  by  George 
Giddens,  a  Stirling  artist  and  delightful  player. 


Byron 


Mary  Page  (Mrs.  Fiske)  Alan  Wilson   (Charles  Waldron) 

Mary   Page:    "There  are  some  who   have  even   heard   the   songs  they   sing!" 
SCENE    IN    EDWARD   SHELDON'S    PLAY,    "THE    HIGH    ROAD,"    AT   THE    HUDSON    THEATRE 


WEBER  AND  FIELDS. 

"Roi.v  POI.Y."  litirk-s<|iic 
ly  Edgar  Smith.  E.  Ray 
and  Baldwin  Sloane. 
Produced  on  November 
2ist  with  this  cast: 

Reuben  Hayes,  Arthur  Ayls- 
worth;  Mollic  Maguire,  Helena 
Collier  Garrick;  Percy  Fitz- 
simmons.  Jack  Norworth;  Hi- 
ram Fitzsimmons,  Frank 
Daniels;  Bijou  Kitzsimmons; 
Marie  Dressier;  Michael 
Schmalz,  Joe  Weber;  Meyer 
Talzniann,  Lew  Fields;  La 
Frolique,  Nora  Bayes;  Cerita, 
Bessie  Clayton;  Katrina,  Hazel 
Kirke;  Herr  Blotz,  Thomas 
Beauregard. 

Weber  and  Fields 
have  come  to  be  a 
recognized  national  in- 
stitution. No  matter 
what  they  offer,  be  the 
program  good  or  bad, 
you  always  must  laugh 
in  spite  of  yourself. 
Their  latest  offering 
excels  in  elaboration  of 
inise-cn-scctie  anything 
heretofore  attempted 
and  the  program  pre- 
sents such  a  formi- 
dable array  of  talent 
that  it  is  practically  an 
all-star  cast.  Marie 
Dressier,  Frank 
Daniels,  in  addition  to 
the  stars,  keep  the 
house  in  an  uproar. 
Bessie  Clayton  does 
some  graceful  dancing. 


MANHATTAN.     "THE 
WHIP."      Melodrama     of 

English  sporting  life  in  four  acts  by  Cecil  Raleigh  and  Henry  Hamilton. 
Produced  on  November  22d  with  the  following  cast: 


r^arl   of   Brancaster John   Halliday 

Rev.    Haslam Lumsden   Hare 

Marquis   of   Beyerley Robert  Jarman 

Captain  Sartoris Charles   Blackall 

Harry  Anson Dion  Titheradge 

Tom   Lambert Ambrose    Manning 

Joe   Kelly John   L.    Shine 

Sir  Andrew  Beck W.  Croft 

Captain   Rayner Horace   Pollock 


Lord   Clanmore Basil  West 

Bunting    Alac    Fraser 

Hon.    Mrs.    Beamish Marie   Illington 

Lady    Sartoris Evelyn   Kerry 

Mrs.    D'Aquilla Leonore    Harris 

Myrtle    Ansoi, Mona    Morgan 

Lady  Antrobus Lillian  Kcllar 

Miss   Carlyon Miss  Michael 

Mrs.    Purley. Lois   Arnold 


WINTER  GARDEN    "BROADWAY  TO  PARIS."    Musical  causcrie  in  two 
acts.    Book  and  lyrics  by  George  Bronson-Howard  and  Harold  Atteridge; 


This  is  a  stirring  old-fashioned  melodrama  such  as  delighted 
theatre-goers  of  two  decades  ago.  A  sporting  drama,  much  after 
the  styie  of  "In  Old  Kentucky,"  the  big  scene  in  "The  Whip"  is  a 
remarkably  realistic  train  wreck. 


White 


Gertrude  Hoffmann  George  Bickel 

SCENE  IN  "BROADWAY  TO   PARIS,"  NOW  BEING  PRESENTED  AT  THE  WINTER   GARDEN 


ttl 


£    Disipyted    Authorshi 


THE  twenty-sixth  of  November  last  was  made  a  red-letter 
day  by  David  Belasco  in  the  history  of  disputed  plays. 
In  the  morning  he  gave  a  performance  of  "The  Woman," 
by  W.  C.  DeMille,  and  in  the  afternoon  he  produced  for  the  first 
time  on  any  stage  "Tainted  Philanthropy,"  by  Abraham  Gold- 
knopf,  who  claimed  that  the  DeMille  play  was  a  plagiarism  of 
his  own. 

It  was  a  most  interesting  occasion.  In  point  of  fact,  it  was 
the  most  curious  event  that  has  ever  been  recorded  in  stage  an- 
nals. It  was  unique.  The  audience  that  was  assembled  was  as 
critical  as  could  possibly  be  collected.  Such  an  audience  natur- 
ally scented  entertainment.  For  that  matter,  its  keen  intelligence 
needed  no  further  hint  than  the  invitation  to  come  and  sit  in 
judgment.  For  the  first  known  time  the  deadly  parallel  of  per- 
formance was  to  be  instituted.  Mr.  Belasco  gave  to  this  play 
as  competent  a  cast  as  he  could  put  his  hands  on,  and  that  means 
the  best.  He  followed  the  stage  directions  of  the  author,  and 
not  in  the  slightest  shade  of  the  interpretation  was  there  any- 
thing but  entire  good  faith. 

"The  Woman,"  as  we  know,  concerns  the  efforts  of  a  group 
of  Congressional  landgrabbers  to  kill  the  opposition  of  a  fellow 
member  of  Congress  by  revealing  a  scandalous  incident  in  his 
life.  They  had  learned  that  he  once  spent  a  week  at  a  country 
hotel  with  a  woman  of  good  society,  her  name  unknown  to  them ; 
that  this  woman  was  now  married,  and  that  he  would  probably 
surrender  to  them  rather  than  disgrace  her.  This  woman  turns 
out  to  be  the  wife  of  one  of  the  group,  and  the  daughter  of  an- 
other one  of  them.  Without  this  condition  of  affairs  there  would 
have  been  no  play.  "Tainted  Philanthropy"  concerned  the  effort 
of  a  young  man,  made  penniless  in  a  Wall  Street  transaction  by 
the  treachery  or  design  of  a  millionaire  manipulator,  to  divert 
the  affections  of  a  young  woman  from  himself  to  this  same 
millionaire  in  order  that  she  may  be  richly  provided  for,  while  he 
himself  submitted  to  hopeless  ruin  and  renounced  all  claim  on  her. 

Mr.  Goldknopf's  cerebral  activity  is  not  to  be  disputed.  He 
is,  in  fact,  and  as  appears  in  his  play,  a  Socialist,  and  it  is  not  to 
be  imagined  that  he  wrote  the  play  with  any  marked  placidity 
of  feeling  or  that  he  was  not  "hitting  at  something.  He  sets  up 
as  his  type  of  the  American  millionaire  a  vulgarian  without  con- 
science, who  ruins  everybody  in  his  immediate  neighborhood  and 


makes  it  impossible  for  the  victims  whom  he  robs  ever  to  make 
another  dollar  as  long  as  they  live.  He  forces  the  young  man  to 
take  to  the  bottle  and  drink  himself  to  death  in  full  and  almost 
constant  view  of  the  audience.  It  may  be  remarked  that  the 
men  in  "The  Woman"  are  the  most  singularly  abstemious  people 
we  ever  saw  on  the  stage,  considering  that  their  activities  were 
carried  on  in  a  fashionable  hotel  with  a  convenient  bar,  and  that 
they  were  American  Congressmen.  None  was  rich ;  each  wanted 
to  get  rich  by  stealing  something  from  the  Government.  Air. 
Goldknopf's  multimillionaire  had  already  stolen  everything  he 
could  lay  his  hands  on,  and  he  was  now  devoting  his  time,  atten- 
tion and  energies  to  marrying  the  beauteous  maiden. 

The  curtain  rose  on  "Tainted  Philanthropy"  with  the  Mother 
'of  the  Maiden  primping  herself  at  the  glass  and  considering  the 
possibilities  of  her  charms  if  industriously  exercised  on  a  man 
of  money.  The  character  and  the  sordidness  of  the  Mother  were 
not  unpromising  in  a  dramatic  way,  to  begin  with,  although  the 
colors  were  laid  on  crudely.  It  was  only  when  a  messenger  came 
and  delivered  "a  paper,"  which  the  Mother  read  and  dropped 
with  an  agonized  exclamation  that  "the  mortgage"  had  to  be  paid 
that  the  humor  of  the  morbid  and  entirely  serious  play  asserted 
itself. 

It  was  not  that  Mr.  Goldknopf  was  without  ideas.  Some  of 
the  observations  of  the  characters  were  philosophic  and  shrewd, 
but  inevitably  morbid.  His  point  of  view  was  so  un-American 
that  it  could  only  be  laughed  at.  For  instance,  he  has  it  said 
that  we  have  a  day  on  which  to  celebrate  our  independence,  when 
in  reality  we  have  lost  our  independence.  There  is  some  truth  in 
that  if  you  look  at  it  with  your  eyes  asquint.  But  what  was  ab- 
surd in  the  matter  of  common  sense  was  that  he  made  the  Fourth 
of  July  the  occasion  for  the  introduction  of  the  confidential  clerk 
of  the  multimillionaire,  a  helpless  creature  who  did  everything 
his  master  bid  him  to  do,  contenting  himself  with  the  expression, 
"A  nasty  world."  A  curious  figure  he  was  as  a  kind  of  chorus. 

Mr.  Goldknopf's  characters  were  grossly  overdrawn,  but  his 
purpose  was  serious.  That  "Tainted  Philanthropy"  was  found 
amusing  is  a  small  matter.  The  one  thing  of  moment  that  was 
decided  by  the  Judge  and  by  the  audience  is  that  there  is  not  the 
slightest  resemblance  between  "The  Woman"  and  "Tainted 
Philanthropy."  W.  T.  P. 


Hearft "  aft  ftfiae  Cort 


Lauretta  Taylor  Clarence  Handyside  Peter  Bassett 

Act  I.     Peg  (Miss  Taylor)  :    "She  has  her  dog  in  here 


Laurette  Taylor 
Act    I.     IVg  arrive!  at  the  home  of   her  wealthy   relat.ve. 


H.  Reeves  Smith  Laurette  Taylor 

Act   I.     Peg:    "I'd   nav'  *on'  bick  to  1"m   only   l   co"ldnlt  »wim" 


A  FULL  month 
of  grand  opera 
at  the  Metro- 
politan Opera  House 
has  proven  that  the 
New  York  opera-lov- 
ing public  is  as  eager 
as  ever  for  opera,  and 
it  has  also  shown  that 
the  artistic  reign  of 
Giulio  Gatti-Casazza 
is  uncompromising  in 
its  high  ideals.  It  has 
not  been  a  sensation- 
ally exciting  month, 
save  for  a  few  in- 
stances ;  and  it  has 
not  been  crowded  to 
its  length  with  novel- 
ties, or  even  with 
new  productions  of 
revivals.  Some  of 
these  latter  have  suf- 
fered postponement 
because  of  the  delayed 
arrival  of  Frieda 
Hempel,  German  col- 
oraturo,  who  has  been 
a  victim  of  tonsilitis. 
Nor  has  Arturo  Tos- 
canini,  famous  Italian 
conductor,  yet  arrived, 
although  he  is  on  the 
high  seas  at  the  time 
of  writing.  Once 
these  artists  arrive  the 
promised  list  of  re- 
vivals and  novelties 
will  then  come  in  profusion,  and  we  shall  fairly  revel  in  music. 
As  it  is,  the  month  has  not  been  barren  of  artistic  high  lights, 
for  during  this  time  was  produced  the  revival  of  Mozart's  "Die 
Zauberflote,"  which  stands  prominently  forth  as  one  of  the  great- 
est achievements  of  the  Metropolitan  during  the  present  dictator- 
ship. Mozart's  work  has  languished  here  for  years.  The  reason 
for  this  neglect  was  not  far  to  seek,  for,  despite  the  heavenly 
beauties  of  some  of  its  music,  the  libretto  is  the  most  inane 
and  uninteresting  compilation  of  rubbish  ever  glorified  by  music. 
Efforts  have  been  made  in  the  past  to  convert  this  opera  into  a 
spectacle,  but  these  were  futile,  for  it  was  never  approached  with 
the  right  cunning.  In  Germany  the  opera  has  recently  been  re- 
vived in  various  cities,  and  Gatti-Casazza  viewed  these  produc- 
tions, took  from  each  the  most  desirable  points,  discarded  the 
rest,  and  then  placed  the  whole  scheme  into  the  hands  of  the 
Berlin  scenic  artist,  Kautsky.  The  latter  allowed  his  imagination 
to  run  riot  in  this  wilderness  of  a  tale  created  by  Schickaneder. 

The  result,  as  produced  at  the  Metropolitan,  is  little  short  of  a 
miracle,  for,  instead  of  proving  an  endless  bore,  "Die  Zauber- 
flote" in  its  present  revival  speeds  along  amazingly  fast.  Four- 
teen big  scenes  are  shown  within  a  production  time  of  two  and 
a  half  hours.  And  these  scenes  are  among  the  most  beautiful 
ever  shown  here.  Gorgeous  costumes,  properties  and  crowds  all 
lend  their  share  to  the  scenes  of  pageantry.  Merely  as  a  spec- 
tacle, it  is  a  glorious  performance. 

Musically,  it  is  even  more  than  that.  The  fact  that  the  eye  is 
ravished  does  not  in  any  way  diminish  the  artistic  offering  for 
the  ear.  Highest  praise  should  be  accorded  to  Alfred  Hertz, 
conductor,  who  has  lavished  such  infinite  care  upon  this  produc- 
tion and  who  proved  for  the  first  time  that  he  could  conduct 
Mozart  with  reverence  for  that  master's  delicacy. 


AT  THE 


Copyright  Mishkin 

SIGNOR    SCOTTI    IN 


•TOSCA" 


As  for  singing  art- 
ists, there  were  ten 
Americans  in  this  big 
cast  of  singers,  which 
bare  statement  alone 
should  silence  some 
of  the  silly  complaints 
that,  like  the  prophet, 
the  American  artist 
is  without  honor  save 
in  his  own  country. 
One  of  these  new 
American  singers, 
Edward  Lankow,  a 
bass,  created  a  mild 
sensation.  He  is  a 
member  of  the  Bos- 
ton Opera  Company, 
and  has  a  remarkably 
beautiful,  deep  voice, 
which  thrilled  his 
listeners  in  the  role 
of  the  High  Priest, 
Sarastro. 

Another  of  these 
Americans  proved  a 
keen  disappointment, 
however,  Ethel  Parks, 
singing  the  "Queen 
of  the  Night"  in  a 
manner  that  was  little 
more  than  amateur- 
ish. She  sang  the 
staccati  high  notes  in 
tune,  but  there  praise 
rests,  for  her  voice  is 
too  small,  and  its 
quality  hardly  entitles 
it  to  be  heard  at  the  Metropolitan.  Still,  it  was  by  accident  that 
she  appeared  in  this  production  at  all,  since  this  role  was  to  have 
been  sung  by  Frieda  Hempel. 

For  the  rest,  the  cast  was  admirable.  Destinn,  as  Pamina,  has 
never  sung  so  well.  Slezak,  as  Tamino,  surprised  his  oldest 
listeners  by  the  lyric  charm  of  his  singing.  Goritz,  as  Papageno, 
was  simply  unapproachable  in  his  comedy.  Reiss,  as  the  Moor, 
was  a  close  second.  Bella  Alten  was  excellent  as  Papagena. 
Griswold  was  nobility  itself  in  the  small  part  of  the  Priest.  The 
"Three  Ladies"  were  sung  by  Vera  Curtis  (who  made  her  debut 
then).  Mulford  and  Homer.  The  "Three  Youths"  were  taken  by 
Sparkes,  Case  and  Mattfeld.  It  was  such  an  admirable  perform- 
ance that  it  has  at  once  earned  a  new  operatic  lease  of  life  for 
Mozart's  immortal  music.  The  public  greeted  and  accepted  it 
enthusiastically,  and  it  promises  to  remain  in  fixture  for  years 
to  come  in  the  repertoire  of  this  opera  house. 

Titta  Ruffo,  much  heralded  Italian  baritone,  has  been  heard  at 
the  Metropolitan,  singing  the  title  role  in  Ambroise  Thomas' 
"Hamlet  "  in  the  first  performance  given  here  this  season  by  the 
Philadelphia-Chicago  Opera  Company.  The  whole  event  centred 
about  Ruffo,  so  much  having  been  dinged  and  donged  into  the 
public's  ear  about  this  eminent  baritone  who  drew  the  princely 
salary  of  two  thousand  dollars  a  night — a  sum  hitherto  unheard 
of  by  baritones.  Ruffo  is  a  sensational  artist.  He  has  high  tones 
that  any  tenor  would  be  proud  to  possess,  he  has  an  endless 
supply  of  breath,  and  boasts  an  agility  of  voice  that  is  amazing. 

The  rest  of  the  performance  may  be  dismissed  briefly.  Zeppilli. 
as  Ophelia,  showed  improvement  over  her  former  singing,  but 
she  was  still  inadequate  for  the  florid  music  of  the  "Mad  Scene," 
which  has  been  the  stalking  horse  of  really  great  singers  of  her 
class.  Eleanora  de  Cisneros,  as  the  (Continued  on  page  xxi\) 


Copyright  Mishkin 

SIGNOR  DE  SEGUROLA  IN  "LA   BOHEME" 


White 


FRANCES    STARR 
Who   is   now   appearing  in    Edward   Locke's  play,   "The   Case    of  Uecky,"  at   the   Belasco  Theatre 


IT  was  Sunday  afternoon.    Frances      ff 
Starr  and  the  present  writer  sat      JI 
at  one  of  the  broad  windows  of 
her  eyrie  on  the  highest   floor   of  a  hotel  that  looked  straight 
into  the  winding  drives,  the  autumn  browns  and  belated  green 
plots,  and   the  splashes  of  liquid  silver  of  Central   Park.     The 
young  actress  sat  with  hands  crossed  resignedly  upon  her  silver 
gray  velvet  lap,  a  pensive  look  in  her  thoughtful  eyes.     A  trim 
French  maid  in  black  and  white  hovered  about  her  mistress  with 
tender  solicitude. 

"Doesn't  it  look  conventional  and  laid  out,  as  though  it  were 
a  real  estate  map  of  a  town  that  is  going  to  be?"  said  Miss 
Starr,  referring  to  the  park.  "In  a  little  while,  when  \ve  drive 
through  it,  it  will  seem  far  more  imposing.  The  trees  will  look 
bigger  and  the  statues  greater.  It  is  a  great  lesson  in  the 
relativity  of  things  to  live  where  one  can  look  down  upon  them 
from  the  sixteenth  floor.  The  point  of  view  is  always  an 


important     element     in     everything." 
Despite    her   brief   age,   about   the 
middle  twenties,  this  actress  is  a  sage 
young  person,  of  confirmed,  thoughtful  habit. 

"For  instance,  your  point  of  view  about  Becky?" 
"I  read  one  hundred  and  fifty  books  on  similar  subjects  and 
have  thought  continuously  about  her  for  eighteen  months." 
"Then  what  do  you  think  of  her?    Was  she  insane?" 
"Not  a  bit.     Absolutely  not.     Most  decidedly  no." 
"To  the  lay  mind  she  was  a  girl  who,  vulgarly  speaking,  went 
'off  her  head'  now  and  then.     Why  don't  you  agree  with  the 
layman  ?" 

"Because  I  have  accepted  the  well-known  fact  that  you  can't 
hypnotize  a  lunatic.  He  can't  be  hypnotized  because  he  cannot 
concentrate.  The  difference  between  the  insane  person  and  all 
others  is  Ms  inability  to  focus  his  mental  powers  long  enough 
to  pass  into  the  hypnotic  State.  Becky  was  hypnotized,  not  once. 


10 


THE     THEATRE     MAGAZINE 


but  often,  which  proves  that  she  was  sane.     She  was  mentally 
affected  but  not  a  lunatic." 

"The  line  of  cleavage  between  the  two  states  being ?" 

"Being  the  susceptibility  of  being  hypnotized." 

"Accepting  that,  how  do  you  class  Becky?" 

"She  was  a  girl  of  the  tents.  She  had  lived  a  wandering  life 
with  this  Balzamo  and  had  taken  on  some  of  the  outward  coarse- 
ness of  her  environment.  When  the  hypnotist  who  had  lured  her 
mother  from  her  home,  and  whom  she  had  been  taught  to  believe 
was  her  father,  began  to  make  love  to  her  she  was  so  shocked 
and  terrified  that  she  ran  away  and  her  brain  was  affected 
by  the  strain  upon  it.  Under  the  gentler  influences  of  her  new 
surroundings  the  actual  girl,  Dorothy,  manifested  herself  more 
and  more. 

"But  she  is  still  in  a  state  of  hypnosis  under  Balzamo's  influence, 
and  when  he  follows  her  to  her  retreat  he  brings  her  into  his 
presence  in  a  curious  way  that  few  notice  and  understand.  You 
can't  sit  in  one  room  and  will  a  person  to  come  into  it.  That 
can't  be  done.  The  students  of  the  influence  of  a  stronger  mind 
upon  a  weaker,  which  is  hypnotism,  all  agree  about  that.  There 
must  be  a  visible  or  audible  reminder  that  connects  the  present 
state  with  the  past.  Balzamo,  when  he  enters  Dr.  Emerson's 
office  and  tosses  off  his  coat,  coughs  slightly  and  looks  up  the 
stairs.  During  his  conversation  with  Dr.  Emerson  he  coughs 
again,  slightly,  and  she  comes  into  the  room  saying,  'You  called 
me  and  I  come.'  He  had  said  to  her  long  before  'Wherever 
you  are,  when  you  hear  me  cough  you  will  come  to  me  and  obey 
me.'  That  command  remained  at  the  back  of  her  mind  and  she 
obeyed  it.  On  such  trifles  the  control  of  lesser  minds  is  secured. 

"Beckey  lived  in  the  subconsciousness.  She  was  always  there. 
The  subconsciousness  works  twenty- 
four  hours  a  day,  be  its  owner  waking 
or  sleeping,  it  is  always  active.  The 
superconsciousness  is  at  work,  say 
eleven  hours  a  day.  Dorothy  repre- 
sented, we  will  say,  the  superconscious- 
ness." 

"Do  you  believe  in  the  theory  of 
dual  personality?" 

"Most  emphatically,  yes.  I  see  it 
exemplified  in  myself.  I  find  myself 
Beckying.  I  surprise  myself  by  what 
I  do  and  say  at  times.  I  call  up  some- 
one by  telephone  and  wonder  after- 
ward why  I  telephoned  a  person  in 
whom  I  had  no  interest,  sending  a 
message  that  had  no  purpose.  T  get 
into  unexplainable  moods.  That  is  my 
other  self  become  active  after  slumber- 
ing. My  contradictions  and  incon- 
sistencies I  explain  in  that  way,  and 
the  explanation  is  perfectly  satisfac- 
tory to  me. 

"We  hear  of  some  man,  'He  is  a 
fiend  down  town  and  an  angel  at  home.' 
Recently  in  a  famous  murder  trial  the 
prosecutor  said  this  was  claimed  of  the 
prisoner,  but  that  it  was  impossible. 
'A  man  can't  be  a  demon  for  twelve 
hours  a  day  and  a  seraph  the  rest,'  he 
sneered.  No,  I  don't  at  all  agree  with 
him.  Ask  a  man's  employees  what 
they  think  of  him,  and  then  go  to  his 
home  and  ask  his  family.  You  will  be 
amazed  at  the  difference  in  the  replies. 
That  difference  does  not  prove  that  he 
is  a  hypocrite.  It  proves  my  theory  of 
the  two  selves  living  in  all  of  us.  We 
hear  of  elopements  of  lovely  girls 
from  refined  homes  wjth  men  far  be- 


Hangs 
Playing  Peggy 


neath  them.    Those  girls  are  hypnotized.    The  other  and  inferior 
self  has  been  summoned. 

"There  are  many  instances  of  this  dual  personality  known  to 
the  psychologists.  The  case  of  Anson  Bourne,  referred  to  in  the 
play,  is  a  famous  one  of  two  characters  in  one  person.  That  of 
Luracy  Vanum  is  another.  She  insisted  that  she  was  Mary  Roth 
and  went  to  live  with  the  Roths,  staying  there  three  months.  The 
case  of  Sally  is  the  most  remarkable  one  of  multiple  personalities. 
Sally  had  four  distinct  characters.  In  her  usual  person  she  was 
a  sensitive  rather  aesthetic  person.  In  another  she  was  intensely 
practical,  in  a  third  frivolous  and  in  the  fourth  dull,  colorless 
and  neutral.  She  recovered  in  time  and  became  permanently  the 
original  Sally.  She  is  living  in  Boston  still." 

"Isn't  it  true  that  every  part  you  create  is  a  liberal  education 
or  a  step  in  education?" 

"I  am  sure  of  it.  'The  Rose  of  the  Rancho'  taught  me  how 
poetry  and  romance  may  be  made  to  beautify  life.  In  'The 
Easiest  Way'  I  learned  how  every  sort  of  life  may  be  possible 
under  certain  conditions.  Before  that  I  had  been  inclined  to 
think  of  girls  like  Laura  Murdock  as  uninteresting  and  simply 
'not  nice.'  Solving  the  problem  of  her  character  taught  me  to 
concentrate  upon  every  situation  in  life,  and  understand  it.  'The 
Case  of  Becky'  is  the  most  difficult  character  because  it  requires 
the  continual  activity  of  the  imagination.  Art,  as  I  regard  it,  is 
successful  imagining. 

"It  seems  to  me  one  of  the  most  difficult  roles  ever  played." 

Miss  Starr  smiled.     "I  think  so,"  she  said.     "Other  actresses 

may  think  what  they  are  doing  is  the  most  difficult.     But  dealing, 

as  it  does,  with  the  mind,  it  is  subtle  and  evasive,  hard  to  grasp, 

and,  having  grasped,  to  hold.    A  part  that  is  one  of  feeling  and 

appeals  to  the  heart  is  not  so  hard  to 
play.  But  for  this  the  mind  must  be 
perfectly  fresh  at  every  performance. 
I  have  noticed,  as  I  have  heard  others 
say  they  have,  that  there  seems  to  be  a 
break  in  a  part  when  actors  leave  the 
stage.  A  scene  is  played,  the  actor 
leaves  the  stage  and  when  he  comes 
back  you  feel  that  he  hasn't  been  living 
the  part,  that  he  has  to  catch  up  the 
thread  and  begin  living  it  again,  in 
other  words,  there  is  a  sense  of  dis- 
connection. That  I've  tried  to  avoid. 
I  have  the  feeling  when  Becky  is  being 
psychically  murdered,  mentally  assas- 
sinated, that  her  personality  oozes  from 
my  finger  tips.  So  when  Dorothy  is 
transformed  into  Becky  there  is  a 
fluid-like  sensation  as  of  something 
escaping  at  the  tips  of  my  fingers. 
Whichever  of  these  girls  has  left  the 
stage  I  keep  her  in  the  foreground  of 
my  consciousness.  I  feel  what  is  pass- 
ing within  her  until  she  appears  again. 
The  role  is  exacting  and  exhausting." 
The  star  of  the  strangest  play  on 
the  American  boards  looked  very  wist- 
ful and  very  young. 
"Is  it  worth  the  sacrifice?"  I  asked. 
A  slender  hand  descended  upon  mine 
with  a  firm  grasp. 

A  pair  of  earnest  eyes  squarely  met 
mine.  The  mantle  of  girlish  person- 
ality dropped  disclosing  the  woman  of 
brain  and  power  and  inflexible  deter- 
mination. 

"Yes,"  she  said.  Her  voice  rang 
with  conviction.  "Yes  and  yes  again. 
Achievement  is  the  one  thing  wholly 
satisfying  in  life."  M.  MORGAN. 


\ 


MADGE    TITHERADGE 
i  "The  Butterfly  on  the  Wheel,"  on  the  road 


THE     THEATRE     M  A  C  A  7.  I  .V  /• 


Photo  Strau»»-Peyton 


MRS     ROBERT    MANTELL    (GENEVIEVE    HAMPER) 
Who   i.  appearing    with   her   hu.band   in   Shakespearian    reperto.re    on    the    road 


;'War    is   a    peaceful    occupation    compared    with    managing   a    grand    opera    company,"  says    dciu-ral    Manager    (Satti-l'asazza    of   the    Metropolitan    ( 'pent    II misc. 

"Sometimes  I  think  I  would  like  to  go  to  war  for  a  vacation!" 


FEW  opera  devotees  have  the  slightest 
conception  of  the  enormous  work  nec- 
essary for  the  preparation  of  a  season 
of  grand  opera.  Running  a  Presidential  cam- 
paign, such  as  the  three-ring  political  circus 
with  its  many  party  side  shows  that  provided 
amusement  for  the  nation  during  the  last  few 
months,  is  as  child's  play  compared  with  get- 
ting ready  for  the  grand  opera  season.  Not 
even  the  staying,  auspicious  opening  and  tell- 
ing run  of  the  Bulgarian  War,  in  planning  and 
executing,  is  to  be  compared,  except  in  the 
toll  of  life,  to  a  season's  campaign  of  grand 
opera  at  the  Metropolitan  Opera  House. 

"War  is  a  peaceful  occupation  compared 
with  managing  a  grand  opera  company,"  says 
Impresario  Giulio  Gatti-Casazza,  General 
Manager  of  the  Metropolitan  Opera  Com- 
pany. "Sometimes  I  think  I  would  like  to  go 
to  war  for  a  vacation !" 

And    this    general    of    the    greatest    grand 
opera  army  in  the  world  did  have  a  war  train- 
ing before  taking  up  the  more  artistic  work  of 
grand  opera  management.    He  attended  the  Italian  naval  college 
in  Leghorn,  Italy,  for  three  years  and  was  graduated  a  midship- 
man.    Then  he  studied  civil  engineering  for  five  years  before 
taking  up  his  present  work. 

Mr.  Gatti — that  is  what  his  friends  call  him — said  he  would 
like  to  go  to  war  for  a  vacation.  That  is  exactly  what  he  did  at 
the  conclusion  of  the  last  season  at  the  Metropolitan.  As  soon  as 
the  big  opera  house  closed  its  doors  he  remained  here  long 
enough  to  arbitrate  some  important  labor  troubles.  Then  he  fled 
abroad — but  not  to  rest-  For  months  he  haunted  opera  houses  of 
France,  Germany  and  Italy,  seeking  novelties,  hearing  an  army  of 
singers,  conferring  with  costume-makers  and  scenic  artists. 

As  soon  as  the  first  new  production  was  settled  upon,  scenery 


Copyright  I)u]  out 

SIGNOR   GATTI-CASAZZA 


and  costumes  \\ere  ordered  and  shipped  to 
New  York.  The  opera  selected  for  the  first 
big  new  production,  Mo/art's  "Die  Zauber- 
*16te" — ("The  .Magic  Flute") — though  a  re- 
vival, so  far  as  scenery  and  cast  are  concerned, 
is  practically  a  novelty.  Entirely  new  scenery 
was  painted  by  Hans  Krautsky  in  Berlin,  and 
came  over  here  in  rolls.  Some  of  the  scenes 
in  this  revival  were  designed  and  painted  from 
photographs  taken  in  India  by  the  Cnnvn 
Prince  of  Germany  about  two  years  ago.  The 
canvas  was  mounted  on  frames,  and  then  hung 
and  put  together,  lighted,  criticised  and  ad- 
justed until  it  would  pass  muster  with  the  high 
Metropolitan  standard*,  under  the  supervision 
of  Mr.  Edward  Siedle,  the  technical  director. 
Hardly  had  the  doors  closed  on  the  last 
night  of  the  last  season  of  grand  opera  at  the 
Metropolitan  than  a  flooring  was  built  over  the 
orchestra  seats  about  on  a  level  with  the  stage. 
This  platform  at  once  became  the  opera  car- 
penter shop.  With  the  stage  cleared  for  action 
a  force  of  thirty-five  carpenters  scene  paint- 
ers, electricians  and  helpers  were  turned  loose  in  this  impromptu 
carpenter  shop  under  the  direction  of  Mr.  Siedle.  Every  shabby 
bit  of  old  scenery  was  brought  from  the  various  storehouses,  put 
up,  inspected,  and  wherever  there  was  any  sign  of  wear  the 
painter's  art  and  brush  were  applied. 

Early  in  the  fall  Mr.  Gatti  returned  from  his  quest  for  sing- 
ers and  novelties  abroad,  one  of  the  first  on  the  scene.  Like  in 
the  navy  when  the  admiral  arrives  the  squadron  fires  a  salute,  so 
when  Mr.  Gatti  stepped  on  the  stage  he  received  one  also.  Sud- 
denly the  lights  went  out  and  all  the  theatrical  thunder  and 
lightning  of  the  place  were  turned  loose.  The  giant  cannon  balls 
which  are  used  to  represent  the  destruction  of  Klingsor's  palace 
in  "Parsifal"  were  allowed  to  drop  from  their  place  in  the 


THE    THEATRE 


highest  rlies  to  the  stage  pit,  and  men  stationed  in  the  ily  gal- 
leries blew  trumpets  in  odd  keys.  All  the  time  the  lightning 
flashed.  The  effect,  which  was  awe-inspiring,  had  been  adviseil 
by  Assistant  Stage  Manager  Loomis  H.  Taylor,  the  young  wizard 
who  last  year  staged  the  American  grand  opera,  "Mona." 

After  this  rousing  reception,  Mr.  Gafti  spent  days  and  nights 
in  the  opera  house,  viewing  and  discussing  the  new  sets  of 
scenery  with  Mr.  Siedle.  Then  Mr.  Alfred  Hertz,  the  German 
conductor,  arrived,  and  he,  too,  was  greeted  with  plenty  of  stage 
thunder  as  a  salute. 

Without  a  moment's  delay  these  three  executives  began  to  plot 
and  scheme,  try  out  scenery,  experiment  with  lighting  effects, 
and  attend  to  a  thousand  and  one  troublesome  details.  When  all 
the  scenery  had  been  built,  the  false  flooring  was  taken  up  from 
the  orchestra  seats,  the  stage  was  rid  of  carpenters,  and  re- 
hearsals began  in  earnest — first,  scenery  alone ;  then  scenery  and 
lights. 

Under  the  careful  scrutiny  of  Mr.  Gatti  and  the  direction  of 
Mr.  Siedle,  the  lights  were  arranged  down  to  the  finest  nuance. 
Then  with  the  scenes  set,  all  the  technical  business  was  gone 
through — thunder,  lightning,  sunshine  and  shadow.  Mr.  Anton 
Schertel,  stage  manager  for  German  opera,  and  young  Mr. 
Taylor,  were  in  charge  of  the  stage. 

In  the  meantime  the  rehearsals  of  the  chorus  and  soloists  were 
going  on  under  the  various  conductors  in  the  different  rehearsal 
rooms.  Then  came  the  first  arranger  rehearsal, — placing  the 
chorus,  ballet  and  supers — with  piano  only.  They  were  taken 
through  all  the  entrances  and  exits,  gestures,  and  movements 
necessary  for  the  big  procession  at  the  end  of  the  first  act  of 
"The  Magic  Flute." 

Xext  came  the  arranger  rehearsals  with  soloists,  going  over 
all  the  business  with  the  "props"  they  have  to  use,  with  piano 
only.  Charles  Ross,  the  head  property  man,  must  see  that  every 
"prop"  is  on  hand  for  every  rehearsal — spears,  knives,  armor, 
and  a  hundred  little  things.  Then  the  soloists  and  chorus  came 
together  with  the 
ballet  and  supers, 
and  all  worked 
together  with  the 
piano. 

Meanwhile.  Mr. 
Hertz  had  been 
rehearsing  the 
orchestra  upstairs 
on  the  roof  stage, 
and  when  every- 
thing went  well 
on  the  stage  with 
the  piano,  the  so- 
loists, chorus, 
ballet  and  supers 
rehearsed  w  i  t  h 
the  orchestra  and 
with  full  set 
scenes  and  lights. 

After  this  com- 
bined rehearsal 
which  was  re- 
peated several 
times,  came  the  White 
first  dress  re- 
hearsal, at  which  the  minutest  details  of  the  costumes  were 
scrutinized  by  Mr.  Gatti  and  the  stage  managers.  There  were 
three  dress  rehearsals,  the  first  to  see  the  costumes :  the  second, 
for  the  management;  and  the  third,  the  invitation  rehearsal,  for 
the  critics.  This  was  given  about  two  days  before  the  opening 
performance. 

For  about  three  weeks  before  the  opening  of  the  grand  opera 
season  rehearsals  were  held  every  night,  as  well  as  day.  The 
entire  company  began  rehearsing  at  ten  o'clock  in  the  morning 


and  continued  right  through,  often  until  midnight  or  after. 
The  principals  began  to  arrive  about  two  weeks  before  the 
opening  of  the  season.  As  soon  as  they  landed  they  hurried  right 
up  to  the  opera  house,  before  going  to  their  hotel,  and  got  a 
rehearsal  slip  from  Mr.  Schertel,  telling  them  when  to  appear  to 
"tune  up."  Assistant  Conductor  Francesco  Komei  writes  down 
the  rehearsals  of  the  singers  in  a  big  book — the  rehearsal  bo.<k. 
There  was  a  wealth  of  detail  that  hurl  t<>  be  worked  out  by  tilt- 
stage  managers  before  the  final  rehearsals,  such  as  the  positions, 
entrances  and  exits  of  all  the  people;  and  "The  Magic  Flute" 
called  for  many  intricate  mechanical  contrivances.  ( )ne  of  tin  -> 
was  an  invisible  platform  on  which  The  (Jueen  of  the  Night,  a 
role  taken  by  Mine.  Fthel  Parks,  first  descended  from  the  hea\ 
and  then  ascended.  It  was  raised  about  twelve  feet  above  the 
stage,  and  lowered  to  about  six  feet  from  the  boards.  After  her 
aria,  The  Queen  of  the  Xight  is  let  down,  an.l  Mr.  Taylor,  stand- 
ing in  the  wings,  has  to  give  a  warning  to  the  mechanician  under 
the  stage  about  ten  bars  ahead,  through  a  speaking  tube.  Then, 
about  one  bar  ahead,  he  has  to  direct  the  mechanician  to  "go"  on 
the  thrill.  It  requires  considerable  judgment  to  give  the  warning 
and  command  at  the  right  time,  as  it  must  be  taken  into  consid- 
eration whether  the  singer  is  taking  longer  than  usual,  or  paus- 
ing at  times  more  than  others,  so  as  not  to  have  her  hoisted  into 
the  air  in  the  middle  of  the  thrill !  Over  and  over  this  was  re- 
hearsed, but  without  The  Queen  of  the  Xight — just  mechanically. 
There  also  is  lots  of  thunder  in  "The  Magic  Flute,"  and  to 
tear  off  the  peals  at  the  right  moment  is  most  difficult.  Mr.  Tay- 
lor, the  thunderer  of  the  Metropolitan,  has  to  keep  a  close  \vatch 
for  cues  in  both  the  dialogue  and  the  music.  This  was  all  care- 
fully gone  over  at  rehearsals. 

But  more  interesting  even  than  witnessing  the  workings  on 
the  stage  was  watching  the  executive  and  artistic  mainspring  of 
all  this  activity,  Signor  Gatti.  Outwardly  very  calm,  seldom 
raising  his  voice  above  a  speaking  tone,  he  guarded  every  detail 
of  the  monumental  opera  production.  His  orders  were  given  in 

a  low,  musical 
voice,  and  he 
refused  to  get 
ruffled,  an  admir- 
able quality  in  a 
man  who  has  to 
contend  with  all 
sorts  of  "artistic 
temperaments." 

Sitting  behind 
the  manager  as 
he  stood  in  the 
centre  aisle  about 
three  or  four 
rows  from  the 
orchestra  pit  dur- 
ing a  rehearsal, 
though  we  could 
not  see  his  face 
nor  catch  h  i  s 
words,  we  never- 
theless soon  un- 
derstood what  he 
was  directing. 
Xo  more  eloquent 
or  c  o  n  v  i  n  c- 
ing  shoulders  ever  addressed  an  audience ! 

Just  as  the  conductor  directs  the  orchesta  with  a  baton.  Mr. 
Gatti  directs  a  rehearsal  with  his  shoulders.  The  popular  im- 
presario has  his  shoulders  trained  along  musical  lines,  a  crescendo' 
movement  indicating  the  affirmative  and  a  diminuendo  shrug 
standing  for  the  negative.  When  he  wants  a  scene  flap  hoisted 
higher  he  gives  his  talking  shoulders  an  cleratczza  shrug,  and  if 
he  summons  a  singer  down  stage  he  does  it  in  a  coquettish  or 
way  with  those  same  (Continued  on  x^v  i//i) 


SCENE  IN  MOZART'S  OPERA,  "THE  MAGIC  FLUTE" 


Photo  Gould  &  fltaroden 

UOLLY   SISTERS 


FRANCES   CAMERON 


Havadnak  rendu  letlenuel 
Leggyhive,  Oh  Magyar ! 
(.Wherever  you  wander 

your    thoughts    turn    to 

home.) 


Moffett 


JOSEPHINE   VICTOR 


HT"  HESE,  the  open- 
ing lines  of  a 
national  air, 
pierce  the  many- 
tongued  chorus  of 
Broadway.  They  are 
stanzas  of  the  "Star- 
spangled  Banner"  and  "Marseilles"  of  a  little  oval  land,  whose 
longest  axis  lies  along  parallel  46°  North  Latitude,  and  is  en- 
compassed by  the  bowlike  curve  of  the  Carpathian  Mountains 
and  the  Danube  River.  The  greatest  amusement  street  in  the 
world  has  opened  its  tired  and  somewhat  exclusive  arms  to  a 
brilliant  flashing  creature  in  scarlets  and  yellows,  one  nimble 
of  toe  and  vivacious  of  manner,  a  singing,  dancing  creature  of 
smiling  allurement  and  abundant  temperament,  the  spirit  of 
Hungary. 

The  Hungarian  invasion  followed  the  Russian  invasion  and 
will  probably  be  as  swecpingly  successful.  Quietly  it  began  with 
Franz  Molnar's  subtle,  powerful  drama,  "The  Devil,"  that  ar- 
rested Broadway's  vagrant  attention  and  gripped  her  interest  in  a 
night  and  held  it  for  many  months,  while  rival  "Devils,"  one  of 
the  keen,  metaphysical  kind,  the  other  of  the  broader,  more 
obvious  order,  the  Satan  of  comic  opera  held  the  stage  in  two 
theatres.  "The  Devil's"  heels  were  trodden  upon  by  "The  Merry 
Widow,"  gayest,  most  fascinating  of  her  kind,  for  whom  Franz 
Lehar  provided  music  that  still  echoes  from  the  road.  An  en- 
core being  demanded  by  the  public,  the  composer  returned  to  us 
this  season  with  "The  Count  of  Luxembourg,"  containing  the 
novelty  of  the  dance  up  and  down  stairs,  which  proved  almost  as 
popular  as  the  famous  waltz. 

Fericke  Boros,  an  Hungarian  actress,  came  to  this  country 
bringing  with  her  Franz  Herzeg's  comedy,  "The  Seven  Sisters," 
which  Edith  Ellis  translated  into  popular  success  for  a  long  term 
on  Broadway  and  later  into  repeated  success  in  the  stock  thea- 
tres. The  news  that  "The  Seven  Sisters"  had  been  regarmented 


in  musical  form  having  reached  Stony  Gap,  her  estate  in  the 
Cumberland  Mountains,  Fritzi  Scheff  hastened,  with  her  two 
maids  and  her  dog,  to  New  York  to  secure  the  operetta,  into 
which  Miss  Ellis  had  fashioned  the  comedy  with  the  aid  of 
Charles  Hambitzer,  the  composer.  Christening  it  "The  Love 
Wager,"  the  triumvirate  put  it  forth,  the  latest  caviare  of 
entertainment  from  the  sub-Austrian  kingdom. 

Through  all  these  products  of  the  Hungarian  mind  and  pen 
ran  the  gold  and  scarlet  threads  of  exotic  temperament.  Tour- 
ists, knowing  the  rich  land  of  adventure  that  awaits  them  a 
night's  travel  along  the  Danube  from  Vienna,  take  train  or 
steamer  for  Budapest,  that  gay  capital  which  out-Parises  Paris. 
There  not  necessarily  the  fittest,  but  the  gayest,  survive.  There 
the  czardas,  most  spirited  of  national  dances,  is  given  while  the 
joy  of  life  tingles  in  every  nerve  of  the  dancers  and  the  behold- 
ers. There  women  are  chic  as  the  women  of  Paris,  more  beauti- 
ful, more  brilliant,  more  audacious.  There  the  men  are  more 
gallant,  more  thoroughly  permeated  with  the  spirit  of  medieval 
romance.  In  a  throng  of  Hungarians  one  sees  dark  eyes, 
nearly  almond-shaped,  glowing  above  high  cheekbones,  amidst 
a  complexion  of  the  warm,  creamy  tones  of  the  tropics. 
These  faces  are  living  monuments  to  the  romantic  natures  of 
Hungarians.  They  speak,  as  do  the  dark  eyes  and  hair  and  com- 
plexions of  the  West  Coast  Irish,  of  the  romantic  natures  of  the 
crew  of  the  Spanish  Armada  wrecked  off  those  shores,  and 
who  dwelt,  married  and  died  on  the  detaining  shores.  The  Hun- 
garians have  an  intense  admiration  for  the  Turks,  whose  neigh- 
bors they  are.  They,  Sabine-like,  rob  the  harems  of  their  beau- 
ties, and  wed  the  daughters  of  the  Moslems  beneath  their  heretic 
noses. 

Thence  comes  the  Oriental  strain  in  the  Hungarian  blood 
that  reveals  itself  in  the  features.  Always  in  the  lands  where 
marriages  are  arranged,  there  is,  as  the  reverse  of  the  shield, 
romance,  even  though  it  be  sought  outside  the  conventional  circle 
of  the  marriage  ring.  Therefore  is  romance  in  Hungary  ofttimes 
subtle  and  sometimes  charged  with  tragedy. 

The  intense  patriotism  of  the  little  oval  land  had  an  exemplar 
in  Louis  Kossuth.  An  unconquerable  land,  the  spirit  of  its  peo- 
ple is  untamable.  'Tis  this  untamable  spirit  that  pulses  through 


THE     THEATRE    MAGAZINE 


White 


Anthony   Hamilton   Hawthorne  Princess  Irma  Augusta  Elizabeth  Overitch 

(Douglas  Fairbanks)  Act  IV.      Hawthorne  bids  the  Princess  adieux  (Irene  Fenwick) 

SCENE   IN   JAMES   BERNARD   PAGAN'S   FARCE   "HAWTHORNE   OF  THE   U.  S.   A.,"  AT  THE  ASTOR 


1 6 


THE     THEATRE     MAGAZINE 


- 


'      f    ' 


t  It 


Unity  Photo  Co. 


Margaret  Knox 
(Gladys  Harvey) 


Dora  Delaney 
(Eva  Leonard  lioyne) 


Fanny  O'Dowda 

(  Klixaiirtl]  KiMlnnI 


THREE  CHARACTERS   IN   GEORGE   BERNARD  SHAW'S  COMEDY,  "FANNY'S  FIRST  PLAY,"  AT  THE  COMEDY  THEATRE 


its  music,  kindling  fires  of  patriotism  and  love  in  the  hearts  of 

those  who  hear.     To  the  mainstrings   of   human  nature   is   the 

appeal  of  Hungarian  music  made. 

And  this  applies  also  to  the  literature  of  which  Dr.  Jokai,  the 

Slav    Dickens,    and    Petoffi,    the    poet    of    nature,    are    the    most 

celebrated  contributors. 

In  its  people  the  naivete  of  the  child  combines  with  the  vital 

expressiveness  of  manhood  and  womanhood.     Mizzi  Hajos,  the 

little  star  of  "The  Spring  Maid"  company,  seemed  by  her  fervor 

and    crystalline   candor,    her 

mf  "  ^tm    tenseness      of      artistic      ex- 

'  pression,  unique,  until  Miss 
Josephine  Victor  stirred 
audiences  by  the  same 
superabundant  human  and 
artistic  feeling.  As  Arnold 
Daly's  leading  woman  in 
"The  Wedding  Journey," 
and  as  the  Hen  Pheasant 
with  Maude  Adams  in 
"Chantecler,"  and  as  the 
young  heroine  of  "The 
Secret  Orchard,"  the  un- 
American  quality  of  fer- 
vid nature  was  distinctly 
felt  by  audiences  to  which 
the  young  actress  had  trans- 
mitted her  peculiar  histri- 
onic power. 

"I  like  her.  She's  differ- 
ent," was  a  comment  the 
writer  heard  from  an 
habitual  and  discriminating 
theatre-goer  at  a  matinee 
recently. 

The  same  quality  was 
apparent  in  the  dancing  and 
pantomime  of  Jancsi  and 
Roszika  Dolly,  the  twin 
daughters  of  a  former 


Apeda  FLORENCE    NASH 

Now  appearing  as  Agnes  Lynch  in 
the  Law" 


actress  of  the  National  Theatre  at  Budapest  and  an  artist  of 
Hungary.  At  nineteen  these  dancers  in  "The  Merry  Countess" 
have  had  five  years  of  stage  experience  and  the  credit  of  many 
inventive  dances. 

Frances  Cameron,  who  plays  the  second  female  role  in  the 
Franz  Lehar  opera,  "The  Count  of  Luxembourg,"  is  by  descent 
Hungarian.  Olga  Helvai  in  "The  Merry  Countess"  and  Duse 
D'lrimy  in  "The  Belle  of  Brittany,"  breathed  into  lesser  parts  the 
fervid  spirit  and  instinctive  artistry  of  their  romantic  country. 

The  Hungarian  spirit 
and  presence  have  invaded. 
and  to  a  great  extent  per- 
vaded the  managerial  ele- 
ment. Martin  Beck,  one  of 
the  kings  in  the  divided 
diimain  of  vaudeville,  is 
of  the  little  land  of  romance, 
and  well  known  among  his 
countrymen  as  a  man  of  ur- 
bane manner  and  great  ver- 
satility in  the  world  of  music 
and  drama.  Close  at  his  right 
elbow  sits  Carlos  Feleke,  his 
prime  minister,  and  owner  of 
one  of  the  largest  libraries  of 
Hungarian  literature  on  this 
side  of  the  Atlantic. 

To  gay  Budapest  h  a  s 
gone  news  that  America 
welcomes  her  plays,  her 
players,  her  dancers  and 
singers,  and  consequently  to 
the  United  States  are  com- 
ing further  recruits  to  the 
army  of  invasion,  an  army 
whose  banners  are  supple 
bodies,  brilliant  eyes  and 
faces  that  reflect  emotion 
as  a  mirror  flings  back  a 
sunbeam.  A.  P. 


White 


'Withi 


MADGE   KENNEDY 


Recently    seen    in    the    title    role   in 
Miss   Brown" 


Little 


the 

'room 


IF  "a  great 
tenor  voice 
is  a  disease," 

as  we  are  told,  then  a  great  baritone  must  be  classified  as  an 
exceedingly  rare  ailment.  For,  while  looking  back  over  musical 
history,  one  can  recall  a  number  of  really  great  tenors,  from 
Vanelli  to  Caruso.  The  great  baritones  one  notes  in  the  same 
space  of  time  are  wonderfully  few.  Mozart  was  the  first  com- 
poser who  considered  it  worth  while  to  write  any  important  music 
for  that  register,  although  Handel  had  introduced  a  new  obsolete 
"baritone  clef."  In  our  own  day,  since  Edouard  de  Reszke  and 
Victor  Maurel  made  their  triumphs,  we  have  some  shining 
lights,  such  as  Amato,  David  Bispham,  Scotti  and  Renaud;  but, 
in  the  baritone  world,  as  in  the 
contralto,  it  is  decidedly 
case  that  there  is  much 
at  the  top." 

Signor  Ruffo  is  still  young, 
as  artists  go,  counting  only 
thirty-five  years  since  his  birth 
at  Pisa.  He  is  married  and 
has  a  son  and  daughter,  but 
his  family  are  remaining  at  his 
Roman  home  for  the  six  weeks 
of  his  American  tour.  His 
brother,  Ettre.  a  music  teacher, 
resides  in  Milan.  It  becomes 
doubly  interesting,  in  view  of 
the  rarity  of  the  phenomenon, 
to  watch  the  rising  above  our 
horizon  of  a  brilliant  baritone 
star.  Titta  Ruffo's  is,  though, 
no  new  name  either  to  Eu- 
ropean or  South  American  au- 
diences. As  "the  Caruso  of 
baritones,"  he  has  held  his 
place  in  both  countries  for 
some  years ;  and  no  great  cast, 
especially  in  Italy,  has  been 
considered  complete  without 
his  wonderful  voice  and  his 
skill  as  actor.  At  Monte  Carlo. 
last  spring,  for  instance,  he 
ranked  as  "special  star"  with 
Chaliapine,  Carmen  Melis  and 
Caruso;  at  Deauville  in  the 
summer,  with  Marguerite 
Carre,  Delna  and  Smirnoff.  In 
South  America,  in  the  smaller 
towns,  we  are  told  it  became 
customary,  before  the  nights 
when  he  appeared,  simply  to 

post  "Ruffo"  on  the  billboards.  Whereupon  the  impetuous  inhab- 
itants of  our  sister-republics  promptly  bought  tickets  without 
stopping  to  ask  what  opera  they  were  to  hear! 

Wild  stories  are  told  to  account  for  his  amazing  and   rapid 
success. 

As  a  matter  of  fact,  Ruffo's  career,  as  much  as  is  known  of  it, 
shows  on  investigation  the  same  characteristics  of  hard  work, 
indomitable  will  and  real  genius  that  are  so  invariably  found 
lurking  back  of  apparently  sudden  recognition.  He  was  born  in 
Tuscany  and  when  quite  young  entered  the  Santa  Cecilia  Con- 
servatory in  Rome.  Here  the  only  really  unusual  feature  of  his 
career  presented  itself.  The  entire  staff  of  teachers  unanimously 
declared  that  his  vocal  equipment  was  not  fitted  for  the  opera. 
So  dismissed,  after  two  years'  hard  study,  with  his  money  all 
spent,  he  faced  despair.  Promptly  he  turned  his  back  on  it  and 
made  his  way  to  Milan,  to  consult  Signor  Cassini.  This  teacher, 
formerly  himself  a  singer,  made  a  specialty  of  fitting  others  for 
grand  opera.  To  Ruffo's  joy,  Cassini  not  only  reversed  the  judg- 
ment of  the  Santa  Cecilia  faculty,  but  offered,  so  strong  was  his 
ifidence  in  the  young  man's  ultimate  success,  to  teach  him  for 


inary  Singer 


nothing.  His 
offer  was  prompt- 
ly accepted.  It  is 
pleasant,  in  view  of  the  many  stories  of  the  ingratitude  of  geni- 
uses, to  be  able  to  recoil  that  Signor  Cassini  has  long  since  been 
repaid  by  his  distinguished  pupil. 

At  Rio  Janeiro,  on  leaving  Cassini's  tuition,  Ruffo  made  his 
first  great  success.  He  extended  it  rapidly  to  the  other  South 
American  cities,  notably  Buenos  Ayres.  There,  last  summer,  he 
was  paid  $2,000  a  night.  Europe,  like  Kipling's  Mulvaney,  who 
"thought  small  of  elephants,"  looks  sharply  at  new  musical 
celebrities,  particularly  of  the  South  American  brand;  so  when 
Ruffo  returned  to  Rome  to  sing,  he  was  offered  $200  for  his  first 

performance.  His  acclamation 
by  the  Italians  was  so  remark- 
able that  on  his  third  appear- 
ance he  was  paid  $1,400.  Since 
then  he  has  been  able  to  com- 
mand his  own  price,  not  only 
in  Rome,  but  in  Paris,  St. 
Petersburg,  Moscow,  and  Lon- 
don. Mr.  Dippel,  the  impre- 
sario of  the  Philadelphia-Chi- 
cago Company,  was  only  able 
to  secure  Ruffo's  services 
through  the  generosity  of  Mr. 
Edward  T.  Stotesbury,  of 
Philadelphia,  who  personally 
guaranteed  Signor  Ruffo's 
salary. 

His  voice  is  what  is  known 
as  a  "high"  baritone  of  won- 
derful mellowness.  To  this 
tone-quality  he  brings  the  most 
facile  execution,  handling  florid 
scores  with  the  ease  of  a  col- 
oraturist.  In  "Hamlet,"  where 
the  composer  Thomas  has  pre- 
sented for  the  baritone  singer's 
consideration  every  variety  of 
work,  from  the  wild  abandon 
of  the  drinking-song  to  the 
tense  declamation  of  the  plav- 
scene,  Signor  Ruffo  has  made 
some  of  his  greatest  successes. 
The  enthusiasm  with  which 
the  Paris  Opera  received  his 
conception  of  that  role  has 
caused  it  to  rank  among  his 
best  parts.  In  it,  he  made  his 
first  New  York  appearance  on 
November  igth  last,  but  with 
Alice  Zeppilli  as  Ophelia;  Mine-  de  Cisneros  as  the  Queen;  Gustav 
Huberdeau,  the  King,  and  Henri  Scott  the  Ghost. 

The  New  York  music  critics,  who  are  not  the  easiest  in  the 
world  to  please,  concede  the  newcomer  to  be  one  of  the  foremost 
baritones  of  the  day.  Mr.  H.  E.  Krehbiel.  in  the  Tribune,  says: 
"He  is  unquestionably  an  extraordinary  singer,  extraordinary 
in  the  volume  and  range  of  his  voice,  in  his  command  of  the 
technics  of  singing,  especially  in  his  breath-control,  in  the  vitality 
and  vibrancy  of  his  tones,  his  ability  to  give  them  dramatically 
expressive  color,  his  finished  diction.  He  is  extraordinary,  too, 
in  his  dramatic  action — extraordinary  from  the  viewpoint  pro- 
vided by  the  opera." 

Tn  the  Sun,  Mr.  W.  J.  Henderson  writes : 
"This  Italian  baritone  has  certain  gifts  which  will  insure  him 
popular  favor  while  time  spares  him.  His  voice  is  a  high  bari- 
tone, and  like  most  voices  of  its  kind  is  hollow  and  cold  in  the 
low  register.  But  in  the  middle  and  upper  range  it  is  a  voice  of 
magnificent  power.  It  is  not  warm  in  quality,  but  it  has  vitality 
and  dramatic  value.  Mr.  Ruffo  sings  with  great  freedom  and 
without  forcing.  CLARE  P.  PEELER. 


TITTA   RUFFO— THE   "CARUSO   OF   BARITONES" 


"Blister"  Dionysius  Woodbury 

(William  Collier,  Jr.)  (William  Collier) 

Act    II.     "Buster":     "You    can't    put   Herman   anywhere;    you've    got    to    stay    with    him" 
SCENE   IN   "NEVER   SAY    DIE,"    NOW    BEING   PRESENTED   AT   THE    48TH    STREET    THEATRE 


TO  err  is  only  hu- 
man.  No  one  can 
hope  to  be  infal- 
lible.    The  judgment  of  most  of  us  is  apt  to  be  at  fault  some- 
times.   But  of  all  persons  as  a  class  who  seem  to  specialize  in  the 
gentle  art  of  making  colossal  blunders,  commend  us  to  our  friend 
the  theatrical  manager. 

If  a  manager  launches  a  play  which  proves  to  be  a  big  money 
maker,  the  public  pats  him  on  the  back  and  says,  "Smart  fellow !" 
when  the  plain  truth  is  that  no  one  is  more  surprised  at  the  suc- 
cess than  the  manager  himself.  It  can,  in  fact,  be  taken  as  an 
invariable  rule  that  the  play  which  the  manager  is  confident  will 
be  a  sure  winner  turns  out  a  dismal  failure,  while  the  piece  which 
he  regarded  with  contempt  and  merely  tried  "on  the  dog,"  so  to 
speak,  takes  the  town  by  storm. 

This  sounds  paradoxical,  yet  it  is  absolute  truth,  and  to  explain 
it  is  simple.  There  are  innumerable  kinds  of  buyers  of  plays, 
but  there  are  only  two  kinds  of  sellers.  Of  these  latter,  one  is 
the  genius — the  man  who  can  always  turn  out  the  play  the  public 
will  pay  to  see, — and  the  other  is  the  per- 
son who  merely  has  a  manuscript  to  dis- 
pose of.  It  is  obvious  that  the  genius  is 
he  whose  piece  is  successful,  and  equally 
obvious  is  it  that  the  other  person  sells 
the  failure.  The  average  theatre  manager 
is  one  of  the  most  guileless,  innocent 
creatures  on  earth, — a  mere  toy  in  the 
hands  of  the  wiley  person  with  a  play 
manuscript  up  his  sleeve. 

The  manager's  besetting  sin  is  hero 
worship.  Tell  him  beforehand  the  name 
of  the  author,  and  he  considers  it  quite 
unnecessary  to  read  the  play.  He  pro- 
fesses to  know  all  about  it,  for  or  against, 
merely  by  hearing  who  had  written  it. 
In  other  words  the  manager  is  a  good 
deal  like  the  race-track  gambler,  who  bets 
on  the  jockey  and  not  the  horse.  The 
manager  "puts  a  bet  down"  on  the  author — and  the  race  horse- 
man often  discovers  that  the  jockey  has  less  brains  than  the 
horse.  There  is  an  old  saying  which  tells  us  that  certain  things 


Opera  Porteri 

O  carmen  jadlowker  dalmores 
O  lucia  sextetta  bizet ; 
O  dippel  caruso  dolores, 
Gioconda,  o  andre-caplet. 

O  conti,  o  eames  tetrazzini, 
O  scotti  mascagni  farrar. 
O  gadski  busoni  puccini, 
Calve   Constantino,   maquarre. 

Ah,  verdi,  pagliacc'  trovatore, 

ATda  fremstad  meyerbeer; 

Pol  plangon — and  that  tells  the  story, 

The  opera  season  is  here. 

H.  E.  PORTER  in  Life 


sell  like  hot-cakes.  But 
a  hopeless  play  by  a  dis- 
tinguished author  has  a 
velocity  of  sale,  that  makes  all  mere  speed  of  the  hot-cakes 
variety  like  unto  the  difference  between  a  snail  and  a  flash  of 
lightning. 

Some  of  these  managerial  errors  of  judgment  could  happen 
only  in  the  show  business.  Take,  for  instance,  that  manifesta- 
tion of  intelligence  of  a  certain  manager  who  recently  declared 
that  his  first  night's  audience  should  be  by  invitation  only,  on 
the  ground  that  this  was  a  play  for  "intellectuals"  and  not  for 
the  "tired  business  man,"  etc.  Now  as  the  purely  "high-brow" 
element  among  theatre-goers  who  pay  for  their  seats  is  about 
one  in  ten,  this  management  was  a  clean-cut  invitation  to  the 
submerged  ninth  to  remain  away  from  this  purely  intellectual 
play — an  invitation  that  was  promptly  accepted  on  the  spot,  and 
the  play  and  the  company  have  now  gone  back  to  England 
whence  they  came,  probably  to  denounce  the  lack  of  an  intel- 
lectual paying  public  in  America.  But  we  dare  not  print  what 
they  may  say  about  that  manager. 

Then  there  is  another  manager  whose 
penchant  is  for  the  foreign-made  play— 
anything  labelled :  "Made  in  Europe." 
It  is  like  some  men  who  must  have  their 
clothes  made  in  dear  old  Lunnun,  ye 
know.  This  manager's  estimate  of  a 
play's  value  is  of  a  bad  or  indifferent 
play  built  about  a  good  part  and  then 
produced  with  a  popular  star  as  the  real 
attraction.  There  was  a  time  when  this 
sort  of  thing  "got  over,"  to  use  the  ver- 
nacular of  the  show  business,  until  he  was 
brought  up  with  a  sharp  turn  by  produc- 
ing in  New  York  fifteen  foreign-made 
failures  in  one  season.  Since  then  he  has 
been  more  careful. 

Take  also  the  case  of  "Within  the 
Law."  This  piece  was  produced  in 

Chicago  and  "did  get  over,"  to  again  recur  to  the  vernacular. 
But  the  shape  it  was  in  did  not  entirely  please  the  manager,  so 
he  employed  another  and  better  known  dramatist  than  the 


THE     THEATRE     MAGAZINE 


Famous  two  years  ago  as  a  b«a 


VIVIAN    RUSHMORE 
utifu.  show  «ir,.  and  now  appearing  as  The  F.iry  Godmother  in  "The  Lady  of  the  Slipper"  at  the  C 


20 


THE     THEATRE     MAGAZINE 


Matzeije 


LAURETTE  TAYLOR 
This   favorite   actress   is   now  appearing  in   "Peg  o*    My    Heart" 


original  author  to  write  up  the  play,  upon  the  basis  of  a  percen- 
tage of  the  author's  royalty.  But  as  the  original  author,  it  is 
said,  had  arrived  at  a  point  where  he  had  lost  faith  and  was  willing 
to  get  out,  he  was  induced  to  sell  out  for  a  lump  sum,  said  to 
be  five  thousand  dollars.  After  the  manager  had  bought  out- 
right the  play  and  had  it  fixed  up,  he  too  lost  faith  in  it,  and  de- 
clared he  would  sell  out  for  ten  thousand  dollars,  which  offer  was 
promptly  accepted  by  the  agent.  The  latter  took  a  fast  train  for 
New  York  and  peddled  out  interests  in  it  to  various  people.  Then 
the  play  came  and  made  the  great  hit  of  the  season.  It  is  further 
said  that  every  word  put  in  by  the  "fixer-up"  dramatist  has  been 


cut  out  and  yet  he  is  the  only  one  who  draws  any  royalty,  and 
that  the  original  manager  has  a  percentage  of  this. 

imagine,  if  you  can,  a  play  called  by  preference  "The  Beast." 
A  gentle,  alluring  thing  on  a  billboard,  is  it  not?  A  curious 
phenomenon,  often  remarked,  is  that  when  a  play-title  is  put  on 
a  dead  wail  it  looks  quite  different  from  what  it  does  on  a  page 
of  manuscript.  Now,  whether  "The  Beast"  is  or  was  a  good  or 
bad  play  is  beside  the  question.  \Vhat  appeal  can  there  possibly 
be  in  such  a  title  as  "The  Beast?"  Still  it  had  possibilities.  "The 
Beast"  might  be  a  fighter  or  a  wife-beater,  which  is  what  he 
really  was  in  this  case.  He  shook  his  wife  up,  broke  up  the 
furniture,  and  all  this  the  manager  decided  was  to  be  ac- 
complished by  a  mild-looking  youth,  whose  personality  would 
not  indicate  any  inclination  to  swat  a  fly.  Miscasting  plays  is  a 
favorite  pastime  in  some  managerial  offices. 

There  is  no  doubt  that  there  is  a  mental  obsession  about  the 
production  of  a  play  by  which  the  manager  is  hypnotized  by  some 
unseen  force.  There  was  a  play  this  season  called  "The  Other 
Man,"  which  grew  out  of  the  performance  of  a  one-act  play  at 
The  Lambs.  A  firm  of  successful  managers  gave  the 
dramatist  an  order  to  build  a  play  out  of  it.  He  did.  After  it 
was  all  over  and  the  scenery  was  in  the  storehouse,  some  one 
asked  the  manager  how  it  happened. 

"Well,  we  put  a  bet  down  on  the  author  and  his  one-act  play, 
which  he  used  as  his  third  act;  he  wrote  two  other  acts  and  by 
the  time  the  original  story  was  re-acted,  it  was  dead." 

There  is  nothing  so  mysterious  about  any  play  that  may  not 
be  discerned  by  any  intelligent  and  impartial  observer.  The 
obsession  in  this  particular  case  was  that  other  successful  plays 
had  come  out  of  other  one-act  plays,  and  this,  without  any  tangi- 
ble reason  must  be  another.  Well,  he  guessed  wrong. 

In  this  same  connection  take  Bernstein's  plays.  The  only  suc- 
cess he  has  ever  had  in  this  country  was  "The  Thief,"  and  yet 
everything  that  he  has  written  before  or  since  has  promptly  failed. 
It  is  safe  to  assume  that,  had  these  selfsame  plays  been  presented 
without  Bernstein's  name  on  their  title  pages,  no  one  would  have 
given  them  a  thought.  In  fact,  if  all  manuscripts  were  submitted 
anonymously,  ninety-five  per  cent  of  all  the  theatres  would  be 
dark  continuously.  Here  is  an  illustration  of  how  this  obsession 
of  past  performances  works :  A  coterie  of  managers  were  seated 
at  luncheon  and  naturally  the  conversation  turned  upon  the  sup- 
ply of  available  plays.  And  the  shortage  in  supply  was  much 
deplored.  One  of  the  party  regretted  that  such  and  such  a 
dramatist  was  not  more  prolific,  and  that  there  was  the  hallmark 
of  genius  stamped  upon  all  of  his  work.  One  manager  de- 
murred and  said  he  was  just  as  capable  of  writing  as  bad  a  play 
as  anyone — given  a  fair  field  and  no  favors.  This  almost  created 
a  riot  and  instantly  led  to  bets,  that  this  same  author's  work 
could  be  recognized  anywhere  by  anyone. 

"All  right,"  said  the  dissenter,  "I'll  send  you  fellers  five  anony- 
mous manuscripts,  one  of  which  I  guarantee  shall  be  one  of  this 
author's  and  I'll  bet  you  five  hundred  dollars  you  can't  pick  it 
out." 

"Done !"  yelled  the  chorus. 

The  manuscripts  were  sent  in  and  after  they  had  been  read 
the  verdict  was  unanimous  that  the  author  in  question  had  not 
written  a  line  in  any  one  of  them.  Whereupon  positive  proofs 
were  submitted  that  the  dramatist  in  question  was  the  sole  author 
of  the  worst  piece  of  the  lot.  The  money  was  promptly  paid 
over  and  as  the  winner  pocketed  the  spoils  with  a  chuckle,  he  said  : 

"Boys,  now  listen,  if  I  had  read  that  play  anonymously  as  you 
have  done,  I  wouldn't  have  looked  at  the  second  act." 

The  play  was  afterwards  produced  out-of-town  for  two  per- 
formances and  then  straight  to  the  storehouse.  Which  goes  to 
show  that  the  fetich  "of  what  he  has  done"  causes  the  manager 
to  discriminate  against  the  author  and  not  the  play. 

Just  what  the  manager  is  liable  to  do  is  like  watching  a  flea 
jump.  Last  spring  an  important  manager,  just  before  sailing  for 
Europe,  issued  a  sort  of  foreword  in  which  he  announced  that 
henceforth  he  could  devote  the  rest  (Continued  on  page  vi) 


,nn§ii<s  lira  ftlhe 


[@ra  Drama 


MUSIC  and  the  drama  have  always  been  allied,  more  or 
less  closely,  since  the  inception  of  the  latter  art.  Jn 
modern  opera,  shaped  by  the  giant  hand  of  Richard 
Wagner,  they  are,  perhaps,  more  inextricably  interwoven  and 
mutually  dependent  than  ever  before.  But  in  the  realistic  thea- 
tre of  to-day— a  room,  as  Ibsen  would  have  it,  with  the  fourth 
wall  removed— which  mirrors  the  prose  facts  of  daily  existence, 
and  from  which  the  romantic  is  too  rigidly  excluded,  there  would 
seem  to  be  no  place  for  music.  Yet  a  place  for  it  has  been  found, 
and  several  contemporary  American  playwrights  are  now  em- 
ploying it,  not  merely  as  the  accompaniment  and  adornment  of 
their  scenes,  but  as  the  very  essence  of  their  drama.  It  becomes, 
in  their  hands,  almost  a  character — at  least  a  commentary.  The 
old  Greek  chorus  makes  its  reappearance  in  the  guise  of  music. 
And  here,  again,  may  be  discerned  the  influence  of  Richard 
Wagner. 

When  Wagner  perfected  his  system  of  leading  motives,  upon 
which,  as  a  framework,  the  structure  of  his  great  music  dramas 
is  reared,  he  gave  to  the  world  a  technical  method — it  is  too  fun- 
damental to  be  called  a  trick — which  has  since  been  adopted  and 
utilized  very  generally  by  composers;  more  rarely,  but  no  less 
significantly,  by  dramatists.  The  American  playwright,  while 
studying  ever  more  attentively  the  technique  of  the  best  foreign 
models,  is  no  longer  applying  his  acquired  knowledge  to  lifeless 
imitations  of  his  masters,  but  to  first-hand  reproductions  of  the 
familiar  life  about  him.  And  in  these  reproductions  technical 
methods  brought  from  the  Continent  often  suffer  a  sea  change 
which  effectually  cloaks  their  origin.  Eugene  Walter  himself 
might  be  surprised  to  learn  that  in  "The  Easiest  Way"  he  has 
made  use  of  the  Wagnerian  leading  motive. 

The  mere  introduction  of  songs  and  music  into  the  drama  is, 
of  course,  no  novelty:  Shakespeare  and  his  fellow  dramatists  of 
the  Elizabethan  age — pre-eminently  an  age  of  music — have  stud- 
ded their  plays  with  exquisite  lyrics  intended  to  be  sung  to 
music.  Shakespeare's  scanty  stage  directions  abound  in  such 
orders  as  "music  and  a  song,"  "flourish,"  and  "hautboys."  Now 
and  then  his  songs  serve  to  point  a  contrast,  as  when  lago  trolls 
his  merry  catch,  "Let  me  the  canakin  clink,"  in  the  midst  of 
black  villainy,  or  mad  Ophelia  sings  a  few  gay  snatches;  but  for 
the  most  part  they  are  nothing  more  than  unpremeditated  out- 
pourings of  the  poet's  own  exuberant  love  of  beauty.  In  like 
fashion,  songs  are  found  in  many  of  the  old  English  comedies. 
"The  School  for  Scandal"  is  enlivened  by  "Here's  to  the  Maiden 
of  Bashful  Fifteen"  and  "She  Stoops  to  Conquer,"  by  Tony 
Lumpkin's  ditty.  But  in  all  these  instances  the  music  is  inserted 
frankly  for  its  own  sake.  It  plays  only  an  episodic  and  incidental 
part,  and  is  never  concerned  directly  with  the  dramatic  action. 

Music  is  also  used  frequently  to  create  atmosphere.  Clyde 
Fitch  was  particularly  fond  of  employing  it  for  local  color. 
When  he  wrote  "Captain  Jinks  of  the  Horse  Marines,"  such 
songs  of  the  period  as  "Champagne  Charlie,"  Those  Tassels  on 
Her  Boots"  and  "Captain  Jinks"  itself  had  an  important  share 
in  evoking  the  vanished  atmosphere  of  old  New  York.  And 
when  he  staged  the  old-fashioned  street  of  Fredericktown,  in 
the  dusk  of  a  summer  evening,  the  voice  of  Barbara  Frietchie 
singing  "Maryland,  My  Maryland"  added  the  final  touch  to  the 
charming  picture.  In  his  delicate  comedy  of  the  early  sixties, 
"Trelawney  of  the  Wells,"  Pinero's  insistence  on  the  old  song, 
"Ever  of  Thee  I'm  Fondly  Dreaming,"  kept  constantly  before  his 
audience  the  sentimentality  of  those  crinoline  days. 

The  more  dramatic  use  of  music,  like  so  many  other  good 
things,  had  its  germ  in  melodrama.  Incidental  music  from  the 
orchestra,  heightening  the  effect  of  certain  scenes,  was  formerly 
the  invariable  rule  in  melodrama,  and  is  still  to  be  met  with  in 
stock  productions  and  "thrillers"  of  the  cheaper  sort.  Who  has 
not  heard  the  orchestra  break  softly  and  tremulously  into  "Hearts 


White 


JULIA    DEAN 
As    Virginia    Blame   in    "Bought   and   Paid    For" 


THE     THEATRE     MAGAZINE 


White 


Tilly   von    Eberhardt  Major  John  von    Essenburg          Camillo 

(Dolly  Castles)  (Walter   Lawrence)         (Joseph  Santley) 

Act  I.     A  heated  meeting  of  The  Woman  Haters'  Club.     The  men  absolutely  refuse  to  have  anything  to  do  with  the  ladies 
"SCENE    IN   "THE    WOMAN    HATERS,"    RECENTLY    PRESENTED   AT   THE  ASTOR  THEATRE 


anil  blowers"  when  the  stalwart  hero  begins  to  tell  the  fair 
heroine  the  old,  old  tale,  forever  new  ?  Who  is  not  familiar 
with  those  minor  chords,  plucked  out  on  the  strings  of  the  violin, 
whenever  the  villain  tiptoes  stealthily  across  the  stage  on  mis- 
chief bent?  For  a  long  time  this  obvious  artificiality  was  com- 
placently accepted  as  a  stage  convention.  Indeed,  even  to-day, 
it  is  tolerated  to  an  amazing  degree  in  costume  drama,  where  the 
sense  of  actuality  is  not  keen :  many  recent  Shakespearian  re- 
vivals, otherwise  excellent,  have  been  marred  by  the  obtrusive- 
ness  of  the  orchestra  and  the  poet's  perfect  word  music  blurred 
by  the  strings.  Eventually  the  absurdity  of  the  practice  became 
too  patent,  in  plays  which  laid  even  the  slightest  claim  to  realism, 
and  nowadays  the  more  intelligent  audiences  will  have  none  of 
it.  They  have  repudiated  the  convention.  Incidental  music,  as 
such,  has  gone  out  of  fashion,  with  the  soliloquy  and  the  aside. 
Yet  the  incidental  music  of  melodrama,  for  all  its  absurdity, 
had  been  undeniably  effective.  "A  really  good  melodrama  is  of 
first-rate  importance,"  says  Bernard  Shaw,  "because  it  only  needs 
elaboration  to  become  a  masterpiece."  And  the  wise  playwrights 
began  to  elaborate,  to  cast  about  for  a  means  of  preserving  the 

effect  whilst  eliminating  the 
absurdity.  An  early  example 
of  the  means  adopted  may  be 
found  in  Oscar  Wilde's  "A 
Woman  of  No  Importance." 
A  soft  musical  accompaniment 
was  needed  for  an  important 
scene.  The  effect  sought  by 
the  aesthete  did  not  differ  es- 
sentially from  that  employed 
time  out  of  mind  by  the 
crudest  melodramatist ;  but, 
whereas,  the  latter  snatched  at 
it  by  the  means  nearest  to 
hand,  and  simply  set  his  or- 
chestra to  work,  Wilde  placed 
his  scene  at  an  afternoon  re- 
ception where  a  new  violinist 
was  to  be  heard.  At  the 
proper  moment  the  notes  of 
of  the  violin  were  introduced, 
without  the  slightest  strain 


upon  the  credulity,  and  the  audience,  its  intelligence  no  longer 
insulted,  was  delighted  with  the  result. 

There  are  many  instances  of  a  similar  use  of  music  in  modern 
drama,  where  it  is  of  incalculable  service  to  the  playwright  in 
sounding  the  emotional  key  of  his  scene.  By  means  of  music  he 
may  glorify  a  passage,  may  endow  it  with  a  dignity  or  a  pathos 
which  the  bald  speech  of  every  day  is  powerless  to  impart.  And 
music  is  peculiarly  adapted  to  such  a  purpose,  since  it  appeals 
directly  to  the  emotions,  instead  of  reaching  them  circuitously 
through  the  intellect.  Pantomime  itself  is  scarcely  more  direct 
or  forceful.  Perhaps  the  most  familiar  illustration  is  the  well- 
worn  scene,  perennially  popular,  where  the  hero  marches  off  to 
war,  to  the  inspiring  strains  of  "Yankee  Doodle"  or  "The  Girl  I 
Left  Behind  Me,"  and  the  spectator  thrills  with  an  excitement 
and  patriotic  ardor  which  nothing  less  than  music  could  arouse. 

Of  course  this  practice  has  its  abuses.  In  "The  Princess  and 
the  Butterfly"  Pinero  deliberately  relied  upon  it  to  win  emotional 
acceptance  for  an  unconvincing  conclusion — the  union  of  lovers 
so  unlike  in  age  that  there  seemed  little  prospect  of  happiness  for 
them.  Yet  he  contrived  to  cast  a  meretricious  glamor  about  the 
situation  by  smothering  it  in 
the  joyous,  sparkling  music 
of  an  Hungarian  band,  which 
was  intended  to  suggest  to 
the  audience  that  the  heart 
may  be  eternally  young,  de- 
spite advancing  years.  No 
doubt  it  did  suggest  some- 
thing of  the  sort,  but  the  im- 
pression could  not  have  lasted 
for  more  than  the  moment 
that  intervened  before  the 
curtain  fell.  Music  is  no 
substitute  for  sincerity,  al- 
though it  is  the  powerful  ally 
of  an  honest  situation. 

Edward  Sheldon's  "Salva- 
tion Nell"  furnishes  a  mas- 
terly example  of  how  music 
may  reinforce  and  emphasize 
a  situation  already  powerful 
and  sincere.  A  Salvation 


Bangs 

DONALD  MACDONALD 

Seen    in   "The   Red    Petticoat"   at   Daly's 


Otto  Sarony  Co. 

GEORGE  A.  McGARRY 

Now   appearing  K    "The   Waltz    Dream" 

in   vaudeville 


THE     THEATRE     MAGAZINE 


Army  girl  is  striving  to  save  the  wretched  heroine,  who  is 
hesitating  on  the  threshold  of  a  life  of  shame.  Hopeless, 
miserable,  her  intelligence  stunned  by 
misfortune,  she  must  be  saved,  if 
saved  at  all,  through  her  emotions.  And 
as  she  stands,  undecided,  at  the  cross- 
roads, the  Salvation  Army  band  blares 
out  "Onward,  Christian  Soldiers,"  with  a 
crash  of  brass  and  thumping  of  drums. 
The  strong  emotional  appeal  of  the  music 
decides  her :  she  joins  the  Army.  The 
audience  feels  the  call  of  the  music  as 
Nell  feels  it,  and  is  made  to  understand 
and  share  in  her  emotion. 

In  a  scene  of  this  character  music  at- 
tains a  position  of  real  dignity  as  a  tech- 
nical tool.  It  was  not  mere  chance  that 
the  dramatic  use  of  music  was  discovered 
after  the  soliloquy  had  been  discarded  as 
unnatural,  for  in  many  respects  music  has 
taken  its  place.  How  many  of  our  play- 
wrights now  reveal  to  us,  through  music 
instead  of  words,  what  is  taking  place  in 
the  minds  of  their  characters?  An  illumi- 
nating instance  of  this  externalization  of 
emotion — to  coin  a  phrase  for  it — appear- 
ed in  Sothern's  old  success.  "An  Enemy 
to  the  King."  The  Huguenot  hero  has  been 
led  to  suspect  the  faith  of  his  lady-love,  who 
is,  in  reality,  a  spy  in  the  service  of  Cathe- 
rine de  Medici.  Doubt  comes  upon  him  in 
an  old,  moonlit  garden,  through  which  a 
troubadour  wanders  singing  of  woman's 
love,  now  praising  it  as  "true  as  the  stars  above,"  now  com- 
plaining that  it  is  "deadly  as  marsh-lights  prove."  The  waver- 


DOROTHY  WEBB  AND  HARRY  CLARKE  IN 
"TANTALIZING   TOMMY" 


In  all  the  examples  hitherto  cited  the  music  employed  has 
either  possessed  a  perfectly  definite  and  unmistakable  con- 
notation, or  has  been  purely  descrip- 
tive. "Onward,  Christian  Soldiers," 
through  long  association,  has  come 
inevitably  to  suggest  religion.  Sheldon 
was  as  certain  that  the  audience  would 
grasp  its  meaning  as  was  Puccini  when  he 
attached  the  opening  bars  of  "The  Star- 
spangled  Banner"  to  the  hero  of 
"Madama  Butterfly"  as  his  representative 
theme.  Military  or  sentimental  music  is 
as  descriptive,  as  easily  recognized  for 
what  it  is,  as  Wagner's  storm  music  in 
the  first  act  prelude  t<»  "l)ie  Walkiire"  or 
the  forest  music  in  "Siegfried,"  which 
requires  no  knowledge  of  leading  motives 
for  its  complete  comprehension. 

But  not  all  of  Wagner's  leading  motives 
are,  or  in  the  nature  of  the  case  could  con- 
ceivably be,  descriptive.  He  uses  them  to 
represent  things  and  ideas  which  it  is  im- 
possible to  characterize  exactly  in  music, 
such  as  the  "Tarnhelm"  or  the  "Dusk  of 
the  Gods."  Unless  the  dramatist  uses 
music  in  precisely  the  same  arbitrary 
fashion  to  represent  abstract  ideas,  his 
claim  to  the  title  of  Perfect  Wagnerite  is 
incomplete.  Well,  in  "The  Easiest  Way" 
Eugene  Walter  has  done  exactly  this. 
His  own  stage  directions  show  how 
closely  analogous  to  Wagner's  is  his  use 
of  music. 

Immediately  after  Laura's  frightful  line  at  the  end  of  the  play, 
"Yes,  I'm  going  to  Rector's  to  make  a  hit,  and  to  hell  with  the 


ing  emotions  of  the  hero  are  communicated  to  us  through  the      rest,"  Walter  writes: 

agency  of  the  song.  "At  this  moment  the  hurdy-gurdy 


(Continued  on  page  vii) 


THE  coming  theatrical 
season  in  Paris  may  go 
down  to  green-room 

history  as  the  American  season,  so  many  plays  that  originated 
in  this  country  are  to  be  seen  there  in  translation  and  adapta- 
tion. So  many?  Well,  three  or  four  of  which  "Excuse  Me" 
and  "Baby  Mine"  come  first.  It  is,  therefore,  the  farcical  sort 
of  play  that  Paris  deigns  to  take  from  us.  To  make  over 
"Excuse  Me"  into  a  genuine  Palais  Royal  farce  no  less  an  author 
than  Sacha  Guitry  has  given  several  of  his  vacation  mornings. 
His  own  success  of  last  season,  "Un  Beau  Mariage,"  will  be  seen 
here  in  exchange,  and  exchange,  as  the 
proverb  long  ago  taught  us,  is  no 
robbery. 

Sacha  Guitry,  of  the  tribe  of  actor- 
authors,  is  sui  generis.  For  several  years 
a  favorite  comedian  among  the  Gauls  it 
naturally  occurred  to  him  that  knowing 
— as  who  should  know  better? — what 
kind  of  role  the  Parisian  public  liked 
him  in,  there  was  no  theatrical  tailor  who 
could  fit  Sacha  Guitry  so  well  as  Sacha 
Guitry  himself.  It  ought  to  be  difficult 
to  impress  a  reader  of  his  first  attempt 
at  self-fitting  "Voleur  de  Nuit"  that  it 
owed  its  origin  to  any  higher  motive. 
M.  Guitry  is  the  founder  of  the  school  of 
"blague,"  and  up  to  now  he  hasn't  en- 
rolled any  scholars.  His  plays  are  a 
kind  of  improvisations  in  slang — polite 


SACHA   GUITRY 

This    favorite    French    comedian    writes    his    own    plays — im- 
provisations  in   slang  that  can   be   compared   only   to  a  con- 
versation between  Weber  and  Fields 


Parisian  slang  (and  a  little 
that  isn't  so  polite),  that  can 
be  compared  only  to  a  con- 
versation between  Weber  and  Fields.  His  second  piece,  which 
had  a  brilliant  series  of  representations  at  the  Renaissance  last 
winter,  decided  the  point  in  the  affirmative  as  to  whether  or  not 
the  Parisians  liked  this  kind  of  improvising. 

"Un  Beau  Mariage,"  however,  was  made  to  be  played  and  not 
to  be  read,  and,  although  M.  Sacha  Guitry  may  justly  be  called 
a  writer  for  the  theatre  he  gains  very  little  more  than  an  acute 
attention,  and  he  loses  a  great  deal  from  the  perilous  experiment 
of  publication.  The  story  is  so  slight, 
the  romantic  element  so  slender  that  in 
reading  it  one  has  to  recall  the  thousand 
little  delicacies,  to  give  them  that  name, 
of  Guitry  before  comprehending  the 
enthusiasm  of  French  critics  who  have 
found  reasons  in  it  for  likening  the 
author  to  Moliere.  Not,  indeed,  the 
Moliere  of  the  grandes  comedies,  but  the 
Moliere  of  the  farces. 

In  brief  the  play  recounts  the  efforts 
of  a  rich  bookmaker  to  relieve  himself  of 
a  daughter  of  marriageable  a<re  returned 
on  his  hands  by  the  death  of  a  relative. 
This  interrupts  the  current  of  his  life 
and  he  proceeds  to  marry  her  off.  select- 
ing for  parti  an  impecunious  young 
nobleman  who  rents  an  apartment  (but 
does  not  pay  the  rent)  in  one  of  hi« 


THE     THEATRE     MAGAZINE 


houses.  The  obstacles  to  the  plan  are :  first,  the  natural  reluc- 
tance of  the  gay,  young  blade  to  part  with  his  liberty  for  even 
much-needed  money;  and  second,  the  disinclination  of  the  girl. 
Each  is  attracted  by  the  other,  however, 
when  the  wily  bookmaker  throws  them 
together  and  when  love,  as  Guitry  con- 
ceives it,  awakes  in  their  hearts,  the  girl 
in  a  sentence  or  two  confesses  that  an 
imprudence  has  put  her  out  of  the  class 
of  women  that  men  marry.  The  count 
then  invites  her  to  elope  with  him  to  the 
Tyrol  witliout  further  ceremony,  and 
when  the  heroine  consents  joyfully,  he 
realizes  that  she  really  and  truly  loves 
him  and  he  forcibly  declares  that  he 
means  to  marry  her. 

"Oh,  why?"  cries  Simonne,  "why 
marry  me?" 

"Because,"  says  Maurice,  "because  I 
have  just  this  moment  realized  it, — be- 
cause getting  married  is  a  matter  of  no 
importance !" 

And  so  the  play  ends.  It  is  absolutely 
plotless,  depending  entirely  on  the  witty 
dialogue  between  these  two,  and  for  lack 
of  a  more  modern  name  their  talk,  which 
is  strictly  up-to-date,  must  be  termed 
witty.  It  has  spicy  turns— how  could  it 
be  otherwise — considering  that  Guitry  has 
uttered  mots  ever  since  he  has  been  on 
the  stage  and  knows  no  other  language ; 
it  is  quick,  nervous,  living,  and  what  the 
French  call  ctincelante.  Moreover,  it  is 
as  natural  as  the  best  kind  of  improvisa- 
tion, and  if  Guitry  may  not  be  saluted  truly  as  a  new  Moliere, 
he  may  be  safely  called  another  Goldoni. 

Guitry's  success  with  his  feminine  public  was  to  be  expected. 
He  dominates  the  Parisian  feminine  elegante.  Why  not?  Under 
thirty,  pleasant  to  look  at,  if  not  handsome,  with  all  the  tricks  of 
the  jeune  premier  added  to  a  true  experience  of  the  theatre,  and 
of  a  sparkling  speech  that  isn't  too  intellectual,  having  tried  his 
speeches  over  and  over  again,  softened  them,  turned  them  inside 
out,  invested  them  with  another  meaning,  he  knows  the  way  to 
the  female  heart  of  Paris.  His  success  with  the  critics  is  a  more 
surprising  matter.  They  rather  scorned  the  actor's  first  attempt 
as  ecrivain  as  if  he  were  caught  poaching  on  their  preserves ; 
they  exclaimed,  and  they  could  in  decency  exclaim  over  the  lack 
of  that  trait  in  his  first  piece.  In  the  new  play  they  had  no  equal 


White 


SALLIE 


Recently    seen    in    "The    W 
shortly  in  the  title  role  of  ' 


opportunity  to  blush,  for  except  for  the  incident  which  is  em- 
braced in  two  or  three  speeches,  that  of  Simonne's  confession, 
the  play,  while  shocking  enough  to  suit  the  Gallic  fancy,  is  not 
enough  so  to  warrant  their  waving  the  flag 
of  virtue.  In  fact  they  passed  over  this 
incident  hurriedly  as  the  hero  Maurice 
does,  who  evidently  considers  it  a  matter 
of  no  importance — like  marriage  !  They 
were  not  shocked  at  the  scene  which  opens 
the  second  act  and  discloses  Maurice  (in 
his  pyjamas)  throwing  pillows  at  his 
mistress ;  they  singled  it  out,  indeed,  to 
comment  that  it  was  handled  with  drollery 
and  art.  How  would  that  scene  go  on  in 
our  theatre?  Probably  Maurice  would 
have  to  put  on  his  clothes — bat  that  isn't 
a  great  concession  to  make  in  the  trans- 
fer from  French  to  English. 

Messieurs,  the  interviewers,  did  not 
treat  Guitry  so  well.  They  did  things  in 
their  hurried  way  which  made  him  angry 
and  he  reflected  in  a  vein  of  satire :  "Do 
I  find  the  work  of  writing  a  play  easy? 
Yes,  I  swear  it.  Not  only  easy,  delicious 
even,  and  indispensable  to  my  happiness. 
The  proof  of  this  is  that  the  hour  or  two 
that  I  spend  getting  a  new  piece  on  paper, 
I  call  my  resting  time." 

One  scene  of  "Un  Beau  Mariage"  will 
recall  similar  scenes  by  Goldoni  and 
Sheridan — recall  them  by  differences 
which  reflect  the  modern  spirit.  Those 
antique  playwrights  chuckled  as  their 
heroes  pulled  the  wool  over  their  creditor's 
eyes;  the  Maurice  of  Guitry  "jollies"  his  importunate  collector 
in  the  style  of  the  twentieth  century.  As  this  scene  has  been 
repeatedly  signalled  as  one  of  the  hits  of  the  play  I  give  it  in  full. 
The  creditor  has  forced  his  way  into  the  apartment  and  inter- 
rupts Maurice  and  Paulette  in  their  merry  pillow  chase. 

The  Creditor  (in  a  loud  voice)  :     Monsieur,  as  I  have  just  told 
your  valet,  if  you  don't  pay  me  in  full  by  Wednesday  morning — 
Maurice   (still  louder)  :     In  the  first  place,  who  are  you,  and 
why  do  you  shout  like  that? 

The  Creditor:  I  represent  Kahn  &  Yibert. 
Maurice :    You  have  a  superb  situation ;  that  does  not  explain 
your  bad  temper. 

The  Creditor :     You  don't  answer  our  letters,  and  you  never 
come  to  see  us.  (Continued  on  page  < 'I'l'i'l 


FISHER 

oman    Haters"   and    to   appear 
'Eva,"  a  new  musical  comedy 


White 


Mr.  C.  O.  Drudge      Mrs.  C.  O.  Darlington 
(Sam  Edwards)  (Ffolliot  Paget) 


Mrs.  C.  O.  Dusenbcrry  Mr.  C.  O.  Darlington 
(Adelyn  Wesley)         (Charles  A.  Murray) 
Act    III.     A    general   mix-up    of    husbands   and    wives    in    the    farmhouse 

SCENE     TTJ     ERFDFRTC     CHAPTN"5     FAPPF     'T      (~1      Fl"     PFrFK'TT  V     AT     THF     C.ATFTV    THEATRE 


Mrs.  C.  O.  Drudge     Mr.  C.  O.  Dnsenberry 
(Clare  Krall)  (Charles  Brown) 


fegggg  --sg«ir , 


Sarony 


W/»  JP 

-      •   fS^f-™^ 


JULIE    OPP 
As    Portia    in    William    Faversham's    production    of    "Julius    Caesar" 


- 
"S,  wfi  ^ 


- 


THERE  are  not  many  novels 
of  theatrical  life  that  grip 
one  with  the  impression  of 
greatness ;  they  all  err  on  the  side  of  the  garish,  sacrificing  char- 
acter for  the  sake  of  external  detail.  Hence,  it  is  all  the  more 
gratifying  to  read  "Carnival,"  by  Mr.  Compton  Mackenzie,  and 
to  feel  that  one  is  in  touch  with  life  as  well  as  with  the  forlorn 
existence  of  a  Gaiety  girl.  The  story  is  remarkable  because  of 
its  uncommon  psychology,  because  of  the  simple  poetry  of 
Jenny's  nature — a  nature  brought  in  contact  with  all  the  coarse, 
loose  elements  of  the  chorus  profession,  and  coming  out  of  them 
with  the  strength  and  beauty  of  innate  refinement.  On  reading 
the  book,  one  asks  instinctively,  "Where  did  Mr.  Mackenzie  get 
the  opportunity  of  studying  this 
particular  life  so  minutely?" 

Now  comes  the  double  an- 
nouncement that  the  novelist  has 
turned  playwright  and  actor;  that, 
having  converted  "Carnival"  into 
a  drama,  he  himself  will  play  op- 
posite Miss  Grace  George,  who  has 
approached  the  role  of  Jenny  as 
something  of  a  Trilby.  "Where," 
we  again  query,  "did  Mr.  Mac- 
kenzie learn  his  trade  of  dramat- 
ist, and  get  his  experience  as 
actor?" 

Then  our  misgivings  are  silenced 
when  we  hear  that  Compton  Mac- 
kenzie belongs  to  a  family  boasting 
of  about  fifty  actors ;  that  he  has  the 
blood  and  talents  of  the  Siddons 
and  Kembles  in  his  veins  on  one 
side,  his  mother's,  and  that  by  his 
father  he  is  descended  from  a 
famous  low  comedian  of  Bath 
named  Montague.  That,  I  think, 
fairly  well  accounts  for  his  histrionic 
lineage,  furthermore  accentuated 
by  the  fact  that  his  father,  Edward 
Compton,  who  was  in  America 
some  thirty-odd  years  ago  with 
Adelaide  Neilson,  still  ranks  high 
in  the  profession  as  a  comedian. 

How,  then,  does  he  account  for 
his  play  writing  talents?  His  mother,  Virginia  Bateman, 
daughter  of  Col.  Bateman,  who,  as  former  manager  of  the  Lon- 
don Lyceum  Theatre  gave  Henry  Irving  his  first  start,  was  the 
daughter  of  the  Mrs.  Sidney  F.  Bateman  who  wrote  ''Self,"  a 
three-act  comedy  of  New  York  life,  revealing  the  manners,  cus- 
toms, and  economics  of  the  early  50*5,  when  Burton,  Placide, 
and  Charles  Fisher  were  at  Burton's  Theatre.  This  piece  con- 
trasts admirably  with  a  comedy  of  an  earlier  period  by  Anna 
Cora  Mowatt,  entitled  "Fashion." 

Col.  Bateman  was  a  Virginian,  and  Compton  Mackenzie's 
mother  was  born  in  New  York  the  year  that  "Self"  was 
produced. 

Hence,  we  see  that  the  author  of  "Carnival"  may  claim 
kinship  with  America.  His  great-grandfather  on  his  mother's 
side  was  J.  Coweli,  who  left  behind  him  such  an  interesting  vol- 
ume of  reminiscences.  In  passing,  it  is  well  to  note  that  R.  C. 
Carton,  of  "Lord  and  Lady  Algy"  fame,  is  an  uncle,  by  marriage, 
of  Mr.  Mackenzie.  This  phase  of  the  pedigree,  therefore, 
accounts  somewhat  for  the  playwriting. 

Finally,  it  is  of  interest  to  trace  the  literary  traditions  of  the 
author  of  "Carnival."  His  maternal  grandmother,  Evelyn 
Montague,  who  was  a  famous  Juliet  in  1837,  and  who  died 
in  1911,  was  a  great  friend  of  Queen  Victoria.  It  was  she  who 
became  so  closely  associated  with  Charles  Dickens  in  his  ama- 
teur theatricals — theatricals  which  brought  them  all  in  touch  with 
the  one-time  famous  actress,  Fanny  Kelly, — a  crochety  woman 


The  Aurthor  of  "Carnival" 


Photo  HoppS 


COMPTON    MACKENZIE 

The  author  ot    "Carnival" 


in  her  old  age  whose  boast  was  that 
she  had  been  loved  by  and  had  re- 
fused Charles  Lamb.  Dickens  and 

Thackeray  were  constant  visitors  at  the  Mackenzie  house.  The 
author  of  "Carnival"  has  still  another  and  a  closer  literary  tie. 
His  grandfather,  Charles  Mackenzie,  the  first  to  adopt  his 
mother's  maiden  name  for  the  stage,  was  the  son  of  John  Mac- 
kenzie, whose  wife,  Elizabeth  Symonds,  was  sister  of  Dr.  John 
Addington  Symonds,  a  famous  scientific  writer  whose  son,  John 
Addington  Symonds,  occupies  a  permanent  place  as  a  man  of 
letters.  This  scientific  strain  may  be  followed  through  several 
generations  of  throat  specialists  and  surgeons. 

But,  despite  this  interesting  genealogical  glimpse,  it  must  be 

some  satisfaction  to  Mr.  Comp- 
ton Mackenzie  that  interest  in 
him  came  rather  from  the  excel- 
lence of  "Carnival"  than  from  the 
variety  of  his  forebears. 

Compton  Mackenzie  has  just 
turned  thirty.  It  was  not  so  very 
long  ago  that  he  was  a  student  at 
Oxford,  and  though,  while  there, 
he  took  a  very  active  part  in  the 
life  of  the  University  Dramatic 
Society,  it  was  farthest  from  his 
desire  or  intention  to  go  on  the 
stage.  The  charter  of  the  society 
allowed  the  club  every  year  to  take 
the  town  theatre  for  one  week,  pro- 
vided a  Greek  play  or  Shakespeare 
was  presented.  The  one  exception 
to  this  rule,  probably,  was  Brown- 
ing's "Sordello."  A  distinctive 
feature  of  this  organization  was 
that  professional  actresses  were 
allowed  to  assume  the  women 
roles  provided  no  salary  was  de- 
manded. Thus  the  privilege  bej^an 
to  be  regarded  as  a  mascot,  and 
many  an  unknown  rose  to  "star" 
position  because  of  her  Oxford 
debut.  At  Cambridge  the  rules  and 
regulations  for  the  Dramatic  So- 
ciety are  different.  All  the  female 
roles  are  assumed  by  undergrad- 
uates, and  they  are  not  allowed  to  play  Shakespeare. 

In  this  pseudo-theatrical  atmosphere  Mr.  Mackenzie  found 
himself.  His  first  year,  1902,  he  was  playing  Duke  of  Milan  in 
"Two  Gentlemen  of  Verona."  "Strange,"  said  Mr.  Mackenzie, 
as  we  talked  together,  "looking  back  on  that  time,  I  find  that 
all  the  men  who  acted  with  me  have  turned  parsons !"  During 
the  following  summer,  he  appeared  in  pastorals ;  and  as  Sir  Toby 
in  "Twelfth  Night,"  he  played  with  the  present  Mrs.  Cosmo 
Hamilton  as  Viola.  The  second  collegiate  year  saw  him  as 
Gratiano  in  "The  Merchant  of  Venice,"  which,  he  said,  ''was 
somewhat  of  a  come-down,  since  I  played  Shylock  at  the  age  of 
eight."  In  1903,  he  was  rehearsing  Touchstone  in  a  performance 
of  "As  You  Like  It,"  in  which  Maude  Hoffman  was  Rosalind, 
when  his  Don  at  Oxford  sent  for  him,  claiming  that  if  he  was  to 
"go  up"  for  honors  in  history,  he  would  have  to  drop  theatricals. 
Whether  or  not  his  opposition  to  this  plan  was  sufficient  to  keep 
him  from  taking  his  fourth  year  at  Oxford,  I  did  not  inquire. 
But  the  fact  is  that  when  the  1904  academic  year  began.  Mr. 
Mackenzie  was  not  enrolled,  contenting  himself  with  minor 
recognition  from  the  university,  rather  than  a  full  degree.  But 
when  the  Dramatic  Society  reached  the  period  for  their  play,  it 
was  found  that  Mr.  Mackenzie's  experience  could  not  be  dis- 
pensed with,  so  he  was  asked,  not  only  to  produce  Aristophanes' 
"The  Clouds,"  but  to  take  the  part  of  Phidippides. 

In  1904,  which  year  saw  him  out  of  college,  Mr.  Mackenzie 
went  into  retreat  in  Oxfordshire,  (Continued  on  fage 


PROF.   T.    H.   DICKINSON 

Organizer    and    director    of    tlie 

Wisconsin    Dramatic   Society 


Si 'KM-: 


a  m  a  t  i 


I  mi 


sorgemcy    i 

'^3'  &r 


MRS     K     I'     SIIKKRV 
Director    of    the    Milwaukee    Pro- 
ducing Group 


nscoosiBi 


WILLIAM   E.  LEONARD 

Author    of    "Glory    of    the 

Morning" 


TO   build   a   Greek   Theatre   on   the   campus   of    Wisconsin 
University,  to  establish  a  dramatic  conservatory  in  Mil- 
waukee,  to  produce   and   publish   foreign   and   American 
plays  possessing  literary  value  and  the  modern  spirit,  to  create 
a  more  spiritual  culture  in  the  midst  of 
Wisconsin's  economic  and  social  advance- 
ment— an   intellectual   insurgency    sprout- 
ing from  the  same  soil  on  which  political 
insurgency  has  grown — these  are  some  of 
the  aims,  ambitions,  purposes  and  hopes 
of  the  dramatic  movement  centering  about 
Prof.  Thomas  H.  Dickinson  of  the  Uni- 
versity   of    Wisconsin    and    Mrs.    E.    P. 
Sherry  in  Milwaukee. 

Like  all  things  in  Wisconsin,  the 
dramatic  movement  has  taken  its  constitu- 
ents by  storm ;  it  has  gone  forward  by 
leaps  and  bounds,  for  it  was  only  in 
November,  1911,  that  Prof.  Dickinson 
published  his  first  call  to  arms  in  the 
shape  of  an  article  entitled  "The  Case 
of  American  Drama."  In  this  liberal-minded  paper,  Prof. 
Dickinson  declared  that  when  our  new  drama  comes  it  will 
be  the  drama  of  Young  America;  that  for  a  century  we  have 
been  learning  the  world's  lessons,  writing  exercises  in  the  schools 
of  the  old  nations.  As  evidence,  he  calls  to  witness  the  work,  in 
literature,  of  Hawthorne,  Irving,  Emerson  and  Longfellow ;  and 
on  our  stage,  of  Dunlap,  Payne,  Howard  and  Fitch,  "skilled  jour- 
neymen and  conformists,  who  traced  carefully  the  copybooks  of 
their  continental  masters." 

We  are  told,  moreover,  that  the  new  art,  when  it  comes,  will 
go  below  the  "culture  line,"  that  it  will  reach  fundamentals,  that 
it  will  aim  at  substance  rather  than  form,  and  that  it  will  be 
throbbing  with  life  and  grandly  unconscious  of  itself  as  art. 

Working  upon  these  principles  and  convictions,  Prof.  Dickin- 
son organized,  less  than  two  years  ago,  the  Wisconsin  Dramatic 
Society,  a  group  of  men  and  women  who  have  no  official  connec- 
tion with  any  institution,  but  many  of  whom  are  students  or 
instructors  in  the  University  of  Wisconsin.  The  society  has 
already  produced  ten  plays,  six  by  continental  dramatists,  includ- 
ing "The  Intruder,"  by  Maeterlinck  (the  first  play  rehearsed)  ; 
"The  Master  Ruilder,"  by  Ibsen,  and  "The  Mistress  of  the  Inn," 
by  Golcloni,  and  four  plays  original  in  English,  including  Shaw's 
"How  He  Lied  to  Her  Husband,"  Yeats'  "The  Hour  Glass"  and 
an  American  Indian  drama  by  William  Ellery  Leonard  entitled 
"Glory  of  the  Morning."  Two  of  these,  previously  unpublished, 


ZONA    GAI.K 
Author  of  "The  Neighbors" 


have  been  issued  by  the  society  in  small  paper  volume  form,  and 
others  by  Bjornson,  Villiers  de  1'Isle  Adam,  Augier,  Zona  Gale 
and  several  others  are  shortly  to  appear. 

Madison,  Wisconsin,  the  birthplace  of  the  movement,  is  a 
peculiar  little  city.  It  is  filled  to  the 
doors  with  what  we  of  the  East,  who  are 
not  altogether  unsympathetic,  have  begun 
to  call  "progressivism."  La  Follette, 
Ely,  Ross  and  Commons  are  its  arch 
priests.  The  plays  written  by  native  poets 
like  Mr.  Leonard  and  Miss  Gale  are 
earthy  and  countrified.  They  deal  with 
simple  folk,  genuine  "humans,"  as  the 
latter  calls  them,  and  they  have  a  "grip" 
that  is  too  often  absent  from  our  more 
sophisticated  and  perhaps  technically  better 
productions. 

It  is,  really,  the  very  naivete  of  the 
society  which  has  permitted  it  to  spread 
across  the  State,  establishing  groups  for 
reading  and  production  in  many  towns, 
starting  libraries,  holding  meetings,  and  formulating,  without  a 
quaver,  purposes  so  ambitious  as  those  put  forth  in  its  little 
circular  in  the  following  "set  terms" : 

(1)  To  raise  the  standard  of  dramatic  appreciation  in  the  community. 

(2)  To  encourage  the  support  of  the  best  professional  plays. 

(3)  To  encourage  the  reading  of  good  plays  in  English  and  in  trans- 
lation from  other  languages. 

(4)  To  encourage  the  translation,  composition  and  publication  of  plays 
of  a  high  literary  standard. 

(5)  To  establish  a  semi-professional  playing  group  which  should  present 
high-class  plays  at  cost  price. 

The  society  aims  to  attack  the  audience  itself,  rather  than  the 
managers  or  writers,  and  so  it  has  begun  by  organizing  its  work 
into  three  departments.  The  first  of  these  is  the  educational 
department,  made  up  of  reading  groups;  the  second  the  producing 
department,  made  up  of  those  necessary  for  the  carrying  on  of 
practical  theatre  work,  and  the  third  the  publishing  department, 
which  is  chiefly  in  the  hands  of  a  very  few  who  write,  translate, 
and  read  proofs.  The  main  library  of  the  society  contains  all 
new  and  important  plays  and  is  brought  up  to  date  regularly  by 
a  fund  established  for  that  special  purpose.  Its  contents  are  at  the 
disposal  of  any  group  formed  in  any  part  of  the  State,  the  mem- 
bers of  which  pay  annual  dues  of  fifty  cents.  Lectures,  given 
by  authorities  in  various  literatures,  are  offered  by  the  society  to 
the  public  free  of  cost  and  the  translation  of  plays  from  foreign 
tongues  by  members  of  the  (Continued  on  page  viii) 


8 


Copyright  Byror 


FIVE  minutes'  spin  in 
your  hostess'  pearl- 
hued  car,  or  twenty 

minutes  of  pedestrian  dawdling  from  the  little  station  along  the 
quaint  streets  of  Hastings-on-the-Hudson,  bring  you  to  two  low, 
square,  white  pillars  surmounted  by  an  arch  on  which  is  inscribed 
in  neat,  brown  letters,  "Burkeleigh  Crest." 

Passing  beneath  this  low  arch  and,  spinning,  or  dawdling,  up 
a  narrow,  curving  drive,  you  are  at  the  entrance  of  an  old-new 
stone  house,  square  and  broad  and  low,  and  many 
gabled,  before  a  wide  and  hospitable  door   from 
which  the  mistress   of  the  "Crest"   is  more  than 
likely  to  issue  to  give  you  hearty  welcome. 

She  is  an  informal  hostess.  To  her  home  at 
Hastings  she  bids  only  such  guests  as  dislike  cere- 
mony and  seek  the  instantly  radiated  atmosphere 
of  home.  If  you  are  one  of  these  she  will  greet 
you  with  both  hands  outstretched,  and,  whatever 
the  hour,  you  are  likely  to  find  her  in  a  runabout 
suit  of  broadcloth,  perhaps  a  burr  or  two  sticking 
to  her  skirts,  a  lump  or  so  of  red  clay  adhering  to 
her  stout  boots,  and  she  will  be  wearing  a  sweater. 
The  suit  may  be  white,  the  sweater  pink,  and  the 
boots  russet,  but  they  are  vastly  becoming  on  our 
hostess  and  seem  to  belong, 
somehow,  to  the  welcome. 

"I  don't  ask  anyone  to 
come  here  who  is  not  homey 
and  informal,"  says  the  little 
Titian-haired  mistress  of 
Burkeleigh  Crest,  "and  who 
doesn't  care  for  space  and 
out-of-doors." 

To  test  our  eligibility  she 
is  sure  to  whisk  us  down  the 
hill,  like  an  inverted  bowl,  to 
look  at  her  play  places,  a 
Japanese  house  high  in  a  tree, 
and  a  swimming  pool.  Last 
summer  she  stationed  the  tall, 
dark-haired,  gray-eyed  girl 
whom  she  has  adopted  as  a 
sister — it  seems  absurd  when 

Copyright  Byron 


HASTINGS-ON-THE-HUDSON 

but  nin^years  separate  their 
ages,  to  say  daughter, — of  a 
morning  in .  the  quaint  Jap- 
anese-tree house  while  she  took  her  morning  dip  in  the  pool.  If 
"Cherry,"  leaning  from  her  tree-top  house,  whispered  excitedly, 
"Jiillie,  dear,  there's  an  automobile  behaving  as  though  it  meant 
to  come  in  here,"  the  splashing  stopped,  Billie  darted  through 
the  water  and  presently  a  dignified  figure  in  a  blue  kimono 
walked  in  leisurely  fashion  by  a  side  path  to  the  house  on  the 
hill.  There  are  other  Japanese  houses,  five  of  them 
dotting  the  sloping  lawn.  One  on  the  side  of  the 
hill  is  a  tea  house,  where  chat  and  tea  are  served 
on  a  hot  afternoon.  That  sometimes  the  tea  drink- 
ers, suddenly  grown  prankish,  set  down  their  tea- 
cups to  dash  across  one  of  the  tiny  bridges  that 
cross  the  little  stream  that  feeds  the  pool,  or  that 
some,  grown  sentimental,  lean  above  the  bridge 
railing  and  quote  verses,  never  disturbs  their  host- 
ess, who,  though  so  young,  wears  the  mantle  of  a 
placid  manner. 

The  grounds  of  most  country  homes  acquire  a 
sombreness  from  stately  old  trees  and  from  the 
changeless  background  of  other  hills.  The  young 
^^  mistress  of  the  estate  at  Hastings 

corrected  this.  Youth  prompted 
the  half-dozen  Japanese  huts  and 
the  wee  bridges,  no  two  of  the 
same  color,  giving  an  aspect  of 
playfulness  that  defies  the  trees, 
heavy  with  the  weight  and  dig- 
nity of  their  hundred  years. 

With  two  white  poodles,  Tutti 
and  Frutti,  and  a  black,  Sammie, 
imperiling  one's  life  and  limb  by 
romping  around  her  feet,  the 
guest  follows  Billie  Burke  into  a 
wide  foyer,  from  which  a  white 
staircase  on  the  right  leads  up- 
stairs, and  the  end  of  which, 
through  an  open,  square  arch 
there  is  view  of  the  dining  room, 
square-tabled,  with  high-backed. 
carved  chairs  and  broad,  low 


BILLIE    BURKE    WITH    HER    PET    DOGS 


Ttt£ 


MAGAZtNfi 


Moffett,  Chicago 


A    NEW    PORTRAIT    OF    BILLIE    BURKE 
This   popular   young   actreu  i>  now  playing  the  title   role  in   "The   'Mind-the-Fdnt'   Girl" 


THE    THEATRE    MAGAZINE 


windows  everywhere.  The  young 
mistress,  abominating  heavy  effects 
and  dark  colors,  this  entrance  hall 
is  white,  as  to  woodwork;  and  the 
walls,  ceiling  and  the  doors  light, 
for  a  stream  of  light  pours  from  a 
drawing  room  at  the  left,  through 
doors  that  are  long,  many-paned 
windows,  screened  by  curtains  of 
pale,  transparent  silks. 

The  long  drawing  room,  with  its 
piano,  its  tall,  Venetian  lamps,  its 
chairs  and  davenports,  sumptuous 
but  comfortable,  in  ivory  and  gold, 
looks  at  end  and  side  into  the  long, 
curving  room  that  is  half  conserva- 
tory, half  sun  parlor.  White 
wicker  chairs,  upholstered  in  light- 
tinted  chintzes,  mingled  their  invi- 
tation with  rest-offering  palms  and 
the  wholesome  odors  of  chrysan- 
themums. 

The  light  colors  and  joyous  tone 
of  Burkeleigh  Crest  appear  strong- 
ly accented  in  the  handsome  dining 
room,  where  sideboards  perform 
their  function  of  flashing  back- 
silver  and  glass  instead  of  op- 
pressing one  with  sombre  color  and 
enormousness  of  weight.  High  at 
the  windows  swing  hanging  baskets 
of  ferns.  Wide  friezes  in  green 
and  white  show  woodland  scenes, 
nymphs  bathing,  naiads  dancing, 
and  sunlight  flooding  forests  of 
young  trees. 

Passing  the  upstairs  suite  in  pale 
yellows  occupied  by  her  mother,  the 
blue  room  of  her  "little  girl 
Cherry,"  and  the  guest  rooms  in 
cream  and  mauve,  one  reaches  the 
suite  of  Burkeleigh  Crest's  young 
chatelaine. 

Marie  Antoinette  in  her  Petit 
Trianon  had  not  such  a  chamber  as 
this.  Pink  like  a  rose's  heart  or  a 
sea  shell's  core,  touched  here  and 
there  with  white,  it  holds  all  the 
luxury  any  girl  could  ask  or  wish. 

Beside  the  ivory  and  rose-colored 
bed,  canopied  and  lace  draped,  is  a 
desk  in  those  colors.  Along  the 
long  French  windows  that  form 
one  wall  of  the  room  stretches  a 
white  cane  divan  piled  high  with 
pink  and  white  silk  cushions.  A 
few  athletic  strides  from  the  luxur- 
ious couch  is  a  white  dressing  table, 
lace  draped  and  ribbon  tied. 

In  the  large,  white  room  beyond 
is  sunken  the  huge  marble  tub, 
shining  with  the  brass  fixtures  of 
its  deluging  shower.  At  the  right 
is  a  room  bewildering  as  a  shop  on 
Fifth  Avenue  or  the  Rue  de  la 
Paix.  Delicate  girlish  gowns,  those 
in  pink  and  white  predominating, 
hang  here,  gowns  like  still-bloom- 
ing roses  enmeshed  in  a  first  frost ; 
gowns  counted  not  by  one,  but  by 


the  dozen  or  score.  And  beneath 
them,  along  low  shelves,  satin 
shoes  smug  on  their  trees  and 
above  on  shelves  hats  and  hats  and 
hats,  hats  plumed  and  hats  flower- 
ed, hats  of  shining  splendor  and 
hats  of  Quakerish  simplicity,  all 
becoming  and  Billie  Burkish.  a 
multitude  past  counting,  for  she 
has  admitted  that  she  buys  at  least 
one  new  hat  every  week. 

There  is  a  large  library,  not 
gloomy,  but  to  which  light  is  ad- 
mitted by  many  a  skillfully  con- 
trived window.  There's  a  billiard 
room  and  bowling  alley.  There  are 
twenty-two  apartments,  six  bath 
rooms  and  countless  windows. 

"It's  worth  driving  forty- 
five  minutes  every  night  after  the 
play,"  asserts  Miss  Burke  of  the 
ancient  house  she  has  transformed 
into  a  modern  abode,  and  who  so 
hardy  as  to  question  her  wisdom  ? 
The  tramp  in  the  woods,  the  pack- 
ing lungs  with  fresh,  leaf-scented 
and  Hudson  River  tinged  air,  the 
sleeping  where  rain  falling  upon 
the  roof  sings  your  lullaby,  the 
being  far  enough  from  the  modern 
Babel  to  escape  frequent  telephone 
calls,  absence  of  shriek  of  trains 
and  whistle  of  engines  and  clangor 
of  backing  bells,  these  are  worth  a 
midnight  dash  along  the  road 
where  Ichabod  Crane  rode,  even 
though  one  be  exhausted  after  a 
performance  of  "Mind  the  Paint 
Girl." 

Especially  if  one  loves  wide 
spaces  and  wood  scents,  the  heart 
of  quiet,  and  the  companionship  of 
the  real  in  people  and  things,  as 
does  the  lady  of  Burkeleigh  Crest. 
AnA  PATTERSON. 


Sarony  DORIS    KEANE 

As  Mimi  in  "The  Affairs  of  Anatol,"   recently  at  the  Little  Theatre 


Commenting  on  the  enacting  of 
sacred  subjects  in  the  "movies," 
the  Church  Times  of  London  says : 

"The  old  feud  between  the 
Church  and  the  Stage  has  brought 
us  to  a  curious  development  when 
we  are  tickled  by  the  very  con- 
descension of  the  drama  in  touch- 
ing the  things  which  belong  to  our 
faith.  I  am  sure  that  this  lies  be- 
hind much  of  the  enthusiasm  which 
has  been  shown  by  many  clergy  for 
the  cinematograph  representations 
of  Scriptural  events.  But  if  we 
think  it  out,  the  real  value  of  the 
Scriptural  events  lies  not  so  much 
in  the  outer  manifestations  of  the 
Scriptural  incidents  as  in  the  pro- 
found meaning  which  lies  behind 
them.  The  mere  outer  events  may 
excite  a  sort  of  sentimental  atten- 
tion and  interest,  but  so  far  from 
this  being  the  sole  end  of  religious 
development  it  is  a  positive  danger." 


THE     THEATRE    MAGAZINE 


IT  was  after  a  somewhat  indifferent  performance  of  "Hamlet" 
that  I  left  the  trolley  at  Grove  Hall   Station,  resolving  to 
walk  home,  a  mile  farther  on,  and  muse  on  the  great  players 
I  had  seen  enact  the  Prince  of  Denmark. 

It  was  a  glorious  moonlight  night,  and  all  the  old  villas  and 
newer  apartment  houses  were  flooded  with  a  silvery  radiance. 
Many  changes  had  come  over  the  landscape  since  1  knew  it  first 
as  a  boy,  when  the  farmers  hereabouts  drove  into  town  with  their 
produce  to  retail  at  the  early  city  market.  Then  it  appeared  far 
distant  from  urban  life,  but  now  it  is  within  easy  reach  of  the 
centre  of  the  New  England  metropolis,  of  which  it  is  a  part. 
Dorchester  is  no  longer  a  country  town,  it  is  losing  much  of  its 
rural  beauty,  and,  it  may  be  said,  much  of  its  Puritan  narrow- 
ness, now  that  it  is  the  district  of  a  great  city.  It  has,  however, 
a  place  in  history  that  even  the  fame  of  Boston  cannot  shake. 
As  I  strolled  on  thinking  of  Macready,  Murdock,  Davenport, 
Forrest,  and  other  celebrated  histrions  I  had  seen,  I  found  my- 
self in  front  of  a  two-story,  red,  wooden  farmhouse,  an  incon- 
gruous relic  of  the  past,  with  narrow-paned  windows  and  an 
antique  porch.  It  stood  on  the  brow  of  a  hill,  and  I  halted  a 
moment,  to  contrast  its  old-style  humbleness  of  architecture  with 
that  of  some  of  its  more  pretentious  neighbors,  with  their  well- 
kept  lawns  and  wide-spreading  driveways.  While  thus  engaged 
I  became  conscious  of  the  approach  of  a  man  whose  almost  noise- 
less tread  reminded  me  more  of  spirit-land  than  solid  earth.  As 
he  came  near  a  low,  musical  voice  said : 

"The  air  bites  shrewdly,  neighbor,  it  is  very  cold." 
Replying  in  the  same  vein  and  wishing  to  humor  the  strange- 
intruder  I  said  : 

"It  is  a  nipping  and  an  eager  air." 

"Ah !  I  see  you  know  your  Shakespeare,"  returned  the  voice, 
the  owner  of  which  I  had  not  thoroughly  scanned. 

I  turned  to  look  fuliy  at  my  uninvited,  weird  companion  and 
beheld  a  man  of  hardly  medium  height,  with  glorious  dark  eyes, 
set  in  a  pale,  intellectual  face,  and  with  a  wealth  of  silken  hair 
falling  from  beneath  a  picturesque  sombrero.  He  was  wrapped 
in  a  voluminous  cloak  of  a  kind  long  out  of  fashion,  which  added 
to  his  romantic  and  novel  appearance.  His  movements  were 
singularly  graceful,  and  his  walk  had  something  of  the  measured 
tread  of  the  old  school  classic  tragedian,  who  in  stately  blank 
verse  recited  the  aspirations  and  desires  of  the  character  he 
portrayed. 

"I  live  here  temporarily,"  he  said,  "for  I  love  the  country.  I 
was  bi ought  up  on  a  carelessly  ordered  farm  in  Maryland,  and 
the  associations  of  boyhood  cling  around  one  often,  after  one  has 
advanced  into  the  wide  world  and  has  to  fight  life's  battles  upon 
the  mimic  scene  and  elsewhere.  I  am  an  actor,  as  my  father  was 
before  me,  and  with  the  unconventionally  of  my  profession,  I 
always  give  a  stranger  welcome.  Will  you  come  in?" 

I  hesitated  and  he  continued.  "My  friend.  I  am  not  playing 
lago  to-night,  but  I  am  lonely  and  feel  the  need  of  male  compan- 
ionship, and  but  for  Mary,  my  wife,  who  is  sick  upstairs,  I  would 
find  the  earth  very  stale,  flat  and  unprofitable.  I  have  met  with 
many  triumphs,  but  I  stand  aloof  from  ordinary  intercourse  with 
my  fellows,  as  most  men  of  genius  do,  but  to-night  I  long  for 
intercourse  with  one  of  my  own  sex.  and  I  divine  you  have  a 
sympathetic  nature." 

My  curiosity  overcame  my  reluctance  to  accept  the  unexpected 
invitation,  and  he,  seeing  that  I  no  longer  held  back,  threw  the 
front  door  of  the  cottage  open,  and,  as  he  did  so.  said : 

"And  what  so  poor  a  man  as  Hamlet  may  do  to  express  his 
love  and  friendship  to  you.  God  willing,  shall  be  freely  given. 
Let  us  go  in  together." 


We  entered  a  room  cosy  and  comfortable,  and  befitting  in  its     white 


GAIL   KANE 
As  Bianca  in  Schnjtiler's  play,  "The  Affairs  of  Anatol" 


THE     THEATRE    MAGAZINE 


Bangs  FRANK    REICHER 

Now  appearing  with  Annie   Russell's  Old  English 
comedy   company 


White  ELIZABETH    NELSON 

Seen  as  Margaret   Elliott  in   "Ready   Money" 


Moffett 


Played   Stephen   Baird   in   "Ready   Money"   at   Maxine 
Elliott's  Theatre 


furnishings,  the  simple  character  of  a  rural  home,  and  he  threw 
aside  his  cloak  and  revealed  a  figure  that  lacked  pronounced 
masculinity,  but  was  perfection  in  its  beautiful  and  sinuous  out- 
lines. Where  had  I  seen  it  before?  In  what  far-distant  period 
of  a  youth  that  I  now  no  longer  possessed? 

When  my  host  had  returned  from  a  neighboring  room  with  a 
decanter  and  glasses  the  present  had  vanished,  and  I  was  a  guest 
of  Edwin  Booth  in  the  early  days  'of  his  marriage  with  Mary 
Devlin,  who,  from  his  Juliet  on  the  stage,  became  in  reality  his 
wife. 

"Drink,  pretty  creature,  drink,"  he  said  with  humorous  pen- 
siveness.  "I  seldom  now  apply  hot 
and  rebellious  liquor  to  my  blood, 
but  in  my  earlier  manhood,  not  so 
far  distant,  I  was  a  somewhat  reck- 
less bacchanalian,  and  was  wont  to 
listen  to  the  cannakin  clink,  clink, 
clink  far  past  the  chimes  of  mid- 
night. I  bought  my  experience 
early,  for  I  soon  discovered  that  too 
much  conviviality  in  my  profession 
spelled  ruin,  and  that  the  quiet 
companionship  of  a  good  woman, 
that  one  really  loves,  is  far  more 
alluring  than  the  noisy  revel  and 
the  wanton  jest;  but  alas,  nothing 
lasts.  The  law  of  change  is  inexor- 
able. Its  enforcement  goes  on  with 
tireless  severity.  I  am  by  nature  a 
moody  man  of  imagination  all  com- 
pact, and  to  me  there  is  no  past,  no 
present,  no  future;  my  whole  life  is 
spread  before  me  indefinitely,  like 
the  landscape  yonder  which  reveals 
shine  and  shadow  at  the  same 
time." 

"It  is  a  beautiful  view  you  have 
from  this  site,"  I  remarked,  not 
knowing  exactly  how  to  reply  to  his 
strange  assertion. 

"You  may  well  say  that,"  he  re- 
turned. "Come  and  look  at  5t  from 
the  back  of  the  house.  You  see 


hills  and  dales  stretching  to  an  arm  of  the  sea,  with  scarcely  a 

habitation  save  here  and  there  an  old  homestead  which  speaks  of 

the  early  settler,  yet  all  this  will  disappear  as  with  a  wave  of 

Merlin's  wand." 

"Not,  I  think,  in  my  day"  I  faintly  remonstrated,  somewhat 

awed  by  the  spectre-like  appearance  of  my  host,  that  fascinated 

while  it  repelled. 

He  evidently   noticed   my   timorous   attitude    for   he   replied: 

"Thou  lily-livered  boy,  thou  shalt  see  much  more." 

Was  I  indeed  the  boy  he  called  me,  and  not  the  aged  man  who 

had  passed  his  portal  a  little  while  before  ?    I  wondered  if  youth 

had  come  back  to  me  like  it  did  to 
Faust  at  the  behest  of  Mephistopheles, 
for  I  felt  many  years  younger  than 
I  had  for  a  generation.  Was  there 
some  potent  quality  in  the  liquor  I 
had  drunk  that  imparted  a  youthful 
vigor  to  my  frame  and  sent  my 
blood  tumultuously  through  my 
veins?  At  any  rate,  he  treated  me 
with  an  amiable  condescension  that 
showed  me  he  regarded  me  as  his 
junior  by  many  moons. 

"Have  you  seen  my  younger 
brother,  John  Wilkes  Booth,  now 
playing  in  Boston?  His  is  a  sad 
destiny  I  fear,  for  he  has  something 
of  the  fervor  of  my  father,  about 
whose  frenzy  before  the  footlights 
so  many  fabulous  stories  have  been 
told.  John  is  jocund  and  buoyant 
now,  but  wait.  Mary  and  I  saw  him 
perform  Richard,  Duke  of  Glouces- 
ter at  the  Museum  the  other  night, 
and  he  certainly  has  the  rare 
dramatic  instinct  of  his  great  sire, 
but  he  is  still  crude,  and  his  pro- 
nunciation !  Well,  it  does  not  be- 
tray the  student,  and  at  times  grates 
harshly  on  the  scholarly  ear.  He  is 
a  man  of  reckless  activity,  who 
must  be  doing  constantly  something 

good    Or    ill.         (Cnnfintird  on   f>age  .rl 


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Manager's  Comedy  of  Errors 

(.Continued  frcm  page  20) 


of  his  life  to  elevating  the  stage  by  producing 
musical  comedies.  In  midsummer  he  returned 
and  with  a  great  blare  of  trumpets  announced  the 
coming  production  of  four  of  these  stage  idyls. 
As  we  write  it  is  still  early  in  the  season,  and  all 
four  of  them  are  in  the  storehouse.  This,  of 
course,  is  tragic,  but  here  is  the  comedy: 

''Dearie,"  said  the  same  manager  to  an  agent, 
"don't  bring  me  any  more  musical  things.  I 
wouldn't  produce  one  if  you  gave  it  to  me.  If 
you  have  any  good  plays,  send  them  to  me." 

Of  course,  every  one  has  noticed  the  epidemic 
of  "sheep  mind"  that  breaks  out  perennially  in 
the  managerial  world,  particularly  in  the  spring 
of  the  year,  when  sheep  are  troubled  with 
"ticks."  It  broke  out  a  year  ago  in  the  form 
of  the  Oriental  drama,  the  first  of  which  was 
"The  Garden  of  Allah";  helped  by  an  extraor- 
dinary production  and  a  collaborator  it  really 
achieved  a  triumph.  Immediately  there  came 
"The  Arab,"  about  a  Bedouin.  Its  fate  proved 
that  there  was  just  as  much  draft  in  an  Arabian 
hero  as  in  a  red  Indian,  a  negro,  a  Japanese  or 
an  Esquimau.  This  year  it  is  all  about  the 
Flowery  Kingdom.  The  fashion  for  the  attim-- 
phere  of  these  plays  sort  of  came  in  with  Man- 
darin coats  for  the  ladies.  So  we  have  "The 
Daughter  of  Heaven,"  of  gorgeous  costumes,  and 
a  ''Romeo  and  Juliet'  story  from  the  French, 
without  Shakespeare.  Its  early  unfriendly  re- 
ception cut  off  the  production  of  another  Chi- 
nese play,  but  "The  Yellow  Jacket"  is  with  us. 
and  we  are  threatened  with  "Turandot." 

Then  there  is  the  book  obsession.  So  long  as 
the  book  has  been  "a  best  seller"  it  is  deemed 
available  for  stage  use.  Any  careful  analysis  of 
what  is  good  on  the  printed  page  and  what  may 
be  good  drama  does  not  seem  to  be  a  factor  in 
deciding  upon  the  merits  of  the  proposition. 
Judging  from  the  results  of  these  "book-plays" 
their  demerits  seem  to  be  the  manager's  point- 
of-view.  The  latest  example  of  this  sort  of  thing 
was  "The  Ne'er-do-Well,"  an  unfortunate  title 
for  a  play,  in  any  case.  So  far,  all  of  the  novels 
written  by  Mr.  Rex  Beach,  when  translated  to 
the  stage,  have  turned  out  to  be  melodrama,  and 
not  overly  good  drama  at  that.  It  is  inconceiv- 
able that  a  successful  melodrama  may  be  written 
unless  the  action  turns  upon  a  strong  woman's 
part.  However,  there  is  an  old  classic  called 
"Julius  Cxsar"  by  a  man  named  Shakespeare, 
in  which  there  is  no  such  woman's  part. 
But  this  is  the  exception  that  proves  the  rule, 
and  it  is  not  an  exception  that  extends  to 
anything  Mr.  Beach  has  written.  In  "The  Ne'er- 
do-Well"  there  was  a  married  woman,  the 
heroine,  almost  old  enough  to  be  the  hero's 
mother,  and  a  little  South  American  scnorita. 
so  colorless  that  no  manager  would  have  paid 
over  twenty-five  dollars  for  the  part.  This 
senorita  Mr.  Klein  wisely  cut  out,  leaving  only 
the  wife,  who  falls  in  love  with  the  hero,  whom 
she  should  have  truly  regarded  as  a  brother 
The  dramatist's  job  is  never  to  fight  the  preju- 
dices of  the  public,  but  always  to  enlist  its  sym- 
pathy, particularly  if  he  has  his  hands  full  in 
fighting  the  prejudices  of  the  manager.  Why 
look  for  more  trouble?  we  ask.  There  being  no 
sympathy  enlisted  for  the  principals  in  this  play, 
whence  comes  the  success?  And  yet  all  these 
conditions  in  the  novel  should  have  been  so 
clear  to  any  expert  mind  that  it  seems  incredible 
that  so  much  capital,  time  and  energy  should 
have  been  wasted  upon  so  hopeless  a  proposition. 
Mr.  Klein's  verdict  as  the  production  is  gather- 
ing dust  in  the  storehouse  is  this : 

"It  made  a  rotten  play."  But  he  is  cheerful 
and  optimistic,  and  says:  ''Never  again!" 

Of  course,  we  do  not  pretend  that  there  is 
any  fixed  standard  by  which  the  failure  or  suc- 
cess of  a  play  may  be  predicted,  but  most  of 
th;  bad  plays  are  so  obviously  bad  that  the 
wonder  is  what  any  manager  had  seen  in  them. 
"The  Trial  Marriage,"  for  instance,  notwith- 
standing that  it  runs  counter  to  public  sympathy 
— inasmuch  as  the  principals  defy  the  laws  of 
marriage,  and  as  a  sop  ends  with  the  conven- 
tional wedding  ring. 

Is  there  a  remedy  for  the  elimination  of  these 
queer  plays  from  presentations?  Hardly.  There 
will  always  be  failures,  because  it  is  human  to 
err.  Rut  there  is  an  underlying  cause  for  the 
unusual  conditions  prevailing  in  the  theatre  to- 
day. In  the  first  place  there  has  been  an  insane 
over-building  of  theatres,  and  consequently 
an  over-production  of  plays  by  the  indi- 
vidual manager.  Instead  of  one  manager  pro- 

GREAT  BEAR  SPRING  WATER 
60  cts  per  case-6  glass-stoppered  bottles 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


THE      THEATRE      MAGAZINE      ADVERTISER 


vii 


ducing  fifteen  plays  in  a  season,  there  should  be 
five  managers  producing  three  plays  each.  Our 
readers  may  inquire  why  there  are  not  more 
managers.  The  answer  to  that  is,  that  the 
theatrical  business  is  a  trust-ridden  business. 
The  aim  of  each  trust  is  to  keep  it  a  close  cor- 
poration, in  which  the  principals  reserve  the  best 
opportunities  for  the  insiders  and  all  the  worst 
of  it  is  given  to  the  small  dealer.  After  a  man 
has  handled  the  hot  end  of  the  poker  for  a  little 
while  he  naturally  lets  go. 

As  to  over-production  by  the  individual  man- 
ager— think  of  a  manager  who  rehearses  one 
play  at  10  A.  M.,  a  second  at  2  P.  M.  and  a  third 
at  8,  all  with  one  stage  manager,  whose  brain  is 
reeling  from  fatigue  and  overwork !  Can  any 
one  doubt  the  fate  of  the  majority  of  the  plays 
so  produced  ? 

Mr.  Belasco  is  accounted  a  genius  in  staging 
a  play,  but  the  greatest  mark  of  his  genius  is  that 
he  does  not  allow  himself  to  be  over-produced. 
Mr.  Belasco  lives  with  a  play  at  least  six  months 
before  it  is  rehearsed,  and  by  that  time  he  has 
gotten  himself  inside  the  very  soul  of  the  play, 
and  becomes  the  alter-ego  of  the  original  author. 
If  Mr.  Belasco  allowed  himself  to  produce  fifteen 
plays  a  season,  he  would  turn  out  just  as  many 
hopeless  plays  as  any  other  manager. 

There  are  some  managerial  mistakes  that  have 
become  classics.  We  might  mention  again  Mr. 
Daniel  Frohman's  error  of  judgment  in  the  case 
of  "The  Lion  and  the  Mouse,"  the  profits  of 
which  built  three  theatres  for  Mr.  Harris  and 
enabled  Mr.  Charles  Klein,  the  author,  to  build 
a  motor  boat  fifty  feet  long  on  Long  Island. 
The  melodramatic  farce,  "Officer  666,"  looked  to 
be  such  a  joke  that  even  the  author  had  no 
confidence  in  it,  and  after  the  first  rehearsal  Mr. 
Cohan  wanted  to  put  it  in  the  storehouse,  and 
even  objected  to  having  his  name  attached  to  it 
as  one  of  the  producers.  We  might  also  mention 
"The  Butterfly  on  the  Wheel,"  which,  after  hav- 
ing been  produced  by  Charles  Frohman  with  the 
wrong  woman  in  the  cast,  was  sold  by  him,  in- 
cluding all  the  scenery  rights  for  the  play,  for 
$4,500  to  Mr.  Lewis  Waller,  who  produced  it  in 
New  York  and  who  is  now  making  a  fortune  out 
of  it  on  the  road.  The  whys  and  wherefores  of 
these  humorous  errors  of  judgment  on  the  part 
of  managers  is  one  of  the  fascinations  of  the 
game  of  producing  plays.  X.  X. 


Music  in  the  Modern  Drama 

{Continued  ftcm  page  23) 


in  the  street,  presumably  immediately  under  her 
window,  begins  to  play  the  tune  of  'Bon-Bon  Bud- 
die, My  Chocolate  Drop.'  There  is  something  in 
this  rag-time  melody  which  is  particularly  and  pe- 
culiarly suggestive  of  the  low  life,  the  criminality 
and  prostitution  that  constitute  the  night  excite- 
ment of  that  section  of  New  York  City  known 
as  the  Tenderloin.  The  tune,  its  association,  is 
like  spreading  before  Laura's  eyes  a  panorama 
of  the  inevitable  depravity  that  awaits  her.  She 
is  torn  from  every  ideal  that  she  so  weakly  en- 
deavored to  grasp,  and  is  thrown  into  the  mire 
and  slime  at  the  very  moment  when  her  emanci- 
pation seems  to  be  assured.  The  woman,  with 
her  flashy  dress  in  one  arm  and  her  equally  ex- 
aggerated type  of  picture  hat  in  the  other,  is 
nearly  prostrated  by  the  tune  and  the  realization 
of  the  future  as  it  is  terrifically  conveyed  to  her. 
The  negress,  in  her  happiness  of  serving  Laura 
in  her  questionable  career,  picks  up  the  melody 
and  hums  it  as  she  unpacks  the  finery  that  has 
been  put  away  in  the  trunk." 

Here  Walter  has  used  "Bon-Bon  Buddie,"  so  to 
speak,  as  a  ''Tenderloin  motive."  Not  other- 
wise does  Charpenlier  introduce  "the  call  of 
Paris"  into  his  opera  "Louise."  Yet  "Bon-Bon 
Buddie"  would  not  necessarily  suggest  to  an 
audience  all  that  it  suggests  to  the  author,  just 
as  the  mysterious  strains  with  which  Wagner 
represents  the  Tarnhelm  would  have  no  exact 
meaning  for  an  auditor  unfamiliar  with  "The 
Ring."  The  association  of  the  idea  with  the 
music  is  not  already  formed  in  the  mind  of  the 
audience.  The  author  himself  must  establish  it. 
How  does  Walter  accomplish  this?  In  pre- 
cisely the  same  way  that  Wagner  accomplished 
it. 

Bernard  Shaw  gives  a  concise  description  of 
Wagner's  method:  "The  main  leading  motives 
are  so  emphatically  impressed  on  the  ear  while 
the  spectator  is  looking  for  the  first  time  at  the 
objects,  or  witnessing  the  first  Strong  dramatic 
expression  of  the  ideas  they  denote,  that  the 
requisite  association  is  formed  unconsciously." 

ROBERT  House  M. 

GREAT  BEAR  SPRING  WATER 
80  ct«.  per  caie-6  glass-stoppered  bottles 


Sanatogen 

should  help  him 


Sir  CUWrt  Pwlwr.  M.  P. 
The  eminent  i»o*«lM-tUiv** 
•Ma.  write*  f 
"Sftn*iojc«a  It  to 


. 
MTTCI,  incrcMtaff  tfcc  ••cnry 

€  ••"         •    •  -    ' 
ovcrwofUd  body  Md  mlMi." 


The      eminent 
•uthor,  write*  t 


you  know  the  wrt»1ri|ully 
beneftcU)  retulu  1  ha*e  ex- 
perienced 'rum  the  UM  ot 
ytwr  ftinatogen.  It  ha*  a 
mottln*ii;onmiic  effect  uj  ••  i 
the  fterve*.  and  I  heartily 
recommend  it  l»  ill  who.  like 
my«elf,  ar*  obliged  to  over- 
work. After  my  |*nonal  n- 
perience  I  can  rnwltly  » 
for  its  recuperative  q 


the  fjMnout  boTelitt.  write*  : 
"The  tonic  effect  of  San*(- 
ofen  on   me  i»  wmpljr  wua- 
derful." 


The  prominent  fcocial  reform 

advocate,  write*  : 

"  Saiiatotfcn  undoubtedly 
restore*  »leep.  Invigorate*  eh* 
nerves  and  liritesthcpalieiiT 
to  health.  1  have  watched  It* 
effect  on  people  whose  nerv- 
ous systems  have  been  entif 
)y  undermined,  and  I  have 
proved  Sanatogra  to  be  most 
valuable," 


TTOW  often 
*•*  do  men 

and  women  re- 
member with 
gratitude  the 

interest  and  consideration  that  suggested  Sanatogen  as  a  means  to 
help  them  back  to  better  health  and  strength. 

Today  there  are  multitudes  of  men  and  women  who  gratefully  acknowlege  the 
real  help  given  them  by  Sanatogen  when  overwork,  worry  or  illness  had  robbed  them  of 
their  ambition,  strength  and  endurance. 

When  you  lack  initiative — when  you  become  irritable  and  upset  by  trifles — when  di- 
gestion is  disturbed — sleep  uncertain — it  is  high  time  you  took  heed  of  Nature's  warning. 

Sanatogen  is  just  a  natural,  upbuilding  nerve  food — combining  purest  protein  and 
organic  phosphorus  in  a  form  easily  and  readily  digested — and  imposing  no  false  stimula- 
tion upon  the  nerves.  It  feeds  the  nerves — going  to  the  nerve  cells — instilling  energy  and 
strength  and  by  its  beneficent  action  helping  restore  other  natural  functions  to  normal. 

Over  16,000  physicians  endorse  in  writing  Sanatogen  as  a  real  help  to  the  weak  and 
nervous — an  endorsement  that  confirms  the  satisfying  experiences  of  multitudes  of  men 
and  women  who  turn  to  it  in  their  nerve  crises. 

Write  for  a  Free  Copy  of  "Nerve  Health  Regained" 

The  work  of  a  physician  author,  beautifully  illustrated,  which  tells  you  some  really  inter- 
esting things  about  your  nervous  system,  facts  which  vitally  affect  your  well-being  and 
which  therefore  you  ought  to  know.  This  book  also  tells  the  story  of  Sanatogen  convinc- 
ingly, from  the  point  of  view  of  a  physician,  but  so  that  any  layman  can  understand  it. 

Sanatogen  is  sold  in   three  sizes,  $1.00,  $1.90,  $3.60 

Get  Sanatogen  from  your  druggist  —  if  not  obtainable  from  him,  sent  upon  receipt  of  price  by 

THE  BAUER  CHEMICAL  CO.  24-F  Irving  Place,  New  York 


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Relieves  at  once,  quickly  heals,  makes  clear,  velvety  skin.  Complexions  are  greatly  im- 
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via 


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J.S1MON 


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PREVENTED 
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MOTHERSILL'S,  after  thorough  tests,  is  now  officially 
adopted  by  practically  all  the  Great  Lakes  and  New  York 
Steamship  Companies  running  south  and  many  Trans- 
atlantic lines. 

Three  years  ago  Mr.  Mothersill  gave  a  personal  demonstration 
of  his  remedy  on  the  English  Channel,  Irish  Sea  and  the  Baltic, 
and  received  unqualified  endorsement  from  leading  papers  and  such 
people  as  Bishop  Taylor  Smith,  Lord  Northcliff,  and  hosts  of 
doctors,  bankers,  and  professional  men.  Letters  from  personages 
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valuable  information  are  contained  in  an  attractive  booklet,  which 
will  be  sent  free  upon  receipt  of  your  name  and  address. 

Mothersill's  is  guaranteed  not  to  contain  cocaine,  morphine, 
opium,  chloral,  or  any  coal-tar  products.  50c  box  is  sufficient  for 
twenty-four  hours,  $1.00  box  for  a  Transatlantic  voyage.  Your 
druggist  keeps  Mothersill's  or  will  obtain  it  for  you  from  his 
wholesaler.  If  you  have  any  trouble  getting  the  genuine,  send 
direct  to  the  Mothersill  Remedy  Co.,  419  Scherer  Bldg.,  Detroit, 
Mich.  Also  at  19  St.  Bride  St.,  London,  Montreal,  New  York, 
Paris,  Milan.  Hamburg. 


WOMAN'S   BEAUTY 

is  her  complexion .    Society  requires  and  every 
woman  desires  that  soft,  clear, 
velvety     smoothness     which 
LABLACHE    always     im- 
parts.   Invisible,  but  adher- 
ent, its  delicate  perfume  is 
a  suggestion  of  refinement. 

Kef  use  substitutes 

TheymaybedaiKrerons.  Flesh.White. 
1  ink  or  Oream.  to.'.,  n  l.ox  of  drugnists 
or  by  mail.  Oven  womUUon  boxes  sold 
annually.  |gf  '^foy^Ple  to*. 

rrMlclx  'Warneri,  Department  It. 
treet,    .    .    Won,  MMJ. 


Dramatic    Insurgency 

(Continued  from  page  27) 


society  is  especially  managed.  Besides  the  plays 
already  mentioned  as  having  been  produced,  the 
directors  announce  that  they  are  preparing  to 
give  Rostand's  "The  Romancers,"  Hauptmann's 
"The  Weavers,"  and  one  of  the  plays  of  Ruth- 
erford Mayne,  of  the  Irish  National  Theatre 
Movement.  Additional  plays,  typical  of  the  his- 
tory and  traditions  of  Wisconsin,  are  also  in 
preparation.  g  RUSSELL  HERTS. 


Rehearsing  Grand   Opera 

{Continued  from  page  13) 


animated  shoulders.  Right  at  the  outset  it  was 
apparent  that  Mr.  Gatti's  shoulders  were  several 
laps  ahead  of  his  vocal  apparatus,  for  while  he 
was  framing  instructions  in  so  few  words  they 
would  shoot  out  a  wireless  message  which  told 
everything  he  wanted  to  say  to  those  on  the  stage. 
His  assistants  and  the  singers  on  the  stage  have 
learned  to  watch  his  shoulders  the  same  as  the 
orchestra  players  watch  their  conductor's  baton. 
Really,  Signer  Gatti's  shoulders  can  carry  on  an 
extended  conversation  in  a  dozen  different  lan- 
guages. 

When  asked  how  long  he  rehearsed  his  artists, 
the  director  replied: 

"Until  they  are  perfect  in  every  detail  of  the 
performance  to  be  presented.  That's  where  the 
hardest  work  is  done.  Before  the  season  opened 
we  had  as  many  as  forty-five  rehearsals  in  one 
day.  We  started  in  at  nine  o'clock  in  the  morn- 
ing and  were  still  at  it  at  midnight,  not  even 
being  interrupted  for  meals. 

"Sandwiches  are  the  best  we  get  on  such  oc- 
casions, and  we  are  mighty  grateful  for  that 
much.  The  public  would  have  a  grand  laugh  if 
it  could  see  its  favorites  pouring  out  their  golden 
notes  to  a  slice  of  bread  and  ham.  But  the  artists 
never  make  a  protest.  They  are  willing  to  repeat 
a  thing  over  and  over  again  while  there  is  a 
chance  of  improving  the  production. 

Mr.  Gatti  had  no  sooner  said  this  to  me  at  one 
of  the  final  rehearsals  of  "The  Magic  Flute"  than 
he  jumped  up  from  his  seat  like  a  skyrocket.  His 
eyes  glowed  like  live  coals,  and  his  shoulders, 
fuocoso,  did  a  fandango  that  threatened  to  send 
his  waistcoat  up  over  the  top  of  his  head.  It 
took  ten  minutes  for  him  to  get  them  under  con- 
trol again.  WENDELL  PHILLIPS  DODGE. 


The  Apotheosis  of  "Blague' 

(Continued  from  page  24) 


Maurice:  You  never  give  me  a  chance,  you're 
here  all  the  time,  but  don't  bother  about  that; 
what  is  it  you  wish? 

The  Creditor:     The  money  you  owe  us. 

Maurice:     Where  is  the  money? 

The  Creditor:     I  know  nothing  about  that. 

Maurice  (looking  in  his  pockets)  :  Neither  do 
I.  How  much  do  I  owe  you? 

The  Creditor  (fumbling  in  his  pockets)  :  Nine 
hundred  francs, 

Maurice :     Are  you  going  to  lend  me  that  sum  ? 

The  Creditor:     I'm  looking  for  the  bill. 

Maurice :     I'm  not  making  a  collection. 

The  Creditor  (produces  it)  :  Here  it  is,  nine 
hundred  francs. 

Maurice:     Nine  hundred  francs  of  what? 

The  Creditor:     Of  furniture. 

Maurice:     What  furniture? 

The  Creditor :     Chairs — 

Maurice:     What  chairs? 

The  Creditor :     These  two  armchairs  and — 

Maurice:    These  two?     It's  dear! 

The  Creditor:     Dear? 

Maurice:     Yes,  dear,  very  dear! 

The  Creditor :  When  you  bought  them  a  year 
ago — 

Maurice:     Did  I  buy  them  a  year  ago? 

The  Creditor:     You  certainly  did. 

Maurice :    Then  they're  mine  ? 

The  Creditor:     No. 

Maurice:     Then  they're  not  mine? 

The   Creditor :     No ! 

Maurice:  Oh,  if  they're  not  mine  then  I  won't 
pay  for  them. 

The  Creditor :  They  are  yours  because  you 
have  used  them. 

Maurice:     They've  been  used? 

The  Creditor:  Certainly;  they're  unsalable 
now. 

Maurice:  Unsalable?  Then,  I  won't  buy 
them. 

The  Creditor :     It's  too  late. 


A  Delicate  Shell-like  Pink , 

is  imparted  to  the  nails  by  the  use  of 

COGSWELL'S  SEA  SHELL  TINT 

Lightly  applied  with  a  camel's  hair  brush,  it  re- 
mains on  the  nails  for  several  days.  Price  50  Cents 

COGSWELL'S  FOOT  TONIC  comes 

as  a  welcome  friend  to  tired,  aching  feet.  Allays 
inflammation,  reduces  swelling.  An  excellent 
remedy  in  the  treatment  of  chilblains  and  in- 
flamed bunions.  Its  ingredients  are  so  pure  and 
soothing  that  it  may  be  used  with  perfect  safety 
on  any  part  of  the  body.  ...  Price  $  1 .00 

REDUCING  SALVE  is  a  scientific  dis- 
covery  for  the  reduction  of  excess  flesh.  It 
necessitates  no  change  in  one's  diet  or  daily 
routine  of  living.  Unlike  other  reducing  salves, 
it  is  a  most  beneficial  tonic  for  the  nerves. 
Guaranteed  absolutely  harmless.  $2.00  n  jar 

Personal  attention  of  Dr.  E.  N.  Cogswell 
given  all  letters  requesting  information 

Dr.  E.  N.  Cogswell 

418  Fifth  Avenue         New  York  City 

On  Sale  in  New  York  at  Franklin  Simon  &  Co. 
and  James  McCreery  &  Co. 


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Whites  of  Eggs  for  Nerves  and  Vocal 

organs;  immediate  effect.  Stronger  vocal  organs,  alert- 
ness, continence  with  increased  magnetism  and  energy, 
acquired  with  ease  on  an  enjoyable  diet  selected  from 
lean  meats,  poultry,  game,  fish,  curdled  custard,  vegeta- 
bles, fruits,  etc.,  combined  for  your  needs.  Fasting, 
strychnine,  alcohol,  are  ruinous.  Specify  occupation. 
Pamphlet,  10  cents.  G.  H.  BRINKLER,  Food  Expert, 
Dept.  93  A,  Washington,  D.  C. 


SIMMS 

Arts,  Musical  Comedy  »<•*   Stage  Dancing 


Xow  twentieth  year  at  Grand  Opera  House  Bids.. 
Cor.  23d  St.  and  8th  Ave.,  New  York.  Our  Students 
Stock  Company  and  Theatre  assure  practical  training. 
New  York  Appearances  and  Engagements.  Such  cele- 
brities as  Miss  Laurette  Taylor,  Gertrude  Hoffmann. 
Ethel  Levy,  Pauline  Chase,  Harry  Pilcer,  Julia  Opp, 
Anna  Laughlin,  Joseph  Santly,  Barney  Gilmore.  Mile. 
Dazie.  etc.,  taught  by  Mr.  Alviene.  For  information 
and  illustrated  booklet  of  "How  Three  Thousand  Suc- 
ceeded," address  the  SECRETARY,  Suite  10  as  above. 


Vest  Pocket 

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voice,  always  carry  a  few 

BROWN'S 

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TROCHES 

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are  perfectly  safe — contain  no  opiates. 

They  give  prompt  relief,  having  a  soothing 
effect  on  the  inflamed  membranes.  Used  for  over 
fifty  years.  Nothing  made  today  to  equal  them. 

Sold  everywhere  in  boxes— never  in  bulk. 
Prices  25c,  50c  and  $1.00       Sample  free  on  request 
JOHN  1.  BROWN  &  SON       Boston.  Mass. 


They 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


THE     THEATRE     MAGAZINE 


IX 


Maurice:     What  time  is  it? 

The  Creditor:  You  chose  them,  they  were  de- 
livered to  you — you've  used  them — now,  you've 
got  to  pay  for  them. 

Maurice:  Who  can  prove  that  I  haven't  paid 
for  them? 

The  Creditor:     What's  that? 

Maurice :  Surely  you've  900  francs  in  your 
pocket  ? 

The  Creditor:     Of  course  I  have. 

Maurice :     Perhaps  they're  mine ! 

The  Creditor:     Oh,  come  now! 

Maurice :  I  would  as  soon  pay  twice  as  once. 
Where  is  my  check  book?  (He  goes  to  his  desk.) 
Would  you  prefer  a  check  or  silver? 

The  Creditor:    A  check,  if  you  please. 

Maurice:  I,  too  (he  tears  out  a  check).  Here 
is  a  check  for  900  francs. 

The  Creditor:    Thank  you,  sir. 

(He  extends  his  hand  to  take  the  check,  but 
Maurice  puts  it  behind  him.) 

Maurice:  On  second  thought  I  prefer  to  pay 
all  at  once. 

In  our  day  the  first  duty  of  an  author  is  to  be 
sympathetic.  The  people  of  Guitry's  play  haven't 
any  ideals,  neither  do  they  speak  ill  of  life.  They 
are  optimistic  always,  and  very  indulgent  to  the 
most  erring  men.  They  say  whatever  comes 
into  their  heads,  like  spoiled  children.  They  are 
always  laughing — indeed,  they  find  goodness  ex- 
tremely amusing,  and  faith  and  virtue,  too,  are 
awfully  funny  things.  Perhaps  as  they  do  not 
censure,  they  should  not  be  censured.  Paris 
enjoys  "Blague,"  and  encourages  Guitry  to  keep 
in  the  full  tide  of  it.  He  has  surely  arrived. 
//  plait  aux  femmes  et  aux  dieux. 

WILLIS  STEELL. 

GREAT  BEAR  SPRING  WATER 
BO  cts.  per  case-6  glass-stoppered  bottles 


The  Author  of  "Carnival" 

(Continued  from  page  26) 


during  that  time  writing  poems,  which  later,  in 
1907,  found  their  way  into  print.  It  was  in  1906 
that  he  was  married,  and  in  1907  "The  Passion- 
ate Elopement,"  his  first  novel,  was  begun.  In 
1910,  meeting  Hall  Caine,  the  latter  considered 
Mr.  Mackenzie  just  the  type  wanted  for  a  priest 
in  "The  Bishop's  Son,"  a  dramatization  of  "The 
Deemster."  "That  was  my  first  professional  ap- 
pearance," he  claimed.  Then  he  modified  the 
statement,  for  he  recollected  how,  in  1906,  when 
he  was  nearing  twenty-four,  he  was  called  upon 
hastily  to  play  Charles  Surface  while  his  father's 
company  was  appearing  in  Edinburgh,  the  next 
evening  applying  himself  to  Bob  Acres  with 
scarce  sufficient  preparation,  meanwhile  rehears- 
ing Young  Marlow  for  Wednesday  and  superin- 
tending a  play  of  his  own — an  eighteenth  century 
comedy,  "The  Gentleman  Gray,"  which  his  father 
had  accepted. 

After  his  experience  with  Hall  Caine  he  wrote 
the  book  for  a  "Revue,"  somewhat  similar  to  the 
melange  given  us  at  the  Winter  Garden,  and  he 
helped  to  rehearse  the  corps  de  ballet.  There  it 
was  that  he  found  Jenny,  the  heroine  of  "Car- 
nival" ;  there  it  was  he  learned  his  background 
so  well. 

'T  wrote  'Carnival'  twice  over  in  three  months," 
he  ventured.  "I  believe,  after  a  piece  of  work,  in 
resting,  but  when  I  do  once  get  down  to  my 
desk  I  write  very  rapidly.  In  six  weeks  I  have 
written  seventy  thousand  words,  and  subjected 
them  to  close  revision.  The  dramatization  of 
my  book  was  suggested  to  me  by  Gerald  Du 
Maurier.  Obviously,  it  was  a  play  for  a  woman, 
and  Miss  George's  interpretation  is  all  I  want. 
I  hav<  been  interested,  all  during  the  prepara- 
tions for  my  play,  in  watching  the  graciousness  of 
Mr.  Brady;  whatever  suggestions  he  has  offered 
have  been  good  ones.  I  suppose  I  have  man- 
agerial blood  in  me  which  makes  me  sympathize 
with  a  producer. 

"Now,  there  is  one  thing  certain.  In  no  Bo- 
hemian tale  can  you  ever  hope  to  have  a  con- 
ventially  happy  ending.  Look  at  'Trilby'  and 
'Old  Heidelberg.'  My  play  ends  as  the  book 
ends,  with  Jenny's  death.  In  the  first  act  the 
scene  is  in  the  theatre  behind  the  scenes,  just  as 
the  curtain  is  going  down  on  the  ballet.  Be- 
ginning in  a  blaze  of  light,  the  act  ends  with  the 
one  lone  gas  jet  in  the  centre  of  stage,  symbol 
of  the  poor  girl's  life.  The  second  act  is  the 
studio  of  Maurice  during  the  celebration  of 
Jenny's  birthday.  Herein  the  audience  sees  the 
tragedy  of  poor  Jenny's  love  brewing.  The  third 
act  is  a  dramatization  of  the  chapter  entitled 
The  Tragic  Loading,'  wherein  Jenny  marries 
Trewhella,  the  man  whose  jealousy  and  coarse- 
ness results  in  the  girl's  final  scenes  with  Mau- 
rice and  the  final  tragedy.  In  bare  outline 
'Carnival,'  does  not  seem  particularly  original. 
The  mere  plot  is  drab  and  disagreeable.  But  as 


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The  American 
Playwright 

Edited  by  WILLIAM  T.  PRICE 

( Author  of  "  The  Technique  of  the  Drama  " 
and  "  The  Analysis  of  Play  Construction.    ) 

A  MONTHLY  devoted  to 
the   scientific    discussion 
of  Plays  and  Playwriting. 
1 5  cents  a  copy.  $  1 .50  a  year. 
Vol.  I!  begins  Jan.  15,1913. 
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in  the  novel,  so  in  the  play,  the  effects  clepend 
on  delineation,  on  close  psychology  and  poignant 
refinement.  Those  who  read  'Carnival'  and  those 
who  go  to  see  the  play,  expecting  sensation,  will 
be  disappointed.  As  a  book,  'Carnival'  is  a 
greater  plea  for  the  humanness  of  the  chorus 
girl  than  Pinero's  'The  "Mind-the-Paint"  Girl.' 
There  is  poetry  in  the  part,  not  stark  realism,  or 
even  sheer  theatricalism.  The  novel  is  rich  in 
character — a  most  difficult  story  to  put  in  play 
form.  It  even  is  not  fortunate  enough  to  have 
such  a  distinctive  stage  personage  as  Svengali, 
nor  has  it  such  picturesqueness  as  Trilby.  Mac- 
kenzie by  temperament  is  not  as  Bohemian  as 
Du  Maurier ;  tragedy  is  imminent  from  the  first 
page  of  'Carnival.' 

"My  next  book,"  said  Mr.  Mackenzie,  ''will  be 
called  'Sinister  Street,'  and  will  deal  with  the 
underworld  of  London.  This  time  I  shall  try  to 
give  an  elaborate  study  of  a  man,  carrying  him 
through  Oxford  and  through  the  usual  intellec- 
tual and  romantic  adventures  of  his  kind." 

I  did  not  ask  him  whether  the  new  book  would 
be  brighter  than  "Carnival"  and  more  hopeful. 
But,  looking  back  on  the  personality  of  the  man 
himself,  with  his  gleams  of  humor  and  his  seri- 
ous approach  toward  all  things,  I  believe  his 
answer  to  such  question  would  be  something  like 
this:  "Life,  after  all,  has  no  end  save  in  death: 
and  art,  dealing  with  life,  must  simply  break  oft", 
giving  one  a  consciousness  that  life  continues 
after  the  book  is  through."  Mr.  Mackenzie,  1 
believe,  is  one  of  the  younger  group  of  English 
writers  who  sees  the  ironies  of  things,  and  sees 
them  tragically.  MONTROSE  J.  MOSES. 


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TWO     BROTHERS 

(Continued  from  page  32) 


as  an  outlet  for  his  turbulent  spirit;  but  he  is 
wonderfully  handsome." 

The  sound  of  a  vehicle  stopping  at  the  front 
door  and  a  manly  tread  on  the  threshold  soon 
brought  into  view  a  young  man,  somewhat  taller 
than  my  host,  but  bearing  an  unmistakable  re- 
semblance to  his  elder  brother. 

''Well,  Ned,"  said  the  newcomer  in  a  breezy 
tone,  "I  told  you  I  would  come  out,  and,  like 
our  friend  in  'The  Duke's  Motto,'  I  am  here. 
What  brought  you  out  into  this  wilderness  and 
into  this  primitive  establishment?" 

"Never  mind,  John,"  my  entertainer  replied,  as 
he  grasped  the  visitor's  hand.  "If  you  could 
live  long  enough  you  would  ride  here  by  elec- 
tricity, but,  my  dear  boy,  you  will  never  comb 
gray  your  crinkly  locks." 

"So  be  it,  Ned,"  was  the  answer.  "If  the 
stars  have  said  it,  a  short  life  and  a  bustling  one 
for  me.  I  see  you  have  a  young  guest.  Let  me 
drink  to  his  prosperity.  But  what  makes  him 
from  Wittenberg,  Horatio." 

"Nay,  ask  me  not;  he  is  a  truant  dispositioned 
student,  apparently,  who  has  just  dropped  in  to 
ease  my  bltieness,  and  no  doubt  thinks  he  is 
blessed  in  being  in  the  company  of  an  eminent 
actor,  so  called  by  some,  but  regarded  by  others 
as  only  a  shadow  of  his  illustrious  father,  Junius 
Brutus  Booth.  When  he  comes  to  know  the 
footlights  as  we  do  he  will  learn  that  there  is 
more  of  prose  than  poetry  in  a  stage  career, 
and  that  illusion's  perfect  triumphs  are  realized 
only  by  hard  work  and  constant  study." 

As  I  made  no  observation  the  younger  man 
exclaimed : 

''I  am  not  a  modest  daisy.  Give  me  glory  at 
any  cost.  The  ambitious  youth,  you  know,  that 
fired  the  Ephesian  dome  outlives  in  fame  the 
pious  fool  who  raised  it." 

"Take  care,  John,  said  his  brother,  that  is  a 
dangerous  belief  to  entertain;  it  can  only  lead  to 
grief  and  disaster.  As  for  me,  give  me  the  man 
who  is  not  passion's  slave  and  I  will  wear  him  in 
my  heart  of  hearts ;  you  know  the  rest.  The 
Horatios  in  life,  however,  are  like  angels'  visits. 
I  wish  you  well,  John,  and  would  banish  from 
thy  footsteps  all  the  shadows  of  impending  evil, 
but  I  dread  and  regret  your  unchecked  impetu- 
osity; it  may  resist  all  barriers  and  drive  you 
far  beyond  the  bounds  of  reason. 

"Away  with  melancholy  forebodings,  Ned," 
was  the  reply.  "They  seldom  come  true.  Why, 
when  I  faced  a  Boston  audience  for  the  first  time 
I  was  woefully  afraid  of  failure,  for  my  more 
distinguished  brother,  Edwin,  had  preceded  me 
in  the  modern  Athens.  I  got  through  all  right, 
however,  with  the  public,  though  some  of  the 
critics  damned  me  with  faint  praise.  But  hov 
is  Mary?  I  hope  she  is  enjoying  this  retreat." 

"Well,  waiting  and  fearing,  as  we  all  do  in  this 
transitory  life.  I  pray  fervently  that  the  end 
will  see  her  a  happy  mother." 


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XI 


A  Delightful  Party 

An  Interesting  Play 

An  Enjoyable  Evening 


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Four  pages  are  reserved  for  each  play — with  printed  headings 
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xn 


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"Well,  hope  for  the  best,  Ned.  I  myself,  as 
[  have  said,  do  not  care  what  happens  to  me,  if 
I  leave  an  imperishable  name.  Who  is  this  that 
thus  bescreened  in  night  now  stumbles  on  our 
councils  ?" 

Just  then  a  rap  came  on  the  door,  and  when  it 
was  opened  a  fantastic  figure,  clad  in  a  garb  half 
masculine  and  half  feminine,  stalked  in. 

"Meg  Merilles,  by  all  that's  elfish,"  said  the 
younger  brother.  "Give  you  good  den,  fair  gen- 
tlewoman, what  can  we  do  for  you?" 

''Dinna  ye  ken,  I'm  on  my  way  to  market  from 
my  farm  in  Milton,"  said  the  woman.  "My  mare 
Janet  has  gone  lame,  and  seeing  a  light  in  the 
house  I  thought  you  would  not  refuse  me  shelter 
for  awhile,  until  the  dee  has  really  come  and  1 
can  find  some  ame  to  help  me  with  my  load. 
My  gude  mon  is  dead,  and  I  must  take  his  place 
now,  even  if  my  neighbors  among  the  Blue  Hills 
do  call  me  uncanny." 

"You  are  welcome  to  sit  here,"  said  my  host, 
"until  the  morn  in  russet  mantle  clad  climbs  o'er 
the  dew  of  yon  high  eastern  hill;  then  we  will 
break  up  our  watch,  for  we  must  have  a  little 
of  the  sleep  that  knits  up  the  raveled  sleeve  of 
care.  So  they  take  you  for  a  witch,  do  they? 
By  St.  Patrick  it's  lucky  we  are  not  living  a 
century  or  two  ago,  when  in  Boston  women  were 
persecuted  for  practicing  what  was  called  witch- 
craft. But  have  a  glass  of  wine  to  warm  the 
cockles  of  your  heart,  old  dame." 

"Nae,  nae,  I  might  take  a  little  of  the  barley 
brew  an  ye  had  it,  but  wine  is  nae  for  the  likes 
of  me  who  has  to  travel  these  lonely,  hilly  roads 
at  night.  I  always  carry  some  Scotch  with  me 
in  my  plaid,  for  I  go  daft  with  the  cold.  So 
here's  to  your  very  good  health,  gentlemen, 
though  I  who  am  cursed  with  the  gift  of  second 
sight  can  see  that  there  is  not  much  happiness 
before  you.  You  will  meet,"  she  said,  turning  to 
Edwin,  "great  affliction,  and  that  soon ;  it  will 
not  bring  reproach  upon  you;  it  will  sadden  your 
life,  but  not  disgrace  it." 

"But  what  will  become  of  me,  old  soothsayer?" 
said  the  younger  brother.  "I  do  not  think  I  will 
ever  be  bowed  down  by  weight  of  woe." 

''I  can  see  you  in  a  great  theatre  on  a  gala 
night.  You  are  armed,  and  with  the  cunning  of 
a  madman  you  slay  the  head  of  a  nation.  It  is 
nae  in  a  play,  either,  but  in  direful  reality,  and 
your  death  will  come  in  a  hopeless  fight  for  life." 

"I  think  your  vision  is  a  little  awry  from  the 
old  Scotch  you  have  imbibed,  my  good  woman. 
You  see  some  other  fellow's  fate.  I  am  too 
good-natured  to  kill." 

"It  is  so  written,  mon,  and  you  will  think  you 
are  a  patriot  and  drag  other  people  down  in 
your  ruin,  only  to  create  a  night  of  horror  which 
will  shake  the  world." 

"Edwin,  Edwin !"  came  a  gentle  voice  from 
upstairs.  "Make  the  poor  creature  stop  her  rav- 
ing by  holding  no  further  parley  with  her  until 
she  is  ready  to  depart.  Edwin,  Edwin,  Edwin!" 
came  with  more  persistent  iteration,  and  then 
I  found  myself  on  the  piazza  of  my  own  house, 
gazing  down  into  the  well-populated  valley, 
where  Gentile  and  Jew,  Celt  and  Teuton,  Greek 
and  Norseman,  were  living  together  in  apparent 
harmony  in  what  was  once  an  old  country  town. 
Wonderful  is  the  phenomena  of  dreams  and  their 
rapid  action.  In  my  comparatively  short  walk 
home  I  had  passed  through  the  scenes  just  re- 
lated while  I  moved  on  mechanically  to  my 
destination.  Were  there  any  spirits  about  that 
produced  this  unconsciousness  to  obviously  out- 
ward surroundings?  Who  knows? 

My  wife  was  at  the  door.  She  said,  "Are  you 
not  a  little  later  than  usual?" 

"Maybe  so,"  I  answered.  "The  waits  at  the 
theatre  were  long  to-night,  and  we  had  to  play 
many  selections  to  keep  the  audience  in  good 
humor." 

"Oh,  I  wish  you  were  anything  but  a  per- 
former in  an  orchestra,  so  we  might  have  our 
evenings  together,  now  that  we  are  declining 
into  the  vale  of  years  and  the  glamor  of  the 
playhouse  has  departed." 

"Why,  have  you  felt  more  lonely  than  usual 
to-night,  my  dear?" 

"Well,  no,  I  have  found  much  entertainment 
in  recollections  of  Edwin  Booth  an-d  of  his  first 
wife,  Mary  Devlin,  who  died  here  in  Dorchester 
nearly  fifty  years  ago.  soon  after  she  had  passed 
through  the  pains  of  motherhood." 

"Do  you  believe  in  telepathy?" 

"Perhaps;  but  why  do  you  ask?" 

"Because  you  and  I  have  been  in  the  sanr 
company.  I  slept  as  I  walked,  and  I  kne 
nothing  of  the  present  until  I  saw  the  lights  i 
the  hall  shining  on  your  face." 

"That's  passing  strange." 

"Yes,  my  love,  but  you  know  there  are  mor 
things  in  heaven  and  earth  than  are  dreamt  of  i 
your  philosophy."  BENEDICT  BELL. 

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DEPARTMENT  FOR  THE  NEW  YEAR 


This  toque  of  black  satin  is  trimmed  with  a  crown  of  skunk  and  a  mount  of  aigrettes 
placed  at  the  back  to  shoot  still  further  backward 


IS  a  woman  ever  too  engrossed  with  social  duties  to  defy  the 
lure  of  the  shops?  The  social  engagements  follow  one  an- 
other in  reckless  rapidity  right  after  the  holidays,  pushed 
somewhat  by  the  fact  that  Easter  is  unusually  early  this  year,  but 
to  offset  them  there  are  eye-opening  bargains  in  the  shops* which 
tug  on  the  pursestrings  so  persistently  that  the  normal  woman 
could  not  resist  them  though  she  desired  to  do  so.  The  shops 
do  not  even  permit  a  breathing  space  after  the  holiday  rush,  for 
before  the  New  Year  has  been  properly  heralded  they  are  offering 
alluring  ways  of  spending  the  Christmas  checks,  and  many  others 
in  addition.  One  suddenly  develops  so  many  wants  that  she  posi- 
tively can't  do  without — it  would  be  fairly  indecent  to  attempt  to 
do  so. 

FOR  THE  SOUTHERN  INVASION. 

Many  women  are  planning  to  cut  short  the  social  whirl  and 
enjoy  the,  gaieties  of  the  sunny  South,  where  the  warm  sun,  the 
brilliant  blue  skies,  the  balmy  air  laden  with  sweet  scents,  and 
the  carol  of  the  birds  call  one  to  life  in  the  open.  It  is  so  de- 
lightful to  frolic  and  be  happy  in  an  early  springtide  when  one's 
friends  are  fighting  frosty  blasts,  wading  through  slushy  streets 
and  braving  all  the  terrors  of  winter.  As  Paris  set  the  pace  last 
summe,r  for  furs  when  the  days  were  warm,  and  even  hot,  there 
is  no  reason  why  any  woman  should  forego  the  pleasure  of  wear- 
ing her  stunning  new  furs  during  her  southern  sojourn.  Thus 
the  last  objection  to  a  trip  southward  has  been  done  away  with, 
for  it  was  a  hardship  to  send  to  the  storage  all  one's  lovely  furs 
before  the  trip. 


There  is  nothing  more  fetching  than  a  gown  of  the  sheerest 
fabrics  partially  hidden  beneath  the  enveloping  scarf  of  fur,  and 
the  furs  this  season  are  so  voluminous  and  luxurious  that  they  give 
to  the  simplest  creations  an  air  of  smartness  and  chic  which  could 
be  secured  in  no  other  way.  Take,  for  instance,  an  ermine  scarf, 
such  as  the  one  in  the  photograph ;  it  is  quite  elaborate  and  volu- 
minous enough  to  be  dignified  by  the  name  of  a  wrap.  The  long 
ends  can  be  draped  around  the  figure  until  only  the  merest  glimpse 
of  the  gown  is  shown  beneath  them.  One  of  these  ends  is  fin- 
ished with  skunk,  a  striking  combination  with  the  unspotted  er- 
mine, which  has  now  quite  ousted  from  favor  the  spotted  variety, 
and  tails  of  the  ermine  add  their  charm  to  the  other  end.  A  new 
note  is  struck  by  the  large  collar  of  the  skunk  nestling  closely  to 
the  throat  as  if  it  had  to  protect  it  from  the  m  -  of  Jack  Frost. 
Tails  likewise  '  lish  the  white  silk  cords  whic..  araw  this  collar 
close  to  the  neck.  The  muff  is  a  large  square  one  with  a  bushy 
tail  of  the  skunk  on  one  end  and  a  cluster  of  ermine  tails  on  the 
other.  A  goodly  sum  would  change  hands  for  a  wrap  of  this  type, 
but  it  would  open  the  eyes  of  the  god  of  envy  at  any  fashionable 
southern  hotel. 

On  the  other  ermine  wrap  shown  in  the  photograph  the  tails 
are  cleverly  used  to  complete  the  drapings  in  the  back.  On  this 
garment  the  collar  of  skunk  is  a  most  imposing  addition,  falling 
in  a  long  end  in  the  back  well  below  the  waist  line,  and  in  the 
front  to  the  girdle.  The  barrel-shaped  muff,  which  many 
couturiers  claim  is  newer  than  the  pillow  muff,  is  carried  with  this 
costume 

For  those  to  whom  sums  of  three  figures  loom  large,  there  are 


\Ve  will  gladlv  give,  names  of  shops  where  goods  described  may  be  purchased 
Address  THE  THEATRE  MAGAZINE  Fashion  Deft.,  8-14  West  38th  Street.  New  York  City. 


XIV 


THE     THEATRE    MAGAZINE 


A  dual  effect  is  shown  in  this  frock  of  Nell  rose  charmeuse  combined  with  gray 
brocaded  velvet.  The  overskirt  of  the  velvet  is  finished  with  skunk  fur  and  falls 
over  a  plaited  skirt.  The  upper  portion  of  the  waist  is  of  the  brocaded  velvet,  with 
long  sleeves  attached  to  a  low  shoulder  seam.  The  vest  of  doited  net  matches  the 
collar,  which  softens  the  deeper  collar  of  charmeuse 

any  number  of  chiffon  scarves,  shirred  and  draped,  and  finished 
with  bands  of  the  fur,  to  wear  over  evening  frocks.  Large,  en- 
veloping ones  of  brocaded  velvets,  displaying  wondrous  colorings  in 
the  raised  designs,  can  be  draped  cleverly  around  the  figure,  and 
are  exceedingly  becoming  when  finished  with  white  fox  fur. 
If  one  has  a  well-stocked  wardrobe  there  are  not  many  neces- 


sary additions  before  the  trip  southward.  A  suit  of  serge — 
preferably  white  or  cream — is  always  a  good  purchase.  The  skirts 
will  be  quite  as  narrow  as  those  worn  this  winter,  the  suggestion 
of  additional  fullness  being  simulated  by  the  draperies  and  plaits 
which  are  strong  features.  So  persistent  is  the  vogue  for  fur 
that  some  of  these  suits  are  being  fashioned  with  strips  of  the 
fur  at  the  neck  and  finishing  the  cuffs.  One  of  the  well-known 
shops  is  making  a  specialty  of  these  serge  suits  for  the  southern 
exodus,  and  are  fashioning  them  after  their  late  winter  models 
with  suggestions  from  across  the  seas.  The  Eton  jackets  are  as- 
serting themselves  and  sharing  the  honors  with  the  cutaway  effects 
and  even  with  the  Russian  coats. 

THE  EVER-NECESSARY  BLOUSE. 

You  will  feel  very  much  more  comfortable  and  ready  for  any 
occasion  if  you  provide  yourself  before  the  trip  with  plenty  of 
blouses.  There  is  a  charming  fad  just  at  present  which  calls  for 
a  blouse  of  brilliant  coloring  with  the  white  serge  or  ratine  skirt. 
A  fetching  little  affair  of  Nell  Rose  chiffon  has  a  deep  yoke  effect 
of  shadow  lace,  which  is  embroidered  with  white  beads.  The  long 
shoulders  are  simulated  by  a  pointed  collar  of  Colbert  lace  which 
is  extended  in  thf  back  into  a  very  deep  collar  on  the  sailor  or- 
der, enhanced  with  embroidery  of  gold  thread.  Although  the  de- 
scription may  sound  a  bit  complicated,  the  blouse  is  a  lovely  cre- 
ation, well  worth  the  $32.50  asked  for  it.  Another  dainty  con- 
fection which  could  be  worn  with  a  skirt  of  almost  any  hue  is 
of  flowered  chiffon  in  the  soft  subdued  colorings  which  are  quite 
as  artistic  as  if  an  artist  had  washed  them  in  with  his  brush.  The 
chiffon  is  draped  in  surplice  fashion,  displaying  a  vest  of  lace  in 
the  delicate  ecru  tints.  The  fullness  which  is  promised  in  the 
sleeves  this  spring  is  heralded  in  the  soft  puffs  of  chiffon  finished 
by  a  deep  frill  of  lace.  This  dainty  little  blouse  is  selling  for 
the  ridiculously  small  sum  of  $15.00. 

Another  is  just  like  a  cloud  of  blue,  a  blue  as  pure  as  the  robin's 
egg.  The  soft  folds  of  the  chiffon  are  draped  gracefully  over  the 
shoulder,  permitting  the  vest  of  white  chiffon  with  tiny  blue  but- 
tons to  show  itself  in  the  front.  These  drapings  are  brought  to- 
gether at  the  waistline  by  a  bucklelike  arrangement  of  white  chif- 
fon, caught  on  either  side  by  the  blue  buttons.  The  elbow  sleeves 
are  loose,  pretty  falls  of  the  blue  chiffon  finished  with  a  deep  cuff 
of  the  white  chiffon.  A  prettier  blouse  to  wear  with  a  white 
suit,  whether  of  serge  or  charmeuse,  would  be  hard  to  find,  and 
yet  it  bears  the  reasonable  price  tag  of  $15.00. 

Another  striking  bargain  is  a  blouse  of  cream  chiffon,  de- 
liciously  soft  and  foamy  in  appearance  like  a  fleecy  cloud.  There 
is  a  strip  of  moleskin  finishing  the  high  collar,  another  strip  edging 
the  long  sleeves,  and  a  third  strip  intermingled  in  some  curious 
way  with  the  front  fastening  of  the  waist,  which  seems  to  be  ac- 
complished by  tiny  buttons  covered  with  the  chiffon.  It  is  just 
as  chic  as  it  can  be  and  can  be  bought  for  $6.50.  Another  in 
wistaria  chiffon,  with  the  new  epaulette  effect  over  the  shoulders, 
enhanced  with  gold  thread  embroidery  and  a  touch  of  white  at 
the  neck  in  the  V-shaped  vest  of  net,  is  marked  at  $4.50. 

COSTUMES  FOR  THE  SOUTH. 

The  suits  of  brocaded  silks,  the  crepe  meteors  and  charmeuses, 
and  even  the  velvet  costumes,  are  in  great  demand  by  the  woman 
who  is  planning  her  southern  wardrobe.  While  the  conservatively 
dressed  woman  will  choose  a  suit  of  gray,  taupe,  or  wistaria,  if 
she  has  not  already  decided  upon  black,  the  woman  who  goes  in  for 
the  latest  styles  will  insist  upon  one  of  the  brilliant  colorings, 
cerise,  sulphur,  emerald  green,  Chinese  blue  or  royal  purple.  There 
are  several  features  of  the  suit  shown  in  the  accompanying  photo- 
graph to  recommend  it.  The  drapery  in  the  back  is  a  decidedly 
new  departure,  and  yet  a  most  becoming  one,  for  women  still  de- 
light in  the  straight,  unbroken  lines  in  the  front  of  the  gown. 
Motifs  of  braid  mark  the  drapings  of  this  cerise  brocade  costume 
and  are  used  to  outline  the  slightly  raised  waist  line  as  well  as  to 
fasten  the  coat  in  the  front.  The  three-quarter  sleeve,  which  is 
favored  over  the  long  sleeve  by  some  of  the  best  French  de- 


ll'e  will  gladly  give  names  of  shops  ivhere  goods  described  may  be  purchased. 
Address  THE  THEATRE  MAGAZINE  Fashion  Dept.,  8-14  West  jSth  Street,  Neiv  York  City. 


THE   THEATRE   MAGAZINE   ADVERTISER 


LA  VALSE 


JUST  as  the  exquisite  dancing  of  Karsavina  and  Nijinsky  in 
"The  Spectre  of  the  Rose,"  to  Weber's  "Invitation  a  la 
Valse"  enchanted  the  civilized  world,  so  has  the  fascinating 
new  Morny  perfume,  "La  Valse, "  captivated  the  world  of 
fashion.  "La  Valse"  should  achieve  even  wider  fame  than  its 
well-known  predecessor,  Parfum  "Chaminade,"  so  exquisite 
and  satisfying  is  its  fragrance,  and  so  indefinably  beautiful  is 
it  in  its  complex  modernity,  its  elusive  intensity  and  its 
delicate  and  subtle  suggestiveness. 

PARFUM  'LA  VALSE"  -  -  -  $3.00,  $6.00 
"  La  Va  se  '  Bath  Salts  -  $1.25,  $3.30,  $7.50 
"La  Va«e  '  Dusting  Powder  -  -  -  -$1.80 
"La  Vase  '  Complexion  Powder  -  $1.30 

"La  Va  ,e  '  Toilet  Soap  (3  tablets)  -  -  $2.50 
"La  Vase  '  Bath  Soap  Bowls,  $5.00,  $7.53,  $8.25 
"  La  Valse  '  Toilet  Water $2.00 


MORNY 

2OI     REGENT  •   STREET 
•  LONDON  -W- 


iiiiiiiimiiiiiiiiiiiiiiiiiiiiiiiiniiiiii 


iimisieiiii; 


Retailed  by  all   flr«t  rl»f  Perfumery  Stored 

descriptive  price  list  of  the  entire  "La  VaUe"  tenes  of  Fine  Toilet  Products,  with  dainty  paper 
sachet,  sent  on  receipt  of  stamped  addressed  envelope  to 
WHOLESALE     u;i  M  >  : 

F.  R.  ARNOLD  &  CO.,  3,  5  &  7  West  22nd  St.,  New  York. 


Don't  mar  the  style  of 

j 

your  Suit  or  Gown 

with  an  ill-fitting,  puckering 
old  style  "string"  Petticoat. 

Wear  the 


KLOSFIT  PETTICOAT 


with  the  patented  Elastic  V- 
shaped  Gussets  and  Elastic  Waist- 
band with  snap  fasteners.  They 
insure  the  snug  hif>  and  waist 
fit.  No  strings — no  bagging — no 
puckering. 


Every  appropriate  petticoat  fabric 
in  all  fashionable  shades.  Sold  by 
good  stores  everywhere. 

In  cotton  at  $1.50  to  $3.00 
In   silk    at   $5.00   and   up. 

If  you  have  the  slightest  difficulty 
being  supplied  with  the  genuine 
K  LOS  !•'  IT  I'etticoat,  write  for 
your  personal  copy  of  Style  Book 
de  Luxe  at  once  to  the 

KLOSFIT   COMPANY 


20* 


•  York 


The  "Different"  Cigarette 


The  EGYPTIAN 
CIGARETTE 
of  QUALITY 


My  lovers  have  left  me  from 
time  to  time-as  fickle  lovers  will 
-but  they  always  come  back. 

-MILO 

Price  in  the  U.  S.,  25  cents. 
Abroad  at  the  regi  tariff. 

THE  SURBRUG  COMPANY,     New  York 


Write  for  a  sample 
of  Woodbury's 
Facial  Soap 

If  there  is  any  condition  of  your 
hair  you  want  to  improve,  if  it 
hasn't  enough  life  and  gloss,  if 
there  is  dandruff  or  too  much  oil, 
never  forget  that  the  condition  of 
your  hair  depends  on  the  condition 
of  your  scalp. 

Begin  now  to  get  its  benefits 

To  keep  the  scalp  healthy  and  active, 
shampoo  your  head  regularly  in  the  follow- 
ing way:  Rub  your  scalp  fully  five  minutes 
with  the  tips  01  your  fingers  to  loosen  the 
dandruff  and  dead  skin.  Then  apply  a  hot 
lather  of  Woodbury's  Facial  Soap  and  rnb 
it  /;/,  rub  it  in,  rub  it  in.  Rinse  thoroughly 
in  gradually  cooler  water,  having  the  final 
water  really  cold.  Dry  perfectly,  then  brush 
gently  for  some  time. 

The  formula  for  Woodbury's  Facial  Soap 
is  the  work  of  an  authority  on  the  skin  and 
hair.  This  treatment  with  Woodbury's 
softens  the  scalp,  gently  removes  the  dead 
skin,  keeps  the  pores  active  and  brings  a 
fresh  supply  of  blood  to  nourish  the  nair 
roots. 

Try  it.  See  what  a  delightful  feeling  it 
gives  your  scalp,  how  alive  it  makes  it  feel. 
Tear  off  the  illustration  of  the  cake  shown 
below  and  put  it  in  your  purse  a*  a  remind- 
er to  get  Woodbury's  and  use  it  for  a 
Shampoo. 

Woodbury's  Facial  Soap  costs  25c  a  cake. 
No  one  hesitates  at  the  price  after  their 
first  cake. 


Woodbury's 


U'riff 


Facial  Soap 


For  4c  iv f  ivitt  send  a  sample  cake.  For 
fOc  samples  of  U'oodburys  Facial  S  oaf, 
Facial  Crearn^  and  Powder.  For  5Qc,  a 
ccfy  of  the  ll'oodbury  Rook  and  samples 
of  the  ll'oodbnry  Preparations.  Write 
today  to  Andrew  Jergens  Co.,  Dept.  F,% 
Spring  Or.  .>e  Avenue,  Cincinnati,  O. 


For  salt"  by  dealers  everywhere 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


XVI 


THE     THEATRE     MAGAZINE 


An  enveloping  and  voluminous  wrap  of  unspotted  ermine.  One  end  is  finished  with 
a  wide  band  of  skunk  fur  and  the  other  with  a  fringe  of  ermine  tails.  The  high 
collar  of  skunk  is  held  close  to  the  throat  with  white  silk  cords  weighted  with  ermine 
tails.  The  pillow  muff  of  the  ermine  is  trimmed  on  one  end  with  a  skunk  tail  and 
on  the  other  with  a  cluster  of  ermine  tails.  White  osprey  decorates  the  white 
plush  hat. 

signers,  is  finished  by  a  deep  cuff  ot  moleskin,  matching  the  shawl 
collar. 

Vying  with  the  brocades  are  the  suits  of  silk  eponge,  char 
meuse,  silk  ratine,  embossed  eponge  and  other  fancy  weaves  of 
soft  silks  which  lend  themselves  to  draping  and  plaiting  in  an  ideal 
manner.  Some  of  these  suits  are  made  to  wear  with  blouses  of 
chiffon  or  silk,  while  others  are  the  so-called  three-piece  type. 
The  gown  shown  in  the  photograph  belongs  to  one  of  these  three- 
piece  suits,  and  here  we  have  not  only  the  combination  of  two 


contrasting  materials — charmeuse  and  brocaded  velvet — but  two 
different  colors,  gray  and  the  new  Nell  rose.  The  Nell  rose,  char- 
meuse underskirt  shows  the  new  plaited  effect;  ove,r  this  hangs 
the  overskirt  of  the  gray  brocaded  velvet,  shaped  at  the,  sides  to 
display  the  vividly  colored  charmeuse  veiled  with  chiffon,  and  fin- 
ished with  a  wide  band  of  skunk.  The  flat  effect,  which  is  so 
desirable  over  the  shoulders,  is  procured  by  having  the  upper  por- 
tion of  the  waist  and  the  sleeves  all  of  the  brocaded  velvet,  the 
sleeve  being  attached  at  the  low  shoulder  seam  and  confined  at 
the  wrist  with  buttons.  The  vest  is  of  dotted  net,  matching  the 
collar,  which  partially  hides  a  deeper  collar  of  the  charmeuse. 

Another  very  simple,  but  very  charming,  little  gown  for  the 
South  is  of  white  charmeuse  combined  with  white  chiffon.  The 
underskirt  is  of  the  charmeuse  with  an  overskirt  of  chiffon  reach- 
ing almost  to  the  bottom  of  the  gown,  open  in  the  front  and 
rounded  at  the  sides,  and  bordered  with  an  inch  hem  of  the  char- 
meuse. The  blouse  of  chiffon  is  draped  to  display  a  vest  of  the 
charmeuse  with  buttons  of  the  material,  which  continue  in  a 
straight  line  to  the  bottom  of  the  skirt.  A  bit  of  color  is  intro- 
duced by  a  fold  of  blue  satin  which  edges  the  charmeuse  girdle 
and  a  garland  of  pink  roses  which  serve  as  a  fastening  for  this 
girdle.  It  is  youthful,  even  girlish,  yet  it  is  decidedly  chic. 

THE  DAINTY  TOUCH  AT  THE  NECK. 

Above  all  else  have  plenty  of  neckwear  on  this  southern  trip. 
A  fresh  ne,ck  fixing,  better  still,  a  novel  one,  will  do  wonders  in 
giving  a  blouse,  which  may  have  begun  to  show  wear  and  tear,  a 
rejuvenated  appearance.  One,  of  the  newest  and  prettiest  collars 
for  the  tailored  blouse  is  fashioned  from  black  moire,  and  consists 
of  a  stock  of  the,  moire,  over  which  falls  a  plaited  frill  of  ecru 
tinted  lace.  The  wide  bow  of  the  moire  attached  to  the  stock  in 
front  is  plaited  and  hefd  on  eithe,r  side  by  slides  of  the  moire.  It 
is  trig  and  it  is  smart,  so  that  the  price  of  $3.50  is  not  by  any  means 
expensive,.  On  much  of  the  new  neckwear  bows  with  long  ends 
of  taffeta  or  moire  in  brilliant  colorings,  particularly  the  reds  and 
cerises,  are  very  effective.  The  latest  notion  is  likewise  to  use 
the  ecru-ton^d  lace  for  frills  at  the  neck  or  cascades  to  fall  in 
flimsy  softness  over  the  gown.  Another  new  fad  is  introduced  on 
an  effective  neck  fixing  by  having  the  rolled  collar  of  flowered 
taffeta,  with  folds  of  the  blue  taffe.ta  extending  to  the  bust  line. 
On  either  side,  plaitings  of  shadow  lace  fall  in  such  profusion 
that  they  cover  the  entire  front  of  the  waist. 

FOR  LIFE  IN  THE  OPEN. 

With  every  siren  of  nature  calling  one  into  the  open  there  should 
be  a  goodly  supply  of  sporting  togs.  And  the  women  who  go  in 
for  sports  insist  upon  being  correctly  attired.  With  the  knowledge 
that  their  appearance  will  not  call  forth  any  adverse  criticism  from 
the  audience,  they  can  go  in  to  win  with  all  their  might. 

For  tennis  and  golf,  the  suits  of  striped  flannel  are  very  good 
to  look  upon.  It  is  very  necessary  to  buy  a  good  quality  of  un- 
shrinkable flannel.  What  is  more  heartrending  than  to  take  the 
time  and  spend  the  money  to  have  a  blazer  suit  made  and  then 
find  that  after  the  first  washing  or  cleaning  it  has  grown  so  small 
that  it  is  impossible  to  wear  it  ?  An  excellent  grade  of  unshrinka- 
ble flannel  is  now  on  the  market  and  sold  under  a  well-known 
brand  name.  A  large  variety  of  designs  and  colorings  are  shown, 
and  a  suit  of  this  material,  fashioned  with  the  jaunty  blazer-style 
jacket,  is  just  the  thing  for  the  courts  or  the  links.  If,  on  the 
other  hand,  you  prefer  a  skirt  of  homespun  for  the  links  the  waists 
of  flannel  are  very  comfortable,  and  many  ardent  sportswomen  be- 
lieve cooler  and  more  healthy  than  linen  or  silk.  These  should  be 
made  very  plain,  buttoning  in  the  front,  with  a  convenient  patch 
pocket  at  the  side,  set  in  sleeves  finished  with  a  turnover  cuff,  and 
either  a  low  collar  or  a  stiff  linen  collar  or  stock. 

For  that  glorious  exercise,  horseback  riding,  there  is  a  new 
habit  which  attracted  all  eyes  at  the  Horse  Show.  It  is  quite  dif- 
ferent from  the  regulation  long  coat,  which  is  worn  with  the,  knick- 
erbockers. The  coat,  which  may  be  of  broadcloth,  melton,  cheviot, 
or  any  of  the  English  cloths  used  for  riding  habits,  reaches  only 
to  the  waist  line,  in  the  front,  with  the  square  coattails  in  the  back. 


We  will  gladly  give  names  of  shot's  where  goods  described  may  be  purchased. 
Address  THE  THEATRE  MAGAZINE  Fashion  Dept.,  8-14  West  s8th  Street,  New  York  City. 


THE      THEATRE      MAGAZINE      ADVERTISER 


xvn 


THE 
SOFT  DRAPED  STYLES 

in  vogue  tor  Tailored  Suits  for  Spring,  re- 
quire cloth  fabrics  of  extremely  fine  quality 

and   distinctiveness. 

HAAS  BROTHERS 

"Needle  Cords" 

an  absolutely  new  cloth  fabric  (in  the  new- 
soft  colorings  including  Putty  and  Cafe  au 
Lait)  is  one  of  the  many  especially  adapted 
to  the  new  "  Drapy  Styles. 

Haas  Fabrics  can  be  seen  only  in  the 
Haas  Blue  Books,  shown  by  the  Leading 
Dressmakers  and  Tailors. 

HAAS  BROTHERS 

PARIS 

American  Distributing  Offices 

303  FIFTH  AVENUE 
NEW  YORK 


Clement 


12  West  33rd  Street 


New  York 


Hair  Goods  for  the  Gentlewoman 


CHARM  and  be- 
comingness  of  Clement 
hair  goods  and  coiffures 
lie  in  the  clever  adaptation 
of  Fashion's  dictates  to  the 
wearer's  needs. 

An  exclusive  variety  of  the 
latest  styles  in  hair  goods  and 
ready-made  coiffures  is  now 
ready  for  inspection. 

An  unusually  fine  selection 
of  hair  ornaments,  combs, 
pins,  barettes,  perfumes,  etc., 
which  will  delight  the  fastid- 
ious woman,  has  just  been 
imported  from  Paris. 

Liquid  Henna 

is  a  recent  discovery  of  mine  which  beautifully  colors  the  hair.  It  is 
absolutely  harmless  and  can  be  applied  without  aid.  Success  guaran- 
teed. Price,  $2.00. 

I  also  have  a  coloring  that  will  permanently  dye  the  eyebrows. 
Price,  $2.00. 

Spacious,  airy  rooms  with  natural  daylight  for  application  and  rectifi- 
cations of  hair  coloring  by  French  experts  only. 

Visitors  are  welcome  to  advice  and  suggestions.  Booklet  sent  on  request. 


Tk< 


SPRING   and 

SUMMER 


combine  the  quality 
and  style  that  char- 
acterize all  models 
bearing  this  trade 
mark. 


For  sale  at  all  leading 

dealers  throughout 

the  United  States 

and  Canada 


Designed   and 

Introduced 

ty 

A.  D. 

'urgesser 
Co. 

noleaale   only 

149-151  Fiftk  Avenue 
New  York 


TIAOC    MAfltf 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


XV111 


THE     THEATRE    MAGAZINE 


The    clever    draping    of    the    unspotted    ermine    in    the    back    distinguishes    this    wrap. 

Tails  of  the  ermine  finish  these  draped  ends.     A   contrasting  note  is  lent  by  the  deep 

collar  of  skunk.     The  barrel-shaped  muff  is  fashioned  from  the  spotted  ermine 

It  fastens  with  six  buttons  and  is  cut  in  such  a  way  that  it  dis- 
plays the  waistcoat  of  white  pique  finished  with  a  black  satin  As- 
cot. The  English  apron  effect  gives  an  up-to-date  appearance  to 
the  skirt.  Those  who  prefer  the  more  conventional  togs  can  order 
the  single-breasted  cheviot  coats  and  Ascot  ties  of  white  pique. 
The  safety  skirt,  which  instantly  releases  the  rider  in  case  of  ac- 
ciderit,  is  always  a  safe  style  to  choose. 

ACCESSORIES — DAINTY  AND  NECESSARY. 

It  is  the  little  touches  that  always  count — that  distinguish  the 
woman  with  a  talent  for  smart  dressing  from  the  woman  who  just 


clothes  herself.  And  it  is  the  former  who  has  bought  to  take  south 
with  her  flowers  as  perfect  as  those  she  will  find  there  growing 
in  profusion  all  around  her.  The  so-called  preserved  flowers  need 
fear  no  rivals  in  Nature.  Have  they  not  the,  same  fagrance,  the 
same  moist,  "alive"  feeling,  and  the  same  beautiful  coloring  as 
those  fostered  by  Nature?  And  yet  they  will  last  ye,ars  after 
the  others  have  given  their  beauty  to  the  world.  The  process 
whereby  violets  and  roses  are  kept  as  lovely  as  we  find  them  in 
the  hothouses  is  a  secret  one,  and  has  been  brought  from  Bohemia, 
where  it  was  jealously  guarded  by  the  titled  people,  of  the  Con- 
tinent. 

For  $2.50  it  is  possible  to  buy  a  bouquet  of  violets  whose  scent, 
"feel"  and  naturalness  will  defy  the  closest  scrutiny,  and  just 
think  what  a  saving  on  the  pocke,t-book,  only  $2.50  for  a  bouquet 
that  will  last  for  three  years  at  least.  For  $1.50  you  can  secure 
the  most  exquisite  rose  and  bud.  The  women  of  Paris  and  Vienna 
have  fairly  lost  their  hearts  to  this  lovely  flower,  either  in  the  pink 
or  the  Marechal  Niel  shades.  The  latter  is  particularly  effective 
against  dark  furs.  For  the  same  price  there  is  the  delicate  Cape 
Jasmin  gardenia,  with  soft  blendings  of  yellow  to  make,  it  more 
desirable  and  ne,wer  than  the  waxy  white  blossom. 

For  decoration  purposes,  there  are  the  glorious  American  beau- 
tie.s  and  the  beautiful  bridesmaid  roses  which  will  shed  their 
fragrance  in  the  dining-room  or  drawing-room  every  day  of  the 
year  if  you  desire  them  to.  Six  dollars  a  dozen  is  a  very  modest 
sum  for  a  perpetual  floral  decoration. 

Into  some  corner  of  the  trunk  you  must  be  sure  and  tuck  a  pair 
or  two — as  many  as  you  have  pairs  of  slippers  if  you  are  wise — 
of  the  aluminum  slipper  trees.  They  are  very  light  and  very  easily 
packed,  for  though  they  curve,  as  the  foot  does  in  the  shoe,  they 
spring  back  to  a  flat  position  when  not  in  use.  This  curve,  follow- 
ing the  natural  curve  of  the  foot,  keeps  the  soles  lying  flat,  all 
the  creases  pressed  from  the,  vamp,  and  the  slippers  in  a  fresh 
condition,  which  gives  them  the  appearance  of  a  new  pair.  It  is 
only  the  question  of  a  few  seconds  to  slip  them  into  the  slippers, 
or  shoes,  and  yet  what  a  saving  on  the  shoe  bill  at  the  end  of  the 
year !  Cover  these  trees  with  ribbon  and  you  have  a  dainty  little 
gift  for  a  fellow  traveler  which  is  sure  to  be  appreciated,  at  the 
reasonable  sum  of  seventy-five  cents  a  pair. 

Gloves  in  mocha,  glace,  chamois  and  cape  should  all  be  pro- 
vided in  generous  numbers,  for  it  is  distressing  to  run  short  of 
such  necessities.  You  won't  be  bothered  with  tears  and  rips,  how- 
ever, if  you  purchase  one  of  the  well-known  makes,  with  which 
are  sold  a  guaranty  bond  for  each  pair.  All  you  have,  to  do  if 
the  gloves  are,  defective  is  to  return  them,  and  receive  a  new  pair. 
Naturally  to  make  good  on  such  a  guaranty  the  manufacturers 
must  use  the  best  of  leather  and  insist  upon  careful  workmanship 
Those  of  us  who  have  dressed  in  a  hurry,  and  then  have  taken 
from  the  drawer  a  pair  of  gloves  only  to  have  them  rip  or  tear 
while  we  put  them  on,  can  appreciate  what  this  offer  means.  Yet 
the  gloves  themselves  are  no  more  expensive  than  the,  other  makes, 
selling  for  $1.50  and  upward. 

JUST  AMONGST  OURSELVES. 

To  thoroughly  enjoy  every  minute  of  the  southern  visit  you  must 
fe,el  well,  and  be  inwardly  encouraged  by  the  fact  that  you  are 
looking  as  well  as  you  feel — perhaps  a  little  bit  better.  Hence,  it 
is  never  wise  to  leave  behind  the  ounce  of  prevention,  and  many 
ounces  of  prevention  will  be  found  in  a  compact  travelling  case 
which  one  of  the  most  skilled  of  be,auty  specialists  is  selling  for 
just  this  purpose.  It  only  calls  for  a  five  dollar  bill,  but  it  con- 
tains helps  along  the  highway  of  beauty  that  are  worth  many  more 
bills  of  that  denomination.  There  is  a  bottle  of  skin  tonic,  to  tone 
up  the  complexion ;  keep  it  white  and  aid  in  promoting  good  cir- 
culation; a  jar  of  cleansing  cream,  which  fairly  digs  out  the  black 
heads,  prevents  the  formation  of  large  pores  and  at  the  same  time 
nourishes  the  skin ;  a  bottle  of  muscle  oil,  which  performs  won- 
ders in  removing  lines  and  in  tightening  relaxed  skins ;  a  jar  of 
retiring  cream,  to  be  patted  gently  into  the  skin  to  work  its  magic 


IV e  will  gladly  give  names  of  shops  where  goods  described  may  be  purchased. 
Address  THE  THEATRE  MAGAZINE  Fashion  Dept.,  8-14  West  sSth  Street,  New  York  City. 


THE   THEATRE   MAGAZINE   ADVERTISER 


Aluminum  Shoe  Trees 

"Indispensable" 


say  the  well- 
groomed. 


Ladies'  Slipper  Trees,  75c  the  pair 

A  shoe,  a  slipper— fool  wear  o(  any  kind  —needs  help  if 
it  is  to  retain  its  original  shapely  appearance.  A  bent  sole 
and  creases  in  the  vamp  are  impossible  when  "  R.  P.  K." 
Trees  are  used.  They  straighten  the  sole,  press  out  the 
creases  and  actually  rejuvenate  the  shoe  each  day.  The 
lightest  tree  made.  Particular  dressers,  here  and  abroad, 
pronounce  them  "Indispensable." 

Men's  Shoe  Trees  for  Shoes  and  Pumps,  in 
all  sizes  and  widths. 

Ask  your  dealer  to  show  them— or  order  direct  by  m»il. 


$1.00  the  pair 


R.  P.  K.  PRESSED  METAL  COMPANY 
331  Madison  Avenue,  New  York 


CREME  ELCAYA 

Makes  the  Skin  Like  Velvet" 


e  dainiy'  cream  of  flowers 
wfiicfi  keeps  ffie  complexion 
naturally  beautiful  — 

0|  All  Dealer*  NaTk>n\vlde  sell  ELCAYA  $>  ' 

•  V6i     ,,        jaMEU.jSii!fc,fPtf  *6ENT[  IM  f  ULTON  ST  H  V  fe  ^  - 


FIREPROOF     GARAGES 

I  E.EL  por  Automobiles  and  Motorcycle* 

$30  to  $200 

Easy  to  put  up.  Portable.  All 
sizes.      Postal    brings    latest 
|  illustrated  catalog. 

THF  EDWARDS  MFC.  CO..  227-277  Ecglaton  Are..  Cincinniti.  Okie 

"PAQUIN 

FUR 
CREATIONS 


ARE  NOW  DIRECTLY  AVAILABLE  TO 
AMERICAN  WOMEN  AT  A  SAVING 
OF  THE  IMPORT  DUTY,  THROUGH 
THE  FOUNDING  OF  THIS  ESTAB- 
LISHMENT, WHERE  A  STAFF  OF 
PAQUIN  EXI'ERTS  WILL  REPRODUCE 
MODELS  IN  THE  DISTINCTIVE  FASH. 
,-f-  ^NS  CHARACTERISTIC  OF  THEIR 
PARIS  SALON. 

^AQJJIN    &   JOIRE 

398    Fifth   Avenue 
Bet.  36th  and  3yth   Sts.,  New  York 


U       ft  Fur  garments  made  of  reliable  furs,  or 

F UT  UarmentS     Old  one,  renovated  and  remodeled  in 

Made  and 
Remodeled 


the  most  up-to-date  fashion  at  the 
lowest  prices  consistent  with  expert 
work.  Estimates  cheerfully  furnished. 
Mail  orders  given  prompt  attention. 


A.  H.  Green  &  Son,     25  West  23rd  St.,  New  York 


XIX 


jfranfclfn  Simon  &  Co. 

Fifth  Avenue. 

ANNUAL  SALE 

Thursday t  Jan.  2nd  to  Jan.  14th 
WOMEN'S  HIGH  GRADE  SHOES 

Made  on  perfect  Jilting  lasts,   hand  sewed 


Our  $4.00  Shoe 3.00 

Our  $5.00  Shoe 4.00 


Our  $6.50  Shoe. 
Our  $8.00  Shoe. 


5.50 
6.50 


EVENING  SLIPPERS 


Of  satin,  velvet,  suede,  -white  or  bronze  kid,  putnit  or  dull  leather 
Our  $5.00  Slipper.         3.50     I     Our  $6.50  Slipper 5.50 

ANNUAL  SALE 

Thursday,  Jan.  2nd  to  Jan.  14th 

"PARFAIT"  CORSETS  and  BRASSIERES 

Made  exclusively  for  Franklin  Simon  &  Co. 

ABOUT   ONE-HALF  FORMER  PRICES 


Our  $3.00  Corset  ...  1.75 

Our  $5.00  Corset   2.75 

Our  $6.00  Corset  3.50 

Our  $10.75  Corset        5.75 


Our  $13.75  Corset  6.75 
Our  $15.75  Corset..-. 7.50 
Our  $3.00  Brassiere  1.45 
Our  $6.75  Brassiere  3.75 


FIFTH  AVE.,  37th  and  38th  Sts.,  New  York 


NEW  YORK-LONDON-PARIS 

ARE      THE      DISTRIBUTING      CENTERS      FOR 

MRS.  ADAIR'S 

GANESH  TOILET  PREPARATIONS 

This  facilitates  in  replenishing  one's  supply  cf  toilet  necessities 
whether  at  home  or  abroad.  Under  the  personal  guidance  of  ex- 
perts in  Mrs.  Adair's  correspondence  department,  at  her  New 
York  Salon,  ladies  throughout  the  country  are  experiencing  the 
benefits  of  Mrs.  Adair's  Ganesh  home  treatment  preparations.  A 
few  fallow  and  you  are  invited  to  try  them;  they  will  be  found 
efficacious.  Your  order  received  by  mail  will  be  promptly  filled 
and  full  instruction  for  home  treatment  will  be  sent. 

GANESH  EASTERN  MUSCLE  OIL,  bottle,  K.  fci.50,  $1.  Braces  sagging  muscles,  renews  wasted  tissues,  fills  hollows 
andwrinkles.  GANESH  DIAULE  SKIN"  TONIC,  bottle,  $5.  (a,  75c.  A  splendid  face  wash,  strengthens  the  skin:  closes 
pores  and  alleviates  skin  flabbiness  and  puffiness  tinder  the  eyes.  GANKSH  KASTKRJi  BALM  SKlX  FOOD,  $3  *1  5" 
75c.  For  tender,  dry  skins.  GANKSH  EASTKItN  HALM  CKKAM.  *3,  M.SO.  7Sc.  Can  be  used  for  the  most  sensitive 
»kin;  unequalled  as  a  face  cleanser  and  skin  food.  GANKSH  LII.V  LOTION',  $--'.50,  H.Sn.  Whitens  and  smooths  the  skin; 
protects  face  when  motoring;  prevent?  sunburn.  GAN'KSH  CIIIX  STRAP.  $6.50,  $5.  Removes  double  chin,  restores  lost 
contours;  keeps  mouth  closed  during  sleep.  GANKSH  FOKEHEAI)  STRAP,  $5,  14.  Eliminates  deep  lines  between 
brows,  corners  of  eyes  and  over  forehead.  (Note  illustration.) 

GANESH  TREATMENTS  AT  THE  SALON,  $2.50;  COURSES  ARRANGED  FOR 

Skin  and  complexion  blemishes  are  skillfully  treated  by  adepts  at  Mrs.  Adair's  Salons.     Each  treatment  is  scientific  and  thorough 

and  will  be  four.d  particularly  refreshing  and  beautifying.    Treatments  given  at  residences  or  hotels  by  special  arrangement. 

Write  for  Free  Booklet,    '  'How  to  Retain  and  Rettore  Youthful  Beauty  of  face  and  Form. ' ' 

FIFTH    AVFNLJF  2?$iln^k h?m^  NFW  YORK    LONDON,  «  New  Bond  st.  w. 

rirlO     f\\  IL,\.\\JCi   RITZ-CARLTON    !>I-iW      I  WI\r\.      PARIS,  5  Rue  Cambon 


A  unique  and  exclusive  feature  of  the  THEATRE  MAGAZINE  is  the 
Fashion  Department.  Do  not  fail  to  read  the  suggestions  and  pointers 
of  our  Fashion  Editor,  an  authority  of  both  continents. 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


XX 


THE     THEATRE    MAGAZINE 


Reception  costume  of  cerise  brocade  with  novel  draping*  in  the  back,  the  effect  on 
the  skirt  being  continued  in  the  jacket.  Motifs  of  braid  are  used  as  trimming  to 
mark  the  slightly  raised  waist  line  and  to  fasten  the  coat.  The  three-quarter  sleeve, 
set  into  an  enlarged  armholc,  is  finished  with  a  cuff  of  moleskin  to  match  the  shawl 

collar 

while  we  sleep ;  a  bottle  of  liquid  powder,  which  is  so  nice  for  the 
neck  and  shoulders,  as  well  as  the  face;  a  bottle  of  liquid  rouge, 
so  natural  in  tint  that  it  defies  detection;  a  packet  of  fine  face 
powder,  half  a  dozen  antiseptic  face  cloths,  and  two  of  the  de- 
lightful face  sachets.  All  of  these  are  well  packed,  so  that  the 
jarring  during  the  journey  will  not  work  havoc. 


In  the  desire  to  protect  and  beautify  the  complexion  you  should 
not  forget  the  hands,  for  it  is  in  the  hands  quite  as  quickly  as  in 
the  face  that  age  gives  away  our  secret.  In  fact  many  observing 
men  have  declared  that  they  could  always  tell  a  woman's  age, 
despite  the  youthful  appearance  of  her  face,  by  her  hands.  A 
woman  doctor  who  has  realized  this  truism  is  endeavoring  to  keep 
her  sex  from  a  betrayal  of  this  kind  by  her  excellent  preparations 
for  the  hands.  Her  thorough  knowledge  of  medicine  has  enabled 
her  to  compound  pure  and  efficient  preparations  in  which  only 
the  best  of  materials  are  used.  Amongst  the  number  is  a  lotion  to 
keep  the  hands  soft  and  white  and  to  heal  any  chapping  or  rough- 
ing. This  sells  for  fifty  cents  a  bottle.  Another  preparation  will 
remove  any  stain  under  the  nails  and  keep  the  cuticle  in  a  good 
condition  by  removing  the  dead  cuticle,  which  should  never  be  cut 
except  by  an  expert.  It  will  also  remove  the  stains  which  often 
come  from  kid  gloves,  especially  black  gloves,  when  the  hands  are 
carried  in  a  muff.  A  bottle  is  well  worth  fifty  cents.  To  tint  the 
nails  and  polish  them  at  the  same  time,  she  sells  for  fifty  cents 
a  liquid  to  be  applied  by  a  camel's-hair  brush.  It  not  only  gives 
to  the  nails  a  pretty,  rosy  tint,  but  strengthens  them  as  well.  For 
the  traveller,  who  is  naturally  on  pleasure  bent,  it  is  most  con- 
venient for  the  polish  it  lends  to  the  nails  will  be  retained  for  two 
or  three  days.  If  you  prefer  the  powder  a  box  will  only  cost  you 
twenty-five  cents,  and  you  will  find  it  free  from  all  grit  and  an 
exceptionally  attractive  rose  tint. 

The,  prettiest  face  in  the  world  can  be  spoiled  by  a  poor  figure. 
It  seems  such  a  pity  that  anyone  should  suffer  from  a  bad  figure 
these  days  when  ingenious  contrivances  are  found  everywhere  to 
give  good  lines.  Some  of  them,  to  be  sure,  are  more  or  less  awk- 
ward, others  are  uncomfortable,  but  there  is  one  on  the  market 
which  is  well  worth  trying  because  it  is  ideally  comfortable,  easily 
adjusted,  and  produces  the  long  lines  which  nature  in  her  happiest 
moments  gives  to  a  selected  few.  For  the  stout  woman  it  serves 
as  an  admirable  brassiere,  while  to  the  slender  figure  it  gives  the 
curves  which  may  be  lacking.  It  can  be  worn  with  any  corset, 
and  there  is  a  flexible  inside  brace  which  makes  it  possible  to  ad- 
just it  any  distance  away  from  the  body,  thus  allowing  for  deep 
breathing.  As  there  is  no  pressure — how  could  there  be,  for  the 
brace  is  flexible  and  comes  in  contact  with  the  front  corset  bone 
only — it  has  found  great  favor  with  singers. 

It  has  another  good  feature  in  that  it  does  not  cave  in,  either 
under  or  over  the  bust,  as  is  so  often  the  case  with  bust  supporters, 
especially  when  the  wearer  is  seated.  As  there,  are  no  straps  over 
the  shoulders — it  is  fastened  by  means  of  safety  pins  at  the  sides 
of  the,  corset  under  the  arms — it  can  be  worn  with  the  most 
decollete  gown.  A  dollar  seems  a  very  small  price  to  give  for  an 
article  which  can  do  so  much  in  improving  the  appearance  of  the 
average  woman. 

THE  CULT   OF   THE    BAG. 

The  very  newest  idea  in  bags  is  the  bag  of  black  moire.     While 
there  is  a  certain  sameness  in  the  material  there,  is  a  wide  variety 
of  shapes  and  sizes  from  which  to  choose.     The  majority  of  the 
recently  imported  bags  are  blessed  with  very  frank  openings  so 
that  you  can  see  the  entire  contents  of  the  bag  at  a  glance.    One 
particularly  good-looking  bag  is  fitted  up  with  all  the  little  vanity 
necessities.     As  the  bag  flies  open  the  mirror  is  revealed  on 
side,  while  on  the  other  side  there  are  compartments  fur  the  • 
der  puff,  cardcase,.  etc.    Such  a  bag  can  be  secured  for  ?iS  10 
at  least  this  is  the  price,  in  Paris,  and  our  shopkn  ]  ally 

manage  to  about  duplicate  them. 

A  round  bag — or  rather  one  resembling  a  flattened  circle-  -has 
an  inch-wide  plaiting  of  the  moire  all  around  it  as  a  bit  of  decora- 
tion; others  have  a  very  much  deeper  plaiting.  In  fact  one  bag. 
which  was  hardly  larger  than  an  oblong  purse,  had  a  plaiting  of 
the  moire  fully  eight  inches  deep.  To  add  the  finishing  touch  you 
should  have  one  of  the  new  marquisette  monograms. 

.The  bags,  which  take  their  shape  from  the  old-fashioned  re;icule. 
are  likewise  exploited  in  moire  with  gold,  or  French  gilt,  frames 
at  either  end  and  a  gold  bracelet  to  slip  on  the  wrist. 


We  will  gladly  give  names  of  shops  where  goods  described  may  be  purchased. 
Address  THE  THEATRE  MAGAZINE  Fashion  Dept.,  8-14  West  s8th  Street,  New  York  City. 


Cents 
a  Year. 


H     MADAZNE      3R      .AY  501  R 


•       VOL.  XVII  NO.  144 


T^fFl        If^7    MWP 
HE  THEAT 


(TITLE  RE6.  U.  S.  PAT.  OFF.) 


Mann/inft  C.O. 


Onyx' 


TRADE 


Hosiery 

MARK 


For  Spring  1913 


' 


Offer  an  Ever -Pres- 
ent and  Ever -Ready 
Means  of  Newest 
Hosiery  Information. 

"ONYX"  Pure  Thread 
Silk  Hose  for  Men  and 
Women  in  Black  and  all 
Colors.  More  satisfactory 
than  ever. 

Silk  Hosiery  for  Women 

No.  251  —Women's  "ONYX"  Pure 
Thread  Silk  with  Lisle  Sole  and 
Lisle  Garter  Top-^Black  and  all 
Colors — A  wonderful  value,  the  ut- 
most obtainable  at 

$1.00  per  pair 

No.  498— An  "ONYX"  Pure  Thread 
Silk  in  Black  and  all  Colors.  Twenty- 
nine  inches  long.  Extra  wide  and 
Elastic  at  Top,  while  the  "Garter 
Top"  and  SOLE  of  SILK  LISLE 
give  extra  strength  at  the  point  of 
wear,  preventing  Garters  from  cut- 
ting and  toes  from  going  through. 
$1.50  per  pair 

No.  106— Women's  "ONYX"  Pure 
Thread  Silk — the  extraordinary  value 
— best  made  in  America  —  Black. 
White,  Tan,  Gold,  Pink.  Sky,  Emer- 
ald, Taupe.  Bronze,  American  Beauty, 
Pongee,  all  colors  to  match  shoe  or 
gown.  Every  pair  guaranteed. 

$2.00  per  pair 

Silk  Hosiery  for  Men 

No.  217— Men's  "ONYX"  Black  an<l 
Colored  Silk ;  Extra  Heavy  Weight 
with  "Stop  Run  Top" ;  High  Spliced 
Heel  and  Reinforced  Heel,  Sole  and 
Toe  ;  Special  Intersplicing.  The  most 
remarkable  value  ever  shown  at 

50c.  per  pair 

No. 515— Men's  "ONYX"  Pure  Silk 
in  Black  and  All  Colors ;  "Dub-1" 
Lisle  Sole  and  High  Spliced  Heel. 
Best  for  the  money. 

$1.00  per  pair 


No.  620 —Men's  "ONYX"  Pure  Silk 
in  Black  and  Colors ;  Lisle  Lined 
Sole  and  High  Spliced  Heel.  Best 
for  the  money. 


$1.50  per  pair 


Lord  &  Taylo 


Wholesale  Distributors 

New       York 

Sold  by  goad  merchants  everywhere.      If  your  dealer  cannot  supply  you,  we  will  direct  you  to  the  nearest  dealer.     Write  to  Dept.  I'. 


THE   THEATRE   MAGAZINE   ADVERTISER 


Just  too  ways  of  hearing 

^  •    all  ihe  Music 


/allflie¥orld 


The  Columbia  Grafonola  is  the 
one  incomparable  instrument  of 
music.  This  new  Columbia  "Grand" 
has  made  the  very  words  "talking 
machine"  obsolete.  Its  tone  is  be- 
yond compare.  No  winding — it 
runs  by  electric  motor.  It  stops 
automatically  at  the  end  of  each 
record.  Ask  your  dealer  for  the 
Book  of  the  Columbia  "Grand"  -or 
write  us. 

Columbia  Grafonolas  now  range 
from  $50  to  $500.  Catalogs  on 
request. 

Important  Notice 

All  Columbia  records  can  be 
played  on  Victor  talking  machines. 
Likewise  all  Columbia  instruments 
will  play  Victor  records. 


PHOTOS 
© 

MA7ZENE 
DUPONT 


PHONOGRAPH  COMPANY,  Gen'I,  Box  217,  TRIBUNE  BUILDING,  NEW  YORK 


Creators  of  Ihe  talking  ma,  lii'i,-  iiutiistrv.     I'h-irer*  ami  leader 
machines  in  the  morlil.     Dialers  am!  1  roifi'i.i:',  i 


t'le  talking  machine  art.    Owners  <>f  the  fundamental  fritents.  Largest  manufacturers  af  talking 
<i  LtwfidcntitiL  letter  and  a  free  ^'/r  <'/  "'"'  bock,  "Mnst\Mt>ney."     l'ric,s  in  Canada  Tins  Duty. 


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THE   THEATRE   MAGAZINE   ADVERTISER 


m 


-I  ffl]  1 1 1  "I  Iffl  im^rm 


Wv£b  a  responsible  Tire  Dealer 
lire  EnckircmcQ  is  ike 


ly  Aing 


on 


A  DVERTISING  is  only  an 

/\  incidental  feature  in  the 

-r  -^-responsible  tire  dealer's 

permanent  selection  of  tires 

which  he  sells  and  recommends. 

For,  if  for  no  other  reason 

than  the  selfish  reason  of  his 

own  business  success,  the  tire 


counts 


dealer  cannot  afford  to  sell 
and  recommend  any  but  the 
highest  grade  tires. 

It  is  significant  that  more 
than  fifteen  thousand  respon- 
sible dealers — and  that  is 
about  four-fifths  of  all  of 
them — sell  and  recommend 


Untied  >5tates  Tires 


They  are  the  dealers  to  whom 
you  know  you  may  look  with 
assurance  for  service  and 
courtesy  after  you  have  made 
your  purchase. 

These  responsible  dealers 
sell  all  the  varied  lines  of 
motor  car  accessories  and  they 
are  not  willing  to  jeopardize 
their  business  by  recom- 


mending any  but  the  highest 
grade  tires,  for  tires — to  them 
— are  the  most  important 
single  consideration,  just  as 
tires  are,  to  the  motorist,  the 
most  important  single  con- 
sideration. Why  not  be  guided 
yourself  by  the  tire  standards 
of  the  great  majority  of  re- 
sponsible dealers. 


United  >3totesTires  are  Good  Tires 

Cost  no  more  than  you  are  asked  to  pay  for  other  kinds 
UNITED  STATES  TIRE  COMPANY,  NEW  YORK 


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C  ONTENT  S 


Edited    by     ARTHUR    HORNBLOW 

COVER:    Portrait  in  colors  of  Miss  Gail  Kane  PAGE 

CONTENTS  ILLUSTRATION  :  Scene  in  "All  for  the  Ladies,"  at  the  Lyric 

TITLE  PAGE:    Scene  in  "Joseph  and  His  Brethren" 33 

THE  NEW  PLAYS :  "Fine  Feathers,"  "Peg  o'  My  Heart,"  "The  Argyle  Case,"  "Joseph  and  His 
Brethren,"  "The  Rivals,"  "The  Conspiracy,"  "Blackbirds,"  "Rutherford  and  Son,"  "Stop  Thief," 
"Years  of  Discretion,"  "All  for  the  Ladies,"  "Miss  Princess,"  "Eva,"  "Cheer  Up,"  "A  Good  Little 

Devil,"    and    "The    Spy"                                                                                                                                                                   34 

SCENES  IN  "A  GOOD  LITTLE  DEVIL" — Full-page  Plate 

THE  YELLOW  JACKET — Poem D.  M 37 

AT  THE  OPERA — Illustrated 39 

SCENES  IN  "THE  ARGYLE  CASE" — Full-page  Plate .        .       .        .       .       .  41 

OLIVER  MOROSCO — A  MANAGER  WHO  LOOKS  AHEAD — Illustrated     .       .       .       .       C.  I.  D 42 

SCENES  IN  "STOP  THIEF" — Full-page  Plate 43 

SCENES  IN  "RUTHERFORD  AND  SON" — Full-page  Plate 45 

THE  RACKETTY-PACKETTY  HOUSE — Illustrated E.  E.  v.  B 46 

SCENES  IN  "RACKETTY-PACKETTY  HOUSE" — Full-page  Plate 47 

EFREM  ZIMBALIST — THE  ARTIST  AND  THE  MAN — Illustrated  ' F.  C.  Fay       ....  48 

LUCIA  FORNAROLI — Full-page  Plate 49 

THE  GREEN  COAT Willis  Stecll  ....  50 

EMMY  DESTINN  IN  "THE  MAGIC  FLUTE" — Full-page  Plate 51 

VERA  FINLAY — Full-page  Plate 53 

RUDOLF  SCHILDKRAUT — CHARACTER  ACTOR — Illustrated F.  C.  F 54 

SIGNOR  CARUSO  IN  "MANON  LESCAUT" — Full-page  Plate 55 

ANNIE  RUSSELL  AND  HER  UNIQUE  VENTURE — Illustrated       .        .        .       .       .       Ada  Patterson       ...  56 

ANNIE  RUSSELL  IN  "MUCH  ADO  ABOUT  NOTHING" — Full-page  Plate 57 

BOSTON'S   MODEL  MOVING  PICTURE  THEATRE — Illustrated Alice  Spencer  Geddes  .       .  59 

How  SUCCESS  FIRST  CAME  TO  EDWIN  BOOTH — Illustrated Rodney  Blake        ...  60 

ESTELLE  WENTWORTH  AS  ELIZABETH — Full-page  Plate .        .        .       .  61 

AN  ACTOR  WITH  NOT  A  WORD  TO  SPEAK — Illustrated Wendell  P.  Dodge        .       .  62 

THE  "PLAYS  AND  PLAYERS"  OF  PHILADELPHIA — Illustrated 63 

BEHIND  THE  SCENES         .        .        .        .       .       •       •       •  *     •       •       •       •       •       Ann«  Peacock        ...  64 

OUR  FASHION  DEPARTMENT            :       .       .       .       F.  A.  Bro^n         .       .       .  xvii 


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I 


£7ectrica//y  started  and h'gh  fed 
leftside  drive -right  hand  control 

|Conomy  of  operation  is  essential 
in  the  motor  car  of  to-day.  Low  fuel 
consumption,  however  was  a  myth 
until  The  White  Company  intro- 
duced to  America  the  principles  ofe- 
conomy  embodied  in  the  small  bore, 
long  stroke,monobloc  motor. 

This  type  of  gasoline  engine,now  uni- 
versally recognized  as  the  most  econo- 
mical and  desirable  design,  has  been  brought 

to  its  greatest  efficiency  in  WHITE  CARS 

./ 

For  this  reason, WHITE  are  really 

economical  in  operation,  more  so  than  any 
other  cars  of  equal  size  and  power. 


THE  WHITE 


COMPANY 


Cleveland 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


THE   THEATRE 


VOL.  XVII 


FEBRUARY,  1913 


No.  144 


Published  by  the  Theatre  Magazine  Co.,  Henry  Stern,  Pres.,   Louis  Meyer,      Treat.,  Paul  Meyer,  Sec'y;  S-io-n-14  West  Thirty-eighth  Street,  New  York  City 


White 


Joseph    (Brandon    Tynan)    makes    himself  known    to    his  brethren 
SCENE    IN    LOUIS   N.   PARKER'S   PLAY   "JOSEPH   AND   HIS    BRETHREN,"   AT  THE   CENTURY    THEATRE 


White 


PAULINE    FREDERICK    AS    ZULEIKA    IN    "JOSEPH    AND    HIS    BRETHREN."    AT  THE  CENTURY   THEATRE 


ASTOR.  "FiNE  FEATHERS."  Play  in  four 
acts  by  Eugene  Walter.  Produced  on  January 
7th  last  with  the  following  cast : 


THE  NEW  PLAYS 


Mrs.    Collins Rose    Coghlan 

Mrs.    Reynolds Lolita    Robertson 

Bob    Reynolds Robert    Edeson 


Dick  Meade Max   Figman 

John    Brand Wilton    Lackaye 

Frieda    Amelia    Sumers 


"Fine  Feathers,"  the  latest  play  by  Eugene  Walter,  lacks  the 
compactness,  from  start  to  finish,  of  "Paid  in  Full"  and  "The 
Easiest  Way,"  the  two  plays  that  firmly  established  his  reputa- 
tion, but  it  has  in  it  much  that  is  characteristic  of  his  thought 
and  artistic  expression.  It  lacks  the  sympathetic  touch,  so  that 
some  of  its  "big"  scenes  halt  between  the  dramatic  and  the 
theatric.  Mr.  Walter  is  never  disposed  to  be  merely  romantic; 
he  chronicles  passing  conditions  after  the  dramatic  fashion,  ob- 
jectively, making  his  characters  speak  a  good  deal  of  practical 
wisdom  and  drawing  them,  without  com- 
promise, just  as  they  are.  This  is  the  true 
attitude  of  the  dramatist  toward  his  chai- 
acters.  The  play  is  not  pleasant,  which 
might  be  said  of  the  other  two  plays  men- 
tioned, but  there  is  a  difference.  It  is  in 
this  difference  that  "Fine  Feathers"  falls 
short.  The  story  is  simple  enough,  and 
no  doubt  belongs  to  the  life  of  the  day. 

A  young  husband,  honest  in  his  point  of 
view  of  business,  is  overpersuacled  by  a 
rich  man  of  affairs  to  participate  in  a  dis- 
honest scheme,  not  so  much  that  he  might 
improve  his  own  condition  in  life  as  that 
he  might  relieve  his  wife  of  poverty.  Love 
is  a  very  potent  tempter.  He  substitutes 
an  inferior  cement  in  the  construction  of  a 
mill  dam.  In  this  way  he  finds  himself  in 
possession  of  forty  thousand  dollars,  and 
then  begins  to  speculate.  He  disposes  of 
his  cheap  bungalow  on  Staten  Island  and 
possesses  himself  of  a  fine  country  house 
near  the  city.  Why  he  should  abandon 
Staten  Island  as  a  matter  of  fashion  and 
improved  circumstances  is  not  clear,  and 
perhaps  it  is  immaterial  in  a  dramatic  way, 
although  it  might  furnish  animated  discus- 
sion among  real  estate  agents.  The  mate- 
rial thing  is  that  he  is  not  any  happier  on 
Long  Island.  It  is  there,  however,  that 
fate  begins  to  get  busy  with  him.  His  capitalistic  friend  gives 
him  tips  in  certain  transactions.  At  first  there  is  profit,  and  then 


SAM    BERNARD 
As    Leo   von   Laubenheim   in   "All    for   the    Ladies" 


there  is  a  disastrous  loss.  The  young 
man  had  consulted  his  broker  and  not 
the  capitalist;  but  it  was  the  capitalist 

who  had  instructed  the  broker  so  as  to  cause  the  loss.  As  a 
result  the  young  man  makes  himself  criminally  liable  in  over- 
drawing a  check.  Mr.  Walter  then  issues  a  few  checks  and 
counterchecks  of  his  own  which  look  a  bit  artificial,  but  which 
bring  about  situations.  A  demand  is  made  on  the  capitalist  for 
a  division  of  the  profits  of  the  original  transaction.  An  exposure 
is  about  to  be  made  in  the  newspapers.  The  upshot  of  it  is  that 
the  young  husband  loses  in  his  fight  with  the  capitalist  and  blows 
out  his  brains  at  the  telephone,  announcing  through  it  that  he 
was  about  to  commit  suicide.  At  the  same  moment  he  had 
turned  out  the  lights.  This  is  an  ingenious  device,  but  it  does  not 
make  the  termination  of  a  career  less  hor- 
rible. The  wife  wails  in  the  dark  until  slit- 
is  comforted,  in  the  light  now  turned  on, 
by  a  friend  of  the  family,  a  merry  young 
newspaper  man. 

Of  course,  the  lesson  is  taught  that  one 
should  not  substitute  inferior  cement  in 
building  mill  dams  and  that  speculation  is 
a  dangerous  thing,  and  perhaps  there  is  no 
way  of  making  that  lesson  in  a  play  pleas- 
ant. Mr.  Max  Figman  does  the  best  possi- 
ble to  that  end  in  the  circumstances,  but 
toward  the  last  he  is  as  glum  as  anybody. 
In  point  of  fact,  all  the  other  characters 
with  any  outlook  on  life  that  could  be 
described  as  cheerful  had  abandoned  the 
play  before  the  end.  An  amusingly  inno- 
cent and  ignorant  maid  of  all  work  held  to 
the  action  as  long  as  she  possibly  could,  but 
Rose  Coghlan  (Mrs.  Collins,  a  neighbor) 
got  out  after  the  second  act. 

The  cast  was  small,  six,  with  the  addi- 
tion of  a  nurse,  who  lived  for  two  minutes 
in  order  to  announce  the  condition  of  her 
patient,  the  young  husband,  and  then  faded 
away.  The  action  is  too  slow  in  beginning, 
but  the  last  two  acts  and  the  ending  of  the 
second  act  were  in  the  virile  manner  of 
Eugene  Walter.  Mr.  Wilton  Lackaye.  slim 
and  relieved  of  his  rotundity,  impressive 
and  even  graceful,  was  at  his  best.  He  felt,  looked,  talked  and 
acted  the  capitalist,  with  authority  and  with  Jndifference  as  to 


tienne    Cirardot).    Betsy    (Iva    Merli 


ILK,    .11.    i  r,iienne    uiraraoi;,    lietsy    , ._ ,  

Mrs.    MacMiche   plans   to    send    Charles    to    the    horrid    black   school.        2.  Act 

her   lover\   return.        4.     Act   II.    The  search    for   Charles   by   his   wicked  old  ; 
and    returns    dome 


Old    Nick,    Sr,    (Edward   Connelly),  Mrs.   MacMiche  (William   Norris).  Charles   MacLance   (Ernest   Trnex),   Act    I. 
-:hool.        2.     Act    I.     Charles  is  sent  to  bed  without  his  supper.       3.    Act   II.    Juliet    (Mary    I'icktord)   waiting   for 
lunt.        5.  Act   III.    The  fairies  restore  Juliet's  sight.       fi.    Act    III.     Charles   givis   up  court   life 


SCENES    IN     THE     FAIRY     PLAY    "A    GOOD    LITTLE    DEVIL."    AT      THE     REPUBLIC     THEATRE 


THE     THEATRE     MAGAZINE 


results — to  others.  Mr.  Robert  Edeson,  as  the  hapless  young 
husband  whose  fortunes  crumbled,  and  who  in  seeking  the 
easiest  way  paid  in  full  the  penalty,  was  also  at  his  best.  Miss 
Lolita  Robertson,  in  the  play  the  wife,  ambiguous  of  fine 
feathers,  is  the  one  entirely  agreeable  character  in  the  play, 
because  she  was  very  human  and  held  your  sympathies.  The 
play  is  filled  with  incidents,  and  may  be  described  as  a  good 
acting  play  that  grips  theatrically  at  moments,  but  leaves  no 
deep  impression.  It  is  likely,  however,  to  make  a  popular  appeal. 


Designed  and  built  by  Edward  B.  Corey,  the  new  Cort  Theatre 
is  a  beautiful  playhouse,  with  sweeping,  commanding  lines, 
comfortable  seats  and  admirable  acoustic  properties.  If  any 
exception  is  to  be  taken,  it  is  that  pink  is  too  delicate  a  shade  for 
such  an  expanse  of  decoration. 

Mr.  Manners'  comedy  makes  a  delicious  entertainment.  Call 
it  conventional  if  you  will,  admit  the  probabilities  are  stretched 
if  necessary,  the  fact  remains  that  his  output  is  graciously 
human,  distinctly  pathetic  and  wittily  ingenious.  Peg  is  the 


White 


Mrs.   Brinton  John   Strong  Michael    Doyle  Mrs.   Howard  Christopher   Dallas 

(Alice  Putnam)  (Herbert  Kelcey)  (Bruce   McRae)  (Effie   Shannon)  (Lyn   Harding) 

Act  I.     The   widow   with  her   two   cavaliers  about  to  go  to   her   first   dinner   at    Sherry's 

SCENE    IN    "YEARS    OF    DISCRETION,"    NOW    BEING  PRESENTED    AT    THE    BELASCO    THEATRE 


Metz 
(E.    M.    Holland) 


CORT.    "PEG  o'  MY  HEART."    Comedy  in  three  acts  by  J.  Hartley  Man- 
ners.    Produced  on  December  20  with  the  following  cast: 


Mrs.    Chichester Emilie    Melville 

Footman    Peter    Bassett 

Ethel    Christine   Norman 

Alaric   Hassard   Short 


Christian    Brent 'Reginald    Mason 

Peg  Laurette  Taylor 

Montgomery   Hav.-kes. Clarence   Handyside 
Maid  Ruth   Gartland 


To  find  the  bull's-eye  of  success  this  year  has  caused  the  local 
managers  a  vast  amount  of  troublous  consideration.  But  Mr. 
John  Cort,  from  the  far  West,  bravely  invades  the  metropolis, 
erects  a  beautiful  playhouse  of  commodious  dimensions,  decorated 
in  admirable  taste,  presents  a  new  star  in  a  new  play  and  scores 
an  emphatic  success  in  every  particular. 

Miss  Laurette  Taylor,  whose  artistic  creation  of  the  Hawaiian 
princess  in  "The  Bird  of  Paradise,"  earned  her  such  encomiums 
last  season,  is  the  player  who  has  been  raised  to  the  stellar 
lists.  She  deserves  the  honor  and  is  likely  to  reap  the  just  re- 
wards of  her  graceful  talents  and  unique  and  charming  personal- 
ity. And  romance,  too,  enters  into  this  combination  for  the 
theatrical  medium  of  her  display,  a  comedy  of  youth  in  three 
acts  entitled  "Peg  o'  My  Heart,"  was  written  for  her  by  J.  Hart- 
ley Manners,  who  is  now  her  husband. 


daughter  of  an  Irish  visionary  who  married  an  English  girl. 
The  mother  dies  and  so  does  a  rich  brother,  who  was  not  kind 
to  her  in  her  hours  of  poverty.  He  wills  that  Peg  shall  be  his 
beneficiary,  but  that  she  must  be  brought  up  by  people  of  culture 
and  refinement.  Mrs.  Chichester,  her  English  aunt,  apparently 
bankrupt,  unknown  to  Peg,  assumes  the  bringing  up  for  "what 
there  is  in  it,"  and  Peg  appears  to  take  up  her  new  English  life. 
There  she  goes  through  her  troubles  and  her  triumphs,  saves  her 
cousin  from  an  elopement  with  a  married  man,  is  much  mis- 
understood and  even  persecuted,  but  wins  out  and  secures  a 
husband  in  a  middle-aged  "Jerry,"  who  has  sympathized  with 
and  befriended  her  through  her  troubles. 

This  delightfully  drawn  character  of  Peg  is  acted  with  ex- 
quisite charm,  sensibility,  humor  and  pathos  by  Miss  Taylor. 
Jerry  is  played  with  suave  politeness  and  dignity  by  H.  Reeves- 
Smith,  while  Clarence  Handyside  and  Reginald  Mason  are  ap- 
propriately and  happily  cast.  The  Chichester  family  are  well 
taken  care  of  by  Emily  Melville  as  the  dowager.  Hassard  Short, 
splendidly  characteristic  as  the  son,  and  Christine  Norman  as  the 
daughter.  "Peg  o'  My  Heart"  is  the  comedy  hit  of  the  year. 


THE     THEATRE     MAGAZINE 


Photos  White       "I  reinstate  you  for  the  same  reason"  "Just   try   one   little   word,    1-o-v-e"  "Eva!      You   are    not    afraid    of   me! 

SALLIE    FISHER    AND    WALTER    PERCIVAL    IN    "EVA,"    RECENTLY    AT    THE    NEW    AMSTERDAM 


CRITERION.  "THE  ARGYLE  CASE."  Play  in  four  acts  by  Harriet 
Ford  and  Harvey  J.  O'Higgins,  written  in  co-operation  with  William  J. 
Hums.  Produced  on  December  24  with  the  following  cast: 


A:;che    Kayton Mr.    Hilliard 

Bruce   Argyle Calvin  Thomas 

James   Hurley Alphonse   Ethier 

Dr.   Kreisler Bertram   Marburgh 

Simeon   Gage lohn  Beck 

William   Skidd F.   R.  Russell 

Augustus   Leischmann.  .  Robert   Newcombe 


Thomas   Nash John  J.   Pierson 

"Bob"   Vincent E.  J.   Right  on 

"Jim"    Baynes Daniel   Murray 

Mrs.   Martin Selene  Johnson 

Mary   Masuret Stella  Archer 

Mrs.  Wyatt Agnes  Everett 

Nancy  Thornton Elizabeth   Eyre 


"Joe"  Manning Joseph  Tuohy        Mrs.   Beauregard Amy   Lee 

Samuel   Cortwright W.   H.   Gilmore        Kitty Wanda  Carlyle 

"The  Argyle  Case"  has  been  added  to  the  very  entertaining 
plays  of  the  season  which  revolve  about  crime.  It  is  to  be  re- 
marked about  these  plays  that  they  have  the  novelty  and  the 
merit  of  being  innocuous.  In  them  crime  is  incidental,  and  there 
is  no  criminal  intent  of  authorship.  Most  of  them  are  as  harm- 
less as  peep  shows.  At  all  events,  in  "The  Argyle  Case"  it  is 
the  hunter  who  is  running  down  the  criminals  which  chiefly  in- 
terests us.  The  play  attracts  attention,  in  no  small  degree, 
because  it  serves  Robert  Hilliard,  one  of 
the  most  capable  and  popular  actors  of 
the  day,  and  because  in  it  we  see,  it  may 
be  said  for  the  first  time,  a  revelation  of 
the  most  approved  methods  in  detecting 
crime.  Much  of  the  story  and  many  of 
the  incidents  were  furnished  by  W.  J. 
Burns,  the  most  noted  detective  of  the 
hour.  Such  high  authority  stamps  the 
play  with  unusual  genuineness. 

It  is  a  busy  play.  Not  only  is  a  mur- 
derer run  down,  but  a  den  of  counter- 
feiters is  unearthed.  We  see  suspect 
after  suspect  eliminated  by  means  of 
finger  prints,  adroitly  procured,  until  the 
right  clue  is  obtained;  and  finally  con- 
firmation and  proof  of  the  various  clues 
are  obtained  by  means  of  the  dictagraph. 

The  story,  which  gives  opportunities  for  the  showing  of  the 
detective  in  action,  is  less  important  than  the  incidental  scenes, 
but  it  is  sufficient.  A  millionaire  has  been  found  murdered  in 
his  home.  Members  of  the  household  are  suspected,  in  par- 
ticular an  adopted  daughter,  to  whom  the  estate  has  been  willed. 
The  detective  questions  all  in  the  house,  one  by  one,  and  be- 
comes convinced  of  the  innocence  of  the  adopted  daughter.  The 


31acfert" 


The  delicate  sound  of  a  tinkling  bell, 
A  soft-falling  silence  —  the  Orient's  spell, 
An  exquisite  odour  of  bright  cherry  flowers, 
A  fantasy  whispered  in  fairyland's  bowers. 

The  blood-giving  love  of  the  mother,  "Chee 

moo," 
Brave  "Woo-hoo-git's"  journey  ''Plum  Blos- 

som" to  woo, 

Insouciant   daffodil   and   fox-like   Chow-wan, 
Who  said  the  ages  of  fancy  had  gone? 

D.  M 


love  affair  that  springs  up  between  the  two  is  subordinated,  for 
the  play  is  realistic  rather  than  romantic.  Nevertheless,  the 
detective's  personal  motives  in  running  down  the  murderer  are 
reinforced  by  sentiment.  Circumstances  pointed  to  her.  The 
real  murderer  is  a  lawyer,  but  it  is  only  by  sifting  down  until 
almost  the  last  moment  that  the  detective  reveals  to  the  audience 
that  he  has  had  the  right  theory  for  some  time.  There  is  a 
succession  of  thrilling  scenes,  and  "The  Argyle  Case"  promises 
to  acquire  popularity. 

CENTURY.  "Joseph  and  His  Brethren."  Pageant  play  in  four  acts 
(based  on  the  biblical  narrative)  by  Louis  N.  Parker.  Produced  on 
January  n  last  with  the  following  cast: 

Jacob    James   O'Neill        Asher    Franktyn    Pangborn 

Reuben   Harvey   Braban        Issachar  F.    Wilmot 

Simeon Howard  Kyle       Zebulun  Edwin  Cushman 

Levi    Frank  Woolfe        Joseph    Brandon   Tynan 

Judah   Emmet  King        Benjamin    Sidney   D.   Carlyle 

Dan   Charles  Macdonald       Zuleika  Pauline  Frederick 

Naplitali   Arthur  Row       Asenath    Lily    Cahill 

(3ad   John   M.  Troughton        Pharaoh    James   O'Neill 

If  the  production  at  the  Century 
Theatre,  "Joseph  and  His  Brethren." 
were  merely  spectacular  it  would  not  be 
profitable  to  its  audiences ;  but  it  is  some- 
thing more  than  a  pageant  play.  Louis 
N.  Parker,  who  has  given  dramatic  form 
to  the  biblical  narrative,  has  treated  it 
with  proper  sincerity  and  reverence,  add- 
ing only  such  details  to  the  story  and  to 
the  happenings  as  are  consistent  with  the 
possible  facts.  It  is  hardly  necessary  to 
say  that  none  of  the  available  incidents 
and  happenings  of  the  biblical  tale  are 
omitted  in  representation.  There  are 
thirteen  scenes.  The  pictorial  oppor- 
tunities of  the  localities  may  be  readily 
imagined.  Some  of  the  pictures  are 
exceedingly  beautiful.  The  time  and 

skill  and  research  bestowed  on  them  provides  such  a  multitude 
of  details  that  we  shall  not  attempt  to  describe  these  scenes.  One 
scene  of  the  Pyramids,  another  of  the  Wells  of  Dothan,  the 
gardens  and  the  interiors  of  Potiphar's  House  and  other  scenes 
of  Oriental  life  could  be  singled  out  for  description  in  order  to 
give  an  idea  of  what  the  enterprising  management  of  the  Lieb- 
lers  has  put  on  view.  The  acting  corresponds  in  sincerity  with 


THE     THEATRE     MAGAZINE 


the  aim  of  the  management  to  have  the  production  convey  the 
spirit  of  the  story.  Mr.  James  O'Neill,  first  as  Jacob,  and  then 
as  Pharaoh,  was  exceedingly  impressive.  That  the  twelve  sons 
of  Jacob  required  to  be 
acted  with  discrimination 
is  a  matter  of  course,  and 
the  selection  of  actors  for 
the  purpose  was  admirably 
successful.  Brandon  Ty- 
nan was  Joseph.  Pauline 
Frederick,  as  Potiphar's 
wife,  acted  with  the  baleful 
fire  of  the  kind  desired, 
and  was  entirely  satisfac- 
tory in  a  difficult  part.  In 
the  nature  of  the  case  the 
cast  is  a  very  large  one. 
and  scores  and  scores  of 
people  are  employed  in 
representing  the  multitudes 
necessary  to  such  a  large 
action.  The  play,  pageant 
as  it  is  called,  is  too  large 
to  admit  of  being  reported 
in  detail. 

T  H  I  R  T  Y  -  N  I  N  T  H 
STREET.  "THE  RIVALS." 
Comedy  in  four  acts  by 
Richard  Brinsley  Sheridan. 
Produced  on  December  16 
with  the  following  cast : 

Sir  Anthony  Absolute,  Fred.  W. 
Pel-main;  Captain  Jack  Absolute. 
Frank  Reicher;  Faulkland,  John 
Westley;  Bob  Acres,  George  Gid- 
dens;  Sir  Lucius  O'Trigger.  Percy 
Lyndal:  Fag,  W.  Mayne  Lynton; 
David,  Littledale  Power;  Thomas, 
Thomas  F.  Fallon;  Mrs.  Malaprop, 
Ffolliott  Paget;  Lydia  Languish. 
Annie  Russell;  Julia.  Henrietta 
Goodwin;  Lucy,  Mary  Murillo. 

It  is  sincerely  to  be 
hoped  that  Annie  Russell's 
venture  with  the  old  Eng- 
lish comedies  will  meet 
with  that  success  that 
makes  for  permanency. 
Each  succeeding  produc- 
tion under  her  intelligent 
treatment  shows  an  ad- 
vance in  spirit  and  polished 
detail.  For  the  third  of 
the  series  she  revived  the 
immortal  "Rivals."  N  o  t 
the  edition  which  Jefferson 
used  to  play  in  which  Bob 
Acres  was  raised  to  a 
prominence  out  of  propor- 
tion to  the  true  balance, 
but  the  old-time  five-act  version  as  it  came  from  the  sparkling 
pen  of  Richard  Brinsley  Sheridan.  It  was  a  splendidly  adequate 
performance  which  she  and  her  associates  gave.  There  was 
genuine  atmosphere  to  the  setting  and  in  the  rendering  of  the  text. 
The  old  familiar  points  all  got  over,  the  action  was  spirited  and 
graceful  and  it  was  altogether  a  production  which  satisfied  the 
old-timers  and  gave  genuine  delight  to  the  very  large  number 
who  were  hearing  the  brilliant  comedy  for  the  first  time. 

Miss  Russell's  Lydia  Languish  is  a  most  engaging  personation, 
thoroughly  attuned  to  the  times,  alert,  graceful  and  spirited. 
l!ob  Acres  was  rendered  with  cheerful  unction  and  discreet 
humor  by  George  Giddens,  and  the  verbal  vagaries  of  Mrs.  Mala- 
prop were  comically  realized  by  Ffolliott  Paget.  There  was 
choleric  vigor  and  variety  to  Fred.  W.  Permain's  Sir  Anthony 
and  rollicking  capacity  to  the  rendering  which  Percy  Lyndal 


gave  to  Sir  Lucius  O'Trigger.  Littledale  Power,  a  good  actor  in 
old  comedy,  was  an  excellent  David,  and  the  remainder  of  the  cast 
was  in  every  particular  sound  and  sure.  The  settings  were  ample. 


White 


Lina    Abarbanell 


Robert    Warwick    in    "Miss 
Park    Theatre 


GARRICK.  "THE  CONSPIR- 
ACY." Play  in  three  acts  by 
John  Roberts.  Produced  on 
December  21  with  this  cast : 

Winthrop  Clavering,  John  Kim-v 
son;  John  Howell,  Francis  Byrne; 
Samuel  Shipman,  Guy  Nichols;  Col. 
Schultz,  ('.  Kraiiss;  Prof.  Kaufman. 
W.  L.  Romaine;  Mr.  Christopher, 
Warren  Cook;  Dr.  Jennings,  Ed- 
ward Wade;  Capt.  Ryan.  Wm.  J. 
Kane,  Uncle  Mark,  Lawrence  KJ- 
dinger;  Enrico  Sayelli.  Georglo 
Majeroni;  Gus  Weinbcrg.  Boyd 
Agin;  Victor  Holt.  Willet  Barrett; 
John  Flynn,  John  William";  I  ),• 
tective  Murray,  C.  Krauss;  Mav- 
garet  Holt,  Jane  Grey;  Rose  Towne. 
Ann  Leonard;  Juanita  IVn-/,  Hele- 
na Rapport;  Martha,  Julia  Blanc. 

"The  Conspiracy"  was 
written  by  John  Roberts, 
unknown  hitherto  as  a  pur- 
veyor to  the  stage.  That 
he  must  have  "covered 
Police  Headquarters"  for 
a  Metropolitan  daily  is 
more  than  probable.  This 
new  play  of  New  York  life 
fairly  reeks  with  an  inti- 
mate knowledge  of  Mul- 
berry and  Centre  streets. 
It  reveals  a  thoroughly 
minute  understanding  of 
crime  and  its  ramifications  ; 
dealing  as  it  does  with  the 
victim  of  a  band  of  white 
slavers.  Released  f  r  o  m 
their  toils  she  kills  the 
leader  in  a  struggle.  The 
police  decide  that  the  mur- 
der was  committed  by  a 
jealous  woman.  An 
eccentric  writer  of  de- 
tective stories,  the  woman 
in  the  case,  Margaret  Holt, 
has  become  his  stenog- 
rapher, works  it  out  that 
it  was  a  victim  who  per- 
petrated the  deed.  From 
his  imagination  he  dictates 
a  story  that  fits  in  so 
closely  with  the  real  facts 
that  Margaret  acknowl- 
edges her  guilt.  To  save 
her  from  the  police  and  to 
rescue  her  brother,  who  is 
also  a  prisoner,  becomes 

the  purpose  of  the  eccentric  litterateur,  Winthrop  Clavering. 
The  conclusion  is  ingenious,  exciting  and  satisfying  and  what 

goes  before  is  replete  with  moments  of  thrilling  suspense. 
Clavering  is  acted  by  John  Emerson  with  characteristic  skill 

and  telling  eccentricity  of  purpose. 


Princess,"    recently    at    the 


LYCEUM.      "BLACKBIRDS."      Comedy    in    three    acts    by    Harry    James 
Smith.     Produced  on  January  6th  with  this  cast : 

Leonie  Sohatsky Laura   Hope  Crews 

The   Hon.   Nevil  Trask H.   B.    Warner 

Howard    Crocker James    Bradbury 

Barclay    E.   L.    Duane 

Grartdma     Ada     Dwycr 


Suzanne    Mine.   Mathilde   Cottrelly 

Page    Boy    Robert    Young 

Mrs.   Edna   Crocker Ethel   Winthrop 

Arline    Crocker Jean    Gailbraith 


Mrs.    Bechel Sydney   Valentine 

"Blackbirds"  was  the  second  play  of  Mr.  Harry  James  Smith, 
who  with  "Mrs.  Bumpstead  Leigh"  gave  evidence  of  capacity 
for  humorously  satirical  comedy.  The  play  which  provided  Mrs. 
Fiske  with  one  of  her  most  entertaining  (Continued  on  page  xt) 


Copyright  Mishkin  Copyright  Mishkin 

Dinh    Gilly    in    "The    Huguenots"  Geraldine    Farrar   as    Marguerite    in    "Faust"  Umberto  Macnez   in   "Rigolctto" 

THREE    POPULAR    SINGERS    HEARD    RECENTLY    AT    THE    METROPOLITAN    OPERA    HOUSE 


s 


O.MEHOW  or  other,  to  lapse  into 
the  vernacular  of  the  indefinite,  the 
past  month  of  opera  at  the  Metro- 


AT  THE 


politan  has  proven  beyond  any  doubt  just  how  great  a  public 
institution  is  opera  in  New  York.  Few  of  us  (meaning  the  much- 
abused  critical  tribe)  ever  pull  ourselves  together  during  the  cours- 
ing music  season  and  ruminate.  We  are  so  hounded  by  opera, 
concert,  recital — or  recital,  concert,  opera — so  harassed  by  this  con- 
tinuous performance  of  music  that  we  take  the  great  public  for 
granted.  We  are  so  busy  listening  if  Caruso  is  losing  a  penny- 
worth of  gold  from  one  of  his  brilliant  tones,  so  intent  to  note 
whether  or  not  Fremstad  has  thought  out  some  new  dramatic 
angle  to  her  reading  of  Isolde  or  Briinnhilde,  so  busy  wondering 
why  some  conductors  never  have  a  single  new  idea  during  the 
whole  season,  that  we  almost  forget  the  most  important  part  of 
opera — namely,  the  audiences. 

Don't  start — for  I  mean  it.  Without  audiences  grand  opera 
would  be  physically  impossible.  Deprive  an  opera  artist  of  his 
listeners  and  he  usually  grows  as  flat  as  the  proverbial  pancake. 
It  was  the  late  King  Ludwig  of  Bavaria,  I  believe,  who  once 
ordered  and  heard  a  performance  of  "Tristan  und  Isolde"  played 
and  sung  for  his  own  private  ear.  And,  without  wishing  in  the 
least  to  emulate  the  privilege  of  that  majesty,  I  have  heard  the 
same  work  at  rehearsal,  hidden  away  in  the  dark  corner  of  the 
Metropolitan,  with  no  one  else  to  keep  me  company  in  being  an 
audience  save  the  charwomen  who  were  tidying  the  parterre  boxes 
f»r  that  night's  invasion  of  the  fashionables  that  were  to  occupy 
them.  If  you  will  believe  me,  the  effect  is  not  the  same.  The 
artists  leave  you  with  the  impression  that  they  are  only  rehearsing 
mood  and  voice  for  the  performance  itself.  Heard  in  absolutely 
cold  blood,  truth  compels  me  to  admit  that  this  rehearsal  Was 
probably  the  greatest  performance  of  "Tristan  und  Isolde"  that 
ever  I  had  heard,  but  that  is  only  because  I  am  a  critic  who  is 
trying  to  be  youthfully  enthusiastic  and  welcomes  with  glee  any 
thrill  that  will  parade  up  and  down  my  spine  in  response  to  the 
call  of  music.  As  a  hardened  opera-goer  I  know  that  something 
vital  was  absent  from  that  performance,  and  that  vital  element 


was,  and  is — the  dear,  patient  public. 
Sn.  hall  closing  my  eyes  and  squinting 
back  at  the  past  four  weeks  of  music — 

— particularly  the  opera — the  most  amazing  point  of  interest  ap- 
pears the  manner  in  which  audiences  have  flocked  to  the  Metro- 
politan. The  period  has  been  that  of  the  much-hymned  holiday 
season,  the  time  of  the  year  that  hangs  like  a  pall  over  the  joy 
of  theatre  managers,  for  they  know  they  cannot  vie  with  the 
counter  attraction  or  counter  duty  of  Christmas  shopping  and 
visiting.  And  yet  the  Metropolitan  has  been  filled  with  eager 
listeners  at  every  performance.  Its  capacity  has  not  been  taxed 
on  every  single  occasion,  but  the  audiences  of  late  have  always 
been  of  a  size  that  spell  artistic  appreciation  and  financial  success. 

And  there  really  has  been  no  especial  lodestone  to  draw  the 
opera-goers  to  the  Metropolitan — several  revivals,  no  distinct  nov- 
elties, and  for  the  rest  just  artistic  productions  of  standard  operas, 
given  with  artistic  excellence,  that  makes  foreign  visitors  gasp  in 
admiration.  Now  it  is  the  great  public  which  is  keen  for  these 
matters  artistic.  One  hears  it  said  and  reads  it  still  oftener  that 
in  New  York  fashion  is  the  mainstay  of  opera.  That  may  be 
true,  but  only  partially.  Fashion  certainly  does  not  persuade 
hundreds  to  stand  nightly,  often  packed  four  deep  behind  the 
brass  rail,  while  in  the  upper  galleries  the  standees  look  like  lines 
of  flies  about  a  sugar  bowl.  Fashion  fills  parterre  boxes  and  many 
orchestra  stalls,  but  the  remaining  spaces  of  the  Metropolitan  are 
filled  with  eager  devotees  of  opera  who  go  there  to  hear  and  see 
artistic  performances,  which  Gatti-Casazza  certainly  gives  to  the 
very  best  of  his  ability  and  power.  All  this  has  come  home  to  me 
during  the  past  month,  making  interested  observers  realize  that 
grand  opera  here  has  ceased  to  be  a  fad — if  ever  it  was  only  that— 
and  that  now  it  is  an  institution  and  one  of  high  standards  and 
culture. 

Scribes  who  adore  patronizing  the  public  declare  that  opera  is 
the  very  lowest  form  of  musical  art.  All  of  which  may  be  true, 
or  it  may  not.  Surely  anyone  with  half  an  ear  and  an  ounce  of 
ideals  can  readily  determine  that  the  average  Metropolitan  opera 
performance  is  miles  above  the  average  symphony  concert  heard 


40 

here  to-day,  when  the  chief  aim 
of  some  conductors  appears  to  be 
to  perform  classics  in  a  most  dry 
and  -perfunctory  manner,  while 
the  rest  of  their  program  is  loaded 
down  with  novelties  that  have 
never  before  been  heard  here,  and, 
being  heard  once,  arouse  in  the 
hearer  a  sincere  hope  that  they 
will  never  be  heard  again,  and 
should  never  have  been  heard  in 
the  first  place.  The  Metropolitan 
Opera  orchestra  is  one  of  the  best 
opera  orchestras  in  the  world,  and 
at  its  head  stand  some  of  the 
world's  greatest  conductors. 
Among  the  singers  are  the  very 
pick  of  Europe's  and  America's 
artistic  forces.  These  points  are 
being  appreciated  by  the  big  pub- 
lic. And  they  probably  explain  in 
some  measure  why  so  many  con- 
certs are  poorly  attended  while  the 
opera  house  is  crowded. 

It  really  looks  to  me  as  though 
the    mass    of    music    lovers    were 
waking  up  and  beginning  to  dis- 
criminate,    as    they    do    abroad. 
Gatti-Casazza  has  moved  with  unerr- 
ing footsteps  ever  since  he  has  been 
at   the    Metropolitan,   aiming   for   the 
highest  goal,  eliminating  nepotism  and 
favoritism,  striving  to  treat  each  series 
of    subscribers    with    absolute    impar- 
tiality and  trying  to  give  as  good  per- 
formances   as   are   humanly   possible. 
He    has    made    some     mistakes,     of 
course,  but  he  has  rectified  them  as 
soon  as  possible.   But,  above  all  things, 
he  has  never   ceased   considering  the 
most   important    factor   in   the   whole 
game  of  opera — namely,  the  public. 

That  brings  us  exactly  where  we 
started  on  this  little  digression.  So 
far  as  the  news  of  the  Metropolitan's 
doings  are  concerned  for  the  month, 
the  chief  item  was  a  revival  of  Meyer- 
beer's "The  Huguenots,"  sung  in 
Italian.  It  has  been  about  seven  years 
since  this  bombastic  opera  has  been 
heard  at  the  Metropolitan,  and  thus 
the  present  revival  partook  something 
of  the  nature  of  a  novelty.  Remark- 
ably beautiful  new  scenery  had  been 
imported,  both  the  first  and  second  act 
sets  being  really  artistic  pictures.  The 
cast  was  all-star,  and  interest  centred 
mainly  upon  Frieda  Hempel,  noted 
German  coloraturo,  whose  arrival  had 
been  delayed  for  nearly  two  months  by 
reason  of  a  cold  contracted  last  sum- 
mer. She  made  her  debut  singing 
Marguerite  de  Valois.  displaying  a 
voice  of  phenomenal  height,  with  ac- 
curacy as  to  intonation,  much  agility. 
and,  above  all,  a  voice  of  wonderful 
beauty.  Instead  of  being  a  thin,  body- 
less,  florid  voice,  this  organ  has  real 
foundation  and  lovely  quality.  Where 
she  disappointed  was  in  the  paleness 


THE     THEATRE    MAGAZINE 


1.  Johanna    Gadski    as    Brunnhilde 

2.  Frieda    Hempel    as    Gilda   in    "Rigoletto" 


of  her  highest  tones.  She  took 
these  easily  but  they  were  without 
much  charm  and  were  also  devoid 
of  volume.  But  as  these  vocal 
conditions  did  not  prevail  with 
Miss  Hempel  when  she  sang 
abroad,  it  is  only  just  to  believe 
that  they  are  the  result  of  her 
prolonged  indisposition. 

To  return  to  '!The  Huguenots," 
Caruso  sang  Raoul,  and  while  this 
part  is  not  the  happiest  one  for 
this    eminent   tenor,   yet   he   sang 
gloriously,   particularly  the  open- 
ing   solo,    and    he    acted    it    well. 
Destinn   was  Valentine,  but   was 
not  at  her  best  until  the  final  act, 
or  the  fourth  act,  rather,  for  the 
final  act  is  happily  omitted  in  the 
present  version.     Scotti   was  De 
Nevers,  costuming  and  acting  this 
role  with  courtly  grace,  and  sing- 
ing well.     At  a  repetition  of  the 
opera,    this    role    was    taken    by 
Gilly,  who  sang  it  with  much  more 
freedom  but  did  not  act  it  in  so 
noble  or  dignified  a  manner.   Bella 
Alien    was    the    Page    Urbain,    a 
role  usually  sung  by  a  contralto  but 
really  heard  to  much  better  effect  when 
sung  by   a   soprano,   as   Bella   Alten 
proved.       But  she 
lacked  dignity.    Roth- 
ier  was  a  conventional 
Saint-Bris.  Didur  was 
the     greatest     disap- 
pointment, singing 
Marcel    quite    inade- 
quately.  Polacco  con- 
ducted ably  and  lent 
as   much   interest   as   possible   to  this 
threadbare    score,    always    excepting 
the     fourth    act    which    still    throbs 
with  emotional  intensity.    But  the  per- 
formance was  too  long  to  be  enjoyed 
at  its  fullest,  lasting  four  hours. 

Frieda  Hempel  was  heard  a  few 
nights  later  in  a  second  role,  Rosina 
"The  Barber  of  Seville,"  which 
was  revived  after  three  years  of  neg- 
lect. She  showed  slight  improvement 
in  the  quality  of  her  high  notes  and 
held  forth  the  hope  that  in  a  few 
weeks  this  voice  would  measure  up  to 
its  European  reputation.  At  the  same 
performance  Umberto  Macnez,  new 
Italian  tenor,  made  his  New  York 
debut,  singing  Almaviva  and  proving 
that  he  was  possessed  of  a  voice  of 
extraordinary  flexibility  and  lightness 
and  of  pleasing  quality.  It  may  have 
been  that  he  was  nervous,  for  the 
volume  of  his  voice  disappointed  his 
hearers.  He  has  good  stage  presence 
and  should  prove  valuable  in  this  en- 
semble. Amato  sang  Figaro  on  this 
occasion,  for  which  part  he  appeared 
to  be  vocally  a  bit  logy,  but  it  was  the 
first  time  in  his  career  that  he  had 
essayed  it,  so  future  performances 

(Continued  on   page  x) 


Photos  Gilbert  &  Bacon 


No  1  Joe  Manning  (Joseph  Tuohy),  Asche  Kayton  (Robert  Hilliard),  Mary  Masuret  (Stella  Archer).  Act  I.  Detective  Kayton  secures  Mary  s  finger  prints.  No.  2.  Stella 
Archer  and  Robert  Hilliard  Act  II  Detective  Kayton  explains  to  Miss  Masuret  the  workings  of  the  dictograph.  No.  3.  Detective  Asche  Kayton  who  solves  the  mystery 
of  "The  Argyle  Case."  No  4  Act  IV  Detective  Kayton  accuses  Mrs.  Martin  (Selene  Johnson)  of  having  been  present  at  the  murder  of  Mr.  Argyle.  No.  5.  Robert 

Hilliard  and  Stella  Archer.    Act  IV.    Detective  Kayton  busy   on  his  most  urgent  case. 

SCENJES     IN     "THE     ARGY.LE     C.ASE,"     N.O  W     BEI.NG     PRESENTED     AT     THE     CRITERION     T.HEATRE 


A  FEW  weeks  ago  when  a  splendid  new  playhouse  was 
opened  in  New  York  with  a  new  star  and  a  new  play 
there  was  great  enthusiasm  after  the  second  act.  The 
first  audience  wanted  very  probably  to  see  the  author,  or,  at  all 
events,  someone  who  was  behind  the  achievement.  No  one  ap- 
peared for  many  encores  except  the  members  of  the  cast.  Final- 
ly, after  a  pause,  the  curtain  went  up  to  discover  the  star  walking 
in  from  the  wings,  escorted  by  a  well-built  man, 
erect,  of  middle  height  and  less  than  middle 
age  clean  shaven  and  with  a  bright  expression 
and  buovant  manner.  He  stepped  to  the  foot- 
lights to  explain  himself. 

"I  am  only  the  producer,"  he  said. 

He  was  Oliver  Morosco,  the  California  man- 
ager and  perhaps  the  most  prominent  theatrical 
figure  on  the  West  Coast. 

The  audience  applauded  feebly.  The  speaker 
was  new  to  them.  Only  a  few  in  the  audi- 
torium had  any  idea  that  they  were  looking  at 
a  man  who  would  very  probably  occupy  a  large 
and  important  place  in  the  theatrical  future  of 
Xew  York.  The  program  explained  that  he 
was  presenting  "Peg  o'  My  Heart,"  but  it  did 
not  say  that  he  owned  a  half  interest  in  the 
new  playhouse,  nor  did  it  give  an  inkling  of 
the  things  he  has  planned  to  do  in  and  for 
New  York. 

"I  am  only  the  producer.  If  you  like  our 
little  play  to-night  I  hope  you  will  let  me  come  again.'' 

The  speech  was  like  the  man  and  his  methods.  No  display  of 
personality,  no  sensations,  no  heralding  of  coming  events.  The 
determination,  courage  and  sane  judgment  that  are  behind  his 
modest  manner  and  alert  expression  only  those  who  have  been 
associated  with  him  can  describe. 

Oliver  Morosco  has  come  to  New  York  to  stay.  There  can  be 
very  little  doubt  of  that.  And  when  his  plans  for  New  York 
are  known  there  will  be  a  general  desire  on  the  part  of  playgoers 
to  have  him  do  so. 

The  general  theatrical  scheme  which  he  is  at  present  working 
over  is  almost  a  transcontinental  one  with  a  focus  in  New  York. 
The  West  Coast  end  of  it  is  already  completed.  Oliver  Morosco 
has  just  built  a  playhouse  in  Los  Angeles.  Its  opening  date  is 
January  6th,  and  its  name  the  Morosco  Theatre.  This  is  the  fifth 
playhouse  belonging  to  the  enterprising  manager  in  Los  Angeles, 
and  it  is  the  culmination  of  his  plan  for  making  the  little  Califor- 
nia city  an  impor- 
tant producing 
centre. 

For  years  he  has 
been  producing 
plays  at  his  other 
Los  Angeles 
theatres.  He  be- 
gan by  importing 
plays  from  the 
East  here,  but  the 
number  of  good 
ones  was  too  lim- 
ited. He  decided 
to  discover  new 
playwrights  and 
supply  the  au- 
diences, which  had 
come  to  him  for 
regular  and  well- 
staged  amusement, 
with  plays  that  had 
never  been  seen 
by  any  other 


OLIVER    MOROSCO 


audiences.  The  city  of  400,000  people  soon  became  a  city  of 
theatregoers,  who  often  support  a  play  that  pleases  them  for  as 
long  as  a  ten-week  run.  Many  of  these  plays  have  been  bought 
by  Eastern  managers  and  produced  in  New  York.  One  of  them, 
called  "Juanita  San  Juan,"  was  produced  for  a  long  run  in  New 
York  under  the  name  of  "The  Rose  of  the  Rancho,"  by  David 
ISelasco.  "The  Spendthrift"  was  also  originally  a  Morosco 
production,  as  were  "Kindling,"  "The  Arab" 
and  "The  Country  Boy." 

Although  this  making  a  specialty  of  finding 
and  producing  new  plays  has  been  one  of 
Oliver  Morosro's  chief  interests  at  his  famous 
Burbank  Theatre  in  Los  Angeles,  his  new 
theatre  there  is  to  be  devoted  to  this  purpose 
alone.  It  is  to  be  in  a  sense  a  garden  for  the 
cultivation  of  the  drama,  the  flowers  from 
which  are  to  be  sent  to  New  York.  As  a  pro- 
ducing house  for  the  exploitation  of  new  plays 
only,  it  will  be  unique  in  America,  and,  as  far 
as  is  known,  in  the  world. 

A  stock  company,  chosen  with  the  greatest 
care,  will  present  these  new  plays.  In  selecting 
his  players  the  young  manager  has  tried  to 
collect  a  company  that  will  have  the  balance 
and  the  charm  of  the  old  Daly  and  Empire 
stocks.  It  will  be  composed,  however,  of  a 
double  personnel  of  actors.  For  instance,  in- 
stead of  one  leading  man  there  will  be  two,  a 
"character"  and  a  juvenile  lead.  There  will  be  two  light  comedy 
men,  two  leading  women,  and  so  on  through  the  company. 
George  Ralph,  who  is  now  playing  in  "The  Yellow  Jacket,"  and 
who  last  year  attracted  a  great  deal  of  attention  as  the  black 
slave  in  "Kismet,"  has  been  engaged  as  juvenile  lead  for  the 
new  Morosco  company.  Harry  Mestayer  and  Robert  Ober  will 
be  the  comedians.  Others  are  being  engaged  from  day  to  day. 

Manuscripts  addressed  to  the  Morosco  Theatre  Los  Angeles, 
will  be  received  by  a  selected  corps  of  twelve  readers  and  given 
the  most  careful  consideration  possible.  The  manager  himself  is 
a  voracious  manuscript  reader.  He  examines  hundreds  even- 
week.  Already,  and  especially  since  Mr.  Morosco's  dictum,  pub- 
lished last  spring  in  a  New  York  daily,  that  he  has  110  use  for 
the  "punch"  play,  he  has  been  besieged  with  manuscript  not  only 
from  American  but  from  European  playwrights. 

Oliver  Morosco  claims  that  by  using  his  new  Los  Angeles 
theatre  as  a  producing  house  in  his  transcontinental  scheme,  he 

will  h  a  v  e  ten 
chances  to  one  of 
success  in  New 
York,  where  New 
York  managers 
have  only  one 
chance  in  ten. 
The  method  used 
here  of  producing 
a  play  in  New 
York  and  then 
taking  it  out  to 
jaunt  about  on  the 
road  as  a  means 
of  getting  it  into 
shape,  is  in  his 
estimation  a  con- 
fusing and  un- 
satisfactory one. 
His  plan  is  to  pro- 
duce a  play  with 
his  permanent  or- 
ganization in  his 
permanent  theatre 


AUDITORIUM   OF  THE   NEW   CORT   THEATRE.   NEW    YORK  CITY 


Photos  White 


1      "What  are  you  doing  at  that  safe"?       2      Louise   Woods  as   Madge  Carr.       3.     "I    have    a    warrant    of    dispossession."        4.     Nell    (Mary    Ryan)    and    Jack    Doogan 

(Richard  Bennett).    The  crooks  at  bay.       a.     The  servant  of  police  loses  his  warrant. 

SCENES     IN      CARLYLE     MOORE'S     FARCE     "STOP     THIEF"     AT     THE     GAIETY     THEATRE 


44 


T  H  E   THEATRE   MAGAZINE 


before  satisfactory  audiences,  and  to  continue  working  over  it 

after  production  .changing  and  strengthening  it  from  day  to  day. 

When  it  is  finished  in  every  detail  and  has  justified  itself  before 

Los  Angeles  audiences  he  will  bring  it 

to  New  York  perfected  and  polished  to 

offer  for  the  approval  of  "Broadway." 

Although  he   will   not  send   his   entire 

stock  company  to  present  one  of   his 

plays,   if  an   individual  actor   makes  a 

hit  at  Los  Angeles  and  wants  to  try  his 

fate  in  New  York,  Morosco  will  send 

him  on  and  give  him  his  opportunity. 

In  this  way  New  York  will  be  sup- 
plied with  a  number  of  new  plays  each 
year,  not  plays  which  are  rushed  to 
production  in  order  to  fill  an  empty 
theatre,  but  plays  that  have  been 
thoughtfully  chosen,  studiously  worked 
over  and  carefully  produced. 

This  is  one  of  the  manager's  plans 
for  New  York,  but  considerable  as  it  is, 
it  is  only  one. 

A  second  plan  is  to  be  worked  out 
from  its  inception  right  here  in  this 
city.  It  is  nothing  less  than  the  build- 
ing of  another  theatre  and  the  running 
of  it  on  a  profit-sharing  basis.  A  com- 
pany of  players  will  be  engaged,  each 
one  of  whom  will  be  a  prominent  star. 
They  will  not  be  paid  sensational 
salaries,  but  they  will  have  an  interest 
in  the  business,  they  will  share  profits  with  their  manager.  Their 
names  will  be  inscribed  in  the  theatre  and  at  times  the  most  cele- 
brated of  them  all  will  be  cast  for  the  part  of  a  maid  or  a  butler. 
The  theatre  itself  will  be  comfortable  with  wide  spacing  and 
probably  armchairs  for  seats.  It  will  be  broad  and  not  more  than 
fifteen  rows  deep,  so  that  everyone  shall  be  near  the  stage  and  the 
players  will  not  have  to  raise  their  voices  above  natural  pitch. 

What  will  be  offered  in  this  theatrical  paradise  is  not  yet 
hinted,  but  Mr.  Morosco  has  two  theories  about  the  kind  of  plays 
that  should  be  produced.  If  his  audiences  want  to  see  a  certain 
dramatic  work,  say  a  Shakespeare  play  or  a  play  that  has  won 
a  reputation  abroad,  he  will  give  it  to  them.  That  is  one  of  his 
theories :  a  manager  should  give  his  public  what  it  wants.  His 
other  theory  concerns  the  kind  of  play  he  likes  himself.  This 
is  the  play  of  sentiment  and  poetic  atmosphere  with  a  modern 
appeal.  The  two  plays  he  has  already  personally  offered  in  New 
York,  "The  Bird  of  Paradise"  and  "Peg  o'  My  Heart,"  illustrate 
in  a  measure 
Oliver  Morosco's 
favorite  theatrical 
offering.  If  a 
play  contains  both 
feeling  and  a  n 
opportunity  for 
acting,  the 
chances  of  its  ap- 
pealing to  this 
enterprising  Cali- 
fornia manager 
are  strong. 

Not  that  his  in- 
terests are  entire- 
ly limited  to  plays 
of  the  one  sort. 
H  i  s  recognition 
o  f  "Kindling" 
and  his  coming 
production  of  a 
new  searching 


ARLINE    BOLLING 

Clever    young    actress    recently    seen    in    a    leading    role    in    the 
"Modern    Eve"    company    in    Chicago 


play  by  Paul  Armstrong  show  that  he  can  see  afield.     But  the 
"punch"  play  for  the  sake  of  the  punch  alone  he  will  have  none  of. 
While  talking  to  a  friend  in  the  lobby  of  the  Hotel  Astor  re- 
cently Mr.  Morosco  divulged  the  gen- 
eral   formula   he    uses    when    selecting 
a  play. 

"When  I  am  considering  a  manu- 
script for  acceptance  I  look  for  certain 
points.  In  the  first  place,  as  you  know, 
if  it  is  a  'punch'  play  I  rule  it  out,  be- 
cause I  try  to  produce  only  plays  that 
will  live.  'Punch'  plays  are  things  of 
the  hour.  They  don't  live.  They  can- 
not, because  they  deal  with  some  pass- 
ing problem.  The  plays  that  live  are 
those  in  which  a  dainty  air  of  comedy 
prevails,  or  if  they  have  tears,  too,  they 
should  be  the  tears  that  are  quickly  fol- 
lowed by  laughter.  That  is  life.  A 
person  weeps  over  a  misfortune,  but  in 
a  moment  or  two,  either  consciously  or 
unconsciously,  says  something  funny. 
And  people  like  the  plays  that  reflect 
these  lights  and  shadows  of  mood. 
That  is  what  accounts  for  the  deathless 
popularity  of  such  plays  as  'Kentucky' 
and  'The  Old  Homestead.' 

"Another  point  I  study  in  a  play  is 
the  manner  in  which  its  comedy  is 
worked  up.  Are  characters  dragged  in 
to  make  comedy?  If  so,  I  throw  the 
play  aside.  The  cast  must  be  cut  down  to  its  necessary  characters 
and  the  comedy  must  be  legitimately  developed  by  them  out  of  the 
story  of  the  play. 

"These  are  the  main  points  I  watch  for  when  reading  manu- 
script." 

Oliver  Morosco's  success  has  been  in  great  measure  due  to 
his  ability  to  know  what  theatregoers  want  to  see.  He  is  in  line 
with  the  majority  of  Americans  in  his  belief  in  the  theatre  as  an 
entertainment  place  and  he  has  the  innate  American  love  of  light 
comedy  and  playful  sentiment. 

About  twenty  years  ago  Morosco  left  his  father's  theatre  in 
San  Francisco  in  the  atmosphere  of  which  he  had  been  brought 
up.  He  had  had  a  falling  out  with  the  elder  Morosco,  whose 
life-work  had  been  the  presenting  of  melodrama  in  the  cities  of 
the  West  Coast.  He  saved  $39  and  going  to  Los  Angeles  secured 
the  Burbank  Theatre.  He  got  a  company  together,  produced  a 
play  of  the  type  that  suited  him  and  from  its  first  curtain  rise  it 

was  a  success. 
The  great  sim- 
plicity and  genu- 
ine Americanism 
of  his  ideas  have 
before  this  blind- 
ed people  to  the 
new  and  revolu- 
tionary activities 
of  the  manager 
who  has  now  ad- 
vanced so  quietly 
upon  New  York. 
It  is  hardly  real- 
ized now  that  he 
has  come  and  that 
he  is  working  out 
theories  which 
are  very  likely  to 
pnve  the  way  for 
a  future  Ameri- 
can drama. 


Michael    Schmalz    (Joe    Weber)    and    Meyer    Talzman   (Lew  Fields)    in  "Roly   Poly,"   at   Weber  and    Fields 


C.  I.  D. 


<£@jfii@§   nm 


airad    Semi5"   aft   The    Lnftfcl©    Theatre 


Photos  White  Martin  Rutherford 

(J.  Cooke  Beresford)  (Norman  McKinnel) 

Act    II.     Rutherford:    "When    men    steal    they    do    it    to    gain    something" 


Martin  Janet 

(J.  Cooke  Beresford)  (Edyth  Olive) 

Act  III.     Martin:  "I  was  true  to  him  till  you  looked  at 


me  wi'  love  in  your  face" 


Mary 
(Thyrza  Norman) 


Act  III.     Mary:   "It'i  for  my  boy.     I  want — a  chance  of  life  for  him" 


Rutherford 
(Norman  McKinnel) 


T 


HE  children's  play's  the 
thing  to-day.  The  man- 
agers in  their  favorite 


little  game  of  "Follow  the  Leader,"  are  taking  their  orders  just 
now  from  William  A.  Brady,  who  dramatized  the  most  popular 
girls'  book,  "Little  Women,"  and  made  a  Broadway  success  out 
of  it.  Winthrop  Ames,  when  his  turn  came,  put  on  a  play  for 
the  nursery  audience  in  producing  Grimm's  fairy-tale  "Snow 
White,"  Belasco,  in  his  careful  avoidance  of  imitation,  went  to 
France  for  his  play  for  the  children,  Mme.  Rostand's  "Good 
Little  Devil,"  but  the  Lieblers,  in  doing  their  stunt  in  the  game, 
went  the  others  all  one  better  by  building  a 
Children's  Theatre  before  they  produced  their 
children's  play. 

Overlooking  Central  Park,  New  York's 
biggest  playground,  high  up  on  the  roof  of 
the  Century  Theatre,  the  biggest  of  its  kind 
in  the  world,  is  the  smallest  theatre  in  the 
world,  built  for  the  pleasure  of  the  small 
people.  Everything  about  it,  from  the  hours 
it  keeps  to  the  size  of  its  chairs,  is  planned  to 
meet  the  needs  of  the  "littlers."  If  you  are  one 
of  the  younger  clan  who  has  been  very  good 
in  school  all  day,  your  Aunt  Susan  may  take 
you  down  there  some  afternoon  (poor  Uncle 
John,  he  can't,  you  know,  because  he's  a  hard- 
working business  man,  who  never  has  time  to 
play  when  you  have),  and  after  you  have  bought  your  ticket 
from  a  very  big  man  sitting  inside  a  very  small  house  that  looks 
like  the  picture  of  the  gate-keeper's  lodge  in  the  old  English 
story  book,  do  you  remember? — you  go  tip  and  up  and  up  in  an 
elevator  until  you  arrive  high  in  the  sky  somewhere  in  a  room 
that  looks  as  though  it  were  made  of  gray  clouds.  At  one  end 
is  a  big  curtain  festooned  with  garlands  and  garlands  of  roses, 
and  music  that  seems  to  come  from  all  over  everywhere,  fills  the 
air.  You  have  just  decided  that  this  must  be  heaven,  when 
Little  Red  Riding  Hood  comes  up  and  asks  you  to  show  her  your 
ticket — and  then,  of  course,  you  know  that  this  is  fairyland. 
Sure  enough,  there's  Little  Bo-Peep  and  Miss  Muffett  (you're 
sort  of  glad  she  hasn't  brought  the  spider)  and  Cinderella  and 
the  Queen  of  Hearts  and,  yes,  that  must  be  Jill,  because  she  is 
carrying  water.  Your  seats  are  in  one  of  the  little  house-like 
boxes  built  in  at  the  other  end  of  the  room,  opposite  the  curtain, 
and  bears  the  name  of  Blue  Beard  on  the  door.  You're  sort  of 
scared  to  sit  in  his  house,  but  you  haven't  time  to  think  about  it 
because  the  curtain  goes  up  and  there's  the  most  extraordinary 
picture  of  a  lot  of  bees  making  honey  and  a  man — the  program 
says  he's  Ben  Greet,  but  you  can't  see  him  to  be  sure — telling 
you  all  about  what  you  are  supposed  to  be  seeing.  And  then 
there  are  more  pictures  of  ostriches  and  beavers  and  soldiers 
and  other  exciting  and  wonderful  things  unrolling  before  your 
eyes  until  a  very  pretty  little  girl  comes  out  and  promises  you 
that  now  you  are  going  to  see  and  hear  the  story  of  the  Racketty- 
Packetty  House. 

This  is  the  story  of  the  two  doll  houses  that  stood  in  Cynthia's 
nursery.  The  one  was  Tidyshire  Castle,  a  gorgeous,  brand-new 
house  filled  with  lords  and  ladies  which  had  been  put  into  the 
best  corner  of  the  nursery,  and  the  other,  the  Racketty-Packetty 
house,  once  just  as  elegant  and  gay,  but  now, 
because  time  and  the  Newfoundland  puppy  had 
allowed  it  to  become  all  shabby  and  worn  and 
torn,  Cynthia  had  had  it  tucked  away 
into  a  corner  of  disgrace  in  the  alcove. 
The  lords  and  ladies  wore  such  beautiful 
clothes  that  they  always  had  to  be  on 
their  best  behavior  lest  they  spoil  them 
and  so  they  never  had  any  fun  and  were 
all  as  solemn  as  judges.  They  were  horribly 
haughty,  too.  and  whenever  they  saw  a  Racketty- 
Packetty  person,  they  sniffed  so  vigorously  that 
one  almost  thought  they  had  influenza.  But  the 
Racketty-Packettys  didn't  care.  They  were  so 


happy  pretending  that  the  nothing 
they  had  was  a  something  they 
wanted,  and  they  had  such  fun  in 
their  rags  and  tatters  and  in  that  patchy  old  house,  that  nothing 
mattered,  not  even  the  stuck-upedness  of  their  neighbors. 

But  one  thing  that  belonged  to  the  castle  they  did  care  about 
and  that  was  Lady  Patricia  Vere  de  Vere,  for  she  was  different. 
She  got  into  their  house  through  the  fault  of  a  snobby  footman, 
who  held  his  nose  so  high,  he  didn't  see  where  he  was  putting 
her  the  day  she  came  back  from  the  doll  doctors.  But  she  wasn't 
angry  at  him  for  his  stupidity,  because  she  straightway  fell  in 
love  with  all  the  jolly  Racketty-Packettys — 
especially  Peter  Piper, — and  when  the  cross 
old  Duchess  came  to  take  her  home,  they  were 
all  very  sad.  It  wasn't  for  long,  however. 

One  fine  moonlight  night,  Peter  went  over 
to  the  castle  with  a  rope  ladder  Dr.  Gustibus 
had  fashioned  for  him  and  fetched  Lady 
Patsy,  as  she  was  called  in  the  home  circle, 
back  to  his  house  with  him.  Here  there  was 
great  rejoicing  until  the  news  came  that 
Cynthia  had  given  the  Duchess  and  Lady 
Gwendolen  and  Lady  Muriel  and  Lady  Doris 
and  Lord  Hubert  and  Lord  Rupert  all  scarlet 
fever  and  then  left  them  raging  in  delirium 
with  strong  mustard  plasters  on  their  chests. 
The  groans  of  the  sufferers  as  they  reached 
the  ears  of  the  Racketty-Packettys  were  so  heartrending  that, 
though  they  were  their  haughty,  stuck-up  neighbors,  and  though 
it  was  the  middle  of  a  very  black  night,  they  all  got  out  of  bed 
and  armed  with  water  bottles  and  medicine  bottles  and  cough 
syrup  and  ipecacuanha,  they  went  over  to  the  castle  to  bring 
relief  and  good  cheer. 

"There's  nothing  cures  scarlet  fever  like  cheering  up,"  said 
Peter  Piper,  and  sure  enough,  it  was  true. 

So  everyone  was  happy — not  forever  after,  yet,  but  until  they 
heard  that  Racketty-Packetty  House  was  to  be  burned  in  the 
morning,  because  the  Princess  was  coming  to  see  Cynthia  and 
the  Princess  mustn't  see  such  a  shabby  old  doll  house  in  the 
nursery.  And  that's  just  where  the  Fairy  Queen  Cross  Patch 
comes  in. 

With  her  little  green  workers,  she  teased  nurse  (who  be- 
cause she  hadn't  any  sense,  couldn't  see  them,  of  course),  undo- 
ing everything  she  had  done  so  that  she  became  so  flurried  and 
flustered  that  she  forgot  all  about  the  old  house  and  left  it 
standing  where  it  was.  There  the  little  Princess  found  it  and 
she  loved  it,  of  course,  just  as  soon  as  ever  she  saw  it,  and  so 
when  Cynthia  said  she  might  have  it,  she  accepted  it  immediately 
with  great  joy. 

So  that  is  the  way  the  Racketty-Packettys  came  to  live  in  the 
Royal  Palace  and  were  all  patched  up  again  and  made  beautiful 
and  dressed  in  silks  and  laces  as  exquisite  as  any  the  fine  folk 
in  Tidyshire  Castle  ever  wore.  Of  course  Peter  Piper  married 
Lady  Patsy  in  the  toy  church  and  then  they  all  lived  happily  ever 
and  ever  and  ever  after. 

So  that  was  the  end  of  the  play,  but  it  needn't  be  the  end  of 
your  afternoon  at  the  Children's  Theatre.  On  the  program  it 
says,  "and  then  you  can  stroll  around  and  peek  into  the  little 
dressing  rooms  and  watch  the  wheels  go 
round,  and  enjoy  yourself  as  you  like  till  it's 
time  to  go  home."  If  you  do  this,  you  can 
see  little  dressing  rooms  fitted  up  with  tables 
and  mirrors  and  books  and  chairs,  so  small 
that  you,  who  can't  look  over  the  dining- 
room  table,  can  use  them  without  stretching. 
Swarming  about,  in  and  out  of  the  corridors, 
giggling  and  chattering,  talking  and  tum- 
bling are  all  the  little  people  you  just  saw 
in  the  play — and  my,  how  tinv  they  are! 
They  looked  full  grown  when  they  were  in 
the  Racketty-Packetty  House,  but  here— 
why,  some  of  them  aren't  higher  than  Aunt 

(.Continued  on  page  it) 


ICBB    • 

!•  •••    H 


CYNTHIA   RECEIVES  A   NEW    DOLL'S    HOUSE 


RIDLIKLIS    SWEPT    INTO    RACKETTY-PACKETTY    HOUSE 


THE  west- 
ern world 
looks  up- 
on Russia  as  a  country  half  barbaric,  of  violent  contrasts  and 
crude  products ;  it  sometimes  neglects  to  see  that  this  last  strong- 
hold of  despotism,  this  home  of  scientific  anarchy,  has  proven  to 
be  one  of  the  most  prolific  progenitors  of  genius.  It  is  the  land 
of  Tolstoi  and  Dostoiewski,  of  Pushkin  and  Tschechoff,  of  Tour- 
genieff,  of  Tschaikowski.  Russia  has  given  us  Alia  Nazimova. 
Pavlowa,  and  little  Lydia  Lopoukowa ;  we  are  indebted  to  Russia 
and  Poland  for  some  of  the  greatest  virtuosi  of  our  time :  Pade- 
rewski,  Kubelik,  Mischa  Elman,  and  Efrem  Zimbalist,  the  world's 
youngest  master  of  the  violin. 

Only  twenty-three  years  ago 
Zimbalist  was  born,  not  far  from 
the  shores  of  the  Black  Sea,  at 
Rostow,  the  son  of  a  modest  or- 
chestra conductor.  At  the  age 
when  other  children  dream  of 
toys  the  little  boy  astonished  his 
father  with  remarks  on  music  that 
showed  an  extraordinarily  keen 
insight.  When  he  attained  his 
twelfth  birthday  his  craving  for 
the  development  of  his  artistic 
tendencies  had  become  so  strong 
that  his  parents  sent  him  to  Saint 
Petersburg,  where  he  entered  the 
Conservatoire  to  study  the  violin 
under  Leopard  Auer. 

He  also  joined  a  class  of  har- 
mony and  composition,  and  as 
soon  as  the  theory  of  music  began 
to  reveal  itself  to  his  understand- 
ing it  captivated  his  interest.  Dur- 
ing the  six  years  he  attended  the 
Conservatoire  he  spent  the  best 
of  his  time  in  the  study  of  it. 
Even  now,  that  he  has  come  to 
count  among  the  greatest  living 
violin  virtuosi,  you  will  find  him 
much  oftener  reading  and  writing 
music  than  practicing  on  his  in- 
strument. 

"What  a  fascinating  thing  it  is," 
he  said  the  other  day,  "to  feel 
growing  in  your  mind  the  knowledge  of  all  the  'hows'  and  'whys' 
of  music !  It  is  so  much  greater  and  more  interesting  than  the 
perfecting  of  one's  execution.  At  the  Conservatoire  I  devoted 
much  less  time  to  practice  than  to  theoretical  study.  Whenever 
I  hear  now  people  give  me  credit  for  good  technique  I  always 
wonder  how  it  came  to  me.  I  suppose  it  is  simply  a  question  of 
nimble  fingers." 

When,  at  the  age  of  eighteen,  he  had  graduated  from  the  Peters- 
burg Conservatoire,  he  went  to  Berlin  to  give  his  first  two  violin 
recitals.  He  scorned  any  suggestion  of  self-advertisement,  and 
the  first  of  the  two  recitals,  announced  in  the  quietest  way  possi- 
ble, was  attended  by  the  critics  and  a  small  number  of  music- 
lovers  who  had  come  on  the  strength  of  the  program.  The  boy- 
virtuoso's  success  was  instantaneous.  For  the  second  recital  the 
great  hall  of  the  "PhiTharmonie"  was  packed,  and  this  Berlin 
concert  audience,  the  most  blase  and  critical  in  the  world,  rose  in 
hot-blooded  enthusiasm. 

Since  then  he  has  gained  recognition  of  the  highest  order  in 
all  the  musical  centres  of  Europe  and  of  this  country.  His 
Carnegie  Hall  audiences  have  given  him  their  most  enthusiastic 
tribute  of  applause ;  but  nothing  will  efface  in  him  the  memory  of 
that  first  triumph  won  in  Berlin. 

"I  love  it,"  he  says,  "because  it  spurred  me  on  toward  greater 
efforts  and  higher  achievements.  What  the  Berlin  critics  said  about 
one  or  two  of  my  own  little  compositions  gave  me  courage  to  con- 
tinue expressing  myself  musically.  It  makes  me  happy  to  interpret 


Mishkin 


The 


on  my  Stradi- 
varius  the 
thoughts  of 

giants  such  as  Beethoven,  Bach,  Liszt ;  but,  although  I  feel  as  if 
I  could  never  find  in  my  own  soul  anything  to  compare  with  the 
least  inspired  phrases  of  the  great  composers,  still  I  take  my 
keenest  delight  in  creative  work,  however  humble  it  may  be.  I 
began  composing  when  I  was  quite  a  child.  The  other  day  I 
found  a  melody  I  had  written  at  the  age  of  fourteen  to  one  of 
Pushkin's  Cossack  songs.  Its  quality  gave  me  an  agreeable  sur- 
prise, and  I  think  I  shall  have  it  published.  Aside  from  songs, 
character  dances  and  other  short  pieces,  I  have  published  a  'Suite 

in  alter  Form'  for  piano  and  vio- 
lin; and  there  is  somewhere 
among  my  papers  a  concerto  for 
orchestra  and  'cello,  which  you 
may  hear  my  younger  brother 
play  some  time  in  the  near  future. 
I  am  very  fond  of  modern  music 
and  always  endeavor  to  bring  new 
things  before  the  public.  Some- 
times they  are  not  accepted  favor- 
ably at  first,  but  the  pieces  that  I 
consider  really  fine  I  intend  to 
play  and  play  again,  until  they  win 
just  recognition.  I  have  succeeded 
with  a  few  compositions  by  Cyril 
Scott,  of  which  a  New  York  critic 
wrote  not  long  ago :  'We  did  not 
think  much  of  them  last  year,  but, 
by  repeating  them,  Zimbalist 
makes  us  like  them.'  Now  I  am 
trying  to  do  the  same  for  John 
Powell's  concerto  in  E  major, 
which  I  think  is  brilliant  and  in- 
teresting. Yes,  some  of  our  con- 
temporaries have  composed  such 
music  as  will  make  them  rank 
with  the  best  of  the  old  masters. 
Think  of  the  wonderful  works  we 
owe  to  the  gigantic  mind  of 
Richard  Strauss,  whose  sonata  for 
piano  and  violin  (op.  75)  is  one 
of  the  great  things  in  music. 
Think  of  Debussy,  his  strangely 
fantastically  charming  tone  poems, 

his  'Pelleas  et  Melisande,'  which,  combined  with  Maeterlinck's 
text,  leaves  you  the  impression  of  having  taken  a  deep  draft  of 
perfect  poetry.  Never  was  there,  to  my  judgment,  a  more  har- 
monious collaboration  between  poet  and  musician  than  that  be- 
tween Maeterlinck  and  Debussy.  Their  thoughts  and  feelings  are 
as  intimately  related  as  their  mediums  and  they  work  synchro- 
nously and  in  beautiful  harmony." 

Zimbalist's  appreciation  of  modern  composers  does  in  no  way 
diminish  his  veneration  for  the  old  masters.  Testimony  to  this 
is  borne  by  a  collection  of  autographs  that  cover  the  walls  of  his 
New  York  study,  framed  between  two  panes  of  glass.  He  shows 
them  proudly  to  his  visitors :  a  sheet  of  music  by  Liszt ;  letters 
from  Robert  Schumann,  Rossini,  Meyerbeer,  Spohr,  de  Beriot, 
Vieuxtemps,  and  one  from  Paganini. 

"And  I  have  many  more  at  my  house  in  London.  But  the  other 
day  I  met  with  a  sad  disappointment.  I  had  found  in  a  little 
New  York  shop  a  manuscript  by  Beethoven.  I  did  not  have 
enough  money  with  me  to  pay  for  it,  and  had  to  go  to  the  bank 
to  get  some.  When  I  returned,  an  hour  later,  the  manuscript 
was  sold." 

He  is  a  devout  worshiper  of  Beethoven. 

"Of  course,  I  know  that  he  lived,  that  he  was  a  man,  but  I  can't 
believe  it !  Some  of  his  music,  one  concerto  for  piano  especially, 
is  so  superhuman,  so  far  above  the  reach  of  human  understand- 
ing, and  yet  so  divinely  simple  and  clear,  that  I  can  find  nothing 
in  me  to  respond  to  it  but  tears.  F.  C.  FAY. 


EFREM    ZIMBALIST 

world's    youngest    master    of    the    violi 


trrnf.^  /        *        -    /   *  i        -  -  -  t  \  " 


:oi)yright  Mishkin  IATIA  FOKNAROLI,  DANSEUSE  AT  THE  METROPOLITAN   OPERA  H 


M 


ODERN  French  satirists,  of 
whom  Robert  de  Flers  and  G.  A. 
de  Caillavet  have  been  the  most 


Tr1 1L         /T*  /T«  JL 

he  lireem  Loat 


applauded,  spare  none  of  the  time-honore,d  institutions  of  art  and 
literature.    Not  so  long  ago  it  would  have  been  sacrilege  to  put  on 
the  stage  the  sacred  "Academy,"  and  authors  who  dared  to  laugh 
at  the  Comedie  or  the  Beaux  Arts  would  have  written  themselves 
down  barbarians.     Daudet  began  the  disillusioning  process  in 
"L'Immortel,"   and  the  lively  collaborators   named   above  have 
followed  his  lead  by  poking  fun  at  the  Beaux  Arts  in  "Le  Bois 
Sacre,"  a  success  of  two  seasons  ago,  and  again  in  their  latest 
play  "L'Habit  Vert," 
produced  at  the  Va- 
rietes  near  the  close 
of     November,     they 
have  driven  the 
wedge   of  satire   still 
further  in. 

"The  Green  Coat" 
is  a  little  difficult  to 
class,  but  it  may  be 
denned  as  a  satirical 
fantasy.  The  argu- 
ment chosen  by  the 
authors  is  only  a 
thread  on  which  they 
string  their  witty  say- 
.ings  and  clever  situa- 
tions. They  treat 
their  subject  with  a 
cavalier  lightness 
which,  it  must  be  sup- 
posed, will  worry  the 
members  of  the 
French  Institute  even 
more  than  the  de- 
grading fact  that  it 
has  been  put  upon 
the  stage  at  all.  The 
Duke  of  Mauleuvrier, 
senator  from  Calva- 
dos, member  of  the 
Academic,  Francaise 
and  one  of  the  great- 
est names  in  France, 
is  the  champion  of  all 
the  prejudices  and 
traditions  of  the  past. 
He  has  sacrificed 
himself  so  far  to  the 
modern  spirit  by  mar- 
rying a  sentimental 
American  lady  pos- 
sessed of  an  enor- 
mous fortune.  The 
Duchess  cannot  adapt 
herself  to  the  manners  of  a  chatelaine  of  the  eighteenth  century, 
and  especially  to  conjugal  solitude  a  deux. 

One  fine  day  chance  put  in  her  path  at  an  opportune  moment 
Count  Hubert  de  Latour-Latour.  He  is  a  splendid  specimen  of 
masculinity,  trained  in  all  sports,  and  of  book  learning  deliciously 
ignorant.  Yet  he  becomes  a  candidate  for  admission  to  the 
Academy.  How?  In  precisely  the  same  way  in  which  his  an- 
cestor, at  twenty-four  years  of  age,  became  Archbishop  of  Bor- 
deaux. That  Latour-Latour,  who  served  in  the  dragoons  and 
scarcely  knew  a  church  from  a  library,  was  surprised  by  Louis 
XIV.  at  the  feet  of  the  Montespan.  The  illustrious  marquise 
kept  her  head  and  said  to  the  King  that  M.  de  Latour-Latour  was 
beseeching  on  his  knees  for  the  archbishopric  of  Bordeaux, 
whereupon  Louis  immediately  appointed  him  to  that  sacred  office. 

In  the  case  of  Hubert  history  repeated  itself;  discovered 
making  deep  love  to  the  Duchess  he  was  saved  by  a  young 


White 


MARGUERITE    SKIRVJN 
Recently   seen   as   Betsy   Blake   in   "What  Ails   You" 


woman's  presence  of  mind,  a  certain  Bri- 
gitte  Touchard,  who  is  the  Duke's  sec- 
^^~^^~^^^~"~^  retary,  filing  his  historical  papers  and 
keeping  his  archives  in  order.  Nobody  is  as  familiar  as  she  is 
with  the  anecdotes  of  the  old  families,  and,  remembering  the 
archepiscopal  episode  of  the  Latour-Latour  history,  she  explains 
to  the  Duke  that  at  the  moment  of  his  ill-timed  appearance  M.  de 
Latour-Latour  was  soliciting  the  interest  of  the  Duchess  upon 
his  candidature  for  the  Academy. 

The  Duke,  relieved  of  his  jealousy,  warmly  espouses  this  can- 
didacy. Hubert  arrives  triumphantly  at  a  seat  among  the  Forty ; 

his  lack  of  everything 
which  should  pertain 
to  a  reasonable  can- 
didate insures  h  i  s 
election. 

As  he  is  the  work, 
the  creation  of  clever 
and  pretty  Brigitte, 
she  naturally  falls  in 
love  with  the  new 
academician ;  she  as- 
sists, nay  prepares,  his 
speech  of  installation, 
that  "discours"  which 
has  been  for  so  many 
years  the  crowning 
literary  effort  of  so 
in  a  n  y  famous  men. 
All  goes  swimmingly 
until  the  Duke,  on 
rising  to  res  p  o  n  cl 
t  o  Latour  -  Latour's 
speech,  finds  among 
the  pages  of  his 
address  a  letter  quite 
foreign  to  it.  This 
letter  begins:  "Coco, 
my  dear  Coco."  The 
letter  is  in  the  hand- 
w  r  i  t  i  ng  of  the 
Duchess  and  is  ad- 
dressed to  the  new 
academician.  There 
is  a  chance  for  a 
great  scandal,  a 
scene  unprecedented 
under  the  dome  of 
the  Academy ;  the 
Duke  at  first  is  mind- 
ed to  speak  out  and 
drive  the  impostor 
from  the  temple.  But 
the  traditions  of  the 
place  are  stronger 
than  his  passions ; 
with  an  effort  he  masters  these  and  finishes  his  oration. 

It  was  foreordained  that  Brigitte  (played  by  Eva  Lavalliere 
with  irrisistible  espieglerie),  who  makes  most  of  the  trouble  and 
much  of  the  comedy,  should  win  for  her  own  the  man  for  whom 
she  had  taken  so  much  pains.  The  American  Duchess,  as  a  deco- 
rative Duchess,  absolutely  un-American,  was  played  with  spirit 
by  Jeanne  Granier,  who  made  so  great  a  role  of  the  authoress 
in  "Le  Bois  Sacre."  In  the  new  play  she  has  not  an  equal 
opportunity. 

In  Act  II.  occurs  a  scene,  which  demonstrates  the  satirical  fan- 
tasy as  well  as  anything  in  the  play.  It  shows  the  Duke  of  Mau- 
leuvrier at  his  home  with  Baron  Benin  and  General  Rousay  des 
Charmilles,  his  colleagues  at  the  Academy.  They  receive  a  visit 
from  Pinchet,  who  has  been  secretary  of  the  Institute  for  three 
generations.  The  gentlemen  discuss  the  coining  election  of  an 
academician. 


THE     THEATRE     MAGAZINE 


Copyright  Mishkin 


MME.  EMMY   DESTINN  AS   PAMINA   IN   "THE   MAGIC  FLUTE" 


52' 


THE     THEATRE     MAGAZINE 


The  Duke:  Sit  down,  Monsieur  Pinchet.  Are  there  any  other  candi- 
dates to  succeed  Curlet-Brezin? 

Pinchet:  Alas!  no,  your  Grace.  It's  the  same  old  story — the  five  can- 
didates that  you  know — the  same  perpetual  candidates. 

The  Duke :  We 
must  reinforce  these 
by  others,  or  interest 
will  die  out  of  the 
election. 

Benin:  I  thought 
they  spoke  of  General 
Baringer? 

The  General  (ex- 
cited) :  Ah,  no;  no 
general!  One  general 
at  the  Academy— yes; 
two  would  turn  it  in- 
to a  war  office. 

The  Duke:  My  dear 
friends,  this  situation 
is  serious. 

Pinchet:  Worse,  it 
is  grave! 

The  Duke :  Why  do 
you  say  that? 

Benin:  What  has 
happened?  Explain. 

Pinchet :  I  will. 
since  you  do  me  the 
honor  to  interrogate 
me — but  no,  1  dare 
not. 

The  Duke:  Speak! 
speak ! 

Pinchet :  Permit 
me,  then,  to  tell  you, 
very  respectfully,  that 
for  a  long  time  I 
have  not  been  satis- 
fied with  the  Acad- 
emy. 

Benin :  What's  that 
you  say? 

Pinchet :  The  spirit 
that  is  creeping  in 
insensibly — little  de- 
tails, innovations.  An- 
other might  not  re- 
mark them,  but  I— 
Secretary  for  three 
generations — I  remark 
them,  and  I  am  dis- 
turbed—  I  am  af- 
flicted. 

Benin:    Be  precise. 

Pinchet:  I  will  try. 
Last  Thursday  was  a 
date  in  our  history. 
You  did  not  assist, 
gentlemen,  at  the 
seance  which  was 
consecrated  to  the 
Dictionary.  The  three 
Academicians  who 
were  present  dis- 
cussed it  in  a  very 

interesting  way — very  profoundly.     In   the  midst   of  the  discussion  your 
colleague,  M.  Rebeillard,  arrived — oh,  in  what  a  state! 

Benin:     Was  he  drunk? 

Pinchet:  If  it  had  been  only  that!  There  are  precedents  for  that. 
No,  gentlemen ;  Rebeillard  came  into  the  hall  of  the  Academy  in  tan  shoes ! 

Benin  :     Tan  shoes  ? 

Pinchet :  Yes,  Monsieur  the  Duke,  in  tan  shoes.  Never  have  I  seen  the 
like.  But  that  is  only  one  of  the  little  things  that  indicate  demoralization. 
Another — you  know  M.  Potulrier,  professor  of  religious  history  at  the 
College  of  France,  who  succeeded  to  the  seat  of  M.  de  Vieil-Castel? 

The  Duke:    Of  course. 

Pinchet :     He  is  going  to  have  a  baby ! 

Benin:     What!     He? 

Pinchet  (sadly)  :  His  wife  is.  A  disaster,  gentlemen,  a  disaster! 
Formerly  when  a  man  had  arrived  at  the  honor  of  the  Academy  he  had 
no  more  children ;  he  stopped  all  such  follies ! 

The  Duke  :     It's  indecent. 


White 


HELEN 
Now  appearing  as  Sophie   Br 


Pinchet :      Another   symptom,   quite   confidential,   one   of   our   members, 
elected  a  long  time  ago,  recently  surprised  his  wife — you  know! 
Benin:     Hear,  hear! 
The  Duke:     Come,  now.     Have  you  nothing. more  interesting  to  tell  me? 

Pinchet :  I  know, 
but  this  happened  on 
a  Monday  night — a 
Monday ! 

Benin:      Well? 

Pinchet :  I  tell  you 
it  is  something  unique, 
•hitherto  unheard  of. 
For  three  hundred 
years  when  a  member 
of  the  French  Acad- 
emy was  deceived  by 
his  wife  it  always 
happened  on  Thurs- 
day, the  night  of  our 
seance.  This  regu- 
larity has  invested  the 
fact  with  a  certain 
respectability.  It  was 
a  tradition! 

Benin :  And  she 
broke  it? 

The  Duke:  Sad 
epoch ! 

Benin :  To  what, 
my  dear  Pinchet,  do 
you  attribute  this  re- 
laxation of  Academic 
customs? 

Pinchet :  To  many 
things,  to  many  in- 
fluences. 

Benin:     Scepticism! 

The  General :  Ir- 
religion ! 

The  Duke:  Indis- 
criminate reading! 

Pinchet :  Yes,  we 
owe  our  dangers  to 
the  authors — to  the 
writers  of  fiction — to 
dramatists.  Beware 
of  them ! 

Benin :  Then  for 
o  u  r  candidates  we 
must  fall  back  on  the 
historians. 

Pinchet :  How  can 
we?  To-day  the  his- 
torians all  write  a 
kind  of  romance. 

The  Duke :  On  men 
of  the  world,  then? 

Pinchet :  Men  of 
the  world  make  all 
the  history. 

The  Duke:  It  is 
frightful! 

Benin :  What  do 
you  consider  the  ideal 
candidate? 

Pinchet:    The  Meal 

candidate  for  the  Academy  is  he  who  has  done  nothing,  who  has  not 
yielded  to  the  mania  of  authorship,  that  has  destroyed  so  many  re- 
markable men ;  it  is  he  whom  nobody  knows,  and  who  on  entering 
the  Academy  will  owe  everything  to  it,  for  the  Academy  can  gain 
nothing  from  him.  That  is  beautiful,  for  thus  alone  shall  we  preserve 
a  noble  institution ! 

"The  Green  Coat"  won  an  instant  success  in  Paris  chiefly  mi 
account  of  this  and  similar  scenes  characterized  by  amusing 
criticisms  of  the  Institute.  Because  Frenchmen  laugh  with  these 
comedy  writers  at  their  Academy  it  by  no  means  follows  that 
they  are  not  proud  of  its  history  and  traditions.  Other  countries 
have  similar  institutions  hidebound  by  custom  to  the  point  of 
ridicule  and  this  may  make  universal  an  otherwise  strictly  Paris- 
ian satire. 

WII.TJS  STEF.LT,. 


LOWELL 

ush    in  "The   Red    Petticoat" 


THE     THEATRE     MAGAZINE 


Pfioto  Sfrniis«-T*eytnn 


VERA    FJNLAY 
Recently  seen  as   Emily  Martin  in  "Our  Wives"  at  the  Gaiety   Theatre 


In    Sudermann's   "Johannisfeuer" 


THE  public,  as  a  rule, 
takes  more  in- 
terest in  female 
than  in  male  artists  of  the 
stage.  Especially  so  when 
they  are  foreigners. 
T  h  e,  r  e  is  scarcely  an 
American  who  is  unfa- 
miliar with  almost  every 
phase  of  Sarah  Bernhardt's  career.  Signora  Duse,  Rejane, 
Terry,  are  all  household  names  with  us.  We  have  adopted 
Nazimova  quite  and  Madame  Simone  almost.  But  Coquelin? 
Oh  yes,  he  came  here  once,  with  the  great  Sarah.  Novelli  ? 
Orlenieff  ?  East  side  audiences  are  interested  in  them.  Possart? 
The  uu-Americanized  Germans  went  to  the  Irving  Place  Theatre 
to  see  him.  So  did  they  for  Rudolf  Schildkraut,  while  he  was 
playing  there,  two  years  ago.  But  few  Americans  have  ever 
heard  of  this  last-named  artist,  and  yet  an  important  firm  of 
American  managers  has  made  a  tempting  offer  to  this  greatest 
of  all  German  character  actors  to  play  Shylock  in  English  on 
Broadway  next  season.  Warfield,  it  is  said,  will  be  seen  in 
"The  Merchant  of  Venice"  about  the  same  time.  It  will  be 
interesting  to  compare  both  performances. 

The  present  'writer 
found  Schildkraut  the 
other  day  in  his  com- 
fortable dressing  room 
at  Sarah  Adler's  Nov- 
elty Theatre,  Brooklyn, 
resting  betweerj  matinee 
and  evening  perform- 
ance of  an  interesting 
play  in.  the'  Y  i  d  d  i  s  h 
jargon,  the  idea  of  which 
takes  its  source  in  one  of 
Roberto  Bracco's  one-act 
d  r  a  m  a  % .  The  actor 
offered  me,  a  seat,  a 
glass  of  tea  a  la  Russe 
and  a  cigarette,  his  face 
all  curiosity  to  know 
how  in  the  world  an 
American  interviewer 
could  have  found  him 
there.  I  myself  thought 

In  "Gott  der  Rache' 


it   far   more   interesting  to  ask   him   how   he   had  gotten   there. 

"Quite  simply,"  he  began  in  English,  speaking  rather  slowly 
and  seeking  his  words,  but  without  any  of  that  dreaded,  hard 
German  accent.  "After  my  engagement  at  the  Irving  Place 
Theatre,  I  received  offers  from  Yiddish  managers,  and  I  accepted 
them,  because  they  gave  me  time  and  a  chance  to  learn  English 
and  prepare  for  the  English-speaking  stage.  I  did  not'  want  to 
return  to  Germany.  A  disagreement  between  my  manager,  Prof. 
Max  Reinhardt,  and  myself  had  made  me  come  to  your  country, 
and  when  I  saw  the  great  opportunities  it  might  offer  to  my 
boy,  who  is  now  a  senior  member  of  the  American  Academy  of 
Dramatic  Arts,  I  decided  to  check  my  roaming  disposition  and 
remain  here.  Shall  1  ever  be  able  to  gain  the  attention  of  Broad- 
way audiences  ?  1  sincerely  hope  so,  I  work  hard  for  it,  although 
I  am  rather  timid  about  it.  But  my  American  friends  give  me 
so  much  encouragement !  I  think  every  artist  nee,ds  that. 

"My  aim  is  to  move  the  American  public  with  my  interpreta- 
tion of  Shakespearean  and  other  characters,  as  I  have  moved 
the,  people  of  other  countries — as  I  was  fortunate  enough  to 
move  Mr.  Belasco,  who  came  down  to  the  East  Side  one  night 
of  last  summer  and  whose  words  of  appreciation  for  my  Shylock 
1  shall  never  forget." 

"Are  you  preparing  to  play  Shylock  in  English  ?" 

"Yes,  Shylock  and 
King  Lear,  and  also  a 
modern  drama.  You 
see,  the  teacher  I  am 
studying  with  has  great 
ambition  for  me,"  he 
added  smilingly.  "My 
young  son  will  play 
with  me,  for  by  the 
time  I  am  ready  he  will 
have  graduated  from 
the  Academy,  and  the 
splendid  training  he  is 
receiving  there  from 
teachers  who  are  artists 
will  have  fitted  him  well 
for  serious,  conscien- 
tious work  by  my  side." 

"What  are  the  prin- 
cipal roles  that  have 
won  you  such  high 
recognition  from  the 

(Continued  on  page  vt)  in  "Caprice  Mortale" 


SIGNOR  CARUSO  AS  DES  GRIEUX   IN  "MANON  LESCAUT 


11  6 


11 


ANNIE  RUSSELL  is  like  the  scent  of  lavender.  She  is  a 
reminder  of  rare  old  lace,  or  the  strain  of  a  sweet,  old- 
fashioned  ballad  of  love.  She  is  girlhood  embalmed  in 
imperishable  amber.  Ouaintness,  sweetness  and  youth  that  per- 
sists are  the  three  attributes  that  give  her  unlikeness  to  anyone 
else  on  the  American  stage.  They,  and  other  qualities,  the  greatest 
of  which  is  restraint,  caused  a  cold-eyed,  even-pulsed  British 
critic  to  guide  his  pen-point  in  the 
fashioning  of  the  sentence,  "She  is 
the  Duse  of  the  English-speaking 
stage." 

Poetry,  pathos  and  pensiveness 
are  an  inherent  part  of  her  personal- 
ity, inseparable  from  her  as  the 
scent  from  the  violet.  Delicacy  of 
perception,  an  exquisite  sensibility  to 
the  finest,  most  elusive  things  of  life 
and  the  drama,  are  hers  in  greater 
degree  than  anyone  who  comes  be- 
fore the  curtain.  These  being  her 
undisputed  possessions  it  is  fitting 
that  by  her  was  made  the  experiment 
which  managers,  bulwarked  by  a 
million  or  two  of  dollars,  have  con- 
templated, have  fondly  considered 
and  have  reluctantly  relinquished. 

"I  want  to  do  the  old  comedies," 
David  Belasco  said  once  with  a  sigh 
at  thought  of  attacking  a  new  play, 
either  his  own  or  that  of  someone 
else  so  made  over  and  Belasco- 
stamped  that  the  author,  bewildered,  gasped  in  a  so-called  curtain 
speech:  "I  take  credit  only  for  the  idea,  Mr.  Belasco  has  done 
all  the  rest."  Yet,  season  after  season,  the  new  was  announced 
instead  of  the  old.  Mr.  Belasco  would  have  done  the  old 
comedies,  but  he  couldn't,  for  he  had  a  prescient  sense  that  his 
public  wanted  from  him,  not  the  new,  but  the  old. 

Yet,  where  doughty  and  distinguished  managers  feared  to  enter, 
Annie  Russell,  slim,  girlish,  wistful,  went.  She  leased  the  Thirty- 
ninth  Street  Theatre  in  New  York,  secured  subscriptions  from 
her  faithful  patrons,  fine  old  relics  of  the  Knickerbocker  age  in 
Xc'w  York,  persons  who  do  not  go  to  the  theatre  any  more  save 
when  Annie  Russell  plays,  because  her  presence  is  to  them  a 
guaranty  against  vulgarity.  The  responses  encouraged  her  to 
inaugurate  a  midwinter  season.  She  opened  with  "She  Stoops 
to  Conquer,"  which  was  succeeded  by  "Much  Ado,"  following 
this  with  "The  Rivals,"  and  each  week  of  nine  she  gave  one  of 
the  delightful  old  laughter-makers  by  masters  of  mirth. 

It  was  an  intrepid  adventure.  The  perennially  girlish  actress 
manager  knew 
this,  but  with  the 
gaming  spirit  of 
the  player,  she 
said : 

"I've  put  every 
dollar  I  have  into 
it.  But  it's  worth 
it  to  for  once 
have  my  own 
way.  to  act  as  I 
like,  direct  as  1 
like,  without  re- 
strictions  or 
hindrance." 

She  laughed, 
with  the  glee  of 
a  schoolgirl  play- 
ing truant,  h  e  r 
hair  shining  in 


Lydia    Languish    (Annie    Russell)    and    Hob    Acres    (George 
(liddens)    in   "The   Rivals" 


' 


er    U n i q u e   Venture 

the  sunshine  and  ruffled  by  the  free  wind,  her  feet  scarcely  touch- 
ing the  ground  as  she  rled  from  duty. 

She  had  come  upon  the  stage  at  a  morning  rehearsal,  a  slight 
figure  clad  in  brown  from  head  to  foot,  the  brown  velvet  hat 
smart  but  inconspicuous,  the  brown  broadcloth  suit  well  cut  but 
not  obtrusive.  As  she,  flitted  among  the  players,  conferring  with 
her  husband.  Oswald  Yorke,  lately  seen  as  the  bachelor  friend 

of  Anatol  at  The  Little  Theatre,  but 
who  attended  his  wife's  rehearsals  to 
help  when  he  can,  directing  the 
prompter  at  his  seat  at  the  table, 
nodding  and  smiling  at  the  other 
actresses  in  the  cast,  receiving  the 
obeisances  of  the  actors,  she  seemed, 
as  she  always  does,  on  the  stage,  a 
human  watercolor,  of  delicate  tints 
and  subtle  shadings.  Her  voice,  even 
when  she  said  to  her  maid,  who  was 
plucking  at  her  sleeve,  "Go  away, 
Dora,''  was  the  voice  of  a  gentle  girl. 
We  talked  of  girlhood  when  a  few 
minutes  later  we  met  in  the  Thirty- 
ninth  Street  Theatre's  green  room. 
"There  is  no  need  for  the  spirit  to 
ever  grow  old,"  she  said  in  that  con- 
vincing voice.  "Everyone  can  keep 
the  essence  of  youth  if  she  tries.  It 
is  a  matter  of  looking  at  everything 
from  the  point  of  view  of  a  girl,  ami 
even  in  times  of  greatest  anguish 
that  spirit  saves  and  heals.  I  have 
known  as  great  agony  as  can  come  into  any  life,  but  the  spirit 
and  vision  of  youth  have  conquered  it. 

"I  have  been  on  the  stage  since  I  was  seven.'' 
"The  right  age  to  go  on,  isn't  it  ?" 

"Yes ;  I  think  so.  Although  I  put  three  women  on  the  stage 
when  they  were  as  old  as  I  am  now  and  they  became  successful. 
They  were  Mrs.  Clara  Bloodgood,  Mrs.  Sarah  Cowell  Lemoyne 
and  Mrs.  Harriet  Otis  Dellenbaugh.  Mrs.  Lemoyne  had  been  a 
teacher  and  had  had  a  little  experience  ten  years  before,  but  Mrs. 
Clara  Bloodgood  had  had  none  at  all.  Of  course  they  were 
unusually  well  equipped." 

"Your  brother  isn't  of  your  opinion,  1  fancy.  The  Tommy 
Russell,  who  was  the  sweetest  of  Little  Lord  Fauntleroys  is  a 
business  man,  a  broker,  isn't  he?" 

"No.  He  is  in  the  insurance  business.  But  I  don't  think  he 
should  have  left  the  stage,  and  1  don't  believe  he  has  permanently 
left  it.  His  stage  experience  spoiled  him  as  a  business  man. 
and  his  leaving  has  put  him  back  as  an  actor.  I  believe  that 

having       adopted 
the   stage   one 
should  remain  on 
it  to  the  end." 
"And    the    end 


is- 


\Vhite 


"N  o  t  retiring 
in  their  prime  as 
so  many  actresses 
are  doing,  or 
talking  of  doing. 
I  think  it  should 
be  the  end  of  all 
things." 

"Then  you  in- 
tend to  play  all 
your  life?" 

Annie  Russell 
bowed  a  graceful, 
reverent  head. 


Captain  Tack  Absolute 
(Frank  Reicher) 


Lydia  Languish 
(Annie    Russell) 
Act  V.    Captain   Absolute: 


Bob  Acres 
(George   Giddens) 


"Come  on   then,   sir" 


I  hoto  White 


ANNIE    RUSSELL    AS     HEATKICE     IN    "MITH    ADO    ABOUT    NOTHIXC" 


THE     THEATRE     MAGAZINE 


Bangs 


FRITZI    VON     BUSING 
Playing    Ilka,    the    prima    donna    role    in    "The    Merry    Countess" 


"I  will  play  as  long  as  they  will  let  me.  I  said  in  a  paper 
I  read  before  my  club,  the  Cosmopolitan,  that  the  actress  is 
born,  then  made,  and  1  believe  she  owes  to  the  influences 
that  fashioned  her  before  birth  and  after,  to  remain  in  the 
player's  profession  as  long  as  she  lives  or  the  public  wants 
her. 

"It  is  a  very  hard  life.  1  heard  Mrs.  Kendal  say  that  it 
is  like  a  prize  fight.  Certainly,  one  is  always  hitting  out  at 
the  punching  bags  of  difficulties.  One  of  them  is  personal 
criticism.  For  instance,  it  took  a  long  time  to  recover  from 
a  sentence  which  one  of  the  greatest  American  critics 
bestowed  gratis  upon  me  after  I  had  played  Elaine  in  'The 
Lilly  Maid  of  Astalot.'  I  had  done  my  best.  I  had  poured 
into  the  part  all  the  poetry  I  could.  1  had  given  every 
ounce  of  energy  and  every  pulse  and  thought,  for  weeks, 
and  1  sat  up  all  night  after  the  performance  to  read  what 
this  critic,  William  Winter,  should  say  of  me,  and  I  read : 
'An  adventuress  need  not  be  a  bundle  of  skin  and  bones, 
like  Annie  Russell.'  " 

"What  should  be  the  standard  of  criticism?" 
"I  think  a  critic  should  know  the  work  that  is  being  pro- 
duced, especially  if  it  be  an  old  one,  so  that  he  will  be 
competent  to  criticise  it,  and  he  should  consider  how  that 
work  is  reflected  through  the  medium  of  the  artist's  per- 
sonality. He  should  not,  because  he  has  always  seen  a 
comedy  part  played  by  a  large  woman,  say  the  small  one  is 
not  adapted  to  it.  Perhaps  the  author  had  in  mind  a  little 
woman.  If  the  critic  knows  the  work  he  will  know  whether 
this  is  true.  Then  a  critic  should  consider  the  player's  con- 
ception of  the  part.  She  may  have  a  new  conception  of  it 
and  she  may  be  right.  Tradition  is  not  infallible." 


"Of  course  women  ask  your  advice  about  going  on  the 
stage." 

"Oh,  yes.  They  clasp  their  hands  and  raise  their  eyes 
to  heaven  and  say,  'Oh,  Miss  Russell,  1  know  that  I  could 
act.'  1  try  to  tell  them  gently  that  there  is  a  great  difference 
between  the  desire  to  act  and  the  ability  to  act.  When  they 
ask  me  about  going  on  the  stage  I  always  say,  'Don't,'  and 
1  explain  the  discomforts  of  travel,  the  lack  of  a  chance  to 
take  root  anywhere,  the  transient  character  of  our  work 
and  success." 

"When  girls  have  temperament  and  intelligence  what  do 
you  advise  them  to  take  up  as  a  substitute  for  the  stage?" 

"The  profession  of  being  a  woman.  They  will  have  every 
opportunity  as  a  wife  and  mother  and  friend  and  home- 
keeper  to  reflect  all  the  beauty  in  them  and  to  inspire  other 
lives." 

"You  have  been  true  to  your  ideas  and  ideals  of  the 
stage." 

"I  have  always  tried  to  reflect  all  of  beauty  and  poetry 
there  is  in  a  character.  I  have  had  many  offers  to  play  a 
wicked  character,  but  I  have  never  played  other  than  a 
spiritually  good  woman.  Sue  was  such  a  woman.  She 
was  the  victim  of  circumstances." 

"It  was  when  you  played  Sue  in  London  they  called  you 
the  'Duse  of  America'?" 

"The  Duse  of  the  English-speaking  stage,"  she  corrected 
with  the  pride  of  the  honor  girl  of  her  class.  "Of  course, 
that  made  me  very  happy,  for  while  I  consider  Sarah 
Rernhardt  the  greatest  actress  in  the  world,  Signora  Duse 
is  the  greatest  artist." 

And  the  slim  brown  figure  flitted  back  to  rehearsals. 

ADA  PATTERSON. 


1-RITZ    LEIBKR 
Appearing    willi    Robert    Man  tell    in    Shakespearian    repertoire 


Lobby  of  the  Bijou  Dream  Theatre 


Entrance  of  the  Bijou  Dream 


C 


AN    a    moving 
picture  place  be 
run     on     the 
same    elaborate,    aristocratic    lines    as    a    first-class    theatre? 

Josephine  Clement,  manager  of  the  Bijou  Dream  of  Boston, 
has  proved  that  it  can.  Mrs.  Clement  is  well  known  as  an  au- 
thority on  "human  uplift"  problems.  She  is  the  wife  of  Edward 
H.  Clement,  for  years  the  editor  of  the  Boston  Transcript,  now 
retired  and  contributing  "The  Listener"  to  that  paper.  She  is  a 
member  of  many  of  the  exclusive  clubs  of  the  Hub  and  fre- 
quently opens  her  Brookline  home  for  a  musical  or  a  literary 
entertainment,  the  proceeds  to  go  to  some  charity,  at  which  the 
lecture  or  music  is  contributed  by  the  artists  appearing  at  the 
Bijou  Dream. 

When  Mrs.  Clement  assumed  the  management  of  the  Bijou 
Dream  in  July,  1908,  it  had  been  running  as  a  ten-cent  house 
since  the  previous  February.  The  entertainment  offered  had 
been  of  the  regulation  sort — moving  pictures,  illustrated  songs  to 
the  accompaniment  of  a  bangy  piano,  and  a  perfunctory  travel 
lecture  which  seemed  to  act  as  a  signal  for  everybody  to  get  out. 
As  Mrs.  Clement  approved  of  ten-minute  lectures  on  worth-while 
subjects,  she  first  turned  her  attention  to  the  lack  of  interest 
those  on  the  program  created.  She  discovered  that  the  trouble 
lay  in  the  stupid  treatment  of  the  subject  and  the  dull  way  in 
which  it  was  presented.  To  remedy  this  defect  she  sought  out 
trained  lecturers,  experts  in  their  subjects,  and  she  called  the 
ten  minutes  each  agreed  to  give  four  times  a  day -for  a  week 
"Camera  Chats,"  which  name  is  attractive  in  itself.  During 
these  four  years  there  has  been  scarcely  one  expert  who  has 
come  to  Boston  who  Iras  not  been  captured  by  Mrs.  Clement  and 
a  week  contract  signed. 


Next  she  turned  her  attention  to  the  moving  pictures.  She 
cut  out  all  those  that  were  over-stimulating,  "boozy"  or  just  in- 
ane. She  chose  only  those  which  held  a  telling  story  combined 
with  competent  acting  and  good  photography.  Many  of  the 
pictures  passed  by  the  Board  of  Censorship  are  thrown  down  by 
Mrs.  Clement,  not  because  they  are  immoral,  but  because  they 
are  merely  useless.  She  selects  her  educational  pictures  first, 
then  she  sprinkles  in  enough  humorous  ones  to  relieve  the  mo- 
notony. But  even  the  humor  must  be  substantial — not  mere 
horse-play. 

After  the  lectures  and  the  pictures,  she  turned  her  attention 
to  the  music.  She  first  did  away  with  "traps"  and  drums.  She 
bought  a  new  high-grade  piano  which  she  keeps  perpetually  in 
tune.  She  secured  three  competent  pianists  whom  she  forbade 
to  play  the  lower  grades  of  music.  Mostly  she  designates  the 
selections  herself,  choosing  a  range  which  is  neither  so  elevated 
as  to  bore  the  unskilled  listener  nor  so  commonplace  as  to  dis- 
tress a  trained  ear. 

It  was  not  so  easy,  however,  to  secure  adequate  singers  at  sal- 
aries a  ten-cent  show  would  warrant.  To  get  around  this  diffi- 
culty, Mrs.  Clement  inaugurated  her  "Try-out  Wednesday," 
which  is  known  among  amateurs  all  over  the  country.  She  is 
then  "at  home"  in  her  mahogany  office  at  the  Bijou  Dream 
to  anyone  who  thinks  he  or  she  has  a  voice.  She  refuses  no  one 
a  hearing.  Many  an  amateur  has  passed  through  "Try-out 
Wednesday"  onto  the  stage  of  the  Bijou  Dream — thereby  gain- 
ing confidence  in  herself  and  her  powers  that  has  later  carried 
her  triumphantly  through  a  more  exacting  "try-out"  by  a  less 
considerate  judge. 

It  was  not  until  the  beginning  of  the  second  year,  after 
"Standing  Room  Only."  had  to  be  (Continued  on  page  viii) 


Success    First    Came    t 


win 


th 


Edwin   Booth  at  1& 


1>\\  i.\  I  SOOTH  went  to  California 
in  1852,  an  ambitious,  handsome 
boy,  and  at  the  Jenny  Lind  Theatre 
in  San  Francisco  appeared  in  the  com- 
pany supporting  his  celebrated  father, 
Junius  Brutus  Booth.  It  was  during  this 
engagement  that  the  young  actor,  together 
with  his  father  and  brother,  "took  a  bene- 
fit," and  it  being  Edwin's  first  appearance 
on  such  an  occasion,  the  event  was  of  great 
importance  to  him.  The  play  produced 
was  Otway's  "Venice  Preserved,"  the 
elder  Booth  playing  Pierre  while  Edwin 
played  Jafiier. 

It  had  been  the  custom  to  dress  Jaffier  in  a  black  velvet  tunic, 
in  a  fashion  not  unlike  to  Hamlet's  traditional  garb.  Seeing 
Edwin  in  that  dress,  his  father,  in  one  of  his  grave,  pathetic 
moods,  looked  at  him  for  a  long  time,  curiously  and  sadly,  and 
at  last  said : 

"You  look  like  Hamlet,  why  don't  you  play  it  ?" 
"Perhaps   I   may   sometime,"    replied   the   young  actor,   "if    I 
should  ever  have  another  benefit." 

The  scene  and  the  words  he  uttered  came  vividly  back  upon  his 
memory  in  after  days,  when  the  opportunity  arose  for  him  to 
play  Hamlet,  and  when,  in  fulfillment  of  this  implied  pledge  to 
his  father,  he  acted  the  part,  which  proved  the  chief  means  of 
his  development,  his  fortune  and  his  fame. 

After  the  departure  of  Junius  Brutus  Booth  for  the  East  in 
October,  1852,  Edwin  lingered  about  San  Francisco  waiting  for 
an  engagement,  which  he  got  presently  from  D.  M.  Waller,  who 
was  about  to  begin  a  starring  tour  in  the  mining  country.  Grass 
Valley  and  Xevada  Citv  were  to  be  their  chief  strongholds,  and 
it  was  in  the  former  town  that  Edwin  first  played  lago. 

The  enterprise  was  most  unfortunate  from  the  beginning  and 
the  party  encountered  storms,  disappointments  and  disasters. 
Hemmed  in  by  a  terrible  snow-storm  at  Grass  Valley,  the  wander- 
ing players  were  brought  to  the  very  verge  of  starvation.  Days 
passed  in  this  prison  in  the  mountains  and  food  sold  at  famine 
prices.  Already  lonely  and  disheartened  young  Edwin  Booth 
received  one  stormy  night  the  news  of  his  father's  death  on  a 
Mississippi  River  steamer  en  route  from  New  Orleans  to  Cincin- 
nati. The  tidings  were  brought  by  a  hardy  and  adventurous 
mail  carrier  who  managed  to  burst  through  the  snow  blockade 
with  letters  from  the  outer  world. 

How  to  get  to  his  brother  Junius,  who  was  living  in  San 
Francisco,  became  now  a  serious  problem  to  young  Booth.  There 
was  no  sort  of  conveyance  out  of  Grass  Valley.  The  nearest 
town  was  Marysville,  fifty  miles  away.  The  snow  lay  thick  and 
heavy  upon  the  mountain  trails.  In  this  desperate  dilemma, 
Booth  chanced  to  overhear  the  talk  of  a  group  of  men  at  a  street 
corner,  who  spoke  of  their  design  to  walk  out  of  the  town  rather 
than  stay  there  and  starve.  The  men  were  rough  and  their 
project  was  full  of  peril,  but  the  plan  they  announced  opened  the 
sole  road  to  deliverance,  and  the  actor  instantly  joined  fortunes 
with  the  adventurers.  Each  man  contributed  what  he  could  to 
the  common  purse  and  larder;  a  chief  was  chosen,  and  the  ex- 
pedition set  forth.  Their  journey  to  Marysville  consumed  two 
days  and  a  night.  They  found  rest  occasionally  at  wayside 
cabins.  Often  they  floundered  in  snow  to  their  waists.  Cold, 
hungry,  tattered  and  wretched,  they  arrived  at  Marysville,  and 
scattered  to  their  several  destinations. 

Booth,  who  was  now  penniless,  borrowed  enough  money  to  pay 
his  passage  to  Sacramento  and  thence  to  San  Francisco,  and  one 
can  imagine  with  what  joy  he  at  last  found  rest  and  peace  in  his 
brother's  cottage  on  Telegraph  Hill.  Junius  had  received  later 
news  from  the  East,  and  as  their  mother's  wants  were  neither 
many  nor  pressing,  the  sons  determined  to  remain  in  California. 
Soon  after  this  Edwin  became  a  member  of  a  dramatic  com- 
pany under  his  brother's  management,  and  was  engaged  to  play 


"utility"  parti  at  the  San  Francisco  Hall.  Farces  and  burlesques 
were  popular  at  the  Hall,  and  in  these  the  ready  and  versatile 
player  took  an  active  part.  One  of  his  "hits"  was  made  as 
Dandy  Cox  in  a  negro  farce  produced  by  the  Chapman  family. 
Another  was  the  personation  of  a  local  character  named  Plume, 
who  was  so  delighted  at  the  caricature  that  he  presented  Booth 
with  his  hat,  coat  and  gaiters.  A  more  important  "hit,''  however, 
was  made  by  the  young  actor  as  Petruchio. 

( )ne  night,  for  the  benefit  of  a  friend,  Booth  acted  Richard  III. 
The  city  rang  with  his  praises  on  the  following  day  and  Junius 
urged  him  t.)  take  up  Shakespearian  plays,  in  consequence,  Ed- 
win  undertook  Shylock,  which  he  followed  with  Macbeth. 
The  result  was  a  popular  excitement  unprecedented  in  Califor- 
nia's dramatic  life.  Crowds  applauded  him  and  the  press 
cheered  him  with  encouraging  words.  Toward  the  close  of  his 
series  of  Shakespearian  performances  he  obtained  a  benefit,  and 
it  was  now,  mindful  of  his  father's  significant  suggestion,  that  he 
acted  the  part  of  Hamlet.  The  performance  brought  him  crown- 
ing honors.  Through  all  the  inequality  and  crudeness  of  the 
impersonation  the  power  and  fire  of  the  rising  dramatic  genius 
was  recognized. 

Then  hard  times  came  to  the  Booths,  for  the  opening  of  a  new 
theatre  turned  public  attention  elsewhere  and  the  brothers  were 
finally  compelled  to  convert  their  theatre  into  a  minstrel  hall. 
This  was  in  1854,  and  Edwin,  discouraged  by  affairs,  determined 
to  £o  with  a  stock  company  to  Australia.  It  is  a  long  story,  that 
of  his  failures  there  and  of  his  return  journey.  With  three  or 
four  companions  he  stopped  at  Honolulu  and  remained  there,  two 
months  "barn-storming."  They  played  "Richard  III"  and  "Lady 
of  Lyons."  Booth's  friend,  Joe  Roe,  was  young  and  handsome, 
and  in  default  of  a  leading  lady  acted  the  part  of  Pauline  as  well 
as  the  role  of  Lady  Anne.  They  were  so  poor  that  they  all  had 
to  sleep  in  hammocks  rigged  up  near  the  miserable  shed  thev 
called  a  theatre.  Booth  himself  went  about  and  pasted  posters 
on  the  fences. 

After  they  had  managed  to  reach  San  Francisco  again.  Booth 
obtained  an  engagement  with  Mrs.  Edwin  Forrest  at  the  Metro- 
politan Theatre.  His  first  role  was  Benedict  in  "Much  Ado 
About  Nothing,"  and  presently  Booth  and  Mrs.  Forrest  formed 
a  business  partnership  to  travel  and  act.  Their  first  play  was 
produced  in  Sacramento;  and  it  was  here  that  Edwin  Booth 
made  his  first  great  success,  winning  his  laurels  as  Raphael  in 
"The  Marble  Heart."  The  piece  was  kept  on  every  night  for 
three  weeks,  an  unprecedented  run  in  the  history  of  early  Cali- 
fornia theatricals.  Encouraged  by  this  success  he  again  tried 
"Hamlet,"  the  role  which  was  to  earn  for  him  the  plaudits  of  the 
universe.  The  newspapers  of  that  day  told  how  the  miners  came 
from  El  Dorado  and  Placer  counties  and  even  from  Shasta,  to 
see  his  performance. 

Things  went  badly  with  the  Forrest- Booth  Company  when  they 
left  Sacramento  for  the  interior.  Then  the  partners  quarrelled 
and  Booth  was  left  in  the  foothills  of  the  Sierra  Nevada  with 
scarcely  a  penny  in  his  pocket.  However,  a  strolling  manager 
named  Moulton  had  organized  a  company,  which  travelled  about 
in  a  big  wagon  with  three  brass  instruments  played  by  wretched 
musicians  to  attract  custom.  Booth  joined  the  troupe  and  rode 
a  broncho,  halting  at  the  various  towns  to  act. 

Then  he  rose  to  the  dignity  of  a  star  again,  being  assisted  by 
Sacramento  friends,  and  reappeared  at  the  Forrest  Theatre.  He 
met  with  great  success  and  was  given  numerous  benefits.  His 
fame  quickly  increased  and  the  outer  world  began  to  clamor  for 
him. 

At  San  Francisco  they  gave  him  another  benefit,  at  which  he 
played  for  the  first  time  the  part  of  King  Lear.  He  left  for  New 
York  by  the  Panama  steamer  September  10  1856,  and  when  he 
arrived  in  the  East  he  found  to  his  astonishment  that  he  had 
become  famous  simply  from  the  reputation  he  had  gained  in 
California. 

RODNF.Y  Br.AKK. 


KSTELLE    WKNTWORTH    AS    ELIZABETH    IN    "TANNHAUSER" 

Mi^   VVintworth.   who  is  a  ilram.itic  soprano,   is  a   Dative   of  Chicago.      She  went  to  Europe  after  studying  singing  only  a  year,  and  made  her  debut  at  the  Ducal  Court  Opera 
House   at    Ufss.-in   in   "Mailama    ButKrfl)."     Her  success  was  such   that  she   immediately  secured   a   three-jears'   engagement.      She   will    sing  in    the    Vienna    Festival    next    May 

and   in    Berlin   in-  June 


I 


N  the  Chinese 
play,  "The  Yel- 
low Jacket,"  an 


An  Actor 


actor  performs  an  unusual  feat.  With  not  a  word  to  speak 
throughout  the  three  acts  of  this  original  and  novel  drama,  and 
without  the  aid  of  a  place  in  the  story  or  a  costume  other  than  the 
plainest  attire,  such  as  is  worn  by  the  Chinese  laundryman  so 
familiar  to  us  all,  he  has  made  of  his  difficult  part — which  in  the 
play,  as  drama,  is  no  part  at  all — the  one  big  role  in  the  piece. 

Most  actors  make  their  reputations  by  repeating  effectively  the 
words  placed  in  their  mouths  by  playwrights.  But  here  is  an 
actor  with  a  part  hardly  more  than  a  stage-hand,  who  is  more 
effective  while  silently  doing  nothing  than  many  an  actor  is  when 
mouthing  in  basso-profundo  Marc  Antony's  oration  over  the 
body  of  Caesar. 

With  Arthur  Shaw  words  do  not  count — it  is  "business." 

"The  average  actor  of  ability  and  experience  never  realizes 
how  much  there  is  in  'business'  until  he  plays  a  part  like  this," 
said  Mr.  Shaw  as  he  fastened  his  queue  on  his  head  in  his  dress- 
ing-room in  the  Fulton  Theatre. 

"By  'business'  I  mean  the  things  other  than  words  used  by  a 
player  in  creating  a  stage  character.  'Pantomime,'  perhaps,  is 
the  word  I  should  have  used.  At  any  rate,  just  at  present,  that 
is  what  I  mean  by  stage  'business.' 

"Everyone  has  seen  an  actor  spoil  a  scene  by  a  movement  of 
the  hand  or  some  other  gesture  made  while  another  player  was 
speaking.  If  this  gesture  were  made  to  help  rather  than  to 
hinder  there  would  be  a  positive  rather  than  a  negative  effect  of 
pantomime. 

"Pantomime  is  like  painting,  in  a  way.  A  celebrated  landscape 
artist  once  told  me  that  his  success  lay  in  knowing  what  to  leave 
out  of  his  pictures,  rather  than  in  knowing  what  to  put  into  them. 
Pantomime  depends  on  what  you  don't  do,  rather  than  on  what 
you  do.  When  you  have  nothing  to  say — no  lines  to  speak — 
there  are  more  than  the  usual  opportunities  for  doing  other 
things.  The  good  pantomimist  is  the  actor  who  doesn't  do  them. 

"It  is  not  what  1  do  but  what  I  don't  do  that 
counts  in  this  play.  If,  instead  of  attending  to 
my  business,  I  went  around  the  stage  being 
funny — tantalizing  the  dragons  on  the  sun- 
colored  garments  of  my  honorable  fellow-actors 
— I  would  spoil  the  piece.  If  1  took  a  notion  to 
get  interested  in  the  audience  the  whole  illusion 
would  be  lost.  Or,  if  1  were  to  allow  myself 
to  become  interested  in  the  play  or  anything 
save  my  own  work  as  a  property  man,  my  part 
would  fall  to  pieces. 

"I  don't  dare  look  out  into  the  audience  with 
other  than  the  blankest  expressions  else  I  come 
out  of  the  picture.  I  don't  dare  do  anything 
except  loll  around  and  pretend  to  do  nothing  in 
a  lackadaisical  way.  But,  in  reality,  1  am 
working  all  the  time.  I  have  to.  I  have  to 
respond  to  480  cues — to  anticipate  everything 
about  a  minute  before  it  happens,  to  hear  every- 
thing without  seeming  to,  to  smoke  one  cigarette 
after  another  throughout  the  performance  and 
act  as  if  I  liked  them — in  fact,  to  be  a  nonenity 
on  a  stage  filled  with  living,  talking,  scheming, 
loving,  fighting  human  beings.  It's  not  the 
easiest  job  I  ever  had,  even  though  I  haven't  a 
word  to  say. 

"I'm  glad  you  dropped  in,  for  it's  seldom  I 
get  a  chance  to. talk!''  and  our  interview  ended, 
as  Mr.  Shaw  hurried  out  to  take  his  place  to  the 
right  of  the  stage — from  the  audience — by  a 
large  box  containing  the  properties  used  in  the 
piece.  There  he  sits,  calmly  smoking  his 
cigarette,  until  the  occasion  demands  that  he 
and  his  three  assistants  spread  out  on  the  stage 
a  piece  of  brocaded  cloth  to  represent  luxurious 
surroundings.  This  he  does  in  much  the  same 


manner  as  Marce- 
hne  "helping''  the 
stage-hands  roll  and 
unroll  carpets  on  the  stage.  Suggesting  work  he  does  nothing. 
Dressed  in  the  plainest  of  Chinese  clothes,  in  violent  contrast 
to  the  splendor  of  the  Chinese  actors,  he  sits  apart,  bored  to 
death  by  the  speeches  and  episodes  of  the  play,  which  he  knows 
too  well,  but  which  he  ever  must  keep  in  his  mind  a  little  ahead  of 
their  actual  occurrence,  performing  his  duties  with  an  air  of 
languid  anil  mechanical  indifference.  No  climax,  no  eloquence, 
arouses  him  from  his  state  of  weariness  and  ennui.  When  he  is 
not  engaged  in  his  actual  work  as  Property  Man  he  reads  the 
Chinese  newspaper,  the  while  smoking  a  cigarette,  detached  from 
everything. 

When  murder  is  to  be  done,  the  Property  Man  approaches 
with  a  weapon,  and  presently  supplies  a  cushion  of  red  stuff  to 
represent  the  dissevered  member.  Later,  when  the  hero  would 
hang  himself  from  a  weeping-willow  tree,  he  comes  forward  with 
a  tall  bamboo  pole  to  which  is  attached  a  rope  and  noose  all 
prepared  for  the  act  of  self-murder.  At  another  time  when  the 
August  Tai  Fah  Min  tells  him  to  take  away  his  horse  the  Property 
Man  walks  around  this  honorable  and  venerable  personage,  grasps 
an  imaginary  halter  in  his  hand,  and  leads  the  imaginary  steed 
away,  only  to  return  to  his  property  box  for  a  feather  duster  to 
dust  off  the  celestial's  robes  as  unconcernedly  as  if  he  were 
twirling  a  cigar  and  making  dreamy  smoke  wreaths. 

His  big  scene  is  when  he  walks  on  with  a  snow-storm — a  hand- 
ful of  fine  bits  of  paper,  which  he  carelessly  scatters  about. 
Such  a  thing  might  seem  foolish  if  it  were  not  done  as  Shaw 
does  it.  It  is  his  utter  unconcern,  his  absolute  naturalism,  that 
saves  the  things  he  does  from  being  nonsensical,  and  makes  them 
suggest  what  they  represent,  stimulating  the  imagination  of  the 
audience. 

To  do  these  things  in  a  bored  and  unconcerned  manner  and  in 
such  a  way  as  not  to  intrude  on  the  story  or  plot  of  the  piece, 
nor  interfere  with  its  action — to  be  a  part  and  yet  not  a  part  of 
the  play  and  get  what  you  do  over  the  foot- 
lights when  you  apparently  are  not  doing  any- 
thing, and  without  the  aid  of  a  single  spoken 
word,  requires  considerable  skill  as  a  panto- 
mimic actor,  and  is  unusual.  This,  and  more, 
Arthur  Shaw  has  accomplished — he  has  given 
an  extraordinary  piece  of  acting  that  long  will 
be  remembered. 

And  Shaw  says  he  learned  how  to  act  in 
silence  and  with  utter  unconcern  when  a  volun- 
teer fireman  out  in  Michigan.  He  says  when 
he  plays  the  Property  Man  he  goes  about  it 
just  as  he  used  to  go  about  putting  out  a  fire — 
doing  his  part  of  the  work  without  saying  a 
word  to  anybody  and  with  no  other  thought  in 
his  mind. 

Shaw  received  a  good  training  for  such  a 
part  while  in  college.  He  went  to  most  of 
them,  and  in  each  played  football,  being  a 
clever  quarterback.  His  forte  in  the  game  was 
his  ability  to  disappear  from  mix-ups,  always 
with  the  "property,"  otherwise  ball.  No  one 
ever  knew  where  Shaw  was,  but  all  knew  that 
wherever  he  was  the  ball  was  there,  too.  He 
played  without  regard  to  the  others  in  the  team, 
yet  with  them.  It  was  this  peculiar  knack  of 
his  that  made  him  score  touch-down  after 
touch-down  and  goal  upon  goal.  Always,  he 
was  the  same  as  the  Chinese  property  man  in  a 
Chinese  theatre,  so  when  "The  Yellow  Jacket" 
came  along  and  Shaw  was  invited  to  play  the 
part,  he  went  at  it  as  he  always  had  gone  at 
anything — in  his  own  care-free  way,  without 
paying  any  attention  to  anyone  else,  yet  not 
working  against  the  efforts  of  the  whole. 

WENDELL  PHILLIPS  DODGE. 


Arthur   Shaw   as    the    Property    Man    in 
"The   Yellow  Jacket" 


Scene  in   'Learned  r.adics,"  as  presented  at 
Bryn    Mawr    College 


THAT  body  of  talented  amateurs  and  intelligent  theatre- 
goers recently  organized  in  Philadelphia  under  the  name 
"Plays  and  Players"  seem  to  have  solved  the  problem  of 
how  amateur  actors  may  best  serve  the  public,  and  at  the  same 
time  reserve  for  themselves  an  unusual  amount  of  pleasure. 

The  club  is  organized  on  a  very  practical  basis,  with  a  limited 
membership  divided  into  three  classes,  viz. :  active  members,  as- 
sociate players,  and  associate  members.  Of  these  three  divisions 
the  last-named  are  of  prime  importance,  since  it  is  to  them  the 
active  members  look  for  financial  and  appreciative  support. 
Many  of  the  most  influential  citizens  of  Philadelphia  are  among 
the  number — men  and  women  interested  in  various  artistic  and 
civic  affairs  who  believe  that  the  amateur  actor  has  a  mission  in 
giving  his  services  for  charity,  and  also  is  to  be  encouraged  in 
the  producing  of  plays  interesting  to  a  limited  public  and  there- 
fore not  always  possible  on  the  professional  stage. 

All  the  public  performances  given  through  the  season  are  for 
the  benefit  of  a  worthy  charity  or  institution ;  and  for  the  selec- 
tion of  the  particular  beneficiary  a  committee  is  formed  from  the 
associate  list  to  make  the  decision. 

The  active  members  number  about  sixty,  and  among  them  are 
to  be  found  several  men  and  women  who  have  once  played  pro- 
fessionally, and  there  are  others  who  might,  with  reason,  have 
sought  their  fortunes  in  the  theatre. 

The  associate,  players  are  those  who  have  not  yet  passed  the 
required  test  for  active  membership.  They  may  be  called  upon 
to  act  as  supernumeraries  if  occasion  demands,  or  they  may  be 
asked  to  take  part  in  a  private  entertainment  given  in  the  Play- 
room, and,  having  passed  the  test,  are  elevated  to  higher  rank. 

For  it  is  in  the  Playroom  the  private,  and  often  delightful,  en- 
tertainments take  place.  The  room  is  furnished  with  a  small, 
but  comfortable  stage  where  one-act  plays,  dances,  pantomimes 


MRS.  W.  YORKE  STFAT.XSOy 

One  of  the  organizers  of  the  society   "I'lays 

and    Players" 


and    songs    make   up    the    pro- 
gramme for  a  club  night. 

The  public  performances  of 
last  season,  their  first,  included 
such  plays  as  Oscar  Wilde's 
"Ideal  Husband,"  Sudermann's 
"Far  Away  Princess,"  Yeats'  "Shadowy  Waters,"  Quintero's 
"Pepita  Reyes,"  and  Moliere's  "Les  Femmes  Savantes." 

It  was  in  the  Moliere  comedy  that  the  real  ability  of  the  club 
was  shown,  and  faith  was  established  that  the  players  might  be 
judged  by  a  high  standard.  This  significant  performance  took 
place  in  the  cloister  of  Bryn  Mawr  College  where  "Plays  and 
Players"  had  been  invited  to  give  their  services  for  the  benefit  of 
the  Students'  Building  Fund. 

The  founding  of  the  club  was  the  culmination  of  years  of  good 
acting  and  faithful  service  on  the  part  of  many  Philadelphia 
players.  But  if  any  one  person  deserves  special  credit  it  is  un- 
doubtedly to  Mrs.  Yorke  Stevenson  that  honors  must  be  paid. 
She  is  a  beautiful  and  a  talented  woman  who  might  well  have 
become  professional,  but  she  has  preferred  to  devote  her  ser- 
vices to  presenting  plays  for  charity.  Her  voice  is  rich  and 
clear,  and  she  has  the  rare  gift  of  reading  verse  well.  It  is  per- 
haps for  this  reason  she  is  best  remembered  in  plays  that  require 
poetic  treatment.  She  designs  her  own  productions,  and  Phila- 
delphians  like  to  recall  that  long  before  "Sister  Beatrice"  was 
played  professionally  Mrs.  Stevenson  had  made  her  own  trans- 
lation, produced  the  piece  and  played  the  leading  role  in  a  man- 
ner creditable  to  any  "actress-manager." 

The  president  of  the  club,  J.  Howard  Reber,  is  a  successful 
lawyer  who  finds  recreation  in  acting.  Both  he  and  his  beautiful 
wife  play  well,  and  it  is  to  Mr.  Reber's  excellent  judgment  that 
the  club  is  so  well  organized.  The  (Continued  on  page  vii) 


MEMBERS  OF  THE  "PLAYS  AND  PLAYERS"  OF  PHILADELPHIA  IN  A  SCENE  FROM  MOLIERE'S  "LEARNED  LADIES" 


.64 


THE     THEATRE     M A G  AZI \ E 


THAT  region  "behind  the  scenes"  is,  to  those 
who  have  never  visited  it,  a  place  of  gos- 
sip-tinted mystery.  To  those  whose  busi- 
ness takes  them  there  every  day  or  night,  it  is  a 
commonplace  affair,  complicated  only  by  scene- 
braces  jutting  out  to  trip  the  unwary;  by  recum- 
bent or  madly  rushing  stage-hands,  and  by  the 
necessity  for  dodging  traps,  ropes  and  "props." 
Pint  to  those  who  make  an  occasional  excursion 
behind  the  scenes,  and  who  are  privileged  to 
watch  the  intimate  working  of  a  performance,  it 
is  a  region  full  of  human  interest;  the  scene  of 
many  a  drama  or  comedy  not  guessed  at  by  the 
audience  of  the  play  itself. 

An  incident  which  left  an  indelible  impression 
on  at  least  one  person  who  witnessed  it,  occurred 
nightly  in  a  New  York  theatre  during  the  run  of 
a  play  in  which  the  heroine  was  supposed  to  be  a 
violiniste  of  marked  ability.  As  the  actress 
knew  nothing  of  the  instrument,  the  music  was 
played  "off  stage"  by  a  member  of  the  orchestra. 
He  was  a  man  past  middle  age,  stooped  and 
fragile;  his  clothes  gave  evidence  of  long  wear; 
his  face  was  patient,  almost  stolid.  Night  after 
night,  he  stood  there  in  the  wings,  in  the  glow 
of  a  calcium,  pouring  out  his  very  soul  in  melody. 
What  did  it  mean  to  him?  Often  one  would  fear 
that  in  his  absorption  he  would  forget  to  break 
off  at  the  cue ;  but  he  never  did  forget.  Then  he 
would  pick  u])  his  rack  and  move  quietly  away 
toward  those  mysterious  depths  known,  it  seems, 
only  to  theatre  orchestras.  Still,  unseen  by  the 
audience,  his  music  credited  to  the  woman  on  the 
stage,  when  the  spontaneous  applause  burst  forth 
he  had  his  little  moment  of  triumph  to  recom- 
pense him  for  years  of  failure.  At  any  rate,  one 
would  like  to  feel  that  he  did. 

From  the  wings,  it  is  remarkable  to  study  the 
audiences ;   though   invisible,   their   presence   can 
be  heard  and  felt.    Their  temper  carries  over  the 
footlights,  just  as  that  of  the  players  is  carried  to 
them.    Rustling  programs,  a  sudden  epidemic  of 
coughing  or  sneezing,  a   ripple  of  laughter,   or 
the    quick   intake1  of    breath    at    an    unexpected 
movement    on    the    stage — all    distinctly    carry. 
Perhaps  the  most  impressive  thing  is  the  abso- 
lute silence  of  an  audience ;  and  there  seems  to 
be  something  cumulative  about  it,  for  an  audience  of  1,000  can 
be,  it  appears,  much  more  than  twice  as  silent  as  one  consisting 
of  half  that  number.    The  peculiar  effect  of  this  tenseness  of  con- 
centration on  the  part  of   a  great  number  of  human  beings  is 
especially   noticeable,  to   the   watcher   behind    the   scenes.      For- 
tunately, these  silences  are  seldom  of  long  duration;  the  tense- 
ness, if  prolonged  beyond  a  certain  point,  has  caused  to  more 
than  one  actor  an  acute  attack  of  stage- fright.     And  after  one 
of  these  moments,  an  audience  is  prone  to  give  way  to  hysterical 
laughter  on  very  slight  provocation. 

In  one  play,  after  just  such  a  moment,  a  small  black  cat 
marched  out  onto  the  stage  one  evening.  The  audience  began 
to  titter ;  the  actors,  not  realizing  the  cause  of  the  laughter,  be- 
came nervous,  and  stage-hands  stood  in  every  available  entrance, 
making  the  subdued  noises  supposed  to  appeal  to  felines.  The 
cat,  undisturbed,  walked  calmly  about  the  stage,  and  finally, 
seating  herself  in  the  exact  centre  by  the  footlights,  proceeded  to 
wash  her  face.  The  audience  was  uncontrollable  and  the  actors 
cut  parts  recklessly  until  the  welcome  fall  of  the  curtain.  Kitty 
was  smuggled  out  of  the  theatre  under  the  coat  of  the  property- 


AXN     .MrRDDl'K 
Who    will    play   the    leading    role    in    Thompson    Buchanan's    new    comedy 

man,  who  thus  saved  all  of  the  nine  lives  of  his  pet.  Every 
theatre  possesses  a  cat,  and  every  player  is  obsessed  with  the 
fear  that  sometime  the  cat  will  spoil  his  or  her  best  scene.  Even 
Ellen  Terry  has  had  her  experience  of  that,  according  to  a  story 
told  by  her.  In  the  first  act  of  "Madame  Sans  Gene,"  one  night, 
she  was  disturbed  by  giggles  from  the  audience.  Her  first 
thought — as  every  actress's  would  be — was  that  something  had 
gone  amiss  with  her  costume.  At  length  she  discovered  the  cat 
and  continuing-  her  scene  the  while,  she  picked  it  up,  petted  it  and 
set  it  down  on  the  first  available  place.  She  was  congratulating 
herself  on  her  presence  of  mind,  when  suddenly  the  giggles  grew 
into  a  roar  of  mirth.  Turning,  she  saw  that  she  had  laid  the  cat 
on  the  supposedly  red-hot  stove,  beside  her  irons,  where  the 
animal  had  placidly  curled  up  to  go  to  sleep. 

It  is  from  the  stage-hand  that  one  may  hear  many  tales  of  the 
vaearies  of  stars  and  of  accidents  humorous  or  tragic.  He  is  a 
philosophic  being,  unimpressed  by  actors  and  much  given  to  fall- 
ing asleep,  during  acts,  in  any  convenient  or  inconvenient  place. 
From  one  such  came  this  story  of  a  certain  star,  now  dead,  whc 
was  notorious  for  his  bad  temper.  (Continued  on  fane  -'I'M 


THE   THEATRE   MAGAZINE   ADVERTISER 


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RUDOLF    SCHILDKRAUT 

(Continued  from  page   64) 


critical  German  public,  so  blase  in  the  matter  of 
art  and  artists?" 

"I  have  played  many  great  parts,  as  we  do  in 
European  countries  where  your  fantastically  long 
runs  are  unknown.  It  is  hard  to  say  which  were 
the  principal  ones.  In  Shakespeare  there  were, 
aside  from  Lear  and  Shylock,  Richard  III,  King 
John,  Othello  and  lago  both.  Among  his  comedy 
characters  Falstaff,  Malyolio.  From  the  German 
classics  I  played  Lessing's  Nathan  the  Wise; 
Schiller's  Phillip  of  Spain  in  'Don  Carlos';  Franz 
Moor  in  'The  Robbers,"  and  ever  so  many  more. 
My  Mephistopheles  in  Reinhardt's  production  of 
Goethe's  'Faust'  gave  quite  a  shock  to  the  old 
traditionalists !  Among  the  modern  authors, 
many  of  the  greatest  have  given  me  some  very 
wonderful  parts  to  create:  Gerhardt  Hauptmann, 
Sudermann,  Halbe,  Dreyer,  Bahr.  I  played 
Bernstein's  Samson,  which  Guitry  created  in 
Paris;  and  Zola's  Coupeau  in  'L'AssommoirY 
Among  those  who  write  in  English,  I  have  acted 
in  plays  by  Pinero  and  Shaw,  Oscar  Wilde, 
Synge." 

"Did  you  not  create  the  part  of  the  Hunchback 
in  'Sumurun'?" 

"Indeed  I  did,  and,  believe  me,  I  felt  it  in 
black  and  blue  all  over  me.  Oh,  that  was  a 
devilish  experience!  One  of  the  Berlin  critics 
called  the  pantomime:  "Sumurun,  or  The  Travel- 
ling Hunchback.'  It  was  rather  rough  travelling! 
But,  que  voulez-vous,  if  I  do  a  thing  at  all,  I 
want  to  do  it  right.  So,  in  this  case,  I  had  to 
put  up  with  being  tossed  and  knocked  about  very, 
very  roughly." 

"Which  of  all  your  parts  do  you  prefer?" 

"I  love  to  act  in  any  good  play — drama  or 
comedy,  classic  or  modern — any  character  that  is 
human,  throbbing  with  human  passion,  human 
joy,  human  pain.  My  one  ambition  is  to  bring 
out  through  my  acting  all  that  lies  deepest  under- 
neath the  surface  of  a  man,  and  to  reach  the 
innermost  heart  of  those  who  watch  me  with  the 
truth  of  it." 

Here  the  dresser  came  in  to  warn  Mr.  Schild- 
kraut  that  it  was  time  to  get  ready  for  the 
evening  performance.  The  man  spoke  Yiddish, 
and  to  my  astonishment,  Schildkaut  answered  in 
German. 

"I  do  not  speak  the  jargon,"  he  said,  excusing 
himself  as  he  sat  down  before  the  long  mirror 
over  his  dressing-table.  "I  have  really  never 
tried  to  learn  it,  because  I  want  to  give  all  my 
spare  time  to  English.  I  study  my  parts  in 
Yiddish,  just  as  I  would  study  any  dialect  part." 

It  seems  to  amply  satisfy  the  Yiddish  public, 
who  pay  him  the  most  enthusiastic  tribute  of 
admiration  and  who  dread  the  future  that  will 
take  him  away  from  them. 

And  while  with  the  least  bit  of  make-up  and 
most  astonishing  skill  he  was  transforming  his 
face  to  that  of  an  unmistakable  old  Russian,  he 
asked. : 

"Do  you  really  think  the  'difficile'  Broadway 
public  will  ever  listen  to  me,  in  spite  of  the 
foreign  intonation  I  may  not  be  able  to  lose  so 
soon?  Of  course  I  hope  I  will,  by  and  by,  as  I 
lost  it  in  German.  For,  you  know,  I  was  not 
born  to  the  German  language,  never  heard  the 
first  word  of  it  until  I  was  almost  a  man.  My 
cradle  stood  away  down  in  the  Balkans,  near  the 
Turkish-Roumanian  border,  in  Wallachia,  if  that 
conveys  anything  to  you.  .  .  .  And  when  my  wife 
is  angry  with  me" — here  the  most  impish  little 
smile  you  ever  saw — "she  always  says  I  am 
nothing  but  an  old  Turk  anyhow!" 

F.  C.  F. 
Maude  Adams 

Charles  Frohman  has  completed  a  plan  for  the 
organization  of  a  Maude  Adams  Stock  Company. 
Miss  Adams  will  take  the  nucleus  of  her  stock 
company  out  of  her  present  ''Peter  Pan"  com- 
pany, and  from  time  to  time  add  to  this  nucleus 
until  she  has  an  organization  sufficient  for  her 
appearance  in  a  complete  cycle  of  Barrie  plays. 
Miss  Adams  will  not  be  seen  in  New  York  again 
until  next  Christmas.  By  that  time  she  will  have 
completed  the  roster  of  her  stock  company  and 
will  reappear  at  the  Empire  Theatre  for  a  season 
of  six  months  entirely  given  to  the  performance 
of  Mr.  Barrie's  plays.  At  least  three  and  possi- 
bly four  new  Barrie  comedies  will  during  that 
season  be  acted  for  the  first  time.  Mr.  Froh- 
man's  and  Miss  Adams'  intention  is  that  each 
play  shall  be  acted  for  a  certain  number  of 
weeks,  regardless  of  its  financial  success.  British 
Columbia  has  been  added  to  the  territory  that 
Miss  Adams  will  visit  during  the  season. 


GREAT  BEAR  SPRING  WATER 
50  cts.  per  case— 6  glass-stoppered  battles 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


THE   THEATRE   MAGAZINE   ADVERTISER 


.Vll 


"PLAYS  AND  PLAYERS1 

{Continued  from   page    63) 


head  of  the  play  committee  is  Miss  Emily  Per- 
kins, who  has  written  verse  and  plays,  and  has 
had  the  satisfaction  of  acting  in  one  of  her  own 
plays.  She  is  perhaps  the  most  versatile  member 
of  the  club  for  she  has  played  as  many  kinds  of 
parts  as  Polonius  enumerated  of  that  talented 
troupe  at  Elsinore.  Mrs.  Jasper  Yeats  Brinton, 
the  loveliest  young  matron  of  Philadelphia  so- 
ciety, is  the  principal  ingenue.  Miss  Sophia 
Norris,  also  prominent  socially,  might  well  have 
turned  her  talent  towards  the  professional  stage. 
The  best  comedians  of  the  club,  Charles  J. 
Mitchell  and  J.  J.  Gould,  are  well-known  illus- 
trators. 

Maud  Durbin,  who  is  Mrs.  Otis  Skinner  in 
private  life,  was  the  club's  first  president,  but 
resigned  after  the  organization  was  well  estab- 
lished, but  still  remains  a  member  of  the  advisory 
board. 


BEHIND    THE    SCENES 

(Continued  from   page   64) 


The  star  was  playing  in  a  Middle  West  town, 
where  the  stage  and  the  "apron"  (that  part  of 
the  stage  between  the  curtain  and  the  footlights) 
were  both  very  small.  In  setting  the  stage,  some 
rugs  had  projected  onto  the  apron.  At  the  end 
of  the  act,  the  star  stepped  before  the  curtain  to 
make  a  speech,  and  necessarily  stood  upon  the 
edge  of  a  rug.  A  stagehand  behind  the  curtain 
pulled  the  rug,  and  the  star  sat  down  suddenly 
and  noisily  in  the  footlight  trough.  When  he 
returned  behind  the  curtain  a  few  seconds  later, 
not  a  stagehand  was  in  sight;  and  to  add  insult 
to  injury,  he  was  forced  to  assist  members  of  his 
company  in  setting  up  the  next  scene. 

An  almost  equally  disastrous  accident  occurred 
not  long  since,  when  two  co-stars  were  appearing 
in  "Romeo  and  Juliet."  As  Romeo  made  his 
poetic  entrance,  in  the  balcony  scene,  he  tripped 
over  Juliet's  flower  garden,  and  not  only  fell, 
but  also  rolled  completely  out  of  sight  beneath 
the  back-drop.  Quickly  regaining  his  feet,  he 
made  a  second  and  more  dignified  entrance — only 
to  find  that  the  balcony  was  deserted,  Juliet  having 
retired  to  have  a  laugh.  After  the  scene,  he 
called  the  two  stage  managers,  the  house  manager 
and  the  carpenter,  who  stood  trembling  before 
him.  Evidently  this  was  a  situation  beyond  pro- 
fanity, for  he  glanced  them  over,  remarked  with 
a  strong  English  accent,  "You  have  frightfully 
marred  my  performance,"  and  stalked  haughtily 
away. 

But  it  is  not  all  comedy  behind  the  scenes. 
Perhaps  the  man  who  is  now  making  hearty 
laughter  for  the  audience  will  come  off  the  stage 
and  hasten  to  the  door  for  news  of  some  one 
near  and  dear,  who  is  ill,  even  dying — though  he 
well  knows  that  any  message  will  be  withheld 
until  the  play  is  over.  Possibly  you  will  notice 
in  the  wings  an  alert  doctor,  standing  ready  to 
minister  to  some  player  who  should  be  at  home 
in  bed.  Out  on  the  stage,  the  actor  catches  a 
glamour  from  the  lights  and  the  mise  en  scene. 
When  he  comes  into  the  wings,  the  glamour  de- 
parts, and  the  real  man  or  woman  shows  forth 
from  beneath  the  grotesquerie  of  grease  paint. 
It  is  a  place  of  contrasts — such  a  one  as  occurred 
when  a  rather  risque  farce  was  delighting  a  New 
York  holiday  audience  several  years  ago;  as  each 
player  came  off  the  stage,  there  was  a  burst  of 
laughter;  and  each  one  had  tears  in  his  eyes,  for 
news  had  come  that  day  that  the  well-beloved 
author  had  died  abroad.  It  was  during  the  run 
of  this  same  risque  farce  that  the  present  writer 
was  in  the  dressing-room  of  one  of  the  women 
of  the  company,  and  even  as  the  laughter  of  a 
Broadway  crowd  punctuated  the  conversation,  was 
read  a  hearty  and  sincere  lecture  for  not  at- 
tending church  regularly. 

A  place  of  contrasts,  surely;  of  petty  jealousies, 
of  fine  generosities,  of  pride  and  vanity  and  a 
stern  sense  of  duty;  of  tears  no  less  than  laughter 
— and  always  and  ever  quick  with  warm  human 
interest.  ANNE  PEACOCK. 


Discussing  the  alleged  overproduction  of  plays 
in  New  York,  Charles  Frohman  said  recently: 
"There  is  no  such  thing  as  an  overproduction  of 
plays.  There  is  a  relentless  law  that  takes  cart 
of  bad  plays;  they  quickly  go  to  the  wall.  That 
is  the  law  of  supply  and  demand.  The  only  thing 
to  be  feared  is  an  overproduction  of  bad  plays ; 
but  to  complain  about  the  overproduction  of 
plays  in  general  is  like  complaining  about  the 
over-supply  of  good  things  in  life;  we  can  never 
have  top  great  a  production  of  anything  that 
makes  life  more  livable." 


Formamint 
Destroys  the 
Germs  of  Mouth 
and  Throat 
Infections 

IN  no  field  has  science 
advanced  more  rapidly 
thanin  mouth  and  throat 
hygiene — teaching  us  how 
to  prevent  germ  infection 
and  combat  it  when  once 
begun. 

What  are  known  as  germ  dis- 
eases are  caused  by  inhaling  in- 
fectious germs — which  settle  in  the 
deep  cavities  of  the  throat.  If  un- 
checked and  not  destroyed,  these 
germs  begin  the  infections  known 
as  sore  throat,  Tonsillitis,  La 
Grippe,  or  even  worse. 

There  is  a  successful  way  to 
prevent  and  remedy  these  throat 
infections— and  that  way  is  by  the 
use  of  Formamint. 

It  replaces  gargles  and  mouth  washes — 
which  are  practically  valueless  because  they 
cannot  reach  the  point  of  infection — because 
they  cannot  be  used  strong  enough  to  be  effec- 
tive— or  oftenenoughto  furnish  the  prolonged 
protection  and  disinfection  required  in  germ 
infections  of  the  mouth  and  throat. 

Formamint  is  a  pleasant-tasting  tablet.  Sucked 
liked  candy — it  dissolves  in  the  mouth,  releasing  its 
powerful ,  yet  harmless  germicide — which  impregnates 
the  saliva  and  is  carried  into  the  deepest  pockets  of 
the  throat — destroying  the  germs— disinfecting  the 
membranes — and  clearing  the  way  for  quick  recovery. 

Formamint  furnishes  what  gargles  and  mouth 
washes  cannot — protection  and  prevention  against 
mouth  and  throat  infection.  It  leaves  the  mouth 
and  throat  soft  and  moist.  Take  Formamint  any 
time,  any  place.  SO  Tablets  tor  50  cents. 

Seriously  consider  whether  you  could  afford  the  risks  of  Dot 
using  Formamint.  Let  us  send  you  a  trial  tube.  Two 
cents  to  defray  packing  and  postage  will  bring  it  to  you. 

A.  WULFING  &  CO.,  26-F  Irving  PI.,  New  York 

Makers  of  Sanatogen—the  Food  Tonic 


Germs  from  the  dust 


FREE 


trial  tube  *ent  for  2c 
stamp  to  pay  postage. 


Same  plate,  showing  no 

germ  life  alter  use  of 

FORMAMINT 


Enrico  Cariuo, 

The  world's  great- 
est tenor,  write:: 
"  I  have  found  For* 
mamint  Tablets  very 
pleasant  to  the  taste 
and  beneficial  to  the 
throat." 


Mme.  Adelina  F'.tti. 

the     Queen     of     Song. 

writes : 

"I  have  taken  Forma- 
mint Tablets  for  some  time 
past  and  have  much  pleas- 
ure in  saying  that  I  find 
them  very  beneficial  for 
th«  throat." 

Lewi.  Waller. 

the  famous  Actor- Mana- 
ger, writes : 

'  I  used  your  Formamint 
Tablets  while  suffering 
from  severe  hoarseness  and 
received  almost  instant  re- 
lief. They  are  pleasant  to 
take  and  I  highly  recom- 
mend them  as  a  guard  a- 
gainst  all  throat  troubles." 

Dr.  Win.  Lee  Howard, 

the  well-known  medical 

author,  writes : 

"  I  have  no  hesitation  in 
stating  that  in  Formamint 
we  have  a  remedy  that  is 
invaluable  in  keeping  the 
mouth  and  air  passages 
free  from  germ  infection." 

From  an  article  in 

The  Lancet,  Mar.  28, 1908 

"The  sole  object  of  a 
medicinal  lozenge  is  to 
keep  part  of  the  mouth  or 
throat  one  desires  to  treat 
bathed  for  a  time  in  a 
drug  dissolved  in  the  sa- 
liva. I  know  of  only  one 
medicated  lozen ge — 
FORMAMINT-which 
meets  this  requirement." 


AMERICAN  ACADEMY   OF 
DRAMATIC  ARTS 

Connected  with  Mr.  Charles  Frohman's  Empire  Theatre  and  Companies 

Recognized  as  the  Leading  Institution 
for    Dramatic   Training   in   America 


BOARD  OF  TRUSTEES 
Franklin  H.  Sargent,  President 
Daniel  Frohman  John  Drew 

Benjamin  F.  Roeder  Augustus  Thomas 


Founded 
in  1884 


For    catalog    and    information 
apply  to  the  Secretary 

Room  152,  Carnegie  Hall 
New  York 


STATEMENT  OF  THE  OWNERSHIP,  MANAGE- 
MENT, CIRCULATION,  ETC.,  OF  THE  THEATRE, 
published  monthly  at  8  West  88th  Street,  at  New  York 
City,  N.  Y.,  required  by  the  Act  of  August  84,  1918. 
Editor,  Arthur  Hornblow,  8  West  38th  Street,  New 
York  City.  Business  Manager,  Louis  Meyer,  8  West 
38th  Street,  New  York  City.  Publisher,  THE  THEA- 
TRE MAGAZINE  CO.,  8  West  38th  Street,  New  York 
City.  Owners:  Mr.  Henry  Stern,  President,  314  West 
102d  Street,  New  York  City;  Mr.  Louis  Meyer,  Treas- 
urer, 8  West  38th  Street,  New  York  City;  Mr.  Paul 
Meyer,  Secretary,  8  West  38th  Street,  New  York  City. 
Known  Bondholders,  Mortgagees  and  other  Security 
holders,  none.  Signed  by  Louis  Meyer,  Business  Man- 
ager Sworn  to  a"d  subscribed  before  me  this  1st  day  of 
October,  1912.  GEORGE  H.  BROOKE,  Notary  Public, 
New  York  County.  Commission  expires  March  80,  1914. 

Bind  Your  Numbers  of  the 

THEATRE    MAGAZINE 

See  page  xxoii  for  particulars 


Discouraged  About  Your 
Complexion  ? 

Why  grieve  or  despond  when  the  remedy 
is  so  sate,  sure  and  easy  ? 
Dr.  Jame»  P.  Campbell's  Safe  Arsenic 
Complexion  Wafers  will  do  for  you  what 
they  have  done  for  hundreds  of  thousands 
of  grateful  women,  young,  middle-aged 
and  elderly,  by  cleansing  the  blood  and 
skin  of  all  impurities,  or  stagnation,  give 
you  a  clear,  spotless  and  fresh  com- 
plexion, tone  up  your  nerves,  improve 
your  digestion,  round  out  your  figure,  make  you  happy  and 
delight  your  friends. 

Absolutely  safe  and  harmless  to  anybody.  Guaranteed  under 
the  Pure  Food  p.nd  Drugs  Act,  June  joth.  1906.  5oc.  and  $i.ou 
per  box,  at  all  druggists,  or  sent  by  mail  in  plain  cover  from 
RICHARD  FINK  CO.,  Dept.  51,  415  Broadway,  N.  Y.  City 


We  will  gladly  give  names  of  shops  where  goods  described  may  be  purchased. 


V11I 


THE   THEATRE   MAGAZINE   ADVERTISER 


Por  Electric 
Car  Owners 

Proved  by  actual  road  tests 
by  foremost  electric  car  builders. 

The  ride  supreme,  is  added  to 
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Practically  all  the  comfort  of  a  pneumatic 
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Service  Stations  In  All  Cities 

Electric  Tire  Catalog  idls  the  story.    Write  for  it. 

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"America's  Largest  Exclusive  Tire  and  Rim  Makers" 


Comfort 
a  certainty 


Jackson  engineers  design  for 
comfort,  considering  it  fully  as 
important  as  safety,  power  and 
beauty  of  design. 

"Olympic"    —    $1500 
"Majestic"  $1975 

•  •Sullanic, ' '  six  —  $2650 

Jackson  Automobile  Company 
1303  E.  Main  St.,  Jackson,  Mich. 


Model  Moving  Picture  Theatre 

{Continued  from  page   59) 


posted  almost  every  afternoon  that  Mrs.  Clement 
felt  justified  in  inaugurating  a  unique  attraction 
for  a  ten  cent  show— a  one-act  play,  which  has 
come  to  be  one  of  the  most  popular  regular 
features  at  the  Bijou  Dream.  Almost  without 
exception,  these  playlets  have  been  produced 
directly  from  the  original  manuscripts;  often 
proving  to  the  author  and  to  managers  of  other 
theatres,  who  are  invited  to  the  initial  perform- 
ance, that  the  play  is  produceable. 

While  it  could  not  with  whole  truth  be  said 
that  the  Bijou  Dream  has  a  stock  company  for 
the  acting  of  these  one-act  plays,  yet  such  is  the 
personality  of  Mrs.  Clement  that  she  has  suc- 
ceeded in  surrounding  herself  with  a  capable 
coterie  of  young  actors  and  actresses,  some  half- 
dozen  of  whom  are  always  at  her  command  when 
she  announces  the  title  and  the  nature  of  the 
next  play.  Unintelligent  or  careless  interpreta- 
tion of  the  author's  meaning  is  not  tolerated. 
Mrs.  Clement  and  the  author  and  the  selected 
company  have  many  conferences  over  setting  and 
costumes,  poring  over  plates  of  costumes  of  the 
periods  depicted  and  biographies  of  the  historical 
characters  mentioned — that  the  intent  of  the  play 
may  be  fully  brought  out. 

Another  feature  of  the  Bijou  Dream  is  Folk 
Song  and  Dance.  The  costumes  representing 
each  nation  are  technically  correct  and  for  the 
exactness  of  the  pronunciation,  an  expert  linguist 
is  employed  at  every  rehearsal. 

Such  is  the  manner  of  a  ten  cent  moving 
picture  show,  four  performances  daily  with  the 
whole  bill  changed  once  a  week  and  the  pictures 
twice  a  week,  that  Josephine  Clement  is  giving 
the  public  of  Boston — a  high-class  cheap  show 
in  the  Bijou  Dream,  which  is  said  to  be  one  of 
the  most  artistically  appointed  smaller  theatres 
of  the  United  States. 

The  entrance  and  lobby  are  of  marble,  with 
growing  plants  and  fresh-cut  flowers  in  the  re- 
cesses. The  furnishings  are  mahogany  up- 
holstered in  leather.  There  is  a  moving  stairway 
to  the  auditorium  floor,  close  to  which  are  the 
foyer  and  reception  room.  The  reception  room 
is  equipped  with  checking  facilities,  writing  desks 
and  telephones.  There  are  innumerable  arm- 
chairs and  couches.  A  maid  is  in  constant  at- 
tendance to  look  after  the  comfort  of  the  women 
and  children. 

Across  the  hall  is  the  men's  smoking  room, 
which  is  also  fully  equipped,  so  that  many  a 
business  man  drops  in  for  a  smoke  and  to  write 
a  few  letters  during  his  noon  hour,  afterward 
taking  in  a  little  of  the  show. 

Another  high-class  arrangement  at  the  Bijou 
Dream  is  the  rule  that  no  patron  is  allowed  to 
take  his  seat  while  a  play  is  on  the  stage  or 
during  the  rendering  of  a  musical  number  or  the 
reading  of  a  lecture.  Another  interesting  feature 
is  that  the  entire  house  is  well  lighted  throughout 
the  performance.  Mrs.  Clement  has  long  ago 
proved  it  to  be  a  fallacy  that  lights  injure  the 
pictures.  She  uses  violet-colored  lights  with 
splendid  success.  An  aesthetic  effect  is  that  the 
ushers  are  women  and  dressed  in  uniform — gray 
cloth  dresses  with  white  muslin  aprons,  kerchiefs 
and  caps.  They,  as  well  as  the  women  chosen 
to  furnish  the  entertainment,  are  expected  to  be 
womanly  in  bearing  and  in  speech.  The  men 
helpers  are  also  uniformed,  and  there  is  a 
premium  put  on  their  courtesy  to  patrons.  And 
above  all  else,  no  one  at  the  Bijou  Dream — 
either  on  the  stage  or  off  it — is  permitted  for  an 
instant  to  indulge  in  coarse  or  vulgar  conversa- 
tion. 

Unlike  the  ordinary  house  showing  moving 
pictures  the  Bijou  Dream  is  officially  licensed  as 
a  fully  equipped  theatre,  so  that  a  wide  latitude 
is  possible  in  staging  one-act  plays,  operettas  and 
musical  numbers. 

All  this  makes  good  reading,  but  there  are 
some  illuminating  questions  which  have  besieged 
Mrs.  Clement  since  she  assumed  the  manage- 
ment of  the  Bijou  Dream : 

"Do  the  masses  of  the  people  appreciate  the 
high-class  show  that  you  provide?" 

Mrs.  Clement  answers  by  reminding  her  ques- 
tioner that  she  has  never  advertised  an  inch- 
worth's  in  any  publication  and  then  she  points  to 
"Standing  Room  Only,"  which  hangs  out  at  the 
entrances  two  or  three  times  every  day. 

"Does  it  pay  a  decent  interest  on  the  invest- 
ment?" 

By  way  of  reply,  Mrs.  Clement  asks  a  question 
on  her  own  account,   "Would  I  be  still  running 
it  and  constantly  improving  it,  if  it  didn't?" 
ALICE  SPENCER  GEDDES. 

GREAT  BEAR  SPRING  WATER 
60  cts.  per  case— 6  glass-stoppered  bottles 


The  aging  of  a  cocktail  is  as  nec- 
essary to  perfect  flavor  as 'the 
aging  of  wine  or  whisky. 
The  delicious  flavor  and  aroma  of 

Club  Cocktails 

is  due  not  alone  to  the  precise 
blending  of  the  choicest  liquors 
obtainable,  but  to  the  fact  that 
they  are  softened  to  mellowness 
by  aging  before  bottling. 

Manhattan,  Martini  and  other 
standard  blends,  bottled,  ready 
to  serve  through  cracked  ice 

Refuse  Substitutes 
AT  ALL  DEALERS 

0.  P.  HEUBLEIN  &  BRO.,  Sole  Props. 
Hartford      New  York      London 


EASICKNESS! 


TRAINSICKN 


Prevented — Stopped 


Four  years  ago  Mr.   Mothers 


Mothersill  Remedy  Co..  419  Scherer  Bldg..  Detroit.  Mich 
Also  at  19  St.  Bride  Street,  London;  Montreal,  New  York, 
Paris,  Milan,  Hamburg. 


Convenient 
To  Take 

in  church,  at  the 
theatre,  on  the 
street,  when  you 
have  a  cough, 
hoarseness,  irri- 
tation or  soreness 
of  the  throat. 

Brown's 
Bronchial  Troches 

may  be  carried  in  purse  or  pocket  and  taken  freely 
with  perfect  safety.  They  contain  no  opiates — they 
do  not  upset  the  stomach.  Used  for  over  50  years. 
Certainly  the  most  effective  and  convenient  throat 
remedy  today. 

Sold  only  in  boxes— never  in  bulk. 

Prices  25c,  SOc  and  $  1. 00  Sample  free  on  request 
JOHN  I.  BROWN  &  SON  Boston.  Mass. 


A    UNIQUE  and  exclusive  feature  of  the  THEATRE 
MAGAZINE  is  the  Fashion  Department.    Do  not  fail 
to  read  the  suggestions  and  pointers  of  our  Fashion  Editor,  an 
authority  of  both  continents. 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


THE   THEATRE   MAGAZINE   ADVERTISER 


IX 


Racketty-Packetty   House 

(Continued  from   page   46) 


Susan's  knees,  and  she  has  to  bend  way  down  to 
talk  to  them.  You  stop  to  examine  their  cos- 
tumes and  their  wigs,  and  before  you've  seen  half 
of  what  you  want  to  see  you  heed  the  call  for 
supper  and  reluctantly  go  home. 

And  if  you're  Aunt  Susan  you  wonder  a  little 
why  there  must  be  a  Children's  Theatre,  and 
though  you  think  it's  a  very  lovely  place,  and 
though  you  think  the  play  was  staged  very 
prettily,  you  do  give  a  thought  to  the  children 
who  have  amused  your  nephews  and  nieces. 
Isn't  it  really  work  for  them,  this  acting?  True, 
they  do  frisk  about  sometimes,  totally  ignoring 
cues  and  becoming  so  interested  in  the  audience 
that  they  forget  their  parts  that  have  been  so 
carefully  drilled  into  them,  and  true,  too,  they  are 
sometimes  so  unmindful  of  the  publicity  of  their 
position  that  they  will  button  rebellious  under- 
wear in  the  glare  of  the  limelight  and  blow  their 
little  noses  when  they  should  be  dancing,  but — 
doesn't  all  this  become  drudgery  to  them  when 
they  have  to  go  through  it  day  after  day?  And 
should  such  little  people  be  subjected  to  drudg- 
ery? Doesn't  someone,  somehow,  rob  them  of 
the  heritage  of  their  babyhood? 

And  if  you're  Aunt  Susan,  who  has  read  and 
read  stories,  and  more  stories,  to  all  her  "neffers 
and  nieces,"  you  know  how  you  have  to  explain 
and  repeat,  and  repeat  and  explain,  until  their 
wee  minds  can  grasp  the  story  and  catch  its  point. 
That  is  why  you  wonder  how  many  of  the  young- 
sters who  see  a  play,  the  story  of  which  they  have 
never  heard,  have  a  clear  idea  when  they  leave 
of  what  it  was  all  about.  You  have  to  explain: 
"Now  they're  inside  the  doll-house  you  saw 
standing  in  the  nursery  before."  "Yes,  they're 
dolls."  ''Now  there's  a  grown-up  coming— sec 
how  they  stand  still  and  behave?"  "No— now 
we're  outside  again — there's  Tidy  Castle  and 
here's  the  Racketty-Packetty  House."  ''That's 
Peter  Piper — don't  you  recognize  him  in  the 
pretty  clothes  the  Princess  gave  him?"  And  the 
whispering  all  around  you  indicates  that  other 
aunts  and  mothers  are  making  like  explanatory 
remarks  to  their  little  neighbors. 

No  matter  how  little  you  may  care  whether  the 
theatre  is  educational  and  whether  the  drama  of 
to-day  is  uplifting,  you  do  feel,  somehow,  as 
though  a  children's  play  should  be  thoroughly 
wholesome  and  even,  perhaps,  have  a  moral  woven 
through  it,  if  not  tacked  on  at  the  end.  This 
play  by  Mrs.  Burnett  has  all  the  moral  one  could 
possibly  want,  and  a  very  good  lesson  it  is  for 
the  limousine  children  who  scorn  those  of  pedes- 
trian parents,  but  one  questions  the  example  Peter 
Piper,  the  hero,  sets,  and  the  need  of  so  much 
love  talk  as  there  is  here.  He's  a  cheerful,  lively, 
charming  little  fellow,  as  Master  Gabriel  presents 
him,  but  there  is  just  a  bit  too  much  of  Buster 
Brown's  supersmartness  in  his  make-up  to  make 
him  likable  and  the  kind  of  a  boy  you  would 
like  your  boy  to  be.  We  want  the  goody-goody 
neither  in  our  books  nor  in  our  plays,  for  none 
are  quicker  than  children  to  scorn  the  type  as 
unreal  and  unhuman,  but  we  do  want  well-man- 
nered, respectful  children  as  the  heroes  and 
heroines  of  our  children's  books,  for  they,  after 
all,  are  the  most  influential  examples  in  their 
lives. 

So  it  is  rather  annoying  to  have  him  pat  him- 
self upon  the  back  continuously,  and  presenting 
himself  with  a  metaphorical  bouquet,  say  of  the 
Lady  Patricia,  to  whom  he  has  lost  his  heart  (of 
all  situations,  the  one  in  which  one  should  be 
most  humble),  "Only  twice  has  she  seen  me,  and 
no  titled  lady  could  ever  get  over  that,"  and  "I 
will  while  away  her  tedious  hours  with  a  clever 
repartee,"  or  'T  am  a  true  Turkish  Delight.  I 
am."  It's  all  a  bit  too  clever  and  a  bit  too  old. 
The  love  theme  is  so  ever  present  in  the  adult 
drama  that  one  sighs  for  a  release  from  it  in  the 
juvenile.  Isn't  there  enough  stuff  in  the  child- 
world  out  of  which  to  make  thrilling,  fascinating 
stories  without  dragging  this  in,  too?  It  seems 
like  overworking  the  little  blind  god. 

Master  Gabriel,  of  course,  carries  the  play, 
which  he  seems  to  do  with  great  ease,  even  in 
the  trying  situations  which  a  company  of  little 
people  who  have  not  yet  reached  the  age  of  re- 
sponsibility sometimes  put  him.  His  best  support 
from  among  the  child-actors  he  gets  from  the 
members  of  his  own  household.  William  H. 
Platt,  as  Dr.  Gustibus;  Ynez  Seabury,  as  Peg. 
who  is  as  round  as  she  is  high;  Meg,  who  is 
Helen  Millington,  and  Maxine  Sickles,  who,  as 
Killmanskeg,  "the  accomplished  doll,"  does  a 
funny  little  dance  well.  Leila  Cautna,  as  Ridiklis, 
was  by  far  the  most  successful  in  catching  the 
spirit  of  dolldom,  and  succeeded  in  making  you 
forget  she  was  human.  E.  E.  v.  B. 


Always  on  Guard 


No  matter  where  a  ship  may  be  along 
the  American  coast;  no  matter  how  dark, 
or  cold,  or  stormy  the  night,  the  coast 
guard  is  on  watch,  patrolling  the  nearest 
beach  or  rocky  cliffs. 

This  man,  always  on  guard,  could,  by 
lis  own  unsupported  efforts,  do  little  to 
save  life,  or  to  guide  ships  away  from 
perilous  points. 

As  a  unit  in  an  efficient  system  and 
able,  at  a  moment's  notice,  to  command 
the  service  of  his  nearby  station,  he  be- 
comes a  power  to  whom  all  ship  owners 
and  passengers  are  indebted. 


In  the  same  way,  the  Bell  Telephone  in 
your  home  and  office  is  always  on  guard. 

By  itself,  it  is  onJy  an  ingenious  instru- 
ment; but  as  a  vital  unit  in  the  Bell  System, 
which  links  together  seven  million  other 
telephones  in  all  parts  of  this  country,  that 
single  telephone  instrument  becomes  a 
power  to  help  you  at  any  moment  of  any 
hour,  day  or  night. 

It  costs  unwearying  effort  and  millions 
of  dollars  to  keep  the  Bell  System  always 
on  guard,  but  this  is  the  only  kind  of 
service  that  can  adequately  take  care  of 
the  social  and  commercial  needs  of  all  the 
people  of  a  Nation. 


AMERICAN  TELEPHONE  AND  TELEGRAPH  COMPANY 
AND  ASSOCIATED   COMPANIES 

Every  Bell  Teleohone  is  the  Center  of  the  System. 


SB8/ZSSSS8SSSBS8^^ 

B 


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AND   IS   STILL 
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CORDIAL  EXTANT 


At  first-class   Wine   Merchants,   Grocers,    Hotels,   Cafes. 

Batjer  &  Co.,  45    Broadway,   New   York,  N.   Y. 

Sole  Agents  for  United  States. 


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THE   THEATRE   MAGAZINE   ADVERTISER 


For  a  Clear 

Complexion 


Use 


Maxine  Elliott 
Toilet  Soap 

It  is  good  for  a  tender  skin, 
soothes,  cools,  cannot  irritate. 
Keeps  the  hands  white  and  soft. 


Lathers  freely  in  any  water.  Delicately  scented  in  this  assortment : 

Buttermilk  and  Roses  Buttermilk  and  Violets  ^^^^^_^ 

Buttermilk  and  Glycerine      Buttermilk 

You   can   buy    Maxine   Elliott  Toilet 
Soap    wherever    good    soaps  are  sold. 

Ten  cents  the  cake. 
Fifty  cents  the  box  of  6. 


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The  Rubbers  of  a 
Gentleman 


Appreciated  by  men  of  good  taste 
because  they  are  suitable  for  all 
occasions,  neat  and  serviceable. 
Not  necessary  to  remove  them  in 
church  or  at  the  theatre;  they  do 
not  heat  the  feet. 


At  all  good  Shoe  Stores 


THE  OFFICIAL   PROGRAMME   OF   THE 


Metropolitan  ©pera  Spouse,  Jfreto  J9orfe 

The  most  exclusive  medium  which  no  advertiser  can  afford  to  over- 
look will  be  published  this  and  following  seasons  by 

THE  THEATRE  MAGAZINE  CO. 

Send  for  Titles  and  Particulars  8  to  14  W.  38th  St.,  New  York 


AT    THE    OPERA 

(Continued  from  page   40) 


will  prove  whether  or  not  it  is  to  be  one  of  his 
star  roles.  Pini-Corsi  was  excellent  in  the  amus- 
ing role  of  Bartolo,  and  de  Segurola  did  a  re- 
markable bit  of  character  work  as  Basilio.  Stu- 
rani  conducted,  and  while  the  performance  had 
spirit  it  was  a  trifle  heavy. 

One  of  the  most  delightful  presentations  of  the 
nonth  was  Wolf-Ferrari's  "The  Secret  of  Su- 
zanne," sung  for  the  first  time  by  the  Metropoli- 
tan artists,  although  this  opera— or  ''Intermezzo," 
as  its  composer  calls  it — has  been  given  here  by 
the  Philadelphia-Chicago  forces.  Scotti  sang  and 
acted  Count  Gil  simply  admirably,  while  Geral- 
dine  Farrar  was  delightful  as  the  Countess,  whose 
great  secret  was  her  love  for  a  quiet  puff  of  a 
cigarette.  Polacco  conducted  and  did  probably 
the  best  work  he  has  done  since  his  arrival  here. 

Arturo  Toscanini,  distinguished  conductor, 
joined  these  forces  later  than  usual,  and  made 
his  entry  of  the  season  with  a  performance  of 
"Orfeo  ed  Euridice,"  which  simply  showed  his 
masterhand  in  every  detail.  The  orchestra  played 
as  if  inspired,  Homer  sang  Orfeo  as  she  does 
nothing  else,  Rappold  was  satisfying  as  Euridice, 
Anna  Case  sang  the  Happy  Spirit  for  the  first 
time,  and  did  it  extremely  well,  and  Lenora 
Sparkes  was  Amore. 

Toscanini  then  conducted  a  memorable  per- 
formance of  "Tosca,"  in  which  Geraldine  Farrar 
sang  the  title  role  as  she  has  never  before  sung  it, 
and  Caruso  was  ario,  singing  with  an  opulence  of 
beautiful  tones.  Scotti  acted  Scarpia  with  thrill- 
ing intensity — all  told  a  wonderful  presentation  of 
this  opera. 

Another  performance  that  will  not  soon  be 
forgotten  was  the  season's  first  "Die  Walkure," 
which  Alfred  Hertz  conducted.  Fremstad  as 
Sieglinde,  Burrian  as  Siegmund — this  artistic  pair 
sang  and  acted  the  first  act  in  a  manner  that 
made  all  criticism  seem  mere  cavilling.  Matze- 
nauer  made  her  first  appearance  of  the  season  as 
Brunnhilde,  singing  excellently.  Griswold  was 
an  impressive  Wotan,  Ruysdael  an  admirable 
Hunding,  and  Sara  Cahier  made  her  only  appear- 
ance this  year  on  this  stage,  singing  Fricka  in  an 
adequate  manner. 

Gadski  has  also  come  back  to  the  Metropolitan 
fold  after  a  concert  tour,  singing  a  brilliant 
Brunnhilde  in  a  repetition  of  ''Die  Walkure,"  and 
later  appearing  as  Isolde  in  the  season's  first 
"Tristan  und  Isolde."  "Aida,"  too,  had  a  brilliant 
representation,  with  Caruso  and  Destinn,  and  Mo- 
zart's "The  Magic  Flute"  has  continued  to  draw 
crowds  at  every  performance.  Such  familiar 
operas  as  "La  Boheme,"  "Butterfly,"  and  "Faust," 
have  been  given  spirited  performances,  and  the 
month  has  been  crowded  with  opera  worth  hear- 
ing. Although  there  have  been  concerts  and  re- 
citals they  have  suffered  from  the  lull  attending 
the  holiday  season. 

Victor  Records 

TITTA  RUFFO,  BARITONE — Zaza,  Buona  Zaza,  del 
miobuon  tempo  (Act  II),  Leoncavallo.  In  Italian. 

Leoncavallo's  setting  of  the  unhappy  story  of 
the  loves  of  Zaza  and  Milio  was  first  given  at 
Milan  in  1900.  The  American  premiere  took  place 
at  the  Tivoli,  in  San  Francisco,  November  27, 
1903.  The  opera  has  had  some  success  in  London, 
Paris  and  Berlin,  but  has  never  been  given  in 
New  York,  although  several  Zaza  excerpts  were 
given  at  the  Leoncavallo  concerts  in  1906,  when 
the  composer  visited  America.  The  story  is  quite 
familiar  to  American  audiences,  however,  through 
the  performance  of  the  play  by  Mrs.  Leslie  Carter. 

CARUSO  SINGS  A  FAMOUS  EASTER  SONG  AND  THE 
POPULAR  "BECAUSE" — Hosanna  (Easter  Song), 
Jules  Granier. 

This  is  one  of  the  most  famous  of  French 
sacred  songs,  and  forms  part  of  the  Easter  music 
in  thousands  of  churches  all  over  the  world. 

Caruso's  rendition  is  a  thrilling  one,  the  in- 
spiring climax  being  given  with  the  full  power 
of  his  great  voice. 

A  WIENIAWSKI  DANCE  BY  POWELL — Polish  Dance 
—  Kujawiak  (Second  Muzurka),  Wieniawski. 
Piano  accompaniment  by  George  Falkenstein. 

Of  all  the  Polish  writers  for  the  violin,  none, 
perhaps,  has  caught  the  spirit  of  the  mazurka 
like  this  famous  composer  and  virtuoso. 

Henri  Wieniawski  was  one  of  the  greatest  vio- 
linists of  the  nineteenth  century,  being  considered 
by  many  the.  equal  of  Vieuxtemps.  He  was  born 
in  Lubin,  Poland,  July  10,  1835,  and  died  in  1880, 
at  Moscow. 

Two  NEW  BALLADS  BY  McCoRMACK— At  Dawn- 
ing, Eberhart-Cadman. 

One  of  the  newest  songs  of  this  popular  com- 
poser— a  simple,  tuneful  number  which  Mr. 
McCormack  sings  beautifully. — Advertisement. 


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Dont  blame 

the  razor      

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Mennen's  Shaving  Cream 

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The  American 
Playwright 

Edited  by  WILLIAM  T.  PRICE 

(Author  of  "  The  Technique  of  the  Drama  " 
and     The  Analym  of  Play  Coiutrucrion.") 

A  MONTHLY  devoted  to 
the   scientific    discussion 
of  Plays  and  Playwriting. 
1 5  cents  a  copy.  $  1 .50  a  year. 
Vol.  II  begins  Jan.  15,  1913. 
Write  for  specimen  copies  and 
for  the  Index  of  Vol.  I. 

Write  for  circulars  that  tell 
you  how  to  procure  the  printed 
Volumes  of  the  Academic 
Course  in  Playwriting,  deliver- 
ed complete,  on  a  first  payment 
of  Three  Dollars.  Address 

W.  T.  PRICE 

1440  Broadway  NEW  YORK  CITY 


ADV  ERTISER 


XI 


The    New    Plays 

(Continued  from   page   38) 


roles   was   crude.     "Blackbirds"    showed   a 

SS,  bUt  '!i  t0°'  SUffercd  fr°m  'hose  ad- 
hcial    means   incident   to    satirical   comedy      Thc 

on?  h5        Pf-y  V  rich  in  0PPortunities  and  with- 

S£LtS3  T    y,  new  if  was  hancllcd  with  a 

good  deal  of  novelty.     Some  of  the  material  was 

thr^fo-l  TV,     6   f°me   VU'gar   newlv   rich   "e  put 
through  the  customary  paces. 


LITTLE. 


AND  SON" 


Brian?-    Richard0™!.   ^T"     ^cKTnnel:    >hn.      -        . 


J-     V. 


tyri3£>K5£tiRfe 

Rutherford  and  Son,"  at  the  Little  Theatre, 
it    u-  t  IlU'.e  ?lay-  but  IS  entirely  in  keeping  with 
the  high  artistic  purpose  of  Mr.  Ames.    He  want" 
the   best    and   certainly   of   its   kind   there  is  no 
recent  play  that  is  comparable  to  it  in  compact- 
ness and  force.     There  is  a  completeness  about 
each  character  that  is   quite  unusual.     The  idea 
that  absorbs  a  man  in  England  to  perpetuate  in 
3    family   h:s   business   name    is    not   unknown 
here,  but  it  may  be  doubted  if  there  are  many 
American  men  of  business  who  will  deliberately 
sacrifice  family  in  order  to  perpetuate  the  busi"- 
ness  name.     John   Rutherford  substitutes  every- 
thing to  his  idea.     He  obtains,  by  unfair  means, 
control  of  his  own  son's  invention,  intending  to 
give  him  the  benefit  of  it  in  due  course     The  in- 
justice  however,  is  there.    The  son  robs  his  cash 
box,    thereby    freeing    himself    from    the    harsh 
dominion  of  his  father,   leaving  behind -him   his 
young  wife.    In  the  end  it  is  the  young  wife  who 
rings  the  old  man  to  his  senses.     Her  child    a 
boy,  is  the  only  one  who  can  perpetuate  the  name 
of  the  house  in  business.     She  drives  a  bargain 
with  her  father-in-law,  whereby  he  is  not  to  have 
control    of    the    child's    training    for    a    certain 
period.     It  is  seen  that  the  new  Rutherford,  the 
new  head  of  the  house,  will  be  a  different  man. 
in  the  meanwhile,   the  old  man's   domestic  ruk 
has  worked   ruin  to  his   family.     The   son   is  a 
fugitive.     The  daughter^has   made  a  slip  and  is 
m  disgrace;   she  has   fallen,  at  the  best,  to  the 
share  of  a  workmgman  employed  in  the  estab- 
ishment.     The  father  had  blighted  her  life  with 
his  own  ambitions  and  kept  her  unmarried  until 
she  had  reached  an  age  of  crabbed  spinsterhood 
4  j15^  ln,, the   dornestic   details    that   "Rutherford 
and  Son    points  best  the  brutal  truth.    The  meals 
are  kept  waiting  the  master's  pleasure  and  con- 
venience.   There  is  no  conversation.    His  mind  is 
occupied    always    with    business.      His    comforts 
must  be  attended  to  first.     His  boots  are  to  be 
taken  oft  and  his  slippers  brought  before  a  morsel 
passes  the  hungry  mouths  of  his  family.     It  re- 
quires acting  of  the  first  order  to  make  such  a 
character   tolerable,   but    Mr.    Normal    McKinnel 
accomplished  this  result  with  a  finish  in  his  act- 
ing and  a  simplicity  that  brings  conviction  as  to 
the  actuality  of  such  a  person  as  John  Ruther- 
ford.   

GAIETY.  "STOP  THIEF."  Farce  in  three  acts 
by  Carlyle  Moore.  Produced  on  December  25th 
with  the  following  cast: 

Nell,  Mary  Ryan;  Mrs.  Carr,  Ruth  Chester;  Joe  Carr, 
Vivian  Martin;  Caroline  Carr,  Elizabeth  Lane;  William 
Carr,  Frank  Bacon;  Arthur  Willoughby,  M.  D.,  William 
Boyd;  James  Cluney,  Percy  Ames;  Jack  Doogan,  Richard 
Bennett;  Madge  Carr,  Louise  Woods;  Clergyman,  R.  C 
Bradley;  Jamison,  Robert  Cummings;  Jos.  Thompson' 
James  C.  Marlowe;  Sergeant  of  Police,  Thomas  Findlay 
Police  Officer  Ryan,  Edward  J.  McGuire;  Police  Officer 
Clancy,  James  T.  Ford;  Police  Officer  Casey,  William 
Graham;  Chauffeur,  George  Spelvin. 

The  success  of  "Officer  666"  naturally  paved 
the  way  for  "Stop  Thief."  Both  pieces  are  writ- 
ten in  the  same  amusing  vein  and  acted  in  the 
same  rapid-fire  style.  The  Carr  family— about 
to  celebrate  a  wedding — is  keyed  up  to  the  highest 
pitch  of  nervousness  and  excitability.  The  bride's 
father  is  hopelessly  absent-minded;  the  prospec- 
tive son-in-law  believes  himself  an  incurable 
kleptomaniac.  Into  this  interesting  household  a 
new  maid  smuggles  a  professional  thief.  Valu- 
able articles,  jewelry,  bonds,  etc.,  begin  to  disap- 
pear, only  to  be  found  in  the  pockets  of  the 
millionaire  kleptomaniac.  The  complications  that 
ensue  are  many  and  mirth-provoking.  The  police 
are  called  in  and  the  crook,  arrested,  threatens  to 
expose  the  kleptomaniac.  Finally  a  compromise  is 
reached  and  the  farce  ends  by  a  triple  marriage. 
Richard  Bennett  plays  the  thief  and  Mary  Ryan 
the  maid.  Frank  Bacon  deserves  credit  for  clever 
work  as  the  absent-minded  Carr. 

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A  Book  For  Every  Theatergoer 

THEATRICAL 
AND  MUSICAL  MEMOIRS 

By  Rudolph  Aronson 

Theatrical  Manager,  Composer,  and  Comic  Opera  Impresario 

Being  intimately  connected,  both  by  ties  of  friendship  and 
business  association,  with  the  people  of  the  stage,  Mr.  Aronson 
writes  of  a  varied  career  that  brought  him  in  contact  with  hundreds 
of  celebrities,  not  only  of  the  stage  and  concert  platform,  but  of 
the  literary,  artistic  and  social  world.  He  was  the  builder  of  the 
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structed, and  he  was  the  producer  of  the  brilliant  operetta,  "  Er- 
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scores  of  interesting  anecdotes  of  actors,  musicians,  composers  and 

other  world-famed  artists.   The  book  is  one  of  the  greatest  interest  to  all  who  find  pleasure  in  the  theater. 

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"  The  Quill/'  a  little  magazine  of  books  and  authors. 


Francis  Wilson  and  Pauline  Hall  in  the  first 
production  of"Erminic"at  the  Casino,  TV.  Y, 


MC  BRIDE.  N AST  -£r  CO. 

JKION  SQUARt:  PUBLISHERS  NEWYORIvJfl 


Vogue  for  the  Coming  Tear 


Motor  Fashions  January  1 

Smartest   novelties  for   owner, 

guests,  car  and  driver. 
White  and  Southern  Fashions     January  15 

The  trend  of  coming  styles  as  seen 

in  the  Southland. 
Smart  Fashions  for  Limited  Incomes  Feb.  1 

First  aid  to  the  fashionable  woman 

of  not  unlimited  means. 
Forecast  of  Spring  Fashions  Feb.  15 

The   earliest   authentic   news   of 

the  Spring  mode. 
Spring  Patterns  March  1 

Working  models  for  one's  whole 

Spring  and  Summer  wardrobe. 
Spring  Dress  Mat.  and  Trimmings  March  IS 

How  the  Spring  models  shall  be 

developed. 
Spring  Millinery  April  I 

The  newest  models  in  smart  hats, 

veils  and  coiffures. 
Spring  Fashions  April  15 

The  last  word  on  Spring  gowns, 

waists,   lingerie  and  accessories. 
Bride's  May  1 

Late  Spring  fashions  and  special 

bridal  interests. 
Summer  Homes  May  IS 

A  journey  "thro*  pleasures  andpal- 

aces"  in  Newport  and  elsewhere. 
Summer  Fashions  June  / 

The  final  showing  of  the  Summer 

modes  that  will  be. 
European  and  Travel  June  15 

Where  to  go,  how  to  go,  what  tu 

wear  and  how  to  wear  it. 
Hot  Weather  Outing  Fashions  July  1 

The  correct  wardrobe  and  equip* 

ment  for  all  outdoor  sports. 
Vacation  July  15 

The  perennial  interests  of  Summer 

described  and  pictured. 
Outdoor  Life  August  1 

The  beau  monde  at  play  in  New- 
port, Bar  Harbor  and  the  Berk- 
shires. 
Children's  Fashions  August  15 

Outfits    for    the    infant   and    the 

school  boy  or  girl. 
Autumn  Millinery  September  1 

A  guide  to  the  season's  best  ex- 
pressions in  hats  and  bonnets. 
Forecast  of  Autumn  Fashions  Sept.  15 

The  first  accurate  forecast  of  the 

fashions  for  Autumn. 
Autumn  Patterns  October  1 

A  grown-up  picture  book,  featur- 
ing Vogue's  patterns  for  Fall  and 

Winter. 
Autumn  Shopping  October  15 

A  tour  through  the  best  shops  of 

twrt  continents. 
Winter  Fashions  November  1 

Vogue's    dress    rehearsal   of  the 

Winter  mode. 
Dramatic  and  Vanity  November  IS 

The  fine  arts  that  make  fair  women 

fairer. 
Christmas  Gifts  December  1 

Vogue's  solutionof  theChristmas 

Shopping  problem. 
Christmas  December  15 

Midwinter  fashions,  festivities  and 
.frivolities. 


$4*  Invested  in  Vogue 


(*a  tiny  fraction  of  your  loss 
on    one    ill  -  chosen   goivn) 


May  Save  You  $400 


The  gown  you  buy  and  never  wear  is  the  really  expensive 
one !  Hats,  furs,  boots,  gloves  that  just  miss  being  exactly 
what  you  want — these  are  the  clothes  that  cost  more  than 
you  can  afford ! 

By  investing  $4.00  in  Vogue,  you  secure  INSURANCE 
against  wasting  this  way  a. single  penny  of  your  clothes 
expenditure  in  the  year  1913. 


Vogue's  value  is  at  its  greatest  now  that  the  time  is  at 
hand  for  planning  new  clothes.  The  next  four  numbers 
form  a  complete  guide  to  a  Spring  wardrobe  of  distinc- 
tion, individuality  and  correctness— a  guide  that  not  only 
furnishes  valuable  ideas,  but  saves  costly  failures. 


The  demand  for  these  Spring  Fashion  numbers  always 
clears  the  newsstands  in  a  few  days.  Even  though  you  are 
getting  Vogue  regularly  from  your  newsdealer,  it  will  pay 
you  to  reserve  in  advance  these  special  Spring  numbers. 


In  fact  this  is  the  easiest  way  for  you  to  prove  that  Vogue 
will  pay  for  itself — ten,  twenty,  even  a  hundred  times  over. 


wi 


TRY  IT  FOR   YOURSELF 

Before  ordering,  even  for  a  short  period, 
you  may  prejer  first  to  make  Vogue  prove 
that  it  nil//  more  than  pay  itself.  Try  two 
or  three  numbers.  Here  is  the  coupon. 
CAecJt  the  numbers  you  want.  Tear  it  out. 
Hand  it  to  your  newsdealer. 


Join  today  the  most  smartly  dressed  women  in  America, 
the  women  who  use  Vogue.  A  whole  year  of  Vogue 
costs  $4.00 — an  insignificant  part  of  your  waste  on  a  badly 
selected  hat  or  gown.  But  you  don't  even  have  to  subscribe 
Alongside  is  a  column  of  "Vogue  for  the  Coming  Year." 
Just  check  with  a  pencil  the  numbers  that  interest  you  most, 
hand  the  list  to  your  newsdealer.  He  will  be  glad  to  see 
that  you  get  them  as  soon  as  they  are  out. 


Tear  Along  This  Line 

Mr.  Newsdealer : 

Please  reserve  for  me  the  Special  Early  Spring 
Fashion  numbers  of  Vogue  checked  be!ow. 
Also  such  additional  numbers  as  I  have  checked 
in  "Vogue  for  the  Coming  Year." 

I  1  SMART  FASHIONS       ....        Feb.  lit 

I  I  FORECAST  OF  SPRING  FASHIONS     Feb.  15th 

I  |  SPRING  PATTERNS      ....    March  1st 

!  I  DRESS  MAT.  AND  TRIMMING          March  15th 

Name  and  Address 


BELASCO.  "YEARS  OF  DISCRETION."  Comedy 
in  three  acts  by  Frederic  Hatton  and  Fanny 
Locke.  Produced  on  December  25th  with  the 
following  cast : 

Christopher  Dallas,  Lyn  Harding;  Michael  Doyle,  Bruce 
McRae;  John  Strong,  Herbert  Kelcey;  Amos  Thomas, 
Robert  McWade,  Jr.;  Farrell  Howard,  Jr.,  Grant  Mitch- 
ell; Metz,  E.  M.  Holland;  Mrs.  Howard,  Effie  Shan- 
non; Mrs.  Brinton,  Alice  Putnam;  Anna  Merkel,  Mabel 
Bunyea;  Lilly  Newlon,  Ethel  Pettit;  Bessie  Newton, 
Grace  Edmondslon. 

"Years  of  Discretion"  is  not  very  serious  in  a 
philosophical  way.  A  rich  widow,  who  has  pur- 
sued her  life  remote  from  the  gaieties  of  the 
frivolous,  and  who  has  not  experienced  any  of 
the  romance  that  usually  attaches  to  youth,  de- 
termines not  to  go  beyond  her  meridian  without 
a  taste  of  what  she  has  missed.  In  other  words, 
now  thirty-eight  years  old,  she  intends  to  make 
up  for  the  losses  of  the  past  by  getting  back  her 
youth  in  every  way  possible  to  those  artistic 
tradesmen  whose  business  it  is  to  keep  women 
young.  On  a  visit  to  Boston  she  confides  this 
purpose  to  a  friend,  a  woman  of  fashion,  and 
soon  appears  before  the  admirers  provided  for 
her  as  a  charming  person  in  her  thirties.  From 
this  beginning  she  has  a  series  of  affairs,  a  num- 
ber of  impetuous  suitors,  one  of  them  a  socialist. 
She  is  making  game  of  her  admirers,  enjoying  the 
sensation  caused  by  her  purchased  youth,  but  her 
affections  become  engaged  and  she  feels  forced 
to  confess  the  truth  to  a  really  available  admirer. 
This  does  not  put  an  end  to  her  frolic,  as  she 
expects  it  will;  for  he  admits  that  he,  too,  has 
dissembled  his  years. 

The  lines  and  the  situations  are  amusing,  the 
piece  is  acted  in  a  playful  spirit,  but  the  final  im-  ' 
pression  left  on  the  audience  is  not  exactly  agree- 
able. The  spectacle  of  the  mother  of  a  grown 
boy  forgetting  her  dignity  and  sense  of  decorum, 
and  carrying  on  so  many  flirtations  as  to  call  for 
indignant  protest  from  her  scandalized  offspring, 
is  not  particularly  edifying. 

The  play  is  produced  with  all  the  elaboration 
of  detail  characteristic  of  Belasco's  methods.  The 
scene  in  which  the  widow  confesses  to  her  decep- 
tion takes  place  in  a  garden,  which  for  poetic 
and  picturesque  setting  is  one  of  Belasco's  tri- 
umphs in  stage  realism. 

The  part  of  the  rejuvenated  widow  is  played 
by  Effie  Shannon,  a  charming  and  sympathetic 
actress  who  has  not  appeared  in  New  York  prom- 
inently since  the  days  when  she  was  our  most 
popular  ingenue. 


LYRIC.  "Ai.L  FOR  THE  LADIES."  Farce  with 
music  in  two  acts.  Book  and  lyrics  by  Henry 
Blossom;  music  by  Alfred  C.  Robyn.  Produced 
on  December  30th  with  this  cast: 

Marie,  Louise  Meyers;  Alphonse  Clemente,  G.  A. 
Schiller;  Georgette  Clemente,  Alice  Gentle;  Ernest  Pan- 
turel,  Teddy  Webb;  Nancy  Panturel,  Adele  Ritchie; 
Charles,  Max  d'Arcy;  Hector  Renaud,  Stewart  Baird; 
Leo  Laubenheim,  Sam  Bernard;  Madam  Suzette,  Mar- 
gery Pearson;  Finette,  Lillie  Leslie;  Blanche,  Marta 
Spears;  Augusta,  Maxie  MacDonald;  Baroness  Her- 
belles,  Amy  Leicester;  Marquise  Calvados,  Edna  Caru- 
thers;  General  Villefranche,  Jerome  Uhl;  Gaston  Le- 
Blanc,  Arthur  Webner;  Duchess  Alexia,  Lena  Robinson; 
Frangois,  Henry  M.  Holt. 

If  ever  a  piece  were  aptly  named,  this  one  as- 
suredly is.  Undoubtedly  it  is  all  for  the  ladies 
Firstly,  it  presents  a  bewildering  array  of  beauti- 
ful gowns  and  dainty  lingerie — an  exhibit  ever 
dear  to  the  feminine  heart;  secondly,  all  tin- 
ladies  love  Sam  Bernard,  who,  as  someone  said, 
has  spent  his  life  trying  to  overcome  a  German 
accent.  One  expects  to  laugh  when  one  goes  to 
see  this  popular  comedian,  and  certainly  in  this 
piece  you  get  all  you  pay  for.  He  appears  as 
Leo  von  Laubenheim,  a  little  German  designer 
of  dresses,  who  comes  on  the  scene  just  in  time 
to  save  the  failing  fortunes  of  a  fashionable 
dressmaking  establishment.  The  fun  rages  fast 
and  furious,  and  as  a  spectacle  the  show  is  a  de- 
light. Adele  Ritchie  sings  well  as  Nancy,  one 
of  the  partners  of  the  dressmaking  firm;  Louise 
Meyers  makes  a  cute  soubrette  and  Margery  Pear- 
son is  exceedingly  funny  as  a  lovesick  and 
tearful  dressmaker. 


PARK.  "Miss  PRINCESS."  Operetta  in  two 
acts.  Book  by  Frank  Mandel,  lyrics  by  Will  B. 
Johnstone,  music  by  Alexander  Johnstone.  Pro- 
duced on  December  23d  with  this  cast : 

Senalor  Caldwell,  Charles  P.  Morrison;  Baron  Gustav 
Vetter,  Ben  Hendricks;  Baroness  Vetter,  Isabel  C.  Fran- 
cis; Hypatia  Caldwell,  Margaret  Farrell;  Prince  Alexis, 
Henri  Leon;  Countess  Matilda,  Louise  Foster;  Frau 
Kattrina,  Josephine  Whittell;  Lincoln  T.  Creery,  John  H. 
Pratt;  Princess  Polonia,  Lina  Abarbanell;  Capt.  Merton 
Raleigh,  Robert  Warwick;  Sergeant  Tim  McGrew,  Felix 
Haney;  Corporal  Stephens,  Donald  Buchanon;  Private 
Ryan,  Albert  Borneman. 

It  is  doubtful  if  in  the  season's  musical  shows 
there  is  a  prima  donna  more  graceful,  more 
dainty  and  more  delightful  of  accent  than  little 

OREAT  BEAR  SPRING  WATER 
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A  Delightful  Party 

An  Interesting  Play 

An  Enjoyable  Evening 


With  the  Play  Diary  these  pleasures  do  not  end  with  the  evening. 

The  Play  Diary  is  a  handsome  book,  1  Ox  1 4,  beautifully  bound  in 
silk  cloth.  Japanese  vellum  used  throughout  and  gold  lettering  on 
the  covers.  It  contains  80  pages  with  title  page  and  index. 

Four  pages  are  reserved  for  each  play  — with  printed  headings 
for  the  date,  name  of  the  theatre,  the  play,  a  place  for  the  Programme, 
names  for  the  members  of  the  party,  two  pages  for  illustrations,  a  page 
for  personal  criticisms  and  reviews,  and  space  for  the  seat  coupons. 

It  makes  an  attractive  addition  to  your  library  table  and  is  a  source 
of  much  interest  and  pleasure  not  only  to  yourself,  but  to  your  friends. 

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THE   THEATRE   MAGAZINE 


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Twenty  pleasant  remembrances! 


The  great  popularity 
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POPULAR  NOVELS  BY  ARTHUR  HORNBLOW 


The  End  of  the  Game  (75th  Thousand) 

A  story  dealing  with  the  perils  ot  great  wealth. 

"A  thoroughly  wholesome  book,  with  action  in  the  drama 
and  real  human  interest." — Literary  Digest. 

The  Easiest  Way    (6th  Large  Edition)— From 
the  play  by  Eugene  Walter. 


By  Right  of  Conquest  (100th  Thousand) 

A  thrilling  story  of  shipwreck  upon  a  deserted  i»land. 

"A  sensational  situation  handled  with  delicacy  and 
vigor." — New  York  Herald. 


The  Gamblers  (85th  Thousand)— From  the  play 
by  Charles  Klein. 

12 mo,  cloth,  gilt.     Illustrated.     $1.50  each 

G.  W.  DILLINGHAM  CO.,  Publishers,  12-16  East  22nd  Street,  New  York 


Fur  Garments 
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Fur  garment!  made  of  reliable  furs,  or 
old  ones  renovated  and  remodeled  in 
the  mod  up-to-date  fashion  at  the 
lowest  prices  consistent  with  expert 
work.  Estimates  cheerfully  furnished. 
Mail  orden  given  prompt  attention. 


A.  H.  Green  &  Son,    25  W«t  23rd St.,  New  York 


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Lina  Abarbanell.  She  is  a  Portuguese  by  birth, 
the  wise  ones  tell  us,  of  a  talented  family,  the 
head  of  which  is  distinguished  as  a  musical  con- 
ductor in  Berlin.  She  was  known  and  endeared 
to  the  patrons  of  the  German  theatres  of  America 
long  before  she  emerged  upon  English-speaking 
New  York  in  "The  Student  King,"  in  "Madame 
Sherry,"  and  now  in  the  title  role  of  "Miss  Prin- 
cess." This  last-named  piece  was  well  adapted  to 
the  manifold  accomplishments  of  this  little  war- 
bler, and  she  did  not  slight  her  opportunities  in 
the  least. 


NEW  AMSTERDAM.  "EvA."  Musical  play 
in  three  acts  by  Glen  Macdonough  (based  upon 
the  original  of  Willner  and  Bodansky)  ;  music  by 
Franz  Lehar.  Produced  on  December  3Oth  with 
the  following  cast: 

Larousse,  T.  J.  McGrane;  Antoine,  Wallace  Mc- 
Cutcheon,  Jr.;  Voisin,  J.  D.  Murphy;  Dagobert  Mille- 
fleurs,  Walter  Lawrence;  Pipsi  Paquerette,  Alma  Francis; 
Kva,  Sallie  Fisher;  Octave  Flaubert,  Walter  Percival; 
Ellie,  Marie  Ashton;  Lizette,  Marie  Vernon;  Freddie, 
Alden  Macclaskie;  Edmond,  W.  T.  Ford;  Hortense, 
Fawn  Conway;  Matthew,  John  Gibson;  Maid,  Viola 
Cain;  Yvonne,  Edna  Broderick. 

The  great  public  who  thought  that  Lehar  in 
"Eva"  would  equal  the  wonderful  popularity  of 
his  score  of  "The  Merry  Widow"  were  disap- 
pointed. It  is  not  so  much  that  the  Viennese  has 
fallen  below  his  standard  as  it  is  that  he  has  set 
out  to  compose  something  entirely  different.  Music- 
ally the  accompaniment  to  "Eva"  was  of  a  very 
high  order,  not  as  melodious,  perhaps,  as  its  pre- 
decessor,-but  a  score  of  fine  originality,  admirable 
orchestration  and  really  sustained  importance. 
The  true  fault  with  "Eva"  is  its  book.  A  semi- 
serious  concoction,  its  adapter,  Glen  Macdon- 
ough, gives  a  very  poor  account  of  himself.  Its 
serious  side  is  presented  with  much  theatrical 
pretension,  and  its  humor  is  tenuously  thin  when 
it  is  not  stupidly  stodgy.  The  title  role  is  acted 
with  moderate  archness  by  Sallie  Fisher.  Her 
deficiency,  however,  was  in  vocal  tone. 


HARRIS.  "CHEER  UP."  Comedy  in  two  acts 
by  Mary  Roberts  Rinehart.  Produced  on  Decem- 
ber 30th  with  this  cast: 

Minnie  Waters,  Frances  Nordstrom;  Mike,  William 
Vaughn;  Senator  Biggs,  Billy  Betts;  Mr.  Moody,  George 
Le  Soir;  The  Bishop,  William  Eville;  Jane  Brooks,  Sy- 
billa  Pope;  Mr.  Brooks,  Eric  Blind;  Sam  Van  Alstyne, 
Harold  Salter;  Billy  FrencK  Alan  Brooks;  Robert  Tho- 
hurn,  Sedley  Brown,  Jr.;  Alan  Pierce,  Walter  Hampden; 
Doc.  Barnes,  Royal  Byron;  Dickie  Carter,  Efh'ngham 
Pinto;  Dorothy  Carter,  Fayette  Perry;  Mrs.  Biggs,  Amy 
Veness;  Miss  Cobb,  Selma  Maynard;  Julia  Summers, 
Lotta  Linthicum. 

It  is  sometimes  difficult  to  be  cheerful,  even 
when  one  is  told  to  cheer  up.  Particularly  true 
is  this  when  one  has  to  do  with  a  bad  farce.  A 
number  of  people  are  isolated  in  a  health  resort 
in  the  mountains  by  reason  of  a  raging  snow- 
storm. The  deceased  owner  of  the  sanitarium 
has  bequeathed  his  money  to  his  grandson  on 
condition  that  he  take  charge  the  very  evening 
of  the  blizzard.  Out  of  this  idea  grows  a  series 
of  situations,  some  of  which  make  for  mirth, 
but  most  being  preposterous  and  stale. 


REPUBLIC.  "A  GOOD  LITTLE  DEVIL."  Fairy 
play  in  three  acts  by  Rosemonde  Gerard  and 
Maurice  Rostand,  adapted  by  Austin  Strong. 
Produced  on  January  8th  with  this  cast : 

A  Poet,  Ernest  Lawford;  Betsy,  Iva  Merlin;  Mrs. 
MacMiche,  William  Norris;  Charles  MacLance,  Ernest 
Truex;  Old  Nick,  Sr..  Edward  Connelly;  Thought-From- 
Afar,  Georgia  Mae  Fursman;  Old  Nick,  Jr..  Etienne 
Girardot;  Juliet,  Mary  Pickford;  Marian,  Laura  Grant; 
Queen  Mab.  Wilda  Bennett;  Lord  Colington  of  Pilrig, 
Henry  Stanford;  Lady  Rosalind,  Jeanne  Towler;  Hon. 
Percy  Cusack  Smith,  R.  J.  Bloomer;  Lord  H.  De  Mar, 
Conway  Shaffer;  Lady  Cavendish,  Katharine  Minahan; 
Hon.  Miss  Letterblair.  Amv  Fitzpatrick;  Lady  Ralston, 
Edna  M.  Holland;  Lady  Molineaux.  Augusta  Anderson. 

David  Belasco,  in  announcing  that  "The  Good 
Little  Devil"  ''is  a  fairy-tale  for  grown-ups,"  dis- 
arms the  critics  who  may  now  judge  it  neither  as 
a  play  for  children  nor  as  legitimate  drama  for 
their  own  contemporaries.  But  as  either,  or  as 
both,  it  is  entertaining  and  well  done.  The  play 
which  Austin  Strong  has  adapted  with  the  prose 
of  our  tongue  from  the  French  of  Mme.  Rostand 
and  her  son  Maurice,  developed  from  the  favorite 
fairy-tale  which  this  mother  wove  for  her  son  in 
the  twilight  nursery  hour.  It  tells  the  story  of 
Charles  MacLance,  a  Scotch  orphan  boy,  who 
might  have  been  good  had  his  ogre  of  an  aunt. 
Mrs.  MacMiche,  not  teased  and  mauled  and 
starved  and  beaten  him  into  being  bad.  But  his 
badness  wasn't  very  bad  badness — it  was  good 
badness  that  only  meant  mischief,  not  harm. 
There  was  love  in  his  heart,  and  that  is  why 
everybody  loved  him,  from  Betsy  the  maid  and 
Oliver  the  poet  to  Juliette,  the  little  blind  girl, 
and  the  fairies. 

GREAT  BEAR  SPRING  WATER 
BO  cts.  per  case— 6  glass-stoppered  bottles   . 


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THE      THEATRE      MAGAZINE      ADVERTISER 


xv 


Such  a  plot  affords  Mr.  Belasco  all  the  oppor- 
tunities lie  needs  for  the  display  of  that  theatrical 
art  of  which  he  is  a  master.  There  is  every  mood 
represented,  from  broad  farce  in  the  scenes  be- 
tween the  ogre  aunt  and  her  confreres,  the  Old 
Xicks,  to  pure,  sweet  sentiment  in  the  childish 
love  scenes  between  Charles  and  his  Juliette,  and 
for  these  every  degree  of  lighting  is  demanded. 
There  is  a  starry  night,  when  the  fairies  are  float- 
ing from  planet  to  satellite ;  twilight  for  lovers' 
trysting  and  broad  noonday  sun  for  the  frolics 
of  schoolboys  and  garden  friends. 

If  Mary  Pickford,  who  plays  the  blind  little 
girl,  is  a  product  of  "the  movies,"  then  commend 
us  to  the  photo-play  posing  as  a  school  for  acting. 
Contrary  to  expectation,  her  facial  expression 
was  restrained  rather  than  overemphatic  and 
her  diction  was  rarely  fine.  But  both  these  quali- 
ties and  her  winsome  prettiness  are  as  nothing 
compared  with  the  spirituality,  the  sweet  childish 
simplicity  with  which  she  played  her  part.  Had 
Ernest  Law  ford,  who  played  the  part  of  the 
poet,  and  Ernest  Truex,  the  boy  hero,  shared  her 
earnestness,  her  true  feeling  for  the  meaning  of 
the  lines,  they  would  have  been  more  convincing. 
As  it  was,  they  both  were  in  their  parts,  not  of 
them ;  they  had  the  semblance  but  not  the  soul 
of  the  people  they  represented.  And  if  Ernest 
Lawford  had  the  art  to  conceal  his  identity  with 
his  former  parts  he  might  also  fare  better"  One 
who  succeeds  in  doing  this  capitally  is  William 
Norris  in  whose  crotchetty,  gnarled,  maliciously 
hateful,  deliciously  comical  Mrs.  MacMiche  one 
could  never  recognize  the  blithely  singing  hero 
of  "Toyland."  A  better  old  witch  woman  one 
couldn't  imagine  in  or  outside  of  a  story  book. 


EMPIRE.  "THE  SPY."  An  English  version  in 
three  acts  by  Henry  Kistemaecker's  play,  "La 
Flambee,"  by  Peter  Le  Marchant.  Produced  on 
January  13th  with  this  cast: 

Colonel  Felt,  Cyril  Keightley;  Marcel  Beaucourt, 
Julien  L'Estrange;  Bertrand  de  Mauret,  Edgar  Norton; 
Julius  Glogau,  Chas.  B.  Wells;  Monseigneur  Jussey, 
Ernest  Stallard;  Baron  Stettin,  Douglas  Gerrard;  Henri 
Cartelle,  Chas.  K.  Gerrard,  Paul  Rudiet,  Isidore  Marcil; 
Justin,  James  Furey;  The  Mayor,  E.  J.  Brady;  t)r. 
Dufot,  Thomas  Tumour;  Monique  Felt,  Edith  Wynne 
Matthison;  Yvonne  Stettin,  Essex  Dane;  Therese  Deniau, 
Vera  Finlay;  Annette,  Jane  May. 

When  Henry  Kistemaecker's  play,  "La  Flam- 
bee,"  was  first  produced  in  Paris,  Moroccan  poli- 
tics were  at  their  height.  Its  patriotic  note  struck 
an  immediately  responsive  chord.  Rather  labori- 
ously translated  for  local  consumption  by  Peter 
Le  Marchant,  its  production  here  at  the  Empire 
is  not  calculated  to  stir  much  enthusiasm.  Its 
heroics  are  too  distinctly  provincial  and  its  do- 
mestic complications  too  Parisian  to  make  strong 
appeal  to  American  hearers.  But  most  positive 
of  all  is  the  fact  that  ''The  Spy"  is  not  a  good 
acting  play.  Its  technic  is  clumsy,  its  dialogue 
redundant  and  extraneous.  The  abbe  and  his 
views  on  divorce  make  a  scene  with  the  wife  that 
has  no  bearing  on  the  piece  or  its  conclusion. 
Half  a  dozen  of  the  characters  could  be  entirely 
dispensed  with.  Its  humor  is  tenuous  and  ir- 
relevant. 

Monique,  wife  of  Lt.-Col.  Felt,  and  he  have 
drifted  apart.  She  wants  a  divorce  to  marry 
Marcel  Beaucourt,  a  radical  member  of  the  min- 
istry. Felt,  however,  resolves  to  win  her  back. 
For  her  benefit  he  has  become  heavily  involved. 
His  principal  creditor,  Glogau,  insists  on  im- 
mediate payment,  and  suggests  that  as  a  means 
of  wiping  out  the  debt  he  give  him,  Glogau, 
secret  agent  for  a  foreign  power,  a  copy  of  the 
plans  of  a  certain  fortification.  In  his  rage  Felt 
strangles  him  to  death.  He  comes  to  his  wife's 
boudoir  to  establish  an  alibi,  then  the  lover  ar- 
rives for  a  platonic  interview,  recriminations,  etc., 
but  things  are  temporarily  adjusted  and  she 
promises  to  shield  him.  In  the  last  act  there  is 
a  clash  as  Beaucourt,  when  he  finds  he  is  likely 
to  lose  Monique,  threatens  to  show  up  Felt,  but 
as  it  was  a  "spy"  who  was  strangled  he  agrees  to 
hold  his  tongue  for  patriotic  reasons. 

M unique  was  played  with  splendid  skill  and 
illuminative  resource  by  Edith  Wynne  Matthison 
but  the  performance  was  entirely  unemotional 
and  moving  in  its  effect.  The  husband  was  acted 
with  dignity,  repose  and  a  singular  personal 
charm  by  Cyril  Keightley,  and  Julien  L'Estrange 
enacted  the  lover  with  graceful  fervor.  There 
were  two  very  rich  and  handsome  sets,  unneces- 
sarily elaborate. 


CRITERION.  '-CHAINS."  Play  in  four  acts 
by  Porter  Emerson  Browne,  founded  on  the  Eng- 
lish play  of  the  same  title  by  Elizabeth  Baker. 
Produced  on  December  16  with  this  cast : 

Ruth  Wilson,  Olive  Wynrtham;  Richard  Wilson,  Shelly 
Hull;  Jackson  Tennant,  Clifford  Bruce;  Betty  Mason. 
Desmond  Kelley;  Percy  Mason,  Edwin  Nicander; 
Charley  Mason,  Clinton  Preston;  Morton  Lane,  Edward 
Fielding;  Sybil  Frost,  Ruth  Boyce;  Howard  Dunn, 

(Continued    on    page    xxvii) 


• 


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District  Subscription   Managers  Wanted 

In  every  locality  where  we  have  not  yet  appointed  a  district 
manager  to  look  after  our  subscription  interests,  we  offer  a 
splendid  opportunity  to  the  right  sort  of  person.  We  want  a 
hustling,  energetic  man  or  woman  who  will  put  out  our  advertis- 
ing booklets,  collect  renewals  of  expiring  subscriptions,  but  most 
of  all  push  out  after  new  business.  The  work  need  not  occupy 
more  than  your  spare  time,  and  if  you  possess  the  right  sort  of 
energy  you  will  find  it  not  only  very  interesting  and  pleasant 
but  also  exceptionally  remunerative.  Our  district  managers 
handle  both  of  our  magazines,  L'Art  de.  la  Mode  and  The 
Theatre  Magazine.  If  you  have  some  time  that  you  would 
like  to  turn  into  good  money 

YOU  CANNOT  AFFORD  TO  OVERLOOK  THIS  PROPOSITION 

Send  your  application    at    once    to 
THE  SUBSCRIPTION  MANAGER 

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XVI 


THE   THEATRE   MAGAZINE   ADVERTISER 


Jlaitlalcti, 


hocolate  Ground  Chocolate  Ground  Chocolate  Ground  Chocolate  Ground  Chocolate  Ground  Chocolate 

Jfcullateti,  Jlaiflateti.  JtaillaAdi  JlaillaldA^  Jtaillalcti.  J(g± 

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No  Appetite  ?  ?  ? 

Then  come  and  take 
a  glass  of 

"DUBONNET" 

Superior  to  the  best 

COCKTAIL 

And  sold  all  over  the  United  States 
at  the  same  price    as   a   Cocktail 


Remember  the 

bottle  of  the  Original 

and  only  Genuine 

"DUBONNET" 


J.  B.  Martin  Importation  Co. 

1182  Broadway,          NEW  YORK 
Sole  Agents  for  the  U.  S. 


Conspicuous 

Nose  Pores 

How  to  reduce  them 

Complexions  otherwise  flawless  are 
often  ruined  by  conspicuous  nose 
pores.  In  such  cases  the  small  mus- 
cular fibres  of  the  nose  have  become 
weakened  and  do  not  keep  the  pores 
closed  as  they  should  be.  Instead 
these  pores  collect  dirt,  clog  up,  and 
become  enlarged. 

Begin  tonight  to  use  this  treatment 

Wring:  a  cloth  from  very  hot  water,  lather  it 
with  Woodbury's  Facial  Soap,  then  hold  it  to 
your  face.  When  the  heat  has  expanded  the 
pores,  rub  in  very  gently  a  fresh  lather  of 
Woodbury's.  Repeat  this  hot  water  and  lather 
application  several  times,  stopping  at  oiice 
ivhenyour  nose  feeh  sensitive.  Then  finish 
by  rubbing  the  nose  for  a  few  minutes  with 
a  lump  of  ice, 

Woodbury's  Facial  Soap  cleanses  the  pores. 
This  treatment  with  it  strengthens  the  muscu- 
lar fibres  of  the  nose  pores  so  that  they  can 
contract  properly.  But  do  not  expect  to 
change  in  a  week  a  condition  resulting  from 
years  of  neglect.  Use  this  treatment  persis- 
tently. It  will  gradually  reduce  the  enlarged 
pores  and  cause  them  to  contract  until  they 
are  inconspicuous. 

Tear  off  the  illustration  of  the  cake  shown 
below  and  put  it  in  your  purse  as  a  reminder 
to  get  Woodbury's  and  try  this  treatment. 
Try  Woodbury's  also  tor  general  toilet  use. 
See  what  a  delightful  feeling  it  gives  your  skin 
Woodbury's  Facial  Soap  costs  25c  a  cake. 
No  one  hesitates  at  the  price  after  their 
first  cake. 


Woodbury's  Facial  Soap 


For  sale  by  dealers  ez*eryivhere 


Write  today  for  Samples 

For  4c  ive  will  send  a  sample  cakf. 
For  lOc  samples  of  H  'vodbury* s 
Facial  Soap,  Facial  Cream  and 
J^oiuder.  For  50c  a  copy  oj  the 
Woodhitry  Book  and  sa tuples  of  the 
M'oodbnry  preparations,  II  'rite  to- 
day to  Andrew  Jereens  Co.,  l}ept. 
F-2.,  Spring  Grove  Avenue,  Cincin- 
nati, Ohio,  or  to  the  Andrew  Jergens 
Co.t  Ltd.,  Jyertht  Ontario,  Canada. 


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Beautiful  gown  suitable  for  wear  at  Southern  resorts  and  displayed  by  Best  &•  Co.     The  foundation  of  the  frock  is  of 
fine  plaited  mull  and  the  sheerest  of  embroidered  batiste  is  used  for  tunic  and  the  drape.  Black  tulle  is  used  for  trimming. 

Girdle  of  black  satin. 


I 


S  there  ever  really  a  lull  in  the  clothes  world?  Almost  before 
one  has  completed  the  winter  wardrobe  the  shops  are  tempting 
us  with  fresh  allurements  in  the  way  of  new  fabrics  and  new 


A   FETCHING  BRIDGE   GOWN 

This  fascinating  dress  from  Bcchoff-David  displays  to  excellent  advantage  the  supple 
draping  qualities  of  broche  crepe  trianon  in  the  cafe  au  tail  shade.  It  is  a  wonder- 
fully simple  frock  with  the  new  note  in  the  undcrsleeves  of  printed  silk.  A  collar 
of  the  printed  silk  may  be  substituted  for  the  fur,  if  gown  is  intended  for  the  spiini/ 


models  fashioned  from  these  same  new  stuffs.  Although  it  will  be 
several  weeks — unless  one  pays  a  visit  to  the  South — before  these 
costumes  can  be  worn  the  appeal  is  too  seductive  to  be  resisted. 
Then,  too,  there  is  a  story  about  the  luck  of  the  early  bird  which 
many  women  act  upon,  and  the  days  when  the  weather  makes  a 
stay  indoors  more  inviting  than  a  venture  into  the  sleet  and  snow 
are  just  the  best  times  for  planning,  and  perhaps  making,  the  early 
spring  wardrobe.  Certainly  if  one  cannot  have  the  joys  of  actually 
wearing  the  new  frocks  and  hats  in  the  South,  the  next  best 
pleasure  is  planning  them.  Then  when  spring  in  all  its  glory  bursts 
upon  us,  and  the  siren  call  of  the  open  thrills  our  very  being,  we 
are  ready  to  blossom  forth  in  our  new  dresses,  while  the  foolish 
virgins  who  have  waited  until  the  last  minute  are  pleading  for  the 
overworked  dressmakers  and  tailors  to  hurry  with  their  clothes. 

While  there  is  little  that  is  actually  new  in  the  realm  of  fabrics, 
the  old  favorites  are  more  fascinating  than  ever  in  their  new 
guises.  All  of  us  are  well  acquainted  with  crepe  de  chine  and  its 
sterling  wearing  qualities,  but  few  of  us  would  recognize  it  in  all 
its  richness  in  the  new  crepe  chinois.  To  begin  with,  it  is  heavier 
than  the  crepe  de  chines  of  other  days,  and  consequently  richer  and 
more  elegant,  and  it  boasts  the  dull  finish  now  so  fashionable.  The 
vogue  for  brocaded  effects  is  answered  by  the  new  broche  crepe 
trianon  which  has  the  added  charm  of  brocade  combined  with  the 
crepe  weave.  Like  the  crepe  chinois  it  has  the  dull  finish  and  is 
quite  heavy  enough  for  the  tailored  costume.  The  charming  styles 
for  these  materials  are  displayed  in  the  accompanying  photographs 

The  demand  for  moire  has  increased  all  during  the  winter 
months,  until  it  has  reached  the  crest  of  the  wave  of  popularity — 
the  popularity  of  an  exclusive  fabric — in  the  new  moire  serb,  which 
has  the  most  alluring  of  frosted  effects.  There  is  something  de- 
lightfully cool-looking  in  this  frosted  finish  which  is  going  to  appear 
even  more  inviting  when  the  thermometer  is  performing  stunts  with 
the  high  record  temperatures.  The  Paris  dictum  which  calls  for 
corded  weaves  is  developed  by  the  good-looking  faille  de  Paris, 
which  is  particularly  appropriate  f6r  the  costume  tailleur. 

All  of  these  materials  reflect  the  new  colors  which  make  the  rain- 
bow of  the  coming  season  an  unusually  attractive  one.  There  are 
first  the  tan  shades,  with  cafe  au  lait  at  one  extreme  and  nut  and 
saddle  brown  at  the  other,  the  covert  tones  and  those  with  more 
suggestion  of  gray,  such  as  twine  and  putty.  Of  the  blues,  the 
I  Vrsian  blue  is  the  favorite,  and  also  the  darker  tones  known  as  mid- 
night and  raven's  wing,  which  are  almost  black  though  with  more 
iridescence  than  is  usually  noticeable  in  a  dead  black.  The  yellows 
are  represented  by  the  amber,  and  for  evening,  the  combination 
with  red  which  blends  into  a  geranium.  The  red  with  more  of  a 
purplish  hue  which  has  been  named  "Nell  Rose,"  in  honor  of  Miss 
Wilson,  promises  to  vie  with  the  brick-red  in  the  red  series. 

In  worsteds,  the  matelasse  is  really  the  only  novelty,  and  we  have 
already  made  its  acquaintance  in  a  silken  texture.  This  stunning 
fabric  is  combined  with  the  plain  material  of  the  same  shade ;  in 
some  models  the  matelasse  is  shown  in  the  coat,  in  others  in  the 
skirt,  with  the  coat  of  the  material  and  trimmings  of  the  figured 
stuff.  Not  only  in  worsteds  but  in  cottons,  the  matelasse  weave  is 
receiving  all  the  attention  paid  to  novelties  and  promises  to  be  used 
extensively  in  suits.  It  is  so  very  good-looking  and  comes  in  such 
an  interesting  array  of  colors  that  it  is  quite  impossible  to  resist  its 
appeal.  The  matelasses  are  also  combined  with  the  pin  Ottomans, 
and  in  the  same  way  the  pin  Ottomans  are  matched  to  plain  ma- 
terials of  the  same  shadings.  The  needle  cords,  which  are  similar 
to  the  pin  Ottomans,  except  that  the  ridge  runs  up  and  down  with 
the  warf  instead  of  across,  are  likewise  matched  with  the  plain 
materials,  for  the  new  style  features  of  the  spring  are  more  in  the 
combination  of  fabrics  than  in  the  exploitation  of  new  ones.  A 
model  for  fashioning  materials  in  the  plain  and  figured  goods  is 
shown  in  the  photograph. 

The  Bedford  cords  are  particularly  smart  in  the  covert  shadings 
both  in  the  plain  and  in  the  mixtures,  and  the  soft,  supple  cote  de 


We  will  gladly  give  names  of  shops  where  goods  described  may  be  purchased. 
Address  THE  THEATRE  MAGAZINE  Fashion  Dept.,  8-14  West  sSth  Street,  New  York  City. 


THE   THEATRE   MAGAZINE   ADVERTISER 


XIX 


94 


Special  Productions  for  Southern  Winter  Resorts 

Exquisite  Creations  in  Gowns  in  the  Most  Favored  Materials 

Advanced  Styles  in  Parasols  —  Parasols  Covered  to  Match  Gowns 


No.  90.  Copy  of  a  recent  Spnng  importation;  Gown  of  white 
French  cotton  crepe,  combined  with  striped  Eponge  trimmed 
with  real  Clury  lace  and  handsomely  hand-embroidered.  Fin- 
ished at  waist  with  kid  belt  and  fancy  buckles  in  back.  Sizes 
34  to  42  bust.  Price  45.00 

No.  90 A.  Nell  Rose — Parasols  of  black  and  white  striped 
s  Ik,  with  long,  plain  ebony  handle  trimmed  with  black  and  white 
loop  cord.  Price  6.75 

No.  91.  Imported  hand-made  dress  of  fine  white  Batiste 
daintily  hand-embroidered  and  trimmed  with  Cluny  and  Valen- 
ciennes lace.  Sizes  34  to  42  bust.  Price  1 9.50 

No.  91  A.  La  Champignon — Parasols  of  \ery  soft  silk,  a 
combination  of  colors  shading  from  an  Alice  blue  to  a  golden 
brown,  finished  off  at  edge  with  fringe;  handle  is  enameled  in 
colors  to  match  silk.  Pries  1 0.50 


No.  92.  Hand-embroidered  Marquisette  Gown,  trimmed 
with  real  Cluny  lace,  Dresden  girdle  sash.  Price  59.00 

No.  92  A.  Palm  Canopy  — Parasols  of  bright  red  taffeta  silk, 
with  black  binding  on  edge;  long  ebony  handle  with  red  silk 
loop  cord.  Price  7.50 

No.  93.  French  Batiste  Gown,  trimmed  with  fillet  Venise 
lace  banding,  flower  ribbon  girdle  with  sash  end.  Price  35.00 

No.  93  A.  La  Volant —  Parasols  of  white  taffeta  silk,  finished 
off  at  edge  with  fancy  black  silk  tape;  long  black,  carved  wood 
handle.  Price  7.85 

No.  94.  Copy  of  a  recent  Spring  importation;  Gown  of  white 
French  Eponge  effectively  hand-embroidered  and  trimmed  with 
crochet  buttons.  Collar,  cuffs  and  sides  of  skirt  trimmed  with 
real  Cluny  lace.  Finished  at  waist  with  girdle  of  Egyptian  silk. 
Sizes  34  to  42  bust.  Price  39.75 


Co. 

FIFTH  AVENUE    At  Thirty-fifth  Street    NEW  YORK 


When  writing  to  advertisers,  kindly  mention  f  HE  THEATRE  MAGAZINE 


XX 


THE     THEATRE    MAGAZINE 


A   SMART  RECEPTION   COSTUME 

Although  the  original  model  is  shown  in  -velvet,  it  would  be  equally  smart  in  the  new  moire  serb  in  the 
putty  coloring.  This  material  drapes  in  a  graceful  manner,  giving  the  same  lines  as  those  shown  in  the 
photograph.  The  bodice  is  cut  with  the  V-shaped  neck  to  display  a  fine  maline  lace  yoke  which  is  finished 
in  the  back  by  a  collar  of  Bulgarian  embroidery.  The  long  sleeves  are  attached  to  the  low  shoulder  line, 
and  fit  closely  the  arm.  The  bag  shown  is  one  of  the  new  styles  which  open  flat 

cheval  is  more  alluring  than  ever  in  the  covert  tones.  All  of  these 
fabrics  come  in  the  new  colors  already  mentioned,  and  are  particu- 
larly chic  in  twine  and  putty  tints,  which  are  really  newer  interpre- 


each  season,  but  the  combination  of  checks  and  a 
plain  goods  is  so  good-looking  that  they  are  enjoy- 
ing a  new  lease  of  popularity  and  are  quite  as  well 
liked  in  the  navy  and  white  checks  as  in  the  black 
and  white. 

In  the  heavy  cotton  materials  suitable  for  suits, 
the  eponge  is  a  strong  leader,  and  there  are  wonder- 
fully good-looking  striped  ratines.  The  novelty  here 
is  the  zig-zag  cloth  woven  from  threads  of  graduated 
size,  alternating  thick  and  thin  and  pulled  while  on 
the  loom  to  give  the  zig-zag  pattern.  The  effect  is 
so  stunning  when  three  colors  are  combined  that  it 
rather  overshadows  the  monotone  patterns. 

The  crepe  weaves  are  as  stylish  in  cottons  as  in 
silks,  and  the  embroidered  crepes  are  positively  so 
enchanting  that  one  just  must  have  a  gown,  or  at 
least  a  waist  of  one  of  the  neat  printed  floral  de- 
signs in  the  bright  reds  and  greens,  or  the  more 
subdued  pinks  and  blues,  which  sell  for  $1.25  a  yard. 
The  bordered  crepes  are,  perhaps,  more  ambitious, 
and  are  certainly  novel,  for  what  could  be  more 
revolutionary  than  plush  or  velvet  with  every  thread 
of  cotton?  Yet  a  soft,  graceful  cotton  crepe  has  a 
deep  border  of  plush,  as  silky  in  appearance  as 
panne  velvet,  and  sells  for  $2.50.  The  crepes  with 
the  ratine  borders  can  be  bought  as  low  as  $1.50, 
whether  checked  or  striped.  More  striking,  per- 
haps, are  the  crepes  printed  with  conventional 
figures  developed  in  the  brilliant  Bulgarian  colors 
and  set  in  tiny  frames  of  ratine.  These  cost  $5  a 
yard,  but  even  at  this  price  a  gown  would  not  be 
expensive,  because  the  material  is  very  wide,  re- 
quiring only  four  or  five  yards,  and  the  goods  are 
so  decorative  in  themselves  they  require  no  addi- 
tional trimming. 

FETCHING  COSTUMES  FOR  THE  SOUTH. 

The  trip  South  is  usually  planned  so  hurriedly 
that  there  is  very  little  time  to  devote  to  dressmak- 
ing, and  it  is  a  comfort  to  be  able  to  visit  one  of  the 
reliable  shops  and  pick  up  costumes  so  individual  in 
line  and  cut  and  so  distinctive  with  the  little  new 
touches  which  make  a  frock  smart,  that  they  give 
the  appearance  of  having  been  made  to  order.  Is 
it  not  far  simpler  to  buy  for  $25  a  suit  of  crash — 
particularly  when  time  is  money — than  to  bother 
with  having  one  made,  especially  when  the  costume 
has  all  the  trig  and  jaunty  appearance  of  the  suit 
which  would  be  turned  out  by  the  tailor  with  the 
same  severe  tailored  lines  and  the  same  simplicity 
of  cut?  The  skirt  is  perfectly  plain,  and  the  jacket 
a  one-button  cutaway  with  a  buttoned  belt  in  the 
back  and  a  line  of  pearl  buttons  outlining  one  of  the 
side  back  seams  from  the  waist  to  the  bottom. 
There  are  also  buttons  on  the  square  revers  and 
long,  straight  sleeves. 

A  more  dressy  two-piece  suit  of  linen,  selling  for 
$39.50,  has  a  wide  border  of  embroidery  and  cut- 
work  on  the  skirt.     This  border  is  repeated  on  the 
upper  part  of  the  jacket,  on  the  square  revers,  and 
also  on  the  three-quarter  sleeves.    On  a  suit  of  white 
terry  cloth  there  are  three  graduated  borders  to 
lend  the  appearance  of  trimming  to  the  skirt.  These 
are  likewise  introduced  onto  the  body  of  the  jacket, 
which  is  given  a  slightly  high-waisted  effect  by  the 
belt  of  black  satin.     There  are  a  black  satin  collar  and  cuffs  and 
draped  revers  of  the  supple  terry  cloth.     It  is  a  simple  costume 
and  yet  a  very  chic  one,  and  sells  for  the  same  reasonable  sum  of 


tations  of  such  neutral  tones  as  the  popular  taupe.  Shepherd's  checks     $39.50. 

are  considered  standards,  and  are  sold  to  more  or  less  an  extent          For  the  morning,  in  the  land  of  flowers,  there  is  a  charming 

We  will  gladly  give  names  of  shops  where  goods  described  may  be  purchased. 
Address  THE  THEATRE  MAGAZINE  Fashion  Dept.,  8-14  West  38th  Street,  New  York  City. 


THE      THEATRE      MAGAZINE      ADVERTISER 


xxi 


A  Delicate  Shell-like  Pink • 

is  imparted  to  the  nailt  by  the  use  of 

COGSWELL'S  SEA  SHELL  TINT 

Lightly  applied  with  a  camel's  hair  brush,  it  re- 
mains on  the  nails  for  several  days.  Price  50  Cent? 

COGSWELL'S  FOOT  TONIC  com« 

as  a  welcome  friend  to  tired,  aching  feet.  Allays 
inflammation,  reduces  swelling.  An  excellent 
remedy  in  the  treatment  of  chilblains  and  in- 
flamed bunions.  Ils  ingredients  are  so  pure  and 
soothing  that  it  may  be  used  with  perfect  safety 
on  any  part  of  the  body.  ...  Price  $1.00 

REDUCING  SALVE  is  a  scientific  dis- 
covery  for  the  reduction  of  excess  flesh.  It 
necessitates  no  change  in  one's  diet  or  daily 
routine  of  living.  Unlike  other  reducing  salves, 
it  is  a  most  beneficial  tonic  for  the  nerves. 
Guaranteed  absolutely  harmless.  $2.00  n  jar 

Personal  attention  of  Dr.  E.  N.  Cogswell 
given  all  letters  requesting  information 

Dr.  E.  N.  Cogswell 

418  Fifth  Avenue         New  York  City 

On  Sale  in  New  York  at  Franklin  Simon  &  Co. 
and  James  McCreery  &  Co. 


,  Surgeon-Chiropody  and  , 
Expert  Manicuring 


PAQUIN 

FUR 
CREATIONS 

ARE  NOW  DIRECTLY  AVAILABLE  TO 
AMERICAN*  WOMEN  AT  A  SAVING 
OF  THE  IMPORT  DUTY,  THROUGH 
THE  FOUNDING  OF  THIS  ESTAB- 
LISHMENT, WHERE  A  STAFF  OF 
I'AQUIN  EXPERTS  WILL  REPRODUCE 
MODELS  IN  THE  DISTINCTIVE  FASH- 
IONS CHARACTERISTIC  OF  THEIR 
PARIS  SALON. 

PAQJJIN    &   JOIRE 

398    Fifth   Avenue 
Bet.  j6th  and  jyth  Sts.,  New  York 


The  Files   of  the  Theatre  Magazine 
are    Invaluable    to   Collectors 


BIND  YOUR  NUMBERS  OF  THE 

Theatre  Magazine 


READERS  who 
nave  preserved  their 
copiea  and  return  them  to 
us  in  good  condition,  by 
express,  prepaid,  will 
receive  a  complete  copy, 
together  with  title  page, 
table  or  contents,  on 
payment  of  $3.00. 


The  Twelfth  Year  (1912)  is  bound  in 

TWO     VOLUMES 


.  .     .     . 

Toulards 

This  is  the  name  by  which 
you  should  buy  Foulards.  It 
assures  quality,  durability,  ex- 
clusiveness  and  originality  of 
design — and  all  at  a  price 
you  can  afford  to  pay. 

The  new  floral,  Dresden  and 
Louis  XVI  designs  are  dis- 
tinctly new  to  Foulards,  and 
are  to  be  had  in  "Shower- 
Proof"  only. 


CHENEY 
SILKS 

are  of  superior  quality,  and  include 
practically  every  kind  of  goods 
made  of  silk— whether  for  dresses, 
millinery,  decoration  or  upholstery, 
the  haberdasher  or  manufacturer. 
Man  or  woman.  Ask  for  them 
by  name. 

CHENEY  BROTHERS 

Silk  Manufacturers 
4th  Avenue  and  18th  Street,  New  York 


The  only  silk  covered 
collar  supporter  with 
hand  crocheted  ends 


Dainty      Invisible      Flexible 

All  Sizes,  White  or  Black,  3  on  a  card,  lOc. 

Joseph  W,  Schloss  Co.,  New  York 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


XXJ1 


THE     THEATRE    MAGAZINE 


A  SIMPLE  STREET  SUIT   WITH  MANY  NEW  STYLE  POINTS 
This  costume  by  Drecoll  could  easily  be  developed  into  one  of  the  new  fabrics  such 
•    as  matelasse,  with  the  plain  material,  matching  in   color  the  matelasse,  for  the  under- 
skirt.    The  slight  draped  effect  of  the  coat  follows  the  lines  of  the  skirt.     The  collar 
of  fur  in  a  spring  costume  would  le  cast  aside  for  one  of  silk  ratine,  or  of  the  plain 
material.     The  hat  of  velvet  would  look  equally  smart  in  maline 

little  oyster-white  linen  frock  with  touches  of  sky  blue  in  the  linen 
at  the  belt,  the  cuffs  and  the  revers,  which  graduate  from  the 
belt  to  the  neck  and  disclose  a  dainty  lingerie  vest.  Over  the  blue 
linen  collar  there  is  a  smaller  one  of  the  lingerie  embroidery,  which 
adds  a  simple  but  pretty  finish  to  this  love  of  a  frock,  selling  for 


the  modest  sum  of  $18.50.  There  is  a  distinct  suggestion  of 
drapery  in  a  gown  of  deep  blue  ramie  linen,  the  drapery  being  car- 
ried to  the  side  opening  and  the  fullness  taken  care  of  with  narrow 
pin  tucks.  The  fastening  is  almost  hidden  under  the  large  buttons 
of  black  satin  covered  with  crochet  dyed  to  match  the  blue  of  the 
gown.  These  buttons  form  an  important  decorative  feature  on  the 
blouse,  outlining  either  side  of  the  lace  vest,  in  addition  to  the 
narrow  revers  of  black  satin  softened  with  a  tiny  lingerie  frill. 
The  yoke  in  the  back  is  extended  over  the  shoulders  to  lend  the 
fashionable  long  shoulder  line  and  the  sleeves  are  long,  reaching  to 
the  wrist,  where  they  are  faced  with  black  satin.  A  slightly  high- 
waisted  effect  is  given  by  the  wide  girdle  of  black  satin,  finished 
at  one  side  by  a  knot  and  short  end.  It  is  a  very  useful  little  frock 
for  various  occasions  and  can  be  bought  for  $29. 

A  gown  which  would  be  quite  "dressed  up''  enough  for  an  in- 
formal afternoon  tea  is  fashioned  from  the  white  terry  cloth 
There  is  a  simulated  overskirt,  slightly  draped  toward  the  bottom, 
and  a  front  panel  enhanced  with  embroidered  latticework  in  soft 
shades  of  tan  and  green,  with  the  distinguishing  lines  of  black 
This  embroidery  is  used  on  the  blouse  to  give  the  effect  of  a 
crossed  vest,  displaying  a  fine  shadow  lace  yoke  edged  with  tan 
chiffon.  The  sleeves,  which  are  set  into  an  enlarged  armhole  piped 
with  the  tan  chiffon,  are  long  and  finished  with  a  cuff  of  the  lace 
veiling  a  deeper  one  of  the  chiffon.  There  is  a  clever  little  but- 
toned strap  of  the  embroidery  at  the  back  which  adds  one  of  those 
knowing  little  touches  so  suggestive  of  a  French  origin.  Forty- 
five  dollars  is  a  very  reasonable  price  for  this  smart  frock. 

A  NEW  DEPARTURE. 

One  of  the  largest  shops  which  has  made  a  pronounced  success 
of  its  suit  and  dress  departments  has  now  added  a  new  one,  cater- 
ing to  women  desiring  costumes  made  to  order.  The  work  is  under 
the  supervision  of  a  very  clever  designer,  who  has  a  fund  of  orig- 
inal ideas.  A  varied  selection  of  French  creations  are  constantly 
being  imported  from  which  copies  may  be  ordered,  or  original 
models  will  be  fashioned  for  any  customer  wishing  costumes  with 
individual  touches.  It  is  the  idea  of  the  designer  to  work  with  his 
customers  and  to  develop  .for  them  their  own  suggestions  with 
careful  consideration  for  the  personality  and  individual  style  of 
the  woman  who  is  to  wear  the  costume.  In  this  way  he  hopes  to 
create  frocks  and  suits  and  wraps  which  are  different  from  the 
great  mass  turned  out  by  many  of  the  department  shops.  One  of 
the  most  comforting  thoughts  is  the  fact  that  the  prices  are  to  be 
kept  moderate. 

WHEN  BUYING  LINEN. 

It  is  so  very  difficult  to  distinguish  linen  from  cotton,  and  harder 
still  to  know  the  different  grades  of  cotton,  that  the  really  only 
reliable  method  of  buying  sheets  and  pillow  cases  is  to  purchase  a 
brand  which  you  know  is  satisfactory.  Time  and  experience  are 
the  best  teachers,  if  hard  masters,  in  telling  us  the  brands  which 
will  make  good  on  their  assertions.  Could  you  ask  for  better  test 
than  the  millions  of  washings  since  1848  which  have  given  to  one 
well-known  brand  the  cherished  name  it  bears  for  general  all- 
round  satisfaction  ?  It  has  taken  years  of  hard  work  and  honest 
dealing  to  get  this  brand  as  favorably  placed  before  the  public,  and 
the  manufacturers  are  insistent  that  it  shall  always  bear  the  same 
enviable  reputation.  When  you  ask  for  this  brand  in  the  shops 
you  know  that  you  are  receiving  uniformly  good  quality  for  your 
money.  The  sheets  may  be  bought  plain  or  hemstitched  and  in  any 
size  you  may  desire.  It  is  economy  to  buy  goods  of  this  kind,  for 
you  pay  no  more  for  them  than  for  others,  and  you  are  assured 
that  they  will  give  you  your  money  value  in  wear  and  quality. 

JUST  AMONG  OURSELVES. 

Considering  that  so  many  of  the  nerve  centres  are  located  in  the 
feet,  it  is  not  surprising  that  many  poor  mortals  are  constantly 
complaining  of  tired,  painful  pedestals.  It  is  really  shameful  the 
way  in  which  we  abuse  our  good  friends  who  carry  us  hither  and 
thither  over  many  miles  each  day,  and  the  least  we  can  do  is  to  give 


We  will  gladly  give  names  of  shops  where  goods  described  may  be  purchased. 
Address  THE  THEATRE  MAGAZINE  Fashion  Dept.,  8-14  West  38th  Street,  New  York  City. 


THE   THEATRE  MAGAZINE  ADVERTISER 


XX1I1 


For  sale  by  all  leading  dealers 


TRADE     MARK 


A.  D.  BURGESSER  &  CO. 

WHOI.ESAI.t-  ONLY 
140.151  Fifth  Avenue  New  York  City 


Don't  mar  the  style  of 
your  Suit  or  Gown 

with  an  ill-fitting,  puckering 
old  style  "string"  Petticoat. 

Wear  the 


ic  -V 

'V 


with  the  patented  Elastic  V- 
sliaped  Gussets  and  Elastic  Waist- 
band with  snap  fasteners.  They 
insure  the  snug  hip  and  waist 
fit.  No  strings — no  bagging — no 
puckering. 


/\ 


Every  appropriate  petticoat  fabric 
in  all  fashionable  shades.  Sold  by 
good  stores  everywhere. 

In  cotton  at  $1.50  to  $3.00 
In   silk    at    $5.00    and   up. 

If  you  have  the  slightest  difficulty 
being  supplied  with  the  genuine 
K  LOS  KIT  Petticoat,  write  for 
your  personal  copy  of  Style  Book 
de  Luxe  at  once  to  the 

KLOSFIT   COMPANY 


Publicity  D<:pt. 
2(1%  Fifth  Avenue,   New  York 


Clement 


12  West  33rd  Street 


New  York 


Hair  Goods  (or  the  Gentlewoman 


HTHE  CHARM  and  be- 
comingness  of  Clement 
hair  goods  and  coiffures 
lie  in  the  clever  adaptation 
of  Fashion's  dictates  to  the 
wearer's  needs. 

An  exclusive  variety  of  the 
latest  styles  in  hair  goods  and 
ready-made  coiffures  is  now 
ready  for  inspection. 

An  unusually  fine  selection 
of  hair  ornaments,  combs, 
pins,  barettes,  perfumes,  etc., 
which  will  delight  the  fastid- 
ious woman,  has  just  been 
imported  from  Paris. 

Liquid  Henna 

is  a  recent  discovery  of  mine  which  beautifully  colors  the  hair.  It  is 
absolutely  harmless  and  can  be  applied  without  aid.  Success  guaran- 
teed. Price,  $2.00. 

I  also  have  a  coloring  that  will  permanently  dye  the  eyebrows. 
Price,  $2.00. 

Spacious,  airy  rooms  with  natural  daylight  for  application  and  rectifi- 
cations of  hair  coloring  by  French  experts  only. 

Visitors  are  welcome  to  advice  and  suggestions.  Booklet  sent  on  request. 


When  writing  to  advertisers,  kindly  mention 


THEATRE  MAGAZINE 


XXIV 


THE    THEATRE    MAGAZINE 


them  such  treatment  at  night  that  they  may  be  able  to  repair 
damages  while  we  sleep.  Toes  which  have  become  bent  through 
ill-fitting  shoes,  or  joints  which  have  become  enlarged,  may  be 
corrected  by  a  new  patented  spring,  which  gently  but  firmly  per- 
suades the  different  parts  of  the  feet  to  take  on  the  lines  Nature 
intended  them  to  have.  This  method  of  correction  takes  place  at 
night  when  the  owner  of  these  misshapen  feet  is  far  away  in  dream- 
land, and  there  is  no  unpleasantness  connected  with  it.  The  results 
are  so  beneficial  and  the  comfort  derived  so  welcome  that  the  man 
or  woman  who  has  suffered  from 
troubles  of  a  pedal  nature  should 
at  once  investigate  these  little 
bands.  There  is  a  larger  spring, 
or  band,  which  is  used  as  an  arch 
supporter  for  the  fallen  foot. 

To    SMOOTH    OUT    THE    TELL- 
TALE LINES. 

The  woman  who  is  really  in- 
terested in  preserving  her  com- 
plexion gives  a  certain  amount 
of  time,  night  and  morning,  to 
the  care  of  her  skin.  She  may — 
and  if  she  is  wise  she  does — pay 
a  visit  to  her  beauty  specialist  at 
stated  intervals,  but  in  the  in- 
terim she  aids  the  work  of  the 
specialist  with  massage,  creams, 
etc.  It  requires  expert  skill  to 
massage  the  skin  with  the  fingers 
so  that  it  will  not  be  stretched, 
and  for  this  reason  many  women 
prefer  a  vibrator  or  roller  of 
some  kind.  After  much  experi- 
menting a  roller  has  been  per- 
fected which  smooths  the  skin 
without  stretching  it,  stimulates 
a  good  circulation,  which  brings 
about  a  healthy,  normal  skin 
with  good  natural  color  and  fills 
in  the  hollows. 

The  roller  consists  of  twenty 
York  ivory  balls,  which  revolve 
from  the  pressure  against  the 
skin,  and  is  surprisingly  simple 
to  manipulate.  It  is  by  far  the 
easiest  method  of  applying 
creams  to  the  skin,  for  the  cream 
is  then  thoroughly  worked  into 
the  skin  in  the  shortest  space  of 
time.  To  rub  away  the  ugly 
double  chin  it  is  ideal,  for  this 
unsightly  protuberance  will  not 
eliminate  itself  by  strenuous  mas- 
sage unless  it  is  strenuous.  The 
comfort  and  aid  which  this  roller 
will  give  is  worth  many  times 
the  selling  price  of  $3.00.  A 
cream  especially  prepared  to  use 
with  the  roller  is  sold  by  the  same  Beauty  preserving  company. 

AN  IMITATION  OF  NATURE. 

Where  is  a  woman  who  does  not  envy  her  lucky  sister  with  curly 
hair?  And  yet  it  is  within  the  power  of  every  woman  to  curl  her 
hair  in  such  a  way  that  she  can  defy  Nature  and  by  means  so 
simple  that  the  old-fashion  process  of  curling  the  hair  becomes 
as  onerous  as  walking  when  one  can  ride  in  a  motor.  The  method 
is,  of  course,  electricity,  that  time-saver  in  so  many  daily  tasks. 
The  curler  is  attached  to  an  electric  light  socket,  and  in  a  few 
moments  is  just  hot  enough  to  use. 


A    CHIC   BETWEEN-SEASONS    HAT 

This  is  an  excellent  model  for  the  hat  to  be  worn  between  seasons  as  it  can  be  made 

from  silk  or  maline.     The  draped  crown  is  one  of  the  new  features,  and  the  fantasie 

placed  a  little   to   one  side   of   the   front   is   very   generally    becoming 


The  curler  is  destined  to  give  the  lovely,  soft,  fluffy  effect  which 
is  so  desirable  and  which  is  really  such  a  clever  imitation  of  the 
pretty  wavy  hair  as  curled  by  Nature  that  it  is  almost  impossible 
to  detect  the  difference.  You  will  find  out  what  a  great  convenience 
this  new  hair  curler  may  be  when  you  are  travelling  and  are  lodged 
in  a  hotel  where  capable  hairdressers  are  scarce,  or  so  popular  that 
you  are  kept  waiting  for  hours  before  your  turn  arrives.  During 
the  season  at  Palm  Beach,  on  the  nights  when  a  ball  was  scheduled, 
many  of  the  women  were  compelled  to  miss  their  dinners,  or  have 

them  sent  to  their  rooms,  so 
popular  was  the  demand  for 
hairdressers.  It  is  an  inexpen- 
sive affair,  for  the  hair  may  be 
curled  ten  times  for  a  cent,  and 
the  initial  cost  of  $3.75  is  surely 
a  reasonable  one. 

Nature  is  also  niggardly  in  her 
gifts  of  beautiful,  thick  eyebrows 
and  lashes,  and  yet  they  can 
make  or  mar  a  face.  There  is 
something  lacking,  almost  a 
weakness  of  character,  in  a  face 
on  which  the  eyebrows  are  thin 
and  indistinctly  marked  and  the 
lashes  short  and  scraggly.  The 
poets  realized  these  defects 
many  years  ago,  and  have  writ- 
ten numerous  pretty  sonnets  to 
a  beautiful  eyebrow  and  long, 
curling  lashes.  When  these  two 
features  in  good  condition  can 
add  so  much  that  is  beautiful 
and  youthful  to  the  face,  is  it  not 
surprising  that  all  women  do  not 
insist  upon  thick  luxuriant  eye- 
brows and  pretty  long  lashes? 
There  is  just  one  excuse,  which 
is  really  not  an  excuse  at  all,  and 
that  is,  it  is  difficult  to  procure 
any  really  satisfactory  method 
for  inducing  the  hair  to  grow 
more  plentifully  on  the  eye- 
brows and  lashes. 

It  took  a  woman,  a  woman 
who  was  brave  enough  to  admit 
that  she  would  be  better  looking 
with  thicker  eyebrows  and 
longer  lashes,  to  discover  a  com- 
bination of  remedies  to  stimu- 
late this  growth  of  hair.  By  ex- 
perimenting she  found  that  the 
salve  she  had  compounded  would 
thicken  the  eyebrows  if  applied 
at  night,  and  that  the  lotion  she 
used  during  the  day  caused  the 
lashes  to  grow  long.  It  is  guar- 
anteed that  the  preparations  are 
both  harmless  to  the  eye  and  the 
sight.  The  combination  treat- 
ment costs  $3.00,  but  it  is  a  very  meagre  sum  when  the  results  are 
considered  and  the  improvement  in  our  looks. 

IN  THE  AID  OF  HEALTH  AND  BEAUTY. 

Everyone  watches  with  dread  and  a  sinking  sensation  in  the 
region  of  the  heart  any  accumulation  of  flesh  under  the  chin,  for 
the  double  chin  is  not  only  an  unsightly  disfigurement,  but  a  hor- 
rible reminder  that  time  is  fleeting.  There  are  various  methods  of 
suppressing  it,  but  one  of  the  most  satisfactory  is  a  good  chin 
strap.  This  strap,  if  properly  constructed,  performs  its  important 
function  during  sleep,  when  the  muscles  are  relaxed  and  naturally 


We  will  gladly  give  names  of  shops  where  goods  described  may  be  purchased. 
Address  THE  THEATRE  MAGAZINE  Fashion  Deft.,  8-14  West  38th  Street,  New  York  City. 


THE      THEATRE      MAGAZINE      ADVERTISER 


xxv 


We  Want  to  See  You 

at  Our  Spring 

Opening 

It  will  take  place  the  week  be- 
ginning March  3rd. 

The  couturiers  in  Paris  are  par- 
ticularly kind  to  us  this  season, 
sending  us  cablegrams,  sketches, 
suggestions,  which  are  worked 
up  into  enchanting  creations  for 
the  Opening  Display,  almost  as 
soon  as  received. 

The  number  of  requests  for  in- 
vitations to  our  Opening  last 
Fall  so  exceeded  our  supply  that 
we  have  decided  to  omit  the 
sending  of  printed  invitations 
this  season  and  invite  you  in- 
stead through  the  voice  of 

L'ART  DE  LA  MODE. 

Your  visit  will  be  more  than 
repaid  in  the  endless  variety  of 
suggestions  and  ideas  which  you 
will  gather.  We  are  counting 
upon  your  presence.  Do  not 
disappoint  us  or  yourself. 

Delightful   Surprises  in 

'The  'Twixt  Season 
Number"  (April  Fashions) 

Filled  with  so  many  adaptable  sugges- 
tions that  you  will  keep  this  book  for 
many  months. 

It  will  solve  the  problem  of  the  early 
Spring  bride  wiih  its  ravishingly  effect- 
ive models  designed  for  the  all-impor- 
tant event. 

It  will  contain — 

Creations  in  smart  and  attractive  walk- 
ing suits  and  evening  wraps — 

A  practical  sewing  lesson — 

Valuable  talks  on  Interior  Beautifying 
and  Decorating — 

A  little  Parisian  gossip — and — 

No!  We  shall  tell  you  no  more,  for 
then  they  would  not  be  surprises  ! 

Hereafter  for  the  convenience  of  those  who 
desire  their  patterns  in  a  hurry,  we  shall 
send  all  orders  so  indicated  at  letter  rate. 

To  a  house  sending  out  hundreds  of  pat- 
terns daily,  this  is  an  expensive  undertak- 
ing. We  therefore  £non>  that  our  patrons 
Will  not  ask  "•'  to  rush  orders  on  which 
more  lime  can  te  allotted. 

L'ART  DE  LA  MODE 

8-14  West  38th  Street,  New  York 


THE  definite  expression  of  the  season's  exact  fashion  in  hats  is  in 
the  Gage  creations.     The  result  is  not  only  ultra-latest  in  shape 
and  design,  but  is  harmoniously  beautiful,  giving  authoritative  finish 
to  the  costume,  whatever  the  time  or  occasion. 

The  leading  milliners  show  Gage  hats.  We  will  mail  you  our  current 
book  of  the  new  styles  just  as  soon  as  it  is  ready,  if  you  will  write  us  for  it. 
Your  name,  once  received,  becomes  part  of  our  mailing  list,  to  receive 
subsequent  fashion  literature. 


Send  two-cents  and  address  department  Y. 


Gage  Brothers  &  Co. 


Chicago 


Ask  your  Dealer  for  Gage  Hats. 


The  ReVUe  of  1912         fHE  SET  of  two  handsomely  bound 

*•  volumes,  containing  the  twelve  num- 
bers of  The  Theatre  Magazine  issued 
during  1912,  is  now  ready. 

A  complete  record  in  picture  and  text  of  the 
theatrical  season  of  the  past  year. 

It  contains  over  720  pages,  colored  plates, 
1500  engravings,  notable  articles  of  timely 
interest,  portraits  of  actors  and  actresses, 
scenes  from  plays,  and  the  wonderfully  colored 
covers  which  appeared  on  each  issue. 

It  makes  an  attractive  addition  to  your  library 
table,  and  is  the  source  of  much  interest  and 
entertainment  not  only  to  yourself  but  to 
your  friends. 

Only  a  limited  number  of  these  sets  have 
been  made  up  this  year,  owing  to  the  enor- 
mous sales  on   each   issue,  which  left  corn- 
Complete  Year,  1912 — $6.50  a  Set        paratively  few  reserve  copies. 

The  Theatre  Magazine,  8-14  West  38th  Street,  New  York 


When  writing  to  advertisers,  kindly  men' 'on  THE  THEATRE   MAGAZINE 


XXVI 


THE     THEATRE     MAGAZINE 


droop  and  sag  unless  held  in  position.  Such  a  strap  is  quite  as 
valuable  an  aid  to  health,  for  it  will  hold  the  lower  jaw  in  the 
proper  hygienic  position,  so  that  the  breathing  will  be  through  the 
nostrils  and  not  through  the  open  mouth.  All  sorts  of  diseases  can 
attack  the  throat  and  lungs  of  the  sleeper  who  breaths  through  his 


AN   EFFECTIVE    BRIDGE      , 

This  delightful  little  frock  from  Drccoll  would  serve  as  a  charming  model  for  the 
new  crepe  chmois,  or  even  one  of  the  bordered  fabrics.  The  underskirt  of  chiffon 
may  be  enhanced  with  a  deep  border  which  would  match  the  empiecement  on  the 
bodice.  The  yoke  of  creamy  net  is  finished  with  a  deep  frill  of  the  same  net  and  a 
square  collar  in  the  back  of  the  crepe  matching  in  color  one  of  the  shades  in  the 

embroidered   border 


or  her  mouth,  not  to  mention  .an  affliction  which  is  perhaps  more 
troublesome  to  others  within  hearing  distance — snoring. 

One  of  the  most  scientifically  constructed  straps  is  made  from 
light,  pink,  ventilated  silk  elastic,  made  especially  for  this  purpose. 
It  fits  over  and  under  the  chin,  hooks  on  the  top  of  the  head  and 
passes  over,  not  behind,  the  ears.  It  is  not  a  disagreeable  harness 
which  is  a  trial  to  wear,  but  is  quite  comfortable  enough  to  wear 
while  reading  or  writing,  when  the  face  is  inclined  to  droop.  These 
straps  vary  slightly  in  price  from  $5  to  $6.50,  but,  of  course,  they 
can  be  worn  for  any  length  of  time. 

The  dull  gray  weather  we  have  had  lately,  and  which  threatens 
to  continue,  fills  us  all  with  a  desire  to  escape  to  more  sunny  climes, 
to  fly  towards  the  Riviera,  or  even  farther  still. 

In  view  of  this  flight  we  now  seek  our  favorite  couturiers  to 
choose  whatever  may  please  us  among  the  pretty  things  they  have 
invented. 

For  our  tailor-mades  this  winter  we  have  been  wearing  woollen, 
plain,  striped  and  checked,  or  whipcord;  we  shall  now  have  them 
in  velvet,  in  soft  satin  and  in  silky  cloth. 

For  trimmings,  a  number  of  little  stuffs  have  made  their  ap- 
pearance— the  novelty  whereof  consists  in  an  old-fashioned  look 
and  rather  false  colors.  They  are  mostly  silk  epinglina  with  de- 
signs more  suited  to  men's  cravats  than  to  anything  else.  The 
peculiarity  of  these  materials  is  that  the  patterns  broches  in  match- 
ing shades  on  the  right  side  stand  out  on  the  wrong  side  on  a 
ground  of  a  totally  different  color.  It  is  a  curious  effect  of  weaving, 
which  may  be  found  in  certain  taffetas,  satins,  and  also  in  materials 
of  silk  and  wool.  Thin  silks  in  checks  or  stripes  are  also  used  for 
the  large  collars  of  jackets,  which  are  surmounted  with  a  wide 
band  of  woollen  material,  similar  to  that  of  the  jacket.  The  collar 
is  sometimes  made  broader  by  the  addition  of  epaulettes.  This  is 
becoming  to  rather  thin  ladies. 

The  woollen  velvet  in  use  is  smooth,  reminding  one  of  the  felt 
of  English  carpets,  or  else  with  the  nap  lying  flat,  like  zibeline  cloth. 

As  for  the  shapes  in  favor  for  jackets  and  long  tailor-made 
mantles,  they  are  of  infinite  variety.  The  latter  are  either  long 
.wraps  or  half-length  coats — resembling,  though  more  graceful  in 
effect,  the  visitcs  worn  by  our  grandmothers.  Jackets  are  short 
and  fanciful,  either  of  the  same  stuff  as  the  skirt  or  totally  differ- 
ent. Add  to  this  an  extreme  variety  in  colors,  and  you  will  own 
that  you  need  not  fear  either  monotony  or  ennui. 

We  have  double-breasted  redingotes,  to  which  kimono  sleeves 
lend  an  appearance  of  novelty.  The  lower  part  of  these  garments 
is  of  unequal  length,  shorter  in  front  so  as  to  show  the  skirt  and 
the  buttons  that  fasten  it.  It  is  full  enough  to  form  godets,  rounded 
folds  that  allow  the  lining  to  appear  here  and  there. 

These  godets  are  charming  for  jackets ;  we  have  been  so  long 
confined  to  scanty  skirts  and  mantles  that  a  little  fullness  at  the 
bottom  is  quite  welcome,  and  it  seems  as  though  this  novelty  is 
going  to  "take." 

One  must  know  how  to  choose  the  shade  of  the  lining;  and 
the  variety  offered  increases  the  difficulty  of  choice.  We  are 
shown  light  linings  and  dark  linings,  linings  matching  the  stuff  or 
in  shades  of  the  same  color,  and  others  of  a  totally  different  hue 
from  the  jacket.  The  latter  kind  requires  most  taste  in  its  selection  ; 
we  may  harmonize  blue  and  mole-gray,  cherry  color  and  iron-gray, 
or  golden-brown  with  the  greenish-blue  of  dear  turquoises. 

Silk  velvet  will  be  especially  used  for  trimming  woollen  velvet, 
for  nothing  can  be  prettier  than  the  combination  of  the  dull  tint  of 
the  one  and  the  deep  shot  sheen  of  the  other.  This  mingling  of 
colors  will  afford  a  pretext  for  delightful  harmonies  of  color. 

For  instance,  there  are  very  soft,  grayish,  English  green  with  a 
lark  linen  blue — a  kind  of  dark  washed-out  blue ;  or  brown  woollen 
velvet  with  lavender  silk  velvet ;  or  again  brown,  almost  as  dark 
as  skunk,  with  turquoise  blue  or  malachite  green. 

It  is  well  to  mention  dresses  lately  seen  in  navy-blue  satin,  in 
black  satin  and  bleu  denuit  satin  enlivened  with  a  panel  and  narrow 
borders  of  velvet  striped  with  divers  shades  of  pink,  crossed  by 
lines  of  blue.  In  fact,  every  mingling  of  color  is  permitted,  pro- 
vided the  effect  procured  be  a  successful  one. 


We  will  gladly  give  names  of  shops  where  goods  described  may  be  purchased. 
Address  THE  THEATRE  MAGAZINE  Fashion  Dept.,  8-14  West  s8th  Street,  New  York  City. 


THE      THEATRE      MAGAZINE      ADVERTISER 


XXVll 


The     New     Plays 

(Continued  from  page  xv) 

Bernard  Merifield;  P.  J.  Mason,   Robert  Fisher;   Miranda 
Mason,    Mrs.    Thomas    WhifTen. 

The  original  play  entitled  "Chains"  was  written 
by  an  Englishwoman  who  happened  to  be  a 
stenographer,  interested  in  playwriting.  Her  suc- 
cess with  her  first  effort  created  a  good  deal  of 
talk  at  the  time  the  play  was  produced.  The 
idea  of  the  piece  is  that  life  among  the  clerks 
in  London  is  without  freedom  of  opportunity, 
in  short,  that  the  employed  are  slaves,  not  only 
slaves  to  their  employers,  but  to  their  own  fears 
and  to  hopeless  circumstances.  A  young  husband 
is  about  to  give  up  his  position  with  its  meagre 
salary  and  seek  to  better  himself  in  Australia.  He 
is  just  on  the,  point  of  making  the  plunge  for 
fortune  when  his  wife  whispers  to  him  that  a 
child  is  coming.  He  must  give  up  his  venture 
for  freedom.  That  is  the  play.  However,  it  was 
not  Miss  Baker's  play  that  was  given  at  a  special 
matinee  at  the  Criterion  Theatre.  It  was  a  play 
of  the  same  title,  "Chains,"  founded  on  the 
original,  and  written  by  Porter  Emerson  Browne. 
It  is  proper,  without  going  into  detail,  to  record 
that  Mr.  Browne  utterly  failed  to  reproduce  the 
spirit  and  the  philosophy  of  the  original.  It  was 
substantially  the  same  play  in  story  and  in  form ; 
but  Mr.  Browne  was  handling  something  en- 
tirely foreign  to  American  life,  and  naturally 
his  work  was  perfunctory. 


DALY'S.  "THE  DRONE."  Comedy  in  three  acts 
by  Rutherford  Mayne.  Produced  on  December 
3Oth  with  this  cast : 

John  Murray,  Robert  Forsyth;  Daniel  Murray,  Whitford 
Kane;  Mary  Murray,  Margaret  Moffat;  Andrew  McMinn, 
Joseph  Campbell;  Sarah  McMinn,  Margaret  O'Gorman; 
Donal  Mackenzie,  A.  F.  Thompson;  Sam  Brown,  Stanley 
Gresley;  Kate,  Nellie  Wheeler;  Alick  McC reedy,  John 
Campbell. 

The  introduction  to  us  of  Scotch,  Irish  and 
English  plays,  representing  the  revolt  against  the- 
atricalism,  is  desirable,  and  it  is  to  be  regretted 
that  such  an  earnest  little  play  as  "The  Drone" 
failed  to  get  a  foothold.  It  was  a  play  of  character, 
without  great  strength,  but  pleasing  enough.  The 
title  of  the  play  indicates  that  the  chief  charac- 
ter is  a  shiftless  person,  a  dreamer.  He  lives  on 
his  brother,  who  is  asked  to  believe  that  an  in- 
vention soon  to  be  completed,  but  never  finished, 
will  be  profitable  and  change  the  situation.  The 
man's  character  and  circumstances  never  change, 
lint  he  finally  does  something  to  excuse  his 
existence.  Mr.  Brady  brought  over  the  original 
company  for  the  performance,  which  was  en- 
tirely in  the  new  spirit  of  simplicity  on  the  stage. 
The  temporary  closing  of  Daly's  for  repairs  put 
an  end  to  the  engagement  after  two  perform- 
ances only.  

DALY'S.  'THE  QUESTION."  Play  in  four  acts 
by  Sherman  Dix.  Produced  on  December  igth 
with  this  cast : 

Colonel  Chilton  Carter  Thornton,  G.  W.  Wilson;  Cor- 
bin  Thornton,  Richard  Sterling;  Chamoney  Thornton, 
Ellen  Mortimer;  Lucilla  Thornton,  Helen  Gillingwater; 
Duchess  of  Beauborough,  Olive  May;  Dorothy  Stuart, 
Ottola  Nesmith;  "Mammy"  Theo,  Margaret  Lee;  Burton 
Carpenter,  Edwin  Arden;  Preston  Warren,  R.  T.  Haines; 
Brice,  Ernest  Joy;  Peters,  Charles  Dowd. 

"The  Question"  (not  a  definite  or  happy  title), 
is  the  question  of  drink.  In  no  way  can  a  story 
concerning  an  inherited  taste  for  the  intoxication 
of  liquor  be  made  pleasant.  As  a  dramatic 
treatise  on  the  subject  it  may  be  thrillingly  rea- 
listic, but  not  entertaining.  The  temperance  plays 
of  a  generation  or  two  ago  belong  to  a  wide- 
spread movement  and  emphasized  the  evil  condi- 
tions of  the  time.  This  play  does  not  prove  the 
recognized  fact  that  intemperance  leads  to  pen- 
ury, unhappiness  in  many  forms,  in  death ;  but 
essays  to  show  that  the  desire  for  drink  may  (or 
may  not)  be  inherited,  and  that  the  habit  may 
(or  may  not)  be  induced  by  having  bottles  of 
whiskey  on  the  sideboard.  It  is  neither  one  thing 
nor  the  other,  only  a  succession  of  highly  dra- 
matic inconclusive  situations.  With  George  W. 
Wilson,  Edwin  Arden,  Robert  T.  Haines  and 
Ellen  Mortimer  the  play  was  unusually  well 
acted.  Miss  Olive  May  was  intrusted  with  the 
comedy. 


ALVIENE  SCHOOL  OF 

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Musical  Comedy  j,f*  Stage  Dancing 


Now  twentieth  year  at  Grand  Opera  House  BIdg.. 
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New  York  Appearances  and  Engagements.  Such  cele- 
brities as  Miss  Laurette  Taylor,  Gertrude  Hoffmann. 
Ethel  Levy,  Pauline  Chase,  Harry  Pilcer,  Julia  Opp, 
Anna  Laughlin,  Joseph  Santly,  Barney  Gilmore,  Mile. 
Dazie,  etc.,  taught  by  Mr.  Alviene.  For  information 
and  illustrated  booklet  of  "How  Three  Thousand  Suc- 
ceeded," address  the  SECRETARY.  Suite  10  as  above. 


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New   Dramatic   Books 


THE  NEXT  RELIGION.  Play  in  three  acts  by  Israel 
Zangwill.  New  York:  The  Macmillan  Com- 
pany. 

The  Rev.  Stephen  Trame,  an  English  vicar, 
rebels  against  the  doctrines  he  is  supposed  to 
represent  and  goes  to  London  with  his  wife  and 
boy  to  publish  and  distribute  copies  of  his  book, 
"The  Next  Religion."  After  many  hardships,  he 
meets  Sir  Thomas  McFadden,  a  gun  manufacturer, 
who  buys  up  Stephen's  edition  and  endows  him 
or  rather  his  cause,  with  some  fifteen  million 
dollars  with  which  to  build  a  church.  Incident- 
ally, Sir  Thomas  has  disinherited  his  son,  Ste- 
phen's friend,  who  was  the  first  to  bring  about 
his  change  of  heart.  The  church  is  not  completed 
until  after  the  death  of  Sir  Thomas.  Stephen 
becomes  blind.  He  has  taught  that  immortality 
is  in  our  children,  not  in  ourselves.  The  son  of 
Sir  Thomas  appears.  Now  he  has  changed  his 
religious  attitude  from  the  revolutionary  thinking 
of  his  early  days  to  one  of  the  old  conventional 
form.  He  bears  Stephen  no  malice  for  supplant- 
ing him  in  his  father's  will.  A  fanatical  black- 
smith, an  old  enemy  of  Stephen's,  who  has  vowed 
destruction  to  all  non-believers  in  the  established 
Church,  endeavors  to  kill  Stephen,  and,  failing  in 
that,  kills  Stephen's  son.  Stephen,  by  his  own 
religion,  compels  himself  to  become  reconciled 
to  this  loss;  but  his  wife,  who  has  refused  to 
believe  in  his  teachings  all  along,  denounces  him. 
and  rises  in  his  own  temple  as  a  champion  of 
the  Resurrection  and  the  Life.  Israel  Zangwill 
is  an  exceedingly  able  dramatist,  but  he  has 
lately  become  more  concerned  with  what  he  has 
to  say  than  with  how  he  says  it.  But  if  a  man 
wants  to  accomplish  something  new  and  startling, 
rather  than  what  is  eternally  true,  he  is  evading 
his  obligations,  and  not  true  either  to  his  under- 
lying purpose  or  his  art.  Certainly  there  can  be 
no  emphasis  too  great  placed  upon  either  the 
duty  of  having  something  to  say  or  of  saying  it 
well ;  but  there  should  be  no  lack  of  proportion ; 
both  divisions  should  stand  for  the  best.  Frank- 
ly, this  piece  is  merely  a  tract,  with  a  definite 
purpose  contained,  perhaps,  but  none  clearly  pre- 
sented. There  is  probably  some  symbolism  con- 
cerned as  well,  for  that  is  the  charitable  way 
nowadays  of  excusing  the  aforesaid  deficiency 
and  the  presence  of  things  one  cannot  under- 
stand. Its  main  claim  to  consideration  seems  tn 
be  the  fact  that  it  was  barred  by  the  British 
censor.  Now  that  we  have  read  the  play  our- 
selves, the  placing  of  this  ban  seems  to  us  a 
wholly  unnecessary  proceeding  (unless  the  censor 
desired  activity),  because,  had  the  piece  been 
presented  upon  the  stage,  it  would  have  failed 
promptly,  the  failure  being  induced  by  a  fit  of 
sheer  nothingness. 


THE  HAMLET  PROBLEM  AND  ITS  SOLUTION.  By 
Emerson  Venable.  Cincinnati.  The  Stewart 
&  Kidd  Co. 

Here  comes  "the  sphinx  of  literature"  to  rack 
our  brains  again.  Or  rather,  it  would  seem  that 
it  comes  to  rack  the  brains  of  others,  for  we 
enjoy  Hamlet  without  seeking  to  reduce  his  char- 
acter to  a  rule  of  thumb.  All  of  which  may  be 
vague  to  the  reader  until  we  say  that  the  topic 
of  discussion  is:  ''Why  did  Hamlet  hesitate 
about  avenging  his  father  after  his  solemn 
promise  to  the  ghost  that  he  would  do  so?" 
Mr.  Venable  first  responds  to  the  question  with 
a  review  of  the  so-called  "sentimental"  idea  that 
Shakespeare  intended  to  show  a  great  deed  laid 
upon  a  soul  unequal  to  the  performance  of  it. 
Then  he  goes  on  successively  over  the  remaining; 
four  representative  theories,  the  "conscience" 
theory  that  the  melancholy  Dane  was  unable  to 
convince  himself  that  it  was  right  to  avenge  his 
father;  third,  the  "irresolution"  or  Schlegel- 
Coleridge  idea,  that  Hamlet  argued  the  matter 
in  his  mind  for  too  long  a  time ;  the  fourth,  that 
excuses  Hamlet  as  insane,  and  the  fifth,  the 
Klein-Werder  theory,  or  idea  that  he  was  re- 
strained by  the  force  of  actual  circumstances. 
Evidently  Mr.  Venable  objects  to  any  solution  of 
the  matter  because  he  wants,  as  he  implies,  to 
answer  the  question  and  still  find  the  question 
remaining.  Somewhat  of  a  paradox,  think  we. 
The  key  to  Hamlet's  character,  says  the  author. 
is  found  in  a  conflict  between  his  personal  and 
impersonal  motives;  in  other  words.  Hamlet's 
absolute  duty  and  the  special  duty  imposed  by 
the  Ghost.  Certainly,  this  is  merely  a  negative 
way  of  restating  the  "irresolution"  theory. 
When  a  man  enters  upon  any  line  of  discussion, 
he  should  keep  faithfully  to  his  form  of  attack. 
Clearly  Mr.  Venable  has  told  us  nothing  new. 
His  book  does  not  seem  complete.  It  Jacks 
resume.  Whatever  discussion  assumes  the  argu- 
mentative form  should  be  arranged  as  a  brief. 


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MARCH.  1913 

VOL.  XVII.  NO.  145 


THE  THE 


(TITLE  REG.  U.  8.  PAT.  OFF.) 


Onyx* 


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The  new  "Pointex'  Heel  is  considered  as  great  an 
Improvement  in  its  way  as  was  the  now  famous  "Garter  Top." 
The  "Pointex'  Heel  is  Far  Superior  to  the  old  fashioned 
spliced  heel;  it  tapers  gracefully  to  a  point,  making  the  Ankle 
look  Slim  and  Shapely.  This  new  Heel  is  another  of  the 
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High  Heel  in  Women's  Lisles  and  Silk  Lisles,  in  Black,  White  and 
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THE      THEATRE      MAGAZINE      ADVERTISER 


GENUINE 


DUNLOP  C3T)  TIRES 

are  the  premier  automobile  tires  of  the  world 


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They  represent  what  thousands  of  motorists  regard  as  the  ideal  type  of  tire.  It  is  in  no  sense 
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ten  years  ago,  and  it  has  always  been  one  of  the  standard  Hartford  (now  United  States)  tires. 

No  other  tire  has  ever  been  imitated  so  widely  as  has  this  tire,  and  yet  in  no  other  tire 
has  the  original  principle  been  so  firmly  adhered  to. 

The  illustration  on  this  page  is  of  the  genuine  Dunlop  Tire — as  made  exclusively  by  the 
United  States  Tire  Company. 

As  an  indication  of  the  growth  in  favor  which  this  Dunlop  type  of  tire  has  enjoyed,  it 
may  be  stated  that  the  United  States  Tire  Company  has  actually  taken  care  of 

More  than  a  600%  Increase  in  Sales 
in  Less  than  a  Year's  Time 

So  insistent  has  the  demand  become  for  this  tire  (in  the  face  of  the  most  strenuous  competi- 
tion on  the  part  of  other  tires  of  a  similar  type),  that  we  have  been  obliged  to  add  immensely 
increased  facilities  for  its  manufacture  during  1913. 

From  now  on  the  United  States  Tire  Company  will  undertake  to  supply  all  the  genuine 
Dunlop  Tires  demanded  by  the  trade.  Bear  in  mind — this  tire  is  the  only  tire  possessing  all 
the  merits  of  the  genuine  Dunlop  Tire. 

United  States  Tire  Company,  New  York 

Makers   of  the   Famous   Nobby  and  Chain  Tread  Tires 
Made  in  Three  Styles  including  the  Dunlop 


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THE   THEATRE   MAGAZINE   ADVERTISER 


"  The  Choice  of 
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Illustrating  the  Lazier  "Light  Six," Six  'Passenger  Coronado 
Limousine,  $4450 


JUST  as   Lozier  power  and  strength  and  speed  have 
made  it  pre-eminent  as  a  touring  car,  so  the  extreme 
flexibility  of  Lozier  motors  and  the  ease  of  handling  in  city 
streets  have  made  it  pre-eminent  as  a  town  car. 

In  this,  the  sixth  successful  season  of  Lozier  Sixes,  we 
offer  for  the  first  time  a  Lozier  Six-  -and  it  is  a  true 
Lozier  —  for  less  than  $5000. 

"LIGHT  SIX"—  52  Actual  Horse  Power—  Left-side  Drive, 
Center  Control  —  Stream-line  body  design  —  Gray  &  Davis 
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"BIG  SIX"—  88  Actual  Horse  Power  --  Left  -side  Drive, 
Center  Control  —  Electric  Lighting.  Touring  models  and  roadster, 
$5000.  Limousines  and  Landaulets,  $6500. 

Catalogues  mailed  on  request. 

LOZIER    MOTOR    COMPANY,    4403  Mack  Avenue,   Detroit,  Michigan 

Factory  Branches  in  New  York,  Chicago,  Boston,  Philadelphia  and  San  Francisco 


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Edited    by    ARTHUR     HORNBLOW 

COVER:     Portrait  in  colors  of  Elsie  Ferguson 

CONTENTS  ILLUSTRATION  :    Bagdad  Girls  in  "The  Lady  of  the  Slipper" 

TITLE  PAGE:     Scene  in  "Romance" 

.  NEW  FLAYS:  ..The  Sunshine  Girl»  "The  Honeymoon  Express,"  "My  Friend  Teddy,"  "Gian- 
netta's  Tears,"  "The  New  Secretary,"  Irish  Players,  "The  Old  Firm,"  "Romance."  "The  Man 
With  Three  Wives,"  "The  Woman,  of  It,"  "Somewhere  Else,"  "The  Merchant  of  Venice,"  and 
"Oedipus." 

AT  THE  OPERA — Illustrated     .        .        : 

THE  POOR  LITTLE  RICH  GIRL — Illustrated 

WHAT'S  WRONG  WITH  THE  AMERICAN  STAGE? — Illustrated 

FAVORITE  ARTISTS  WHO  ENJOY  THE  PLEASURES  OF  MOTORING       .... 

HATTIE  WILLIAMS — Full-page  Plate 

LAURETTE  TAYLOR — A  New  Star — Illustrated 

THE  LITTLE  THEATRE  IN  CHICAGO — Illustrated 

ANNE  MEREDITH — Full-page  Plate 

PERCY  MACKAYE  ON  THE  Civic  THEATRE — Illustrated 

Is  THE  STAGE  A  PROFESSION  OR  A  TRADE? — Illustrated 

ANOTHER  NEW  ART  OF  THE  THEATRE — Illustrated     .        .        .       . 

THE  GREATEST  FRENCH  DRAMATIST  SINCE  MOLIERE — Illustrated    .... 

JULIA  MARLOWE  AS  OPHELIA — Full-page  Plate  

JOSEPH  AND  His  BRETHREN — A  Pageant  Play — Illustrated       ..... 
OUR  FASHION  DEPARTMENT 


XX. 

Chester  T.  Colder 


Ada  Patterson 
Karleton  Hackett 


Montrose  J.  Moses 

E.  E.  v.  B.       . 
Ethel  M.  Smith      . 
B.  Russell  Herts    . 

Era  E.  i'om  Baiir  . 

F.  A.  Broun   . 


PAGE 

65 

66 
69 
7i 
74 
78 
81 
82 
84 
85 
87 
88 
90 
92 

93 

94 
xvii 


CONTRIBUTORS  —  The  Editor  will  be  glad  to  receive  for  consideration  articles  on  dramatic  or  musical  subjects,  sketches  of  famous  actors  or  singers  etc., 
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started  an 
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T 


he  purchaser  of  a  high  priced  car  has  the 
right  to  expect  superior  design  and  equipment 
as  well  as  superior  material  and  workmanship, 
ic  WHITE  was  the  first  six  to  introduce  left 
side  drive,  and  today  the  WHITE  presents  this 
logical  method  of  control  in  its  most  advantageous 
form  -  with  right  hand  operation  of  the  gear  lever. 
The  WHITE  was  the  first  six  to  equip  with 
an  electrical  starting  and  lighting  system,  and  the 
WHITE  today  is  the  only  six  equipped  with  an 
electrical  system  that  is  designed  and  manufactured 
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THE  WHITfWTOMPANY 

Cleveland 


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THE   THEATRE 


VOL.  XVII 


MARCH,    1913 


Published  by   the  Theatre  Magazine  Co.,   Henry  Stern,  Pres.,     Louis  Meyer,  Treas.,  Paul  Meyer,  Sec'y; 


No.    145 

Wttt  Thirly-tifklh  Strut,  Ntn  York  City 


White 


DORIS    KEANE    AND    WILLIAM    COURTENAY   IN-ROMANCE"    AT    MAXINE  ELLIOTT'S     THEATRE 


A.  E.  Anson;  Susan  Van  Tuyl,  Gladys  Wynne;  Miss 
Armstrong,  Grace  Henderson;  Mrs.  Rutherford,  Mrs. 
Charles  de  Kay;  Mrs.  Frothingham.  Edith  Hinkle; 
Miss  Frothingham,  Claiborne  Foster;  Mrs.  Gray, 
Dora  Manon;  Miss  Snyder,  Mary  Forbes;  Mr.  Fred. 
Livingstone,  Paul  Gordon;  Mr.  Harry  Putnam,  Geo. 
Le  Soir;  Signora  Vanned,  Jennie  Reiffarth;  M.  Bap- 
tiste,  Paul  Gordon;  Mme.  M.  Cavallini,  Doris  Keane. 


KNICKERBOCKER.  "THE  S  u  N  s  H  i  N  E 
GIRL."  Musical  play  in  two  acts.  Book  by 
Paul  A.  Rubens  and  Cecil  Raleigh,  and  music 
by  Paul  A.  Rubens.  Produced  on  February 
3d  with  the  following  cast  : 


Lord     Bicester Vernon     Castle 

Vernon     Blundell Alan     Mudie 

Si-liHimp Joseph    Cawthorne 

Steve    Daly Tom     Lewis 

Hudson : E.    S.    Powell 

Stepnyak J.    J.    Horwitz 

Dora    Dale Julia    Sanderson 


Lady    Merrydew  .........  Eileen    Kearney 

Mrs.     Blacker  ............  Eva     Davenport 

Marie    Silvaine  .............  Flossie    Hope 

Lady    Mary  ................  Ruth    Thorpe 

Kate  ....................  Flossie     Deshon 

Alice    ...............  Eleanor    Rasmussen 

Sybil  .....................  Irene     Hopping 


Musical  comedies  that  come  to  New  York  by  way  of  the  Lon- 
don Gaiety  are  not  apt  to  stray  far  away  from  the  conventional. 
Conservatism  is  a  dramatic  quality  much  appreciated  in  the 
English  metropolis.  So  it  is  that  they  who  go  to  the  Knicker- 
bocker to  see  "The  Sunshine  Girl"  need  hardly  be  disappointed 
if  they  fail  to  see  anything  that  they  haven't  seen  before.  The 
original  bases  of  this  style  of  entertainment  are  all  there,  some  of 
the  treatment  takes  on  fresh  forms  of  originality,  however,  and 
there  is  a  life  and  sparkle  to  this  particular  entertainment  that 
many  of  its  predecessors  have  lacked.  It  will  be  much  improved, 
however,  if  two  or  three  of  the  musical  numbers  are  eliminated, 
for  polite  tuneful  and  musicianly  as  is  Paul  Rubens'  score,  it 
lacks  the  life,  vitality  and  sensuous  quality  that  marked  his 
namesake's,  Peter  Paul's  excursions  into  the  realms  of  art. 

But  it  is  good,  wholesome  jingle  which  lends  itself  to  fleet- 
footed  accompaniment,  and  that  is  its  principal  aim  and  purpose. 
The  real  gem  of  the  opera  is  a  wonderfully  clever  song,  "You 
Can't  Play  Every  Instrument  in  the  Orchestra,"  words  by  Joseph 
Cawthorne  and  really  witty  ones  they  are, 
with  music  by  John  Lionel  Golden.  Caw- 
thorne is  the  true  star  of  the  show,  who,  as  a 
former  London  cabby,  learns  an  important 
secret  and  profits  materially  thereby.  He  is 
constantly  on  view  with  his  German  accent, 
but  his  work  is  so  neat,  artistic  and  unobtru- 
sive that  he  never  bores.  On  the  contrary,  his 
nearly  every  utterance  is  hailed  with  roars  of 
laughter. 

The  title  role  is  assumed  by  Julia  Sander- 
son, who  is  thus  elevated  to  the  rank  of  star. 
She  never  looked  prettier  in  her  life,  and  by 
her  modest  demeanor  makes  a  most  favorable 
impression.  She  sings  well,  too,  and  dances 
with  an  easy  grace  very  compelling  in  its 
charm.  Vernon  Castle  is  extremely  happy  in 
the  leading  role ;  and  with  his  lissom  and 
pretty  wife  sounds  the  last  note  in  the  turkey 
trot  world.  Flossie  Hope,  too,  showst  a  su- 
preme and  intimate  knowledge  of  the  choreo- 
graphic art.  and  those  stable  old-timers,  Tom 
Lewis  and  Eva  Davenport,  are  really  funny. 

The  plot?  A  young  man  inherits  a  soap 
factory,  but  forfeits  it  if  he  marries  within 
five  years.  He  gets  a  friend  to  pretend  he  is 
the  owner,  and  as  a  simple  workman  loves  and 
is  loved  by  the  Sunshine  Girl.  Complications, 
follow,  to  be  later  cleared  up  when  it  is  dis- 
covered that  the  conditions  of  the  will  are  not 
valid.  The  costumes  are  very  numerous  and 
beautiful  and  the  scenery  all  that  the  most 
exacting  could  ask  for. 


What  the  ultimate  fate  of  Edward  Sheldon's  play,  "Romance," 
will  be  is  a  difficult  thing  to  determine.  Many  will  regard  this 
latest  effort  of  the  author  of  "Salvation  Nell"  as  the  best  from  his 
pen.  There  will  be  others  who  will  consider  it  as  an  inept  though 
original  treatment  of  an  old  and  hackneyed  subject.  In  a  pro- 
logue a  young  man  tells  his  grandfather,  a  bishop,  that  he  is  about 
to  marry  an  actress.  The  cleric  advises  against  the  move  and 
recites  an  incident  of  his  early  life,  which  becomes  the  next  three 
acts  of  the  play.  Then  comes  the  epilogue.  The  young  man 
refuses  to  be  persuaded  and  the  bishop  promises  to  perform  the 
ceremony.  The  beginning  and  end  of  "Romance"  are  finely  and 
neatly  sketched,  but  it  is,  of  course,  the  drama  of  the  bishop's 
life  that  makes  for  action. 

As  the  rector  of  St.  Giles,  in  the  early  sixties,  Thomas  Arm- 
strong, at  the  house  of  one  of  his  parishioners,  Cornelius  Van 
Tuyl,  a  banker,  meets  Mme.  Margerita  Cavallini,  Patti's  only 
rival,  and  a  great  diva  at  the  old  Academy  of  Music.  He  falls 
madly  in  love  with  her.  To  him  she  represents  all  the  graces  and 
virtues.  He  refuses  to  believe  the  stories  which  link  her  name 
with  Van  Tuyl.  But  touched  by  his  ingenuousness,  and  really  in 
love  with  him,  she  reveals  all  the  sordid  wretchedness  of  her 
early  life,  as  well  as  her  relations  with  the  banker.  With  mar- 
riage apparently  impossible,  Armstrong  re- 
solves to  save  her  soul.  But  passion  again 
seizes  him.  He  goes  to  her  rooms  at  the  old 
Brevoort,  surprises  her  at  supper  with  Van 
Tuyl — she  is  breaking  with  the  banker — re- 
proaches her  bitterly,  only  to  express  his  pas- 
sion with  a  fervor  quite  Scarpialike  in  its  in- 
tensity. The  woman  now  pleads  for  his  soul, 
and  his  choir  singing  without  the  spiritual  in 
his  nature  again  becomes  ascendant  and 
they  part. 

I  Io\v  real,  how  sincere  and  how  dramatic  al! 
this  is  must  appeal  to  the  individual  tastes  of 
each  hearer.  The  action  moves  swiftly  and 
logically,  the  dialogue  is  happily  selected  for 
the  expression  of  character,  and  there  are 
thrills,  but  except  for  the  costumes  and  ac- 
cessories there  is  not  much  that  provides  at- 
mosphere of  the  days  before  the  war. 

Doris  Keane  as  the  Cavallini  gives  an 
impersonation  of  sustained  character,  in- 
stinct with  the  spirit  of  the  spoiled  darling  of 
the  public  and  moving  in  its  emotional  sweep. 


MAXINE  ELLIOTT'S.  "ROMANCE."  Play  in 
three  acts  by  Edward  Sheldon.  Produced  on  Febru- 
ary loth  with  the  following  cast : 

Bishop  Armstrong.  William  Courtenay;  Harry.  William 
Raymond;  Suzette,  Louise  Seymour;  Cornelius  Van  Tuyl, 


WINTER  GARDEN.  "THE  HONEYMOON  EX- 
PRESS." Farce  with  music  in  two  acts.  Book  and 
yrics  by  Joseph  W.  Herbert  and  Harold  Atteridge ; 
music  by  Jean  Schwartz,  Produced  on  February  6th 
with  the  following  cast : 

Henry  Dubonet,  Ernest  Glendinning;  Pierre,  Harry  Fox; 
Baudry,  Harry  Pilct-r;  (lardonne,  Lou  Anger;  Gus.  Al  Jol- 
son;  Doctor  D'Zuvray.  Melville  Ellis;  Achille.  Frank  Holmes; 
Eduard.  Robert  Hastings;  Gautier,  Gerald  McD'nuliI;  Con- 
stant, Jack  Carleton;  Yvonne,  Mile.-  Gaby  Deslys;  Mme. 
De  Bressie,  Ada  Lewis;  Marguerite,  Yancsi  Dolly;  Marcelle, 

Fanny   Brice;    Marcus,    Gilbert  Wilson;   Noelie, 

Marjorie    Lane. 

The  Winter  Garden  is  giving  a 
massive  entertainment,  filled  with 
pleasing  evanescences  blended  with 
something  that  gives  the  impression 


GABY    DESLYS 
Appearing  in  "The  Honeymoon  Express,"  at  the  Winter  Garden 


THE     THEATRE     MAGAZINE 


at  times  of  real  drama.  It  has  a  ballet  that  is  pretentious  enough 
for  grand  opera,  a  moving  picture  scene  as  animated  and  comically 
effective  as  may  be  imagined,  and  a  race  between  an  automobile 
and  an  express  train  equal  to  anything  in  a  "Whip"  or  two.  Under 
the  generalcy  of  Mr.  Ned  Wayburn  it  has  battalions  of  swaying 
and  gliding  dancers  that  display  the  latest  sinuosities  of  motion. 
In  Mr.  Al.  Jolson  it  has  the  blackest  and  most  amusing  of  min- 
strels. In  Mademoiselle  Gaby  Deslys  it  has  a  pretty  butterfly. 
The  entertainment  is  described  as  a  spectacular  farce,  although 
the  spectacular  is  not  at  all  farcical,  and  none  of  the  farcical  is 
exactly  spectacular.  However,  its  audiences  are  not  going  to 
trouble  themselves  with  fine  distinctions.  The  story  of  the  dra- 
matic happenings  is  not  important.  It  is  enough  that  Gaby  Deslys 
has  to  overtake  an  express  train  in  order  to  bring  to  book  a  fleeing 


Madame   Roucher Marie   Bubrke 

Mathilde    Annie    Rub-Foer«ter 


Didier     Morel Heinrich     Marlow 

Madelein     Mathilde    Brandt 

Francine Rose     Lichtenstein       Juliette    Dornoy Klise   Gardner 

Verdier  ._._ Aug.  Meyer  Eigcn  Yvonne  I'latin.  .1  unitanze  von  Zeckendorf 

Corbett  .  Krnst  Robert 

Billy  Krnst  Auerbacb 

Aline  Cenzi  Goetier 


Verdier    Aug.    Meyer   Eigi-n 

Francois   D'Allonne Christian    Rub 

I  eddy     Kimberly Rudolf     Christians 

Jacques    Berlin Otto    Stoeckel 


Theatregoers  who  like  to  see  good  acting,  by  players  trained 
according  to  the  best  European  traditions,  should  not  miss  the 
performances  at  the  Irving  Place  Theatre.  In  this  German- 
speaking  playhouse  the  drama  is  cultivated  as  an  art,  not  as  a  busi- 
ness to  be  exploited  only  for  profit.  Under  the  Continental  system, 
an  actor  is  able  to  acquire  a  versatility  and  experience  which  in 
America,  where  our  actors  often  appear  for  two  consecutive 
years  in  the  same  role,  it  is  practically  impossible  to  attain.  The 
German  actor  is  compelled  to  work  hard,  one  week  in  modern 
comedy,  the  next  in  classic  drama,  and,  as  a  result,  his  art  takes 


Copyright  Cnas.  Fronman 


JULIA  SANDERSON  AND  CHORUS  IN  "THE  SUNSHINE  GIRL,"  AT  THE  KNICKERBOCKER 


husband,  that  a  high-powered  automobile  is  at  hand,  and  that 
she  starts  in  pursuit  of  it,  accompanied  by  her  maid  and  Mr. 
Al.  Jolson,  who  acts  as  chauffeur.  A  moving  picture  shows  the 
automobile  cutting  across  the  country  on  a  rough  road,  wobbling 
from  side  to  side  with  its  frantically  spectacular  and  farcical 
burden.  Time  is  lost.  The  machine  has  to  be  cranked  up.  Mr. 
Jolson  has  the  time  of  his  life  in  jabbering  at  his  passengers  and 
being  jabbered  at.  At  the  top  of  the  mountain  appear  the  head- 
lights of  the  express,  disappear  and  reappear.  As  the  miles  of 
distance  decrease  these  headlights  get  larger  and  larger.  Back 
in  the  distance  suddenly  shine  the  lights  of  the  automobile,  in- 
termittently coming  into  view.  The  two  lights  diverge  and  then 
come  together  from  time  to  time.  The  race  is  close,  but  as  the 
automobile  glides  into  the  station  the  express,  with  its  panting 
engine  headed  for  the  footlights,  slows  down,  and  the  race  is 
won.  Similar  races  have  been  seen  on  the  stage,  but  none  more 
interesting  as  an  effect.  Among  the  goodly  assemblage  of  players 
at  the  Winter  Garden  are  Mr.  Harry  Piker,  Miss  Ada  Lewis, 
Miss  Fanny  lirice,  and  Miss  Yancsi  Dolly,  who  does  some  seem- 
ingly impossible  things  in  the  way  of  dancing. 


IRVI\(,  I'LACK  THEATRE.  "Mv  FRIEND  TEDDY."  Comedy  in  three 
acts  l>y  Andre  Rivoire  and  Lucian  Besnard.  Produced  on  January  I7th 
with  the  following  cast: 


on  an  authority  and  a  finesse  that  is  too  often  lacking  on  Broad- 
way. Dr.  Baumfeld,  the  present  lessee,  is  keeping  the  house  well 
up  to  its  best  standards.  So  far  this  season  he  has  presented  a 
varied  and  interesting  program,  with  novelties  from  Germany, 
France  and  Italy.  On  January  171!!  was  seen  for  the  first  time 
"My  Friend  Teddy,"  a  piece  by  Andre  Rivoire  and  Lucian  Bes- 
nard, which  has  had  considerable  success  abroad.  The  central 
figure  is  that  of  an  American  millionaire,  named  Teddy  Kim- 
berly, played  with  much  humor  by  Rudolf  Christians.  He  is 
introduced  by  a  young  artist  into  the  family  circle  of  his  married 
sister,  Madelein,  an  unloved,  neglected  young  wife.  Teddy  is 
a  primitive  American  with  homespun  morals  and  reverence  for 
the  sanctity  of  the  marriage  tie.  He  falls  in  love  with  the 
neglected  wife,  played  charmingly  by  Mathilde  Brandt,  but  in- 
stead of  adopting  the  French  method  of  a  menage  ii  trois  he  de- 
termines to  marry  the  lady  by  divorcing  her  from  her  unfaithful 
husband.  He  invites  the  entire  family,  including  the  husband's 
inamorita,  to  his  magnificent  villa,  and  here  he  pulls  wires  with 
such  cleverness  and  diplomacy  that  he  ends  eventually  by  winning 
the  object  of  his  affection.  The  character  of  the  American  is, 
as  usually  portrayed  by  foreign  authors,  a  caricature,  yet  it  is  not 
a  libel.  Underneath  a  rough  exterior  and  a  habit  of  blurting  out 
"brutal"  truths,  Teddy  has  a  sense  of  humor  and  a  nobility  of 


61? 


THE      THEATRE      MAGAZINE 


character,  for  which  we  must  thank  the  French  authors,  even 
if  they  had  an  eye  to  business  and  the  American  market.  The  love 
episode  between  Herr  Christians  and  Fraulein  Brandt  were 
played  with  a  spontaneity  which  was  most  refreshing.  It 
is  not  unlikely  that  we  shall  see  "My  Friend  Teddy"  again 
in  an  Americanized  form. 


"GlANNETTA's     TEARS."        Comedy 

in  three  acts  by  Francesco  Pas- 
tonchi.  Produced  January  3'st 
with  the  following  cast: 

Faolo  Aloisi,  Georg  W.  Pabst;  Gian- 
netta,  Mathilde  Brandt;  Philippe  Aloisi, 
Heinrich  Marlow;  Leo  Sanfre,  Otto 
Stoeckel;  Gege  Sogliano,  Ernst  Robert; 
Bice,  Annie  Rub-Foerster;  Toto  Franc.. 
Christian  Rub;  Elena;  Iffi  Engel;  Lucie. 
Constance  v.  Zeckendorf;  Giorgio  Vet- 
tori  Gustav  Olmar;  Murmura,  rerdi- 
nand  Martini ;  Lanteri,  Aug.  Meyer-Eigen  • 
Sauli,  Paul  Dietz;  Varenna,  Ernst  Auer- 
bach;  Giuseppe,  Louis  Praetonus;  Bene 
detto,  Heinrich  Falk. 

This  comedy,  translated  from 
Francesco  Pastonchi,  a  young 
Italian  drafnatist,  presents  the 
old  three-cornered  situation  set 
in  modern  Italian  society,  with 
the  scene  laid  in  a  villa  in 
Turin.  Giannetta,  the  frivol- 
ous, who  has  never  shed  a  tear, 
is  finally  persuaded  to  send 
away  her  lover,  while  her  hus- 
band, whom  she  has  never 
loved,  leaves  her,  and  she,  thus 
deserted,  returns  to  her  mother 
Mathilde  Brandt  in  the  title 
role  as  guest  star  showed  in 
several  scenes  that  she  is  an 
emotional  actress  of  high  order. 
Her  personal  charm  and  phys- 
ical beauty,  with  a  sincerity  of 
manner,  make  her  a  figure  of 
unusual  appeal.  She  was  well 
supported  throughout  by  the 
members  of  this  stock  company, 
whose  acting  is  excellent  and 
difficult  to  equal  on  Broadway 
for  seriousness  of  purpose  and 
versatility. 

"Das  lauschige  Nest,"  a  farce 
in  three  acts  by  Julius  Horst 
and  Arthur  Lippschitz,  pro- 
duced on  February  yth,  also 
provided  good  entertainment. 


Photo  White 


Kate  Wilson 
(May    Buckley) 
Dan:   "What  is 


Act  I. 
SCENE    IN    "THE    UNWRITTEN    LAW," 


The   complication   is   novel   and 


scnting  with  Charles  Cherry  and  Marie  Doro  at  the  Lyceum. 
"The  New  Secretary''  ought  to  prove  an  admirable  offering  for 
the  Lenten  season.  There  is  in  it  nothing  to  shock,  and  conse- 
quently nothing  to  thrill.  It  is  an  amiable  presentation  of  a  dra- 
matic idea  that  is  as  old  as  the  hills.  A  presentable  young  man 

is  engaged  to  look  after  the 
affairs  of  a  French  family.  In 
it  is  a  daughter  as  proud  and 
haughty  as  she  is  fair.  Her 
parents  wish  her  to  marry 
well,  and  in  their  contented 
innocence  nearly  become  the 
prey  of  sharpers;  but  the  alert 
secretary  is  on  the  job.  He 
circumvents  the  predatory,  de- 
velops the  unknown  resources 
of  the  family,  and  although 
he  started  out  with  mercenary 
intent,  by  the  sheer  force  of 
his  personality  puts  all  at  rights 
and  wins  the  heart  of  the 
proud  girl,  who  resists  his 
fascinations  but  fails  to  over- 
come them. 

This  secretary,  Robert  Le- 
valtier,  is  played  with  much 
personal  charm  and  agreeable 
address  by  Charles  Cherry.  It 
makes  no  real  demands  on  his 
histrionic  capacity.  But  per- 
sonality is  what  is  needed  in  a 
role  like  this,  and  Mr.  Cherry 
supplies  it.  Miss  Doro's  part 
is  purely  conventional,  but  she 
looks  it  well  and  acts  with  an 
easy  grace  that  satisfies  her 
admirers.  The  chief  sharper  is 
entrusted  to  Ferdinand  Gotts- 
chalk  who  makes  of  Paraineaux 
a  character  study,  subtle  in 
delineation  and  admirable  in 
makeup. 

Frank  Kemble-Cooper  as 
his  associate,  Baron  Gamier, 
is  sterlingly  competent,  and 
some  careful  if  not  brilliant 
work  is  contributed  by  Mrs. 
Thomas  Wiffen  and  A.  G. 
The  stage  settings  are  adequate  and  in  admirable  taste. 


Dan 

(Tommy   Tobin) 
miracle,  mother?" 


AT    THE    FULTON 

Andrews. 


amusing.  A  newly  married  couple,  having  spent  their  allowance 
and  finding  themselves  hard  up  at  the  end  of  three  months,  plot 
to  get  a  large  sum  from  their  father,  but  encounter  all  sorts  of 
troubles.  The  piece  constantly  provokes  the  audience  to  laughter. 


LYCEUM.  "THE  NEW  SECRETARY."  Comedy  in  three  acts  by  Francis 
de  Croisset,  adapted  by  Cosmo  Gordon  Lennox.  Produced  on  January 
23rd  last  with  the  following  cast : 


Robert    Levaltier Charles    Cherry 

Baron    Gamier Frank    Kemble-Cooper 

Paraineaux Ferdinand     Gottschalk 

Faloize    Claude    Gillingwater 

Miran-Charville Wilson     Hummel 


Ducray Conrad    Cantzen 

Georgie    Gamier Mac    Macomber 

Helene     Miran-Charville Marie     Doro 

Mme.    Flpry Mrs.   Thomas    Wiffen 

Mme.    Miran-Charville. ...  Annie    Esmonde 


Bourgeot A.    G.    Andrews       Irma    Kitty    Brown 

Marquis    de    Sauveterre.  .Harry    Redding       Julie    Edith    Wyckoff 

Was  it  not  Octave  Feuillet,  who  after  writing  numerous  novels 
calculated  to  please  even  the  advanced  Parisian  taste,  was  chal- 
lenged to  produce  something  that  a  jeune  fille  could  read,  evolved 
"Le  rorhan  d'un  jeune  homme  pauvre"?  Well,  it  would  seem 
as  if  some  of  the  recent  Parisian  writers  for  the  stage  had  been 
put  to  a  similar  test.  Francis  de  Croisset  has  been  largely  con- 
cerned in  the  composition  of  "the  white  drama."  It  is  an  adapta- 
tion of  his  "Le  Coeur  Desire,"  by  Cosmo  Gordon  Lennox,  under 
the  title  of  "The  New  Secretary,"  that  Charles  Frohman  is  pre- 


WALLACK'S.    THE  IRISH  PLAYERS  in  repertoire. 

The  Irish  Players  have  returned,  finding  a  home  this  time  at 
Wallack's,  after  having  shown  themselves  in  various  States  with- 
out arousing  much  of  the  turbulence  that  greeted  the  performance 
of  one  or  two  of  their  plays  in  New  York  on  their  first  appear- 
ance here.  They  still  retain  two  of  the  plays  that  were  thought 
to  be  objectionable  by  many  who  either  doubted  the  truth  of 
them  or  were  unwilling  to  have  it  so  frankly  expressed.  These 
two  plays  are  "The  Birthright"  and  "The  Playboy  of  the  Western 
World."  But  all  the  plays  are  equally  frank,  representing  life 
in  Ireland  as  it  is.  Of  course,  Lady  Gregory  and  her  associates 
are  loyal  to  their  land.  The  literary  movement  is  in  no  wise 
vicious.  It  is  certain  that  the  spirit  of  democracy  rules  in  them. 
No  deference  is  paid  to  social  distinction.  The  characters  belong, 
for  the  most  part,  to  the  peasantry  or  to  the  villages.  Some  of 
the  stories  are  almost  childish,  and  they  seem  so  remote  from 
ordinary  experience  that  they  would  appear  unreal  and  invented 
if  they  did  not  bear  full  evidence  of  their  actuality.  The  acting 
has  much  to  do  with  this.  Certainly  these  people  act.  They  are 
not  amateurs  taken  direct  and  (Continued  on  page  xxix) 


fthite 

THE  BARCAROLLE   SCENE  IN   OFFENBACH'S   OPERA,   "THE   TALES   OF    HOFFMANN" 


Frieda    Hempel    as    the    Queen 
in    "The    Huguenots" 


OPERA  at  the  Metropolitan  has 
run  more  than  half  its  course 
of  the  twenty-three-week  sea- 
son, and  the  pall  of  Lent  has  de- 
scended upon  the  ultra-fashionables 
who  populate  parterre  boxes.  But  there 
has  been  no  cessation  to  the  artistic 
activities — to  the  contrary,  it  has  been  a  month  crowded  with  in- 
terest, and  with  public  interest  at  that. 

Last  month  in  this  department  I  taxed  your  patience  with  a 
screed  on  how  the  public  has  awakened  to  the  fact  that  Metro- 
politan opera  is  worth  while.  Since  then  another  pound  of  evi- 
dence has  been  added  to  the  ounce  of  argument,  for  the  Metro- 
politan has  begun  a  series  of  popular-price 
Saturday  night  performances  with  overwhelm- 
ingly satisfactory  results.  In  former  years  this 
Saturday  night  problem  has  always  been  a  bug- 
bear. While  Saturday  was  the  busiest  night 
of  the  week  at  any  of  the  theatres,  yet  the 
Metropolitan  on  that  evening  always  presented 
the  appearance  of  a  poor  relations'  party.  The 
auditorium  was  generally  half  empty,  half  of 
the  boxes  were  empty,  and  a  general  air  of 
gloom  and  yawns  hung  over  the  evening. 
Metropolitan  impresarios  tried  every  means 
of  bringing  success  to  these  Saturday  night 
opera  performances.  They  charged  half  prices 
and  gave  half  artistic  performances ;  they 
charged  full  prices  and  gave  productions  of 
higher  artistic  standard,  and  they  charged  half 
prices  and  gave  regular  subscription  casts — all 
to  no  avail.  But  this  season  the  public  is  flock- 
ing to  these  Saturday  night  subscription  per- 
formances in  such  droves  that  they  cannot  all 
find  admittance.  A  liberal  sprinkling  of  stars 
in  the  cast,  chorus,  orchestra  and  production  up 
to  the  Metropolitan  standards  and  the  audience 
is  delighted.  So  another  battle  had  been  won 
by  Mr.  Gatti-Casazza. 

Offenbach's  fantastic  opera,  "The  Tales  of 
Hoffmann/'  was  added  to  the  regular  repertoire 
during  the  past  four  weeks,  which  have  hurdled 
by  at  breakneck  speed,  so  crowded  have  they 
been  with  music  and  incident.  This  Offenbach 
masterwork  is  not  a  novelty  to  the  present  gen- 
eration of  theatre-goers,  having  been  played 
early  and  often  at  the  Manhattan  Opera  House 


Copyright  Mishkin 
Dinh     Gilly    as     Anionasro 
"Aida" 


when  that  stage  was  still  trampled 
under  the  feet  of  opera  stars.  Then 
the  visiting  Philadelphia-Chicago 
Opera  Company  presented  this  work 
at  the  Metropolitan  with  the  same  cast 
as  had  been  seen  at  the  Manhattan. 
But  now  it  has  become  part  and  parcel 
of  the  Metropolitan  repertoire  and  given  a  handsomer  pictorial 
presentation  than  ever  it  has  had  here.  The  first  picture,  the 
Tavern  of  Master  Luther,  is  as  cozy  a  students'  quarters  as  ever 
a  German  university  man  would  love  to  slake  his  thirst  in.  A 
big,  German  tiled  stove  oozes  forth  cheer,  the  thirst-producing, 
consoling  inscriptions  on  the  walls  exert  their  spell,  and  the  gaily 
uniformed  members  of  the  various  student 
corps  lend  the  right  touch  of  color  to  the  pic- 
ture. The  Venetian  scene  is  one  of  the  prettiest 
shown  on  this  stage,  and  the  interiors  of  the 
houses  of  Spalanzani  and  Crespel  are  effective. 
But  the  fly  in  the  amber  is  that  this  is  a 
French  opera,  and  that  very  few  of  the  partici- 
pants are  French.  So  there  is  a  Babel  of  ac- 
cents of  the  tongue  of  France  sung  in  this  per- 
formance. But  a  still  greater  blot  upon  it  is 
the  casting  of  Fremstad  in  the  role  of  Giuletta, 
Venetian  beauty.  She  looks  the  role,  every  inch 
of  it,  for  seldom  has  this  artist  appeared  hand- 
somer than  she  does  lolling  on  the  couch  of 
her  gallery  against  a  background  of  the  moon- 
bathed  Venice  canal.  But  her  voice  is  too 
heavy,  too  dark  in  color,  for  her  share  in  the 
most  famous  number  of  this  work,  the  Bar- 
carolle, the  air  of  which  has  escaped  the  opera 
house  and  has  found  its  way  into  every  table 
d'hote.  Despite  this,  the  Barcarolle  remains  an 
inspired  bit  of  tuneful  music. 

And  now,  having  so  frankly  set  forth  weak 
and  strong  points  in  this  production,  let  me 
admit  that  I  have  a  very  soft  spot  in  my  heart 
for  the  work.  Offenbach  was  surely  a  master. 
a  Parisian  composer,  if  not  a  French  one,  and 
in  this,  his  one  surviving  serious  work,  he  has 
so  cleverly  characterized  the  various  points  in 
these  three  weird  tales  written  by  that  genius, 
Hoffman.  I  like  the  students'  songs  in  the  first 
act,  the  punch  bowl  parade,  the  pompous  ball 
music  at  Spalanzani's,  the  waltz  song  of  the 
Doll  Olympia,  the  interpolated  aria  of  Dapper- 


•RLUS 


Mishkin        JACQU 
A*    Triitan    in    "Tristan    und    Isolde" 


THE      THEATRE      M A GAZIX E 


tutto,  the  haunting  music  of  Miracle's 
incantations,  and  then  the  return  to  the 
mood  of  the  tavern  with  its  sentimental, 
bibulous  students. 

The  best  of  the  participating  artists 
was  Gilly  in  the  role  of  Dappertutto. 
He  sang  the  "Mirror"  aria,  as  it  is 
erroneously  called,  for  he  really  sings 
to  a  diamond  in  his  ring  admirably. 
Rothier,  as  Miracle,  was  another  sur- 
prise, this  being  infinitely  the  best  work 
he  has  ever  done  at  the  Metropolitan. 
Hempel  sang  the  Doll  Olympia  bril- 
liantly but  not  sensationally  well;  and 
Bori  was  excellent  as  Antonia,  save 
when  she  forced  her  voice  and  emitted 
rasping  high  notes.  In  the  title  role 
Macnez  was  graceful,  and  he  sang  just 
that  way,  never  offending  his  hearers, 
never  stirring  them.  Jeanne  Mau- 
bourg  as  Nicklausse  was  acceptable. 
Polacco  conducted  a  good,  routine  per- 
formance. 

And  then  there  were  some  minor 
parts  that  were  capitally  taken.  Reiss, 
as  both  Cochenille  and  Franz,  was  re- 
markable ;  De  Segurola,  as  Spalanzani  and  Schlemil,  did  good 
character  acting,  as  did  Didur  in  the  part  of  Coppelius.  So,  in 
detail  rather  than  in  its  more  important  features,  was  the  per- 
formance of  "The  Tales  of  Hoffmann"  commendable. 

Chief  among  the  revivals  was  Wolf-Ferrari's  "Le  Donne 
Curiose" — "The  Inquisitive  Women" — with  almost  the  same  cast 
as  at  last  year's  premiere.  I  spilled  a  great  deal  of  ink  over  this 
opera  and  performance  last  season.  Hearing  its  revival  the  other 
night  has  brought  home  the  conviction  that  it  is  the  highest 
artistic  achievement  of  the  Metropolitan.  Its  monumental  diffi- 
culties are  as  child's  play  to  the  master  mind  that  shapes  the 
ends  of  this  performance,  namely  Arturo  Toscanini.  Giving  all 
possible  credit  to  the  unusually  intelligent  artists  concerned,  yet 
it  is  Toscanini  that  keeps  spinning  the  musical  thread  of  this 
comedy.  It  is  all  champagne,  all  laughter  and  sunlight,  under 
the  baton  of  this  tremendous  man.  And  the  manner  in  which 
the  orchestra  played  the  overture  at  this  revival  was  worthy  of 
nothing  less  than  the  Boston  Symphony  Orchestra. 

Geraldine  Farrar,  as  Rosaura,  was  a  picture  of  beauty  and 
a  paragon  of  singing.  This  artist  has  improved  wonderfully  during 
the  present  season,  shedding  her  former  vicious  trick  of  shrillness 
in  her  song  and  now  seemingly  striving  constantly  for  beauty  of 
tone.  Macnez  was  the  one  newcomer  in  the  cast,  singing  Florindo 
very  well  indeed  and  looking  a  romantic  lover.  Alten,  Maubourg 
and  Fornia — they  were  all  three  admirable — and  the  work  of  Scotti, 

Didur  and  Pini-Corsi  was  of 
the  artistic  kind  that  demands 
full  recognition.  De  Segurola 
as  Arlecchino  was  wonderful. 
Armed  with  slapstick,  wearing 
the  conventional  black  mask 
over  his  face  and  garbed  in 
motley,  he  introduced  into  this 
delightful  work  the  real  spirit 
of  the  Harlequin  without  any 
exaggerated  buffoonery  that 
might  break  the  thread  of  dis- 
course in  this  delicate  comedy. 
It  is  not  cheerful  to  record 
that  the  Metropolitan  audi- 
ences fail  to  respond  enthusi- 
astically to  the  charms  of  this 
opera — possibly  because  the 
auditorium  is  a  trifle  vast  for 


C  arl    Braun    as    Hagen    in    "Gotterdamerung" 


a  work  of  this  intimate  genre,  or  possi- 
bly again  because  many  operagoers  can- 
not reconcile  humor  and  grand  opera 
— to  wit,  the  failure  here  of  Verdi's 
immortal  "Falstaff."  But  I  predict  that 
the  day  of  wholesale  recognition  for 
"Le  Donne  Curiose"  must  come,  for  its 
presentation  is  artistically  well-nigh 
perfect. 

Another  "first  time  this  season"  opera 
was  "Das  Rheingold,"  produced  at  a 
matinee,  the  opening  of  the  series  of 
Wagner  "Ring"'  performances.  Con- 
sidering the  fact  that  this  work  has  no 
regular  place  in  the  Metropolitan  reper- 
toire, and  that  it  is  given  but  once  or 
twice  during  an  entire  season — consid- 
ering all  this,  it  was  a  good  production. 
It  was  marked  by  earnestness,  the 
scenery  did  as  it  was  told — which  is  an 
important  factor  here,  since  this  music 
drama  is  produced  a  la  Bayreuth  with- 
out any  entr'actes — and  the  principals 
enlisted  the  best  of  Metropolitan  ma- 
terial. The  Rhine  Maidens  swam  in 
time  and  sang  in  tune,  thanks  to  the 
artistic  efforts  of  Sparkes,  Alten  and  Mulford.  Matzenauer  was 
an  impressive  Fricka,  and  Weil  a  noble  Wotan.  The  character 
work  of  Goritz  and  Reiss  as  the  two  Nibelheim  principals  was, 
as  ever,  notable.  As  Loge,  Carl  Burrian  did  the  best  work  ever 
seen  here,  his  impersonation  having  the  quality  of  subtlety.  The 
weakest  in  the  cast  was  Vera  Curtis  as  Freia,  and  the  two  giants 
were  not  remarkably  portrayed  by  Witherspoon  and  Ruysdael. 
Alfred  Hertz  conducted  a  splendid  performance  in  general. 

Two  new  singers  made  their  initial  New  York  bow  at  the 
Metropolitan  at  a  matinee  of  "Tristan  und  Isolde,"  namely, 
Jacques  Urlus  and  Carl  Braun.  The  former  is  a  Dutch  tenor  who 
has  won  fame  in  his  own  land  and  in  Germany,  and  last  season 
he  sang  some  "guest"  performances  at  Boston,  winning  laurels 
there.  He  had  the  misfortune  at  his  Metropolitan  debut  of  losing 
his  voice  utterly  during  the  first  act,  and  as  there  was  no  other 
Tristan  available  he  concluded  the  opera  in  pantomime.  What 
could  be  heard  of  his  voice  indicated  a  fine,  noble  quality,  with 
lyric  beauty  of  tone.  His  appearance  is  a  joy,  being  a  sharp  con- 
trast to  the  average  German  tenor,  for  Urlus  is  of  good  physique, 
has  a  wide  range  of  expression  in  his  poses  and  movements.  It 
will  rest  with  future  performances  what  fame  this  artist  will  win 
for  himself  here.  The  sentiment  at  his  debut  was  entirely  that 
of  pity  for  the  man  who  obviously  suffered*nuch.  Carl  Braun, 
the  other  newcomer  in  this  cast,  is  a  German  basso  of  rather 
pleasing  voice  that  seems  surcharged  with  sentimentality.  But 
he,  too,  must  have  suffered 
from  the  effect  of  Urlus' 
breakdown,  so  judgment  in 
his  case,  too,  must  be  reserved. 
Gadski,  Homer  and  Weil 
filled  usual  roles  excellently, 
and  Toscanini  conducted  with 
tremendous  dramatic  surge 

Slezak,  the  giant  Czech 
tenor,  sang  his  farewell  in  a 
memorable  repetition  of 
Verdi's  "Otello."  This  tenor 
is  not  to  return  to  us  next 
year,  and  his  farewell  was  the 
conclusion  of  a  four-years' 
stay  at  the  Metropolitan.  It 
was  one  of  the  best  "Otello" 
performances  ever  seen  here, 
as  Slezak  was  tremendous  in 


DAVID  SAPIRSTIEN 

American     pianist     whose     work     gives 

exceptional    promise 


(Continued   on   page    vii) 


MU.E.     BETTY    ASKEXASY 

Young   Russian   pianist   who   recently   made 

her  American  debut  at  Aeolian   Hall 


White 


Frank  Currier  Viola   Dana 

Act    I.      Gwendolyn    (Viola    Dana) :    "This    is    my    best    friend" 


IN  "The  Poor  Little  Rich 
Girl,"  now  playing  at  the 
Hudson  Theatre,  Eleanor 

Gates  has  succeeded  in  "getting  something  over."  She  calls  it 
a  whimsical  fantasy,  a  title  that  is  sufficiently  indefinite  to  cover 
all  the  elements  of  comedy,  tragedy,  allegory,  morality  play  and 
satire  which  it  contains.  In  the  second  act  she  makes  her 
audience  think  of  two  things  at  once — of  what  the  child  sees  in 
her  delirium  and  of  what  her  family  and  the  doctor  experience 
through  her  illness.  For  an  audience,  loath  to  think  once,  this 
is  an  extraordinary  feat — but  they  do  it  every  night. 

It  is  the  story  of  a  little  seven-year-old  girl,  rich  in  material 
things,  but  poor  in  the  possessions  of  child- 
hood. Her  parents  have  provided  her  with 
everything  save  their  own  companionship — 
a  retinue  of  servants  and  governesses,  who 
arouse  her  curiosity  by  the  strange  things 
they  say  and  don't  explain  any  more  than 
they  teach  her  what  she  ought  or  wants  to 
<now.  On  her  seventh  birthday,  as  a  special 
treat,  all  the  tutors  and  governesses  are  to 
be  dismissed  and  there's  to  be  a  big  dinner 
for  the  grown-ups  in  the  evening.  What 
she  would  really  like  for  her  birthday  is  to 
be  allowed  to  go  to  day  school  with  a  lot 
of  other  children,  to  play  in  the  country  the 
way  she  did  once  with  Johnny  Blake,  or,  at 
least,  to  take  a  walk — but  all  she  gets  is  a 
merry-j?o-round  for  dolls,  a  jumpity  rabbit 
in  a  cabbage  leaf  and  a  ride  in  the  stuffy 
limousine  with  Jane  and  Thomas,  who 
threaten  her  with  all  sorts  of  things  she  has 
never  seen.  They  tell  her  her  father  is  made 
of  money,  which  she  won't  believe  because 
she  has  seen  his  sleeves  rolled  up  and  knows 
his  arms  are  covered  with  skin ;  they  tell 
her  that  there  are  bears  in  the  street  where 
he  does  business,  that  there  are  kidnappers 
with  curved  knives  waiting  on  every  cor- 
ner to  steal  her  because  she  is  a  very  rich 


Viola   Dana  Frank  Currier 

Act    II.     Organ    Grinder    (Frank    Currier):    "See,   here's   a   Roman    nose" 

little  girl.  "Ihomas  says  the 
policeman  is  heels  over  head 
about  Jane.  Jane  says  Thomas 

is  all  ears,  and  they  both  say  the  governess  is  a  reg'lar  "snake- 
in-the-grass."  When  Gwendolyn  asks  what  they  mean  by  these 
terms,  when  she  looks  for  the  eyes  Jane  says  she  has  in  the  back 
of  her  head  or  when  she  wants  to  know  where  the  lights  go 
after  they  go  out,  they  only  laugh  at  her  and  threaten  her  to  be 
quiet  or  they'll  send  for  the  policeman,  whose  club  is  all  shiny 
with  blood,  or  the  doctor,  who  will  take  out  her  appendix  and 
charge  her  father  $1,000  for  it  too. 

Whenever  they  can.  they  leave  her  alone  to  amuse  herself, 
which  she  does  by  playing  pretend.  She 
has  two  pet  pretends — one  is  that  she's 
back  in  the  country  with  Johnny  Blake  and 
Rover,  going  fishing  and  playing  in  the 
mud,  and  the  other,  which  is  "the  dearest 
pretend,"  is  that  when  the  lights  are  out 
and  she's  in  bed,  father  sits  on  one  side 
and  mother  on  the  other. 

On  this  birthday,  she  didn't  like  playing 
alone,  so  she  called  in  the  organ-grinder 
man  to  keep  her  company.  While  they  are 
having  the  jolliest  old  time  the  plumber- 
man,  who's  been  fixing  a  leak,  joins  them, 
and  they  have  high  jinks  until  Jane  and 
Thomas  come  to  put  out  "the  piper"  and 
the  organ-grinder  man,  who  hadn't  even 
been  given  a  chance  to  show  how  he  could 
make  faces.  But  the  dinner  guests  are 
coming,  so  she  gets  out  of  the  wav.  too.  bv 
hiding  in  the  alcove.  And  while  she's 
there  she  hears  the  strangest  talk — they  . 
say  her  mother's  got  a  society  bee  in  her 
bonnet ;  they  say  her  father's  making  ducks 
and  drakes  out  of  his  money :  they  say 
he's  in  harness  all  the  time  with  his  nose 
to  the  grindstone ;  they  say  he  burns  his 
candle  at  both  ends :  they  say  his  brokers 
warned  him  he's  on  the  edge  of  a  crash ; 


Al.  Grady 
Act   II.     Gwendolyn: 


Viola  Dana 
"Puffy,    my   Puffy!" 


THE      THEATRE      MAGAZINE 


White 


they  say- -but  then 
mother  and  father 
and  the  doctor 
come  in,  so  they 
don't  say  any  more 
just  now.  Instead 
they  gush  silly 
things  about 
Gwendolyn,  pat 
her  on  the  head 
and  proceed  in  to 
dinner,  which  in- 
terests them  much 
more. 

The  governess 
having  been  given 
the  evening  out, 
there's  really  only 
Jane  and  Thomas 
and  Gwendolyn 
who  are  left  out  of 
the  dinner  party, 
so  the  first  two 
settle  it  between 
them  that  the  best 
way  for  them  to 
spend  a  nice  even- 
ing, too,  is  to  give  Gwendolyn  a  sleeping  powder  and  then  hie 
them  off  to  a  movie  or  a  theaytre.  Jane,  being  a  two-faced  thing, 
you  know,  is  one  of  those  who  make  assurance  doubly  sure.  So 
she  gives  Gwendolyn  a  second  powder  and  then — 

Everything  grows  dark  and  funny,  there's  a  horrible  thunder- 
ing, a  rumbling  and  a  roaring,  the  big  hall  of  the  mansion  melts 
away  and  instead  there  are  trees  and  rocks  and  a  waterfall  and 
flowers,  a  big  grassy  meadow  and— mud,  nice  squashy  mud ! 

It's  the  tell-tale  forest,  where  everything  is  as  it  really  is,  and 
Gwendolyn's  in  it  without  her  shoes  and  stockings,  in  a  gingham 
dress  without  any  horrid  stiff  bows.  The  organ  grinder  is  there 
too,  swinging  a  big  curved  knife.  "Ears  to  sharpen,  eyes  to 
sharpen,  edges  taken  off  tongues,"  he  shouts,  for,  sure  enough 
he's  the  Man-Who-Makes-Faces.  And  surer  than  enough,  here's 
his  shop.  It  stands  between  two  lime  trees  with  lights  in  'em — 
lime-lights,  of  course — and  in  the  back  there  are  rows  of  eyes — 
wall  eyes,  to  be  sure,  and  on  the  counter  are  all  sorts  of  chins 
and  noses  and  cheeks  and  tongues — tongues  in  all  languages ; 
smooth  tongues,  rough  tongues,  tongues  of  shoes,  tongues  of 
flames.  Gwendolyn  is  for  buying  a  whole  assortment,  but  the 
Man-Who-Makes-Faces  reminds  her  that  she's  the  poor  little 
rich  girl,  who  really  has  nothing,  though  everyone  thinks  she 
has  everything. 

"Things  will  improve."  he  assures  her,  however,  "if  you  follow 


Joseph    Bingham 

Act    II. 


my  advice.  Find 
your  mother  and 
father  and  get  rid 
of  those  servants." 
Jane  is  the  first 
one  to  tackle.  She 
comes  waltzing  in, 
her  red  hair  evenly 
divided  between 
her  front  and  her 
hind  face.  Why 
not — isn't  she  the 
two-faced  creature 
who  would  have  to 
laugh  with  the 
back  of  her  head? 
Why  can't  she 
stand  still?  Fool- 
ish question! 
She's  dancing  at- 
tendance on  Gwen- 
dolyn isn't  she  ? 

When  she  sees 
that  Gwenny  isn't 
going  to  pay  any 
attention  to  her, 
what  does  she  do 
but  call  on  the  police,  who  comes  in  heels  over  head.  He  does  it 
well,  too,  because  his  head  is  level.  He  turns  out  to  be  a  very 
nice  policeman,  however,  one  who  protects  squirrels  in  the  park, 
and  blind  folks  and  old  people  and — best  of  all,  for  Gwendolyn — 
helps  lost  children  to  find  their  parents. 

The  forest  is  actually  becoming  peopled,  for  here's  Thomas, 
really  and  truly,  all  ears,  and  Puffy,  the  Teddy- Hear,  who's  big- 
ger'n  Gwenny  and  losing  some  of  his  precious  stuffing  to  replace 
which  they  call  in  the  doctor.  He  takes  Gwendolyn's  measure 
and  finding  that  she's  pretty  low,  he  sends  for  a  dozen  bread 
pills,  dispatches  the  policeman  with  an  extra  sharp  eye  in  search 
of  the  people  who  gave  her  the  powders  and  calls  in  her  father. 
She  doesn't  know  him,  however. 

"Is  he  Sam  Hill  or  Great  Scott?"  she  asks.  She  doesn't 
know  him,  even  though  he  is  made  of  money. 

Neither  does  she  know  her  mother    who  comes  to  the  forest, 
carrying  her  pet  bee  in  its  bonnet  and   followed  by  five  people, 
who  look  and  act  and  dress  quite  alike. 
"Are  you  they?"  asks  Gwendolyn. 
"We  are." 

And  then  in  chorus — they  always  talk  in  chorus. 
"We  do  the  proper  thing." 

"I've  heard  things  you've  said."  says  Gwendolyn  "Aren't 
you  always  saying  things  ?" 


Gladys   Fairbanks         Howard    Hall      Viola   Dana  Harry  Cowley 

Doctor    (Howard    Hall):    "Jane,    what    have    you    given    her?" 


White 


Act    II.     Organ   Grinder:    "She's   very    fond    of   the   bee" 


THE      THEATRE      MAGAZINE 


Frank  Currier 


Al.  Grady 


Howard  Hall 


Viola    Dana 
Act  II.     All:   "He's  pulled  her  through!" 


Boyd  Nolan 


Laura  Nelson  Hall 


"Saying  things?  Well,  we  get  the  blame,  but  the  talking  is 
done  by  the  little  Bird.  I  blame  her  and  he  blames  me.  In 
that  way  we  shift  the  responsibility.  And  as  we  always  keep 
together,  nobody  ever  knows  who  really  is  to  blame." 

Hardly  are  they  gone  than  Jane  and  Thomas  begin  their  nag- 
ging again  and  insist  on  Gwenny's  taking  a  ride. 

After  many  more  adventures  Gwendolyn  calls  to  the  doctor  for 
help.  He  leans  out  of  the  window  of  the  barn. 

"Reach  up,  I'll  pull  you  through!"  he  calls. 

She  holds  on  tight  to  her  stiff  upper  lip  and  climbs  up  and  up 
until  he  pulls  her  through. 

And  then  you  are  back  in  the  land  of  plain  facts  again.  But 
they're  better  facts  now.  They're  facts  with  the  pretend  come 


true — even  the  "dearest  pretend" — do  you  remember  ?  She's  still 
a  pretty  sick  little  girl,  but  she  wants  to  grow  well  just  as  fast 
as  she  can,  because  the  doctor  prescribes  "scuffing"  in  the  mud, 
and  Johnny  Blake  and  fishing,  and  days  and  months  and  years  in 
the  country,  as  soon  as  she's  strong  enough  to  stand  all  this  joy. 
But  for  the  present,  for  the  very  immediate  present,  she  must  go 
to  sleep  and  rest.  So  when  father  has  pulled  down  the  shades 
and  drawn  the  curtain,  she  goes  on  another  journey — it's  to  the 
Land  o'  Nod  this  time — and  because  you've  been  a  good  audi- 
ence that  has  caught  on,  or  thought  it  caught  on  to  all  the  tricks, 
you're  let  into  the  secret  of  the  dream  she  found  at  her  journey's 
end — a  dream  of  a  little  girl  in  a  gingham  pinafore,  going  fishing 
with  a  sun-tanned  boy  and  a  happy,  shaggy  dog.  XX. 


White 


Howard  Hall 


Laura  Nelson  Hall  Viola  Dana 

Act   III.     Gwendolyn:    "What  kind   of 


Frank  Andrews 
bird   is  that?" 


Boyd  Nolan 


G  WITH  THE 


By    CHESTER    T.    CALDER 


A; 


Sarony 

Edwin  Booth  as  Richelieu 


Sarony 
Lawrence    Barrett 


RE  we  approaching  a  serious  crisis  in 
theatrical    affairs?       Some    of    our 
leading  managers  think  that  we  are. 
Long    ago    Mr.    Belasco,    Mr.    Frohman, 
Messrs.  Klaw  and  Erlanger  predicted  dis- 
aster  if   the   present    incontinent   rage   for 
theatre  building  continued,   and,   more   re- 
cently, W.  A.   Brady   and  other  managers 
in  a  number  of  newspapers  interviews  de- 
clared   frankly   that   box-office   business    is 

now  so  bad  that  theatre  managers  are  completely  discouraged. 
"What's  wrong  with  the  American  stage?" 
That  is  the  ever-recurring  question  which  presents  itself  to  the 
minds  of  thoughtful  theatregoers.     Of 
late    dissatisfaction    with    the    contem- 
porary theatre  has  become 
wide  and  so  prevalent,  criti- 
cism of  modern  conditions 
has    grown    so   penetrating 
and  so  caustic  that  the  is- 
sue can  no  longer  be  dis- 
missed with  a  laugh  or  a 
wave  of  the  hand.     That 
something  is  the  matter  can 

no  longer  be  open  to  doubt.  Where  is  the  trouble? 
One  thing  that  has  antagonized  the  public  and  helped  to  keep 
hundreds  of  would-be  theatregoers  away  from  the  box  office  is 
the  present  iniquitous  system  of  taking  out  the  best  seats  long 
before  the  sale  begins  and  giving  them  over  to  a  speculative 
agency,  which  imposes  an  additional  tax  of  fifty  cents  a  seat.  The 
public  would  not  mind  so  much  paying  $2.50  a  seat  if  that  were  the 
box-office  price,  but  it  is  irritated  and  annoyed  to  find  that  the 
box  office  is  really  a  farce, 
inasmuch  as  the  best  seats 
are  never  on  sale,  no  matter 
how  early  you  go,  but 
were  taken  out  weeks  before 
and  given  to  the  said  specu- 
lator. Out-of-town  people, 
who  are  in  the  city  only  for 
a  night  or  so  do  not  object 
to  this  imposition,  and  prob- 
ably welcome  it,  because,  un- 
familiar as  they  are  with  the 
locations  of  different  theatres, 
it  is  more  con- 
venient for  them  and  they  get  choicer  seats  at  a 
slight  advance.  But  why  should  out-of-town  people 
be  favored  to  the  prejudice  of  New  Yorkers,  who 
are  the  real  mainstays  of  our  local  playhouses  ?  The 
New  Yorker  will  pay  as  much  as  anybody  else  for 
a  seat,  but  he  wants  the  price  of  that  seat  to  be  the 
prevailing  box-office  price  and  not  an  arbitrary 
price  fixed  by  an  outside  speculator.  Managers 
prefer  to  sell  to  the  speculator  because  the  latter 
is  willing  to  purchase  $8,000  or  $10,000 
worth  of  tickets  in  advance  of  a  pro- 
duction on  the  mere  chance  of  its  being  a 
success.  The  agency  is  willing  to  take  this 
^^^k  risk,  and  sometimes  it  gets  badly 

^L       stung.      But    in    this    way    the 
.  A    manager    is    sure    of    at    least 

so   much    return    on    the    outlay 
^P      made,    and    he    argues    that    he 


of  course,  is  nonsense,  .because  the  specu- 
lator is  allowed  to  purchase  the  seats  long 
before  the  general  public  gets  a  chance  at 
them.  Managers  realize  that  the  system 
hurts  the  general  box-office  business,  but 
they  claim  that  no  business  man  could 
afford  to  reject  such  a  guaranty  as  the 
speculator  gives  them.  In  our  opinion 
managers  make  a  serious  mistake  when  Copyright  Faik 

Joseph  Jefferson   as    Rip   Van    W 

they  deny  regular  patrons  their  best  seats 

at    the    regular   box-office   rates.      This    short-sighted    policy    as 

much  as  anything  else  has  hurt  the  theatrical  business. 

The  manager   is  not  alone  to  blame.     The  love  of  the   new 
generation   for  extravagance  and  lux- 
ury, unheard  of  by  our  grandparents, 
has     made     the     cost    of 
theatre-going     well     nigh 
prohibitive.     No  longer  is 
Miss    Debutante    satisfied 
to  have  her  admirer  pur- 
chase   two    seats    and 
escort     her     modestly     to 
and    from   the   playhouse. 
She    expects    flowers,    in-  Sarony 
sists  on  taxicabs,  brazenly  suggests  expensive  sup- 
pers, all  of  which  entails  a  cost  of  possibly  $20  for  the  evening's 
outing.     Only  a  fat  pocketbook  can  stand  the  strain.     What  is 
the  result?     The  sensible,  practical  young  man  is  hardly  likely 
to  be  enthusiastic  about  the  drama. 

The  evolution  of  the  modern  theatre  has  been  slow  but  steady 
and  substantial.  From  its  origin  in  the  old  morality  plays  pre- 
sented upon  platforms  bare  of  scenery  to  the  present  day  with 

its  magnificently  appointed 
playhouses  and  its  elaborate 
productions,  the  theatre — on 
the  purely  physical  side  at 
least — has  made  a  long  stride 
indeed.  And  the  intellectual 
advance  no  less  than  the 
physical  has  been  marvellous. 
The  efforts  of  over  three 
hundred  years  and  of  as 
many  dramatists  have  given 


Copy't  G.  G.  Rockwood 

Augustin    Daly  Lester  Wallack  A.   M.   Palmer 

"Whose  admirable  stock   companies  produced   the   best   in   con- 
temporary and  domestic  drama" 


Sheridan  Goldsmith 

("The    Rivals")    ("She    Stoops   t 
Conquer") 


Shakespeare 


Bulwer-Lytton 
("Richelieu") 


dramatic  literature.     The 


Sarony 
E.   L.   Davenport 


John    McCullmigh 


only  sells  to  the  first  comer  who 
happens  to  be  a  speculator 
willing  tp  take  3  chance.  This, 


rstn°IWaTearys°Run  our    stage    a    rich    fund    of 

Deep") 
"The  plays   of  the   period  included  dramas   of  literary   as  well   as    dramatic   distinction" 

theatre    has 

grown  in  dramatic,  in  ethical  and  social  significance. 
Its  influence  to-day  is  broader,  deeper,  richer  than 
ever  before.  The  theatre  in  its  best  estate  com- 
mands the  respect  of  every  broad-minded  person. 
Playhouses  are  subsidized  by  governments  and  mil- 
lionaires ;  actors  are  no  longer  marks  for  bitter 
vituperation,  but  are  given  their  true  rank  as  artists 
and  gentlemen.  The  stage  is  a  recognized  force  in 
our  modern  social  life.  This,  in  brief,  has  been  the 

progress  of  the  theatre  through  the  centu- 
ries. And  yet,  in  spite  of  this  tremendous 
advance  as  an  art  and  as  a  social  institu- 
tion, comment  on  the  decadent  condition 
of  the  American  stage  is  heard 
upon  nearly  every  side. 

After  making  due  allowance 
for  a  difference  in  standards  of 
judgment  we  shall  have  to  ad- 
mit that  while  the  material  ad- 
vance in  our  theatre  has  con- 
tinued during  the  last  fifty  years 


Charlotte  Cushman 


Edwin  Forrest 


Mrs.    John    Drew 


players  who  saw  the  American  stage  in  the  full 
*.,-;.    -/  .-»,   „--„*..,.„" 


Ada  Rehan 


THE     THEATRE     MAGAZINE 


Sarony 


Mrs.    Fiske 


Robert  Mantell  Julia  Marlowe  E.  H.  Sothern 

'Who  for  some  years  past  have  been  the  sole  standard  bearers  of  the 
classic    drama    in    America" 


there  has  also  been  a  steady  intel- 
lectual   decline.      The    decade    be- 
tween 1865-1875  saw  the  American 
stage  in  the  full  flush 
of  its  greatness. 
Neither     before     nor 
since  has  such  a  cote- 
rie of  players  graced 
our  stage.     Our 
theatre     boasted     o  f 
such  tragic  actors  as 
Booth     and     Barrett, 
Forrest    and    Daven- 
port,    Cushman    and    Janauschek. 
Among  the  notable  comedians  were 
John     Gilbert,     Joseph     Jefferson, 
VVm.  J.   Florence,  E.  A.   Sothern, 
\Vni.  Warren  and  Lester  Wallack. 
The   plays   of   the  period   included 
those    of     Shakespeare,     Sheridan. 
Goldsmith,     Taylor     and     Bulwer- 
Lytton,  dramas  of  literary  as  well 
as  dramatic  distinction.     Moreover, 
these  plays  demanded 
actors  possessing  fire 

and  imagination.     They  were  heroic  in  theme  and 
poetic  in  spirit.     Nor  was  the  best  in  contemporary 
and  domestic  drama  neglected.    Plays  of  this  nature 
were  produced  with  taste  and  care  by  the  admirable 
stock  companies  of  Augustin  Daly,  A.  M.   Palmer 
and  Lester  Wallack.     There  was  a  business  side  to 
John  Mason        the  profession  then  as  now  but  it  was  subservient  to 
the  artistic.    Each  manager 
was    too    much    concerned 
with  the  presentation  of  his 
own    plays    and 
the  development 
of  fine  acting  to 
think    of    de- 
stroying    a 
healthy     compe- 
tition by  corner- 
ing the   theatri- 

William    Faversham    cal     market.        It 

was  essentially  an  age  of  big  ideals  and  genius  and  ability  reaped 
rich  rewards.    But  new  times,  new  men. 

As  the  older  players  and  managers  died  new  ones  came  to 
take  their  places,  and  this  new  material  was  not  of  the  same 
stamp  as  the  old.     A  commercial  taint  crept  in  and  slowly  ate 
its  way  into  the  hearts  of  our  dramatists,  our  actors  and  our 
managers.     The  love  for  art  gave  way  to  the  lust 
for  dollars  and  cents.    The  resident  stock  companies 
of  the  sixties  and  seventies  broke  up.     They  were 
replaced  by  the  special  casts  and  one-play  companies 
of  the  present   day.     As   the  old   and   experienced 
actors  died  or   retired   no  expert   players   filled   the 
gaps  in  the  ranks.     The  younger  players  lacked  the 
all-round  training  given  in  the  old  stock  companies. 
Margaret  Angiin     The  absence  of  competent  stage  managers  to  drill 
the  actors  in  the  older  forms  of  the  drama  caused 
the  abandonment  of  Shakespeare  and  the  classics,  the  influx  of 
modern  plays  and  the  development  of  players  efficient  in  modern 
drawing-room    comedy 
but   wanting   in   versa- 
tility.    The  rise  of  the 
theatrical    syndicate   in 
1895,  the  successful  at- 
tempt to  commercialize 
the  theatre  which   fol- 


Maude  Adams 


A.  L.  Erlanger 

America's   leading   theatrical    producers — the   men   to   whose   hands   is   confided   the   artistic   and 
material    development    of    our    stage 


fall  of  the  American  stage  from 
its  once  honorable  and  envia- 
ble position  was  complete. 

For  ten  years  all 
artistic  development 
in  the  American 
theatre  was  practical- 
ly brought  to  a  stand- 
still. An  unnatural 
limitation  was  put 
upon  production. 
The  importation  of 
plays  and  players 
from  abroad  stifled  the  develop- 
ment of  American  actors  and 
dramatists.  The  few  remaining 
capable  native  players  were  forced 
into  ruts  from  which  many  have  not 
even  yet  escaped.  Happily  the  day 
of  one-man  domination  of  our 
stage  has  passed,  probably  never  to 
return,  but  the  appearance  of  a 
second  theatrical  trust  has  done 
little  to  better  mat- 
ters. Our  theatre  is 

still  in  the  throes  of  materialism.  Where  ten  or 
fifteen  years  ago  there  was  an  unnatural  check  put 
upon  production  and  consequent  stagnation,  to-day 
there  is  overproduction  and  its  attendant  evils. 
Artificial  stimuli  have  been  applied  and  the  effect 
on  the  theatrical  business  has  been  ruinous. 
Theatres  and  plays  have  multiplied.  In  New  York 

alone  the  number  of  first- 
class  theatres  has  doubled 
within  fifteen  years.  Cities 
which  can  with 
some  difficulty 
support  one 
first-class  play- 
house have  two. 
It  does  not  take 
a  profound  econ- 
omist to  deter- 


White 
David  Warfield 


Copyright  Central  News 
Lee  Shubert          Charles  Frohman        David   Belasco        William   A.    Brady 


mine  the  result. 


Otis    Skinner 


lowed — and  the  down- 


A  tremendous  amount  of  energy  is  expended  by  our  managers, 
but  feverish  activity  is  hardly  synonymous  with  substantial 
progress.  Too  frequently  trivial  plays  occupy  our  theatres. 
Careless  and  slipshod  methods  are  used  in  staging  productions. 
Important  parts  are  given  to  players  with  agreeable  personalities, 
who  possess  neither  the  ability  nor  the  training  to  visualize  the 
characters  entrusted  to  them.  A  familiarity  between 
audience  and  players  has  arisen  which  would  not 
have  been  tolerated  by  men  like  Augustin  Daly.  And 
if  behind  the  curtain  conditions  have  been  revolu- 
tionized the  change  on  the  other  side  of  the  foot- 
lights has  been  correspondingly  great.  The  older 
generation  of  theatregoers  has  practically  been 
eliminated.  The  new  element  in  the  theatregoing 
population  is  too  often  composed  of  the  devotees  of 
the  "lobster  palaces"  who  delight  in  the  risque  or  vul- 
gar, the  members  of  "smart"  society  who  desire  only  the  flippant 
and  inconsequential,  and  the  ignorant  nouveau  riche  who  often 

is  a  better  judge  of 
whiskey  than  of  Shake- 
speare and  the  classics. 
To  such  people  do  our 
managers  cater.  This 
is  the  general  aspect 
of  the  situation  in  the 
American  theatre 


Nance    O'Xeil 


Charles  Klein        Margaret  Mayo      Aug.  Thomas         Eugene  Walter        Ed.  Sheldon        Martha  Morton     Geo.  Broadhurst 
"Real  significance   u   to   be   attached   to   the   steady  progress   of   our   playwrights   in   a  period   which   lias 
been   notorious  for  the  low  level   of  its  acting" 


THE    THEATRE    MAGAZINE 


things  dramatic  is  the  play-  THE  CONCERT  ROOM  OF  THE  NEW  ^OLIAN  HALL,  NEW  YORK  CITY  Pinero,     Shaw    or    Jones, 

wright,  and  so  it  is  he  who  they   have  not  been   found 

is  the  logical  starting  point  in  our  discussion.     To  say  that  the  wanting  for  good,  red  blood.     These  men  are  still  in  the  forma- 

great  majority  of  dramas  produced  to-day  are  largely  trash  is  to  tive  period,  the  estimates  of  their  work  may  be  diverse,  yet  it 

attach  no  stigma  to  the  playwright's  art.     The  majority  of  plays  cannot  be  doubted  that  pervading  all  their  work  there  is  a  sense 

in  every  age  are  worthless  and  soon  forgotten,  and  if  this  concli-  of  latent  power  and  ability  struggling  to  be   free.     Theirs  has 

tion  is  aggravated  in  America  to-day  we  must  bear  in  mind  the  been  a  record  of  solid,  substantial  even  brilliant  achievement. 


general   theatrical  situation.     There  has   been   an   enormous   in- 
crease in  the  number  of  theatres  everywhere  during  the  last  few 


And  what   is  to  be  said  of  those   American  dramatists   who 
have  arrived  at  the  fruition  of  their  powers?     What  rank  shall 


years,  and  the  simple  fact  is  that  excellence  among  our  dramatists     we  assign  to  David  Belasco  and  Clyde  Fitch,  to  Charles  Klein 


has  not  kept  pace  with  the  building  of  playhouses.  Nor  is  this 
surprising.  It  stands  to  reason  that  in  a  country  where  two  or 
three  hundred  new  productions  are  made  yearly,  much  which 
reaches  the  boards  is  mere  drivel.  It  is  simply  a  case  of  de- 


and  Wm.  Vaughn  Moody,  to  Augustus  Thomas  and  Eugene 
Walter?  It  is  a  significant  fact  that  during  the  ten  years  fol- 
lowing 1895  hardly  a  play  of  distinction  was  produced  by  an 
American  dramatist.  Since  1905,  however,  more  than  a  dozen 


mand  and  supply.     The  demand  is  greater  than  the  supply  and      plays  of  marked  literary  and  dramatic  merit  have  been  added  to 


our  stage  is  surfeited  with  worthless  plays. 

But  if  the  increased  demand  for  plays  has  encouraged  medi- 
ocrity the  impetus  given  dramatists  with  genuine  talent  has  been 
equally  great.  In  America  to-day  we  find 
literary  men  writing  for  the  stage  who  never 
thought  of  doing  so  before.  Men  imperfect 
in  the  technique  of  the  drama,  but  who  pos- 
sess the  dramatic  instinct  coupled  with  the 
capacity  for  literary  expression,  are  develop- 
ing their  powers  slowly  but  surely.  Edward 
Knoblauch,  Percy  MacKaye,  Joseph  Medill 
Patterson,  Edward  E.  Sheldon  and  A.  E. 
Thomas  belong  to  this  group  of  writers  who 
are  still  developing,  refining  and  polishing 
their  art.  Crudities  in  their  work  are  still 
patent.  Lack  of  logical  development,  incon- 
sistencies of  character  and  situation  often 
intrude  to  mar  originality  of  idea  and  vigor 
and  power  in  handling  characters  and 
climaxes.  At  present  Mr.  MacKaye's  poetic 
plays  are  lyrical  rather  than  dramatic,  his 
prose  dramas,  too  subtle  and  elusive  in  style 
to  be  effective  in  performance,  but  it  cannot 
be  gainsaid  that  his  plays  combine  verbal 
richness  and  fine  feeling,  beauty  of  diction 
with  the  noble  passion  of  the  poet.  Mr. 
Knoblauch  has  written  several  stimulating 
dramas.  His  play  "The  Faun"  displayed 
originality  of  idea,  capacity  for  imagination 
and  felicity  of  expression.  Mr.  Thomas  has 
a  number  of  clean  and  wholesome  comedies 
to  his  credit,  and  in  "The  Rainbow"  he  has 
happily  united  delightful  romance,  piquant 


M.    JEAN    NOTfi 

This  distinguished  French  baritone,  who  re- 
ceived the  Cross  of  the  Legion  of  Honor 
some  years  ago  for  bravery  shown  in  stopping 
a  runaway  freight  train,  has  again  received 
official  recognition,  this  time  in  the  shape  of 
a  gold  medal  awarded  for  saving  life  by  stop- 
ping a  frenzied  horse.  M.  Note  is  well  known 
in  America,  having  sung  at  the  Metropolitan 
Opera  House  some  years  ago  with  great  success 


our  stage  literature.  What  plays  written  by  Americans  during 
the  nineteenth  century  can  compare  with  the  productions  of  the 
American  dramatist  during  the  past  decade?  The  plays  of 
Bronson  Howard,  of  Augustus  Thomas, 
James  A.  Herne,  Martha  Morton,  Clyde 
Fitch,  David  Belasco,  and  of  William  Gillette 
perhaps,  but  little  else.  A  meagre  output 
indeed,  if  we  compare  it  with  the  splendid 
showing  of  the  younger  generation  of  native 
dramatists  in  more  recent  years.  It  is  a 
genuine  stride  forward  and  an  accomplish- 
ment worthy  of  remark  that  our  foremost 
dramatists  have  written  such  plays  as  "The 
Great  Divide,"  "Leah  Kleschna,"  "Paid  in 
Full,"  "The  Easiest  Way,".  "The  City," 
"Salvation  Nell,"  "The  Witching  Hour,"  and 
"As  a  Man  Thinks." 

These  dramas  are  as  diversified  in  theme 
and  style  as  it  would  be  possible  to  conceive, 
yet  each  in  its  way  is  of  such  excellence  that 
it  deserves  a  niche  in  our  dramatic  literature. 
Best  of  all,  these  dramas  are  not  only  built 
upon  the  bed-rock  of  dramatic  principles  as 
regards  play  construction,  but  they  may  suc- 
cessfully combat  literary  criticism  as  well. 
Mr.  Moody  and  Mr.  Thomas  have  been  espe- 
cially happy  in  bringing  their  plays  within 
the  domain  of  true  literature. 

The  truly  American  drama  is  still  young, 
and  real  significance  is  to  be  attached  to  the 
steady  progress  of  our  playwrights  in  a 
period  which  has  been  notorious  for  the  low 
level  of  its  acting  and  for  the  advent  of 


THE      THEATRE      MAGAZINE 


77 


managers  deficient  in  ideals  and  devoid  of  dramatic  ability.  The 
future  of  the  American  dramatist  is  one  of  brilliant  promise. 
He  no  longer  finds  it  necessary  to  imitate  the  foreign  playwright. 
He  may  lack  the  polish  of 
style  and  the  niceties  of  tech- 
nique which  the  European 
craftsman  displays,  but  as  a 
rule  his  plays  reveal  a  fresh- 
ness of  theme,  a  virility  and 
vitality  unknown  to  the  Conti- 
nental dramatist.  At  last  our 
playwrights  are  awakening  to 
a  consciousness  of  the  possibil- 
ities before  them.  They  are 
portraying  American  people, 
their  problems  and  ideals ;  they 
are  discovering  the  more  vital 
phases  of  our  national  life,  the 
things  genuinely  worth  while. 
Much  ha"s  been  accomplished, 
much  more  remains  to  be  done. 

And  the  art  of  acting — what 
of  that?  Wm.  Winter,  dean  of 
American  dramatic  critics,  be- 
wails the  fact  that  all  our  great 
players  are  gone.  He  points 
out  that  we  have  no  English- 
speaking  actor  at  the  present 
time  who  can  equal  Edwin 
Booth  or  Henry  Irving.  He 
tells  us  that  no  actress  of  the 
contemporary  stage  has  ever 
revealed  the  supreme  power  of 
Charlotte  Cushman.  Mr. 
Winter's  statement  is  all  too 
true.  We  have  many  fine  play- 
ers such  as  Robert  Mantell, 
Julia  Marlowe,  E.  H.  Sothern, 
David  Warfield,  Mrs.  Fiske, 
Otis  Skinner  and  John  Mason, 
but  we  have  no  actor  or  actress 
whose  genius  transcends  all 
others.  The  dramatic  profes- 
sion in  America  cries  out  for  a 
real  leader. 

If  it  is  possible  to  overvalue 
the  present,  it  is  equally  easy 
to  overestimate  the  achieve- 
ments of  the  past.  It  would  be 
folly  to  advocate  the  standards  of  fifty  years  ago  unreservedly. 
There  was  much  to  admire  in  the  acting  of  that  period,  but  there 
was  also  much  to  censure.  Many  of  our  modern  players  are 
infinitely  nearer  to  human  nature  in  the  details  of  their  acting 
than  the  players  of  half  a  century  ago,  but  it  is  also  true  that 
ihe  actors  of  to-day  lack  the  vigor  of  conception,  the  emotional 
fervor  and  the  fine  frenzy  of  feeling  which  these  actors  of  long 
ago  displayed. 

There  is  a  great  deal  of  talk  about  great  acting  or  rather  the 
absence  of  it  upon  the  American  stage,  but  how  many  of  us 
really  have  a  definite  idea  of  what  we  mean  by  the  phrase?  Is 
it  an  absolute  or  a  relative  term  ?  Is  there  a  single  goal  which 
every  player  must  attain,  or  is  greatness  in  dramatic  art  merely 
the  superiority  of  one  artist  over  another?  If  the  latter,  it  is 
always  possible  to  witness  a  great  performance.  The  logic  of 
it  would  be  that  David  Warfield's  Music  Master  is  worthy  to 
be  dubbed  "great,"  because  it  is  relatively  better  than  the  average 
characterization  visible  on  our  stage.  But  the  unsoundness  of 
such  a  definition  must  be  apparent  to  all.  Greatness  is  hardly 
relative.  If,  then,  it  is  absolute,  our  next  problem  is  to  discover 
how  we  are  to  recognize  great  acting  when  we  see  it. 


MARIANNE    FLAHAUT 


Belgian    dramatic    soprano    who    has    sung   with    great    success    at    the    Metropolitan. 
Mme.   Flahaut  is  seen   here  as   Andromaque  in   "La  Prise  de  Troie" 


We  must  remember  that  acting  is  not  strictly  a  creative  art. 

To  say  that  an  actor  "creates"  a  part  gives  rise  to  confusion. 

The  art  of  the  actor  is  interpretative  rather  than  creative.     In 

the  dramatic  world  it  is  the 
playwright  who  is  truly  the 
creative  artist.  The  dramatist 
provides  the  framework  upon 
which  the  actor  builds  his  char- 
acter, and  it  is  the  task  of  the 
player  with  aid  of  make-up, 
speech  gesture  and  action  to 
convey  to  the  eye  and  ear  of 
the  spectator  the  conception 
lodged  in  the  brain  of  the 
dramatist.  The  art  of  the 
playwright  and  the  art  of  the 
actor  are  mutually  dependent. 
Without  the  one  the  other  is 
incomplete.  The  drama  is  not 
unlike  photography ;  the  dram- 
atist provides  the  play  or  nega- 
tive, the  actor  the  character  or 
printed  picture.  A  good  nega- 
tive may  be  wasted  by  poor 
printing,  and  likewise  many  an 
excellent  play  has  been  spoiled 
in  the  performance.  But  un- 
like the  photographer's  art  the 
actor  is  not  dependent  upon 
his  play  to  the  same  extent 
that  a  good  picture  is  depend- 
ent upon  a  good  negative. 
Great  acting  is  to  be  found  in 
poor  plays  as  well  as  good 
ones. 

Henry  Irving  made  Mathias 
"great,"  Charlotte  Cushman 
terrified  her  audiences  and  held 
them  spellbound  with  the  fury 
of  her  Meg  Merrilies,  Joseph 
Jefferson  reincarnated  the  Rip 
Van  Winkle  of  Washington 
Irving,  yet  none  of  the  plays 
containing  these  characteriza- 
tions could  be  called  "great." 
It  matters  little  how  common- 
place the  drama  if  the  leading 
part  in  it  will  permit  the  dis- 


play of  intellectual  force,  the 
broad  sweep  of  emotion  and  great  imagination,  the  first  require- 
ment of  great  acting,  is  present — a  great  acting  part.  Hamlet, 
Lear,  lago,  and  Othello  are  all  great  characters  as  well  as  great 
acting  parts.  What  makes  them  so  attractive  to  the  ambitious 
actor  are  the  boundless  possibilities  for  dramatic  expression 
which  they  present.  It  is  a  part  demanding  completeness  of 
expression  which  the  actor  needs  rather  than  a  great  character. 

But  given  the  great  acting  part  we  still  require  the  man  or 
woman  to  bring  the  character  to  life.  What  an  equipment  the 
player  demands !  A  distinguished  presence  and  a  mobile  coun- 
tenance, a  nature  sensitive  to  feeling  and  emotion,  the  power  to 
conceive  characters  and  the  ability  to  execute  them,  mastery  of 
technique — all  these  qualities  and  more  even  the  ordinary  player 
must  possess.  But  vastly  more  than  this  is  required  of  the 
great  actor.  The  great  artist  must  look  the  part,  think  the  part 
ajid  feel  the  part  he  is  playing.  Jefferson  was  noted  for  the 
breadth  and  power  of  his  imagination,  Cushman  for  her  per- 
sonality at  once  magnetic  and  dominating,  Booth  for  his  tre- 
mendous nervous  force,  Irving  for  his  keen  and  penetrating  in- 
tellect, for  his  comprehensive  knowledge  and  understanding  of 
life  and  human  nature.  Only  a  player  with  the  spark  of  genius — 


1.     Chrystal  Herne  driving  her  own  automobile.       8.     Walter  Hale  and  Dustin  Farnum  in  Mr.   Bale's  Studebaker  car        3.     Richard  Bennett  and I  his 'children  accompanied  by 
his    brother-in-law,    Lieut.    Victor    1.    Morrison,    son    of    the    late    Lewis    Morrison,    of   "Faust"   fame,  in  Mr.   Bennetts  Stern  60   H.   p.  automob.le. 

Grinnell  Electric.     5.    Blanche  Bates  in  her  Anderson  Electric 


Fr 


Daniels   his   own   chauffeur.        2.     Signor  Caruso  taking  his   son   for  an   automobile   ride.        3.     Gladys   Caldwell    leaving  her   Waverlev    Electrir   I  imoii<sin«>         A      F 
Sothern   and   Julu   Marlowe   in   their    Packard.       6.     Gertrude    Hoffmann   about   to  enter  her  Peerless.       6.     Stage  kiddies  It  "The   Udy  of    he  Slipped"   wra 

Rauch  &  Lang  car.     7.  Raymond   Hitchcock  *nd   Flora  Zabelle  in  their  Lozier 


8o 


THE      THEATRE      MAGAZINE 


that  quality  so  hard  to  de- 
scribe yet  none  the  less 
real  and  e  x  i  s  t  e  n  t — can 
bring  a  great  character  to 
complete  expression,  and  it 
is  the  resultant  of  these 
two  forces  which  we  call 
great  acting.  Few  actors  of 
our  time  possess  this  gift. 

Having  determined  the 
essentials  to  great  acting, 
what  can  be  said  of  the 
players  upon  the  contem- 
porary American  stage  ? 
A  majority  of  the  more 
notable  creations  by  our 
players  in  recent  years 
have  been  strictly  comedy 
performances  —  Warfield's 
"Music  Master,"  Skinner's 
"Brideau,"  Sothern's  "Dundreary,"  Russ  Whytal's  "Judge  Pren- 
tice," John  Mason's  "Dr.  Seelig,"  to  name  a  few  which  come  to 
mind.  The  American  theatre  has  a  number  of  distinguished 
comedians  of  the  modern  school,  but  it  is  lamentably  wanting  in 
classic  and  poetic  actors,  and  therein  lies  the  chief  weakness  of 
our  stage.  It  is  the  poetic  tragedy  and  the  comedy  of  manners 
which  is  the  acid  test  of  a  player's  true  worth.  There  it  is  that 
mentality,  nervous  force  and  capacity  for  imagination  are  vital. 

The  list  of  American  players  capable  of  acting  poetic  roles  is 
small  indeed  and  it  is  dwindling  every  year.  But  even  fewer 
in  number  are  actively  identified  with  the  presentation  of  poetic 
plays.  For  some  years  past  Robert  Mantell,  E.  H.  Sothern  and 
Julia  Marlowe  have  been  the  sole  standard  bearers  of  classic 
drama  in  America.  To  such  a  state  has  the  American  stage 
come  which  once  boasted  of  Mary  Anderson,  Edwin  Booth, 
Lawrence  Barrett,  John  McCullough  Helena  Modjeska  and  a 
host  of  other  classic  players.  We  should  be  duly  grateful  for 
the  mature  and  resonant  acting  of  Mr.  Mantell.  for  the  arch  and 
piquant  brilliancy  of  Miss  Marlowe  and  for  the  exquisite  passion 
of  Mr.  Sothern,  but  it  bodes  ill  for  the  American  stage  that 
none  of  the  younger  artists  in  our  theatre  are  inclined  toward 
Shakespeare.  Only  two  new  classic  stars  appear  upon  the 
horizon — Wm.  Faversham  and  Annie  Russell.  The  pity  of  it 
is  that  the  few  players  capable  of  really  big  things  are  wasting 
their  talents  upon  the  vapid  and  sensational.  Otis  Skinner, 
Margaret  Anglin,  Walter  Hampden,  Edith  Wynne  Matthison, 
Nance  O'Neil.  Walker  Whiteside.  Henrietta  Crosman.  Viola 
Allen,  Wilton  Lackaye — these  are  some  of  the  actors  who,  either 
by  training  or  native  ability  or  both,  should  be  appearing  in 
poetic  or  classic  drama. 

At  the  present  time  we  hear  much  of  the  intimate  theatre  and 
the  realistic  play.  Generally  it  is  looked  upon  as  a  distinct  step 
forward  in  the  growth  of  dramatic  art.  And  so  it  is  when  the 
idea  back  of  the  movement  is  to  bring  players  and  audience  into 
closer  contact.  But  frequently  the  idea  is  carried  to  excess.  In 
no  small  degree  the  decline  in  acting  is  due  to  the  naturalistic 


BESSIE  ABOTT  IN   HER  WHITE   SIX-CYLINDER  TOURING  CAR 


play.  Drama  is  not  the 
literal  expression  of  life. 
It  never  can  be.  If  it  were, 
it  would  be  dull  and  unin- 
teresting. It  is  life  with 
the  essentials  retained,  the 
commonplaces  left  out. 
But  drama  of  the  intimate 
type  more  than  any  other 
school  aims  at  the  reflec- 
tion of  actual  life  upon  the 
stage,  life  stripped  of  its 
larger  meaning  but  with  as 
many  of  the  commonplaces 
retained  as  possible. 

The  realistic  drama  is 
not  a  poetical  fancy  of  the 
inner  vision,  but  a  photo- 
graph of  actual  life  and 
the  tendency  in  real  life 
is  to  repress  emoticn.  Great  acting  requires  the  expression 
of  elemental  emotion,  the  display  of  feeling  unrestrained 
by  the  conventions  of  modern  society.  Compare  the  men 
and  women  of  Shakespeare  and  the  classical  writers  with 
those  of  the  average  modern  playwright.  The  characters  in  the 
old  plays  are  so  much  bigger,  the  situations  so  vastly  more 
significant  that  in  comparison  the  realistic  drama  of  to-day  seems 
a  mere  scratch  on  the  veneer  of  life.  A  play  like  "The  Easiest 
Way,"  for  instance,  will  not  permit  of  great  acting  because  the 
people  in  it  are  not  great.  They  are  sordid,  selfish  and  mean. 
They  are  as  incapable  of  great  hate  as  of  great  love.  They  are 
self-contained,  cold,  conventional,  bloodless  creatures.  Far  too 
frequently  the  players  of  to-day  suffocate  all  dramatic  genius- 
with  their  realism  and  repression  in  acting  such  characters  as 
these.  It  must  ever  be  kept  in  mind  that  the  fundamental  thing 
in  acting,  its  raison  d'etre,  is  expression.  As  long  as  the  intimate 
theatre  and  the  realistic  drama  are  an  aid  to  the  complete  ex- 
pression of  the  actor's  art  well  and  good,  but  if  they  go  further 
(and  the  tendency  is  to  do  so)  they  are  a  positive  menace  to 
dramatic  art.  It  means  that  petty  details  are  to  be  substituted 
for  largeness  of  conception  and  execution,  and  it  is  only  through 
the  latter  that  we  can  achieve  greatness  in  acting. 

Through  the  disappearance  of  the  old-time  actors  standards 
and  traditions,  the  phenomenal  increase  in  the  number  of  theatres 
and  the  consequent  excessive  demand  for  new  plays  public 
attention  has  been  diverted  from  the  actor  and  undue  emphasis 
has  been  given  to  the  play.  Formerly,  when  comparatively  few 
new  plays  were  presented,  people  went  to  the  theatre  to  see 
acting.  The  theatrical  novelty  of  fifty  years  ago  was  the  as- 
sumption of  an  old  part  by  a  new  player.  To-day  the  primary 
interest  of  the  public  is  in  the  production  of  a  new  play  by 
some  notable  author.  The  large  number  of  starless  productions 
is  striking  evidence  of  this  fundamental  change  in  the  point  of 
view.  Play  production  has  been  overstimulated  and  the  effect 
upon  the  art  of  acting  has  been  correspondingly  detrimental. 
Plays  are  presented  with  such  (Continued  on  page  .n") 


iighn    Glaser  and   Fay   Courtenav    in    Mr.    Glaser's    Garford    40 


Grace   Field,   of   "The    Red   Petticoat,"    in   an   Ame 


Stranss-Peyt 


HAITI  li    WILLIAMS 
Now    a|i|>earing    wiih    Ricliard    Carle    in    "The    Girl    from    Montmartre"    on    the    road 


I 


Moffett 


In    "Alias    Jimmy    Valentine" 


T  was  but  a  few 
years  ago  that  a 
child  with  re- 
markable eyes  and  a 
'cello  quality  of  voice 
went  about  to  church 
entertainments,  and 
while  her  mother 
waited  on  the  steps 
of  the  extempore 
stage  to  toss  her  a 
forgotten  handker- 
chief or  a  lost  word, 
recited  "Curfew  Shall 
Not  Ring  To-night" 
and,  when  the  au- 
dience was  especially 
appreciative,  favored 
it  with  "The  Wreck 
of  the  Hesperus." 


Crossing  the  bridge  of  intervening  years  the  child  has  arrived 
in  the  land  of  stardom.  While  New  York  was  hanging  up  its 
Christmas  stockings  and  swinging  its  wreaths  of  holly  into  place 
in  its  windows  it  paused  in  its  holiday  preparations  to  go  to  the 
new  Cort  Theatre  to  see  a  new  play  and  a  new  star,  and  the 
star  outshone  both. 

Laurette  Taylor  arrived  through  no  "influence."  She  does 
not  cajole  managers.  She  flouts  and  quarrels  with  them.  To 
the  office  of  one  of  the  most  powerful  arbiters  of  theatrical 
destinies  she  went  one  day  in  a  shabby  hat,  the  sides  of  her  purse 
meeting,  because  there  was  no  substance  between,  and  her  chin 
uptilted,  her  eyes  defiant,  and  said :  "I'm  going  to  fight  you.  I 
can't  be  any  poorer  than  I  am,  so  I'm  going  to  fight  you." 

She  fought  them,  and  others,  fought  before  and  after,  in  the 
courts  and  out  of  them,  about  contracts,  about  salaries  for  re- 
hearsals, about  any  actorial  right  she  deemed  such.  Often  she 
won.  Sometimes  she  lost.  But  it  was  not  because  she  brought 
peace  into  their  minds  and  their  offices  that  managers  sought  her 
for  their  companies.  She  recalls  what  has  been  said  in  the 
Scriptures  of  a  Presence  that  brought  not  peace  but  a  sword. 
Always  she  fought  without  fear,  because  she  is  of  a  doughty 
race.  While  she  was  born  in  New  York,  there  is  but  a  genera- 
tion between  her  and  the  bogs  and  banshees,  the  jaunting  cars 
climbing  the  intensely  green  hills  and  skirting  the  clear  lakes, 
the  quickly  alternating  mirth  and  melancholy  of  Ireland. 


The  same  mercurial-spirited,  warm-hearted,  hot-tempered, 
generous,  open-handed  race  that  gave  us  Clara  Morris,  Ada 
Rehan,  James  O'Neill  and  William  J.  Florence  has  bestowed 
the  welcome  gift  of  Laurette  Taylor.  Ask  her  how  in  "Peg  o' 
My  Heart"  she  embalms  all  the  swift  and  varying  moods,  the 
dream  tenses  and  the  tricksy,  elfish  phases  of  the  lovable  Irish 
girl  in  which  character  she  rose  to  stardom,  and  she  will  reply, 
with  a  tantalizing  remnant  of  the  family  brogue: 

"That  girl,  ye  must  know,  is  me  grandmother.  When  I  play 
Peg  I  am  playing  Grandmother." 

And  she  will  talk  to  you  long  about  the  Irish  character 
as  she  knows  it  by  an  instinct  unerring  as  the  rod  of  the 
water  witch. 

She  has  been  sought  by  foremost  managers  to  head  their  plays 
because  she  is  the  foremost  young  exponent  of  naturalness  on 
the  stage.  Members  of  her  own  profession,  which  is  always 
generous  to  merit  as  it  is  condemnatory  of  "pull,"  acclaimed  her 
for  the  same  reason. 
Temperament  and 
beauty  and  an  intel- 
ligence that  guided 
her  to  sure  paths 
and  certain  steps  are 
hers. 

"How  did  you 
learn  to  act?"  I  asked 
her  as  she  sat  in  a 
drawing  room  where 
nut-brown  shades 
abounded  in  wall  and 
pictures,  in  furniture 
and  in  the  bearskin 
at  her  feet.  She  sat 
on  a  hassock  near  the 
open  fire,  and  as  she 
stretched  her  arms  to 
its  blaze  and  bent 
her  shoulders  to  the 
firelight,  she  remind- 
ed me  of  a  big, 
beautiful  cat  of  the 
junele.  stretching  its 
muscles  relaxing  its 
power,  sheathing 
its  claws  and  purring 


Laurette    Taylor   in    "Mrs.    Dakon" 


THE      THEATRE      MAGAZINE 


in   momentary   content,   in   the   warm   sunshine. 

"How  did  you  learn  to  act?"  The  question  puzzled  her.  She 
turned  on  me  the  wide-open  eyes  that  send  such  shafts  of  power 
into  the  minds  and  hearts  of  her  audiences. 

Unusually  large,  unusually  round,  brown  with  a  golden  glow 
in  their  depths,  are  those  eyes,  but  it  is  none  of  these  qualities 
that  make  them  the  most  unusual  eyes  1  ever  saw.  It  is  their 
peculiar  fullness  and  their  power  to  project  their  laughter  or 
sorrow  to  long  distances,  the  great  distance  that  often  lies  be- 
tween souls. 

"Perhaps  you  were  not  trained.  Are  you,  do  you  think,  the 
Topsy  among  actresses?  You  just  grew?" 

The  eyes  of  power,  golden-brown  eyes,  eyes  of  power,  nar- 
rowed half  closed  in  reflection. 

"1  don't  believe  I  ever  was  taught,"  she  said.  "My  training 
seems  to  have  been  self-training.  Except" — the  eyes  softened 
and  smiled  as  she  uttered  the  name  of  the  man  who  wrote  her 
play,  the  man  whom  she  had  promised  to  marry — "Hartley  helps 
me.  He  has  the  quiet  sense  of  the  fitness  of  things  and  of  pro- 
portion that  I  lack." 

The  system  of  self-training  was  a  hard  one.  She  began  her 
theatrical  life  in  vaudeville.  Stock  claimed  and  held  her  for 
years.  To  play  one  part  well  one  must  have  played  many  parts 
as  well  as  she  could.  Big  on  the  horizon  of  her  memory  is  the 
Pine  Street  Theatre  in  Seattle,  where  she  played  twice  a  day, 
for  what  seemed  to  her  a  long  and  painful  time.  Occasionally, 
to  help  the  enterprise  in  its  competition  with  the  more  fashion- 
able playhouses,  she  sold  tickets.  They  were  poignant  but  de- 
veloping times,  as  are  all  growing  times.  She  will  not  return  to 
Seattle,  she  says,  until  she  is  a  permanently  established  star. 
Contrast  is  dramatic — and  human. 

The  self-training  went  unconsciously  on,  as  she  observed  how 
some  persons  act  and  how  all  persons  live  and  the  usual  un- 
likeness  between  them.  Her  first  flash  of  vision  of  natural  acting- 
came  when  she  played  Juliet  in  the  Pine  Street  Theatre.  She 
did  not  stand  and  declaim  to  the  moon,  but  nearly  tumbled  from 
the  balcony  in  her  desire  to  reach  the  heart  and  the  arms  of  her 
Romeo.  The  critics  gathered  to  watch  this  new  Juliet  con- 
fessed they  were  thrilled,  but  complained  that  by  her  conversa- 
tional reading  and  her  leaning  so  perilously  far  from  the  balcony 
she  smashed  the  traditions.  The  intrepid  daughter  of  the  land 
of  hills  and  jaunting  car  and  mirth  and  melancholy  said  the 
traditions  might  be  —  — ,  she  used  a  stronger  term  than  smashed. 
Her  vision  broadened,  she  said,  when  she  saw  Nazimova  in  the 
Ibsen  plays.  There  was  courage  in  these  performances,  the 
courage  of  one  who  was  willing  and  able  to  tread  unknown 
paths,  and  the  fact  inspired  her. 

"And  I  studied  Bernhardt.  No,  not  studied  her,  drank  her 
in.  I  think  her  the  most  natural  actress  in  the  world.  And 
that  reminds  me" — with  a  whimsical  smile  she  took  the  descent 
from  the  grave  to  the  gay — "don't  go  to  teas.  They  will  preju- 
dice you  unless  you  are  a  rebel,  as  I  am. 

"Before  I  had  seen  Bernhardt  I  went  to  a  tea  and  heard  her 
talked  over.  'She's  a  great  woman,'  said  some  languid  person, 
'but,  my  dear,  don't  sit  near  the  front.  Her  teeth  aren't  good 
and  they  spoil  the  illusion.'  And  another  said :  'Since  she's 
grown  older  her  stomach  is  so  large.'  Great  heavens !  when  I 
got  to  the  theatre  I  happened  to  sit  near  the  front,  and  when 
that  marvelous  woman  lived  on  the  stage  as  I  had  seen  people 
live.  I  didn't  know  whether  she  had  teeth  or  a  stomach.  Her 
spirit  mastered  and  swept  me  away." 

1AV  talked  while  the  gas  logs  crackled,  of  her  upward  flight 
since  a  girl  proposed  to  a  man  in  "Alias  Jimmy  Valentine,"  and 
did  it  so  deliciously  that  New  York  acclaimed  something  new  in 
actresses,  and  repeated  and  strengthened  its  verdict  when  she 
was  the  Ltiana  of  "The  Bird  of  Paradise."  I  asked  her  to  ac- 
count for  her  success.  A  personal  version  is  always  interesting, 
usually  because  it  is  so  far  from  the  truth.  Again  the  likeness 
to  the  beautiful  beast  of  the  jungle  obtruded,  for  she  stretched 
her  long,  lithe  limbs  toward  the  fire  and  smiled  and  meditated. 


Matzene 


LAURETTE  TAYLOR 
In   the   title   role   of   her    next   play   "Barbareza" 


"My  mother  says  it  was  an  accident  of  prenatal  influence," 
she  said.  "She  went  to  see  'Richelieu.'  A  lovely  blonde  played 
Julie.  She  doesn't  remember  her  name,  but  she  said,  'I  want 
my  little  girl  to  be  like  her.'  Mother  made  a  serious  mistake  in 
the  color  scheme."  Miss  Taylor  wagged  her  dark,  thickly- 
thatched  head,  "though  she  won  in  the  choice  of  my  profession. 
But  that  is  mother's  reason.  Mine  is  that  I  have  always  played 
a  part  as  I  thought  and  felt" — tapping  her  temple,  then  her 
bosom — "it  ought  to  be  played,  not  as  anyone  else  wished  me  to 
play  it.  I  never  would  be  'stayed.' " 

David  Belasco  once  named  the  three  most  natural  actresses  on 

•the  American  stage.     They  are,  he  said,  Laurette  Taylor,  Elsie 

Ferguson  and  Janet  Beecher.   And  he  knows.      ADA  PATTERSON. 


I       I 


Corner   of   the   tea    room 


AUDITORIUM    OF    CHICAGO'S    LITTLE    THEATRE,    WITH    A    CAPACITY    Ol-    NINETY  ONE 


Corner   of   the   tea    room 


WHENEVER  a  man     "TPTL  IT    "/ujull  'TT'lL          JL  °  /F^\L°  merely  that  for  which  we 

has    an    idea    yet       Jl  06      Little        Jl  Beatlfe      HO      UHCagO      are  so  justly  famed,  but  of 
can  keep  his   feet  open-mindedness    and    op- 

on  the  actual  solid  fact  of  mother  earth,  he  will  never  lack  for      portumtv,  that  he  is  now  a  part  and  parcel  of  us  with  the  desire 
those  who  will  hold  up  his  hands  in  the  attempt  to  do  something      to  build  his  future  here.    Of  course,  it  will  take  some  generations 


worth  while.  The  Chicago  Little  1'heatre. 
which  for  some  years  merely  floated  in  the 
brain  of  Air.  Maurice  Brown,  is  now  ex- 
pressed in  tangible  wall  of  brick,  with  chairs, 
lights,  and  all  the  practical  paraphernalia,  in 
attestation  of  this  truth.  Also  the  official  title 
was  rightly  chosen,  since  the  seating  capacity 
of  the  auditorium  is  less  than  one  hundred, 
ninety-one  to  be  precise,  which  certainly  may 
be  said  to  constitute  a  'little  theatre." 

The  movement  for  "The  Elevation  of  the 
Drama,"  in  all  its  manifold  manifestations,  with 
the  blowing  of  horns,  the  beating  of  drums, 
the  adhesion  of  learned  societies,  the  literary 
propaganda,  and  the  varieties  of  calamitous 
failure,  might  well  have  deterred  the  most 
ardent  enthusiast,  but  Mr.  Maurice  Brown, 
though  not  tall  of  person,  succeeded  in  the 
extraordinary  feat  of  keeping  his  feet  firmly 
planted  on  the  earth  while  his  head  was  up  in 
the  clouds.  Thereby  he  was  enabled  to  avoid 
two  cardinal  errors  by  establishing  his  enterprise  on  a  financial 


Maurice    Brown    as    the    Fool    in    Yeats' 
play,   "On  Baile's  Strand" 


yet  before  the  name  Chicago  will  materially 
alter  its  significance  for  the  American  people, 
but  meanwhile  things  are  being  done  here 
which  will  tell  their  own  story. 

Mr.  Maurice  Brown  is  no  idle  dreamer  of 
Art,  spelled  with  the  largest  A  obtainable,  but 
a  human  being,  one  with  whom  you  can  talk 
in  comprehensible  terms,  finding  out  what  he 
purposes  to  do  and  how  he  proposes  to  go 
about  it,  who  felt  that  there  was  a  place  for 
intimate  plays  given  in  a  suitable  environment, 
and  that  whatever  the  outcome  might  be  the 
undertaking  "would  be  fun."  He  had  no 
notion  of  revolutionizing  the  stage,  of  opening 
the  eyes  of  the  public  to  the  charms  of  the 
"literary  drama,"  but  merely  of  choosing  plays 
which  had  value  as  plays,  because  they  illus- 
trated some  fact  in  life,  and  giving  them  in 
such  fashion  as  would  interest  people,  trusting 
that  in  this  way  they  would  be  supported,  for, 
as  he  said, 
"If  in  the  long  run  the  thing  be  not  good  enough  to  gain  the 


scale    which    could   be    maintained,   and    retaining   the    absolute      attention  of  the  public,  it  will   fail,  and  quite  right  too." 

direction     under     h  i  s     "I    hate    that    term 

own    hat,    though    this  'literary    drama.'    for 

latter  statement  should  what    it    has    come    to 

be  explained  as  includ-  ^^  nXiWll                                                                                              mean,     but     I     cannot 

ing  Ellen  Van  Volken-  conceive    of    a     really 

burg  in  full  copartner-  5r<k/'J                                                                                                              nne    P^a-v    without    lit- 

ship,  but  as  she  is  also  B  I                                                                                                                             erary     merit,     because 

Mrs.   Maurice   Brown,  ^LJ^^tJMl^^^f                                                                             y°u   cannot   Put   down 

it  amounts  to  the  same  j^Hl^fl                                                                                                           an-v    essential    fact    in 

thing.  ll>^j                                                                                                                                   convincing     manner 

Some  years  ago  the  without   that   truth   of 

two    met    in    Florence,  £**  ?                           expression     which     is 

and    when    Miss    Van  the  basis  of  literature. 

Volkenburg  came  home  There     certainly     has 

to  Chicago  Mr.  Brown  never  yet  been  such  a 

followed,  leaving  Eng-  play  written,  and  I  do 

land  to  make  his  abid-  not   believe   there   ever 

ing  place  here  by  the  ^^f      Hfe^*"^                                      wil1  be-     But  the  first 

lake,    where    he    found  thing     about     a     play 

an     atmosphere,     not  must    be    its    playable- 


Second  Woman  First  Woman  Third  Woman 

(Elaine  Hyman)  (Alice  Gestenburg)  (Florence  Reckitt) 

SCENE   IN   YEATS'   PLAY,    "ON    HAILE'5    STRAND."    AT   THE    LITTLE   THEATRE 


Sarony 


ANNE  MEREDITH 
Recently  seen  in  the  title  role  of  "The  Indiscretion  of  Truth" 


86 


THE     THEATRE     MAGAZINE 


ness,  its  getting  at  some  truth  in  a  way  to  drive  it  home  to 
people,  not  a  propaganding  thesis,  or  these  horrible  'problem 
plays.'  which  are  a  kind  of  moral  tract  for  the  Sunday-school 
which  somehow  went  wrong,  but  with  actual  relation  to  life  so 
expressed  as  to  mean 
something." 

By  last  February 
Mr.  Brown  had  found 
enough  people  inter- 
ested in  his  ideas  for 
him  to  feel  that  the 
time  was  ripe  for  the 
attempt,  so  he  began 
active  rehearsals  with 
the  company  he  had 
selected,  which  con- 
sisted of  five  profes- 
sional actors,  about  a 
dozen  amateurs  who 
had  had  considerable 
practical  experience, 
and  half  a  dozen  more, 
who  looked  promising 
but  were  quite  green. 
They  rehearsed  prac- 
tically every  day  from 
the  early  part  of  Feb- 
ruary until  the  time 
for  the  first  perform- 
ance, November  12, 
and  this  without  any 
financial  return,  or  im- 
mediate hope  thereof, 
in  fact,  most  of  the 
men  of  the  company 
were  employed  during 
the  day  in  business, 
but  so  interested  were 
they  in  the  experiment 
that  each  one  of  them 
put  in  his  vacation 
time  rehearsing  all  day, 
and  pretty  much  all 
night.  It  is,  in  a  way, 
a  sort  of  school  of 
drama,  though  Mr. 
Brown  strongly  resents 


"We  had  to  figure  it  out  so  that  the  income  would  be  larger 
than  the  outgo,  for  if  the  institution  does  not  pay  its  way  it  will 
have  to  smash,  and,  as  I  said,  if  we  cannot  make  it  interesting 
enough  so  that  people  will  care  to  come,  it  ought  to  smash." 

The  first  production 
was  "Womenkind,"  by 
'Wilfred  Wilson  Gib- 
son, given  for  the  first 
time  in  America,  and 
"On  Baile's  Strand," 
of  William  Butler 
Yeats,  which  found 
the  people  of  Chicago 
somewhat  dubious  as 
to  what  to  t  h  i  n  k  , 
though  with  an  in- 
creasing consciousness 
that  it  was  really 
worth  while.  The  plan 
was  to  run  a  play  a 
month,  with  two  even- 
ing performances  and 
one  matinee  each  week, 
but  that  was  at  once 
found  inadequate,  so 
the  number  has  been 
increased,  though  the 
utmost  limit  is  four 
evenings  and  two 
matinees. 

The  second  produc- 
tion was  G  r  a  n  v  i  1  !  e 
Barker's  paraphrase  of 
Arthur  Schnitzler's 
"Anatol,"  and  during 
the  same  month  of 
December  Mr.  Win- 
throp  Ames  was  to 
bring  his  company 
from  The  Little 
Theatre  of  New  York 
to  the  Fine  Arts 
Theatre,  in  Chicago, 
which  happens  to  be  in 
the  same  building,  and 
Mr.  Brown  owned  the 
Chicago  rights.  He 


Copy't  Chas.  Frohman     Winthrop  Clavering  (John  Emerson)  Margaret  Holt  (Jane  Grey) 

Winthrop   Clavering,   dictating:      "Gray   eyes,  brown   hair — why,   just  about   your   height!" 
SCENE   IN   "THE   CONSPIRACY,"    NOW    BEING   PRESENTED  AT   THE  GARRICK  THEATRE 


the  term,  also  for  what 
it  has  come  to  mean, 
with  its  "elocutionism 
and  staginess,"  but  was  obliged  to  admit  that  he  had  not  yet 
found  a  better  term.  "In  the  sense  of  the  Moscow  Theatre,  or 
of  the  Irish  Players  at  the  beginning  of  the  Abbey  Theatre,"  he 
said,  "1  am  willing  to  call  it  a  school  of  drama,  since  actors 
must  come  from  somewhere  and  learn  their  profession  in  some 
place,  and  it  is  our  hope  that  in  time  every  member  of  the  com- 
pany will  receive  a  living  wage,  but  at  present  only  five  people 
are  paid  anything  at  all,  and  they  merely  enough  to  make  it 
possible  for  them  to  give  all  their  time  to  the  work." 

A  kind  of  supporting  club  was  formed  to  pay  the  expenses 
necessary  in  providing  a  theatre,  and  a  nook  was  found  on  the 
fourth  floor  of  the  Fine  Arts  Building,  where  it  was  possible  to 
construct  a  theatre,  seating  ninety-one  people,  with  a  stage  about 
the  size  of  a  room  in  an  ordinary  home,  and  a  reception  room 
where  tea  is  served.  About  forty  per  cent,  of  this  original  cost 
has  already  been  paid  off,  within  the  next  two  weeks  forty 
more  will  have  been  liquidated,  leaving  so  small  a  debt  as  to  be 
negligible,  and  during  the  two  months  that  the  theatre  has  been 
open,  the  receipts  have  exceeded  the  expenditures  by  $100  each 
month.  Mr.  Brown  was  frank  in  explaining  ways  and  means. 


willingly 


gave  M  r  . 
Ames  permission  to 
bring  the  play,  and 
there  was  the  interesting  coincidence  that  the  same  drama  was 
being  given  simultaneously  in  two  theatres  in  one  building. 

Of  course,  comparison  was  inevitable,  yet  at  first  thought 
altogether  unfair,  for  on  the  one  hand  were  some  of  the  best 
known  actors  of  the  American  stage,  and  on  the  other  a  band 
of  half  amateurs,  together  as  a  company  less  than  a  year,  and 
giving  their  second  production,  yet  they  did  not  fare  so  badly. 
Mr.  Brown  gave  a  special  matinee  for  the  New  York  people, 
over  which  Mr.  Barrymore  and  Mr.  Yorke  were  so  outspoken 
in  praise  as  to  attract  more  attention  to  this  Little  Theatre  than 
anything  the  Chicago  people  had  done.  "I  cannot  express  to  you 
how  fine  they  have  been  in  what  they  have  said  and  done  for  us, 
but  I  shall  always  remember  it,  and  the  effect  was  noticeable  at 
once  at  the  box-office,"  was  the  way  Mr.  Brown  put  it. 

They  have  plans  laid  and  plays  contracted  for  which  will  keep 
the  company  busy  for  the  coming  two  seasons,  and  a  mere  list 
of  titles  shows  the  kind  of  purpose  animating  Mr.  Brown.  Gil- 
bert Murray's  translation  of  Euripides  "Trojan  Women,"  which 
has  already  been  given,  a  new  play  of  Maeterlinck,  several  of 
Gilbert  Murray,  translations  of  (Continued  on  page  vii) 


r  c  y 


mi     the    Civic    Theatre 


MR.  PERCY  MACKAYE  has  just  issued  his  second  volume 
of  essays  which  he  has  entitled  "The  Civic  Theatre."  In 
this  book  he  continues  his  earnest  plea  for  a  drama  of 
democracy  which  he  began  several  years  ago  in  "The  Playhouse 
and  the  Play."  Both  volumes  consist  of  addresses  delivered 
broadcast  through  the  country  and  published  in  diverse  maga- 
zines. Mr.  Mackaye  claims  for  himself  the  invention  of  the 
term  "Civic  Theatre,"  and  it  is  because  that  term  has  in  the 
popular  mind  been  wrongly  applied  that  his  new  book  drives 
home  repeatedly  the  essential  characteristics  of  his  idea — an  idea, 
so  he  declares,  which  has  been  warmly  accepted  by  the  com- 
mercial manager  and  by  the  actor  as  possible  of  fulfilment. 

We  turn  to  "The  Playhouse  and  the 
Play"  for  his  defining  of  "the  drama  of 
democracy."  He  has  therein  much  to  say 
of  the  segregated  drama,  based  on  Euro- 
pean ideals — drama  as  a  fine  art  for  the 
few ;  and  of  the  vaudeville  which  he 
designates  "as  a  heterogeneous  entertain- 
ment for  the  many."  Of  the  former,  he 
writes : 

"Our  creative  dramatists,  our  intelligent 
public  opinion,  are  guided  and  enthused  by 
European  ideals,  which,  however  admirable 
to  their  germane  conditions,  here,  when 
transplanted  to  us,  are  at  best  a  delight  to 
those  restricted  few  whom  they  thus  edu- 
cate, while  at  worst,  their  advocacy  by  that 
few  permits  of  one  mighty  danger  to  our 
many ;  namely,  that  by  importing  a  fine  art 
which  does  not,  of  its  nature,  appeal  to  our 
masses,  our  masses  shall  remain  without  a 
fine  art,  and  so  retrograde.  .  .  ." 

Furthermore,  he  deplores  the  vitiating; 
elements  of  vaudeville  "as  a  substitute  for 
a  true  drama  of  democracy."  And  because 
of  a  lack  of  fine  art  for  the  many,  Mr. 
Mackaye  pleads,  in  his  first  volume  of 
essays,  for  a  drama  of  democracy,  and  he 
mounts  to  heights  beyond  the  dreams  of 
theatrical  avarice  when  he  writes : 


"A  ne^v  drama,  for  though  of  necessity 
its  main  roots  will  strike  for  nutriment 
deep  into  English  tradition  and  language, 
and  permeate  the  subsoil  of  the  centuries  as 
far  as  the  age  of  Pericles,  yet  trunk  and  branch  shall  spread 
themselves  over  the  nation  as  indigenous  and  beneficent  as  our 
American  elms." 

Then,  as  poet  and  dramatist  himself,  he  reaches  his  ultimate 
conclusion  as  to  the  dramatist  of  democracy : 

"Dramatic  poet  he  must  be,  for  in  the  very  nature  of  its  ideal 
the  drama  of  democracy  will  be  a  poetic  drama.  Not  a  revival 
of  old  forms,  not  an  emulation  of  Elizabethan  blank  verse,  but  a 
fresh  imagining  and  an  original  utterance  of  modern  motives 
which  are  as  yet  unimagined  and  unexpressed." 

In  this  slight  synopsis  of  Mr.  Mackaye's  plea,  are  we  not  pre- 
pared for  the  next  step  in  the  evolution  of  his  argument?  The 
full  title  of  his  new  book  is  "The  Civic  Theatre  in  Relation  to 
the  Redemption  of  Leisure."  The  civic  theatre  idea,  he  avers, 
"implies  the  conscious  awakening  of  a  people  to  self-government 
in  the  activities  of  its  leisure,"  the  civic  theatre  itself  being  "the 
efficient  instrument  of  the  recreative  arts  of  a  community."  He 
selects  as  his  motto  in  the  movement  for  th?  reorganization  of 
the  people's  leisure,  the  simple  phrase  "imagination  in  recrea- 
tion." 

Then  Mr.  Mackaye  proceeds  to  outline  what  he  means  by  con- 
structive leisure.  "Fundamentally,"  he  writes,  "the  civic  theatre 
idea  is  concerned  with  the  problem  of  leisure:  to  extirpate  the 
baneful  habit  of  mature  human  beings — the  habit  of  'killing 
time.' "  He  would  cope  with  the  problem  as  a  national  one  and 
has  even  suggested  the  establishment  in  Washington  of  a  federal 
Public  Amusement  Commission,  "whose  duties  (whether  the 


PERCY    MACKAYE 
Author  of  "Canterbury  Tales,"   "The   Scarecrow,"   etc. 


what   is   more, 


civic  theatre  idea  as  here  set  forth  be  adopted  or  not)  should 
apply  immediately  to  the  pressing  needs  of  constructive  leisure 
in  the  nation,  in  a  way  analogous  to  the  Country  Life  Commis- 
sion, in  relation  to  rural  district  needs." 

In  other  words,  Mr.  Mackaye  seeks  for  a  drama  which  appeals 
to  the  many  in  the  way  that  the  folk  song  and  folk  tale  appealed 
in  days  gone  by.  He  would  vindicate  the  art  of  the  theatre, 
expressed  differently  in  "The  Playhouse  and  the  Play,"  though 
in  accord  with  Gordon  Craig's  theories  in  "On  the  Art  of  the 
Theatre";  he  would  likewise  make  room  in  the  civic  scheme  of 
things  for  "a  ritual  of  the  people." 

There  is  nothing  chimerical  in  his  claims ;  there  is  a  possibility 

of  accomplishment  in  all  he  suggests,  even 

though  the  poet's  imagination  runs  faster 
than  accomplishment.  There  are  ample 
evidences  everywhere  of  a  communal 
awakening  of  interest  in  dramatic  expres- 
sion. Mr.  Mackaye  is  right  in  scoring  our 
tried  institutions  such  as  the  school,  the 
library,  and  the  church — all  of  which  gen- 
erally ignore  the  heritage  of  an  art  for  the 
many.  And  he  supports  his  thesis  at  every 
point  with  examples  of  actual  accomplish- 
ment, which  would  indicate  how  widespread 
the  movement  is  toward  constructive 
leisure.  In  many  churches,  pageants  and 
miracles  are  presented  in  which  the  church 
members  participate ;  in  the  schools,  as 
Mr.  Percival  Chubb  has  described  in  his 
book  on  "Festivals,"  our  national  holi- 
days are  being  properly  observed  and 
celebrated ;  while  civic  authorities  are 
caring  for  a  sane  Fourth  of  July  and  for 
typical  yuletide  observances  which  are 
open  to  all  the  people.  Some  day,  every 
city  may  support  an  ideal  cathedral  of 
communal  expression ;  the  State  may  ap- 
propriate money  for  the  care  of  its  citizens' 
leisure,  as  it  now  does  for  the  education  of 
its  youth  and  the  maintenance  of  its  high- 
ways. Already  we  have  had  educational 
theatres  which  have  furnished  better  enter- 
tainment in  congested  quarters  of  the  city, 
have  called  into  co-operation  the  mimetic 
powers  of  the  people  themselves.  If,  argues  Mr.  Mackaye, 
the  College  of  the  City  of  New  York  can  flourish  and  perform 
its  functions,  endowed  by  civic  appropriation ;  if  the  University 
of  Wisconsin  can  fulfill  its  highest  ideals,  as  a  State  institution, 
why  may  not  theatres,  similarly  created,  flourish  and  maintain 
high  standards,  not  measured  by  commercial  requirements? 
There  are  university  players  in  existence  to-day,  exemplified  by 
Mr.  Coburn's  company,  that  suggest  the  future  possibility  of  a 
University  Theatre  Association ;  there  are  outdoor  theatres,  such 
as  the  one  in  Berkeley,  California ;  while  the  pageant  stage  is  to 
be  seen  in  many  small  villages  reclaiming  the  dead  spirit  of  the 
inhabitants.  Drama  leagues  are  spanning  the  country,  and 
schoolhouse  plays  reinforce  the  year's  curriculum. 

The  experiments  have  even  progressed  so  far  that  Mr.  Mac- 
kaye claims  for  the  technique  in  the  art  of  the  civic  theatre  that 
it  conditions  the  use  of  the  mask.  Though  his  imagination  ex- 
ceeds practical  results,  the  author  of  this  ne^w  book  of  potent 
suggestions  speaks  from  actual  experience ;  he  has  been  the 
prime  mover  in  many  of  the  pageants  which  have  been  given  in 
the  East  and  West,  and  these  have  included  the  Gloucester  cele- 
bration, the  Saint-Gaudens  Masque  at  Cornish,  N.  H.,  the  High 
Jinks  of  the  Bohemian  Club  in  the  Red  Woods  of  California, 
and  others  of  a  larger  and  more  civic  nature.  He  writes : 

"The  redemption  of  leisure  by  an  art  participated  in  by  the 
people  on  a  national  scale  would  create  such  a  counter  demand 


88 


THE     TH  EAT  RE     MAGAZINE 


for  craftsmanship  in  the  humblest  things  as  would  revolutionize 
the  present  aspects  of  the  machine-made  world."  This  suggests 
the  return  to  that  method  of  co-operation  which  characterized 
the  guild  celebrations  in  mediaeval 
times.  Mr.  Mackaye  continues : 
"During  the  two  months  of  preparation 
for  the  Gloucester  pageant,  the  wives, 
sons  and  daughters  of  fishermen  and 
tradesmen  co-operated  with  their 
fathers,  amid  pleasure  and  excitement, 
in  a  festival  for  which  their  town  voted 
a  special  holiday."  Such  is  the  ideal 
effect  of  communal  constructive  leisure ! 
The  civic  and  State  recognition  of 
the  theatre  suggests  to  Mr.  Mackaye 
an  official  post  for  the  dramatist.  In  a 
later  essay,  "The  Worker  in  Poetry," 
he  more  fully  outlines  the  scope  of  the 
new  drama,  of  the  new  expression 
offered  by  the  acceptance  of  the  civic 
theatre  idea.  Pageantry  and  its  off- 
shoots open  an  infinite  field  of  tech- 
nique for  the  poet.  But  Mr.  Mackaye 

CHRISTINE 

does  not  clearly   differentiate  between  Appearing  as  Ethel  in 

poets,    and    we    begin    to    distrust    his 

enthusiasm  when  he  deplores  that  no  theatre  has  yet  been  willing 
to  offer  to  the  public  such  strictly  poetic  attempts  in  dramatic 


guise,  as  Olive  Tilford  Dargan's  "The  Shepherd."  and  Ridgely 
Torrence's  "Abelard  and  Heloise."  He  does  not  clearly  define 
what  method  the  State  should  adopt  in  selecting  its  poets  to  be 

servants  of  the  public.  For  there  are 
many  poetic  plays  written  which  are 
not  deserving  of  theatre  presentment — 
Tennyson  and  Browning  included ! 

What  will  pageantry  and  other  art 
forms  of  the  civic  theatre  do  for  the 
people  ?  They  will  encourage  ancient 
prowess  in  athletics  and  necessitate 
such  a  stadium  as  has  been  given  to 
the  College  of  the  City  of  New  York ; 
they  will  take  care  of  foreign  and 
native  folklore — elements  being  ignored 
by  our  other  educational  institutions ; 
they  will  develop  and  encourage  native 
music  such  as  Walter  Damrosch  com- 
posed for  the  Gloucester  pageant,  like 
F.  S.  Converse's  score  for  the  Pitts- 
burg  pageant,  and  Arthur  Harwell's 
efforts  in  the  direction  of  municipal 
concerts  in  the  parks  for  the  people  of 
the  City  of  New  York. 

In  his  chapter  on  ''Scope  and  Organ- 
ization,'' Mr.  Mackaye  further  differentiates.    He  says: 

"The  Civic  Theatre  is  not  merely  the          (Continued  on  page  n") 


NORMAN 

"Peg   o'    My    Heart" 


THAT  acting 
in  Germany 
is  really  a 

profession  for  everyone  who  goes  on  the  stage  and  that  it  is 
often  no  more  than  an  intermittent  activity  in  America,  is  the 
contention  of  Carl  Sauermann,  who  is  now  appearing  as  Profes- 
sor Bhaer  in  "Little  Women."  As  he  received  all  his  training 
in  the  Vaterland.  where  he  played  the  lead  under  the  manage- 
ment of  Brahm  of  the  Lessing  Theatre  and  of 
Max  Reinhardt  in  Berlin,  and  as  he  has  been  in 
this  country  for  five  years  at  the  Irving  Place 
Theatre  and  playing  in  a  vaudeville  skit  all  over 
the  country  with  the  Orpheum  circuit,  one  may 
well  believe  that  he  knows  whereof  he  speaks. 

"The  conditions  over  there  make  it  possible  for 
any  actor,  from  the  time  he  first  goes  on  the  stage, 
to  build  up  a  career  for  himself,"  he  said,  "and 
that  is  because  there  is  system  and  order  in  the 
theatrical  world  and  because  the  actors  and 
actresses  have  succeeded  in  forming  a  union 
which  helps  them  to  regulate  their  affairs  and  to 
guard  their  rights.  This  union,  the  'Deutsche 
Biihnengenossenschaft,'  publishes  an  almanac,  a 
directory,  if  you  will,  in  which  each  and  every 
actor  and  actress  is  recorded  with  a  list  of  parts 
they  have  played,  the  theatres  they  have  played 
them  in  and  the  number  of  times  they  have  played 
them.  Besides  this,  it  publishes  a  weekly  paper 
which  contains  the  program  of  each  theatrical 
performance  in  any  theatre  in  the  entire  empire. 
Thanks  to  this,  if  I  want  to,  I  can  tell  just  exactly 
what  role  Meyer  in  Oldenburg  is  appearing  in  and 
what  Schmidt  is  doing  in  Wiirzburg.  This  en- 
ables also  the  managers  and  the  agents  to  watch 
you.  I  know  that  my  contract  expires  in  a  few 
months,  so  I  write  to  my  agent  in  Berlin  or  Ham- 
burg that  I  shall  be  free  at  such  and  such  a  time: 
he  reads  up  in  these  papers  what  I  am  doing  and 
by  the  time  I  come  to  him,  he  knows  just  exactly 
what  it  is  that  I  want  and  he  finds  it  for  me. 
The  same  way  with  a  manager.  He  is  looking  whjte 


for  a  man  to  play 
comedy  character 
parts — what  does 

he  do?     Refers   to  the  directory   to   find   such   a  one  and   then 

communicates  with  him  through  the  weekly. 

"Of  course,  you  must  remember,  the  stage  is  older  in  Germany  ; 

it  has  established  more  traditions,  and  education   in  the  arts  is 

much  more  each  person's  portion  than  it  is  here.  Then,  too. 
there  are  better  and  more  opportunities  for  learn- 
ing stagecraft  through  the  system  of  repertoire 
theatres.  At  each  there  are  a  few  practised  and 
experienced  repertoire  actors  and  a  much  larger 
number  of  'volontaires' — what  you  might  call 
apprentices — who  receive  perhaps  100  marks  a 
month  and  the  privilege  of  learning  from  watch- 
ing rehearsals  and  taking  small  parts  here  and 
there.  They  are  the  little  satellites  about  the  stars, 
but  if  they  are  diligent,  they  grow  up  to  be 
planets,  too.  As  each  company  has  a  vast  collec- 
tion of  plays,  modern  and  classic,  always  in  readi- 
ness, you  can  imagine  how  versatile  an  actor  in 
one  of  the  'Residenz'  or  'Hof  theater'  (the 
municipal  theatres  with  their  permanent  stock 
companies)  becomes.  Then  these  various  troupes 
visit  each  other's  towns,  perhaps,  and  so  their 
actors  become  known  to  the  other  managers  and 
to  the  people  in  another  town — and  that,  in  turn, 
creates  other  openings. 

"But  here — what  sort  of  a  schooling  do  you  offer 
your  young  people?  You  get  a  part  by  chance: 
you  play  it  for  six  months  or  a  year  and  then — 
what?  You  played  one  thing  well,  but  what 
manager  will  take  the  risk  that  you  can  play 
something  else  just  as  well?  You  are  a  'type' 
and  until  you  can  find  something  else  just  in 
'your  line,'  as  they  say.  you  may  go  tramping 
for  a  while.  And  if  you  play  on  the  road  who 
knows  your  work  ?  1  do  not  say  that  this  is  al- 
ways so,  but  it  is  pretty  general.  See  all  the 
young  men  and  women  sitting  around  in  the 
agencies  from  the  time  they  open  until  they  close 


CARL    SAUKRMANN 
As  Professor  Bhaer  in  "Little  Women" 


at   night,    waiting,    waiting 
for    someone    to    come    in 
who    is    looking    for    their 
"type."      They    are    sitting 
there,  hungry  and  unhappy 
and    eager    for    work,    but 
the    manager,    who    has    a 
very    definite    idea    in    his 
mind    of    the    person    for 
whom  he  is  looking  to  fill, 
let   us    say,   the   part   of  a 
waiter,  passes  them  all  by 
and     goes     on.       On     the 
street,  he  sees  the  man  he 
is    looking    for;    he    hails 
him.      What    is   he   doing? 
He  is  a  waiter  in  so-and- 
so's.      Good!     What    does 
he  get  there?     Would   he 
be  willing,   for  a   few  dol- 
lars a  week  more,  to  take 
the  part   of  the   waiter   in 
this     play?       Surely,     and 
why  not  ?    If  one  can  make 
a    little    more    money     at 
acting  a  waiter  than  at  be- 
ing a  waiter,  what  harm  to 
substitute    the    theatre    for 
the  restaurant  for  a  while? 
The  play  is  over ;  there  are 
no  more  parts  for  waiters 
and   our   friend  goes  back 
to    the     restaurant    again. 
That    is    not    fiction    I    am 
telling  you    it  is  the  truth : 
I  know  of  such  a  case  and 
others  like  it,  too.     When 
you    are    changing   profes- 
sions like  that  continually, 
what  incentive  is  there  for 
doing  your  best  work? 

"How  different  all   that 
is  in  Germany,  where  you 
know  always  that  there  is 
something   ahead    for    you 
to    work    for;    that    every- 
thing you  do  or  leave  un- 
done    will     count     for    or 
against    you    and    that,    so 
long   as   you    do   well    and 
keep   on    improving,    there 
will    never    be    a    need    of 
your   taking   to   bootblack- 
ing  or  manicuring  to  make 
a  living.     You  may  make 
the  hit  of  your  life  here,  on 
the  road  one  year,  and  not 
have    a    thing    to    do    the 
next.      That    could    never 
happen    with     the     system 
abroad,  where  the  least  lit- 
tle  thing  that  you   do  be- 
comes    known  —  therer    if 
you  made  a  hit,  you  would 
go  like  hot  cakes!" 

"But  how  does  the  sys- 
tem keep  the  market  from 
being  overflooded  ?" 

"At  these  repertoire 
theatres  there  are  alwavs 


THE      THEATRE      MAGAZINE 


.right,  Charles  Frohninn 

l-MFTFf    WVXNK    iUATTIIISON    AND    CYRIf.    KKKJIITLKY    IN    "THE    SPY' 


89 

only     so     many     positions 
and  no  more,  and  when  a 
vacancy  occurs  it  is  filled 
by    someone    who    held    a 
like    position     in     another 
theatre  or  a  trained  volon- 
t  a  i  r  e — s  e  1  d  o  m   with   a 
chance  newcomer.     The 
older  actors  all  have  con- 
tracts    for    several    years, 
and    every    year    there    is 
always  a  general  shift  be- 
tween the  various  theatres, 
so  that  though  they  have  a 
feeling  of  safety  for  a  few 
years,   because   they   know 
where  their  bread  and  but- 
ter  is   coming   from,   they 
do  not   stagnate  by   being 
in  the  same  place  all  their 
lives. 

"I    scold    about    these 
things,  only   because   I 
know   how    they   could   be 
better,   and   because  many 
people   are   suffering   from 
conditions   that   should   be 
changed.      I    could     have 
talked  to  you  all  this  time 
about    the    excellencies    of 
the   American    stage.      Al- 
though I  had  always  heard 
that    we    of    the    foreign 
stage  were  more  cultured, 
I   have   not   found   that  to 
be  the  case.    I  have  found, 
also,    a    much    g  r  e  a  te  r 
courtesy   here,   and   in   the 
production      companies      a 
much  finer  esprit  de  corps 
than   one   finds   abroad. 
There  is  none  of  that  bitter 
jealousy   among   the   play- 
ers,    that    arrogance    and 
haughtiness  which  you  find 
in  the  stock-company 
player." 

If    you    expect    Herr 
Sauermann's  accent   which 
he     wears     in     "Little 
Women"   to   be  a   part  of 
him    as    his    whiskers    are, 
you  will  be  very  much  dis- 
appointed, for  as  soon   as 
he  is  off  the  stage  he  drops 
it   for  a   faultless   English. 
He   came   over  to    play   a 
"Gastrolle"    at    the    Irving 
Place  Theatre  for  a  year, 
which  means  that  he  was 
to  be  guest  of  the  Ameri- 
can audience  for  that  time 
before  signing  a  ten-years' 
contract  at  the    Municipal 
Theatre  in  Vienna.     That 
was  five  years  ago,  but  in- 
stead of  returning  to  close 
the  contract,   he  stayed   to 
master   our   language,   and 
to  play  in  onr  theatres. 
E.  E.  v.  B. 


FLORENCE  FLEMING  NOYES 
A  new  exponent  of  the  revived  art  of  classic  pantomime 


t 


e 


t     of     the     Theater 


e 


AT  the  Rodin  Conference  in  Paris  last  summer,  held  in 
connection  with  the  Carpeaux-Ricard  Exposition  at  the 
Tuileries  Gardens  and  presided  over  by  the  great  sculptor 

himself,  an  unexpected  feature  of  the  program  was  the  appear- 
ance of  a  new  exponent  of  the  revived 
art  of  classic  pantomime  and  dancing. 
A  special  platform  was  erected  and  a 
replica  of  Carpeaux's  famous  "Groupe 
de  la  Danse,"  from  the  fagade  of  the 
Paris  Opera  House,  was  a  part  of  the 
background.  The  dancer  was  an  Amer- 
ican woman,  Florence  Fleming  Noyes, 
of  Boston,  who  is  to  impersonate  Liberty 
in  the  pageant  organized  by  Hazel  Mac- 
kaye  at  Washington  on  March  3  in  con- 
nection with  the  inauguration  ceremonies. 
Like  that  of  her  predecessors  in  this 
field,  Miss  Noyes's  art  relates  itself  first 
of  all  to  sculpture.  It  has  distinctive 

qualities   and  application,   however,   which    contain   promise   of 

what   may   be   called   virtually   a   new   dramatic   art.      And   the 

theatre  in  America  will  become  acquainted  with  it  this  season, 

for  Miss  Noyes  will  shortly  appear  in  New  York. 

The  name  for  her  art  creed,  Miss  Noyes  says,  is  "The  gospel 

of  the  spirit  of  things" — a  gospel  which,  indeed;  is  the  ultimate 

thing  in  all  art,  whether  veiled  in  visions  of  romance  or  cast  in 

the  hard  faces  of  realism.     It  is  true  there  are 

times  when  this  gospel  seems  to  have  been  lost, 

confused  or  obscured  by  the  very  forms  of  its 

utterance.     Just  then   it   is,   however,   that  the 

enduring  ideality,   struggling  for  purer  expres- 
sion,   asserts    itself   to   point   back    to   its    own 

simplicity.     The  cycle  is  complete,  and  we  find 

ourselves  in  the  age  of  symbolism  once  more. 

Such  an  impulse  moves,  indeed,  like  a  miracu- 
lous  world   intelligence.     The   same  generation 

sees     its     Maeterlincks,     Hauptmanns,     Ibsens. 

Kennedys,    D'Annunzios — to    which    priesthood 

we  may  add,  with  due  meekness  for  America's 

belated  honor  to  her  chief  prophetess,  the  name 

of  Josephine  Preston  Peabody,  and,  of  the  same 

kindred.  Percy  Mackaye  and  Edward  Knoblauch. 

There  is  Puvis  de  Chavannes  in  painting,  and 

Rodin,   great   realist   but   greater   symbolist,    in 

sculpture.     And  there  is  Gordon  Craig,  with  hi* 

new  art  of  the  theatre,  a  symbolic  mystic  setting 


of  the  stage  which  has  brought  to  the  drama  a  new  significance. 

More  striking,  however,  than  any  other  response  to  this  world 
impulse  is  the  development  of  an  entirely  new  art  out  of  one 
that  had  been  lost  for  centuries.  Here,  moreover,  it  is  interest- 
ing to  see  that  America  takes  foremost  place,  and  through  her 
women.  Two  of  them,  Isadora  Duncan  and  Maud  Allan,  inde- 
pendently inspired  and  each  working  out  an  individual  art,  re- 
vived the  classic  dance.  Now,  more  recently,  a  third,  not  a 
follower  of  either  of  the  others,  but  developing  independently 
her  kindred  talent,  has  appeared  to  lure  us  back  farther  still,  to 
pure  lyric  pantomime.  Max  Reinhardt  brought  us  pantomime 
in  "Sumurun,"  with  his  German  players.  But  Florence  Fleming 
Noyes  offers  a  pure  symbolism  in  a  return  to  the  Greek  spirit 
of  abstract  beauty,  expressed  in  the  rhythm  of  the  human  body. 

To  the  true  artist,  art  is  a  religion.  The  art  of  the  Greeks 
was  inseparable  from  their  religion  and  from  their  patiotism  as 
well.  Beauty  was  a  deity;  the  creation  or  expression  of  beauty 
was  a  service  to  the  state.  Mens  sana  in  corpore  sano  was  an 
aesthetic  as  well  as  a  practical  ideal,  in  pursuit  of  which  the 
Greeks  left  to  the  succeeding  ages  a  model  of  physical  perfec- 
tion never  since  approached.  It  was  through  their  physical 
perfection,  the  response  to  their  mental  concepts  and  emotions, 
the  action  and  interaction  of  mind  and  body  upon  each  other. 
Miss  Noyes  believes,  that  their  art  spirit  found  the  beautiful 
means  of  expression  which  has  left  us  the  wonderful  sculptures 
of  the  Phidian  age ;  and  we.  by  our  own  right  thinking,  can  be 


rnpyrielll  F    F    N 


MISS   NOYKS   TN   CLASSIC   POSE 


THE     THEATRE     MAGAZINE 


physically  perfect  as  were  they;  producing 
likewise  a  perfect  and  new  art  of  our  own. 
Therefore,  to  her  the  perfection  of  the  re- 
sponse of  the  human  body  is  both  a  religion 
and  an  art,  imposing  upon  the  individual  the 
high  obligation  both  of  noble  thought  and  of 
means  to  express  it.  Keeping  ever  in  view 
the  ideal,  the  body  and  its  perfections  become 
the  beautiful  instrument  which  shall  sing  the 
soul  within  it.  It  is  the  symbol  of  a  beauty 
which  transcends  the  mortal  image. 

So  mystic  a  conception  seems  perhaps  to 
elude  the  purposes  of  the  drama.  At  the  be- 
ginning of  all  art,  however,  is  rhythm.  The 
beginning  of  the  drama  is  pantomime,  which 
is  expression  in  bodily  motion,  bodily  rhythm. 
And  to  have  the  definition  quite  clear,  let  us 
quote  Arthur  Symons,  who  says,  in  his 
"Studies  of  Seven  Arts" :  "It  is  an  error  to 
believe  that  pantomime  is  merely  a  way  of 
doing  without  words,  that  it  is  merely  the 
equivalent  of  words.  Pantomime  is  thinking 
overheard.  It  begins  and  ends  before  words 
have  formed  themselves,  in  a  deeper  con- 
sciousness than  that  of  speech."  There  is  that 
in  the  drama — indeed,  the  essence  of  the 
symbolistic  drama  is  that  which  no  words 
can  express.  "And  pantomime  has  that  mys- 
ter\  which  is  one  of  the  requirements  of  true 
art,"  says  Mr.  Symons  again. 

It  is  the  supreme  expression  of  this  mystery 
that  Miss  Noyes  is  seeking.  In  "Sumurun"  it 
is  the  definite,  the  concrete,  the  earthy,  human 
passion  and  impulse  that  the 
actors  show.  Contrasting  with 
this,  it  is  the  direct,  abstract, 
distilled  emotion  of  the  classic 
spirit  that  the  lyric  pantomime 
of  this  dancer  expresses. 

In  exposition  of  her  theories, 
this  artist  has  developed  a 
technique  which  rivals  Isadora 
Duncan's.  Essentially,  their 
basis  is  the  same,  namely,  the 
principle  of  training  every 
muscle  of  the  body  to  perfect 
responsiveness,  and  that  other 
principle  of  a  dominant  centre 
for  all  movements,  the  folding 
and  unfolding  of  all  parts  of  the 
body  from  that  centre.  That 
exquisite  delicacy  of  movement 
which  makes  the  hand  into  the 
drooping  petal  of  a  flower,  that 
lightness  and  grace  of  limb 
which  lift  the  body  as  on  wings 
and  make  of  it  a  poem,  these 
are  achieved  by  the  smooth  and 
perfect  development  of  every 
muscle,  every  part,  which  is 
given  its  every  normal  function 
in  response  to  a  mental  concept 
of  beauty.  A  new  standard  of 
beauty  of  course — not  our  fet- 
tered, artificial,  conventionalized 
standard  of  the  human  figure. 
but  the  classic  outline  and  even 
grace  of  the  ancient  Greek. 
And  how  altogether  desirable 
is  such  a  standard  may  be 


Copyright  F.  F.  N. 


•HEBE"   DANCE 


91 

realized  when  Mi.ss 
Noyes  dances.  She 
dances,  however,  not  to 
interpret  music.  Rather 
is  she  Hebe,  dancing  her 
innocence,  or  Galatea, 
in  her  joy  of  new-found 
life.  Then,  indeed,  is 
she  truly  the  spirit  of 
things,  a  lyric,  rhythmic 
loveliness  in  human 
form  etherealized,  trans- 
lated into  the  ultimate 
purity. 

It  is  not  in  her  danc- 
ing, however,  that  this 
artist  will  achieve  her 
aim.  Her  art  is  so 
practical  a  religion  that 
its  external  expression, 
its  voice,  as  it  were,  is 
but  a  means  to  her 
greater  purpose,  which 
is  to  teach  rhythmical 
bodily  expression  for  its 
combined  ethical  and 
artistic  value.  She 
would  spiritualize  the 
body,  mentalize  it  with 
pure  thoughts  and  emo- 
tions, for  the  'sake  of 
human  happiness,  creat- 
ing this  beauty  for 
beauty's  own  sake  and 
for  its  reaction  as  in- 
spiration to  humanity. 
"It  is  not  what  you 
think  but  the  thoughts 
that  you  respond  to,  not  what  is  impressed  but  what 
is  expressed,  that  registers  in  outward  form." 
Especially  in  these  days  of  overdevelopment  of  the 
mental  faculties,  the  emphasis  should  be  on  physical 
training  to  restore  psychical  and  physical  co-ordina- 
tion. 

The  keynote  of  these  precepts  is  spontaneity,  the 
method  is  primarily  that  of  Dr.  Charles  Wesley 
Emerson,  whose  pupil  Miss  Noyes  was.  The  first 
principle  is  complete  relaxation  and  the  destruction 
of  muscular  habits,  then  the  perfection  of  muscular 
responsiveness.  The  healthy,  evenly  developed,  natu- 
ral human  body  is  a  beautiful  object  which  is  correla- 
tive to  a  healthy  and  therefore  noble  mind,  which  in 
its  turn  has  its  expression  in  the  body.  The  culti- 
vated, imaginative  mind  conceives  images  of  beauty 
to  which  the  body  responds,  and  to  the  measure  of 
its  responsiveness  is  the  sublime  beauty  and  the  great 
art  work  accomplished. 

"For  the  soule  the  bodie  forme  doth  take. 
For  soule  is  forme  and  doth  the  bodie  make." 

At  this  point,  however,  enters  a  new  school  of 
aesthetics,  the  teachings  of  Mrs.  Lucia  Gale  Barber, 
who  saw  in  Florence  Fleming  Noyes  what  she 
termed  her  "dream-come-true."  Her  art  creed  em- 
braced the  fundamental  muscular  responsiveness 
taught  by  Dr.  Emerson's  expressive  physical  culture 
but  far  more  essentially  it  dwelt  upon  culture  of  the 
imagination.  It  would  train  the  mind  to  concepts 
not  of  modern  materiality,  but  of  the  universal  spirit, 
divesting  itself  of  tradition  and  civilization,  and 
traversing  the  ages  back  (Continued  on  page  viii) 


Copyright  F.  F.  N. 
Tanagra   dance   derived    from    the 
poses    of    famous    figurines 


0 

ir 

OS 


ETC  KM-: 
Author    of    "Dan 


HT'lL  /r*  a  a       TC*  IL 

1  he    tureatest    Jrreinelni 

AT  last  Eugene  Brieux's  sensational  play,  "Damaged  Goods," 
is  to  be  produced  in  the  United  States.  This  piece,  by  one 
of  the  most  unconventional  of  French  dramatists,  is  per- 
haps the  most  startling  propagandist  drama  that  has  ever  been 
written.  In  fact,  it  is  one  of  the  very  few  plays  that  has  ever 
been  suppressed  by  the  French  Government.  Under  the  super- 
vision of  M.  Brieux  the  original  play,  entitled  "Les  Avaries,"  was 
produced  privately  a  few  years  ago,  and  afterwards  further  per- 
formance was  denied.  Later  a 
private  performance  was  given  in 
London.  Now  it  is  announced  that 
those  two  popular  American  actors, 
Richard  Bennett  and  Wilton  Lack- 
aye,  have  assembled  a  capable 
company  which  will  shortly  pro- 
duce "Damaged  Goods"  in  New 
York  before  a  select  invited  audi- 
ence at  the  Astor  Theatre. 

The  play  was  first  given  to 
American  readers  in  a  volume  of 
three  translations,  published  last 
year  with  a  preface  by  Mr.  Ber- 
nard Shaw.  It  deals  with  the  ef- 
fect upon  a  family  of  a  disease 
handed  down  by  the  father.  Patho- 
logical subjects  of  this  nature  have 
for  some  time  past  been  franklv 
discussed  in  the  lay  magazines  and 
newspapers,  and  also  on  the  lecture 
platform,  so  it  is  doubtful  if  the 
authorities  could  consistently  inter- 
fere to  prevent  a  private  presenta- 
tion on  the  ground  of  public  policy.  The  publication  of  the  piece 
in  book  form  created  a  considerable  stir  at  the  time  and  forced 
Brieux  upon  the  attention  of  a  very  large  number  of  American 
readers.  Even  before  this,  however,  the  name  of  this  dramatist 
was  looming  very  large. 

In  common  with  that  of  Granville  Barker,  Brieux's  work  pos- 
sesses characteristics  that  have  not  always  been  associated  with 
the  stage,  for  many  of  his  plays  are,  at  least  in  part,  purely  dis- 
cursive. And  in  the  subjects  treated,  moreover,  his  plays  repre- 
sent a  radical  departure  from  the  methods  of  other  European 
writers. 

It  was  Mr.  Laurence  Irving  who  first  brought  Brieux  to  the 
notice  of  American  theatregoers.  The  critics  had  heard  of 
him  as  a  strange  Parisian  who,  because  of  his  choice  of  subjects, 
was  hailed  by  a  few  as  the  legitimate  successor  of  Ibsen.  The 
general  public,  however,  preferred  to  regard  him  as  a  sociologist 
rather  than  primarily  as  a  playwright.  At  all  events,  they  did 
not  believe  that  he  was  to  be  taken  very  seriously. 

This  was  certainly  the  standpoint  of  even  the  French  public 
at  the  beginning  of  Brieux's  career.  In  1909  Mr.  Irving  trans- 
lated and  produced  "Les  Hannetons,"  which  he  entitled  "The 
Incubus,"  and  which  began  its  short  career  in  New  York  with 
mild  praise  from  some  critics  as  an  enjoyable  but  trivial  comedy 
and  with  very  little  attention  from  theatregoers  in  general.  The 
following  year  Mr.  Irving  changed  the  name  of  his  play  to  "The 
Affinity,"  and  this  may  have  gained  for  it  a  strengthened  interest, 
for  soon  afterwards  he  produced  his  own  adaptation  of  "The 
Thrde  Daughters  of  Monsieur  Dupont,"  which  may  be  considered 
one  of  the  greatest  of  Brieux's  plays  and  one  of  the  most  notable 
productions  which  New  York  has  seen  in  many  years.  It  was 
this  play  among  others  which  led  Shaw  to  remark  that  Brieux 
was  the  greatest  French  dramatist  since  Moliere.  Mr.  Irving 
himself  declared  that  he  regarded  Brieux  as  the  greatest  dram- 
atist since  Shakespeare — astounding  praise  from  one  who  has 
been  schooled  from  babyhood  in  the  great  works  of  dramatic 
literature,  and  whose  father  was  responsible  for  some  of  the  most 
adequate  productions  that  these  great  works  of  literature  received. 


•li 


0 


09 


BRIEUX 

aged    Goods,"    etc. 


mce 


"The  Three  Daughters  of  Monsieur  Dupont"  is  terrific  in  its 
onslaught  on  the  conditions  of  marriage  at  the  present  day.  The 
smaller  and  more  particular  of  these  conditions  are  distinctly 
French.  But  below  these  characteristic  superficialities,  behind 
these  circumstantial  facts,  are  the  truths  that  are  as  significant 
in  New  York  as  in  Paris.  For  many  of  them  hit  home  very 
hard  was  evident  to  anyone  who  looked  around  the  audience  at 
a  performance  of  the  play.  This  play  deals  with  three  types  of 

the  modern  woman :  the  typical  old 
maid,  the  typical  marriageable  girl, 
and  the  typical  woman  who  has 
gone  out  into  the  world  to  find 
some  kind  of  work  and  follow  it. 
There  is  also  the  splendidly  drawn 
character  of  the  talkative  old 
French  father  and  his  silent  little 
wife,  and  the  strapping,  stupid, 
masculine  husband  whom  the  young 
girl  marries,  and  his  fat,  masterful 
mother  and  cringing,  henpecked 
little  father.  Each  of  the  charac- 
ters is  set  forth  with  exceeding  ac- 
curacy and  fineness  of  touch.  The 
drama  centres  about  the  marriage 
of  the  youngest  daughter,  a  mar- 
riage of  convenience,  in  which  the 
chief  actors  begin  to  know  each 
other  after  the  ceremony  has  been 
performed.  Out  of  this  situation 
Brieux  builds  a  most  dramatic 
scene. 

Among  the  most  vital  of  the 
ISrieux  dramas  is  "Maternity,"  which  Mr.  Irving  wished  to  pro- 
duce during  his  sojourn  in  America,  but  which  he  did  not  dare 
to  risk  before  a  mixed  public.  This  play  deals  more  specifically 
with  the  conditions  both  of  womanhood  and  of  marriage.  It 
shows  more  conclusively  perhaps  than  anything  that  has  ever 
been  written  that  this  is  a  man's  world.  It  forces  home  more 
convincingly  than  any  tract  could  do  the  unfairness  of  the  posi- 
tion not  only  of  the  mother  who  is  husbandless,  but  of  the  wife 
who  is  childless  through  her  husband's  wish,  and  of  the  wife 
who  has  borne  a  dozen  children  against  her  will. 

Altogether  M.  ISrieux  has  written  twenty-five  plays,  one  of 
which.  "The  Deserter,"  was  done  in  collaboration  with  M.  Jean 
Sigaux ;  another,  "The  Chain,"  was  dramatized  from  a  novel  of 
M.  Paul  Hervieu. 

"lUanchette,"  which  was  first  produced  at  the  Theatre  Libre 
in  1892,  set  forth  the  folly  of  educating  people  above  their  sta- 
tion in  life.  It  was  this  play  that  first  brought  Brieux  to  the 
attention  of  a  foreign  public,  although  it  has  never  been  pro- 
duced in  English.  Following  this  play  were  many  of  equal  force 
and  effectiveness,  and  even  greater  dramatic  vigor,  embracing  a 
great  variety  of  social  subjects.  "The  lienefactors,"  for  example, 
shows  in  a  keenly  ironic  way  how  futile  is  charity  as  ordinarily 
dispensed.  "The  Result  of  the  Races"  traces  the  steady  decline 
of  a  good  workman's  family  because  of  the  allurements  con- 
stantly held  out  to  his  one  weakness,  his  fondness  for  horse-racing. 
"The  Red  Robe,"  which  received  the  signal  honor  of  being 
crowned  by  the  French  Academy,  treats  in  an  absorbingly  tense 
drama  of  the  manner  in  which  some  of  the  judges  of  France  are 
forced  to  be  unfair — sometimes  cruelly  and  criminally  unfair — 
in  order  to  make  a  record  for  many  condemnations  and  so  stand 
in  line  for  promotion.  "The  Substitutes"  tells  of  the  horrors  in- 
flicted on  the  wives  and  families  of  certain  workmen  by  the  abuse 
of  the  system  of  nursing.  "Simone,"  one  of  his  latest  and  best 
works,  attacks  the  immorality  of  so-called  "smart"  society  and  its 
results ;  while  "The  Lonely  Woman."  Brieux's  latest  plav,  con- 
demns society's  unfair  attitude  toward  the  unmarried  woman. 
It  has  been  said  that  Brieux  is  a  (Continued  on  pane  u-) 


\Vhit 


JULIA   MARLOWE  AS   OPHELIA  IN   "HAMLET" 


White 


JOSEPH    (Brandon   Tynan)    LEADING    HIS    FATHER'S    FLOCKS    TO    PASTURE 


TO  describe  the 
pageant  play, 
"Joseph  and 
His  Brethren/'  were 
to  enumerate  the 
shades  of  color  in  the 
rainbow  and  to  recite 
from  the  pages  of  an 
art  manual ;  to  criti- 
cise its  authenticity  as 
a  pictorial  Biblical 
drama  were  to  as- 
sume the  authority  of 
an  archaeologist.  Mr. 
Parker  has  treated 
the  narrative  we  find 
in  the  Book  of  Gene- 
sis— expanded  it  here, 
contracted  it  there. 
He  has  added  inci- 
dent to  complete  his 
story,  he  has  ignored 
detail  to  simplify  it. 
To  meet  the  demands 
of  the  drama,  for  in- 
stance, the  playwright 
has  subordinated  incidents  made  prominent  in  the  Bible,  such  as 
the  repeated  visits  of  the  brothers  to  Joseph  in  the  days  of  the 
famine  when  he  is  governor  of  Egypt,  and  enlarged  the  love 
interest  and  the  villainy.  To  this  end  he  has  introduced  Asenath, 
daughter  of  Poti-pherah,  priest  of  On,  into  the  household  of 
Potiphar  at  the  very  beginning  of  Joseph's  career.  In  the  Bible, 
she  is  referred  to,  for  the  first  time,  after  Pharaoh  made  Joseph 
governor  over  his  lands  "and  gave  him  to  wife  Asenath."  Simi- 
larly, he  has  made  of  Zuleika,  Potiphar's  wife,  the  demoness 
ex  machina,  about  whom  the  dramatic  interest  of  the  play 
centres.  Her  co-villain  is  Simeon,  son  of  Leah,  mentioned  in 
the  Bible  only  as  that  brother  whom  Joseph  held  as  hostage 
when  he  bade  his  other  brothers  return  to  Jacob  and  fetch  him 
Benjamin  but  distinguished  by  Mr.  Parker  as  the  meanest,  the 
most  jealous  of  the  brothers,  the  leader  in  all  the  plots  connived 
against  Joseph. 

The  play  is  divided  into  four  acts  with  thirteen  scenes.  It 
opens  upon  a  shaded  plateau  from  which  the  tents  of  Shechem 
may  be  seen  in  the  distance  through  a  frame  of  waving  palm 
trees.  It  is  the  stilly  moment  just  before  dawn.  Slowly  the 
rosy  light  of  morning  creeps  down  the  sides  of  the  mountains 
until  the  whole  landscape  is  baking  in  the  glare  of  the  Eastern 
sun.  Gradually  the  scene  comes  to  life.  Slaves  in  picturesque 


White  Joseph  Zuleika 

(Brandon  Tynan)        (Pauline  Frederick) 
Scene   in   Act    I.     Zuleika:    "Thou    shalt   be    my    lord's 
slave — and    mine" 


scantiness  of  attire  pass  tb  and  fro  carrying  water  in  skins  from 
a  well ;  women  in  dark-colored  garments,  balancing  water  jars 
saunter  by ;  camels  and  a  herd  of  young  asses  are  driven  past  by 
more  brown-skinned  slaves.  Finally  the  sons  of  Jacob  come 
upon  the  scene,  swarthy,  muscular  full-grown  men  whose  cos- 
tumes declare  them  to  be  shepherd  warriors,  whose  bearing 
proclaims  their 
lineage  and 
power.  From 
their  speech  one 
gathers  that  they 
favor  Joseph,  the 
first-born  of 
Rachel,  not  so 
much  as  does 
their  father,  who 
would  commemo- 
rate his  coming 
to  manhood  by 
the  gift  of  a  coat 
of  many  colors 
and  a  proclama- 
tion that  there 
shall  be  great 
feasting  and 
dancing  when 
evening  comes. 
Scorning  Joseph 
as  a  foolish 
dreamer  of 
dreams,  they  yet 
fear  his  power  of 
interpretation  and 
are  jealous  of  his 
favors. 

Asher,  the  son 
of  Zilpah,  brings 
the  news  that  a 
caravan  is  ap- 
proaching their 
wells  in  Dothan, 
whereat  Jacob 
bids  them  begone 
with  fruits,  rich 
woven  stuffs  and 
spices  rare  to  bar- 
ter with  the  way- 
farers. So  we 
see  them  again  at 


Pauline   Frederick   as   Zuleika,   wife   of   Potiphar 


THE      THEATRE      MAGAZINE 


95 


the  wells  of  Dothan,  an  oasis  in  the  desert  vastness, 
where  they  busy  themselves  arranging  the  display 
of  their  riches  with  which  they  mean  to  beguile  the 
travellers.  Reuben  is  sent  on,  as  Jacob's  eldest 
born,  to  meet  them.  Joseph,  having  been  detained 
by  his  mother,  who  feared  his  going  forth,  the 
brothers  hold  counsel  and  goaded  by  Simeon,  de- 
termine that  "what  is  not  done  for  us,  we  must 
do  for  ourselves."  There  is  a  dry  pit  at  hand, 
wherein  dwell  evil  things — the  sides  are  smooth, 
"we  have  no  rope.  If  he  fell  in,  by  mischance"- 
the  suggestion  is  enough. 

A  gorgeous  caravan  draws  near ;  first  runners 
on  foot,  then  bronzed  slaves  carrying  weighty- 
burdens,  warriors  heavily  armed  on  horse  and  on 
foot ;  two  camels  bearing  women  closely  veiled 
and  a  third,  magnificently  caparisoned  with  a 
howdah  more  variegated  in  its  coloring  than 
Joseph's  coat  which  takes  its  stand  near  the  dry 
well.  The  rear  of  the  caravan  is  filled  with  more 
warriors,  some  in  blue  and  white  striped  hoods 
and  jackets,  others  in  terra-cotta  and  bright  blue 
and  yet  again  others  clad  in  the  skins  of  leopards 
bearing  large  shields  decorated  in  motives  of 
Assyrian  geometrical  design.  Heru,  the  captain 
of  the  caravan,  barters  with  Simeon  for  his  dis- 
play of  treasures,  when  a  voice  from  the  depths 
of  the  pit  is  heard  to  chant : 

'The  Lord,  my  God;  the  Almighty  God. 
He  shall  lift  me  out  of  the  mire." 

It  is  Joseph's  voice. 


White 


Brandon   Tynan  Pauline   Frederick 

Act   II.     Zuleika:    "My  eyes   are  bound   into   thine" 


"Who  mocketh  at  my  gods?  Who  singeth  of  a  god  that  is  greater 
than  mine?" 

demands  a  woman's  voice  resounding  in  anger  from  behind 
the  curtains  of  the  howdah. 

She  orders  her  slaves  to  bring  the  blasphemer  of  her  gods 
forth  and  have  him  slain.  As  the  knife  is  raised  in  obedience 
to  her  command,  she  stays  it,  crying, 

"Wait,  I  would  see !" 

The  curtains  of  the  howdah  part,  revealing  the  most 
beautiful  of  women,  pale  and  dark,  peering  forth  from  un- 
derneath rosy,  purplish  scarfs  that  look  like  the  seven  even- 
ing stars.  Joseph  turns  toward  her ;  their  eyes  meet. 

She  changes  her  command,  ordering  Neru  to  buy  Joseph 
from  his  brothers  that  she,  Zuleika,  may  bring  him  as  a 
slave  to  Potiphar.  her  betrothed. 

Twenty  pieces  of  silver  pay  for  Joseph's  freedom  and  the 
caravan  moves  on.  But  how  shall  the  brothers  tell  Jacob  of 
what  has  befallen?  Simeon  has  prepared  the  way.  It  is  to 
leave  Joseph's  precious  coat  of  many  colors,  dabbled  in  the 
blood  of  a  goat's  kid  where  Reuben  will  find  it  upon  his  re- 
turn. He  will  tell  his  own  tale — "Are  there  no  lions  in 
Dothan  ?" 

It  is  evening.  Guests  and  minstrels  and  dancers  are  gath- 
ered in  Jacob's  tent.  The  wind  so  blows  that  the  yellows, 
reds  and  greens  of  the  silken  draperies  mingle  into  an  in- 
distinct pattern  with  the  vibration.  Oil  lamps  cast  their  dim 
lights  over  the  scene,  which  is  lighted  up  now  and  again  by 
the  flickering  flashes  of  torches.  Serving  maids  in  long, 
dark  robes  and  scarfs  of  contrasting  colors  wound  about 
their  heads  and  shoulders,  pour  wine  for  the  guests  into 
shallow  cups  from  huge  earthen  jars.  Strange  fruits — 


Hrandon  Tynan 
Art   II      Zuleika: 


Pauline  Frederick 
"Thou   art  mine!" 


THE      THEATRE      MAGAZINE 


White 


Brandon   Tynan         Frank   Losee  Pauline    Frederick 

Act    II.     Joseph    sent    away    to    prison    on    the    accusation    of    Potiphar's    wife 


melons,  grapes,  pomegranates — are  piled  high  in  great  heaps 
about  the  room ;  there  is  an  air  of  gayety  and  festivity  mingled 
with  a  sense  of  apprehension. 

A  dance,  accompanied  by  weird  music  and  chanting,  is  inter- 
rupted by  the  wild  raging  of  the  storm  and  the  sudden  entrance 
of  Reuben,  frenzied,  and  bearing  the  blood-stained  coat  of 
many  colors  that  tells  the  revellers  its  own  tale  of  horror  and 
sorrow. 

It  is  in  Egypt,  in  the  house  of  Potiphar,  that  we  find  ourselves 
in  the  second  act.  Through  the  square  pillars  of  the  porch,  at  one 
side,  one  sees  the  heavy  blue  sky  of  night  purpling  the  shadows 
of  the  dying  sun.  Within,  the  reds  and  greens  of  the  mural 
decorations  are  offset  by  the  green  bronze  incense  stands  and  the 
dark  green  and  gold  of  a  high-throned  chair.  To  the  lavenders 


and  pinks  and  blues  of  slave  girls  the  greens  and  browns  of  the 
men  is  added  the  Tyrian  purple  of  Potiphar's  robe,  bordered 
with  emerald  green.  But  the  climax  in  color  effect  is  not 
reached  until  Zuleika  arrives,  a  glittering,  shimmering  being,  a 
rainbow  set  in  jewels. 

Potiphar,  being  summoned  by  Pharaoh  to  go  to  war,  departs, 
reluctant  to  leave  Zuleika  and  puts  his  entire  household  in  charge 
of  Joseph,  who  has  become  his  most  trusted  servant.  The  next 
evening  in  the  garden  where  acacias  and  sycamores  stand 
boldly  forth  in  the  silhouette  against  the  moon  and  the  starlit 
sky,  Joseph  finds  his  love,  Asenath,  overhears  a  plot  to  kill 
Pharaoh,  made  out  between  his  chief  baker  and  the  lord  treas- 
urer and  receives  a  summons  to  come  to  Zuleika.  To  the  maid 
who  brings  the  message  he  replies.  (Continued  on  page  x) 


White 


nrnce    .Tames 


Act      III. 


Charles    Herman 
nlrrprols    Ilic    drrnn 


Brandon   Tynan 
of    the    I  >M  tier    rtml    linker 


Frank    WooKe 


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The  preference  of  Society  for  a  certain  make  of  piano,  carriage, 
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PERCY    MACKAYE 

(Continued   from   page    88) 


commercial  theatre,  reformed;  it  is  not  an  art 
theatre  for  art's  sake  alone;  it  is  not  the  munici- 
pal theatre  of  Europe  transferred  to  American 
soil ;  it  is  not  an  organization  on  the  precedent 
of  the  New  Theatre  in  New  York  (which  in  a 
later  chapter  Mr.  Mackaye  says  failed  because 
it  was  not  an  endowed  institution,  and  was  not 
dedicated  to  a  definite  policy  of  public  service)  ; 
it  is  not  primarily  a  repertory  theatre,  though  it 
probably  would  be;  it  is  not  necessarily  a  theatre 
owned  by  a  community — though  it  preferably 
should  be."  MONTROSE  J.  MOSES. 

GREAT  BEAR  SPRING  WATER 
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What's  Wrong  with  the  Stage? 

(Continued   from    page    80) 


rapidity  and  such  frequency  that  much  of  the 
acting  must  needs  be  slovenly.  If  the  manager 
can  get  the  right  "type"  for  the  part,  that  is  the 
actor  or  actress  who  fulfills  the  physical  qualifi- 
cations of  the  role,  he  thinks  he  has  done  his 
duty  by  the  public  who  comes  to  see  his  play, 
and  unfortunately  this  would  seem  to  be  true 
when  we  consider  the  high  rating  which  is  often 
given  really  commonplace  acting. 

Through  the  abandonment  of  the  repertoire 
and  stock  company  systems,  our  players  have  be- 
come specialists  in  various  lines  and  lack  the 
ease,  the  flexibility  and  breadth  which  come  from 
a  vigorous  training  in  a  round  of  parts.  Our 
actors  present  types,  they  are  not  versatile,  well- 
rounded  artists.  The  realistic  actor  accustomed 
to  repression  is  wanting  in  variety  and  resource- 
fulness and  he  fails  utterly  in  the  realm  of  the 
imaginative  drama  simply  tbrough  a  lack  of  the 
proper  training.  How  can  we  expect  our  players 
to  grow  in  artistic  stature  if  we  do  not  give  them 
the  chance? 

Tf  we  would  have  great  acting  once  more,  we 
must  pay  more  attention  in  the  future  to  that 
type  of  drama  which  calls  for  the  display  of  im- 


William    Montgomery    and    Florence    Moore    In    a 
National    car 

agination,  fire  and  dramatic  power — for  expres- 
sion rather  than  repression.  What  our  players 
need  is  an  opportunity  to  play  many  parts  and 
many  kinds  of  parts  in  the  course  of  a  season. 
If  we  provide  this  opportunity  the  truly  great 
actor  will  come  once  more  to  grace,  our  stage. 

We  have  now  come  to  the  last  division  of  our 
problem — the  producer.  The  average  manager 
more  than  any  other  one  individual  is  to  blame 
for  the  present  low  ebb  of  dramatic  art  in  the 
United  States,  and  it  is  the  "commercial"  man- 
ager in  particular  who  has  ground  acting  and  the 
drama  into  the  mire,  commodities  to  be  bought 
and  sold  like  any  ordinary  bits  of  merchandise. 
The  average  American  manager  to-day  is  noth- 
ing but  a  money-grabbing  tradesman  whose 
sole  thought  is  the  reaping  of  a  golden  harvest, 
and  there  is  no  dramatic  ideal  or  code  of  ethics 
he  will  not  sacrifice  for  the  sake  of  the  American 
dollar.  What  a  contrast  to  the  American  mana- 
ger of  a  generation  ago !  There  were  commercial 
managers  then — men  who  made  their  living  by 
producing  plays — men  like  Daly,  Palmer  and 
Wallack,  but  to  them  the  stage  was  first  of  all 
an  art,  the  business  side  was  of  minor  impor- 
tance. A  reasonable  profit  on  their  investment 
of  time  and  money  was  all  they  asked.  Not  so 
with  your  modern  manager.  A  play  must  have 
unlimited  drawing  power  regardless  of  artistic 
considerations  to  appeal  to  the  showman  of  to- 
day. The  cheap,  the  vulgar,  the  meretricious 
play — if  it  succeeds  in  attracting  the  public,  the 
managers  let  loose  a  flood  of  similar  productions 

{Continued  on  page  .n't) 


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vn 


The  Little  Theatre  in  Chicago 

(Conlimii'd    ft  cm    page    86) 


Euripides'  "Medea,"  "Hippolytus,"  and  'The 
Bacchae,"  plays  of  Donald  Breed,  Alice  Brown, 
Swinburne,  Strindberg,  including  a  number  of 
first  performances  in  America,  with  the  producing 
rights  invested  in  Mr.  Brown,  "and  in  every  case 
without  one  cent  of  advanced  royalty.  Not  one 
play  that  we  asked  for  has  been  refused  us,  and 
several  have  been  given  where  the  authors  could 
have  received  much  larger  returns  from  other 
managers  than  we  could  possibly  offer,  because 
they  were  in  sympathy  with  our  aims." 

"The  Little  Theatre"  is  the  outward  expression 
of  Mr.  Maurice  Brown  and  Ellen  Van  Volken- 
burg,  with  the  plays  to  be  given,  mode  of  pro- 
duction, and  every  detail  determined  by  them. 
"Only  once  has  there  been  the  slightest  attempt 
at  dictation  by  any  of  our  supporting  members, 
which  was  quite  easily  settled  by  returning  the 
subscription  of  the  dissatisfied  one,  for  whatever 
is  done  in  this  world,  whether  it  be  the  running 
of  a  railroad,  a  butcher  shop,  or  a  theatre,  must 
have  one  responsible  head.  We  have  made  mis- 
takes, and,  of  course,  shall  make  many  more ;  but 
we  are  learning  all  the  time,  having  wit  enough 
to  know  a  stone  wall  after  we  have  bumped 
against  it  a  few  times,  but  without  the  paralysis 
that  comes  from  seven  heads,  each  one  with  dif- 
ferent ideas  and  all  pulling  in  opposite  directions." 

''We  have  no  special  purpose  to  make  propa- 
ganda for  American  playwrights,  though,  other 
things  being  equal,  we  should  give  the  preference 
to  America  over  Europe,  and  to  Chicago  over  any 
other  place ;  but  the  important  thing  is  that  the 
play  shall  be  worth  something.  If  we  give  inter- 
esting productions,  the  future  will  take  care  of 
itself,  and  we  welcome  the  general  public  to  the 
full  extent  of  our  seating  capacity.  For  our 
members  we  charge  fifty  cents,  while  the  public 
is  asked  to  pay  only  a  dollar,  and  if  we  cannot  give 
them  the  value  we  have  not  the  slightest  intention 
of  asking  for  support  on  the  grounds  of  patriot- 
ism, of  the  elevation  of  the  drama,  or  in  any 
other  form  of  charity.  Meanwhile  we  are  having 
'the  time  of  our  lives.'  " 

"The  Little  Theatre"  is  established  on  a  plan 
of  such  intelligence,  and  giving  such  interesting 
performances,  that  its  future  seems  assured,  and 
Mr.  Brown  has  the  heartiest  good  wishes  of  all 
who  have  had  the  pleasure  of  visiting  the  home 
of  his  enterprise.  KARLETON  HACKETT. 


AT    THE    OPERA 

(Continued   from   page    70) 


his  jealous  scenes,  and  Alda  has  never  sung  so 
well  as  she  did  in  the  heavenly  music  allotted  to 
Desdemona.  Scotti  sang  and  acted  lago  in  a 
manner  that  betokened  him  a  master  among 
artists. 

In  the  role  of  Violetta,  in  "La  Traviata,"  Frieda 
Hetnpel  disclosed  a  new  side  to  her  art,  proving 
that  she  is  an  actress  of  exceptional  ability — for 
a  coloratura  singer. 

Then  the  visiting  opera  company  from  Phil- 
adelphia-Chicago gave  a  single  performance — the 
first  of  a  series  of  four — and  revived  Charpen- 
tier's  '"Louise,"  which  had  been  neglected  for  a 
season.  It  was  Mary  Garden's  first  appearance 
here  this  year,  but  the  title  role  of  this  opera  is 
scarcely  her  best  role.  She  acted  it  with  all  the 
Garden  mannerisms,  never  conveying  the  least 
illusion,  and  her  singing  was  really  sad.  Dai- 
mores  as  Julien  was  not  at  his  best  either,  so  the 
honors  went  to  Dufranne  in  the  role  of  Father, 
and  Berat  acting  the  Mother. 

So  much  for  opera.  With  the  Christmas  holi- 
days safely  behind  them,  concert  artists  have 
spurred  themselves  to  great  activity,  filling  after- 
noons and  evenings  with  song  sonatas  and  sym- 
phonies. Chief  among  these  events  was  the  re- 
turn of  Elena  Gerhardt,  famous  German  Lieder 
singer,  who  captivated  her  audiences  completely 
both  in  concert  and  recital.  As  a  challenge  to  her 
art  came  Julia  Gulp,  a  Dutch  Lieder  singer  of 
great  renown  who  is  also  mistress  of  her  art. 
Among  a  host  of  pianists,  too  numerous  to 
mention,  there  was  one  of  exceptional  promise, 
deserving  of  encouragement.  He  is  an  American, 
David  Sapirstien,  still  a  youth,  but  very  earnest, 
very  ambitious.  His  playing  has  some  of  the 
faults  of  youth,  but  his  interpretations  show  a 
thinking  musical  brain.  He  has  technique,  a  good 
tone  and  ideals.  These,  combined  with  his  am- 
bition, should  prove  valuable  assets  in  his  struggle 
for  artistic  recognition.  Miss  Betty  Askenasy,  a 
young  Russian  pianist,  who  made  her  debut  be- 
fore this  public  at  Aeolian  Hall,  on  January  25th, 
played  with  understanding  and  feeling  and  dis- 
played a  finished  technique. 


The  Telescope  of  Speech 


The  astronomer,  by  the  power  of  his 
telescope,  becomes  a  reporter  of  the 
movements  of  a  hundred  worlds 
greater  than  ours,  and  the  student  of 
celestial  activities  millions  of  miles 
away. 

He  points  his  instrument  at  any 
spot  in  the  heavens,  and  his  sight 
goes  rushing  through  space  to  dis- 
cover and  inspect  a  star  hitherto 
unknown. 

Up  to  the  power  of  his  lenses,  his 
vision  sweeps  the  universe. 

As  the  telescope  may  be  focused 
upon  any  star,  so  the  telephone  may 


be  focused  upon  any  person  within 
the  range  of  its  carrying  power. 

Your  voice  may  be  directed  any- 
where in  the  Bell  System,  and  it  will 
be  carried  across  country  at  light- 
ning speed,  to  be  recognized  and 
answered. 

The  telescope  is  for  a  very  limited 
class,  the  astronomers.  The  telephone 
is  for  everyone. 

At  the  telescope  you  may  see,  but 
cannot  be  seen.  At  the  telephone  you 
may  speak  and  be  spoken  to,  you 
may  hear  and  be  heard.  By  means  of 
the  Bell  System  this  responsive  ser- 
vice is  extended  to  the  whole  nation. 


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V1I1 


THE   THEATRE   MAGAZINE   ADVERTISER 


Long 

Lashes 

Rise 

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Another  New  Art  of  the  Theatre 

(Continued  from   page   91) 


to  antiquity  and  the  original  purity  of  the  primi- 
tive soul.  .The  body  would  become  no  longer  the 
human  form,  but  a  lyrical  ideal  of  physical 
beauty,  carving  in  air  with  its  rhythms,  as  Botti- 
celli limned  on  canvas,  pure  melodies  in  line. 
The  winds  of  the  heaven  would  play  upon  it  as  a 
divinely  attuned  instrument,  sounding  the  mar- 
velous harmonies  of  all-pervading  mystical  purity 
and  transcendent  loveliness.  Not  things  them- 
selves, but  the  spirit  of  things,  is  what  this  art 
strives  to  express. 

That  such  a  creed  and  its  practice  has  high 
significance  in  the  arts  is  self-evident.  It  would 
seem  also  to  be  to  the  drama,  especially  the  sym- 
bolistic, mystic  drama,  that  it  has  its  most  im- 
mediate application.  And  from  this  viewpoint 
the  subject  offers  interesting  and  stimulating 
suggestions. 

At  a  glance,  and  with  recollection  of  Sarah 
Bernhardt,  the  great  exponent  of  Delsarte,  one 
sees  the  value  of  technical  physical  training  for 
the  actor.  It  means  the  perfection  of  pantomime, 
spontaneous  expression  of  the  mental  concept  by 
all  parts  of  the  body — and  this  is,  or  should  be, 
the  foundation  of  the  acted  drama.  After  that, 
but  not  without  it,  come  the  superstructure  and 
adornment  of  words. 

But  particularly  consider  the  poetic  drama.  Its 
personages  spiritualized,  their  pantomime  itself 
a  lyric,  the  lines  would  be  truly  the  musical  wings 
of  the  action  which  they  are  intended  to  be. 
And  of  the  poetic  drama,  consider  the  elusive 
Maeterlinckian  conceptions  thus  presented.  Sup- 
pose our  actors  were  all  so  trained  in  lyric  panto- 
mimic expression  that  we  might  see  all  of  a  cast 
as  mystically  poetic  as  was  Miss  Gwendoline  Val- 
entine as  Water  in  "The  Blue  Bird"?  Or  as 
much  the  spirit  of  Youth  as  was  Miss  Patricia 
Collinge  in  "Everywoman"  ? 

And  then  suppose — at  the  risk  of  ostracism  for 
our  presumption,  no  doubt,  but  still — suppose 
that  Gordon  Craig  were  to  stage  a  Wagnerian 
opera,  as  Mr.  Symons  suggests,  and  then  sup- 
pose that  pantomimists  of  Miss  Noyes'  school 
should  fill  the  stage,  giving  us  in  a  visual,  silent 
rhythm  the  action  of  the  drama  while  the  or- 
chestra gives  us  the  music?  There  are  people,  as 
Mr.  Symons  reminds  us,  who  prefer  Wagner's 
music  in  the  concert  room  to  Wagner's  music 
even  at  Bayreuth,  and  he  thinks  that  Mr.  Craig 
might  perhaps  reconcile  them  to  a  stage  per- 
formance. There  are  other  people  who  can 
never  reconcile  themselves  to  opera — can  never 
conquer  the  sense  of  incongruity  and  even  ab- 
surdity in  dialogue  sung.  To  such  people  the 
intensely  material  presence  of  the  singers  works 
against  the  enchantment  of  the  music.  The  Wag- 
ner personages  were  beings  of  no  time  or  place; 
they  were  symbols  of  ideas.  They  need,  then, 
symbolic  interpretation,  the  mystery  of  panto- 
mime. A  silent  picture,  enveloped  in  the  atmos- 
phere of  heavenly  orchestral  voices,  would  seem 
to  be  near  the  poetic  expressiveness  the  Wagner 
music-drama  was  designed  to  have,  but,  to  many 
people,  never  attains  when  sung. 

Without  looking  so  far  ahead  as  a  revolution 
in  the  presentation  of  Wagner,  however,  there  is 
importance  in  the  fact  that  Miss  Noyes'  ambition 
is  to  make  her  art  a  basic  thing  of  permanent 
value.  She  believes  that  it  is  needed  as  an  ele- 
ment of  dramatic  training,  and  it  is  primarily  to 
professional  actors  and  singers  that  she  wishes 
to  teach  it.  In  the  establishment  of  this  princi- 
ple we  shall  owe  to  her  a  new  quality  in  dramatic 
art  and  new  artists  of  a  school  which  will  meet 
the  needs  of  the  symbolist  movement  in  the  thea- 
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THE   THEATRE   MAGAZINE   ADVERTISER 


IX 


Greatest   Since   Moliere 

(.Continued  from   page   92) 


pessimist.  But  only  those  who  see  nothing  but 
the  surface  could  really  believe  that.  The  man 
himself  is  a  contradiction  of  it.  His  earnest  face 
possesses  eyes  that  light  up  with  love  and  enthu- 
siasm when  he  grows  interested  in  his  subject. 
And  his  anger  is  never  directed  against  individu- 
als, but  against  wrongs.  It  is  indeed  because  he 
loves  people  so  thoroughly  that  he  so  strongly 
wishes  to  improve  their  condition.  A  pessimist, 
seeing  no  good  in  human  nature,  contents  him- 
self with  grumbling  about  it.  It  is  only  the  great 
optimist  who  is  not  baffled  by  a  multitude  of 
troubles,  but  goes  bravely  out  to  fight  them  one 
by  one.  It  is  because  he  believes  in  humanity 
that  he  believes  it  can  improve,  and  that  it  is 
worth  while  trying  to  help  it.  In  these  plays, 
every  evil  that  the  author  points  out  is  one  for 
which  he  sees  and  suggests  a  remedy — sometimes 
briefly,  sometimes  in  detail.  The  plays  are  not 
depressing;  they  merely  deal  with  depressing  con- 
ditions. Really  they  are  invigorating,  because 
they  show  how  these  conditions  can  be  done  away 
with. 

Not  all  of  his  plays  treat  of  the  ills  brought 
about  by  wrongs.  In  some,  Brieux  shows  people 
who,  realizing  these  wrongs  and  knowing  what 
to  do  to  overcome  them,  succeed  in  becoming 
happy.  "The  Evasion"  is  a  story  of  a  girl  con- 
demned by  medical  authorities  to  suffer  from 
heredity,  and  a  man  who  staunchly  believes  that 
will  power  can  overcome  the  inherited  troubles, 
who  marries  her,  and  who  succeeds  gloriously  in 
helping  to  contradict  the  physicians'  prophecy 
and  triumphantly  to  evade  her  evil  inheritance. 
In  "Suzette,"  another  of  his  works,  he  shows 
how  truth  and  love  triumph  over  the  conventional 
idea  of  what  is  right,  and  how  thus  two  lovers 
are  restored  to  happiness  in  a  union  that  was  for 
a  time  seriously  threatened  by  a  separation,  which 
outsiders  thought  should  be,  but  which  neither 
of  the  two  chiefly  involved  desired.  In  "The 
Frenchwoman,"  the  author  has  written  a  de- 
lightful comedy  showing  how  lovely  and  lovable 
the  real  woman  of  France  is,  as  opposed  to  the 
idea  of  that  woman  that  foreigners  conceive  from 
tales  of  ''wicked  Paris." 

In  spite  of  the  fact  that  Brieux  writes  not 
merely  to  amuse,  he  always  entertains.  Some  of 
his  dramas  get  a  little  lost  as  drama  because  of 
the  author's  interest  in  the  doctrine  he  is  to 
preach.  But  most  of  them  are  absorbing  stage 
vehicles  and  free  from  staginess.  He  is  probably 
now  the  most  widely  known  French  dramatist 
and  the  most  often  produced.  In  the  smaller 
cities  of  France,  too,  he  is  popular.  Even  ama- 
teurs perform  his  works.  This  is  a  proof  that 
he  knows  how  to  make  a  good  drama  as  well  as 
how  to  develop  a  valuable  theme.  His  pieces  are 
theatrically  effective  without  being  theatrically 
tricky. 

And  yet,  in  spite  of  all  this,  it  was  years  be- 
fore he  managed  to  procure  a  production — and 
then  not  through  ordinary  means,  but  through 
the  keen  insight  of  one  who  has  been  a  great 
benefit  to  the  French  stage,  M.  Andre  Antoine. 
To  him  Brieux  wrote,  in  regard  to  "Blanchette" : 
"My  dear  friend,  for  ten  years  I  carried  my 
manuscripts  around  to  all  the  theatres  of  Paris; 
most  often  they  were  not  even  read.  Thanks  to 
you,  thanks  to  the  Theatre  Libre,  I  can  now 
learn  the  profession  of  dramatist." 

B.    RUSSELL   HERTS. 


Victor  Record* 

The  Beautiful  Letter  Duet  by  Caruso  and 
Farrar.  Manon — On  I'appelle,  Manon,  Massenet. 

This  number  occurs  at  the  opening  of  Act  II, 
the  scene  representing  the  apartment  of  Des 
Grieux  and  Manon  in  Paris. 

A  Duet  by  Ruffo  and  Magrini.  Rigoletto — 
Deh!  non  parlare  al  misero,  Verdi. 

Marcella  Sembrich.  Waltz  Dream — Waltz  Aria, 
"Non  sai  mia  bella,"  Straus. 

Three  New  Farrar  Records.  Konigskinder — 
Lieber  Spielmann  (Dear  Minstrel),  Humperdinck; 
Love'i  Like  a  Summer  Rose  (From  "The  Ring 
of  Haroun-al-Raschid")  (Lyrics  from  "Told  in 
the  Gate"),  Chadwick-Lindermann ;  Boheme — 
Adio!  (Farewell),  Act  III,  Puccini. 

Three  New  McCormack  Records.  My  Dreams, 
Weatherly-Tosti ;  Where  the  River  Shannon 
Flows,  Russell;  Manon — //  sogno  (The  Dream) 
(Act  II),  (In  Italian),  Massenet. 

A  Delightful  Jensen  Song  by  Alda.  Murmur- 
ing Breezes  (Murmelndes  L-uftchen),  Jensen. 

Paderewski  Plays  Chopin's  "Maiden  Wish." 
The  Maiden's  Wish  (Chant  Polonaise,  G  major) 
(Transcription  by  Franz  Liszt),  Chopin. — Adv. 

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Joseph    and    His    Brethren 

(Continued   from   page    96) 


"I  will  not  come." 

"I  cannot  carry  so  rough  an  answer." 
"Speak  it  gently;  I  have  no  other." 
When  this  answer  is  brought  to  Zuleika  she 
renews  her  summons  under  the  guise  of  having 
lews  of  a  plot  against  Potiphar's  life.  This  ruse 
rings  him  to  her  chamber,  a  blue-green  room, 
decorated  with  a  frieze  of  Assyrian  warriors, 
lung  with  heavy  silken  curtains  and  filled  with 
license  and  the  heavy  perfume  of  lilies  and 
^otus  flowers.  In  the  centre  stands  a  towering 
statue  of  Astarte,  the  protectress  of  hapless  women, 
and  round  about  it  mysterious  agents  of  magic 
and  incense-bearing  tripods.  At  one  side  is  a 
ong,  low  couch,  at  the  other  a  mammoth  crys- 
tal that  reflects  the  changing  light  of  the  flicker- 
ng,  colored  lamps.  Before  it,  studying  these 
changes,  stands  Zuleika,  her  face,  transparent  in 
ts  paleness  against  the  ebony  of  her  soft,  waving 
lair  that  serves  her  as  a  garment  better  than  her 
dress  of  silver  tissue.  She  is  very  beautiful;  she 
is  very  lonesome,  craving  sympathy ;  the  lilies 
and  the  incense  cast  their  spell  upon  the  air. 
There  have  been  few  men  stronger  than  Joseph ; 
:here  have  been  few  women  more  alluring  than 
Zuleika.  Yet  the  man's  strength  is  greater  than 
all  the  woman's  charms  and  wiles.  He  wrest? 
bimself  from  her  embrace,  leaving  his  cloak  in 

r  hands  and  flees  his  temptations. 

Upon  Potiphar's  return  his  first  inquiry  is  for 
Zuleika.  A  handmaiden  knocks  on  the  door  of 
lier  chamber  that  opens  upon  the  court  where 
the  household  has  assembled  to  welcome  its  mas- 
ter home.  There  is  a  sound  of  weeping  from 
within.  In  answer  to  a  call  from  her  lord,  she 
appears  at  the  doorway,  haggard  and  worn,  cry- 
ing out  in  hollow,  tragic  tones : 

"He  came  in  unto  me  to  mock  me.  I  lifted 
up  my  voice  and  cried,  and  he  fled  and  got  him 
away." 

It  is  in  the  prison  we  see  him  next,  where, 
as  the  Bible  says,  "the  keeper  .  .  .  committed  to 
Joseph's  hand  all  the  prisoners  that  were  in  the 
prison."  In  one  corner  of  the  courtyard  that  is 
edged  with  the  prison  cell  stands  a  sphinx-like 
form  towering  even  above  the  prison  wall.  The 
bit  of  sky  visible  from  the  court  suffers  all  the 
changes  that  come  as  the  glow  of  the  burning 
day  gives  way  to  the  soothing  coolness  of  the 
calmer  night.  The  head-baker  and  the  head- 
butler,  Joseph's  fellow-prisoners,  come  forth  from 
their  cells,  harrowed  and  racked  by  dreams,  the 
meaning  of  which  they  cannot  fathom.  The  in- 
terpretation Jacob's  son  puts  upon  them  is  proven 
true  when  Pharaoh  summons  these  two  prison- 
ers to  appear  before  his  tribunal  of  justice. 

The  voice  of  Asenath  is  heard  chanting  a  love 
song  to  break  the  stillness  of  the  night.  The 
keeper  has  prepared  a  surprise  for  Joseph — the 
door  in  the  wall  is  thrown  open  and  a  purple- 
clad  figure  enters.  Joseph  impassioned  throws 
himself  at  her  feet,  and  as  she  raises  him  for 
embrace,  a  second  veiled  figure,  which  had  fol- 
lowed the  first,  utters  a  low  cry  and  flees.  It 
was  Asenath.  Joseph  tears  the  purple  veil  away. 
Zuleika,  menacing,  terrible,  stands  before  him. 
She  calls  the  guard. 

"Who  bade  thee  give  this  slave  his  freedom? 
Into  the  nethermost  pit  with  him  or  Pharaoh 
shall  hear  of  it." 

"And  it  came  to  pass  at  the  end  of  two  full 
years  that  Pharaoh  dreamed  .  .  .  and  he  slept 
and  dreamed  a  second  time." 

Is  there,  then,  no  one  who  can  rightly  read  a 
dream?  The  head-butler,  reinstated,  is  mindful 
of  one  in  prison  with  him  who  had  the  power. 
Pharaoh  sends  for  him  and  Joseph,  haggard, 
gaunt,  dazzled  by  the  light  of  day,  comes  before 
him  to  tell  him  the  meaning  of  his  strange 
dreams.  He  even  brings  proof  of  his  power  by 
predicting  the  distant  events  of  the  moment, 
quickly  substantiated  by  fleet  messengers. 

As  a  reward  Pharaoh  sets  him  over  all  of 
Egypt,  and  gives  him  Asenath  as  wife. 

The  years  of  famine  follow,  and  Jacob's  sons 
go  to  ''the  Deliverer"  to  beg  succor.  Joseph  knows 
them,  but  speaks  roughly  to  them.  He  accuses 
them  of  being  spies,  and  to  give  them  a  chance  to 
prove  themselves  true  men,  has  them  leave 
Simeon  as  hostage  with  him  while  they  return 
home  to  fetch  him  Benjamin — so  great  is  his 
desire  to  see  his  real  brother.  When  they  return 
the  second  time  he  makes  himself  known  to  them 
and  there  is  great  rejoicing. 

EVA  E.  VOM  BAUR. 


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What's  Wrong  with  the  Stage? 

(Continued   from   page   vi) 

in  the  hope  of  duplicating  the  success  of  the  first 
play.  In  the  mean  time,  the  dramatist  with  a 
good,  clean  play  must  perforce  wait  until  the 
easily  satisfied  public  tires  of  salaciousness.  Fer- 
tility and  originality  of  idea  are  not  two  of  the 
assets  of  the  American  manager  of  1913. 

There  are,  of  course,  exceptions.  The  Shuberts 
have  shown  astonishing  vigor  in  breaking  up  the 
monopoly  of  the  old  syndicate.  Two  of  the  most 
prolific  producers,  Charles  Frohman  and  George 
C.  Tyler,  are  men  of  taste  and  discrimination,  and 
in  spite  of  the  variety  and  extent  of  their  activities 
their  productions  attain  a  high  level  of  excellence. 
Their  failures  are  numerous,  but  so  are  their 
successes,  and  whether  successful  or  not  their 
productions  reveal  an  intelligence  in  their  staging 
which  is  deplorably  lacking  in  the  productions 
of  other  of  our  managers.  But  both  Mr.  Tyler 
and  Mr.  Frohman  attempt  too  much.  Many  of 
their  plays  deserving  a  better  fate  fail  because 
of  miscasting  and  hasty  production.  Were  these 
men  to  distribute  their  tremendous  energy  and 
unquestioned  ability  more  wisely  upon  fewer 
plays  the  artistic  level  of  the  American  theatre 
would  be  raised  appreciably.  If  this  is  the  re- 
sult of  applying  "business  principles"  to  the 
stage  by  two  of  the  best  managers  in  the  country 
is  it  surprising  that  the  manager  with  less  lofty 
ideals  produces  so  much  nonsense? 

If  the  average  theatregoer  were  asked  to  name 
America's  foremost  producer  he  would  probably 
answer  David  Belasco.  It  has  become  a  maxim 
that  a  Belasco  play  never  fails.  This  is  a  repu- 
tation achieved  by  hard  and  unremitting  labor, 
not  by  mere  chance.  David  Belasco  is  a  dra- 
matic artist  from  the  crown  of  his  head  to  the 
tips  of  his  toes,  but  he  is  more  than  that — he  is 
one  of  the  shrewdest  and  cleverest  business  men 
alive.  He  keeps  abreast  of  the  times  and  even  a 
little  ahead.  He  is  ever  on  the  lookout  for  dra- 
matic material  which  his  ready  hand  can  turn  to 
good  advantage.  A  list  of  his  productions  would 
read  like  an  index  to  the  prevalent  thought  and 
fashion  of  American  life.  Now  it  is  historical 
drama,  now  romance,  now  the  grim  realistic  play. 
Politics,  the  social  evil,  spiritualism  and  multiple 
personality  are  but  a  few  of  the  themes  he  has 
employed  for  stage  effect.  Lavish  display  or 
simplicity  are  equally  well  presented  by  this  mas- 
ter craftsman. 

But  Belasco,  being  human,  has  his  defects.  No 
manager  panders  to  the  "public  taste"  more  fre- 
quently or  to  better  effect  than  he.  If  a  play 
in  his  opinion  is  not  strong  enough  to  win  on 
its  merits,  he  immediately  proceeds  to  gloss  over 
the  "danger  points."  Many  are  the  ways  by 
which  he  accomplishes  his  purpose.  Now  it  is 
the  cheaply  comic  schoolroom  scene  in  "The 
Girl  of  the  Golden  West,"  now  the  abrupt  and 
happy  ending  of  "The  Lily,"  now  a  scenic  tour 
de  force  as  in  the  last  act  of  "The  Governor's 
Lady."  When  it  is  a  case  of  logic  and  the  truth 
will  not  serve  this  adept  stage  artist  supplies 
pseudo-realism  in  place  of  the  genuine  article. 
His  productions  are  often  theatrical  rather  than 
dramatic.  The  central  idea  is  too  frequently  be- 
fogged and  obscured  by  an  over-elaboration  of 
detail.  By  such  methods  he  has  made  a  popular 
success  of  many  a  play  which  in  less  skillful 
hands  would  have  failed  absolutely. 

Yet  in  spite  of  these  faults  it  must  be  remem- 
bered that  this  man  has  stood  sponsor  for  much 
that  has  been  the  most  sincere  and  striking,  the 
noblest  and  best  in  our  dramatic  art.  "The  Easi- 
est Way"  and  "The  Concert"  have  revealed  this 
master  of  stage  production  stripped  of  his  de- 
fects. Here  he  could  afford  to  be  sincere  so 
great  were  the  intrinsic  merits  of  each  of  these 
plays.  Nor  must  "The  Music  Master"  and  "The 
Girl  of  the  Golden  West"  be  forgotten.  They 
were  noteworthy  as  giving  us  three  of  the  most 
gripping  performances  of  this  generation — the 
Von  Earwig  of  Warfield,  the  Girl  of  Blanche 
Bates  and  the  Sheriff  of  Frank  Keenan.  Belasco 
is  a  queer  mixture  of  the  practical,  hard-headed 
business  man,  the  affected  poseur  and  the  sincere, 
lofty,  idealistic  dreamer.  But  there  can  be  no 
doubt  that  he  is  a  man  of  tireless  energy  and 
marvellous  ability,  the  foremost  producing  man- 
ager in  America  to-day. 

But,  if  Belasco  is  the  manager  of  to-day,  Win- 
throp  Ames  is  as  surely  destined  to  be  the  pro- 
ducer of  to-morrow.  Ames  is  a  new  element  in 
the  theatrical  world.  Most  of  the  men  who  guide 
the  destinies  of  our  stage  are  self-made  and  self- 
educated,  but  here  we  have  a  college  man,  a  man 
of  luxury  and  refinement,  attempting  a  career  in 
the  stage  world.  Endowed  with  a  university 
training  and  several  years'  experience  as  director 
of  a  stock  company  in  Boston,  he  was  mnde  the 
head  of  the  most  ambitious  movement  yet  at- 
tempted for  the  betterment  of  the  American 
stage,  the  New  Theatre  in  New  York.  Had  the 
circumstances  been  more  propitious  he  would  un- 

(Continued  on   page  .IT) 


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PLAYER-PIANO 


OFFICIAL   REPORT    UNITED 
STATES  CENSUS  BUREAU 

"In  1895,  Messrs.  Wilcox  &  White, 
of  Meriden,  Conn.,  began  manufac- 
turing an  interior  attachment,  and 
in  February,  1897,  built  their  first 
'Angelus,'  a  cabinet  piano  player. 
This  instrument,  the  invention  of  E. 
H.  White,  may  be  regarded  as  the 
pioneer  of  the  i-arious  similar  attach- 
ments that  have  since  been  placed  on 
the  market." 


There  is  something  more  than  historical 
significance  in  the  statement  of  the 
U.  S.  Census  Bureau  proclaiming  the 
Angelus  the  Pioneer  Player-  Piano. 

To  be  the  first  the  pioneers  —  is  to  lead  the  way,  and 
the  Angelus  enjoys  the  same  distinction  of  leadership 
today  that  it  had  from  the  beginning. 

The  only  Player-Piano  in  the  world 
equipped  with  the  marvellous 

PHRASING  LEVER 

(Patented) 

This  exclusive  Angelus  device  is  as  essential  to  the 
perfect  player  as  are  the  keys  to  the  piano  —  the  only 
device  enabling  you  to  play  music  that  glows  with  life 
and  animation;  a  sensitive  vibrating  lever,  immediately 
under  your  finger,  that  forms  the  connecting  link 
between  you  and  the  piano,  enabling  the  novice  to 
play  with  spirit  and  dash. 

Supplemented  by  the  Melodant  —  which  gives 
distinctiveness  to  the  Melody;  the  Sustaining 
Pedal  device,  the  Graduated  Accompaniment 
and  the  Melody  Buttons  —  the  music  of  the 
whole  world  can  be  played  by  anyone. 

Kntbe-Angelns  —  Grand  and  Upright,  the  celebrated  Knabe  piano  and  the  Angelut. 
Emerson-Angela*  —  Grand  and  Upright,  the  iweet-toned  Emerson  piano  and  Angelus. 
Angelas-Piano  —  An  upright  piano  built  expressly  for  the  Angelus. 

In  Canada—  The  Gourlay-  Angelus  and  Angelus  Piano. 


Any  of  these  instruments  can  be  played  by  hand  in  the  usual  manner 


THE  WILCOX  &  WHITE  CO. 


MERIDEN,  CONN. 

Agencies  All  Over  the  World 


Business  Established  1877 
233  Regent  Street,  LONDON 


THE      THEATRE      MAGAZINE      ADVERTISER 


xv 


doubtedly  have  made  a  brilliant  success  of  the 
venture.  But  the  odds  were  too  great.  Ham- 
pered by  the  board  of  directors  and  a  divided 
responsibility  he  was  unable  to  work  out  any 
definite  policy  for  the  theatre  and  a  worthy  en- 
terprise went  down  to  defeat.  But  if  the  New 
Theatre  was  a  failure,  Winthrop  Ames  was  not. 
In  his  short  term  as  director  he  demonstrated 
anew  the  fine  results  to  be  obtained  from  a  per- 
manent company  of  players,  and  in  two  seasons 
he  introduced  more  new  dramatists  to  the  Amer- 
ican public  than  any  other  one  of  our  managers 
had  ever  done  in  the  same  space  of  time.  Mr. 
Ames  is  now  in  possession  of  his  own  metropol- 
itan theatre,  the  Little,  with  still  another  under 
construction.  His  last  season's  production,  "The 
Pigeon,"  by  John  Galsworthy,  proved  the  value 
of  having  a  man  of  fine  instincts,  high  ideals  and 
sound  and  penetrating  discernment  in  the  man- 
agerial field.  Mr.  Ames  is  a  force  to  be  reckoned 
with  in  the  American  theatre.  He  has  the  requis- 
ite brains  and  ability,  the  artistic  discrimination 
and  the  courage  of  his  convictions  which  will  one 
day  make  him  our  foremost  producer  of  plays. 

There  is  still  another  force  in  American  man- 
agement yet  to  be  considered — the  actor-man- 
ager. This  is  a  genus  more  common  to  Eng- 
land than  to  America,  but  our  stage  has  not  been 
altogether  deprived  of  his  influence  in  the  past. 
Booth,  Barrett,  Lester  Wallack  and  Richard 
Mansfield — all  these  were  actor-managers  in  their 
day.  It  is  pleasant  to  record  the  fact  that  the 
actor-manager  is  becoming  the  rule  rather  than 
the  exception  among  the  leading  players  of  our 
stage.  Sothern  and  Marlowe,  Mrs.  Fiske,  Henry 
Miller,  Margaret  Anglin,  William  Faversham, 
and  Walter  Whiteside  are  some  of  the  illustrious 
examples  now  before  the  public.  The  actor-man- 
ager has  his  faults — sometimes  he  overvalues  his 
own  importance  and  abilities — but  on  the  whole  it 
may  be  said  that  the  artistic  results  of  the  ef- 
forts of  an  actor  who  directs  his  own  destinies 
are  more  considerable  than  those  of  the  star  who 
is  subject  to  the  dictates  of  a  manager.  The  self- 
managing  star  is  more  apt  to  depart  from  the 
hard  and  beaten  path,  he  is  generally  ambitious 
and  he  is  able  to  give  rein  to  his  ambitions. 
The  stage  is  distinctly  the  gainer  by  his  presence, 
and  the  results  in  the  past  have  been  most  grati- 
fying to  serious  lovers  of  the  drama.  It  has 
been  the  actor-manager  who  has  made  many  of 
the  most  notable  productions  of  late  years.  To 
him  we  are  indebted  for  ''The  Great  Divide," 
"The  World  and  His  Wife,"  ''Herod,"  and  others 
too  numerous  to  mention.  His  plays,  as  a  rule, 
combine  literary  with  dramatic  excellence;  they 
are  well  produced,  and  the  acting,  both  individual 
and  ensemble,  is  of  a  superior  order.  It  is  worthy 
of  note  that  on  becoming  managers  there  has 
been  a  perceptible  growth  in  the  artistic  stature 
of  our  stars;  the  scope  of  their  art  has  widened 
and  they  have  displayed  powers  of  expression 
undreamed  of  before. 

The  achievements  of  these  actor-managers  and 
producers  like  Belasco  and  Ames  will  bear  care- 
ful analysis.  Why  have  these  men  succeeded 
where  the  millionaires  of  the  New  Theatre 
have  failed?  The  answer  lies  in  the  fundamental 
differences  in  the  nature  of  their  appeals.  Ames, 
Belasco  and  the  actor-managers  have  made  their 
appeal  for  support  to  the  great  theatre-going 
public;  they  have  produced  plays  which  would 
amuse  people,  not  educate  them.  On  the  other 
hand,  the  express  purpose  of  the  New  Theatre — 
— if  the  millionaire  directors  could  be  said  to 
have  any  one  definite  aim — was  to  elevate  the 
drama,  to  present  plays  which  would  not  be  suit- 
able for  production  in  the  Broadway  houses. 
These  well-meaning  but  inexperienced  men  over- 
looked one  of  the  chief  canons  in  dramatic  art — 
i.  e.,  drama  must  make  its  appeal  to  the  crowd. 

There  is  much  absurd  discussion  about  those 
worthy  plays  which  are  marvels  of  literary  and 
dramatic  expression,  but  which  are  limited  in 
their  appeal  because  of  their  intellectuality.  Such 
an  idea  is  untenable.  It  is  untrue  and  unsound, 
as  Mr.  Clayton  Hamilton  has  carefully  pointed 
out  in  his  able  and  discriminating  work.  "The 
Theory  of  the  Theatre."  The  appeal  of  the  acted 
drama  is  diametrically  opposed  to  that  of  the 
essay  or  the  novel.  The  novel  appeals  to  but  a 
single  mind.  Not  so  with  the  play  in  perform- 
ance, which  depends  for  success  upon  the  immedi- 
ate response  of  a  thousand  or  more  minds,  minds 
which  have  lost  their  individuality  and  are  fused 
during  the  time  of  presentation  into  a  single 
consciousness.  Drama  is  first  of  all  something  to 
be  seen,  only  secondly  to  be  heard.  The  spoken 
word  is  of  minor  importance.  If  the  reader  wish 
conclusive  proof  of  this,  let  him  go  to  a  moving- 
picture  house.  A  play  must  always  tell  a  story; 
it  may  stand  for  an  idea — all  the  great  dramas 
do — but  movement  and  action  are  vital.  If  the 
dramatist  can  embellish  his  story  by  fine  writing, 
so  much  the  better,  but  his  first  task  is  to  satisfy 
the  eye  of  the  spectator. 


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The  Revue  of  1912         THE  SET  of  two  handsomely  bound 

*  volumes,  containing  the  twelve  num- 
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A  complete  record  in  picture  and  text  of  the 
theatrical  season  of  the  past  year. 

It  contains  over  720  pages,  colored  plates, 
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The  Theatre  Magazine,  8-14  West  38th  Street,  New  York 


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XVI 


THE   THEATRE   MAGAZINE   ADVERTISER 


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A  unique  and  exclusive  feature  of  the  THEATRE  MAGAZINE  is  the 
Fashion  Department.  Do  not  fail  to  read  the  suggestions  and  pointers 
of  our  Fashion  Editor,  an  authority  of  both  continents. 


Students  in  Interesting  Plays 


On  Jan.  i6th  the  American  Academy  of  Dra- 
matic Arts  gave  at  the  Empire  the  first  of  their 
exhibitions  of  the  season.  The  program  an- 
nounced two  short  plays  in  extreme  contrast  to 
each  other:  "The  Love  Game,"  a  comedy  in  two 
acts  from  the  French  by  Mm.  Aderer  and  Eph- 
raim,  and  "The  Dawn,"  a  poetic  fantasy  by  Lu- 
cine  Finch. 

The  little  French  comedy  is  conceived  and 
written  in  the  charmingly  inconsequential  style 
of  the  eighteenth  century,  and  the  students  of 
the  Academy  made  a  laudable  effort  to  suggest 
what  only  experienced  French  actors  can  succeed 
in  playing.  Miss  Carree  Clarke  came  nearest  to 
giving  an  illusion  of  old-worldliness. 

"The  Dawn"  is  a  delicate  piece  of  real  poetry. 
There  are  three  scenes  and  four  characters :  a 
Princess,  her  Handmaid,  a  Moon  Goddess  and  a 
Faun.  The  Moon  Goddess  seeks  the  Faun  in  the 
woods,  where  ''all  day  he  plays  upon  his  pipes, 
with  none  to  hear,  save  wildest  woodthings  creep- 
ing near,"  and  she  brings  him  a  human  soul. 
He  rebels  against  the  gift,  wildly,  fiercely,  fear- 
fully— until  the  Goddess  hangs  around  his  neck 
a  golden  chain  with  a  single  pearl,  the  symbol  of 
the  soul.  The  second  scene  is  laid  in  the  garden 
of  the  Princess.  The  Faun  has  become  a  man, 
a  Prince.  He  meets  the  Princess  and  they  love. 
But  the  Princess  sees  the  chain  he  wears  and 
playfully  asks  to  have  it.  His  refusal  only  re- 
doubles her  craving,  and  finally,  with  a  last 
broken-hearted  appeal,  he  gives  her  that  which 
made  of  him  a  human  being.  Immediately  his 
faunish  nature  returns  to  him,  his  love  has  gone 
with  his  soul.  As  the  wild  thing  he  was  before, 
but  with  a  sob  in  his  laughter,  he  runs  back  into 
the  woods,  where  he  is  discovered  in  the  third 
scene.  He  endeavors  vainly  to  regain  his  free- 
dom of  spirit  and  feel  again  the  thoughtless, 
animal  joy  of  living.  But  all  things  are  changed 
to  him ;  even  his  pipes  will  yield  no  more  their 
weird,  fantastic  music. 

The  Princess  comes  into  the  woods  to  seek 
her  lover  and  return  the  pearl  to  him.  But  he 
will  not  take  it  for  fear  of  more  suffering. 

Miss  Wollersen  as  the  Moon  Goddess  and  Miss 
Lilley  as  the  Princess  looked  and  spoke  well. 
But  a  special  mention  must  be  made  of  Joseph 
Schildkraut,  who  played  the  part  of  the  Faun. 
He  is  a  boy  of  not  quite  seventeen  and  the  son 
of  the  great  German  character  actor  Rudolf 
Schildkraut.  He  has  now  finished  the  junior  and 
senior  courses  at  the  Academy  and  will  shortly 
make  his  debut  in  the  profession.  If  he  remains 
unaffected  by  his  early  success ;  if  he  continues 
to  develop  his  faculties  and  to  grow  inwardly, 
we  may  expect  him  to  become  a  great  artist. 

The  second  performance  by  the  senior  mem- 
bers of  the  Academy  took  place  on  January  23rd. 
A  bright  little  English  comedy,  "The  Superior 
Miss  Pellender,"  by  Sydney  Bowkett,  was  pre- 
ceded by  "Separation,"  a  one  act  playlet  from 
the  French  by  Mortimer  Delano.  The  students 
succeeded  in  bringing  out  all  the  gloom  con- 
ceived by  the  author. 

The  three  acts  of  "The  Superior  Miss  Pellen- 
der" were  a  continuous  ray  of  sunshine  and  ex- 
cellent English  humor,  remarkably  well  pre- 
sented by  a  cleverly  selected  cast.  Miss  Made- 
leine King  showed  great  ability  in  her  acting 
and  her  future  work  should  be  watched.  Giles 
Lowe  was  the  most  delightful  half-grown  boy 
one  can  imagine. 

The  third  matinee  took  place  February  6th, 
Ibsen's  "Pillars  of  Society"  being  given.  It  is 
difficult  even  for  experienced  players  to  awaken 
the  interest  of  an  American  audience  in  the 
best  of  the  great  Norwegian's  dramas.  "Pillars 
of  Society"  is  decidedly  one  of  his  weakest,  and 
the  students  of  the  Academy  are  very  young. 
It  is  all  the  more  to  their  credit  that  they  should 
have  proven  capable  of  holding  the  attention  of 
their  audience. 

To  Edward  G.  Robinson  was  allotted  the  ar- 
duous task  of  impersonating  Consul  Bernick — a 
man  of  forty-five,  a  wealthy  shipowner,  hard, 
calculating,  unscrupulous,  who  goes  through  the 
entire  scale  of  emotions.  Great  actors  have 
found  the  character  difficult  to  interpret.  Mr. 
Robinson  is  barely  twenty  years  old  and  of  rather 
small  size,  yet  his  Consul  Bernick  was  one  of 
the  best  portrayals  ever  given  by  any  of  the  stu- 
dents. His  strong,  expressive  features  and  his 
excellent  voice,  though  of  great  help  to  him. 
would  certainly  not  have  proven  sufficient  to 
obliterate  his  physical  drawbacks,  had  he  not 
succeeded  in  creating  with  his  intellect  an  im- 
pression of  bigness,  of  force  and  weight  for 
which  the  average  actor  has  to  rely  upon  his 
physique. 


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THE      THEATRE      MAGAZINE      ADVERTISER 


xvii 


^perfect  in  their 
way  as  a  sculpture 

o 


or  the  dancing  of 
magical  music  of 


Egyptian 


"(]&  'Utmost  in  Cigarettes 

Cork  clrps  or  Plain 


A  Delightful  Party 

An  Interesting  Play 

An  Enjoyable  Evening 


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Four  pages  are  reserved  for  each  play  —  with  printed  headings 
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XV111 


THE   THEATRE  MAGAZINE   ADVERTISER 


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and  beautifully  finished — at  prices 
unequalled  for  quality. 

ORIENTAL  RUGS  OF  D1& 
TI NOTION  and  exquisite  beauty 
selected  by  our  expert,  whose  ad- 
vice is  at  your  service. 

DECORATIONS  IN  GOOD 
TASTE  AND  THEREFORE 
SIMPLE.  Painting,  tinting,  paper 
hanging,  all  done  by  our  trained 
artisans  under  competent  direction. 


D 


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TIMELY    FASHION    TALK 


(.Fig.  6)      THE   CHARM  OF  THE  RUSSIAN  BLOUSE 

The  vogue  for  Russian  blouses  in  various  modifications  is  one  of  the  most  interesting  spring  modes.  The  blouse  in  this  model  could  be 
exploited  in  "Brocade  Crepe  Trianon,"  or  one  of  the  printed  crepe  meteors,  the  long  skirt  of  the  plain  material  sounding  the  dominant  color 
note.  The  blouse  is  delightfully  simple  with  trimmings  of  the  plain  material.  The  yoke  is  of  a  fine  real  lace  and  matches  the  sleeves, 
which  are  delightfully  graceful  and  pretty.  The  large  Milan  straw  hat  matches  in  color  the  blouse,  and  the  brim  is  softly  rolled  back  in  the 
front  and  caught  by  a  cluster  of  exquisitely  shaded  roses  blending  with  the  colors  of  the  blouse.  A  wreath  at  ostrich  encircles  the  crown. 


AEI 


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A     d5    Tf 

A  5 


STU 


WHEN  Easter  comes  before  the  April  sunshine  and  showers, 
as  it  does  this  year,  we  must  glean  some  of  our  inspira- 
tion for  the  early  spring  costumes  from  the  clothes  show 
at  the  Riviera.    To  be  sure,  the  great  couturiers  of  Paris  hesitate 
to    exploit    any   of   their   really 
new  ideas,  but  the  adaptations  of 
the  late  winter  styles  can  boast 
many  interesting  phases. 

One  of  the  most  interesting 
features  of  the  spring  modes, 
which  is  pretty  sure  to  be  incul- 
cated in  the  final  exhibition  of 
spring  models,  is  the  combina- 
tion of  plain  materials  with 
figured  goods  of  the  same  color, 
and  the  combination  of  materials 
of  different  textures  and  con- 
trasting colorings.  The  manu- 
facturers of  materials  have  pre- 
pared for  this  innovation  by 
presenting  the  plain  material 
with  the  broche  fabric  in  the 
same  coloring,  in  woollen,  silk 
and  cotton  textures.  Some  of 
the  best-looking  street  costumes 
display  a  skirt  of  the  plain 
material  and  a  jaunty  cutaway 
jacket  of  "metalasse"  in  the 
same  shading  with  the  plain 
material  repeated  for  the  revers 
and  cuffs. 

This  idea  is  carried  further  by 
the  costumes  displaying  a  skirt 
of  striped  serge  with  a  jacket  of 
moire,  or  a  skirt  of  black  and 
white  check  goods  and  a  coat  of 
black  charmeuse  with  oddly 
shaped  revers  and  cuffs  of  the 
checked  cloth.  This  fad,  by  the 
way,  has  brought  back  into 
favor  the  good  old  standbys 
black  and  white  checks,  and  also 
blue  and  white  and  brown  and 
white  checks,  with  coats  of  the 
plain  material  and  waistcoats  of 
the  white  fabric.  Sometimes,  by 
way  of  variety,  this  order  is  re- 
versed and  the  plain  material  is 
used  for  the  skirt  with  the  jacket 
of  the  checked  goods.  The 
charm  of  these  combinations  is 
clearly  demonstrated  by  the 
models  shown  in  the  photo- 
graphs, particularly  Figures  I 
and  ^. 

The  motif  of  the  early  spring 
modes  is  similar  to  that  of  the 
winter,  namely,  drapery.  Those 
who  expected  to  see  more  fullness 
in  the  skirts  are  doomed  to  dis- 
appointment, for  the  actual  cir- 
cumference of  the  skirt,  instead 
of  being  increased,  is  decreased, 
the  additional  fullness  necessary 
for  an  untrammelled  step  being 
procured  either  by  plaits  or  by  a 
slashing  of  the  side  or  front  of 
the  skirt.  The  greatest  amount 


(.Fig.  2)  A  CHARMING  STREET  FROCK  FOR  SPRING  FROM  DRECOLL 
This  effective  model  would  be  charming  in  "Crepe  Chinois"  as  a  frock  to  be  worn 
on  the  street,  to  luncheons,  afternoon  tea  and  such  semi-formal  functions.  The 
drapery  of  the  skirt  is  carried  well  to  the  back,  giving  the  close-fitting,  clinging 
effect  around  the  feet.  The  simple  little  blouse  is  daintily  enhanced  with  folds  of 
white  tulle,  arranged  in  the  new  V  shape,  and  a  rever  of  crepe  in  a  contrasting 
color,  which  is  drawn  through  a  slit  in  the  front.  Pearl  necklaces  are  worn  in  all 
kinds  of  ways  by  the  chic  Parisienne.  The  straw  hat  matches  the  color  of  the 


of  fullness  now  falls  between  the  hips  and  the  knees,  the  lower 
portion  clinging  closely  to  the  figure.  This  recent  innovation  has 
brought  into  existence  a  novel  flare  on  many  of  the  new  tunics, 
which  is  a  bit  trying  unless  one  has  succeeded  in  banishing  all 

semblance  of  hips. 

A  certain  freedom  is  permit- 
ted in  draping  the  new  skirts ; 
sometimes  this  drapery  appears 
on  the  sides,  again  in  the  centre- 
front,  but  more  often  in  the 
back.  The  drapery  arranged  as 
in  Fig.  2  is  very  generally  be- 
coming; the  long  line  in  the 
front  is  preserved  and  the  full- 
ness is  restrained  between  the 
hips  and  the  knees.  The  drapery 
in  Fig.  4  is  also  carried  well  to 
the  back,  though  a  little  is  al- 
lowed to  creep  toward  the 
centre-front.  In  both  of  these 
models  the  closely  fitting,  lower 
portion  of  the  skirt  is  noticeable. 
The  extreme  suppleness  of  such 
materials  as  the  new  "Crepe 
chinois"  and  the  "Moire  serb" 
make  it  possible  to  retain  the 
slender,  clinging  silhouette  even 
though  liberal  drapery  is  used. 

Even  the  tailored  suits  are 
now  draped,  the  tailors  not  hesi- 
tating to  drape  such  materials  as 
velours  de  laine,  rep,  ottomans. 
Bedford  cords,  poplins  and 
"Needle  cord."  When  drapery 
is  not  adopted,  plaits  are  sure  to 
be  used.  The  plaits  at  the  sides 
have  been  found  to  be  the  most 
satisfactory,  though  one  finds 
inset  plaits  at  the  back  of  the 
skirt  near  the  bottom,  and  like- 
wise directly  in  the  front.  The 
slashing  of  the  skirt  at  the  side, 
or  in  front,  is  now  so  universal 
that  it  does  not  cause  even  the 
quiver  of  an  eyelid.  It  is  cer- 
tainly a  better  idea  to  give 
women  sufficient  freedom  to 
permit  graceful  locomotion 
rather  than  to  compel  the  hob- 
bled, awkward  gait  of  the  past 
two  or  three  seasons. 

The  new  coats  are  extremely 
jaunty  creations.  The  tendency, 
despite  the  popularity  of  the 
Russian  blouse,  is  toward  much 
shorter  garments,  and  it  looks 
very  much  as  if  the  Eton  and 
bolero  were  to  have  their  in- 
nings. At  any  rate,  many  of 
the  new  models  show  a  tendency 
to  stop  at  the  waist  line,  where 
they  may  blouse  over  a  belt, 
though  they  extend  twelve 
inches  or  so  longer  in  the  back. 
Even  the  cutaways  are  fashioned 
very  much  shorter  than  during 
the  winter,  and  are  cut  on 
broader  lines.  The  extreme 


crepe  and  the  feathery  fantasie  blends  with  the  shade  of  the  revers.     The  Tarn  o' 
Shanter  crown  is  of    'Malinette,"  which  is  crisp  and  lustrous,  even  after  it  is  wet 

We  will  gladly  give  names  of  shops  where  goods  described  may  be  purchased. 
Address  THE  THEATRE  MAGAZINE  Fashion  Deft.,  8-14  West  s8th  Street,  New  York  City. 


THE      THEATRE      MAGAZINE      ADVERTISER 


XXI 


Lane   Bryant 


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Largest  Maker  and  Retailer  of 

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Mad--  from  pure  rubber 
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Send  for  Illustrated  Literature   and  Full  Particulars 

Dr.  JEANNE  WALTER,  Dept.  T,  45  w.  34th  St.,  NEW  YORK  CITY 

Philadelphia  Representative  :  MKS.  KAMMKRKR,  1020  Walnut  St. 
San  Francisco  Representative:  AI)KI,K  MILLAR  CO.,lWi  Geary  St. 
Chicago  Representative;  E.  BUKNHAM,  138  No.  State  Street. 


J&  e*t  &  Co. 


The  name  of  Best  &  Co.  has  been 
associated  for  a  quarter  of  a  century  with 
smart  clothes  for  infants,  children  and  misses. 
Long  famous  as  the  "Lilliputian  Bazaar," 
originators  of  correct  styles  for  little  folk, 
they  have  gradually  added 

New  Departments 

for  the  sale  of  outer  garments,  millinery, 
lingerie  and  footwear  for  women,  and  with 
such  success  that  it  has  become  necessary  to 
devote  the  entire  second  floor  to  women's 
and  misses'  outer  garments  and  millinery, 
and  the  fourth  floor  to  children's  and  juniors' 
outer  garments,  hats  and  caps,  in  addition 
to  the  greatly  enlarged  Toy  Department. 

One  of  the  features  of  the  women's 
and  misses'  department  is  the 

Custom  Order  Department 

under  the  supervision  of  a  designer  whose 
reputation  as  a  style  creator  assures  origi- 
nality and  exclusiveness  in  every  garment. 

In  the  Shoe  Department 

on  the  third  floor  additional  room  has 
been  provided  for  the  accommodation  of 
women  customers,  so  that  when  footwear 
is  being  purchased  for  the  little  ones  their 
mothers  may  also  choose  from  a  varied 
stock  of  popular  models  and  styles  for 
morning,  afternoon  or  evening  wear. 

In  the  infants',  children's  and  misses' 
departments  the  same  high  efficiency  pre- 
vails as  to  style  and  quality  which  has 
been  so  long  synonymous  with  the  name 
of  Best  &  Co. 

New  York 


Fifth  Avenue 


At  Thirty-Fifth  Street 


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xxn 


THE      THEATRE      MAGAZINE 


bagginess  of  many  of  the  new  coats  is  an  interesting  development 
which  has  resulted  from  the  general  adoption  of  the  Russian 
blouse.  Not  only  do  many  of  the  coats  blouse  liberally  over  the 
belt  in  front  and  in  back,  but  at  the  sides,  giving  that  much- 
desired  slouchy  effect. 

There  are  numerous  modifications  of  the  genuine  Russian 
blouse.  Poiret  shows  it  in  all  its  baggy  fullness,  and  again  in  an 
adaptation  which  displays  a  cleverly  shaped  skirt  portion  little 
longer  than  a  peplum.  The  more  usual  style  is  that  shown  in  Fig. 


The 


(l-ig.   3)     A  HANDSOME  AFTERNOON  GOWN  BY  DRECOLL 
new   "Moire   Serb"   is   the   ideal  fabric   for   a   model   of   this   kind,   its   novel 


"",    "  n»«u   laaric    ror   a    model    of    this    kind,    its    novel 

frosted  effect  showing  to  excellent  advantage  on  the  skirt.  The  upper  fart  of  the 
waist  shows  the  vogue  for  transparent  materials,  and  the  drapery  of  chiffon  on  the 
sleeves  suggests  the  old-time  angel  sleeve.  The  sash,  which  is  such  a  prominent 
feature  of  the  new  costumes,  is  finished  with  a  large,  loose  bow  at  the,  side  and 
comparatively  short  ends 


5,  where  the  blouse  fastens  at  the  side  and  the  normal  waist  line 
is  marked  by  a  belt.  Other  modifications  feature  the  very  low 
waist  line,  the  wide  belt  frankly  encircling  the  hips  in  the  manner 
of  the  Orient.  This  style,  by  the  way,  is  charming  on  young 
girls,  or  women  blessed  with  a  slender,  lithe  figure. 

Just  a  word  about  the  hip  sash  which  is  a  feature  of  the  corset- 
less  gowns.  It  is  borrowed  directly  from  the  East,  the  source  of 
much  of  the  inspiration  for  the  late  winter  and  early  spring 
modes,  and  has  been  adapted  largely  in  its  original  form.  In  a 
more  modified  style  it  is  shown  on  nine  out  of  ten  of  the  gowns 
worn  at  the  Riviera.  It  may  fasten  at  the  side,  with  long  ends 
finished  in  embroidery,  beads  or  fringe,  or  directly  in  the  front, 
the  ends  brought  together  in  drapery  fashion  and  caught  with  a 
large  tulle  choux,  or  again  with  ends  carried  to  the  back,  where 
they  fall  in  some  mysterious  manner  into  the  back  drapery. 

It  is  well  to  say  to  her  that  not  only  is  the  Oriental  sash  fashion- 
able, but  all  sorts  of  sashes  and  sash  ends. 

The  waists  of  the  spring  gowns  are  just  as  charming  and 
delightfully  simple  as  that  shown  in  Fig.  2.  There  is  almost  a 
Puritanical  severity  in  the  simple  folds  of  net  or  tulle  which  form 
the  vest  of  this  waist  and  the  dainty  ruffled  edge  outlining  one 
side.  These  frills,  by  the  way,  are  no  longer  accordion  plaited, 
but  lightly  gathered  or  shirred,  in  the  careless  manner  so  prevalent 
this  season,  but  so  very  difficult  to  imitate  successfully.  Some- 
times the  vest  is  simulated  by  folds,  as  in  this  model,  but  more 
often  it  is  frankly  exploited  in  lace  or  a  tucked  sheer  material,  as 
in  Fig.  4,  with  the  color  note  sounded  in  the  buttons  or  cravat. 

The  majority  of  the  new  sleeves  still  boast  the  low  shoulder 
seam,  as  is  also  shown  in  Fig.  4,  but  there  is  an  unmistakable 
tendency  toward  more  fullness.  The  lower  part  of  the  sleeve  in 
this  same  model  shows  a  certain  fullness,  as  it  drapes  gracefully 
over  the  shirred  undersleeve  of  lace,  and  there  is  certainly  a 
suggestion  of  fullness  in  the  chiffon  drapery  of  the  sleeve  in  Fig. 
3.  The  good  old  standby,  the  kimono  sleeve,  has  not  been  en- 
tirely ousted  for  Drecoll  shows  it  in  his  fetching  spring  gown 
(Fig.  2). 

The  daring  transparency  of  the  upper  part  of  the  waist  knows 
no  bounds,  and  we  are  promised  V-shaped,  low-necked  frocks 
for  the  street  this  coming  season.  In  an  evening  gown,  similar 
to  Fig.  I,  the  effect  is  charming,  for  when  one  is  in  evening 
costume  she  is  generally  in  an  assemblage  of  men  and  women  of 
her  social  set,  but  on  the  street,  where  one  may  be  stared  at  by 
the  hoi  pnilloi,  the  extreme  decolletage,  displayed  in  many  of 
the  most  recent  importations,  is  in  questionable  taste.  The  vogue 
for  the  Medici  collar  may  be  answerable  for  this  effect,  but  it  is 
possible  to  enjoy  the  Medici  collar  and  the  Romney  bodice  with- 
out indulging  in  an  extreme  low  neck. 

One  of  the  well-known  shops  is  making  a  specialty  of  the  short 
coatees  in  brilliant-hued  brocaded  crepes,  such  as  the  "brocade 
crepe  Trianon."  These  jaunty  little  creations  are  semi-fitting, 
sometimes  with  sleeves,  but  quite  as  often  sleeveless,  and  reach 
to  the  hips.  The  smart  little  touch  is  in  the  trimming  of  ermine 
or  ostrich  banding.  They  are  quite  the  choicest  complement  to 
the  lingerie  frock,  and  have  come  to  us  straight  across  the  big 
pond,  where  the  smartly  gowned  women  have  been  wearing  fur- 
trimmed  garments  with  lingerie  frocks  for  the  past  two  summers. 

Speaking  of  the  thin  .frocks  for  the  summer,  one  should  not 
overlook  the  new  "D.  &  J.  Anderson  Ginghams"  which  may  be 
fashioned  into  good-looking  trotteur  frocks  to  wear  into  town  on 
a  hot  day.  These  genuine  old  Scotch  ginghams  are  the  best,  as 
their  reputation  has  been  growing  for  the  past  century.  They 
are  woven  from  the  finest  Sea  Island  and  Egyptian  cotton  yarns 
and  the  quality  has  never  cheapened,  despite  the  change  in  con- 
ditions of  manufacture,  during  all  these  years.  The  reputation 
for  fast  colorings,  the  best  of  quality,  and  exclusive  designs, 
which  these  goods  have  earned  for  themselves  during  all  this 
time,  has  won  for  them  many  enthusiastic  admirers.  Those  in 
the  brilliant  and  richly  colored  plaids  are  very  smart  when  com- 
bined with  the  plain  coloring,  while  those  who  fear  the  plaids 
might  not  be  becoming  may  choose  a  stripe  or  check. 


We  will  gladly  give  names  of  shops  inhere  goods  described  may  be  purchased. 
Address  THE  THEATRE  MAGAZINE  Fashion  Debt..  S-IA  West  38th  Street.  New  York  Cit-a 


THE      THEATRE      MAGAZINE      ADVERTISER 


xxni 


Examine  your 
skin  closely 

See  if  the  pores  have  become  large 
and  clogged;  if  it  bas  lost  its  smooth- 
ness; if  it  has  grjwn  colorless. 

These  conditions  of  the  skin  are  a 
natural  result  of  the  const  ant  strain 
imposed  upon  it  during  the  winter 
nmnths.  when  we  eat  heavy  foods 
and  take  almostno  exercise.  Each 
Spring,  the  skin  needs  refreshing, 

How  to  refresh 
your  skin 

Wash  your  face  with  care  and  take 
pleniy  <»f  time  to  do  it.  Lather  freely 
with  Woodbury's  Facial  Soap  and  rub 
in  gently  till  the  skin  is  softened  and  the 
pores  open.  Then  rinse  several  times 
in  very  cold  water,  or  better  still,  rub 
with  a  ///;///  of  ice. 

Woodbury's  Facial  Soap  is  the  work  of 
an  authority  on  the  skin  and  its  needs. 
It  contains  properties  which  are  bene- 
ficial to  the  skin  in  its  continual  effort 
to  rebuild  llie  finer  texture.  This  treat- 
ment with  Woodbury's  cleanses  the 
pores,  then  closes  them  and  brings  the 
blood  to  the  surface.  You  feel  the  dif- 
ference the  first  time  you  use  it.  Follow 
this  treatment  persistently  and  it  will 
not  be  lone  before  you  have  a  skin  that 
will  bear  the  closest  scrutiny,  a  radiantly 
healthy  complexion  that  will  be  a  con- 
stant source  of  satisfaction. 


Follow  the  treat- 
ment Mmv  and 
von  <~a}i  kccP 
YOUR  skin  so 
that  yon  can  al- 
ivays  be  proud 
of  it. 


Woodbury's  Facial  Soap  costs  25c  a 
cake.  No  one  hesitates  at  the  price 
after  their  first  cake.  As  a  matter  of  fact, 
it  is  not  expensive,  for  it  is  solid  soap- 
all  soap.  It  wears  from  two  to  three 
times  as  long  as  the  ordinary  soap. 

Go  to  your  dealer's  today  and  get  a  cake. 
Tear  off  the  illustration  of  the  cake  be- 
low and  put  it  in  your  purse  as  a  re- 
minder. 


Woodbury's  Facial  Soap 

For  sale  by  dealers  throughout  the  United  States  and  Canada 


Write  today  for  samples 
For  4c  -sve  will  send  a  sample  cake.  For  lOc 
samples  of  W'oodbiiry''  s  facial  Soap.  Fa- 
cial Cream  and  fyowder.  For  50c  a.  copy  of 
the  li'iwdfntry  Book  and  samples  of  the 
Woodhitry  Preparations.  Write  today  to 
tke  A>idreit'Jer£ens  Co  ,  Dept.  F-3  Spring 
Grove  A  venue,  Cincinnati,  Ohio,  or  to  the 
Andrew  Jergens  Co.,  Ltd.  Dept.  F-3 
Perth,  Ontario,  Canada. 


'T  WEAR  Kleinert's 
I   Opera  Shape  Dress 
Shield  in  my  danc- 
ing dresses. 

"  For  other  kinds  of 
dresses,  I   need  other 
shapes    of    Kleinert's 
Shields. 
"  So  I  look  at 


Dress   Shields 


H 


R 


"  It  shows  just  the 
Kleinert's  Shield  I 
need  for  each  gar- 
ment. 

"Do  as  I  do. 

"Consult  Kleinert's 
Dress  Shields  Chart  at 
the  Notion  Counter." 


Stunning  ribbon-trimmed  model  in  the 
approved  elongate  lint,  made  of  pliable 
straw  and  taffeta  ribbon.  All  colors 
and  combinations. 

"Nimrod"  S88 


Dress  hat  of  hemp,  with  soft 
satin  crmvn  and  plain  satin 
facing.  Curved  quill  and 
ombre  neninadi  trimming. 
All  colors  and  combinations, 
"Cotta"  580. 


ti. 


Walking  hat  in  the 
new  elongated  side 
ltnet  accentuated  by 
the  use  of  paradise 
fancies.  Velvet  ap- 
plied on  brim.  All 
colors  and  combi- 
nations. 
"Mercury"  576. 


TRADE     MARK 


2L  B*  Jiurgesser  Si  Co* 

149  anD  151  3?iftl)  atjmur,  jjicto 

©nip) 


bp  leaning;  Beaters  tbrouabottt  the  SEniteU  States  anB  Canata 
— in  JI5eto  pork  Cttp  bp  ©tmbel 


When   writing  to   advertisers,  kindly   mention  THE  THEATRE   MAGAZINE 


XXIV 


THE      THEATRE      MAGAZINE 


low 


The  parcel  post  and  the  efficient  shopping  service  provided  by 
the  magazines  and  shops  bring  the  women  living  in  the  most 
distant  parts  of  this  big  country  into  easy  communication  with 


(Fig.  1)  A  STUNNING  EVENING  FROCK  By  BVZENET 
This  effective  model  would  be  beautiful  developed  in  "Brocade  Crepe  Trianon" 
The  underskirt  it  of  the  plain  crepe,  matching  in  color  the  brocade.  The  upper 
•fart  of  the  corsage  is  delightfully  transparent  and  shows  the  charm  of  the'stvle 
calling  for  contrasting  sleeves,  chiffon  being  used  for  one  and  the  brocaded  Crete 
for  the  other.  The  headdress  of  pearls  and  aigrettes  is  decidedly  novel. 


the  clothes  marts  of  the  large  cities.  All  the  novelties,  the  smart, 
little  accessories  which  lend  a  knowing  touch  to  the  well-con- 
ceived costume,  even  the  fundamentals  of  the  wardrobe,  can  be 
purchased  as  satisfactorily,  often  with  far  less  trouble,  than  by  a 
personal  tour  of  the  shops.  This  fact  is  worth  remembering 
when  you  are  preparing  your  spring  wardrobe,  for  why  get  along 
with  old  duds  when  you  may  enjoy  the  latest  and  newest  offer- 
ings of  the  metropolitan  shops?  And  there  are  such  lovely  new 
things  in  the  shops,  so  unusual,  so  artistic,  and  so  completely 
alluring. 


Tlhe  Color  Note  lira  the  Blouses 


If  you  were  making  a  personal  tour  of  the  shops  your  eye 
would  surely  be  attracted  by  the  new  blouses,  for  it  has  been 
many  a  season  since  the  shirtwaists  have  been  as  cleverly  de- 
signed, as  lovely  in  coloring,  and  as  appealing  in  the  beauty  of 
material  and  trimming,  as  this  spring.  The  all-white  blouse  has 
a  serious  rival  in  the  blouse  sounding  the  color  note.  This  color 
note  may  be  subtly  and  faintly  sounded  as  in  the  fetching  new 
waists  of  chiffon  or  lace  with  an  inner  lining  attached  to  the 
waist  line  and  straps  of  ribbon  extending  over  the  shoulders.  In 
form  these  wisps  of  lining  are  reminiscent  of  the  corset-cover  or 
brassiere,  and,  like  them,  are  fashioned  from  lace,  embroidery,  or 
beading,  through  which  ribbon  is  run.  The  color  of  the  ribbon 
glimmering  through  the  sheer  outer  material  of  the  blouse  is 
simply  fascinating.  Some  of  these  bewitchingly  dainty  waists  are 
fashioned  from  chiffon,  accordion  plaited,  as  so  many  of  the  new 
blouses  are,  while  others  are  developed  in  one  of  the  fine  French 
laces.  It  is  surprising  to  find  a  novelty  of  this  kind  priced  as  low 
as  $7.95,  but  the  simpler  ones  can  be  bought  for  this  price. 

The  blouses  in  the  new  embroidered  crepes  are  very  stunning 
when  worn  with  the  ratine  suit,  and  they  are  not  expensive.  A 
charming  model  in  a  creamy  tint  with  tiny  pink  rosebuds  and 
green  leaves  scattered  all  over  it  can  be  procured  for  $15.50. 
There  is  a  jaunty  little  tucked  vest  of  white  batiste  and  trim- 
mings of  pink  braid  to  match  the  rosebuds.  Another  for  $18.50 
is  developed  in  the  new  bordered  ratine,  the  wide  border  in  bright 
orange  forming  the  chief  trimming.  For  the  ridiculously  low  sum 
of  $8.75  you  can  revel  in  a  dainty  little  creation  of  white  crepe 
with  plaited  muslin  vest  edged  on  either  side  bv  triangular-shaped 
points  of  rose-colored  linen  embroidered  by  hand  in  white  floss. 
The  color  note  is  likewise  sounded  in  a  trig,  tailored  waist  of 
Tosca  crepe  with  a  lavender  stripe  which  can  be  secured  for 
$6.75,  while  for  a  five-dollar  bill  you  can  enjov  a  simple,  but  very 
dainty,  white  crepe  waist  embroidered  by  hand. 


Bolgarnao  Colors  in  the  Neckwear 


The  newest  neckwear  is  fairly  ablaze  with  color ;  all  the  bril- 
liant reds  and  greens  and  blues  and  yellows  of  the  Balkan  coun- 
tries are  combined  in  a  wonderful  array.  Despite  the  crudity  of 
these  colorings,  they  are  so  perfectly  blended  that  the  result  is  an 
artistic  and  harmonious  whole.  Some  of  these  collars  have  a  net 
foundation  on  which  the  design  is  worked,  while  others  are  in  the 
form  of  heavy-embroidered  lace.  The  separate  collars  are  sold 
for  $2.40  up,  and  the  collars  with  cuffs  to  match  for  $3.95.  The 
addition  of  a  set  of  this  kind  will  be  the  making  of  a  suit  in 
neutral  coloring,  whether  fashioned  from  one  of  the  new  silk  or 
woollen  materials,  or  from  ratine. 


The  same  color  note  is  sounded  in  the  new  belts  which  are  too 
artistic  and  lovely  to  be  passed  over  hurriedly.  The  vogue  for 
shirtwaists  has  brought  in  its  train  a  demand  for  belts,  and  the 
manufacturers  have  answered  this  demand  in  a  most  interesting 
manner.  Imagine  a  belt  of  blue — a  rich,  greenish-blue — stone 


We  will  gladly  give  names  of  shops  where  goods  described  may  be  purchased. 
Address  THE  THEATRE  MAGAZINE  Fashion  Deht    R-u  Weal   i&th  Street.  New  York  Citv. 


THE   THEATRE   MAGAZINE   ADVERTISER 


KXV 


HAAS  BROTHERS 

PARIS 

SILK    FABRICS 


Crepe   Chinois 


99 


an    unusually    rich     silk    Crepe    or 
dull   finish 


"Brocade  Crepe 
Trianon ' 

a    handsome    Silk    for    Street     and 

Evening    wear,    in     all    the     latest 

Parisian  shades 


"Moire  Serb' 

a  distinctive  silk,  adapted  to  the  new 

draped  styles,  in  the  new  colorings, 

including  Bulgarian   Blue,   Amber, 

Putty,  Cafe  au  Lait,  etc. 


THE 

HAAS  BROTHERS' 
BLUE  BOOK  of  MODELS 

for  the  Spring  of  1913  are  now- 
being  shown  by  the  Leading 
Dressmakers  and  Ladies'  Tailors 


HAAS    BROTHERS 

PARIS— 13    Rue    Jcs    Pyramids 
NEW  YORK-303  Fifth  Avenue 


- 


_for  SPRING 


/^L AGE  HATS  give  the  wearer  that  dis- 
tinctive sense  of  being  fashionably  dressed, 
while  Gage  materials  add  vvorth-and-wear  value  to 
the  authentic  designs.      The  Gage  label  assures  you 
correct  style  and  complete  value. 

We  will  mail  you  our  current  book  of  new  styles  if  you  will  write  us  for  it.     Your  name, 
once  received,  becomes  part  of  our  mailing  list,  to  receive  subsequent  fashion  literature. 


GAGE  BROTHERS  &  CO.,  Chicago 

Ask  your  Dealer  for  GA  GE  HA  TS. 


A.     "Popular 


Edition     of    this      Famous 

One  Volume  in  8vo.  Bound  In  Paper 


"Book. 


LOVE 


PRICE.  50  CENTS 

F*RIEJVDSHIP 


(A  Nameless  Sentiment) 


With  a  Preface  in  Fragments  from  STENDHAL 

Translated  from  the  Frtnch  by  HEJfRy  T&JVE    2>V   BO/J 

This  is  the  romance  in  letters  of  a  man  and  a  woman,  extremely  intelligent 
and  accustomed  to  analyzing  themselves,  as  Stendhal  and  Paul  Bourget  would 
have  them  do.  They  achieved  this  improbable  aim  of  sentimentalist  love  in 
friendship.  The  details  of  their  experience  are  told  here  so  sincerely,  so 
naively  that  it  is  evident  the  letters  are  published  here  as  they  were  written, 
and  they  were  not  written  for  publication.  They  are  full  of  intimate  details  of 
family  life  among  great  artists,  of  indiscretion  about  methods  of  literary  work 
and  musical  composition.  There  has  not  been  so  much  interest  in  an  individual 
work  since  the  time  of  Marie  Bashkirsheffs  confessions,  which  were  not  as 
intelligent  as  these. 

Franclsque  Sarcey,  in  Le  Figaro,  said: 

"Here  is  a  book  which  is  talked  of  a  great  deal.  I  think  it  is  not  talked  of  enough,  for  it  is  one  of 
the  prettiest  dramas  of  real  life  ever  related  to  the  public.  Must  I  say  that  well-informed  people  affirm 
the  letters  of  the  man,  true  or  almost  true,  hardly  ananged,  were  written  by  Guy  de  Maupassant? 

"I  do  not  think  it  is  wrong  to  be  so  indiscreet.  One  must  admire  the  feminine  delicacy  with  which 
the  letters  were  reinforced,  if  one  may  use  this  expression.  I  like  the  book,  and  it  seems  to  me  it  will 
have  a  place  in  the  collection,  so  voluminous  already,  of  modern  ways  of  love." 


MEYER  BROS.  CO..  Publishers 


8  to  14  West  38th  Street.  New  York 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE   MAGAZINE 


XXVI 


THE      THEATRE      MAGAZINE 


combined  with  solid  silver,  with  a  curious  Eastern-looking  buckle 
and  chains  of  the  silver.  These  belts  are  made  from  a  certain 
chemical  combination  which  produces  a  stone  formation  similar 
to  jade,  and  can  be  bought  in  various  vivid  colorings.  The  belt, 
just  described,  costs  about  nine  dollars,  while  one  displaying  a 
glorious  purple  tint  combined  with  silver  can  be  bought  for  $14.50. 
A  lovely  one  with  light-green  stones  showing  an  embossed  design 
in  gold  can  be  purchased  for  $12.50.  It  would  be  hard"  to  con- 


ceive of  a  more  stunning  belt  to  wear  with  a  linen  or  crepe  cos- 
tume in  white,  cafe  au  lait,  sand,  or  one  of  the  neutral  colorings. 


(.Fig.  4)     A  FETCHING  BRIDGE  FROCK 

A  simple  bat  effective  gown  which  may  be  developed  in  "Crepe  Chinois "  char- 
meuse,  or  any  of  the  soft,  supple  silks.  The  embroidery  may  be  carried  out  in  silk 
or  wool  in  the  long  tapestry  stitch  and  may  display  all  the  vivid  Bulgarian  color- 
tngs.  Ihe  drapery  of  the  skirt  is  kept  well  toward  the  back  over  the  hips  The 
blouse  is  made  very  lovely  by  the  square  chemisette  of  lace  matching  the  shirred 
lace  undersleeves.  The  sleeve  falls  slightly  full  from  the  low  shoulder  seam.  The 
dominant  color  note  is  repealed  in  the  collar  and  cravat 


Novelties  Bin  GBoves 


Even  if  you  are  not  planning  for  a  new  Easter  costume,  you 
will  surely  pay  your  homage  to  custom  and  invest  in  a  new  pair 
of  gloves.  There  are  real  novelties  in  gloves  these  clays,  and 
if  you  would  be  right  up  to  the  minute  you  will  need  a  pair  of 
white  kid  gloves  fastening  at  the  side.  These  gloves  are  stitched 
with  black  and  have  a  simple  little  trimming  of  black  at  the  wrist, 
and  while  they  are  interesting  first  as  a  novelty,  they  can  boast 
practical  advantages.  They  are  not  expensive,  costing  only  $2.25. 
The  regulation  white  kid  glove  with  trimmings  of  black  at  the 
wrist  can  be  bought  for  $2,  and  the  white  glove  with  heavy  black- 
stitching  for  $1.50. 


The  smartest  stockings  you  can  wear  with  your  tailored  suit 
are  the  black  silk  ones  with  clocks  consisting  of  three  embroidered 
strands  either  in  white,  royal  blue,  a  vivid  purple,  or  grass  green. 
These  designs  will  be  kept  exclusive  as  long  as  they  are  only 
shown  on  the  best  grades  of  silk  stockings  and  sell  for  $3.25. 
The  black  silk  stockings  with  white  embroidered  dots  can  be 
yours  for  $2.95,  and  for  the  very  modest  sum  of  ninety-five  cents 
you  can  buy  a  good  grade  of  silk  stocking  in  black,  white,  tan, 
and  certain  colors,  with  a  dainty  little  embroidered  design. 

The  conservatism  of  the  shoe  realm  has  been  broken  by  the 
introduction  of  the  fancy  tops.  The  newest  shoes  boast  a  top 
of  black  velvet  with  a  fine  hairline  stripe  of  white,  giving  a 
grayish  tone,  with  patent  leather  for  the  body  of  the  shoe,  and 
buttons  very  closely  placed  of  smoked  pearl ;  $8  is  not  an  ex- 
pensive price  for  shoes  of  this  type.  For  the  same  price  there 
is  a  buttoned  shoe  of  scarlet  kid  to  wear  with  the  white  frocks 
which  are  enhanced  with  belt  and  collar,  perhaps  hat  and  parasol, 
in  red ;  a  similar  style  in  shantung ;  also  a  leather  shoe  in  the 
shantung  coloring,  and  a  gray  cloth  shoe  with  the  lower  part  in 
gray  leather  of  a  matching  shade.  The  low  shoes  for  the  same 
price  have  the  upper  part  in  a  colored  leather,  but  they  all  pale 
beside  the  stunning  new  slippers  of  black  and  gold  brocade  which 
can  be  worn  with  gowns  of  almost  any  hue. 


To  Complete  tflne  Costume 


To  add  the  finishing  touches,  which  as  every  woman  knows 
mean  so  much  to  the  tout  ensemble,  there  are  most  effective 
shadow  lace  veils  in  black,  black  and  white,  black  and  flesh  color 
to  bring  a  flush  to  pale  cheeks,  and  in  taupe  and  brownish  tints. 
The  latter  shades  are  now  worn  quite  as  much  as  black  or  white 
with  hats  of  various  colorings,  and  are,  undoubtedly,  a  little 
newer.  The  shadow  lace  veils  can  be  bought  for  seventy-five 
cents  a  yard,  and  the  taupe  and  brown  lace  veils,  with  and  with- 
out the  chenille  dots,  for  fifty-five  cents  a  yard. 

For  the  motor,  the  chinchilla  veils,  so  called  because  of  the 
crinkled  effect  produced  in  the  chiffon,  are  the  newest  and  can  be 
bought  in  various  pretty  colorings  for  $2.25.  One  of  the  most 
unusual  veils  is  of  a  coarse  white  net  with  a  deep  edge  of  shadow 
lace  closely  accordion  plaited.  When  the  veil  is  adjusted  this 
border  acts  like  a  plaited  frill  around  the  neck,  and  is  particularly 
fetching  when  worn  with  a  collarless  coat  or  blouse. 

You  mustn't  omit  the  purse  in  which  to  carry  the  Easter  offer- 
ing, not  to  mention  the  handkerchief,  vanity  case  and  a  hundred 
and  one  other  things  a  woman  just  must  have  in  her  purse.  You 
will  be  able  to  find  room  for  them  all  in  one  of  the  postilion 
purses  fashioned  from  black  velvet  or  moire.  This  quaint  purse 
is  caught  in  the  centre  by  a  ring,  which  may  be  slipped  on  the 
arm,  and  opens  at  either  end.  It  is  a  charming  little  accessory 
for  $3,  which  is  a  very  small  amount. 


We  will  gladly  give  names  of  shops  where  goods  described  may  be  purchased. 
Address  THE  THEATRE  MAGAZINE  Fashion  Dept.,  8-14  West  38th  Street,  New  York  City. 


THE   THEATRE   MAGAZINE   ADVERTISER 


XXVll 


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\m  m  m  m  m\ 

—^^X^..^...^*-^— ~~j.,J,J~J.Jt-v-.,.~,A  .,.  . 


'HALCYON   ROSE" 

Talcum  Powder 

New — Exclusive 

TTALCYON  ROSE  Talcum  Powder  marks 
an  epoch  in  the  development    of  toilet 
powders. 

It  stands  alone,  unrivalled  —  the  most  deli- 
cate, the  softest,  purest  and  most  exquisitely 
perfumed  talcum  powder  ever  offered  Amer- 
ican women. 

It  is  more  expensive  than  any  other  talcum 
powder  made  --  75  cents  ajar  —  but  it  is  in- 
finitely superior  in  every  way. 

You  will  find  Halcyon  Rose  Talcum  Powder 
in  Flesh  and  White  tints  at  all  good  shops. 

If  you  are  not  entirely  pleased  with  it,  take 
it  back;  the  dealer  from  whom  you  bought  it 
is  authorized  by  us  to  refund  the  purchase  price 
without  question. 

HANSON-JENKS  COMPANY 

Perfumers 
149  West  36th  Street,  New  York 

The  Most  Expensive  Talcum  Powder  in  the  World. 


Clement 


12  West  33rd  Street 


New  York 


Hair  Goods  for  the  Gentlewoman 


CHARM  and  be- 

commgness  of  Clement 
hair  goods  and  coiffures 
lie  in  the  clever  adaptation 
of  Fashion's  dictates  to  the 
wearer's  needs. 

An  exclusive  variety  of  the 
latest  styles  in  hair  goods  and 
ready-made  coiffures  is  now 
ready  for  inspection. 

An  unusually  fine  selection 
of  hair  ornaments,  combs, 
pins,  barettes,  perfumes,  etc., 
which  will  delight  the  fastid- 
ious woman,  has  just  been 
imported  from  Paris.  ^^^" 

Liquid  Henna 

is  a  recent  discovery  of  mine  which  beautifully  colors  the  hair.  It  is 
absolutely  harmless  and  can  be  applied  without  aid.  Success  guaran- 
teed. Price,  $2.00. 

I  also  have  a  coloring  that  will  permanently  dye  the  eyebrows. 
Price,  $2.00. 

Spacious,  airy  rooms  with  natural  daylight  for  application  and  rectifi- 
cations of  hair  coloring  by  French  experts  only. 

Visitors  are  welcome  to  advice  and  suggestions.  Booklet  sent  on  request. 


Jfranfclfn  Simon  &  Co. 

Fifth  Ave.,  37th  and  38th  Sts.,  N.  Y. 


New  Spring  Model 

Misses'  Russian  Blouse  Dress 


OF  SILK  CREPE  DE  CHINE 
in  navy,  black,  white,  peony,  brick,  cafe  au  lait, 
taupe,  Copenhagen  or  brown ;  collar  and  cuffs 
of  embroidered  batiste,  crushed  silk  belt  in 
contrasting  color,  large  novelty  buckle  and 
buttons;  waist  silk  lined.  Sizes  14  to  20  years  j 

SAME  MODEL  OF  EPONGE 
of  washable  eponge,   in  white,    Copenhagen,   [ 
rose,    leather  or  golden  amber,   with  crushed  i 
silk  belt  in  contrasting  color. 


SAME  MODEL  OF  SERGE 

in    navy,    black   or   white    English    serge, 

with  crushed  silk  belt  in  contrasting  color. 


29.50 

Value  $39.  50. 


18.50 

Value  $24.50. 


18.50 

J  Value  S24. 50. 


Spring    and  Summer    Fashion    Book 

"CORRECT  DRESS" 

Mailed  out-of-town  upon  application  to  Dept.   T. 


When   writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


XXV111 


THE   THEATRE   MAGAZINE   ADVERTISER 


You  may  not  need  Vogue  the  whole  year.  But  you 
do  need  the  next  five  numbers — now  that  the  time  for 
new  Spring  clothes  is  at  hand.  In  these  five  numbers 
you  will  find  Vogue  a  complete  guide  to  a  Spring  ward- 
robe of  individuality,  distinction  and  correctness. 


Vogue  may  be  a  luxury  at  other  times,  but  these 
five  Spring  Fashion  numbers  coming  at  the  moment 
when  you  are  planning  to  spend  hundreds  of  dollars 
on  the  very  things  they  describe  is  a  straightforward, 
self-supporting,  business  economy. 

Remember,     please,    that    Vogue    for    a    whole    year 


would  cost  you  but  a  tiny  fraction  of  the  waste  on 
a  single  ill-chosen  hat  or  gown.  And  that  any  one 
of  these  five  numbers  may  possibly  save  you  a  whole 
series  of  such  expensive  and  mortifying  mistakes. 
Vogue's  expert  advice  during  these  weeks  of  plan- 
ning, therefore,  amounts  practically  to  Spring  Clothes 
INSURANCE. 


Here  are  the  five  special   Spring   Fashion   Numbers   that   you  ought  to  have  to  secure 
this   insurance,   and   the   dates   on   which    they    will    appear    on    the    newsstands. 

FORECAST  OF  SPRING  FASHIONS  February  10th 

The  earliest  authentic   news   of  the   Spring   mode. 

SPRING  PATTERNS  February  25th 

Working   models  for   one's  whole   Spring   and   Summer  wardrobe. 

DRESS  MATERIALS  AND  TRIMMINGS  March  10th 

How  the  Spring  models  shall  be   developed. 

SPRING  MILLINERY  March  25th 

The  newest  models  in  smart  hats,  veils  and  coiffures. 

SPRING  FASHIONS  April  10th 

The  last  word   on   Spring  gowns,   waists,   lingerie    and    accessories. 


You  can  get  any  one  or  all  five  of  these  numbers  from  your 
newsdealer.  Order  now — the  very  next  time  you  pass  the  stand. 
Any  newsdealer  will  tell  you  that  the  increased  demand  for 
Vogue  just  now  makes  it  probable  that  those  who  fail  to  reserve 
in  advance  will  be  likely  to  miss  the  very  numbers  they  want 
most.  For  your  convenience  a  handy  memorandum  blank  is 
printed  below.  AH  you  have  to  do  is  to  check — tear  off -and 
hand  it  to  any  newsdealer.  He  will  be  glad  to  save  your  copies. 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE   MAGAZINE 


THE   THEATRE   MAGAZINE   ADVERTISER 


XXIX 


"  The  Crowning  Attribute  of  Lovely  Woman 
i*  Cleanliness." 


The  well-dressed  woman  blesses  and  benefits 
herself— and  the  world— for  sne  adds  to  its  joys. 

NAIAD  DRESS  SHIELDS 

add  the  final  assurance  of  cleanliness  and  sweetness. 
They  are  a  necessity  to  the  women  of  delicacy,  re- 
finement and  good  judgment. 

Naiad  Drew  Shields  are  hygienic  and  scientific.  They 
are  absolutely  fre=  from  rubber  with  its  unpleasant  odor. 
They  can  be  quickly  sterilized  by  immers  ng  in  boiling 
water  for  a  few  seconds  only.  The  only  shield  as 
good  the  day  it  is  bought  as  the  day  it  is  made. 

At  stores  or  sample  pair  on  receipt  of  250.  Every 
pair  guaranteed. 

THE  C.  E.  CONOVER  CO.,  Mfrs.,   101  Franklin  St.,  New  York 


FINE  CHINA 

and  Crystal  Sets  with  your  Monogram 

We  monogram  and  deco- 
rate to  order  the  finest  im- 
ported china  and  crystal 
ware.  Your  own  i*ieas 
carefully  executed,  assur- 
ing a  distinct  iveness  to 
your  table  impossible  with 
ordinary  china. 

Pure  coin  gold  and  Meissen 
colors  used  by  skilled  ar- 
tists in  all  decorations. 
Each  piece  guaranteed  to 
wear. 

A  vfirn-tv  a/  patterns,  motto- 
grani  suggestions^  etc..  shown 
in  07tr  catalog ,  Write  for  it 
today, 

Art  China  Import  Company 
Dept.  C.,  47  West  36th  Street,  New  York 


1 

_j 


— A  Delicate  Shell-like  Pink , 

is  imparted  to  the  nails  by  the  use  oi 

COGSWELL'S  SEA  SHELL  TINT 

Lightly  applied  with  a  camel's  hair  brush,  it  re- 
mains on  the  nails  for  several  days.  Price  50  Cents 

COGSWELL'S  FOOT  TONIC  come* 

as  a  welcome  friend  to  tired,  aching  feet.  Allays 
inflammation,  reduces  swelling.  An  excellent 
remedy  in  the  treatment  of  chilblains  and  in- 
flamed bunions.  Its  ingredients  are  so  pure  and 
soothing  that  it  may  be  used  with  perfect  safety 
on  any  part  of  the  body.  -  -  -  Price  $1.00 

REDUCING  SALVE  i,  a  scientific  dis- 
covery  for  the  reduction  of  excess  flesh.  It 
necessitates  no  change  in  one's  diet  or  daily 
routine  of  living.  Unlike  other  reducing  salves, 
it  it  a  most  beneficial  tonic  for  the  nerves. 
Guaranteed  absolutely  harmless.  $2.00  n  jar 

Persona/  attention  of  Dr.  E.  N.  Cogswell 
given  all  letters  requesting  information 

Dr.  E.  N.  Cogswell 

418  Fifth  Avenue         New  York  City 

On  Sale  in  New  York  at  Franklin  Simon  &  Co. 
and  James  McCreery  &  Co. 


.  Surgeon-Chiropody  and  , 
Expert  Manicuring 


The    New    Plays 

(Continued   from    page    68) 


without  training  from  life.  If  the  Irish  Players 
do  nothing  more  than  help  to  restore  simplicity 
in  writing  and  acting  their  visit  will  have  ac- 
complished much  in  the  direction  of  the  needs  of 
our  stage. 


FULTON.  ''THE  UNWRITTEN  LAW."  Melo- 
drama in  four  acts  by  Edwin  Milton  Royle.  Pro- 
duced on  February  7th. 

The  unwritten  law  is  a  very  uncertain  thing  to 
go  by.  It  has  no  universal  force,  is  not  recognized 
by  all  the  courts,  and  is  always  subject  to  the 
revision  of  the  written  law.  In  the  facts  in  the 
case  of  Mrs.  Kate  Wilson,  who  put  a  knife  into 
Larry  McCarthy,  she  probably  was  justified;  but 
that  is  not  so  easy  to  prove,  either  to  a  jury  of 
twelve  or  twelve  hundred.  Our  sympathies  are 
undoubtedly  aroused  in  her  behalf.  Mr.  Roylc 
has  written  a  good  play  in  "The  Unwritten  Law." 
It  is  filled  with  comedy  and  touches  of  untroubled 
sentiment  of  such  quality  and  quantity  that  would 
make  the  fortune  of  any  play  not  otherwise  over- 
weighted with  misery. 


THIRTY-NINTH  STREET.  "THE  SECOND 
MRS.  TANQUERAY."  Play  in  four  acts  by  Arthur 
Wing  Pinerp.  Produced  on  February  3d. 

Mrs.  Leslie  Carter's  performance  of  Paula  in 
"The  Second  Mrs.  Tanqueray."  was  an  interesting 
event.  Her  distinction  was  gained  in  more  showy 
and  less  emotional  plays.  In  coming  into  com- 
parison with  other  Paulas  she  suffers  no  material 
loss  in  public  credit,  and  yet  an  often  acted  part 
has  its  disadvantages  for  use  for  the  best  of 
actors  after  an  adequate  standard  has  been  set  by 
the  original  possessor  of  the  part.  In  the  matter 
of  artistry  Mrs.  Carter  is  superior  to  Mrs.  Pat- 
rick Campbell,  and  in  emotion  she  strikes  a  truer 
note  than  Miss  Nethersole,  who,  however,  is  ef- 
fective enough.  Comparisons  are  really  not  called 
for.  Mrs.  Carter's  performance  is  not  a  finished 
one,  but  being  at  times  theatrical  and  in  other 
passages  very  true  and  impressive.  In  the  su- 
preme moments  of  the  action  she  gathers  her 
forces  and  acts  with  thrilling  intensity  and  effect. 
Thus,  in  the  scene  of  her  first  meeting  with  Ar- 
dale  and  later  in  her  farewell  speech  to  Audrey, 
when  she  realizes  that  her  power  over  him  is 
gone  and  that  fate  has  cut  the  ground  from  under 
her,  she  brought  home  to  us  the  lesson  of  the  play. 


WEBER  AND  FIELDS.  "THE  MAN  WITH 
THREE  WIVES."  Operetta  in  three  acts  by  Franz 
Lehar.  Produced  on  January  23d. 

The  local  adapters  of  these  foreign  farces  seem 
to  have  lost  their  cunning.  There  is  little  wit  in 
the  piece,  nor  do  the  lyrics  sparkle  with  any- 
thing approaching  Attic  salt.  The  piece  is  hand- 
somely mounted,  three  elaborate  sets  being  needed 
to  set  off  its  happenings.  The  cast  and  chorus 
is  a  large  one,  and  much  money  and  good  taste 
have  been  expended  in  dressing  up  the  handsome 
young  women  in  elaborate  and  becoming  gowns. 

THIRTY-NINTH  STREET.  "THE  WOMAN 
OF  IT."  Play  in  three  acts  by  Frederick  Lons- 
dale.  Produced  on  January  I4th. 

"The  Woman  Of  It,"  by  Frederick  Lonsdale, 
is  a  pleasing  little  comedy  of  philandering,  of  the 
kind  that  is  always  innocent  in  the  results  of 
vagrant  love-making  when  written  by  an  English- 
man, and  always  naughty  when  written  by  a 
Frenchman.  We  are  pleased  to  believe  that  the 
English  husband  in  pursuit  of  his  neighbor's  wife 
is  always  foiled  by  a  complication  of  farcical 
happenings.  The  incidents  are  playful  and  harm- 
less and  amusing.  Miss  Janet  Beecher  and  Miss 
Josephine  Brown  as  the  wives,  and  Mr.  Dallas 
Anderson  and  Mr.  Cyril  Scott  as  the  husbands, 
were  the  four  principals  who  carried  the  divert- 
ing comedy  to  success. 

VICTORIA.  "LEAD,  KINDLY  LIGHT."  At  Ham- 
merstem's  Victoria,  on  February  isth,  an  inter- 
esting experiment  was  tried,  a  one  act  play,  ser- 
ious and  religious  in  tone,  being  introduced  in  a 
program  of  variety  acts.  The  innovation  was  a 
decided  success,  the  play  being  received  with  an 
approval  and  applause  greater  than  is  accorded 
to  the  acrobats  and  the  slapstick  performers.  It 
is  entitled,  after  one  of  the  most  touching  of 
religious  songs,  "Lead,  Kindly  Light,"  and  written 
by  John  Lait.  The  effectiveness  of  the  little  play 
is  not  diminished  perhaps  by  the  reflection  that 
its  similiarity  with  parts  of  Sheldon's  "Salvation 
Nell"  is  striking. 

Malcolm  Williams  played  the  pickpocket  well  and 
Beatrice  Maud  was  sympathetic  and  effective  as 
the  Salvation  lassie. 

GREAT  BEAR  SPRING  WATER 
BO  ctB  per  case-6  glaflB-Btoppered  bottles 


Good  Hair 

TheDucheM  of  Marlborough  Recommends 


M^MASONS 

[RTONIC 

Thisisthe  Hair  Tonic  used 
by  Kate  Beaton  Mason,  the  noted 
Knglish  Hair  Specialist  in  treating  the 
hairof  the  Vanderbilt  family,  Duchess 
of  Marlborough,  Mme.  Melba 
and  the  leadingsociety  women 
of  New  York,  London  and 
Paris,  who  testify  to  its  superiority  for 
thin,  falling,  weak,  brittle,  splitting 
and  dead-looking,  lusterless  hair. 

Mrs.  Mason'*  Old  English 

>HAMPOO  CREAM 

Maket  Hair  Look  Twice  as  Thick  as 
It  Really  Is  —  Soft.  Fluffy,  Lustrous.  [ 
This  pure  antiseptic  shampoo,  made 
from  tonic,  cleanning  herbs  is  un- 
equalled to  cleanse  and  invigorate 
the  hair  and  scalp,  removedaii'lruff,  I 
dust,  excess  oil,  irritation,  and  to- 1 
gether  with  the  Hair  Tonic-  makes  a  I 
complete   treatment    that    Insures  I 
perfect  hair  and  scalp  health. 
Hair  Tonic,  $1.00.    Shampoo  Cream,  25c  a 
tube— enough  for  several  shampoos. 
At  DruK  and  Dept.  Stores  or  8f  nt  postpaid. 
Send  2c.  for  Mrs.  Mason's  book,  "  The  Hair  and  How 
to  Preserve  It,"  containing:  autograph  letter*  from  fa. 
minis  women.    Also  a  trial  tube  of  Shampoo  Cream. 
THE  PAXTON  TOILET  CO..  BOSTON,  M»s«. 


LATEST 
CREATIONS 

THE 

SLIP-ON" 


CORSETLESS"  IDEAL 

THE 

"SUPER-FIGURE" 


MME.   DINNER'S  PERSONAL  ATTENTION 
BY  APPOINTMENT 


18  EAST  45th   STREET,  NEW  YORK 


20  W.  34th  St. 

Opposite 
Waldorf-Astoria 

'Phone, 
Greeley  3193 


Exhibit 

at  Ladies' 

Turkish  Room 

Hotel 

Waldorf-Astoria 


UNUSUAL  DESIGNS  FOR  SPRING 

The  charm  of  a  perfect  figurefdeveloped 
with  rare  comforts  lo  large  women  wearing 
the  Van  Alen  reducing-  corsets — made  of 
silk  mesh  with  rubber  gussets. 

Appropriate    Riding   Corsets 
of  Rubber  and  Tricot 

IMPORTED  SILK  MESH  CORSETS 
with  Rubber  Gussets  suitable  for  Athletic  Wear 

Constituent  instructions  with  assurance  of 
perfect  fittings  to  out-of-city  customers 
All  style*  from  $8.00  to  $36.00 

Appointments    made    for    private    fittings 
Residences  or  Hotels 


Look  for  Van  Alen  Exhibit  at  the  Woman's  Industrial 

Exhibition,  Grand  Central  Palace,  February 

27lh  to  March  8th,    1913 


When   writing  to  advertisers,  kindly  mention  THE  THEATRE   MAGAZINE 


XXX 


THE   THEATRE   MAGAZINE   ADVERTISER 


1 


At  last  science  gives  you  more 
rubber-shod  mileage 

.Diamond 

(No  Clinch) 

Tires 

now  made  of  VITALIZED    RUBBER 

—a  new  process  of  toughening 

pure  rubber 


You  get  Vitalized  Rubber 
in  Diamond  Tires — NOW 

A  tire  made  of  pure  rubber  only  would  fail  to  give 
the  necessary  mileage  because  it  would  not  be  tough 
enough  to  withstand  road  usage.  And  a  tire  con- 
taining too  little  pure  rubber  would  not  have  the 
necessary  staying  qualities. 

Our  chemists  have  discovered  how  to  scientifically  toughen  pure 
rubber  by  a  new  process.  The  result  is  additional  mileage  for  you.  The 
pure  rubber  we  use  comes  direct  from  the  trees  of  the  tropics — it  is  fresh  and 
contains  all  the  vitality  of  youth — it  is  elastic  and  easy  riding.  Then  we 
toughen  this  pure  rubber  so  as  to  give  it  the  necessary  vitalizing,  wearing, 
more  mileage  quality. 

This  scientific  process  has  been  vainly  sought  after  for  years 
by  tire  makers.  After  15  years  of  successful  tire  making  we  have  solved 
the  problem— and  you  enjoy  the  benefit  of  our  really  wonderful  discovery 
in  "Diamond"  Vitalized  Rubber  Tires. 

Add  to  this  the  Diamond  proven  principles  of  proper  construc- 
tion— nothing  inferior  in  rubber,  fabric  or  workmanship — and  you  have  as 
perfect  a  tire  as  money  can  buy. 

Here  is  a  combination  of  easy  riding  and  more  mileage  advan- 
tages you  can't  get  in  any  other  tire  today — Vitalized  Rubber, 
Perfect  3-Point  Rim  Contact,  No-Pinch  Safety  Flap  for  inner  tube 
protection,  and,  if  you  wish,  the  now  famous  Safety  (Squeegee) 
Tread — made  to  fit  all  types  of  rims. 

So  this  time  specify  Diamond  Vitalized  Rubber  Tires — you 
can  get  them  in  all  sizes  and  types  at  any  of  the 


25,000  diamond  Dealers 

always  at  your  Service 


A  Perfect  3-Point  Rim  Contact 
Tire  at  last 

Diamond  3-Point  Contact  Tires 
hold  with  a  vise-like  grip,  abso- 
lutely preventing  the  tire  from 
breaking  above  the  rim,  insur- 
ing no  rim  skid — no  rim  trouble 
at  all. 

Our  engineers  have  mastered  the 
principles  of  Rim  Contact  con- 
struction, and  you  can  now  get 
the  Diamond  (No-Clinch) Tire, 
with  a  Perfect  3-Point  Rim  Con- 
tact—  an  important  advantage 
that  has  heretofore  been  over- 
looked. 

No-Pinch  Safety  Flap  absolutely 
protects  the  inner  tube 

The  No-Pinch  Safety  Flap  that 
'comes  in  every  Diamond  (No- 
Clinch)  Tire  will  reduce  your 
inner  tube  bills  --  because  it 
forms  a  substantial  wall  separa- 
tion between  the  inner  tube  and 
the  rim,  making  it  impossible 
for  the  inner  tube  to  be  pinched 
or  cut  under  the  rim,  or  injured 
by  rim  rust. 

This  No-Pinch  Safety  Flap  is  made  of 
the  best  grade  of  fabric,  and  is  finished 
with  a  "Feather  Edge"  as  a  further  pro- 
tection against  inner  tube  cutting. 

There  is  no  rubber  in  this  flap  to  adhere 
or  vulcanize,  so  that  the  inner  tube  can 
be  quickly  and  easily  removed  at  all  times 
• — another  big  Diamond  advantage. 

Diamond  Safety  (Squeegee)  Tread 

for  Automobiles,  Motorcycles 

and  Bicycles 


Theguarantee  on  Diamond  Titff-  . 

nullandvoid  ivhi'n  uxtt'.  in  c<nn>:'<-tinu  i?ithf 

any  substitute  for  air,  fitted  to  rims  n-tl 
\bearing  one  of  thrte  innnerlion  stamps  orf 
/  luiriny  had  its  serial  number  removedin 

whole  of  part. 


When   writing  to  advertisers,   kindly  mention   Tun  THEATRE   MAGAZINE 


RIVERSIDE  PRESS,  NEW  YORK 


THE   THEATRE   MAGAZINE   ADVERTISER 


You  may  think  you  already  know 
Brahms'  Fifth  Hungarian  Dance.  But 
hear  it  as  Ysaye  plays  it;  under  the 
master's  bow  it  fairly  leaps  with  vivid 
vigor;  there  is  an  exultant  abandon  in 
the  tremendous  rhythm,  such  as  prob- 
ably no  other  interpreter  ever  produced. 

The  first  series  of  his  records  issued 
comprises  eight  selections — including 
that  Hungarian  Dance  -and  the  price 
is  $1.50  a  record. 


All  Columbia  records  can  be  played  on  Victor  talking  machines 
records.    You  can  get  descriptive  lists  and  catalogues 


The  new  Bonci  records  supply  a 
better  translation  of  "Bel  Canto"  than 
all  the  dictionaries  in  Christendom. 
Not  for  nothing  has  Bonci  been  called 
the  "Master  of  Bel  Canto".  If  you 
have  not  heard  him,  listen  to  his 
Columbia  records  and  you  will  under- 
stand. 

Records  ready  from  "La  Boheme", 
"Elisir  D'Amore",  "Rigoletto", 
"Luisa  Miller"  and  "La  Favorita". 

— likewise  all  Columbia  instruments  will  play  Victor 
from  ariy  dealer  in  talking  machines  or  by  mail  direct  from  us 


r 


(C/ft?  Columbia  Graf onola 

"Favorite"  $5O. 


GRAPHOPHONE  COMPANY,  Box  217,  Tribune  Building,  New  York 

Toronto:  McKinnon  Building.       Prices  in  Canada  plus  duty. 
Creator*  of  the  Talking  Machine  Industry.      Pioneer»  and  Leader*  in  the  Talking  Machine  Art.      Owner*  of  the  Fundamental  Patents.      Large«t  Manufacturer*  of  Talking  Machine*  in  the  World. 

Dealers  and  prospective  dealers  write  for  a  confidential  letter  and  a  free  copy  of  our  book  "Music  Money" 

When  writing  to  advertisers,  kindly  mention  THE  THEATRE   MAGAZINE 


THE   THEATRE   MAGAZINE   ADVERTISER 


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~  .CENTURY   COUNTRY   CLUB 


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£-^l£Njf 


A  onillin^  in  London 
A  Quarter  Here 


PALL  HALL 

FAMOUS   CIGARETTES 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


Byron 

Edited     by    ARTHUR     HORNBLOW 

COVER:    Portrait   in   colors   of   Miss   Pauline    Frederick    in    "Joseph    and    His 

Brethren." 

CONTENTS  ILLUSTRATION  :  Scene  in  "Everyman"  at  the  Children's  Theatre. 
TITLE  PAGE:  Scene  in  "Liberty  Hall" 

THE  NEW  PLAYS:  "The  Five  Frankf orters,"  "Liberty  Hall,"  "The  Master  Mind,"  "The  Painted 
Woman,"  "Gabriel  Schilling's  Flucht,"  "The  Miracle,"  "Widow  by  Proxy,"  "The  Ghost  Breaker," 
Marie  Dressler's  Gambol,  Lillian  Russell,  Princess  Players. 

SHAKESPEARE— Poem 

MARY  GARDEN  MAKES  TOSCA  A  HUMAN  TIGRESS — Illustrated       .... 

PARIS  STIRRED  BY  A  PATRIOTIC  PLAY — Illustrated 

SCENES  IN  "THE  FIVE  FRANKFORTERS" — Full-page  plate 

"CYRANO"  HEARD  AT  THE  METROPOLITAN  OPERA  HOUSE — Illustrated  . 

THE  MAKING  OF  AN  IRISH  PLAYER — Illustrated 

JULIA  SANDERSON — Full-page  plate 

To  SARA  ALLGOOD — Poem • 

Miss  HORNIMAN'S  MODEL  MANCHESTER  THEATRE — Illustrated       .... 
DORIS  KEANE — AN  ACTRESS  OF  SERIOUS  PURPOSE — Illustrated       .... 

DORIS  KEANE  IN   "ROMANCE" — Full-page   plate 

CLASSIC   CURTAIN   RAISERS 

A  DRESSING  ROOM  CHAT  WITH  DOUGLAS  FAIRBANKS — Illustrated 

THE  ART  OF  RUTH  ST.  DENIS — Illustrated 

NOVELTIES  IN  A  NOVEL  PLAY — Illustrated 

TINA  LERNER — Full-page  plate 

THE  LITTLE  THEATRE  AND  ITS  BIG  DIRECTOR — Illustrated 

SCENES  IN  "Wioow  BY  PROXY" — Full-page  plate 

BEATRICE  MAUD — Full-page  plate 

THE  OLD  SCHOOL 

ELSIE  JANIS  AT  HOME — Full-page  plate 

OUR  FASHION  DEPARTMENT   .  


Eleanor  Racburn  . 
Clare  P.  Peeler  . 
Frances  C.  Fay  . 


M.M.      . 

Louis  Untermeyer 
Johanna  Sherrick  . 
Eva  E.  vom  Baur 

Vanderheyden  Fyles 
B.  L. 

Ada  Rainey    . 
A.  P. 

Ada  Patterson 


Marcus  Plimmer   . 
F.  A.  Broivn  . 


97 

98 

98 

1 02 

103 

105 
106 
108 
109 
no 
in 

112 

"3 
114 

116 
117 
119 

121 
122 
123 

125 
126 
127 

xix 


etc.     P 


CONTRIBUTORS — The    Editor   will   be   glad   to    receive    for   consideration   articles    on    dramatic    or   musical    subjects,    sketches    of    famous   actors    or   singers,    etc., 
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iv 


THE      THEATRE      MAGAZINE      ADVERTISER 


1 9 1 8-What  ? 


By  R.  E.  Olds,  Designer 


Almost  any  modern  car  will  run  well 
for  a  summer.  But  how  will  it  run  in  five 
years  from  now  ?  And  what  will  it  cost 
in  the  meantime? 

That' s  what  I  think  of  in  Reo  the  Fifth. 


The  Second  Year 

Perhaps  half  Uie  experienced 
motorists  know  that  troubles  and 
repairs  begin  the  second  year, 
usually.  From  that  time  on  they 
become  acute. 

Any  car  shows  up  well  at  the 
start,  else  none  would  ever  buy  it. 
But  a  great  many  cars  are  not 
built  to  endure. 

The  owner  pays  dearly,  in  the 
course  of  time,  if  he  gets  a  car 
like  that. 


For  You  to  Say 

If  the  frills  on  a  car  count  most 
with  you,  they  are  bound  to  weigh 
most  with  the  maker. 

But  if  you  know  what  a  well- 
built  car  requires,  and  demand 
those  things,  makers  will  be  forced 
to  give  them. 

Let  me  tell  you,  after  26  years 
of  car  building,  what  a  well-built 
car  does  require. 


often  have  flaws.  Drop  forgings 
are  better,  but  costly.  In  Reo  the 
Fifth  we  use  190. 

Common  ball  bearings  give 
worlds  of  trouble.  The  best  roller 
bearings  cost  five  times  as  much, 
but  they  pay.  In  Reo  the  Fifth 
we  use  15  roller  bearings,  n  of 
which  are  Timkens. 

Big  tires  are  costly,  but  small 
tires,  in  the  long  run,  cost  the  user 
several  times  as  much.  That's  why 
Reo  the  Fifth  is  an  over-tired  car. 

A  centrifugal  pump  is  essential 
to  perfect  circulation.  A  costly 
magneto  is  cheapest  in  the  end. 
The  carburetor  should  be  doubly 
heated. 


Overcapacity 

American  roads,  above  all,  de- 
mand large  overcapacity.  That 
means  a  big  margin  of  safety. 
Every  driving  part  in  Reo  the 
Fifth  is  tested  to  meet  the  require- 
ments of  a  45-horsepower  engine. 


It  is  wrong  to  take  chances. 
Every  part  should  be  tested.  No 
car  should  ever  be  hurried. 

Each  engine  should  get  five  rad- 
ical tests.  These  require  48  hours 
in  Reo  the  Fifth.  And  every  en- 
gine, after  testing,  is  taken  apart 
and  inspected. 

These  are  costly  requirements. 
Some  call  them  extreme.  But 
every  dollar  spent  in  these  ways 
saves  an  average  of  five  dollars  in 
the  long  run. 

Coming  Features 

Then  a  car  should  be  up-to-date. 
Set-in  side  lights,  flush  with  the 
dash,  are  found  in  all  the  finest 
cars.  Side  lamps  won't  be  toler- 
ated long. 


The  leading  cars  nov;  have  left 
side  drive.  The  driver  sits  close 
to  the  cars  he  passes,  as  the  laws 
compel  abroad.  One  should  re- 
quire this  in  a  car  to-day. 

One  should  require  genuine 
leather  in  upholstery — the  best 
curled  hair — else  a  car  will  soon 
look  shabby.  An  enduring  finish  is 
important  for  refinishing  is  costly. 


Those  are  the  reasons  why  I 
give  Reo  the  Fifth  all  its  hidden 
value.  I  am  building,  as  always, 
a  car  to  endure.  In  the  years  to 
come,  the  men  who  buy  it  will  be 
mighty  glad  they  bought  it. 

The  car  isn't  costly,  for  we  are 
efficient.  And  we  save  about  20 
per  cent,  for  you  by  building  a 
single  model. 


The  Simplest  Control 


Then  you  find  in  this  car — and 
this  car  alone — the  simple  center- 
rod  control.  All  the  gear  shifting 
is  done  by  moving  this  rod  only 
three  inches  in  each  of  four  direc- 
tions. It's  as  simple  as  moving 
the  spark  lever. 

This  rod  is  out  of  the  way — be- 
tween the  two  front  seats.  It  is 
at  the  driver's  right  hand,  as  he 
sits  on  the  left  side. 

There  are  no  levers,  side  or  cen- 


ter. Both  brakes  are  operated  by 
foot  pedals.  Thus  both  front  doors 
are  clear. 

You  will  believe  that  all  cars 
must  come  to  this  feature  when 
you  see  what  it  means  to  the 
driver. 


A  thousand  dealers  handle  Reo 
the  Fifth.  Write  for  our  1913 
catalog  and  we  will  tell  you  where 
to  see  the  car. 


Essentials 

Haphazard  steel  is  risky.  The 
car  maker  should  fix  his  formulas. 
Then  he  should  analyze  the  steel 
twice — before  and  after  treating— 
to  make  sure  it  accords  with  the 
formula. 

Testing  gears  with  a  hammer  is 
no  test  at  all.  One  should  use  a 
crushing  machine  of  enormous  ca- 
pacity, so  that  every  tooth  gets  the 
limit  test.  Thus  he  will  find  thou- 
sands of  gears  unfit. 

Springs  should  be  made  from 
just  the  center  one-third  of  the 
finest  steel  ingots.  The  end  thirds 
won't  do.  Then  the  springs  should 
be  tested  for  100,000  vibrations. 

Steel  castings  are  cheap,  but  they 


30-35  Horsepower 
15  Roller  Bearings 
190  Drop  Forgings 


Wheel  Base,  112  Inches     Tires,  34x4  Inches 

Demountable  Rims          3  Electric  Lights 

Made  with  5  and  2-Passenger  Bodies 


Center  Control 


Reo  the  Fifth 

The  1913    Series 

$1,095 


Top  and  windshield  not  included  in  price.     We  equip  this  car  with  mohair  top,  side  curtains  and  slip  cover, 
windshield,  gas  tank  for  headlights,  speedometer,  self-starter,  extra  rim  and  brackets— all  for  $100  extra  (list  price  $170). 
Gray  &  Davis  Electric  Lighting  and  Starting  System  at  an  extra  price,  if  wanted.  


R.  M.  Owen  &  Co. 


Gr/ena,.Sfies  Reo  Motor  Car  Co.,  Lansing,  Mich. 

Canadian  Factory,  St.  Catharines,  Ont. 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


THE   THEATRE 


VOL.  XVII 


APRIL,  1913 


No.  146 


Published  by  the  Theatre  Magazine  Co.,   Henry  Stern,  Pres.,     Louis  Meyer,  Tref.t.,  Paul  Meyer,  Sec'y;  8-to-i2-tf  West  Thirty-eighth  Street,  New  York  City 


Copyright  Chas.  Frohman 


MARTHA    HEDMAN    AND    JOHN    MASON     IN  "LIBERTY  HALL,"  AT  THE  EMPIRE  THEATRE 


White 


FRANCIS   WILSON   AND  JOHN   BLAIR   IN    ACT    II    OF   "THE    SPIRITUALIST"    AT    THE    FORTY-EIGHTH    STREET    THEATRE 


THIRTY-NINTH  STREET.  "THE  FIVE 
FRANKFORTERS."  Comedy  in  three  acts  by  Basil 
Hook;  adapted  from  the  German  of  Carl  Ros- 
sler.  Produced  on  March  3d  with  this  cast : 


THE  NEW  PLAYS 


Frau    Gudula Mathilde    Cottrelly 

Anselm     Edward    Emery 

Nathan    John    Sainpolis 

Solomon     Frank    Losee 

Carl     Frank     Goldsmith 

Jacob    Pedro    de    Cordoba 

Rose     Lois     Francis    Clark 

Lizzie     Evelyn     Hill 

Charlotte     Alma     Belwin 

Boel     Noel     Leslie 


Gustavus    Edward    Mackay 

Prince    Christopher.  ..  .Walter    Kingsford 

Prince     Klausthal Henry     Stephenson 

Count     Fehrenberg Henry     Mortimer 

Baron     Seulberg H.     David    Todd 

Herr    Van    Yssel E.    L.    Walton 

The   Canon   of   Rouen E.    F.    Herbert 

Servant     Nicholas     Joy 

Princess    Klausthal Suzanne    Perry 

Princess     Evelyn Eleanor    Woodruff 


A  really  good  and  entirely  satisfactory  play  is  in  itself  a 
novelty  in  these  days.  "The  Five  Frankforters"  answers  a  wider 
demand  for  a  comedy  of  the  right  type  than  anything  we  have 
had  for  some  time.  Satisfactory  as  have  been  some  of  the  un- 
usual types  of  plays  of  late,  here  is  something  that  is  unusual 
without  reaching  out  into  the  fan- 
tastic, and  in  that  way  is  an  unex- 
pected relief.  The  play  is  romantic, 
but  altogether  humanly  so;  it  is  pic- 
turesque, but  in  keeping  with  the 
times  and  the  locality  of  it ;  it  is  full 
of  color  in  costume,  but  those  cos- 
tumes have  a  quaintness  and  a  charm 
belonging  to  a  period  when  dress  had 
beauty  and  dignity ;  it  is  historic  with- 
out any  of  the  dryness  of  history ;  it 
has  sentiment,  but  in  situations  that 
are  entirely  simple  and  tender ;  it  has, 
above  everything  else,  the  qualities  of 
common  sense. 

The  title  of  the  play  is  the  only  for- 
bidding thing  about  it.  One  can  only 
be  reconciled  to  it  after  seeing  the 
piece.  The  action  does  concern  Five 
Frankforters,  and  they  are  five  of  the 


"Obiit  Anno  Domini  1616. 
Aetatis  53,  die  23  Aprilis." 

Dead  are  thy  artist  hands ;  to  clay,  long  since, 
Thy  heart  has  turned — dead  to  all  love  or  hate — 
But  Portia  lives,  and  Lear,  and  shrewish  Kate, 

And  Antony,  and  Denmark's  gloomy  Prince. 

Upon  thy  worthy  brow  no  Virgin  Queen 
Bestowed,  in  life,  the  gracious  laurel  wreath; 
Safeguarded  by  a  curse  thou  sleep's!  beneath 

Thy  Warwick  stone — the  ivied  wall  is  green. 

Fame's  chaplets  are  posthumous  recompense 
For  human  martyrdom,  or  patient  deeds; 
And  Art  survives  when  culprit  human  needs 

Have  slain  her  slaves — (Art  is  no  slave  to  sense!) 
Forever  in  her  courts,  thy  praises  ring, 
Thou   Poet-prophet — dead,  uncrowned,  yet  King! 

ELEANOR  RAEBURN. 


most  remarkable  men  in  the  history  of 
affairs  in  the  world.  To  interest  an 
^^^==^^^=^^^==  audience  in  five  men  is  no  easy  matter; 
but  these  five  men  happened  to  be  the  Rothschilds  just  at  that 
part  of  their  career  when,  with  a  firm  hold,  gained  in  this  play, 
they  began  to  dominate  the  financial  affairs  of  Europe.  For 
obvious  reasons  the  bill  of  the  play  does  not  contain  the  name 
Rothschilds  at  all.  The  mother  and  grandmother  in  the  story 
is  designated  as  Frau  Gudula,  and  the  names  of  her  sons  are 
given  as  Anselm,  Nathan,  Solomon  and  Carl,  and  that  of  her 
grandson  is  Jacob.  The  four  sons,  at  the  invitation  of  the  ablest 
of  the  sons,  come  from  the  different  capitals  of  Europe,  where 
they  have  their  banking  houses,  in  order  to  undertake  the  financ- 
ing of  a  German  prince.  The  beginning  of  the  great  wealth  of 

the  Rothschilds,  according  to  the  story 
or  legend,  is  that  it  was  based  on  in- 
formation secured  in  advance  of  the 
result  of  the  battle  of  Waterloo.  The 
action  and  the  scenes  that  might  be 
developed  from  this  form  no  part  of 
the  play.  It  is  really  a  love  story. 
Certainly,  the  trait  of  men  with  such 
a  keen  vision  for  business  are  brought 
into  play.  Each  of  these  brothers  is 
characterized,  with  their  qualifications 
of  master  of  finance,  and  they  are 
very  human.  One  of  them,  indeed, 
is  a  comedy  character.  His  fondness 
for  the  things  that  his  mother  "used 
to  make,"  and  his  perhaps  silly  grat- 
ification in  the  declaration  which  he 
receives  from  the  Prince,  make  him 
very  amusing.  No  time,  however,  is 
he  not  a  business  man.  We  assume 


THE      THEATRE      MAGAZINE 


99 


that  he  can  see  a  dollar  as  far  as  any  of  his  other  brothers.  All 
the  characterizations  are  made  with  skill  and  delicacy  by  Mr. 
Carl  Rossler,  the  original  author  of  the  Simon-pure  original  play. 

The  business  transaction  finally  involves  the  taking  over  the 
revenues  of  the  Prince,  the  leading  banker  making  the  condition 
that  the  Prince  marry  his  daughter. 
It  is  the  complication  coming  from 
this  that  really  makes  the  play. 
The  business  episodes  are  exceed- 
ingly interesting,  but  the  heart  of 
the  play  is  in  the  love  affair.  The 
mother  and  grandmother,  beauti- 
fully played  by  Mathilde  Cottrelly, 
sets  herself  up  against  this,  unalter- 
ingly  faithful  to  her  race.  Admir- 
able sentiment,  and  acted  with  a 
lovely  sincerity.  Perhaps  the  girl 
would  not  have  hesitated,  but  her 
cousin,  the  grandson,  was  slow  in 
declaring  himself.  Perhaps  the 
girl  would  have  consented.  Dia- 
monds and  rank  and  many  advan- 
tages would  come  to  her  from 
marrying  this  comely  young  Prince. 
A  fine  young  fellow  he  was,  the 
Prince,  a  Prince  Charming,  al- 
though he  was  in  debt. 

The  love  affair  is  managed  with 
few  words  of  sentiment,  but  there  is  plenty  of  sentiment  in  it. 
The  climax,  to  speak  in  theatrical  terms  about  a  very  natural 
play,  is  well  handled.  The  father  of  the  girl  assures  the  Prince 
that  his  daughter  will  accept  him  and  do  as  she  is  bid,  for  in  his 
family  the  children  obey  their  parents;  whereupon  the  lovely 
old  mother  and  grandmother  bids  her  son  obey  him. 

The  cast  is  unusual  in  its  evenness  of  performance ;  and  this 
is  very  unusual,  for  there  are  21  speaking  parts,  and  each  "part" 
is  not  a  part  but  a  whole.  To  speak  of  all  these  actors  in  detail 
would  require  considerable  space.  However,  there  will  be  few 
theatregoers  who  will  not  see  and  enjoy  "The  Five  Frankforters." 


Sarony 

MARTHA    HEDMAN 
Supporting  John   Mason  in  "Liberty   Hall,"  at  the   Empire  Theatre 


EMPIRE.    "LIBERTY  HALL."     Play  in  four  acts  by  R.  C.  Carton, 
duced  on  March  nth  with  the  following  cast: 

Mr.    Owen John    Mason 

Blanche     Chilworth Martha     Hedman 

Amy    Chilworth Charlotte    Ives 

C.erald     Tanqueray.  ..  .Julian     L'Estrange 

William    Todinan Lennox    Pawle 

L.    Briginshaw Wilfred    Draycott 


Pro- 


Mr.   Pedrick Wigney    Persyval 

Mr.    Hickson Sidney    Herbert 

Miss    Hickson Emily    Dodd 

Robert    Binks John     Dugan 

Crafer    A^a    Dwyer 

Luscombe     Willis    Martin 


With  the  twentieth  anniversary  of  the  Empire  Theatre  came 
in  celebration  a  revival  of  the  play  with  which  the  theatre  was 
opened,  "Liberty  Hall,"  by  R.  C.  Carton. 

The  great  test  of  a  play  is  its  ability  to  stand  the  wear  and  tear 
of  time.  Here  is  a  play  that  counts  only  twenty  years  and  yet 

is  so  old-fashioned,  so  transparent, 
so  simple  with  its  soliloquies  and 
its  obviousness  that  it  might  just 
as  well  be  a  hundred.  One  of  the 
first  functions  of  any  play  is  to 
create  such  an  element  of  suspense 
that  the  public  is  constantly  waiting 
for  something.  In  "Liberty  Hall" 
one  waits  for  that  which  is  per- 
fectly clear  and  tangible  within  ten 
minutes  of  the  rise  of  the  curtain 
on  the  first  act.  Nothing  in  art 
date'5  itself  like  a  play.  A  picture, 
a  statue,  architecture,  the  art  of  the 
silversmith,  even  the  composer  and 
wine  improve  with  age,  but  a  play 
may  date  itself  in  a  season  or  two. 
We  take  it  this  is  because  a  play  is 
a  reflex  of  the  manners  of  its 
period  more  than  of  thought  itself 
which  is  constantly  turning  over 
from  one  age  to  its  successor.  In 
other  words  autres  moeurs  autres 
gens.  And  there  is  also  the  changing  taste  for  plays,  which  dates 
a  play  more  quickly  than  anything  else.  To-day  public  taste 
demands  plays  that  are  all  action,  whereas  "Liberty  Hall"  just 
ambles  along.  Nevertheless,  its  hcmely  sentiment,  its  felicity  of 
dialogue  and  the  interest  in  seeing  an  old  stage  friend,  give  it 
some  value  to  the  public  of  to-day. 

Here  is  an  outline  of  its  story :  The  master  of  Chilworth  having 
died  insolvent  his  title  and  property  go  to  a  distant  cousin  under 
the  English  law  of  entail,  leaving  two  daughters  unprovided  for. 
The  girls  are  preparing  to  leave  their  old  home  to  make  room 
for  the  new  baronet,  when  a  person,  who  describes  himself  as 
a  commercial  traveller,  arrives.  He  says  he  is  a  friend  of  the 
new  owner  and  brings  a  message  from  him  to  his  unknown 
cousins  inviting  them  to  stay  at  their  old  home  as  long  as  they 
like,  as  he  does  not  intend  to  return  to  England  for  many  years. 
This  friend  in  reality  is  the  new  baronet  himself.  The  elder 
sister  haughtily  refuses  the  hospitality  offered  and  goes  to  live 


While 


SCENE  IN  ACT  I  OF  JOHN  PHILIP  SOUSA'S  NEW  OPERA,  "THE  AMi.RICAN  MAIU,"  RECENTLY    AT    THE    BROADWAY 


100 


THE     THEATRE     MAGAZINE 


the  original  cast,  to  Miss  Ada  Dwyer  as  Crafer, 
to  Wilfred  Draycott  as  Bngmshaw,  Julian 
L'Estrange  as  Harringay,  Miss  Ives  and  Amy 
Chilworth  and  Master  John  Dugan  as  the  shop 
boy  in  love  with  Amy  Chilworth. 


White 


Courtland    Wainwright  Lucene    Blount  Andrew 

(Elliott    Dexter)  (Katherine   La   Salle)  (Edmund    Breese) 

Act   III.      Courtland:    "Love   is   the   only   thing  that   is   greater   than    hate" 
SCENE  IN  DANIEL  D.  CARTER'S   PLAY  "THE  MASTER  MIND,"  AT  THE   HARRIS 

with  their  uncle,  a  second-hand  book  seller,  in  whose  house  the 
last  three  acts  are  laid.  The  pretended  commercial  traveller 
takes  rooms  in  the  bookseller's  house  and  the  romance  begins. 

John  Mason  is  starred  in  the  part  of  "Mr.  Owen."  There  is 
nothing  to  the  part  and  Mr.  Mason  just  walks  through  it,  as 
Henry  Miller  did  on  its  original  production.  Martha  Hedman, 
a  young  Swedish  actress,  playing  her  second  part  in  the  vernac- 
ular, her  first  appearance  here  being  in  "The  Attack"  early  in  the 
season,  did  not  show  any  marked  advance  over  that  in  her  first 
attempt.  Indubitably  she  has  presence  and  technique  to  make  and 
hold  her  points,  but  her  diction  still  leaves  much  to  be  desired. 
Why  is  it  that  the  foreign-born  actors  master  our  language  so 
much  more  easily  than  the  women  of  the  profession  ?  Take,  for 
instance,  Mr.  de  Belleville  (Belgian),  Mr.  Max  Figman  (Aus- 
trian), Mr.  Frank  Reicher  (a  German  whose  English  diction  is 
a  model  even  for  any  English  or  American-born  actor),  these 
gentlemen  are  always  intelligible,  whereas  Mesdames  Modjeska 
and  Rhea  rarely  were,  nor  is  Madame  Nazimova.  The  first  im- 
perative need  of  the  actor  is  to  make  himself  understood. 

The  best  part  in  this  play  for  the  actor,  as  it  is  in  human  interest, 
is  that  of  the  old  bookseller  Todman,  delightfully  played  now  as 
twenty  years  ago,  by  Lennox  Pawle,  pleasantly  remembered  in 
"Pomander  Walk5."  Grateful  mention  is  also  due  to  Mr.  Sidney 
Herbert  as  Mr.  Hickson,  Miss  Emily  Dodd  as  Miss  Hickson  of 


HARRIS.  "THE  MASTER  MIND."  Play  in  four  acts 
by  Daniel  D.  Carter.  Produced  on  February  17th  with 
the  following  cast: 

Parker,  Harry  Neville;  Walter  Blount,  Morgan  Coman;  An- 
drew, Edmund  Breese;  John  Blount,  William  Riley  Hatch;  Mrs. 
Hlount,  Dorothy  Rossmore;  Lucene  Blount,  Katharine  La  Salle; 
Courtland  Wainwright,  Elliott  Dexter;  Professor  Forbes,  Walter 
Allen;  Freeman,  Archie  J.  Curtis;  Jim  Creegan,  Sidney  Cush- 
ing;  Mr.  Marshall,  Edward  Gillespie. 

There  is  a  new  crook  in  town.  His  alias  is 
"The  Master  Mind"  and  he  hangs  out  at  the 
Harris  Theatre.  He  is  a  very  remarkable  speci- 
men. His  equal  is  not  likely  to  be  met  in  even 
Lombroso's  famous  and  comprehensive  work  on 
criminology.  This  moving  and  dominant  figure 
in  the  underworld  is  named  Allen.  Whether  he 
started  "bad"  or  not  is  not  very  clearly  revealed, 
but  he  had  a  brother  sent  to  the  electric  chair 
on  what  he  considered  dubious  evidence.  It 
therefore  becomes  his  life's  work  to  get  even 
with  the  District  Attorney  who  conducted  the 
prosecution.  And  very  painstaking,  ingenious 
and  patient  was  this  worthy  in  his  efforts  to 
bring  about  his  revenge.  Time  was  no  object 
with  him  for  he  had  a  girl  educated  first  that  she 
might  be  the  main  factor  in  his  hated  one's  un- 
doing. The  District  Attorney  fell  in  love  with 
her  and  married  her,  the  Master  Mind  having 
first  supplied  her  with  a  bank  robber  for  a  father, 
a  confidence  queen  and  white  slaver  for  a  mother 
and  a  bunco  steerei  for  a  brother.  His  idea  be- 
ing to  show  them  all  up  and  thus  ruin  the  District 
Attorney's  social  and  political  ambitions.  It  took 
a  very  considerable  time  t&  establish  all  this  and 
then  for  further  variety  he  rang  in  another  crook 
in  his  efforts  to  make  the  District  Attorney  be- 
lieve his  wife  was  unfaithful 

But  the  Master  Mind's  revenge  fails  in  the 
end,  because  he  has  learned  to  love  the  girl  he 
educated,  and  so  goes  out  into  the  open  a 
chastened  and  very  melodramatic  man. 

"The  Master  Mind,"  written  by  Daniel  D.  Car- 
ter, is  pretty  crude  and  far-fetched  melodrama. 
But  in  this  era  when  everything  associated  with  the  underworld 
has  its  following  of  admirers,  it  is  not  surprising  that  the  show 
at  the  Harris  Theatre  is  attracting  large  audiences  who  seem  to 
like  the  piece. 

The  acting  in  the  play  is  very  characteristic  of  its  content. 
Every  emotion  is  expressed  in  broad  and  sweeping  values.  The 
title  role  is  played  with  intensity  and  reserve  by  Edmund  Breese, 
who  seems  to  thoroughly  enjoy  his  task,  while  the  quartet  of 
crooks  are  portrayed  with  becoming  dramatic  fidelity  by  William 
Riley  Hatch,  Dorothy  Rossmore,  Morgan  Coman  and  Sidney 
dishing.  There  is  an  earnest  District  Attorney  in  the  person  of 
Elliott  Dexter ;  an  astute  professor  in  Walter  Allen,  and  a  very 
engaging  heroine  in  Katharine  La  Salle.  The  latter,  in  addition 
to  being  very  pretty,  has  a  very  genuine  emotional  gift. 


PLAYHOUSE.    "THE  PAINTED  WOMAN."     Play  in  four  acts  by  Fred- 
eric Arnold  Krummer.     Produced  on  March  5th  with  this  cast : 


"Bull"     Ormiston Robert    Warwick 

Portuguese  Joe Malcolm   Williams 

Tench    Anthony    Andre 

Long    Rogers Eugene    Powers 

De    Rocheville Augustus    Collette 

Graves    Charles  Fisher 

John    Barton Charles    Waldron 


Samuel     Willoughby Harry     English 

Uriah   Cotton Frank    Peters 

Ramona     Florence    Reed 

Ann    Devereaux Jobyna    Howland 

Susannah     Carlotta    Marenzo 

Trix     Amy    Johnson 

Peg     Anna    Rose 


It  was  evidently  water-colors  that  The  Painted  Lady  affected, 
for  under  the  rain  of  criticism  which  she  drew  forth  her  the- 
atrical lure  washed  off  and  showed  her  up  in  all  her  thin  and 


THE      THEATRE      MAGAZINE 


ror 


wasted  ugliness.  It  was  a  pity  that  Frederic  Arnold  Krummer's 
drama  of  the  Spanish  Main  was  so  melodramatically  futile  and 
impossible  because  for  its  production  at  the  Playhouse  manager 
William  Augustus  Brady  must  have  spent  a  small  fortune  on  the 
two  superb  sets  which  served  as  a  background  for  this  drama  of 
greed,  lust,  murder  and  sudden  death.  Port  Royal,  Jamaica,  in 
1670,  when  pirates  were  rampant,  should  have  provided  ample 
material  for  a  stirring  drama  of  those  lurid  and  picturesque 
days.  Movement  and  action  enough  there  was  in  plenty  in  Mr. 
Krummer's  story,  but  it  didn't  grip,  and  so  "The  Painted  Lady" 
passed  away.  The  title  role  was  assumed  by  Florence  Reed. 


with  such  shrieks  and  epithets  that  it  is  no  wonder  that  Schilling 
is  left  a  gibbering  idiot.  In  the  last  act  he  escapes  from  his 
keepers  and  ends  his  life  in  the  sea. 

In  this  latest  product  from  the  pen  of  Germany's  great  drama- 
tist, not  a  trace  is  left  of  the  poet  who  wrote  "The  Sunken  Bell," 
but  we  find  in  its  stead  what  we  suspect  to  be  a  pandering  to  the 
sensation-loving  palate  of  Berlin's  jaded  public.  Occasional 
scenes  have  dramatic  value  but  they  are  loosely  connected  with 
much  irrelevant  talk  from  the  minor  characters  which  is  common- 
place and  often  slangy. 

Rudolf  Christians  competently  met  the  heavy  demands  made 


Drucker  &  Co. 

TWENTY-FIRST  ANNUAL  DINNER  GIVEN  BY  THE  SOCIETY  OF  AMERICAN  DRAMATISTS  AND  COMPOSERS  AT  DELMONICO'S 
Among  those  present  are  Victor  Herbert,  Mr.  and  Mrs.  Norman  McKinnel,  John  W.  Alexander,  Daniel  Frohman,  Charles  Klein,  John  Foster  Platt,  Kate  Douglas 
Wiggin,  Roi  Cooper  Megrue,  Rachel  Crothers,  Alice  Harnman,  Mary  Carr  Moore,  Col.  Harvey,  Margaret  Mayo,  Edgar  Selwyn,  Mr.  and  Mis.  Channing  Pollock, 
Nathan  Burkan,  Otto  Hauerbach,  Isabel  Kaplan,  E.  Yancey  Cohen,  Maurice  V.  Samuels,  Walter  McDougal,  Mr.  and  Mrs.  Arnold  Bruner.  Augustus  Thomas,  Douglas 
J.  Wood,  J.  I.  C.  Clarke,  Norman  L.  Swartout,  Mrs.  Mechtold,  Manuel  Klein,  F.  W.  Morrison,  Julius  Witmark,  II.  I'.  Mawson,  Marshall  P.  Wilder,  Rita  Weyman, 
Rienzi  de  Cordova,  Rida  Johnson  Young,  Joseph  Brooks,  Mr.  and  Mrs.  E.  H.  Voegtlin,  John  Philip  Sousa. 


Hers  was  an  impersonation  of  variety  and  tropical  warmth. 
Then  there  was  a  lusty  pirate,  the  Firebrand  acted  with  breadth 
and  vigor  by  Robert  Warwick,  and  a  very  villanous  lieutenant,  a 
"Portugee,"  realized  with  faithful  detail  by  Malcolm  Williams. 
Charles  Waldron  was  the  good-looking  New  Englander  who 
rescued  the  enslaved  heroine,  and  Geoffrey  Stein,  as  a  hunch- 
back, was  her  devoted  servant.  Had  "The  Painted  Lady"  been 
as  good  as  its  mise-en-sceiie  it  would  be  running  still. 


by  the  role  -of  the  pathological  Schilling  and  Mathilde  Brandt 
gave  a  subtle  impersonation  of  the  cat-like  Hannah  Elias.  Marie 
Buhrke's  interpretation  of  the  matter-of-fact  wife  was  character- 
ized by  realism,  almost  too  faithful.  The  other  members  of  the 
company  adequately  rendered  their  allotted  roles. 


COHAN'S.     ''WiDOW  BY  PROXY."     Farcical    comedy    in    three    acts    by 
Catherine   Chisholtn   Gushing.      Produced  on  February  24th  with  this  cast: 


IRVING  PLACE.  "GABRIEL  SCHILLING'S  FLUCHT."  Play  in  five  a^ts 
by  Gerhart  Hauptmann.  Produced  on  February  l8th  with  this  cast : 

Gabriel     Schilling Rudolf    Christians  Doktor    Rasmussen Heinrich    Marlow 

Evelyne     Marie     Buhrke  Klas     Olfers Willy     Frey 

Professor    Maeurer Otto    Stoeckel  Kuehn     Aug.     Meyer-Eiger 

Lucie    Heil Annie    Rub-Foerster  Der    Lehrjunge Irfi    Engel 

Hanna    Elias Mathilde    Brandt  Schuckert    Paul    Dietz 

Fraulein    Majakin Rose    Lichtenstein  Mathias     Louis     Praetorius 

This  play  in  five  acts  by  Gerhart  Hauptmann,  the  winner  of 
this  year's  Nobel  prize  in  literature,  was  produced  for  the  first 
time  in  America  at  the  Irving  Place  Theatre  on  February  18.  It 
depicts  the  downfall  of  a  talented  weakling  caused  by  the  conflict 
between  a  humdrum  wife  and  a  vampire  mistress — a  theme  which 
Hauptmann  has  used  before  this.  The  artist,  in  desperation, 
flees  with  a  sculptor  friend  from  the  two  women  who  have  ruined 
his  life  and  takes  refuge  in  a  small  fishing  village  on  the  Baltic 
sea.  But  already  the  nervous  strain  has  so  affected  Schilling's 
mind  that  when  the  Russian  adventuress,  his  evil  genius,  dis- 
covers his  hiding  place  and  comes  to  reclaim  her  victim,  he  is 
seized  with  attacks  which  necessitate  calling  a  physician  from 
Berlin.  He,  kind  soul,  brings  with  him  Evelyne,  the  quondam 
wife.  The  discarded  drab  and  the  hectic  harpy  meet  in  the 
presence  of  the  raving  patient  and  engage  in  a  hand  to  hand  fight, 


Gloria     Grey May     Irwin 

Dolores     Pennington Clara     Blandick 

Gilligan      Alice     Johnson 

Saphronia    Pennington.  ...  Frances    Gaunt 


Angelica    Pennington.  .Helen    Weathersby 

Captain    Penningtoi Orlando    Daly 

Jonathan    Penniugton Lynn    Pratt 

Alex    Galloway    Joseph    Woodburn 


Miss  May  Irwin  is  that  rare  individuality  on  the  stage,  less  rare 
than  formerly,  a  woman  with  the  irrepressive  spirit  of  humor  in 
her  and  the  capacity  for  fun-making.  She  would  not  be  alto- 
gether irresistible,  perhaps,  if  she  did  not  have  a  training  in  her 
profession  that  enables  her  to  make  everything  count.  "Widow 
by  Proxy,"  of  no  magnitude  as  a  play,  is  pieced  out  from  her 
individual  resources.  Certainly,  the  author  of  the  piece,  Cather- 
ine Chisholm  Gushing,  has  been  ingenious  in  devising  a  series  of 
opportunities  for  Miss  Irwin,  but  there  are  few  actresses  who 
could  carry  it  all  off  so  successfully.  Gloria  (an  appropriately 
triumphant  name  for  Miss  Irwin  in  the  play),  Gloria  Grey,  over- 
burdened with  debt,  but  always  resourceful  in  meeting  it,  has 
living  with  her,  as  friend,  companion  and  help,  a  dolorous  pseudo 
widow,  with  plenty  of  obstinate  pride  but  no  initiative.  When 
the  money  troubles  are  at  their  worst,  and  when  the  fashionable 
dressmaker  is  most  threatening  about  her  bills,  a  letter  and  then 
a  lawyer  comes  to  announce  that  the  widow  can  obtain  a  legacy 
if  she  would  visit  the  family  of  her  late  husband.  She  is  too 
proud  to  do  this,  for  they  had  (Continued  on  page  xv) 


T 


Copyright  Matzene,  Chicago 

MARY    GARDEN    AS    TOSCA 


WHEN  that  unleashed  tigress  of 
Sardou's  play,  "La  Tosca," 
was  let  loose  on  the  dramatic 
stage  years  ago,  Sarah  Bernhardt  and 
Fanny  Davenport,  each  in  her  way 
wonderfully  qualified  to  interpret  such 
a  type,  earned  marked  success  in  her 
exploitation.  Transferred  to  the  oper- 
atic stage  in  1900  through  the  adapta- 
tion of  the  play  musically  by  Puccini, 
the  heroine  continued  to  afford,  for 
those  singers  who  were  gifted  with  the 
proper  vocal  and  emotional  endow- 
ments, an  equally  remarkable  vehicle. 
So  thought  Ternina,  who  created  it 
here;  and  so  thought  Emma  Eames, 
Olive  Fremstad,  Carmen-Melis  and 
Geraldine  Farrar,  who  have  all  inter- 
preted it  wonderfully — and  very  differ- 
ently. Last  September  in  Paris  it  was 
added  to  the  already  lengthy  repertoire 
of  Mary  Garden,  who,  despite  the  long 
list  of  her  predecessors  in  the  role,  has 
succeeded  in  marking  it  uniquely  with 
the  amazing  gift  of  her  personality. 

Possibly  few  parts  have  ever  made 
the  demand  of  Tosca  on  the  versatility 
of  the  artist.  A  woman  who  combines 
the  chastity  of  a  Lucrece  with  the  free- 
dom in  love  of  a  Josephine ;  one  whose 
tenderness  for  her  lover  in  adversity 
is  only  equalled  by  her  vicious  jealousy  of  him  in  prosperity ; 
a  murderess  whose  horror  of  her  own  deed  is  accompanied  by 
joy  in  its  accomplishment — such  a  part  gives  its  interpreter  some- 
thing "to  set  her  teeth  in,"  so  to  speak.  Nothing  could  better 
suit  the  complex  intellectuality  of  a  Mary  Garden  and  not  one 
of  its  opportunities  has  she  lost.  Her  Tosca  is  furious  in  her 
jealousy  on  entering,  but  she  melts  to  a  look  from  her  lover.  In 
her  shimmering  blue-green  robes,  her  moods,  as  varicolored, 
shifting  with  every  sign  of  love  from  her  adored,  she  is  a  study 
in  the  possibilities  of  a  woman.  When  she  smiles  on  Mario,  it  is 
for  an  exquisite  instant  only ;  when  she  storms  at  him,  there  is 
latent  sunshine  back  of  the  storm. 

In  the  second  act  Miss  Garden  reaches  a  height  that  it  will  be 
difficult  for  her  to  equal  in  the  future.  Not  only  does  she  hold 
the  listener  breathless  in  her  portrayal  of  emotion ;  the  wonderful 
variety  of  facial  expression,  the  pictorial  grace  of  her  movements, 
the  amazing  little  individual  touches  of  her  interpretation  all  keep 
him  spellbound ;  but  the  beauty  of  her  singing  in  itself  would 
entitle  this  performance  to  especial  admiration.  The  Vissi  d'arte 
is  delivered  exquisitely,  and  in  the  third  act  duet  on  the  ramparts 
her  vocal  execution  equals  her  dramatic  skill. 

The  third  act  arouses  almost  too  poignant  emotions.  In  the 
second  act  Miss  Garden  is  almost  throughout  the  tigress,  deprived 
not  of  her  cubs  but  of  her  mate.  Her  feline  movements,  her 
stealthy  approach  to  the  table,  her  cruel  joy  are  all  tigerish.  But 
in  the  last  act  she  is  again  a  tender  woman,  lavishing  once  more 
all  her  heart  on  her  lover,  almost  frisking  about  him  in  her  joy 
at  his  supposed  release.  Like  a  child,  she  laughs  with  him  over 
his  pretended  death ;  like  a  child  playing  hide-and-seek,  she  calls 
to  him  to  "lie  low"— to  "play  dead"  a  little  longer.  The  transition 
to  her  horror  and  agony  when  she  finds  him  really  a  corpse  is 
almost  unbearable  in  its  intensity,  and  her  subsequent  leap  over 
the  ramparts  gives  the  onlooker  actual  relief. 

It  is  good  to  see  such  work.  Horrible  as  the  opera  is  occasion- 
ally in  its  mixtures  of  lust  and  sacrilege,  it  cannot  for  instance 
be  compared  to  "The  Jewels  of  the  Madonna"  on  either  score, 
and  its  music  is  incomparably  superior.  The  old  Greek  rule  for 


tragic  productions,  to  "purify  the  mind 
of  the  onlooker  by  pity  and  terror," 
certainly  is  carried  out  in  Tosca's  con- 
struction. But  the  great  thing  is  to  see 
such  individual  conscientious  artistry 
in  a  role  calling  for  every  variety  of 
the  singer  and  actor's  technique.  Also 
the  wonder  of  it  is  to  see  the  unvarying 
excellence  of  Miss  Garden's  work  as 
compared  to  the  decidedly  varying 
quality  of  her  support.  In  France  the 
singer  was  given  every  help  that  could 
be  afforded  her  by  other  artists  excel- 
lently qualified.  In  America  the  sup- 
port has  been  changed  from  time  to 
time  with  occasionally  trying  results. 

It  is  not,  for  instance,  at  all  necessary 
to  the  interpretation  of  Scarpia's  role 
that  he  should  be  all  brute.  The  re- 
fined and  exquisite  devilishness  of  a 
Scotti,  the  equally  subtle  villainy  of  a 
Renaud,  justify  one  in  complaining  of 
Mr.  Sammarco's  painful  exhibition  of 
the  part  in  Philadelphia,  and  even  of 
the  artistic  but  particolored  perform- 
ance with  which  Mr.  Marcoux  grated 
on  Boston.  The  susceptibilities  of  the 
latter  city  having  been  greatly  aroused, 
it  is  however  only  fair  to  record  that 
Mr.  Marcoux's  work  in  his  later  or  ex- 
purgated manner  lay  beyond  criticism. 
Miss  Garden's  art  has  unquestionably  deepened  of  late  years. 
Something — indefinable  but  most  beautiful — has  been  added  to 
the  brilliant  intellectuality  of  it ;  a  something  which  goes  further 
and  makes  its  final  strong  appeal — straight  to  the  heart  of 
the  observer.  It  may  be  that  this  is  responsible  for  the  widening 
of  her  appeal  to  the  general  public.  Popularity  of  a  certain  sort 
is  readily  gained ;  in  order  to  win  the  suffrage  of  one  kind  of 
hearer,  one  needs  but  to  be  "different,"  and  Miss  Garden's  work 
has  been  "different"  enough  to  divide  the  casual  operatic  audience 
promptly  into  her  adherents  and  her  non-adherents.  But  for 
that  real  greatness  which  shall  outlive  discussion — outlive  indeed 
the  artist  herself — for  that  reverence  which  shall  keep  a  name 
enshrined  for  the  generations  that  shall  come  after,  one  needs 
more  than  the  halo  of  a  mere  unusualness.  Those  who  have  given 
Miss  Garden's  art,  not  only  in  "Tosca"  but  in  its  predecessor, 
a  thought  which  has  gone  deeper  than  the  details  of  costuming 
or  the  tricks  of  a  facile  technique,  realize  in  it  the  noble  feeling, 
deepening  every  year,  of  the  great  artist.  Mary  Garden  carries 
the  heavy  responsibility  of  the  greatly  endowed. 

In  the  costuming  of  "Tosca,"  Miss  Garden  has  displayed 
three  of  her  best  known  characteristics — a  cheerful  indifference 
to  precedent,  an  absolute  fidelity  to  historical  detail,  and  a  regard 
for  the  proper  adornment  of  her  own  beauty.  In  the  first  act, 
only  the  well-known  staff  rrns  been  retained  to  give  her  appear- 
ance a  resemblance  to  the  noted  Toscas  of  the  past.  Miss  Garden 
wears  an  exquisitely  embroidered  green  trailing  gown  of  the  First 
Empire  with  a  tiny  jacket  of  blue  chiffon.  A  long  scarf  of  blue 
is  draped  about  her  shoulders  and  a  splendidly  plumed  blue  velvet 
hat  rests  on  her  hair  which,  in  adherence,  one  is  told,  to  historic 
fact  is  a  brilliant  red.  When  she  makes  her  first  appearance,  her 
arms  full  of  flowers,  she  is  superb  in  her  haughty  loveliness. 

In  the  second  act,  the  singer's  appearance  suggests  her  own 
Thais  more  than  any  other  artist's  Tosca;  possibly  because  her 
hair  is  dressed  in  a  manner  faithful  to  the  First  Empire.  Her 
wonderful  evening  gown  is  of  silvery  tissue,  and  by  the  very 
unobtrusiveness  of  its  color  shows  that  painstaking  regard  for 
detail  which  distinguishes  this  artist's  work.  CLARE  P.  PEELER. 


aris   Stirred   by   a    Patriotic    Play 


WHEN  we  hear  that  a  play  has  made  a  sen- 
sation in  Paris,  the  American  public  is 
too  apt  to  associate  the  new  piece,  as  well 
as  all  recent  works  by  contemporary  French  dram- 
Maurice  Donnay  atists,  with  faint  recollections  of  highly  spiced 
comedies  in  which  the  eternal  triangle  of  wife,  husband  and 
lover  form  the  one  stereotyped  and  monotonous  complication, 
flimsy,  inconsequential  pieces  quickly  forgotten  as  soon  as  the 
season  that  gave  them  birth  is  ended.  This,  of  course,  is  because 
the  sexual  drama  is  the  one  type  of  play  which  Frenchmen  alone 
can  write  gracefully,  and  the  kind  of  play  most  frequently  im- 
ported from  Paris  by  our  astute  managers,  who  are  sure  they 
know  just  what  sort  of  piece  is  suitable  to  Broadway. 

But  do  not  let  us  forget  that  Brieux,  whom  Lawrence  Irving 
declares  to  be  the  greatest  dramatist  since  Shakespeare,  is  also 
a  Frenchman.  Brieux  is  a  playwright  with  a  message,  and  the 
success  he  has  had  in  making  of  the  Parisian  stage  a  pulpit,  or 
at  least  a  platform,  from  which  to  thunder  his  sociological  and 
physiological  theories,  has  encouraged  many  thoughtful  French 
writers  to  work  out  their  theories  in  the  form  of  serious  plays. 
And,  strange  to  say,  the  Parisian  public,  reputed  to  care  only 
for  idle  pleasure  and  the  lighter  side  of  life,  has  taken  kindly 
to  these  dramatic  sermons  and  shown  approval  of  this  Ibsenish 
tendency. 

Three  plays  have  met  with  pronounced  success  in  Paris  this 
season,  and  we  are  startled  to  see  that  they  all  deal  with  grave 
problems.  Their  authors  are  Henri  Lavedan,  of  the  Academic 
Franchise;  Maurice  Donnay,  who  combines  in  his  dramas,  as  no 
one  else,  solidity  of  thought  with  tender  poetry  and  the  sparkling 
of  true  French  "esprit" ;  and  Henri  Kistemaeckers,  whose  in- 
domitable optimism  leads  the  characters  of  his  imagination 
through  conflicts  and  catastrophes  toward  a  reposeful  ending. 

In  his  earlier  work,  Henri  Lavedan  applied  his  brilliant  gifts  to 
themes  of  the  lighter  kind  that 
allowed  him  to  give  full  vent 
to  his  good-natured,  caustic  wit 
and  to  make  thoroughly  incon- 
sequential people  speak  of 
nothing  in  the  most  entertain- 
ing manner.  Since  then,  he 
has  attacked  many  a  serious 
subject  and  carried  it  through 
with  superior  philosophical  un- 
derstanding and  masterful 
dramatic  ability.  His  drama, 
"The  Duel,"  will  rank  among 
the  fine  thines  in  the  French 
drama  of  all  time.  His  latest 
play,  produced  at  Sarah  Bern- 
hardt's  magnificent  theatre,  is 
a  military  drama  in  two  acts, 
entitled  "Servir." 

Who  says  that  two  acts  do 
not  make  a  play?  Paul  Her- 
vieu's  "Enigma."  also  in  two 
acts,  is  counted  among  the 
masterpieces  of  recent  years 
and  will  live  as  an  example  of 
dramatic  power  and  concision 
for  future  generations.  And 
did  not  Aristophanes  cast  the 
most  delightful  of  comedies 
into  that  same  narrow  mould 
of  two  acts? 

Lavedan's  "Servir"  is  a  virile 
tragedy  of  modern  French 
militarism.  Coming  as  it  does 
at  a  moment  when  France,  not 
to  be  left  behind  by  Germany, 


is  feverishly  adding  to  her  war  strength,  the  sub- 
ject could  hardly  be  more  timely. 

The  play  was  offered  to  the  Comedie  Franchise 
and  actually  accepted  for  production  by  Jules 
Claretie,  but  scruples  arose  at  the  eleventh  hour  as  Henri  i-avedan 
to  the  fitness  of  its  presentation  on  the  stage  of  the  national 
theatre  and  Lavedan,  in  a  moment  of  pique,  withdrew  it.  The 
danger  of  possible  complications  with  foreign  powers  seems  to 
have  been  somewhat  exaggerated,  for  Lavedan  has  handled  his 
situations  with  perfect  tact.  If  his  characters  seem  at  times 
exaggerated,  it  is  only  that  we  may  understand  them  better  in 
the  limited  frame  of  his  heroic  sketch.  As  a  matter  of  fact, 
the  Corneillian  characters  of  this  stirring  patriotic  drama  find 
even  better  opportunities  for  their  development  in  the  scientific 
atmosphere  of  the  twentieth  century  than  they  did  at  the  time 
of  the  great  Corneille. 

The  first  act  takes  us  to  the  living-room  of  the  Eulin  family, 
full  of  souvenirs  of  the  Franco-German  war.  A  map  of  Mo- 
rocco that  hangs  on  the  wall  is  marked  with  a  black  cross  before 
which  Mme.  Eulin  kneels  to  pray  for  the  soul  of  her  eldest  son. 
In  the  drawer  of  a  desk  she  keeps  the  letters  of  her  second  son, 
also  fighting  for  France  in  Africa.  The  third  is  a  lieutenant  in 
the  artillery  at  Orleans.  Mme.  Eulin  is  the  daughter,  the  wife 
and  the  mother  of  soldiers.  Colonel  Eulin,  whose  one  ideal  was 
his  country  and  one  anxiety  to  serve  her,  has  been  forced,  by  a 
network  of  base  intrigue,  to  resign  his  post  in  the  army.  Civilian 
life  is  insufferable  to  him.  His  enforced  leisure  threatens  to 
drive  him  to  madness.  The  happy  family  life  of  thirty  years 
past  is  suddenly  disorganized.  The  colonel  goes  about  restlessly, 
disappears  for  several  days  at  a  time  on  unexpected  journeys. 
Mme.  Eulin  is  beginning  to  stifle  in  the  all  too  military  atmos- 
phere of  her  home.  From  her  window  she  sees  the  dome  of  the 
Invalides  that  towers  majestically  above  Napoleon's  tomb;  she 

hears  the  military  music  from 
the  near-by  Darracks ,  every 
hour  she  is  feverishly  expecting 
news  from  her  second  son, 
whose  duty  has  taken  him  to 
precisely  the  same  perilous 
post  where  the  eldest  has 
fallen.  Her  only  comfort  is 
her  youngest  son,  Pierre.  He 
understands  her  sorrow,  for  in 
his  heart  he  does  not  sym- 
pathize with  his  father's  rigid 
principles.  Pierre  is  an  adept 
of  the  anti-militarist  theories 
which  are  spreading  in  France. 
He  is  said  to  have  told  his 
subordinates  that  in  case  of 
war  every  man  should  act  ac- 
cording to  his  own  conscience, 
by  which  declaration  he  incurs 
his  father's  violent  disapproval. 
He  is  more  of  a  student  than  a 
soldier,  and  while  he  was 
stationed  in  one  of  the  military 
depots  near  Paris  he  devotes 
most  of  his  time  to  scientific 
research  in  the  laboratory  of 
his  isolated  cottage.  By  mere 
chance,  this  young  apostle  of 
peace  discovers  a  more  for- 
rru'dable  explosive  than  any 
known.  He  tells  his  mother 
how  he  blew  up  a  deserted 
little  island  on  the  coast  of 
Rrittanv  with  no  more  powder 
than  would  hold  in  a  nutshell. 


From  [-'Illustration 

Scene   in    "La   Chienne    du    Roi,"    one    act    play    by    Henri    Lavedan,   at   the    Theatre 

Sarah    Bernhardt 

Mme.  Du  Barry  (Jane  Hading)  in  prison  before  execution.  She  his  confessed  to 
the  priest  and  appears  resigned  to  her  fate  when  suddenly  her  fevered  brain  conjures 
up  the  grim  spectacle  of  the  guillotine.  Instantly  there  is  a  revulsion  of  feeling. 
Heedless  of  the  priest's  exhortations  she  throws  herself  on  tne  floor  in  a  paroxysm 
°c  c A  .1,=  u,h»i.  nrienn  etiaUps  with  her  screams  of  tenor 


104 


THE      THEATRE      MAGAZINE 


Copyright  Dover  St.  Studios 

Louise    Edvina   as    Maliella    in 
(Boston    Ope 


But  he  wants  to  destroy  the  for- 
mula of  his  terrible  invention 
which,  he  says,  would  only  make 
war  more  horrible.  He  will  entrust 
to  his  mother  the  few  cartridges 
that  are  left,  and  she  promises  to 
go  with  him  to  get  them  at  his  cot- 
tage the  next  morning.  At  the 
same  time,  Colonel  Eulin  is  advised 
by  an  officer  that  the  Secretary  of 
War  wishes  to  see  him  secretly,  and 
he  agrees  to  meet  him,  at  day- 
break, in  his  son's  cottage,  which 
he  believes  unoccupied.  The  clouds 
of  tragedy  are  gathering  at  the  end 
of  this  first  act,  especially  after  a 
passionate  argument  between 
father  and  son.  which  leads  to  a 
definite  break  between  them. 

At  the  opening  of  the  second  act, 
we  see  the  colonel  entering  into  the 
cottage  in  the  furtive  manner  of  a 
burglar.  He  searches  the  room  for 
keys,  papers  and  the  very  car- 
tridges which  Pierre  wants  to  entrust  to  his  mother.  The  old 
soldier,  knowing  his  son  will  never  give  his  invention  to  the 
world,  has  come  to  steal  it  and  turn  it  over  to  the  Secretary  of 
War.  His  resignation  from  active  service  has  not  broken  his 
desire  to  work  for  his  country,  but  the  only  way  for  him  now  is 
to  devote  his  heroism  to  humble  and  anonymous  tasks.  The 

Secretary  of  War 
comes  to  the  meeting- 
place  and  brings  the 
colonel  the  news  of 
the  death  of  his  sec- 
ond son  in  Africa. 
Complications  have 
arisen,  and  there  is 
an  impending  danger 
of  war  with  another 
European  nation. 
The  Secretary  of 
War  takes  Pierre's 
formula,  but  leaves 
the  cartridges  to 
Eulin,  with  a  written 
order  in  a  sealed  en- 
velope. There  is  no 
doubt  but  that  the 
colonel  will  obey  it 
strictly,  even  though 
it  is  to  lead  him  to  a 
sure  death.  He  will 
die  in  silence  and 
without  glory,  to 
serve  his  country  to 
the  end.  When  he  is 
left  alone,  he  locks 
himself  up  in  an  ad- 
joining room  to  pre- 
pare for  his  mission. 
Then  comes  the 
fateful  arrival  at  the 
cottage  of  mother 
and  son.  Pierre  sees 
immediately  that  the 
place  has  been  bur- 
glarized and  at  once 
investigates.  He  finds 
the  door  locked : 


"The    Jewels    of    the    Madonna" 
ra    Company) 


PIERRE:  There  can  be  no  doubt.  The 
burglar  is  in  that  room.  He  heard  us 
coming  and  went  in  there  to  hide. 

MME.  EULIN:  In  your  bedroom? 

PIERRE:  He  is  in  there! 

MME.  EULIN:  Come  away!  Don't  let 
us  stay  here ! 

PIERRE:  Of  course  we  must.  We'll 
see !  (He  goes  toward  the  door.) 

MME.  EULIN:  Pierre! 

(He  tests  the  door  with  the  weight  oj 
his  shoulder,  observing  its  strongest 
point  of  resistance.) 

PIERRE  :  I  thought  so.  It  is  not  locked, 
it  is  bolted  from  within. 

MME.  EULIN:  Oh,  God! 

(He  turns  and  speaks  toward  the 
closed  door.) 

PIERRE  :  Whoever  you  are,  thief  or 
assassin,  open  this  door,  or  I  will 
break  it ! 

'(Complete  silence.) 

MME.  EULIN:  He  may  be  gone. 

PIERRE  :  Impossible !  This  is  the  only 
door. 

MME.  EULIN:  But  the  window? 

PIERRE:  Barred.     He  can't   escape  us. 

MME.  EULIN:  Shall  I  call  for  help? 


Vanni    Marcoux  as   Scarpia 
(Boston   Opera   Company) 


PIERRE  :  For  the  police  to  come,  and  find  my  .  .  . 

MME.  EULIN:  That's  true,  but  what  then? 

(He  goes  to  the  outer  door  and  gives  her  the  key  of  it.) 

PIERRE  :  Wait  for  me  outside,  please. 

MME.  EULIN:  I  shall  not  leave  you! 

PIERRE:  Then  stand  over  there — and  don't  be  afraid.     (He  points  at  the 
far   cud   of   the    room:    site   goes   there   and   waits   apprehensively.) 

MME.  EULIN:  I  am 
afraid  only  for  you. 

(Pierre  goes  to  the 
table,  takes  a  revolver 
out  of  a  drawer  and  goes 
toward  the  bolted  door.) 

PIERRE  :   And  now  .  .  . 

MME.  EULIN  :  What 
are  you  going  to  do? 

PIERRE  :  Make  the  ban- 
dit come  out  of  his 
hiding-place ! 

( The  bolt  is  heard  be- 
ing withdrawn. ) 

You  see?  It  is  an 
easy  job!  He  is  scared! 
He  opens  the  door! 
There  he  is  coming! 

(The  door  is  opened 
slowly.) 

MME.  EULIN:  Take 
care ! 

COLONEL  EULIN  (ap- 
pearing on  the  thresh- 
old) :  No  danger. 

The  following 
scene  rises  to  the 
highest  accents  o  f 
tragedy.  To  Pierre's 
infuriated  accusations 
the  colonel  calmly  op- 
poses his  unimpeach- 
able patriotism.  Yes, 
he  admits  he  has 
burglarized  his  son. 
he  has  spied  on  him, 
watched  the  progress 
of  his  invention,  and, 
just  now,  delivered  it 
to  the  Government. 
He  tells  to  what 
shameful,  abject  tasks 
he.  this  perfect  man 
of  honor,  has  devoted 

(Continued  on  page  w'i)  Photo  Dover  St.  Studios 

Vanni    Marcoux   as   the    Father   in   "Louise" 
(Boston    Opera    Company) 


White 
\<t    I.     I-'rau   (iiKlul.-i    (Mathilde   f'ottrelly)    welcomes   her  granddaughter.   Charlotte    (Alma    Belwin).      2 — Act    I 


Carl    (Frank    Goldsmith),    Solomon    ( I" rank    Losee),    Frau 


fimlula.    Nathan    ijnhn    Sainpoli*),    Jacob    (Pedro   de    Cordoba),   and    Anselm    (Edward   Kmery).     .1,    ol>  denounces  Solomon's  ambitious  project  to  marry  Charlotte  to  the   Duke 
is.     3 — Act   II.    Charlotte   goes  with   her  father  and   uncles  to  lunch   with   the    Duke   (Edward  Mackay).     4 — Act  II.    The  Duke  and  the  banker's  daughter.     S— Act    III. 

Fran    Cuclula    warns   the   Duke    that    unhappiness    will    come    of   the    match. 

SCENES    IN    "THE    FIVE    FR  ANKFO  RTERS,"    NOW    AT    THE    THIRTY-NINTH    STREET    THEATRE 


Photo  White 


Pasquale   Amato  as   Cyrano 

STAGE   SETTING   FOR   ACT  II   OF  WALTER    DAMROSCH'S   OPERA,   "CYRANO" 


Frances   Alda   as    Roxanc 


LIKE  troubles,  operatic  novelties  appear  never  to  come 
singly.  Take  our  own  season  of  opera  as  an  example : 
For  fifteen  weeks  it  has  wandered  on  without  a  single 
really  new  work  and  then,  suddenly,  three  new  operas  are  pro- 
duced in  two  weeks.  Two  of  these,  "Conchita"  and  "Le  Ranz 
des  Vaches,"  were  heard  for  the  first  time  in  New  York,  while 
one,  "Cyrano,"  was  given  for  the  first  time  on  any  stage.  So  it 
has  been  the  busiest  fortnight  of  the  entire  season  thus  far — busy 
in  the  way  of  expectancy  and  excite- 
ment, for  no  premiere  at  the  Metro- 
politan is  without  its  thrill  these 
days.  And  yet — but  that  would  be 
anticipating. 

First  to  "Cyrano,"  music  by 
Walter  Damrosch,  libretto  by  W.  J. 
Henderson,  after  the  familiar  play 
by  Edmond  Rostand.  Its  first  pres- 
entation on  any  stage  occurred  at 
the  Metropolitan  Opera  House  on 
Friday  evening,  February  28,  and 
here  follows,  as  a  matter  of  record, 
the  original  cast : 

Cyrano,  Pasquale  Amato;  Roxane, 
Frances  Alda;  Duenna,  Marie  Mattfeld; 
Lisc,  Vcra  Curtis ;  A  Flower  Girl,  Louise 
Cox ;  Mother  Superior,  Florence  Mul- 
f ord ;  Christian,  Riccardo  Martin;  Rague- 
neau.  Albert  Reiss;  De  Guiche,  Putnam 
Griswold ;  Le  Bret,  William  Hinshaw ; 
First  Musketeer,  Basil  Ruysdael ;  Second 
Musketeer,  Marcel  Reiner;  Montfleury, 
Lambert  Murphy ;  A.  Monk,  Antonio 
Pini-Corsi. 

No  opera  premiere  in  years  was 
attended  by  such  wholesale  demon- 
strations of  enthusiasm  on  the  part 
of  the  assembled  public  as  was  this 


White 


initial  performance  of  "Cyrano."  There  were  enough  flowers 
for  the  principals  to  stock  a  Fifth  Avenue  florist's  window;  there 
were  two  speeches  by  Walter  Damrosch,  and  curtain  calls  with- 
out end  that  brought  to  view  all  the  principals,  Giulio  Gatti- 
Casazza,  Walter  Damrosch  and  W.  J.  Henderson.  So  the  public 
— or  that  part  of  the  public  which  was  friendly  to  composer  and 
artists — left  no  stone  unturned  to  have  this  interesting  premiere 
go  down  in  operatic  history  as  a  gala  event. 

The  opera  was  sung  in  English, 
a  continuation  of  Gatti-Casazza's 
policy  to  give  each  season  at  least 
one  work  in  the  vernacular.  Last 
year,  it  will  be  recalled,  there  was 
"Mona,"  the  result  of  a  $10,000 
competition  for  the  best  opera  in 
English.  This  work  died  a  natural 
death  after  a  few  performances  and 
it  is  not  likely  that  it  will  be  resur- 
rected again  this  year.  This  season 
there  was  no  expensive  bait  offered 
by  the  Metropolitan  to  the  shy 
American  composer,  but  "Cyrano" 
was  accepted  early  in  the  season  and 
months  have  been  spent  upon  its 
preparation. 

"Cyrano"  is  not  a  new  work.  The 
libretto  was  fashioned  and  the  music 
composed  about  eleven  years  ago. 
But  it  rested  tranquilly  in  the  com- 
poser's portfolio  until  recently  when 
Walter  Damrosch  rewrote  portions 
of  it  and  made  such  changes  as  he 
deemed  necessary  or  advisable. 
Since  the  rehearsals  began  there 
have  been  a  terrific  number  of  cuts 
made  in  the  original  score,  reducing 


Putnam    Griswold   and    Frances  Alda   in   "Cyrano" 


THE      THEATRE      MAGAZINE 


107 


its  performance  to  about  three  and  a  half  hours.     And  it  is  still 
too  long. 

The  music  lacks  inspiration.  It  sounds  labored,  "made,"  all 
save  a  few  places  such  as  the  Gascogny  Cadets  chorus  and  the 
Pastry  Cook's  patter  song.  But  these  instances  suggest  good 
comic  opera.  The  score  is  reminiscent — which  is  easily  to  be 
accounted  for  since  its  composer  has  conducted  concerts  and 
operas  for  so  many  years  that  his  brain  must  of  necessity  be 
charged  with  the  melodic  thoughts  and  the  formulas  of  orches- 
tration employed  by  other  composers. 

This  music  is  tuneful  and  it  has  interesting  moments — but  that 
about  exhausts  the  possibilities  of  honest  praise.  The  second 
act  in  the  Pastry  Cook's  shop  is  probably  the  most  engaging  of 
the  four  acts,  and  the  intermezzo  preceding  this  act  is  quite 
tuneful  and  pretty.  But  the  balcony  scene  music  is  flat,  the 
music  of  the  battle  scene  is  almost  entirely  without  interest  or 
dramatic  vigor ;  and  the  final  scene  of  the  opera,  Cyrano's  death, 
is  chiefly  impressive  because  of  its  action.  The  orchestration  is 
brilliant  and  generally  quite  skilful.  Mr.  Damrosch  lacks,  all ' 
told,  a  feeling  for  the  possibilities  of  dramatic  music,  accom- 
panied by  action.  He  draws  out  recitatives  needlessly,  he  inter- 
rupts, by  musical  padding  that  is  to  no  definite  end,  phrases 
that  have  dramatic  import.  The  result  is  that  the  action  is  tardy, 
that  the  listener  becomes  bored. 

And  what  a  pity  'tis,  'tis  true,  for  a  better  libretto  than 
"Cyrano"  has  seldom  been  set  to  music.  Rostand's  play  simply 
teemed  with  life  and  interest,  and  W.  J.  Henderson,  music  critic 
of  the  New  York  Sun  and  author  of  many  books,  has  made  an 
effective  condensation  of  the  five  acts  into  four,  letting  the  death 
scene  follow  directly  after  the  battle.  The  dramatic  pace  of  the 
libretto  is  swift,  and  it  is  none  too  long — or  would  not  be  if  set  to 
music  by  one  skilled  in  dramatic  writing. 

The  performance  was  a  proof  of  the  sincerity  of  purpose  with 
which  the  Metropolitan  management  treats  opera  in  English. 
The  four  scenes  were  handsome ;  costumes  and  properties  were 
all  that  could  be  desired  artistically.  The  cast  was  assembled 
from  the  best  available  artists  of  the  Metropolitan  roster  of  great 
singers,  but  the  English  sung  could  only  be  understood  now  and 
again  in  disjointed  words  or  phrases. 

Mr.  Amato  sang  the  title  role  very  well  and  acted  it  with  skill. 
Those  who  saw  and  distinctly  recalled  Coquelin's  famous  inter- 
pretation of  this  role,  found  much  that  was  lacking  in  Amato's 
conception.  Still,  he  was  handicapped  by  singing  in  English,  a 
language  which  he  does  not  even  speak.  Mme.  Alda  as  Roxane 
was  admirable,  singing  well,  enunciating  clearly  and  acting  with 
arch  grace.  Mr.  Griswold  was  a  noble  De  Guiche,  Mr.  Reiss  a 
nimble  Pastry  Cook,  and  Mr.  Hinshaw  a  sympathetic  Le  Bret. 
Mr.  Hertz  conducted  conscientiously  a  score  over  which  he  had 
slaved  for  so  long;  orchestra  and  chorus  acquitted  themselves 
with  credit.  But,  taking  it  by  and  large,  "Cyrano"  will  scarcely 
mark  a  new  era  in  American  composition,  nor  will  it  be  a  great 
advance  in  the  cause  of  opera  in  English.  It  was  better  than  the 
other  operas  in  the  vernacular  produced  by  the  Metropolitan,  but 
the  reason  for  this  advantage  is  to  be  attributed  to  its  libretto. 

Both  of  the  other  novelties,  "Conchita"  and  "Le  Ranz  des 
Vaches,"  were  given  by  the  Philadelphia-Chicago  Opera  Company 
at  the  Metropolitan.  The  New  York  premiere  of  "Conchita" 
occurred  on  Tuesday,  February  n,  and  the  cast  is  here  recorded: 

Conchita,  Tarquinia  Tarquini;  t)on  Mateo,  Charles  Dalmores;  Dolores. 
Helen  Stanley;  Ruffina,  Ruby  Heyl ;  Estella,  Minnie  Egener;  La  Sorveg- 
liante,  Adele  Legard ;  L'Ispettore,  Frank  Arthur  Preisch ;  Banderillero, 
Vittorio  Trevisan ;  Venditore  di  Frutta.  Emilio  Venturini ;  Una  Guida, 
Francesco  Daddi ;  Madre  di  Conchita,  Louise  Herat;  Una  Voce,  Emilio 
Venturini ;  La  Gallega,  Rosina  Galli ;  Le  Danseur,  Luigi  Albertieri ;  Una 
Madre,  Esther  Grimm  ;  Tonio,  Desire  Def  rere  ;  Morenito,  Marie  Hamilton  ; 
Garcia,  Constantin  Nicolay ;  Sereno,  Vittorio  Trevisan ;  Uno  Giovanotto, 
Piero  Orsatti ;  Una  Donna,  Anne  Sullivan ;  Una  Ragazza,  Elsa  Garrette ; 
Due  Inglesi,  Giuseppe  Minerva,  Rocco  Franzini ;  Enrichetta,  Minnie 
Egener ;  L' Arnica  D'Enrichetta,  Elsa  Garette ;  Due  Spettatore,  Nicolo  Fos- 
setta,  Michel  Zwibach.  General  Musical  Director,  Cleofonte  Campanini. 

The  music  of  this  opera  was  written  by  Riccardo  Zandonai, 


the  libretto  by  Maurice  Vaucaire  and  Carlo  Zangarini.  The 
story  is  founded  upon  Pierre  Louys'  famous  story,  "La  Femme 
et  le  Pantin"  ("The  Woman  and  the  Puppet")  but  the  string  has 
been  extracted  from  this  rather  frank  story.  In  fact,  so  much  of 
the  sting  has  been  taken  that  the  story  proves  rather  a  farce,  de- 
picting the  heroine  as  a  girl  who  sits  upon  a  man's  lap,  dances  a 
brazen  dance  of  exposure  in  a  public  dance  hall,  admits  another 
man  to  her  garden  while  her  wooer  pines  without  and,  finally, 
comes  to  the  man  who  adores  her.  i  <  ,i,itinued  on  page  x) 


White  Cyrano  Roxane  Christian 

(Pasquale  Amato)  (Frances  Alda)  (Riccardo   Martin) 

SCENE   IN    WALTER   DAMROSCH'S    OPERA,    "CYRANO" 


SARA    ALLGOOD,    LEADING    WOMAN    OF    THE    IRISH    PLAYERS,    AS    OLD    MRS.    GROGAN    IN    THE    "BUILDING    FUND" 


IT  is  an  auspicious  name, 
Allgood,   and    it    is    her  ^ 

own.     There  is  a  story 

of  a  French  family  of  similar  name  settling  about  Dublin  way 
several  centuries  ago  and  bequeathing  to  its  daughters  a  quick 
wit  which  the  climate  of  Ireland  has  mellowed  and  the  association 
with  Irish  folk  has  sharpened.  Hundreds  of  good  folk  in  Dublin 
know  her  as  "Sallie"  Allgood,  and  she  responds  readily  to  the 
name  since  she  is  an  exile  from  Erin  in  America. 

The  leading  woman  of  the  Irish  Players  has  made  a  deep  and 
pleasing  impression  upon  audiences  in  the  United  States.  The 
owner  of  a  Chicago  newspaper  and  a  patron  of  the  arts  in  his 
own  rights  said  while  toasting  her  at  a  dinner:  "She  has  the 
same  divine  spark  that  lived  in  the  breast  of  Richard  Mansfield. 
I  discovered  him  in  his  youth  and  poverty.  I  fought  for  him 
for  a  year  while  critics  said  'He  is  full  of  mannerisms.  His 
talent  is  overweighted  and  smothered  by  his 
conceit.'  But  I  said  of  him :  'He  will  yet  be 
the  greatest  actor  in  America,'  and  I  say  of 
Miss  Allgood :  There  will  be  a  time  when 
America  will  have  no  greater  actress." 

H.  Kohlsaat  ended  his  encomium  by  say- 
ing: "Miss  Allgood,  we  bid  you  remain  with 
us!"  Managers  have  seconded  that  invita- 
tion and  Miss  Allgood  is  in  a  state  of 
tremulous  uncertainty,  the  new  land  with  its 
larger  opportunities  drawing  her,  while  afar 
she  hears  the  cry  of  the  green  isle  and  the 
musty  old  theatre  whose  luck  she  turned. 

She  doesn't  know  how  nor  why  it  hap- 
pened. "I  have  thought  that  perhaps  they 
came  to  see  us  fail"  is  her  explanation  of 
that  revolutionary  event.  Dublin  had  been 
indifferent.  Houses  had  been  small.  The 
Irish  Players  were  discouraged.  The  Abbey 
Theatre  was  about  to  lose  Frank  and  Willie 
Fay.  The  loss  of  the  Fays  was  a  stupendous 
one  to  the  movement.  Those  excellent  stage 
directors  had  grown  a  bit  autocratic  it  seemed  to  the  actors.  The 
actors  had  grown  insubordinate  it  seemed  to  the  directors.  The 
directors  demanded  of  the  trustees  of  the  movement  that  they  be 
allowed  supreme  control  of  the  stage.  "We  want  the  right  to 
dismiss  an  actor  when  we  think  it  proper"  said  they,  whereupon 
the  trustees  replied :  "It  would  grieve  us  to  lose  you,  but  we 


£  ff    °    1L 

or  an  Irish 


SARA    ALLGOOD 


cannot  permit  you  complete 
power.  What  if  a  sudden 
whim  should  prompt  you 
to  dismiss  without  good  cause,  for  instance,  Miss  Allgood?" 
The  Fays  resigned  and  evil  prophecies  were  in  the  air.  The  Irish 
1 'layers,  the  naturalistic  school  of  acting,  the  school  of  modern 
playwrights,  Yeats'  exquisite  poetic  drama  would  be  lost  to  the 
world.  What  could  be  done?  The  trustees  summoned  Miss 
Allgood  and  said :  "We  would  like  you  to  produce  the  next  play !" 
Miss  Allgood  was  seized  with  vertigo  and  resolution.  Black 
spots  danced  before  her  fear-stricken  eyes,  but  being  Irish  she 
is  doughty  and  more  than  all  else  she  feared  to  be  afraid.  She 
put  into  rehearsal  a  play  different  from  any  yet  produced  by 
the  Irish  Players.  Heretofore  the  dramas  they  enacted  had 
been  pictures  of  peasant  life.  Miss  Allgood  chose  a  society  drama. 
Human  nature  craves  change.  Also  the  news  that  a  woman  had 
lifted  the  load  of  dramatic  direction  upon  her 
shoulders  had  gotten  abroad,  and  there  be 
suffragettes  in  Ireland.  Miss  Allgood's  expla- 
nation may  be  correct  or  all  three  may  be 
correct.  At  any  rate  the  house  was  filled 
from  pit  to  dome  and  the  beskirted  stage 
director,  peeping  through  a  hole  in  the  cur- 
tain, had  another  and  worse  attack  of  vertigo. 
Moreover  that  great  event  was  greater  by 
reason  of  the  discovery  of  a  dashing  young 
leading  man,  a  modern-spirited  D'Artagnan. 
Four  leading  men  had  passed  through  the 
furnace  of  rehearsal,  and  came  out  worth- 
less slag.  Then  entered  Fred  O'Donovan  in 
much  the  same  devil-may-care  manner  in 
which  he  bounded  into  the  town  hall  for  his 
"Showing  Up"  as  Blanco  Posnet.  and  the 
Irish  Players  had  the  leading  man  for  whom 
they  had  sought  and  suffered,  and  who  by 
his  work  in  America  has  upheld  the  Bruce 
McRae's  contention  that  while  the  leading 
man  may  not  be  the  spine  of  the  company  he 
is  at  least  its  pair  of  shoulders.  Miss  Allgood  continued  to  be 
the  stage  director  as  well  as  leading  woman  of  the  company  for 
a  year.  She  had  shown  what  she  could  do  but  she  didn't  want  to 
do  it  any  longer.  Buxom,  red  of  cheek  and  brilliant  of  eye  as 
she  is,  she  had  learned  that  there  is  a  "Thou  shalt  not !"  a  limit 
of  physical  endurance  for  a  woman. 


JULIA    SANDERSON 
This   popular   young   actress   is    now   playing  the  title  role  in   "The   Sunshine  Girl,"   at    the   Knickerbocker 


THE      THEATRE      MAGAZINE 


Her  tenet  is  that  an  actress  should  be  a!>le  to  play  anything.  The  capahle  leading  woman  of  the  Irish  Players  is  an  example 
Her  recipe  for  the  making  of  a  good  actress  is  "Three-fourths  of  the  value  of  the  oft  sneered  at  movements  for  the  uplift  of 
dramatic  instinct  and  one-fourth  brain,  hut  don't  leave  out  the  an  art  or  a  community.  It  was  the  wave  of  reawakened  interest 


brain !"  "First  sincerity,  then  re- 
pose, and  least  of  all  beauty"  is  an- 
other of  her  dicta  of  the  boards. 

Nature  provided  her  the  dramatic 
instinct  and  the  brain.  It  favored 
her.  too,  with  a  wholesome  attrac- 
tiveness that  is  the  complement  of 
beauty,  if  not  itself  beauty.  -May- 
hap the  dramatic  instinct  was  an  in- 
heritance from  Catherine  Hayes,  the 
Irish  prima-donna,  who  was  her 
kinswoman  of  another  generation. 
lUit  she  is  Irish,  and  to  be  Irish  is  to 
be  rich  in  feeling,  and  to  feel  is  to 
possess  dramatic  instinct.  The  Irish 
are  the  most  natural  actors  in  the 
world. 

When  she  was  fourteen  her  father 
died.  There  were  four  girls  and 
four  boys  in  the  family  of  eight. 


(After  seeing  her  in  the  various  Irish  Plays) 

How,  in  one  woman,  can  the  shifting  years 

Be  merged,  and  all  life's  scattered  visions  meet  ? 

Yet  here  Youth's  sanguine  pulses  laugh  and  beat, 
And  here  wails  middle-age,   whom  nothing  cneers. 
Trembling  and  set  upon  by  haggard  fears 

Comes  tragedy,  and  Age  with  shuffling  feet ; 

And  impudent  young  womanhood,  and  sweet 
Warm  human  singing,  like  a  rush  of  tears.  .  .  . 

Oh  woman,  you  are  magic  manifold — 
You  stab  the  Silence  with  a  voice  of  gold 

That  throbs  with  clamorous  seas  and  rolling  moors. 
You  speak — and  Age  forgets  that  it  is  old; 

'1  he  dying  moment  lives — the  hour  endures, 

A  deathless  echo  of  immortal  lures ! 

Louis  UNTERMEYER. 


in  learning  the  Gaelic  tongue  that 
bent  the  little  wandering  singer  to- 
ward the  drama.  She  might  have 
been  content  to  travel  from  county 
fair  to  county  fair  singing  ballads 
had  it  not  been  for  that  sweeping 
movement.  Mastering  the  ancient 
Irish  she  learned  that  there  may  be 
more  poetry  in  prose  than  verse,  and 
that  there  is  no  finer  outlet  for  great 
emotions  than  the  drama.  First  we 
aspire,  then  we  climb.  She  longed 
for  dramatic  expression,  then  sought 
an  avenue  for  it.  The  avenue  was 
that  propaganda  of  phrases  of  Irish 
life,  Irish  themes  and  Irish  problems 
in  the  form  of  short  plays  which 
eventuated  in  the  Abbey  Theatre 
and  the  dwellers  in  its  temple,  the 
Irish  Players.  Curiously,  Miss  All- 


•Sallie"  Allgoocl  was  the  second  in  the  octette  and  it  behooved  good  is  dramatically  the  product  of  that  organization.  Her  work 
her  to  toil  for  the  family.  She  toiled  with  a  fresh,  sweet-toned  has  been  done  for  it.  Her  energies  have  been  poured  into  that 
contralto,  singing  at  county  fairs  and  festivals  airs  from  popular  channel.  Her  versatility  bespeaks  the  breadth  of  the  Irish  Play- 
operas.  One  of  these  was  The  Amorous  Goldfish  from  "The  ers'  repertoire.  I  fer  depth  reflects  the  seriousness  of  its  purpose?. 
Geisha,"  and  her  encore 
number  was  always  the 
same  Kathleen,  Mavor- 
nccn.  In  a  feis  (Irish  for 
turnverein,  or  singing  fes- 
tival) she  won  fourth  place 
among  forty-eight  singers, 
for  the  freshness  and 
beauty  of  her  voice  and 
for  her  execution 

There  broke  out  a  fad 
for  learning  Irish  and  the 
large-eyed  young  singer 
fell  into  the  enthusiasm. 
She  recited  in  Irish  and 
heard  of  the  Fay  Brothers 
who  were  giving  plays  in 
Irish.  She  wanted  to  join 
their  organization,  the 
Irish  National  Theatre  So- 
ciety, but  sorrowfully  gave 
up  the  plan  when  she 
found  it  involved  paying 
a  guinea  a  year  for  mem- 
bership. Frank  Fay,  who 
had  heard  her  recite, 
waived  the  prohibitive 
guinea. 

Thus  she  became  one 
of  the  Irish  Players, 
Thus  she  turned  the  luck 
of  the  struggling  Abbey 
Theatre.  Thus  she  has 
shone  with  starlike  brilli- 
ancy on  the  two  visits  of 
the  Hibernian  Players  to 
America.  We  would  wel- 
come her  as  a  permanency. 
But  Ireland,  having  less 
than  a  hundred  players, 


would  sorely  miss  Sallie 
Allgood,  who  is  at  least 
twenty-five. 


The  Irish  Players  are 
doing  for  the  life  of  Ire- 
land what  Moliere  did  for 
his  times  and  country. 
They  give  a  perfect  pic- 
ture of  the  time  and  place. 
They  show  forth  the  Irish 
character  as  it  is.  Miss 
Allgoocl 's  Irish  eyes,  clear, 
lakelike,  widened  as  she 
talked  of  her  conception 
of  it. 

"In  Ireland  there  is  more 
spiritual  life  than  any- 
where else  on  earth,"  she 
said.  "In  the  nations  that 
are  greatly  concerned  with 
wealth  and  commerce  the 
spiritual  life  slumbers  or 
dies.  Some  day,  as  manu- 
factures and  commerce 
and  material  wealth  crowd 
the  little  island  the  spirit- 
ual life  of  Ireland  may 
vanish,  but  while  it  lasts  it 
is  most  precious  and  beau- 
tiful and  we  hug  it  to  our 
bosoms  as  a  mother  her 
best  beloved  child.  It  is 
the  most  striking  trait  of 
the  Irish  character  as  it  is 
to-day  and  as  it  has  been 
embalmed  in  the  plays. 
You  need  more  spiritual 
life  in  this  country.  You 
would  be  happier  for  it 
and  your  art  would  be 
greater.  Great  art  only 
lives  with  great  spiritual 
perception.  When  a  coun- 
try becomes  overrich  and 
o  v  e  r  m  a  t  e  r  i  a  1  its  art 
fades."  M.  M. 


SARA    ALLGOOD    AND    FRED    O'DONOVAX    IX    "TIIK    CLANCY    XAMI'." 


INTERIOR    OF    THE    GAIETY    THEATRE,    MANCHESTER,     ENGLAND 


THE  Manchester  Guardian  served  for  a  good  many  years  as 
the  single  literary  tie  between  that  thriving  manufacturing 
town  of  England  and  the  rest  of  the  world.  Now  a 
theatre,  a  "civic  theatre,"  shares  this  responsibility  with  the 
newspaper.  It  is  The  Gaiety  Repertoire  Theatre,  owned,  con- 
trolled and  directed  by  a  woman  whose  custom  it  is  to  sign  her- 
self, A.  E.  F.  Horniman.  A  suffragette  (of  course),  and  not  so 
much  of  course,  a  lover  of  the  drama  from  childhood,  her  public 
activities  for  a  dozen  years  have  been  in  the  line  of  intellectualiz- 
ing  the  taste  of  the  public  for  plays.  Miss  Horniman's  first  overt 
act  was  to  subsidize  the  group  of  Irish  players  in  Dublin  and  to 
provide  for  them  a  small  theatre,  which  has  been  their  home  ever 
since. 

Five  years  ago  Miss  Horniman  extended  her  operations  to 
England  fixing  upon  Manchester  as  a  fitting  place  for  her  ex- 
periment. She  chose  for  her  manager  Iden  Paine,  a  young 
actor  native  to  the  smoke,  and  he  engaged  a  company  which  con- 
tained not  a  single  famous  name.  A  three-months'  experiment 
at  a  concert  hall  enlisted  the  support  of  the  press  and  public,  and 
this  preliminary  canter  proved  successful.  Then  Miss  Horniman 
bought  and  rebuilt  the  Gaiety,  redecorating  and  refurnishing  the 
interior,  taking  out  100  seats  to  render  it  more  comfortable  and 
adding  space  where  scenery  is  built  and  painted  and  where  ward- 
robes are  cut  out  and  made.  She  enlarged  the  company  and  set 
herself  to  the  presentation  of  plays  of  a  high  standard.  At  the 
end  of  two  years  this  woman  manager's  boldness  had  won  out. 
The  theatre  paid  expenses,  and  when  she  launched  into  a  short 
London  spring  season  her  compact  little  company  and  repertoire 
of  fifty  plays,  most  of  them  new,  satisfied  the  critics  and  the 
paying  public,  and,  what's  more,  gave  the  manager  a  world-wide 
reputation. 

For  every  year  following,  a  short  London  season  has  been  a 
feature  of  Miss  Horniman's  program,  with  such  a  degree  of 
healthy  appreciation  that  she  has  been  urged  to  establish  a  reper- 
tory theatre  in  that  Babylon,  to  be  conducted  with  the  same 
aspiration  toward  high  things  that  she  has  shown  in  Manchester. 

To-day  the  little  Gaiety  organization  is  at  its  height,  for  never 
has  Miss  Horniman  had  so  excellent  a  company  and  staff.  In 
Lewis  Casson  she  has  found  a  talented  director,  producer  and 
actor.  He  was  one  of  the  original  members  of  the  famous  Court 
Theatre  company  under  Vedrenne  and  Barker,  where  so  many 
interesting  productions  were  made,  and  it  is  to  him  that  Miss 
Horniman  owes  the  well-rounded  splendid  productions  which 


have  kept  up  the  Gaiety's  standard  in 
the  last  two  years.  "Hindle  Wakes" 
was  last  spring's  London  production, 
which  further  spread  the  fame  of  Miss 
Horniman  her  producer  and  her  com- 
pany. In  1912,  also,  they  played  a 
successful  tour  through  Canada,  ap- 
pearing but  once  in  the  United  States. 
Boston  was  the  fortunate  city  to  wit- 
ness a  matinee  performance  of  John 
Masefield's  "Nan,"  in  which  Miss 
Irene  Rooke  acted  the  name  part. 

For  the  season  of  1913  Stage  Direc- 
tor Casson  decided  that  improvement 
could  be  made  of  the  musical  setting 
of  the  plays  to  be  produced.  He  dis- 
couraged incidental  music  and  advo- 
cated that  the  same  minute  attention 
should  be  given  to  the  orchestral  ac- 
companiment, so  to  speak,  as  to  the 
plays  themselves.  Miss  Horniman 
was  easily  persuaded,  and  Mr.  Casson 
hurried  over  to  Paris  to  bring  back  as 
musical  director  the  violin  virtuoso, 
Nikolai  Sokoloff.  His  first  work  was 
done  on  "Prunella,"  that  beautiful, 
fantastic  play  with  musical  accompani- 
ment by  Laurence  Housman  and 
Granville  Barker.  Since  that  produc- 
tion Mr.  Sokoloff  has  remained  as 
conductor  and  adding  music  as  an  es- 
sential attribute  to  the  harmonious 
atmosphere  already  established  in  the 
Gaiety. 

The  most  important  productions  of 
this  season  have  been  "Elaine,"  by 
Harold  Chapin ;  "Prunella,"  by  Hous- 
man and  Barker ;  "Revolt,"  by  George 
Calderon,  and  "The  Pigeon,"  by  John 
Galsworthy.  The  last-named  play  we 
have  already  seen  and  admired  here. 
"Elaine"  is  described  as  a  brilliant 
comedy,  and  "Revolt,"  what  its  name 

(Continued  on   page  xii) 


EDWARD    LANDOR 


MURIEL  PRATT 


MILTON   ROSMER 


IRENE  ROOKE 


LEWIS    CASSON 


FSS  Keamie — Ami  ActFess  of  Se  Fiona 


Sarony 


DORIS     KEANE 


DORIS  KEANE  is  not  a  mental  relaxation ;  she  is  a  mental 
stimulus.    If  you  would  gain  the  most  from  her  acting  as 
from  her  conversation  you  cannot  afford  to  leave  your 
mind  at  home  for,  though  this  actress 
has  youth  and  beauty,  she  does  not 
depend  upon  these  assets  to  win  her 
way.     Rather  has  she  hewed  out  the 
path  to  success  with  the  dynamite  of 
her  own  intelligence.     She  makes  one 
realize    this    whether    you    meet    her 
across  the  tea-table  or  across  the  foot- 
lights.   As  you  talk  with  her,  you  are 
conscious    neither    of    the    finely    cut 
profile,   of  the   well-shaped   head   and 
hands,    nor   of   the    firm    and    mobile 
mouth — only  of  two  big  brown  eyes, 
illuminated  by  the  light  of  a  thousand 
candles,   and   of   a   keen,    alert   mind. 
When  this  chat  took  place,  she  had  just  returned   from  the 
photographer's,   where  she  had  posed   and  stood   for   two  solid 
hours  on  the  unsolid  foundation  of  a  glass  of  milk.     According 
to  all  the  laws  of  nature  and   photographers,   she  should  have 
been   tired   and   wilted.     Yet   she   was   not,   because   she   is   one 
of  those   people   to   whom   sleeping   and   eating  are   more   of   a 
hindrance  than  a  help — not  necessities,  but  interruptions  on  the 
journey  to  one's  goal. 

What  is  her  goal?     She  is  perfectly  willing  to  talk  on  almost 
any  subject,  but  that  she  will  not  divulge.     She  says: 

''There's  a  natural  law  against  it.  Just  as  soon  as  you  talk 
about  what  you  are  going  to  do  and  want  to  do,  all  the  inspira- 
tion, the  determination,  the  belief  in  it  or  in  yourself  are  gone!" 
But  she  will  tell  enough  else  to  help  you  guess  and  prophesy 
what  she  may  still  do.  Her  history,  the  enumeration  of  the  step- 
ping stones  in  her  career  that  led  up  to  the  part  of  Margherita 
Cavallini,  which  she  is  now  playing  in  Edward  Sheldon's  drama 
"Romance,"  she  regards  as  scarcely  worth  the  telling.  If  you 
insist,  she  will  tell  you  with  polite  impatience  that  it  was  through 
Henry  Arthur  Jones,  the  distinguished  English  dramatist,  that 
she  was  given  her  first  opportunity  to  show  what  she  could  do. 
One  of  the  first  engagements  she  had  after  being  graduated  from 
the  American  Academy  of  Dramatic  Arts  was  in  his  play,  "The 
Whitewashing  of  Julia,"  in  which  she  had  exactly  two  lines  to 
speak,  one  of  which  was  Mother.  In  the  other  Jones  drama, 
"The  Hypocrites,"  she  made  her  first  real  success.  The  result 
of  the  flattering  criticisms  her  acting  of  Rachel  Neve  received 
was  that  she  had  to  flee  the  country  to  escape  offers  to  play 
similar  roles  that  rained  in  upon  her.  With  a  hearty  laugh  she 
explained : 

"I  didn't  want  to  be  typed  as  'a  fallen  woman.'  " 
Her  present  surroundings  certainly  do  not  suggest  the  woman 
of  that  character.  They  suggest  rather  the  woman  who  has 
risen  to  a  high  plane  of  intellectuality  where  she  feels  quite  at 
home.  It  was  not  difficult  to  distinguish  among  the  tastelessly 
elaborate  furnishings  of  her  room,  which  even  the  best  of  hotel 
proprietors  still  regard  as  spelling  home  comforts,  the  personal 
belongings  which  created  the  atmosphere  of  the  present  tenant. 
Piled  high  on  every  available  desk  or  table  or  what-not  were 
books  upon  books — more  on  the  piano  and  a  few  even  spilling 
over  onto  chairs  and  the  floor.  The  pictures  on  the  wall  had 
been  bought  by  the  manager's  'third  assistant,  whose  idea  of 
art  was  quite  utilitarian,  but  the  pictures  on  the  mantel  shelf. 
the  table  and  the  piano  showed  that  the  person  to  whom  they 
belonged  was  not  only  a  connoisseur,  but  a  modernist.  Next  to  a 
reproduction  of  Sorolla  and  of  a  Rodin  statue  was  the  photo- 
graph of  a  bust  of  Miss  Keane,  which  Jo  Davidson,  the  Ameri- 
can sculptor  of  the  newest  school,  has  made  of  her.  "He  an- 
ticipates me,"  she  says ;  "he  shows  me  what  I  am  going  to  be 
some  day  if  I  keep  on  going  up !" 

\Ye  were  having  tea,  but  her  pretense  at  eating  she  promptly 


forgot  through  the  enthusiasm  that  seized  her  with  every  new 
subject  touched  upon.  Over  the  teacups  one  doesn't  talk  con- 
secutively on  any  one  theme,  but  jumps  from  wisdom  to  nonsense 
as  the  spirit  moves  and  the  brew  inspires.  It  was  back  again  now 
to  the  matter  of  being  "typed." 

"That's  the  trouble,  not  only  with  the  managers,  but  with 
Americans  in  general,"  she  went  on  to  say,  as  she  sat  very 
straight  on  a  very  stiff  little  desk-chair  which  she  had  drawn 
up  to  the  table.  "They  are  always  trying  to  put  you  into  a 
pigeonhole,  and  once  they  have  you  there,  there  is  no  escape. 
We  all  do  it,  you  will  admit,  won't  you  ?  About  a  year  ago,  for 
instance,  everyone  was  talking  about  Bergson  at  the  dinner  table, 
you  remember?  Who  was  he  and  what  what  did  he  stand  for, 
they  all  asked.  After  reading  perhaps  a  book  or  two  they 
learned  that  he  was  a  French  philosopher,  who  was  popularizing 
metaphysics  or  making  the  religions  of  India  Occidental.  I  don't 
want  to  try  to  interpret  Bergson  for  you,"  she  broke  off  with  a 
laugh,  "but  I  think  that  illustrates  my  point.  He  was  a  vogue 
until  they  had  him  pigeonholed,  and,  you  see  —  he  lasted  just  one 
season." 

"But  are  we  worse  in  this  respect  than  the  people  of  other 
nations?" 

She  wrapped  the  loose  red  velvet,  fur-trimmed  matinee  which 
she  had  thrown  on  upon  coming  in  from  a  cold  out-of-doors 
more  tightly  around  her  small,  lithe  body,  while  she  thought  out 
her  answer  : 

"The  Europeans,  in  spite  of  the  saying  that  they  have  become 
Americanized,  are  not  alwaxs  in  such  a  hurry  as  we  are.  With 
the  centuries  of  culture  and  civilization  behind  them  it  is  quite 
natural  that  they  should  have  a  better  foundation  in  art  which 
enables  them  to  judge  independently,  to  value  an  artist  for  his 
achievement  and  to  be  willing  not  to  come  to  a  final  conclusion 
about  his  work  until  —  he  is  dead  !  There  any  artist  who  has 
achieved  anything  has  his  devoted  followers  who  help  him  with 
their  encouragement  and  their  belief  in  him  to  do  even  greater 
things.  The  singers  at  the  Metropolitan  will  tell  you  the  same. 
In  any  European  city  in  which  they  may  sing,  they  have  their 
enthusiast  devotees  who  wait  around  at  the  stage-door  to  shout 
acclamation,  if  not  to  escort  them 
home.  How  different  it  is  here. 
where  everyone  usually  runs  out  be- 
fore the  last  curtain  has  fallen  its 
full  length!  The  trouble  lies  in  this 
—  the  public  knows  all  about  us  too 
soon  ;  they  think  they  know  what  we 
can  do  even  before  we  know  it  our- 
selves !" 

"But,  then,  why  are 
foreigners  willing  —  if 
not  eager  —  to  come 
here  and  play  before 
such  an  unappreciative 
audience  ?" 

Miss  Keane  smiled  a 
knowing  little  smile. 
"You  know  the  answer 
to  that  as  well  as  I 
do,"  she  said.  "It's 
not  only  the  money 
incentive.  Wouldn't 
you  think  that  it  added 
to  the  glory  of  your 
success  to  have  pleased 
so  difficult  and  impa- 
tient an  audience?  Eu- 
rope is  the  place  to  get 
your  foundations  in 
any  art,  it  is  true,  but 
America  is  the  onl 


(.Continued  on  page  viii) 


Mme.   Cavallini    (Doris   Keane)    and    her   pet   monkey 
Adelina   Patti 


Mishkin 


DORIS   KEANK  AS  MME.  CAVALLINI    IX  "ROMANCE"   AT  MAXIXE  ELLIOTT'S 


Sf 


OP* 


^811  $s 


Mntzene,  Chicago 

MME.   DE  CISNEROS   AS   ORTRUD   IN   "LOHENGRIN" 

IF  someone  suddenly  were  to  ask  you  to  name  which  one-act 
play  by  William  Shakespeare  is  performed  most  frequently 
and  with  greatest  favor,  you  probably  would  pause  before 
replying.     And  well  you  might.     For,  of  course,  the  poet  never 
wrote  a  play  of  that  brief  length. 

However,  one  has  only  to  recall  which  drama  of  Robert 
Browning  is  best  known  beyond  the  book  shelf  to  realize  the  fine 
distinction  between  a  one-act  play  and  one  act  of  a  play.  As  is 
generally  familiar,  "In  a  Balcony" — which  Eleanor  Robson, 
Sarah  Cowell  Le  Moyne  and  Otis  Skinner  brought  to  wide  at- 
tention about  ten  years  ago,  and  in  which  Miss  Robson  later 
acted  with  Ada  Dwyer  and  H.  B.  Warner  in  place  of  Mrs.  Le 
Moyne  and  Mr.  Skinner — was  not  intended  as  a  drama  by  itself, 
but  was  one  scene  of  an  unfinished  tragedy.  But  it  gives  a 
complete  enough  picture  of  the  passion  of  a  queen  for  a  courtier, 
by  much  her  junior;  of  her  jealousy  and  chagrin  when  she  dis- 
covers that  his  love  was  not  for  her,  but  for  her  girlish  kins- 
woman ;  and  finally  of  her  consent  to  the  union  of  the  young 


folk.  So  if  we  call  this  fragment  "In  a  Balcony"  and  treat  it  as 
a  complete  play,  why  not  attach  the  title  "In  a  Garden"— or,  say, 
"Beneath  a  Balcony" — to  that  scene  from  "Romeo  and  Juliet," 
which  certainly  is  the  best  known  and  most  admired  single  act 
in  theatredom? 

For,  after  all,  Act  II.  Scene  II,  of  "Romeo  and  Juliet"  has 
maintained  for  itself  a  fame  that  is  wholly  independent  of  the 
tragedy  as  a  whole.  I  wonder  how  many  ambitious  Juliets  have 
played  the  entire  role  before  their  mirrors,  but  only  the  balcony 
scene  before  the  public.  Several  immediately  come  to  mind. 
Mary  Mannering,  Olga  Nethersole,  Gertrude  Coghlan  and  Viola 
Allen  are  prominent  instances.  And  almost  all  of  us  have  seen 
the  balcony  portion  presented  as  a  "curtain  raiser"  by  the  lead- 
ing two  players  of  a  repertoire  stock  company.  It  frequently 
is  incorporated  in  the  bill  with  "David  Garrick,"  which  is  short 
for  an  entire  evening — at  least,  for  an  evening  at  "cut  rates." 
Besides,  the  leading  woman  is  less  apt  to  be  dissatisfied  with  so 
colorless  and  artificial  a  role  as  Ada  Ingot  if  she  has  a  chance  as 
Juliet  first. 

The  four  actresses  I  speak  of  may  all  have  appeared  in  the 
tragedy  in  full  at  some  time  or  another.  Indeed,  some  years 
after  Olga  Nethersole's  brief  essay  as  Juliet  I  saw  her  in  the 
tragedy  as  a  whole.  But  few  audiences  have  had  a  chance  to 
see  her  beyond  the  balcony. 

In  just  this  portion  she  appeared  with  James  K.  Hackett  fifteen 
years  or  so  ago  at  an  Actors'  Fund  Benefit.  The  next  time  Mr. 
Hackett  showed  this  much  of  his  Romeo  in  New  York — and 
there  never  has  been  any  more  to  show — it  was  to  the  Juliet  of 
Mary  Mannering,  and  under  similar  circumstances.  However, 
this  young  couple  had  played  the  fragment  as  a  "curtain  raiser" 
in  many  cities  of  the  country  when,  as  leading  members  of  the 
Lyceum  Stock  Company,  they  went  on  tour  in  "The  Late  Mr. 
Castello."  The  feminine  and  more  fluttering  portion  of  the  pub- 
lic went  into  ecstasies  over  Miss  Mannering  and  Mr.  Hackett 
as  the  lovers,  because  they  were  popularly  supposed  to  be  about 
to  marry.  But  when  New  York  finally  saw  them  as  Romeo  and 
Juliet  they  were  man  and  wife. 

That,  too,  was  at  a  "benefit."  Gossip  had  it  that  Charles 
Frohman  welcomed  a  sample  of  the  Hackett  Romeo  in  order  to 
decide  who  should  be  cast  for  the  character  when  Maude  Adams 
made  her  ambitious  appearance  as  Juliet.  At  another  charity 
matinee  about  the  same  time.  William  Faversham  offered  a 
similar  sample  of  his  Romeo,  the  Juliet  of  the  afternoon  being 
Viola  Allen.  While  Mr.  Faversham  won,  being  cast  for  Romeo 
in  Miss  Adams's  production,  with  Mr.  Hackett  as  the  Mercutio, 
he  did  not  enjoy  his  triumph  long.  His  voice  failed  him  and, 
after  a  few  weeks,  he  resigned  the  love-sick  hero  to  Orrin  John- 
son, originally  the  Paris  of  the  play. 

When  Eleanor  Robson  decided  to  measure  herself  as  Juliet 
she,  too,  proceeded  cautiously.  Volunteering  to  appear  at  a 
"benefit,"  she  chose  the  "balcony  scene"  of  the  tragedy.  A  fail- 
ure under  such  circumstances  would  pass  with  little  notice, 
while  the  success  she  did  achieve  emboldened  her  for  the  greater 
undertaking.  She  did  not  have  to  make  any  tentative  tests  of 
leading  actor,  however,  for  Kyrle  Bellew  offered  himself;  and 
Mr.  Bellew  has  been  the  safe-and-steady,  ever-ready  Romeo  of 
the  last  quarter  of  a  century.  He  has  brought  the  same  ex- 
perienced authority  to  the  part  to  the  aid  of  many  a  Juliet — from 
the  ultra-artificial  maid  of  Mrs.  Brown  Potter  to  the  very  mat- 
ter-of-fact young  woman  Miss  Robson  asked  us  to  believe  was 
fourteenth  century  and  Italian. 

It  is  a  Continental  custom  to  present  the  death  of  Agnes,  in 
Ibsen's  "Brand."  as  a  one-act  play;  but  when  The  New  Theatre 
management  undertook  the  experiment  last  spring,  with  Annie 
Russell  as  Agnes,  the  public  complained  that  the  scene  was  unin- 
telligible. I  wonder  if  the  two  portions  of  "The  School  for 
Scandal,"  which  are  often  offered  as  independent  plays,  would 
strike  us  similarly  were  we  less  familiar  with  the  Sheridan 
classic?  It  seems  safe  to  say  that  one  of  them  surely  would — 
that  traditional  running  together  of  two  quarrels  and  reconcilia- 
tions of  Sir  Peter  and  Lady  Teazle.  Elsie  de  Wolfe  gained 


THE      THEATRE      MAGAZINE 


"5" 


considerable  favor  in  this  befogging  bit  when 
she  was  still  an  amateur,  and  appeared  as  Lady 
Teazle — so  far,  but  no  further — on  more  than 
one  occasion  after  her  establishment  as  a  profes- 
sional actress.  The  late  Daniel  H.  Harkins  was 
the  Sir  Peter. 

Helen  in  "The  Hunchback"  was  another  ab- 
breviated favorite  of  Miss  de  Wolfe's.  It  strikes 
one  as  odd  to  bring  to  mind  the  actresses  who 
have  played  this  part  in  the  Knowles  comedy  and 
then  compare  the  list  to  the  Julias.  For,  of  course, 
the  latter  is  the  longer,  more  prominent,  better 
part.  While  among  the  Julias  of  fairly  recent 
years  one  thinks  of  Ada  Rehan,  Julia  Marlowe. 
Clara  Morris,  Mary  Anderson,  and  Viola  Allen. 
Quite  as  impressive  a  list  of  Helens  may  be  made. 
There  are  Ellen  Terry,  Mrs.  Patrick  Campbell, 
Isabel  Irving,  Winifred  Emery,  Katherine  Comp- 
ton,  Elsie  de  Wolfe  and  Viola  Allen. 

Of  course,  there  is  an  explanation.  It  might  be 
said  that  while  Julia  is  the  leading  role  of  full- 
length  drama,  Helen  is  the  chief  part  in  a  one-act 
play  habitually  made  from  it.  Ellen  Terry  and  Sir 
Henry  Irving — in  London  and  in  one  of  their  early 
tours  of  this  country — gave  authority  to  a  version 
for  "curtain-raiser"  purposes.  The  scene  of  love- 
making  between  the  dashing  Helen  and  the  shy 
and  timid  Modus  forms  itself  readily  into  such  a 
piece.  And  Miss  Terry  and  Sir  Henry  gave  nota- 
ble interpretations  of  Helen  and  Cousin  Modus. 
When  Miss  de  Wolfe  presented  her  version  the 
Modus  was  Edward  Fales  Coward,  the  well-known 
writer  and  amateur  actor. 

"The  Hunchback"- — as  a  whole,  or  even  just 
this  scene — had  not  been  acted  in  America  for 
some  years  when  Viola  Allen  revived  it  a  decade 
ago.  And  the  part  of  the  performance  that  called 
for  the  greatest  praise  was  the  acting  of  the  scene 
we're  speaking  of  by  Adelaide  Prince  and  Jame- 
son Lee  Finney.  Whether  the  incident  annoyed 
Miss  Allen  or  not,  the  next  year  she  presented 
herself  in  this  bit  of  the  comedy,  showing  herself 
then  as  Helen  instead  of  Julia.  The  Modus  was 
H.  Hassard  Short,  while  in  place  of  Eben  Plymp- 
ton  as  Master  Walter,  she  had  her  father,  C. 
Leslie  Allen. 

The  last  notable  cast  to  present  "The  School  for 
Scandal"  as  a  one-act  play  had  W.  H.  Thompson 
and  Hilda  Spong  for  Sir  Peter  and  Lady  Teazle, 
and  Charles  Richman  and  Guy  Standing  for 
Charles  and  Joseph  Surface.  That  was  in  the  so- 
called  "screen  scene,"  which,  with  a  few  "cuts," 
makes  a  complete,  compact  and  rational  little  play. 
The  same  may  be  said  of  the  "trial  scene"  in  "The 
Merchant  of  Venice,"  which  frequently  is  given 
by  itself.  Indeed,  it  was  with  this  that  Shakespeare 
pushed  his  way  into  vaudeville,  elbowing  dancing 
dogs  and  "educated1'  serio-comics  with  blank  verse. 

But  few  portions  of  Shakespeare  could  be  used 
as  one-act  plays  did  not  the  public  know  the  con- 
text.    What  would  the  grave-digger's  scene  from 
"Hamlet,"  in  which  Joseph  Jefferson   frequently 
appeared,  have  meant  alone  ?   Sarah  Bernhardt  has 
shown  us  a  canned  "Hamlet";  and  the  late  Charles  Warner,  the 
English  actor,  best  known  to  America  in  "Drink"  and  as  father 
of  H.  B.  Warner,  even  took  such  a  version  of  the  master  tragedy 
to  Paris. 

Sir  Herbert  Tree's  abbreviated  Shakespeare  was  more  compre- 
hensive, if  less  Shakespearian,  perhaps.  His  Falstaff  was  so  much 
admired  that  he  decided  to  follow  up  his  success  in  "The  Merry 


Otto   Sarony   Co. 


VIOLA  ALLEN 
In  the  title    role  of  "The   Daughter  of  Heaven" 

Wives  of  Windsor"  with  the  Falstaff  portions  of  "King  Henry 
IV."  He  arranged  a  two-scene  comedy  from  the  history,  which, 
in  full,  is  a  rather  dull  play.  It  has  not  been  done  in  this  country 
since  1894,  when  William  Owen  was  the  Falstaff  and  Robert 
Tabor,  then  married  to  Julia  Marlowe,  the  Hotspur.  The  reason 
of  the  revival,  however,  was  to  give  Miss  Marlowe  a  chance  to 
play  Prince  Hal.  VANDERHEYDEN  FYLES. 


Apeda       Douglas   Fairbanks   is  an  inveterate   smoker  and 
always  manages  to  take  a  few  puffs  between  the  acts 


DOUGLAS    FAIRBANKS,    who    as    Anthony    Hamilton 
Hawthorne  in  the  play  "Hawthorne  of  the  U.  S.  A."  is 
delighting   thousands    of    theatregoers    this   season,    is    a 
typical  American  actor,  and  he  is  proud  of  it.     There  is  nothing 
"stagey,"  nothing  artificial  or  affected  about  this  young  American 
player   from  Virginia.     He   is  not  addicted   to   mannerisms,   he 
does  not  cultivate  any  eccentricities,  nor  get  rid  of  his  talent  to 

make  room  for  his 
temperament.  He 
is  just  a  sincere, 
natural,  good- 
naturedly  frank, 
young  man  with 
gracious  manners 
and  an  air  of  being 
always  at  ease  in 
any  situation.  At 
the  Colorado 
School  of  Mines 
and  later  at  Har- 
vard University  he 
was  popular  for 
his  f  u  n-1  o  v  i  n  g 
spirit  and  his  ir- 
resistible sense  of 
humor.  He  takes 
his  work  seriously 
and  is  very  modest 
about  his  unques- 
tioned ability  and 
popularity. 

"My  path  to  success,"  he  said  the  other  day,  "has  been  literally 
strewn  with  shattered  traditions.  In  the  first  place  I  didn't  meet 
with  the  slightest  family  opposition  when  I  chose  a  stage  career 
just  after  leaving  college.  Secondly,  I  can't  truthfully  boast  of 
any  great  struggle — never  starved  in  a  garret,  shivered  from 
the  cold,  or  got  buffeted  about  by  a  cruelly  cold  and  unappre- 
ciative  public.  Thirdly,  I  don't  indulge  in  a  single  interesting 
or  unusual  hobby — haven't  time  or  inclination  for  that  sort  of 
thing,  as  I  prefer  to  devote  most  of  my  spare  moments  to  read- 
ing. Fourthly,  the  two  questions  which  all  interviewers  just  do 
to  death  1  have  positively  placed  under  a  ban." 
"And  what  are  the  banned  questions?" 

"Well,  one  of  them,"  continued  Mr.  Fairbanks,  "is :  'What  is 
your  favorite  role?'  and  the  other — 'What  are  your  views  on 
suffrage?'  I  don't  often  answer  the  first  because  my  favorite 
part  is  always  my  last  part.  For  example,  just  at  present  I'd 
rather  be  Happy  Hawthorne  of  the  U.  S.  A.  solving  Balkan 
problems  on  gay  Broadway  than  any  other  character  I've  ever 
portrayed.  But  should  you  ask  me  the  same  question  next  year 
it's  a  safe  guess  to  suppose  I'll  answer  whatever  part  I'm  play- 
ing then.  I  will  admit,  though,  a  preference  for  comedy  parts  at 
all  times.  I'd  rather  hear  my  audience  burst  into  sincere  and 
hearty  laughter  than  to  move  them  to  tears,  or  see  them  in  the 
throes  of  a  harrowing  thrill." 

"And  what  about  your  second  banned  subject — why  bar  your 
views  on  suffrage?" 

"Simply  because  I  value  my  life." 

"Haven't  you  forgotten  to  exclude  one  other  question  that 
forms  part  of  our  stock  in  trade?  'What  constitutes  a  great 
actor?'  Isn't  that  also  under  the  ban?" 

l!ut  Mr.  Fairbanks  became  serious  at  once.  Flicking  the  ashes 
from  his  second  cigarette  he  wheeled  around  in  his  chair  and 
said,  earnestly : 

"Of  course,  there  isn't  any  set  formula  for  the  stuff  that  actors 
are  made  of,  but  if  I  were  writing  out  a  recipe  I'd  put  in  twenty 
per  cent,  natural  talent,  ten  per  cent,  systematic  study  along  the 
usual  disciplinary  lines,  ten  per  cent,  determination  to  succeed 
or  power  of  sticktoitiveness,  and  sixty  per  cent,  personality. 


The  old  saying  that  actors  are  born  and  not  made  isn't  altogether 
true.  Acting  can  be  taught  to  a  certain  very  great  extent,  but  it 
is  personality  that  must  be  born  and  not  made.  There  are  many 
talented  young  players  who,  having  good  looks,  good  delivery, 
and  a  sympathetic  understanding  of  their  parts,  nevertheless  fail 
'to  get  over  the  footlights,'  as  we  say  in  theatrical  parlance,  sim- 
ply because  the}-  lack  a  certain  hidden  power — that  fascinating, 
subtle  something  so  difficult  to  define  that  constitutes  individual- 
ity. This  inexplainable  something  which  makes  an  individual 
stand  out  as  a  distinct  person  is  almost  indispensable  to  success 
on  the  stage.  And  not  only  on  the  stage,  but  in  many  of  the 
professions  it  plays  a  similarly  important  part.  The  most  suc- 
cessful doctors  and  lawyers,  for  example,  are  not  at  all  neces- 
sarily those  who  are  more  learned  than  their  fellows,  but  those 
whose  personality  makes  itself  felt  the  minute  they  enter  a  room 
and  talk  with  the  patient  or  client  as  the  case  may  be.  The 
doctor's  personality  creates  a  certain  favorable  or  unfavorable 
impression  upon  his  patient  and  even  gives  a  certain  tone  to  the 
atmosphere  in  the  sick  room.  His  visit  depresses  or  cheers  his 
patient  not  so  much  according  to  treatment  prescribed  as  to  the 
conscious  or  unconscious  effect  of  his  own  personality  upon  the 
man  or  woman  who  lies  ill  abed. 

"Getting  back  to  the  stage,"  went  on  the  actor,  "just  think 
how  many  playwrights  owe  the  success  or  failure  of  their  plays 
to  the  personality  of  the  men  and  women  who  interpret  the 
leading  parts.  Only  recently,  personality  has  had  a  large  oppor- 
tunity to  assert  itself  in  England,  where  a  sort  of  theatrical 
renascence  is  about  to  take  place  judging  from  the  period  of 
unrest  now  prevailing  there.  The  young  literary  group  of  pro- 
gressive playwrights  at  present  attracting  so  much  attention — 
Galsworthy,  Shaw,  Masefield,  Barker,  MacEvoy  and  others — owe 
the  popularization  and  appreciation  of  their  so-called  'New 
Drama'  chiefly  to  the  personality  of  certain  sponsors.  In  like 
manner,  the  torrents  of  abuse  which  first  fell  upon  Ibsen  were 
changed  to  a  growing  appreciation  by  the  enthusiasm  coupled 
with  the  charming  personality  of  Miss  Janet  Achurch  and  Mr. 
Charles  Carrington.  Maeterlinck,  too,  owes  much  to  the  per- 
sonality of  certain  stage  folk  who  were  instrumental  in  familiar- 
izing French  playgoers  with  the  great  mystic's  works. 

"In  our  own  country  it  is  because  managers  and  producers  have 
learned  to  bank  so  much  upon  the  personality  of  certain  popular 
players  that  we  have  so  many  of  what  is  known  as  the  one- 
star  casts  rather 
than  a  company 
selected  for 
general  excel- 
lence." 

Just  then 
there  came  a 
knock  on  the 
door.  Mr.  Fair- 
banks arose  hur- 
riedly to  obey 
the  call.  As  soon 
as  he  stepped 
upon  the  stage 
a  loud  hand- 
clapping  greeted 
his  appearance, 
and  every  time 
Hawthorne  o  f 
U.  S.  A.  deliv- 
ered a  bit  of 
good  American 
slang  a  ripple  of 
laughter  rang 
all  through  the 
house. 


B.  L. 


Moffett 


Douglas   Fairbanks   and    his   son 


RUTH    ST.    DENIS    IN    HER    NEW    JAPANESE    DANCE 


The    Art   of    Ruth    St 


eims 


LONG  before  the 
public  applaud- 
ed her  as  a 
successful  dancer, 
Ruth  St.  Denis  was 
known  to  her  inti- 
mates as  a  creative 
artist  of  surprising 
originality  and 
power.  Indeed,  in 
this  attractive  and  in- 
teresting personality 
the  artist  has  always 
loomed  larger  than 
the  mere  performer. 
This  may  seem  a 
somewhat  paradox- 
ical statement  since  it  was  as  Radha,  a  new  priestess  of  esoteric 
dancing,  with  Hinduism  as  a  picturesque  background,  that  she 
first  made  her  successful  appeal  to  the  public,  but  those  who 
know  her  intimately  are  well  aware  that  the  dancing  itself  is 
really  secondary  to  her  art,  which  is  self-evolved,  and  the  ex- 
pression of  a  remarkable  temperament  together  with  an  intense 
inner  craving  for  beauty  of  form  and  gesture.  Ruth  St.  Denis' 
Oriental  dances  will  continue  to  excite  much  interest  even  in 
these  days  when  the  stage  is  invaded  with  dancers  of  all  kinds 
from  the  haute  ccole  dancing  of  Povlowa  and  Lopoukowa  to  the 
bare  feet  interpretative  posings  of  Isadora  Duncan  and  Miss 
Noyes,  for  Ruth  St.  Denis  is  unique  in  a  field  especially  her  own. 


IX    TIIK   JAPANESE   DANCE 


Not  only  does  siie  strike  a  new  and  original  note,  but  the  form 
of  her  dances  is  constantly  changing,  and  assuming  more  inter- 
esting phases  as  it  becomes  bolder  and  more  richly  varied. 

Ruth  St.  Denis  is  entirely  self-taught.  Not  only  does  she 
create  the  story,  atmosphere  and  environment  of  her  dances,  but 
the  movements  are  entirely  spontaneous  and  are  the  expression 
of  her  own  individuality,  her  own  feelings,  quite  independent 
of  teacher  or  instructor.  The  idea  of  her  dances  came  to  her 
like  a  flash.  It  was  born  fully  grown.  Suddenly  came  to  her  the 
inspiration  of  the  particular  thing  she  could  do  and  the  form  of 
its  expression.  One  day  she  saw  the  picture  of  a  beautiful 
Egyptian  woman  used  for  the  humble  purpose  of  an  advertise- 
ment, and  the  idea  was  born.  It  took  years,  of  course,  to  work 
out  in  all  its  details,  but  the  thought  remained  fixed  and  she  has 
never  wavered  as  to  the  means  of  expression  or  as  to  her  ability 
to  accomplish  her  purpose.  There  is  no  more  striking  example 
of  the  artistic  impulse  coming  to  expression  unaided  by  environ- 
ment or  outside  influences. 

This  season  Miss  St.  Denis  chooses  an  interesting  form  in 
which  to  set  her  dances — the  Japanese.  Following  close  upon  the 
"Daughter  of  Heaven,"  which,  while  not  altogether  satisfactory 
dramatically,  was  interesting  as  to  the  possibilities  of  color  in 
the  Oriental  setting,  came  the  "Yellow  Jacket,"  that  most  artistic 
expression  of  the  Chinese  idea  which  delighted  those  of  imagi- 
native perceptions  and  in  a  degree  prepared  the  way  for  the 
Japanese  dances. 

These  "dances"  are  really  little  dramas  with  dancing  inter- 
ludes. There  is  a  coherent  story  running  all  through  them 
which  serves  as  the  setting  for  these  curiously  fascinating 


Copy!  T(c1it  ScTllllz 

lit. I   K    rl.AMK    DAXCE 


White 


SCENE    TN    RUTH    ST.    DENIS'    NEW    JAPANESE    DANCE 


Copyright  Scliulz 

JEWEL  DANCE 


THE     THEATRE     M  A  G  A  Z  I  \~  F. 


inoveinents.     Two  Indian  dances  that  come  before  the  Japanese 
are  as  interesting,  if  not  so  novel,  as  are  the  Japanese. 

There  are  five  principal  dances  in  the  little  Japanese  drama 
given  at  the  Fulton  Theatre.  First,  there  are  two  flower  dances 
and  a  sword  dance — the  warlike  and  the  artistic  qualities  of  the 
Japanese  being  strikingly  contrasted.  Later  on,  as  the  story 
becomes  more  dramatic,  there  ^^_^^__^____^^^_^_ 
are  two  more  dances  express- 
ing the  religious  side. 

The  story  opens  with  the 
vision  of  a  certain  priest  of  old 
Japan,  who  sees  the  ideal  of 
his  prayers  in  the  form  of  the 
goddess  of  mercy,  called  "The 
Kwaunon."  The  message 
comes  from  the  vision  that  if 
the  priest  would  go  to  the 
house  of  a  certain  Oiran,  or 
courtesan,  he  will  see  the  god- 
dess in  person.  Marvelling 
much  at  the  strange  directions 
he,  nevertheless,  starts  out  on 
his  quest.  The  stage  setting  of 
this  scene  is  a  nocturne  in  black 
and  white  like  a  rare  old  Jap- 
anese print  in  some  treasured 
collection. 

The  second  scene  is  a  Jap- 
anese street.  Here  there  is  an 
encounter  between  two  lovers 
of  the  Oiran,  both  of  whom 
have  an  appointment  to  meet 
the  lady  here  at  the  same  time. 
There  is  a  fierce  contest  which 
threatens  to  become  deadly 
when  the  Oiran  herself  ap- 
pears, followed  by  her  girl 
attendants  —  charming  little 
maidens  without  whom  she 
must  not  appear.  She  sep- 
arates the  combatants  and  to 
pacify  them  says  she  will  give 
the  Saki  cup  to  the  favored  one 
at  her  home  that  evening. 

Then  comes  the  third  scene 
in  the  quarters  of  the  Oiran. 
This  is  a  dainty  and  charming 
tea-room  in  black  and  gold.  It 
is  a  delightfully  simple  scene,  very  harmonious  and  satisfying 
which  accomplishes  much  toward  conveying  to  us  the  reality  of 
the  little  drama.  The  Oiran  enters  attended  by  her  girls,  who 
wait  on  her  and  help  make  her  toilet  behind  a  screen  which  hides 
her  from  the  visitors  who  are  already  awaiting  her  appearance. 
This  is  an  attractive  bit  and  we  are  entertained  meanwhile  by  a 
Japanese  solo  on  a  quaint  instrument  played  upon  by  a  slave  girl. 

When  the  Oiran  appears,  resplendant  in  gorgeous  robes  of 
gold  and  crimson  and  black,  she  bears  cherry  blossoms  which 
she  arranges  in  a  bowl.  She  sits  between  her  guests,  who  wait 
for  her,  kneeling  in  Japanese  fashion.  There  is  a  ceremony 
and  a  presentation  of  the  pipe,  which  all  smoke  in  succession. 
After  a  short  conversation  in  Japanese,  which  takes  place  be- 
tween the  two  lovers,  one  presents  a  poem,  written  on  a  long 
scroll,  which  the  hostess  graciously  receives.  She  now  rises, 
removes  the  gorgeous  outer  mantle  and  is  revealed  in  a  kimono 
of  black  satin,  elaborately  embroidered  in  gold  with  scarlet 
skirts.  She  then  dances  the  cherry  blossom  dance,  which  is  a 
wonderful  thing  expressed  in  long  sinewy,  flowing  lines  and 
postures.  The  spirit  of  the  suave,  gentle,  beauty-loving  children 
of  old  Japan  breathes  forth  in  this  exquisite  dance.  The  lovers 
still  wait  for  the  Saki  cup  which  is  to  show  the  favored  one, 


Photo  Schulz 


RUTH   ST.  DENIS  IN  THE   BAKAWALI  DANCE 


while  slave  girls  perform  a  simple  dance  until  the  mistress  re- 
turns to  give  the  chrysanthemum  dance.     Conceived  in  quite  a 
different  spirit  this  gay  flower  dance  is  the  expression  of  youth- 
ful joy  and  pleasure.     In  a  pink  and  blue  and  yellow-flowered 
kimono  with  a  wide  hat  of  chrysanthemums  and  large  chrysan- 
themum rosettes  in  each  hand,  the  dancer  seems  possessed  with 
^^_^^^_^^_^_______^     the  delight  of  living. 

There  is  a  most  effective 
dance  called  the  "Samurai" 
which  is  warlike  in  its  char- 
acter. It  is  one  of  the  most 
attractive  dances  of  the  series. 
Miss  St.  Denis  here  appears 
in  an  old-gold  satin  costume  of 
trousers  and  blouse  with 
striped  blue  and  gold  girdle 
and  front  piece.  She  carries  a 
spear  and  fights  a  second 
Samurai,  who  has  two  swords 
which  he  flourishes  skillfully. 
He  is  finally  overcome  and  the 
tall,  lithe  form  of  the  younger 
Samurai  towers  above  the  con- 
quered adversary. 

The  old  priest  now  appears 
at  the  door  of  the  house  and 
seeks  admittance,  he  is  at  first 
refused,  but  finally  is  allowed 
to  enter  when  he  pleads  being 
sent  by  the  goddess.  He  takes 
his  seat  in  a  quiet  corner  and 
watches  attentively.  The 
Oiran  again  enters  and  gives 
tea  to  the  priest,  dances  a 
lovely  fan  dance  and  a  second 
mysterious  dance  in  which  she 
holds  the  Saki  cup  or  bowl  of 
life.  This  dance  is  a  symbolic 
thing  and  expresses  the  trans- 
mutation of  lower  into  higher. 
As  she  dances,  the  Oiran 
changes  the  first  cup  for  an- 
other bowl  which  she  carries 
in  the  sleeve  of  her  kimono  and 
which  is  the  symbol  of  the 
"cup  of  life."  This  she  gives 
to  the  startled  priest.  At  the 
same  instant  she  drops  her 
outward  kimono,  typical  of  the  material  life,  and  is  shown  clothed 
in  the  divine  garments  of  a  goddess  and  is  transmuted  into  the 
goddess  herself.  The  priest  sees  in  objectified  form  the  Kwaunon 
or  Goddess  of  Mercy.  Thus  his  vision  is  again  revealed  and  the 
message  made  clear  which  is  in  the  words  of  a  modern  poet, 
"That  even  in  the  scum  of  things  something  ever,  always  sings," 
or  that  in  the  lowest  person  the  divine  is  to  be  discovered — the 
Buddha  is  revealed. 

This  idea  is  as  old  as  humanity  and  as  new  as  to-day.  For 
each  must  find  it  out  for  himself  and  live  to  the  higher,  discard- 
ing the  lower  form.  This  is  no  vague  abstraction  to  Miss  St. 
Denis,  indeed,  if  the  word  does  not  frighten — it  is  her  message. 
For  she  says :  "My  art  is  half  a  religion  to  me.  If  it  were  not, 
I  could  not  dance.  For  each  artist  has  but  one  message  to  de- 
liver to  the  world.  Search  closely  the  lives  and  art  of  all  the 
great  artists  and  you  will  find  that  each  sees  fundamental  truth." 
Imagine  an  actress  who  designs  and  oversees  the  making  of 
her  stage  settings,  including  the  painting  of  scenery  and  making 
of  her  own  elaborate  costumes  and  those  of  all  her  company; 
who  writes  her  own  dramas,  and  produces  her  own  plays  and  you 
will  have  some  idea  of  the  intense  activity  of  this  interesting 
woman.  ADA  RAINEY. 


Photos  White  Mrs     Howard  Mrs.    Brinton 

(Effie   Shannon)  (Alice   Putnam) 

Act    I.     Mrs.    Howard    tells    her    friend    that    she    means    to    become    gay 


Act    II. 
SCENES    IN    "YEARS    OF    DISCRETION,"    AT    THE    BELASCO    THEATRE 


Michael    Doyle  Mrs.    Howard 

(Bruce   McRae)  (Effie   Shannon) 

Michael    Doyle    explains    the    condition    of    his    heart    to    Mrs.    Howard 


§  ami 


IT  is  an  unusual  dramatic 
entertainment  that  possesses 
more  than  one  novelty. 

"Years  of  Discretion"  has  four.  It  has  a  novel  theme.  Its 
chief  star  has  risen  gloriously  at  a  time  when  many  less  active 
stars  are  preparing  comfortably  to  set.  The  play  was  written  by 
a  married  pair  whose  joint  first  product  it  is,  and  who,  though 
collaborators,  are  still  blissfully  wedded.  Finally,  it  is  a  triumph 
of  sentiment  over  business,  or  at  least  of  sentiment  in  business. 

The  theme  is  a  widow's  rebellion  against  old  age,  and  the 
astounding  results  of  her  revolt.  David  Belasco,  facing  the 
difficulty  of  interesting  an  unromantic  public  in  the  romance  of 
a  nearly  old  woman,  decided  to  make  an  experiment  within  an 
experiment.  Sending  it  adventuring  upon  that  vague  land,  the 
Road,  where  failure  does  not  hurt 
so  acutely  as  at  one  of  the  na- 
tion's pulses,  a  great  city,  and 
accompanying  it  in  its  adven- 
tures, he  directed  the  performance 
into  three  several  channels.  He 
tried  a  burlesque  of  the  emotions, 
and  was  convinced  that  such 
treatment  was  brutal  and  lacked 
humor.  He  tried  "playing  it  for 
pathos"  and  that  human  mirror, 
the  audience,  reflected  fewer 
sniffles  than  smiles. 

"It  must  be  played   for   com- 
edy," he  concluded.  • 

As  a  feather  light  comedy  it  was  an  instant  success, 
public  crowded  upon  each  other's  heels  to  witness  the  tripple 
flirtations  of  a  widow  who  had  descended  from  the  shelf,  and 
to  watch  her  willingly  reascend  to  tha*  position,  which,  if  not 
luminous,  is  indisputably  comfortable.  It  drew  from  their 
shelves  persons  who,  from  that  height,  pee,  now  and  then,  a  bit 
shamefacedly,  into  the  land  of  romance,  secretly  wondering 
whether  it  still  holds  any  possibilities  for  them.  The  audiences 
of  "Years  of  Discretion"  prove  how  large  a  nut  iber  of  middle- 


Mr,    and    Mrs.   Frederick   Hatton,   authors   of   "Years    of    Discretion" 


The 


aged  persons  there  are  in  any 
community,  what  latent  magnet- 
ism is  in  them,  what  pathetic 
desire  to  believe  that  some  of  the  thrilling  joys  of  life  remain 
for  them.  Because  the  fear  of  old  age  stalks,  confessed  or  uncon- 
fessed,  in  the  soul  of  everyone  the  play  has  a  human  appeal. 

It  is  a  universal  play,  whose  universality  is  in  part  attested 
by  the  women  who  assemble  on  matinee  days  to  "see  how  she 
does  it,"  "it"  being  the  rejuvenation  of  her  youth  by  mysteries 
of  the  toilet,  and  other  and  deeper  mysteries  of  the  soul. 

Another  novelty  is  the  bursting  into  dazzling  radiance  of  Miss 
Effie  Shannon.  Miss  Shannon  has  been  on  the  stage  for  more 
than  a  quarter  of  a  century.  She  has  played  the  young  girl 
while  young  girls  have  been  born,  have  grown  up  and  married 

and  themselves  given  ingenues 
to  the  world,  but  she  has  never 
attained  the  power  of  illumina- 
tion displayed  in  "Years  of  Dis- 
cretion." It  is  conceivable,  and 
probably  true,  that  Miss  Shan- 
non, always  lovely,  always  of 
dramatic  intelligence,  always 
possessing  a  soft  charm  distinctly 
her  own,  has  had  for  the  first 
time  in  the  multiplying  years, 
her  "chance."  It  has  been  many 
years  since  the  metropolis  saw 
her,  at  any  rate,  under  satisfying 
circumstances.  She  has  paid 
brief  visits  in  indifferent  plays,  returning  to  the  dim  land,  the 
Road,  and  she  had  become  resigned  to  the  conditions.  Like 
many  persons  who  with  unembittered  resignation  accept  them, 
there  comes  about  a  change  in  conditions.  Certainly  for  Miss 
Shannon  there  came  opportunity,  and  she  took  it  gallantly. 

It  is  a  brilliant  company  that  surrounds  her.  Lyn  Harding, 
who  created  "Drake"  in  London,  whose  touch  is  sure  in  Shake- 
spearean character,  and  for  the  possession  of  whom  Sir  Beer- 
bohm  Tree  is  pouting  masculinely,  but  still  pouting,  at  David 


I2O 


THE     THEATRE    MAGAZINE 


White 


LAURA   HOPE  CREWS 
Who    appeared    recently    with    H.    B.    Warner    in    "Blackbi 


Belasco,  who  refused  to  release  Mr.  Harding  to  him ;  Bruce 
McRae,  nephew  of  that  other  knight  of  the  stage.  Sir  Charles 
Wyndham,  but  a  dashing  actor  in  his  own  right ;  Herbert  Kelcey 
who,  from  having  been  termed  the  ''mantelpiece  actor,"  because 
he  once  had  the  habit  of  leaning  upon  mantelpieces  while  indulg- 
ing in  love  or  philosophy,  has  become  a  man  to  whom  nearly  any 
role  may  be  safely  entrusted;  Robert  McWade,  who  is  of  the 
inherited  aristocracy  of  the  profession,  and  E.  M.  Holland,  of 
method  mellow  and  tasty  as  fine  old  wine. 

That  a  critic  should  write  a  successful  play  is  almost  unknown. 
But  to  Mr.  and  Mrs.  Frederick  Hatton  belong  both  distinctions. 
Frederick  Hatton  is  a  critic  of  the  Chicago  Post,  clever,  pains- 
taking, of  a  gallantry  indigenous  to  his  native  Virginia,  which 
forbids  him,  or  so  his  wife  declares,  ever  writing  a  harsh 
criticism  of  a  woman.  Mrs.  Hatton,  who  three  years  ago  was 
"Mrs.  Jack"  McKenzie,  and  prior  to  that.  Miss  Fannie  Locke, 
is  an  illuminant  of  the  fashionable  set  of  Chicago.  She  knows 
the  bubble-making  froth,  but  knows  also  the  slowly  moving  deep 
stream  of  the  reality  of  life.  Her  father  was  Dean  Locke,  long 


the  rector  of  Grace  Episcopal  Church 
of  Chicago.  She  received  her  pre- 
liminary training  for  the  broader  and 
deeper  education  of  life,  at  a  girls' 
school  in  Stuttgart,  Germany.  While 
she  was  the  witty,  sparkling,  light- 
hearted  "Mrs.  Jack"  McKenzie  she 
wrote  a  comedy  whose  proceeds  were 
used  for  the  beginning  of  a  clubhouse 
in  Michigan.  With  another  comedy 
she  finished  the  clubhouse. 

"How  do  you  happen  to  know  so 
well  the  psychology,  so  to  speak,  of 
the  widow?"  Mr.  Harding  asked  Mrs. 
Hatton  while  they  rehearsed. 

"Oh,  I  was  a  widow  for  six  years." 
Her  reply  satisfied  Mr.  Harding. 

It  was  while  she  was  at  the  theatre 
one  night  the  brilliant  widow  met  the 
handsome  young  critic  from  the  South. 
The  probable  happened.  Their  court- 
ship was  punctuated  with  many  discus- 
sions of  plays. 

"Let's  write  a  play,"  suggested  Mrs. 
McKenzie. 

"An  excellent  idea,"  assented  Mr. 
Hatton. 

Soon  after  they  were  united  in  matri- 
mony the  playwriting  began. 

"Don't,"  pleaded  their  Chicago 
friends,  all  of  whom  feared  inoculation 
by  the  divorce  bacillus  that  thrives  in 
that  climate.  "All  collaborators  hate 
each  other." 

"We  won't,"  replied  they  both,  and 
proved  themselves  prophets  of  truth. 

"We've  talked  things  over,  but  never 
differed  basically,"  said  Mrs.  Hatton. 
"Frederick  is  better  at  play  construc- 
tion and  dialogue  came  easy  for  me. 
We  talked  over  every  scene  and  situa- 
tion, and  whoever  happened  to  have 
time  wrote  it.  The  other  revised  and 
both  discussed.  We  were  seven  months 
writing  it." 

Belasco.   listening  in   his   silent   way 
behind  the  scenes  to  the  chatter  on  a 
Chicago  stage  after  a  play,  said  to  the 
Hattons :    "If  you  write  as  well  as  you 
r(ls-  chat  you  should  write  a  play." 

"We  have,"  they  answered. 

"Send  it  to  me,"  he  said,  and  a  week  later  the  contract  was 
signed.  They  are  writing  another  comedy,  which  is  proceeding 
on  the  same  way.  Its  genesis  was  an  idea  expressed  by  Mr. 
Hatton  as  they  drove  home  from  an  after-theatre  supper  party. 
"We  were  so  delighted  we  hugged  each  other  to  show  our 
approval,"  said  Mrs.  Hatton. 

The  genesis  of  "Years  of  Discretion"  was  similar.  The  pair 
had  observed  in  society  the  warfare,  determined,  pathetic  and 
comic,  of  several  of  their  friends  against  the  encroachment  of 
the  years.  They  made  a  play  of  it,  a  play  that  is  genuinely 
"the  thing." 

Playgoers  whose  hair  is  white  revert  occasionally  to  "the  old 
Lyceum."  The  affairs  of  the  quaint  building  whose  site.  Fourth 
Avenue  and  Twenty-fo-  rth  Street,  is  now  nearly  forgotten  were 
managed  by  Daniel  /rohman.  Its  stage  director  was  David 
Belasco.  The  now  .icarly  forgotten  Lyceum  company  included 
Effie  Shannon,  th  .1  a  slim,  golden-haired  girl,  and  Herbert  Kel- 
cey, a  matinee  '  'ol  of  his  day. 

A.  P. 


This   «ifted   and   beautiful    Russian   pianist,   who   is    now 
servatory  of  the  Philharmonic  at  Moscow,  win-: —  "•- 

appea 


TINA    LERNER 


Jir«A      L.C.Kr*  E.H 

•ho  is  now  making  her  third  tour  of  the  United  States,  was  born  in  Odessa  in  1890.  At  the  age  of  ten  she  entered  the  Con- 
'inning  the  highest  honors.  At  fifteen  she  appeared  as  soloist  with  the  Moscow  Philharmonic  Society.  After  a  tour  of  Russia, 
earances  followed  in  Germany  and  England,  and  th-  .1  came  her  first  visit  to  America 


The  Little  Theatre  and   Its  Bi 


a  r  e  c  t  ©  F 


WINTHROP  AMES 
Director  of  The  Little  Theatre 


LIKE  a  neat  tavern  at  the  turn  of  an  English  lane,  is  The 
Little  Theatre.  Like  a  college  professor  is  the  man  who 
directs  it,  who  is,  indeed,  The  Little  Theatre. 

The  playhouse,  whose  capacity  is  three  hun- 
dred— that  -is  an  institution  unique  in  this 
country — presents  a  fa?ade  of  red  brick  dully 
toned,  trimmed  with  chaste,  straight  lines  of 
white  cement.  Its  windows  are  many-paned 
and  shine  with  neatness.  There  are  potted 
plants  on  the  window  ledges,  plants  arranged 
in  precise,  regular  rows.  Fronts  of  houses 
always  remind  me  of  faces.  That  of  The 
Little  Theatre  is  sedate,  of  exceeding  decorum 
and  dignity,  as  a  fair  Quaker  face  looks 
demurely  forth  from  its  gray  silk  bonnet. 
A  tall  man  with  the  bend  at  the  shoul- 
ders which  we  know  as  "the  scholar's 
stoop"  gets  out  of  a  taxicab,  darts  beneath 
the  white,  shield-like  sign  bearing  the  name 
of  the  theatre  in  black  letters  and  strides 
through  the  broad,  white  entrance  and  up 
the  stairs  to  the  offices  that  are  as  compact 
and  immaculately  kept  as  the  front  of  the 
building  with  its  suggestion  of  perfect 
housekeeping  portends.  He  wears  a  long  snuff-colored  greatcoat 
and  soft  hat  of  the  same  color.  He  is  several  inches  past  six 
feet  in  height  and  of  exceeding  slenderness.  He  is  pale,  and  one 
eyebrow,  the  right,  being  considerably  higher  than  the  left,  lends 
his  face  a  quizzical,  half  humorous  expression,  emphasized  by 
an  occasional,  quickly-vanishing  smile. 

His  pallor,  his  habitual  gravity,  his  stoop,  add  to  the  appear- 
ance of  many  years  to  his  age.  A  glance  reveals  him  an  old- 
young  man.  This  is  the  director,  the  incarnate  idea,  of  The  Little 
Theatre.  He  is,  indeed,  The  Little,  Theatre. 

He  hung  the  snuff-colored  hat  and  coat  in  a  closet,  closed  the 
door  with  the  carefulness  of  one  of  precise  habits,  sat  down  at 
the,  neatly  ordered  flat-topped  desk,  turned  on  the  swift  smile, 
turned  it  off  again  and  said : 

"The  theatre  is  the  most  elusive  of  topics.  It  is  a  vague  sub- 
ject, because  its  conditions  are  influx  and  what  one  says  to-day 
may  not  in  two  years  be  at  all  true.  When  we  talk  of  it  we  deal 
in  quarter  truths.  It  is  the  most  uncertain  of  the  arts.  A 
painter  knows  the  size  of  his  canvas.  A  writer  knows  what  a 
word,  or  set  of  words,  will  convey.  But  a  director  of  a  theatre 
deals  with  human  factors,  and  they  are  always  uncertain.  In  any 
of  the  other  arts  a  man  knows  what  he  can  do  from  the  begin- 
ning, but  in  the  theatre  no  play  is  ever  given  as  the  author  in- 
tended it.  No  character  is  ever  portrayed  quite  as  he  intended  it. 
It  may  be  better  or  worse,  but  it  is  different.  One  starts  with 
something,  having  a  very  definite  purpose  of  what  it  shall  be  and 
it  develops  quite  otherwise,  because  what  he  wants  to  do  is  bent 
from  its  purpose  by  the  medium  of  a  personality,  and  personality 
no  one  can  control. 

"A  manager  must  count  the  cost  of  an  undertaking  more  than 
any  other  director  of  art.  The  painter  knows  how  much  time  it 
will  take  to  finish  his  canvas  and  about  what  he  can  get  from  a 
purchaser  for  it.  The  writer  can  publish  his  own  books,  say  for 
fifteen  hundred  dollars,  or  if  the  book  be  one  of  verse  for  seventy- 
five  dollars,  but  the  manager  faces  a  large  expense  from  the 
beginning.  He  cannot  produce  anything  for  less  than  the  mini-  ' 
mum  of  five  thousand  dollars.  I  hope  I  have  shown  that  it  is 
the  most  uncertain  of  the  arts  and  that  it  is  difficult  to  be  dog- 
matic about  it."  The  glancing  smile,  then  waiting  silence. 

"Why  do  you  believe  in  The  Little  Theatre  as  an  institution?" 
I  asked  its  founder  in  this  country. 

"For  two  reasons :  In  small  playhouses  one  can  produce  plays 
that  require  close  range  of  vision  and  unquestioned  acoustics. 
They  are  plays  of  delicate  shadings  of  tone  and  that  require  for 
their  points  varieties  of  facial  expression  that  would  be  lost  in 


transmission  in  a  large  house.  Another  reason  is  that  you  can 
select  your  audience.  Let  me  explain  that  at  once.  I  am 
not  snobbish,  and  it  would  be  unjust  and  untrue  to  accuse  me  of 
it.  When  1  speak  of  selecting  an  audience  I  mean  that  any  large 
city,  and  especially  New  York,  has  many  audiences.  The  dif- 
ferent kinds  of  plays  now  running,  and  with  equal  success,  show 
that  there  is  an  indefinite  number  of  them  for  the  sorts  of  plays 
that  particular  audiences  like.  I  set  about  selecting  my  audience 
in  two  ways.  I  wanted  to  open  a  theatre  where  I  could  furnish 
plays  that  would  be  liked  by  intelligent  people.  But  that  was 
not  enough.  There  are  many  theatres  in  New  York  that  do  that 
with  success.  1  wanted  to  produce  such  plays  as  I  liked  myself 
and  I  had  faith  that  there  were  enough  persons  resident  in  and 
visiting  New  York  who  would  support  it. 

"I  have  never  had  any  foolish  idea  about  educating  the  public. 
You  can't  educate  the.  public  taste  in  plays.  You  can  only  deepen 
and  widen  the  already  acquired  taste.  When  a  man  has  grown 
to  the  stature  of  play-going,  say  twenty-one  years  old,  his  tastes 
are  well  defined.  If  he  is  the  sort  of  man  who  likes  Peter  Pan 
he  will  grow  to  like  it  more  and  more.  If  he  isn't  he  will  like 
it  less  and  less.  Just  as  there  are  chemical  constituents  in  our 
body  that,  when  predominating,  cause  us  to  like  certain  dishes 
for  dinner  and  to  dislike  certain  others,  so  there  are  constituents 
of  the  brain  or  mind  that  cause  us  to  incline  to  one  sort  of 
play  or  the  other.  The  way  people  change  and  grow  in  taste 
for  plays  is  that  they  demand  better  productions  and  a  finer 
grade  of  acting.  But  plays  they  like  at  twenty-one  they  will 
prefer  at  seventy-one.  With  the  passage  of  fifty  years  they  will 
expect  better  acting  of  those  plays.  In  a  word  the  taste  in 
plays  only  changes  in  that  it  becomes  more  pronounced." 

"1  see  you  haven't  any  inscription  above  the  door 
of  your  theatre.    If  you  had,  what  would  it  be?  " 

"Probably  : '/  want  to  do  my  fob  7cW/.' 

"And  that  job  is?" 

"I  want  to  produce  plays  that 
will    entertain    and    that 
will  have  enough  truth 
in  them  to  leave 
a  residue. 


Fagade   of  The  Little  Theatre,  West   44th   Street.   New   York  City 


Photos  White 
Alex 
(Joseph 

Galloway 
Woudburn) 

Captain    Pennington 
(Orlando    Daly) 

Act.   I.     The  pretended  widow  beg 

Gloria  Grey 
(May    Irwin) 

ins  her  masquerade 

\ 


Alex    Galloway 

&Of.ll      W,.r. Jl.nr't,. 


Gloria  Grey 

(\AI+,  r, ,.  ;,,  i 


Captain    Pennington 


Angelica    Pennington 

CTIflpn     Weathrrshv) 


Saphrnnin    Pennington 

^Franr/>«    flnnntl 


124 


THE     THEATRE     MAGAZINE 


White 


ALICE   BRADY 
Recently  seen   as  Meg  in   "Little  Women,"   at  the    Playhouse 


I  want  to  entertain  the  patrons  of  The  Little  Theatre,  but  to  give 
them  enough  to  think  of  so  that  they  will  not  feel  that  the 
evening  is  wasted.  An  evening  seems  to  me  to  be  wasted  if  we 
are  merely  amused  and  nothing  is  left  for  the  mind  to  work 
upon." 

"Will  you  analyze  Anatol  from  that  point  of  view  ?" 

"First  tell  me  how  Anatol  impressed  you." 

"As  the  portraiture  of  a  youthful,  irresponsible  character,  and 
how  the  procession  of  women  through  his  life  affected  that  char- 
acter." 

"That  is  what  1  tried  to  show.  Anatol  has  never  seemed  to 
me  to  be  in  the  least  degree,  immoral.  There  is  nothing  in  the 
play  to  show  that  his  acquaintance  with  any  of  the  women  had 
been  of  that  nature.  His  careless,  irresponsible  nature  furnished 
the  entertainment.  The  value  of  the  play,  the  residuum,  as  I 
saw  it,  is  the  reaction  of  those  various  types  of  women. 

"My  aim  is  to  produce  plays  that  will  generally  please  my 
audience.  I  want  intelligent  people  to  know  that  generally  they 
can  find  at  The  Little  Theatre  the  class  of  plays  they  like." 

"Is  there  any  kind  of  play  you  will  not  produce?" 

"There  are  some  classes  of  plays  that  the  architecture  of  The 


Little  Theatre  prevents  my  producing.  I  will  not  produce 
musical  comedies  nor  melodrama.  The  stage  and  auditorium 
are  too  small." 

"is  there  any  theme  you  will  not  handle?" 

"No,  for  I  believe  the  stage  can  and  should  produce  anything 
that  is  human." 

"There  is  a  rather  general  impression  that  the  United  States 
is  tired  of  the  sex  play." 

"1  think  that  is  true  of  one  kind  of  sex  play.  The  triangle  of 
the  French  play  is  beginning  to  bore  American  audiences.  The 
reason  is  that  the  situation  occurs  with  so  little  frequency  here 
that  it  does  not  make  a  general  appeal.  I  think  people  want  to 
see  on  the  stage  what  they  know  about.  Yet,  if  the  sex  play 
were  handled  in  a  great  way,  it  would  make  a  universal  appeal." 

"When  you  examine,  a  play  what  do  you  ask  yourself  about  it?" 

"I  ask  myself  first  whether  it  will  entertain.  Then  I  ask 
myself  whether  it  is  true.  If  it  is  both  of  these  it  is  a  good  play. 
If  it  leaves  the  residuum,  of  which  I  spoke,  it  is  a  great  play." 

"What  are  the  great  plays  on  the  New  York  stage  this 
season  ?" 

"1  wouldn't  like  to  say  that  for  it  might  seem  invidious.  The 
theatres  are  commercial.  They  have  to  be.  It  is  as  foolish  to 
complain  about  that  as  it  would  be  to  sit  down  and  cry  because 
we  are  not  handsome." 

"Suppose,  then,  we  go  farther  back  than  this  season?" 

"  'Magda'  I  thought  a  great  play." 

"'Ghosts?'" 

"Yes,  but  it  didn't  draw." 

"The  Blue  Bird?'" 

"Yes,  I  thought  that  a  great  play." 

"But  the  hardest  thing  in  conducting  a  theatre  is  not  to  find 
plays,  but  well-trained  players.  That  lack  is  the  greatest  hold- 
back of  the  stage.  I  don't  know  how  it  can  be  remedied.  A 
year  or  two  in  stock  would  be  of  value,  but  there  are  few  stock 
companies  and  many  actors.  For  instance,  a  few  years  ago  I 
met  a  girl  who  gave,  I  thought,  much  promise.  She  was  pretty, 
intelligent,  and  plastic.  1  thought  the  future  held  much  of  suc- 
cess for  her.  I  met  her  four  years  later  and  she  had  been  play- 
ing the  same  part  ever  since.  The  best  years  of  her  dramatic 
life  she  had  wasted  on  one  part. 

"I  don't  know  what  is  to  be  done  about  it.  Our  greatest  need 
cannot  be  met  in  present  conditions.  But  I  think  the  dramatic 
schools  could  do  their  work  better.  I  do  not  wish  to  criticise, 
yet  the  fact  confronts  us  that  we  have  a  right  to  expect  from 
actors  the  habit  of  clean  and  careful  speech  and  the  schools  do 
not  give  it  them.  We  have  a  right  to  expect  a  good  physical 
carriage  and  that  the  schools  do  not  give  them.  So  it  certainly 
appears  that  the  schools  are  not  doing  all  they  should." 

"The,  English  say  their  actors  are  recruited  from  a  better  class 
than  ours.  Do  you  think  so?" 

"I  think  our  stage  is  growing  better  every  year  in  that  respect. 
Persons  are  coming  from  better  homes  and  with  better  equipment 
of  education.  But  I'  think  there  may  be  too  much  stress  laid 
upon  the  matter  of  drawing-room  drama  and  tea-table  dialogue. 
Plays  are  being  written  for  actors  who  can  talk  and  act  as  though 
they  were  in  a  drawing-room,  and  the  English-speaking  stage  is 
suffering  from  that  and  from  the  repressed  school  of  acting 
which  is  exaggerated  elegance. 

"A  girl  came  in  to  see  me  not  long  ago  and  assured  me  at  least 
four  times  during  our  interview  that  she  was  a  college  graduate. 
She  had  nothing  else  to  recommend  her,  appearance,  charm,  tact, 
nothing.  She  seemed  nonplussed  because  I  wouldn't  engage  her. 
'But,  I'm  a  college  graduate,'  she  repeated  as  wonderingly  as  we 
said  'good  afternoon.'  Education  adds  to  an  actor's  equipment 
as  it  does  to  everything,  but  it  isn't  all.  It  merely  adds." 

"If  you  were  speaking  of  Winthrop  Ames  to  someone  who  did 
not  know  him,  or  if  you  could  step  outside  yourself  and  have  a 
look  at  his  work,  would  you  say  he  is  a  realist  or  an  idealist?" 

"I  should  say  he  were  neither  at  all  times  and  that  he  tried  to 
be  enough  of  each  when  it  was  needed.  For  instance,  the  trend  of 


BEATRICE    MAUD 
Who    is   appearing   in    vaudeville    as   the   Salvation    lass    in    ''Lead,    Kindly    Light" 


^tirtmitr  T<\attir 


t,*  *"«=** 


126 


THE      THEATRE      MAGAZINE 


For  instance,  the  trend 
of  some  of  the  theatres, 
especially  in  Germany,  is 
toward  symbolic  settings. 
1  am  not  in  sympathy  with 
that.  If  the  play  be  one 
ol  syniDolisn,,  then  a  sym- 
bolic setting  of  course ; 
but,  for  instance,  if  I  were 
producing  'The  Second 
.Mrs.  Tanqueray'  I 
shouldn't  ask  her  to  wear 
a  symbolic  gown  nor  tell 
her  troubles  in  a  symbolic 
drawing  room.  I  should 
want  her  gowns  and  the 
stage  sets  to  be  in  them- 
selves artistic  and  charac- 
teristic of  her.  I  think 
symbolism  may  be  carried 
to  the  point  of  absurdity." 
I  tried  to  sound  the 
depths  of  Mr.  Ames's  self- 
complacency.  He  had  none  to  sound.  Was  he  not  gratified  at 
having  discovered  and  imported  "Sumurun"?  "Stimurun"  was  a 
novelty,  to  be  sure,  but  it  was  very  well  known.  If  he  discovered 
it  he  was  only  one  of  many,  he  said.  But  there  was  "The  Bine 
Bird,"  produced  at  The  New  Theatre.  Yes,  but  at  The  New 
Theatre  he  was  the  servant  of  the  men  who  employed  him.  He 
had  introduced  a  distinct  novelty  in  having  daily  matinees  and 
Saturday  morning  performances  of  "Snow  White."  At  mention 
of  this  there  was  a  glint  a  glimpse  of  gratification  in  his  eyes. 


Maxine    Elliott    skating    at    St.    Mo 


"I  found  another  pub- 
lic," he  said.  "I  thought 
the  children  needed  more 
entertainment  than  was 
provided  for  them,  but  I 
am  not  alone  in  that. 
Plans  for  new  theatres  are 
springing  up  all  around 
us."  There  were  no  sur- 
face indications  of  egotism. 
If  any  exists  it  was  well 
hidden  in  an  hour's  chat 
in  the  quiet  inner  office  on 
Forty-fourth  Street.  But 
there  was  optimism.  He 
hears  no  dogs  howling  for 
the  poor,  tattered  remnants 
of  the  drama. 

"The  stage  is  constantly 
growing  better.  Recall  the 
plays  that  were  on  the 
boards  five  years  ago  and 
those  of  this  season !"  he 
"The  number  of  good  plays  and 


exclaimed  with   enthusiasm. 

worthy  productions  to-day  is  greater." 

And  there  is  a  staunch  adherence  to  the  interest  that  began 
when  at  seven  he  cried  for  a  toy  stage  and  operated  it  in  his 
nursery.  While  every  feature  of  the  pale,  intense  face  bespeaks 
sensitiveness,  discouragement  will  not  sway  Director  Ames  from 
his  purpose.  His  intent  and  the  aim  of  The  Little  Theatre  are  one 
and  indivisible.  Briefly  he  expressed  it :  "To  produce  plays  that 
will  interest  intelligent  people."  ADA  PATTERSON. 


Th< 


MR.    DE    WOLF    HOPPER    said 
that  when  writing  to  you  I  was 
to  tell  you  that  he  considered  me 
'some  pumpkins.'     What  he  meant  by  as- 
sociating me  with  a  vegetable  that  I  don't  hanker  after  is  more 
than  I  can  tell,  but  he  said  that  you  would  quite  understand." 

The  above  is  an  extract  from  a  letter 
written  by  Miss  Madge  Titheradge,  the 
charming  English  actress,  to  her  father,  Mr 
George  S.  Titheradge,  a  fine  old  actor  of 
great  culture  and  refinement,  who  supported 
Mrs.  Patrick  Campbell  on  her  American  tour 
some  five  years  ago,  and  who  at  present  holds 
a  unique  position  on  the  Australasian  stage. 
If  every  matured  playgoer,  say  of  45  or  over, 
could  be  plebiscited  on  the  question,  90  per 
cent,  would  say  that  Titheradge  was  the 
finest  all-round  actor  Australia  had  seen. 
The  frailty  of  old  age  is  upon  him  now,  yet 
he  is  still  inimitable  in  some  of  his  old  parts, 
namely,  Lord  Illingworth  in  "A  Woman  of 
No  Importance,"  Aubrey  Tanqueray  in  "The 
Second  Mrs.  Tanqueray,"  and  1'Abbe  Dubois 
in  Sydney  Grundy's  fine  play,  "A  Village 
Priest."  In  the  last-named  play  the  perform- 
ance of  the  old  actor,  mellowed  by  age  and  a 
wonderful  experience  which  few  living  actors 
can  boast,  is  like  a  benediction  of  eventide. 
But  to  return  to  the  letter — the  passage  was 
read  in  the  dressing-room  of  the  actor  in  the 
Opera  House,  Wellington,  New  Zealand, 
which  is  some  distance  from  the  big  White 
Way.  With  the  letter  had  come  a  copy  of 
THE  THEATRE,  containing  an  article  entitled 
"An  Aristocrat  of  the  Stage,"  in  which  the 
writer  freely  expressed  her  opinion  of  some 


By  one  who  has  acted  with  Mr.  Kean 


of  the  big  actors  she  had  been  associated 
with.       The    writer    had    expressed    the 
opinion    that    Herr    Bandmann's    Hamlet 
was  a   finer   performance  than   Fechter's, 
which  rather  aroused  the  ire  of  the  old  actor,  then  engaged  in 
making  up  for  that  blase  old  cynic  of  Wilde's,  Lord  Illingworth. 
What    was    more    delightful,    it    roused    his 
memory  of  players  who  were. 

"She's  not  right,''  said  Mr.  Titheradge, 
touching  up  the  end  of  a  wicked  eyebrow 
with  the  greatest  care.  "Either  her  judg- 
ment or  her  memory  is  at  fault.  Bandmann 
a  better  Hamlet  than  Fechter?  Nonsense! 
I've  seen  'em  both — played  with  Bandmann 
through  more  seasons  than  one — he  was 
twice  out  here  (in  New  Zealand),  you  know. 
In  my  humble  opinion  he  was  not  a  good 
Hamlet.  He  was,  contrary  to  the  opinion 
expressed  there  (in  THE  THEATRE),  a  big 
burly  actor,  with  a  good  deal  of  physical 
force  and  weight  to  help  him  and  a  German 
accent  you  could  cut  with  a  knife  to  hinder 
him.  Why,  dear,  oh  dear,  I  remember  Mrs. 
Bandmann  saying  to  me  at  Bristol — that  was 
in  '74 — 'Are  you  going  to  play  Othello  to  that 
big  brute's  lago?'  Not  very  complimentary 
to  him,  was  it?  Of  course,  I  was  much 
slighter  than  I  am  now — and  a  good  deal 
younger  by  the  same  token.  Bandmann  mar- 
ried one  of  the  most  charming  and  attractive 
of  our  leading  ladies  of  the  time.  Miss  Millie 
Palmer,  not  Minnie,  mind  !  Up  till  some  five 
or  six  years  ago  she  was  acting  in  England 
under  the  name  of  Mrs.  Bandmann-Palmer. 
When  I  was  with  Bandmann  in  England  the 
best  drawing  card  he  had  was  a  play  called 


White 

New  clubhouse  of  the  "White  Rats."  at  229  West 
4fith   Street,   New  York 


White 


ELSIE  JAN1S   AT   HOME 

^ 


128 


THE      THEATRE      MAGAZINE 


MAGGIE    TEYTE 

This  popular  young  singer  lias  just  completed  an  extensive  concert  tour  of  the 

United  States 

'Narcisse'  (an  adaptation  from  the  French),  which  Tree  subse- 
quently played  under  the  name  of  Gringoire,  or  perhaps  that  was 
the  name  of  his  part  in  the  play,  I  don't  know.  But  he  (Band- 
mann)  was  not  nearly  the  fine  scholarly  Hamlet  that  Fechter 
was.  Don't  you  believe  it  for  one  moment !  I  never  saw  Edwin 
Booth,  but  I  imagine  his  Hamlet  was  infinitely  superior  to 
Bandmann's. 

"I  regard  Forbes  Robertson  as  my  ideal  of  Hamlet,  though  in 
him  one  misses  the  great  power  of  the  old-time  tragedians — men 
who  could  create  great  waves  of  enthusiasm  by  sheer  power, 
physical  or  mental  or  both.  While  Robertson  is  to  me  ideal  in 
appearance,  manner,  and  reading,  he  could  hardly  lift  the  people 
out  of  their  seats  as  the  giants  of  tragedy  in  the  Victorian  era. 
The  style  is  not  cultivated  now,  and  the  stage  does  not  breed  the 
type,  but  all  the  same  Shakespeare  wrote  for  the  type,  and  they 
used  to  grip  their  audiences  with  a  tighter  clutch  than  does  your 
modern  actor,  who  insists  on  being  himself  in  everything  he 
does. 

"Old  man   Irving  had  none  of  the  physical  power — he   de- 


pended more  on  his  nervous  force  and  personal  magnetism 
to  produce  the  effect  obtained  by  the  old  tragedians  by 
more  robust  methods.  His  appeal  was  more  psychic 
than  physical.  I  did  not  consider  Irving  a  great  Shake- 
spearian actor  of  the  first  class.  In  my  opinion  he  was  at 
his  best  in  character  parts.  I  was  associated  with  Irving, 
Toole,  and  Lionel  Brough  for  some  time  in  London,  and 
saw  Irving  in  a  variety  of  parts,  but  he  was  always  at  his 
best  in  character.  I  remember  how  good  he  was  as  Bob 
Gosset  in  'Dearer  than  Life.'  Afterward  I  fancy  his  best 
work  was  done  in  characters,  such  as  'Louis  XI'  and  the 
dual  parts  in  'The  Lyon's  Mail.'  He  was  fine,  too,  in 
'Richelieu,'  magnificent — up  to  a  point — the  big  dramatic 
scene  where  Richelieu  says — 

Mark  where  she  stands — around  her   form   I   draw 

The  awful  circle  of  our  solemn  church ! 

Set  but  a  foot  within  that  holy  ground 

And  on  thy  head — yea,  though  it  wore  a  crown — 

I  launch  the  curse  of  Rome! 

At  that  point  Irving  used  to  fail — he  became  too  shrieky. 
Good  Lord !  I  remember  old  Jack  Ryder,  that  sound  actor 
who  trained  Adelaide  Neilson,  the  finest  Juliet  the  world 
has  ever  seen,  being  in  front  one  night  to  see  Irving's 
'Richelieu,'  and  when  it  came  to  the  curse  scene,  his  com- 
ment was  'Mother  Shipton,  by  God !' 

"I'm  old  enough  to  have  acted  with  Charles  Kean,  one 
of  the  best  of  the  old-time  tragedians.     It  was  his  last  and 
my  first  year  on  the  stage,  and  we  met  at  Portsmouth   (in 
1867).     In  those  days  he  was  pretty  feeble  though  not  an 
old  man,  and  did  not  used  to  rehearse  with  us.    Old  Jimmy 
Cathcart  used  to  put  us  through,  and  I  can  remember  how 
pleased  Jimmy  was  when  I  mistook  him  for  Mr.  Kean  at 
the  first  rehearsal.     Kean  was  what  I  should  describe  as  a 
classical  actor,  who   worked  more  on  the  lines   of   Irving 
than  the  old  declamatory  style — he  acted  through  his  brain 
more  than  his  brawn.    He  did  not  possess  a  robust  physique 
— I  am  speaking  of  his  last  year  on  the  stage,  the  one  be- 
fore he  died — but  I  should  think  that  at  no  time  did  he 
possess  great  physical  power.     I   played   Bernardo  to   his 
Hamlet  when   I  was  a  younker  at  the  business,   and  can 
distinctly  remember  how  strikingly  1   was  impressed  with 
his    thought  fulness    and    intellectual    discrimination       For 
instance,    in    the   earlier   scene    where    Hamlet    first    meets 
Horatio,  Marcellus  and  Bernardo,  Kean  greeted  Horatio 
effusively  as  his  dear  intimate  friend  Marcellus  with  a  little 
more  reserve,  but  before  he  greeted  me  there  was  a  dis- 
tinct pause — so  much  so  that  I  thought  there  was  some- 
thing the  matter  with  me — and  then  as  if  trying  to  recall 
if  he,  as  Hamlet,  had  ever  met  Bernardo  before,  and  not 
wishing  to  make  a  mistake,  said  with  such  grave  courtesy, 
'Good    even,   sir!'      Kean    was,    however,    much    better    as 
Louis  XL  in  which  role  I  think  he  was  magnificent,  chiefly  be- 
cause perhaps  at  the  time  I  saw  him  he  was  very   feeble,  and 
drawn  in  the  face  which  made  him  a  natural  Louis.     I  never 
imagined  I  could  see  anyone  as  fine  in  the  part  until  I  saw  Irving 
play  it,  and  I  had  the  pleasure  of  telling  Irving  so  not  so  long 
before  he  died.     It  was  at  the   Green  Room   Club  in   London, 
when  Sir  Henry  was  presiding  at  dinner,  that  I  told  him  that  I 
did  not  think  it  possible  for  anyone  to  disturb  my  impression  of 
Kean  as  Louis,  but  Irving  had  done  it  in  as  masterful  a  piece  of 
character  acting  as  one  is  likely  to  see  once  in  a  generation. 

"Of  all  the  actors  "f  have  known  Charles  Dillon  was  the  god  of 
my  idolatry.  He  was  a  man  without  a  single  physical  quality 
to  recommend  him — -a  short,  stubby,  thick-set  man,  with  a  black- 
moustache  like  a  shoe  brush  which  he  would  never  shave  off. 
There  were  times  when  he  would  act  most  vilely,  but  in  the  vein 
no  actor  I  have  ever  seen — and  I  have  seen  a  few — could  ap- 
proach him.  He  had  a  most  wonderful  voice — vibrant  with  tones 
that  in  pathos  or  agony  used  to  thrill  even  those  who  were  acting 
with  him.  He  was  simply  wonderful  (Continued  on  page  vi~) 


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Till-.       THEATRE      MAGAZINE      ADVERTISER 


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THE   OLD   SCHOOL 

(Continued  from  page   128) 


as  Belphagor  the  Mountebank,'  and  was  the 
lines  Othello  and  King  Lear  I  have  ever 
seen.  By  the  way,  it  was  with  Dillon  that 
Lady  Bancroft  made  her  first  appearance  on 
the  stage.  That  was  at  the  Lyceum  and  the 
play  was  'Belphagor.'  What  a  man  he  was — 
what  a  thorough-going  Bohemian!  I  remember 
my  first  week  with  him  at  Exeter.  I  was  getting 
the  magnificent  salary  of  it  a  week— when  I  got 
it !  The  first  Saturday  I  received  i\  only,  yet 
before  I  was  out  of  bed  on  the  following  Sunday 
morning,  Dillon  had  sent  round  to  borrow  it 
back  again.  Still  he  was  the  soul  of  honor  and 
as  soon  as  the  money  came  in  he  would  imme- 
diately pay  all  his  debts — a  warm-natured,  gen- 
erous-hearted man  as  ever  lived !  I  remember 
the  day  I  was  called  on  to  play  Buckingham  to 
his  Richard  III.  I  knew  nothing  of  the  part, 
but  we  started  in  at  10.30  A.M.  to  rehearse  (it 
was  in  Glasgow),  and  we  kept  at  it  until  4  in 
the  afternoon.  That  is  to  say,  we  were  in  the 
theatre  or  thereabouts  the  whole  day,  but  we 
made  little  progress,  for  Dillon  would  vanish 
into  the  adjoining  'pub'  whenever  he  had  a  wait, 
there  to  be  the  centre  of  an  admiring  group  of 
actors  (of  whom  I  was  one),  and  as  it  fre- 
quently happened  that  his  call  would  come  in  the 
middle  of  a  yarn  the  rehearsal  had  to  wait.  All 
I  knew  of  Buckingham  that  night  I  learned  be- 
tween 4.30  and  7.30  P.M.  Among  other  good  per- 
formances of  Dillon's  were  Benedict  in  'Much 
Ado'  and  'Don  Caesar.'  Dillon  was  absolutely  a 
genius,  but  was  unfortunately  for  himself  a  dear 
dissolute  fellow,  whose  heart  was  as  big  as  his 
great  brain. 

"Dillon  was  manager  with  the  late  Fred 
Wright  (who  died  a  few  months  ago).  I  got  an 
engagement  with  them  at  Leicester  at  i8s  a  week, 
for  which  I  had  to  supply  six  changes  of  dress 
for  'The  Streets  of  London,'  and  dress  up  nine 
flights  of  stairs.  The  same  season  I  had  a  row 
with  the  'first  old  man'  (we  used  to  specialize 
then),  and  he  was  sacked,  and  I  had  to  play  his 
part  as  well  as  my  own  without  any  increase  in 
salary.  One  of  our  bills  included  the  comedy 
'Mr.  and  Mrs.  White,'  and  in  that  play  was  a 
baby,  whose  name  to-day  is  Huntley  Wright. 

MARCUS  PLIMMER. 

GRF.AT  BEAR  SPRING  WATER 
60  cts.  per  ca«e-6  glass-stoppered  bottles 


Victor  Records 

BOHEME    AND    KoNIGSKINDER    AlRS    BY     FARRAR. 

— Boheme,  Mi  chiamano  Mimi,  Puccini. 

This  loveliest  of  Puccini  airs  is  given  during 
the  scene  in  the  first  act  between  Mimi  and 
Rudolph.  The  young  poet  is  alone  in  the  garret 
of  the  Bohemian,  when  a  timid  knock  is  heard, 
and  the  visitor  proves  to  be  Mimi,  a  young  girl 
who  lives  on  the  floor  above.  She  has  come  to 
ask  her  neighbor  for  a  light  for  the  candle, 
which  has  gone  out.  They  enter  into  conversa- 
tion, and  the  young  girl  tells  Rudolph  of  her 
pitifully  simple  life;  of  how  she  works  all  day 
making  artificial  flowers,  which  remind  her  of 
the  blossoms  and  green  meadows  of  the  country ; 
of  the  lonely  existence  she  leads  in  her  chamber 
up  among  the  housetops. 

Konigskinder,  Weisst  noch  das  grosse  Nest, 
Humperdinck. 

Each  additional  performance  of  Humperdinck's 
charming  opera  serves  but  to  lend  new  fascina- 

The  Goose  Girl  of  Miss  Farrar  is  one  of  the 
most  successful  impersonations  of  her  career — 
the  love,  terror  and  pathos  reflected  in  the  role 
being  highly  moving  and  appealing. 

Two  NEW  HEM  PEL  RECORDS. — Variations  on  an 
Air  from  "Daughter  of  the  Regiment,"  Donizetti- 
Adam. 

The  role  of  Marie  is  one  of  Mme.  Hempel's 
favorite  ones,  and  it  is  hoped  that  she  may  be 
seen  in  it  during  her  present  stay  in  America. 

La  Villanelle,  Eva  Dell'  Acqua. 

Of  the  two  versions  of  Dell'  Acqua's  brilliant 
song,  Mme.  Hempel  has  selected  the  most  elabor- 
ate, one  which  taxes  the  powers  of  any  singer. 
The  number  is  well  adapted  to  the  exhibition  of 
the  remarkable  gifts  possessed  by  this  young 
soprano,  and  she  gives  it  a  dazzlingly  brilliant 
rendition. 

THE  BEAUTIFUL  LETTER  DUET  BY  CARUSO  AND 
FARRAR. — Manon,  On  I'apfelle,  Manon,  Massenet. 

This  number  occurs  at  the  opening  of  Act  II, 
the  scene  representing  the  apartment  of  Des 
Grieux  and  Manon  in  Paris.  Des  Grieux  is 
writing  at  a  desk,  while  Manon  is  playing  looking 
over  his  shoulder. 

This  is  among  the  most  beautiful  of  the  Caru- 
so-Farrar  duets,  and  is  undoubtedly  one  of  the 
most  exquisite  examples  of  perfect  duet  record- 
ing possible  to  imagine.  Advt. 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE   MAGAZINE 


THE   THEATRE   MAGAZINE   ADVERTISER 


vii 


Paris  Stirred  by  a  Patriotic  Play 

•  (Confirmed  from  page   101) 


himself  of  late,  in  order  to  serve  his  country 
in  spite  of  all.  Mme.  Eulin,  though  ready  to  de- 
fend her  son,  is  stricken  with  admiration  at  the 
sublimity  of  the  old  soldier's  loyalty.  And  as 
she  sees  the  two  men  gradually  reach  the  parox 
ism  of  murderous  fury,  she  seizes  a  revolver  and 
threatens  to  kill  herself.  Immediately  they  both 
rush  to  take  the  weapon  from  her  and  join 
efforts  to  comfort  the  woman  whom  they  both 
love  equally.  But  when  the  colonel  breaks  the 
last,  most  terrible  news  to  her  of  the  second 
son's  death  and  the  imminent  danger  of  war, 
her  whole  being  cries  revenge.  She  orders 
Pierre  to  join  his  post  without  delay,  and  the 
young  theorist  of  universal  peace  is  so  convinced 
of  the  necessity  for  everyone  to  stand  by  his 
country  in  her  hour  of  need,  that  he  rushes  off 
without  farewell.  And  after  him,  the  old  colonel 
goes  toward  an  obscure  death  in  the  accomplish- 
ment of  his  mission. 

Maurice  Donnay's  play,  "Les  Eclaireuses" 
("The  Women  Scouts"),  is  of  an  entirely  dif- 
ferent type.  It  is  a  clear-cut  comedy,  rich  in 
charming  detail,  with  an  abundance  of  mots 
d'esprit  that  are  not  set  into  the  text,  but  come 
easily,  naturally,  as  the  situations  call  for  them. 
It  is  very  characteristic  of  Donnay's  dramatic  art 
and  stamps  him,  once  more,  as  a  writer  of  great 
delicacy  and  originality. 

The  women  scouts  are  what  might  be  called 
the  suffragettes  of  Paris  society.  The  author 
evidently  intended  to  write  a  play  about  women's 
rights.  The  question  is  discussed,  pro  and  con, 
in  the  most  delightfully  entertaining  way,  all 
through  the  first  three  acts.  The  last  act  is  given 
up  almost  exclusively  to  the  love  theme,  a  thing 
so  human,  so  real,  that  one  would  feel  sorry  it 
has  been  somewhat  neglected  until  then,  had  the 
first  acts  been  less  excellent  than  they  are.  Is  it, 
what  the  French  call,  a  piece  a  these?  No,  the 
love  story  in  it  saves  it  from  the  almost  in- 
evitable boredom  that  goes  with  the  preachy 
kind  of  play.  There  is  no  feminism,  no  suf- 
f ragism ;  all  the  grand  ideas  about  women's 
rights  are  swept  away  like  milk-weed  fluff  in  the 
wind  before  the  eternal  and  sacred  appeal  of  love 
and  a  home.  That  is  the  conclusion  to  be  drawn 
from  "Les  Eclaireuses,"  the  finest,  most  spirited, 
most  poetical  play  that  this  brilliant  dramatist 
has  yet  produced. 

The  third  among  the  most  noteworthy  Paris 
productions  of  the  season  is  Henri  Kistemaeck- 
ers"  "L'Embuscade"  ("The  Ambush").  Kiste- 
maeckers  is  a  very  young  man  and  has  already 
brought  before  the  public  a  long  list  of  dramas 
and  novels.  One  wonders  when  he  ever  had  the 
time  to  study,  to  "take  in"  before  "giving  out." 
His  seems  to  be  a  considerable  gift  of  facile 
imagination  and  clever  execution.  It  is  doubtful, 
as  yet,  whether  he  will  ever  attain  the  literary 
and  artistic  level  of  Lavedan,  Donnay  and 
others;  but  his  work  is  interesting,  always  grip- 
ping, and  after  he  has  put  you  through  all  kinds 
of  emotions,  he  drops  his  curtain  on  a  nice  solu 
tion,  and  you  leave  the  theatre  with  a  smile  of 
comfortable,  bourgeois  satisfaction. 

The  story  of  "L'Embuscade"  is  purely  melo- 
dramatic, but  Kistemaeckers  handles  it  with  such 
deftness  that  the  play  is  not  in  the  least  out  of 
place  at  the  Comedie  Franchise,  which  is  saying 
a  great  deal.  One  hardly  perceives  the  melo- 
drama in  the  play  until  all  is  over  and  you  allow 
your  analytic  mind  to  reflect  on  it. 

Sergine  Gueret  has  been  happily  married  for 
twenty  years  to  a  wealthy  builder  of  automobiles, 
who  is  in  absolute  ignorance  about  an  accident 
in  her  life  that  happened  some  time  before  their 
marriage.  She  was  seduced  by  a  young  scape- 
grace, who  left  her  with  a  baby,  a  boy,  who  was 
taken  away  and  brought  up  far  from  his  mother. 
He  has  now  become  an  engineer  and  is  about  to 
go  to  Australia  to  make  his  career.  Sergine 
wants  to  see  him  once  before  he  leaves,  and, 
through  an  old  friend  of  hers,  Robert  is  invited 
to  a  ball  at  her  house.  Gueret,  Sergine's  hus- 
band, is  so  favorably  impressed  by  Robert,  that 
he  offers  him  a  splendid  position  at  the  head  of 
his  factory.  Robert  gives  up  his  Australian 
plans,  and  complications  begin.  Shortly  after  he 
is  installed  in  his  new  office,  the  workmen  of  the 
factory  begin  to  strike.  As  the  strike  is  pro- 
longed, it  becomes  disastrous  to  both  parties. 
Robert  finds  himself  in  a  dilemma.  He  knows 
nothing  of  his  parents,  his  family,  and  feels  at 
heart  closer  to  the  strikers  than  to  the  boss,  in 
whose  house,  however,  he  is  received  with  warm 
cordiality.  He  wants  to  make  a  test  and  find  out 
to  which  class  he  really  belongs,  and  for  that 
reason  asks  the  Guerets  for  the  hand  of  their 
daughter.  Of  course,  Sergine  has  reasons  to  re- 
fuse, but  she  cannot  tell  Robert  the  real  ones. 
In  her  anguished  perplexity  she  says  that  he  can- 
not marry  her  daughter  because  he  is  only  an 
employee.  That  answer  decides  Robert  to  hold 


A  Word  to  All  Women 


"Having  tried  every  oilier  known  means  of 
reducing  weight,  I  have  succeeded  by  a  method 
of  my  own. 

"The  Bath  Powder  bearing  my  name  is  the 
same  I  have  used  with  most  amazing  results. 

"As  my  own  discovery,  my  own  formula  proven 
in  my  own  use,  I  recommend  it  for  the  general 

good  of  humanity. 

"My  experience,  and  the  endorsements  of  many 
prominent  people,  are  all  contained  in  a  little  book 
—  will  you  write  for  it?" 


Madame  Nordica's  own  story,  entitled  "The  Dream 
of  Fair  Women,"  will  be  forwarded  on  receipt  of  fire 
two-cent  itamps.  lilt  not  for  general  distribution. 


MADAME.  NORDICA'S   COMPANY 

Studio  16,  tight  West  Ninth  Street 

New  York  City 


AMERICAN  ACADEMY  OF 
DRAMATIC  ARTS 


The  Summer  term  will  open  April  3rd 
Connected  with  Mr.  Charles  Frohman'a  Empire  Theatre  and  Companies 

Recognized  as  the  Leading  Institution 
for    Dramatic    Training    in    America 


BOARD  OF  TRUSTEES 
Franklin  H.  Sargent,  President 
Daniel  Frohman  John  Drew 

Benjamin  F.  Roeder  Augustus  Thomas 


Founded 
la  1884 


For  catalog  and  information 
apply  to  the  Secretary 

Room  152.  Carnegie  Hall 

New  York 


Made  to  order— to  exactly  match 
the  color  scheme  of  any  room 

"You  select  the  color— we'll  make 
the  rug."  Any  width— seamless  up 
to  16  Feet.  Any  length.  Any  color 
tone— soft  and  subdued,  or  bright 
and  striking.  Original,  individual, 
artistic,  dignified.  Pure  wool  or 
camel's  hair,  expertly  woven  at 
short  notice.  Write  for  color  card. 
Order  through  your  furnisher. 

Thread  tf  Thrum  Workshop 
Auburn,  New  York 


A  Correction 

The  portrait  of  Miss  Elsie  Ferguson,  on  the 
cover  of  our  last  issue,  was  created  by  error  to 
Mishkin  photographer,  N.  Y.  The  photograph 
was  taken  by  White,  of  1546  Broadway,  N.  Y. 


Redfern — 


A  name  that  when  passed  down 
in  history  has  stood  for  the  best 
corset  of  the  period.  A  name 
with  a  record — not  an  unknown 
corset.  A  name  that  stands  for 
the  best  in  fashion  making — 


Found  where  all  good 
corsets  are  told. 


Redfern 

$3.50    to   $15.00 


The  Warner  Bros.  Co. 
New  Yurie— Chicago — San  Krancisco 


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via 


THE      THEATRE      MAGAZINE      ADVERTISER 


The  Detroit  Electric  Not 
Confined  To  City  Driving 


^HE  beautiful  Clear 

Vision  Brougham 

illustrated  above  will 

travel  as  much  as  1 00 

miles  on  one  charge. 

You  can  safely  drive  out  25 
to  30  miles  into  the  country 
adjacent  to  your  city  without 
the  least  fear  of  running 
out  of  power.  The  Detroit 
Electric  rides  luxuriously  on 
the  average  country  roads 
when  equipped  with  cushion 
tires,  which  completely  elimi- 
nate tire  troubles. 


Probably  90%  of  automobile  driving  is  done  in  the 
larger  cities  and  their  environs,  which  indicates  in  un- 
mistakable terms  that  the  electric  is  destined  to  be  the 
popular  automobile  of  the  future. 

You  "get  away"  instantly  without  gear  shifting. 
There  is  no  complicated  mechanism  requiring  constant 
adjustment  and  oiling.  Running  expenses  are  reduced 
to  the  minimum. 

Electric  starting  and  lighting  is  not  the  main  advantage  of  the  De- 
troit Electric.  The  big  advantage  is  its  safe,  simple  ease  of  control. 

If  you  figure  the  cost  per  mile  you  will  buy  a  Detroit  Electric. 

Electricity  is  noto  not  only  available  in  the  228  cities  of  the 
United  States  with  a  population  of  25, 000  and  over,  but  in 
addition  in  oiler  6, 000  cities  and  towns  throughout  the  country. 

Illustrated  catalog  sent  upon  request  showing  eight  different 
models  ranging  in  price  from  $2300  for  the  Ladies'  Victoria 
and  $3000  for  the  Clear  Vision  Brougham  to  $5000  for  the 
Limousine. 


Boston 
Buffalo 
Cleveland 


lECTRJC 

SOCIETY'S  TOWN  CAR 

ANDERSON  ELECTRIC  CAR  COMPANY 

DETROIT,  MICH.,  U.  S.  A. 
New  York:  Broadway  at  80th  Street 

Chicago:  2416  Michigan  Avenue 
Setting  Representatives  in  1 75  Leading  Cities 


Evanston 
Kansas  City 
Minneapolis 


Now  twentieth  year  at  Grand  Opera  House  Bldz 
Cor.  83d  St.  and  8th  Ave.,  New  York.  Our  Students 
Stock  Company  and  Theatre  assure  practical  training. 
New  York  Appearances  and  Engagements.  Such  cele- 
brities as  Miss  Laurette  Taylor,  Gertrude  Hoffmann. 
Ethel  Levy,  Pauline  Chase,  Harry  Pilcer,  Julia  Opp, 
Anna  Laughlin,  Joseph  Santly,  Barney  Gilmore,  Mile. 
Dazie,  etc.,  taught  by  Mr.  Alviene.  For  information 
and  illustrated  booklet  of  "Hovr  Three  Thousand  Suc- 
ceeded," address  the  SECRETARY.  Suite  10  as  above. 


J^        FACE  POWDER          t 


NATURE    SPEAKS 


women  everywhere  how  t 
that  fair  complexion  and 
velvety  smoothness 
youth.       It    preserves 
fine  complexion,  restore: 
one    that    has    faded. 
Refuse  Substitutes 
They  may  be  dangerom.   Fle«h, 
White,  Pink  or  Cream,  60c.  a  boi 
of  drurtrlili  or  by  mall.    Ove 
two  million  boxes  .old  annually. 
&ena  We.  for  a  sample  b 
BEN.  LEVY  CO. 


Fren 


mere,    Dept.  26     . 
n..  Boston.  Mass. 


Discouraged  About  Your 
Complexion? 

Why  grieve  or  despond  when  the 
remedy  is  so  safe,  sure  and  easy? 
Dr.  James  P.  Campbell's  Safe  Arsenic 
Complexion  Wafers  will  do  for.  you 
what  they  have  done  for  hundreds  of 
thousands  of  grateful  women,  young, 
middle-aged  and  elderly,  by  cleansing 
the  blood  and  skin  of  all  impurities, 
or  stagnation,  give  you  a  clear,  spot- 
less and  fresh  complexion,  tone  up 
your  nerves,  improve  your  digestion,  round  out  your 
figure,  make  you  happy  and  delight  your  friends. 

Absolutely  safe  and  harmless  to  anybody.  Guaranteed  under 
the  Pure  Food  and  Drugs  Act,  June  30th,  1906.  5oc.  and  $1.00 
per  box,  at  all  druggists,  or  sent  by  mail  in  plain  cover  from 
RICHARD  FINK  CO.,  Dept  51,  415  Broadway,  N.  Y.  City 


frankly  with  the  strikers.  He  comes  to  Gueret 
at  the  head  of  a  delegation,  to  negotiate.  If  the 
boss  refuses,  the  factory  will  be  blown  up  by 
dynamite.  Gueret,  who  has  become  suspicious 
for  some  time  past  of  the  affection  Sergine 
shows  for  the  young  man,  believes  that  his  new 
altitude  is  the  result  of  the  lover's  jealousy  of 
the  husband,  or  possibly  the  revenge  of  the  re- 
jected suitor  to  his  daughter's  hand.  He  remains 
untractable.  The  threat  is  carried  out.  A  mo- 
ment of  tense  silence  between  the  two  men  is 
broken  by  the  muffled  report  of  the  explosion. 
Gueret  is  ruined,  but  he  will  not  let  Robert  go 
without  punishment.  He  jumps  at  his  throat  to 
strangle  him,  when  Sergine  rushes  in  to  save 
her  son.  The  revelation  comes  down  like  a 
thunderbolt  on  both  men.  Gueret  leaves  the 
room,  saying:  ''Take  her,  she  is  yours!"  The 
catastrophe  seems  irreparable.  But  the  play 
would  not  be  by  Kistemaeckers  if  this  were  the 
end.  The  author  has  provided  a  fourth  act, 
amidst  the  ruins  of  the  factory,  full  of  beautiful 
scenic  effects  and  respectable  sentiments.  Gueret 
has  thought  the  matter  over  and  accepts  Robert 
as  a  member  of  the  family.  They  will,  all  four 
together,  start  out  in  life  a-fresh,  and  the  play 
ends  with  the  happiest  prospects. 

Kistemaeckers  has  avoided  all  the  doubtful 
turning  points  in  this  play  with  remarkable  skill, 
and  his  dialogue  is  neat  and  precise.  If  one 
takes  his  lines  independently,  they  are  not  par- 
ticularly sparkling.  Yet,  the  whole  is  solid,  and 
there  are  some  very  appealing  sentimental  de- 
velopments. His  ideas  are  not  absolutely  novel, 
nor  are  they  commonplace  or  hackneyed.  He 
strikes  a  happy  medium  in  almost  everything, 
and,  above  all,  he  leaves  us  with  the  impression 
that  life  is  good,  in  spite  of  all;  and  that  one 
may  find  a  pleasant  refuge  in  work,  in  kindness 
bestowed  upon  others,  in  what  is  often  disdain- 
fully called  mediocrity.  It  is  not  as  lofty  an 
ideal  as  it  might  be.  but  it  has  the  precious  ad- 
vantage of  not  being  unattainable. 

FRANCES  C.  FAY. 


GREAT  BEAR  SPRING  WATER 
60  cts.  per  cases  glass-stoppered  bottles 


DORIS    KEANE 

(Continued  from   page   112) 


place  to  practice  it.  There  is  only  one  place  to 
work  and  that  is  America,  for  here  lies  the 
future. 

"It  is  only  great  mental  effort  that  makes  great 
art,  you  know !  Mme.  Vera  Komisarshevsky, 
who  was  here  with  a  company  of  Russian  players 
a  few  years  ago,  made  me  realize  that  more 
forcibly  than  anyone  else.  There  was  a  woman 
with  mentality  and  imagination !  She  played 
here  for  five  weeks,  but  I  saw  her  in  everything 
that  she  did  and  at  the  end  of  that  time  I  was 
worn  out  with  the  effort  of  following  the  subtle- 
ties of  her  mind.  I  didn't  miss  a  performance,  it 
was  the  finest  course  of  study  I  could  have  had. 
She  was  one  of  the  foremost  figures  in  Russia, 
one  of  the  liberal  educators  of  the  stage  and 
more  biographies  have  been  written  of  her  than 
of  Tolstoy — and  yet  only  a  handful  of  people 
realize  that  she  ever  visited  this  country.  When 
she  died,  fifty  thousand  people  walked  behind  her 
bier  through  the  streets  of  St.  Petersburg — you 
see,  she  had  her  following!  Do  you  know  of  any 
American  who  could  be  so  honored?'' 

Such  championing  of  things  European  is  just 
what  one  would  expect  from  the  actress  who 
succeeded  in  playing  the  part  of  one  of  the 
Viennese  demi-monde  in  "Anatol"  while  rehears- 
ing the  part  of  a  diva  of  the  Italian  opera  in 
"Romance"  without  allowing  a  word  or  an  action 
of  the  one  to  obtrude  upon  the  consciousness  or 
to  intrude  upon  the  atmosphere  of  the  other. 
Her  success  in  creating  a  foreign  atmosphere, 
in  portraying  foreign  temperament,  leads  one 
naturally  to  inquire  whether  this  product  of  our 
own  Michigan  felt  that  she  had  to  reach  across 
half  a  continent  and  an  Atlantic  ocean  to  find 
the  people  with  whom  she  felt  in  closest  sym- 
pathy. 

"I'm  afraid  that  I  must  admit  that  I  do,"  she 
said,  adding  quickly,  "but  that's  no  harm  to 
America!  You  see,  I  was  in  a  convent  in  Paris 
for  two  years,  and  I've  lived  in  London  a  great 
deal,  and  then — and  this,  I  think,  is  perhaps  the 
most  potent  reason  of  all — I  steeped  myself  in 
Russian  literature  when  I  was  still  a  very  young 
girl.  If  you'll  look  at  the  books  on  that  table, 
you  will  see  that  I  haven't  deserted  the  Scandi- 
navians yet.  The  idea  of  personal  freedom, 
which  is  so  universal  now,  really  started  with  the 
Russians,  who  within  the  last  hundred  years  have 
thrown  off  all  the  shackles  that  bound  them 
through  the  centuries." 

Strindberg  was  there  and  Ellen  Key  and  next 
to  them  Orlief  and  Dostoievsky  and  Tolstoy. 

"Do  you  wonder  that,  starting  out  in  life  under 


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CLINCHER  CUSHION 
ELECTRIC 
TIRES 

The  comfort  of  the  pneu- 
matic with  none  of  the  road 
troubles.  The  ideal  tire  for 
the  gentlewoman's  car. 

Most  Miles  on  Battery  Charge 
Greatest  Resiliency 
The  Ride  Supreme 

These  are  the  unusual  values  of 
Firestone  Tires  for  electrics,  proved 
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Service  Stations 
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No   hill  too   steep 
No  sand  too  deep 


NABISCO 


Sugar  Wafers 


Convenient  in  form,  attractive  in  appearance, 
deliriously  sweet,  delightful  in  flavor  and  good- 
ness. These  are  the  attributes  that  make 
Nabisco  Sugar  Wafers  the  most  tempting  of 
dessert  confections.  In  ten-cent  tins;  also  in 
twenty-five-cent  tins. 


ADORA:— The  newest  dessert  confection 
filled  sugar  wafer — enticingly  sweet. 
FUSTINO: — An  almond-shaped  des- 
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CHOCOLATE  TOKLNS:- 
A  delectable  confection 
covered  with  sweet, 
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A  Clear  Complexion 

is  the  natural  desire  of  every  woman. 
Take  pains  to  properly  care  for  your  skin. 

Maxine  Elliott 
Toilet   Soap 

because  of  its  purity  and  rare  cleansing  qualities  is  best 
fitted  to  aid  you  in  the  attainment  of  a  perfect  complexion. 

Its  lather  is  rich  and  refreshing,  and  its  mildness  a 
balm  to  the  most  delicate  skin.    Try  it 


Made  in  this 

assortment: 


Buttermilk  and  Roses 
Buttermilk  and  Violets 
Buttermilk  and  Glycerine 
Buttermilk 


For  Sale  by 

drug  and  department 

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such  direction,  I  have  become  a  disciple  of  the 
realists?  Has  it  ever  occurred  to  you  that  th'j 
dramatic  is  really  the  last  of  the  arts  to  be 
affected  by  realism?  But  since  it  has  entered 
this  province  within  the  last  five  years  it  has 
broken  down  many  of  the  most  cherished  stage 
traditions.  'Why,  five  years  ago,  plays  like 
"Rutherford  and  Son"  and  "H'indle  Wakes" 
would  have  been  condemned  as  morbid,  sordid, 
and  utterly  impossible.  Do  you  know,  I  really 
believe  that  the  failures  of  the  realistic  dram- 
atists from  Ibsen  down  have  gone  to  make  suc- 
cesses of  these  present-day  realistic  plays. 
There  must  always  be  sacrifices." 

Two  little  paroquets,  resplendent  in  the  Italian 
garrishness  of  their  coloring,  brought  her  at- 
tention back  to  her  own  surroundings  with  their 
gentle  tweeking.  They  were  a  gift  from  Mr. 
Sheldon,  she  explained,  but  since  she  could  not 
bear  to  have  them  living  in  the  darkness  of  her 
dressing  room,  she  had  brought  them  to  her  hotel 
to  live,  thereby  sacrificing  the  ''realism"  of  the 
last  scene  in  his  play.  But  Adelina  Patti,  the 
wee  monkey  which  is  the  other  bit  of  animal 
realism  in  this  production,  doesn't  mind  the  dark, 
so  long  as  it  has  warmth. 

"An  intelligent  appreciation  for  things  theatric 
is  developing  all  over  the  country,"  said  the 
actress.  "The  people  are  becoming  sincerely  in- 
terested in  the  drama;  they  are  not  going  to  the 
theatre  merely  to  be  amused.  If  they  keep  this 
up  we  shall  soon  evolve  a  national  theatre  like 
that  of  Manchester.  They  can  dare  and  they  can 
afford  to  put  on  plays  that  would  not  make  com- 
mercial successes  and  in  this  way  they  better  the 
taste  of  the  theatregoers." 

EVA  ELISE  VOM   BAUR. 

GREAT  BEAR  SPRING  WATER 
50  cts.  per  case    6  glass-stoppered  bottles 


AT    THE    OPERA 

(Continued  from  page   107) 


He  brutally  beats  her.  But,  then,  she  tells  him 
that  all  she  has  done  has  simply  been  to  test  his 
love  and  that  she  is  ''pure" — Voila! 

Zandonai,  the  composer  of  this  score,  is  a 
young  Italian,  just  thirty,  and  this  is  only  his 
second  opera.  The  best  that  can  be  said  of  the 
work  is  that  it  holds  forth  promise.  Because  its 
action  is  laid  in  Spain  and  begins  in  a  tobacco 
factory,  it  suggests  "Carmen,"  and  the  episodic 
character  of  some  of  this  music  also  suggests 
"Louise."  But  both  suggestions  of  resemblance 
are  throttled  almost  before  they  have  had  time 
to  crystallize.  "Conchita's"  music  does  not  invite 
detailed  consideration.  It  is  very  disappointing. 

The  performance  marked  the  first  New  York 
appearance  of  Tarquinia  Tarquini,  a  young  Ital- 
ian soprano  who  sings  fairly  well,  is  supple  in 
her  acting  and  has  any  amount  of  temperament. 
Charles  Dalmores  acted  the  enamoured  one,  Don 
Mateo,  not  very  happily.  He  sang  mostly  with 
might  and  main.  Louise  Berat  acted  the  part  of 
Conchita's  mother  finely. 

Finally,  "Le  Ranz  des  Vaches,"  opera  by  Wil- 
helm  Kienzl,  libretto  by  Richard  Batka  after  a 
novel  of  Rudolph  Bartsch  called  "La  Petite 
Blanchefleur,"  which  was  first  heard  in  New 
York  at  the  Metropolitan  on  Tuesday  evening, 
February  25th. 

The  work  was  sung  in  French,  although  it  is  a 
German  opera  that  has  won  success  in  its  native 
land  under  the  title  of  "Kuhreigen."  This  name 
may  be  translated  into  English  as  "Song  of  the 
Cowherd."  It  is  not  at  all  an  uninteresting  story, 
dealing  with  the  troublous  times  just  preceding 
the  French  Revolution,  when  the  Swiss  recruits 
in  the  French  army  were  forbidden  to  sing  the 
"Ranz  des  Vaches,''  because  it  reminded  them  so 
strongly  of  their  native  land  that  they  deserted 
the  army  in  droves.  The  penalty  for  singing  this 
song  is  death,  but  Primus  Thaller,  one  of  the 
Swiss  officers,  yields  to  his  longing  for  home  and 
sings  the  song.  He  is  convicted,  sentenced  to 
death,  but  the  king,  instead  of  signing  the  death 
warrant,  delivers  Thaller  to  one  of  his  court 
favorites,  Blanchefleur,  wife  of  the  Marquis  Mas- 
simelle.  She,  enchanted  with  his  frankness,  pro- 
poses that  he  come  with  her  to  her  estates  and 
act  the  shepherd  in  her  pastoral  paradise.  H'e 
refuses  when  he  finds  that  she  has  a  husband. 
Now  the  French  Revolution  breaks,  and  Thaller 
is  made  a  captain.  He  is  enamored  of  Blanche- 
fleur, and  when  her  husband  is  killed  he  offers  to 
save  her  from  the  guillotine  if  she  will  flee  with 
him  to  his  Swiss  village  and  become  his  wife. 
But  she,  aristocrat  to  the  tips  of  her  fingers,  tells 
him  that  death  as  a  marquise  is  preferable  to  life 
as  "Mrs.  Thaller."  So  she  goes  to  her  doom, 
leaving  the  heartbroken  soldier. 

To  this  story  Kienzl  has  composed  melodious 


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Goodyear  Tires  tell  all  the  way 
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Our  average  profit  on  all  these  tires 
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build  them  for  what  the  Goodyears  cost. 

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legion:  of  cars,  have  cut  tire  bills  right 
in  two. 

And  that  is  why  Goodyeais   have 
come    to    outsell   every  other    tire   in 
existence. 


We  are  the 
world's  largest  tire 
builders,  yet  our 
capital  is  only 
$10,000.000. 

We  have  no 
bonded  debt. 

Our  mammoth 
output  and  our 
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into  tire  mileage. 
And  the  meters  on 

countless  cars  are  showing  what   this 
means  to  users. 

That's  the  only  reason  why  our  last 
year's  sale  exceeded  the  previous  12 
years  put  together. 


Write  for  the  Goodyfar  Tire  Book  — Mth-year  edition. 
It    tells    all    known   ways  to   economize   on    tires. 

THE  GOODYEAR  TIRE  &  RUBBER  COMPANY,  Akron,  Ohio 

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Main  Canadian  Office,  Toronto,  Ont.  Canadian  Factory,  Bowmanville,  Ont. 


JACOBEAN  OAK 


Country  House 

of  TO-DAY 

ONDERFULLY  at- 
tractive are  the  sug- 
gestions offered  for 
the  plenishing  of  the 
Country  House  Living  Room 
by  the  Sunny  "  Parlour"  of  some 
old  Sussex  Manor  House  with 
its  panelled  walls  of  dusky  oak 
and  its  furniture  of  Jacobean 
Oak  and  Walnut. 

Only  such  reproductions  of 
iyth  Century  English  Furniture 
as  those  supplied  by  our  Hamp- 
ton Shops  can  be  relied  upon  to 
give  the  sought-for  note  of  old- 
time  dignity  and  comfort. 

Our  Furniture  is  to  be  seen  only  in  one 
or  other  of  the  Twelve  Galleries  we  devote 
to  its  display  in  New  York. 

We  have  no  agents  and  no  branch  estab- 
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Xll 


THE      THEATRE      MAGAZINE      ADVERTISER 


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at  the  smoke  sense  in 


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in  "  BECKY  SHARP  "  when,  seated  before  the  fire,  she  exclaims,  "  The  very  skin 
of  my  (ace  is  tired  "?  At  this  moment  your  skin  is  probably  tired  and  also  hungry. 
A  famished  skin  responds  as  quickly  to  Mrs.  Adair's  methods  as  do  all  other  condi- 
tions of  the  skin,  muscles  and  tissue  which  tend  to  mar  the  youthful  freshness  of  the 
face.  Ganesh  Preparations  and  Appliances  are  as  familiar  to  Parisians  and  Londoners 
as  they  are  to  New  Yorkers.  Abroad,  where  royalty  holds  sway,  or  in  democratic 
America,  Mrs.  Adair  is  recognized  as  the  world's  leading  Beauty  Culturist. 

MRS.  ADAIR'S 

GANESH    TOILET    PREPARATIONS 

For  the  forehead  where  the  age  lines  come  unless  one  is  heedlul.  the  GANESH  FOREHEAD  STRAP.  $5  and  $4.  For  the  double  chin.  caured 
bv  neeleclina  the  support™  muscles,  the  GANESH  CHIN  STRAP,  $6.50  and  $5.  For  the  impoverished  muscle,  lacking  in  natural  oil  the 
GANESH  MUSCLE  DEVELOPING  OIL,  $5.00.  $2.50,  $I.OU  per  bottle.  Forlhe  devitalized  skin  with  a  tendency  to  looseness  and  Habbmen, 
the  GANESH  EASTERN  DIABLE  SKIN  TONIC,  $1.00.  $2.00.  75c  per  bottle.  For  the  skin  which  nerds  a  thorough  cleansing,  but  which  is  too 
sensitive  for  ordinary  cleansing  cream,  the  GANESH  BALM  CLEANSING  CREAM.  $3.00,  $1  .50,  75c  per  jar.  For  the  skin  which  requires 
clearing,  there  is  Mrs.  Adair's  ideal  skin  whilener,  GANESH  LILY  SULPHUR  LOTION,  $2.50.  $1  .50  per  bottle. 

Full  Instructions  for  home  use  sent  with  each  of  the  above.     Mail  your  order. 

GANESH  TREATMENTS  AT  THE  SALON,  $2.50;   COURSES  ARRANGED  FOR 

Skin  and  complexion  blemishes  are  skillfully  treated  at  Mrs.  Adair's  Salons.  Treatments  given  at  residences  by  appointment. 

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music,  music  that  would  sound  far  better  in  a 
theatre  smaller  than  the  Metropolitan.  The  first 
act  has  for  its  mood  the  folk  song  of  the  Swiss, 
the  Ranz  des  Vaches.  The  second  act  is  the 
king's  bedroom  at  Versailles,  and  here  the  chief 
feature  is  a  march  and  a  gavotte,  both  very  pleas- 
ing. Then  comes  the  turbulent  French  Revolu- 
tion scene  with  its  sans  culottists,  and  here  the 
composer  misses  the  given  opportunities  entirely, 
showing  no  trace  of  ability  to  write  dramatic 
music.  The  final  act,  the  dungeon  scene,  is  graced 
by  a  charming  minuet,  danced  by  the  condemned 
aristocrats.  In  addition  there  is  some  pretty  love 
music  scattered  through  the  work. 

Its  presentation  by  these  visiting  opera  singers 
was  far  from  satisfying.  Helen  Stanley,  as 
Blanchcfleur,  sang  quite  well  but  with  a  tiny 
voice,  and  Dalmores  as  Primus  Thaller  was  not 
happy  in  this  lyric  music,  as  he  has  become  a 
strenuous  dramatic  tenor.  Eleonora  de  Cisneros, 
as  a  daughter  of  the  bloodthirsty  revolutionists, 
was  boisterous.  Best  of  all  was  Dufranne  in  the 
role  of  Favart,  a  French  officer.  He  lent  this 
part  distinction  as  he  does  most  roles.  Campa- 
nini  conducted  with  constant  striving  for  bril- 
liancy rather  than  for  delicacy.  The  audience 
was  quite  unsympathetic  and  this,  the  closing  one 
of  the  series  of  performances  by  the  Philadel- 
phia-Chicago company,  went  to  its  end  without 
any  of  the  usual  show  of  enthusiasm  that  usually 
marks  these  presentations. 

Chiefly  notable  among  the  regular  routine  of 
Metropolitan  performances  of  the  month  have 
been  the  German  works.  In  the  Wagner  "Ring" 
series  there  was  a  "Siegfried"  with  Urlus  in  the 
title  role  that  was  one  of  the  best  presentations 
of  this  opera  seen  here  in  a  dozen  years.  Urlus 
is  boyishly  buoyant  without  being  in  the  least 
like  a  galloping  calf,  and  he  sang  poetically  and 
with  beautiful  voice.  Gadski  was  brilliant  as  the 
awakening  Briinnhilde.  Hertz  conducted  a 
beautiful  performance.  Then  came  a  "Gotter- 
dammerung"  that  will  not  soon  be  forgotten,  for 
Carl  Braun,  the  new  German  basso,  sang  a  Hagen 
that  was  simply  overwhelming  in  its  greatness. 
He  set  forth  so  clearly  what  an  important  dra- 
matic figure  H'agen  is  in  this  part  of  the  "Ring." 
the  sinister  plotter  and  schemer.  A  giant  in 
stature,  a  voice  that  thrills  the  hearer  with  its  in- 
tense force  and  an  actor  who  dwarfs  almost  all 
others  with  him  on  the  stage,  Braun  achieved  a 
huge  success.  Fremstad  was  monumentally  great 
as  Brunnhilde,  Urlus  was  a  magnificent  Siegfried 
— in  fact,  it  was  a  remarkable  performance. 


GREAT  BEAE  SPRING  WATER 
60  cts.  per  case— 6  glass-stoppered  bottles 


Model  Manchester  Theatre 

(Continued  from   page   111) 


indicates,  has  been  written  of  as  a  noble  piece  of 
play-making.'  Both  these  pieces  are  to  be  seen  in 
London  this  spring  and  they  may  be  brought  here. 

For  Miss  Horniman's  company,  while  repeat- 
ing its  successful  tour  of  Canada,  will  penetrate 
this  year  a  little  deeper  into  these  United  States. 
Chicago  is  already  scheduled  for  one  of  their 
show  places  and  there  remain  only  certain  neces- 
sary details  to  be  settled  before  announcement 
shall  be  made  of  their  metropolitan  appearances. 
Mr.  Milton  Rosmer,  one  of  Miss  Horniman's 
great  "finds,"  Miss  Irene  Rooke,  Miss  Muriel 
Pratt,  Miss  Sybil  Thorndike  (whom  we  saw  one 
season  with  John  Drew)  will  come  over  as  mem- 
bers of  the  repertory,  not  necessarily  in  leading 
roles,  for  Miss  Horniman's  Gaiety  Company  fol- 
lows the  example  of  the  Theatre  Frangais  and 
the  actor  who  plays  a  Duke  one  night  may  serve 
as  butler  in  another  play  on  the  following  night. 

New  and  old  plays  will  constitute  the  reper- 
toire of  the  Gaiety  in  their  transatlantic  visit. 
Here  is  the  list: 

"Miles  Dixon,"  "Makeshifts,"  "What  the  Pub- 
lic Want."  "Nan,"  "Candida,"  "The  Silver  Box." 
"She  Stoops  to  Conquer,"  "School  for  Scandal," 
"The  Rivals,"  "Twelfth  Night." 

It  was  tea  that  made  this  realization  possible 
of  A.  E.  T.  Horniman's  dream,  her  deceased 
father  having  been  the  famous  importer  whose 
advertisements  plastered  England.  His  distaste 
for  the  theatre  extended  so  far  that  he  prohibited 
his  daughter  from  the  childish  joys  of  "playing 
theatre,"  and  in  her  young  womanhood  he  kept 
her  rigidly  away  from  theatrical  performances. 
Almost  immediately  after  his  death  Miss  Horni- 
man's sympathy  was  aroused  for  the  Irish  Play- 
ers who  were  trying  to  make  visual  the  thoughts 
and  characterizations  of  Yeats  and  Lady  Gregory. 
This  was  the  beginning  and  ever  since  the  theatre 
has  been  her  life. 

The  now  famous  manager  is  forty-five  years 
old,  an  ardent  if  not  a  militant  member  of  the 
Woman  Suffrage  party,  for  which  she  frequently 
makes  speeches,  and  very  good  speeches.  Her 
character  shows  strong  masculine  traits,  which 
appear  in  her  handwriting. 

JOHANNA  SHERRICK. 


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PTER  \. 

IBASIS  OF  RIGHT  LIVING 
PERFECT  DIGESTION, 
EE  USE  OF  MINERAL  WATERS 

American  mineral  waters,  such 
[as  the  iamous  White  Rock  Water 
I  from    the    famous    White    Rock 
[Springs,   should  he   freely    drunk 
I  at  all  times.      Keeps  the   whole 
I  digestive  tract  always  in  splendid 
I  condition.      Especially   efficacious 
[in  the    treatment    of    indigestion 
[and  invaluable   for   all    organic 
[  complaints. 

There  is  nothing   like    White 
Rock  Water.      No    water    is    so 

• 

I  beneficial   as   sparkling   White 
I  Rock,  because  of  its  mildly  alka- 
line   properties.      White    Rock 
[Water  is  bottled    only    in    new, 
[sterilized    bottles.       Many    noted 
[physicians  will  tell  you  that, 
,  whether  you  are  sick  or  well,  if 
[you  regularly  drink  White  Rock 
-"You'll  live  years  longer." 


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b 


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They  protect  the  car  against  the  danger  of  skidding 
as  no  other  tires  have  ever  done  before. 

They  give  a  generous  amount  of  extra  mileage  due  to 
the  extra  thickness  of  the  treads.  In  fact,  entirely  aside 
from  the  skidding  protection  these  tires  are  known  to  give, 
any  motorist  can  well  afford  to  use  them  for  the  sake  of 
economy  alone. 

The  motorist  who 
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THE      THEATRE      MAGAZINE      ADVERTISER 


xv 


The    New    Plays 

(Continued  from  page  101) 


treated  her  with  contempt  and  contumely.  Gloria, 
upon  discovering  the  situation,  and  bent  on  secur- 
ing the  money  for  her  friend,  determines  to  take 
matters  in  hand  and  to  impersonate  the  widow, 
this  being  practicable  because  the  widow  was 
personally  unknown  to  the  family.  It  is  at  once 
plain  from  this  bare  suggestion  of  a  story  that 
countless  complications  could  be  started  into 
action.  As  many  incidents  as  could  be  crowded 
into  an  evening's  entertainment  and  made  con- 
sistent are  seen  in  the  play.  Gloria,  who  had 
taken  the  precaution,  of  course,  to  inform  her- 
self of  many  family  details  and  facts  concerning 
her  "husband,"  is  often  hard  put  to  it  to  answer 
questions  and  participate  in  the  conversation, 
but  she  is  adroit  and  imaginative.  She  has  to 
overcome  the  prejudices  of  the  two  puritanical 
sisters  of  her  late  husband,  and  she  does  win 
them  over.  A  more  serious  happening  is  that  the 
man  of  the  family  falls  in  love  with  her.  the 
widow,  and  she  is  compelled  by  love,  convenience 
and  the  necessities  of  the  action  to  engage  herself 
to  him.  She  is  about  to  be  married  to  him,  in- 
deed, is  in  her  bridal  dress  with  the  veil  when  the 
lost  husband  turns  up.  Gloria's  friend,  the  real 
"widow,"  has  accompanied  her  on  this  mad  ven- 
ture, with  whom  she  has  exchanged  identities  as 
to  name.  That  such  wild  complications  could  be 
carried  off  with  farcical  effect  and  uninterrupted 
comedy  is  proof  that  May  Irwin  knows  how  to 
make  the  preposterous  reasonable,  even  natural 
and  always  comical. 


BROADWAY.  "THE  AMERICAN  MAID."  Comic 
opera  in  three  acts  by  John  Philip  Sousa,  book  by 
Leonard  Liebling.  Produced  on  March  3d  with 
this  cast : 

Jack  Harden,  John  Park;  Duke  of  Branford,  Charles 
Brown;  Silas  Pompton,  Edward  Wade;  Stumpy,  Georgia 
Mack;  Col.  Vandeveer,  George  O'Donnell;  Lefty  Mc- 
Carty,  John  G.  Sparks;  Annabel  Vandeveer,  Louise 
Gunning;;  Geraldine  Pompton,  Dorothy  Maynard;  Mrs. 
Pompton,  Maud  T.  Gordon;  Mrs.  Vandeveer,  Adele 
Archer;  Rose  Green,  Marguerite  Farrell;  Nellie  Brown, 
Mary  Smith;  Hans  Hippel,  H.  Hooper;  Pietro  Nuttino, 
Pietro  Canova;  Gawkins,  J.  Kern. 

Anything  to  which  John  Philip  Sousa  puts  his 
name  is  likely  to  be  interesting.  In  his  latest 
comic  opera,  'The  American  Maid,"  he  has  writ- 
ten some  tuneful  and  charming  music,  and  the 
book  and  lyrics  provided  by  Leonard  Liebling 
leave  little  to  be  desired.  The  piece  is  superior 
to  the  average  Broadway  musical  comedy  inas- 
much as  it  contains  a  real  plot.  A  feature  of  the 
performance  is  a  fight  between  Spaniards,  graph- 
ically shown  by  means  of  cinematograph  pictures, 
which  Sousa  aptly  illustrates  with  one  of  his 
famous  marches.  Louise  Gunning  made  a 
charming  heroine  and  sang  well,  and  John  Park 
was  well  liked  in  the  leading  male  role. 

LYCEUM.  "THE  GHOST  BREAKER."  Play  in 
four  acts  by  Paul  Dickey  and  Charles  W.  God- 
dard.  Produced  on  March  3d  with  this  cast : 

Princess  Maria,  Katharine  Emmet;  Warren  Jarvis,  H. 
B.  Warner;  Nita,  Margaret  Boland;  House  Detective,  C. 
N.  Greene;  Rusty  Snow,  William  Sampson;  Detectives, 
Joseph  Robison  and  W.  H.  Long;  Hotel  Porter,  Frank 
Hilton;  Steward,  A.  M.  Buckley;  Carlos,  F.  H.  Wester- 
ton;  Dolores,  Sara  Biala;  Vardos,  Walter  Dean;  Don 
Robledo,  Frank  Campeau;  Pedro,  James  Anderson;  Maxi- 
mo, Arthur  Standish;  Caspar,  Allen  Prentice;  Jose, 
Martin  Goodman. 

Only  with  an  abundance  of  good  will  for  Mr. 
H.  B.  Warner  can  the  play  in  which  he  is  now 
appearing,  "The  Ghost  Breaker,"  by  Paul  Dickey 
and  Charles  W.  Goddard,  be  considered  from  a 
favorable  point  of  view.  The  play  is  wildly  im- 
probable in  many  of  its  incidents,  and  romantic 
to  the  extreme  verge  of  unreason. 


WEBER  AND  FIELDS.  Marie  Dressler's 
All  Star  Gambol.  Produced  on  March  loth. 

Any  stranger  within  pur  gates  going  to  see  this 
"show"  would,  for  obvious  reasons,  conclude  that 
the  New  York  theatre-going  public  is  so  easy 
that  it  just  tumbles  over  itself  to  get  into  an 
empty  theatre  the  moment  the  doors  are  open, 
regardless  even  whether  it  is  to  get  its  money's 
worth  or  not.  This  potpouri  of  vaudeville  has 
two  acts  of  "Camille."  including  the  death  scene, 
sandwiched  in  to  give  "tone"  to  the  performance. 
The  "show"  is  made  up  of  some  dubious  singing, 
snme  very  good  dancing  and  a  one-act  sketch  in 
which  Charles  E.  Evans  and  Jefferson  de  Angelis 
figure.  It  has  Mr.  George  Arliss'  name  to  it, 
but  he  has  no  reason  to  be  proud  of  it.  Never- 
theless, the  playlet,  and  the  burlesque  of 
"Camille,"  with  Miss  Dressier  and  Mr.  De  Ange- 
lis as  "Almond"  is  screamingly  funny. 

PARK.  "THE  MIRACLE."  It  is  possible  to  be 
very  much  of  a  modern  and  live  in  the  middle 
ages  too,  for  all  you  need  is  a  ticket  of  admis- 
sion to  the  Park  Theatre.  There  the  Kinema- 
color  pictures  take  you  back  acrosi  a  space  of 


The  Winged  Message 


Noah's  messenger  was  a  dove.  In 
Solomon's  time,  pigeons  were  trained 
to  carry  messages.  Brutus  used  them 
at  the  siege  of  Modena.  They  served 
the  Turks  in  their  fights  against  the 
Crusaders.  In  mediaeval  wars  they 
were  more  useful  than  ever  before. 

France  had  a  carrier-pigeon  mail 
service,  with  messages  reduced  by 
photography  and  read  through  a 
microscope. 

Even  today  carrier  pigeons  are 
utilized  as  news-bearers  in  isolated 
parts  of  Europe. 


In  America,  the  land  of  the  tele- 
phone, the  carrier  pigeon  is  bred  only 
for  racing.  The  winged  word  has 
taken  the  place  of  the  winged  mes- 
senger. 

Pigeons  may  fly  more  than  a  mile 
a  minute,  but  the  telephone  "is  as 
quick  as  speech  itself. 

The  dove  is  the  emblem  of  peace. 
The  telephone  is  the  instrument  of 
peace.  The  telephone  lines  of  the 
Bell  System  unite  a  hundred  million 
people  in  one  national  family. 


AMERICAN  TELEPHONE  AND  TELEGRAPH  COMPANY 
AND  ASSOCIATED   COMPANIES 


One  Policy 


One  System 


Universal  Service 


The  Revue  of  1912         THE  SET  of  two  handsomely  bound 

A  volumes,  containing  the  twelve  num- 
bers of  The  Theatre  Magazine  issued 
during  1912,  is  now  ready. 

A  complete  record  in  picture  and  text  of  the 
theatrical  season  of  the  past  year. 

It  contains  over  720  pages,  colored  plates, 
1500  engravings,  notable  articles  of  timely 
interest,  portraits  of  actors  and  actresses, 
scenes  from  plays,  and  the  wonderfully  colored 
covers  which  appeared  on  each  issue. 

It  makes  an  attractive  addition  to  your  library 
table,  and  is  the  source  of  much  interest  and 
entertainment  not  only  to  yourself  but  to 
your  friends. 

Only  a  limited  number  of  these  sets  have 
been  made  up  this  year,  owing  to  the  enor- 
mous sales  on   each   issue,  which  left  corn- 
Complete  Year,  1912 — $6.50  a  Set        paratively  few  reserve  copies. 

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payment  of  $3.00. 


Tne  Twelfth  Year  (1912)  is  bound  in 

TWO     VOLUMES 


eight  or  nine  centuries  to  a  nunnery  on  the 
Rhine  where  at  a  shrine  of  the  Virgin  great 
miracles  have  been  performed.  But  none  was 
greater  than  that  of  which  one  is  told  in  "The 
Miracle,"  the  arena  spectacle  Max  Reinhardt 
produced  first  in  Berlin  and  then  in  the  Olympic, 
London.  Practically  the  same  company  which 
he  trained  for  the  English  production  played  for 
the  Menchen  Photo  Company  amid  real  scenery 
far  surpassing  even  that  of  the  manager  whose 
artistry  has  not  been  exceeded.  The  addition  of 
real  castles  standing  high  upon  hills,  approached 
by  long,  winding  roads,  hewn  in  stone  and  draw- 
bridges towered  over  moats,  of  wooded  glens 
and  shaded  brooks,  of  covert  hiding-places  in 
mountain  clefts  for  robber  bands,  genuine  old 
church  gardens  blooming  in  the  lavishness  of 
spring — all  these  things  make  the  American  ver- 
sion superior  to  the  foreign  ones  for  which  the 
background  was  but  papier-mache.  They  must 
compensate  for  the  realness  of  the  actors  in  the 
drama,  which  we  forego  here.  But  as  Reinhardt 
believes  in  pantomimic  training  for  all  thespians, 
this  company  of  players  conveyed  their  meaning 
as  well  through  the  film  as  they  might  have, 
through  the  voice. 


PRINCESS.  One-act  plays.  Produced  on 
March  14th. 

The  opening  of  the  Princess  Theatre,  to  be 
devoted  to  small  plays  after  the  manner  of  the 
"little  theatres"  of  Paris,  was  perhaps  not  re- 
garded, in  advance,  by  the  public  with  any  great 
appreciation  of  the  possibilities  of  the  venture; 
but  the  opening  night  was  a  triumph  and  gave 
assurance  that  here  was  something  new. 
The  first  piece,  "The  Switchboard,"  was  a  simple 
trifle  that  had  in  it  more  novelty  and  humor  than 
riskiness.  One  saw  only  a  girl  (Georgia  O'- 
Ramey)  seated  at  the  switchboard,  well  to  the 
front,  a  heavy  curtain  cutting  off  the  back  of  the 
stage.  The  whole  action  was  in  the  messages 
that  she  received  or  overheard,  her  replies  to 
complaints  and  her  observations  in  passing,  and 
the  quarrels  and  love-making  over  the  telephone. 
Next  came  "Fear,"  by  H.  R.  Lenormand  and 
Jean  d'Auguzan,  which  ran  for  three  hundred 
nights  at  the  Grand  Guignol  in  Paris.  The  scene 
represented  an  English  Army  bungalow  in  India. 
The  cholera  had  appeared  among  the  natives,  and 
a  sweeping  epidemic  was  apprehended.  Fear 
invited  the  disease  and  was  more  fatal 
than  the  disease  itself.  Mr.  Blinn  bore  the  most 
responsible  burden  of  the  acting  in  this  little 
piece,  grim  and  gripping  as  it  was.  The  heat 
stifles  Beverly  (Mr.  Blinn).  He  is  brutal  to 
his  native  servant  who  draws  the  punkah  too 
listlessly.  Skipton  (Edward  Ellis),  the  army 
surgeon,  comes,  bringing  with  him  disquieting 
rumors,  and  at  once  sets  about  examining  blood 
corpuscles  through  his  microscope.  Beverly's 
brutal  fear  begins  to  show.  Skipton.  alarmed  at 
possible  infection  from  an  abrasion  on  his  hand, 
calls  suddenly  for  help.  Beverly  shoots  Skipton  in 
the  back,  killing  him.  An  officer  arrives,  notes  the 
absence  of  Skipton,  and  finally,  after  cross-ques- 
tioning Beverly  charges  him  with  the  murder, 
which  he  confesses  and  justifies.  The  desperation 
of  terror  possesses  him.  This  fear  and  its 
shame  culminates  in  Beverly's  attempt  to  thrust 
from  the  bungalow  a  native,  stricken  with  the 
disease,  and,  when  in  his  struggling  embrace  the 
two  are  shot,  through  the  open  window,  by  a 
file  of  redcoats.  "Fancy  Free,"  by  Stanley 
Houghten,  is  a  delicate  little  satire.  Fancy  (Miss 
Kershaw)  has  eloped  with  Algert.  They  have 
just  reached  the  hotel,  and  she  is  occupied  in 
writing  a  letter  to  her  husband,  Ethelbert  (Mr. 
Blinn),  explaining  that  all  was  in  accordance  with 
their  agreement  when  they  married  that  each 
could  be  free  whenever  the  desire  for  freedom 
came.  Fancy  goes  out.  Ethelbert  appears.  He 
has  eloped  with  Delia  (Miss  Hartz).  He  is  ig- 
norant of  the  elopement  of  his  wife,  Fancy,  and 
Alfred  (Mr.  Trevor).  The  denouement  is 
brought  about  by  the  jealousy  and  love  of  dom- 
ination of  Fancy.  None  of  the  characters  is 
actually  incriminated  in  any  immoral  act.  A 
very  clever  little  satire,  "Any  Night,"  a  life 
study,  in  three  scenes,  by  Edward  Ellis,  at  once 
made  the  quality  of  this  enterprise  manifest  and 
individual.  It  is  a  frank  exposition  of  the  evil 
night  life  of  the  city.  It  is  not  an  objectionable 
play,  but  it  is  perhaps  not  for  everybody.  A  girl 
of  the  streets,  with  a  hacking  cough,  a  poor, 
miserable  creature,  takes  with  her  to  a  Raines 
Law  hotel  a  man  who  is  very  drunk.  To  the 
same  hotel  we  have  seen  come  an  innocent  girl, 
lured  by  a  young  man  of  the  town.  The  drunken 
man  with  money,  who  has  fallen  helplessly  on  the 
bed,  wakes  up,  discovers  his  plight,  lectures  the 
girl  who  brought  him  there.  We  see  that  he  is  re- 
spectable, as  he  says,  a  father,  unused  to  such  ex- 
periences. The  hotel  is  in  flames.  The  innocent 
girl,  panic-stricken,  bursts  into  the  room  and 
recognizes  her  father.  The  older  man  and  his 
daughter  perish.  The  moral  is  clear. 


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xvii 


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silk  cloth.  Japanese  vellum  used  throughout  and  gold  lettering  on 
the  covers.  It  contains  80  pages  with  title  page  and  index. 

Four  pages  are  reserved  for  each  play  — with  printed  headings 
for  the  date,  name  of  the  theatre,  the  play,  a  place  for  the  Programme, 
names  for  the  members  of  the  party,  two  pages  for  illustrations,  a  page 
for  personal  criticisms  and  reviews,  and  space  for  the  seat  coupons. 

It  makes  an  attractive  addition  to  your  library  table  and  is  a  source 
of  much  interest  and  pleasure  not  only  to  yourself,  but  to  your  friends. 

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The  Biography 
Maude  Adams 


By  ADA  PATTERSON 

Author  of  "By  the  Stage  Door."  etc. 


Octavo  size.  120  pages,  tastefully  bound 
in  superior  quality  silk  cloth,  with  over* 
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first  complete  series  of  all  her  character 
portrayals,  from  the  beginning  of  her  stage 
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hand  from  no  other  source  and  in  no 
other  way.  This  is  an  exceptional  value, 
and  it  is  offered  in  an  exceptional  way 
—a  value  with  a  value — without  any 
added  cost. 


Also  a  list  of  the  complete  casts  of  some  of  the  earlier  New  York  productions 
in  which  Miss  Maude  Adams  took  part  and  where  they  were  produced. 

If  you  are  not  familiar  with  TUB  TFEATRE  MAGAZINE  send  10  cents  for  sample  copy. 

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TIMELY    FASHION    TALKS 

Reproductions  of  the  hats  and  gowns  illustrated  in  this  section  can  be  secured  in  New  York.    Send 
self-addressed  envelope  for  any  information  you  may  wish  regarding  them. 


(.Fig.    4)      SMART   TAILORED   HAT   BY   LUCY   ET   GABY 

This   good-looking    hat    is    of   "niggerhead"    brown   straw   with  the    brim   rolled   slightly   at    the   left   side.      The   moire   ribbon, 
draped  in  lite  old  blue  shade,  is  caught  in  the  front  by  a  large  gun-metal  buckle,  from  which  emanates  a  goura  mount  in  the 

natural   colorings 


THE  rumors  and  predictions  that  have  kept  the  fashion  world 
on  the  qui  vive  for  the  last  two  or  three  months  have  been 
stilled  by  the  exhibitions  of  the  spring  costumes  shown 
across  the  seas  and  in  this  country.  The  models  displayed  at 
these  openings  are  the  tentative 
ones  from  which  the  American 
merchant  makes  his  choice. 
Later,  when  the  American  buy- 
ers have  returned  with  their 
purchases,  the  canny  French 
designers  will  bring  forth  their 
most  choice  creations  for  the  de- 
lectation of  the  grande  dames  of 
Paris.  These  are  the  costumes 
that  will  be  worn  at  the  races 
in  June,  and  from  them  the 
manufacturers,  who  must  be 
months  ahead  of  the  demand, 
will  gain  their  inspirations  for 
the  early  fall  costumes.  Until 
June,  then,  the  styles  of  the 
present  will  reign. 

What  are  these  new  styles? 
Nothing  very  new  or  very 
revolutionary ;  more  a  develop- 
ment of  the  late  winter  modes. 
Even  the  fabrics,  lovely  as  they 
are,  are  all  familiar  to  us  under 
different  titles.  What  novelty 
there  is  lies  in  the  curious  com- 
binations of  materials,  and  the 
equally  effective  combinations  of 
colors.  This  is  to  be  a  color 
season.  To  be  sure,  quantities 
of  white  frocks  and  suits  will  be 
worn,  but  all  of  them  boast  the 
color  note  persistently  struck. 
And  it  is  to  be  a  silk  season  as 
well.  With  such  very  good- 
looking  woolen  goods  as  meta- 
lasse,  rep,  eponge,  Bedford  and 
needle  cords,  wool  poplin,  and 
covert,  it  is  surprising  that  silk 
is  so  pre-eminent.  Yet  the  ma- 
jority of  costumes  shown  at  the 
openings  were  of  silk,  and  if  not 
entirely  of  silk,  of  silk  and  a 
wool  fabric.  For  instance,  a 
draped  black  brocaded  crepe 
skirt  was  completed  with  a  de- 
liciously  inconsequential  jacket 
of  khaki  cloth,  while  a  skirt  of 
beige  metalasse  was  topped  by  a 
jaunty  little  coat  of  bottle-green 
Canton  crepe. 

STRICTLY  TAILORED  COSTUME 

One  of  the  most  noticeable 
features  at  several  of  the  open- 
ings was  the  unusually  large 
number  of  severe-tailored  cos- 
tumes. The  love  of  ornamenta- 
tion is  so  strong  in  the  French 
designer  that  he  has  declined, 
hithertofore,  to  create  the 
simple  costume  that  the  Amer- 
ican woman  knows  as  a  tailored 
suit.  This  year,  however, 
Poiret  and  Premet  in  particular. 


(Fig.  3)  A  DRESSY  TAILORED  COSTUME  BY  BOB-MARIE 
This  smart  costume  could  be  fashioned  from  a  wool  matelasse.  The  model  was  carried 
out  in  black,  though  this  material  is  particularly  effective  in  colors  and  in  such 
neutral  tints  as  putty  or  sand.  The  skirt  is  draped  10  the  left  side,  where  it  u 
caught  with  a  black  silk  corded  motif  from  which  depend  cords  with  very 
long  tassels.  The  jaunty  little  jacket  has  the  waist  line  marked  by  a  belt  of  satin 
run  through  motifs  of  the  silk  cord.  The  revers  are  nasturtium  red  satin  and  open 
over  a  vest  of  brocaded  silk,  in  which  the  red  and  yellow  tones  are  mingled.  The 
three-quarter  sleeves  are  restrained  at  the  wrist  by  folds  of  the  satin  run  through 
slits  in  the  material  and  show  the  fancy  silk  lining 


made    a    specialty    of    these    simple    and    effective    tailor-mades. 
A  slight  additional  fullness  was  noticed  in  the  skirts  at  both 
of  these  houses,  and  the  medium  for  the  introduction  of  this  full- 
ness was  plaits!     Sometimes  the  result  was  accomplished  by  in- 
verted   plaits    in    the   back,   but 
more  often  by  plaits  let  into  the 
front   or   the   side    and   stitched 
halfway    down    the    skirt.      So 
cleverly      were      these      plaits 
stitched    and    pressed    that    the 
lines   of   the    narrow    silhouette 
were  preserved. 

A  large  number  of  the  skirts 
were  slashed  at  the  sides,  both 
on  the  tailored  costumes  and  on 
the  more  dressy  silk  creations. 
The  effect  of  this  slashing  can 
be  studied  in  Fig.  No.  i.  A  sim- 
ilar effect  may  be  produced  by 
the  drapings  as  is  shown  in  Fig. 
No.  3.  This  effect  is  not  new ; 
in  fact  it  is  becoming  so  common 
that  it  doesn't  bring  the  slightest 
tinge  of  color  to  the  face.  You 
must  necessarily  admire  it  when 
the  wearer  can  display  shapely 
ankles  and  well-shod  feet,  but 
both  pity  and  mortification  are 
called  forth  when  the  owner  is 
no  longer  young  nor  slender, 
and  the  limbs  have  kept  pace 
with  age. 
THE  DIVERSITY  IN  THE  STYLES 

OF  JACKETS 

There  is  no  excuse  for  any  of 
us  to  wear  unbecoming  jackets 
this  season.  Fashion  has  smiled 
with  equal  indulgence  on  short, 
medium  and  long  coats.  Any 
style  may  be  worn  with  the 
satisfying  thought  that  it  is 
fashionable,  provided  that  it  is 
becoming.  Both  Callot  and 
Premet  made  a  specialty  of  bo- 
leros and  Etons.  The  majority 
of  these  jackets  opened  over 
dainty  white  lingerie  blouses, 
and,  although  they  were  little, 
if  any,  longer  than  the  waist  line 
in  the  front,  they  extended 
twelve  inches  or  more  deeper  in 
the  back.  Some  showed  a 
rounded  point  in  the  back, 
others  the  square  tails  like  a 
man's  dress  coat,  and  still  others 
two  saucy  tabs. 

The  semi-fitting  ;£oat,  either 
on  the  cutaway  order  or  with 
the  swagger  of  the  box  style, 
were  the  choice  of  Bernard, 
Beer  and  Poiret.  The  first, 
however,  showed  several  boleros 
with  his  twenty-four-inch  jack- 
ets. The  fascinating  little  jacket 
shown  in  Fig.  No.  3  must  be  in- 
cluded in  this  class.  Paquin  did 
not  hesitate  to  show  a  coat 
36  inches  long,  but  this  was  one 


We  will  gladly  give  names  of  shops  where  goods  described  may  be  purchased. 


THE      THEATRE      MAGAZINE      ADVERTISER 


xxi 


Reduce  Your  Flesh 

Dr.  Jeanne  Walter's  Famous  Medicated 

RUBBER  GARMENTS 

for  MEN  and  WOMEN 

Wear  my  famous  garments  a  few  hours  a  day  while  walking  or  exercising  and 
your  superfluous  flesh  will  positively  disappear.  Made  either  to  cover  entire  body 
or  any  part.  Results  are  quick  and  absolutely  safe.  Endorsed  by  leading  physicians. 
Used  by  athletes,  jockeys,  etc.,  the  world  over.  Union  suits,  stockings,  jackets, 
belts  for  reducing  the  flesh  anywhere  desired.  Invaluable  for  rheumatism. 


Dr.  WALTER'S 
ELASTIC  SLIP-ON 

Made  of  strong  rubber 
elastic  webbing.  They 
hold  the  body  firmly,  give 
an  even  presure  through- 
out and  produce  that  un- 
corseted  effect.  Far  su- 
perior to  ordinary  corsets. 

Made  to  Your  Measure 

Price,   $8  and  $9 
Perfect  fit  guaranteed 


Dr.  WALTER'S 
ELASTIC  SUP-OVER 

Made  of  strong  rubber 
elastic  webbing.  Worn 
over  the  corsets  and  re- 
duce the  liips  at  the  same 
time  increasing  comfort 
to  a  startling  degree. 

Made  to  Your  Measure 

Price,  $6  up 
'erf ect  fit  guaranteed 


This  garment  can  be  worn  under  the  corsets 
all  day  without  the  slightest  discomfort. 

NVrk  and  Chin  Bands    -    -    «3.OO 
Chin  only  ----__,_  2.OO 

Send  for   Illustrated  Literature   and  Full  Particular* 

Dr.  JEANNE  WALTER,  D«Pt.  T,  45  w.  34th  St.,  NEW  YORK  CITY 

Philadelphia  Representative  :  MRS.  KAMMERER.  1029  Walnut  St. 
San  Francisco  Representative:  ADELE  MILLAR  CO., Ififi  Geary  St. 
Chicago  Representative  :  E.  BURNHAM,  138  No.  State  Street. 


KI9SFIT 

PETTICOATS 

Fit   Witkout 
N\^rmkles  or     j 
Alterations 

The  Genuine  is  identified  by 
this  label  in  the  waistband 


KLOSFIT  PETTICOAT 


$5.00   upwards   in   Silk   (all  colors) 
$1 .50  to  $3.00  in  Cotton  (Black  only) 

At  the  Best  Stores 

Write  for  STYLE  BOOK  de  Luxe  to 

KLOSFIT  COMPANY 

Publicity  Deft. 
208   Fifth   Avrnue  New  York 


For  aale  at 
all  leading  dealers  everywhere- 

in 
New  York  City  by  Gimhel  Brothe 


Designed  and 

Introduced  by 

A.  D. 

J3urgesser 
Co. 


(Wholeule  only) 

149-151  Fifth  Ave. 

New  York 


"Jupiter"    770 

S~!/in//  four-cornered  tailored  model.  Upper 
brhn  faced  and  croivn  banded  ivith  satin. 
Brim  caught  at  left  front  ivitk  feather  fancy. 


"  Urban"  810 

Slope  crown  mushroom  model  triituncd  ivitk 
sash  of  taffeta  and  fancy  bow  at  extreme  back. 
Cluster  of  apples  and  leaves  at  left  front  of  brim. 


All 

Original 
and 

Genuine 
Burgesser 
Hats 
Bear  this 
Trade  Mark 


TRAOC     MAN* 


' '  Truxton  ' '  79S 
Flat  double  brim  cable  edge  sailor.       Craven 
trimmed  ivithfaitcy  cord  band  and  protruding 
wings  at  back. 


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XXII 


THE      THEATRE      MAGAZINE 


of  the  rippling  godet  basque,  suggestive  of  the  Elizabethan  period. 
The  styles  of  these  coats  are  as  diverse  as  their  lengths.  There 
are  cutaways  with  sloping  fronts,  the  concession  to  stout  women, 
and  cutaways  with  a  very  broad  effect  across  the  front.  Many 
are  given  a  jaunty  appearance  and  a  dash  of  color  by  vestees  of 
waistcoats  of  brocade,  or  one  of  the  new  printed  stuffs  in  silk  or 
cotton.  The  vestee  in  Fig.  No.  3  is  very  important  in  lightening 
up  the  sombre  effect  of  this  all-black  costume. 


(.Fig.  1)  AN  EFFECTIVE  AFTERNOON  FROCK  FROM  BUZENET 
This  charming  model  could  be  developed  in  any  of  the  new  crepes,  moire,  Shantung, 
or  failles.  The  model  is  fashioned  from  Nattier  blue  "moire."  The  underskirt  is 
slit  at  the  side  with  the  rounded  corners  and  displays  the  ankle  while  the  wearer  is 
walking.  The  two  narrow  fiounces  are  attached  to  the  draped  back  panel.  There  is 
a  suggestion  of  the  bolero  en  the  bodice  and  an  empiecement  heavily  embroidered 

in  old  gold.     There  are  wrist  bracelets  of  black  velvet  ribbon  with  lingerie  frills 

The  hat  of  brown  Milan  straw  has  a  soft  Tarn  crown  of  blue  and  old  gold  brocade, 

with  Numidi  feathers  arranged  at  the  back 


THE  UNTAILORED  COSTUME 

The  Russian  and  Balkan  styles  are  used  largely  in  the  so-called 
untailored  costumes,  the  costumes  which  have  all  the  softness  and 
looseness  of  a  dressmaker's  creation  in  comparison  with  the  severer 
and  harder  lines  of  the  strictly-tailored  suit.  Many  of  the  whim- 
sical little  jackets  of  silk,  which  blouse  so  freely  over  the  belt,  not 
only  in  the  front  and  back,  but  at  the  sides,  give  this  delightful 
untailored  appearance. 

The  Russian  blouse  differs  from  the  Balkan  blouse  in  that  the 
belt  of  the  former  encircles  the  waist,  while  the  belt  of  the  latter 
swathes  the  hips,  either  literally  or  with  braid  to  simulate  this 
effect.  Both  of  these  models  are  very  smart  and  very  good- 
looking  on  tall  slender,  youthful  figures. 

THE  CHARM  OF  THE  AFTERNOON  FROCKS 

Both  the  afternoon  and  evening  dresses  are  very  much  draped. 
The  most  successful  designers  have  taken  the  drapings  of  the 
Grecian  tunics  as  their  inspiration,  with  the  result  that  the  drapery 
this  season  is  graceful,  becoming  and  artistic.  It  is  less  bouffant 
and  voluminous,  a  blessing  for  which  we  can  thank  the  Greek 
goddesses.  A  large  number  of  the  gowns  are  drapea  to  show  not 
merely  the  ankle,  but,  to  be  frank,  the  leg.  A  veil  of  pink  chiffon, 
in  the  form  of  an  underskirt  enhanced  with  lace,  revealed  in  a 
the  fullness,  adding  to  the  general  slouchy  poise. 

The  draping  as  shown  in  Fig.  No.  2  is  more  suggestive  of  the 
Orient  and  the  brown-skinned  Japanese  maiden  than  of  a  Grecian 
statue.  This  style  of  draping  harmonizes  well  with  the  new  figure, 
the  fullness,  slight  as  it  may  be,  adding  to  the  general  slouchy 
The  vestees  are  almost  as  popular  on  the  blouses  of  costumes 
as  on  the  coats,  but  they  are  generally  of  a  lingerie  stuff  tucked 
and  enhanced  with  a  row  of  tiny  buttons.  The  deep  collars  of 
lace,  similar  to  the  one  in  Fig.  No.  2  are  still  very  much  in  evidence, 
and  on  frocks  of  a  sombre  hue  those  embroidered  in  the  bright 
Bulgarian  colorings  are  most  effective. 

JUST  A  WORD  ON  THE  NEW  HATS 

This  is  the  day  of  the  small  hat,  and  it  has  certainly  never 
appeared  in  a  more  alluring  light.  The  variety  of  shapes  is  posi- 
tively astounding.  There  is  the  oblong  with  the  becoming  elon- 
gated side  line,  often  increased  by  a  flower  or  feathery  mount 
extended  beyond  the  confines  of  the  brim ;  the  deep  telescope ;  the 
aeroplane,  with  wings  perched  jauntily  at  the  sides,  and  the  be- 
coming oriental  shapes  indented,  slashed,  cnnklea  and  twisted 
until  a  description  of  them  rivals  that  of  a  Cubist  or  Futurist 
drawing.  There  has  also  been  a  revival  ot  the  mushroom  shapes. 
Georgette  in  particular  making  extensive  use  of  this  very  piquant 
and  becoming  shape.  Caroline  Reboux  is  another  far-famed  de- 
signer who  has  aided  in  bringing  back  the  beloved  musnroom. 

The  new  hats  are  worn  at  a  backward  tilt  so  that  the  hair  may 
form  a  soft  frame  around  the  face.  Nine  out  of  ten  of  the  hats  are 
made  more  becoming  by  this  sane  method  ot  wearing  the  hat,  and 
the  trimming  at  the  back  continues  the  line  in  a  charming  manner. 

THE  POPULAR  TRIMMINGS 

The  birds  of  the  air,  the  flower  gardens,  even  the  fruit  orchards 
and  the  vegetable  gardens  are  represented  on  the  newest  hats.  Of 
the  feathery  trimmings  the  male  goura,  the  numidi  feathers,  and 
the  uncurled  ostrich  are  the  favorites,  though  slender  pointed 
wings  and  quill-like  pompons  are  close  rivals,  especially  on  the 
tailored  hats. 

It  is  a  joy  to  see  flowers  so  fashionable  at  a  season  of  the  year 
when  Nature's  gardens  are  putting  forth  their  best  efforts.  The 
flowers  that  blossom  in  the  milliner's  gardens,  however,  would 
make  even  Burbank  marvel.  The  desire,  seems  to  be  to  show 
flowers  in  the  most  unusual  colorings,  rather  than  in  the  tones  with 
which  Nature  has  made  us  familiar.  They  are  particularly  effec- 
tive in  mounts  and  aigrettes  and  are  invariably  poised  on  the 
crowns  to  extend  outward  at  the  back.  The  common  garden  onion, 
as  well  as  gooseberries,  cherries  ana  currants,  are  arranged  in 
clusters  and  in  aigrettes  to  add  their  novel  bit  of  decoration. 
Worsted  bandings  in  bright  colors,  ribbons  in  the  Bulgarian  and 


Wt  will  gladly  give  names  of  shops  where  goods  described  may  be  purchased. 


THE   THEATRE   MAGAZINE   ADVERTISER 


XX111 


-HALCYON  ROSE» 
TALCUM  POWDER 


Fragrant,  Alluring,  Exclusive 


superior  ro  any  other. 

It  IB  »o  fine,  so  soft  and  BO  clinging 
that  it  absolutely  will  not  rub  off. 

The  subtle  fragrance  of  Jacqueminot 
roses_  has  been  caught  and  imprisoned 
in  this  best  talcum  powder. 

In  white  and  flesh  tints. 


75 c  a  jar  at  all  shoes  of  the  better  sort 


HANSON~jEtrK& 


1f}  Writ  jetK  JOrrt  HcwIM 


muawaer 


Clement 


12  West  33rd  Street 


New  York 


i 


Hair  Goods  for  the  Gentlewoman 

THE  CHARM  and  be- 
'  comingness  of  Clement 
hair  goods  and  coiffures 
lie  in  the  clever  adaptation 
of  Fashion's  dictates  to  the 
wearer's  needs. 

An  exclusive  variety  of  the 
latest  styles  in  hair  goods  and 
ready-made  coiffures  is  now 
ready  for  inspection. 

An  unusually  fine  selection 
of  hair  ornaments,  combs, 
pins,  barettes,  perfumes,  etc., 
which  will  delight  the  fastid- 
ious woman,  has  just  been 
imported  from  Paris. 

Liquid  Henna 

is  a  recent  discovery  of  mine  which  beautifully  colors  the  hair.  It  is 
absolutely  harmless  and  can  be  applied  without  aid.  Success  guaran- 
teed. Price,  $2.00. 

I  also  have  a  coloring  that  will  permanently  dye  the  eyebrows. 
Price,  $2.00. 

Spacious,  airy  rooms  with  natural  daylight  for  application  and  rectifi- 
cations of  hair  coloring  by  French  experts  only. 

Visitors  are  welcome  to  advice  and  suggestions.  Booklet  sent  on  request. 


"  T     A  D  V  I  S  F.      my     stout        -#» 

friends  who  perspire  freely     if   ( 

*~    between  bust  and  arms  lo    //     \ 

u«e     Kleinert's      High     Point 

dress  shield. 

"It  gives  the  fullest  possible 

protection. 

"I  always  consult                            MIOM 

POINT 

Dress  Shields 

CHART 

"It  shows  just  the  Kleinert's 

I 

Shield  1  need  for  each  garment. 

*'Do  as  I  do. 

1 

"Consult     Kleinert's     Dress 

• 

Shields    chart    at    the     Notion 

Counter." 

• 

\Vhen  you 
purchase  silk  gloves 

LOOK  IN  THE  HEM. 

If  you  find  the  words 


merely  ask  lor  your  size  and 
BUY.    Trie  guarantee  ticket  in 
every  pair  protects  you. 
Colors  are  correct  to  a  dot. 
Finger  tips  are  double. 

"  NIAGARA"  process  insures  a  pure 
silk  fabric  with  wear  that  is  two  to  one 
that  of  any  other  make. 

Ask  your  dealer.      If  he  can't  supply  you,  we 
will  send  you  -what  you  -want  through  him. 

NIAGARA  SILK  MILLS 

NORTH  TONA WANDA,  N.  Y. 

Manufacturers  of  Silk  Gloves,  Silk  Underwear,  Silk  Hosiery 
NEW  YORK  BOSTON  CHICAGO  SAN  FRANCISCO 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE   MAGAZINE 


xxiv 


THE      THEATRE      MAGAZINE      ADVERTISER 


NEW  SPRING  CATALOG  "F"— J«,u.,ued. 

Sent  out  of  town  upon  request 


We  Combine 

Ready  to  Wear 

Convenience 


With 

Made  to  Order 
Satisfaction 


MODERN 
DRESSMAKING 

With  a  complete  line  of  models  for  the 
Spring  season,  we  are  now  prepared 
to  take  orders  for  quick  delivery. 

Dresses,   Suits,   Coats,   Waists, 
Corsets  and  Negligees 

Made  to  your  own  measurements  with  care- 
ful fittings  at  very  moderate  prices. 

Our  designs  are  original   and   exclusive   of 

most   fashionable   materials  in  shades  that 

piesage  the  coming  favorites. 

Select  your  wardrobe  here.     Eliminate  the 
annoyance  of  shopping. 

Lane  Bryant 

25  West  38th  St.,  New  York 


IIR 

III-  Queen 

•^       Alexandra's  favorite 

odoi — a  true  idealization  of 

the  flowers.    Fashion  dictates 

today.    Sample  bottle  20  cents. 

PARK  &  TILfORD.  225  Fifth  An..  Ntw  York 

A  HOUBIGANT  PERFUME 


Ask  Your  Milliner 

when  you  are  choosing  your  next 
hat  to  show  you  the  Spring 

Millinery 

Review  of 

Fashions 

150  NEW  SPRING 

styles  photographed  on  live  models 
issued  by 

THE   MILLINERY   TRADE   REVIEW. 

N.J  cost  to  you.      "It  helps  you  decide." 
In  All  Up-to-Date  Mllliuery  SlumTooms. 


LATEST 
CREATIONS 

THE 

"SL1PON" 


CORSETLESS  IDEAL" 


THE 


"SUPER-FIGURE" 


MME.  BINNER'S  PERSONAL  ATTENTION 
BY  APPOINTMENT 


18  EAST  45th  STREET.  NEW  YORK 


Prot.  I.  Hubert's 

MALVINA 

CREAM 


(Fig.   5)      A   PRETTY   YOUTHFUL   HAT   FROM  HENNARD 

This  becoming  little  hat  is  developed  in  white  silk,  though  later  in  the  season  linen  or  ratine  could  be  snbstiluttdt 
1  here  is  a  decided  roll  to  the  left  brim  and  a  downward  citrre  to  the  right  side.  1  he  soft  Tani  crown  has  a 
drape  of  white  moire  ribbon  finishing  at  one  side  of  the  front  with  a  pump  bow.  A  white  featltcr  tipped  with 

red  is  poised  at   the  back. 

spread  in  fan  fashion.  To  make  this  hat 
becoming,  it  is  necessary  to  wear  it  well 
down  on  the  head. 

The  newest  sailor  is  covered  with  covert 
cloth  with  an  imderbrim  of  hemp,  and  has 
a  band  of  gros-grain  ribbon  in  the  same 
shade  ending  in  a  pump  bow.  Another 
novelty  is  a  material  known  as  "cloth 
straw."  This  is  a  foundation  cloth  with 
a  little  thread  looped  up  to  give  the  effect 
of  straw.  The  stiff,  crinkly  mourning 
crepe  has  been  dyed,  and  is  used  success- 
fully for  crowns  and  the  drapes  encircling 
the  crowns.  (Continued  <>»  />,/,/<•  xxvf) 


other  Eastern- designs,  and  plumes  of  re- 
markable beauty — all  are  used  successfully 
in  the  trimming  of  the  new  hats. 

SOME  NOVELTIES  IN  THE  HAT  REALM 
One  of  the  surprises  sprung  at  a  recent 
millinery  opening  was  the  crownless  hat,  a 
reproduction  of  the  one  worn  by  a  famous 
actress  on  the  opening  day  of  the  Auteuil 
Steeplechase.  The  shape  is  extremely 
small,  suggesting  a  tarn,  and  is  fashioned 
from  black  Milan  straw  with  black  moire 
ribbon  draped  above  what  appears  to  be 
the  crown.  At  the  back  a  huge  mount  of 
black  paradise  is  placed  and  allowed  to 


CRBSCA   FOREIGN   DELICACIES 


Rich,    Unusual  Tasty  Things  from   Many  Lands. 

For  a  two-cent  stamp  we  will  send  our  palatable 
color  booklet  giving  full  particulars  as  well  as  many 


,  suggestions  for  menus  and    a  host  of  distinctive, 

— ipes.     Address 
.COM 


rare  reci] 
CRESCACOMPANY.In 


vich 


..N.Y. 


Win 


tnrr     *ri      r.,4. 


THE   THEATRE  -MAGAZINE   ADVERTISER 


XXV 


FACTS  WORTH  KNOWING 


To  ERADICATE  THE  WINTER'S  DISSIPATIONS 
You  can't  have  the  pudding  and  eat  it. 
This  may  be  a  bromide,  but  it  applies  with 
singular  force  to  the  woman  who  has 
danced  until  morning  eaten  all  sorts  of 
rich  delicacies  at  luncheons  and  dinners, 
and  been  foremost  in  the  social  whirl,  and 
yet  expects  her  complexion  to  be  as  fresh 
as  in  the  beginning  of  the  season.  If  she 
is  a  wise  woman  and  will  take  the  time 
to  enjoy  a  social  deshabille  and  in  a  leisure- 
ly fashion  attend  to  the  wants  of  her  toi- 
lette, she  can  eradicate  the  tell-tale  marks 
of  the  winter's  dissipations  and  be  fresh 
and  lovely  for  the  summer  festivities. 

She  will  require  a  good  muscle  oil,  one 
that  will  nourish  the  weakened  tissues  of 
the  skin  and  fill  in  the  lines  and  hollows 
which  have  crept  around  the  eyes  and 
mouth  and  tell  so  plainly  their  own  story. 
There  is  a  particularly  good  one  com- 
pounded from  the  recipe  of  a  famous 
beauty  specialist  that  really  makes  good  its 
claims,  the  different  ingredients  being  ther- 
apeutically  combined  to  act  in  perfect  har- 
mony and  to  augment  each  other  in  the 
process  of  restoration.  As  it  is  not  expen- 
sive, the  bottles  selling  for  $i,  $2  and  $3, 
you  will  find  that  it  is  worth  investigating. 
Another  invaluable  aid  in  coaxing  back 
the  freshness  and  bloom  of  a  good  com- 
plexion is  a  reliable  cold  cream.  There  are 
so  many  creams  sold  everywhere  these  days 
that  it  is  very  important  to  find  a  cream 
which  can  be  thoroughly  guaranteed.  This 
search  is  made  difficult  by  the  fact  that 
many  of  the  finest  creams  are  not  sold  in 
the  shops.  There  is  one,  in  particular, 
which  is  compounded  fresh  to  fill  each 
order  under  the  direction  of  a  man  who  has 
studied  the  requirements  of  the  skin  for 
years.  Only  the  finest  and  purest  of  in- 
gredients are  used  those  which  will  soften 
and  whiten  the  skin,  cleanse  it  of  imper- 
fections and  keep  it  in  a  generally  good 
condition.  There  is  nothing  that  can  pro- 
duce even  a  growth  of  down,  and  the  odor 
is  delightful,  delicate,  but  fragrant,  and  so 
pleasing  that  it  would  appeal  to  the  most 
fastidious  woman.  It  is  a  cream  well  worth 
the  $i  asked  for  a  generous  jar. 

FOR  TIRED  FEET. 

Lots  of  running  around  is  entailed  in 
preparing  the  wardrobe  for  the  coming 
season,  which  means  that  there  will  be  lots 
of  tired,  aching  feet,  for  the  nerves  of  the 
feet  have  a  wise,  if  painful,  method  of 
announcing  that  they  arc  working  over- 
time. You  will  be  ready  to  start  out  again 
the  next  morning,  however,  no  matter  how 
tired  your  feet  may  have  been  the  night 
previous,  if  you  have  used  a  good  foot 
tonic.  There  is  a  particularly  soothing  and 
refreshing  one  sold  by  a  well-known  physi- 
cian who  has  studied  for  years  to  help  her 
sex.  It  is  easily  applied  with  a  brush  and 
almost  instantly  soothes  and  stops  the 
throbbing  pain  "in  the  feet.  The  women 
who  have  suffered  with  nervous,  aching 
feet  have  eagerly  testified  of  the  relief  this 
tonic  has  given  to  them,  declaring  that  if 
it  were  priced  many  times  the  dollar  asked 
for  a  bottle  they  would  insist  upon  having  it. 
TIIERI-:  is  HEALTH  ix  THE  PEKITMKD  HATH 

The  perfumed  bath  is  not  merely  a 
luxury  ;  it  is  a  necessity.  When  you  return 
tired,  nervous,  and  utterly  fagged  out  after 
a  round  of  shopping  dressmaking,  social 
gayeties,  etc.,  you  feel  as  if  you  just 

( C'f>ntiitiii'd    >»<    fdfjf    r.vi'.r) 


Jfranhtht  Simon  &  Co. 

Fifth  Ave.,  37th  and  38th  sts.,  New  York 


"Balkan  Blouse "  Negligee 

Of  SILK  CREPE  DE  CHINE 

SI'/KS  12  TO  44  Bl  M 

No.  31— "Balkan  Blouse"  Negligee  of  silk 
crepe  de  chine,  kimono  sleeves ;  in 
pink,  Copenhagen  or  light  bine, 
lavender,  rose,  white  or  black;  Hat 
collar,  cuffs  and  sash  of  inessaline  in 
contrasting  shade,  finished  with  ball 
trimming  and  rhinestone  buttons 

18.50 

Value  $24. 7 5 


SPRINQ   and  SUMMER 
Fashion  Boofa 

"  CORRECT  DRESS  " 

Sent  out  of    town  on  application  to  Dept.  "T* 


'The  Crowning  Attribute  of  Lovely  Woman 
is  Cleanliness." 


The  well-dressed  woman  blesses  and  benefits 
herself— and  the  world— for  sne  adds  to  its  joys. 

NAIAD  DRESS  SHIELDS 

add  the  final  assurance  of  cleanliness  and  sweetness. 
They  are  a  necessity  to  the  women  of  delicacy,  re- 
finement and  good  judgment. 

Naiid  Drew  Shieldi  are  hygienic  and  scientific.  They 
are  ibtolutelr  free  from  rubber  with  its  unpleasant  odor. 
They  can  be  quickly  sterilized  by  immersing  in  boiling 
water  for  a  few  seconds  only.  The  only  shield  as 
good  the  day  it  is  bought  as  the  day  it  is  made. 

At  stores  or  sample  pair  on  receipt  of  2SC.  Every 
pair  guaranteed. 

THE  C.  E.  CONOVER  CO.,  Mfra.,  101  Franklin  St.,  New  York 


THE   EMPIRE   STATE  ENGRAVING 

COMPANY 
190  WILLIAM  STREET,  NEW  YORK 

TELEPHONE:  3880  BEEK.MAN 


Improve  Your  Figure 

Reduce  it  to  symmetrical  proportions  with 

COGSWELL'S  REDUCING  SALVE 

A  scientific  formula  for  the  reduction  of  excess 
flesh.     It  necessitates  no  change  in  diet  or  daily 
home  or  social  routine. 
Guaranteed  absolutely  harmless    .     .     $2.00  a  jar 


COGSWELL'S  FOOT  TONIC 

Allays  inflammation,  reduces  swelling.  An  ex- 
cellent remedy  in  the  treatment  of  chilblains  and 
inflamed  bunions.  Uied  with  perfect  safety  on 
any  patt  of  the  body Price  $  1 .00 


A   Delicate,    Shell-like    Pink 
is  imparted  to  the  nails  by  the  use  of 

COGSWELL'S  SEA  SHELL  TINT 

It  remains  on  nails  for  days.      .      Price  50  Cents 

Personal  attention  of 

Dr.  E.   N.   Cogswell  given  all  letters 

requesting  information 


Dr.  E.  N.  Cogswell 

418  Fifth  Avenue         New  York  City 


,  Surgeon-Chiropody  and 
Expert  Manicuring 


The  Man  Who  Put  the 
EEs  In  FEET 

Look  for   this  Trade-Mark    Picture   on   the 
Isabel  when  buying 


ALLEN'S  FOOT=EASE 


Trade-Mark    xiie  Antiseptic  Powder  for  Tender.  Ach-ne 
Feet.  Solil  rv.-vywlu-re  »c.   Sample  FRKK.  Address, 
ALLEN  S.  OLMSTED,  Le  Roy.  N.  Y. 


When   writing  to   advertisers,  kindly  mention  THE  THEATRE   MAGAZINE 


XXVI 


THE      THEATRE      MAGAZINE 


(Fig.  2)  A  CHARMING  BRIDGE  FROCK  FROM  ELISE  PORET 
This  delectable  gown  could  be  developed  with  equal  success  ir,  a  silk  or  cotton  fabric. 
A  most  effective  combination  was  shown  in  a  model  of  Chinese  red  crepe.  There  is 
a  curious  irregular  draping  of  the  skirt,  with  the  fullness  brought  to  the  waist  line 
in  the  front.  A  wide  border  of  Venetian  lace  enhances  the  skirt.  The  waist  is- 
delightfully  simple,  blousing  considerably  over  the  belt  of  Babylonian  blue  satin 
caught  with  an  enamel  buckle.  The  vest  of  tucked  batiste  matches  in  color  the 
blouse  and  is  ornamented  with  tiny  white  bone  buttons,  matching  the  larger  buttons 
of  the  white  bone  with  red  centres.  There  is  a  deep  collar  in  the  back  of  the  lace 
and  a  top  collar  of  the  material 


NovefltSes  In  Suits 


not  wise  to  risk  a  caricature.  They  are  fashioned  from  the  soft, 
supple  materials,  either  of  wool  or  silk,  and  are  delightfully  baggy 
and  loose.  The  skirt  is  generally  draped,  with  the  coat  betraying 
a  decided  blousy  effect.  The  belt,  instead  of  encircling  the  natural 
waist  line,  swathes  the  hips.  On  many  of  the  cloth  suits,  this 
belt  is  braided,  but  on  some  of  the  silk  costumes  it  is  finished 
with  a  plaited  peplum.  Young  girls  and  women  fortunate  enough 
to  have  a  youthful  figure  can  buy  these  suits  in  cloth  for  $29.50, 
while  one  of  the  other  shops  is  selling  models  appropriate  for 
the  woman  with  a  more  mature  figure  for  $47.50. 

One  of  the  best  looking  suits  for  the  country  or  the  shore,  just 
the  suit  for  the  girl  or  woman  who  goes  in  for  the  smart  sporty 
costumes,  has  the  coat  fashioned  on  the  model  of  a  man's  shooting- 
jacket — the  yoke,  the  box-plaits,  the  buttoned  pockets,  all  the  essen- 
tials. In  Viyella  flannel,  which  can  be  put  right  into  the  tub  and 
washed  like  linen,  this  jacket  with  a  plain  tailored  skirt  can  be 
bought  for  $35.00,  and  in  linen,  the  same  model  can  be  secured 
for  $18.00. 

Another  garment,  which  is  sure  to  appeal  to  the  woman  who 
delights  in  having  the  latest  sporting  togs,  is  the  coat  made  from 
the  French  awning  cloth.  The  wide  stripes  in  vivid  colors  are 
wonderfully  effective  in  combination  with  white  linen  or  serge 
skirts,  or,  in  fact,  with  lingerie  frocks.  The  models  are  built  on 
the  lines  of  the  hip  length  and  tnree-quarter  Johnnie  coats  and 
are  just  as  swagger  as  they  can  be.  They  are  very  exclusive,  and 
in  order  to  keep  them  so,  the  price  is  kept  at  $40.00. 

The  shop  which  is  making  a  specialty  of  the  awning  coats  has 
a  charming  imported  wrap  known  as  the  "Elizabethan."  It  is 
developed  in  a  sulphur  brocaded  crepe  and  takes  its  title  from  the 
collar  suggestive  of  the  ruff  worn  by  Queen  Elizabeth.  There  are 
two  plaits  at  the  foot  of  the  wide  panel  in  the  back  which  pro- 
duce a  slight  drapery,  and  the  fronts  are  gathered  to  the  waist 
line,  in  true  oriental  fashion,  where  they  are  fastened  with  a  jet 


TDue  Latest  Models  in  Waists 


The  array  of  waists  is  so  entrancing  and  so  appalling  in  variety 
that  one  hardly  knows  which  of  the  fair  charmers  to  single  out 
for  mention.  An  exceptionally  dainty  model  of  white  voile  is 
given  a  new  twist  by  a  deep  collar  of  an  artistic  hand-embroidered 
material  in  white,  lavender,  green  and  black.  Bands  on  the  waist 
are  decorated  with  French  knots  in  the  same  coloring.  It  is  an 
unusual  model  and  very  reasonably  priced  at  $13.50.  For  the 
same  price,  you  may  select  a  blouse  of  crepe  meteor  with  discreet 
touches  of  gold  embroidery,  buttonholes  piped  in  blue,  and  crystal 
buttons  of  the  same  pretty  shade.  A  waist  of  the  washable  crepe 
de  chine,  displaying  hand  embroidery,  a  vestee  of  Venice  lace  and 
a  cascade  jabot  sells  for  $8.50,  while  another  of  the  same  material 
with  a  new  sailor  collar  of  dotted  ratine  can  be  bought  for  $5.50. 

Among  the  tailored  blouses,  there  is  one  of  Chinese  pongee 
stitched  in  black  and  fastening  with  black  buttons  that  is  priced 
$5.50.  An  excellent  model,  with  the  long,  close-fitting  sleeves  inset 
at  the  neck,  and  with  the  yoke  formed  by  a  diagonal  line  running 
front  and  back  to  the  shoulder,  has  the  effect  of  a  man's  plain 
shirt  bosom  in  the  front  fastened  with  large  crystal  ball  buttons. 
A  pointed  turn-over  collar  finishes  the  neck,  and  there  are  two 
small  revers  in  the  front  with  buttonhole  and  button.  This  style 
in  white  moire,  the  new  summer  material,  costs  $14.75,  nl  white 
crepe  de  chine  with  a  plaited  edge  which  sell  for  $1.00.  A  bit  of 
$5.  At  the  same  shop,  the  white  crepe  waists  with  a  gay  little 
Jouy  design  can  be  bought  as  low  as  $2.00. 


The  fetching  Bulgarian  neckwear  is  now  selling  for  the  small 
sum  of  $1.25,  and  ribbons  in  the  Bulgarian  colorings,  which  are 
wonderfully  effective  as  cravats  or  hat  trimmings,  can  be  purchased 
for  55  cents  a  yard.  Delightfully  dainty  are  the  collars  of  white 
crepe  de  chine  with  a  pleated  edge  which  sell  for  $1.00.  A  bit  of 
color,  and  a  world  of  chic,  can  be  added  by  a  knot  of  one  of  the 
new  Cubist  or  Futurist  ribbons.  It  is  quite  as  difficult  to  describe 
these  ribbons  as  it  is  to  find  the  clue  to  the  paintings  which  bear 
these  names.  Suffice  it  to  say  that  they  are  very  new,  very  smart, 
and  as  good-looking  as  they  are  grotesque.  In  the  eight-inch  width 
they  sell  for  $1.65  a  yard. 


A  Word  om  the  Understandings 


For  the  tall,  slender  figures,  the  Russian  blouses,  or  the  Balkan 
blouses,  are  decidedly  becoming.  One  should  remember,  however, 
that  they  are  very  youthful,  and  unless  time  has  been  kind,  it  is 


The  very  latest  idea  in  the  realm  of  footgear  is  the  gray  calf- 
skin shoe  which  sells  for  $8.00.  To  be  perfectly  correct  you  should 
•vear  with  it  the  black  and  white,  or  gray  and  white,  changeable 
stockings  in  silk  which  can  be  procured  for  $2.95. 


We  will  gladly  give  mimes  of  shops  where  goods  described  may  be  purchased. 
Address  THE  THEATRE  MAGAZINE  Fashion  Deft.,  8-14  West  3$th  Street,  New  York  City. 


THE   THEATRE   MAGAZINE   ADVERTISER 


XXV11 


There  are  also  good-looking  stockings  in 
gray  silk  with  white  polka  dots,  similar  to 
the  navy  blue  silk  stockings  with  white 
dots  which  accompany  the  blue  serge 
suits.  These  stockings  are  also  sold  for 
$2.95.  . 

To  wear  with  white  serge  suits  when  the 
belt,  the  parasol  and  the  hat  are  to  reflect 
the  red  tone,  there  are  red  kid  shoes  which 
can  be  bought  for  $8.  For  the  same  price 
one  may  choose  a  bronze-buttoned  boot. 

THE  FOUNDATION  OF  THE  COSTUME. 
The  lines  of  the  costumes,  though  they 
may  follow  the  newest  models,  will  lose 
their  chic  if  the  gown  is  worn  over  an  ill- 
fitting  corset.  The  corset  is  the  foundation 
of  the  gown ;  it  must  fit  the  figure  if  the 
gown  is  to  show  off  to  the  Kest  advantage. 
The  fad  for  the  corsetle=s  tigure  is  not  all 
idle  talk.  Fashion  for  the  past  few  years 
has  been  demanding  supple,  light-weight 
corsets  fashioned  from  the  most  pliable 
of  materials,  yet  with  body  enough  to  hold 
the  figure,  and  with  as  few  bones  as  it  is 
possible  to  make  the  corset.  Many  of  the 
imported  tricot  corsets  are  very  expensive, 
but  \ve  have  been  able  in  this  country  to 
manufacture  a  corset  that  is  the  equal — 
many  might  say  the  superior — of  the 
French  corset,  which  can  be  retailed  as  low 
as  $5.  So  cleverly  is  this  corset  drafted 
that  women  of  ample  measurements  can 
wear  it  with  the  satisfying  thought  that  it 
is  becoming,  and  it  is  surely  the  most 
ideally  comfortable  corset  imaginable. 
There  are  other  models,  higher  in  price 
and  fashioned  from  more  expensive  ma- 
terials— some  particularly  lovely  ones  in  the 
pink  tricot,  but  the  workmanship  on  all  of 
them  is  the  same. 

A  FEW  FASHION  HINTS. 

To  wear  under  the  sheer  blouses,  there 
are  the  most  enchanting  corset  covers,  or 
underbodices.  Some  are  fashioned  from 
shadow  lace  with  a  tracery  of  a  green  vine 
on  which  blossom  pastel  colored  chiffon 
buds.  A  ribbon  extends  over  the  shoulder, 
and  glimmers  in  a  most  tantalizing  manner 
through  the  transparent  veiling  of  the 
blouse.  It  is  such  a  love  of  an  undergar- 
ment that  it  doesn't  seem  expensive  at 
$2.95.  For  $1.95  there  are  similar  models 
in  pink  or  blue  crepe  de  chine  with  trim- 
mings of  lace,  and  in  net  with  puffings 
through  which  the  ribbon  is  run. 

As  a  petticoat,  the  crepe  de  chine  skirt 
is  ideal.  It  is  a  gay  little  creation  of  pink, 
or  blue,  or  lavender,  with  a  shadow  lace 
plaited  ruffle.  The  material  is  so  very  soft 
that  it  clings  closely  to  the  figure  and  gives 
the  minimum  of  underdressing  so  desirable 
to-day.  These  fetching  little  petticoats  can 
be  bought  for  $2.95. 

There  are  gloves  of  every  hue — Nell  rose, 
American  beauty,  beige,  gun  metal,  taupe, 
gray  and,  of  course,  black,  and  white.  An 
effective  contrast  is  produced  by  the  stitch- 
ing, embroidery  and  wide  bandelette  of 
white.  These  gloves  are  sold  at  $2.25.  At 
this  same  shop  there  is  a  famous  bargain- 
counter  where  gloves  can  be  purchased  for 
95  cents.  Odd  sizes,  gloves  with  a  button 
missing,  lines  that  it  is  desirable  to  close 
out,  an  overproduction,  etc.,  are  sold  on 
this  counter,  and  the  bargains  are  truly 
amazing. 

The  women  who  purchase  silk  gloves  will 
be  surprised  to  find  a  long  white  silk  glove 
with  the  portion  above  the  elbow  tucked. 
The  effect,  while  novel,  is  good  on  the  arm, 
lending  very  much  the  same  appearance  as 
an  embroidered  silk  glove,  only  simpler  and 
more  in  keeping  with  a  street  costume. 
These  gloves  are  priced  $2.25. 


The  American 
Playwright 

Edited  by  WILLIAM  T.  PRICE 


I  "The Technique  of  the  Drama " 
and      The  Analysi.  of  Play  Conjunction.") 

A  MONTHLY  devoted  to 
the   scientific    discussion 
of  Plays  and  Playwriting. 
1  5  cents  a  copy.  $  1 .50  a  year. 
Vol.  II  begins  Jan.  15,  1913. 
Write  for  specimen  copies  and 
for  the  Index  of  Vol.  I. 

Write  for  circulars  that  tell 
you  how  to  procure  the  printed 
Volumes  of  the  Academic 
Course  in  Playwriting,  deliver- 
ed complete,  on  a  first  payment 
of  Three  Dollars.  Address 

W.  T.  PRICE 

1440  Broadway  NEW  YORK  CITY 


PLAYS   ::    PLAYS 

I  have  the  newest  and  mod  attractive,  at  well 
a»  the  largest  assortment  of  plays  in  the  world. 

FRENCH'S 
Standard  Library  Edition 


INCLUDES 
Clyde  Fitcb 
R.  C.  Cartoo 
Alfred  Sulro 
Richard  Harding  Davit 
Arthur  W.   Pinero 
Anthony  Hope 
Oicar  Wilde 
Haddon  Chambers 
Jerome  K.  Jerome 
Cosmo  Gordon  Lennox 
H.  V.  Esmond 


PLAYS  BY 

William  Gillette 
Preston  Gibson 
George  Broadhnrst 
Martha  Morton 
H.  A.  Da  Souchet 
Edward  E.  Kidder 
W.  W.  Jacobs 
Sir  Arthur  Conan  Doyle 
Louis  N.  Parker 
Madelene  Lncelte  Ryley 
Henry  Arthur  Jones 


French  i    International    Coprrifbted     Edition    contain!    p'ayi. 

coniedin   and    farcei    of    international    reputation:    ado   recent 

proteuional  tuceeuei  by  famous  American  and  English  author!. 

Send  a  two-cent  stamp  for  my  nnv  catalogue 

describing  thousands  of  plays 

SAMUEL  FRENCH,  28-30  W.  38th  St.,  N.  Y.  City 

Between  5t/t  and  ttt/t  A  venues 


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XXV111 


THE   THEATRE   MAGAZINE   ADVERTISER 


llinery 


Spring 


Gleaming  like  a  great  shop  window  set  in  the  heart  of  Paris— 
a  window  filled  with  the  choicest  Spring  creations  of  the  most 
notable  designers— is  this  newest  number  of  Vogue. 

In  it  you  will  find  the  characteristic  touch  of  each  Parisian  master  mil- 
liner—the verve  and  charm  of  Carlier,  the  forceful  originality  of  Paul 
Poiret,  the  over-fascinating  conceptions  of  Suzanne  Talbot  the  subtle 
witchery  of  Georgette  and  Alphonsine. 

But  it  is  not  alone  for  the  pleasure  of  looking  through  its  pages  that  you 
will  want  this  Millinery  Number  of  Vogue.  You  will  want  it  as  a  straight 
business  investment  that  will  pay  for  itself  a  hundred  times  over. 

Soon,  now,  you  are  going  to  pay  $20,  $40,  $60,  for  a  Spring 
hat.  For  this  $20,  $40,  $60,  you  will  receive  a  few  dollars' 
worth  of  straw,  velvet,  ribbons,  trimmings— all  the  rest  of 
your  money  will  go  for  style  and  correctness.  If  your  choice 
is  not  correct,  your  money  is  worse  than  wasted. 

By  paying  twenty-five  cents  for  the  Vogue  Millinery  number,  you  can 
insure  yourself  against  wasting  a  single  penny  of  your  Spring  hat  money. 
In  your  own  home,  far  from  the  confusion  of  the  milliner,  Vogue  will 
spread  before  you  not  a  few  hats  from  your  local  stores,  but  a  magnificent 
display  of  authoritative  models  made  by  the  world's  best  designers  and 
endorsed  by  Vogue  as  correct. 

Say  to  your  newsdealer  today:  "  Give  me  a  copy  of  the  Spring  Millinery 
Number  of  Vogue."  And  it  might  be  well  to  ask  him,  by  the  way,  to 
reserve  for  you  a  copy  of  the 

Spring  Fashions  Number 

(On  sale  April  9th) 

This  issue  is,  pe  haps,  the  most  valuable  of  the  whole  year. 
What  the  Millinery  Number  is  to  Spring  hats,  this  number  is  to  all 
else  a  woman  wears.  It  is  the  final  say — the  culmination  of  the 
Spring  mode.  Every  great  designer  of  Paris  is  represented  with 
his  latest  and  best  offerings — Worth,  Paquin,  Donnot,  Drecoll, 
Callot,  Poiret,  Jeanne  Hall,  Francis.  Evolved  in  the  crystallizing 
and  saner  mood  of  the  later  Spring  the  models  may  be  safely 
accepted  as  the  authoritative  fashions  for  1913. 


443  Fourth  Avenue 


CONDE  NAST 

Publisher 


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THE   THEATRE   MAGAZINE   ADVERTISER 


XXIX 


During  April  Your  $3.50   " 

Will  Have  the  Value  of  $5.00 

During  the  month  of  April,  a  woman's  mind  in  regard  to  matters  of  dress  is  as  unsettled 
as  the  weather. 

So  bewildering  is  the  display  of  styles  in  the  stores  and  shop  windows  that  without 
the  advice  of  an  authentic  guide,  it  is  difficult  to  distinguish  between  the  styles  which 
will  live  and  those  which  cannot. 

Now  is  the  time  you  need  L'Art  de  la  Mode  more  than  ever.  With  the  advice  of  this 
fashion  authority,  the  success  of  your  Spring  wardrobe  is  assured.  Our  experts  recognize  at 
a  glance  those  styles  which  are  only  for  the  moment,  and  these  are  rigidly  barred  from  the 
pages  of  LArt  de  la  Mode. 

We  want  to  relieve  you  of  your  dress  problems.  We  are  able  to  and  glad  to  take  the  burden. 
We  want  to  help  you  give  your  gowns  those  lines  which  stamp  a  model  as  exclusive— 
those  lines  which  characterize  L'Art  de  la  Mode  patterns. 

That  is  why  we  are  making  this  unusually  special  offer 

Upon  receipt  of  $3.50  the  yearly  subscription  price,  we  will  send  you  L'Art  de  la  Mode 
for  twelve  months  and  six  25-cent  coupons,  entitling  you  to  a  $1.50  worth  of  patterns  free. 

This  actually  makes  the  subscription  price  $2.00— an  unheard-of  reduction— and  enables 
you  to  have  the  assistance  of  this  expert  fashion  authority  not  only  at  this  critical  time 
but  all  through  the  year. 

This  special  offer  holds  good  only  during  the  month 
of  April.  Subscriptions  must  be  sent  in  to  us  direct — 
not  through  an  agent  or  newsdealer. 


This  Coupon  Entitles  You  To 

$5.00  Value  for  $3.50 
L'Art  de  la  Mode,    12  West  38th  St.,  N.  Y. 

Please  enter  mysubscription  to  L'Artdela  Mode.en- 

tilling  me  to  a  $  1 .50  worth  of  patterns  FREE.    For 

this  $5.00  value  I  enclose  $3.50,  as  per  vour  ad 

(Canadian,  $3.85.     Foreign.  $4.25) 


Name..,, 
Address  . 
City 


Slate 


Fill  in  the  coupon  now.  Do  not  delay. 
April  will  be  over  before  you  will  haoe 
realized  it— and  your  opportunity  gone! 

L'ART  DE  LA  MODE 

1 2  West  38th  Street  New  York 


FACTS  WORTH  KNOWING— '.c<m«**,v 

couldn't  get  dressed  again  and  keep  going, 
perhaps  well  into  the  morning.  But  just 
take  a  bath  into  which  some  bath  crystals 
have  been  scattered,  and  you  will  feel  like 
another  woman.  A  sweet  odor  is  always 
refreshing  and  revivifying,  it  soothes  the 
tired  nerves,  and  seems  to  banish  all  the 
cares  and  troubles  which  have  been  har- 
assing. In  addition  to  the  soothing  qualities 
of  the  perfume,  there  are  certain  helpful 
medicinal  properties  in  the  other  ingredients 
of  the  best  bath  crystals.  One  of  the  most 
appealing  bath  preparations  comes  to  us 
from  across  the  ocean,  where  the  perfumed 
bath  is  indulged  in  daily.  The  fragrance 
is  delightfully  alluring,  sweet  yet  refresh- 
ing as  the  orchards  in  bloom,  and  subtle 
rather  than  insistent,  though  it  lingers  like 
a  happy  thought,  shedding  its  delicious 
aroma  for  hours.  As  only  a  tablespoon ful 
is  required  for  a  bath,  a  bottle  selling  for 
75  cents  will  last  for  several  weeks. 

THE  COVETED  FIGURE 
It  is  useless  to  cast  longing,  envious  eyes 
at  the  new  gowns ;  if  you  want  to  wear  them 
and  look  well  in  them,  you  must  reduce 
your  figure  to  the  desired  proportions. 
There  are  various  methods  of  banishing 
flesh ;  some  are  really  dangerous  and  should 
not  be  undertaken  except  under  the  advice 
of  a  physician ;  others  demand  so  much 
self-sacrifice  that  few  women  are  brave 
enough  to  continue  them  to  a  successful 
finish.  The  wearing  of  rubber  undergar- 
ments, however,  is  neither  injurious  nor 
disagreeable,  and  has  the  added  advantage 


of  reducing  the  flesh  in  the  desired  places. 
Each  part  of  the  body  has  been  provided 
with  a  rubber  covering  made  from  the  pur- 
est Para  rubber  and  medicated  according 
to  a  private  formula.  The  idea  is  that 
these  garments  induce  profuse  perspiration 
in  the  part  of  the  body  covered  which 
stimulates  circulation  and  eliminates  the 
waste  products  through  the  pores.  Doctors 
claim  that  these  garments  are  perfectly 
harmless  and  not  weakening.  An  entire 
garment  covering  all  the  body  can  be 
bought  for  $30,  and  the  different  coverings 
for  the  various  parts  of  the  body  in  a  pro- 
portionate rate. 

A  TRIED  INNOVATION 

The  suppleness  of  the  uncorseted  figure 
is  ardently  desired  by  the  women  who  fol- 
low the  whims  of  fashion,  and,  in  fact,  by 
every  woman  who  delights  in  the  beauty 
of  the  feminine  figure.  There  are.  how- 
ever, few  women  whose  figures  are  suffi- 
ciently lithe  and  well  shaped  to  permit  them 
to  discard  corsets  entirely.  These  women 
will  find  comfort  in  the  corsets  made  with 
a  very  supple  boning  that  permits  of  perfect 
freedom  of  motion.  Instead  of  being  solid, 
these  bones  are  of  wire  arranged  in  a  zig- 
zag manner  which  makes  them  ideally  flex- 
ible, light  and  elastic,  yet  they  will  not  take 
a  permanent  bend.  In  other  words  they 
train  the  figure,  without  restraining  it,  thus 
producing  a  graceful,  easy  carriage,  and 
giving  perfect  comfort  to  the  wearer.  The 
corsets  have  all  the  style  and  good  .lines  of 
the  cut-to-measure  corsets  at  a  very  much 
lower  price. 


To  AID  THE  DRESSMAKER 

Many  women  realize  that  they  can  have 
certain  clothes  made  at  home  at  a  very 
much  lower  cost  than  at  the  dressmaker's, 
and  oftentimes  very  much  prettier  cos- 
tumes, because  they  display  certain  indi- 
vidual and  original  touches  which  distin- 
guish them  from  the  custom-made  garment ; 
yet  they  hesitate  to  engage  a  dressmaker 
because  they  do  not  wish  to  stay  at  home 
for  numerous  fittings.  There  is  no  reason 
why  they  should  not  enjoy  the  home  dress- 
maker, or  make  fetching  little  waists  and 
gowns  for  themselves,  without  a  trace  of 
discomfort,  if  they  will  invest  in  one  of  the 
dress  forms  which  is  identical  to  their  fig- 
ure. These  dress  forms  are  quite  different 
from  those  of  other  days,  which  were  more 
or  less  unwieldy  and  stiff,  as  they  take  on 
the  lines  of  the  individual  figure,  and  be- 
come just  you — you  in  all  your  beauty  and 
in  all  your  imperfections.  It  is  sometimes  a 
bit  startling  to  see  yourself  as  others  see 
you,  but  it  is  convenient  and  time-saving 
when  you  are  dressmaking.  This  new  form 
is  an  unleakable  air  chamber  made  of  spe- 
cially prepared  rubber  bloth,  moulded  into 
a  general  semblance  of  the  feminine  figure. 
It  is  then  placed  inside  ?.  lining,  which  has 
been  fitted  to  you  individually,  and  inflated 
until  solid,  and  there  "you"  are.  F>y  pro- 
viding different  linings,  one  form  may  be 
used  for  all  the  members  of  the  family. 
Dressmaking  certainly  becomes  a  pleasure 
when  you  possess  one  of  these  improved 
dress  forms  that  can  be  yours  for  the  small 
price  of  $14. 


When   writing  to  advertisers,  kindly  mention  THE  THEATRE   MAGAZINE 


XXX 


THE   THEATRE   MAGAZINE   ADVERTISER 


W^nFiYlpw^'W'^^^^''^'^!^1^^ 

...w:...A...,..A^.i.....^.i...^.^..,.^...^..w..w. h,,.^.wi^....:..;.^iAti.>^^^.^.^Aa>.......  i-^ 


f  • 

f  : 


!:  i 


l  I 


THE  PACKARD  WAY 


THE  OLD  WAY 


Convenience,   Security,    Maximum    Service 
Packard   Left   Drive    Motor   Carriages 


The  New  "38" 


The  New  "48" 


with 


LEFT  DRIVE 

electric  self  starter  and  centralized  control,   means 


Packard  left  drive, 

this  to  you: 

You  enter  the  car  directly  from  the  curb. 

You  avoid  muddy  pavements  and  the  dangers  of  passing  traffic. 

You  start  the  motor  by  touching  a  button  and  pressing  a  foot  pedal. 

You  control  all  the  lights  and  the  carburetor  adjustments  from  the  driving  position. 

When  driving  in  traffic  you  have  an  unobstructed  view  of  the  road  ahead. 

When  turning  off  to  the  left  in  traffic,  your  protection  is  assured  by  a  position 

convenient  for  signalling  with  the  left  arm. 

When  turning  off  to  the  right,  you  are  naturally  protected  by  the  adjacent  curb. 

ELECTRIC  STARTER 

The  electric  cranking  device  is  an  integral  part  of  the  motor.  Electric  starters 
are  admittedly  the  best  and  this  is  proved  to  be  the  best  of  electric  starters. 

CENTRALIZED  CONTROL 

Centralized  control  is  a  convenience  available  to  Packard  owners  alone.  Starting, 
lighting,  ignition  and  carburetor  controls  are  on  the  steering  column  within  easy 
reach  of  the  driver's  hand  and  are  operated  without  leaning  forward  or 
moving  in  any  way  from  a  driving  position. 

T  TNEXPECTED  emergencies  demand  the  bridge  builder's  factor  of  safety. 
^  Endurance  far  exceeding  the  requirement,  is  the  uncompromising  standard 
to  which  every  Packard  is  built.  The  new  "38"  and  the  new  "48"  represent 
knowledge  of  emergency  requirements,  knowledge  gained  through  fourteen 
years'  experience  in  the  factory  and  on  the  road. 

Ask    the    man    who    owns    one 

PACKARD  MOTOR  GAR  COMPANY,  DETROIT 


IMJ^iiUjJuHill, 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE   MAGAZINE 


RIVERSIDE  PRESS,  NEW  YORK 


THE  MAGAZINE  F 


(TITLE   REfi.  U.  S.  PAT    OFF 


WILLIAM  PENN 

and 

^ANGELUS 

^  Pioneer 
PLAYER-PIANO 

have  a  common  bond  of  relationship  — 
both  were  pioneers  in  their  field;  both 
were  leaders  and  blazed  a  trail. 

TWO  WAYS  TO  ENJOY  MUSIC 

The  Angelas  makes  it  possible  for  you 

To  Play  Yourself 

To  Listen  to  Great  Artists 

The  wonderful  Phrasing  Lever  (patented),  Melodant  and 
other  exclusive  Angelus  features  enable  you  yourself  to 
play  any   music   ever  written,  and,  by  means   of  our 
newest  invention,  Voltem  Music  Rolfs,  you  can  hear 
the   actual   playing  of  such  distinguished  pianists  as 
Tina    Lerner.    Gottfried    Galston,    Ethel    Leginska, 
Rider-Possart   and   others. 


The  Angelus  may  also  be  played  by  hand 
in  the  usual  manner,  thus  making  it  three 
instruments  in  one. 

Kn«be-An«elu»  Emenon-Angelu* 

Grand*  and  Upright*  Grand*  and  Upright* 

Angehu-Piano—  An  Upright  built  exprewly  for  the  Angela* 
In  Canada—  The  GourUy  Angela*  and  Angela*  Piano 


THE  WILCOX  &  WHITE  CO 

Business  Established  1877    MERIDEN,  CONN. 

233  Regent  Street,  LONDON 
Agenda  All  Over  the  World 


THE   THEATRE   MAGAZINE   ADVERTISER 


PALL  MALL  ETCHING  NO.  5 
SLEEPY     HOLLOW    CLUB 


PALLMAII 


FAMOUS  CIGARETTES 

A  Shilling  m  London 
A  Quarter  Here 


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THE      THEATRE      MAGAZINE      ADVERTISER 


Increased 
Gasoline  Cost 


United  States  Tires 

have   kept  the  balance    even 

While  the  price  of  gasoline  has  been  going  up,  the  United  States 
Tire  Company  has  been  forcing  the  price  of  tire  mileage  down. 

This  coming  season  the  motorist  who  uses  United  States  Tires  will  get  an  average  mile- 
age from  25  to  50  per  cent  higher  than  was  ever  given  by  any  make  of  tires  previous 
to  the  organization  of  the  United  States  Tire  Company  two  years  ago. 

We  have  conclusively  demonstrated  this  fact  on  our  own  test  cars. 

Car  Manufacturers  have  acknowledged  it  with  the  result  that  a  very  large  portion  of  the 
new  cars  sold  this  coming  year  will  be  United  States  equipped. 

Dealers  from  one  end  of  the  country  to  the  other  have  recognized  the  decided  advantage 
this  increase  will  give  them  and  have  lined  up  almost  in  a  body  to  sell  and  recommend 
United  States  tires. 

If  you  are  using  United  States  Tires,  compare  the  mileage  you  are  getting  now  with 
what  you  received  in  1910. 

Co-operative  methods  of  tire  building  alone  could  have  accomplished  this  remarkable  increase. 

When  it  was  announced  two  years  ago,  that  four  of  the  most  modern  tire  making  plants 
known  to  the  industry  would  concentrate  their  efforts  and  facilities  on  the  making  of 
one  line  of  tires,  it  was  freely  predicted  by  tire  authorities,  and  by  the  trade  in  general, 
that  the  most  radical  increase  in  tire  mileage  ever  known  to  the  industry  would  result. 
Tfyis  prediction  has  been  amply  fulfilled. 
Tire  bills  have  been  cut  down  to  a  point  never  before  reached. 

United  States  Tires  stand  to-day,  acknowledged  everywhere  by  users,  dealers  and 
manufacturers  as 

America's  PREDOMINANT  Tires 

United  States  Tire  Company — New  York 

«        United  States  Pneumatic  Tires  are  guaranteed  when  filled  with  air  at  thi-  recommended  pressure  and   (TlfF) 

XX   attached  ip  a  rim  bearing  either  one  or  both  of  the  tccompaaytnt  inspection  stamps.    When  filled  with   T    Y 

any  substitute  (or  air  or  attached  to  any  oiher  rirns  than  those  specified,  our  guarantee  is  withdrawn.   GjLO 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE   MAGAZINE 


1  hoto  Sarony 


Edited     by    ARTHUR     HORNBLOW 


COVER:     Portrait  in  colors  of  Miss  Mary  Ryan  in  "Stop  Thief."  PAGE 

CONTENTS  ILLUSTRATION  :     Cecilia  Loftus  as  Ophelia  in  "Hamlet" 

TITLE  PAGE:     James  T.  Powers  in  "The  Geisha" 129 

TlIE    NEW    PLAYS  ••Divorcons,"    "What    Happened    to    Mary,"    "The    Purple    Road,"    "The    Lady 

from  Oklahoma."   "Ann   Boyd."   "The  Ueish.-i."   "The   Heggar  Student,"  "The  Spiritualist,"   "A   Man's 

Friends,"    "Frank-in  Josette — Mcine    Fran,"    "Roseoale."                                                                                                     .           .            .           .           .           .           .  I  ^O 

Si'Rixc  ox   BROADWAY— Poem Leslie  Curtis    ....  131 

SCENE  IN  "Tin-:  GEISHA" — Full-page  plate 133 

"DAMAGED  GOODS"  A.\D  How  IT  WAS  PRODUCED — Illustrated M.  M 134 

COMPOSER  OF  "LE  RANZ  DES_VACHES" — Illustrated Mary  F.  Watkins  .       .        .  135 

$10,000  FOR  AN  ORIGINAL  AMERICAN  PLAY 136 

MM ic.  GiCRViLi.E-RiCAcmc — Full-page  plate             137 

GREATEST  GRANDE  DAME  ox  AMERICAN  STACK  A  GICRMAN — Illustrated       .        .       Frances  C.  Fa\       .        .        .  138 

SCENES  IN  "Tine  I!E<;<;AK  STTDKNT" — Full-page  plate '.        .  139 

RUSSIAN  OPERA  SCORES  AT  THE  METROPOLITAN- — Illustrated 140 

UNDONE  BY  A  SONG — Illustrated Karl  K.  Kitchen     .        .'      .143 

GREATEST  GRANDE  DAME  ON  AMERICAN  STAGE  A  GERMAN — Illustrated       .        .       Ada  Patterson         .        .        .  144 

LINA   CAVALIERI — Full-page  plate 145 

HANDLING  HUMANITY  IN  THE  MASS — Illustrated Mary  Morgan         .        .        .  146 

A  NEW  AUTHOR-ACTOR-DIRECTOR— Illustrated Anne  Peacock         .       .       .  148 

JULIE  OPP — Full-page  plate 149 

FRIEDA  HEM  PEL — Full-page  plate 151 

THE  DANCER — Poem — Illustrated  Dean  Carra      .       .        .       .152 

CALIFORNIA'S  MISSION  THEATRE— Illustrated H.  F.  Stall      .       .       .       .153 

ROBERT  HILLTARD — A  VERSATILE  ACTOR — Illustrated A.  P 154 

SCENES  IN  PLAYS  AT  PRINCESS  THEATRE — Full-page  plate       . 155 

LEADING  MANAGERS  JOIN  THE  MONIES — Illustrated W .  P.  D.         .        .     '  .        .  156 

HENRIETTA  CROSMAN — Full-page  plate 157 

MASCAGXI'S  OPERA  'TAKISINA" Romanus          ....  159 

A    POPULAR    MOVIE   ACTRESS — Illustrated                                                                             Marv  Cliamherlin    .        .        .  xvii 


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THE    THEATRE 

VOL.  XVII  MAY,  1913  No.  147 

Published  by  The  Theatre  Magazine  Co.,  Henry  Stern,  Pres.,  Louis  Meyer,  'I  reas.,  Paul  Meyer,  Sec"y;  8-10-1^-14  West  Thirty-eighth  Street,  New  York  Cily 


White 


JAMES  T.    POWERS  AS   WUN   HI   IN   "THE   GEISHA"   AT  THE   FORTY-FOURTH   STREET   THEATRE 


PLAYH'OUSE.  "DIVORCONS."  Comedy  in 
three  acts  by  Victorien  Sardou  and  Emile  de 
Najac.  Adapted  from  the  French  by  Margaret 
Mayo.  Revived  on  April  1st  with  this  cast: 

Josepha    Rae    Selwyn 

Bastien    Frank    Compton 

Concierge    Henry    Dornton       Mme.    de    Brionne Gail    Kane 

M.     Prunelles William     Courtleigh       M.     Gratignan Howard     Estabrook 

M.    Clavignac Mario    Majeroni       Mile.    Lusignan Nina    Lindsey 

Cyprienne     Grace    George       Mme.    Valfontaine JVIaude   T.    Gordon 

M.     Bafourdin George     Winstanley       Joseph     Frank     Reicher 

Somewheres  in  the  early  Victorian  period  Charles  Dance,  a 
prolific  dramatist  of  his  day,  put  forth  a  one-act  piece  called 
"Delicate  Ground."  Dance  was  a  liberal  adapter  of  other  per- 
sons' ideas  and  the  source  of  the  play  was  undoubtedly  French. 
In  fifty  minutes  he  summed  up  the  entire  essence  of  "Divorgons," 
"Frangillon,"  "A  Woman's  Way"  and  "Sauce  for  the  Gander," 
all  satirical  or  humorous  variations  of  the  perennial  and  eternal 
dramc  de  triangle. 

It  was  during  the  agitation  for  the  passage  of  the  present 
French  divorce  law  that  Sardou  in  conjunction  with  Emile  de 
Xajac,  who  suggested  the  idea,  wrote  "Divorgons,"  a  comedy  in 
three  acts  which  has  been  acted 
in  many  tongues  and  which,  in 
spite  of  its  age,  still  holds  the 
boards,  for  it  was  as  early  as 
1882  that  the  piece  was  first 
heard  in  this  country,  at  the 
Park  Theatre,  Twenty-second 
Street  and  Broadway,  with 
Alice  Dunning  Lingard  and 
Frederic  Robinson  in  the  prin- 
cipal roles.  Some  of  its  action 
shows  the  advance  since  made 
in  dramatic  construction,  but 
in  the  main  its  characterization 
and  its  comedy  scenes  are  as 
human,  witty,  true  and  sure  as 
they  were  when  the  comedy 
had  its  first  hearing. 

Cyprienne,  the  leading  fe- 
male role,  has  always  been  a 
favorite  part  with  Grace 
George,  who  scored  a  big  suc- 
cess when  she  first  played  it 
here  and  subsequently  repeated 
it  in  London  about  six  years 
ago.  It  was  not  surprising, 
therefore,  that  in  lieu  of  a 
novelty  she  should  elect  a  re- 
vival of  this  comedy  for  her 
rentree  at  the  Playhouse. 
Miss  George's  art  in  the  last 
few  years  has  advanced  with 
rapid  strides.  She  is  to-day 
one  of  the  most  expert  and 
distinguished  exponents  of 
high  comedy  now  treading  the 
American  boards.  Her  Cy- 
prienne is  a  delight  to  the  eye 
and  ear  and  its  every  detail 
sounded  with  the  instinct  and 
utterance  of  true  artistry. 
William  Courtleigh's  des  Pru- 
nelles is  a  good  if  rather  solid 
foil  to  his  volatile  wife.  Gail 
Kane  in  looks  and  action  is 
genuinely  Parisienne  as  Mme. 


de  Brionne,  while  Frank  Reicher,  some- 
what more  youthful  than  the  usual  ex- 
ponent of  Joseph,  makes  that  discreet 
maitre-d' hotel  a  very  humorous  char- 
acter. 

FULTON.     "WHAT  HAPPENED  TO  MARY."     Play  in  four  acts,  by  Owen 
Davis.     Produced  on  March  24th  with  the  following  cast : 


Tuck    Wintergreen Edgar    Nelson 

Joe   Bird Harry   Levian 

Liza    Peart Kate    Jepson 

Billy    Peart J.    D.    O'Hara 

Mary    Olive    Wyndham 

Captain    Jogifer E.    M.    Kimball 


Richard    Craig Joseph    Manning 

Henry   Craig Morris   Foster 

John    Willis Franklyn    Underwood 

Mrs.    Winthrop Alma  Kruger 

Tom    Little J.    C.    Yorke 

Mrs.    Gibbs Margaret    Maclyn 


Sarony 


By  a  slight  margin  this  piece  manages  to  keep  its  little  foot- 
hold on  the  stage.  It  is  described,  with  a  naive  apology,  as  "an 
old-fashioned"  play,  which,  if  it  means  anything,  means  that  the 
old-fashioned  things  are  the  best  or  as  good  as  the  best  of  the 
day.  It  is  possible  that  the  note  on  the  program,  one  of  con- 
fession and  avoidance,  does  invite  public  indulgence ;  but  the 
real  reason  why  the  play  may  hold  its  own  at  all  is  that,  in  many 
ways,  it  is  theatrically  effective,  not  strongly  so,  but  sufficiently 

so,  at  least  with  a  part  of  the 
public. 

Mary  is  a  waif.  Of  course 
there  is  a  wicked  uncle  who, 
for  reasons  that  are  not  at  all 
clear,  wants  to  dispose  of  her. 
He  had  placed  her  as  an  infant 
with  an  innkeeper  and  his  wife 
on  a  fishing  island,  and,  we  be- 
lieve, keeps  up  some  payment 
for  her  support.  Mary  lives  in 
a  kind  of  servitude  with  the 
selfish  old  people,  finding  her 
only  comfort  in  life  in  the 
friendship  of  an  old  peg-legged 
fisherman,  who  owns  a  fishing 
boat.  He  seems  to  know  a 
good  deal  about  her  identity, 
but  he  keeps  his  secret  or  half- 
secret,  so  that  the  story  can 
keep  alive.  Mary  is  very  un- 
happy because  a  rude  lover, 
who  later,  for  the  purposes  of 
comedy,  blossoms  out  in  fancy 
vests,  insists  on  marrying  her. 
A  young  man  from  the  city 
finds  her  in  this  unhappy  state 
of  mind  and  pictures  the  free- 
dom and  the  lights  of  the  city 
to  her  in  such  a  way  that  she 
agrees  to  follow  him.  The 
friend  of  a  sailor  helps  her 
away  on  his  sloop.  The  young 
rascal  is  about  to  get  her  in  his 
toils,  having  taken  her  to  a 
boarding  house,  when  a  good 
young  man  rescues  her  by 
opening  her  eyes  to  the  situa- 
tion. A  victim  of  the  young 
man  who  was  luring  her  now 
enters  into  the  action.  Mary 
takes  employment  in  the  office 
of  the  good  young  man.  and  is 
there  accused  by  the  bad  young 
man  and  his  mistress  of  having 
stolen  a  large  sum  of  money 


OLIVE   WYNDHAM 


This  clever  and  sympathetic  young  actress  is  now  appearing  in  a  new  play  by  Owen 
Davis  entitled,  "What  Happened  to  Mary" 


THE      THEATRE     MAGAZINE 


White 


GRACE    GEORGE    AS    CYPRIENNE    AND    WILLIAM    COURTLEIGH    AS    HENRI    DES  PRUNELLES    IN   "DIVCRt'ONS"   AT  THE  PLAYHOUSE 


from  the  handbag  of  a  "society  woman"  who  visits  the  office  and 
who  turns  out  later  to  be  Mary's  very  own  mother.  Mary 
is  finally  cleared  of  the  charge,  and  is  to  marry,  not  the  rude 
fisher-boy  with  the  waistcoats  aflame,  but  the  good  young  man  of 
the  story.  This  would  all  seem  preposterously  old,  but  the  char- 
acters are  characters  (of  the  stage),  and  with  the  various  old 
tricks  and  effects  and  incidents  and  episodes  and  situations, 
"What  Happened  to  Mary"  is  a  play  of  its  own  kind. 


LIBERTY.  "THE  PURPLE  ROAD."  Operetta  in  two  acts.  Music  by 
Heinrich  Reinhardt  and  William  Frederick  Peters  ;  book  and  lyrics  by 
Fred  de  Gresac  and  William  Gary  Duncan.  Produced  on  April  7th  last 
with  the  following  cast: 


Napoleon   ...........  Harrison   Brockbank 

Col.    Stappe  ...........  Edward   Martindel 

Major    .................  Horace   J.    Hain 

Captain    ............  Jerome  Van  Norden 

Lieutenant    ...............  Joseph    Royer 

Pappi    ................  Harold    H.    Forde 

Bisco    ....................  Clifton    Webb 

Franz    .....................  Frank    Grom 

The    Mameluke  ..........  -.  Robert    Smith 

A   Soldier  ...................  B.    Brennan 

Wanda   ......................  Valli   Valli 

Frau   Stimmer  .........  Elita   Proctor   Otis 


Kathi    Eva    Fall  on 

Lori   Anna   Wilkes 

Ophelia    Mabel    Parmalee 

Paula   Annabele    Dennison 

Theresa    Elsa   Lynn 

Bertha    Evelyn    Grahme 

Milzi    Elsie    Braun 

Stephanie   Winnie  Brandon 

Fouche    William  J.   Ferguson 

The  Empress  Josephine.  ..  .Janet  Beecher 
The  Duchess  of  Dantzic.  ...  Harriet  Burt 
Anita  Carina Emilie  Lea 


Pictorially  and  otherwise  Napoleon 
is  held  in  the  general  mind  in  so  many 
attitudes  and  in  so  many  phases  of 
character  that  we  find  nothing  incon- 
sistent in  seeing  him  represented  in 
opera.  Opera  is  an  artificial  form  at 
best,  and  singing  and  dancing  are  not 
the  ordinary  business  of  life.  It  is 
no  more  absurd  for  Napoleon  to  sing 
a  love  song  or  to  dance  discreetly  in 
an  opera  than  it  is  for  any  other 
human  being  that  was  or  is.  "The 
Purple  Road"  is  a  dignified  opera, 
much  better  than  the  usual  run  of 
them.  It  has  a  story,  not  an  entirely 
satisfactory  one  in  its  ending,  but 
very  agreeable  in  its  details,  romantic 
and  yet  possible.  Napoleon  is  repre- 
sented as  a  comparatively  young  man,  at  a  time  when  his  emo- 
tions were  certainly  alive  enough  to  make  it  probable  that  he  fell 
in  love  with  a  Viennese  maid,  kissed  her,  and  told  her  to  come  to 
Paris,  where  he  would  "help  her"  with  the  Emperor.  At  any  rate, 


on  I5roa&ttiav 

Spring  has  arrived  for  back  to  old  Broadway 
The  actor  folk  have  come,  and  every  day 
The  puppets  of  the  playwright's  brain  are  seen 
Greeting  old  friends  and  making  new  the  while. 

Success  hobnobs  with  Failure  on  that  street, 
And  Genius  passes.  You  press  agents  meet 
Bold  Notoriety;  while  Talent,  timid — green 
Impatiently  awaits  their  fickle  smile. 

Thrice  welcome,  Thespians ! — matron,  man  or  maid 
To  dear  old  Broadway's  lights  that  never  fade. 
The  winter  season's  past — God  speed  the  year! 
The  actors  have  returned  and  spring  is  here! 

LESLIE  CURTIS 


he  did  this  in  the  opera,  and  what  happens  is  a  good  operatic 
story.  The  maid  comes  to  Paris,  believing  always  that  the  man 
who  kissed  and  told  his  love,  she  giving  in  return  full  measure, 
was  a  poor  lieutenant.  There  she  discovers  his  identity,  over- 
hears a  plot  between  Fouche  and  Talleyrand,  and  saves  the 
Emperor's  life.  Nothing  in  particular  comes  of  it,  except  that 
when  Napoleon  is  known  to  be  dead  in  his  banishment  the  maid 
sings  a  song  of  emotional  and  tenderly  reminiscent  lamentation, 
as  the  sun  goes  down  over  a  wheat  field.  For  a  good  part  of 
the  time  the  story  meant  something,  while  most  operas  dawdle 
about  in  a  piffling  way.  "The  production  is  beautiful  in  every 
way  belonging  to  the  operatic  stage.  Everything  about  it  is 
substantial.  This  includes  the  music,  which  is  far  above  the 
ordinary,  in  song  and  in  instrumentation.  Mr.  Gaites  has  not 
stopped  halfway  in  anything  in  producing  "The  Purple  Road." 
Small  dramatic  parts  enlist  the  services  of  W.  J.  Ferguson,  as 
Fouche,  Elita  Proctor  Otis,  as  the  village  aunt  of  the  peasant 
girl,  and  Janet  Beecher,  as  Josephine.  Janet  Beecher  had  little 

to  do,  was  a  mere  figure,  while  her 
two  other  associates  from  the  stage 
proper  had  little  more  in  hand;  but 
the  opera  was  all  the  better  for  their 
presence.  For  the  songs  alone  the 
opera  is  worth  the  while,  and  should 
obtain  and  retain  popularity.  Valli 
Valli's  Wanda  was  excellent  in  quality 
of  voice,  and  she  is  a  capable  actress, 
too.  The  songs  generally  are  so  ex- 
ceptionally good  that  of  the  seventeen 
numbers  not  one  fell  short  of  pro- 
viding pleasure.  Eva  Fallon  has 
several  pretty  songs  and  dances.  The 
most  ambitious  was  The  Mysterious 
Kiss,  in  the  first  act,  beautifullv 
done  by  Valli  Valli.  with  a  stage  full 
of  the  brides  and  bridegrooms  ready 

for  a  ceremony  that  presently  was  to  be  interrupted  and  deferred. 
Eva  Fallon's  Feed  Me  with  Love  was  charming.  Edward 
Martindel's  "Diplomacy,"  deep-throated,  was  carried  off  with  a 
swing  and  much  applauded.  Harriet  Burt,  as  the  Duchess  of 


132 


THE      THEATRE     MAGAZINE 


Dantzig,  used  a  good  deal  of  current  slang,  but  we  might  suggest 
that  this  was  not  her  individual  fault,  if  it  was  a  fault,  and  as  the 
good-natured  vulgarian  elevated  to  rank,  she  gave  a  capital  con- 
tribution to  the  effectiveness  of  the  opera.  Mr.  Brockbank's 
Napoleon  is  a  good  enough  Napoleon  in  appearance,  in  all 
reason,  for  the  purpose.  "The  Purple  Road"  is  so  free  from  the 
customary  inane  fooleries  of  the  comic  opera  of  the  day  that  it 
is  a  relief. 


Karl  Millocker's  masterpiece ;  and  the  revival,  which  is  sumptuous 
in  every  external  way,  is  drawing  full  audiences. 


FORTY-EIGHTH  STREET.     "THE  SPIRITUALIST."     Comedy  in  three 
acts  by  Francis  Wilson.     Produced  on  March  24th  with  this  cast : 


Stephen    Atwell Francis    Wilson 

Gustav    Schumacher John    Blair 

Dr.   John  Anthony Wright   Kramer 

Halton   Roland   Rushton 


Graves    .  . ., F.    S.    Peck 

Eleanor    Roy  well Edna   Burns 

Mrs.    Prince. ..  .Harriet    Otis    Dellenbaugh 
Annie    Lola    Fisher 


It  is  not  always  wise  for  an  actor  to  depend  for  his  own  pur- 


White 


H.   B.   WARNER   AND   KATHERINE   EMMET    IN    "THE    GHOST    BREAKER"    AT   THE   LYCEUM 


CASINO.    'THE  BEGGAR  STUDENT."    Comic  opera  in  three  acts  by  Karl 
Millocker.  Revived  on  March  22d  with  this  cast: 


Puffke   Harry   Smith 

Piffke   Parker   Leonard 

Enterich    Arthur   Cunningham 

Alexis  Leo   Frankel 

Olga    Adelaide   Robinson 

Lieutenant   Wangerheim Paul   Farnac 

Major   Schweinitz J.    P.    Gallon 

Major    Holzhoff Jack    Evans 

Captain    Henrici Robert    Millikin 

Ensign   Richtofen C.   A.    Hughes 

Lieutenant   Poppenburg Viola    Gillette 


General   Ollendorf De   Wolf  Hopper 

Symon    Symonovicz.  ..  George    Macfarlane 

Janitsky    Arthur   Aldridge 

Mayor    of   Cracow David    Heilbrunn 

Countess    Palmatica Kate   Condon 

Laura    Blanche    Duffield 

Bronislaya    Anna   Wheaton 

Onouphrie    Olin   Howland 

Sitzka    Louis    Derman 

Bogumil   C.   W.   Meyers 

Eva    Louise    Barthel 


The  revival  of  "The  Beggar  Student"  has  been  very  happily 
made,  at  the  Casino.  De  Wolf  Hopper  has  the  part  of  General 
Ollendorf,  Governor  of  Cracow,  a  boastful,  blustering  official 
who  gets  the  worst  of  every  encounter.  De  Wolf  Hopper's 
speech  between  the  curtains  is  one  of  the  most  amusing  features 
of  the  entertainment.  The  beggar  student  is  George  Macfarlane. 
Kate  Condon,  Blanche  Duffield,  Anna  Wheaton,  Louise  Barthel 
and  Adelaide  Robinson  are  of  the  efficient,  indeed  unusual,  cast, 
with  Viola  Gillette  as  a  lieutenant.  "The  Beggar  Student"  is 


poses  on  himself  as  a  dramatist.  Francis  Wilson  did  this  sue- 
fully  with  "A  Bachelor's  Baby,"  but  when  it  came  to  a  successor 
he  fell  down  and  fell  down  hard.  "The  Spiritualist,''  which  re- 
cently had  a  run  of  exactly  one  week  at  the  Forty-eighth  Street 
Theatre,  richly  deserved  its  short-lived  fate.  It  was  preposterous 
in  every  detail.  Its  naive  attempt  to  evolve  a  plot  in  which 
figured  a  child  being  slowly  poisoned  and  a  protagonist,  who 
Prospero-like  could  evoke  the  spirits,  together  with  incidents  of 
incompetent  comedy,  minstrel  horseplay  and  abortive  sentiment 
could  meet  with  but  one  ending.  With  such  material  it  was  not 
surprising  that  the  acting  called  for  little  comment.  Mr.  Wilson 
is  a  born  farceur.  He  was  at  times  funny,  and  in  the  second  act, 
which  seemed  suspiciously  like  a  wholesale  extract  from  "Our 
Goblins,"  which  he  did  more  than  twenty  years  ago,  he  resorted 
to  and  revealed  all  those  tricks  which  made  him  famous  in  his 
comic  opera  days.  John  Blair  imparted  character  to  a  sketch  of  a 
German  professor.  (Continued  on  page  .nV) 


LINA    ABARBANELL   AND   CARL   GANTVOORT    IN   "THE   GEISHA"   AT   THE   FORTY-FOURTH    STREET   THEATRE 


ed  Goods"  amid  H©w  it  was  Produce 


"1"^  AMAGED  Goods"  ("Les  Avaries")  was  written  by 
1  Eugene  Brieux,  a  French  dramatist  of  purpose  and 
distinction,  ten  years  or  so  ago.  It  belongs  to  a  series 
of  plays  handling  sociological  questions.  It  seeks  to  bring  to  the 
general  conscience  the  evils  of  immorality  resulting  in  disease 
and  the  necessity  for  some  concerted  action  in  stamping  out  the 
specific  disease,  after  the  manner  in 
which  tuberculosis  is  now  being 
taken  in  hand.  Such  a  movement  is 
practical,  but  it  is  so  wide  in  its 
scope  that  the  production  of  a  play 
to  further  it  is  a  mere  trifle.  The 
subject  is  not  a  forbidden  one.  On 
the  contrary,  the  facts  call  for  frank- 
ness and  action.  It  is  possible  that 
the  production  of  "Damaged  Goods" 
might  have  been  prevented  by  official 
interference,  but  that  apprehension 
was  removed  when  Mayor  Gaynor 
commended  it.  Richard  Bennett 
was  the  moving  spirit  in  it.  To  his 
aid  came  The  Medical  Review  of 
Rez'iezvs,  which  organized  a  Socio- 
logical Fund,  to  which  many  people 
of  distinction  subscribed.  A  per- 
formance of  the  play  was  given  at 
the  Fulton  Theatre  on  the  afternoon 
of  March  I4th.  The  play  is  largely 
a  discussion  of  the  many  aspects  of 
the  evil  in  its  relations  to  eugenics. 
The  arguments  put  forward  in  the 
play  are  made  possible  by  the  action 
of  a  story,  and  while  that  story 
might  not  constitute  an  entertain- 
ment for  the  pleasure-seeking  multi- 
tude, a  practical  purpose  is  served 
The  play  is  less  impressive  than  its 
arguments  and  statements,  so  that  details  of  them  are  not  essen- 
tial to  this  record  of  a  movement,  of  which  the  production  is 
but  an  incident.  The  acting  in  the  play  was  marked  with  entire 
efficiency.  Indeed,  it  would  be  difficult  to  imagine  a  more  com- 
petent and  in  every  way  fit  assemblage  of  players.  Mr.  Richard 
Bennett  was  the  young  man  who  consulted  the  physician  as  to 
his  marriage,  and  who  married  in  spite  of  warning  given.  He 
has  emotional  power  and  discretion  in  his  art.  Mr.  Wilton  Lac- 
kaye,  as  the  Doctor,  was  at  his  best,  with  that  faculty  of  his  of 
conveying  the  sense  of  intellectual  force  and  authority.  Miss 
Grace  Elliston  was  the  wife,  Miss  Amelia  Gardner,  Miss  Laura 
Burt,  Miss  Margaret  Wycherly,  Miss  Mabel  Morrison,  Mr.  Dod- 
son  Mitchell  and  Mr.  Clarence  Handyside  were  of  those  who 
gave  their  invaluable  services  without  charge. 

To  a  THEATRE  MAGAZINE  representative,  Richard  Bennett  told 
how  he  came  to  produce  the  play.  One  night  as  he  sat  in  a 
fashionable  restaurant  toying  with  truffles  and  ideas,  he  heard 
some  men  casually  discussing  it.  Deeply  interested  in  the  sub- 
ject, he  at  once  procured  a  copy  of  Bri'eux's  book,  and  after  he 
had  read  "Les  Avaries"  the  young  actor  was  filled  with  a  deter- 
mination to  produce  it  for  the  good  of  humanity.  Prejudice,  he 
knew,  stalked  in  his  path,  but  the  world  he  considereed  was 
sorely  in  need  of  that  particular  play.  In  'every  town  on  his 
western  tour  he  talked  of  the  piece.  In  every  town  he  heard  the 
same  formula,  heard  it  so  often  that  when  a  local  sage  opened 
his  mouth  Mr.  Bennett  stopped  it  with :  "I  know  what  you're 
going  to  say.  'It's  a  good  play  to  read,  but  it  is  not  for  the  stage.' 
Nevertheless  I  intend  to  stage  if.  Seen  on  printed  pages  the  play 
may  be  forgotten.  With  the  added  emphasis  of  voice  and  move- 
ment and  living  presence  it  never  will." 

Thus  a  year's  constant  combat  on  western  tour  was  futile,  or 
seemed  so,  but  Browning  assures  us  "There  is  no  lost  good." 


Copy  right  Richard  Bennett 

George    Dupont  The    Doctor 

(Richard    Bennett)  (Wilton    Lackaye) 

Doctor:    "Now  don't  be  frightened — we  wili  do  all   we  can  for  you. 
It    is    one    of    the    results    of    ignorance" 

SCENE    IN    EUGENE    BRIEUX'S    PLAY   "DAMAGED    GOODS  " 


Richard  Bennett  was  convinced  when  at  the  Forty  Club  in  Chi- 
cago he  was  invited  to  speak  and,  rising,  said :  "I've  entertained 
you  fellows  several  times.  Now  that  I've  got  you  where  you  can't 
get  away  I'm  going  to  talk  to  you." 

He  told  them  of  the  play  and  he  told  them  that  it  must  be 
produced  and  would.  "I  don't  know  how,"  he  said,  the  mighty 

zeal  of  unconquerable  youth  vibrat- 
ing in  his  tone,  "but  it  shall." 

After  his  speech  Dean  Sumner,  of 
one  of  the  leading  churches  of  the 
western  metropolis,  grasped  his 
hand.  "I  want  to  read  that  book," 
he  said.  "I  am  interested."  Directly 
after  he  put  the  book  into  circulation 
in  his  parish  and  preached  upon  its 
theme. 

"The  first  gun  has  been  fired," 
announced  the  knight  of  the  book, 
and  of  the  eyes  and  the  jaw. 

Mr.  Bennett  came  to  New  York, 
talked  about  "Damaged  Goods,"  and 
made  himself  a  circulating  library  of 
the  book. 

"It's  a  good  play,"  began  his 
friends  of  his  club — The  Lambs — 
"but— 

"It's  going  to  be  produced."  Mr. 
Bennett's  warrior  jaw  was  growing. 
"I  thrust  the  book,  pretty  ragged 
now,  under  Sam  Harris's  nose,"  said 
the  knight  of  the  Brieux  play.  "Mr. 
Harris  hadn't  time  to  read  it  but  he 
arranged  to  let  the  actor  have  the 
Cohan  Theatre  for  the  play.  Accus- 
tomed to  battle,  the  warrior  feared 
this  too  good  to  be  true.  Some- 
body told  Mr.  Harris  the  story  of 
the  play.  Mr.  Harris  said  it  should  not  appear  in  his  theatre. 
The  New  Princess  was  tendered  him,  accepted,  and  the  offer 
was  withdrawn.  The  proprietors  feared  the  license  might  be 
withheld.  He  asked  Mr.  Ames  for  the  use  of  The  Little  Theatre 
for  a  matinee.  Mr.  Ames  took  a  day  to  consider ;  then  wrote  that 
while  he  admired  the  play  and  his  inclination  was  to  produce  it 
he  feared  the  effect  of  the  production  upon  his  clientele.  "1  hope 
you  understand,"  he  wrote.  Mr.  Bennett  thrust  forward  his  jaw 
and  wrote :  "I  do  understand  after  your  production  of  'The 
Affairs  of  Anatol.' " 

Tidings  of  his  purpose  crept  into  the  newspapers  in  a  two-line 
announcement.  The  editor  of  a  medical  journal  saw  it  and  wrote 
to  offer  his  co-operation.  They  organized  a  committee  and  asked 
John  D.  Rockefeller,  Jr.,  to  join.  He  wrote  he  was  too  busy  with 
his  crusade  on  a  related  subject  in  Chicago.  But  relenting  event- 
ually he  joined  the  committee. 

"I'll  produce  it  at  a  hotel,"  asserted  the  knight  of  Brieux.  He 
engaged  the  Waldorf-Astoria  and  set  about  engaging  his  com- 
pany for  the  production.  There  being  no  money  for  the  produc- 
tion the  players  were  asked  to  play  for  nothing.  A  few  of  them 
consented.  The  hotel  management  wrote  that  it  understood  the 
play  to  be  produced  was  "Damaged  Goods,"  and  declined  to  per- 
mit drama  of  such  nature  to  be  produced  in  that  hostelry. 

One  of  those  upon  whom  Mr.  Bennett  had  pressed  the  tattered 
copy  of  his  much  read,  much  shunned  book  of  Brieux  plays,  was 
he  whom  actors  refer  to  lovingly  as  "Pop"  Harris.  When  Mr. 
Bennett  called  at  his  office  the  elder  man  said :  "Dick,  my  boy, 
Harry  intended  to  produce  this  play.  Before  he  sailed  for  Europe 
he  told  me  he  wanted  to  put  it  on  the  stage,  out  of  his  desire  to 
do  something  worthy." 

Silence  fell  between  them.  Before  each  rose  the  picture  of  the 
going  down  of  the  Titanic.  (Continued  on  page  vii) 


THE  first  perform- 
ance of  Dr.  Wil- 
helm    Kienzl's 
opera,  "Le   Ranz  des   Vaches,"   or   "Kuhreigen,"  on   February 
25th,  in  New  York,  by  the  Chicago  Opera  Company,  brought  to 
mind  one  of  the  first  hearings  the  opera  ever  had,  an  occasion 
unique  and  charming,  at  which  the  present  writer  was  privileged 
to  be  present. 

In  the  wonderful  valley  of  the  Salzkammergut,  in  the  neigh- 
borhood of  Ischl,  where  the  Austrian  Kaiser  takes  his  summer 
outings,  is  a  small  and  very  beautiful  Kurort,  or  Bad,  which  is 
little  known  to  foreigners,  but  is  very  popular  with  the  Austrians 
of  the  neighboring  cities.  All  around  it  rise  majestic  mountain 
heights;  to  the  north,  the  mysterious  Mountains  of  Death,  with 
their  cruel  barren  peaks ;  to  the  east,  the  gleaming  white  tooth  of 
the  Styrian's  beloved  Dachstein,  while  on  the  nearer  horizon  are 
the  more  friendly  and  approachable  Styrian  Alps.  The  village 
itself  is  mediocre,  and  like  a  dozen  others  of  its  kind,  but,  strag- 
gling up  the  hillsides  all  about,  are  charming  villas,  and  beyond 
them  equally  attractive  peasant  houses,  inhabited  mostly  by 
visitors  in  the  summer  months,  who  adopt  the 
local  picturesque  costumes  still  generally  worn 
in  that  part  of  the  country. 

On  a  little  plateau,  a  good  distance  above  the 
town,  and  reached  by  an  appallingly  perpen- 
dicular road,  is  a  real,  unspoiled  mountain  Inn 
or  "Gasthaus,"  kept  by  a  widow  and  her 
daughter.  A  few  energetic  pedestrians  from 
the  village  climb  up  here  in  the  afternoons  to 
drink  coffee  and  enjoy  the  view  of  the  Dach- 
stein, but  it  is  mostly  patronized  by  the  peasants 
from  the  surrounding  farms,  who  stop  there  of 
an  evening  to  drink  their  interminable  steins  of 
beer.  Hard  by  this  inn,  in  summer,  lives  Dr. 
Wilhelm  Kienzl,  whose  opera,  "Evangelimann," 
was  very  popular  in  Germany  some  twelve 
years  ago,  and  whose  latest  work  has  just 
been  introduced  to  us.  He  lives  with  his  wife, 
his  cook,  and  his  enormous  dog,  "Tristan,"  in 
an  incredibly  small  house,  and  has  done  so  for 
sixteen  summers.  I  have  never  seen  all  the 
family  inside  the  house  at  the  same  time,  and 
no  dbubt  it  must  be  a  difficult  matter,  but  that 
does  not  make  much  difference  as  everyone 
lives  out  of  doors  as  much  as  possible  in  that 
happy  country. 

A  little  distance  down  the  road  is  an  adorable 
peasant  house,  set  -perilously  upon  the  steeply  sloping  hill- 
side, and  girdled  by  apple  and  peach  trees.  This  is  Olive 
Fremstad's  very  own,  and  a  haven  of  rest  and  refreshment 
to  which  she  flies  whenever  her  work  will  permit,  donning  the 
peasant  costume  and  forgetting  the  big  world.  I  was  privileged 
to  share  this  simple,  sweet.  IHtle  home  with  her  one  summer, 
and  as  we  often  sought  the  Gasthaus  for  refreshment,  we  saw 
much  of  Dr.  Kienzl  and  his  doings. 

Poor  man.  he  seemed  always  at  work !  I  do  not  know  why  I 
say  "poor  man,"  for  I  never  saw  anyone  so  completely  absorbed 
and  contented,  only  it  used  to  get  on  my  nerves  to  see  him  per- 
petually bending  over  his  orchestrations  as  one  might  over  em- 
broidery, making  each  note  as  perfect  as  a  printed  score. 

There  was  a  little  grove  near  by  to  which  he  used  to  go  every 
morning  at  eight  o'clock  and  work  there  until  summoned  to 
dinner  by  his  wife.  Good  lady,  her  voice  would  not  carry  half 
the  distance  as  she  disliked  to  walk,  so  many  a  time  have  Madame 
Fremstad  and  I,  as  we  passed  the  grove,  taken  the  message 
along,  and  sung  out  from  the  road.  "Herr  Doktor.  zuin  Essen, 
bitte !"  It  always  amused  me  about  the  Doktor's  Grove.  It  did 
not  belong  to  him  at  all,  but  he  is  so  beloved  by  all  the  people 
of  the  country,  and  they  are  so  proud  of  his  achievements,  that 
no  one  said  him  nay  when  he  put  up  several  signs  advising 
people  to  keep  away  from  his  grove,  and  built  himself  rustic 
seats,  desks  and  tables.  It  is  a  beautiful  spot,  and  it  is  here  that 


of  "Le  Ranz  dies  Vaches" 


OLIVE   FREMSTAD 
Outside   her  Austrian   country    ho 


much  of  his  music  has 
been  born. 

Dr.  Kienzl  is  a  short, 

stocky,  bewhiskered  little  man,  rather  blustering  and  of  over- 
whelming energy.  He  always  wears  a  velvet  Tam-o'-Shanter  in 
fair  weather  or  foul,  I  suppose  as  a  sort  of  subtle  compliment  to 
his  great  master,  Wagner,  at  whose  shrine  he  is  a  fanatic  wor- 
shipper. He  talks  much,  easily,  and  eloquently,  but  always  upon 
one  subject,  his  work.  No  matter  if  the  conversation  might 
start  with  cheese  making,  or  any  other  remote  subject,  he  will 
inevitably  lead  it  by  gentle  stages  back  to  the  one  engrossing 
topic.  Such  enthusiasm  as  his  is  really  most  inspiring,  even  if 
nerve-racking.  His  wife  is  in  every  sense  his  helpmate,  living 
her  life  for  his  alone;  seeing  to  the  perfection  of  his  meals  and 
all  his  bodily  comforts  with  touching  devotion,  and  sharing  his 
every  disappointment  and  success  in  the  ruling  passion  of  his 
soul. 

Sometimes  of  an  evening,  when  the  moon  would  flood  the 
plateau  with  marvellous  silver  light,  we  would  come  and  tear 
the  feverishly  working  little  man  away  from  the  flickering  lamp 
on  the  table  in  his  yard,  where  he  bent  over  his 
mystical  black  notes,  "Tristan's"  head  on  his 
knee,  his  wife  knitting  stockings  beside  him, 
and  a  huge  stein  of  beer  before  them  on  the 
table.  He  would  walk  ahead  with  Madame 
Fremstad,  and  they  would  talk  so  fast  and  so 
excitedly  and  gesticulate  so  wildly  that  they 
could  not  continue  walking,  so  our  progress 
was  full  of  funny  little  halts  and  intervals.  I 
always  brought  up  the  rear  with  the  Frau 
Doktor,  and  she  would  tell  me  in  her  gentle 
voice,  wonderful  culinary  secrets,  and  describe 
other  domestic  intricacies,  while  I  listened  in 
what  must  have  been  flattering  awe.  I  learned 
a  little  of  her  life,  too,  how  she  had  once  sung 
Elsa,  and  many  other  roles  in  a  small  opera 
company,  but  had  abandoned  all  thought  of  her 
own  career  when  she  married  the  Herr  Doktor, 
and  made  his  life  and  work  hers. 

All  through  that  summer  "the  opera"  pro- 
gressed scene  by  scene,  and  at  last,  a  week  be- 
fore we  were  sorrowfully  packing  our  trunks 
to  go  back  to  the  world,  he  triumphantly  com- 
pleted his  task,  shipped  the  carefully  wrought 
sheets  to  Vienna,  and — we  were  invited  to  a 
party !  We  were  to  be  privileged  to  hear  the 
Meister  play  through  his  new  opera  the  next 
afernoon  at  five  o'clock,  in  the  big  attic  room  of  the  Inn, 
where  he  always  worked  on  rainy  days.  There  were  to  be 
a  few  other  guests  also,  we  were  to  wear  our  best  clothes, 
we  were  to  remain  to  supper  at  the  Inn.  and  afterward  it  was 
hoped  that  Madame  Fremstad  might  sing! 

We  spent  an  anxious  hour  wondering  what  to  wear,  and  an- 
other accustoming  ourselves  to  civilized  clothes,  but  at  last, 
when  the  time  arrived,  we  walked  down  the  road  very  spic  and 
span,  and  feeling  most  uncomfortable.  It  was  a  stiflingly  hot 
afternoon,  with  a  thunderstorm  growling  among  the  mountains, 
but  we  crowded  eagerly  into  that  big,  warm  room,  and  sat  in 
reverent  silence  while  the  story  of  the  opera  was  sketched  for 
us ;  and  then  the  Herr  Doktor  began  to  play.  I  got  out  my 
embroidery  because  all  the  other  ladies  were  sewing  or  knitting, 
we  had  coffee,  too,  but  the  opera  went  on  over  and  above  it  all. 
Madame  Fremstad  took  her  seat  at  the  piano  to  turn  the  pages, 
and  to  better  enjoy  the  music,  and  sometimes,  when  the  Herr 
Doktor's  rough,  but  not  unmusical,  voice  grew  a  little  tired  on 
the  chorus,  she  would  join  in  softly,  carried  away  by  his 
enthusiasm. 

We  followed  the  sad  fortunes  of  the  Lady  Blanchefleur  no 
1'ess  vividly  that  afternoon  in  the  dusky  attic  room  than  did  those 
who  witnessed  the  performance  the  other  night  at  the  Metropol- 
itan Opera  House.  In  fact  it  was  a  performance  never  to  be 
forgotten,  for  the  footlights  were  the  fires  of  the  composer's  en- 


136 


THE      THEATRE     MAGAZINE 


thusiasm,  the  characters  were  still  the  obedient  children  of  his 
fancy  alone,  and  the  music  had  the  spontaneity  and  freshness  of 
a  spring  at  its  very  source.  We  sat  in  semi-darkness  at  the  close 
of  the  last  act,  and  no  one  spoke,  only  the  good  Frau  Doktor 
brought  the  composer  a  glass  of  beer  and  a  clean  handkerchief. 
Then  we  all  filed  solemnly  down  to  a  wonderful  supper,  beginning 
with  brook  trout  and  ending  with  American  canned  peaches,  con- 
sidered a  rare  delicacy.  I  sat  between  two  ladies,  who,  much  to 


my  distress,  wished  to  practice  their  English  with  me,  while  I 
desired  greatly  to  improve  my  German. 

This  was  the  last  time  that  we  saw  the  Herr  Doktor,  for  he 
followed  his  beloved  manuscript  to  Vienna  immediately  after- 
ward. A  few  days  later  we  ourselves  drove  away  in  the  pouring 
rain,  "Tristan's"  farewell  bark  in  our  ears,  and  the  Frau  Doktor 
waving  her  apron  at  us  from  the  door  of  her  tiny  house  until 
we  disappeared  from  view.  MARY  F.  WATKINS. 


JIT 


NEW  YORK  is  to 
have  another  prize 
play  contest.  Mr. 

Winthrop  Ames,  director  of  the  Little  Theatre,  this  city,  offers 
$10,000  for  the  best  play  by  an  American  author  submitted  be- 
fore August  isth  next.  It  is  Mr.  Ames'  intention  to  produce 
this  play  next  season  at  the  new  playhouse  now  being  built  for 
him  on  West  Forty-sixth 
Street,  near  Broadway.  The 
award  will  be  made  by  a  com- 
mittee of  three  judges,  Mr. 
Augustus  Thomas,  president 
of  the  Society  of  American 
dramatists;  Mr.  Adolph  Klau- 
her,  dramatic  editor  of  the 
New  York  Times,  and  Mr. 
Winthrop  Ames.  As  all  man- 
uscripts must  be  submitted 
anonymously,  unknown  writers 
will  have  an  equal  hearing 
with  those  of  established  repu- 
tations. No  limitations  as  to 
the  style  of  play  are  imposed, 
but  in  making  the  award  those 
which  in  the  opinion  of  the 
committee  promise  to  appeal  to 
the  general  body  of  the  play- 
goers will  be  preferred  to  those 
which  appeal  to  a  limited  class 
only. 

In  instituting  this  play  con- 
test it  is  probable  that  Mr. 
Ames  had  two  ideas  in  his 
mind.  One  was  to  dispel  the 
widespread  belief,  engendered 
by  his  career  as  a  manager  at 
the  New  Theatre,  that  he  can 
see  possibilities  only  in  foreign 
plays.  The  other  is  to  provide 
a  tremendous  reclame  for  his 
new  theatre.  It  will  be  noticed, 
however,  that  Mr.  Ames  does 
not  promise  to  open  the  new  house  with  the  winner,  but  to  pro- 
duce the  play  during  the  season  1913-14.  Nor  does  he  actually 
guarantee  a  production,  although  the  judges  may  award  the  prize. 
The  conditions  are  liberal,  yet  perhaps  less  so  than  they  appear 
at  first  glance.  There  should  be  more  than  one  prize.  A  play 
might  be  as  good  or  better  than  the  play  actually  winning  first 
prize,  yet  entirely  inappropriate  for  Mr.  Ames'  theatre  or  pur- 
pose. If  second  or  third  prizes  were  awarded,  it  is  quite  certain 
that  these  plays  would  find  a  ready  market,  thus  broadening  the 
usefulness  of  the  competition.  It  is  unreasonable,  also,  to  expect 
that  a  play  can  be  written  in  less  than  four  months. 

In  the  nature  of  things,  the  play  that  may  be  chosen  and  pro- 
duced is  likely  to  fail  with  the  general  public.  A  play  that  has 
actually  withstood  the  acid  test  of  this  competition  comes  before 
the  public  so  heralded  by  its  success  that  it  will  have  to  be  another 
"Hamlet"  to  withstand  the  criticism  that  is  sure  to  be  leveled  at 
it.  Its  success  in  the  competition  overadvertises  it.  It  is  inevita- 


Photo  Moffett 


This    promising    young    actress,    whose 
praise,    is    now    appear! n 


ble.      Conditions    are    all 
against  its   success.     Ex- 
pectations  in  the  theatre 
are  rarely  realized.    The  real  successes  of  the  stage  are  accidents. 
It  is  to  be  hoped,  however,  that  the  contest  may  bring  forth  a 
play  that  is  worthy.     We  also  advance  the  hope  that  this  con- 
test  may  become   an   annual   event — to  be   looked    forward   to 

as  the  Prix  de  Rome  is  in 
France  for  painters  and  mu- 
sicians, that  even  if  the  play 
should  not  make  a  mere,  vul- 
gar success  of  money,  that  it 
be  considered  an  honor  to  have 
won  the  Ames  prize,  that  a 
medal  should  go  with  it,  that 
other  grades  be  established  and 
that  the  contest  be  announced 
far  enough  ahead  so  that  au- 
thors may  have  time  to  pre- 
pare for  it,  and  that  the  date 
of  final  adjudication  be  set 
back  at  least  three  months,  so 
that  the  non-winners  may  still 
have  sufficient  time  to  market 
their  plays  elsewhere  for  the 
ensuing  seasons. 

The  conditions  of  the  contest 
are  as  follows : 

1.  Authors  must  be   residents  of 
the  United  States. 

2.  Plays  must  be  original,  and  of 
the  right  length  for  a  full  evening's 
entertainment.        No      translations, 
adaptations,      one-act      pieces,      or 
musical    comedies    will    be    consid- 
ered.     Dramatizations    of    novels, 
short  stories;  etc.,  may  be  entered, 
provided   full   rights   to   make  such 
dramatizations   have   been    secured. 

3.  Each   play   submitted   must   be 
signed  with  pseudonym  only,  and  be 
accompanied  by  a  sealed  envelope, 
bearing  outside  the  title  of  the  play 
and    the    author's    pseudonym,    and 

enclosing  the  author's  real  name  and  address.     TheSe  envelopes  will  not 
be  opened  until  the  judges  have  made  their  decision. 

4.  Manuscripts  must  be  clear,  typewritten  copies,  and  sent  by  mail  or 
prepaid   express,   addressed :     "Winthrop   Ames'   Play   Contest,   Care  The 
Little  Theatre,  240  West  44th  Street,  New  York  City."    Manuscripts  must 
be  received  before  August  15,   1913.     The  award  will   be  made  and  the 
manuscripts  returned  as  soon  as  possible  after  that  date ;  but  as  Mr.  Ames 
cannot  hold  himself  responsible  for  possible  loss,  or  damage  to  any  manu- 
script, authors  should  keep  copies  of  the  plays  they  submit. 

5.  No  play  can  be  considered  which  has  previously  been  submitted  to  Mr. 
Ames,  either  at  The  Little  Theatre  or  while  director  of  The  New  Theatre. 

6.  The  payment  of  the  award  of  $10,000  will  entitle  Mr.  Ames  to  all 
rights  whatsoever  in  the  accepted  play,  and  shall  be  considered  as  advance 
payment  on  account  of  royalties  until  these  royalties,  reckoned  at  10%  of 
the  gross  receipts  from  the  play,  shall  have  amounted  to  $10000.     There- 
after Mr.  Ames  will  pay  royalties  of  8%  on  all  additional  gross  receipts 
derived  from  the  play. 

7.  While  Mr.  Ames  engages,  in  any  case,  to  pay  $10000  for  the  best 
play  submitted,  he  does  not  promise  a  production  if,  in  the  opinion  of  the 
judges,  no  play  of  requisite  merit  is  received. 


JANET    BEECHER 

work    in    "The   Concert"    won   considerable 
g    in    "The    Purple    Road" 


Photo  Bruguiere 

MME.    GERVILLE-REACHE 
Distinguished   French  contralto  who  has  recently  completed  an  extensive  concert   tour  of  the  United  States 


THAI  fierv 
dramatic 
Italy  is 

capable  of  bringing  forth  comedy  as  delicate,  as  lightly  philo- 
sophical and  humorously  satirical  as  France  and  England, 
Giannino  Antona-Traversi  will  prove  to  us  when  he  comes  to 
this  country  next  season  to  supervise  some  performances  of  his 
plays. 

The  national  Italian  drama  is  still  in  its  infancy.  It  does  not 
count  more  than  two  or  three  score  years.  In  the  seventeenth 
century  Italian  comedy  flourished,  and  Scaramouche,  Harlequin, 
Isabella  and  Colombine  wandered  to  Paris  to  set  an  example  to 
the  French  players  and  become  the  forebears  of  many  a  character 
in  French  comedy.  Even  the  great  Moliere  studied  them  to  his 
advantage.  But,  since  then,  Italy  went 
through  all  sorts  of  political  quandaries,  and 
the  theatre  had  to  suffer  under  them.  For 
years  nothing  was  produced  but  plays  in  dia- 
lect, comprehensible  and  interesting  only  to 
limited  populations.  Still,  these  plays  had 
one  great  virtue :  they  became  a  source  ever- 
lastingly fresh  for  the  national  drama  to 
drink  from.  There  is  an  ancient  symbol  that 
reflects  a  persistent  aspect  of  life :  the  legend 
of  Antaeus,  the  giant  son  of  Earth,  who  al- 
ways bent  down  to  his  mother  to  take  new- 
strength  from  her.  So  does  the  contempo- 
rary Italian  drama  from  her  mother,  the  o!d 
drama  in  dialect. 

Alfieri,  and  the  Venetian  Goldoni,  came 
and  laid  the  cornerstones  of  the  national 
drama.  A  little  later,  Paolo  Ferrari  tried  to 
rejuvenate  the  Goldonian  style  and  to  ap- 
proach reality  somewhat  closer.  Torelli,  the 
first  Italian  naturalist,  drew  some  living 
characters  and  stated  in  his  plays  the  habits 
and  customs  of  his  fellows  with  simplicity. 
Then  a  strong  reaction  made  itself  felt.  The 
historical  drama  became  the  public's  favorite  and  gave  Corra, 
Cavalotti,  Gubernatis,  Borio  and  Corradini  an  opportunity  to 
become  famous. 

But  the  French,  the  Germans  and  the  Scandinavians  had 
thoroughly  overcome  the  bombastically  pompous  style  that  gen- 
erally characterizes  such  plays  and  had  progressed  to  a  more 
human  form  of  dramatic  art.  Their  influence  could  not  be  evaded 
by  their  Italian  contemporaries.  Giacosa  came,  and  with  his 
facile,  amiable  talent  he  impressed  a  new  stamp  upon  the  theatre 
in  his  country.  He  was  sure  to  find  an  echo  in  Italy,  where 
creative  as  well  as  destructive  passions  are  more  vivid  than  else- 
where, and  where  it  is  most  desirable  that  the  stage  should 
present  a  protest  of  society  against  the  egotism  and  the  fancies 
of  the  individual.  One  of  Giacosa's  plays,  "As  the  Leaves  Fall." 
can  stand  comparison  with  tire  best  of  its  kind  and  was  warmly 
received  in  Germany  and  France. 

Besides  Giacosa  there  is  Verga,  a  little  less  plastic  than  he,  less 
able  to  follow  all  the  metamorphoses  of  the  public's  cravings,  but 
more  virile,  original  and  profound.  With  his  "Cavalleria  Rusti- 
cana,"  made  world  famous  by  Mascagni,  he  opened  the  stage  to 
the  fait-dii'crs.  There  is  also  Rovetta,  who.  however,  belongs 
more  to  the  old  school.  He  began  his  dramatic  work  bv  accident 
and  continued  it  by  habit.  His  "Trilogy  of  Dorine"  is  interesting 
but  in  this  as  in  his  other  plays,  even  though  the  curtain  falls 
on  the  end  of  the  story,  the  problem  is  not  solved,  neither  in  the 
soul  of  the  characters  nor  in  that  of  the  audience.  Marco  Praga 
has  more  force  and  subtlety,  and  also,  in  a  different  style  Roberto 
Bracco,  whose  master  mind  goes  at  the  depth  of  things.  Enrico 
Butti  also  stands  out  as  an  interesting  and  original  dramatist.  He 
seems  to  have  given  himself  the  mission  to  illustrate  in  his  plays 
the  struggles  of  conscience  between  faith  and  science.  His 
manner  reminds  one  somewhat  of  the  Frenchman  Brieux. 

Gabriele  d'Annunzio,  of  course,  holds  a  position  quite  un- 
paralleled as  a  dramatist  as  well  as  a  novelist.  His  verbose, 


Photo  Sciutto 

GIANNINO   ANTONA-TRAVERSI 


dazzling  lyrism 
is  incomparable ; 
but  even  were 

his  plays  of  little  account  by  themselves,  they  would  ever  live  in 
the  minds  of  those  who  saw  Eleonora  Duse  act  them.  And  then, 
had  d'Annunzio  done  nothing  else,  he  found  the  most  beautiful 
title  that  ever  was :  "Mutilated  Victories." 

Finally,  there  are  the  two  brothers  Traversi,  Camillo  and 
Giannino.  Camillo  the  elder,  is  more  of  a  student  than  Giannino. 
He  undoubtedly  acquired  his  rather  pedantic  manner  while  pro- 
fessor at  the  foremost  Italian  universities.  He  generally  chooses 
serious  themes  and  treats  all  his  plays  seriously. 

Giannino  is  quite  the  opposite.  He  was  born  in  Milan,  the  son 
of  one  of  the  wealthiest  landowners  in  Lombardy.  His  youth 
and  early  manhood  were  spent  in  the  idle 
pastimes  of  well-torn  Italians:  gambling  and 
gallantry,  and  never  did  it  occur  to  him  then 
to  make  any  profitable  use  of  his  brilliant 
gifts.  Financial  difficulties  arose  and  obliged 
Giannino  to  give  a  more  serious  turn  to  his 
life.  He  decided  to  retire  to  one  of  his 
father's  estates  in  the  country  and  devote 
his  time  to  the  breeding  of  silkworms. 
When  Traversi  senior  found  that  his  son 
was  building  up  a  business  he  at  once  pro- 
ceeded to  put  him  on  a  business  basis  with 
himself  and  demanded  a  rent  for  his  prop- 
erty, which  Giannino  was  unwilling  to  pay. 
He  abandoned  silkworms,  business  ambitions 
and  all  and  returned  to  Milan  to  become  a 
professional  prestidigitator.  The  natural 
deftness  of  his  fingers  and  remarkable  facil- 
ity of  speech  soon  won  him  the  favor  of 
Milanese  society.  But  his  stern  father  was 
decidedly  opposed  to  so  fantastic  a  career  for 
his  younger  son  and  shut  the  doors  of  his 
palace  to  him,  so  Giannino  packed  up  his 
belongings  and  moved  to  the  nearest  hotel, 
declaring  gaily  that  now  he  was  going  to  open  a  dramatic  shop. 
Skepticism  and  laughter  responded  to  this  heroic  decisinn,  and 
his  friends  were  wont  to  tell  him :  "Your  plays  will  go  the  way 
your  silkworms  went." 

But  this  time  Giannino  was  in  dead  earnest.  In  1892  he  came 
out  with  a  one-act  comedy,  "For  Vanity's  Sake,"  which  was  soon 
followed  by  another  single  act:  "Next  Morning."  They  were 
both  played  in  Milan  and  very  much  liked.  At  last  Italy  had 
an  author  who  wrote  about  society  people,  not  as  outsiders  gener- 
ally treat  this  sort  of  play:  half  with  envy,  half  with  an  inborn 
antipathy  and  lack  of  real  insight,  but  as  one  of  their  own  order 
who  had  lived  among  them  and  had  kept  his  eyes  open.  His 
dialogue  was  crisp,  full  of  mots  d' esprit,  and  elegantly  turned  a 
point  that  the  aristocrats  of  Milan  are  specially  particular  about. 

Giannino  Traversi  felt  decidedly  encouraged.  After  the  suc- 
cess of  his  third  one-act  play,  "The  Bracelet,"  he  tried  his  hand 
on  a  more  serious  four-act  play,  "Dura  Lex,"  in  which  he  cham- 
pioned divorce.  But  the  lighter  vein  was  predominated  in  him, 
and  his  next  big  piece,  "Flirt,"  established  his  reputation  as  one 
of  the  best  living  writers  of  comedy. 

The  love  of  change  seemed  to  be  so  deeply  rooted  in  Traversi's 
nature  that  once  more,  for  a  time,  he  abandoned  his  dramatic 
work.  He  founded  a  newspaper  which  appealed  particularly  to 
his  faithful  followers,  the  aristocrats  of  his  native  city.  But  two 
years  later  the  fascination  of  the  drama  again  took  hold  of  him. 
He  gave  a  charming  playlet,  "The  First  Time,"  written  in  the 
style  of  Arthur  Schnitzler.  the  author  of  "Anatol."  and.  SOMH 
after,  a  comedy  in  four  acts,  "The  School  of  Husbands,"  which 
the  great  Novell!  played  successfully  in  Paris  in  1898.  In  this 
brilliant  comedy  of  manners  he  flays  the  cynicism  and  degrada- 
tion of  the  rich  idle  class.  Yet  Traversi  never  preaches.  His 
touch  always  remains  light,  his  speech  restrained  and  courteous. 
His  next  piece,  "The  Ascent  of  Olympus,"  in  five  acts  is  a 
scathing  satire  against  social  (Continued  on  page  u-1 


TUn©  Beggar  Stadeimft S9  aft  *<e  Cask©  Theafor© 


Symon   Sjmonovicz    (George   Macfarlaue)    and   Eiiterich    (Arthur    Cuuningham) 


Bronislava    (Anna   Wheaton),   Laura   (Blanche   Duffield)   and   Connti- 
Palmatica   (Kate  Condon) 


Act   II   of  Millocker's  operetta,   "The    lieggar  Student."      Scene   2.      In   the   Palace   of  Countess  Palmatica 


Copyright  Mishkin        Paul  Althouse  as  Dimitri  Copyright  Mishkin      Adamo    Didur    as    Boris  Copyright  Mishkin  Louise  Homer  as  Marin 

THREE    CHARACTERS    IN    MOUSSORGSKY'S    OPERA,    "BORIS    GODUNOFF,"    PRESENTED  AT   THE   METROPOLITAN   OPERA   HOUSE 


TO  the  utter  amazement  of  the  public  and  to  the  discomfiture 
of  the  infallible  lobby  prophets,  the  artistic  success  of  tht 
Metropolitan  Opera  season  of  1912-1913  is  "Boris  Godu- 
noff,"  practically  an  unknown  opera  by  the  Russian,  Modest  Petro- 
vich  Moussorgsky.    Very  little  was  known  here  about  its  composer, 
and,  judging  from  hearsay,  the  opera  gave  little  promise  of  ap- 
pealing to  the  great  music-loving  public,  since  it  had  no  prima 
donna  roles,  its  hero  being  a  basso,  and  its  plot  being  gloomy  and 
not   very   interesting   or   appealing. 

But,  happily  for  all  concerned,  all 
"guesses  went  wrong" — to  lapse  into  the 
vernacular,  for  "Boris  Godunoff"  scored 
a  tremendous  success,  both  with  the 
public  and  artistically.  And  its  produc- 
tion at  the  Metropolitan  redounded  more 
to  the  credit  of  Giulio  Gatti-Casazza  and 
Arturo  Toscanini  than  any  other  work 
they  have  produced  and  conducted  here. 

Its  first  performance  in  America  oc- 
curred at  the  Metropolitan  on  Wednes- 
day evening,  March  igth.  The  full  cast 
is  here  appended,  as  a  matter  of  record : 

Boris,  Adamo  Didur;  Theodore,  Anna  Case; 
Xenia,    Lenora    Sparkes;    The    Nurse,    Maria 
Duchene;  Marina.  Louise  Homer;  Schouisky, 
Angelo  Bada;  Tchelkaloff,  Vincenzo  Reschig- 
lian;      Pimenn,      Leon      Rothier; 
Dmitri,    Paul    Althouse    (his    de- 
but) ;  Varlaam,  Andrea  de  Segu- 
rola;     Missail,     Pietro     Audisio; 
The      Innkeeper,      Jeanne      Mau- 
bourg;     The     Simpleton,     Albert 
Reiss;    A    Police    Officer,    Giulio 
Rossi ;  A  Court  Officer,  Leopoldo 


Anna   Case   as   Teodora   and   Adamo   Didur   as    Boris   in    "Boris    Godunoff" 


Mariani ;  Lovitzky  and  Tcerniakowsky   (Two  Jesuits),  Vincenzo  Reschig- 
lian  and  Louis  Kreidler.     Signer  Arturo  Toscanini  conducted. 

The  libretto  of  "Boris  Godunoff"  was  fashioned  by  the  com- 
poser after  a  dramatic  work  of  the  same  title,  written  by  the 
Russian  author  Poushkin.  It  treats  of  the  fate  of  the  remorseful 
Czar  of  the  Russians,  Boris,  who,  to  satisfy  ambition,  caused  to 
be  slain  the  son  of  Ivan  the  Terrible.  This  child  was  heir  to 
the  throne,  and  upon  his  death  Boris  is  proclaimed  Czar.  His 
conscience  haunts  him  and  he  retires  to  a 
convent  for  prayer  and  meditation,  and, 
while  in  devotional  seclusion,  his  secret 
passes  into  the  ken  of  an  old  monk  and 
chronicler,  Brother  Pimenn,  who  embodies 
these  facts  in  a  chronicle  he  'laboriously 
writes.  Pimenn,  knowing  his  earthly  term 
to  be  limited,  confides  this  secret  of  Boris 
to  a  young  monk,  Gregory.  The  latter  is 
unhappy  in  his  seclusion  and  longs  for  the 
life  of  the  outer  world.  He  learns  from 
Pimenn  that  the  murdered  Czare  witch. 
Dmitri,  would  have  been  about  his  own, 
Gregory's,  age  had  he  lived,  and  this  knowl- 
edge fires  his  imagination  and  his  love  for 
adventure.  He  escapes  from  the  convent, 
steals  across  the  Russian  Dorder  into  Lith- 
uania, gathers  followers  and  has  himself 
proclaimed  Czar. 

Learning  of  the  uprising,  Boris 
calls  a  meeting  of  the  Duma  to 
take  action  against  the  Pretender, 
the  false  Dmitri.  In  the  spectre- 
haunted  brain  of  Boris  there  has 
always  existed  some  doubt  whether 


THE     THEATRE     MAGAZINE 


Photo  White 

Lenora  Sparkes  Adamo  Didur  Anna  Case  and  Chorus 

CORONATION   SCENE   IN    MOUSSORGSKY'S    OPERA,   "BORIS    GODUNOFF,"    AT   THE  METROPOLITAN 


or  not  Dmitri  had  really  been  killed,  and  he  is  troubled  by  visions 
of  the  murdered  child.  One  of  his  ministers  has  spied  upon  him 
and  has  seen  Boris  in  the  throes  of  one  of  these  ghastly  seances. 
This  he  tells  the  assembled  members  of  the  Duma,  and  at  that 
moment  Boris  appears,  walking  stealthily  and  chasing  imaginary 
spectres.  He  regains  composure  when  he  sees  the  members  of 
the  Duma.  At  this  juncture  there  appears  the  aged  monk, 
Pimenn,  who  tells  of  a  dream  in  which  a  shepherd  was  cured  of 
blindness  by  praying  at  the  tomb  of  the  slain  Dmitri.  The  news 
of  this  vision  completely  unnerves  Boris.  He  commands  that 
his  son  Theodore  be  brought  before  the  council,  and  he  then 
proclaims  Theodore  his  heir  and  follower,  after  which  he  col- 
lapses and  dies  an  agonizing  death. 

Even  a  cursory  glance  at  this  bare  skeleton  of  the  plot  will 
suffice  to  convince  the  reader  that  here  is  very  little  indeed  to 
interest  the  average  New  York  operagoer.  To  the  Russian  this 
is  history,  but  to  the  New  Yorker  it  is  gloomy  operatic  material. 
And  yet  for  three  performances,  this  depressing  story  has  held 
audiences  enthralled  by  its  qualities  of  simplicity  and  sincerity. 
A  more  impressive  work  has  rarely  been  heard  here. 

And  now  a  word  about  the  history  of  the  opera  itself,  which 
was  written  sometime  about  1868,  when  the  composer  was 
struggling  for  recognition.  It  was  produced  first  at  St.  Peters- 


burg in  1874,  and  was  given  twenty  times  that  season,  after 
which  it  appears  to  have  faded  from  public  view  for  fifteen  years 
when  it  was  heard  at  Moscow.  In  1889  new  interest  was  aroused 
in  the  neglected  work  by  the  publication  of  an  edition  of  the 
score,  revised  by  the  composer's  friend,  Rimsky-Korsakoff.  At- 
tention was  redirected  to  the  opera  in  1908  when  it  was  given  at 
Paris,  with  Chaliapine  as  star.  Elaborate  scenery  and  costumes 
were  brought  from  Russia  for  this  production,  and  this  equip- 
ment was  bought  by  Signer  Gatti-Casazza  and  used  at  the  Metro- 
politan Opera  House  this  season. 

Considerable  controversy  has  been  waged  as  to  the  editing  of 
Moussorgsky's  music  by  Rimsky-Korsakoff,  some  critics  claiming 
that  irreverent  hands  have  been  laid  upon  the  work.  This  can 
be  quickly  brushed  aside  by  the  retort  that  "Boris  Godunoff,"  a.-, 
it  now  stands,  is  a  masterwork,  and  that  the  world  probably  owes 
Rimsky-Korsakoff  gratitude  for  having  saved  the  opera  from 
oblivion. 

It  is  not  always  easy  or  profitable  to  analyze  one's  sensations 
at  the  first  hearing  of  a  new  work,  but  in  this  case  it  is  interesting 
because  of  the  age  of  this  opera.  The  chief  feeling  at  first  hear- 
ing is  one  of  absolute  amazement  at  the  modernity  of  this  opera. 
It  is  almost  impossible  to  believe  that  this  music  is  nearing  its 
half-century  mark.  There  are  effects  in  it  that  were  hailed  as 


142 


THE      THEATRE      MAGAZINE 


original  and  new  when  exploited  a  few  years  ago  by  Debussy  and 
Dukas.  There  are  pages  in  the  orchestral  score  that  would  do 
credit  to  any  modern  master  of  instrumentation.  Many  of  the 
melodies  are  Russian  folk  songs  and  church  modes,  and  there  are 
dance  rhythms  of  both  Poland  and  Russia.  Here,  too,  is  heard 
the  partial  use  of  that  "whole-toned 
scale"  which  is  generally  supposed  to 
be  original  with  Debussy. 

But  the  dominant  note  of  this  opera 
is  sincerity.  The  interested  listener 
feels  throughout  that  its  creator  was 
giving  utterance  to  something  that 
simply  demanded  to  be  heard.  It  is 
ever  the  note  of  life,  as  the  composer 
knew  and  felt  it.  There  is  sombreness 
and  gloom,  the  key  of  depression  rules 
the  emotional  gamut  of  his  tonal  pal- 
ette, save  in  the  coronation  scene 
when  the  pealing  of  deep-toned  bells, 
the  brilliant  processions  and  the  restless 
surging  of  the  crowds  are  so  marvel- 
lously mirrored  in  tones.  And  once 
more  does  he  tap  the  gayer  mood  when 
he  takes  the  false  Dmitri  to  Poland  and 
there  introduces  a  Polonaise  and  a 
Mazurka,  both  lending  brilliant  musical 
touches  to  the  scene.  I  could  go  on  at 
great  length  praising  the  music,  but  it 
would  all  circle  about  the  towering  con- 
vincing fact  that  sincerity  is  the  spine 
of  this  remarkable  score. 

No  more  wonderful  scenic  back- 
ground for  this  music  could  be  imag- 
ined than  these  Russian  canvasses  and 
the  Russian  costumes  and  properties. 
Many  of  the  latter  are  said  to  have 
been  picked  up  out  of  smaller  Russian 


museums,  while  some  of  the  costumes  were  made  by  the  very 
people  they  stand  to  represent  in  the  opera — in  other  words,  they 
are  not  the  products  of  theatrical  costumers.  The  flat-painted 
surfaces  of  back  drops  are  suggestive  of  the  work  of  some  "Cub- 
ists"-— but  it  all  adds  its  mite  of  interest  to  the  production  and 

makes  it  ring  true. 

The  Metropolitan  production  left 
little  room  for  criticism.  Didur,  in  the 
title  role,  sang  and  acted  better  than 
ever  he  has  before,  emphasizing  the 
melodramatic  importance  of  this  part 
and  winning  praise  for  his  artistic  in- 
terpretation. Anna  Case,  as  his  son 
Theodore,  was  gracious  and  charming, 
but  she  failed  to  rise  to  the  dramatic 
significance  of  her  part  in  the  final 
death  scene.  As  the  false  Dmitri,  really 
the  Monk  Gregory,  a  new  American 
tenor  made  his  debut  at  the  Metropol- 
itan, in  the  person  of  Paul  Althouse. 
He  sang  excellently  at  the  dress  re- 
hearsal but  not  so  well  at  the  first  per- 
formance, suffering  from  indisposition. 
He  gives  promise,  however,  of  becom- 
ing a  useful  member  of  this  ensemble, 
having  a  high,  clear  voice  and  acting 
with  unusual  intelligence.  Rothier,  as 
the  Monk  Pimenn,  was  capital,  as  was 
De  Segurola  as  the  vagabond  Varlaam. 
Jeanne  Maubourg  was  the  Innkeeper, 
singing  her  folk  song  with  much  spirit. 
Homer  was  the  lady  of  the  Polish 
Court,  Marina,  in  love  with  Dmitri. 
Other  roles  were  well  taken  by  Lenora 
Sparkes,  Maria  Duchene,  Reiss  and 
Bada.  The  chief  soloist  of  the  per- 
formance (Continued  on  page  «') 


1-hotos  White 


Tom  Whalen   (George  Fawcett) 


Hal    Clarke 


John  McLoud   (Frederick   Burton) 

(Inset),    Hal    Clarke    (Vincent    Serrano)    and    Kate    McLoud    (Katherine    Grey) 
SCENES    IN    ERNEST    POOLE'S    PLAY,    "A    MAN'S    FRIENDS,"    AT    THE    ASTOR   THEATRE 


gu 


VA    TANGUAY   arose    from 
the     divan    in    the    drawing 

room  of  her  Morningside  ^^~~~~^^^^~^^^^~~™ 
Heights  home.  She  drew  a  scented  handkerchief  from  her  waist 
and  wiped  the  tears  from  her  eyes. 

"But  I  do  care !"  she  cried  dramatically.  "I  do  care !  There's 
nobody  in  this  wide  world  who  cares  more  than  I  do.  I  have 
been  undone  by  a  song. 

"Ten  years  ago  I  sang  in  a  musical  play  a  song  called  7  Don't 
Care.    It  made  such  a  hit  that  1  have  been  forced  to  sing  it  evei 
since.     In   fact,    I   can't   appear  on   any   stage 
without  singing  it.    I've  got  to  sing: 
I  don't  care,  I  don't  care, 
What  they  think  of  me. 

or  I  can't  live.     But  I  do  care  what  they  think. 
I  do,  I  do." 

Out  of  breath  and  with  tear-stained  cheeks 
the  bundle  of  energy  and  nerves  called  Eva 
Tanguay  fell  back  on  the  divan.  Petulantly 
she  went  on : 

"That  wretched  song  has  been  the  cause  of 
all  my  trouble.  It  has  cost  me  all  my  friends. 
It  has  cost  me  the  respect  of  everyone  who  has 
ever  seen  me.  Everybody  thinks  I'm  crazy  or 
impossible  to  get  along  with.  The  most  ter- 
rible stories  are  told  about  me.  And  why? 
Because  that  wretched  song,  7  Don't  Care,  has 
pursued  me  night  and  da}'  from  the  first  time 
I  sang  it.  I'm  not  going  to  cry  any  more.  But 
1  can't  tell  you  how  many  hundred  times  that 
song  has  made  me  weep. 

"I  never  cried  when  I  was  a  little  girl  in  Holyoke — in  Holyoke, 
Massachusetts."  she  confided  after  finding  a  comfortable  place 
on  her  divan.  "I  was  the  best  little  girl  you  ever  knew,  and  yet 
some  people  have  been  unkind  enough  to  say  I  was  headstrong 
and  made  my  people  no  end  of  trouble.  I  was  born  in  Holyoke 
thirty-four  years  ago,  if  you  want  to 
know,  although  one  horrid  manager  says 
I'm  over  forty. 

"To  be  sure,  life  in  Holyoke  is  not 
wildly  exciting — that's  why  I  came  to 
Xew  York  and  went  on  the  stage.  I 
started  in  the  chorus,  but  I  wasn't  in  it 
very  long.  Managers  are  not  slow  to 
find  out  what  girls  have  a  good  figure. 
They  gave  me  a  chance  in  'The  Cha- 
perones. '  I  had  a  good  song,  My  Sambo 
Girl,  and  it  started  me  on  my  career. 
That  was  twelve  years  ago.  Of  course, 
now  I've  got  this  large  apartment  filled 
with  bric-a-brac,  a  limousine  and  a  nice 
little  bank  account,  yet  I'm  not  the  hap- 
piest of  mortals.  Creature  comforts 
can't  make  a  person  happy,  even  if  they 
are  fond  of  luxury.  The  truth  is,  I'm 
not  quite  happy  in  my  mind.  People  say 
such  awful  things  about  me.  I'm  sure 
you've  heard  the  most  dreadful  stories. 
But  I  couldn't  be  as  bad  as  all  that 
could  I  ?  The  stories  are  preposterous. 

"It's  pica^anter  in  the  library,"  she  suggested  suddenly,  and 
suiting  action  to  word  we  moved  to  that  room,  a  cheerful,  book- 
ish room  overlooking  the  city.  When  she  found  a  new  position 
she  resumed  the  conversation. 

"Those  were  wild,  care-free  days — my  chorus-girl  days  I 
mean,"  she  went  on.  "I  was  quite  popular,  and  there  was  rarely 
a  night  that  I  didn't  go  out  to  supper — my  bird-and-bottle  nights 
I  called  them.  I  wasn't  particularly  interested  in  my  work  in 
those  days— I  was  far  more  interested  in  enjoying  myself.  1 
suppose  I  was  as  fond  of  gaiety  as  any  girl  in  New  York.  But 
when  I  made  progress  in  my  work  I  realized  that  I  couldn't 
continue  pleasure  seeking  and  still  do  justice  to  my  managers. 


omie   by   a   Soeg 


EVA    TANGUAY 


31  Don't  Care 

They  say  I'm  crazy,  got  no  sense, 

But  I  don't  care ; 
They  may  or  may  not  mean  offense, 

But  I  don't  care ; 
You  see,  I'm  sort  of  independent, 
Of  a  clever  race  descendant, 
My  star  is  on  the  ascendant, 

That's  why  I  don't  care. 

Chorus. 

I  don't  care,  I  don't  care. 

What  they  may  think  of  me; 
I'm  happy-go-lucky, 
Men  say  I'm  plucky, 

So  jolly  and  care-free. 
I  don't  care,  I  don't  care, 
If  I  do  get  the  mean  and  the  stony  stare; 
If  I'm  never  successful,  it  won't  be  distressful 

Cose  I  don't  care. 


THE  SONG  THAT   DID  IT 


Really,    I    was    very    conscientious 
_      about  that.    So  I  decided  to  cut  out 
late  suppers  and  devote  my  time  to 

my  work.  Of  course,  what  I  am  to-day  is  the  result  of  that  de- 
cision, but  I  tell  you  I've  missed  many  a  good  time  by  it.  I've 
often  wished  I  was  back  in  Holyoke,  with  my  life  to  live  over. 
I'm  quite  sure  1  would  not  have  chosen  the  stage.  But  can  you 
picture  me  as  a  Holyoke  matron  with  four  or  five  kiddies  and  a 
husband  with  whiskers?" 

The   famous  vaudeville  star  broke  into  a  hearty   laugh.     A 
moment  later  she  was  serious  again. 

"Perhaps  it  would  be  much  nicer  than  what 
I  am  to-day.  Ask  anyone  what  they  think  of 
me.  They'll  tell  you  I'm  crazy,  crazy  as  a  bed- 
bug. People  don't  come  to  see  me  because  they 
think  I'm  an  artist.  They  regard  me  as  a 
curiosity.  They  say,  'Let's  go  and  see  Kva 
Tanguay,'  just  as  they'd  say,  'Come,  let's 
to  the  Zoo.'  I  know  that's  the  way  I'm  re- 
garded. I've  heard  it  on  all  sido.  To  be  sure, 
I  receive  $2,500  a  week  in  vaudeville,  but  that 
doesn't  make  up  for  the  attitude  of  the  public. 
I  was  much  happier  when  I  was  receiving  less 
than  $200  a  week  in  the  The  Chaperones'  a 
dozen  years  ago. 

"My    Don't    Care    song    is    responsible    for 
my  unhappiness.    Managers  think  I'm  impossi- 
ble to  manage.     Only  the  other  day  a  manager 
issued  a  statement  that  he  was  unable  to  man- 
age me,  that  I  had  thrown  up  my  part  in  his 
musical  production  and  that  I  had  cost  him  a 
large  sum  of  money.    I  have  no  press  bureau  to  issue  a  statement 
of  my  side  of  the  story.     I've  had   trouble   with   nearly  every 
manager  in  New  York,  with  the  result  that  they  have  said  to  all 
their  friends  that  I'm  crazy.     Fortunately,  they  don't  know  what 
1  think  of  them.     They  hear  me  sing  7  Don't  Care,  and   they 
go  out  of  the  theatre  saying,  'You  can't 
do  anything  with  that  Tanguay  woman.' 
They  really  believe  I  don't  care. 

"Let  me  tell  you  how  I  first  happened 
to  sing  that  wretched  song.  After  my 
success  in  'The  Chaperones,'  in  which 
I  sang  a  song  called  My  Sambo  Girl.  I 
appeared  in  a  musical  play  of  the  same 
name.  The  part  I  played  was  that  of  a 
wilful,  headstrong  girl,  and  the  songs 
were  in  keeping  with  the  character.  One 
of  the  songs  was  7  Don't  Care.  It 
wasn't  much  of  a  song,  but  audiences 
seemed  to  like  it.  and  when  I  went  into 
vaudeville  the  manager  that  booked  me 
asked  me  to  sing  it.  I  did,  with  the 
result  that  it  made  a  big  hit.  I  didn't 
like  to  sing  it — I  didn't  like  the  idea  of 
singing  about  myself — but  managers 
told  me  it  was  a  good  business.  It  was 
a  good  business  for  them.  People  got 
the  idea  that  what  I  was  singing  was 
really  true — that  I  didn't  care,  that  I 
was  conceited,  that  I  was  crazy.  They 
came  to  see  me  because  they  thought  I  was  a  freak. 

"When  I%  realized  the  injury  it  was  doing  me  I  stopped  singing 
it.  But  I  found  I  couldn't  get  contracts  unless  I  included  it  in 
my  act.  My  contracts  to-day  specify  that  I  sing  7  Don't  Care. 
I  can't  get  away  from  that  song,  for  unless  I  sing  it  I  starve. 
If  people  only  knew  how  much  I  cared  they  would  feel  different 
toward  me.  They  wouldn't  tell  such  awful  stories  about  me. 
They  wouldn't  say  I  was  crazy." 

"If  you  please,  Miss  Tanguay.  it's  time  to  leave  for  the  matinee 
— the  car's  at  the  door."  sa:d  the  white-canned  maid  who  entered 
the  drawing  room.  A  few  minutes  later  the  actress  was  on  her 
wav  to  the  theatre.  KARL  K.  KITCHEN. 


Greatest  Grande  Dame 


re  a 


n 


FIFTY-ONE  years  on  the  stage,  innumer- 
able roles  in  drama  and  opera,  part- 
nership   with     an    impresario    which 
included  an  oversight  of  the  costuming  depart- 
ment and  the  management  of  a  theatre,  have 
gone    to    the    making    of    that    perfection    of 
artistry,  Mme.  Mathikle  Cottrelly's  character- 
ization of  Frau  Gudula  in  "The  Five  Frank- 
forters." 

Every  creation  in  the  world  of  art  is  a 
mosaic  of  experience  tinted  by  talent  or  tem- 
perament. Because  Mme.  Cottrelly  has 
watched  and  participated  in  the  leading  events 
of  the  stage  for  more  than  half  a  hundred 
years,  because  she  has  been  a  soubrette  and 
a  prima  donna,  because  she  was  a  pioneer 
woman  manager  in  this  country,  because  she 
has  herself  made  more  than  one  stage  cos- 
tume, because  she  has  sung  and  danced  for 
audiences  of  two  continents,  she  has  imbued 
the  widowed  head  of  the  house  of  the  world- 
famous  Frankfurters  with  the  breath  of  life, 
warmed  it  into  a  humanity  so  intense,  so  true,  as  to  be  poignant. 
For  this  reason  and  because  she  is  gifted  with  talent  and  a  big, 
all-comprehending  mother  heart,  she  makes  everyone  in  the  audi- 
ences who  see  the  play  whose  slightly  cloaked  theme  is  the  rise 
of  the  great  house  of  Rothschild,  homesick  for  his  mother. 

Fifty-one  years  lie  between  "Die  Kleine  Meyer,"  who  at  eight 
years  old  made  her  debut  in  "Three  Days  in  a  Gambler's  Life." 
a  German  prototype  of  our  o\v:i  shocker,  "Ten  Nights  in  a  Bar- 
room,' and  the  exquisitely  played  Frau  Gudula.  She  was  of 
Hamburg,  the  daughter  of  a  musician  whom  his  family  had  de- 
signed and  educated  for  a  physician  and  who  withdrew  its  funds 
and  favor  when  he  elected  to  lead  the  life  of  a  wandering  or- 
chestra leader.  When  she  was  four  her  mother  died.  Before 
she  had  attained  ten  years  her  father's  health  failed  and  Mathilde 
Meyer,  whom  they  called  "Die  Kleine  Meyer,"  was  supporting 
her  father  and  sister.  She  could  dance  and  sing.  She  played 
comedy  and  tragedy.  When  she  was  eleven  she  played  Lady 
Macbeth  and  sung  and  acted  prima  donna  roles  in  light  and  grand 
operas.  A  German  dramatist,  declaring  she  was  a  character 
actress,  and  that  the  way  of  fame  lay  through  character  parts, 
wrote  them  for  her.  When  she  had  compassed  but  a  dozen  years 

she  was  playing  attenuated  spin- 
sters and  elderly  fat  women,  in 
which  latter  role  she  had  to  be 
assisted  by  many  pillows. 

Emissaries  from  the  great  thea- 
tres of  Berlin  visited  country 
towns  where  she  was  playing,  to 
see  the  little  prodigy.  They  urged 
her  to  go  to  Berlin.  There  the 
Court,  the  Folks  and  a  Vaudeville 
house  bade  for  her  services,  and 
because  the  staid  and  super-class- 
ical Court  Theatre  required  its 
acolytes  to  play  for  a  year  at  one 
of  their  out-of-town  theatres  be- 
fore making  a  Berlin  debut,  and 
she  wished  a  permanent  home  for 
her  family,  and  because  the  Voll- 
nar  Theatre,  a  vaudeville  house, 
paid  higher  salaries  than  the 
Folks,  and  the  family  needed  that 
salary,  the  family's  little  head 


Mathilde   Cottrelly  as   Frau   Gudula 


chose  the  Vollnar.     At  once  she  became  a 
favorite  player  of  Germany's  capital  city. 

While  she  was  at  the  height  of  her  childish 
reign,  a  little  less  than  fifteen,  the  Cottrellys, 
a  famous  circus  family,  witnessed  her 
performance. 

"You  like  her?"  George  Cottrelly  asked  his 
sister. 

"She  is  adorable,"  replied  the  sister.  "I  am 
enchanted  by  her." 

"I  am  glad,"  he  rejoined,  "for  I  intend  to 
make  her  your  sister-in-law." 
"But  you  have  never  met  her." 
"No  matter,  she  shall  become  my  wife." 
So   she   did.     At  fifteen   she   was  a  bride. 
At  sixteen  she  was  the  mother  of  Alfred  Cot- 
trelly,   who    became    known    in    the   business 
world  of  this  country.     At  eighteen  she  was 
a   widow.     Berlin   managers   sought   her  and 
said :  "Come  back  to  the  stage." 

"Of  course,"  said  the  young  widow.  "I 
must." 

She  returned  in  the  drama  "Teresa  Kronens,"  which  told  the 
life  story  of  a  beautiful  young  Viennese  actress,  Teresa  Kronens, 
the  Adelaide  Neilsen  of  Austria,  who  died  at  twenty-six,  a  run- 
ning-the-gamut  play  that,  immensely  popular  in  Germany,  has 
since  become  a  classic.  In  a  night  she  won  back  the  old  popular- 
ity and  added  a  new.  For  several  years  she  starred  in  repertoire, 
playing  in  the  capitals  and  provinces  of  Germany  and  Russia. 
At  twenty-two,  reading  of  the  Centennial  Exposition  at  Phila- 
delphia, she  determined  to  visit  it.  She  dipped  into  what  seemed 
to  her  a  bowl  of  Dantean  heat,  turned  about  and  sailed  back 
with  scarcely  a  glimpse  of  the  Centennial  Exposition,  but  not 
before  she  had  signed  a  contract  to  return  to  this  country. 

She  made  her  debut  in  America  in  "Honest  Labor,"  at  the 
Germania  Theatre,  which  afterwards  became  Tony  Pastor's.  She 
set  instantly  about  learning  English,  and  the  next  season  made 
her  debut  in  San  Francisco.  Returning  from  the  long  tour,  she 
took  control  of  the  Thalia  Theatre.  For  two  years  she  was  its 
manager.  It  was  a  physician  who  terminated  her  contract. 

"Nerves,  my  dear  madame,"  he  warned.  "Nerves.  No  man 
could  play  a  new  part  every  two  or  three  nights  and  direct  a 
stage  and  manage  a  playhouse.  You  must  cease."  She  turned  her 
back  regretfully  upon  the  enter- 
prise, which  had  been  in  all  senses 
successful  and  during  which  she 
had  sung  the  chief  roles  in 
"Fatinitza,1'  "Boccaccio,"  etc. 
Later  she  joined  McCaull's 
company,  making  her  first  appear- 
ance in  "The  Queen's  Lace  Hand- 
kerchief." Thereafter  she  was  in 
all  but  name  partner,  her  money 
as  well  as  her  time  and  talents 
being  poured  into  the  organiza- 
tion. After  nine  years  with  the 
McCaull  company,  and  losing  in 
the  venture  all  of  her  hardly 
amassed  fortune,  she  played  gran- 
dames  in  English  drama.  She  is 
remembered  with  Maxine  Elliott 
in  "Her  Great  Match,"  and  with 
Louis  Mann  in  "The  Man  Who 
Stood  Still." 

ADA  PATTERSON. 


Mathilde    Cottrelly    at    the    time    she 

made    her    first    appearance    in    New 

York 


First    photograph    of    Mathilda    Cot- 
trelly   taken     in    America 


Copyright  Mishkin 


A    NEW    PORTRAIT    OF    UNA    CAVALIERI 
This  well-known  prima  donna  has  just  completed  a  concert  tour  of  the  United   States 


"Will  you  tell  me  how  you 


WE  have  heard  how 
this  manager  and 
that  'makes  an 

actress,' "  said  I  to  Ned  Wayburn. 

handle  actors  in  the  mass?" 

"All  I  ask  of  them  is  that  they  concentrate,"  said  Ned  Way- 
burn  to  me.     "I  will  do  the  rest.     If  they 

don't  concentrate  they  lose  their  jobs.     Or 

rather  they  don't  get  any." 

I  chose  to  talk  with  the  big  man,  six  feet 

two  in  his  socks  and  weighing  two  hundred 

and  ten  in  almost  any  array,  because  up  and 

down    Broadway    he    is    known    as    "The 

Chorus  King."     Perhaps  that  is  the  reason 

he  is  never  addressed  even  by  lawyers  send- 
ing him  documents  in  long,  severe-looking 

envelopes,  as  "Mr.  Edward  Wayburn."     At 

any  rate,  the  name  sticketh  like  a  burr  and 

will  not  be  detached.     It  has  been  stamped. 

trade-mark-like,  on  many  a  notable  Broad- 
way achievement  and  has  become  a  guar- 
anty of  original  handling  of  stage  problems 

He  is  young.    He  is  energetic.    He  rests  not 

with    the    lethargy    of    fatuous    middle    age 

upon  his  laurels,  but  climbs  to  farther  ones. 

In  fifteen  years  he  has  produced  between  ten 

and  fifteen  musical  pieces,  in  each  of  which 

he  has  directed  the  stage  evolutions  of  from 

thirty  to  one  hundred  and  fifty  girls.     Once 

four    hundred    and    fifty    were    under    his 

supervision    on    one    stage.      He    has    been, 

then,    successively    comniander-in-chief    of 

small  armies  of  femininity,  punctuated  with 

masculinity,  for  many  campaigns. 

"The  discipline  is  army-like  ?"  I  suggested. 
"Yes,  but  more  severe,"  he  rejoined.     "It 

is  system,  system,  system  with  me.     I  believe 

in  numbers  and  straight  lines.     I  learned  to 

value     both     when     I     was     a     mechanical 

draughtsman  and  I  apply  my  knowledge  of  them  with  what   I 

believe  are  good  results.     I  know   one   critic   who  doesn't   like 

them.     Again  and  again   he   protests   against   the   mathematical 

precision  of  the  work  of  my  choruses.     But  he  might  as  well 

complain   of  the   mathematical    precision   of  a   military   parade. 

Can  you  imagine  a  spontaneous 
military  parade?  For  convenience 
and  for  thorough  effects  I  always 
work  in  eight  or  multiples  of 
eight.  The  number  corresponds 
to  the  beats  in  a  musical  score. 
For  instance,  I  teach  the  foot 
movements  first  by  saying  'Left 
foot,  toe,  ball,  heel,  flat.'  with 
then  'Right  foot,  toe.  ball,  heel, 
flat,'  then  when  all  know  what 
those  movements  of  the  feet 
mean  I  count  'One.  two,  three, 
four,'  for  the  left  foot,  'Five,  six, 
seven,  eight,'  for  the  right.  Al- 
ways eight  or  multiples  of  eight, 
you  know." 

"I  have  heard  that  you  prefer 
raw  material." 

"I    would    rather    have    a    girl 
who  has   had   no   experience,   so 
that  there  will  be  nothing  for  her 
to  unlearn.     Give  me  such  a  girl 
with  a  fair  amount  of  brains  and 
I  can  make  her  an  efficient  mem- 
ber of  the  chorus  in  ten  days." 
"How  ?" 
"By  the  same  system  that  I  use 


lira 


Hall 

NED   WAYBURN, 


with  all."     Mr.  Ned  Way- 
ISS      burn  rose  from  one  of  the 
red    velvet    cushioned 

benches  that  line  the  walls  of  the  red  and  white  tea-room  of  the 

Winter  Garden.     "We  will  go  there  so  that  no  one  will  find  us," 

he  had  said,  when  1'  found  him  in  his  business-like  office. 

"I  engage  all  the  girls  and  I  never  engage 
one  until  after  the  line  up."  His  eye  swept 
the  imaginary  line  as  a  police  captain  re- 
views his  patrolmen.  I  must  explain  to  you 
that  I  spend  twenty-five  hundred  dollars  a 
year  for  an  office  in  a  Broadway  building, 
and  never  get  a  dollar  back  from  it,  just  for 
the  purpose  of  keeping  a  directory  of  avail- 
able girls  for  productions.  Three  clerks  are 
kept  at  work  on  the  card  system,  with  al- 
phabetically arranged,  the  names,  addresses, 
experience  or  inexperience  and  description 
of  the  girls  recorded." 

"And  age?"  I  supplemented. 
The  chorus  king  declined  the  amendment. 
"Not  age,"  he  said  with  a  smile.  "That  is 
immaterial.  I  have  eyes.  Besides,  I  don't 
care  how  old  or  young  she  is.  I  only  care 
how  old  or  young  she  looks. 

"The  names  are  classified  according  to  the 
rating  we  have  established.  There  are  four 
kinds  of  girl  of  the  chorus  :  the  'A'  type,  a 
tall,  good-looking  girl,  of  brains,  education 
and  refinement,  what  we  might  call  a  'well 
brought  up'  girl.  There's  a  subdivision  of 
this  type.  It  is  the  road  show  girl.  She  is 
tall  and  good-looking,  but  has  less  apparent 
breeding.  She  will  do  for  the  road,  but  is 
not  quite  up  to  the  standard  of  New  York. 

"The  next  grade  the  'B'  girl,  is  a  grown- 
up dancer.  She  has  the  attributes  of  the 
show  girl,  but  can  dance,  too,  which  is  very 
useful.  She  is  good  cement,  filling  nicely 

into  gaps,  but  a  shade  less  dainty  in  appearance  than  the  'A'  girl. 

The  'C'  girl  is  much  like  the  'A'  girl,  but  smaller  and  younger, 

is,  in  fact,  an  undeveloped  'A'  girl.     She  is  likely  to  grow  into 

an  'A'  girl.     She  and  the  'B'  girl  are  very  useful  for  the  picture 

dances.     The  'D'  girl  is  a   dancer.     She   is   small,  healthy   and 

trained     for     vigorous     dancing. 

Out  West  they  call  them  ponies, 

in  Chicago  'broilers.'     If  the  'D' 

girl     remains    small     she    has    a 

profitable      career      before      her. 

There    is    one    working    for    me, 

Helen  Mooney,  who  came  to  me 

when    she    was    seven    years   old. 

That    was   ten    years   ago.      Now 

she's  seventeen  and  married  to  a 

stage    carpenter    and    keeping 

house.     Another  'D'  came  to  me 

last     summer.       She     is     Alma 

Braham,   of  the  musical    Rraham 

family.     She  had  never  been   on 

the   stage   until    she   appeared    in 

'The  Passing  Show.'     Now  she  is 

one  of  the  best  in  the  chorus. 
"We    pay    every    girl    in    the 

chorus  twenty-five  dollars  a  week. 

They  used  to  receive  twelve  and 

fifteen.     We   do  this   to  get  and 

keep  a  good  class  of  girls.     I  try 

to  do  that,  to  get  girls  who  live  at 

home   and   work  hard.     The  girl 

of  this   class   is   much   the   better 

sort.     She  is  a  hard  worker  and 

ambitious." 


THE   CHORUS   KING" 


White 


HELEN  MOONEY 
Ideal  type  of  eccentric  (lancer 


White 


MABEL  D'ELMAR 
Ideal   type    of   natural    dancer 


THE     THEATRE     MAGAZINE 


147 


Whit< 


HFXOISE    SHEPPARD 
Ideal    type    of   fancy   dancer 


"Why  are  chorus  girls  of  so 
much  better  type  than  chorus 
men?" 

"I  suppose  that  is  because  it's  a 
rather  lazy  life  for  a  man  and 
doesn't  develop  the  best  in  him, 
though  I  have  several  very  fine 
chaps  in  the  chorus  of  the 
'Honeymoon  Express.'  When  I 
thought  of  giving  a  performance 
of  understudies  1  selected  a  young 
man,  college  bred,  of  good  family 
and  refined  tastes,  to  take  Harry 
Fox's  place.  He  played  the  part 
admirably." 

"Then  you  are  not  of  the  school 
who  say :  'Of  what  use  are  brains 
on  the  stage?'  Members  of  the 
profession  have  often  told  me 
that!'' 

Ned  Wayburn  raised  shoulders 
that  are  broad  and  skeptical. 

"Brains  are  of  use  in  every  sit- 
uation and  profession  in  life.  The 
more  we  have  the  better  we  suc- 
ceed in  anything." 

"But  how  do  you  develop  a 
chorus  girl  in  ten  days?"  I 
prompted. 

"First  I  line  them  up."  He 
had  sat  down  again,  but  his  eyes,  gray,  keen,  the  eyes  of  a  busi- 
ness man  one  would  have  called  them  who  did  not  know  that  the 
face  in  which  they  are  set  are  those  of  a  gifted  stage  director, 
swept  the  imaginary  group.  I  arrange  them  exactly  as  though 
they  were  to  appear  that  night  on  the  stage.  Usually  I  place  the 
shortest  one  at  one  end  of  the  line  and  graduate  them  until  the 
tallest  stands  at  the  other  end  of  the  line.  Or  I  place  the  shortest 
ones  at  the  ends  of  the  line  and  graduate  their  heights  until  the 
tallest  is  in  the  middle.  That  is  so  that  they  will  look  as  though 
they  were  the  same  height  from  the  front.  This  can  be  done  so 
that,  though  there  may  be  a  head  or  more  of  difference  in  the 
heights  of  the  tallest  and  shortest,  they  look  of  one  height, 

whereas     if     the     

tallest  happened  to 
be  placed  next  to 
the  shortest,  the 
difference  would 
be  strikingly  ap- 
parent. 

"I  always  ask 
them  to  remove 
their  wraps  and 
hats.  I  do  this  so 
that  I  may  have  a 
distinct  picture  of 
the  girl.  I  can  see 
whether  she  has  a 
good  figure  and 
whether  she  is 
cross-eyed.  Both 
of  these  defects 
would  bar  her  be- 
cause they  would 
be  apparent  to  the 
audience.  Some  white 
of  the  girls  come 

here  with  hats  drawn  low  over  their  faces,  with  thick  veils  on. 
and  even  wearing  glasses,  but  the  glasses  must  come  off. 
When  I  see  there  are  no  impediments  of  that  sort  I  make  my 
appraisement  by  asking  them  to  walk  across  the  stage. 


White 


GLADYS    BRESTON 
Ideal    type    of   show    girl 


Ned    Wayburn    in    rehearsal    costume    and    the    chorus    of  "The   Honeymoon   Express" 


"If  a  girl  walks  well  or  her  car- 
riage is  sufficiently  good  and  her 
face  is  intelligent  enough  to  show 
that  she  will  quickly  learn  how  to 
walk  well,  there  is  a  chance  for 
her. 

"When  the  required  number 
and  types  have  been  chosen  I  call 
the  roll  in  my  own  way.  Stand- 
ing before  the  chorus  I  point  at 
each  girl  and  say:  'What  is  your 
name?'  'O'Brien,'  she  may  say, 
and  I  repeat  the  name  distinctly. 
It  makes  a  photograph  on  my 
brain.  For  some  reason  I  never 
forget  it.  I  have  called  the  roll 
of  two  hundred  strange  girls  in 
that  way  and  remembered  every- 
one by  name.  Years  afterwards 
a  girl  may  come  up  to  me  and 
say:  'You  don't  remember  me.'  'I 
do,'  I  say,  and  surprise  her  by  re- 
peating the  name.  It  is  best  to 
know  their  names  and  address 
them  by  them ;  it  establishes  a 
better  working  atmosphere. 

"After  choosing  and  naming,  so 
to  speak,  the  chorus  I  teach  them 
the  four  walls  of  the  stage:  the 
'front,'  the  'left  stage,'  'right 
stage,'  and  back  wall  or  'back  stage.'  I  drill  them  to  face  each 
of  these  at  command.  The  next  commands  are:  'Half  left  stage,' 
'half  right  stage,'  etc.,  which  signifies  that  the  line  is  to  cut  off  a 
corner,  so  to  speak,  of  the  stage. 

"The  next  step  is  to  teach  them  to  walk  to  music.  I  stand  in 
the  centre  of  the  stage  and  the  chorus  forms  around  me  in  circles, 
the  chorus  men  first,  the  show  girls  in  the  next  circle,  and  the 
smallest  members  of  the  chorus  in  the  last  circle.  The  chorus 
men  walk  in  one  direction,  the  show  girls  the  opposite,  and  the 
dancers  in  their  outer  circle  in  the  same  direction  as  the  men. 
As  they  walk  they  count,  the  show  girls  'beginning  at  one  and 
counting  to  eight.'  That  gives  the  show  girls  twice  as  much  time 

and  gives  them  the 
stately  effect  of 
their  slower  walk. 
This  is  the  final 
test.  If  an  appli- 
cant survives  this 
she  is  likely  to 
reach  the  opening 
night  of  the  per- 
formances. Most 
of  them  learn 
quickly  to  walk  to 
music,  and  who- 
ever can  learn  to 
walk  to  music  can 
dance.  A  few  are 
hopelessly  out  of 
it.  They  have  no 
notion  of  time. 
There  is  no 
rhythm  in  them. 
Now  and  then  you 
meet  a  girl  who  is 
quite  deaf.  The 
lack  of  sense  of  rhythm  is  fatal.  Such  persons  must  be 
eliminated. 

"Afterwards  I  teach  them  the  movements  of  the  picture  dances 
— Delsartean  movements.  (Continued  on  page  vi) 


AMONG  the  most  con- 
stant of  the  com- 
plaints lodged  by 

professional  critics  and  writers  against  the  modern  stage  is  that 
concerning    the    present    dearth    of    competent    stage-directors. 
Managers  are  frequently  quoted  as  deploring  the  fact  that  so  few 
young  men  of  education  and  ability  are  willing 
to  take  up  this  interesting  and  profitable  career. 
And  again  and  again,  in  reviews  of  new  plays, 
one  finds  actors  criticized  for  faults  which  are 
obviously  due  to  inadequate  and  unintelligent 
direction.     It  is  not  too  much  to  say  that  poor 
direction   can   do  more  harm  to  a  good  play, 
and  that  good  direction  can  be  of  more  assist- 
ance to   a   poor   one,   than   can   poor  or   good 
acting. 

In  view  of  the  importance  of  this  matter  to 
the  modern  drama,  there  is  particular  interest 
attached  to  the  career  of  a  young  man  who  has 
recently  come  to  the  front  and  who  promises 
to  become  a  noteworthy  factor  in  the  American 
theatre — John  Emerson,  actor  and  playwright, 
and  who,  at  the  age  of  35,  holds  the  responsible 
position  of  general  stage-director  for  Charles 
Frohman. 

Mr.  Emerson  is  an  Ohioan  by  birth.  His 
early  ambition  was  to  enter  the  Episcopalian 
ministry,  but  after  several  years  in  a  theological  seminary,  he 
concluded  that  he  had  mistaken  his  vocation,  and  completed  his 
college  course  at  the  University  of  Chicago.  But  it  must  be  added 
that  he  was  not  born  with  the  proverbial  gold  spoon; — he  worked, 
and  worked  hard,  to  secure  an  education  for  himself.  After 
leaving  college,  there  was  no  cessation  of  study ;  attracted  by  the 
stage,  he  taught  literature  and  other  branches  in  a  school  of 


Bangs 


JOHN   EMERSON 


One  can  tell  them  nothing 
• — either  they  think  there  is 
nothing  to  know  or  else 

they  think  they  know  everything  already.  Of  course,  not  all 
actors  are  in  this  class,  by  any  means ;  but  there  are  far  too  many 
for  the  good  of  the  stage." 

Mr.  Emerson's  first  New  York  engagement 
was  as  stage-manager  for  Bessie  Tyree  and  Leo 
Dietrichstein,  and  he  held  this  for  two  seasons, 
playing  small  parts  also.  Then  followed  a 
brief  season  with  Mrs.  Fiske,  as  stage-manager 
and  understudy,  and  his  long  apprenticeship 
was  over.  A  valuable  professional  association 
with  the  late  Clyde  Fitch  began  when  he  was 
engaged  as  stage-manager  for  the  production 
of  ''The  Truth."  In  accordance  with  his 
custom,  he  understudied  an  important  role — 
that  of  the  mendacious  old  father — and  played 
the  part  during  the  greater  portion  of  the  play's 
run  in  New  York  and  elsewhere.  After  the 
tragic  death  of  Clara  Bloodgood,  he  had  a 
season  with  Mine.  Nazimova,  again  as  stage- 
manager,  and  having  understudied  several  roles, 
in  a  short  time  was  playing  such  parts  as  Ric- 
cardi,  in  "Comtesse  Coquette" ;  Krogstadt  in 
"A  Doll's  House"  and  the  doddering  husband 
in  "Hedda  Gabler."  Of  his  work  in  the  last 
named  part,  Nazimova  said  in  a  letter  to  the  present  writer :  "He 
is  the  best  Tesman  I  have  ever  had." 

The  following  season,  Mr.  Emerson  assisted  in  staging  "The 
Blue  Mouse,"  and  when  Mr.  Fitch  died,  he  was  chosen,  as  the 
man  most  familiar  with  the  author's  methods,  to  put  on  "The 
City."  After  a  season  as  general  stage-director  for  the  Messrs. 
Shubert,  during  which  he  appeared  in  the  support  of  Marietta 


acting  in  Chicago,  meanwhile  conducting  a  church  choir  there —      Oily,  a  German  actress  of  brief  career  here,  and  also  produced 


for  Mr.  Emerson  is  a  skilled 
musician — and  himself  taking 
lessons  in  the  school  in  which 
he  taught.  After  a  year  of 
this,  he  played  a  very  small 
part  with  Tim  Murphy — his 
first  professional  engagement 
— and  at  the  end  of  the  third 
performance  was  discharged 
"for  incompetency." 

"1  decided  that  I  didn't  know 
enough  to  be  an  actor,"  re- 
marks Mr.  Emerson,  with  a 
reminiscent  smile.  "So  I  came 
to  New  York  and  studied  for 
three  years  more.  To  support 
myself  I  taught,  staged  amateur 
plays,  and  went  on  as  a  'super' 
and  'extra  man'  in  various  pro- 
ductions. Sometimes  I  stand 
aghast  at  the  calm  assurance  of 
the  average  young  person — 
and  some  who  are  not  so 
young;  they  seem  to  think  that 
acting  is  a  matter  of — what 
shall  I  say  ?  —  inspiration  ? 
Luck  ?  Special  dispensation  ? 
That  it  requires  no  prepara- 
tion, no  study.  Yet  they 
would  be  among  the  first  to 
laugh  at  a  man  who  tried  to 
paint  without  first  studying 
drawing,  colors  and  values ;  or 
at  a  would-be  writer  or  musi- 
cian who  was  ignorant  of  the 
first  thing  concerning  the  tech- 
nique of  writing  or  music. 


and  played  the  leading  role  in 
"The  Watcher,"  Mr.  Emerson 
joined  the  Frohman  forces. 
1  fe  staged  "The  Runaway"  for 
Miss  Burke,  "The  Attack"  for 
John  Mason,  "Bella  Donna" 
for  Nazimova,  and  various 
other  plays,  and  managed  to 
find  time  to  collaborate  with 
Hilliard  Booth  and  Cora  May- 
nard  on  "The  Bargain,"  and 
with  Robert  Baker  on  "The 
Conspiracy,"  the  latter  one  of 
the  pronounced  successes  of 
this  season.  The  former  play 
was  produced  at  a  special  mat- 
inee, and  two  managers  have 
offered  to  star  Mr.  Emerson  in 
a  rewriten  version  of  it;  he  has 
thus  far  refused,  preferring  to 
remain  with  Mr.  Frohman.  As 
an  actor,  he  has  established 
himself  by  his  character  study 
of  the  eccentric  newspaper 
writer  in  "The  Conspiracy." 
His  talent  appears  to  lie  in 
parts  requiring  sardonic  humor 
rather  than  straight  comedy. 
and  subtlety  rather  than  force ; 
though  in  various  roles  he  has 
been  successful  in  depicting 
nervous,  hysterical  types.  It 
is  in  his  capacity  as  director, 
however,  that  the  representa- 
tive of  THE  THEATRE  found 
him  most  willing  to  talk. 
"I  have  remarked  on  the  dis- 


Copyright  Chas.  Frohman 

John    Emerson    as    Winthrop   Clavering    in    "The    Conspiracy" 


Strauss-Peyton  JULI?    OPP 

Thi,   weH-known  actre..  ha.  been  appearing  thi,  «a.on  a.   Portia,  in   William    Faver.ham'.   production    of    "Julio.    Caesar" 


J50 


THE      THEATRE      MAGAZINE 


Tames  &  Bttshnell 

FRANKLYN    UNDERWOOD 

Playing    in    "What    Happened    to    Mary" 


White 


LOUISE   LE   BARON 
Appearing    as    Alan-a-Dale    in    "Robin    Hood" 


Sarony 


CLAUDE    FLEMMING 


Appearing   as   Dr.    Berncastler   in    "The    Merry    Countess" 


like  many  actors  have  for  being  'told/  "  he  said,  in  the  course  of 
a  much  interrupted  interview  in  his  dressing-room  at  the  Garrick 
Theatre.  "And  you  ask  me  where,  in  my  opinion,  they  can  learn 
the  rudiments,  at  least,  of  their  profession.  Well,  I  believe  in 
schools  of  acting;  at  all  events,  theoretically.  We  have  at  present 
several  good  ones,  which  are  doing  all  that  could  be  expected  of 
them  under  a  commercial  system.  Schools  of  acting  should  not 
be  conducted  on  a  commercial  basis  any  more  than  should  other 
schools ;  like  the  colleges  and  universities,  they  should  be  en- 
dowed. If  some  of  our  millionaires  who  profess  an  interest  in 
the  drama  would  stop  endowing  theatres  and  would  give  their 
surplus  change  toward  establishing  a  school  something  on  the 
order  of  the  Paris  Conservatoire,  they  would  be  performing  a 
genuine  service  to  the  theatre. 

"1  do  not  mean  to  say  that  the  ability  to  act — the  initial  ability, 
the  imagination,  the  personality,  can  be  given  by  a  school;  but 
certainly  one  should  be  taught,  whatever  his  or  her  native  ability 
may  be,  what  to  study,  and  why,  and  how.  There  are  so  many 
things  to  be  learned.  And  not  the  least  of  these  is  the  necessity 
for  taking  direction ;  some  actors  never  learn  that.  I  have  not  a 
very  high  opinion  of  the  modern  stock  company  as  a  training 

school ;  the  average  stock 
actor  falls  into  very  bad 
artistic  habits,  principally 
through  lack  of  time  and  lack 
of  direction.  Still,  for  a  year 
or  so — not  longer — it  does 
give  a  certain  amount  of  ex- 
perience, all  of  which  is  not 
harmful.  The  best  thing,  to 
my  mind,  that  a  young  actor 
or  actress  can  do  is  to  try 
for  a  small  position  with  a 
good  company  and  under- 
study one  or  more  of  the 
leading  parts.  And  if  an 
ambitious  young  m.an  will 
take  up  stage  management  he 
will  learn  in  a  year  more 
about  the  practical  side  of  the 
theatre  than  he  will  learn  in 
ten  seasons  of  acting.  And 
he  will  be  a  better  actor  for 


such     experience,      and      far     more     valuable     to      managers. 

"To  me  the  stage  is  very  practical,  not  at  all  a  place  for  theo- 
rizing, either  in  acting  or  in  plays.  For  instance,  I  believe  that 
'The  Watcher'  was  a  good  play,  but  it  was  propaganda  and  was 
not  successful.  Plays  should  not  propound  theories,  or  even 
facts,  which  are  not  already  a  part  of  the  public  mind. 

"Look  at  the  success  of  the  modern  'crook'  play ;  before  all 
these  theories  concerning  criminality  were  made  a  part  of  the 
public  consciousness,  through  popular  books,  magazines  and 
newspapers,  can  you  imagine  such  plays  being  successful  ?  'The 
Witching  Hour'  came  at  a  time  when  people  were  perfectly 
familiar  with  the  ideas  it  exploited,  while  plays  just  as  good 
have  gone  to  the  wall  because  people  do  not  care  for  unfamiliar 
ideas  in  the  theatre.  The  stage  is  not  the  place  for  propounding 
new  theories;  it  is,  I  shouM  say,  the  place  for  explanation  and 
visualization  of  ideas  already  familiar.  And  also,  for  entertain- 
ment always,  of  one  kind  or  another,"  he  added,  as  a  wave  of 
laughter  from  the  audience  came  through  the  open  door  of  the 
dressing-room. 

A  moment  later  Air.  Emerson,  in  his  cleverly  conceived 
make-up,  was  listening  to  a  scene  from  the  wings — alert  and 
watchful  in  his  triple  capacity 
of  author,  actor  and  director. 
An  impression  of  nervous 
energy,  of  active  mentality 
and  well-developed,  well-con- 
trolled imagination,  is  always 
present,  together  with  what 
one  of  his  fellow-workers 
described  as  a  certain  "sweet 
reasonableness"  of  disposi- 
tion. 

"And  you  might  add, 
please,"  Mr.  Emerson  whis- 
pered, with  a  twinkle  in  his 
eyes,  as  he  prepared  to  make 
his  entrance,  "that  I  am  prob- 
ably unique  among  play- 
wrights and  actors  and  direc- 
tors to-day  in  not  wishing  to 
have  a  theatre  named  after 
me  or  to  build  one  of  my 
own !"  ANNE  PEACOCK. 


Sarony          FRANCES     REEVES 

Recently    seen    as    Lady    Cudworth 
"Disraeli" 


Whlte  ANN    SWINBURNE 

Appearing     in     "The     Count     of 
bourg" 


Luxem- 


THE    THEATRE    MAGAZINE    GALLERY    OF    ARTISTES 


FRIEDA    HEMPEL,    THE    NEW    COLORATURA  SOPRANO    OF    THE    METROPOLITAN  OPERA    HOUSE 

Fraulein    Hempel    was   born   in   Leipsic,   Germany,    in   1886.     From    her  earliest   childhood   she  gave   remarkable  promise  as  a  singer.     At  twenty  she  made   her  debut   at 
Royal  Opera  House,  Berlin,  in  "The  Merry  Wives  of  Windsor."     Later  she  was  heard  all  o  -r  Europe  in  the  leading  roles  of  the  operatic  repertoire.     She  was  first 

heard  in  New  York,  on  December  27th  last,  as  Marguerite  de  Vslois  in  "The  Huguenot*" 


Illustrated  by  Mile.  Lydia  Lopoukowa 


Listen  to  the  dreamy  music 

With  its  rhythmic  rise  and  fall, 

With  its  strange  seductive  beating 
Like  an  oft-repeated  call ; 

Can  you  hear  it  and  resist  it — 
Does  it  not  your  heart  enthrall? 

When   I  hear  it  thus   entreating, 

It  is  like  a  magic  spell 
Binding  fast  my  helpless  spirit 

In  a  way  I  cannot  tell, 
Though  it  often  sounds  within  me 

Like  a  solemn-tolling  bell. 

And  I  feel  my  body  yielding, 
Bending,  swaying,  like  a  flower 

That  doth  answer  to  the  breezes 
Or  a  gently  falling  shower, 

Rhythmically  moving,  swaying, 
As  though  urged  by  secret  power. 

Light  my  feet  are  as  a  thistle 

Scarcely   touching  the   dull  ground 

As  in  time  to  the  soft  beating 
Of  the  music,  round  and  round 

In  a  strange  and  mystic  figure, 

They   are   circling   without   sound. 

Steadily  the   rhythm  quickens, 

And  responsive  to  the  note 
Faster   sways   my  supple  body, 

Pliant  grace  from  foot  to  throat, 
Dancing  lightly  as  a  flower 

On   some  eddy  set  afloat ; 

While  my   senses,  unresisting, 
Yield  to  languorous  delight, 

Knowing  naught  but  joy  and  movement 
And  the  magic  of  the  night, 

Hearing  naught  but  throbbing  music 
Urging  on  to  wilder  flight. 

Keeping  time  to  the  mad  measure 
Swifter  fly  my  sandaled  feet, 

While  around  me,  coiling,  twisting, 
Like  a  thing  with  life  replete, 

Curves  my  veil  of  spangled  silver 
Shimmering  as  with   desert  heat. 

Bending,  swaying,  backward,   forward, 

Turning  in  a  giddy  maze, 
Round   and   round   in   swifter   circles 

Whirling,  twirling,  in  a  daze, 
Faster,   faster,   madly   spinning 

To  the  music's  madder  phrase. 


On   in   frenzied   exultation — 

With  my  brain  and  heart  on  fire, 

Nothing  thinking,   nothing  wishing, 
Save  with  limbs  that  never  tire, 

Thus  to  dance  and  dance   forever 
In   a  passion  of  desire! 

DEAN   CARRA. 


Photps  by  Conklin,  Chicago 


Graham  Photo  Co. 

The   garrison   at    San    Diego   hailing   the    return    of    Don    Caspar   de    Portola    from    Monterey 


THE  second  season  of  California's  "Mission  Play"  at  San  Gabriel,  on  the 
outskirts  of  Los  Angeles,  has  proved  a  success  beyond  all  expectations, 
and  judging  by  the  crowds  that  have  flocked  from  all  parts  of  the  State 
to  this  unique  theatre,   Frank  A.   Miller,  of  Riverside,  and  those  who  have 
aided  him  in  its  presentation,  have  devised  a  spectacle  that  will  endure  year 
after   year   and    eventually    be    to    California    what    the    Passion    Play    is    to 
Oberammergau. 

For  several  years,  Santa  Barbara,  Monterey  and  Carmel-by-the-Sea  have 
attracted  tremendous  crowds  of  sightseers  with  their  historical  street  pageants, 
glorifying  the  picturesque  early  mission  days  of  California.  But  it  remained 
for  wide-awake  Los  Angeles  to  build  a  real  Mission  Theatre  and  to  find  a 
poet  and  historian  who  could  write  an  impressive  "Mission  Play"  that  pre- 
sented not  only  a  brilliant  spectacle  but  at  the  same  time  told  an  interesting,  a 
gripping  story.  John  Steven  McGroarty  is  the  author  and  his  play  is  divided 
into  three  parts — first,  the  dream  of  colonization,  early  pioneer  struggles, 
hardships  and  disappointments ;  second,  realization  of  the  dream,  dominance 
of  Spanish  rule,  the  missions'  ascendency,  conversion  of  the  In- 
dians, gay  social  life  of  Monterey  and  third,  the  dream  broken, 
missions  forsaken,  and  last  of  the  early  Franciscan  Padres. 

So  successful,  in  fact,  was  the  first  production  last  April  that  it 
was  decided  to  give  Mr.  McGroarty's  pageant  drama  annually.  It 
will  be  presented  during  several  months  each  year,  when  the 
tourist  season  is  at  its  height  and  is  likely  to  continue  a  big  attrac- 
tion, for  the  beautiful  stage  pictures  will  give  the  stranger  to  our 
shores  a  better  idea  of  the  powerful  faith  the  privations,  the 
struggles,  the  sacrifices,  the  hopes  and  the  aspirations  of  the  early 
Franciscan  Fathers  than  if  he  reads  a  dozen  of  the  books  about 
the  missions  that  are  for  sale  in  every  book  store  and  hotel. 


The  first  baptism  in  California  of  an   Indian  child 


Indian   War   Dance  on  the  shores  of   San   Diego   Bay 

The  unique  playhouse  in  which  this  pageant  is  pre- 
sented is  designed  on  the  architectural  lines  of  the  old 
Spanish  missions  and  stands  across  the  street  from  the 
Mission  San  Gabriel,  which  was  built  in  1771.  About 
the  walls  of  the  theatre  are  crude  decorations,  such  as 
the  Indians  designed  under  the  instruction  of  the 
Franciscan  Fathers.  The  rafters  are  wound  with  rope, 
and  antique  ornaments  and  books  given  an  air  of  his- 
toric reality.  The  lighting  is  by  great  chapel  candles 
and  crude  iron  lanterns.  The  windows  are  of  stained 
glass.  The  Mission  Theatre  will  do  more  to  acquaint 
the  world  with  the  life  work  of  the  Franciscan  Padres 
than  all  the  mute  ruins  scattered  through  the  State. 

H.  F.  STOLL. 


Indian   dancers  in   Act    II   of  the  Mission    Play 


R 


O  B  E  R  T  MIL- 
LIARD, sauve, 
polished,  yet 


striking  always  the  truly  manly  note,  is  proof  that  amateur  ex- 
perience cannot  ruin  a  good  actor.  Mr.  Hilliard  served  as  long 
in  amateur  art  as  Jacob  toiled  for  the  lovely  maiden  he  met  at 
the  well.  The  amazing  fact  is  that  he  waxed  a  strong  player  of 
manly  types  despite  so  inauspicious  a  beginning. 

Wall  Street  was  his  vocation,  the  drawing-room  stage  his 
avocation.  After  he  had  been  graduated  from  Bishop's  College, 
in  Lenoxville,  Canada,  and  New  York  College,  he  went  into 
brokerage,  believing  it  was  his  mission  to  cause  tremors  of  ex- 
citement on  the  neurotic  highway.  But  he  reckoned  without  that 
interfering  muse,  Thespis ;  also  without  those  attractive  girls  in 
Brooklyn's  exclusive  set  who,  whenever  they  descried  Hilliard's 
shapely  head  so  well  set  on  magnificent  shoulders,  and  the  figure 
that  conformed  to  the  classic  wedge 
of  manly  beauty,  said:  "Wouldn't 
he  look  just  splendid  as  the  hero  at 
our  next  benefit?" 

Mr.  Hilliard,  ever  a  ladies'  man, 
to  whom  a  smile  was  as  powerful 
as  a  gatling  gun,  yielded  at  every 
siege.  For  seven  years  he  was  a 
star  in  the  amateur  clubs  of  Brook- 
lyn society.  Associate  stars  were 
Edith  Kingdon,  who  became  Mrs. 
George  Gould,  Elita  Proctor  Otis 
and  Percy  G.  Williams. 

But  there  was  an  amateur  ex- 
perience that  antedated  even  that 
brilliant  period.  His  first  appear- 
ance was  the  occasion  of  the  joint 
debut  of  sweet  little  Marie  Hubert 
and  himself,  in  a  one-act  play 
written  by  Miss  Hubert's  father 
and  acted  before  admiring  friends 
and  relatives  in  the  parent's  draw- 
ing room.  The  male  and  female 
stars  fell  madly  in  love  with  each 
other  and  openly  declared  their  in- 
tention to  marry  and  go  upon  the 
professional  stage.  Alas,  for  the 
insecurity  of  human  hopes !  The 
architect  playwright,  Philip  Hu- 
bert, is  dead.  The  female  star 
married  another.  She  is  now  Mrs. 
Gustave  Frohman.  Elderly  coun- 
sels prevailed.  The  amateur  Romeo 
and  Juliet  parted  in  tears.  Neither 
of  them  was  yet  ten  years  of  age. 

His  plans  for  a  broker's  career  were  made,  I  have  said,  with- 
out reckoning  with  the  prettiest  girls  of  Brooklyn.  But  there 
was  one  older,  more  world-taught,  a  little  sad.  a  woman  with 
marvellous  eyes  and  voice,  who  cast  the  die  of  his  future.  At  a 
Sunday  afternoon  reception  the  young  man  saw  a  majestic  figure 
clad  in  a  loose,  long  gown  enter  the  room  and  move  across  it 
with  the  majesty  of  an  empress. 

"Matilda  Herron,"  whispered  one  of  those  who  always  know. 

The  young  man  was  presented,  and  she  looked  at  him  with  her 
moving  eyes  and  said  in  her  unforgettable  voice :  "If  you  had 
curls  on  your  forehead  I  would  love  you." 

"I  might  use  curling  irons,"  suggested  the  youth. 

"Don't  be  frivolous,  young  man,"  she  rebuked.  "You  look 
like  John  Wilkes  Booth.  I  carry  his  picture  in  my  bosom  and 
when  he  died  they  found  my  picture  over  his  heart.  We  will 
never  talk  of  it  again  but  come  to  see  me.  You  should  go  upon 
the  stage." 

Thus  it  was  that  an  accident  of  resemblance  secured  for 
Robert  Hilliard  an  ideal  training.  For  four  years  the  great 
actress  set  before  him  her  own  splendid  ideals,  imbued  him  with 
her  masterful  technique.  Never  was  young  actor  better  schooled. 


ROBERT    HILLIARD   AND   HIS   DOG,   "MR.    VON    BIBBER' 


In  this  the  critics  who 
witnessed  his  p  r  o  f  e  s  - 
sional  debut  in  "False 

Shame"  at  the  Criterion  Theatre  in  Brooklyn,  a  playhouse  which, 
by  the  way,  he  built  and  owned  in  consequence  of  success  in  his 
vocation  as  great  as  that  in  his  avocation. 

New  York  saw  him  first  at  the  Standard  Theatre,  whose  site 
is  now  occupied  by  a  department  store.  The  play  was  "A 
Daughter  of  Ireland."  His  part  was  Richard  Sweeney.  Georgia 
Cayvan,  fascinating  and  ill-fated,  played  the  title  role.  Charles 
Frohman  was  his  manager,  and  a  small,  quiet-mannered  man, 
whose  black  curls  framed  a  pale  face  from  which  shone  deep, 
dark  eyes,  a  man  who  looked  like  a  poet,  was  the  stage  manager. 
Fame  afterward  named  him  in  her  roll  call.  It  was  David 
Delasco.  The  year  was  1886. 

Soon  he  became  leading  man  for  Mrs.  Langtry,  then  in  the 

bloom  of  her  first  popularity  and 
playing  in  the  most  fashionable  of 
the  city's  theatres,  the  Fifth 
Avenue. 

Successively  he  created  the  lead- 
ing roles  Mr.  Barnes  in  "Mr. 
Barnes  of  New  York,"  Perry  Bas- 
com  in  "Blue  Jeans."  Gen.  Dela- 
roche  in  "Paul  Kavour,"  Johan  in 
"The  Pillars  of  Society,"  Victor 
Stanton  in  "The  White  Squadron." 
He  created  leading  parts  in 
"Elaine,"  "The  Golden  Giant,"  "A 
Possible  Case,"  "Lara,"  "Across 
the  Potomac,"  "Captain  Paul,"  and 
in  his  own  drama  ''Adrift.'' 
Jointly  he  starred  with  Paul  Ar- 
thur in  "The  Nominee"  and  "The 
Sleep  Walker."  To  London  he 
went  with  his  virile  impersonation 
of  Mr.  Van  Bibber  in  "The 
Littlest  Girl,"  of  which  he  gave  in 
this  country  and  in  England  more 
than  500  performances.  He  was 
the  star  of  "The  Mummy"  and  "A 
New  Yorker,"  and  his  vogue 
reached  its  zenith  when  as  the  Earl 
of  Woodstock  he  knocked  out  the 
professional  boxer  in  the  club 
scene  of  the  Driiry  Lane  melo- 
drama "Sporting  Life."  As  Jim 
Bludso.  based  upon  Secretary  of 
State  Hay's  Pike  County  Ballads, 
in  Mrs.  Frances  Hodgson  Bur- 
nett's "That  Man  and  I"  and 

"Wheels  within  Wheels,"  and  as  the  original  express  robber  in 
the  Belasco  play,  "The  Girl  of  the  Golden  West,"  he  was  con- 
tinuously active. 

As  a  pioneer  he  made  a  successful  excursion  into  the  land  of 
vaudeville,  appearing  in  his  own  dramatization  of  "The  Littlest 
Girl,"  in  "As  a  Man  Sows,"  "The  Man  Who  Won  the  Pool," 
and  "973,"  a  sketch  of  a  convict  character.  Four  years  ago  he 
produced  in  New  York  "A  Fool  There  Was,"  founded  upon 
Kipling's  poem  of  that  title.  He  was  the  co-author  of  the  play, 
which  gave  him  the  opportunity  for  the  fulfilment  of  his  ambi- 
tion, for  in  it  he  played  three  distinct  phases  of  one  man,  run- 
ning the  gamut  of  acting  possibilities.  He  gave  1,200  perform- 
ances of  the  drama,  playing  it  from  coast  to  coast.  Followed 
"The  Avalanche,"  originally  known  as  "The  River  of  Chance 
and  Change." 

This  season  he  has  established  his  claim,  "A  detective  can  be  a 
gentleman"  in  the  play  "The  Argyle  Case,"  rehearsed  under  the 
supervision  of  the  famous  gentleman  sleuth,  William  J.  Burns. 
More  than  a  quarter  of  a  century  of  varied  experience,  largely 
successful,  has  left  Mr.  Hilliard  as  much  in  love  with  the  stage  as 
in  his  first  year  of  boyish  exuberance  at  its  novel  charm.  A.  P. 


Photos  White 


I       B 


Hartz    Holbrook   Blinn  and   Willette   Kersha 

"*  T°hn 


Free."     4.    WUlette 


"Fancy 

Stokes  in   "A,.,    *,.»... 

I^fa^5%TriFouRlgnoN\rAIcVTLAY"s" P'RESENTED    AT    THE    PRINCESS    THEATRE 

New  York    to  the  production  of   one-act  play..     The  auditorium  is  very   small,  seating  less   than   three   hundred, 
A  new  theatre  was  recently  dedicated,  in  West  3Hh  St.,  New   j"^,™,/,./  Of  a  nature  to  appeal  to  adults  only 


Photos  Apeda  Rudolf's    arrival    at     Ruritania  The    King   ignores    his    ministers 

SCENES    IN    THE    FAMOUS    PLAYERS    FILM    COMPANY'S    PRODUCTION    OF    "THE    PRISONER    OF    ZENDA" 


White 

MARC    KLAW 
Of  Klaw  and  Erlanger, 
who  are  about  to  en- 
ter   the    moving    pic- 
ture field 


a  d  i  n  g 

THE  popularity  of  the  moving  picture  as 
a  form  of  public  amusement,  far  from 
being  on  the  wane,  is  increasing  by 
feverish  leaps  and  bounds.  Each  day  the 
cinematograph  en- 
terprises grow  in 
importance  and  at- 
tract more  capital. 
According  to  fig- 
ures given  to  the 
Chicago  corre- 
spondent of  the  New 
York  Times  by  Al- 
vin  B.  Giles,  treasurer  of  a  Western 
Motion  Picture  concern,  the  growth  of 
the  business  in  the  last  few  years  has 
been  simply  phenomenal.  He  says : 

"At  the  present  time  the  American  people  are  spending 
$500,000  daily  on  motion  picture  shows.  Every  day  in  the  United 
States  more  than  5,000,000  persons  go  to  see  moving  picture 
shows,  and  on  an  average  each  person  usually  stays  an  hour. 
There  are  at  least  20,000  of  these  mov- 
ing picture-show  houses  in  the  United 
States,  and  the  number  increases  at  the 
rate  of  thirty  to  seventy  a  week.  There 
are  in  the  United  States  500,000  per- 
sons engaged  directly  or  indirectly  in 
the  moving  picture  business,  which 
represents  an  investment  of 
$200,000,000." 

No  thoughtful  observer  can  deny  the 
fact  that  "the  movies"  have  come  to  be 
a  tremendous  factor,  either  for  good 
or  evil,  in  the  mental  development  of 
the  rising  generation.  Their  popular- 
ity is  easily  explained.  It  is  a  cheap 
form  of  entertainment.  It  appeals  to  every  purse.  It  requires 
no  great  tax  on  the  mental  powers.  Are  these  pictures  an  in- 
fluence for  good  ?  That  is  another  question  which  only  time  can 
answer.  Some  critics  think  that  unless 
the  standard  of  the  pictures  is  raised 
public  taste,  never  very  high  with  us, 
will  sink  to  a  still  lower  level.  That 
all  the  moving  pictures  thrown  on  the 
screen  in  the  average  cinematograph 
auditorium  are  a  force  for  good,  few 
will  pretend.  Many  of  the  "plays"  pic- 
tured are  childish.  Usually  they  are 
either  lurid  melodrama  of  the  dime- 
novel  order  or  so-called  "comedies,"  so 
inept  as  to  make  one  weep.  The  acting 


i  n 


The 


i  e  s 


99 


Managing  Director  of 

the  Famous  Players 

Film  Co. 


Rudolf  going  to   his   coronation    as    King 


Rudolf    witnesses 


Rudolf   seeking   the    King   at   Zenda 


is  often  crude  and  exaggerated,  the  grouping 
clumsily  managed,  the  stage  setting  in  exec- 
rable taste.  How  different  the  better  films, 
with  their  admirable  acting  and  grouping,  care- 
ful and  correct  cos- 
tuming, remarkable 
mise<-en-scene,  and 
above  all  their  co- 
herent interesting 
story!  Some  excel-  c^>vTt Alfre 
lent  films  are  made  DANIEL 
in  this  country,  and 
capable  players  pose 
for  them,  but  apparently  there  are 
not  enough  of  them  to  go  round  for 
we  see  them  all  too  seldom.  The 
pictures  that  have  real  educational 
value,  those  showing  various  phases  of  the  world's  every-day 
life — canal  building,  arctic  climbing,  hunting  in  the  jungle,  troops 
on  the  march,  breaking  bronchos  on  the  plains,  yacht  and  auto- 
mobile races,  etc. — these  are  not  only  of  great  interest  but  are 

instructive  as  well.  If  more  of  this 
sort  of  picture  could  be  shown  to  offset 
the  pernicious  effect  of  the  silly,  im- 
moral pictures  the  future  of  "the 
movies''  as  a  new  form  of  public 
amusement  would  be  more  hopeful.  A 
move  in  the  right  direction  has  been 
made  by  some  of  the  leading  theatrical 
producers,  who,  realizing  that  the  mov- 
ing picture  constitutes  a  growing  men- 
ace to  their  interests,  have  taken  the 
bull  by  the  horns  and  invaded  the  field 
as  a  formidable  rival.  The  Famous 
Players  Company,  headed  by  Daniel 
Frohman,  is  already  in  the  field  with 
its  films  of  famous  plays,  and  now  Klaw  and  Erlanger  announce 
their  intention  of  entering  the  business  on  a  big  scale,  producing 
films  made  from  their  successful  plays.  By  means  of  these 

feature  films,  made  in  a  huge  studio 
specially  built  for  that  purpose,  attrac- 
tions will  be  furnished  for  the  many 
theatres  throughout  the  Klaw  and  Er- 
langer and  Shubert  circuits.  The  or- 
ganization will  be  known  as  the  Pro- 
tective Amusement  Company  and  will 
include  Al.  Woods  and  others.  It  is 
the  purpose  to  release  two  plays  per 
week,  and  service  will  be  ready  by  the 
first  Monday  in  September  next,  as  by 
that  time  over  one  hundred  plays  will 


Rupert's    escape    from    Antoinette's     room    after 
the   murder   of   Duke   Mickael   • 


White 


HENRIETTA  CROSMAN 


This  well-known  actress  will  be  seen,  beginning  in  the  fall,  in  a  repertoire  of  classic  and  standard  comedies,  including  "The  School   for  Scandal."  "Madame  Sans  Gene,' 

"As   You    Like   It,"   "Trilby,"   etc. 


'58 


THE      THEATRE     MAGAZINE 


have  been  made   up  and   ready    for   shipment,   thus   insuring  a 
change  of  bill  twice  a  week  and  a  continuous  service  of  one  year. 

The  moving-picture  play,  when  presented  with  the  same 
care  and  given  the  same  artistic  staging,  and  with  players  of 
equal  merit  enacting  the  various  episodes  that  go  to  make  the 
drama,  is  in  a  sense  more  effective  than  the  same  play  produced 
on  the  stage  in  the  ordinary  way.  For,  whereas  in  the  regular 
stage  play  connecting  episodes  are  merely  hinted  at  and  referred 
to  offhand  in  the  course  of  the  dialogue,  in  the  same  carefully- 
produced  moving-picture  play  all  these  essential  parts  that  help 
to  make  the  main  story  are  shown  as  actually  happening,  and  the 
audience  sees  every  link  in  the 
drama  chain  becoming  a  living 
part  of  the  play — an  actual  on- 
looker of  every  scene  in  the 
drama.  The  play  thus  becomes 
more  real. 

It  is  hard  to  believe  this  if 
you  are  not  a  "movie"  fan.  It 
was  hard  for  this  writer  to  see 
it  at  first.  But  after  witnessing 
the  Famous  Players'  Film 
Company's  elaborate  produc- 
tion of  "The  Prisoner  of 
Zenda,"  with  James  K.  Hac- 
kett  as  the  Red  Elphberg — 
which  is  the  first  big  produc- 
tion of  this  concern — he  was 
convinced. 

Daniel  Frohman,  who  made 
the  original  production  of 
"The  Prisoner  of  Zenda,"  with 
E.  H.  Sothern,  in  the  old  Ly- 
ceum Theatre  on  September  4, 
1895,  and  revived  the  piece  on 
February  10,  1896,  with  James 
K.  Hackett  in  the  title  role,  has 
himself  produced  the  play  for 
the  moving-picture  screen.  He 
says  that  this  screen  revival  is 
far  superior  to  the  original 
production,  and  who  ought  to 
know  better?  Mr.  Hackett  is 
equally  enthusiastic  over  it. 
Why  not,  when  he  knows  that 
long  after  he  has  shuffled  off 
this  mortal  coil  he  still  will  continue  to  be  seen  as  an  actor  by 
countless  millions  throughout  the  ages,  instead  of,  as  formerly 
has  been  the  case  with  great  dramatic  stars,  merely  to  twinkle 
in  the  faded  memories  of  but  a  few  soon  to  follow  into  the  great 
Beyond,  or  to  rest  impassively  in  cold,  gray  type  and  print  in 
book  pages?  Truly,  the  moving  picture  is  the  living  chronicle 
of  the  stage. 

It  would  seem  that  every  great  thing  in  the  world  comes  of  a 
dream.  Inventors  dream  their  discoveries,  musicians  dream  their 
compositions,  painters  their  pictures,  and  so  on.  Two  years  ago, 
Adolph  Zukor,  who  had  been  in  the  moving-picture  business 
but  a  very  short  time,  dreamed  of  producing  on  the  screen  big 
dramatic  successes,  enacted  by  players  of  the  highest  rank.  To 
others  it  was  but  the  wildest  of  dreams.  But  this  enterprising 
newcomer,  who  almost  overnight  had  risen  from  the  very  bottom 
form  of  amusement  enterprise  to  a  position  of  wealth  and  power, 
felt  differently.  He  had,  seen  the  people — the  great  army  of 
"common  people" — nibbling  at  the  "movies"  as  eagerly  as  a  fish 
seizing  bait.  He  had  been  so  close  to  the  people  that  he  knew 
what  kind  of  bait  to  give  them.  Only  eight  years  ago  Marcus 
Loew,  the  "  'Movie'  King,"  induced  Mr.  Zukor  to  abandon  a 
furrier's  shop  in  East  Fourteenth  Street  to  buy  an  interest  in  a 
penny  arcade  around  the  corner  in  Third  Avenue.  Together, 
they  soon  acquired  a  string  of  penny  arcades,  and  the  coppers 


came  in  so  fast  that  they  became  more  ambitious  amusement  pur- 
veyors, and  started  small  moving-picture  shows.  Before  they 
knew  it  they  were  millionaires. 

Not  until  he  related  his  plan  to  Daniel  Frohman  did  Mr.  Zukor 
see  its  realization  begin  to  take  shape.  Mr.  Frohman,  a  manager 
of  wide  experience,  at  once  recognized  the  possibilities  of  the 
idea  and  then  was  formed  the  Famous  Players  Film  Company, 
which  was  duly  incorporated  in  March,  1912,  with  Mr.  Zukor 
as  president;  Mr.  Frohman  as  managing  director;  and  Edwin 
S.  Porter,  long  associated  with  Thomas  A.  Edison  in  the  making 
of  moving  pictures,  as  technical  director. 

Mr.  Porter  was  the  first  man 
to  tell  a  complete  story  with 
moving  pictures.  That  was  in 
1900,  when  he  made  the  film 
of  "The  Life  of  the  American 
Fireman"  for  the  Edison 
people.  This  original  story- 
telling moving-picture  reel  be- 
gan with  the  fireman's  home, 
where  he  was  seen  kissing  his 
wife  and  baby  good-by.  Then, 
successively  the  pictures 
showed  his  arrival  at  the  fire- 
house,  sitting  at  the  chief's 
desk  later  at  night,  dozing  off 
and  having  a  vision  of  his  wife 
and  child,  the  child  saying  her 
prayers  at  the  bedside ;  the 
fireman  awakens  and  there  is 
a  shift  to  the  bedroom,  show- 
ing the  mother  putting  the 
child  to  bed;  shift,  lamp  upset; 
shift,  fire-alarm  box  pulled  at 
the  street  corner;  shift,  inside 
the  firehouse,  showing  the  fire- 
men sliding  down  the  poles 
and  hitching  the  horses ;  shift 
to  bedroom,  mother  uncon- 
scious from  smoke ;  shift,  fire 
engines  tearing  through  the 
street ;  shift,  arrival  at  chief's 
own  home ;  putting  ladder  up 
with  the  rescue  of  wife,  and 
then  the  child.  This  was  the 
first  complete  story  told  in 
moving  pictures,  just  thirteen  years  ago.  Mr.  Porter  followed 
it  with  "The  Train  Robbery"  and  "The  Life  of  a  Cowboy,"  each 
telling  a  complete  story. 

The  first  pictures  to  be  made  by  the  Famous  Players'  Film 
Company  were  those  of  Sarah  Bernhardt  in  "Queen  Elizabeth," 
which  were  shown  on  the  screen  last  June.  These  were  made 
in  the  Eclipse  Studio,  in  Paris,  last  May,  while  the  "Divine 
Sarah"  was  playing  the  piece  in  her  theatre.  For  posing  for  this 
picture  Bernhardt  received  $20000.  The  next  films  to  be  made 
were  those  of  James  O'Neill  in  "Monte  Cristo."  Then  came  the 
pictures  of  James  K.  Hackett  in  "The  Prisoner  of  Zenda." 

Whereas  there  were  five  scenes  in  the  original  "Prisoner  of 
Zenda"  play,  in  the  moving  pictures  there  are  103  scenes,  with 
twenty-eight  separate  interior  stage  settings,  and  twenty-three 
separate  exterior  settings.  These  scenes  include  ten  of  the  largest 
settings  ever  used  in  an  indoor  motion-picture  studio,  such  as  the 
Cathedral,  showing  the  Coronation,  with  250  persons  in  the  scene ; 
a  German  street  scene,  showing  the  Coronation  parade  with  300 
persons;  the  court  in  front  of  the  Cathedral,  showing  parade, 
with  200  persons;  ballroom  at  the  Coronation,  having  150  per- 
sons in  it ;  the  exterior  of  the  castle  showing  a  moat  filled  with 
water,  over  which  hangs  a  drawbridge;  and  the  interior  of  the 
great  hall  of  the  castle,  showing  wonderful  depth.  No  stage 
production,  not  even  the  great  (Continued  on  page  vii) 


Scene  in  a  moving  picture  made  by  the  Eclair  Company,  Fort  Lee,  N.  Y.,  showing 
the   hero   reading  his   favorite  publication,   THE   THEATRE   MAGAZINE 


THE  drama  "Parisina,"  written  by  Gabriele  d'Annunzio 
last  year,  lias  been  set  to  music  by  Mascagni,  and  will  be 
seen  next  autumn,  probably  at  the  Scala  in  Milan.  Speak- 
ing of  this  work,  Mascagni  recently  expressed  his  satisfaction 
that  the  whole  drama  was  given  into  his  hands  complete,  so  that 
on  beginning  to  compose  the  music  the  idea  of  the  author  in  its 
integrity  lay  before  him.  This,  he  declared,  had  occurred  only 
once  before.  "Radcliffe,"  also,  was  finished  when  he  began  to 
write  the  music.  As  a  rule,  authors  give  an  incomplete  work  or 
one  that  they  alter  from  time  to  time.  The  enormous  advantage 
of  the  first  method  is  obvious,  but  every  poet  has  not  the  genius 
of  a  dAnnunzio  nor  the  fecundity  which  presents  new  work  to 
him  as  soon  as  or  even  before  he  has  finished  one. 

The  tragic  story  of  Parisina  is  known  to  English  readers  by 
Byron's  poem,  written  in  1816,  founded  on  Frizzi's  account  in 
his  history  of  Ferrara  and  on  the  curt  notice  of  Gibbon  in 
"Antiquities  of  the  House  of  Brunswick,"  and  which  he  con- 
cludes in  these  words,  referring  to  the  execution  of  Parisina  and 
her  stepson  by  order  of  their  respective  husband  and  father :  "He 
was  unfortunate,  if  they  were  guilty;  if  they  were  innocent,  he 
was  still  more  unfortunate,  nor  is  there  any  possible  situation  in 
which  I  can  sincerely  approve  that  last  act  of  the  justice  of  a 
parent." 

Byron  gives  a  very  meagre  outline  of  the  pitiful  story  while 
dAnnunzio  relates  in  full  the  whole  history,  elaborating  it  with 
poetic  license. 

Parisina  lived  in  the  first  half  of  the  fifteenth  century  and  was 
of  that  noble  house  of  Malatesta  to  which  had  also  belonged  the 
ill-fated  Francesca  of  Rimini,  immortalized  by  Dante.  The 
family,  once  rich  and  powerful,  had  fallen  on  evil  days  and 
Parisina's  brothers  had  become  freebooters  in  France.  When 
Nicholas  III  (the  Arzo  of  Byron),  Lord  of  Ferrara  and  Marquis 
d'Este,  asked  for  their  sister's  hand,  on  the  death  of  his  first 
wife,  they  hastened  gladly  to  grant  his  request.  Parisina  went 
an  unwilling  and  unloving  bride  to  her  husband's  arms.  He 
was  a  typical  petty  sovereign  of  the  period.  A  humanist,  a 
cultivated  man  of  letters,  generous  and  suspicious,  lascivious  and 
cruel,  Parisina,  so  legend  tells  us,  was  of  unusual  beauty. 
Golden  hair,  blue  eyes  fringed  with  long  black  lashes,  crowned 
a  form  of  unusual  development  and  elegance. 

Nicholas  had  a  son,  Hugo,  by  a  former  mistress  to  whom  he 
was  passionately  attached,  and  it  piqued  his  self-love  and  fatherly 
pride  to  see  that  Parisina  took  the  popular  attitude  of  dislike 
toward  a  stepson,  not  perhaps  to  be  wondered  at  considering  the 
circumstances  of  his  birth. 

She  was  to  go  on  a  journey  to  Loreto,  and  Nicholas,  in  the 
hope,  as  some  think,  that  propinquity  might  be  successful  in 
bringing  his  wife  and  son  together,  or  to  verify  suspicions  re- 
cently formed,  as  others  imagine,  sent  Hugo  and  a  number  of 
armed  followers  as  a  part  of  her  train.  This  is  the  second  act  of 
d'Annunzio's  tragedy.  The  scene  represents  the  primitive  Sanc- 
tuary with  its  statue  of  the  Virgin  in  black  cedar  wood.  In  the 
background,  a  wood  of  wild  laurels  and  the  Adriatic.  This  act 
is  full  of  heroic  action,  for  the  poet  depicts  the  assault  of  the 
Schiavoni  on  the  Sanctuary,  and  this  war-like  scene  is  followed 
by  a  duet  between  Hugo,  who  has  been  wounded,  and  Parisina, 
the  pair  by  this  time  having  become  lovers.  This  duet  is  of 
sublime  beauty. 

On  their  return  to  Ferrara,  Zooes,  a  servant  and  spy  of  Nicho- 
las, who  has  been  in  the  confidence  of  one  of  Parisina's  maidens, 
determined  to  make  sure  of  the  suspicions  he  had  formed  before 
reporting  them  to  his  master. 

To  effect  this  he  made  an  opening  in  the  ceiling  above  the 
matrimonial  chamber  of  his  mistress  and  had  ocular  proof  of  the 
truth  of  his  doubts.  When  Nicholas  heard  the  story  he  resolved 
to  have  personal  certainty,  and  concealing  himself  behind  a 


Moffett 


JOSEPHINE  BROWN 
Recently  seen  as  Lady   Emsworth   in   "The  Woman  of   It" 


curtain,  caught  the  guilty  pair  in  flag  ran  tc  delicto.  His  rage  at 
his  wife's  infidelity  and  his  son's  treachery  was  terrible.  They 
were  instantly  arrested  and  with  them  a  gentleman  and  lady  of 
the  court,  Aldobrandino  Rangoni  and  Madama  Violante,  as  well 
as  two  of  Parisina's  maidens,  as  being  accessory  to  the  crime. 
This  was  on  May  18.  The  trial  began  immediately.  Ferrara 
was  divided  in  its  opinion.  Of  the  two  parties,  the  most  numer- 
ous condemned  the  accused,  the  others  tried  to  find  excuses. 
The  lovers  were  sentenced  to  death  as  was  Messer  Rangoni,  who 
strenuously  defended  them,  but  Madonna  Violante  and  the  two 
maids  were  liberated. 

On  May  21,  only  three  days  after  the  discovery,  they  were 
led  out  to  die.  Hugo  was  beheaded  first  and  then  came  the 
turn  of  Parisina.  By  Nicholas'  express  orders  the  latter  was  led 
to  her  doom  by  Zooes,  the  informer,  as  he  wished  to  satiate  his 
vengeance  by  a  detailed  account  of  her  terrors  and  sufferings. 
Blindfolded  and  clad  in  her  gala  robes  she  stumbled  along,  not 
knowing  what  was  to  be  the  manner  of  her  death.  Tremblingly 
she  asked  if  she  were  to  be  thrown  into  the  deep  well  in  the 
castle  of  sinister  renown  as  the  tomb  of  many  before  her.  When 
she  was  told  that  she  was  to  be  decapitated  and  learned  that 


i6o 


THE     THEATRE     MAGAZINE 


Theodor   Rocholl   as  the    King's  son. 

Ernest     Benzinger     as     the     Robber 

Count    (left   centre) 

Hugo  had  already  suf- 
fered the  same  penalty, 
she  cried:  "Now  it  mat- 
ters not  to  me  to  die." 

Her  advent  at  the  place 
of  execution  was  made 
known  to  her  when  Zooes 
came  to  a  standstill  and 
she  heard  the  murmur  of 
the  assembled  crowd. 
With  her  own  hands  she 
removed  her  jewels  and 
handed  them  to  the  ser- 
vant. Then  in  a  voice  of 
mingled  sweetness  and 
firmness  she  said :  "Sup- 
port me  now,  Zooes,  to 
the  scaffold,  for  I,  being 
blindfold,  cannot  see." 
The  priest  approached, 
to  whom  she  made  a 
short  confession,  and 
then  the  executioner 
drew  near  to  bind  her 
hands  behind  her  back. 
As  he  seized  one  she 
knew  the  last  moment 
had  come,  and  raising  the 
other  she  made  a  sign  of 
farewell  to  the  people, 
thus  with  noble  resigna- 
tion taking  leave  of  her 
subjects  and  of  life.  The 
bodies  of  Parisina.  Hugo 
and  Rangoni  were  buried  in  the  cemetery  of  a  convent. 

The  unhappy  father  forgot  to  demand  particulars  of  his  wife's 
sufferings  and  asked  only  about  his  son.  In  a  paroxysm  of 
raging  grief  he  tore  wildly  about  the  palace,  calling  on  Hugo 
with  sobs  and  cries.  Later  on  he  wrote  an  account  of  the  execu- 
tions and  sent  it  to  various  states,  hoping  thus  to  vindicate  his 


CHARACTERS    IN 


Madame    Carmi 
"THE    MIRACLE," 


Florence    Winston    as   the    Nun. 

Josef    Klein   as   the   King 

(right   centre) 

action.  Also  he  decreed 
the  deaths  of  several 
women,  unfaithful  to 
their  husbands,  and  had 
them  executed.  A  curi- 
ous proceeding  on  the 
part  of  a  man  of  his  no- 
toriety as  the  seducer  of 
many  wives.  This  is 
necessarily  a  prosaic  and 
short  account  of  the  great 
tragedy. 

.Mascagni  was  so  im- 
pressed by  the  grandeur 
and  beauty  of  d'Annun- 
zio's  rendering  that  he 
confessed  he  began  in 
great  trepidation  to  put  it 
to  music.  He  has  worked 
at  it  for  months  in  his 
lovely  villa  in  the  so- 
called  new  quarter  of 
Rome,  but  it  is  a  site 
hallowed  by  the  memory 
of  Sallust  and  other  great 
Romans  who  lived  and 
wrote  on  the  same  spot 
long  centuries  ago.  Many 
besides  the  master  think 
that  the  choruses  sung  by 
the  peasants  in  the  second 
act  will  be  one  of  the 
most  effective  parts  of 
the  opera.  D'Annunzio 
has  introduced  there  many  excerpts  from  the  Church  liturgy, 
such  as  the  Regina  Cceli,  the  Salve  Regina,  the  Ave  Maria  Stella. 
the  Litany  of  Loreto.  These,  after  much  consideration  and 
advice  from  a  clerical  friend  and  musician  he  is  proposing  to 
set  to  music  on  Gregorian  lines,  to  the  ancient  melodies  used  for 
hundreds  of  years  to  the  same  words.  ROMANUS. 


as    the    Madonna 
RECENTLY    AT    THE 


PARK    THEATRE 


THE   THEATRE   MAGAZINE   ADVERTISER 


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enables  you  to  hear  every  record  just  as  you  want  to 
hear  it. 

"But",  you  say,  "when  Caruso  sings  or  Mischa 
Elman  plays  doesn't  the  Victor  record  it  exactly  as 
the  artist  sings  or  plays  it?" 

Absolutely  true  to  life — but  there  is  this  important 
difference: 

The  Victor  record  is  the  artist  just  as  you  would 
hear  him  if  you  stood  beside  him  on  the  stage,  while 
what  you  want  is  to  hear  him  as  you  would  if  seated  in 
the  audience — and  the  system  of  changeable  needles 
enables  you  to  sit  in  the  first  row  or  the  last  row  or 
any  place  between,  and  to  change  your  seat  for  each 
individual  selection  to  hear  it  to  the  best  advantage. 

The  Victor  system  of  changeable  needles  and  the 
tone-modifying  doors  of  the  Victrola  give  you  perfect 
control  over  the  music,  and  enable  you  to  bring  out 
the  full  beauties  of  each  individual  record. 

The  Victrola  Needle  produces  the  full  tone  as  orig- 
inally sung  or  played — particularly  suited  for  large 
rooms  and  halls,  and  for  dancing. 

The  Victor  Needle  brings  out  a  volume  of  tone  about 
equal  to  what  you  would  hear  in  the  first  few  rows  of 
an  opera  house  or  theatre. 

The  Victor  Half-tone  Needle  reduces  the  volume  of 
tone  and  gives  you  the  effect  of  sitting  in  the  middle 
of  an  opera  house  or  theatre. 

The  Victor  Fibre  Needle  produces  a  rich,  subdued 
tone  that  takes  you  still  further  back — a  tone  that  will 
delight  the  discrimi- 
nating music-lover. 

The  principle  of 
the  changeable  needle 
is  the  only  correct 
one  to  insure  perfect 
results,  and  the  repro- 
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Victor  Needles  are 
absolutely  right. 


Any  Victor  dealer  will  gladly  play  any  music  you  wish 
to  hear  and  demonstrate  the  value  of  the  changeable 
needle. 

Victor  Talking  Machine  Co.,  Camden,  N.  J.,  U.  S.  A. 

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New  Victor  Records  are  on  sale  at  all  dealers  on  the  28th  of  each  month 


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VI 


THE   THEATRE   MAGAZINE   ADVERTISER 


{Deduction  ofWiight 

HAVING  tried  every  other  known 
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Handling  Humanity  in  the  Mass 

(.Continued  from  page   147) 


They  next  memorize  the  words,  then  the  music, 
and  last  I  'routine'  the  steps  and  movements  of 
all  the  numbers.  There  are  usually  twenty-four 
in  a  production." 

"What  is  the  last  finishing  touch  at  the  re- 
hearsal before  the  opening?" 

"I  make  them  a  little  speech.  I  say  to  them : 
'Forget  anything  unpleasant  that  has  happened. 
I  have  been  cross  sometimes,  but  forget  that. 
Feel  happy,  be  happy,  and  do  your  best.  That's 
all  anyone  can  do."  After  giving  them  that  little 
jolly  I  stand  in  the  wing  and  they  all  smile  and 
shake  my  hand.  The  right  feeling  is  established 
for  an  enthusiastic  first  night." 

"How  long  do  you  rehearse  a  chorus?" 

"Two  hours  in  the  morning.  Three  in  the 
afternoon,  and  three  at  night.  For  five  weeks." 
Verily  the  life  of  a  chorus  girl  is  not  one  of 
ease. 

The  King  of  the  chorus,  it  was  designed  hy 
his  father,  who  was  a  manufacturer  of  Pitts- 
burgh and  afterwards  of  Atlanta,  to  become  him- 
self a  manufacturer.  He  was  made  secretary  of 
the  company,  but  in  the  panic  of  '93  the  failure 
overtook  the  firm.  He  left  the  works  and  be- 
came an  assistant  manager  of  a  hotel  in  Chi- 
cago. That  he  decided  after  a  month's  trial 
was  worse  than  sitting  pen  in  hand  counting 
profits.  He  went  to  that  departed  saint  of  the 
yearning  and  undiscovered.  Col.  John  Hopkins, 
and  said :  "I  have  been  connected  with  amateur 
clubs  and  been  managing  entertainments  in  them 
for  years.  I  want  to  try  a  little  professional 
entertaining." 

"What   can  you   do?" 

"I  can  play  the  piano,  sing  and  dance.  But 
the  best  thing  I  do  is  ragtime." 

"What's  that?"   asked   the  big   Colonel. 

He  explained   "syncopated  music." 

"Don't  think  they'd  like  it,"  said  the  Colonel. 
"But  you  can  try  it  on  'em  Sunday  night." 

Billed  as  "Ned  Wayburn,  the  Greatest  of  Ama- 
teur Entertainers,  with  a  long  list  of  his  clubs 
following,"  he  made  his  debut  at  Col.  Hopkins's 
theatre.  He  played  Mendelssohn's  Wedding 
March  as  it  was  written,  then  syncopated  it. 
With  a  piece  of  paper  under  his  feet  at  the 
piano,  tapping  the  paper  as  he  played,  he  ex- 
plained the  fragmentary  music  of  the  dark-faced 
natives  of  the  South.  The  novelty  won.  The 
young  man  was  engaged  at  twenty-five  dollars 
a  week  to  continue  his  exposition  of  ragtime. 
Soon  his  salary  reached  one  hundred  and  twenty- 
five  dollars.  Whereupon  he,  with  the  intrepidity 
of  youth,  he  came  to  conquer  New  York.  It  all 
but  conquered  him.  A  dragging  spring  of  in- 
action and  emptying  pockets  and  a  friend,  now 
the  treasurer  of  a  Broadway  Theatre,  a  fellow 
victim  of  a  cheap  theatrical  boarding  house  said : 
"I  know  May  Irwin  a  little.  I'll  ask  her  to  hear 
you  play." 

They  went  to  the  hotel,  found  the  sunny 
haired  comedienne  dining  with  her  sons,  lured 
her  from  the  table  and  a  half  finished  dinner, 
by  the  siren  notes  from  the  South.  Ned  Way- 
burn  played  for  hours,  played  until  his  repertoire 
of  Southern  songs  was  exhausted.  The  next 
night,  at  the  Bijou,  she  sang  one  of  the  songs, 
Syncopated  Sammy.  Ned  Wayburn  accompany- 
ing her  at  the  piano  because  the  orchestra  re- 
fused to  play  "such  balderdash."  That  night 
ragtime  became  the  fashion  in  the  metropolis. 

Mr.  Wayburn  remained  with  Miss  Irwin  for 
a  season,  placed  the  Minstrel  Misses  on  the  New 
York  Roof  one  season,  "The  Rain  Dears"  the 
next.  Was  stage  director  for  Klaw  &  Erlanger 
for  five  years,  served  in  the  same  capacity  for  the 
Shuberts  for  a  similar  time.  Eventually  he  will 
take  a  theatre  of  his  own,  where  we  will  see 
Wayburnian  dances  and  hear  Wayburnian  songs, 
enjoy  Wayburnian  productions,  owned  as  well  as 
directed  by  Ned  Wayburn. 

MARY  MORGAN. 


Ethel  Charlotte  Mantell,  the  sixteen-year-old 
daughter  of  Robert  B.  Mantell.  the  Shakespearean 
actor,  has  made  her  professional  debut  on  the 
stage,  and.  singularly  enough,  she  appeared  in 
the  same  theatre  where  her  father  made  his  first 
American  appearance.  Mr.  Mantell  came  to  this 
country  in  1878,  and  was  seen  on  the  American 
stage  for  the  first  time  when  he  appeared  in  sup- 
port of  Mme.  Modjeska  at  the  old  Leland  Opera 
House  in  Albany,  N.  Y. 

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Hair  Tonic,  $1.00.  Shampoo  Cream,  25c.  a  tube 

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At  Drug  &  Dept.  Stores  or  sent  postpaid 
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THE      THEATRE      MAGAZINE      ADVERTISER 


vn 


THE    MOVIES 

(Continued  from  page   158) 


spectacles  that  have  been  put  on  the  stage  in  the 
last  few  years  has  more  substantial  settings  and 
is  made  with  more  care  as  to  mounting  and 
scenic  effects.  Many  thousands  of  dollars  were 
spent  on  a  scene  to  be  used  only  ten  minutes,  the 
time  it  required  to  arrange  and  take  the  picture! 
After  that  the  setting  is  never  used  again,  as  in 
the  case  of  a  stage  drama,  and  yet  it  is  even  more 
solidly  and  expensively  made.  It  required  five 
weeks  to  produce  "The  Prisoner  of  Zenda"  on 
the  screen.  During  this  time  before  one  picture 
was  taken — just  a  small  part  of  a  single  scene — 
it  sometimes  was  rehearsed  for  two  hours.  Every 
picture  was  posed  over  and  over  again  from 
seven  to  twenty-five  times  before  it  finally  was 
taken. 

The  actors  do  not  have  to  learn  any  lines,  but 
are  told  the  story-action  of  each  scene.  Their 
part  is  to  act.  In  Mr.  Hackett's  support  in  the 
film  production  of  "The  Prisoner  of  Zenda"  were 
Minna  Gale  Haynes  as  Antoinette  de  Mauban, 
Walter  Hale  as  Rupert  of  H'entzau,  Frazer  Coul- 
ter as  Colonel  Sapt,  David  Torrence  as  Black 
Michael,  Beatrice  Beckley  as  Princess  Flavia, 
William  Randall  as  Fritz  von  Torlenheim,  Frank 
Shannon  as  Detchard,  and  seventy-five  other 
characters.  For  "supers"  they  had  equally  as 
famous  society  folk.  A  number  of  young  society 
women,  friends  of  Mr.  Frohman,  thought  it 
would  be  fun  to  appear  as  supers,  so  as  later  to 
be  able  to  see  themselves  on  the  screen.  Of 
course,  only  their  friends  and  those  who  know 
them  well  recognize  them,  and  so  long  as  Mr. 
Frohman  promised  to  keep  silent  as  to  their 
names  they  did  not  care.  Certainly  no  production 
ever  was  made  on  the  stage  with  such  an  array  of 
supers.  There  were  a  number  of  society  beaux,  too, 
Among  the  men  who  acted  as  supers  were  Evart 
Jansen  Wendell,  who  also  played  a  small  part  in 
one  picture,  and  Frank  E.  Richards,  the  architect. 
These  society  folk  all  appeared  in  the  scene  of 
the  Coronation  Ball. 

The  next  production  to  be  made  is  Ethel  Barry- 
more  in  one  of  her  greatest  successes.  Then  will 
follow  productions  of  William  Faversham  and 
Julie  Opp  in  "Julius  Caesar,"  and  of  Blanche 
Bates,  Mrs.  Lily  Langtry,  Henry  E.  Dixey,  Mrs. 
Leslie  Carter,  Mrs.  Fiske,  and  many  others  in 
their  greatest  successes.  W.  P.  D. 

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60  eta.  per  caae-6  glass-stoppered  bottles 


DAMAGED    GOODS 

(Continued  from  page   134) 


The  men  looked  at  each  other  quizzically  and 
understood. 

"Dick,  you  may  have  the  theatre." 

They  shook  hands.  The  younger's  eyes  were 
more  in  evidence  than  his  jaw  at  the  moment. 
The  elder  read  their  message.  When  the  younger 
walked  out  with  firm  tread  and  without  a  word 
there  was  no  need  of  the  word. 

Through  the  medical  journal's  offices  it  was 
arranged  that  only  persons  who  joined  a  medical 
society  and  proved  themselves  of  age  and  nature 
sedate  enough  for  thoughtful  auditors  should  be 
permitted  to  witness  the  production. 

The  battle  was  won?  Not  at  all.  There  re- 
mained the  actors.  "Twenty-five  actors  ran  out 
on  me,"  said  the  actor-manager.  "They  were 
game  enough,  but  their  friends  said :  'If  you 
identify  yourselves  with  this  play  you  will  never 
be  engaged  in  a  reputable  theatre  again.'" 

When  every  other  part  was  filled  there  re- 
mained that  which  by  conventional  standards 
was  the  worst.  Mrs.  Bennett,  who  had  fought 
at  her  husband's  shoulder  under  the  standard  of 
the  play  for  two  years,  said :  "I  will  play  it." 

On  the  afternoon  when  the  play  was  first  pre- 
sented as  many  persons  walked  disappointedly 
away  as  entered  the  theatre,  and  its  walls  bulged 
with  auditors.  There  was  a  second  performance 
under  the  same  circumstances.  A  third  occurred 
in  Washington,  a  fourth  in  New  York  Later  it 
was  put  on  for  a  run  at  the  Fulton  Theatre,  and 
the  box  office  was  literally  besieged,  the  house 
having  been  packed  at  every  performance  ever 
since. 

"I  have  the  rigHts  to  produce  it  in  this  country 
for  a  year,"  said  the  man  who  won.  "I  intend  to 
play  it  in  every  large  city  in  this  country." 

That  is  the  reason  you  would  better  pause 
before  you  say  that  actors  are  persons  of  light 
purpose,  and  the  reason  why  I  admire  Richard 
Bennett's  jaw.  M.  M. 


What  Sanatogen  will  do 
for  your  Health 


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'Nerve  Health  Regained" 

1C  you  wish  to  learn  more 
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the  benefits  of  Sanatogen  would  tell  you,  did 
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They  tell  us  in  these  letters  how  Sanatogen 
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phorus— free  from  anything  unnatural  or  harm- 
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nothing  but  benefit.  You  can  obtain  Sanato- 
gen of  any  good  druggist;  it  comes  to  you  as 
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Sanatogen   is   mold  by  good    druggist* 
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John  Burroughs, 

The  distinguished  natural- 
ist and  author,  writes: 
"I  am  sure    I    have  been 
greatly    benefited  by  Sanato- 
>:<  iL.     My  sleep   Is  fifty  per 
cent,  better  than  it  was  one 
year  ago,  and  my  mind  and 
strength  are  much  improved' ' 


A  mold  Bennett 
the  famous  novel- 
ist, writes: 
"The  tonic  effect 
of  Sanatotfen  on  me 
is   simply    wonder- 
ful." 


Charles  D.  Siffsbee, 

Rear  Admiral  U.  S.  Navy. 

writes: 

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"The  Revue  of  1912" 


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It  contains  over  720  pages,  colored  plates,  1  500 
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and  the  wonderfully  colored  covers  which  appeared 
on  each  issue. 

It  makes  an  attractive  addition  to  your  library  table, 
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not  only  to  yourself  but  to  your  friends. 

Only  a  limited  number  of  these  sets  have  been 
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from  1901  to  1912,  inclusive,  $132.00 


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Year  of  The  Theatre  for  1902 

"     1904 

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"  1907 

"  1908 

1909 

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M       «       tt  «*  1911 


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IX 


Giannino  Antona-Traversi 

(Continued  from  page   138) 


climbers  of  the  bourgeoisie,  and  against  those 
aristocrats  who  mingle  with  them  for  the  sake 
of  their  money. 

In  1900  his  play,  "The  Friend,"  found  great 
favor  in  Turin,  less  on  account  of  its  subject, 
which  rather  lacked  originality — the  argument 
being  that  a  close  friendship  between  a  man  and 
a  woman  is  a  dangerous  and  impossible  thing — 
but  on  account  of  its  exquisite  deftness  of  treat- 
ment. 

Three  years  later  the  public  was  given  another 
one  of  those  good-naturedly  satirical  comedies 
in  the  writing  of  which  Giannino  Antona-Tra- 
versi had  come  to  excel,  "The  Happiest  Days." 
He  professes  that  they  should  be  those  between 
betrothal  and  marriage,  and  shows  easily,  how 
thoughtlessly  they  are  spoiled  by  the  tyranny  of 
customs  and  etiquette. 

Other  excellent  plays  soon  followed:  "The 
Faithfulness  of  Husbands";  "The  Honeymoon 
Trip,"  which  was  produced  at  the  Burg  Theatre 
in  Vienna;  "Worldly  Charity";  "An  Honest 
Wife";  "The  Martyrs  of  Work,"  a  masterful 
satire  on  society  people  whose  manifold  and 
complex  social  duties  leave  them  too  exhausted 
to  accomplish  anything  else ;  and,  more  recently, 
"The  Mother,"  which  has  been  thought  by  many 
critics  his  best  work. 

Aside  from  the  approval  of  the  public  at  large, 
Giannino  Antona-Traversi  won  prizes  for  most 
all  of  his  plays  in  national  contests,  and  next 
season  we  shall  be  able  to  see  for  ourselves  how 
well  he  deserved  them. 

In  all  his  works  tact,  good  taste  and  elegance 
of  style  predominate.  He  knows  his  abilities  as 
well  as  his  limitations,  and  he  never  attempts 
anything  he  cannot  do.  He  himself  once  said: 
"I  try  to  remain  within  the  traditions  of  true, 
Italian  comedy.  They  demand  an  ingenious, 
piquant,  delicate,  wholesome  theme,  and  that  it 
be  treated  with  calmly  and  judiciously  in  such 
a  way  as  to  leave  in  one's  heart  a  fragrant  per- 
fume of  all  that  is  joyous,  fresh  and  intimate 
in  life." 

Men  and  women  whose  minds  are  cultured  and 
sensibilities  acute  are  sure  to  appreciate  Giannino 
Antona-Traversi. 

FRANCES  C.  FAY. 


GREAT  BEAR  SPRING  WATER 
50  cts.  per  case- 6  glass-stoppered  bottles 

Victor  Records 

An  air  from  Puccini's  "Manon,"  Enrico  Caruso. 
In  Italian. 

This  early  Puccini  opera  was  first  performed 
in  America  by  a  struggling  opera  company  in 
1898,  but  the  performance  was  so  wholly  bad 
that  it  is  scarcely  worth  mentioning.  The  real 
New  York  premier  was,  of  course,  the  Metro- 
politan production  in  1907,  when  Puccini  himself 
was  present,  with  Caruso  and  Farrar  in  the  cast. 

Caruso's  Second  Sacred  Number — Agnus  Dei, 
Bizet. 

The  First  Farrar-Clement  Duet — Romeo  and 
Juliet,  Ange  Adorable,  Gounod. 

A  Vocal  Waltz  by  Tetrazzini— Grande  Valse, 
Op.  10,  Venzano. 

This  brilliant  waltz,  displacing  the  usual  Carni- 
val of  Venice,  was  recently  introduced  by  the 
diva  in  the  "Lesson  Scene  of  Barber  of  Seville," 
and  made  the  success  of  the  opera. 

A  New  Cottenet  Song  by  Gluck— Red,  Red 
Rose,  Cottenet. 

A  charming  new  setting  of  Burns'  immortal 
poem,  by  R.  L.  Cottenet,  whose  lovely  "Medita- 
tion," played  by  Kreisler,  was  such  a  success 
during  March  and  April. 

An  English  Ballad  by  McCormack— Within  the 
Garden  of  My  Heart,  Roberts-Scott. 

Mr.  McCormack's  contribution  to  the  May  list 
is  a  pleasing  English  song,  which  he  sings  with 
his  usual  exquisite  tone  quality  and  good  enun 
ciation.  Advt. 


What  the  Stage  Needs 

"The  American  stage  stands  in  need  of  Amer- 
ican actors.  They  are  scarce.  Actresses  are 
plentiful.  But  when  I  want  men  for  men's  roles 
I  can't  find  them.  If  I  send  out  a  call  for  players 
I  hear  from  and  see  a  hundred  actresses;  I  hear 
from  and  see  twenty  actors.  From  the  former 
applicants  I  can  pick,  maybe,  sixty  possibilities ; 
among  the  men  I'm  not  likely  to  find  one  that 
will  do."— W.  A.  BRADY. 


He — I  think  I'll  go  and  get  a  drink  now. 

She — But,  darling,  you  know  you  swore  off  for 
a  year. 

He — Yes;  but  two  years  elapse  between  this 
act  and  the  next !— The  Club-Fellow. 


The  Power  of  Silent  Service 


If  the  crowd  on  the  stock  exchange 
kept  quiet  and  let  one  man  talk,  that 
man  could  be  heard  in  every  corner 
of  the  room.  But  the  shouting  mem- 
bers produce  a  composite  of  sound, 
so  that  no  one  trader  is  understood 
except  by  a  small  group  around  a 
particular  trading  post. 

If  everyone  were  able  to  shout 
twice  as  loud,  the  result  would  be  only 
a  greater  noise,  and  less  intelligible. 

For  communication  to  be  universal 
there  must  be  silent  transmission.  In 
a  noisy  stock  exchange  where  the 
voice,  unaided,  cannot  be  understood 
across  the  room,  there  are  hundreds 
of  telephones  which  carry  speech 
half  way  across  the  continent. 

AMERICAN  TELEPHONE  AN 


The  telephone  converts  the  spoken 
words  into  silent  electrical  impulses. 

In  a  single  Bell  telephone  cable,  a 
hundred  conversations  can  be  carried 
side  by  side  without  interference,  and 
then  distributed  to  as  many  different 
cities  and  towns  throughout  the  land. 
Each  conversation  is  Ted  through  a 
system  of  wire  pathways  to  its 
propef  destination,  and  whispers  its 
message  into  a  waiting  ear. 

Silent  transmission  and  the  inter- 
connecting lines  of  the  Bell  System 
are  indispensable  for  universal  tele- 
phone service. 

Without  such  service,  our  cities 
would  be  slow  of  speech  and  th  e  States 
would  be  less  closely  knit  together. 

D  TELEGRAPH  COMPANY 


AND  ASSOCIATED    COMPANIES 

Every  Bell  Telephone  is  the  Centre  of  the  System 


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The  delicious  flavor  and  aroma  of 

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with  a  home  and  sir  muntlis'  vucal'uiH  annually  in  one  of 
the  most  magnificently  endowed  natural  environments  on 
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We  believe  you  will  investigate  this  opportunity  because 
this  appeal  for  investigation  is  directed  to  broad-minded 
and  sensible  readers,  living  in  an  age  of  scientific  progress 
which  has  made  the  impossible  of  yesterday  the  reality  of 
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is  an  opportunity  for  you  to  make  an  immensely  profitable 
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Eugene  Walter,  the  well-known  playwright,  and  Mrs. 
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the  10th  year  from  planting,  judged  by  experience  of 
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Four  years  ago  Mr.  Mothersill   gave  a  personal  demon- 
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XI 


AT   THE    OPERA 

(Continued  frojn   page   142) 


was  the  chorus,  for  such  choral  singing  has  never 
before  been  heard  at  the  Metropolitan.  Under 
the  guidance  of  Giulio  Setti,  this  chorus  simply 
astounded  its  hearers — particularly  in  the  revolt 
scene.  It  was  a  triumph  of  chorus  singing. 

And  what  shall  be  said  of  Arturo  Toscanini. 
the  little  wizard  who  wielded  the  baton.  He 
charged  every  moment  of  this  wonderful,  exotic, 
if  fragmentary  work  with  that  overwhelming 
spirit  of  compelling  artistic  greatness  so  that  it 
seems  out  of  place  to  apply  to  his  work  the  con- 
ventional terms  of  praise  usually  accorded  an 
operatic  conductor.  He  inspired  orchestra,  chorus 
and  soloists  until  the  performance  of  "Boris 
Godunoff"  at  the  Metropolitan  is  worthy  of  an 
artistic  pilgrimage  to  see  and  hear. 

Another  item  of  importance  during  the  final 
month  of  opera  was  the  revival  of  Donizetti's 
"Don  Pasquale,"  conducted  by  Toscanini,  who 
made  this  simple,  old-fashioned  and  generally 
slighted  opera  sound  like  some  bit  of  Italian 
chamber  music.  Here  again  the  chorus  distin- 
guished itself  by  its  work,  singing  as  never  be- 
fore were  choruses  at  the  Metropolitan.  Bori 
achieved  new  honors  as  Norina,  although  she 
forced  her  high  notes  until  beauty  left  them,  and 
Macnez.  as  Ernesto,  was  scarcely  satisfying. 
Scotti,  as  Malatesta,  was  superb,  and  Pini-Corsi 
was  vastly  amusing  in  the  title  role. 

Another  operatic  revival  of  the  month  was 
"Rigoletto,"  presented  with  entirely  new  scenery, 
Gilda  being  well  sung  by  Frieda  H'empel,  while 
Gilly  in  the  title  role  was  excellent.  Macnez  sang 
the  Duke  very  well. 

The  new  German  tenor,  Urlus.  has  added  to  his 
artistic  stature  by  his  remarkable  impersonation 
of  Lohengrin  and  Tannhauser.  He  is  to  return 
next  year,  as  are  most  of  the  other  important 
members  of  the  present  ensemble,  and  it  all 
promises  to  be  an  unusually  interesting  season  in 
the  matter  of  reviving  VVagnerian  music  dramas. 

And  finally,  as  a  valedictory  to  my  patient 
readers,  a  few  words  about  the  opera  season  of 
1912-13.  Gatti-Casazza  has  intrenched  himself 
more  firmly  than  ever  in  the  artistic  estimation  of 
those  who  take  opera  seriously.  During  the 
course  of  the  twenty-three  weeks  of  opera  in 
New  York,  thirty-six  different  operas  have  been 
sung  in  four  languages,  Italian.  German.  French 
and  English.  The  novelties  presented  were  the 
Russian  work,  "Boris  Gudunoff,"  a  remarkable 
opera,  and  "Cyrano,"  an  opera  in  English,  which 
fell  short  of  high  ideals  and  can  scarcely  be  said 
to  have  furthered  the  cause  of  opera  in  English, 
now  being  aided  by  the  Metropolitan  directors. 

Then  there  have  been  revivals  of  note  of  "The 
Magic  Flute."  "The  Huguenots"  and  "Don  Pas- 
quale," all  of  which  have  been  neglected  here 
during  recent  years.  "The  Secret  of  Suzanne," 
made  known  here  by  the  Philadelphia-Chicago 
Opera  Company,  was  also  added  to  the  Metro- 
politan repertoire  this  season,  and  quite  a  number 
of  the  standard  operas  have  been  fitted  out  with 
new  effects. 

Among  the  new  stars,  Frieda  Hempel,  Lucrezi 
Bori.  Jacques  Urlus  and  Carl  Braun  have  won 
their  spurs  and  will  be  retained,  while  the  great 
ensemble  of  familiar  artists  has  not  been  broken 
into,  but  has  been  strengthened  by  these  new 
importations. 

Indisposition  has  played  tricks  upon  the  man- 
agement from  time  to  time,  and  there  have  been 
some  unavoidable  changes  of  opera  or  of  indi- 
viduals in  the  casts,  but  not  enough  to  cause  com- 
ment. It  would  seem  that  the  artistic  standard 
has  been  raised  several  notches  during  the  sea- 
son. And  Giulio  Gatti-Casazza  goes  quietly  but 
steadfastly  on,  accomplishing  ideals  and  achieving 
general  results  that  make  New  Yorkers  point 
with  pride  to  the  Metropolitan  as  having  no 
superior  in  the  opera  houses  of  the  old  world. 

Margaret  Sayre,  Roland  Rushton,  John  Clulow 
and  Frederick  R.  Seaton  have  been  added  to  the 
cast  that  will  appear  in  Oliver  Morosco  and 
Charles  L.  Wagner's  production  of  J.  Hartley 
Manners'  dramatization  of  Jeffery  Farnol's  novel. 
"The  Money  Moon,"  which  will  receive  its  pre- 
mier at  Powers'  Theatre,  Chicago,  on  the  27th 
of  this  month.  Mr.  Manners  is  personally  con- 
ducting the  rehearsals. 


Oliver  Morosco's  production  of  Louis  F.  Gott- 
schalk  and  L.  Frank  Baum's  big  musical  fantasy, 
"The  Tik  Tok  Man  of  Oz,"  will  remain  at  the 
Cort  Theatre,  San  Francisco,  but  two  more  weeks, 
after  which  it  will  begin  an  engagement  in  Chi- 
cago that  will  carry  it  through  the  summer.  The 
New  York  presentation  of  the  play  will  take 
place  in  September. 


NAI 


Sugar  Wafers 


enrich  the  elaborate  luncheon,  adorn  the 
simplest  of  "afternoons."  Their  good- 
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Sweetness  and  flavor  are  delightfully 
united  in  these  highly  esteemed  dessert 
confections.  In  ten -cent  tins;  also  in 
twenty-five-cent  tins. 


ADORA :— A  filled  sugar  wafer— the  newest 
of  dessert  sweets. 


FLSTINO:—  A  favorite  conlection  in  the 
guise  of  an  almond,  with  a  kernel  of  almond- 
flavored  cream. 


CHOCOLATE.  TOKENS:— A  dessert  con- 
fection   having    a    rich    chocolate    coating. 


NATIONAL  BISCUIT 


COMPANY 


AMERICAN  ACADEMY  OF 
DRAMATIC  ARTS 


Summer  term 
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Recognized  as  the  Leading  Institution 
for   Dramatic   Training   in   America 


BOARD  OF  TRUSTEES 
Franklin  H.  Sargent,  President 
Daniel  Frohman  John  Drew- 

Benjamin  F.  Roeder  Augustus  Thomai 


Founded 
la  1884 


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apply  to  the  Secretary 

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THE    NEW    PLAYS 

(.Continued  from  page   132) 


IRVING  PLACE.  "FRAULEIN  JOSETTE — MEINE 
FRAU."  Farce  in  four  acts  by  Paul  Gavault  and 
Robert  Charvay.  German  version  by  Max  Schoe- 
nau.  Produced  on  April  7th. 

"Mademoiselle  Josette — ma  femme"  was  done 
four  seasons  ago  in  English  by  Charles  Frohman, 
with  John  Drew  and  Billie  Burke,  under  the 
title  of  "My  Wife,"  so  that  the  story  of  the  play 
need  not  be  repeated  here.  In  the  American 
version  they  skated  around  the  salaciousness  of 
the  original  story;  in  the  German  they  went  at 
it  full  tilt,  in  the  heavy-footed  German  way,  with 
the  result  that  it  became  a  vulgar,  noisy  farce. 
Fraulein  Mathilde  Brandt  is  much  too  mature 
to  play  a  girl  of  eighteen,  but  is  an  experienced 
and  resourceful  actress.  Herr  Direcktor,  Ru- 
dolph Christians,  is  an  actor  of  fine  personality,  of 
finished  technique,  but,  unfortunately,  with  a 
faulty  diction  most  unusual  in  a  German  actor. 
The  best  work  was  done  by  Heinrich  Marlow  as 
Theodor  Panard,  Max  Jiirgens  as  Joe  Jackson, 
and  Ernest  Auerbach  as  a  waiter. 


FORTY-FOURTH  STREET.  "THE  GEISHA." 
Japanese  Musical  Play  in  two  acts ;  libretto  by 
Owen  Hall,  lyrics  by  Harry  Greenbank,  music 
by  Sidney  Jones.  Revived  on  March  27th  with 
this  cast: 

Wun  Hi,  James  T.  Powers;  Arthur  Brownville,  Bert 
Young;  Tommy  Stanley,  Cecil  Renard;  Dick  Cunning- 
ham, Charles  King;  Reginald  Fairfax,  Carl  Gantvoort; 
Nami,  Irene  Cassini;  Juliette,  Georgia  Caine;  Marquis 
Imari,  Edwin  Stevens;  Takemine,  George  Williams;  Ethel 
Hurst,  Florence  Topham;  Mabel  Grant,  Jane  Burdett; 
Marie  Worthington,  Grace  Bradford;  Lady  Constance 
Wynne,  Pauline  Hall;  O  Mimosa  San,  Alice  Zeppilli; 
Churia,  Eugene  Roder;  Captain  Katana,  Frank  Pollock; 
Molly  Seamore,  Lina  Abarbanell;  Blossom,  Zetta  Met- 
chik;  Golden  Harp,  Olga  Harting;  Chrysanthemum,  Alice 
Baldwin;  Little  Violet,  Edith  Thayer;  Koko  San,  Anna 
Ailion;  Hanna  San,  Amelia  Rose;  Reto  San,  Susanne 
Douglas;  Saki  San,  Nellie  Ford. 

Mr.  Arthur  Hammerstein  and  the  Shuberts  are 
presenting  a  revival  of  "The  Geisha"  at  Weber 
and  Fields'  Forty-fourth  Street  Theatre,  with 
James  T.  Powers  as  Wun  Hi,  the  Proprietor  of 
the  Tea  House.  It  is  designated  as  an  all-star 
performance,  and  the  bill  of  the  play  glitters  with 
notable  names :  Alice  Zeppilli  as  Mimosa  San, 
Lina  Abarbanell  as  Molly,  Georgia  Caine  as  Juli- 
ette, Pauline  Hall  as  Lady  Constance  Wynne,  Irene 
Cassini  as  Nami,  with  Charles  King  as  Cunning- 
ham, Carl  Gantvoort  as  Reginald,  George  Wil- 
liams as  Takemine,  and  a  chorus  of  exceptional 
excellence.  The  Japanese  settings  have  not  been 
surpassed  in  any  previous  production. 

LYRIC.  "ROSEDALE."  Comedy  drama  in  five 
acts.  Revived  on  April  8th  with  this  cast : 

Elliott  Grey,  Charles  Cherry;  Matthew  Leigh.  Frank 
Ciillmore;  Col.  Cavendish  May,  John  Glendinning;  Miles 
McKenna.  Robert  Warwick;  Arthur  May,  Stephen  Davis; 
Bunherry  Kobb,  Leslie  Kenvon;  Farmer  Green,  George 
Williams;  Corporal  Daw,  Harry  HaHfield;  Docksey.  J. 
W.  Hartman;  Robert,  George  Wolfe;  Romany  Rob, 
F.arl  Mitchell;  Rosa  Leigh,  Elsie  Ferguson;  Lady  Flor- 
ence May,  Johyna  Howland;  Tabitha  Stork,  Alice  Fis- 
cher; Sarah  Sykes,  Delia  Fox;  Mother  Mix,  Edith 
Warren;  Miss  Primrose,  Paula  Ludluin. 

While  certain  wines  improve  with  age,  it  is 
equally  evident  from  recent  dramatic  revivals 
that  certain  plays  gain  nothing  by  the  lapse  of 
time.  An  example  of  the  latter  is  "Rosedale," 
which  W.  A.  Brady  presented  on  an  elaborate 
scale  for  a  month  at  the  Lyric  Theatre.  It  was 
nn  September  30,  1863,  that  Lester  Wallack  pre- 
sented for  the  first  time  on  any  stage  at  his  old 
theatre,  at  Thirteenth  Street  and  Broadway, 
"Rosedale,"  his  own  version  of  "Lady  Leigh's 
Widowhood,"  which  had  a  big  vogue  when  it  ran 
as  a  serial  in  Blackwood's  Magazine.  It  wac 
acted  then  for  125  nights,  something  quite  un- 
usual in  those  days,  and  served  him  valiantly 
well  thereafter  whenever  he  felt  need  of  a  stop 
gap  or  went  on  one  of  his  short  starring  tours. 

"Rosedale"  never  was  a  masterpiece,  and  in 
these  days  when  constructive  technic  is  at  its 
height  this  weird,  lumbering,  old-fashioned  melo- 
drama, with  its  asides,  soliloquies  and  "carpenter 
front  scenes,"  fairly  creaks  with  age.  But  it  is 
typical  of  an  era  and  shows  in  spite  of  its  cru- 
dities that  the  actor-author  knew  how  to  write 
a  clever  love  scene  and  bring  about  stirringly 
effective  climatic  curtains.  Charles  Cherry  made 
a  dashing  and  engaging  figure  as  Grey,  and 
'n  his  scenes  with  Elsie  Ferguson  as  Rosa  Leigh, 
a  part  which  she  played  with  delicacy  and  variety, 
there  was  real  charm  and  humor.  John  Glen- 
dinning showed  what  a  good  actor  he  is  as  the 
vengeful  Col.  May,  and  Robert  Warwick  was 
picturesquely  villainous  as  the  kidnapping  gypsy, 
Miles  McKenna. 

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steamers.  Use  them  for  business  trips  to  break  the  mo- 
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fke  removal  (about  May  1st)  oi 
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Avenue,  at  53rd,  marks  a  new 
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which  we  are  very  proud. 

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Are  you  going  to  be  married  this  Spring?  Do  you  want  to  know 
what  fashions  are  most  in  favor  at  this  moment?  Have  you  a 
country  home  to  be  furnished  or  refurnished  at  a  minimum  of  cost  ? 
Then  don't  try  to  get  along  without  Vogue  this  next  month. 


The  May  1st  Vogue 

NOW  ON  SALE 

Late  Spring  Fashions— all  the  new  things, 
big  and  little,  evolved  since  the  Paris  openings — 
are  given  the  place  of  honor  in  the  current 
Vogue.  This  number  has,  too,  a  delightful  fla- 
vor of  brides  and  bridal  arrangements.  Here 
are  photographs  of  the  principal  brides  of  this 
season,  and  little  sketches  of  what  they  are  wear- 
ing at  the  ceremony  and  afterward. 

This  Vogue  makes  it  easy  to  choose  and 
buy  a  trousseau — to  decorate  the  church  and  the 
home  — to  buy  wedding  presents — to  remember 
all  the  innumerable  things  that  have  to  be  done 
when  a  woman  of  fashion  is  married. 

In  the  current  Vogue  also  begins  our  impor- 
tant series  of  papers  on  good  manners.  Were  it 
part  of  a  college  course,  this  series  would  be 
called  Advanced  Etiquette.  The  h'rst  paper  dis- 
cusses the  early  training  of  the  woman  of  society 

she  will  be  expected  in  after  years  to  carry  on 

the  traditions  of  her  family  and  position. 


The  May  15th  Vogue 

READY  MAY  9th 

Be  on  the  watch  for  next  Vogue — a  number 
that  tells  exactly  what  to  wear  in  the  country. 
One  goes  in,  nowadays,  for  extreme  simplicity 
by  day  and  extreme  elaborateness  by  night.  In 
the  May  I  Jth  Vogue  you  will  find  a  profusion 
of  smart  new  waists,  skirts,  hats  and  tub  frocks. 
Also  riding  habits,  top  coats  and  hats,  boots  and 
gloves. 

It  is  strange  how  a  few  people  realize  that 
there  is  a  definite  standard  for  outdoor  wear. 
By  reading  the  next  Vogue,  you  will  avoid  the 
hybrid  half-masculine,  half-feminine  outing 
clothes  so  often  offered. 

The  next  Vogue  also  gives  plans  for  a  very 
simple  little  country  home — the  kind  you  can 
safely  lock  up  and  leave  from  Tuesday  to 
Friday.  We  will  show  not  only  the  floor  plans 
of  this  home,  but  also  a  pleasant  variety  ot 
appropriate  furniture,  wallpapers  and  cretonnes. 
Watch  for  the  next  Vogue. 


Tell  your  newsdealer  now  to  send  you  a.  copy  of 
the  May  1st  Vogue,  and  surely  to  reserve  for  you 
a  copy  of  the  May  15th  Vogue.  These  numbers 
make  it  easy  to  solve  just  those  summer  problems 
that  are  perplexing  you  most  at  this  moment. 


25  Cents  a  number 
Twice  a  month 


VOGUE 

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ASTOR.  "A  MAN'S  FRIENDS."  Play  in  four 
acts  by  Ernest  Poole.  Produced  on  March  24th 
with  this  cast :  , 

Tom  Whalen,  George  Fawcett;  John  McLoud,  Freder- 
ick Burton;  Kate  McLoud,  Katherine  Grey;  Hal  Clarke, 
Vincent  Serrano;  Nicholas  Vance,  Roy  Fairchild;  Helen 
Vance,  Lily  Cahill;  The  Governor,  Harold  Russell; 
Richard  Marsh,  George  Backus;  Alice,  Zita  Rieth;  Grigly, 
P.  S.  Whithan;  Harry,  Robert  Clugston;  Theodore,  H. 
E.  Jewett;  Sam,  Le  Roy  Clemens;  Gus,  Antonio  Nash; 
Ed,  Henry  Gerard. 

The  proposition  in  "A  Man's  Friends"  seems 
to  be  "honor  among  thieves."  Anything  worse 
than  a  "squealer"  in  the  world  of  corrupt  poli- 
ticians cannot  be  imagined,  in  fact,  does  not 
exist.  A  new  building  code  is  about  to  be  passed 
by  a  Board  of  Aldermen,  and  the  Boss,  Tom 
Whalen,  bribes  one  of  the  Aldermen,  Nicholas 
Vance.  Through  a  young  friend,  Hal  Clarke, 
Vance  is  discovered,  found  guilty  and  sent  to 
jail.  Then  everybody  tries  to  get  him  out.  Mean- 
while the  bribe-giver,  Clarke,  marries  the  District 
Attorney's  daughter.  Finally  Mrs.  Vance  dis- 
covers who  it  is  that  has  bribed  her  husband,  and 
Clarke  makes  a  belated  confession  to  his  father- 
in-law,  the  District  Attorney,  who  resigns  his 
place  to  become  his  son-in-law's  counsel  and  to 
reach  the  man  higher  up.  Wonderful  to  relate, 
this  is  the  final  curtain  on  the  fourth  act.  It 
should  have  been  the  first.  Some  good  acting  was 
shown  by  George  Fawcett,  Frederick  Burton  and 
Lily  Cahill.  Katherine  Grey  was  welcomed  as  an 
old  friend,  too  long  absent,  but  had  nothing  to 
do  worthy  of  her  talent. 


FORTY-EIGHTH'  STREET.  "THE  LADY 
FROM  OKLAHOMA."  Comedy  in  three  acts  by 
Elizabeth  Jordan.  Produced  April  2d.  Cast: 

Ruth  Herrick,  Isahel  O'Madigan;  Freddy  Belden, 
Frank  Dee;  Tim,  Walter  Renfort;  Miss  Conway,  Mary 
Scott;  Mrs.  Henry  Jenkins,  Victoria  Macfarlane;  Vir- 
ginia Jefferson,  Alice  Lindahl;  Clarice  Mulholland,  Maud 
Gilbert;  Arthur  Belden,  Walter  Hitchcock;  Mrs.  Joel 
Dixon,  Jessie  Bonstelle;  Mrs.  Herbert  Gordon,  Kathryn 
B.  Decker;  Joel  Dixon,  William  K.  Harcourt;  Birdie 
Smith,  Teresa  Michilena;  Mrs.  Rutherford  Dean,  Helen 
Orr  Daly;  Carrie  Jones,  Maude  F.arle;  A  Temperamental 
Lady,  Lillian  Dixon;  Rnhert  Pierce,  Edward  Davis; 
Senator  Kirby,  Henry  Harmon. 

Produced  at  a  Brady  Theatre  by  Jessie  Bon- 
stelle. to  whom  we  are  indebted  for  "Little 
Women"  as  a  play,  and  written  by  Elizabeth  Jor- 
dan, a  writer  of  distinction,  "The  Lady  from 
Oklahoma"  had  good  sponsorship.  The  basic 
idea  is  similar  to  that  used  in  more  than  one 
recent  production.  A  plain  wife,  whose  husband 
has  outgrown  her,  beautifies  herself  and  regains 
him',  with  the  addition  of  helping  him  out  in  a 
practical  way  and  thwarting  her  rivals  in  his  af- 
fections. The  wife  is  advised  to  learn  deport- 
ment and  pronunciation,  to  cultivate  herself,  and 
to  become  outwardly  more  comely  by  means  of 
the  constructive  work  done  by  the  masseur  and 
beauty-maker.  The  scene  at  the  beauty  parlor  is 
relied  upon,  no  doubt,  as  the  chief  feature  of  the 
production.  If  that  scene, ,  amusing  enough  to 
many  people,  were  all,  the  play  would  have  no 
substance  whatever.  It  does  not  advance  the 
action  to  any  great  extent,  but  it  serves  its  pur- 
pose. It  contains  so  many  little  incidents  meant 
solely  to  amuse,  and  so  disconnected  with  any- 
thing but  the  immediate  occasion,  that  no  con- 
nected account  can  be  given  of  it.  It  is  a  novelty. 


WALLACK'S.  "ANN  BOYB."  Dramatization 
in  four  acts  by  Lucille  La  Verne,  of  Will  N. 
Harben's  novel  of  the  same  name.  Produced  on 
March  3ist  with  this  cast: 

Ann  Boyd.  Nance  O'Neil:  Jane  Hemminuway,  Lucille 
La  Verne;  Nettie,  Freddie  Reynolds;  Joe  Boyd.  Wilson 
Melrose;  Colonel  Chester,  Richard  Gordon;  Luke  King. 
C.  H.  O'Donnell;  Langdon  Chester,  Richard  Gordon; 
Sam  Hemmingway,  Rapley  Holmes;  Will  Masters,  De 
Witt  Newing;  Abe  Longley.  William  W.  Scott;  Gus 
Willard.  Philip  Perry;  Mr.  Wilson.  Carle  Stone;  Mark 
Bruce,  John  Dudgeon;  Virginia  Hemmingway.  Grayce 
Scott;  Mary  Waycroft,  Frederica  Siemens;  "Neighbor" 
Jones,  Harriet  Bent;  Sapphira  Jones,  Luella  Wade; 
Aunt  Maria.  Cora  Trader. 

The  failure  of  "Ann  Boyd"  could  not  have 
been  foreseen  with  any  certainty  from  an  ac- 
quaintance with  the  novel,  written  by  Mr.  Har- 
ben.  which  has  considerable  force  and  which  is 
read  with  avidity  by  many  people ;  but  it  was 
always  obvious  that  the  dramatization  of  it 
would  be  no  small  matter.  The  novel  is  dramatic 
in  many  of  its  passages.  If  it  were  not  so.  no 
one  familiar,  from  the  point  of  view  of  an  actor, 
with  what  enters  into  the  success  of  a  play, 
could  be  misled  by  the  grip  of  it  in  narrative. 
Miss  Lucille  La  Verne,  as  capable  an  actress  as 
we  have  in  certain  lines,  undertook  the  very  dif- 
ficult task  of  dramatizing  the  novel,  wrote  and 
produced  one  version  in  Boston,  revised  it,  and 
then  brought  the  play  to  Wallack's.  with  Nance 
O'Neil  as  Ann  Boyd.  Nance  O'Neil  gave  us 
thrilling  moments  and  made  an  admirable  and 
natural  character  of  Ann.  Miss  La  Verne  her- 
self, an  actress  who  always  makes  her  points, 
could  make  nothing  of  Ann's  "enemy." 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE   MAGAZINE 


THE      THEATRE      MAGAZINE      ADVERTISER 


A  Delightful  Party 

An  Interesting  Play 

An  Enjoyable  Evening 


With  the  Play  Diary  these  pleasures  do  not  end  with  the  evening. 

The  Play  Diary  is  a  handsome  book,  1  Ox  14,  beautifully  bound  in 
silk  cloth.  Japanese  vellum  used  throughout  and  gold  lettering  on 
the  covers.  It  contains  80  pages  with  title  page  and  index. 

Four  pages  are  reserved  for  each  play— with  printed  headings 
for  the  date,  name  of  the  theatre,  the  play,  a  place  for  the  Programme, 
names  for  the  members  of  the  party,  two  pages  for  illustrations,  a  page 
for  personal  criticisms  and  reviews,  and  space  for  the  seat  coupons. 

It  makes  an  attractive  addition  to  your  library  table  and  is  a  source 
of  much  interest  and  pleasure  not  only  to  yourself,  but  to  your  friends. 

Price  $3, 00 — sent  prepaid 

THE    THEATRE    MAGAZINE 


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New  York 


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Theatre    Magazine 

In  a  Handsome 

Big  Ben  Binder 

YOUR  THEATRE    MAGAZINE  bound 

in  a  BIG    BEN    BINDER    makes   an   attractive 
additional  volume  for  your  library. 


Back  of  cover  locks  tight  over  metal  pott  to  which  each  magazine  u  attached 


The  BIG  BEN  BINDER  is  the  only  binder  that 
gives  the  appearance  of  a  regular  bound  book. 

The  covers  are  of  cloth,  strong  and  durable,  with  the 
name  "THEATRE  MAGAZINE"  stamped  in  large 
black  letters  on  the  back  and  front. 

No  punching  of  holes  necessary.  Just  a  pen-knife  slit 
between  the  pages  through  which  to  insert  the  metal  clips. 
Quick  and  easy. 

Each  binder  holds  one  volume  or  six  numbers  of 
THEATRE  MAGAZINE. 


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your  order  at  once  to  avoid  delay. 


The  Theatre  Magazine 

8  to  14  West  38th  Street,  New  York  City 


Metal  clip  inserted  in  *lit  between  pages. 
Tongue  extends  through  back  of  book 
with  hole  to  slide  on  poet. 


When  writing  to  advertisers,  kindly  menticn.  THE  THEATRE   MAGAZINE 


XVI 


THE   THEATRE   MAGAZINE   ADVERTISER 


It's  5o  Good!!— 

and  ready  for  use  as  a  beverage 
in  a  minute.  So  finely  ground 
it  possesses  the  smoothness 
of  cream — so  rich  in  flavor  as 
to  make  it  a  delicious  and 
wholesome  food. 


OrouncL 
Chocolate, 


MaHlard's  Ground 
Chocolate   is  most 

popular  at  luncheons 
and  afternoon  teas. 

Maillard's   Vanilla 
Cake  Chocolate 

a   dainty   "Sweet" 
that  all  enjoy. 

All  Leading 
Grocers 


Oriental  Rugs 

We  have  jus!  received  a  large  invoice  of  Eastern 
Rugs  consisting  of  the  besl  known  weaves,  such 
as  Royal  Kashan,  Kirmans,  Sarouks,  Ispahans, 
Ghorovans,  Khorasans,  Chinese,  Bedjars,  Afghans 
and  many  others. 

Since  the  introduction  of  aniline  dyes  and  hasty 
methods  of  manufacture  into  the  Rug  industry  of 
the  Orient,  really  high  class  weaves  and  dyes  are 
each  year  becoming  more  difficult  to  obtain. 

The  designs,  colorings  and  sizes  of  the  Rugs  in  this 
shipment  are  very  unusual  and  of  a  kind  not  often 
seen  in  this  market  and  in  their  making  the  wool 
has  been  thoroughly  cleansed  and  only  vegetable 
dyes  used. 

Purchasers,  whether  they  be  good  judges  of  Ori- 
entals or  not,  can  absolutely  rely  upon  the  quality 
and  dyes  of  Rugs  chosen  here. 

Inquiries  by  mail  gioen  prompt  attention. 

RlTHORNERS©. 

V y   30-22-24-26  WEST  3G^  ST. 

NEAR,    FIFTH  AVE. 

FURNITURE-DEJCORATIONS'RUGS 

NEW  YORK 


over  fhe  world, 
in  the"pleasant places, 
you  will  find  the  smoke 

of  Deifies  curling  up, 
like  a  bit  of  mcense 
to  me  occasion,  me  scene 
ana  me  company. 

Egyptian 


most  in  Cifarettei 
Cork  ^Hps  or  Thin 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


Photo  Cortwright 


ALICE    JOYCE 
Leading    Woman    of    the    Kalem    Motion    Pictures 


Popular  MMovieJ?  Actress 

PROMINENT  among  those  players  of  the  film 
drama  who  enjoy  a  paradoxical  popularity — de- 
lighting daily  as  they  do  thousands  of  theatre- 
goers, and  yet  the  sound  of  whose  voices  has  never  been 
heard — is  Alice  Joyce,  the  leading  lady  of  the  Kalem 
Motion  Picture  Company. 

This  young  actress,  whose  personality  in  real  life  is 
just  as  sweet  and  wholesome  as  it  looks  on  the  screen, 
is  not  an  easy  person  to  interview.  Unlike  many  of  her 
sister  artists,  she  shrinks  from  rather  than  courts  pub- 
licity. One  of  her  most  noticeable  characteristics  is  that 
she  never  talks  about  herself.  Quiet  and  reserved, 
she  doesn't  talk  very  much  about  anything,  but  when  she 
does  she  has  something  to  say. 

She  began  her  career  some  six  years  ago  as  an  artist's 
model.  Later  she  became  a  photographer's  model,  which 
meant  a  wider  field.  Everyone  was  attracted  by  her 
photographs,  which  have  been  used  over  and  over  again 
all  over  the  world.  One  day  a  photographer  heard  her 
say  she  could  ride  a  horse,  and  when  he  became  a  Kalem 
camera  man  he  sent  for  her.  Practically  her  only  riding 
experience  had  been  with  an  old  farm  horse,  who  walked 
very  calmly  to  the  watering  trough;  but  she  scorned  to 
admit  any  lack  of  ability  when  her  chance  came.  She 
had  said  she  could  ride  and  she  did — over  a  stretch  of 
railroad  ties  with  a  wretched  saddle.  She  was  too  excited 
to  notice  how  often  she  fell  off,  but  the  next  day  she 
spent  near  the  liniment  bottle.  The  Kalem  Co.  signed 
a  contract  with  her,  and  after  a  few  months'  work  in 
New  York  sent  her  to  California.  She  expected  to  be 
there  two  months,  and  was  a  little  frightened  at  the  idea 
of  being  away  from  her  mother,  yet  awed  with  the  pros- 
pect of  seeing  the  wonderful  West.  The  fact  that  "she 
remained  on  the  Pacific  Coast  nearly  two  years  is  an 
example  of  the  uncertainties  of  the  profession. 

In  the  free,  out-of-door  life  of  the  plains  the  young 
girl  grew  in  many  ways.  She  gathered  poise  and  dignity 
as  well  as  health  and  good  looks.  She  left  New  York  a 
pretty,  timid  little  girl,  and  returned  a  beautiful,  self- 


reliant  woman.  The  California  pictures,  all  taken  out  in 
the  bright  sunlight,  brought  out  every  line  and  curve  in 
her  face  and  form  as  no  artificial  light  could  do.  At  first 
she  was  not  much  of  an  actress,  but  it  didn't  seem  to 
matter.  Later,  however,  in  some  of  the  Indian  pictures 
and  the  old  Spanish  legends,  she  showed  real  dramatic 
ability.  The  energy  and  skill  she  displayed  when  riding 
over  the  Sierra  foothills  and  desert  sands  to  rescue  Car- 
lyle  Blackwell  from  so  many  perils  meant  hard  work 
and  perseverance.  The  rough  costumes  suited  her  as 
also  did  the  Spanish  and  Indian  dress.  Of  the  artistic 
type,  she  looks  most  attractive  when  very  simply  or 
fantastically  dressed.  Much  has  been  said  in  print  about 
her  making  her  own  costumes.  As  a  matter  of  fact  it 
is  very  rarely  that  she  wears  her  own  creations  for 


I 


Photo  Cortwright 


ANOTHER    PORTRAIT    OF    ALICE    JOYCE 


XV111 


THE   THEATRE   MAGAZINE   ADVERTISER 


jfranfcUn  Simon  &  do. 

Fifth  Avenue,  37th  and  38th  Sts.,  N.  Y. 


Women's  Footwear 

Smart  and  Exclusive  Styles 


"Franklin"  Colonial  Pump 

With  large  cut  steel  buckle 

Patent  leather  or  dull  kid,  exclu- 
sive last,  high  arch,  Spanish  heel. 

Value  $7.50.          5.00 


Walking  Pump 

With  self  bow 

White  nubuck  or  gray  suede, 
black  heel  and  sole;  also  of  all  tan 
or  black  Russia  calf  with  leather 
covered  buckle. 

Value  $6.00.          5.00 


Combination  Pump 

Black.  Russia  Vamp 

Gray  or  tan  suede,  or  white  calf 
back  with  dull  Black  Russia  Vamp 
and  Cuban  heel;  hand  welted  sole. 

Value  $7.50.          6.50 


Hand-sewed  Pump 

Perfect  fitting  last 

Black  or  tan   Russia   calf  or  im- 
ported patent  leather,  Cuban  heel. 
Value  $7.50         6.50 

Of  genuine  white    Buckskin. 

Value  $8.50.       7.50 


"Parfait"  Pump 

New  Spanish  heel 

Patent  or  dull   leather,    with    gray 
suede  back,  high  arch,  Spanish  heel. 
Value  $6.00.          4.50 

Same  model   of  all  white  or  gray 
suede,  also  all  glazed  kid. 

Value  $6.00.        4.50 


Walking  Pump 

Cuban  heel 

Black  or  tan  Russia  calf  or  white 
Buckskin;  also  patent  leather  or 
gray  suede;  tailored  pump  bow. 

Value  $5.00.        4.00 


Creations  for  the    Summer   Girl 

The  colors  and  creations  of  Nature  itself  are  no  more 
wonderful  than  the  colors  and  creations  in  the  July 
Fashions  of  L'Art  de  la  Mode. 

Designs  for  the  most  alluring  of  bathing  dresses,  for 
diaphanous  wraps  and  gowns,  for  chic  traveling  cos- 
tumes and  every  necessity  for  the  summer  girl. 
The  July  Fashions  will  be  out  May  I  Oth.  Order  your 
number  now,  for  already  the  demand  promises  to  exceed 
the  supply.  The  small  amount  invested  will  increase 
one-hundredfold  the  appearance  of  your  summer  apparel. 
L'ART  DE  LA  MODE,  8-14  We,t  38th  St.,  New  York 


ing.  But  she  is  very  much  interested  in  having  the  correct  dress 
for  the  period  of  the  story  and  seldom  trusts  her  own  skill  in 
working  the  costumes  out. 

On  her  return  to  New  York  last  spring,  she  took  a  little 
apartment  not  far  from  the  Studio  and  keeps  house  there  all 
alone.  Not  that  she  is  what  is  called  a  housewife.  It  was  about 
a  week  after  she  moved  in  that  she  discovered  the  gas  had  not 
been  turned  on  in  the  kitchen  and  absent-mindedly  she  allowed 
her  pet  wastebasket  to  be  permanently  swallowed  up  by  the 
dumbwaiter.  But  it  is  a  sweet  little  "Girly"  house  with  a  lot  of 
picturesque  things  from  California  and  Mexico  about,  and  signed 
photographs  of  motion  picture  people  on  the  walls.  She  likes 
being  at  home  and  looks  beautiful  in  the  soft,  pretty  clothes  she 
wears  there.  She  actually  goes  to  bed  early  nearly  every  night 
in  the  week,  although  she  isn't  exactly  the  recluse  one  might 
imagine  from  some  descriptions  of  her.  She  enjoys  life  as  well 
as  anyone,  is  very  fond  of  going  to  the  theatre  and,  like  all 
motion  picture  players,  rarely  misses  seeing  a  new  "release." 
Screen  actors  take  the  keenest  interest  in  watching  their  own 


Wliile 

Interior   of  the  new  Palace  Theatre  at  Broadway  and    Forty-seventh    Street 

pictures  and  those  of  their  friends  and  acquaintances.  They 
know  so  many  of  the  players  intimately  and  understand  so  thor- 
oughly the  "business"  of  each  film  that  they  get  much  more  out 
of  the  pictures  than  the  ordinary  spectator.  For  instance,  there 
are  little  movements  and  gestures  which  to  the  film  player  have 
a  very  particular  and  definite  meaning  and,  far  from  giving  a 
stereotyped  atmosphere  to  the  acting,  they  are  a  great  help  in  the 
illusion  if  properly  done.  Miss  Joyce  watches  the  films  closely 
(her  own  pictures  and  those  of  others)  in  order  to  detect  mistakes 
or  profit  by  a  better  technique.  She,  too,  has  her  favorites.  Max 
Linders  being  one  of  them.  "The  only  real  comedian  in  the 
'movies'  "  she  calls  him. 

Seeing  one's  friends  on  the  screen  is  also  a  great  pleasure  to 
film  players.  It  helps  out  actors'  mothers  and  other  relatives 
to  be  able  to  see  pictures  of  their  kin  when  the  actors  are  away. 
One  boy's  mother  goes  to  see  his  pictures  at  every  performance 
and  when  they're  shown  in  her  town  she  feels  their  reality  very 
strongly.  After  seeing  one  in  which  he  had  gone  astray  in  busi- 
ness and  had  been  helped  out  by  another  man,  she  wrote  to  her 
son,  "I  could  have  just  hugged  that  old  man  when  he  gave  you 
another  chance." 

Speaking  of  some  new  jewelry  that  she  got  not  long  ago,  Miss 
Joyce  said,  "I  tried  to  show  it  off  as  much  as  possible  in  our  last 
picture  so  that  Jane  can  see  it."  "Jane"  is  Miss  Wolf  of  the 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE   MAGAZINE 


THE   THEATRE   MAGAZINE   ADVERTISER 


XIX 


California  Kalem  Co.  Miss  Joyce  has  a 
frank,  almost  childish  fancy  for  jewelry. 
She  doesn't  wear  a  great  deal  but  she  loves 
to  have  it  and  always  notices  any  odd  or 
artistic  bit  that  anyone  else  wears. 

One  day  a  lot  of  letters  came  from  the 
Kalem  office  when  I  was  with  Miss  Joyce. 
I  said  something  in  a  joking  way  about 
"mash  notes"  and  she  said,  "Yes,  but  I 
could  probably  let  you  read  any  one  of 
them."  She  is  very  proud  of  the  fact  that, 
among  her  admirers,  the  ones  who  write  to 
her  are  nearly  all  women  and  little  girls. 
The  letters  from  little  girls  are  very  sweet. 
Some  of  them  begin  "My  darling  Alice,"  and 
all  of  them  show  real  affection  as  well  as 
admiration.  At  Christmas  time  people 
from  all  over  the  country  sent  her  cards 
and  remembrances  and  one  little  girl  em- 
broidered a  handkerchief  case  in  "AV  and 
sent  it  all  the  way  from  England.  Some 
other  little  girl  who  sent  a  box  of  cor- 
respondence cards  forgot  to  put  her  name 
in  it  and  the  actress  is  very  sorry  that  she 
is  unable  to  acknowledge  it.  The  beautiful 
lace  mantilla  that  she  has  worn  in  some  of 
the  Spanish  pictures  was  the  gift  of  a 
woman  in  Ohio  who  admired  Miss  Joyce  in 
the  films.  All  these  things  give  her  the 
greatest  possible  pleasure  and,  although  it 
is  impossible  to  answer  every  letter,  she 
enjoys  them,  every  one,  and  remembers  the 
writer's  name  if  she  hears  from  her  a  year 


White 


John  D.  O'Hara     Olive  Wyndham    Ed.  M.  Kimball 

Scene  in  "What  Happened  to  Mary"  at  the  Forty-eighth 
Street   Theatre 

later.  She  has  a  very  real  and  unusual  ap- 
preciation for  things  done  for  her  and  en- 
joys a  gift  or  any  attention  in  proportion 
to  the  giver's  sincerity. 

It  would  be  foolish  to  say  that  she  does 
not  realize  her  popularity.  She  does,  but  it 
has  not  turned  her  head.  She  seems  always 
to  realize  that  there  is  plenty  of  work  ahead 
of  her  and  plenty  of  competition.  At  the 
Kalem  Studio  you  are  not  immediately  im- 
pressed with  her  importance  as  leading 
woman,  but  later  you  perceive  that  she 
doesn't  lose  any  dignity  by  refraining  from 
forcing  her  position  upon  her.  She  seems 
to  be  friends  with  everyone  about  the  place 
because  she  really  wants  to  be,  not  because 
she  is  trying  to  be  democratic.  She  isn'^at 
all  in  a  class  with  the  actor  who  said  "I'm 
different  from  most  leading  men.  I  speak- 
to  the  'extra  people.'  " 

She  has  very  sweet  amiable  manners  and 
they  come  from  her  heart.  She  is  cordial 
because  she  really  likes  people  arid  tactful 
through  a  real  consideration  for  others. 
The  longer  you  know  Miss  Joyce  the 
greater  possibilities  you  see  in  her. 

MARY  CHAMBERLIN. 


NEWEST  DEVELOPMENTS 
OF  THE  SPRING  AND 
SUMMER  LINGERIE  OF- 
FERED AT  PRICES  MUCH 
REDUCED'FOR  THE 
MONTH  OF  MAY 


Number        Thirty  -  six  —  ^ 
"Dorothea"    negligee    model    /•" 
of    heavy    crepe    de    chine. 
Draped   skirt    ivith   shadow 
lace    tunic    and    bodice    of 
chiffon  trimmed  with  roses. 
Special,  18.50 


/A 


A"  »  in  b  c  r  Thirty  -  npe  — 
Combination,  batiste  with 
excellent  quality  (iennan 
I'alenciennes  lace  uiul  me- 
dallions. Special.  1.95 
Same  in  crepe  de  chine. 

Special,  4.95 


Kl*/  f-  -mf*  '  1 

fev     -      . 


A'  n  in  l>  c  r  Thirty  -  three  — 
"Phillis"  set  model.  U 
of  cream  sliadnw  lace  and 
medallion  knii:l;ir  drapers. 
Regular,  6.75 

Special,  3.95 

"Phillis"  Chemise   to   ftiatch 
set.    Regularly,  3.95 

Special.     . 

"Phillis"  Princess  Slip.  Reg- 
ular, 9.75.  Special,  7-95 


Number  Thirty  -  four  — 
"Phillis"  set  model.  Gown 
of  sheerest  India  batiste 
with  very  fine  cream  shadow 
lace  and' medallion.  Empire 
back  and  front.  Regularly, 
5.75.  Special,  3-95 

Same  model  in  crepe  de 
chine.  Regularly,  n.75- 

Special,  8.95 


BONWIT   TELLER 

FIFTH  AVENUE  AT  38tn  STREET 


Number  Thirty  -  two  — 
"Jcancttc"  model  of  fine 
nainsook  with  c  .r  cell  e  n  t 
quality  of  (iennan  I'alen- 
ciennes  lace  in  quaint  Em- 
pire effect.  Kfi/ularly.  3.75. 

Special,  1.95 

Same  model  in  crepe  de 
chine.  Rcgularh.  10.75. 

Special,  8.95 

&•   CO. 

NEW  YORK 


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XX 


THE   THEATRE   MAGAZINE   ADVERTISER 


NEW  SPRING  CATALOG 

Sent  out  of  town  upon  request 


We  Combine 

Ready  to  Wear 

Convenience 


With 

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MATERNITY  DRESSES 


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A  scientific  formula  for  the  reduction  of  excess 
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Personal  attention  of 

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requesting  information 


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41 8  Fifth  Avenue         New  York  City 


l  Surgeon-Chiropody  and 
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in    undyed   natu- 
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any   color   or  com- 
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width— seamless  up  to 
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touch   of   individuality. 
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THE   EMPIRE  STATE  ENGRAVING 
COMPANY 

190  WILLIAM  STREET,  NEW  YORK 

TELEPHONE:  3880  BEEK.MAN 


in   Interestin 


The  last  two  performances  of  the  American 
Academy  of  Dramatic  Arts,  at  the  Empire  Thea- 
tre, on  March  6th  and  I3th,  were  both  creditable. 
The  dominant  feature  on  the  earlier  program 
was  the  first  act  of  an  unnamed  play  by  William 
and  Cecil  DeMille.  The  act,  played  about  one 
hour,  held  the  interest  of  the  spectators. 

The  students  that  took  part  all  did  excellent 
work :  Miss  Wollersen  as  the  orthodox  daughter 
of  an  orthodox  minister;  Miss  Norden  as  a  poor 
little  worker  from  New  York's  tenement  section; 
Miss  King  as  the  servant  girl,  a  good  character 
bit;  Miss  Lilley  as  the  mother;  Mr.  Ritter  as  a 
young  clergyman  with  little  faith  and  lots  of 
money ;  and  others  in  minor  parts. 

But  the  triumph  of  the  afternoon  went  to  Mr. 
Willard  Webster,  who  had  been  entrusted  with 
the  leading  role — that  of  a  young  rector  of  the 


He  carried  it  consistently  through  the  four  acts 
of  the  comedy,  and  from  time  to  time  he  had 
some  very  excellent  moments. 

Messrs.  Cameron  as  Orgon ;  Graham  as  Damis ; 
Ritter  as  Valere,  should  be  mentioned  favorably. 
Mr.  Benton  Groce  was  an  extremely  well-dressed 
Cleante,  a  perfect  gentleman  in  manner  and 
speech,  but  alas,  not  French.  He  was  English, 
very  English!  Mr.  Griffith  Lusky  lent  his  hand- 
some, sympathetic  personality  to  the  officer  of 
police.  The  audience  positively  enjoyed  listening 
to  his  report.  Mr.  Ed.  G.  Robinson  attracted 
notice  as  Monsieur  Loyal,  a  pocket  edition,  as  it 
were,  of  Tartuffe  himself.  The  Misses  Ellen 
Langdon  and  Caree  Clark  scored  in  the  parts  of 
Orgon's  wife  and  mother,  and  proved  once  more 
by  their  work  that  solid  dramatic  training  is  not 
a  thing  to  be  scoffed  at.  As  Dorine,  Else 


Copyright  Hemment 

EVOLUTION    OF   THE    TALKING    MACHINE 

The  above  pictures  are  of  more  than  usual  interest,  showing  as  they  do  the  evolution  of  the 
talking  machine.  The  picture  on  the  right,  taken  in  February,  1896,  shows  Mine.  Sarah  Bernhantt 
listening  to  a  record  she  made  in  a  New  York  studio.  This,  we  believe,  was  the  first  attempt  to 
record  on  the  machine  the  voices  of  famous  artists.  The  picture  on  the  left  shows  Miss  Adeline 
Francis  as  the  Graphophone  Girl,  a  vaudeville  number  which  has  created  a  great  deal  of  interest 
lately.  Miss  Francis  spent  two  years  perfecting  the  novelty  in  the  Columbia  Graphophone  labora- 
tories, and  is  the  originator  of  the  act.  The  discs  are  all  made  by  Miss  Francis  ana  tne  blending 
of  the  two  tones  is  perfect.  The  most  wonderful  part  of  the  performance  is  the  measure  of  time 
kept  by  Miss  Francis  and  the  graphophpne.  In  the  songs  the  voices  are  never  amiss  and  the 

intonation    is    absolutely    perfect 


new  school,  who  comes  into  conflict  with  his 
orthodox  elders  because  he  is  determined  to 
take  practical  and  effective  steps  toward  the 
betterment  of  conditions  among  the  poor.  Mr. 
Webster  gave  as  finely  polished  a  portrayal  of 
the  character  as  one  may  hope  to  see  in  any 
Broadway  actor  of  experience  and  renown.  He 
had  freshness  and  spontaneity  in  his  work,  spoke 
extremely  well  and  delivered  a  long  and  difficult 
speech  with  such  convincing  fervor,  yet  such 
delicate  soberness,  that  there  could  be  no  doubt 
about  his  value  as  an  artist.  There  was  a  sort 
of  spiritual  light  glowing  through  Mr.  Webster's 
rector,  an  atmosphere  of  purity,  youth  and  well- 
reasoned  idealism  about  him,  that  appealed  per- 
haps all  the  more  strongly  because  such  qualities 
are  rarely  found. 

The  DeMille  act  was  preceded  by  two  plays 
in  one  act :  "Sympathetic  Souls,"  by  Sidney 
Grundy,  in  which  Mr.  Stief  did  his  best  work  of 
the  season ;  ar:.l  "Nora,"  by  Rachel  Crothers, 
which  gave  a  number  of  the  students  an  op- 
portunity of  showing  off  their  talents  to  ad- 
vantage. 

For  the  last  performance  of  the  Academy  Mr. 
Sargent's  choice  fell  upon  Moliere's  "Tartuffe." 
The  task  was  a  considerable  one,  and  the  attempt 
to  carry  it  through  deserves  credit. 

Mr.  Langdon  Gillet  showed  intelligence  in  his 
conception  of  Tartuffe,  the  classical  hypocrite. 


Howard  displayed  good  abilities  for  modern, 
ingenue  parts. 

On  March  I4th  the  Graduation  Exercises  took 
place  at  the  Empire  Theatre. 

On  February  I3th  a  triple  bill  was  given  by 
the  students :  "The  Stronger,"  a  one-act  drama 
from  the  French  by  Emile  Veyrin;  "The  Twig 
of  Thorn,"  and  Irish  Fairy  play  in  two  acts  by 
Marie  Josephine  Warren;  and  the  second  act 
of  "The  Marriage  of  Figaro,"  from  the  French 
of  Beaumarchais. 

"The  Stronger"  is  a  interesting  playlet  that 
illustrates  the  strength  a  woman  shows  in  criti- 
cal moments,  however  lightly  the  thread  of  her 
life  may  be  spun;  and  the  weakness,  the  utter 
breaking  down  of  a  healthy,  well-constituted  man 
when  he  is  brought  face  to  face  with  a  tragedy. 
The  woman  in  this  case  was  well  played  by  Miss 
Virginia  Norden,  but  the  best  work  in  this  cast 
of  five  was  done  by  Mr.  Howard  G.  Robinson, 
who  played  an  old  physician  raisonneur  to  per- 
fection. 

"The  Twig  of  Thorn"  is  a  well-written  little 
play  about  Irish  peasants,  Irish  fairies  and  Irish 
superstitions. 

Miss  Gilda  Leary's  Oonah  was  a  good  little 
Irish  girl  with  very  few  tones  in  the  register  of 
her  voice,  she  was  simplicity  itself.  Miss  Caree 
Clarke  showed  ability  quite  out  of  the  ordinary 
in  the  role  of  old  Tessa.  F.  C  F. 


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THE  THEATRE  MAGAZINE  ADVERTISER 


XXI 


Rib-Knit-Top 

SILK  HOSE 


The   Best 


Silk  Hose 

ever  mcde.  also 
in  Silk  Lisle. 
250. ;  heavy 
weight,  three 
pairs  for  $1.00. 

Spun  Silk, 
fine  quality. 
5oc. 


The  greatest  improvement 
ever  made  in  women's  hosiery. 

The  part  that  covers  the  knee, 
where  the  strain  comes  is  rib-knit, 
affording  great  elasticity,  giving  a 
perfect  fit  and  absolute  comfort 
to  any  wearer  whether  slender  or 
stout.  (Out  sizes  are  unnecessary.) 
Less  likely  to  be  torn  by  the  garter 
fastening,  but  should  it  occur 
the  raveling  cannot  go  below  the 
rib-knit  top. 

The  genuine  Rib-Knit-Top" 
hose  can  be  identified  by  the  trade 
mark  name. 


Uuwrifa 


These  hose  are  seamless  throughout,  and  fit  as  well  as  the  full-fashioned, 
without  the  discomfort  of  seams,  the  leg  and  the  foot  made  of  the  finest  Japan 
Tram  Silk,  extra  strength,  the  ribbed  top  of  best  silk  lisle,  toe  and  heel  rein- 
forced with  double  sole  hieh  spliced.  They  fit  the  foot  smoothly,  hug  the 
ankle  snugly  and  are  perfection  in  appearance  and  wear.  Guaranteed  fast 
colors  in  Hlack,  Tan,  Slate,  Navy  and  White. 

TO  INTRODUCE  we  will  send  BY  MAIL,  postpaid  on 
receipt  of  $1.00,  where  dealers  cannot  supply  them. 

Worcester  Hosiery  Company,  Worcester,  Mass. 


The  Files  of   the  Theatre  Magazine 
are  Invaluable  to  Collectors 


BIND  YOUR  NUMBERS  OF  THE 


Theatre  Magazine 


READERS  who  have 
11- 

preserved  their  copies 
and  return  them  to  us  in 
good  condition,  hy  express, 
prepaid,  will  receive  a  com- 
plete copy,  together  with 
title  page,  tahle  of  contents, 
on  payment  or  $3.00. 


The  Twelfth  Year  (1912) 
is  hound  in  TWO  VOLUMES 


Cold  Storage 

of 

Furs 

To  insure   the    preservation   of  furs    and 

wearing    apparel   when    not  in  use    they 

should  be  placed  in  a  well  equipped 
Cold  Storage  Plant. 

Under  such  conditions  the  safety  of  the 
articles  is  fully  guaranteed. 

The  cost  of  storage  is  small  in  comparison 
to  the  measure  of  protection  given. 

In  the  cold  air  of  our  modern  storage 
plant  (on  the  premises)  furs  are  absolutely 
safe  from  moths  and  fire. 


Lord  &  Taylor 


NEW  YORK 


When  you  buy 

silk  gloves  buy  the  Best. 


Silk  Gloves  are  the  best  made. 

Silk  is  absolutely  pure.   Finger  tips  are  double 
and  each  pair  contains  a  guarantee  ticket. 
Colors  are  correct  to  a  dot 


Silk  Underwear  is  underwear  perfection 
as  well  as  underwear  economy. 


Ask.  U°>"  dealer;  if  he  cannot  supply  you,  we 
will  send  you  nhat  you  Want  through   him. 


NIAGARA  SILK  MILLS,  North  Tonawanaa,  N.  Y. 
New  York  Boston  Chicago  San  Francisco 


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XX11 


THE   THEATRE   MAGAZINE   ADVERTISER 


ZEE 


F 


*OR    shirt    waists 
I    want  a  dress 
shield    that  wi 
not  show. 

"So  I  buy  Kleinert's 
Crescent  Shape  Drtss 
Shield. 

"If  I  want  to  know 
exactly  what  dress  shield 
to  buy  for  any  dress, 
I  look  at 


Dress   Shields 


H 


A     K    T 


"It  shows  just  the 
Kleinert's  Shield  I  need 
for  each  garment. 

"Do  as  I  do. 

"Consult  Kleinert's 
Dress  Shields  chart  aC 
the  Notion  Countei.** 


KISSFIT 

PETTICOATS 

Fit   Witkout 
N\^rinKies  or 
Alterations 

The  Genuine  is  identified  by 
this  label  in  the  waistband 


KLOSFIT  PETTICOAT 


$5.00   upwards   in  Silk   (all  colors) 
$1 .50  to  $3.00  in  Cotton  (Black  only) 

At  the  Best  Stores 

Write  for  STYLE  BOOK  de  Luxe  to 

KLOSFIT  COMPANY 

Publicity  Dept. 
208   Fifth   Avenue  New  York 


Facts  Worth  Kmowiinig 

Why  not   let   us  facilitate   your  shopping t     We  will  gladly  furnish   the   names   of  the 
shops  u-licre   the   articles   described   below  can   be  purchased. 

Have  you  ever  stopped  to  think  what  a  stupendous  task  it  would  be  to 
visit  all  the  shops  and  see  all  the  fascinating  novelties?  Yet,  if  the 
fastidious  shopper  did  not  make  a  systematic  tour  of  the  shop,  how  would 
she  know  that  she  was  making  wise  purchases?  As  there  are  limits  to 
human  endurance,  the  clever  proceeding  is  to  delegate  part  of  the  work, 
at  least,  to  others  skilled  in  the  art  of  shopping.  The  articles  described 
in  this  column  are  the  gems,  the  "masterpieces"  as  it 
were,  in  the  different  branches  of  the  absorbing  clothes 
problem.  They  have  been  selected  because  they  are 
smart,  with  all  the  distinguishing  hallmarks  of  the  sea- 
son, and  because  they  are  the  best  value  for  the  money. 

When  She  Graduates 

Graduation  day  is  one  of  the  epochs  in  a  girl's 
career;  she  stands  then  on  the  threshold  of  woman- 
hood. School  days  are  to  be  left  behind  and  society 
is  waiting  to  bid  her  welcome,  and  for  such  an 
auspicious  occasion  she  requires  a  pretty  dainty  frock. 
Convention  has  decreed  the  virginal  white,  just  as  it 
has  for  the  bride  when  she  stands  on  the  threshold  of 
wifehood,  but  this  year  the  influence  of  color  is  so 
strong  that  it  just  will  creep  in,  either  in  the  founda- 
tion, the  embroidery,  or  the  ribbon  accessories. 

The  careful  mother  very  often  does  not  feel  that  she 
should  pay  more  than  thirty  dollars  for  this  graduation 
gown,  probably  because  she  realizes  that  the  wardrobe 
she  must  prepare  the  next  season  for  the  debutante 
will  be  an  expensive  affair.  Yet  she  wishes  a  fine, 
dainty,  pretty  frock  which  will  look  well  with  the 
others.  If  she  can  buy  this  gown  already  made,  she  is  quick  to  recognize 
the  boon,  but  it  is  not  always  a  simple  matter  to  pick  up  a  well-made, 
dainty  frock  for  this  price.  There  is  one  shop  where  she  will  find  just 
what  her  heart  craves.  At  the  first  glance  she  will  feel  sure  that  the  tag 
is  about  to  reveal  a  very  much  higher  price,  and  so  it  would  if  the  gown 
were  not  being  featured.  The  fine  Venice  lace,  the  exquisite  hand  em- 
broidery, and  the  chic  air  of  the  fetching  little  dress 
make  it  worth  the  $49.50  asked  for  similar  frocks.  It 
is  fashioned  from  the  white  French  voile,  and  has  the 
new  tunic  skirt  trimmed  with  the  lace.  The  bodice  is 
given  a  very  dressy,  yet  girlish,  effect  by  the  embroidery 
and  the  jaunty  flat  collar  outlined  with  embroidered  net. 
The  color  note  is  introduced  in  the  sash,  and  may  reflect 
any  of  the  new  shades.  To  the  woman  who  understands 
values  this  frock  will  be  a  revelation  at  $29.50. 

There  is  very  little  more  hand  embroidery,  but  it  is 
arranged  in  a  different  way  on  a  frock  of  the  French 
voile  priced  $49.50.  This  effective  frock  is  built  over  a 
net  foundation  and  is  distinguished  by  a  long  coat 
peplum,  very  much  longer  in  the  back  than  in  the  front. 
This  peplum  is  embroiderefl  in  small  figures  and  edged 
with  the  flat  Venice  applique  lace,  and  the  embroidery 
and  the  lace  are  used  to  enhance  the  bodice,  which  has 
a  tiny  vest  and  dear  little  turnover  collar. 

Whent  Yom  Are  Em  Deshabille 


Is  there  any  creation  in  the  entire  wardrobe  as  alluring  as  the  negligee? 
One  hesitates  to  call  these  creations  negligees;  perhaps  teagown  would 
be  better,  or  the  French  term,  which  comes  the  nearest  to  being  explana- 
tory, "Kobcs  d'intcricur."  In  other  words,  they  are  the  costumes  into 
which  we  fling  ourselves  when  we  can  snatch  a  few  minutes  away  from 
the  endless  social  round  and  enjoy  a  bit  of  deshabille  with  ourselves  or 
a  few  chosen  spirits.  Some  of  these  bewitching  creations  are  so  elaborate 
that  one  scarcely  knows  where  to  draw  the  line  between  the  tea  robe  and 
the  informal  dinner  gown,  and  again  the  bridge  frock  or  the  boudoir 
robe.  The  adorable  robe  in  the  sketch  surely  might  serve  for  more 
formal  occasions  than  a  boudoir  tea.  for  its  lines,  though  negligee,  sug- 
gest an  appealing  afternoon  dress.  The  material  is  a  crepe  de  chine  in 
blue,  that  clear  blue  which  the  Mediterranean  reflects  on  a  sunshiny  day. 
The  drapery  of  the  skirt  is  kept  to  one  side  of  the  back,  only  a  little 
showing  at  the  left  side  of  the  front.  Inside  there  is  a  fitted  lining  of 
net  which  holds  the  figure  comfortably  if  the  corsets  are  discarded,  but 
the  outer  blouse  falls  with  all  the  looseness  and  bagginess  of  the  genuine 
Russian  costume  over  a  draped  sash  of  blue  satin  ribbon.  The  revers 
are  of  blue  crepe  de  chine  with  large  coin  dots  hand  embroidered  in 
white  floss,  while  the  collar  and  cuffs  are  of  white  crepe  de  chine  with 
the  dots  embroidered  in  blue  floss.  The  fashionable  V  opening,  which 
is  never  shown  to  better  advantage  than  in  an  informal  costume  of  this 
kind,  is  filled  in  with  folds  of  white  chiffon.  The  written  description  does 
not  do  justice  to  the  charms  of  this'  delectable  costume  which  should  be 
worn  by  a  blue-eyed  bride  when  she  breakfasts  with  the  new  hubby  in 
the  boudoir.  And  yet  it  is  not  an  expensive  robe,  for  the  tag  bears  the 
price  of  $21.50. 

The  bride  will  be  sure  to  add  the  fascinating  breakfast  cap  of  the  crepe 
de  chine  veiled  with  fointe  d'esfrit.  The  pointe  d'esfrit  frill  falls  coquet- 
tishly  around  the  face,  forming  a  charming  lacy  frame  for  the  happy 
little  face,  and  a  band  of  Valenciennes  lace  holds  in  the  fullness  and  gives 
the  effect  of  a  second  puff  in  the  back,  just  the  place  in  which  to  stow 
away  the  loosely  coiled  hair.  These  caps  are  too  enticing  to  be  resisted 
after  one  has  a  peep  of  herself  in  the  mirror,  and  $3.50  is  within  the 
limits  of  all  pocketbooks. 

For  the  Onri  Wflnem  She  PDays 

The  girl,  or  woman,  of  to-day  who  knows  insists  on  correct  sporting 
togs,  and  she  is  as  careful  to  buy  the  newest  cut  in  these  costumes  as  she 
is  in  her  street  or  evening  creations. 


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THE   THEATRE  MAGAZINE   ADVERTISER 


XXIII 


The  very  smartest  coats  for  the  paddock,  the  links,  or  the  casino 
in  the  morning,  are  the  dashing  awning  coats  recently  brought  over 
to  us  from  across  the  seas.  They  come  in  various  colorings,  yellow, 
red,  or  blue,  but  the  red  have  a  certain  chic  that  has  made  them  the  prime 
favorites — then,  too,  th»  awnings  in  dear  old  Paris  are  in  red  and  white 
with  hairlines  of  black,  just  like  the  stuff  for  the  coats.  They  are  cut  on 
the  straight,  severe  tailored  lines  in  the  typical  double- 
breasted  style,  and  can  be  worn  fastened  closely  to  the 
throat,  or  with  the  top  button  unfastened  and  the  front 
form  turned  back  to  a  lapel.  There  are  plenty  of 
pockets  and  big  white  pearl  buttons.  As  they  are  very 
new,  the  price  of  $35.00  may  seem  a  little  high,  but  it 
will  keep  them  exclusive  and  ward  off  the  danger  of 
having  them  die  a  quick  death  through  their  own 
popularity. 

io  wear  with  them  there  is  no  skirt  as  satisfactory 
as  the  cotton  corduroy,  made  severely  plain,  so  that  it 
can  be  repeatedly  tubbed  without  any  of  the  distressing 
aftermaths  of  sagging,  and  fastened  in  the  front.  The 
sketch  shows  a  particularly  desirable  model  that  will 
give  good  service  on  the  tennis  courts  and  the  links, 
and  yet  it  is  very  reasonably  priced  at  $7.95. 

If  the  sailor  is  not  becoming  and  you  are  tired  of  the 
Panama,  it  may  seem  as  if  it  would  be  impossible  to 
find  a  suitable  hat  to  complete  this  sporting  outfit,  but 
nothing  is  impossible  to  the  shopper  who  knows  where 
to  look  for  the  various  novelties.     The  natty  little  hat 
on  the  girl  in  the  sketch  is  of  peanut  straw  with  a  drape 
of  printed  pongee.     The  gay  colors  in  the  Eastern  de- 
sign, so  cleverly  wrought  on  the  pongee,  blend  with  the 
awning  coat,  and  the  effect  is  delightfully  jaunty  and  girlish,  though  the 
cost  is  only  $8.50. 

For  the  Country  Home 

\Ve  are  beginning  to  appreciate  the  charm  of  simplicity,  particularly  in 
our  house  furnishings,  and  nowhere  is  this  delightful  state  of  affairs 
being  demonstrated  more  conclusively  than  in  the  country  homes  of 
women  of  taste.  The  country  house  has  now  become  a  home,  and  the 
furnishings  are  in  keeping  with  this  idea,  whether  they  consist  of  willow 
furniture,  chintz  hangings  or  white  porcelain  services.  The  photograph 
illustrates  the  beauty  of  an  afternoon  tea  service  in  white  porcelain  with 
a  rim  of  gold  and  the  monogram  in  gold.  You  could  not  put  before  your 
guests  china  in  better  taste ;  the  most  expensively  furnished  city  houses 
now  use  the  white  china  with  gold  rims  and  monograms.  The  teapot, 
which  is  equally  serviceable  as  a  chocolate  pot,  suggests  a  Russian  origin 
in  the  side  handle  projecting  at  right  angles  to  the  spout.  Even  the  tray 
matches  the  tea  set  and  is  rimmed  in  gold  with  the  cleverly  designed 
monogram. 


Latest  Ideas  from  Paris 

Fashion  seems  very  undecided  just  now;  our  couturiers  are  endeavoring 
to  combine  old  styles  with  quite  new  ones,  and  we  are  trying  to  lit  in 
Persian  art  with  that  of  the  eighteenth  century  (which  indeed  is  quite 
possible)  and  the  Directoire  costumes  with  Louis  XV  "retroussis."  Sev- 
eral models  were  seen  with  very  full,  much  draped,  softly  falling  skirts, 
made  with  tight-fitting,  buttoned-up  waistcoats. 

I  h  s  betrays  the  vacillating  tendency  of  the  fashions,  and  the  trouble 
of  those  who  start  them. 

As  for  the  \\aisU-oals,  tlivy  are  seen  in  coarse  damasks,  in  satin  broclie 
in  very  vivid  colors,  and  in  largely  tlo\vr"d  stuffs  which  are  essentially 
modern.  Others,  on  the  contrary,  are  made  out  of  genuine  antique  waist- 
coats. Last  autumn  some  wa.stcoats  of  this  kind  were  described.  They 
were  not  very  much  in  favor  this  winter,  but  seem  likely  to  come  out  as 
a  sensational  novelty  among  the  spring  fashions.  One  made  out  of  a 
"chasuble"  was  wonderful. 

'I  hcse  waistcoats  are  buttoned  by  means  of  paste,  crystal,  agate  or 
cornelian  buttons.  Some,  indeed,  are  in  diamonds,  not  large,  of  course, 
but  rose  diamonds. 

It  will  be  considered  very  elegant  to  carry  muffs  this  spring,  and  to 
line  them  with  pieces  of  these  old-fashioned  silks.  The  muff  will  consist 
of  the  same  material  as  the  dress  or  the  trirmning  of  the  dress. 

1  he  new  fashion  will  bring  no  change  in  the  outline  of  the  figure,  which 
will  remain  slim  and  graceful  in  line,  merely  showing  a  slight  tendency 
to  fullness  on  the  upper  part  of  the  skirt,  while  it  grows  narrower  in  the 
lower  part.  The  charm  will  consist  in  artistic  combining  of  draperies  and 
softness  of  materials,  in  the  light  transparence  of  the  bodice,  in  the 
vaporous  effect  of  chiffon  and  beaded  tulle,  and  the  brilliancy  of  mock 
diamond  trimmings. 

Quite  a  new  departure  is  shown  in  the  suppleness  of  tailor-mades;  they 
often  consist  of  silk  ratine  or  wool  broche  over  a  ground  of  veiling;  of 
gabardine — a  new  stuff  resembling  tussor — in  crepe  de  chine  and  in  soft 
tl'.wered  satin.  The  colors  are  bright,  green,  violet  or  red.  the  last  in 
shades  of  infinite  variety,  among  which  stands  out  with  striking  effect  a 
coral  pink  of  exquisite  tint. 

The  colors,  by  the  way  of  novelty,  are  many  gradations  of  green,  lime- 
tree,  absinthe,  and  mustard-seed  gray,  almost  dove-colored  pink,  and  also 
brick-red  and  a  rather  bright  blue.  For  evening  dresses,  skirts  are  to  be 
made  in  two  parts  when  they  are  covered  with  a  transparent  tunic,  and 
will  be  finished  off  with  a  small  pointed  train  added  on.  Bodices  are  to 
be  cut  much  lower  in  the  back  than  in  the  front,  and  will  have  long  tulle 
sleeves.  I  leaded  materials  are  being  worn,  whose  weight  will  preclude  all 
draping,  producing  on  the  other  hand  the  peculiar  attraction  of  moulding 
the  figure  more  tightly.  These  evening  dresses  were  worn  with  brill. ant 

in  the  "first  nights"  of  last  week. 

,Don't  forget  that  ive  shall  be  glad  to  send  you  the  names  of  the  shops 
where  any  of  the  above  articles  may  be  purchased. 


Reduce  Your  Flesh 

Dr.  Jeanne  Walter's  Famous  Medicated 

RUBBER  GARMENTS 

for  MEN  and  WOMEN 

Wear  my  famous  garments  a  few  hours  a  day  while  walking  «  exercising  and 
your  superfluous  flesh  will  positively  disappear.  Made  either  to  cover  entire  body 
or  any  part.  Results  are  quick  and  absolutely  safe.  Endorsed  by  leading  physicians. 
Used  by  athletes,  jockeys,  etc.,  the  world  over.  Union  suits,  stockings,  jackets, 
belts  for  reducing  the  flesh  anywhere  desired.  Invaluable  for  rheumatism. 

Dr.  WALTER'S  ^^g*^  D,.  WALTER'S 

ELASTIC  SUP-ON  ^         ^  ELASTIC  SUP-OVER 

I 

ail  even  j.renure  through-  ^    *         ^f  ''v"  ""  corsets  and  re- 

out  and  produce  ili.it  1111-  Jt-.^^^  *ice  Hie  hiiis  at  the  lamt 

corseted  effect.    K;ir  sti-  "me  Inerautnf  comfort 

penor  to  ordinary  corsets.  to  a  startling  degree. 

M.i.li'lo  Your  Mfiiiiirc  ^^^H^^aW.  "  •"''•'"  Vour  Mriuure 

Price,  $8  and  t9 
Perfevt  fit  Kuurunteci 


Till!,  garment  can  he  worn  under  the  corsets 
all  day  without  the  slightest  discomfort. 

Neok  and  Chin  Rands    -    -    $3.0O 
Chin  only  ........  2.00 

Send  for  Illustrated  Literature   and  Full  Particular* 

Dr.  JEANNE  WALTER,  DePt.  T,  45  w.  34th  St.,  NEW  YORK  CITY 

Philadelphia  Representative  :  MRS.  KAM  M  KRKR.  WSI  Walnut  St 
San  Francisco  Representative:  ADKI.K  MILLAR  CO  .IMGeurSt. 
Chicago  Representative  :  E.  BURNHAM,  138  No.  State  Street' 


CLEMENT'S  FRENCH  BEAUTY  SHOP 

Those  dainty  French  perfumes,  creams  and  toilet  preparations  often  imitated,  never 
equalled,  which  are  making  La  Parisienne  so  fascinating  and  chic,  are  my  specialty. 

BEAUTY 

Your  heritage,  which  na- 
ture has  intended  for  every 
woman.  The  wonder  preser- 
vation and  youthful  appear- 
ance of  many  women  are  due 
in  most  instances  to  rules  and 
adherence  to  precepts  that 
have  been  formulated  by  those 
French  experts  who  have 
made  a  careful  study  of  the 
science  of  beauty  culture. 

CLEMENT'S  CREME 
DU  BOSPHORE 

A  wonderful  beauty  build- 
er, unequalled  for  nourishing 
and  massaging  the  skin.  Veg 
etable  oils  only  enter  in  its 
compounds  -  Price  $1.00 

THREE  KISSES  FOR 
BEAUTY 

That  is  the  name  of  the 
three  latesl  indispensable  prep- 
arations for  beauty  perfection. 

Le  Raiser  (the  kiss),  the  quern  of  cream*,  in  ideal  dressing  for  the  face.    Price  $1  00,  $1 .50  &  $2.50 
Le  Baiser,  the  finest  French  powder,  unexcelled  for  taking  the  red  tint  off  the  face. 

Price    $1.50  &$2.50 
Le  Baiser.  the  lalesl  and  moft  fragrant  of  all  perfumes.     Price  $1 .50  &  $3.00 

CLEMENT'S  ASTRINGENT  LOTION 

An  entirely  new  preparation  for  eradicating  wrinkles  and  gives  a  youthful  trans, 
parency  to  the  complexion.     Price  $1.00  fie  $2.50 

CREAM  AND  LOTION  DE  JEUNESSE   Price  $4.50  &  $5.00 

A/J)  beauty  booklet  sent  upon   request.      Private  room  for 
facial  treatment ,  manicuring,  hairdressing,  hair-coloring,  etc. 


12  WEST   33rd 
STREET 


CLEMENT 


NEW  YORK 
CITY 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


XXIV 


THEATRE    MAGAZINE    ADVERTISER 


It's  the  rim  as  much  as  the 
road  that  wears  out  your  tires. 

So  we  said  to  our  Engineers: 

"You  must  build  us  a  tire 
with  Perfect  3 -Point  Rim 
Contact." 

They  did —  and  they  also 
added  the  No-Pinch  Safety  Flap 
for  inner  tube  protection  in 


Then    we    called 
Chemists  and  said: 


in    our 


"Tire  buyers  are  demanding 
a  tough,  flint-like,  but  resilient 
tread — a  tire  made  of  lusty 
young  rubber  —  a  tire  giving 
the  utmost  mileage  at  no  ad- 
ditional expense." 

And  the  answer  is 


Cross  Section  Diamond  (No-Clinch)  Tire 


Vitalized  Rubber 


Tires 


Perfect  3 -Point  Rim   Contact 


Here  is  a  No-Clinch  tire  that  appeals  to 
the  hard-headed,  shrewd  tire  buyer — the 
man  who  insists  on  easy  riding  comfort 
and  a  good  liberal  mileage. 

Each  point  of  rim  contact  in  a  tire  is  a  point  of 
support.  Where  the  points  of  rim  contact  are  not 
perfect,  undue  pressure  is  brought  to  bear  at  an 
unsupported  point  of  the  tire. 

Then  what  happens  ?  The  result  is  a  terrific  strain 
on  the  tire  that  results  in  rim  troubles,  breaking  above 
the  bead  and  separation  of  the  tread  from  the  carcass. 


All  this  is  overcome  in  the  Diamond 
No-Clinch  because  the  three  points  of  rim 
contact  are  absolutely  mechanically  perfect 
- — the  annealed  steel  cable  wire  bead  holds 
with  a  vise-like,  rim-grip. 

Add  to  this  the  No-Pinch  Safety  Flap  for  inner 
tube  protection,  the  Vitalized  Rubber  advantage,  the 
famous  Diamond  Safety  (Squeegee  Tread)  and  you 
have  bought  rubber  shod  mileage  that  has  no  equal 
at  any  price. 


So  this  time  buy  Diamond  Vitalized  Rubber  Tires,  you  can  get  them  to  fit  your  rims  at  any  of  the 


Diamond  Safety 
(Squeegee)  Tread  for 

Automobiles, 
Motorcycles,  Bicycles 


The  guarantee  on  Diamond  Tires  becomes 
null  and  voidwbentheiircis  used  in  connection 
toith  any  substitute  for  air,  fitted  to  rims,  not 
bearing  one  of  these  insftec-  — -.  —^ 
lion  stamps  or  haviny  bad  VJ  1 1  Cj 
its  serial  number  remove*/  J.  1 1  J» 
in  if  hole  or  part.  V_J  I — / 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


a  Year 


THE  MAGAZINE  FOR  PLAYGOtKb. 


JUIVC.  ,  1W1O 
VOL.  XVII.  NO.  148 


THE  THE  AT 


(TITLE  REG.  U.  S.  PAT.  OFF.) 


0 


The  Choice  of 

Men  Who  Know" 


"The   Courtship" 

THE  SIXTH  successful  season  of  Lozier  Sixes  is  setting  a  new 
record  in  the  sale  of  high  grade  cars,  for  men  who  know  auto- 
mobiles best  and  who  can  afford  to  take  advantage  of  their 
knowledge  are  satisfied  with  nothing  less  than  Lozier  quality.  And 
Lozier  quality  in  the  utmost  degree — mechanical  precision,  power, 
comfort  and  safety-  -is  found  only  in  Lozier  cars. 

If  you  want  the  one  car  in  which  you  can  feel  the  pride  of  exclusive- 
ness,  the  pride  of  the  best  there  is,  Lozier  is  the  car. 

With    two    great  models    and    with   largely  increased  facilities  for 
production,  Lozier  has  achieved  unprecedented  success. 

Lozier  "LIGHT  SIX"  $3250          Lozier  "BIG  SIX"  $5000 


A  powerful  light  six,  priced  a  thousand  dollars 
below  any  competing  car.  Develops  over  62 
actual  horse  power.  Complete  equipment.  Stream- 
line body  design.  Touring  model  and  roadster 
(see  illustration)  $3250,  three  -passenger  coupe 
$3850,  limousines  $4450. 


Widely  acknowledged  the  greatest  of  all  $5000 
cars.  Powerful  beyond  comparison.  Smokeless 
oiling  system.  Unequaled  fuel  economy.  58  sets 
of  ball-bearings.  Supremely  luxurious.  Touring 
models  and  roadsters  $5000,  limousine  and  lan- 
daulets  $6500. 


Catalogues  on  request 
LOZIER  MOTOR  COMPANY,    4406  Mack  Avenue,    DETROIT,  MICHIGAN 


Branche*  or  Dealers  in  Principal  Citie* 


THE   THEATRE   MAGAZINE  ADVERTISER 


All  the  music  of  all  the  world 


Every  great  artist  who  has  ever  made  records — 
without  one  exception — can  be  heard  on  your 

Columbia  Grafonola 

Among  those  who  make  Columbia  records  are: 

Bispham,  Bonci,  Boninsegna,  Cavalieri,  Constantino,  Destinn,  Fremstad,  Fried- 
heim,  Garden,  Gay,  Harrold,  Hofmann,  Mardones,  Nielsen,  Nordica,  Olitzka, 
Parlow,  Pasquali,  Scharwenka,  Segurola,  Slezak,  White,  Ysaye,  Zenatello— 
and  scores  of  others. 

AH  Columbia  records  may  be  played  on  Victor  talking  machines.     Likewise,  all  Columbia  instruments  will  play  Victor  records. 

COLUMBIA  GRAPHOPHONE  COMPANY 

Box  217,  Wool  worth  Bid  g.,  New  York       Price*  in  Canada  plus  duty.        Toronto:    52    Adelaide   Street,    West 

Creators  of  the  Talking  Machine  Industry.     Pioneers  and  Leaders  in  the  Talking  Machine  Art.     Owners  of  the  Fundamental  Patents.     Largest  Manu- 
facturers of  Talking  Machines  in  the  World.     Dealers  and  prospective  dealers  write  for  a  confidential  letter  and  a  free  copy  of  our  book  "  Music  Money/' 

The  instrument  in  the  picture  is  the  Columbia  Grafonola  "  Favorite,"  $50 ;     with  record 
cabinet,  $75.     Hear  it  at  any  dealer's.     Others  from  $17.50  to  $500.     Send  for  catalogs. 


QE 


THE   THEATRE   MAGAZINE   ADVERTISER 


' 


- 


f    fj^ft 

"«t  *  V- 

*  ^v/4fe 


V 


4 


The  ANGELUS 
The  PIONEER 
PL  AVER -PIANO 

There  is  something  more  than  historical  significance 
in  the  statement  of  the  U.  S.  Census  Bureau  pro- 
claiming the  Angelus  the  Pioneer  Player-Piano. 

To  be  the  first — the  pioneers — is  to  lead  the  way,  and  the  Angelus 
enjoys  the  same  distinction  of  leadership  today  that  it  had  from  the 
beginning. 

The  only  Player-Piano  in  the  world 
equipped    with     the     marvelous 

PHRASING     LEVER 

(Patented) 

This  exclusive  Angelus  device  is  as  essential  to  the  perfect  player  as 
are  the  keys  to  the  piano  —  the  only  device  enabling  you  to  play 
music  that  glows  with  life  and  animation;  a  sensitive  vibrating  lever, 
immediately  under  your  finger,  that  forms  the  connecting  link 
between  you  and  the  piano,  enabling  the  novice  to  play  with  spirit 
and  dash. 

Supplemented  by  the  Melodant — which  gives  distinctive- 
ness  to  the  melody;  the  Sustaining  Pedal  device,  the 
Graduated  Accompaniment  and  the  Melody  Buttons — 
the  music  of  the  whole  world  can  be  played  by  anyone. 

Knabe-Angelus — Grand  and  Upright,  the  celebrated  Knabe  piano  and  the  Angelus. 
Emerson -Angelus — Grand  and  Upiight,  the  sweet-toned  Emerson  pianoand  Angelus. 
Angelus-Piano — An  upright  piano  built  expressly  for  the  Angelus. 

In  Canada — The  Gourlay-Angelus  and  Angelus  Piano. 


Any  of  these  instruments  can  be  played  by  hand  in  the  usual  manner 

THE  WILCOX  &  WHITE  CO. 

Business  Established  1877  MERIDEN,  CONN. 

233  Regent  Street.  LONDON.     Agencies  All  Over  the  World 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


Photo  Wliite 


Edited    by    ARTHUR    HORNBLOW 


COVER  :  Portrait  in  colors  of  Doris  Keane  in  "Romance"  PAGE 

CONTENTS  ILLUSTRATION  :    Lillian  Lorraine 

TITLE  PAGE:   Sarah  Bernhardt  on  Her  Special  Train !6i 

THE   NEW    PLAYS."    "The  Amazons,"  "The  Passing  of  the  Idle   Rich,"   "The   Mikado."   "The  Necken." 
"M:iid   in   Germany,"   "Quo  Vadis,"    "Are   You  a  Crook?"   "Arizona,"   "Her  First  Divorce,"   Angelini- 

Gattini   Opera   Co.,   "lolanthe."                                                                                                                                                         .......  IO2 

THE  DIVINE  SARAH  AGAIN  WITH  Us — Illustrated   ........       Frances  C.  Fay      .       .       .164 

MARGUERITE  CLARK — Full-page  plate 167 

A  TOY  THEATRE  TO  BE  MANAGED  BY  Two  GIRLS — Illustrated  ......       Ada  Patterson        .       .       .  168 

SOME  SPRING  PLAYS  IN  PARIS Willis  Steell    ....  169 

MELISANDE — Poem R.  W.  Bruner        .       .       .  170 

SCENE  IN  "ARIZONA" — Full-page  plate 171 

FROM  THE  CHORUS  TO  LEGITIMATE  DRAMATIC  STAR — Illustrated  ....       Pauline  Frederick  .       .       .  172 

PAULINE  FREDERICK — Full-page  plate ,.       .       .       .  173 

MAY  IRWIN  ON  POPULARITY — Illustrated .       A.  P 175 

THE  MAUDE  ADAMS  OF  THE  "MOVIES" — Illustrated Wendell  P.  Dodge        .       .  176 

THE  NIGHT  THAT  LINCOLN  WAS  SHOT — Illustrated John  S.  Mosby,  Jr.         .       .  179 

SCENE  IN  "ARE  You  A  CROOK?" — Full-page  plate 181 

MRS.  FISKE — OUR  INTELLECTUAL  ACTRESS — Illustrated     ......       Chester  T.  Colder  .       .       .  182 

SCENE  IN  "THE  MONEY  MOON" — Full-page  plate 183 

VALLI  VALLI  IN  "THE  PURPLE  ROAD" — Full-page  plate 185 

A  THEATRE  OF  THRILLS — Illustrated Eva  E.  vom  Baur  .       .       .  186 

GRACE  WASHEURN — Full-page  plate 187 

THE  LOVE-SICK  CHORUS  MAN  TO  His  DANCE  PARTNER  OF  LAST  SEASON — Poem  .       E.  L.  McKinney    .       .       .  188 

A  SUFFRAGETTE  PLAY — Illustrated E.  E.  v.  B 189 

FLORENCE  ROCKWELL — Full-page  plate 191 

TUP:  MATINEE  GIRL — HER  SUMMER  WARDROBE                                                               F.  A.  Broivn  ....  xviii 


CONTRIBUTORS  —  The  Editor  will  be  glad  to  receive  for  consideration  articles  on  dramatic  or  musical  subjects,  sketches  of  famous  actors  or  singers,  etc., 
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LONDOM:  CHICAGO 

8  3  '"    **™*'  *°*™«  PHILADELPHIA 


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ENTERED    AT    POST    OFFICE,    MEW    YORK,    AS    SECOND    CLASS    MAIL    MATTER 


IV 


THE      THEATRE      MAGAZINE     ADVERTISER 


Are  These  Things  There  ? 


By  R.  E.   Olds,  Designer 


In  buying  a  car  in  1913  here  are 
some  things  to  look  for.  By  them 
judge  how  the  car  is  built,  how 
up-to-date  it  is. 

And  judge  by  them  if  the  maker 
gives  you  the  very  best  he  knows. 


Outer  Features 

Note  if  the  car  has  left-side 
drive,  like  the  leading  cars  to-day. 
Does  the  driver  sit  close  to  the  cars 
he  passes,  or  on  the  farther  side? 

Has  the  car  electric  set-in  dash 
lights,  or  the  old  projecting  lamps? 

Is  it  under-tired  or  over-tired? 
That  makes  enormous  difference 
in  your  tire  upkeep. 

Is  one  front  door  blocked  up  by 
levers?  Or  do  levers  block  the 
passage  between  the  two  front 
seats?  If  so,  the  driver  half  the 
time  must  enter  from  the  street. 

Is  the  upholstering  genuine 
leather?  Is  the  filling  the  best 
curled  hair?  Does  the  finish  show 
the  final  touch  in  every  part  and 
detail? 

Inner  Features 

How  many  Timken  bearings  has 
the  car?  They  cost  five  times 
what  common  ball  bearings  cost. 

In   Reo  the   Fifth   there   are   15 
roller  bearings,  11  of  which 
arc   Timkens. 

In  Reo  the  Fifth  there  are 
190  drop  forgings,  used  to 
avoid  the  risk  of  flaws. 

The  steel  is  made  to  for- 
mula. It  is  analyzed  twice 
to  prove  its  correctness. 

The  gears  are  tested  in  a 
5o-ton  crushing  machine. 
The  springs  are  tested  for 
100,000  vibrations. 

We  use  a  $75  magneto,  a 
doubly-heated  carburetor,  a 
smokeless  oiling  system,  big, 
strong  brakes. 

We  give  to  each  driving 
part  vast  margin  of  safety 
— 50  per  cent,  over  capacity. 

Each  engine  gets  five  long 
tests.  And  each,  after  test- 
ing, is  taken  apart  and  in- 
spected. 


If  you  seek  a  durable  car,  a 
trouble-proof  car,  and  low  cost  of 
upkeep,  these  are  points  to  con- 
sider. 

Skimping  is  Now 
Unpopular 

Many  a  car  has  gone  into  ob- 
scurity because  the  maker  skimped. 

I  go  to  the  other  extreme  in 
these  days — after  26  years  of  car 
building  I  spend  about  $200  per 
car  for  features  unusual  in  this 
type  of  car. 

Men  who  buy  my  cars  expect  it. 
They  expect  low  cost  of  upkeep, 
freedom  from  trouble.  They  ex- 
pect a  five-year-old  car  to  run  as 
well  as  new. 

I  have  built  such  cars  for  legions 
of  men.  And  every  Reo  the  Fifth 
which  goes  out  this  year  marks 
my  level  best.  In  the  years  to 
come,  you  men  who  get  them  will 
realize  why  I  do  this. 


It  means  slow,  careful  building. 
It  means  endless  inspection.  It 
means  grinding  parts  over  and 
over.  It  means  doing  in  a  $1,095 
car  what  users  expect,  and  what 
makers  must  give,  in  a  $4,000  car. 

Where  I  Save 

Such  a  car  at  such  a  price  is* 
made  possible  in  this  way : 

We  have  a  model  factory,  so 
finely  equipped  that  engineers  from 
everywhere  come  here  to  inspect 
it.  Here  we  build  the  entire  car 
by  the  most  efficient  methods. 

Then  this  entire  factory  is  de- 
voted to  a  single  model.  Every 
machine,  tool  and  mechanic  is 
adapted  to  its  production.  We 


save  in  this  way  about  20  per  cent, 
under  what  it  would  cost  to  build 
two  or  three  models. 

Thus  we  give  you  a  car,  built 
as  we  describe,  at  this  matchless 
price. 

The  Demand 

Our  output  is  limited  to  50  cars 
daily,  so  cars  are  never  rushed. 
Last  April  and  May  the  demand 
for  our  cars  ran  five  times  our 
factory  output. 

We  have  worked  all  winter,  at 
fullest  capacity,  to  avoid  that  con- 
dition this  spring.  But  a  shortage 
is  inevitable.  If  you  want  spring 
delivery  on  Reo  the  Fifth,  please 
see  your  dealer  now. 


Our  Unique  Control 


In  Reo  the  Fifth  you  find  a  one- 
rod  control.  And  that  rod  is  out 
of  the  way — between  the  two  front 
seats. 

All  the  gear  shifting  is  done  by 
moving  this  rod  only  three  inches 
in  each  of  four  directions.  It  is 
as  simple  as  moving  the  spark 
lever. 

Both  brakes  are  operated  by 
foot  pedals.  So  there  are  no 
levers,  side  or  center.  The  driver's 
way  is  clear. 


No  other  1913  car  has  this  form 
of  center  control.  And  a  car  with- 
out it  will  seem  inconvenient  when 
you  see  what  this  form  means. 

This  control  rod  comes  at  the 
driver's  right  hand,  for  the  car 
has  left-side  drive. 


A  thousand  dealers  handle  Reo 
the  Fifth.  Write  for  our  catalog 
and  we  will  direct  you  to  our 
nearest  showroom. 


Reo  the  Fifth 

The     1913     Series 

$1,095 


30-35 

Horsepower 
Wkeel  Base- 

112  inchei 
Tires— 

34  z  4  inches 
Center  Control 
IS  Roller 

Bearing! 
Demountable 

Kims 
3  Electric 

Light! 

190  Drop 

Forfings 
Made  wilh  5  and 

2-Passenger 

Bodies 


Top  and  windshield  not  included  in  price.    We  equip  this  car  with  mohair  top,  side  curtains  and  slip  cover, 

windshield, Prest-O-Lite  gas  tank  for  headlights,  speedometer,  self-starter,  extra  rim  and  brackets— all  for  $100  extr 

(list  price  $170).     Cray  &  Davis  Electric  Lighting  and  Starting  System  at  an  extra  price,  if  wanted. 


R.  M.  Owen  &  Co.,  tiEr  Reo  Motor  Car  Co.,  Lansing,  Mich. 


Canadian  Factory,  St.  Catharines,  Ont. 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE   MAGAZINE 


THE    THEATRE 


VOL.  XVII 


JUNK,  1913 


No.  148 


Published  by   The   Theatre  Magazine  Co.,  Henry  Stern,  Pres.,  Louis  Meyer,  '1'rcas.,  I'aul  Meyer,  Sec'y;  i-io-it-14  Weil  Thirly-tighlk  Street,  New   York  City 


SARAH    BERNHARDT    ON    HL 


French  tragedienne. 


White 


SCENE  IN   ACT   I   OF   "THE   PURI  LK   ROAD,"   NOW   AT  THE   LIBERTY  THEATRE 


EMPIRE.  "THE  AMAZONS."  Comedy  in 
three  acts  by  Sir  Arthur  Wing  Pinero.  Re- 
vived on  April  28th  with  this  cast : 


Orts    Barrett    Barker 

Miriam    Annie    Esmond 

Lady     Noeline Miriam    Clements 

Lady    Wilhelmina Dorothy    Lane 

Lady    Tliomasin Billie    Burke 

"Sergeant"    Shuter Lorena    Atwood 


Barrington     Shelly     Hull 

Galfred    Ferdinand    Gottschalk 

Andre    Fritz    Williams 

Rev.    Minchin Morton    Selten 

Fitton    Thomas    Reynolds 

Youatt    Arthur   Fitzgerald 

"The  Amazons"  was  first  seen  in  New  York  at  the  old  Lyceum 
Theatre  on  February  19,  1894.  The  story  in  brief  is  as  follows: 
Lady  Castlejordan,  out  of  respect  to  her  late  husband,  and  dis- 
appointed that -her  only  three  chil- 
dren are  girls  instead  of  boys,  brings 
them  up  as  young  gentlemen,  at- 
tiring them  in  manly  costumes  and 
familiarizing  them  with  all  kinds  of 
sports  and  pastimes  peculiar  to 
men.  They  smoke,  ride,  hunt  and 
amuse  themselves  with  gymnastic 
exercises.  But  the  arrival  on  the 
scene  of  three  suitors  speedily  ef- 
fects a  complete  revolution  in  the 
sentiments  of  each.  Amazons 
though  they  are,  women  they  quick- 
ly discover  themselves  to  be.  The 
whole  action  of  the  play  thence- 
forward resolves  itself  into  the 
pairing  off  of  the  several  couples 
after  many  complications  and  much 
lively  incident. 

What  the  present  performance 
lacks  over  its  original  production 
are  the  advantages  that  accrue  to 
any  performance  of  any  play  from 
the  stock  company  organization. 
The  latter  is  a  dramatic  family,  and 
the  esprit  de  corps  of  such  a  body 
of  players  must  be  missing  in  any 
company  specially  engaged,  no  mat- 
ter how  good  actors  the  individual 
members  may  be.  In  this  case. 
Miss  Esmond  and  Mr.  Selten  are 


not  substitutes  for  Mr.  and  Mrs.  Charles 
Walcott  of  the  Old  Lyceum  Company, 
nor  is  Miss  Clements  able  to  maintain 

her  performance  of  Lady  Noeline  Belturbet  as  was  Miss  Georgie 
Cayvan  in  the  same  part.  Mr.  Fritz  Williams  and  Ferdinand 
Gottschalk  resumed  their  old  parts  of  Count  de  Grival  and  Lor.1 
Tweenwayes ;  the  former  better  than  ever,  and  the  latter  as  the 
amusing  Earl  a  bit  slow.  Miss  Billie  Burke  is  starred  as  Tommy 
Belturbet.  There  is  nothing  remarkable  about  her  performance. 

Bessie  Tyree  (the  original)  was 
quite  as  good  as  the  star,  if  not 
better.  The  play  itself  is  sweet, 
wholesome  and  amusing.  When 
the  then  Mr.  Pinero  wrote  it  he 
must  have  enjoyed  himself,  and 
hjs  joyousness  in  his  work  infect:, 
the  audience  with  the  same  spirit. 
An  enthusiastic  audience  greeted 
an  old  friend  with  acclaim. 


White 

Interior    of    the 


GARDEN.  "THE  PASSING  OF  THE 
IDLE  RICH."  Drama  in  four  acts  by 
Margaret  Townsend.  Produced  on  May 
1st  with  this  cast : 

Katherine  Lyman,  Mina  Barrington;  John 
Wolcott,  E.  L.  Ferenderez;  Mrs.  Jones,  Marie 
Burke;  Jack  Jones,  Graydon  Fox;  Eleanor 
Jones.  Ethel  Valentine;  C.  L.  Jones,  W.  H. 
Howell;  Sherman  Rutherford,  Horace  Cooper; 
Georgiana  Oats,  Edna  Mason;  Cornelia  Stuy- 
vesant,  Dorothy  Quincy;  Willie  Wistey, 
Horace  Cooper;  Hemingway  Baldwin,  Elis 
Matin;  Caroline  Pell,  Mary  Murello;  Lura 
Duane,  Barney  Harris;  George  Lyman, 
Gauble;  Mayor  Persomby,  Alexander  Loftus; 
Duke  of  Orford.  Leslie  Kenyon;  Captain  of 
Olympic,  Allen  Summers;  Mrs.  Spencer,  Vic- 
toria Montgomery;  Nanette.  Viola  Osmund; 
Henry  Gailts,  LeRoy  Pruette;  Foreman, 
Frank  Bixby;  Towers,  Jack  Murry. 

"The  Passing  of  the  Idle  Rich" 
is  an  original  drama  in  four  acts 
(not  a  dramatization),  embracing 
the  capital  and  labor  proposition  as 
presented  in  the  articles  written  by 
Frederick  Townsend  Martin.  The 
occasion  appeared  to  be,  or  was 
sought  to  be  made  of  interest  to 


Longacre    Theatre    on    Forty-eighth    Street,    west 
Of  Broadway 


THE     THEATRE     MAGAZINE 


163 


people  of  fashion  and  wealth.  Of  course  this  was  immaterial  and  in- 
cidental, for  the  play  intended  to  occupy  the  stage  of  a  theatre  even 
for  one  brief  week  must  be  designed  to  attract  the  general  public. 
It  is  dangerous  to  put  forward  any  play  in  any  other  than  a  pro- 
fessional way.  The  piece  was  acted  well  by  handsome  young 
women  and  presentable  young  men,  but  for  the  most  part  they  were 
amateurs.  The  production  was  marked  by  hasty  preparation,  it 
is  almost  inevitable  that  such  productions  be  described  in  the 
newspapers  with  some  derision.  It  is  the  penalty  of  not  doing 
things  professionally.  We  do  not  think  that  the  play,  its  acting 
and  its  production  altogether  merits  such  treatment.  The  story 
was  loosely  put  together,  but  it  had  an  idea  in  it.  It  lacked  com- 
pactness, and  yet  the  elements  of  a  play  were  there.  The  plot 
is  not  an  unfamiliar  one  for  it  concerns  the  bartering  of  a  daugh- 
ter for  a  title.  She  escapes  immediately  after  the  marriage  cere- 
mony, and  after  she  returns  from  her  self-imposed  exile  it  is 
discovered  by  the  lawyer  of  the  family  that  the  marriage  was 
invalid  because  of  her  insufficient  age  at  the  time.  The  discussions 
about  capital  and  labor  were  not  without  their  points.  However. 
the  play  as  presented  and  in  point  of  fact  is  thoroughly  amateurish. 


larly  mindful  of  good  enunciation.  George  MacFarlane  as  the 
Mikado  distinguished  himself  by  a  new  contribution;  he  made  of 
the  Mikado  a  less  potentous  person,  and  he  has  an  exceptionally 
rine  baritone  voice.  The  entire  cast  was  tit.  The  three  little 
maids  were  Gladys  Caldwell,  Anna  Wheaton  and  Louise  Barthel. 
Kate  Condon  as  I^ady  Katisha,  if  we  should  make  comparisons, 
which  is  wholly  unnecessary,  sang  the  part  well  and  acted  it 
moderately. 

LYCEUM.     "THE  NECKEN."     Drama  in  two  acts  by  Elizabeth  G.  Crane. 
Produced   on   April    isth   with   this  cast: 


Astrid  Kdith  Y eager 

A  Monk George  Curric 

'I  orvald  '  ••  if  we  Cameron 

Sv:n,hi!d  ..  1-ettie  Ford 
.....  First  Maid yiilllj  'V-  Lawthc 

Jan,    the    Ni-ckcn Laurence    Eyre        Second     Maid IwArl     (alder 

Lennart    '. William    H.    1-ost       Village    Youth... 


••'Vi "      Conrad     Cantzen 

Hrita    Kate    Mayhew 

'i  oa    Alice    Newell 

Inga    Alberta    Callalin 

Sigurd     Krncst    Weir 


CASIXO.     "THE  MIKADO."     Operetta  in  two  acts  by  Gilbert  and  Sulli- 
van.     Revived    on    April    2ist    with  this  cast: 


1  he    Mikado George    J.    MacFarlane 

Nanki-Poo     Arthur    Aldridge 

Ko-Ko    De    Wolf    Hopper 

Pooh-Bah     Arthur     Cunningham 


Yum- Yum     Gladys    Caldwell 

Pitti-Sing     Anna     Wheaton 

Peep-Bo     Louise     Barthel 

Katisha    Kate    Condon 


The  Shubert-Brady  revival  of  "The  Mikado"  preserves  the 
spirit  of  the  original  performances  in  a  gratifying  way.  De  Wolf 
Hopper  is  not  new  to  the  character  in  Ko-Ko,  and  he  has  never 
played  it  better.  It  is  a  role  that  cannot  well  be  overplayed,  for 
Gilbert's  humor  and  fantastic  drollery  reach  a  height  that  requires 
droll  expression  pushed  to  the  limit.  Of  course,  the  effect  could  be 
impaired  by  coarse  acting,  but  Mr.  Hopper's  spirit  of  humor  is 
so  abundant  and  vigorous  that  he  justified  the  most  extravagant 
things  that  he  did.  Much  of  the  comedy  was  Mr.  Hopper's  own. 
His  reluctance  to  reconciling  himself  with  Katisha  is  something 
worth  seeing.  It  is  very  important  in  the  Gilbert  and  Sullivan 
operas  that  the  words  be  heard  distinctly.  Sullivan's  music  takes 
that  into  consideration.  More  attention  to  it  might  be  urged  'in 
this  production.  Arthur  Cunningham  as  Pooh-Bah  was  particu- 


'illagc    Youth Marion    Karn&haw 

"The  Necken"  was  produced  at  the  Lyceum  Theatre  by  the 
Sydney  Rosenfeld  Production  Co.,  as  a  part  of  the  movement 
more  or  less  directly  related,  begun  by  the  Federation  of  Theatre 
Clubs  to  promote  native  authorship.  The  comfort  afforded  in 
this  case  concerned  individuals  rather  than  the  public  itself.  The 
idea  of  the  play  is  too  far  away  from  our  habits  of  thought.  It 
was  written  by  Miss  Elizabeth  G.  Crane  on  the  basis  of  an  old 
Scandinavian  legend,  wherein  a  water  sprite,  in  human  guise,  falls 
in  love  with  and  is  loved  by  the  daughter  of  a  farmer  in  whose 
service  he  is  employed.  His  refusal  to  drink  on  a  certain  occa- 
sion''.pf  a  religious  ceremony  reveals  him  as  a  pagan,  and  he  is 
thrust  out.  A  violin  plays  a  part  in  this  story,  but  it  is  not 
entirely  clear  to  what  purpose.  In  some  way  it  bewitches  the 
goblin  sweetheart  and  draws  her  to  the  fountain  in  which  the 
goblin  lives.  She  escapes  the  fascination  of  the  water  and  we 
believe  that  the  goblin  is  to  return  regenerated  and  that  happiness 
is  to  be  the  result.  The  acting  in  this  little  play  was  better  than 
the  play  itself.  The  performance  was  supplemented  by  "The 
Guilty  Conscience ."  a  play  in  one  act  by  Robert  H.  Davis.  This 
littic  play  was  not  so  well  acted,  and  perhaps  with  a  little  revision 
and  better  acting  it  would  serve  its  purpose  of  entertainment.  A 
detective,  whose  method  is  based  on  a  study  of  psychology,  forces 
the  one  who  has  in  her  possession  a  stolen  diamond  necklace  to 
confess  and  deliver  to  him  the  box.  (Continued  on  page  x) 


Copyright  Charles    Frohman          Dorothy    Lane 


Millie  Burke 


Miriam  Clements 


SCENE  IN  THE  REVIVAL  OF  "THE  AMAZONS"   AT  THE   EMPIRE  THEATRE 


Photo  Bert 


SARAH    BERNHARDT    AS    THEODORA 


The  Oivimie  Sarah  Anam  With  Us 


SARAH     BERN- 
HARDT !    What  a 
world    the    name 
suggests!      What    famous    stage    heroines    it    conjures    up! 

Sarah  Bernhardt  has  been  with  us  once  more.  For  the  last 
time  ?  Who  knows  ?  There  seems  to  be  some  superior  essence 
of  life  vibrating  in  the  fibres  of  this  wonderful  woman  that  sup- 
plies her  with  inexhaustible  youth  and  energy.  All  the  beauty 
she  has  felt  and  rendered  plastic  to  two  generations  of  playgoers 
seems  to  have  breathed  a  breath  eternal  into  her  fragile  form. 
Our  children  and  their  children  must  receive  their  most  intense 
and  perfect  impressions  of  art  and  beauty  on  the  stage  through 
Sarah's  genius  that  thrilled  our  fathers  before  us. 

For  her  first  appearance  in  a  New  York  vaudeville  house,  the 
Palace  Theatre  Madame  Bernhardt  chose  a  one-act  play  written 
by  her  son,  Maurice,  and  Henri  Cain.  The  story  of  "Une  Nuit 
de  Noel  sous  la  Terreur"  was  easily  understood  even  by  those 
ignorant  of  French,  largely  because  of  its  simplicity  and  direct- 
ness, but  above  all  because  of  the  great  artist's  illuminative  acting. 
Marion  la  Vivandiere  comes  with  a  company  of  "sans-culottes" 


to  a  Vendean  farm,  where 
the  Comtesse  de  Kersan 
and  her  child  are  hiding 

from  the  terrorists.  Marion  suspects  the  identity  cf  the 
little  aristocrat  in  peasant  clothes,  and  is  tempted  to  betray 
her  to  the  captain,  but  the  tears  of  the  comtesse  soften  her  and 
make  her  hesitate.  Presently  the  count  rushes  in  to  embrace  his 
wife  and  child.  He  has  been  defeated  and  a  prize  is  set  on  his 
head.  Marion  is  moved  to  pity,  and  in  a  long  speech  pleads  with 
captain  and  soldiers  for  the  count's  life.  Of  course,  she  ulti- 
mately succeeds  in  saving  him.  The  playlet  is  a  well-presented 
episode  from  the  French  Revolution,  yet  it  seems  doubtful 
whether  it  would  hold  the  interest  of  our  audiences  if  anyone  but 
Bernhardt  impersonated  Marion.  She  lends  new  life  and  color 
to  a  somewhat  hackneyed  type  and  fills  one's  heart  with  enthusi- 
asm over  lines  that,  in  cold  print  would  appear  very  little  better 
than  ordinary.  She  delivers  her  plea  to  the  soldiers  with  such, 
delicate  pathos,  such  mastery  of  tone  and  gesture,  that  she  was 
repeatedly  interrupted  by  salvos  of  applause. 

"They  like  my  play,  do  you  think?"  Madame  Bernhardt  asked 


THE     THEATRE     MAGAZINE 


""•5 


the  representative  of  THE  THEATRE  MAGAZINE  in  her  dressing 
room  after  the  first  performance.  "1  am  so  glad.  It  is  charm- 
ing and  interesting  to  me,  because,  you  see,  my  son  wrote  it 
for  me." 

There  was  a  dreamy  look  of  gentle  mother's  pride  in  her  eyes, 
and  then,  with  a  quick  little  turn  of  the  head  and  a  charming 
gesture  toward  the  stage : 

"She  sings  well ;  she  has  a  beautiful  voice,"  referring  to  Mile. 
Fregoleska,  who  succeeded  her  on  the  bill.  "They  will  like  her. 
too;  I  hope  they  will!" 

Genuine  kindness  of  heart  showed  through  this  little  remark, 
and  many  others  that  she  made.  No  wonder  this  extraordinary 
woman  has  captured  every  heart,  no  matter  where  she  has  been; 
no  wonder  that  millions  of  people  who  have  never  seen  her  except 
behind  the  footlights  feel  real  affection  for  her  and  familiarly 
speak  of  her  as  "Sarah."  All  the  fine  qualities  in  the  nature  of 
an  artist  must  needs  shine  through  her  art  and  ennoble  and 
broaden  it.  Whether  Bernhardt  is  Marion  or  Lucrezia  Borgia. 
Camiile  cr  Theodora,  Phedre  or  La  Tosca — there  is  always  the 
lovable  woman  back  of  the  great  French  artiste.  The  public 
net  only  admires  the  actress,  but  also  loves  the  woman. 
When  one  sees  Sarah  Bern- 

hardt,  still,  at  her  age,  in  full  pos- 
session of  her  power  and  magnet- 
ism, still  youthful  and  beautiful  on 

the    stage     vibrating    with    energy, 

full  of  lively  charm  in  private  life, 

one  can  hardly  believe  that  she  is, 

after  all,  but  made  of  human  clay. 

and  that  in  years  to  come  there  will 

be    nothing    left    of    this    eminent 

actress  but  memories — memories  of 

a  woman  who  lent  her  voice  of  gold 

to    the    musical    words    of    poets; 

whose  eves  conveyed  to  us  the  pas- 
sions and  frenzies  of  all  woman- 
kind ;  whose  lips  inspired  with  hu- 
manity the  wild  imaginations  of 

dreamers ;   whose   hands   expressed 

mute    tenderness    or    silent    agony 

more  forcibly  than  words  could  do, 

and    whose   gestures,   whose   every 

movement  were  a  perfect  thing  of 

beauty.  "Reine  dcs  attitudes  et  Prin- 

ccssc  dit  Gestc,"  as  Edmond  Ros- 
tand calls  her  in  bis  famous  sonnet. 
Memories  of  Bernhardt  will  lin- 
ger,   like    precious    little    gifts,    in 

the   hearts   of   all    those    who   ever 

saw  her.     But  what  will  become  of 

the  traditions  of  her  grand,  poetic 

art?     Will  there  ever  be  an  artist 

delicate  and  big  enough  to  absorb 

them    so    completely    as    to    carry 

Sarah   Bernhardt's  mission  onward 

to    a    later    generation?      Another 

dramatic   genius    will   be   born,   no 

doubt,  but   it   will  be   different,  as 

Sarah   Bernhardt  is  different  from 

Rachel  who  came  before  her. 
The    Conservatoire    National    of 

dramatic  art  in  Paris  is  the  temple 

where     such     traditions    are    kept 

sacred   for  young  talents  to  profit 

by    to    the    best    of    their   abilities. 

Madame    Bernhardt    herself,    who 

received  her  early  tutoring  at  the 

i  onservatoire.    was   called   upon   a 

few  years  ago  to  hold  a  chair  there. 

But  at  length  she  found  it  too  ab- 


sorbing a  duty  to  combine  with  all  her  other  activities.  Yet. 
never  was  there  a  teacher  more  beloved !  How  could  it  be  other 
wise?  There  is  a  magic  spell  about  her  that  enthralls  all  those 
who  come  in  personal  contact  with  her.  When  you  meet  her  and 
she  smiles  at  you  with  sympathy  and  understanding  for  all  your 
little  unspoken  woes  and  joys,  you  cannot  help  but  love  her. 

"Venez  frcs  de  moi,  ma  chcric.  .  .  ." 

And  she  draws  you  close  to  her  and  seems  so  happy  to  hear 
French  words  from  strange  lips  in  this  big,  English-speaking 
country,  that  you  are  admitted  into  her  intimacy,  as  it  were,  right 
from  the  start.  And  when  you  kiss  the  wonderfully  expressive 
band  that  she  has  laid  on  yours,  and  she  smiles  at  you  and  olTer> 
you  her  cheek,  a  subtle  relationship  is  established  between  her 
and  yourself  before  you  know  how  it  all  came  about.  It  is  made 
of  your  admiration  for  the  artist  your  love  for  the  woman  and 
of  her  live  interest  in  every  human  being.  Sarah  Bernhardt  is 
related  to  the  whole  world  through  the  keenness  of  her  sensi- 
bilities and  the  natural  bent  of  her  great  big  heart  to  sympathize 
with  others.  Every  little  emotion  in  a  fellow  being  she  timK 
worthy  of  her  consideration;  it  is  a  real,  living  thing  to  her — just 
as  through  her  acting  she  has  made  real  and  living  all  the  emotions 


' 


CORNER    IN    MME.    BERNHARDT'S    RECEPTION    ROOM    IN    HER    PARIS   HOME 
The    large    picture    above    the    mantelpiece    is    a    painting    of    Bernhardt    by    Clairin 


i66 


THE     THEATRE     MAGAZINE 


of  humanity.  Passionate  tenderness  and  a  great  desire  to  love 
and  to  be  loved  are  among  the  most  predominant  traits  of  her 
nature. 

As  a  child  she  was  put  into  a  convent  for  her  education ;  and 
when  her  beautiful  and 
worldly  mother  was  far 
away  on  her  long  journeys 
the  little  girl  gave  all  her 
heart  to  Jesus  and  the  Vir- 
gin Mary.  For  many  years 
her  only  wish  was  to  take 
the  vows  and  join  the  com- 
munity of  gentle  nuns  at 
her  beloved  convent.  And 
when  her  mother  came  to 
Paris  on  one  of  her  short 
visits,  Sarah  pleaded  with 
her,  begged  and  cajoled 
her,  until  that  pretty,  pas- 
sive young  woman  resisted 
no  longer.  All  seemed  to 
be  arranged  to  the  child's 
satisfaction,  when  a  family 
counsel  was  called  to  decide 
definitely  upon  her  future. 
There  were  long  discus- 
sions without  any  conclu- 
sion in  view,  when  sudden- 
ly the  Due  de  Morny  rose 
and  said : 

"Madame,  you  should 
send  her  to  the  Conserva- 
toire. That  is  my  advice." 

And  gallantly  he  kissed 
the  lady's  hand  and  left  the 
room. 

The  word  "conserva- 
toire" fell  like  a  bomb 
among  the  assembly,  and 
Sarah  remained  as  thunder- 
struck. She  did  not  know 
what  it  was,  but  she  felt 
that  it  meant  giving  up  her 
long  cherished  ideal :  the 
convent. 

"Mon  Dieu,  the  bitter 
tears  I  wept,"  she  says  with 
a  soft  little  smile  as  she  Sa™"y  SARAH  BERXHARDT 

recalls  the  day   when   her 

future  was  determined ;  "and  how  I  hated  the  Due  de  Morny ! 
How  I  hoped  to  die  before  1  could  be  taken  to  the  Conservatoire ! 
I  was  told  that  young  people  studied  for  the  stage  there,  and  I 
wanted  so  to  become  a  religieuse !" 

But  as  soon  as  her  dramatic  studies  began  they  captivated  her 
interest  and  flattered  her  imagination. 

"It  is  the  same  with  all  in  my  life.  When  a  new  thing  comes 
I  fight  against  it  frantically,  and  when  it  is  there  1  throw  myself 
into  it  with  all  my  passion." 

How  many,  many  thanks  the  world  owes  to  the  Due  de  Morny 
for  his  carelessly  dropped  advice ! 

During  her  three  years  at  the  Conservatoire  the  young  student 
lived  with  her  family,  and  although  her  mother  visibly  preferred 
her  younger  daughter,  Jeanne,  and  took  but  a  casual  interest  in 
Sarah's  artistic  development,  the  young  girl's  heart  went  out  to 
her  in  unfaltering  love  and  tender  admiration.  Even  when  she 
was  quite  grown  up  and  had  made  her  professional  debut  at  the 
Comedie  Franchise,  she  used  to  beg  for  a  caress  that  had  filled 
her  childhood  with  dreamy  delight:  the  gentle  touch  of  her 
mother's  long,  silky  eyelashes  brushing  her  cheek  like  the  wing 
of  a  butterfly. 


Sarah  Bernhardt  has  been  much  criticized  as  a  woman.  But 
should  one  who  is  capable  of  such  devotion,  of  such  abnegation 
as  she  has  shown  publicly  during  the  national  disaster,  and  pri- 
vately many,  many  times  before  and  since,  be  held  to  severe 
^^^_^_^_____^^_^^___^  account  for  her  little  whims 

and  fancies?  Assuredly 
not.  Some  of  them  may  be 
the  very  things  that  show 
she  is  a  human  being,  that 
is,  imperfect.  Some  others 
may  simply  be  clever  little 
tricks  of  reclame.  For,  al- 
though she  is  the  represen- 
tative dramatic  genius  of 
our  time,  she  is  also  a 
shrewd  business  woman, 
and  knows  that  the  right 
kind  of  advertisement  tills 
the  box  office. 

Not  that  she  is  at  all 
eager  for  mcney  for  its 
own  sake,  but  her  tastes 
are  luxurious  and  h  e  i 
wants,  consequently,  very 
large.  She  has  made  for- 
tunes and  spent  them,  un- 
thoughtfu]  of  the  future, 
never  investing  a  penny. 
In  order  to  supply  her 
needs  she  has  often  been 
compelled  to  do  things  that, 
under  other  circumstances, 
would  have  offended  her 
sensibilities.  It  is  not  like- 
ly that  she  consented  to 
appear  on  the  variety  stage 
for  any  other  reasons  but 
financial.  And  it  does  seem 
sacrilege  to  find  an  artist  of 
her  calibre  in  the  sanctum 
of  vaudeville  deities.  But 
we  must  not  forget  that 
Sarah  Bernhardt,  although 
par  excellence  an  aristocrat 
among  her  profession,  has 
always  been  very  demo- 
cratic. Aristocratic  in  her 
tastes  and  democratic  in 
her  dealings  with  others 

This  becomes  evident  when  one  considers  the  two  great  causes 
for  her  enormous  expenses :  beautiful  things  and  kind  deeds.  She 
has  surrounded  herself  with  the  finest  works  of  art,  the  rarest 
books,  the  most  precious  laces  and  jewels,  at  any  cost,  because 
money  counts  for  nothing  with  her,  and  an  atmosphere  saturated 
with  beauty  counts  for  everything.  Her  house  is  open  to  every 
man  and  woman  of  talent  and  distinction,  and  there  is  many  a 
brilliant  writer,  many  a  successful  artist  now  in  Paris  who  would 
still  be  starving  in  a  garret  of  Montmartre,  struggling  for  recogni- 
tion, had  it  not  been  for  the  great  Sarah's  kindly  help.  She  never 
speaks  of  all  these  obscurely  noble  actions,  because  no  sooner  are 
they  done  than  she  forgets  all  about  them.  And  her  own  disre- 
gard for  the  benefactions  she  distributes  right  and  left  makes 
them  all  the  finer  and  more  worthy. 

But  the  most  valuable  help  that  Madame  Bernhardt  has  given 
to  artists  of  all  kinds  was  not  monetary.  She  has  given  them  the 
benefit  of  her  exceptional  artistic  culture  and  helped  them  onward 
with  intelligent  advice  and  encouragement,  advice  which  she  her- 
self put  into  practice  when  her  theatrical  work  left  her  a  moment's 
leisure.  There  was  rarely,  if  ever,  a  woman  who  attempted  to 
manifest  her  personality  in  as  (Continued  on  page  ix) 


IN   "LA    SAMARITAINK" 


1 


MARGUERITE  CLARK 
This  well-known  actress  recently  appeared  in  "Are  You  a  Crook?"  at  the  Longacre  Theatre 


ill! 


i 


A  Toy  Theatre  to 


MANY  men  have  tried  to  manage  a  theatre  and  many  of 
them  have  failed.    A  few  women  have  essayed  the  same 
task  and,  with  a  few  exceptions,  the  attempt  soon  passed 
into  the  mists  of  memory.     Maxine  Elliott's  Theatre  perpetuates 
her  name  despite  her  prolonged  absence   from  New  York,  and 
Philadelphians  of  mellow  memories  recall  the  reign  of  Mrs.  John 
Drew   over   local    companies.     Mrs.    Mary    Spooner   leased   two 
Brooklyn  houses  and  with  the  aid  of  her  daughters,  Edna  May 
Spooner  and  Cecil  Spooner,  enjoyed  a  vogue  of  several  seasons 
in    the    city    connected    with    New    _ 
York    by    a    more    or    less    ofren- 
crcssed  bridge.    Sara  Allgood  man- 
aged    the     Abbey     Theatre     and 
directed  the  work  of  the  Irish  Play 
ers  for  two  seasons  in  Dublin,  until 
a  physician  offered  her  the  choice 
between     suspended     activities     or 
shattered    nerves.      She    chose    the 
suspended      managerial      activities 
Playhouse  management  and  the  di- 
rection of  companies  has  thus  far 
assumed   the  aspect  of  a  task  too 
huge   for   the   delicate   energies   of 
w<  men.     Yet  this  fact  has  not  dis- 
mayed the  Xash  sisters.     Mary  and 
Florence    Nash    are    undismayable. 
They   will  build   their  undertaking 
of  a  toy  repertoire  theatre  in  New 
York  next  season  upon  the  corner- 
stone of  their  conviction  that  every- 
one should  take  the  chance  to  try 
to  do  what  she  thinks  she  can  do. 

They  are  young  and  hopeful  ; 
but  they  are,  likewise,  sage  and 
sophisticated.  The  education  of 
the  theatre  is  a  quick  one.  In  the 
atmosphere  of  playhouses  talents 
and  character  develop  as  speedily 
as  acquaintance  on  a  Transatlantic 
steamship.  Eight  years  of  such 
education,  plus  undeniable  talents 
and  the  habit  of  using  their  brains 
to  goad  purpose,  have  equipped 
them  for  that  innovation  in  a  pro- 
fession that  strives  ever  for  inno- 
vations, a  girls'  theatre. 

"We    are    willing    to    lose    ten 

thousand  on  the  experiment,  but  we  hope  we  won't  have  to  do 
that.  Several  of  our  friends  are  willing  to  work  for  nothing,  if 
need  be,  to  play  the  parts  they  want  to."  It  was  Florence  Nash 
who  spoke.  Everyone  falls  after  a  first  glimpse  of  Florence  Nash 
into  the  habit  of  describing  her  as  "cute." 

"But  we  mustn't  ask  them  to  do  so.  This  is  not  to  be  a  charity 
enterprise.  We  should  run  it  on  business  principles."  The 
decision  was  made  by  Mary  Nash,  a  stately  young  woman  to 
whom  the  term  "classic"  applies. 

"I  said  'if  need  be,'  "  reminded  Florence,  who  is  tiny  and 
fluffy-haired,  who  has  a  saucy,  pointed  chin,  and  laughing  eyes. 
Mary,  a  serious  young  person  who  wears  her  hair  in  long,  sleek 


chance  because  managers  would  keep  any  actress  going  en  as  long 
as  the  brook,  in  parts  in  which  she  had  demonstrated  she  could 
play  well.  1  have  in  mind  Strindberg's  'The  Stronger.'  I  want 
Mary  to  play  the  wife.  She  will  do  that  beautifully,  and  she 
shall  be  the  duchess  in  one  of  Wilde's  strongest  dramas.  I  know 
she  will  make  a  superb  duchess." 

"It  sounds  as  though  Mary  were  going  to  play  all  the  big  parts." 
There  was  a  touch  of  the  tenderly  maternal  as  well  as  sisterly  in 
the  smile  the  "classic"  sister  bestowed  upon  the  "cute"  one. 
.^_^_^____^____^         Little    Miss    Florence    suddenly 

displayed  a  shy  self -consciousness 
"If  1  told  what  I  should  like  to 
play  I  should  be  laughed  at"  she 
said.  '  By  persistence  only  was  it 
extorted :  Nora  in  "The  Doll's 
House"  and  Viola  in  "Twelfth 
Night." 

"I  shall  be  busy  managing,  any- 
way. But  Mary,  as  usual,  will 
smile  and  get  her  own  way." 

The  little  manager  cited  two  old 
friends,  stars  both,  who  would  sur- 
prise audiences  at  the  girls'  theatre 
by  their  performances  of  parts 
unexpected  from  them.  Frank 
Mclntyre,  of  "Traveling  Salesman" 
laughter  memories,  will  play  seri- 
ous parts.  "Frank  can  make  'em 
cry.  I've  seen  hifn.  1  worked  in 
stock  with  him  and  know,"  said  tf'he 
diminutive  manager  to  be.  Selila 
Sears,  whom  we  associate  with 
women  who  have  missed  niatri 
mony,  missed  it  in  both  senses. 
wants  to  play  Mrs.  Alving  in 
"( ihosts ."  and  the  oral  prospectus 
of  the  girls'  theatre  promises  that 
she  will  please  as  well  as  surprise 
us. 

Which  house  the  youthful  sisters 
will  take  is  still  uncertain.  It  will 
be  small.  It  will  be  intimate.  It 
will  be  on  Bn  adway.  A  five  thou- 
sand dollar  check  presented  to  each 
of  the  girls  on  Christmas  by  their 

:ir    own    productions.      Mary    Nash    has    been    playing    the    telephone    girl 

"The  Woman."     Florence  Nash  is  now  playing  the  part  of  Agnes  Lynch        father     Philip    Nash     of    the    United 
in  "Within  the  Law" 

Booking  Offices,  made  the  venture 

possible.  The  fund  is  being  augmented  by  strict  economies  on 
the  part  of  the  ambitious  young  persons ;  sodas,  ice  ere  mis,  boxes 
of  candy,  filmy,  fluffy  creations  so  enticing  as  they  hang  in  Fifth 
Avenue  shop  windows — productions  and  salaries  will  represent 
abstemiousness  from  all  of  these. 

Both  girls  went  on  the  stage  because  their  parents,  whom  they 
treat  with  the  camaraderie  of  chums  instead  of  as  representa- 
tives of  another  generation,  couldn't  keep  them  off.  The  "classic" 
girl  applied,  unknown  to  them,  for  a  place  in  "The  Girl  from 
Kay's"  company.  Marie  Doro  had  left  the  cast  and  they  chose 
the  tyro  because  the  deserter's  costumes  would  tit  her.  They 
wouldn't  now,  for  she  has  outgrown  them  in  each  dimension  by 


White  MARY    AM)    FLORENCE    XASH 

These  popular  young  actresses  will  make  a  daring  theatrical  experiment 
next  season.  They  will  take  a  New  York  playhouse  and  manage  it,  making 
their  own 


black  bands,  and  whose  dark  eyes  and  even  her  smile  are  grave,      a  generous  number  of  inches.     The  "cute"  girl  asked  the  stage 


crossed  the  drawing  room  of  the  beautiful  Nash  apartment  and 
kissed  the  part  in  her  little  sister's  tresses. 

A  difference  of  two  years  lie  between  the  girls  in  age.  Mary 
is  two  years  the  elder,  and  a  world's  width  of  character  and 
temperament.  Their  unlikeness  in  thought  and  speech  is  marked, 
but  they've  a  meeting  ground  of  unusual  cleverness  and  a  more 
than  usual  sisterly  affection. 

"I  am  planning  to  produce  Strindberg  plays,  and  Chatterton, 
and  Oscar  Wilde,  plays  in  which  no  manager  would  give  us  a 


manager  of  her  father's  stock  company  in  Washington  to  give 
her  a  trial.  When  her  father  was  apprised  of  her  application  he 
said  to  the  stage  manager:  "Give  her  a  chance,  if  you  wish.  You'l! 
have  to  do  it  to  keep  her  quiet.  But  fire  her  as  you  would  anyone 
else  if  she  doesn't  make  good."  She  was  not  "fired."  Both 
have  since  formed  an  acquaintance  with  that  region  remote  from 
New  York  slightingly  called  "the  tall  timbers,"  but  which  for  a 
limited  number  of  years  is  so  excellent  a  growing  ground  for 
the  young  actress.  ADA  PATTERSON. 


Some  Spring 


IN  the  Paris  theatres  the  spring  crop  of  plays  is  as  important 
as  the  crop  harvested  in  the  fall.  Not  even  great  successes 
there  have  a  run  that  extends  throughout  the  theatrical  sea- 
son; such  a  run  is,  at  any  rate,  exceptional.  Playwrights  do  not 
expect  it ;  they  do  not  figure  on  it,  and  accordingly  they  demand 
and  receive  much  greater  royalties  for  the  use  of  their  property 
than  their  English  and  American  fellows  are  contented  with. 
Rarely  it  happens  that  a  play  which  made  a  notable  success  in 
December  in  Paris  can  be  seen  at  the  theatre  where  it  was  pro- 
duced by  people  who  delay  their  visit  to  the  French  capital  until 
March.  The  windy  month  is,  indeed,  the  time  when  most  of  the 
French  theatres  change  the  bill. 

This  year  proved  no  exception,  but  the  new  plays  were  even  a  lit- 
tle later  in  appearing  than  usual.  March  was  quite  well  advanced 
when  Bernstein's  "Le  Secret"  went  on,  and  "La  Semaine  Folle," 
the  great  success  of  the  year  of  the  Athenee,  had  its  premiere  on 
the  2gth  of  March.  "Le  Minaret,"  compounded  of  farce  and 
music,  began  its  amusing  career  almost  simultaneously  with 
Bernstein's  drama.  The  spring  production  of  the  latter  piece 
should  contradict  an  impression  that  light  works  only  are  put 
forward  in  the  spring.  M.  Hermant's  play  is  a  comedy,  cer- 
tainly, but  it  is  also  more  of  a  drama  than  the  other  pieces  shown 
earlier  in  the  year  at  the  Athenee.  The  complexion  of  "The 
Minaret"  has  been  indicated  by  calling  it  a  compound  of  farce 
and  music.  That  piece  pour  rire  is  a  neighbor  of  the  sun — it  is 
hot-blooded,  Eastern,  full  of  risks,  but  the  Parisians  have  not 
found  it  shocking.  Not  likely  that  we  will  find  it  so  either  when  it 
comes  here,  as  it  surely  will,  for,  compared  to  "Sumurun,"  the 
situations  of  "The  Minaret"  compose  a  mild  fairy  story. 

Henry  Bernstein's  new  piece  is  being  done  at  the  Bouffes- 
Parisiens.  It  is  a  play  written  powerfully  on  an  old  theme,  and 
the  secret  which  gives  it  a  title  belongs  to  a  woman's  past.  In  it 
can  be  seen  further  efforts  on  the  author's  part — he  made  them 
first  in  "The  Attack" — toward  humanizing  his  characters. 
For  his  excellent  work  on  this  line  of  "humanization"  Bern- 
stein has  been  applauded  by  certain  French  critics  who  have 
hitherto  held  aloof.  His  big,  strong,  coarse  designs  in  previous 
work  could  only  satisfy,  these  critics  said,  the  outer  barbarians — 
that  is,  us!  And  it  is  a  fact  that  the  American  and  British  publics 
have  admired  this  author  for  the  theatrical  conflicts  he  devised 
which  were  developed  with  admirable  progression  and  big  effect. 
The  beings  who  were  caught  in  the  maelstrom  of  situation  were 
not  so  interesting,  really,  as  the  situations.  They  had  to  draw 
upon  their  full  energies  in  order  to  withstand  the  pressure  of 
destiny.  They  hadn't  time  nor  need,  since  the  events  proved  so 
enthralling,  to  characterize  themselves,  except  in  a  square-hewn 
way,  and  their  maker  never  left  them  a  quiet  moment  to  re- 
spond to  the  ordinary  rhythm  of  life. 

Tendencies  toward  more  careful  psychology,  noticeable  in  "The 
Attack,"  are  realized  in  "Le  Secret."  It  is  to  be  hoped  that  Bern 
stein  hasn't  neglected  technic  for  psychology,  for  the  former  is 
his  metier.  And  the  new  play  disarms  this  far  before  it  is  in 
the  field.  The  movement  of  "The  Secret"  is  as  vigorous  as  ever 
but  it  is  better  disciplined.  The  conflict  is  not  due  to  any  cause 
outside  of  the  personages — nature  or  their  characters  provide  it. 
As  I  have  already  said  there  is  nothing  exceptional  about  the 
story  and  nothing  actually  novel  in  the  way  it  is  told;  the  strength 
of  its  interest  depends  on  certain  psychological  conditions,  and 
relying  on  these  the  drama  acquires  a  rare  quality.  The  condi- 
tions at  moments  approach  moral  crisis,  and  the  people  who  battle 
under  them  do  so  with  intervening  periods  of  relaxation.  Thus 
the  piece  possesses  the  accent  and  allurement  of  life. 

This  happy  evolution  of  his  playwriting  talent  has  had  the 
richest  consequences  for  Bernstein.  It  has  afforded  him  time  to 
concentrate  his  whole  talent  on  characterization ;  it  has  given  him 
opportunity  to  study  his  people  and  to  show  in  full,  analytical 


White 


VIOLET  II  EM  INT, 
Recently  seen  in  "The  Deep  Purple" 


quality  that  few  gave  him  credit  for.  The  five  principals  of  his 
drama  have  each  a  particular  physiognomy.  They  are  veritable 
creatures  of  flesh,  blood  and  nerves.  The  three  men,  Constant 
Jeannelot,  Denis  LeGuenn,  and  Charlie  Ponta-Tulli,  are  in  vary- 
ing degrees  authentic  representatives  of  the  male  sex.  They  all 
belong  to  the  current  model.  Constant  is  a  sensible  fellow,  in- 
clined to  be  artistic  and  who  adores  his  wife.  He  sees  and  does 
his  duty,  is  straightforward  and  is  revolted  by  the  unworthiness 
and  infamy  of  his  wife.  He  is  contemptuous  of  the  misery  of 
LeGuenn,  but  feels  pity  for  him  and  is  openly  pitiful  to  LeGuenn's 
wife.  Charlie  Ponta-Tulli,  who  shares  the  "secret"  with  Mme. 
LeGuenn,  is  a  viveur  elegant;  appearances  are  against  him.  but 
he  is  really  a  sensible  and  generous  man.  Of  the  three,  however, 
Denis  LeGuenn  touches  us  most  deeply.  This  is  one  of  the  most 
complete  and  the  most  finely  shaded  roles  that  Bernstein  has 
written.  He  has  drawn  it  with  a  firm  hand  and  a  remarkable 
virtuosity.  The  first  scene  in  which  Denis  appears  reveals  him 
to  us  clearly.  His  conversations  with  Gabrielle  Jeannelot,  his 
hesitations  and  timidity,  unveil  for  us  a  charming  and  sincere 
man.  He  feels  that  Nature  has  been  a  little  unjust  to  him;  he 
is  undersized  not  prepossessing,  and  he  fears  that  women  will 
be  either  hostile  or  indifferent  toward  him.  In  order  to  have  all 
the  chances  in  his  favor  he  is  looking  forward  to  marriage  with 
a  young  girl  without  a  wide  acquaint?nce  who  will  not  be 
equipped  to  draw  comparisons  to  his  disadvantage.  And  chance 
ordains  that  he  shall  love  a  widow !  Denis  has  a  kind  of  "phobia" 
of  the  past.  His  is  a  case  of  jealousy,  at  once  retrospective  and 
anticipative.  Thus  he  is  as  much  frightened  as  joyful  when  he 


170 


THE      THEATRE     MAGAZINE 


marries  Henriette  Hoyleur.  As  soon  as  he  feels  that  Henriette 
returns  his  love  in  kind  he  eagerly  welcomes  the  future.  His 
jealousy  vanishes.  It  is  to  have  a  terrible  reawakening. 

While  remaining  natural  and  even  a  little  laughable,  LeGuenn 
is  a  tragic  figure,  and  he  isn't  the  only  one.  The  women  of  "The 
Secret"  occupy  the  first  place  in  the 
drama  after  all.  Henriette  is  assem- 
bled of  all  the  qualities,  strength 
and  weakness  of  a  daughter  of  Eve. 
She  thinks  that  happiness  is  due  her. 
and  when  it  comes  late  (for  her  first 
marriage  was  unhappy)  she  aban- 
dons herself  to  it  with  fervor  in  the 
hope  that  her  union  with  LeGuenn 
will  efface  her  painful  past.  Alas ! 
her  life  has  its  secret.  This  secret  is 
innocent  compared  to  Gabrielle's — 
who  deceives  us  during  the  first  act 
and  a  half — for  hidden  under  charm- 
ing manners  and  apparent  kindness 
Gabrielle  has  an  irresistible  instinct 
to  ruin  the  people  who  surround  her. 
She  accomplishes  this  with  a  duplic- 
ity, a  refinement  of  cruelty  quite 

devilish.  She  is  Henriette's  intimate,  receives  her  confidences 
and  betrays  them.  The  spectacle  of  her  friend's  happiness  with 
LeGuenn  inspires  in  Gabrielle  abominable  machinations,  the 
crowning  one  being  to  invite  to  the  home  of  her  aunt  at  the 
time  Henriette  and  her  husband  are  guests  there  the  man  for 
whom  Henriette  has  had  a  moment  of  weakness.  It  is  this  that 
results  in  the  catastrophe,  and  Bernstein's  play  reveals  a  double 
secret,  the  most  profound  being  the  Machiavellian  depths  of 
Gabrielle's  nature.  The  danger  of  this  revelation  is  that  it  might 
render  the  woman  completely  odious,  which  the  author  avoids 
by  following  nature.  The  drama  is  written  in  a  restrained  style, 
without  redundant  oratory  or  false  brilliancy.  M.  Garry  plays 
the  difficult  role  of  Ponta-Tulli,  carrying  it  with  an  extraordinary 
authority ;  yet  the  honors  of  the  piece  are  divided  between  Mile. 
Lely  (Henriette)  and  Mme.  Simone  (Gabrielle). 

"The  Mad  Week"  (comedy  in  four  acts  by 
Abel  Hermant)  belongs  more  strictly  to  the 
type  of  play  which  deserves  to  be  called 
Articles  de  Paris.  It  depends  more  on  the 
clever  dialogue,  risque  situation  and  decors 
than  this  latest  success  of  Bernstein's.  When 
you  add  that  the  author  is  one  who  has  never 
had  a  failure  in  this  genre,  and  that  the 
scenes  are  laid  in  Venice,  also  that  the  action 
pauses  while  two  of  the  principals  dance  the 
popular  tango,  it  is  possible  to  measure  its 
kind  of  success.  The  plot  of  "The  Mad 
Week"  is  exceedingly  slight.  Serge  Kamen- 
sky  (played  by  Andre  Boule)  has  abandoned 
his  wife,  Princess  Fedosia  (Mile.  Ventura), 
four  months  after  their  marriage.  The 
princess  rents  a  palace  in  Venice  and  goes 
to  live  there  with  two  of  her  compatriots, 
her  secretary,  Semenov,  and  her  musician, 
Arteniev,  who  are  interested  for  their  own 
ends  in  keeping  husband  and  wife  apart 
At  a  costume  ball  given  by  the  Duchess  of 
Ancenis,  Fedosia  encounters  her  husband. 
In  order  to  arouse  his  jealousy  she  starts  an 
intrigue  with  the  Marquis  de  Mauviere 
(Jacques  de  Feraudy)  and  ends  by  inviting 
him  to  go  home  with  her.  Kamensky  fol- 
lows them — jealous  despite  himself — and 
succeeds  by  his  taunts  in  goading  Fedosia  to 
elope  with  the  Marquis  to  the  neighboring 
island  of  Torcello.  Again  the  prince  follows 


Mystic   murmurs    from   the   depths   arise, 

Vague  as  sound  at  night  far  distant  cries 

Across  a  waste  held  hushed  by  shrouding  skies: — 

And  yet,  these   sounds   breathe  griefs   and  ecstasies. 

Dark,  gloomy  woods  with  silence  seem  to  weave 
Some  magic  spell.     Lost  from  the  world  of  strife, 
In  Nature's  realm,  a  girl  is  heard  to  weep. 

She  blindly  finds  a  love,  childlike,  naive, 
And  in  it  meets  with  death — death  strange  as  life. — 
Sounds    faintly   tremble, — then,    in    silence,    sleep. 

R.   W.   BRUNER. 

(By  taking  the  first  letter  of  the  first  line,  the  second 
letter  of  the  second  line,  the  third  letter  of  the  third 
line,  and  so  on,  the  name  Mary  Garden  will  be  formed.) 


Mishkin 

EVA 
Panseuse   seen    at   the 


them  (this  is  in  Act  III),  arriving  as  soon  as  they  do,  and  by  his 
entreaties  succeeds  in  persuading  Fedosia  to  dismiss  the  Marquis, 
while  they  weep  over  the  lost  happiness  and  inquire  if  they  wi!! 
ever  find  it  again.  In  Act  IV  they  do  find  it;  they  become 
reconciled,  but  the  Marquis,  irritated  by  the  Secretary,  Semenov, 

who  has  loaned  him  a  revolver,  con- 
fronts the  pair  and  fires  point-blank 
at  the  Prince.  This  nobleman  is  not 
killed;  he  pardons  the  Marquis, 
sends  Fedosa's  bad  advisers  back 
to  Russia,  and  the  final  curtain  falls 
with  Fedosia  in  her  husband's  arms 
and  the  pair  making  plans  to  enjoy 
together  the  remainder  of  the  Prin- 
cess' lease  of  the  old  Venetian  pal- 
ace. You  see,  it  required  considera- 
ble spice,  including  the  tango  dance, 
to  render  this  simple  fare  palatable 
to  the  Parisians. 

In  the  first  scene  between  husband 
and  wife  Fedosia  sees  Serge  run- 
ning away  from  her  at  the  Duchess' 
ball,  and  calls :  "Serge  !  Serge !  are 
you  running  away  from  me?" 

Kamensky:  Yes.  Discretion  is  my  single  virtue,  and  as  I 
can't  flatter  myself  that  it  pleases  you  to  see  me— 

Fedosia:  What  an  idea!  If  we  were  bourgeois,  we  wouldn't 
see  the  possibility  of  each  going  his  own  way.  But  we  live  at 
opposite  ends  of  the  world,  and  our  meetings  should  be  as 
precious  as  they  are  rare  .  Do  you  know,  Serge,  it  is  four  months 
and  four  days  since  you  bade  me — good-night?  Ah !  I've  counted 
them.  I  felt  a  veritable  joy  when  1  read  your  name  on  the  list 
of  the  Danieli.  At  that  very  moment  I  had  just  received  the 
Duchess'  invitation  at  the  palace,  Kamensky. 

Kamensky:  Only  an  hour  ago  I  heard  that  you  had  leased 
the  palace. 

Fedosia:  But  you  did  know  it!  And  as  soon  as  I  arrive  you 
flee  like  a  malefactor. 

Kamensky:     The  word   is  strong;   still,    I've  used   it   myself, 
and  let  us  admit  that  I  deserve  it. 

Fedosia:  Don't  exaggerate.  You  know 
me  little  if  you  think  I  would  try  to  make 
you  do  anything. 

Kamensky:  I've  been  spoiled,  I  admit, 
yet — when  I've  been  wrong  I'm  willing  to 
admit  it. 

Fedosia:     And  do  better? 

Kamensky:  Well,  I  don't  like  anybody  to 
tell  me  what  I'm  to  do. 

Fedosia:     Your  conscience  tells  you? 

Kamensky:  I  detest  scenes — and  if  I  flee 
— ignominiously,  it  is  because,  after  what  has 
passed  between  us,  it  wouldn't  be  in  a 
woman's  nature  to  spare  me  one.  If  you 
spare  me — I— 

(He  takes  his  ivife's  hand  and  kisses  it.) 

Fedosia :    Why  are  you  afraid  of  me  ? 

Kamensky :     Afraid  ? 

Fedosia :  Yes.  Fear  drove  you  away  from 
me.  You  were  always  afraid  of  me — like  our 
peasants  who  think  I  cast  spells.  Moitjik! 

Kamensky:     You're  dreaming! 

Fedosia :  You  were  afraid  at  the  very 
beginning,  when  you  felt  yourself  falling  in 
love.  Don't  deny  it — it's  your  best  excuse, 
your  only  excuse.  You  married  me  by  force 
— when  you  believed  that  I  disliked  you — 
out  of  revenge  you  soiled  what  ought  to  have 
been  sacred  between  us.  Another  woman, 
who  didn't  fear  big  words,  would  tell  you 

(Continued  on  page  vi) 


SWAIN 
Metropolitan   Opera   House 


ELSIE  FERGUSON  AND  DUSTIN  FAKNUM  IN  THE  REVIVAL  OF  "ARIZONA"  AT  THE    LYRIC 


Legitimate    Dramatic   Star 


By   PAULINE   FREDERICK 


PAULINE  FREDERICK 


IT  was  a  telephone  that  called  me  to  the  first  real  role  I  ever 
played.    Of  course  there  was  a  man  at  the  other  end  of  the 
wire,  but  just  the  same  it's  the  telephone  that  I  always  think 
of  as  having  given  me  my  first  real  start.    That  little  black  box  on 

the  wall  was  the  thing  that  lifted  me 
out  of  the  chorus.  Oh  yes,  I  was  a 
chorus  girl.  And  now  when  I  look 
back  I  wonder  what  would  have  hap- 
pened to  me  if  the  telephone  hadn't 
spoken.  Maybe  1  would  have  emerged 
from  the  chorus  cocoon  as  a  full- 
fledged  butterfly  of  musical  comedy. 
But  it  doesn't  seem  possible  that  with- 
out that  call  I  would  ever  have  had 
the  chance  to  play  anything  that  really 
counts. 

You  see,  it  happened  so  easily  and 
naturally  that  at  the  time  I  scarcely 
realized  what  it  meant.  I  had  joined  the 
Lew  Fields  company  that  was  playing 
"It  Happened  in  Nordland"  in  the  au- 
tumn of  1904.  I  had  just  a  few  words 
to  say,  and  they  didn't  amount  to  anything.  No  one  had  suggested 
my  being  an  understudy  for  anyone,  much  less  for  Blanche  Ring, 
who  was  starring  in  it,  but  I  had  paid  close  attention  to  her  part 
just  because  it  interested  me,  1  guess.  There's  always  the  feeling, 
too.  in  the  hearts  of  those  who  play  the  minor  parts  that  they  could 
do  so  much  better  than  the  star,  and  whether  you  study  it  or  not, 
constant  playing  and  rehearsals  with  the  big  people  make  you 
familiar  with  all  their  lines.  Then  one  night  the  telephone  rang. 
Yes,  Miss  Frederick  was  there.  Well,  Miss  Ring  was  ill.  Could 
Miss  Frederick  take  her  place?  Could  she?  It  was  my  first  big 
chance — and  I  haven't  gone  back  to  the  chorus  since. 

But  that  wasn't  the  actual  beginning  of  my  stage  work.  Til 
tell  you  now,  and  have  it  over  with,  that  I  was  born  in  Boston  in 
1884,  August  i2th,  to  be  exact.  I  was  just  the  average  girl, 
having  a  good  time,  and  even  following  the  usual  rule  of  girlhood 
in  holding  a  hope  that  some  day  I  might  "go  on  the  stage."  I 
found  it  at  the  Boston  Music  Hall  in  the  spring  of  1902,  when  a 
singing  act  there  needed  a  girl  in  a  hurry.  That  was  my  launch- 
ing. It  led  to  a  place  in  the  chorus  of  the  Rogers  Brothers' 
company,  and  later  to  a  similar  job  in  "The  Princess  of  Kensing- 
ton," which  was  James  T.  Powers'  play  and  which  landed  me  at 
the  Broadway  Theatre  in  New  York. 

Soon  after  this  I  had  landed  myself  with  the  Nordland  com- 
pany. Then  came  my  'phone  call  to  success,  and  when  the  com- 
pany went  on  tour  I  was  out  of  the  ranks  and  had  a  dressing 
room  of  my  own. 

They  say  the  first  step  up  the  ladder  is  always  the  hardest  and 
the  longest  to  complete.  But  I've  found  that  every  step  meant 
hard  work,  even  when  all  your  heart  is  in  it.  Maybe  that  is  the 
reason  though,  for  it's  the  same  in  any  kind  of  work  that  you 
want  to  succeed  in,  from  all  I  can  see.  If  you  want  to  lay  bricks 
well,  I  should  think  it  would  be  needful  to  buckle  right  down  to 
it.  But  if  you  are  interested,  the  hard  work  doesn't  seem  to  make 
much  difference.  You  see  what  I  mean,  don't  you  ? 

Channing  Pollack  offered  me  the  title  part  in  his  "The  Little 
Gray  Lady."  That  gave  me  just  the  chance  that  I  wanted,  and 
right  there  I  dropped  into  drama  for  good.  The  next  season, 
that  of  1906  and  1907,  I  played  in  "The  Girl  in  White,"  which 
never  did  get  into  New  York.  I  liked  it  just  the  same,  all  but  the 
travelling  for  there  had  been  plenty  of  that  in  my  chorus  days, 
weeks  and  weeks  on  end  of  one-night  stands.  That  fall  I  was 
leading  lady  for  Francis  Wilson  in  "When  Knights  Were  Bold." 
which  played  at  the  Garrick  Theatre  in  New  York  and  in  January 
of  1908  I  was  in  "Twenty  Days  in  the  Shade."  Later  there  came 
"Samson,"  with  William  Gillette,  and  "The  Fourth  Estate." 
Then  I  was  married.  That  sounds  awfully  final,  for  some 


reason,  but  it  really  isn't.  It  marked  the  interruption  of  my  work, 
though,  and  gave  me  a  chance  to  look  back  over  what  I  had  done. 
Did  you  ever  try  such  retrospection,  try  to  catalogue  and  arrange 
in  neat  little  piles  all  the  people  who  have  been  of  actual  help  to 
you  in  gaining  what  you  wanted,  all  the  opportunities  that  meant 
going  ahead  ?  It's  lots  of  fun  and  it's  a  great  help  in  balancing 
your  mental  books  to  see  just  where  you  stand.  I  can  honestly 
say  that  it  was  not  only  the  big  shining  lights  that  aided  me,  but 
the  smaller  twinkles  as  well,  people  who  didn't  have  very  im- 
portant parts,  but  who  played  what  they  did  have  with  just  as 
much  earnestness  as  though  the  success  of  the  whole  production 
depended  upon  them. 

There  are  one  or  two  big  debts  that  I  owe.  One  is  to  Edward 
Eisner,  who  stages  the  productions  for  William  A.  Brady,  and 
who  has  coached  me  many  times.  He  has  taught  me  how  to  put 
more  actual  humanity  into  my  acting  than  I  ever  thought  it  was 
possible  to  handle  and  at  the  same  time  please  an  audience.  That 
may  sound  unusual  to  the  layman,  but  stop  to  consider  it  for  a 
moment.  Suppose  you  went  to  the  theatre  and  saw  the  people 
on  the  stage  going  through  scenes  that  are  the  counterpart  of 
things  that  you  can  see  in  any  household  almost  any  day  of  the 
week.  I  don't  think  you  would  go  more  than  once,  for  it  isn't 
human  nature  to  pay  for  things  that  are  usual  and  familiar.  Of 
course,  there  are  situations  in  real  life  that  have  the  greatest 
dramatic  possibilities,  but  they  are  not  crowded  into  a  short  space 
of  time  as  a  usual  thing.  That  is  what  makes  it  so  necessary  to 
exaggerate  every  emotion,  every  phase  of  life  in  the  world  behind 
the  curtain.  But  it  can  be  leavened  with  a  distinct  touch  of 
humanity,  it  must  be  to  make  acting  convincing,  and  the  propor- 
tion of  that  touch  is  the  thing  that  is  the  hardest  to  attain.  Mr. 
Eisner  opened  my  eyes  to  the  possibilities  of  making  my  char- 
acters real  people  and  not  feverish,  unnatural  beings. 

He  was  not  the  only  one,  though.  When  I  was  working  with 
William  Gillette  and  with  Francis  Wilson,  too,  I  gained  more 
knowledge  of  this  all-important  factor,  and  now  since  my  return 
to  the  stage  there  have  been  others,  both  great  and  small,  who 
have  been  equally  helpful.  It  seems  to  me  that  it  is  the  same  in 
any  of  the  fine  arts — and  surely  acting  can  be  classed  with  those. 
In  music,  painting  or  sculpture,  it  is  always  possible  to  learn 
something  new.  The  study  never  ends,  and  I  have  found  that  it 
is  exactly  the  same  with  the  stage,  that  is,  in  the  purely  dramatic 
roles. 

There  were  three  years  that  I  never  saw  a  footlight  except  from 
in  front,  for  my  husband  was  averse  to  my  working.  During  that 
time  we  travelled  abroad  a  great  deal,  mostly  in  Switzerland  and 
France.  I  have  always  liked  the  out-of-doors,  and  when  we  were 
in  the  Alps  I  did  lots  of  walking.  There  was  a  reason,  too  be- 
sides just  liking  it.  Don't  tell  anyone,  but  I  did  it  to  keep  thin. 
I,  the  girl  whom  a  critic  once  said  was  nothing  but  a  "stick  to 
hang  clothes  on.''  I  met  him  the  other  day,  by  the  way,  and  re- 
minded him  of  what  he  had  said.  He  denied  it,  but  I  offered  to 
get  down  my  scrapbook  and  show  him,  so  he  begged  pardon  very 
prettily.  I  think  that  while  we  were  in  Paris  I  added  a  great 
store  to  my  knowledge  of  acting.  You  see,  I  was  still  hoping  to 
get  back  to  the  stage  some  day,  and  naturally  I  looked  on  every- 
thing in  the  theatre  with  an  eye  to  gaining  help  from  it.  Oh, 
those  French  theatres !  Oh,  those  audiences !  Both  of  them  so 
different  from  what  I  had  learned  to  play  in  and  play  to  in 
America.  Can  you  imagine  an  American  audience  remaining  at- 
tentive while  an  actor  seated  in  a  big  chair  with  his  back  to  the 
audience  and  practically  concealed  from  them  except  for  an  occa- 
sional gesture,  went  through  a  long  speech  ?  And  can  you  think 
of  an  American  actor  who  would  be  willing  to  do  such  a  thing' 
And  yet  I  saw  such  situations  over  and  over  again,  not  only  in 
Paris,  but  in  other  big  cities,  Berlin  and  London. 

They  surely  have  the  secret  of  holding  their  hearers  over  there, 
but  then  too,  there  is  something  radically  different  in  the  psy- 
chology of  a  European  audience.  The  best  proof  of  that  is  the 


.- . . 


( 'opyright  Sarony 


PAULINE   FREDERICK 
tly   seen  as  Zuleika  in  Louis  N.   Parker's  play,   "Joseph  and   His   Brethren" 


,:j 


174 


THE      THEATRE     MAGAZINE 


WILTON    LACKAYE 
Seen   as  John    Brand    in    "Fine    Feathers" 


White 


VALLI   VALLI 
Appearing   in   "The    Purple   Road"   at   the   Liberty 


Moffett 


CHARLES    CHERRY 
Played  Elliott   Grey  in  "Rosedale" 


fact  that  foreign  companies  that  come  to  the  United  States  rarely 
meet  with  success.  It  isn't  because  they  speak  a  language  that 
is  incomprehensive  to  the  majority  of  the  theatregoers.  Words 
aren't  always  necessary.  It's  the  acting,  the  movement,  and  the 
spell  of  actuality  that  can  be  cast  by  the  copying  of  human  traits 
that  everyone  recognizes  as  natural.  Think  of  -"Sumurun"  for 
instance ;  not  a  word  spoken  throughout,  yet  the  house  was 
packed  every  night. 

The  French  have  raised  the  art  of  listening  and  appreciating 
in  the  theatre  to  a  high  plane.  It  is  the  same  although  in  a  less 
degree  wherever  you  go  on  the  Continent  or  in  England.  But 
over  here — well,  the  only  reason  for  a  difference  that  I  can  see 
is  that  the  American  audience  comes  with  its  mind  made  up  to 
be  amused,  to  get  a  laugh  or  a  thrill  out  of  everything.  If  the 
thrill  is  lacking,  they  insist  on  laughing.  Foreigners  seem 
to  go  to  the  theatre  in  anticipation  of  hearing  well-written 
lines  well  spoken  and  they  appreciate  the  beauties  of  the  text. 

Once  in  a  while  I  have  found 
American  theatregoers  in  exactly 
the  right  mood  to  receive  the  lines 
as  they  were  written.  But  often 
the  crowd  will  show  a  weird  sense 
of  humor  and  will  laugh  at  all  the 
wrong  places.  And  oh  how  hard 
it  is  then !  For  instance,  the  other 
night  in  "Joseph  and  His  Brethren" 
we  had  an  audience  of  just  that 
sort.  There  is  one  line,  of  little  im- 
portance and  certainly  not  written 
to  bring  a  laugh,  where  one  of  the 
slave  girls  says,  "He  touched  my 
hand."  Now  what  is  there  funny 
in  that?  Yet  the  audience  giggled, 
then  laughed  outright.  That  gave 
me  my  cue  as  to  what  the  viewpoint 
of  our  hearers  was,  and  right  away 
I  had  to  revise  my  manner  of  play- 
ing to  suit  it. 

That  came  just  before  the  scene 
in  Zuleika's  chamber.  It  is  then 
that  she  tempts  Joseph  to  break  his 
promise  to  faithfully  guard  all  the  household  of  Potiphar,  and 
when  he  resists  her  lure  and  leaves  her,  she  rages  wildly.  It  is 
a  strongly  emotional  scene,  but  that  night  1  realized  that  the 
audience  would  not  have  appreciated  the  deeper  things  that  are 
possible  in  the  role.  They  would  have  laughed  at  the  woman's 


White 


MIZZI 
Recently   seen   in 


frenzy.  Therefore  I  toned  it  down,  softened  all  the  high  lights 
of  passion  and  anger.  There  were  no  laughs  from  out  in  front. 
On  other  occasions,  when  total  sympathy  exists  between  the 
stage  and  the  house,  I  give  all  my  power  to  the  scene.  The 
opportunity  to  feel  that  the,  character  is  thoroughly  understood 
and  appreciated  is  rare,  but* -when  it  comes  I  am  always  grateful. 
I  have  usually  been  able  to  gauge  the  temper  of  an  audience 
from  the  expression  of  just  one  person  sitting  well  clown  in  front 
and  have  made  it  a  point  to  play  to  his  or  her  liking.  It's  differ- 
ent at  the  Century  Theatre,  though,  for  that  has  such  a  big  stage 
and  the  lights  are  so  brilliant  that  we  can't  tell  whether  we  are 
playing  to  an  empty  house  or  a  full  one  until  the  first  applause 
comes.  It  makes  it  a  great  deal  harder  but  it's  good  experience. 
Last  surhiner  I  had  an  offer  to  join.  Mine.  Simone  in  ''The 
Paper  Chase,"  and  that  marked  my  coming  back  to  the  stage, 
for  my  husband  gave  his  consent.  How  odd  it  was,  too,  to  get 
back  to  the  old  atmosphere.  I  might  almost  have  been  a  novice 

at  the  business,  so  strange  and  out 
of  place  I  felt  for  a  little  while. 
But  Mme.  Simone  is  a  wonderful 
woman  to  work  with  and  I  enjoyed 
every  minute  of  the  time  we  were 
together.  Then  Louis  Parker 
wrote  to  tell  me  he  wanted  me  to 
play  Zuleika  in  "Joseph  and  His 
Brethren."  The  part  appealed  to 
me  and  I  accepted. 

To  my  mind,  it  is  absolutely  the 
greatest  role  I  have  ever  played, 
and  so  interesting  too.  It  all  had 
to  be  built  up,  for  unlike  the  other 
leading  characters  in  the  play,  Zu- 
leika doesn't  get  much  mention  in 
the  Bible  except  as  Mrs.  Potiphar 
and  is  rapidly  passed  over  then. 
But  I  love  to  play  her.  She's  not 
a  particularly  nice  lady  herself,  but 
what  a  chance  she  provides  for 
forceful  acting.  It  isn't  easy  by 
any  means.  Every  time  I  finish  my 
longest  emotional  speech,  I  am 
completely  worn  out.  I  just  have  to  throw  myself  into  the  part, 
really  be  Zuleika  in  thought  as  well  as  action.  Maybe  you  can 
imagine  what  a  real  strain  it  is. 

The  preparation  for  the  part  even  before  we  went  to  rehearsal 
was  fascinating  too.     It  led  me  (Continued  on  page  vii) 


HAJOS 
"The   Spring   Maid" 


ay  Irwin  on 


NEVER   mind    when — but   I 
believe  I  will  out  and  over 
with    it:    seventeen    years 
ago,  a  newspaper  woman  perpetrated  her  first  interview.      The 
victim  was  a  newly-risen  star,  the  place  the  Baldwin  Theatre. 
The  actress  was   to  shine   for  San   Francisco  the   next  night. 
Meanwhile,    from   a   box,   she  with   keen   enjoyment   "watched 
someone  else  work." 

A  plain,  frightened  young  person  sent  in  her  card  between 
acts,  was  admitted  to  the  theatre,  and  the  actress  left  her  box 
party  and  sitting  cosily  down  on  a  step  leading  from  it,  carried 
on  a  monologue.     The  monologue 
was  necessary,  for  the  newspaper 
woman,   awed   and   tongue-tied, 
gazed  at  her   in  absolute  silence. 

She  had  never  before  met  an 
actress  and  this  radiant  blonde  in 
pale-blue  silk,  diamonds  shining 
from  her  fair  hair  and  her  round 
white  neck,  cast  her  into  an  abyss 
of  muteness.  The  actress  chatted 
of  her  journey  across  the  sun- 
baked Southlands.  "While  we 
were  crossing  Texas  a  cowboy 
came  into  the  car  and  we  waltzed 
down  the  aisle  while  someone 
whistled,"  she  said  with  a  side 
glance  of  merry  eyes. 

May  Irwin  and  I  have  recalled 
that  meeting  often  in  the  interven- 
ing years. 

"You  adapted  your  conversation 
to  my  capacity,"  I  remarked.  She 
chuckles  with  a  reminiscent  little 
wag  of  her  head. 

"I  found  my  voice  when  I  was 
leaving  and  asked  you  how  you 
liked  being  a  leading  woman  for 
the  first  time.  I  didn't  know  the 
difference  between  a  leading  lady 
and  a  star,"  says  I,  and  Miss  Irwin 
confines  herself  to  the  noncommit- 
tal chuckle. 

Since  that  time  I've  seen  her  on 
many  stages  in  many  plays  in  many 
cities,  most  often  in  New  York. 
I've  seen  her  in  her  own  town 
house  in  Sixty-eighth  Street,  New 
York,  have  seen  her  in  a  simple 
apartment  uptown,  which  she  had 
taken  because  a  tenant  persisted  in 
remaining  in  the  town  house  and 
she  would  not  forego  the  joys  of 
housekeeping  even  though  in  a 
plain  "furnished  flat."  I've  seen 
her  in  her  castle-like  home  on  her 
own  sixteen-acre  island  in  the  St.  Lawrence  River,  seen  her  en- 
livening a  luncheon  by  her  wit,  seen  her  convert  a  Supreme 
Court  justice  to  equal  suffrage,  seen  her  talk  with  mist-enveiling 
eyes,  that  are  at  one  time  round  and  childlike,  at  others  shrewd, 
the  eyes  of  a  world-taught  woman.  I've  seen  her  widowed  and 
seen  her  happily  remarried.  And  in  all  these  phases  the  same 
underlying  attitude  toward  life  persists. 

Twice  last  season  I  saw  her  rolling  out  and  patting  and  toss- 
ing her  audience  in  "A  Widow  by  Proxy"  as  she  does  her  pat- 
ties for  luncheon  in  her  Irwin  Castle.  Her  way  has  always  been 
successward.  At  the  pinnacle  of  her  success,  she  gratefully 
recognizes  the  fact  of  that  success. 

"I  never  saw  you  so  happy,"  I  said,  in  her  dressing-room,  after 
she  had  shown  me  a  photograph  of  a  fat  baby  laughing  up- 
roariously in  its  bath — a  pictured  baby  that  she  had  acquired  by 
purchase  and  annexation.  "I  went  to  the  baby's  parents  and 


Harris  and  Ewing 


MAY    IRWIN 


lP>*"kw%tmll«        °A  t£)W    thcm    l    JUSt   mUSt   have    that 

JTOplUllianiLy     picture,"  she  said,  "and  1  got  it." 

And  with  a  smile  of  content  she 
placed  the  joy-centre  back  on  her  dressing-table. 

"I  am  happy,"  she  said.  "Think  of  my  coming  back  here  and 
being  almost  taken  in  their  arms  and  kissed  by  the  critics.  God 
bless  'em!  God  bless  everybody."  The  eyes  that  had  been 
round  narrowed  to  a  businesslike  shrewdness.  "And  I've  been 
coming  back  heVe  for  seventeen  years.  You  know  that.  There 
are  other  and  younger  ones  coming  up." 

"How    do    you   account    for   your    popularity?     Analyze    it, 

please,"  I  begged. 

"Gracious!  Can  I,  I  wonder? 
Well,  for  one  thing,  I  think  it's 
because  I'm  honest  with  my  au- 
diences. I  never  fool  them.  When 
my  play  goes  on  the  road  I  go 
with  it.  The  public  has  learned 
that  I  will  be  there  with  every 
ounce  of  entertainment  I  can 
give  it. 

"I  respect  my  public.  You've 
never  seen  me,  nor  heard  me, 
criticise  its  taste,  have  you?  No 
one  else  has.  It  knows  what  it 
wants.  It's  wise  and  knows  what 
I  can  give  it  better  than  I  know 
myself.  I've  had  my  yearnings  for 
the  serious.  Indeed,  I  have.  But 
the  public  has  treated  me  as 
Augustin  Daly  did  when  I  went  to 
him  with  youthful  assurance  and 
told  him  I  was  grieved,  yes  deeply, 
because  I  had  not  been  cast  for  a 
romantic  part  in  an  old  drama. 
He  looked  at  me  with  a  twinkle  in 
his  eye,  though  trying  to  look 
stern,  and  said :  'You  were  born 
for  comedy,  and  modern  comedy. 
I  won't  interfere  with  your  birth- 
right.' The  public  knows  what  it 
wants  and  it's  generally  right. 

"The  praise  I've  been  getting 
this  season — and  that  makes  me  as 
happy  as  that  uproarious  youngster 
there  in  the  bathtub — I've  earned 
by  always  giving  the  best  I  had.  I 
save  all  my  energy  for  my  au- 
diences. I  never  go  about  while 
I'm  playing.  Invitations  are  de- 
clined before  half  read.  I  never 
see  my  friends  while  I'm  playing. 
I  never  walk  while  I'm  playing, 
lest  it  tire  me.  I  drive  once  a  day 
for  the  air.  I  always  decline  to 
play  at  benefits,  except  the  benefit 
for  the  Actors'  Fund.  I  never  see  a  living  soul — and  I  wouldn't 
be  at  home  to  a  dead  one — between  four  and  five  o'clock  every 
day.  That's  my  hour  of  preparation  by  resting.  It's  a  part  of 
the  night's  performance.  I  owe  it  to  my  public. 

"Maybe  we  can  come  close  to  guessing  the  riddle  when  I  re- 
mind  you   that  you've   never   seen   me   play   in   anything   risky. 
Neither  has  anyone  else.     The  large  majority  of  American  au- 
diences are  clean  of  life  and  thought  and  they  want  to  see  clean 
entertainment.     Something  audacious  may  catch  the  fancy  for  a 
short  time,  but  it's  like  spice.    They  come  back  to  the  bread  and 
meat.    I  think  we've  found  the  answer,  it's  wholesomeness." 
"And  what  of  the  reason  for  the  failure  of  others?" 
I  mentioned  a  star  that  had  risen  and  set  during  May  Irwin's 
seventeen  years  of  shining. 

"That  is  plain  enough."  she  answered.  "She  allowed  herself 
to  become  a  bundle  of  affections  and  insincerity."  A.  P. 


T 


e 


s    of    the 


v  a  e  s 


PROBABLY  no  other  actress  in  the  history  of  the  stage, 
past  or  present,  has  had  such  a  following  as  "Little  Mary" 
Pickford,  who  used  to  be  the  "Queen  of  the  Movies"  and 
known  to  millions  of  "movie"  fans  all  over  the  land  as  the  Maude 
Adams  of  the  film  plays !    Certainly  no  living  actress,  not  except- 
ing even  the  divine  Sarah,  has  appeared  before  so  many  people 
and  in  so  many  roles,  and  she  a  girl  of  nineteen ! 

Mary  Pickford  has  a  past  that  reads  as  much  like  a  fairy  tale 
as  the  play  in  which  she  has  been  delighting  enthusiastic  audiences 
in  the  Republic  The- 
atre this  season,  "A 
Good  Little  Devil." 
Like  the  title  charac- 
ter in  the  play  she, 
too,  figurative- 
ly speaking,  came 
from  an  attic.  Only 
the  rats  she  knew 
were  not  friendly 
singing  mice  like 
those  in  the  play. 
They  were  the  grim 
realities  that  gnaw 
away  many  a  grown- 
up heart — those  life 
rats  of  poverty  and 
cold. 

Born  in  Toronto, 
April  8,  1894,  her 
father  died  when  she 
was  four,  and,  being 
the  eldest  of  three 
children,  Mary  be- 
came the  father  of 
the  family,  a  life  role 
she  has  played  ever 
since.  With  room  rent 
and  hunger  staring 
t  h  e  little  family — 
there  was  mother  and 
Lottie  and  Jack,  be- 
sides Mary — in  the 
face,  it  was  up  to 
Mary  to  keep  the 
wolf  from  the  door 
Her  mother  took  her 
down  to  a  theatre  in 
Toronto,  and  the 
manager  looked  at 
Mary,  and  stroking 
her  beautiful  golden 
locks  said,  "I  think 
she  can  play  the  part." 

"I    knozv    I    can !" 
spoke  up  Mary,   and 
all  that  night  she  sat 
up,  without  even  eat- 
ing any  dinner  and  memorized  her  role.     The  part  was  a  little 
toddler  in  "Booties'  Baby."     This  was  followed  by  other  child 
parts.    Once  she  played  Little  Eva  in  "Uncle  Tom's  Cabin,"  and 
later  Willie  in  "East  Lynne." 

"There  isn't  one  of  the  good  old  melodramas  that  I  didn't  work 
in,  from  'The  Fatal  Wedding'  on  up,"  Miss  Pickford  said,  when 
telling  about  those  "early"  days.  "All  four  of  us— mother,  Lottie, 
Jack  and  I — had  parts  in  'The  Fatal  Wedding.'  Mine  was  the 
most  important.  I  played  the  little  mother,  and  however  much 
the  others  in  the  company  took  the  audiences  out  in  front  as  a 
joke,  I  never  felt  for  one  moment  that  the  play  wasn't  thrilling 
and  a  most  tremendously  important  drama.  In  those  days  I  took 


Photo  Marceau 

LITTLE    MARY    PICKFORD   AS    BETTY 


the  drama  very  seriously.  I  brought  a  great  deal  of  study  and 
work  to  every  part  assigned  me,  and  I  felt  always  that  I  was  the 
star  of  the  show,  no  matter  how  small  my  part  was.  This  life 
kept  up  year  after  year,  with  much  of  the  time  spent  on  the  road. 
I'm  a  graduate  of  the  Tank  Town  School  of  Experience,  even 
though  I  am  young.  In  nineteen  weeks  at  a  stretch  I've  known 
what  it  was  to  play  a  new  town  every  night.  I'll  never  forget 
'The  Soudan,'  a  melodrama  that  was  a  big  success  in  those  days. 
I  was  Dick,  the  Waif.  It  was  a  great  part,  and  the  day  the  piece 

was  put  on  I  broke 
^m  out  witn  tne  chicken- 
pox  and  the  measles. 
I  had  worked  for 
weeks,  only  to  have 
my  cherished  dream 
snatched  away.  I  re- 
fused to  give  up  play- 
ing the  part,  although 
the  doctor  said  I'd 
have  to.  But  I  wasn't 
going  to  let  a  little 
combination  like 
c  h  i  ck  e  n-p  o  x  and 
measles  interrupt  my 
stage  career.  I  knew 
Dick,  the  Waif,  was  a 
great  part  and  I  was 
determined  to  play  it 
if  I  died.  They 
couldn't  stop  me.  My 
mother  tried  to  and 
sent  for  the  doctor 
again.  When  he  saw 
me  lying  on  the  dress- 
ing room  floor,  kick- 
ing and  screaming  at 
the.  thought  of  my 
part  being  taken  from 
me,  he  advised  them 
by  all  means  to  let  me 
go  on,  and  I  did." 

"Little  Mary" 
played  in  stock  com- 
panies and  on  the 
road  in  plays  like  this 
until  she  was  twelve. 
Then  she  made  up 
her  mind  to  be  "a  real 
actress  with  a  real 
manager."  She  was 
back  in  New  York  at 
the  time,  for  it  was  a 
dull  season,  and  she 
was  trying  to  get 
something  for  the 
summer. 

"I  decided  to  write 

to  all  the  stars  whose  names  I  had  heard.  This  done,  I  concluded 
that  the  next  best  thing  would  be  to  follow  up  my  letters  with 
calls  on  them.  Miss  Blanche  Bates  was  in  Brooklyn  at  the  time, 
playing  in  'The  Girl  of  the  Golden  West.'  I  went  to  the  theatre, 
and  Miss  Bates'  colored  maid,  Hettie,  told  me  that  I  couldn't 
see  Miss  Bates  then,  because  she  was  on  the  stage  in  her  big 
scene,  but  she  told  me  to  wait.  After  awhile  I  heard  the  actress, 
who  had  returned  to  her  dressing  room,  say : 

"'But,  Hettie,  I  can't  see  the  child.'  Then  the  good-hearted 
colored  maid  remonstrated.  She  told  the  actress  I  wanted  her 
to  help  me  see  Mr.  Belasco.  'But  I  can't  send  her  to  bother  Mr. 
Belasco,'  Miss  Bates  said.  Then  I  heard  Hettie  pleading  for  me. 


IN    "THE    WARRENS    OF    VIRGINIA" 


THE      THEATRE     MAGAZINE 


-Mary   Pickford  in  the  film  play,  "The  Mender  of   Nets" 

and  1  feel  it  is  to  this  colored  maid  that  I 
owe  much  for  what  little  success  has  come 
to  me  since  then. 

'  'Mis'  Bates',  she  said,  'ah  ain't  neffer 
axed  you 'ah  er  favor,  but  ah  does  plead 
with  you'ah  ter  see  dis  h'eah  HI'  blond 
girl !  She  wants  ter  go  on  de  stage,  an' 
all  she  axes  is  fer  you'ah  to  he'p  her  sees 
Mistah  Belasco.' 

'  'That's  true,  Hettie,'  said  Miss  Bates, 
'this  is  the  first  favor  you  have  ever  asked 
me.  Well,  you  tell  her  to  go  to  the  thea- 
tre in  the  morning  and  to  ask  for  Mr. 
Dean  and  tell  him  that  I  sent  her  to  see  if 
he  had  anything  she  could  do.' 

"Early   the   next    morning,"    continued 
-Miss  Pickford,  "I  was  at  the  theatre.    An 
important  boy  met  me  at  the  door,   and 
instead  of  asking  for  Mr.  Dean  I  blurted 
out  that   I   wanted   to   see   Mr.   Belasco. 
Mr.  Dean,  hearing  me  argue  with  the  boy 
that  I  must  see  Mr.  Belasco,  came  to  see 
who  it  was,  and  he  asked  me  to  come  in. 
H'e  heard  what  I  wanted  to  do  and  prom- 
ised that  I  should  see  Mr.  Belasco.     He 
told  me  to  come  back  that  night  after  the 
performance.     I  went   and,  of  course,  they  had  for- 
gotten about  it,  for  I  couldn't  find  them.     Then  T 
went  back  the  next  morning  and  he  apologized  for 
forgetting  and  told  me  to  come  back  on  Thursday. 
They  thought  1   was  just  a  little  stage-struck  girl. 
But  I  think  my  faith  in  them  must  have  had  its 
effect.    For  finally,  after  many  trips,  morning,  noon 
and  night — I  never  grew  discouraged  and  never  for 
one  moment  doubted  that  they  would  keep  the  next 
appointment  with  me — I  saw  Mr.  Belasco. 

"It  was  after  the  performance  one  night.  I  stood 
in  the  lobby  and  he  came  toward  me.  I  saw  him 
then  as  only  two  eyes — two  enormous  eyes.  The 
rest  of  the  world  was  only  a  blur.  I  saw  only  those 
two  deep  pools  of  light  looking  down  at  me,  and  I 
don't  know  what  I  said  to  him. 

"Anyway,  he  told  me  to  go  off  and  learn  a  little 
verse  and  come  back  on  a  certain  night  and  recite 
it  to  him.  Then  came  my  trouble.  Of  all  the 
verses  in  the  world  there  was  not  one  for  me. 
Finally  T  decided  to  read  some  lines  of  Patsy  Poor 


;ood    Little    Pevil" 


'77 

in  'Human  Life.'  l!ut  after  I  was  ready  to  read 
them  the  difficulty  was  the  same  as  before.  .Mr. 
lielasco  was  the  busiest  man  in  the  world.  So  was 
Air.  Dean.  1  was  always  told  that  to-morrow,  may- 
be, Mr.  lielasco  would  haw  time  to  listen  to  me. 

"At  last  my  persistence  won  out  again.  It  was 
after  a  performance  of  'The  Rose  of  the  Kancho.' 
-Mr.  Jielasi-o.  after  everybody  barl  {{one,  told  Mr. 
I  Jean  to  turn  on  the  lights  and  have  me  take  the 
stage.  There  the  two  of  them  sat,  in  that  great  empty 
house,  with  every  pitiless  light  burning  down  on  me, 
and  I  on  the  stage  trying  to  say  my  speech. 

"As  soon  as  I  got  up  before  them  I  felt  how  false 
those  lines  were— how  theatrical.  1  had  to  plead 
with  a  chair  not  to  have  me  arrested,  explaining  that 
I  had  stolen  the  bread  to  feed  my  mother,  who  was 
starving.  These  were  some  of  Patsy  Poor's  lines 
in  my  star  melodrama. 

"I  must  have  put  some  feeling  into 
them,  for  my  mother  was  outside  waiting 
for  me,  and  everything  depended  on  my 
getting  an  engagement  with  .Mr.  Belasco 
None  of  us  had  been  working  for  two 
months,  and  money  was  even  lower  than 
usual. 

"Well,  after  I  had  said  my  speech,  Mr. 
Helasco  came  up  and  put  his  hand  on  my 
head.  'So  you  want  to  be  an  actress?' 
he  said.  'I'm  already  an  actress,'  I  told 
him,  'but  I  want  to  be  a  good  actress!' 

"I  got  my  engagement,  and  was  given 
the  part  of  Betty  in  'The  Warrens  of 
Virginia.'  The  curious  part  of  this  was 
that  I  had  been  saying  all  the  year  before 
that  1  was  going  to  give  up  melodrama  to 
work  for  .Mr.  Belasco.  I  hadn't  an  idea  at 
that  time  that  my  childish  dream  would 
come  true.1' 

Asked  if  all  had  been  easy  since  then, 
the  little  star  replied: 

"Indeed,  no.  I  was  only  a  little  girl  in 
The  Warrens  of  Virginia,'  and  when  that 
piece  closed  Mr.  Belasco  had  nothing  else 
to  give  me.  It  was  hard,  then,  but  I  had 
saved  a  little  money.  Still,  there  was 
mother  and  Lottie  and  Jack  and  I  to  live 
on  it.  When  we  got  our  spring  clothes 
we  had  very  little  left. 


"Little  Mary"  Pickford  in  a  scene  from  "A  Lodging  for  a  Night,"  a  Mexican  film  play 


178 


THE     THEATRE     MAGAZINE 


"I  shall  never  forget  the  little 
blue  serge  suit  and  the  hat  I  got  out 
of  the  money  1  saved.  And  the  first 
extravagance  of  my  life  came  along 
with  it.  This  was  a  pair  of  silk 
stockings !  I  went  to  an  Easter  ser- 
mon, but  the  silk  stockings  kept  my 
mind  off  what  the  preacher  was 
saying." 

It  was  then  that  Mary  Pickford 
turned  to  the  movies  after  being 
turned  down  everywhere  else.  She 
heard  of  the  Biograph,  down  in 
Fourteenth  Street,  and  she  went 
there  and  saw  Mr.  Griffith.  "You 
know,"  Miss  Pickford  told  me, 
"Mr.  Griffith  is  the  Belasco  of  the 
moving  picture  world!" 

Miss  Pickford  worked  before  the 
camera  that  day  and  at  night  re- 
ceived five  dollars,  but  she  made  up 
her  mind  not  to  go  back  again, 
much  as  she  needed  the  money. 
But  on  her  way  home  she  got  her 
dress,  hat  and  shoes  soaked  in  the 
pouring  rain. 

"With  all  my  good  clothes  ruined, 
you  see  I  couldn't  give  up  a  five- 
dollar-a-day  job,  so  I  did  go  back. 
Mr.  Griffith  called  me  into  his  office 
and  told  me  that  he  would  not  in- 
sult a  little  Belasco  actress  by  offer- 
ing her  such  a  sum  as  five  dollars ! 
I  felt  a  cold  chill  go  up  my  back. 
1  thought  I  had  lost  my  job.  Then 
he  said  that  the  films  from  the  day 
before  had  turned  out  so  well  he  would  give 
day.  Sixty  dollars  a  week ! 

"That's  when  mother  and  Lottie  and  Jack  and  I  began  to  live," 
cried  Mary  Pickford.  "That's  the  first  time  in  my  life  that  I  felt 
I  could  afford  a  washerwoman !" 

Good  salaries  for  acting  before  the  camera  began  with  Mary 
Pickford.  No  less  than  $300  a  week  has  always  been  at  her 
command  in  the  movies,  and  this  amount  advanced  to  $500  when 
she  announced  her  intention  of  getting  out  of  focus  in  order  to 
play  the  little  blind  girl,  Juliet,  in  "A  Good  Little  Devil"  under 
David  Belasco's  management. 

While  the  leading  lady  with  the  American  Biograph  Company 
in  most  of  its  ambitious  productions,  Miss 
Pickford  was  the  heroine  of  a  thousand 
dramatic  episodes.  In  certain  of  the  most 
popular  of  these  screen  plays  this  young 
woman,  in  all  her  beauty  and  charm  and 
exceptional  art  of  pantomime,  has  been  ob- 
served simultaneously  by  more  than  a  mil- 
lion people  in  theatres  scattered  from  coast 
to  coast.  What  an  audience — all  bewitched 
with  her  beautiful  face  and  winning  per- 
sonality ! 

"I  never  played  an  adult  part  until  I  went 
with  Mr.  Griffith,"  she  told  me.  "You  may 
laugh,  but  I  actually  didn't  know  how  to 
make  stage  love.  Mr.  Griffith  taught  me 
the  art  in  'The  Violin  Maker  of  Cremona,' 
in  which  I  had  the  first  serious  emotional 
role  of  my  career." 

Not  only  did  Mary  Pickford  act  before 
the  camera  while  she  was  the  "$i  0,000 
Movie  Actress,"  she  got  to  writing  sce- 
narios— film  plays — herself.  Altogether, 


Kaniwara  MARJORIE 

In  "Cupid's  Darts," 


HELEN  WOLFF 


dance  arranged  by  Jacob  Mahler  and  dedicated 
to   Mikail    Mordkin 


she  wrote  twenty-nine,  all  but  four 
of  which  have  been  produced. 
These  she  wrote  between  the  acts, 
as  it  were — that  is,  while  travelling 
to  the  Coast  or  to  some  faraway 
island  where  a  new  film  drama  was 
to  be  staged. 

Well,  the  originator  of  "Goldy 
Locks"  was  too  busy  for  anything 
else  except  to  beautify  the  screen 
when  David  Belasco  was  preparing 
to  produce  "A  Good  Little  Devil," 
and  was  searching  for  an  actress  to 
play  the  little  blind  girl.  He  was 
on  the  road  at  the  time,  launching 
another  play,  and  stepped  into  a 
moving  picture  place  to  rest  his 
nerves.  "Little  Mary"  was  the 
photo  star  in  a  thrilling  Civil  War 
drama,  in  which  she  enacted  a  girl 
of  the  Confederacy.  After  the 
great  manager  had  watched  her 
exquisite  though  wordless  acting 
for  a  few  moments,  he  easily  un- 
derstood the  enthusiasm  of  the  au- 
dience. 

That  little  blue-eyed,  golden- 
haired  girl  with  the  face  of  a  child 
— that  girl  who  could  laugh  and 
cry  with  such  convincing  realism, 
who  could  be  coquettish,  or  grave 
or  gay  with  equal  facility — that 
girl,  Mary  Pickford,  and  none 
other,  could  play  Juliet,  according 
to  Belasco.  He  must  have  "Little 


me  ten  dollars  a 


Mary,"  although  at  the  time  he  did 

not  know  her  name — any  more  than  that — nor  who  she  was.  He 
never  gave  the  little  girl  who  had  played  Betty  in  "The  Warrens 
of  Virginia''  a  thought. 

Meanwhile,  she  had  to  be  consulted  in  the  matter.  Where  was 
she?  Certainly  not  in  this  small  town  where  the  tantalizing 
shadow  of  the  real  girl  played  hide  and  seek  on  the  flashing  pic- 
ture screen. 

Belasco  was  worried.    Even  if  he  found  the  substance  of  the 
shadow,  would  she  be  willing  to  abdicate  the  throne  of  the  film 
play  queen  in  order  to  accept  a  small  speaking  role  ?    Would  the 
"Maude  Adams  of  the  Movies"  give  up  a  life  of  comparative  ease 
for  the  arduous  work  of  a  legitimate  actress?    For,  as  a  moving 
picture  star.   Mary  Pickford  had  always  had 
$300  a  week  at  her  command  for  fifty-two 
weeks   of   the   year.     Nor   did  this  mean 
working  every  day,  nor  even  every  week, 
though  her  salary  went  on  just  the  same. 

Not  to  be  discouraged  even  by  this  seem- 
ingly impossible,  Belasco  kept  up  the  search 
and  later  found  "Little  Mary"  in  New 
York.  She  was  not  averse  to  relinquishing 
the  honors  of  queenhood  of  the  movies  and 
the  independence  of  stardom  in  the  silent 
drama  when  an  opportunity  offered  of  com- 
ing under  Belasco's  training  as  a  really, 
truly,  speaking  actress  on  a  real  stage,  with 
an  audience  out  in  front  whose  applause 
she  could  hear  and  whose  hearts  she  could 
touch  surely  a  little  better,  at  least,  when 
moving  before  them  in  reality. 

"This  is  such  a  queer  kind  of  a  play," 
Mary  said  one  night  in  her  dressing  room 
in  the  Republic.  "I  like  my  role,  but  I  hope 
some  day  I  shall  do  character  work." 

Copyright  Mishkin      GIULJO  SETTI  WENDELL  PHILLIPS  DODGE. 

Chorus  master  of  the  Metropolitan  Opera  Company 


FORD'S  THEATRE 


Frtd*T  Ermln,  April  Hth,  1866 


BENEFIT! 

LAST  NIGHT 


-JOHN  DYOTT 

US.  HABBY  HAWK. 


TDK  TlrLOW  mORlTQI  ICOHTBJC  COMZDT, 


OUR  AMERICAN 

COUSIN 


BENEJTTof  Mis  JMNIS  GOURLAT 

TBI 


EDWIN  ADAMS 


&£T^MM 

ESSSSffi 


Copyt.  J.  E.  Buckingham,  Jr.  Copyt.  J.  E.  Buckingham,  Jr.         Copyt.  J.  E.  Buckingham,  Jr. 

Ford's  Theatre,  Washington,  D.  C.,  as  it       JOHN    WILKES    BOOTH          PETERSON   HOUSE 


appears  to-day 


Who  assassinated  President     In  which  President  Lincoln 
Lincoln  died 


Copyl.  J.  E.  Buckingham.  Jr. 

Private  box  in  which  President  Lincoln  wai 
assassinated 


e    Night    That    Lincol 


It 


F 


Playbill    of    Ford's   Theatre 
on   the   fatal   night 


ORTY-EIGHT  years— almost  half  a 
century — have  passed  away  since  that 
tragic  night  when,  during  a  perform- 
ance of  "Our  American  Cousin,"  at  Ford's 
Theatre,    Washington,    D.    C.,    President 
Lincoln  met  his  death  at  the  hands  of  John 
Wilkes  Booth,  the  actor,  and  the  little  group 
of  players  who  appeared  in  the  cast  on  that 
ever-memorable  night  is  rapidly  dwindling. 

To-day  the  survivors  are  believed  to  be  only  three  in  number. 

They  are  William  J.  Ferguson,  the  well-known  character  actor, 

who  acted  the  part  of  Lieut.  Vernon,  R.  N. ;  Miss  Jennie  Gour- 

lay,  who  appeared  as  Mary  Trenchard,  who  is  now 

married  and  living  in   Pennsylvania,  and  Edwin  A. 

Emerson,  who  played  Lord  Dundreary.   Mr.  Emerson, 

now  in  his  sixty-eighth  year,  has  an  art  glass  business 

within  a  few  blocks  of  the  theatre  where  the  tragedj- 

took  place.  Although  nearly  half  a  century  has  passed, 

the  events  of  that  dreadful  night  of  the  assassination 

are  as  vivid  in  his  memory  as  though  it  had  been  but 

last  week. 

"It  was  near  the  beginning  of  the  third  act,"  he 

said  recently  to  a  THEATRE  MAGAZINE  representative, 

"I  was  standing  in  the  wings,  just  behind  a  piece  of    J[ch°    ^n^our^meHc^n 

scenery,  waiting  for  my  cue  to  go  on,  when  I  heard    Co^ln^  £u?*£aof 

a  shot.     I   was  not  surprised,  nor  was  anyone  else 

behind  the  scenes.     Such  sounds  are  too  common  back  there 

during  the  shifting  of  the  various  sets  to  surprise  an  actor.    For 

a  good  many  seconds  after  that  sound  nothing  happened  behind 

the  footlights.     Then,  as  I  stood  there  in  the  dimness,  a  man 

rushed  by  me,  making  for  the  stage  door.     I  did  not 

recognize  Booth  at  the  time,  nor  did  anyone  else,  I 

think,  unless  perhaps  someone  out  on  the  stage,  when 

he  stood  a  moment  and  shouted  with  theatrical  gesture, 

'Sic  Semper  Tyrannis !'  (So  perish  all  tyrants  !).    Even 

after  he  flashed  by,  there  was  quiet  for  a  few  moments 

among  the  actors  and  stage  hands.    No  one  knew  what 

had  happened. 

"Then  the  fearful  cry,  springing  from  nowhere  it 

seemed,  ran  like  wildfire  behind  the  scenes: 
"  'The  President's  shot !' 


E.   A.   EMERSON 


"Everyone  began  to  swirl  hither  and  thither  in  hys-    vvorofthe 


W.   J.    FERGUSON 

Well-known  character  actor 
and    one   of  the  three  sur- 


hour,  the  confusion  was  indescribable.  One  incident  stands  out 
plainly  in  my  memory  from  all  the  confusion  of  men  and  sound 
that  turned  the  stage  into  chaos.  As  I  was  running  aimlessly  to 
and  fro  behind  the  scenes — as  everyone  else  was — a  young  lady, 
coming  out  from  a  dressing  room,  asked  the  cause  of  all  the 
uproar. 

"President  Lincoln  has  just  been  shot!"  I  replied. 
"Oh!"  she  exclaimed  and,  closing  her  eyes,  was  sinking  limp 
to  the  floor  in  a  faint  when  I  caught  her  and  carried  her  into 
her  dressing  room.     She  was  Miss  Jennie  Gourlay,  one  of  the 
then  well-known  family  of  actors,  and  that  night  playing  the 
part  of  Mary  Trenchard.     This  little  episode  exhausts  my  rec- 
ollection  of   anything  coherent   during  the   time   im- 
mediately after  the  shooting. 

"Those  who  first  attempted  to  aid  Mr.  Lincoln  tore 
his  clothes  from  him  in  the  most  frantic  manner  in 
their  efforts  to  locate  the  wound.  I  was  told  by 
several  of  the  men  connected  with  the  theatre,  among 
them  young  Mr.  Ford,  who  had  charge  of  the  ticket 
office,  that,  when  he  was  brought  out,  he  had  been 
practically  denuded  of  all  his  outer  garments.  Later 
on,  when  the  place  was  cleared,  I  went  into  the  box 
where  the  assassination  had  occurred.  Just  by  the  side 
of  Lincoln's  chair  was  a  program  half  crumpled.  On 
it  was  a  dark  wet  spot,  which  I  do  not  say  positively 
was  the  life-blood  of  the  President,  but  in  my  own 
mind  I  am  convinced  it  was." 

This  program,  which  no  doubt  was  that  held  in  the  hand  of 
Mr.  Lincoln  at  the  time  the  fatal  shot  was  fired,  is  carefully 
preserved  by  Mr.  Emerson.    The  spot  referred  to,  though  faded 
to  a  dim  brown,  is  still  plainly  visible. 

"I  knew  Wilkes  Booth  very  intimately/'  continued 
Mr.  Emerson,  "and  acted  with  him  a  great  many 
times.  We  were  much  the  same  size,  dressed  alike, 
and  were  of  the  same  general  physical  characteristics 
— whereby  hangs  a  tale  as  I'll  tell  you  later.  I  first 
played  with  him  some  time  before  the  outbreak  of 
the  war,  at  the  Sycamore  Street  Theatre,  in  Cincin- 
nati. He  played  the  part  of  Evelyn,  in  Bulwer's 
comedy,  'Money.'  In  the  fourth  and  fifth  acts  he  was 
the  best  Richard  HI  that  I  ever  saw.  In  the  earlier 
acts,  he  was  not  sufficiently  self-contained.  He  was 


terical   aimlessness.     Still   the  curtain   had  not  been    f°'™J«  »»y  £S|*.S;    also  the  gentlest  man  I  ever  knew.    He  was  not  femin- 


MWJM        V*         nit        vio(j^uj  ,  -  Till  t 

rung  down— for  no  one  seemed  to  have  retained  a  MJoleFc0rfgu^enutpI^eerdnonhe  Ine-  yet  Sentle  as  a  woman.  In  rehearsal  he  was  al- 
scintilla  of  self-possession— and  the  actors  on  the  stage  ways  considerate  of  the  other  actors,  and  if  he  had  a 

were  left  standing  there  as  though  paralyzed.  Then  someone  suggestion  to  make,  made  it  with  the  utmost  courtesy,  prefacing 
dropped  the  curtain  and  pandemonium  commenced.  The  police  it  with;  'Now,  Mr.  -  — ,  don't  you  think  that  perhaps  this 
came  rushing  in  to  add  to  the  chaos,  and  for  what  seemed  an  might  be  a  better  way  to  interpret  that?'  In  this  he  differed 


i8o 


THE     THEATRE     MAGAZINE 


from  his  older  brother,  Edwin,  who  was  always  harsh  and  com- 
manding, showing  little  feeling  for  the  young  actor. 

"Wilkes  Booth's  first  appearance  on  the  stage  was  at  the  old 
Richmond  Theatre  in  that  city.  He  played  under  the  name  of 
'John  Wilkes/  because,  he  told  me,  his  father  had  told  him  that  he 
would  never  make  an  actor  and,  if  he 
turned  out  a  failure,  he  did  not  want 
the  family  name  to  be  entangled  in  it. 
Only  after  he  made  a  success  did  he 
use  his  own  name.  The  last  time  I 
played  with  him  was  at  the  old  Nash- 
ville Theatre.  The  play  was  The 
Corsican  Brothers,'  and  we  played  the 
title  role.  I  also  saw  him  in  Nashville 
in  1864,  after  the  fall  of  Nashville,  i 
was  with  a  dramatic  company,  playing 
there,  and  Wilkes  Booth,  who  was  not 
engaged  with  any  troupe  at  the  time, 
was  there.  I  next  saw  him  in  Wash- 
ington the  following  April,  after  Lee's 
surrender — the  week  of  the  tragedy 
He  made  his  headquarters,  in  a  way, 
about  Ford's  Theatre.  I  do  not  think- 
that,  even  at  that  time,  he  had  any  plan 
of  assassination  in  his  mind.  Indeed, 
all  his  friends  wondered,  after  the  act, 
that  one  of  his  gentle  nature  could  con- 
ceive such  a  bloody  deed.  Yet  an  in- 
cident I  myself  witnessed  may  possibly 
have  first  excited  his  disordered  brain 
to  committing  the  dreadful  crime.  At 
the  time  I  thought  nothing  of  this  oc- 
currence. It  was  only  in  after  years 
that  the  full  significance  of  it  dawned 
upon  me. 

"About  eleven  o'clock  on  Friday 
morning — the  fatal  day — I  was  stand- 
ing with  Booth  in  the  lobby  of  the 
theatre,  near  the  box-office  window— 
the  ticket  office  as  we  then  called  it.  A 
courier  from  the  White  House  came  in 
and  stated  to  Mr.  Ford,  who  happened 
to  be  in  the  box  office,  that  the  Presi- 
dent desired  to  know  if  he  and  a  party 
could  get  seats  for  that  night's  per- 
formance. This  was  the  first  intimation 
anyone  had  that  he  would  attend  that 
night. 

"  'Certainly,'  replied  Mr.  Ford ;  'The 
President  and  anyone  he  cares  to  bring 
are  always  welcome  at  my  house  at  any 
time,'  and,  taking  out  some  box  seats 
he  gave  them  to  the  courier,  at  the  same 
time  crossing  them  off  the  cardboard 
plan  of  the  house  that  lay  in  the  win- 
dow before  him.  That  was  before  the 
days  of  coupon  tickets,  you  know,  and 
the  seller  crossed  off  the  seats  as  they 
were  sold.  At  the  same  time,  he  wrote 
across  the  margin  of  the  plan  in  large  letters,  for  the  benefit  of 
the  public,  the  following:  'The  President  and  party  will  attend  to- 
night's performance.' 

"Wilkes  Booth,  seeing  him  write,  took  the  plan,  swung  it 
around  and  read  the  notice.  Then,  without  another  word,  he  walked 
out  of  the  theatre.  I  have  since  become  convinced  that  then,  for  the 
first  time,  the  idea  of  assassinating  the  President  occurred  to  him. 
An  abduction  would  have  been  useless,  since  there  was  no  longer 
any  question  of  an  exchange  of  prisoners.  But  his  thoughts  evi- 
dently had  been  so  long  directed  against  Lincoln  that  it  had  be- 
come a  morbid  obsession  in  his  mind  and,  with  his  romantic 


Mishkin  PAMELA    GAYTHORNE 

Recently  played  the  principal  feminine  role  in  "Our  Wives' 


temperament,  he  did  not  stop  to  think  of  the  heinousness  of  the 
deed  he  contemplated.  I  do  not  say  this  in  palliation  of  the 
crime,  but  merely  in  explanation.  No  doubt  it  occurred  to  him 
that,  from  his  position  as  an  actor,  he  could  have  the  run  of  the 
theatre,  both  before  and  behind  the  curtain,  without  exciting 

comment,    and    thus    his    way    to    the 
shooting  was  rendered  easy. 

"I  was  not  directly  entangled  in  the 
subsequent  proceedings,  but  I  came 
very  near  being.  There  were  some 
negroes  living  in  the  alley  just  back  of 
the  theatre  next  to  the  stable  where 
Booth  kept  his  horse.  On  the  morning 
after  the  assassination  they  reported  to 
Chief  Baker  of  the  Secret  Service  that, 
about  ten  o'clock  on  Friday  morning, 
just  preceding  the  fatal  night,  they  had 
seen  Booth  talking  to  a  lady  in  the  alley 
near  the  rear  door  of  the  theatre,  ex- 
plaining his  plans  to  her  and  pointing 
up  to  the  various  places  in  the  building. 
They  described  her  as  dressed  in  a  blue 
silk  skirt,  with  a  dark-gray  jacket  and 
wearing  a  hat  with  a  white  plume  in  it. 
On  inquiry  at  the  theatre.  Chief  ISaker 
found  that  this  description  fitted  the 
street  dress  of  Miss  May  Hart,  who 
had,  on  the  night  of  the  assassination, 
played  the  role  of  Georgina.  She  had 
left  for  Baltimore  just  after  the  trag- 
edy, he  learned,  and  was  staying  at 
Barnum's  hotel  there.  That  evening 
he  went  over  to  Baltimore  with  a  force 
of  his  officers  and,  going  to  Miss 
Hart's  room  in  the  hotel,  knocked 
loudly.  The  young  lady  had  retired 
and  called  to  them  to  wait  until  she  had 
put  on  a  wrapper  before  opening  the 
door.  So  intense  was  the  feeling  at 
that  time,  however,  that  they  burst 
open  the  door  and  compelled  her  to 
dress  before  their  eyes,  not  trusting  her 
to  a  moment's  privacy.  Nor  did  they 
tell  her  why  they  had  thus  summarily 
arrested  her  until  she  was  safely  lodged 
in  the  Old  Capitol  prison  in  Wash- 
ington. 

"The  following  morning  a  strange 
man  came  to  see  me.  Roughly,  he  de- 
manded : 

"  'Are  you  Edwin  A.  Emerson  ?' 
'  '1  am,'  I  replied. 

'  'Where  were  you/  was  the  curt 
query,  'at  ten  o'clock  last  Friday 
morning?' 

"  'None  of  your  business/  I  replied 
with  equal  curtness.     In  those  parlous 
times     men     were     not     answering     a 
stranger's  impertinent  question  offhand. 
"  'It   is   some   of  my   business,'    exclaimed   the    stranger,   and 
throwing  back  his  lapel,  disclosed  his  badge  of  office.     'And  a 
human  life  may  depend  upon  your  answer.' 

"  'Why,  certainly  I  will  tell  you/  I  replied.  'At  that  time  1  was 
standing  in  the  alley  near  the  rear  door  of  the  theatre  with  Miss 
May  Hart,  who  was  to  play  the  part  of  Georgina  that  night.  I 
was  to  play  Dundreary,  and,  as  we  had  never  played  together, 
we  wished  to  rehearse  some  of  the  dialogue  between  us.  The 
stage  was  cold  and  bleak  that  morning,  so  we  came  out  into  the 
warm  sunshine  of  the  alley  and  went  over  our  lines  together 
there.  Now,  why?'  (Continued  on  page  u-) 


11  I 

I 


\ 


White 


MARGUERITE    CLARK    AND    ELIZABETH    NELSON    IN    ACT    I    OF    "ARE    YOU    A    CROOK?" 


Ei 


r  s 


Fis 


OUT     Intellectual     Actress 


Morrison 


"  \  /I  ^'   Fiske"   is  a  name  which 

IV/I  awakens  mixed  feelings  and 
emotions.  It  all  depends 
upon  the  person.  To  some  she  is  a 
hard,  cold  and  singularly  unsympa- 
thetic actress — nothing  more;  but  to 
others,  and  their  number  is  legion,  she 
is  known  and  admired  as  a  player  of 
consummate  poise  and  dramaturgic 
skill. 

But  on  one  point  there  can  be  no 
doubt — that  of  the  intellectuality  of  the 
woman.  Perhaps  no  other  word  in  the 
English  language  describes  her  better 
than  the  adjective  "brainy."  Many  are 
the  actresses  who  have  attained  star- 
dom by  the  allurements  of  physical 
beauty  or  charm  of  manner;  many  are 
they  who  have  done  so  through  the 
magic  of  their  voice  or  their  ability  to 
make  a  frenzied  emotional  appeal.  But 
Mrs.  Fiske  possesses  none  of  these 
qualities  to  any  degree.  She  is  not  es- 
pecially beautiful  of  face,  dainty  in 
manner  or  graceful  in  movement.  Her 
voice  is  peculiarly  unpleasant — her 
utterance  sharp  and  jerky — at  times  al- 
most indistinct.  She  never  makes  the 
theatre  walls  resound  with  the  clarion 
call  of  her  acting.  The  primary  appeal 
of  Mrs.  Fiske  is  to  the  intellect,  and  it  is  this  quality  which  makes 
her  acting  so  fascinating  and  stimulating  to  some,  so  unattractive 
to  others.  In  her  case  there  is  no  middle  ground  for  opinion. 
You  either  like  her  immensely  or  you  will  have  none  of  her. 

That  she  is  an  actress  of  substantial  worth,  not  merely  a  player 
of  freakish  personality  and  eccentric  capabilities,  her  long  record 
of  solid  achievement  is  incontrovertible  testimony.  How  else 
shall  we  account  for  the  esteem  in  which  she  is  held  by  so  many 
seasoned  theatregoers  ?  Not  only  does  she  retain  the  undying 
loyalty  of  these  men  and  women,  but  she  is  constantly  making 
new  friends  in  the  rising  generation.  Freakishness  never  evokes 
genuine  regard.  That  is  the  trait  of  the  sensational  performer 
who  rises  meteor-like  to  fame  and  notoriety  only  to  fall  into 
oblivion  again  as  suddenly  as  she  rose.  It  is  because  she  is  a  real 
actress  where  others  are  mere  personalities  that  she  continues 
to  be  a  leader  of  our  stage.  Her  theatrical  career  covers  some- 
thing more  than  forty  years,  yet  Mrs.  Fiske  is  acting  to-day  with 
the  same  verve,  vitality  and  authority,  the  same  keen  perception 
and  appreciation  of  dramatic  values  that  have  always  distin- 
guished her  as  an  actress.  She  has  reared  her  structure  upon 
firm  ground.  She  relies  upon  a  sound  dramatic  method  which 
will  outlive  mere  physical  charm.  With  this  as  a  foundation  she 
has  adapted  herself  to  the  ever-shifting  conditions  in  the  theatre. 
Many  of  our  stars  appear  year  in  and  year  out  in  the  same  kind 
of  vehicles.  The  name  of  play  and  character  may  change,  but 
the  substance  of  it  all  remains  the  same.  Other  actors  and 
actresses  have  gone  out  of  fashion  with  their  plays.  Not  so  with 
Mrs.  Fiske.  She  is  ever  eager  and  ambitious  to  attack  the  new. 
An  actress  of  decided  limitations,  her  dramaturgic  method  and 
training  have  stood  her  in  good  stead.  As  a  rule  they  have 
proved  elastic  enough  to  meet  every  exigency.  But  when  she 
enters  the  realm  of  poetry  and  romance  these  limitations  are  at 
once  evident.  In  "Mary  of  Magdala"  and  "Hannele"  she  has 
approached  nearest  to  failure.  To  these  kinds  of  plays  her  per- 
sonality and  method  are  quite  unsuited.  But  it  is  one  of  the 
really  splendid  things  about  this  woman  that  her  intelligence  ever 
guards  her  from  complete  failure.  It  speaks  volumes  for  her 


MRS.   FISKE 


art  that  Mrs.  Fiske  is  still  a  stranger 
to  unmitigated  disaster.  It  is  as  an 
actress  of  sharp  and  pungent  satire  or 
searching,  trenchant  psychological 
drama  that  she  appears  to  best  advan- 
tage. In  such  plays  as  these  she  has 
few  equals,  no  living  superior. . 

The  life  history  of  Mrs.  Fiske  is 
quickly  told.  Born  in  New  Orleans, 
December  19,  1865,  she  made  her  first 
appearance  upon  the  stage  at  the  early 
age  of  three  as  the  Duke  of  York  in 
"Richard  III."  At  fifteen  she  was  a 
star,  and  she  made  her  bow  to  a  New 
York  audience  at  Wallack's  in  1870  as 
Little  Fritz  in  "Fritz,  Our  German 
Cousin."  1884  was  the  year  in  which 
she  made  her  first  great  success, 
"Caprice"  was  the  play  and  the  New 
Park  the  scene  of  her  triumph.  Upon 
her  marriage  to  Harrison  Grey  Fiske 
in  1890  she  went  into  retirement  for  a 
time.  In  1894  she  made  her  reappear- 
ance as  Hester  Crewe.  The  Minnie 
Maddern  of  the  old  days  had  become 
Mrs.  Fiske.  Then  followed  a  succes- 
sion of  triumphs  in  "A  Doll's  House," 
"Frou-Frou,"  "Tess  of  the  D'Urber- 
villes,"  "Divorgons,"  "Magda,"  and 
"Becky  Sharp."  She  became  the  lessee 
of  the  old  Standard  Theatre  in  1901.  Renamed  the  Manhattan, 
this  theatre  for  five  years  was  the  home  of  the  very  best  in 
American  dramatic  art.  It  was  here  that  Mrs.  Fiske  made  her 
productions  of  "Mary  of  Magdala,"  "Hedda  Gabler,"  and  "Leah 
Kleschna."  Since  the  end  of  her  tenancy  of  the  Manhattan  in 
1906  she  has  produced  "The  New  York  Idea,"  "Rosmersholm," 
"Salvation  Nell,"  "Pillars  of  Society,"  "Hannele,"  "Mrs.  Bump- 
stead-Leigh,"  "Lady  Patricia,"  and  "The  High  Road."  Not  only 
has  Mrs.  Fiske  acted  in  all  these  plays,  but  she  has  in  a  large 
measure  superintended  their  production  and  looked  to  the  order- 
ing of  their  details,  a  task  involving  not  merely  an  immense 
amount  of  time,  energy  and  physical  labor,  but  the  exercise  of 
creative  and  executive  ability  of  a  high  order. 

Better  than  any  lengthy  criticism  of  her  acting  does  this  list 
of  plays  bespeak  the  remarkable  versatility  of  Mrs.  Fiske.  Ibsen, 
Sardou,  Sudermann,  Hauptmann,  Hardy,  Heyse,  and  Thackeray 
—they  are  all  represented  in  her  notable  gallery  of  theatrical 
portraits.  Nor  must  we  forget  Langdon  Mitchell,  Edward  Shel- 
don, and  Harry  James  Smith,  three  most  promising  American 
dramatists  whom  she  was  the  first  to  introduce  to  our  public. 
Modern  prose  tragedy,  emotional  drama,  satirical  comedy,  realism 
and  poetry,  psychology  and  farce — that  is  the  range  of  this  emi- 
nent artist.  Actress,  producer,  stage  manager,  she  is  even  the 
author  of  several  one-act  plays.  When  we  consider  the  compass 
of  her  abilities  and  the  superlative  excellence  with  which  she 
accomplishes  all  that  she  undertakes  we  can  hardly  arrive  at  any 
other  conclusion  than  that  she  is  truly  an  astounding  little  woman. 
As  to  her  acting.  Hers  is  not  a  smooth  and  plastic  art,  it  is 
subtle,  incisive,  luminous,  vivid — almost  fragile  in  its  texture. 
But  notwithstanding  this,  Mrs.  Fiske  with  her  crisp,  staccato 
utterance,  fraught  with  meaning,  is  able  to  convey  far  more  than 
dozens  of  players  who  delight  in  tearing  a  passion  to  tatters.  She 
never  mistakes  mere  vehemence  for  dramatic  power.  Mrs. 
Fiske's  art  suggests  far  more  than  it  actually  expresses.  If  we 
must  choose  between  the  ordinary  emotional  actress  who  displays 
the  superficial  emotions  of  a  character  and  Mrs.  Fiske's  quiet 
intensity,  teeming  with  the  suggestion  of  dramatic  power,  let  us 


Vivian  Tobin  Marguerite   Leslie  Orrin  Johnson 

SCENE    IN    "THE    MONEY    MOON,"    NOW    BEING    PRESENTED    AT    THE    POWERS    THEATRE,    CHICAGO 


184 


THE      THEATRE     MAGAZINE 


have  Mrs.  Fiske  by  all  means.    At  least,  she  is  individual,  sincere 
and  striking. 

Her  comedy  is  marked  by  sureness  and  lightness  of  touch, 
but  it  could  scarcely  be  called 
rich  or  warm  or  glowing. 
Rather,  it  possesses  all  the 
hardness  and  brilliancy  of  a 
diamond  or  the  gleam  and  glit- 
ter of  an  icicle.  Her  art  shows 
to  advantage  in  such  roles  as 
Becky  Sharp  and  Cynthia 
Karslake.  Her  method  is  ad- 
mirably suited  to  the  bite  and 
sting  of  the  artful,  clever  but 
heartless  little  Becky.  With 
what  delicious  sense  of  propor- 
tion, perfection  of  detail,  verve 
and  spirit  she  sets  Thackeray's 
master  character  upon  the 
stage.  Her  dash  and  sparkle 
in  the  ballroom  scene,  her  mas- 
tery of  the  situation  in  the 
meeting  with  Steyne,  her  nerve 
and  courage  in  Rawdon's  dis- 
covery of  the  clandestine  sup- 
per, her  anguish  and  despair 
when  she  realizes  that  she  has 
staked  everything  and  lost,  her 
assumption  of  superficial  gayety 
to  hide  her  loneliness  and  her 
submission  to  the  inevitable  in 
the  closing  scene  of  the  play — 
these  are  a  few  of  the  touches 
that  make  it  a  memorable  im- 
personation. And  who  can 
forget  how  delightfully  Mrs. 
Fiske  played  Cynthia  Karslake 
in  Langclon  Mitchell's  play 
"The  New  York  Idea"  ?  How  accurate  her  conception  of  the 
character,  how  adroit  her  portrayal  of  the  woman's  impulsive, 
volatile  nature,  her  restlessness,  her  indecision !  With  what 
brilliancy  of  tone  and  nicety  of  speech  she  emphasized  the  subtle 
caustic  wit,  the  stinging,  ironic  repartee,  the  cut  and  thrust  of 
the  dialogue  of  the  earlier  scenes,  and  then,  too,  with  what  rare 
art  she  brought  out  the  essential  sweetness  and  innate  goodness 
of  the  woman  in  the  final  act  of  the  comedy. 

One  of  the  very  finest  tragic  performances  she  has  ever  given 
is  that  of  Rebecca  West  in  "Rosmersholm."  Quiet,  intense, 
vivid,  it  will  remain  in  the  mind  of  the  writer  as  one  of  the  best 
things  she  has  ever  done.  Here  was  a  case  where  the  vital, 
vibrant  quality  of  her  acting  was  brought  to  its  fullest  play.  For 
the  larger  part  of  Act  I  Rebecca  has  little  to  do,  much  less  to 
sriy.  Yet,  throughout  the  scene  Mrs.  Fiske  was  the  centre  of 
attention.  With  no-  outwa'rd  manifestation  of  change,  her  very 
silence  was  ominous  and  portentous  of  the  tragedy  to  come,  and 
the  eye  of  the  spectator  would  constantly  revert  to  Rebecca  how- 
eve/  much  it  might  be  distracted  by  the  conversation  going  on 
about  her.  The  climax  of  the  play  disclosed  the  art  of  Mrs.  Fiske 
at  its  highest  pitch.  As  in  the  preceding  scene,  the  actress  was 
almost  continually  in  the  background.  During  the  cross  question- 
ing by  Rosmer  and  Rector  Kroll,  not  the  shadow  of  an  expression 
passed  over  her  countenance.  Her  face  was  a  complete  enigma. 
Nothing  but  a  curious^  nervous  tension  betrayed  the  gigantic 
struggle  taking  place  within  the  woman's  soul.  Unable  to  bear 
the  strain  longer,  Rebecca  delivers  her  confession.  As  acted  by 
Mrs.  Fiske  the  scene  acquired  an  added  significance.  Out  of  the 
deceptive  calm  burst  the  storm.  The  woman  seemed  powerless 
to  resist  the  rush  of  words  which  rose  to  her  lips.  Propelled  and 
projected  by  the  dynamic  force  of  her  acting,  they  came  forth 
with  all  the  suppressed  force  and  pent-up  energy  of  a  volcano. 


White 


RUTH   CHATTERTON 

Appearing  as  Henry   Miller's   leading  woman  in 


She  had  epitomized  the  import  of  the  whole  action  in  one  tre- 
mendous moment.    The  effect  upon  her  audience  was  electrical. 
This  very  season  Mrs.  Fiske  is  doing  some  of  the  best  work  of 

her  whole  career  in  Edward 
Sheldon's  new  play  "The 
High  Road."  The  author  him- 
self has  described  his  drama  as 
the  pilgrimage  of  a  woman 
through  life.  The  first  act  in- 
troduces Mary  Page,  a  young 
girl  of  sixteen,  living  on  a  farm 
in  New  York  State.  In  Act  II. 
some  three  years  later,  we  meet 
Mary  in  New  York  living  in 
an  unconventional  manner  with 
a  young  artist.  Eighteen  years 
elapse  between  Acts  II  and  III. 
The  third  act  reveals  the  girl, 
now  a  woman  of  national  repu- 
tation, in  the  Capitol  at  Albany 
after  she  has  succeeded  in  forc- 
ing the  passage  of  an  eight- 
hour  law  for  women.  Acts  IV 
and  V  occur  two  years  later. 
Again  New  York  is  the  scene. 
Mary  Page  has  married  the 
governor  of  the  State,  who  is 
the  presidential  candidate  of  a 
great  political  party.  How  her 
early  indiscretion  nearly 
wrecks  her  husband's  cam- 
paign for  the  presidency  and 
how  she  outwits  a  shrewd  but 
unscrupulous  politician  is  the 
substance  of  these  closing  acts 
Even  the  casual  observer  can 
readily  see  the  pitfalls  in  such 
an  acting  part.  Only  an  excep- 
tional actress  could  play  it  and  make  it  convincing.  It  is  not  every 
artist  who  could  bring  cut  the  essential  girlishness  of  the  char- 
acter in  Act  I,  and  in  Acts  III,  IV  and  V  play  with  poise  and 
authority  the  woman  of  the  world.  Perhaps  Mrs.  Fifke  does 
not  look  like  a  young  girl  in  the  first  act.  What  of  that  ?  She 
acts  like  one,  and  not  for  a  second  is  she  out  of  focus.  It  is  not 
so  much  the  physical  appearance  or  growth  that  counts ;  it  is  the 
mental  growth,  the  inner  woman  with  whom  we  are  concerned 
That  Mrs.  Fiske  did  reveal  this  inward  growth  is  ample  proof  of 
her  exceptional  abilities. 

To  compare  Mrs.  Fiske  with  others  is  useless.  From  all  others 
she  stands  apart ;  she  is  absolutely  unique.  A  great  actress  in 
the  •sense  that  Bernhardt.  Duse  or  Rejane  are  great  she  is  not. 
Mrs.  Piske's  most  formidable  claim  to  distinction  lies  in  her 
ability  to  go  to  the  heart  of  the  matter  and  give  you  the  essence 
of  things.  Her  acting  is  the  very  negation  of  dramatic  art  in 
that  she  makes  her  effects  in  the  very  opposite  manner  which  the 
majority  of  actresses  employ.  Where  the  average  actress  will 
give  you  an  emotion,  Mrs.  Fiske  drives  home  an  idea.  It  is  ever 
her  aim  to  acquaint  the  spectator  with  the  mental  processes  of 
the  character  she  is  playing ;  it  is  the  why  and  wherefore  of  things 
that  she  wishes  to  disclose,  and  these  are  attributes  of  the  brain, 
not  the  heart.  She  cares  little  for  the  physical  change  in  a 
character  if  she  can  make  plain  the  mental  growth.  Mrs.  Fiske 
is  given  to  few  gestures,  fewer  outbursts  of  impassioned  speech. 
and  the  immobility  of  her  countenance  is  a  thing  to  marvel  at. 
But  the  vital  connection  between  player  and  audience  is  main- 
tained by  the  magnetism  of  the  woman — a  magnetism  which 
comes  from  the  brain,  not  the  heart,  and  like  an  electric  current 
she  seems  to  charge  the  whole  theatre  with  her  presence.  Mrs. 
Fiske  plays  from  the  head,  and  audiences  think  the  emotions  of 
this  actress  more  than  they  feel  them.  CHESTER  T.  CALDER. 


"The  Rainhow" 


THE  THEATRE  MAGAZINE  GALLERY  OF  l'LAYl:KS 


White 


VALLI    VALLI    AS    WANDA    IN  "THE    PURPLE    RuAD."    AT    THE    LIBERTY 


A 


of  Thrills 


Holbrook    Blinn 


nates  the  new  little 
Princess  Theatre,  opened  in  this  city  recently  under  the  direction 
of  Holbrook  Blinn  for  the  production  of  one-act  plays.  That  a 
theatre  so  advertises  itself  shows  what  must  be  offered  to  entice 
our  patronage  in  these  days  of  overstimulated  competition.  This 
press-agent  nomenclature,  however,  does 
more  harm  than  good — as  it  often  does — 
since  the  enterprise  has  a  more  serious,  a 
deeper  purpose  than  the  mere  providing  of 
pure  sensation. 

Through  a  note  on  the  program  the 
management  requests  that  immature  per- 
sons bestow  their  patronage  elsewhere,  as 
it  does  not  wish  to  limit  its  repertoire  to 
the  confines  of  their  censorship.  There  is 
no  more  effective  way,  of  course,  of  at- 
tracting the  very  young,  who  think  they 
are  very  wise  and  old.  as  well  as  the  very 
wise  and  old  who  hope  here  to  find  some- 
thing that  may  still  offer  spice  to  their 
jaded  appetites.  The  table-d'hote  menu 
of  theatricals  presented  at  this  board  is 
varied  enough — there  are  satire,  light 
comedy,  pure  horror,  "punch,"  froth  and  tragedy — everything 
bicn  raffinc  and  quite  different. 
"Different?  From  what?" 

"From  the  plays  which  are  not  and  can  be  seen  elsewhere," 
said  Mr.  Blinn  when  the  writer  put  that  question  to  him.  He 
was  sitting  in  his  dressing  room  above  the  theatre,  an  isolated 
human  being  completely  surrounded  by  manuscripts.  The  un- 
solicited dramatists  are  always  on  the  lookout  for  new  prey,  and 
Mr.  Blinn  is  their  latest.  But  since  he  is  such  a  staunch  believer 
in  the  worth  of  the  one-act  play,  he  is  willing  to  be  their  victim, 
if  only  his  sufferings  will  produce  what  he  is  looking  for. 

It  is  as  strange  as  it  is  true  that  this  country,  which  is  short- 
story  mad,  has  as  yet  developed  no  liking  for  the  one-act  play. 
The  analogy  between  these  shorter  forms  of  the  novel  and  the 
drama  is  obvious,  but  the  difference  in  their  appeal  is  not  so  easily 
analyzed.  That  the  'one-act 
play  has  not  attained  in  drama 
the  position  which  the  short 
story  holds  in  fiction  is  due,  so 
thinks  Mr.  Blinn,  in  great  part 
to  the  fact  that  there  have 
never  been  adequate  means  for 
presenting  the  former.  There 
is  no  equivalent  for  the  maga- 
zine in  the  theatre. 

"Practically  the  only  vehicles 
that  have  existed  heretofore 
for  the  one-act  plays  have  been 
the  curtain-raiser  and  the 
vaudeville  sketch,  both  of 
which  are  unsatisfactory.  The 
former  is  usually  no  more  than 
theatrical  hors  d'ccuvre,  an  ap- 
petite whetter.  It  has  come  to 
us  from  England,  where  it 
served  to  keep  the  pit  amused 
while  the  orchestra  stalls  were 
being  filled.  Its  addition  to  the 
bill  is  usually  taken  to  imply  a 
weakness  in  the  play  that  is  to 
follow;  it  is  only  when  the  au- 
thor or  the  principal  actor  is 
very  well  known,  or  when  a 
manager  wishes  to  add  a  novelty  to  a  revival  that  a  mixed  bill  is 
possible  here." 

"And  the  vaudeville  stage — why  has  that  failed  to  popularize 
the  one-act  play?" 


"Because  it  is  controlled  largely 
by  the  matinee  girl,  whose  sweet 
innocence  must  not  be  disturbed. 

Such  consideration  naturally  hampers  the  development  of  the  one- 
act  play  and  leaves  its  authors  but  a  limited  choice  of  subject." 

There  have  been  various  attempts,  of  course,  to  interest  New 
York  in  the  one-act  play.  Before  the  vaudeville  bills  included 
"tabloid  drama,"  Rosina  Yokes  amused  Broadway  with  an  eve- 
ning's entertainment  made  up  of  several  short  plays  for  a  season 
or  two.  They  were  jolly  old  farces,  full  of  nonsense  and  silliness, 
such  as  "The  Pantomime  Rehearsal,"  "The  Milliner's  Bill,"  and 
"A  Game  of  Cards,"  and  their  success  was  due,  not  to  their 
dramatic  merits,  but  to  the  charm  and  ability  of  Miss  Yokes  and 
the  actors  associated  with  her.  Among  these  were  Weedon 
Grossmith  and  Felix  Morris,  who  was  a  portrayer  of  "cameos 
of  character"  in  Mr.  Blinn's  opinion. 

In  another  valiant  attempt  to  popularize  the  one-act  play,  Mr. 
Blinn  himself  had  an  active  part.  Associated  with  Helen  Ware 
and  Augustin  Daly,  under  the  latter's  direction,  an  excellent  cast 
presented  a  number  of  interesting  and  unusual  short  plays  at 
Daly's  old  theatre  in  1906. 

"The  reasons  this  endeavor  did  not  succeed  are  many  and  dif- 
ficult to  define.  The  company  was  good,  its  purpose  serious,  its 
plays  noteworthy,  but  the  manner  of  presentation  was  inadequate 
for  one  thing.  The  undertaking  was  not  sufficiently  capitalized 
and  so,  of  course,  the  mise-en-sccnc  could  not  be  the  best.  But 
the  real  deterrent  factor,  I  think,  was  the  house  in  which  we  gave 
these  plays — old  Daly's.  Because  it  is  a  lyceum,  the  public  looks 
upon  it  more  as  a  town  hall  than  a  theatre,  and  refuses  to  take 
anything  seriously  that  is  presented  there.'' 

Mr.  Blinn  has  long  been  a  champion  and  friend  of  that  theatri- 
cal stepchild — the  one-act  play.  In  1900  he  brought  it  to  the 
fore  under  his  own  management  in  London,  but  with  little  appro- 
bation and  encouragement  from  the  public. 

"The  masses  don't  like  one-act  plays.  They  feel,  I  believe, 
that  they  are  not  getting  their  money's  worth  if  they  don't  have 
an  evening's  full  bill.  They  want  one  long  play  that  shall  grip 
them  and  hold  their  interest  continuously ;  they  do  not  like  the 
change  of  mood  a  change  in  the  bill  would  effect." 

Though  the  masses  may  not  want  this,  Mr.  Blinn  is  of  the 

opinion  that  a  few  of  the  elect 


Whlte         INTERIOR    OF    THE    PRINCESS    THEATRE,    NEW    YORK 

A   new   playhouse   devoted   to   the   production    of    one-act    plays   of   a    sensational    kind, 
similar  in  character  to  those  which  made  the  Grand   Guignol,   of   Paris,   famous. 


do.  For  that  reason  he  waited 
with  his  present  venture  until 
he  had  a  special,  very  small  and 
very  exclusive  theatre  for  the 
very  select  clientele  who  would 
appreciate  what  he  had  to  offer. 
As  it  seats  but  298  in  244  or- 
chestra chairs  and  eight  boxes, 
one  can  easily  see  that  it  would 
take  several  weeks  to  exhaust 
even  a  small  coterie  of  one-act 
play  connoisseurs  in  a  city  of 
the  size  of  New  York.  When 
all  those  who  are  interested  and 
those  whom  they  in  turn  may 
convert  have  been  to  see  the 
one  bill,  it  will  be  about  time  to 
change  it,  anyhow,  for  one  of 
the  most  firmly  fixed  policies  of 
the  management  is  to  avoid  the 
long  run  of  its  plays. 

"For  the  sake  of  the  actors, 
we  stipulate  in  our  contracts 
that  they  shall  not  be  con- 
strained to  play  one  part  for 
more  than  a  number  of  weeks. 
To  further  the  development  of 
their  versatility  more,  we  give  all  the  members  of  our  company 
opportunities  to  play  big  and  little  parts  of  great  variety.  In  one 
play  I  have  the  lead,  in  another  the  minor  part  of  a  policeman. 
Mr.  Edward  Ellis,  who  wrote  one  of  the  plays  we  give,  has  two 


Photo  Bangs  GRACE    WASHBURN 

American   actress  selected    for  the   stellar   role  in   "The  American  Review,"  which   opened   the   London   Opera  House 


1 88 


THE      THEATRE     MAGAZINE 


parts  of  considerable  importance  in  the  third  and  the  last  plays;  Night,"  he  declared  that,  though  it  portrayed  the  depths  of  the 

in  the  first  he  is  only  'a  voice'  at  the  end  of  the  wire ;  Mr.  Trevor,  city's  depravity  it  showed  "what  toll  is  sometimes  exacted  from 

who  has  good  parts  in  two  plays,  is  seen  in  the  very  minor  role  those  who  travel  on  the  wrong  and  'easy'  road.     It  is  essentially 

of  the  porter  in  the  last.     No— we  want  to  avoid  that  hobgoblin,  tragic  and  its  tragedy  purges  it  of  whatever  suggestion  of  sala- 

'the  long  run,'  so  much  that  we  shall   take  off  plays  that  are  ciousness  the  telling  of  it  may  have  contained.     The  Bible  is  full 


successful  in  the  very  flush  of 
their  popularity." 

With  what  kind  of  plays  are 
you  trying  to  arouse  our  in- 
terest in  the  one-act  drama? 
How  do  you  select  them  ? 

"Not  to  be  daring,  but  to  be 
free,"  is  Mr.  Blinn's  definition 
of  his  purpose.  "We  have  no 
message  to  bring ;  no  lesson  to 
preach.  We  hope  to  entertain, 
and  if  in  so  doing  we  instruct, 
so  much  the  better.  Our  in- 
tention is  not  to  shock,  as  some 
fear,  but  to  present  things  as 
they  are.  The  American 
people  are  emancipating  them- 
selves from  the  hypocrisy  of 
Puritanism  and  the  theatres 
are  helping  them  do  it.  When 
we  think  of  what  we  thought 
shocking  five  or  ten  years  ago, 
the  things  we  will  have  in  our 
literature  and  upon  our  stage 
to-day  are  truly  extraordinary. 
This  is  not  a  sign  of  degen- 
eracy; it  is  a  sign  of  growth. 
Anything  that  is  suggestive 
and  rotten  will  fail ;  what  is 
frank  and  sincere  will  be  wel- 
comed to-day.  Anything  that 
depends  upon  unpleasantness 
for  its  effect  may  enjoy  a  short 
vogue,  but  that  is  all." 

In  the  face  of  this  statement, 


White 


CARRIE    REYNOLDS 

Who    is    now   appearing    in    vaudeville 


of  things  we  would  not  chatter 
about,  but  these  we  forget 
when  we  understand  the  pur- 
pose for  which  they  have  been 
told  to  us.  The  analogy  is  not 
perfect,  nor  even  apt,  but  it 
helps  to  illustrate  the  point, 
perhaps. 

"Suggestiveness,  you  know, 
is  quite  another  thing  from 
openness.  This  play  is  un- 
mistakably frank.  But  those 
who  prefer  to  wear  blinders 
as  they  trudge  their  way 
through  life  are  not  encour- 
aged to  attend  this  theatre." 

The  writer  held  a  third 
count  against  Mr.  Blinn. 
What  about  "Fancy  Free"? 
Isn't  that  really,  truly  immoral, 
since  it  sanctions  an  exceed- 
ingly free  relationship  between 
the  married  and  the  unat- 
tached? Again  that  smile  and 
a  dismissing  wave  of  the  hand. 

"It's  too  frothy,  too  incon- 
sequential to  be  shocking.  It's 
subtle  satire,  you  know,  and 
just  beautifully  absurd." 

In  some  of  the  newspapers, 
the  Princess  Theatre  was 
heralded  as  presenting  "smart 
shows  for  smart  people." 
Was  that  the  set  to  which  it 
meant  to  cater? 


the  writer  wondered  how  Mr.  Blinn  would  justify  his  presenta-  "We  hope  the  smart  people  will  think  these  plays  smart,  of 

tion  of  "Fear."    This  play  which  deals  with  an  English  soldier's  course — or  they  won't  come,"  was  the  ready  answer.     "But  we 

fear  of  the  cholera  in  India  arouses  no  depth  of  emotion,  but  an  are  not  serving  caviare  here ;  we  are  serving  meat.     The  price 

intensity  of  sensation,  the  sensation  of  pure  horror.  for  the  seats  and  the  size  of  the  house  make  it  prohibitive,  for 

"It  is  a  thriller,  I  will  admit,"  and  the  present,  of  course,  for  many  who 


Mr.  Blinn  smiled  that  crooked,  neat 
little  Irish  smile  of  his  which  is  his 
open  sesame  to  the  favor  of  his  au- 
dience. His  smiles  are  precious  by 
virtue  of  their  scarcity.  Perhaps 
that  is  not  a  fair  thing  to  say  after 
a  short  interview  about  very  serious 
things.  But  to  return  to  his  defense 
of  producing  "Fear." 

"That  play  depends  for  its  effect 
not  upon  shock,  but  upon  suspense. 
It  is  primarily  a  psychological  study 
and  as  such  it  appeals  to  the  minds  of 
the  audience,  not  only  to  their  sensa- 
tions. It  might  be  much  worse  than 
it  is,  you  know.  We  carefully  omitted 
all  the  shocking  details  with  which 
the  French  peppered  and  seasoned  it 
when  it  was  given  at  the  Grand 
Guignol  in  Paris." 

It  is  always  consoling  to  be  told 
that  things  might  be  worse. 

But  Mr.  Blinn's  defense  was  not  at 
an  end. 

As   his   reason    for   selecting   "Any 


iiofae^icfe  Cftorus  span  to  C?is  SDanrc 
partner  of  iiast 


I  kissed  her  for  every  night  of  the  week, 

And  every  week  of  a  year  ; 
And   I   learned  to  know  her  powdery  cheek, 

And  the  glimpse  of  her  whitened  ear. 
And  many  the  song  together  we  sung, 

As   we   stood   where   the    footlights   glowed  — 
But  she  left  me  to  stay  on  old  Broadway, 

While  I  am  out  on  the  road. 

For  many  a  time  I   spoke  my  love, 

And  many  a  time  I  swore  ' 
That  her  eyes  were  as-blue-as-the-heavens-above  — 

Aye,  hundreds  of  times  and  more  ; 
And  many's  the  time  I  held  her  close 

In  the  musical  comedy  mode  ; 
But  she  dances  to-day  to  old  Broadway, 

And  forgets  me  out  on  the  road. 

And  the  one  in  her  place  has  a  taking  face, 

But  the  rouge  is   so  sticky  and   queer, 
And  her  voice  at  that  is  a  bit  more  flat 

Than  the  one  that  I  tenored  last  year. 
So  although  her  name  and  her  talk  are  the  same 

And  we  joke  in  the  well-worn  code, 
My  heart  is  away  on  old  Broadway, 

Though  my  feet  are  out  on  the  road. 

E.    L.    McKlNNEY. 


would  appreciate  these  plays  to  see 
them.  We  hope  to  make  them  so 
alluring  that  they  will  become  an 
incentive  for  saving.  But  one  real 
advantage  this  exclusiveness  has — it 
spares  us  from  giving  thought  to 
the  gallery  gods.  Hence  we  can 
afford  to  be  natural.  The  untrained 
theatregoer,  the  uneducated,  still 
hanker  for  the  theatric,  you  know." 

The  gold  wrist  watch,  which  is 
an  important  piece  of  property  in 
"Fear,"  showed  that  it  was  time  to 
don  khaki  and  bronze  for  the  desert 
scene.  So  there  was  no  more  to  be 
said  in  defense  of  a  small  beginning 
that  may  lead  to  a  big  conversion 
and  of  the  man  who  may  one  day  be 
known  as  the  father  of  the  One-Act 
Drama.  "Food  ''  a  satirical  playlet  by 
William  C.  De  Mille,  has  since  been 
added  to  the  bill  at  the  Princess 
Theatre.  It  is  a  travesty  on  supposed 
economic  conditions  fifty  years  hence. 
EVA  E.  VOM  BAUR. 


Fifth  Avenue  Studio 
STATELY  WOMEN  OF  THE  CLASSIC  TYPE  SELECTED  TO  PLAY  PRINCIPAL  ROLES   IN 


•LYSISTRATA" 


»OR  their  latest  argument  the  suffra- 
gists have  turned  to  the  ancients. 
One  of  the  newest  methods  they 


have  adopted  to  advocate  the  cause  of  woman's  rights  has  been 
the  production  of  one  of  the  oldest  Greek  plays,  "Lysistrata," 
which  Aristophanes  wrote  as  long  ago  as  411  B.C. 

The  strange  thing  about  this  delightful  comedy  is  not  so  much 
that  it  contains  sentiments  so  like  those  current  to-day  that  they 
might  have  been  coined  by  a  dramatist  of  the  twentieth  century 
A.D.,  but  that  the  anti-suffragists  regard  it  as  an  argument 
written  especially  for  them.  Many  a  politician  would  envy  the 
dramatist  his  astuteness  which  helped  him  remain  a  friend  to 
all  the  ladies.  His  method  was  simple  enough.  He  wrote  a 
plea  for  peace  in  which  he  depicted  a  war  of  women  against 
men  in  which  the  former  gained  their  point  by  "abstaining 
from  love"  and  depriving  men 
of  their  company.  This  is  with- 
out a  doubt  a  strategy  known  as 
"indirect  influence." 

"Aha !"  say  the  Antis,  "in  that 
way  we  get  what  we  want." 

"So  ho!"  say  the  suffragists,  "do  you  think  it 
womanly  and  proper  ?"  and  to  the  men :  "Wouldn't 
you  rather  give  them  the  vote  and  keep  them  at  home  ?" 

When  the  French  anti-suffragists  gave  the  play, 
Gabrielle  Rejane  had  Maurice  Donnay  adapt  the  work 
for  the  Parisian  audience  that  frequented  the  Theatre 
du  Gymnase.  Even  they,  sophisticated  as  they  were, 
gasped  and  choked  a  bit  in  the  swallowing.  The  orig- 
inal is  regarded  as  one  of  the  most  pungent,  one  of  the 
most  daring  dramas  that  have  ever  been  written,  but 
the  version  used  for  the  production  at  the  Maxine 
Elliott  Theatre,  this  city,  last  spring,  under  the 
auspices  of  the  Women's  Political  Union,  "A  Modern 
Paraphrase,"  by  Laurence  Housman,  is  a  marked  con- 
cession to  present-day  standards  of  propriety  and  dra- 
matic art. 

The  object  of  the  performance  was  not  to  repro- 


A  CLASSIC 


duce  Greek  drama  or  to  familiarize  a 
modern  audience  with  its  peculiarities 
and  beauties,  but  to  make  propaganda 
for  Votes  for  Women.  Not  only  was  the  adaptation  decidedly 
loose  and  free,  but  the  manner  of  presentation  was  frankly  not 
Greek.  The  suffragists  took  as  many  liberties  with  Aristophanes 
as  with  the  property  of  others  in  the  exercise  of  their  militant 
methods  abroad.  Their  version  of  the  play  was  divided  into  two 
scenes  and  an  interlude,  between  which  the  curtain  fell ;  the 
theatre  in  which  it  was  performed  demanded  the  use  of  scenery, 
of  exits  and  entrances,  which  made  of  the  production  something 
the  Greeks  never  would  have  recognized.  In  the  acting,  a 
certain  majesty  of  declamation  was  the  only  recognition  given 
to  the  histrionics  of  the  fifth  century  B.C. 

Since  it  was,  then,  frankly,  only  a  modern  adaptation  of 

the  old  comedy  which  should 
show  how  old  is  the  question  of 
women's  rights,  it  must  so  be 
judged.  As  a  modern  play  of 
Greek  times  it  was  effectively 
produced.  The  scene  was  that 

of  a  street  in  Athens  with  a  distant  view  of  the 
Acropolis  and  a  platform  before  a  high  stone  wall  in 
the  foreground.  The  browns  of  these  structures  and 
the  sombre  blue-green  poplars  of  the  Mediterranean 
countries  which  framed  the  stage  contrasted  well  as 
they  subdued  the  cacophony  of  tones  in  the  costuming 
— azure  and  emerald,  purple  and  rose,  orange  and 
crimson  mingled  and  did  not  clash.  The  details  of 
decoration,  of  accessories  and  properties,  even  of  foot- 
gear, were  carried  out  faithfully  according  to  the 
dictates  of  art  and  of  nature. 

The  story  tells  of  the  plight  of  Athens  at  the  time  of 
the  Spartan  war,  when  it  was  torn  between  the  rav- 
ages of  the  seemingly  endless  campaigns  and  the  con- 
flicts of  political  factions.  The  women, 

To  whom  war  decrees 
A  life  unhusbanded, 


THE      THEATRE     MAGAZINE 


Bangs  EDWARD  J.  MAGUIRE 

Appearing  in  "Stop  Thief"  at  the  Gaiety 


feel  that  they  are  the  real  sufferers  from  these  conditions  and 
that,  feeling  this  so  poignantly,  they  must  use  all  their  influence 
to  bring  them  to  an  end.  Lysistrata,  their  leader,  impresses  upon 
her  fellow- women  (a  term  that  is  not  an  anomaly,  but  a  necessity) 
the  fact  that  the  hope  of  Greece  lies  in  them;  that  upon  them 
depends  her  future.  She  is  convinced  that  if  they  will  but  abstain 

from  love  for  a  while  and,  banded  together,     

defy  the  men  and  demand  peace  of  them, 
then  will  they  get  what  they  want.  But, 
though  she  has  sent  her  summons  from  the 
North  to  the  Peloponnese,  the  response  is 
not  so  ready.  It  is  a  pitiful  evidence  that  the 
other  women  are  not  yet  so  active  and 
roused  as  she;  "they  drowse,  lapt  in  fond 
dreams."  Lysistrata  is  frankly  disgusted 
and  ashamed  of  her  kind.  But  Calonice, 
the  first  Athenian  to  pledge  herself  to  this 
cause  of  the  women,  has  a  word  to  say  in 
their  defense : 

Ah,  give  them  time !     You  trust 

My  word  for  it,  they'll  come!     Often,  no  doubt. 

'Tis  difficult  for  women  to  get  out ; 

For  those  with  husbands  have  enough  to  do ; 

And  servants  need  a  looking  after,  too ; 

And  then  the  children — one  to  put  to  bed, 

And  one  to  wash,  another  to  be  fed — 
Ah !  there's  no  end  to  it ! 

But  slowly  they  come,  from  Bceotia,  from 
Corinth  and  even  from  the  hostile  Sparta, 
and  when  they  are  collected  she  tells  them 
of  her  plan — that  when  their  husbands  at 
the  next  festival  return  to  them  to  make 
"a  show  and  a  pretense  of  peace,"  they  shall  "abstain  from  love" 
— a  plan  that  meets  with  general  disdain,  it  being  "so  un- 
womanly," until  she  goads  their  vanity  by  declaring  that  peace 
can  only  be  bought  with  feminine  allurements.  Still  Myrrhina, 
a  very  young  bride,  makes  objection: 

"But  friend,  suppose  our  husbands — went  elsewhere?" 

"Is  yours  like  that?"  is  Lysistrata's  quick,  silencing  retort. 

The  plot  they  lay  is  to  storm  the  Acropolis  where  the  gold 
necessary  to  carry  on  the  war  is  stored ;  if  they  guard  this  zeal- 
ously the  campaign  must  come  to  an  end  through  lack  of  funds. 
As  they  pass  out  on  their  way  to  carry  out  these  schemes  a  chorus 
of  old  men  enters,  carrying  big  and  little  logs  of  wood  and  a  big 
copper  brazier.  They  are  crabbed  old  men,  with  squeaky  voices 
and  foolish  thoughts.  They  heap  up  the  fire  in  order  "to  set  fire 
to  woman,  so 
abominable,  so  ac- 
curst !"  As  they 
light  their  torches 
in  the  fire-pan  the 
heads  of  four 
women  appear 
over  the  wall  to 
watch  them. 
Catching  sight  of 
them,  the  men 
with  their  lighted 
torches,  crouch  be- 
low the  steps  lead- 
ing to  the  gate. 
The  women  ad- 
vance, pretending 
not  to  see  the  men, 
but  discussing 
them  in  no  unmis- 
takable terms.  An 
amusing  alterca  - 
tion  follows  in  which,  of  course,  the  men  are  completely  worsted 
— verbally  annihilated,  one  might  almost  say.  To  the  shower 
of  cold  words  is  added  a  shower  of  cold  water,  and  in  the  drip- 


ping dribbling  stage  in  which  this  leaves  the  hapless  wretches. 

a  committeeman  finds  them  and  brings  them  the  solace  of  hi« 

grumbling  against  the  insolence  of  womankind. 

His  speech,  a  clever  satire  on  feminine  presumption,  might  well 

have  come  from  a  member  of  the  British  Parliament,  or  even  of 

our  Congress : 

What   means   this   noise   of   women?     Have   the 

jades 

Started  their  rackettings  again — their  raids, 
Their  drummings  and  their  voices  from  the  roof 
At  public  meetings?     Aye,  had  we  not  proof 
When  Strellus  was  in  debate,  only  last  week, 
On  Naval  policy,  began  to  speak 
Of  unlaunched  keels  left  rotting  on  the  slips: 
Says  he — most  wisely — "You  must  man  your  ships 
As  well  as  build  them."     Suddenly  in  burst 
A  voice  from  nowhere — "Man  your  women  first!" 
It  was  his  daughter !     Athens  being  drained 
Of  marriagable  men,  affairs  grow  strained 
Within  the  home.    Then,  on  another  occasion, 
Brennus  was  holding  forth  about  invasion, 
Conscription,  taxes,  and  the  waste  of  war, 
When   all   at   once  a  voice  squeaks   through   the 

door — 
"What  about  women  ?" 

Confronted  by  Lysistrata  and  her  "com- 
rades" and  "sisters"  he  calls  for  the  police 
"to  seize  and  bind  her  fast"  for  him.  One 
comes  at  his  command,  but  meeting  Straty- 
lis,  an  Amazon  both  fair  and  formidable, 
he  falls  back  and  retires  to  seek  further 
reinforcement.  This  reinforcement  being 
thwarted  too,  a  third  policeman  is  pressed 
into  service,  but  the  combined  trio  is  yet  no  match  for  the  femi- 
nine bravery  they  must  encounter.  Armed  with  a  pole,  they  once 
more  advance  in  a  compact  body  into  the  mob  of  women  on  the 
steps  only  to  be  confused  by  a  shower  of  cloaks  enveloping  their 
heads  and  dragged  into  the  citadel.  There  follows  a  colloquy 
between  Lysistrata  and  the  committeeman  in  which  he  meets 
with  a  similar  fate.  In  the  second  scene  there  is  further  tren- 
chant argument  for  both  sides.  The  First  Leader  of  the  Women, 
in  telling  why  weak  women  seek  to  serve  the  State  as  well  as 
men — paying  the  debt  they  owe,  says : 

I,  too,  pay  taxes :  from  my  flesh  there  runs 
Rich  tribute;  ye  bear  arms,  but  I  bear  sons 
And  daughters;  ye  bring  death,  but  I  raise  life; 
I  build  the  fruitful  home,  while  ye  breed  strife, 
Envy  and  fear ! 


THE  THEATRE   MAGAZINE    IN   ALASKA 

The  above  picture  shows  the  United   States  mail,  drawn  on    a    sleigh    by   a   team    of   dogs  arriving   at    the   Tanana 
post    office,   Alaska,    carrying   copies   of   THE   THEATRE    MAGAZINE  for  military  subscribers  stationed  at   Fort  Gibbon 


The  men,  unable 
to  battle  equally 
with  words,  resort 
to  force  of  arms. 

Physical  force, 

Basis   of  government. 

True  source  of  con- 
sent 

Men  yield  to  law ; 

Can  she  summon  to 
her  aid 

The  expletives  and 
the  explosives 

Needful  for  moving 
one's  inferiors, 

And  modifying  by 
their  hard  corro- 
sives 

The  stubborn  and  re- 
calcitrant exteriors 

Of  this  hard-crusted 
world? 

Shall  I  resign  my 
place  to  woman? 


To  whose  care  we  give 

Our  homes,  our  wealth,  our  children,  and  who  live 

Only  by  our  consent? 


PIT 


ft 


Jfi 


I 


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FLORENCE    ROCKWELL    AS    LADY    MACBETH 
This  talented  actress  is  appearing  this-  season  as  Robert   Mantell's  leading  lady 


1 92 


THE      THEATRE      MAGAZINE 


Chorus:    NO !    We  will  not  permit  it. 
3rd  Leader  of  the  Men: 

Shall    we   allow    the   sex-war — this 
attack 

Of  infamous  discontent 

Behind  our  back — 

On  man's  prerogative? 
Chorus:     NEVER! 
isl  Leader  of  the  Men: 

For     through     men's     heart     there 
runs  in  flood 

A   noble   and   a   natural   thirst    for 

blood. 
2d  Leader  of  the  Men: 

To  form  a  ring  and  fight ! 
3d  Leader  of  the  Men: 

To  cut  off  heads  at  sight ! 
4//i  Leader  of  the  Men: 

It  is  our  right ! 

Women  don't  understand  it. 
Chorus:     NO! 
1st  Leader  of  the  Men: 

But  if  we  grant  to  these   facilities 

For  doing  what  man  does — 
2d  Leader  of  the  Men: 

And  what  man  alone 

Has  any  right  to  do ! 
1st  Leader  of  the  Men: 

Aye,    even    one    small    handle    for 
their  own — 

T  hey  will  go  far  ! 
4th  Leader  of  the  Men: 

(With  action)   So,  take  we  each  a 
lorch, 

And,  thrusting,  let  it  scorch 

The  gaping  mouth,  the  giddy,  gab- 
bling tongue, 

The— 

And  there  ends  their  bravery. 
A  futile  pretense  of  attack  ends 
in  a  hasty  retreat,  for  as  the 
First  Leader  of  the  Women 
says: 

.  .  .  more  strong  are  we, 

We  women,  bound  in  deathless  fealty 

To  break  this  war.  Our  hands  shall 
hold  in  check 

Your  armaments  and  bow  the  stub- 
born neck  of  all  your  pride! 

Lysistrata,  "pale  and  sad  of  brow  and  heavy  with  discontent," 
now  enters  upon  the  scene.  The  women,  puffed  with  the  pride 
of  their  victory,  are  quite  nonplussed  to  hear  her  say, 

Woman's  weak  will  and  her  lascivious  ways 
O'erload  my  heart ! 

Her  reason  is :  "They  hanker  for  the  men !"  Many  have,  in 
modern  parlance,  proved  "quitters"  and  returned  home  on  such 
meagre  reason  as  that  they  must  keep  the  moths  out  of  the  fleece, 
comb  their  store  of  flax,  or  bring  succor  to  a  child  which  does 
net  exist ! 

It  remains  with  Myrrhina  to  show  how  strong,  how  determined 
a  woman  can  be  in  the  very  face  of  temptation.  Cynesias  and 
her  little  boy  have  come  to  fetch  her  home ;  they  plead  with  love, 
to  warm  her  mother-heart  and  bring  her  back  to  them: 

Have  you  no  pity  on  a  little  child? 
See  how  the  tangled  curls  have  all  run  wild 
For  lack  of  care ;  and  like  the  little  head. 
The  tender  body  goes  unwashed,  unfed ! 

To  which  Myrrhina  answers  tauntingly : 

Pity  it  is  when  fathers  so  neglect 
Their  children  ! 

She  tantalizes  him  prettily,  seeming  to  make  promises  only  to 
withdraw  all  hope  of  their  fulfillment.  As  she  leaves  him  Cy- 
nesias calls  out. 


Photo  (icrlach 


MANA 
Now  appearing  in  the 


Oh,  me!     Alas!     When  shall  I   find 

release 
From  all  these  torments? 

to  which  the  First  Leader  of  the 
Women  makes  answer : 

When  you  bring  us  peace. 

The  rebellious  women  and  the 
defenseless  men  are  again  as- 
sembled before  the  citadel  when 
a  herald  comes  from  Sparta, 
offering  peace,  for 

"Tis  the  desire  of  every  Spartan  man 
That  lacks  his  mate. 

But  the  Committeeman  only  re- 
gards him  with  the  superiority 
of  his  contempt  and  dismisses 
him.  But  it  is  not  long  before 
two  other  Spartan  ambassadors 
come  to  renew  the  offers,  and 
two  Athenians  arrive  with  the 
same  purpose  in  mind.  They 
call  for  Lysistrata  to  help  them, 
which  she,  bringing  Peace  with 
her,  does.  Then  there  is  danc- 
ing and  feasting,  of  course,  to 
express  the  great  rejoicing  as 
Lysistrata  restores  to  the  men 
their  sweethearts,  saying: 

Since  ye  have  made  peace,  do  ye  not 

deserve 
The    fruits   of    peace?      We   conquer 

hut  to  serve. 

Miss  Isobel  Merson,  who  is  a 
m  e  m  b  e  r  of  John  Kellerd's 
Shakespearean  company,  played 
the  leading  part  as  she  did  in 
London  last  year  when  Gertrude 
Kingston  opened  her  Little 
Theatre  with  this  production. 
The  demands  it  made  upon  her 
declamatory  powers  she  met 
adequately  and  with  sufficient 
variation  to  make  its  oratorical 
eloquence  interesting  and  human. 
.Much  credit  is  also  due  to  her  for  the  coaching.  To  Miss 
Florence  Gerrish,  an  amateur,  should  be  given  due  credit  for  a 
very  sympathetic  and  graceful  performance  in  the  part  of 
Myrrhina.  Of  the  men,  Mr.  E.  F.  Coward,  one  of  the  stars  of  the 
Amateur  Club,  who  took  the  part  of  the  Committeeman,  deserves 
special  commendation.  An  uncertainty  whether  their  parts  de- 
manded classic  or  modern  handling  marred  the  acting  of  several 
players  as  did  a  seeming  indefiniteness  in  instruction  for  the 
chorus.  The  dancing  at  the  end  of  the  performance  by  seven 
young  society  girls  and  Paul  Swan — who  bears  the  name  of 
"Tolaus,"  because  of  his  resemblance  to  a  Greek  god  and  danced 
in  a  baby  leopard  skin  that  gave  cause  to  the  good  suffragists  to 
sit  on  the  edge  of  their  chairs  and  be  shocked — this  seemed  a 
needless  concession  to  the  demands  of  Broadway. 

However,  all  in  all,  it  was  a  good  performance,  and  what  is 
best,  it  helped  the  cause  for  it  converted  two  antis  and  a  man. 
Moreover,  it  netted  a  goodly  sum  for  the  treasury.  E.  E.  v.  15. 


ZUCCA 

revival   of  "The  (ieisha 


For  the  first  time  in  his  career  of  twenty-five  years  under  the  manage- 
ment of  Charles  Frohman.  John  Drew  will  visit  Califonra  in  two  suc- 
cessive seasons  between  the  end  of  his  present  tour  in  "The  Perplexed 
Husband,"  and  the  end  of  the  next  theatrical  year.  An  elaborate  pro- 
duction of  Shakespeare's  ''Much  Ado  About  Nothing"  is  already  being 
prepared  for  Mr.  Drew's  use  next  season.  The  part  of  Benedict  will 
naturally  be  played  by  John  Drew,  and  negotiations  are  now  under  way 
for  a  contract  with  one  of  the  best  known  of  younger  American  actresses, 
though  not  a  star,  for  the  role  of  Beatrice. 


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VI 


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LOVE 


(A  Namelesa  Sentiment) 


With  a  Preface  in  Fragments  from  STENDHAL 


Translated  from  1ht  French  by  HEJfKy  PEJVE    W   "BOIS 

This  is  the  romance  in  letters  of  a  man  and  a  woman,  extremely  intelligent 
and  accustomed  to  analyzing  themselves,  as  Stendhal  and  Paul  Bourget  would 
have  them  do.  They  achieved  this  improbable  aim  of  sentimentalist  love  in 
friendship.  The  details  of  their  experience  are  told  here  so  sincerely,  so 
naively  that  it  is  evident  the  letters  are  published  here  as  they  were  written, 
and  they  were  not  written  for  publication.  They  are  full  of  intimate  details  of 
family  life  among  great  artists,  of  indiscretion  about  methods  of  literary  work 
and  musical  composition.  There  has  not  been  so  much  interest  in  an  individual 
work  since  the  time  of  Marie  Bashkirsheff's  confessions,  which  were  not  as 
intelligent  as  these. 


Franclsque  Sarcey.  in  Lc  Figaro,  said: 


the  letters  were  reinforced,  if  one  may  use  this  expression.     I  like  the  book,  and  it  seems  to  me  it  will 
have  a  place  in  the  collection,  so  voluminous  already,  of  modern  ways  of  love." 


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Some  Spring  Plays  in  Paris 

(Continued  from  page   170) 


that  you  committed  a  crime  against  love.  There, 
I  promised  not  to  make  a  scene,  and  I'm  be- 
ginning one.  I  beg  your  pardon. 

Kamensky :  How  can  a  man  help  a  little  feeling 
of  dread  when  it  is  so  easy  for  you  to  become 
violent? 

Fedosia:  What!  When  something  that  I  have 
to  say  to  you  can't  be  said  gently.  .  .  . 

Kamensky:   What  is   it?     Try. 

Fedosia :  When  your  mother  made  us  marry 
you  said  to  her.  .  .  .  "I've  wronged  this  girl,  to 
repair  it  I  shall  marry  her,  then  I'll  quit  her." 
You  gave  me  your  name,  your  title,  and  gener- 
ously, your  money.  But  was  that  reparation? 
You  should  have  instructed  me  since  you  thought 
I  was  your  inferior.  You  didn't  do  it — but  con- 
sciously, with  premeditation  you've  degraded  me, 
you've  tried  to  degrade  me.  Then  you  ran  away 
— to  crown  all !  You've  fulfilled  I  don't  know 
what  social  duty,  but  you've  failed  in  your  moral 
duty.  Listen  to  me,  Serge,  you  have  failed ! 

Kamensky :   My  dear,  that  tone ! 

Fedosia :  Oh,  well,  I've  said  it,  I've  got  it  off 
my  mind.  (Smiling)  It  was  precisely  to  tell  you 
this  that  I  arranged  this  meeting. 

Kamensky:  If  you  feel  relieved  I  am  glad  I 
failed  to  avoid  it.  Now. 

(He  kisses  her  hand  in  farewell.) 

Fedosia:  Where  are  you  going? 

Kamensky :  Home. 

Fedosia:  To  the  hotel? 

Kamensky :  Of  course. 

Fedosia:  That  was  natural  before  you  knew 
that  you  were  a  proprietor  of  a  Venetian  palace, 
but  now  you  won't  affront  me  by  returning  to- 
night to  the  Danieli. 

Kamensky:  Where  do  you  wish  me  to  go? 

Fedosia:  Home — with  me. 

Kamensky:  Are  you  crazy?  Don't  you  know 
that  I  can't  do  what  you  propose? 

Fedosia:   Why? 

Kamensky:  Put  it  that  I'm  afraid. 

Fedosia:  So  be  it.  But  to-morrow?  Come  to 
breakfast  with  me? 

Kamensky:  What  is  the  use? 

Fedosia  (in  a  low  voice)  :  Aren't  you  curious? 

Kamensky:   What  about? 

Fedosia:  Nothing.  You  have  no  curiosity.  You 
amuse  yourself,  yes,  that's  the  word,  by  teaching 
a  woman  something  and  you  run  away  before 
finding  out  if  she  has  profited  by  your  instruction. 
To-morrow? 

Kamensky:  I  don't  know.     Perhaps.     Adieu. 

Fedosia:   Adieu. 

(She  makes  a  gesture  of  rage  behind  his  back.) 

WILLIS  STEELL. 

GREAT  BEAR  SPKING  WATER 
50  cts.  per  case— 6  glass-stoppered  bottles 

Victor  Records 

Caruso  Sings  a  New  "Rigoletto"  Solo — Rigo- 
letto,  Parmi  veder  le  lagrime  (Each  Tear  That 
Falls),  Verdi. 

This  melodious  number,  which  has  been  much 
neglected  in  American  performances  of  the  opera, 
being  usually  omitted,  occurs  at  the  opening  of 
Act  II. 

An  Ave  Maria  with  Obbligato  by  Elman — Ave 
Maria,  Percy  B.  Kahn. 

A  most  effective,  serious  composition  by  that 
skillful  pianist  and  composer,  Percy  B.  Kahn,  who 
is  well  known  to  Victor  owners  for  the  sympa- 
thetic accompaniments  to  the  Victor  Elman  rec- 
ords. 

A  German  Folk-Song  by  Schumann-Heink— 
Spinnerliedchen  (Spinning  Song),  Reimann. 

Mme.  Schumann-Heink's  list  of  German  folk- 
songs and  lullabies  is  further  increased  this  month 
by  a  charming  little  Spinning  Song  by  Heinrich 
Reimann,  the  well-known  composer  and  teacher 
of  Berlin. 

An  English  Song  by  Gluck— Song  of  the  Chimes 
(Cradle  Song). 

A  beautiful  berceuse  by  Lola  Worrell,  just 
published  by  the  White-Smith  Company,  which 
Mme.  Gluck  has  been  using  in  her  concerts  with 
great  success. 

The  subdued  notes  of  the  distant  chimes,  in- 
troduced in  the  accompaniment,  produce  a  pecu- 
liarly impressive  effect. 

Clement  Sings  'The  Palms" — Les  Rameaux, 
Faure. 

Faure's  noble  song  of  the  Resurrection  is  now 
issued  by  the  Victor  for  the  first  time  in  the 
original  language,  or  tenor  voice,  and  the  record 
is  a  notable  one.  Advt. 

"The  Workhouse  Ward,"  by  Lady  Gregory,  one 
of  the  most  comic  of  the  one-act  plays  in  the  rep- 
ertoire of  The  Irish  Players  during  their  Ameri- 
can tours,  is  to  be  played  in  vaudeville  this 
summer. 


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Legitimate  Dramatic  Star 

(Continued  from  page   174) 


into  the  history  of  Egypt,  into  museums  to  get 
an  idea  of  costume  and  jewelry,  and  then  I  had 
all  the  fun  of  designing  my  clothes  for  the  part. 
You  see,  there  had  to  be  some  modifications,  for 
the  dress  of  the  women  of  the  time  of  Joseph, 
especially  such  a  radical  lady  as  Zuleika,  isn't 
exactly  fitted  to  stage  production.  The  general 
characteristics  are  there  though,  even  to  the 
jewels  for  each  costume.  Those  I  change  for 
every  different  dress,  armlets,  rings  and  brace- 
lets, and  you  should  see  my  hands.  There  are 
scars  and  scratches  all  over  them.  The  art  of 
personal  adornment  had  its  drawbacks  for 
Egyptian  ladies,  plainly. 

Hunting  out  these  little  details  is  just  another 
attraction  in  the  work  as  a  whole.  History  has 
a  fascination  for  me.  I  don't  mean  the  dry-as- 
dust  facts  and  figures  in  school  books  and  en- 
cyclopedias, but  the  dressed-up  sort  where  there 
is  a  real  story  attached  to  it.  When  I  was  with 
Mme.  Simone,  the  history  of  the  time  of  Marie 
Antoinette  required  some  study  on  my  part,  and 
long  after  the  play  had  ended  I  was  still  reading 
it.  I  enjoyed  it  too.  What  is  more,  study  of 
history  contemporary  with  the  period  of  the  play 
is  a  great  help.  It  all  gives  such  an  insight  into 
the  time  that  is  shown  on  the  stage  and  makes 
it  so  much  easier  to  enter  right  into  the  spirit 
of  that  time  and  play  it  naturally. 

Next  to  history,  I  think  that  I  would  rather 
read  Shakespeare  than  anything  else.  I've  always 
wanted  to  play  some  one  of  his  women,  and  I 
have  studied  them  carefully  in  the  hope  that  a 
chance  will  come.  Meanwhile,  I  am  Zuleika  every 
minute  of  the  time  that  I'm  in  the  theatre. 

Outside,  here  in  my  home,  I  forget  her  in  my 
other  interests.  It's  very  necessary,  I  believe,  to 
do  that,  for  then  I  can  take  her  up  when  the 
time  comes,  with  all  the  freshness  that  a  hard 
role  requires.  The  days  are  quiet.  They  have 
to  be,  if  I  want  to  keep  my  health,  but  I  don't 
call  in  the  aid  of  a  lot  of  fads.  I  love  to  walk 
and  that  is  one  of  the  best  things  anyone  can  do 
to  keep  well.  Anything  that  is  out  of  doors  ap- 
peals to  me,  though.  As  for  the  rest,  it  is  only 
common-sense  attention  to  such  things  as  diet 
and  plenty  of  sleep  that  I  have  to  watch  out  for. 
I  have  my  books  and  my  music,  and  some  days 
I  sing  to  my  heart's  content  until  I'm  tired.  And 
above  all  things  I  have  a  sense  that  I  have  won 
success,  and  that  makes  for  happiness  and 
general  well  being,  too,  I  suppose.  But  some- 
times I  wonder  how  different  my  life  would 
have  been  if  that  telephone  hadn't  rung. 


Books   Received 

THE  SIXTY-FIRST  SECOND.  By  Owen  Johnson. 
Illustrated.  New  York,  Frederick  A.  Stokes  Com- 
pany. 

THE  BISHOP'S  PURSE.  By  Cleveland  Moffett 
and  Oliver  Herford.  Illustrated.  New  York, 
D.  Appleton  &  Company. 

THE  FLIRT.  By  Booth  Tarkington.  Illustrated. 
Garden  City,  New  York,  Doubleday,  Page  & 
Company. 

A  TURKISH  WOMAN'S  EUROPEAN  IMPRESSIONS. 
By  Zeyneb  Hanoum.  Illustrated.  Philadelphia, 
J.  B.  Lippincott  Company. 

COMRADE  YETTA.  By  Albert  Edwards.  New 
York,  Macmillan  Company. 

THE  VARIORUM  EDITION  OF  SHAKESPEARE.  Ed- 
ited by  Horace  Howard  Furness,  Jr.  Phila- 
delphia, J.  B.  Lippincott  Company. 


New  Dramatic  Books 

LUCKY  PEHR.  By  August  Strindberg.  Trans- 
lated by  Velma  Swanston  Howard.  Stewart  and 
Kidd  Company,  Cincinnati.  $1.50  net. 

THERE  ARE  CRIMES  AND  CRIMES.  Translated 
by  Edwin  Bjoerkman.  Charles  Scribner's  Sons, 
New  York.  75  cents  net. 

Strindberg's  plays  and  writings  generally  are 
fast  finding  publication  in  America.  That  he  is 
an  interesting,  intellectual  force  cannot  be 
doubted,  and  these  publications  will  receive  at 
tention.  The  Scribner  volume  has  an  interesting 
preface. 

OPERA  STORIES.  By  Filson  Young.  Henry 
Holt  and  Company,  New  York. 

The  simple  synopsis  of  plays  and  operas  is 
useful  enough  for  reference  on  occasion,  and 
there  is  a  demand  for  books  of  the  kind ;  but 
there  is  a  difference  in  quality  and  readability, 
according  as  the  work  is  done  perfunctorily  or 
with  spirit  and  literary  skill.  Mr.  Young  has 
done  his  work  well  and  makes  entertaining  read- 
ing of  his  stories  of  "Faust,"  "Carmen  The 
Magic  Flute,"  "Don  Giovanni,"  "Aida,'  "Madam 
Butterfly,"  "The  Bohemians,"  "Cavallena  Rus- 
ticana."  "Pagliacci,"  and  "Hansel  and  Grctel. 


The  Voice  of  Reconstruction 


When  a  flood  sweeps  over  a  vast 
area,  desolating  the  cities  and  towns 
which  lie  in  its  course,  the  appeal 
for  assistance  gets  a  unanimous  re- 
sponse from  the  whole  country. 

With  all  commercial  and  social 
order  wiped  out,  an  afflicted  com- 
munity is  unable  to  do  for  itself.  It 
must  draw  upon  the  resources  of 
the  nation  of  which  it  is  a  part. 

In  such  an  emergency,  the  tele- 
phone gives  its  greatest  service 
when  it  carries  the  voice  of  distress 


to  the  outside  world,  and  the  voice 
of  the  outside  world  back  to  those 
suffering. 

At  the  most  critical  time,  the  near- 
est telephone  connected  and  work- 
ing in  the  Bell  System  affords  instant 
communication  with  distant  places. 

And  always  the  Bell  System,  with 
its  extensive  resources  and  reserve 
means,  is  able  to  restore  its  service 
promptly,  and  in  facilitating  the 
work  of  rebuilding,  performs  one 
of  its  highest  civic  functions. 


AMERICAN  TELEPHONE  AND  TELEGRAPH  COMPANY 
AND  ASSOCIATED   COMPANIES 

Every  Bell  Telephone  is  the  Center  of  the  System 


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A  Delightful  Party 

An  Interesting  Play 

An  Enjoyable  Evening 


With  the  Play  Diary  these  pleasures  do  not  end  with  the  evening. 

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silk  cloth.  Japanese  vellum  used  throughout  and  gold  lettering  on 
the  covers.  It  contains  80  pages  with  title  page  and  index. 

Four  pages  are  reserved  for  each  play— with  printed  headings 
for  the  date,  name  of  the  theatre,  the  play,  a  place  for  the  Programme, 
names  for  the  members  of  the  party,  two  pages  for  illustrations,  a  page 
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The  Divine  Sarah   Again 

(Continued   from   page   Ifi6) 


many  different  branches  of  art  and  succeeded. 
Her  painting,  her  sculpture,  have  been  admired 
independently  of  the  signature.  She  has  exhibit- 
ed in  the  Paris  salons  and  won  prizes.  Her 
writing  is  easy  and  elegant;  her  style  flows  in 
poetically  chiselled  arabesques,  with  pretty 
thoughts  set  in  like  little  gems.  And  her  great 
love  for  beauty  shines  unwaveringly  through  all 
she  does. 

Her  love  of  beauty,  and  her  love  of  life  in  all 
its  manifestations.  Animals  are  her  delight. 
And  although  she  has  abandoned  snakes  and 
panthers,  she  always  has  some  sort  of  pets  about 
her,  and  their  health  and  welfare  preoccupy  her 
greatly.  There  is  a  big  mother  heart  in  the  divine 
tragedienne's  breast — a  craving  to  care  and  to 
protect.  All  the  members  of  her  company  are 
her  children.  She  thinks  of  each  one's  comfort 
and  is  continually  on  the  lookout  for  some  happy 
little  surprise  to  make  them.  Of  course,  they 
all  worship  Madame  and  stand  by  her  like  faith- 
ful soldiers,  eager  to  read  her  wishes  from  her 
lips  and  helping  her  devoutly  to  gather  all  her 
wreaths  of  laurel.  The  work  with  her  is  hard 
and  strenuous,  but  how  could  they  think  of  com- 
plaining, since  Madame  herself  works  harder 
than  all  of  them  put  together.  Work,  uninter- 
rupted activity,  have  been  the  strengthening  and 
preserving  factors  in  this  wonderful  woman's 
life.  They  have  carried  her  to  the  heights  of 
fame  and  glory;  they  have  given  her,  above  all, 
an  inward  feeling  of  happiness  that  irradiates 
her  delicate  features  with  ever-youthful  loveli- 
ness. 

And  if  you  want  to  know  what  Sarah  Bern- 
hardt's  program  is,  hear  it  with  her  own  words: 

"Tailler  les  pierres  precieuses  fournies  par  les 
poetes." 

FRANCES  C.  FAY. 


Night  That  Lincoln  Was  Shot 

(Continued  from  page   180) 


"  'Oh,  that  explains  things !'  he  ejaculated  with 
a  smile,  and  then  told  me  of  Miss  Hart's  mis- 
adventure, adding  that  he  had  kept  her  under 
strict  watch  since  her  arrest  so  that  she  could 
not  communicate  with  anyone,  and  hence  my 
story  must  be  correct,  as  she  had  given  the  same 
account.  He  went  immediately  to  the 'prison  and 
released  the  young  woman. 

"The  mistake  of  the  negroes — who  had  added 
the  part  about  the  conspiracy  talk  from  their 
imaginations,  as  negroes  will — was  not  without 
reason.  Booth  and  I,  as  I've  said,  were  much 
alike.  That  morning,  I  wore  a  hat  identical  in 
appearance  with  the  one  Booth  was  wearing,  and 
also  the  same  sort  of  cape  cloak  he  wore;  what 
was  known  in  those  days  as  a  Talma.  H'ence 
the  negroes,  who  had  seen  Booth  oftentimes  at 
the  stables,  mistook  me  for  him." 

Mr.  Emerson  was  born  in  Alexandria,  Vir- 
ginia, on  December  27,  1837.  His  first  appearance 
on  the  stage  was  with  a  dramatic  club  of  that 
city  in  Otway's  "Venice  Preserved." 

"I  remember  telling  our  negro  orchestra  of  two 
fiddles  and  a  clarionet  to  play  some  appropriate 
music  when  the  curtain  fell  on  the  tragedy,"  said 
Mr.  Emerson  with  a  smile. 

"  'All  right,  boss,'  said  the  leader,  'We  knows.' 
And  when  the  curtain  fell  on  the  awful  tragedy 
they  merrily  struck  up,  'Hail  Columbia!'  He 
evidently  thought  I  meant  patriotic  music." 

For  some  years  he  played  in  the  theatres  of 
Washington  and  the  Southern  cities.  After  the 
assassination  of  Lincoln,  he  retired  for  a  short 
time,  to  reappear  in  Washington,  at  Oxford  Hall, 
as  Landry  Barbeaud  in  "Fanchon."  Later,  he 
went  to  New  York  and  played  at  the  old  Broad- 
way Theatre,  then  under  the  management  of 
John  E.  McDonough,  his  principal  role  being 
Arthur  Stunner  in  the  "Seven  Sisters."  After 
that  he  played  at  the  Walnut  Street  Theatre,  in 
Philadelphia,  which  was  then  under  the  manage- 
ment of  Edwin  Booth  and  his  brother-in-law, 
John  Sleeper  Clarke. 

He  then  retired  permanently  from  the  stage 
and  took  the  management  of  the  Lynchburg 
Theatre,  in  Virginia,  which  he  held  for  twenty- 
seven  years.  Returning  then  to  Washington,  he 
went  into  the  mercantile  business  with  Julius 
Lansbur,  until  ten  years  ago  he  organized  the 
Emerson  Art  Glass  Company,  dealing  in  all  kinds 
of  stained  glasswork.  In  this  business,  despite 
his  years,  he  is  still  prosperously  engaged.  With 
his  side  whiskers,  one  can  imagine  that,  with 
small  make-up,  he  might  even  now  go  upon  the 
stage  and  take  the  part  of  Lord  Dundreary, 
which  was  so  tragically  interrupted  nearly  two 
generations  ago.  JOHN  S.  MOSBY,  JR. 


AMERlCA'sOnLYGEYSERlAIlD 


Yellowstone 
National  Park 

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Summer  term 
Connected  with  Mr.  Charles  Frohman'i  Empire  Theatre  and  Companies 

Recognized  as  the  Leading  Institution 
for    Dramatic   Training   in   America 


BOARD  OF  TRUSTEES 
Franklin  H.  Sargent,  President 
Daniel  Frohman  John  Drew 

Benjamin  F.  Roeder  Augustus  Thomai 


Founded 
la  1884 


For  catalog  and  information 
•pply  to  the  Secretary 

Room  152.  Carnegie  Hafl 
New  York 


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users  of  that  great  beantific. 

— LABLACHE.  It  prevents 

that   oily,  shiny    appear. 

ance.     It   is    cooling, 

refreshing,  harmless. 

Refute  Substitutes 
They  may  be  dangerous.  Flesh, 
White,  Pink  or  Cream,  60o.  a  boi 
of  drue-frists  or  by  mall.     Over 
two  million  boiea  sold  annually. 
Send  We.  for  a  sample  box, 

BEN.  LEVY  CO.  •_ 

frenrh  Perfumers,    Dept.  26  ~ 
126  Kingston  St.,  Boston,  Mass. 


THE    NEW    PLAYS 

(Continued  from  page  103) 


When  the  detective  goes  out  in  pursuit  of  her  pal 
it  is  seen  that  she  has  given  him  a  different  box 
from  the  one  containing  the  necklace.  She  tele- 
phones to  her  pal  and  is  presently  to  rejoin  him. 
The  whole  value  of  such  a  little  play  could  only 
be  in  the  treatment. 


WALLACK'S.  "MAID  IN  GERMANY."  Musical 
comedy  in  two  acts  by  Darrell  H.  Smith,  Edwin 
M.  Savino  and  Charles  Gilpin.  Produced  on 
April  26th  with  this  cast: 

General  Weber,  D.  E.  Rorer;  Frederick  Weber,  J.  B. 
French;  Dr.  Emile  Montaine,  J.  H.  McFadden,  Jr.;  Vad- 
ka  R-adavaskawitch,  B.  B.  Reath;  Lydia,  R.  G.  Morris; 
Clarice,  D.  A.  Hogan;  Hans  Slick,  W.  T.  Towneley; 
Fritz,  T.  R.  Merrill;  Herbert  Sterling,  C.  H.  Bannard, 
Jr.;  Gladys  Sterling,  Thomas  Hart;  A  Chauffeur,  G.  H. 
Wisner;  Hulda,  W.  M.  Wright. 

For  twenty-five  years  now  The  Mask  and  Wig 
Club,  the  undergraduate  dramatic  organization  at 
the  University  of  Pennsylvania,  has  been  making 
productions.  Recently  it  has  renewed  its  visits 
to  this  city,  and  in  April  gave  two  performances 
at  Wallace's  that  were  models  of  their  kind.  In 
fact  it  is  not  slopping  over  to  say  that  for  surety 
of  stage  management,  ingeniousness  of  evolution 
and  rapidity  and  nicety  of  accomplishment,  few 
professional  productions  of  the  season  could 
measure  up  to  the  standard  it  set.  It  was  alto- 
gether a  splendid  and  enjoyable  entertainment. 
There  was  a  good  book,  with  a  real  story,  ex- 
pressed in  humorous  and  witty  dialogue,  a  tin- 
kling, jingling  score  that  was  familiarly  tuneful, 
handsone  costumes  and  elaborate  scenery.  But  it 
was  the  snap  and  go  of  the  performance  that 
made  it  what  it  was. 

The  big  cast  was  excellent  in  every  respect,  but 
J.  H.  McFadden,  Jr.,  B.  B.  Reath,  R.  G.  Mor- 
ris and  W.  T.  Towneley  deserve  high  praise  for 
work  of  a  superlative,  professional  character. 


ASTOR.  "Quo  VADIS."  This  remarkable  mov- 
ing picture  exhibit  is  probably  the  most  ambitious 
photo-drama  ever  shown  on  an  Ameriacn  screen. 
The  pictures,  which  were  made  in  Italy,  have  all 
the  elaboration  and  artistic  finish  to  the  smallest 
detail  that  mark  foreign  made  films,  and  the  mise- 
en-scene  is  masterly  and  magnificent.  The  story, 
based  on  the  well-known  book  by  the  famous 
Polish  author,  Sienkiewicz,  is  amply  provided 
with  sensational  thrills  and  follows  the  novel 
pretty  closely.  The  original  production  was  on  a 
lavish  scale,  the  tableaux  all  being  of  sumptuous 
splendor,  while  the  company,  of  exceptional  size 
and  ability,  comprises  several  hundreds  of  players. 
Noteworthy  among  the  many  spectacular  scenes 
are  the  burning  of  Rome,  the  banqueting  and  at- 
tendant orgies  of  the  court  of  Nero,  the  chariot 
races  and  battle  of  the  gladiators  in  the  arena,  and 
the  massacre  of  the  Christians  by  the  lions.  The 
latter  scene,  especially,  is  one  of  remarkable 
realism,  the  effect  having  been  obtained,  doubt- 
less, by  means  of  a  double  exposure.  The  effect 
is  so  real  as  to  bring  gasps  of  horror  from  the 
spectators.  "Quo  Vadis"  assuredly  reaches  a  cli- 
max in  moving  picture  art — it  is  verily  a  master- 
piece of  the  "movies." 


LONGACRE.  "ARE  You  A  CROOK?"  Farce  in 
three  acts  by  William  J.  Hurlbut  and  Frances 
Whitehouse.  Produced  on  May  ist  with  this  cast: 

Butler,  Harry  Barefoot;  Mrs.  Finch,  Elita  Proctor 
Otis;  Bessie  Livingston,  Elizabeth  Nelson;  William 
Chandler,  Scott  Cooper;  Julius  Gildersleeve,  Joseph  Kil- 
gour;  Amy  Herrick,  Marguerite  Clark;  Arthur  Daly, 
Forrest  Winant;  Fanny  Fuller,  Ivy  Troutman;  Ray 
Archer,  Harry  Stockbridge;  Mr.  Conway,  George  Faw- 
cett;  Mrs.  McKey,  Marion  Ballou;  First  Policeman, 
Robert  Taller;  Second  Policeman,  Malcolm  Lang. 

It  is  a  pity  that  after  having  built  such  a  really 
beautiful  and  commodious  playhouse  as  the  Long- 
acre  that  manager  H.  H.  Frazee  didn't  have  some- 
thing a  little  better  than  "Are  You  a  Crook?" 
with  which  to  open  it.  It  is  a  question  as  to 
whether  the  metropolis  needs  any  more  theatres, 
but  if  it  must  be  it  is  fortunate  that  those  who 
build  them  should  be  endowed  with  such  a  nice 
sense  of  that  which  conduces  to  the  public's  com- 
fort, and  such  good  taste  as  well  as  this  new- 
comer in  local  theatricals  would  seem  to  possess. 

The  Longacre,  situated  on  48th  Street,  West 
of  Seventh  Avenue,  has  a  classic  facade  and  an 
interior  of  white,  mauve  and  gold.  The  lines  are 
sweeping  and  yet  it  has  that  intimate  sense  so 
desired  in  the  modern  playhouse.  Particularly 
graceful  is  the  arrangement  of  the  boxes  and  the 
proscenium  arch,  while  the  curtain  in  its  richness 
and  delicacy  of  shade  is  truly  beautiful.  W.  J. 
Hurlbut  and  Frances  Whitehouse  are  the  authors 
of  this  farce  which  earlier  in  the  season  was  tried 
put  under  another  title.  It  contains  a  capital 
idea  for  a  snappy,  bustling  farce,  although  the 


The  Coast  Line  to  Mackinac 


Unsurpassed 
Dining  Service 


That's  one  of  the  features  that  make  a  lake  trip  on  the  D.  &  C. 
lines  so  thoroughly  enjoyable.  Large,  roomy,  well-ventilated  dining- 
rooms,  elegant  in  appointment,  unsurpassed  in  service.  Cuisine  in 
charge  of  an  expert  chef.  And  the  best  part  is  that  the  lake  breezes 
will  always  put  a  keen  edge  on  your  appetite.  The  scene  above 
shows  the  dining  room  on  Str.  City  of  Detroit  III,  located  on  the 
main  deck.  Everything  has  been  provided  for  your  comfort  on  our 
ten  palatial  liners. 


The  Water  Way 

Daily  Service  between 

Buffalo,  Detroit,  Cleveland  &  Mackinac; 


"Eat  a  D.  &  C.  Meal  and  Contented  You'll  Feel" 

Our  latest  and  largest  steamer.  City  of  Detroit  III,  operating 
between  Detroit  and  Buffalo,  has  fiOO  staterooms,  25  parlors  equipped 
with  baths,  electric  fans,  hot  and  cold  running  water  and^thermos 
bottles;  50  semi-parlors  with  private  toilets,  telephones  in  every 
stateroom,  private  verandas,  modern  ventilating  system  through- 
out insures  cool  inside  rooms. 

Excellent  dining  service,  cozy,  inviting.  Smoking  rooms,  writ- 
ing rooms,  drawing  rooms,  imported  Orchestrion,  perfect  attend- 
ance with  maids  for  the  ladies.  All  modern  Safety  Devices 
Complete  ami  Approved  l>y  U.  S.  Government. 

Your  Kailrond  Tickets  Are  Good  on  D.  &  C.  steamers 
between  Detroit  and  Buffalo,  Detroit  and  Cleveland,  either  direction. 
Information  regarding  rates  and  time  tables  upon  request.  Prompt 
connections  with  railroads  for  all  principal  cities.  For  illustrated 
booklet  and  map  of  Great  Lakes,  write,  including  2-cent  stamp,  to 

Detroit  &  Cleveland  Navigation  Co. 

PHILIP  H.  McMILLAN,  Pres.  .A                             52  Wayne  St. 

A.  A.  SCHANTZ,  WW                         ncTDAlT     MIPH 

Vice-Pres.  and  Gen.  Mgr.  DETROIT,   MICH. 
L.  G.  LEWIS,  Gen.  Pass.  Agt. 


The  Man  who  put  the 
EEsinFEET 


Trade- Mark. 


Look  for  This  Trade-  Mark 

Picture  on  the  Label 

when  buying 

MIEN'S  FOOT=EASE 

The  Antiseptic  Powder  to  be  shaken  into  the 
shoes  for  Tender,  Aching,  Swollen  Feet.  The 
standard  remedy  for  the  feet  for  a  Quarter 
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ALLEN  S.  OLMSTED,   Lc  Roy,  N.  Y. 


ProK  I.  Hubert's 

MALVINA 

CREAM 


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THE      THEATRE      MAGAZINE      ADVERTISER 


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for  a  sample  cake 

We  know  that  if  you  once  look  through 
this  pure  transparent  soap,  smell  its  delicate  perfume. 
and  feel  its  rich,  creamy  lather  on  your  face,  you  will 
never  again  be  satisfied  with  any  toilet  soap  less  pure 
and  perfect. 


insures  a  soft,  clear,  beautiful  skin.  Three  generations 
of  refined  women  of  both  sides  of  the  Atlantic  have 
proven  its  merits. 

Sold  in  every  country  where  beauty  is 
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For  a  sample  trial  cake  send  zc.  stamp  today  to 

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Another  of  the  many  No.  4711  Toilet  Preparations 
that  will  delight  you  is  the  famous  So.  4711  Fan  do 
Cologne,  made  in  the  ancient  city  of  Cologne  since 
1792.  Sold  by  good  dealers  the  world  over. 

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U.  S.  Branch,  Mulhens  &  Kropff,  New  York 


ALVIENE  SCHOOL  OF 

SIM  ARTS 

Musical  Comedy  ,<•*  Static  Dancmo 


Now  twentieth  year  at  Grand  Opera  House  Bldg., 
Cor.  23d  St.  and  8th  Ave.,  New  York.  Our  Students 
Stock  Company  and  Theatre  assure  practical  training. 
New  York  Appearances  and  Engagements.  Such  cele- 
britiei  as  Miss  Laurette  Taylor,  Gertrude  Hoffmann. 
Ethel  Levy,  Pauline  Chase,  Harry  Pilcer,  Julia  Opp, 
Anna  Laughlin,  Joseph  Santly,  Barney  Gilmore,  Mile. 
Dazie,  etc.,  taught  by  Mr.  Alviene.  For  information 
and  illustrated  booklet  of  "How  Three  Thousand  Suc- 
ceeded," address  the  SECRETARY.  Suite  10  as  above. 


Ask  Your  Milliner 

to  show  you  the 
Quarterly 

Millinery 
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In    all    Up-to-I>ate    Millinery   Showrooms 


Mode  to  order— to  exactly  match 
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"You  select  the  color— we'll  make 
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to  16  feet.  Any  length.  Any  color 
tone— spft  and  subdued,  or  bright 
and  striking.  Original,  individual, 
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STATEMENT  OF  THE  OWNERSHIP,  MANAGE- 
MENT, CIRCULATION,  ETC.,  OF  THE  THEATRE, 
published  monthly  at  8  West  38th  Street,  at  New  York 
City,  N.  Y.,  required  by  the  Act  of  August  84,  1918. 
Editor,  Arthur  Hornblow,  8  West  38th  Street,  New 
York  City.  Publisher,  THE  THEATRE  MAGAZINE 
CO.,  8  West  38th  Street,  New  York  City.  Owners: 
Mr.  Henry  Stern,  314  West  102d  Street,  New  York 
City;  Mr.  Louis  Meyer,  8  West  38th  Street,  New  York 
City;  Mr.  Paul  Meyer,  8  West  38th  Street,  New  York 
City.  Known  bondholders,  mortgagees  and  other  se- 
curity holders,  none.  Signed  by  Louis  Meyer,  Pub- 
lisher. Sworn  to  and  subscribed  before  me  this  2d  day 
of  March,  1913.  GEORGE  H.  BROOKE,  Notary  Pub- 
lic, New  York  County.  Commission  expires  March  oO, 
1914. 


elemental  thought  is  really  satrical.  It  is  a  trav- 
esty on  the  prevailing  dramatic  mania  for  the 
stars  of  the  underworld,  the  crooks  of  every 
description  from  the  "dip"  to  the  "gunman." 

A  young  woman,  Amy  Hcrrick,  a  poor  relation, 
has  become  so  infatuated  with  the  thieving  idea 
that  she  dresses  up  as  a  boy,  holds  up  an  auto- 
mobile and  unknowingly  robs  one  of  her  aunt's 
friends  of  a  pearl  necklace.  The  necklace  is  a 
fake  one,  as  the  original  has  been  pawned  to 
provide  funds  for  the  political  campaign  of  the 
man  with  whom  the  owner  is  in  love.  Then  start 
the  complications,  a  young  novelist,  fascinated  by 
Amy,  tries  to  save  her  by  assuming  the  theft,  and 
in  his  apartment  in  Washington  Square,  a  most 
overdecorated  and  uncomfortable-looking  place; 
the  action  follows  with  detectives  real  and 
amateur  all  taking  part,  and  the  real  and  fake 
jewels  ^  constantly  changing  hands.  The  young 
woman's  reputation  is  finally  saved  and  some 
sort  of  explanation  is  eventually  arrived  at,  but 
situation  after  situation  seemed  to  just  miss  fire, 
and  the  whole  effect  was  one  of  disappointment, 
although  there  were  plenty  of  funny  and  witty 
lines  and  some  skill  evinced  in  the  delineation  of 
character.  One  fault  in  particular  which  worked 
against  complete  success  was  a  proper  want  of 
preparation.  The  play  had  not  been  sufficiently 
rehearsed.  Amy  was  very  charmingly  presented 
by  Marguerite  Clark,  whose  success  was  one  of 
personality  rather  than  characterization.  The 
honors  were  carried  off  by  Elita  Proctor  Otis  as 
a  social  vulgarian.  Her  work  was  a  triumph  of 
incisive  and  sustained  humor.  In  the  cast  Joseph 
Kilgour,  Forrest  Winant,  Ivy  Troutman  and 
George  Fawcett  also  figured  with  varying  effect. 


LYRIC.  "ARIZONA."  Play  in  four  acts  by 
Augustus  Thomas.  Revived  on  April  28th  with 
the  following  cast: 

Henry  Canby,  Rapley  Holmes;  Colonel  Bonham,  Wil- 
liam Farnum;  Sam  Wong,  John  Herne;  Mrs.  Canby, 
Jennie  Dickerson;  Estrella  Bonham,  Chrystal  Herne; 
Lena  Kellar,  Alma  Bradley;  Lieut.  Denton,  Dustin 
Farnum;  Bpnita  Canby,  Elsie  Ferguson;  Miss  MacCuI- 
lagh,  Phyllis  Young;  Dr.  Fenlon,  George  O'Donncll; 
Captain  Hodgtnan,  Walter  Hale;  Tony  Mostano,  Vin- 
cent Serrano;  Lieut.  Hallock,  J.  W.  Hartman;  Sergeant 
Kellar,  Oliver  Doud  Byron;  Lieut.  Young,  John  Drury; 
Major  Cochran,  Harry  S.  Hadfield;  Private  Quigley, 
Frederick  Kley. 

"Arizona,"  a  Brady  revival  at  the  Lyric  Thea- 
tre, stood  the  test  of  the  lapse  of  time  since  its 
success  here  a  few  years  ago.  Why  not?  This 
apprehension  that  time  will  tarnish  a  good  play 
is  a  curious  indication  of  the  unrest  and  the 
seeking  for  the  new  in  the  public  mind.  For- 
tunately, there  was  nothing  old-fashioned  in  the 
art  of  the  play,  something  that  provides  an  ex- 
cuse for  easy  laughter  at  some  of  these  revivals. 
The  story  of  Mr.  Thomas'  play  is  unimpaired 
by  any  change  of  taste  and  sentiment.  The 
players  provided  for  it  were  of  unusual  quality, 
the  opportunity  to  bring  them  together  at  the  fag 
end  of  the  season  being  a  fortunate  possibility. 
Miss  Elsie  Ferguson  as  Bonita,  with  her  love 
scenes  and  her  opportunities  for  the  display  of  a 
sweet  nature,  common  to  the  character  and  to 
herself,  was  a  happy  choice  for  the  part.  Miss 
Chrystal  Herne  was  Estrella,  the  wife,  about 
whom  the  action  swirled.  Mr.  Rapley  Holmes  as 
Henry  Canby,  Mr.  William  Farnum  as  Col.  Bon- 
ham, who  other  actors  of  well-known  efficiency, 
gave  the  performance  distinction. 


CENTURY— The  Angelini-Gattini  Opera 
Company,  of  Milan,  filled  an  engagement  of  sev- 
eral weeks  at  the  Century  Theatre.  The  artistic 
conscience  so  manifest  in  visiting  foreign  com- 
panies is  worthy  of  note.  The  stage  setting  is 
always  simple,  often  crude,  but  the  acting  and 
the  singing  show  rigid  training,  without  the  loss 
of  individuality.  The  audiences  were  largely 
composed  of  Italians.  The  general  patronage 
was  not  altogether  meagre,  but  the  company 
deserved  better  of  the  American  element.  The 
repertory  was  not  small,  and  the  company,  no 
doubt,  was  prepared  at  a  moment's  notice  to  pre- 
sent a  change  of  bill.  We  have  no  such  organ- 
ization with  us.  One  of  the  operas  produced 
was  Audran's  ''La  Cigale,"  with  Madame  Gattini 
as  Teresa  and  Angelini  as  the  Duke. 


COMEDY.  "HER  FIRST  DIVORCE."  Comedy 
in  three  acts  by  C.  W.  Bell.  Produced  on  May 
5th  with  the  following  cast : 

Jacobs,  Harry  Lillford;  Harry  Willmott,  Julian  L'Es- 
trange;  Ethel  Willmott,  Laura  Hope  Crews;  Delancey 
Rowe,  Allan  Pollock;  Clara  Rowe,  Ruth  Holt  Boucicault; 
Olga,  Adora  Andrews;  James  Broderick,  Harold  Russell; 
Miss  Cullen,  Crosby  Little. 

It  is  still  an  open  question  whether  it  is  better 
to  produce  a  tenuous  play  at  the  beginning  or  at 
the  fag  end  of  the  season.  But  one  _  fact  is 
pretty  well  established  and  that  is  that  in  these 
days  of  vital  competition  the  "fairly  good"  has 

GREAT  BEAK  SPRING  WATER 
60  eta.  per  caie-6  glass-stoppered  bottles 


Hundreds    of  violets    have 
contributed  their  sweetness 

to  the   purest   and   safest  of  infant   powders. 

We  have  added  to  our  powder  Nature's  most 
dainty  and  refreshing  perfume — the  scent  of 
sweet  violets.  If  you  pressed  the  very  essence 
of  the  flowers  themselves  over  your  skin, 
the' effect  could  not  be  more  delightful. 
Mennen's  Violet  Talcum  is  borated  and 
properly  medicated  so  that  it 

soothes  and  comforts  the  skin  and  relieves 
the  irritation  and  annoyances  due  to  per- 
spiration. 

It  relieves  the  rawness  and  charing  so  com- 
mon in  summer  and,  at  the  same  time, 
removes  the  unattractive  shine  produced 
by  perspiration. 

Dust  your  body  all  over  with  it  after  your  bath. 
Put  it  on  your  shields,  in  your  stockings,  etc. 
For  sale  everywhere,  25c,  or  by  mail  postpaid. 

Sample  postpaid  for  /  cents.  Address 
Gerhard  Mermen  Co.,  Newark,  N.  J. 

Mennen's  Violet 

Talcum  Toilet  Powder 

(Borated) 


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A  scientific  formula  for  the  reduction  of  excess 
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Cogswell's    Foot  Tonic 

Allays  inflammation,  reduces  swelling.  An 
excellent  remedy  in  the  treatment  of  chilblains 
and  inflamed  bunions.  Used  with  perfect 
safety  on  any  part  of  the  body.  Price  $1.00. 

A  delicate,  shell-like    pink    is  imparted  to  the  nails 
by  the  use  of 

Cogswell's  Sea  Shell  Tint 

It  remains  on  nails  for  days.     Price  50  Cents. 

'Personal  attention  of  Dr.  E.  N.  Cogsvell  given  all 
letters  requesting  information. 

DR.  E.  NTCOGSWELL 

418  Fifth  Avenue  New  York  City 

SURGEON-CHIROPODY  and, 
'EXPERT    MANICURING 


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WHERE'S  more  rea/  enjoyment?    The  shady  home- 
porch,  a  comfortable  chair,  a  good  cigar  or  pipe,  a 
congenial  friend,  and  a  cool,  refreshing  bottle  of 

Budweiser 


That  is  the  output  of  Budweiser. 

The  Anheuser-Busch  main  plant  and  branches 
give  employment  to  7,50O  people.  The  main  plant 
covers  142  acres,  equal  to  70  city  blocks.  There 
are  110  separate  buildings— a  city  in  themselves. 


Every  Week,  3,000,000  Bottles 


Hundreds  of  visitors  every  day  go  through  with 
guides  to  inspect  this  immaculate 
institution.     One  cannot  see  it 
without  the  conviction  that  qual- 
ity is  an  Anheuser-Busch  rule. 


Anheuser-Busch,  St.  Louis 


The  Largest  Plant  of  Its  Kind 
in  the  World 


Some  of  the  Principal 
Buildings 


Try  One  of  Our 
Dry  Varieties 


Martini — Regular 
Martini — Dry  (medium) 
Martini — Brut  (eery  dry) 
Manhattan — Regular 
Manhattan — Dry 


G.F.Heublein 

&  Bro. 
Sole  Prop's, 


TRAINSICKNOlFS 


Prevented  —  Stopped 

MOTHERSILL'S,  after  thorough  tests,  is  now  offi- 
cially adopted  by  practically  all  the  Great  Lakes 
and  New  York  Steamship  Companies  running 
South,  and  many  Transatlantic  lines. 

Four  years  ago  Mr.  Mothersill  gave  a  personal  demon- 
stration of  his  remedy  on  the  English  Channel,  Irish 
Sea,  and  the  Baltic,  and  received  unqualified  endorse- 
ment from  leading  papers  and  such  people  as  Bishop 
Taylor  Smith,  Lord  Northcliff,  and  hosts  of  doctors, 
bankers  and  professional  men.  Letters  from  personages 
of  international  renown — people  we  all  know — together 
with  much  valuable  information,  are  contained  in  an 
attractive  booklet,  which  will  be  sent  free  upon  receipt 
of  your  name  and  address. 

Mothersill's  is  guaranteed  not  to  contain  cocaine,  mor- 
phine, opium,  chloral,  or  any  coal-tar  products.  60-cent 
box  is  sufficient  for  twenty-four  hours.  $1.00  box  for  a 
Transatlantic  voyage.  Your  druggist  keeps  Mothersill's 
or  will  obtain  it  for  you  from  his  wholesaler.  If  you 
have  any  trouble  getting  the  genuine,  send  direct  to  the 
Mothersill  Remedy  Co.,  410  Scherer  Bldg.,  Detroit,  Mich. 
Also  at  19  St.  Bride  Street,  London;  Montreal,  New 
York.  Paris.  Milan,  Hamburg. _^_ 


little  chance  of  enduring  success  at  any  time  of 
the  year.  This  accounts  for  the  fate  which  befell 
C.  W.  Bell's  three  act  American  comedy,  "Her 
First  Divorce,"  which  recently  had  a  run  of  one 
week  at  the  Comedy  Theatre.  As  far  as  the  dia- 
logue went  it  was  quite  amusing.  But  unfortun- 
ately this  phase  of  its  merit  was  almost  entirely 
independent  of  the  situation,  and  so  the  piece 
lacked  that  cohesiveness  between  word  and  action 
that  make  for  farcial  or  comedy  effect. 

Against  her  husband's  wishes  a  woman  lawyer 
takes  a  case  for  divorce  which  her  friend  has 
brought  against  a  supposed  recreant  sponse.  The 
demon  jealously  is  roused  into  action,  and  after 
the  allotted  complications  have  been  raised  and 
laid  everything  is  brought  to  a  happy  conclusion. 

Laura  Hope  Crews  was  the  Portia,  a  role  she 
acted  with  considerable  vigor.  Julian  L'Estrange 
as  her  husband  was  polite  and  capable,  while  the 
other  pair,  domestically  estranged,  were  cared  for 
bv  Ruth  Holt  Boucicault  and  Allan  Pollock. 


CASINO.  "IOLANTHE."  Operetta  in  two  acts 
by  Gilbert  and  Sullivan.  Revived  on  May  I2th 
with  this  cast: 

Strephon,  George  MacFarlane;  The  Earl  of  Mount 
Ararat,  Arthur  Cunningham;  The  Earl  of  Tollollcr, 
Arthur  Aldridge;  Private  Willis,  John  Hendricks;  The 
Train-Brearer,  Henry  Smith;  The  Lord  Chancellor,  De 
Wolf  Hopper;  lolanthe,  Viola  Gillette;  The  Fairy  Queen, 
Kate  Condon;  Celia,  Anna  Wheaton;  Leila,  Louise 
Barthel;  Fleta,  Nina  Napier;  Phyllis,  Cecil  Cunningham. 

The  revival  of  "lolanthe,"  at  the  Casino,  is  a 
truly  admirable  one  in  every  respect.  It  is  beau- 
tifully staged,  excellently  acted  and  sung  with 
rich  opulence  of  tune  and  effect.  To  those  who 
appreciate  a  witty  and  poetical  book,  associated 
with  music  of  the  daintiest  and  most  melodious 
kind,  this  entertainment  is  highly  commended. 
During  their  long  partnership,  Gilbert  and  Sulli- 
van, perhaps,  evolved  operettas  that  made  a  more 
popular  appeal  than  this  delicious  satire  involving 
peers  and  peris,  but  few  surpass  it  in  the  finish 
and  fresh  applicability  of  its  wit  or  the  witching 
charm  and  refined  artistry  of  its  score. 

And  how  refreshing  it  is  to  listen  to  a  libretto 
that  eliminates  horseplay  and  the  puerilities  of 
Broadway  persiflage;  for  the  production  is  given 
with  a  pleasing  and  reverent  devotion  to  the 
high  grade  quality  of  the  book. 

Everyone  in  the  cast  deserves  mention.  There 
is  humorous  dignity  and  quaint  comicality  to  De 
Wolf  Hopper's  interpretation  of  the  Lord  Chan- 
cellor ;  there  is  nice  masculine  vigor  to  George 
MacFarlane's  Strephon  ;  there  is  pompous  humor 
contributed  by  Arthur  Cunningham  and  Arthur 
Aldridge  as  the  two  Dukes  ;  there  is  fine  sonor- 
ousness to  John  H'endricks'  rendering  of  Private 
Willis,  and  graceful  charm  to  Viola  Gillette's  as- 
sumption of  the  title  role.  Kate  Condon  realizes 
histrionically  and  vocally  all  the  fine  points  of 
the  Fairy  Queen,  and  there  is  a  genuine  find  in 
Miss  Cecil  Cunningham,  who  plays  Phyllis. 
Rarely  beautiful  in  face  and  figure  she  acts  with 
easy,  graceful  significance  and  discloses  a  voice 
of  nice  sympathetic  quality,  which  has  been  care- 
fully trained. 

If  you  have  never  seen  "lolanthe"  before  go 
and  see  it  now.  If  it  is  a  familiar  and  pleasur- 
able recollection  go  and  renew  it  at  the  Casino. 

GREAT  BEAR  SPRING  WATER 
60  cts.  per  case—  6  glass-stoppered  bottles 


French  Theatre  in  New  York 


New 


York  is  to  have  a  French  theatre  next 
season.  Sarah  Bernhardt  heads  the  list  of  patron- 
esses, and  the  company  will  be  made  up  of  pupils 
of  the  Paris  Conservatoire.  Beverley  Sitgreaves, 
an  actress  well  known  on  the  American  stage, 
will  also  be  a  member.  A  playhouse  will  be  built 
for  the  organization,  the  location  being  in  the 
neighborhood  of  Broadway  and  42nd  Street,  and 
it  is  expected  to  be  ready  to  open  on  November 
ist  next. 

The  regular  season  of  the  theatre  will  be 
twenty-four  weeks.  At  the  conclusion  of  this 
period  the  company  will  be  sent  on  a  tour  which 
will  take  in  Boston,  Washington,  Philadelphia, 
Pittsburgh,  Detroit,  Cleveland  and  Chicago,  and 
several  cities  in  Canada. 

A  majority  of  the  plays  to  be  presented  will  be 
modern.  What  are  called  "gala  performances" 
will  be  given  the  first  Monday  and  Tuesday  of 
every  other  week.  These  will  be  the  subscription 
nights.  There  will  also  be  special  matinees  of 
classic  plays,  and  nights  will  be  set  apart  for  a 
subscription  series  at  lower  rates  for  students 
of  French  and  women's  clubs.  There  will  also 
be  performances  at  popular  prices  for  French 
people  where  the  "two  francs  fifty"  price  will 
prevail,  equivalent  to  50  cents  in  American  cur- 
rency. 

It  had  been  intended  at  first  to  call  the  institu- 
tion "Le  Theatre  Franc.ais,"  but  the  English  form 
of  "The  French  Theatre"  has  been  decided  upon 
instead. 

A  novel  feature  of  the  plan  calls  for  the  per- 
formance in  French  of  current  American  plays, 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


THE      THEATRE     MAGAZINE     ADVERTISER 


XIII 


Who  can  quite  des- 
cribe the  qualities 
that  go  to  make  a 

IBCXMUGHHUCED? 

how  joyfully 

we  recognize  them 
whether  in  horse  or 


man  or  woman  or 


0 

EGYPTIAN 


Utmost  in  Cigarettes" 
Q 

Cork  QTps  or  Plain 


KISSFIT 

PETTICOATS 


Fit 

\Vnnkles  or 
Alterations 

The  Genuine  is  identified  by 
this  label  in  the  waistband 


K  LOSFIT  PETTICOAT 


$5.00  upwards  in  Silk  (all  colors) 
$1 .50  to  $3.00  in  Cotton  (Black  only) 

At  the  Beit  Stores 

Write  for  STYLE  BOOK  de  Lu«  to 

KLOSFIT  COMPANY 


Publicity  Deft. 
208  Fifth  Avenue  New  York 


No=Rim=Cut  Tires 
10%  Oversize 


No  Petty  Saving 

Goodyear  tires  by  far  outsell  all  others.  The  demand 
has  multiplied  so  fast  that  last  year's  sales  exceeded 
our  previous  1 2  years  put  together.  This  has  not  come 
about,  as  you  must  know,  through  any  petty  saving. 


We  Did  This 

We  brought  out  the  No-Rim-Cut 
tire,  which  we  still  control. 

With  old-type  tires,  rim-cutting 
ruined  23  per  cent.  This  new-type 
tire  wiped  out  that  loss  completely. 

Its  10  per  cent  oversize,  with  the 
average  car,  adds  25  per  cent  to 
the  tire  mileage. 

Also  This 

We  compared,  by  actual  mileage, 
240  formulas  and 
fabrics    to    learn 
which  served  the 
best. 

We  compared 
every  material, 
method  and 
process. 


We  devised  machines  to  insure 
uniform  tension  of  fabric. 

We  employ  a  curing  process,  very 
unusual.  It  adds  to  our  cost  this 
year  about  one  million  dollars — just 
to  add  more  mileage. 

And  we  spend  each  year,  in 
learning  ways  to  better  tires,  about 
$100,000. 

That  is  why  the  Goodyear  tire 
holds  top  place  in  Tiredom. 
Legions  of  men 
have  proved  by 
meters  its  im- 
mense economy. 


No-Rim-Cut  Tires 

With  or  Without 
Non-Skid  Treads 


Write  for  the 
Goodyear    Tire 

Book       14th- 
year  edition. 


THE  GOODYEAR  TIRE  &  RUBBER  CO.,  AKRON,  OHIO 

Bunch*,  .nd  A(enci«  in  103  Principal  Cili«-M«rt  Sentice  Statical  Tkia  Aor  Otfcer  Tin 
We  Mike  All  Kind,  of  Robber  Tim,  Tire  Acnuoria  .~1  Rtp.it  Outfit. 

Main  Canadian  Office.  Toronto.  Ont.— Canadian  Factory.  BowmanriDe.  Ont. 

(1137) 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


XIV 


THE   THEATRE   MAGAZINE  ADVERTISER 


Such  Adorable  Styles! 

The  thirty-two  pag^e  Summer  Catalogue 
containing  hundreds  of  L'Art  de  la  Mode 
models  will  be  ready  June  1st. 

There  are  designs  for  every  conceivable 
need  in  the  fastidious  woman's  wardrobe— 
from  the  daintiest  lingerie  to  the  most 
alluring  evening  creations. 

The  models  shown  in  the  Summer  Cata- 
logue are  the  best  sellers  selected  from  the 
latest  numbers  of  L'Art  de  la  Mode. 

As  long  as  the  edition  lasts,  a  copy  will  be 
mailed  to  any  address  upon  receipt  of  ten  cents 
to  pay  wrapping  and  mailing  charges. 

L'Art  de  la  Mode 

8  West  38th  Street  New  York 


with  the  idea  of  adapting  and  performing  them 
here  in  preparation  for  production  in  French,  so 
that  American  playwrights  may  be  shown  abroad 
at  their  best. 

Ihe  managing  directors  of  the  theatre,  which 
Is  incorporated  and  has  offices  at  500  Fifth  Ave., 
are  A.  Baldwin  Sloane,  the  composer,  and  Georges 
Raoul  Vlober.  Some  of  the  other  directors  arc- 
Charles  Moran,  Reginald  de  Koven,  and  Shafter 
Howard. 

Among  the  patrons  are  Mme.  Sarah  Bernhardt, 
Auguste  George,  Mrs.  W.  S.  Gurnee,  Mrs.  Cprt- 
landt  E.  Palmer,  Mrs.  James  B.  Eustis,  Prince 
Pierre  Troubetzkoy,  Princess  Amelie  Troubetz- 
koy,  S.  Montgomery  Roosevelt,  Mrs.  A.  L.  Konta, 
Mr.  and  Mrs.  Shaf.er  Howard,  Beverley  Sit- 
greaves,  Miss  Belle  De  Acosta  Greene,  Margaret 
Anglin,  Mr.  and  Mrs.  H'.  H.  Rogers,  Mr.  and 
Mrs.  E.  A.  Perkins,  Mr.  and  Mrs.  Reginald  de 
Koven,  Mr.  and  Mrs.  Grenville  T.  Snelling,  Miss 
Juliana  Cutting.  Mr.  and  Mrs.  Charles  Moran, 
Elisha  Dyer,  Mr.  and  Mrs.  Philip  Lydig,  Otto  H. 
Kahn,  Mr.  and  Mrs.  McDougall  Hawkes,  Major 
Creighton  Webb,  Ferrars  Heaton  Town,  Leoni- 
das  Westervelt,  Joseph  B.  Thomas,  Augustus 
Thomas,  Harry  Content,  Miss  F.  M.  Cottenet,  Dr. 
C.  T.  Dade,  and  Adolphe  Cohn,  Professor  of 
Romance  Languages  at  Columbia  University. 

Mrs.  Philip  Lydig  is  the  head  of  the  Committee 
on  Plays  and  Patrons. 


Fifty  Years  Ago 

When  Lester  Wallack  first  set  his  famous 
drama,  "Rosedale,"  on  the  stage  of  the  old  Wal- 
lack Theatre,  in  New  York,  at  the  corner  of 
Broadway  and  Thirteenth  Street,  he  had  assem- 
bled about  him  one  of  the  best  companies  of  the 
time.  Fifty  years  ago,  however,  the  seventeen 
players  in  Wallack's  cast,  though  many  of  them 
were  the  most  prominent  actors  and  actresses  of 
their  day,  were  all  employed  at  a  weekly  salary 
ranging  from  $8  to  $100.  Only  two  players  in  the 
cast,  Lester  Wallack  himself  and  Mrs.  John  Hoey, 
received  the  maximum.  While  these  two  were 
drawing  $100  a  week  each,  John  Gilbert,  who 
played  the  role  of  Miles  McKenna,  the  gypsy, 
received  $75. 

William  A.  Brady,  who  revived  the  drama 
for  a  four  weeks'  season  at  the  Lyric,  in  New 
York,  where  it  opened  April  7th,  has  been  making 
a  comparison  between  the  records  of  those  days 
and  of  the  present.  "Wallack,"  he  commented, 
''appeared  in  the  role  of  Elliot  Grey  in  the  play 
he  had  himself  written  and  played  the  leading 
role  at  the  head  of  his  own  company  for  $100  a 
week.  I  don't  care  to  say  what  salary  th«  actor 
received  who  played  the  same  role  fifty  years 
later  in  the  same  play,  but  I'm  in  a  position 
to  testify  to  one  fact,  at  least — his  individual 
salary  would  spread  itself  over  the  majority  of 
the  Wallack  players.  Mrs.  Hoey  received  the 
same  that  Wallack  received.  John  Gilbert  re- 
ceived $75  and  never  made  more  than  $125  a 
week  during  his  whole  career,  by  the  way,  and 
he  was  one  of  the  most  prominent  actors  of  his 
decade,  and  George  Holland,  father  of  E.  M. 
Holland,  received  $40.  What  would  his  son  de- 
mand for  playing  the  same  role  to-day?  I  men- 
tion these  four  together  because  each  of  them, 
by  the  terms  of  their  contracts,  received,  in  addi- 
tion, the  proceeds  or  the  portion  of  proceeds  from 
benefits.  Wallack  was  allowed  two  benefits  in  a 
season,  and  the  others  had  smaller  shares.  But 
this  added  very  little,  comparatively  speaking,  to 
their  incomes. 

"Charles  Fisher,  who  played  the  role  of  Bun- 
berry  Cobb,  received  $40  a  week.  H.  Daly  re- 
ceived $18,  and  he  seemed  very  glad  to  play  the 
role  of  Colonel  Cavendish  for  that  liberal  Wage. 
John  Sefton  played  the  part  of  Romany  Rob  for 
$35  weekly,  and  Browne,  who  ran  his  famous 
chop  house  while  he  acted,  received  $30.  Mrs. 
Vernon,  one  of  the  best  known  actresses  of  her 
day,  playing  the  important  role  of  Tabitha  Stork, 
supported  herself — and  lived  luxuriously,  too — 
on  $30  a  week.  Mary  Gannon,  who  created  the 
role  of  Rosa  Leigh,  was  paid  $40,  and  Mrs.  John 
Sefton,  as  Sarah  Sykes,  drew  $25.  The  girl,  Em- 
ma Le  Brun,  who  appeared  in  the  role  of  Sir 
Arthur  May,  was  paid  $8 — the  minimum  wage  of 
the  cast. 

"In  these  piping  days  of  high  salaries  I  would 
need  to  add  mighty  few  dollars  to  the  salary 
of  any  one  of  the  players  in  the  company  I 
assembled  for  the  revival  of  'Rosedale'  to  make 
up  an  amount  equal  to  Wallack's  entire  payroll." 


PROSE.  By  William  Vaughan  Moody.  Hough- 
ton,  Mifflin  Company,  Boston  and  New  York. 
Vol.  II. 

This  volume  contains  "The  Great  Divide,"  and 
"The  Faith  Healer."  It  has  a  portrait  of  Mr. 
Moody. 

GREAT  BEAR  SPRING  WATER 
60  cts.  per  case— 6  glass-stoppered  bottles 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


THE      THEATRE      MAGAZINE     ADVERTISER 


UNITED  STATES  TIRES  ARE  GOOD  TIRES 


They  cut    down    tire    bills 


Just  what  kind  of  a  tire 
do  you  want? 

Pick  out  the  features  you  want  to  find  in  the  tires  you  buy.  You 
want  generous  mileage,  full  rated  size,  flexibility,  protection 
against  rim  cutting,  ease  of  manipulation  and  security  of  fastening. 

Measure   up   this   ideal  tire  against  every  other  tire  on  the  market  and  then  compare 
it  with  a  United  States  Tire. 

You   will   find   United   States   Tires   combine   al)   these   identical  features  of  your  ideal 
tire  in  a  way  that  no  other  tire  on  the  market  approaches. 

We  believe  that  every  tire  maker  in  the  country  has  been  making  the  very  best  tires 
that  his  facilities  would  permit. 

Some  of  these  tires  have  been  greatly  strengthened  at  one  or  two  points — some  at  others. 

But    it   is    a    matter    of  general  comment  among  dealers,  car  owners  and  car  manufac- 
turers, that  never  has  any  tire  combined  all  these  special  points  of  superiority  as  do 

United  States  Tires 


In  the  matter  of  mileage — the  most  accurate  tests  have 
proven  that  United  States  Tires  today  yield  on  an 
average  from  25  to  50  per  cent,  more  mileage  than 
was  ever  given  by  any  make  of  tire  previous  to  the 
organization  of  the  United  States  Tire  Company. 

No  tire  has  ever  been  made  with  a  larger  average  size 
or  a  larger  average  air  capacity  than  the  United 
States  Dunlop. 

No  tire  has  ever  been  made  as  flexible  or  as  resilient 
as  the  United  States  Dunlop. 


This  is  the  first  and  only  tire  that  has  ever  been  abso- 
lutely guaranteed  against  rim-cutting. 

It  is  by  long  odds  the  easiest  tire  in  the  world  to  put 
on  or  take  off — yet  it  can't  possibly  come  off  the 
rim  until  you  are  ready  to  take  it  off. 

In  fact  if  you  were  to  have  a  tire  built  to  your  order 
it  would  be  difficult  for  you  to  specify  a  single  de- 
sirable feature  that  you  can't  get  today  in  a  United 
States  Tire. 


If  this  is' the  kind  of  a  tire  that  you  want  to  use,   United  States  Tires  ought  to  be  the 

exclusive  equipment  on  your  car  this  season. 
They    are   made   in    Plain,    Chain   and   Nobby   treads   and  in  three  styles  of  fastening, 

including  the  famous  Dunlop  (straight  side). 


Cost  no  more  than  you  are  asked  to  pay  for  other  kinds 


cT.ihfl.-lk  Ai& 


United  States  Pneumatic  Tires  are  guaranteed  when  filled  with  air  at  the  recommended  pressure  and 
attached  to  a  rim  bearing  cither  one  or  both  of  the  accompanying  inspection  stamps.  When  filled  with 
•ny  substitute  (or  air  or  attached  to  any  other  rims  than  those  specified,  our  guarantee  is  withdrawn. 


United  States  Tire  Company 

New  York 


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XVI 


THE   THEATRE   MAGAZINE  ADVERTISER 


PANAMAS 


CORNELL -439 


TRUXTON-341 

A    few    suggestions    in    Outing    and    Sport    Panamas   for    Mid-Summer    -wear 

Designed  ty 

rgts0tr  Si  Co. 

(Wholesale  only) 


1   and  3  West  37th   Street 


New  York 


TRADE    MARK 


For    sale    by    leading    dealers    throughout    America 


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The  Sunmmer  Wardrobe  ©f 


Fig.  3. 


Fig.  6. 


Let  us  help  you  select  a  wardrobe  like  that  of  the  Matinee  Girl.    A  prompt  reply  will  be 
given  to  any  letter  asking  for  names  of  shops  or  any  further  information  regarding 
the  articles   mentioned  below.    Kindly  address    Fashion  Department, 
THEATRE  MAGAZINE,  8  West  sSth  St.,  New  York  City 

HAVE  you  ever  enjoyed  a  shopping  tour  with  the  Matinee  Girl?  She  is  a  fascinating  creature,  this 
winsome  Matinee  Girl;  a  half  child  on  the  borderland  of  womanhood,  with  the  charm  of  both,  and 
the  whims  and  contradictions  that  make  the  feminine  so  irresistible,  even  though  she  be  endowed 
with  a  keen  wit  and  wisdom  that  may  puzzle  the  sages.  To  shop  with  her  is  both  a  pleasure  and  an  ed- 
ucation; an  ardent  satellite  of  Dame  Fashion,  she  anticipates  her  every  move,  and  makes  her  purchases 
from  a  knowledge  of  values  tempered  with  the  unerring  feminine  instinct.  After  a  visit  to  the  shops  with 
this  delightful  little  Lady,  you  will  realize  that  you  know  a  lot  more  about  the  fads  and  novelties  of  the 
fashion  world.  Nothing  that  is  new  and  good  escapes  her  eager  eye,  yet  she  selects  the  various  articles  care- 
fully and  is  seldom  extravagant.  The  wardrobe  she  has  selected  for  the  Summer  will  give  you,  undoubted- 
ly, many  suggestions  for  your  own.  It  is  wonderfully  complete,  as  the  Matinee  Girl  is  planning  for  a  very 
busy  season  with  plenty  of  good  healthy  exercise  on  land  and  on  sea,  merry  little  luncheons  at  the  club- 
houses, gay  garden  parties,  and  the  tango  as  a  wind  up  to  the  merry  whirl.  And  for  all  these  occasions 
she  must  have  the  proper  costumes,  as  the  title  of  being  well  dressed  is  earned  only  by  the  woman  who 
knows  when  and  where  and  how  to  wear  her  frocks. 

Wfaem   SBue   Awakes 

Every  mortal  with  a  feminine  heart  loves  dainty  negligees,  and  the  Matinee  Girl's  first  interest  was  to 
find  a  cool,  pretty  negligee  in  which  she  could  slip  her  pretty  arms  when  she  sipped  her  coffee  in  the  boudoir 
(Fig.  i).  She  wanted  a  simple  little  gown  which  could  be  washed  with  very  little  trouble,  yet  one  which 
would  be  delightfully  cool  and  "comfy"  on  the  hottest  morning.  She  found  the  very  negligee  she  was  seek- 
ing in  one  of  the  shops  which  make  a  specialty  of  the  frilly,  lacey,  appealing  gowns  classed  under  the  name 
"negligee."  The  negligee  which  caught  the  eye  of  this  experienced  shopper  was  fashioned  from  white  em- 
broidered Swiss.  She  could  have  selected  one  with  a  white  background  over  which  little  rosebuds  had 
been  scattered,  or  the  same  style  in  a  colored  batiste,  but  she  reasoned  that  white  would  appeal  to  every 
mood,  whereas  a  colored  gown  might  not  harmonize  with  her  feelings  on  certain  mornings. 

She  wanted  the  gown  to  be  deliciously  feminine,  and  she,  therefore,  insisted  that  it  should  be  liberally 
enhanced  with  lace.  The  lace  on  the  negligee,  as  shown  in  the  sketch,  is  applied  in  the  form  of  insertion, 
and  the  Pointe  de  Paris  lace,  which  is  really  the  German  valenciennes,  was  chosen  as  being  the  most  dur- 
able under  many  ministrations  of  the  laundress.  A  pretty  effect  was  produced  by  bringing  the  bands  of 
insertion  to  a  point  on  the  shoulder,  thus  giving  the  fashionable  long  shoulder  line.  The  neck  is  cut  in  V  and 
softened  by  a  double  frill  of  lace,  and  the  short  kimono  sleeves  are  finished  by  a  frill  of  wide  lace.  It 
was  a  charming  little  negligee,  and  one  of  those  paradoxical  creations  that  make  the  young  girl  look  more 
youthful,  and  yet  are  equally  becoming  to  women  of  an  older  growth.  When  the  Matinee  Girl  opened  her 
purse  to  pay  for  the  gown  she  took  out  only  three  five-dollar  bills  ($15)  for  the  sweetest,  prettiest,  daintiest 
negligee  imaginable. 

She  didn't  shut  her  purse,  however,  until  she  had  paid  for  a  boudoir  cap  to  complete  this  charming  crea- 
tion, for,  as  she  explained,  "these  adorable  little  caps  are  as  useful  as  they  are  ornamental.  It  is  such  an 
easy  matter  to  slip  on  one  of  these  caps  to  hide  the  hair  until  it  can  be  properly  coiffed."  The  cap  she  picked 
out  was  particularly  fetching  with  its  well-shaped  lace  frill  falling  well  over  the  back  of  the  neck.  It  was  a 
dainty  little  affair  made  from  rows  of  Normandy  valenciennes  and  the  finest  of  embroidery,  and  lined  with 
pink  chiffon.  This  pretty  shade  of  pink  was  repeated  in  the  chiffon  rose  buds  nestling  on  either  side.  The 
Matinee  Girl  could  not  resist  its  appeal,  once  the  clerk  has  arranged  it  on  her  curly  brown  hair,  and  she 
readily  took  $9.50  out  of  her  purse  to  pay  for  it.  Wilh  this  fascinating  little  cap  and  the  dainty  negligee 
the  Matinee  Girl  felt  that  she  was  well  equipped  to  receive  her  intimate  chums  and  discuss  the  coming  events 
of  the  day,  even  before  breakfast. 

Her  Utility  Suit 

When  she  is  going  to  town  to  shop,  or  when  she  is  going  on  a  trip,  say  a  week-end  visit,  she  intends  to 
wear  one  of  the  trig,  good-looking  mohair  suits.  These  suits  are  thoroughly  practical  for  they  do  not  wrinkle 
or  crush  easily,  and  they  hold  their  shape  in  a  way  that  linen  suits  never  can  do,  yet  they  are  quite  as  cool 
and  comfortable  on  a  hot  day  (Fig.  2).  As  she  desired  this  suit  for  strictly  utilitarian  purposes,  she  pre- 
ferred the  model  shown  in  the  sketch,  which  was  developed  in  the  black  and  white  striped  mohair,  yet  has 
all  the  chic  of  the  white  mohair,  and  does  not  show  the  signs  of  travel  as  quickly.  This  suit  was  especially 
smart  because  of  the  clever  manipulation  of  the  stripes,  some  running  vertically  as  on  the  overskirt,  others 
running  horizontally  as  in  the  underskirt,  and  still  others  on  the  diagonal  as  demonstrated  by  the  fronts  of 
the  jacket  and  the  pockets.  While  this  idea  lends  a  decorative  value  to  the  suit,  it  does  not  interfere  in 
any  way  with  its  strict  tailored  appearance.  The  Matinee  Girl  was  delighted  with  it,  and  was  very  much 
surprised  to  discover  that  it  could  be  bought  for  $29.50 

"Now  I  must  have  a  hat  to  wear  with  it,"  she  exclaimed,  "one  of  those  snappy  little  hats  that  can  be 
securely  fastened  with  a  veil."  Out  of  the  hordes  of  small  hats  brought  for  her  inspection  she  selected  the 
one  shown  in  the  sketch.  It  was  made  from  hemp  in  the  smart  "niggerhead"  tone — which  is  almost  a  black, 
but  not  quite — and  the  crown  of  draped  satin  was  in  the  new  Mediterranean  blue  tint.  A  knot  of  the  satin 
in  the  back  held  the  numidie  feather  which  rose  proud  and  erect,  lending  that  air  of  snap  and  go  which 


Fig.  2 


Fig.  4  A. 


Fig.  4. 


THE      THEATRE      MAGAZINE     ADVERTISER 


makes  these  knowing  little  hats  so  fetching.  The 
Matinee  Girl  had  quite  lost  sight  of  the  prices 
of  the  various  hats,  and  opened  her  blue  eyes 
in  pleased  amazement  when  the  clerk  showed 
her  the  tag  for  $9.75. 

For  More  Formal  Occasions 

"The  mohair  suit  is  all  very  well,"  the  Matinee 
Girl  announced.  "It  is  just  what  I  want  for  a 
knockabout  suit,  but  I  must  have  one  of  the 
three-piece  costumes  for  best."  The  suit  which 
pleased  her  most  was  a  gray  moire  (Fig.  3),  one 
of  the  soft,  delicate  mouse  grays,  which  are  so 
universally  becoming,  particularly  to  the  woman 
with  round,  pink  cheeks.  She  hesitated  a  few 
minutes,  however,  between  this  shade  and  one  of 
the  new  sand  tones,  but  the  gray  won  the  day. 
In  any  shade,  the  model  would  be  a  smart  one, 
for  the  style  has  combined  many  of  the  latest 
features.  The  draping  of  the  skirt  is  conserva- 
tive, yet  chic,  and  is  brought  to  the  front  where 
it  is  caught  with  motifs  made  of  cording.  A 
similar  motif  is  used  to  fasten  the  jaunty  jacket 
which  has  a  dash  and  a  go  that  struck  the  fancy 
of  the  Matinee  Girl  without  any  recommendation 
from  the  saleswoman.  This  jacket  is  sharply 
cutaway  in  the  front  but  rounds  in  the  back,  ex- 
tending about  twelve  inches  deeper.  There  is 
not  the  slighest  suggestion  of  trimming,  but  there 
is  no  necessity  for  any  as  the  lines  of  the 
coat  are  so  good  that  it  would  be  a  pity  to  mar 
them  with  any  trimming.  A  pretty  color  scheme 
is  introduced,  however,  by  piping  the  collar,  the 
line  where  the  sleeve  is  attached  to  the  body  of 
the  jacket,  and  (he  cuffs,  with  blue  satin.  It  is 
just  a  mere  souf(on  of  color,  but  it  gives  the 
right  touch.  The  Matinee  Girl  had  already  con- 
fided the  fact  that  she  expected  to  pay  about  a 
hundred  dollars  for  this  suit  so  that  the  tag 
bearing  the  figures  $55  was  a  happy  surprise. 

As  the  suit  had  cost  only  one-half  what  she 
had  intended  to  spend  for  it,  she  did  not  hesitate 
to  place  the  rest,  and  a  little  bit.  more,  in  the  hat. 
It  was  a  Milan  straw  hat,  the  straw  most  favored 
for  handsome,  dressy  hats.  The  top  of  the  brim 
was  faced  with  black  sa'in.  and  there  was  a  flat 
pump  bow  of  black  satin  perched  directly  in  the 
centre  of  the  front.  The  chief  expense,  how- 
ever, came  in  the  feather  fancy,  on  the  order  of 
a  soft  quill,  which  struck  out  in  an  independent 
air,  as  if  it  realized  its  value,  from  the  back. 
After  the  hat  was  once  placed  on  the  head  of 
the  Matinee  Girl,  it  did  seem  worth  the  $55  asked 
for  it. 


Now  if  there  is  one  fad  which  the  Mntinee 
Girl  possesses  wi!h  a  vengeance,  it  is  hats.  She 
cannot  drag  herself  past  a  milliner's  shop;  it  is 
always  her  temptation,  and  she  excuses  it  by  say- 
ing that  "a  new  hat  is  an  economy  for  it  will 
freshen  up  any  toilette  (Fig.  4),  and  you  don't 
have  to  go  to  the  expense  of  buying  a  new  cos- 
tume." She  had  had  just  enough  "sugar"  while 
selecting  the  hats  to  wear  with  her  suits  to  de- 
mand more,  and  off  she  went  in  the  search  of 
some  Burgesser  hats.  One  of  the  new  square 
shapes  in  felt  filled  her  with  the  passion  of  pos- 
session, and  she  immediately  bought  it  as  a 
sporting  hat  to  wear  yachting  or  golfing.  The 
square  effect  in  the  front  was  not  only  new,  but 
very  becoming,  and  the  white  moire  band  was 
quite  sufficient  trimming. 

She  was  so  delighted  with  the  trig  lines  of  this 
tailored  hat  that  she  asked  for  others  bearing  the 
Burgesser  trade-mark.  It  was  with  the  greatest 
difficulty  that  she  finally  decided  to  confine  her 
purchase  to  one  of  the  new  Panamas.  No  lover 
ever  solved  the  problem  of  "were  t'other  fair 
charmer  away"  with  more  reluctance  that  she 
displayed  in  making  this  final  selection.  The  hat 
was  a  little  beauty,  with  its  clever  draping  of 
blue  moire  and  the  Futurist  colorings  carried  out 
in  the  red,  orange  and  green  tones  of  the  satin 
flowers  resting  against  the  silken  folds.  She 
couldn't  resist  the  temptation  at  the  last  minute 


xix 


jfranfclin  Simon  &  Co. 

Fifth  Avenue,  37th  and  38th  Sts.,  N.  Y. 


Silk  or  Mohair  Bathing  Dresses,  Caps  and  Shoes 

Women's  Sizes,   32  to  44  Bast.     Misses'  Siies,    14  to  20  Years. 


No.  3— BATHING  DRESS  of 
black  or  navy  blue  messaline 
silk,  V-neck,  trimmed  with 
striped  silk •  5.95 

No.  3A— CAP  of  black,  navy  or 
King's  blue  satin,  contrasting 
bow 1 .45 

No.  5— BATHING  DRESS  of 
black  or  navy  blue  satin,  flat 
collar  and  vestee  of  white  silk 
poplin 6.95 

No.  5A— SAME  MODEL  of 
black  or  navy  blue  superior 
quality  moire  silk 9.75 

No.  5B— CAP  of  white  and  black, 
black  and  white  or  blue  and 


white  polka-dot  silk,  trimmed 
with  turn-over  band  and  bow 
knot 

No.  7-BATHING  DRESS  of 
black  or  navy  blue  moire  silk, 
Byron  collar  and  cuffs  of  striped 
bengaline  silk,  novelty  buttons  . 


No.  7A— SAME    MODEL 

black  or  navy  blue  satin 


of 


1.95 


9.75 


9.75 


No.  7B— TAM  O'  SHANTER 
of  black  or  navy  moire  silk, 
contrasting  bow 2.95 

No.  7C— BATHING  SHOES 
of  canvas,  in  navy,  red,  black 
or  white 


Of  sateen,  with  silk  laces 


.50 
1.45 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


XX 


THE      THEATRE     MAGAZINE 


to  tell  the  saleswoman  to  send  home  a  hat  of  yellow  straw  with  natural-looking  roses  and  daisies  encircling 
the  crown  and  a  large  bow  of  blue  ribbon  in  the  back.  "It  will  be  so  pretty  with  white  linen  or  lingerie 
gowns,"  she  added  by  way  of  explanation. 

The  Lore  of  the  Blouse 

''Before  I  buy  any  more  gowns,"  the  Matinee  Girl  announced,  "I  am  going  to  secure  some  blouses  to 
wear  with  my  suits."  The  Matinee  Girl  at  heart  is  a  Futurist  in  her  worship  of  color,  and  if  she  had  smoth- 
ered this  love  in  selecting  a  black-and-white  suit  (Fig.  5),  she  intended  to  give  it  free  rein  when  it  came  to 
blouses.  All  of  the  pure  white  waists  she  passed  by,  whether  they  were  made  of  crepe,  or  voile,  or  chiffon, 
and  finally  settled  on  a  white  linen  blouse  with  a  deep  collar  and  wide  cuffs  of  bright  blue  linen.  The  fine 
handkerchief  linen  used  for  this  blouse  permitted  tucking  in  clusters  of  six,  with  three  large  tucks  over  the 
shoulder.  The  effect  was  sufficiently  tailored  to  satisfy  the  fastidious  little  shopper,  yet  the  blouse  was  as 
delightfully  feminine  and  dainty  as  the  frilly  crepe  waists.  It  was  an  inexpensive  blouse,  for  the  Matinee 
Girl  paid  only  $3.75  for  it. 

To  wear  with  her  moire  costume,  she  insisted  upon  one  of  the  chiffon  whimsicalities.  She  couldn't  find 
just  what  she  wanted  in  gray  so  she  selected  instead  one  of  white  shadow  lace  with  the  alluring  little  cami- 
sole of  pink  net,  giving  a  suggestion  to  flesh,  which,  to  say  the  least,  was  tantalizing.  The  touch  of  black, 
that  the  French  insist  is  indispensable,  was  introduced  on  the  collar  of  black  net,  which  in  turn  was  partially 
veiled  by  a  second  collar  of  the  shadow  lace.  Though  the  effect  of  this  fetching  little  creation  was  dressy,  it 
was  really  a  practical  blouse,  and  it  was  not  an  extravagent  purchase,  for  the  price  was  less  than  $15 — 
$13.50  to  be  exact. 

For  the  Temmiis  Courts  surad  Golf  LSoks 

"And  now  before  I  buy  any  more  dress-up  costumes,"  declared  the  Matinee  Girl  with  a  wag  of  her  head. 
"I  am  going  to  hunt  up  some  clothes  to  play  in"  (Fig.  6).  There  was  just  enough  suggestion  of  a  glorified 
middy  blouse  in  the  tennis  costume  shown  in  the  accompanying  sketch  to  capture  her  fancy.  "I  can  wear  it  for 
tennis  or  on  the  boat,"  she  explained.  In  fact  she  was  so  completely  captivated  with  the  style  and  the  practical 
features  of  the  "get-up"  that  she  ordered  several  made  from  the  same  pattern.  The  original  model  was  fash- 
ioned from  blue  linen,  the  shade  that  fades  not,  neither  under  the  persistent  rays  of  the  sun  nor  the  strenu- 
ous treatment  of  the  laundress.  Straps  of  white  linen  were  used  as  trimming  both  on  the  cuffs  and  on  the 
collar,  and  this  idea  was  reversed  on  the  suit  of  white  linen,  also  priced  $14.75. 

When  the  Matinee  Girl  discovered  that  the  most  violent  reach  for  a  ball  in  tennis,  or  a  wild  drive  in 
golf,  could  not  reveal  any  missing  connections  in  the  back,  she  insisted  upon  ordering  two  more  in  the  blue 
and  white  mohair.  "And  be  sure  and  make  them  from  the  Priestley  mohair,"  she  instructed  the  saleswoman. 
"I  can  tell  the  difference."  The  Priestley  mohair,  as  she  explained,  was  supple  and  soft  enough  to  drape  as 
you  would  silk,  yet  it  possessed  the  wearing  qualities  of  iron,  and  could  withstand  the  hardest  kind  of  usage. 
Though  she  preferred  the  blue  and  cream  tones,  the  color  chart  represented  in  this  material  is  most  com- 
prehensive and  appealing,  all  the  lovely  brown  and  tan  shades,  the  pretty  subtle  reds  and  yellows,  and  the 
cool-looking  greens  and  lavenders.  In  fact,  the  lavender  mohair  was  so  alluring  that  the  Matinee  Girl 
ordered  a  strictly  tailored  coat  and  skirt  suit  to  wear  to  the  country  club  in  the  morning  when  there  was  a 
cool  breeze  which  would  make  a  coat  comfortable. 

The  talk  of  tennis  frocks  awoke  a  desire  for  a  tennis  tournament  in  the  heart  of  the  Matinee  Girl,  and 
with  this  fancy  free  young  creature  to  wish  for  anything  is  to  go  ahead  and  find  a  way  to  carry  out  the 
desire.  The  idea  of  a  tournament  suggested  the  trophies,  and  straightway  the  Matinee  Girl  marched  to  a 
silversmith  to  select  the  cups.  There  were  large  cups,  like  the  one  in  the  sketch,  for  the  lucky  winners,  and 
dear  little  miniature  affairs,  on  their  tiny  pedestals,  for  consolation  prizes  to  the  "also-rans." 


As  no  sporting  outfit  is  complete  without  the  sweater,  the  next  number  on  the  shopping  program  was 
the  selection  of  this  important  garment.  Here  again  the  Matinee  Girl's  love  of  color  cropped  out,  and  she 
picked  a  gay  affair  of  green  shot  with  yellow  (Fig.  7),  after  turning  down  one  of  purple  with  a  cerise 
lining  which  glimmered  through  in  the  true  Futurist  fashion.  This  sweater  was  one  of  the  new  ones,  made 
half  from  silk  and  half  from  wool,  with  the  warmth  of  the  latter  and  the  beauty  of  the  former.  It  was 
short,  as  the  smart  garments  are  this  year,  reaching  barely  over  the  hips,  and  derived  its  cachet  from  the 
severe  simplicity  of  cut  and  line.  It  is  going  to  be  wonderfully  effective  this  summer  on  the  links,  dotting 
the  landscape  with  blotches  of  color  as  it  has  been  doing  at  Biarritz  recently.  $25  may  seem  a  bit  expensive 
for  a  sweater,  but  the  value  is  in  the  garment,  and  the  price  will  aid  in  keeping  it  exclusive. 

The  Matinee  Girl  searched  high  and  low  for  a  certain  skirt  model  from  which  she  desired  all  her  separate 
skirts  to  be  made.  She  finally  decided  on  the  skirt  shown  in  the  sketch.  The  original  model  was  fash- 
ioned from  black  and  white  striped  ratine,  and  the  fullness,  necessary  to  make  the  skirt  practical  and  com- 
fortable for  a  sports-loving  maiden  who  wants  to  dash  over  a  tennis  court,  was  given  by  the  tucks  let  in 
at  the  side  below  the  knee  depth.  When  the  Matinee  Girl  was  standing,  her  silhouette  was  as  straight  and 
as  narrow  as  in  the  skirt  of  her  trotteur  skirt,  but  as  soon  as  she  was  in  motion,  you  could  see  there  was 
plenty  of  room  for  all  sorts  of  leaps  and  jumps.  There  was  a  similar  model  for  the  same  price  ($7.75) 
with  a  cluster  of  six  tucks  in  the  front  and  in  the  back  extending  from  the  belt  to  the  hem,  and  another  model 
which  buttoned  in  the  front  so  that  several  of  the  lower  buttons  could  be  unfastened  to  give  more  freedom 
of  limb.  The  Matinee  Girl,  however,  stuck  loyally  to  her  first  love  and  ordered  duplicates  in  black  and  white 
serge  and  in  the  brown  and  white  striped  Priestley  mohair.  The  latter  she  plans  to  wear  on  the  yacht,  as  a 
wetting  only  improves  it,  according  to  her  claim,  and  it  won't  crease  and  wrinkle  like  linen  or  crash. 

Before  she  would  consent  to  strike  the  sporting  togs   off   the   list,    she   insisted   upon    purchasing   several 


THE      THEATRE      MAGAZINE     ADVERTISER 


xxi 


•HTffJ 

"W1 


/  •  -1 

ITH  every- 
day dresses, 
Kleinert's 
Regular  Shape  is  just 
the  dress  shie'd  I  want. 
"I  make  sure  that  I 
am  getting  the  right 
shape  dress  shield,  for 
my  figure  and  my  pur- 
pose, by  looking  at 


R  CQULAR 

SHAPE 


Dress  Shields 

CHART 

"It  shows  just  the 
Kleinert's  Shield  I  need 
for  each  garment. 

"Do  as  I  do. 

"Consult  Kleinert's 
Dress  Shields  charl  at 
the  Notion  Counter." 


THE  IDEAL  FABRIC  FOR  SUMMER 

RAIN  AND  UTILITY  COATS 


(Reg.  U.  S.  Pat.  Office) 


ENGLISH 

^Roseberry'    Cloths 

(Keg.  U.  S.  Pat.  Office) 

These  Cloths  are  thoroughly  Rain  proof,  very  light  in  weight  and 
they  make  the  best  Rain  Coats  for  Summer  wear. 

They  can  be  packed  in  a  small  compass.  It  is  just  the  garment  you 
need  for  all  outing  purposes. 

They  come  in  plain  colors,  olive,  tan,  smoke, 
blue  and  black. 

This  is  the  Trademark  that  is  ISP™ 
stamped  on  back  of  cloth 

None  Genuine  Without  It 

CONTAIN  NO  RUBBER  -NO  ODOR 

WILL  NOT  OVERHEAT  OR  CAUSE  PERSPIRATION 

Priestley's  "CRAVENETTE"  "ROSEBERRY"  CLOTHS  are 
for  sale  by  the  yard  or  in  "Ready  to  wear"  garments  at  the  leading 

Dry  Goods  and  Department  Stores 
Write  us  for  interesting  booklets  and  mention  your  dealer's  name 


BRADFORD.  ENGLAND 

American  Selling  Offices:  354  Fourth  Ave.,  S.  W.  cor.  26lh  St. 
NEW  YORK 


••illllllll 1IH.-  ru,HIU|luiu|uii> 


SELS 


pour  Je   bain 


A  fragrant  aura  surround,  the  woman  whole  Bath-room 
Ritual  it  minittered  to  by  the  famotu  haute  of  MORNY. 

The    Original 

MORNY  BATH  SALTS 

produce  a  luxurioui  bath  of  scientifically  "•oltened"  wain,  and  leare 
upon  the  skin  a  delicate  and  lingering  fragrance. 

luued  in  exquisite  MORNY  odours : 

"Ckaminade"B«thSaU.     ...     bottle.    $1.80    $4.35  $9.60 

"  June  Ro.ea"  Bath  Salt.     ...           "           J.25        3.30  750 

"La  Valie"  Bath  Salt.         ...          "           1^5       3.30  7  50 

"Ro«e-Verveine"  Bath  Salts           "           1.00        2.25  5.50 

"Yeaha"  Bath  Salt*      "           1.25        3.30  750 


MORNY 

•  LONDON -W- 


miiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii. 


Sold  by  all  High  Class  Department  Stores  and  Distributers  of  Perfumery. 

Wholesale  Agents  for  U.S.  A.:  F.    R.    ARNOLD    &   CO. 

3,  5  &  7  WEST  22nd  STREET,  N.  Y. 


SUMMER  WARDROBE 


T  S  THERE  a  problem  more  trying  than 
the  selection  of  summer  clothes  at  a 
time  when  everyone  is  busy  planning  out- 
ings for  the  season?  Yet  work  as  one 
may  in  the  early  spring  and  during  the 
first  days  of  summer  many  necessary  items 
remain  unprovided  until  the  last  moment. 

Get  Lane  Bryant 
Models 

T    EAVE  your  measurements  with  us, 
'*""'  choose  your  materials  from  our 
stock  of  imported  and  domestic  fabrics, 
and  after  your  immediate   needs  are 
filled,   simply  order  what  is  required, 
according  to  measurements  on  file,  and 
your    order   will    receive    most    careful 
attention  in  our  mail  order  department. 

I-ntly     illustrated     catalog     "E" 
mailed  out  of  toum  upon  request 

No.  1526 — (As  illustrated)  Lingerie  Frock  of    li 
hand-embroidered  French  batiste  with  trim-  /| 
mings  of  Irish  Crochet,  girdle  of    *«.   er» 
Pompadour  ribbon      Price  .   .  .     $^1.50 

Lane  Bryant 

25  West  38th  St.        New  York 


Ask  for  Catalog   <E.M."  ifinterested  in 

MATERNITY  DRESSES 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE   MAGAZINE 


THE     THEATRE     MAGAZINE 


thermos  bottles.  She  was  particularly  keen  on  the  bottle  packed  away  neatly  in  a  leather  case  which  could 
be  slung  over  the  shoulder,  though  she  bought  another  in  the  shape  of  a  carafe,  with  the  chain  attached  to  the 
stopper,  for  service  during  the  tennis  tournament.  The  willow  cases  containing  two  bottles  (one  for  the 
cold  refreshments  and  the  other  for  a  hot  nippy)  struck  her  as  being  very  practical  for  motor  trips,  which 
are  sure  to  form  the  principal  attraction  of  many  a  summer  day. 

After  the  frocks  and  coats  and  sweaters  to  wear  on  the  water  had  been  selected,  the  Matinee  Girl  be- 
came enthusiastic  over  the  bathing  suit  to  wear  in  the  briny  blue,  for  the  normal  summer  girl  would  count  a 
season  ill  spent  which  did  not  include  a  swim  in  the  day's  program  of  fun  and  frolic.  "And  I  am  not  going 
to  buy  another  black  bathing  suit,"  the  little  Lady  announced.  "I  am  tired  of  being  a  demure  little  nun. 
Here  is  where  I  blossom  forth."  And  straightway  she  picked  up  a  suit  in  taupe  silk  poplin  with  trimmings 
of  Nell  rose  satin  (Fig.  8).  The  combination  was  so  effective  that  one  really  welcomed  the  change  from 
the  sombre  blacks  and  blues  and  blowns  of  other  years.  Though  the  cut  was  distinctly  novel  and  very  chic, 
the  price  of  $9.75  was  very  reasonable. 

The  selection  of  the  accessories  to  complete  the  costume  was  not  such  an  easy  undertaking.  For  a  long 
while  the  Matinee  Girl  weighed  the  charms  of  two  bathing  caps.  One  was  a  coquettish  little  affair  of  blue 
and  white  silk  with  a  garniture  of  corals  to  lend  the  requisite  color  note.  At  a  glance  one  could  foretell 
for  it  French  origin,  as  it  looked  more  like  Trouville  than  Newport,  though  the  idea  of  springing  it  at 
Narrangansett  Pier  appealed  to  the  Matinee  Girl.  As  the  price  was  only  $2.25,  she  decided  to  buy  it  and 
also  the  other  of  black  satin  with  a  band  black  lace,  saucy  little  silk  (lutings,  and  pink  chiffon  roses  nest- 
ling in  a  bed  of  green  leaves.  If  the  lining  of  rubber  had  been  omitted  no  one  would  ever  have  dreamed 
of  wearing  it  as  a  bathing  cap.  In  fact,  the  Matinee  Girl  announced  that  she  intended  to  wear  it  in  the 
motor,  when  she  wasn't  near  a  bathing  beach.  It  was  more  expensive  than  the  other,  costing  $4.75,  but  it 
was  too  fetching  to  be  resisted,  despite  the  price. 

For  a  pebbly  beach  where  she  expected  to  give  h;r  shoes  hard  wear,  she  selected  shoes  of  ratine  which 
laced  across  the  ankle,  and  for  dress  parade,  sandals  to  match  her  suit.  The  latter  were  quite  expensive  as 
they  were  made  to  order,  but  those  of  ratine  can  be  bought  for  $1.50.  The  rubber  garters,  which  match  the 
perky  little  caps  of  colored  rubber,  can  be  bought  for  39  cents,  and  as  the  bloomer  bathing  suits  are  coming 
into  vogue  they  will  be  ornamental  as  well  as  useful. 

For  Class  Day 

The  lure  of  laces  and  frills  was  leading  the  Matinee  Girl  to  the  dressmaking  salons.  The  gown  to  wear 
on  to  Harvard  for  class  day  must  be  chosen  first,  for  was  she  not  to  be  the  guest  of  honor  at  the  Pudding 
Spread  of  one  of  the  nicest  lads  in  the  world?  You  would  have  guessed  just  how  nice  the  lad  really  was, 
or  how  well  he  stood  in  the  estimation  of  the  little  Lady,  if  you  could  have  witnessed  the  amount  of  time 
and  thought  that  was  expended  upon  this  particular  gown  (Fig.  9).  The  frock  which  was  finally  sent  home 
was  as  girlish  and  pretty  as  it  could  be,  though  it  was  marked  at  the  bargain  price  of  $29.50.  The  underskirt 
was  of  plaited  blue  crepe  de  chine,  a  deep,  rich,  intense  blue  known  this  year  as  the  Mediterranean  blue; 
a  blue,  by  the  way,  that  matched  exactly  the  big  eyes  of  the  Matinee  Girl.  Over  this  plaited  skirt  fell  the 
tunic  of  shadow  lace  in  the  lilac  pattern,  and  this  was  caught  carelessly  at  the  side  by  a  large,  squashy  rosette 
of  crepe  de  chine.  A  mate  to  this  rosette  clung  lovingly  to  the  side  of  the  girdle  and  hid  the  fastening. 

The  waist  was  built  over  flesh  pink  net  with  a  vanity  band  of  blue  hidden  by  the  shadow  lace  yoke.  The 
lace  was  extended  to  form  the  short  sleeves,  finished  with  a  hem  of  the  crepe.  A  softly  rolling  collar  of 
blue  chiffon  was  caught  together  by  a  cluster  of  forget-me-nots.  There  was  nothing  to  mar  the  girlish  sim- 
plicity of  this  little  frock,  yet  it  was  dainty  and  dressy  enough  to  use  as  a  dinner  frock  the  rest  of  the  summer. 


The  Matinee  Girl  had  grown  so  excited  over  this  little  class-day  gown  that  she  determined  to  buy  for 
herself  the  handsomest  lingerie  gown  she  could  find.  It  was  to  be  her  great  extravagance,  and  she  wanted 
something  very  smart,  very  rich-looking  and  really  beautiful.  She  was  not  long  in  finding  her  heart's  desire, 
though  the  price  of  $250  was  a  bit  staggering.  The  wonderful  handwork  on  the  gown  told  the  reason  for  the 
high  charge,  and  as  she  felt  that  she  was  receiving  good  value  for  her  money,  she  did  not  hesitate  long  in 
buying  it  (Fig.  10).  The  net  was  all  hand  embroidered,  the  underskirt  and  the  wide  bands,  and  where  this 
embroidered  net  was  not  used  with  a  liberal  hand,  lovely  real  lace  was  adopted.  The  style  called  for  a  clever 
manipulation  of  the  net  and  lace,  with  the  result  that  the  gown  was  as  soft  and  pretty  and  graceful  as  it 
could  possibly  be.  The  color  note  was  introduced  in  the  handsome  brocaded  girdle  with  metallic  shadings, 
and  in  the  blue  net  collar  partially  veiled  by  the  upper  collar  of  lace.  The  Matinee  Girl  was  indeed  a  pic- 
ture in  it,  and  when  she  added  the  hat  she  was  an  inspiration  to  any  artist.  It  was  such  a  dear  little  pic- 
ture hat  of  pink  satin  and  net  frills  with  a  brim  of  yellow  straw.  The  wreath  of  roses,  blue  asters  and  other 
garden  blossoms  was  finished  in  the  back  by  a  bow  from  which  fell  long  streamers  to  catch  the  breeze  and  wind 
themselves  around  the  pretty  neck  of  the  owner. 

A  Few  Accessories 

Before  she  decided  to  try  on  a  lot  of  evening  gowns  she  wanted  a  few  minutes  of  relaxation  which 
she  spent  to  her  great  satisfaction  in  picking  up  some  accessories — necessities,  she  delighted  in  calling  them. 
A  pretty  bit  of  neckwear  that  caught  her  fancy,  and  hence  her  pocketbook,  was  a  Medici  collar  of  white  lace 
backed  with  black  net  which  cost  her  the  neat  little  sum  of  $8.76.  Another  effective  neck  fixing,  which  taxed 
her  purse  for  $12,  had  a  vestee  and  collar  of  white  satin  piped  with  blue  sa'in  and  long  lace  frills  at  each  side. 

For  stockings,  she  bought  the  iridescent  shot  silk  with  clocks,  costing  $2.75,  to  wear  in  the  morning 
with  her  good-looking  Colonial  pumps;  for  the  afternoon,  the  variegated  shades,  blending  from  dull  gray 
at  the  toe  to  pink,  which  sell  for  $3.75,  and  for  the  evening,  the  fascinating  fish-net  stockings  over  colored 
hosiery  to  match  the  gown,  which  cost  the  neat  little  sum  of  $10.50. 


THE   THEATRE   MAGAZINE  ADVERTISER 


XXlll 


CLEMENT'S  FRENCH  BEAUTY  SHOP 


Those  dainty  French  perfumes,  creams  and  toilet   preparations   often  imitated,  never 
equalled,  which  are  making  La  Parisienne  so  fascinating  and  chic,   are  my  specialty. 

CLEMENT'S 

CREME  DU  BOSPHORE 

A  wonderful   beauty   builder, 

unequalled    for    nourishing    and 

massaging    the    skin.     Vegetable 

oils  only  enter  in  its  compounds. 

Price  $1.00 

THREE  KISSES  FOR  BEAUTY 

Le  Baiscr  (the  kiss),  the  queen 
of  creams,  an  ideal  dressing  for 
the  lace.  Price  $1.00,  $1.50 
and  $2.50. 

Le  Baiser,  the  finest  French 
powder,  unexcelled  for  taking 
the  red  tint  off  the  face.  Price 
$1.50  and  $2.50. 

Le  Baiser,  the  latest  and  most 
fragrant  of  all  perfumes.  Price 
$1.50  and  $3 .00. 

CLEMENT'S 
ASTRINGENT  LOTION 

An  entirely  new  preparation 
for  eradicating  wrinkles  and  gives 

youthful  transparency  to  the 
complexion.  Price  $  1. 00  &  $2.50 

CREAM  AND  LOTION  DE  JEUNESSE  Price  $4.50  &  $5.00 

A/p   beaut})   booklet  sent  upon    request.      Pricafe  room  for 
facial  treatment,  manicuring,  haird  resting,  hair- coloring,  etc. 


12    WEST    33rd 
STREET 


CLEMENT 


NEW  YORK 
CITY 


Just  One  Cupful- 

and  you  will  always  drink  Mail- 
lard  s.  It  is  delicious— and  SOK<M,.I 
and  wholesome  for  you  because  the 
unique  processes  of  manufacture 
ensure  every  ounce  of  the  good- 
ness of  the  cocoa  bean  being  re- 
tained. Maillard's  is  the  standard 
of  quality  in  Chocolate  essences. 


Ground, 
Chocolate^ 


For  Breakfast, 
l.unch  or  Supper, 

Maillard'i  Ground 
Chocolate  is  always 
acceptable. 


MAILLARDS 


Milliard's   Vanilla 
Cake  Chocolate— 

the    toothsome 
sweetmeat. 


All  Leading 
Grocen 


Graduation  Frocks 


O/\   /"\/~\      From  our  own  workrooms.    Of  Pointe  d'esprit 
*J\J»\J\J 


and    Fillet   lace   with  satin  ribbon  trimming 


The  Crowning  Attribute  of  Lovely  Woman  is  Cleanliness 


Fifth  Ave.,    at   Thirty-Fifth  St.,    New   York 


The  well-dressed  woman  blesses  and  benefits 
herself —and  the  world— for  she  adds  to  its  joys. 

Naiad  Dress  Shields 

add  the  final  assurance  of  cleanliness  and  sweetness. 
They  are  a  necessity  to  the  Woman  of  delicacy,  refine- 
ment and  good  judgment.  NAIAD  DRESS  SHIELDS 
are  hygienic  and  scientific.  They  are  absolutely  free 
from  rubber  with  its  unpleasant  odor.  They  can  be 
quickly  sterilized  by  immersing  in  boiling  water  for  a 
few  seconds  only.  The  only  shield  as  good  the  day  it 
is  bought  as  the  day  it  is  made. 

Made  in  all  styles  and  sizes  to  fit  every  requirement 
of  Woman's  Dress. 

At  stores  or  sample  pair  on  receipt  of  25c.     Eoery  pair  guaranteed. 

The  C.  E.  CONOVER  CO.,  Mfrs.,  101  Franklin  St.,  New  York 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


XXIV 


THE     THEATRE     MAGAZINE 


The  fashion  dictate  calling  for  shoes  and  stockings  to  match  the  gown  or  some  integral  feature  of  the 
costume,  is  one  to  be  respected,  from  the  financial  viewpoint  at  any  rate.  The  various  colored  leather  shoes 
are  very  stunning  and  the  Matinee  Girl  did  not  hestitate  to  select  several  pairs;  a  bright  scarlet  to  wear 
with  her  white  serge  costume,  another  pair  in  gray  to  match  the  moire  costume,  and  still  another  in  the  tan 
shade,  which  is  very  fashionable  this  season  (Fig.  n).  The  satin  pumps  in  colors  to  match  the  frocks  com- 
pletely captivated  her  and  she  bought  several,  a  stunning  rich  blue,  a  gray,  and  another  brown.  The  rhine- 
stone  buckles  had  colored  centres  and  the  design  matched  the  anklets,  which,  by  the  way,  are  an  important 
new  fad  for  the  girl  who  would  be  strictly  up  to  the  minute.  The  brocade  slippers  she  thought  a  little  newer 
than  the  satin  ones,  though  she  purchased  both,  and  she  added  several  pairs  of  fancy  heels.  One  pair 
sparkled  with  rhinestpues,  another  reflected  a  bright  re;l  tone,  and  the  third  pair  were  of  porcelain  gaily 
decorated  in  Dresden  fashion. 

And  Now  for  the  Evening  Gowns 

As  the  Matinee  Girl  had  very  decided  ideas  on  the  practicality  of  white  charmeuse  evening  gowns,  she 
insisted  on  buying  one,  and  decided  on  the  charming  creation  which  is  shown  in  the  sketch  (Fig.  12).  The 
drapery  on  the  shirt  is  brought  to  the  girdle  of  soft  pink  brocaded  satin  in  the  style  so  well  liked  this  season, 
and  is  allowed  to  fall  in  graceful  folds,  making  a  natural  slashing  which  is  really  delightful  on  a  frock  of 
this  type.  The  fetching  little  tunic  of  net  is  finished  with  a  lace  edging  and  the  bodice  is  entirely  of  lace, 
draped  to  a  large  shaded  pink  rose  and  falling  in  the  back  to  form  a  Watteau  train.  The  sleeves  suggest 
the  angel  sleeves  which  have  been  revived  by  Paquin,  and  are  weighted  with  a  long  silver  tassel. 

The  other  evening  gown  shown  in  the  other  sketch  has  an  underskirt  of  white  charmeuse  with  an  over- 
dress of  pink  chiffon  banded  with  silver  lace,  lace  flounces  and  bands  of  pink  crystal  beads.  The  fascinating 
corsage  is  a  subtle  blending  of  chiffon,  lace  and  crystal  beads. 

Tihe  Foundation  of  tlhe  Costume 

The  silk  tricot  corsets  had  already  won  the  Matinee  Girl  as  a  convert,  and  she  ordered  several  pairs  for 
her  summer  wardrobe,  all  of  them  with  the  very  low  bust.  With  these  she  always  wears  the  Italian  silk 
brassiere  to  match  her  corset.  This  arrangement  had  been  so  ideally  comfortable  and  had  given  her  such 
good  lines  that  she  did  not  care  to  make  any  change,  but  she  did  institute  a  search  for  a  good  athletic  cor- 
set, one  to  wear  while  playing  tennis  and  riding  horseback.  She  found  just  the  corset  she  was  seeking  at  the 
shop  of  a  woman  physician  who  makes  a  specialty  of  rubber  garments.  The  corset  was  fashioned  from  rub- 
ber elastic  webbing,  and  swathes  the  hips  from  the  waist  down  almost  to.  the  knees,  but  there  is  no  covering 
of  any  kind  from  an  inch  or  so  above  the  waist  line.  What  is  known  as  a  fifteen-inch  corset  can  be  bought 
for  $8,  and  a  dollar  additional  for  three  extra  inches  in  length 

Aids  to  Beauty 

After  our  trip  through  the  shops,  the  Matinee  Girl  explained  that  it  was  all  very  well  to  buy  pretty 
frocks  and  fetching  hats,  but  what  was  the  use  of  it  all  (the  time  and  the  expense)  if  you  did  not  take  care 
of  your  complexion?  The  most  stunning  frock  could  be  spoiled  by  a  poor  skin,  and  a  bad  figure  would  pre- 
vent any  girl  from  being  considered  a  beauty. 

Her  first  visit,  therefore,  after  the  shopping  fcst  had  been  concluded  was  to  her  beauty  specialists  for 
repairs  (Fig.  13).  She  arranged  for  a  series  of  treatments  under  the  care  of  the  skilled  attendant  who  used 
a  system  made  famous  in  three  continents  by  the  originator.  This  treatment  consists  of  a  gentle  manipula- 
tion, not  massage  to  stretch  the  skin,  but  a  scientific  manipulation  to  bring  circulation  to  the  tissues,  and 
thus  feed  them.  After  one  of  these  treatments  you  feel  like  another  person,  and  the  Matinee  Girl  declared 
that  she  was  quite  ready  to  begin  a  round  of  the  shops  all  over  again.  As  she  insisted  that  she  felt  as  good 
as  she  looked,  she  made  up  a  party  for  tea  at  the  Ritz,  and  her  flushed  face,  sparkling  eyes  which  had  been 
rested  by  the  careful  eye  treatment  given  by  this  specialist,  and  fresh,  young  complexion,  attracted  the  ad- 
miration of  the  tea  drinkers  at  the  other  tables.  "Isn't  it  worth  the  price?"  she  exclaimed,  when  her  friends 
called  her  attention  to  the  interest  she  was  creating  among  strangers.  "I  am  going  to  arrange  for  a  series  of 
treatments  to  last  all  summer,  and  I  have  bought  a  box  of  all  the  r.ecessary  toilet  aids  to  take  home  so  that 
I  can  keep  my  skin  in  a  good  condition  between  times." 

Before  she  started  for  the  station  to  take  her  train  back  to  the  country  home,  she  placed  a  generous  order 
for  talcum  powder.  The  clerk  showed  her  several  brands  at  all  of  which  she  shook  her  head,  until  finally,  in 
answer  to  her  demand  "for  the  very  best,"  he  brought  forth  a  jar  of  the  pink  talcum  powder,  exhaling  the 
delicious  aroma  of  the  roses.  This  is  a  very  fine,  very  soft,  clinging  talcum,  which  leaves  the  delicious  aroma 
of  a  rose  garden  in  June  on  the  skin,  and  as  only  the  best  ingredients  are  used  in  its  composition,  it  cannot 
injure  the  most  delicate  skin.  "75  cents  a  jar  is,  of  course,  much  more  expensive  than  most  of  the  other 
makes,"  the  Matinee  Girl  admitted,  "but  it  is  so  much  better  that  I  never  argue  over  the  price." 

"And  now,"  she  asked  the  clerk,  "what  is  your  new;st  and  best  perfume — something  exclusive,  refined  and 
very  fragrant?"  The  bottle  the  salesman  presented  won  the  little  Lady,  even  before  she  tested  the  fragrance 
from  a  sample  bottle.  It  was  a  stunning  example  of  the  parfumeur's  art,  and  was  designed  by  the  great 
Lalique,  the  famous  French  glassware  artist.  The  tall,  elongated  bottle  was  topped  by  a  square-embossed 
stopper,  and  contained  nearly  two  ounces  of  a  new  cyclamen  extract.  The  perfume  was  a  faithful  reproduc- 
tion of  the  fragrance  of  this  little  flower,  which  blossoms  so  abundantly  in  Europe,  and  was  most  appealing, 
refined  and  delicate,  yet  with  a  lasting  quality  which  endears  it  to  the  woman  who  delights  in  having  her  per- 
fume hover  over  her  like  a  happy  thought.  The  bottle  is  packed  in  a  satin-lined  rose  leather  box,  and  the 
Matinee  Girl  secures  it  for  $7. 


THE      THEATRE      MAGAZINE     ADVERTISER 


They  Obeyed  that  Impulse 


One  Hour  with  Vogue 

is  better  than  a  whole  day 

spent  with  the  best  informed 

woman  you  know 

Information  is  the  keynote 
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ing woman  will  and  will  not 
wear.  Authoritative  informa- 
tion about  manners  —  about 
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The  fashions  presented  by 
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Let  your  newsdealer  reserve 
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ful information,  these  two  June 
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VOGUE 

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Playwright 

Edited  by  WILLIAM  T.  PRICE 

{Author  o^  "  The  Technique  of  the  Dranw  [' 
and  "  Th     Analyw  of  Play  Construction. "j 

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The  Bride's 
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When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


XXVI 


THE   THEATRE   MAGAZINE   ADVERTISER 


Diamond 
Safety 
(Squeegee) 
Tread 

for  Automobiles 

Motorcycle* 

Bicycles 


i 


get  more  air-room  in 
Diamond  (No -Clinch)  Tires 
-and  it's  the  extra  air-room 


that  does  the  wor 


HT^HE   more   air-room — the  more  resiliency,  which 
in  turn  means  more  comfort  for  you  and  your 
passengers — more  service  from  your  tires. 

The  secret  of  building  a  tire  that  lasts  means   building  a  tire 

does  the  work  easily — a  tire  that  does  not  strain  under  road  usage. 

extra  air-room  is  gained  for  you  without  lessening  the  thickness 
of  the  tread  or  weakening  the  side  walls  in  any  way. 


that 
Thi 


To 


— to 
longer 


tand  the  pull  of  the  engine — to  absorb  the  shocks  of  the  road 

travel  farthest  on  the  smallest  quantity  of  gasoline — to  make  inner  tubes  last 
,  were  scientific  tire  problems. 

Our  engineers  have  solved  these  problems  for  you  and  all  other 
tire  bill  payers  by  building  Diamond  (No-Clinch)  Tires  with  extra  air-room — in  a 
word — the  ideal,  perfectly  constructed  tire  you  have  been  demanding. 


Vitalized  Rubber  calls  a  halt  on  "Short  Mileage" 

After  countless  laboratory  tests  and  experiments, 
our  chemists  have  discovered  a  process  to  scientific- 
ally toughen  pure  rubber  so  that  it  will  give  you 
the  mileage  you  pay  for. 

Diamond  (No-Clinch)  Tires  made  of  Vitalized  Rubber 
are  tough  and  flint-like  enough  to  fight  the  road,  elastic 
enough  to  absorb  shocks,  thus  preventing  rim  troubles 
and  breaking  above  the  bead. 

.- 

Add  to  this  high  grade  workmanship,  nothing  inferior  in 
construction  or  fabric — Perfect  3-Point  Rim  Contact — 
the  No-Pinch  Safety  Flap  for  inner  tube  protection — 
and  you  have  the  best  tire  money  can  buy.  Cross  Section  Diamond  Safety  Tread  Tire 

Safety  (Squeegee)  Tread  an  additional  Diamond  advantage 

Diamond  Safety  Tread  Tires  obey  your  will.  No  matter  how  slippery 
and  treacherous  the  paving,  they  grip  and  hold.  You  drive  with  safety 
and  you  drive  with  pleasure  with  Diamond  Safety  (Squeegee)  Tires  on  your  cars. 

And  that's  not  all — there's  real  economy  in  Diamond  Safety  Tread  Tires.  The 
Safety  Tread  is  added  to  the  regular  tread — the  extra  mileage  makes  the  safety 
cost  you  nothing. 

So  this  time  buy  Diamond  Vitalized  Rubber  Tires 
— you  can  get  them  to  fit  your  rims  at  any  of  the 


25,000  JDiamond  Dealers  always  at  your  Service 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


BINDING  SECT.  OCT  2  3  1968 


PLEASE  DO  NOT  REMOVE 
CARDS  OR  SLIPS  FROM  THIS  POCKET 

UNIVERSITY  OF  TORONTO  LIBRARY 


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