iOTr!
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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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
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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
KITTY CHEATHAM
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THE THEATRE MAGAZINE ADVERTISER
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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-
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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."
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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.
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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.
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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
t*lflW 'JmTl
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The American
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Edited by WILLIAM T. PRICE
( Author of " The Technique of the Drama "
and " The Analysis of Play Construction. )
A MONTHLY devoted to
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of Plays and Playwriting.
1 5 cents a copy. $ 1 .50 a year.
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THE THEATRE MAGAZINE ADVERTISER
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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."
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
THE THEATRE MAGAZINE ADVERTISER
XI
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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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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. ' '
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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.
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
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For Spring 1913
'
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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
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THE THEATRE MAGAZINE ADVERTISER
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-I ffl] 1 1 1 "I Iffl im^rm
Wv£b a responsible Tire Dealer
lire EnckircmcQ is ike
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on
A DVERTISING is only an
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For, if for no other reason
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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
„„ „„ glad to receive for consideration articles on dramatic or musical subjects, sketches of famous actors or singers, etc..
ic. Postage stamps should in all cases be enclosed to insure the return of contributions found to be unavailable. Al! manuscripts submitted should be accompanied
CONTRIBUTORS— The Editor will be
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when possible by photographs. Artists are invited to submit their photographs for reproduction in THE THEATRE. Each photograph should be inscribed on the
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.
utmost care is taken with manuscripts and photographs, but we decline all responsibility in case of loss.
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COPYRIGHT 1912 BY THE THEATRE MAGAZINE CO. TRADE MARK REG. U. S. PAT. OFF.
ENTERED AT POST OFFICE, NEW YORK, AS SECOND CLASS MAIL, MATTEtt
IV
THE THEATRE MAGAZINE ADVERTISER
I
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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-
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conomy embodied in the small bore,
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This type of gasoline engine,now uni-
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./
For this reason, WHITE are really
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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."
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AMERICAN ACADEMY OF
DRAMATIC ARTS
Connected with Mr. Charles Frohman's Empire Theatre and Companies
Recognized as the Leading Institution
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BOARD OF TRUSTEES
Franklin H. Sargent, President
Daniel Frohman John Drew
Benjamin F. Roeder Augustus Thomas
Founded
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For catalog and information
apply to the Secretary
Room 152, Carnegie Hall
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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
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THE THEATRE MAGAZINE ADVERTISER
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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?"
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A UNIQUE and exclusive feature of the THEATRE
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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
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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
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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-
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One of the newest songs of this popular com-
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McCormack sings beautifully. — Advertisement.
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A MONTHLY devoted to
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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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Xll
THE THEATRE MAGAZINE ADVERTISER
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
New York Casino, on which was the first roof garden ever con-
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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.
Illustrated with many photographs. $2.75 net; postage 30 cents
YOUR BOOKSELLER CAN SUPPLY YOU. Let us enter your name for a year's free subscription to
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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.
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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
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names for the members of the party, two pages for illustrations, a page
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It makes an attractive addition to your library table and is a source
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THE THEATRE MAGAZINE
8-14 West 38th Street
New York
When writing to advertisers, kindly mention THE THEATRE MAGAZIKE
XIV
THE THEATRE MAGAZINE ADVERTISER
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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.
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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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XVI
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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
SDIGEJ&TS
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Now twentieth year at Grand Opera House BIdg..
Cor. 23d St. and 8th Ave., New York. Our Students
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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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XXV111
THE THEATRE MAGAZINE ADVERTISER
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LOVE If* F*RIEJVDSHIT
(A Nameles* Sentiment)
With a Preface in Fragments from STENDHAL,
Tranjtattd from 1h* Frtncb by HEJVRy FEJVE W "BO IS
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.
Fr&nclsque 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 arranged, 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."
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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.
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
RIVERSIDE PRESS. NEW YOUR
Cents
3 a Year
THE MAGAZINE FOR PLAYGOERS.
MARCH. 1913
VOL. XVII. NO. 145
THE THE
(TITLE REG. U. 8. PAT. OFF.)
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The new "Pointex' Heel is considered as great an
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spliced heel; it tapers gracefully to a point, making the Ankle
look Slim and Shapely. This new Heel is another of the
Exclusive Refinements found only in the "ONYX' Brand.
We are showing for Spring, 1913, a line of this improved "ONYX"
High Heel in Women's Lisles and Silk Lisles, in Black, White and
Tan, at 50c. and 75c., and Women's Silk, in Black Only, $1.75,
$2.00 and $2.25.
Men's Silk Lisles, in Black and Tan, at 50c.
Wholesale
Distributors
Sold at the quality shops. If your dealer cannot supply you,
we will direct you to the nearest one. Write to Deft. V.
Lord & Taylor
New York
THE THEATRE MAGAZINE ADVERTISER
GENUINE
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are the premier automobile tires of the world
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a new tire. The Hartford Rubber Works practically introduced it into this country more than
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
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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
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When writing to advertisers, kindly mention THE THEATRE MAGAZINE
THE THEATRE MAGAZINE ADVERTISER
" The Choice of
Men Who Know'
Illustrating the Lazier "Light Six," Six 'Passenger Coronado
Limousine, $4450
JUST as Lozier power and strength and speed have
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In this, the sixth successful season of Lozier Sixes, we
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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
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69
7i
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78
81
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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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when possible by photographs. Artists are invited to submit their photographs for reproduction in THE THEATRE. Each photograph should be inscribed on the back
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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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PERCY MACKAYE
(Continued from page 88)
commercial theatre, reformed; it is not an art
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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.
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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)
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
THE THEATRE MAGAZINE ADVERTISER
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.
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(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
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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-
tre— a movement for which as yet the poet play-
wright finds all too few players to interpret him.
ETHEL M. SMITH.
John Drew lately dropped in at the Players
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voice saying, "What name, please?" "Drew," was
the answer. "What Drew," the attendant per-
sisted, still holding on to the coat tails. "Oh,
Drew blazes!" answered the actor, getting net-
tled. "Very well, Mr. Blazes," said the attendant,
releasing his grip and returning to the printed
list on the club door to place a pin opposite the
name O. Drew Blazers as present or accounted
for.
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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."
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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.
Charles Frohman has arranged for H. B. War-
ner in a new comedy entitled "The Ghost Break-
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at the Lyceum Theatre, New York, on Monday,
March 3rd.
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
THE THEATRE MAGAZINE ADVERTISER
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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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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-
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 mention THE THEATRE MAGAZINE
XVI
THE THEATRE MAGAZINE ADVERTISER
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A unique and exclusive feature of the THEATRE MAGAZINE is the
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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.
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
THE THEATRE MAGAZINE ADVERTISER
xvii
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An Interesting Play
An Enjoyable Evening
With the Play Diary these pleasures do not end with the evening.
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Four pages are reserved for each play — with printed headings
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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
8-14 West 38th Street
New York
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XV111
THE THEATRE MAGAZINE ADVERTISER
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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
T
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
25 West 38th Street
New York
Largest Maker and Retailer of
Simple dresses
and negligees
Suits, coats,
Waists, skirts,
Three piece suits
Tea Gowns
House dresses,
Sacques, matinees
Corsets and
Petticoats,
Infants' layettes
Ready to wear at moderate
cost, altered to fit or made to
measure without extra charge.
Catalog "F" mailed out
of town upon request
Maternity Dresses
in all styles and materials
"We combine ready to wear convenience With
made to order satisfaction.
976 (As illustrated). Maternity Dress of
crepe de chine with large collar . . $33.50
// ink-rested send for Catalog "F. M. "
976
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
Rubber Elastic Corsets
Mad-- from pure rubber
elastic. They hold the
body firmly, give an even
pressure throughout with
perfect comfort. They
improve your figure and
are far superior to ordi-
nary corsets.
M;i«ii- to Your Measure
Price, $1S up
l'erf«M't fit guaranteed
Dr. WALTER'S
Rubberine Corsets
Made in different models
of Dr. Walter's Rub-
berine, a stroiif* material
with exceptional reducin
qualities.
Outwear ordinary corsets.
A I. id- lo \ .,ni\l.-,i>ni r
Price, $8 up
Perfect fit guarantied
g
This f,',tnnctrt can he wnni under the corsets
all day without the slightest discomfort.
Neck ami < hiii Band* - - «3.OO
C'hiu only -------- £.OO
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
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
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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—^^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,
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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
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Vogue's expert advice during these weeks of plan-
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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
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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
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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.
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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
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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.
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THE THEATRE MAGAZINE ADVERTISER
--^^:^:
**l-
<^^ -^
^
P^;
IfcN
*n
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to"
'rwt\
m
U
-PALI MALL ETCHING N0.4
~ .CENTURY COUNTRY CLUB
U3t
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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.,
'ostage stamps should in all cases be enclosed to insure the return of contributions found to be unavailable. All manuscripts submitted should be accompanied
.
when possible by photographs. Artists are invited to submit their photographs for reproduction in THE THEATRE, Each photograph shou
with the name of the sender, and if in character with that of the character represented. Contributors should always keep a duplicate copy
utmost care is taken with manuscripts and photographs, but we decline all responsibility in case of loss.
SUBSCRIPTION : Yearly nil«:ription. in advance. $3.30 Foreign countries add $1.00 for mafl
LONDON: CHICAGO
BOSTON PHILADELPHIA
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COPYRIGHT 1912 BY THE THEATRE MAGAZINE CO. TRADE MARK REG. U. S. PAT. OFF.
ENTERED AT POST OFFICE, NEW YORK, AS SECOND CLASS MAIL MATTEH
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
^
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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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(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.
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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
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Studio 16, tight West Ninth Street
New York City
AMERICAN ACADEMY OF
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The Summer term will open April 3rd
Connected with Mr. Charles Frohman'a Empire Theatre and Companies
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A Correction
The portrait of Miss Elsie Ferguson, on the
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Mishkin photographer, N. Y. The photograph
was taken by White, of 1546 Broadway, N. Y.
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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-
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ideal as it might be. but it has the precious ad-
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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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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.
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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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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.
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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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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.
The Theatre Magazine, 8-14 West 38th Street, New York
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
XVI
THE THEATRE MAGAZINE ADVERTISER
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BIND YOUR NUMBERS OF THE
Theatre Magazine
READERS who
nave preserved their
copies ana return them to
us in good condition, by
express, prepaid, will
receive a complete copy,
together -with title page,
table of contents, on
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.
writing to Advertisers, kindly mention THK THBATKB MAGAZINJS
THE THEATRE MAGAZINE ADVERTISER
xvii
have
"that little touch
of the super-
fluous which is
so necessary"
EGYPTIAN
Qfie Utmost in Cigarettes"
6
Cork Tips' or Plain
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.
Price $3. 00 — sent prepaid
THE THEATRE MAGAZINE
8-14 West 38th Street
New York
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
XV111
THE THEATRE MAGAZINE ADVERTISER
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Foe-simile of label stamped on every three
yards of each piece.
For Sale at Leading Retail Stores
A charming custom, which is becoming much the
vogue, is to furnish different rooms of the home in
styles of Furniture prevailing at the different Periods.
Every Period is represented in our collection of
Period Furniture, and the service of our Designing
Department is placed at the disposal of those who,
not having made a study of the subject, wish expert
advice in selecting the proper Furniture, Decorations
and Pictures to represent the various Periods.
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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*
laid portrait in 10 colors, charmingly illus-
trated with fine plates made from 24 valu-
able photos of Miss Adams, giving the
first complete series of all her character
portrayals, from the beginning of her stage
career to her famous creation of Peter Pan.
An exclusive and genuine Edition de
Luxe, with vividly interesting text. A
most valuable work to be had first
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
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Also a list of the complete casts of some of the earlier New York productions
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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
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KI9SFIT
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Fit Witkout
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The Genuine is identified by
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At the Best Stores
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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.
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Flat double brim cable edge sailor. Craven
trimmed ivithfaitcy cord band and protruding
wings at back.
When writing to advertisers, kindly mention THB THEATU MAGAZINE
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
Back of cover locks tight over metal post to which each magazine is attached.
Preserve Your 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.
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 gold 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.
Single Binder, $1.25, prepaid : : : Two Binders, $2.25, prepaid
These binders are in great demand, so send in your order at once to avoid delay.
The Theatre Magazine, 8 to 14 West 38th Street, New York City
THE OFFICIAL PROGRAMME OF THE
©pera Spouse, Jfteto |9ork
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 jor Ttatcs and Particulars 8 to 14 W. 38th St., New York
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
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
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
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.
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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
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SCENES IN "Tine I!E<;<;AK STTDKNT" — Full-page plate '. . 139
RUSSIAN OPERA SCORES AT THE METROPOLITAN- — Illustrated 140
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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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THE THEATRE MAGAZINE ADVERTISER
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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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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
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(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.
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THE THEATRE MAGAZINE ADVERTISER
"The Revue of 1912"
""HE 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, 1 500
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 a 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 enormous sales
on each issue, which left comparatively few re-
serve copies.
Complete Year, 1912— $6.50 a Set
The Theatre Magazine
8-14 West 38th Street
New York
The Complete Collection of 16 Volumes,
Bound in Cloth,
from 1901 to 1912, inclusive, $132.00
The following Volumes are still sold separately :
Year of The Theatre for 1902
" 1904
1905
1906
" 1907
" 1908
1909
•• '• 1910
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.
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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.
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A New Cottenet Song by Gluck— Red, Red
Rose, Cottenet.
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An English Ballad by McCormack— Within the
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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
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THE THEATRE MAGAZINE ADVERTISER
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.
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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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XIV
THE THEATRE MAGAZINE ADVERTISER
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
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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.
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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.
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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
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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
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XVI
THE THEATRE MAGAZINE ADVERTISER
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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
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Black or tan Russia calf or im-
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Of genuine white Buckskin.
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Patent or dull leather, with gray
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Value $6.00. 4.50
Same model of all white or gray
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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
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
XX
THE THEATRE MAGAZINE ADVERTISER
NEW SPRING CATALOG
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 each
season, we are always 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
presage the coming favorites.
Select your wardrobe here. Eliminate the
annoyance of shopping.
Lane Bryant
25 W. 38th St., New York
Ask for Catalog "F. M." if interested in
MATERNITY DRESSES
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. Used with perfect safety on
any pait 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 GO Cents
Personal attention of
Dr. E. N. Cogswell gioen all lelten
requesting information
Dr. E. N. Cogswell
41 8 Fifth Avenue New York City
l Surgeon-Chiropody and
Expert Manicuring
or
"TO!
ohoost
the colon,
we'll maHettte rug'
Made-to-order
rugs for porch,
bungalow
Summer
home
Exclusive fabrics
of soft, selected
camel'shair woven
in undyed natu-
ral color. Also
pure wool, dyed in
any color or com-
bination of colors.
Any length. Any
width— seamless up to
feet. The finishing
touch of individuality.
Made on short notice. Write
for color card. Order through
your furnisher.
THREW i THRUM WORKSHOP, Auburn, N. V.
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.
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
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
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
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.
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
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.
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ail even j.renure through- ^ * ^f ''v" "" corsets and re-
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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-
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in most instances to rules and
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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
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Here is a No-Clinch tire that appeals to
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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
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- — the annealed steel cable wire bead holds
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Add to this the No-Pinch Safety Flap for inner
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Diamond Safety
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The guarantee on Diamond Tires becomes
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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.
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A powerful light six, priced a thousand dollars
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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 —
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Among those who make Columbia records are:
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AH Columbia records may be played on Victor talking machines. Likewise, all Columbia instruments will play Victor records.
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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-
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QE
THE THEATRE MAGAZINE ADVERTISER
'
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"«t * V-
* ^v/4fe
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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.,
etc. Postage stamps should in all cases be enclosed to insure the return of contributions found to be unavailable. All 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
that of the character represented. Contributors should always keep a duplicate copy of articles submitted.
.
with the name of the sender, and if in character with that of the character repr.
utmost care is taken with manuscripts and photographs, but we decline all responsibility in case of loss.
SUBSCRIPTION : Yearly subscription in advance. $3.90 Foreign countries, add $1.00 for mail
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COPYRIGHT 1912 BY THE THEATRE MAGAZINE CO. TRADE MARK REG. U. S. PAT. OFF.
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
\
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-
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And always the Bell System, with
its extensive resources and reserve
means, is able to restore its service
promptly, and in facilitating the
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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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SEEING FOREIGN AMERICA, including all expenses for
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Reduced rate* for superior accommodations daring
Jane, September and October
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Four pages are reserved for each play— with printed headings
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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
QSee it this summer— season June
15 -Sept. 15. Excursion fares for the
Park trip by itself or in connection
with Pacific Coast trips,
(ijaunts of one, two or more days
(complete tour of 6 days for only
$55.50), in Yellowstone Park will give
you experiences to be gained nowhere
else on earth!
Low Summer Tourist and
Convention Tickets
OTo North Pacific Coast and California, the
farmer on sale daily June to September, the
latter on certain dates. Through sleeping
cars direct to Gardiner Gateway, the original
and northern Yellowstone Park entrance, from
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Pacific Coast, daily during season. Gardiner
is reached only via Northern Pacific. Write
for details and plan your trip now. Address:
A. M. CLELAND, Genl Pass'r Aut., St. Paul, Minn.
Northern Pacific Ry
Panama-Pacific Expo,* San Francisco, 1915
OLD FAITHFUL
etYse*
II truplt totrp 65 or 70
mlnuttn to the hrlyhl t>l n
founttn itlory building
AMERICAN ACADEMY OF
- DRAMATIC ARTS
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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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
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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
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Xll
THE THEATRE MAGAZINE ADVERTISER
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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.
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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
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XIV
THE THEATRE MAGAZINE ADVERTISER
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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.
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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
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
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
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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
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Le Baiser, the latest and most
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CLEMENT'S
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An entirely new preparation
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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
of Vogue. Fashion informa-
tion that draws the line sharply
between those models a discern-
ing woman will and will not
wear. Authoritative informa-
tion about manners — about
society — about house decora-
tion and furnishing — about
every subject that interests
women of discrimination.
The fashions presented by
Vogue have that touch of real
individuality that appeals to
her who wishes to lift even
her most simple frocks above
the level of the commonplace.
Let your newsdealer reserve
for you both June numbers of
Vogue. Unless you are already
accustomed to draw upon
Vogue's unfailing fund of help-
ful information, these two June
numbers will be a revelation.
VOGUE
443 FOURTH AVENUE, NEW YORK.
OJNDE NAST
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The American
Playwright
Edited by WILLIAM T. PRICE
{Author o^ " The Technique of the Dranw ['
and " Th Analyw of Play Construction. "j
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
The Bride's
Number cf
out
June 3
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"A SUMMER OUTING ABOVE THE CLOUDS."
KILL
MEMBER OF THE "EMPIRE TOURS"
CATSKILL MOUNTAINS. ALTITUDE 3,000 FEET.
Opens on June 28, remaining open until after Labor Day.
THE LARGEST MOUNTAIN HOTEL IN THE WORLD.
Parlor Car Service direct to Hotel without change.
Newly decorated, papered, completely renovated and placed in perfect condition.
Climate, scenery and location unequalled, either in Europe or America.
Modern Garage, Canoeing, Fishing. Golf, Tennis, Bowling, Billiards, Pool, Dancing.
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Excellent accommodations'for conventions.
Assembly rooms seating from 50 to i.oco persons.
A musical four o'clock afternoon tea served. No ex-
tra charge to guests. Celebrated Symphony Orchestra.
Special attractions and inducements for the younger set. Hops semi-weekly,
An up-to-date Rathskeller with icasonable prices.
Special rates to families. Transient rates $4.00 per day and up, according to
location of rooms. For reservation of rooms and all information address
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XXVI
THE THEATRE MAGAZINE ADVERTISER
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