PURCHASED FOR THE
UNIVERSITY OF TORONTO LIBRARY
FROM THE
CANADA COUNCIL SPECIAL GRANT
FOR
DRAMA
THE THEATRE
llustrated Monthly Magazine of Dramatic and Musical Art
VOL. XVIII, 1913
NEW YORK
THE THEATRE MAGAZINE COMPANY
PUBLISHERS
8-10-12-14 West Thirty-eighth Street
-p/v
aooo
T5-
V.IS
CONTENTS
Actress Manager, A Famous, by Marc Loge....
Advertising the Play with the "Punch, by
PAGE
4
Robert Grau
Anecdotes of the Stage
Dec. xxxi
52
necos ....... : -, v,
An Optimist of the Stage, by Ada Patterson. ... 198
Author at a "First Night,:' The, by G. C. J.... «
Author of "The Lure," The, by F. C Fay... . 12*
Bates, Blanche, A Chat with, by Wendell Phillips ^
Big Earnings "of Big piays, by X. X ........ .. 150
Burbank Theatre, The ....... .......... ••»«*• x
190
'
uran , ....... .........
Cabaret Booking Agency, The, by Yetta Dorothea
Coining e Admiration" Worth' Half a Million
Year, by William De Wagstaffe
Comic Opera Old Timers, by G. C. J
Decline of Acting, The, by C. A. ....... ..... . • M
Decline of the French • Drama, by Harry J.
Greemvall ........................... Oct. xvn
"Dcr Rosenkavalier," Strauss' Opera. .......... *
Early Feminine Dramatists, by Eleanor Raeburn 194
"Evangeline" Staged, Longfellow's. ............ 1«
Fawcett, George. Apostle of the School ot sug-
gestion, by Ada Patterson .................. 4°
Forbes-Robertson's Farewell to the Stage, by
Marion Taylor ...........................
FriMiistad. Olive. The Art of. by Clare P. Peeler i
Gautier, Judith. A Chat with, by Theodore Bean B9
Hits of the Month, by Y. D. G.
117, 156 and Dec. xxv
How I Portray a Woman on the Stage, by Julian
Fltinge
'
56
Hull'House Players, The. by Elsie F. Weil. .Sept. xix
In Slock, by Harry P. Mawson ...............
It Iss Permissable, by Sam Bernard .............
"Joseph and His Brethren," A Nineteenth Cen-
tury, by Max J. Herzberg .July xx
Kreisler and the Violin ...... ..Oct. xxiv
Macbeth, Florence— A Singer of the Royal Line 82
Maker of Moons, A, by Grosvenor A. Parker.
Sept. xii
Maude, Cyril — London's Foremost Comedian, by
Ada Patterson 1'
Memories of Mummers, by Jesse G. Clare 25
Moliere, A Lesson From, by R. Calhoun 10
Most Successful Operetta Ever Heard Here, by
Rudolph Aronson „••••• T."
New Stars of Next Season Sept. xxni
New York's Newest Theatres 146
"Oedipus" Acted in the Ruins of a Roman Am-
phitheatre, by C. I. D 21
()'.\\il, Peggy, The Romance of 1]
Opening of the Season
Opera, At the • • • • • 1
Opera at the Century Theatre, Popular 131
Opera, The I82
Our Fashion Department:
July, by F. A. Brown xiii
Oct , by F. A. Brown xvill
Nov., by F. A. Brown xyiii
Pageantry and the Drama League, by Ethel M.
Pavlowa — The Greatest Dancer of Her Generation 162
Philadelphia's Little Theatre, by Herman L. Dieck f
Players I Have Known, by H. P. Goddard 70
Players Who Have Inherited the Talent of Their
Parents, by George C. Jenks
Polaire the Magnetic, by F. C. F !•
Police Stop Two Plays, The 1»
Preparing the Stage Meal Behind the Scenes,
by C I. D 96
Rhea, Reminiscences of Mile., by Herself.
40, 104, 137 and 1«7
Science and the Stage, by R. G 72
Shakespeare After the New Manner at Harvard,
by Francis Powell 98
Shakespeare Made to Pay, by Montrose J. Moses 158
Sothern and Marlowe — An Estimate, by Oscar
W. Firkins 118
Stage Figures of the 60's and 70's, by Robert
Grau 68
Stage Illusions in Levitation, by W. H. Radcliffe 62
Stage Realism of the Future, by David Belasco 86
Strindberg — The Swedish Titan, by Frances C.
Fay 202
"Tartarin" on the Parisian Stage, by Willis Steell 92
Tellegen, Lou — A New Scarpia, by A. R....Aug. xv
Theatre of the Future, The — As Managers See
It, by Charles Frohman, Lee Shubert, and
others 160
Theatrical Jury, The, by Redfern Mason 49
Training an Audience to Laugh, by Al Jolson.. 1:>!
When Mabel Meets the Actors, by George C.
Jenks 48
Where Shakespeare Set His Stage, by Elise
Lathrop 193
Whose Is the Living Corpse Idea? by J. Sherrick 122
Who Wrote "Hamlet" First? by Charlton
Andrews 20
Why My First Play Was a Success, by Ada
Patterson July xii
Why Stage Modesty Should Prevail in Musical
Comedy 93
Woman's National Theatre 38
Woman Who Made Bernard Shaw Cry, The, by
A. P 185
Youngest Theatrical Magnate, The, by Belden Lee 100
Adele
America
At Bay
Believe Me Xantrppe
Der Rosenkavalier (opera)..
Evangeline
General John Regan
Hamlet ••
Hansel und Gretel (opera) .
Her Own Money
Indian Summer
lolanthe
Lieber Augustin
Much Ado About Nothing. .
Nearly Married
Oedipus
PACE
127
130
141
. .., 135
. .. .200 and 201
147
176
. ... .119 and 168
. .Dec. Contents
112
177
2
.111 and Oct. xvii
109 and 110
124 and 125
. 21
Scenes from Play
PAGE
Ohl Oh! Delphine 1\
Potash and Perlmutter J;
i'ninclhi
197
,,uo Vadis (motion picture) 38 and 39
Romeo and Juliet "»
Seven Keys to Baldpate "
Tante ]
The Black Mask ]
The Bride }
The Doll Girl •
The Family Cupboard 130 and 169
The Fight I™
The Girl and the Pennant '
The Great Adventure J«
The Jewels of the Madonna (opera) J
The "Love Leash lss
PAGE
The Lure 83
The Madcap Duchess 174
The Man Inside 175
The Marriage Game 181
The Marriage Market 145
The Passing Show of 1913 89
The Poor Little Rich Girl July vi
The Silver Wedding 105
The Sunshine Girl 24
The Temperamental Journey 123
The Will 143
To-day 178
When Dreams Come True 101
Where Ignorance Is Bliss H5
Who's Who US
Plays Reviewed
Adele
PAGE
Oct. xi
After Five
All Aboard
Inly xx
Oct. xiv
A Pair of White Gloves
At Bay
Beauty and the Barge
Believe Me Xantippe
Demi-Tasse
Der Gute Ruf
En Deshabille
44th Street Mxisic Hall
General John Regan
. . .Nov. xv
143
.. .Dec. xxii
113
; . . ; 39
Nov. xxiv
Nov. xvii
Nov. xvii
. . Dec. xvi
. 177
. 146
Hamlet
Her Little Highness
Her Own Money
Indian Summer
Kasernenluft
Kiss Me Quick
Lieber Augustin
Madam President
142
Nov. xxii
Oct. x
178
. . . .Nov. xxiv
Oct. xiv
Oct. xiii
Nov. xxiv
Miss Phoenix
Much Ado About Nothing . .
My Little Friend
Nearly Married
Nur Ein Traum
Oh! I Say
Ourselves
Potash and Perlmutter
Prunella
Seven Keys to Baldpate
Shadowed
So'n Windhund
Sweethearts
Tante
The Black Mask
The Bride
The Doll Girl
The Escape
The Family Cupboard
The Fight
The Ghost of Jerry Bundler
The Girl and the Pennant
The Great Adventure
PAGE
. .Dec. xv
110
. . .July xx
112
Dec. xx
Dec. xx
Dec. xviii
115
174
Nov. xiv
Nov. xxii
Nov. xvii
Oct. xii
174
Nov. xy
Nov. xvii
Oct. xiii
. . . Nov. xvii
Oct. x
Ill
Dec. xxii
Dec. xii
179
The Little Cafe .
The Love Leash
The Lure
The Madcap Duchess
The Man Inside
The Marriage Game
The Marriage Market
The Passing Show of 1913...
The Pleasure Seekers
The Second in Command
The Silver Wedding
The Smoldering Flame
The Taming of the Shrew..
The Temperamental Journey
The Tongues of Men
The Tyranny of Tears
The Will
The Younger Generation
To-day
When Dreams Come True .
Where Ignorance Is Bliss . .
Who's Who
PAGE
Dec. xii
Dec. xv
Sept. xi
178
179
176
Nov. xxii
83
Dec. xx
176
83
Nov. xxii
Sept. xi
114
Dec. xvi
14S
143
145
144
Oct. xiii
115
Oct. xi
Poetry
Ss'lor
Prologue, by
Parmlee
PAGE
t 169
„ u, ~^^'m Carty Ranck 155
Brackett 12*
Peacock
PAGE
188 To Nazimova in "Bella Donna," by Anne Peacock 26
'Anne To the Stage Heroine, by Evelyn Watson 12
Portraits
Aborn, Milton
Abott, Bessie in
Adams, Maude
PAGE
.
"Rob
---- .... ---- • • • •
in "Chantecler"
in "L'Aiglon"
in "Peter Pan"
in "Quality Street
as Rosalind
in "The Jesters"
Adkins, Morton
Alda, Frances
Allen, Beatrice
Allen, Joseph
Amsden, Elizabeth' 'in
AngllrT Marga'r'ei " .' .' .
Ardell, Franklyn . . .
Barrie, Sir James M
Barrymore, Ethel
Barry-more, John
Barrymore, Maurice
Bartholomae, Philip
Tlitac Tilanrhe
'
78 and
190
190
191
191
191
132
148
88
The 'jewels' of the Ma-
.' '. '. '. '. ' ' ' ' '- ' '• ' ' »6. TO 'and
{« 'aid
]°
18 and
Bates, Edna
Bauer, Harold
Beecher, Janet
aV'fo'and
. . .............. ***» *" ana
'in "Madame Butterfly" ........
in "Nobody's Widow1' .........
in "The Children of the Ghetto"
in "The Darling of the Gods".,
in "The Girl of the Golden West"
in "The Three Musketeers"...
in "Under Two Flags" ........
..„„ .
Benson, F. R ...... ••-••-•:
Berger, Rudolf, as Lohengrin
^rS'sa^^Aii'Forjhe'Ladi
Bernhardt. Sarah, Wreath Presented
Boland, Mary
Booth Theatre
Borf Lucrezia,' 'in ' "Don" Pasquaie":
Brady, Alice .
Ura>lau. Sophie
Brian. Donald ............. '
Broadhurst, George
Burbank Theatre ...... . ...... •
Green Room of
Burke, Billie ,
Calvert, Catherine
Carle, Richard
Carlisle, Alexandra
Carreno, Teresa •••••• ---- •
Caruso, Enrico, in Manon
in "Tosca"
Casino Theatre
Cavanagh, Lucille
Chapine
Cheatham, Kitty
Claire, Ina
Clemens, Le Roy
Cohan, George *»..
Collier, William, in
Collins, Jose •••••••
Countess of Pembroke
Countiss, Cathrine
Cox, Hazel
97
79
' *
22
i
22
!
22
.„,
"*
;
87
: ! '. '. '. '. '. '. ' '. '. '. 1«
*»*
lo'-'nA 80
18 a 156
Nov x
"°T *
. . . • N,ov- J
3, 43, 79 and 189
P
......••••••••
"Who's Who
.. ,..
Daboll, William S., in "Ermmie
Dawn, Hazel
Dean, Julia
Delmore, Herbert
De Rosa. Vera
--
Destinn. Emmy, in Alda .....................
Dolly, Roszika ................................
Doro, Marie ..............................
Dovey, Alice ........................... '.: ' ' '\
Drew! John ............................ 16 and
Drew, Mrs ...................................
Duchess of Newcastle ..........................
Eagels, Jeanne ...............................
Eddinger, Wallace ............................
Elaine, Mildred ............... • • • • ---- ; • •„•
Elliot,, Gertrude in "Caesar and Cleopatr^
as Desdemona
in "Hamlet" .................
Eltinge, Julian ...............................
F.uhank, Lilian ...............................
Ewell, Lois ........... • ..... •• ••"aYi ........
in "Madama Butterfly" ........
Fairbanks, Douglas ................. .• .........
Falconer, Helen ............................ '
Fallon, Eva .................................
Farnum, William ............. i,' " 1 "«J Y« ......
Farrar, Geraldine, in "Madama Butterfly ......
in "Manon" .................
Faversham, William and His Family ............
Fawcett, George .............................
Fenwick, Irene ..............................
PAGE
9, 80 and 179
... 158
Ferguson, Elsie
Ferguson, W, J
Fields, Lew, in "All Aboard"...
Filkins, Grace
Fisher, Lola
Fiske, Mrs
Flack, Nanette
Flynn, Marie
Forbes-Robertson, Sir Johnston...
as Caesar
as Hamlet
Bust of
Fovieri, Adoni
Frederick, Pauline
Fredericks, E. Arline
Fremstad, Olive, in "Tosca" ....
Friganza, Trixie
Gadski, Johanna
as Brunnhilde .
Galbraith, Jean
Gates, Eleanor
Gautier, Judith
Gaythorne, Pamela
George, Grace . . . . .... . . .. • • • •
in Half an Hour
Gerville-Reache, Mine., as Fricka
Gillette, William •• • •
Glendinning, Ernest Dec.
Goodrich, Edna
as Evangeline
Gordon, Kitty
J '
;
™
...,
1"
• •
and i
'{
35 and 81
12 and .
94
. . Dec. xxv
79
166
166
198
198
85 and 198
198
176
99
36
66 and 149
61
184
149
. . . Sept. xx
. .. .July xii
59
90
80
144
167
78
xxvi
81
147
13
Grand Opera" at Dallas, Texas 68
Grey, Jane 104 and 159
Hackett, J. H 1«
Hackett, J. K ;
Hale, Marion <
Hall, Pauline, in "Erminie" •
Hamper, Genevieve *J
Handyside, Clarence
Hardy, Sam B ,»*
Hedman, Martha J1
Hempel, Frieda «»
Henry, Eleanor • • • • '
Herbert, H. E Dec. xxv
Herbert, Jayne V V ".
Milliard, Robert 31 and Sept. ^x
. 183
149
150
131
. .Sept. xix
19 and 90
193
193
199
58
183
11
81
149
46
117
Hofmann, Josef , -
Homer, Louise, in "Aida" ,;,•,•••
in "Boris Godunoff . . .
Hopwood, Avery
Howard, Kathleen
Hull House Theatre
Illington, Margaret
Illyria — Coast near Pola
Illyria — A Dalmatian Residence
A Dalmatian Street 193
Imperator, Concert Stage of S. S 154
Irving, H. B
Irving, Henry
Jansen, Marie in Erminie
Johnson, Selene
J olivet, Rita
Jolson, Al
Jordan, Mary
Kalich, Bertha
Kane, Gail
Kaufman, Alfred
•ane Doris ' " August Contents
Kelly, ' Ethel Amorita
Kemble, John Philip, as Hamlet
King, Mollie ' • v^j,;/ p- ;ng-Show'of '
Kingston. Morgan
Klein, Charles
Knowles, Priscilla ,
Kreidler, Louis, in
Kyasht, Lydia
La Follette, Fola .
Larrimore, Francme • • • • *?|j
La Rue, Grace Sent xx
La Salle, Katharine ^P1- **
Latham, Hope
Lee, Auriol
Lcginska, Ethel
Lerner, Tina '•
L'Estrange, Julian
Little Theatre, Philadelphia
Lopoukowa, Lydia •
Lowelly, Berthe, in "Roma
Macbeth, Florence
MacDonald, Christie • •
in "Sweethearts
Mlcready, WilJianV Ch'ar'les,"as Hamlet...
Mansfield, Ric'har'd', ' Memorial "Window to.
Mantell, Robert
Maple, Audrey
Marini, Luigi
Markey, Irene
Marlowe, Julia
MMU
148
Mathewson, Christy and Rida Johnson Young
Matzenauer, Margarete
Maude, Cyril
in "Caste
in "The Flag Lieutenant"...
in "The Little Minister"...
in "The Second in Command".. 105
in "The Second Mrs. Tan-
gueray"
Maude, Margerey, as Cinderella
Mayo, Margaret
McComas, Carroll
McKinnel, Norman
Melba, Mme
Meredith, Anne
Mestayer, Harry
Moliere
Morris, Margaret .
Morris, William in
Morton, Martha
.\a/imova, Alia
Norman, Christine
Ober, Margarete, as Fricka
in "Lohengrin",
O'Connor, Adeline
Oliver, Clarence
O'Neil, Peggy ..................
16
17
44
98
134
131
150
156
132
20
150
;;;;;;;;;;.".;; 27
.'.'.'.' .'September Contents
, 159
Martinelli. Giovanni, in
Mason, John
Mason, Reginald
. ce
in "The Taming of the Shrew
in "Twelfth Nfght" .......... "8
with E. H. Sothern
La Traviata"
1*6
165
166
1(
H
l»jj
1*«
'
H
J1
1'
10
July Contents
"The Family Cupboard" ----
1!
'
1
1'
»•
j
:: :::::!!
O'Neill, Maire ............................... Iff
Opp, Julie ................................... '
Paderewski, Jgnace ........................ •••
Parker, Louis N ........................... July xx
Pavlowa, Anna ........ November Cover, 162 and II
English home, "Ivy House"... H
in "Amarilla" ................ 164
in "La Fille Mai Gardee" ...... 164
in "Orientale" ............... 164
in "The Passing of the Swan". 1
Sept. xx
......................... • '
September Cover and 159
Osten, Eva in "Der Rosen-
n
Pearson, Virginia
Pemberton, Stafford
159
159
159
90
61
159
138
82
80
110
171
20
96
174
70
11
148
49
78
'.'.'.... October Contents
1'ickford, Mary
Plaschke — Von Der
kavalier"
Polaire, Mile
Powell, Francis
Probert, George
Rachel, Mile
Rejane, Mme
in "La Savelli"
in "Mme. Sans-Genc"
in "Qui Perd Gagne"
Rejane Theatre, Public Foyer of
Rhea, Mile., as Josephine
Ring, Blanche, in "When Claudia Smiles'
Ristori, Adelaide, Monument
Roberts. Theodore ............................ J
Rushmore, Vivian ................... • ...... • Jt
Russell, Annie, in "The Rivals" ...... August Cover
Ryan, Mary ...................... x";-Sept-x
Sanderson, Julia, in "The Sunshine Girl
Santley, Joseph ................... ---- ,'.r%5'
Scheidemantel, Karl, in "Der Rosenkavaher .
Scott, Ivy ...................... •
Scotti, Signor, in "Manon Lescaut
Short, Hassard
200
187
9°
J
«»
'
163
(
Shubert Theatre
Skinner, Otis
Sothern, E. A
Sothern, E. H
16 and
as Macbeth ..................
as Petruchio .................
as Shylock ...................
with Julia Marlowe ...........
02 and
47 and
93
11
21
«
'
»'
I
;
79
120
118
li
121
„;
*
*'
«
Stage Illusions
Starr, Frances
Strauss, Richard
Strindberg, August
Suratt, Valeska
Taliaferro, Edith and Mabel
Taylor, Laurette
Tellegen, Lou, in "Phedre"
Tetrazzini, Mme
Teyte, Maggie, as Cendrillon
Thomas, Augustus
Tinnin, Mrs. Glenna Smith
Troutmas, Ivy
Uncle Sam's 137th Birthday Party ..... ....
Valli Valli in "The Purple Ro«,d" ---- October Coyer
Victor, Josephine ............................. »
Virginia, Daisey ........................... '
Vokes, May .................................. 1JJ
Waldrop, Oza ............................... • .
Walker, Charlotte ...................... "7 and 1
; • • 8"
Aug. xv
°
V
J;
. 1
53 and 196
li
121
186
149
79
51
,
Wallace, Regine
Ware, Helen
Warfield, David
Warfield, Irene
We-bster, Willard
Wendell, Anna
Whitney, Edith
Williams, Florence
Wilson, Francis, in
Wood, Majorie
Wood, Peggy
Woods, Louise, in
Wright, Haidee
Wyndham, Olive
"Erminie
1'
139
'
1Z8
'
«»
JJ
;
,
11 and If
"Stop Thief" ..... •. ---- ..... 108
Dec. xxvi
, . . . . . ....... ]
Young, Rida Johnson and Christy Mathewson. . 162
Zell, Gladys ................................. H
Year
L
'Ulf LAI UUL.HJ.
VOL. XV.III. NO. 149
(TITLE REG. U. 8. PAT. OFF.)
FTicxo
Manrmnp
MISS VIOLA DANA
E3IB'
• -
THE TWOFOLD PLEASURE
of the
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THE WILCOX & WHITE CO.
Business Established ,877. MERIDEN, CONN.
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Agencies all over the world.
THE THEATRE MAGAZINE ADVERTISER
A New Dress for L'Art de la Mode
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Photo White
CONTENTS: JULY, 1915
Edited by ARTHUR HORNBLOW
COVER: Portrait in colors of Miss Viola Dana in "The Poor Little Rich Girl" PACK
CONTENTS ILLUSTRATION : Margaret Morris in "Ziegfeld Follies" at the New Amsterdam
TITLE PAGE: Anna Pavlowa in "The Passing of the Swan" i
PLAYS AND PLAYERS 2
A FAMOUS ACTRESS MANAGER — Illustrated Marc Logs .... 4
MME. REJANE IN "LA SAVELLI" — Full-page plate
ELSIE FERGUSON — Full-page plate y
A LESSON FROM MOLIERE — Illustrated R. C'allwiin . . . . 10
SOME ATTRACTIVE PLAYERS — Full-page plate 1 1
To THE STAGE HEROINE — Poem Evcl\n ll'atson ... 12
KITTY GORDON — Full-page plate 13
IT Iss PERMISSABLE — Illustrated Sum Bernard . . .14
MARIE DORO — Full-page plate 15
PLAYERS WHO HAVE INHERITED THE TALENT OF THEIR PARENTS — Illustrated . George C. Jenks . . 16
MOST SUCCESSFUL OPERETTA EVER HEARD HERE — Illustrated Rudolph Aronson . . 17
MARGARET ILLINGTON — Full-page plate 19
WHO WROTE "HAMLET" FIRST? — Illustrated . Clnirlton .-tudrc-n.'s . . 20
"CEoiPus" ACTED IN THE RUINS OF A ROMAN AMPHITHEATRE — Illustrated . . C. I. D 21
A CHAT WJTH BLANCHE BATES — Illustrated . . Wendell Phillips Dodge . 22
BLANCHE BATES — Full-page plate 23
MEMORIES OF MUMMERS ' Jesse G. Clare . . .25
To NAZIMOVA IN "BELLA DONNA" — Poem . Anne Peacock ... 26
IN STOCK — Illustrated Harry P. Maa-son , . 27
ROBERT HILLIARD — Full-page plate 31
TllE AUTHER AT A "FlRST NlGHT" G.C.J 32
MARY BOLAND — Full-page plate 33
THE DECLINE OF ACTING C. A 34
HAZEL DAWN — Full-page plate 35
WHY MY FIRST PLAY WAS A SUCCESS — Illustrated Ada Patterson . . xii
SUMMER APPAREL (The Best Shmvn by the Neiv York Stores) .... F. A. Brotitt . . . xiii
A NINETEENTH CENTURY "JOSEPH AND His BRETHREN" Ma.v J. Hcrzberg . . . xx
THE NEW PLAYS: "My Little Friend," "All Aboard" xx
utmost care is taken with manuscripts and photographs, but we decline all responsibility in case of loss.
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THE THEATRE
Vol~ XVm
JULY, 1913
No. 140
I'ablished by The Theatre Magazine Co., Henry Stern. Pres.. l.auis Meyer, /rea.,.. /;,„/ Utytr. .SY, 'v
H'esl Thin v .-i./Al/i VI. ,-,•/, \r«' y,,,k •
Photo Schneider
ANNA PAVLOWA IN "THE PASSINf, OF THE SWAN"
This famous Russian dancer will return to this country next season for a flying tour of the principal cities of the United States and Canada. It is said that
Pavlowa's appearance here will be her last in America. In the above photograph she is shown in a new dance which will be in her repertoire when she
ope
White
Ann-, Whe- Louise Barthcl Nina Napier
VioUOmet^^^ ^ ACT ] op THEARn^^nF G1LBERT ANusi-LLrVAX-S OPERETTA, "IOLANTHE"
THE rumor that several of the older
New York theatres will be aban-
doned next season, as far as the
legitimate drama is concerned, and given up to moving picture's
will surprise no one. The old-fashioned theatre, with its huge
stage, cavernous-like auditorium, bad acoustics, is rapidly becom-
ing an institution of the past. The tendency among modern theatre
builders to erect small houses is growing more apparent every
day. The popularity of the intimate theatre is a benefit to play-
wrights in that these theatres are specially adapted to plays that
would fail of their full effect in larger houses of the more com-
mercial kind. The tendency of the day is toward more artistic
plays. The play itself need not be small in idea, nor need the
casts be so reduced that a considerable
number of people cannot be employed.
A play of magnitude, in many ways,
could be performed in the small the-
atre, but not of great magnitude in ex-
ternals. It is plain that the matter of
suitability as between the large theatre
and the small one will adjust itself.
No hard and fast rule can well be
established. A notable tendency of the
small theatre will be to break down
some of the conventionalities. Thus,
the two-act play will not be a lost pos-
sibility, and the one-act play will not
be negligible in a bill of entertainment.
The smaller the theatre the larger the
prices perhaps, but even so, the com-
mercial spirit cannot profit in small
houses, and of necessity the artistic
must rule. It is more a question of
tendency than it is one of the measure-
ment of a theatre or play. As it is, and has been, there are houses
of various capacities, and no manager would think of putting
certain plays in the cavernous depths of the Grand Opera House
or the Academy of Music. No, the little theatres are of a benefit
to plays, and consequently to playwrights. It gives wider op-
portunities and serves the public at the same time.
of
sporadic, ill advised as to the choice uf
house, and marked with every appear-
ance of the experimental. The I'nn-
cess began with a house of its own and with a definite policy, and
,,crhaps with resources of the kind of plays wanted to carry out
that policy. In this way the first bill of plays had nothing ex-
perimental about them, for they were impressive and successful
from the opening night. Whatever they may be of the experi-
mental in the venture, we take it, will gradually be reduced to
certainty. Next season the management will feel its way to sure
ground.' The first announcement, that the plays were to be of
a kind that only men and women of the world experienced in the
warfare of sex, if we may so describe the idea, would be asked
to see, has been modified to some ex-
tent. If the Princess presents only such
plays as are artistically strong and virile
with humanity, it will be enough. We
believe such plays can be found. It is
not likely that there can be any great
abstract prejudice against one-act plays
as such. The management of the Prin-
cess will make it their business, no
doubt, to see to it that they are so in-
teresting and so well played that such
a prejudice will disappear if it does
exist.
The unquestionable success that at-
tended the production in this city re-
cently of a play dealing most frankly
with a subject usually only discussed
in medical journals will doubtless en-
courage efforts in the same direction.
The propagandist play is hardly in any
sense an entertainment. Only curiosity could give it profitable
audiences for a little while. No one can take pleasure in i
is a tragedy less in what happens in the play, than in the poss
tragedies that the preachments conjure up to the mind. No doubt
its audiences took "Damaged Goods" seriously enough ; no doubt
there was a moral effect; but exactly what that effect was in all
directions nobodv can tell. The play stands by itself,
before so far as we know, has any other medical society made
LEW FIELDS
As Ian Van Ilaan in "All Aboard" at the Forty-fourth
Street Roof Garden
for the new dramatist, and one of unusual interest to the theatre- we ,,*»<= * i-<y — •
goer. Many attempts have been made to entertain the public disease, and its reform. Justice ^^m^t which
with one-act plays as a regular bill, but the efforts have been described as one of the kind, not in it
THE THEATRE MAGAZINE
'
the public gladly flock to, but yet useful for the purposes of re-
form. The propagandist play is not for the amusement seeker.
To say that the theatre is a place of amusement is not to dis
credit the theatre. It is also the place of enlightenment and ex-
altation from which the sordid and the ugly are excluded.
That New York never does things by halves is proven alike
by skyscrapers and grand opera. Not content with the acknowl-
edged fact that the Metropolitan ( )pera House is supplying its
patrons the very best opera in the world and
is doing what scarcely any other opera bouse is
doing, namely giving opera in four languages.
not content with all this, Father Knickerbocker
is to have two more opera enterprises in fu'.l
blast by fall. I'.oth of the two new enterprises
are designed to furnish opera for the masses at
prices ( ne-half and one-third of the present
Metropolitan maximum cost of seats.
One of these is the new opera venture of Oscar
Hammerstein, who four years ago was bought
out, lock, stock and barrel, by the Metropolitan
directors, thus bringing to an end his dictatorship
at the Manhattan Opera House. Now, chafing
under the restraint of inactivity, Oscar Ham-
merstein has bought a plot of ground on Lexing-
ton Avenue and Fifty-first Street and will erect
a big opera house, giving opera in English only
at prices ranging from three dollars downward.
His plans in detail have not yet been divulged;
also there is some chance of litigation, as his
contract with the Metropolitan directors, made
at the time of his sale, precluded his giving grand
opera in this city during a term of ten years from
the date of the sale. But that feature does not
concern us here.
The other scheme of cheap opera is being fos-
tered by the City Club. It was born at a lunch-
eon given at that club a year ago, when some
Metropolitan opera 'artists discussed grand opera,
and innocently gave birth to an idea of furnish-
ing the masses of this city with opera at popular
prices. For a year this plan was silently hatched
and then began to take form — at first a crude
and impracticable form — for it was originally
planned to give eight weeks of such opera before
the opening of the Metropolitan season, and eight
weeks after the Metropolitan had closed. What
was to become of the engaged artists between the
two seasons had scarcely been worked out logi-
cal]}.
At this point Mr. Otto H. Kahn, chairman of
the Metropolitan Board of Directors, leaped into
the breach. It was settled then, that the season
of "Opera for the People" — as it is called — was
to be given at the Century Theatre. And, more
important still, was the fact that, instead of two,
brief, interrupted seasons, this opera was to run
about thirty-five weeks. Scenery and costumes
are going to be lent from the amassed collections
of the Metropolitan Opera House, whose ware-
houses are bulging with unused scenery. This
opera is not to be given in English alone, but
in Italian, German and French also — as in
opera at the Metropolitan. A fund of $450,000
is now being raised to cover the deficits of a three
year run, and amounts are being pledged by in-
dividuals. The names of such donors have as
yet been withheld from the public, but Mr. Ed-
ward Kellog Baird, of the City Club, is the chair-
man of the Opera Committee.
So, unless all signs fail, Xew York will have three opera com-
panies "in its midst" next season. This is not the lirst tune that
Mich a glut of opera has prevailed hcie, for some live \cars ago
grand opera was giycn at the Metro|>olitaii, tile Manhattan and
the < 'eiitur\ Theatre. There were weeks when ihe public was asked
to hear as high as -.evented! performances of opera a \\eck. And
what was the result? The Metropolitan is said lo have shown a
heavy loss that season ; the Xew Theatre -now called the < eiitury
'I l:eatre is said to have lost at a 'milinufil <m f«'/'' -»""'
•^
Sarony
BILLIE BURKE
Decently seen as Tommy Belturbet in Pinero's comedy,
'The Amazons"
Photo Bert, Paris
THE MOST RECENT PORTRAIT OF MME. REJANE
RE J A N E has a g a i n
triumphed. O n t h e
stage of her own
theatre, this distinguished French actress is once more drawing
all Paris to see her admirable acting of the heroine in "Alsace,"
the new patriotic play by MM. Gaston Leroux and Lucien
Camille. The part is that of an Alsatian woman, who, after
being banished for several years from her native town, returns
at last to her home to find everything absolutely unchanged. In
this character, so faithfully drawn, so simple and real. Rejane
attains heights she has never before reache;!. On:e more she
reveals herself as a comedienne without a rival. She has sur-
passed in this play even her great success "La Robe Rouge."
Without fear of exaggeration one may say that "Alsace." in
addition to being a stirring, patriotic drama, also marks the
apotheosis in the career of one of the most interesting and
talented women that ever graced the French stage.
Rejane to-day is fifty-six years old. She has been on the stage
since 1875, when she made her debut at the Theatre du Vaudeville.
Paris. In the spring of 1872, Mr. Charles Simon introduced to
Regnier, the great comedian, a young governess who wished to
"go on the stage." Regnier naturally began by trying to dis-
courage her. But she showed so firm a resistance, and so much
resolution that he at last consented to accept her as auditricc
during the last two months of the school year. Nevertheless, he
made certain stipulations :
"If at the end of that lapse of time," he declared, "I see that
you have no possibility of
succeeding, promise me to
believe what I will tell yon.
an.l to obey me. Do you give me \our word of honor to do
ibis ?"
To abdicate thus the dream of one's life was nearly as cruel
as to renounce it immediately. But the honored master to \\honi
the young girl confided her fate was a perfect artist, and a
scrupulously just man. Gabrielle Reju (her real name) bravely
decided to incline herself to the decisive test : she promised.
Her passionate love for the stage dated from her childhood.
She was born between the Porte St. Martin and the Place du
(.'bateau d'Eau, 14 rue de Douai, on the 6th of June, 1856. Her
first surroundings were amidst the amusing Parisian population,
both artistic, careless, dexterous and gay, which formed the
habitual and enthusiastic audiences of the theatres of the Boule-
vard du Crime. Her father, who had played in a few melo-
dramas, and who had even directed the Grand Theatre of Arras,
became ticket-taker at the Ambigu. And, enthroned behind the
refreshment-bar of the foyer of the same theatre, her mother
held dominion over some stale cakes, a few oranges and two-
quart bottles of champagne. As soon as the child could walk
she accompanied her parents to their work. They used to settle
her in a corner of the foyer and whilst the chandelier shone
dimly like a gigantic nightlight, she slumbered conscientiously
during the long acts. It is probable, however, that her first
theatrical impressions were not limited to those obscure watches.
. REJANE IN MAX MAUREY'S PLAY, "LA SAVELLI
T If R T fl I7- - '
It is possible that she occasionally witnessed the representations
of such thrilling plays as "La Bouquetiere des Innocents.' '
Poissarde," "La Tour de Londres" and "Le Jnif Krrant. and
that she heard the well-known voices of Melingue. Lacresson-
niere and Marie Laurent declaim the long dramatic tirade
in vogue at that period.
Her father died before she reached her htth year, and for
some time all the circumstances seemed to coincide to withdraw
the little (labrielle Rejn away from the theatre. Her god-
mother Mine. Xaptal Arnaiild. former fcnsumnaire of the
Comedie 1-Yancaise. live.l in Russia, where she exercised the
functions of reader of the Empress. Her mother, occupied by
s,,me • .tike work she had obtained at the Hippodrome, confided
her dau-hter most of the time to the care of a neighbor, and
later she sent her to school. lietweeu school hours Gabriel*
contributed to the earnings of the family by making fans, which
brought in from two francs to two francs fifty centimes a dozen.
Then the war with Prussia broke out, to be followed by the
Commune, and the child participating with all her ardent soul 1.1
the struggle and vicissitudes her country was enduring, developed
int.. a thoughtful young girl. \Vhen the tempest was past, she
returned to her boarding school in the rue 1'igalle and worked
so seriously that the directress of the school proposed to keep
her as nndennistrcss. "at forty francs a month, luncheon in-
cluded." The offer of so fine a situation tempted Mine. Reju,
who accepted in her daughter's name. I'.ut the latter had quite
other plans. At a friend's house, where she and her mother
used to go on Sundays, she sang popular airs of the time with
astonishing gaiety and naturalness. The small successes she
thus obtained naturally excited her ambition. Then began the
E MAGAZINE
classical quarrel between mother and daughter. Mine. Rejn de-
clared that one had "no right to oblige one's mother to become
the mother of an actress." This argument proved fruitless.
however, as fate intervened to precipitate matters. The Re] us
lived at that period at 17 me Notre Dame de Lorette, and on the
same floor as their Hat dwelt a lady who knew Charles Simon,
son of the Ministrc tic I'lnstniction I'ltbliqitc, who kindly pre-
sented her to Regnier, one of the most famous masters of the
period.
The little schoolmarm of the rue Pigalle first aiiditncc at
Regnier's class, was received after a few months' study at the
Conservatoire, and she became titulary pupil of her good master.
The judgment so much apprehended, but to which she hac
promised to submit, was pronounced as follows: Regnier tore
up the cachets of the private lessons which the young girl took
with him, crying: "When one has the mission of forming an
artistic temperament such as yours, one accepts no payment for
one's advice!"
At the examination which took place at the en,d of the yes
1873, Gabrie'.le Reju obtained a first accessit in "L'Intrigue
Epistolaire." And we find the following appreciation of her in
Sarcey's chronicles :
"She is a child seventeen years old: she has one of those
witty, amusing types which, even from a distance, denote the
Parisian. If she does not make her way, I shall be very much
surprised.''
The jury shared this opinion, and attributed to Gabrielle Reju
the purse of 1,200 francs left vacant by Marie Legault, who had
just been received at the Comedie Franchise.
The second year at the Conservatoire passed happily. The
I'hoto I!> rl
rrnr.u KOYKR ()!•• TIIK TIIKATRK KK.IANE, PARIS
'/•///• THEATRE MAGAZINE
young pupil herself gave a few lessons, and she occasionally
played at the small theatre of La Tour d'Auvergne, which Talbot
directed, and sometimes she appeared on the stages of some
suburban playhouses of the capital. At that period, following
the advice of Alexandre Dumas, of Sarcey and of several of her
comrades, she resolved to change her
name. She hesitated some time be-
tween the names of Regille. Rejalle,
Rejolle. and finally one night, when
she was playing in ' Paysans Lorrains"
the name of Re jane appeared for the
first time on a Parisian playbill. The
examination of 1874 approached, and
public opinion was almost certain that
Re jane would be awarded the first
prize. Nevertheless, though she played
remarkably well a scene from "Les
Trois Sultanes," she only obtained a
second prize, which she shared with
Jeanne Saniary.
Regnier was indignant, and Sarcey
tried to console himself at not seeing
her at the Franc.ais, by the thought
that she was more fitted to play at the
Vaudeville or at the Gymnase. Re jane
herself believed that there was nothing
to do for her at the Odeon. And,
when the director of this theatre, M.
Duquesnel, claimed her, she managed
to obtain a letter from one of the min-
isters, thanks to which she was not
compelled to resign the contract she
had signed with the Vaudeville.
She made her debut there in 1875. in
the role of the Prologue in the "Revue
des Deux Mondes." She obtained her
first success with the creation she made
in "Madame Lili," a one-act play by
Marc M onnier, which she acted with
Dieudonne, the 4th of September, 1875.
The press began to speak of her, and
to laud her wit and archness. During
all the season of 1875-76. she appeared
in a series of comedies, all more or less
forgotten at present: "Midi a Quatorze
Heures," by Theodore Barriere ; "Re-
naudin de Caen," by Duvert and Len-
jeaume; "Le Verglas," by the painter
Vibert, and "Perfide cotnme 1'Inde," by
Octave Gatineau. She worked hard
and improved steadily. Regnier. of
whom she affectionately continued to
solicit advice, guided and encouraged
her. Tie wished to accustom her to
deportment and style, to distinction,
whilst continuing all the while to
search for true effect by simplicity and
naturalness, en deliors du chic et de la
ficelle. Tn "Le Premier Tapis," Offen-
bach had heard her "phrase," with so
clear and charming a voice an air of
Lecocq's, that he offered her the sum
of 20,000 francs a year to sing at the
Varietes. Rejane refused, and her
salary at the Vaudeville was raised. In 1877 she had consider-
able success, especially in the dramatic passages of "Pierre." a
Nadar
"Le Mari d'llda," in which part she still lacked elegance and
culture, she took up "Les Faux Mon-,hoinim-s." in which she was,
according to Kegnier's own expression, "gay, true and witty."
One day, in "Les Tapagcurs," she doubled a part at the
last minute and improvised a scene. Her courage and
self-control won her a real ovation.
Mut when she appeared in "Les Lion-
nes I'auvrcs," in 1X70. Sarcey could
ii< it tolerate her interpretation of the
role of Seraphine, whilst Marliey
d'Aurevilly, on the contrary, compared
her to Rachel. Indeed, it i-. the same
llarbcy d' Aurevilly, who. after having
•>cen Kejane play in "I c IVri- I'ro-
digue," by Dumas tils, predicted the
great dramatic artist into which Mine.
Kejane was to evolve later. "She ha*,"
he said, "the face and figure for enact-
ing dramas, when one will write living
ones."
Though having spent eight years at
the Vaudeville, and having interpreted
twenty different roles, Rejane had not
as yet been able to win for herself the
reputation of leading star. At last the
director of the Varietes offered her the
principal part in an opcrette. "I^i N'uit
de Noces," and. in a revue entitled
"Les Varietes de Paris." by Blum.
\Yolf and Tock. she personified a little
baker boy who had run away that same
year with a great lady.
It was in that costume that Jean
Richepin found her when he asked her
to personate his heroine in "La Glu."
Me took her to the Ambigu. which was
then under Sarah Bernhardt's able
management, and Rejane abandoned at
last the tame repertory of vaudevilles
and one-act plays, replacing them with
living dramas. She played in one of
those living dramas, predicted by llar-
bey d'Aurevilly, and she played in a
superior manner.
In 1883 she created "Ma Camarade,"
one of Henri Meilac's most witty
comedies. Rejane had at last revealed
her real self, and from that date began
her fine career: henceforth she was to
be. according to the necessities of her
parts, either tragic or impassioned,
comic or witty.
Her successes in "La Glu" and in
"Ma Camarade" brought her back to
the Vaudeville, to appear unfortunately
in an unlucky play-
For some time the important roles
escaped her. She left the Vaudeville a
second time, and awaited a new chance,
which at last presented itself when she
was designed to create "Decore."
Whilst she rehearsed the bright, deli-
cate masterpiece of Henri Meilhac. M.
Porel offered her the title role in "Germinie Lacerteux," which
the De Goncourt brothers had presented to the Odeon. She
Rejane as Madame Saris-Gene
"'\-.->H^-V.V_.TJ,V-.TI^l_*~l<ll'»I«»^'1^*'-1 O f * , . • . ., -111
four-act play by Cormon, but nevertheless, during the last three accepted it after a certain hesitation, m spite of;
years she had not advanced much in her career. Bartet was the Sarcey, Raymond Deslandes and many other of her friends made
acknowledged star of the Vaudeville, and Rejane was nearly a to discourage her. She was right to do so. however, for the part
whole year without playing. In 1878-79. after having created proved one of her greatest artistic victories.
THE THEATRE MAGAZINE
Deslandes recalled her to the Vaudeville for the third time. In
Yictorien Sardou's "Marquise" she proved herself gay. charm-
ing and witty, and henceforth she spent her time between the
Boulevards and the Odeon. At the last-named theatre she cre-
ated "Amoureuse." M. Georges de Porto-Riche's wonderful
psychological love-play, which she imposed on the public and the
critics by taking it up again in 1893, in 1896, and in 1899.
As she had married M.
Porel, it was natural that Re-
jane should follow the director
of the Odeon when he emi-
grated to the Boulevards to
inaugurate the Grand Theatre
built on the emplacement of
the ancient Eden. The play
given was Daudet's "Sapho,"
and the first night took place
on the 2 ist of November in an
icy-cold and unfinished house.
But Rejane's supple and living
acting assured the success.
"Sapho" was added to all the
admirable creations in which
she tinted reality with both
vigor and delicacy.
Maurice Donnav's voluptu-
ous irony found in Rejane one
of its best interpreters. She
played one hundred times
"Lysistrata" with a mocking
grace and a most poetic aban-
don. Then, as M. Porel as-
sumed the management of the
Vaudeville, in partnership with
M. Albert Carre, Rejane ac-
companied him there and ap-
peared in "Madame Sans-
( icne." She brought to the
Vaudeville, which theatre had
not much claim to her indul-
gence, an uninterrupted good-
luck.
The season of 1893-94 was
especially fruitful in fine crea-
tions due to the great artist.
For, whilst she lent all her
sjaietv and wit to the per-
sonification of the famous
laundress, later wife of one of
Bonaparte's marshals, Mme.
Rejane resurrected "La Pa-
risienne," by Henry Becque.
which had failed at the Come-
die Franchise, and also created
the role of the heroine in Ibsen's drama, "Doll's House."
At the end of that triumphal season of 1894, Grau the im-
presario, took her for three months to the United States and
Canada. Though warmly welcomed everywhere, she was more
or less understood by her audiences. In Xew York, New Orleans
and Montreal she obtained, however, very legitimate successes.
( >n her return journey she made a short stay in London, where
she played Madame Sans-Gene. in which role she has ever since
been enthusiastically appreciated by her British public.
During several long years she remained faithful to her Vaude-
ville, where she continued to create those plays which so exclu-
sively belong to Rejane's repertory — varied and penetrating
studies of modern life, of which she was the perfect heroine.
From 1895 to 'Q00 were given "I.e Partage." Albert Guinon's
consummate psychological drama, in which Rejane revealed her-
self so stirring; "Zaza," one of her most original conceptions;
MADAME TETRAZZIM TAKES TO MOTORING
This picture of the world-famed singer was taken after a ride about Los Angeles
in her new Baker Electric, during the engagement of the Chicago Grand Opera
Company. Madame Tetrazzini is an enthusiastic motorist. "I have quite for-
gotten singing and the opera," she exclaimed, after spending many happy hours
driving her own electric car. The new car will be taken to Lake Lugano, Madame
Tetrazzini's beautiful Switzerland home
"Le Lys Rouge," drawn from Analole France's immortal novel.
"La Robe Rouge," in which she was curiously dramatic; "La
Course an Flambeau," one of her greatest roles of modern tra-
gedienne; "Le Joug," in which she sketched in so striking a way
the gradual evolution of a woman's character.
In 1897 she visited Copenhagen, St. Petersburg, Moscow.
Odessa, Bucharest, Budapest, Dresden and Munich, where
ever since she has frequently
played as she makes almost
every year a long tournee in
the different parts of the globe.
Numerous revivals completed
the work of those fruitful
years, notably that of "Ger-
minie Lacerteux," in which she
affirmed once more her great
art of being natural. This
play closed her theatrical career
at the Vaudeville.
When the divorce separated
M. and Mme. Porel, their ar-
tistic activity became distinct
one from the other. Hence-
forth from the 3rd of January.
1904. Mme. Rejane was liber-
ated from all her old contracts
with the Vaudeville. She
created at Brussels at the
Theatre du Pare, "L'Hiron-
delle," by M. Darin X io >d. '-mi.
who has now become the con-
secrated author of the ever
great artist. And, returning
to Paris, she appeared in all
her customary talent in "L'Age
d'Aimer."
Finally she opened her own
theatre, the Theatre Rejane.
She transformed the old Nou
veau Theatre which until then
had had the bad luck of being
vowed to concerts and to the
passing artistic attempts of the
aesthetics, into one of the most
elegant houses of Paris. A
gay foyer, decorate d with
flowers and enlivened by music,
forms a vast room suitable for
chattering during the cntrc
actes. And, moreover, Mme.
Rejane had made a great effort.
The works which are submitted
to her clear judgment are not
always such as so talented an
interpreter might desire. But she neglects nothing to throw
them as brilliantly into relief as possible. The Theatre Rejane
opened on the I4th of December, 1906, with a picturesque ad-
venture in crinolines, entitled "La Savelli," by Augustin Thierry
and Max Maurey. Later was represented Francis de Croisset'?
lively comedy, "Paris-New York." which contained some es-
sentially Parisian conceptions of Yankees. During 1907 and i<t<>S!
the following novelties were represented : "Raffles " a successful
and thrilling detective play, drawn from Hornung's famous book
by Dario Nicodemi ; "Oui Perd Gagne," by Alfred Capus ; "Is-
rael," three vigorous acts by Henri Bernstein, who at the present
moment is scoring real triumph at the Gymnase with "L'Assaut."
The directress of the Theatre Rejane has grouped around her
celebrated name many of her most distinguished colleagues, such
as Mmes. Judic, Blanche Toutain, Suzanne Despres, Rosa Bruck
and many others. MARC LOGE
'.-<•,.
Mishkin
ELSTE FERGUSON
Who has been appearing as Bonita Canby in the revival of "Arizona"
A Less
MOUKRK
PKl-'.sFN I'-DAV observers and
students of the stage and the
,1 r a ni a _ which nowadays
to include nearly everybody— have one great advantage
..ver those of earlier days. In this, as
in other matters, publicity is the order
of the day, and the many sources of
information are open to all. Our maga-
zines and newspapers disseminate knowl-
edge on this subject to an ever-increas-
ing extent, and through these channels
practically every successful dramatist,
in detailed interviews, is obliging enough
to respond to the public interest in the
secrets of his craft.
It was not always thus. Shakespeare
unfortunately left no authentic interview
on "Hamlet," or on anything else—
though in his work itself there is a rift or
two through which those who run may read. Ibsen talked little
when he was alive, though now that he is dead it is found that
he left invaluable data as to his methods of work. It is also
\rue that other dramatists gave specific statements, aside from
their plays. To such an extent, indeed, did the younger Dumas
carry this practice in his prefaces that Henry James was led to
protest that he "had given the whole thing away."
\. a rule, however, we are left more or less in the dark as t<
the great dramatists of other times. It is. therefore, somewhat
curious that one of the greatest exceptions in this regard should
have received scant attention among English readers. The great
plays of Moliere are, of course, very well known to us. both n
the library and on the stage, but the two little p:eces— they can
hardly be' called plays— giving the specific data here in question
are not so well known. This is no doubt because they were
both written for special purposes— to answer his critics and con-
found his enemies. All of these enemies being buried very deep
by this time, these two curious plays as acting vehicles have
therefore served their purpose; but to the
student they remain veritable mines of in-
terest, for in them Moliere stated clearly
his attitude toward certain problems of the
stage and of the drama. And that this
great master of comedy was indeed a
"modern" is shown by the fact that his re-
marks are as pertinent and timely to-day
as when they were addressed to the court
and populace of France in the middle of
the seventeenth century. Their very form
and wording seem of to-day; for though
Moliere was born but six years after
Shakespeare died, thev belonged to differ-
ent ages of the world.
"T.a Crir'que de 1'Ecole des Femmes"
was a brilliant reply to the attacks made on
Molure's comedy, and is replete with in-
teresting precepts. Unlike the theatre of
the middle ages and of Shakespeare, that
of F ranee at the time in question resembled
in form our own. Incidentally, this ex-
ternal circumstance necessarily affected the
plays themselves and helps explain why
Moliere is so modern and why his plays
can he performed to-day just as thev were
written. The parterre corresponded to the
English pit or to our own gallery, in the
respect that it was the cheapest part of the
house. Tn these cosmopolitan times of
course, the "best people" go to the gallery
if they happen to feel like it : in other
words, class distinction in these arbitrary
aspects at least are gointj by the board.
Still we can appreciate the following re-
Copyright Mishkin
Signor Scctti
mark of Dorante in the above play,
who defends Moliere against the
implied rebuke that his comedy,
the "Ecole des Femmes," appealed only to the parterre:
"Intelligence has no fixed place at the theatre; the different
between a half louis and fifteen sous has nothing to do wit
o-ood taste; sitting or standing, one can give a bad judgment;
but speaking in general, I am quite content to rely on the appn
bation of the parterre, for the reason that among those whc
compose it there are many who are capable of judging a play
critically and because the others there judge it by the
method of judging— which is to put themselves in a receptn
attitude toward it, without blind prejudice or affected compla
cence or ridiculous delicacy."
And of some people in the fashionable part of the house wh(
had pretended to be shocked by some speeches in the "Ecole des
Femmes" it was remarked that "their ears were the most chaste
parts of their bodies." On the old discussion as to whether
poetic tragedy or realistic comedy is the higher achievement, the
following comments are made :
UKANII- Tragedy, without doubt, is a beautiful thing when
it is well done; but comedy also has its charms, and
one is not more difficult than the other.
DORANTE. Assuredly, madam, and as to difficulty you would
not make a mistake in putting a little more on the side of comedy.
I find it considerably easier to dwell on the big sentiments, t
brave fortune in verse, accuse the fates, and tell one's trouble;
the gods, than to enter in a fitting manner into the ridicule
men and to show in an interesting way their faults on flie stag
When you paint heroes, you do what you wish. 1 hey are free-
hand portraits, where truth to life is not looked for. You have
only to give rein to a flight of imagination, which often leaves
the' true to seek the marvellous. T.ut when you paint men, you
must paint according to nature. Such portraits must have real-
ity; and you have done nothing if the society of your own time
is not recognizable in your work. In a word, in those tragic
pieces good writing and good judgment may suffice; but this is
not sufficient for the others, you must be bright— and it is a
strange undertaking to make honest people laugh.
Tn another place Moliere intimates that
general culture makes one a better judge
of works of art than all the knowledge of
a pedant. He does, however, specifically
state his belief in the importance of technic,
and in the following attack he has in mind
only a certain immortal type of pedant :
Lysidas, who has been attacking Moliere
and speaking of the faults in his comedy, is
asked to kindly point out these faults, to
which he replies that "those who know
Aristotle and Horace see that the comedy
sins against all the rules of art."
UKAXIK. I admit that 1 am not up in
those gentlemen, and that I know nothing
about the rules of art.
DORANTI-:. You are very fine with Mini-
rules, with which you embarrass the ig-
norant and eternally seek to impress us. Tt
would appear, to hear you talk, that these
rules of art are the greatest mysteries in
the world ; but they are nothing but sim-
ple observations which common sense has
made on that which can affect the pleasure
which people take in this kind of work ; and
the same common sense which in other
times made these observations, makes them
easily any day, without the aid of Horace
or of Aristotle. I should like very much
to know if the great rule of all the rules
is not to please, and if a play which has
attained its object has not followed a good
road. Would you hold that all the public
is wrong about these things, and that each
individual is not the judge of the pleasure
which he takes in them ?
UKAXIK. I have noticed one tiling about
these gentlemen, that those who talk most
in "Manon Lescaut"
SOMK ATTRACTIVE PLAYERS RECENTLY SEEN IX MRoAIHVAY PRODI (TIOXS
1. Mildred Klainc (Photo Moffett). 2. Peggy Wood ( Photo White). 3. Helen Falconer. Edna Baits. Cla.lys Xcll. Florence Williams (Photos Wliite i.
4. Audrey Maple (Photo White). 5. Chapine ( 1'lic i Could and Marsden)
THE THEATRE MAGAZINE
Photos Matzene THREE PORTRAITS OF JULIA DKAN
Who has been appearing in "Bought and Paid For," am! will lie seen next season in "Her Own Money," a play by Mark Swan
about rules and who know them best, make plays which nobody
likes.
DORANTE. And that proves, madam, how little heed one
should pay to their forced arguments. For, if plays which are
made according to rules do not please, and those which please
may not be in accordance with rules, then it follows of necessity
that the rules themselves were badly made. Let us scoff, then,
at this chicanery to which they would subject the taste of the
public, and let us note in a play only the effect which it makes
on us. Let us give ourselves up in good faith to the things which
grasp our feelings, and not look around for reasons to prevent
us from taking pleasure.
URANIE. For my part, when I am well diverted, I do not ask
if that is wrong of me, and whether Aristotle's rules forbid me
to laugh.
DURANTE. That's precisely as if a man who liked a sauce very
much should seek to find out if it was good in accordance with
the precepts laid down in the Cnisinier franfais,
URANIE. True, and I am aston-
ished at the hair splitting of certain
people about things which we should
feel for ourselves.
DORANTE. ... we would be re-
duced to not believing ourselves any
more; our every sense would be in
slavery in all things, and even to eat-
ing and drinking we would no .onger
dare to like anything without the per-
mission of messieurs the experts.
A little further on, Lysidas insists
that the essence of a play is action,
and that the "Ecole des Femmes"
has no action as everything is con-
tained in the recitals of Agnes or of
Horace. To this the reply is made
that there are other things in the
play, and that as to the recitals re-
ferred to, they are themselves action,
as they are made innocently to inter-
ested persons with diverting results.
In other words, the much discussed term "action" is given its
proper significance.
There is a keen touch at the end of the Critique as to what
is a true love scene. Lysidas has objected that the love scene
in the fifth act of the "Ecole des Femmes" is too extreme and
too comic.
DORANTE. I should like very much to know if that is not a
satire on lovers, and if honest people, even the most serious, on
similar occasions, do not do things —
LE MARQUIS. My faith, Chevalier, you had better be quiet.
DORANTE. Good. However, if we took careful note of our-
selves, when we are much in love
L£ MARQUIS.- I don't even want to hear you.
DORANTE. Pray listen. In the violence of passion, is it not
true —
But at this point the Marquis fortunately breaks into song
and drowns out Dorante, thus saving the situation — after prac-
tically everything had been said by clever suggestion.
In his play of a rehearsal, "L'impromptu de Versailles,"
Moliere takes two parts, one being that of Moliere, the stage
director — that is, he plays himself. His speeches, therefore,
even more directly voice his sentiments than those of the char-
acters who defend him in the Critique. As to "types" the fol-
lowing point, not yet. curiously enough, fully learned, is brought
out :
.Mile. Dupare, a popular actress of the company, objects to
her part — that of a ceremonious woman — complaining that she
is nnsuited to it and will play it badly.
MOI.IKRK. .Mon Dien ! mademoi-
selle, you talked like that when you
were given your part in the Critique
dc I' Ecole des Fannies: nevertheless,
you came through with flying colors.
. . . lielieve me, it will be the same
in this case and you will play it better
than you think.
Mi. [.!•:. DIM-ARC. How can that be?
No one in the world stands less on
ceremony than I do.
MOLIERE. That is true, and that is
just the proof that you are an excel-
lent actress — to represent truthfully
a character which is so contrary to
your own nature.
And in like vein Moliere goes on to
talk with the rest of the company
about their various roles; saying, at
the end of this scene: "I describe
your parts to you in order that you
may take a strong mental impression
of them."
As to the scene of the new play, Moliere says: "Imagine
that the scene is in the antechamber of the king; for that is a
place where diverting things are always happening, and it will
be a simple matter to .have appear there all the character we
wish." Which is surely an improvement over the incongruities
that exist in some more modern plays.
As to making copies on the stage of individuals in real life,
with which practice Moliere had been charged, one of the char-
acters quotes Moliere as saying that "nothing displeased him so
much as being accused of having individuals in mind in drawing
that his aim was to paint manners and not
Co ttje ^>tage Aerolite
Could you but know how real the part you play.
The words you speak, the purity you feign.
Seems to some simple folk who pass your way—
Who find your whiteness free from scar or stain!
Could you but feel how pulses thrill and leap
As each ennobling sentiment slips o'er
Your painted lips — or watch the hot flush creep
O'er virgin cheek at each gross wrong you bore;—
Would not such free unmeasured homage wake
An answering thrill within your unstirred heart?
Would not your life grow sweet and pure to make
The counterfeit of your real self a part?
Great Faith instills a purifying leaven,
And Virtue feigned grows Virtue ripe for Heaven.
EVELYN WATSON.
his portraits ;
individuals.
R. CALHOUN.
••!-? i r ii »\
White KITTY GORDON
This popular actress, who has been seen this season in "The Enchantress," is now appearing in vaudeville
I
SAM BERNARD
In "All for the L.-nl
WHEN Mayor Gaynor decided
to close up Broadway at
I A.M., everybody said, It iss
not permissable, because Broadway
has never been closed night or day. What is the use? Those of
us who have known this little street when it was much smaller than
it is now cannot remember the time when it was not wide open
If the mayor succeeded in closing Broadway at i A.M., who would
have the latchkey? It is nonsensical and
never should be.
The question is this, What iss not per-
missable? I can remember the time when
there were only a few theatres in New
York which were run by gentlemens. There
was Mr. Augustin Daly and Mr. A. M.
Palmer and Mr. Lester Wallack, all gen-
tlemens of the kid glove, and managers, too.
It was not necessary to play on Broadway
in those days to become a star. Even on
Union Square it was permissable to be ar-
tistic, to be recognized favorably. Every-
thing has been so pushed in the face by what
you call progressive conditions in New
York that for the life of me I cannot tell
where Broadway really iss. It looks to me
more like Fourteenth Street, but then again
it doesn't, because it costs more to be there.
If the theatres were all pushed over onto
Fifth Avenue, then Broadway would take
the place of Fourteenth Street and Four-
teenth Street would become a continuation
of Grand Street, speaking socialastically.
What iss it the mayor don't like about
Broadway ?
I don't like it myself, but I haf to, be-
cause it is the will of the peoples. There iss no difference from
what it is now than it was before it iss. Some people object to
cabaret shows, but they always was on Broadway. I remember
the time when they were called "speak it easy." No elegancis or
superfluiplus, but nice little corners for tired business men. One
of the gentlemens who ran a nookery of this sort was Tom Gould.
Respectable peoples were not supposed to go there, but it was the
best place to find them after the theatre. There were one or two
other places of the same kind, but they didn't have French names.
The proprietor was usually an Irishman, who had come over to
be a policeman and had got a raise in the world. It iss natural !
Irirst he raised potatoes in Ireland, then he raised liquor in
America. But it iss not a question of what was permissable on
Broadway then, it was a question of what iss possible. The
answer to it was the same then as it is to-day, "If you live hap-
pily ever after, be good." Everything has changed, the goods
and the prices and tire people. There was a time in New York
when it was not permissable to speak French. You were under
suspicionings when you did it. Now it iss permissable. Iss the
French language any worse than it was ever? I don't know.
When I get excited I only speak German, but there iss in the
French language somethink smart, somethink classy that you haf
not in others. Broadway in th'e early clays of my career, when
it wanted to laugh at, like the Irish joke, best of all. Before
ragtime came the Irish. Nothing was permissable for laughter,
excepting the stage Irishman. Many times I made myself Irish
to please. When the funny Frenchman first came to Broadway
he was not permissable. The Irish police were after him. It
was not because he was funny, it was because his country was
not permissable. He was supposed to be a bad boy. Then when
the French farce first appeared, and the American public which
had read about Paris believed that it was not permissable in
good society, they wanted to ; that is, their curiosity got the best
of their prevention.
It seems a long way off when Miss Olga Nethersole had to
give a special police performance of "Sappho" before it was per-
missable. Th'e question was whether a gentlemens should carry
IL1
By SAM BERNARD
a lady upstairs. The police captain
said it was permissable, and another
foolishness was settled. All the peo-
ples who wanted to see this play
couldn't, because the actors could not perform night and day.
This was the first Broadway acknowledgment that French is per-
missable. .It was the beginning of new conditions in the theatre.
All the comedians began studying French spelling books. Irish
whiskers were buried and goat whiskers
took their place. Table d'hotes everywhere
came up like mushrooms. No one touched
corned beef and cabbage by that name, and
the Irish stew became something with a
name no one could understand, but it tasted
French.
Since then what has happened? New
York has been trying to become like Paris,
not even so good, nor half so bad. French
plays ran the limit, till peoples got tired of
them and looked for something worse.
They got it in the cabaret shows. With
their soup they got it, with their fishes, with
their game, and by the time they had paid
so much more than they could eat in a week
they had tired of the theatre. Mind you
I am not a moralist, but the painted lady in
short skirts does not belong when I eat.
She should not be permissable. And an-
other thing, why should I be made so sad
at supper time when I must be happy?
Why will they always choose songs to make
you cry when the bones of the fish are more
than you can count ? 1 had to listen to a
tenor one night while I was at dinner who
sang about snakes, and it gave me a bad
taste for the whole meal. It should not be permissable either for
a lady to sing about a broken heart just when the waiter brings
you a check ; it iss too much.
In some ways there is a sufficiency on Broadway and in some
ways there is not yet enough. When the mayor decided to make
everybody go home at i A.M. he forgot something. He forgot
what a long street Broadway is. From One Hundred Street
up live many peoples who never come to the White Way. Why
iss it ? Because they have a new Broadway of their own right
on the hearthstone of their homes. They have their own cabarets,
their own theatre and their own permissableness. At the moving
picture theatre they get an orchestra chair for ten cents. It has
spoiled them. They will not sit in the gallery of a theatre any
more. So they wait till baby's bank has saved up two dollars'
worth of pennies and then they rob the child to go to tire theatre
Yet it is permissable !
My old friend. B. F. Keith, is largely responsible. Many years
ago, when he started his first " continuous,'' I worked for him.
He had a long store, with a stage at one end. just like some of
the moving picture theatres to-day. The performance com-
menced at ten o'clock in the morning and lasted till ten o'clock at
night. The admission price was ten cents, and every actor re-
peated himself about forty time.s a day. Mr. Keith used to call
me before breakfast, to be ready to give my first performance of
the clay. What iss the difference now? The peoples were just
as crazy for entertainment then as they are now, but to-day the
peoples are more, and they were fewer once.
Most of them have become millionaires. The men I grew up
with are all rich now. because it is permissable. I should like
to know how they did it, but they wouldn't tell me ; they just
gave me a job.
If the mayor would make actors take out a license to act, there
would not be so many actors, so many theatres, or so many
restaurants to fill. Any kind of a license would do, and in some
cases, if he ran short, he could use dog licenses. What is the
difference? A good license is a stificate and a sufficiency. A
great many peoples are driven (Continued on page vi)
A NEW PORTRAIT OF MAK1K 11ORO
John Drew Mrs. Drew
H. B. Irvinjf Henry Irving Ethel llarrymore Maurice I'arryniore John Harrymore K. A. Sothern
. H.Sothern J. H. Hacketl J. K. Hackett
^¥~^HE popular young actor had just taken half a dozen cur-
tain calls at the end of the second act. In a powerful
scene, written expressly to give him his "big opportunity,"
he had dominated the situation so splendidly that the applause
swelled to a riot and the curtain went into convulsions.
"Wasn't he magnificent?" observed the First Nighter, as he
and the Old Playgoer went through the lobby for ten minutes
of fresh air and tobacco-smoke. "The perfection of dramatic
art, I should call it. And yet, how evanescent is the fame of
the stage ! The great actor of to-day is forgotten to-morrow,
just as the names that were famous twenty or thirty years ago
are practically blotted out from the memory of everybody now."
The First Nighter was so overcome by his own platitudinous
sentiment that he was inclined to shed a tear. Instead, he
merely choked on his newly-lighted cigarette.
"Piffle!" grunted the Old Playgoer. "Good work — if it is
good enough — will keep a name alive for centuries. But actors
of our time don't have to depend wholly on that to go ringing
down the ages."
The First Nighter puffed patiently, awaiting an explanation.
It came in a steady growl :
"Did you ever stop to think how many names that you see on
theatre programs nowadays were familiar to theatre-goers of
a generation ago?"
"Why— er—
"For example, our friend Blank, who has just knocked them
out of their seats inside here, comes of a family that has warmed
itself by the footlights for seventy-five years or more. I didn't
know them all, but his father starred for years, and his mother
was one of the cleverest comediennes J ever saw. This boy
you call magnificent is not the first Blank to 'put it over' strong —
not by a long shot."
"Oh, of course there are some stars who have inherited their
talent. I have heard of Blank's father, now you remind me."
"Some?" bellowed the Old Playgoer. "What the deuce are
you talking about ? Let me run over a few names that occur to
me offhand. To begin with, there's John Drew. Isn't he his
mother over again — talent, personal appearance and all, and
wasn't his father a fine actor, too? What about Lionel, John
and Ethel Barrymore, with Maurice Barrymore for their father
and Georgie Drew their mother? How about Maude Adams,
the daughter of a hard-working actress ? Then E. H. Sothern !
It wasn't he that first made the family name known on the stage.
His father was a better actor than he is — although the abysmal
solemnity of E. H. may make us take him more seriously than
ever we did E. A."
"That's true." assented the First Nighter thoughtfully. "Then
there's Viola Allen. Leslie Allen, her father, acted and was
well known many years before she ever went on the stage. And
Rowland Buckstone! I never saw his dad, J. Baldwin, but the
name of Buckstone —
"Was famous in London for more than half a century." inter-
rupted the Old Playgoer. "What's more, look over French's
list of farces and note how many of them which are not too old-
fashioned for the stage even now were written by J. Baldwin
Buckstone when Queen Victoria was a young woman."
"Lionel Belmore — of Faversham's company — is the son of an
old-time actor, too, isn't he?"
"Certainly. George Belmore was one of the most popular
comedians of his day. His Nat Gosling, in Boucicault's "Fly-
ing Scud," was a classic in the sixties, and everybody knew
Belmore on both sides of the Atlantic. J>y the way, look at the
Boucicaults. The present generation of that name are all so
clever that some of the young people who go to the theatre
hardly remember that Dion the elder was counted a genius, both
as actor and dramatist, and that their mother was a finished
actress and as popular in her day as Maude Adams is now."
"James K. Hackett's father was an actor, wasn't he?"
"Was he?" spluttered the Old Playgoer. "I should say he
was — the best Falstaff the American stage ever knew. The name
of Hackett would live even if he'd never had a son. And there
.are many others — more than I can think of at the moment.
For instance, the name of Collier was always a drawing card on
programs in the last half of the nineteenth century, although a
lot of young people know of only one Collier, \Villie — or
'William F.,' as it is now, I believe. Then there's the name of
Loftus. Cecilia has talent enough to make it famous, but the
fact remains that her mother, Alice Loftus was an actress and
singer of unique attractiveness, and had a larger following than
her daughter — particularly in London. The same may be said
of Henry Irving, of course, notwithstanding that H. B. will
probably in a few years be the only Irving the younger genera-
tion will know much about."
"And there's Wallace Eddinger. whose father has acted here-
abouts for a quarter of a century, and Dorothy Russell, who —
The Old Playgoer smiled.
"It will be a long time before Dorothy drives Lillian Russell
out of men's minds," he said. "There's only one Lillian Russell,
or ever will be, in my opinion. But talking of young girls coming
to the front, look at Alice Brady. I suppose you know that
William A. Brady is a pretty fair actor, as well as an able man-
ager, while Alice's mother, Marie Renee, was an unusually clever
actress, as well as a beautiful woman. You should have seen her
in the title role of 'She.' So Alice inherits her talent on both
sides of the family to keep the name of Brady alive."
"I see there's a Josie Collins playing on Broadway who is the
daughter of Lottie Collins. I don't remember Lottie. She was
before my time."
"Then you are the loser," rejoined the Old Playgoer promptly.
"Lottie Collins had a song — a stupid thing «i itself, with a refrain
of 'Ta-ra-boom-de-a\!' — that carried you right along with it whew
she sang it. Lottie Collins was the rage, and everybody for a.
vear or two was humriiing 'Ta-tfa-rju'' So Collins is not a new
&
name either."
"Arthur Bvron-
"Son of Oliver Doud Byron, of 'Across the Continent' fame.
Yes, the Bvrons are all right, but I doubt if ever Arthur will have
the big reputation of his father, in spite of the fact that he is a
.better actor than Oliver Doud. The point is that the name sur-
vives. Pat Rooney was a popular Irish comedian of the 'variety
stage,' as it used to be called, and when he died it was regarded
as a distinct loss to that branch of the profession. But we still
have his son, who is as good a dancer as his father, if not so
funny." "It looks as if you are right in saying there are plentv
of old names still on theatre programs,'' said the First Nighter.
GEORGE C. IENKS.
Lhe hew York Casino
PAULINE HALL
WILLIAM S. DABOLL
The original Ravenncs (Ravvy) in "Erminie
Sarony MARIE JANSK.V
The original Tavotte in "Erminie
The original Erminie in "Erminie
BY RUDOLPH ARONSON
FRANCIS WILSON
The original Cadeaux (caddy) in "Erminie
URING the fall and
winter of 1885-1886 I
presented at the Casino
Johann Strauss' tuneful oper-
etta "The Gypsy Baron," which
had been elaborately staged by
the late Heinrich Conrierl,
afterwards director of the
Metropolitan Opera House. The work was so well received as
to encourage further experiments in the same direction, but in-
asmuch as 'The Queen's Lace Handkerchief," "The Merry War,"
"Prince Methusalem,'' "The 1'eggar Student," "Die Fledermaus,"
"Apajune," "Nanon" and "Amorita," all of Viennese manufac-
ture, had during a period of five years preceded "The Gypsy
Baron," I was inclined to believe that the public had tired for
the time being of that class of entertainment and was clamoring
for the Gilbert and Sullivan creations or works with musing
librettos and of English construction.
It was during the run of "The Gypsy Baron," while 1 was at
home recovering from illness that had kept me indoors for
several weeks, that I received a cablegram from London from
Edmund Gerson, the dramatic agent. It read as follows : "Can
procure for you for five hundred dollars new operetta by Paulton
and Jakobowski, entitled 'Erminie,' now playing at the Comedy
Theatre, London, to fair business." I answered by cable thus:
"Send libretto and if satisfactory will wire five hundred."
While I was waiting for the "Erminie" libretto I attended a
ball at the Metropolitan Opera House and in the Press Room
happened to meet Mr. Frank W. Sanger, the well-known man-
ager. "Hello, Aronson!" he exclaimed. "I have just received
the libretto and music of an operetta recently produced in London
called 'Erminie.' " Astounded at the news, I told Sanger of the
negotiations I had had with Gerson. "You are too late," he
answered. "Miss Melnotte. Willie Edouin and myself control
all the rights for America." That was definite enough, so accept-
ing the situation as gracefully as I could, I said : "Very well, then,
send it to me as soon as you can and I will look it over."
The next clay Sanger sent me the vocal score and libretto. I
was charmed with the airiness, catchiness and daintiness of the
music and particularly with the song When Love is Young,
the All for Glory march of the first act, the Dickey Bird
song, The Lullaby and Gavotte and Good Night chorus. As
for the libretto, it was one of the best and most amusing that T
had ever read. I did not hesitate long, but accepted the American
rights to the piece for a period of seven years on a basis of seven
per cent of the gross receipts.
"Erminie" was immediately put into rehearsal. Mr. Harry
Paulton. the well-known English comedian and its librettist, was
requisitioned to come over from London in order to stage the
opera, and Mr. Jesse Williams was engaged as musical director.
The cast I selected was as follows:
Erminie Pauline Hall
Javotte Marie Jansen
Cerise Marion Manola
Princess de Gramponeur. .
Jennie Weathersby
Captain Delaunay Rose Beaudet
Marie Agnes Folsom
Cadeaux Francis Wilson
Ravennes William S. Daboll
Eugene Harry Pepper
Marquis de Pouvert Carl Irving
Chevalier de Brabgazon Max Freeman
Simon — Waiter at the Lion D'or.
A. W. Maflin
Dufois — Innkeeper Murry Woods
Viscomte de Hrissac C. L. Weeks
One of the most difficult parts to fill was that of Ravennes. I
hunted high and low and finally, at a performance of the Salsbury
Troubadours, my attention was directed to Mr. William S.
Daboll. whose acting, personality, gentlemanly bearing and gen-
eral make up appealed to me strongly for the character of the
gentlemanly rogue. I immediately engaged him, and my judg-
ment was fully sustained by public and press. Mr. Daboll scored
an unqualified triumph, and had not illness and unsuccessful
business pursuits hastened his ejarly demise, he would have
achieved great prominence in his profession.
When I approached Miss Marie Jansen, one of the most pop-
ular soubrettes of that time, at her picturesque home at Winthrop.
Massachusetts, with a view to engaging her for the part of Ja-
votte, she perused the part, then handed it back to me with tears
in her eyes. "Mr. Aronson,'' she exclaimed, "is it possible that
you ask me to play such a mediocre part, that has not even one
i8
THE THEATRE MAGAZINE
Sarony
Will be seen next season
song?" I thought of what she said for a few moments and then
replied : "Very well, I will get a song for you that will be accept-
able," and I did. I took a little catchy German song I had heard
in Berlin some years before, had words written to fit the situation,
with the refrain Sundays after three,
my szt'ccthcart comes to me. This
I submitted to Miss Jansen, who
promptly accepted the part and the
song, and the ballad thus introduced
made one of the hits of the operetta.
She thanked me many times for "that
splendid introduction."
Another introduction — entirely for-
eign to the operetta — which I found
necessary in order to strengthen the
entrance of the two rogues Caddy and
Ravvy in the first act, I discovered in
Planquette's "Les Voltigeurs du
32eme." With the requisite words it
fitted the situation like a glove.
During the preparations for the
production. I was very frequently in
consultation with Henry E. Hoyt, the
famous scenic artist. At that time
Mr. Hoyt had a small studio among
the flies over the stage of the Metro-
politan Opera House. This was a
congenial resort where I could enjoy
the ideas of a finished artist regard-
ing the elaborate scenery that was
being planned for the new operetta.
At one of these consultations I sug-
gested to Mr. Hoyt that he experi-
ment with a stage setting entirely of
one color. With the proper light effects such a setting would, I
thought, be novel and attractive. The result was the famous
"Pink Ball Room" scene in the second act which brought Air.
Hoyt the most flattering encomiums.
Messrs. Harry Paulton and Jesse Williams rehearsed the com
pany assiduously for many weeks, and when their work was
finished and the final dress rehearsal at an end, Mr. Paulton said
to me in a voice full of disappointment : "With the antics of
some of the people on the stage, the many interpolations and its
Americanization, so to speak, 'Erminie' will be a fiasco." Natur-
ally, 1 promptly disagreed with this dismal prophecy, although I
fully realized that it is a difficult matter to judge in advance of
a production just what the public will accept.
The ever-memorable date, May lo, 1886, will never be
eradicated from my memory. It was on that day that the curtain
rose at the Casino on "Erminie," the most successful operetta
of modern times. I remember viewing the performance from a
balcony seat, and until about one-third of the first act I felt as
if Mr. Paulton's "fiasco" prediction might be realized. But after
the entrance of Caddy and Ravvy, admirably played by Francis
Wilson and William S. Daboll to the catchy strain of my im-
provised introduction, and the eccentric business of both come-
dians, there came a genuine burst of applause from the audience
that filled every nook and corner of the theatre, compelling at
least six repetitions of the number. I started joyfully from un-
seat. Doubt had given way to the fullest confidence ; "Erminie"
was a success.
Number after number was encored. The public laughed and
shouted without restraint, and even before the evening was half
over "Erminie" was voted a great triumph. Afterwards it be-
came a veritable craze and settled down for a phenomenal run.
In addition to the original cast there appeared in "Erminie" at
divers times during my regime Louise Sylvester, Mary Stuart.
Alma Varry, Georgie Dennin, Josie Sadler, Sadie Kerby, Isabella
Urquhart, Fannie Rice, Eva Davenport, Sylvia Gerrish Florence
Bell, Eva Goodrich, Kitty Cheatham, Henry Hallam, Mark Smith,
DONALD HRIAX
n "The Marriage Market"
George Olmi, Charles Plunkett, Edwin Stevens, Fred Solomon,
James T. Powers, B. F. Joslyn, Charles Campbell, John E. Brand,
N. S. Burnham, Ellis Ryse, Frank Ridsdale, E. B. Knight, etc.
On each of the many hundredth performances an appropriate
souvenir was presented to th'e audi-
ence, and on the five-hundredth repre-
sentation, not only was the vast and
enthusiastic audience so favored, but
also the principals and the chorus, the
former receiving beautiful Tiffany de-
signed silver miniature suitcases, fac-
simile of the one carried by Ravvy
and marked V de B, and the latter,
cages containing dickey birds.
It was on that occasion that I re-
member Francis Wilson saying to me :
"Do you know, Mr. Aronson, this
continuous playing of the same part
is telling on my nerves. At times I
almost feel as though 1 were for-
getting my lines. Why won't you re-
lieve me of the part temporarily?"
I very much regretted not being
able to accommodate Mr. Wilson, but
it would have been difficult to replace
him, after his tremendous success.
"Erminie" continued running for
hundreds upon hundreds of perform-
ances. Owing to arrangements pre-
viously made 1 was compelled to have
the original company play in Boston,
Philadelphia and Brooklyn during a
period of six weeks to capacity busi-
ness. Returning to the Casino, it
continued for hundreds of more nights, until at last the number
of consecutive performances reached the grand total of twelve
hundred and fifty-six, when, on account of my long-deferred
contract with Mr. Alfred Hays, of London, for the presentation
of Chassaigne's "Nadjy," the ever-popular "Erminie" had to be
withdrawn. 1 had paid Mr. Sanger over one hundred and twenty
thousand dollars in royalties, thus proving that sometimes a fair
success in Europe will make a great success in America, and
T'uv versa-.
I was the victim of many piratical productions of "Erminie"
during the run of the opera. In 1886, 1887 and 1888 I had no
less than fourteen lawsuits against pretended owners of the opera,
produced or announced to be produced under all sorts of ficti-
tious titles, to wit: "The Two Thieves," "Robert Macaire," "The
Vagabonds," "The Robbers," "Caddy and Ravvy," "Robert and
Bertram," etc. In each case 1 secured an injunction, but it meant
for me much trouble and expense. Mr. David Leventritt was
my attorney in these suits, and they kept him exceedingly busy,
almost to the very moment he was elected to the bench of the
Supreme Court.
I recall the greatest blizzard of modern times in New York,
in March. 1888, when for three days, with snow in some places
twelve feet deep, traffic was at a complete standstill. On the
first night of the blizzard, March roth, only two performers,
Louise Sylvester and Francis Wilson, reported at the Casino (the
former almost exhausted from the 'effect of the wind and snow).
"Erminie" was still the attraction, but the only applicants for
seats on that memorable night were three sturdy Canadians, to
whom — in the absence of my treasurer — I extended a compli-
mentary pass for the following evening, when I thought it might
be possible to resume operations.
I attribute the great success of "Erminie," in a large measure,
to the uniformly excellent casts provided. The stage at that time
had not yet succumbed to the star evil, although it was fast
coming. I myself rejected several overtures from my artists
to engage them at lower salaries (Continued on page viii)
Photo Strauss-Peyton
MAUr.ARET IlJ.INfiTON
This popular actress, who has been appearing in Charles Kenyon's play, "Kindling," will be seen next season in a new play
m
WHO wrote "Hamlet" ?
"Shakesp— " the
surprised reader is
endeavoring to reply, when some cocksure "pundit" interrupts
with a loud "Bacon!" Whereupon the followers of Raleigh,
Essex, Southampton, and even of Good Queen Bess herself,
surge forward, and pandemonium ensues. There is no way of
putting a quietus on the discussion except by substituting an
even more moot point; hence the problem, "Who Wrote 'Hamlet'
First?" Never mind who wrote the last version of the play —
who wrote it first?
Saxo Grammaticus, a twelfth-century Danish writer, found in
the old sagas the original story of Prince Amleth. This strange
tale reached William Shakespeare through a translation by Fran-
cis de Belleforest, in his French collection of "Tragical His-
tories," published in 1571. That the Shakespearean "Hamlet"
existed before 1602 is not absolutely certain, though Nash men-
tions a play by that
name in 1589, and
Philip Henslowe, a
theatrical manager of
the day, notes that
"Hamlet" was per-
formed June 9, 1594,
and then not as a new
production. Two years
later appeared a pam-
phlet by a certain Dr.
Lodge, in which the
author, writing of
"Hate-Virtu e" or
"Sorrow for Another
Man's Good Success,"
declares that it is "a
foule lubber, and looks
as pale as the visard
of ye ghost, which
cried so miserally at ye
Theator, like an oister-wife, 'Hamlet reuenge.' "
doctor, Gabriel Harvey by name, in 1598, makes a notation about
"Hamlet" in his copy of Chaucer. It is also to be remembered
that one of the characters in Dekker's "Satiro-Mastix," 1602,
remarks, "My name's Hamlet reuenge: Vhou hast been at Parris
Garden, hast not?" Obviously, then, there was in existence
between 1589 and 1603 a play called "Hamlet" wherein a ghost
appealed for revenge. But was this Shakespeare's "Hamlet" ?
The playwright had evidently for some time been interested in
the story of the Prince of Denmark; for, in 1585, a few months
before Shakespeare attained his majority, he bestowed upon one
of the twins born at his country home the name Hamnet, a vari-
ant of Hamlet. However, the first printed copy we possess of
the tragedy is dated 1603; though, indeed, our modern version
is much more like the second edition or quarto, published the
following year. The title-page of this latter announces "The
Tragicall Historic of Hamlet, Prince of Denmarke, newly im-
printed and enlarged to almost as much againe as it was, accord-
ing to the true and perfect Coppie." The first quarto passed
out of knowledge and was not exhumed until 1823, when Sir
Henry Bunbury found a copy of it in his closet at Barton. It
differs widely from the later version, in language, nomenclature,
order of scenes, and size. One full scene in it is not found in
any later edition.
It has been assumed by many investigators that the later "Ham-
let" represents Shakespeare's painstaking revision of his original
play. "Plays are not written, but rewritten," we are told; and
there seems no good reason why this axiom should not have
applied equally as well in the days of good Queen Bess as now.
Some have even thought that the 1603 "Hamlet" itself was in
turn a revised version of the play that we have seen existed in
1589; but that is, of course, assuming that the latter was also
from Shakespeare's pen.
Another theory, that is still more interesting, maintains that
John Philip Kemble
this abbreviated copy, resur-
rected by Sir Henry Bun-
bury, is not an original draft
of the play, but is rather a pirated version, the main points taken
down in a crude shorthand and the details written in largely
from memory. Indeed, the black flag with the skull and bones
was afloat on the theatrical sea in Shakespeare's day as now. a
fact which explains why he always delayed the publication of his
dramas till their newness had worn off. However, the 1603
edition seems even too different from the later "Hamlet" to be
thus accounted for. Polonius and Reynaldo are called Corambis
and Montano; and the player-king's speech, instead of being as
later of a stilted bombast parodying some of the "high tragedy"
of the day, is written in musical cadences no different from the
poet's usual style. So the piratic theory seems to be less well-
founded than that of the revision, especially when we recall that
it was then customary, by altering the lines, to keep successful
plays up-to-date.
However this may
be, the relationship of
the unquestionable
Shakesperean "Ham-
let," dating at least
from 1603, to that
other "Hamlet" of the
four or five preceding
years, whose most sal-
ient feature was a
ghost crying for "re-
uenge," is a consider-
ably more difficult
problem.
It is somewhat fur-
t h e r complicated by
the existence of a
German treatment of
the same subject,
called "Der bestrafte
William Charles Macready
Charles Kean
THREE FAMOUS HAMLETS OF THE ENGLISH STACK
And another Brudermord," or "Fratricide Punished.'
That eminent Shakespearean scholar, the late Dr. Furnivall.
was convinced that none of these earlier references to a play of
"Hamlet" — such as Nash's phrase (1589). "whole Hamlets — I
should say handfuls — of tragical speeches," and the other men-
tions already cited — were evoked by Shakespeare's play. They
refer, he thought, to an old tragedy by the same name, but by
another author. In support of this theory, he advances much
valuable evidence, and he advocates the piratic origin of our
earlier edition. It would seem evident that Shakespeare, accord-
ing to custom, taking an old play or tale for his foundation, has
transformed a less artistic and more resolute Hamlet, who, as
in the ancient saga, swept on to his revenge and his father's
throne, into the thought-burdened irresolute who brings about
his own defeat. As for "Fratricide Punished," there is nothing
to prove its existence until some years later, in 1710.
This German tragedy, however, is markedly like Shakespeare's
play in many respects, being probably a vulgarization of it. Some
critics, on the contrary, maintain the view that both the English
and the German drama are drawn directly from the original,
lost "Hamlet" — called for convenience the "Ur-Hamlet" — with-
out bearing any other relationship to each other. At all events,
the authorship of this "Ur-Hamlet" becomes the primary
problem.
One of the most common solutions ascribes the old play to
Thomas Kyd, author of the celebrated "Spanish Tragedy." Kyd
was a dramatist of much inventive stagecraft, who wrote plays
of horror to suit the crude popular taste of the day. "The Span-
ish Tragedy" won widespread approval in England, Holland and
Germany. Hieronimo's discovery of his son's body swinging at
a rope-end, appealed strongly to the Elizabethan imagination, as
did his instant determination upon revenge. The revenge idea
grew out of the Senecan tragedy in part, and from the Teutonic
epics and sagas, as well. Like (Continued on page vii)
The pilgrims' procession crossing to the stage of the Roman Amphitheatre at Fiesole
THE YOUNGER SALVINI'S OPEN-AIR PERFORMANCE OF SOPHOCLES' TRAGEDY, "CEDIPUS," ON MAY 82, 1(11
HARDLY an American travelling through Italy to-day that
does not go to Florence ; of those, few who do not climb
from there to Fiesole to roam about the mountain citadel
and from its heights to see Florence surrounded by her hills. No
visitor to Fiesole who does not cross the Piazza. Mino and go
down the shaded side of the hill facing the north to roam among
the ruins of the Roman ampitheatre. What a pity that all who
have been there could not have returned to see the old ruins
come to life once again with a tragedy of Sophocles acted by
Salvini's son before a great crowd of nobility, strangers and
peasants. Such an event actually happened during the celebra-
tion of the fiftieth anniversary of Italian unity, which occurred
in the spring of 1911. There were many "festas'' throughout
the land. Every hamlet had a dozen or more, but none was more
characteristic. The play in the Roman Theatre in Fiesole was
unique.
The Romans, during their days of triumph at Fiesole, built
their amusement grounds on the north-facing side of the hill,
opposite to that which commands the city of Florence. During
the afternoon play hours the sun crossed the southern sky, and
as it sank in the northwest the crest of the Fiesole hill-city
threw a long, cool shadow down its northern slope. In the grace
of that shadow the people lolled in their baths, played at their
games or stretched themselves along the circling seats of their
theatre in the sweetest of air — as sweet and vague a combination
of cool and warm as chiaro-scuro is of light and dimness. At
least so it is to-day, and probably nature has not changed, even
if the pleasure palaces have fallen, the theatre has lost its pillars
and porticos, and down the slopes march the olive trees and the
almond and fig instead of whatever may have been there then.
The place is as overgrown with memories as an old wall with
vines, and is, for that reason among others, dear to the people of
Italy to-day. When, therefore, printed bulletins were hung in
the streets of Florence and on the door of the Municipio and in
the portico of the public fountain in Fiesole announcing that
"Gustavo Salvini and a company of players chosen by him will
present 'CEdipus' in the Roman ampitheatre at Fiesole on May
22, ign, in honor of the Unification of Italy," word spread
quickly throughout the kingdom and people from as far as Milan
and Venice, and from Rome sent applications for seats.
When the day finally came an excitable wind gave promise of
clearness. The spring had been stormy and no day was sure.
But uncertainty of sunlight did not hold back the crowds,
two o'clock in the afternoon the white military road that winds
up the Fiesole hill from Florence was black with automobiles,
carriages, donkey carts and foot trudgers.
Across the old Piazza Mino a cordon of brilliantly uniformed
carabinieri were drawn up and groups of peasants from the wine
country to the north were there to see as much as they could of
the doings. There was to be one great personage present and
one whom all Italy has for many years been curious about — the
Queen Mother, Margherita. When the Queen Mother's mag-
nificent automobile swept up the ascent that led into the piazza
and proclaimed by the silver crowns on its head lamps that it
contained royalty, the guards drew up in double lines down the
steep, narrow street that led to the ampitheatre's gates, and the
populace sought roofs, garden walls and balconies.
Red carpet had been laid down to the car's step to meet Mar-
gherita's foot and mark her path under the theatre's low portals,
around the high circle of its banks and down to the section re-
served for the Queen. Those already seated and waiting rose as
she passed, and everyone received a bow given with the royally
intimate grace that distinguishes some of the older sovereigns of
Europe.
For the occasion the stage, which had long since fallen com-
pletely to ruin, was rebuilt. So as not to look out of harmony
with the rest of the theatre the new part dissembled its age. Its
back wall was cracked in many places, sections of the cornice had
fallen and moss streamed from an edge of the roof. The whole
was made a weather-beaten color.
Suddenly at three o'clock, when the great circle of seats was
filled and the grass terraces at the sides were dotted with people,
the chorus, with white robes and long white beards, filed out
from beneath the arch under the left wing of the theatre. Strange
music came from somewhere — it was Greek music played on
stringed instruments — and the chorus crossed the open space
chanting. They passed behind the stage, came around on the
other side and entered the pit of the theatre, grouping themselves
on the platform in that central point of interest in the manner of
the chorus from time immemorial.
Following the opening invocation by the Protagonist, CEdipus
and the Priest came out from behind the gray wall of the stage
and stood by one of the crumbling pillars. The play was on.
Others came in, draped in colors that brought the gray walls
to life. They were glowing and varied colors. The Greek soldiers
blazed in luminous reds with the antique armor of glinting brass.
From their high helmets gorgeous feathers sprang. The women,
with the exception of the terrible (Continued on page viii)
In "Madame Butterfly"
THEATREGOERS re-
ceived a shock last fall
when Blanche Bates
married George Creel, Police
Commissioner of Denver, be-
cause rumor then had it that
this popular actress would re-
tire from the stage. But in
this case the gossips were all
wrong. Charles Frohman
signed Miss Bates to star
under his management for
five years, and she will prob-
ably be seen at the beginning
of next season as Beatrice in
"Much Ado About Nothing,"
with John Drew in the role
of Benedict. Meantime she
has been playing in "The Witness for the Defense," on the road.
Under the management of David Belasco, Blanche Bates has
created a following for herself that few actresses
enjoy. As "Nobody's Widow" she was everybody's
widow. Her portrayal of the character of Roxana
in Avery Hopwood's sparkling comedy was whimsi-
cal, charming, sweet, lovable, naughty. What's more, it
was no mere make-believe. Such a widow exists, and
she is the exact counterpart of the one played by Miss
Bates. She hails from Pasadena, the city of beautiful,
young and wealthy widows. Says Miss Bates:
"After having played Roxana for several nights,
I went to the opera one afternoon and met her for
the first time in the flesh. She was a sweet-faced young
girl about twenty but who looked sixteen, and was
draped in the deepest mourning with a strikingly ef-
fective little touch of white in her bonnet and at the
neck. Half under my breath, and with a start, I
uttered, 'Roxana !' From that moment on I could
not keep my eyes off the 'widow' — I was as bad as
the men ! I must meet her, and to my delight, after
the opera, Geraldine Farrar introduced the real and
the make-believe 'Roxana.' But whereas I am 'No-
body's widow,' she was the widow of a very wealthy
old man, whom she had married only a few months
before and who had promptly died. She did not
have to serve her time. But she looked really grieved, and her
dainty little handkerchief came very much into play — tears, tears,
tears, but so sweetly beautiful. I wept, too, but with a mingled
feeling of joy and sorrow over memories of 'The Girl,' who
In "The Three Musketeers"
Byron
Blanche Bates in
the comedy "Nobody's Widow
1 had played for three seasons.
"This sweet young woman.
who was keenly sensitive,
lovable, adorable and danger-
ously attractive, was a living
'Roxana,' as I had pictured
the character in my mind.
Only I had met her after
playing the part. It was
a sort of reaction. I had
seen her in my mind and
transplanted her to the stage
before having seen her in
actual life. I can only ac-
count for this phenomenon
because she was a widow!
When Mr. Belasco gave me
the part I immediately ran-
sacked my memory for all of the widows, real and imaginary,
that I had ever known. While rehearsing I made it a point to meet
and see as many widows as possible. I prevailed
upon all of my friends who knew widows to arrange
dinners at which I could study their charms and
wiles. Such a round-up of widows you never saw !
1 never knew there were so many widows at large.
However, even this assortment kept changing — a
widow to-day, a wife again to-morrow ! There's no
use talking, you can't keep a widow down. Before
meeting the real, living 'Roxana' at the opera, I had
built up the part by forming a composite character
of nine of the ninety and nine widows I had studied.
After seeing, observing and keenly studying this
particular one, I was enabled to add a little touch
here and a little touch there to my characterization,
so that I really think I am everybody's widow, as
you suggested. I invited this delightful little girl
widow to come and see me play 'The W'idow,' and
do you know when she saw my dress in the first art
she exclaimed :
' T must have a dress like that!' >!
Miss Bates is a good horsewoman, and loves
horses with that same high degree of affection that
men show widows. A Western girl, horses were
far from unfamiliar to her. Although born in Ore-
gon, she calls herself a daughter of California, like so many
other of our shining theatrical lights. And as such she was
destined to play the Girl in "The Girl of the Golden West."
"I found 'the Girl' on a big ranch in Northern Colorado sev-
In "The Children of the Ghetto"
As Cigarette in "Under Two Flags" As Yo San in "The Darling of the Gods" In "The Girl of the Golden West"
Sarony
BLANCHE BATES
This well-known actress, who has signed a five-year contract with Charles Frohman, will be seen next September in a new play
THE THEATRE MAGAZINE
eral years before I played the part," she said. "She was not Mr. Miss Bates started to call Suki, her colored maid, then quickly
Belasco's original, however, but she was the same magnificent stopped short and whitened a bit.
type of true American womanhood." "Poor Suki," she moaned. "She was my maid for several
Mr. Belasco founded the character upon a girl who lived many seasons, both before and after playing 'The Darling of the Gods '
years ago on a ranch in Oregon, far from a railroad or settle- Suki was the original of both my Butterfly in 'Madame Butter-
ment, whom he had seen when a
boy and remembered. This girl
made an indelible mark on his
memory, and she had to come to
life again in a play from his pen.
There was no way out of it. After
reading "The Girl of the Golden
West" to the members of the com-
pany, Mr. Belasco painted a verbal
picture of his Girl for Miss Bates,
and when he had finished she said :
"Why, that is a perfect picture
of Lottie, of the Black Valley
Ranch in Colorado. Lottie was
born on the big ranch, among
miners and ranchers. Her mother
died when she was a baby, leaving
her the only woman-to-be a hun-
dred miles around. There was not
even a squaw to cook for the men.
Soon Lottie's father, a rough miner,
who had turned cow-puncher after
failing to 'strike,' died. The tiny
girl was adopted and brought up
by the men, 'real men, men of
blood, not of gold, like so many of
your Eastern men,' " said the
daughter of California. "As she
grew up she cooked for the men,
and kept their money in her 'hos-
iery' bank. And in time she came
to hold a strong influence over
them — she ruled these rough-and-
ready men of the plains in a way
that would make any king green
with envy. They staked their lives
on her. I first saw Lottie after my
third season playing Yo-San in
The Darling of the Gods.' I had
gone to the Black Valley Ranch to
recuperate, and I became intensely
interested in this true child of na-
Copy right Charles Frohman
Joseph Cawthorn and Julia Sanderson in "The Sunshine Girl"
fly' and Yo-San in 'The Darling of
the Gods.' Our talking about the
old plays brought back memories
of her. She died a few seasons
ago. Suki was one of those Cali-
fornia Japanese who was not
coarse in her humility, like most of
the lower class Japanese as we find
them on the Coast. She greatly
aided both Mr. Belasco and me
when these two Japanese plays
were produced. She became my
maid when I was playing in 'Under
Two Flags' in San Francisco.
From her I learned how to fan
myself in true Japanese fashion,
and, more important still, how to
walk 'Japanesely.' Suki also taught
me the proper way to sit down and
to get up, to hold a cup of tea in
my hand and to sip the tea, and the
hundred-and-one little things that
Japanese women do that, all added
together, make them the most fas-
cinatingly interesting women on
earth. She taught me how to gain
a Japanese accent with English
words, by certain little inflections
of the voice, thereby giving a Jap-
anese swing to the lines and
showed me the A, B, C's of Geisha-
girl coquetry. And she helped me
in my makeup to such an extent,
in the part of Yo-San, especially,
that on more than one occasion I
was mistaken for Suki by different
members of the company while
standing in the wings !
"Dear little Butterfly, the sweet-
est part I ever played, and I copied
Suki in every particular for my
portrayal," she continued. "She
ture, this woman among men! We were the only women on the always had a frightened way about her that was sweetly pathetic,
ranch, or in that country for miles around, and I learned how as though her head was always under a sword,
to handle men of the rougher sort from their queen — for such was "I will never forget her show of deep emotion and anguish
Lottie to them. And, too, that reminds me. That 'taking' bit of when she received a letter from her brother telling her of the
'business' that made such a hit in 'Nobody's Widow' — 'on the torture to death of her lover in far-away Japan on the eve of his
spot' — was imported from this ranch. When one of 'the boys' departure to join her in San Francisco. She cried all that after-
would overstep the bounds, either by using profane language or noon — it was a matinee day — and all during the evening per-
cheating at cards, the others would make him get down on his formance crouched beside my trunk in the dressing room. That
knees 'on the spot' before Lottie and apologize and beg her for- was during the last days of 'Under Two Flags.' Later, in
giveness. So when 'The Girl of the Golden West' was put on I 'Madame Butterfly,' in the scene where poor little Butterfly kills
summoned my recollections of Lottie together, and remembering herself. I tried my best to be poor Suki over again when she
that she had given me one of her dresses to wear while on the
ranch, and that I had asked permission to take it away with me
received that letter. At every performance Suki would watch
me most carefully from the wings — she seemed to be made happy
when I left, I hurried to the attic and dumped out the contents over having that sad memory brought back to her. Again, in
of three or four trunks, finding at last the dress. Then I en- The Darling of the Gods,' I made use of the same anguishing
deavored to get 'under the skin' of the part, and did get in 'the touch in the chamber of horrors scene. It was Suki that I was
Girl's' clothes. Save for the lines in the piece, that scene between
Jack Ranee, played so strongly and picturesquely by Frank
Keenan, and myself at the bar, was taken in every gesture from
a scene I had witnessed in actual life between Lottie and the
sheriff of Black Valley. Really an actor or actress never knows
when a happening in actual life in which they are interested
to-day may be a stage scene to-morrow."
playing. Suki, Suki !"
"And Cigarette?"
"She was just a dear little dream creature," answered Miss
Bates. "But I did get a sort of inspiration and many points for
makeup and for expression, too, from that wonderful painting
of Joan of Arc in the Metropolitan Museum of Art. Every day
for weeks and weeks, both before (Continued on page viii)
HOW do actors remember all they have to say? How do
they memorize their lines ? Few, doubtless, are endowed
with such a splendid memory as was Antonio Maglia-
bechi, of Florence, who, having returned a borrowed manuscript
and hearing it had been lost, repeated its entire contents. The
summer girl has a difficult task to tell what is the story of a
novel she has just skipped through! Yet these actors and
actresses can take their prompt books and commit to memory
play after play; not only the part they are to enact, but often
every part in the production.
The present writer asked Billie Burke what method she had
for commanding her memory as ably as Paul Cinquevelli com-
manded his nerves. She replied :
"My method of memorizing is first to study the sense, then
each phrase, and then the words, until I know them almost
backwards."
At that time Miss Burke, if I remember rightly, had imper-
sonated exactly ten characters, much of her earlier stage career
having been given to singing in vaudeville. How many of these
roles had she so thoroughly learned as to be able to go on with-
out rehearsal?
"I think," she answered promptly, "I could play the parts
without rehearsals."
It may be that Miss Burke — and some others — can be placed
in Victor Hugo's class. The great poet is said to have had
command of eight thousand words at will, and this despite the
fact that the average person does not use more than three thou-
sand and the professional writer's supply seldom exceeds five
thousand. Hugo's memory may have been excellent, but even
he was excelled in this respect by Dr. Joseph Leidy, for years
president of the Academy of Natural Science of Philadelphia,
who was able to use, on the spur of the moment, any of twenty-
five thousand words — what he knew of four languages, including
English, medicine, geography, geology and a general science
together with many technical words.
Such figures bewilder one. How is it possible to possess such
a wonderful memory? Of course, the cases cited are abnormal,
for you must know what memory is: The mental capacity of
retaining unconscious traces of conscious impressions or states,
and of recalling these traces to consciousness with their attendant
perception that they (or their objects) have a certain relation to
the past. How is this capacity utilized? The actors furnish us
with our best examples :
When the musical-comic actor, Jefferson De Angelis. was
asked what his method of retention was, he said, in a semi-
humorous way :
"I have no particular method of memorizing. I merely read
my part over several times, and then decide that 1 have memor-
ized it. I have no idea of the number of parts I have studied
and played, but I am sure I could not appear in any of them
without rehearsals — and much study."
Two instances can be cited where, for the purpose of memor-
izing, vastly dissimilar means were used to obtain a similar
result: Years ago Brandon Tynan, who played Joseph in
"Joseph and His Brethren," belonged to a stock company up
State. Afternoon and evening performances were demanded,
yet every morning, weather permitting and before rehearsal
time. Tynan could be seen strolling along a street that led out
to the country — a street of quiet lawns and shade trees — book in
hand, committing to memory the lines for the week after the
week following (the rehearsals for the next week's play began
on the same day that a new play was put on ; that is, a week in
advance). With the lines of his role in "The Charity Ball"
firmly fixed, with the lines for his characterization of Jacques in
"The Two Orphans" perfected to rehearsal precision he woulf4
be getting acquainted with the speeches of Little Billee in
Strauss-Peyton
MARGARET ANGLIN
Recently seen in Edward Sheldon's play, "Egypt"
"Trilby," or perhaps it was a part in "A Social Highwayman."
When asked why he chose that certain stroll, the actor replied:
"For solitude. I'm away from everything, everybody and
everywhere."
Some people have queer ideas as to what constitutes "solitude."
Recently, in the subway in New York, four young actresses
entered, seated themselves and began to peruse their inevitable
prompt books. It was a noisy environment and the car was
crowded, yet, answering a question, one young woman replied
26
THE THEATRE MAGAZINE
Mishliin
ALLA NAZIMOVA, WHO IS NOW APPEARING AS MRS. CHEPSTOW IN "BELLA DONNA"
that they chose the subway for — well, its solitude. It was so
noisy no one could interrupt them ; and as they had grown ac-
customed to the noise they didn't mind it.
And while the more frivolous of the chorus are enjoying their
lobster suppers, the chances are ten to one the curious investigator
will find some ambitious member of the same chorus, a man or
woman, who has been entrusted with a speaking part, standing
'neath the glimmer of an arc light memorizing. They study hard,
patiently, but when they've got their lines they've got them.
Edwin Stevens used to say : "An actor to be successful must
tlioroughly learn all his roles. I've played over two hundred,
and I may truthfully say I was letter perfect in all of them."
Here, then, was a mentality surpassing
the abnormal. I asked how many
of these roles he could put on without
rehearsal.
"An absurd question," he replied with
a smile. "No one can play roles without
rehearsals, as others in the cast are to be
considered and your individual 'business'
demands the team work to give artistic
performance."
This would seem paradoxical but for
the hidden hint that the rehearsal would
"brush" the actor up in his part. But at
the same time the method taken to learn
the lines was worth knowing.
"My method is photographic," an-
swered the comedian dryly and leaving
jpajtmotja in 15dla SDonna
Cursed with the thrall of the body,
Kin to the snake in the dust,
Kin to the dank flower of passion,
Salome, Lilith and lust.
Trailing her way through the shadows
(God give us pity for this!)
Faint with her own self-brewed poison —
Poison that lurks in her kiss.
Shamed and degraded, an outcast,
Baffled by sudden-closed door,
Trailing her way through the shadows,
Ever and forever more.
ANNE PEACOCK.
me to guess as best I could exactly what his words meant.
Frank Sheridan, whose long-awaited success came with his
performance of Capt. Williams in Eugene Walter's play, "Paid
in Full," has the same method.
"I photograph the speech on my brain, with the aid of a general
idea of the subject that 1 get from rehearsals and the reading
of the part."
Air. Sheridan believes thoroughly in stock company training.
He has "stocked" and "barnstormed" all over the country.
Arnold Daly says he never takes a part that is uncongenial to
him. But, absorbed as Mr. Daly becomes in characters he likes.
he admitted that he could not attempt to play any of them
without many painstaking rehearsals.
It is a well-known fact that much pains
as actors take to learn their roles, they
forget the lines of a certain role almost
as soon as they stop playing that charac-
ter. The actor's memory is indeed like a
sponge. It can absorb and retain until
the absorption is no longer necessary ;
then it can be squeezed dry and prepared
to receive other absorption. And. like the
sponge, it will absorb the more readily
after it has been frequently used in such
a process. Thus far. then, the apparently
surprising memory of actors can be ex-
plained on psychological lines, as being
associated thought treading the line of
least resistance. JESSE G. CLARE.
I
WHEN the layman reads the above title
he may be led to believe that the writer
is about to discuss dry goods, boots,
shoes or groceries. Nothing of the kind. "In
Stock" deals with the stage and is the technical
term for a special field of vast importance to the
theatre-going public, to playwiights, theatre
owners and managers.
When a play is first produced the manager is
called upon by contract to give the play a hear-
ing in a theatre of the first class on or before a
certain date, which means a theatre in which the
scale of prices is from 50 cents to $2.00 in New
York. Outside of New York the scale of prices
for most attractions, except for the great stars,
is 25 cents to $1.50. The first half of the life of
the successful play is about three years, and the
country is so huge that during this period there
may be from two to five companies playing this
particular play all over the United States and
Canada. This period brings the piece to the end
of its days in the first-class houses.
It next goes into "stock," which is the second
half of the life of every successful play. Let it
be said here that the dramatist's contract with his
manager may read "exclusive road rights," or
"exclusive rights for United States and Canada."
If the former, the manager controls the piece for
the entire country, so long as he gives fifty per-
formances in each season in a first-class theatre.
Under this contract the author could not resume
control of his play until the manager had de-
faulted on the fifty performances, but if the
author's contract reads "Exclusive right," this
means "stock rights" as well as "road rights" to
the producing manager.
But this is a much-mooted point as between
manager and playwright, and has led to more
than one lawsuit. Of course, in every case the
royalty follows the flag, as it were.
At present writing there are at least one hundred and fifty
stock companies in the country, divided into two classes : "Travel-
ling Stock Companies" and those marked "Indefinite," which
means that this "stock" is a fixture in that particular city. While
some of these companies never close, an average season in a stock
house is forty weeks, and as a new play is produced every week,
this means that there are about one hundred and fifty plays a
week produced all over the country and for the entire season
about 6,000 acted weeks and probably about half that number
of plays handled, because certain plays are in such demand that
they are acted every week somewhere. Of these organizations,
The Castle Square Stock Company of Boston is the oldest in point
of continued existence. It never closes. It was through the build-
ing of this theatre that Col. Henry W. Savage got into the theatri-
cal business. He is a Harvard graduate and an architect by pro-
fession.
The Castle Square Theatre and Hotel was a speculative ven-
ture on the part of himself and friends, but when it was built it
had no street car facilities, and was then so far out of the way
that the attractions playing there fared very badly. Col. Savage
was compelled to take the matter into his own hands and put
into shape the Savage Grand Opera Co., at 50 cents for the best
seats. This was the beginning of a very successful career for the
theatre.
For one reason or another the stock idea has never flourished
Photo Hall
The most popular
PRISCILLA KNOWLES
actress in stock, with the astonishing record of three years' consecutive perform-
ances at the Academy of Music
on the Island of Manhattan. It has been tried at the Columbus,
American, Murray Hill, Sherman Square, Academy of Music,
but with the exception of the Academy of Music none of them
has hung on very long.
Per contra, Brooklyn has been the stamping ground for stock
companies and now the Bronx has two flourishing "stocks" and
more to come. White Plains and Staten Island have their own
"stocks," all of which are really Greater New York so far as
amusements are concerned. But right on the Island of Manhat-
tan the theatre-going public is so accustomed to the new play that
there is not much attraction in the play that is from one to three
seasons' old. Yet. according to expert calculation, every seven
years produces a new public, boys and girls grown to be men and
women, but perhaps as potent a factor as any in making a popular
price stock house in Manhattan a business impossibility is the
high cost of the land, and therefore a huge rent which wipes out
the profits.
In the average town the rent that the manager can afford to
pay for a theatre for stock use is about $400 a week. Contrast
that with theatre rents in New York, i. e., about $i,ooo to $1,500
a week, and. of course, the profit would disappear in these figures.
The Murray Hill, belonging to the Goelet Estate, had a rental of
$24.000, and, as it is a small house, even when packed, the manager
made nothing. With the above rent ($400, or even less) the
manager can run his entire enterprise, including the company's
THE THEATRE MAGAZINE
White
salaries, orchestra, all salaries back of the curtain line and the
front of the house, advertising, bill posting, show printing, and an
average royalty of about $300 a week. His average business,
about $3 500, showing a profit for forty weeks of $20,000, not
excessive for the risk assumed.
The stock company theatres have
been a perfect godsend to the
owners of theatre property through-
out the country. The moving-pic-
tures and the cheap vaudeville
houses have wiped out of existence
what were known as the "popular
priced houses," i. e., those theatres
whose scale of prices is from 25
cents to $1.00 in the boxes. These
theatres were largely given over to
cheap melodramas, but the melo-
drama became so tawdry and lurid
that they wore out their welcome,
and most of the theatres they oc-
cupied are now stock houses.
Brooklyn leads the country now
in the number of its stock com-
panies, having five ; New York, in-
cluding the Bronx, three; Philadel-
phia, four; Boston, two; Chicago,
four; Wichita, Los Angeles, each
two; Pittsburgh, at one time a
great stock company centre, now
has only one. These represent the "Winter Stocks." As soon
as the regular theatrical season ends on June 1st the "Summer
Stocks" spring into life, over 100 being added to the regular list,
extending all the way from Peck's Island, Portland Harbor,
Maine, where there is a famous "stock," taking in all the country
clear up into Vancouver and British Columbia and as far south as
New Orleans, where there is one stock company that never closes.
Brooklyn was the vantage point for several seasons of the very
talented Spooner family, consisting of Mrs. Spooner and her
two daughters, Edna and Cecil. These player-folk had been
originally known as "repertoire people," playing the smaller towns
for a week at a time, giving fourteen performances a week and a
different play at each performance, the scale of prices being 10,
20 and 30 cents, known in the profession as "10-20-30 centers."
Even at these prices they accumulated consid-
erable money. But the whole family acted, in-
cluding the father and a son. The latter, a boy
about eighteen, wore a handsome gold-laced
uniform, and between acts sold photos of the
family in the lobby of the theatre. As soon as
the curtain rose he came on and played the
"bits," and no matter which play it was the
same star-spangled uniform clothed him. These
people were wonderfully clever at advertising
themselves. After each matinee performance
they raised the curtain and held a reception on
the stage to the entire audience, and it took an
able-bodied policeman to keep the women in
check and to prevent them rushing pell-mell on
the stage in order to shake hands with a real
actress. Strawberryade was also served at these
receptions and ladled out to all comers by one
of the ladies of the cast. Their second week in
Brooklyn they put on as the bill a play they had
had in repertoire on the road, and upon the
evening in question they invited the author to
come over and see them act his play, something he had never seen
them do. When he reached Brooklyn he found the play an-
nounced as having been produced under his personal direction.
He had seen only one rehearsal. At the close of the third act it
is usual in these stock houses for the leading man to appear be-
OZA WALDROP
Appearing with the Manhattan Players at the Lyceum Theatre,
Rochester, N. Y.
Gould & Marsden
WILLARD WEBSTER
Who plays juvenile parts in stock at
Union Hill, N. J.
fore the curtain, make a speech and announce the play for the
coming week. In the middle of this speech the author felt his
sleeve tugged at and heard the head usher say that "Mrs. Spooner
wants to see you on the stage at once." Off he rushed to reach
the first entrance just in time to
hear the leading man announce in
graceful terms that the distin-
guished author being present would
now address the audience, and be-
fore he realized it the unhappy
playwright was facing a packed
house, making his maiden speech.
The summer "stocks" are frequent-
ly augmented in drawing powers
by the visits of distinguished actors
from the regular ranks who figure
as "stock stars'' and play engage-
ments of from two to four weeks
in each city, receiving often as
much as $1,000 a week for their
services. Prominent among those
who have appeared in this way
have been James K. Hackett, Char-
lotte Walker, Richard Bennett,
.Margaret Illington, Arnold Daly,
Max Figman, Amelia Bingham,
Rose Stahl, Nat. C. Goodwin, and
many others. Ellitch's Gardens in
Denver and Suburban Gardens in
St. Louis, and the entire Pacific Coast, are favorite points for
the star in summer "stocks."
In most cases these "stocks" give fourteen performances a
week, a matinee every day ; others only nine performances, in-
cluding three matinees. The companies rehearse all morning, and
each actor is expected to come "letter perfect" and rehearse with-
out his part on Thursday morning. Dress rehearsals are held on
Sunday mornings.
The lazy mind has no conception of the amount of work
entailed upon the actor. At each performance he is acting in
a play that may be new to him. Between acts, while making
his change, he has the manuscript of his part spread out on his
dressing table, conning his lines in the next act, and all morning
he is working hard on the new play for the following week.
In the old stock days it was quite different.
Each actor had in his repertoire certain parts in
which he was accustomed to play season after
season, but to-day the actor must do such quick
study that he can get ready in six clays' re-
hearsals a part he has never played in a play he
has never seen. A good many actors shy at the
work of "two a day," and claim that "in stock"
breeds careless ways and is a bar to progress
in the art of acting. But like all other conditions
in life, this depends upon the individual. It is
true that the stage managers save no time to
develop actors nor correct faults at rehearsals,
still "in stock" is an enormous opportunity for
the young actor. When it is remembered that
such stars as Dorothy Donnelly, Grace George
and Frances Starr are graduates of "in stock"
companies, one has sufficient evidence of a sur-
vival of the fittest.
In the stock companies of to-day the leading
man and the leading woman receive from $100
to $200 a week. If the leading man is a "good-
looker," a "good dresser," he earns his money because the women
patrons of these houses still have romantic ideas of the hero
behind the footlights. After any matinee at one of these stock
houses a mob of women may be seen about the stage door waiting
for the leading man to make his exit. And when he comes their
THE THE/tTRE MAGAZINE
admiration takes the form of silent adoration and not uncom-
monly an humble posey thrown at his feet. These women are
on a par in lunacy with the "Johnnies" who frequent the stage
door of the musical shows.
One of the great requisites that
the stock manager demands is that
the people of the company shall be
good dressers on and off the stage
and that they shall comport them-
selves in private life as ladies and
gentlemen. These companies are
local institutions, the members of
each company are local favorites,
and each actor as he enters at each
performance gets his "hand," and
the entire organization must have
the trade mark of good conduct or
they forfeit the respect of the com-
munity and the theatre loses its
business.
An actor engaged for Stock must
have a wardrobe to dress anything.
A glance at a week's schedule
shows a vast variety of plays run-
ning the gamut from "East Lynne"
through "Arsene Lupin," "Dorothy
Vernon," "Barbara Frietchie," "The
Awakening of Helena Ritchie,"
"The Chorus Lady," "Old Curios-
ity Shop," "Faust," "Raffles,"
"The Girl of the Golden West" to
"Convict 999," and as the plays
that are in demand usually swing
round the circle, it will seem from
our list herewith that an "In
Stock'' wardrobe is an elaborate
outfit and the investment of a great
deal of money, particularly for the
leading lady. There are also some
amusing results of incongruities in
costuming plays, particularly when
they stage a war play ; then hand
uniforms, policemen and postmen
discards are plentifully mixed up
as U. S. A. and C. S. A., and the
results would make the authorities
at the Gray's Ferry Arsenal in
Philadelphia have fits. As to what
is called the "production" scenery,
properties, etc., the old-established
Square in Boston ; Orpheum Players at the Chestnut Street
Theatre, Philadelphia; the Alcazar in San Francisco; Marlowe
in Chicago; Belasco and Burbank in Los Angeles maintain a
fine staff of scene painters and stage carpenters, and can and do
stage all of their productions upon a fine scale, sometimes putting
on Shakespeare in first-class style.
The vast importance to the author of this stock system cannot
be overestimated. Even when a play has only been partially
successful on the road it has a career "In Stock," because the
demand for the play that is new to these stock audiences is in-
cessant. "The Prisoner of Zenda" brought as royalty one thou-
sand dollars a week in stock, which included use of uniforms,
scenery, etc. "The Lion and the Mouse," "Paid in Full," "The
Squaw Man." "The Girl of the Golden West" from $500 to
$1,000 a week. It varies according to the size of the city. Boston
can pay more than Worcester, Philadelphia more than Williams-
port, Brooklyn or the Bronx more than White Plains, Chicago
more than Wichita, San Francisco and Los Angeles more than
Oakland, and so on.
A play that is valuable in stock can easily bring a play-
White
SALLIE
Recently seen in the
'Stocks" such as the Castle
wright $50,000. A low average price for the first two years of
a play in stock would be $500 a week. Of course some companies
will not do it ; but there are at least fifty of them that will grab
at it. That is $25,500, and then
come the secondary and summer
stocks, and after these the reper-
toire companies and the stock stars
There is no end to the money com-
ing to the author. All of this busi-
ness is transacted through the play-
brokers, who are paid a commission
of ten per cent for their services.
It is astonishing how many women
succeed in this work. The Amer-
ican Play Company has Miss Eliza-
beth Marbury as president a.ivl
Miss Helen Tyler as manager;
then come Miss AJice Kauser,
Mrs. H. C. de Mille, Miss Fitz-
gerald, who runs Wm. A. Brady'*
Play Bureau; Mrs. Helen McCaf-
frey (Nellie Lingard of the old
days), and then a string of male
agents : John W. Rumsey, Selwyn
& Company, Sanger & Jordan.
Darcy & Walford, and A. Milo
Bennett in Chicago, and playbrokers
in nearly every first-class city in the
country, and some whose only
clientele are the play pirates.
A much-favored royalty plan for
in stock is a fixed percentage of
five or ten per cent of the gross
receipts for the week, with a guar-
antee that the royalty shall not be
less than $25o-$soo. All these
terms vary according to the
capacity of the theatre to pay.
Of course these high royalties
cannot be paid by all of the
"Stocks." Many of them wait un-
til the play is several years old and
then get the best plays as low as
$100 or even less. It is wonderful
that towns like Paducah, Ky.,
Franklin, La., and Bayonne, N. J.,
can support a "Stock" at all. The
best stock houses will see to it that
in the bad weeks for business, such
as Holy Week and the week before Christmas, the royalty is on
a cheaper basis.
Any play that has had a life of three years in the first-class
houses will bring the author $10,000 a year for several years,
and if he does not treat it as income, but passes it to a capital
account, he soon becomes a very rich man. Charles Klein has
received in stock royalties in two and a half seasons for "The
Lion and the Mouse" alone over $30000. Augustus Thomas
received from a playbroker for his old plays a three-year con-
tract, $8,000 a year, and on top of this the broker made his profit.
The bed rocks upon which this "In Stock" system is built are:
First, the up-coming generation who wishes to see the plays that
were their parents' favorites ; second, their subscription system.
This system grew to a flourishing status, first at the Forepaugh's
Opera House in Philadelphia, where it was the outgrowth of
another system known as the "benefit system." This consisted
of various social societies engaging to sell seats for their own
benefit on certain nights in the week at the first-class theatres
whereby these societies received a substantial "rake off." But
this benefit system has been so much abused that many of the
first-class road attractions refuse to allow it. Here are some
FISHER
title role of
"Eva"
THE THEATRE MAGAZINE
figures that are a revelation.
The Castle Square Theatre in
Boston has a scale of prices
for matinees I5c., 2^c. and
5oc. ; for evenings isc., 2$c.,
5oc., 75c. and $1.00. It has a
seating capacity of 1,835 an^
plays to $7,000 a week. It has
a company of nineteen people
besides office staff, stage car-
penters, scenic artists, property
men and wardrobe mistresses ;
in all about forty people. It
has a subscription list of 4,100
persons. This means a nucleus
of an audience for the entire
week. Strictly speaking these
houses are a survival of the
old-time "family houses,"
where people go en bloc, send-
ing their sons and daughters,
because they know that what
they are to see is worth the
money and that it is sure to be
a clean, wholesome entertain-
ment. The hold these "In
Stock" houses have upon their
patrons is something re-
markable. Subscribers retain
their seats from year to year,
paying for them in advance, at
a small discount.
In the Bronx, New York,
the Metropolis Theatre, with
Cecil Spooner as stock star, has
a subscription list of . 7,500
with gross receipts a week of
$6,000.
There have been many
movements set on foot to form
circuit among these "In Stock"
houses to develop new plays,
but so far without success.
There is too much divergence
of opinion among the man-
agers as to what should be pro-
duced and also too much petty
jealousy to prevent them de-
ciding upon any play. But
there are individual producers
of new plays at these houses,
notably Mr. John Craig, man-
ager and leading man of the
Castle Square Theatre, Boston ;
Fred Belasco (brother of
David) of the Alcazar, San
Francisco ; and Blackwood and
Morosco of the Belasco and Burbank Theatres, Los Angeles,
California. Some of the plays so produced and that have become
famous are "The End of the Bridge," "The Tenderfoot," "The
Dollar Mark," "The Arab," "The Country Boy," "Bought and
Paid For," "The Price," "The Man of the Hour," etc.
Some of the "travelling stocks" make use of some odd ex-
pedients when business is bad and hard-hearted show printers
will not deliver any show print except "C. O. D." One of these
managers with a fertile imagination supplied himself with a stock
of chalk and instead of papering the dead walls of the town,
chalked his own name and that of his company all over the pave-
ments of the town until stopped by the police. A travelling stock
star had all of his company capable of playing some kind of a
Matzene
LAURA HOPE CREWS
Lately seen in "Her First Divorce," at the Comedy
band instrument, and upon his
arrival in each town was met
at the station by an open hack,
gayly decorated with flags,
paid for with "comps." to the
hack-driver's entire family,
and headed by the band and
followed by the ladies of the
company, also in flag-bedecked
carriages, to the local hotel,
where, after registering for
himself and the entire com-
pany, he always drew a roll of
stage money from his pocket
wrapped with one genuine $i
bill, and handing it ostenta-
tiously to his manager so that
the gaping crowd that had fol-
lowed the band and the show
people might see it. said :
"Use this when it will do
the most good."
This man is now a prom-
inent "In Stock" manager in
Brooklyn.
The stage manager of these
"In Stock'' houses is about the
hardest-worked individual of
the entire organization. He
must cast each play from the
people he has. He is not in
New York where he can get a
recruit in half an hour; he
must make out all the plots,
property, calcium, electric, line
and scene plots ; sometimes
these are furnished with the
Mss., or are part of it, but not
always. He is rehearsing one
play and making ready to "put
on" the next. But when a
"super" play (a play with
supers) is on the schedule then
woe is his lot. You may teach
a horse his part in three days,
but a lot of supers, recruited
from grocery boys, etc., are
just plain everyday lunkheads.
They were rehearsing a polit-
ical play in a stock house in
which the candidate read his
letter of acceptance to the
County Committee and a num-
ber of "supers" had recruited
as described. At one point the
"C.C." were to become at
a given cue so enthusiastic at
the candidate's remarks that they were to cheer vociferously three
times and the candidate was to pause until the excitement died
down. The stage manager had found this lot of "supers" unusu-
ally stupid, so he arranged that when they entered they were to
plant themselves in front of the fireplace and he stationed him-
self behind the chimneyplace so that he could prompt them
in case they should not "pick up" properly their cue with the!
cheers. The candidate swung into his peroration and the time
came for the cheers, but not a whoop, at which the stage manager
from behind the scenery called out to them : "Cheer, cheer, cheer !"
whereupon the entire County Committee fell on their hands and
knees and looked and cheered up the chimney. Then the curtain
fell as the audience yelled. HARRY P. MAWSON.
White
ROBERT HIM.IARD
This popular actor has been appearing as Detective Asche Kayton in "The Argyle Case," at the Criterion
The Annfth
OT aft a "Flirsft Mngkt"
Moffett
MARJORIE WOOD
Who played the role of Wanda in "The Woman" on the road
IN the theatre lobby, after the third act, the Unproduced
Dramatist ran into the Successful Playwright, who had just
escaped from the stage after responding to three curtain calls
and ferocious, not to say bloodthirsty, demands for a "Speech !"
The play was a success. There seemed to be no question about
that, for, aside from the noisy, undiscriminating applause, almost
inevitable at "first nights" in New York, which had brought out
all the leading members of the cast, as well as the author, there
was the testimony of the scraps of favorable comment to be
heard on all sides as the entr'acte crowd moved out for a cigarette
and fresh air.
"Good speech of yours, old man !" observed the Unproduced
Dramatist to the Playwright. "Sounded extempore, too. I can
understand that a man is inspired to 'orate' well when he has
just heard his lines spoken and seen his original ideas worked out
before the footlights by a good company, and realizes that his
play has made a hit. I envy you your feelings to-night."
The playwright shrugged his shoulders as the two went into
the smoking-room and lighted up.
"So you think there's pleasure in hearing and seeing the first
performance of your play, do you? Wait till that one of yours
is put on and you will find out."
There was no mistaking the irony and disgust in the Success-
ful Playwright's tones, and the fact that he pulled furiously at
his cigarette, instead of inhaling with the tired placidity which
good form in cigarette-smoking demands, gave powerful token of
inward perturbation.
"I flattered myself this play of mine was actor-proof," he went
on. "Not only was I careful that the plot should be as well built
and logical as I could do it, that the interest should be cumulative,
the suspense unbroken, and the climaxes unforced as well as
powerful, but I took particular pains with the dialogue. In these
'problem plays,' as they call them, what the characters say is
even more important than what they do, and of equal importance
is the way they say it. So I labored at my speeches harder
than I ever did before. I wrote and rewrote, and I always recited
the lines over and over to make sure that the proper inflection
came so easily that it would be hardly possible for them to be
read in any other way. Of course, the stage director wanted to
change most of them. Stage directors always do. They think
they can write better dialogue than the author."
He looked around to see if there happened to be a stage direc-
tor within hearing. There wasn't, and he went on :
"Fortunately, I have had enough plays put on and made good
with them to insist on having my own way. So. with a few
exceptions — to each of which I had consented, for I am always
open to conviction, you know — my dialogue was not interfered
with."
"The actors speak it as you wrote it, then?"
"No — confound them !" roared the Successful Playwright.
"That's exactly what they don't do. There was hardly an effec-
tive speech in those three acts to-night that was not spoiled in
the delivery. I have not attended many of the rehearsals. No
author should, if he has any respect for his nerves. So the statje
director and the actors worked their own sweet will in my
absence, and the result is what you have just heard in the three
acts they have done."
"The dialogue seemed to me particularly graceful." ventured
the Unproduced Dramatist, "and I thought every 'point' was
driven home."
"If you had read the script you wouldn't say so. The wav
they riddled my lines was maddening:. Different meanings have
been read into the text until it is all a muddle, and over and over
again I wanted to go back on the sta^e. lick the leading man
and the principal comedian — particularly the latter — and ring
down the eurtain. As it was. I could only sit in front. l:sten and
wonder what would be the next outrage. 1 believe I have a fair
acquaintance with the English language, and I chose my words
most carefully in writing the lines, so that the speech of each
character should reflect something of his or her habit of mind —
as is the case in real life. Well, you heard what those people
back there did with the dialogue. Expressive? Not a bit of it!
Most of it sounded like a man reading proof on a country news-
paper."
The Successful Playwright took another cigarette, but he was
so angry he couldn't hold the match still enough to get a light.
as he growled :
"And you think it is pleasant for an author to be present on
the opening night of his play ! I tell you it is anguish. And the
hard part of it is that you can't do anvthing. There you are. in
the audience, while the actors blunder on in their smirking,
fatuous way, murdering your lines, smothering your dramatic
situations and wrenching your plot out of joint, at every angle.
Nothing can stop an actor when he (Continued on page vii)
THE THEATRE MAGAZINE
Photo Sarony
MARY BOLAND
Who h» been appearing with John Drew in Alfred Sutro's comedy, "The Perplexed H-»b.nd"
White
HOPE LATHAM
Who is to be seen shortly in Hurt Sayit's IKW play, "Ransomed11
ONCE, when serving as a play
reviewer, the present writer
took occasion to praise a cer-
tain character actor who has since made his final exit from the
boards. He was portraying a ferocious, brutal type, and, in the
course of the action, he ate, or rather devoured, a meal. To his
appropriate manner of feeding I called special attention, point-
ing out that both observation and skill had entered into the
manner in which
"O'er joint and gristle and padded paw
He fought and clawed and tore,''
growling the while with all the savagery of the Hyrcan tiger.
A year or so later, falling in with this same player, I had him
out to dinner. Imagine my — if not amazement, at least amuse-
ment— when I observed that in private life the gentleman ate
exactly as did his brutal stage characterization.
There is philosophy in this anecdote, if only one can find it
out. Of course, a long process of playing similar brutal roles
may have had its unconscious effect upon the actor in question.
We hear much nowadays about the reactions of the part upon
the player ; and perhaps this is a case in point. The odds to the
contrary, however, are great. Anyone who might have watched
this particular (thought not too particular) actor during his
career would have observed that he succeeded only in raw, crude
brute-force characterizations ; that, whereas he several times
essayed very different, subtle, refined roles, in these he promptly
and invariably failed.
And then, if one were to make a study of the "art" or the
methods of this mummer, one would quickly note that he played
all parts practically the same; that such differentiation as he
accorded to his various efforts was no more than that which the
veriest beginner in acting would essay. Putting all the facts
together, one would reach the obvious conclusion that this player
played only himself — with merely minor variations. And yet he
ranked high in histrionic circles ; he was sought after by man-
agers and reckoned one of our most important near-stars.
If this instance were an excep-
£ tional one, it would, of course, be
insignificant. Manifestly, however,
it is not exceptional. There is common complaint from critics
and patrons of the theatre everywhere that far too lari^e a pro-
portion of our acting to-day is like that which I have just de-
scribed. "Looking the part" has grown to be the first essential
in all acting — a result, of course, of our wild goose chase after
the evasive bubble of realism. Time was when we were con-
tented with little reality in our stage trappings, so long as the
player by his art conveyed the fundamental illusion of real
human emotion. But nowadays it is different. The desired
actor is he that most nearly is in personal appearance the indi-
vidual he must play. "Looking" is the fundamental requisite;
acting is merely secondary. And so, if we want a "country
jake" in our rural drama, why not go to the village store and
get the real article? At least, let us not even consider employing
some Coquelin, who may ordinarily look like a good-natured
baboon, but who, being a true actor, can play with equal per-
fection the clown in Moliere or the hero in Racine. I marvel
that, when "Chantecler" was done, at least on this side, the pro-
ducers were able to suppress the feeling that only real chickens
could "look the parts."
Now. if there be a decline in our acting to-day, as many main-
tain that there is, it is due to no one cause more than to this
pernicious "part-looking" policy so universally in vogue. Some-
how it has played havoc with our very ideals of acting. Ask the
man on the aisle what true mumming consists in, and see how
puzzled he is to reply. Then ask the woixjan with him. and
observe how their answers diverge. It is even so with professed
critics. These doctors also only too often disagree.
It is much easier to ascertain what good acting is not. To
begin with, it is evidently not staginess — conventional gestures
and attitudes and conventional sonority of language. That sort
of thing used to impress the groundlings, but even they have
turned against it now. Moreover, good acting is not mere elocu-
,
Moffett
HAZKL I)A\VX
This popular actress has been appearing in the title role of "The Pink Lady"
THE THEATRE MAGAZINE
Moffett
E. ARLINE FREDERICKS
Who has been appearing with Eddie Foy in the musical farce, "Over the River"
tion, mere amiable stage presence, mere poise and deliberation ;
though it often contains all these elements.
Some time ago a stock company moved from one large city to
another for a fortnight's presentation of a new play in which it
took much pride of discovery. In reviewing the first perform-
ance, one critic in the second city, a man by the way of deserved
national repute, expatiated on the acting of the leader of the stock
company in most glowing terms. The player was lauded as a
second George Alexander, having that celebrated London actor-
manager's beautifully tempered style ; precise and elegant, but
forcible diction; commanding and well-poised bearing; and, "for
an actor so piously reticent, his flashes of expressiveness are
delightfully real and unforced." Another reviewer, of quite equal
abilities, on the same morning headed his column as follows:
"Mr. John Blank is a player of the showily
repressed type, adorning his impersonations
with abnormal accuracy of diction and
much faultless grace of movement. When
he uses the telephone, for instance, you can
beat time to the several motions employed
in the operation, so metrically are they
strung together. He gives his hat and coat
to the butler in iambics, and his low, tense
voice is replete with cadence, as he says,
perhaps, 'Edwards, I shall dine alone this
evening.' Edwards, like all stage butlers,
can never make his exits uninterrupted.
Mr. Blank calls him back each time with
'And, by the way, Edwards,' or 'And, Ed-
wards, one moment, please,' uttered with
soft precision — poised, elegant and im-
pressive."
It happens that I have seen something
of Mr. Blank and his methods, both on and
off the stage, throughout a recent season.
And I must say without hesitation that, to
the best of my judgment, the second re-
viewer's estimate of his acting is absolutely
right. Mr. Blank, though heading a stock
company that rarely plays the same bill
longer than a week, acts all parts in the
same key — 'his own "B natural." If the
character is different from himself he is
"miscast." From Richard III to Arsene
Lupin, he is always "poised, elegant and
impressive."
Good acting, whatever it may be, cer-
tainly is not just "looking" and being a
part — it is not just walking on and saying
the lines in a voice slightly intensified and
producing the "business" with movements
slightly exaggerated. That is the kind of
acting our craving for realism is giving us
so much of nowadays, but it is not good.
It makes for the stultification of the artist
and the annihilation of the art.
I can fancy some incorrigibly optimistic
reader saying long ago, "Here is another
malcontent, raising the perennial hue and
cry against the status of the stage !" I beg
not to be so classified. I know quite well
that it has been the fashion since Aristoph-
anes, or earlier, to lament the dramatic
and histrionic decline. I know equally well
that in certain respects our theatre to-day,
as it ought to be, is far in advance of that
of any former period. I understand, too,
that all the great players — the Booths, the
Rachels, the Garricks — have not lived at the
same time. 1 am likewise familiar with
the fact that stage conditions have changed, that our theatre to-
day is no longer rhetorical, but pictorial, and therefore the setting
for a new and different style of acting. I even share in the feel
ing that, if some Roscius of yore were to recrudesce and join
the ranks of one of our all-star companies to-day, we should fine
his antiquated technique distinctly unpleasing and ineffective.
But I am none the less convinced that the tendency of our time
is to reduce the noble art of acting from something a little greater
than almost any other art to a comparatively trivial and mechan-
ical craft. We need rejuvenated ideals; more emphasis upon
versatility; more organized and substantial training; perhaps,
above everything else, a solid foundation of general education
and culture, upon which our younger players may build their
art. C. A.
THE THEATRE MAGAZINE ADVERTISER
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It Iss Permissable
(Continued from page 14)
for liquid refreshments to the restaurants after
the theatre, by bad actors. They are so bad that
they are thirsty. If the mayor would not allow
some actors to act, peoples would go straight home
after the theatre so exhausted from laughing or
from crying that they could do nothing else.
The demand for entertainment is so great that
almost anybody who has nerve can get $75 a week
acting, which is too much. I remember the time
when I finally got $40 a week as a actor, and I
thought that would be the limit. When I got
$175 during my first engagement with the Weber
and Fields star cast I was more than pleased, I
was excited. Later, I was not sure whether $500
a week was a skin game on me.
Now it is permissable!
It is impossible to get together a star cast such
as Weber and Fields used to have at their old
music hall to-day. There are so many theatres
that must be kept open all over the country, that
there are not enough stars to go around, and
ian race is a revealation of the sentiment and
broader humanity of his kind. In my character
of H'oggenheimer I remember Mr. Frohman's
suggestion that I should have to give him a touch
of real sentiment, to shake hands with my enemy
as it were, so as to give a fair impression of the
German Jew character.
It was permissable !
Now while I do not agree with the mayor that
he can close up Broadway at I A.M. with success.
I am satisfied. If the peoples do not spend all
their money in one night it will be best, because
they will come to the theatre more often.
It is sufficiency.
PLAYS AND PLAYERS
(Continued from page 3)
an average of about $4,000 a performance for
twenty-two performances, and no one knows
what Oscar Hammerstein lost at the Manhattan,
since he never kept books. But he was ready to
sell out soon afterward. Of course, there was
this difference, that at that time the maximum
price for each of these was five dollars per seat,
Grace Griswold Howard Hall Viola Dana Frank Currier
Act II. Gwendolyn: "Oh, Doctor, save me; it's Snake in the Grass!"
SCENE IN ELEANOR GATES' PLAY, "THE POOR LITTLE RICH GIRL"
some of them come back only to go out again.
The stage is suffering from overproduction, the
stocks is more than the customers expect. It is
permissable, but it will not last. The legitimate
plays either dramatic or musical will always sur-
vive, and the people will get tired of moving
pictures and bad actors.
From the heart out, the moving picture iss not
in it. It is the best for ten cents, but the Amer-
ican public soon gets tired of cheapnesses. The
best iss always good enough, and I don't believe
the theatre will loose any of its real value by
the intrusiveness of moving pictures. They have
only hurt the gallery, they have not affected the
best seats in a theatre so much. The musical
shows of to-day are more than a sufficiency. The
dresses are more elegant, the girls more beauti-
ful, and the music better than it was before.
What once was is no longer permissable.
The stage Irishman is gefutch. Harrigan and
Hart finished him. And the old-time Hebrew
comedian, such as Dave Warfield used to do so
well, has become offensive to the Jewish race.
Not because people have grown tired of his
humor, but because the new race of American
Jews have sprung from him. Although they
have surpassed him in manners and style, and
ways of living, he is the man who fought their
battles for them, he is the ancestor they respect,
and his comical appearance, with his hat pulled
down over his ears, and his long black beard, and
his patient endurance of stings and slights, rep-
resent the whole courage and survival of the race
in the new country.
Now the kind of German Jew that I am rep-,
resenting in my work is not offensive, because
in spite of the racial fact, I am presenting the
modern Jew, whose attitude toward the Christ-
so there was no popular price opera in the list.
Yet popular price opera has. also had its fling,
Oscar Hammerstein giving twelve weeks of what
he called "educational opera" at the Manhattan,
which, it is reported, left a deficit of $60,000.
And years before that Maurice Grau and Henry
W. Savage linked forces and gave a season of
popular price opera at the Metropolitan, the
losses of which are said to have totaled $72,000.
Now in "art for art's sake," or in the scheme
of operatic philanthropy, monetary considerations
are not important factors. In other words, losses
do not count. But the sad fact is that the great
public remained away in tremendous quantities
from these popular price performances.
Those who have watched the opera-going public
with interest for years have a suspicion that
what the New York masses want is not $3 or $2
opera, but $6 opera at cheap prices. The public
wishes to be assured that the opera it is hearing
is the very best opera in the world. If cheaper
opera is offered, the public is apt to suspect the
quality of the offering.
The real solution of this opera problem will
be found when the Metropolitan Opera House
builds a new home, which it will do within a
few years, and when there will be tremendous
galleries to house the masses that want to hear
$6 opera for $2 and less. Meanwhile, next sea-
son's experiments — for they will surely be little
more — will bear watching. The City Club's pro-
ject is based upon sheer enthusiasm, Oscar Ham-
merstein's is the result of an unquenchable am-
bition and ceaseless vitality which mark this
impresario. Both ventures are practically doomed
to be financial failures, which will matter not at
all if they are successful in giving the masses the
opera they are supposed to crave.
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
THE THEATRE MAGAZINE ADVERTISER
Who Wrote Hamlet First?
(.Continued from page 20)
Hamlet's, however, H'ieronimo's revenge is de-
layed ; and a play to test the suspected murderer;,
is also introduced into the Kyd tragedy. It al
ends in a bloody massacre; and a ghost, in the
epilogue, gloats over the torments of the deat
men in hell. The interesting question, then, is .
Did the author of this drama also write the "Ur-
Hamlet," which served as Shakespeare's model?
The primitive tale of lust, blood-feuds, and
vengeance, which Saxo Grammaticus recounted,
was undoubtedly of the sort that would appeal
to Thomas Kyd. Its dramatization may have
been prompted by a visit of certain English actors
to the court of Elsinore in 1586; and this visit
would suggest an important incident of the play.
From wash's and Lodge's satirical remarks, "it
seems evident that the "Ur-Hamlet" was of the
Senecan type, full of "tragicall speeches" like
"bloud is a beggar," and including a ghost that
is absent from the Belleforest-Grammaticus talc.
There are numerous striking parallels between
'The Spanish Tragedy" and the earlier Shake-
spearean "Hamlet," so many, indeed, that the
common parentage or an even more direct rela-
tionship in strongly indicated. Nevertheless, the
reverse opinion is stoutly maintained by eminent
scholars. Professor Dowden, for example, con-
cludes: 'The general style of the 1603 'Hamlet'
is much more like that of an ill-reported play of
that date than like the style of a play of Kyd's
and Marlowe's time." Professor Boas, of Ox-
ford, on the other hand, convinces himself, at
least, beyond a reasonable doubt, that Thomas
Kyd wrote the original "Hamlet," about 1587, an
obscure tragedy which, when repeated June 9.
1594, at Newington Butts Theatre, brought in only
eight shillings, if we are to trust Manager Hens-
lowe's diary. Ben Jonspn wrote an expanded
version of "The Spanish Tragedy," which achieved
popularity; and Professor Boas believes Shake-
speare was merely repeating the process with
another of Kyd's dramas, when he wrote "Ham-
"The master-dramatist transformed what
was probably a flamboyant presentment of the
Prince of Denmark's irresolution into the subtle
study of diseased emotion and palsied will with
which the world is familiar."
A more conclusive statement in this connection,
it may be added, is that of Dr. Schick, who
writes: "Notwithstanding all the ingenuity ex-
pended on Kyd of late years, the ground on which
we can put our foot with any firmness is still
very small." The "Ur-Hamlet" and its authorship
forms one of the impenetrable mysteries of litera-
ture, and impenetrable it will remain, doubtless
for all time, unless some other good Sir H'enry
one day goes "Bunburying" — as they would say
in "The Importance of Being Ernest" — and dis-
covers in a dusty closet a quarto or a signed
manuscript of the first English drama dealing
with the melancholy Dane. CHARLTON ANDREWS.
GREAT BEAE SPRING WATER
50 cts. per case— 6 glass-stoppered bottles
The Author at a First Night
(Continued from page 32)
is set going at a performance. I believe many
of them cease thinking as soon as they get
their cue. The average actor has rehearsed
his part in a certain way, and he is al!
wound up, as it were. So all he can do when the
time comes is to give you the goods as cut to
measure, as mechanically as if they came out of
a slot machine."
"But surely you don't mean to say there are
no competent actors — intelligent men and women
— who can grasp an author's meaning and realize
his intentions?"
"By no means. I only insist that in most first
performances these intelligent men and women
show an aptitude for spoiling the dialogue and
throwing the story out of harmony with the man-
uscript of the play which makes it painful for the
author to be present. Of course, the usual re-
hearsal on the day after the premiere smooths
out many of the rough places and leads to a much
better presentation a few days later. That's the
very reason a sensitive writer of plays, for his
own sake, should keep away from the opening."
"But you are here," the Unproduced Dramatist
reminded him with a smile.
"Of course I am. I always go to my own
'first nights.' I couldn't stay away. If I didn't
go I should imagine things were worse than they
are — if that were possible. There are very few
playwrights who have the resolution to keep away
from the theatre when they know a dozen or so
of men and women on the stage are rending and
t Continued on page wr)
Vll
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LOVE, /A F*RIEJV*DSHIP
(A Nameles* Sentiment)
With a Preface in Fragments from STENDHAL
"BooK
Translated from tht Frtnch by HEffRy 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 lias not been so much interest in an individual
work since the time of Marie Bashkirsheff's confessions, which were not as
intelligent as these.
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A Chat with Blanche Bates
(Continued from page 24)
and during the rehearsals, and even after the
play was 'on.' I visited the art museum and
communed with that painting."
"For your part in 'The Children of the Ghetto,'
I presume you made daily visits to Hester, Orch-
ard and other East Side streets in New York's
Ghetto?"
"Not a bit of it. I am not one of your rubber-
neck sociologists," replied the actress. ''First of
all, Mr. Zangwill very carefully drew a mental
picture of his conception of the part for me, and
so realistically that I could not help but see and
act her as he meant her to be. Later, in London,
I met his sister, Hannah. The moment she took
a cup of tea I knew that Mr. Zanwill had written
the part around her. Then I studied his sister,
and Mr. Zangwill afterwards told me that I
really 'lived the part.' "
Previous to 1898, when she first joined the
Augustin Daly Company, Blanche Bates had
proven herself an able emotional actress by her
acting of Phyllis in "The Charity Ball," and had
played "The Dancing Girl" ; and among many
more or less varied roles, Nora in Ibsen's "A
Doll's House." Then after appearing in a num-
ber of Shakespearean parts, she created the
Countess Mirtza, in Augustin Daly's notable pro-
duction of "The Great Ruby." Although she
only played the part twice at Daly's she com-
pletely took Broadway and firmly established her-
self as one of the best of American actresses.
"It will surprise everyone to know that the
original of the Countess Mirtza was none other
than Maxine Elliott," Miss Bates half whispered.
"Maxine Elliott, the woman, I put into my por-
trayal of the Countess .Mirtza. And I want
everyone to know that Maxine Elliott is a big.
big actress, too, as well as a big and handsome
woman. Because of her wonderful beauty people
have lost sight of the fact that she is a really
big actress.
"And it is curious when I stop to think of it.
It was Maxine Elliott's advice that won my en-
gagement with Mr. Daly. She told me, when I
was going to see him :
" '.Suv nothing and get through with it.'
"I did, and he took me in his company."
WENDELL PHILLIPS DODGE.
Most Successful Operetta, Etc.
(This article tc'l// be joiind on fane .rj)
GREAT BEAK SPRING
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Ruins of a Roman Amphitheatre
(Continued from page 21)
Clytemnestra who trailed about in black, were
clad in minor tones, though they were girded and
their hair bound with jewels. It was revelry for
the senses as were the inconstant mysterious
music from the distance and the intermittent
chanting of the chorus.
There must be a great influence exerted by
the walls and roof of a theatre because when
they are taken away, leaving only the auditorium
and stage, as in a Roman amphitheatre, the whole
art of acting and the drama in their effect on the
spectator are different. Nature is substituted for
scenery, and at the same moment reality is added
to imagination — for imagination still lies in the
lines. When Salvini rushed out upon the stage,
ran down its steps and flung his arms up in
prayer to the sun, crying in his ringing tones "O
Sole !" the hearer in a flush turned pagan. There
hung the sun listening. A tense silence swept
over the audience. It was almost as though
something might happen ; as though the sun might
send a visible answer to his prayer. Imagination
could never be so deeply and almost fearfully
stirred in the walled-in make-believe of the thea-
tre of to-day.
There are other differences between the art of
the outdoor and that of the indoor theatre. The
actor outdoors must paint his portrait with
broader strokes. Some of those who saw Salvini
as (Edipus Tyrannus in the amphitheatre at
Fiesole said that he ranted. Perhaps they were
right. Perhaps that is what ranting is — outdoor
playing. In order to carry across the space that
separates the actor from his audience a rather
violently physical expression must be given to
the emotions. Subtleties of expression or re-
pression would be completely lost.
Another point about acting in an amphitheatre
is that the acting space is large and varied. The
actor must play not only on the portico, but on
the wide flight of steps leading down from it,
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
THEATRE MAGAZINE ADVERTISER
ix
and on the ground lying between portico and
chorus pit — almost an acre of space.
At times during the action of CEdipus, Salvini
ran from between the high gray walls, that
formed the wings, down the steps and across the
wide foreground in a mad attempt to escape from
the horror which always pursued him. Or with
arms outstretched he staggered backward up the
steps and fell against one of the old gray pillars
moaning. The women of the piece, not so dem-
onstrative, carried out their acting in statuesque
poses.
Meanwhile, in that strange air of Italy, not a
note or inflection of the voices was lost. The
lines were spoken in strong, clear tones, but were
not shouted, yet each word shot up to the lis-
teners on the rising tiers of seats direct and
distinct. C. I. D.
GREAT BEAR SPRING WATER
60 cts. per case— 6 glass-stoppered bottles
The Author at a First Night
(Continued from page :-ii)
tearing at his work, with a wildly hysterical stage
director helping the havoc along from the first
entrance. Ihe author goes because he can't stay
away. If some near and dear relative of yours
were to undergo a dangerous surgical operation,
wouldn't you want to be close at hand, even if
you could not bear to look at the operating table ?
The dramatic author goes to the theatre in much
the same spirit — only, he always watches the
operation, squeaking with pain at every move of
the scalpel, especially when the instrument slips,
as it is doing continually at most first nights of
a new play."
"Well, I don't know," observed the Unproduced
Dramatist with a little sigh of envy. "If I had
as big a success as this of yours I don't think I
should much mind an occasional slip. If there
have been any slips to-night they don't seem to
have hurt anything. On the whole, I should say
this performance is a splendid one. To me it
appears to be practically perfect."
"If you were the author you'd know better. I
can see a hundred places where changes have
been made, and always to the detriment of the
play. Why "
But at this instant another successful play-
wright slapped him on the back in an excess of
good-fellowship, and said heartily:
"I congratulate you, my boy. You have a great
play, and I never saw a better company. They
are a magnificent bunch of actors. Each one has
got right under the skin of his part, and the
dialogue is done admirably. You read the script
to me a few weeks ago, you remember; so I am
able to judge. Those people give it just as you
did. They seem to feel what they say, and all
the subtleties in the lines are most skillfully
brought out. That is saying something, for you
are great on subtleness in your dialogue, you
know."
"Do you really think the company is all right ?''
asked the Successful Playwright, with a rather
sheepish glance at the Unproduced Dramatist.
"Do I ?" chirped the other successful play-
wright. "Of course I do. And everyone is say-
ing the same thing. For a first night I never saw
such a splendid performance. You rehearsed
them yourself, didn't you?"
"No. Blank did it, and —
"Well, I thought you'd coached them person-
ally, for they've got you on a hair-trigger, both
in lines and 'business.' "
The Successful Playwright lighted another
cigarette.
"Is that so? I was a little doubtful. I always
am, it seems to me."
"Of course you are. So am I, at my own open-
ings. It's nervousness. We're all alike. Why
don't you stay away from your first nights, old
man ?"
"Why don't you?" retorted the Successful
Playwright.
"Because I can't."
"All the same there'll be a rehearsal in the
morning," muttered the Successful Playwright,
half to himself, as they all went into the theatre
to see the fourth act, ''And /'// be there." G. C. J.
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A Delightful Party
An Interesting Play
An Enjoyable Evening
With the Play Diary these pleasures do not end with the evening.
The Play Diary is a handsome book, 1 0xl 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
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THE THEATRE MAGAZINE ADVERTISER
XI
Most Successful Operetta
(Continued from page 18)
but with a percentage of the profits. The artistic
rendition by Miss Pauline Hall of the entrancing
lullaby intrenched itself so thoroughly in the
hearts of her admirers, that, by actual count, she
sang it more than six thousand times.
General William T. Sherman was an inveterate
Casino habitue, and on one occasion I told him
that I had recently invited General U. S. Grant,
who inquired what was playing. When I
answered that it was a musical show called "Er-
minie," the General answered: "I'll wait until you
play a drama or a comedy,vl don't care for musi-
cal shows." General Sherman then informed me
that he accounted for that in this way. "During
the war the almost continuous rattle of horses'
hoofs, caissons, gun carriages and wagons of
various kinds, and the beats on the drums and
other weird sounds had evidently imbedded them-
selves so thoroughly in General Grant's ear that
he had conceived a veritable dislike for music.
It's different with me," continued General Sher-
man ; "I could listen and enjoy When Love Is
Young, All for Glory and the Lullaby a hundred
times."
During the unprecedented run of the opera one
heard nothing but stories of how the members
of the cast were like one big, happy family, how
delighted they were at their success, of the enor-
mous fortunes realized by the different chorus
girls in Wall Street speculations, of their various
matrimonial affairs. Their names and reputed
exploits were to be found in the newspapers at
least seven days a week. Then there was the
music. One simply could not escape it, no matter
how hard one might try. When you arose in the
morning someone in your immediate neighbor-
hood would be playing For Love Is Young.
Later, when being served with your coffee at the
breakfast, your otherwise irreproachable and ir-
replacable maid would be quietly humming The
Dickey Bird Song. Then all day long, in either
the business or residential section of New York,
the hurdy-gurdies would grind out one tune after
another, the favorites in their repertoire being the
Gavotte and the Lullaby. One had to have pa-
tience and fortitude during the "Erminie" fad.
Yet one recalls those days with pleasure, almost
with regret. They represent an enthusiastic era,
a public appreciation of the artistic that is too
often lacking to-day. With the possible exception
of the vogue of some of the Gilbert and Sullivan
operas, there has never been anything quite like
the craze for "Erminie" in this country.
GREAT BEAR SPRING WATER
BO cts. per case— 6 glass-stoppered bottles
Victor Records
Caruso's Fifth English Record— Your Eyes
Have Told Me, Bowles-O'Hara.
Mr. Caruso has selected for his fifth excursion
into the English ballad field an attractive new
song by Geoffrey O'Hara, with poem by Frederick
G. Bowles.
The Popular "Angel's Serenade" by Gluck and
Zimbalist — Angel's Serenade, Braga.
The Victor's series of standard songs with vio-
lin obbligatos by famous violinists is further in-
creased this month by a delightful presentation
of Braga's ever popular "Angel's Serenade," given
by Miss Gluck and Mr. Zimbalist.
An "Aida" Duet by Gadski and Amato — Aida,
del! Mio Padre! Verdi.
This duet is from Act III, and occurs during
the scene in which Amonasro persuades Aida to
induce Rhadames to become a traitor to his
country.
A Sacred Number by Schumann-Heink — Agnus
Dei, Bizet.
A Charming Old Folk-Song by Farrar and
Homer — How Can I Leave Thee (Thuringian
Folk-Song).
The Victor's series of duets in English by oper-
atic artists has proved to be an attractive inno-
vation. "Whispering Hope" and "Abide With
Me" have been very successful, and this charming
old folk-song by Farrar and Homer is a welcome
addition to the list.
A New Farrar Record — I've Been Roaming,
Horn.
Educational Records. Simple Folk-Dances for
Little Children.
Self-control is the first great lesson for the
child to learn on entering Kindergarten. Physical
culture is essential, but should always be tempered
to the age and physical strength of the child.
These old dances are universally loved by the
children, and furnish just the right degree of ex-
ercise, music, pleasure and play.
Kinderpolka (German), Paul; (2) Chimes of
Dunkirk (From "Folk-Dance Music"), Burchenal-
Crampton, Victor Military Band. Advt.
For ream-ivf Double Chins the
Ganesh Chin Strap /tits n won-
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and tb.SO. Tl,,- (/,;,/,,//
head Strap removes all afe lines
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EVERY MONDAY MORNING
BY THE ,FIRST POSTMAN
fASHIO/N J=ORECAST
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All the Fashion Journals in One
Things New in the Shops
COMPLETE OFFICIAL FORECAST
FOR THE WEEK
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SHOWING THE NEWS OF
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AT A GLANCE
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only means of knowing
ALL THE SALES
IN LEADING NEW YORK STORES
(Officially Reported)
THE CONSENSUS OF OPINION ON FASHIONS
(By the Foremost Authorities)
THE NOVELTIES THROUGHOUT NEW YORK
(By Fifty Specialists in Shopping)
Do you care for dress to know what suits you
best; what store has it; where it may
be had at the beat advantage ?
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stores have; know the fashions
BEFORE YOU START TO SHOP
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Vogue
takes
No Holiday!
While you are enjoying the leisure
and pleasure of the long Summer
vacation, Vogue takes no holiday.
Week in and week oat, its editors
and correspondents are busy acting
as your agents, searching the whole
world for just those things that will
most interest you. For instance:
In the July 1st Vogue you will find news pho-
tographs of society as it settles down to the gay
life of Newport, Southampton and the North
Shore; also a comprehensive array of outing
clothes and final review of the formal mid-
summer mode.
In the July 15th Vogue are all the perennial
interests of Summer— life in the smart watering
places and in smaller villages away from the
fashionable highroads.
In the August 1st Vogue you will find sug-
gestions for the woman who motors, rides,
swims, plays outdoor games and goes into the
forest. Also the first intimation of the Autumn
fashions that are to be.
Wherever you go this Summer, make
sure before leaving that you are to
get your Vogue right through the
Summer. Whether you go where
society is, or to some quieter spot for
rest — Vogue is exactly the connecting
link that you will most want to
maintain.
Vogue, 443 Fourth Ave., New York
2$ cents a copy
Twice a mor.lh
i "DM IK XAPT
I'uUiihtr
f 4 a year
24 numbers
A unique' and exquisite feature of THE THEATRE MAC.AZINK 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 THB THEATRE MAGAZINE
EVVO /» <r*
T § 1
1
ELEANOR GATES has accomplished the unprecedented
and what persons who use the word scorned of Napoleon
deemed impossible. With her first play she attained
metropolitan success.
Why? She told me in a bijou
apartment overlooking Central Park,
the location and furnishings of
which spelled success, told me while
her cheeks glowed from a motoring
trip — and motoring trips for which
you yourself pay — bear also the ini-
tials of success.
Miss Gates, who tells you frankly
that she is thirty-seven and humanly
enjoys your look of surprise that she
is more than thirty, sat forward in
her chair, tilted a determined look-
ing chin, and talked with unusual
force and directness for a woman, a
force and directness that betoken an
honest mind and fearlessness, with-
out ambition for diplomatic achieve-
ment.
"I think the play captured metro-
politan fancy because it was about a
child. Every normal person likes
children and everyone who likes
them is interested in their lives. A
second reason, I believe, is that it
visualized, and made a story of, the
the figures that are large in a child's
life, as examples, the doctor, the
policeman and the organ grinder.
All children have a delicious terror
of these three persons. They are
fascinated by them, and reverting to
our own childhood it entertains us to see those persons figuring
as they might have done in our lives. A third reason, in my
opinion, is that the play is different and everybody seeks the
different. New York, I understand, pursues the different with
more zest than does any other city.
"That is my analysis of the play's success, but as to what led
to it, the story is a longer one. The idea of the play had been
growing in my mind for ten years. I had been thinking about
it, making notes of it. There was a fat envelope full of them.
I had first thought of embodying the king's English — which my
mother used to talk of my 'murdering,' until he actually took
form to me and I regarded myself as a slayer of a human being —
and other figures of childhood, in a play. The idea of a rich
child neglected by her rich parents had also been in my mind.
One day I welded them, so to speak, married them. I used them
in a book. Mr. Arthur Hopkins read the proofs of the book
and gave me an order for a play. I wrote the first act in
seventeen days. The second I wrote in twenty-one days, and
the last, and Mr. Hopkins says that is unquestionably the best,
in fifty-two hours.
"I had always thought in plays and always intended to write
plays. But when we were graduated from the University of
California, Richard Tully, whom I married, elected to write
plays and I said, 'I will write books and articles for the maga-
zines.' I have been writing for eleven years. I began at
twenty-six."
"No woman has anything worth writing before she is twenty-
five," I interposed.
"Perhaps not," smiled Miss Gates. "My first book, 'The Auto-
biography of a Prairie Girl,' was published the year I was twenty-
six. I wrote five other books, the last, "The Poor Little Rich
Girl,' and many magazine articles in those el'even years. I
Photo Ira L. Hill ELEANOR
Author of "The Poor
have always been fortunate enough to write for the better class
of magazines. I have never written pot boilers, though I have
had to do pot boiling. The difference is that while I had to
keep the pot boiling many times 1 always did my best.
"My preparation for playwright-
ing? I had been studying plays for
twelve years. I had seen all the
plays I could, especially the failures.
I wanted to know why they failed
and I think I learned why."
"A great many theatrical man-
agers would like to know."
"There is always something
basically wrong in the play that
fails. It may not be reasonable. Or
it may break off in the middle, leav-
ing off one story and beginning to
tell another. I had experimented in
an amateur play when I wrote 'The
Gentle Miss Gillette' for the Uni-
versity of California production and
I had helped to doctor plays. None
of my husband's plays, but plays
were sent him to see what could be
done with them, and we discussed
them and worked on them and peo-
ple said they were better for the
treatment.
"I see the question that is in your
mind and I am going to answer it.
It is only fair to me that it be an-
swered. Why didn't I write plays
before? I have had three well in
mind besides this one, only waiting
to be written, which is the smallest
part of it. 1 held back because I
wanted to give my husband the chance for the family. He wrote
'The Rose of the Rancho' in collaboration with David Belasco.
He wrote 'The Bird of Paradise.' I said, 'Now it is my turn.'
Miss Gates does not create a character with any certain player
in mind, but once the character has taken definite form and shape
in her mind she seeks the player that corresponds to her mental
picture of the physical peculiarities of the character. The people
of her plays, in other words, are real people to her. She sees
them as such. "I know how tall they are," she said, "and
whether they are blondes or brunettes, stout or slender. I know
what kind of voices they have, how they dress and how they
'carry' themselves.
"In November a new play of mine will be seen. It is another
whimsy — I have chosen whimsy because it is a less trodden path.
Others have written of the triangle. I shall avoid the sex play.
There will be nine children in it. Yet it is a play, too, for
grown-ups. After the opening of that play I shall go to London
to see the London production of 'The Poor Little Rich Girl.' "
No mother's eyes ever glowed with a greater joy in watching
her first infant than Eleanor Gates' when she spoke of her first
play. No one can ever truthfully say of her that she has not
enjoyed to the full the taste of her success.
"What do you deduce from your experience as a playwright ?"
I asked.
"That to succeed you must love the thing you do, and must
want to do it more than anything else in the world, and you must
put all your ginger into it.
"I don't know whether my next play will be a success, but it
has been very good to know that this is.
"I don't know its name. The name has to come. I am having
difficulty about the title. The Poor Little Rich Girl' did not
come at first." ADA PATTERSON.
GATES
Little Rich Girl"
(The best models shmvn in the New York shops.)
On this and the following pages
arc shown smart costumes and acces-
sories of the toilette for the various
social functions of the summer. They
hare been selected by a fashion expert
who made a systematic tour of the
shops in New York. After comparinq
hundreds of models, she chose the
ones reproduced here because she con-
sidered them the best values from the
viewpoint of style, price and prac-
ticability.
C. — This practical white crlfe
voile blouse is just the model
for golf or tennis, or to wear in
the morning with the tailored
skirt. It has a collar, cuffs, and
a conveniently placed pocket on
the left sleeve, of ratine voile.
The price is $2.95. The skirt
of imported white cordeline is
just as practical because it fas-
tens down the front with pearl
buttons which may be unbuttoned
to procure greater width. The
back is tucked and belted. The
price ($3.95) is remarkably low.
• — A charming, cool-looking frock of voile or tissue ging-
D. — The mountain climber, or the girl who
B. — A fine wool eponge coat is a necessity in the
summer, though it seldom can be purchased as low
as $16.75. This model mav be bought in black, tan
blue, gray, rose, and white, with collar and cuffs of
bengaline to match. The cutaway effect in the front
and the strap at the back are generally becoming
features.
Names of shops where the costumes shown on this page may be purchased will be furnished on request.
Address THE THEATRE MAGAZINE, 8 West s8th Street, New York City.
lie Costames for
£. — A fetching beach gown of
imported self -striped crepe cloth,
'i'liere is a rest of figured ba-
list-- which extends to the waist
/in i', n>ii/ a rot/at' and cuffs «l
,
hemstitched white crepe. .Such
frock can be easily tnhhe
hed,
and is always pretty and cool
hniifinti mi a hot morning, It
is reasonably priced at $16.50.
F. — A simple crepe de chine blouse in
ti'hite or black. It is shirred from (lie
yoke in thr front, and has a pointed
'collar which is rery becoming. This
model sells for $5.76.
The white washable <'• politic skirt is a
two-piece in a del, fast en in a <; little t<:
one side with lanje pearl buttons. It
has a double patch pocket, and is belted
in the back. The price is $3.05.
G. — A trig sport coat which nxiv /v btnttjht in
tpongt <»• chinchilla. it c nines in fascinating
coloriiifis. a bright (ire en. natier blue, the soft
leather tone, pheasant, and the conventional
black and white. Tlii i c arc one laryc patch
pocket, large but Ions, and the neiv ray tan
shoulders.
It is of particularlv (food rahte
at $18.
H — The sport coats of French
cretonne are as decoratr.-e as
they a>e novel, with collar and
cuffs of plain linen in contrast-
ing shades, and sell for $9.75.
The white washable cpoufic skirt
is a two-piece model, opening nt
either side of the front with
crocheted buttons, and sells for
$5. Jo. The sport hat to match
the coat sells for $3.95.
1. — The coat and breeches are
now the accepted, habit for rid-
ing in the country. TLev can be
procured in the natural, white.
Jasper, or black and white
checked Irish linen crash, also
the cravenetted khaki which de-
fies even the hardest rain. The
women's and the misses' habits
sell for the same price, i.e.,
$18.50.
J. — A smart frock of fottlat d
for the Casino. The skirt iv
made becoming to even large
figures by the simple over skirt
of the material. The Marie An-
toinette fichu trims the waist
most effectively. A tiny bow of
colored crepe finishes the neck
and heads the plaited ruche with
buttons of the crepe. This frock
is a bargain at $14.50.
Names of shops where the costumes shown on this page may be purchased will be furnished on request-.
Address THE THEATRE MAGAZINE, 8 West 3&th Street, New York City.
THE THEATRE MAGAZINE ADVERTISER
Facts Worth Known eg
I/V will gladly ansm:- any inquiry, uh-i,,,j names of shops where these articles arc
shown or sold. Address TIIKATKK MAI-.AZINK, 8 West :mh Street, New York.
THE Summertime is not all playtime for those who desire
to appear slender and lithe in the new Fall costumes.
Ardently as many of the actresses desire to rest, and the
society women, too, for that matter, they know that if they are
to wear the smart new frocks in the Fall they must watch closely
the figure. The Summer months give just the best opportunity
imaginable for reducing, and it can be accomplished in a com-
paratively simple way. It will not be necessary to deny yourself
all the good things which the garden is producing, nor to make
a hot day seem even more uncomfortable by exercising strenu-
ously, if you will provide yourself with one of the practical.
rubber reducing garments.
The best part of this reducing method is that you can reduce
just the part of the body that needs to be relieved of superfluous
flesh. If you wish to be smaller in the hips, there is the hip belt
for $12 ; if the bust is too large, the Eton jacket for the same price
will soon reduce it to the desired proportions. The union suit
for $30 will reduce the entire body.
This method can be recommended with safety if the proper
T. — For tennis; there are various low shoes with
rubber soles from which to choose. There arc
the plain, white buckskin Oxfords at $7.50 and
the fancy Oxfords at $8.50; the white canvas at
$5.50, and the tan Russia leather at $6.00.
rubber garments are selected. The garments manufactured by
one well-known doctor are guaranteed to be perfectly harmless,
and are not weakening in the slightest degree. They are fashioned
from the purest virgin Para rubber, which is medicated according
to a formula of the doctor's. The idea is that by wearing these
garments you can induce a profuse perspiration which stimulates
circulation and eliminates the waste products through the pores.
Xot only can the flesh be reduced, but rheumatism and skin dis-
eases can be relieved in the same way. The doctor is always
very glad to answer questions in regard to her garments, and will
help you to select the garment to "do the trick."
To Sootlhe the Skim
The jolliest day in the open may be spoiled by sunburn. This
warning docs not mean that you should swathe yourself in veils,
and thus lose all the benefits of the fresh air and the sunshine
which Mother Nature so generously showers on all those who
seek them, but it does mean that you should be prepared against
the pains of sunburn. It surely takes only a few minutes of
time and a very small sum of money to procure a soothing lotion
for the skin. The difficulty lies in finding just the right lotion.
There are hundreds of preparations which promise relief from
the burning, smarting pain which the too ardent attentions of old
I
N my very low,
short -slrcved gowns,
I we»r Klrmnt'i
Full Dim shape dress
shield. It hat such a
short Aapitdoesn't show.
"With othtr frocki
I need other shapes
of Kleinert'i Shield:.
"So I always consult
Dress Shields
H
R
"It shows just the
Kleinert's Shield I need
for each garment.
"Do as I do.
"Consult Kleinert's
Dress Shirlds chart at
the Notion Counter. ' '
• •
LA VALSE
JUST as the exquisite dancing of Karsavina and Nijinsky
in " The Spectre of the Rose" to Weber's " Invitation a
la Vake" enchanted the civilized world, so has the fasci-
nating new Morny Perfume "La Valse" captivated the
world of fashion.
*I " 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 suggesliveness.
Parfum "L» VaUe" $3.00 $S.7S
"La VaUe" Bath Salts $1.25 3.30 7.50
"La Valse" Complexion Powder 1.30
"La Valse "Bath Soap Bowls - - 5.00 7.50 8.25
"La Valse "Toilet Water 2.00
NIORNY
• LONDON -W-
Illlllllllllllllllllllllllllllllllllllllllllllllllllll
Retailed by all first clast Perfumery Store*
A descriptive price list of the entire "La Vake" series of Fine Toilet Products with dainty paper sachet sent
oa receipt of stamped addressed envelope to
Wholesale Agents F. R. ARNOLD & CO., 3, 5 & 7 West 22nd Street, NEW YORK
When writing to advertisers, kindly mention THE THEATRE MACAZWE
Costames
P. — A fetching dancing frock of fine
net and shadow lace. The three narrow
flounces on the skirt are broken by an
effective trimming of white satin ribbon
studded with rosebuds. The waist is
made very girlish and pretty by the
bolero-like arrangement of the shadow
lace which of-ens orcr a soft vest of
net trimmed with the satin rosebuds.
The crushed girdle may be of the wliitc
satin or of a colored ribbon. This
frock will be made to order for the
reasonable sum of $35. The only
measurements necessary to send are the
length of the waist from neck to waist
line, the size of the waist, and the
length of the skirt.
Q. — The "Regent English Motor Sport
Coat" is one of the best-looking models
shown this season. It comes in the
striking novelty goods and check com-
binations and in the high millinery
shades. There are two large patch
pockets, and it fastens with the mush-
room silver buttons. The price of
$15 is a very reasonable one.
This very well-tailored skirt of antique
linen in delft, brown and tan shades
is a bargain at $4.75. The high girdle
with matched buckles is generally be-
coming to both large and slender figures.
K. — This charming dancing frock was de-
signed especially for THE THEATRE MAGA-
ZINE, ft is fashioned from cream
colored net and the skirt has the new
accordion plaited flounces, the upper
headed with a plaited ruche caught with
rose and yellow buds. A similar cluster
of buds nestles at the side of the soft
rose-colored silk girdle which fastens
with a square bow in the back. A
fichu of the net, edged with a plaited
ruche, adds its charm to the corsage
of this simple but effective gown.
This dress, made to the measurements
of the individual, costs only $50. The
length of waist from neck to waist
line, the sice of the waist line, and
I he length of the skirt arc the only
measurements necessary to send.
9. — This good-looking sweater for women
and misses is of pure worsted with flu-
sailor collar effect. It conies in the
usual tan, gray, it-hit e and cardinal
shades, besides a lovely soft reseda
green and an old rose. It is of splen-
did value at the low price of $4.95.
The men's Shaker knit su'caters are
fashioned from pure lamb's wool of
medium weight in navy, gray, maroon,
white and the pretty heather mixture.
They are a little more expensive,
selling for $5.8.1.
Names of shops where the costumes shown on this page may be purchased will be
Address THE THEATRE MAGAZINE, S West $8th Street, New York
NOTE
THE FASHION DEPARTMENT of THE
T H EATR E MAGAZI N E will be very glad
to help you shop. The women in
this department are experts of good
judgment and taste, who know just
where to buy the various articles
of the wardrobe for the best value.
There are shops, for instance, which
make a specialty of a certain line of
goods; all these shops are known by
these experts who have studied thor-
oughly the different stocks. Through
this intimate knowledge of the shops,
they can save you time and money.
Feel free to ask us for any information
you may desire.
furnished on request.
City.
THE THEATRE MAGAZINE ADVERTISER
XVII
Sol can produce, but there are comparatively few which give the
promised relief. There is one, however, which should be in-
cluded in every travelling kit this Summer.
It is put up under the personal supervision of one of the
cleverest women physicians, and it will soothe the most delicate
skin. The most irritated surface can be treated with this lotion,
and in a few minutes the intense burning sensation will stop. It
is not only soothing and refreshing, but it whitens and softens
the hands— another important fact, for sunburnt, tanned hands
and neck are not beautiful after the carefree Summer days have
passed. This fifty-cents' worth of precaution will spare you many
hours of pain.
To Ward Off the Kisses of tlhe Sun
The more delicate the skin the more quickly the kisses of the
sun will appear as ugly brown spots, known as freckles. While
each freckle may mean a happy day on the water or tramping
over the golf links, they cannot be regarded collectively as aids
to beauty. They certainly do not look well under the unfriendly
glare of the limelight. If the skin is treated at once, it is not a
difficult undertaking to erase these sun kisses, provided, of course,
that a good reliable cream is selected. There is an excellent
U. — The low slippers ore necessities in every
wardrobe, and several kinds should be included
for afternoon and evening. The black kid slip-
pers with the steel buckles cost from $8.50 up;
the satin slippers in all colors cost $7.00, with
rhinestonc buckles at $3.00 and up.
cream compounded from the recipe of a famous English spe-
cialist. It should be applied at night and allowed to remain on
the skin until morning, so that it may work while the "victim"
is roaming in dreamland. It is not an expensive cream, as it sells
for $i a jar.
The results may be accomplished more quickly if the balm
cream, prepared by the same clever specialist, is applied on alter-
nate nights. This cream will be found very soothing for sensi-
tive skins and very healing. It comes in jars, which sell for 75
cents and $1.50.
To Erase the Frowm
A development for holding the face in a natural position during
sleep, or while writing or reading, is the invention of the forehead
strap, which has a marvellous effect in that it entirely obliterates
the lines on the forehead which constitute a frown. These straps
are light, ventilated and beautifully made, and users say they
have found them an absolute cure for neuralgia and conducive to
sleep.
"A Corset for Athletics"
This corset is fashioned from rubber elastic webbing and
swathes the hips from the waist down, almost to the knees, but
there is no covering for an inch or so above the waist line.
We will gladly answer any inquiry, giving names of shops where these articles are
shown or sold. Address THEATRE MAGAZINE, 8 West 38/fc Street, New York.
KIBSFIT
PETTICOATS
Fit Witkout
\V^ rinkles 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 Beat Stores
Write for STYLE BOOK Je LUM to
KLOSFIT COMPANY
Publicity Depl.
208 Fiftk Avenue New York
CLEMENT'S FRENCH BEAUTY SHOP
dainty French perfumes, creams and toilet preparations often imitated, never
which are making La Parisienne so fascinating and chic, are my specialty.
Those
equalled.
BEAUTY
Your heritage, which na-
ture has intended for every
woman. The wonder preser-
vation and youthful appear-
ance of many women are due
in mod instances to rules and
adherence to precepts that
have been formulated by those
French experts who have
made a careful study of the
science of beauty culture.
CLEMENT'S CREME
DU BOSPHORE
A wonderful beauty build-
er, unequalled for nourishing
and massaging the skin. Veg-
etable oils only enter in its
compounds - Price $1.00
THREE KISSES FOR
BEAUTY
That is the name of the
three latest indispensable prep-
arations for beauty perfection.
Le Bauer (the kin) . the quern o< creams. >n ide»l dtenmt foe the face. Price $1 .00. $1 .50 & $2.50
Le Bauer, the finest French powder, unexcelled for taking the red tint o(f the face.
Price $1.50 ft: $2.50
Le Biiier. the Utefl and mod fragrant of ill 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 & $2.50
CREAM AND LOTION DE JEUNESSE Price $4.50 & $5.00
My beaut]) booklet sent upon request. Private room for
facial treatment, manicuring, hair dressing, hair-coloring, etc.
12 WEST 33rd
STREET
CLEMENT
NEW YORK
CITY
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
for the
K. — The "Mado" bathing hat is
fashioned from Bulgarian silk
in its many gay colorings and
there is an inner tight-fitting
rubber cap to protect the hair.
This hat can be bought for $2.50.
L. — The jaunty "Claudine" cap
is particularly becoming to the
piquant face. It is developed in
rubber of various colorings and
has two satin quills standing
7VM' stiff and very erect in the
front. The price is $1.
M.—The "Phillis" hat is delight-
fully girlish and practical as
well, for it shades admirably the
face and the back of the neck.
It is made of white rubberized
cloth and has an inner tight-
fitting cap of rubber. The sell-
ing price is $1.
N 1. — The "Biarritz" bathing suit
is fashioned from a heavy, soft-
finished satin. The skirt dis-
plays drapery discreetly used,
and the color note is introduced
by the collar, the vest, and the
crushed girdle of Copenhagen
bli'e silk popli'i. This model is
also sold in all -black a H d .
$S.!,f>. The cap of black, navy.
purple, and green sat in lias a
narrow U'h-te piping, and costs
N 2.— The idea for the "Ostcnd"
bat hi n tj \uit <>) heavy, twill crepe
dc chine was borrowed from
I^a-'is. The skirl is also draped,
and the natty bolero jacket fas-
tens over a vest oj 'clitic silk
poplin with trimmings of Bul-
garian silk. The same effect is
reproduced mi the sleeve. '/ his
model sells for $1 *."><». 1 he cup
may be bought in the plaid taf-
feta or in the plain colors, with
a don hi c platted niche at the
face, for $!.!»:>.
A' X.—Tltc "Ai.v" model in striped
black and white twill silk ;.
be very becoming to large U'on^'u.
It can also *be secured in lite
plain navy blue or black mcs-
saline with white moire silk col-
lar and cravat for $5. The Tain
o'Shanter cap is fashioned
lite striped satin, black and
white, or navy blue and white,
with two tabs of the material tit
the side. The price is $2.
O 1. — Bathing shoes which can be
bought in canvas for oOc. ; tit navy or
black sateen for 95c. and .$1.45, and of
satin with silk laces for $1.95.
O 2. — These high-cut bathing
shoes in black or white canvas
with cotton laces cost 95c. ; in
black or navy blue sateen with
silk laces, $1.95.
O 3. — Bathing shoes of black,
navy, or white canvas cost ;jiu\ ;
of navy or black sateen, 95c.;
of black or navy satin, $1.45.
Names of shops where the costumes shown on this page may be purchased will be furnished on request.
THE THEATRE MAGAZINE ADVERTISER
"Mum"
is the greatest toilet comfort
you ever had. It gently neu-
tralizes the
odor of perspiration
and other bodily odors, pre-
serves the soap -and -water
sweetness "from bath to bath".
Little needed at a time, and
that little is applied in a
moment.
25c at drug- and department-stores. If
your dealer hasn't "Mum,1' send us his name
and 25 cents and we'll send it postpaid.
"Mum" Mfg. Co. i 1 06 Chestnut St. Philadelphia
XIX
COGSWELL'S HAND LOTION bring, joy
and comfort to those exposed to the burning
sun. It is comforting, soothing and healing and
leaves the skin clear, fresh and inviting. Be
prepared for the tortures of sunburn by having
a bottle handy. Postpaid, 50 Cents
COGSWELL'S FOOT TONIC c0mes .. a
welcome friend to tired, aching feet. Allays
inflammation, reduces swelling. An excellent
remedy in the treatment of chilblains and
inflamed bunions. Its ingredients are >o 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 discovery
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. Guar-
anteed absolutely harmless. $2. 00 a jar
Personal attention of Dr. E. N. Cogswell
given all letters requesting Information
DR. E. N. COGSWELL
Surgeon-Chiropody and Expert Manicuring
418 FIFTH AVENUE
NEW YORK CITY
On sale in New York at Franklin Simon & Co.
and James McCreery & Co.
Ask Your Milliner
to show you the
Quarterly
Millinery
Review of
Fashions
"Che jtulhoritu on Cornel Millinery
150 NEWEST STYLES
photographed on live models, issurd by
THE MILLINERY TRADE REVIEW
No cost to you. "It helps you decide."
In all Up-to-Date Millinery Showrooms
.-pmnrt
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regal qualities in per-
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your while to send for sample. 20c.
PARK & T1LFORD, 225 Fifth Art.. New York
A HOUBIGANT PERFUME
THE EMPIRE STATE ENGRAVING
COMPANY
1 90 WILLIAM STREET. NEW YORK
TELEPHONE: 3880 BEEKMAN
"A SUMMER OUTING ABOVE THE CLOUDS."
H(T\ TP 1C? IT W A A TP IT1 ID) C1 If ¥ IT II
UJIJLL KAAFERSKILL
MEMBER OF THE "EMPIRE TOURS"
CATSKILL MOUNTAINS. ALTITUDE 3,000 FEET.
Opens on June 28, remaining open unlit after Labor Day.
THE LARGEST MOUNTAIN HOTEL IN THE WORLD.
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A musical four o'clock afternoon tea served. No ex-
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An up-to-date Rathskeller with reasonable 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
HARRISON S. DOWNS, Berkeley Lyceum, 19, 21 West 44th St., New York
lOppo.ite Sherry'..) 'Phone, Bryant— 1860.
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XX
THE THEATRE MAGAZINE
A Nineteenth Century "Joseph and
His Brethren"
The successful production this season of the
spectacular biblical drama, "Joseph and His
Brethren," by Louis N. Parker, recalls an earlier
play of this exact name by Charles Jeremiah
Wells with a very curious history. It is doubt-
ful if any production of note in English litera-
ture has had such strange vicissitudes of fame as-
this earlier drama on Joseph. Published in 1824
by a young man who was a member of that
"Cockney School of Poets," the most famous
product of which was John Keats, it fell abso-
lutely dead from the press. In 1837, however,
Rossetti, the pre-Raphaelite poet, came across
the play and immediately began to laud it en-
thusiastically everywhere. It became a sort of
cult for the bright young men of the day, until
in 1876 a reprint of it appeared with an intro-
duction by Swinburne. Its reputation thereafter
was secure. Wells himself, strange to say, was
still living at this time and thus was enabled to
enjoy a measure of fame that he must have long
ceased to expect.
Wells's drama has many merits. From the
literary standpoint, it was declared by Rossetti
to be "more Shakesperian than anything else out
of Shakespere." Had it been published as a
newly discovered Elizabethan play, critics would
undoubtedly have ascribed it, in whole or in part,
to the hand of the author of "The Midsummer's
Night's Dream," and of "Romeo and Juliet." It
is full of the tricks of style and the turns of
rhythm of the great dramatist. Further, the
play is remarkable in that it is one of the few
LOUIS N. PARKER
Author of "Disraeli," "Joseph and His Brethren," etc.
successful representations in dramatic form of a
biblical legend. The early miracle plays, the
various versions of the David and Bathsheba
story by men like George Peele in the sixteenth
century and Stephen Phillips in the nineteenth
century, and Milton's "Samson Agonistes" are the
only obvious exceptions to the statement that
it has proved very difficult for most English
dramatists to handle a theme from the Bible.
There are numerous reasons for this fact.
Every biblical theme labors under the disadvan-
tage that it is inevitably associated in the mind of
the reader with other than literary and especial
emotions. It recalls the religious impressions of
childhood and the spiritual struggles of man-
hood. Moreover, none of the biblical stories is
couched in even approximately theatrical form,
and the original narrative or lyrical mould in
which the events are cast was so powerfully
wrought out by the Hebrew craftsman, so tem-
pered and hardened in the crucible of an intense
if partially unconscious artistry, that the modern
literary workman finds it almost impossible to
break up the resisting elements and melt them
into any new form. There is, finally, the danger
that this same modern craftsman is not always
likely to approach his subject with proper sym-
pathy. He will not be moved by the religious
fervor that inspired the original text, nor un-
derstand the psychological forces that animated
the characters therein depicted.
All of these dangers Wells avoided with much
grace and effect. He produced in "Joseph and
His Brethren" a rendering so thoroughly har-
monious with the conceptions all of us have of
the magic story of the boy seer that we feel no
jar in passing from the biblical text to the mod-
ern production. Moreover, he was carefully
reminiscent, wherever possible, of the original
narrative, and his superb additions dovetail with
remarkable nicety into the story as told in
Genesis. He was appreciative too of the beauti-
ful piety of the tale, and nothing that he says,
no part of the action he describes clashes at all
with the religious emotions inspired by the
biblical narrative. Yet the play is by no means
merely a mechanical recast of the Bible story.
His novel and rich version, with its striking new
speeches and action, contains much not hinted
at in the original and much new characterization
that is all Wells's own.
The play of Wells, like that of Parker, is
largely a pageant. There are picturesque pas-
toral scenes ; a scene in which the caravan of the
swarthy Egyptians, "yellow as their gold," ap-
pears ; a scene in the prison wherein Joseph lies
confined ; a scene in Pharaoh's court ; a scene
showing Canaan in the midst of famine, and
the like. But in other scenes the intensely dra-
matic rather than the picturesque appears. Such
are the scene in which Phraxanor— for so Wells
calls the wife of Potiphar— tempts Joseph with
magnificent passion, and the scene in the vale of
Goshen in which Joseph and Jacob meet again
with a happiness so great as almost to be pain.
The most powerful creation of the play is the
character of Phraxanor, of whom Swinburne
said that she compared only with Shakespere's
Cleopatra. She stands out as a superb creature,
overpoweringly, vital and dramatic. The sons
of Jacob are sharply characterized, and Jacob
himself is a striking figure. The language of
the play has already been spoken of. Probably
herein lies its greatest merit. Again and again
the lines approach the very height of poetic
style, and certain passages, like the famous de-
scription by Reuben of the beauty of Rachel,
have become classical. The speeches of Phraxa-
nor again stand out by reason of their force
and beauty.
It seems unquestionable that Mr. Parker is
not unindebted to his predecessor. He has
studied, not inaptly, the pastoral scenes in partic-
ular and the character of Phraxanor. In many
respects, his play is better suited to the stage
than that of Wells; it contains much more of
the true virus of the drama. His handling of
Simeon's character surpasses that of Wells's ; his
Joseph just out of prison is a striking figure
unequalled in the older author; and he has man-
aged his suspense throughout more curiously
than his precursor. It is noteworthy that two
such successful adaptations of a biblical story
should centre around the same figure. It is
quite probable that the fascinating story of
Joseph with its dramatic shifts and sudden
crises, will always attract the skilful artisans of
the theatre. MAX J. HERZBERC.
THE
NEW
PLAYS
NEW AMSTERDAM. "Mv LITTLE FRIEND.
Musical farce in two acts; from the German of
Willner and Stein; American adaptation by
Harry B. Smith and lyrics by Robert B. Smith;
music by Oscar Straus. Produced on May igth
with this cast:
Count Artois, Fred Walton; Fernand, Craufurd Kent;
Barbasson, William Pruette; Mme. Barbasson, Edith
Sinclair; Claire, Juanita Fletcher; Louison, Reba Dale;
Philine Leila Hughes; Saturnin, Charles Angelo; Mou-
chon, Harry Macdonough; Dr. La Fleur, Lionel Ho-
garth- Margot, Mattie Martz; Piperlin, H. Macdonough,
lr • Gaby, Marcie Lawson; Paillette, Hallie de Young:
Dr Calineau, R. M. Simson; Mme. Calineau, Grace
Bishop; Mayor of Mironville, Maurice Cass; De Po-
lichard! Harry Nelson; Mme. De Polichard, Cora Wil-
liams- Baron DuBois, Harold Merriam; Baroness Du-
Bois, Helen Gilmore; Mme. De Bergerac, Violet McKay;
Col. De Bergerac, Harry Lang.
The tendency in comic opera production to re-
turn to consistent form in story and plot is
marked. The result is that we are having saner
entertainments of the kind. It doesn't matter
how trivial the story, it is better than no story
at all. Often enough that about which the action
is concerned is slight and the music substantial.
Nor does it matter that most of these acceptable
recent productions are adapted from foreign
sources. This only means that other energies
and capacities are applied to something that is
already good. "My Little Friend'' comes as a
happy result from this combination of circum-
stances and energies. The original book was
written by Willner and Stein, the American
adaptation by Harry B. Smith. The lyrics are
by Robert B. Smith and the music by Oscar
Straus whose charming work in "The Chocolate
Soldier" and "The Waltz Dream" is assurance
enough of its quality. The musical part of the
entertainment is so strong that criticism of a
weak passage or two in the dramatic part of the
production would be to little purpose. The dram-
atic part of "My Little Friend" is often extrava-
gant and farcical. An impecunious Count (with a
son, and self-made millionaire with a daughter,
arrange to make their children marry without
previously consulting them or questioning them if
they were free to give themselves to the bargain.
The son has already made his choice and present-
ly marries in secret. The girl has bestowed her
heart according to her own fancy. It is from this
state of affairs that the complications begin. The
advantage of a well-ordered story is that the
people in it are characters. Thus Mr. Fred Wal-
ton has his opportunity in the part of an old
nobleman who is most in need of money, an
embarrassing and amusing condition of affairs for
a pampered aristocrat who cannot comfortably
breathe without it, and who will resort to any
sacrifice of pride, while pretending to maintain
his pride, in order to get it. Mr. Pruette was
artistic in the role of a self-made millionaire,
ignorant and socially ambitious. Miss Leila
Hughes, capitally efficient in the light comedy
part and delightful in her songs, was piquant as
the Girl of the Florist shop secretly married to
the dashing and adventurous son of the aristocrat.
Crauford Kent, the son of the nobleman ; Miss
Reba Dale, the companion of the secretly mar-
ried girl, and Maud Gray, the daughter of the
vulgar millionaire, were conspicuous in a cast
that was satisfactory.
FORTY-FOURTH STREET ROOF GAR-
DEN. "ALL ABOARD." Musical comedy in two
acts. Book by Mark Swan, lyrics by E. Ray
Goetz. music by E. Ray Goetz and Malvin Frank-
lin. Produced on June 5th with this cast:
Jan Van Haan, Lew Fields; Captain of the ship, Law-
rence D'Orsay; Marime Sinkavitch, Zoe Barnett; Dick.
Carter DeHaven; Mary, Flora Parker-DeHayen; Hook,
Nat Fields; Alice Brown, Venita FitzHugh; Tillie White-
way, Dolly Connelly; Mrs. Van Haan, Marcie Harris:
Mr. Smooth, Stephen Maley; Mr. Ruff, Ralph Riggs;
Purser, Juan Villasana; Mr. Scott, Arthur Hartley;
Tones, James Grant; A Bridegroom, Malcolm Grindell;
Robinson, Arthur Hartley; Nancey Lee, George W. Mon-
roe; Russell, Will Philbrick; Fourth Mate, Olin How-
land; Carmen, Natalie Holt.
Lew Fields' lastest offering "All Aboard" is a
capital summer show, and well deserves the good
business it is doing at the comfortable and at-
tractive roof garden atop the new Forty-fourth
Street Theatre.
Jan Van Haan, an old sailor, wishes above all
else to become a captain of an ocean vessel.
Upon hearing of his ambition, two men sell him
a worthless captain's certificate for $100 — all he
possesses. Going to the pier he learns that he
has been buncoed. The disappointed sailor falls
asleep and dreams that he is captain of a ship
visiting all the important portions of the globe.
\Vhen he awakes, he finds that he is still on the
pier.
The part of the sailor offers Lew Fields ex-
ceptional opportunities. He scored a great hit
in the suffragette sketch "When Women Rule,"
Zoe Barnett and George W. Monroe giving the
star excellent support. The costumes, designed
by Melville Ellis, are handsome and numerous
and the scenery all that the most exacting could
ask for.
The Hunt for Plays
While a considerable amount of sympathy is
being lavished on the "unknown playwright" who
raises the complaint, loudly and periodically, that
theatrical managers decline to receive him or his
wares, the fact is overlooked apparently that a
more equitable distribution of the sentiment would
include some of the most prominent players of
the American stage. If the "unknown playwright"
encounters obstacles and difficulties in getting his
script before the producer the players — who are
widely known — find even greater difficulty in ob-
taining suitable plays. The author, with all the
confidence of youth and ambition, has something
to sell. The player, with years of experience
behind him, needs what the former has to market.
Singularly enough, though, the two fail to get to-
gether.
And naturally enough the question arises as to
whether the fault rests with the one or the other
or with neither, but instead with the producer.
One can readily name a dozen prominent actors
and actresses who need plays, to say nothing of
the host of less conspicuous players, and any pro-
ducer of prominence can probably read off a list
of a hundred writers who believe they are dram-
atists. But while the demand exists neither the
"unknown playwright" nor the known dramatist,
either, for that matter, is meeting it. The late
Clyde Fitch was fond of remarking that he never
knew a demand to exist without a supply arising
to fill it— "in the drama," he added pointedly, "as
well as in breakfast foods."
if I a Year
THt MAGAZINE .AY
o i ,
ISO
(TITLE REG. U. 8. PAT. OFF.)
he Theatre M
A-IO-M \»/«^t
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Edited by ARTHUR HORNBLOW
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CONTENTS ILLUSTRATION : Doris Keane in the Dressing Room of Maxine Elliott's Theatre.
TITLE PAGE: Laura Hope Crews
PLAYS AND PLAYERS . '
REMINISCENCES OF AN ACTRESS — Illustrated
ETHEL AMORITA KELLEY — Full-page Plate
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ETHEL AMORITA KELLEY
Thin attractive actrew i> now appearing in the "Ziegfeld Fol!>i" at the New Amsterdam Theatre
THE THEATRE MAGAZINE
VALLl-VALLI
Who plays the role of Wanda in "The Purple Road"
women: Madame de Pompadour, with her stately dignity;
Madame UuBarry with her roguish smile and her mischievous
eyes, and a little further, the noble, beautiful and unfortunate
Marie Antoinette. Here is the "Serment du Jeu de Paume,"
the great revolutionists, Camille Desmoulins, Robespierre,
Danton; in the midst of them, a young man, with long dark
hair and a stern face is listening to these leaders of a cause, the
remnants of which, when the Revolution has done its work, he
will crush under his heels and give to France a master who
shall rule her with an iron hand. And the gardens! And the
fountains! And Trianon! Ah, Versailles! A poet alone can
sing thy praises. In the language of the gods only, can one do
justice to thy grandeur and thy magnificence!
The Louvre was not less attractive to my young imagination,
but it lacks the poetry one breathes at Versailles. At the Louvre,
the shadow of Catherine de Medicis, the massacre of Saint
Bartholomew, the recollection of assassinations, plots, dark
deeds, make one gloomy and depressed. But who can look upon
those marvels of the sculptor's art that meet the eye at every
step and remain insensible to their power and beauty? Ah,
Realism! Cast an eye on these Apollos, Venuses, Gladiators
and tell me if art is not an inspiration of God. to show men
what they would have been had sin not sullied them. Therefore
art should idealize everything. It is heavenly; why try to make
it earthly ? Lift me up, but do not drag me down !
The study of those faces, those costumes, those attitudes, made
such impression upon my mind, that when I wore for the
first time gowns of the seventeenth or eighteenth century,
1 felt even more at home than in my modern dresses.
My first appearance in public was made at the Salle
Pleyel in Paris; I had two charming friends, sisters, both
talented musicians, who belonged to the Polish nobility.
Though poor, they were highly patronized by their wealthier
countrymen. Every year they gave a grand concert at the
Salle Pleyel. They proposed to me one day to recite at
their concert; I consented, of course, and decided upon
"La Nuit d'Octobre," by Alfred de Musset. The day of
the concert I was at the hall two hours before time, dressed
all in white as a muse ought to be, for I was to represent
the Muse of Poetry. I knew no fear and was full of im-
patience for my turn to come. It came. . . . Oh, Mon
Dieu ! Mon Dieu ! ! Mon Dieu ! ! ! I could not move, I
was paralyzed; it required the inducement, the persuasion
of everyone around me, to bring me to my senses. Sud-
denly, before I knew it, I stood facing that immense au-
dience, my legs shaking, my lips trembling, my teeth chat-
tering; but I had hardly spoken four lines when I recovered
my self-possession and I went on without a break. The
applause of the public, the first I had ever received, sounded
like sweet music to my ears ; and the congratulations of
the artists, the compliments of the critics, the flowers sent
to me by my friends, all this completely intoxicated me.
I thought myself nothing less than a goddess and I walked
on air the rest of the evening. It was a red-letter day in
my existence, a day never to be forgotten. This was my
debut in the artistic world.
Having spent already a good deal of the money left me,
I went to Brussels, determined to test my ability, to learn
whether or not I should be successful in the career I had
chosen. After seeing several managers, I was chosen for
the part of Helene in "Les Doigts de Fee." No choice
could have been more lucky. The part was pleasing,
sympathetic, and my very unconsciousness of the task I
had undertaken added a charm to my acting. It is only
after some disagreeable experience that one realizes the
difficulties of this profession and loses that self-confidence
which all beginners possess and which must have inspired
that old proverb : "Fools rush in where angels fear to tread."
That disagreeable experience came soon enough. I had
to play a part in verse and was not very sure of my lines.
When night came I went on and stopped short in the first
speech. In my trouble I did not hear the prompter. I had
only one thought, to rush off the stage. The other actors went
on fortunately without their cue. but when the curtain fell
they had a good laugh at me, while my heart was beating with
shame. My sister, who had witnessed the performance, felt so
mortified that she spoke of nothing less than of my leaving the
stage and giving up acting altogether. I know I must have
looked like a goose; still, I was not to be discouraged by that,
which, after all, was only a little incident, that could have hap-
pened to a genius; I spent the whole night studying my part
and next morning I was letter perfect.
Ditring that season I had the opportunity of appearing in
several great plays, among others : "L'Ami des Femmes" ; "Le
Roman d'un Jeune Homme Pauvre"; but my favorite part was
Queen Anne in "Le Verre d'eau."
It was in Brussels that I met Mile. Desclee. Aimee Desclee !
As I write her name, tears come to my eyes — tears of regret
for that departed genius taken away in the zenith of her glory.
I had seen her in "Frou-Frou," which brought Paris to her feet ;
in "La Princesse Georges," "Diane de Lys," and to me she was
the personification of dramatic art.
An actor of the company and his wife, who had travelled
with her on several tours through Italy, knowing my admiration
for the great actress, planned a little surprise for me, which
they knew would be a genuine pleasure.
THE THEATRE MAGAZINE
43
It was Christmas
eve ; they asked me to
take supper with them
after the play, very in-
formally. They said
that there would be but
one guest besides myself,
an actress friend from
the provinces. I was
delighted, for, except
acting, nothing then
pleased me more than to
talk about acting. I
went at the appointed
hour. On entering the
room, they introduced
me to a lady of medium
height, very simply at-
tired in a plaid gown,
her hair combed back,
showing a broad fore-
head, with soft, languid
eyes, a rather sad smile
but a "je ne sais quoi"
that set my heart a-beat-
ing and left me speech-
less, with my eyes
rivetted on her. My
friends could not help
laughing. Where had I
seen those eyes? When
had I felt the magnetic
spell of that presence?
Having sufficiently en-
joyed my bewilderment,
my friends introduced
me. At the name of Desclee, I could hardly speak. I uttered a
few words, which were meant for a compliment.
"Yes, yes," she said, with a bitter smile, "I know I am a great
actress ; if I doubted it, I would only have to look at my dress-
maker's bill ! Ah, it is expensive to play the leading parts in
Paris ! Bah ! Never mind ! When I am ruined and they get
tired of me, I will join your stock company. How jolly that
will be!"
We sat at supper. What did we eat ? What did we drink ?
I cannot tell. I, who generally could not keep my mouth closed
a minute, was listening to that woman, so great and yet so
unaffected, whose conversation upon every topic was a delight.
O divine simplicity of genius ! Why are your altars deserted ?
What surprised me was that beneath her mirth (for she could
laugh with the abandon of a child) there was a sort of melan-
choly that oppressed the heart. No wonder: it was a foreboding
of death. The divine spark that animated that body was about
to leave it. She died two years later, at the age of thirty-six,
robbing the world of a genius that has never been surpassed.
After a season at Brussels I went to Rouen, which is only
two and a half hours from Paris and considered the second
theatrical town in France.
The Rouennais are very— what shall I say, critical? Judge
for yourself. They pride themselves on having hissed Talma,
who. though considered France's greatest tragedian, was not
sufficiently great for them. Therefore, it is not without fear
that an actor makes his debut in that capital of Normandy where
genius failed to gain approval. But I suppose that geniuses
only are thought worthy of their criticism and that young
debutantes are looked upon with charitable condescension by
them, for. in spite of my little experience, I was accepted.
A debut in the French provinces is by no means an easy ordeal
to pass through. An actor has a right to choose three different
parts, which must be played inside of a month. The first and
Miss Billie Burke and her canine pet, "Toots," out shopping in her new 19H Packard Landaulet
second debuts have no significance; he may be received coldly,
critically or enthusiastically — it has no meaning; the third one
decides his fate. That night, after the play, the manager, very
solemn in his dress-suit, appears before the audience and says:
"Monsieur or Mile. So-and-So has made his or her debut; the
management wishes to know the verdict of the public."
Then he produces a placard, on which is printed in large let-
ters the word "ACCEPTED." If the actor pleases, the audience
applauds ; if not, it hisses until the manager produces another
placard with the word "REFUSED." Then the applause starts
again, without regard for the feelings of the poor, broken-hearted
girl or boy, who has been waiting in the wings for the verdict
of that inhuman jury called the public.
The Theatre Franc.ais at Rouen is built on the spot where
Joan of Arc was burned. In that theatre were given, imme-
diately after their first production, all the great successes of
Paris. Besides, every Sunday, we played a drama at St. Sever,
one of the suburbs of Rouen. These performances brought to
mind those given by the strolling players of old. They were
not artistic, oh no ! We hardly knew our parts, but the applause
of the galleries, which were crowded to suffocation, intoxicated
us, fired our enthusiasm and gave to our acting a conviction
that made up for whatever was lacking in finish.
Our salaries were small; our work very hard. We spent our
nights studying our parts and our days rehearsing them, but
what did' it matter ? There, in the distance, stood the ladder of
fame, and to reach the goal we were ready to walk on thorns, if
need be, even with a smile upon the lips. Ah, people who have
not struggled have not lived !
As I look back upon those days, a feeling of sadness comes
over me; youth is too short. What fun we had during the
rehearsals at St. Sever ! We were more like children than actors
striving to win fame and fortune. Our stage manager looked
like an old school teacher and we played pranks on him, just as
44
THE THEATRE MAGAZINE
a lot of gamins would have done. Monbazon, our leading man,
especially, was forever inventing some new joke.
The theatre at St. Sever was formerly a circus. It was a
huge building with a seating capacity of three thousand. The
curtain rose generally at half -past
seven, but the crowd was so great
that sometimes at half-past eight
the audience was not seated. Then
while the heroine was relating her
tales of woe and the hero was
swearing to avenge her, the public
shouted "Down with the curtain !
Begin again!" But, without pay-
ing the slightest attention, we went
on amid the uproar until finally it
quieted down.
Some of the performances lasted
until two o'clock in the morning.
They were for the most part his-
torical or romantic plays, in twelve
or fifteen tableaux: "La Dame de
Montsoreau," "La Reine Margot,"
"Xotre-Dame de Paris," "The
Wandering Jew," "Joan of Arc,"
etc.
Apropos of "Joan of Arc," an
amusing incident occurred of which
I was the victim. I was cast for
the part of Joan, and Rouen, being
the place where she was sacrificed, great interest, of course, was
aroused in the production of the drama, especially as for the
occasion an old senator, who lived at Rouen, had written several
speeches in honor of its brave inhabitants, speeches intended to
appeal to their patriotism and to flatter their pride. The play
was splendidly mounted and the performance was a great suc-
cess, the Senator's speeches arousing especial enthusiasm. For
my part, I had consulted the archives, so religiously kept in
the City Hall ; I had studied every image, every statue represent-
ing the brave heroine of Domremy, and I must say that I suc-
ceeded admirably in my make-up. The supers, at least two
hundred in number, were soldiers of a regiment of hussars
stationed at St. Sever.
The play was going on admirably, the siege of Orleans being
particularly realistic, so realistic, in fact, that when I stood on
the rampart, waiving triumphantly the white banner with the
fleur-de-lys of France, I received a charge of powder in my
hand from which I suffered for a week afterward, although I
felt nothing in the excitement of the moment.
In the last act, while I ascended the steps leading to the stake.
I could hear sobs of pity and sympathy all over the house, and
when the flames began to arise a shiver of horror ran through
the audience. But soon I heard a titter that increased until it
became a roar of laughter. My eyes were closed ; I could not
be so inartistic as to open them, however anxious I might be to
know the cause of the untimely hilarity ; but when the curtain
came down, the sight I beheld was so ludicrous that although
it had ruined the act, it did not keep me from joining in the
general fun. This is what had happened. After the burning
at the stake, Joan, in an apotheosis, ascends to heaven supported
by clouds. As the ascension began, the clouds broke, and there
I stood, my head in the air and my feet on earth, my body hid-
den by the only piece of cloud that had done its work. So
ended that memorable performance, which I thought would
carry me down to posterity and render my name immortal .
Alas, on what frail threads hangs our destiny!
During my engagement at Rouen, I had the good fortune of
acting several times with the great comedian Coquelin. He
came regularly every fortnight and that week our work would
be simply overwhelming. We had the Sunday drama to study,
a play for the week and Coquelin's extra performance. There
SELENE JOHNSON
Lately seen as Mrs. Martin in "The Argyle Case"
are actors who favor these quick studies ; I do not agree with
them. Nothing good can be done in a hurry. Memory and
nerves are taxed to an extent that is detrimental to both. The
actor rushes through the part without finish or attention to
details, having only one absorbent
thought: the words. I remember
once playing with Coquelin "Ga-
brielle" by Emile Augier. The
play is in verse and I had had only
one rehearsal, as was always the
case with the celebrated actor.
During the whole performance I
kept my eyes fixed on a certain
spot trying to concentrate my mind
on my part. After the play,
Coquelin asked me why I never
looked at him. "If I had I should
not have been able to go on," T
replied.
Among the many parts I played
with him were Cathos in "Les
Precieuses Ridicules." Gabrielle,
"Le Mari a la Campagne," "Le
Mariage de Figaro." But the one
performance I shall never forget
was that of "L'Etourdi." Usually
at rehearsal Coquelin omitted his
long speeches and rushed through
his part, coming straight to the cue.
In "L'Etourdi" he had a speech of at least thirty lines in length,
which he spoke with a velocity that was bewildering. When he
began, I looked at him with such amazement that he could hardly
refrain from laughing. I was dazed ; it was like a whirlwind
and when he gave me my cue, I quietly turned my face away,
showing him, by this action, not to rely upon me for the next cue.
Is that good schooling for beginners? I believe not. I think
that it is especially at the opening of a career that one must be
very careful not to fall into bad habits. These hurried studies
give one a nervousness and a lack of confidence that may prove
fatal in after years.
The season in Rouen had completely exhausted me ; besides I
thought I had had sufficient experience to try my fortune in
Paris. I started once more for the great capital, thinking that
like Caesar I would come, see and conquer.
I came, but I did not see. Every manager's door was guarded
by a Cerberus, who invariably told me: "Monsieur is not in."
Fortunately, letters of introduction opened to me the doors of
the artistic world, which otherwise would have remained closed.
My first visit was to Madame Doche, the original interpreter of
Camille, or, rather, "The Lady of the Camelias," as it is called
in France. She received me with the same charm, the same
womanly grace, with which I had seen her play "Camille."
When I hear people raving to-day over loud, hysterical, vulgar
Camilles, I think of her delicate rendition of the part, and I say :
"Autre temps, autres moeurs."
Her large apartment was most luxuriously furnished ; no trace
of luxurious disorder ; everything showed the refined taste of the
owner. I recited to her a poem of Francois Coppee. She was
so well pleased that she gave me a letter to the young poet.
I found Coppee, later the celebrated academician, in a little
back apartment, Rue Oudinot. The floor was of red brick and
he himself was attired in a red flannel jacket. And was it there.
in this humble abode, that he had written the "Passant" that
exquisite poem which on its first appearance made all Paris
exclaim : "Unto us a poet is born" ? Ah ! but the man who had
written those pages had enough sunshine in his heart to flood
the whole universe. Besides inspiration does not seek gilded sur-
roundings ; it comes to the true born poet in his garret with
greater speed than in the sumptuous dwelling of the rich.
In spite of his young celebrity, (Continued on page xiv)
!> '
'« i
>• C*1
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.
.-u-ti. '
Mishkin
EDITH AND MABEL TALIAFERRO
These well-known and popular actresses will appear next season in a new play by Cleveland Moflfett
if ^-mi =1
-,Vl
I
£.
White
GEORGE FAWCETT
George Fawcett,
I DON'T believe in telling too much."
George Fawcett stirred the sleeping body of Brownie
gently with his foot. Brownie, his brindle bull terrier,
gifted with marvellous repose and indifference to most external
t things, slept peacefully on at his
master's feet in the star dressing-
room at the Astor Theatre.
"In an interview?" I queried,
looking at the rather heavy face that
despite its heaviness has a marvellous
mobility and power of reflecting
emotions and states of mind, even to
the back row.
"No," he rejoined, "on the stage.
I believe in suggestion. What I
should like to do, and hope soon to
do, is to play Macbeth and Othello
in that way. A street scene, for in-
stance, will not be shown as a street
scene. There will be a painted drop
suggesting one. That is all and that in my opinion is enough
The suggestion in acting is powerful. An instance of that re-
curs to me in connection with 'The Squaw Man.' I am in that
play offering a young fellow a souvenir. I say to him 'I meant
to give it to you before, but my mother — That, to my mind, is
quite enough. Coupled with a pause and a deepening gravity
of face it means but one thing. The article had belonged to my
mother, for that reason was sacred to me and I had not wished
to part with it before. In England they always got that message.
In my own country they did not always."
Brownie snored faintly at his master's feet. There was an
hour until the curtain would rise on "A Man's Friends." With
this unwonted leisure in prospect Brownie's master grew rumi-
native.
"Only one person out of a hundred knows acting," he re-
marked.
"That one person in a hundred is what sort?"
"That one person must have studied acting," he returned.
"No one makes the attempt to criticise nor even expects to ap-
preciate a picture without knowing something of the principles
of drawing and painting. It is the same about music. In Eng-
land they have clubs for the study of acting as an art. The
Drama League of our country is such an organization. Seeing
many plays and thinking of and analyzing the performances is
the study of acting," said he.
Looking at George Fawcett, realizing that his following, a
strong one, is a cult whose standard is the best acting, I asked :
"How many years does it take to make an actor?"
"Ten years," he responded without hesitation, "ten years to
make a good actor, twenty years to make a great one. Learn-
ing to act is a slow, steady process, with accident figuring largely
in it. Accidents furnish opportunit:es. I had been playing for
fifteen years before I knew I could play comedy. It was an
accident that revealed it to me. While I was managing my
stock company in Baltimore a comedy pap had to be filled.
There being no one else to play the part I tried it, gave myself
and others who had thought of me only as a serious actor, a
surprise.
"Actors have three notes. They make the vital appeal, the
comedy appeal, and the sympathy appeal. Many men, and suc-
cessful ones, can strike only two of these notes. Some can strike
only one. Few can make all three kinds of appeal.
"Many have tried to define acting. There have been all kinds
of definitions, academic and ridiculous. The definers drift far
out to sea when they make the attempt. Everyone has a defini-
tion that suits him or his needs. Mine is 'Acting is a state of
mind.' We get into such state of mind that we influence our-
selves and others to believe that what we do is reality. Acting
is a flash from one mind to others, The more of the 'others'
and the more powerfully the message reaches, the greater is the
acting."
"Then you think the appeal of acting is to the mind? There
is belief that acting appeals primarily to the feelings."
"Some acting does, but it isn't the best. Great acting always
makes its appeal to the brain."
George Fawcett has been a player of many parts. The Faw-
cett cult thinks he grazes the sky in the scale of eminence in this
country. What he plays is always played well, more than well,
with unction of reading and with power of personality. His
variety of presentations has been infinite. Yet we have not
identified him inseparably with any one part. Quite uncon-
sciously he was following my train of thought for his words
trod upon the heels of my conclusion.
"Whenever there has been a pre-eminently successful actor in
this country there has been association of him with one part
that made a powerful personal appeal," said he, his head bowed
thoughtfully, his tone reflective, his eyes bent sombrely on
Brownie's sleek brindle back.
"Joseph Jefferson had his Rip Van Winkle, Richard Mansfield
his Dr. Jekyll and Mr. Hyde. In America they measure a man
by his most popular part. In England they measure him by his
ability to play everything he undertakes well and by the variety
of parts he can play. The English standard is more just."
We will not permit England to claim the discovery of George
Fawcett, but England did emphasize for us the fine flavor and
the delicacy of shading of his performances. Club doors flung
open for him. Dinners were incomplete without him. "Go to
see the wonderful American in 'The Squaw Man,' said the news-
papers and magazines. 'His art is like dry wine.' "
Mr. Fawcett began in Virginia. The University, founded by
Joseph Jefferson, and that caps the hills of Monticello, moulded
him into young manhood, and New York and the road have
contributed to his growth. He is yet incomplete. For the
rounding of his career and the attainment of the pinnacle of his
achievement I predict a period of actor-managership like his
uniquely successful rule in Baltimore but in the larger domain
of New York.
He will write a book on "Acting," and it will begin with his
discovery of the earliest playwright and that earliest playwright's
mastery of the thirty plots on which all drama turns.
"He had the plot of one person being mistaken for another.
He had the locket story. There have been variations but no
departures from his themes," said Mr. Fawcett. and he told me
with the joy of the omnivorous reader in the taste of a differing
morsel of letters of Aspasia to Pericles, which he had that after-
noon found in a volume by Walter Savage Landor. "Aspasia
was the greatest woman of all times." he said with kindling eyes,
unsatisfied until I had promised to read every one of the afore-
said letters.
A boy with a voice that ran the gamut between treble and basso
called "Half hour." Brownie's eyes opened and his ears pointed
at this muezzin of the playhouse. Mr. Fawcett, with one eye
on his make-up table, the other politely on me, concluded the
interview :
"There are many entertainers and only a few actors," he said.
"That is what is discouraging, but there is reason for encourage-
ment in the signs of discrimination we see and hear."
"How ?"
"In the applause at the right places," he said with a smile,
boyish, sudden, ingratiating, that when turned on an audience
makes it his own.
That evening I heard such applause. It was for his perform-
ance of the genial graft leader at points where tiny things con-
veyed his meaning, things so small as a millionth of a wink, a
duodecimal of a shrug. It vibrated with delight when he flun<j
over his shoulder with an easy smile his defiance of the reformer.
"You'll gee when we die that I'll have a bigger funeral than
you," ADA PATTERSON,
White
FRANCES STARR
This favorite actress, who was seen in Edward Locke's play.' "The Case of Becky." will appear next season in a new play
LIGHT 'make-up' this afternoon, remember!"
The stage manager of the "ten-twent-thirt" repertoire
company sings out this reminder at the door of each dress-
ing-room in turn, in most cases getting a cheerful "All right!"
from within. Summer stock actors are good-tempered, hopeful
Moffett
HASSARD SHORT
Now appearing as Alaric in "Peg o' My Htart"
souls, as a rule. Besides, everybody in the Peachblow and Col-
lins Company of players knows why they are to be chary of
grease paint and talcum powder for this Wednesday matinee.
There is to be a "reception" on the stage after the performance.
This innovation, conceived by a successful manager of popular-
price entertainment a few years ago (it was Corse Payton's
idea, wasn't it?) has been adopted by stock companies all over
the land, and it has always proved an attractive feature. On one
afternoon in the week — "admission ten cents to all parts of the
house" — everybody in the audience is invited to the stage after
the final curtain, and most of them go. There they meet the
players, sometimes to sip tea, poured by the leading lady herself,
and nibble nabiscos handed around by the Apollo-like being, who
has just played the hero in the drama. Could any greater joy
for the matinee girl be imagined ?
Now, although the face of an actor would look ghastly when
seen across the footlights, unless it were made proof against dis-
figuring shadows by skillfully applied paint and powder, the
artificial coloring has a decidedly bizarre effect when seen at
close range. So, to save the feelings of the matinee girl afore-
said, who is to come intimately close to the members of the cast
after the play, as little "make-up" as possible is used at "recep-
tion matinees."
The Peachblow & Collins offering this week is a modern
society drama, with a "straight make-up" for all of the par-
ticipants except the principal comedian, who has a "character"
part — that of a Chinese servant. He will have to put on a false
yellow complexion, oblique black eyebrows and a bald wig with
a pigtail. The other men merely substitute rouge and powder-
easily brushed off — for the heavy brick-red or pink grease paint
generally employed as a foundation upon which to shadow and
line the eyes, tint the cheekbones and carmine the lips. The
average human countenance is presentable under rouge and
powder, in artistic moderation, even in the street in daylight, and
at the same time it will hold its own against ordinary stage
illumination. As for the women of the cast, they can easily obey
the order of a "light make-up." Just a trifle less rouge than
usual and a sparing use of India-ink under the eyes will do.
The play is in three acts, and at the end of the second,
eighteen-year-old Mabel, just out of high school, whispers to her
chum, Gertrude, with a feverish giggle: "Yes, of course we'll
go up to the reception, and I'll introduce you to Clarence Peach-
blow, the leading man. But you mustn't get too fresh with him.
He belongs to me. I met him last Wednesday, and he told me
to be sure and come this week, because he had something to tell
me. You ought to have seen the way he smiled when he said it."
"He's awfully good-looking, isn't he?" is all that Gertrude
says — with perhaps a reserved determination to be as fresh as
she likes.
"Swell !" is Mabel's response, passing the chocolate caramels.
It is an up-State city of some 30,000 population, and the Peach-
blow & Collins company has possession of the one regular
theatre — with the provision that when any high-priced travelling
organization from New York or Chicago halts for a one-night
stand, the stock company shall move out temporarily. Mabel
and Gertrude seldom patronize the visiting entertainment. They
regard it rather as an interloper, which rudely interferes at in-
tervals with a well-ordered and satisfactory system. The young
ladies belong to well-to-do families, but they much prefer their
cheap stock company, with its homelike ways, its familiar faces
and its little intimacies, to the big, assertive "production" which
swoops down on the local "opera house" with so much bustle
and noise, and after taking more money at the box-office in a
night than Peachblow & Collins get in a week, kicks up its heels
scornfully at the town and dashes away on an early train for
the next stand as if glad to get away.
Why, Mabel and Gertrude went only twice all last winter to
see a performance of this kind. There was no reason why they
should go, they would tell you. The city has two theatres de-
voted to a combination of vaudeville and motion pictures, where
they could have better fun at ten cents admission. Now that
the summer stock is here, they see for a dime many of the
talked-of plays that were presented in New York at $2 a year or
so ago, and they haven't minded waiting. Besides, they are
firmly convinced that Clarence Peachblow and the leading lady,
Marguerite Collins, are much better in the principal role than
were John Drew and Billie Burke, and similar eminent person-
ages, who played the parts originally.
So this afternoon, when, a few minutes after the end of the
performance, the curtain again rises — showing the drawing-room
scene of the last act still set, but with most of the furniture out
of the way, and two tables (Continued on page viii)
Photos Otto Sarony Edith Whitney Lucille Cavanagh
THREE ATTRACTIVE PLAYERS NOW APPEARING IN "THE PASSING
Irene Markey
SHOW OF 1913," AT THE WINTER GARDEN
MUCH is written about play-
wrights and actors ; but the
audience — the men and women
without whose co-operation the drama could not have its being —
is neglected. It is like "papa" in the children's song, "the idle
man who only had to pay.'' Instead of being deferred to
as a partner, silent perhaps, but indispensable, the public is
almost habitually treated by men of the theatre as a mere acci-
dent, the "dog" on which the play is to be tried, a "vile body"
for the making of experiments. The respect for the public which
we find in the old dramatists is gone. Men who have made theii
fortunes by pandering to the appetites of vulgar amusement-
seekers despise the people because they can be had so cheap ; the
matinee idol adopts his own standard as the measure of humanity
The still, small voice of the idealist is heard by few save those
for whom the theatre is the potential equal of the art of Praxit-
eles, of Raphael, and of Beethoven. The tradition of a censor-
ship of the drama, unofficial, but au-
thoritative, based on popular good
taste and self-respect, seems almost lost.
It is high time, indeed, to recall the
public to a sense of its responsibility, to
insist anew on the artistic office of the
audience. Here and there, up and
down the world, are to be found audi-
ences which exemplify what can be done
for the art of the stage by a right-
minded populace, and it may be that
from these nuclei will spring a theatrical
public as powerful to influence actors
and dramatists for good as were the
playgoers of classic Greece, Britons of
"the spacious times of Qu'een Eliza-
beth," and Frenchmen of the reign of
Louis Quatorze. In our own day the
zeal of an elect minority has enabled a
group of 'enthusiasts to produce works
like Marlowe's "Faustus" and Purcell's
"Faerie Queen" ; the aristocracy of
Parisian thought makes possible the work of Antoine; the ear-
Strauss-Peyton
FLORA PARKER-DE HAVEN
Now appearing in "All Aboard"
dreamers are helping to restore the
theatre to its ancient dignity, when the
drama was the audible voice of the
Time Spirit, the prompt and accurate echo of popular sentiment.
For them play-going is not merely a pastime, but what it was in
the days of old — an intellectual discipline and a feast of the imag-
ination.
If we inquire into the duties and privileges of the play-going
public we find it to be a jury vested with the power of judge.
Not only does it return a verdict on the merits of play and
players, but its findings carry with them, of a necessity unknown
in the procedure of other tribunals, reward or penalty. No
subtlety of pleaders, no bias on the part of the presiding officer,
can warp the will of the jury or secure a stay of execution. The
advocates are the actors and they depend for their livelihood on
the good-will of the populace. If the play fails to please, not al!
the efforts of friends can save it. They may vaticinate in verse
or prophesy in prose, it will avail them
nothing. The people are Olympian in
their absolutism, and it is only by ap-
proaching them with awful supplica-
tions, proffering sacrifice of such fea-
tures of his literary progeny as may
have offended, that the author may
secure the rare boon of a revision of
judgment. Demos is supreme, and what
hope there is for the drama is to be
found in the fact that, as his name im-
plies, he is democratic. The theatrical
jury is the most representative institu-
tion in the world. Anyone who can
pay the price of admission may enter
the jury box. All the world and his
wife are included in this comprehensive
panel. Every station of life and nearly
every phase of mental and moral de-
velopment has its spokesman. No cen-
sorious attorney can challenge the poor
boy who struggles for the giddy distinc-
tion of "centre nob" in the gallery. A quarter's worth of omnip-
nestness of Dublin folk for the great things of drama has con- otence is his, and, if you be author or player, you were wise to
stituted the Irish Players an international force. These splendid study him. For the veriest hoodlum is an authentic proposition
THE THEATRE MAGAZINE
White
CHRISTINE NORMAN
Who is playing the role of Ethel in "Peg o* My Heart"
in humanity, and the gates of his consciousness open out on the
mysteries of life and death. Childhood fancy, the fervor of youth,
all the enthusiasms and all the prejudices, are here gathered in
conclave.
Alone among courts its members carry weight solely by virtue
of their worth and personality. The price the spectator pays for
his seat is no index of his influence. The titter of a. shopgirl in
the cheapest part of the house may expose false sentiment as
effectually as the sneer of Pococurante in the stalls. Foote's
caustic comment, "A Roman chimneysweep on Mayday," was the
end of poor Digges' Cato. A single perverse spirit will affect a
whole parterre. On the other hand, the outspoken pleasure of a
Sir Roger de Coverly sets in motion ever-widening circles of
kindly interest. If we are listless or indifferent, our neighbor is
chilled, but our manifest enjoyment warms his heart. Without
enthusiasm artistic enjoyment would be impossible. When Mae-
terlinck first wrote for the stage, men laughed at his ingenuous
dialogue. If it had been an affectation, if he had not gone to
nature for his models, his plays would have been laughed off the
boards. But people who smile when they are
pleased and weep when they grieve felt the
beauty of it all, and the approval of these sim-
ple-minded folk proved a greater force than the
ridicule of pedantry.
The majority of playgoers know nothing of
the canons of dramatic construction. An appeal
to aesthetics would only bewilder them. Their
attitude is that of the child listening to the fairy
tale, and they have something of the child's
deadly logic. Men listen carelessly to what is
said at the rise of the curtain. Suddenly some
phrase rivets itself on the ear. It is the first
indication of the cause which, in its capacity of
jury, the audience is to hear. Is something rot-
ten in the state of Denmark, the dramatist must
make the fact appear with the least possible de-
lay. Every word of the dialogue is directed at
the spectator, who, though he may not realize it,
is not merely a juror to pronounce verdict on
the merits of the play and its performance, but a
participant in the action. The audience is not
an accident of the drama ; it belongs to its very
essence. It is the instrument upon which the
actor produces his 'effects, like Richter upon the
multiplex organization of the orchestra. Every
actor is familiar with the audience that is gal-
vanic in its response; familiar, too, unhappily,
with people before whom it is as ungrateful to
play as it would be to act in front of a stone
wall. A Bernhardt or a Salvini soars highest
on the wings of genius when thrilled by the en-
thusiasm of the multitude. The more the actor
feels his emotion shared by the audience, the
greater becomes his power of creation. The in-
terested spectator is a begetter of histrionic
talent. H'e is powerful beyond his knowledge.
The large-eyed wonder of the child at the play
has a potency of evocation undreamed of by the
possessor. What so grateful to the villain of
melodrama as the hisses of the virtuous gallery?
According to the measure of their endowments,
the audience put themselves in the place of the
people in the play, feel with them, live their lives
with them. They are the unpaid — but by no
means unrecognized — collaborators with the au-
thor. Quietly watching the passing show, the
juror finds himself wondering what such and
such a character will do, speculating on the dis-
interestedness of this one, gauging the credibility
of that. If his instinctive balancing of the prob-
abilities of the case is belied by the event, he is disappointed. If,
on the other hand, the characters behave as they might reasonably
be expected to behave, he carries away with him a sense of grati-
fication. He has conspired with Providence and been justified
by the event. It matters little that life is shown, not as men know
it to be, but as they dream of it in some delicious land of make-
believe. They accept the witcheries of Rautendelein and the
erratic motions of Peer Gynt without question. The farmyard
chivalry of "Chantecler1' presents no difficulties to the popular
mind. The dramatist has been obedient to the laws of his minia-
ture creation, and that is all that people ask of him; if he set
them at defiance they would hang him in the noose of his own
inconsequence. Once they have an inkling of what a dramatist
is trying to do they will meet him halfway. But he must take
them into his confidence. The novelist may spring surprises ; not
so, however, the playwright. A well-made play is a series of
foreshadowings, of significant hints, whereby the interest of the
auditor is engaged and his imagination stimulated. The dram-
atist lets fall suggestions by which the audience, its curiosity pro-
CLARENCE HANDYSIDE
Now appearing in "Peg o' My Heart"
Moffett TRIX1E FRIGAN'ZA
Appearing in "The Passing Show of 1912"
White REGINALD MASON
Who plays Christian Brent in "Peg o' My Heart"
yoked by what is half revealed, is subtly prepared for what
follows. These hints, so delicately flattering to the intelligence,
give the spectator a luxurious sense of privilege. As Heine would
say, he is permitted to look into the pots in which the playwright
cooks the denouement. A stable boy may play providence to a
princess. From his eyrie in the gallery he watches the puppets
of the stage with a foreknowledge that bears a far-off foreknowl-
edge to the prescience with which the Almighty contemplates His
children.
Like his brother of the law, the playwright adjusts the situa-
tion so as to appeal to the frank romanticism of the audience.
Most people prefer to see life represented as they wish it, not as
they sadly know it. The author is well aware of this, and, in
balancing the debit and credit of the account, he leans to the side
of poetic justice. It is a sophism to talk about the play as "a
slice of life." If the drama were absolutely true to life, it would
cease to be art and lose the highest quality with which genius can
endow it. Audiences are not content merely
to see some isolated event ; they want to be
shown its consequences. To gratify this
desire days must be condensed into hours
and the breath of a continent narrowed
within the measure of a few yards. Hum-
drum is barred; people only care to see life
in its high lights. Moreover, they insist on
being present when the balance is struck
by which fortune is made to harmonize with
character. They are as greedy of evidence
on matters that interest them as Dante was
in his questioning of Francesca. Their in-
stinct for the scenes a faire is hawklike, and
woe it be to the playwright who merely tells
them of an occurrence which th'ey would
like to see. It were better for that man
never to have written. The point may be
illustrated by Mr. Barrie's "What Every
Woman Knows." John Shand owes his
success to the cleverness of his wife. She,
dear soul, hides her superiority under a
mask of deference. At last John, puffed
up by success, begins to claim what he
deems the prerogatives of genius. Then
nothing will satisfy the public but that he shall be taught a lesson
and learn that the mare is the better horse. So said, so done ;
John is humbled and all are content. But the humbling has to
be done before our eyes. No hearsay evidence will satisfy the
jury on this head.
It is one of the consolations of mediocrity to revile the audience
as tasteless, because, forsooth, fustian and rodomontade succeed
for a season. As if the public went to the theatre burdened with
the conscious responsibility of the professional appraiser of
plays! People frequent the playhouse for enjoyment; their
growth in good taste is incidental ; it is the gradual emergence of
the finer self. A clerk goes to the theatre to be amused by musical
comedy. The play-going habit grows upon him. To his astonish-
ment he discovers that, far from boring him, good plays delight
him. Amusement, actor-worship, love of the play for its own
sake — these processes represent the development of many a lover
of the drama. In spite of the glamour of the meretricious, the
common people do, in the long run, judge
aright. Late or soon pretense is seen
through and the spell broken. Where are
the "hits" of yesterday? Scour the pur-
lieus of Broadway or Old Drury, you will
scarce find one of them to revisit the
glimpses of the footlights. Their wraiths
shiver in outer darkness. But the great
plays are still fresh and young, and will be
so when we are dust. How modern
"CEdipus" seems besides "Adrienne Le-
couvreur" ; "Hamlet" is a dramatic novelty
compared with "Richelieu" ; "School for
Scandal" seems modish when we think of
"The Ironmaster." Familiarity may breed
contempt for what is unworthy, but the
more we know the great in art the more
we love it. The public is not blind, but
unthinking, and often inexperienced. The
disdainers of Demos are journeymen actors
and unsuccessful authors ; master crafts-
men defer to him, not slavishly indeed, but
with clear-eyed recognition of the fact that
art. which leaves the multitude cold, while
it may possess a subtle charm for the con-
(Continutd on pagt *)
Prominent English actor who made his appearance in
thi» country in "Rutherford & Son"
NORMAN McKINNEL
Humor is the spice of life.
He who Has it not, misses the
one thing that makes the daily
grind endurable. Perhaps more
than any other calling, the profession of the mummer has been
productive of humor. The comic incidents that frequently occur
on the stage, and yet are not part of the entertainment, would
fill volumes. It is our purpose
to print, from time to time, short
and true anecdotes of the stage
and its people. Players and
managers are invited to contribute any amusing experiences of
this nature they may have had. The only condition imposed
is that the stories be true, be brief, and have humor and point.
H O1
NE night when Adelaide Neilson was playing
the potion scene in "Romeo and Juliet," one
of the most impressive examples of this great
artist's power, she had just reached the agonizing
line, "What if this mixture do not work?" when a
clear voice from the gallery promptly suggested:
"Then take a pill !"
When sprightly Edna Wallace Hopper got a divorce from come-
dian De Wolf Hopper she plaintively remarked that she was now
a grasshopper.
De Wolf Hopper had a slight cold one night, and in a curtain
speech he referred to it in this fashion :
"I went to my doctor," he said, "and the doctor said I had been
eating too much nitrogenous food, and must stop and eat farinaceous
food. Since then I haven't been eating at all, for I don't know
what either word means."
Lew Dockstader tells the following prize hard-luck tale:
"The other day on a train I made the acquaintance of a young
man who seemed down on his luck, and after our acquaintanceship
had developed into something approaching intimacy I ventured to
inquire the cause of his deep-seated gloom.
" 'Well,' he said, 'I've been up against it for fair. Put every
cent I had in the world into an "Uncle Tom's Cabin" show. Had
a man named S as treasurer. Smart, thrifty fellow, that S .
Been out about two weeks and was over 400 bones to the good.
Woke up one morning and found that S had sneaked with the
cash. I said to myself, ''I'll catch the cuss," so I set the blood-
hounds we had in the show on his trail.'
"'Did they catch him?' I asked.
"'Catch him? Sure they did. They caught up with him, and he
put chains around their necks and started another "Uncle Tom's
Cabin" show.' " — From "Props," by William G. Rose.
"Did you see 'Carmen' to-night?"
"No, I didn't see any car men, but there were lots of chauffeurs
there."
"Drury Underwood was in a small Montana town," says William
G. Rose, "and in a conversation with the local manager of the
'op'ry' house asked how many pieces there were in the orchestra.
'' 'We have three pieces,' he replied, 'a piano, stool and cover.' "
Julia Ward Howe once told the following anecdote of Richard
Mansfield : "I remember a surprise party Madame Rudersdorff gave
on Richie's birthday. They were nearly all young people present
excepting myself. It was not a surprise party in the ordinary sense,
but you will understand when I tell you. In those /lays we were
continually invited to meet distinguished musical artists at Madame
Rudersdorff's home. She provided unsparingly as a hostess ; she
was really queenly in her hospitality. Hence her invitations were
snapped up in every quarter. On this occasion we were invited to
meet a newly arrived prima donna — I forget the name. The hostess
and her distinguished guest received together. I remember her as
if it were yesterday. She was youthful in appearance, uncommonly
modest in demeanor. She wore a red-and-white silk dress with a
prodigiously long train, and had many jewels and an abundance of
thick, wavy, dark hair, which was the admiration of every one.
Some of us were put to it to talk to her, for she spoke only the
European languages. Naturally, there was a brave effort in some
quarters, in especially high tones, for you may have noticed it that
people who are unfamiliar with a language always shout it. The
announcement, finally, that the great prima donna would sing pro-
duced an expectant silence. We were all struck by
the phenomenal range of her voice. She seemed to be
able to sing with equal facility a soft, dark contralto
or a silvery soprano, capping off with an octave in
falsetto. After responding to several encores, she at
length astounded us all by lifting off her towering coif-
fure and announcing unaffectedly: 'I'm tired of this,
mother. Let's cut the birthday cake.' It was Richie.
He and his mother had conspired in the surprise
party."— From "Richard Mansfield," by Paul Wilstach.
Henry Irving related the following amusing experi-
ence : 'T received an unexpected blow the other day at a Highland
station. The stationmaster, a most obliging and kindly gentleman,
suddenly grasped my hand, exclaiming, 'Irving, man, I hope to see
you some day on the same platform with Stephen Blackwood.' I
confess I was taken a little by surprise, and I said, 'Well, I hope
so, too.' Then I recovered my self-possession, and bethought me
that Mr. Stephen Blackwood must be a popular and excellent
preacher, and my conjecture was right, so in I plunged boldly. 'My
friend,' said I, 'we are all on the same platform. You look after the
trains and take care of the passengers, Mr. Stephen Blackwood
labels them for their ultimate destination, and I do my best to
amuse and entertain them upon their journey. So you see, my
friend, we all do our best, and if we do strive to do our duty we
work for the same end, and no one really has a monopoly.' " — From
"The Life of Henry Irving," by Austin Strong.
•'Pa," asked a little boy at the opera, "who is that man waving
the stick?"
"That is the conductor, my son."
"Conductor!" ejaculated the little chap, "and is that fellow on the
stage calling out the stations?"
J. J. Rosenthal tells of an amusing experience which he had in
Denver during a matinee performance. A stout, florid woman
appeared at the entrance of the house leading two boys, aged seven
and nine, and presented one ticket.
''You will have to buy tickets for those boys," insisted Rosenthal.
"No, I won't," she protested ; "they always go to sleep as soon
as they get inside. Why should I pay for them if they don't see
the show?"
Rosenthal thought of the days when his mother took him to
matinees, and as the argument was one that he could not get
around, he passed them in. After the first act an usher came to the
manager and handed him a quarter.
"What's this for?" he asked.
•'The fat lady told me to tell you one of the kids woke up." — From
"Props," by William G. Rose.
Critic : You say while playing in a wild Western town your
tragedian forgot his lines.
Actor : Yes ; but some of the cowboys present didn't, and it was
all we could do to prevent them from hanging him.
Sometimes there is a feeling expressed that the theatre managers
are conscienceless, with no thought above the money paid in at the
box-office windows. But there are honest managers and conscien-
tious managers the world over. Beerbohm Tree knew one such in
England. He tells of him in describing the smallest audience on
record, consisting of one man. The play> nevertheless, went on in
the provincial theatre where this audience was gathered. But the
manager between the acts peeped out from behind the curtain and
saw that the house was empty.
"Where is the audience?" he asked anxiously to the usher.
"He has gone out, sir," the usher answered.
"Will he return ?" asked the manager.
"Positively. He expressed himself as well pleased with the pro-
duction."
''Ah," said the manager with a look of relief, "then
let the performance proceed."
"What do you think the company paid for this
opera house?"
"Oh, I suppose they got it for a song."
IVY TROUTMAX
Who is now playing leading parts with the Hunter-Bradford Stock Company in Hartford. Conn
"Mrs. Scott Siddons," says Wm. G. Rose, "was once
playing Juliet at the London Haymarket Theatre,
when an unrehearsed incident occurred in the last act.
Paris was duly slain and Juliet lay stretched upon her
bier. Just then some of the scenery caught fire, but
the stage hands soon extinguished it. Juliet, with
commendable presence of mind, did not move an eyelid, but the
corpse of Paris was nervous. He raised himself up to a sitting
posture, then got upon his feet and fled from the stage. The
danger being removed, his courage returned, and the audience was
afforded the pleasing spectacle of a corpse crawling along the stage
from the wings to take up the proper position for the final curtain."
"I think the missus has her eye on one of those Italian counts,"
said Bridget.
"What makes you think so?" said Mary.
"Why, I heard her say last night that she admired Verdi."
The custom of calling an author before the curtain is an entirely
modern one. The dramatic authors of ancient Greece would have
considered it the height of vulgarity to appear on the stage.
^Eschylus stayed in his bedchamber when his great "Prometheus
Bound" was being acted. The Roman dramatists, abject copiers of
Greek methods, without the Greek genius, followed the same custom,
and this same rule obtained on the stages of Europe throughout the
Renaissance and later in France and England, throughout the earlier
French drama and that of England from Marlowe and Shake-
speare's time, down to the middle of the eighteenth century. In-
deed, it was not until the first performance of Voltaire's tragedy
of "Merope," at Paris, in the year 1743, that a playwright appeared
before the curtain to receive the plaudits of the audience. On that
occasion the demonstrations of enthusiasm from the crowded
theatre reached the ears of Voltaire, who, as usual, was behind the
scenes, personally directing the conduct of the play. Voltaire, who
was one of the shiftiest, as well as one of the most gifted of
mortals, was at that time in very bad standing with Court and
Church. Suddenly bethinking himself of turning this enthusiasm
for his literary genius into enthusiasm for Voltaire, the man, he
hastily presented himself in a box, and thence, at the behest of
clacquers, took his place in front of the curtain. The long-con-
tinued roar of applause that greeted this shrewd move struck heavy
even on the deaf ears of King and Clergy. Voltaire's purpose was
accomplished. Other, lesser French dramatic lights, speedily fol-
lowed Voltaire's lead; and thence the custom leaped across the
English Channel. To-day it is the conventional thing, if an author
has received the slightest encouragement, to betake himself before
the footlights.
At a recent banquet David Belasco was being congratulated on
the success of his play, "The Governor's Lady," to which he re-
sponded :
"Writing plays is risky business. Past triumphs don't count.
He who has written twenty superb pieces is just as likely to be
damned on his twenty-first piece as any tyro. For instance :
"A playwright of my acquaintance sat in the front row on a first
night of a new piece of his own. The play was a complete failure.
As my friend sat, pale and sad, amid the hisses, a woman sitting
behind him leaned forward and said :
"'Excuse me, sir; but, knowing you to be the author of this play,
I took the liberty, at the beginning of the performance, of snipping
off a lock of your hair. Allow me to return it to you.' " — From
Everybody's Magazine.
Hi
It is related how the elder Wallack once played in a romantic
drama in which, after taking an impassioned leave of the heroine,
he leaped on a horse which stood just in the wings and dashed
across the stage. Wallack objected to this nightly gallop, and it
was therefore arranged that one of the supers, who closely re-
sembled the actor, should make the ride. He was accordingly
dressed exactly like Wallack and sent to the theatre to rehearse.
He carried off his part well and the stage manager departed. But
the super was not satisfied, and complained to a young member of
the company, who happened to be present. "Why,
see here," he said, "that thing is too dead easy. A
man with a wooden leg could do it with his eyes shut.
I used to be in a circus. Couldn't I stand up on this
here equine and do a few stunts?"
"Certainly," exclaimed the other; "that would be
all right. Go ahead, no one will have anything to say."
"You think the old party wouldn't object?" said
the super, doubtfully.
"Object!" returned the player. "Why, he'd be
tickled to death. Do it."
That evening, when the critical point was reached,
Wallack was gratified to see his counterpart standing ready beside
the horse.
"Love, good night — good night," cried the hero, preparing to drop
over the edge of the balcony.
"Stay !" cried the heroine, clinging around his neck. "You ride
perhaps to death !"
"Nay, sweet, say not so ; I ride to honor ! With thoughts of thee
in my heart no harm can come ! Good night — good night !"
He tore himself from her frantic embrace and dropped out of
sight of the audience. "Go !" he hissed to the man.
As the horse leaped forward onto the stage the fellow gave a
mighty vault and alighted standing on its bare back. He threw up
one foot gracefully and danced easily on the other, and just before
it was too late leaped into the air, turned a somersault, landed on
the horse's back, and bounded lightly to the stage. — From Harper's
Magazine.
Apropos of the story that the late Eugene Field once criticised a
performance of "H'amlet" by making the bare statement that "Mr.
Blank acted Hamlet last night and acted it until 11.30 o'clock."
John F. Ward tells of a similar criticism that was once given of a
performance in which he figured prominently. It was in a small
Western city and on account of a railroad wreck the company
arrived in town very late, consequently the play went badly. So
bad, indeed, was it that no concientious critic could do else than
give it a "roast." The editor of one daily paper, however, thought
it unnecessary to go into details, so he simply wrote : "John F.
Ward appeared at the opera house last night. The ventilation of
the theatre was perfect and the orchestra rendered several pleasing
airs." — From "Props," by WM. G. ROSE.
Ben Johnson tells a story concerning an English comedian who
had long cherished the idea that he could play Hamlet. At last
the chance came. After the performance he met a friend who was
an influential critic and asked:
"How was it?"
"Do you want the truth?"
"Yes."
"It was awful."
"I am afraid you're right. I'll never attempt it again."
"But you'll have to play it once more. Your performance to-night
must have made Shakespeare turn in his grave. You can't leave
him lying on his stomach. Play Hamlet once more and he'll prob-
ably turn over and be comfortable again."
"I've heard of hard luck stories." said Jess Dandy, "but one a
stranded actor told me last summer carries off the palm. This
actor had been out with one of those barnstorming aggregations
that move from town to town whenever the sheriff will let them.
Salaries were long overdue, and finally in desperation he went to
the manager and demanded $25.
"'Twenty-five dollars!' cried the manager, 'why, if I had $25 I'd
put out a No. 2 company."
The Common Man — "Why is it you actors wear heavily furred
coats in all seasons?"
Great Actor — "The fact is, me dear fellow, my profession is the
only one liable to frosts in all seasons !" — Sydney Bulletin.
"The most trying moment in John Drew's professional life," says
Wm. G. Rose, "happened in a western town. When the curtain fell
on the first act of the play there was a tremendous burst of applause.
The enthusiasm was unexpected so early in the evening, but as the
clapping and shouting continued, the company lined up in a gratified
row and the curtain was raised, Mr. Drew in the center bowing his
best. And then it was seen that the audience was not looking at
the stage at all, but at a young couple that had just
appeared in one of the boxes, and who also were re-
sponding with smiles and bows to the ovation. It
was a sickly moment. There was nothing to do but
stand there irj a foolish row until the curtain finally
came down again, and it seemed an eternity.
i
IS
i
rfl
Photo Davis & Sanford IN* CLAIRE
This favorite singing comedienne, who has been appearing in "The Honeymoon Express," w.11 be seen ,n London next season
I
r it r a y a
am on it
By JULIAN ELTINGE
WHENEVER I appear behind the footlights, either as a
fascinating widow or as any other kind of woman, inter-
viewers and women who "just want to know" invariably
ask me three questions.
The first, "How much do you actually know about the gowns
you wear?"
The second, "Do you leave their selection to an expert modiste
or design them yourself?"
The third, the least important, "How do you gain the physical
appearance of a woman?"
Usually I avoid talking on these subjects, not only because it
would take too much time to go into these angles of my occupa-
tion with every questioner. Rather I avoid them, because if my
interrogators could see with what pleasure I throw aside my
"creations" at the 'end of every performance and
return to man life they would realize that I was
sufficiently punished for wearing such clothes
without the additional ordeal of telling how I
was able to wear them. You can see, then, that
it is not with a purely unselfish motive that
I write this. Maybe it will relieve me of the
necessity of sending word
to unknown callers that I.
am "out" and straining the
capacity of my trash basket
with letters full of question
marks. Allow me that
hope, at least.
That a knowledge of
feminine dress plays an important part in my
work I cannot deny. The realization of this fact
came to me early, but not until after I had begun
to depict girls on the stage. I found that
scarcely knew the difference between calico and
satin, and it was plain to me that if I was to be
a successful "woman" I must know as much
about my raiment as the women know about
theirs. This was far from easy, as you may
imagine, but I began with the very rudiments.
Giving up the stage for a time I found a position
in a store which dealt in cloth and dress fabrics
of all kinds, i was not a salesman, but worked
in the receiving department, where there was
ample chance to learn the facts I sought. To
show what progress I made, the end of the first
year found me doing most of the buying for the
firm.
The experience gained in this way has since
proved invaluable, for it gave me not only a
knowledge of quality, but of values as well. And
let me tell you, I have to consider the size of my
bills for dress as much as any woman in mod-
erate circumstances ! But this was only one step in my education.
I saw that to know textures was one thing, to match them was
another. A palette full of various colors is worthless to the
would-be painter if he does not know how to combine them for
the best effects. To get the right idea of such combination I took
up the study in oils under the guidance of a capable artist.
1 went in for draperies and their treatment largely. I sought
the secrets of graceful and artistic draping of forms. But besides
possessing knowledge of material values, colors and contrast,
there remained another problem. It was how to wear my raiment
gracefully. A woman may be fitted out in a creation by Paquin
or Callot. and yet all of the distinctiveness of the gown may be
lost through her lack of knowledge of proper poise. Much too
often one sees a beautifully attired woman standing like a soldier
on parade, with every fold perpendicularly stiff and unbroken.
Sometimes such a woman impresses me as a clothes-horse
White
JULIAN ELTINGE
In a role which tests his art
in physical makeup
upon whom a maid had hurled a dress from across the room.
From my experience, it occurs to me to say that if. women
would spend less time in blindly following the arbitrary com-
mands of "fashion" and give more attention to finding out the
most attractive means of draping their figures the results would
be more satisfactory both to the wearer and the beholder. My
advice to women on the subject of an artistic toilette is to go to
the art galleries and study the arrangement of draperies in statues
and painting done by the hands of the masters. They might
also profit from the poise of the figures, for I will wager that not
one will be found either standing like a soldier or lounging in
an ungraceful position.
Another step which was difficult to master, and which, to the
artist, at least, is never mastered completely, was the contrast of
color and tints. A woman may have a gown of
the most costly texture, woven on the finest
looms, and yet when worn the effect will be dis-
appointing if there is not enough contrast to
bring out the beauty of the materials. I would
not attempt to lay down a set of rules on this
point. There are no such things as rules for cor-
rect dressing. The w'earer must depend upon
her taste, and if that taste be bad it is well to
leave the matter to the judgment of an efficient
modiste and hope for the best.
All this is in answer to the question of how
much I know about my gowns. Now as to the
designing:
When in vaudeville, and in my appointed time
playing many parts, characterizations of various
types of women, from the haughty, bepovvdered
and beplumed dame of Colonial days to the de-
mure damsel of the '6o's and the self-sufficient
girl of to-day, every detail of my costuming had
to be worked out by me alone. Now, in dressing
one role throughout an entire play it is no less
necessary. I cannot go to a modiste, order "just
a simple little gown," or "an elaborate one for
evening wear," and leave the selection of mate-
rial and design to her. Rather, I have to give
personal supervision to everything — I almost
said to every stitch.
First 1 have to bring myself to the mental at-
titude of the "woman" whom I am to present.
What are her needs? What are her physical
characteristics, her coloring, her form ? Do
Mowing lines suit her best or the straighter ups
and downs of tailored garments ?
Having decided those most important questions
I outline first in my mind and then on paper,
indicating the chosen colors, a sketch of the
gown. Then I must select the material per-
sonally, for that is a task that cannot be delegated to another
with any satisfaction to myself. What I found to be the hardest
part of the designing was the convincing of the costumer that I
knew what I wanted better than anyone else possibly could. By
this time that difficulty had been eliminated through my continual
hammering at the people who make my stage clothes.
There are so many things to consider in the art- — or should I
say science? — of dressing that it would be difficult to enumerate
them all. But take the hair, for instance. Some women imagine
that because they have red hair they should wear gowns of some
shade of red. This is a mistake. Red hair is so rare and so
beautiful it should be accentuated by a robe of turquoise or purple
or green. Then there are the eyes to consider, and the com-
plexion. Parisiennes have a trick of inserting a dash of black
velvet somewhere to bring out and emphasize the pink and white
of the cheeks, arms and neck.
White
CHARLOTTE WALKER
This popular actress will be seen again next season in "The Trail of the Lonesome Pine"
THE THEATRE MAGAZINE
I know that the greatest difficulty in my impersonation of
women is in the physical make-up; to disguise myself in fine
clothing is comparatively an easy matter. May I be pardoned for
a touch of the personal ? 1 am a man around the six-foot mark.
and of what you might call ••husky" build. My hands and feet
are not at all petite; but when I am a "woman" they must at least
appear so. Also, I must have the fresh complexion of a girl or
a well-preserved woman in all my roles. To change the charac-
teristics of a man's face to those required by my parts is no small
The first rule is never to allow the breadth across the back of
the hands to be seen, but to hold the hands so that the narrowest
portion, for instance, the thumb and forefinger or little finger,
will show. This aids greatly in giving the impression that the
hands are long and slender, although the exact opposite may be
the case.
There are artificial aids, too, which I employ in reducing my
hands from man's to woman's size. The hands are powdered
verv white, and then the fingers from the second knuckle to the
Copyright Rogers. Dallas FIRST ANNUAL SEASON OK GRAND OPERA AT DALLAS. TKXAS ,
Five thousand music-loving Texans were present at the performance by the Philadelphia-Chicago Opera Company of "Lucia di Lammermoor." This photo was taken
immediately after the singing of the famous sextette by Madame Tetrazzini. The mad scene brought the immense crowd to its feet with cheering and handkerchief
waving until an encore was given
undertaking. It requires exactly one hour and a half before
every performance to do it.
I begin — it seems crude to say it — I begin by shaving. After
that there are a number of grease paints of varying shades of
flesh color to put on, powders of different texture and color,
rouge on my lips. My eyes must be "built out" to simulate the
almond-shaped eyes of a girl. The lids I touch with blue grease
paint, so accentuating the white of my eyes. The lashes I
lengthen with black. It sounds fairly simple in the telling, but
a glimpse of my dressing table with a startling array of paint
sticks, powder puffs and jars of powder might disillusion you.
After my face has been made up I attend to my shoulders,
neck, arms and hands. All but the hands are first treated with
a white liquid of my own preparation, which is rubbed in as a
foundation. Powder is then dusted over it, and the result is the
brilliant white for which I strive. One other thing — on the stage
I usually wear a bracelet on each arm to shorten the length of
the arms. 1 can recommend the use of bracelets worn halfway
up the forearm to any girl with thin arms, as nothing will give
them such an added appearance of plumpness.
The hands are of the greatest importance in my impersonation.
for they must be made to look quite feminine. While on the stage
I think of them constantly, quite as much as I do of the car-
riage of my head, for instance. Of course, my object is to make
them look small. The size of the hands can apparently be de-
creased by the way in which they are held, and any woman with
a little practice can perfect herself in this graceful treatment.
tip are rouged very red. This gives the effect of tapering fingers,
no matter how blunt and square they may actually be, and when
the nails are polished the result is very good. You will see many
women in Paris with their finger tips almost blood red. That is
overdoing it, of course, but a little rouge used on the fingers will
give a most attractive effect, as any woman will see who will try
it. I also add a couple of lines in blue pencilling along the back
of the hands to add to the slenderness.
If my hands must look small on the stage, my feet must appear
no less so. 1 wish such were not the case. You see. my every-
day shoe is a seven, while my costume footwear is size four and
one-half. Part of the penalty for my success lies in the pinch
of these shoes. I always wear satin slippers on the stage, and
I advise them for every woman who wants her foot to look
small and dainty. The high light on the satin seems to make the
slipper look smaller than it really is. Of course, a short vamp
and high heel add to the illusion.
The hair is perhaps the next question of interest to women.
I am constantly on the lookout for unusual wigs, hair of an odd
shade which will make my "girl" especially stunning. I have
the wigs dressed at intervals by an expert hairdresser. But
every day when I put them on 1 adjust the front hair to give a
softness around the face and also at the back of the neck, where
it is so important to have the hair soft and fluffy.
I think that as a general thing women do not give proper at-
tention to their hair. They do not dress it to suit their individual
faces and temperaments — a violation (Continued on page i.r)
JUDITH G A U T I E R,
who wrote "The Daugh-
ter of Heaven" with
Pierre Loti, never considered for a moment the possibility of her
being present at the production of her play in New York. She
frankly tells why: "I never travel — I loathe it. It fills me with
terror. When I go only so far as Dinard I make my will and
leave my house in order, because I am invariably obsessed with
the impression I never will return to Paris alive. Richard Wag-
ner was the only influence that has broken my rule in the slightest.
1 did go to Tribschen to see him.
and it was worth while as I had a
great admiration for him— that is
why I wrote 'Richard Wagner at
Home.' "
"You believe then in inspiration
—New York is supposed to have an
abundance of it," I suggested.
"I don't believe in anything that
means work," she replied. "Writ-
ing is hard labor — when I have to
write I feel as if I were carrying
out my own death sentence."
"How did you happen to be a
writer of books, plays, songs and
an associate on intimate terms with
the working brains of literary
Europe ?"
"I began young — I want to see
what satisfaction and emotion came
to my father in his study,"
"Yet you are a sculptor, a
painter, a musician, a composer," I
protested.
"I admit all you say, but I do
those things so I won't have to
work. I mean by work, writing.
Modelling, painting, putting words
to music, playing on the piano are
my recreation, my mental and
physical dissipations ; they are per-
sonal, too, and only a matter of in-
terest or amusement to my friends
and myself."
"Weren't you something of an astronomer once ?" I asked.
"Something less than one. I was fascinated, when very young,
by the glory of the sun, moon and stars, their mysterious exist-
ences and relationships, and thought it would be wonderful to
form an intimate acquaintance with them, but in such a little
while my enthusiasm waned and vanished as I found that as-
tronomy as scientists viewed it was but mathematics, mere mathe-
matics."
"And mathematics are ."
"A crime against the soul. This I realized when I was six
years old and never outgrew the conviction. My tutor at that
time gave me an endless row of figures to add one morning; the
task was overwhelming, so I went out into the vegetable garden,
dug up a turnip, and with a knife carved it into a lotus blossom,
or what I thought resembled one.
"When my father asked to see the result of my morning oc-
cupation," she continued. "I showed him the turnip.
"• 'It is very beautiful,' I said."
The "father" Mme. Gautier referred to is easily recognized as
the famous poet and romancist, Theophile Gautier.
In those days as now Mme. Gautier was always spoken of as
"La Belle Judith."
"Carving turnips, however, is a long way from the 'Daughter
of Heaven,' " I ventured.
"You are mistaken — it is surprisingly short. On that same day
a little Chinese boy came to our door, an orphan who asked my
father for any sort of employment. The lotus turnip was on his
desk as my father spoke to the boy. I sat by the window. My
A Chat with Jmdith Gauitier
MME. JUDITH GAUTIER
Daughter of Theophile Gautier and co-author, with Pierre Loti, of
"The Daughter of Heaven"
father looked about him
hopelessly, and I never knew'
whether he relished the inter-
ruption of his work or the strangeness of the situation, but he
turned to me and said :
' 'Here, Judith, take this lad and see what you can do with him.'
"It was a great moment for me, something new, all my own to
work on; something that wasn't in a book and didn't have to be
added, subtracted, multiplied or divided. I had an exalted idea,
t would solve the power that lay in the silent eyes and brains of
the youth. I would know his spirit
and then, I concluded, I would
know all, more than the astron-
omers ever could fathom. 1
learned the Chinese language, tak-
ing my first lesson on that after-
noon. I became infatuated with
the psychology of the Orient and
was ever searching for revelation-.
From that day my absorption of
the religion and poetry of the
Chinese race has constantly in-
creased up to the present moment.
Its transcendent beauty and com-
pelling charm never leave me; its
history and the ages-old story of its
ambitions, its richness of thought,
its idealism are nearer to me than
anything else in life. The young
men of China to-day, as well as the
old, come to Paris, the dreamers,
the doers, the poets, statesmen,
artists of all kinds visit me. I
know the psychology of China,
while Pierre Loti knows its geog-
raphy, its customs, its commerce
and its material values and
achievements.
"A Chinese sketch of mine was
running in vaudeville here and
many were going to see it, Mme.
Sarah Rernhardt among them.
Sarah at once got the idea she
must have a Chinese drama
in which she could play the part of an Empress, so she
went to see Pierre Loti and asked him if he could provide her
with one. He came to me with Sarah's hope and we evolved
'The Daughter of Heaven' for her. When it was finished,
Sarah was not at the time desirous of putting it on. especially as
it would have taken at least $40,000 to produce it. A little later
Mr. George Tyler heard of the play, read it and decided he must
have it. We rebuilt parts of it under Mr. Tyler's direction and
now your big theatre will see 'The Daughter of Heaven' in a
magnificent way, much grander than we ever dreamed of and
much better than it ever could be done in Europe."
"How could you keep from going to China?" I questioned.
"I could not know the Chinese better nor love them more than
I do now. I am surrounded here by their music, their litera-
ture and religion and I am in touch continuously both personally
and by correspondence with the finest of their people."
This conversation with Mme. Gautier took place in her Paris
apartment in the Rue Washington. The flat is made up of little
rooms, decorated and furnished with Chinese prints, draperies,
ivory gods, tables, vases, chairs. There was nothing foreign to
the atmosphere of the Orient save several bronze groups, de-
signed and executed by Mme. Gautier, a grand piano which
apologized for its presence by a surface display of Chinese music.
Mme. Gautier wore a white satin morning dress which came
to its Chinese environment from the Rue de la Paix. and her
only ornament was a jade brooch. The jade ever has been a
source of sublime delight to her and it was back in 1867 she
wrote her "Book of Jade," many of the poems in which have
war M
6o
THE THEATRE MAGAZINE
Unity
STAFFORD PEMBERTON
White
Classic dancer seen with Gertrude Hoffmann
KVA FALLON
Who plays Kathi in "The Purple Road"
Bangs
LE ROY CLEMENS
Seen lately in "A Man's Friends"
been set to music by the author and sung recently by Mine.
Maeterlinck.
"Oh, yes, if I lived in China I could not be any nearer to its
people," she proceeded. "I want to show you an exquisite greet-
ing that reached me to-day from one of the first poets in China.
I will translate into French for you and copy it — it is beautiful
indeed."
Mme. Gautier did as she said she would and carefully prepared
an accurate reproduction, or rather translation of the original.
She deciphered the laundry marks and scratches easily, one
might even add rapturously, with the following result :
"Strophes
par Lon — Tsine — Have
pour Madame Judith Gautier
. . . En Occident, tous pretendent que la Chine est sans force,
que la civilisation a comme sombre dans la mer. . . . Dix mille
ans d'existence ne pourraient me donner une joie egale a celle
que j'eprove de vous savoir d'un autre avis. . . ."
Mme. Gautier naturally is not renowned solely for her Chinese
accomplishments and pursuits. Her salon is frequented by the
aristocrats of birth and brains, those who admire her because
she is the daughter of Theophile Gautier, those who find an
endless fascination in her books, those who delight in and appre-
ciate her keen wit, abundant humor, wholesome understanding,
genuine sympathy, her ecstatic imagination. She is the only
member of her sex who has been admitted to the Academy of
Goncourt. She is also foremost in a club for women authors
and dramatists, the playwriters of which produce monthly one
play of a member's composition, at the said author's own ex-
pense, which is attended by all other members who pay gen-
erously for the privilege. With the proceeds a book is published
which has been written by a club member who has not funds
sufficient to provide for its publication otherwise.
Mme. Gautier rarely goes to the theatre. Why? She is per-
fectly willing to answer thus :
"Because of the sickening and tiresome plots that make French
plays, rarely built around any theme other than the breaking of
a certain commandment. I prefer talking with my friends or
reading, at least in so doing I am not wasting my time. I read
all the books that are translated into French, but I never have
felt so comfortable with any language 1 have acquired as I have
with the Chinese. Languages interest me somewhat, but they
demand too much concentration, and as I have told you, I am
opposed to working. Writing became a habit before I compre-
hended the troubles it was laying up for me, the minutes of toil."
"How did it start and obtain such a hold on your time?" I
asked.
"When I was thirteen, too young to know the consequences
or penalty of violent endeavor, about the period I think when I
was satisfied that as an astronomer I never would be able to
give the world anything it cared to listen to, and couldn't even
amuse myself in the process, I developed a certainty that the
story of the creation of the world was all wrong, that it could
not have been accomplished in six days. It kept me awake night
after night and I felt a personal responsibility toward humanity,
which tortured me until I finally had to give expression, in the
hope of relieving mankind of the illusion. I wrote down my
conclusions and showed them first to my father, then to his
friends, thinking that when they were enlightened the informa-
tion would spread until the whole world should know it had
been imposed upon. Through a friend of my father's the article
was published. Great religious excitement ensued. One of the
best known of the clergy announced that on the next Sunday he
would preach against the author of the blasphemous assertion,
before the morning sermon. He was restrained from doing so
only after he had been told that his antagonist in the argument
was merely a thirteen-year-old girl.
"One of my pleasantest memories," she went on after two
pauses or so, "is centred on an article I wrote, oh, very long
ago, on the works of Edgar Allan Poe, which was published in
the official organ of the Empire. Beaudelaire, who translated
Poe's works into French, was charmed with it and sent me a
delightful letter, which is one of my choicest possessions."
There is nothing in Mme. Gautier indicative of the feminine
unrest or awakening which is manifesting itself all over the
world, China included. A suffragist? (Continued on page «>)
mm
.\\\
INTERIOR OF THE LITTLE THEATRE
ittle Theatre
THE LITTLE THEATRE of Philadelphia is an evolution.
The latest addition to the first-class places of amusement
in the Quaker City is the visible sign of a restless spirit
that since childhood impelled Beulah E. Jay to devote herself to
mimetic art.
Mrs. Jay was born in Boston, and for some time studied for
a grand opera career in the New England Conservatory of
Music. Later she went from Boston to New York to study
acting in dramatic schools. It was her secret ambition even in
those early days to be the owner and manager of a theatre. With
a firm belief in her destiny, she played in various professional
companies and then — married. Her husband, Edward G. Jay,
Jr., a mechanical engineer, decided that matrimony should not
swerve a wife from her ideals, and before long Mrs. Jay started
a dramatic school in Philadelphia. The necessity arose for
suitable quarters for the pupils, and the thought was conceived
of a building with a small theatre. The acquaintance of F. H.
Shelton. a retired Philadelphian, brought a new idea, and The
Little Theatre, destined to be a serious professional undertaking,
was evolved.
Mr. Shelton insisted that he should be permitted to share the
responsibilities of the new playhouse. In association with the
Plays and Players, an
amateur theatrical
body of Philadelphia,
he had been doing
much to foster the bet-
ter things of the stage
and in a dwelling ad-
joining his own resi-
dence he had estab-
lished a miniature
playhouse — known as
the Theatre Helene—
solely for the use of
his friends. The
Theatre Helene had a
seating capacity of
sixty and was built to
provide a place for the
presentation of plays
for the delectation of
Mr. Shelton's daughter,
Helene.
The Little Theatre
is perhaps unique in
that it has no subven-
AUD1TORIUM SEEN FROM THE STAGE
tion. There is no guaranty list, no group of subscribers, no
exclusive clientele. The desire is to appeal to the entire theatre-
going public, but with worthy plays, as entertaining as possible,
not profound necessarily, but of such calibre that there will be
mental stimulation and an appeal to the sense of the artistic.
Every detail in the construction had the most careful scrutiny
of the three originators of the project. The theatre occupies a
plot of ground in a side street of the fashionable section. Yet
the new playhouse is not inaccessible. The building is attractive
and impressive in spite of surroundings. There are seats for 328
persons, with eighty of these reserved places in the balcony and
two boxes at the proscenium arch.
The planning of the building was undertaken by Amos Barnes,
who designed the Forest Theatre, Philadelphia's finest playhouse.
All the decorations were planned and selected by Mrs. Jay, and
she furthermore installed in the Lounge in the basement, where
refreshments are served free, a gallery of etchings relating to
players and theatricals generally. The result has been the crea-
tion of a place of amusement that has won the admiration of
every visitor. The stage has the most modern equipment in
every way and the engineering ability of Mr. Shelton, as well as
of Mr. Jay, made possible the introduction of some modern
appliances not to be
found on many stages.
The management se-
lected as the opening
attraction a comedy of
anonymous authorship.
M u c h mystery sur-
rounds the piece, en-
titled "The Adventures
of Chlora." The play
was sent to the theatre
with the stipulation
that the name of the
author should not be
known. The audience
at the first perform-
ance on the night of
March 3d, when the
theatre opened, con-
firmed the judgment
of the management by
liberal applause.
Oza W a 1 d r o p , who
made a success in
"Speed," was a charm-
(CotititiHcd on page ni)
Stage Illusions in Levifcattioini
~\
Fig. 1. Anti-gravity suspension of a liv-
ing woman. Levitation trick originated by
Indian jugglers and modernized by
twentieth century magicians
Indian jugglers
plied their trade, down to
the present time, the raising of animate or inanimate bodies and
their suspension in mid-air without visible means of support, has
always excited the greatest curiosity and amazement.
Levitation or anti-gravity tricks of this nature performed upon
animate or living bodies require the most elaborate settings of
any stage illusions, the most expensive and ingenious equipment,
and the most skilful presenta-
tion, in order to produce the
desired effect upon the audi-
ence.
One of the oldest levitation
tricks was that in which a
young lady was made to repose
in mid-air. Originally per-
formed by Indian jugglers,
staged by the late Robert Hou-
din, and modernized by twen-
tieth century magicians, it con-
tinues to arouse almost the
same interest as when first
produced.
The effect upon an audience
is as follows: A young lady is
brought forward and asked to inhale a peculiar kind of anaesthetic
contained in a bottle. In the meanwhile, a bench about five feet
in length, two feet in width, and standing about six inches above
the floor, is brought in and shown to be entirely independent of
the floor or of any part of the stage. A small stool is placed upcn
the bench and the young lady mounts the stool and extends her
arms. Under each arm is placed a stout pole which reaches to
the bench. The performer makes pretended mesmeric passes
over her, and in a few minutes her head drops, her eyes close,
and she apparently succumbs to a mesmeric sleep. The stool is
then taken away and she remains supported by the two poles.
The operator now makes more passes over her and then re-
moves the pole from under her left arm, gently mesmerizing the
arm down to the side. The girl now hangs motionless with no
other support than the single upright pole under her right arm.
Bending her right arm so as to support her head, the performer
next lifts her gently so that her body forms an angle of about
45 degrees with the pole. She is left in this position for a minute
or two and then raised to a horizontal position as shown in Fig. i.
Under the influence of the anaesthetic and the mesmeric passes,
the body has apparently lost its weight and reclines horizontally
in mid-air, with no other support than that afforded by the up-
right pole under her right arm.
The key to the mystery, of course, lies in the pole, which is1
made either of iron throughout, or of wood with a strong iron
core. Its lower end fits into a socket in the bench and its upper
end is hollowed out for about an inch in depth to receive the
apparatus shown in Fig. 2.
Referring to Fig. 2, a is an iron girdle which passes nearly
around the girl's waist and is strapped on by the leather
band b. Fastened to the girdle is the
iron rod c which extends from the arm-
pit to the knee of the girl. The loweri
part of the rod is strapped to her right
leg by the leather band and the joint e at
her hip. working backwards, enables her
to bend her thigh so as to walk naturally.
The iron strip /, fastened at one end to
a, passes between her legs and the other
end is strapped to the front of the girdle.
The strap g passes over her left shoulder
to prevent the apparatus from slipping
downwards.
A short flat piece of iron, h, is pivoted
to the upper end of c so as to work freely
BY W. H. RADCL1FFE
m
'-'• f'rt'l ;in-<l pole and llanio-
in 11. c levitation trick shown in
Fig. 1
d,'
o
Fig. 3. Plan and elevation
one of the more recent
upon it; this part comes
directly below the right
armpit. The right end of
h is welded into a semi-
circular ratchet with two notches, and into these a check. /. run-
ning along the rod c, is pressed by the spring /. If the rod c be
moved outward and upward with respect to h, the spring / will
force the check i first into the lower notch so as to hold the roJ
in a slanting position. Moving the rod c still further upward,
the check i will finally be forced into the upper notch so as to
hold the rod horizontally, or in line with h. By pressing down
the hook k, however, the check i is withdrawn from the notch
and the rod c is free to return to its downward position.
At the left end of the iron piece h is a projecting plug /, which
fits into the hollowed out end of the pole m, placed under the
right arm of the girl. As all the
apparatus shown in Fig. 2, ex-
cept the pole, is worn by the
young lady underneath her outer
garments, there must be an
opening in the underpart of her
right sleeve for the passage of
the plug /.
The trick is operated as fol-
lows : When the young lady
mounts the stool and extends
her arms the performer, in ad-
justing the poles beneath them
places the lower end of the pre-
pared pole into the socket in the
bench and guides the plug / into
the hollowed-out end at the top.
When the stool and the unpre-
pared pole are removed, the girl
appears to be resting upon the
top of the remaining pole but, in reality, is comfortably seated
in her iron cage which is carefully padded so as to give her no
discomfort.
Her left arm and leg. being free, may be placed in any position
the performer chooses. When he lifts her into a slanting posture
the check i slips into the first notch of the ratchet as previously
explained and holds her in this position. After a short interval
he lifts her into a horizontal position, and the check slips into the
second notch of the ratchet, holding her apparently asleep in an
invisible aerial couch.
After allowing her body to remain in this position for a few
moments the performer, continuing his mesmeric passes with
one hand, places the other hand under her and draws down the
hook k, which releases the check and allows the body to descend
to an upright position. The performer guides the body down-
ward so that it drops gradually until the feet rest upon the stool
which has again been placed upon the bench to receive them.
The second rod is then placed under her left arm. and after
the performer apparently demesmerizes her by making passe*
over her body in the reverse direction from before, she gradually
assumes that bewildered and half-scared expression of one newly
<— Ji awakened from a trance. Raising on her feet so as to dis-
engage the plug from the hollowed-out
end of the right-hand rod. she steps
down from the stool, smiles, and makes
her final bow to the audience.
The writer witnessed an excellent
modification of this trick last summer in
which the two upright rods were re-
placed by an ordinary broom. This was
used, sweeping and upwards, as a right-
arm support for the girl who, after being
raised as previously described, peace-
fully reclined in a horizontal position
upon the ends of the splints. Extend-
ing through the handle of the broom and
up to within an inch of the top of the
77Z.
of the coffin-like couch used in
stage illusions in levitation
••••Illl
White
JULIA
MARLOWE AS KATIIF.RINE IN "THE TAMING OK THE
THE THEATRE MAGAZINE
r
.
-^-T^^^r^r^
l 3 •
1.
splints, was the iron rod, hollowed out at the
end to receive the projecting plug of the
harness strapped around the girl's body.
Delving still further into the realms of
levitation, the reader will find in the illusion
about to be described an exceptionally in-
genious arrangement of apparatus that was
successfuly exhibited a few years ago
throughout this country and Europe.
As in the previous illusion, a young
woman is introduced to the audience and
apparently mesmerized by the performer.
In the meanwhile a coffin-like couch with
hinged sides is placed on the centre of the
stage, the sides opened, and the young
woman, now apparently in a trance, laid
upon it.
The sides of the couch are again closed,
and the performer, standing behind, makes
passes with his hands over the girl's body,
whereupon it slowly rises before him, main-
taining a horizontal position at full length.
When four or five feet above the floor, the
upward movement of the body ceases and
the young woman apparently rests unsupported in the air, about
on a level with the performer's shoulders.
To assure the audience there is no means of support, the per-
former moves a large wooden hoop above and below the motion-
less body of the young woman and then draws it entirely over
her body lengthwise, repeating the operation several times. He
then rolls the hoop to the audience for examination.
Fig. 4. In many stage illusions in levita-
tion the elevating apparatus employed is
constructed along the lines shown here
. A hoop passed over a supported body in the order indicated by the
numbers gives an impression that the body is floating free in mid-air
Now, reversing his mesmeric passes over the body, the per-
former apparently causes it to descend until the young woman
again rests upon the couch. He then apparently breaks the spell
and, assisting the subject to her feet, presents her to the audience.
Looking down upon the couch and apparatus required for this
illusion, one sees as at A in Fig. 3, the couch at o, and a separate
inner rest m, to which is securely fastened underneath an iron
rod d. This rod extends back from the couch in a horizontal
direction and is curved in order to encircle half of the performer's
body as he stands directly behind the couch. Into the end of this
curved horizontal rod d fits the vertical rod /;, shown in elevation
in Fig. 4, which runs up through the stage floor j. The lower
end of the vertical rod is grooved to engage with a toothed
wheel u', which in turn engages a larger toothed wheel u so that
when u is turned by means of its crank handle, it moves the iron
rod h up or down, carrying with it the inner rest m of the couch
o. Two toothed wheels, u and w, are used instead of one, to
make the lifting of the load easier and more uniform.
When the couch is brought on the stage care is taken to place
it so that the end of the curved rod d comes directly over the hole
in the floor. After the hinged sides of the couch are let down,
as shown at B, Fig. 3, the rod h is raised slightly from beneath
the stage to fit into the end of d,, and the apparatus is then ready
for operation.
The performer carefully places himself so that his feet occupy
the dotted positions shown at the top of A in Fig. 3. This allows
the rod h to come up directly behind him and, together with the
curved part d, to pass between his body and his outer coat, which
should be a long, loose-fitting frock. The
young woman's body, as it is raised from
the couch, being always in the same plane
with the horizontal rod, and the performer's
body being always in front of the vertical
rod, no part of the elevating apparatus can
be seen by the audience.
The hoop used by the performer to prove
the absence of supports about the young
woman's body is a solid wooden one, and
the desired impression is made upon the
audience by a clever method of handling it.
Moving it above and below the body is of
course a simple operation which requires no
explanation. To show how it is passed over
the body lengthwise, reference will be made
to Fig. 5 where the direction of travel of the
hoop is illustrated. Position / shows it just
before being passed over the head of the
subject; position 2 shows it a little later,
passing over the feet of the subject; position
3 shows how the hoop is reversed, that part
of it which formerly was on the performer's
side of the subject now being on the audience
side; position 4 shows how the hoop may then be drawn clear of
the subject from the opposite end to which it was passed on.
From the audience room the illusion is practically perfect, the
hoop apparently being drawn twice over the body from head to
foot, making it appear free from all suspension. This, together
with the privilege afforded the spectators of carefully examining
the hoop, makes a lasting impression upon the audience.
There are, however, several objections to the method employed
of executing this trick. The performer must remain in a central
position with respect to the rising body throughout the important
part of the trick, rendering its presentation rather stiff and
formal, the body can be elevated only a few feet above the floor
on account of the limitation imposed by the height of the per-
former, and the hoop, in order to span the distance from the
central iron rod to the furthermost parts of the subject, must be
inconveniently large.
Certain modifications have therefore been introduced to make
the illusion still more realistic and easy of presentation. The
vertical iron rod that comes up through the floor is colored the
same as the stage curtain in the rear. A dark brown is the color
generally selected for the rod and for the background of the
curtain, the latter being usually interposed with narrow vertical
stripes of black as shown at d, Fig. 4, to divide it into vertical
brown bars of about the same width as the rod. The object of
this is, of course, to render the iron rod indistinguishable from
the curtain as the rod rises above the floor, so that the performer
need not remain in one position in front of the rod, and the height
to which the body can be raised may be increased.
Another method of rendering the vertical support invisible is
to employ a three-sided polished steel rod, one side to the rear
and the other two sides meeting directly in front. Curtains
6 r^ -s ,
\
\
\ i
v \ ou i
\ N '
\ '
\ i '
I
*^ W s '\ /
/ \3 I.
Fig. 6. An improved modification of the hoop test shown in Fig. 5, which ap-
parently proves conclusively the absence of all supports about a levitated body
similar to the one at the rear of the stage are hung behind the
wings, one on each side of the
(Continued on page vi)
WHEN you feel a role
with every inch of
you, and you struggle
and strain to work it out on the stage so that you others in the
audience may feel it, too — I tell you it's like a Golgotha !"
It was Olive Fremstad, the dramatic soprano of the Metro-
politan Opera House, who spoke.
She did not exaggerate her difficulties. It is a struggle for one
not naturally articulate, for one who belongs to the listeners of
the world, even among the dreamers, perhaps, to force her visions
on the public. In one way only can she do it — by absolute ab-
sorption in her role — and those who have seen her art, as it were
in the making, stand back almost awed when this woman — Olive
Fremstad no longer
but an incarnate Isolde
or Briinnhilde, Elsa or
Kundry — passes by.
She is like a seer
whose vision is out-
spread before her.
Such utter immolation
of herself on her roles
brings its reward in
some of the most real-
istic portrayals given
on our operatic stage —
one might, indeed, say
on any stage.
As Briinnhilde in
"Siegfried," all the
majesty and freedom
of the demigoddess
characterize her awak-
ening. She has no
eyes for Siegfried, yet
— no thought save for
the nature about her.
An elemental force
herself, she raises her-
self on her couch; and
her Heil dir, Sonne! is
as though one planet
called to another
across the void. Life
speaks to her ; no one
living. Very slowly,
the presence of Sieg-
fried makes itself felt.
Then, with every deli-
cate touch the intellect
can suggest, Mme.
Fremstad paints for us
the lure of the man for
the woman — newborn.
Comes the crucial
struggle then between
the woman who loves
and the goddess who
would be free. With her eyes, her gestures, her whole body
showing the trance of love into which she is plunged, she would
yet repulse the hero — if she could. The exquisite tenderness of
her surrender cannot be painted. Eighteen minutes of Olive
Fremstad's presence on the stage suffice for the illumination of
Wagner's dream as one sees it not elsewhere — the dream of the
goddess who lost herself to find herself anew.
Elisabeth, on the contrary, as Mme. Fremstad shows her to us,
is scarcely a woman at all. She is a saint, a dreamer. Things of
earth touch her lightly and go by. A duty speaks to her— how
exquisite her hastening forward to receive the aged among her
guests !— but a wish of her own says nothing. To such a one it
seems not strange that a man should journey hundreds of miles
to do a penance and regain his soul's peace
Art of Olive Fremstad
Copyright Mishkin
OLIVE FREMSTAD AS TOSCA
Even when, with the
lapse of time, her longing for
him has taught her what love
may be, she is yet fitter for
heaven than for any man's love. The most exquisite flowers fade
quickest in the clasp of a warm hand.
Sieglinde has been described as "an ungrateful role" — "the
colorless twin sister of Siegmund" — "the unimportant part of
Hunding's faithless wife." No Mich descriptions belong to the
role properly interpreted, and no such words could be applied to
Olive Fremstad's characterization. Her Sieglinde pulses with
life, sympathy, tenderness; all repressed by Hunding. Very
lovely is the womanly gentleness with which she ministers to her
strange guest, the dignity with which she fulfils a housewife's
duties toward both
the men. When Sieg-
mund tells his story at
table, Mme. Frem-
stad's facial expres-
sion is a wonderful
study in itself. She
has half risen from her
seat, forgetting every-
thing but the story-
teller, only to be re-
called to herself by
Hunding's brutal in-
sinuation, "Too late
returned 1 to my
home." And what
heartbreak she later
sings into the lines re-
counting her miserable
wedding, "Sorrowful I
sat, while they drank
all around me !" In
the passionate love duet
the joy of the primi-
tive woman, finding
her true mate, ex-
presses itself in every
line of her body, every
note of her voice.
Sieglinde has a hard
task in the second act
— not to rant a little —
and most singers suc-
cumb to the difficulty.
Mme. Fremstad, how-
ever, succeeds wonder-
fully in expressing ut-
ter, distracted misery
and remorse without
one note of exaggera-
tion ; though her cries
of fright on awakening
quite alone are real
shrieks of terror. Later,
when weary, exhaust-
ed and despairing she stands later among the Valkyries, lis-
tening apathetically to Briinnhilde's excited story, she holds
every eye. Here Mme. Fremstad shows the power, possessed by
a few very great actors, to remain silent, motionless, without any
apparent attempt to gain attention, yet withal concentrating the
mind of the audience on herself. It is hard to explain this
peculiar ability, except by the well-worn phrase, "The power of
personality." Sarah Bernhardt has it; Henry Irving and Richard
Mansfield had it; Mary Garden has it; and Olive Fremstad pos-
sesses it in an unusual degree.
Her conception of Briinnhilde in "The Gotterdammerung" is
more as goddess than as woman, almost throughout. Over-
shadowed from the beginning by the slowly advancing gloom of
Fate, the figure of Briinnhilde, thus painted, stands out sharply
66
THE THEATRE MAGAZINE
Phi<t<» Strauss-Peyton
Eleanor Henry
TWO ATTRACTIVE ACTRESSES WHO ARI
Haze] Cox
TO BE SEEN IN BROADWAY PROIHVTIO.VS .NEXT SEASON
against her sombre background. When she urges Siegfried
off to new deeds of valor, or refuses with scorn \Val-
t rant's demand for the ring, she is less woman than gocl-
di-ss. Beaten, cowed, defeated by the disguised hero, it is
i'<>r a short time only that she becomes weak woman. The
realizing of Siegfried's treachery gives her back her strength.
Though she has been conquered, it is by the one human being
predestined to vanquish her — back of him lies the inexorable
Fate typified by the ring— and that knowledge, though it mav
tear her heart, takes from her both shame and weakness. She;
becomes an avenging Fury. When Olive Fremstad slips from the
group, to crouch outside listening, only to force her way back and
swear her oath of vengeance on the spear, she is an embodied
Fate. Her eyes are half shut, snakelike, glittering, as she later
utters the words that seal his fate, but she is much more than
a tricked, revengeful woman— she is the final instrument of doom.
In the death scene Aline. Fremstad rises to perhaps the greatest
emotional height of her career. Her Brunnhilde is no longer the
incarnate will of the gods; she is the woman possessed by a
supreme despair that outweighs grief. "He was the truest of
men, yet he forsook me"— there lies the sting. Here are no tears.
no shrieks for that sorrow ; the losses of death are nothing com-
pared to the losses of life. Indeed, death means reunion and re-
understanding. So she calmly makes ready for that meeting
and lu-r Joynusly Greets Thee Thy Bride carries a promise with
that lifts a load from the heart. It is in this scene, too, that
Mme. Fremstad perhaps touches her greatest height artistically
Her voice is so exquisitely modulated in its sadness her despair
engrossing in its detailed portrayal, her gestures so perfect in
their grace— it seems impossible to depict with greater realism or
w.th more charm the heartbreak and the joy of Wotan's daughter
In Isolde, Mme. Fremstad lets us see always the queen equally
ith the loving woman. It is true the Irish princess, as she por-
her, is one who drinks deep of the bitter-sweet waters of
I but she is also the woman who feels herself superior bv
•ank, to convention, as well as lifted by passion above its dictates
ence her withering irony in the first act— the superb rage pos-
sessing her that she, Isolde, should be disdained not alone by this
istan but by any man living. So to the final, most wonder-
lebestod she comes with head erect and un fearing Life's
obstacles have only existed for her to beat them down, and Death
himself shall not stand between her and her love. Mme Frem
stad's voice is never colored better than when she sings Isolde.
The sensuous sweetness of it in the softer passages, the brilliancy
and power of her high notes, would alone, even if not joined to
her splendid acting, rank this among her greatest roles.
Kundry, she says herself, is "terrific." it would seem im-
possible to set an artist a much greater task than Wagner has
presented in the part of Kundry, with its strange transformations
from wildness to charm, from seductiveness to penitence, with
the fearful wrestlings of that double nature. But -Mine. Frem-
stad fails her audience in no way. Vocally and dramatically, her
Kundry ranks with her Brunnhilde and her Isolde. She 'is a
strange, weird figure in her first appearance. Indeed, in her
colloquy with Klingsor she is more than weird, she is grewsome
Her seductiveness as the tempter is perfect. But it is as the
heartbroken penitent that she will live longest in the memory,
and it is interesting to recollect that in the entire act she may use'
her beautiful voice in the singing of but two words. It is a
wonderful achievement that, under these circumstances, given up
as she is to the sway of her emotions, she can yet succeed in
making these same emotions utterly possess her audience.
Nor has this remarkable artist confined herself to impersonat-
ing the heroines of German opera. Her Carmen, her solitary
performance of Salome, her Tosca, are all noteworthy ; and it is
to be regretted that New York has not been given her .Mar-
guerite. A safe prophecy might be made that it would be dis-
tinctly worth while.
Perhaps the most frequently heard comment on Olive Frem-
stad's work is, how much her characterizations have grown since
her first appearances. One hears how incomparably finer her
Brunnhilde is in the last two years; how her Isolde reaches
greater heights ; how even her wonderful Kundry improves with
time. .The same comment can be made upon her singing, pure
and simple. In every way it is finer as time goes on. In no
derogatory sense, however, are these comments critical of Mme
Fremstad's work. Nay, more; they are the very highest praise.
We are too sadly familiar with the artists who create a part well
and then never appreciably vary it from the first performance
because, forsooth, that performance brought them success. It is
a privilege to study the career of one who takes us with her as
she grows, from triumph to triumph, and who yet preserves that
beautiful modesty which is so becoming an adjunct to artistir
greatness- GLARE P. PEELER.
Matzene LAURETTE TAYLOR
now anneariiiB in T. Hartley Manners' comedy, "Peg o' My Heart," at the Tort
This popular actress is now appearing
Notable Stage Figures of the Sixties
Seventies
IN the decade from 1866 to 1876, New York playgoers were
privileged to enjoy in their prime the art of the greatest
players of the nineteenth century. These were in most in-
stances foreign artists, but they were seen at this period truly at
their best, and, being supported by actors from their native lands,
their stage presentations were in striking contrast with tire poly-
glot performances which characterized their later American
tours.
The first to come hither was that sublime tragedienne, then
recognized as the absolute leader of the Italian stage, Adelaide
Ristori, who made her American debut in September, 1866, as
Medea. Ristori's advent here was preceded by a campaign of
publicity that has had no parallel
in modern times. Jacob (irau (an
uncle of the writer) was the im-
presario to tempt fate by investing
a fortune in an undertaking so un-
precedented and unconventional
that there were few indeed who did
not predict disaster. Yet in the
forty-live years that have passed
since Ristori's debut there has been
nothing to compare with the re-
sults attending her first visit, both
from artistic and financial view-
points.
Words really fail the writer in
any effort to convey to the reader
of this period with what acclaim
the great Italian actress was re-
ceived. My uncle had been burned
out at the old Academy of Music
on Fourteenth Street, where he had
been giving grand opera with La-
grange as the star. His contract
with Ristori called for an advance
outlay of nearly $50,000, something
so far beyond all precedent then
that he decided to place the scale
of prices for seats to see Ristori at
the highest figures ever charged for
a dramatic performance. The ma-
jority of the seats were $3.00 each,
the lowest price of admission be-
ing $1.00. Excitement was at such
a pitch when the advance sale
opened that it was necessary to call
out the police reserves to enforce
order. The line began to form at
4 P.M. the day before. More than
two hundred persons, including
many women, remained in line all
HOW ITALY HONORS HER PLAYERS
Mode! which won the prize in the competition for the monument of
Adelaide Ristori, the great Italian tragedienne, to be erected in her
native town. C'ividale. The sculptor is Signor Antonio Maraini, of Rome
first Ristori matinee $5.00 was paid for standing room.
When Ristori made her entrance the audience rose to greet
her. Her own countrymen, unable to gain entrance to the play-
house, stampeded the sidewalks both in front and in the rear of
the theatre, remaining there until the performance ended, and
when the great actress made her exit from the stage door a
number of the most enthusiastic unhitched the horses from her
carriage and in triumph led their illustrious countrywoman to the
Everett House, where later in the night — or midnight, rather —
Ristori was serenaded and forced to make a speech.
Ristori's repertoire consisted besides Medea, of Deborah,
Mary Stuart. Queen Elizabeth, Marie Antoinette and Adrienne
Lecouvreur. Of these, Marie An-
toinette was the most potent,
though in truth Madame did not
face an empty seat at any perform-
ance the season of 1866-67. Jacob
Gran made a profit of $150,000 on
that one season and Ristori as much
more. As an illustration of the in-
terest in this notable tournee it
should be stated that the profits
from the sale of librettos alone
were in excess of $500 a week.
The late Maurice Grau was a
libretto boy in Knickerbockers, lit-
tle dreaming that he was destined
to be the one to direct Ristori's
tours in later years. At least one
of the Frohmans was among the
coterie of libretto boys at this time.
and nearly all became prominent in
the business department of the
theatre in after years.
At the time of her American
debut Ristori was about forty
years of age. Her classical fea-
tures and her majestic appearance
caused many writers to proclaim
her "as the handsomest middle-aged
actress of her day."
My uncle was bent upon follow-
ing Ristori with some other great
exponent of tragedy. He scoured
the European continent from one
end to the other. Salvini and Rossi
had not yet achieved fame in their
native land. Sarah Bernhardt was
unknown. Germany possessed the
two only worthy confreres of Ris-
tori in Hedwig Raabe (who was
the wife of Niemann, the tenor,
had induced to visit these shores to stand the test of comparison
with her Italian sister in art.
Marie Seebach came over in 1868, making her debut in the
very same theatre on West Fourteenth Street (this playhouse still
• 1 rp, . . "«V I HV <J1 J-IH-llIdllll, UIC IC11UI ,
spectacle of West Fourteenth Street lined with pro- and Marie Seebach, and it was the last named that Jacob Grau
seat holders, eating their meals seated on camp stools
was truly inspiring. By nine o'clock the next morning, when the
box office opened, there were two thousand persons congregated
about the theatre. The society women of New York were no*
J , • • «• ~ * ~ ——--.. *,,,,_ .*.vu*b^.b««i.i« t^lVl \_\, L. 1H1U !Jl(l*lM'll^\_^LJI
:> proud to stand ,„ hne. A mob of five hundred messenger stands and is now a moving picture theatre) as Mary Stuart
At noon every seat and box was Her repertoire, too, was identical with that of Ristori. save that
Madame appeared but four times a the German actress was more versatile, scoring heavilv in such
The ticket speculators reaped such a harvest that they did lighter works as "Losle" (Fanchon) and "Jane Eyre "
ave to stand ,„ front of the theatre to dispose of their seats, The best that may be said of the tournee of Seebach. looking
rtbrok fo tC thHemSe'VCS at the Cnd °f the line <which was back, is that she scored a sHCC*s d'estimc. The profits were
Tv M about $10,000 for the entire season. The public had not yet re-
Herald had as many as th.rty advertisements covered from the Ristori excitement, and Seebach suffered nat-
y d.sappomted patrons, offering fabulous urally, though under the best conditions she would but have
oseph Seagnst, then the most prom- duplicated the amazing success of the former, and yet there are
r fo seats for th' ^±'1 «S T""^ ^ $S° * "° MaHe Seebachs ^^ °"e can °"h' ™'^™ " to what
Pa,r for seats for the first n.ght of "Medea," while for the measure of approval would (cL,,^ on fa9e ,,')
COMIC opera at ten, twenty and thirty cents admission was
a popular entertainment "on the road'' a quarter of a cen-
tury ago. Gilbert and Sullivan, Audran, Lecocq and
Planquette, were thus made familiar to many rural communities
where the higher-priced lyrical organizations seldom or never
went. "Ten-twenty-thirty" opera may come into being again.
The successful revival in the last year or two of "The Mikado,"
'atience" and "Pinafore" — a success that grows bigger as it
joes on — indicates that there is still a public for the kind of
offering it is the custom to .call old-fashioned. Should the de-
mand for light opera of former days become general, many com-
panies to present it at "popular prices" are sure to be organized.
It is only to be hoped they will contain as good actors and
singers as belonged to those touring the country in the eighties
and early nineties. Who were these good performers ? Well, there
was Charles A. Iligelow for one. Up to his death a few months
ago, he was known as a star comedian whose very personality
(in the stage was hopelessly comic. It was impossible to associate
such a face as his with romance. Yet, when as a youth barely
out of his 'teens, he played the Duke in 'Tatience." In the red
uniform of a British guardsman, with helmet and plume, he was
as handsome a fellow as ever won the heart of a matinee maid.
Incidentally he showed himself, even in those early days, to
possess the true histrionic instinct, and was always a convincing
actor. His voice, a sweet and powerful tenor, did full justice to
Sullivan's somewhat tricky music. Other parts in which he
always won high praise were the Mikado, Sir Joseph Porter,
Rucco in "The Mascot," and Captain de Merrimac in "Olivette,"
a baritone rule, by the way, but in which Bigelow was at his
best.
Then there was Frank Deshon, as popular to-day in the two-
dollar theatres of large cities as he used to be in the low-priced
opera circuit in the far-off times we are recalling. The Deshon
Opera Company, of which he was leading comedian, was known
from coast to coast. His Koko, Lorenzo in "The Mascot," Bun-
thorne, Dick Deadeye and Coquelicot, were all excruciatingly
funny. But the character in which he won his highest commenda-
tion, and which he best liked to play, was Gaspard, the miser, in
"The Chimes of Normandy." In this tragic role he was com-
pared favorably by the critics with J. G. Peakes, the famous
Gaspard of that period.
Mr. Deshon has retained his youthful figure and appearance
( lie is one of those fortunate persons like John Drew, Dixey, and
Lillian Russell, who will never be old), and he relates" an amusing
story on himself in this connection. Lighting arrangements in
theatres were not as good a score of years ago as they are now.
So when he wanted a "spot-light" for his big scene in "The
Chimes," when Gaspard is gloating over his bags of gold in the
haunted chateau of Corneville, he used to give the house property
man a couple of dollars to get a locomotive headlight and place
it in the wings. The result was fairly satisfactory, although it
may not have made as good a "moon effect" as is demanded
nowadays. Stage hands all over the country got to know a head-
light nuist he got for this scene, and that it was worth two dollars
to "Props."
Not long ago Deshon toured in a special season of light opera,
with "The Chimes" as the principal feature. Although stage
equipment is better than it used to be, he struck one theatre where
the electric "spot" was not clear and steady, and after the per-
formance he complained to the electrician. That worthy was a
gruff, outspoken individual. He looked at Deshon for a moment
in disdain. Then he broke out:
"What are you kicking about— a kid like you? Why. 1 knew
your lather twentv-five years ago— a better Gaspard than you'll
ever be— and. by heck! he was satisfied with a locomotive head-
light thrown «),/ him for the chateau scene. He'd have dropped
White
Janet Beecher as Empress Josephine in "The Purple Road"
dead with delight if he could have got an electric spot like I give
you to-night."
"Now," laughed Deshon, when I heard him tell it, "was that
a knock or a boost ?"
Marie Dressier is another star who was in ten-cent opera at
one time. She was a capital Katisha, Lady Jane, in "Patience,"
and Buttercup, and sometimes sang in the chorus. Doing chorus
work meant no sacrifice of professional dignity in an organization
where everybody was striving for general excellence. Faithful
"team work" was a notable characteristic of ten-cent opera. With
the exception of the leading comedian and prima donna, every-
one sang in the chorus occasionally. Even the two principal per-
sons helped out choruses when they chanced to be in the wings.
In a company which numbered only twenty or so, all told, it was
necessary to use all the singing volume available.
Anna Caldwell, who has lately (Continued on page .nV)
SHORT
War.
HORTLY after the Civil
Edmund C. Stedman
said to me that no really
great romance of American life
had ever been written, or could be written for years
^^tt^^^ to come, because life in this country was so insipid in
^fl ^Lthut it lacked the varying class conditions and en-
• Pvironments that prevailed in European countries.
Henry James once reaffirmed this belief in a paper
that he wrote on the genius of Nathaniel Hawthorne.
fc^L in which he asserted that that greatest of American
novelists was hampered by the narrowness of his
early New England surroundings and would have
Margaret Anglin J
done greater and better work had he gone to Europe
earlier in his life. Some years later, .in discussing this subject
with .Mark Twain, he agreed with his fellow writers, and when
it was suggested that the Pacific Coast afforded suitable back-
ground and sufficient stirring events, as indicated not only by
the success of himself, but of Joaquin Miller and Bret Harte in
this field, he replied that : "The Pacific Coast could furnish the
scenery, story, and hero, but not the right type of heroine. It
is impossible to produce a truly great novel with its characters
citizens of the Pacific Coast, for one fails to find there as yet
the surroundings and characteristics required to produce the
finest and greatest creation of the Almighty — a noble, good, and
cultivated woman."
In discussing this question in the fall of 1905 with Blanche
Bates, who was enjoying great success in her then new play,
"The Girl of the Golden West," she took issue with these gentle-
men. Miss Bates said: "1 cannot agree with Mr. Clemens, for
I believe that on the Pacific Coast (of which she is a native)
can now be found just such heroines. I know of a girl who
lived in California in the 705, in a mining camp, who was much
such a woman as the girl in this play. These rough miners,
horse thieves, and sheep stealers, pay the loftiest tribute to such
women by the devotion and respect they show them, and this
devotion is an inherited trait, for these men always know the
difference between good and bad women. One cannot deceive
them."
Tn this connection she cited the case of a well-known young
woman in San Francisco who many years ago always
"ran with the machine" to every fire that occurred in
the city, sat up all night with the firemen, and yet pre-
served a spotless reputation and eventually married a
man of high character.
"For my part," she continued, "I believe that a girl is
safer to-day in any mining camp in California than if
she walks down Broadway, New York, without escort.
I came East with the loftiest ideas as to your Eastern
civilization, but regret to say that all too often I have
Players I Have Kmiowim
c^
By A VETERAN CRITIC
Blanche Bates
Robert Mantell
morning the youngest, freshest and
most gallant man on board the
ship. He is the idol of the Bo-
hemian Club, of San Francisco, and
is really a delightful old gentleman."
I quoted to Miss Bates a eulogy of Sir Henry
Irving, in which the critic said that "The dean of the
American stage in the later years of his life devoted
himself to exploiting one second-class play and
thereby made a fortune, whereas Mr. Irving never
rested on his laurels but, without regard for pecuniary
reward, went on from play to play, developing his
genius thereby." Miss Bates expressed her warm
approval of Mr. Irving's methods in this respect, and
said that nothing was worse for an actor or actress than to
devote himself or herself to a single play. She stated that,
during the long and successful runs of the different plays in
which she had appeared under the management of Mr. Belasco,
she had repeatedly obtained permission to appear at matinees
in other plays, to avoid becoming too fixed and hardened in her
methods. The versatility which she has shown in such plays as
"The Children of the Ghetto," "Under Two Flags," "The
Darling of the Gods," "The Girl of the Golden West," "The
Fighting Hope" and "Nobody's Widow," evinces the soundness
of her theories in this respect.
When "The Darling of the Gods" was first played in Balti-
more, an incident occurred which, under the circumstances, was
rather amusing, and which delighted Miss Bates when I related
it to her. It will be recalled that the last tableau represents the
heroine as struggling through the river that separates the Japan
of the play from the Japanese Heaven, where her lover is sup-
posed to have been waiting for her for a thousand years. The
theatre was in darkness, and the figure of Yo-San was dimly
seen passing through the waters. In the silence I heard the
voice of a university student. "Do you think she will get
across?" "Sure," said his comrade, "she's got a transfer."
The success of "The Girl of the Golden West,' "The Squaw
Man," "The Rose of the Rancho" and "The Great Divide,"
demonstrates that while the Pacific Coast may not have yet fur-
nished the background for a great novel, it has for four dramas.
When she visited Baltimore in "The Fighting Hope,"
in which she scored such success in a part unlike any in
which she had ever before played, Miss Bates expressed
the belief that while the play was useful in teaching that
capitalists are not all as black as they are painted in
many recent American plays, yet the public is tiring of
these plays that preach, and are harking back to the
romantic drama. When I told her how often I had
wished to see her and Miss Anglin as co-stars, she said
that she had dreamed of such a combination herself, and
been disappointed in the type of manhood one meets in your had even talked of it with Miss Anglin, but that when "Maggie"
so-called best circles." had suggested that they start with "East Lynne," her courage
Miss Bates felt that, in the heroine of Mr. Belasco's play, she had failed her, as she felt herself unable to contend with Miss
had found the medium by which she could portray the true
character of her sex as found in many a mining camp in the
rockies.
Anglin in such a part as Lady Isabel.
Margaret Anglin had greatly impressed me in "The Only
Way" and "Miss Dane's Defense." before I met her in Balti-
In a most vivacious manner she discussed the literary men of more in the spring of 1906 when she was producing "Zira" there.
California, telling the story of her first interview with Joaquin Talking with her of this last play, I inquired whether she did
Miller, whom she visited at his picturesque home at Oakland,
California. In greeting him she exclaimed, "What a beautiful
prospect you have here, Mr. Miller." Taking her by the hand,
not find the confession scene very wearying. Her reply was, "If
you only knew how little I mind it, you would not ask," saying
that emotion could be put on and off like a glove. She ex-
he replied, "Why don't you utter the truth that I see springing pressed a desire to play comedy roles, and said that she would
from your lips and say, 'How - - hot it is here to-day?' " be only too happy to appear in some of Shakespeare's dramas.
Of Mr. George Bromley of San Francisco, then eighty-five One of Miss Anglin's schoolmates, who was educated with her
years old (he died in 1909), who had just published his delight- in Montreal, tells me that, at a performance given by the girls
ful reminiscences, "The Near and the Long Ago," she said: at the school, at the special request of her parents no part had
"Mr. Bromley is the most remarkable old man I ever met. Out been assigned to her. During the evening an irresistible impulse
there we say he is a hundred and fifty, but he went with a seized her, and going upon the platform she made a recitation
theatrical company with which I was connected, not many years that was by far the hit of the performance,
ago on a trip to the Sandwich Islands, drank straight whiskey When in Baltimore in "The Awakening of Helena Ritchie."
all during the voyage, and all the time he was on the islands, which she played with grace and delicacy, I asked her opinion
which nobody else can do there, and yet bobbed up every of the discussion then going on in ' (Continued on i>apt- r/>
Colonel Pomponnet (frrank Doane)
The Colonel is quite a favorite with the ladies
DELPHINE." AS PRESENTED RECENTLY AT THE
Miilikir.
VERA CURTIS
American soprano who appeared at tlie Metropolitan Opera House
TWO years ago, about the time when moving pictures ami
the phonograph first began to enrich players and singers
of the speaking and operatic stage, Thomas A. Edison
uttered the prophecy that the clay was not far off when the
workingman would lay down his dime at the box office of the
modern theatre of science and witness reproductions of grand
operas, plays and spectacles for which the world's greatest sing-
ers and players would be utilized only for the original films and
phonographic records.
At that time, the Wizard of Menlo Park, who had given to
the world the two greatest inventions by which public entertain-
ment was completely revolutionized, did not undertake to assume
that the successful synchronization of the phonograph and the
moving picture would be achieved by himself. As a matter of
fact, it has already been possible to hear the entire operetta,
"The Chimes of Normandy," acted and sung through scientific
simulation of sound and action, but the achievement was by no
means perfect, though he would have been indeed a pessimist
who after witnessing the spectacle expressed skepticism as to
the ultimate success of the effort to preserve for future genera-
tions not only the pantomimic portrayals of the famous players,
but to faithfully record their vocal expression. In other words,
what had been accompl.shed two \ears a,,o indicated what Mr.
Edison's prophecy would be fulfilled, and that besides providing
entertainment for the masses that had heretofore been possible
only at a prohibitive cost, the amazing spectacle of seeing de-
ceased players act and hearing them speak their lines will be
revealed to generations to come.
What this really means the reader will best comprehend by
asking himself what he would give to see Booth as "Hamlet,"
Charlotte Cushman as "Meg Merrilles," Forest as "Richard 111"
and Edmund Kean as "Othello," at this time.
Fancy our being able to enter the scientific playhouse of
to-day and hear Jenny Lind, Mario, Grisi, Piccolomini, Wachtel,
Parepa Rosa and the Adelina Patti of her prime, yet we know
already that the generations after us will see the divine Sarah
as "Camille," "Adrienne I.ecouvreur," "La Trsca' an 1 "Queen
Elizabeth," they will see Rejane and Jane Hading in the plays
that gave them their fame, and they will see Mounet-Sully as
"CEdipus Rex." And even the members of the exclusive Con
Frangaise have just consented to appear before the camera that
the artistry of the house of Moliere may be perpetuated on the
screen.
And now that the stars of grand opera earn quite as much
through their phonograph records as from their efforts on the
stages of our opera houses, and when such eminent stellar
figures of the dramatic stage as Mrs. Fiske, Viola Allen, Ethel
Barrymore, James K. Hackett and James O'Neill have capitu-
lated to the importunities of the camera man, comes the an-
nouncement that not only has the demonstration of the Edison
de\*ice, called the Kinetophone, realized all of the wizard's hopes
and aims, but a group of amusement magnates, controlling about
one hundred playhouses where high-grade vaudeville is the
attraction, after witnessing the trial demonstration at the Orange
laboratory then and there entered into an agreement by which
these gentlemen will in future provide about one-half of their
attractions through the Kinetophone, instead of continuing to
mete out to the players and singers in the flesh the salaries which
they claim are destined to land the managerial faction in ;!u
bankruptcy courts.
The statement is made that from this one contract alone the
royalties accruing to the leasing company controlling the ex-
hibition rights to the Kinetophone will amount to $500,000 a
year, and as this group of managers is given no exclusive
privileges, and as there are a dozen such syndicates, some idea
may be formed of the scope and possibilities of this latest de-
velopment in scientific public entertainment. Moreover, it will
be recalled that at the outset the phonograph was a mere toy
compared with what it is to-day, while the motion picture was
used as a "chaser" in the vaudeville theatres of but a few
years ago.
To-day Caruso could retire from the operatic stage, safe in
the knowledge that his income from the phonograph will be
forthcoming as long as he lives, with every indication, that the
total will increase rather than decrease, and Madame Luisa
Tetrazzini must surely congratulate herself that the phonograph
company refused her offer five years ago to sing her entire
repertoire at their studio for $1.000 cash. Luisa was as great
an artiste then as now, but had not yet been hailed by a metro-
politan public as La Diva !• That same phonograph company,
three years later, approached the diva, but they had to pay a
bonus of $50,000 for her consent, while her annual royalties are
said to reach between $50,000 and $60.000, which is interesting
here merely to indicate what happens when progress becomes
rampant.
It was much quite the same with the moving picture. As
recently as three years ago, not a single prominent player from
the speaking stage was willing (Continued on facie .v.-/)
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Stage Illusions in Levitation
(Continued from page 64)
platform, and the audience looking in the direction
of the rod see the reflected side curtains and
the curtain at the rear of the stage. The effect
is therefore the same at it would be without a rod.
To make possible the use of a smaller hoop
and to permit a change in position of the vertical
rod from the centre of the body to the head
where it is less noticeable, the horizontal iron
support of the inner rest of the couch is arranged
as shown in plan in Fig. 6. Here a represents
the inner rest of the couch, c the vertical rod at
the head of the rest, and s the horizontal iron
rod connecting these two. The passage of the
hoop over the body is indicated by its positions.
i, 2, 3, etc., these being consecutively numbered
to indicate the direction of movement.
It will be noted from Fig. 6 that, whereas the
method of passing the hoop over the body is
practically the same as in Fig. 5, the test appears
to be a much more severe one. owing to the
comparatively small diameter of the hoop. After
the body has risen to a height of from four to
five feet, the performer with the hoop in hand
generally mounts a stool at the left of the verti-
cal rod, c, Fig. 6, so that when the body has
risen two or three feet further, or to a maximum
height of say eight feet above the stage, he will
be in a position to pass the hoop over it as
previously explained.
Notable Stage Figures
(Continued from page 68)
be meted out to such a sterling player were her
period of activity that of the present.
After Seebach came to Booth's Theatre the rav-
ishingly beautiful Adelaide Neilson, whose Juliet
took New York by storm. This English actress
was tremendously popular, and her vogue showed
not the least decline to the last. Her sad death,
in Paris, while her fame was at the zenith point,
shocked theatregoers throughout the land.
Charles Fechter came after Neilson and his
career was indeed a stormy one. Fechter was
perhaps the most widely discussed actor of the
nineteenth century. Despite his excitable and
quarrelsome disposition he was generally hailed
as one of the four greatest actors of his day.
Although this Anglo-French tragedian scored
greatest in such melodramatic plays as "The Cor-
sican Brothers," "Ruy Bias" and "The Duke's
Motto," he created a sensation with an uncon-
ventional portrayal of Hamlet.
Fechter, though past fifty, looked to be about
twenty as the melancholy Dane, and his wearing
of a blond wig caused much discussion.
Fechter, like the late Sir Henry Irving, was a
great stage director, and his procedure at all
times was actuated by the highest ideals. He
spent a fortune to remodel the theatre on West
I4th Street, which he called The Lyceum.
The late Richard Mansfield took Fechter's ca-
reer as a model for his own, and the two were of
a similar mould mentally and physically. R. GRAU.
Players I Have Known
(Continued from page 70)
the local press as to censorship of the drama,
some prudish people even objecting to her play.
She maintained that a censorship such as had
lately been exercised by the Collector of Water
Rents (who is likewise the theatrical censor in
Baltimore) was useless, and that, for her part,
she believed that, after all, the press and the
public itself were the best censors, and that
vicious and suggestive plays, which no one dis-
likes more than she, never win long success.
Discussing with Miss Anglin her performance
of "The Great Divide," I asked how she, a
Canadian and a Roman Catholic, had so pene-
trated into the New England conscience in her
interpretation of the heroine. Her reply was that
she had been up against that troublesome article
in New Englanders all her life. She then told
me a story of a plain old Scotchwoman who ob-
served the Sabbath so strictly that when she
wrote a letter on Sunday she always dated it
Saturday or Monday.
Like Miss Bates, Miss Anglin expressed dis-
taste for long runs in a single play, which re-
sulted in a state where from sheer weariness she
forgot her lines, and had to mentally exert her-
self to regain them. Miss Bates commented on
this that she, too, had been through that stage.
It is to be hoped that each of these actresses
will soon find opportunity to play in classic roles,
for which each of them are so well fitted.
H. P. GODDARD.
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
THE THEATRE MAGAZINE ADVERTISER
vn
Philadelphia's Little Theatre
(Continued from page 61)
ing heroine. She was the Chlora, seeking an
Adrian, and there were five separate men to en-
gage her attention. The episodes were suggested
by those in "The Affairs of Anatol," but Chlora
is different, for she never transgresses the moral
code, and is only a flirtatious girl who finally
meets the man ingenious enough and resourceful
enough to win from her a promise to marry him.
In the staging of the play, Mrs. Jay and her
assistants achieved some remarkable effects. Most
interesting of all is the final scene representing
the Adriatic. When the curtain rises one sees a
body of water upon which a Summer Man is
rowing. On a rock, engaged in the task of paint-
ing in oils, is Chlora, seated at an easel. She
disdains the oarsman until he reminds her that
there is such a thing as tide and that it will rise
soon. The on-lookers are amazed as the water
rises and as they see Chlora's feet submerged.
She removes her slippers and throws them in the
boat. The water continues to rise, and soon after
she has capitulated to the extent of entering the
boat, the rock upon which she had stood has
disappeared and the stool upon which she had
been sitting is covered by the flood. Still she
is defiant, declaring that she will not marry him
until she has placed her arms round his* neck
and that she will never do such a foolish thing.
With little ado, he upsets the boat and both
tumble into the water. She is conquered but a
trifle discomfited when she discovers that the
water is only three feet deep and that there was
no fear of her drowning. HERMAN L. DIECK.
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Some of these attractive songs should be in
every collection intended for summer amusement.
"Floating Down the River on the Alabam' "
(Brown-Von Tilzer), Heidelberg Quintette;
"Ragtime Regiment Band" (Morris), Heidelberg
Quintette; "My Turkish Opal" (Gillespie-Wil-
liams), Peerless Quartet; "San Francisco Bound"
(Irving Berlin), Peerless Quartet; "Come and
Kiss Your Little Baby" (Von Tilzer), Jones-
Murray; "Mirandy and Me" (Benham-Vander-
veer), Helen Clark- Walter Van Brunt ; "Sunshine
and Roses" (Van Alstyne), Edna Brown-James
F. Harrison; "Just Say Again You Love Me"
(Goldstein), Charles W. Harrison; "We've Got
a Parrot in Our House" (Pretty Poll. Pretty
Poll), Arthur Collins-Byron G. Harlan ; ''Let Her
Go, Let Her Go" (Bayha-Jentes), Billy Murray;
"The Curse of an Aching Heart" (Fink-Pianta-
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"You're a Great Big Blue-Eyed Baby— Medley;
"Good Bye Boys"— Medley One-Step; "When I
Lost You"— Medley Waltz; "Nights of Gladness"
—Boston; "Maori"— Tango. (Advt.)
The incidental music written by William Furst
for Longfellow's "Evangeline" has been com-
pleted, and the score has been placed in the
producer's hands. The composer has provided a
complete musical setting for all the various
scenes and tableaux in the Broadhurst stage
version of the poem. The lady opens at the Park
Theatre in New York on September 29th.
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LOVE IN FRIENDSHIP
(A Nameless Sentiment)
With a Frefa.ee In Fragments from STENDHAL
Translated from the French by HENRY PBNB DU 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 to sincerely, so
naively, that it is evident the letters are published here as they were written, and they wore 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 §• much interest in an
individual work since the time of Marie Bashkirsheflf's confessions, which
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Effect of the Role Upon the Actor
John Mason, who will appear in "Indian
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When Mabel Meets the Actors
(Continued from page 48)
furnished forth with a tea-urn, cups, saucers and
plates of small cakes — the ushers conduct Mabel
and Gertrude, with a few score of others, mostly
girls and young women, through the boxes at one
side of the auditorium, and by way of a little
iron door to the stage.
Miss Marguerite Collins (she is Mrs. Collins
in private life, and acts as treasurer of the com-
pany, as well as leading lady) is all smiles and
affability, while as for Clarence Peachblow, he is
pronounced "perfectly lovely" by all the Mabels
and Gertrudes who meet him, and it is they who
make up a large percentage of the totaj number
of guests. Mabel keeps her promise to introduce
Gertrude, and, as Mr. Peachblow — deep-voiced,
deliberate, and oh, so intellectual ! — takes her hand
and bows over it, Gertrude thrills in the belief
that he is going to kiss it. But he doesn't. He
straightens up in a moment, at the same time
shooting a soulful glance at her from his fathom-
less dark eyes that means deep, enduring love at
first sight, if Gertrude knows the signs, and she
is pretty sure she does. What if
"I think the play this week is better than the
last one," remarks Mabel.
The spell is broken. Instantly the soulful look
transfers itself to her, as Mr. Peachblow says
he is so glad she likes it, and Gertrude expresses
the opinion that it is "just grand."
''I met you last week, you know, Mr. Peach-
blow," says Mabel, coyly. "You haven't forgot-
ten me, have you?"
"Forgotten you?" Clarence Peachblow's almost
agonized tone tells her that he is hurt, although
obviously he has not the slighest recollection of
ever having seen her before. "Why, what a
question ! As if I could —
"Mr. Peachblow, this is Miss Simpkins," in-
terrupts a soft voice behind him.
He turns quickly, and there is the same enrap-
tured gaze for Miss Simpkins, as he takes her
hand and bends over it reverently, that he has
just given to Gertrude. He is utterly oblivious
of her and Mabel now, however, and they do not
get another opportunity to speak to him, even
when he presents a plate of lady-fingers to them,
for he is smiling in another direction as he does
it, and his offering of the plate is quite per
functory.
So the two girls go to Miss Marguerite Collins
and tell her how splendid she was in the play,
and they each take a cup of tea from her ere
they are pushed aside by others who are storm-
ing the table, amid a babel of chatter that drives
the stage-hands — who are waiting to "strike" the
scene before going to supper — into paroxysms of
subdued profanity. ,
A commonplace-looking man in a sack suit —
whose shining face and wet hair, tinged with
yellow paint at the temples, indicate that he has
rather hurriedly "washed up" — conies toward
them smilingly. They are rather disposed to
snub him, until they hear someone address him
as "Mr. Jones." Then they know he is the lead-
ing comedian, who has always been one of their
favorites in the company. He has taken off his
Chinese "make-up" and hastened back to the
stage to take part in the reception. Mabel and
Gertrude are in the midst of a laughing con-
versation with him at once, for he has plenty to
say for himself, and happens to be one of those
rare comedians who are funny and entertaining
on their own account, without the help of the
playwright.
Other members of the company mingle with
the guests, and Gertrude is introduced to them
all by Mabel, who, on the the strength of her
having been to other receptions, assumes the
duty of sponsor for her chum. Gertrude never
has been on a stage before. Everybody is glad
to see her, and she confides to Mabel in a whisper
that she never had suspected how charmingly
polite all actors were.
Then, as it is her first visit to a stage, she
steals away with Mabel to see how it looks be-
hind the scenes, and finds herself peeping into
dressing-rooms, gazing with awe at the flats
stacked against the brick wall at the back, won-
dering at the flapping "borders," with their rows
of incandescent lamps.
Ten minutes later Mabel and Gertrude and the
other visitors are in the street, the stage hands
are pulling the drawing-room to pieces, and Clar-
ence Peachblow is saying to Collins, his partner,
as he put on his hat and lights a cigarette in his
dressing-room, preparatory to rushing off to his
hotel :
"Thank the Lord that's over. I tell you, Col-
lins, if I don't get an hour's good rest, I'll go
all to pieces in to-night's show. I'm limp as a
rag- GEORGE C. JENKS.
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IX
How I Portray a Woman
^Continued from page 58)
of the first rule for correct and becoming hair-
dressing. Instead they follow the prevailing
fashion no matter how unbecoming. A woman
should select one style for her coiffure, make it
her own and cling to it as Cleo de Merode clung
to hers which was simple and yet lovely. I am
certain that most women would be improved fifty
per cent, in appearance if they were more care-
ful with their hair.
Maybe I am treading on dangerous ground
when I say that in my belief a woman who has
an unattractive shade of hair owes it to herself
to have it touched up to a prettier color. But
she should leave the process to an expert. To
doctor it herself would in all probability ruin it.
Just at present there is a fad abroad to have
white hair — an idea started in Paris when Lady
Warwick with her silvery hair and youthful face
rode the boulevards. The women were enchanted
with her and many of them are now "touching"
their hair at the temples to make it look quite
white.
Right in line with coloring the hair, I think
that a woman should make her complexion look
as well as she can. For a good complexion the
use of cold cream at night is imperative. Put it
on thickly, leave it a few minutes and then re-
move it with a soft cloth. If a woman will do
this and then use a little powder she will look
ten years younger. And speaking of powder, I
am a good person to recommend it for I use five
pounds each week on my face and arms.
Now you know how I change my physical ap-
pearance. The actual portrayal of women is
merely a matter of study. To build up my
characterization, incorporating all the feminine
tricks and traits of movement or repose which
are most easily recognized by both sexes, re-
quires much close observation. I did not attempt
to copy from any one woman but observed and
studied from many, seeking to catch only what
was beautiful and pleasing. I had to modulate
my natural stride, to change the abrupt manual
gestures of a man to the softer, more graceful
postures of a woman, and to learn the proper
manoeuvring of skirts both short and long.
Women are naturally my keenest critics. I
never lose sight of their viewpoint, and as dress
with them is a sort of second nature I try to
mirror the fashions in a superlative degree but
not to the extreme. This demands that I keep
in close touch with the latest modes but the result
is worth the trouble. Also it is worth the ex-
pense which is close to $10,000 a year.
The whole thing is simply a business proposi-
tion with me. If the public is puzzled with the
problem of my "transformation," that is all I
ask, for curiosity is the biggest paying factor in
an audience. But believe me, I'm mighty glad at
the end of the day's work to be a man again.
GREAT BEAR SPRING WATER
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A Chat with Judith Gautier
(Continued from page 60)
Not at all! Yet she has no quarrel with equal
suffrage. If, however, she desired to vote, she de-
clared it would be most vexing and annoying to
find she was barred from franchise exercising by
reason of sex. But voting is work, politics strenu-
ous. So why vote when there is so much romance,
so much human life, emotion about her. Why
spoil the picture?
It is the element of mystery in Mme. Gautier
that always has attracted the attention of artists,
the same element that led Sargent to paint her
portrait. It was she who selected the music for
"Daughter of Heaven," some of which she ex-
quisitely played for me.
And down in the street below the rue Wash-
ington there is ever the noise and the traffic, but
all so far removed from the vibrant magnetism
of "La Belle Judith." THEODORE BEAN.
Madame Nazimova was to have been a violin-
ist ; she is a great actress ; she might have been
a famous dressmaker. It frequently happens
that persons who are devoting their best en-
deavors to their chosen professions would be
equally great in some other walk of life. One
of the biggest surgeons in England finds his rec-
reation in portrait painting. A great editor in
this country is a skilful restorer of antique fur-
niture and has a complete workshop in his
house where he spends most of his leisure time.
Caruso could easily get a job on a newspaper as
a caricaturist. And so it goes.
Symbols
of Protection
Ancient Egyptians carved over
their doorways and upon their
temple walls the symbol of super-
natural protection; a winged disk.
It typified the light and power
of the sun, brought down from on
high by the wings of a bird.
Mediaeval Europe, in a more practi-
cal manner, sought protection behind
the solid masonry of castle walls.
In America we have approached
the ideal of the Egyptians. Franklin
drew electricity from the clouds and
Bell harnessed it to the telephone.
Today the telephone is a means
of protection more potent than the
sun disk fetish and more practical
than castle walls.
The Bell System has carried the
telephone wires everywhere through-
out the land, so that all the people
are bound together for the safety
and freedom of each.
This telephone protection, with
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people and thus fosters and protects
our national ideals and political
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AMERICAN TELEPHONE AND TELEGRAPH COMPANY
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THE THEATRE MAGAZINE ADVERTISER
AMERICAN ACADEMY OF
DRAMATIC ARTS
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Recognized as the Leading Institution
for Dramatic Training in America
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We Pass
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Bui —
The Theatrical Jury
(Continued from page 61)
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
noisseur, must be defective in some important
quality. Mohere knew what he was about when
he read his plays to his housekeeper. If they did
not satisfy her homsey intelligence, then his art
must have missed fire. Stagecraft is for man-
kind in the mass, not for the coterie. Closet
dramatists are not aware of this, and their plays
lack human warmth. They have lived with ab-
stractions and paint shadows. But the man of the
theatre mingles with his kind; he takes his cue
from the lime Spirit. He it is, and not the
historian in the narrow sense of the word, whom
Shakespeare calls "The abstract and brief chroni-
cle of the times."
He builds plays out of the ideas and emotions
that are in ferment all around him. He does not
condescend to the populace; but studies God's
handiwork in the very "groundling." The collo-
quy of the gravediggers in "Hamlet"; the pranks
with lancelot in "The Merchant of Venice"; Dog-
berry s "Write Me Down an Ass," are a practical
response to the desire of the audience to "seek
repose upon a humbler theme" after the loftier
flights of the poet's fancy. Our dramatic Phari-
sees call such contrasts artificial; but there are
still people for whom the pageant of Shake-
speare, with its changes from tragedy to fooling
is truer to life than the machine-made uniformity
of some of our cried-up moderns.
The author does not realize what his play really
is until he has felt the reaction of the audience
In the presence of those instinctive abettors of the
drama who sit before the curtain, what before
was as uncertain as the negative of a photograph
emerges into positive definition. The first public-
representation is virtually the last rehearsal. Ac-
tors may prophesy and managers dogmatize, but
the truth can only be groped after— till the jury is
in its place, and the formal hearing has begun
^gard for the public saved Pinero from ruining
• Frrofligate." The play hinges on the mar-
riage of Puritan and libertine. When the wife
learns of her husband's past, she leaves him. In
despair, he takes poison, and the wife returns to
I him dying. That was the original ending;
u '"? Populace refused to accept it. They held
that Pinero had not made allowance for the mercy
that dwells in every good woman's heart. Event-
ually the playwright yielded and the play, intoler-
able in its first form, found favor when it had
been modified to suit the popular view The
public it was that saved James Hearn from man-
agerial damnation. The manager protested against
what he considered the "undramatic" ending of
Shores Acres." The darkened room, with the old
man closing up for the night, seemed to him an
anti-climax, and he rang down the curtain on a
family reunion. This flat commonplace came
near to spoiling the play. One night, however,
fie,arn and his fell°w actors determined to end
Shore Acres" as it had been written. The
audience hailed the poetic ending with joy and
the author was vindicated.
We do not demand the pillorying of individuals
as the Greeks did, when Aristophanes introduced
Socrates into "The Clouds," discoursing of the '
immortality of the soul. But people do expect
that the drama shall take cognizance of the move-
ments of the day. Are we thinking of telepathy
Augustus Thomas gives us "The Witching Hour" \
does the assimilation of the immigrant occupy
Peoples minds, Israel Zangwill responds with
i he Melting Pot." Never indeed was court with
purview so unlimited as is the theatre. Not only
does the unsworn jury "well and truly try" the
mam issue, but it takes account of subordinate
questions as well. When they are trying Claud-
ius for the murder of the King of Denmark, the
audience keeps a wary eye on young Hamlet, for
rumor has it that he is not quite responsible for
his actions. Other spectators constitute them-
selves a committee of the Society of Psychical
Research and take note of all that pertains to ap-
paritions. No question so recondite or fantastical
but some group in this most catholic of all juries
will give it thought.
In 'spite of its aberrations, its proneness to be
caught by glare, its worship of the hero of the
moment, in the long run the theatrical jury ren-
ders substantial justice. Only plays that reflect
some noble vision of things as they are or as the
poet s fancy pictures them hold a permanent place
m popular esteem. Producers grumble because
high-class drama does not pay. In saying this,
they are both right and wrong; good art may not
pay immediately, but it pays long. It is the same
with the drama as it is with poetry, painting and
music. Only the best lives, and eventually it pays
tenfold; but its votaries must pass through a
probationary season of leanness and poverty.
THE THEATRE MAGAZINE ADVERTISER.
XI
Meanwhile the theatrical Mammon has to say as
to what kind of art shall occupy the boards.
"Give the people what they want," they cry, and
utter a falsehood; for what they mean in their
hearts is "Give the people what we wish them to
want." The public desire the best that art can
give them; if it were not so, the money-makers
of yesterday would be the money-makers of to-
day. Playwrights who sacrifice their ideals to
the exigencies of the box office are traitors to
art. They sell their souls for a mess of pottage.
Condescended to by players, despised by man-
agers, held cheap by playwrights, can it be won-
dered at if, at last, people have come to think
meanly of themselves, and to doubt their posses-
sion of any dignified artistic function? When
they almost surrounded the stage, as in Shake-
speare's day, or occupied seats upon the very
boards with Moliere, they were accepted by play-
wright and actor as veritable coadjutors. And
coadjutors they still remain, and capable withal,
under favorable conditions, of giving such in-
spiration as Sophocles felt when his "Persians"
was played by survivors of Marathon or Strat-
ford Will spoke sublime jingoism to the destroyers
of the Invincible Armada. What the marble of
Carrara was to Michelangelo, what the violins of
Cremona were to Corelli, that the audience should
be to the dramatist. It is the duty and preroga-
tive of the public to strengthen the hands of
playwright and actor, to be discontented with
what is unworthy, to demand that the play "shall
hold the mirror up to nature." The outlook is
only hopeless for those who have not faith, and
everyone who has faith can help others to see the
vision. Men still cling to the ideal and, for that
reason, the art of the stage outlives the changes
of fashion, purifies itself of baseness, and over-
comes the enmity of ignorance and prejudice.
REDFERN MASON.
GREAT BEAR SPRING WATER
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PLAYS AND PLAYERS
(Continued from page 39)
choose between us.' At the point of the pistol
Pauline is compelled to drink. 'It will be quick,'
says the wife. But Pauline does not get the
poison. Then the wife raises her cup. The
scene would have lost its tenseness if she did
more than to lisp the briefest good-bye. 'I
hope you two will be happy — very, ery happy,'
she says, as she raises the cup, pointing the pistol
at her husband and warning him away. He
risks the shot and in despair at her proposed
action dashes to her side and knocks the cup
from her hand.
' That's not fair,' shrieks Pauline, 'you have
not fulfilled your part of the bargain.'
'He wouldn't let me,' laughs the wife, 'and,
besides, there wasn't poison in either of the cups
— I just wanted to see which one he '
"And the curtain falls."
Philip Bartholomae's play, "When Dreams
Come True," which he aptly terms "a musical
comedy of youth," has met with an unusually
large measure of success at the Garrick Theatre,
Chicago, where it is likely to remain throughout
the summer term.
The play, says the dramatic reviewer of the
Commercial Tribune, relates the adventures of a
young fellow in Paris, whose father in New
York has cut off his supplies by reason of his
having become entangled with a dancer in one of
the Parisian theatres. So the young fellow, hav-
ing pawned everything available to purchase a
ticket for home, is discovered in the steerage of
the steamship Kaiser bound from France to New
York. Naturally enough, he is very unhappy in
his disagreeable surroundings, but he sees a
beautiful young girl on one of the upper decks,
and as the vision is but momentary he imagines
the sweet, youthful face a mere figment of his
imagination. Later, on shore, he encounters the
girl herself, and falls desperately in love with
her. Through a designing woman this girl, Beth,
is made the instrument for smuggling a string of
pearls into America, while the hero is trying to
smuggle in some absinthe, now a forbidden bev-
erage, of which his father is extremely fond, and
by which he hopes to placate the old gentleman.
Both are discovered upon the wharf by the Cus-
tom House officers. As a ruse to escape, young
Mr. Hedges tells Beth that he is about to switch
off the lights, directing her to escape to his auto-
mobile in the confusion and "drive home." The
situations come thick and fast from this point to
the finish, where Beth and Hedges are plighted.
The principal member of the cast is Joseph Sant-
ley, a slender and graceful young fellow, agree-
able to the eye, who sings melodiously and dances
with remarkable agility and ease.
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manager to look after our subscription interests, we offer a
splendid opportunity to the right sort of person. We want a
hustling, energetic man or woman who will put out our advertis-
ing booklets, collect renewals of expiring subscriptions, but most
of all push out after new business. The work need not occupy
more than your spare time, and if you possess the right sort of
energy you will find it not only very interesting and pleasant
but also exceptionally remunerative. Our district managers
handle both of our magazines, L'Art de la Mode and The
Theatre Magazine. If you have some time that you would
like to turn into good money
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Xll
THE THEATRE MAGAZINE ADVERTISER
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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
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Bangs
•t
GRACE LA RUE
Who appeared recently in "The Honeymoon Express" at the Winter Garden
XIV
THE THEATRE MAGAZINE ADVERTISER
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Reminiscences of an Actress
(Continued from page 44)
Coppee was not very influential, he could only
encourage me, and so he did. I next went to see
Alexandre Dumas fils.
One of his first questions was :
"Have you thirty thousand francs income?"
"No, sir," I answered, "but I will try to earn
them."
"Ah, my child, the stage is not the place to
make a fortune. However, play somewhere, no
matter how small the theatre, I will go and see
you."
He kept me nearly an hour talking to me very
much like a father confessor, giving me advice
and encouragement in spite of what he had said
before. It is singular how kind and approachable
great people are and how disagreeable, mean and
insulting, mediocrity can be.
My next visit was to Sarcey, the great critic;
a man worshipped by the profession and not
without cause. Everybody was welcome to his
house; every actor, according to his deserts, was
praised or criticized.
At his Tuesday luncheons, one met a gathering
made up of the most varied elements. A Coun-
cillor of State elbowed an actor, a young
debutante threw an appealing glance at the in-
fluential critic; a haughty actress of the Theatre
Frangais looked disdainfully at the fascinating
charms of a Theresa or Yyette Guilbert; men of
letters, whose sun was rising, listeneed with the
smile of youth to the sarcasm of old age. There
was no formality, a plain family meal was served,
but wit reigned supreme and took the place of
truffles and champagne.
One day, I was deploring the blase ways, the
lack of enthusiasm of the young men of the day.
"Bah !'' replied Sarcey, who had heard me, "they
are not old enough to be young!"
Another day, he and a journalist of the Figaro
were criticizing an actor most unmercifully. I
said to a young comedian next to me: "Those
are our assassins !" "Have no fear," replied
Sarcey, "we only kill those who are very sick."
What food for thought an observer found in
these literary and artistic symposiums. The love
of glory is very much like the love of gold.
Sarcey's guests reminded me of the famous pic-
ture "Le Salon d'or a Bade,' where an eager
crowd, seated at the roulette table, is anxiously
watching the course of the little fatal ball, on
which seems to hang their whole destiny; their
senses are deadened, one only thought survives :
Gold ! So were the guests at the table of Sarcey
and the greatest were the most cringing; for a
word of praise, they seemed willing to forfeit
their dignity, their manhood !
Sarcey's face and in fact, his whole person,
reminded one of Socrates and of Rabelais. He
had all the good humor of these philosophers and
not a little of their wisdom. I owe him a debt
of gratitude which I can never hope to repay.
I had made the acquaintance of Got, the great
comedian of the Comedie Franchise. This
acquaintance soon grew into friendship and every
Sunday and sometimes during the week, several
hours were spent with him, at his home in Passy,
in the study of the French classics. His lessons
were the best I have ever received. He was the
bosom friend of Emile Augier and he hoped that
the great author's influence would open to me the
doors of the Comedie Franchise when I should
be sufficiently prepared. But I had to wait six
months, a year perhaps, and to wait is not easy
when one's bank account is light; besides, a
member of the famous "Maison de Moliere" told
me that that great institution was worse than
any royal court ; intrigue, gossip, backbiting, were
the weapons with which each one tried to de-
throne the other. I was not born for that sort
of life. I can work, I cannot intrigue. I can
fight my way legitimately and openly, but I can-
not fight with cowards ; therefore, when Mr.
Carvalho, manager of the Theatre du Vaudeville,
offered me a position, I accepted it to the great
disappointment of Got, who continued, neverthe-
less, to coach me in the great parts of Moliere
and the modern masters. The actress playing the
leading part ;n "Le Roman d'un jeune homme
pauvre" had been taken ill and I had been en-
gaged to fill her place.
There I was in Paris, in one of the leading
theatres, with the expectation of some prominent
part, that perhaps would bring me fame; what
more could I desire? On the strength of my
engagement, I settled myself down, furnished
my apartment with every comfort and there I
lived as happy as a bird in its nest.
(To be Continued)
GREAT BEAR SPRING WATER
50 cts. per case-6 glass-stoppered bottles
Comic Opera Old Timers
(Continued from page 69)
contributed several acceptable plays to the the-
atrical gaiety of the season, was a prima donna
in "popular price" comic opera in the eighties.
Her Serpolette, in "The Chimes," her Bettina, in
''The Mascot," and her Olivette, were all full of
dash and go. Something of the verve she dis-
played on the stage then seems to have got into
the plays she writes now. That's one reason
people like them.
Mrs. Russ Whytal, well known to Broadway
theatre-goers as a quiet, forceful actress in seri-
ous drama, and who was leading woman for H'.
Beerbohm Tree (Sir Herbert Tree, by grace of
King George) a year or two ago, used to sing
in comic opera. The strong vibrant voice which
Mrs. Whytal finds useful to-day in expressing
the woes and aspirations of the dramatic heroines
she portrays, was regarded as particularly valu-
able in holding up the chorus when, a very young
girl, she was known as Miss Marie Knowles. On
the scene or not, she was always required to sing
in the ensembles, and was generally to be found
in the wings — if her part did not call her before
the footlights— singing away with a vigor that
kept the others all up to their mark. Marie
Knowles played parts, of course, as they all did.
One character in which she made a pleasant im-
pression that lingers in the memories of old
theatre-goers to this day was Lady Angela, in
"Patience."
There were a number of other prominent people
who worked hard in comic opera before they
turned to dramatic effort. William H. Crane,
Nat Goodwin, Maude Adams and John Mason
are names that come easily to mind. Everybody
knows that the late Richard Mansfield barn-
stormed in Gilbert and Sullivan's operas before
he gained recognition in more serious lines on the
stage. Amy Leslie, the peppery Chicago critic,
was, I believe, a clever singer and actress in the
Wilbur Opera Company, in former days.
Considering how small were the companies, the
productions of opera by the ten-cent companies
were often marvelous. One organization — that in
which were Bigelow, Deshon and the present
Mrs. Russ Whytal — had a repertoire of about
eight works, and every one was given effectively.
The list included "The Mikado," "Patience,"
"Pinafore," "Chimes of Normandy," "The Mas-
cot," "Olivette," "Girofle-Girofla," and "Billy
Taylor." Sometimes there was an orchestra in
the theatre where they played, and then the com-
pany's music director, Torriani (of the well-
known New York musical family of that name)
did his best to lick the local musicians into shape,
and gave the score with as near completeness as
he could. If there were no orchestra, he took it
philosophically, played the entire opera on the
piano without any help, and seemed to get along
just as well.
Democracy was the watchword of the organi-
zation. It was understood that there must be no
nonsense about stars or leading people, and that,
except for giving the leading comedian and the
prima donna the "star dressing rooms," no favor-
itism would be shown in this regard. The com-
pany "made up" in any room assigned to them,
and the humblest chorus member might be quar-
tered with the person who played leading parts
whenever one of the principals was indisposed
or had been allowed to take a rest for one per-
formance.
The company gave six performances a week —
two a day. What a strain it was on the voice to
sing through two long operas in one day, and
keep it up for forty-five weeks or so, can be
imagined. No wonder it was found necessary to
let some of the people skip a performance now
and then. Talking about letting them off, it is re-
lated that one afternoon, in Philadelphia, when
the bill was "Patience," there had been some con-
fusion in arranging absenteeism, and when the
first chorus of girls came on, singing Twenty
Love sick Maidens We, there were only three
love-sick girls to represent the twenty there
should have been. But this was merely an inci-
dent of the tour, and nobody thought much
about it.
It has been the habit of some present day
producers of musical stage entertainment to sniff
patronizingly at the kind of light opera popular
twenty years ago or more. Gilbertian wit, they
have said, is out of date, and the melodies of
Sullivan, Lecocq. Planquette, Audran and Offen-
bach would not be catchy enough for to-day.
Yet, in perhaps the most successful comic opera
written in the last decade, the eminent composer
responsible for the score calmly borrowed for
one of his tunefullest numbers the theme of a
very familiar duet by Offenbach. Conterno gave
it to us at Manhattan Beach, summer before last.
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
THE THEATRE MAGAZINE ADVERTISER
xv
BERNHARDTS recent engagement in New York at the Palace The-
atre was doubly interesting in serving to reintraduce to the Amer-
ican public a young Greek actor of unusual appeal and commanding
presence.
Lou Tellegen is twenty-eight and he has already for two years been the
leading man of the world's greatest actress. He is, therefore, a somewhat
extraordinary young man — indeed, the youngest leading man she has ever
had. Despite his youth his work has a dignity, authority and repose that
is impressive. In watching these artistes together there appears no great
disparity in age or experience, but then, has there yet been discovered a
spirit that is more youthful than that of Sarah Bernhardt?
Tellegen's father was a Greek general and his mother a Danish dancer.
He was born in Athens and reared in Holland. He has been associated witli
the theatre nearly all his life, rather against his father's wishes. He has
travelled almost all over the world and has acted in Holland, France, Eng-
land and America. He is, in fact, a man of the world by education and
experience. At fourteen
he ran away from home
and for three years lived
a nomadic life. He knew
what it was to be desolate
— to be without decent
clothes — to be disagree-
ably hungry.
One dramatic moment
in his youthful experience
impresses one as graphic
and significant. He was
sixteen — barefoot; he had
no money, no place to go
— no shelter and it began
to rain. The quick, sud-
den realization of all this
was too overwhelming —
so he began to cry. He
saw a house, but pride
forbade from telling his
plight. Seeing a tree he
laid down under it and
slept with the abandon of
perfect youth. When he
woke he walked to the
next town, got work and
in four hours was eating
a meal that he had earned
by the sweat of his brow.
At that moment he says :
"I realized what it was to
be a man."
Tellegen is a universal
man; as one talks with
him you realize that his
biggest lessons he has
learned from the stars
and living out in the
open. He loves life and
speaks of his love for it
with the naivete of a
child. Bernhardt he re-
veres. He speaks of her
with an affectionate, ad-
miring respect that is re-
freshing. He says : "My
mother brought me into
the world, but Madame
Sarah is my real mother.
She has given me my
chance and has taught me
everything. We really
play together : it is not
work to us and there is
no audience ever. It is
those moments that we
are on the stage that we
live and have our real
being. I hate the word
actor — I never want to
act — I want only to be!"
To see Tellegen on the stage is to be convinced that this is not a mere
pose. Each of the characters he portrays is a creation and is etched in-
dividually with cameo-like clarity. Best of all he brings fresh thought to
a character and often entirely disregards tradition. Oddly enough, his
best work on the American stage has been the two extremes of classical
and modern drama. Armand in "Camille" and Hyppolitus in "Phedre. In
this latter role he is given, too, the opportunity to visualize a glorious
picture of physical beauty.
His most radical departure from tradition is revealed in his portraiture
of Scarpia in "Tosca." Scarpia is usually presented as a burly brute, sen-
sual, pugnacious, rather blatant and a little middle class. As a matter of
fact, Scarpia was a patrician and Tellegen makes him so, and from this
major note he works out his plan. He smiles a great deal and his smile is
terrible. It is the smile of utter cruelty. There is no sun m this glancing
light. It does not warm. It kills as it tortures Tosca. He has the gentle
ness of absolute control of the situation, he has the mildness of the finished
job. He is subtlety and resiliency itself. His mentality hurts so you almost
wish he'd do something crude, obvious and humanly stupid.
A.s Armand he is the ingenuous lover : a little gauche as a boy might be—
a little dumb and awkward as a youth hopelessly in love ever is. His first
entrance is perfect. You realize absolutely he is coming into the presence
of his divinitv — the one who embodies his grande passion. A. R.
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When writing to advertisers, kindly mention ~HE THEATRE MAGAZINE
XVI
THE THEATRE MAGAZINE ADVERTISER
A fopalar
Edition of this Famous
One Volume in 8vo. Bound In Paper
"BooK
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LOVE
F*RIEJVDSHIT
(A Nan-teles* Sentiment)
With a Preface in Fragment* from STENDHAL
Translated from 1h* Fnnch by HEJVRy fEJVE 7>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 Bashkirsheff's 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 rtal life ever related to the public. Must I say that well-informed people affirm
the fetters 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."
MEYER BROS. CO.. Publishers
8 to 14 West 38th Street. New York
Copr. Life Pub. Co.
Aiigust is Coming
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YEAR $5.00, (CANADIAN $5.52, FOREIGN $6.04.)
Science and the Stage
(Continued on page 72)
to make the excursions into the film studio, yet
a few weeks ago the writer recognized on the
screen in one photoplay four actors and actresses
prominent last season in Charles Frohman's pro-
ductions, and it is an actual fact that in the
Vitagraph Company's roster are to-day one hun-
dred and twenty players of the first rank. At
least six of the number have been stars, and it is
extremely doubtful if one of the number would
care to make a change. Yet this same Vitagraph
Company, six years ago, had a stock company
numbering but six persons, and this included the
three proprietors who appeared on the screen
regularly. The company now is capitalized at a
million and recently distributed $25,000 to its em-
ployees at the Yuletide.
Assuming that progress shall be anything like
as great with the Kinetophone as with its inven-
tor's previous scientific devices for entertaining
people, the problem that confronts theatrical man-
agers and producers who cater to the public enter-
tainment along the older lines is indeed a serious
one. As matters stand now, the number of such
managers and producers is the smallest it has
been in thirty years. Like the players, the men
who were wont to decry the vogue of the camera
men have at last recognized the modern trend
and are now affiliating themselves with the film
industry at every turn.
Daniel Frohman, who is often referred to as
the dean of the theatrical managers, and whose
career has been noted for lofty ideals, character-
izing his business and artistic procedure, is now
almost wholly committed to the production of
photoplays, and it was he who induced Sarah
Bernhardt, Mrs. Fiske, Ethel Barrymore, and
others to embrace the silent drama.
John Cort, who owns or controls more than
two hundred playhouses west of Chicago, and
who is gradually making his impress in the East,
is another convert to the theatre of science. Mr.
Cort is the head of a corporation, capitalized at
$2,000,000, which controls the exhibition rights
for the Kitsee Talking and Singing Pictures, and
this invention, like the Edison Kinetophone, is
something more than a mere synchronization of
the moving-picture camera and the phonograph.
In the Edison productions the vocal expression
appears to emanate from the lips of the perform-
ers, and this illusion is accomplished through
electro-magnetic means. The horn of the phono-
graph is invisible, being placed back of the
screen, while the projecting device is placed in a
booth in the back of the auditorium.
In taking the pictures, the sensitive film and
the phonographic record are made simultaneously,
and the operator is never in doubt as to results,
because the length of the films always correspond
as to time to the fraction of a second! with the
phonograph record. An entire evening's enter-
tainment may already be presented by both of
these devices.
The all-important problem facing those pro-
ducers of plays and spectacles who have not up
to this time changed their environment, is whether
Mr. Edison's prophecy means the ultimate pass-
ing of the player in the flesh. Of course, the
actors are absolutely requisite for the original
films and records, but with over six hundred
representative players already firmly intrenched
in the film studio, and one-third of the regular
playhouses transformed into temples of the silent
drama, the advent of the successful talking pic-
tures would certainly mean that entertaining the
public through science and artifice has reached
the positive stage.
There are in New York City to-day one hun-
dred theatres, seating from 500 to 3,000 persons,
that were not in existence four years ago. These
establishments are called "neighborhood" thea-
tres. Of this number one-fifth are owned or
controlled by Marcus Loew, who, six years ago,
was maintaining a penny arcade in Harlem. To-
day he is a multimillionaire. In the last two
years he has erected four palatial theatres with
enormous seating capacity in the cpn^ested dis-
tricts of the greater city. Each of these estab-
lishments cost about a million dollars, yet in
none of them is there a seat which costs its
purchaser more than twenty-five cents.
A few years ago there were five legitimate
playhouses on Fourteenth Street. To-day there
are none, all have been reverted to the camera
man, except the Academy of Music, and even
this erstwhile home of grand opera is leased by
William Fox at an annual rental of $100,000 for
no other reason than to prevent any competitor
from utilizing it as a moving-picture theatre in
opposition to the several gold-laden establish-
ments operated by Mr. Fox on the same street.
R. G.
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
RIVERSIDE PRESS, NEW YORK.
THE THEATRE MAGAZINE ADVERTISER
that is not the only reason why you
should buy a Columbia Grafonola
The perfect motor mechanism revolves
metal turn-table in complete silence
at unvarying speed.
The speedometer operates on tne
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The continuous, uninterrupted tone-
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ness of tone.
Take the "Favorite" at $50 as a brilliant example:
Greatly improved, but the price remains the same
(and the easy terms of purchase, too — $5 a month)
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in its new form, better worthy of its "Favorite" name and of its reputation than ever before.
new
Here are the principal points of improvement :
A bigger, much deeper cabinet.
The new No. 6 reproducer — attached to the
bayonet-joint tone-arm.
The new unit power-plant — all mounted on a metal
motor-plate, and embodying the new speedometer and the
needle-cups.
The new push-button release on the hinge-lock of the lid
—making the closing of the lid a thumb-and-fi nger operation.
Go to any Columbia dealer and ask him to play any
records that you like, on a new "Favorite." That's a part
of his day's work and it will be a treat to you. Or write to
us for special folder illustrating the new "Favorite" and the
first of our new series of booklets, "The Story of an Opera."
Important Notice
The Columbia "Favorite" Grafonola, like all other
Columbia Grafonolas, will play other makes of disc records.
The voice of every artist who has ever made disc records,
ivithout exception, will be at your command. (Likewise
all Columbia records may be played on any other make of
machine.)
Graphophone Company, Box 217, Woolworth BIdg., New York
I reaun of tte talkinr muhlne lndu.tr j. IMonerri and leader. In Ihe talking machine art. Owneri of the fnndamental patenU. l.arteM mannfaetnrer. of talking maehlnen In the world. Mannfartnreri of the lltetapho
Dealer* and prospective dealera write for a confidential letter and a free copy of our book, " Music Money."
When writing to advertisers, kindly mention T :E THEATRE MAGAZINE
THE THEATRE MAGAZINE ADVERTISER
1837
rT
^aU *v
^iaf
1896
On September 8th
L'ART DE LA MODE Fashion Salon at 8 West 38th St., New York,
will be opened with the most complete exhibit of models for the Fall
ever presented.
For the past three years the genius of the French Couturiers has been
taxed to the utmost to outdo in beauty of design and novelty of treat-
ment anything yet attempted in fashions.
Like every notable change, the new fashions have passed through many
evolutions, but we can state with emphasis that the Winter of 1913-1914
will go down in history as the year in which were created the fashions
really typical of The Twentieth Century.
It is right in Paris, working side by side with those wonderful masters
of fashion, that our editor and artists have been for the past several
weeks, in order to make the L'ART DE LA MODE exhibit most
interesting, most attractive, and worthy of our readers' visit.
Well -gowned American women who are looking for individuality, ap-
preciate that L'ART DE LA MODE possesses the chic that makes
her French sisters the envy of the world.
Besides L'ART DE LA MODE creations, will be found the only
authentic models of Chemit, Redfern, Doeuillet, Premet, Paquin, Beer,
Worth, and others.
As in the past, a special room will be devoted to the display of fabrics,
both domestic and imported, as well as trimmings, laces, etc.
More than ever, L'ART DE LA MODE is the Fashion Authority,
and no up-to-date woman can do without it.
During the exhibit and the entire month
of September, we are extending a special
four months subscription for $1.00.
REMEMBER THE ADDRESS
8 WEST 38th STREET, NEW YORK
AND THE DATE
SEPTEMBER THE EIGHTH
1913
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
Lydia Kyasht, the world's most beautiful dancer, who is coming here this winter
CONTENTS: SEPTEMBER, 1915
Edited by ARTHUR HORNBLOW
COVER: Portrait in Colors of Miss Mary Pickford. PAGE
( '( INTENTS ILLUSTRATION : Lydia Kyasht.
TITLE PAGE: Cyril Maude 77
OPENING OF THE SEASON — Illustrated 78
FLORENCE MACBETH, A SINGER OF THE ROYAL LINE — Illustrated 82
IHE NEW PLAYS: ,.The Si]ver Wcddi ., ..The Passing Show of 1913» "The Tani;ng of the
Shrew," "The Lure." 03
FORBES-ROBERTSON'S FAREWELL TO THE STAGE — Illustrated Marion Taylor . . ' . 84
SIR JOHNSTON FORBES-ROBERTSON AS HAMLET — Full-page Plate 85
STAGE REALISM OF THE FUTURE — Illustrated David Belasco ... 86
SCENES IN "THE PASSING SHOW OF 1913" — Full-page Plate 89
Miss GENEVIEVE HAMPER — Full-page Plate 91
"TARTARIN" ON THE PARISIAN STAGE Willis Steell .... 92
WHY STAGE MODESTY SHOULD PREVAIL IN MUSICAL COMEDY — Illustrated 93
OLIVE WYNDHAM— Full-page Plate 95
PREPARING THE STAGE MEAL BEHIND THE SCENES C. I. D 96
JOSE COLLINS — Full-page Plate 97
SHAKESPEARE AFTER THE NEW MANNER AT HARVARD — Illustrated . . . Francis Powell . . . " q8
THE YOUNGEST THEATRICAL MAGNATE — Illustrated ....... Belden Lee .... 100
SCENES IN "WHEN DREAMS COME TRUE" — Full-page Plate 101
MARTHA HEDMAN — Full-page Plate 103
REMINISCENCES OF MLLE. RHEA By Herself .... 104
SCENES IN "THE SILVER WEDDING" — Full-page Plate . • 105
A MAKER OF MOONS * Grosvenor A. Parker . . xii
THE HULL HOUSE PLAYERS — Illustrated Elsie F. Weil .... xix
NEW STARS. OF NEXT SEASON . xxiii
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
etc. P .
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THE THEATRE MAGAZINE ADVERTISER
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When writing to advertisers, kindly mention THE THEATRE MAGAZINE
THE THEATRE
VOL. XVIII
SEPTEMBER, 1913
No. 151
Published by the Theatre Magazine Co., Henry Stern, Pres., Louis Meyer, Trcas., Paul Meyer, Sec'y; 8-10-12-14 West Thirty-eighth Street, New York City
CYRIL MAUDE
The distinguished English actor who conies to New York shortly on his first American tour. He will be seen here in some of his
most successful characterization^
arony MARGARET ANGLIN Saruny JoH\ H1<K\\
OltoSarony MAUDE ADAMS
White
FRANCES STARK
OPENING 0]
THE first guns of the new theatrical season have already been fired.
At the Longacre, Thomas Wise opened with Edward Locke's
comedy, "The Silver Wedding." At the Fulton, Richard Ben-
nett has resumed with Brieux' pathological drama, "Damaged Goods."
At the Lyric has been seen "When Dreams Come True." At the
Maxine Elliott, George Scarborough's drama of white slave life, entitled
"The Lure," has met with a substantial success. At the Thirty-ninth
Street, the farce, "Believe Me, Xantippe." is on view. At the (ilc >!><•.
Richard Carle and Flattie Williams are appearing in "The Doll Girl."
At the Cohan are our amusing friends', "Potash and Perlmutter."
From now on the openings will come in rapid succession. At the
Lyceum, August 28th, Harrison Grey Fiske will present Ferenc Mol-
nar's new comedy, "Where Ignorance is Bliss." On September i
Julia Sanderson will again be seen at the Knickerbocker in "The Sun-
shine Girl." On the same evening Mr. Ames will produce at the
Comedy a domestic drama by Mark F. Swan entitled, "Her Own
Money," with Julia Dean in the leading role.
Of Shakespeare this season we shall have aplenty. On September
r, at the Empire, John Drew will appear in a Shakespearean plav for
the first time since he has been under Charles Fnihman's management.
He will be seen in "Much Ado About Nothing." Laura Hope Crews
playing Beatrice to Mr. Drew's Uenedick. and Mary I'.oland the Hern.
There will be special music for this production which, it is announced,
will be unusually elaborate.
Edward H. Sothern and Julia Marlowe open at the Manhattan ( )pera
House the first week in September and during their five weeks' stay in
New York they will present these plays: "Macbeth," "Hamlet," "Romeo
and Juliet," "As You Like It," "Much Ado About Nothing," "Taming
of the Shrew," "Merchant of Venice" and "Twelfth Night."
About the same time that Sothern and Marlowe are giving Shake-
speare at the Manhattan, Forbes-Robertson will begin at the new Shubert
Theatre what is announced as his farewell tour of America. The
famous English actor will play, in addition to his Shakespearean reper-
toire, "The Passing of the Third Floor Back," "The Light that Failed."
and George Bernard Shaw's "Caesar and Cleopatra."
Later in the season, William Faversham, appearing under his own
management, will again play "Julius Caesar," and will add for this season
"Othello" snd "Romeo and Juliet."
Margaret Anglin will make a Shakespearean and classical tour pre-
senting Greek plays and Shakespearean repertoire.
Still another Shakespearean player is Robert Mantell. who this season
will make an elaborate production of "King John," his wife, Miss
Genevieve Hamper, appearing as Prince Arthur.
At the time of going to press, Mr. Belasco's plans have not been made
public. This manager, however, is known to have at least two foreign
pJays among his scheduled productions for this and next season.
Early in September Richard Harding Davis' farce. "Who's Who,"
will be given at the Criterion, with William Collier as the star. Blanch:
ESEA
Bates has a new Barrie play called "Half Hour," in which she will be
seen m October. In conjunction with this piece she will appear in a
three-act play by Stanley Houghton entitled, "The Younger Genera-
tion," the cast of which necessitates the employment of thirty good
players, including Ernest Lawford. Mme. Nazimova is to cont'inue in
'Bella Donna," on tour, until next March, when she will sail on a tour
round the world. Otis Skinner will remain in "Kismet" for the present
John Galsworthy's new four-act play, "The Mob," will be produced
here in December, prior to its London presentation. Two other Barrie
fifty minute plays will be given this season, the one called "The Will"
and the other "The Little Policeman." Mr. Frohman also has a new
play by Edward Sheldon which will be produced in October, new come-
dies by Thompson Buchanan and Stanley Houghton, and a play by
Henri Bernstein which will be produced for the first time in New York.
Ethel Barn-more will probably be seen in a four-act play by C. Haddon
Chambers, from the novel, "Tante." A London success, "Eliza Comes
to Stay," will be presented in January with the entire company from
the Criterion Theatre, London, H. V. Esmond and Eva Moore playing
the leading roles. Donald Brian follows Julia Sanderson at the Knicker-
bocker in "The Marriage Market," To the Garrick, on September 15,
"Madam President," a play by Veber and Henniken.
Among other foreign musical pieces to be seen here are : "The Girl on
the Film," no\v running at the Gaiety, London; "The Little King,"
ivhich was given in Vienna, a play entitled, "The X-Ray Girl," now
being written by Paul Rubens, author of "The Sunshine Girl"; a musical
review by Caillavet and de Flers, who have also completed the book of
La Montansier," which Harry B. Smith will re-adapt for America. Mr.
Frohman has secured the American rights of Oscar Strauss' latest
operetta which will be seen in London and New York almost simul-
taneously, and he also has the rights of "The Laughing Husband."
Vlaude Adams will begin her New York engagement about Christmas,
appearing at the Empire first in "Peter Pan," and later in Barrie's new
play, "The Legend of Leonora." Following this, Miss Adams will
be seen in another Barrie programme, consisting of "The Ladies'
Shakespeare, Being One Woman's Version of a Notorious Work
Edited by J. M. Barrie," and "Rosalind."
\\ ilham Gillette will open his season in November in repertoire. In
December, Billie Burke will appear in W. Somerset Maughan's four-act
comedy, "The Promised Land." John Mason has a new play by
Augustus Thomas called "Indian Summer."
I he Shuberts have an unusually interesting list. They have an Eng-
ish play, by Monckton Hoffe, entitled "Panthea," the theme of which
'• likely to create a sensation, and they have also several new plays by
nerican authors: "A Modern Girl," by Ruth C. Mitchell, "The
Warning," by Arthur J. Eddy, and another called "If We Had Only
Two American comedies will be produced, the first a drama-
ation ,,f t]lt. "pa Flickenger's Folks," stories which appeared in the
ni Marine ami later published by the Harpers. Bessie Hoover
Sarony
BLANCHE BATES
8o
THE THEATRE MAGAZINE
is the author of the stories, and
they will be put on the stage
under the title, "The Winning of
Ma." The other comedy, by
Albert Lee, is called "Miss
Phoenix/' and deals with modern
New York life.
Louis Mann will be seen in a
play by Clara Lipman (Mrs.
Louis Mann) and Samuel Ship-
man. The play is called "Chil-
dren of To-day," and is a satirical
comedy. Bertha Kalich will be
seen in a translation of a German play which has already won
success in Germany. It is by E. E. Ritter, and is called "Her
Son's Wife."
A play called "Suttee," by Guy Bolton, to be presented here
for the first time, is described as a problem play dealing with a
woman who is married to a man who has wrecked his life. George
Scarborough is the author of another play, "At Bay," which is
to be presented with Guy Standing and Crystal Herne.
Of foreign plays the Shuberts will
present Granville Barker and his
English company in three plays, in-
Lillian George
CHRISTIE MACDONALD
Otto Sarony
ELSIE FERGUSON
The third season of Winthrop
Ames' Little Theatre will begin
early in October with the comedy,
"Prunella, or Love in a Garden,"
by Lawrence Housman and Gran-
ville Barker, with accompanying
music by Joseph Morat. Mr.
Ames' new playhouse in West
Forty-fifth Street which will be
called The Booth Theatre, in
honor of Edwin Booth, will be
opened the first week in Septem-
ber with Arnold Bennett's new
drama, "The Great Adventure." Janet Beecher will play the
leading feminine role in this piece. Paul Apel's comedy, "Hans
Sunkicker's Ride to Hell," has also been secured by Mr. Ames
in conjunction with the Messrs. Shubert. A new drama, by
Cyril Wentworth Hogg, called "The Clash," will be produced
later. Mr. Ames has also entered into negotiations with Gran-
ville Barker to bring his Shakespearean productions here.
Mrs. Fiske will go on an extended tour in Edward Sheldon's
play, "The High Road," and later this
actress will be seen in a new play,
the title of which has not vet been
Copyright, Moffeti
C
eluding one by Barker, one by Shaw,
and one by John Galsworthy. "The Moffett
Whip," which was in New York last
season, is to be brought back and there will be presented three
Drury Lane successes — "Hop o' My Thumb," "Cheer, Boys,
Cheer," and "Dreadnought."
A Max Reinhardt spectacle, "Turandot," will be presented
during the year. The only French plays so far listed is Lucien
Nepoty's "Les Petites," which will be produced here as "The
Little Ones."
The first musical production to open the Casino, will have
several members of the Gilbert and Sullivan company of last
season, headed by De Wolf Hopper. This company will play
"Lieber Augustin," given last season in London as "Princess
Caprice." The music is by Leo Fall, who wrote "The Dollar
Princess" music, and the book by Welisch and Bernauer.
"Oh, 1 Say!" is another mu-
sical play to be seen here, though
it was originally a French farce
and is now running in London.
For the Winter Garden Gaby
Deslys has been engaged to ap-
pear in November, and to make a
tour afterward in a new piece.
Arnold Daly will play the lead
in "Gen. Sir John Regan," a
part originated in London by
Charles Hawtry.
made public. Allan Pollock will plav
DONALD BRIAN tne leading role in a new American
comedy by Hutcheson Boyd and Ru-
dolph Bunner, which will be produced this season.
Messrs. Klaw and Erlanger will present Bert Williams, the
colored comedian, in an extravaganza adapted from "Robin-
son Crusoe," by Glen MacDonough. They will also produce
C. M. S. McLellan's and Ivan Caryll's new musical play, "The
Little Cafe," with Hazel Dawn and John H. Young, and they
have secured "The Envious Butterfly," an operetta in three acts,
by Carl Lindau and Bruno Granichstadten. Franz Lehar's new
play, "The Ideal Wife," presented in Berlin with Else Alder in
the leading role, will later be seen in this country, as will Fraulein
Alder. This management has a contract for "The Circassian
Beauty," a musical play by Willner and Steffan, and they will
bring over in its entirety Michael Faraday's company and pro-
duction of "Amasis," the Egyp-
tian musical play. Another pro-
duction on their list is the drama-
tization of Harold Bell Wright's
novel, "The Winning of Barbara
Worth," by Edwin Milton Royle.
They have also scheduled for
early presentation, "Silk," by
Frank Mandel and Helen Kraft,
and later A. E. Thomas' drama,
"Marie Claire," will be given.
At the Liberty the season will
White
OTIS SKINNER
Whitf nAVID WARFIELD
THE THEATRE MAGAZINE
81
White
FAIRIiAXKS
open with a revival of "Rob
Roy." The New Amsterdam
opens with "Sweethearts," with
Christie MacDonald in the lead-
ing role. The popular comedian,
Maclyn Arbuckle, will be seen in
"The Merry Martyr," a new mu-
sical comedy by Glen Mac-
Donough, based on Leo Birinski's
comedy, "Narrentanz." About
October i, Elsie Ferguson will
be presented in a new American
play, by William J. Hurlbut, entitled, "A Strange Woman," and
William II. Crane has a new play by Martha Morton. In con-
junction with Henry Miller, Klaw and Erlanger will present
"In the Vanguard," a play by Mrs. Spencer Trask. This piece
will be seen for the first time in Chicago in September.
Grace George has a new comedy, by Avery Hopwood, in
which she will appear in September, and a comedy entitled,
. "Any Woman Would," by MacDonald Hastings. Mr. Brady
has made an agreement with the directors of the Grand Guignol,
of Paris, whereby the most successful of their playlets will be
seen at the Princess. He will
bring over in November a company
in "Hindle Wakes," headed by Her-
Mishkin
WALLACE F.nm.NCKK
C e n t.," a comedy by Porter
Emerson Browne ; a comedy
drama entitled, "Back Home,"
from the book by Irvin Cobb,
who with Bayard Veiller, author
of "Within the Law," is making
it ready for the stage; a new
comedy by Edward Laska called
"The Brain Promoter," and
George Middleton's "Home
Ties," a play based on woman
suffrage, will also be produced.
The distinguished English character actor, Cyril Maude, will
visit this country next month, presenting his chief London suc-
cesses, including "Beauty and the Barge," "The Second in Com-
mand," "The Headmaster," "The Flag Lieutenant," "The Toy-
maker of Nuremberg," "Toodles," and Austin Strong's "Rip
Van Winkle." Marjorie Maude, his daughter, recently leading
lady to Sir Herbert Tree and George Alexander, will accom-
pany him.
"The Money Moon," a comedy by J. Hartley Manners, based
on Jeffrey Farnol's novel, is another play to be presented. The
musical piece, "The Tik-Tok Man of
Oz," by J. Frank Raum and Louis
Gottschalk, which has had a profitable
Whit
WILLIAM FARNUM
bert Lomas and Emilie Polini. A
JOHN BARRY.MORE
EDNA GOODRICH
run in Chicago, will be brought to
New 'York- For the present, Laurctte
Taylor will continue at the Cort in
piece called "The Family Cupboard," White
will also be presented. Other plays
to be produced are: "The Co-Respondent," by Rita Weiman J. Hartley Manners' comedy, "Peg o' My Heart." In conjunc-
and Alice Leal Pollock; "A Lady of Long Ago," a romantic tion with John Cort, Oliver Morosco will present "The Elixir
melodrama by J. P. Drayton, and "Come Home, Smith," by of Youth," in Chicago, and he also has "The Fox," a crook-
James Montgomery. "The Lone Star Girl," a musical version comedy by Lee Arthur; "Gauntlett's Pride," a satire by J. Hart-
of "The Texas Steer," will be given at the Forty-eighth Street ley Manners, and "Barbaraza," a tragedy by the same author.
Theatre. Madge Kennedy will be seen in a new play by Philip In addition to six "Within the Law" companies, the American
Bartholomae entitled, "A Day Dream." Play Company will produce "Fair Play," by Christie Matthew-
Wallace Eddinger will assume the leading role of "Seven son, the well-known pitcher of the "Giants," which he wrote in
Keys to Baldpate," dramatized by George M. Cohan from Earl collaboration with Rida Johnson Young, and "Under Cover," a
Derr Bigger's novel of the same name, which is to be seen at play dealing with smuggling operations as they are conducted
the Astor on September i. Edgar Selwyn's farce, "Nearly here. Jane Cowl will be starred about Christmas in a new play
Married," will be presented on the same date at the Gaiety by Marguerite Mayo, and Helen Ware also has a new play.
Theatre, with Bruce McRae in the cast. Raymond Hitchcock Margaret Illington, who is to head "Within the Law" Western
will be seen with Flora Zabelle in company, will be seen later in a
a new musical play. George M. new drama.
Cohan will begin his last season
as an actor at Cohan and Harris'
new Bronx Opera House, Sep-
At the Park, on September
29, Longfellow's "Evangeline"
will be presented. The stage
tember 29, making his farewell version is by Thomas Broadhurst
to the stage in his own play, and the incidental music by
"Broadway Jones.'' William Furst. Edna Goodrich
Douglas Fairbanks will be seen will play the title role. A new
in "Cooper Hoyt, Inc.," by Frank play, as yet unnamed, by Eleanor
Gates, author of "The Poor Little
Rich Girl," \\-ill be produced early
Lord and Hugh Ford, a new
three-act comedy. "520 Per
K opp
HAZEL DAWN
T H !•: T II P. A T R I- MAGAZ1 N E
in tlic season, and a new comedy
drama by Rachel Crnibers will also
be presented. The European success
"The Deluge," by Henning Berger,
adapted by Frank Allen, which has
been seen in Norway, Sweden and
Germany, will also be presented here.
The Hudson reopens with a new
play by Bayard Veiller entitled, "The
Fight," in which Margaret Wycher-
ley has the leading role. Following
the engagement of "Damaged Goods,"
at the Fulton, a new play by Dion
Clayton Calthrop and Cosmo Gordon
I.cnnox entitled, "The Shadow," will
be produced by the James Forbes
company. A. H. Woods will offer in
November a piay of modern American life by Alfred O. War-
burg and Col. Jasper Ewing Brady entitled, "The Pharisee."
Marcus Loew is to present the former vaudeville heaclliners,
Montgomery and Moore, as musical comedy stars.
Henry W. Savage will present "Uncle Zeb," a comedy by
Rupert Hughes, with Willis Sweatnani in the leading role. He
will also produce "The Gypsy Leader," "The King of the Moun-
tains," a French comedy entitled, "La Demoiselle de Magasin,"
and "Delftland," by P. Hans Flath and Dr. Margaret Crosse.
Other plays to be produced are: "Miss Swift of New York,"
with Julian Eltmge in the leading role; "Seven Wives and Seven
Days." by William Parker Chase, "Her Little Highness," "The
.11 I.lA UKAN
To appear in Mark K. Swan's
pl;iy, "Her Own Money"
Jolly Peasant," and "Mr. Popple."
II. If. F razee will present "The
Realist," a new play by Eden C.
Greville, a new play by Frances
Whitehouse and a modern drama by
Catherine Chisholm dishing, author
of "Widow by Proxy." "Adele," a
new musical comedy written by Jean
Briquet and Paul Herve, the Ameri-
can adaptation by Adolph Phillip and
Edward A. Paulton, will be seen at
the Longacre. The comedy, "The
Love Leash," by Anna Steese Rich-
ardson and Edmund Breese, will be
presented in October, and about
January, a satirical farce comedy by
Guy Bolton entitled, "The Rule of
Three," will be seen here.
In October Messrs. Werba and Luescher will present Leo Fall's;
operetta, "The Jolly Peasant." with David Bispham.
Lady Constance Steward-Richardson, Mile. Polaire and Ger-
trude Hoffmann will make an international world tour together.
They will open in September at Washington, D. C., and close
two years later in San Francisco. Miss Hoffmann, representing
America, will have a new revue of twelve scenes; Lady Steward-
Richardson, representing England, will interpret classic dances
alone, and Mile. Polaire, representing France, together with a
supporting company of twelve artists, will present her latest
Parisian success, "Le Visiteur."
CKORCK M. 0>IIA.\
Who makes his farewell to the
stage this season
THE musical sensation in London this summer was the
appearance at Queen's Hall, on June 131)1, of Florence
Macbeth, a young American coloratura soprano, hitherto
unknown to fame, yet who, declares a London critic, is 'likely to
prove herself of the royal line, the
line at one end of which still stands
Mine. Patti. This is astounding
praise from the always conserva-
tive and exacting English critics,
but it appears to voice the general
opinion of this artist who has been
secured by Signer Gatti-Casazza
for the Metropolitan Opera House
and, according to the latest cable
dispatches, has also been engaged
by Impresario Campanini for the
Chicago Grand Opera Company.
Florence Macbeth was born at
Nankato, in Minnesota, twenty-
two years ago, and for four years
has studied singing under Mr.
Yeatman Griffith in Italy, America,
and London. "She possesses," says
the London Daily Telegraph, "-i
voice of quite remarkable range, as
witness the fact that she sang to
an invited audience in Queen's
Hall, not only the Bell Song
from 'Lakme,' but also the
famous air, Una Voce poco fa,
from 'II Barbiere,' which has a
compass of well over two octaves;
and of these she made absolute
child's play. To so remarkably
gifted a singer they were in-
FLORENCE MACBETH
The new American coloratura soprano who has met with phenomenal
success abroad and who has been engaged for the Metropolitan Opera
House, New York
deed child's play, these' 'show pieces' of a generation before her.
l!ut these were trifles, for after them Miss Macbeth was asked
to sing the abnormal and musically hideous coloratura song from
'Ariadne,' of which we have heard so much in the last few
days. Like the songs already re-
ferred to, this, too, was sung not
only with the most complete pre-
cision, but with an apparent joy
that almost reconciled one to its
abnormality. In these extracts
Miss Macbeth showed a voice that
is perfectly even and flawless from
the low G sharp to the F sharp in
alto, or as nearly as possible three
octaves. No doubt other singers
exist who have a wide compass of
somewhat similar range, but frank-
ly, in manv years we have not
heard a voice that has throughout
its whole extent the same warmth
of tone, the same astounding
roundness, the same absolute ac-
curacy of pitch, and the same
beautiful quality from its lowest
notes to its topmost heights, and
we doubt if such a voice has been
heard since Madame Patti first
appeared. With her amazing
breath control and the other quali-
ties enumerated. Miss Macbeth, it
seems, must inevitably have a career
that may well prove historical, and
her commands of facial expression
seems to indicate that the operatic
stage is her evident destiny."
White George Probert Mary Xash
Act II. In the spider's web. The victim of the Cadet's brutality calls for hel]
SCENE IN "THE LfRK," AT THE MAX INK ELLIOTT THEATRE
Susanne Willis Vincent Serrano
LONGACRE. "THE SILVER WED-
DING." Comedy in three acts by Edward
Locke. Produced on August nth last
with the following cast :
Ludwig Koehler. . .
* tttomar Klotz. . ..
Juan Jacinta
Karl Rehbein
George Eckhart. . .
IK-inie Schmidt. . .
....Thomas A. Wise
...Frank McCormack
Guinio Socola
Carl Hemmann
C alvin Thomas
David R.JSS
Hans Weighart Gerhardt Jasperson
Frau Koehler Alice Gale
Martha Koehler Cecile Breton
Lucy Rehbein Edna Temple
Margaret Rehbein Violet Moore
Frieda Hachradt Lillian Ross
This is a very big and comprehensive city, so it is just possible
that it contains a great number of unsophisticated citizens. If
so, it is from this class that "The Silver Wedding" will depend
upon to draw for audiences at the Longacre Theatre. Edward
Locke's original comedy in three acts is a harking back to those
days when "Josh Whitcomb," "Jed Prunty," "The Old Home-
stead" and ''Way Down East" were such popular favorites. It
is just possible that after such an influx as has been had of the
crook plays, with their thieves and white slavers, that even Metro
politans will be glad to return to the placid and sentimental hap-
penings of farm and suburban life.
The star of the piece, and he is certainly that, as from rise of
curtain to final fall he is hardly ever off the stage, is Thomas A.
Wise, who enacts Ludwig Koehler, a Pennsylvania Dutchman
and a saddle-maker. A man of genial impulses, there is still a
stubborn streak in him, which comes to a head when he hears
his prospective son-in-law say something about "a pigheaded
Dutchman." He believes this refers to him, for as his cantanker-
ous disposition increases, each of the cast applies the same re-
mark to him. He refuses his consent to his daughter's wedding
to a young drug clerk, and much of the fun takes place in the
second act where, as leader of the local band, he is forced to
attend her wedding. The third act takes place a year and a
half later. In the kitchen he and his wife are celebrating their
silver wedding. He longs for the daughter's return. The local
populace gives the old couple a surprise party, while the real
surprise for him comes when his daughter, her husband and their
baby arrive to bring about general contentment and good cheer.
It is certainly a shoestring of plausibility on which Mr. Locke
has builded his comedy. To a story and form as ancient as the
hills the author has utilized a dozen or more of the old details
and cross purposes of early Victorian farce. The arrangement is
neat and dextrous, but there is woeful reiteration, and the ampli-
fication of incident and prolonged employment of detail wears
upon the1 nerves. Mr. Wise is rather his own comic self than a
Dutchman, but the wife is played with a simplicity and sustained
expression by Alice Gale that is quite Cottrelly-like in its finish.
Frank McCormack lends valuable
aid as a cross-grained friend, and
Lillian Ross is expertly precocious
as a diminutive maid servant. A Portuguese barber is acted with
true Latin vivacity by Guinio Socola, and the village parson with
gentle dignity by Carl Hemmann. The stage settings are
Crummies-like in their verity. There is a kitchen pump that
squeaks when it pours out real water.
WINTER GARDEN. "THE PASSING SHOW OF 1913." Play in two
acts. Dialogue and lyrics by Harold Atteridge; music by Jean Schwartz
and Al. W. Brown. Produced on July 24th with this cast:
Usher Tony Hunting
Tired Business Man Harry Gilfoil
Modern Poet Herbert Corthell
Bully Billie Burke ("online Francis
Cinderella Janis Laura Hamilton
Scarecrow Stone Freddie Nice
Punkin Montgomery .. .Charles DeHaven
Never-Say-Die-Collier. . .Wellington Cross
The Sunshine Girl Lois Josephine
Fair Lillian Grace Kimhall
Mrs. Potiphar May Boley
Parcel Postman Lew Brice
Peg o' My Heart Molly King
Michael Rab By Himself
An Ex-President Edward Begley
Broadway Joner Charles King
"Woody" Sydney Grant
Gaby Gwendolyn Lillian Gonne
Joe Garson George Le Mai re
Conspiracy Bill Frank Conroy
Inspector Burke John 0. Thomas
Her Butler George Hanlon
His Reflection George Ford
Paylovnaperdansky Bessie Clayton
Fairy Queen Gab. ..Charlotte Greenwood
"Chicago Red" Henry Detloff
Maggie Pepper Virginia Gunther
Patricia Paprika Nell Carrington
Letty Lettuce Nell Howard
Olive Oil Irene Markey
These mid-Summer productions and reviews are getting to-be
very serious matters. Instead of being sources of relief to the
poor, tired business man, they exact of him more gray matter
than even his daily commercial or professional duties call for.
Watching such a show as is now in view at the Winter Garden,
"The Passing Show of 1913," he runs great danger in various
directions. First, there is danger of incurring strabismus from
the marvellous color schemes evolved by Melville Ellis ; then the
strain occasioned in trying to determine who's who in a program
of half a dozen pages of closely printed names is calculated to
bring on the fidgets. Jumping from scene to scene (there must
be at least twenty of them) is a severe mental tension while
watching a regiment of shapely young women do stunts on a
flight of stairs, numbering thirty-two steps in all, but calculated
to bring about nervous prostration.
It was George W. Lederer who inaugurated this type of show
at the Casino many years ago. His formula was to put a little
of everything in his entertainment at the first performance. Fre-
quently the final curtain would not fall till long after midnight ;
then the next day he would eliminate what fell flat and build up
and amplify that which got over. Something like this will be
and has been done by the Shuberts. Their show needs it. The
iirst act in professional vernacular "went big." but what followed
was something in the nature of an anti-climax.
Shows of this kind are built, (Continued on faye xi)
Forbes-Robertson's Farewell to the Stage
K
ING GEORGE'S Birthday Honors' List this
year contained no name more respected than
that of Johnston Forbes-Robertson. In making
the actor the recipient of knighthood it may well be said that
the title is honored by the man, rather than the man ennobled by
me a new view of the matter. Except for Miss
Terry s kindness and persistence, I don't suppose I
should have ventured."
And so, when Sir Henry Irving went on tour, Forbes-Robert-
son took over the Lyceum Theatre and brought out his own
the title; for, apart from his transcendent gifts and long and wonderful version, and was promptly accepted as the greatest
honorable career upon the stage, his wide culture, high ideals,
exquisite refinement, and above all, his flawless character, easily
Hamlet of modern times — some even claiming him to be the
greatest the world had ever seen. It ran a hundred nights in
single him out as a man among men. Whether we view him London and then was presented abroad. Later, he repeated
as actor, artist, orator, or erudite Shakespearean scholar, we see
ever the modest, equable, unassuming, yet courtly English
gentleman.
His career of thirty-nine years as an actor ^
and actor-manager might seem phenomenal
did we not remember the tenacity of the
Scotch blood that flows in his veins. Never
at any time of robust physique, always giv-
ing forth his best, ever working toward the
highest ends, yet he has kept steadily on
with splendid poise and a dignity that has
never failed him.
Sir Johnston, as might be expected, is of
gentle birth. His father — who went from
Aberdeen to London more than half a
century ago — became a very celebrated art
critic and historian. His mother, though
living the sheltered life of a gentlewoman
of those days, had a cultivated mind, strong
character and many graces. He himself
decided to become an artist and studied at
the Academy with that end in view.
Strange to say, however, another man's
failure changed the course of his life and
paved the way to the success that now is
historic. It happened thus : The play,
"Marie Stuart," had been running at the
Princess's Theatre, and the author, when
complaining to the elder Forbes-Robertson
of his dissatisfaction with one of the
characters, met with this rejoinder : ''Yes,
our Johnston could do better." He was
then twenty-one years of age and experi-
enced only in private theatricals; never-
theless he was given the part at a stipend
of four pounds a week, and has been on
the stage ever since. Not, however, al-
together dropping his art work, for
throughout his career he has designed and
sketched the costumes and scenes for his
own productions, and also taken time for
the portraiture of many eminent people,
including the great statesman, William Ewart Gladstone, Ellen
Terry, Modjeska, Mary Anderson, Mrs. Patrick Campbell, and
his own wife and sister-in-law, Gertrude and Maxine Elliott.
Of surpassing interest is the way in which he came to play
his greatest role, that of Hamlet. We prefer to give it in his
own memorab'e words, as they so graphically portray his innate
modesty, and throw light as well upon two charming friendships :
GERTRUDE ELLIOTT (LADY FORBES-
ROBERTSON) AS OPHELIA
triumphs in America, even in Philadelphia, where Shakespeare
is enshrined in the hearts of the people.
Second only to Hamlet is his delineation of Shylock, which
^^________^^^ character he invests with an imperious
dignity, in striking contradistinction to the
cringing, servile figure of other presenta-
tions. All who saw him in that exquisite
play, "The Passing of the Third Floor
Back," which ran continuously for three
years and was lauded by all classes of
people, the clergy as well as the laity, will
remember the large percentage of Jews
present at every performance. It was
accounted for by the weaving in of a
splendid tribute to the Jewish race; which,
declaimed in the wonderful voice of
Forbes-Robertson, thrilled one like a mes-
sage from above. The glory, the majesty
of an ancient people stood forth ; the
sordid, the unlovely — wrought by ages of
contumely and oppression — seemed to fall
away, and hard, worldly faces took on
strangely sweet and purified expressions.
So in "The Merchant of Venice," it is the
Gentile who stands before the judgment
bar, and Shylock is proven more sinned
against than sinning.
In addition to his gifts as artist and
actor Sir Johnston has the distinction of
being one of the three best public speakers
in England on the suffrage question, his
personal friend, Earl Grey- — former Gov-
ernor-General of Canada — and Israel
Zangwill being the other two.
Best of all, his married life sheds lustre
on the stage, for his union with Gertrude
Elliott, his leading lady, has been one of
rare happiness. It could not very well be
otherwise, for she is as good as she is
beautiful and gifted. She was born in
Maine and is a graduate of the New York
State Normal School, yet California
proudly claims a share in her, too, for her father, Captain
Thomas Dermot — retired from the sea — transferred his home to
East Oakland many years ago. Hence, it came about that his
younger daughter studied for a time in San Francisco, crossing
the Bay back and forth to do so. She is a very fine impersonator
of the heroines of Shakespeare, particularly so of Ophelia,
which she renders so touchingly and with such an appeal to the
'Every actor-man who has fancied himself has always played heart that in it she achieves a personal triumph, although many
declare her "piece de resistance" to be Cleopatra in George
Bernard Shaw's "Csesar and Cleopatra."
Sir Johnston and Lady Forbes-Robertson are blessed with
three children, all of them girls. The eldest, Blossom — slender
Hamlet all over the shop. A great many people — my friends.
of course — had urged me to try, but it always seemed to me an
impertinence to make a great play the means of such personal
advertisement. But when Mr. Irving also advised me to try
Hamlet I began to think of the project more seriously, and exquisite as her flower-name — goes to boarding-
Miss Terry often spoke of it and it was her generous school now and already shows aptitude in art. Jean
belief in the idea that persuaded me. She argued has an amazing head of hair and great originality,
that a pianist never hesitated to play a Beethoven while Baby Chloe makes a picture sweet enough to
sonata; that it was considered a pious, not an arrogant rival the widely-heralded one of "Baby Stuart."
ambition. Putting a similar case in another art gave MARION TAYLOR.
' i i,
Copyright, Lizzie Caswall Smith SIR JOHNSTON FORBES-ROBERTSON AS HAMLET
This distinguished English actor will make an extended tour here this season, it being his farewell to the stage. He will
open in New York in October with a repertoire including "The Passing of the Third Floor Back," "The Light That Failed,"
and the Shakespearean plays
HI Ml,;.
TAO
M OF TH
^'V^'^nnS^Ia^r-^'^ -'.^* ••UVviv:'::^' *••.'••? ,"''*••-• <^J':i)^tf^r-V^^.;^.;-^.-':>»^/^'g>.^>:.-'V^?./;;.:^vi:^
Copyright, 19(19, by David Belasco
DAVID BELASCO
A master in the art of mixing the colors of drama
are strange
whisperings in the
air that are full of
new dramatic material, new
voices that thrill the soul
with a murmur of a new
generation, new faces that
tell us the story of a differ-
ent heart interest in the
world.
In my theatre in New
York is a studio as com-
fortable and restful as I always hoped it
would be. Years ago I lived in it. It
was not very costly then because it was
merely a luxurious dream. However, it
was the place of my ambition in my
youth as it still is. It is now the place
of more mature reverie perhaps, for as
my hair grows white, I find it is really
the place where I have spent all my life
— a private corner of it.
From the windows of my theatre
studio I find the sunsets are as tender,
the storms as terrific, the sea and the sky as beautiful, the moon-
light as caressing, everything as it was when I was young. The
stars were above, and God is there among them still, but great
changes have happened in the world.
The dramatist's task has changed because everyone is think-
ing to-day. The elemental moments of crisis in nature are the
same, but the emotions have changed their form. Happiness
and grief no longer
express themselves
in the same form
of theatrical illu-
sion. We have
grown up, we must
treat our emotions
with more dignity
and respect, be-
cause we have a
better knowledge
of the truth.
There are really
few stage secrets
to-day. They have
mostly all been
told, and therefore
m y studio which
was once a place of
illusion perhaps,
has become a study
room ; for the the-
atre demands a
transcript of life.
not an adaptation.
Stage p i c t u t e s
must have the sub-
stance and the
spirit of reality, for
men and women
have gone beyond
the superficial ex-
pression of feeling.
Copyright, 1909, by David Belasco -
"I believe in the play that deals in crises of emotion"
The WOrds of 3
play are fewer, as they are in life. The
drama of to-day must be straight to the
truth, unadorned. The limitations of the
artists, the actor and actress, are the only
hindrance to the realism of the future.
This, to me, is the mystery of all
mysteries.
Why should there be a sudden ob-
stinacy of artistic perception, why any
final effort of the eternal soul in this life?
There is scarcely an actor or an actress
known to fame, scarcely a distinguished
contributor to the literature of the the-
atre of my day, who has not shared the
secrets of my studio. I can hear their
voices, feel the thrill of their power and
genius as did those generations of thea-
tre-goers over whom they reigned. And
then suddenly something has gone wrong :
the light of their souls is growing dim,
the life of tragedy or comedy has grown
weak in them, their artistic career stops.
There still remain the few primary
colors of which all drama is painted, but
the skill of mixing these colors has increased. The whole scheme
of playwrityig has changed as the world has grown younger.
We speak of the past as old-fashioned. The present is youth,
the past is old age. It has always been so. In all the years I
have spent in active work the theatre has always set a new task
for the producer. Stage traditions were good enough for a
while till the audiences outgrew them, and then began the con-
flict between the old theatre and the new.
One day the heroine who used to shout her grief till the gallery
shook found no sympathy with her audiences. Her snorts of pain,
her rhythmic sobs were no longer appreciated. The acrobatic
heaving of her bosom did not effect her audiences as they had
in other years.
What is the matter? Have they really grown tired of emotion-
al acting? No, they knew more about emotions, that is all. The
world had made a few striking discoveries, people had been read-
ing, and it lias set them to thinking. They had never denied the
truth of emotional experiences. They had simply found out that
there was nothing athletic in them. This sort of emotional dis-
play became too unreal even for the license of theatrical illusion
which old theatre-goers allowed their actors; so the ranting
heroine of melodrama was banished from the stage.
The hero walked the plank next and plunged into oblivion.
His waxed mustache, his pretty painted cheeks, his perfectly
penciled eyebrows, and his effeminate air of virtue no longer
found a place in the hearts of the most susceptible. He, too,
was banished with the disgraceful epitaph upon the tombstone —
"A Matinee Idol."
There were few who believed that the stage villain could ever
be reformed, however. His sinister appearance and desperate,
criminal heartlessness was an asset which the playwright parted
with reluctancy. What would become of the third act thrill if
this picturesque figure of villainy were subdued, they asked? So
obstinately he continued to dissemble with such obvious energy
that the audiences wondered why it took five acts to unmask him.
His doom was sealed with the rest, however, and the producer
had to get rid of him. He was replaced by a new villain, the
sort of man whom no one suspected, whom no one feared, whom
everyone liked. He became the chief object of sympathy. In
a little while people felt sorry to see such a splendid, amiable,
good-looking chap go wrong. He was such an alluring devil,
UTUR
By DAVID
.•'•?•.' ^"3
'''
Copyright, 1909, by David Belasco
"I live close to the heartbeats of men and women"
too, that he won the tender fancy of pretty women, and took the
place of the once wooden hero. It was very difficult, indeed, at
this time to get a hero who made good with the public, because
the new villain was the most popular. I feel that he has done a
great deal of good, though with all the
harm he could.
There still remains the adventuress to
deal with. For years and years she could
never be an American. No amount of
ingenuity would permit such a seeming
falsehood. For many years she was as-
sociated chiefly with French, or Italian,
or Spanish blood. Her badge of dis-
honor was the cigarette, her favorite
color was a smashing red, the heels of
her shoes were immoral, and her black-
wig denoted the recklessness of her char-
acter. She usually spoke in broken Eng-
lish to establish her identity as an un-
desirable alien. It didn't matter so much
how broken the dialect was, that too,
was immaterial. Most of the stage ad-
yenturesses were beautiful women, and
these actresses contributed a great deal
to the fashions of their days. We have not quite overcome this
stage prejudice to an American-born adventuress, but the news-
papers and magazines are gradually enlightening us. Briefly,
these were the obstacles to theatrical progress which have
brought about theatrical realism.
To disperse them was easy enough, to replace them was the
difficulty. The ethics of drama demanded their utility. The
search for their substitutes brought about an interesting awaken-
ing for the stage. In replacing the old-fashioned heroine we
had to dig into the more vivid sort of literature. The producers
began to look around to see
what people were doing
when they were not in the
theatre, and they found they
were reading stories. The
writers had been keeping
abreast of the times. The
theatre had clung too long to
its tradition. Then came a
vogue for the book-play.
This gave the theatre a lit-
erary uplift. In dramatiz-
ing the book the theatre gave
new heroes and heroines.
Personally, I must say, the
book-play did not appeal to
me so much. A good deal
of the first-hand subtlety of
human nature was lost in
the welding process of
printed fiction to the breath
and life of the stage. I had
always lived close to the
heart-beats of men and
women. It was like trying
to make a painted swan
curve his neck like a real
one, or to give a property
bird the illusion of wings
that would make it really fly.
The essence of success in
a theatrical production, 1 have always believed,
lies in its surprises. All lives have their moments
of importance, and they are the thrills — the dy-
namic emotion. Why they happen, and how they
come about, is realistic
drama. With an accu-
mulated knowledge of
what should not be done
in the theatre, I have
always found more than
I could use, of things
that could be done. The
province of literature is entirely outside
the province of the theatre. Of course,
I can speak only of my own dramatic
views, with which some have differed.
I believe in the play that deals with
life in its moments of importance, in a
crisis of emotion. It is strange, that life
in its most prosaic moods is always ex-
posed to them. Emotional feeling comes
unexpected, swiftly, with an after-ef-
fect that startles us with some new wis-
dom. We have learned something we
never dreamed of in some unexpected emotional experience.
These were things which I tried to apply to my productions. To
meet the progress of current psychology rather than adapt the
meaning of current events has been my chief industry.
I knew that the heart of the wanton had all the humanity of
all women, but that her life was obviously full of dramatic con-
trast. She was an heroic figure. She was an heroic figure to the
crowd that looked on, and followed the surprises of her emo-
tional experiences. I knew that in most women's lives the horror
of temptation had been secretly fought, and that they would
"The limitations of the actor and actress are the only hindrance to the realism of the future"
THE THEATRE MAGAZINE
understand the thrill
dramatic conflict.
Then, too, I knew that most women
are spiritually redeemed, and that here
was material for a suggestion of the
beauty of a soul that had been dragged
through the mud — triumphantly restored
to the peace that passeth all under-
standing.
Long before these two plays in which
I had visualized these facts had made
their success, long before the production
of "The Heart of Maryland," my
dramatic purpose had broken away from
stage tradition. My productions were
modern pictures of modern life. My
aim has always been to find the dramatic
material of the future, even if it led
me to the edge of a rainbow. It has
often done this, for intuition is a master
one must not disobey.
Nearly everything I have selected for
dramatic production has been chosen
under the spell of intuition. An instinct
for the theme that is uppermost in the
world's progress is no credit to the in-
dividual, because it is a gift. I realized
long ago that an era of new dramatic
material would surely arrive. I felt that
before long we of the theatre, would
reach up and touch the rainbow of
human aspiration at their best, at the
intangible line that divides the natural
from the supernatural.
Within the past few years we have
been reading a great deal about these
mystic themes which involve our emo-
tion. For the realism of the future T
have always found my inspiration in
magazines and books. Preferably, the
magazines, because they have popular-
ized psychology, not only in this coun- I>hotosWhit
try, but all over the world. I watch
and read a great deal, and so I search
for a dramatic crystal. A new play is the final result of my
intuition for the universal theme of interest.
As the past has accomplished its evolution of progress in the
theatre logically, so the realism of the future is arriving. The
evolution was crude enough at first, then startling, and now,
to-day, we are on the threshold of a theatre that is adapting
itself to the spiritual and supernatural.
If we can dramatize the present, as I believe we should, let
Anna Wi-ml
Beatrice Allen
HOUR ATTRACTIVE PLAYERS NOW APPEARING
IN "Z1EGFELD FOLLIES"
us dramatize the most absorbing, the
most prophetic events of our lives,
especially those which concern the ban-
ishment of evil, and which establish the
eternity of spirit. Not that I believe in
limiting the theatre to one theme, to
one formula of dramatic material, be-
cause that would narrow the tremendous
scope of the stage. There is always
room for the big play, whether the
theme is finance, or divorce, or religion,
or of the passion. There is room even
for the big burlesque, if it is the best.
Fur myself, I am interested chiefly in
the idea that is on the horizon, in the
problems of the soul, for they are the
most compelling facts of the present.
There are so many of them, too, that
the man who is looking for the new play
must use his utmost intelligence to keep
up with them. It has been my habit to
carry a theme for a play in sub-con-
scious darkness for some time IK- fore it
is molded into dramatic form. Time
was when we in the theatre were all
looking for new plots. It seemed then,
that the triangles of human emotion, the
rule of love divided among three, would
be an endless calculation for the dram-
atist. This idea soon outgrew its
dramatic usefulness, because it is no
longer a problem to the world, it is
merely a symptom of an irritating con-
dition. The plot is secondary, the idea
is the whole of the play. Preferably it
must be the new idea.
1 have sometimes thought that the
essence of life is in its mystery. The
things that happen are not always done
through our own cleverness, but through
an influence we have not yet discovered.
A play is only a bit of life, and yet it
contains all of life as we live it. There
is the supernatural in almost every event,
no matter how prosaic the incident. We are growing nearer to
the supernatural consciousness, which is the next step in stage
realism of the future.
I remember when I produced "The Darling of the Gods." with
Mr. Long, we often discussed this question in my studio. In
this play the first direct appeal to the supernatural perceptions
of the public was made. I was very much in doubt whether the
theatre could accomplish this appeal, whether it would be
,ma llanuUun, Freddie Nice, Charles !><-• Haven
Lik'hts and Shadows, danced by <- ross
(leorgc Le Main-
Lois Josephine and Wellington I
•
am ."
••
Mollie King as "PeK o' My Heart"
Photos White On the steps .of the Capu,:
ES IN "THE PASSING SHOW OF 1913'
THE W,NTE«
THE THEATRE MAGAZINE
understood, whether the poetry of a supernatural tableau would
be received in a spirit of reverence. However, it was an incident
in the play which represented part of the Japanese religion. It
belonged there and it made a profound impression. I refer to
the apotheosis of the play, its final scene.
And there is another way by which the realism of the future
in the theatre will be revealed. By searching in the magazines
and the newspapers, and the everlasting output of the printing
press, one may find the unusual theme, but, as 1 said, there is
another way, which is quite beyond any reasonable calculation.
In my own experiences I have been unable sometimes to justify
my selection oi a theme. I only know that there is a dormitory
for ideas, where they sleep quietly as long as they please, and
when they awake they drag me with intense energy to the stage.
Where they find lodgment, or how long they sleep, is immaterial.
They are the whisperings of new thought that fill the air, the
unspoken truth, seeking definite form.
Whenever I try to solve this mystery of how I find myself
producing a certain sort of play, I think of that wonderful
picture of Elihu Vedder, the well-known
American painter. He tried to give
form to an idea that was vague, but
deeply rooted in the human heart; the
idea of spiritual eternity. His picture
represents two figures. They are there
in a mist, a vapor, a place between earth
and heaven.
One says, "When did you
come?"
The other replies, "I only
died last night."
To-day some of us are try-
ing in the theatre to do what
Elihu Vedder did, to give
It is the poetic
adaptation of na-
ture that must
absorb the pro-
ducer of stage
pictures. Though
his canvas is
limited it is no
more so than the
painter's canvas.
Beyond the mar-
gin of a miniature
the whole world
can be seen, if the
miniature is faith-
ful. It is easier to
produce an effect
in a circus, or
upon a huge stage,
Matzene MARGARET ILLINGTON
Playing Mary Turner in "Within the Law"
Moflett
JULIAN L'ESTRANGE
To appear in Ferenc Molnar's new comedy
substance and
logic to the un-
known, to make a
forecast of the in-
evitable. This. I
think, is the high-
est purpose of art,
to prove that
poetry as well as
prose, may serve
the interests of in-
formation in fact.
We are too often
inclined to neglect
the reason of
poetry, and yet, all
nature is its justi-
fication.
Moffett
PAMELA GAYTHORNE
Lately seen in "Our Wives"
than it is in the proscenium
of a regular theatre. The
language of stage lighting is
the language of the poets that
commands the sun, the stars,
the sea and sky to speak.
So much that is kind and compli-
mentary has been said about the lighting
of my productions that I have always
been greatly encouraged to devote my
utmost efforts in that direction. If the
successful results of my light effects
were merely a matter of mechanical in-
vention, they would be adaptable to any
theatre, but they are not. There are
always distinguished copyists who can feel the artistic duty of
an original picture when it is before them, but the original paint-
ing still retains its singular identity. In a much lesser degree,
the lighting of each new scene I have produced is a new and
original picture that retains its identity once 1 have painted it.
My process of producing light effects bears the same relation
to the stage that the painter bears to his canvas.
I have often sat in an orchestra seat at rehearsal and painted
a moonlight scene from my recollections of an actual one. I have
directed the distribution of light and color on the canvas as a
painter manipulates his colors, shading here, brightening there,
till the effect was complete. It was all done at one sitting for
the first time, but I could never repaint that picture. Once I
had worked out the lighting of a scene, sticking at it sometimes
till I was almost blind ; there are no changes afterward.
Mechanism completes it, but the inspiration of a few hours
makes it.
In this way the artist keeps (Continued on page ix)
Photo Harris and Ewing
MISS GENEVIEVE HAMPER
Now leading woman with Robert Mantell, and to play the part of
Prince Arthur in Mr. Mantell's forthcoming production of "King John"
IT was bound to hap-
pen. Tartarin, almost
the last brain child
born to that gentle and exquisite writer, Alphonse Daudet (last,
it would seem, of the Frenchmen to remember the delicate,
sparkling, clevei French of their ancestors), could not be kept
off the stage indefinitely. As the craze for adaptations, drama-
tizations, etc., has not spared Paris while it swept like a devastat-
ing wave over the rest of the world, the surprise is that this
great and immortal incarnation of the French genius delayed his
appearance until the close of the season of 1913. To be definite,
Tartarin of Tarascon — Tartarin on the Alps — made his debut on
the stage of the Porte-Saint-Martin Theatre in Paris at the
fag end of the theatrical season. August heats which almost
cerlainly would have killed any other creation for the theatre
nursed Tartarin tenderly and forced his growth. A Meridional,
this stifling heat was his native climate and he waxed big and
strong while yet in his swaddling clothes. This is the same as
saying that Leo Marches' picturesque comedy in five acts and
seven tableaux, entitled "Tartarin stir les Alpes," was a tremen-
dous success, and that is the fact, however it is expressed.
The new play — it is more of a spectacle than a "picturesque
comedy" — is admirably adapted to the Summer season. The
very title is refreshing, and people in Paris who cannot afford to
go to the Alps were delighted to see them transported to a
corner of the boulevard. With a sweep or two of the scene-
painter's brush and there is Mont lilanc within reach of every
purse. To wait until everybody was gasping with the heat and
then show a snow-crowned mountain deserves to be called an
inspiration. Staging "Tartarin" could not have been easy; the
results have justified the efforts required, for since the play began
the Parisians have literally feted their popular hero in his new
stage dress.
From a purely dramatic point of view this famous romance
of Daudet's scarcely gains by a scenic adaptation. Of the two
Tarascons, Tartarin dc Tarascon, and Tartarin sur les Alpcs, the
first only has movement, spontaneity ; its verve is fresh and never
tiring. It must have been composed in an irresistable inspiration.
Daudet was but the amanuensis who set down the dictations of
his inflamed imagination. T'.ut the books written in sequel to this
great success, seem to have been "willed" — their pen is medi-
tated. They show not effort, perhaps, but application. Their
author counts in advance on effects which he has tried out se-
curely in the first volume. Like nearly every great author before
him who yielded to the clamor of his readers for "more," Daudet
proved that books of character, brimful of sparkle cannot be
written to order. It might seem strange if this criticism were
absolute, that the adaptor should choose to dramatize a sequel
and not go to the original fount. P>ut it isn't strange, for the
very good reason that a play is not a book and "Tartarin sur les
Alpes" offers more material for dramatic contrast and physical
spectacle than the mirth-pro-
voking chronicle of the sleepy
little village of Tarascon. If
one remembers the book at all
and seeks defects in the play
by means of comparison they
are easily found. Indeed, they
are comprehended in one short
sentence that the exploits of
the hero as shown, are more
serious than they appear in
Daudet's book. It was by his
comments, by his irony, by all
his asides, just and spiritual
that Daudet, like Dickens,
created an atmosphere of
gayety, of good humor and
sometimes — very often in the
case of the Englishman, of sentiment. These delicate shades
vanish in the brutal light of the footlights. Take, for example,
the episode "either rice or prunes" in "Tartarin sur les Alpes."
GOLDEN LAUREL WREATH PRESENTED TO BERNHARDT
This wreath, designed by Paul Gillot, was presented to Mme. Bernhardt, on May Kith
last at the Palace Theatre, by members of the dramatic profession. The following
are a few of the artists who subscribed to it: George Arliss, Etliel Barrymore.
Lotta M. Crabtree, William Faversham, Mrs. Fiske, Virginia Harned, Robert
Milliard, Margiret Anglin, E. H. Sothern and Julia M,-rlowe, Otis Skinner, Robert
Mantell and Lillian Nordica
When Tarascon refuses
both these desserts (in the
book) you can appreciate
the astonishment of the guests at the Swiss hotel, who are
divided into the prune party and the rice party. The incident in
the book has savor. Tartarin becomes an enigmatical personage
by reason of this double refusal. In the play this episode has
been preserved — Tartarin is offered successively prunes and
rice, but the short scene fails to "get over," because it clears up
nothing. It will prob;.bly be dropped if the play finds its wav
bcre.
As a spectacle — to repeat — the ne*w play is richly interesting
and presents some novel pictures. These are, as they should be,
merely the background for the boasting, Jying, grandiloquent,
naif and timid Tartarin. Its essential, then, is an actor capable
of being Tartarin. He must be Daudet's hero, actual, authentic,
unique, full of gayety, fantasy, warmth and delicacy. Parisians
claim that they recognize all these qualities in M. Vilbert, who
has won, in consequence, an additional step or two on the
theatrical ladder. The French recognize Tartarin as a true
Gallic type, exactly as they see another type of the race in the
immortal Cyrano. To have pleased them by his Tartarin elevates
Vilbert quite near to the position held by the lamented Coquelin.
One of the scenes of the play shows Tartarin prepared to
face the Czar in order to win the hand of Sonia, who is a Nihilist
and an exile. This scene is played on the terrace of the Jung-
frau hotel in front of the Grindelwald glacier. Sonia's com-
panions. Menilof and P>olibine, have enticed a disguised police
spy away from the terrace and are about to avenge themselves.
Tartarin scents danger and inquires of Sonia :
TARTARIN: What's happened? What are they going to do? He has a
ferocious air.
SONIA: Feroeious ! How little you know Manilof. He is the gentle-;:
of men.
TARTARIN: But he caused — you have told me — the explosion in the
Winter Palace. Many killed?
SONIA (sadly) : Too many.
TARTARIN: It is always so. Innocent victims!
SONIA : Yes, it is horrible. I do not believe in murders en masse — the
one you seek always escapes. The true procedure, the most humane and
the surest is to go straight to the Czar— as you would go to a lion, armed,
determined, post yourself at a window or at a carriage door, and when
he passes — pan !
TARTARIN (not enthusiastic) : Yes . . . but— certainly— perhaps, but to
murder a. man you don't know, whom you've never met— he may be a
good fellow, too— to murder him in cold blood — is an atrocious thing— eh '-.
SONIA: (relates instances of tyranny and oppression in Russia and con-
cludes by asking) : Do you believe that the tyrant who orders such cruel-
ties is worthy of pity?
TARTARIN: That would be saying a good deal. But, after all, what
good is accomplished by killing him? After that tyrant another will come,
and another and another. And the years will pass— quickly will fly the
days of youth and love —
SONIA (smiling): You make me laugh despite myself; you are so
funny when you talk of love!
TARTARIN (taking her hand) :
Ah, Sonia, if you would
SottiA.^(freeing herself) : I re-
peat what I told you. I can only
love the man who will deliver my
country. Were he as ugly as Boli-
bine, ruder and coarser than Mani-
lof I would become his wife — live
by his side, tend him, freely, gladly
as long as life endured, or he
wanted me.
TARTARIN (again snatches her
hand) : That would be always — al-
ways Sonia, at Tarascon.
SONIA : Then — if you wish me —
win me !
TARTARIN (proudly) : I will, yes.
I will ! It is an affair now, between
me and the Czar !
SONIA: Truly — you will do this
for me?
TARTARIN : I will seek the Czar— I shall not hide myself — in shadow,
I shall not strike without warning ! No, I will provoke him to a duel.
SONIA : A duel ! How foolish. You will be arrested, imprisoned be-
fore you get anywhere near him. (Continued on fai/c .\- )
JULIA SANDERSON had never been interviewed. It was
explained that Miss Sanderson did not feel that her per-
sonality was of sufficient interest to the public to justify the
ordeal. Therefore, this becomes the first interview which she
has ever given, an event in theatrical history that has its im-
portance.
In her boudoir-dressing-room at the Knickerbocker Theatre,
in New York, where she is playing a long season in "The Sun-
shine Girl," Miss Sanderson had decided to do the best she
could with the new task put upon her. It was a charming room,
white, with roses everywhere, an ingenue's room. Looking like
the prettiest girl one could wish to meet, but with an air of
supreme timidity, she received the interviewer. Taking the
situation, which was new to her, with the utmost ceremony and
seriousness, Miss Sanderson presented a rather for-
midable task, because she was so entirely unprepared
for anything so dreadful. The subject did not appeal
to her, she said, because modesty in her performances
had been a matter of instinct ; therefore, it was very
difficult for her to tell anybody how she happened to
convey so much of it. The truth of this was easily
recognizable at a glance. She has violet
eyes, such as only Lily Langtry, the
English beauty has, and her smile is
modesty itself.
Listening with polite attention to the
interviewer's requests, that she define
why stage modesty should prevail in musical comedy,
she finally expressed her sympathy for him in the
following question :
"It must be difficult to interview someone who is
a perfect stranger," she said.
"It requires some imagination," replied the inter-
viewer, "but how much more of it is needed in your
own work?"
"Yes, but we have people to help us on the stage,
and you have to do it all alone."
"All alone," replied the interviewer helplessly, and
then wondering why, for the first time, he was non-
plussed by a Broadway star.
By degrees she told him that she had never taken
a lesson in either singing or dancing.
"I am almost ashamed to say this, because I realize
that I ought to have done so, but I have never been
able to find the time."
Here was realism in stage modesty that would be
hard to duplicate.
"You see, I became a star very quickly; I was
very fortunate, wasn't I?" said the young lady,
hastening to explain herself frankly and freely.
"( 'an any woman do it ?" demanded the interviewer.
"You know, of course," he persisted, "that you represent that
most illusive charm in the theatre — stage modesty?"
The actress smiled dubiously.
It had never occurred to her before, that there was anything
ever required of an actress that could offend her or her
audience.
"My father is an actor," she said, "and when I was very, very
young, I was on the stage playing 'sympathetic parts.' Before
I was out of short skirts I was playing The Wronged Heroine'
of melodrama. Perhaps it is a happy incident of my young
girlhood that I learned all about the desperate deeds of heavy
villains, and learned to realize that there may be heroes who
come to the rescue of 'wronged heroines' in the nick of time.
How many times I have been saved from some fearful disaster
in my melodramatic experience on the stage I couldn't say.
My youth was doubtless the principal appeal for sympathy to
the audiences who witnessed my rescue.
"Most of the stage villains who pursued me in these melo-
Copyright 11)13, Charles Frolmian
JULIA SANDERSON
In "The Sunshine Girl"
dramas were hard-working young men. Some of them had
families of their own to support. All of them lived lives of un-
impeachable modesty, off the stage.
"As to the heroes, I wish I could say as much for them. They
were not always as modest as the villains."
It was, no doubt, unpardonable that the interviewer, listening
obediently to this brief sketch of Miss Sanderson's career as a
child actress regarded her with a sceptical eye and a serious
air of deep concern.
"And you have never found it necessary to cut out the lines
of a song, in musical comedy, because you thought them im-
modest?" he asked.
The brutality of his question had not occurred to him till Miss
Sanderson's confusion made him realize it. Her smile grew
more radiant, but she found it difficult to speak.
"Must I tell you?" she asked appealingly, and then
with a little shrug of her shoulders as if she felt the
cold chill of a shower upon them, she said :
"Only once in my career in musical comedy have I
ever found it difficult to interpret the words of a song
put in by the author — because, well — because they did
not fit me. I tried very hard — awfully
hard — to adapt myself to the comedy idea
of the song."
"Perhaps, after all, it wasn't funny?"
"Oh, no, the song was all right except-
ing one line, and I always stumbled over
it at rehearsal."
"What was the line?''
"For the life of me, I cannot remember it. I re-
call, however, that it was a little too suggestive to
suit me, and it actually hurt so much that whenever
I came to this line at rehearsals 1 almost went to
pieces.
"At first it seemed very foolish, and I tried to
overcome my feelings against it> but the harder I
tried the more impossible it became."
"I am so sorry you cannot remember the line,"
persisted the interviewer.
"So am I ; but all I can remember about it is
that it was like saying something that wasn't nice —
something that no young girl would think of saying.
So I went to the manager and asked him if he
wouldn't be good enough to cut that song out. Well,
he was perfectly charming about it. He seemed to
quite understand my aversion and did as I wished.
"If he had not clone this, I know I should have
been an awful failure, just on account of one stupid
line."
"But, wasn't it really funny?" insisted the inter-
viewer, and Miss Sandersqn declared that as the
confession had been unwillingly dragged from her, she would
say no more about it. Brushing away all reserve, the interviewer
went straight to the heart of his subject with this direct question:
"It is the way a thing is said, is it not, that makes it possible
or impossible to stage modesty?"
"I have never really analyzed my work in any way before,"
said Miss Sanderson, "whatever I have had to do in a musical
play, to sing or to dance, I have always done in my own way,
to the best of my ability. I have really gone no deeper into a
characterization than to carry out the plans of the author and
the stage manager. In fact, I have never been asked to speak a
line, or sing a song that wasn't perfectly charming, and that any
girl wouldn't have been delighted to do. Of course, with the
one exception which I have mentioned. Perhaps this exception
would have been considered funny, just as the humor of the
janitor may amuse some people. I think there are some things
done on the stage by very clever actresses which I admit I am
not clever enough to do myself. It is not stage modesty entirely
94 THE THEATRE MAGAZINE
which prevented me from speaking a line which I found objec-
tionable. I could not say or do, either on the stage or off it,
anything which I didn't think was nice. And yet, 1 have been
an actress from the time I was a child."
"I admit, there are some parts in musical comedy, and many
kinds of musical plays in which I could not appear," said Miss
Sanderson, "simply because I think I am not clever enough to
do the suggestive thing well. I think it requires the highest
•When you were in the chorus, did you have the same ideas ?" possible skill and technique to say and do things on the stage
asked the interviewer.
His obstinancy clearly disturbed Miss
Sanderson, but she amiably tried to assist
him.
"My first experience in musical comedy,"
she said, "was in the chorus of a piece
called 'Winsome Winnie,' and after I had
that are not quite nice in themselves, but
are immensely pleasing to some audiences.
I am not sure whether I am a comedienne,
but I have been fortunately cast for parts
that are ingenue.
"The true object of all artistic effort,
should be to contribute to beautiful
SAM B. HARDY
Appearing in "Stop Thief"
GRACE
To be seen shortly
CLARENCE OLIVER
Appearing in ''Broadway Jones"
been there for a short time I was given the
understudy for the part played by Paula
Edwardes. I was not a novice, and I was
wrapped in my ambition and hard work.
One's stage associations really don't make
any difference if you are very happy and Mishkin
\oung enough to know little of the world,
and feel quite sure of yourself.
"Mv home with my father and mother was very happy, and I
always go to theatre strictly in a business mood. Subsequently,
I succeeded Paula Edwardes in the part she had played, and the
following season I was cast in that beautiful, idealistic produc-
tion, 'The Arcadians.' My experience in the chorus was very
short, and I am quite sure that it made no unpleasant impressions
upon me. I was too busy studying the possibility of a future
career in musical comedy to think of anything but my work and
my success.
"Still, there is probably no kind of stage work in which per-
sonality means so much as in musical comedy. Beauty is not
enough, because the musical shows have many beauties in them.
I believe that any girl of average intelligence has a very definite
instinct of discretion, and being on the stage should not inter-
fere with her character. In my own case, whatever I have to
do in the theatre has never been anything that I did not wish
to do. That is to say, I have never had to pretend to be anything
on the stage than just a young girl who likes nice things nicely
done. I have a great many admirers among little girls who are
unknown to me. They write me the most lovely letters from
all over the country, even from places I have never been to. I
am very careful to answer these letters, and to send them my
photograph, when they ask for it."
All this Miss Sanderson told the interviewer in explanation of
certain reasons why stage modesty should prevail in musical
comedy. lie even pointed out instances where it did not. He
mentioned the names of men and women in current successes of
the season, whose performances had not succeeded because of
their prevailing modesty.
FILKINS
in "The Love Leash
thought, to inspire refinement, to please
people with nice things and nice ideas.
Vulgarity is always ugly, and while it may
make people laugh for the moment, it is
only temporary amusement. After all, the
things that we enjoy most are the things
that inspire us with lasting memory. A
pretty picture has the artist's tin night in it
to inspire us, but a pretty woman without refinement, contributes
nothing to our pleasure.
"In musical comedy a beautiful voice in itself is nut so inspir-
ing as a beautiful song conveyed to us with simplicity, ami
above all, with sincerity. There has been an impression that
musical comedy should be a mixture of questionable farce. Only
recent productions, some of them, have shown us the charm and
refinement which these entertainments can present in a \\ ay
that is quite impossible in any other stage form.
"Wrhen I am forced to consider myself among the 'stars' of
musical comedy, I realize my limitation compared to the talents
of so many others. Whatever the future may have in store for
me, I know that it would be quite impossible to be like some of
my contemporaries whose beauty and cleverness so far surpass
my own. Of course, in 'The Sunshine Girl,' I am merely a very
small part of a big show. There is so much of everything in it.
that I feel lost sometimes in the whirl of scenes. There is really
nothing for me to do but sing the songs I have as well as I can,
and to dance about the stage as gracefully as I know how. There
is no great histrionic strain put upon me in my work, and so
long as I am appearing in the ingenue roles of musical comedy,
I shall have to impress my youthful personality upon the public,
just as it is.
"I have really had no schooling for it. and what degree of
good taste 1 may have inherited, must remain the prevailing
quality of my work."
"Then it is true, that you are really very young?'' asked the
obstinate man.
"I will be perfectly frank with (Continued on page vi)
THE THEATRE MAGAZINE
Sarony
OLIVE WYNDHAM
This popular actress appeared last season in "What Happened to Mary"
Moffett THAIS MAGRANE Baker Art nancry HERBERT DELMORE
Recently seen in the title role of "Everywoman" Appearing as Alan Wilson in "The High Road"
White ADELINE OTONNOR
Who plays the leading feminine role in "The Master Min.l"
th-
ea
th-
ANEW thing has come up in dramatics in connection with
realism, and it is hard to say how long it will be before
audiences become violent over it. It is the food and
drink question on the stage. Playwrights in other years delib-
erately avoided putting reality behind the footlights on the ground
that people had enough of it all day. In these times, however,
when audiences go to the theatre to relive rather than to vary
the day's experience, playwrights have responded to this demand
in the most vigorous fashion. They have followed the public's
every footstep to learn its habits, and finding that it eats and
drinks in large ways every few hours and in small ways every
ten minutes, this fact is faithfully submitted in all plays now
offered.
The result is that no modern theatre is complete unless it is
fitted up behind the scenes with a kitchenette and a bar, while
the chef who cooks the stage meals is the busiest man in the
company.
The actors show their appreciation, of course, and while they
toy with the lobster a la Xewburgh and drink sparkling draughts
of sunniest champagne, the hungry audience looks on in silent
pain. Between the acts the spectators are
offered cleansed water in germ-proof "cupper
papes," as the excitable lady who tried to catch
a \\ater-boy on the wing, called them.
To watch most modern plays is, indeed, like
paying to feast at a shadow banquet. The
table is laid and course after course is brought
in. It all looks admirable. Wine bottles are
opened and glasses are carefully filled. Fifteen
hundred eyes out in the dark auditorium watch
the cool Burgundy meet its doom.
Take, for instance, William Collier's play,
"Never Say Die," which ate its way through
several months at the Forty-eighth Street The-
atre last winter. There were three acts in that
and three meals. The first was afternoon tea,
the second an elaborate dinner and the last
breakfast. No one can deny that the leading
actor in this melange had gastronomic courage,
nor can anyone fail to think sympathetically of
the chef laboring like a hero over a gas stove
out in the wings throughout the length and
breadth of eight performances a week.
Stories came from behind the scenes that Mr.
Collier and his associates had declared for onlv
Unity
the best stage food, especially for the dinner in the second act.
The lobster a la Newburgh had to be freshly cooked, served
steaming hot and flavored with truffles. The asparagus had to
be tips, not stalks, and the champagne of a vintage not later than
1890. The odors of this toothsome feast were wafted over the
footlights into the very nostrils of the envious, and in many cases
hungry audiences, and as for the starving critics on the first night
it is doubtful if they paid a proper attention to Mr. Collier's
table technique or to the insouciant poise of Paula Marr's fork
as she raised the asparagus tips one by one to her little lips.
Certainly none of them mentioned these matters in their reviews.
Yet, what more important in the play ?
It is not everyone who realizes how important this matter of
eating has become in the theatre of to-day. Stage food used to
be regarded as a "property," and as such to be supplied by the
property man. But when the matter began to evolve into course
meals with hot dishes, the property man and his assistant, the
stage-door cat, found themselves out of their depth, and a new
arrangement had to be made.
At the Forty-eighth Street Theatre last winter the student of
things culinary would have found almost more
entertainment behind the scenes than in the
auditorium. In a room set apart for a kitchen
was a complete outfit : stove, utensils, running
water, dishes and all necessary details. There
stood the chef in cap and gown, or however a
chef's costume might be described. A case of
live lobsters just delivered from the fish store
stood in the corner. Fresh vegetables lay on
the table ; eggs, butter and meat were in the
refrigerator, while a bottle of champagne nes-
tled in the cracked ice in a silver cooler. An
attractive smell of dinner being got ready per-
meated the place, and to give the final touch of
pleasant domesticity, the stage-door cat, having
found a better outlook than the dry companion-
ship of "props," was curled patiently and with
a futurist expression on the mat.
Although it was the chef's duty to shop for
and cook the dinners, breakfasts and teas it
was, unfortunately for the audience, not his
part to serve them. But whether a waiter or a
real actor was engaged to pass the dishes is not
known, although if one were to judge from his
personal interest in the food the signs would
VERA DE ROSA
Seen as Sybil Vandare in "The Firefly"
JOSE COLLINS
This popular actress is now appearing in the "Ziegfeld Follies" at the New Amsterdam Theatre
Ttt£ THEATRE MAGAZINE
point to his having been an actor. If one did not realize in any
other way the importance of food in the theatre o'f to-day a
sight like this behind scenes would surely make the facts plain.
But everyone does realize it, for al-
though it is shown incidentally during
the course of the modern drama that
father is a brute, that mother has a
lover or that James and Susan are to
be married after all, the real moment
of the evening is when Susan is de-
ciding whether she will have one lump
or two in her tea.
No New York theatregoer can fail
to beat in sympathy with the actors at
that charming place in the drama where
afternoon tea is announced, nor can he
miss the thrill of the pleasant burble
of conversation which breaks loose
among the drawing-room company
when the tea things are wheeled in.
And any habitue of the theatre can
recall offhand the telling lines which
follow :
"May I pour you a cup of tea?"
"Yes, if you please."
"One lump or two?" asks the well-tailored leading man.
"One. if you please," smirks the selfrconscious heroine.
"And lemon?"
"Thank you."
Food has become so necessary in plays that it has even gone
into musical comedy where it used to be that only wine, woman
and song were essential. One of the season's unfortunate
Sarony
RITA JOLIVKT
Who will appear in the new Ferenc Molnar comedy
fact that the leading waltz song, sung by the principals, was
about Irish stew.
"At home tlicv never give me any Irish stem," sang the heroine
plaintively.
And at the duet both sang while in-
dulging in a romantic embrace,
"At home they never give her any Irish
stew,
Irish steii.1 and some potato."
Meanwhile a steaming bowl of the
delightful stuff stood on the table be-
side them.
If one goes over the list carefully it
will soon appear that there has been
hardly a play this year without its food
and drink scenes. Even the "Whip"
had its banquet, while everyone re-
members the generous importance of
the subject in "The Governor's Lady."
Never before, perhaps, has a whole act
been given over to reproducing Amer-
ica's most characteristic ideas about
eating.
Did the realists mean this when they
preached realism on the stage ? I 'er-
haps it is merely a striking proof of the fact that a preacher is in
the hands of his hearers.
But how about the audiences?
Perhaps the reason why so many are dropping the theatre and
going to cabarets instead is because at the cabarets for no more
money they get the same quantity of music, drama and clothes.
but have the privilege of eating the food themselves instead of
productions (now in storage) was indeed almost saved by the having to watch the actors eat it.
C. I. D.
AT Brattle Hall, in Cambridge, Mass., recently, Shakespeare's
"Comedy of Errors" was produced by the Delta Upsilon
Fraternity of Harvard University.
Brattle Hall is a small building used for dances and amateur
theatricals ; a building in which the Harvard Dramatic Club has
always presented its plays. It has a stage of fair size, indiffer-
ently equipped, and it would not, therefore, seem a place of
especial importance in the theatrical
world. Nor would the annual Eliza-
bethan revival of the Delta Upsilon,
despite its honorable record of fourteen
well-chosen plays, seem an event of un-
usual interest among theatrical affairs.
But what makes the occasion worthy of
more than passing mention and of real
significance is that for the first time in
this country a Shakespearean play was
produced after the new manner of con-
tinental Europe, the method used at
Munich, and by Gordon Craig in his pro-
ductions at St. Petersburg.
This new art of producing aims at
simplicity in settings and seeks to stim-
ulate the imagination by suggestion
rather than by hampering it with details.
Among the pioneers in this movement
there are radical differences of opinion,
but upon one general principle they are
all agreed — Reinhart, Craig, Stanislav-
sky— the elimination of all that is not
essential to the creation of illusion.
Nowhere in this country, perhaps, is
there deeper interest felt, nor is there
more intelligent discussion of this new
FRANCIS POWELL
Coach and stage director of the Harvard Dramatic Club
who, says a Boston critic, deserves credit for making the
first production in America of Shakespeare along the new
German lines of imagination, originality and beauty.
movement in dramatic production than in Cambridge, for Cam-
bridge is a veritable hotbed of dramatic interest. Nearly every-
one in Cambridge either writes plays or acts plays or talks plays.
So, after all, it is not a surprising thing, perhaps, that the first
step in the new direction should be taken there, nor that the
members of this organization should have led the way.
The selection of the play was partly a matter of choice and
partly a matter of luck. The "Comedy
of Errors" with its classic setting ant!
rapidly changing scenes seemed an in-
teresting subject for experimental treat-
ment. Here were color, line, even pure
design perhaps. Here, also, was the
necessity for brief waits between the
scenes if the continuity of the story was
not to be lost. So much for the element
of choice. These alone would have been
sufficient reasons for deciding on this
play, but by a lucky coincidence there
happened to be in the Fraternity real
twins, so much alike in looks and voice-
that often in rehearsal the cast were
puzzled as to their identity. Of course,
the twins settled the matter and the play
was chosen.
In considering the production I de-
termined at once that the painted per-
spective drop with all of its shortcomings
could be eliminated. Here, to begin
with, was a decided gain. It meant that
the long-suffering audience would no
longer be obliged to see the Ephesian
Temple of Diana nicely painted on the
back drop, dwarfed by the actors
THE THEATRE MAGAZINE
99
whenever their business carried them up stage. Nor was this
the only gain. No more would the painted buildings shake and
tremble as the actors hurried by to make their entrances. As a
substitute the blue cyclorama drop was chosen (the German
cupola horizon not having yet reached Cambridge). Against
this background of turquoise blue, marble buildings of chaste
design were placed at either side of the stage. In these, con-
ventional bronze doors were placed, serving as entrances for all
exterior scenes. Here was a mollification of the conventional
di mi-way in the gray wings at either side of the stage, used by
Mr. Urban in his very charming settings at the Boston Opera
llmise. Between the marble doorways against the blue of the
sky was placed the changing scene.
The notes of trumpets sound, the curtains open, and we see
tlu' Duke surrounded by his guard and officers listening to
.Kgcan's tale. The scene consists of purple velvet draperies
with an opening at the right, through which is seen a narrow
strip of sky and wall. The sunlight streaming in, glistens upon
the breastplates of the guard and makes of the group about the
Duke a splotch of gold upon the purple background, while in the
shadows opposite (for no footlights were used) the armor of
the guard catches the reflected light and shimmers with a dusky
glow. All very simple but suggestive of authority. /Egean's
story told, the curtains close and the draperies are taken up.
Again the curtains open and we see 'The Mart." Against the
sky is a quay with a ship at anchor, its red sail unfurled. Broad
moss-grown steps lead to the quay between high weather-beaten
walls, and here Antipholus, of Syracuse, arrives in Ephesus.
The next scene shows a room in Adriana's house. Here
Luciana lounges on a gilded couch while Adriana fumes, their
costumes of lavender and pale green showing against rich velvet
draperies of gold, and bathed in amber sunlight streaming
through the parted opening from the "Public Place" outside.
The only decoration was a gilded Grecian lamp, but this
proved quite enough. The shadows in the velvet draperies fur-
nished a fitting background for Adriana's jealousy.
Now we come "Before the House of Antipholus of Ephesus."
The walls have been reversed and now they lead up to a peristyle
with pinkish marble colonnade and seat that match the marble
of the doors and walls. A row of dark Lombardy poplars com-
pletes the scene.
The last scene shifts — the moss-grown walls lead to an arched
gatewa\ with bright red swinging gates, topped with a gilded
cro>.s. Here is a "Priory."
To sum up then — two sets of draperies, a marble seat, two
houses of conventional design, a couch, a tripod lamp, four
strips of wall (painted on either side), a profile ship, a colonnade,
three profile trees, a platform and two steps (these also painted
on either side)— all of this with a cyclorama drop and the pro-
duction is complete.
Costumes suggested by the late Edwin Abbey's illustrations
of the play, copied and colored under my direction by Gardner
Hale, a Harvard student (whose plates and models of scenes
were of great assistance in my work), lent charming color to
the scene.
One other element remains — the lighting — and on this too
much stress cannot be laid. This was done with one aim con-
stantlv in view — the lights to fall from one direction and to be
reflected by the surfaces they struck. Another cardinal prin-
cipal was that shadows were to be utilized, not dissipated. They
have their value in the scene. The footlights were rarely used
except to light the neutral gray draperies which framed the scene.
These replaced the usual "tormentor" and "straight drapery'' of
the past.
Is it too much to believe that with the "tormentor" and
"straight drapery" will go many of the traditions and features
of the theatre of to-day, or shall T say the theatre of yesterday?
Surelv by the elimination of useless detail long waits can be
avoided, the entire text of the author given and the story allowed
to unfold itself without distracting influences. The eye is satis
fied, the imagination quickened, and one is tempted to feel that
after all, the elaborate detail of the past was a hindrance, rather
than a help, and more and more we are inclined to feel that the
suggestive treatment in stage production has come to stay.
FRANCIS POWKI.I..
According to statistics for the year 1913 the total amount paid for
admission to Paris theatres and amusement resorts was over $13,000,000.
One moving picture house alone took in $300,000. The largest receipts
at any single place were $600,000, taken at the Opera House.
Copyright, Sarony PAULINE FREDERICK
To appear again this season as Zulcika in "Joseph and His Brethren"
White
H I L I P H.
THOLOMAE
sents— "
This line, written above the announcement of a new drama and
an old star, would quite recently have appeared almost fantastic-
ally odd to the play-going populace. Until now the theatre-going
public has known Philip H. Bartholomae simply as one of the
most successful of our younger playwrights — as the author of
"Over Night," a farce-comedy ranking with the most popular of
recent years, and of "Little Miss Brown," its almost equally
triumphant successor. And playgoers
are not yet accustomed to having its
dramatists simultaneously its theatrical
managers.
But Mr. Bartholomae is rather reck-
lessly inconsiderate of accustomed or-
ders. He is a young man fascinatingly
impregnated with that glamourous temer-
ity from out which romances are woven.
Unless all signs fail in most remarkable
fashion, therefore, "Philip H. Bartholo-
mae presents — " will shortly become as
familiar a theatrical introduction as any
one of the half score other names the
public is now wont to see sponsoring
the tragedies and comedies, the melo-
dramas and farces, the musical comedies
and problem plays, paraded forth for its
edification.
For the experimental stage of the
undertaking has been bridged in in-
credibly brief space. To-day with the
musical comedy "When Dreams Come
True'1 already on Broadway and a three-
act drama from a new playwright al-
ready in rehearsal for this season, Mr.
Bartholomae sits in a charming little
brown-walled sanctum set with wicker furniture of a soothing
green, preparing contracts, considering booking-lists, and gen-
erally demonstrating that he has definitely taken his place in that
select little coterie of producing managers who shape the
dramatic destinies of America.
"I'd felt it coming on for a long time," he confesses. "Really,
I tried to fight against it, but it was no use. I'm afraid the thing
was inevitable from the start."
The actual beginning of his foray into this field, however,
came, as things inevitable and fore-ordained are so apt to, quite
abruptly. It was one afternoon last fall. Mr. Bartholomae
had dropped into a vaudeville theatre with the wholesome intent
of simply idling away an hour or two. From the artificial dusk
of the orchestra he watched languidly while "act" succeeded
"act" across the calcium-tinted brilliance of the stage. The per-
formance neared its close. People who did not intend remaining
for the moving pictures began collecting their wraps, and that
subdued buzz against which the final, lesser items of a vaudeville
bill are forced to contend filled the house. Then suddenly a
short, swarthy young man appeared before the curtain with a
violin. No one seemed to be paying any very special attention
to the tuneful little airs and nimble little dances of this young
man, but in spite of that stereotyped indifference — in the face
of it, in our defiance to it — the innate showman latent in Philip
Bartholomae then and there awoke. The vision of a spectacle
had for him woven itself about that young man and his melody.
Rising swiftly, he made his way to the stage 'entrance and
sought him out. For a long hour he talked earnestly to him.
Something like a week later that young man signed a contract
to appear under the management of Philip H. Bartholomae at a
salary of three hundred dollars a week. Thus, dynamically, it
was that Mr. Bartholomae became a producer — and, incidentally,
that Saranoff, "The Violinist," leaped from an obscure place
nearly to the "top of the bill." With the act his new manager
constructed for him he would have gone quite to the top had it
PHILIP H. BARTHOLOMAE
Author of the farce, "Over Night," the profits of which gave
iiim the opportunity to become a successful theatrical producer
everything I've done.
not been that Mme.
Sarah Bernhardt, in
choosing the acts she
deemed worthy to appear on the same bill with herself, selected
Saranoff among others, so forcing him into second place.
Far from satisfying him, that auspicious start served merely
to whet Mr. Bartholomae's desire. Almost immediately he wrote
and himself produced a one-act play called, "And They Lived
Happily Ever After." This, too, Mme. Bernhardt saw and chose
to have included in the entertainment of which she made part.
Subsequently it received wider public
notice than any recent addition of
vaudeville's repertory — and Mr. Bar-
tholomae began to look afield for larger
conquests. Through the newspapers he
sent out notice — rash man ! — that he
was prepared to read with a view to
production dramas from any unknown
playwright. At the same time he set
to work on the book and lyrics of his
musical comedy. Now he plans to
have three or four productions before
the public next season and is conducting
negotiations for the purchase of a
theatre.
The whole proceeding partakes rather
of the nature of a fairy-tale. In quick
certainty of ascension its match would
be difficult to find in modern theatrical
annals. It is one of those fabulous
Arabian Nights wonders in w h i c h
moderns permit themselves to indulge
only in the realm of business.
"And yet," says Mr. Bartholomae,
"romantic and specially protected as I
realize it must seem, there was really no
luck in it. I worked — worked hard for
If I've got on faster than most people
I fancy it's simply because I've known better than most people
just what I was working for. You see, there happens to be a
streak of common sense in me that serves as a corrective and
guide to my artistic inclinations."
To that streak of common sense and the far-seeing, dauntless
persistence in which it manifests itself is attributable every stage
of this young man's seemingly miraculous rise. People pro-
claimed him extremely lucky when three years ago "Over Night"
— the first play of an unknown writer — scored its emphatic hit
and brought him into sudden prominence. As a matter of fact,
that hit was wrought out of the sheer will-power of the author.
It was the turning-point in his career — the crucial test in which
all of himself, his ideals, and his nature were epitomized. Never
did a dramatic offering seem more completely and irrevocably
consecrated to failure.
It was written while Mr. Bartholomae was still an under-
graduate at the Rensaellaer Polytechnic Institute at Troy, N. Y.
Wisely and carefully he worked it over and polished it before
sending it forth to the marts for barter. But, like most ulti-
mately successful plays, it speedily acquired the distinction of
having been rejected by nearly every manager on Broadway.
Some of them rejected it with qualifications and talk of "thor-
oughly rewriting it," to be sure but they did reject it. Then, at
length, a certain manager said that it was impossible to judge
accurately of a play in which so much depended upon stage man-
agement and "business," but that if he could see it in actual per-
formance he thought it was very probable he could buy it.
That was quite the most encouraging reception Mr. Bartholo-
mae had encountered, and his hopes soared. By offering to put
up half the necessary money he finally persuaded a firm of pro-
ducers to book "Over Night" for a limited tour through some of
the smaller towns of New York State. They kept assuring him.
however, that such a proceeding was altogether opposed to their
usual practice, and maintaining generally a very tepid attitude
The opening scene — In the steerage of the S. S. Kaiser
Marie Flynn and Joseph Santle
Joseph Santley as Kean Hedges
Joseph Santley and Marie Flynn
Joseph Santley singing "The Dream Song" Anna Wheaton and the bridesmaids and flower girls
SCENES IN "WHEN DREAMS COME TRUE," AT THE LYRIC THEATRE
THE THEATRE MAGAZINE
102
in the affair. At last, with rehearsals fairly under way, they
decided that they had made a mistake. They coolly informed him
that they really could not go any further in the matter.
By every canon of dramatic lore this was the proper juncture
for 'Mr. Bartholomae to own defeat and start writing another
play. But his faith in "Over Night" was intense. He never
doubted that once that interested manager witnessed it he would
achieve the golden dream of all aspiring playwrights, a Broadway
production. So he kept the company at rehearsal, scraped to-
gether the rest of the requisite capital, and at last — one omits
the incidental perspiration, fears, labors and heartaches — had the
satisfaction of seeing "Over Night" heralded in scarlet type from
the billboards.
He waited until the first performance had been consummated
to make sure that all would run smoothly, then he went to sum-
mon his prospective manager. But it so happened that that
particular manager had been called South on business a few days
before and was not expected back for a month.
In crises of supreme despair people do not stop to count their
anguish. They could not bear it if they did. Mr. Bartholomae
had recourse to that safest of all solaces — action. Wildly he
rushed about town in quest of some manager — any manager—
who would come to see his play. The managers, though, were all
excessively busy that week. He had come as near to giving up
hope as is possible for him when chance relented by throwing
George Brcadhurst in his way. Somehow a playwright did not
seem to the author of "Over Night" quite such an august, im-
placable a creature as a manager. He pressed an orchestra seat
check upon Mr. Broadhurst, therefore, and bore him off. Mr.
Broadhurst returned enthusiastic.
"In my opinion that play '11 make a hit," he told William A.
Brady. "It's a winner. If I were you I'd buy it."
So Mr. Bartholomae was sent for, and then, oh, then, at last
was vouchsafed to him that sweetest of all theatrical spectacles,
a manager making terms. Mr. Bartholomae was modest in that
triumph. He expressed himself as perfectly willing to accept
the regular royalty arrangement, but he did believe, he declared,
that he should first have an initial payment sufficient to reimburse
him for what he had spent personally on the "try-out."
"That's certainly fair enough," agreed Mr. Brady. "How
much is it ?"
"Five thousand dollars."
That amount was paid over on the spot, and. after a brief
preliminary tour the piece was brought into New York. By
rights this should be the conventional happy climax, with naught
remaining but for the daring young author to rise in the morn-
ing and ascertain in approved fashion that fame was his. T<>
tell the truth, Mr. Bartholomae was rather preparing himself
for something of the sort. But he had yet to learn the full ex-
tent of the drama's versatile range of perversity. On the eve-
ning when "Over Night" opened at the Hackett Theatre five other
premieres were simultaneously occurring in other New York
playhouses. They were all the work of better known authors ;
they all introduced better known stars.
So the morning on which Mr. Bartholomae should have
woke to his fame found extended criticisms of all these plays
in the newspapers, and of "Over Night" — a grudging admis-
sion in far, obscure corners that such a production was in town.
During the first few days of its run less than a hundred paid
admissions were recorded at the box office.
"It's too bad," declared Mr. Brady. "It's a good farce, all
right, but there's no chance for it here now. It's snowed under,
that's all. We'll have to put it out on the road and see if it can
do anything there without the New York boost."
But Mr. Bartholomae's faith was just as strong as ever. His
determination was rather stronger. Then it was that he rose to
his supreme height of audacity — that he proved the instinct of
the showman to have been born in his soul.
"It's got to catch on !" he cried.
He still had the five thousand dollars which had formed Mr.
Brady's cash payment.
"Let me buy a producing interest in the play," he begged, "so
that the responsibility'll be my own, then give me two weeks
and let me see what I can do."
After some parley Brady consented, perhaps more out of
sentiment than anything else.
Mr. Bartholomae's first move was (Continued on page vii)
Strauss-Peyton
HATT1E WILLIAMS
Appearing with Richard Carle in "The Doll Girl"
Sarotiy
Th
MARTHA HEDMAN
lis young Swedish actress, who made her first appearance in this country as Renee tie Rould in "The Attack," will be seen as John
in Augustus Thomas' new play, "Indian Summer"
Mason's leading lady
White
JANE GREY
To appear shortly in Edgar Selwyn's farce, "Nearly Married"
(Continued from our last issue)
Three months elapsed, when the whole administration of the
Vaudeville changed hands; Carvalho resigned his position and
was replaced by Cormon. All this happened so suddenly that I
was like one stunned when I received the letter summoning me
to the theatre, where a meeting was to be held.
When all were assembled, Cormon told us that the extrava-
gantly large company of the Vaudeville was causing the theatre
great losses, that the play then on the boards was an assured
success, that it would run at least a year and that, therefore, all
idle members were requested to tender their resignation. I did
not hear anything more. I did not listen to his promises for the
future ; I ran home. My little paradise became a den of despair !
Copyright, 1913, by Marie Micliailoff
Without warning, without notice, I had lost everything. I fell on
my knees and prayed God for death, for I did not see how I could
stand such a blow. That night 1 fell asleep with tears running
down my cheeks.
The next morning the concierge knocked at my door as usual
and brought me a large letter; the envelope was yellow, I re-
member it well, a business envelope. With eyes half open, I
glanced at the corner and saw the words :
"Briet, Agent Dramatique."
I read the letter and jumped out of bed with a cry of joy. Mr.
Briet inquired if I were at liberty to go to Antwerp for a month
to play "La Dame aux Camelias," "La Princesse Georges," and
two or three other parts for a salary of one thousand francs.
One thousand francs! It was Pactolus flowing into my room
and, like "Perrette" in La Fontaine's fable, a hundred projects
succeeded one another in my mind. I kissed my dear concierge,
a good old woman, who seemed to be an angel sent from heaven
I dressed in a hurry and rushed to the agency, where I found
Mr. Briet. I was to leave at once. I packed my trunk and
started for Antwerp, where I met with a reception that made me
forget all my past sorrow. After a month of continued success
I returned to Psris, once more happy and hopeful.
On my arrival I found a letter from Albert Delpit, asking me
to call at the Theatre Historique, where he was rehearsing his
play of ''Les Chevaliers de la Patrie," a drama founded on the
war of the rebellion. The beautiful Celine Montaland was cast
for the leading part. But the play was not a success; after a
month it was withdrawn.
At that time they were rehearsing at the Ambigu a drama
called ''La Venus de Gordes," by Adolphe Belot. A friend of
mine, Madame Picard, invited me to go with her to the rehearsal,
hoping that I might find an opportunity for an engagement. As
we entered, Mile. Meyer, a woman of great beauty, but not
much experience, was on the stage. At some suggestion of the
author she flew in a rage, threw down her part, and with her
hair falling down her shoulders she paced the stage like a lioness,
calling Belot by every name. "Poor girl!" I thought, "that fit
of passion will cost her her position." Judge of my surprise
when Belot, approaching us, said in tones of admiration : "Isn't
she beautiful ! Isn't she splendid ! Magnificent ! What a tem-
perament!" I was thunderstruck, and I thought that if tearing
and swearing were signs of temperament, decidedly I had none.
That scene had so depressed me that for a week I could not
get over it. Very soon, however, my spirits rose again, the blues
vanished, and I started once more in search of an engagement
determined that if within a month I had not found a good one
I should bid farewell to the stage and take up again my musical
studies, which had been interrupted by my dramatic work.
One day, crossing the Place du Chatelet, I heard some one
calling me. I looked and saw M. Leotaud, stage manager of
the Comedie Franchise, all out of breath, running after me.
"We are going to make a tour of France," he said, "with
Alexandre Dumas' TEtrangere' ; I have someone for the part of
Sarah, but have not found anyone suitable for the part of Croiz-
ette. Alexandre Dumas has mentioned you and for the last
week I have done nothing but inquire for you. No one could
give me your address, and I was going to give up all hope
when I saw you. Now, that chance has brought you to me, you
are not going to refuse. You will have two weeks rehearsals,
and we will open at Versailles."
"All right ! I will go !" We shook hands and the contract
was signed.
Our company was most genial. Alice Chene, who played the
difficult part of Sarah, was the most charming companion one
could wish for. She was very beautiful and resembled so much
the pictures of Marie Antoinette that we used to call her by
that name only. With all her physical attractions she had not
a particle of conceit and seemed quite unconscious of her beauty.
She was a pupil of the famous Madame Plessy, of the Comedie
Franchise, and though talented was without ambition. Home
life was all she cared for and after our tour she married the man
she loved and left the stage.
nun
Th.
aft the L© mi ga<s ir© THaeaftir©
Thomas A., Wise
ACT III. THE NKW MAID SHOWS THE COUPLE HOW TO MAKE GOO-GOO EYES
Alice Gal.
Alice Gale Thomas A. Wise
ACT III. "WHERE WAS MOSES WHEN THE LIGHT WENT OUT?"
Thi"iias A. Wise Alice Gale
ACT. III. THE PARSON READS THE INSCRIPTION INSIDE THE RINGS
io6
THE THEATRE MAGAZINE
Photo Ira I.. II
VIVIAN RUSHMORE
Who was recently seen in "The Lady of the Slipper"
We played in every large city : Lyons, Marseilles, Toulouse, etc.,
making pilgrimages at every place of interest. At Chambery
we arrived at six o'clock in the evening. We had hardly time
to take supper, hut I did not care. I knew that there, at the
top of the hill, overlooking the beautiful lake of Annecy, was
"Les Charmettes," the cottage of Madame de Warens, immor-
talized by Jean Jacques Rousseau. Not for the world would
I have lost the opportunity of visiting that cottage ; I told the
company where I was going and added: "Qui in' aimc me suive."
All followed me and we were amply repaid, not only by the sight
of the cottage, but by the beauties of nature as well. The sun
was just bidding farewell to the world and its last rays were
lingering on the waters of the lake as we came down the hill.
Ah ! No wonder the love of nature filled the heart of Jean
Jacques, if such was the spectacle his eyes beheld every day.
We returned with hearts overflowing with enthusiasm. We
had no supper, of course, but if our stomachs were empty, our
souls were filled with poetry and for once the mind got the better
of matter.
At Caen we arrived in the midst of a storm ; the rain was
pouring in torrents. At the station I asked
a driver for the house of Charlotte Cordav.
"It is half a mile from here."
"Take me to it," I said.
"But there is nothing to see," he answered
in amazement.
"Never mind, let us go," and we went.
When I arrived I looked at that big green
door with its inscription above and as I read
her name, the vision of that brave, noble,
sublime girl passed before me ! Ah ! Char-
lotte Corclay ! Thy memory will live forever
in the hearts of all lovers of justice and
enemies of oppression and tyranny.
I had not been on the road three weeks
when I received a letter offering me an en-
gagement for the Imperial Theatre in St.
Petersburg. At Havre several people con-
nected with the Imperial Theatre of Russia
had seen me in "1'Etrangere" and had written
to Baron Kiister, the official director of the
Court Theatre, advising him to engage me.
I was offered thirty-five thousand francs a
year, with four months holiday. I would
have accepted at once, but a member of the
company who had lived in Russia, advised me
not to do so without the stipulation of a bene-
fit, telling me that it meant at least five thou-
sand francs more. I did as he told me and
waited a fortnight for the answer. At last it
came. A large document, headed with the
Russian coat-of-arms and below, the sum stip-
ulated and the right of a benefit. Everyone
shared in my joy and I continued my tour
with a light and hopeful heart.
Nice, Cannes, Grasse — we visited all these
flower-gardens of France, and our successful
tour closed about the fifteenth of August. On
my return to Paris I went at once to see Baron
Kiister, who told me that 1 would make my
debut in "La Dame aux Camelias" and
"Adrienne Lecouvreur.''
On the first of September I left my beauti-
ful sunny France for Russia. I travelled
through France, Belgium, Germany, but at
the Russian frontier I thought I was lost I
did not know a word of the language; fortu-
nately, I found some officials who spoke
French perfectly and to them I showed my
passport, thinking that that would be the end
of all trouble. Alas ! They emptied my trunks to the bottom,
shook every one of my dresses, without any regard for laces or
trimmings, for those vandals respect nothing and their smiles
broadened as my indignation grew stronger.
After a ride of twenty-four hours more I arrived in St.
Petersburg. It was five o'clock in the evening. As we landed,
fifty moujiks with long robes, long hair and long beards sur-
rounded the passengers. They were Isvoschiks (drivers). They
drove me nearly crazy with their noise ; I was at a loss to know
what to do, when a man, with the appearance of an employee,
approached me and asked in broken French, if I were Mademoi-
selle Rhea. I answered "Yes." "Come," he said, and without
explanation I followed him, too happy to escape from that crowd.
He took me to a carriage, jumped on the box next to the coach-
man and drove off. I began to realize the singularity of im-
position. Who was that man ? How did he know me ? Who
had sent him to meet me ? His honest face, however, reassured
me and I felt that everything would be all right. We drove
along the Nevsky Prospect and very soon we arrived at Place
Michel, where the carriage stopped before a large house. As I
THE THEATRE MAGAZINE
107
entered I was greeted, to my great surprise,
by a gentleman and his wife, whom I had
known in Paris and who, being aware of my
coming, had taken it upon themselves to se-
cure an apartment for me in the house where
they were living, and not knowing the clay of
my arrival, had sent Ivan, the callboy of the
theatre, to the station every day for the last
week. After an introduction to the landlady
1 immediately took possession of my apart-
ment, which was large, elegant and comfort-
able. I felt more than grateful to my Parisian
friends for their kindness.
I had a week to myself before rehearsals
began and I spent that time in visiting the
magnificent city of the Czars. The Winter
Palace, the dwelling of the Emperor, the
quays of the Neva, with their gorgeous marble
palaces, the church of Kazan, that of Isaac,
with its massive bronze portals, its columns of
lapis, onyx and malachite, the Ermitage, with
its world-renowned paintings and statuary
and there, on the opposite side of the river,
the little house built by Peter the Great, the
founder of this glorious city.
The exterior of the Theatre Michel, where
I was soon to make my debut, is very plain.
Looking at the building one would hardly think
it is a playhouse. The interior is quite as re-
markable for its simplicity, but everything is
in perfect taste. The auditorium is in white
and gold. The boxes, of which there are three
tiers, are very spacious. In the lower and first
tier sit the elite of the nobility, wealth and
beauty. The parquet is occupied by the mili-
tary and the great financiers ; the proscenium
boxes, by the Emperor and all the members
of the Imperial household ; the rest of the
house by the boiirgeoisie/which consists main-
ly of shopkeepers, mostly French. The ward-
robe of the Theatre Michel is, I think, the
most extensive and the most costly in the
world. The costumes are kept in the upper
story of the building. Some of them are
simply priceless and a great many are authen-
tic. Every actor has a right to select among
these relics and reproductions of the past
whatever costumes he wants when the play
requires it. The only dresses to be furnished
are the modern ones. Carriages are at the
disposal of the actors to take them to and from the theatre.
The company had arrived and rehearsals of "Camille" began
at once. 1 was the only new actress and I came, not precisely to
replace, but to take some of the parts played by Mesdames Pasca
and Delaporte, two great favorites, not only artistically, but
socially. Of course, all eyes were on me, which made me feel
rather uncomfortable, especially as my Armand Duval, who was
also a new member, had played the part in Paris with nearly
every noted Camille and kept saying: "Mile. X. did so and so,
Mile. Y. did so and so." At last, Mr. Luguet, the stage manager,
put a stop to those disagreeable interruptions, by saying rather
sharply: "Never mind Mile. So and So; Mile. Rhea will play
the part as she feels it.'
The night of my debut arrived. How shall I describe my
feelings? Only actresses who have faced an audience, whose
verdict means life or death to them, will be able to appreciate
what I felt. The house was crowded by a representative audi-
ence, although the Imperial family were still in Gatchina or some
other country seat from which they never returned before No-
vember.
Gould & Marsden
Now
MOLLIE KING
appearing in "The Passing Show of 1913" at the Winter Garden
As I stood iii the wings waiting for my cue I saw a great
many old members of the company, who were not on the bill,
watching me closely, and I heard Mile. Maucourt, the prettiest
and the most renowned for her taste, exclaim : "Dieu ! Qu'ell?
est chic!" My gown pleased; on that point at least I was satis-
fied. It was of black velvet, decolletee, with a very long train.
An immense garland of camelias, of every color and shade, fell
from the right shoulder to the left side of the skirt where it
caught up the dress with a huge bunch of camelias, while some
branches were drooping to the hem of the skirt. The effect was
very striking.
Now for the acting. My reception was most cordial . . . and
when the curtain fell on the first act, I was confident that I had
made a good impression and that Armand, who was very self-
possessed, had also made a very favorable one ; but on his second
entrance in the next act, I do not know why. he entered like a
hurricane. This sent a titter through the audience. He heard it,
and from that moment he lost all self-control; and that man, who
was really a splendid actor, became the victim of his nervousness
and was hissed unmercifully before the second act was over. I
io8
THE THEATRE MAGAZINE
had now the responsibility of
the play on my shoulders and
I did my best to save myself.
Two enthusiastic calls proved
that my efforts were success-
ful. During the fourth act, I
hoped Armand would retrieve
himself, and once more renew
the good impressidn he had
made in the beginning, But; al-
though he played admirably,
the public was merciless, and
when the curtain rose and 1
appeared with him, cries of
•'Rhea, alone ! Rhea, alone !"
was all that could be heard.
Then I appeared alone and six
times the curtain was raised,
amidst cheers and bravos. This,
of course, made me feel very
proud, but not happy, for I
could understand the feelings
of my poor Armand. How-
ever, he was not a novice, he
had a record of successes and
even triumphs that made him
look with a philosophical eye
at this bad turn of fortune and
without any bitterness, he fin-
ished the play, hoping probably
that the next performance
would obliterate the recollec-
tion of this one ; but, whenever
he appeared after this memor-
able night, which was very
seldom, the public showed that
it had not forgotten.
My next debut was in "Ad-
rienne Lecouvreur." and I am
glad to say that the success I
had achieved in "Camilla" was
more confirmed by the rendi-
tion of that sympathetic part.
From that day, the older mem-
bers of the company, who were
very conservative and who
kept a little aloof, until my suc-
cess was assured, were the first
to congratulate me, and my
friendship, for some of them,
has lasted until this day.
Life in Russia is very soci-
able. The company being very
large, the work was light and
the long intervals of rest we
enjoyed were not without dan-
ger and might even have
proved fatal, had we not had,
to stimulate our energy, that great incentive — vanity. The fear
of being outshone by our sister artists, was the lash of the whip
needed to spur us on. This was legitimate pride.
In my five years' sojourn in Russia, I played at least fifty dif-
ferent parts. I was at my best in characters that require dash,
and vivacity. Long before I thought of studying English. I was
called upon to play an American, a charming woman, but full
of eccentricities. Two or three days before the performance,
the comedian, Mr. Raynard. asked me why 1 did not plav it
with an accent, as the part had made a great hit in Paris on that
account. Although I had never done anything of the kind, 1
tried it. The effect was amazing, and that part, which, played as
Photo Joel Feder
LOUISE WOODS
As the bride in the amusing farce, "Stop Thief"
it was written, would have been,
if not altogether insignificant,
still not of great importance,
became the prominent one of
the play. This proves that
success often depends on a
mere trifle.
As we played only four
times a week, the intervening
days between the performances
were generally devoted to giv-
ing dinners or attending them.
At those dinners, we met not
only the company, but cele-
brated people in the world of
letters and of the nobility.
Every day, from four to six,
each actress held a sort of "at
home." These receptions gave
birth to little "coteries," which
were not without piquancy.
Each had her followers and the
day of her benefit, these fol-
lowers outdid each other, to
show their appreciation to the
object of their special admira-
tion. Not only magnificent
bouquets were thrown at her
feet, but most costly presents
of silverware, gold, diamonds.
were lavished upon her, for the
Russians are, without excep-
tion, the most generous people
living.
But of all, a farewell benefit
is one of the most interesting
sights one can witness. One
is entitled to it, after twenty-
five years' service. The bene-
ficiary receives a pension from
the crown and the Emperor
usually decorates him as a
token of his esteem and appre-
ciation. I had the good fortune
of being present at the one
tendered to Madame Lagrange.
the ingenue, who, although
forty-five years of age and a
grandmother, had retained all
the freshness and sweetness of
youth. She was petite, blonde,
with laughing eyes and an ex-
pression of innocence and in-
genuousness so fascinating that
it had insured her position in
spite of years and intrigues.
Madame Lagrange came to
Russia when she was twenty
years old and the Czar had for her such regard, esteem and ad-
miration that when he met her on his morning walks, he useJ to
say: "I will be lucky to-day; I have seen my good angel." And
she was an angel of innocence, goodness, virtue and devotion.
The day of her farewell benefit, when she appeared on the
stage, at least three hundred bunches of roses fell at her feet
amidst cheers and storms of applause, while her eyes were filled
with tears through which shone smiles of gratitude and love.
After each act, she received call after call, and numerous pres-
ents were handed to her over the footliehts. It was a genuine
demonstration, for she was the idol of the public.
(To be continued next month}
THE THEATRE MAGAZINE ADVERTISER
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STAGE MODESTY
{Continued- from page 94)
you,'1 she said, without the flicker of an eyelash,
"I am twenty-three years old."
"I thought you were younger," said the man.
"That is the nicest thing you have said this
evening," said this Broadway star.
"Would you object to singing a really comic
song?" asked the man.
"While my sense of humor is not entirely de-
ficient," said Miss Sanderson, "I sincerely hope
that I shall not become a 'stage comic.' I know,
at any rate, I would never be clever enough, and
discretion is one of my virtues. In fact, too
much cannot be said in favor of discretion for
the young girl who hopes to win her public
in musical comedy.
"It may be something of a surprise for audi-
ences to find both youth and refinement in a
musical show, but in my own case it is no stage
trick, because I am really young and I have al-
ways had nice parts to play.
"Most of my time away from the theatre is
spent in the open air. I go to all the baseball
games I possibly can for the excitement and
fresh air. One forgets the crowds in the pleasure
of watching the game. Then, too, I am very
fond of tennis when the weather makes it possible.
Outside of the theatre my life is very normal
and untheatrical. Our family is very small. It
consists of my father and mother and myself;
my only brother died some time ago. Being an
only child, they make a great deal of me at
home, and we have the happiest time, just we
three together."
The obvious moral of this story is that where
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ways prevail in musical comedy — and, therefore,
this interview was worth while.
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vii
The Youngest Stage Magnate
(Continued from page 102)
to guarantee the rent of the Hackett Theatre
for two weeks to its owners, the Shuberts. Then
he took up his headquarters there, and, with his
back against the wall, battled for life. He was
manager, stage director, treasurer and press
agent, all in one— press agent above all else. Every
device known and unknown for the lure of the
public he employed during those frenzied days.
But the people who in response shortly began to
trickle into the Hackett Theatre had no intima-
tion that they were drawn thither simply by the
magnetic urge of an unseen, unsung playwright's
determination, beating out across the city in
psychic waves of compelling insistance. They
did not guess it then, nor has it ever been made
generally known since. It sounds almost too
bizarre. Yet such was the case.
Finally the critics condescended to put in their
appearances, and soon their columns began to
overflow with ecstatically flattering novices. Be-
fore the week was out, ''Over Night" had lived
down its title. All the town was talking of it
while outside the theatre an "S. R. O." sign ap-
pears. "Seats selling six weeks in advance." In
his fortnight of grace Mr. Bartholomae not only
cleared expenses, but again recovered his five
thousand dollars and started the play fairly on
its tumultuously successful run.
"But," he confides, "I lived and endured more
in that fortnight than most people do in a year
I sweated blood. And"— he smiles whimsically—
"they call it luck!"
When the Forty-eighth Street Theatre was
building m New York Mr. Bartholomae utilized
some of his profits from "Over Night" to acquire
a quarter interest in it. Here he was initiated
I further into the mysteries of producing, and
when his second play, "Little Miss Brown," was
ready he attended himself to practically every
detail. So he has really proved in advance his
fitness for the managerial office he has under-
taken. As such an experienced authority as
William A. Brady puts it, "Bartholomae's a born
showman."
Perhaps that sums up the man better than
anything else could. In both his plays the
writer has been largely subservient to the show-
man—the being who sees life not so much in
character and conversation as in situations.
The Violinist," the vehicle with which he pro-
vided Saranoff, is really nothing but a triumph
of astute stage management, while the same is
true, in a somewhat different sense, of "And
They Lived Happily Ever After." Even in
childhood he evinced his instinct. The enter-
tainments he was tireless in arranging for his
sisters and playmates were by no means the
usual trifling mimicries of children. In them
Philip Bartholomae oftentimes achieved really
amazing realism. He foreshadowed his future.
His parents, however, looked with extreme
disfavor upon all symptoms of the sort. They
were people of large means — by way of variety,
it is a great pleasure to be able to say as much
of a successful playwright; but, then, Mr. Bar-
tholomae will go to any extreme for the sake of
originality. It was their intention that he should
be a civil engineer and fill a definite and lucrative
post they had in view. Dutifully he went
through the necessary course of instruction for
this, "just to show them," as he explains, "that
I could be an engineer if I wanted to." But all
the while he dreamed of writing for the stage,
and to train himself therefor he secretly wrote
several one-act plays. His people would give
him no money for any theatrical venture, but
out of his allowance, which was a liberal one,
he contrived to save five hundred dollars. With
this he went, during one summer vacation, to
Washington, D. C, where Charlotte Walker at
the time happened to be heading a stock com-
pany. That company needed money and Mr.
Bartholomae put in his five hundred dollars with
the understanding that he should be allowed to
browse around the theatre to his heart's content.
He wanted to study the business of play-making
in all its phases and ramifications. It was part
of his painstaking, provident judgment— his
"common sense," as he likes to call it. He never
tires of dwelling upon the practical value that
summer's experience proved to him. When he
returned to his studies at the Rensselaer Poly-
technic Institute it was to devote all his spare
time to the composition of "Over Night," with
an insight into theatrical needs such as few bud-
ding playwrights ever take the trouble to acquire.
"You see," he says with one of his singularly
engaging smiles, "there's really nothing at all
interesting about me outside of my theatrical
exploits."
(Continued on page ix)
The Merger of East and West
"But there is neither East nor West, Border, nor Breed, nor Birth,
When two strongmen stand face to face, tho ' they come from the ends of the earth!'*
—KIPLING.
In the "Ballad of East and West,"
Kipling tells the story of an Indian
border bandit pursued to his hiding
place in the hills by an English
colonel's son.
These men were of different
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elements of character which made
them friends.
In this country, before the days
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The telephone, by making com-
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It has made us a homogeneous
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The Bell System, with its 7,500,000
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the west, the north and the south,
makes one great neighborhood of
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It brings us together 27,000,000
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Daniel Frohman John Drew.
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la 1884
For catalog and information
apply to the Secretary
Room 152. Carnegie HaH
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VIII
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
dunng 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
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It makes an attractive addition to your library table,
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Only a limited number of these sets have been
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Complete Year, 1912— $6.50 a Set
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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 Price, $18.00
" 1904 " 12.00
" " 1905 " 10.00
" 1906 " 9.00
" " 1907 " 8.00
" 1908 " 7.00
" 1909 2 vols. " 7.00
"1910 2 vols. " 7.00
" 1911 2 vols. " 6.50
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THE THEATRE MAGAZINE ADVERTISER
IX
For it honestly never occurs to him that the
personality which made those exploits possible is
by far the most interesting thing about him.
He is still well under thirty. For almost any-
one else of equal youth to attempt what he is
now attempting would be pitiable lunacy. But
that is just why success for him appears in-
evitable. Even the legions whose favorite amuse-
ment it is to hail with derisive laughter every
new aspirant to a theatrical manager's throne is
respectfully silent before the advent of Philip E.
Bartholomae. They know him as one whom
Success has claimed for her own. And of all
mistresses Success is notoriously the most faith-
ful— especially where such a persistent, intrepid
lover as Mr. Bartholomae is concerned.
BELDEN LEE.
Stage Realism of the Future
(Continued from page UO)
pace with realism. Moonlight has been seen by
a million eyes, in thousands of years, but, each
moonlit night has been a new moment to some-
one, a new inspiration of love and happiness.
The golden rule for the realism of the future
on the stage — is truth. There is as much truth
in the supernatural as there is in the natural,
but it may be more difficult to express. I am
inclined to believe that the expression of super-
natural truth, is in itself, a supernatural mes-
sage to the artist, and I say this from a logic of
experience.
"The Return of Peter Grimm," for instance,
is a play that grew out of supernatural causes.
I was told over and over again, that I could not
sustain the ghost-like illusion of the stage, with-
out using the traditional green light and wax-
white stage figure. But, I saw it in a way that
nobody else could see it, and I have wondered
how these pictures of what I have never seen
with my eyes, came so vividly before me.
Who gave me this supernatural vision? Who
told me how to give in "The Return of Peter
Grimm" so plain a message of comfort to the
bereaved ?
I have to violate stage tradition, almost to
ignore my knowledge of the theatre that I might
make way for a new and untried stage effect.
All this is inconceivably impossible to anyone
who has not experienced the facts that I am
trying to convey. It is a matter that can only
be talked about with the discretion of a few who
understand it.
When I decided upon the theme of this play
I tried to find out a name for my supernatural
hero. I hunted through directories of the Dutch
settlers, and intuitively disregarded "Hans" and
"Jahn," and all the rest of them, till one day
without any doubt whatever I decided upon
"Peter." There was no question in my mind
about it afterward, yet, why it should have been
''Peter" instead of "Hans," or any other name
is still a mystery. Then, that being settled, I had
to find his surname. In despair one day, after
reading an old Dutch directory of names, I shut
my eyes, and put my finger on a spot on the
page. I lifted it and read the name of "Grimm."
Now, who did that — who made me call him
"Peter Grimm" ':
If there are supernatural phenomena told in
books and reported in newspapers, why not in
the theatre?
To veil the story of this play with supernatural
suggestion but without obvious staginess, I
selected the month of April for its episode, the
fairy month of the year, when the air is full of
whisperings and murmurings. This, for effect,
of course, but chiefly to emphasize the truth of
supernatural influences.
I mention chiefly "The Return of Peter
Grimm," because it is a play which tried to
touch the edge of the rainbow, a forecast of the
wonderful possibilities in the realism of the
future, in which lies an undiscovered field, full
of supernatural influences, but not nearly so in-
tangible as some people seem to think it is.
We are climbing in our serious ambitions even
in the theatre, and the only pity is, that we can-
not restrict its productions to themes which have
in them the purpose of realism in the future.
DAVID BELASCO.
"Tante," the book by Anne Douglas Sedgwick
out of which Haddon Chambers has made a play
of the same name for Ethel Barrymore — is one
of those great rarities — a successful novel about
music. As a rule, even musicians fail on attempt-
ing to put their own art into novel form; but
more frequently still does the layman, having
only a smattering of musical knowledge, commit
gross technical blunders when he tries to blend
mu-.il- and fiction.
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"Tartarin" on the Parisian Stage
(Continued from page 92)
TARTARIN : Child ! Let me alone. When I go
on a lion hunt I go like a lion! At Livadia, at
Peterhof, at Tsarskoe-Selo, I shall seek him,
waiting for a favorite occasion. And one day as
he sets out to chase a bear he will find me before
him!
SONIA : But he will not be alone !
TARTARIN : No, he will be accompanied by two
Cossacks, two giants, bearded, armed to the teeth,
mounted on their rapid little horses of the
Ukraine. They ride by the side of the Em-
peror. One of them perceives me, dashes toward
me; I seize him, twist him out of the saddle,
snatch his gun — bang! bang!— dead with a ball in
the head. The other Cossack, mad with terror,
flees. The Emperor, astonished, stops. He fixes
me with his blue eyes, where I see a gleam of
terror. I advance and cry : "Yes, it is I, Nicolas !
Ah ! ah ! one of us two must fall !"
SONIA: What will he say?
TARTARIN : In a voice that he tries in vain to
make firm he demands my name. "I am Tartarin
of Tarascon, and I hurl you the gauntlet, Nicolas
Romanoff!" At these words a livid pallor
spreads over his visage. Flight is impossible —
we are alone, face to face, Despotism and Lib-
erty. To yourself, sire, look to yourself — draw
your sword and defend yourself! I draw my
own good sword — he advances — not a muscle of
my face quivers — two bullets whistle past my
ears, one to the right, one to the left. The
tyrant puts his horse to a gallop — he tries to
flee. Ha ! ha ! he shall not go far. I raise my
trusty rifle — slowly, methodically I sight. In
vain the despot seeks to escape me — exciting his
horse, which leaps from left to right. But I
stand unmoved. At the proper moment — pan !
pan !
SONIA: A bullet in each eye?
TARASCON : No, one bullet only — between the
two eyes. He falls to the ground. Mounting
his war horse and carrying the corpse across my
saddle I enter Petersburg, crying: "People, you
are free, the tryant is dead !"
SONIA : They would not understand you.
TARASCON: I will say it in Russian. I will
learn Russian from to-day. Here them acclaim
me: "Long live Tartarin!" But in Russian, of
course. "Tartarinoff, Tartarinski, Tartarinieff !
Tartarinovitch !" The Russian National Hymn.
They carry me in triumph to the Imperial Palace
— a delegation offers me the supreme power — I
refuse. WILLIS STEELL.
GREAT BEAR SPRING WATER
BO cts. per caie— 6 glass-stoppered bottles
Victor Records
A Neapolitan Song by Caruso— Guardann' a
Luna (Lovely Moon) Crescenzo.
Another of those quaint and fascinating Nea-
politan numbers which the great tenor loves to
sing, and which he delivers so well.
De Pachmann Plays Two "Songs Without
Words" — Venetian Gondola Song (Op. 30, No.
6 — F Sharp Minor) ; Spinning Song (Op. 67, No.
4 — C Major), Mendelssohn.
These Lieder ohne Worte are all infinitely
beautiful compositions, and are deservedly popu-
lar with all classes. Too popular, we may say
when we hear the average amateur attempt them.
A French Folk-Song by Farrar and Clement—
Au Clair de la Lune, Old French Folk-Song,
Lully.
An old French folk-song by Jean Baptiste Lully
(1633-1687), and charmingly given by Miss
Farrar and Mr. Clement.
A Goetze Number by Gadski and Goritz. — Still
wie die Nacht (Calm as the Night), Goetze.
Of the many musical settings to poems with
this title, one of the most effective is that by
Hermann Goetze (1840-1876).
Zimbalist Plays Wieniawski's Beautiful "Le-
gende." — Legende (Op. 17), Wieniawski.
One of the most effective pieces in Mr. Zim-
balist's repertoire, and one of the most liked by
his audiences, is the beautiful but melancholy
Legende of the late Henri Wieniawski.
Whitehill Sings a Foster Ballad— Old Black
Joe, Foster.
A New Powell Record — Caprice (Op. 51, No.
2), Ogarew.
A dainty number which Mme. Powell has been
using in her recitals, and of which she has made
an unusually attractive record for the Victor.
(Advt.)
Photographer's Credit
The portrait of Mr. David Belasco which ap-
pears on the top of page 86 of this issue is from a
photograph by the Misses Selby, whose studio is
at 628 Fifth Avenue, New York City.
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
THE THEATRE MAGAZINE ADVERTISER
XI
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The American
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and " Th Analysis of Play Construction.")
A MONTHLY devoted to
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SIPIfMBIR 1911
OUTING
The Ways of the
African
Elephant
J. Alden
Loring
OF THE ROOSEVELT
EXPEDITION
The Trail of the
American Tiger
Brains
in Base Ball
John Paul
Jones
ALL-ROUND MAN
THE NEW PLAYS
(Continued from page 83)
not written, and Mr. Ned Wayburn, who staged
this colossal production, deserves high praise for
his ingenuity of invention and the snap and
sparkle with which he has invested the action.
The music by Jean Schwartz and Al. W. Brown
serves its purpose, even though it lacks much
originality. The dialogue and lyrics are from
the pen of Harold Atteridge. The verses are
neat, and even though a bit professional, the
song with alternate verses, by the pseudo, Geo.
M. Cohan and Willie Collier, is really witty.
There is some good satire, too, in the opening
scene between the "tired business man" and the
theatre usher, after which the dialogue not only
fails in importance, but quality as well. But at
this point action takes the place of the spoken
word, and pretty girls, in different costumes
every fifteen minutes, hard-working comedians,
the black-faced patter of Le Maire and Conroy
is very clever. Charlotte Greenwood's contor-
tions and the every-variety of the tango and
turkey trot, together with the almost forgotten
cake-walk, fill in most acceptably. But the im-
posing steps of the Capitol at Washington, reach-
ing to the very gridiron of the stage, is the
scenic and chorographic acme. That alone would
carry any show to success.
MAXINE ELLIOTT'S. THE LURE, play in
three acts by George Scarborough. Produced
August I4th with this cast :
The Mother, _Miss Lucia Moore; The Doctor, Mr.
Mortimer Martini; The Special Agent. Mr. Vincent Ser-
rano; The Girl, Miss Mary Nash; The Maid, Miss Su-
=anne Willis; The Politician, Mr. Edv.-in Holt; The
Madame, Miss Dorothy Dorr; The Cadet, Mr. George
Probert; The Other Girl, Miss Lola May.
Each theatrical season puts out its own par-
ticular brand of play. We have had, in turn,
^he war play with its smell of gunpowder, the
frontier play with its cowboys and Indians, the
political play with its expose of graft and cor-
ruption, the financial play with its strife between
capital and labor, the Oriental play with its
sensuous pictures, the shop-girl play with its
ippeal for more humane conditions. This year,
following the lead of Elizabeth Robins' "My Lit-
tle Sister," it is the white slave question which
the playwright has selected for a dramatic ser-
mon, the first offering in this direction being
"The Lure," a piece dealing with the problem
of how a girl goes wrong. It is a strong, grim
drama and very little is left to the imagination.
The scene is a house of ill-fame. The char-
acters are labelled frankly the Madame, the
Cadet, the Girls, etc. It is, perhaps, unfortunate
that the public performance of pieces of this
character acquaint immature minds with un-
pleasant phases of life, but unless the truth is
told and perils pointed out, how is innocence to
be protected? To quarrel with such plays be-
cause they tell the truth and expose these terrible
conditions, is to accuse oneself of the worst kind
of pharasaism. The play is brutally drawn, but it
is an accurate picture of conditions as they exist
to-day in every big city in the world. To deny
:ts truth or to charge the author — a United States
secret service agent who has done much investi-
gating in this field — with exaggeration is to con-
fess oneself ignorant of life.
A poor working girl must have money to save
the life of a dying mother. At her wits' end,
she recalls that a certain Madame Somebody
once gave her a card, saying she alwavs had
"extra work for girls in the evenings." The girl
calls at the address given and is ushered into a
luxuriously furnished reception room. The real
character of the place soon dawns unon the girl
and she tries to flee. Too late. The Madame
detains her, claiming a week's board and the
price of the fine dresses she has given her.
Finally, through a secret service lover, the girl
is saved and the white slavers are arrested.
The piece is well acted. Mary Nash plays the
girl simnly and with considerable emotional
power. Dorothy Dorr, an experienced actress, is
impressive as the Madame. Edwin Holt portrays
to the life the professional politician. Vincent
Serrano is convincing as the agent, and George
Probert is realistic as the Cadet. Lucia Moore
also does excellent work as the suffering mother.
'The Lure" is well worth seeing. It will be
food for discussion for months to come.
COLUMBIA UNIVERSITY. COBURN PLAY-
ERS IN "THE TAMING OF THE SHREW." Comedv
bv William Shakespeare. Produced on July 28th
with this cast :
Baptista. Frank Peter": Vincentio. Conrad Cantzen;
Lncentio. George Gaul: Petruchio, Mr. Coburn; Horten-
sio, Norbert -Myles; Gremio, George Currie; Biondelo,
Frank Howard; Tranio, Thomas Mitchell; Grumio, John
(.Continued on page xiv)
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Xll
THE THEATRE MAGAZINE ADVERTISER
The Smart Set
A BETTER-CLASS MAGAZINE
WILLARD HUNTINGTON WRIGHT, Editor
Under the new policy of The Smart Set
contributions by the following authors are
appearing :
Brieux Bliss Carman
George Moore Ezra Pound
May Sinclair Ford Madox Hueffer
August Strindherg
J.imes Huneker
William Butler Yeats
Arthur Schnitzler
Eden Phillpotts
Frank Wedekind
Theodore Dreiser
Maarten Maartens
Leonard Merrick
Frank Harris
Ludwig Lewisohn
J. D. Beresford
Florence Wilkinson
W. Pett Ridge
Gabriele D'Annunzio
Reginald Wright Kauffman
Daniel Carson Goodman
Harris Merton Lyon
Arthur Stringer
Edgar Saltus
Richard Le Gallienne
D. H. Lawrence
N the September issue of The Smart
Set there will appear a powerful one-
act play by Brieux, author of "Damaged
Goods." It is called "A School for
Mothers-in-Law," and, despite its
lightness of touch, is a searching social document,
in many ways as important in theme as "Damaged
Goods."
May Sinclair also contributes an arresting and human
story entitled "The Pictures." This story is in Miss Sin-
clair's best vein.
William Butler Yeats contributes a long lyrical poem,
"The Three Hermits."
Gabriele D'Annunzio contributes a realistic story of
mother-love, entitled "The End of a Dream."
Reginald Wright Kauffman contributes a novelette of
New York life — "Judgment." It is a strong modern
story, and unquestionably the best thing this author has
ever done.
These are but a few of the features in the September
issue of The Smart Set. Twenty-five other contributions
are on the table of contents.
THE SMART SET is frankly making its appeal to the
thinking reader, the reader who demands the best in mod-
ern literature, the reader who is dissatisfied with the inane
output of the average "popular" magazine.
If you are this kind of reader, you will welcome the Septem-
ber Smart Set. Something new and genuine has remained to be
done in the American publishing world. The Smart Set is en-
deavoring to do it.
THE pyramids bulk black against a purple sky. Above, the stars
that shine over the desert lead the eye away through space, giving
a sense of depth and perspective that is had only in the heavens ol
the tropics. But there is still the sense of a lack. Then the moon rise*.
slowly, majestically, glowing like molten gold with the tomb of a king
silhouetted sharply against it, and the audience gasps at the very natural-
ness of the phenomenon. Here is no candle in a box, hung up behind the
back drop by a careless scene shifter who recks not if his "moon" does -i
crazy dance before settling into its appointed place. Rather, it is the
moon of hot summer nights, distorted by the atmosphere to an immense
size, but such a one as has never before been brought down to earth to
aid the muses of the American stage.
The audience wonders aloud how the effect is gained. The answer is
simple. To electricity — or to be exact, to electricity and Benjamin Bier-
wald, chief electrician of the Century Theatre in New York — should the
credit be given for putting Luna into the cast of "Joseph and 1 1 is
Brethren." When this spectacular production was first seen at the Century
last season, the wonderful moon effect made a sensation. As this play
is now attracting crowds in other cities, it will be interesting to all theatre-
goers to be taken behind the scenes and learn how it is done.
I sought out Bierwald to sit at his feet and learn how he had wrought
such a change in the varied skies that Thespis knows. Through a tan.uk-
of scenery, dangling ropes and props I stumbled. Egyptian soldiers, men
of all the tribes of Israel, alluring dancing maidens, sped hither and yon
about me, but nowhere was there anyone who looked as if he might be a
maker of moons. Finally a slave of Pharaoh's stopped long enough to
answer a question. "Who? Benny? Sure, that's him over there." And
lo, it was so.
He led me to a dark corner where the moon had been shoved to await
the night's performance. At first glance it looked like a boy's attempt to
build a searchlight of warship size. But I had seen it from "out in front''
and knew what it could do. The moon itself is a lamp four feet in
diameter and a foot deep. In fact, it might have been made from a great
dishpan. Stretched across its face is a drumhead of linen with faint
markings of all the moon's pits and craters that go to make up the
features of that amiable lunatic, the man in the moon. Set about the rim
inside, there are thirty-six electric lamps of a hundred candle power each.
"But why doesn't each lamp make its separate spot of light on this thin
covering?" I asked.
That was one of the difficulties that Bierwald met and overcame. He
found a linen of Scotch weave through which the glow of a lamp is
diffused equally, no matter what its power. To get the proper color, the
orange tint of the new-rising moon, he applied a thin coat of paint to each
lamp and then traced on the linen the markings of the moon's face
"It's a real moon that you see. too." Bierwald explains with righteous
pride ; "that's the same face that it showed on the night of September 15.
1903, and it was just 14.40 days old then. You see, I've always had the
idea that a moon that looked like a moon could be made for the theatre.
The blobs of yellow light stuck up somewhere on a back drop have always
looked sort of sickly to me. Besides, they never moved, no matter how
long a time the moon scenes were supposed to cover. Now you know no
self-respecting moon stays still to watch a pair of lovers spooning, no mat-
ter whether they are ancient or modern. So it was up to me to have it stir
around a bit, besides looking like a real thing.
''I went to a man who takes pictures of the moon in all its phases. He
gave me the plate of a photograph he had taken through a telescope. A
little acid took off all the negative except the moon itself, and then I had
a lot of enlargements made. The biggest one was four feet across, and
that is the one we use. After the big picture was made I laid the linen
for the lamp-face on it and traced the outline of all the physical features,
afterward filling them in and shading them with light blue. Now when the
light is turned on, the effect from the front is exactly what you can see on
the full moon at any time. But I don't let the whole thing come up. It's
not due to appear until close to the end of the act, anyway, and just a
section of it showing from behind the pyramid is enough. If I sent it up
all the way, the 3,600 candle-power would light up the whole auditorium,
and it would be too bright."
The mechanical end of the moon-rise is as clever a piece of work as
the lamp itself. Two uprights, two inches by two, rise from a broad
standard. Two others of the same size, and fastened to each side of the
lamp, slide in grooves on the first upright. Heavy sash-cord is led from
an eye-bolt at the bottom of the lamp uprights, on each side, through a
small block on the top of the standard uprights, and then down to an
axle, fitted with a small wheel and handle on one end. By turning the-
wheel slowly the lamp can be raised or lowered at any speed, and there is
none of the painful jiggling which has so often destroyed the realism of
an otherwise well-set moonlight scene.
Now Bierwald is busy with plans for elaborating his invention for use
in future productions.
"Look at this set of moons," he says, showing a roll of print of all sizes :
"we can. have any kind of moon we want now. But I do like this first
big one. It's just about the best actor we have." GROSVENOR A. PARKER.
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
THE THEATRE MAGAZINE ADVERTISER
xin
EF your player-piano be one that will develop
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When reproduced by the
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such pieces as these are as befit-
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XIV
THE THEATRE MAGAZINE ADVERTISER
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THE THEATRE MAGAZINE, 8 to 14 West 38th Street, New York City
C. Hickey; Curtis, Charlotte Gladstone; Sugarsop, Con-
stance Howard; Philip, \Villiam Fish; A Pedant, Herbert
Haekler; A Tailor, Nevin Clark; Katherina, Mrs. Co-
burn; Bianca, Kate McLaurin; Widow, Eugenia Webb.
What F. R. Benson has been doing to stimulate
the British interest in Shakespeare and the
legitimate Charles Douville Coburn and his
Players have been doing in a mild way for the
American public. They are earnest and intel-
ligent performers whose efforts have been prop-
erly appreciated. Recently they appeared for a
week on the campus at Columbia University in a
round of Shakespearean plays. All during the
mild and open season they tour the country. The
sward is their stage, the hedges their tiring
rooms. With only the elements have they to
contend, for their dextrous use of calciums makes
them independent of the moon for lighting pur-
poses.
Their opening bill this season was "The
Taming of the Shrew." This farce, without the
induction, they played with fine roystering zest
and a due regard for all the mirth-provoking
details that stage convention has handed down.
Mr. Coburn makes an imposing and dominating
figure as Petrucio, while the Katherina of his
wife is an impersonation, carefully composed and
acted with becoming force and finish. The
comedians of the Coburn company are particu-
larly competent and the various scenes in which
they figured went with spirited success. During
the week the Coburn Players acted Percy Mac-
kaye's "Canterbury Pilgrims" and the "Iphigenia
in Tauris," by Euripides.
GREAT BEAR SPRING WATER
60 eta. per case— 6 glass-stoppered bottles
Queries Answered
H. J.— Q.— What was the original cast for the
comic opera, "The Mandarin," and when and
where was it given in New York? A.— 'The Man-
darin" was produced for the first time in New
York on November 2, 1898 with the following
cast: Emperor of China, Henry Norman; Man-
darin of Foo-Choo, George Honey; Fan Tan,
George C. Boniface, Jr.; Hop Sing, Joseph
Sheehan ; Court Physician, Samuel Marion ; Jesso,
Bertha Waltzinger; Ting Ling, Adele Ritchie;
Sing Lo, Alice Barnett; Ping Tee, Helen Red-
mond. Q.— At what theatre was "Barbe-Bleue"
played in, on July 20. 1868? A. — It was played
in Niblo's Garden. Q. — Kindly let me know if
you have any theatrical photos for sale. A. —
We do not sell photos. You can obtain them
from Sarony, 256 Fifth Ave., N. Y., White, 1546
Br9adway, N. Y., or Moffett, 25 Congress St.,
Chicago.
H. F. U., Chicago— Q.— Have you published
any pictures of Fred Eric, now playing the part
of the Caliph with Otis Skinner in "Kismet"?
A. — No.
Reader, Brooklyn, N. Y.— Q.— Must a play be
typewritten to be read, and is it necessary to
have it copyrighted before it is read? A. — It if
best to have your play typewritten in order that
it can be easily read. It is not necessary to have
it copyrighted.
M. A., Los Angeles.— Q.— To whom should I
submit a play just completed? A.— To any of
the managers— David Belasco, W. A. Brady,
Messrs. Shubert, Charles Frohman, etc.
M. L. a., Binghamton. — Q. — Is there a school
for playwrights in New York, if so, where? A.—
Mr. William T. Price of 1440 Broadway teaches
playwriting by mail.
Z. R., Brooklyn, N. Y.—Q.— Please print the
complete cast of "His House in Order," as pre-
sented by John Drew in 1906. A. — Hilary Jes-
son, John Drew; Filmer Jesson, C. M. Halland;
Derek Jesson, Leona Powers; Sir Daniel Ridge-
ley, Arthur Elliot; Pryce Ridgeley, Martin Sa-
bine; Major Maurewarde, Henry Vibart; Dr.
Dilnott, Herbert Budd; Harding, Gilbert Doug-
las; Fprshaw, Rex McDougal; Butler, Maurice
Franklin; Footman, H. R. Pratt; Nina, Margaret
Illington; Lady Ridgeley, Lean Haliday; Geral-
dine Ridgeley, Madge Girdlestone; Mile. Thome,
Hope Latham.
Subscriber. — Q. — Will you kindly tell me if
William Gillette has had any of his plays such as
''Secret Service" and "The Private Secretary,"
published in book form? A. — Samuel French &
Co., of 30 West 38th St., N. Y., publish Mr.
Gillette's plays.
Subscriber. — Q. — Please give the names of the
cemeteries and cities or towns where are interred
the remains of the following members of the dra-
matic profession— Madame Celeste, Mile. Aimee,
Harry Edwards, Louise Montague. A. — Mme.
Celeste died in England on February 19, l88a,
(Continued on paffe .vn)
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XVI
THE THEATRE MAGAZINE ADVERTISER
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that will pay for itself a hundred times over.
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but we do not know where she is buried. Mile.
Aimee, we believe, is buried in the Mountpar-
nasse Cemetery, Paris, having died on October a,
1887. Harry Edwards was cremated at Fresh
Pond, L. I. Louise Montague died on March
15, 1910 at 164 Manhattan Avenue, New York,
but we do not know her burial place.
F. B., Tarrytown. — Q. — Who is the composer
of the opera, "The Queen of Sheba"? A. — Karl
Goldmark. Q. — Kindly tell me when and where
it was first produced and also the date of it»
first presentation in New York. A. — "The Queen
of Sheba" was first produced in Vienna, »n
March 10, 1875, and was first heard in New York
on December 2, 1885.
T. C, Buffalo. — Q. — In what plays have Laura
Nelson Hall and Jane Grey made their last ap-
pearances? A. — Laura Nelson Hall appeared in
"The Poor Little Rich Girl," at the Hudson
Theatre, and Jane Grey in "The Conspiracy," at
the Garrick Theatre.
B. R., Chicago. — Q. — Where can I purchase the
play, "The Melting Pot"? A. — Israel ZangwiH's
play, "The Melting Pot," has been published by
the Macmillan Company, New York. You can
purchase it at any bookseller's.
Reader, Springfield. — Q. — Who is John Drew's
leading woman? A.— Laura Hope Crews. Q. —
Where is Maude Adams appearing now? A. —
She is playing on the road in J. M. Barrie's
"Peter Pan." Q. — When and where did Miss
Adams first appear on the stage? A. — In "The
Lost Child," in Salt Lake City in 1873.
E. A. H— Q.— What was Blanche Bates' first
part? A.— Miss Bates made her first appearance
on the stage in August 1894, in a play by Brander
Matthews called "The Picture." Q. — In what
play did Grace George make her debut? A. — In
a farce called "A New Boy."
S. B., San Diego. — Q. — Who are the publishers
of Richard Wagner's Memoirs? A. — Dodd, Mead
& Co. Q. — Is there a book published which gives
the stories of the operas? A. — A. C. McClurg
& Co., Chicago, publish "The Standard Operas,"
by George P. Upton.
F. Q., Omohundro, Va. — Q. — Can you give
names of managers who want chorus girls? A. —
You might apply to Mr. Ned Wayburn, 1480
Broadway, N. Y. City.
T. U., Madison. — Q.— Have you ever published
a picture of Titta Ruffo, the celebrated baritone?
A. — See our November, 1912, and January, 1913,
issues. Q. — Can you tell me who Julia Sander-
son's manager is and his address? A. — Charles
Frohman, Empire Theatre Bldg., N. Y. City.
P. L., Omaha. — Q. — Where can I obtain good
pictures of Billie Burke? A. — Sarony, 256 Fifth
Ave., N. Y. City. Q.- — Have you published any
scenes from "The 'Mind-the-Paint' Girl"? A. —
See our October, 1912, issue.
M. M. R., Sacramento, Cal— Q.— Will you
kindly inform me where I can obtain the manu-
script of Barrett's play, "The Sign of the Cross"?
A. — Write to Messrs. Sanger & Jordan, 1430
Broadway, New York City.
S. E. G., Muncie, Ind. — Q. — Have you ever
published a picture of Sara Allgood of the Irish
Players? A. — See our April, 1913, issue. Q. —
Who is the author of "The Playboy of the
Western World"? A.— John M. Synge. Q.—
Did the Irish Players appear in New York last
season? A. — Yes — at Wallack's Theatre.
New Dramatic Books
"TOWARDS A NEW THEATRE." By Edward
Gordon Craig. New York: E. P. Dutton &
Company. $6 net.
This book is an example of the highest artistic
excellence in printing, its hundred pages and
forty plates on heavy paper constituting a for-
midable map-like volume. It contains the gist
of Mr. Craig's theories on the pictorial side of
the staging of plays. We may assume the justice
of his claim that he originated the movement
toward a new theatre, some evidences of which
we have seen here in the Reinhardt productions.
Mr. Craig's dedication reads : "To the Italians,
in respect and gratitude ; to their old and their
new actors, ever the best in Europe, the designs
in this book are dedicated." Each plate is ac-
companied with critical notes by the author. Mr.
Craig writes with marked confidence in himself,
but that is immaterial and not necessarily prej-
udicial. Until his theories are adopted, they
concern the public in a much less degree than
they do stage managers and producers. In other
words, there is an artistic and pictorial quality
in Mr. Craig's work that must be put into general
use before they are even understood by the public.
For the present, his theories remain technical and
largely untried, but he urges them with convic-
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
THE THEATRE MAGAZINE ADVERTISER
xvn
lion, and the volume has value to the student.
J. M. Dent & Sons are the London publishers.
"MoiucKN DANCING AND DANCERS." By J. E.
Crawford Flitch, M.A. With eight illustrations
in color and many in black and white. Philadel-
phia: J. B. Lippincott Company; London: Grant
Richards, Ltd.
This is a handsome large quarto volume, a book
of value in every way. Its history of dancing is
complete and authoritative, and one obtains from
it a satisfactory idea of the significance and
beauty of the art up to its most recent develop-
ment. The descriptive text is illuminating, and
the pictures of the most celebrated dancers, many
in colors and representing the most characteristic
poses and movements, are interesting in the in-
dividualities that they put before us. The range
of the book may be seen from the titles of the
chapters : "The Ancient and Modern Attitude
Toward the Dance," "The Rise of the Ballet,"
"The Heyday of the Ballet," "The Decline of the
Ballet," "The Skirt Dance," "The Serpentine
Dance," "The High Kickers," "The Revival of
Classical Dancing," "The Imperial Russian Danc-
ers," "The Repertory of the Russian Ballet,"
"The Russian Dancers," "The English Ballet,"
"Oriental and Spanish Dancing," "The Revival
of the Morris Dance," and "The Future of the
Dance." A full index affords references to every
aspect of the subject and to the personalities in-
volved. It is a most satisfactory achievement.
"THE VARIORUM SHAKESPEARE. JULIUS CESAR."
Edited by Horace Howard Furness, Jr. Phila-
delphia, J. B. Lippincott Co.
The volume is dedicated to H. H. F., in
Memoriam : "Methinks, 'tis prize enough to be
his son. 3 Henry VI : II, I, 20." The continua-
tion of the work begun by the father is carried
out worthily by the son, whose scholarship is
manifest. The nature of the Variorum edition
of Shakespeare is so well known that we need
not here give any account of its unique merits
and methods. Into this volume is gathered
everything that research can bring to bear on the
subject. Thus, indirectly it is the work of many
minds and embodies the critical thought of the
centuries that have belonged to Shakespeare.
"S. O. S.," AND FIVE ONE-ACT PLAYS. By
Preston Gibson. Samuel French : New York.
In addition to the title play, the volume con-
tained "Suicides," "Derelicts," "The Secret Way,"
"The Vacuum," and "Cupid's Trick." Several of
these plays have been performed, • at various
times, at the Belasco Theatre, in Washington, or
at the Playhouse, a little theatre under the con-
trol of Mr. Gibson himself. Some of the themes
belong to that drama which relies largely upon
circumstances of unusual poignancy of feeling,
but the plays are always dramatic. In "S. O. S."
the device of a moving picture is used to show
a part of the action. It is ingenious, apt, and
in no degree an interruption. Mr. Gibson is
self-reliant. The effect of this innovation, if it
can be successfully carried out mechanically by
an instant change, would be interesting. Mr.
Gibson's tendency is toward the theatric, but he
is plainly gaining command of his art.
"JACOB LEISLER." A play of old New York.
In Four Acts. By William O. Bates. Michael
Kennerley : New York.
An introductory note by Mrs. Schuyler Van
Rensselaer sets forth the appreciation with which
this play is regarded by those who represent in-
timate knowledge of the early history of New
York as a colony. The published play is dedi-
cated to the Society of Colonial Wars. These
circumstances of interest in the play should not
suggest that the acting drama has a value limited
to such appreciation. Its dramatic qualities
commend it to practical use on the stage. It
reproduces a bit of history, in dramatic form,
that should be more familiar to the public which
frequents theatres than it is. It is a good play,
with exalted sentiment, setting forth the first
stirrings of independence in the colonies. Jacob
Leisler was the first to suggest by his activities
and his tragic fate American freedom and unity.
The book contains some interesting notes and a
number of illustrations.
"PERCEPTIONS." By Robert Bowman Peck.
London: Elkin Mathews.
A collection of poems, some of them not
wholly unrelated to the stage.
"THE DRAMATIC INDEX, 1912." Edited by
Frederick W. Faxon, compiled with the co-opera-
tion of over twenty-five libraries.
This publication is indispensable to all who
have occasion to refer to a record of every im-
portant article on current dramatic movements,
books and productions. The fulness of this in-
dex is indicated by the number of pages, 322,
closely printed. The information is made all the
more accessible by the system of cross-indexing.
We may refer to the names of authors, plays,
magazines, subjects generally drama, etc.
A Popular Edition of this Famoa* "Book
One Volume In 8vo. Bound In Paper
PRICE. 50 CENTS
LOVE I ft F*RIEJVDSHIT
(A Namelesa Sentiment)
With a Preface in Fragment* from STENDHAL
Translated from th* Fnnch by HEffRy fEJVE DV BOAT
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 arranged, were written by Guy de Maupassant?
"I do not think it is wrong to he 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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ONE day last month a very
tanned and animated group
of Thespians were seen again
around their old stamping-grounds in Chicago. They were the
Hull House Players, who had just returned from Europe. To
many actors a trip abroad is a trifling incident of the summer
vacation. Not so with the Hull House company. None of them
had ever crossed the Atlantic before, most of them had never
seen Broadway, and very few had done any travelling at all out-
side of the short trips made by the company to play in towns
near Chicago.
They had every reason to be proud of their "grand tour," be-
cause they had earned the money it cost by the excellent per-
formances they had given during the year. It was only a forty-
two-day trip, but no one could make three thousand dollars
stretch farther for fourteen people than Mrs. Laura Dainty
Pelham, the director of the Hull House Players, or do more to
insure their success. From the time they landed at Queenstown
until they sailed for home from the Hague, they were royally
entertained. In Dublin they had tea with Lady Gregory and
visited the Irish Players, with whom they had become fast
friends during the latter's engagement in Chicago. They were
the guests of honor at a reception given by the Lord Lieutenant
and Lady Aberdeen, who placed at their disposal St. Patrick's
Hall, of Dublin Castle, for a performance of "By Products."
They had lunch with the Countess of Warwick at Warwick
Castle, were shown through the Houses of Parliament by Mr.
Percy Alden, and in London lunched with John Galsworthy,
who had met the players during a brief visit to Chicago.
Just before they went abroad, they gave a week of repertoire
at Hull House, during which their many friends turned out to
do them honor and speed them on their way. They gave
"Kindling," "You Never Can Tell," "The Tragedy of Nan,"
"The Rising of the Moon" and "The Workhouse Ward," three
one-act plays, "Marse Covington," by George Ade, "By Prod-
ucts," by Joseph Medill Patterson, and "Manacles," by H. K.
Moderwell, and "The Pigeon."
It was at Mr. Galsworthy's own request that the Hull House
Players gave "The Pigeon." When he came to Chicago last
year, he met Mrs.
Pelham and became
very much interest-
ed in her organiza-
tion. He told her
h o w delighted he
was to have heard
of their masterly
production of his
drama, "Justice."
Mr. Galsworthy
thought it was re-
markable that this
little company
should bring out his
play when other
managers had been
refusing to do so for
over two years. He
had a long talk with
Frank K e o u g h ,
Louis Alter and
Stuart Bailey, and
said he was delight-
ed with the work of
the company. He
suggested that they
should do "The Pigeon," which play has been one of the most
popular in their repertoire ever since.
The first performance of "The Pigeon" was given after it
had been in rehearsal only four weeks, and as a result there
occurred the slips characteristic of a first-night, even in the
best professional companies. The lights flashed up in the .wrong
places and were extinguished at
critical moments. The Pigeon's
dressing-gown, which he draped
around him after he had given his last pair of trousers to Fer-
rand, the French vagabond, was not quite long enough to guar-
antee the sobriety of the audience, and a chair had to be' reached
through the doorway by a thoughtful stage hand, who deplored
the bareness of the studio. But these were only minor dis-
crepancies, and Mrs. Pelham saw that they did not recur.
Recent performances of the play have shown a real growth, and
the prompter, that bugbear of all amateur organizations, was
never in evidence again.
The Hull House Players are not amateurs. They act with a
finish and artistic precision, which, as one Chicago critic said,
inflicts on them the penalty as well as the privilege of being con-
sidered professionals. They are not college students entering
into dramatics as a sort of lark ; they are not people of com-
parative leisure resorting to amateur acting to fill up part of their
playtime. Rather they are hard-working young folks, who have
plenty of troubles and worries, some of them with families to
look after, and yet who come to their acting as to something
that will freshen up the wilted aspect of life for them after the
daily grind. Everyone must have some interest outside of th'e
"bread alone" struggle to keep wholesome and happy. With
some it is athletics, books, travelling, or cards. With these
young people it is their acting, and they are satisfied to have it
take up most of their spare time. They have two rehearsals a
week, and just before a new production, all-day rehearsals on
Sundays. Their connection with the company not only provides
all their amusement, but a stimulating intellectual life for them
as well. They have high ideals of life and society and prefer to
present those plays that deal with the serious moral and social
problems of the day, such as those of Shaw, Galsworthy, and
Pinero.
Everyone connected with the organization works during the
day. Mrs. Pelham, the director, is in her office from nine until
six and devotes her evenings to her players. Louis Alter, one
of the leading members of the company, is a cigar-maker; Stuart
Bailey runs a little restaurant downtown ; Frank Keough works
in the office of a
brewery, and Ed-
ward Sullivan in the
office of a large
corporation; Joseph
M a r s o 1 a i s is a
stereotyper; Debra
McGrath, a school-
teacher, and Laura
Thornton and Maud
Smith, stenogra-
phers. Laura Crid-
dle and Helen Sil-
v e r m a n are em-
ployed in that most
ancient of occupa-
tions, keeping house
for their husbands.
A. Rubenstein is in
the feather business,
and Paul Grauman
is a photographer.
The Hull House
Dramatic Associa-
tion has been in ex-
istence eleven years,
and of the original
eleven members there are four remaining. Most of those who
dropped out did so after the first year because they could not
stand the pressure. The membership is limited to thirteen, and
as none of the active members contemplate resigning, there seems
little hope at present for those on the long waiting list. How-
ever, they often help out in emergencies. Charles McCormick,
AUDITORIUM OF THE HULL HOUSE THEATRE, CHICAGO
XX
THE THEATRE MAGAZINE
KATHARINE LA SALLE
Now playing in "The Master Mind"
the president of the organization, Laura
Thornton, the secretary, Maud Smith,
and Joseph Marsolais, have been in since
the beginning; Miss McGrath conies
next with ten years ; then Alter, Keough,
and Mrs. Silverman, nine years ; Mrs.
Griddle, eight; Bailey, three; and Grau-
man and Sullivan, two. Thus the play-
ers have really grown up together and
have the delightfully informal an.i
friendly attitude of a large family
toward each other. The members were
originally selected from the talented
young people in the various social play
clubs in existence at Hull House at the
time.
One might marvel at the facility with
which the company in "The Pigeon"
mastered a dialect of which they have no
personal knowledge, if one had not
heard their delicious brogue in the Irish
plays. In "The Pigeon," Mrs. Silver-
man as the flower girl, and Joseph Mar-
solais as the cabby, bring out the flavor
of the London street jargon, and Stuart
Bailey, who does not know a word of
French, manages the broken dialect of
the vagabond philosopher beautifully,
and adds that distinct little flourish to
his words so characteristic of the French
speech.
In the Irish plays the company do the
parts with an enchanting brogue and a
delicious intonation. Of course, a num-
ber of the cast are Irish and fall natural-
ly into the "spakin* of it." But the real
source of inspiration is Mrs. Pelham
herself. As Laura Dainty she was a
great soubrette and famous in her
specialty of Irish roles.
As she proudly puts it, "I played what
were known as chambermaid parts.
The chambermaid became a soubrette,
and now the soubrette is an ingenue, so
you can figure out how old I am. And you will notice," she
added, "that the Hull House stage uses the County Kerry dialect."
Boucicault's thrilling melodrama, "Kathleen Mavourneen,"
was revived just before the players went to Europe, so Mrs.
Pelham's friends could see her in the part of Kathleen, which
was her first success on the stage thirty-five years ago. It was
the first time Mrs. Pelham had ever acted with her players.
White JEAN OALBRAITH
Leading woman at the Harlem Opera House
VIRGINIA PEARSON
To appear in "Nearly Married'*
CATHERINE CALVERT
Who will play the leading role in "The Escape"
Old-time playgoers say her screams
were as piercing and bloodcurdling, and
with her blond wig and make-up, she
looked as much the simple Irish country
lass as when they saw her long ago.
Those who have seen the Hull House
Company in Lady Gregory's plays, "The
Workhouse Ward," "The Rising of the
Moon," "Spreading the News," and in
Synge's "Riders to the Sea," will re-
member how exquisitely they were given
and that the Hull House Players did not
suffer by comparison with the Irish
Players. The meeting with the Irish
Players in Dublin was only the renewal
of a friendship begun in Chicago. One
Saturday night during the Irish com-
pany's engagement in Chicago, Lady
Gregory and Lennox Robinson came
over to Hull House and saw the little
company do some of her plays. They
were so pleased with them that they
wanted a performance given for their
whole company. So the following Sun-
day afternoon, Lady Gregory, the Irish
Players, and the Irish neighbors of Hull
House were invited to a special per-
formance of the four plays. One of the
Dublin actors was so moved by "The
Riders to the Sea," that even though he
had played in it so often and knew what
every line would be before it was spoken,
he felt a lump in his throat and could
not keep the tears back. He was
ashamed of himself until he looked down
the row and saw all the rest of the com-
pany stealthily wiping the tears away.
Afterward the Hull House Players en-
tertained them at a merry supper in
which tears were not in order at all.
The two busy groups had another meet-
ing at which they gave a combination
performance of "The Rising of the
Moon," two Hull House players starting
the piece and two Irish players finishing it. The Hull House
people were invited to see the Irish company many times. The
last night of the engagement the house was sold out and they
had to sit in the top gallery, but they did not sit there alone.
All the Irish Players who were not in the cast climbed up there
"Our friendship with the Irish Players is very gratifying to
us." admitted Mrs. Pelham, "we have been reaching out and
THE THEATRE MAGAZINE ADVERTISER
xxi
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working for that sort of art the past ten years. We
are striving for simplicity and less artificiality in
the drama, and want to strike a happy medium
between the natural and dramatic. Our association
is aiming at the highest ideals in the drama, and I
cannot begin to say how much 1 appreciate the en-
couragement the people of Chicago have given the
players, not only by coming to see us act, or by
permitting us to see so many good plays, but also
for the personal interest they have taken in our
development and improvement.
"Some people have watched us from the start
and did not think much of the melodramas we pre-
sented at first. But I know the melodramas were
worth while, because they were good training in
the craft and business of the stage. We have given
every kind of play and tried every style of acting
Just as a good cook should know how to make
German, French, English, and Italian dishes, so a
good actor should be schooled in every kind of
play."
Mrs. Pelham was asked if any of the company
had had professional offers or ambitions to go on
the stage.
"Louis Alter has had several offers, but as he
does not care to leave his business he has considered
none of them. After our performance of "Justice,"
many stage managers called up to see if they could
get some of my players, but I refused. My ambi-
tions for them are not in that direction, and they
themselves have no desire to go on the professional
stage. Of course, this does not mean that we won't
go to nearby places under our own management. I
am very willing to go on short tours when it does
not interfere with the regular work of the mem-
bers."
Mrs. Pelham and her players were very proud of
their success in the first play that had been written
by a Hull House girl, Hilda Satt. The play is
called "The Walking Delegate," and is a dramatiza-
tion of Leroy Scott's novel.
Miss Satt has lived most of her life in the neigh-
borhood of Hull House. She was born of Russian-
Jewish parents near Warsaw, and came to Chicago
with her family in 1892. The young authoress has
had a very busy young life. To the present writer
during a rehearsal she explained with due cause
for pride: "I went to work in a factory when I
was thirteen years old, and I have been supporting
myself ever since. I studied every night when I
came home from work. When I was about sixteen
I first came to Hull House. I joined a literary club
and was the editor of a little paper we pub-
lished, but it was the stimulus of coming together
and exchanging opinions that helped me most.
"I have always been hungry for experiences of
every type. I consider every employment an op-
portunity to reach out for new impressions, and I have often
accepted a position at half the wages I was previously receiving
for the sake of the novel experiences it would bring me. I
expect to utilize all my experiences in my plays."
Miss Satt could not praise Hull House highly enough for all
it had done for her. Like everyone else who has come in contact
with Miss Addams, she worships her and has unconsciously
absorbed the spirit of her ideals.
During the season that has just closed, the Hull House Dra-
matic Association has added several new plays to their repertoire.
Miss Illington was very glad to loan them the manuscript of
"Kindling," to be used only in Hull House, and they were very
successful in this drama of the slums. They also worked hard
MARY RYAN
Who is now appearing in Chicago in the amusing farce, "Stop Thief"
to bring out the poetry of Masefield's "Tragedy of Nan,'' and
its grim and bitter irony. Besides these, they gave three one-
act plays, "Marse Covington," "By Products," and "Manacles."
Some idea of the standards they are aiming at may be obtained
from a list of the plays they have appeared in from the beginning
of the organization. They were the first company in Chicago
to give Synge's "Riders to the Sea," and Lady Gregory's plays,
"Devorgil'la," "Crania," "The Workhouse Ward," "Spreading
the News," and "Rising of the Moon," and also to give Gilbert's
"Palace of Truth," Shaw's "You Never Can Tell/' Masefield's
"Tragedy of Nan," and Galsworthy's "Pigeon." They have
presented "The Magistrate," "The Schoolmistree," "Trelawney
of the Wells," and "The Amazons." ELSIE F. WEIL. '
THE THEATRE MAGAZINE ADVERTISER
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New Stars of This Season
At the two extremes of the stellar arc for this
season stand two men of strangely differing types
and attainments. Willis Sweatnam left the half-
century mark behind him a considerable time
ago, though his rubicund face and muscular
figure would not betray the fact. He has been
a player of many parts, but it is as the unctuous
impersonator of wily negro types audiences best
remember him. Most recently it was as the tip-
seeking, pbsequieous, pestiferous porter in "Ex-
cuse Me," shining of face and intrusive of man-
ner, we saw him. He will be the Uncle Zeb
of the play of that name which Henry W. Sav-
age will present this season. The Rupert Hughes
comedy will turn as upon a pivot upon the char-
acter of this shrewd relic of the "befoh de wah"
type, earning a haphazard livelihood in New
York by the exercise of his skill and ingenuity
as a carpet sweeper.
Mr. Sweatnam joined the company playing
"A Bloomer Costume," and he and his two "big
sisters," Sallie, afterwards well known on the
stage as the dancer, La Belle Louise, and Lottie,
who, herself became a favorite in the South,
married Harry Howland, an old Museum
favorite, used to march through the streets be-
fore the performance, the trio of youngsters
drawing money to the box office by way of at-
tention attracted in the streets. Mr. Sweatnam
went long to the minstrel department of the
dramatic school. He was with the Moore and
Burgess Minstrel, with Billy Emerson, and twice
with Jack Haverly.
But Willis Sweatnam's impersonations were
unique.
While most minstrels imitated the "cullud"
peculiarity of stuttering, Mr. Sweatnam made
the negroes of his creation stammer in thoughts
as well as speech. His departures from min-
strel lines were successful. He played the part
of John Smith, the detective, in "The City
Directory," and Abner Green in "Civil Service."
One season he appeared in the burlesque "Thril-
by," at the Garrick,. in New York.
As against Mr. Sweatnam's half century on
the stage is Mr. Joseph Santley's score of years.
But instead of black face, Mr. Santley, aged
twenty-two, brings the roses of youth in his
cheeks, and instead of silvery hair the thick
waving thatch of adolescence, to his role of a
dancing, singing juvenile lover in the play in
which he is the new risen star at the Lyric
Theatre, "When Dreams Come True."
He played in the companies of the late John
Lindsay, manager of the Brigham Young The-
atre, in Utah, and head of his own companies
touring Utah and adjacent states. John Lind-
say was his dramatic father, whom he char-
acterizes as "The Robert Mantell of Utah."
Master Joey and his brothers Tom and Fred,
barnstormed through the west. With their
mother, Leona Santley, they were stranded with
Harry Pleon, near Chicago. Master Joey played
with Corse Payton's Stock Company, with Alma
Chester's repertory company, and with Alice
Archer in "Jess of the Bar Z Ranch." He was
featured in "From Rags to Riches," as "Billy the
Kid," and in "A Runaway Boy." Ten years ago
we saw him in ''From Rags to Riches," saving
his stage sister, Laurette Taylor, from the plot-
ting villain who would have stained her fair
young life. He became acquainted with Broad-
way, and Broadway with him, when he succeeded
Fletcher Norton in "The Queen of the Moulin
Rouge." He supported DeWolf Hopper in "A
Matinee Idol," and Marie Cahill in "Judy For-
got." Last season he was with "The Modern
Eve." He has become associated with Philip
Bartholomae in the production of the farce "Kiss
Me Quick," and Mr. Bartholomae has written
for him a comedy farce in which he will for-
swear singing and do but little dancing, from
which we may conclude that the man at this
end of the arc is also ambitious.
To the chief role of "The Great Adventure"
Miss Janet Beecher will bring acute intelligence,
high purpose and brilliant achievement. What-
ever she has played since she made her New
York debut as Ida in "The Education of Mr.
Pipp" ten years ago she has- played well. She
was especially happy as Mrs. "Arovny, in "The
Concert." When this plum of the season fell
into her possession there was no dissenting voice
in the usual chorus of dissenting voices on and
about the Rialto.
Helen Freeman is still for the most part an
unknown quantity, save for the announcement
that she is David Belasco's newest discovery.
She will be featured and, doubtless, eventually
starred, the same course followed in the case of
Frances Starr in "The Rose of the Rancho," in
a new and as yet unnamed play.
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CONTENTS: OCTOBER, 1915
Edited by ARTHUR HORNBLOW
COVER: Portrait in colors of Valli Valli in "The Purple Road." PAGE
CONTENTS ILLUSTRATION : Julia Marlowe as Ophelia in "Hamlet."
TITLE PAGE : Scene in "Much Ado About Nothing" . 109
THE NEW PLAYS: "Much Ado About Nothing," "The Fight," "Nearly Married," "Believe Me
Xantippe," "The Temperamental Journey," "Where Ignorance Is Bliss," "Potash and Perlmutter,"
"Her Own Money," "The Family Cupboard," "Who's Who," "Adele," "Sweethearts," "The Doll
Girl," "Lieber Augustin," "When Dreams Come True," "America," "Kiss Me Quick." . . . . . . . IIO
THE POLICE STOP Two PLAYS — Illustrated u6
HITS OF THE MONTH — Illustrated Y. D. G 117
SOTHERN AND MARLOWE — AN ESTIMATE — Illustrated Oscar W. Firkins . . .118
SCENE IN "HAMLET" — Full-page plate no
To JULIA MARLOWE, IN "TWELFTH NIGHT" — Poem . . . . . . Anne Peacock . 120
WHOSE Is THE LIVING CORPSE IDEA? /. Sherrick . 122
SCENES IN "TnE TEMPERAMENTAL JOURNEY" — Full-page plate 123
THE AUTHOR OF "THE LURE" F. C. Fay .... 124
PROLOGUE— Poem Parmlee Brackett . . .124
THE CABARET BOOKING AGENCY Yetta Dorothea Geffen . 126
SCENES IN "ADELE" — Full-page plate 127
SCENES IN "AMERICA" — Full-page plate 129
POPULAR OPERA AT THE CENTURY THEATRE — Illustrated 131
SCENES IN "POTASH AND PERLMUTTER" — Full-page plate 133
TRAINING AN AUDIENCE TO LAUGH — Illustrated Al Jolson .... 134
Si KNES IN "BELIEVE ME, XANTIPPE" — Full-page plate 135
REMINISCENCES OF MLLE. RHEA . By Herself .... 137
DECLINE OF THE FRENCH DRAMA Harry J. Greenwall . . xvii
OUR FASHION DEPARTMENT F. A. Brown . xviii
etc. P
CONTRIBUTORS — The Editor will be glad to receive for consideration articles on dramatic or musical subjects, sketches of famous actors or singe
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utmost care is taken with manuscripts and photographs, but we decline all responsibility in case of loss.
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THE THEATRE
VOL. XVIII OCTOBER, 1913 No. 152
Published by the Theatre Magazine Co., Henry Stern, Pres., Louis Meyer, Treas., Paul Meyer, Sfc'y; l-io-n-14 West Thirty-eighth Street, New York City
Copyright, 1913, Charles Frohman Benedick
(John Drew)
Beatrice
(Laura Hope Crews)
Act V. Scene i. Benedick: "They swore that you were almost sick for me"
SCENE IN "MUCH ADO ABOUT NOTHING," AS PRESENTED AT THE EMPIRK THEATRE
Copyright, 1913, Charles Frohman
Laura Hope Crews
Bertram Marburgh
Mary Boland
John Drew
Henry Stephenson
Act IV. Friar: "Come, lady, die to live; this wedding day perhaps is but prolonged; have patience, and e«dure"
SCENE IN SHAKESPEARE'S COMEDY, "MUCH ADO ABOUT NOTHING," AT THK KMI'IKE THEATRE
THE NEW PLAY
EMPIRE. "MUCH ADO ABOUT NOTHING."
Comedy in five acts by William Shakespeare.
Produced on September i with this cast :
Dogberry Hubert Druce
Verges Malcolm Bradley
A Sexton Walter Soderling
Oatcake Rexford Kendrick
Seacole Murray Ross
A Boy Annie Francis
Hero Mary Boland
Beatrice Laura Hope Crews
Margaret Florence Harrison
Ursula Alice John
Don Pedro Frank Kenible Cooper
Don John Frank Elliott
Claudio Fred Eric
Benedick John Drew
Leonato Henry Stephenson
Antonio Sidney Herbert
Balthazar Nigel Barry
Conrade Herbert Delmore
Borachio Edward Longman
Friar Francis Bertram Marburgh
Practice is, of course, an absolute essential to a rounded art.
The player, if he would be a polished actor, must keep in con-
stant touch with the requirements of the various mediums that
go to make up his comprehensive profession. Naturally, there-
fore, an actor, who on the stage, affects modern clothes for more
than a score of years will find it difficult to hark back to sock
and buskin with any very great degree of convincing sincerity;
all of which is prelude to the fact that come Michaelmas it is
more than twenty years since
John Drew figured as a protag-
onist in Shakespeare.
On the eve of Labor Day, one
of the hottest nights of the sea-
son, Mr. Drew reopened the Em-
pire Theatre as Benedick in a
very lavish revival of "Much Ado
About Nothing." In spite of his
several years under the manage-
ment of Augustin Daly, Mr.
Drew's association with the lead-
ing roles of the Shakespearean
drama was never considerable.
In those which he enacted he
never quite shone with effulgent
brilliancy. His Petruchio is best
remembered, fine pendant to Ada
Rehan's immortal Katharine. If
there be a role, however, in the
library of the Swan of Avon,
whose requirements would seem
to fit the skill of this player, it is
Benedick. If he must act Shake-
speare let it be that Messinian
courtier and soldier, true embodiment
of the perfect man of the world. For
in real life Mr. Drew is that, and on
the modern stage has he not again and again portrayed its proto-
type with skill, finesse and effect?
Mr. Drew will play Benedick better than he did on the open-
ing night. It took him a little while to get his stride. But in
the scene where he overheard the cheerful conspirations there
was nice assumption of pleased surprise while the soliloquy was
delivered with that variety and skill of changing detail that be-
tokens the resourceful actor. The interludes with Beatrice were
nicely rendered and there was dignity and force in the Cathedral
scene. But there for the effect of a curtain too much stress was
placed upon farcical means. The finale was brought about with
neat theatrical precision and sparkle. But, after all, competent
as it was, Mr. Drew's Benedick is too instinct with the spirit of
modernity to write it down as perfectly satisfying.
And so with the whole produc-
tion. However liberal may be
the intentions of the management,
and Charles Frohman is never
niggardly, it would seem, judging
from results, to secure compe-
tents for a play of this kind an
almost hopeless possibility,
"Much Ado About Nothing" is
not one of Shakespeare's greatest
poetical realizations, but it is in-
stinct with wondrous character-
ization and, therefore, requires
actors. A Benedick without a
splendid Beatrice would be Ham-
let with the Prince of Denmark-
omitted. Laura Hope Crews was
the exponent of Leonato's niece.
An actress of training, she was
more than competent and interest-
ing, but efficient as was the read-
ing and execution, it was yet a
Beatrice in petto. Still, memories
of Ellen Terry will not efface.
Miss Crew's success with her
Photo Gilbert & Bacon
CHRISTIE MACDONALD
As Sylvia in "Sweethearts," at the New A.msterda.m Theatre
THE THEATRE MAGAZINE
in
public, howefer, was genuine. There is, at least for those who
have seen big productions, a standard. Frank Kemble Cooper
measures up to it. His Don Pedro was dignified and plastic. He
wore his clothes with authority and the distinction of the period.
His elocution was admirable. Leonato and his elderly brother,
Antonio, had the advantage of exponents skilled and drilled in
the old school. Generous praise is awarded to Henry Stephen-
son and Sidney Herbert for their work. Miss Mary Boland,
visually, was a most attractive Hero, but her opposite, the
Claudio, was altogether lacking in virility, while the three con-
spirators, Don John, Conrade and Borachio, were about the
mildest anil most colorless trio that ever set out to hatch a plot.
The comedy scenes did not quite get over. Their archaic
humor has to be humored. Hubert Druce as Dogberry was too
insistent in making his points. There was a nice-toned Balthazar
in Nigel P.arry, an impressive Friar in Bertram Marburgh, and
a highlv characteristic Verges in Malcolm Bradley.
The scenic investment was beautiful and appropriate and the
costumes so sumptuously rich and heavy that they literally
swamped some of the performers.
HUDSON. "THE FIGHT." Play in four acts by Bayard Veiller. Pro-
duced on September 2 with the following cast:
Cyrus Judson William Ilolcleti
Edward Thrcckmorton. . .Robert Kegereis
Thomas Gaines Charles Sturgis
May Laporte Olive Murray
Factory Child Eva Esmond
Piano Player G. M. Kling
Pearl Haskel Cora Adams
Politician Fred Moore
Gladys Teanette Despres
Madeleine Sarah Whitef ord
Pansy Elza Frederick
Lizette Mary Orr
Edward Keeler Charles Halton
DnctiH- Root Felix Krembs
K«l\vard Norr!s Malcolm Duncan
Mrs. Kdward Norris. .. Margaret Gordon
Mrs. Tliomas Ada Boshell
Tom Davis Raymond Van Sickle
Ililen Thomas Clara Mersereau
Daisy Woodford Frances Stamford
Gertie Davis Margorie Wood
Jane Thomas Margaret Wycherley
Watson Del Le Bar
Messenger Hoy John Dugan
Jimmy Callahan William McVay
Senator Woodford. .. Edward R. Mawson
This play has achieved much notoriety. Pages have been de-
voted to it critically, editorials by the foot have been launched
against its ethical and sociological claims, and finally the police
stepped in. Perhaps there was method in Mr. Bayard Veiller's
madness in presenting his play as he did ; for rumor has it that
when it was first produced in the West it did not contain the
second act, which has raised such clamor. In reference to this
act there is no doubt that it is a very bold and life-like presenta-
tion of a phase of life, old as the centuries which, cope with as
they will, sociologists have not yet been able to either eliminate
or reform. Some authorities have waxed very furious over its
presentation, holding it to be immoral, obscene and degrading.
The words in the dialogue are brutally frank, but not salacious.
The action therein contained is the proceedings of degraded per-
sons. What they do, however, will never lead to imitation.
Whether such happenings should have any place on the stage
resolves itself simply into a question of taste, good manners and
polite decency. The brutal and the ugly have no place in the
arts unless they sincerely serve a purpose, and herein is the
weakness of this much-discussed act. It is not really necessary
to the development of the playwright's theme. It would seem
rather to be an adventitious innovation introduced solely to
secure what is now known as "the theatrical punch." Eliminate
this scene, and with a few verbal changes "The Fight" can stand
on its merits as a bright, original and entertaining comedy, for
however serious the intentions of the heroine are, her most
dramatic moments have a tinge of the farcical.
Jane Thomas is not only the head of her family, but the head
of a Trust Co., founded by her father. She resolves to run for
White
May De Sousa
George MacFarlane
Act I. The butler interrupts love scene
SCENE IN THE NEW OPERETTA, "LIEBER AUGUSTIN," NOW BEING PRESENTED AT THE CASINO
THE THEATRE MAGAZINE
construction, bustling action and genuine
humor. This role is assumed by Margaret
Wycherley, the author's wife, who enacts the
exacting role with the most gracious personal
charm and professional technic. Hers is a real
histrionic triumph. The cast in its entirety
is excellent. William McVay, in voice and
bearing, splendidly suggests the local boss ;
Edward R. Mawson handles with admirable
discretion a most repulsive role. The keeper
of a disorderly house is pictured in graphic
colors by Cora Adams, and Miss Margorie
Wood plays a comedy role with humor and
effect.
White
Mary Alden Clara Beecher Harvey Beecher
(Julia Dean) (Beverly Sitgreaves) (George Hassell)
Harvey Beecher gives Mrs. Alden his check while his wife watches the transaction
SCENE IN MARK E. SWAN'S PLAY "HER OWN MONEY," AT THE COMEDY
the mayoralty of a small town in Colorado. Her family violently
oppose, out she resolves in her course as she is determined to
solve the child labor problem, improve the morals of the town
and generally work out one of those moral milleniums that all
the reformers of the present day are so eagerly seeking for.
Then her troubles begin. Politicians, Federal and local, oppose
her by fair and foul means, not the least of which is a run on
her Trust Co., which they bring about. How she shows up the
moral viciousness of a United States Senator, how she wins over
to her side a political heeler; how by her wit and resourcefulness
she saves her bank and how she wins the mayoralty and the hand
of an altruistic doctor, are all retailed in three acts of ingenious
GAIETY. ''NEARLY MARRIED." Farce in three acts
by Edgar Selwyn. Produced on September 5 with
the following cast :
Hattie King, Virginia Pearson; Hotel Page, Harry Loraine
Maid at the Hotel, Mabel Acker; Betty Lindsay, Jane Grey.
Gertrude Robinson, Ruth Shcpley; Tom Robinson, Marl
Smith; Waiter, Wm. Phinney; Harry Lindsay, Bruce McRae
Dick GitTon, John Westley; Prince Banjaboulle, Schuyle
Ladd; Norah, Georgia Lawrence; Peter Doolin, Robert Fisher
Chauffeur, Wm. Phinney; Hi. Satterlee, Delmar E. Clark
Jack Brooks, Harry Loraine.
In the new offering at the Gaiety Theatre,
Mr. Edgar Selwyn has written a farce estab-
lished on the true and well-tried lines laid
down by Scribe and Hennequin and followed
thereafter by every other playwright who
achieved success at the Palais Royal and other
theatres of that kind in the French capital.
"Nearly Married" owes a large part of its
success to its nice, mechanical quality. That is
to say, its action is clock-like in its precision.
While the one complication which follows the
other seems logically to grow out of its prede-
cessor, the greatest care and ingenuity have
been brought to bear to bring about this
crescendo of comic action and effect. This is
not to say that "Nearly Married" is lacking in
spontaneity. Describing its method of con-
struction is only to fix its place in the theatrical
repertoire. It is a good farce of its kind.
There are three classes of playgoers who
will find themselves in front at performances
of "Nearly Married." First there is the
element that revels in broadly drawn character-
ization, swift action and constantly succeeding
scenes of funny misunderstanding and comic
complications. "Nearly Married" will raptur-
ously appeal to this element. There is a second
class which prefer the acting to the medium ;
it will find the cast almost universally satisfac-
tory. And there is still a third contingent to
which Mr. Selwyn's farce will appeal less.
The constant interference of a brother has
driven Harry and Betty Lindsay into the
divorce court. Chance brings them, two of
their friends and "the professional co-re-
spondent" together in one of the waiting rooms of a Fifth
Avenue hotel. First visibly annoyed that her husband should be
taking tea with Hattie King, the co-respondent, the wife, under
Harry's fervent plea that he has never ceased to love her, urges
her to elope with him to his place on the Hudson. After a hasty
exit the brother appears and is informed of the situation. "Im-
possible!" he exclaims; "an absolute decree has just been signed.
They are no longer man and wife ; if they are not overtaken, my
sister is a ruined woman."
Act two and the final one take place at the Cherry Tree Inn
near Oscawana. Fate, rain and broken bottles, the machinations
of a wily innkeeper who would not have automobile trade go by
THE THEATRE MAGAZINE
his door, bring the Lindsays, their two friends, Mr. and Mrs.
Robinson, and Hattie King, the co-respondent, all together
once more. To this add a justice of the peace, who would
collect his rent and politely blackmail. Let there be a very
limited number of rooms into which everyone gets at the
wrong time and you have your complications which find their
climax when a bolt of lightning sets fire to the garage, where,
after more rushing in and out, accompanied by red fire, a
satisfactory solution of all is brought about.
Bruce McRae is featured as Harry Lindsay and a very en-
gaging, human and attractive impersonation he makes of it.
He is gracefully and prettily supported by Jane Grey, as his
wife, and by Mark Smith, as the stolid, blundering and
hungry Robinson, and by Ruth Shepley, very fair to look on,
as his better-half. Virginia Pearson, as the co-respondent,
sketches a Broadway type with becoming verisimilitude. The
Indian innkeeper, Prince Banjaboulle, once at Sherry's, and
his Irish wife, formerly of the cloak-room, are neatly and
humorously portrayed by Schuyler Ladd and Georgia Law-
rence. Robert Fisher is droil as the justice of the peace, and
John West'.ey makes an explosive brother-in-law. Harry
Loraine and William Phinney are excellent in character bits.
THIRTY-NINTH STREET. "BELIEVE ME XANTIPPE." Play in
four acts by Frederick Ballard. Produced on August igth with this cast :
George MacFarland. . . .John Barrymore
Arthur Sole Alonzo Price
Thornton Brown Henry Hull
"Buck" Kamman Theodore Roberts
Simp Galloway Frank Campeau
"Wrenn" Rigley Earle Mitchell
William M. Tello Webb
Martha Alpha Beyers
Violet Katherine Harris
Dolly Kamman Mary Young
Magnetism is a very valuable theatrical asset. The Barry-
more family has always been strong in this particular.
Memory holds dear the recollection of Maurice and Georgie
Copyright, 1913, Charles Frohman
Paula Marr and William Collier in "Who's Who," at the Criterion
Drew, parents of Ethel and Jack Barrymore, who of them-
selves are as talented and popular as any of the younger
generation of players. John Barrymore's personality is quite
remarkable. Handsome, alert, vivacious and resourceful, he
is a born farceur; nor is true feeling lacking when called for.
The mooted question as to whether play or player is the real
drawing equation finds a prompt answer in the production of
"Believe Me Xantippe" at the Thirty-ninth Street Theatre.
Without Barrymore in the leading role it would be rather
thin entertainment which Mr. Frederick Ballard has to offer
in his prize play in four acts. Mr. Ballard is a Harvard man,
and under the tutelage of Prof. George P. Baker, evolved the
piece which won the John Craig prize, offered annually for
the best play evolved by an undergraduate. The piece had
a good run in Boston.
George MacFarland has been robbed. Disgusted, he in-
veighs against the stupidity of the police. A friend takes the
side of the bluecoats and detectives and from the argument
which follows a wager is entered into between them. Mac-
Farland commits a polite and friendly forgery and then bets
the modest sum of $10,000 that he'll keep out of the law's
clutches for a year. This is the first act and as may be seen
is nothing but talk that the premises may be laid. It is acted
with lightning speed and so doesn't bore. Now the scene
changes to the West. The year has almost expired when
MacFarland, hungry and tired, finds himself in a hunting
shack in Colorado, the sole occupant of which is Dolly Kam-
man, the daughter of a sheriff. Suspecting him to be the
fugitive for whom a big reward has been offered, she gets
the drop on him and arrests him. Then ensue alternating
Copyright, 1913, Charles Frohman
William Collier as Soapy Sam in
'Who's Who"
THE THEATRE MAGAZINE
Copyright, 1013, diaries Frohnian
Hattie Williams Richard Carle
Act II. Marquis: "This is not love — it's massage"
SCENE IN "THE DOLL GIRL." NOW BEING PRESENTED AT THE GLOBE
scenes of comedy and drama, "a bad man" figuring in the latter,
in which first he wins and then she; but she gets him to jail
where the third act takes place. Here there is plenty of comedy,
much of it highly effective and genuinely amusing. Of course,
MacFarlaud eventually wins his bet and the hand of the sheriff's
daughter as well.
Mr. Ballard s idea is a most happy one. It contains great
comic possibilities. It is not to be denied that the action raises
a lot of genuine laughter, but the treatment for all that shows
the lack of a practiced hand, and without Mr. Barrymore's facile
and engaging methods, would fall very short of the actual results
obtained. He is quite delightful. Mary Young, as the sheriff's
daughter, is expertly engaging, and Theodore Roberts, destined
evidently for life to wear on the stage nothing but sombreros
and jack-boots, is the sheriff. His deputy is capitally played by
Earle Mitchell, and a Western desperado and his "soul mate,"
Violet, one of those fragile flowers of a mining camp are acted
by Frank Campeau and Katherine Harris. Each is excellent.
BELASCO. "THE TEMPERAMENTAL JOURNEY." Play in three acts,
adapted by Leo Ditrichstein from Andre Rivoirc and Yves Mirandc's
comedy, "Pour Vivre Heureux." Produced on Sept. 4 with this cast :
Jacques Dupont ......... Leo Ditrichstein
Prof. Roland ........... Henry Bergman
Bernon Neil .............. Frank Connor
Billy Shepherd .............. Richie Ling
Dorval ................ Edouard Durand
Ho
Carrington McLiss ........... Lee Millar
Tamburri ............ M. Daniel Schatts
Roy ..................... E. R. Wolfe
Max ..................... E. W. Grant
Edna Caree Clarke
Eleanor Anna McNaiighton
Marjorie Dorothy Elis
Lina Annette Tyler
Messenger William Dixon
ard Locke Julian Little Delphine Isabel Irving
Maria Josephine Victor
Fanny Lamont Cora Witherspoon
Teresa Gertrud Morisini
Maid Alice Jones
"The Temperamental Journey," adapted by Leo Ditrichstein,
from the comedy, "Pour Vivre Heureux," by MM. Rivoire and
Mirande, is more than a mere reproduction of the French play.
It lias been freely adapted for our stage with all the objection-
able features of the original either modified or omitted. The
story is romantic, sentimental, but not perhaps unusual in litera-
ture or the thoughts of men. An artist, of personal and artistic
worth, unable to sell his pictures, and consequently in poverty
and despair, determines to throw himself into the river and rid
himself of his troubles. His wife does not appreciate him; his
model, a true-hearted and appreciative creature, on the other
hand, is sympathetic. A body is found, recognized as his, and
the funeral is held. He returns home secretly while the funeral
is in progress; meets a fellow artist who is his devoted friend
and determines to remain dead. The wife remarries. He
spends several years in Paris and returns with other pictures
that he has since painted. He is led to disclose himself by his
former wife's attempt, by the sale of his pictures, to introduce
certain spurious canvasses. Eventually he marries the model,
who has been faithful to his memory.
It is almost entirely in the handling of the many incidents
belonging to this story that the charm of the play consists
Without this handling in the acting and in the minute de-
velopment of all the opportunities, the play would not be
effective. As it is, it is a P>elasco success. Mr. Ditrich-
stein, as the artist, gives a finished performance, handling
with delicacy and humor his scenes in such a way that the
gruesome is entirely absent. Isabel Irving, as the wife, gave
a performance that shows her vastly improved in her art tinder
Mr. Belasco's training. Her performance is one of the best things
she has done. Other performances were proportionately admir-
able, that of Richie Ling, as Billy, the close friend of the artist :
that of Josephine Victor, as that of the faithful model; that of
the others, without exception, in minor parts.
THE THEATRE MAGAZINE
LYCEUM. "WHERE IGNORANCE Is BLISS." Comedy in three acts by
Ferenc Molnar. English version by Philip Littell. Produced on September
3rd last with the following cast:
The Actor
The Actress. . .
The Critic
.William Courtleigh
Rita Joliyet
...Frederic de Belleville
The Mamma Florine Arnold
The Maid Marion Pullar
The Bill Collector Kevitt Manton
"Where Ignorance is Bliss," served at least to show the dis-
tinct literary and artistic qualities of Molnar, the Hungarian
author, who was first introduced to this public with "The Devil."
As an acting play it had, of course, all those evidences of skill
which are to be expected from an author who always has a pur-
pose and who knows how to handle a story and its characters.
It was soon apparent, however, almost from the beginning of
the performance, that these characters were entirely foreign to
us, and that the play was to be a study of conditions that we
know nothing of. A beautiful and famous actress, with a hus-
band equally famous, is unstable in her affections, and at this
time is dreaming of some new lover. Her husband understands
her mood from her constant playing of Chopin, which he has
•eason to know is the sure sign of her wandering thoughts. She
has had many lovers. He is a study of the continental artist
who lives on his vanity and selfishness. His selfish self-esteem
is piqued by his wife's present indifference and her receptive
mood for a new affair. He has reason to believe that her fancy
has been caught by an Officer of the Guard who has been passing
the window of late. He confides to a friend of the family, a
dramatic critic, a plan. His wife has not become personally
acquainted with this new object of her affections. He sees his
opportunity to disguise himself as this Officer and test his wife.
The action of the play turns on the carrying out of this enter-
prise. It is not improbable that he could impersonate this Officer,
for he is an actor. In other circumstances, this part of the play
might be very trivial ; but it is really a study of character. He
visits his wife in her box at the opera and feels sure that he
had laid bare her new love affair. Later, when he charges her
with her conduct, she professes to have known his identity all
the while. This seemingly slight story is diverting as acted, but
the whole play is too subtle for our audiences. The play could
not have been better produced than it was by Mr. Fiske. A
small cast was admirably chosen : William Courtleigh, as the
actor; Rita Jolivet, a beautiful, animated and graceful newcomer,
as the actress; Frederic de Helleville, excellent as the critic, and
Florine Arnold as the actress' Mamma.
COHAN. "POTASH AND PERLMUTTER." Play in three acts based on
Montague Glass' stories. Produced on August i6th with this cast:
Mawruss Perlm utter.
Abe Potash
Marks Pasinsky
. . . .Alexander Carr
. . . Barney Bernard
Lee Kohlniar
.Joseph Kilizour
U. S. Deputy Marshal. .. .James Cherry
U. S. Deputy Marshal. .Harry S. Aarons
Felix Scnocn Fred. Carter
Ruth Snyder .. .Louise Dresser
Boris AndriefT
Mo?art Rahi tier
Albert Parker
.... Leo Donnelly
Mrs. Potash Klita Pro, tor (His
Henry Steuerman. . . ,
Senator Sullivan
Book Agent
Sidney
Expressman
.... Stanley Jessup
. . Kdward Gillespie
.Arthur T. 1'ickens
.... Kusscll Pincus
Dore Rogers
Irma Potash Marguerite Anderson
Miss Levine Grace Fielding
Miss O'Jiricn Doris Easton
Miss -Potchley Dorothy Landers
Miss Nelson Marie Baker
It is a maxim of. managers, that business is not an agreeable
or profitable subject for handling on the stage. "Potash and
Perlmutler" is distinctly a play relating to the every-day inci-
dents and the conduct of a business, and that business of a dis-
tinctly prosaic kind ; and yet, of all men, the "tired business
man" will find his pleasure and relaxation in it. For the most
part, it concerns the making or the losing of money, with
amusing aspects in either case. The play is made up from stories
by Montague Glass. It has a plot that permits of the introduc-
tion of many incidents, and these incidents are more interesting
than the story for they are absolutely true to life, while the
story is not. However, the story answers the purpose of hold-
ing the play together, so that its insignificance is a small matter.
The plot concerns the efforts of the firm to help their book-
keeper, a political refugee from Russia, who is arrested for
extradition. In going on his bond, they are about to lose every-
thing. A climax of this sort would seem to be, in the recount-
ing, in the nature of a business tragedy, but like everything else
in the play, it is comedy. To say this sufficiently indicates the
spirit of the play. There is a reason why this bookkeeper should
be protected. He is engaged to the daughter, so to speak, of
the firm. Miss Potash is to marry this attractive young man,
who is a musician, a composer, and really has not committed the
murder with which he has been charged. The story, it will be
seen, involves some touches of domestic sentiment, but, if the
truth must be told, there is as much fond sentiment as to money
as there is to anything else. If it were (Continued on page Lr)
White
William Courtleigh Rita Jolivi Frederic de Belleville
Act II. The actress does not recognize her husband in the handsome soldier
SCENE IN "WHERE IGNORANCE IS BLISS," RECENTLY PRESENTED AT THE LYCEUM THEATRE
White
Jane Thomas (Margaret Wycherly) confronts the corrupt politicians with one of the little victims of their system
SCENE IN BAYARD VEILLER'S MUCH DISCUSSED PLAY, "THE FIGHT," AT THE HUDSON THEATRE
NEW YORK has just
emerged from a theatri-
cal situation as critical
as any in its history. On September 9, two plays, "The Lure"
and "The Fight," which respectively opened the Maxine Elliott
and the Hudson Theatres, were withdrawn by warrants issued
by Chief Magistrate McAdoo on the grounds of indecency and a
tendency to corrupt public morals. The managers of these plays,
Mr. Lee Shubert and Mr. William Harris, while insisting that
the purpose of the plays is moral, and that they were carrying
on the war against what is called white slavery, immediately
yielded to the law, but proposed that, instead of waiting for a
jury trial to determine the question, special performances of
"The Lure" and "The Fight" should be given for the benefit of
the Grand Jury, to which body the case had been transferred.
In the case of "The Fight," a hurried revision was made, and
the second act, which had been laid in a disreputable house, was
cleansed and public performances were resumed. A similar pro-
cess with "The Lure" was not possible, but, on the night of
September nth, a performance of this play was given for the
Grand Jury. Decision was withheld for some days, but on Sep-
tember 1 6th it was announced that, following the receipt of a.
letter from Mr. Lee Shubert, in which that manager agreed to
have the offending play rewritten so as to eliminate all the ob-
jectionable passages, the Grand Jury, on the recommendation of
Assistant District Attorney Bostwick, had decided to drop its
inquiry. The investigation of "The Fight" since the play has
appeared in its new form also has been discontinued. Both Mr.
Shubert and Mr. William Harris, manager of "The Fight," were
technically under arrest when they appeared in Court, but upon
their promise to withdraw the two productions they were released
on their own recognizance.
The public is, after all, at least in this country, the final censor
of art from a moral point of view, and in the case of these plays
public opinion has been divided, many people objecting to the
frankness of the dialogue and the repulsive nature of the theme,
while reform workers, who are supposed to be acquainted with
the evil of which it treats, insisted that the continued production
of the plays would do good. It seems to be true that playgoers
proper have acquired a distaste for the so-called Red Light
dramas which treat of evils hardly to be lessened by promiscuous
and irresponsible debate. In their hands, then, the fate of such
plays might well be left. When
Bernard Shaw's outspoken
play, "Airs. Warren's Profes-
sion," was first stopped by the police and then suffered to
resume, the public stayed away, and the piece died a natural
death. "Any Night," one of the small pieces shown last winter,
would have closed the Princess Theatre if it had been expanded
into a three-act play. It was tolerated because companion pieces
differed so widely in theme and treatment. "Damaged Goods"
obtained and held its place on our stage through the fostering of
a society whose aims are not at all theatrical. It. was accepted
as a medical thesis rather than a play. Moral purpose is too
often used as a cloak for indecency, and under it many books,
many plays which are offensive managed to survive. In theatri-
cal history, however, epochs are found in which the same surfeit
is felt by the public that appears to have been reached now, and
then the playgoers themselves banish the offending production.
The tremendous interest suddenly taken in the Red Light
drama is not, of course, aroused by literary or dramatic values.
With such plays the usual tests applied to stage pieces fail.
Either they are moral lessons or they are not moral lessons, and
this is what divides audiences between enthusiastic approval and
deep disgust. A play should always teach a moral ; a good play
subtly does ; few successful plays do not. Precisely what we
are expected to learn from a succession of plays based on the
crusade against an unmentionable evil, remains to be found out.
Perhaps we may venture the opinion that the stage is not the
place on which to fight such crusades. To make a drama — a
poor, crude, mechanical drama of the subject — it is necessary to
take for protagonists types that are frankly exceptional. Now
the drama, to be widely useful, cannot be confined to narrow
possibility ; its types must be broad, its teachings general. That
is one good reason for putting the Red Light play out of the
theatre. Another is that the lesson it teaches is repulsive and
immoral. The stage is no place for these distressing lessons. At
the beginning of each season, the object seems not to search for
the great themes of life and love, but to find out what is the
prevailing madness and to stage it merely for the sake of making
money. This year it is the white slave traffic. Besides the plays
already anchored, others hover in the offing, each one prepared to
hoist its red flag of invitation. Have our dramatists no higher
aim than to dramatize contemporary excitements?
TO awake next morning and
find oneself famous — that
was the experience o f
Natalie Alt, the charming little
prima donna of "Adele," following the production of that
charming new musical comedy at the Longacre Theatre. "Who
is she? Where did she come from? So young a girl and with
such a voice !" These questions and comments were heard on all
sides of the theatre on the opening night when Miss
^^M^^^^^ Alt first came on and rendered the Adele song, one
fl B of the best numbers in the piece. Her fresh, young
voice, excellent technique and admirable poise,
astonished and delighted her hearers, and her charm
of manner and quaint personality had completely
^) won them long before the final curtain fell. Miss
Alt >s a ^ew York girl and prior to going on the
stage studied two years at the Metropolitan Opera
Leaving there, she entered the musical comedy field,
singing in the chorus and her voice remaining unnoticed until
last year when she understudied Ina Claire in "The Quaker Girl."
Audiences liked her so well that she was sent out to head the
second company of that production. Previously she had appeared
with Richard Carle in "Jumping Jupiter," and also in "Little
Nemo.'' Then came the golden opportunity that sooner or later
knocks at all our doors. "Adele" was scheduled for immediate
Broadway production. Audrey Maple had been selected for the
title role, but after rehearsing three weeks Miss Maple found she
was bound by a former contract. In a dilemma, the management
looked around for a substitute and someone suggested Natalie Alt.
Hi
t
S <
of
th
e
Me
>n
th
Natalie Ait
School.
A STRIKING figure in the amusing farce, "Believe Me
Xantippe," at the Thirty-ninth Street Theatre, is the pic-
turesque sheriff "Buck" Kamman, admirably acted by Theodore
Roberts. Nearly fifteen years have rolled by since Mr. Roberts
made his first hit on Broadway. That was when he created the
part of Canby in "Arizona." For the first time a tenderfoot
New York audience saw the real Western ranchman on the
stage. Mr. Roberts is a native of California and
first appeared at the Baldwin Theatre, San Fran-
cisco, in 1880. He came to New York and for a
time was with Robson and Crane at the old Fifth
Avenue Theatre. Returning West, he joined a barn-
storming troup which toured the Pacific Coast, but
after a few years of this precarious existence he
became disgusted with the theatre and went to sea
in command of one of his father's schooners. He
has never regretted this nautical experience. It gave him a new
outlook on things. The free outdoor life on the sea freshened
his art and gave it the healthy brusqueness which is its chief
power and charm. But he could not remain away from his first
love, the stage, and joined the company of the late Fanny Daven-
port, remaining with that actress eight years. He also acted with
Adelaide Neilson and Lawrence Barrett. His most recent New
York appearance prior to his present engagement was as Captain
Hatch in "The Bird of Paradise."
Theodore Roberts
'"PHE first performance of "The Family Cupboard," at the
Playhouse, brought immediate popularity to an actor hereto-
fore unknown on the legitimate stage, but who has long been a
great favorite in vaudeville. His name is Franklyn Ardell, and
in Owen Davis' interesting, if somewhat unsavory,
drama he is seen as the "tough" dancing partner of
the seductive little siren, Kitty May. As the flashy,
thieving hanger-on, Mr. Ardell gives an impersona-
tion astonishingly true to life. One forgets for the
moment that it is only acting. Mr. Ardell, who has
long enjoyed a reputation in vaudeville, is quite
familiar with the type he portrays so well. As Dick
Le Roy, vaudevillian, in "The Family Cupboard,"
he congratulates himself because he is doing "the big little time
at 80 per." In real life, prior to his present Broadway debut, lie
Franklyn Ardell
was featured on the vaudeville
stage as Ardell & Co., and as he
headed the electrics on the
Orpheum Circuit in the West it is
a safe venture to say that it was not at 80 per. While he was
making his first success in vaudeville he never ceased yearning to
"make good" in the legitimate. He proved his sincerity by join-
ing good dramatic companies between seasons. He was with
Margaret Anglin for a time, and also acted with other companies.
Irene Fenwick
T T P to the time she astonished a first-night Broadway audience
by her clever performance of Kitty May in "The Family
Cupboard," Irene Fenwick's reputation had rested chiefly on the
fact that she is an extremely pretty girl. But she soon tired of
flattering notices telling her merely that she was
sweet and charming. She was ambitious to be some-
thing more than a wax figure. So, at last, in sheer
desperation, she went to her managers and insisted
that they give her a part which would afford her an
opportunity to prove that she can really act. Miss
Fenwick is a Chicago girl and made her stage debut
a few years ago in a small part. Later she was seen
in "The Speckled Band," "The Zebra," and "The
Brass Bottle." The first important role entrusted to her, and in
which she attracted any attention, was when as Princess Overitch
she appea- ed in support of Douglas Fairbanks in "Hawthorne of
the U. S. A." The press notices she received on that occasion
were sufficiently encouraging for the managers to put a mark
against her name as a future possibility, and when W. A. Brady
began to select the cast for "The Family Cupboard," he could
think of no one better suited to the part of the pretty adventuress
than Irene Fenwick. He was not mistaken in his judgment. As
the "woman in the case," a role at once unsympathetic and un-
savory, the young actress has scored a decided success. She acts a
difficult part with the tact and intelligence of a veteran player.
TN "When Dreams Come True," the new musical comedy at the
44th St. Theatre, the audience is kept in a constant convulsion
of laughter by the antics of Matilda, a grotesque country wench
who insists on getting married, no matter to whom.
May Yokes, who plays the part, has specialized in
similar roles for many years. Every player soon
finds his or her place on the stage. This actress
found hers in the interpretation of the ludicrous —
the creation of laughter-provoking slaveys and coun-
try cousins. Miss Yokes, who is a Western girl,
made her first Broadway hit some twelve years ago
in Du Souchet's farce, "My Friend from India," in
which her gift of dry humor at once revealed itself. After that
she scored again in "Checkers." Six years ago she made her
debut in the musical comedy field, sharing with Frank Daniels
the honors of ''The Tattooed Man." Then she was seen in Chi-
cago in "A Knight for a Day," and "The Flirting Princess."
Last season she played the principal comedy role in "The Quaker
Girl." Besides carrying off these honors on the legitimate stage,
Miss Yokes has endeared herself to the vaudeville world, where
for several years she has appeared as a headliner.
May Yokes
of the most repellent characters in "The Lure" is that
of the Cadet. It goes without saying that George Probert,
who plays the part so realistically, is not as deep-dyed
a villain as he appears. Mr. Probert was born in
Erie, Pa., the son of a clergyman. It was after read-
ing the career of a famous tragedian that he became
ambitious to be an actor. He went to England, and
failing to gain a foothold there, returned to America
and joined a repertoire company in Baltimore. After
that he played in "When Cupid Outwits Adam." and George Prob(.rt
then his luck changed. W. H. Crane saw the play,
noticed the young actor, and engaged him to create the role of
Lenox in "David Harem." Y. D. G.
Sothern amid Marlowe— An Estimate
By OSCAR W. FIRKINS
'HE present writer recently attended seven
consecutive performances of Sothern and
Marlowe in Shakespearean parts with the
wish to complete and combine — and incidentally,
likewise, to correct or confirm — the divided and
Hall
Mr. Sothern as Petruchio
THE present writer recently attended seven unsuggested by the ordinary movement of his brisk,
consecutive performances of Sothern and energetic speech.
He is extremely variable in the extent to which
he breaks up and differentiates his elocution.
There are passages where he rough-hews his text,
scattered impressions of various earlier visits, handing it out to us in compact, parallel blocks ;
The popularity of these artists and the rarity elsewhere he carries analysis to a point where it
of critiques which embrace any larger section of verges on dissolution. Both he and Miss Marlowe
are capable, on occasion, of a vocal mosaic-work,
of curious, almost fantastic, variegation and com-
plexity. Now and then, on the contrary, the utter-
ance of Mr. Sothern is so measured, not to say
mathematical, that he all but scans his lines, coming
down on each accented syllable with the precision
of Dr. Johnson in touching the London posts.
This foible is more curious than grave. Less for-
their work than a single performance — to say
nothing of the rarity of serious criticism in any
form in matters histrionic — are the best excuse
he can offer for inviting the readers of THE
THEATRE MAGAZINE to participate in the fruits
of his observations.
The excellent settings given the Shake-
spearean plays, the selection of a company on
the principle of the erasure of all inequalities gettable and less excusable is the over-emphasis
White
Miss Marlowe as
Viola
beyond those which secure justice in the proportions, the realiza- that dilates certain words to unnatural and disproportionate
tion of the existence on this planet of a thing called blank verse, dimensions, all but dislocating and unseating them from their
the amplification of the dialogue by bits of stage-business at once place in the contexture of the sentence.
daring and adroit which add lifelikeness, and sometimes even Mr. Sothern conceives characters clearly at the start, but I
poetry and imagination, to the text— these things we may pass find him somewhat unsure in the point of fidelity to his own
by with the lightness proper to topics on which unanimity conceptions. He is not altogether superior to that artistic ter-
makes debate impossible. Our concern is mainly with the two giversation which strengthens a passage at the cost of an indi-
outstanding personalities.
viduality. Below are specified two or three instances in which
That the 'repute of Edward H. Sothern as an actor has been a character forks, as it were, in the middle of a play, and the
aided by his association with Miss Marlowe, by his gifts as two halves pursue a divided and divergent course toward the
stage-manager, by that life-long cult of Shakespeare, which, in consummation. His successes are fairly well partitioned between
our helpless and servile modernity, is in itself an apostleship if tragedy and comedy. The "gentleman" is conspicuous in his
not a martyrdom, is probably not to be gainsaid; but the infer- nature, and it is noteworthy, that he excels chiefly in a tragedy
ence that the head and front of his deserving as an actor is not too violent and in a comedy not too boisterous to permit the
comprised in these advantageous accidents would be quite unjust full demonstration of that propitiating quality. The transcend-
to his actual capacities. His personal powers are real, though ence of his "Hamlet" among all his parts redounds greatly to the
he sometimes sets us the bad example of denying them. The credit of his seriousness and his intelligence,
reversions to mediocrity are frequent; and his average parts or His Petruchio is conceived with a penetration and felicity
moments leave the hearer quite uns'uspicious of the heights that give one a strong fellow-feeling for the critic who declared
commanded by his crowning moments and his nobler parts. He it the very best of Sothern's roles. The distinction between
keeps expectation unsettled ; admiration vibrates in perplexed rioter and rowdy was never more consummately demonstrated
search for the point of equilibrium between inadequacy and excess.
His action one partly perceives, partly in-
fers, to be happy; in his movements, indeed,
there is sometimes a felicitous darting swift-
ness which gives almost a lyric quality to
gesture. His presence is satisfying, and he
has a voice of vibrant and mellow quality, and
of a power and endurance, which are some-
times half a misfortune, since, like Antonio
in relation to the spendthrift Bassanio, they
sustain him in all his indiscretions. He is
not frugal of his voice, and there come mo-
ments when one would like to remind him of
sundry shrewd cautions in Hamlet's address
to the players which have passed in his case
into the oblivion of familiarity. One is
tempted at times to affirm that his power is
always in inverse ratio to his energy : one
ends by not saying it, but by wishing that
someone else would. His work is check-
ered, somewhat sparcely, with exquisitely
quiet — one might almost say lurking
and secretive — touches, now of pathos
("except my life, except mv life'"}
now of weary scorn ("these tedious
old fools"), which open like hid-
den panels or trap-doors to
disclose depths of emotion
and mystery quite
un revealed and
Miss Marlowe and Mr.
Sothern in "Romeo and
Juliet"
than in the earlier parts, at least, of this swashing yet manlv
impersonation. The riot is half boyishness and
half masquerade, and the gentleman is no more
unsettled by the madcap than a party of nobles
banqueting in the castle hall are disturbed by the
rumor of brawling squires and yeomen in the
courtyard. Later, Mr. Sothern lapses a little
from this state of artistic innocency; with Shake-
speare and the audience both decoying him, the
descent into farce was all but inevitable; the two
priceless things, the effect of gay nonchalance
and the feint of benevolence are not evenly sus-
tained ; and the man who ought to have tamed his
wife, as it were, in by-play, goes at his task with
a laboriousness more questionable than his rigor.
At its earliest and best, however, the part is in-
spiring and impeccable.
Mr. Sothern offers, in my judgment, a leaden
and edgeless Benedick — a Benedick over-empha-
sizing himself and his attitude, with more fist
than wrist in his counterthrusts, with a rustic's
heartiness and heaviness of laughter at a friend's
proposal to commit the enormity of marriage,
with a trace, lastly, of the vaudeville actor in his
lover's finery. He improves greatly in the later
acts when the appeal to his chivalrous and gallant
instincts recalls to the surface that mixture of
manhood and breeding which Mr. Sothern excels
in setting forth.
A modicum of sense i? the seasoning of folly,
Ophelia Hamlet
(Julia Marlowe) (E. H. Sothern)
Act III. Scene 1. Hamlet: "Get '.hee to a nunnery. Why, wouldst thou he a breeder of sinners?"
IN THE SOTHERN-MARLOWE PRODUCTION OF "HAMLET" AT THE MANHATTAN OPERA HOUSI
I2O
THE THEATRE MAGAZINE
and, in the Malvolio of this actor, fatuity is too complete to be
effective. I question the fitness of making the character both
feathery and ponderous, now sleek and mincing, now shaking
the rafters with anathemas against the
disturbance of houses by unseemly
noise at midnight. The weariness
which a strut, even when helped out
with a simper, with leave thrown in to
laugh at both, excites in average
humanity is proved by the strange
solace which the spectator feels even in
the pathetic outcries, as insistent and
clamorous as the notes of a tocsin,
which Malvolio gives out from the
loneliness of his dungeon. This is
strong and touching, far better than
the comedy, but its attachment to the
rest of the character is left by Mr.
Sothern to the ingenuity of the subtle
or the faith of the credulous. Prepara-
tives, in the earlier scenes, for this
transmigration, would have enlivened
the comedy which they qualified.
Anyone who knows Mr. Sothern's
turn for thoughtful melancholy might
have prophesied distinction for his
Jaques. In point of fact, his Jaques is
tepid and savorless. The brine in
which his observation and philosophy Photo Notman
are pickled is too weak to act as an
efficient preservative from decay. Jaques, as Mr. Sothern lets
us see him, is a clean-bodied, sane-minded, amiable fellow, with
a turn for elocution and a taste for duly tempered epigram, with
a sound British unwillingness to be interrupted in the progress
of his meals, and a tactful faculty of taking himself off when
the stage must be cleared for the parleyings of lovers. A little
persuasion would have induced him to take part in the minuet
or coranto that ends the play, and his godfathership to Touch-
stone's and Audrey's eldest boy seems among the not distant
probabilities.
I find Mr. Sothern's Romeo a little mature, a little abstracted,
a little self-conscious, a little rhetorical ; yet in the main accept-
able and adequate. A certain incidentally, so to speak, marks
the position of the Shakespearean Romeo; he is always an
occasion — an occassion for raptures
in Juliet, for raillery in Mercutio,
for philosophy in Friar Laurence.
Mr. Sothern's Romeo accepts this
subsidiariness meekly, in spite of
the outburst, in which, with Shake,-
speare's aid, he succeeds in tearing
passion to tatters or rather grinding
it to pulp in his frenzied scene with
Friar Laurence. The best part of
Mr. Sothern's Romeo is the fifth act
when the young man has shuffled
off his Veronese entanglements, and,
later, finds his vitality and manhood
invigorated by the nearness of death.
The Shylock of this actor is a
painful, a rather powerful, and (to
the extent of my knowledge) an
original creation — a creation in
which contempt and pity are both
strong, and both, in a way, alleviative of horror. An animal
quality, rather characteristic of Shylocks and notable in Sir
Henry Irving's delineation, reappears in Mr. Sothern's work in
the suggestion of a wolf or jackal, a wild beast at once fierce,
cowardly, and uncouth. The abandonment in the Tubal scene
is extreme, but I cannot recall an instance in which hatred as an
Mr. Sothern as Macbeth
9To 3fulta Jflarloluf, in "Ctttlftb
Why, then — I think I've been in some day-dream
Of shipwrecked maid, of gallant love-sick lord,
Of lady pining for a withheld word,
Of motley fool, and one whose antics seem
To clothe a gentle nature gone astray ;
Of clowns, who badly wield a ribald sword,
And music, flowers and laughter on a day
Most excellently placed where June's agleam.
It was a time for such a merry play —
The wind is north by south and Westward, Ho!
My thanks— although with thanks one cannot pay
For day-dreams lovely that have pleasured so.
But — thanks ! And may again my fortune be
To know shipwreck on coast of fantasy.
ANNE PEACOCK.
appetite, a thirst in which blood takes the place of alcohol, has
been portrayed with more power. In the trial scene, on the
other hand, a still stronger point is made by an equally positive
insistence on a directly opposite trait —
that of inflexible and resolute self-
command. Here, again, one faces the
problem of consistency. Even in
Shakespeare the beginnings, at least, of
discrepancy are perceived between the
passionate self-abandonment of Act III,
and the iron rampart which turns its
immovable face upon the duke, Bassa-
nio, Gratiano, and Portia in the fourth
act. If the actor wishes to exaggerate
one of these opposites, consistency re-
quires him to temper the other: to
magnify both, as Mr. Sothern has
done, is to unseam the character from
the nave to the chaps in the lusty
phrase of Mr. Swinburne's reckless
Bothwell. A partial defense may be
found in the signs of strain which
checker sparingly the indomitableness
of the Shylock of Act IV, reducing the
voice for a second or two to a sharp-
ened thread, and in the complete over-
turn under the final blow beneath
which he cowers and cringes like a
whipped dog. Apart from these
things, there is one exquisite detail
which I cannot persuade myself to leave unspecified. A long
scene in Act II closes with the return of Shylock to his deserted
house (an addition to Shakespeare) and his momentary hushed
listening to the sounds of revel in the great city before he thrusts
the key into the lock. To me, personally, the physical nearness
in that moment of the solitary Jewish outcast to the splendor
and festalry from which his moral alienation was so wide and so
irremediable made clear the embitterment of Shylock as nothing
else even in Shakespeare ever did. If this be not great acting,
it is surely its equivalent.
Passing over the clangorous and unsympathetic Macbeth (too
remote in my memory at this date for a detailed estimate), we
find ourselves on the eminence of Hamlet. Mr. Sothern con-
ceives the Prince as at least intermittently insane : the insanity
theory, though not strong in logic,
affords this accommodation to artists
and readers who idealize Hamlet,
that they are enabled to separate the
two strains in the Prince, the Plato
and the Diogenes, so to speak, and
virtually to declare the second non-
existent. The Hamlet that Mr.
Sothern thinks real and plays finely
is the noble, urbane, melancholy,
contemplative Prince ; the second
e 1 e m e n t — cynicism sharpened by
hysteria — is treated as an after-
growth and increment and is con-
ceived with less sympathy and less
power. The impersonation de-
scribes a circle, first grave and
gentle quiescence, then troubled and
melancholy thought, then a feverish-
ness and vehemence which are partly
the outbreak of his distemper, partly flagellations of his own
lethargy, then the thoughtful perturbed melancholy once more,
and, lastly, the return to amity and silence.
The two first and the two last of these stages are exalted and
satisfying: one hesitates about the middle stage. Mr. Sothern
spares neither his own voice nor the nerves of his hearers in his
THE THEATRE MAGAZINE
121
White
Mr. Sothern as Shylock
efforts to achieve the maximum of painful and distempered
vehemence. For part of this work the Shakespearean indica-
tions are unequivocal ; but where Shakespeare demands one mile,
Mr. Sothern goes with him twain. The
bullying of Ophelia is pushed to lengths
which arouse compunction even in the
prince himself; and in the play-scene
Hamlet really nullifies his own experi-
ment by acting in a fashion which
would justify an innocent man at an
unambiguous play in safeguarding his
wife and his throat by an abrupt and
agitated departure. One could wish
for less paroxysm even with insanity
to hold one in countenance; but the
noble conclusion, in which defeat puts
on the majesty of triumph, makes
liberal amends, proving that if Mr.
Sothern, in the practice of his art,
absents him from felicity a while, the
path of return is left always unob-
structed.
Miss Julia Marlowe is an exquisite
comedienne, with the added capacities
of love and pathos. Keeping at a dis-
creet though not an ignominious dis-
tance from the absolute profundities
and intensities of life, she relies
securely on her winning personality,
her infinite readiness, her copious in-
vention, her art subtly mimetic of spontaneity, and her practically
unerring taste. In her impersonations of Shakespeare, she
never deepens or enriches the part; her tendency is to lighten,
to checker, to animate, to subtilize, and I would add, to spiritual-
ize, if I had fallen heir to the Elizabethan privilege of using
spirit as a synonym with sprite. To take three typical parts, her
Rosalind, her Portia, and her Beatrice, are all lighter, more
variegated, and more elf-like than their namesakes in the comedy
of Shakespeare. Except, possibly, in certain set declamations,
she is never strictly theatrical, but it is noteworthy that her best
roles are those of which the counterparts in actuality are some-
what histrionic; in other words, her Beatrice, Rosalind, and
Portia could all, at a pinch, have
acted Julia Marlowe.
The technical range of her
voice is apparently not great,
but its variety of effects and
swiftness of transition are
extraordinary. The fineness of
subdivision even within the
scant bounds of a single sent-
ence gives an effect of rich in-
laying or delicate tesselation to
her work, not always free in the
declamatory passages from a
suspicion of refined artifice.
Her vehemence is ineffectual —
shrill, blurred, and inclined to
speedy collapse. She has a tense
and chafing whisper, used spar-
ingly but with intention, and
satisfying to my ear only in
"As You Like It." She has
tones of rich satin-like texture
on which the ear rests as on a
cushion; hard, impervious tones,
excellent for comedy, where
they shut the lid on sentiment
with a click, and giving to a
Lady Macbeth not otherwise
Photo Underwood & Underwood
Mr. Sothern and Miss Marlowe at
Long
remarkable, certain moments of sheer pitilessness, as distinct
from fierceness or hate, such as scarcely come from any other
actress. This tone insures her attractiveness in comic disenchant-
ments and burlesque despairs. She has
the fine art of bringing herself up short
in the full career of romantic or ideal-
istic make-believe by a sudden arrest
and relapse into practicality which is
itself only make-believe in a plainer
frock. She has acute and slender
tones, suited equally to light, fleering
scorn, to innocence, and still more
pungently, to the mimicry of innocence.
Her plaintiveness, like most plaintive-
ness, leans a little to the infantile, and
she likes it well enough to employ it
sometimes indiscreetly. There are
times, when, with richly comic effect,
she attenuates her voice to a film in a
virtual abnegation of personality.
Amid all this glancing opalescence, the
quietly normal note, the note of limpid
sincerity, is rare, discoverable mainly
in strong crises where earnestness is
unmixed with agitation; one has a
feeling sometimes, though it is not a
displeased or peevish feeling, that with
Miss Marlowe the dress itself is made
of embroidery. She has crests and
dips, but no level ; she is rarely quite —
or rarely just — a woman.
I find Miss Marlowe's Ophelia rather less drooping and
spiritless than the majority of the lacklustre sisterhood. She
submits rather than succumbs ; she obeys with decision ; she keeps
her heart, if not her will, in her own custody. The mad scenes —
sharpened of late not to their profit — were at their best of an
impeccable artistic beauty. An aspen-like mobility and variabil-
ity, both moral and vocal, is almost Miss Marlowe's specific
trait; nothing could be more in keeping than her success in
portraying that exaggerated mobility and variability which de-
scribes, almost defines, insanity. Nowhere has the drifting, the
helmlessness, of the uncontrolled mind been more feelingly or
discerningly portrayed. This
Ophelia, again, is not so much
heartbreakingly sad as heart-
breakingly indifferent or cheer-
ful. She nestles into her grief,
she makes bereavement a play-
fellow, she comforts herself
with laments ; we are touched
with the immeasurable sadness
of her not being immeasurably
sad.
The combination of exuber-
ance and artlessness which
make the Shakespearean Juliet
unapproached is, perhaps, no
more transferable to the stage
than it is imitable by lesser
dramatists. Miss Marlowe's
hold on the artlessness is firm ;
and if she misses exuberance
she attains fervor. Her Juliet
flourishes in immortal youth :
the childlikeness with which the
young girl greets womanhood is
ineffable; and her passion sim-
plifies rather than complicates
her life by vacating her mind of
every other feeling, even of the
their home at West Hampton Beach,
Iiland
122
THE THEATRE MAGAZINE
natural surprise and alarm at the swiftness of its own victory. In
the perennially appealing balcony scene, a visionary quality, in
which the orchard and the moonlight are naturally confederates,
is exquisitely utilized by Miss Marlowe as a means of qualifying
and justifying the precipitation of surrender. Juliet dreams
upon the balcony : the real Romeo displaces his own image ; and
in the stillness and unearthliness of the moon-blanched orchard
the border between dream and reality is crossed without a sound.
"Into her dream he melted, as the rose
Blendeth its odour with the violet."
This unreality has its risks; and a perfect corrective was
found in the lovely touches of quaint, troubled, self-amused
childlikeness which assure the spectator at least of a foothold
in the world of human actuality.
Both Shakespeare's Juliet and Miss Marlowe's seem to lose
part of their individuality in the closing acts. The potion scene
lacks real interest and distinctiveness : a frightened girl is a
frightened girl the world over.
Miss Marlowe's unconquered Katharina is tame; her subdued
Katharina is infinitely spirited. Her violence fritters itself away
rapidly and fruitlessly, and between the meagreness of the
boisterous part (for which the text, not the actress, is responsi-
ble), and her own vocal shortcomings, she resorts either to
block-like daze or stupefaction, or to missile-throwing, a resource
cheapened by its universal accessibility. Nothing, however, can
be more happy, either in motive or execution, than her presenta-
tion of the reformed Katharina as a sharer and sympathizer in
the comedy. She recovers ascendency in the very act of resign-
ing it, she turns her submission into mockery, she teases
Petruchio with her compliance, and the hearer's prevision of her
ultimate mastery is the aptest and most piquant revenge for the
brutalities she has suffered in her marriage to an earthquake.
In Portia, Miss Marlowe is on her own ground, and her mastery
is nearly unqualified. Her view of the character is less dignified
than Shakespeare's, though Shakespeare's Portia is not en-
cumbered by her dignity. The actress gives us the school-girl
or unschooled girl (the two phrases are synonymous) which the
poet's Portia, in all probability insincerely and in all certainty
inaccurately, declares herself to be. But in the act of calling
her school-girl one half repents. Miss Marlowe's playful young
girls are so full of spontaneities that mimic affectations and af-
fectations that one cannot tell (Continued on page rii'i)
NO sooner is a
Belasco produc-
tion announced
than persons begin to say things, and this, despite the quite
recent vindication which the Great Producer obtained for "The
Woman," has been the fate of "The Temperamental Journey."
Only a little more so, for the envious horticulturists who make
bouquets of the similarities they think they find in plays (true
flairs du mal) have reaped a rich harvest in this latest produc-
tion. They picked red blossoms out of the novel "Buried Alive"
and the play "The Great Adventure," both by Arnold Bennett;
they've added a handful of dried grasses from a forgotten story,
"Tatterly," and a bunch of weeds from Tolstoi's gruesome
drama, "The Living Corpse." In the nodding nosegay they see
the germ of "Pour vivre Heureux," the Renaissance Theatre
play, which Leo Ditrichstein has made over and David Belasco
has produced.
The onus of the charge of plagiarism, if there be any, falls
this time on Andre Rivoire and Ives Mirande, authors of the
French play, and by announcing their play as from this source
the American adapter and producer do not share it. Tolstoi's
horror in seventeen tableaux was played in Paris long before
"Pour vivre Heureux," and it may very well be that the French
authors borrowed its germinal idea, but Mr. Belasco is not con-
cerned with where Messieurs Rivoire and Mirande got their
piece. His rivalry is with "The Great Adventure," a London
success which Mr. Ames is to bring over. Mr. Belasco claims
that his piece, through a trial performance given in San Fran-
cisco, antidated the production of Mr. Arnold Bennett's play.
Of course, Mr. Bennett can fall back on the date of the publica-
tion of his book from which his play is made.
The imbroglio with so many ramifications is academically in-
teresting, but as there is no scapegoat in sight, one is forced to
suspect that it was concocted for the "silly season" and for
purposes of advertisement. The Belasco-Ditrichstein combina-
tion is admittedly a strong one when ideas are to be manipulated.
This producer holds a position where he could afford, if he were
not so sensitive to declare boldly like Dumas, je prends mon bien
oil jc le troure (I take my own wherever I find it), and the
Hungarian-American actor has long deserved a local fame
as a clever constructor of American things out of foreign ma-
terial. Without originality, indeed, singularly devoid of this
quality, this author-actor yet possesses the tact, the grace, the
savoir faire of the true adapter, and often his plays are better
stage things than they were in their mother tongue. Both
Belasco and Ditrichstein can afford to stand where they are
intellectually without
claiming higher honors,
their product is good.
Comes up again the question of ownership in ideas and it is
the only vital point in all the newspaper discussion of "Pour
Vivre Heureux," and "The Living Corpse." Is a new idea pos-
sible? Can even a great genius imagine one any more than he
can imagine a new animal ? The creative imagination — that god-
like quality which even Ruskin who wrote reams about it did
not understand — can anybody explain it? It is well-nigh impos-
sible to trace back an idea, a very simple idea, to its extreme
beginning. There are six plots for plays, it is said, and Shake-
speare used all of therti in his time. In "Much Ado" and "The
Winter's Tale," the Bard adopts the fiction of a supposed death
in order that a woman's character may be vindicated by time,
and her virtues shine out resplendent in the last act. The living
corpse, therefore, figured in the drama centuries before Tolstoi.
The current criticism of Arnold Bennett's amusing skit
"Buried Alive," said that it lacked originality. This was not
to say that Bennett's story was not his own and treated in the
Bennett manner, but that the man in it, living while his works
make a posthumous reputation for him, had appeared before in
fiction. Bennett's idea was traced back to Nathaniel Hawthorne,
who had printed one of his peculiar moral sketches on this very
subject. In 1890 a short story appeared in the American maga-
zine (not the present magazine so called), about an artist return-
ing from Newport after failing to please a patron there with
a portrait, who in his discouragement made a pretense of leav-
ing the world. He did leave part of his clothes and valuables
in the cabin of the steamboat and hid himself in a strange
quarter of New York. The story told how the painter was
compelled to go on with his art and to sell canvases in order
to live and how by means of one of these the fact that he was
still "quick" was discovered. A reader of this forgotten tale
and Bennett's "Better Dead" would acknowledge the priority of
the American fiction without accusing the latter of plagiarism.
The present discussion would be vastly more amusing if it
led up to a climax, if anybody in the end was to be taken in
flagrante dclicto. Arnold Bennett is noticeably silent, as he can
well afford to be, for all the charges of borrowing that can be
brought against his "Great Adventure" were aired when his
"Buried Alive" appeared. It is an improbable surmise that he
knew about Tolstoi's drama when he wrote his book. So much
for the living. Shakespeare, Tolstoi, Hawthorne are dead — so is
the old Greek or the older Chaldean story-teller who, perhaps,
first used the living corpse idea. Whose is it? J. SHERRICK.
Iceraes m "Tin® Temperamental Journey " ssi Ae Belase© Tflneaftire
U <f
Photos White Leo Ditrichstein
ACT I. THE ARTIST CONTEMPLATES SUICIDE
Frank Connor Isabel Irving Leo Ditrichstein
ACT II. THE ARTIST'S WIDO^ LOSES NO TIME
Richie Ling
Edouard Durand Isabel Irving Henry Bergman Frank Connor
ACT II. THE WIDOW OF THE GREAT ARTIST ABOUT TO START FOR HIS FUNERAL
White
Dick Giffon Betty Lindsay Gertrude Robinson Harry Lindsay
(John Westley) (Jane Grey) (Ruth Shepley) (Bruce McRae)
SCENE IN ACT III OF EDGAR SELWYN'S AMUSING FARCE, "NEARLY MARRIED," NOW AT THE GAIETY THEATRE
BROADWAY is ripe for
problem plays," the
shrewd managers de-
clared after the favorable acceptance last Spring of "Damaged
Goods," the now famous play on sex-hygiene, and off they
went on a search for the most daring ones available.
"Very well," said George Scarborough to himself, "this is my
chance to bring before the public some problems that need a good
airing."
Problems a-plenty he had come across on his wanderings
through life. His earlier experience in newspaper offices had
taught him how to wield a pen, and he was the fortunate possessor
of an intuitive sense for the dramatic. The right man in the
right place, and success cannot fail. That is why, out of the blue
sky. George Scarborough has tumbled upon the unsuspecting play-
wrights of America and taken the front
row instantaneously as the author of
"The Lure," the most talked of pro-
duction of the young season.
Tall and lean, with a long, gaunt face
full of sympathetic manliness and kind-
ly understanding, Mr. Scarborough
impresses those who meet him as a man
worth knowing. There is a clear,
straight look in his eyes and a firmness
in the grip of his hand that leave no
doubt about his earnestness and sin-
cerity. He seems far removed from
any suggestion of complexity or mor-
bidness, which are generally supposed
to be the dominant attributes of those
who write theme-plays or theme-novels.
He is simply a man who has looked at
the world with wide-open eyes, who has
"shaken hands with Life," to quote his
own expression, who has had his share
of ups and downs, and whose mind is
;cTrlTL IT
he Lwe
JJ philosophical enough to ponder
over the laws of cause and ef-
fect and to draw vital lessons
from the . every- day events that happen all around him.
Pure speculation is not the forte of the American. Mr. Scar-
borough is an American, and, therefore, instinctively a man of
action. To see and to know did not content him. He wanted to
impart his knowledge to his fellow-beings. He knew the stage
to be one of the most effective factors of society — and that is
why George Scarborough became a playwright.
When scarcely out of his 'teens, he conceived the ambitious
project of revealing himself to the public, and within the shortest
possible time, as an author of talent and distinction. Blessed age,
when doubt is an unknown torture ! But things happened to turn
out differently, as we know they most always do. The study of
law occupied some of the young man's
years — and then came newspaper work.
Nothing glorious or astonishing, just
plain, every-day work. By that time
young Scarborough had found that
there was much for him to "take in"
before he could "give out" anything of
value to the world, and that the studv
of life in all its forms and phases is the
most fascinating and the most complex.
A New York journalist sees a good
deal of life and rubs elbows with many
people of all sorts and conditions. But
it wasn't enough to suit Mr. Scarbor-
ough, so he enlisted in the Federal Se-
cret Service, and as a Special Agent he
found what he was after: subject for
thought, and opportunity for action,
more of it and of a more appalling kind
than he suspected.
The white slave traffic and Wall
Street were the two fields more particu-
Prnlotrut
Hail, mighty Master Player!
The stage is set at last,
And through the playhouse echo
The footsteps, thronging fast.
Clear ! Ready for the curtain !
The orchestra now plays
The signal for its rising.
Be ready. No delays!
Thy master puppets ready
To play their little parts —
Why — one would think to see them
That theirs were human hearts !
First act! Up with the curtain!
Now, gentle public, pray —
Be just to Play and Players
And the Author of the Play!
PARMLEE BRACKETT,
THE THEATRE MAGAZINE
125
larly assigned to his attention ; and what he saw and lived through
during the years he spent in the service is probably responsible
for the thoughtful expression on George Scarborough's face —
almost sorrowful at times — when he is silent and remembers.
How he came to write "The Lure" is a simple tale.
He and another agent had just finished "a case" of white
slavery in a town of the Middle West. It had been a particularly
tragic one, and both men were pondering over it in silence. At
last the other man suggested :
"The public should know. . . . Why don't you write a play
about it?"
And Scarborough decided that he would. He went to work,
and exactly eight days later "The Lure" was completed and pre-
sented to the manager.
Mr. Shubert wanted a problem play all right, but he was afraid
of the "exaggerations" he saw in this one. The author insisted
that he had exaggerated nothing, on the contrary. A high official
in the service verified the author's statement, and, scruples ap-
peased, Lee Shubert called immediate re-
hearsals of the piece.
Mr. Scarborough's original title was
"Other Men's Daughters," as the story
of the girl in the play was intended above
all to serve as a lesson and a warning for
other men's daughters. Various other
titles had come to his mind : "What
Every Woman Should Know." or "What
Every Man Knows." None of these
found favor with the producer. "The
Victim" was agreed upon, but this had
been used before. Finally "The Lure"
was chosen.
A number of people were busy helping
Mr. Scarborough polish his work during
rehearsals, and two tryout performances
were given at Saratoga. The most prom-
inent assistant was Augustus Thomas,
who is responsible for a "psychological
amendment" in the first act. The most
efficient, undoubtedly, was J. C. Hoff-
mann, the stage director, whose clear-
sighted, experienced help Mr. Scarbor-
ough gratefully acknowledges. He ad-
mits that he has learned more about
playwriting from his association with
Mr. Hoffmann back of the footlights
than he had been able to gather from any
books on the art of the drama.
With sympathetic modesty, Mr. Scar-
borough calls himself a mere student on
his way to authorship. He knows that
there are many technicalities, many tricks
of the trade that he has not yet mastered,
and with which he feels he will have to
acquaint himself before turning out "s.
really good play." The big second act of
"The Lure" is from a technical point of
view practically faultless. It would have
appeared even more so if some of the
acting, as seen at the first New York
performance, had been in a little closer
harmony with Mr. Scarborough's text.
The actor who that night showed himself
most conscientiously preoccupied with
the ensemble effect of the drama and its
logical, psychological working out was
George Probert. During the past year
Mr. Scarborough has written seven
plays. His work is of extremely varied
character. One of his earlier plays will
soon be seen on Broadway, with Chrystal Herne and Guy
Standing in the leading roles. He calls it a romantic melo-
drama, and the title of it is "At Bay." The next one will be a
satirical farce. It is scheduled to claim the public attention
some time during mid-season. After that he will permit another
so-called "morbid" play to go on the boards. This author's method
of working is curious. Most writers have had little ways of
their own, and some of them were decidedly strange. Schiller,
for instance, could not find one of his inspired lines if there was
not the odor of ?. rotten apple coming from the left-hand drawer
of his writing-table. Emile Zola would never let a day pass by,
well or ill, without writing exactly ten pages to the novel
"En Chantier," and never would he write one page more than
ten, however wildly his imagination was running. Gustave
Flaubert would stop over a difficult sentence sometimes for days,
weeks and months, polishing his thought until he had clad it
in the one definite form he wanted, and would not think of
attacking anything else in the (Continued on page vii)
White
Jane Grey and B"-uce McRae in "Nearly Married" at the Gaiety Theatre
STAWnFT?*; nW«;p he Finn S\ 1 TO) Tl • A painfully that fame is not
iSSiidKta* The Cabaret Booking Agency to be ^1™, ^ they can
standing artistes. By YETTA DOROTHEA GEFFEN never rlse above a certain
Will the fellow in the door- leve1' but must be content
way with the prominent nose and the cigarette sticking out of the with their humble lot ! Occasionally one of their number chances
corner of his mouth please sit down ? This ain't a theatre lobby, to make a hit in a small part, is forthwith promoted to the centre
This is a booking agency !"
The shrill, strident voice of the Agent, sarcastic, aggressive,
rang out through the dreary, dingy loft dignified by the name
of office, and the "artistes" assembled there, patiently awaiting
the pleasure of the important personage, quaked and trembled.
The Cosmopolitan Cabaret Agency, which makes a specialty
of supplying dramatic and musical talent for cabarets, public and
private entertainments, etc., occupies the entire top floor of a
building near Forty-second Street and Eighth Avenue. It is not
an attractive place or one in which one might expect to discover
a budding Bernhardt or Sembrich. Situated in a cheap and noisy
neighborhood, the casual visitor stares about him in amazement,
finding it difficult to believe that talent worthy of the name could
expect to find recognition in such repellant, ugly surroundings.
The only outward indication of the agency is a small square sign
bearing the inscription : "Artistes use stairway," the creaky ele-
vator being deemed too good for them, and the stairway, narrow
and twisting, bears unmistakable evidence of use. From the
ill-paved, refuse-littered street, with its unspeakable smells and
roar of city traffic — elevated trains crashing overhead, steam
whistles blowing, dynamite blasting, steel workers rivetting, ven-
dors hoarsely crying their wares — one enters a narrow, dark hall-
way and begins the long climb up a winding, ricketty, wooden
staircase, so rotten in places that one almost stumbles into gaping
holes. The walls and ceilings are grimy and water-stained, and
here and there the plaster has fallen off in great patches, exposing
the wooden lathing. The windows on each landing are so cov-
ered with the accumulated filth and dust of years that to see
through them is a physical impossibility. Many of the panes are
broken, the holes being stopped up by paper. Over all is an
abominable stench of bad plumbing, damp and mould. A curious
place, forsooth, for Art to select in which to hide itself.
But those who each day make the weary pilgrimage to the agency
in search of engagements have few illusions left concerning their
art. From bitter experience they know that it is a business at
best, and often a degrading, humiliating one at that, with little
beyond a bare, meagre living to compensate for the physical and
mental toil their "profession" has cost to acquire.
Day after day the unemployed trudge up those stairs, eager,
expectant, hoping that the day will bring something; night after
night they wend their way slowly down again, some with assumed
gaiety, others making no effort to hide in their faces the dull
misery and hopelessness that gnaws at their hearts.
The top floor finally reached, one finds it divided into two
sections. The larger and lighter part, where accounts are kept,
contracts issued, and managers received, is known as the front
office. The smaller part, at the rear and connected with the front
office by a narrow passageway, is facetiously called the "theatre"
— not because it in any way suggests an auditorium, but because
in this square, bare room, ill-ventilated, ill-lighted, dingy beyond
belief, the artists are "tried out" before the Agent, and sometimes
even before the managers themselves.
Here, in these dismal surroundings, amid an atmosphere of
depressing, intolerable gloom, assemble each day a score or more
of would-be recruits for musical engagements — cabaret enter-
tainers and dancers, orchestra musicians, singers of both sexes,
moving picture and vaudeville "artists"— a motley crowd, all mem-
bers of that army of hopeless incompetents who are lured to
Broadway from every part of the country, leaving wholesome
pursuits for the artificial glitter of the stage, only to drift help-
lessly and miserably in the fierce maelstrom of metropolitan com-
petition. They are the rank and file of the theatrical and musical
professions, the "little people of mediocre talent, those who at
one time dreamed of fame, of seeing their names spelled out in
big letters of electric light, but who, 3S the years roll by, realize
of the stage, and the Agency knows him or her no more. But
these are the exceptions, the big prizes in the lottery. Such suc-
cesses are not of every month or of every year. Those rare in-
stances are traditions of the grimy office and ar.e talked of rever-
ently and wistfully as the applicants wait for employment.
Seated on long wooden benches, row after row, they wait for
telephone "calls" (requests by managers for talent), which are
read out by the Agent as, every now and then, they come in over
the wire. Between the intervals of keen suspense, when each is
alternately buoyed up by hope or plunged into gloom by disap-
pointment, the applicants discuss their various engagements or
swap more or less veracious anecdotes of one-time glory.
What a crew they are, these "artists" ! What a collection of
down-and-outs! What an assortment of has-beens and would-
bes ! Actresses who can find no place on the stage ; music stu-
dents trying to earn money for tuition ; girls, pitifully young, with
hard, painted little faces, tawdry clothes, and awful sophistication,
deserted by worthless, good-for-nothing husbands ; European
musicians of fine ability, who, after drifting to New York, are
forced to resort to ragtime playing in cheap cafes in order to
earn a livelihood for their families ; men with no musical training
whatever, but able to shout out a rotten, suggestive little song or
two, and craving the glittering life of the restaurants, with its
license and its opportunity to drink; women who, after shatter-
ing crises in their lives, have strayed from the narrow path, and,
their finer sensibilities dulled by drugs, drink and smoke, have
no apparent desire to abandon the broader highway of least re-
sistance ; boys and girls from the South and from the West, with
little talent and mountains of ambition, who, urged on by flatter-
ing friends, have come to the City of Golden Opportunity in
search of fame and recognition ; a Baroness, grande dame of the
Austrian aristocracy, with stately bearing, fine, sensitive face and
shabby clothes, a pitiful mockery of one-time grandeur; a man
who is totally blind, yet can play the piano and sing, and is con-
sidered a clever entertainer ; a girl whose right side is entirely
paralyzed and who plays the piano with one hand — all these are
to be found in the agency every day, looking for employment.
The room in which they sit is as unattractive and depressing-
looking as the street outside. The walls are ugly and bare, save
for a few unheeded legends, such as: "No smoking!" "No loud
talking or zvhistling!" "Silence during try-outs!" In the centre
of the room stands a battered piano, dilapidated, meek-looking,
abused, its vitality long since departed under the merciless blows
of ragtime "piano-punchers," while at his desk at one side, under
a strong droplight, sits the Agent himself.
Quite a character, this agent. Of diminutive proportions, with
a small bald head, usually topped by a straw hat, he sits like
a hawk watching his "artists," each one of whom represents a
potential commission, inspiring in all present fear and awe.
His voice is shrill, his manner aggressive, often brutal. He is,
indeed, an undisputed power in his little world — his agency
He is more feared than loved, yet not a few look upon him as
a god, a deliverer. More than once during a particularly dull
season, after tramping from one manager's office to another, onlv
to be dismissed by all with a curt "nothing to-day," have they
trudged down to the agency as a last resort, and after waiting
sometimes a day and sometimes a week been saved from utter
despair — sometimes from actual starvation.
The Agent knows his power and lords it over his "artists" as
a king over his people. All are subject to his partialitv, his
frequent bursts of temper, his often brutal language, his bellowed
"Keep quiet, please ! I'm runnin' this agency, not you !" There
is no use rebelling or getting impatient. No good is accomplished.
The applicant badly in need of a job to satisfy a clamoring land-
lady, is content to await the pleasure of manager and Agent.
Photos White Natalie Alt Craufurd Kent Hal Forde Georgia Caine
ACT I. QUARTET IN THE BARON'S APARTMENT
Hal Forde
ACT II.
Natalie Alt
THE ADELE SONG
Georgia Caine
ACT III.
Hal Forde
"YOU DON'T LOVE ME?"
Will Danforth Dallas Welford
ACT III. "WE WILL HAVE OUR INITIALS INTERTWINED"
128
THE THEATRE MAGAZINE
Ah! that is where the rebellion conies in! The utter misery
of it all, this waiting! From morning until evening, long after
the factories, the department stores and the shops have sent
scurrying homeward their hordes of wage-earners, these unfor-
tunate "artistes" await the convenience of manager and agent,
herded together like cattle in that enclosure of depressing gloom.
To-day the demands for talent have been frequent. Every
now and then, above the buzz of conversation, is heard the
Agent's shrill voice as he reads out a
"call." At least half a dozen appli-
cants jump nervously from their seats in
answer to each summons and make their
way eagerly to the desk. There the
Agent tells them the particulars of the
engagement offered, and after careful
deliberation selects the person he thinks
capable of meeting the requirements.
The one thus favored is then sent to
the front office for his or her contract,
while the unlucky ones, with disap-
pointment and bitterness plainly show-
ing on their faces, go back to their
seats to— wait. Always to wait !
Again the voice of the Agent cries
out:
"Call No. 3602, for a female cabaret
singer of good appearance. Nice en-
gagement. Hours, 8 to i. Uptown
cafe." As no one responds to the call,
he stops and looks around him with
amazement. "What!" he exclaims
sarcastically, "no cabaret singers in this
agency to-day? What's going to hap-
pen? Who's that sitting on the end of
the second row? Ain't you a singer?"
The girl thus addressed gathers up
her music-roll and umbrella and makes
her way to the desk, where she stands
in timid silence.
The Agent glowers at her.
"Have you worked on my contract
before?" he demands.
"No, sir."
"Where have you sung?"
"I held a church position in Fall
River, Mass. I came here a month
ago," she stammers.
"Church singer, eh?" he sneers.
Church singin' don't go in this place.
Do you know any ragtime ?"
"No, sir."
"Then learn some, quick! Can't use
you until you do. You're wastin' your time stayin' round here."
Embarrassed at being spoken to in this way before the others,
she returns to her seat with flushed face and downcast eyes.
A fellow artist, who himself had struggled long and hard when
he first came to New York, volunteers a bit of advice :
"The cabaret is the big game now, girlie. Doll up, throw a
grin, snap your fingers and jig through a song — makes no dif-
ference if you've got a voice or not — you'll make a hit anywhere.
Voice and ability don't count no more, no siree !"
All of which is somewhat disconcerting to the" unsophisticated
young church singer from Fall River, Mass.
Once more the Agent rises and looks around :
"Here's a call for a male piano-player. Out-of-town resort.
Swell joint. Want a real Ai player. Must accompany singers
and transpose. Some piano-puncher he'll have to be to get
away with this job ! Who've we got here ?"
Several men from different parts of the room rise simultane-
ously and hasten over to the desk. In the noise and confusion no
White
IRENE
Now appearing in
one heeds the appearance of a young girl who has just emerged
from the passageway. In one hand she carries a violin case, in
the other a music-bag. She looks around, bewildered, then
timidly approaches a youth who is leaning against the doorframe,
hands in pocket, cigarette in mouth and hat perched over one ear.
"Pardon me," she murmurs, "is this the Cosmopolitan Agency?"
"Sure thing. That's the Agent over there," he answers curtly,
without taking the trouble to look at the questioner, and indicat-
ing the direction of the desk with a for-
ward jerk of his head that almost un-
balances the cigarette.
Hesitatingly, apprehensively, the
newcomer walks over to the Agent,
who looks up at her in amazement.
"Are you a male piano-player?" he
inquires sarcastically.
"N-no," she stammers, while a snick-
er goes around the room.
The perpetual frown the Agent al-
ways wears deepens as he glowers at
her.
"Then sit down," he snarls, "and
don't come up here 'till I call you."
She tries to explain :
"I have never been here before, and
I've just come to New York —
"Sit down !" he commands sharply.
Shrinking instinctively as a delicate
flower might before the rude blast, she
gropes her way over to the other side
of the room and stands there, trembling,
everything a blur before her eyes.
"Another rube!" she hears one man
remark, with a cynical laugh.
A sister artist glances at the new-
comer pityingly, then moves up along
the bench as if to make room for her.
Kindly she says :
"He sure is grouchy to-day. But you
mustn't mind him, girlie. He's the kind
o' dog that barks a lot. The only time
he bites is when you dodge your com-
missions ; then — good-night."
The young girl looks at the speaker
blankly, not understanding. Instinc-
tively, she shrinks away, as from some-
thing unclean. Then, her curiosity
aroused, she looks again.
Under the enormous picture hat, with
its weight of dirty white willow plumes,
the face she sees is red and white, like
peppermint candy, with a pair of bold,
black eyes. The hair, originally dark, is bleached a muddy yellow
and curled and frizzled about the face. Her costume would rival
Joseph's coat of many colors, and as a finishing and characteristic
touch to the ensemble she is chewing violently a great wad of
gum. Staring at the young girl — a look of pity mingled with
contempt, the woman — a sophisticated old-timer — thinks to her-
self:
"Just come to New York— huh ! Well, she sure looks it !" In
a glance the Sophisticated One takes in the details of the new-
comer's plain, dark costume. Not a single plume waves from the
trim little hat, which matches the tailored dress in color, and
there is a total absence of jewelry or adornment of any sort.
Something about the girl — something fresh and innocent — makes
her appear quite different from the usual run of girls who fre-
quent the agency. She seems strangely out of place in these
surroundings. The Old-timer's curiosity is aroused, and she is
just about to question the young stranger further when her atten-
tion is diverted by the appearance of another Gay One who at
WARFIELD
"Broadway Jones"
The U. S. A. Limited at the Grand Central Railway Station
Suffragette Parade — A scene on the streets or New \ ork City
Photos White "Fighting the Flames"— A scene on the Bowery
Yachting scene in the Carnival of Sports
SCENES IN "AMERICA" THE SPLENDID SPECTACLE AT THE NEW YORK HIPPODROME
130
THE THEATRE MAGAZINE
White Douglas J. Wood ami Alice Brady in "The
Family Cupboard," at the Playhouse
that moment enters
the outer office.
"Hello, Mabel!"
she calls out in greet-
ing.
The newcomer, a
brazen-looking, per-
oxide blond, decked
out with all the ex-
travagance of colors
and finery with which
women of that class
love to adorn them-
selves, advances with
a broad smile, reveal-
ing a number of gold-
capped teeth.
"Hello, k i d d o !
How's yer heart?
Say, that was some
dump the agency sent
me to last night ! The
boss wanted me to put
over a song every fif-
teen minutes. 'Noth-
in' doin',' says I, and
out I goes. Jack Ken-
nedy sang there last
Sunday an' got
canned after his third
song. He says they
let all their singers
put over a couple of songs an' then can 'em. I ain't used to work
in such places. I ain't no amateur !"
The Sophisticated One chuckles as she answers :
"I saw Jack Kennedy just now. "He's going to team up with
that cute kid that works in S 's. He told me they went to
Jack's last night with a crowd an' had a swell time. They all got
soused to der gills. Say, what's up between you and him ! I
ain't seen him with you fer a long time. He's kind o' stuck on
that kid, I guess."
"Huh, I should worry an' fall over a phonograph and break a
record !" exclaims Mabel sourly, with a shrug of her shoulders,
as she brushes an imaginary fleck of dust from her sleeve.
The Agent, still busy at his desk, interrupts further conversa-
tion : Jl
"Call No. 3729 — moving picture pianist. Male. Hours, 2 :3O
to 6; 7 to ii. Salary, $15. A steady job for a steady fellow.
Must play with singers. Different singer every night."
A young man rises from his seat and approaches the desk. The
Agent looks up at him and shakes his head.
"What's the good of you coming up? You can't take care of
this. You haven't played with a singer in your life."
"Let me try, won't you, sir?" falters the young man. "I've
been here every day for a week, looking for a job, and nothin's
turned up yet."
"Can't help it. Sit clown," exclaims the Agent angrily, incensed
that anyone should imagine he had time to waste on an incom-
petent, no matter how tragic his situation.
Ignoring the applicant, who returns sorrowfully to his seat, the
Agent cranes his neck right and left.
"Who else is available for this job? Murray? All right, Fred,
you'll do. Take this memorandum to the front office."
"Gee !" grumbles Murray as he passes the youth standing in
the doorway. "Fifteen measly dollars for seven and a half hours'
work? This business ain't like it used to be. It's getting rotten,
that's what ! Playin' at a beer garden down on Long Island was
a cinch. An' tips ! why, they rolled it over to you. And now !
Gee ! a miserable fifteen plunks !"
He disappears through the dark, narrow passageway, leav-
ing the blase youth with the cigarette absolutely unmoved.
Once more the Agent turns and addresses the waiting throng:
"Manager, who is in the agency right now, wants a lady violin-
ist for his cabaret in Brooklyn. Where's that new girl who spoke
to me a short while ago?"
The little stranger emerges from the darkness and approaches
the desk. The Agent eyes her dubiously :
"Have you 'tried out' for me?" he demands curtly.
"No, sir. This is the first time I've come here."
"Have you got your instrument with you?" The girl nods, and
turning to his peroxided assistant, he says : "Will you play an
accompaniment for this young lady ?"
The overworked Miss Lee goes grumbling to the piano for the
"tryout," while the young stranger, with trembling fingers, takes
her violin from its case.
The Agent puts down his call book and turns around in his
chair to face the piano. A solemn and critical moment in the
day's work has been reached. An artist is to be "tried out." If
she's any good there will be another eligible on his list, with its
promise of possible commissions. If she's "rotten" she'll have to
get out — quick. Standing up and imposing silence by a magnifi-
cent gesture, he cries :
"Artists, be seated ! Sit down, everybody ! No standing during
tryouts. Come in out of the doorway, you animated chimney !
Don't you know enough to stay in your seat?"
Gradually the buzz of conversation ceases, and the Agent gives
the signal to begin.
The piano emits a succession of dismal howls, and the girl, her
black eyes flashing nervously from her pale face, raises the in-
strument and begins to play. The sweet tones falter at first, and
it looks as though she will break down at the very beginning of
the selection. She can feel the hostility in the eyes bent upon her
— can see the sneering faces before her, and trembles for fear
that they will begin an open demonstration of disapproval.
She has heard that such things often happen at "tryouts."
Suddenly something happens. She
closes her eyes, shutting away the
dinginess of the scene before her.
Another scene rises in her mind's
eye. She sees herself standing in
the little church at home, playing the
same selection. It was just before
she went away, at the Sunday night
service. All the dear friends she ha:;
known for years have come to hear
her, and she stands there in her soft
white dress, playing as she has never
played before, inspired by the love
and kindliness in the faces around
her. And now, instinctively, her
violin becomes a thing alive, and
soars and sings exultantly. The
piece ends with a great burst of joy.
and she opens her eyes, bewildered
by the round of applause that greets
her.
"Gee ! that kid can play some !"
exclaims some one in the crowd, an-1
all nod their heads and smile encour-
agingly. Even the Agent himself
unbends enough to nod a gracious
approval. He makes a lordly ges
ture, dismissing the accompanist. He
has heard enough. The kid will do.
She is given the details of the en-
gagement and sent to the front office
for her contract.
Reseating himself at his desk, the
Agent resumes his calls :
"Is Mabel Vincent in the agency
(Continued on page viii) White
William Morris as the father in
"The Family Cupboard"
la
pesra ait the Ceotiuiir Theatre
Photos Apeda
LOIS
EWELL
(American soprano)
FRANCESCO DADDI
(Tenor buffo)
THE season of the Century Opera Company
opened at the renamed Century Opera House
(formerly the New Theatre) on September
1 5th with Verdi's popular "Aida." The opera,
which was sung in English, wa? given with the
following cast :
King, George Shields; Amneris, Kathleen Howard;
Rhadames, Morgan Kingston; Ramfis, Alfred Kaufman;
Amonasro, Louis Kreidler; Messenger, Vernon Delhaut;
Priestess, Florence Coughlan ; Aida, Elizabeth Amsden.
It is an interesting experiment which is being
tried in the splendid auditorium on Central Park-
West. For some time past there has been a de-
mand in certain quarters for performances of grand
opera in the vernacular. Music lovers, it has been urged, are
tired of listening to words sung in a foreign tongue. They
insist that opera should be something more than a luxury for the
ultra-rich. They want opera of the best type at prices they can
afford and sung in a language they can understand — in other
words, popular opera comparable to the municipal operas of
the German cities. Experiments already made in this direction
have met with substantial success. Herjry W. Savage, for a
number of seasons, has been sending out English singing grand
opera companies of high artistic merit, and for years the Aborns,
Milton and Sargent, have made a profit giving grand opera at
prices from twenty-five cents to a dollar, with performances as
good as the average in Europe. This year the experiment has
been carried still further by the advent of the Century Opera
Company — promoted and fostered by the City Club, an organiza-
tion concerned in civic betterment. This company, which has
among its founders W. K. Vanderbilt, Sam A. Lewisohn. Isaac
X. Seligman, and on its board of directors Otto H. Kahn, Henrv
R. Winthrop, Harry Payne Whitney, Clarence H. Mackay, Ed-
mund L. Baylies, all of the directorate of the Metropolitan Opera
House, took over the lease of the Century Theatre, and renaming
it the Century Opera House, prepared the way for the present
season of popular opera in New York. The Aborns were secured
as managers and a company organized.
The first great difficulty seemed to be the securing of operatic
artists. How could Mr. Aborn agree to pay huge salaries when
orchestra seats were to sell for $2 instead of $6. and expect to
pay a dividend to the stockholders? How could he hope to
secure singers acceptable to opera-goers already accustomed to
the extravagant pace set by the Metropolitan? He solved the
problem by deciding not to have "stars" in the true sense of that
much-abused term, but to recruit a company of good singers
among the many Americans singing in Europe whom he prefer?
to call "artists" rather than "stars." The salaries he could
offer these were less than the large sums earned by a Caruso or
MARY JORDAN
(American Contralto)
KATHLEEN HOWARD
(American Contralto)
MILTON ABORN, Manager
a Farrar, but several times larger than the salaries
they received on the other side. Moreover, an
extra inducement was offered by opening a concert
bureau in connection with the Century Opera Com-
pany. Through this bureau, any town within 1,000
miles of New York can engage the members of the
company and the artists will be free to make such
concert engagements.
Four nations are represented in the Century com-
pany's list of tenors : John Bardsley, an English
robust tenor from Thomas Meecham's famous Lon-
don company ; Gustav Bergman, a Swedish dramatic
tenor who has been singing at the Royal Opera in
Berlin; Walter Wheatley, an American dramatic
tenor who has appeared only in light opera in this country, but
who has won great favor as one of the leading singers at Covent
Garden ; and Morgan Kingston, a powerfully built young Welsh-
man, whose advent into grand opera makes an interesting story.
Mr. Kingston was a coal miner in his native country — a hard
working fellow with a powerful voice whose one source of re-
creation was singing in the village choir. Andreas Dippel
chanced to hear of him and after listening to him sing made him
an offer by which he (Dippel) was to pay for the miner's musical
education and operatic training, the understanding being that,
on completion of his studies, Kingston would sing in Chicago
for five years. When Dippel severed his connection with the
Chicago company, he brought Morgan Kingston with him to the
Century.
Among the sopranos are: Lois Ewell, Elizabeth Amsden,
Florence Coughlan, Evelyn Scotney and Ivy Scott. The first
four mentioned are Americans. Miss Scott, though an Austra-
lian by birth, is an American by adoption, and made her grand
opera debut in this country in the title part of Puccini's "The
Girl of the Golden West," when it was produced in English two
years ago by Henry W. Savage. After that engagement she
entered the Aborn English Grand Opera Company, and her suc-
cess with that organization led to her being engaged for the
more important Century company. The Misses Amsden, Cough-
lan and Scotney have been singing with success at the Boston
Opera House and will appear there again for a number of per-
formances this season. Miss Ewell, who has been heard abroad,
is a native of Tennessee, but has spent most of her girlhood in
Brooklyn. She was a favorite in light opera before she entered
upon her grand opera career.
Of the list of contraltos Jayne Herbert, Kathleen Howard
and Mary Jordan are natives of this country. Miss Herbert is
a Chicagoan and was formerly a popular concert singer in the
West. She also graduated to the Century from the Aborn com-
pany, "'ith which she has been a favorite for several seasons.
THE THEATRE MAGAZINE
Mishkin jyy SCOTT
Australian soprano, Century Opera Co.
Kathleen Howard has been
appearing with success at
several of the leading
European opera houses dur-
ing the last few years and
was engaged for the Cent-
ury while singing at Covent
Garden this summer. Mary
Jordan has been heard most-
ly in concert and oratorio
and has acquired a grand
opera repertoire with sev-
eral American companies.
The conductors are Carlo
Nicosia, who at one time
held this position with Ham-
merstein's companies at the
Manhattan and Philadelphia
opera houses ; and Alatar
Szebdrei, a young Hun-
garian who was with the
Chicago-Philadelphia Com-
pany for one season, and who has directed grand opera at the
Royal Opera in Berlin and at other important European opera
houses.
The present season of grand opera at the Century Opera
House will last thirty-five weeks. Operas of Verdi, Pon-
chielli, Offenbach, Wagner, Wolf-Ferrari, Puccini, Saint-
Sae'ns, Charpentier, Gounod, Massenet, Balfe, Donizetti, Hum-
perdinck, Bizet, Thomas, Flotow, D'Albert, Mascagni, Leon-
cavallo, Delibes, Strauss, and Meyerbeer will be sung. The
initial offering, Verdi's "Aida," was given eight performances
in English during the opening week, and repeated in Italian on
Monday night of the second week. All other operas will have
their first performance on Tuesday night, running in English up
to Saturday night, and will have one performance in the orig-
inal language of the opera — French, German, or Italian — on the
following Monday night. By this system, "La Gioconda," the
second offering, was given seven presentations in English be-
ginning Tuesday night, September 23d, and ends its run in Italian
Monday night, September 2gth. The same schedule applies to
other selections announced. Here is the complete repertoire for
the season. Each opera is to be given for eight successive per-
formances, except Hnmperclinck's "Hansel and Gretel," which
will be heard only at four separate matinees — Thanksgiving
Day, Christmas, New Year's, and Lincoln's Birthday :
September 30. — Offenbach's "The Tales of Hoffmann." October 7.—
Wagner's "Lohengrin." October 14. — Wolf-Ferrari's "Jewels of the Ma-
donna." October 21. — Puccini's "Madame Butterfly." October 28.— Saint-
Saens' ''Samson and Delilah."
November 4. — Puccini's "La
Tosca." November n. — Char-
pentier's "Louise." November
18. — V e r d i ' s "II Trovatore."
November 25. — Gounod's "Ro-
meo and Juliet." December 2. —
Massenet's "Thais." December
9. — Massenet's "Manon." Decem-
ber 16. — Balfe's "The Bohemian
Girl." December 23. — Donizet-
ti's "Lucia di Lammermoor."
December 30. — Bizet's "Carmen."
January 6. — Thomas's "Mignon."
January 13. — Puccini's ''La Bo-
heme." January 20. — Flotow's
"Martha." January 27. — Hum-
perdinck's "Konigskinder." Feb-
ruary 3. — Gounod's "Faust."
February 10. — Wagner's "Tann-
hauser." February 17. — D'Al-
bert's "Tiefland." February
24. — Mascagni's "C a v a 1 1 e r i a
Rusticana," and Leoncavallo's
"I Pagliacci"— d o u b 1 e bill.
March 3. — Verdi's "La Tra-
viata." March 10. — Verdi's
"Rigoletto." March 17.— Wolf-
Ferrari's "The Secret of Su-
zanne," and Delibes's Ballet,
" C o p p e 1 i a." March 24. —
Strauss's "Salome." March 24.
— Wagner's "Tristan and
Isolde." April 7. — W a g n e r ' s
"Parsifal." April 14. — Wagner's
"Rheingold." April 21. — Wag-
ner's "Die Walkiire." April 28.
— Wagner's "Siegfried." May 5.
— Wagner's "Gotterdammerung."
May 12. — M eyerbeer's "The
Huguenots."
For the brief concluding
season of opera comique the
productions have not yet
been announced.
The price of the seats
range from those in the or-
chestra at $2 to those in the
gallery at 25 cents.
Stein
JAYNE HERBERT
American contralto, Century Opera Co.
Apeda ALFRED KAUFMAN
English basso, Century Opera Co.
The response of the music-loving public to the company's
prospectus was most encouraging to the management, and to
the surprise of the directors, the majority of the subscribers ex-
pressed a decided preference for the nights when the operas
were to be sung in English. Although for this first season only
one night has been set aside for singing an opera in the original
language, that one night has been selected by fewer patrons than
any other. Among the subscribers are :
Teneau Alexandre, George W. Alger, Mrs. Elmer Black, Robert Pen-
dleton Bowler. Charles C. Burlingham, W. T. Bush, Mrs. McCoskry Butt,
Mrs. William A. Copp, Paul D. Cravath, the Rev. William T. Crocker.
Francis Phelps Dodge, Frederick G. Dow, Joseph Dowd. Edward R.
Finch, Mrs. M. K. Flagg, John W. Frothingham, John A. Carver, Miss
Nora Godwin, Frederick Grosvenor Goodridge. Mrs. Charles Judson
Gould, Miss Bella da Costa Greene, Charles Hathaway, Harrison Blake
Hodges, Dr. Frank T. Hopkins, C. H. Ingersoll, Alvin W. Krech, Dr.
Walter Eyre Lambert, Thomas W. Lamont, Mrs. Morris Loeb, Mrs.
George -B. Loring, Albert Low, Mrs. Seth Low, Severe Mallet-Prevost,
Miss Marie L. Mayo, Miss Annabel Mayo-Smith, Mrs. Gilbert W. Mead,
Edward D. Page, Charles A. Platt, John Cheney Platt. William Ross
Proctor, Henry A. Rusch, Paul J. Sachs, Miss Florence D. Schmidt, Mrs.
Robert Schwarzenbach, the Rev. Theodore Sedgwick, Isaac N. Seligmann,
Miss Elizabeth Rothwell Shannon, Clarence Bishop Smith, Charles H.
Strong, Mrs. Charles Truslow, Frank A. Vanderlip, Paul M. Warburg,
Artemas Ward, Frank B. Wiborg, and Mrs. Edward 's. Woodward.
Milton Aborn, the manager of the Century Opera Company,
has been identified with popular priced opera for a number of
years. He was born in California, one of ten children, and when
little more than a lad, Milton was associated with his father, who
had gone into business in
New Orleans. The family
was not musical, but his two
sisters studied music and
were very fond of opera.
It was from them that Mil-
ton Aborn acquired his love
for opera. His first experi-
ence on the stage was with
B. F. Keith at the time that
manager presented a series
of tabloid operas in vaude-
ville. In these Mr. Aborn
played all the famous Gil-
bert and Sullivan roles.
With that company he
toured the United States,
playing all the light operas
in abreviated form. Sargent
Aborn, his younger brother,
was at that time also on the
(.Continued on page mi) MORTON ADKINS
Baritone, Century Opera Co.
Photos White
Mozart Rabiner
(Leo Donnelly)
Morris Perlmutler
(Alexander Carr)
Act. 1. The partners engage a new travelling salesman
Abe PDtash
( Barney Bernard)
M;iriH'y Bernard Marguerite Anderson Lee Kohlmar Elita Proctor Otis Louise Dresser
Act 2. Prosperity follows the coming of the new designer
Alexander Car
EHta Proctor Otis
Albert Parker Maud Brownell Barney Bernard ...^».,^, ^.&.
Act. 3. Potash and Perlmutter see their way to pay 100 cents on the dollar
Alexander Carr Louise Dresser Marguerite Anderson
AS everyone knows
who cares to know,
the life of a come-
dian is very hard. Most
of them", 1 have been told, are trained in infancy. I have no
training; therefore, I suppose, as Harry Fox says, "It's a gift"
with me. And yet, the stage manager very often reminds me that
it isn't; and then I remind him that
he isn't. However, early in my
meteoric career, I discovered that an
audience must be trained to laugh.
Training an audience is a very dif-
ferent sort of thing from training
seals, for instance. If you want a
seal to laugh, all you have to do is
to throw him a fish. No audience
can be trained that way. Some
comedians have tried to do so with
fishy stories, but they usually fail.
Xot that I wish to compare the dear
public to ordinary seals, but the
similie occurred to me because I
once had a dear friend who trained
seals. He made them do some very-
funny things, and he had a different
kind of fish for every seal.
"You see," he said, "every seal
has a temperament, and the tempera-
ment won't work unless they get a
certain kind of fish. I have tried to
give them all the same thing, but
they become sulky and do their work
without any feeling."
Of course, he had a great ad-
vantage, because he had been a sea!
fisherman himself, and he under-
stood the nature of the animals.
The first audience I ever trained
to laugh, was at a performance I
gave for a deaf and dumb asylum.
I made a hit because no one in the
audience could hear my jokes. It
was the most difficult test I ever had,
and proved to me definitely that
some audiences cannot be trained at all
to train, or too dull, or quite dead.
Training audiences is a life work,
time. It requires patience, confidence, the hide of a rhinoceros,
and the strength of a high-powered motor. Doctors have asked
permission to examine me because, after seeing my performance
they thought my exertions were beyond the power of man. And
yet, I never touch ginger-ale ; what ginger I have has never been
bottled. I have gone on the stage, and sung nine songs in suc-
cession, and felt like a jockey who had won a handicap when T
got through. There is not much to me, but what there is has
class.
An audience of any kind must be made to laugh. You can't
coax them, and you can't tell them that you're funny unless you
make them believe it. They just hate to laugh when you want
them to, and when you want them to cry, they laugh. There
isn't anything on earth so obstinate and perverse as an audience.
Most of them are untaught, and although my task has not been
to educate them, I have sometimes felt that I should like to make
them realize how happy they would be if they would only just
try to laugh, just even once.
My first audiences were in vaudeville. Now, a vaudeville
audience is not such easy material as it looks. A great many
night watchmen attend the matinees, and the evening perform-
ances are filled with tired business men and overworked stenog-
raphers. I have often wondered if there isn't some sort of
sleeping potion taken by vaudeville audiences, to pull them
through the performance. If they were easily taught, every
By AL JOLSON
Whi'c AL JOLSON
Well-known comedian now appearing in "The Honeymoon Express,"
who enjoys the reputation of being one of the funniest men on
the stage
They are either too wild
You can't do it the first
comedian would be worth
a thousand dollars a
week, and that would be
too much for the vaude-
ville managers, because they would have to live in flats them-
selves, and they wouldn't like it. When I first began my vaude-
ville work, I used to rely upon the lines of a monologue I had
_^^^^^^__^^__^^_l learned, and the words of the songs
I sang. I found this to be a very
dangerous way of training an au-
dience. They were all as different
as the seals which my friend trained,
and I quickly realized that they
wouldn't laugh unless they got the
right fish. A vaudeville audience in
Philadelphia, for instance, sees
nothing to laugh at in a man who
goes asleep on the stage ; because
everybody in Philadelphia regards
sleep as a serious matter. In Pitts-
burg, for instance, you couldn't give
them a joke about smoke, because
they live on it there. So, each
vaudeville audience I found, had to
be approached with a sense of what
their temperaments required. In
Xew York it was safe to make fun
of Brooklyn, but in Hoboken y»u
had to make fun of Xew York.
These little elementary rules of con-
duct for the vaudeville comedian.
were good enough in their way how-
ever, but I soon found that it re-
quired extraordinary measures to
make an audience laugh loud.
Merely a gentle murmur of gig-
gling laughter, never satisfied me.
1 made up my mind that I would
train them to shout, although I was
not a baseball player.
I tried various ways to accom-
plish this. First, I make polite
little speeches to them, calling
them ladies and gentlemen, and
asking them if they wouldn't please laugh all together, instead
of laughing in small spots in the audience. I spoke to them very
softly, trying to win their confidence and their respect. This
method didn't work at all. They seemed indignant that I should
assume they didn't know how to laugh. You have to be very
careful in training an audience, because they are very sensitive
creatures, and are easily offended. Train them with gentleness if
you can, but if you can't, use a club. When I say "use a club,"
I don't mean that you should inflict bodily -injury, but make
them realize mentally that they must do as you say no matter
how they feel. Look them square in the eye, be firm with them,
and they will sit up and eat out of your hands. After all, dan-
gerous and cruel as an audience is. you are its superior — always
remember that.
I sometimes hear of actors who are afraid of an audience.
Some actors ought to be, I'll admit. I have been myself. But
an actor without courage, ought to be a college professor, or a
chemist, or something mild and faithful. I first began training
my audiences, as I said, by talking to them. Of course, I didn't
know them, before I talked to them, but I always made it mv
business to make their acquaintance first. They never said any-
thing to me, but they had to listen because they couldn't get awav.
I would first tell them what a wonderful audience they were how
handsome they were, how beautiful were the women, and how
sorry I was that T couldn't see them with their hats on. Then T
would look at the bald-headed gentlemen, and tell them what
deep respect T had for the distinguished citizens I saw before
me. Then I'd hunt for a man with a Santa Claus beard and
7' // /• T HE AT RE MAGAZINE
lonking at him I would recall an incident in the war, in which
my father had "fit" and fled. If 1 was before a Southern au-
dience, my father wa? a Southerner; if 1 was before a Northern
audience, he was a Northerner. If it happened to be a colored
audience. I spoke of a comrade I had lost in the battle of San
Juan Hill. By the time I had finished, they were half trained.
They were sitting up, looking at me, and those who didn't go
out at once, er.joyed themselves.
That was in the early days when I was a star feature in the
-Xickleoaians," when I did twenty-three shows a clay, going as
fast as a moving- picture machine. I tell you, those old "Nickle-
o.lian" audiences had to have their money's worth. After all, a
nickle is a nickle. I can remember the time, when I was getting
seventy-five dollars a week, I thought of buying a place on Long
Island next to W. K. Yanderbilt's. I don't think he would have
had any objection.
To be sure. I never knew just exactly what I was going
to say. until I found myself in front of an audience. Of course,
I had the regular jokes and songs to fall back on, if my brains
i^ave out, but I noticed that I never
knew just what I was going to say,
before 1 said it. If the audience liked
me, I didn't care how far I went, if
they didn't like me, I kept going fur-
ther till they did. The work in vaude-
ville to train an audience was not so
hard after I got used to it. But
when I first began my engage-
ment on the big stage of the
Winter Garden in New York,
I realized the difficulty of
training any audience above
42d St. I think from
St. to J2(\ St. they have
a Imrse exchange,
and if you are not
funny enough to
make a horse
laugh, it's very
hard to get hold
of the people
there. But I was
always game. If it
was may fate to
be featured at a
horse fair, I would
do my best.
I have trained a
great many au-
diences at the
Winter Garden,
and as a whole
they are verv in-
Globe
Copyright, White, 1313
GABY DESLYS
To appear in November at the Winter Garden
all been trained,
but above that,
there is still a
great deal of pio-
neer work to do
for the comedian.
It is not so dif-
ficult to get hold
of an audience in
a small theatre.
All you have to
do is to get a large
grand piano, and
talk to them till
they lean over and
gather a r o u n d
you. The Winter
Garden used to be
Aluiutt JANET BEECHER
'n "The Great Adventure," at the
Booth Theatre
telligent, those of them who
don't take whiskey. How
much assistance the lemonade
which is passed through the
audience between the acts,
has been to me, I can't say.
1 never drank any myself, but I have
seen some people who looked pretty
cold after it. I should think, however,
that a lemonade trust would not be
successful. All these things which the
management thoughtfully provides, for
a helpless audience such as ice water,
lemonade, fans, programs, advertise-
ments of the next show, copies of the
music, opera glasses, cheap candy, cloak room, and foot stools
for the old ladies are supposed to put them in a pleasant frame
of mind, so that they won't kill the actors. Personally. I don't
believe in making an audience too comfortable, especially when
you are training them 10 laugh. They get sleepy, and the come-
dian has almost to break his neck to wake them up. I have
sometimes felt, too, that a man who takes a front seat in the
front row, for five nights in succession, ought to be fined for
cruelty. The front row of the Winter Garden at the sacred
concerts on Sunday has been occupied regularly by a "hymn
club," who know everything I am going to say and who have
heard everything I can sing, and whose faces look up at me
solemnly and sadly as if it were a prayer meeting. Of course, it's
a good thing for the management, but there is no fun in it for the
comedian.
One night, that front row got on my nerves. I came on and
there they were beautifully lined up in the latest fashion, suck-
ing their canes, and looking hopeless. (Continued on page i'i)
lemimi
(Continued from our last issue)
TJ I E five years spent in Russia were the happiest of my life.
Why, then, leave this paradise? Because a land, disturbed
by politics, is neither safe nor reliable. Long before the
Emperor's assassination the city was a prey to Nihilism. Every
day searches were made, streets were turned up, mines discov-
ered, that would have blown up whole squares, had they not been
checked in time. At the theatres candles were placed in the halls
in case the gas should be suddenly extinguished by superior
order. When the Czar came to the performance we all trembled
lest something might occur. His assassination was the sad
climax which justified our fears.
The Emperor Alexander II was one of the most amiable men
to meet. He came to the theatre twice a week. I met him for
the first time while playing Marion de Lorme in the "Comtesse
de Senneterre." Between the acts he came on the stage and I
was introduced to him by Baron Kiister. He told me that the
pla\ pleased him more than twenty years ago, when he had seen
it with Madame Allan. This was very flattering, as Madame
Allan was one of the greatest actresses of her day. He went
on talking for at least ten minutes of plays and players and left
me. saying: "I will not detain you any longer, Mademoiselle,
the public may become impatient waiting for its Marion."
In spite of his noble bearing and his dignified mien, the Czar
did not inspire me with awe, but with respect and love. That
he was thoroughly good and magnanimous one could feel. The
night after the attack on his life by Salovieff he came on the
stage and gave, 1 may say, a humorous account of the unsuc-
cessful attempt and when an over-zealous member of the com-
pany exclaimed. "Oh, Sire, no mercy for such a wretch!" a
rather severe look of reproach, which we all noticed, was his
nnlv answer. A word of pity or intercession would have been
more welcome to his generous heart, especially from a woman.
He was very fond of comedy and often, about nine o'clock, he
would take a sudden fancy to attend the theatre, and a drama
being on the bill, word was sent immediately by a courier of the
palace to tell us to hurry the drama, so as to be able to play an
after-piece, which was generally a farce comedy, in which our
two great comedians. Raynard and Hittemans, took part. Then
you could hear the Emperor's laugh all over the house.
Knowing his fondness for comedy we all tried, in order to
secure his presence, to find a comedy for our benefit. The last
one I gave was "La Boule." How he enjoyed it ! All the best
comedians were in the cast. He came on the stage and expressed
his delight in the kindest terms. He congratulated me on my
success and said : "Vous ctes toujours charmante, Mademoiselle,
mais cc soir pins que jamais!" Those were the last words
the Czar addressed to me. A few days later he was to fall a
victim to the murderous plots of the Nihilists.
Shall I ever forget it ? It was on a Sunday, about two o'clock.
\Ye were rehearsing a new play; some of us were in the green
room when the Emperor passed, escorted by his Cossacks. We
were standing at the window and with a smile he gave us the
military salute we knew so well. He had hardly turned the
corner when we heard an explosion. We looked at each other
and the same thought crossed each mind : an attempt on the
Emperor's life ! We rushed out and arrived at the corner of the
street just in time to see, two hundred yards from us, the ex-
plosion of the second bomb, which proved to be the fatal one.
The first had killed two Cossacks. While they were arresting
the assassin, the Czar, deaf to the entreaties of his coachman,
who wanted to drive on with speed, came out of his carriage to
say one word of sympathy to his dying soldiers. He took their
hands and addressing their murderer, he said: "Wretch! See
what you have done in your blind fury." After a last look of
pity at the faithful servants he was about to re-enter his car-
riage when a man, standing at the door, dropped another bomb
Memoirs of Mile. Rhea. Copyright 1»IS by Marie Michailoff.
which he had kept concealed in his handkerchief, and that one
not only killed the Nihilist himself, but mortally wounded the
Emperor. In a moment the street, before doi-rU-d. \\as crowded
with people, coming from every direction. Sleighs were going
to and fro and all we heard was: "Thank (Jod, the Emperor
lives!" Mis carriage being damaged he was driven to the palaa
in a sleigh and expired there a few hours later. His legs had
been shattered.
( )n the following day his son was proclaimed Emperor. No
Mght could have been more heartrending than that of the young
Czar and his lovely wife, returning in gala dress from the
Winter Palace, where the new Emperor had just taken the oath.
On their way to the Palace Annitchkoff, while people cheered
him and tears were running down the cheeks of the newly made
Czarina, the Emperor was motioning the crowd to keep silent.
The body of the Emperor lay in state at the Church of St.
Matzei.-
MAGGIE TEYTE AS CKNHUIU.ON
138
THE THEATRE MAGAZINE
Peter and St. Paul in the Fortress on the Neva, where he was
buried a week later. Thousands of all ranks, including all the
members of the Court theatres, paid during that week a visit
"Not at all," answered my friend. "She understands it very
little, but she has a strong will and 1 am sure she will succeed."
"But not," said Ryder, "in playing a Shakespearean part in
to the Fortress and were allowed a last look at the remains of one month, especially without knowing the language."
him who was, only a few days before, the Czar and all powerful
ruler of ail the Russias.
"Will you try?"
"No ; it is useless, my time is all taken up ; besides, my lessons
After the fatal event the theatre was closed, but we were still are expensive and it would be robbery to encourage this lady."
obliged to remain in St. Petersburg until the end of the season.
Mv contemplated change was now decided. I spoke of it to a
friend, Mr. Pierre Corvin, author of "The Danischeffs." He sug-
gested that I study English, and if I were successful, to try my
fortune in America.
"Try only once, let us say to-morrow.1'
After some hesitation he consented. The next day again, at
eleven o'clock, I was knocking at his door. On entering the
room I found a rather severe face before me — not at all en-
couraging. I smiled, not to show my agitation, and seated
But why study English? Why not return to France? Be- myself at a table beside Mr. Ryder, the book of "Much Ado
cause, like the Americans, I am too independent. I had had
some experience before going to Russia. I knew that in Paris,
without strong influence, doors do not open. Furthermore, to
court influence is like begging and I cannot beg. It is so gratify-
About Nothing" open before us. He began and I repeated every
word after him like a schoolgirl. When the hour was over he
said :
"Now, my child, you see how difficult and how impossible it
ing to be able to say when one's task is accomplished : 1 owe is to do what you wish."
my success to my own untiring efforts, to my courage, to my
energy, and not to the influence of anybody. But I am not yet
in America. I am just leaving St. Petersburg for London,
where I went, determined to renew in another country and in
another language, the success I had achieved in Russia.
I arrived in London at the end of April, 1881. Monsieur
Corvin had spoken to me of an old teacher, Mr. John Ryder,
who had taught his wife, Mademoiselle Stella Colas, a charming
French actress, in the part of Juliet. Was this teacher still
alive? Where was he living? I did not know. I arrived in
London at seven at night with a friend of mine, a lady who
was English by birth. She looked at the paper and saw that a
foreigner, Mme. Modjeska, was playing in the city that night.
Without changing our travelling dresses we went to the theatre;
the play was "Romeo and
Juliet." When I heard that
foreigner speak so fluently I
felt quite discouraged. I
thought I should never be able
to speak English as she did.
The friar, Lawrence, was re-
ceived with a round of ap-
plause; while listening to him
I said to my friend : "This is
a great actor; his pronuncia-
tion is so distinct, if I cannot
find Ryder I will go to him."
We asked for a programme
and were very much surprised
to find that Friar Lawrence
was Ryder himself. We sent
him a note by the doorkeeper
and the answer was that he
would receive me at eleven
o'clock the next day. You can
imagine that I was punctual.
At eleven precisely I knocked
at his door, 21 Salisbury
Street, Strand, and went up-
stairs. I found myself in the
presence of a man about sev-
enty years old, very tall and
with eyes full of fire and intel-
ligence. My friend told him
of my desire to learn English,
to study the part of Beatrice,
to give a performance of it in
London within a month, and if
I succeeded, to devote myself
to the English stage, if not, to
return to St. Petersburg.
"Does she speak English ?"
"Difficult, yes ; impossible, no !'' said I, with gestures rather
than with words.
My friend again intervened and I was allowed to return the
next day. I need not tell you how I studied. I went over my
part a hundred times with a patience I could not find again I
fear. The next morning I took my second lesson and after a
few words Ryder said : "Capital ! Capital !" Ah ! that "Capital"
1 shall never forget ! But at the end of the lesson he said :
"Yes, it is very well, but it is impossible for you to accomplish
such a difficult task."
"After a few days' study," I answered, "you will tell me what
you think, not to-day."
Every day at the same hour I took my lesson, and from morn-
ing till night I had my eyes on my book. After a week Ryder,
with tears in his eyes, took my
hands and shaking them, in the
English fashion, said :
"Well, my child, if you go
on like this, of course, in a
month you will be able to play
Beatrice. I have coached a
generation of actresses, but I
have never met one with your
energy and perseverance."
Besides my lessons with
Ryder 3 took another one every
day from Miss Co wen, a pupil
of Mrs. Sterling; this one for
the pronunciation. On Sundays
I went to church to hear the
sermons. I attended evening
classes. I would have done
anything to attain my object.
After three weeks I thought
I was nearly perfect. I had
been introduced to a family
very fond of literature. The
young ladies took such interest
in me that they came to see
me every day. One would cor-
rect my th's, the other my /;'s.
the last my vowels. Their
father was a very clever
reader. One day they pro-
posed that 1 should recite my
part to him. He had never
heard me. I was delighted
with the idea. . . . Full of
confidence, I began, one of the
ladies giving me the cues. The
father listened without any
show of approval. When it
BERTHE LOWELLY AS JUNIA IN MASSENET'S OPERA, "ROMA"
Mile. Lowelly is now appearing at the Opera Comique, in Paris, and may be seen
shortly in the United States
THE THEATRE MAGAZINE
139
was over he said (shall I ever forget) :
"Well, my dear Mademoiselle, I suppose I
must tell the truth. You have seized the true
idea of the character of Beatrice, but as to the
pronunciation, I do not understand one word
in ten!"
For the time I was completely crushed by
that severe remark. But I soon recovered my
courage. I went home and studied my part
word for word, repeating each one loud, hard,
low, soft, in every way, and after six days
again I repeated my part to my severe judge.
This time he understood nearly every word and
predicted a great success.
In the meantime I had the honor and pleas-
ure of being introduced to Lady Martin (Helen
Faucit). With the kindness and generosity of
a great actress and a true grand lady she in-
vited me to come and see her the Sunday after-
noon, just before my performance. She read
the part of Beatrice to me twice. My eyes,
my ears, my heart and my soul, hung upon
every word she uttered. I found a thousand
shades in that part, which I had not dreamt of.
and I could fancy what a Beatrice she must
have been with her tall and noble figure, her
sweet face and queenly bearing. On my way
home I tried to remember every word and
every little expression — to impress them in my
mind. At last the 2d of June arrived, the
day fixed for my performance. I had hired
the Gaiety Theatre for a matinee. Mr. Ryder
had engaged an excellent company. Henry
Nevill, one of London's best actors, played
Benedick, and Mr. Ryder himself, Leonato.
All the actors were as kind as possible. Mr.
Nevill especially did all he could to assure my
success. From the rise of the curtain I felt as
if I were in a fog. I saw nothing, heard
nothing; but Ryder, who, taking me by the
hand, said — whispered : "Courage !"
The house was filled with a friendly audience.
I had invited the press. From beginning to
end the most encouraging applause, and the
most beautiful flowers were lavishly bestowed
upon me. I did not flatter myself that all this
was an homage to my talent, but only en-
couragement for my efforts. The day after
my performance I received the following letter
from Mr. Edward Pigott, the secretary of the
Lord Chamberlain.
DEAR MLI.E. RH£A :
Pray accept my heartiest congratulations on the
remarkable and deserved success of your presentation
yesterday at the Gaiety. I had some severely critical
friends with me, and they were all surprised and delighted at your achieve-
ment. You were really the ''Beatrice" that Shakespeare created : in face,
figure, voice, attitude, gestures and demeanor, grace, wit, petulence, tender-
ness, womanly waywardness, and the strength of womanly devotion, were
all found in an exquisite impersonation. Above all, the intelligence with
which you have seized and appropriated all the lights and shades of the
character, struck my friends as a sort of divination. And the accent —
well, if it left something to be desired — was, except once or twice, singu-
larly clear and just, and was never without charm.
Believe me, with all good wishes, dear Mile. Rhea,
Sincerely yours. EDWARD g g pIGOTT
The next week I received an offer from Mr. Henry Sargent
to visit America. He told me to go for references to John Mc-
Cullough, who was then playing an engagement at Drury Lane.
T found the great tragedian what he was to everybody, a whole-
souled, kind-hearted man, who T am sure could not have harmed
an enemy, much less a friend. He praised Mr. Sargent until I
Moffett
Now
HELEN WARE
appearing as Mary Turner in one of the "Within the Law" companies
thought him the foremost manager in America. Reiving upon
his opinion I signed a contract for a tour in the United States.
He chose for my debut the same plays with which I had opened
in St. Petersburg, "Camille" and "Adrienne Lecouvreur." But
this time I had to play them in English. I had studied one part,
I had exhausted all my energy in that one effort ; another seemed
beyond my power. After a few days, however, the reaction
came, and with it, confidence and courage. I remained in
London until the end of July and again had the pleasure of
meeting Lady Martin.
When the London season was over I went to Folkestone, and
there, by the seaside every morning, beginning at nine o'clock, I
studied for hours on the beach, far away from the fashionable
crowd, or in the country, where solitude was greater. What
difficulties 1 still had to overcome ! What patience it required !
Sometimes 1 would repeat a sentence over again until my mouth
140
THE 11 Il:. AT RE MAGAZINE
ached and tears of despair filled my eyes, but I was determined.
The pronunciation was especially hard to master. Hercules' feats
seemed child's play compared to my labor. As the time for my
departure approached I went to Paris, ordered some beautiful
dresses, and in October I sailed for America on the City of
Rome, and after one of the roughest journeys I ever experienced
landed safe in New York.
The City of New York appeared to me a mixture of French
Strauss-Peyton
and English, but I was impressed at once with the beautiful
women. The American woman has a style of her own. Wher-
ever she goes she carries an atmosphere of independence, which
is at the same time the envy and the despair of all foreigners,
because it cannot be acquired ; it is born with her and is inimita-
ble. She is daring, but not bold; and I must say, to her credit,
that I have never found in her the meanness toward her sex
that is characteristic of women in any other countries. She
admires women and praises them without any feeling of envy
or jealousy; she is noble-hearted, and if she were a little less
fickle, she would be perfection. But, after all, is not that little
fault an additional charm? America is proud of her daughters —
and she may well be. As for the men, I have found friends the
like of whom I would vainly look for in the old world. I have
already said that it was Mr. Sargent who brought me over.
After four weeks' trial I left him and accepted an offer from
Mr. Arthur B. Chase.
Mr. Chase was the business man par excellence. He had
money, he was orderly, he was practical, he had a level head
and he was lucky. Although I am not superstitious, I believe in
luck as he did himself. He had the tact always of doing the
right thing at the right time. Although very quiet, very retiring,
almost bashful, he inspired trust and confidence. He was most
considerate and attentive to my wants. It was under his man-
agement that I achieved my greatest success and met, for the
first time, some of America's prominent people in the world of
letters, politics and society.
One of my most cherished recollections is my visit to Long-
fellow. I was introduced to him by his cousin, Mr. Nathan
Appleton. during my engagement in Boston. How often are we
disappointed in meeting celebrated people. We place them cm
so high a pedestal in our imagination, surround them with a half)
so radiant that when we meet the body of flesh and blood which
envelopes the superior mind that has attracted our fancy, moved
our hearts and carried us to an ideal world far beyond this earth,
a pang of regret takes the place of our fanatical enthusiasm.
Xot so with Longfellow. The cottage where he lived was the
very one a poet should inhabit ; his surroundings were a mirror
of himself. T can see him now, greeting me with a smile that
lighted a face so pure, so noble, so full of human kindness, that
F could not help thinking : "This, indeed, is one of nature's
noblemen." Ah ! I wish I had his pen to trace his portrait !
His long white hair was falling on his shoulders, his voice was
soft and musical and his cordiality genial and sincere. He
spoke French fluently and this, to me, was one more charm.
When I told him that one of the first English poems I had
studied was "The Maiden and the Weathercock," he asked me
to recite it to him ; I did so, and immediately he went to his
library and taking down two volumes of his poems, he wrote his
name on the flyleaf of one, and in the other, underneath the
poem, and presented them to me. 1 need not say that they are
first among the many souvenirs I treasure in my home.
It was while playing at the Boston Museum with the stock-
company that I had the pleasure of meeting and acting with Mr.
William Warren. I played Lady Teazle to his Sir Peter. What
shall I say of him that America does not know ? He was per-
fection, both as a man and as an actor.
In Washington President Arthur himself did me the honor of
showing me through the White House, and with Mrs. McKee I
visited that brightest and liveliest room under General Harrison's
Presidency : the nursery, where I saw those sweet babies, who in
their unconscious innocence, little suspected that they were the
talk of the United States and that their ways and sayings were
reported in the papers between a speech of their grandfather
and a grave financial or political question. Mrs. Harrison was
one of the kindest women I ever met. She often came to the
theatre with the President, and on one occasion, having been
prevented at the last moment from attending my performance,
she sent me a basket of beautiful flowers with a long letter of
regret, which T appreciated more than any royal gift.
VALESKA SURATT
Who is appearing in a new spectacular act in vaudeville
THE THEATRE MAGAZINE ADVERTISER
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Training An Audience, Etc.
(Continued from page 136)
In desperation I sat on the edge of the foot-
lights, dangled my legs over the orchestra pit,
and threw up my hands. I didn't care what hap-
pened to me. Suddenly I discovered that I had
a collar on that was just like a collar one of the
"hymn club" was wearing, and I just took hold
of it and ripped it off my neck. This woke them
up. They thought I had gone suddenly insane,
and felt that they were going to get their money's
worth.
As a matter of fact, I liked them all very
much, but it was too much of a strain to keep
thinking up new things to make them laugh.
Training a Winter Garden audience, however,
has become my specialty. How I succeeded in
doing it I don't know.
I have often come off the stage wet to the
skin with perspiration. Any actor knows what
hard work that means. The best laughs I have
ever had have been the result of spontaneous
ideas, that have come to me on the spur of the
moment.
And the trouble is that I never could remember
just how these things have been said afterwards.
As the point of the joke depends almost entirely
upon the exact wording, I have lost a good many
laughs which I might have put in for my regular
performances if I could remember them. I really
never know what I am going to say. I remember
once when I was appearing with Stella Mayhew.
She said to me, "Where is my husband?"
"He is soused," I said.
She was quite indignant, because she thought I
meant it. Of course, he wasn't soused, but I
couldn't explain that to the audience, it was too
late. I should have said he was "drowned."
I think I am the first comedian who ever had
the nerve to run up and down the aisles singing
a song. I was offered a chance to enter a Mara-
thon race after I first did my stunt of singing
Rum-tum-tiddle as fast as I could run. The
danger which any comedian runs by mingling
with the audience is that some one will hit him
in the head with a brick if you give him a
chance. That was the principal reason why I
ran so fast. They couldn't get me in one place
long enough to strike. The only thing I have
really lost sometimes is my voice. For six weeks
last season it was a shame to take the money.
My voice went back on me, but I kept on playing,
doing the best I could.
This year I sang the Rosary for the first
time, and people believed me. Now, that's what
I call training an audience to do whatever you
tell them to. When I sang the Rosary they ap-
plauded as if I had been Caruso; when I sang
Rum-tum-tiddle they enjoyed it just as much.
I have got them trained ; they dare not applaud.
I can't explain it, excepting in the words of my
philosophic friend, Harry Fox — "It's a gift."
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THE THEATRE MAGAZINE ADVERTISER
VII
Popular Opera, Etc,
(Continued from page 132)
stage ; and when Milton decided to go out with
his=own company Sargent joined him, taking
charge of the financial end of the venture. They
started out on a modest scale. From comic operas
they proceeded to "Trovatore," and gradually
added more works to the repertoire. At tht
present the Aborns have no fewer than eight
opera companies on the road.
Mr. Aborn, when seen by a representative of
THE THEATRE MAGAZINE, said he was more than
encouraged by the outlook.
"The public response has been most gratifying,"
he said. "We shall continue to do our utmost
to realize the expectations formed of our enter-
prise. Neither the Metropolitan nor we will
suffer from the fact that we are both in the same
field. There is room for both. We are catering
to those who are pretty sure to be in their seats
when the curtain rises on the first act — that is to
say, the great body of American music lovers.
Our endeavor is to give fine music since we know
that real music lovers are those generally de-
barred from the high-priced houses, both by the
price of admission and the fashionable element
that generally predominates there.
''In choosing our artists we have selected, for
the most part, ambitious young singers whose
reputations lay ahead instead of behind them.
We have found some in Europe, and the rest
have been engaged in America. Although we
have not restricted ourselves to any particular
nationality, it happens that the majority of our
singers are Americans."
Mr. Aborn is very enthusiastic over his chorus.
"In my opinion," he said, "the chorus is the
most important factor in opera. A prima donna
may be a failure and the opera keep going to a
successful close if only the chorus is brilliant
enough. From the chorus come many stars. Real
talent never stays hidden long. In our chorus
we have fifty-two men and fifty-five girls. In
tonal quality this chorus is beyond anything I
have ever heard. The girls range in age from
18 to 26. and they have splendid voices. Most
of them are American girls, who have been
studying singing in New York. Of the fifty-five
girls fully thirty-five have it in them to make
successful singers in concert work or opera, and
we have a plan which may help girls or men with
real talent to find themselves. We shall rehearse
six sets of principals in operas, and then, with
the advantage of our chorus and orchestra, pre-
sent them in special, invited performances. If
the Century Opera Company is to be the perman-
ent institution we hope, this plan will play a big
part in our constant search for new and fresh
material."
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Author of "The Lure1
(Continued from page 135)
meanwhile. Thence the perfection of his style,
and the small number of his books. Mark Twain
needed, positively needed, the atmosphere of his
little garden-house and tha company of his pipe
to compose those incomparable things we know.
George Scarborough needs, positively needs, a
desk with any number of pigeon-holes. For, un-
like Flaubert, he does not generally concentrate
on one single work. He handles several subjects
at a time, and when he gets tired of one, he
shoves the manuscript into a pigeon-hole and lets
it stay there, until his interest in that particular
theme is revived. One morning he may have
been writing just such a scene as the one that
closes the big act of "The Lure" so dramatically,
and in the afternoon he may feel irresistibly in-
clined to add a new scene to a farce that he
hasn't looked at for weeks. What a curious
mechanism is the human brain !
F. C. FAY.
twentieth year at Grand Opera House Bldg.,
Cor. Md St and 8th Ave., New York. Our Students
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The trail of the serpent of war still follows the path
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This number will be a pictorial and
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Several Sample Copies
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LIFE (if there be any) on receipt of ten
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Cabaret Booking Agency
(Cunl iinu'it fi-'fin page 130)
to-day? Hello, Mabel." He suddenly catches
sight of her talking to her gaily bedecked com-
panion, and gives her a grin intended to be a
friendly smile. The Agent always smiles at
Mabel. She is one of his cleverest cabaret per-
formers, that is, she is more brazen, wears less
clothes, has a lustier shout (it can hardly be
called a voice) and uses more paint than the
others. The commissions on her $20 and $25
engagements are larger in proportion to those of
the others, whose salaries are smaller. Also,
she is seldom out of work a single day, so her
commissions are more regular. The Agent can
afford to smile on Mabel.
"Well, Mabel," he says in jocular strain, "how
did you make out last night?"
"Punk!" is Mabel's explosive rejoinder. Im-
pudently she goes on : "Don't send me to a place
like that again, or there'll be somethin' doin'.
That's not a cabaret. It's a canning factory,
that's what it is."
A shout of approval goes up from the ranks.
Mabel is a favorite with them all, and no one
but she dares talk to the Agent in that familiar
manner.
"Well, we'll cut that fellow out," says the
Agent, trying to pacify her. ''Say, how would
you like a job as combination in Sheehans', up-
town? Good place, and say — He leans for-
ward, puts his hand up to the side of his mouth
and winks mysteriously : "You can double your
salary on the floor there any night. That's the
place for tips, all right!"
"Combination?" she yawns languidly. "Oh,
well, I'll try it."
For the enlightment of the uninitiated, it should
be explained that the term "combination" does
not apply necessarily to a certain dainty article
of feminine apparel. In agency vernacular, it
means a singer who can play her own accompani-
ments— a combination singer and piano player.
Mabel gets up to go. She, the lucky one, does
not have to wait long. Her job is found. On
the way out, she accosts a confrere with a re-
sounding slap on the back and a hearty "Hello,
kid !" Then, sobering up, she asks him seriously,
"Say, did you hear the news?"
"What newsT"
"Don't you k.. iw about it? Flossy just told
me. You remember Big Nell — that great, big
combination with a voice like a man's? Well,
she's dead, killed by a Third Avenue car the
other night. She was pickled, tried to cross the
street and got mixed up with the car."
'Ts that so? Aw, well, I knew she'd go off
soon. She was an awful souse."
"She was all right, though. Best pal and big-
gest heart you ever saw. Why, she'd give the
shirt off her back, if she thought you needed it."
"Did she leave any folks?"
"Her little girl's in a convent. She hadn't seen
her since she left her home in the South, five
years ago. Gee! it makes you blue to think of
it ! Her husband left her five years ago. Then
she came up here to New York to work. She
uster drink to forget her troubles, she said, an'
now — '
"Call No. 2,887—"
And so it goes.
Sothern and Marlowe
(Continued from page 12S)
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
from spontaneities that one knows not where to
have them, and where he meant to write "in-
genuous" scribbles "exotic" or vice versa. In the
trial scene she is superficially less effective: her
elocution is subdued into harmony with the
severer lines and graver colorings of her dress.
She is proof against those temptations to by-play
and side-glance which at one point overcame
even Shakespeare, and I think her credit as an
artist materially strengthened by her refusal to
be engaging where to be engaging was so very
tempting and so very wrong. She indemnifies
herself and the audience by the unforeseen but
not unpleasing romp of the last act.
I have never quite recovered from my surprise
at finding myself relatively unmoved by Miss
Marlowe's Viola, a part clearly in the tribe, and
normally, one would think, in the household of
her confessed masterpieces. On first view I
called her an odalisque, and I still note in the
work an excess of muskiness. The allowance for
circumstance has been imperfect, and the supple-
ness and sinuosity proper enough to great ladies
like Beatrice and Portia in their sheltered draw-
ing-rooms cannot be safely or readily transferred
to a supposed boy and an actual messenger.
THE THEATRE MAGAZINE ADVERTISER
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Viola's boyishness is purely sartorial, and not
strong even in that aspect. Otherwise she is
oversexed : she is more innocent than the pos-
sessors of innocence ever are, and her malice
toward women would alone divulge her woman-
hood. The most typical speech in Miss Marlowe's
presentation, the soliloquy in Act II, Scene II
(printed version) brings out, in spite of all its
dove-like meekness and creamy smoothness of
elocution, the irrepressible fact that Viola is at
heart a little baggage. For all this the sometime
lodger with Christopher Mountjoy is not re-
sponsible. There are certainly two contrasted
atmospheres in "Twelfth Night," one of salt, sea-
like freshness and one of dreamy exotic languor,
but Viola entered the play from the sea-beach.
The Rosalind is not liable to these censures,
and ranks clearly among her fine parts. I do
not know if I can explain to the comprehension
and satisfaction of others just why the abun-
dance of particular felicities and the rarity of
individual mistakes in this happy representation
fail to persuade me of its claim to a place on
quite the same level with the Beatrice and the
Portia. The obvious infractions of taste are
dexterously avoided. The part is not mannish nor
hoydenish nor smartish nor anything else to which
that disfiguring suffix can be honestly applied by
fair-minded critics. Where, then, lies the flaw?
Not precisely in the fact that Miss Marlowe plays
the part with unwonted rapidity, indicative of
a judicious wish to offset the undoubted slackness
of the dramatic movement in "As You Like It";
but this circumstance has aided the general treat-
ment in imparting to the final effect a trace of
giddiness and headiness which suggests that
Rosalind could have played Touchstone almost as
sympathetically as Ganymede, and makes the
spectator forecast for the complacent Orlando an
ultimate nervous breakdown. One is doubly con-
cerned at such a prospect, when the Orlando is
Mr. Frederick Lewis, an actor whose charm re-
fuses to be effaced even by approximation to
Miss Marlowe.
I shall not have the merit, or the peril, of
standing alone in the assignment to Miss Mar-
lowe's Beatrice of the first place in the list of
her famous Shakespearean impersonations. No-
where else is she equally happy in that modelling
I have mentioned before — that parting and di-
versifying of the speech or sentence which mul-
tiplies profile in relation to substance, and gives
to the whole word-group the crisp contours of a
leaf-edge. The improvement on the textual
Beatrice is unmistakable. The Beatrice who
comes to us via the printer is a determined young
woman who labors at the humiliation of Bene-
dick with a crude energy suggestive of the old-
fashioned pedagogue in the conscientious applica-
tion of the birch. In Miss Marlowe's rendering,
everything is tentative, vibratory, pendulous; in-
tentions last ten seconds : not a phrase but is a
venture, an impromptu, a tempting of providence.
She dallies, she temporizes, with her own thought
and speech. She has wisps of scorn, jets of
vivacity, abrupt despairs, headlong candors, ini-
mitable lassitudes ; she rises into seriousness
without effort or pretense, but she cannot keep the
sparkle out of her tears. Most captivating of all
perhaps are light strokes of melancholy elegance
or pensive poetry scattered with happy daring
and wise parsimony over a surface otherwise al-
most trying in its brilliancy. The splendor of
life is hardly less dominant in the representation
than the iridescence of wit: humor seems but
a spray on the crest 6f joy, and joy itself but a
wave on the shimmering surface of a perennial
and abounding vitality.
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{Continued from page 115)
not amusing sentiment the play would be sordid
indeed, but every time a dollar is mentioned or is
concerned there is something amusing about it.
Abe Potash and Mawruss Perlmutter conduct
a wholesale cloak and suit department. They
have bills coming in that they have to put off.
They have a large correspondence with people
hard to get money out of. They have trouble
with their union workmen. When they change
to more expensive quarters in order to improve
business their comical troubles increase, so that
the bond they have to go on is in danger of put-
ting them out of business. Surely there could
be nothing more comic than that. At all events,
it is very amusing when it happens to Potash and
Perlmutter. When they are in their greatest diffi-
culties they expect to have an interview from
a very wealthy philanthropist, from whom, inci-
dentally, they hope to get some money. A man is
ushered in and received by them with a show of
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adulation. Potash vies with Perlmutter in offer-
ing him cigars, and the scene proceeds until the
man turns to a leather map which he has brought
with him and offers to show them a book which
he is selling. It is needless to say that Potash
again vies with Perlmutter in the attention they
now give to this intruder, who is promptly thrown
out. The next caller is the rich philanthropist.
The momentary doubt upon receiving him is as
deliriously droll as anything in the play. It is
plain to see that Mr. Alexander Carr and Mr.
Barney Bernard have done quite as much to
convert the material into amusing consistency as
either Mr. Montague Glass or the adapter. Alex-
ander Carr and Barney Bernard are true come-
dians. The play is an actor's play. They make
every point. The cast is a good one, having
among others, Joseph Kilgour, Elita Proctor Otis
and Louise Dresser.
COMEDY. "HER OWN MONEY." Play in three
acts by Mark E. Swan. Produced on September
1st with this cast:
Lewis Alden, Sydney Booth; Mary Alden, Julia Dean;
Mildred Carr, Louise Grassier; Tommy Hazleton, Ernest
Glendinning; Harvey Beecher, George Hassell; Clara
Beecher, Beverly Sitgreaves; Rhoda, Maude Durand.
In "Her Own Money," Mr. Swan is not entirely
at his ease in the handling of the case, so that
the play declines, at the end, to the familiar and
conventional sentimental reconciliation between a
man and wife who had been parted by circum-
stances growing out of her attempt clandestinely
to help her husband out of a financial embarrass-
ment with "her own money." The subject of the
play is the right of a wife to have some share
in her husband's money. This wife, chafing
under the requirement that she must always ask
her husband for the money she needs, skimps and
saves out of a weekly allowance the sum of two
thousand dollars. She enlists the services of a
man, the husband of a neighbor, to lend this
money, as if it were his own to the husband.
Misunderstandings and jealousies all around
ensue. The husband finally returns to her, after
he had repaid the money, and after she had
bought a chicken farm with "her own money."
The economical wife is cleverly played by Julia
Dean; the nagging wife, jealous of her own hus-
band who had acted the intermediary, by Beverly
Sitgreaves, a clever and sympathetic actress ; the
husband who reconsiders, by Sidney Booth; the
nagged at husband who lends himself and the
other woman's money, by George Hassell. The
play was a production by Mr. Ames, and staged
by George Forster Platt.
PLAYHOUSE. "THE FAMILY CUPBOARD."
Play in four acts by Owen Davis. Produced on
August 2ist with this cast:
Charles Nelson, William Morris; Mrs. Nelson, Olive
Harper Thome; Alice Nelson, Alice Brady; Kenneth
Nelson, Forrest Winant; Kitty May, Irene Fenwick;
Mrs. Clement Harding, Ruth Benson; Thomas Harding,
Douglas J. Wood; Mary Burk, Alice Lindahl; Mrs. Win-
throp, Irene Romaine; Lawrence Winthrop, Harry Red-
ding; Dick Le Roy, Franklyn Ardell; Jim Garrity, Frank
Hatch; Potter, Wallace Erskine; Telephone Operator,
Louise Aichel; Elevator Boy, Barney Johnson.
Mr. Owen Davis, long successful in melodramas
of the outworn sort, and known to be anxious to
free himself from work of that sort and establish
himself in consideration as an author capable of
better things, has succeeded to the fullest extent
in "The Family Cupboard." It is hardly a play
of significance, although its first purpose seemed
to be a discussion of social and domestic condi-
tions of the day. We first see the family in a
bad way, except for the daughter, who is un-
touched by any of the tendencies belonging to
fashion and money. The wife gives her whole
time to bridge, and is so seldom at home that her
husband does not have any of her companionship,
in consequence of which, not finding a home to
come to after business hours, he spends his time
at the club, and finally maintains an independent
establishment with a vaudeville actress. The son
often stays out all night, and one morning he
comes back home intoxicated. His father re-
proves him, when the boy turns on him and
charges him with having a mistress. His mother
overhears this and the family is broken up.
Therafter, the play concerns the infatuation of
the boy for a girl, who really is the discarded
mistress of his father ; and it is the final rescue
of this boy from his infatuation that really con-
stitutes the play. The story of an infatuated and
foolish boy would seem to be a serious matter,
hardly productive of amusement, but we have a
picture of life so full of character and incidental
humor that it is really comedy. The serious side
of it is not altogether neglected, for the faithful
services of the old family servant, while the boy
is wasting his life in his bachelor quarters, have
moments of very honest sentiment. The comedy
is not objectionable, for it is a revelation of char-
acter and life that does not fail to interest the
audience. The girl, who has misled the boy into
believing that she is innocent, would have en-
trapped him into a marriage if his resources of
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XI
money had not run out. It may be sordid humor,
but her attitude toward him in the varied cir-
cumstances, is so true to life that we are inter-
ested. Her father is a cab driver. Of course, his
deference to his daughter who has got on in the
world is sordid, but nevertheless he is a char-
acter that you have not seen on the stage before,
and you will find his discussion of the competiton
of the taxi diverting. Again, it cannot be denied
that the vaudeville performer with whom the
girl leaves, in order to do a sketch with him on
the "big little time" is an amusing person. Cer-
tainly these three people are immoral, but they
are following their natures, and they are not
aggressively offensive. This character, Dick Le
Roy, is played by Franklyn Ardell. The success
of a play often depends on particular people in
the cast, and Ardell is a fortunate find, of the
sort that managers are always looking about for.
If his tango dancing and ragtime playing were
forced interpolations, his performance would cer-
tainly be ineffective, but he is the very spirit of
irresponsible gaiety. The girl is well played by
Irene Fenwick; the cab driver by Frank Hatch.
The serious part of the play is well acted by
William Morris, as the husband and father, by
Olive Harper Thorn, as the mother and wife,
and by Alice Brady, as the daughter.
CRITERION. "WHO'S WHO?" Farce in three
acts by Richard Harding Davis. Produced on
September nth with this cast:
Lester Ford, William Collier; Cliff Cooper, William
Frederic; "Stumps," B. B. Melville; Bucky Bates, Nicho-
las Judels; Arizona Kid, Geo. White; Judge Holt, Grant
Stewart; Graham Fiske, Edward Lester; Squire Cobb,
C. D. Clarke; Don Quince, John Adam; "Pop" Perry,
Nicholas Burnham; Detective Fallon, Frederick Conklin;
"Tad" Ford, William Collier, Jr.; Aline Ford, Paula
Marr; Sarah Cooper, Grace Griswold; Poly Perry, Leigh
Wyant; Alfalfa Fanny, Dorothy Unger.
In the very nature of the case, with the com-
bination of faculties and energies, a play by
Richard Harding Davis, with the acting and
stage management of William Collier, could not
be devoid of comedy, novelty and effect ; but
"Who's Who?" lacks the compactness and sub-
stance to take its place with the other prolonged
successes of author and actor. The play has its
moments of drollery, but the story of it is con-
fused and insufficient. It would not be easy in-
telligibly to recount the story. A timid tender-
fnot ("William Collier) is living the life of a
cowboy in a Western town, and like many of its
people, is in hiding. His horse and trappings had
been stolen by a train robber, who had been
killed, but this tenderfoot, who was supposed to
have been killed, cannot return to civilization be-
cause of the danger of the penitentiary. He is
induced to return in order to save an attorney
from trouble because of his misuse of funds. The
story here is altogether obscure. The tender-
foot's return to civilization, after a long absence,
brings him into contact with village people, with
amusing scenes, until finally everything is cleared
up. The play is really made up of false situations
which afford opportunities for a great deal of
comedy in minor characters, all of it contributory
to the inevitable and peculiar comedy business of
William Collier. The opening scene of the play
is a novel effect. It is a dance hall in the West-
ern town, where there are moving-pictures and
dancing. The woman who conducts the place in-
sists on it that the tenderfoot shall marry her.
He is too timid to make much resistance, and
when the lawyer comes and makes his proposi-
tion, the tenderfoot is glad of the opportunity for
escape. If it were worth while, many ingenious
effects and situations might be described, but the
play is made up of bits of acting and moments
of comedy, amusing business and bright lines,
the whole not affording a real play.
LONGACRE. "ADF.LE." Musical comedy in
three acts. Book by Paul Herve, music by Jean
Briquet, English version by Adolf Philipp and
Edward A. Paulton. Produced on August 28th
with this cast:
Baron Charles, Hal Forde; "Robert Friebur, Craufurd
Kent; Henri Parmaceau, Will Danforth; Alfred Friebur,
Dallas Welford; Jacques, H. C. Bradley; Louis Papricot.
Michael Ring; Gaston Neuilly, E. H. Barlab; Arrnond
Cartouche. Henry Ward; Francois. Charles Frye; Pierre,
Edward Woster; Adele, Natalie Alt; Mme. de Neuville,
Georgia Caine; Babiole, Edith Bradford; Violette, Jane
Hall; Gerrnaine. Betty Brewster; Gabrielle, Grace Wal-
ton; Faustina, Jane Warrington; Therese, Estelle Rich-
mond; Pauline, Helen May; Henrette, Edna Doddsworth;
Georgette, Alice York.
The management of the Longacre Theatre an-
nounces that it has in reserve a series of musical
comedy productions. They are not likely to be
needed, for, unless all signs fail, "Adele," the
present offering, should run out the season. New
Yorkers are accustomed to the transplanted Eng-
lish piece of this description with its interpolated
Metropolitan colloquialisms. They have been
fairly inundated with the Viennese school since
Lehar's phenomenal success with "The Merry
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Xll
THE THEATRE MAGAZINE ADVERTISER
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Widow." Now it has something different to deal
with. France is responsible for the score of this
new piece in the person of Jean Briquet, whose
melodic accompaniment to the action of "Alma,
Where Do You Live?" is gratefully remembered.
M. Briquet has great faculty of composition. His
themes are not only musical in value, but are
worked out in a neat workmanlike manner. He
is almost Mendelssohnian in his orchestral treat-
ment. Strings and wood winds he uses almost
to the total exclusion of the brass. The score
of "Adele" is most grateful to the ear. In fact,
the whole production is one of the neatest,
daintiest, prettiest and satisfying that the local
hoards have staged in many a year. There is no
horse play. The comedy is legitimate and works
naturally out from the action of the piece. There
is dainty sentiment and a plot which may be
summed up in the two lines : "he fell in love
with his wife" and "she fell in love with her hus-
band."
The son and daughter of two rival manufac-
turers are in love with each other, but meet the
usual parental opposition. It is arranged that
Adele shall marry the Baron de Chantilly, secure
a divorce; being then independent in the eyes of
the law, she may then marry the man of her
heart, Robert Friebur. So far so good, but the
ceremony celebrated, Adele and her new husband
do not find it so easy to part.
Adolf Philipp, the German comedian, and Ed-
ward A. Paulton are responsible for the English
book founded on the original by Paul Herve;
while Ben Teal has staged the piece with that
artistic originality and finish that so marks his
work. The sartorially impressive Arthur Weld
conducts.
There is a real operatic find in Miss Natalie
Alt, who plays the title role. Not only is her
singing excellent, but her acting most finished.
'I hen, too, she has youth, beauty and refinement.
Hal Forde is equally good as the Baron. Robert
is nicely played by Craufurd Kent, and Georgia
Caine enacts with authoritative ease and distinc-
tion Mme. de Neuville, a Parisian exotic. The
bourgeois fathers are most amusingly presented
by Will Danforth and Dallas Welford. Then
there is a feminine chorus. Only eight of them ;
but each a star in the firmament of pulchritude,
gowned with becoming richness and taste. The
admiration of the men, the envy of the women.
NEW AMSTERDAM. "SWEETHEARTS." Op-
eretta in two acts. Music by Victor Herbert, book
by Harry B. Smith and Fred de Gresac, lyrics by
Robert B. Smith. Produced on September 8th
with this cast :
Sylvia, Christie MacDonald; Dame Paula, Ethel Du
Fre Houston; Lizette. Nellie McCoy; Clairette, Cecilia
Hoffman; Babette. Edith Allen; Jeanette, Gertrude Rudd;
Toinette, Gene Peltier; Nanette, Gretchen Hartman;
Mikel Mikeloviz, Tom MacNaughton; Franz, Thomas
Conkey; Lieutenant Karl, Edwin Wilson; Hon. Percy
Slingsby, Lionel Walsh; Petrus Van Tromp, Frank Bel-
cher; Aristide Caniche, Robert O'Connor; Liane, Hazel
Kirke; Captain Lourent, Briggs French.
Star and management are often feazed by a big
success. To find a successor to something which
has satisfied both press and public is not always
an easy matter. So it was that Messrs. Werba
and Leuscher had to bestir themselves to find a
suitable medium for the display of Christie Mac-
Donald's engaging qualities when "The Spring
Maid" had outlived its usefulness. Victor Her-
bert was the composer called upon to equal Rein-
hard's beautiful and bewitching score while the
ubiquitous Smiths. Harry B. and Robert B., aided
and abetted by Fred de Gresac (Miss Victor
Maurel) were called upon to furnish an entertain-
ing and picturesque book. "Sweethearts" is the
title of this new combination, and, by-the-by, why
should Gilbert's classic be robbed of its name?
Still, it is not necessary to worry on that score,
for that little idyll of youth and age will long
outlive the new production at the New Amster-
dam Theatre.
Herbert never fails to provide a score that is
not interesting. The present one is considerably
above his melodious average. It gives evidence
of loving and careful composition. It is har-
moniously tuneful throughout and orchestrated
with particular ingenuity and comprehensive de-
tail. It has a waltz refrain that is particularly
haunting and some numbers, especially the finale
to the first act, that is almost grand opera in its
ambitious quality. But both score and book are
too long. Each one benefit by liberable excision.
Miss MacDonald has a role that suits her en-
gaging personality to the utmost. It is that of
Sylvia, an adopted daughter of a Dutch laundress.
The girl was found as an infant in a tulip bed.
Of course, she is a Princess and the efforts of a
quartet, in the know, to profit by this informa-
tion provides most of the plot and comic action.
Then, of course, there is a real Prince, who
finally wins her hand and there you have the
romantic interest. Nothing startliiigly new, but
serviceable and effective. The production is
beautifully lavish and rich; the stage manage-
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THE THEATRE MAGAZINE ADVERTISER
Xlll
ment capable and the chorus a combination of
pretty women and good-looking men, who can
and do sing with vocal skill and fine volume of
tone. The comic honors fall to Tom McNaugh-
ton. whose dry methods find ample outlet as
Mikel Mikeloviz. McNaughton is a finished fun
maker. At times he is screamingly funny. There
should be more of him. Lionel Walsh as a silly
ass deserves high praise for his rendering of
/ Don't Know How I Do It But I Do, and a
very volatile and graceful Lieutenant is acted,
sung and danced with admirable skill by Edwin
\Vil<on. Thomas Conkey sings the Prince. He
has a nice voice and a presence which fits well
the royal requirements.
GLOBE. "THE DOLL GIRL." Musical play in
three acts by Leo Stein and A. M. Willner;
music by Leo Fall; English book and lyrics by
Harry B. Smith, founded on a comedy by A. do
Caillavet and R. de Flers. Produced on August
251)1 with this' cast :
Marqirs de la Tourelle, Richard Carle; Tiborius, Rober
Evett; Romeo Talmi, Will West; Buflton, Charles Mc-
Naughton; Daudalon, Ralph Nairn; Marcel. Carl C. Judd;
Pierre, Victor Le Roy; Rosalilla, Hattie Williams; Mmc
Prunier. Cheridah Simpson; Yvette, Dorothy Webb;
Mile. Poche, Emily Francis; Madame Merlin, Clara Eck
Strom; Madame Bichon, Letha Walters; Mme. La'irent.
Marion Mosby; Toto, Veronique Banner; Heloise, Veoln
Harty; Cora. Florence Brodbelt; Belle, Helen Dudley
Francine. Barbara Bel Babas; Suzette, Alice Palrrcr:
Lily, Lilian Leroy; Perinne, Edith Hardlow.
'J heatregoers seeking a clean, wholesome show,
with tuneful music, pretty girls, plenty of comedy
and several clever people to put these things over.
will find "The Doll Girl," at the Globe Theatre,
to their liking. The score, by Leo Fall, is gay
and lilting, and ripples with delightful melody;
the librettists, Messrs. Leo Stein and A. M. Will-
ner, have devised a plot that affords pleniy of
opportunity for the principals. There is nothing
stnkingly new in the story which has lo do with
a little French country maiden, her doll and an
aristocratic swee'heart. After a series of ad-
ventures caused by the interference of the latter's
rascally uncle, the lovers finally triumph in the
conventional manner, but the piece is so bright,
so full of clever fooling, so well presented, that
it cannot fail to please.
Miss Hattie Williams is excellent as the
Spanish actress who. in love vvith a flirtatious
marquis, assumes various disguises to test his
faithfulness. She is particularly felicitous in her
song. Come on Over Here, one of the catchiest
numbers of the piece, and also in a love scene
with the marquis which is so strenuous an exhibi-
tion of genuine affection, that the poor victim
cries out: "This isn't love, it's massage!" Mr.
Richard Carle, as the marquis, ambles through
the piece in his own inimitable manner. Dorothy
Webb plays with vivacity the part of the doll
girl, and Robert Evett as Tiborius, the love-sick
young nobleman, acts well, and sings even better.
Cheridah Simpson makes the most of her part as
Madame Prunier, the doll girl's aunt, and deserves
praise for her commendable singing of Now and
Then. Will West is funny in the role of a
theatrical manager.
CASINO "LIEBER AUGUSTIN." Operetta in
three acts by Leo Fall ; American version and
lyrics by Edgar Smith. Produced on September
6th with this cast :
Jasomir, Arthur Cunningham; Sigiloff, Wilmuth Merkyl;
Anna, Grace Field; Marguerita, Vera Dunn; Gretchen.
Peggy Caudrey; Ursula, Mona Sartoris; Lisbeth, Edn?
Stillwell; Juro. Frank Farrington; Bogumil, De Wolf
Hopper; Augustin Hoffer, George MacFarlane; Princess
Helen, May De Sousa; Captain Pips, Viola Gillette:
Prince Nikola, Fred Leslie; Clementine. Roszika Dolly;
Col. Burko, Jack Evans; Mattoeus, Wilmuth Merkyl.
With such favorites as De Wolf Hopper and
fiforge MacFarlane heading the cast, it would be
impossible for any operetta to fail in arousing the
enthusiasm of an audience. Add to this a tuneful
score, and the elaborate staging and beautiful
costumes characteristic of a Shubert production,
and the present vogue of "Lieber Augustin" is
fully accounted for. Of the book not so much
can be said. The story is as conventional as that
nf most musical pieces. It has to do with the
romance of an impoverished princess and a man
of lower station. The solution to the problem
suggests itself from the beginning, which, almost
identical with Gilbert and Sullivan's "Pinafore."
is traced back to a mix-up of babies. De Wolf
1 f onper as Bogumil, uncle to the Princess, plays
with his usual delicious humor, and is funniest
when he departs from his given lines. George
MacFarlane sings well, and May De Sousa is
pretty and dainty as the princess, while a word
"f [iraise is due to Grace Field and Roszika Dolly.
The music, by Leo Fall, is pleasing and contains
several numbers of insistent melodiousness.
LYRIC "WHEN- DREAMS COME TRUE." Mu-
sical comedy in three acts. Book and lyrics by
Hiiliji I'artholomae. music by Silvio Hein. Pro-
duced nn August i8th with this cast:
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F*RIEJVDSHIT
(A Nameles* Sentiment)
With a Preface in Fragments from STENDHAL
Translated from 1h* Fnneh by HBM"Ky PEJVE T>V "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 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, f 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
» «o 14^ West 38th Street. New York
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XIV
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Sailor, Thomas Aiken; Hermann, Otto Shrader; Sara-
noff, Saranoff; Mrs. Hopkins-Davis-Story, Ann Mooney;
Hercules Strong, Edward Garvie; Kean Hedges, Joseph
Santley; Beth, Marie Flynn; Mrs. William Smith, Amelia
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What a wonderful thing is youth! Few can
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represents juvenilia in its most advanced form.
Joseph Santley, a clever, good-looking young man.
plays the part of Kean Hedges, a rich man's son,
who has squandered all his money in Paris on a
dancer. His home-coming in the steerage of an
ocean liner gives occasion for an effective open-
ing scene. Here, among the haughty first cabin
passengers, Kean sees his dream-maiden. She
gets tangled up in a smuggling scheme, innocently
of course, is vindicated through the efforts of the
hero, spends the night in his rooms while he is
busy dodging a detective, appears the following
morning before his astonished family and is
passed off by Kean as his country cousin, who is
expected to arrive that day. Meanwhile, the real
country cousin, grotesquely and delightfully
played by the inimitable May Yokes, is projected
into the scene, and the confusion that follows is
relieved by the introduction of numerous songs,
dances and comedy bits. The atmosphere eventu-
ally clears amid a profusion of "Bless you my
children," wedding bells, and — tango. Besides the
featured players, Joseph Santley and May Yokes,
special mention is due to Marie Flynn, whose
charming singing is one of the pleasant bits of
the piece, and to Anna Wheaton and Donald
MacDonald, who act and dance with vivacity.
Edward Garvie, as the "suspicious" detective,
puffed through the piece with explosive sighs that
suggested a steam engine. The music, by Sylvio
Hein, is particularly good — especially the Dream
Song, which promises to become one of the popu-
lar "hits" of the season. In the song, Come
Along, Come Along, to the Movies, Dear, a hu-
morous and original bit of pantomime is intro-
duced.
HIPPODROME. "AMERICA." Conceived by
Arthur Voegtlin, music and lyrics by Manuel
Klein, drama by John P. Wilson. Produced on
August 30th with this cast:
Macklin Haywod, Albert Froome; "Slippery Sam"
Croker, James Redman; Lieut. Frank Forsythe, W. C.
Reid; Captain Wilkes, H. L. Jackson; Vivian Phillips,
Maybelle McDonald; Jason Sellers, Felix Haney; A
Yokel, Harry La Pearl; Sallie Perkins, Nellie Doner;
Lucy Mortimer, Elsie Baird; Samantha Stubs. Irene
Ward; John Strong, John Foster; Detective Scalds, Jack
Warren; John, E. P. Parsons; Mrs. Beacon-Hill, Mar-
garet Crawford; Train Caller, Alex Craig; Professor
Strunz, Harold A. Robe; Columbus, George Adams;
Indian Chief, Sa Ko En Te Tha; Mandy, Mina Chap-
man; Flash Negro, John Fleming; Mammy, Stanley Fer-
guson; Barber, Spook Hanson; American. Tommy Mul-
lins; Con Carrie Vendor, Angel Barbara; Shellfish Ven-
dor, Harry La Pearl.
Each new season the amusement seeker looks
forward expectantly to seeing a splendid show at
the Hippodrome, and he is never disappointed.
Certainly this year he has no reason at all to
wish for his money back. From first to last,
"America" is a most satisfying spectacle. Devised
by Arthur Voegtlin with music and lyrics by
Manuel Klein, the show begins with a fine tableau
depicting the landing of Columbus, and then, with
a quick shift, we are brought right down to the
present day, the scene showing the new Central
Railroad Station at the height of the rush hour.
Again the scene changes, this time to a New
England farm, with its peaceful rural pictures and
quaint country types. From here we are whisked
down to New Orleans, and shown levee life in
the metropolis of the cotton belt. Then on to
San Antonio, the public plaza of the Historic
Alamo. From here the dazed spectator is hurried
back to the New York slums, where he assists at
a sensational "fighting the flames" amid the great
variety of characters found in a typical East Side
street. Again the scene shifts, this time to
Panama, where huge steamships are seen gliding
majestically through the canal, and so on to the
final Grand Tableau, where patriotic feeling is
stirred by the singing of America. It is impos-
sible in a brief space to do entire justice to this
spectacle, which must be seen to be appreciated.
FORTY -EIGHTH STREET. "Kiss ME
QUICK." Farce in three acts by Philip Bartholo-
mae. Produced on August 26th with this cast :
Gladiola Huntley. Helen Lowell; Gardener, J. J. Sam-
brook; Billy Hopkins, Frederic Santley; Edward Hunt-
ley, Richard Taber; Bailey, Robert Kelly; Butler, Charles
Ashley; Marie Huntley, Emily Calloway; Bailey, Robert
Kelly; Sally Swift, Louise Drew; Pinkie, Laura Laird;
Claypoole, Edward Kummerou; Clara, Mary Hastings;
Nellie, Migno McGibeny; George, Eugene Bottler;
Joe Randall, Arthur Aylesworth; Ola Primrose.
Mr. Bartholomae's "Kiss Me Quick" gives
much evidence of haste in the writing. The play
itself is not of consequence. It concerns the half-
serious complications that arise after a moving-
picture actor and his sweetheart are admitted to
the house and when the spinster falls in love
with the wandering actor.
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
THE THEATRE MAGAZINE ADVERTISER
xv
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Theatre Magazine
In a Handsome
Big Ben Binder
YOUR THEATRE MAGAZINE bound
in a BIG BEN BINDER makes an attractive
additional volume for your library.
Back of cover locks tight over metal post to whirh each maeazinr it attached
The BIG BEN BINDER is the only binder that
gives the appearance of a regular bound book.
The covers are of cloth, strong and durable, with the
name "THEATRE MAGAZINE" stamped in large
black letters on the back and front.
No punching of holes necessary. Just a pen-knife slit
between the pages through which to insert the metal clips.
Quick and easy.
Each binder holds one volume or six numbers of
THEATRE MAGAZINE.
Single Binder . . $1.25 prepaid
Two Binders . . 2.25 prepaid
These linden are in great demand, so send In
your order at once to avoid delay.
The Theatre Magazine
*.•*»..,..«„ p.....
, . ,,r oo.l C-. . HI ir 1 /I'. Tongue extends through back of book
8 to 14 West 38th Street, New York City with hoi. ,« .ud. «„ Po.t.
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
XVI
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 Price, $18.00
" " " " 1904 " 12.00
' 1905 " 10.00
' 1906 " 9.00
" 1907 " 8.00
1908 " 7.00
" ' ' 1909 2 vols. " 7.00
1910 2 vols. " 7.0O
" " " " "1911 2 vols. " 6.50
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
THE occasional rumbles
of thunder that have
occurred during the
past eight months were the advance guard of the storm that is
shortly going to shake the very foundations of the Paris theatri-
cal world. It would seem heresy to write or say anything
against the Comedie-Frangaise, but like many other ancient insti-
tutions, this histrionic organization of famous players has served
its purpose and the sooner it is cast into the limbo of the past
the better for the future of the French drama.
"Autre temps, autre moeurs!" The members of the younger
school of dramatists — and even the efficient members of the
older school — are handicapped by the bogey of the Theatre Fran-
gais and are driven to write with one eye on the foreign market,
meaning the United States and England. Time was when the
best and the best only was to be found at the Frangais, and even
to-day, for the production of the classics, they have no equal,
but now there is nothing but the wearisome repetition of weak
plays interpreted by actors and actresses who are approaching
the sere and yellow. Jules Claretie, the director of the Frangais,
is a septuagenarian.
Some twenty-five years ago, when the French drama was
already in a stagnant condition, there was a sudden upheaval in
crop of plums is smaller
and Parisians themselves
have to be content with a
rehash of the old successes. There are, perhaps, three dramatic
authors to-day whose plays uphold the traditions of the French
stage, but their plays are untranslatable, or, if adapted, lose any
charm that they possessed. Whenever this is attempted, the
result is usually a ghastly failure ; it is like trying to transfer to
canvass the bloom on a butterfly's wing. It cannot be done, and
that is the real reason for the failure of the translated play in
the United States and in England.
The younger authors, such as Bernstein, author of "The
Thief," etc., whose reputation is now world-wide, stand apart
from the Comedie-Frangaise, but even Bernstein's latter plays
lack the vitality of his earlier work. It is the mixing of Com-
mercialism with Art that is ruining the French theatre. To take
Bernstein as an example : When he wrote "Le Secret," his latest
play, he was not satisfied with the terms offered for its produc-
tion, so he rented a theatre and produced it himself. The experi-
ment was not altogether successful, but the play has been secured
for the United States. It may be asked in what way the Frangais
is responsible for the decline of the French drama. The
Theatre Frangais receives State support and the reason for its
White
SCENE IN "LIEBER AUGUST1N," NOW BF.INC, PRESENTED AT THE CASINO
Paris theatrical circles. It savored of a revolution. A young
man, energetic, unafraid, himself a good actor, broke away from
tradition, and gave Parisians plays they wanted to see — plays
with a "punch" as well as literary merit. His name was Andre
Antoine, and, immediate success attending his efforts, he founded
the Theatre Libre. The earnest students of the drama — and in
Paris they are legion — flocked to this theatre. No sooner was
the position of the Theatre Libre an assured one, when the
Odeon snapped up M. Antoine, and made him manager. The
position oi the Odeon in those days was much the same as that
of the Frangais to-day, but M. Antoine quickly galvanized it into
a real full-blooded producing house, not only for the intellectual
plays, but for dramas that reflected the multiple phases of modern
life. Unfortunately, this state of things did not last very long;
gradually the standard was lowered and to-day the position of
the Odeon is only slightly better than its twin State-supported
theatre.
To-day the French stage is in a state of dry rot. The fault
is not with the public, who only ask for plays worthy of being
seen; it is rather with the managers themselves that the fault
lies. For some reason or other, both the American and the
English managers have made it a custom to visit Paris at least
once a year for the purpose of buying plays for adaptation.
Some fine plums, undoubtedly, have been picked in Paris, but
now that the Parisian managers dress the theatrical window for
the express purpose of attracting the foreign impresario, the
existence is that it is the nominal home of the drama. Once
upon a time this may have been true, but the Frangais has re-
fused to advance with the times and the salaries accorded to its
"pensionnaires" are below those paid actors in other theatres. In
addition, and more important, new authors do not receive fair
treatment. It is perhaps futile to say more under this heading,
but over twelve plays accepted by the Frangais have been with-
drawn by the authors and several of these have been, and others
will be, produced at other theatres. This does not show a very
healthy state* 'of things.
For some time there has been something like mutiny in the
camp of the 'Iheatre Frangais and the departure of Le Bargy
was only the beginning of the debacle. If the Frangais is to
fulfill its destiny it should not be in competition as it is with
other theatres, but the Spirit of Commercialism has, for some
time, been knocking at its door. To-day the door is opened wide
and Art creeps away to hide her head.
In short, the constant attempts on the part of foreign managers
to find "winners" in Paris has had a bad influence on all French
production. The foreign managers only require plays by French
authors with a reputation ; the name is but a bait to catch the
travelling- buyer of plays. On the other hand, the French au-
thors themselves no longer try to write up to their former stand-
ard. Their sole preoccupation is to construct a play that will
bring in fat royalties from across the seas.
HARRY J. GREENWALL.
Suggestions for the Winter
gladly answer any inquiry, giving names of slwfs where these articles arc shown or sold.
Address THEATRE MAGAZINE, 8 West 381/1 Street, Nerv York.
THE SATSUMA MORN I KG BLOUSE
Here a new note is strong in the plainer
blouses. What could be more novel than
itie "hook and eye" arrangement which is
both useful and decorative. The collar is
another noteworthy feature, and for niui'it-
ing wear the long sleeves are in c.rcL-licnl
style. Price, $8.50, in white over flesh
color, navy over white, black and while,
or all black.
IN THE INTIMACY OF HER
BOUDOIR
The dainty woman is at her loveliest.
This adorable lounging robe in crepe
de chine has an entire freedom from
all lines of pressure being cut straight
with sloping side seams. The sleeve,
revealing the arm, has an overhanging
"angel" effect, and is trimmed, as is
the entire gown, with ecru Valenciennes
banding in exquisite design. In white,
pink, blue, lavender, or any color,
specially priced at $13.75. Although
not essentially a maternity gown it is
an excellent model for one.
A SAFE AND SANE SYSTEM FOR REDUCING.
A slender figure is prized above rubies these days of tango
teas and trotteries, and while these dances undoubtedly help
greatly in keeping the body supple and slender, yet many
women need the assistance of some science in retaining the
proportions of youth after the years of discretion have been
reached. Dieting is a martyrdom few of us are strong-minded
enough to endure, and now that there are on the markets gar-
ments which are made for the purpose of attaining the same
result, there need be no further question of denying one's self
the flesh pots of Egypt. Dieting results only in a general
debility and in thinning all parts of the body, which is not
always to be desired.
Medicated rubber garments of the purest Para rubber, or
made from strong rubber elastic webbing, can be had for all
or separate parts of the body, and are to be worn while exer-
cising, in the Turkish bath or while sleeping, or may be, if
desired, worn with or without corsets when one is gowned.
No safer or saner method of reducing was ever devised, for
not only do they reduce the flesh exactly where required by
means of inducing a profuse perspiration, but stimulate cir-
culation and eliminate waste products through the pores, and
by so doing relieve rheumatism and many other ills that flesh
FOR THE AUTUMN TRAMP
THROUGH THE WOODS
A sportsmanlike suit of corduroy, in
gray, green or beaver, with practical
skirt and nobby Norfolk with con-
venient patch pockets. Good style and
value at $30; or in Scotch tweed in
heather mixtures for $35.
Tyrolean hat of corduroy, with gay and
jaunty feather, $3.50.
Tramping shoes, 6 J^ inches high, of
brown calf; a necessary accompaniment
both for style and comfort, most rea-
sonably priced at $6.76.
FOR THE DAILY WALK
Jacquard brocaded cloth is the material
used for this smart three-quarter model,
which makes a special appeal for mater-
nity wear, as it is cut loose with
straight back, overlapping at side where
buttons are cleverly introduced. Collar
and cuffs are of silk mirrored brocaded
plush. A messalvne lining is used in
either the material mentioned or in the
basket weaves, fine broadcloths and
heavy twill serges in which this model
may also be had in practically alt colors
at the satisfying price of $10.75.
THE "LE BRU\" INFLUENCE IN
BLOUSES
Is felt tn all new models for Fall-^-as
well as in jieckwear. Here is a blouse of
black Chant Hi y lace over white chiffon
doth. «r if one prefers, in nuvy Chant illy,
having a double imperial frill, White
chiffon frills also finish the elbow length
sleeves, and this dainty feminine ijiii'insnt
sells for $1(1.
I
WHEN CL O UDS GA THER AND
WINDS BLOW COLD
What smarter than a conventional Eng-
lish top coat in rough tweed. The
coat shown is in excellent style coming
in imported proofed tweed in ffray,
brown and green mixtures. The raglan
or set-in sleeve and the slash pockets
are features worth mentioning, as is
the price of $30. In rubberised tweed
at $22, it is a most attractive rain coat.
This coat is not only durable, but
suitable for all figures and is in good
style for motoring, steamer wear or
ordinary usages.
Names of shops where the costumes shown on this page may be purchased will be furnished on request.
Address THE THEATRE MAGAZINE, 8 West s8th Street, New York City.
THE THEATRE MAGAZINE ADVERTISER
xix
Rubber-soled golf boot, supports
the arch — affords plenty of room
for the toes, insures the greatest
comfort. A toe-piece of leather pro-
tects the sole and allows the use of
hobnails.
507
Black Russia walking boot — thor-
oughly serviceable walking boot
made fcv our custom men — in a
true custom manner. Cut from se-
lected Russia leather. Two-inch
military heel.
Kid top patent leather walking
boot. In constructing this hand-
made boot the choicest skins hare
been cut. It is distinctive in hav-
ing no tip and the half French heel.
Write for new illustrated catalogue
Broadway at 25th Street, New York
LATEST
?//
CREATION
A LATEr DEBUTANTE — SOCIETY'S LEADER. NOW!
Xeoduui lodif
<^^ PAR-FUM ' "^i S
CREATED A
WONDERFUL
SENSATION
ACHIEVED
INSTANTANEOUS
FAME
PARFUM ON SALE AT HIGH CLA53 DEALERS EVERYWHERE
"The Crowning Attribute of Lovely Woman is Cleanliness"
The ToeE-dressed woman blesses and benefits
herself — and the world — for she adds to its joys.
Naiad Dress Shields
add the final assurance of cleanliness and sweetness.
They are a necessity to the woman of delicacy, refine-
ment and good judgment. NAIAD DRESS SHIELDS
are hygienic and scientific. They are absolutely free
from rubber with its unpleasant odor. They can be
quickly sterilized by immersing in boiling- water for a
few seconds only. The only shield as good the day it
is bought as the day it is made.
Made in all styles and sizes to fit every requirement
of Woman's Dress.
At stores or sample pair on receipt of 25c. Every pair guaranteed.
The C. E. CONOVER CO., Mfrs., 101 Franklin St., New York
How to
arouse a
sluggish
skin
Just before retiring, wash
your face and neck with
plenty of Wooclbury's Facial
Soap and hot water. If your
skin has been badly neg-
lected, use a flesh brush,
scrubbing it for about five
minutes until the lather
makes it feel somewhat sen-
sitive. After this, rinse well
in warm, then cold water.
Now rub your skin five min-
utes with a lump of ice.
Woodbury's Facial Soap
is the work of an authority
on the skin and its needs.
This treatment, while it
cleanses the pores, brings
the blood to the face and
stimulates the fine muscular
fibres of the skin. You can
feel the difference the first
time you use it.
Woodbury's Facial Soap costs 2$c. a cake,
price after their first cake.
Try
this Woodbury
treatment to-night
No one hesitates at the
Woodbury's Facial Soap
For sale by dealers throughout the United States
and Canada
Write today for samples
For 4c. we will send a sample of Wood-
bury's Facial Soap. For Ivc., samples of
Woodbury's Facial Soap, Facial Cream and
Facial Powder. Address the Andrew Jcr-
gens Co., Dept. F-4 Spring Grove Ave.t
Cincinnati, Ohio.
In Canada, address the Andrew Jergens
Co., Ltd., Dept. F-4, Perth, Ontario.
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
THE THEATRE MAGAZINE
. . :.
V- S&^^A/ - I • .-.•••:•• i.» VS. ._=
^4 FAIRY GOWN FOR THIS DAKSEUSE
A dancing frock for the debutante that is of /air;1
texture, and coloring being developed in chiffon with
beaded tunic. ' The skirt clears the floor, and is
finished with a fringe of beads permitting fascinatinj
glimpses of silken ankles and satin-shod feet. A
frock for misses and small women in all colors of
the rainbow, at $29.50.
is heir to. These claims can be substantiated by
your physician, who will tell you that there is no
better way of reducing superfluous flesh than b>
perspiration
For those who cannot or do not go in for vio-
lent exercise, these garments may be comforta-
bly worn at night with gratifying results. They
are medicated by a private formula of a very
eminent physician, who is the inventor and pat-
entee, and are made to measure at prices that are
within the reach of all. Besides, the jackets of
various lengths, girdles, some of which are ex-
cellent substitutes for corsets, union suits and
bath robes, there are gloves, stockings and in-
genious devices, such as face masks, head bands,
which are excellent for removing wrinkles, and
chin straps, the latter as low as $2.
Men as well as women are benefited by these
remarkable garments.
A DIP IN THE FOUNTAIN OF PERPETUAL YOUTH.
Time was when the practice of visiting a
beauty specialist was resorted to in secret, but
now that hygiene is so widely preached and prac-
ticed, women have at last the courage of their
convictions and go openly to the beauty specialist,
knowing that scientific beauty culture is not a
luxury merely, but a duty and science, and com-
monsense tells us that we must care for and cul-
AN INNOVATION— THE FOUR PIECE SUIT
A decided novelty is a four piece suit which we il-
lustrate. It consists of a cutaway coat of Cheviot,
bound with braid, a smart plaid rest, two plaid skirts
of ultra fashionable line, one plaid and one of Cheriot,
matching the coat. The result is not one but two
smart street costumes for $35,
1 he rest is fashion's latest caprice and one to be
reckoned with when the tailor-maid goes forth to
conquer.
.-) rii.isAXT nisi'Eii is A
FEATURE
In this clever blouse of chiffon cloth,
over net with hemstitching introduced,
and crystal buttons in floral design.
A fascinating glimps of lace is caught
under the chiffon and extending over
the shoulders. Price $7.60.
WHEN THE STORK HOVERS
OVER THE HOUSEHOLD
A woman longs to retain her grace
and charm. This lovely gown in either
black, blue, taupe, wistaria or white
crepe de chine, at $44.76, is an in-
vestment she will never regret, for so
skilfully are the draperies manipulated
that one is attracted to the gown for
general usage as well. The elongated
panel effect hangs entirely free from
an expanding belt, and bright touches
of Oriental silk plush are used as
trimming.
O I 'ER THE TEA CUPS
The hostess has added charm who is
arrayed in this adorable gown of crepe
de chine and lace, relieved with touches
of hand embroidery; a most wonderful
gown for the matron who is not goiny
about as much as usual. The em-
broidery is lovely in either self or con-
trasting shades, and the gown in all
colors is a wonder for $34.75. Particu-
larly smart is the cut of the train and
the chic arrangement of ribbon loop
cin!in(j the panel.
A YOUTHFUL SUGGESTION
There is nothing severe about the
gracefulness of this model, which may
be had in serge, broadcloth, IT I our,
ribbed veli et and the fascinating new
pcaii de freche, well-named, since its
resemblance to the skin of a peach is
obvious. Bands of skunk make a
smart finish for neck and wrist. The
coat with its clever vest suggestion is
belted across the back, and the skirt,
cleverly draped, is strapped in at the
knees.
of shops where the costumes shown on this page may be purchased will be furnished on request.
Address THE THEATRE MAGAZINE, 8 West $8th Street, New York City.
THE THEATRE MAGAZINE ADVERTISER
XXI
SILKS
This Silk Creed ap-
pears on the wrapper
of every piece of
Migel-Quality Silk:
"To see a little further
into Fashion's future ;
to dig- a little deeper for
quality production ; to
know no mean between
right silks and wrong
silks ; to be satisfied
never with good enough
but always to supply
even better than the
customer expects."
A Migel-Quality Silk
for Every Occasion:
Indestructible Voile
Tango Crepe
Pussy Willoita Chiffon Crepe
Kismet De Luxe
Egyptian Crepe
Illustration : Evening Gown of
Migel-Quality Egyptian Crepe
Created for the American
Fashion Show, New York.
For Sale at the Class Stores.
M. C. MIGEL & CO
The New Silks First
Fourth Avenue at 20th Street
NEW YORK
BUILT FOR
YOUR
FIGURE
Trad.
Mark
I KLOSFIT PETTICOAT I
ia a sure aid. to an
attractive form-
it s the one really
perfect fitting
petticoat — never a
•wrinkle — always
smooth as a glove.
Meeds no alterations.
Messaline and Silk Jersey, $5.00
Cotton at $1.50, upwards
AT ALL STORES
Jfranfclfn Simon & Go.
Fifth Ave., 37th and 38th Sts., N. Y.
Misses' Winter Coat
Sizes 14 to 20 Years
No. 89. FUR TRIMMED COAT of Imported Boucle
cloth, in taupe, navy or brown, with handsome collar
of mole coney fur, also black with collar of French
seal fur, semi-loose fitting model, revers of material,
(can be buttoned to neck), deep cuffs, patch pockets,
fancy bone buttons, lined throughout with satin,
29.50
Fall and Winter Fashion Book
"CORRECT DRESS"
Mailed oat- of -town upon application to Dept. " 7"
"Penny Wise and Pound Foolish"
applies to the woman who will spend a pretty sum
on her Fall apparel, yet will hesitate at 35 cents
for the advice of French fashion experts.
To get the most out of your Fall investment — to be
absolutely sure that you are choosing the "correct",
consult first the October Number (November
Fashions) of L'Art de la Mode — now out.
All ncwittandi or from the publishers : : 35 cenli » COPT
L'ART DE LA MODE, 8-14 W«l 38th St., New York
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
xxn
THE THEATRE MAGAZINE
tivate our bodies as we
do our minds or our
worldly estates.
Just at this season the
ravages of the Summer
sun leave much to be
overcome. The long ex-
posure to wind and
weather has helped our
bodies and has developed
our souls, but chances are,
our complexions have
suffered and our skins
need a tonic, which will
make it able to stand the
sudden changes from hot
rooms to cold winds and
resist sun and all the
troubles of a variable
climate. An excellent
tonic is put up for $5.
$2 and 7sc. per bottle,
according to size, or may
be purchased by the half
gallon at a proportionate-
ly lesser figure. This
tonic is to be used instead
of water, and not only
strengthens the skin, but
also whitens it and elim-
inates the puffiness which
is formed under tired
eyes.
A JENNY MODEL
A reproduction of a Jenny
model losing none of the ultra
fashionable lines of the origi-
nal. The material used is the
new and lovely velour de laine.
Brick red or terra cotta, the
new snuff and leather browns,
olive, navy and black may all
be had for the modest price
for so exclusive a model as $65.
A dip in the Fountain of Perpetual Youth could hardly have
icsulted in more marvellous transformations than may be obtained
by the use of a muscle-developing oil which removes disfiguring
lines from the face as if by magic and fills out unsightly hollows.
The result is rejuvenation, and a skin healthy, firm and altogether
desirable for the expenditure of $5, $2.50, or even a dollar, ac-
cording to the size of the bottle.
There is also a most refreshing cream, whose secret comes from
the East, where the cult of beauty is so devoutly followed, that
may be used with the muscle-developing oil.
This cream is made up to suit the different re-
quirements of the individual.
THE CHARM OF DE MEDICI
Is repeated again in this lovely
blouse of Point d'Sprit, having
a collar of the de Medici period,
with under collar and cuffs of
satin. Crystal buttons natur-
ally suggest themselves as trim-
ming. The price is $5.50.
among these being the
material from which they
are made. A fabric which
is pliable and yet which
has sufficient strength to
support the body has
long been sought and at
last been found. It is a
material of silk-like rich-
ness, and has the pliabil-
ity of the Tricot weaves,
but will not stretch or
pull out of shape.
For the stout woman
this means luxurious com-
fort and the fact that it
may be laundered without
detriment to wear and ap-
pearance gives it added
value. A well-known
corsetierre has had this
material manufactured
solely for her use and
named for her, and is
using it with remarkable
success. These corsets
are made to one's meas-
ure and fitted, as all
models from this estab-
lishment are made with
the greatest skill, so that
it may be truly said it is
the corset with nature's
UNMISTAKABLY FRENCH
Bernard was the creator of this
practical model which has been
reproduced in Duvetyn, ribbed
velour, velvet and corduroy. A
touch of raccoon is affective on
Havana brown, bordeaux,
bronze, navy and black, the
colors in which this suit may be
had in cloth for $65, velvet or
corduroy.
A NEW FABRIC FOR CORSETS.
Being correctly corseted is a necessity if one
would be smartly gowned, to say nothing of
being comfortable. There are many things
which go to make a good corset, not least
perfect outlines, proportions and poise. Prices range from $5.
A TIMELY SUGGESTION IN THE MATTER OF REDUCING.
A most satisfactory reducing salve has been put on the market,
which sells for the ridiculously low price of $2 per jar. This salve
reduces unhealthy fat, at the same time acting as a corrective by
feeding the nerves and building up strong, healthy tissues. The
treatment is simple in the extreme, consisting only of the applica-
tion of the salve to the desired parts with the tips of the fingers,
allowing it to remain from twenty minutes to
a half hour, when it is removed with hot
water. No change in one's daily routine of
living is necessary, and fasting and denying
one's self the good things of the table has no
part in the scheme. Surely no easier method
of reducing could have been devised.
SERVING SALAD OR BERRIES ATTRACTIVELY
The above may be used both as a salad or berry set, and mates
a remarkably reasonable gift. Its price, in the finest Limoges,
with pure coin gold encrustations, being only $9.90. Additional
saucers sell for 75 cents and may be had at any time. Ones
individual taste in monograms may be carried put or the family
crest substituted for only a slight variance in price.
DAINTINESS IS THE PREVAILING FEA-
TURE IN BLOUSES
Here is one that is of fairy-like texture, being
fashioned of fine net over flesh-colored chiffon.
There is a frill and collar of plaited net and
a smart vestee finished with pearl buttons, and
a black satin bow for $7.50.
MILADY'S MORNING CHOCOLATE
What a delightful gift would be this Colonial chocelate set in
the finest Limoges china, decorated, as shown, with pure coin
gold monogram and bands. Its price is but $17.95 with this
distinctive monogram design. A tray to match being only $5.95,
and additional cups and saucers $1.20. The more conventional
script monogram lessens the price and is quite as attractive.
Names of shops where the costumes shown on this page may be purchased will be furnished on request.
Address THE THEATRE MAGAZINE, 8 West 3$th Street, New York City.
THE THEATRE MAGAZINE ADVERTISER
xxni
9
FASHIONS
A Great Big
Surprise Party!
For months we have been planning this
great big surprise party, which will be
all ready with the next issue of L'Art
de la Mode.
We have told you that with the
November Number (December Fash-
ions), L'Art de la Mode will don a
brand new dress. But this is not all—
Through the reduction in size to
lO^x 14 inches, L'Art de la Mode
now contains sixty pages instead of
thirty-eight as heretofore.
Sixty pages filled with the most wonderful things you can imagine!
The birth of the new L'Art de la Mode marks the birth of a magazine with
a double personality. While in no way detracting from its reputation as the
leading fashion authority, L'Art de la Mode will now be known as a magazine
of general interest.
It is a publication which will appeal to the women readers of The Theatre
Magazine, for it is a journal of class and distinction, and covers just the sub-
jects in which the up-to-date American woman is interested.
After you have seen the next issue of L'Art de la Mode — the first number
with the new changes and improvements — you will lose no time in arranging
to receive it regularly. Although it has increased one-hundred-fold in its editorial
and news value, the subscription price remains the same — $3.50 yearly.
THE NOVEMBER NUMBER
(December Fashions)
will be published October 20th
Place your order now with your newsdealer, or send it direct to the publishers
35 cents a copy
L'ART DE LA MODE, 8-14 West 38th Street, New York
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XXIV
THE THEATRE MAGAZINE ADVERTISER
"It is so easy to dress well—
—if one only knows how!"
and with Vogue at hand, it is easy to know how — so easy in fact that dowdiness in
dress becomes inexcusable. Smart dressing is not nearly so much a matter of
income as of information — the longest purse does not by any means turn out
the smartest gown. It is the little things that count — the tiny modifications, the
incidentals and accessories. And for just these highly important trifles, the woman
who realizes the importance of really distinctive dressing turns invariably to her
But Vogue is far more than a mere authority on little points of fashion and
passing caprices of style. Vogue is intensely practical! For any woman who
wishes really to dress well — whether she spends on her clothes $500 or $5,000
— Vogue is the most practical magazine published. Take, for instance, the next
two numbers:
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A display of 250 patterns, selected models, together with a multitude of
suggestions as to the newest materials, trimmings and accessories. Besides this
regular pattern service, Vogue is always glad to have cut to your order a special
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spend an entire season in Paris haunting the show rooms of the great designers
and yet not be dressed as smartly and becomingly as you can simply by using
Vogue and Vogue patterns.
AUTUMN SHOPPING NUMBER
Ready October 13th
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through the year by Vogue's "Seen in the Shops." Furthermore Vogue's shop-
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no matter where you may happen to be. If you are not acquainted with Vogue
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IK I "HI K I'JO
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The Twelfth Year (1912) is bound in
TWO VOLUMES
Kreisler and the Violin
To the layman, violins look about as mucli
alike as peas in a pod, but by the expert, the
really famous instruments are often better known
than are their owners — perhaps because the in-
struments themselves survive the generations,
whereas the owners do not. One of the best in-
stances of this occured only recently. It concerns
Fritz Kreisler, and was told by Kreisler himself
during a dinner given at his home in Berlin.
Mr. Kreisler, on his way to London where he
had a recital engagement, found himself in Ant-
werp with a couple of hours to spare. It was a
rainy afternoon, and the great violinist, bundled
up in a raincoat and soft hat, wandered through
the streets somewhat bedraggled in appearance,
with his favorite violin cuddled up in the hollow
of his arm. In the window of a curio shop he
saw a violin which interested him, and stepped
into the store and made some inquiries concern-
ing it. A moment's examination satisfied him
there was nothing noteworthy about the instru-
ment.
"I see you have a violin yourself," said the
shop-keeper by way of making conversation.
Mr. Kreisler, welcoming anything to relieve him
of the ennui of waiting for the boat, replied :
"Yes, I have a pretty good fiddle here; would
you like to see it?'' and opening the case showed
the shop-keeper his famous Stradivarius, without
comment of any kind.
The man looked at it with evident admiration
and threw a somewhat astonished glance at his
unknown customer. Kreisler, scenting a joke,
said:
"Would you like to buy it?"
"Oh, no," said the man, "I haven't the money
to buy such a violin."
"Make an offer for it," urged Kreisler.
"Impossible," the man replied, "I couldn't pos-
sibly buy such a violin and I couldn't even make
you an offer for it — but, by the way, I have in
my home a very good Klotz which I should be
glad to sell you at seven hundred marks."
Mr. Kreisler, prompted by curiosity, continued
to urge the shop-keeper for a bid, but the more
he urged the more the shop-keeper urged the
value of his Klotz. Finally knowing that seven
hundred marks was a very modest price for a
violin of that make, Mr. Kreisler asked if it was
in good condition and if he might see it. The
shop-keeper assured him that the violin was in
excellent condition and that his errand boy could
get it in ten minutes. Mr. Kreisler agreed to
wait. The boy was promptly dispatched and after
a short interval returned, not with the violin but
with a policeman.
"Arrest that man," shouted the shop-keeper,
pointing to his unknown customer, "he has Fritz
Kreisler's violin."
Mr. Kreisler, somewhat startled but appreciating
the humor of the situation replied, "Well — but —
you see / am Kreisler."
"Oh, no, you're not," said the shop-keeper,
whereupon the policeman took a hand, saying the
charge was serious and asking if the shop-keeper
was positve of his statement, at the same time
moving to within easy grappling distance of the
virtuoso.
"I am absolutely certain," was the reply, "that
this is Kreisler's violin. This man brought it
here and tried to get me to buy it. Let him
deny it if he can. He did his best to dispose of
that violin. Now he says that he is Kreisler —
trying to sell his own famous Stradivarius for
anything he can get. Arrest him, I say, or I'll
hold you responsible."
The situation was becoming serious.
Mr. Kreisler, realizing that his time was short,
offered to play for them and so prove his identity.
His offer was rejected. Then he asked that they
accompany him to the boat where his personal
baggage would establish his identity. This, too.
was refused, but finally an idea occured to the
shop-keeper, and addressing Mr. Kreisler, he said :
"There is just one way in which you can prove
to me that you are Kreisler. I have in my home
a Victor talking machine and a record of "Cap-
rice Viennois" (Kreisler's own composition). If
you hear that record just once and then play it
for me correctly, note by note, I will accept that
as proof."
In spite of the protestations, Mr. Kreisler was
marched through the streets of Antwerp, with the
shop-keeper on one side and the policeman on
the other, to the former's house, where the
proposed test was made.
Mr. Kreisler lost his boat, but among his sou-
venirs he now has an antique cameo ring which
was given him by a sadly humbled old man who
keeps a curio shop in Antwerp.
GREAT BEAR SPRING WATER
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a I ear
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Onyx" *•
MAKE
Hosiery
Silk
Several seasonable styles are here shown.
EXPERIENCE IS COSTLY
Make your experience pay you by purchasing "ONYX" SILK
HOSIERY, thus reducing chances to a certainty.
The "ONYX" Brand sells very readily because the appeal is made
through QUALITY — whether Plain Black, Clocked, Embroidered
or in Most Fashionable Shades, you will find an "ONYX" Silk
Hose to fill your wants.
Note: Illustration on left is a remarkably sheer example of "ONYX" Silk Hose,
with the desirable double clock and the new "Pointex" heel imparting a graceful
appearance to the ankle — an exclusive "ONYX" discovery. The figure on the right,
with the single clock and a medium weight double heel, sole, toe and •' Dub-L Top"
is an exceedingly popular line and indispensable to the well-dressed woman. In the
center, one of many new designs in lace insertion is shown.
Prices are moderate, varying from $2.00 to J>4. 50 for the clocked
hose and from $4.00 per pair and upwards on the lace insertion.
These styles sell very readily and are kept in stock by leading dealers everywhere.
Wholesale
Lord & Taylor
New York
THE THEATRE MAGAZINE ADVERTISER
IN the past 12 months there have been twice as many Detroit Electrics sold as
*• any other make of electric cars. This greater volume reduces manufacturing
costs and also reduces selling expenses — two vital reasons why we offer better cars
at lower prices.
Purchasers for 1914 have their choice of Worm or bevel gear axles, Detroit
Duplex Drive, front or rear seat drive. New equipment includes electric hand
brake, longer wheel base, yet a 12-foot shorter turning radius than heretofore;
larger tires, increased battery capacity (washing unnecessary); all battery cells
accessible by raising hoods; Hanlon patented rain-vision shield, oval crowned
fenders and deep Turkish cushions.
1
With Bevel Gear Axle
Victoria
4-pass. Brougham Rear Seat Drive
5'pass. Brougham Front Seat Drive . .
Note the Prices :
With Worm Gear Axle
$2300 Gentleman's Roadster $2500
2550 4-past. Brougham Rear Seat Drive
, 2600 5-pass. Brougham Detroit Duplex Drive
("Prices f.a.b. Detroit)
2850
3000
i
These cars are on exhibition at our branch offices and selling representatives of (he Company
in over 1 75 cities. Demonstrations gladly furnished any time. Send for our new catalog in colors
Anderson Electric Car Co., Detroit, U. S. A.
Builders of the "Detroit Electric"
Largest manufacturers of electric pleasure vehicles in the world
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
THE THEATRE MAGAZINE ADVERTISER
Fascination
The WHITE BERLINE, even to the naturally prejudiced
owner of a car of another make, has an irresistible
attraction, once its quality is inquired into and its perform-
ance known. Where sentiment for another car has not
prevented investigation, it will be found that the WHITE
BERLINE alone possesses all of the correct and fundamental
features of construction, and wealth of appointments, with-
out which, a car of this type is today practically obsolete.
THE WHITETJafCOMPANY
CLEVELAND
The allurement of the White Berlitie
causes Ntftiine and Amfhitrite to
forsake l/ieir sea-home.
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CONTENTS
November 1915
Copyright Daily Mirror Studios
Edited by ARTHUR HORNBLOW
COVER : Portrait in colors of Mile. Anna Pavlowa.
CONTENTS ILLUSTRATION : Gertrude Elliott in "Caesar and Cleopatra."
TITLE PAGE : Scene in "At Bay" at the Thirty-ninth Street Theatre
PAGE
141
TlIE NEW PLAYS: "Hamlet." "The Will," "The Tyranny of Tears," "At Bay," "To-day, " "The
Younger Generation," "Half an Hour," "Seven Keys to Baldpate," "The Princess Theatre, Four
One-act Plays,"' "The Marriage Market," "Shadowed,'" "The Smoldering Flame," "Her Little High-
ness," "Madam President," "Der Gute Ruf," "Kasernenluft" ....... 14-2
NEW YORK'S NEWEST THEATRES — Illustrated 146
LONGFELLOW'S "EVANGELINE" STAGED — Illustrated M7
AT THE OPERA — Illustrated ' 148
OPERATIC FAVORITES— Full-page Plate 149
BIG EARNINGS OF BIG PLAYS — Illustrated X. X 150
BERTHA KALICH — Full-page Plate 151
PARODIES FOR PLAYWRIGHTS — Poem Jid-^in Carty K ancle . .155
HITS OF THE MONTH — Illustrated Y . D. G 156
BESSIE ABOTT IN "RoB ROY" — Full-page Plate 157
SHAKESPEARE MADE TO PAY — Illustrated . . . Montrosc J. Moses . .158
How SOME OF OUR ARTISTS AMUSE THEMSELVES — Full-page Plate 159
THE THEATRE OF THE FUTURE — As MANAGERS SEE IT . By Charles Frolunati, Lcc Slntbcrt and others . 160
SCENES IN "SEVEN KEYS TO BALDPATE" — Full-page Plate 161
PAVLOWA, THE GREATEST DANCER OF HER GENERATION — Illustrated 162
CYRIL MAUDE — LONDON'S FOREMOST COMEDIAN — Illustrated -Ida Patterson . . . 165
REMINISCENCES OF RHEA By Herself .... 167
MARIONETTES — Poem Pannlec Brackctt . . . i(><j
PAGEANTRY AND THE DRAMA LEAGUE — Illustrated . . . . . . Ethel M. Smith . . 171
OUR FASHION DEPARTMENT . 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
with the name of the sender, and if in character with that of the character represented. Contributors should always keep a duplicate copy of articles submitted. The
utmost care is taken with manuscripts and photographs, but we decline all responsibility in case of loss.
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IV
THE THEATRE MAGAZINE ADVERTISER
ANGELUS
PHRASING
LEVER
~"N the playing of music, absolute control
^ of tempo is the prime essential. It is
this that takes the player out of the mechani-
cal class and endows it with the human
element that distinguishes hand playing.
The Phrasing Lever, because of its direct con-
nection with the governor, gives a tempo control
impossible with a tempo lever.
There is a sensitiveness about this marvelous device— a directness of response
that permits the actual phrasing of the skilled finger performer.
Combined with other exclusive Angelus devices— the Melodant, Graduated
Accompaniment, Melody Buttons and Sustaining Pedal Device— the Phrasing
Lever makes the Angelus the supreme achievement in the player field.
The WILCOX & WHITE CO.
2M«.S- .?J,;,L°TN "»""«» •=.,«,« ,»77 MERIDEN, CONN.
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
THE THEATRE
VOL. XVIII NOVEMBER, 1913 No. 153
Published by The Theatre Magazine Co., Henry Stern, Pres., Louis Meyer, Treat., Paul Meyer, Sec"y; S-io-it-14 West Thirty-eighth Street, New York City
White
Judson
("Mario MajeronO
Aline Graham
(Chrystal Herne)
Act II. Aline: "Let me see it myself, please"
SCENE IN GEORGE SCARBOROUGH'S MELODRAMA, "AT BAY," «T THE THIRTY-NINTH STREET THEATRE
White
Lyn Harding
Janet Beecher Roxane Barton
Act II. Miss Looe tells the artist all about the plans for burying him in Westminster Abbey
SCENE IN ARNOLD BENNETT'S PLAY, "THE 'GREAT ADVENTURE," AT THE BOOTH THEATRE
SHUBERT. "HAMLET." Tragedy by
William Shakespeare. Produced on Octo-
ber 2d last with the following cast :
THE
Cladius Walter Ringham
Hamlet J. Forbes-Robertson
Horatio S. A. Cookson
Polonius Ian Robertson
Laertes Charles Graham
Ghost of Hamlet's Father. .Percy Rhodes
Fortinbras Grendor. Bentley
Rosencranz Montague Rutherfurd
Guildenstern E. A. Ross
Osric George Hayes
Marcellus A. Roberts
Bernardo Richard Andean
Francisco R. Ericson
Reynaldo Eric Aldeney
First Player Robert Atkins
Second Player G. Richardson
First Gravediggei ....... H. Athol Forde
Second Gravedigger S. T. Pearce
Priest R. Montagu
Gertrude Adeline Bourne
Player Queen Maude Buchanan
Ophelia Gertrude Elliott
It was an English monarch who knighted the most picturesque,
intelligent and artistic player in his kingdom. It was an Ameri-
can public, by its appreciative response and its vulgar dollars,
that made it possible for that talented actor to play the roles
worthy his intuitive gifts and his splendid professional experi-
ence. For let the lay mind know that Sir Johnston Forbes-Rob-
ertson served his novitiate under the greatest histrionic adept of
modern times, the late Samuel Phelps, the idol of Islington, the
greatest protagonist of Shakespeare that ever lived.
It is a well-known fact that Forbes-Robertson, as he prefers to
be billed, made a fortune in this country in Jerome K. Jerome's
"Passing of the Third Floor Back," the part of which he is de-
termined to risk in exploiting himself before his near professional
retirement in roles that call for all the histrionic best that is
within him.
It was fitting, therefore, that the new and very beautiful Sam
S. Shubert Theatre should be dedicated by a performance of
"Hamlet," with the English knight in the inky cloak of the Prince
of Denmark. It is to be hoped that so noble a playhouse will
always be associated with productions of such distinction.
It is ten years since Forbes-Robertson played Hamlet in this
city. The impression which he originally created was one of
profound theatrical moment. For poetry and beauty he was
universally accepted as the one to take up the mantle Edwin
Booth had laid down. Has a decade
worked any change in this impersona-
tion?
The voice is still there, the voice that Shelley declares :
Makes giddy the dim brain, faint
With intoxication of keen joy.
And what real mental rapture it is to hear the Shake-
spearean verse expressed with such refined intonation, dis-
tinction, expression, and above all, with the vivid mentality
that lurks behind.
The outward bearing is still the same, a Prince. Yet to those
who saw it before it is not quite what it was, nor is it quite as
good. Has not a certain fussiness of movement and gesticula-
tion crept in to take the place of that classic serenity that marked
the first performances ? Have not some of the most predominant
features, and the worst, forgiven because they were so personal
in Irving, become now a part of a characterization that hitherto
was beautiful in its simplicity? If force and vigor at moments
be lacking, let Tirntf upon its shoulders take the charge.
Yet this later -$ant makes Forbes-Robertson's performance
nearer the Goethe idea than it was before; because if criticism
hold play, his sophistication now is offset by the want of phys
ical capacity. But for, those who love the poet of the centuries,
let them see this impersonation. It's equal is not extant. When
comes there such another?
The setting of the tragedy is an admirable one. Gertrude
Elliott is a gracioilS Ophelia, and since Edwin Varrey at his
best there has been no such Polonius as Ian Robertson presents.
Every point is made and no time wasted. The Heavens be
praised ! Percy Rhodes is consistently sonorous as the Ghost ;
there is a spirited First Player in Robert Atkins and a wel!-
dictioned Queen in Adeline Bourne. The first gravedigger was
admirably done by H. Athol Forde, and the others were competent.
T ii E r n E A r RE MAGAZINE
143
^.V
5
EMPIRE. "THE WILL."
Play in three scenes by
Sir J. M. Barrie. Pro-
duced on September 29th
with this cast:
Mr. Devizes, Sr., Frank
Cooper; Mr. Devizes, Jr.,
Fred. Eric; Philip Ross, John
Drew; Surtees, Sidney Her-
bert; Sennet, Walter Souer-
ling; Lrted, Murray Ross;
iirs. Ross, Mary boianu.
J. M. Barrie promises
to be an important fac-
tor in this year's theat-
rical season. Already
one of his playlets has
had a hearing, several
more are promised, and
as a chassc, not to be
confounded in a literal
nse with a "chaser,"
Sir James' little piece
in three scenes, "The
Will," follows Mr.
Chambers' comedy. If
you like Barrie, every-
thing he turns out is
good, and many swear
by him. But like all
able and clever writer j, Air. Uarrie does not always sound his
deepest or truest note. And truth must out that there is not very
much to "The Will," save to show Mr. Drew that he can "Mile-
stones"-like present Philip Ross, first as a man in the twenties,
secondly as a knight of forty, and third and lastly as a disgusted
and disgruntled man of sixty. And for this protean exhibition a
thread of a story carries him through. The dominant note of it
all, if there is such a thing, is cynical. For in the first scene,
where the struggling young clerk makes his will, leaving, with
the exception of two meagre legacies, all to his young wife, who
fears death at the very mention of the word "will," what follows
shows the changes that success, pride and disappointment bring
about in the human character. All of this has to be very lightly
sketched, and it would truthfully seem that changes of wigs and
clothes do more to bring it about than words in well-phrased
sentences. Mr. Drew is very satisfying in his triple assumption.
It is sound, good character work. The senior member of the
firm that draws the will is played by Frank Kemble Cooper,
whose two differentiations of the same part further demonstrated
how much an actor owes to experience and hard work. Sidne)
Herbert is able, as he always is, in a minor role. Mary Boland
is pleasingly clinging as the Mrs. Ross of the opening episode.
Photos Copyright, 1913, Charles Frohman
MARY BOLAND AND JOHN DREW IN
EMPIRE "THi TY-
RANNY OF TEARS." Com-
edy in four acts by C.
Hadclon Chambers. Re-
vived on September 29th
with this cast:
Mr. Parbury, John Drew;
George Gunning, Julian
L'Estrange; Col. Armitagc,
Herbert Druce; Evans, Wal-
ter Soderling; Mrs. Parbury,
Laura Hope Crews; Miss
Hyacinth Woodward, Mary
Boland.
John Drew is him-
self alone, which means
if he is cast for a cer-
tain type of character he
is pre-eminently happy
and successful. Two-
thirds of the new bill
at the Empire presents
him in this light, Mr.
Parbury, in that de-
lightful comedy of
modern manners, "The
Tyranny of Tears," by
C. Haddon Chambers.
What matters it .if this
piece was first pre-
sented on the local
stage some nineteen years ago ? And, further, why should it con-
cern that if a certain French comediette, called "Les Femmes
qui pleurent," had not been written years before that, Mr. Cham-
bers' variation might never have seen the footlights?
"The Tyranny of Tears" has stood well the test of years. The
limited number of characters which tell its story are all very
human and everyday. Sketched, too, with nice literary distinc-
tion and discerning capacity it provides cheerful entertainment.
As the misunderstood husband, whose exacting wife resorts
to tears whenever she does not get her own immediate way, Mr.
Drew is deliciously droll, competent, suave and humoroiis. Mrs.
Parbury, as played by Laura Hope Crews, is nice characteriza-
tion, for unless handled with sensitive tact a false and repelling
note is struck. Her selfish father is humorously portrayed by
Herbert Druce, and the attractive amenuensis is attractively pre-
sented by Mary Boland.
THIRTY-NINTH STREET. "Ai BAY." Play in four acts by George
Scarborough. Produced on October 7th with this cast:
Tommy Gilbert S. E. Hin«
Albert Jones Freeman Barnes
Donnel Edward Lehay
Inspector Maclntyre Chas. Mason
Joe Hunter Fred Hilton
Bernedino John Herne
Dr. Francis Elliott Harry Hadfield
SCENES 1 AND 2 OF "THE WILL"
Hattie Phyllis Young
Gordon Graham George Howell
Aline Graham Chrystal Herne
Capt. Lawrence Holbrook. .Guy Standing
Father Shannon Walter Horton
Judson Flagg Mario Majeroni
Robert Dempster Edwin Mordant
Photos White Vaughan Trevor Edward Ellis
Hull, rook Blinn Lewis Edgard Emelie Polini
Clarice d'Aubiac (Miss Polini): "Thieves! Robbers!"
SCENE IN "THE BRIDE," AT THE PRINCESS THEATRE
Kmelie Polini
Holbrook Blinn
Willie Strick (Mr. Blinn): "You are mine, Vashti, you are mine!"
SCENE IN "THE BLACK MASK" AT THE PRINCESS THEATRE
144
THE THEATRE MAGAZINE
L-upynghi. Iyl3, Charles Frohman
GRACE GEORGE IN "HALF AN HOUR" AT THE LYCEUM
Mr. Scarborough has followed up his very unpleasant play of
vice, "The Lure," with a very pleasant one about a persecuted
maiden, a lawyer who sought to blackmail her, and an Irish lover-
hero, who has a musical voice and all kinds of ingenuity in bring-
ing to nought every untoward combination of circumstances.
"At Bay" is a very good title, too. The story is the old melo-
dramatic thing, but it is well managed, with considerable novelty
in the details and with a certain refinement of treatment. The
play is good entertainment. The daughter of a district attorney,
the scene being in Washington, refuses the suit of a young Irish
adventurer, for such the captivating man is. There is much
mystery about him. He has been in the Philippines, he has been
everywhere, and is now representing certain revolutionists, which
is not particularly to the point. What is to the point is that he
suspects that the reason why the girl rejects him is inconsistent
with her confessed love for him and that she is controlled by some
secret. She had been married secretly to a young journalist,
who had abandoned her and was killed in some foreign adven-
ture. She had been made to believe that the marriage was a
false one. She had written compromising letters to this man.
A blackmailing lawyer has her call on him. He refuses to give
up the compromising letter on her pleading. She must pay him
one thousand dollars or yield her person to him. He has a system
of taking a flashlight photograph by pressing a button. He takes
a photograph of her in his room. He forces himself on her ; sli£
stabs him with a sharp file which she seizes from his desk as
he embraces her. He falls back in his chair dead. The girl's
Irish adventurer-lover comes to the rooms with the officers who
are investigating the murder. He discovers the clues that would
lead to the girl and conceals them from the police. He, by a trick,
slips the slide from the camera as he gives a cigar to the police-
man who has it in charge. He procures the compromising letter.
His activities set the authorities to suspecting him. Thus it goes
from one situation to another until the police think they have
cornered him. He has had the girl conceal herself in an adjoining
room; her father demands that the door be opened. Situation.
The play rapidly closes with explanations. The girl had not been
falsely married; her husband had died, and in dying had con-
fessed to the present Irish lover. The blackmailing lawyer had
not been killed, but had died of heart trouble. The various
climaxes of the play are effective.
While the situations have their thrill, the 'secret of the charm
of the play is in the acting. Mr. Guy Standing has found him-
self in a comedy part, with a slight brogue and a dashing way
about him that recalls the acting of other days when characters
of this kind, dashing and romantic, were well in hand on the
stage. The parts are all good acting parts. There is a Priest,
a Philippine Servant, a District Attorney and policeman of
various types and grades, with the blackmailing attorney, and
others. Miss Chrystal Herne, as the much-tried heroine, was
never at better advantage. She does not have to act much
to give the impression of earnest innocence.
FORTY-EIGHTH STREET. "TO-DAY." Play in four acts by George
Broadhurst and Abraham S. Schemer. Produced on October 6th last
with the following cast :
Frederick Wagner Edwin Arden
Heinrick Wagner Gus Weinburg
Butler Charles Pitt
Lily Wagner Emily Stevens
Mrs. Garland . .Theresa Maxwell Conover
Emma Wagner Alice Gale
Mrs. Farrineton Marie Wainwright
Maid Margaret Robinson
Society is scourged in a play called "To-day.'1 taken over by a
new producing company from one of the Yiddish theatres, where
under the title of "Style" it had great popularity as a work of
skill, revealing the customs of that politer society to the north in
this great city which knows nothing of the virtues of the east
side. Of course, it is a misconception, and a pitiful outlook it is
for any of our adopted fellow citizens to harbor. The gist of the
whole thing is that, for the most part, the well-bred and fashiona-
bly gowned women of society, if they are without means for their
display, obtain the means by cultivating the friendship of men
of money provided by procuresses. It is too absurd to be offen-
sive. Absurdity defeats perhaps honest but mistaken intent. If
the author had made his play not an arraignment of American
society, but a study of a foolish and frivolous woman, he might
have had a play worth while. As it is, there is no refinement of
observation, no individuality, but only the supposed type of
American women at large. The only decency is in the foreign-
THE THEATRE MAGAZINE
born. The father and the mother of the outraged husband are
lovable people. In the fatherland, according to them, everybody
is honest, in business as well as in the home. The play is a good
study of life and character in a superficial way, but it lacks
dramatic interest except in the last act. A scene in which an
irate and outraged husband is about to kill his wife is necessarily
far up in the register of thrills. In this case the husband dis-
orders the personal appearance of his wife considerably, and is
then led off by his philosophical parents, models of all the foreign
virtues, and leaves his wife in a tragic state of mind, committed
to the life she had fallen into, although not exactly chosen. The
outcome of the story is foreseen from
the beginning. Miss Emily Stevens
really carried the ' action. Her task,
however, was hopeless. Mr. Edwin
Arden's undertaking was impossible.
He is capable of acting pretty much any-
thing, but if there is nothing back of it.
it remains acting, and acting only.
Marie Wainwright really had the truer
opportunity of any of them. She was
the keeper of the fashionable apart-
ments kept for the use of women who
barter for clothes. The scene between
her and Arden was a capital bit of act-
ing. The German parents in this plav
were well represented by two very capa-
ble actors, who very materially helped
to the impression that there is no sin
on the east side.
LYCEUM. 'THE YOUNGER GENERATION."
Comedy in three acts by Stanley Houghton.
Produced on September 25th with this cast:
James Henry Kennion, Stanley Drewitt; Mrs.
Kennion. Rose Beaudet; Maggie, Kitty Brown;
Reggie Kennion, Clinton Preston; Grace Kennion,
Katherine MacPherson; Thomas Kennion, Ernest
Lawford; Mr. Leadbitter, Robert S. Entwistle; Mr.
Fowle. Alfred R. Dight; Arthur Kennion, Rex
McDotigal; Mr?. Hannah Kennion, Ida Waterman.
If good writing, splendid stage management and finished acting
are still appreciated in this borough, then the new double bill at
the Lyceum is in for a long and profitable run. The combination
of Stanley Houghton and J. M. Barrie in the makeup of a pro-
gramme gives admirable promise, which in this case is really ful-
filled. Houghton would seem to be one of the coming English
dramatists. "Hindle Wakes" and "Fancy Free" are from the
pen of this young author, who displays on every side qualities
of invention, observation and the capacity to put them into bril-
liant and effective stage shape. "The Younger Generation" deals
with the revolt of youth against the stern prejudices, religious and
social, of a strict non-conformist father
and mother. The scene is laid in one
of the suburbs of Manchester, and in
style and treatment and fine character-
ization resembles "Rutherford and Son"
and "Bunty Pulls the Strings." The
character drawing is quite remarkable.
There is true individuality in the dia-
logue apportioned to each role. They
are living types, and even though the
conditions and the surroundings are not
overfamiliar to local theatre-goers, the
application is so general that the appeal
meets with instant recognition. The
prim, puritanical father is played with
grim dryness by Stanley Drewitt, and
the wife, complacent to her husband's
stern view of life, is expressed with
sweet, motherly feeling by Rose Beau-
det. Then there is the grandmother, a
still sterner figure of a life that used to
be, the woman dictator of the son and
his grown-up household, acted with fine
distinction and austerity by Ida Water-
man. How delicious is her action when
she marshals all but the juvenile rebels
Photos copyright, 1913, Charles Frohman
1. Venita Fitzhugh and Donald Brian singing "June is in the Air." 2. Percival Knight, Carroll McComas, Venita Fitzhugh and Donald Brian singing "Hand in Hand"
SCENES IN "THE MARRIAGE MARKET," NOW BEING PRESENTED AT THE KNICKERBOCKER THEATRE
146
THE THEATRE MAGAZINE
for the pilgrimage to the chapel. Ernest Lawford plays an
emancipated member of the family, an uncle whose long stay
abroad has given him a wider point of view, with easy humor and
philosophical fluency. The rebellious juvenile trio is a well dif-
ferentiated lot. Arthur, the oldest son, who insists on a latch-key
and gets tight to show his independence, is engagingly portrayed
by Rex McDougal; his younger brother, Reggie, who wants to
go to the colonies and see something of life, is spiritedly acted
by Clinton Preston, and it is a real English girl who wishes to
select her own husband that Katherine MacPherson portrays as
Gracie. Then, to round out an almost perfect cast, we have a
manly young fellow of her choice in Nigel Barry, a very comely
and sophisticated maid in Kitty Brown, and two individual local
types capitally played by Robert S. Entwistle and Alfred R. Dight.
LYCEUM. "HALF AN HOUR." Play in three scenes by J. M. Barrie.
Produced on September 25th with the following cast:
Withers S. Dudley
Mr. Redding Alfred R. Dight
Mrs. Redding Daisy Belmore
Susie Ruth Boyce
Lillian Garson Grace George
Mr. Garson H. E. Herbert
Hugh Paton Nigel Barry
Doctor Brodie Stanley Drewitt
In "Half an Hour" it would seem as though J. M. Barrie had
fallen under the spell of Guy de Maupassant. His tabloid drama
in three scenes is quite in the vein of the great French writer of
short stories. It possesses all the latter's qualities of dramatic
grip, concentrated essence of suspense and cynical treatment. As
a contrast to "Peter Pan" it is indeed a veritable extreme. But
like all Englishmen who venture to ape their brothers across the
channel, there is a certain brutish touch when the ethical and
social niceties are under discussion. "Half an Hour" is not a
dramatic gem, flawless, either in (Continued on page xm~)
New York's Newest Theatres
NEW YORK has already so many theatres that it hardly
seems possible that there can be room for more. Yet two
splendid new playhouses were thrown open to the public
in -Manhattan recently. One, built by Winthrop Ames, is called
The Booth, to commemorate the interest which Mr. Ames' father
had in the old Booth Theatre, which was situated at Twenty-third
Street and Sixth Avenue, as well as to pay a tribute to America's
greatest actor. The theatre contains many souvenirs of Booth,
as, for instance, the armchair which Booth had in his greenroom
at the old Booth Theatre, and in which he used to sit between
the acts. A statue of Booth, the only copy of the famous one at
the Players' Club, is in the promenade foyer, and the walls are
hung with bills announcing Booth's appear-
ance at various American theatres.
The other, the Shubert Theatre, named
in commemoration of the achievements of
the late Sam S. Shubert, is a fitting monu-
ment erected by one devoted brother to the
memory of the other. The informal open-
ing a few weeks ago was the occasion of an
afternoon tea and reception tendered to Sir
Johnston and Lady Forbes-Robertson. It
was an interesting assemblage of persons
prominent in New York's theatrical, liter-
ary and journalistic circles. De Wolf Hop-
per acted as chairman, Julia Marlowe read
a greeting from E. H. Sothern, and Mr.
Forbes-Robertson spoke. George MacFar-
lane rendered a number of vocal selections.
Exterior of the new Booth Theatre
Photo Tebbs-Hyman
Exterior of the new Shubert Theatre
The Shubert Theatre is situated on the
north side of Forty-fourth Street, west of
Broadway, and is separated from the Hotel
Astor by a private roadway running north
and south from Forty-fourth to Forty-fifth
Street. Although it is under the same roof
as the Booth Theatre, it is, however, an
entirely distinct building, not only in its
internal separation from the other structure,
but also in its style of interior decoration
and other particulars. Both theatres are
built in the same style of architecture, which
is described as Venetian renaissance, with
certain modern adaptations. The most strik-
ing feature of the exterior is the use of
hand-carved sgrafitto for decorating pur-
poses. On account of new laws, which
make it impossible to have any part of a
structure project beyond the building line, architects have been
much troubled to find methods of theatre decoration. Mr. Henry
B. Herts, the architect, is the first man to have used sgrafitto for
this purpose.
The interior of The Booth is unique. The auditorium is large
and spacious, with ample facilities for foyers and reception rooms.
Several novel features of theatrical architecture are seen for the
first time, notably a wall which partitions off the entrance from
the body of the house, preventing outside sounds and drafts from
coming directly to the auditorium. The reception room is a
further development of Mr. Ames' idea of the French foyer, and
is one of the features of the new house. The lounge on the lower
floor is somewhat similar to the much-discussed tea-room of The
Little Theatre, and is intended as a salon de conversation.
Interior of the new
Shubert Theatre
WHEN a manager starts out with an earnest poetical pur-
pose on which he lavishly expends his treasure and
time, it is an ungracious task to have to set down
against it the word failure. It is, of course, impossible and mani-
festly unfair to state positively in advance what the final verdict
of the public will be, yet who can predict popular success for
"Evangeline," Thomas W. Broadhurst's stage version of Long-
fellow's immortal poem of the Acadians and their sympathetic
troubles? It is Mr. Arthur Hopkins who made this lavish pro-
duction, and it was his daring originality that won out when he
first presented ''The Poor Little Rich Girl." Purely allegorical
as that piece was, he probably felt in view of its success, that
there stiil was an imaginative following to draw from and that
to the field of poetry it might be possible to tempt this clientele
as a relief, at least, from the unlimited procession of crooks and
courtesans now so monopolizing the stage.
Of the virtues of this production, let the scenic investiture,
the costumes, the pictures and the stage management be first
approached. A German staged "Evangeline," Gustav Von
Seyffertitz, well known for the splendid work he originally did
at the Deutsches Theater. It was not the scenic symbolism of
the Rheinhardt school that he dealt with, but solid, beautiful
scenery that required dexterous lighting and perfect use of the
value of perspective. Crowds had to be massed and handled;
effects derived from ingenuity and taste. In each field he more
than succeeded. He triumphed. Nothing more impressive than
the scene on The Beach, with Grand-Pre burning as a climax,
has been seen on the local boards since Irving brought his artistic
talents to bear in bringing poetical visualization to its height.
Unitt and Wickes, who painted, with one exception, the scenery,
added positively to their high reputation as artists. William
Furst's dignified and illuminative music also lent value to the
production.
The company, a big one, was admirable in its entirety and
brilliant in spots. The title role was assumed by Edna Goodrich.
She was a lovely picture as the Acadian maiden and moved with
really beautiful serenity and quiet grace through the happier
scenes, Later, she expressed, even in "the slow, long agony of
patience," the calm, exquisite motion
which embodies the spirit of Evangeline.
Her reading was intelligent and lucid.
That her success was not more consider-
able was due to the
unvarying monotony of
the medium in which
she worked. Richard
White Edna Goodrich as Evangeline
White
Buhler was slightly heavy
as Gabriel, the lover; but his
father, Basil Lajeunesse,
was acted with fine, breezy
fervor and genuine feeling
by David Torrence. The
acted by John Harrington,
had dignity and the village
notary, as portrayed by
father of Evangeline as
George Gaston, was instinct
with discreet but effective
humor. There was a gentle,
kindly air to Frank An-
drews' Father Felician and
a spirited Toinette in the
person of Mabel Mortimer.
Longfellow's beautiful in-
troduction to his poem, be-
ginning with the lines :
"This is the forest primeval"
served as a prologue and
was delivered with true
elocutionary value by Edith
Yeager, while an equally
successful declamatory effect
was Lillian Kingsbury's
reading of the Indian legend
of Lilinau.
Mr. Broadhurst has in-
geniously woven into his
text many of the beautiful
lines, similes, and sentences
of Longfellow and his own
contributions are poetical in spirit and execution, but the tale of
the parted lovers, and the woman's persistent search for her
beloved, only to be defeated at every point, provide little that is
dramatic and much that is hopelessly reiterative in its unrelieved
gloom.
The curtain rises in "the forest primeval — indistinct in the
twilight." This scene is beautifully done. There are shadows
and indistinct outlines, lights and shades, dim vistas, density and
depth — an atmosphere that provides immediately a correct and a
poetical setting.
Above "the murmuring pines and the hemlocks" is heard the
voice of the Spirit of Acadie, who makes her appeal to the
audience :
"Ye who believe in affection that hopes, and endures, and is
patient,
Ye who believe in the beauty and strength of woman's devotion,
List to the mournful tradition still sung by the pines of the
forest ;
List to a tale of Love in Acadie, home of the happy."
Then begins the play. We are shown the happy home
life of the Acadians — the thatch-roofed houses, quaint
gables and dormer-windows. The Acadians as-
semble to hear the royal proclamation of exile.
The second act shows the beach scene. The third
act shows the wanderings of Evangeline until at
last, after many years, she meets her beloved
Gabriel dying in the almshouse. The play was
withdrawn from the stage of the Park Theatre on
October nth, but after a brief reorganization it
will be given further performances on the road.
The cast of the piece as given here was as follows :
Spirit of Acadie, Edith Yeager; Rene LeBIanc, George Gaston;
Baptiste LeBIanc, Ralph Bunker; Father Felician, Frank Andrews;
Gabriel Lajeunesse, Richard Buhler; Benedict Bellefontaine, John
Harrington; Basil Lajeunesse. David Torrence: Jean, Clifford
Deycreux; Pierre. Edmund Mortimer; Michael, Charles Withers;
Toinette, Mabel Mortimer; Louise, Suzanne Perry; Marie, Mar-
garet Howe; Sergeant, William W. Crimans; Colonel John Win-
slow, Robert Forsyth; Jesuit Priest, Allen Scott; Guide, John
Hunter Booth; The Shawnee, Lillian Kingsbury; The Quaker
Nurse, Nell King; Isabel Henderson; Evangeline, Edna Goodrich.
Evangeline "^^^^ Benedict
EDNA GOODRICH AND JOHN HARRINGTON IN "EVANGELINE"
Copyright Mishkin
Margarete Matzenauer
Copyright Mishkin
Sophie Breslau
(New)
Luigi Marini
(New)
Copyright Mishkin
Lilian Eubank
(New)
Copyright Dupont
Frances Alda
W
1T1I an ever-increasing appetite
for music — chiefly good music
— and with an active digestion
for opera, concert and recitals, New York music lovers seem to
have bailed impresarios and managers into planning a season
that is bound to eclipse everything that has gone before it. Year
after year, the music-loving public is- informed that each coming
season is going to be greater and larger than the previous ones.
The adjectives suggest in a way the phraseology of one Todv
Hamilton ; but, considering the increased size of the musical
offering each year, there remains little else to do but to lapse
into superlatives. Each year, thus far, predictions have come
true, and this year the}' are' doubly bound to meet with fulfilment.
It really does not require an oracle — much less a music critic,
however, to foresee or (if there were such a word) to forebear
the abundance of music that is in store for all of us who live,
run and listen. Not since the days and nights, about five years
ago, when Oscar Hammerstein's Manhattan Opera House' was
still in inc. commission of grand opera, and when the New
Theatre was housing a worthy but financially disastrous attempt
at opera comique — not since those days has there been such an
amazing amount of grand opera as there will be this season.
There will be no less than four grand opera companies active
here. The Metropolitan Opera House will begin its season on
November 17, and continue for twenty-three weeks; Oscar Ham-
merstein is erecting a new opera house on Lexington Avenue
and Fiftieth Street, to be
called American National
Grand Opera House,
where he will give a sea-
son of about twenty
weeks, commencing some
time in November; the
Chicago Opera Company
will give a limited num-
ber of performances of
grand opera at the Metro-
politan during the course
of the season, and finally,
the Century Opera Com-
pany has been and is
giving a thirty-five week-
season of popular opera
at the Century Opera
House — the building once
known as the New
Theatre.
The Metropolitan will
average seven perform-
ances a week, Oscar
Hammerstein will aver-
age eight performances
weekly, and the Century
Opera Company are giv-
ing nine performances.
Simple arithmetic pro-
duces a total of twenty-
Rudolf Berger as Lohengrin
(New)
four weekly performances of grand
opera in New York for a period of
=^=========^=^= twenty weeks at least, occasionally sup-
plemented by the visits of the Chicago Opera Company, which
will drive the total up an additional notch.
Whether it is humanly possible for New Yorkers to hear so
much grand opera and still survive it ; whether it is possible for
the various managers to give so much opera and still have energy
and money enough to face the world at the end of the season —
these problems do not enter into the argument of a forecast such
as this. Suffice it to prove that Xew York is to have more
grand opera than ever before.
The Metropolitan Opera prospectus holds forth promise of
an unusually interesting season. Five new works are to be
produced : "Dei Rosenkavalier," by Richard Strauss, none of
whose operas have been sung at the Metropolitan since the with
drawal of "Salome" during the Conried regime; "Julien," by
Gustave Charpentier, composer of "Louise" — and this premiere
will be attended by the composer, who is coming from Paris to
superintend the rehearsal of his new work; "L'Amore Medico,"
by Ermanno Wolf-Ferrari, whose "Inquisitive Women" is in
the present Metropolitan repertoire and whose new opera is
based upon Moliere's comedy, "L'Amour Medecin" ; "L'Amour
deitre Re," by Italo Montemezzi, libretto by the famous dramatic
author, Scm Benelli, and "Madeleine," an opera in English by
Victor Herbert, libretto by Grant Stewart.
This being a Verdi
centennary there will be
important revivals of that
master's operas, including
"FalstafT," which was
neglected last season, and
"Un Ballo in Maschera."
Another important offer-
ing will be a revival of
"Carmen," with Miss
Farrar in the title role
and Mr. Caruso as Don
Jose. Saint-Saens' "Sam-
son et Dalila," Boito's
"Mefistofele," and Ros-
sini's "Guglielmo Tell,"
are also among the older
works that are to be sung
and garbed anew. Wag-
ner's "Ring of the Nibe-
lungen" is to have an
entirely new scenic dress
and is to be given as a
cycle at a series of special
matinees.
So far as the artistic
forces of the Metropoli-
tan are concerned, most
of last season's favorites
will return — Caruso.
Fremstad. Farrar, Des-
(Continued on page xin)
Margarete Ober as Fricka
(New) I ,
Mishkin
BERTHA KALICH
This prominent actress will make her reappearance on the stage shortly under the direction of F. C. Whitney, in an
elaborate production based on the life of Rachel. The story deals with the life of the famous tragedienne from the time
when she was a street singer to the days of her triumph at the Comedie Franchise
152
THE THEATRE MAGAZINE
play that makes a hit on Broadway. Within a very few years
the lucky dramatist is able to stop working with a million or so
to his credit at the bank. "Within the Law," now in its second
year at the Eltinge Theatre, is a striking instance of the play
that makes big money. It is probably the most successful play
from the standpoint of box-office receipts that has ever been
produced, not only in this country, but in the entire world at any
time. This season no fewer than six "Within the Law" com-
panies are touring the
United States, each com-
pany bringing in an aver-
age of $8,000 a week.
The box-office receipts in
New York and Chicago
average $12,000 a week.
The play has also been
running for months to
crowded houses in Lon-
don and Continental cities.
By the time the public
interest in the play is
abated it will have earned
a million dollars, of which
the author's share is
$250,000; yet this same
play, when first sub-
mitted to the manager,
was looked upon with
many misgivings.
Bayard Veiller, the
author of "Within the
Law," was a newspaper
reporter. Like many
other newspaper scrib-
blers, he haunted the the-
atres for years, attracted,
like the moth to the flame,
by the tempting prizes
offered by the playwriting
game. He married a very
charming actress, Mar-
garet Wycherly, ana for
some time managed her
tour in a repertoire of
Irish plays. During all
this time Mr. Veiller was
quietly trying to write
plays himself, and one
day he took the MS. of
"Within the Law" to W.
A. Brady. After some
hesitation, the manager
consented to try the piece
out, but, dismayed by its
crudities, insisted on giving an experienced playwright a 25-per-
cent, interest to doctor it up. To this arrangement Veiller con-
sented. George Broadhurst got the job of revising the manu-
script, and the play thus tinkered was produced in Chicago.
The windy city took kindly to the drama, but the box-office
receipts were not so satisfactory as to encourage Mr. Brady, so
when Mr. Veiller began to grumble because things were not going
better, the manager, in disgust, sold out his interest in the play.
Again in possession of his own, Veiller at once proceeded to take
out all the embellishments Mr. Broadhurst had so laboriously
introduced, and when "Within the Law" was produced in New
York, it is said that only one line by Broadhurst remained. The
play at once caught on here and developed into one of the most
colossal money-makers the local stage has known.
Many of our most successful dramatists, like Mr. Veiller,
served the apprenticeship to their craft in the newspaper business.
The late Rronson Howard, who wrote "The Ranker's Daugh-
ter," etc., was for many years an editorial writer for the New
York Evening Post. He made about $1,000,000 with his plays.
His Civil War play, "Shenandoah," alone gave him $250,000 in
royalties.
"In Old Kentucky" was written by Charles T. Dazey, also a
newspaper man. This play was produced in the early nineties
and is still running. It has earned to date at least $1,000,000, and
put into the pockets of its
author $500,000.
Augustus Thomas, au-
thor of "As a Man
Thinks." etc., was form-
erly a reporter in St.
Louis. He has had about
fifty plays produced, each
of which has averaged
$5,000. His royalties from
"The Witching Hour,"
which ran eleven months
in this city, exceed-
ed $50,000. He came
to New York in 1890, and
was employed by the late
A. M. Palmer as play
reader. About that time
business was dull at the
Madison Square Theatre,
and Palmer looked around
for a new attraction.
Thomas suggested a play
of his own, "Alabama,"
a new treatment of a
thread- worn theme. Palm-
er hadn't much faith in
it, but put it on as a stop-
gap. The play scored a
big success, and Thomas'
future was assured. To-
day he is the dean of
American dramatists, was
recently mentioned as
Ambassador to France,
and has a street, Thomas
Place, named after him
in New Rochelle — and it
all started with "Ala-
bama."
Eugene Walter, another
newspaper man, made
$100,000 out of his first
successful play, "Paid in
Full," which ran for two
years and took in $500.-
ooo gross. His other plays, "The Easiest Way" and "The Wolf,"
netted him nearly as much. Before success came, Walter was
a reporter, earning a bare $20 a week. In his leisure moments
he tried his hand at writing a play, and when "Paid in Full"
was finished he peddled it round the various managerial offices.
But no one would have anything to do with it, until at last he
induced Wagenhals and Kemper to give it a trial. They, how-
ever, had so little faith in it that they were only willing to put
it on in the cheapest possible way. First produced out of town,
the criticisms were both good and bad, but directly the play
reached Broadway it was an extraordinary success, and put a
fortune into the pockets of the fortunate author.
, George Broadhurst was formerly editor of a newspaper in
North Dakota. The author of countless plays, he should be a
millionaire by this time, if one reckons up his probable income
from royalties. "Bought and Paid For," "The Man of the
CHRISTY MATHEWSON AND R1DA JOHNSON YOUNG
Who collaborated in the new baseball play, "The Girl and the Pennant," now at the Lyric
Theatre. Mr. Mathewson, as everyone knows, is the famous pitcher of the "Giants"
THE THEATRE MAGAZINE
153
Hour," alid oilier plays, have made a barrel of money, fre-
quently his royalties have been in the neighborhood of $5,000
a week.
Martha Morton, who may claim to be the first successful
woman playwright, started her dramatic career with a piece called
"Helene." The play was rejected by all managers, so she put it
on at her own expense for one night at the Fifth Avenue Theatre,
it was then taken by Clara Morris, who played it for two years,
netting the author $50,000 — no insignificant figure for a novice.
Her second play, "The Merchant," also promptly rejected by
the theatrical managers, won the prize offered by the New York
World Play Contest. Produced at the Union Square Theatre,
it was sold outright for $15,000. Miss Morton's latest plays,
"Brother John," "His Wife's Father," and "A Fool of Fortune,"
all written for William H. Crane, made in all $250,000. Her
greatest success, "The Bachelor's Romance/' played by the late
Sol Smith Russel, brought the authoress an additional $250,000.
Margaret Mayo's case offers a good illustration of the old
saying that you never know what you can do till you try. Her
husband, Edgar Selwyn, is not only an actor, but also writes
clever plays. His wife thought she would like to write one.
She didn't know anything about technique or the laws of play-
writing. She just sat down and wrote what came to her
head, and the result was "Polly of the Circus." With Mabel
Taliaferro in the name part, the play proved an enormous success.
A year or so later Miss Mayo wrote "Baby Mine," which made
her a rich woman.
Some half-dozen years ago a lanky, sandy-haired youth, with
a bulging forehead, came to New York from Cleveland, Ohio,
and stared wistfully at the blazing electric signs over the theatre
entrances along Broadway. If only he could see the title of a
play of his spelled out in such dazzling letters! Realizing the
futility of such day dreams, he turned to the more practical
business of earning a living, and for some time was reporter and
magazine writer. But he never forgot his yearning to shine as a
playwright, and to kill time he wrote "Nobody's Widow," which
Belasco produced with Blanche Bates. The piece was an im-
mediate success, and when the young author was called out no
one knew him, for he was practically a stranger in New York.
His name is Avery Hopwood. Since then he has written other
successful plays and made a lot of money. To a friend who
chided him on his extravagance since he had become so pros-
perous, he said confidingly that in spite of his heavy expendi-
tures he had been able to put away a nest egg of $100,000 since
he started writing plays.
Eleanor Gates has made considerable money with her first
play, "The Poor Little Rich Girl," and her husband, Richard W.
Tully, has been even more successful with two plays that pleased
Broadway, "The Rose of the Rancho" and "The Bird of Para-
dise."
Paul Armstrong, a picturesque, breezy personality, who was
formerly a sporting writer, dabbled hopelessly with plays for
years before the late Kirke La Shelle saw possibilities in the
"Heir to the Hoorah," and produced it. That was Armstrong's
start on the golden road to fortune. Since then he has written
"Salomy Jane," "Alias Jimmy Valentine," and a number of other
plays which have made money.
Rida Johnson Young, the author of "The Boys of Company
B" and "The Lottery Man." is another case of a woman who did
not suspect she was a playwright. She has made a lot of money
and is still making it.
Fdward Sheldon, or the "boy author," as he is called, because
he is amiable and young, made money with his first play, which
was written while still in college. That was "Salvation Nell,"
which Mrs. Fiske produced. Since then he has written "The
Xigger." "The Boss," "The High Road," and "Romance." He
is not yet thirty, and he has made at least $100,000.
James Forbes, formerly press agent for the Hudson Theatre,
has made several times $50,000 with "The Chorus Lady," "The
Travelling Salesman," and other plays. Rupert Hughes, William
White
BLANCHE RING
In Anne Caldwell's play, "When Claudia Smiles"
C. DeMille, Edwin Milton Royle, Booth Tarkington, each have
made at least $50,000 with their plays.
Hall Caine's drama, "The Christian," affords a forcible argu-
ment why everybody should take a chance at playwriting. The
author received for this play for two seasons an average of $1,800
in royalty per week ; for the third season, with the late Edward
J. Morgan as the star, his royalty averaged $1,000 per week.
Two companies played it the fourth season and brought him in
about $800 per week, his income from it for three seasons of
stock company production was about $13,500, and this source is
not yet exhausted. $250,000 is a conservative estimate of what
"The Christian" in its dramatic form paid Mr. Caine.
Finding successful plays is very much like playing the races.
You try to back the right horse, but seldom succeed in picking
a winner. There is no instance on record where a manager
actually foresaw success. Most of the big hits came as much a
surprise to the manager as to the author. Would Daniel Froh-
man have returned the MS. of "The Lion and the Mouse" to
Charles Klein and let him take it to another manager if he had
guessed there was a million dollars in it?
Klein began his career as an actor, and for years occupied a
very humble and obscure position. Feeling that acting was
not his proper sphere he turned his attention to stagecraft and
began to write plays, but he had no money, and for years it was
a precarious struggle for the mere necessities of life. At one
154
THE THEATRE MAGAZINE
White
ALICE BRADY
Now appearing in "The Family Cupboard," at the Playhouse
time the situation was so bad that he thought he would have to
give up writing and go back to the stage. He had not a dollar
left. Starvation stared him in the face. It was then that a
friend — a Broadway tailor — who believed in his ability to write
plays came to his assistance. This "angel" offered to back him
for five years, giving him an in-
come on which he could live
during that period so he could
continue to work on his plays.
The tailor had such confidence
in Klein's ability that he was
sure that at the end of that time
he would be on his feet as a
dramatist and earning substan-
tial royalties. Anyhow, he was
willing to take a chance. If
Klein failed he, the tailor, would
stand the loss. If he succeeded,
he was to pay the tailor $50,000.
The backer was not mistaken.
Charles Klein made good. First
one play was accepted, then an-
other. Finally he secured a
position with Charles Frohman
as a play reader at a salary of
$50 a week. More plays came
from his pen, some of which
were fairly successful. By this
time Klein's reputation as a
dramatist was established. Then
came the great opportunity of
his life, the opportunity that was
to make him a rich man. He conceived the idea of writing a
play on a subject then being widely discussed in the newspapers —
the menace of the money power. Everybody was denouncing
the giant trusts. Ida Tarbell had created a sensation with her
articles on John Rockefeller and the Standard Oil Company. The
air was full of agitation about this growing peril of the concen-
tration of vast wealth. Just about this time Daniel Frohman
had asked Klein for a new play for the Lyceum. The latter
thought he could dramatize the Trust agitation, and he wrote
"The Lion and the Mouse," having accepted from Mr. Froh-
man a retaining fee of $500. The play completed, he took the
MS. to Frohman and left it with him to read at his leisure. A
week later he called on the manager and asked him what he
thought of it. Frohman shook his head in disapproval and said :
"I am very much disappointed, Klein. It is not at all what I
expected. Frankly, I think it is the poorest work you have yet
turned out. I look upon
my $500 as thrown away."
Mr. Klein hid his dis-
appointment as best he
could, but his voice fal-
tered a little as he replied
with some spirit:
"I am sorry to hear that,
Mr. Frohman, but you
shan't lose your $500. I
will give you my check for
the amount, and you can
release me from our con-
tract."
Mr. Frohman was only
too glad to acquiesce, and
the MS. was handed back
to the author.
Feeling greatly de-
pressed, Klein wended his
way downstairs from Mr.
Frohman's office. He was
CONCERT STAGE OF THE HAMBURG-AMERICAN S.S. IMPERATOR
utterly discouraged. On the stairs he happened to meet Mrs.
de Mille, the play agent, who asked him if he had completed the
play for Mr. Frohman. The dramatist shook his head discon-
solately.
"Yes, the play is finished and he has turned it down. I have
it here."
With her mind on possible
agent's commissions, Mrs. de
Mille said eagerly:
"Let me show it to Henry B.
Harris. He is looking for a
play. It might just suit him."
Without much confidence in
the outcome, Klein let her take
away the MS., and a few days
later the agent telephoned that
Mr. Harris had read the play
and accepted it.
This piece, which has since
become a classic in the history
of successful American plays,
was first tried "on the dog" out
of town under the most unfavor-
able conditions, and several New
York managers, including Mr.
Frohman, went out to watch the
first performance, quite sure they
were going to see a fizzle. There
was no big star to help along the
production. In fact, the leading
part was in the hands of Ed-
mund Breese, an actor who had
never up to this time been especially popular. But the play was
well received, and the next morning the local notices were highly
commendatory. The play came at once to New York and was
produced at the Lyceum, the home theatre of the manager who
had turned it down. It was well received, but the following
morning the newspaper critics were sceptical as to its merits and
chances of final success. It was one of those instances that
sometimes occur when the critic is not able to gauge the value
of the play from the standpoint of the audience. The news-
paper reviews were cool, if not distinctly unfavorable, but
the public was not to be misled. There was something in "The
Lion and the Mouse" that made a resistless appeal. The scene
where Shirley Rossmore, the heroine, a frail girl fighting for her
father's life, pluckily confronts the powerful financier in his
home and vehemently denounces his methods, brought down the
house at every performance. The play settled down for a long
run. The theatre was
jammed to the doors at
every performance, and
the play ran for six hun-
dred and sixty nights. For
the manager, Henry B.
Harris, the piece earned
$750,000 in profits. Even
to-day, although eight years
have lapsed since the
day Mr. Frohman turned
down the play as worth-
less, "The Lion and the
Mouse" is still being per-
formed all over the United
States, and is still pouring
dollars into the pockets of
its author and producers.
During the same year that
"The Lion and the Mouse"
was crowding to the doors
one New York theatre,
THE THEATRE MAGAZINE
155
-ifluld & Marsden
REGINE WALLACE
Appearing under David
Belasco's management
Charles Klein's other play, "The Music
Master," was playing to capacity houses
in another. The two plays paid their
author over $100,000 that year alone. In
a few years they had netted nearly a
million !
It has often been proven, however, that
even a successful playwright does not
always strike gold. One of his pieces may
make a fortune
for him, yet an-
other which he
may believe to be
equally good fails
to receive popular
approval. Two
seasons after the advent of "The Music
Master" and "The Lion and the Mouse,"
a play by the same author cost its
producer $50,000 for its short and un-
happy existence. Then came another
brilliant success, "The Third Degree,"
which brought more money to author and
manager.
A dramatist whose career offers many
analogies to that of Charles Klein, and
whose final reward was even greater, was
the late Clyde Fitch. Fitch came of good
family and was educated at Amherst. He
came to New York and began writing for
magazines, but found literature a difficult
and slow road to wealth. He turned his
attention to the stage, and later became
acquainted with Richard Mansfield, who
it is stated, employed him as amanuensis.
It was while he was with Mansfield that
the play based on the life of the famous
"Beau Brummel" was written and pro-
duced. Clyde Fitch's name appeared as
author of the play, and it was his first
introduction to the public as a dramatist.
A bitter controversy arose later concerning
the authorship of the play, which proved
tremendously popular — Mansfield claim-
ing that Fitch had written it at his dicta-
tion. However that may be, Clyde Fitch's
future success as a dramatist, under his
own name, clearly proved his title to be
recognized as a master of his craft. He
continued to write play after play, until,
at the abrupt and unexpected end of his
brilliant career, this most prolific of Amer-
ican dramatists had no fewer than sixty
plays to his credit. It is said of Fitch
that he lived like a king and worked like
a laborer. It was not unusual for him to have three plays going
at once. He made an immense fortune with his pen. When he
began writing he was absolutely penniless.
When he died he was a millionaire, having
earned over $1,500,000 during his com-
paratively brief career of less than twenty
years. His city home at 113 East Fortieth
Street was filled with art treasures pur-
chased with his royalties from every quar-
ter of the globe, and he owned a magnifi-
cent country seat at Greenwich, Con-
necticut.
Another instance of rapid success was
that of George Ade, author of "The Col-
lege Widow," etc. Up to the time of th<.
presentation of "The Sultan of Sulu,"
paroDtrs for pl<iviuncjl)ts'
Mary wrote a little play,
She thought it was all right :
She sent it off to old Broadway,
Where all the lights are white.
The weeks passed on and then the play
Returned just after lunch :
"We read your play; regret to say
It hasn't got the 'punch.' "
Ade had been known chiefly for his pro-
miscuous use of capital letters. In 1904,
at the time that "The College Widow"
was making such a hit, no fewer than five
pieces of his were being presented simul-
taneously in different cities, and two
others from his pen were forthcoming.
His success is more remarkable than that
of Clyde Fitch, because it came more
quickly. His in-
come from h i s
royalties in one
year alone is said
to have exceeded
$150,000, while
to-day he is so
There was a man in our town,
And he was wondrous wise;
He wrote a play in just one day
That surely was a prize.
And then he hiked to New York Town
With all his might and main,
But soon, with play, safe in his tray,
He hiked back home again.
"If seven men for seven years
Should try to write a play,
Do you suppose," the Walrus said,
"That it would reach Broadway?"
"I doubt it," said the Carpenter,
And sadly turned away.
I'd rather write plays than eat pie,
I've got to reach Broadway or die,
And as for my plays,
They will soon be the craze —
I know they'll give Shaw a black eye.
Twinkle, twinkle, little "star,"
Riding in your auto-car;
Soon I'll write a play for you,
And then you'll ride in autos two.
You may write and rewrite
Your old play how you will,
But the lack of the "uplift"
Will damn the thing still.
Eeny, meeny, miney, mo,
Write a play and let it go.
Rick, bick, ban, do
"Sorry ! It's a rotten show."
EDWIN CARTY RANCK.
Mishkin
NANETTE FLACK
Priraa donna in "All for
the Ladies"
rich that he has hardly the incentive to go
on writing plays.
Still another young American who
achieved sudden fame and fortune is Por-
ter Emerson Browne. Until a few years
ago he was known as a writer of fiction.
Then he surprised the theatrical world
with "A Fool There Was." It was very
successful in New York and other cities,
and is drawing bigger receipts every year
in the popular priced playhouses all over
the country. That play alone brought
Browne over $50,000.
Very few of the few playwrights that
succeed do so right off the reel. The
author of a successful "first play" re-
cently confessed that it really was his
forty-ninth. The other forty-eight had
cost him a small fortune in return postage
A young man had a fair success this sea
son with a play written as an "amateur."
The play was the result of six years' study
in various universities that gave special
dramatic courses, and a year as stage
hand in a theatre where they changed the
bill several times a week. He had taken
this job to familiarize himself with the
practical theatre, and had been writing
plays since his high-school days.
Almost everyone has written a play.
Many have imbibed strange notions of
the profitable nature of this occupation
from the great success and huge revenues
a few playwrights have made from it. The
fact still remains that over ninety-nine
per cent, of the plays that find their way
into managerial offices are absolutely
worthless ; that over sixty per cent, of the
plays that are finally accepted for produc-
tion fail flatly, yielding their authors perhaps $500 or $600 on the
average, as a return for what may have been a year's work, and
that of the remaining forty per cent, of
the one per cent, of plays submitted, about
one-third are merely nominal successes,
from which the author is lucky to get
three or four thousand dollars.
It is calculated that at the present time
there are at least 15,000 persons trying to
write plays. Urged on by what they hear
of the big revenues of successful dra-
matists, they spoil millions of reams of
paper and swamp managerial offices with
a deluge of worthless manuscripts. Only
a very few gain recognition and draw the
big prizes. In a population of nearly
Barony
JEANNE EAGELS
Leading woman with Dragan
Film Co.
(Continued on page -rt'0
MARIE FLYNN
Appearing in "When Dreams
Come True"
FASHIONS change in stage
adventuresses as in every-
thing else. Time was when
the brazen, flashing-eyed, breaker-
its of the Moo
was born in Budapest, just twenty
years ago. From their mother,
who was a famous actress and
dancer, Roszika and her twin
up of homes came on in a flaming red gown with a long train sister, Yancsi, inherited their love for dancing. It came as natu-
that swept everything angrily before it. To-day our up-to-date
adventuress is at least human. Gail Kane, who plays so cleverly
the role of Myra Thornhill, the beautiful blackmailer in "Seven
Keys to Baldpate," wears a stunning costume of
f black velour and ermine. Quite free from the con-
ventional "business" which tradition has handed
down for the use of wicked stage ladies, Miss Kane
plays the role forcefully yet naturally, and in a man-
ner that carries conviction. It is a part that calls for
personality, intelligence, and statuesque beauty, and
Miss Kane possesses all of these. This actress is
practically a newcomer on the stage. She was born
in Philadelphia, and her first appearance on the stage was in
"Decorating Clementine." Then followed an engagement with
White
Gail Kane
rally to them as breathing. When financial reverses occurred,
and the family came to New York, the little sisters used their
talent to help their father. They succeeded in getting a vaude-
ville engagement, and with home-made costumes,
self-invented dances, and a four-weeks' contract,
started for the National Theatre, Havana. The four
weeks lengthened into a year, and by that time they
had become known throughout Cuba as "Las Mune-
cas Americanas." After an extensive vaudeville
tour on the Keith circuit, they were seen in "The
Midnight Sons." Then, after an engagement with
"The Echo" came "The Ziegfeld Follies of 1911,"
where in terpsichorean art they interpreted those physical pheno-
mena, the Siamese Twins. After that they again scored in "The
Roszika Dolly
"Vanity Fair" at the New Theatre. After that she had a small Winsome Widow" and "The Merry Countess." Then came
part in ''As a Man Thinks," in which she understudied Chrystal
Ilerne. She made so much of her opportunity that as a natural
result she was given the leading part in "The Model." Last
year she was seen at the Little Theatre in "The Affairs of Anatol."
separation — a sore trial for the little sisters, who are almost as
"attached to one another" as the unhappy twins of Siam. After
the present engagement with "Miss Caprice," in which Roszika
Dolly acts and sings as well as she dances, she is to realize the
height of her ambitions — she will be made a star !
HERMIT who sells picture post-cards to summer boarders
for a living, and masquerades as a ghost at night for his QI] -S have been known to sing themselves into fame, to act
A
own amusement is somewhat of a novelty. Joseph Allen, who
imparts fine comedy to the role of the substantial "spook" in
"Seven Keys to Baklpate," was born in Roxbury, Mass. Earlv
in life his humoristic tendencies pointed the way to the stage, and
in 1901 he secured his first professional engagement, playing the
part of a character German in "The Wild Rose," at
the Knickerbocker Theatre. Following that, he was
seen as Capt. Ketcham in "The Liberty Belles," as
Komer in "The Isle of Spice," and as character
comedian in "The Belle of Newport," "The Royal
Chef," and "The Press Agent." Then he appeared
as Dan Lowton in "The District Leader," and later
created the role of Gen. Stanhope in "Three Twins."
Two years ago he took off a Russian baron, Maxi-
milian Scareovitch, in "The Red Widow," and last year appeared
in "Officer 666'' with Douglas Fairbanks.
Sarony
( at roll Mc( iHTias
and to dance themselves into popularity; but to have
whistled herself into the public favor is the unique accomplish-
ment of Carroll McComas, the charming Kitty Kent
of "The Marriage Market" at the Knickerbocker.
Miss McComas was born in Los Angeles, the
daughter of Judge C. C. McComas. When a little
girl she loved to whistle, and delighted in upsetting
Dame Grundy's Ten Commandments for Little Girls
by boasting that she could outwhistle any boy she
knew. That accomplishment, together with her gifts
of singing and dancing, soon made her a strong
favorite in vaudeville. After a while, she was given the opportu-
nity to take Marie Doro's part with Jerome Sykes, at Daly's
Theatre. Later, she travelled through Europe as a whistling
vaudeville artiste, and on her return to America, was engaged
for "The Girl and the Pumpkin." Then followed appearances in
"The Girl and the Bandit" and "The Gay Musician." After that
she was with "The Dollar Princess," and "The Single Man."
A DELIGHTFUL comedian of the old school and for half a Last season she made a hit in "The 'Mind the Paint' Girl," and
century a warm favorite with theatre-goers is William J. this year she again wins her audiences by her clever versatility,
Ferguson, who as the malicious ministerial usher in "Madam appearing in a role in which she acts, sings, dances and whistles.
President," at the Garrick, takes a wicked delight in bringing Quite a varied career for one so young, but Miss McComas is
about embarrassing situations. Apart from his gift as a come- very ambitious, and has even played "lead" with stock companies.
d;an, special interest attaches to Mr. Ferguson from
the fact that he is the only actor now on the stage .. VERSATILE young actor is Harry Mestayer, who in "The
who was in the cast of "Our American Cousin," that /I p-^™ " 0-;™= „ roalJct.V ™rtra,^l ^f -," t^,,^i, ^~^^
Bangs
Joseph Allen
Wm. J. Ferguson
ever memorable night in Ford's Theatre, Washing-
ton, when President Lincoln was shot. That was one
of his first appearances in a career so long and varied
that to-day he does not remember just when it began
or how many parts he has played. His earliest recol-
lection is of being spanked by his pious grandfather
for seeing a play. When he was twelve years old, John T. Ford,
a friend of Ferguson, Sr., made the lad a call-boy in Ford's
Theatre. By successive steps, he became walking gentleman,
utility man, juvenile, and character actor. "I have even played
Shakespeare — from the spear up!" he says, with the sly smile
and droll lift of the eyebrows that have endeared him to his
audiences. The present role gives his dry humor ample opportunity.
a wee maid from far-off Hungary — the picturesque
land of the Czech and his intoxicating, rhythmic music — and
danced herself straight into our American hearts. Roszika Dolly,
the little dancer now appearing in "Miss Caprice," at the Casino,
Escape," gives a realistic portrayal of a tough gangster.
Mr. Meslayer is a member of the well-known theatrical Mestayer
family and in a comparatively brief career has run the gamut of
stage characterizations. He was born in Brooklyn, and while
attending the grammar school in Bostfcn, "walked
off" with a gold medal in an oratorical contest. He
claims no credit for the victory, for, as he puts it.
"Is that not to be expected of a Mestayer?" He first
appeared on the stage in California. After an ex-
perience in stock he was fired with the ambition to
play Ibsen, and he organized a company at the Bur-
bank Theatre, Los Angeles, in which were such
players as Amelia Gardner, Lottie Kendall. Frank
MacVicars, and Thomas Oberle. For several years he fed
Western "high brow" audiences on Ibsen and made money.
More recently he played opposite Henry Kolker in "The Great
Name," and later joined the Oliver Morosco Producing Company
in Los Angeles, in which he had an opportunity to play almost
every part known to the stage. Y. D. G.
Harry Mestayer
THE THEATRE MAGAZINE
157
BESSIE ABOTT AS JANET IN THE REVIVAL OF 1 IE COMIC OPERA, "ROB ROY"
Frequenters of vaudeville some years ago will remember the Abott sisters who did a little song and dance. Bessie had a voice worth cultivating, and went to Paris, where she
became a favorite pupil of Jean de Reszke. After singing at the Paris Opera House she returned to America 3 full-fledged prims donna, and made her debut at the
Metropolitan Opera House
Shakespeare Made t
was never
a time in this
country when we
did not hear the thread-worn platitude that Shakespeare spells
ruin. But in England, at least, one Shakespeare enthusiast has
found the Bard a very profitable proposition, and besides profit-
ing himself he has done more than any other to educate the
English public and to make them familiar with the real Shake-
speare throughout the gamut of his plays. For F. R. Benson is
perhaps the only actor within recent decades who can boast of
having been instrumental in reviving
all of the Shakespearean dramas, with
the exception of "Titus Andronicus,"
"Troilus and Cressida," and "All's Well
That Ends Well." He is perhaps the
only actor living who can offer, within
the short range of a three-weeks' en-
gagement, a repertory of sixteen
Shakespeare plays, a generous per cent,
of which consists of the unusual Shake
speare plays. When he sails for
America this winter he comes with the
enviable reputation of being an idealist
whose dreams have come true. Not
easily, for he has had to make many
sacrifices; not with vast rewards, for
he has never received the recognition
in London that his earnestness de-
serves. We are aware of the cry that
the present generation is not given the
opportunity it should have of witness-
ing Shakespeare, but this year that cry
will be worthless. For besides Marlowe
and Sothern and Faversham, Forbes-
Robertson and Margaret Anglin and
Robert Mantell, F. R. Benson is de-
serving of our hearty support.
His career is marked with earnest
effort. When he was at New College,
Oxford, he entered heartily into the activity of university theatri-
cals. At the age of twenty-two, while an undergraduate, during
the year 1881, he was foremost in the movement to play Aeschy-
lus' "Agamemnon" in Greek. Let the reader who wishes a
fascinating hour or so get hold of Alan Mackinnon's "The Ox-
ford Amateurs." It gives the entire history of college theatricals,
and it is surprising how many of our actors found their way
during undergraduate plays. In the foreword of this volume a
tribute is paid to Benson. The Rev. James Aclderley says :
"I never like to write on the dramatic revival at Oxford without men-
tioning Frank Benson. For though he never belonged to our society, it
was his scholarly performance of Clytemnestra in the Balliol 'Agamemnon'
which did more than anything else to turn the attention of the Oxford
dons from the imbecilities of the 'Vic' to the seriousness of real art.
One of the most beautiful sights of our undergraduate days was to look
at Benson's long, black hair flying in the wind as he raced the 'three mile'
at Oxford and Lillie Bridge."
But time spent at Oxford was not entirely devoted to theatri-
cals even though his activities in that direction were stepping-
stones toward his future career. Benson's fame while an under-
graduate was also largely due to his interest in athletics. He
was a football player, a cricketer, and the winner of the inter-
varsity three miles.
The year after his Clytemnestra episode, this nephew of the late
Archbishop Benson received his first professional engagement
with Irving at the Lyceum. This was in 1882, and he was cast
for the part of Paris in "Romeo and Juliet." Miss Terry, in her
Memoirs, mentions him with great affection. She had seen him
once play the part of Electra, and had then exclaimed, "What
a supremely beautiful girl !" and it was undoubtedly through her
interest that he was engaged to succeed George Alexander at the
Lyceum. Miss Terry pays tribute to Benson's wonderful powers
of organization, to his extreme earnestness in acting; and she
Courtesy Literary Digest
F. R. BENSON
A stage idealist whose dreams have come true
asserts emphatically that
his Lear was most satis-
fying to her. It was in
1902 that Miss Terry herself acted in the Benson company dur-
ing the festival season, playing Queen Katherine in "Henry
VIII." After being with Irving, Benson toured with Miss Alleyne
and Walter Bentley. In 1883, the latter turned over his entire
company to Benson, and thus began the career which has done
so much for the education of the theatre-goer.
The Benson repertory company has been the dramatic school
for most actors now prominent on the
English stage. To have been with
"Pa" Benson seems the necessary prep-
aration for the English actor. During
the years that followed 1883 he was
joined by his cousin, Stephen Phillips,
who remained with him for six seasons,
assuming such roles as lago and Pros-
pero. It was while with him that Mr.
Phillips appeared as the Ghost of Ham-
let's father, and won applause. Tradi-
tion has it that Shakespeare, the actor,
also won applause in the same
part. It was not until 1889 that Mr.
Benson reached London for his first
season, playing in "Midsummer Night's
Dream." But before that time, in
1887, he went to Stratford, producing
"Richard III." With the exception of
two seasons, Mr. Benson has been re-
sponsible for twenty-six of the annual
Stratford festivals.
He is, first and foremost, an experi-
menter. It takes a certain amount of
artistic daring, such as that exhibited
by him in 1904, to produce the trilogy
of the Oresteia. This was the first
time for two thousand years that the
Agamemnon, the Choephori and the
Eumenides of Aeschylus had been presented truly and in their
proper sequence. So successful was the venture that Mr. Benson
found it necessary to take the triolgy on tour through the English
public schools.
A word as to the Stratford festival, given annually on the
poet's birthday. Thirty-six years ago the Memorial Theatre was
founded, practically the only subsidized theatre in England. Be-
tween 1875 and 1908, Mr. Charles Flower and his wife bestowed
upon the theatre something like fifty thousand pounds, besides
certain property surrounding the building. In 1877, Helen Faucet,
so well known as the leading lady of Macready, opened the play-
house, and since 1887 Benson has been associated with it. The
season of 1890, Osmond Tearle had control, and during 1895 Ben
Greet was the producer. Here in the Memorial Theatre began
those revivals which in a way rehabilitated the Bard of Avon's
least-known plays to the stage. In 1886 "The Merry Wives of
Windsor" was given after many years and in 1891 "Julius Caesar."
Then came su'ch pageant pieces as the histories. Everyone who
has attended these performances has come away with a clearer
impression of Shakespeare's art, for Benson's repertory affords
the opportunity for sequence and comparison. But at the Me-
morial Theatre Mr. Benson did not entirely confine himself to
Shakespeare. Aeschylus, Jonson, Marlowe, Wycherley, Sheri-
dan, Goldsmith and others have been used. In 1910 he
did another notable thing. Through the generosity of Mr. Otho
Stuart he was enabled to offer a prize of three hundred pounds
for the best drama submitted in competition. We in America
know the outcome, for Mrs. Lionel Marks (Josephine Preston
Peabody) was the winner. "The Piper" was produced at Strat-
ford on July 26th, 1910, the season having been postponed on
account of the death of King Edward VII. The selection was
made from three hundred and (Continued on page vii)
Mary Pickford, of "A Good Little Devil" fame, is only
seventeen and still delights in toys
Ethel Leginska, the pianist, amusing herself with her dolls
Peggy Wood, of "The Lady of the Slipper" company, playing Auriol Lee, of "Milestones," with her dolls Lydia Lopoukowa, the Russian dancer, and her Teddy Bear
with her doll
Vera Curtis, the soprano, collects and plays wit
French model dolls
Tina Lerner, the Russian pianist, and her
Teddy Bear
Kitty Cheatham, the popular diseuse, has a fad for playing
with tiny toys
Bordoni, lately of the Winter Garden,
and her toys
Photos Copyright by Straithmore Fola La Follete with her toy farm
Jane Grey, of "Nearly Married," with
HOW SOME OF OUR ARTISTES AMUSE THEMSELVES WHEN AWAY FROM THE STAGE
Public entertainers are human like other people, and when not on the stage are very apt to be found enjoying the same pastimes as non-professionals. The above pictures
show actresses, pianists, dancers, etc., amusing themselves at home with toys
w
HAT will be the nature of our amusement within the playhouses of the future? In twenty years, say, what manner of plays shall we
or our children be seeing? Twenty years are a comparatively short time as we measure the span of human, municipal, or even the-
atric life, yet we laughed last spring at the "revivals" with which indefatigable metropolitan managers entertained us. Twenty years
ago "When London Sleeps" was a thriller received with solemn and monetary appreciation. At its revival audiences laughed all through it.
'1 wenty years ago "The Two Orphans" was seriously received and made fortunes. To-day it is, frankly speaking, boresome. The difference in
the character of the plays is no greater than the advance in the mechanics of the stage, in the comfort and safety of the theatres, nor in the
methods and lives of the actors who enact the characters of modern plays. No change is more marked than that of salaries. Then one hundred
dollars a week was an enormous wage for a player. Now mediocrity, with a little passing popularity, demands three and five hundred dollars.
Within a year moving pictures have supplanted melodrama and vaudeville has caused the attenuation of the drama. Should changes in this
direction p'roceed at the same ratio, polite comedy and the drama will be rare. What is the future ol the theatre? The question puzzles critics
and laymen in the audiences. Are we at the dawn of a golden era or in the shadow of an eclipse of the stage? In the minds of the prom-
inent producers of this country lives the germ of the ideas that will be wrought in that future. Seven leading producers have been asked
by THE THEATRE MAGAZINE to give their ideas of the theatre as they imagine it will be and this is what they said:
Charles Frolhmami S "One does not need the robe of a
prophet nor the wisdom of a seer to
tell what is going to happen in the theatre in the nexc twenty
years. It can all be summed up in four words — the outspeeding
of speed. Distances will receive a new annihilation twenty years
from now. From now on the universal ambition will be to in-
crease speed by eliminating middle distances, and that is as it
should be, because the human instinct behind the desire for speed
is a sound one. It is the desire to pack so much into life that
the average human existence will gain in intensity what it may
lose in length. So terrific will be this universal race for speed,
that 1 should not be at all surprised if twenty years from now
managers will be selling plays in tablet form. There will be some
device whereby tablet plays can be bought in advance, just as
seats can now be purchased, and by means of the tablet play — a
telephone and a pantomime performance — the public will be able
to hear and see plays without ever leaving their homes. Twenty
years from now, those who wish to see as well as to hear dramatic
performances will mount their aeroplanes and fly to an enormous
stadium somewhere near Broadway, maybe in nearby Pough-
keepsie. 1 haven't the slightest doubt that a quarter of a century
from now biplanes and monoplanes as public conveyances will be
in almost as general use as automobiles are to-day. The upper
regions will be mapped out and have their traffic squads just as
our streets are laid out and regulated now. But to come nearer
to earth, the art of acting in the next twenty years will develop
chiefly along the lines of pantomime. Plays with a maximum of
action and a minimum of language will be the thing. Just as
the wireless systems to-day need no wire to reach across great
distances, the day will come when actors will need no language
except signs to talk across the footlights to their audiences.
Twenty years from now the aeroplane, far speedier than the
automobile, will give people much more time to enjoy themselves
and to attend the theatre. The aeroplane also will bring into
popular use the roof garden theatres, which will have facilities
for landing and starting. Twenty years from now ideas will be
in far greater demand than to-day, because persons will be
twenty years more receptive, sensitive and eager for what is new.
The law of speed will demand the wiping away or the reduction
to a minimum of every obstacle that will yet remain between
supply and demand or thought and understanding. In the theatre
this rule will bear chiefly against verbose dialogue. Expression
will be economized. Dialogue will be so whittled down that only
the body of a play will matter, not its clothing. Style will become
subordinate to matter."
Lee ShubertS "I do not believe that art is going to be over-
whelmed by mechanics. However wonder-
ful the motion pictures may become, and however astonishing the
reproduction of the acts may be, I think that the personal element
will always be an absolute essential, and that the individual artists,
after all, have nothing to fear. In fact, even if the motion picture
does become an element of even far greater importance as a
national entertainment, this will by no means spell disaster for
the actor. On the contrary, every manufacturing motion picture
concern must have a competent stock company of players, and
the conditions under which these people work are in many re-
spects superior to the conditions tnat must be faced in touring
companies. I believe that twenty-five years from now, or fifty
years from now, good acts, good plays and good operas will still
be in demand. The fact that beautiful paintings can be copied
by color photography has not diminished the crowds that are
anxious to see original paintings. The fact that a play can be
reproduced on the screen or without a screen even in colors, and
with speech included by phonographic devices, will not prevent
the people from being primarily anxious to witness the original.
At its best, the motion picture in its most highly developed form
can only be a reproduction. That this reproduction will become
more wonderful year by year is a foregone conclusion, and that
the numbers of motion picture theatres of the better grade will
increase is also admitted on every hand. But the legitimate man-
ager of actual plays has no need to worry until blood and brains,
impulse and magnetism, inspiration and personality, can be repro-
duced as well as mere external appearances. And this will not
be accomplished in the lifetime of anyone who reads my state-
ment. Nothing will take the place of real nature."
Marc KBaw I "I think it was Andrew Carnegie who said it
was very easy to pose as a prophet, because if
your sooth-sayings failed nobody would give them another
thought; and if they were fulfilled you could always say, T told
you so !' Consequently, it is no act of courage to make a guess
as to what the theatre will be in twenty years from now. Physi-
cally, I think it will be a much simpler structure than it is to-day,
and in the theatre of drama most of the boxes will be eliminated,
as they interfere, as a rule, with both sight and sound. Artisti-
cally, it must improve. Even to-day plays are accepted whose
matter is so abstract that they could not have commanded a half
dozen audiences twenty years ago. Acting has improved in spite
of all the howl about the 'palmy days' of the drama, and so have
the plays. The plays of two decades hence will abound in panto-
mime, thanks to the education in that direction of moving pictures.
Scenery in the next twenty years will become a matter of ab-
stract decoration, giving the merest suggestion of locale. The
promise of this is already seen in Germany, where they have
abandoned everything but the simplest horizon drops to indicate
the sky. This horizon drop may be yellow or green or blue,
but rarely has it a cloud or anything to indicate that it is other
than a cloth suggestion of the firmament. Trees and decorations
of that kind, I believe, will be absolutely flat, in Japanese style,
no effort being made at perspective, as I said above — strictly
decorative. I think this simple decorative idea will also apply to
dress and stage furniture. Printed reviews will be largely repor-
torial rather than critical, except in weekly and monthly maga-
zines devoted expertly and solely to art matters."
CO S "No one can say what the theatre will be
like in twenty years. Indeed, no one can
say with any certainty what it will be like in one year. One bit
of order survives the chaos of present conditions. A good plav
well produced rarely fails." (Continued on page -Hi)
THE THEATRE MAGAZINE
161
Photos White
Gail Kane, Wallace Eddinger, Purnell B. Pratt, Claude Brooke, Martin L. Alsop, Joseph Allen and Roy Fairchild.
Act I. William Magee (Mr. Eddinger): "You had better sit quiet and comfortable; we've got a long wait before us"
ti I iii
HI
Left to Right — Gail Kane, Purnell B. Pratt, Wallace Eddinger, Roy Fairchild, Martin L. Alsop, Joseph Allen and Claude Brooke
Act II. Jim Cargan (Mr. Alsop): "You do as I tell you, Magee; I'm the school-teacher now!"
SCENES IN GEORGE COHAN'S NEW FARCE "SEVEN KEYS TO BALDPATE" AT THE ASTOR
DANCER
P^VLOWA
Generation
Greatest
WHEN the curtain fell, it had to rise again and again, amid
a roar of applause and a rain of bouquets. On a stage
half covered with flowers she brought the members of
her troupe down to the footlights to be cheered and received
call after call herself. How long the scene lasted can only be
guessed — certainly ten minutes, probably longer; but it is not
often a London audience keeps up cheering for ten minutes."
And she who made them so forget themselves was the Russian,
Anna Pavlowa, the greatest dancer of her generation.
New York is likely soon to witness a similar scene of enthusi-
asm, for on November 3d the incomparable Pavlowa is to reap-
pear upon the Metropolitan Opera House stage, this time, how-
ever, in a program quite her own. With a company of over
thirty dancers she will present ballets and "concerted character
dances," besides her own solos and duets with M. Novikoff, first
dancer of the Imperial Opera in Moscow. Liszt's "Les Preludes,"
Chopin's "Sylphide," Schumann's "Carnival," and Saint-Saens'
"Le Cygne" is some of the music she has chosen to interpret with
her dance, as well as Grieg's "Papillon," Delibes' "Coppelia" and
parts of Mozart's "Magic Flute."
And when she leaves New York she will progress to Brooklyn,
Newark, Philadelphia and Washington, and then west as far as
Minnesota, and from there north into Canada, and southwest
again on California's shores, kindling ecstatic admiration every-
where— if audiences in America have appreciative qualities like
those of the Europeans.
Pavlowa may be said to have started the present furore for
dancing when she first appeared in England four years ago. It
is laying, perhaps, a great deal at the door of one individual to
claim this, since many other factors arising at the same time are
also responsible for a movement so widespread as the present
revival of dancing, but Pavlowa's exquisite art, rendering visible
to the eye as it does the soul of>ravishing music, her remarkable
virtuosity, her brilliant technique, and the grace with which
she accomplishes the most difficult figures, undoubtedly helped
spread the movement which has set the whole world dancing.
But as one cannot become a fad anywhere, of course, without
the sanction of Society, it is no surprise to hear of lawn parties at
Pavlowa's house in Hampstead Heath, attended, as the English
women's magazines say, "by the flower of our nobility." Once
when Lady Londesborough asked Pavlowa to dance at a lawn
fete given in honor of King Edward and Queen Alexandra, "their
Majesties were most gracious and deigned to express the pleasure
I had given them," admitted the ballerina modestly. Though
they lionized her and idolized her in London, thronged and
packed the Palace Theatre to see her perform, and even paid
her the compliment of try ing -to imitate her, they did not outdo
the enthusiasm of her fellow countrymen, the Russians, whose
special pet she still remains, even though she has taken up her
residence in England.
Although she had to pay a fine of $11,000 for giving up her
residence in Russia while still in the employ of its Imperial
Ballet, and forfeited thereby her rights to the title of premiere
danseuse, the Czar saw fit to forgive her for her self-expatriation,
and to bestow upon her even a finer title — "Premiere danseuse
ctoile." For this she has promised to go back to St. Peters-
burg every summer, no matter where she may have been or
where she is going to be. So before sailing for America she
made a detour to her native city to keep her promise. The Czar
has further shown his admiration for her by ordering the sculptor,
Seraphin Soudbinine, to make a model of her in his two favorite
dances, "Le Cygne" and "Bacchanale," that they might be repro-
duced in his private porcelain factory.
They have gone mad over her in Berlin (according to their
own confession) , and worshipped her in Paris, but no tribute
is to her quite so fine as that she received from the stolid
Swedish bourgeoisie. King Oscar had conferred the Swedish
Order of Merit in Art upon her, but even this honor did not
impress her as much as the tribute of his people.
"I was greatly flattered by the King's act," she said, in writing
THE THEATRE MAGAZINE
163
Copyright, Underwood & Underwood, London
The dancer says that she finds inspiration in the graceful, effortless movement
of her swans
a short autobiography recently, "but the homage of an enormous
crowd which accompanied me from the theatre to my hotel one
night was to me still more gratifying. Some people think the life
of a dancer is thoroughly frivolous. In point of fact, frivolity
and dancing are incompatible. If a dancer lets herself go, if she
does not exercise an iron control, she cannot go on dancing. She
must sacrifice herself to her art. If, as a result, she can make
those who come to see her forget the sorrows and weariness of
life for a little, she has her reward. I first understood that in
Stockholm. In the crowd which accompanied me from the
theatre there were people of all sorts; men and women of the
middle classes, workmen, clerks, shopgirls and little dressmakers.
They followed my carriage in silence ; there were no cheers ; and
they did not seem even to speak. That great crowd remained
before my hotel, and I was told that the people were waiting for
me to appear on the balcony. When they saw me they welcomed
me with a tempest of hurrahs, almost frightening after the
extraordinary silence. I bowed time after time to the cheering
throng, and then they began to sing delightful Swedish songs.
I was at a loss what to do. Then an idea struck me. I rushed
into the room, seized the nosegays and baskets of flowers which
had been given me at the theatre, and threw roses, lilies, violets,
lilac, to the crowd below. Even then they seemed reluctant to go.
"I was unstrung, touched to the very depths, and, turning to
my servant, I said to her: 'What
have I done to turn their heads?'
" 'Madam,' she replied, 'you
have made them happy by mak-
ing them forget the sadness of
life for an hour.'
"I have never forgotten that
reply. The simple Russian peas-
ant girl who made it gave a new
aim to my art."
It is difficult to define her art.
Ballet dancing is, of course, the
foundation of it, but it is far
more dramatic, far more panto-
mimic than the "old school" of
ballet. "Ocular opera," someone
called it; "voiceless reading of a
classic by means of bodily
rhythm," declared another. To
her, dancing is an art illuminat-
ing and interpreting life, like
literature, music, painting or
sculpture, and though it is allied
to all of these and depends upon
them for inspiration and assist-
Dancing in her garden at Hampstead
Copyright, Theatre Magazine, 1913
Pavlowa and her pet Pekinese spaniel
ance, it is at the same time quite distinct and independent of
them. Every pose, every step, may be an interpretation of the
various moods, emotions and transitions of a poem which has
been set to music. These poses may be plastic and frankly
"sculptural," and the background be a painter's masterpiece, yet
when she dances in her garden without music, with only Nature
as a background, without "program notes," she succeeds in mak-
ing her beholders feel and understand the passions and emotions,
the intellectual and psychical experiences she would present. So
it is a thing apart.
She sees no relation, at present, between the art of dancing
and the social dancing of the present day — and who can wonder
at that? But she hopes that as the vogue of the one spreads it
may effect the other ; and that when people really make a study of
dancing — for no professional purposes but merely for the en-
joyment to be derived from it — they will naturally raise the
standard of their ballroom dancing. As exhibits on the lesser
stage, she thinks some of the Tangos and turkey-trots have their
place, but as perverted in the ballroom they are ungraceful and
suggestive. Being a constructive critic and an enthusiastic be-
liever in the wholesomeness and grace of the dance, she is going
to include in her program a number of dances which she believes
could easily be adopted for social use and please the most fas-
tidious.
"The study of classical dancing has intellectual as well as
physical advantages," she says. "Educate children by having
them interpret poems and stories and historical pageants, and you
will give them an intellectual uplift and understanding which
they can get in no other way. Besides, there is the physical
development it gives — nothing is quite so beneficial in a physical
way as dancing; for women, especially, it is far better than gym-
nasium training. If you have a sound heart and can stand the
Strain, dancing will bring soul and body into perfect poise.
"Dancing to me is ecstacy — a spiritual exercise as well as a
THE THEATRE MAGAZINE
Copyright, 1913, THEATRE MAGAZINE
In "La Fille Mai Gardee"
Pavlowa in "Aniarilla"
Copyright, 1913, THEATRE MAGAZINE
In "Orientale"
bodily one. It develops the spirit in grace and beauty ; it brings
you to a realization of great happiness. Happiness is essential
to health; an unhappy person cannot be truly healthy. But a
person who can dance and who loves dancing can never be truly
unhappy. Sorrow may touch them at times, as it touches us all,
but it is a sorrow that will lift. Sorrow rises from the dance like
one of the silken veils a dancer discards — that go floating away
You draw in a breath of happiness when you are dancing, that is
to say, you draw in a breath of health. If there were more danc-
ing there would be less sorrow, less ugliness, less wickedness."
She has not come by this philosophy, this conclusion, as the
result of her own experiences, but by dint of hard work, by per-
sistent following of a single aim ever since her tenth year. On
her eighth Christmas she was taken to see the Imperial Ballet
in Tchaikovsky's "Sleeping Beauty," which so impressed her
that she resolved then and there to become a ballerina like the
Beauty herself.
"Dear- little mother, you'll have me taught to dance won't
you ?' I said, when we were home.
' 'Yes, yes, my little Nura' — my pet name — 'of course,' and she
kissed me, thinking, no doubt, of the pleasure it would give her
to see me waltzing at balls when I should be a jeune fille a marier.
"But I was not thinking of balls ; I only thought of the ballet ;
and that night I dreamt of my life as a ballerina, dancing like a
butterfly to the lovely music of Tchaikovsky.
"I like to remember
that evening, which
gave me my career
with its joys and its
sorrows.
"In the morning I
spoke of nothing but
my great resolve, and
my mother began to
understand that her
daughter was a very
serious and very de-
termined little person."
She was too young
then to begin, but on
her tenth birthday —
the first day she was
"of age" — she entered
the school, "leaving
the happy and pious
Jife of a home for the
nervous and intoxicating life of another kingdom — that of art
and the stage."
The life at the school is severely disciplined and rigidly regu-
lar; it teaches moderation, temperance in habits of eating, drink
ing and living. And it means work.
"As in all other departments of art, success depends very
largely upon personal initiation and hard work. Even the suc-
cessful ballerina cannot allow herself to slack. If she is to pre-
serve her technique she must dance exercises every day on the
same principle as a pianist plays scales. She must be so perfect
a mistress of technique that when she is on the stage she need
think of nothing but the expression to be given to the dances she
executes."
In the unfailing fidelity to her art, in the steadfast execution
of its work, lies the secret of her success.
"And success? What is it? I do not find it in the applause
of the theatre ; it lies rather in the satisfaction of accomplish
ment. When I wandered among the pine trees in my childhood
I thought that success was happiness. I was wrong. Happiness
is a butterfly which charms for a moment and flies away."
Royalty of every country in which Pavlowa has appeared has
honored this great dancer. One of the most recent exhibitions of
kingly favor was in London on the occasion of the recent visit
of King Alphonso to Great Britain. Arriving at Dover with the
Queen and his suite, Alphonso sent post-haste to London to get
a box at the Palace for
Pavlowa's performance
that night. After the
performance the King
and Queen sent for
Pavlowa and thanked
her for the pleasure
she had given them.
Alphonso went back on
the stage and said to
Pavlowa: "Your danc-
ing is the most wonder-
ful thing in the world !"
And the King present-
ed to the ballerina a
diamond bracelet,
which makes only one
more item in the col-
lection of magnificent
jewels she has received
from royalty !
Lawn party at Pavlowa's English home, "Ivy House," attended by the highest society in Great Britain On
this occasion Pavlowa had members of her company dance for the entertainment of her guests
Photos Copyright by Ellis & Walery
In "The Second Mrs. Tanqueray" In "The Second in Command" In "The Flag Lieutenant" As Eccles in "Caste" In "The Second in Command"
MR. CYRIL MAUDE, THE WELL-KNOWN ENGLISH ACTOR, IN SOME OF HIS CHARACTERIZATIONS
L© EH doom's Foremost Comediam
THE present visit to America of the English actor, Cyril
Maude, is notable for a goodly number of reasons.
One which will cause the actor-folk and their directing
powers to study his methods and per-
sonality is the fact that he drove away
that creature of terror that lurks in the
backgrounds of all actorial and man-
agerial minds, and in the shadowy
corners of all theatres, a hoodoo, more-
over, a lingering one that had sunk its
talons — yes, hoodoos, especially theatri-
cal ones, have talons — into one play-
house roof for twenty years.
Another and satisfying reason is
that he is a kind of cousin of America,
having come here as did Bruce McRae,
with the more or less commendable
purpose of being a Wild West ranch-
man. Mr. McRae chose to cast his
fortunes, so to speak, among cattle.
For the agents of his fortune up-
building Mr. Maude chose sheep.
Both took refuge from the uncertain-
ties of live stock rearing in the change-
ful state which is called being an actor.
Americans will welcome him because it
has begun to feel its need of the man-
ager who knows all phases of his
business, and knowing acting as an art is one of these.
The Actors' Fund officers, and its many contributors, including
those who play at Actors' Fund benefits, and who toil at Actors'
Fund fairs, will be glad to learn of him, for he is the mighty
engine that has driven the chief theatric philanthropy of Great
Britain into the terminal station of success.
Chief of reasons for his welcome is that all the world loves a
comedian. He is a comedian of the first water. Doubtless, to
be anything of the first water is to be sparkling, and that Cyril
Maude is, without question. Let us be generous, for generosity,
a few actors returning to the tight little island have said, we are
not inclined to display to visiting members of their profession.
And, being generous, let us admit that into a play twice tried in
this country, that was dreary as drama and tiresome as musical
comedy, he infused unsuspected mirth and played with touch
so light that it became one of London's unquestioned suc-
Copyright Ell
CYRIL MAUDE
As The Little Minister
cesses. It is a considerable man who casts a considerable
shadow, and the shadow thrown by Cyril Maude in London
is very considerable.
Summarily he is practically the
owner of the successful Playhouse
galvanized from the dying Avenue
Theatre ; the foremost comedian of
London; the alert and tender father of
the Actors' Orphanage, managing the
annual outdoor fete for its benefit at
the Botanical. Gardens, a smart, early
event of every summer in London — I
saw him playing a clown and joying
in the enlarged polka-dots and torrid
paint of the ring ornament in a mimic
circus ; he has stamped his personality
upon many parts dear to memory, and
there be connoisseurs in acting at its
finest who say that there never was a
better Sir Peter Teazle than Cyril
Maude.
For survey of his activity crowded
years — he is a
young man of
fifty - one. H e
was born of an
officer and a
woman of wit
and charm, at 19 St. George's Square,
London, on April 24, 1862. Quite boldly
he tells it. He was five when, being im-
pressed by a call from a ponderous
cleric, he expressed a desire to be-
come a bishop. At six "and world-
weary," he firmly informed his
father that he had changed his
life plans and would be an actor.
The later plan he never
changed. He made his first
appearance on any stage as
the fairy godmother in
"Cinderella." It was while
he was in a boy's school in
England. The teachers of
MARGEREY MAUDE AS CINDERELLA
Miss Maude will accotrpany her father on his
first American tour
THE THEATRE MAGAZINE
Copyright, 1913, THEATRE MAGAZINE
In "La Fille Mai Gardee"
Pavlowa in "Amarilla"
Copyright, 1913, THEATRE MAGAZINE
In "Orientale"
bodily one. It develops the spirit in grace and beauty ; it brings
you to a realization of great happiness. Happiness is essential
to health ; an unhappy person cannot be truly healthy. But a
person who can dance and who loves dancing can never be truly
unhappy. Sorrow may touch them at times, as it touches us all,
but it is a sorrow that will lift. Sorrow rises from the dance like
one of the silken veils a dancer discards — that go floating away.
You draw in a breath of happiness when you are dancing, that i<
to say, you draw in a breath of health. If there were more danc-
ing there would be less sorrow, less ugliness, less wickedness."
She has not come by this philosophy, this conclusion, as the
result of her own experiences, but by dint of hard work, by per-
sistent following of a single aim ever since her tenth year. On
her eighth Christmas she was taken to see the Imperial Ballet
in Tchaikovsky's "Sleeping Beauty," which so impressed her
that she resolved then and there to become a ballerina like the
Beauty herself.
" 'Dear little mother, you'll have me taught to dance won't
you?' I said when we were home.
' 'Yes, yes, my little Nura' — my pet name — 'of course,' and she
kissed me, thinking, no doubt, of the pleasure it would give her
to see me waltzing at balls when I should be a jeune fille a marier.
"But I was not thinking of balls; I only thought of the ballet;
and that night I dreamt of my life as a ballerina, dancing like a
butterfly to the lovely music of Tchaikovsky.
"I like to remember
that evening,
gave me my
which
career
with its joys and its
sorrows.
"In the morning I
spoke of nothing but
my great resolve, and
my mother began to
understand that her
daughter was a very
serious and very de-
termined little person."
She was too young
then to begin, but on
her tenth birthday —
the first day she was
"of age" — she entered
the school, "leaving
the happy and pious
Jife of a home for the
nervous and intoxicating life of another kingdom — that of art
and the stage."
The life at the school is severely disciplined and rigidly regu-
lar; it teaches moderation, temperance in habits of eating, drink
ing and living. And it means work.
"As in all other departments of art, success depends very
largely upon personal initiation and hard work. Even the suc-
cessful ballerina cannot allow herself to slack. If she is to pre-
serve her technique she must dance exercises every day on the
same principle as a pianist plays scales. She must be so perfect
a mistress of technique that when she is on the stage she need
think of nothing but the expression to be given to the dances she
executes."
In the unfailing fidelity to her art, in the steadfast execution
of its work, lies the secret of her success.
"And success? What is it? I do not find it in the applause
of the theatre ; it lies rather in the satisfaction of accomplish
ment. When I wandered among the pine trees in my childhood
I thought that success was happiness. I was wrong. Happiness
is a butterfly which charms for a moment and flies away."
Royalty of every country in which Pavlowa has appeared has
honored this great dancer. One of the most recent exhibitions of
kingly favor was in London on the occasion of the recent visit
of King Alphonso to Great Britain. Arriving at Dover with the
Queen and his suite, Alphonso sent post-haste to London to get
a box at the Palace for
Pavlowa's performance
that night. After the
performance the King
and Queen sent for
Pavlowa and thanked
her for the pleasure
she had given them.
Alphonso went back on
the stage and said to
Pavlowa: "Your danc-
ing is the most wonder-
ful thing in the world !"
And the King present-
ed to the ballerina a
diamond bracelet,
which makes only one
more item in the col-
lection of magnificent
jewels she has received
from royalty!
Lawn party at Pavlowa's English home, "Ivy House," attended by the highest society in Great Britain. On
this occasion Pavlowa had members of her company dance for the entertainment of her guests
Photos Copyright by Ellis & Walery
In "The Second Mrs. Tamjueray**
In "The Second in Command" In "The Flag Lieutenant" As Eccles in "Caste" In "The Second in Command"
MR. CYRIL MAUDE, THE WELL-KNOWN ENGLISH ACTOR, IN SOME OF HIS CHARACTERIZATIONS
oim?s Foremost
d
mean
THE present visit to America of the English actor, Cyril
Maude, is notable for a goodly number of reasons.
One which will cause the actor-folk and their directing
powers to study his methods and per-
sonality is the fact that he drove away
that creature of terror that lurks in the
backgrounds of all actorial and man-
agerial minds, and in the shadowy
corners of all theatres, a hoodoo, more-
over, a lingering one that had sunk its
talons — yes, hoodoos, especially theatri-
cal ones, have talons — into one play-
house roof for twenty years.
Another and satisfying reason is
that he is a kind of cousin of America,
having come here as did Bruce McRae,
with the more or less commendable
purpose of being a Wild West ranch-
man. Mr. McRae chose to cast his
fortunes, so to speak, among cattle.
For the agents of his fortune up-
building Mr. Maude chose sheep.
Both took refuge from the uncertain-
ties of live stock rearing in the change-
ful state which is called being an actor.
Americans will welcome him because it
has begun to feel its need of the man-
ager who knows all phases of his
business, and knowing acting as an art is one of these.
The Actors' Fund officers, and its many contributors, including
those who play at Actors' Fund benefits, and who toil at Actors'
Fund fairs, will be glad to learn of him, for he is the mighty
engine that has driven the chief theatric philanthropy of Great
Britain into the terminal station of success.
Chief of reasons for his welcome is that all the world loves a
comedian. He is a comedian of the first water. Doubtless, to
be anything of the first water is to be sparkling, and that Cyril
Maude is, without question. Let us be generous, for generosity,
a few actors returning to the tight little island have said, we are
not inclined to display to visiting members of their profession.
And, being generous, let us admit that into a play twice tried in
this country, that was dreary as drama and tiresome as musical
comedy, he infused unsuspected mirth and played with touch
so light that it became one of London's unquestioned suc-
•ight Ell
CYRIL MAUDE
As The Little Minister
cesses. It is a considerable man who casts a considerable
shadow, and the shadow thrown by Cyril Maude in London
is very considerable.
Summarily he is practically the
owner of the successful Playhouse
galvanized from the dying Avenue
Theatre ; the foremost comedian of
London; the alert and tender father of
the Actors' Orphanage, managing the
annual outdoor fete for its benefit at
the Botanical. Gardens, a smart, early
event of every summer in London — I
saw him playing a clown and joying
in the enlarged polka-dots and torrid
paint of the ring ornament in a mimic
circus ; he has stamped his personality
upon many parts dear to memory, and
there be connoisseurs in acting at its
finest who say that there never was a
better Sir Peter Teazle than Cyril
Maude.
For survey of his activity crowded
years — he is a
young man of
fifty - one. H e
was born of an
officer and a
woman of wit
and charm, at 19 St. George's Square,
London, on April 24, 1862. Quite boldly
he tells it. He was five when, being im-
pressed by a call from a ponderous
cleric, he expressed a desire to be-
come a bishop. At six "and world-
weary," he firmly informed his
father that he had changed his
life plans and would be an actor.
The later plan he never
changed. He made his first
appearance on any stage as
the fairy godmother in
"Cinderella." It was while
he was in a boy's school in
England. The teachers of
••
MARGEREY MAUDE AS CINDERELLA
Miss Maude will accompany her father on his
first American tour
1 66
THE THEATRE MAGAZINE
Mishkin
FRANCINE LARRIMORE
This young actress, who is the niece of Jacob Adler, the tragedian, appeared last season
cess Theatre. Later she was seen in "The Master Mind," in which she will c
the various schools he afterwards attended displayed their per-
spicacity by casting him for the "heavies" in every part assigned
him in the school theatricals. To London he came with letters
of introduction to Charles Cartwright and other actors, present-
ing which convinced him that there is guarantee of naught save
perfunctory, preliminary politeness in a social "pull," he having
letters from persons whose names appeared in Burke's Peerage
to others whose names therein appeared, but with no result.
Meanwhile his health was declining, and his physician ordered
him to take a voyage to Australia. He returned with no symp-
toms of an arrest of the decline. A similar autocrat ordered
him to "go to the States and rough it." Thereafter the sheep
and their failure, and a professional debut with Daniel Band-
man's company in Denver thirty years ago.
"I made the best of these experiences," he said, "and making
the best of any experience is learning from it."
Four years of what we call barnstorming and the English
term, " doing the provinces," Mr. Maude
using the terms alternately, preparing
him for the worst or best, went to Lon-
don and began a career in that city in
the melodrama, "Racing," at the Grand
Theatre, Islington, and three months
later he was serving the Gaiety manage-
ment in "Frankenstein." The next year
he began figuring in the cycle of plays
at the Vaudeville under Tom Thome's
management, giving audiences the tang
of a new personality in "Joseph's Sweet-
heart," "Doctor Cupid," and "Miss Tom-
boy," London judges reversing the de-
cision of the schoolmasters and greeting
him as a comedian of fine flavor. Thence
he carried his youthful enthusiasm and
fine comedy sense to the many memoriecl
Criterion, provoking smiles in "London
Assurance," "Twelve Points of Law,"
and "The School for Scandal." Mrs.
Langtry had his assistance at the Hay-
market, where he further entrenched
himself in London favor by his portrayal
of the senile Baron Finot in "The Queen
of Manao." For a time he was the
fashion, and this while he was in the
sunny thirties, as in sketches of elderly
characters. He was, rather than played,
Cayley Drummle in "Mrs. Tanqueray,"
the pompous Member of Parliament in
"The Benefit of the Doubt," and the
irascible Colonel in "A Mother of
Three." Breaking the bonds of mimic
senility he showed his audiences that he
could be romantic and dashing as La-
rolles in "Under the Red Robe," that he
could be wistful and quaintly tender as
the Rev. Gavin Dishart in "The Little
Minister," which Robert Edeson gave us.
and having done this he sprang with
circus-like agility into the role of Tod-
dles, the young man who simply couldn't
get out of bed in time to dress for his
marriage, the part in which we had a
glimpse of John Barrymore. He played
the chord of courage and pathos in "The
Second in Command" the year before
John Drew touched them in the same
output by Captain Marshall in this
country.
During this busy time he found leisure
to marry. He tells of the marriage of
a busy actor in these few words: "I first met my wife in 1887.
Practically the first time I met her, at least the first opportunity
for a chat, was in a box at the Haymarket, into the co-manage-
ment of which I entered nine years later. A year after our
meeting we were married at the Royal Chapel in Savoy by the
Rev. Henry White, and my old headmaster, Dr. Haig Brown,
of Charterhouse. Our honeymoon consisted of one day at East-
bourne, a Sunday, for both had to get back to London and the
footlights." The wife thus acquired, be it said, was Miss Winifred
Emery, an actress of rank and of an "old footlight family." Her
debut, occurring almost simultaneously with the departure of her
destined husband for his health-seeking trip to Australia, took
place at the Court Theatre, under the management of Wilson
Barrett. Nearly from the first she has held the dignity of "lead-
ing lady," her performance of Rosamund in "Sowing the Wind"
and as Mrs. Fraser in "The Benefit of the Doubt" being of ex-
ceptional excellence. ADA PATTERSON.
in ingenue roles at the Prin-
ontinue this season
(Conclusion)
THE first reception 1 attended in this country was
given to me by Mrs. Paran Stevens, to whom I
brought a letter of introduction from her daugh-
ter, the charming Mrs. Paget. I also visited her in New-
port. She never ceased to take an interest in my welfare,
and wrote me several letters full of kindness and encour-
agement.
But to none do I owe a greater debt of gratitude than
to General Wade Hampton. I met him in Washington
as I was going South ; he gave me letters of introduction
which opened to me the doors of the most exclusive
circles, and by the way I was received I felt the respect
in which he was held by his countrymen and by all those
who are fortunate enough to know him.
In Charleston I was invited to the St. Cecilia ball. No
sight could have been more charming than the one I
beheld. Xo diamonds, no rubies, no brocades, no costly
laces, but on each brow shone that most beautiful of all
crowns : Youth ! Youth was there in all its glory. Youth
unadorned, unconscious of its charms; and those sweet
girls, in their simple organdy dresses, with their girlish
coquetry, their bewitching smiles and their little despotic
ways toward the other sex, looked like young queens
among courtiers. When I entered, they flew to me like
butterflies and overwhelmed me with flowers, praises and
compliments. Their hearts were full of sunshine, which
they imparted to mine. To-day, some of those young
girls have become wives and mothers, and wear the
crown of womanhood with the same grace as that of
youth.
Among the few artists whose acting I have been able
to witness in America, Mary Anderson was the first. It
was at the Cincinnati Festival, in which I myself had the
honor of taking part. The play was the "Hunchback."
As she entered, plucking flowers from the artificial bushes
that decorated the stage, she was a perfect vision of
loveliness, girlish and most graceful. And was this the
woman people had called and persisted in calling cold
and awkward ? I had also heard that she did not study,
relying on the easy success she had achieved, and yet she
gave an almost faultless performance of her part. But
had she scorned all the rules of art ? Were her matchless
beauty, her queenly bearing, her superb personality, were
all those heavenly gifts not sufficient to command the
admiration of her country ? Mary Anderson was a Gre-
cian statue, of which Phidias or Praxiteles might have
been proud. From those classic features and in such a
noble, plastic form one could not expect to find a soul
burning with the unholy fire of a Messalina or a Cleo-
patra, but a soul animated by the pure and chaste fervor
of a Vestal or a Martyr. Is there really no possibility of
being great, without depicting passion and the vilest?
It must be so, or clever, even great actresses would not choose
that kind of parts as a medium between them and the public
Marie Wainwright, also, is an actress whose talent I admire.
Virginia Harned, in "Trilby," was a picture never to be forgot-
ten. How beautiful she looked ! The whole performance of
"Trilby" was one of the most enjoyable I have witnessed. Every
character was played to perfection, as was "The Henrietta," a
comedy that cannot be excelled. Mrs. Brown Potter in "Therese
Raquin" was as great as any actress could be in that part. I
am sorry my own work has prevented me from joining in the
admiration for Joseph Jefferson, Richard Mansfield, Ada Rehan,
and many other idols of the American stage.
I have had many managers, but, as I have said before, with
Memoirs of Mile. Rhea. Copyright 1902 by Marie Michailoff.
Photo Matzene
The
MME. GERVILLE-REACHE AS FRICKA
well-known French contralto, whose beautiful voice will be heard again in concert
this winter
none have I been so prosperous as with Mr. Chase. This is due
partially to the fondness of American people for novelties. The
idol of yesterday is forgotten for the one of to-day. It needs a
great spirit of enterprise, much money and luck, to keep up a
reputation anywhere, but especially in this country. New plays
are absolutely necessary, but beware of a failure. It brings you
near death's door, and superhuman efforts are required to regain
a foothold once lost. It is not always the best actor who is the
most popular and successful. Newspaper work, sensational act-
ing and costly productions, all of which represent an immense
capital and a speculative brain, are now the only sure means of
success. The theatre, like trade, is monopolized. Everything
belongs to the few. Surely some critics do justice to talent
i68
THE THEATRE MAGAZINE
Copyright, Daily Mirror Studios
John Forbes-Robertson
Act III. Scene 1. Ophelia: "My lord, I have remembra;
SCENE IN FORBES-ROBERTSON'S PRODUCTION OF
wherever it appears, but what is a candle burnt at the altar of
genius compared to the thunder and lightning necessary to
arouse public recognition?
Still, in spite of all, let us be, or try to be, artistic, and despise
every unlegitimate means. Of course, we must live and sacri-
fice a little to the public taste for the sake of living, but let us
not be too generous in our yielding, nor encourage too much the
modern tendency toward sensation.
Among the many parts I have played in this country, my most
successful ones have been Adrienne Lecouvreur and Josephine.
Apart from my admiration for Napoleon, I could not help being
inspired by Mr. William Harris' wonderful impersonation
of the Emperor. His knowledge of the history of the Empire
was as remarkable as his worship for the man, and this came
very near to idolatry.
I think I can boast that the revival of interest in Napoleon,
and the events pertaining to his epoch,
is partially due to my production of
"Josephine." The dresses were graceful
and becoming, and ladies at once re-
vived the fashion. The craze for Em-
pire furniture followed; then came the
magazines filled with biographies, anec-
dotes, engravings, in fact, with every-
thing pertaining to the Empire. Libra-
rians had not books sufficient to supply
the demands of the public. Now the
furore is dying out ; still there remains
the gratification that my work has not
been in vain. To have awakened a
taste for history is something to be
proud of.
Secretary James G. Elaine predicted
the success of "Josephine." "For," he
said, "she is held even in higher esteem
in America than in France," and he sent
me, thinking it might be of some value
to me, a very interesting article written
by Gail Hamilton, entitled "In Jo-
sephine's Garden."
Speaking of Napoleon, an interesting
incident comes to my mind. In Ottawa,
Canada, in 1891, after a performance
of "Josephine," I received a basket of
grapes, with a large satin bow on the
top, from which fell a bunch of ex-
quisite Marechal Kiel roses most taste
fully arranged. I opened the basket,
anxious to know the name of the donor
of this graceful present. It was Mr.
Nettle. He wrote me that he was born
the day after the famous battle of
Waterloo, that his father at that time
lived in Southampton, England, where
he owned large hothouses, in which he
cultivated grapes. When the Emperor
was about to sail for St. Helena, "my
father," added Mr. Nettle, sent him a
basket of his choicest grapes; although
his countrymen hated Napoleon, my
father had for him a great admiration.
Accept to-day, mademoiselle, this little
basket of grapes, which I offer to Jo-
sephine in memory of the one presented
to the imperial captive seventy-five
years ago."
In Columbus, Ohio, a pretty, young
school teacher, who is a descendant of
Josephine, came to see me. Among her
several names is that of "Tascher cle la
Pagerie" (Josephine's family name) ; her great-grandmother mar-
ried General Rapp, one of Napoleon's bravest soldiers. When
ever I go to Columbus my little Josephine, as I call her, never
fails to pay her homage to the Empress.
At the instance of the professors and students of the University
of Michigan, in Ann Harbor, I delivered a "talk" on Napoleon.
They were anxious, I suppose, to know the opinions of an actress
whose impersonation of the character of Josephine had made it
necessary for her to give the subject much search and careful
study. Memoirs can hardly give an idea of a man like Napoleon.
Those that appeared in the early part of the century were mostly
prompted by envy. The men of the Empire could not forgive
the soldier his greatness ; the tools were jealous of the master
hand. The biographers of to-day are more impartial, it is true,
but can we be impartial in our admiration? As in love, he who
reasons does not admire ; and my admiration for Napoleon is
Gertrude Elliott
ces of yours, I pray you, now receive them"
•HAMLET" AT THE SHUBERT THEATRE
THE THEATRE MAGAZINE
169
unbounded, so I gave simply my views as a woman and a wor-
shipper of the great hero.
Two thousand students were assembled in the large University
Hall. Mrs. Angell, the
wife of President An-
gell, introduced me.
She spoke so flatter-
ingly of the actress and
the woman that when
I came forward I was
greeted by thunders of
applause. I felt proud,
and I said so.
My "talk" was in
answer to Colonel
Robert G. Ingersoll's
thoughts before the
tomb of Napoleon. I
began by reading his
eloquent words, which
was rather presumptu-
ous on my part, but
with them I was sure
that I could awaken
the interest of my
audience, whilst I re-
White
lied upon the sincerity
and earnestness of my feelings to convince my hearers.
Did I gain my point? One would have thought so, judging
by the enthusiasm of those present; but they were the sons and
daughters of a chivalrous race, and I am inclined to believe that
their homage was rendered more to the woman than to her views ;
but to whatever it may have been, the woman appreciated it to its
full extent. At Cornell University I had the same honor bestowed
upon me, as also in many high schools. I shall always bless that
"talk," for it was the medium that brought me in closer contact
with the youth of America.
At Montreal, Canada, I was invited by the faculty of the
University Laval to repeat my "talk" on Napoleon. I delivered
it in French. At the close, the President of the medical students
and the President of the law students thanked me in words full
of tact and courtesy, which proved that the French language is
not dead in Canada, and that they culti-
vate now as of old that supreme ele-
gance which is one of the characteristics
of their mother tongue.
But if the Canadians are enthusiastic,
the Americans are not less generous in
honoring those whom they think worthy
of their esteem. While playing in Co-
lumbus, Ohio, in 1894, I visited the
Capitol. The House was in session. I
went first to pay my respects to the Gov-
ernor, who was then Mr. William Mc-
Kinley, and, like others, I felt at once
under the spell of his sympathetic per-
sonality. After taking leave of the Gov-
ernor, I proceeded to the House of Rep-
resentatives. As I entered the hall the
Speaker of the House interrupted a
debate on the affairs of State and called
a few minutes' recess, so that the mem-
bers might shake hands, he said, "with
a lady who deserved, not only the ad-
miration of the American people as an
actress, but their esteem as a woman." It
is easy to imagine the effect of that gracious speech on one who
was not prepared for it. With blushing cheeks I was led to the
Speaker's platform. He said: "You are the first woman. Made-
moiselle, who has had the honor of occupying this seat." Each
Forrest Winant and Irene Fenwick in "The Family Cupboard," at the Playhouse
JflarionettrB
Pierrot may dance — Pierrot may sing,
Though Pierrot's heart be heavy;
In the painted skies the sunshine lies,
Though the real world's dull and dreary.
Pierrot's world is the mimic world —
His skies are its painted skies,
But his heart's true light — serenest — bright-
Are Pierrette's laughing eyes,
What need of sun — of wind — of rose?
The whole world follows where she goes.
Pierrot has danced — Pierrot has sung,
Though Pierrot's heart is breaking;
The sunshine dies from the painted skies —
In the real world birds are waking.
Pierrot's world is the mimic world,
But he turns to the real world's skies;
Beyond, they say, in Eternal day,
Shine all lost Pierrette's sweet eyes.
The wind — the skies — the rose — the dawn —
Point him the pathway she hath gone.
PARMLEE BRACKETT
member of the House passed before me, many telling me of their
wives' and daughters' love for me. When I left the Capitol my
blushes of modesty had vanished, giving way to feelings of pride
and gratitude.
Like a ray of sun-
shine comes to me the
recollection of the en-
tertainment given by
my company and my-
self to the little or-
phans one Thanksgiv-
ing Day in Baltimore.
I had read in the
papers of the many
dinners provided . for
the poor, homeless
children by the wealthy
and charitable people
of the city, and the
thought came to me
that perhaps I might
also do something to
cheer their little hearts.
I spoke of it to my
manager and to Mr.
John Albaugh, of the
Lyceum Theatre, and
together we concluded to give a matinee for the orphan children
of the different asylums, regardless of creed and sex. At least
eight hundred accepted our invitation. Nothing was prettier than
to look over that sea of little heads, above which the big white
caps of the Sisters of Charity fluttered like angels' wings. Mr.
Albaugh, always generous and kind, had placed at our disposal.
not only the theatre, stage hands, lights, etc., but for that special
occasion he had brought out the beautiful scenery of "A Mid-
summer Night's Dream" with its revolving panorama.
The company, in their most gorgeous attire, stood in a barge ;
white, red, green and blue lights were thrown on them. I then
made a short address, which was followed by the singing of the
national hymn, in which all joined. I had requested the company
to give nothing but cheerful recitations and songs. All the num-
bers were most enthusiastically applauded, but the hit of the
performance was made by Miss Mabel
Washburn, whose rendition of Whitcomb
Riley's poems is inimitable. The chil-
dren went wild over her, and six times
she was obliged to respond to their calls.
The entertainment ended with the minuet
from "Josephine." As they left the theatre
a bag of candy was given to each girl
and boy, who received it with eyes big
with delight.
We went home, our ears ringing with
the merry laughter of the children and
the words of thanks of the Sisters and
Matrons of the different asylums. That
performance, given in the name of char-
ity, proved to be a source of joy to us
all. It was such a success that we re-
peated it several times in other cities.
During the same engagement in Balti-
more I had the honor of meeting Cardi-
nal Gibbons. I found His Eminence a
broad-minded man, highly intellectual,
full of tact, and withal most simple and
cordial — a worthy minister of Christ.
Having been brought up in a convent, it is natural that I cherish
a fondness for those good and noble women, whose unselfish lives,
renunciation of all worldly pleasure, devotion to the poor and
unfortunate, excites, now as of old, my warmest admiration and
I/O
THE THEATRE MAGAZINE
sympathy. I have spent many happy hours among the Sisters
of the Holy Cross in Washington, of the Sacred Heart in Ro-
chester, and of the Loretto Convent in Toronto.
Of the many actors and actresses who have at different times
been members of my
company, with few
exceptions, I can only
speak in words of
praise. It has been
for me a great source
of happiness to find
in my surroundings
people who were so
congenial. That the
profession in America
should be on a higher
level than in Europe
is easily understood.
In the United States,
people belonging to
the best classes of
society go on the
stage, whilst in the
old country, it is not
without great effort
and persistent reason-
ing that a girl of good
family is permitted
to adopt the dramatic
profession, and even
then very few sue-
in conquering
parent's aver-
In my own
but for the loss
of my father and
mother, I should
never have been an
actress.
And now, allow me
to say a word of my
home, that h o in e
dearer to me than
"palaces," as the song
goes. It is situated
at Montmorency, a
few miles from Paris.
Alishkm JOSEPHINE
Now appearing at the Republic Theatre as
ceed
their
sion.
case,
The day I took pos
session of it I was
met at the gate by my little niece, who brought me on a salver
the keys of the house, and in a pretty little speech presented them
to me. A kiss was the answer, the only one I could give her. That
night I could not sleep. At three o'clock the birds began to sing,
the first rays of the sun were playing on the shutters. I opened
my window and looked out at my beautiful garden, and with a
heart overflowing with happiness I thanked God. I forgot all
the work, the anxiety, the worry that home had cost me. I had
only one thought : This is mine ! Here I can live and receive
those I love and return a little of the hospitality that has been
lavished on me. Oh ! how happy I felt and how happy I still
feel whenever I go to that dear home. I call it "Villa Beatrice,"
in memory of my first English part.
The most beautiful ornament of my drawing-room is a life-size
painting of myself as Juliet, by Theodore Chartran, the
celebrated artist, whose fame has become universal by his por-
traits of Pope Leo XIII and the fascinating Calve. A whole
room is devoted to the souvenirs of the Far West. I possess the
wedding robe of the daughter of "Running Antelope," on which
the bride herself has painted, in that primitive Indian style, the
war records of her husband. A yoke of blue beads, weighing
eighteen pounds, is one of the chief ornaments of that robe. A
white Polar bear is a reminder of Seattle; white stalks, of
Florida; a Mexican harness, mounted in silver; a sombrero, In-
dian bows, arrows and tomahawks surround pictures of the great
Western scout, Buf-
falo Bill.
B o s t o n, Chicago,
Philadelphia, San
Francisco, and the
smaller cities are rep-
resented in the differ-
ent rooms of the
house, and nothing
amuses me more than
to watch the smile on
the face of my Amer-
ican visitors when I
show them a piece of
furniture bearing the
stamp of their own
country. There I re-
tire every summer
and forget in a calm,
peaceful life all the
worries of my theat-
rical tour. Ah ! the
bliss of rest after so
much travel and fa-
tigue !
Before closing
these pages 1 am
tempted to give some
advice to the young
girls who wish to en-
ter a career which
seems so fascinating
and yet so deceptive.
I have shown the
sunny side of my
artistic life, because
feelings of gratitude
are uppermost in my
heart. But oh! the
road of thorns that
leads to glory ! When
you are two to bear
the burden, it seems
lighter; one helps and
VICTOR
Maria in
'The Temperamental Journey"
consoles the other.
But, alone ! Never aspire to become a star unless you have a
husband, father or brother to fight for you. The world smiles
when you smile, but it is hard and unsympathetic when you weep.
Still I know that all I can say will not change a mind bent on
following its own inclination ; therefore, I will not discourage
anyone, but say that in my greatest sorrow, depression, some-
times despair, I have found consolation alone in work. Work
is the one friend that never fails, work chases away the blues and
gives us strength to continue till the end is reached.
And now, farewell to the past and welcome to the future —
the future of which you are the fair and gracious heralds ! May
success crown your efforts ; may you uphold by your character,
as well as by your genius, a profession which stands second
only to literature, for if the poet conceives the thought the actor
endows it with life. On the threshold of your career, inspire
yourselves with this beautiful invocation of Adrienne Lecouvreur:
"Oh, my great Corneille ! Fill my heart with generous im-
pulses, with sublime sentiments, such as thou hast so often placed
upon my lips ! Enable me to prove to them all that we, the in-
terpreters of thy genius, must by inspiration of thy thought gain
some of thy nobility." RHEA.
Harris & Ewing Harris & Ewing
HAZEL MACKAYE Tableau at the close of "Uncle Sam's 137th Birthday Party," showing Columbia
Who assisted to design and direct the Pageant Uncle Sam, Liberty and one of the Minute Mfii
and the Drama League
THE new- world revival of the old-world dramatic folk festi-
val has not, untU the past few months, touched Washing-
ton more than here and there in the schools or social
settlements. Through the Washington Centre of the Drama
League, however, organized last December, this new people's art
movement has lately found expression in a form of striking
beauty and unquestioned community value. In February, Percy
MacKaye, lecturing in the Public Library on "The People's
Leisure and the Civic Theatre," inspired a Drama League audi-
ence which spread its impetus until, by the last of April, definite
plans were under way for a civic festival in Washington on the
following Fourth of July.
This was daring the difficulties of a brief interval for prepara-
tion, the heat of a Washington Summer, the vacation period,
consequent loss of otherwise available assistance, and it was
facing, also, the conservatism of a city to which the folk-festival
mination to succeed in spite
of everything. It secured
the co-operation and finan-
cial backing of the Citizen;,'
Sane Fourth Committee, and
the appeal of the festival
idea enlisted volunteer work-
ers from all parts
of the city and all
walks of life. The
result was a pageant
of a patriotic theme
which was enacted
by several thousand children
and some 200 grown-ups,
Copyright Taylor
MRS. GLENNA SMITH T1NN1N
Who with Hazel MacKaye designed and
directed the Pageant
before an audience of at least 10,000, and larger than any assem-
blage of people ever seen
in Washington, except at
the inauguration of a Presi
dent of the LTnited States.
Mrs. Glenna Smith Tin-
nin and Miss Hazel Mac-
Kaye, distinguished artists
a n d experienced pageant
masters, and both officers of
Harris & Ewing
The final procession of Uncle Sam's guests and their gifts, showing
flower and fruit girls from the Far West
Photo Taylor
Fruit, a gift of the Far West Statej
idea was new. Many of the
difficulties, however, were at
the same time forcible argu-
ments for the undertaking, em-
phasized by the fact that the
Fourth of July so far as
appropriate celebration is con-
cerned, has been the most neg-
'ected holiday of the year.
So the Drama League pur-
sued its plans, with the deter-
the Washington Cen-
tre of the Drama
League, gave their
time and effort unre-
servedly and zealous-
ly to the immense
labors of designing
and directing the un-
dertaking. Making
first appeal to the
children, they named
Photo Taylor
Flowers, a gift of the Far West States
1/2
THE THEATRE MAGAZINE
the celebration "Uncle Sam's 137111 Birthday Party," and worked
out their design in a spirit of gaiety which was at the same time
graceful and dignified. The pageant was held in the Mall, in
those beautiful park squares including the Smithsonian Institu-
tion, the Agricultural Depart-
ment, and the Washington
Monument, with the climax
at the foot of the slope south
of the Monument, upon a
beautiful, level, natural stage,
against a background of trees
and with a lovely little grove
on each side, the slope itself
serving as a vast amphi-
theatre.
The children of Washing-
ton were invited to march in
the pageant procession and
attend Uncle Sam's birthday
party in some chosen charac-
ter. As funds were decided-
ly low, it was necessary to
choose a simple scheme of
costuming, and this was done
by suggesting the most vitai
periods of American history.
First the Colonials, "little
George and Martha Wash-
ingtons," a group which was
impersonated entirely by the
Thomas Welles Society of
Children of the American
Revolution ; then, for 1812,
"little James and Dolly Madi-
sons," and for 1860, "little
men and little women," after
Louisa M. Alcott. For the
twentieth century there were
hundreds of little girls in
white muslin dresses wearing
wreaths of daisies in honor of
the day, hundreds more oi
"middy girls," carrying red
and blue balloons, and, for
lack of white balloons, which
could not be had, white paper
plumes; Camp-Fire Girls, In-
dian girls, and a lot of "story-
book folks," consisting of lit-
tle girls representing favorite
characters in fairy lore and
childish legend. Of boys
there were Indians, cowboys,
baseball boys, middy boys and
flag boys. The procession was
headed by a hundred older "lib-
erty girls" in red classic slips,
alternatingwith white and then
blue ones, and their leader was
accompanied by a diminutive Uncle Sam, who unexpectedly ap-
peared, nobody knew whence, just as the procession was ready
to start, and was promptly given place second only to the band.
Four thousand children registered for this procession. Just
what number actually appeared must be estimated, but it was a
long and fascinating array of little people who made the march
through those beautiful driveways in the Mall and were ulti-
mately seated as the most privileged spectators of the pantomime
play on the Monument grounds.
Before this play began, however, and while the procession was
forming, a preliminary little program of interpretative dances
Photo Toel Feder
CATHRINE COUNTISS
Now appearing in the vaudeville playlet, "The Birthday Present"
was given in another part of the Mall by twenty-five or thirty
little girls from the public schools, for whom had been chosen a
lovely shaded spot, where, in soft and delicate-colored draperies
and barefoot on the smooth turf, they danced the call of out-of-
door joy and freedom. Then
they and their a u d i e n c c.
joined the throng at the birth-
day party.
In the centre of the "stage"
of the birthday party, which
was roped off from the am-
phitheatre, was erected a
white dais, and upon this a
pedestal and two seats. This
was the only "scenery" other
than the natural setting.
The play began at six
o'clock, the sun's rays slant-
ing and mild, and the light
most beautiful. A resplendent
herald, in red and blue, with
a white-lined mantle and steel
helmet, stepped out from the
grove on the right and trum-
peted a signal. With the
strains of Yankee Doodle
in the air, two Minute Men,
in Continental uniform, with
fife and drum, marched out
upon the green, preceding the
tall and swinging figure of
Uncle Sam, who bowed and
smiled a welcome to his
guests and took his place
upon the dais. Another blast
of the trumpet, the strains of
Hail, Columbia! and from the
opposite group of trees a mag-
nificent helmeted figure in
classic robes of white, girdled
with blue, and with a rich
mantle of royal blue lined
with the red and white of the
flag, made her stately march
to the dais to be hostess with
Uncle Sam.
The distinguished guests at
this reception were the States,
who arrived in groups, ac-
cording to their geographical
or historical kinship. First,
of course, came the Colonies,
thirteen classic figures with
gold shields, surrounding, as
they entered, a fourteenth
stately figure, whom they soon
revealed as Liberty, their
matchless gift to the Nation.
Proudly Uncle Sam and Co-
lumbia acknowledged this arrival, and led Liberty to the pedestal,
where she stood, her torch in hand, the dominant figure through-
out the spectacle.
"Dixie Girls," in rosebud bonnets and hoopskirts, to the gay
music of Dixie Land, brought gifts of cotton, tobacco, sugar-
cane; and, from Florida, the ostrich and the alligator, the gifts
themselves personified by girls and young men who danced their
entrances in characteristic fashion to Turkey in the Straw. To
the tune of the Irishman's Chantey, Maine, in prim poke-bonnet,
let in a huge, man-size lobster; Vermont, a block of granite. Six
brawny sons of the Middle West, (Continued on page vi)
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When writing to advertisers, kindly mention THE THEATRE MAGAZINE
VI
THE THEATRE MAGAZINE ADVERTISER
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Pageantry and Drama League
(Continued from page 172)
in their field hats and carrying scythes, to the
rhythmical measures of Pop Goes the Weasel.
brought in their gifts of wheat and corn, who
danced in simulation of the fields of waving grain,
the music changing to A Farmer He Went Out to
Sow. The Great North, typified by its cool, blue
rivers and green trees, and by dull-colored earth,
brought fish and lumber, gold, copper, and silver,
the low sweeping movements of this dance to the
accompaniment of / am a Child of the Forest
Wild, and the combined soft hues and sheen,
making one of the most beautiful pictures of the
pantomime. From the Far West came dashing
ranch girls, dancing a gallop as they drove in a
steer, and followed by the more beautiful sym-
bols of their wealth, graceful girls bearing an
overflowing tray of fruit and baskets of growing
flowers, by the strains of La Paloma. Alaska
with a totempole symbol and a chain of gold
nuggets, was followed by Hawaii, who deposited
his tray of pineapples and danced a fascinating
native dance to the music of Aloha. The party
ended with a grand processional to America.
The cast of this spectacle p'ay numbered about
TOO people, most of whom had had little dramatic
training, but were taught and rehearsed in their
parts by Miss MacKaye and Mrs. Tinnin during
the two weeks prior to this performance. Four of
the principal characters, however, were important
exceptions to this, being members of the Poli and
Columbia stock companies. The Herald was Gra-
ham Velsev; Libertv. M'iss Lotta Linth;cum:
Columbia, Mrs. H. Dudley TTawlev. and one of
the flower girls from the Far West was Miss
Blanche Sperry. These players entered in'o the
undertaking with the most cordial spirit of help-
fulness, giving not only their professional assist-
ance but great aid in the preparations.
The Independence Day pageant was, indeed, a
community event in a sense quite unprecedented
in Washington, a city of such diverse interests
and transient population that its name has been
proverbial for lack of civic spirit. As a first
effort of its kind, it was nothing less than a re-
markable triumph, achieved throueh the unfailing
power of the dramatic appeal. With the neople
themselves as actors and participants, the Drama
League was able to organize the most adequate
the most democratic, and also the most artistic
celebration of the Nation's birthday the Nation's
capital has ever known.
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vu
Shakespeare Made to Pay
(Continued from page Iu8)
fifteen manuscripts submitted in the contest.
America might well emulate the spirit that
pervades at Stratford during the festival week;
\vc might well seek for some instrument of na-
tional education as effective, as far-reaching in
cultural benefits as these performances. I cannot
refrain from giving a sample repertory from
April 24 to May 13, 1905, for by it one will see
how varied the program, how readily an audience
can become steeped in the Shakespearean drama.
First Week: The Merchant of Venice (i).
Comedy of Errors (2).
Much Ado About Nothing (3).
The Merry Wives of Wind-
sor (4).
Romeo and Juliet (5).
Edward II (Marlowe) (6).
Second Week: Richard II (7).
Henry IV (Pt. i) (8).
Henry IV (Pt. 2) (o).
Henry V (10).
Twelfth Night (II).
As You Like It (12).
Hamlet (13).
Third Week: Macbeth (14).
Othello (15).
Taming of the Shrew (16).
No wonder, with all this excellent show of
effort, Benson should have been presented with
the freedom of the town of Stratford in 1910!
The spirit pervading the three weeks is strictly
that of the festival, and both Mr. and Mrs. Ben-
son have done much by their intellectual en-
thusiasm to foster it. They are interested in the
folk revival, and Mr. Benson has been foremost
in the pageant movement. But therein he has
wasted some of his fortune. At one time he
wrote an article on The National Theatre, and
in it he said that "the handmaidens of art are
self-denial, activity, and simplicity," all three of
which characteristics might be applied to him.
Believing in the stock school, he has taken a
high way toward proving the soundness of his
belief. Those who know the theatre will see
much wisdom in his criticism of present condi-
tions as showing a lack of technique, versatility
and spontaneity. The modern school, he says, is
wanting in breadth, force, elocution, grace, and
freedom from self-consciousness. That is essen-
tially the criticism of an idealist who has had
some practice.
Mr. Benson comes to America under the
auspices of the Stratford Shakespeare Associa-
tion; his repertory will consist of fourteen plays.
He will tour Canada and the United States, and
he will be one of the attractive features of the
Panama Exposition. In his own person lie repre-
sents one of the Board of Governors of the
Memorial Theatre. In many respects, therefore,
he brings to us a bit of Stratford itself. It is
unfortunate that the warmth and splendor of
local association cannot be brought with him.
Stratford during festival time has been the sub-
ject for many writers. Shaw has written about
it ; Mario Borso, that clear-sighted Italian
journalist who saw the English stage so clearly,
has praised it. But perhaps no one has been
more eloquent about the Benson spirit than W.
B. Yeats. I quote from his "Ideas of Good and
Evil" :
"I have been hearing Shakespeare, as the
traveller in 'News from Nowhere' might have
heard him, had he not been hurried back into
our noisy time. . . .
"One passes through quiet streets, where
gabled and red-tiled houses remember the Mid-
dle Age, to a theatre that has been made not to
make money, but for the pleasure of making it,
like the market houses that set the traveller
chuckling. ... It is certainly one's fault if one
opens a newspaper, for Mr. Benson gives one a
new play every night, and one need talk of
nothing but the play in the inn-parlor, under the
oak-beams blackened by time and showing the
mark of the adze that shaped them. . . . Partly
because of a spirit in the place, and partly be-
cause of the way play supports play, the theatre
has moved me as it has never done before. . . .
I have felt as I have sometimes felt on gray
days on the Galway shore, when a faint mist
has hung over the gray sea and the gray stones,
as if the world might suddenly vanish and leave
nothing behind, not even a little dust under one's
feet."
N'ow is the time in America for the student
to throw awav his variorums and to see these
fourteen of Shakespeare's plays, to get their
very spirit. I have seen outdoor productions of
Shakespeare and tasted of the very wine of his
fun and romance. How easily one can get in a
holiday humor; one may likewise get into a
Shakespeare humor. Mr. Benson is to play an
uncut version of "Hamlet"— God help the pa-
•913
Economy of the Bell System
Consider this significant fact:
While most of the necessaries of life
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service, which is one of the essential
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life, has moved steadily downward.
Although a pound of these neces-
sities still contains but sixteen
ounces, the telephone user has been
getting more and more service for
less money.
On the average, the people of this
country pay 49% more today for
food, fuel and clothing than they did
in 1895. Since then, the decrease in
the average rates for telephone ser-
vice has been more than one-half.
At the same time, the efficiency
and value of the service to the sub-
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he can talk to an average of five
times as many persons in each
exchange as he could eighteen
years ago.
This is the inevitable result of the
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Through the very size and effi-
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Connected with Mr. Charles Frohman'a Empire Theatre and Companies
Recognized as the Leading Institution
for Dramatic Training in America
BOARD OF TRUSTEES
Franklin H. Sargent, President
Daniel Frohman John Draw
Benjamin F. Roeder Augustus Thomaa
Founded
la 1884
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apply to the Secretary
Room 152. C.rnegie Halt
New York
THE OFFICIAL PROGRAMME OF THE
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the following seasons by
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tience of the audience that sits through it! I
have! But apart from this announcement there
is no archaeological dust attached to his coming.
A dinner hns just been given him in London, and
Sidney Lee and Forbes-Robertson have both
hailed Benson at his true value. He has been
unswerving in his devotion to Shakespeare and
he has done what London has not yet been able
to do — established a national theatre. Those in-
terested in theatrical art in England are strivin
through widespread subscription to establish
what may be called the Shakespeare Memorial
Theatre in London, another name for the long
dreamed-of National Theatre. But Benson has
received little help from London. He has carved
his own way on tour. MONTROSE J. MOSES.
Since the foregoing article was written, it ha1
been announced that Mr. Benson and his com-
pany have decided not to include New York City
in their American tour for the reason that the
theatrical taste of our public has fallen so low.
The official explanation is as follows :
The Board of Governors of the Shakespeare Memorial
Theatre, under whose direction the tour is made, have
reached the decision not to send the company to New
York. They will visit every other important city on the
continent, with half a dozen exceptions, and will not
sail for England until next .Tune, when they return to
give the annual festival at Stratford.
This resolution to shun New York was made largely
because of the general tenor of plays that seems to en-
gross the metropolis at this time. In doing this they
are following the example of the Manchester Players.
Miss Horniman's company which paid a visit to Canada
last year, appeared for six weeks in Chicago, and, after
playing in several New England cities, sailed back to
England without ever touching New York.
This may seem like a slap in the face to the many-
towered Camelot of America, but it cannot be said that
it is wholly undeserved. New York has given more en-
couragement to cabarets and musical comedies than to
those productions to which even its own critics have ac-
corded the highest praise. It has become a "show
town" instead of a theatrical centre for things worth
while.
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The Theatre of the Future
(Continued from page 160)
GEORGE C. TYLER : "To paraphrase : The drama's
themes the drama's patrons give. With the public
taste reflected in the fact that almost every maga-
zine is featuring detective yarns, the crime-serials
are running daily in every other evening paper,
is it to be wondered at that murder, sudden death,
theft and blackmail dominate the stage of to-day?
The public thirsts for blood and gets it. No one
can predict on what queer tangent the public
mind will be coasting twenty years from now.
One thing, however, is certain. Plays will be
better technically. Dramatic workmanship im-
proves each year — so imperceptibly perhaps that
it takes a decade to demonstrate an improvement
of standard. Hardly a play of twenty years ago,
produced without revision, could win success to-
day. Would producers only realize this fact and
re-work old plays, the worth-while things of the
past would assume greater value for the present.
There is no lese-majeste in expert revision.
Shakespeare has been cut and altered to advan-
tage. No external influence can ever stamp out
the drama. It will last as long as human emo-
tions. It sprang up independently in many regions
that had no intercommunication — among the ab-
original Australians, the ancient Japanese, the in-
accessible Thibetans, the early Greeks, and where
not. It followed close upon human speech and
may survive it."
JOHN CORT : "I don't want to say what I think
the theatre will be like in twenty years. The
truth isn't a flattering one to the public nor en-
couraging to the manager. The theatre in twenty
years will probably be usurped by moving
sictures."
OLIVER MOROSCO: "Twenty years from to-
day American comedy will be the supreme comedy
of the world. True comedy, in its healthiest,
sanest, most virile essence, is our sole natural
dramatic expression, for we are a nation young,
unconquerably optimistic, full of dreams, having
.elefoto eyes constantly pulling distant to-morrows
>ack into to-day. Europe will have been invaded
by our drama as successfully as she has been in-
vaded by our chilled pig and railroad steel.
Drama is going to be the first American Art to
successfully make the crossing."
ARTHUR HOPKINS : "The American stage in the
past has been chiefly devoted to people who sought
>nly amusement. The stage in the future must
>e devoted to people who seek ideas and thought,
wrapped up in amusement. Thinking audiences
not only attract finer plays but better perform-
ances and productions. They are quick to recog-
nize good acting even though it be portrayed in a
very minor role. With this sort of an audience
any good play will succeed."
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SOME years ago a capitalist in Los Angeles erected a theatre near the
corner of Sixth and Main Streets. It was a brick structure, plain
but commodious ; unornate, but with a huge and well-built stage and
a thoroughly practical interior. Los Angeles was a scraggly, overgrown
village. The theatre was a financial failure. A new management took it,
and failed. Another tried with
the same result. Still others
tempted fate until at last twelve
managers drifted on the rocks
while trying to guide the play-
house into the harbor of success.
This was in June, 1900. and just
about that time the treasurer of
the Grand Opera House in San
Francisco, a young man of twenty-
three, quarreled with his father —
who owned that theatre — because
he was expected to be treasurer,
press-agent and even janitor, all
in one, or fifteen hours work each
day, for which he received $15 per
week, upon which he was supposed
to support an invalid wife, h'.s
mother-in-law, and an infant son.
As the Spanish- War summer went
on, the pay of the 'Frisco treas-
urer did not mount with the ther-
mometer ; nor was the outlook for
the Burhank Theatre in Los An
gelt-s any more promising than
before. About August ist the
Burbank manager departed for
more "profitable fields, and the
young San Francisco treasurer,
taking his sick wife, baby and
mother-in-law under his meta-
phorical wing, wrathfully shook the dust of father's Thespianic temple
from his feet, and went to Los Angeles. He rented two furnished rooms
and the Burbank Theatre. No deposit on the latter was required by the
disgusted owners; which was fortunate for the new manager, counting
his total cash assets after the transfer from San Francisco, found that he-
possessed exactly seven dollars. The thirteenth manager to try this ex-
periment took charge of the Burbank Theatre on August 13, 1900.
The new manager's name was Oliver Morosco, and thirteen had always
been his lucky number. He had no company, and no means to assemble
one. Travelling shows were all controlled by the Syndicate's magnate in
Southern California, the late H. C. Wyatt. In a dilemma he suddenly
thought of his friend, T. Daniel Frawley, an enterprising actor-manager
with a company on the North Coast, but with few places in which to play.
Frawley came to Los Angeles, his opening production being "Madame
Sans-Gene," with Mary Van Buren and Mary Hampton the two principal
women of his company. He had scarcely "caught on" in Los Angeles
when Morosco hurried him away, the manager believing that a rolling
stone is the only one which gathers no moss in the show business. Again
the problem of finding an attraction. The next attraction was James Neill,
presenting a company with Edythe Chapman as leading woman and the
late Frank MacVicars as character man. The ingenue was a promising
though very shy little girl named Julia Dean — last seen on Broadway in
"Her Own Money."
The Neill company was followed by the Oliver-Leslie company — so-
called because it was jointly owned by (Continued on page .vi'ii)
Kxterior of the Burbank Theatre — Oliver
Mnrosco standing in front
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Big Earnings of Big Plays
(Continued from page 155)
100,000,000 people there are to-day only about a
dozen native writers for the stage who are making
big money writing plays. Even some of those who
have succeeded in "getting over," as it's called in
theatrical parlance, when one writes a play with
a "punch," fail to reap the reward. For instance,
the drama "Across the Continent," which put
$2,000,000 into the pockets of the actor, Oliver
Doud Byron, brought only a few paltry hundreds
to its author, the late J. J. McClosky, who, up to
the time of his death the other day, held a posi-
tion as clerk of the City Court.
Remarkable as are records of "The Lion and
the Mouse," "Within the Law," "The Little Minis-
ter," "Bunty Pulls the Strings" as money makers,
none of these modern plays have yet eclipsed in
earning power some of the old plays such as "Uncle
Tom's Cabin," "The Old Homestead" and "Rip
Van Winkle," whose vitality and popularity seems
inexhaustible. Joseph Jefferson began play-
ing Rip in 1860 and continued playing it until his
death — a period of forty-five years.
"Uncle Tom's Cabin," dramatized from Harriet
Beecher Stowe's novel, without the authoress'
consent, has been performed over 25,000 times
and is still being given all over the United States.
The probability is that it will continue to be
presented in dramatic form as long as our stage
endures. It is a classic of our stage. Its total
earnings as a play are estimated at live millions of
dollars, and some of our best actors, including
Jefferson and Mrs. Fiske, first made their stage
appearance in it.
Another big money maker has been "The Old
Homestead," which has a curious and eventful
history. The play as seen to-day is a modification
of a one-act sketch called "The Female Bathers,"
hardly any trace of which remains. In this piece
was a bewhiskered country rube (our old friend
John Whitcomb), at whom the bathing girls
poked fun and inveigled into all kinds of
situations. The part of the old farmer was
played by Denman Thompson, who, even at
that early date, had acquired a reputation as
a portrayer of old Irish characters. The play
was not a success, the public would h;ive
none of it, and Thompson conceived the idea of
doing away with the half clad young women and
making it a highly moral play with rural types
and a boy who goes wrong in the big city. In
the new form it was an immediate success. Its
earnings far exceed $2,000,000, of which at least
$500,000 went into the pockets of the late Den-
man Thompson.
With the exceptions of "Uncle Tom's Cabin"
and "Rip Van Winkle" it holds the record for
the longest run on the American stage. Denman
Thompson appeared in it for thirty-two con-
secutive years.
Probably the earliest of the big theatrical
money makers was "The Black Crook," which
created a furore half a century ago at Niblo's.
Produced September 12, 1866, the piece took the
town by storm.
"The Black Crook" made a specialty of tights,
which in those days were a startling novelty.
there having been no intermediate stage from the
short petticoat to the tight hose. The more the
clergy denounced the half clad ballet, the more
eager the town crowded to see it. The success
was unparalleled. The house was crowded for
months. In the history of the stage the world
over no other continuous run of a single play had
ever extended over so long a period or brought
so much profit to the management. It is said that
the spectacle brought to the theatre treasury con-
siderably over $1,000,000.
"Erminie." produced at the Casino during the
Aronson regime, holds the record for the largest
run in this country of any operetta. It was given
1,256 performances at the Casino, and earned for
the composer, Jacobowski, $120,000 in American
royalties alone.
"The Two Orphans" was another big money-
maker two decades ago. The famous French play
reaped profits of over $2,000,000.
Dion Boucicault made several fortunes with his
plays, but he spent the money so fast that no one
can tell exactly what he did make.
Other big money makers were the Hoyt farces
which gave their author a fortune of over half a
million : "Rip Van Winkle," which has already
earned over a million; "Ben Hur," now in its
fourteenth year and which has yielded so far
$250.000 net profit; "Way Down East," sold by
the author for a pittance and which has produced
a fortune, and "Trilby," which gave a snug for-
tune to Paul Potter. Among other more recent
theatrical gold mines are "Kismet," "Strong-
heart," "Peg o' My Heart," "Forty-five Minutes
from Broadway." "Checkers," "Broadway Jones,"
"Get Rich Quick Wallingford," etc. X. X.
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
THE THEATRE MAGAZINE ADVERTISER
Kill
AT THE OPERA
{Continued from page 148)
tinn, Scotti, Alda, Amato, Gilly, Bori, Gadski ,
Hempel, Homer, Matzenauer, Burrian, Urlus,
Martin, Jorn, Braun, Weil, Goritz, Griswold,
Didur, Witherspoon and De Segurola — to mention
a few — they will all be heard again.
The new Metropolitan artists include a famous
German mezzo Soprano, Margarete Arndt Ober,
from Berlin; a Berlin tenor named Rudolf Ber-
ger; two Italian tenors, Giovanni Martinelli and
Luigi Marini ; two American contraltos, Sophie
Breslau and Lillian Eubank, and two new bari-
tones, Robert Leonhardt and Carl Schlegel.
There will be a new stage manager, a German
named Franz Horth. The three first conductors
will again be Toscanini, Hertz and Polacco. It
all bodes well for performances of unusually
high artistic standard.
Oscar Hammerstein, who has been out of the
field of grand opera in New York since he sold
out to the Metropolitan Opera House, intends re-
entering the arena this fall, and it plans to give
a season of French, Italian and English opera.
His novelties, thus far announced, will be Mas-
senet's "Therese" and Erlanger's ''Aphrodite."
The latter work will probably be the offering at
the inaugural performance of this new opera
house. His personnel is almost completely made
up of newcomers here, but many of them are names
that have won fame in other lands. Chief among
the familiar names is Maurice Renaud, the emin-
ent French baritone, who was a member of the
Manhattan Opera House ensemble for four years ;
another artist from those ranks, who is to return,
is Augusta Doria, a contralto; then there is Or-
ville Harrold, American tenor; and still another
American singer not unknown here is Alice
Gentle, who is expected to make her debut on
this grand opera stage in the role of Carmen.
The new foreign artists include Maria Barrien-
tos, a coloratura soprano famed in Italy, South
America and Spain; Marthe Chenal, one of the
foremost singers on the ranks of French lyric
sopranos, and who has been a member of the
Paris Grand Opera and the Opera Comique.
Then there are two Bellincioni's, mother and
daughter. The former is Gemma Bellincioni, an
eminent dramatic soprano whose fame extends
far beyond her native Italy, and with her is her
daughter, Bianca Stagna-Bellincioni, a light so-
prano. Cecile Thevenet, a contralto from the
Paris Opera Comique and Cesare Vezzani, a noted
tenor from the same institution, occupy important
places in Mr. Hamerstein's ensemble. From the
Paris Opera there will be heard a basso, Theo-
dore Marvini, and other bass roles will be sung
by Henry Weldon, of Brussels. The musical
director will be Giuseppe Baroni, an Italian leader
of note. Other artists include Victoria Fer, a
French dramatic soprano; Desiree Serishevich,
soprano from Moscow; Nina Morgana, an Italian
heard here in light opera, Odette Fontenay, from
the Opera Comique; Giuseppe Paganelli, a Lyric
tenor from La Scala ; Raphael Diaz, an American
tenor who has sung in South America; Giuseppe
Danise, from La Scala, and Marcus Kellerman —
both baritones. The corps of conductors will in-
clude Gaetano Merola and Josiah Zuro, both re-
membered from their work here.
There remains but little space in which to tell
of the welter of concerts. The number of or-
chestral concerts is overwhelming. The Philhar-
monic orchestra will give forty concerts; the
Symphony Society of New York will play about
thirty; the Boston Symphony will give ten con-
certs. In addition there will be people's Sym-
phony Concerts, Russian Symphony concerts,
Italian Symphony concerts and many others.
As for soloists and recital artists, their number
is legion. Ignace Paderewski returns after an
absence of four years to play the piano as he
alone can; Nellie Melba, who has not been heard
here in several seasons, returns to give recitals;
Jan Kubelik, violinist; Harold Bauer, pianist;
Titta Ruffo, baritone; Eugene Ysaye, violinist;
Carl Flesch, Hungarian violinist ; Clara Butt, con-
tralto, and a host of others— they all come to
make music.
There must needs be mention here of the sea-
son of "People's Opera," given in the Century
Opera House by the Century Opera Company,
Milton and Sargent Aborn, managers. The open-
ing performance, September isth, was "Aida,"
sung in English. It was really a most commend-
able performance at popular prices. The scenery
and properties were mostly those of the Metro-
politan, ensuring a series of artistic stage pic-
tures; the principals had fresh voices, the con-
ductor gave a spirited and temperamental inter-
pretation of the work. It all looked as though
this new scheme of popular opera in English were
beginning its career on a much higher plane than
many had anticipated, and the outlook seems
good for the success of the venture.
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Among the many modem appliances with which this
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THE NEW PLAYS
(Continued jrom page 146)
construction or execution, but it is mightily ef-
fective, and in this production serves a distinct
purpose in presenting Grace George in a role that
shows how finished and polished is her art as a
comedienne, and how capable she is in sounding
the deeper notes of human experience.
Lillian Garson, well born, has married or been
married to a rich bounder for his money. As the
curtain rises he is taunting her on her dependence
on his money. As the exchange between them
gets more acrimonious he starts in to choke her.
This is too much for Lillian, who, on his de-
parture, goes to the telephone and notifies her
admirer, Hugh Paton, that she is coming to him.
As the curtain rises on scene two, his chambers,
Paton is receiving this same telephone message.
Enter Lillian. They arrange to elope to Egypt,
she explaining that she has just six pence. Be-
fore leaving her home she has placed her jewels
and a note in a desk notifying her husband that
the end has been reached. Paton rushes out for
some necessities of the voyage and a few minutes
later Dr. Brodie enters with the intelligence that
the young lover has been run over by a motor
and instantly killed. When he discovers Lillian
was not the dead man's wife he urges her to in-
stantly disappear. What to do? With no re-
sources there is nothing to be done but to return
to her brutal husband. Thus the action returns
to scene one, where Garson is fuming over his
wife's non appearance as they are giving a dinner.
Two guests arrive, and Garson finds the jewels.
He is mystified, and the conversation rouses his
suspicions as Dr. Brodie, who has arrived, tells
of the tragic incident in which he played a part.
Enter Lillian. She and the Doctor had never met
save in the lover's rooms. There is a pointed
conversation between them, and the curtain drops
after Lillian surreptitiously and successfully ex-
tracts the incriminating letter which the husband
overlooked. The Doctor then takes Mrs. Garson
in to dinner. The husband was really magnifi-
cently acted by H. E. Herbert, and a middle class
couple capitally played by Alfred R. Dight and
Daisy Belmore.
ASTOR. "SEVEN KEYS TO BALDPATE." Farce
in two acts by George M. Cohan, founded on the
story by Earl Derr Biggers. Produced on Sep-
tember 22nd with this cast:
William Magee, Wallace Eddinger; Elijah Quimby, Ed-
gar Halstead; Mrs. Quimby, Jessie Graham; John Bland,
Furnell B. Pratt; Mary Norton, Margaret Greene; Mrs.
Rhodes, Lorena Atwood; Peter, Joseph Allen; Mvra
Thornhill, Gail Kane; Lou Max, Roy Fairchild; Jim
Cargan, Martin L. Alsop; Thos. Haydan, Claude Brooke;
Jiggs Kennedy, Carleton Macy; The Owner of Baldpate,
John C. King.
This play is a novelty in many ways. An author
who writes novels in the class of the "best sellers"
makes a wager with a friend that he can write a
book of that kind which would fall under the
class of "best sellers" inside of twenty-four
hours. He stipulates that he must be in seclusion
and undisturbed. To this end his friend provides
an inn on the top of a mountain, the inn being a
summer resort, and now, in the winter time,
being a disuse. He is told that there is but one
key to it, which he is to obtain from its care-
takers, an old man and his wife. They tell him
all the talk of the neighborhood, mentioning an
old hermit who occasionally appears as a ghost.
The novelist is made comfortable, the caretakers
building a great fire in the open fireplace, and
preparing his room for him. The novelist is
soon disturbed, however. A handsome woman, a
newspaper reporter, announces herself, telling
him that she is to report the outcome of the
wager. These two fall in love. At intervals
others come, each with a key, intruding upon this
novelist. In all we have Seven Keys to Baldpate.
Without establishing the order of their entrance,
it is enough to say that this inn has been selected
as the place for the meeting of certain politicians
and railroad officials to carry out a scheme for
robbing the city. The Mayor is to be bribed to
turn over a franchise to a certain railroad. Two
hundred thousand dollars, in one thousand dollar
bills, has been deposited in the safe at the inn.
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Two thieves, knowing of this, come to steal this
money. One of the women in the scheme plans
to get her share of it by blackmailing. At the
close of the first act the novelist, after having
IKTII disarmed once, succeeds in disarming the
others, and hold them at the point of a pistol
until the police can arrive. The telephone plays
a part in all of this of course. The crooks get
the uper hand of the novelist, but he has sent
the money away by the newspaper woman. In
a quarrel that ensues between the crooks tho
blackmailing woman is shot and supposed to be
killed. Her body is carried off to a room up-
stairs. When the police officer arrives with his
men, the novelist is accused of having committed
the murder. The body cannot be found. The
hermit has carried it to the cellar. She turns up
alive presently. In the meanwhile, the newspaper
woman has been overtaken and the money re-
covered. The police officer telephones to his wife
to meet him in Canada, for that's where he is
going with the money. At this junction the
money is thrown into the fire and burned. The
play ends on the appearance of the friend who
has made the wager with the novelist, and he
explains that the supposed crooks are friends of
his whom he had sent with instructions to in-
terrupt the writing of the "best seller."
The various characters who had acted together
in the pretended drama removed their wigs and
other characteristic means of disguise; but it ap-
pears that the novelist, in spite of the interference,
had managed to write his "best seller," which of
course, gives the details of what he has gone
through during the night. Necessarily, the acting
of this ingenious story had much to do with its
pleasant and impressive effect.
Wallace Eddinger was the novelist. All the
acting parts are good, and the cast was chosen
with that unerring discrimination of a good stage-
manager, such as Mr. Cohan is. Gail Kane, as the
blackmailing woman, deserves praise. Margaret
Greene is excellent as the reporter, as also Jessie
Graham, as the wife of the caretaker.
PRINCESS. One-act plays. "THE BLACK
MASK." Tragedy in one act by F. Tennyson Jesse
and H. M. Harwood. Produced on October pth
with this cast:
James Glasson. Willie Strick, Holbrook Blinn; Vashti
Glasson, Emelie Polini.
When the management of the Princess Theatre
arranged the programme for its second season it
was found that even the sophisticated audience
invited for the dress rehearsal shied at two of
its features. A change in the theatrical menu
therefore had to be made. Now the charming
little playhouse of "shocks and thrills" presents a
quintuple bill which, if not ingenuous in its make-
up, at least comes within the pale of accepted
modern decency.
For dramatic strength, apt construction and
real literary value of expression, "The Black
Mask" easily bears off the palm. A grim tragedy
of life among the miners of North England, by
F. Tennyson Jesse and H. M. Harwood, it sug-
gests in spirit Masefield's "Nan." James Glasson
has been so horribly disfigured in an accident
that he is compelled to wear a black cap that
covers his scarred features. His wife, bored to
death by his devotion to work and this hideous
black reminder, listens to the rude love making
of her husband's cousin, Willie. They had been
lovers once. When James goes away to see a
doctor a rendezvous is planned ; but it is critically
interrupted by the husband's return. There is a
struggle between the two men and James is ap-
parently killed. It is planned to cast his body
into an abandoned shaft, and until the lover's
can get away Willie is to wear the black mask.
While the wife is out of the kitchen, getting a
new one, which she tosses to him, James revives ;
there is a second struggle and the tables arc
fatally turned. Then Vashti, the wife, unsus-
pecting, helps her husband dispose of the lover's
body. On the return she goes to her room.
There is a second's pause. James arms himself
with a knife and creeps up the stairs. As he
enters the door he is seen removing the mask —
there is a shriek of agony and the curtain falls.
Not a cheerful subject but a play of genuine
thrills, and acted with grewsome power by Hol-
brook Blinn in the dual role of husband and
lover, and by Miss Polini as Vashti.
"A PAIR OF WHITE GLOVES." Drama in one act
by Andre de Lorde and Pierre Chaine. Pro-
duced with this cast:
Sonia, Willette Kershaw; General Greoff, Holbrook
Blinn; Alice, Dallas Tyler: Maitre d'Hotel, Vaughan
Trevor; Waiter, Lewis Edgard.
This playlet is from the French by Andre de
I-orde and Pierre Chaine. A beautiful Russian,
(Continued on page xvii)
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LOVE /A F*RIEJVDSHIT
(A Nameles* Sentiment)
With a Preface in Fragments from STENDHAL
Translated from Iht French by HpJVRy T&JVE 2>V 307.7
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
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have a place in the collection, so voluminous already, of modern ways of iove.
MEYER BROS. CO., Publishers
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When writing to advertisers, kindly mentior THE THEATRE MAGAZINE
XVI
THE THEATRE MAGAZINE ADVERTISER
" The Theatrical Events of 1 9 1 3
A Gift of Unusual Beauty !
No gift affords as much pleasure to both the recipient
and the giver as the set of two handsome volumes con-
taining the twelve numbers of The Theatre Magazine issued
during 1913.
A complete record in picture and text of the theatrical season of
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It contains over 800 pages, colored plates, 1 600 engravings, notable
articles of timely interest, portraits of actors and actresses, scenes
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A gift that is both entertaining and educational. It holds a
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Complete year 1913-$6.50 a Set
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the Complete Collection of 18 Volumes, Bound in Cloth,
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The following Volumes are still sold separately :
Year of The Theatre for 1902 - - - Price, $18.00
" 1904 - " 12.00
" 1905 - - " 10.00
" 1906 -
" 1907 -
" 1908 .
" 1909 2 vols.
" 1910 2 vols.
" 1911 2 vols.
" 1912 2 vols.
The Theatre Magazine 8- 1 4 West 38th Street, New York
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THE THEATRE MAGAZINE ADVERTISER
xvn
THE BURBANK THEATRE
(Continued from page x)
Oliver Morosco and his elder brother, Leslie — headed by William Beach
and Helen McGregor. There were no prominent names in this organiza-
tion, but its steady success paved the way for future triumphs. The
Oliver-Leslie company gave way to the Neill-Mprosco corporation which
was also a success. Then was organized the Oliver Morosco company a
galaxy of players whose record of good all-round performances has. 'in
all probability, seldom been surpassed in American theatricals. The for-
tunes of the Burbank Theatre now began to mend. Morosco was able
to secure plays as rapidly as released for stock, and, by following the
travelling companies in quick succession, he became a dangerous com-
petitor of the high-priced organizations sent out from the East.
THE NEW PLAYS
(Continued from page XT)
whose husband has been brutally killed by General Gregoff, poses as a Lon-
don typist and makes him fall under her spell. At supper in a private
room she plies him with drink and then strangles him with her long, white
gloves, effecting an ingenious escape by the aid of a fake detective. Miss
Willette Kershaw played the vengeful siren, and by a method peculiarly
her own made her dramatic moments really convincing. It was a very
tine portrait of the brutal, lecherous and sodden Russian that Mr. Blinn
painted in broad and slashing strokes.
"FELICE." Play in one act by Hernaiz Becerra.
The third dramatic piece by Mr. Hernaiz Becerra told the story of an
artist who hid from the police a woman who had shot a man for his base-
ness to her. There was a struggle in the artist's soul when he discovered
that the murdered man was his dissolute brother. But when the emis-
saries of the law were for breaking into the room where she was hidden
they balked when told that the nude model within was the commissary's
wife. An ineffective wordy trifle that was not worth the doing.
"£N DESHABILLE." Comedy by Edward Goodman.
For the comedy aspect there was an interlude in which the attempt at
smart dialogue somewhat overreached itself. Gregory is about to go to
bed and is in his pajamas. Enter Clair, who, oblivious to his presence,
prepares to retire. There is an interchange of views, largely material
when it is discovered that they are a separated man and wife brought to-
gether again by the kindly efforts of a friend. For a climax, the lights are
extinguished. Miss Kershaw again had the leading part which she acted
with charm and individuality. Mr. Blinn was not so happy in the op-
posite role. A lighter touch would have helped the effect.
'THE BRIDE." Comedy in one act by William Hurlbut.
In conclusion was presented "The Bride." Maurice D'Aubiac prepares to
leave his bride for at least three days. The parting on his part is a trying
one, but she has arranged that one of the three of her previous admirers
shall visit her on each night of his absence. To her anxiety, all arrive the
same evening. Each has a valuable present for her, but its presentation
in every case is to be made with the coming dawn. Each lover is hidden
from the other, and when the husband unexpectedly returns, the wife
skilfully has the trio arrested and searched to her valuable enrichment.
Miss Polini as Clarice, who seemed to know a thing or two, acted in the
true spirit of successful farce. Mr. Ellis was the husband. He seemed to
fix his style on W. J. Ferguson. It is a pity there is such a nasal tone to
his voice production. The three lovers were characteristically presented
by Messrs. Edgard, Trevor and Blinn. The bride is distinctly clever and
amusing, while the costumes, France circa, 1825, give a very picturesque
touch to Mr. Hurlbut's amusing but unmoral comedietta.
_ IRVING PLACE. "So'N WINDHUND." Farce in three acts by Curt
Kraatz and Arthur Hoffmann. Produced on September 25th.
"So'n Windhund," produced at the Irving Place Theatre by way of
opening the new season, is another one of those rip-roaring farces, meager
of plot, replete with action and rapid-fire conversation which seem to con-
tinue to find favor with German audiences.
The Windhund (the "gay young dog" one might translate it) with what
he, terms "American methods of taste," manages to get everybody into
scrapes with one hand and out of them again with the other. He wins
a political campaign for a friend, reconciles that same man to his wife
by relieving him of the conscience-troubling presence of a former flame;
he helps the bashful into matrimony (and incidentally himself, too), and
by getting the Order of the Blue Elk for himself and his political op-
ponent for introducing a Duke to an actress, manages finally to placate
his only enemy and have everybody satisfied.
The acting, smooth, varied and intelligent, gives promise of a winter's
good entertainment at the Irving Place Theatre. Otto Stoeckel, who
played the title part had lines as long as Hamlet's which he reeled off
with all the dash and lovable rascality necessary. Heinrich Matthaes, a
much heralded comedian, played a self-made contractor and unmade gram-
marian with theatrically unconscious humor that merited him much laugh-
ter and hearty applause. But the funniest thing in the whole performance
was the silent love duet of two bashful lovers, played back-stage by Annie
Simson and Christian Rub. They might just as well have been down by
the footlights with the limelight turned on full, for the rest of the actors
could do nothing nor did the audience care what they did so long as the
exaltation of young love lasted. That was a tid-bit of comedy.
LYRIC. "THE ESCAPE." Play in four acts by Paul Armstrong. Pro-
duced on September 2Oth with this cast:
May Joyce, Catherine Calvcrt; Mrs. Joyce, Jessie Ralph; Jim Joyce, James A. Mar-
I'-nny, Anne McDonald; Larry, Harry Mestayer; Jerry McGee, Charles Mylott;
I'r. Yon Eideo, Jerome Patrick; Senator Gray, George Farren; Rev. Dr. Yates, Seth
Smith; Marsac. f'rnshy Little; Bronson, Benjamin Piazza; Mills, Frederick Block.
'The Escape," which recently terminated a somewhat limited run at the
Lyric, might be described as a play depicting four phases in the life of a
shop girl. It was from the pen of Paul Armstrong who, like so many of
the younger playwrights and novelists of the day, are bent upon picturing
scenes in the underworld and tenements for the sake of exploiting their
view? on the sociological needs of the time. Mr. Armstrong's work was
in keeping with his task. When he had a human, truthful scene to handle
he did it well. When he preached false philosophy and bathos he fell
the wayside. There was some excellent acting; Jessie Ralph as the
mother, James A. Marcus as the bibulous father, Harry Mestayer as the
ganster and Anne McDonald as Jenny were true pictures of familiar East
side types. The young doctor was played with great earnestness and sin-
(Continued on page xxi\)
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XV111
THE THEATRE MAGAZINE ADVERTISER
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COUTURIERS have been wondering toward which corner of the
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They have turned to Venice, where they will find such a wide
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the tendency thus shown they are careful to follow at the same time that
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Photo White
A rich brocaded satin wrap with
modish touch of fur and rich passe-
menterie, worn by Hat tie Williams
in her "That is Love with a capita!
L" song in "The Doll Girl." The
coat is lined with purple to har-
monise with her gown and the
Pirroit ruche is of a lighter shade
of the same color.
Photo Bangs
A modified Minaret gown worn by
Hattie Williams in the first act of
"The Doll Girl." It is developed
in white chiffon bordered with
cherry-color poppies and lace, and
trimmed with velvet ribbon in the
same vivid coloring. The pic-
turesque hat is a semi-transparent
affair of chiffon trimmed with vel-
vet poppies, and the parasol is of
the same material as the gown, a
forecast of a Summer fad.
Photo White
A negligee of blossom pink chiffon
and shadow lace worn by Natalie
A It in the second act of "A dele,"
and largely responsible for the hap-
py ending of that delightful musical
comedy. A less attractive woman
than the dainty A dele would be
irresistible in such a robe and cap.
the latter ornamented with pearls.
Photo White
Under her marvellous evening coat,
Hattie Williams wears, in the last
act of "The Doll Girl," this very
pleasing frock with its absence of
fripperies and frills. The treat-
ment of the bordered material used
for the skirt is admirable for the
woman who cannot afford to detract
from her height. The frock and
border are of chiffon in dahlia
shades.
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
THE THEATRE MAGAZINE ADVERTISER
xix
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New York City
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XX
7 HE THEATRE MAGAZINE ADVERTISER
THE FRILLED COATEE WITH
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Canton crepe in one of the new shades makes
an effective costume for afternoon or
theatre wear in model illustrated, $36.75
Coats, Dresses, Suits, Blouses and
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Now twentieth year At Grand Opera House Bldg
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Photo by White
To a group of such stunningly gowned women it is difficult to bid farewell, as one learns
first act of "Adele."
the
At Paquin's, the artist Drian is designing a set of toilettes for Mademoiselle Gaby Deslys.
Some are very "decolletees," some are extremely original. One was made of a leopard
skin laid crosswise, so that the centre of the animal's back rests on the centre of the back
of Gaby Deslys. The oddest effect imaginable is that the four paws and the tail hang
loosely on either side down to the ground, two long openings in the skin itself forming
armholes. The mantle is finished off by a collar in silver fox falling to the waist.
There are cloaks at the furrier, Max's, made entirely of leopard skins, but without paws
or tail. Another mantle destined to be worn by Gaby Deslys is in blue tulle embroidered
with large black velvet roses and bordered to a depth of 75 or 80 centimetres by fox tails.
The sloping line of the mantle rising slightly in
front causes these tails to fall together, one on
the other, in a strangely effective manner.
As trimming to a tulle and velvet dress, Drian
has imagined a broad collar in white fox descend-
ing to the waist and a muft to match. The muff
is made in two bands of white fox fur on either
side of a fold in black velvet; the fold, after
forming the muff, hangs loosely down the skirt
and ends in a silver fox-tail that reaches to the
ground ; the white fox on the muff veiled in
black mousseline de soie.
Such a muff may be made in any kind of fur.
while the effect produced by the long falling fold
is lovely.
Drian has some very pretty evening gowns in
spangled tulle, in embroideries of black and white
jet. One very pretty one is of white mousseline
de soie fringed with white and black beads, with
a front embroidered in beads ; the bodice, a
slight corselet held up by a string of beads upon
the shoulders, was entirely formed by a wide
arabesque of beads at the back; the clinging
skirt swept in a long, very narrow tail, ending
in a tassel of beads.
Another gown was entirely made of white tulle
in flounces edged with ostrich feathers.
The most deserving of notice is one in black
spangled tulle. The front, which folds around
the form and terminated in a long train, was
made of tulle closely spangled, resembling noth-
ing so much as the scales of some strange fish
with changing hues like metal varying with every
movement of the wearer. The train is square
and at each corner it has long slip of this scaly
stuff.
The square shape for the train of a skirt will
be in great favor for evening gowns.
Doeuillet has also spangled dresses. Some-
times the tunique alone is spangled and worn over
soft satin ; at others the contrary mode is adopted
and the sheath skirt is spangled, while the tunique
is silk, in white and black stripes or in brocade.
The wide stripes of black and white is in favor
at Dinard during the "Grande semaine" for the
sumptuous reception of Mrs. Hughes Hullet,
where the cream of elegance of France and
America is accustomed to meet.
The gown worn at the last fete of Dinard by
Mrs. Potter Palmer was in black and white
stripes with a tunique of rare lace. The same
afternoon Lady Girard wore a gown in black
and white striped linen. Mrs. Moore wore a
white dress edged with black. Mrs. Fenwick and
Miss Robbins had exquisite gowns, pale blue and
pale pink voile, edged with a narrow band of
blue and pink swansdown. Mrs. Leishman,
wife of the American Minister, spent the
race week at Deauville.
Photo by White
A robe, regal in its suggestion, worn by Georgia Caine in the second act of "Adcle." The
body of the gown is of net with shimmering opalescent embroidery. The detachable train is
of black satin lined with emerald green, the vividness of which is shown in a clever drafery
at the waist. The Oriental headdress is of silver with black paradise.
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
THE THEATRE MAGAZINE ADVERTISER
xxi
Photo Bangs
One of the new lamp shade gowns,
sligtity modified, which is worn by
Fannie Ward in "Madam Presi-
dent." The gown is a filmy affair
in several layers of well chosen
colorings of most transparent ma-
terials with a stunning introduction
of black. The hat is particularly
striking and the cleverly mounted
aigrettes add considerably to the
height of the dainty comedienne.
Photo Bangs
.. success of
Fannie Ward in "Madam President,
is due to her exquisite gowns, out
of which she slips so easily. In
the last act of this amusing play
she wears this elegante toilette of
white cloth with ermine and a
cleverly manipulated black velvet
girdle and a beautiful hat of fur,
•velvet lace and white aigrettes.
Martial et Armand have some remarkable models for evening wear.
One with front of skirt and extreme point of train in rich red broche
satin ; two flounces of lace form the tunique ; sheath skirt beneath in satin,
front of bodice with full bunch of black velvet over bare arms a motif in jet.
At Margaine Lecroix they have a very pretty taffeta dress, the upper
portion made in two deep, equal-sized plaits all around the skirt resem-
bling flounces, yet softly turned up like tucks, the lower portion quite flat
and edged with fur, the sleeves, the bodice and top of the skirt lightly
gathered.
The afternoon gowns should be chosen in ribbed or in stamped velvet,
raised in front so as to lend a slightly forward sweeping motion, free
from the clinging skirt, or else drape' the front in a long fold; you will
attain a most effective gracefulness of line.
For the evening gown, crepe de chine in the brightest tints are used,
while for the afternoon gown a blending of mauve and black seems to
be in favor.
Gowns that are semi-couturier, semi-tailor-made, Martial et Armand
show some new things. One is a costume with a caracul skirt and a long
china-blue crepon jacket; black tulle sleeves trimmed at the top with
caracul.
An original idea is that of having an organ plait on either side of the
basque, while the centre is flat, so that the line from neck to slope of the
back is absolutely straight. It is a new and extremely pretty effect.
For day, checks are the rage, a costume in one kind of stuff, but
ther the jacket or the skirt in check. If the costume is all in the check
stuff, then the cuffs and facings must be plain, in black, dark brown or
cherry colored cloth. A small collar in bright-colored woollen stuff is
very pretty if you like it.
Evening mantles, though frequently draped loosely, are also made of
laid one above the other. One very pretty one is formed of five
capes in bronze-colored, plaited tulle, each separate cape daintily edged
i a strip of sable, a narrow sable collar fastened by two bands of
sable interwoven with strings of beads knotted in front. The mantle may
be made in soft satin, in taffeta or in satin cloth.
Another elegantly designed mantle is that by Paul Poiret in soft satin,
nejd in at the waist by a loose belt of embroidered braid.
favorite trimming for evening wraps are straight bands, gathered
unces of velvet or of satin and fringes of beads— beads in gelatine or
small, opaque and shiny or large and dull.
•ecoll has some pretty and really comfortable woollen mantles for
filing or for the motor car, made in ordinary stuff such as woollen-
or thick serge.
f In sc wraps are in the worm of a skirt and a kimono, the cut of which
They are short in back and fall in long sleeves with long
s. or else they are short in front and hang low at the back. They
mantelettes or simply kimonos over a kind of flat skirt.
wraps are as varied and absolutely exquisite in their variety of
hey are creamy white, greenish, mauve, brick red, pale yellow.
'...are. generally worn with shawl-shaped collars, made in fur in
ilk, in broche, or in Eastern embroidery, standing out dark upon
lighter cloak or light when the cloak itself is dark.
jfranfclin Simon & Co.
Fifth Ave., 37th and 38th Sis., N. Y.
SPECIAL VALUES
Women's Crepe de Chine
Negligee Gown
No. 18— Negligee Gown of silk crepe de chine,
in pink, light or Alice blue, lavender, white,
rose or black, lined throughout with China silk
in self color, Mandarin sleeve gracefully
draped, flat collar, sleeves and front trimmed
with white swansdown, fastened to side with
silk ornament, 32 to 44 bust . . . . 18.50
No. ISA — Boudoir Cap of fine dotted net, edged
with plaited frill of net lace, trimmed with
ribbon in shadow effect and chiffon rosebuds. 3.50
Fall and Winter Style Book
"CORRECT DRESS"
Mailed out -of -town upon application to Dept. "T"
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XXII
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THE NEW PLAYS
(Continued from fage xvii)
cerity by Jerome Patrick, and a very good-look-
ing jeune premier he is too. To Catherine Cal-
vert fell the task of impersonating May Joyce.
Admirable in the first act the emotional require-
ments of the later scenes were beyond her.
KNICKERBOCKER. "THE MARRIAGE MAR-
KET." Musical play in three acts by M. Brody
and F. Martos ; music by Victor Jacobi ; lyrics
by Arthur Anderson and Adrian Ross; adapted
by Gladys Unger. Produced September 22nd
with the following cast :
Edward Fleetwood, Donald Brian; Senator Abe K.
Gilroy, George T. Meech; Bald-Faced Sandy, Guy
Nichols; Mexican Bill, C. Vandiveer; Shorty, Winship
Fink; Tabasco Ned, Arthur Dauche; Cheyenne Harry,
Arthur Metcalf; Hi-Ti, Edwin Burch; Captain of
Mariposa, Frank Adair; Lord Hurlingham, Percival
Knight; Blinker, Arthur Reynolds; Mariposa Gilroy,
Venita Fitzhugh; A Middy, Cissie Sewell; Emma, Moya
Mannering; Dolly, Irene Hopping; Pansy, Elizabeth
Wood; Peach, Viola Cain; Dora, Gene Cole; Dolores,
Marie Annis; Kitty Kent. Carroll McComas.
The cowboy, gradually disappearing from plays
of the day, has taken refuge in opera, and he
makes a good showing. Fortunately, "The Mar-
riage Market" is not all cowboy. The principal
cowboy, for that matter, was never really a cow-
boy at heart or by social breeding. What he is
and what he does was ordained by two German
writers of comedy, Brody and Martos, and their
work has been adapted by Gladys Unger, done
first, we believe, at the London Gaiety, with
music by Jacobi, additional lyrics by Adrian Ross
and Arthur Anderson, and then produced at the
Knickerbocker Theatre by Charles Frohman.
With so many different forces at work the prod-
uct was necessarily worth the while. The story
of the opera is a consistent one, and is something
more than the customary makeshift of half or
not at all connected things. Donald Brian, well
known, much expected of, and popular from his
predominance in recent greatly successful operas,
carries lightly his responsibility as the entertainer-
in-chief. As a cowboy he attends the marriage
market, the annual auctioning off of the mar-
riageable girls, in Southern California, and bids
in the prettiest of course. This girl and her
father take it as a lark and not as a binding
transaction. The girl, with some of her com-
panions, is spirited away by her father on his
yacht. The lover, as could not happen otherwise
in comic opera, is one of the sailors. It is need-
less to say that the lovers are finally united with
something more than a sailor's knot. This happy
result was largely and decisively promoted by
Mr. Brian's dancing. The songs, in the main,
were captivating, while the dancing, in variety
and quantity, confirmed the success of the opera
long before the fall of the final curtain. The
opera was staged in the manner characteristic of
Mr. Frohman's management.
FULTON. "SHADOWED." Play in four acts by
Dion Clayton Calthrop and Cosmo Gordon Len-
nox. Produced on September 24th.
Evidently local playwrights have exhausted the
crook as a dramatic subject for James Forbes
was forced to go abroad for a play of this kind.
Its title was "Shadowed," and for just a week it
held the boards at the Fulton Theatre. The
play did not get over for there was nothing new
in its story while the treatment if capable was
not sufficient to make up for a paucity of in-
vention and surprise.
48th STREET. "THE SMOLDERING FLAME."
Play in three acts by William Legrand. Pro-
duced on September 23rd.
The freedom of the stage as an open forum
for the discussion of all subjects of human con-
cern cannot be denied, but, whatever other limits
may be imposed, absurdity is a boundary line
that the oldest cannot cross. "The Smoldering
Flame," which had a hearing, for one night only,
at the Forty-eighth Street Theatre, fell so far
short of justifying itself that it was a fortunate
circumstances that the Gerry Society reached out
its long and obdurate arm and prevented its con-
tinuance because two children were employed in
it. The theme and purpose of the play were
probably not primarily intended for sensation,
but if the author designed to be sensational with
what he thought a good end in view he failed.
What he did was to reduce to an absurdity the
desire of woman to motherhood. The piece was
well acted. In many ways it was well written.
Some of its scenes were capital and entertaining.
It had the services of Fernanda Eliscu, Forrest
Robinson, Conway Tearle, Marie Day and Maud
Sinclair (capital as the old Aunts), Amy Lee,
Maude Knowlton and others.
When writing to advertisers, kindly mention THE THIATRB MAGAZINE
LIBERTY. "HER LITTLE HIGHNESS." Musical
play in three acts by Channing Pollock and Ren-
THE THEATRE MAGAZINE ADVERTISER
xxin
"The Witchery
of the Orient
It would seem that the inspirations of the master creators this
season have been wafted to them on the East Wind — for at a
recent dinner given by Paul Poiret in his Parisian home, the gowns
exhibited might have been brought from the Harem of the Grand
Mogul, so imbued were they with the alluring charm of the Orient.
The designs for the coming season are nowhere more truly
represented than in L'ART DE LA MODE- for
thirty-one years known as the leading fashion authority.
Besides showing illustrations of the original models as con-
ceived by the great masters, yet in cases where a trifle
extreme, modifications are made without impairing that
elusive French air.
Have you ever heard of a magazine with a double per-
sonality? Such is L'ART DE LA MODE. The
question of fashion — not only in regard to clothes — has
become such a dominant factor to the American woman,
that without detracting one whit from its dress influence,
L'ART DE LA MODE now covers every other phase
of fashion in the up-to-date woman's life.
Home decoration, shopping, home sewing, domestic sci-
ence, the latest news from Paris, suggestions on handwork
— these are only a few of the important subjects skilfully
treated in L'ART DE LA MODE.
The November Number (December Fashions), marl^s the
birth of the new L'JlRT <DE LA JttODE. Sixty
pages instead of thirty-eight as formerly. It contains so
much that will be referred to time and again that it has
been reduced to a more convenient size to handle —
10^x14 inches.
L'ART DE LA MODE
L'ART DE LA MODE has made its success by
always giving the reader more for her money lhan she
could possibly obtain elsewhere. Now, with its new
changes and improvements, its value has increased tenfold,
yet its subscription price remains the same.
Would you give $ 1 .00
to insure the success
of your wardrobe ?
The next four months are the critical months — the time
when Dame Fashion will be changing her moods almost
daily. For the benefit of the readers of 'Che
tiftCagazine, who wish to be absolutely sure
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nold Wolf, with music by Reginald De Koven.
Produced on October I3th
"Her Little Highness," the operatic version of
Mr. Channing Pollock's "Such a Little Queen,''
served to introduce to popularity Miss Mizzi
Hajos, a young actress who has youth, comeli-
ness, daintiness, grace and intelligence. The
vivacity and animation, of the original play were
obscured by the operatic interpolations and
structural changes, but there was compensation in
the new treatment of the material, for scenic
effects were introduced, while song and dance
were pushed to the fore. In one act of the opera
occasion was made for the introduction of the
Tango and other dances now in vogue. These
were led by Wallace McCutcheon, noted for his
proficiency in them.
GARRICK. "MADAM PRESIDENT." Farce in
three acts adapted from the French of Maurice
Hennequin and Pierre Veber by Jose G. Levy.
Produced on September 15.
At one time, some years since, theatre after
theatre was given over to the exploitation of
French farce. But there was hardly one of these
plays that did not first have to undergo some de-
odorizing or expurgating process. Nearly all
were clever at least in construction, for in this
type of play the French are adepts. Then came
the inevitable slump. The field became worked
out and public interest dropped to nil. Mr.
Charles Bancroft Dillingham evidently believes
the time is at hand for a revival of interest and
he is therefore presenting at the Garrick Theatre
Miss Fannie Ward in Jose G. Levy's adaptation
called "Madam President." The original authors
were the Parisians Maurice Hennequin and
Pierre Veber. It is always easy to read^between
the lines in productions of this kind. "Madam
President" was evidently very much spicier in the
vernacular than it is in its present form. As it
is, it is more suggestive in its naughtiness than
in its actualities. It is a very good farce of its
kind, but at best the kind is cheap, hardly vicious,
and is certainly unworthy the efforts of two
such sterling players as George Giddens and W.
J. Ferguson, who have, however, spent a good
portion of their professional lives in farces of
this kind and origin. Madam President is Go-
bette, an actress who no better than she should
be, disturbs by her witching charm more than
one household. Miss Ward plays this role with
much enthusiasm and a liberal display of dia-
phanous lingerie. The action is swift and con-
tinuous in which Pattie Browne enacts the stolid
wife of the staid old President of Gray with
much humor. Giddens as the husband is inimi-
table in his dry, quaint way and as the chief
usher at the ministry. Ferguson presents one of
those finished portraits for which he is famous
of sly and significant humor.
IRVING PLACE. "DER GUTE RUF." Play in
four acts by Hermann Sudermann. Produced on
October 8.
One thing one may be sure to find at the Irving
Place Theatre— and that is good acting. The
plays vary greatly in worth and interest and are
sometimes nothing more than timc-was'.ers for
actors and audiences, but the playing is always
uniformly satisfactory. The no-star system
which prevails in this German stock company re-
sults in a smoothness and finish — especially in
ensemble work — from which American produc-
tion companies might learn a great deal. Thor-
oughness is not a mythological quality of these
people.
This is a satire on modern life in Berlin. It might
apply aptly to the society of any large city to-day
which practices the rankest hypocrisy in order to
maintain its "respectability." Those who cherish
their "good name" most carefully are, of course,
those who have cause to fear its loss, while the
one woman who is indifferent about her reputa-
tion is the only one who is truly honest and
moral. Though Sudermann has here delineated a
set of clearly cut characters and worked put a
number of thrilling scenes, he has so complicated
his plot that he frequently clouds the issue and
piles climax upon climax until one fairly prays
for a simple conclusion.
Charlotte Krause in the leading role showed
force and surety in the handling of a difficult
character.
IRVING PLACE. "KASERNENLUFT." Drama
in four acts by Hermann Martin Stein and Ernst
Sohngen. Produced on October 15.
A drama in four acts which deals with the in-
justices and cruelty of enforced military service.
About the central theme — the love-story of the
young recruit who is hounded and maltreated by
his superior officer, the victims of a horrible jea-
lously— is richly enveloped in the local color of a
small German Army post.
To the two women in the cast — Crete Meyer
and Annie Simson— should go special praises.
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
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VOL. XVIII. NO. 154
THE TPIAT
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ie Theatre Magazine Co.,
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MISS MAY DE SOUSA
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Lord & Taylor
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THE THEATRE MAGAZINE ADVERTISER
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exquisite contrasts of brilliant hues and
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Edited by ARTHUR HORNBLOW
COVER: Portrait in colors of Miss May De Sousa.
CONTENTS ILLUSTRATION : Apotheosis scene in "Hansel und Gretel" at the Metropolitan.
TITLE PAGE: Scene in "Tante"
THE NEW PLAYS: "Tante" "Prunella," "The Second in Command," "The Marriage Game,"
"General John Regan," "The Madcap Duchess," "Indian Summer," "The Great Adventure,
Man Inside," "The Girl and the Pennant," "The Little Cafe," "The Love Leash," "Miss PhceniX
"The Tojuraes of Men." Forty-fourth Street Music Hall, "After Five," "Ourselves," "The Pleasure
Seekers^'Oh, I 'Say," "Nur Ein Traum," "The Ghost of Jerry Bundler," "Beauty and the Barge
THE ROMANCE OF PEGGY O'NEIL — Illustrated . .
SCENES IN "THE MARRIAGE GAME" — Full-page Plate
THE OPERA— Illustrated
THE WOMAN WHO MADE BERNARD SHAW CRY — Illustrated .
POLAIRE, THE MAGNETIC — Illustrated .
THE THEATRE CAT— Illustrated Poem .
BILLIE BURKE — Full-page Plate
COINING ADMIRATION WORTH HALF A MILLION A YEAR— Illustrated .
WHERE SHAKESPEARE SET His STAGE— Illustrated
EARLY FEMININE DRAMATISTS — Illustrated
MLLE. RACHEL — Full-page Plate .
SCENES IN "PRUNELLA"— Full-page Plate .
AN OPTIMIST OF THE STAGE — Illustrated
STRAUSS' OPERA, "DER ROSENKAVALIER"— Illustrated
STRINDBERG — THE SWEDISH TITAN— Illustrated
SCENES IN "THE GIRL AND THE PENNANT"— Full-page Plate .
HITS OF THE MONTH — Illustrated ' •
A. P
F. C. F
Mary MacDonald .
William De Wagstaffe
Elise Lathrop
Eleanor Raeburn .
Ada Patterson
Prances C. Fay
Y. D. G.
PAGE
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203
XXV
LOHDOH:
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THE THEATRE MAGAZINE ADVERTISER
charm of a "Maillard" gift lies in its
exclusiveness. The dainty and artistic
novelties forming the wonderful Holiday dis-
play were made exclusively for Maillard
and imported direct from Paris.
BOUDOIR CAPS — the designs this season are particularly dainty
and attractive, — the variety is quite unique.
SILK COVERED BRONZE AND SILVER ELECTRIC
LAMPS — a combination of Lamp and "Vide Poche" with real lace.
BRONZE AND GLASS TRAYS with Italian Lace-
a wonderful assortment.
PARISIAN DOLLS— distinguished this season more than ever
by the cachet of "Chic de Paris."
C U S H I O N S— "Sachet de Lingerie"— Opera and Handbags-
Glove and Handkerchief Boxes — in rare and exquisite designs.
ART WARE — Dresden China,- Saxe, Sevres — in bonbonnieres of
conventional flowers and other graceful designs.
BIBELOTS and Articles de Paris — inconceivably dainty and
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DINNER and ICE CREAM FAVORS— original and
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TOYS, Favors and Christmas Tree Ornaments.
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NEW YORK
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
THE THEATRE
VOL. XVIII
DECEMBER, 1913
No. 154
Published by The Theatre Magazine Co., Henry Stern, Pres., Louit Meyer, Treat., Paul Meyer, Sec"y; l-io-n-14 Weil Thirty-eighth Street, New York City
^htCharlwFrohman
BARRyMORE AND E. HENRy EDWARDS IN "TANTE" AT THE EMPIRE THEATRE
White Francis K. Lieb Ann Swinburne Josephine Whittell
Act II — Seraphina (Miss Swinburne) disguises herself as a harlequin
SCENE IN "THE MADCAP DUCHESS" NOW BEING PRESENTED AT THE GLOBE THEATRE
Edmund Mulcahy
EMPIRE. "TANTE." Comedy in four
acts by C. Haddon Chambers, founded on
Anne Douglas Sedgwick's novel. Produced
on October 28th with this cast :
Madame Okraska Ethel Barrymorc
Gregory Jardine Charles Cherry
Franz Lippheim William Ingersoll
Claude Drew E. Henry Edwards
Karen Woodruff Eileen Van Biene
Mrs. Talcott Li
Mrs. Forrester
Mrs. Scrotton
Vickers
Maid
to bow at her shrine.
become engaged to Gregory Jardine.
The match is not favored, as Jardine
sees through the Madame and refuses
The wedding occurs, however, and the
Whether or not "Tante" is a true excerpt from
the pages of the novel of that name has nothing
to do with the case. The great majority of the
people who will go to see Ethel Barrymore in
her new medium have probably never read Anne
Douglas Sedgwick's book, on which Mr. C.
Haddon Chambers has founded his newest play.
It is not necessary, therefore, to inquire minutely
into the resemblance between story and drama.
What the great public wants to find out is
whether the English playwright gives them a
fable with real living personages, bright dia-
logue and situations that carry human convic-
tions. This Mr. Chambers has most certainly
done.
Mr. Chambers is the author of "The Tyranny
of Tears,'' just withdrawn after a successful re-
vival at this same theatre. Recognized as one of
the best of modern comedies, it was no small
feather in his cap to follow it up with such a
brilliant success as "Tante" is universally recog-
nized to be ; and this, too, in face of the fact that
Madame Okraska is in no sense of the word a
sympathetic role. On the contrary, she is a
splendidly drawn type of the artistic genius, so
wrapped up in herself that her selfishness has
become a perfect obsession. Unless supreme
adulation is paid her, she is rude and intolerant.
She feeds upon the constant and cloying praise
of ill-balanced sycophants. Every one must be
sacrificed if need be that her whims and vagaries
be observed. Not the style of part in which Miss
liarrymore's host of admirers are accustomed to
see her reveal her art. But it is such a splendid
acting role, so admirably conceived and drawn,
so varied in detail, and withal so truly human,
that she rises to it with all the enthusiasm of a
genuine artist, and gives one of the most bril-
liant and fascinating performances of her his-
trionic career.
Mme. Okraska's ward, Karen Woodruff, has
zzie Hudson Collier
Mabel Archdall . .
Haidee Wright Ukraska s aim in life thereafter is to separate husband and wife
Frank McCoy r™. , .
Frances Landy I his she brings about. Her happiness is apparently supreme, but
Claude Drew, a fleshly poet, one of her admirers,
carries on a desperate flirtation with the young
wife. The demon jealousy is aroused and the
gifted lady drives her ward from her house,
quarrels with her most devoted poet, and makes
herself generally miserable. But husband and
wife come together. Okraska sees the inevitable
and says she will die game. She seats herself
at the piano and plays, Beethoven with all the
feeling she can command. Husband and wife
are leaving hand in hand, but under the spell
of her genius they seat themselves to hear it out.
Madame Okraska, though defeated, still tritvripris
by her art.
It is a nice, blunt, manly Englishman that
Charles Cherry presents as Jardine, while the
ward is played with emotional discretion by
Eileen Van Biene. As the poet, E. Henry Ed-
wards acts with distinction, and William Inger-
soll, as a kindly German musician, plays with
wholesome unction. Lizzie Hudson Collier, as
Okraska's companion, the one woman in the
world who sees through and thoroughly under-
stands her patron's whims, is simply delicious ;
nor one whit behind in perfect professional finish
and humor is Haidee Wright as Miss Scrotton.
The scene between Miss Barrymore and Miss
Wright, in which they part after a quarrel, with
the most punctilious politeness, is one of the
best-written and best-acted scenes the modern
stage has heard or witnessed in years.
LITTLE. ''PRUNELLA, OR LOVE IN A GARDEN." Fan-
tasy in three acts by Laurence Housman and Granville
Barker. Music by Joseph Moorat. Produced October
27th with this cast :
Prunella, Marguerite Clark; Prim. Marie Hudspeth; Prude,
St.
Copyright, 1913, J. and R. Lamb
Memorial window to Richard Mansfield,
erected by his widow in the Little Church
Around the Corner. Executed in the
Lamb Studios
William Eville; Garden Boy, Master Albert James; Pierrot,
Ernest Glendinning; Scaramel. Reginald Barlow; Hawk, Griffith
Lusky; Kennel, Raymond Lockwood; Callow, Paul Gordon;
Mouth, Theodor Von Eltz; Doll, Lorraine Huling; Romp. Becky
Gardiner; Tawdry, Nennelle Foster; Coquette, Kathleen Co-
megys; Tenor, George Odell; Love, Leslie Palmer.
THE THEATRE MAGAZINE
'75
\\ inthrop Ames has had such a high appreciation of the the-
atrical intelligence of this metropolis that should it turn out to
be misplaced it would be more than a pity, it would be a calamity.
\i'\v York needs more managers of his intellectual capacity.
There is a certain following here that likes the high and noble
in dramatic achievement, and with no exception it should rally
to his banner. It is a particularly pleasing and poetical offering
which at present makes up the program at the Little Theatre,
"Prunella, or Love in a Garden," a fantasy in three acts by
Laurence Housman and Granville Barker. Housman is un-
doubtedly the principal author, with Granville Barker as a prac-
tical stage contributor. Nor is the musical accompaniment by
Joseph Moorat one of the lesser features of this very
gracious and charming entertainment.
It is the simplest of the simple little stories that
these two authors have set out to tell. The action all
takes place in a garden, an English one, with its
beautiful landscape as a backdrop, its well-trained
hedges and its quaint little picturesque farmhouse of
the early nineteenth century. Here it is that Prunella
lives under the watchful care of her three maiden
aunts, Prim, Pride and Privacy, for their sister, the
mother of Prunella, had eloped with the French land-
scape gardener, who had laid out the grounds and
incidentally sculptured the fountain with its life-size
figure of Cupid. Into this little retreat, so far re-
moved from the bustle of the world, with Prunella
a virtual captive, comes a troupe of mummers, each
emblematic of some spirit of folly of the age. Pierrot
paints to her the world as it really is, woos her with
lurid song and fervent poetry, and with the aid of
his associates carries her away. Three years elapse.
Prunella and Pierrot have been married, but the man
has tired and wandered from the marriage fold, only
to learn how futile is that happiness where true love
is not present. When he returns, Prunella has dis-
appeared. That happiness may be found where his
first real passion was awakened, Pierrot hires the
old cottage in the garden, now fallen into decay.
Hither he and 1% worldly companions, all showing
the ravages of selfish surcease, return, only to find
that it is all very different. In metaphorical rags,
Prunella also comes to her old home. She is scurvily
treated by her former companions, the mummers,
who fail to recognize her, and in an outburst of
passion she apostrophizes the statue :
Oh, yes; you — you must remember me,
For it was you! It was you!
ll'hy did you speak f
Had you no f>it\ for a heart so weak
.Is mine.' Xay, love, what made you do this wrong?
You rpokc and all the world became a song,
Anil all m\ hc.irt n bird that heard its mate
Calling and cr\ing to it disconsolate,
Bidding me come!
Say you remember me!
Love shows her how her happiness may be found,
and after an interview with Pierrot tells him what
he has lost through selfish vanity. Then by the aid
of a scene of true poetical grace and charming fancy
the lovers are reunited.
The fable is a pretty one throughout, illumined hy
much worldly wisdom and philosophical truth. It is
not great verse which Mr. Housman has written,
but it is fluent and simple, and the symbolism is al-
ways intelligible and ripe and effective in its appli-
cation.
For one so young, it is a really notable achievement
that Ernest G'endinning accomplishes as Pierrot.
His reading is beautifully varied and instinct with
the spirit of real lyric charm. His pantomime, too, is potently
plastic and expressive.
In the opening scenes of demure and innocent youth, Miss
Marguerite Clark was at her best. The emotional depths of
the closing incident eluded her. Reginald Barlow as Scaramel,
the impishly sardonic servant, was thoroughly effective, and
there was sympathetic sweetness in the impersonations of I'ru-
nella's puritanical maiden aunts. The various quaint and old
servants were happily limned, and there was real differentiation
in the players who pictured the motley crew of mummers. Re-
fined appreciation of poetical significance was displayed in every
phase of the production.
White Milton Sills Helen Freeman
Act II — Annie steals her father's forged check from the district attorney's office
SCENE IN ROLAND : . MOLINEUX'S DRAMA. "THE MAN INSIDE," AT THE CRITERION
176
THE THEATRE MAGAZINE
WALLACK'S. "THE SECOND IN COMMAND." Comedy in four acts by
Robert Marshall. Produced on November 3d with this cast:
Col. Anstruther Montagu Love
Major Bingham Cyril Maude
Lieut. Mannering. . .Edward Combermere
Lieut. Peter Barker Jack Hobbs
Medenham John Ilurwood
Hartopp R. P. Young
Sergeant David Hallam
Corporal Stanley H. Groome
Orderly Arthur Henton
Mr. Fenwick Hunter Nesbitt
Hildebrand Carstairs Arthur Curtis
The Duke of Hull James Dale
Frequently actors are poor judges of their
greatest achievements. If they like a role
they are very prone to regard it as their
best. Then, too, in the selection, supersti-
tion often plays a prominent pait. In Lon-
don, Cyril Maude made one of his biggest
popular artistic and financial successes in the
leading character in "The Second in Com-
mand," the four-act comedy by the late Cap-
tain Marshall, which John Drew presented
a considerable number of years ago at the
Empire Theatre. For this sentimental rea-
son it is said that the English actor insisted
upon making his metropolitan debut as the
genuine, blundering, misunderstood Major
Christopher Bingham. It was in many ways
an unfortunate selection. Original impres-
sions are so vital. In the first place, "The
Second in Command" was never a very good
play ; it possessed good characterization and
bright dialogue, but its motive and treatment
were never big enough for lasting endurance.
It presents a phase of ephemeral success that
withers under the lapse of time. It lias
aged to the point of being old-fashioned.
But in spite of this drawback, there was no gainsaying the
warmth of the New York welcome that went out to Mr. Maude
on his opening night. Whatever may be said against local
audiences, they are very keen and discriminating; they do appre-
ciate skill and intelligence in spite of the poverty of the medium.
So it was that hearty and discriminating applause marked the
every development of Mr. Maude's interpretation of Major
Kit. He showed himself at every point a resourceful, sound,
polished and agreeable actor, with a comprehensive technic, a
winning personality and a commanding sense of gentle pathos.
All these elements were embodied in his impersonation to a fully
satisfying degree. But to determine the full breadth, scope and
depth of his art, Mr. Maude must be seen in other roles. For-
tunately, his stay here is not to be too brief,
and so the opportunity will soon come, espe-
cially as his repertoire is to have an addition
in a new version of the immortal "Vicar of
Wakefield." The supporting company is
a most capable one, and the leading lady.
Miss Margery Maude, has a most pleasing
and youthful personality.
ADONI
Recently seen in '
COMEDY. "THE MARRIAGE GAME." Comedy
in three acts by Anne Crawford Flexncr. Pro-
duced on October 2gth with this cast :
Jenks, Fred Mosley; Assistant Steward, Walter Grey;
Sailor, Robert Graves; Nevil Ingrahani, 'inni Jnlmson;
Tom Updegraff, Charles Trobridge; Chat-lit- Frost. William
Sampson; Mrs. Frost, Josephine Lovett; Racie Updegraff,
Vivian Martin; Mrs. Packard, Allison Skipworth; Jim
Packard, George W. Howard; Mrs. Oliver, Alexandra
Carlisle.
Anne Crawford Flexner, of "Mrs. Wiggs
of the Cabbage Patch/' shows such a dex-
terity in her new play, "The Marriage
Game," in handling delicate situations and in
getting her people to utter lines that sparkle
or amuse, that her facility promises much
and better after a little. "The Marriage
Game" is entertaining and invites laughter
and applause, but, frankly, we think her cen-
tral idea needs modification. A widow of
the continental type, pleasure-loving and unconventional, finds
herself on the yacht of a bachelor with three married women and
their husbands, having been brought there by the mistake of om
of the husbands, who misunderstood the terms of the invitation.
She is a stranger to all but her companion, who had made the
mistake, and the awkward situation had to be composed in such a
way that her presence was explained and the circumstances con-
cealed. The bachelor owner of the yacht intends to put her off
FOVIERI
Children of To-day"
Harry Harwood A. G. Andrews Oliver Doud Byron W. G. Fay Arnold Daly
Act II — Dr. O'Grady (Mr. Daly): "Do you mean to tell me that you let that fellow out of town?"
SCENE IN GEORGE A. BIRMINGHAM'S COMEDY, "GENERAL JOHN REGAN," AT THE HUDSON THEATRE
THE THEATRE MAGAZINE
'77
Copyright Charles Frohman
Martha Hedman
John Mason
Creighton Hale
Act III — Katherine (Miss Hedman): "He's only a little boy — only a little hoy"
SCENE IN AUGUSTUS THOMAS' DRAMA, "INDIAN SUMMER," RECENTLY AT THE FULTON THEATRE
at New London, on the Sound, the next morning. It was the
only way to avoid all kinds of uncomfortable complications.
Under the name of Mrs. Oliver she is welcomed by the wives,
who presently-grow uneasy under the attention which she re-
ceives from alMhe husbands. She is so gracious, so refined, so
bright, so charming, that the displeasure of the wives increases
and suspicion begins, the suspicion of her character being con-
firmed by the discovery of some of her belongings in a valise
which has been placed in the cabin occupied by one of the wives
and her husband. There is considerable suspense concerning the
whereabouts of this valise. The discovery of her character being
made, there are lively recriminations, and the woman is put upon
her defense. The married people have quarrels, and the woman
is sought to be made as uncomfortable as possible. She defends
herself with much epigram and with what appears to be wisdom
in her lessons to the wives. When she leaves the next morning
the women are better wives, peace has been restored, and the
bachelor owner of the yacht parts with the woman with as-
surances of more than esteem. This outline of the play does not
suggest the comedy of it with any fullness, but apart from the
inconsistency of Mrs. Oliver's wisdom with her character and
conduct, the play is eminently diverting. There are many
laments in it that explain this. The widow could be nothing but
charming when played by Alexandra Carlisle. Mr. Sampson,
as a henpecked husband smitten with the widow, is exceedingly
funny, as he always is. Josephine Lovett is the henpecking wife.
Miss Allison Skipworth is the wife of a meek husband who
knows how to endure. Mr. Orrin Johnson, as the bachelor owner
of the yacht, was diplomatic and affable. The lines of the play
are particularly bright, and, on the whole, the comedy is remark-
able for its success based on such doubtful premises.
Dr. Lucius O'Grady Arnold Daly
Timothy Doyle Harry Harwood
Major Kent A. G. Andrews
Constable Moriarty John M. O'Brien
Tom Kerrigan J. Rice Cassidy
Rev. Father McCormack. .Oliver D. Byron
major Jvent A. u. Andrews KCV. talner McLormack. .Uliver U. Byron
Thaddeus Colligher W. G. Fay Lord Alfred Blakeney Lionel* Tape
Horace P. Billing Frederick Burton
C. Gregg Frank Arundel
Sergt. Colgan, R. I. C.. .Richard Sullivan
Mrs. De Courcy Alice O'Dea
Mrs. Gregg Jessie Abott
Mary Ellen Ma.re O'Neill
HUDSON. "GENERAL JOHN REGAN." Comedy in three acts by George
A. Birmingham. Produced on November loth with this cast:
Purely farcical in theme and treatment, "General John Regan,"
at the Hudson, is at the same time a very neat comedy. Any-
way, it is a genuinely delicious entertainment, and acted with a
skill and nicety that brings out to the full "George A. Birming-
ham's" (he is the Rev. Canon Hannay, Dean of St. Patrick's
Cathedral, Dublin) dextrous delineation of a certain phase of
Irish character. It is perfectly evident that the Dean knows his
subject well. His types are undoubtedly true to life, and are
more understandable to the American public than those presented
in the works of Synge, Yeats and Lady Gregory. He is none
the less appreciative of his native people, and depicts their foibles,
weaknesses, prejudices, as well as their good qualities, with a
witty and sympathetic pen. The character drawing is admirable
in its differentiated values, and the dialogue fairly corruscates
with Hibernian humor and oddity. There is form, too, to the
farce ; while this occasion shows that entertainment can get over
without the aid of a love interest.
A rich American, Horace P. Billing, visits Ballyway, which
he finds such a dead and alive spot that he resolves to wake it up.
He invents a Gen. John Regan, saviour of Bolivia, whom he
declares was born in Ballyway, says he is writing his history,
and wants pictures and data of the General's early childhood, etc.
The natives are naturally non-plussed, but a voluble and re-
sourceful young doctor, Lucius O'Grady, scenting something
good for the town, spiritedly enters into the idea, makes up a
birthplace and later home for the myth, and then declares the
citizens are about to raise a statue to the General's memory. A
local committee is formed for the purpose, and when it meets to
decide upon details and ways and means, a really perfect comedy
THE THEATRE MAGAZINE
scene is provided. A left-over mortuary design from Dublin is
erected, and all is ready for the unveiling. But the Lord Lieu-
tenant of Ireland, who is to "pull the string," finding no record
of Gen. Regan, fails to turn up, and sends his secretary to de-
mand an explanation. With his inventive genius, O'Grady
triumphs over all obstacles, and the American, so pleased with
his skill, becomes a liberal patron of the town.
Arnold Daly was the O'Grady whose invention was only
equalled by his volubility. He was spiritedly humorous and at-
tractive. As the shrewd, hard-headed landlord, Doyle, Harry
Harwood was splendidly droll, while as a fiery Nationalist editor,
Colligher, always wanting to make a speech on Ireland's wrong,
\V. G. Fay contributed a genuine creation. A conservative local
magnate was thoughtfully portrayed by A. G. Andrews, while
that sterling veteran, Oliver Dowd Byron, was genially gullible
as a Parish priest. Frederick Burton was fairly characteristic
as the American, while the stolidity and density of the Lord
Lieutenant's secretary were most amusingly portrayed by Lionel
Pape. Maire O'Neill, as a dull, slatternly servant, was quite in
the picture.
GLOBE. "THE MADCAP DUCHESS." Comic opera^ in two acts ; music
by Victor Herbert ; book and lyrics by David Stevens and Justin Huntly
McCarthy. Produced on November nth with this cast:
Renaud Glenn Hall Adam Herbert Ayling
Yidame de Bethune. .-... .Russell Powell Panache Herman Holland
M. de Secherat Gilbert Clayton Stephanie Josephine Whittell
Master Hardi Robert Pitkin Gillette Peggy Wood
Louis XV Percy Helton Seraphina Ann Swinburne
Philip of Orleans Francis K. Lieb Spavento Mario Rogati
Watteau David Andrada Tartaglia Alexander Gibson
Due de Pontsable Edmund Mulcahy Coraline Virginia Carewe-Carvel
Canillac Henry Vincent Zerbine Virginia Allen
"The Madcap Duchess" is more of an opera comique than a
comic opera. This is not a distinction without a difference. The
French description means something of a higher kind than that
which a mere translation of the words would convey. If there
is a public, therefore, which cares for a romantic love story, placed
in a romantic period, with capable singers to interpret an ad-
mirable score, then they will find what they want at the Globe
Theatre. For the music which runs through "The Madcap
Duchess" is, in his lighter vein, Victor Herbert at his best. Like
all composers who turn scores out, almost while you wait, Her-
bert occasionally nods. Not so in the present instance. Here is
continuous melody; occasionally he borrows a few bars from
himself, but then his orchestration is so richly opulent that the
effect is one of novelty. He has the capacity, too, to impart wit
and whimsicality to his comic numbers, grand opera-like quali-
ties to his arias and the true sensuous lilt to his love songs. All
these characteristics are represented in his most recent score,
and splendidly rendered are they, for Herbert will often sacrifice
pulchritude for tonal plenty and precision.
The fable is founded upon a story by Justin Huntly Mc-
Carthy, with France during the regency of Louis XV as a back-
ground. Conventional as much of it is, the heroine being forced
to resort to numerous disguises to persuade a certain nobleman
that he really loves her, there is still picturesque movement and
romantic surprise in many of its scenes. The comedy is some-
what tenuous, but it is strictly legitimate, and David Stevens,
who supplied both book and lyrics, is to be congratulated on his
discretion, skill and taste. The production is an elaborate one —
they must all be such these days — and is graphically staged under
the capable direction of Fred. G. Latham.
Ann Swinburne is the heroine, who dons breeches, fights a
duel, appears as an actress with a company of players, and finally
returns to her original state in life, when all the difficulties which
beset true love, have been brushed aside. It is an impersonation
of dash and charm. Miss Swinburne not only sings well, but is
an actress of real, distinction. Glenn Hall, as Renaud, who strays,
only to later find where his heart truly is set, is an accomplished
singer, with a tenor voice of great beauty. As Master Hardi, the
chief mummer, Harry McDonough is legitimately funny, and
Master Percy Helton acts with distinctive dignity as the King.
CRITERION. "INDIAN SUMMER." Drama in four acts by Augustus
Thomas. Produced on October 2/th with this cast :
Frank Whitney John Mason
Jim Ewing Harry Leighton
Leonie Mary Norton
Doctor Allison Walter Hale
Randall Wright Kramer
Mrs. Mary Harvey Maud Hosford
Forrest Grahame. . .Warner P. Richmond
Katherine Martha Hedman
Jane Boutell Amelia Gardner
Jack Boutell Creighton Hale
Chauffeur Donald Clayton
Detective Carroll Barry
Heinrick Wagner
(Gus Weinberg)
F-rrma Wagner Frederick Wagner
(Alice Gale) (Edwin Arden)
Act II — Frederick coaxes Lily to remain at home, hut she refuses
SCENE IN "TO-DAY1* NOW BEING PRESENTED AT THE FORTY-EIGHTH STREET THEATRE
Lily Wagner
(Emily Stevens)
THE THEATRE MAGAZINE
179
This play is not
wholly satisfactory.
Just as the qualities
of .Mr. Thomas ap-
peal, in spite of the inadequacy of
the play, so do the personality
and art of John .Mason attract,
apart from the play. We would
not describe the play as a failure,
only as unsatisfactory. The title
refers to that age in a man when
his passions are supposed to have
subsided and when yet he has not
reached that period of life in
which opportunities for the exer-
cise of all the faculties that be-
long to manhood has passed.
What he has missed in his youth
now he can find in his Indian
Summer. He is an artist, a
painter of distinction, and, after
a long residence in Paris, he is
now living with a fellow artist in
a bungalow on Long Island. He
is painting the portrait of a girl
with whom he has fallen in love.
She is the daughter of a widow
living nearby. She is much
younger than he is, for he had
been the friend of her father
years before in Paris. So much
of a friend had he been that when
his friend, the father of the girl
and a preacher, had gone wrong
Mishkin
ELSIE FERGUSON
Now appearing in "The Strange Woman" at the Lyceum
inexpert writing
that he should have
two set scenes in
each of the four
acts, but whether it was neces-
sary or not the use of a le;ji-irl
occasionally between those two
scenes interpreted in letters of
electric light is awkward. iVr-
haps there is some English satire
in the idea of the play which is
not fully conveyed to an Ameri-
can audience. However, there is
enough in the quaintness of the
idea, impossible as it is, to excite
and sustain interest. The story
of the artist who has to die to be-
come really famous is too well
known to need repetition here.
The artist was played by Lyn
I larding, the wife by Janet
Beecher. No better choice for
these parts could have been made.
The character assigned to Miss
Beecher is sane and reasonable,
and, consequently, agreeably in-
teresting; the artist, played by
Mr. Harding, is so eccentric and
so unreasonable, although played
with artistic reserve, that we can-
not accept him as possible.
in an affair with a girl, he assumed the paternity of a child, a
boy. in order to save his reputation. This boy, now grown and
in the United States Xavy, has killed a man for seducing his
mother. He feels the injustice of his position, and comes to kill his
supposed father. There are some exciting scenes, the boy finally
being shot by the officers of the law in pursuit of him. In the end
the artist marries the girl, his innocence and self-sacrifice having
been divulged. Miss Martha Hedman, without a great deal to do.
and in view of her lack of active opportunities, was remarkable in
her quiet way. We count her performance among the delightful
things in the play which save it from entire failure. Mr. John
Mason is always authoritative and impressive. His personality
and his art are worth the while.
ham Molineux.
James Poor Charles Dalton
Richard Gordon iMilton Sills
"Red" Mike A. E. Anson
"Hig" Frank Edward H. Robins
"Pop" Olds John Cope
Josh Hayes J. E. Miltern
Larry Joseph Byron Totten
"Whispering" Riley. .. .Lawrence Woods
raffcrty Erroll Dunhar
Clusky Jerome Kennedy
CRITERION. "THE MAN INSIDE."
Drama in three acts by Roland Burn-
Produced on November nth with the following cast:
Wang Lee I. J. ChaiHee
Chong Fong H. H. McCollum
"The Major" Herbert Jones
Murphy Karl Kilter
Raleigh Chas. B. Givan
"Frisco" George Joseph Barker
"Monk" Verdi J. A. Esposito
Annie Helen Freeman
BOOTH. "THE GREAT ADVENTURE." Play in four acts by Arnold Ben-
nett. Produced. on October i6th with this cast:
Ham Carve ...... . ......... Lyn Harding Honoria Looe ............ Roxane Barton
Albert Shawn ........... Edward Martyn Peter Horning .......... Lionel Belmore
Dr. Pascoe ............. T. W. Percyval Ebag ...................... Edgar Kent
Edward Horning ........ Walter Maxwell James Shawn ............ Cyril Biddulph
Janet Cannot ............. Janet Beecher John Shawn ............ Erskholme Clive
Cyrus Carve ........... Frank Goldsmith Mrs.
Father Looe ............. Rupert Lumley
............
. Shawn ................. Ina Rorke
Lord Alcar ............ Walter Creighton
Mr. Ames has produced "The Great Adventure" with a com-
pleteness in detail that exemplifies his standard. Xo improve-
ment could be made in his choice of the performers. If the play
fails to satisfy completely, it is the fault of the play itself and of
its author. Arnold Bennett, who regards lightly the limitations
of the drama, and is blindly convinced that his dramatic methods
are new and right. The result is that the play, while it retains
all that made his book so popular in its verbal expression, as also
in incident and character and quaintness of idea, lacks something
in the professional- dramatic touch. We will not discuss his
Maggie Clare Weldon
Lizzie Gertrude Davis
Here is a play that has depth, which studies crime and its char-
acters close at hand, and prepares you for the feeling that crim-
inals are human beings, open to reformat!' n. The dominant idea
of the play is not so much crime as the treatment of crime and
the possibilities of stemming the tide of crime. Think what we
may of the philosophy of the author, the impression remains of
absolute sincerity. There are many impressions left which do not
admit of refutation. One of these is as to the cruel impulses and
practices of the District Attorney's office. The character of Jim
Poor is played in such a masterly and natural manner by Charles
Dalton that the verisimilitude of it makes it a living, incontro-
vertable figure. Josh Hayes, acted by John Miltern, is a second-
story man, whose description of the fascinations of burglary is
an amazing illumination of the spirit of crime. The play is not
without its comedy. Old Pop Olds, played by John Cope, is so
deliciously droll that what he stands for seems almost harmless.
Old Pop is such an inefficient old fakir, playing the blind man
for pennies, dyeing sparrows to sell them for canary birds, and
contriving so many devices for the maintenance of himself, once
a lusty person and now far gone in age, that he serves for the
purpose of amusement without a protest from the audience. The
story is that Red Mike (A. E. Anson) and Big Frank (Edward
H. Robins) have committed a forgery and are being sought by
the officers. Richard Gordon ( Milton Sills), a young Assistant
methods here, for the play has qualities that inexpertness in
playwriting cannot destroy. It is not altogether a symptom of District Attorney, believing that methods of prosecution and
i8o
THE THEATRE MAGAZINE
punishment are wrong, is studying the causes of crime. Secretly
he goes to the opium den, where thieves congregate. The two
forgers come in, and presently Red Mike's daughter rushes in
and announces that the "bulls" are after them. The officers break
in and arrest them. Gordon's presence is discovered by the
thieves. They let him go when he tells why he is there, and on
his promise to Annie (Helen Freeman) to help her father in
even- way he can, on her declaration that he is innocent. Annie
is advised by the thieves to "throw her lamp on him." Annie
believes that Gordon is in love with her. She abstracts the forged
note from the papers in the office and swallows it when about
to be discovered. Gordon does not know of this at the time, but
he is suspected by the office and followed. Annie has been re-
leased from the House of Detention, and Red Mike, her father,
and big Frank, whom she is to marry, come to Annie's flat. They
are all about to flee. Gordon comes to her and discovers that
she has destroyed the evidence, the note. She is amazed to learn
that Gordon was not in love with her. She is so impressed by
Gordon's declaration that he is going to tell the truth to the Dis-
trict Attorney and take the consequences that she takes Gordon's
view as to "The Man Inside," the cause of crime, and gets Big
Frank to accept that view. Big Frank, now under arrest, is to
serve twelve years in prison, counting the time taken off for good
behavior, and is to find Annie waiting for him.
The play is so compact with happenings and ideas that this
brief account does not entirely cover (Continued on page xii)
Moffett
PEGGY O'NEIL
WHEN Oliver Mo-
rosco, the man-
ager of "Peg o'
My Heart," made it known through the newspapers recently that
he was in search of a talented, ambi-
tious young girl whom he would
make his protegee and develop into
a star, his offices were literally be-
sieged. Girls came in droves from
every point of the compass — no less
than four hundred of them in all !
Four hundred young girls — most of
them pretty, some with talent, and
from them all the manager, with a
practiced eye, picked out a little,
nineteen-year-old, winsome slip of a
girl, with great, wondering, Irish
eyes,coal-black hair, a mouth like
the bud of a Killarney rose, and a
wistful little pointed chin. He knew
at once that he had picked a winner.
Her name was Peggy O'Neil.
The qualifications Mr. Morosco had insisted upon were youth,
good looks, intelligence, ambition, together with a moderate
amount of talent. Previous stage success was unnecessary. With
these, the girl chosen was to place herself entirely under the
training of Morosco, with the promise to follow implicitly any
course of study that he might set down. The "apprenticeship"
was to last three years, at the end of which she would find herself
a full-fledged star! No wonder there were as many as four
hundred applicants, lured from every part of the big 'town!
With Morosco it was the working out of a pet theory — namely,
that he could train any young girl of moderate ability to be a
star.
Since Peggy O'Neil had already appeared on the stage in
musical comedy, and had played one or two small parts in stock,
the maker of stars decided to try her at the head of a new
"Peg o' My Heart" company which was then being organized to
go on tour. Little did he know, however, that he was choosing
for the chief role of that delightful comedy not only a clever little
actress, but a real Peg, whose short life, in which happiness and
misery had been rapidly chasing each other, was an absolute em-
bodiment of Mr. Manners' fictional character.
For that matter, neither did Peggy O'Neil. She knew Peggy
O'Neil's life, but at that particular time she did not know Peg
o' My Heart's. When she read the play and gathered the situa-
tions at her first rehearsal, she laughed, then she cried, then she
laughed again. When they asked why the play girl had moved
her so completely, she replied, "Because Peg is real, that's all."
"So some one has been telling you that? Imposing on your
youthful credulity?" Stage Manager Grey was quite angry.
"Not at all," said Peggy O'Neil, simply. "I myself am Peg."
Then she told them her story.
Her father, she said, was a splendid type of Irishman, who,
like Peg o' My Heart's, could do anything in the world but make
money. Her mother had
been a lovely English girl,
w h o had shocked her
semi-aristocratic family by running away and marrying her
fine young Irishman. But they snapped their fingers and
laughed at Grim Care, and a year later baby Peg was born at
Kildare. Shortly afterwards the little family came to America
and made their home in Buffalo, where Peg's father was em-
ployed by the New York Central Railroad as constructing en-
gineer and electrician. All went well until one black day when
the father went to work and never returned. He was on a
construction train that had keeled over to the bottom of a thirty-
foot embankment.
After the funeral it was found that he had bet their house
upon the last Presidential election, and his candidate didn't win !
When little Peg was thirteen, her mother, who had been strug-
gling to make a living for the two, quietly closed her eyes and
passed away.
There was nothing else for Peg to do but go to her aunts, who
tried to be good to her in their snobbish, condescending way. and
to remodel her after the fashion they thought was proper and
correct. But Peg was Irish. She stole away one day on her \vav
to High School and went to San Francisco as a dancer with a
musical show. Last year she turned for a living to dressmaking,
and opened a tiny shop on West Forty-eighth Street. To-day
there is a "To Let'' sign
in the little shop, while
the proprietress is re-
ceiving the ovations of
audiences all over the
country.
Such" has been the life
of this real little Peg o'
My Heart, which for
her has only just begun.
White
PEGGY O'NEIL AS PEG O' MY HEART
Printr,? White
Charles Trobridge Vivian Martin Orrin Johnson
Act III — Xevil (Mr. Johnson) : "In the old days in Zulich "
ALEXANDRA CARLISLE
Who plays the role of Mrs. Oliver
SCENES IN ANNE CRAWFORD FLEXNER'S COMEDY "THE MARRIAGE GAME" AT THE COMEDY THEATRE
Mishkin GERALDINE FARRAR
In the title role of "Manon"
THE grand opera
season of 1913-
14 is now on in
full blast. The Metro-
politan Opera House
!lung wide open its
fashionable doors on
November lyth with
"La Gioconda." Mas-
senet's "Manon" was
to have been the open-
ing bill, but owing to
the temporary indis-
position of Geraldine
F a r r a r, Ponchielli's
opera had to be substi-
tuted at the eleventh
hour. The work was
given with Mines. Des-
tinn, Matzenauer, and
Duchene, and Messrs.
Caruso, Amato, De
Segurola, Reschiglian,
"Die Zauberflote" was given the following
Wednesday evening, with Mme. Destinn as Pamina.
Mme. Hempel as the Queen of the Night, Miss
Alten as Papagena, Mr. Urlus as Tamino, Mr.
Goritz as Papageno, and Mr. Braun as Sarastro.
The new tenor, Giovanni Martinelli, was introduced
Thursday night, November 2Oth, as Rodolfo in "La
Boheme.'' Mme. Rori was the Mimi, the others in
the cast being Mme. Bella Alten and Messrs. Scotti
De Seurola, Didrr, Pini-Corsi, and Ananian.
Mme. Margaret
Ober, the new con-
tralto, made her
debut Friday
night, November
2 ist, singing Or-
trucl in "Lohen-
grin.'' Mme.
Fremstad was the
Elsa, Mr. Urlus
the Lohengrin, Mr.
Weil the Fred-
erick. Mr. Braun
the King, and Carl
Schlegel, for the
first time, the
Herald. Alfred
Hertz conducted.
The first novelty
was given at the
Saturday matinee.
November 2 2 d,
when a revival of
Verdi's "Un Ballo
in Maschera,"
which has not been
heard at the
Metropolitan for nine seasons, was presented. The
cast included Mme. Destinn as Amelia, Mme. Hempel
as Oscar, Ivl m e .
Matzenauer as Ulrica.
Mr. Caruso as Ric-
cardo, Mr. Amato as
Renato, and Messrs.
De Segurola, Rothier.
Bada, Reschiglian, and
Audisio. The produc
tion has been painted
by Mario Sala, of the
Scala Opera House,
Milan, and the cos
tumes are after de-
signs by Prof. Palanti.
In the mere matter
of days and weeks, the
music season is yet
very young, but in re-
s p e c t to important-,
and interest no music
season of twice its age
Aida"
Mishkin
Margaret Obcr as Ortrud in "Lohengrin"
( "p\ right Mishkin
Signor Caruso as Des Grieux
in "Manon"
can vie with it. The
concert world has been
unusually busy and
brilliant. The Metro-
politan being still dark
at the time of writing
and Oscar Hammer-
stein still holding in
abeyance the official
date of the beginning
of his season at his
new Opera House, it
would seem as though
recital givers had taken time by the forelock and had plunged
the New York musical public into the very thick of the con-
cert season, determined to reap at least a part of the harvest
before opera has an opportunity to lure away patrons.
But before everything else, the account of the reappearance
here of Pavlowa craves attention. Dancers may come and
dancers may go, but there is only one Pavlowa. She has the
winning personality that carries her dancing message straight
across the footlights. There is not a single pose or gesture
which fails in its artistic appeal, so keen is this artist's sense
of proportion and of what the painters call "composition."
And, with it all there is never a deliberate attempt to usurp the
attention of the audience. Her smile is gracious, not stereo-
typed ; her absolute freedom of movement is imparted to the
watching eye as something natural, not acquired. One is
never impressed by her dancing technique as mere technique,
but only as a means to a lovely end. That much overworked
and tired phrase, "poetry of motion," is legitimate in its appli-
cation of Pavlowa. She is so volatile that her dancing move-
ments are like so many handsome pictures. She really
illustrates the story so vividly that, unlike opera in
English, Mile. Pavlowa does not require a libretto. The whole offering was stamped with the seal of
It has been three years since this famous Russian the artistic. It was the best Russian ballet ever
has been seen here, but she won her audience completely and offered here, the most pretentious artistically. And as for
in an instant at the Metropolitan Opera House the other Mile. Pavlowa— she is simply incomparable.
afternoon — if, n-
deed, she ever has
lost them. It was
in a Chopin Noc-
turne that she first
appeared, followed
by several other
Chopin dances.
Then, in the second
part of the pro-
gramme she danced
the role of an
Oriental seductress
who ensnares a
knight, or at least
attempts it, only
failing when he
thwarts her by
waving in her face
a talisman that re-
calls his true love.
For this episode,
called "Oriental
Fantasy," the scenery and costumes had been designed by Leon
Bakst, a talented Russian whose color schemes are of the
most brilliant and daring. The final part of the programme
was a series of Divertissements, one of the most exquisite of
which was a Gavotte Directoire, danced in a costume of the
Empire. Pavlowa proved that she could enslave the eye in
more conventional dances as well as in poetic, imaginary ones.
Her supporting company is admirable. Her leading man
is Novikoff, a picturesque dancer ; another character dancer
is named Berge, and a celebrated Russian mime named
Cecchetti. The minor dancers are admirably chosen.
SI AGE SETTING FOR ACT I OF "THE JEWELS OF THE MADONNA" AT THE
CENTURY OPERA HOUSE
And now to re-
turn to the sedate
concert room.
Within a single
week three of the
greatest pianists
have given recitals
here — Paderewski,
Hofmann and
Bauer. Each ap-
pearance assumed
the importance and
dignity of an
event, each taxed
the capacity of the
hall. Paderewski
had neglected us
for four full sea-
sons, and his ini-
t i a 1 appearance
here was delayed
a fortnight by an
attack of grippe.
Just before the concert an attack of nervousness contrived
that the virtuoso kept his audience waiting forty minutes, and
when he finally appeared and began to play it was evident
that he was keyed above concert pitch, for he smote the piano
until it gave out sounds more like unto an orchestra than a
piano. Even when this mood subsided it became apparent to
intelligent observers that the languishing, sentimental Pole of
yore had been replaced by a more dramatic nature, that this
velvety touch, when scratched revealed the lion's paw. There
have been moments in his playing years ago when he assumed
a dramatic expression which at once sounded insincere. Now
f$
LOUIS KREIDLER
As Scarpia in "Tosca
LOIS EWELL
In "Madama Butterfly"
ELIZABETH AMSDEN
"The Jewels of the Madonna"
184
THE THEATRE MAGAZINE
Mishkin
Josef Hofmann
his voicing of the dra-
matic is tremendously
impressive. It com-
pels interest. Such in-
cidents as the opening
of the Chopin B flat
minor sonata, and the
thrilling pulsating rhythm
of the same composer's
Polonaise Militaire, are
n o t quickly forgotten.
And in his playing of the
Polish genius's B minor
Mazurka there were ex-
hibitions of rhythmic va-
riety that were amazingly
interesting, tantalizing as
they were for the ear to
pursue. Then, in his in-
terpretation of the C
sharp minor Study, he
poured such a wealth of
sentiment that there was no doubt about the
sentimental greatness of this artist. After the
close of the concert he played a number of en-
core pieces, in which he displayed at their fullest
his gifts to "color" music as only he can do.
Heretofore there has always been something
mystical about the appearance of this great Pole.
It was as though he invoked hypnotism, so potent
a poetic spell did he weave ; but now he has aban-
doned much of this. He thunders at the piano;
he also caresses. But he is a greater Paderewski
than ever before and still an idol of the music-loving public.
So, too, has Josef Hofmann grown to be a very great pianist.
He has gained a grasp upon the dramatic bigness of music, and
this, added to his technique and his thorough musicianship, tends
to make him a wonderful player. He performed, among other
numbers, Liszt's monumental B minor Sonata in a manner that
rivalled the memory of D'Albert's playing of this great music.
And the somewhat hackneyed Beethoven Sonata Pathetique was
played with such complete understanding and fine, virile sweep
that it impressed his listeners as being really big piano playing.
Chopin and some moderns fared as well, and the audience was
held in thrall by the playing of this artist, who from being a mere
prodigy has grown to be one of the world's great pianists.
The third of the trio is Harold Bauer, ever earnest and sincere,
who chose to make his season's entrance with a unique program
consisting of three Beethoven Sonatas and three Preludes and
Fugues from Bach's well-tempered Clavichord. It was remark-
ably played, marked throughout by a masterly conception and
by scholarly reading, which was so charged with interesting ex-
pression that the stiffness of the program did not in the least
oppress an audience which remained to the close and clamored
for more.
Nor have the pian-
ists had the field all
to themselves, for
there have been two
notable song recitals
Melba and Farrar.
The former has not
been here in a num-
ber of years, and,
despite the fact that
some of her upper
tones were not as
brilliant as of yore,
she sang so lusciously
that it was a sheer joy
yriglit Marcean
Ignace 1'aderewski
to hear her. Now, Nellie
Melba is not a young
woman any more, and if
she can so ravish the lis-
tening ear as she did at
her recent recital, it is
proof positive that her
voice and method are
supreme to the demands
of Father Time.
Geraldine Farrar, "our
own Geraldine" of the
Metropolitan Opera
House, has waited all
these years before she
dared to give a recital.
That she has not waited
in vain was proven by
her singing and interpre-
tation. Some of my
esteemed confreres shot
critical arrows at her tone
That, it seems to me, was a wasting
Miss Farrar has sung
Harold Bauer
production.
of ammunition and time.
here so many times in opera, and her tone pro-
duction has ever been her weak point, so my
critical brethren could scarcely have expected
that she would acquire an entirely new tone
production for this recital. What was of para-
mount interest was her interpretation of songs.
She proved that there were brains back of her
singing. She was much at her worst in the
classic group of Gliick, Mozart, Beethoven, and
Handel. But she shone in the Loewe dramatic ballads and in the
group of Russian songs. Chiefly in Moussorgsky's "Sternlein"
did she reveal her great possibilities as a song interpreter.
There was still another pianist who came to charm and amaze,
and it was Teresa Carreno, who confesses that she is within one
year of the sixty mark, and who made her initial bow of the sea-
son at the opening Philharmonic concert. She has not been here
for four years, and she chose to make her acquaintance again
with that familiar concerto, the Tschaikowsky B flat minor, with
which her name is almost indellibly linked. She played it not
quite with the same imposing bigness of tone as in former years,
but with the same wonderful abandon and heroic surge. It was a de-
plorable shame that Josef Stransky and the Philharmonic orchestra
did not support her with better accompaniment. It was the first con-
cert in the seventy-second season of this society, and Stransky con-
ducted the Berlioz "King Lear Overture," the same composer's
Symphonic Fantastique, and Tschaikowsky's March Slave. It was
not an interesting program, and it was a very long one. There
are a number of new members of this organization, including a
new concertmaster, Leopold Kramer, but there is not a notable
improvement in the sound of this orchestra. The Symphonic
Fantastique lacked
imagination, chiefly —
and if Berlioz is
played without imag-
ination he had better
not be played at all.
So, too, has the
Symphony Society of
New York begun its
season with Mine.
Gadski as soloist, who
sang brilliantly, fol-
lowed by M m e.
Homer, also as solo-
ist, at the second
matinee concert.
Mme. Gadiki
Teresa Carreno
Mme. Melba
The Woman Who Made Bernard Shaw Cry
s
ARA ALLGOOD S "Little Sister" has come to America, cry — especially the only actress." This was tribute enough.
So much did the leading woman of the Irish Players admire Another man unused to the art of tears, an Oxford student,
our republic that she stayed here, and is in a fair way to whose muscles had always transcended his emotions, was alter-
nately touched to tears and laughter by the dramatic power of
the young woman from Erin. George H. Maer was a critic and
became a leading writer for the Manchester Guardian. He
burst into verse about Maire O'Neill. He compared her to no
living being, because he, in substance, asserted there was no
living woman comparable to her. He likened her with Helen of
become thoroughly American, and her sister, impressed by
Sallie's description of us, has also come to learn whether she
would care as much for it. She had been in New York but a
week when she said she, too, adored us.
They are most unlike, these two daughters of Dublin, between
whom is the bond of sisterhood. Sara Allgood you remember
as a wide-shouldered, deep-chested, broad-hipped woman, whose
chief physical note is
sturdiness. Maire,
(pronounced Moyra)
O'Neill is of fairy-like
slenderness. Her fig-
ure is as gracefully
turned and delicately
undulating as a French
woman's. Sara All-
good's face is grave.
The shadow of her
country's hardships and
privations lie upon it.
Maire O'Neill's face
breaks easily into
smiles and ripples all
over, especially about
her provocative little
chin, with merriment.
Sara Allgood has a fine
face, with the strength
of six average women
in it, but no one ever
said she is handsome.
Miss O'Neill is a
beauty. J. Butler
Yeats, father of the
poet, VV. B. Yeats,
whose poetic dramas
she has successfully
interpreted, says she is
typical of the beauty of
Ireland. Both have
the Irish coloring, the
gray blue eyes that by
their depth and light
deserve the name,
"Irish eyes." Both
have the bluish black-
hair that crowns so
many women of Ire-
land. Both have acute
mental alertness and
dramatic feeling. But
from that point they,
so far as personality is accepted, diverge. In Sara Allgood
seems embalmed the gloom of the fair isle. In her "Little Sister"
is embodied its mirth. The elder sister has the memories and
bears the mark of being the next to the eldest of an octette of
children, half orphaned and poor, while most of them were of
the toddling age. Behind the younger lie brighter memories.
Yet each being an admirable actress, plays well parts poles
distant from her personality. It was the sister whose face breaks
into happy smiles, whcse voice has a gay little trill in it, who
achieved what London had thought the impossible. She caused
George Bernard Shaw to shed tears. Not only is there the testi-
mony of eye witnesses to those tears, but the scoffing philosopher
himself confesses it. Back of the curtain he came when Miss
O'Neill had been playing the mother in his "The Showing Up
of Blanco Posnit," his wheat-colored beard still moist, and said :
MAIRE O'NEILL
A TYPICAL IRISH BEAUTY, SISTER OF SARA ALLGOOU, OF IRISH PLAYERS' FAME,
AND NOW APPEARING AS MARY ELLEN IN "GENERAL JOHN REGAN"
Troy, and ransacked the classics for further parallels of her
beauty, her appeal, her
allurement. For a year
the florid tributes of
the fervent young
critic afforded amuse-
ment to Maire O'Neill
and to others. A year
lay between her ap-
pearance in Oxford,
where he first saw her
on the stage, and a
dinner given by the
daughter of Mrs. Gas-
kell, the novelist, in
Manchester, to which
the actress and the
critic were bidden. He
had had opportuni-
ties to meet her, but
he had not embraced
them.
"He was nervous,"
was her terse way of
summing the delin-
quencies of the ad-
mirer, whose ardor ex-
ceeded his courage.
"But when I met him
in Manchester I under-
stood."
Thereafter she was
an aid to him in his
wooing, because she
understood. For in-
stance, when he came
to Dublin he was at
great pains to say : "I
was called here on po-
litical business."
What, think you, was
her answer? Bashful
swain and vexed maid-
ens, hearken:
"I know. Let's come
to the point."
Having received this clear-sighted impetus, they did come to the
point. The shyest of men could not find any reason for delay
after such a speech. In a year they were married. They've a
little daughter named Pegeen Michael. American actors name
their country homes in grateful memory of the play that made
them rich and famous. Maire O'Neill went further. Because
the part of the character of Pegeen Michael, in "The Playboy of
the Western World," brought other critics than her destined
husband to their knees, she gave the baby bit of herself, her first-
born, the name of that character.
She had other reason for her love of Pegeen Michael. Until
she played it she had seemed to be doomed to play old women for
the full term of her life. Going on the stage at nineteen, walking
on and off in one of the Irish Players' repertoire at the Abbey
Theatre, she began representing aged cronies. Her first spoken
"Miss O'Neill, you are the only woman who ever made me lines was in Synge's "Well of the Saints."
i86
THE THEATRE MAGAZINE
Mishkin
VIVIAX MARTIN
Now appearing in "The Marriage Game"
"Are you my wife?" she is asked by an ill-favored villain.
"Glad am I to tell you I am not," she flung back at him with
enjoyable gusto.
For two years she hid her charming face behind the senile
makeups. "My youngest part for two years was eighty years
old," is her recollection. Then came the Yeats dramas and
the chance to radiate the spirit of youth. It came about after
that that she played the leading parts in the Yeats dramas and
her sister those of Lady Gregory's dramas.
"My sister could play parts that I couldn't touch," she says
of that time, with warm Irish loyalty, "and never can, if I
should live forever."
The fame of the Irish Players spread to Dublin Castle,
where dwelt the officials of the Government and their wives.
They began coming to the theatre, where hitherto only the pit
and galleries had been filled. Although their presence meant
prosperity to the Irish Players, some of the hottest blooded
of them refused to play for "the Saxons."
1 'Twas Gaelic madness," Miss O'Neill says of that time,
when the company was rent by the question of who would
play for the Saxons. Miss Allgood was of those who refused,
and she left the playhouse of which she had been director.
Her departure left Miss O'Neill leading woman of the organ-
ization. She continued in that post until marriage brought its
two-year interruption in her career.
Like Mrs. Fiske and Miss Anglin, Miss O'Neill believes that
a few years off the stage may be an excellent influence in art.
Certainly after the honeymoon spent with the Arnold Bennetts
in France, the pleasant peeps into English society in Lon-
don and Manchester, and the birth of little Pegeen, Maire
O'Neill returned to the stage a better actress than she left it.
She supported Sir George Alexander at the St. James. She
played in "The Showing Up of Blanco Posnit" in London.
She appeared in the Yeats plays in Manchester with increased
success. Sidney Blow, acting for George Tyler, invited her to
come to America to play in "General John Regan."
She came and to an extent America conquered her. At least.
she declared her neck ached from staring at the tall buildings,
and she expects to go home a pauper, because the wonderful
shops will have emptied her purse. But, unlike her sister, she
will go home.
"I have strong ties there," she said, thinking of Pegeen
Michael and Fegeen Michael's father.
" Do you help your husband in his work ?" I asked.
"Not at all," she rejoined. "I'm not clever enough."
"Does he help you in yours ?"
"Not a bit," was the quick rejoinder.
"Because he isn't clever enough ?"
"Quite that." Her face broke into its alluring ripples.
The difference in the surnames of actresses separated in their
dramatic activities by but a few Broadway blocks is accounted
for, not by marriage, but by precedence. Sara Allgood, being
the pioneer upon the stage, had a prior right to the family
name. Her sister following, when the younger had grown to
nineteen, gracefully adopted her grandmother's name. That
was ten years ago, and each has pressed her way to success
by paths differing, yet alike, and each has reached the goal of
Broadway.
A further goal the younger sister has set herself. She
wants to play Shakespearean roles, and she longs from the
depths to her Irish heart to give us an Irish Juliet. A. P.
Mishkin
ANN MEREDITH
Who was seen recently in "The Love Leash"
POLAIRE is a great artist," a
critic has said. One who knows
this clever French woman, and
has watched her work — her real work in Paris, and not only the
little trifle she has been brought across the ocean to show to
American audiences — is quite inclined to agree with this judgment.
Polaire is a great aitist, because, first of all, she is a splendid
type of the human animal. Not that anyone could be blind enough
to declare her a raving beauty. Her physical shortcomings are
obvious. The large-
ness of her feet has
been overadvertised :
yet there is truth in
the press agent's
story, they are large,
and in those Ameri-
can s h o r t-vamped
slippers they look-
somewhat lumpy. Her
hands are large, also
— far from being ele-
gantly formed — and
so is her nose, long
and pointed, and so is
her mouth, wide and
rather thick-lipped.
And, then, her waist !
It has gained a reputa-
tion of its own ! But
why criticize the de-
tails when the effect
of the whole is that
of perfection in its
own strange way?
It is interesting to
search for the cause
of this vivid ensem-
ble impression, as it
were, that Polaire in-
fallibly makes off
the stage as well as
on. Does she cast a
secret spell? No, it is
not that. It is some-
thing of which she is
unconscious which
emanates from her
independently of her
own will. Let us ca!!
it magnetism ! — sheer,
animal magnetism,
carried to the n-th
power. So strong it
is, that it sometimes
hits you in the stom-
ach like the well-ap-
plied p u n c h of a
boxer who takes his
opponent unawares.
( )r it seizes you in
the back, like the
knife she thrusts be-
tween the shoulder
blades of the "Visiteur" in her sketch. This extraordinary mag-
netic power is the secret of Polaire's appeal. It "gets" the on-
looker through his senses, and that is why it "gets" everybody,
the primitive as well as the cultured.
Her acting is essentially sensuous, with hardly a trace of mental
effort, and nothing whatsoever of the spiritual. Yet it is not
objectionable, because it is all in suggestion, and never borders
on the crude. There is where the art of the French woman comes
in. Or is it, rather than art, a sort of racial delicacy, common to
Polaire the Magnetic
MLLE. POLAIRE
Recently seen in "Le Visiteur," at the Forty-fourth Street Music Hall
the women of France, whatever their
origin and their station in life may be ?
It is of everyone's knowledge that
French people can say and do "the most awful things" without
being vulgar. Polaire is French, of course — a child of Paris,
which is more. Nevertheless, it would be unjust to deny the
existence of a carefully studied art in her stage work.
The New York critic who declared her a great artist, after
seeing her do her short sketch in a Broadway music hall, is but an
echo of what all the
Parisian critics have
said — those who have
known her for years
and watched her
growth, from the lit-
tle variety actress she
was at the beginning
to the position she
now occupies as le-
gitimate star.
The present writer
saw her three or four
years ago in "La
Maison de Danse'' at
the Theatre du Vau-
deville in Paris. Her
impersonation of the
Spanish dancing girl,
La Estrella, was ab-
solutely masterful.
\o attempt at making
herself pretty for the
g a 1 1 e r \ , when the
character required
rags and unkempt
hair and dirty hands
and slouchy walk in a
pair of worn-out,
heelless bedslippers.
But magnetism
enough to electrify
ten audiences ! And
later in the play
when, decked out in
the gaudy silks of the
cheap Spanish pro-
fessional, she danced
on a platform to an
audience of rough
men, half drunk, half
crazed with lust — and
then, when she passed
among the tables to
collect coins — w hat
consummate animal
witchery ! And in the
last act, full of red-
blooded romance, pas-
sion and death. Po-
laire's personality — or
was it her art? —
made such an impres-
sion upon the audi-
ence as no other actress of our time has ever succeeded in im-
parting. The possession of art and magnetism both is certainly
a wonderful asset in any actress.
Polaire's voice is like the rest of her, strange and compelling.
It is deep, warm, with a queer "canaille" touch to it, especially
in the higher tones. She does not sing, yet she sings; and the
song, though its text remains mostly unintelligible to Americans.
catches the audience. There is a significant line that returns at
the conclusion of each stanza of her song in "Le Visiteur" : "Et
i88
THE THEATRE MAGAZINE
The Theatre Gat
c'est (a qui me porte a la peau." Significant, because charac-
teristic of Polaire. You feel that the things she mentions do
"lui portent a la peau," and she herself unquestionably has the
same effect upon you. If you are frank you'll own to it.
"Glad to be
back in New
York?" echoed
Polaire as she
sat in her dress-
ing-room, fast-
ening her in-
credibly long
black silk stock-
ings with a mul-
titude of little
elastic strings —
an invention of
her own. "Not
at all. The road
was bad enough,
the one-night
stands and . . .
and all ! But
New York is
worse. I was
shipped here —
is that how you
say ? — before I
As I enter my dressing-room, cheerless and bare,
And grope 'round the walls for a light,
I so often feel there is somebody there,
Concealed in the shadows of night.
After turning the button, or striking a match,
There's a feeling of welcome at that,
As I gaze with surprise in the still blinking eyes
Of the poor little theatre cat.
You dumb, shrinking creature, so scrawny and thin
I thought I had left you behind;
Why, every old dressing-room that I go in
I come across one of your kind.
What charm has the theatre kitty for you?
There's no food here — not even a rat.
Yet each playhouse owns its rickel of bones,
The poor little theatre cat.
And no one knew I was coin-
are funny here. One never
knew what was happening to me.
ing. ... I don't know. People
knows n'est-ce pas?
"After New York, I go to Canada. There my old sketch is
all right, because I never was there before. But here, I wanted
very much to play a new sketch, a good one. . . . Oh, very, very
good !"
"French, of course. But who is the author?"
"I, it is I. It is my idea, a very, very good idea! Too bad!
They promised me to do it, and now they will not. Well, all
right. Only eight weeks more, or ten, I don't know, and then
I go back to Paris, to play a real play in a real theatre. I don't
like music-halls — not at all ! My art needs a real theatre."
"What induced you to leave the Boulevards and come over here,
if all your preferences are for Paris and her real theatres?"
"The big money, of course !" with the most absolute frankness.
"And, besides, I did not know what was to be when I signed the
contract. You all knew here, because it was advertised. But even
when I landed
and had to fight
those awful, ter-
rible customs
men, I did not
know. But now
I know."
"Know what?"
"Well, that
thing, that com-
bination, all that.
. . . Oh, it wasn't
right, no !''
Mr. Beckman,
her leading man,
peeped into the
dressing - room
and recommend-
ed haste. Po-
laire's make-up
was off, a n d
the short, curly
dark hair was
promptly re-
leased from its red silk prison. As she slipped into a fascinating
gown of luminous blue panne, she exclaimed with enthusiasm :
"How do you like him? He is good, very good, very terrible,
very 'voyou.' Who would think he could be that on the stage, to
see him on the street, so handsome, so elegant ? I know you could
not like me to-day. I played tired. I am tired, very, very, with
two performances every day; it leaves me all without strength."
There ! The magnetism ! She may know nothing about it, but
the expenditure of it tires her, the end of the performance finds
her all played out.
"When I come back to America . . ." she concluded, "you just
wait! I am going to study English, like Nazimova, and then I
shall appear in a big play in English, so that the people can un-
derstand what I say. Then they will see ! !" E, C. F.
Have you come to the dressing-room, pussy, to find
A gleam of humanity there,
A truth that was gentle, a word that was kind,
A heart with its treasures laid bare?
I sympathize with you, poor kitty, for we
Struggle' round here and fret, and all that,
And the actress who owns furs to cover her bones
Is lucky, poor theatre cat. MARy MAcDoNALD_
White
Henry Stevenson Elliott Dexter
Act I— Theodore Knapp (Mr. Dexter): "This has gone far enough"
SCENE IN "THE LOVE LEASH" RECENTLY PRESENTED AT THE HARRIS THEATRE
Grace Filkins
Matzene
BILLIE BURKE
Who is now appearing in "The Amazons," and to be seen later in "The Promised Land"
Copyright Charles Frohman
THESE PRIVATE PORTRAITS, BY SARONY, ARE CONSIDERED
Copyright Charles Frohman
TWO OF THE BEST THE ACTRESS HAS EVER HAD TAKKX
Maude Adams as Peter Pan
THIS is the unique case of Maude Adams, the only person-
ality among women, who, with no great asset of beauty,
and without the histrionic talents of a Bernhardt, has
succeeded in winning the universal admiration of other women.
Out in Chicago, which is only one admiring community, the
admiration for Maude Adams shows a total of $1,525,000 coined
in that ciiy during her career on the stage. Boston has paid
even more than this to see her.
In New York alone, at the Empire Theatre, and in other New
York theatres, her business success with those who admire her
totaled in cash nearly $2,500,000.
These are staggering figures to contemplate for
the young person who aspires to be an actress. No
other woman in the world possesses the power of
Maude Adams to coin admiration into dollars, with
no other obvious reason than the mysterious quality,
which has never been completely defined — charm.
The world's history is full of charming women —
beauties, wits, heads of noble houses, queens, and
rulers, but among them there are none who match
this little American woman in her ability of coining
admiration into money. Before going into an
analysis of Maude Adams, the greatest American
charmer, it is interesting to note a few concrete ex-
amples of her success.
In a tour of ten weeks in J. M. Barrie's play.
"What Every Woman Knows," the receipts were
$125,000. A week's receipts of $20,000 for Maude
Adams on tour is commonplace. It is the capacity of
the theatre which determines the box office state-
ments. In every theatre in the country where she
has played her receipts have reached the high water
mark of the season. I am merely quoting facts sup-
plied by Mr. Charles Frohman's office in New York,
which are authentic enough.
And yet, in almost every American community!
one can find a Maude Adams type. I exempt that
large number of ingenue young ladies on the stage
who so successfully attempt to imitate her style and
character. What I mean is, that in nearly all the
high schools of this country, in all the girls' colleges,
in the private schools, and in the homes, one will
Maude Adams in "L'Aiglon"
come across a slender, wistful, petite little sprite who looks like
Maude Adams. Not only may she look like her, but she will
very likely have the delightful little air of refinement and sim-
plicity which distinguishes the Maude Adams type. Whether
any of these young ladies have the intellectual depth .and the
unceasing industry in a serious ambition of any sort is, of course,
another question. If they have not both industry and a burning
ambition to overcome the usual obstacles which confront the
American girl who seeks to carve her own way, they need never
hope to become as celebrated or as happy as Maude Adams.
Other "stars" have come and gone since Maude Adams first
began her campaign of triumph; but Miss Adams
seems to continue placidly in a noontime of pros-
perity and favor that knows no shadow. How she
has done this has been the subject of more than one
discussion A great many are inclined to believe that
it is due to Charles Frohman's extremely clever
policy in directing her course, until she has become
the greatest money-making "star"' on the American
stage. It is quite certain that he has contributed
immensely to her popularity and to her financial pos
sibility. But no investment of whatever amount in
advertising, in plays, in scenery, or any other theatri-
cal property, could possibly create another Maude
Adams. If it were possible, it would have been done
long ago. So the little problem narrows itself down
to the simple conclusion that Maude Adams has cap-
tured the women of her country by her personality.
Here is another word quite as difficult to describe as
"charm."
In Maude Adams' case one can safely say that
"her personality" has been her consistent desire to
develop the best and sweetest instincts of her char-
acter. Rather than scatter her energies, as so many
girls do, in pleasure and among her friends, she has
devoted her leisure to other associations. Being un-
able frequently to find any inspiration among those
in her immediate environment, she has chosen to be
alone in the companionship of a book, out of which
she gathered food for her own happiness.
Reading was something that Maude Adams ac-
quired when she was a very young girl, not because
THE THEATRE MAGAZINE
Copyright Chas. Fi ohman
AS ROSALIND
Hall
it was forced upon her, but be-
cause she found something
really worth thinking about in
books that were worth while.
Temperamentally, Maude Adams
was always a student. She never
had that obvious sort of beauty
that distracts more than it sup-
plies, but she was poetic by na-
ture, keenly sensitive and driven often
into retreat on this account. Refinement
of feeling limited her association, as it
does with so many young girls whose
environment does not contribute to their
secret happiness. She was compelled to
mature her spirit by sharing the imagin-
ation and experience of men and women
who had written of theirs in books.
Her mother, Annie Adams, was an
actress, capable and intelligent, but en-
tirely unaware of the mysterious "charm"
in her daughter. I doubt whether they
have ever really understood each other,
beyond the deepest ties of affection.
This fact is interesting because it reveals
the possible misunderstanding of even so close a love-tie as a
mother with her daughter. The artistic germ in young girls is
by no means confined only to the highly educated or the highly
polished product. I believe there are many young girls who,
scarcely conscious of their own taste and ability for artistic pro-
fessions, are restrained from their ambition by mothers who fail
to perceive it in them Maude Adams, however, was naturally
affiliated with the theatre, but if she had not been, it is more than
probably that she would have been an artist of some kind, with
or without the sympathy of her mother.
So the mysterious quality called "charm" was an unconscious
expression of a young girl, who happened to be Maude Adams.
There are hosts of them all over the country whose sensitiveness
is too remote even for the mothers' vision. Probably Charles
Frohman recognized this rare quality and was able to nurture
it and preserve it for the credit of Maude Adams for the pleasure
of the public. He undoubtedly foresaw that there was a universal
admiration for the Maude Adams type; he must have seen this
fact much more than her actual ability as an actress. For it is
no violation or shock to the great army of her admirers to say
that Maude Adams is not a great actress. To say that she is a
unique expression of exquisite
refinement, spirituality and per-
sonal standards of character,
is merely to suggest the Maude
Adams type.
It is told that in Philadelphia,
on the second night of Maude
Adams' engagement in "What
Every Woman Knows," there
was launched the opening of
two grand opera seasons, where
the rival impresarios put for-
ward their most famous singers
Ordinarily, two such important
openings would have had a seri-
ous effect for that night, at least,
on all the first-class dramatic
productions in the city. Maude
Adams, however, was not affect-
ed by it. She played to the usual
packed house. In some of the
smaller cities, Maude Adams'
arrival is of unmistakable im-
portance to the city. Two
amusing instances of this in-
"THE JESTERS"
Copyright Chas. Kroliman
AS CHANTECLKK
terc.sting fact occurred last fall.
In one case her manager was
requested by the ministers of a
large southern city to defer the
rising of the curtain till nine
o clock, in return for which the
clergy consented to hold their
church services an hour earlier than
usual. All the local churches had
combined in a great interdenomina-
tional revival. Their "big night"
was coincident with the date of
Miss Adams' appearance. Rather
than preach to empty benches, the
churches met the theatre half way,
and each harmoniously helped each
other.
The other instance was also in
the South, where the guests at a
great society wedding requested
that the curtain should be held till
cupid's work was completed, in or-
der that the bridesmaids, a numer-
ous and very pretty lot, should see
their young friend married and not
miss the chance of seeing Maude Adams, too.
Most of the plays in which Maude Adams has appeared have
been seen in the stock company theatres, and yet she has only to
appear in a revival of them on tour to draw large audiences.
This is only another proof that the personality of Maude Adams
is of more value than the plays in which she appears.
There is really no such thing as a Maude Adams play. Her
appearance in any new play always increases its value immeasur-
ably. Her following is something that is quite apart from an/-
thing in the theatrical world. Her success cannot be judged by
any of the usual theatrical standards. It so happens that she
has appeared most frequently in plays by J. M. Barrie, but it
is an open question whether her success would not have been
quite as effective in other plays. Although Barrie has supplied
her with most adaptable parts in "The Little Minister," "Quality
Street," "Peter Pan," and "What Every Woman Knows," her
performance of "L'Aiglon'' attracted fully as much interest as
the Barrie plays. Even her Juliet and her Joan of Arc, which
were far from notable interpretations histrionically, became
singularly important events in theatrical affairs. One must take
into consideration these cold facts so as to justify the remarkable
interest in her personality.
Maude Adams' following is composed of
most contradictory elements, which find a
common source of reason in the universal
affection for her. It is as personal as any
sentiment touching their own intimate lives.
A Maude Adams audience is
of every class, from the shop
girl, who saves her fifty cents
to go and see her, to the most
pretentious theatregoer. It is
a well-known fact in profes-
sional theatrical management
that there are hundreds who
go to see Maude Adams at
every one of her perform-
ances who never enter a thea-
tre at any other time of the
year. And yet no "star" com-
mands so large a clientele
from regular theatregoers.
The play is not the attrac-
tion with her audiences. Some-
one said that Maude Adams'
hold upon her public is so
Sarony
IN "QUALITY STREET*
192
THE THEATRE MAGAZINE
strong, that she could successfully carry off a dramatization of
the multiplication table. The men who manage theatres are
close observers of these things, and they always rely upon her
personality as the chief drawing card. Her popularity is so
substantial, and increases so steadily year by year, that her tour
creates a revival of good business for the theatres, if it has been
White
CHARLOTTE WALKER
Who is appearing as June in "The Trail of the Lonesome Pine"
bad. Her appearance in dormant theatrical centres is like a sure
hypodermic injection which revives theatre-going.
No special advertising is ever necessary for .Maude Adams.
The mere announcement of her name is enough. Here is a "star"
who will not be interviewed, and who has no desire for any of the
methods of public exploitation that have come to be regarded as
a necessary aid to high rank on the stage.
No one knows Maude Adams' views on "Careers for Girls,"
or "The Stage as a Field for Feminine Idea." No "Maude
Adams Cook Book" has ever, nor will ever be printed. "The
Maude Adams Cigar" has yet to be made. And yet Miss Adams
probably would contribute a great deal of interesting advice, for
she has travelled all over the world, in out-of-the-way places
which have not been spoiled by tourist invasion.
About a year ago a leading magazine offered her a certified
check of $35,000 for fifty thousand words of any sort of reminis-
cent material. Mr. Frohman urged her to accept it as a con-
venient nest egg. She refused on the ground that her private
views and opinions were of no consequence, and should not be
imposed upon th*. public. This statement only goes to show that
she herself, and not her manager, has insisted upon this remote
attitude. It is said that she is extremely sensitive, and that she
only sustains her personality by a rigid retirement within herself.
This, of course, is only following out the course of her career
as she planned it when a young girl, a course which insisted upon
a deep reserve to find the happiness of her life by private associ-
ation of a few friends and many books.
When we realize that Maude Adams has lived on the dizzy-
heights of popularity for many years, her reserve is more re-
markable. Her friends, outside of those who are intimately at-
tached to her, are among the celebrated men and women of
thought both in England and America. But these are only a
natural selection. She has about her some adoring women who
actually speak of her with a sort of hushed reverence. 1 met
a young girl once who was an adoring member of her immediate
circle. When I asked her why she had not written an apprecia-
tion of Maude Adams, having the exceptional understanding of
her which her intimacy had given her, she was very much
shocked at the suggestion. In a half whisper, as if she were on
holy ground, she said :
"Oh, I couldn't do that; it would be sacrilege. No one who
knows her would think of doing such a thing."
Reticence is Maude Adams' temperament, and only with her
very intimate friends does she ever reveal her nature. Unques-
tionably, this is one of the rare qualities which have contributed
to the unique personality of Maude Adams.
If the public hears nothing of Maude Adams off the stage, it
sees still less of her outside of the theatre. Here, apparently,
one may assume that Maude Adams has a bit of old-fashioned
theory in her character, which makes her believe that her private
life is of no concern to anyone but herself. She has the record,
however, of never having disappointed an audience, whether at
the Empire Theatre in New York or in the most insignificant one-
night stand, where fate and the booking agent may have sent her.
Her relation to her audiences is almost a religion, she regards
her obligation to them so seriously. She is punctual with them
and honorable with them by giving the very best performance
she can wherever she appears, but she is rarely seen by anyone
outside the theatre. Her friends say that this instinct of retirement
has no purpose in it. It is inherent.
In summing up this unique case of a woman who can coin
admiration to the amount of half a million a year, one is still
puzzled to explain it on any other grounds than that her success
has been achieved by the mystery of her personality. Without
much beauty, with no possible reason for comparing her with
artists like Ellen Terry, or Sarah Bernhardt, or Eleanora Duse,
she represents more affection and respect and, above all, under-
standing among American theatregoers than any of these superb
women of genius. These are the facts which establish the Maude
Adams type of supreme importance in and out of the theatre.
WILLIAM DE WAGSTAFFE.
Were SHAKESPEARE SetftsSt
is Jiae-
COAST NEAR POLA— OLD ILLYRIA
AMONG the Shakespeare comedies, none afford better op-
portunity to the scenic artist than "Twelfth Night," the
action of which is laid in "a city in Illyria, and the sea
coast near it." This description given by the dramatist is suffi-
ciently vague to afford ample opportunity for the imagination.
Those who look for Illyria on a modern map will not find that
country, yet it is not one of those imaginary European kingdoms
invented by modern novelists.
That portion of the Continent now known as Dalmatia, with
the Peninsula of Istria, was in former times known as Illyria,
and this stretch of country offers sufficient picturesque scenery
to supply any number of stage settings for the drama, nor will
it be difficult to find old castles in which to set the first scene
— "An Apartment in the Duke's Palace." There is, for instance,
the ruined castle of the Franggipani family, near Fiume, perched
high on a hill, overlooking the bay, while the islands and coast
of Dalmatia offer many others less well known, but equally
romantic and picturesque.
In the second scene of the play, Viola, the Captain and sailors
testify by their conversation to the dangers of this vicinity. The
Captain, who is "of a fair behavior," after telling Viola that the
country is Illyria, and that he was bred and born not three hours'
travel from this very place, adds that it is governed by a noble
duke, Orsino, who loves Olivia. Viola resolves to enter the
service of the Duke disguised as a boy.
The second act opens by the sea coast, presumably at some
distance from the scene in the first act. Here Sebastian, Viola's
brother, is found in conversation with Antonio, another sea cap-
tain, who has
rescued him
from the ship-
wreck, in which
Viola partici-
patc'l, brother
and sister each believing the other lost.
Shakespeare could not have selected a
more favorable sea coast than that of
Illyria for his shipwreck. The numerous
islands, the narrow channels and rocks,
all make it a dangerous coast in foul
weather, and if evidence of this were
needed, one has but to visit the votive
chapel on the hill above I-'iume. Here he
will find small models or pictures of ships
offered as thanksgiving for the rescue from
shipwreck of their large counterparts, and
in such numbers that, however blue and
smiling the sea may chance to be when the
visitor gazes upon it, he may not doubt its
Again the scene shifts to Olivia's house,
where Sir Toby Belch and his friend, Sir
Andrew Ague-cheek, sit drinking and sing-
ing. Certainly these are no Illyrian nobles,
but a pair of old English knights of the roy-
stering, tippling, Falstaffian type, even as
their names would indicate, although the
other characters have quite Italian names.
Malvolio wears a chain; Sir Toby bids him "go rub your chain
with crums," and this chain of silver or gold was the ancient
badge of a steward, and one of the ways of cleaning plate at that
period was by "rubbing it with crums." These English touches
whether or not one consider them
anachronisms, supply comedy.
The following scene, in the
Duke's palace, shows a truly
mediaeval court, with musicians,
and Feste, the Jester, summoned
to enliven the love-sick master
of the court. Here allusions to
his lady's "quantity of dirty
lands, the parts that fortune
hath bestowed upon her," estab-
lish Olivia as an heiress, al-
though the Duke hastens to
assert that these count for noth-
ing with him.
Olivia's garden, the setting
for the next and fifth scene in
Act II, was doubtless on the
plan of the Italian gardens at
that period. Their counterparts may be found to-day in this
Dalmatian country, with the clipped trees and shrubs, the ter-
races, fountains and flowers suitable to the home of a wealthy
heiress. Maria, the maid to Olivia, speaks of a box-tree, bid-
ding the two cronies, Sir Toby and Sir Andrew, with Fabian,
another of Olivia's servants, get them into it, and out of the
way of the approaching Malvolio, who comes and declares his
love for Olivia to the trees and shrubs, and all unconsciously to
himself to the merry, jesting eaves-droppers.
Act III opens in the garden again, where Olivia frankly woos
Viola, the supposed youth. After a (Continued on page vif)
)ALMATIAN STREET
I
A DALMATIAN RESIDENCE (ILLYRIA)
COUNTESS OF PEMBROKE
From the picture by Mark Gerards, in the
DURING the later Eliza-
bethan period, and until
the end of the seven-
teenth century, overlapping the Restoration, the most remunera-
tive expression of literary art was found in the drama. Play-
wrights of all sorts and conditions abounded, but many of their
works are so dead that bibliographers can trace them only in
name. This is peculiarly true of the women dramatists, whose
achievements were followed, without exception, by speedy
oblivion.
A chronological list of those who thus flourished and faded
includes nine names : Mary
Sidney, Countess of Pem-
broke (1552-1622); Lady
Elizabeth Carew (born in
1590); Mrs. Catharine
Philips (1631-1664); Mar-
garet Cavendish, Duchess
of Newcastle (1624-1674);
Mrs. Frances Boothby, a
contemporary; Mrs. Aphra
Behn (1640-1689); Mrs.
Mary Fix (1660-1710);
Mrs. de la Riviere Manley
(1672-1724), and Mrs. Cath-
arine Cockburn ( 1679-
1749). Representing social
influence, rank, beauty,
wealth and intellect, these
aspirants desired not money
,.. by Mar* oerams, ,n tne so much as. fame, and their
collection of Sir John Shelley Sidney, Bart imitation of the Virgin
Queen was the sincerest flattery; for Elizabeth did not despise
the pen, but by her personal example and encouragement gave a
stimulus to art and letters of every description.
A salient reason for the remarkable fecundity of this period
was the Reformation and its results. The Bible, a most power-
ful quickener to the imagination, then had been placed for the
first time within universal reach ; and the golden
stores of Italy and Greece, provided by trans-
lations from Tasso, Boccaccio, Ariosto, Homer,
Petrarch, Dante, Machiavel, and Plutarch, or-
dered by Elizabeth, furnished character and
plot for British ingenuity to elaborate.
Amidst those strenuous influences flourished
Mary Sidney, daughter of Sir Henry Sidney,
Viceroy of Ireland, afterwards Countess of
Pembroke. She was the inspirer of the famous
Sir Philip Sidney's remarkable prose romance,
"Arcadia," and the author's quaint dedication
reads: ''To my dear Lady and Sister, the
Countess of Pembroke." Although designated
by Milton, "A vain and amatorious poem/' this
composition, nevertheless, was widely popular
and influential in its day, and marked a distinct
advance.
Directly descended from Gundreda, the
daughter of William the Conqueror, whose
tomb bears the peculiar inscription : "Mary to
her God, Martha to her Neighbor," she was
born at Penshurst Place, in Kent. Niece of
that Leicester whom a queen did not disdain
to love, and wife of Pembroke, the sun of
royal favor and the truncheon of an earldom,
enlivened her pathway to fame. England's
chief poets lauded her intellect, and Church-
yard, Straddling, Fraunce, Nash, Morley, Daniel
(Poet-Laureate to Elizabeth), and Spenser, all
eulogized her in various dedications. So care-
fully had her education in English poetry, the-
ology and the classics been conducted that she
was equally qualified to shine in Court circles.
DUCHESS OF NEWCASTLE
From the original picture by A. Diepenbeck,
in the collection of Francis V. Wentworth
or to engage in discussions with
the eminent divines who clus-
tered around Elizabeth's throne.
As dramatist and poet, however, Mary Sidney is far more in-
teresting to the scholar than as the panoplied Countess of Pem-
broke.
In 1590 she translated Richard Garnier's French play, entitled
"Antonius, or the Tragcdie of Marc Antony," mostly in blank
verse. It was published two years later, and a copy is still pre-
served in the British Museum. Shakespeare's commentators
declare that he drew his inspiration of Marc Antony from North's
Plutarch, but possibly he
who borrowed plots from
every source and trans-
muted them by the fire of
his genius, and who appro-
priated her brother's "Ar-
cadia," likewise may have
been indebted to the brilliant
Countess for his conception
of that character. Built on
the plan of Seneca — never a
favorite to English taste,
neither under Sackville's
attempts, nor later through
Corneille and Racine — this
play of "Antony" showed
that the translator had been
influenced by Donne, Lyly,
and their associates, being a
... . . ° ,. APHRA BEHN
pedantic and eUphUIStlC Ct- From a picture by Mary Bcale, in the col-
fort, yet 'a surprising one;
not "because it is done well, but that it should be done at all" in
an age when a "woman's only virtue" was "to be slow in words."
written or spoken. Langbain, in including her name among the
dramatists, regrets that he has never seen this work, and Gildon
adds, somewhat slightingly, that "it was very well for a lady of
those times." There is no record of the public production of this
drama, although the erection of seventeen play-
houses in London between 1570 and 1629 would
indicate that no stage performance, however
commonplace, could well escape notice. A com-
pany called "The Earl of Pembroke's Players"
was formed in 1593, and "Antony" may have
been produced by them at Wilton and else-
where, for actors at that time — usually boys-
were in the pay of either the Court or the no-
bility, and were considered their servants.
Wilton, her country estate, was the scene of
her happiest days; it was there she went to
dwell as her husband's third wife, and there
subsequently she gave birth to two sons ;
thither she attracted the wit and erudition of
the age — such statesmen as Salisbury, Harring-
ton and Essex, and such poets as Spenser,
Donne and Raleigh; there, too, in an humble
capacity, lived Philip Massinger, the son of her
husband's faithful servitor; and there also were
performed those famous Masques which divert-
ed contemporary royalty. Of these, Lawes
composed the lilting music and "Rare Ben Jon-
son," the merry quips and grotesque conceits.
She died at her London residence in Alders-
gate Street at the age of seventy, having sur-
vived her husband twenty years, and was
buried in Salisbury Cathedral with distin-
guished honor, but Ben Jonson's famous epitaph
will not be found inscribed on her tomb :
Underneath this sable herse,
Lyes the subject of all verse:
Sidney's sister ! Pembroke's mother !
Death ere thou hast killed another
Fair, and learned, and good as she,
Time shall throw his dart at thee !
Aftrr the painting by Erlouard Dnbufe WT T T- « *r-iji?r
AHiLr,. l\Al. I I t I ,
celebrated tragedienne, the greatest actress France has ever produced, was born in 1820, of poor Jewish parents. As a child she had a beautiful voice
and was discovered singing in the streets by Choron, who admitted her to his school. Later she lost her voice and studied for the stage. She made her debut
at the Theatre Francais in 1836, and from that time on scored a triumph in every role she undertook. She visited New York in 1855. During her American
tour she contracted a severe cold that resulted in her death. She passed away at Cannes in 1858.
196
Contemporary with the Coun-
tess of Pembroke, and similarly
adding but a single tragedy to
dramatic literature, was Lady
Elizabeth Carew, a woman of ex-
ceptional talent. Oldys, in his
comments on Langbain, asserts
that her name should be spelled
Cary, and that she was the wife
of Sir Henry Cary, third Vis-
count Falkland, but the given
orthography is preferred by Cib-
ber and others. Her tragedy,
"Mnriamne, or the Faire Queene
of Jewry," mainly drawn from
Josephus's works, was published
in 1600, but there is probably not
a single copy of this play in exist-
ence, although the chorus in the
fourth act, entitled "Revenge of
Injuries," has escaped the gnaw-
ing tooth of time.
After Lady Elizabeth's death,
there followed a long period dur-
ing which feminine playwrights
were conspicuously silent, al-
though the stage was then at the
zenith of its glory. During the
reign of James I, licenses were
granted to Shakespeare, Fletcher,
Burbage, Hemings, Condell, and
many others. Great dramatic
writers continually produced their
works, and eagerness for theatri-
cal diversion continued through-
out the reigns of James and his
successor, Charles I, but in the
gloomy days of the Protectorate,
the star of the drama set amidst
the blood-red clouds in which the
throne went down. Not until
after the Restoration did women-
actors first appear upon the
boards, their parts hitherto hav-
ing been filled by disguised men.
The theatres were soon in full
blast again, and playwrights
quickly sprang up on every side.
Prominent amongst these was
Catharine Fowler, the wife of
James Philips of Cardigan, best
known to fame, perhaps, as "The
Matchless Orinda" — a name de-
rived from her writings, "Letters
from Orinda to Poliarchus" (Sir
Charles Cotterel). Born in
Wales, she was a contemporary of
Cowley, and the object of his
extravagant praise.
Tragedy was then in great
vogue, and her translation of Cor-
neille's "Horace" won her consid-
erable notice. After her death,
Sir John Denham added a fifth
act and had it produced at Court.
Evelyn's Diary mentions this
event (February, 1668.) thus: "T
saw the tragedy of 'Horace'
(written by the virtuous Mrs.
THE THEATRE MAGAZINE
arony
IVY TROUTMAN
Who played Nora Hildreth in "After Five"
Philips) acted before Their Ma-
jesties. Betwixt each act, a
masque and antique dance."
Pepys writes a year later : "And
so to the King's House to see
'Horace.' This is the third day
of its acting — a silly tragedy."
Another of Corneille's tragedies
translated by Mrs. Philips was
"Pompey," which was acted at
the Duke's Theatre, says Lang-
bain, "with great applause." He
adds, "There was usually at the
end acted a farce of Sir William
D'Avenant's, which you may find
in his 'Play-House to lie Lett.' "
Langbain considered her a cold
writer, and infinitely preferred
Mrs. Behn, in whom he found
"both fire and easiness." Ros-
common, Flatman, and other
eminent poets loudly praised her
attainments, and Jeremy Taylor
addressed his "Discourse on
Friendship" to "Orinda." She
died of smallpox at the early age
of thirty-one.
Of the same period, and a lit-
erary rival, was the celebrated
Margaret Cavendish, Duchess of
Newcastle, by far the most fa-
mous woman of her generation,
not only because of her eccen-
tricities of dress, which won her
the title of "Mad Madge of New-
castle," but for her versatile lit-
erary attainments and her devo-
tion to her husband, the Duke,
(who impoverished himself for
the cause of the Stuarts) in an
age when loyalty of any kind was
rare. Born the daughter of
Thomas Lucas of Colchester, she
was married early in life to the
Marquis of Newcastle, created
Duke by Charles II in 1664. They
met in Paris while she was Maid
of Honor to the Queen Mother.
Henrietta Maria, and were mar-
ried there. It was a genuine love
match, although she was his
second wife, and the poverty of
their early married life was a
touching picture of mutual attach-
ment. The Duke also was a
dramatist of no mean order, and
supplemented many of her plays
with prologues, epilogues, epitha-
lamia, lyrics, and often whole
scenes.
The London edition of her
dramas — almost thirty comedies
and tragedies — contains the full-
length portrait by Diepenbeck,
which illustrates this article.
These plays possess all sorts of
contradictory titles; for instance,
"Religions, A Tragi-comedy". . .
"The Convent of Pleasure. A
(Continued on page 71)
Marguerite ( lark
Ernest ( Jlemlinning
Act I — Pierrot
<li-cnvcred by
Prunella
Act II — Prunella
"Let me stay"
ct II — The serenade. Pru-
nella: "Is it the world calling
to me?"
Photos White
Act- II — "I am Pierrette.'" Act. Ill — Prunella returns to the desolate garden
SCENES IN "PRUNELLA" NOW BEING PRESENTEP AT THE LITTLE THEATRE
I SIR JOHNSTON FORBES-ROBERTSON
Photos Copyright Lizzie Caswall Smith
AS HAMLET
MARBLE BUST OK ]•
By Emil
"~¥~^ ^^ ^res °f enthusiasm die down."
Sir Johnston Forbes-Robertson,
knighted for the splendor of his at-
tainments as the foremost actor of the Eng-
lish stage, leaned back in his easy chair
beside the hotel window that looked out upon
crashing, clashing, myriad chorussed Broad-
way and smiled. I, who wrote this, am not
young, but the greatest English actor made
me feel very young. I had asked him whether
he had the zeal of some great actors to carry
the torch to light other feet along dark stage-
ways, in other words, to teach the art of
acting, the practice of which he will abandon
after this, his genuine, un-Bernhardt-like farewell tour.
"No," he answered, teaching me how gentle that barrier-like
monosyllable may be.
"But when invited, urged, won't you lecture on dramatic art,
give the younger generation the inspiration of hearing and seeing
you?" I had insisted. And again he had smiled and answered
with the unfailing gentleness of the man who played in "The
Passing of the Third Floor Back" as no one else of his genera-
tion could have played it :
"No — at least, not often."
Then out of that characteristic, womanlike sweetness, which
is the grace of some great-souled men, he had answered the ques-
tion in my eyes which my lips had not framed : "After awhile
the fires of enthusiasm die down."
That afternoon he had been the guest of honor at a reception
which opened the handsome new memorial theatre to Sam Shu-
bert, and he had said with the deference he always shows an
audience : "I am taking my farewell because I wish to leave you
while my powers are still unimpaired."
The artist in him spoke. He did not wish to be remembered
as one whose power hsd abated one jot or tittle. He wanted his
public to remember him in full physical vigor, in splendid dra-
matic attainment, as a planet at the highest point in the heavens,
ORBES-ROBERTSON
Puchfl
not one fading into the world's far rim. No
vanity prompted this, for if ever a man
was without it, it is this knight of England.
Not vanity, but a sense of artistic fitness,
and, besides, that soul-fire which is enthusi-
asm, is, he told me, dying down.
"I have been on the stage for forty years,"
he said, still with a bit of the smile, like an
afterglow, lingering on his fine, strong fea-
tures. "It is but right that I and others like
me make way for the younger generation."
"We would be glad to have you with us
for another twenty years," 1 said, and again
his smile made me feel that just then, at
least, I had the perspective of youth.
''We would like to know how you will employ all the energies
that you have been giving to the stage."
"I shall paint some pictures," he said, and the kindling, sudden
light in his eyes made me doubt his words. Here was still fire ;
here was still enthusiasm. "I was a painter before I was an
actor. I loved the studio and the canvas, the easel and brushes.
But we were a large family, and the returns were very slow. It
takes a long time to become a painter. That was the only reason
I went upon the stage, to make a living the sooner and better
for myself and some of my family."
"If you had gone on painting would you have gone so far?
Are two equal talents given to any man?"
"I don't know/' he answered slowly. "I don't know." In the
sunset glow that was softening garish Broadway he seemed to be
musing on that question and seeking an answer.
Was it possible that England's foremost actor regretted for-
saking his studio' Many dreams of what he might have done
with brush and crayon have haunted him through all the years
of his eminence on the stage?
"And beside the painting and your family and social life?"
"I hope to be useful in several other directions."
Silence that held an unspoken question followed. His spirit
THE THEATRE MAGAZINE
199
heard that question. "I would rather not tell of my hopes and
plans quite yet," he said. The smile was still there. No one
smiles in quite the gently pervasive, heart-warming way as does
the favorite actor, Sir Johnston Forbes-Robertson.
"Let us take a look backward,"
I suggested, "and a glance for-
ward."
"Everything is better," he said.
Those who want the old days may
have them." He dismissed the
yearners for old conditions with a
slight wave of a pale, thin, sensi-
tive hand.
"When I went on the stage the
character of acting was for the
most part crude. There were a
few giants in those days. More
than to-day, I admit. But the
average of acting is far, far
higher."
"Is there hope of more giants
and giantesses ?"
"Hope, but not certainty," re-
joined Sir Johnston. "A giant is
pinnacle. If the surrounding coun-
try is higher the mountain peaks
are less conspicuous. But we don't
need the giants so much as we do
a constantly rising average of act-
ing. Fortunately, there will al-
ways be producers who will point
the way to better things. In my
beginnings as an actor there were
the Bancrofts, Squire Bancroft and
Mrs. Bancroft. The trouble with
acting in that time was that in too
many cases it was farcically unnat-
ural. The mirrors held up to na-
ture were too often like the freak-
ish mirrors I have seen in front of
a theatre in New York. One of
the mirrors makes you look tall and
thin with an unearthly tallness and
thinness. The other gives you the
proportions of a frog. A great
deal of acting in the old times was
like that. It did not reflect na-
ture. It distorted it." Copyright Lizzie faswall Smith
"Some lovers of the stage grieve ~ LADY FORBES-ROBERTSON AS
that none can render classic lines
as they should be read. They complain that Shakespeare is not
read as he should be."
"I don't think so. Many actors read Shakespeare's lines ex-
ceedingly well."
"You are an optimist."
Sir Johnston did not deny it.
"Are you one by nature, or have you trained yourself to be-
lieve that all things work together for good ?"
"I became one by watching the development of the world's
affairs and seeing that everything is working toward a better
state, because most people want to do what is right. Don't you
think so?"
"I believe the world is better than it is bad."
"Actors are recruited from better classes continually," he went
on. "In character as well as equipment they are greatly im-
proved. Productions were meagre when I began. They would
have been laughably had they not been sadly so. Now they arc
magnificently adequate."
"Or overwhelmingly extravagant?"
"There may be a tendency that way," he assented, "but that,
too, will adjust itself; I see signs of it. The stage was in no
respect better then, save for the giants, Edmund Kean, Charles
Macready, and my great master, Samuel Phelps. In every other
respect it is now incomparably better. The field of the drama is
wider. It reflects the life of to-
day. There are more dramatists."
"Everyone has a dearest wish
for the future of his profession.
What is yours?"
"Everything is working along
very well," said the unvanquishable
optimist. "The theatre will work
out its salvation in its own way
in any event. But I should like to
see municipal theatres. I think
they would help toward that end.
"Such theatres should be owned
by the cities and directed by com-
petent persons with ideals and
knowledge of the stage, and they
should produce the best. Every
good thing requires fostering and
nurturing. Such an institution
would have to have aid. But all
such theatres have been successful
and have stood for the best. The
Theatre Francais is a model. I
should like to see what corresponds
to the Theatre Franc.ais."
"And schools?"
"Yes, I believe in schools. But
there are good schools. I am in-
terested in one which Sir Herbert
Beerbohm Tree started in London
and which we took over and en-
larged. We think it is doing a
good work for the younger genera-
tion of actors. It is known sim-
ply as The School of Dramatic
Art."
"In what country do you think
the stage will reach its supreme
height?"
"That is difficult," he mused.
"In the United States?" The
query was prompted by fond if
fatuous Americanism. But the
English actor-knight was no time
serving visitor.
"I doubt it," he returned, "be-
cause you have not that institution which I think is the greatest
force for stage betterment, the actor-manager. You have one here
who is a genius. That wonderful man, Belasco, seems to belong
to no country. He is a world genius. You have E. H. Sothern
and you had Richard Mansfield. But we have many actor-
managers. They must know enough of the business side of the
stage to make money, because they cannot go on without making
money. They must make money to live and for the life of their
undertakings. But it is not with them a chief ambition. They
know their theatre well, better than any business man, no matter
how broad his sympathies nor fine his tastes can know it."
"Have not France and Germany that necessary institution?"
"Not so many. France has Guitry, a remarkable man. Sarah
Bernhardt has been an actor — mark that he did not say actress-
manager — for many years, ever since she left the Theatre
Frangais."
"Then you think England will have the greatest stage of the
future ?"
A thoughtful inclination of the head and a gracious speech :
"The conditions are more favorable (Continued on page viii)
DESDEMONA
SCENE IN STRAUSS' OPERA "DER ROSKNKAVAU r.k'
I
T seems strange
that the "Rosen-
kavalier," which
was first produced
in Dresden in 1911,
and has subsequently
been played on al-
most all European
stages of any repute,
should until this sea-
son have remained
unheard in New
York, a metropolis
which prides itself on
being one of the
principal musical cen-
tres of the world.
Even London, with
its acknowledged con-
s e r v a t i s m, has
beaten us this time,
there having been
given at Covent Gar-
den last winter a
German performance
of the work in which several of the principal artists of the
original cast took part. The reason for this dilatoriness
on the part of New York was said to be the high price
demanded by Dr. Strauss for the rights of the pro-
duction, but when one recalls the immense salaries which
our operatic impresarios pay singers, this hardly seems an
adequate excuse.
However, the present season at the Metropolitan is to
afford an opportunity for hearing this much-discussed opera,
which, at the time of its first production, the German critics
declared to be "a triumph of art.'' In Germany it has since
been played oftener and with more success than any of
Strauss' other operas. Remembering the vicissitudes of the
same composer's "Salome," it is possible that his later work
may shock the New York public, being laid in a coarse
age and a realistic picture of its time, presenting de-
tails not always in accordance with modern sus-
ceptibilities and taste. Some critics would have
EVA PLASCHKE-VON DER OSTEN
Who created the role of the Cavalier of the Rose
in Dresden and in London and whose interpreta-
tion has never been surpassed
our present-day refinement applied to all plays of any period,
and the difference of period merely made evident by variety
of dress and headgear. Yet these same critics do not shudder
at the license of a Hogarth, but merely take its vagaries as of
the time, and they sit with great complacency through many
Wagnerian scenes, such as that of the Vrenusburg, which, con-
sidered from a moral standpoint, is far more calculated to
bring blushes to the cheek of modesty.
Dr. Strauss is reported to have said that he had achieved
what he had been trying to do for twenty-five years; that is,
to compose a light opera in the manner of Mozart. One of the
most striking features of the opera is the number of waltzes
it contains, and in the whole score, which is full of bright-
ness and melody, the composer of "Salome" and "Elektra"
has shown his wonderful versatility. At the time of its
production the London Times said : "This last work of
Strauss contains some of the ___ __m
most beautiful music the com-
poser has yet written. The
style alternates between the
extreme simplicity and Dr.
Strauss' wonted complexity.
In a work of this character
the representative theme has
not the same importance as
elsewhere, but the most dis-
tinctive phrases can be traced
without much labor, and they
form a large part of the mus-
ical texture. Octavian's theme
is the purest Strauss, and
conveys ingeniously in two
bars the dash and tenderness
of the character. Sophia's
theme is colorlesj.
There are two graceful melo-
dies, which seem to belong to
the Field Marshall's wife. The
Baron's love-song bears a re-
semblance to Falstaff's music
(Verdi). Another of the
themes reminds one strong-
ly of Sancho Panza's in the
KARL SCHEIDEMANTEL
Creator of the role of Faninal. A |
Bayreuth singer and Dresden's
never-to-be-forgotten Hans
Sachs
composers 'Don
Quixote.' The work
is full of exuberant
vitality and freshness
i)i invention. About one-fifth
i-f the music is waltz rhythm,
of which Dr. Strauss shows
great mastery." The Berlin
Ln>rsen L'onrrier said: "Sceptics
were converted, opponents
overwhelmed. It is not only
i lie Mozartian grace, the Vien-
nese love of the waltz, the
melodious purity, the unex-
pectedly simple presentation, in
a setting of rich orchestral
tone; it is the musically turn-
ing back to independent song
and to ensemble art with new
and light-sounding means."
The first performance of this
"Komodie fur Musik," as the
authors describe it, took place
at the Royal Opera House,
Dresden, on January 26th, with
all the eclat that has marked
the debut on the operatic stage
of each of Strauss' works. The
comedy is a love story in three
acts, the scene being laid in
Vienna during the reign of
Maria Theresa, about the mid-
dle of the eighteenth century. It is the joint work of Dr.
Strauss and Herr Hugo von Hoffmansthal, who were also
responsible for "Elektra." There are eight principal roles and
more than twenty others, which include minor parts for eight
tenors, eight bassos, and two alto voices.
The Cavalier of the Rose is a young man named Octavian.
who is appointed ir accordance with the custom of the time,
to convey the love token to the bride-elect. The composer's
reason for assigning, the hero's part to a female voice is ap-
parent in the first act. The scene on which the curtain first
rises is the bed-chamber of Princess Werdenberg, wife of Field
ACT I— THE PRINCESS AND HER LOVER
Marshal Prince VVer
denberg. The Field
Marshal is absent on
military duty. The
Princess is en deshabille,
and a young lad, Octavian.
who is only a little over
seventeen years old, is in the
room with her. The two sing
a duet, Why Is It Day? A
little negro boy brings in the
early breakfast, and the first
waltz is now played by the
orchestra. During the solo by
Octavian, which next follows, a
commotion is heard in the cor-
ridor. Is it caused by the re-
turn of the Prince? Fearing
this, and while the second
waltz is being played, Octavian
dives behind the screen, to re-
turn shortly after in the dress
of a lady's maid. Instead of
the Prince it is Baron Ochs
von Lerchenau, a cousin of the
Princess — a degraded kind of
•Falstaff and, in fact, an alto-
gether odious character — whn
considers he is demeaning him-
self by marrying Sophie von
Faninal, daughter of a wealthy
and recently ennobled army
contractor. He has come, however, to ask the Princess to
recommend a well-born gentleman to convey his love token —
a silver rose — to the bride-elect. The Baron is immediately
struck with the maid's good looks, and begins to make love to
her without delav The three sing a trio, and the Baron,
before he ultimately departs, plans a meeting with the Prin-
cess' supposed servant. While the Princess is recommending
Octavian to the Bzron for the office of the "Rosenkavalier,"
many callers arrive, as well as numerous applicants for the
Princess' favors. Among them are three noble orphans, wh<>
have come to ask for charity, (Continued on page viii)
r II— IN THE HOUSE OF HERR VON FANINAL
THE "intellect-
ual drama"
is to be rep-
resented this season by one or two interesting yet little known
plays by the now fashionable Strindberg. These performances
will be preliminary, as in the case of Brieux's "Damaged Goods"
to regular public performances. It will be interesting to note
how local playgoers will take to these exhibitions of high litera-
ture in the theatre after the recent setback experienced by sen-
sational theme plays having little or no claim to literary merit.
The Strindberg movement in this
country is of only recent birth. Edith
and Warner Oland are among those
who have helped it most efficiently by
battling for the "Swedish Titan," both
in books and on the stage. The second
volume of Strindberg's plays in their
translation appeared a few months ago,
and a third one is scheduled to be
brought out this winter. Others have
followed in the footsteps of these two
pioneers. Holbrook Blinn has shown
a keen though rather secretive interest
in the production of the Swede's
shorter plays. Under Mary Shaw's
direction, and with Frank Reicher's
assistance, several matinees were given
last April and May at the Forty-eighth
Street Theatre of "Countess Julie," the
strongest and longest one-act play ever
written.
Little more than a year ago, August
Strindberg died in his native Stock-
holm. Strangely enough, his ' death
was somewhat of a signal for the Eng-
lish-speaking public to take notice of
the outpourings of his gigantic mind;
and several years after France and
Germany had hailed him as one of the
most powerful and most startling geniuses of the age, English
translators started to acquaint both England and America with
his work.
There is a reason for the greater public's frown upon Strind-
berg's plays. They are what George Bernard Shaw mildly calls
"unpleasant." They are much worse and much better than un-
pleasant. They are the wild, passionate crusades of a loyal soul,
bruised and torn by all the most contradictory influences against
the evils he saw in society, family, surroundings, heredity, educa-
tion and the conventional standards of morality. They never in
any case constitute a cheerful evening's entertainment, but they
carry, each of them in their way, a message to those who are not
only seeking an idle pastime when they go to the play. .
Strindberg's tendencies were in many points diametrically
opposed to Ibsen's. The miserable experiences of his own life
had taught him to consider woman the worst foe of man, and her
influence upon him evil and demoralizing. When the great Nor-
wegian wrote his plays with many interesting women for central
figures, Strindberg took it almost as a personal insult, accused
Ibsen of woman worship, and let his outraged feelings drive him
to violent attacks against the calm rock of Ibsen's genius. In
spite of this hostility, none admired Strindberg more profoundly —
having the clear judgment and vast understanding of true great-
ness— than Ibsen himself. He had a photograph of the Swede
standing on his work table, and he frequently used to point at
it and say :
"This man will be greater than I."
Superior minds sometimes know their own value precisely as
history establishes it long after. Thus Goethe once said : "Shake-
speare towers far above us all, and after Shakespeare come I."
In many scores of years history may accept Ibsen's appreciation
of Strindberg as correct.
We are still too close to the Swede to see his greatness as well
— The Swedish Titan
AUGUST STRIXDBERG
as his defect s.
Some of us have
met him on his
wanderings through Germany, Switzerland and France, and our
impressions of the man are too personal to allow independence
to our judgment. He had an unusual gift of leaving pronounced
impressions upon whoever came in contact with him. His per-
sonality seemed to call forth almost instant admiration or as
decided disapproval. Within our age there has not lived as
wildly tormented a human soul as Strindberg's — at least, not
among those whom we know. There
are doubtless many obscure men and
women whose hell begins on earth. But
a brain as perfectly constituted for self-
torture as Strindberg's is, fortunately,
a rare thing. Many people have be-
lieved him insane, and in some in-
stances there were good reasons for
such belief. Genius always borders on
insanity, and often Strindberg's genius
led him along the dangerous paths of
high speculation into the treacherous
regions of hallucination. With cruel
preciseness he has analyzed the phases
of his fevered, unhappy existence in
the many volumes of his autobiography,
beginning with the pathetic "The Ser-
vant-Woman's Son," continued in "The
Author," "The Evolution of a Soul,"
"The Confession of a Fool," "Inferno,"
"Legends," "Rupture," and ending with
"Alone," the purest, most painful, most
complete document of a human soul
searching for Truth ever written.
"Searching for God and finding the
devil ! That is what happened to me !"
he says in "Inferno."
And truly, if ever a man was torn
between the desire for Heaven and the
love of earth, Strindberg was that man. He was born in 1849.
The father, a well-to-do man of good standing and lineage; the
mother, an inn-servant, of whom the elder Strindberg had twelve
children, three of which were born when he married her. The
birth of August coincided with the loss of the father's fortune,
and his youth was therefore beset with all the squalid difficul-
ties of sudden, unaccustomed poverty. From his father he in-
herited his instincts of sensuousness, his appetite for pleasure ;
from his mother, his extreme imaginative qualities, a nervous
system all too highly strung, a tendency toward mysticism, —
all the sensitive, romantic sides of his nature. At the age of
fifteen, he was attracted by the pietist movement which, at that
time, agitated all Sweden, but when he read books of religious
criticism — among them Renan's "Life of Jesus" — the ra-
tionalist ideas appealed to him instantly. They freed him of
his religious terrors, of his mad superstitions, and swept away
the resistance he had endeavored to offer to Life and to Joy.
Yet, scruples beset him to abandon the narrow creed in which
he had been brought up, and he admitted to a friend :
"My new conscience tells me that I am right, and my old that
I am wrong. Sh?1l I never be able to find peace?"
Critical as his mind was, he could not overcome his "longing
for Heaven, which was born in him." Nor did the attacks of
profound mysticism to which he was given, at any time veil
his reasoning faculties so completely as to bring him relief from
the ever-seething combat of his dual personality. Through all
the slavery that his senses subjected him to, he always felt the
sweet and cruel sting of regret for pure love, for high and
chaste ideals.
From one of his periods of mysticism, that Swedenborg's in-
fluence had brought over him, he was awakened by the reading
of the German Eduard von Hartmann's "Philosophy of the Un-
conscious." The theory that "everything is nothing" and that
Florence Reed William Courtenay
Act. I. The enthusiastic Eagles cheer their "Lady Magness"
William Courtenay Florence Reed
Act I. The indignant lady owner decides to hold the team
Florence Reed William Courtenay
Act IV. Copley (Mr. Courtenay): "Is there someone else you love?
204
THE THEATRE, MAGAZINE
•'nothing has a definite aim" appealed to him vastly; and,
strangely enough, threw him into one of the most effectively
creative periods of his life.
Great books were written then: "The Red Chamber," one of
the most important
pamphlets of our time,
against commonly re-
spected institutions and
pernicious traditions of
morality, which he
flayed with unquestion-
able conviction and
daring vigor. His
pessimism in this book
is less of a philosoph-
ical system than the
virile revolt of all that
was strong and vital in
him, eager for freedom
and the joy of life,
against all that op-
presses and dejects
humanity.
A second book fol-
lowed, "On the Open
Sea." Here, in the
form of a novel — whose
main figure, Dr. Borg,
is a self-portrait of the
author — he stigmatizes
the evil influences of
surroundings upon the
individual. He h a d
been studying Jean-
Jacques Rousseau while
living in Switzerland,
and had made his own
the French philoso-
pher's theory that Man
is good, and that So-
ciety is responsible for
all evil.
He acquainted him-
self with the systems
of Fourriere and Saint-
Simon, those French
commentators of the
German Karl Marx,
founder of modern socialism. The ideal of communism, free love,
education of the children by the State — all the old ideas of Plato
modernized — enchanted Strindberg in his never-tiring search for
the Truth. But when the Socialist Party of Sweden tried to
enroll him and to dictate to him what he should say and what he
had better leave unsaid, his aristocratic mind refused the tyranny
and considered that theoretical socialism was by far preferable
to practical, militant socialism.
. During his sojourn in Switzerland, and later in Paris, Strind-
berg wrote his famous "Utopia in the Reality," a much-valued
"Introduction to a Unitarian Chemistry," and a strangely beauti-
ful book of observations in the field of natural history, "Sylva
Sylvarum."
He had, to a degree, returned to the faith of his childhood,
and from that time on all his work — less tumultuous and more
mature — is permeated with a gentle belief in God. He recognizes
that doubt is sterile ard destructive, and even though one never
discerns one's own faith clearly, it is good to believe in something.
He wants Providence substituted to Destiny, and somewhere he
says :
"I conceive a conscious, personal being that directs my life.
In other terms, I believe in God, without knowing exactly what
Sarony
I mean by that." This reflects the notion that he was an atheist.
One of Strindberg's most characteristic and most generally
known traits is his aversion against women. Yet the deeper
meaning of his feminine characters, especially in his plays, may
sometimes have been
misunderstood. In one
of his most famous
plays, for instance, in
"Countess Julie," the
woman is not nearly
as base and vile as the
man. And even what
baseness may be hers
is clearly shown to be
the result of heredity
and education.
Personally, Strind-
berg had experienced
m u c h unhappiness
through women, as he
relates extensively in
h i s autobiography,
which is so unique a
document of h u m a n
misery that nothing in
literature may be com-
pared to it, except
possibly Rousseau's
classic "Confessions."
Strindberg's motive in
baring his soul in pub-
lic seems to spring
from the same source
as Rousseau's : a mor-
bid, aggressive pride
that dispenses with all
sense of shame, a de-
sire to help others
through lessons and
examples, and perhaps
also did he yield to the
sort of psychological
necessity for confes-
sion that Tolstoi felt.
Strindberg was mar-
ried three times, and
three times divorced.
AN ACTOR AND HIS FAMILY
William Faversliam, his wife (Julie Opp) and their two little sons
Upon his intensely im-
pressive mind all his great hopes and greater disillusions left
deep marks — for Strindberg was uncommonly well equipped for
suffering. As he was an essentially subjective writer, his works
naturally attest his own intimate feelings, and those who know
the cause of his scorn for women, his deep-rooted, sad distrust
of them, will judge him indulgently for giving it such persistent
expression in his literary work. Besides, there are such lessons
contained in Strindberg's books and plays that every man should
study them and learn many a thing. Every woman, too, whose
sense of discrimination is not entirely drowned in her militant
love for the sex.
No fiercer a woman-hater was there ever than Nietzsche, who
says : "When you go to a woman, do not forget the whip !"
And yet his largest reading public is constituted by women. So
why should they shun Strindberg? Is he too far beyond the
reach of their intellect? Not any further than Nietzsche, as-
suredly. But he is harsh and naturalistic in expression and en-
tirely lacks the wonderful Olympic poesy of Nietzsche. That
may be a reason.
It is interesting to see how these two giant contemporaries
stood toward each other.
Strindberg, eager to absorb all the (Continued on page u-1
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(Continued from page 196)
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Comedy" . . . "Youth's Glory and Death's Ban-
quet, a Tragedy," to which the Duke added two
scenes. He also collaborated with her in "Public
Wooing" . . . "Love's Adventures," and other
comedies, and in the tragedies, "Bell in Campo"
and "The Unnatural Tragedy." The biography
of her husband, written both in English and
Latin, is pompously entitled "The Life of the
Thrice Xoble, High and Puissant Prince. William
Cavendish" (with his various titles), ''written by
the Thrice Noble. Illustrious and Excellent Prin-
cess, Margaret, Duchess of Newcastle, his wife,"
but such was the extravagant style of the times.
Wrote Pepys of this remarkable work: "Staid
at home reading the rediculous History of My
Lord Newcastle, wrote by his wife, which shows
her to be a mad, conceited, rediculous woman,
and he an ;isse to suffer her to write what she
writes to him and of him." The pages of both
Evelyn and Pepys abound in allusions to her
dress and deportment, her prestige as a social
leader, and her vogue as a writer of verse and
plays. Their runnings to and fro to obtain
glimpses of her through coach windows are dis-
tinctly ludicrous, and Evelyn compares her to all
the heroines of ancient and modern history, from
Zenobia down through a list of saints and queens
and courtesans, to the estimable daughter of Sir
Thomas Moore.
Upon the reopening of the theatres after the
Restoration, the stage became the vehicle for tin-
grossest immoralities, and both sexes vied in
literary competition. Among these experimental
playwrights was Mrs. Frances Boolhby, who
wrote a single play, entitled "Marcelia, or the
Treacherous Friend — a Tragi-Comedy," produced
about 1670. Oblivion's gentle density shrouds
this author's life and work, but she may have
been completely overshadowed by the versatile
Duchess and the notorious Mrs. Aphra Behn.
Mrs. Behn was born at Canterbury, the daugh-
ter of a Mr. Johnson, who became the Governor
of Surinam; where she resided for awhile, and
where she became acquainted with Prince Oroon-
oko, about whom she wrote a novel which after-
wards suggested to Southerne his tragedy of
"Oroonoko." In her youth she was greatly ad-
mired for her beauty, and subsequently for her
attainments. Although called "the female Wy-
cherley," it was under the pseudonym of "As-
traea" that she became celebrated ; Pope having
rebuked the licentiousness of her pen in the
familiar couplet beginning. "The Stage, how
loosely does Astraea tread." Charles II. in his
endeavor to conform the conversation, taste and
style of his Court to that of Louis XIV, opened
the door very wide to literary effort upon the
French models ; which may partially account for
Mrs. Behn's success during her lifetime. Gibber
mentions a revival of her "Abdelazar" at the
opening of a theatre in the Tennis-Court (16901
as a failure, showing that the desire for more
chaste dramas had set in. Her plays were all
written between 1670 and 1690, and numbered
seventeen, of which the first was "Forced Mar-
riage, or the Jealous Bridegroom," and "The
Feigned Courtezans, or a Night's Intreague," was
considered the best. She published also three
volumes of poems and numerous novels and
works of history, and enjoyed the esteem of
Dryden, Swift and other men of pronounced
genius. Her flagrant plagiarisms did not inter-
fere with her popularity, for the plots and situa-
tions of her plays were drawn from every
imaginable source except her own mind, and com-
prised a list of thefts from Marlowe, Moliere,
Shirley, Broom, Wilkins, and Calpranades. She
was the first English woman who earned money
by her pen. Mrs. Behn's fame and merit en-
titled her to burial in Westminster Abbey, among
the illustrious British dead, where the stone which
marks her tomb is engraven with the graceful
epitaph :
"Here lies a proof that wit can never be
Defence enough against Mortalitie."
Mrs. de la Riiere Manley was the successor
of "the divine Astraea," and was equally as no-
torious. She was born in the island of Guernsey
while her father, a zealous Royalist, was Gover-
nor there. He was an author of reputation and
wrote the first volume of "The Turkish Spy"
(almost as much disputed as "The Letters of
Junius"), so the daughter inherited her literary
gifts. Early in life she was cheated into a biga-
mous marriage with a near relative of the same
name, and when finally deserted by him was taken
up by the infamous Duchess of Cleveland, whose
(Continued on page .r)
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VII
Shakespeare Sets His Stage
(Continued from page 193)
scene in a room in Olivia's house, the third scene
in a street again introduces Sebastian and his
friend, Captain Antonio. They have thus ar-
rived in the city of Duke Orsino's court, and
give some further descriptions of this Illyrian
r.ipital, mentioning "the memorials and things of
fame that do renown this city." This might be
said of various cities of this region; of Fiume.
with its traces of Roman occupation in the shape
of an arch, fragments of wall, etc., of Spalato,
built inside the walls of the Emperor Diocletian's
palace: Zara, with its nearby ruin; or Pola, with
its well-preserved Roman amphitheatre, its Ro-
man arches and gateways.
Antonio tells Sebastia'n that he does "not with-
out danger walk these streets," and shows his
familiarity with the city by further suggesting
that "in the south suburbs, at the Elephant is best
to lodge." He is in reality recommending no
suburban inn of an Illyrian town, but an old
London inn, which now boasts that it is men-
tioned in Shakespeare.
In the fourth act we have a description of
Olivia's house. It has "bay windows, transparent
as barricadoes, and the clear stories toward the
south-north are as lustrous as ebony." Old an-
notators have given some interesting information
as to the derivation of the name bay window.
One says they were so called "because they oc-
cupied a whole bay or space between two cross
beams in a building," while another says it was
due to the fact that "it is builded in manner of
a bay, or road for ships, t. e., round. The use
of the term "clear stories" might indicate that
Olivia's house was large and high; the word is
usually employed only in descriptions of churches
or lofty halls, but Randle Holme, in his Academy
of Armory, states that "clear story windows are
such windows that have no transum or cross-
piece in the middle to break the same into two
lights." Such extensive glass windows are an-
other indication of the lady's wealth, as is her
gift of a pearl to Sebastian, whom she believes
the disguised Viola.
There is but one scene to Act V, in the street
before Olivia's house. Indeed, almost all the
scenes are laid in the streets of the Illyrian city,
or in the popular resort, Olivia's garden. Nar-
row, indeed, must these streets have been, as one
sees in the present-day cities of Dalmatia. In
Spalato no carriage may pass within its walls;
Zara, aside from the broad sea front, has no wide
thoroughfares, although Fiume is so modernized
that little trace of the old remains. Here in the
city street the various complications of the drama
are settled.
Ariirding to Singer, "the plot of this admirable
comedy appears to have been taken from the
second tale in a collection by Barnaby Riche, en-
titled "Riche, His Farewell to the Militarie Pro-
fession," which was first printed in 1583. It is
probably borrowed from "Les Histoires Tra-
giques de Belleforest." He further remarks tha'.
"an incident somewhat similar to that of the
Duke sending his page to plead his cause with
the lady, and the lady falling in love with the
page, may be found in the fifth eglog of Barnaby
Googe, published with his poems in 1583."
In Manningham's diary, found by Hunter
among the Harleian manuscripts in the British
Museum, there is this note of a production of
Shakespeare's play at the barristers' feast at the
Middle Temple: "February, 1601. At our feast
wee had a play called Twelve Night, or What
You Will, much like The Comedy of Errors
or Mencchim in Plautus, but most like and
ntare to that in Italian called Inganni. A
iv "1 practise in it to make the steward believe
his lady widdowc was in love with him, by coun-
ter fayting a letter, as from his lady in general!
termes, telling him what shee liked best in him,
and prescribing his gesture, in smiling, his ap-
paraile, etc., and then when he came to practise
making him believe they took him to be mad."
'1 here were at least two Italian plays with the
title: "Gli 'Inanni," the first by Nicolo Secchi,
published in 1562, the second by Curzio Gonzaga,
published in 1592. In these a brother has a sis-
ter so like him that when she assumes male attire
she is taken for him. Another Italian play.
"Gl'fngannati," printed in 1585, contains still
more points of resemblance to "Twelfth Night.''
ELISE LATHROP.
"Where's what's-his-name, the leading romantic
actor of his day?"
"Kean Kemble? Why, he's filming at a thou-
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soprano!'"
"She's cabarating at two hundred a night."—
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An Optimist of the Stage
(.Continued from page 199)
for it for the reason I have given, the actor-
manager. No bombastic assumptions of the
greater excellence that comes or should come
with greater years in national life.
"The people's taste will regulate the theatre
everywhere and bring it to its best," began the
distinguished optimist.
"Then why not eliminate the censor?" I dared
to interrupt.
"A lot of us want to." His reply was illu-
minated by his rarely sweet smile. "We think
we will, or the people will. We of England are
slow about everything. We were the last to
adopt the automobile, the last to introduce the
aeroplane."
I asked him what he thought the most encour-
aging sign of the times in regard to the drama.
"It is that the theatre is no longer a mere
means of amusement," he said. "I used to be
laughed at when I said that the stage should be
an educational force. But it has become that.
Perhaps it has not given a good education as
yet, for it has merely given a wide knowledge of
life."
The greatest Hamlet leaned forward and clasned
his hands between his knees. "That education
which increases knowledge and trains the mind
is useful, but the education which does these and
develops character is the good one. I foresee that
the stage of the future will do that."
"Please look backward again and tell me what
is the pleasantest memory of your forty years on
the stage."
He stood with his hand on the knob of the
door, toward which I had moved. "I wonder," he
said, his head bent in thought.
"You told me once that it was when you gave a
professional matinee of 'Hamlet' in New York
that your fellow players praised you."
"There is no praise so sweet as that from a
fellow craftsman." he said.
"But, was it not rather the time when the peo-
ple of London waited all day before the Drury
Lane Theatre to see your last performance of
'Hamlet'?"
"No. That was my last appearance in London,
and there was much sadness in it. Finality is
always sad. But such a parting is not so sad to
me as the thought of dying in the harness. Some
want to go that way. I do not."
I told him of the picture Sarah Bernhardt had
drawn to me of death as she hoped it would
come to her.
"Not on the stage. Nnn. Non.! It shall be at
home, probably at Belle Island and in my garden.
I should want my family about me, my hands in
theirs. I should like to pass away as easily and
naturally as the scent of flowers in autumn."
"Yes," said Sir Johnston Forbes-Robertson's
lips. "Yes," more eloquently said his eyes, and
the smile that played over his lean face and
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and who are repeatedly interrupted by the en-
trance of the dressmaker. There also appear
upon the scene a man named Valzacchi, and his
female companion, Annani, who, it seems, are
proprietors of the Schwarse Zeitung, and keen
recipients of gossip of any sort, especially matri-
monial. A flute player and a tenor singer amuse
the Princess while her hair is being curled. The
Baron and his suite return during the song, and
the former squabbles with the Notary over the
marriage settlement, which causes the Schwarsf
Zeitung couple to offer their services to the
Baron. As soon as Ochs takes his second de-
parture there ensues a love scene between the
Princess and Octavian, in which the Field Mar-
shall's wife tells him that she will allow him to
carry the silver rose to Sophie, though she
knows what will happen in consequence.
The scene of Act II takes place in the house of
Herr von Faninal, newly ennobled, though cer-
tainly not one of Nature's noblemen. His daugh-
ter Sophie, fresh from school, is awaiting the
Baron's arrival. But first, with a flourish of
trumpets, comes the bearer of the rose, and be-
tween Octavian and Sophie a charming interview
takes place. Sophie is attended by her duenna,
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ix
Marianne. During the presentation Baron Ochs
enters, and his manner towards Sophie angers
Octavian. The Baron's love-making culminates
in a Lieblied. Then the Baron's suite also come
in and cause a commotion in the Faninal house-
hold. A row next takes place between the Baron
and Octavian, the former having been quietly
warned by the Schwarsc Zeitung people that Oc-
tavian has succeeded in alienating the affections
of his fiancee, and the Baron gets the worst of
it. After this Octavian departs, and Faninal sides
with the Baron, and threatens to force Sophie
to marry him without delay. The Baron drinks
freely, but keeps sufficiently sober to sing, once
more, his love-song; finally he recovers com-
pletely, when a missive is handed to him from
the Princess' lady's-maid, reminding him of his
appointment with her.
Act III opens in a restaurant, where the
Schwarze Zeitung couple are plotting the undoing
of the Baron. The introduction leads to waltz
rhythms. Octavian, in his lady's-maid costume,
after assisting with the preparations for supper,
goes out of the restaurant and returns with the
Baron. What follows is a farce of the broadest
character. The lights in the room are lowered.
Octavian is coy, and the Baron suddenly begins to
discover a likeness between the lady's-maid and
his rival. Annina and four children next enter,
and the children call the Baron "Papa." Upon
this, the confusion waxes great. A commissary
of the police is summoned, but he is told that
Annina is Sophie, the Baron's fiancee. While
contesting this point Faninal enters, and is most
indignant because the Baron disowns him. While
one is wondering how all this is going to end, the
Princess appears upon the scene and succeeds in
"pouring oil upon the troubled waters," so that,
at last, the Baron concludes to behave himself,
and his rout is completed by the presentation to
him of all the bills for supper, lights, etc. When
the Princess has finally gotten rid of him, she
brings in Octa,vian and Sophie and joins their
hands.
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(Continued from page 204)
manifestation of the human brain, had read one
of Nietzsche's books and wrote to the author
about it. The mighty German was heard to say:
"Strindberg has written to me, and for the first
time I feel an answering note of universality."
Strindberg's dramatic work began in 1872 with
"Master Olaf," in which he drew the character of
a woman who, seven years .later in Ibsen's hands
became the well-known type of Nora. Numer-
ous one-act plays followed: "Parian," 'The
Creditor," "Simoon," which James Huneker calls
"a dramatic ode to revenge"; "The Stronger,"
"Theljnk" "Play'nsj with Fire." "Debit am'
Credit," "Motherlove" — quite intimately related
to Shaw's "Mrs. Warren's Profession" — and that
masterpiece of modern tragedy, "Countess Julie."
The latter piece was conceived and at first pub-
lished in three acts, but its condensation into one
long act has made it one of the most powerful
works in the dramatic literature of the world.
Its effect, even upon the reader, is tremendous.
Other plays of greater length, if not of greater
importance, came in between the one-act plays
or followed their publication : "Father," illustrat-
ing the pitiful inferiority of man to woman with
regard to the certitude of their children being
their own; "Comrades," a plea against ces sales
betes de femme; "Margit," a historical play of
the time of the Reformation ; "The Secret of the
Gilde," wherein Strindberg anticipated the theme
of Ibsen's "Masterbuilder"; "Ebbrezza," "Erik
XIV," "Lucky Pehr," "Midsummer," which he
calls "a serious comedy"; "There Are Crimes
and Crimes," "The Dance of Death," "Easter,"
the most important of several plays of the realis-
tically symbolic type, wherein Swedenborg's in-
fluence is manifest; "The Crown Bride" and
"Swanwhite," two fascinatingly powerful, yet
painful plays that remind somewhat of Gerhardt
Hauptmann's poetical dramas ; "A Dreamplay,"
which is all that its title suggests — full of fan-
tastic charm, wild, dream-like imagination, yet
written w'th a sober, virile pen ; "Toward Damas-
kus," a double drama that reveals at the same
time Strindberg's eroticism and his tendency to
drift toward the Roman Catholic Church.
Through all his plays, which are, however, the
least subjective part" of his writings, one car
trace the red thread of this great sufferer's own
innermost feelings — his ideas, his passions, his
conception of the universe moving the characters
of his imagination for his own purpose and to
his own end. Somewhat akin to the Brieux of
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more recent days, Strindberg curiously lacked
the intuitive comprehension of other persuiialitii^,
the faculty of penetrating into the most s<
folds of their nature. He does not draw his
characters from observation, but rather takes an
idea, a theory, and thrusts it into human shape.
Hut so masterfully does h" do this that the
reader or spectator is easily deceived and ready
to take for living portraits that which is only
the convincing illustration to a given hypothesis.
Strindberg may be rated for being abnormally
emotional, crazy at times, but he is fasrin.
and instructive as a writer, wonderfully interest-
ing as a study; and through all his work one
feels the pulse of genius.
It is the raison d'etre of philosophers to con-
struct systems. Strindberg was not a philosopher
in that sense. His destiny was more perilous,
more sadly human. He was made to c.\|n ri. n r
all the things of life— to pay for them with tears
and with his heart's blood, and to transform them
— not into cold speculations of the mind, but into
weapons for others to fight the danger with.
His life was one long, desperate attempt to
reach Heaven, ... a modern Icarus, whose hope-
ful flights onto the summits were always broken
by an inevitable fall into the abvss.
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(Continued from page ri)
fickle temper soon tired of her. Retiring into
seclusion, she wrote her first tragedy, "The Royal
Mischief," which, when acted in 1696, brought
her such unbounded fame that her apartments
were crowded with men of wit and gayety; and
the same year she produced "The Lost Lover, or
'1 he Jealous Husband, a Comedy," which was a
failure. Her tragedy of "Lucius," the First Chris-
tian King of Britain," produced 1717, was heartily
received. It was dedicated to Sir Richard Steele,
who prologued it, while Mr. Pryor added the
epilogue. Her tragedy of "Almyna, or The
Arabian Vow," was in no sense noteworthy. She
continued The Examiner after Dean Swift's re-
linquishment. and as that grim old cynic has fur-
nished much of her history in an amiable narra-
tive, it is possible that the beautiful "Rivella" may
have interfered temporarily with his life-long
devotion to "Stella" and "Vanessa." Her me-
moirs, entitled "The Adventures of Rivella," ap-
peared about ten years before her death. In her
retirement, Mrs. Manley also composed that
famous but licentious satire, entitled "The Secret
Memoirs and Manners of Several Persons of
Quality of Both Sexes, from the New Atalantis.
an Island in the Mediterranean." which called
forth a warrant from the Secretary's office. She
was discharged after several public examinations.
Two other conspicuous compeers of Mrs. Man-
ley were Mrs. Cockburn and Mrs. Pix, the three
having been satirized together during the reign
of William III as "The Female Wits, or a Tri-
umvirate of Poets," a comedy of anonymous
authorship. Mrs. Cockburn was born in London
of Scotch parentage, her father being Captain
David Trotter (or Trother) of the Royal Xavy.
She was early distinguished for her wit and
beauty, and was only seventeen when her initial
play, "Agnes de Castro, a Tragedy," adapted from
a French novel translated by Mrs. Behn, was
produced with overwhelming success at the The-
atre ( Royal. In two years followed the tragedy
of "Fatal Friendship" (considered her best
work), and three years later came that of "The
Unhappy Penitent." Her last play, "The Revo-
lution of Sweden, a Tragedy,'' was produced at
the Queen's Theatre a year previous to her mar-
riage to the Reverend Mr. Cockburn ; for, in the
round of domestic duties as a provincial parson's
wife, her dramatic work was discontinued. Her
single comedy effort, "Love at a Loss, or Most
Votes Carry It," was mediocre. Like Dryden,
she deserted the English Communion at one time
for the Church of Rome, but just before her
marriage reverted to her original faith. Of her
plays it was said: "There is the chastity of her
Person and the Tenderness of her Mind in them."
Although Mrs. Pix also "ventured on the Sock
and Buskins," with ample success as to laurels,
her pocket was not replenished thereby, her
seven dramatic pieces having been alternate
failures and triumphs. They all appeared during
a space of nine years, dating from 1696, in which
year her farce, "Spanish Wives," was acted at
Dorset Gardens with eminent success: and then,
also, was produced her tragedy of "Ibrahim, the
Twelfth Emperor of the Turks," which never
failed to bring tears. Gildon declares that the
story was abstracted from Ricaut's Turkish His-
tory—for Mary Pix, like Mrs. Behn, was not
averse to pilfering an occasional plot.
ELEANOR RAERTRN-.
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,THE NEW PLAYS
(Continued from page 180)
it. Indeed, the production, the excellent work of
the performers, and the astonishing detail and
effectiveness coming from Mr. Belasco's wise
and sympathetic handling of it, are beyond any
brief account. Miss Helen Freeman, as Annie,
proved to be one of Mr. Belasco's discoveries.
Her voice is thrilling in its qualities of tender-
ness and pathos, and there is every evidence
that very great prominence awaits her.
LYRIC. "THE GIRL AND THE PENNANT." Co-
medy in four acts by Rida Johnson Young and
Christy Mathewson. Produced on October 23
with this cast :
Copley Reeves, William Courtenay; Punch Reeves,
Calvin Thomas; Henry Welland, Malcolm Williams;
John Bohannan, Tully Marshall; Skeets Marvin, William
Koselle; Pitman, Walace Owen; Chief Wayne, Louis
Morrell; Sam, George W. Day; Al. Warren, Ralph
Morgan; A Colored "Fan," Jack Johnson, Jr.; Mona
Fitzgerald, Florence Reed; Alice Tilton, Lola Fisher;
Miss Squibbs, Marian Ballou.
This is a very ingenuous entertainment. Mrs.
Young is always ingenuous as far as her stage
contributions are concerned and it naturally
goes without saying that the "Girl and the
Pennant" is hers from the constructive side with
technical and "fanatical" embellishments by the
Peerless Pitcher of the Giants. The whole
thing is framed on very familiar lines. Like the
horse race in "In Old Kentucky," the deciding
baseball game for the pennant takes place off
the stage, but is described with great verisimili-
tude by an imposing score board and the descrip-
tive powers of a number of the players who have
been banished from the diamond because they
would unduly sass that much berated individual,
the umpire. This makes for an admirable thea-
trical scene in which the elements of the game
are graphically presented and the true spirit of
illusion and suspense well maintained.
On account of the death of her father, Mona
Fitzgerald becomes the owner of the Eagles.
She determines to win a pennant in memory of
her pa who had never shared in the big gate
receipts at the end of the season. But she has
her troubles for her manager is trying to give
her the double cross. He wants his team to
lose that he and a designing magnate may pick
up the franchise at a bargain. The machina-
tions of these two dastards against organized
baseball are of course thwarted but not until the
usual clash has been established during the con-
ventional number of needed acts.
Edgar Selwyn is responsible for the production,
a very elaborate and satisfying one, as well as
the stage management which is at all times
spirited and ingenious.
The company is a large one but the individual
players have been selected with care and dis-
crimination and full justice is done to this
comedy of "youth, romance and baseball." The
lady owner falls to the lot of Florence Reed,
an actress, with a marked personality and ex-
cellent technic. She was thoroughly competent.
William Courtenay, a bit self-conscious perhaps
for a successful pinch hitter played the hero
while the effervescently enthusiastic third base
man was portrayed with engaging skill and
humor by William Roselle. Punch Reeves, the
young pitcher, with a "weakness" and the old
timer Pitman were skillfully rounded out by
Calvin Thomas and Wallace Owen. The villains
were in the sound and safe hands of Tully
Marshall and Malcolm Williams. Grim and
sardonic was the former easy and debonnair
the latter. A young southern girl with a pen-
chant for souvenirs was amusingly presented
by Lola Fisher and a broadly comic "lady fan"
who used mental science in behalf of her team
was contributed by Marion Ballou.
NEW AMSTERDAM. "THE LITTLE CAP!"
Musical comedy in three acts from the French
of Tristan Bernard. Book and lyrics by C. M. S.
McLellan, music by Ivan Caryll. Produced Nov.
10 with this cast:
Veauchenu, Jos. Monehan; Celeste, Marjorie Gateson;
Philibert, Harry Neville;; Gaston, H. P. Woodley;
Yvonne, Alma Francis; Albert Loriflan, John E. Young;
Katziolinka, Grace Leigh; lisa, Eleanor St. Clair; Alma,
Ethel Davies; Louka, Trixie Whiteford; Zora, Lillian
Rice; Thyrza, Alys Belga; Oola, Lorayne Leslie; Isabel.
Charlotte Carter; Bigredon, Tom Graves; Gaby Gauf-
rette, Hazel Dawn; Loulou Millefleurs, Marie Empress.
"The Little Cafe" needs to be stripped of some
of its superfluities. A waiter in a restaurant, an
idler by nature and long habit, is so inefficient
that he is about to be discharged. If he isn't,
he will let all the wine spill through the bung
holes of barrels carelessly left open. He is an
intolerable servant, but he is amiable enough to
be in love with the landlord's daughter, she with
him. He has two other sweethearts. A Notary
appears and confides to the landlord that the
(Continued on page jrr)
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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.
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waiter has fallen heir to a considerable fortune
whereupon the two, in order to get some of it
conspire to have the waiter sign an agreemenl
whereby he is to be retained in the service for
twenty years, with a considerable forfeit if he
throws up his job. The waiter naturally accepts
Here is an idea, only there is a little too much
floriture about it. There is too much dancing
and too much singing, and da capo. A super-
fluity of good things would not seem to be a
grievous fault, and if it is, it is easy enough to
remedy it. The performers take so much joy
in their work that it might be a hardship to
deprive them of some of their activity, but it
would be for the good of the show and of the
community. The comedy of John E. Young, the
waiter, is within the limits of judiciousness, not
unrefined, and yet not wholly finished in the
artistic sense, but spontaneous and effective.
He is a young man, and seems to us to be in the
line of preferment. In the way of unrestrained
foolery, Tom Graves, as the Notary, or promoter
as he is described, goes the limit. Of course, no
human being ever expressed himself by means
of such physical contortion, but if you once
accept him he is entertaining. The kind of thing
he does is known to stageland only. The three
sweethearts have various charms. Alma Fran-
cis, as Yvonne, the daughter of the landlord, is
the modest one; Grace Leigh, as Katziolinka, a
Hungarian singer, robust in physical beauty and
in satiate sentiment, always accompanied by
seven amazons of passionate love, carries you
away, as she tried to carry the waiter, with physical
force, and Hazel Dawn, as Gaby, the Queen of
the Night Restaurants, attractive to the last
degree in song and in the allurements of dress,
made it a hard question as to choice between the
three. It is needless to say that the lazy waiter,
Albert, had a busy evening.
HARRIS. "THE LOVE LEASH." Comedy in
three acts by Anna Steese Richardson and Ed-
mund Breese. Produced on Oct. 20 with this
cast:
Vera Knapp, Grace Filkins; Theodore Knapp, Elliott
Dexter;;; Mrs. De Witt Knapp, Maude Granger; Bruce
Walton, Henry Stephenson; Carl Hassler, Paul Ker;
Leila Lawford, Ann Meredith; Mrs. Anson Smith.
Isabel Richards; Paul King, Bernard Fairfax; Norton,
Harry Stevens; Pierre, Lawrence C. Knapp.
The separation of man and wife, both young
and one or both foolish, and their later dis-
covery that they cannot live apart, coming to-
gether again not to part, is not new, but there
was a new combination in the idea of "The
Love Leash," by Anna Steese Richardson and
Edmund Breese, subject to its being properly
worked out. The wife has been so effusive
in her devotion to her husband that he tires
of it all. The love leash has been pulled too
hard on him. She overhears him talking to a
friend and wishing for freedom. She deter-
mines to give it to him. It was agreed that they
are to separate for a year, have, it might be
called, a trial divorce. All involved in this part
of the story was set forth with entertaining
action in the first act, but the succeeding acts
were forced and obvious. The wife makes a
great show of her relations with a musician whom
she has taken up. The husband's jealousy is
aroused, but the musician is such an impossibly
vain and ridiculous person that all sense of
reality was absent from the happenings. Miss
Grace Filkins, in whose behalf the comedy was
written and produced, was sufficiently charm-
ing and adroit to save herself, but she could
not save the play. It was too insubstantial, too
mechanical. There were complications, but they
were not real enough. They might have been if
they had been worked out. The lawyer who
arranged the separation gets under such suspicion
that he is in danger of being made co-respondenf
in a suit for divorce. That might have been made
more of, and the action thereby made more real.
The play was not real enough. This lawyer was
played by Harry Stephenson. There was a lady
novelist of whom more could have been made,
played by Ann Meredith. Mr. Elliot Dexter
was the husband, and gave an excellent per-
formance. Maude Granger was the too devoted
mother. Mr. Howson was the musician, over-
acting, but capable. The scenery provided by
Mr. Bickerton was unusually tasteful and appro-
priate.
HARRIS. "Miss
acts by Albert Lee.
this cast:
PHOENIX." Farce in three
Produced on Nov. 3 with
Harry Townsend, Robert Mackay; Tomi, T. Toma-
moto; Tolcott, W. L. Romaine; ; Laura Leslie, Maud
Knowlton; Fireman, A. B. Hanley; Gertrude, Ann
Murdock; Dr. Sterling, Henry Mortimer; Jack Grey,
Conway Tearle; Colonel Crosby, Ben Hendricks;; Nellie,
Leonore Phelps; Phyllis, Jane Morrow; Timothy Pitkin,
Ivan Simpson; Penelope Wiggins, Pauline Rona.
Among the inadequate pieces must be counted
"Miss Phoenix," by Albert Lee. It proved to be
xv
for JStctmkr
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When writing to advertisers, kindly mention THE THEATRE MAGAZINE
XVI
THE THEATRE MAGAZINE ADVERTISER
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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 24, 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, 383 West 101st Street, New York
City; Mr. Louis Meyer, 8 West S8th Street, New York
City; Mr. Paul Meyer, 8 West 38th Street, New York
City. Known bondholders, mortgagees and other security
holders, none. Signed by Louis Meyer, Business Man-
ager. Sworti to and subscribed before me this 16th day
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30, 1914.
too trivial for success. A young wife, disregard-
ing her husband's prohibition of her taking
turkish baths, ventures to the enticing establish-
ment, which to her is at once a luxury and
beautifier, finds herself there when a fire breaks
put. She is borne, wrapped in a blanket only
into the bachelor apartment near by. Of course,
she gives a name not her own. The complications
that arise make the story. She is kept busy in
trying to keep the secret of her adventure from
her husband, fearful of the consequences. The
one compensation of this play was Miss Ann
Murdock, the wife who has these farcical ex-
periences. Miss Murdock is commonly referred
to as suggesting Billie Burke. As a matter of
fact, the resemblance between them are purely
accidental, and Miss Murdock is attractive in her
own right and with tricks and natural attributes
of her own. She will, without question, speedily
arise from the ashes of this play. Conway
Tearle, as the husband, was more than "capable."
HARRIS. "THE TONGUES OF MEN." Play in
three acts by Edward Childs Carpenter. Pro-
duced on November loth with this cast :
Rev. Penfield Sturgis, Frank Gilmore; Rev. Dr.
Darigal, Benton Groce; Georgina Darrigal, Gladys Alex-
andria; Dr. Lyn Fanshaw, Frederick Truesdale; Louch-
ran, Herman Granville; Goadby, Albert Reed; Mrs.
Kearsley, Deirdre Doyle; Thomas, Gerald Bidgood; Tane
Bartlett, Miss Crosman; Madam Sternburg; Katherine
Presbrey; Winifred Leeds, Florence Montayne; Herman
Geist, Sheridan Block; Sepulveda, Macy Harlam; Julie
Natalie Perry; Raphael, Benton Groce.
In "The Tongues of Men," a cacophonous title,
Miss Henrietta Crosman has a substantial play
with a comedy that prevails over what would
seem to be a disturbing element, in the back-
ground of the church and the vestry. The
story is a conflict between the prejudices of the
church and the individual worth and purity to be
found on the stage. A zealous rector, young and
in arms against the sins of the world, has preach-
ed a sermon denouncing the wickedness of an
actress, you necessarily must be wicked in order
to play the part of a wicked woman which she
does. The actress visits him to protest against
the injustice of such views, and gets him to
consent to call on her and make himself familiar
with her private life. The rector betrother objects
to this arrangement and the vestry men consider
it scandalous. The character of the woman is
so impressed on the clergyman by what he sees
that he could love her ; and when the vestrymen
publish his sermon, he is overwhelmed with such
shame at the slander that he asks her to marry
him. She is to marry a relative of the clergyman
and is not effected by this turn of affairs. She
manages to turn him aside from his offer, and
to reconcile him and the girl he has renounced.
If what happens was sentimental and not in the
nature of comedy, the effect would, no doubt, be
depressing ; but the play has a spirit of comedy
in it throughout. Miss Grossman's acting is so
artistic, her spirit so refreshing, and her comedy
so pervasive, that her performance alone could
carry the play.
44th ST. MUSIC HALL. Mr. Lew Fields, at
his Forty- fourth Street Music Hall, in presenting
novelties, takes the initiative, as might be
expected, in introducing innovations. Mr. Sam
Bernard's part of the entertainment is in "My
Partner's Wives," written by Henry Blossom,
with music by Alfred Robyn. He is inimitably
funny in the complications he brings about in his
attentions to the ladies. ''A Glimpse of the
Great White Way" begins its activities in a
showy restaurant in which the waiters juggle with
plates and dishes and oranges and dishes in a
way that makes the ordinary sleight of hand a
mere academic circumstances of no interest.
Here the objects fly through the air with a be-
wildering confusion while they perform the cus-
tomary services of the table. Something, enough,
of a story gives the scene action, individualizes
the characters, and permits of the introduction
of a number of specialties and playlets and acts.
"An Every-day Occurrence in Central Park,"
acted by Mack and Walker, is one of the
cleverest bits of life imaginable. It is the
comedy of a bench in the Park. A young man.
after much manoeuvring, scrapes up an acqain-
tance of a girl who is reading a novel, and who
admits that she is waiting for somebody. For
all his pains the young man finally gets the in-
formation that it is her husband whom she
expects. This little sketch, made up largely of
business and bright turns in the talk, invites the
attention of all who like good comedy, perfect
in its execution. "The Spider," as a matter of
pantomime and dancing, with meaning back of it.
is something unusual. The Spider catches in his
web butterflies for which he cares nothing, making
prey of them to gratify his cruelty, and finally
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
THE THEATRE MAGAZINE ADVERTISER
xvii
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XVlll
THE THEATRE MAGAZINE ADVERTISER
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tim
captures the beautiful moth. Mile. Polaire
appears in the sensational one-act play, "Le
Visiteur," assisted by two companion actors from
the Vaudeville Theatre, Paris. The words are
French. Mile. Polaire was brought to this coun-
try by F. Ray Comstock and Morris Gest, and is
worth the while. The actress of the play, return-
ing home from a late supper, tells her maid that
she and a friend, a Russian Prince, had been
discussing Fear, which she had declared she had
never felt. He had told her that she would soon
know its meaning, along with absolute terror.
The visitor comes through the window, and she
presently realizes that he is a desperate Apache.
He despoils her of all her jewels ; she must
restrain all exhibition of terror, and in the face
of his brutality, in the last extremity, she submits
to his embrace, plunging into his back a knife
that she has managed to seize while dancing
before him. Mile. Polaire is an actress of power
and finished art. With bills of this kind the
Music Hall should soon draw throngs.
FULTON. "AFTER FIVE." Comedy in three
acts by William and Cecil de Mille. Produced on
October 29fh with this cast :
Ted Ewing, Forrest Winant; Old, David Burton;
Frank Moore, Joseph Yanner;; Bruno Schwartz, James
Bradbury; Arnold Bloodgood, Alfred Hickman; Copp,
lav Wilson: Mrs. Dinah Russell, Jessie Ralph; Nora
HiV
ildreth, Ivy Troutman.
For a while, on the opening night, it looked
as if "After Five" would take its place among
the pleasant farces of the seasons. The tech-
nical skill, so abundant in the first act, seemed
to give assurance of this. The idea of the plav
was a good one. A young man, engaged to a
girl, has lost her fortune and his own -n spe :a-
lation. In order to save his honor and make
secure the happiness of the girl, lie determines
that he shall contrive to give her the benefit of
ar. r.ccidei;tal insurance policy on his own life.
He arranges to comply with the conditions of
the policy by having himself killed by a certain
blackmailing character, who cheerfully under
takes to make the policy effective, in considera-
tion of a certain sum of money, which is placed
in the hands of the Japanese valet of the young
man. This valet swears, upon the souls of his
ancestors, to pay over the money in the event
of his master's death. This is all very ingenu-
ous, and is good acting and good playwriting.
However, there is something lacking after this
point. What is "doing" after five, after this
arrangement is made, does not strike the right
note. It is possible that it might be rewritten.
The play was put on and acted, for that matter,
in the most satisfactory manner. Undoubtedly
there was this compensation. Forrest Winant,
whom we have seen recently in "The Family
Cupboard," was better than his part. Ivy Trout-
man, as the girl, was likewise all that could be
desired. It certainly was not the fault of any of
the actors in the play that it did not score.
LYRIC. "OURSELVES." Drama in four acts
by Rachel Crothers. Produced on November
I3th with this cast :
Florence, Dorothy Taylor; Harriette, Silvia Zan; Miss
Carew, Mattie Keene; Beatrice Barrington, Jobyna
Howland; Sadie, Estelle Thebaud; Stella, Caroline Page;
Lena, Louise Coleman; Delia, Alma Rheinock; Mabel,
Blanche Natali; Mollie, Grace Elliston: Mary, Grace
Gardner; Irene Barrington, Selene Johnson; Wilson,
Gertrude Le Brandt; Leever, Geoffrey C. Stem; Joseph,
Craig Miner.
Among the plays of the feminist movement,
"Ourselves," by Rachel Crothers, is notable, not
so much perhaps for its conclusiveness as for its
excellence in skill as a play. It is excellent be-
cause of its frankness in handling facts and con-
ditions as they are. It is not meant to please, in
any sense of idle enjoyment, although it does
interest and hold the attention at every moment,
while it stimulates to sympathetic thought. The
first act shows iis a reformatory for women. Its
inmates are girls who are under restraint and
subjected to every moral influence that can be
brought to bear. It is plain that the efforts in
their behalf effect little or no change in them.
They all want to return to the life from which
they were taken. Their task and manners when
left alone together indicates that they are hope-
less. A woman of social position and means,
interested in the rescue work, visits the institu-
tion and finally prevails on Molly to come to her
house as secretary. There the girls still feels
lonely and isolated. She refuses, however, to go
away with the man who had been her associate
in vice when she finds that he will not accept her
new view of marriage. In the meanwhile, the
brother of the woman of the house, himself a
married man, takes advantage of the helplessness
and loneliness of the girl. It is discovered. The
man begs the forgiveness of his wife, which is
finally granted, the discussion between the two
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
THE THEATRE MAGAZINE ADVERTISER
xix
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XX
THE THEATRE MAGAZINE ADVERTISER
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convincing the girl that lawlessness is evil and
that the welfare of society lies in the hands of
women. She leaves the house resolved to do In T
part and to seek to redeem herself, with the Imp,-
of happiness, in guarded conduct. That she \viM
do so is not wholly conclusive, but the principle
is sound, and the play is impressive, it grips and
is human and absorbingly interesting. Grace
Elliston is intense, emotional and realistic. 1.<
Coleman, in a minor part, a tough and stupid
girl at the reformatory, gives a transcript of
reality that is the quintessence of nature and art
in the reproduction of truth.
WINTER GARDEN. "THE PLEASCRE
SEEKERS." Play in three acts ; book by Kduar
Smith, music and lyrics by E. Ray God/..
duced on November 3rd with this cast :
Isaac Googenheimer. Hugh Cameron; Isidore Eisen-
stein, Harry Cooper; Max Rosenberg, Bobby North;
M'lle Marcelle, Dorothy Jardon; Hinrich Bonlisclilobb,
Max Rogers; Heinie Boobschlob, Wm. Montgoi
Limousine Panhard. Virginia Evans; Jack Hemingway,
George White; George Bliffkins, Hugh Cameron; Marie
Bliffkins, Sally Daly; Violet Bliffkins, Florence M.,
Marcelline, Myrtle Gilbert; Vera, Flo May.
A brilliant spectacle thjs, with wonderful
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rolicking comedy to keep the audience always in
good humor. There is not more story than
there should be in a show of this kind, nothing
in fact to tax the brain of the tired bus:
man. It were better described as continuous
vaudeville in which a number of talented per-
formers keep the fun going fast and furious.
The tnise en sci'nc alone is worth seeing. The
snow scene in the Alps with snow balling, bob
sleighing and the dancing on skis is well worth
the price of admission.
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CASINO. "On, I SAY!" Play in three aets
by Keroul and Barre, adapted by Sidney I How
and Douglas Hoare; music by Jerome I). Kern.
Produced on October 3Oth with this cast:
Baptiste, Dick Temple; Count Buzot. Joseph W. Her-
bert; Julie, Lois Josephine; Gabrielle, Nellie King;
Madam Portal, Jeffreys Lewis; Jules Portal. Walter
Jones; Marcel Durant. Charles Meakins; Suzette, Alice
Vorke; Henri, Joseph Phillips; Langley, Ray Dodge;
Sidonie, Cecil Cunningham; Hugo, Wellington (
Waiter, James Notos; Madeline, Olga IK'inpslone; Kin.
Marjory Lane; Mimi, Marion George; Elsie, Anna Berg;
Claudine, Clara Palmer; Madam Pigache, Elizabeth
Ariians; Joseph, Tyler Brooke; Jacques Lavardo, Dick
Temple.
This farce, from the French, fulfils the purpose
for which it was written. It furnishes an even-
ing's amusement. The plot is very thin, and
treated in the conventional manner of Palais
Royal farce, but affords enough opportunity for
a number of entertaining situations. The piece
is full of dances and good singing numbers.
Cecil Cunningham who played Sidonie, created
a good impression with her soprano voice and
comely presence. Joseph Herbert was excellent
as a beau of the old school and Walter Jones
was very amusing as the amorous Father-in-law.
IRVING PLACE THEATRE. On Wednes-
day evening, October agth, "NuR EIN TRAUM,"
by Lothar Schmidt, received its initial perform-
ance at the Irving Place Theatre. It is a farce
in three acts in that vein already familiar to us
through similar recent German importations of
the ultra-modern school. One subject only —
that of infidelity — is discussed from the first
curtain to the last. Herr Marlow again dis-
tinguished himself in a small part of an elderly
professor whose young and frivolous wife has
given him cause for a divorce, but Herr Stoeckel
did not seem quite at home in the low-comedy
part of a guilty husband.
Either the taste of the German-American
audience in this city is very flexible or there are
two different elements in that audience, judging
from the effect produced by the production of
Ibsen's " Pillars of Society." This is as different
in tone and quality from the preceding play as
it could possibly be and yet it was received as
warmly and applauded as heartily as the naughty
farce comedy it followed.
It was no bold undertaking on the part of this
company to play this well-known drama of
Ibsen ; they are lacking neither in the necessary
intelligence, depth nor skill. Heinrich Marlow's
portrayal of Berwick may go down in the theatri-
cal Baedeker with a double star. He probed
the depths of the role and never failed to .uive
its true value, playing with sublety and strength
and working consistently toward the climax of
his speech at the end in which he proclaims the
truth and frees himself from the shackles of
hypocrisy.
Crete Meyer, as Lona Hassel,, fully justified
her change from comic opera to legitimate
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
THE THEATRE MAGAZINE ADVERTISER
xxi
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luke-warm water, and rub it gently for five minutes with a piece of ice.
3rd— For hard dry skins. Just before you retire, rub Woodbury's
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rubber tissue, or other waterproof material.
4th— For sallow, freckled skins. Dip the cake of Woodbury's in a
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cake itself, letting its lather remain on over night.
One of these treatments with this famous soap is yours. Begin to-
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Woodbury's Facial Soap costs 2$c. a cake. No one hesitates at
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Write to-day for samples
For 4c. K-c will send a sample cake. For
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the Andrew Jergens Co., Dept. F-6, Spring
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Universal
Admiration
Was
Aroused
by the wonderful portrait of Pavlowa, which
appeared on the cover of the November
issue of The Theatre Magazine.
To admirers of the great danseuse, a
duplicate of this handsome cover, .
exact size, without print — ready for .Theatre
framing— will be sent upon receipt , Magazine
of 10 Cents, / 8-14 w,,t 38* st.
. | ... .•' New York
to cover wrapping and mailing
charges.
Enclosed are ten cents
..•' for a copy of the Pavlowm
cover, without print.
THE THEATRE MAGAZINE
8-14 We»t 38th Street, New York
GIFTS
Mules in dainty brocaded
satins, tinsel effects, in gold
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Plain Brocades, from $6.50
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articles pre-eminently suitable
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SILK HOSIERY in Holiday
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of a Grand Opera Star to whom the world does homage.
V. RIGAUD, 16 RUE DE LA PAIX, PARIS
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
XX11
THE THEATRE MAGAZINE ADVERTISER
Special Display
Waldorf-Astoria Hotel
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drama. With convincing sincerity she acted the
part of the wholesome, clean hearted, resolute
spinster lady. Herr Holynagel, as the old sea-
captain, Auler, was excellent.
Herr Christian's scheme of staging the play in
"Biedermeier style succeeded in giving the pro-
duction, color and saving it from that drab
atmosphere which usually surrounds Ibsen per-
formances.
WALLACK'S. CYRIL MAUDE. For his sec-
ond programme Mr. Maude appeared in a
double bill. The curtain raiser was "The
Ghost of Jerry Bundler," a grim little tragedy in
which an amateur actor essays a practical joke and
in impersonating a ghost is shot to death by one
of his nervous victims. It showed that Mr.
Maude possessed true medodramatic capacity in
voice, attitude and emotional strength. But it
was in "Beauty and the Barge," a farce in three
acts founded on some of W. W. Jacobs' very
characteristic and humorous short stories
(originally presented here by Nat C. Goodwin
in 1903) that Mr. Maude really revealed how
deep, sincere and rounded is his comic art. Capt.
James Barley, an amatory fresh-water skipper,
in as sustained and finished a character as the
imortal Capt. Cuttle and to say that Mr. Maude
as the former was as good as was the late W
J. Florence in the Dickens' Creation is to pay
him no higher praise possible. His Barley was
delicious in conception and execution. The detail
was perfect make up, gait and voice production
all serving to present a portrait irresistibly comic
in its good-natured pompousness, kind geniality
and shrewd resourcefulness. It was so graphic
and revelatory that it indicated that Mr. Maude
ought to make an ideal Falstaff. Montague Love
was very funny as one of the iracible fathers of
old-fashioned farce and in a bit of water side
character Lennox Paule caused roars of laughter.
"How Wild Animals Live," which is being
shown at Carnegie Lyceum, has proven such an
interesting set of pictures that they will be
continued there until December ;th. The pictures
have a special appeal to children on account of
the interesting animal life depicted and to the
older folks, the educational value is apparent.
Book* Received
THE RUSSIAN BALLET. — By Ellen Terry.
Illustrated. New York: The Bobbs-Merrill Com-
pany.
THE CORYSTON FAMILY.— By Mrs. Humphrey
Ward. Illustrated. New York: Harper & Bro-
thers.
THE ROMANCE OF THE AMERICAN THEATRE.—
By Mary Caroline Crawford. Illustrated. Boston :
Little, Brown & Company.
THE RUSSIAN BALLET. By A. E. Johnson. Il-
lustrated. Boston and New York: Houghton
Minim Company.
JOAN THURSDAY. By Louis Joseph Vance Il-
lustrated. Boston: Little, Brown & Company.
Like the "Sterling" Mark on Silver
Every article advertised in THE TIIKATBE MAGAZINE
is an article of superior quality. It will pay you to
write, asking for catalogue, sample, or full information
whenever interested. So rigid is the investigation of
the publishers that were you to buy blindfolded, you
would be getting full value for your money.
Protected by a double guarantee — that of the adver-
tiser and the publishers themselves — readers can fully
rely upon the sterling worth of what THE THEATRE
MAGAZINE recommends in its advertising columns.
New Victor Records
A New Melba Record.— Mme. Melba's first
1913 engagement in America is with the Victor
Comm' Thro' the Rye (In English). Scotch Air
The First Melba-Kubelik Record.— Ave Maria.
-Bach-Gounod. Here is a reproduction which
may well take its place as a record classic—
trounod s immortal Ave Maria, sung by one of
the great sopranos of the century, with the obbli-
gato given by that master of the violin, Jan
Kubelik.
A Bach Air by Schuma'nn-Heink.— My Heart
Ever Faithful. Johann Sebastian Bach.
Old and New Songs by John McCormack —
III Sing Thee Songs of Araby— Wills-Clay ; /
K 2 Thrush at Eve (Serenade)— Cadman.
A Chopin Etude by de Pachmann.— Etude in
h Minor — Chopin.
Maude Powell plays Elgar's beautiful Love
Greeting. Salut d'amour— Elgar.
De Gogorza sings The Lost Chord.— Proctor-
oullivan.
u-i{LTDrha's Air by Whitehill.— Clarence White-
hill, Baritone. Thais— Voila done la terrible cite •
M assenet. — Advt.
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MAGAZINE
L
o
^Tp
ii
AND LE CHARME UNITED
QJJ
DECEMBER, 1913
$3.50 A YEAR
35c. A COPY
anrt 14
A.. ,
Fashion and the Theatre
Are there any present-day subjects of greater interest than
Fashion and the Theatre ?
Yet, here is an opportunity to procure the publications
dealing with these two most important subjects —
at an actual saving of Two Dollars.
The yearly subscription price of The Theatre Magazine is $3.50. That of
L'Art de la Mode is also $3.50. For a limited time, you can procure both
L'Art de Mode and The Theatre Magazine for the unusual price of $5.00.
L'ART DE LA MODE — The woman who wishes to be absolutely sure that
she is choosing the correct in clothes, realizes what L'Art de la Mode
means to her. In these days of ever changing fashions, it is difficult to
distinguish between those styles which will live and those which cannot.
L'Art de la Mode solves this difficult problem for you. The designs for the
coming season are nowhere more truly represented than in its pages. With this
endless variety before you, you cannot make a mistake.
That doubtful feeling which you have sometimes experienced when about to
purchase anything- that wish that "someone who knew" would advise you — will
no longer trouble you, with L! Art de la Mode to guide you.
Home decoration, shopping, home sewing, handwork — in fact, everything in
which the up-to-date woman is interested — are regular departments under the
heads of prominent experts.
With the November Number, L'Art de la Mode assumed a new form. Smaller
in size but thicker in volume. The additional improvements and changes which
were made have increased its value tenfold, yet its subscription price has not been
increased — -for the present at least.
THE THEATRE MAGAZINE— An evening with The Theatre Magazine is
as entertaining as an evening at the theatre. Reproductions of scenes in current
plays, reviews of the season's successes, intimate chats with stage celebrities,
glimpses into the private life of prominent artists — all this it gives you for a whole
year for less than the price of two seats at any one performance.
You have always wanted to subscribe to The Theatre Magazine -to read all about
your stage favorites- -to see their beautiful portraits — to know what they do off
the footboards — what is going on behind the scenes.
NOW IS YOUR CHANCE— For #5.00, a little more than the price regu-
larly paid for either magazine, you can procure both The Theatre Magazine and
L'Art de la Mode — each dealing with a subject of infinite interest.
If you already subscribe to either publication— here is your chance to renew at less than
the regular price. Your renewal will start only when your present subscription expires.
(This special combination offer of The Theatre Magazine and L'Art de la Mode for
$5. 00 is for a limited time only. Subscriptions must come in to us direct — not through
an agent or dealer) .
L'Art de la Mode
8-14 West 38th Street
L'Art de la Mode Pattern No. 2660
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THE THEATRE MAGAZINE ADVERTISER
XXV
H lifts ©IF tin© Mom ft la
A
Lola Fisher
N unusual form of highway robbery is
practised by Lola Fisher, the enchanting
Alice of "The Girl and the Pennant."
She holds a man up at the point of her be-
witching eyes and alluring smile, and proceeds
to ransack him for "souvenirs" — baseball
souvenirs, for she assures you that she "just
loves baseball" ! Miss Fisher has succeeded in
crowding an interesting career into a brief two
^^^^ and a half years, which is ex-
^t plained by the fact that this
A ardent little worker has never
H stopped to "vacation." After
Jl • coming East from her native
Chicago with the intention of
studying at a dramatic school,
she found the opportunity to play
a small part with a stock com-
pany. It was the part of a
Bowery derelict, dirty and
"tough," but she threw herself
into the work so earnestly that she was engaged
the following week to play a typical ingenue
role, in which she was allowed to be clean.
After a short season there she appeared with
Zelda Sears in "The Nest Egg," followed by
more stock in Mount Vernon and Rochester.
Last winter she was with the Belasco Stock
Company at the Alcazar in San Francisco, and
made her first New York appearance with
Francis Wilson in the spring in "The Spirit-
ualist." The summer was spent with a Buffalo
stock company, after which she was engaged for
her present role of Alice. Miss Fisher was
originally scheduled to become a painter, and
was faithful in following that art to that extent
of doing professional illustrating while still at
High School. But the call of the grease-paint
was too strong to resist, and her devoted family
were easily won over.
No one who has sat through J. M. Barrie's
poignant little drawn "Half an Hour" could fail
to be repelled by the uncompromising brutality
of Mr. Garson. the husband, so forcefully played
by H. E. Herbert. This actor not only plays the
role realistically, but is so well adapted to the
character in voice and physique that, after see-
ing the play, one is amazed to meet a tall,
smooth-faced, good-looking, and extremely mild
^^^ young Englishman. Holmes Ed-
^^f& ward Herbert was born in Mans-
^H b^| field, Nottingham, England, on
- " ^L July 30, 1882. At the age of
* eleven he was sent to the Not-
1 tingham High School and later
J^^" to Bedford College for a business
^H training, his parents intending
Ph^ that he should follow an elder
brother on the London Stock
H. E. Herbert Exchange. Young Holmes Ed-
ward thought differently, how-
ever, and in 1900 joined a stock company at
Sadlers Wells Theatre, in London, where he
appeared as Paul in "The Octoroon," followed
by a round of children's parts varying from
Willie Carlyle in "East Lynne" to Puss in "Puss
in Boots" and Man Friday in "Robinson Crusoe."
After remaining there for three seasons he
played small parts in F. R. Benson's Shakes-
pearean Repertoire Company, followed by en-
gagements with Edmund Tearle, in which he
played a number of parts in Shakespearean and
old English comedies. Later he toured with
Henry Leville and Edward Terry, and then
came tours and stock seasons with Adelphi and
Drury Lane dramas. In 1908 he joined Miss
Lena Ashwell's company at the Kingsway
Theatre, London, followed by engagements at
the Lyceum, The Aldwyck, the Court, and His
Majesty's Theatres. His last appearance in
England was as John Shand in "What Every
Woman Knows," supporting Miss Hilda Trevel-
yan. Last year he came to America to play Capt.
Nicholas Jeyes with Billie Burke in Pinero's
"Mind the Paint Girl," and later played Stephen
Ballantyne with Blanche Bates in "The Witness
for the Defence." Besides his love for his work,
this Englishman is very fond of sports, particu-
larly goft and fencing.
A splendid portrayal of a type is given by
Haidee Wright, who is appearing with Ethel
Barrymore in "Tante." As Miss Scrotton, or
"Le Scrotton" as Tante teasingly calls her, she
presents a type we all know — the woman who
worships at the shrine of the musician, rather
than of music. Miss Wright is an English-
jfnmfclfn Simon a Co.
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SIZES, 14 to 20 YEARS
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plaited silk chiffon, in coral, light blue,
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ams
Octavo size, 1 20 pages, taste-
fully bound in superior quality
silk cloth, charmingly illustrated
with fine plates made from 20
valuable 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.
Also a list of the complete
casts of some of the earlier New
York productions in which Miss
Maude Adams took part and
where they were produced.
An exclusive and genuine Edition de Luxe, with vividly interesting text.
A most valuable wcrk, a limited edition of which has just been purchased by
THE THEATRE MAGAZINE. The book is sold in the open market and retails
for $1.50, but we will give away one copy to each new subscriber to THE THEATRE
MAGAZINE for one year at the regular price of $3.50, sent direct to our office.
We reserve the right to withdraw this offer immediately after the present edition is
exhausted. Send applications accompanied by money-order or check at once.
IJie Tkeatre Magazine Co., 8 to 14 W. 38tK St., New Yorl
?•-,.« * ,, n ,\,,,>^l'i<-nrr< \r\r\A\it »-*-l*i*l t i/t*i T 1.1 P T II IT ATT»TT AT A n A *7TMIT
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
XXVI
THE THEATRE MAGAZINE ADVERTISER
a
merry
X-mas
Uss*^"
GOLD SEAI
Special Dtf
CHampagne
\M
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Celebrate Christmas in an American way with an American wine. For
the fitting observation and the making of
REAL CHRISTMAS CHEER
serve Gold Seal Champagne. The American wine that prove* import duty
and ocean freight to be useless waste. You can pay more for wine than
Gold Seal costs, but you cannot get a better champagne at any price.
Two kinds: Special Dry and Brut. Order a Bottle or Case Today
SOLD EVERYWHERE "ALL WINE-NO DUTY"
(PRONOUNCED O- COOL-YEA)
3 Francs in Paris — 75 cents in
New York
An Emollient Water that has been used
in place of cold creams and massage
creams by Parisienne ladies for over fifty
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Eau Gorlier contains no grease — does not
clog the pores and is applied lightly with a
cloth, cleansing the skin without the harsh
massaging that kardens and callouses the
tissues.
Eau Gorlier is now sold by all good
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size will be sent you on receipt of 12c.
in stamps.
HY J. ROUSSEL, Inc.
1257 Broadway New York City
2 and 4 Place des Vo»ges, Paris
NO one on earth can mix two cock'
tails equally well by guess-work.
The whole charm of a cocktail is in
the smoothness that comes from ac-
curate blending and aging.
That is why Club Cocktails are always
fine and smooth — mixed to measure —
of the best liq uors — then aged in wood.
Get your favorite kind at your dealer's.
G. T. HEUBLEIN A BROTHER
"Penny Wise and
Pound Foolish"
applies to the woman who will spend a pretty sum on her Winter apparel,
yet will hesitate at 35 cents for the advice of French fashion experts.
To get the most out of your investment — to be absolutely sure that you
are choosing the "correct", consult first the December Number (January
Fashions) of L'Art de la Mode — now out.
L'Art de la Mode
8-14 Weit 38th St.
New York
35 cents a copy
All newsstands or from the publishers
woman, born in London. Prior to her present
engagement her only appearance in America was
when she came here four years ago to play The
Painted Lady in "The Passing of the Third
^_ Floor Back" with
.^•^B^K^t^. Forbes-Robertson. Her
characterization of the
middle-aged, foolishly
frivolous woman, who
tries in vain, by use of
cosmetics, to cover the
ravages of time, will
long linger in the
memories of those who
•P^l^k-. saw it. Miss Wright
made her first appear-
ance on the stage at
Haidee Wright the Lyric Theatre, play-
ing the tortured boy,
Stephanus, in Wilson Barrett's play, "The Sign
of the Cross," which ran for two years at that
theatre. After that she appeared as Pedro when
Lewis Waller put on "Don Caesar de Bazan," fol-
lowed by a season of one-act plays at Lena
Ash well's Theatre, The Kings way. On her re-
turn to England, after her American tour with
Forbes-Robertson, she created the part of Ger-
trude in "Milestones" at the Royalty Theatre.
London. After a run of eighteen months in that
play, Miss Wright was engaged by Charles Froh-
man for her present role.
Pierrot is with us again, in the exquisite poetic
fantasy by Laurence Houseman and Granville
Barker, called "Prunella." He comes with his
motley crew — "faithful followers of his purse"—
and he laughs and sings and steals
away the heart of innocent little
Prunella. Ernest Glendinning,
who invests the part with an ap-
pealing charm, was born in 1884
in Ulverston, Lancashire, Eng-
land. After graduating from
Margate College he came to
America in 1900, and was per-
suaded by his father, John Glen-
dinning, the well-known actor, to
accept a clerkship with the Stand-
ard Oil Company. Here he worked for three years,
keeping his desire to act bottled up within him. In
1903 he joined his mother and father in Annie
Russell's company, playing in "Mice and Men."
He spent the summer with a stock company, and
appeared the following winter with John Drew.
A year later he was with Mrs. Patrick Campbell,
after which he spent four years at the Alcazar
in San Francisco, and with the Belasco company
in Los Angeles. After his valuable stock experi-
ence, which gave him the opportunity to play
many parts, he opened at the Belasco in New
York with Charlotte Walker in Eugene Walter's
"Just a Wife." In May, 1910, he appeared in
the all-star revival of "Jim the Penman" at the
Lyric, and soon after was seen as Alfred Hardy
in "Baby Mine," with Marguerite Clark. Last
year he was in "The Brute," and later appeared
at the Winter Garden in "The Honeymoon Ex-
press." Then, after a few months at the Comedy
Theatre in "Her Own Money," he was engaged
for his present role of Pierrot. Y. D. G.
Ernest
Glendinning
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
Shaw's Play Hissed
A cable dispatch to the New York Times from
London says that "Androcles and the Lion,"
George Bernard Shaw's new play, produced at
the St. James' Theatre, is a skit on the pseudo-
religious drama. It is based on the familiar
fable, interspersed with little glimpses of very
earnest reality. The comic relief is supplied by a
merry lion, whose fantastic gambols have never
been surpassed even in a Drury Lane pantomime,
his antics including a dance of joy with An-
drocles after the latter has extracted a thorn
from his paw and the chasing of an Emperor
around the stage. But it is the religious con-
versations in the play that really matter. Mr.
Shaw as used the old story to turn the tables
not on modern Christianity necessarily, but on
the tyranny of any religion or custom. There
is a succession of scenes in and about the Roman
arena, the characters consisting of Christians
destined for the lions, and Romans from the Em-
peror down to a common soldier. There is a
love affair between a Roman captain and a cap-
tive, Lavinia, and there are many scenes in which
Mr. Shaw is apparently poking fun at such plays
as "The Sign of the Cross." The audience was
on the whole friendly, but the reception of the
play was by no means cordial. In fact, there
were some hisses, apparently from members of
the audience who were offended by Mr. Shaw's
satire at the expense of their faith. The critics
are divided in opinion, some declaring the play
excellent fooling and others regarding it as un-
worthy of Shaw and "full of cheap wit which
one might expect from a schoolboy."
THE
THEATRE MAGAZINE ADVERTISE
R xxvii
L CHARLES FROHMAN'S ATTRACTION S-SE
ASON 1913-14
•»^™
CHARLES FROHMAN presents
CHAKLKS FKOHMAN pre»enU
JO
HN DREW
IN A DOUBLE BILL
MAUDE ADAMS
BARR1E
S THE WILL p'Tydcd
In J. M. BARRIE'S NEW
PLAY
THE TYRANNY OF TEARS
By C. HADDON CHAMBERS, Author of "TANTE"
THE LEGEND OF LEONORA
CHARLES FROHMAN
CHARLES FROHMAN
CHARLES FROHMAN
presents
presents
ETHEL
BARRYMORE
MISS
BILLIE
NAZIMOVA
TANTE
BURKE
In the 4 Act Drama
BELLA DONNA
A New Comedy by
C. HADIJON CHAMBERS
Founded on the novel of that name
The LAND OF PROMISE
Adapted from the novel by
KOHP.KT HKHBNS
by ANNE DOUGLAS SEDGWICK
W. SOMERSET MAUGHAM
By JAMBS BERNARD FACAN
CHARLES FROHMAN presents
CHARLES FROHMAN presents
RICHARD
CARLE
HATTIE
WILLIAMS
DONALD BRIAN
And 100 Funmakers
In (he Latest Musical Comedy
In the Season's Merriest Musical Comedy
Success of London and New
York
THE DOLL GIRL
THE MARRIAGE MARKET
CHARLES FROHMAN
CHARLES FROHMAN
CHARLES FROHMAN
presents
presents
presents
JULIA
SANDERSON
WM.
COLLIER
The Police-Detective Comedy
THE
In the Best Musical Comedy
of last year and this
THE SUNSHINE GIRL
In a New Farce
A Little Water on the Side
By
CONSPIRACY
With
With JOSEPH CAWTHORN
WM. COLLIER & BRANT STUART
JOHN EMERSON
KLAW & ERLANGER'S
Attractions and Theatres
SEASON
1913-1914
GENERAL OFFICES
NEW AMSTERDAM THEATRE BUILDING
214 WEST 42d STREET. NEW YORK CITY
Managers' Exchange Offices : New Amsterdam Theatre, New York City
:: :: :: New Orleans Theatres : the Tulane and ihe Crescent
Liberty
42dSt.,W. of B'way
Gaiety
B'way and 46th St.
Grand Opera House
Eighth Ave. and 23d St.
Night and Sat. Matinee
Prices: .23to$1.0U
Mat. Wed. .25 to .50
"THE HOUSE BEAUTIFUL"
New Amsterdam
42d St., W. of B'way
In Ass'u with CH. FROHMAN
Knickerbocker
B'way and 38th St.
Cohan Theatre
B'way and 42d St.
-THE HOUSE BEAUTIFUL" Thc jj^, Comedy f^ Excel,ence
New Amsterdam "THE LITTLE CAFE"
42d St., W, of B'way
Evening, 8.13. Matinees Wed. and Sat. 2.15 Book and Lyrics by C. M. S. McLELLAN Music by IVAN CARYLL
Founded OD the Farce
"Le Petit Cafe"
By Tristan Bernard
The Last Word in Musical Comedy
"Oh! Oh! Delphine!"
Book and Lyrics by C. M. S. McLELLAN
Music by IVAN CARYLL
Elsie Ferguson
in the comedy by WILLIAM HURLBUT
"The Strange Woman"
The New Musical Comedy
"The Governor's Folly"
(Based on Leo Birinski's "Narrentanz")
Book by Glen MacDonough Music by Hugo Riesenfeld
Robert Milliard
in
"The Argyle Case"
By HARRIET FORD and HARVEY J. O'HIGGINS
Written in co-operation with Detective WILLIAM J. BURNS
Henry Miller
in
"The Rainbow"
By A. E.THOMAS
Otis Skinner
(By Courtesy of Charles Frohman)
In an "Arabian Night"
"Kismet"
By EDWARD KNOBLAUCH
Produced and Managed by
HARRISON GREY FISKE
EUGENE WALTER'S
Dramatization of the Popular Novel
"The Trail of the Lonesome Pine"
By JOHN FOX, Jr.
With
Charlotte Walker
IN PREPARATION
A new play entitled
"Marie Claire"
By A. E. THOMAS
(From Pierre Fondae's "Montmartre")
A Drama in Four Acts
"The Unseen Empire"
ByATHERTON BROWNELL
A new play entitled
"SILK"
By FRANK MANDEL and IRMA KRAFT
IN ASSOCIATION WITH JOSEPH BROOKS
WM. H. CRANE-DOUGLAS FAIRBANKS-AMELIA BlNGHAM-PATRICIA COLLINGE in "THE NEW HENRIETTA"
GENERAL LKW WALLACE'S
"Ben Hur"
Arranged for the stage by WILLIAM YOUNG
Music by EDGAR STILLMAN KELLEY
Greatest Play of Modern Times
Mabel and Edith Taliaferro
In the new comedy
"Young Wisdom"
By Rachel Crothers
THE DELIGHTFUL PLAY
"The Poor Little Rich Girl"
By Eleanor Gates Bus. Direction J. M. Cieamer
The Season's most conspicuous
dramatic success
"Milestones"
By ARNOLD BENNETT
and EDWARD KNOBLAUCH
IN ASSOCIATION WITH CHARLES FROHMAN
BLACKSTONEand STUDEBAKER THEATRES, CHICAGO METROPOLITAN THEATRE, SEATTLE
01. YM PIC and CENTURY THEATRES, ST. LOUIS MASON OPERA HOUSE, LOS ANGELES
ATLANTA THEATRE, ATLANTA
EMPIRE THEATRE. SYRACUSE
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
XXV111
THE THEATRE MAGAZINE ADVERTISER
JOHN CORT'S STARS
ANNA HELD
HEADING
Anna Held's All Star
Variete Jubilee
Wre ami WH
AND THE
World's Best Dancing Chorus
IN
THE HAM TREE
Li WIN RUSSELL
HEADING
Lillian Russell's Big Feature
Festival
IN
Anne Crawford Flexner's
Sparkling Comedy,
THE MARRIAGE
GAME
GEO. M. COHAN and his own company in the wholesome American play
;< Broadway Jones"
GEO. M. COHAN'S Mystery Farce
"Seven Keys to Baldpate"
From the story by Earl Derr Biggers
RAYMOND HITCHCOCK in the Musical Comedy Sensation
'The Beauty Shop"
Book and Lyrics by Channing Pollock and Rennold Wolf
Music by Charles J. Gebest
"Nearly Married"
The Funniest Farce in All the World. By Edgar Selwyn
"Stop Thief"
A Farce full of Laughs, Thrills and Surprises. By Carlyle Moore
In Preparation
" THE HOUSE OF GLASS "
A Drama. By Max Marcin
"IT PAYS TO ADVERTISE"
A Satirical Farce. By Roi Cooper Megrue and Walter Hackett
"BACK HOME"
By Bayard Veiller and Irvin Cobb
"MONEY MANIA"
By Max Marcin
"SOMETHING FOR NOTHING"
A Comedy. By Porter Emerson Browne
"THE THREE RING BRIDE"
A Musical Comedy. By Winchell Smith and John Golden Etc.
HARRISON GREY FISKE
MRS. FISKE
IN
In Association with Messrs. Klaw & Erlanger
OTIS SKINNER
Edward Sheldon's Play
THE HIGH ROAD
IN
KISMET
A New Comedy
By Hutcheson Boyd and Rudolph Bunner
THE
HONEY BEE
Grace George
and her own company in " Miss Jenny
O'Jones," by Avery Hopwood.
Of Family Cupboard
By Owen Davis.
This Year's Playhouse Success. 6th Month.
Heart Strings
By Laurence Eyre.
This attraction to open soon.
Little Women
Four capable companies presenting the
success of the centur y .
Little Miss Brown
Phillip Bartholomae's farce hit, playing
^ principal cities.
Ready Money
The James Montgomery Comedy, presented
by two companies.
Way Down East
1 9th consecutive year in first-class theatres.
Knows no rival.
Beauty omy Skin Deep
Booked for 62 weeks in vaudeville, U. B. O.
THE ACTIVITIES
-OF-
iiliam yrafly.Lii
Address: WILLIAM A. BRADY, Playhouse, New York City.
THE DRURY LANE COMPANY OF AMERICA
WILLIAM A. BRADY, the Messrs. SHUBEHT, F. KAY COMSTOCK. MORRIS GEST.
The Whip
The world's biggest melo-drama. Break-
ing all records in Boston.
Hop O'My Thumb
Manhattan Opera House
Sealed Orders
October, igu, Manhattan Opera House.
Now running at Drury Lane, London.
Fair Play Agency
Miss M. Healy, Manager.
The Best Plays For Stock Controlled.
The Whip
An all-English company from Drury
Lane. Playing principal cities.
Cheer Boys, Cheer
To follow Hop O'My Thumb at Manhattan
Tfie Sleeping Beauiyr'Beas i
November, 1914. At a Broadway theatre.
Another Drury Lane importation.
The Playhouse
Wilmington. Del.
The Playhouse
Chicago (formerly Ziegfeld's Theatre.)
in association with Comstock & Gest.
Robert B. Mantell
Repertoire of Shakespearean drama featur
inz King John.
Believe MeXantippe
By Frederick Ballard.
With John Barrymore and Mary Young.
Bought and Paid For
By George Broadhurst.
Five balanced companies playing U; S.;
three playing England and one in Australia
in April.
Baby Mine
One company in U. S., one in Australia and
two in England.
Bunty Pulls J5 Strings
With Molly Pearson and Scotch Co.
Hindis Wakes Players
Headed by Herbert Lomas. in a reper-
toire of plays.
New Plays
B y George Broadhurst, Jules Eckert
"oodman, Jean Nathan. Frank Craven,
Robert Housum, Thompson Buchanan.
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
THE THEATRE MAGAZINE ADVERTISER
XXIX
DAVID BELASCO'S ATTRACTIONS
SEASON 1913-1914
DAVID WARFIELD
FRANCES STARR
"THE TEMPERAMENTAL JOURNEY"
With LEO DITRICHSTEIN
THE BELASCO THEATRE
THE REPUBLIC THEATRE
The Files of the Theatre Magazine
are Invaluable to Collectors
BIND YOUR NUMBERS OF THE
Theatre Magazine
READERS who have
J 1 •
preserved their copies
and return them, to us in
good condition, by express,
prepaid, will receive a com-
plete copy, together with
title page, table of contents,
on payment or $3.00.
The Twelfth Year (1913)
is bound in TWO VOLUMES
Under the direction of
WINTHROP AMES
LITTLE THEATRE BOOTH THEATRE
Forty-fourth Street, Wert Forty-fifth Sueet, We*
V of Broadway V Y of Broadway Y
THE
GREAT
ADVENTURE
A New Comedy
ARNOLD BENNETT
A Fantasy
Laurence Housman and Qranville
With JKutic by Joseph JKoorat
Longacre Building
YORK*, Forty-«cond and Broadway
Christmas, Nineteen-Thirteen
To People who Write ;
and to People who Act:-
I want Plays of Youth.
I believe that the artistic taste of
the American public is the healthiest in
the world, and therefore I am searching
only for those plays which are clean,
wholesome and sweet. In comedy, I have
faith only in those comedies whose humor
is essentially in the characters and their
situations ; comedies not devoid of dramatic
situation and incident ; comedies not cold
and glittering, but those in which smiles
and laughter are intermingled with tears
and heart-throbs human comedies.
I desire to correspond with profes-
sional people of energy, originality and
ambition. I want youthful people for
youthful parts, providing they have a
certain amount of experience.
I want to find another author who can
unveil sunshine and laughter and love as
J. Hartley Manners unveiled them when he
wrote "Peg o1 My Heart," which the art of
Laurette Taylor has made the most success-
ful comedy in the world.
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
THE THEATRE MAGAZINE ADVERTISER
Obey That Impulse!
CHRISTMAS ANNUAL— Price twenty-five cents: in-
cluded in regular yearly subscription.
PROPER NUMBER— Is a bare possibility of the future.
Is it safe for LIFE to issue such a number? We hesi-
tate, but are full of courage and enthusiasm.
NEAR-HUMOROUS NUMBER— This is coming. It is
the best substitute for a regular humorous number
that we dare to issue. We have long since abandoned
getting up a humorous number.
YOUR FRIENDS are now hoping that you will not
spend too much of your valuable time in searching the
shops for a useless Christmas gift. Get it off your mind
and order LIFE sent for one year. It will be a constant
reminder that you are a supremely intelligent person,
besides furnishing them with a liberal education— all
for $5.00. (Canadian and foreign postage extra.)
Miniature Life, No. 2, sent free to any address for a
two-cent postage stamp. For ten cents we will send a
number of sample copies.
Copr. Life Pub. Co.
Enclosed find Five Dollars (Canadian $5.52,
Foreign $6.04). Send LIFE for one year to
LIFE, 27 West 3ist Street, New York
D
District Subscription Managers Wanted
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manager to look after our subscription interests, we offer a
splendid opportunity to the right sort of person. We want a
hustling, energetic man or woman who will put out our advertis-
ing booklets, collect renewals of expiring subscriptions, but most
of all push out after new business. The work need not occupy
more than your spare time, and if you possess the right sort of
energy you will find it not only very interesting and pleasant
but also exceptionally remunerative. Our district managers
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Drama Society to be 1,000
At a meeting of the Drama Society on Novem-
ber 2ist last, at the Hudson Theatre, this city,
it was announced that the organization, which
now purchases a thousand orchestra seats for
each of ten plays bulletined as ''good plays" by
the society in New York, would increase its
membership from 500 to 1,000, and in this manner
buy 20,000 tickets during a season for the ten
selected plays instead of 10,000. Each member
of the society buys two tickets to each show.
In addition the Drama Society will increase its
associate membership, which has until now been
open only to school teachers. The general public
will be permitted to become associate members,
and as such buy balcony and gallery seats for the
ten bulletined plays at reduced prices.
Under the new plan the Drama Society will
supply a good play with a large audience. It
believes, says the New York Times, and the
theatrical managers believe likewise, that the best
advertisement a show can get is the praise of
satisfied theatre-goers who talk about the play
to their friends, so that the enlarging of the
society is expected to reap great rewards for
the box offices of the good shows.
Prominent at the meeting were Mrs. August
Belmont, Mrs. Philip Lydig, Mrs. W. K. Vander-
bilt, Mrs. Egerton L. Winthrop, John Corbin, and
other well-known men and women.
John Corbin, Secretary of the Drama Society,
outlined the plans for increasing the membership
of the organization. By purchasing the cheaper
seats as well as the orchestra seats, he said, the
society would furnish an intelligent audience for
every part of the theatre. "The society will grow
to such importance," said Mr. Corbin, "that even-
tually it will be able to demand the production
of any play which it may want and to assure the
manager who produces it a fair hearing before a
paying crowd."
W. G. Fay, a leader in the movement for a
better theatre in Ireland and a member of the
"General John Regan" company, now playing
here, told of the organization of stage societies
in England and Ireland, and Canon James Owen
Hannay, of St. Patrick's Cathedral, Dublin,
author of "General John Regan" and a number
of novels, addressed the society on the position
in which he found himself as a clergyman and
playwright at the same time.
"I hope," said Canon Hannay, "that a consid-
erable number of the clergy get into closer per-
sonal touch with actors; that they get on the
one hand to realize the fact that actors and
actresses are not necessarily disreputable, or
necessarily or often immoral; that there is a
bohemianism about their life, and that this is
a bohemianism entirely virtuous and right, and
that on the other hand the actors and actresses
get into closer personal touch with the clergy
and come to regard us less as a kind of horrid
or etherized Mrs. Grundy, and that at all events
we have at least potentialities of friendship in us."
Lady Warwick Writes "Movies"
The Countess of Warwick, says a London
dispatch to the New York Times, has entered a
new field of industry and has joined the rapidly
increasing band of composers of moving-picture
scenarios. She will write plays for Messrs. Bar-
ker & Kisch, and Warwick Castle, with its thou-
sands of acres of deer park, beautiful gardens,
and woodland, will be used as a setting for the
film dramas. Lady Warwick admits that she has
written her first play in "a highly sensational
vein." It is called "The Great Pearl Affair," and
is therefore extremely topical. In time, however,
she hopes to prove that things of a far higher
character can be "filmed." She is convinced that
much of modern thought can be demonstrated on
the films. Then, too, there is much history that
is practically unknown in the Warwick archives.
She says :
"I have two incidents now in mind that will
form admirable subjects for dramatic treatment.
They concern Piers Gayeston and Isabel, one of
the daughters of Warwick the King Maker, who
married the Duke of Clarence. They will have
Warwick Castle as a setting. There is much that
can be done to raise the picture palace to a splen-
did position as an educative influence, and I have
great hope and high ideals."
Century Opera Company
The Messrs. Aborn announce another rear-
rangement of the schedule of operas at the Century
Opera House. Owing to the public demand for
a repetition of certain operas the Century Opera
Company will present for the week beginning
Tuesday, December 3oth, "La Bpheme," instead
of Massenet's "Manon," which will be sung dur-
ing the week of January 27.
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
THE THEATRE MAGAZINE ADVERTISER
XXXI
Advertising the Play with the
"Punch"
IX the past few months the play producer and
the showman generally have endeavored to
solve the problem of attracting the paying
public to the box office through what is called
unusual newspaper advertising such as would
cause the Barnums and Havcrlys of other days
to look on in amazement were it possible for
them to gaze upon the spectacle of full page
announcements in the big city dailies now spread-
ing its influence in all the larger cities.
And yet there is nothing new about the po-
tency of prodigious advertising, in fact, some of
the greatest financial successes in stage history
had their origin in a display of unusual publicity.
\Yhen the late James M. Hill became a play
producer he was wont to insert an entire page
in every large city newspaper with all of his
attractions, and he claimed that by this mode of
procedure he had made all three of his attrac-
tions permanently successful.
T h-se three attractions were Margaret Mather,
IK'iiman Thompson, and a farce comedy called
"All the Rage." It is a fact that when Hill pre-
sented Thompson at the I4th Street Theatre he
was prepared to sit patiently until the public was
brought to realize that Joshua Whitcomb was a
character so lovable and the play itself so appeal-
ing that they would find their way to the box
office through sheer desire, but the public interest
was slow in developing and Hill could not recon-
cile himself to the loss of a thousand or two
every week though he was impressed by the fact
that each week the deficit was smaller.
To use a full page in every one of New York's
dailies was not a small undertaking — it meant
the spending of about $12.000 over and above the
customary outlay — but Hill was never in doubt
as to the outcome; what he sought was to start
his campaign of advertising at the right time, and
this he thought had arrived when the box office
records showed a weekly loss of $600 — as com-
pared with $2.000 at the outset.
Although Hill absorbed a full page in all of
the ten morning and evening newspapers in New
York at this period (1883), the space occupied
by the advertisement itself was about two inches
— and this read as follows :
DENMAN THOMPSON as UNCLE JOSHUA
At the I4th Street Theatre
All the rest of the page was blank — undoubtedly
such a display would create a sensation even in
this era of wondrous publicity, but in those days
the effect was electrical, while on the "Rialto,"
showman looked askance at each other and the
general verdict was that Hill had utterly squan-
dered a fortune — that New York was not to be
impressed by a mere display of printer's ink.
But Hill was satisfied and only expressed re-
gret that he had overlooked two Brooklyn
dailies, and these he at once added to the list,
making his investment close to $15,000.
The I4th Street Theatre was doing a business
of about $2,500 a week previous to this adver-
tising, and this total represented a gradual in-
crease from almost nothing at the outset of the
engagement. The first week following the un-
usual advertising revealed a total for the six
days of $4.200, and then by leaps and bounds the
business jumped to $8,000 a week capacity, and
there it remained to the end of one of the great-
est runs in theatrical history.
Recently, that is for a period of about a year,
all of our play producers have shown their belief
in unusual advertising. It is now quite the cus-
tom for the manager to spend from $1,000 to
$5,ooo in extra advertising immediately after the
first night of a new offering, and this custom
holds wholly independent of the critical verdict.
Moreover, during the present theatrical season in
New York a resort to unusual advertising has
completely changed the conditions under which
theatres and productions alike were operating.
Last season "The Conspiracy" was condemned
by the critics generally, and surely no one will deny
that the Garrick Theatre was not likely to house a
"hit" under unfavorable conditions, hence there
is no other way to explain an almost capacity
business in a playhouse that has sorely tried Mr.
Frohman to find compelling attractions. Surely
the persistent advertising campaign is the only
explanation, and, let me say, this has been most
expensive. "The Conspiracy" extra advertising
has totalled at least $20,000.
Werba and Luescher have always — ever since
their advent with "The Spring Maid"— been
tremendous advertisers, and their idea is that if
you are going to spend $10,000 to advertise a
new production, spend it as quickly as you can.
Klaw and Erlanger have been placing full page
advertisements in a half dozen largely circulated
newspapers, and this proceedure has been in
LJARPER'S BAZAR, the oldest
*• * journal of fashions in America,
has ever been the mentor of cor-
rect attire for stylish women.
The Bazar renders to its readers a
fashion service of the most superior qual-
ity. Poiret, Drian, Baskt, the designers
to whom Paris goes for its piquant
modes, are bound by a contract to sup-
ply their delightful creations to Harper's
Bazar.
Page after page of beautiful photo-
graphs and sketches show the final de-
velopments in dressmaking art.
Just imagine what keeping in close
touch with these matters will mean to
you. Just imagine of what value these
authentic styles will be when you choose
your next gown. You cannot be in error
if you have the Bazar to guide you.
Fashions, ultra-modern and absolutely
exclusive, society news, rich illustrations.
Harper's Bazar and quality are synonyms. If
you would know what the world of fash-
ion is doing, if you wish to be smartly
gowned, you should not try
to get along without
this de luxe pictorial.
Sign the coupon now.
HARPER'SBAZAR
119 West 40th St., New York City
"
IH (I NHI k l'»O
OUTNG
Carries the Outdoor Season all through the
year with articles of Fiction and Fact, Sport
and Travel, not to be found elsewhere.
25cperCopy. $3.00peryearor$2.50
if added to your Club subscriptions
The American
Playwright
Edited by WILLIAM T. PRICE
(Author of " The Technique of the Drama "
and " Th Analysii of Play Construction.",1
A MONTHLY devoted to
the scientific discussion
of Plays and Playwriting.
I 5 cents a copy. $ 1 .5 0 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
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
XXX11
THE THEATRE MAGAZINE ADVERTISER
THE JOYS OF A COUNTRY GARDEN
THE back-to-the-land movement of the past twenty years is today greater than ever. The rapid
growth of many cities has forced the development of suburbs, which are now becoming so congested
that the only relief to be found is farther out into the real countryside. There is where the joy of
living ia greatest. This trend of population country-ward has created a class of magazine readers who de-
sire a periodical devoted to their needs in the garden, orchard, and about the home.
The Countryside Magazine
SUBURBAN LIFE
For nearly ten years this magazine has filled this important need. It is sumptuously made, with its large pages,
ample margins, beautiful three-color illustrations, and absolutely perfect printing. It not only lends distinction and
character to your reading-table, but is thoroughly practical in its contents.
SUBURBAN LIFE, The Countryside Magazine, is not published exclusively for the rich estate owner, but for the average
man in whatever profession, trade or business he may be engaged, who has a garden or a few acres devoted to fruit and
poultry in connection with his home. It is helpful in its editorial matter. Each month's issue reflects the special appeal
of the countryside at that season — the garden in spring, the vacation in summer, house-building in fall, and travel or
outdoor sports in winter. Each issue will prove entertaining, helpful, and valuable to file for reference,
THE SUBURBAN GARDEN GUIDE
Here's one of the most practical handbooks f or guick reference ever offered to the suburban
dweller. Written by one of our former editors, it contains in concentrated form just the
information needed regarding the planting time of all kinds of flowers and vegetables; o®X
what to grow and how; when and how to spray, etc. This manual measures 5^x7 \' s
inches,iB neatly printed on strong high-^rade paper, hand-sewed and bound in flexible **S
linen — a very serviceable guide-book which you can put in your coat pocket. ^C^
X' ^
«V&0 4&-
Here's an exceptional opportunity for you lovers of nature and ^yX *&*^<P
real home life to become acquainted with this beautiful and helpful . ^S ^. -f ^°
:„, ITU : t ci..L.7_i T :r. mi. _ *~* ^ ; _i - •** :_T *V.X . Vi *
i very serviceable guide-book which you can. put in your coat pocket.
Our Great Dollar Offer
magazine. The price of Suburban Life, The Countryside Magazine,
is $3.00 a year. To introduce it to readers of this magazine, we
will send the magazine six months and also the Suburban
Garden Guide, lor $1.00. If you accept this offer imme-
diately, we will date your subscription from the January,
1914, issue, and send the intervening 1913 numbers free.
This is an offer you cannot afford to neglect. Fill out
the coupon and mail to us with a dollar bill, money
order or check. Do it now, before you forget.
THE SUBURBAN PRESS, Publishers 4
334 Fourth Avenue, New York /*
sss
A. "Popular Edition of this Famous "B o o K
One Volume In 8vo. Bound In Paper
PRICE. 50 CENTS
LOVE IJV F*RIEJVDSHir
(A Nairveles* Sentiment)
With a Preface in Fragment* from STENDHAL
Tranjlaitd from th* Frtnch t>y HE.fl'R.y TEffE W "BO1S
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 Le Figaro, said:
have a place in the collection, so voluminous already, of modern ways of love.
MEYER BROS. CO.. Publishers
8 to 14 West 3Sth Street. New York
order for everyone of their attractions. Even
one that has been doing a business of $18,000 a
week for months.
Evidently these gentlemen of large affairs in
theatredom have tested the value of vast adver-
tising and have found that the results are wholly
constructive, and it is an accepted fact that as
showmen do so does the publicity man of the
great industrial and commercial institutions.
This is true despite the greater capital and the
smaller impress attending the latter. The public
taking, as a matter of course, the almost com-
mon full page announcements of such concerns
as the Aeolian and the three phonograph com-
panies, yet these are addressed to 'the amusement
loving public and undoubtedly have exerted an
influence on theatrical managers.
Up to a year ago the .tremendous vogue of the
moving picture has been accomplished almost
without a report to the newspaper as a medium
for exploitation, but in the last year the advent
of the $ioo.oco special film release and the ap-
proach of the $200.000 screen production has
completely changed the publicity policy, not only
of the manufacturers of films, but the exhibitors
now advertise the unusual product of the film
studio in a manner that will "go home."
What is now expected on the "Rialto" — and
the expectation is justified — is the immediate use
of the full-page advertisement "on the road."
Already one concern has sent out a contractor
for space, with instructions to demand a certain
exclusive privilege for this firm. This means an
effort will be made to purchase the exclusive
privilege of full-page advertising in a group of
vastly circulated dailies.
That this part of the innovation may fail seems
certain, but that such methods are even contem-
plated should indicate the influence likely to be
exerted by the movement itself, not only in
theatredom, but also in the industrial and busi-
ness world — and particularly to exploit what is
called the Feature Photo-play. ROBERT GRAU.
Morosco Play Contest
Oliver Morosco, producer of "Peg o' My
Heart." is after a new play, and his representa-
tives have announced a prize contest with $1.000
in cash, advance royalties of $500, and the same
terms upon production given the author of "Peg
o' My Heart" for the best play submitted before
January 15, 1914.
No play of the "sex" or "vice" variety will be
considered. Mr. Morosco prefers a comedy, but
will not limit the contest to that sort of enter-
tainment.
The judges will be three, Otheman Stevens.
dramatic critic of Los Angeles ; Waldemar
Young, dramatic critic of San Francisco, and
Oliver Morosco.
Manuscripts may be sent directly to Mr. Mo-
rosco in Los Angeles, or to T. Daniel Frawley,
general stage director for Oliver Morosco in
New York, at his office in the Long Acre Building.
Frohman's Favorite Books
A New York newspaper lately asked Charles
Frohman for the titles of his five favorite books
and his reasons. This is what Mr. Frohman
wrote :
"I am not altogether certain that the follow-
ing list will have any significance for anybody
except myself; especially because of the reasons
I have appended. But you ask me a question
and I gladly offer you my best answer."
1. "The Little Minister."
Because it is a great and moving story. It un-
covered a great dramatist in a great novelist —
J. M. Barrie. From the novel, "The Little
Minister," to the play, "The Little Minister," Mr.
Barrie so shifted his characters as for all time to
mark the difference between story telling and
playwriting; and that is that in the novel "yes"
means "yes" and in the dramatization of the
same novel "yes" means "no."
2. Aristotle's "Poetics" and "Principles of the
Drama."
Because it gives sound rules, as to how to
write a play; and as I do not believe there are
any immutable laws for playwriting, Aristotle's
book entertains me. As all subsequent books on
playwriting are founded on Aristotle my enjoy-
ment in dipping into each of them as they come
along is very keen.
3. "Sherlock Holmes."
Because it illustrates what a wonderful story
teller Conan Doyle is and what a remarkable
dramatist is William Gillette; because Gillette
uses all of Doyle's characters and none of his
story.
4. Roland Strong's "Restaurants in Paris."
For reasons too obvious to name.
5. Mark Twain's "Tom Sawyer."
Because it depicts so naturally genuine boyhood
life and demonstrates to the world one of the
world's greatest humorists.
When writing to advertisers, kindly mention THE THEATRE MAGAZINE
RIVERSIDE PRESS. NEW YORK
BINDING SECT. OCT 2 3 1968
2000
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