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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 

ANGELUS 

The  PIONEER  PLAYER-PIANO 

For  more  than  fifteen  years  the  Angelas  has  been 
the  pioneer  in  the  development  of  the  player  as  a 
means  to  enable  anyone  to  play  the  piano  artistically. 
Now  is  added  another  enjoyment — the  listening  to 
the  playing  of  the  world's  most  eminent  pianists— 
by  means  of  our  newest  invention, 

VOLTEM  MUSIC  ROLLS 

which  are  actual  personal  records  played  specially  for  repeti- 
tion with  the  Angelas.   With  the  Angelus  and  Voltem  Rolls, 

Tina  Lerner  Gottfried  Galston 

Ethel  Leginska  Rider-Possart 

and  others  are  ever  present  in  your  home  to  entertain  you 
with  their  masterful  interpretations  of  the  great  composer. 
Thus  the  Angelus  becomes  a  twofold  source  of  pleasure  - 
an  instrument  that  anyone  can  play  with  his  own  individual 
expression,  or  by  which  he  or  she  can  reproduce  the  playing 
of  artists.  The  Melodant,  Phrasing  Lever  and  Diaphragm 
Pneumatics  (exclusive  features  of  the  Angelus)  make 
possible  these  marvelous  results. 

Knabe-Angeliu  Emerson- Angelui 

Grands  and  Uprights  Grands  and  Uprights 

Lindeman  &  Soot — Angelus  Upright 

Angelas-Piano — An  upright  built  expressly  for  trie  Angelus. 
In  Canada — The  Gourlay-Angdus  and  Angelus  Piano. 


Any  of  these  instruments  can  be  played 
by  hand  in  the  usual  manner. 


^ 


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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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In  every  type  of  electric  vehicle  —  both  pleasure 
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have  "made  good"  under  the  long,  steady  test  of 
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electric  cars  use  and  endorse  them. 

'  '  The  people  who  buy  the  most  batteries  are  the 
best  judges  of  the  best  battery  to  use.  '  ' 

Do  not  fail,  when  purchasing  an  "  Electric  "  to 
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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. 


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VI 


THE   THEATRE   MAGAZINE   ADVERTISER 


Good  Hair 

The  Ducheu  of  Marlborough  Recommends 


M^  MASON'S 

4'j^AIRTONlC 


This  is  the  Hair  Tonic  used  by 
,  'Kate  Beaton  Mason,  the  noted  English 
Hair  Specialist,  in  treating  the  hair  of  the 
Vauderbiltlamily.Duchessof  Marlborough, 
Mme.  Melba  and  the  leading  so- 
ciety women  of  New  York,  Lon- 
^  don  and  Paris,  who  testify  to  its 

superiority  for  thin,  falling,  weak,  brittle, 
splitting,  and  dead-looking,  lusterless  hair. 
Mrs.  Mason's  Old  English 

>HAMPOQ  CREAM 

Make*  Hair  Look  Twice  at  Thick  as 
It  Really  Is  —  Soft,  Fluffy,  Lustrous. 

This  pure  antiseptic  shampoo,  made  from 
tonic,  cleansing  herbs,  is  unequalled  to 
cleanse  and  invigorate  the  liair  and  scalp, 
remove  dandruff,  dust,  excess  oil,  irrita- 
tion, and  together  with  the  Hair  Tonic 
makes  a  complete  treatment  that  insures 
perfect  hair  and  scalp  health. 

Hair  Tonic,  $1.00.     Shampoo  Cream,  25c.  a  tube 

r      — enough  for  several  shampoos.  ( 

At  Drug  &  Dept.  Stores  or  sent  postpaid 
Send  2c.  for  Mrs.  Mason's  Book,  "  The  Hair  and  How 
to  Preserve  It,"  containing  autograph  letters  from  fa- 
mous women.  Also  a  trial  tube  of  Shampoo  Cream, 
THE  PAXTON  TOILET  CO..  BOSTON,  MASS. 


There's  just  the  difference  between  a 
raw,  poorly  made  Cocktail  and  a 

Club  Cocktail 

that    there    is    between    a    raw,    new 

Whiskey  and  a  soft  old  one. 

The  best   of  ingredients — the   most  ao 

curate    blending    cannot  give 

the   softness  and  mellowness 

that  age  imparts. 

Club  Cocktails  are  aged  in  wood 

before  bottling— and  no  freshly 

made  Cocktail  can  be  as  good. 

Manhattan,  Martini  and  other 
standard  blends,  bottled,  ready 
to  serve  through  cracked  ici. 

Refuse  Substitutes 

AT  ALL  DEALERS 

G.  F.  HEUBLEIN  &  BRO.,  Sole  Props. 
Hartford     New  York     London 


FACE  P 


OWDER 


WOMEN— CONSPICUOUS 

for  complexions  always  smooth  and  velvety,  that  neve 
lose  their  youthful  attractiveness, 
that  seem  to  be  impervious  to 
exposure,  to  sun  and  wind,  are 
users  of  that  great  beautifier 
— LAB  LAC  HE.  It  prevents  t 
that   oily,  shiny    appear- 
ance.    It   is    cooling, 
refreshing,  harmless. 

Refuse  Substitutes 

They  maybe  dangerous.   Flesh, 
White,  Pink  or  Cream,  60c.  a  box 
of  drupfrists  or  by  mail.    Over 
two  million  boxes  sold  annually.    , 
Send  We,  for  a  sample  box. 

BEN.  LEVY  CO. 
French  Perfumers,    I>ept.  26 
~   iton.  Ma" 


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. 


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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 


Coral  Builders  and  the  Bell  System 


In  the  depths  of  tropical  seas  the 
coral  polyps  are  at  work.  They  are 
nourished  by  the  ocean,  and  they 
grow  and  multiply  because  they 
cannot  help  it. 

Finally  a  coral  island  emerges 
from  the  ocean.  It  collects  sand 
and  seeds,  until  it  becomes  a  fit 
home  for  birds,  beasts  and  men. 

In  the  same  way  the  telephone 
system  has  grown,  gradually  at 
first,  but  steadily  and  irresistibly. 
It  could  not  stop  growing.  To  stop 
would  mean  disaster. 


The  Bell  System, starting  with  a  few 
scattered  exchanges,  was  carried  for- 
ward byan  increasing  publicdemand. 

Each  new  connection  disclosed  a 
need  for  other  new  connections,  and 
millions  of  dollars  had  to  be  poured 
into  the  business  to  provide  the 
7,500,000  telephones  now  connected. 

And  the  end  is  not  yet,  for  the 
growth  of  the  Bell  System  is  still 
irresistible,  because  the  needs  of  the 
people  will  not  be  satisfied  except  by 
universalcommunication.  Thesystem 
is  large  because  the  country  is  large. 


AMERICAN  TELEPHONE  AND  TELEGRAPH  COMPANY 
AND  ASSOCIATED   COMPANIES 


One  Policy 


One  System 


Universal  Service 


The  great  skin  and  science 
employed  m  the  compounding 

of     X.  BAZIN  S 
Depilatory  Powder 

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If  some  former  remedy  has  been  tried 
without  success,  it  is  because  the 
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Pahfst 

BluajRibbon 


A     Popular     Edition     of   this     Famous 

One  Volume  in  8vo.  Bound  in  Paper 

PRICE.  50  CENTS 

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. 


NEVER  BROS.  CO..  Publishers 


8  to  14  West  58th  Street.  New  York 


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 
50  eta.  per  case-6  glass-stoppered  bottles 


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, 


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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. 


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


A    great  car — greater  in 
many  respects  than 
any   other,   and   naturally 
it  is  the  product  of 


so 


Alexander  Winton, 
founder  of  the  industry  in 
America  and  the  maker 
who  sets  the  standards. 


A  GREAT  CAR 

SAFE  TO  BUY  AND 
GOOD  TO  OWN 


(  >ne  and  two-cylinder  cars  followed  his 
designs.  Self-starters  are  here  because  he 
made  them  successful.  He  foretold  that  the 
four  would  disappear  from  the  high-k-rade 
market,  and  he  forced  that  result  by  making 
the  Winton  Six  so  superior  to  other  cars  that 
the  best  known  makers  have  abandoned  fours, 
and  followed  his  lead  in  making  Sixes,  there- 
by acknowledging  the  Winton  Six  as  the 
highest  standard  of  the  finest  type  of  car. 

Seven  Yean  of  TieVelopment 

No  wonder  the  Winton  Six  is  great.  For 
seven  years  Mr.  Winton  has  concentrated 
upon  its  development  all  the  power  and  ability 
of  his  keen  and  experienced  mind.  From 
year  to  year  he  has  given  it  a  new  perfection. 
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AMERICAN  ACADEMY  OF 
DRAMATIC   ARTS 


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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 
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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. 


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COMPLETE  OFFICIAL  FORECAST 

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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 


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A  unique' and  exquisite  feature  of  THE  THEATRE  MAC.AZINK  is  the 
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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 

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CLEMENT'S  FRENCH  BEAUTY  SHOP 

dainty  French  perfumes,  creams  and  toilet  preparations  often  imitated,  never 
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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 


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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 


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25c  at  drug- and  department-stores.  If 
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and  25  cents  and  we'll  send  it  postpaid. 

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XIX 


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

DR.  E.  N.  COGSWELL 

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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 

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THE  TWOFOLD  PLEASURE 

of  the 

ANGELUS 

The  PIONEER  PLAYER-PIANO 

For  more  than  fifteen  years  the  Angelus  has  been 
the  pioneer  in  the  development  of  the  player  as  a 
means  to  enable  anyone  to  play  the  piano  artistically. 
Now  is  added  another  enjoyment — the  listening  to 
the  playing  of  the  world's  most  eminent  pianists— 
by  means  of  our  newest  invention, 

VOLTEM  MUSIC  ROLLS 

which  are  actual  personal  records  played  specially  for  repeti- 
tion with  the  Angelus.  With  the  Angelus  and  Voltem  Rolls, 

Tina  Lerner  Gottfried  Galston 

Ethel  Leginska  Rider-Possart 

and  others  are  ever  present  in  your  home  to  entertain  you 
with  their  masterful  interpretations  of  the  great  composer. 
Thus  the  Angelus  becomes  a  twofold  source  of  pleasure  — 
an  instrument  that  anyone  can  play  with  his  own  individual 
expression,  or  by  which  he  or  she  can  reproduce  the  playing 
of  artists.  The  Melodant,  Phrasing  Lever  and  Diaphragm 
Pneumatics  (exclusive  features  of  the  Angelus)  make 
possible  these  marvelous  results. 


Knabe-Angelos  Emerson-Angelm 

Glands  and  Uprights  Grands  and  Uprights 

Lmdeman  &  Sons — Angelus  Upright 

Angelas-Piano — An  upright  built  expressly  (or  the  Angelus. 
In  Canada — The  Gourlay-Angelus  and  Angelus  Piano. 


Any  of  these  instruments  can  be  played 
by  hand  in  the  usual  manner. 


THE  WILCOX  &  WHITE  CO. 


Business  Established  1877.  MERIDEN,  CONN. 

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THE      Til  HAT  RE      MAG. -I /I  XI-.      .  /  in  '  /•  R  T  IS  E  R 


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to  make  it  still  better." 


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White 


CONTENTS:    AUGUST,    I  H5 

Edited    by    ARTHUR    HORNBLOW 

COVER  :    Portrait  in  colors  of  Miss  Annie  Russell  in  "The  Rivals." 

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 

EDITH  AND  MABEL  TALIAFERRO — Full-page  Plate 

GEORGE  FAWCETT,  APOSTLE  OF  THE  SCHOOL  OF  SUGGESTION — Illustrated 

FRANCES  STARR — Full-page  Plate 

WHEN  MABEL  MEETS  THE  ACTORS 

THE  THEATRICAL  JURY 

ANECDOTES  OF  THE  STAGE 

IVY  TROUTMAN — Full-page  Plate 

INA  CLAIRE — Full-page  Plate 

How  I  PORTRAY  A  WOMAN  ON  THE  STAGE — Illustrated 

CHARLOTTE  WALKER — Full-page  Plate 

A  CHAT  WITH  JUDITH  GAUTIER — Illustrated 

PHILADELPHIA'S  LITTLE  THEATRE — Illustrated 

STAGE  ILLUSIONS  IN  LEVITATION — Illustrated 

JULIA  MARLOWE  IN  "THE  TAMING  OF  THE  SHREW" — Full-page  Plate    . 

THE  ART  OF  OLIVE  FREMSTAD — Illustrated 

LAURETTF.  TAYLOR — Full-page  Plate 

NOTABLE  STAGE  FIGURES  OF  THE  SIXTIES  AND  SEVENTIES — Illustrated  . 

COMIC  OPERA  OLD  TIMERS 

PLAYERS  I  HAVE  KNOWN — Illustrated 

SCENE  IN  "On  !  OH  !  DELPHINE" — Full-page  Plate 

SCIENCE  AND  THE  STAGE 

GRACE  LA  RUE — Full-page  Plate 


Ada  Patterson 

George  C.  Jenks 
Redfcrn  Mason 


Julian  Eltinge 

Theodore  Bean 
Herman  L.  Dieck 
IV.  H.  Raddiffe 

Clare  P.  Peeler 

Robert  Gran   . 

G.  C.J.. 

H.  P.  Goddard 

R.  G.' 


PAGE 

37 
4i 


47 
48 

49 
52 
53 
55 
56 
57 
59 
61 
62 
63 
65 
67 
68 
69 
70 

72 
xiii 


CONTRIBUTORS — The  Editor  will  be  glad  to  receive  for  consideration  articles  on  dramatic  or  musical  subjects,  sketches  of  famous  actors  or  singers,  etc., 
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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 


?• 

. 


.-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.-/) 


THE      THEATRE      MAGAZINE     ADVERTISER 


An  impromptu  dance 
a  Victor- Victrol 


Take  a  Victrola  with  you 
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THE      THEATRE      MAGAZINE     ADVERTISER 


PEARS' 

SOAP 


A  shining  countenance  is  produced  by 
ordinary  soaps. 

The  use  of  Pears'  reflects  beauty  and  re- 
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VOGUE 

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The  American 
Playwright 

Edited  by  WILLIAM  T.  PRICE 

(Author  of  "  The  Technique  of  the  Dranw" 
and  "Th     Analy«is  of  Play  Construction.") 

A  MONTHLY  devoted  to 
f~\  the  scientific  discussion 
of  Plays  and  Playwriting. 
1 5  cents  a  copy.  $  1 .50  a  year. 
Vol.  II  begins  Jan.  15,1913. 
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for  the  Index  of  Vol.  I. 

Write  for  circulars  that  tell 
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ed complete,  on  a  first  payment 
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'  Now  twentieth  year  at  Grand  Opera  Hcruse  Bldg,, 
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8  to  14  W.  38th  St.,  New  York 


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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and  combined  on  a  double  record. 

This  unusual  double  contains  no  less  than 
eleven  of  the  most  popular  vocal  hits  of  the  year, 
skilfully  arranged  by  Mr.  Rogers,  with  solos, 
duets  and  choruses  in  attractive  variety. 

Song  Medley  No.  5,  "Remick  Review,"  Victor 
Mixed  Chorus.  Chorus,  "Down  in  Dear  Old 
New  Orleans"— Solo,  "When  I  Waltz  With  You" 
—Quartet,  "That  Old  Girl  of  Mine"— Chorus, 
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Song  Medley  No.  6,  "Snyder  Specials,"  Victor 
Mixed  Chorus. — Chorus,  "When  the  Midnight 
Choo-Choo" — Solo,  "When  I  Lost  You" — Chorus, 
"Snookey-Ookums" — Solo  and  Chorus,  "Take 
Me  Back  to  the  Garden  of  Love" — Chorus,  "At 
the  Devil's  Ball." 

POPULAR  SONGS  FOR  AUGUST. — The  August  list 
of  popular  songs  is  quite  a  large  one,  owing  to 
the  great  demand  at  this  season  (sometimes 
called  the  "silly  season !")  for  numbers  of  this 
kind. 

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- 
dosi),  Will  Oakland;  "Down  Old  Harmony  Way" 
(Cooper),  Peerless  Quartet;  "Teasing  Moon" 
(Murphy-Marshall),  Heidelberg  Quintette;  "Just 
a  Dream  of  You,  Dear"  (Klickman),  Hayden 
Quartet. 

NEW  DANCE  RECORDS  FOR  AUGUST. — "Last  Night 
Was  the  End  of  the  World"—  Waltz  (H.  Von 
Tilzer)  ;  "Melinda's  Wedding  Day" — Medley 
One-Step;  "Snookey-Ookums — Medley  One-Step; 
"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 
Summer,"  next  season,  says :  "The  psycho- 
logical effect  of  the  part  on  the  actor  is  a 
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ing for  with  them  acting  is  merely  acting. 
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to  sink  himself  in  the  character  he  is  im- 
personating, mentally  experiencing  the 
various  moods  necessary  to  simulate  actu- 
ality. Some  of  the  greatest  actors  have 
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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 
50  cts.  per  case— 6  glass-stoppered  bottles 


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 
electric  speed,  reaches  the  most 
isolated  homes.  Such  ease  of  com- 
munication makes  us  a  homogeneous 
people  and  thus  fosters  and  protects 
our  national  ideals  and  political 
rights. 


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(Opposite  Sherry's.)     'Phone,  Bryant— 1860. 


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AMERICAN  ACADEMY  OF 
DRAMATIC  ARTS 


Summer  term 


Connected  with  Mr.  Charle.  Frohman'j  Empire  Theatre  and  Companie. 

Recognized  as  the  Leading  Institution 
for   Dramatic   Training   in   America 

BOARD  OF  TRUSTEES 


Franklin  H.  Sargent.  President 
Daniel  Frohman  John  Drew. 

Benjamin  F.  Roeder  Auguttu*  Thomaa 


Pounded 
la  1884 


For  catalog  ud  information 
apply  to  the  Secretary 

Room  152.  Carnegie  Hall 
New  York 


POPULAR  NOVELS  BY  ARTHUR  HORNRI  nw 


The  End  of  the  Game  (75th  Thousand) 

A  story  dealing  with  the  perils  of  great  wealth. 
"  A  thoroughly  wholoome  book,  with  action  in  the  drama 
and  real  human  mlerew.  '—Lltcraru  Digest. 

The  Easiest  Way    (6th  Large  Edirion)-From 
the  play  by  Eugene  Walter. 


_t  of  Conquest  (100th  Thousand) 

ng  story  of  shipwreck  upon  a  deserted  island. 
"A  senMtional  situation  handled  with  delicacy  and 
vigor.   —  New  York  Herald. 

The  Gamblers  (85th  Thousand)-Froin  the  play 
by  Charles  Klein. 


12mo,  cloth,  gilt.     Illustrated.     $1.50  each 

G.  W.  DILLINGHAM  CO..  Publishers,  12-16  East  22nd  Street,  New  York 


We  Pass 
yerythinjr 
Bui  — 


The    Theatrical    Jury 

(Continued   from   page    61) 


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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 
50  cts.  per  case— 6  glass-stoppered  bottles 


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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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. 


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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. 


LOU  TELLEGEN  IN  "PHEDRE" 


THE  PERFECT-FITTING 
PETTICOAT 

ia  as  necessary  as  the  correct  model  corset — both 
serve  equally  important  {unctions.     They 
give  the  proper  mould  and  hang. 


KLOSFIT  PETTICOAT 


fits  smoothly  over  the  hips,  giving 
the  much-desired  straight-line  effect 
with  never  a  wrinkle. 

Made  in  all  sizes  and  lengths. 
Never  require  alterations.  Silk 
Jersey  or  Messaline,  all  colors, 
$5.00.  Cotton,  $1.50  up. 

At  all  dealers. 
Look   for  this  label   in  the  •waistband. 


KLOSFr    PE    NCOAT 


CLEMENT'S  FRENCH  BEAUTY  SHOP 

Those  dainty  French  perfumes,  creams  and  toilet  preparations  often  imitated,  never 
equalled,  which  are  making  La  Parisienne  so  fascinating  and  chic,  are  my  specialty. 

BEAUTY 

Your  heritage,  which  na- 
ture has  intended  for  every 
woman.  The  wonder  preser- 
vation and  youthful  appear- 
ance of  many  women  are  due 
in  most  instances  to  rules  and 
adherence  to  precepts  that 
have  been  formulated  by  those 
French  experts  who  have 
made  a  careful  Study  of  the 
science  of  beauty  culture. 

CLEMENT'S  CREME 
DU  BOSPHORE 

A  wonderful  beauty  build- 
er, unequalled  for  nourishing 
and  massaging  the  skin.  Veg- 
etable oils  only  enter  in  its 
compounds  -  Price  $1.00 

THREE  KISSES  FOR 
BEAUTY 

That  is  the  name    of   the 
three  latest  indispensable  prep- 
arations for  beauty  perfection. 
Le  Baiter  (the  ki«) ,  the  queen  of  creami,  «n  ideal  dressing  lor  the  face.    Price  $1 .00.  $1.50  8t  $2.50 
Le  Baiser.  the  finest  French  powder,  unexcelled  for  taking  the  red  tint  off  the  face. 

Price    $l.50«t$2.50 
Le  Baijer,  the  laleft  and  moA  fragrant  of  all  perfuma.     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 

A/Jj   beauty  booklet  sent  upon    request.      Private  room  for 
facial  treatment,  manicuring,  hairdrasing,  hair-coloring,  etc. 


12  WEST   33rd 
STREET 


CLEMENT 


NEW  YORK 
CITY 


When  writing  to  advertisers,  kindly  mention  ~HE  THEATRE  MAGAZINE 


XVI 


THE      THEATRE      MAGAZINE     ADVERTISER 


A     fopalar 


Edition     of   this     Famous 

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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 


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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 
same  principle  as  the  speedometer 
on  an  automobile. 


The  continuous,  uninterrupted  tone- 
chamber  and  the  exclusively  Columbia 
tone-control  leaves. 


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) 

Sold,  as  we  believe,  for  three  straight  years  to  more  people  than  any  other  instrument — regardless  of 
name,  price,  or  make.  "  Favorite  "  in  name  and  favorite  in  fact — and  now  here  illustrated  for  the  first  time 
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  . 

when  possible  by  photographs.     Artists  are  invited  to  submit  their  photographs  for  reproduction  in  THE  THEATRE.     Each  photograph  should  be  inscribed  on  the  back 

cter  with  that  of  the  character  represented.     Contributors  should  always  keep  a  duplicate  copy  of  articles  submitted. 


. 

with  the  name  of  the  sender,  and  if  in  charact 

utmost  care  is  taken  with  manuscripts  and  photographs,  but  we  decline  all  responsibility   in  case   of  loss. 
SUBSCRIPTION  :     Yearly  lub.criprion.  in  adrance.  $3.90  Foreign  countries  add  $1.00  {or  mail 

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Grace 


rPHE  WHITE  coupe  is  the  ear  she  has  always 
wished  for — light,  beautiful,  swift  and  far  run- 
ning. Here  are  found  the  safety  and  simple  oper- 
ation of  the  electric  vehicle,  combined  with  the 
flexible  speed  and  touring  possibilities  which  only 
the  gasoline  roadster  can  give.  Primarily  her  car 
for  all  purposes,  its  power  and  convenience  also 
make  the  White  coupe'  the  preferred  car  for  his 
town  and  winter  use. 


THE 


COMPANY 

CLEVELAND 


^,, 


>v    ~~" 


'Diana,  goddess  of  the  moon,  forsakes 
her  oxen  chariot  for  a  WA/te  Cou&e. 


.         . 

,.:-.-,  / 


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 


r 


If  you  believe  in  music 
you  need  a  Victor- Victrola 

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Berliner  Gramophone  Co..  Montreal,  Canadian  Distributors 

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Victor-Victr 
XVI 


Mahogany  or 
quartered  oak 


• 


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shampooing  with 


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not  tight  and  drawn.  It  frees  the  pores 
of  all  foreign  matter  and  aids  nature 
to  keep  the  hair  thick  and  lustrous. 
Men  shampoo  at  least  once  a  week 
with  Packer's  Tar  Soap,  women  once 
a  fortnight. 
PACKER  MANUFACTURING  CO. 

8t   Fulton  Street     -      -      -     NEW    YORK 


. 

HAAS   BP^OTHEF^S 

J>ari& 

QUALITY  FABRICS 

EXTREME  SIMPLICITY 

IS  THE    NOTE     IN   THE    NEW 
*-l     TAILOR-  MODELS   FOR-   FALL 
THE    CHANGE    IN    STYLE    15    MOST 
EXEMPLIFIED    BV    THE    R_ICH 
DISTINCTIVE    FABRJCS   WHICH 
ONLY    SIMPLICITY  CAN  ATTAIN 

THE     NEW     COLOFLS 

^/ciaanese    •J/O/ue 
^CoJe 
Cx\jwjj/etn/   ^Areen^ 
t/K.  tan.  iorit    iJo  /u  e, 

THE   SOFT   DEEP   COLOR-S  WHICH 
SLEND     SO    WONDER-FULLY    IN 
FUR.S  SHOW  TO  SPECIAL  ADVAN- 
TAGE IN  THE  NEW  FALL  FABRICS 

yQjiens  JEar  Ciotks 

as    soft    as     the     name     implies  

t_y  <?/t/cAe    de^cLin,^ 

(  woo!   plusK  ) 

, 

C%«*t/e//e,      (2lotk. 

rich     soft  and    distinctive^' 

^DrcLp    de  *J\if)Ti.r>)^ 

<^^f           *"*^ 

a  cloth    fabric     witK   the  lustre    anc{ 
drape      of     Charmeu  sex 



THESE-  BEAUTIFUL  AND  FASHIONABLE 
FABRICS  ARE  ILLUSTRATED  IN  THE 

HAAS    BP^OTHER^-S 
BLUE  BOOK  OF  MODELS 

TO  BE  SEEN  ONLY  AT  LEADING 
DRE55MAKER.5  AND  LADIES  TAILORS 

HAAS  BR.OTHER.S 

PARJSaSRuelesPyramides 

NFWTORX003  Fifth  Avenue 

When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


VI 


THE      THEATRE      MAGAZINE     ADVERTISER 


Thousands  of  refined  women  the  land  over 
have  already  taken  advantage  of  the  offer. 

Why  not  you  ?     If  you  value  a  clear,  fresh  complex- 
ion it  will  pay  you  to  make  the  acquaintance  of 


Rose 


Pure,  transparent,  with  an  easy  lather  and  a  persistent, 
yet  delicate  fragrance,  No.  47 1  1  White  Rose,  because 
of  the  generous  quantities  it  contains  of  that  ideal  skin 
food,  glycerine,  is  the  most  widely  used  soap  in  the 
world.  You'll  appreciate  why,  once  you  give  it  a  trial. 

Worth  while  druggists  everywhere  can  supply  you  with  tlna  ex- 
quisite toilet  soap— or,  if  you'll  send  lit  a  2c.  slamp  today,  we'll 
gladly  mail  you  a  trial  cake  post  paid.  Just  address 

Mulhens  &  Kropff,  Dept.  T,  298  Broadway,  New  York 

Another  of  Ihe  many  No.  4711  Toilet  Preparations  that  will 
delight  is  the  famous  No.  4711  E.m  do  Cologne, 
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where in  4  oz.  bottles  at  550. 

Ferd.  MulhMis,  No.  4711  GIockengMse,  Cologne  o/R  Germany 

U.   S.   Branch,   Mulhens   &  Kropff,   New   York 


Prof.  L  Hubert's 

MALVINA 

CREAM 


An  Ideal  Little  Gift 

Our  nosegays,  beautifully  made  of  im- 
ported flowers  in  natural  colors  and  ex- 
quisite fragrance  make  charming  gifts, 
favors,  or  prizes.  They  are  high  in  favor 
with  the  most  discriminating  and  must  be 
teen  to  be  fully  appreciated.  Take  your 
choice  of  mignonette,  violets,  roses,  for- 
get-me-nots  or  heliotrope.  Wesendyour 
nosegay  with  a  Pohlson  gift-card  in  a 
quaint  bandbox  and  return  your  money 
immediately  if  you  are  not  delighted.  Any 
style.  Price  $1.50  postpaid.  Askforour 
gifts  at  the  best  shops  or  write  for  our  new 
catalog  of  thoughtful  little  gifts.  Pohlson 
Gift  Shop,  Pawtucket.  R.  1..  Depl.  B. 


SEND  FOR  A  SAMPLE  COPY  OF 

L'ART  de  la  MODE 

Addre.s,  8   West  38th  Street,  New  York  City 


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 
Julia  Sanderson  may  be,  stage  modesty  will  al- 
ways prevail  in  musical  comedy — and,  therefore, 
this  interview  was  worth  while. 

GREAT  BEAR  SPRING  WATER 
60  eta.  per  case— 6  glass-stoppered  bottles 

Mishap  of  a  Paris  Actress 

Mile.  Mistinguett  was  "turning,"  to  use  the 
new  cinematograph  term,  in  a  dramatic  scene  for 
the  bioscope.  The  play  was  an  arrangement  of 
M.  Jean  Richepin's  drama,  "La  Glue,"  in  which 
she  played  the  name  part.  In  an  interview  Made- 
moiselle said,  "We  had  just  reached  the  scene 
when  I  have  to  be  killed  with  a  hammer.  The 
murderess  rushed  at  me  and  hit  me.  I  felt  a 
frightful  blow,  fell  down  with  a  scream,  and 
another  blow  followed.  Nobody  round  me 
seemed  to  notice  it,  and,  indeed,  I  heard  a  voice 
say,  'she  is  acting  wonderfully  naturally.'  I 
fainted  away,  and  remember  nothing  else.  I  was 
afterward  told  that  the  actors  went  on  performing 
for  some  minutes,  and  the  cinema  man  continued 
turning  his  handle,  without  noticing  that  any- 
thing was  wrong.  When  I  came  to  I  found 
myself  under  the  doctor's  hands  and  covered 
with  blood.  It  turned  out  that  the  hammer  with 
which  I  was  struck  had  not  been  properly 
wrapped  up  to  avoid  accidents.  The  woman  who 
hit  me  thought  that  the  hammer  was  a  mere 
property  one,  and  quite  safe,  and  struck  with  all 
her  might.  It  was  only  on  seeing  that  I  was 
bleeding  and  had  fainted  away  that  my  fellow- 
performers  realized  what  had  happened.  I  have 
three  severe  wounds  on  the  head,  and  the  doctor 
tells  me  that  I  must  keep  to  my  bed  for  a  fort- 
night."— Paris  Correspondence  London  Telegraph. 


SUMMER'S   SUN 


deals    kindly    with    the     complexion    protected     by 

LABLACHE.      Users  of   this 

famous     beautifier     are     co 

spicuously  free    from  facial 

blemishes,  always  retaining 

their  fresh  attractiveness 

of  youth.     Delicate- 

fragrant—  refined. 


Refuse  Substitutes 

Thev  may  be  dangerous.   Flesh, 
While.  Pink  or  (Team,  60c.  a  bo* 
»f  drurtrists   or  by  mail.     Over 
two  million  boxes  Bold  annually 
fiend   Iftr.    f"i-  n  sample  box. 
BEN.  LEVY  CO. 
Perfumers,    Dept. 


"My  Little  Sister" 

Of  the  story — "My  Little  Sister,"  written  b\ 
Elizabeth  Robins  and  to  be  produced  this  season 
as  a  play  by  Charles  Frohman — Hildegarde  Haw- 
thorne writes: 

"I  heard  a  phrase  the  other  day  that  struck  me. 
It  was  to  the  effect  that  reforms  could  not  be 
complete  and  personal,  until  we  learned  to  love 
'our  invisible  neighbor.'  But  we  cannot  love  what 
is  invisible.  We  must  see  it,  we  must  touch  it 
or  we  must  strongly  imagine  that  we  so  see  and 
touch.  No  one  who  reads  Elizabeth  Robins'  *M> 
Little  Sister'  will  thereafter  consider  the  white 
slave  traffic  with  the  mind  alone.  Something  at 
least  of  its  indescribable  horror  will  be  personally 
real  to  him.  The  terror  of  its  waste  and  loss 
the  individual  tragedy,  the  human  pity  of  it  wil 
have  'come  home.' 

"When  we  close  the  book  we  have  been  made 
to  love  our  'invisible  neighbor."  It  is  our  little 
sister  who  has  gone  to  her  death  in  the  black 
waters,  she  who  was  'white  and  golden,  and  al- 
ways seemed  to  bring  a  shining  where  she  went. 
The  tragedy  has  been  made  individual,  has  been 
shown  to  us  with  a  harrowing  simplicity  as  our 
own.  The  book  is  a  true  work  of  art." 


Good  Hair 


The  Duchess  of  Marlborough  Recommends 


r-  This  is  the  Hair  Tonic  used  by 

Kate  Seaton  Mason,  the  noted  English 
Hair  Specialist,  in  treating  the  hair  of  the 
Vanderbilt  family.Duchessof  Marlborough, 
Mme.  Melba  and  the  leading  so- 
ciety women  of  New  York,  Lon- 
don and  Paris,  who  testify  to  its 
,  _uperiority  for  thin,  falling,  weak,  brittle, 

Splitting,  and  dead-looking,  lusterless  hair. 
Mrs.  Mason's  Old  English 
HAMPOQ  CREAM 

Makes    Hair  Look   Twice    as   Thick    as 


It    Really  It  —  Soft,  Fluffy,  Lustrous. 

This  pure  antiseptic  shampoo,  made  from 
tonic,  cleansing  herbs,  is  unequalled  to 
cleanse  and  invigorate  the  hair  and  scalp, 
remove  dandruff,  dust,  excess  oil,  Irrita- 
tion, and  together  with  the  Hair  Tonic 
makes  a  complete  treatment  that  insures 
perfect  hair  and  scalp  health. 
Hair  Tonic.  $1.00.  Shampoo  Cream,  25c.  a  tube 

r'      —enough  for  several  shampoos.  \frf 

At  Drug  &  Dept.  Stores  or  sent  postpaid  m 
Send  2c.  for  Mrs.  Mason's  Book.  "  The  Hair  and  How 
to  Preserve  It,"  containing  anrogravpn  letters  from  fa- 
mous women.    Also  a  trial  tube  of  Shampoo  Cream. 
THE  PAXTON  TOILET  CO.,  BOSTON.  MASS. 


For 
Every- Day  Sweeping 

We  make  no  claim  tliat  the  Bissell  Sweepei 
is  a  whole  power  plant  in  a  nutshell,  nor  that  it 
will  do  the  impossible  feat  of  pulling  dust  ri^ht 
through  the  average  carpet  or  rug,  nor  that  you 
can  run  it  up  the  side  walls  or  clean  upholstery 
with  it. 

But  we  do  most  earnestly  maintain  that  for 
all-around  itiiify  me  the  Bissell  excels  any  other 
method  of  cleaning  carpets  and  rugs  in  the 
genuine  service  and  convenience  it  offers. 

BISSELL'S 

"Cyco"  BALL  BEARING 

Carpet   Sweeper 

cleans  without  effort  and  i<.-itfi  to  injury  to  the 
carpet.  Its  lightness  makes  it  e.  sily  transferable 
from  one  part  of  the  house  to  the  other.  At 
dealers'  everywhere  for  $2.75  to  $5.75.  Let  us 
mail  you  the  booklet, 

"Easy,  Economical,  Sanitary  Sweeping." 
Bisiell  Carpet  Sweeper  Co.,  Grand  Rapids,  Mich. 

"We  Sweep  the  World" 


Fashion's 

immediate  approval  coir 

pelled  because  of  ivs  exquisite 

harm.     For  your  approval,  sample 

bottle      of     lliis      perfume,     'JO    cents. 

PARK  &  T1LFORD,  21S  Fifth  Are.,  New  York 

AHOUBIGANT  PERFUME 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


THE   THEATRE   MAGAZINE  ADVERTISER 


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 
races  and  represented  widely  differ- 
ent ideas  of  life.  But,  as  they  came 
face  to  face,  each  found  in  the  other 
elements  of  character  which  made 
them  friends. 

In  this  country,  before  the  days 
of  the  telephone,  infrequent  and  in- 
direct communication  tended  to  keep 
the  people  of  the  various  sections 
separated  and  apart. 


The  telephone,  by  making  com- 
munication quick  and  direct,  has 
been  a  great  cementing  force.  It  has 
broken  down  the  barriers  of  distance. 
It  has  made  us  a  homogeneous 
people. 

The  Bell  System,  with  its  7,500,000 
telephones  connecting  the  east  and 
the  west,  the  north  and  the  south, 
makes  one  great  neighborhood  of 
the  whole  country. 

It  brings  us  together  27,000,000 
times  a  day,  and  thus  develops  our 
common  interests,  facilitates  our  com- 
mercial dealings  and  promotes  the 
patriotism  of  the  people. 


AMERICAN  TELEPHONE  AND  TELEGRAPH  COMPANY 
AND  ASSOCIATED   COMPANIES 


One  Policy 


One  System 


Universal  Service 


AMERICAN  ACADEMY  OF 
—  DRAMATIC  ARTS  — 


Connected  with  Mr.  Charles  Frohman'i  Empire  Theatre  and  Companies 

Recognized  as  the  Leading  Institution 
for    Dramatic   Training   in   America 


BOARD  OF  TRUSTEES 
Franklin  H.  Sargent,  President 
Daniel  Frohman  John  Drew. 

Benjamin  F.  Roeder  Augustus  Thomas 


Founded 
la  1884 


For  catalog  and  information 
apply  to  the  Secretary 

Room  152.  Carnegie  HaH 
New  York 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


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 
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.  "  7.00 

"  1911  2  vols.  "  6.50 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


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. 


WINTON  SIX 


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NOT  only  to  design  and  build  it. 
Not  only  to  give   it  the  right 
features,  the  right  material,  and 
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out  what  should  not  go  in.  But,  most  of 
all,  every  car  needs  a  maker  after  it  has 
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Find  out,  before  you  buy  a  car,  whether 
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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 


TEST  FOR  YOURSELF 

Mix   the   best    cocktail  you   know  how- 
test  it  side  by  side  with  a 

Club  Cocktail 

No  matter  how  good  a  Cocktail  you  make 
you  will  notice  a  smoothness  and  mellow- 
ness in  the  Club  Cocktail  that  your^own 
lacks. 

Club  Cocktails,  after  accurate  blending 
of  choice  liquors,  obtain  their  delicious 
flavor  and  delicate  aroma  by  ageing  in 
wood  before  bottling.  A  new  cocktail 
can  never  have  the  flavor  of  an  aged 
cocktail. 

Manhattan,  Martini  and  uther 

standard  blends,  bottled,  ready 

to  serve  through  cracked  ice 

Refuse  Substitutes 
AT  ALL  DEALERS 
0.  F.  HEUBLEIN  &  BRO.,   Sole 
Dirtf>rd      New  York      Loodoi 


The  American 
Playwright 

Edited  by  WILLIAM  T.  PRICE 

(Author  (/  "  The  Technique  of  the  DraiM  " 
and  "  Th    Analysis  of  Play  Construction.") 


A  MONTHLY  devoted  to 
the   scientific    discussion 
of  Plays  and  Playwnting. 
1  5  cents  a  copy.  $  1 .50  a  year. 
Vol.  II  begins  Jan.  15,1913. 
Write  for  specimen  copies  and 
for  the  Index  of  Vol.  I. 

Write  for  circulars  that  tell 
you  how  to  procure  the  printed 
Volumes  of  the  Academic 
Course  in  Playwnting,  deliver- 
ed complete,  on  a  first  payment 
of  Three  Dollars.  Address 

W.  T.  PRICE 

1440  Broadway  NEW  YORK  CITY 


;  FALL  Sr  I1NU 


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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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. 


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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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THE      THEATRE      MAGAZINE     ADVERTISER 


xv 


THE  PERFECT-FITTING 
PETTICOAT 


IT    AS    NECESSARY    AS    THE    CORRECT-MODEL    CORSET 
IT  GIVES  THE  PROPER  SHAPE  AND  HANG  TO  THE  GOWN 


12 

I         KL< 


KLOSF1T  PETTICOAT 


fits  smoothly  over  the  hips,  giving  the  much- 
desired  straight  -line  effect,  with  never  the  vestige 
of  a  wrinkle.  Made  in  all  sizes  and  lengths, 
never  requiring  any  alterations. 

In   Silk  Jersey   or   Messalme,   all   colors   at  $5.00. 
In  cotton,   $1.50  upwards.  At   all   good   stores. 

Look  for  this  label  in  the  waistband 


TRADE 


MARK 


KLOSFIT  PETTICOAT 


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XVI 


THE   THEATRE   MAGAZINE  ADVERTISER 


AutumnMillineryNumDer 

VOGUE 


Gleaming  like  a  great  shop-window  set  in  the  heart  of  Paris 
— a  window  filled  with  the  choicest  Autumn  creations  of  the 
most  notable  designers— is  this  newest  number  of  Vogue — now 
on  sale  at  all  newsstands. 

In  it  you  will  find  the  characteristic  touch  of  each  Parisian  master-mil- 
liner— the  verve  of  Carlier,  the  fire  and  dash  of  Paul  Poiret,  the  subtle 
witchery  of  Georgette  and  Alphonsine. 

But  you  will  want  this  Millinery  Number  of  Vogue  not  alone  for  the 
pleasure  of  looking  through  its  pages.  It  is  a  straight  business  investment 
that  will  pay  for  itself  a  hundred  times  over. 

Soon,  now,  you  will  pay  $20,  $40,  $60  for  a  Fall  hat.  For 
this  $20,  $40,  $60  you  receive  a  few  dollars'  worth  of  felt, 
velvet,  ribbons,  trimmings — all  the  rest  of  your  money  will  go 
for  style  and  correctness.  Unless  your  choice  is  correct,  your 
money  is  worse  than  wasted. 

Pay  25c.  for  the  Vogue  Millinery  Number  and  ensure  yourself  against 
wasting  a  single  penny  of  your  Autumn  hat  money.  In  your  home,  far 
from  the  confusion  of  the  milliner,  Vogue  will  spread  before  you  not  a 
few  hats  from  your  local  stores  but  a  splendid  display  of  new  models  from 
the  greatest  designers  in  the  world.  Buy  your  copy  to-day — and  at  the 
same  time  ask  the  newsdealer  to  reserve  for  you  a  copy  of  the 

Forecast  of  Fall  Fashions  Number 

(Out  September  9th) 

This  issue  is  one  of  the  most  valuable  of  the  whole  year.  It 
tells  what  each  great  couturier  —  Worth,  Paquin,  Doucet, 
Drecoll,  Poiret,  Francis  —  is  planning  for  the  new  season. 


25  cents  a  number 
Twice  a  month 


VOGUE 

443  Fourth  Ave. ,  New  York. 
Conde  Nast,  Publisher. 


554  a  year 
24  numbers 


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 


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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." 


MEYER  BROS.  CO..  Publishers 


8  to  14  West  38th  Street.  New  York 


Coming  Numbers 

Ushering  in  the  Autumn 


WAR  NUMBER 


Will  Universal  Peace  come  in  one  hundred  years  ? 
Great  men  all  over  the  world  will  answer  this  ques- 
tioninthis  number.  THREE  HUNDRED  DOL- 
LARS offered  for  the  best  article  on  War.  See  cur- 

rent issues. 

PRO-SUFFRAGE  NUMBER 

This  number,  coming  in  September,  is  all  in  favor 
of  Woman  Suffrage.  Presents  the  Suffrage  side. 

HUMOROUS  NUMBER 

We  are  still  struggling  to  get  enough  material  to 
print  this  number.  The  outlook  is  dubious,  but 
"  While  there  is  Life  there's  hope." 


ARMY  NUMBER 


NAVY  NUMBER 


Celebrating  the  Boys  in  Khaki. 
Celebrating  the  Boys  in  Blue. 


EVERY  TUESDAY 
EVERYWHERE 
TEN  CENTS 


YES,  FREE 

Miniature  Life  Number  2  is  just  out.   Send 
a  two-cent  stamp  with   your  distin- 
guished name  and  superior  address, 
and  we  will  mail  you  a  copy 
free.The   M.L.  is  a  pock- 
et edition  of  the  larger 
Life,     saturated 
with  wit  and 
humor. 
Printed 
in  col- 
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<?•  •••' 

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.VX     Enclosed 
A*  /      find  One  Dol- 
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XV111 


THE   THEATRE   MAGAZINE  ADVERTISER 


Cork  Qibs  or  Plain 

JL 


Breakfast 
Cocoa 

forms  a  welcome  change 
from  tea  or  coffee.  It  helps 
to  make  an  agreeable  and 
satisfying  breakfast,  lunch 
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Those  dainty  French  perfumes,  creams  and  toilet  preparations  often  imitated,  never 
equalled,  which  are  making  La  Parisienne  so  fascinating  and  chic,  are  my  specialty. 

BEAUTY 

Your  h-ritage,  which  na- 
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in  most  instances  to  rules  and 
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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 


"The  Crowning  Attribute  of  Lovely  Woman  is  Cleanliness" 


The  luell-dressed  woman  blesses  and  benefits 
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is  bought  as  the  day  it  is  made. 

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XX11 


THE      THEATRE     MAGAZINE 


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 


xxin 


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Sent    upon   Application 


EDWARD     HAYES 

LADIES'  CUSTOM  SHOES 
9-11  West  29th  St.  New  York  City 


CUSHION 


MSTRA 


The  only  silk  covered 
collar  supporter  with 
hand  crocheted  ends 

0VVV\A/V\0 

Dainty      Invisible      Flexible 

All  Size.,  While  or  Black,  3  on  a  cord,  I0c. 
Joseph  W.  Schlou  Co.,  New  York 


COGSWELL'S  HAND  LOTION  bring,  joy  and  comfoit.  It  is 
soothing  and  healing  and  leaves  the  sltm  clear,  fresh  and  inviting 

Pottpaid,  SO  enU. 

COGSWELL'S  FOOT  TONIC  allays  inflammation  reduces  swell- 
ing. An  excellent  remedy  in  the  treatment  of  chilblains  and 
inflamed  bunions.  Postpaid,  $1.00 

REDUCING  SALVE  is  a  scientific  discovery  (or  the  reduction  of 
exceis  flesh.  No  change  in  diet  or  daily  routine  of  living. 
Guaranteed  absolutely  harmless.  Price,  $2.00  a  jar. 

DR.  E.  N.  COGSWELL 

Surgeon-Chiropody  and  Expert  Manicuring 

418  Fifth  Ave.        -         -        New  York  City 

OH   tall   at  Franklin    Simon    Co.,  and   Jmmts  McCrttry   Co. 


Made-to-order 
rugs  for  porch, 
bungalow 
Summer 
home 


"ton 

choosi 

tltt  colon, 

wCllmamtherag' 


Exclusive  fabrics 
of  soft,  selected 
camel's  hairwoven 
_n    undyed   natu- 
ral  color.     Also 
jure  wool,  dyed  in 
any    color  or   com- 
bination    of    colors. 
Any    leneth.r      Any 
vidth— seamless   up  to 
16  feet.     The  finishing 
touch   of   individuality. 
Made  on  short  notice.    Write 
for  color  card.    Order  through 
your  furnisher.  * 

THREAD  a  THRUM  WORKSHOP,  Auburn,  H.  T. 


..'ow  twentieth  jretr  at  Grand  Open  House  Bldg. 
Cor.  *»d  St.  and  8th  Ave..  New  York.  Our  Student 
Stock  Company  and  Theatre  assure  practical  training 
New  York  Appearances  and  Engagements.  Such  cele 
britiet  at  Miss  Laurette  Taylor,  Gertrude  Hoffmann 
Ethel  Levy,  Pauline  Chase,  Harry  Pilcer,  Julia  OBP 
Ann«  Laughlin,  Joseph  Santly,  Barney  Gilmore,  Mile 
Daiie,  etc.,  taught  by  Mr.  Alviene.  For  information 
and  illustrated  booklet  of  "How  Three  Thousand  Sue 
ceeded  "  address  the  SECRETARY.  Suite  10  ai  above 


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. 


DAINTY  TUNIC  OF 
CREPE  DE  CHINE 
FOR  AUTUMN  DAYS 


J 


1432  as  illustrated.  A  graceful  modtl  for  general 
service  in  early  Autumn,  made  of  crepe  ae  chine 
in  any  color  with  jaunty  lace  at  neck  .  .  16.50 

Other  models— dresses,  suits,  coals,  waists  and  negligees 
shown  in  '  'Fashion  Suggestions. ' '  Send  for  edition  ' '  TH. ' ' 

Lane  Bryant 

25  West  jSth  Street  New  York 


POPULAR   NOVELS 

BY 

ARTHUR  HORNBLOW 

The  End  of  the  Game        (75th  Thousand) 

A  story  dealing  with  the  perils  of  great  wealth. 

"A  thoroughly  wholesome  book,  with  action  in  the  drama  and 

real  human  interest."  — Literary  "Digest 

The  Easiest  Way  (6th  Large  Edition) 

—From  the  Play  by  Eugene  Walter. 

By  Right  of  Conquest       (1 00th  Thousand) 

A  thrilling  story  of  shipwreck  upon  a  deserted  island. 
"A  sensational  situation  handled  with  delicacy  and  vigor." 

-No,  York  Herald 

The  Gamblers  (85th  Thousand) 

—From  the  play  by  Charles  Klein. 
12 mo,  cloth,  gilt.      Illustrated.      $1.50  each 

G.  W.  DILLINGHAM  CO., 

Publithert 


12-16  East  22nd  Street 


New  York 


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XXIV 


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RIVERSIDE     PRESS 


(TITLE  REfi.  U.  8.  PAT.  OFF.) 


&  e  #*/& 


Iff! 


... 

,      I 


. 


*  L—.+^ 


Kt 


1  \  * : 

* 


heatift 


Co., 


-  Th^Pur  A  I* 

• 


"Point ex"  Heel 


(Patented) 

as  found  only  in  the 

"Onyx" 


TRADE 


MARX 


Hosiery 

It  replaces  the  old,  unsightly  square 
splicing,    gives    a    »lim,    graceful 
and   elegant  appearance  to  the 
ankle,  and    retains    all    the      A 
advantages   of  th 
reinforcement. 


The  following  Numbers  are  all  equipped  with  this 
decided  improvement;  you  will  find  them,  with  other 
''Onyx"  styles  for  Autumn  and  Winter,  at  the 
nearest  Department  Store: 


No  255-- Women's  "Onyx"  Black  Silk 
"Pointex"  Heel-with  "Wyde"  Top  of 
Lisle  and  Lisle  Sole  —  Light  Weight. 
Price $i  35 

No  265 — Women's  "Onyx"  Black  Silk 
"Pointex"  Heel,  with  "Wyde"  Top  of 
Silk,  Lisle  Sole;  "Doublex"  Toe,  medium 
weight $  i  .50 


No  305  -Women's  "Onyx"  Black  Silk 
"Pointex"  Heel.  Extra  Fine  and  Sheer. 
Price, $1.65 

No.  705— Women's  "Onyx"  Black, 
"Pointex"  Heel,  all  Silk.  Excellent  value 
at $1.50 


Sold    by  leading   dealers   ever}'where.     If  your  dealer  cannot  supply 
you,   we  will    direct    you    to   the   nearest   dealer.     Write  to   Dept.   V. 


Lord  &  Taylor 


Wholesale 


New    York 


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A  Breath  of  Air  will  Operate  the  Diaphragm 
Pneumatic  of  the  Angelus  Player-Piano 

And  Give  a  Touch  That  Rivals  the  Human 
Fingers  in  Flexibility,  Firmness  and  Resiliency 

'TITHE  instant  responsiveness  of  the  Angelus  is  due  to  this  exclusive  feature  of  its  construc- 
tion.  The  slightest  pressure  on  the  pedals  immediately  brings  into  action  these  wonderful 
Diaphragm  Pneumatics.  It  is  this  fact  that  gives  to  the  Angelus  its  marvelous  flexibility, 
delicacy  and  firmness  of  touch;  that  enables  the  performer  to  touch  one  note  with  the  lightness 
of  a  caress,  and  the  next  with  a  crash  as  of  the  roar  of  artillery.  Tone  coloring  and  dynamic 
contrasts  are  as  perfectly  and  easily  obtained  as  by  the  fingers  of  the  most  skilled  virtuoso. 

The  Diaphragm   Pneumatic  is   Only  One  of  the  Exclusive  Features 
that  give   the   Angelus  Player -Piano   its    Unquestioned  Leadership 

Knabe-Angelus— Grands  and  Uprights  Lindeman  &  Sons— Angelus  Upright 

Emerson-Angelus— Grands  and  Uprights  Angelus-Piano— An  Upright  built  expressly  for  the  Angelus 

In  Canada — The  Gourlay-Angelus  and  Angelus  Piano 

Any  of  these  instruments  can  be  played  by  hand  in  the  usual  manner 

WILCOX    &    WHITE    CO. 

233  REGENT  ST.,  LONDON  *«•*"•  Established  1877  MERIDEN,   CONN. 

AGENCIES    ALL    OVER   THE    WORLD 


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French  Furniture 

of 
Gracious   Refinement 

|O  more  ideal  plenish- 
ment  for  my  Lady's 
Boudoir  or  Sleeping 
Chamber  can  be 
imagined  than  the  refined  ele- 
gancies which  we  owe  to  the 
genius  of  the  French  craftsmen 
of  the  late  XVIII  Century. 

The  Hampton  Shops  Repro- 
ductions of  the  Master-pieces  of 
the  Period  of  Louis  XVI  are  so 
close  to  these  originals  in  deli- 
cacy of  fashioning  as  well  as  in 
design  that  they  give  to  the 
modern  room  its  wished -for 
aspect  of  luxury  and  grace. 

Our  Furniture  is  to  be  seen  only  in  one 
or  other  of  the  Twelve  Galleries  we  devote 
to  its  display  in  New  York. 

We  have  no  agents  and  no  branch  estab- 
lishments. Write  us  for  our  interesting  book, 
handsomely  illustrated  with  etchings,  "  The 
House  and  Its  Plenishing." 


atnpton 


The  Grand  Rapids  Furniture  Company 
34  and  36  West  32nd  Street 

Between  Fifth  Ave.  and  Broadway 

NEW  YORK 


SHIRTS 


AE  an  essential  addition  to  the  evening  ward- 
robe of  the  well-dressed  man.     They  are 
offered  in  fine-pleated,  tucked  and  "Mushroom" 
bosoms,  and  are  remarkable  for  their  exquisite 
workmanship.  $2  ami  up. 

CLUETT,  PEABODY  &  COMPANY,  INC.,  TROY,  N.Y.  ,  MAKERS  OF 

ARROW  COLLARS 


Maillard's  Breakfast  Cocoa  1s  V16  ,ideal >eak; 

last,    lunch,    and 

supper  beverage.  TRY  IT.  It  is  so  nourishing,  strengthening 
and  sustaining  and  every  cupful  will  do  you  good.  You  will  like, 
too,  its  delicious  and  gratifying  flavor;  and  it  is  most  economical. 

Maillard's  Vanilla  Chocolate  1s  n°V only  a 

toothsome 

sweetmeat  but  a  food  confection,  pure  and  nutritious — qualities 
found  only  in  chocolates  of  Jhe  highest  standard  of  excellence. 


At  Leading  Dealers 


Fifth 
Avenue 


at  35th 


Street 


CHOCOLATES,  BONBONS.  FRENCH  BONBONNIERES 

Afternoon    tea    served    in    the 
Luncheon  Restaurant,  three  to  six 


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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 
'ostage  stamps  should  in  all  cases  be  enclosed  to  insure  the   return   of  contributions   found   to   be   unavailable.      All    manuscripts   submitted   should   be   acco 

ri,.l,<-          Ai-fictc     tra    imriturl     t  r,     cuKrnit     tlifir    nhntntrranlls     for    rpnrnHtirtinn     in     Tup     TIITATBIT          F"arh     nhrttnorronh     cfinuM     ka     .nc/^r^KA^     n. 


ngers,   etc., 

etc.  ±*osiage  stamps  snouia  in  an  cases  ue  encioscu  10  mauic  me  iciuiu  ui  MMHHHUHIMI-.  xuuuu  iu  u^  uuavanauic.  f\ti  luctnua^ripis  suuniiitcu  snouia  oe  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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Alone 


For  its  absolute  correctness  of  con- 
struction, for  the  perfect  control 
and  noiselessness  of  its  power,  for 
its  inspiring  dignity  of  appearance, 
and  for  the  studied  attention  to 
every  smallest  detail  that  provides 
complete  comfort  and  relaxation, 
the  White  Berline  stands  un- 
equalled. 


THE 


.  \ 


• 


CLEVELAND 


Venus  persuades  Apollo  to  abandon  his 
sun    chariot  for  the    White  Berline. 


C 


us 


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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 


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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 


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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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VI 


THE  THEATRE   MAGAZINE  ADVERTISER 


I  ;,--. 


.    i',-: 


•  • 

•••-•        '•:••>•.•:;:••..          %' 


David  Belasco, 

the    eminent    dramatic    au- 
thor, writes  : 

"It  gives  me  pleasure  to  let 
ou  know  the  wonderfully 
eneficial  results  I  have  ex- 
perienced from  the  use  of 
your  Sanatogen.  It  has  a 
most  invigorating  effect  upon 
the  nerves,  and  I  heartily 
recommend  it  to  all  who,  like 
myself,  are  obliged  to  over- 
work. After  my  personal  ex- 
erience I  can  readily  vouch 
or  its  recuperating  qualities.  '  ' 


y 
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Lady  Henry  Somerset, 

the  prominent  social  reform 

advocate,  writes : 
'*  Sanatogen  undoubtedly  re- 
stores sleep,  invigorates  the 
nerves  and  braces  the  paiient 
to  health.  I  have  watched  its 
effect  on  people  whose  neiv- 
ous  systems  have  been  entirely 
undermined  and  I  have 
proved  Sanatogen  to  be  most 
valuable." 


Sir  G.  Parker,  M.  P., 

the  eminent  novelist-states- 
man, writes  from  London  : 
"  Sanatogen  is  to  my  mind  a 
true  food  tonic,  feeding  the 
nerves,  increasing  the  energy 
and  giving  fresh  vigor  to  the 
overworked  body  and  mind." 


Colonel  Henry  Watterson, 

the  famous  editor,  writes  : 
"I  feel  I  owe  it  to  truth  to 
state  that  I  have  made  a 
thorough  trial  of  Sanatogen 
and  that  I  have  found  it  most 
efficacious  and  beneficent.  I 
do  not  think  I  could  have  re- 
covered my  vitality,  as  I  have 
done,  without  this  Sanatogen 
operating  equally  upon  the 
digestive  organs  and  nerve 
centers." 


ISTINGUISHED  people  turn 
to  SANATOGEN  for 
new  strength  and  vitality. 
Why  not  follow  their  example? 

Countless  people  in  all  walks  of  life  have 
testified  in  writing  that  they  have  been 
revived,  reinvigorated,  restored,  reanimated 
by  Sanatogen. 

Among  them  are  scores  upon  scores  of  distinguished  men  and 
women,  statesmen,  famous  authors,  princes  of  the  church,  cap- 
tains of  industry,  society  leaders,  people  whose  sense  of  discrimin- 
ation is  keen.  When  such  people  commend  Sanatogen,  you  may 
be  sure  that  they  are  absolutely  convinced  of  its  beneficial  effects. 

When  18,000  physicians,  moreover,  take  the  trouble  to  write 
to  the  manufacturers  of  Sanatogen,  in  letters  which  it  has  been  a 
matter  of  pride  to  file,  to  tell  of  their  pleasure  and  satisfaction 
with  what  they  have  seen  follow  the  use  of  Sanatogen,  in  hos- 
pitals and  in  private  practice,  then,  too,  you  may  be  sure  that 
the  good  accomplished  by  Sanatogen  is  indeed  extraordinary. 

If  you  are  weak,  therefore,  or  anemic,  nervous  or  run  down, 
a  victim  of  the  strenuous  conditions  of  modern  life,  can  you  do 
better  than  follow  such  distinguished  examples  ? 

Write  for  a  Free  copy  of  "Nerve  Health  Regained" 

If  you  wish  to  learn  more  about  Sanatogen,  before  you  use 
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and  comprising  facts  and  information  of  the  greatest  interest. 

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


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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." 

GREAT  BEAR  SPRING  WATER 
60  eta,  per  cage- 6  glass-stoppered  bottles 


New  Victor  Records 

A  Superb  "Elegie,"  by  Caruso  and  Elman.  vio- 
lin obbligato  by  Mischa  Elman.  Elegie,  Melodic, 
Massenet. 

McCormack  Sings  Hatton's  "Good  Bye."  Good- 
Bye,  Sweetheart,  Good-Bye,  Hatton. 

A  Sixteenth  Century  Gem  by  Elman.  Sicilienne 
and  Rigaudon,  Francoeur-Kreisler. 

Another  Gadski-Amato  Duet.  Trovatore,  Vivra 
contende  i!  giubilo,  Verdi. 

A  Double  Number  by  Tetrazzini.  (i)  Rhap- 
sodic, In  English,  Ahrem-de  Koven;  (2)  Seren- 
ata  inutile  (A  Serenade  in  f-'ain)  (Op.  84,  No.  4), 
Brahms. 

A  New  Ballad  by  Beddoe,  Dan  Bcddoe.  Tenor. 
Yesterday  and  To-day,  Rogers-Spross. 

Kreisler  Plays  the  Lovely  Martini  "Andantino." 
Andantino,  Martini-Kreisler. 

One  of  the  most  fascinating  of  these  melodies, 
the  Andantino  of  Martini,  is  a  special  favorite 
of  Mr.  Kreisler's  and  he  has  played  it  exquisitely 
for  the  Victor. 

Two  New  Masonic  Records.  Free  Masonry, 
Col.  Edward  M.  L.  Ehlers;  Masonic  Charity, 
Col.  Edward  M.  L.  Ehlers. 

These  two  addresses  are  by  M.  W.  Edward  M. 
L.  Ehlers.  Grand  Secretary  of  the  Grand  Lodge 
F.  &  A.  M.  of  the  State  of  New  York,  and  will 
undoubtedly  be  of  great  interest  to  all  Masons. 

Advt. 

^  UNIQUE  »nd  exclusive  feature  of  THE  THEATRE 
MAGAZINE  is  the  Fashion  Department.     Do  not  fail 
to  read  the  suggestions  and  pointers  of  our  Fashion  Editor,  an 
authority  ol  both  continents. 


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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." 

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


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 
Stock  Company  and  Theatre  assure  practical  training. 
New  York  Appearances  and  Engagements.  Such  cele- 
britie»  ai  Miss  Laurerte  Taylor,  Gertrude  Honmann. 
Ethel  Levy,  Pauline  Chase,  Harry  Pilcer  Julia  Onp, 
Ann«  Laughlin,  Joseph  Santly,  Barney  Gilmore,  Mile. 
Daiie,  ttc.,  taught  by  Mr.  Alviene.  For  information 
and  illustrated  booklet  <rf  "How  Three  Thousand  Suc- 
ceeded "  address  the  SECRETARY.  Suite  10  at  aboTe. 


NABISCO 

Sugar  Wafers 


A  tempting  dessert  con- 
fection, loved  by  all  who 
have  ever  tasted  them. 
Suitable  for  every  occa- 
sion where  a  dessert  sweet 
is  desired.  In  ten-cent 
tins ;  also  in  twenty-five- 
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ADORA 

Another  charming  confec- 
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with  a  bountiful  center  of 
rich,  smooth  cream. 

FI.STINO 

An  ever- popular  delight. 
An  almond-shaped  dessert 
confection  with  a  kernel  of 
almond -flavored  cream. 

CHOCOLATI,  TOKENS 

Still  another  example  of  the 
perfect  dessert  confection. 
Enchanting  wafers  with  a 
most  delightful  creamy  fill- 
ing—  entirely  covered  by 
the  richest  of  sweet  choc- 
olate. 


NATIONAL  BISCUIT 
COMPANY 


THE  OFFICIAL   PROGRAMME   OF   THE 


Metropolitan  ©pera  Spouse,  Jfteto  gorfe 

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the  following  seasons  by 


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AMERICAN  ACADEMY  OF 
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The  Fall  Term-will  begin  October  27th 
Connected  with  Mr.  Charles  Frohman'j  Empire  Theatre  and  Companies 

Recognized  as  the  Leading  Institution 
for    Dramatic   Training   in   America 


BOARD  OF  TRUSTEES 
Franklin  H.  Sargent,  President 
Daniel  Frohman  John  Drew 

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Pounded 
la  1884 


For  catalog  and  information 
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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) 


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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. 

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


THE    NEW    PLAYS 

{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 


FOR  MEN 

From  18  years  of  age  and  upwards 

Young  men  and  old  men  alike  appreciate 
the  comfort  giving  features  of  the  . 

New  Patent  Closed   Crotch 

Dealers   and  Consumers  alike  are 

liable  under  this   Patent.     So  it's 

wise    to   be   on   the   safe   side  by 
demanding  the  Genuine. 

We  make  the  machines  that  make 
the    "Spring-Needle"    Fabric 

The  very  high  reputation  obtained  for  Cooper's  "Spring- 
Needle"  knit  underwear  has  caused  some  manufacturers  to 
advertise  "Spring-Needle"  goods  made  on  Cooper's  "Spring- 
Needle"  machines,  when  90%  of  their  output  is  from  the 
latch  needle  machines.  This  is  not  fair  to  us  nor  to  the 
consumer.  The  only  safety  for  the  purchaser  is  to  insist  on 
the  proper  Cooper  label  shown  here.  No  other  mark.  No 
other  sign;  just  this  one,  and  it's  on  all  the  genuine.  We  can't 
make  latch  needle  goods  because  we  have  no  latch  needle 
machines  and  cannot  make  the  mistake  of  occasionally  placing 
a  ticket  on  the  wrong  garment. 

No  one  else  in  the  world  can  make  a  fabric  "just  like"  Cooper'*. 
We  make  all  grades  and  all  good  dealers 
carry  them.  It's  worth  while  to  try  and  get 
them.  Union  suits  $1 .50  to  $5.00  per  suit; 
Shirts  and  Drawers  $1.00  to  $3.00  per 
garment.  Our  Union  Suits  are  all  made 
with  the  Cloied  Crotch  under  Pat.  973.200 
issued  Oct.  18.  1910. 

COOPER   MFG.   CO. 

BENNINGTON,  VT. 

A.  J.  Cooper,  Prej. 


BENNINGTON.  Vf. 


"Preserved" 

VIOLETS 

From  Bohemia 
Prettily  boxed.         Exp.  prepaid 

With  all  their  delicious 
odor  and  beauty 

Worn  by  New  York's  fashionable  set 

AUSTRO-HUNGARIAN  CO., 
4  W.  33rd  St.,  New  York  (opp.  Waldorf 


FACE  POWDER 


AUTUMN'S  MIRROR 

reflects  the  pleasures  of  Summer,  as  Nature  in  trium- 
phant beauty  prepares  for  Winter. 
LABLACHE   retains  and 
restores  that  delicate  touch 
of  refinement,  a  fair  com- 
plexion,    which     quali- 
fies   for    social    favor 
and    preferment. 

Refuse  Substitutes 

They  may  be  dangerous.   Flesh,    H 
White.  Pink  or  Cream,  50c.  a  box   ™ 
of  drarirlsts  or  by  mail.     Over 
two  million  boxea  sold  annually.    , 
Send  10cf  for  a  tample  box, 

BEN.  LEVY  CO. 
French  Perfumers,    Dept.  26 
125  Kinnrston  St..  Boston,  Mass. 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


THE      THEATRE      MAGAZINE     ADVERTISER 


HAAS 


Q1JALITV  FABR-ICS 

PARIS  ONCE  MORE 

SENDS  US   SILKS  AS 

THP  FABR.IC  DE  LUXE 

FOR,  FALL  S*'  WINTER, 

THE  FASHIONABLE  COLORS  AND 

FABRICS  WHICH  PREDOMINATE 

THIS  SEASON  APLE— 


Cob-wet  ^VfeioHt" 
O 

in  thelNfeW  Pariaiin  Colorings 

Crepe  Crague/e^ 

in  Cassis  Color 


TSrocade  Crepe  Irianon, 

in  .Japanese  331  ue/ 

Crepe  j(ucia 

in  Cascade 


THESE  BEAUTIFUL  AND  FASHIONABLE 
FABIUCS  AR.E  ILLUSTRATED  IN  THE 

HAAS    BRX)THER~S 
BLUE  BOOR  OF  MODELS 

TO  BE  SEEN  ONLY  AT  LEADING 
DR.E S S -M  A  K.ERS  AND  LADIES'  TAl  LORS 


HAAS  BR.QTHER.S 

PARJ5;l3Rue  (tePyramides 
NEWTOWC303  Fifth  Avenue 


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 


SOFT  CREPE  DE  CHINE 

LOUNGING  ROBE 
WITH   CHIFFON   ROSES 


No.  358  (at  illustrated).  Attractive  model 
of  crepe  de  chine  with  messaline  bands 
and  hand-made  flower  trimming  .  .  11.50 

Other  negligees  in  charming  array. 

Street,  Afternoon  and  Evening  Dresses, 

Coats  and  Wraps. 

In  our  new  Fall  and  Winter  book  "'Fashion  Hints" 
Send  for  edition     F" 

Lane  Bryant 

25  West  jSth  Street,  New  York 

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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 


. 


Fairy  Magic — Telephone  Reality 


A  tent  large  enough  to  shelter  his 
vast  army,  yet  so  small  that  he  could 
fold  it  in  his  hand,  was  the  gift  de- 
manded by  a  certain  sultan  of  India 
of  his  son,  the  prince  who  married 
the  fairy  Pari-Banou. 

It  was  not  difficult  for  the  fairy  to 
produce  the  tent.  When  it  was 
stretched  out,  the  sultan's  army  con- 
veniently encamped  under  it  and,  as 
the  army  grew,  the  tent  extended  of 
its  own  accord. 

A  reality  more  wonderful  than 
Prince  Ahmed's  magic  tent  is  the  Bell 
Telephone.  It  occupies  but  a  few 
square  inches  of  space  on  your  desk 


or  table,  and  yet  extends  over  the 
entire  country. 

When  you  grasp  it  in  your  hand, 
it  is  as  easily  possible  to  talk  a  hun- 
dred or  a  thousand  miles  away  as  to 
the  nearest  town  or  city. 

In  the  Bell  System,  7,500,000  tele- 
phones are  connected  and  work  to- 
gether to  take  care  of  the  telephone 
needs  of  the  people  of  this  country. 

As  these  needs  grow,  and  as  the 
number  of  telephone  users  increases, 
the  system  must  inevitably  expand. 
For  the  Bell  System  must  always 
provide  a  service  adequate  to  the 
demands  of  the  people. 


AMERICAN  TELEPHONE  AND  TELEGRAPH  COMPANY 
AND  ASSOCIATED    COMPANIES 


One  Policy 


One  System 


Universal  Service 


.  Adair 


557    Fifth   Avenue,  New  York    BffiSSTIffl 


LONDON,  92  New  Bond  Street,  W. 


PARIS,  5  rue  Cambon 


RETURNING    TO    NEW    YORK 

by  motor,  by  train,  by  water,  Society 
is  again  establishing  itself  at  home, 
preparatory  to  entering  upon  Fall 
and  Winter  activities.  Women  who 
KNOW,  who  must  constantly  look 
theirbest,  FIRST  attend  Mrs.  Ailair's 
Salon  for  treatment  which  banishes 
the  coarsening  effects  of  Summer  out- 
door life,  and  restores  the  soft,  youth- 
ful contour  and  perfect  complexion. 
It  is  during  these  early  Fall  weeks  that 
Mrs.  Adair's  Salon  is  more  than  ever 
the  mecca  of  New  York  Fashionables. 


If  you  cannot  visit 
Mrs.  Adair's  Salon 

you  will,  nevertheless,  be  able  t^  obtain 
splendid  results  by  self-treatment  ^t  home 
with  Mrs.  Adair's  GANESH  TOILET 
PREPARATIONS,  which  may  be  ordered 
by  mail.  A  few  are  mentioned  here. 

GANESH  MUSCLE  DEVELOPING 
Oil,,  *,),  $»..-><).  $1,  removes  lines,  fills 
hollnws;  GANKSH  UIABLK  SKIN 
TONIC.  $5.  $3,  75c.  Closes  pores, 
strengthens  and  whitens  skin;  good  for  puffiness 
under  the  eyes;  GANESH  LILY  SUL- 
PHi:it  LOTION,  $3.5O,  $1.5(1.  Beauti- 
fies the  skin,  removing  tan  and  sunburn ,  making 
skin  white  and  firm;  GANKSH  CKKAM 
FOR  HANDS.  81.  Makes  skin  soft  and 
white;  MEAUTV  BOXES,  $35.<l<l, 
$3j>.OO,  $5.OO,  containing  every  leqnisite 
for  the  tourist;  EYK  DROPS,  $1.35,  to 
brighten  the  eyes;  GANESH  "JIINO,"  to 
improve  the  bust,  $2.25.  $1.35:  GANKSH 
KNAMELINE.  to  whiten  neck  and  arms, 
$1.50:  GANKSH  KYKLASH  AM> 
KYKimoW  TONIC  OINTMENT,  to 
darken  and  improve  growth,  $1.OO. 

Free  Book  describe*  other* 


For  reducing  Double  Chins  the 
Gatiesh  Chin  Strap  has  a  won- 
derful record  of  efficiency — $5.00 
and  $b.50.  The  Ganesh  Forehead 
Strap  removes  all  age  lines — 
t4.00  and  $5.00. 


AT  THE  SALON  THE  FOLLOWING  TREATMENTS   AKE  GIVEN: 

FOR  THE  FACE— Mrs.  Adair's  Strapping  Muscle  Treatment,  which  restores  sagging 
facial  muscles  and  makes  the  flesh  firm,  f2..Vl. 

SUPERFLUOUS    HAIR-Hcr  original  Antiseptic  Electrolysis  Treatment  will  ab- 
solutely remove  superfluous  hair,  $2  50. 

TIRED    EYES- For  the  eyes,   the    Light    Method  will    be  found  most  refreshing. 
Removes  lines  from  the  lids  and  takes  away  the  tired  look,  $3.50. 


L'ART    DC    LA    MODE     POR    NOVEMBER 

Will  Contain  the  lateit  dnigiu  of  up-to-date  fashions.  For  sale  everywhere.    35  cent*  per  copy. 

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Thais 
What 


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MONKS' 
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CORDIAL 


HAS  STOOD 
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OF    AGES 
AND   IS   STILL 
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CORDIAL  EXTANT 


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M5®g^^ 


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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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: 


COMFOR 


The    Keynote   of   Ohio   Electric   Construction 


Driving  Comfort  —  magnetic  (disc)   control;   magnetic  brake, 


absolutely  eliminating   skidding;   double  drive  from  both  front  and 


extra-wide  doors,  with  patented   safety  catch;  full  width 


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big,  deep,   luxurious  upholstery  that  em- 


bodies the  utmost  in  ease  and  softness. 


Artistic  Comfort — a  grace  of  line  and  a  beauty  of  finish  that 


have  made  these  exclusive  Viennese  models  the  envied  cars  on 


Most  of  the  features  which  distinguish  the  Ohio  are  patented  and 


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Descriptive  literature  on  request. 


The  Ohio  Electric  Car  Co.  1517  W.  Bancroft  St.,  Toledo 


OHIO 


ELECTRIC 


A     Popular     Edition     of    this     Famous     "Book 

One  Volume  in  8vo.  Bound  in  Paper 


LOVE 


PRICE.  50  CENTS 

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 


THE   THEATRE  MAGAZINE   ADVERTISER 


THE  table-beer  of  America— a  mild  home-beverage  that 
you  can  serve  with  confidence  because  your  home- 
quality  standards  are  maintained  in  the  making. 

Budweiser 


Made  in  a  Gigantic  Plant 


6.000     people     are    employed    in    the    main 

Elant  of   Anheuser-Busch  —  1,500  more  in 
ranches. 

There  are  1 10  separate  buildings,  covering  142 
acres— more  than  70  city  blocks. 


The  plant  is  a  model  of  order,  efficiency,  clean- 
liness and  thrift.  To  go  throuirh 
Budweiser's  home,  as  hundreds  ( 
do  daily,  is  the  best  way  to  realize 
Budweiser's  quality. 


Anheuser-Busch,  St.  Louis 


The  Largest  Plant  of  Its  Kind 
in  the  World 


Some  of  the  Principal 
Buildings 


Try  One  of  Our 
Dry  Varieties 


Martini — Regular 
Martini — Dry  (medium) 
Martini — Brut  (eery  dry) 
Manhattan — Regular 
Manhattan — Dry 


G.F.Heublein 
&  Bro. 

Sole  Prop'* 


The  American 
Playwright 

Edited  by  WILLIAM  T.  PRICE 

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

A  MONTHLY  devoted  to 
^\  the  scientific  discussion 
of  Plays  and  Playwriting. 
1 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. 

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you  how  to  procure  the  printed 
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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 
Summerville;  Margaret  Smith,  Ann  Wheaton;  Griggs, 
Clyde  Hunnewell;  Jerome  K.  Hedges,  Frazer  Coulter; 
Denny,  Donald  MacDonald;  Matilda,  May  Yokes. 

What  a  wonderful  thing  is  youth!  Few  can 
withstand  its  charm  and  freshness,  while  all  are 
ready  to  forgive  its  ingenuous  mistakes,  and 
childish  follies.  "When  Dreams  Come  True" 
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. 


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THE      THEATRE      MAGAZINE      ADVERTISER 


xv 


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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 


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from  1901  to  1912,  inclusive,  $132.00 


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"               "             "          "     1904  "          12.00 

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"              1907  "           8.00 

1908  "           7.00 

"      ' '     1909  2  vols.        "           7.00 

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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 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


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: 

AUTUMN  PATTERN  NUMBER 
Now  On  Sale 

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 
individual  pattern  of  any  costume  illustrated  anywhere  in  the  book.  You  might 
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 

All  the  best  things  in  all  the  new  stocks  of  all  the  best  shops  spread  out  be- 
fore you  in  one  big  attractive  catalogue.  A  personally  conducted  tour  through 
the  little  shops  and  the  big  stores;  and  a  splendid  exposition  of  the  work  done  all 
through  the  year  by  Vogue's  "Seen  in  the  Shops."  Furthermore  Vogue's  shop- 
ping service  will  buy  for  you,  without  charge,  anything  shown  in  this  number  or 
any  other  number,  thus  giving  you  the  full  benefit  of  the  great  metropolitan  shops 
no  matter  where  you  may  happen  to  be.  If  you  are  not  acquainted  with  Vogue 
and  its  economies — this  is  an  excellent  number  for  you  to  sample. 

VOGUE 


25  cents  a  number 
Twice  a  month 


FOUR  FORTY-THREE  FOURTH  AVENUE 
NEW  YORK  CITY 

Conde  Nast,  Publisher 


$4.tO  a  year 
24  numbers 


I 


1 


\ 


IK  I  "HI  K     I'JO 


OUTING 


What    Makes   a    Foot    Ball 


Player? 

By  Herbert  Reed 

The  Fountain  of 

Youth 
By  Charles  T.  Jackson 


Hunting 
with  the 
Huicholes 


j&g&S&tf^  Outing  Publishing  Co. 

^J    NEWARK  CHICAGO 


The  Files  of  the  Theatre  Magazine 
are    Invaluable    to   Collectors 

BIND  YOUR  NUMBERS  OF  THE 

Theatre  Magazine 


READERS  who 
have  preserved  their 
copiei  and  return  them  to 
us  in  good  condition,  by 
express,  prepaid,  -will 
receive  a  complete  copy, 
together  with  title  page, 
table  or  contents,  on 
payment  of  $3.00. 


The  Twelfth  Year  (1912)  is  bound  in 

TWO     VOLUMES 


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 
60  eta.  per  cases  glass-stoppered  bottles 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


RIVERSIDE    PRESS,    N  F\Y 


a   I  ear 


TH 


HEAT 


(TITLE  RE6.  U.  8.  PAT.  OfF.) 


Theatre  Magazine  Co., 


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 


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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. 


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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) 


THE   THEATRE  MAGAZINE  ADVERTISER 


Three 
Types  of  Control 


Rear  —  Selective  Dual 


The  last  has  a  combination  of  either 
front  or  rear  control.     Select  the  posi- 
tion from  which  you  desire  to  drive, 
according  to  the  number  of  passengers. 
Controls  and  brakes  are  automatically 
interlocked   by    merely    turning  front 
aeat  to  natural  positions  required  by 
driving  conditions.     The  Rauch  fit 
Lang  Control  System  guarantees 
positive  control  of  your  car  al- 
ways, under  every  driving 
condition. 


Society  Adopts 

The  New  Rauch  &  Lang  Worm  Drive 


Again  has  the  Rauch  &  Lang  Electric  assert- 
ed its  premiership  as  Society's  chosen  car. 

The  success  of  the  new  worm  drive  has  been 
immediate.  This  feature  means  the  continued 
leadership  in  driving  quality — just  as  the  beau- 
tiful body  lines,  rich  finish  and  ultra  refine- 
ment of  every  detail  have  always  marked  su- 
premacy of  Rauch  &  Lang  construction. 

Hundreds  have  already  ordered  the  new  car. 
They  are  enthusiastic  because  the  Rauch  & 
Lang  Straight  Type  Worm  Drive  (top  mounted) 


which  is  superior  to  all  others  means  a  greater- 
than-ever  all-'round  efficiency,  a  silence  that  is 
manifest,  a  power-economy  hitherto  unknown, 
and  a  driving  simplicity  that  appeals  to  the 
most  timid  woman. 

The  Rauch  &  Lang  is  the  highest-priced 
Electric  on  the  market.  Its  value  is  readily  ap- 
parent to  those  who  seek  a  car  of  artistic  and 
mechanical  perfection. 

Any  Rauch  &  Lang  agent  will  gladly  dem- 
onstrate. Catalog  mailed  on  request. 


MAKERS  OF  COACH  HISTORY    For  over  tixty  years  Ranch  *  Lang  have  been  building  Una  vehicles  for  a  select  patron- 
age.   In  each  successive  vehicle  era  they  have  been  accorded  the  leadership.    Strict  adherence  to  lofty  art  ideala 

and  a  wonderful  mechanical  perfection  have  won  and  held  the  acclaim  of  people  of  refinement.  (147) 

Brim-he 

V-  York,  1SOII  It 
Cleveland,  Snperl. 
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Kumai  Cllj,  3501  M.ln 


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2201  West  Twenty-fifth  Street 


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A  New  Member 
of  an  Old  Family 

The  Manufacturers  of 

PACKER'S 

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take  pleasure  in   introducing  their    new 
preparation  : 

PACKER'S 
LlQUIDlARSOAP 

Its  pleasing  perfume,  its  cleansing  lather,  and 
its  refreshing  after-effect,  will  be  appreciated 
by  the  user.  To  be  had  at  Druggists. 

Till:  PACKER  MFG.  COMPANY,  81-83  FULTON  ST.,  NEW  YORK 


WOOL 

,  man  body  to  breathe 
through  the  pores,  as 
Nature    intended — it 
provides  for  inhalations  and 
exhalations,    retains    the 
warmth  and  repels  the  cold. 
For  the  sake  of  health  and 
comfort    wear   genuine,    por- 
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help  you   to  keep  well  all 
winter.     Jaeger  Woolen 
coats,  stockings,  sweaters, 
caps,  etc.,  are  a  comfort. 
Learn     the    Facts    about 
Wool.    Write  for  booklet. 


Dr.  Jaeger's  S.  W.  S.  Co.'s  Own  Stores 

New  York:  306  Fifth  Ave.,  22  Maiden  Lane 
Brooklyn:  504  Fulton  St.    Boston:  324  BoylstonSt. 
Phila.:  1516  Chestnut  St.   Chicago:  126  N.  State  St. 

Agent*  in  all  Principal  Cities 


f.  B.  Manicure  Outfit    No.  9S6B,  $2.50 

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A  HANDSOME,  USEFUL,  PRESENT. 

You  need  no  teacher.  Our  Book.  "The  F.  B.  Way  of 
Manicuring,"  shows  you  how  to  me  each  instrument. 
The  book  is  ftee.  Write  for  it. 

F.  B.  "Needlepoint"  Cuticle Scijiors  $1.00 

F.  B.  Flexible  Manicure  Fue  .25 

POLPASTA  Nail  Polishins  Pasle  .25 

FORONGA    Antiseptic  Nail  Bleach  .25 

F.  B.  Manicure 
supplies  aie  warranted 
i  n  every  respect. 
Your  money  back  if 
not  salislactcry.  If 

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see  ihat  they  bear  our 
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ASK  YOUR 
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The  leading  theatrical  stars,  as  -well  as 
women  •who  are  socially  prominent,  know- 
ing the  value  that  footwear  plays  in  correct 
gowning,  depend  upon  one  -who  is  an  art- 
ist in  the  making  or  "custom-made"  shoes, 
for  the  solution  of  their  footwear  problem. 

Hayes  shoes  arc  individually  distinctive  and 
combine  style  —  quality  —  fit  and   comfort. 

Our  catalogue  T  snows  over  50  different  styles.   Send  for 
it  now.     Distance  no  obstacle. 

ftrjonat  attention  giittn  alt  orders 


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New  York 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


VI 


THE  THEATRE  MAGAZINE  ADVERTISER 


FOR  MEN 

From  18  years  of  age  and  upwards 

Young  men  and  old  men  alike  appreciate 
the  comfort  giving  features  of  the 

New  Patent  Closed   Crotch 

Dealers  and  Consumers  alike  are 
liable  under  this  Patent.  So  it's 
wise  to  be  on  the  safe  side  by 
demanding  the  Genuine. 

We  make  the  machines  that  make 
the    "Spring-Needle"    Fabric 

The  very  high  reputation  obtained  for  Cooper's  "Spring. 
Needle"  knit  underwear  has  caused  some  manufacturers  to 
advertise  "Spring- Needle"  goods  made  on  Cooper's  "Spring- 
Needle"  machines,  when  90%  of  their  output  is  from  the 
latch  needle  machines.  This  is  not  fair  to  us  nor  to  the 
consumer.  The  only  safety  for  the  purchaser  is  to  insist  on 
the  proper  Cooper  label  shown  here.  No  other  mark.  No 
other  sign;  just  this  one,  and  it's  on  all  the  genuine.  We  can't 
make  latch  needle  goods  because  we  have  no  latch  needle 
machines  and  cannot  make  the  mistake  of  occasionally  placing 
a  ticket  on  the  wrong  garment. 

No  one  else  in  the  world  can  make  a  fabric  "just  like"  Cooper's. 
We  make  all  grades  and  all  good  dealers 
carry  them.  It's  worth  while  to  try  and  get 
them.  Union  suits  $1.50  to  $5.00  pet  suit; 
Shirts  and  Drawers  $1.00  to  $3.00  per 
garment.  Our  Union  Suits  are  all  made 
with  the  Closed  Crotch  under  Pat.  973,200 
issued  Oct.  18,  1910. 


COOPER   MFG.   CO. 
BENNINGTON,  VT. 

A.  J.  Cooper.  Pra. 


CLOSED  r,  CROTCH 

BENNINGTON.VT. 


An  Ideal  Little  Gift 

Our  nosegays,  beautifully  made  of  im- 
ported flowers  in  natural  colors  and  ex- 
quisite fragrance  make  charming  gifts, 
favor*,  ot  prizes.  They  are  high  in  favor 
with  the  most  discriminating  and  must  be 
seen  lobe  fully  appreciated.  Take  your 
choice  of  mignonette,  violets,  roses,  for- 
get-me-nots or beliotrope.  Wesenayour 
nosegay  with  a  Poblson  gift-card  in  a 
quaint  bandbox  and  return  your  money 
immediately.!  you  are  not  delighted.  Any 
style.  Price  $1.50  postpaid.  Ask  for  our 
gifts  at  the  best  shops  or  write  for  our  new 
catalog  of  thoughtful  little  gifts.  Pohlson 
Gift  Shop,  Pawtucket,  R.  I.,  Dept.  1. 


AUTUMN'S  MIRROR 

reflects  the  pleasures  of  Summer,  as  Nature  in  trium- 
phant beauty  prepares  for  Winter. 
LABLACHE   retains  and         ^g 
restores  that  delicate  touch 
of  refinement,  a  fair  com- 
plexion,    which     quali- 
fies   (or    social    favor 
and    preferment. 

Refuse  Substitutes 

They  may  be  dangerous   Flesh, 
White,  Pink  or  Cream,  50c.  a  box 
of  drnrfriati  or  by  matt.     Over 
two  million  boxea  sold  annually.  ', 
Send  We.  for  a  sample  box. 

BEN.  LEVY  CO. 
Frenrh  Perfumers.    Dept.  26 
125  Kingston  St.,  Boston,  Mass. 


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. 

ETHEL  M.  SMITH. 


GREAT  BEAR  SPRING  WATER 
50  eta.  per  case    6  glass-stoppered  bottles 


New  Victor  Records 

Another  Neapolitan  Song  bv  Caruso.  Fenestn 
chc  lucire  (The  Shining  Window). 

Another  of  the  songs  in  Neapolitan  patois  which 
Caruso  sings  so  well.  This  Fenesta  die  lucire  is 
a  particularly  beautiful  one,  with  a  somewha' 
nathetic  tone,'  and  the  tenor  sings  it  w;th  much 
feeling,  giving  the  emotional  climaxes  with  superb 
effect. 

An  Old  Fnglish  Song  by  Farrar.  ]  ore  Has 
F.yes.  Bishop. 

A  Mendelssohn  Trifle  bv  Elman  Mischa  Elman. 
Violinist.  Capricietto,  Mendelssohn. 

One  of  a  group  of  shorter  pieces  which  young 
Elman  uses  for  encore  numbers.  It  is  a  delight- 
ful composition,  and  is  played  by  the  v'rtuoso 
with  much  charm,  and  with  that  wonderful  tone 
and  nurity  of  intonation  which  have  seldom  been 
equaled. 

A  Magic  Flute  Number  Johanna  Gadsk'.  So- 
nrano  assisfed  bv  Mmes.  Snarks,  Case  and  Matt 
feld.  Magic  Flute  (Art  II}.  Mozart. 

McCormack  Sings  Numbers  by  Marshall  and 
Ronald.  Dear  Lore,  Remember  Me;  Down  in 
the  Forest. 

Another  Trovatore  Air  by  Tetrazzini.  D'amor 
sail'  ali  rosee,  Verdi.  Advt. 


Miss  May  de  Sousa,  who  is  now  playing  the 
Princess  in  "Miss  Caprice."  announces  her 
intention  of  remaining  permanently  in  this  coun- 
try instead  of  returning  to  England  at  the  end 
of  her  present  engagement.  For  several  years 
Miss  De  Sousa,  although  an  American  by  birth 
has  spent  most  of  her  time  in  London  and  has 
been  very  successful  there.  This  is  her  first 
professional  visit  to  her  native  land  in  five  years 
and  she  has  decided  that  the  visit  shall  be  per- 
manent. Miss  De  Sousa  is  to  remain  under  the 
Shubert  management  for  a  long  time  to  come, 
and  will  probably  be  featured  in  another  produc- 
tion next  season.  It  is  defin:tely  decided,  how- 
ever, that  she  shall  remain  with  ''Miss  Cap- 
rice" not  only  through  its  New  York  run,  but 
also  for  the  road  tour  of  that  piece. 


Send  4c. 
For  A 
Sample 
Bottle 


The  original  Eau  de  Cologne  — 
made  in  the  ancient  city  ol  Cologne 
since  1792.  For  more  than  100  years  it  has  been 
a  toilet  necessity  with  thousands  ot  refined  men  and 
women  on  both  sides  ol  the  Atlantic. 


used  in  the  bath,  on  the  handkerchief,  after  molding 
or  traveling,  for  the  relief  of  headache,  after 
shaving,  is  wonderfully  invigorating  and  refreshing. 
The  most  sensitive  person  will  be  pleased  with  its 
delicate  perfume,  a  boon  in  the  sick  room. 

4  ounce  bottle,  55c. 
Other  sizes,   plain  and   wicker,   85c.   to  $3. 

Send  4c.  in  stamps  to- jay  for  sample  tattle  to 
Mulhens  &  Kropff,  D.pt.T,  298  Broadway,  New  York 

U.  S.  Branch    of 
F«rd.Miilheni,No.4711Glockenj«iM,  Cologne. o/RGenn«n, 

Also  makers  of  the  famous  "No.  47  1  1"  While  Pose 
Glycerine  Soap  and  Eau  de  Colosne   Bath  Sails 


"After    the    D<vi\ce" 

IT  has  been  found  that  the  up-to-date  dances  are  ex- 
tremely severe  on  the  leer,    causing  them  to  swell  and 
burn  after  an  evening's  indulgence. 

The  feet  are  the  nerve  centers  of  the  body,  and  the  ex- 
cruciating pain  which  comes  from  maltreatment  soon  cause 
the  pleasures  of  an  evening  to  vanish. 
It  is  especially  after  the  dance  that  the  benefits  of  Cogs- 
well'i  Foot  Tonic  are  most  appreciated.     Its  wonderful 
healing  qualities  instantly  soothe  and  cool  lired,  aching  feet, 
reducing  swelling  and  allaying  inflammation. 
Dr.  Cogswell's  Foot  Tonic  has  the  hearty  recommendation 
of  every  user.     //  may  be  used  i»ith  safety   and  equal 
satisfaction  on  any  part  of  the  body.     Price  $  1 .00. 
Made  only  by 

DR.  E.  N.  COGSWELL 

418  Fifth  Avenue  New  York  City 

SURGEON-CHIROPODY  and    EXPERT  MANICURING 


Prof. 

MALVIINA 

CREAM 


THE   EMPIRE   STATE  ENGRAVING 

COMPANY 
190  WILLIAM  STREET,  NEW  YORK 

TELEPHONE:   3880  BEEKMAN 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


THE  THEATRE  MAGAZINE  ADVERTISER 


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- 


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While  most  of  the  necessaries  of  life 
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in  1895.  Since  then,  the  decrease  in 
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years  ago. 

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System,  which  brings  together  the 
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communities  they  serve. 

Through  the  very  size  and  effi- 
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accomplish  improvements  and  effect 
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AMERICAN  TELEPHONE  AND  TELEGRAPH  COMPANY 

AND  ASSOCIATED    COMPANIES 

One  Policy  One  System  Universal  Service 


AMERICAN  ACADEMY  OF 
DRAMATIC   ARTS 


The  Fall  Term-will  begin  October  27th 
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 


For   catalog  and   information 
apply  to  the  Secretary 

Room  152.  C.rnegie  Halt 
New  York 


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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. 


GREAT  BEAR  SPRING  WATER 
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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 


THE    FAMOUS    GREEN    ROOM    OF    THE    BURBANK    THEATRE 


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XI 


PARFUM 
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"CHAMINADE"  DUSTING  POWDER  -  $2.50 
"CHAMINADE"  SACHETS  (bottles)  -  81.00 
"CHAMINADE"  TOILET  WATER  -  -  $2.50 

MORNY 

2O1     REGENT    STREET,    LONDON". 

Sold  by  all  High-Class  Department   Stores  and 
Distributors  of  Perfumery. 

Sole  Wholesale  Agents  for  U.S.A.. 
F  R.  ARNOLD  &  Co.,  3,  5  &  7,  West  22nd  St.,  N.Y. 


'•J-{ilA-*-y^-''     CREATION 
A  LATEr  DE&UTANT&  ---  SOCIETY'S  LEAD&R,  NOW! 


CREATED 

WONDERFUL 

SENSATION 


ACHIEVED 

INSTANTANEOUS 
FAME 


REGULAR  SIZE 
TRAVELER  SIZE 


SAMPLE  SIZE 
CHATELAINE  SIZE 


PARFUM  ON  5ALE  AT  HIGH  CLA55  DEALERS  EVERYWHERE 

«=3Q 


French  Furniture  of  the 

XVIII  Century  Elegance 

and  Charm 


VEN  today  there  are 
French  designers  of 
furniture  who  can 
impart  to  their  cre- 
ations some  of  the  indefinable 
charm  which  belonged  to  their 
Eighteenth  Century  forebears. 

From  such  artists  as  Coussat 
and  Quantinet,  the  Hampton 
Shops  receive  the  initial  sug- 
gestions for  those  Writing  Desks 

with  their  subtle  curves  of  beauty: 

/ ' 

those  comfort-offering  Bergeres, 
those  graceful  Tables  which  give 
an  air  of  distinction  to  Boudoir 
or  Morning  Room. 

Our  Furniture  is  to  be  seen  only  in  one 
or  other  of  the  Twelve  Galleries  we  devote 
to  its  display  in  New  York. 

We  have  no  agents  and  no  branch  estab- 
lishments. Write  us  for  our  interesting  book, 
handsomefy  illustrated  with  etchings,  "The 
House  and  Its  Plenishing." 


Ijamjjtoh 


34  and  36   West  j2nd  Street,  New  York 

Between  Fifth  Ave.  and  Broadway 


v* 


y 


v 


y 
v 


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The 

Evening9 
Glass 
of  Cheer 


THE 
MONKS' 
FAMOUS 
CORDIAL 


HAS  STOOD 
THE  TEST 
OF    AGES 
AND   IS   STILL 
THE     FINEST 
CORDIAL  EXTANT 


At  first-class  Wine  Merchants,  Grocers,   Hotels,  Cafes. 

Batjer  &  Co.,  45   Broadway,  New  York,  N.  Y. 

Sole  Agents  for  United  States. 


i^^ 


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. 


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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. 


To  Lighten  the  Nights 
That  are  Six  Months  Long  — 


The 


Battery 


This  lighting  plant  is  equipped  with 


THERE  recently  sailed  from  New  York  an  Arctic  Expe- 
dition of  great  historic  and  geographical  importance.  It 

was  sent  out  under  the  auspices  of  the  American 
Museum  of  Natural  History,  the  American  Geographical 
Society,  the  University  of  Illinois,  and  other  institutions  of 
learning  to  explore  the  North  Polar  regions,  with  particular 
work  in  Crocker  Land,  a  vast  territory  beyond  the  Arctic 
Circle  regarding  which  little  is  known. 

Among  the  many  modem  appliances  with  which  this 
expedition  is  furnished,  none  is  more  interesting  than  the 
electric  lighting  plant  that  is  to  be  installed  in  a  portable 
house,  to  be  occupied  by  the  explorers  during  the  long  Arctic 
nights,  at  about  80°  North  Latitude. 


The  'llronclab^Exibe'   Battery 


one  of  the  four  famous  "  EXfoe  "  Batteries  manufactured  by  The  Electric  Storage  Battery 
Company  of  Philadelphia,  the  oldest  and  largest  maker  of  storage  batteries  in  this  country. 

The  engineers  who  have  the  electrical  apparatus  of  the  expedition  under  charge  selected 
the  "1TrOnClab*]EXtDe"  because  of  its  reliability,  lightweight  and  ability  to  give  good 
service  at  very  low  temperatures.  This  is  the  battery  that  is  used 

For  Electric  Vehicle  Service 

with  such  remarkable  success.  The  identical  qualities  that  made  it  suited  above  all  other 
batteries  for  the  Crocker  Land  Expedition  make  it  the  logical  battery  for  your  electric  car, 
whether  pleasure  or  commercial. 

Our   3)ook    No.   881    glees    details.     Jl  postal 
request  to  our  nearest  Sales  Office  brings  it  to  you 

THEELECTRICSTORAGEB^TEKYCO. 


1888 

New  York 
Detroit 


PHILADELPHIA 


1913 


Boston  Chicago  St.  Louil  Cleveland  Atlanta  Denver 

Los  Aneeles  San  Francisco  Seattle  Portland.  Ore.  Toronto 

886  "  Exl&e  ' '  Distributors.        9  "  JExi&e  "  Depots.        "  Exl&e  "  Inspection  Corps. 
U»e  the    "ExiSe"    Battery  for  Gas  Car  Lighting,  Starting  or  Ignition. 


«.« 
ti* 


THERE'S  many  a  man  who  has  built  a  rare 
reputation  as  a  mixologist  who  lets  us  do 
his  mixing  for  him  and  keeps  his  sideboard 
stocked  with    Club    Cocktails. 

Made  from  better  materials  than 
a  bar  cocktail  is  apt  to  be. 

Mixed  to  measure; — not  to  guess 
work — asa  barcocktailalways  is. 

Softened  by  aging  before 
bottling — as  no  bar  cocktail 
can  be. 


1 


ELDERLY 
PEOPLE 


Vinol 


THE  DELICIOUS  COD  LIVER  AND 
IRON  TONIC  WITHOUT  OIL 


ELDERLY  PEOPLE 

and  delicate  children  benefit  greatly  by 
the  strengthening  and  body-building 
virtues  of  Vinol  which  contains  in  con- 
centrated form  all  the  medicinal  elements 
of  the  finest  cod  liver  oil  with  peptonate 
of  iron  added  —  Deliciously  palatable  and 
easily  digested  —contains  no  oil — agrees 
with  everybody  — children  love  it.  Its 
superiority  as  a  tonic  reconstructor  in 
all  weak,  run-down  conditions  and  for 
chronic  coughs,  colds,  and  bronchitis  is 
guaranteed  by  over  5000  druggists. 

For  sale  by  one  druggist  in  a  place. 
Look  for  the  Vinol  store  where  you  live 

Trial  sample  sent  free  on  receipt  of 

2-cent  stamp. 
Chester  Kent  &  Co.,  Boston,  Mass. 


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::i:-™ 


GENTLE  TAPPING 

REMOVES  WRINKLES 

MRS.    AD  AIR    EXPLAINS    HER    ORIGINAL    METHOD 

"This  process  is  practised  exclusively  at  the  New  York,  London  and  Paris  Salons,  and 
has  won  universal  endorsement  among  those  who  are  particularly  careful  of  their  skin. 

"Instead  of  steaming  the  skin,  which  robs  it  of  the  natural  oils,  or  the  vigorous  massaging, 
which  stretches  ihe  tissues  and  o/u-n  produces  tiabbiness,  the  skin  is  gently  patted  and  strapped, 
increasing  the  blood  circulation  and  raising  the  flabby  muscles  into  proper  place. 

"A  youthful  shape  and  contour  is  given  to  the  face,  and  a  smooth  velvety  texture  of  the 
skin  follows  the 

GANESH  STRAPPING  MUSCLE  TREATMENT 

Sincle  Treatments  given  at  the  Salon  by  Mrs.  Adair's  personally  trained  English  atten- 
dants, £:.'..iO  each.  Less  by  the  course. 

TI1K  r,\\l-'SII  TRKATMF.NT  FOR  Sl'PKRKI.UOUS  HAIR  is  an  original  treatment  with  the  new  Electrolysis  method. 

ll  i< ....  •...iiplUlied  pleasantly  and  with  uniform  success.     Single  Treatment,  fc>.50.     THE  GANKSH  TREATMENT  FOR 

TIRED,  LIN  Kl>  KYKS  smoother  away  the  tiny  crows'  feet  and  restores  the  bluey-whiteness  to  the  eye.    Single  Treatment,  $3.50. 

THE  ( ".  \\I'SH  MUSC1.K  OIL,  used  for  the  Strapping  Muscle  Treatment  is  sold  by  Post  with  comprehensive  instructions 
for  self-use,  unniualled  for  filling:  out  wrinkles  and  hollows,  for  ^5. do,  $2.50  and  M.OO  per  bottle. 

C.AXESH  EASTERN"  DIAliLE  SKIN  TONIC,  strengthens  the  tissues  and  removes  puffiness  under  the  eyes.  $5.00, 
*2.00  and  T.K. 

C.AXESH  EAST1.RX  BALM  CLEANSING  CREAM  is  unequalled  for  cleansing  the  most  sensitive  skins.  $3.00. 
$1.90  and  7.V. 

Send  for  Free  Lecture 
Booklet  and  Price-Lift 

LONDON,  92  New  Bond  Street,  W. 
PARIS,  5  rue  Cambon 


.  Adair 


557  Fifth  Avenue 


TELEPHONE  2839 
MURRAY  HILL 


New  York 


The  great  skin  and  science 
employed  in  the  compounding 

of     X.  BAZIN  S 
Depilatory  Powder 

make  it  absolutely  safe  and  reliable.  i 
If  some  former  remedy  has  been  tried 
without  success,  it  is  because  the 
•Bright  powder  was  not  applied.  For 
-sale  at  all  first-class  drug  stores,  or 
by  mail  in  sealed  package,  postpaid. 
Price  50  cents 

HALL  &  RUCKEL 

NEW  YORK  CITY 


REMOVES 

UPERFLUOUS  t 
NEVER  FAILS 


inlrn  "Hi  ""  u 


DEPIUVTORYil 
POWDER 

HALLfi-RUCKEL 

New  York 


CUNARD 

Cruises 


Unsurpassed  Luxury  and  Comfort 
Madeira,  Gibraltar,  Algiers,  Monaco,  Naples, 

Alexandria 

"FRANCONIA,"  *Nov.  15,  Jan.  8,  *Feb.  24 
"LACONIA,"  *Dec.  2,  Jan.  22 
CARONIA,"  Jan.  31,  March  17 

*Do  not  call  at  Alexandria 
A  LA  CARTE  WITHOUT  CHARGE.     STOPOVERS  PERMITTED. 


A 


For  particulars  apply  to 

THE  CUNARD  STEAMSHIP  COMPANY,  Ltd. 

21  State  St.,  Room  120  H,  New  York,      or  Local  Agents 


'AURORA" 


RUCHE 


SUPPORT 


Silk-covered  and  Pliable.  "AURORA" 
Ruche  Support  is  indispensable  for  the 

new  Medici  Neckwear  fashion.  Made  in  Black  or 
White,  in  heights  from  2  inches  to  4  inches.  25  cents 
per  yard.  Enough  for  one  Ruche,  10  cents. 

At  all  Dealers 

JOSEPH   W.  SCHLOSS    CO. 

PARIS  Fifth  Ave.  and  21st  St.      NEW  YORK 


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. 


$2. 


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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) 

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


XV 


*> 


N 

. 


•^ 


Demonstrated  Superiority  in  the  Four  Vital  Points 

,J?r»alii"iir:i,  Mi£ne.tic>  operating  upon  pressure  of  a  button.  The  car 
cannot  sk,d  when  th.s  is  apphed.  Foot-brake  has  automatic  power  cut-out. 
The  brakes  are  external,  and  will  not  freeze  up. 

Drive :     Double  drive  from  both  front  and  rear  seat. 

Principle :     Chainless      direct  shaft   drive    without   universal    joints. 
Consequently,  maximum  efficiency  per  unit  of  power. 

These  four  features  are  patented  and  exclusive  to   the   Ohio   Electric 
I  hey  are  only  a  few  of  many. 

See  the  car  at  the  nearest  Ohio  dealer  or  write  us  for  catalog. 
The  Ohio  Electric  Car  Co.  1517  W.  Bancroft  St.,  Toledo 

Gibson  Electrics,  Ltd.         Ontario  Di»tributor«         Toronto.  Canada 


OHIO 


THE  ENVIED 

ELECTRIC 


-A     Pop  alar 


Edition     of    1hi-t     Famous     "B  o  o 

One  Volume  In  8vo.  Bound  In  Paper 

PRICE.  50  CENTS 


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 
intelligent  as  these. 


Franclsque  Sarcey,  in  Lc  Figaro,  said: 


have  a  place  in  the  collection,  so  voluminous  already,  of  modern  ways  of  iove. 


MEYER  BROS.  CO.,  Publishers 


8  to  14  West  38th  Street,  New  York 


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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 
the  past  year. 

It  contains  over  800  pages,  colored  plates,  1  600  engravings,  notable 
articles  of  timely  interest,  portraits  of  actors   and  actresses,   scenes 
from  plays  and  the  wonderful  fac-simile  water  colored  covers  which 
appeared  on  each  issue. 

A  gift  that  is  both  entertaining  and  educational.     It  holds  a 
prominent  place  on  the  library  table  long  after  other  gifts  have 
been  laid  aside  and  forgotten. 

Complete  year  1913-$6.50  a  Set 

Two  Volumes 

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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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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\) 


The  luxury  of  a  limousine 
at  far  less  cost- 

The  ideal  car  for  city  and 
suburban  use — 

The  economical  self-driven 
vehicle — 

THIS  IS  THE  ELECTRIC 
(the  car  you  should  own) 

SIMPLE 

SAFE 
SILENT 

For  the  theatre  or  opera ;  for  shopping  tour  or 
social  call;  for  every  sort  of  social  service 
you  -will  find  the  Electric  most  desirable. 

We  would  like  you  to  have  this 
book-    'The  Story  of  the 
Electric  Pleasure  Vehicle" 

Beautifully  printed  in  two  colors  and  written  with  all  the 
charm  and  interest  of  a  story.  Complete  data  about  the 
Electric — cost  of  maintenance,  simplicity  of  construction, 
early  history  and  striking  instances  of  its  dependability.  Pro- 
fusely illustrated  and  actual  photographs  of  newest  model 
Electrics.  If  you  are  interested  in  the  Electric,  you  will  want 
this  book.  It  is  yours  on  request.  Kindly  address  Dept.  E. 

Electric    Vehicle    Association 
of  America 


Boston 


124  W  42d  St. 

New  York 


Chicago 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


XV111 


THE  THEATRE  MAGAZINE  ADVERTISER 


"The  Crowning  Attribute  of  Lovely  Woman  is  Cleanliness" 


The  toell-Jressed  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 


Rough,  red  hands 
made  smooth 
and  white 


The  reason  your  hands 
do  not  look  like  you  want 
them  to  look  is  because 
you  have  neglected  them. 
Proper  care  will  soon  re- 
store the  natural  beauty  of 
their  skin. 

Begin  this  treatment 
to-night 

Just  before  retiring  soak 
your  hands  for  at  least 
five  minutes  in  hot  water 
and  a  lather  of  Wood- 
bury's  Facial  Soap.  Then 
rub  them  briskly  for  a  few- 
minutes  with  n  rough  wash 
cloth  or  stiff  brush.  Rinse 
in  very  cold  water  and 
dry  thoroughly. 

This  treatment,  con- 
tinued regularly,  softens 

the  rough,  dead  skin  and  soon  causes  it  to  disappear.  In  its  place 
will  be  a  new  skin  of  delicate  texture,  formed  with  the  aid  of  the 
beneficial  properties  of  Woodbury's  Facial  Soap. 

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

Woodbury's  Facial  Soap 

For  sale  by  dealers  throughout  the   United 
States  and  Canada. 

Write  to-day  for  samples 

For  4c.  we  will  send  a  sample  cake.  For 
lOc.  samples  of  Woodbury's  Facial  Soap, 
Facial  Cream  and  Facial  Powder.  Address 
the  Andrew  Jergens  Co.,  Dept.  F-5,  Spring 
Grove  Ave.,  Cincinnati,  Ohio. 
In  Canada,  address  the  Andrew  Jergens 
Co.,  Ltd.,  Dept.  F-5,  Perth,  Ontario. 


To     keep     your 
hands  delicate  and 
soft,  use  the  treat- 
ment given  below. 


COUTURIERS  have  been  wondering  toward  which  corner  of  the 
world  they  might  go  to   seek   inspiration   for  the  coming  winter. 
They  have  turned  to  Venice,  where  they  will  find  such  a  wide 
field   for  sumptuous  stuffs  and   for  graceful   folds.     But  while  accepting 
the  tendency  thus  shown  they  are  careful  to  follow  at  the  same  time  that 
of  modern  thought  and  inclination.     These  lead  them  to  add  to  the  full, 
long  fold  of  gorgeous  brocade  the  filmy  vaporous  transparencies  of  light 
veilings  of   immaterial  tissues. 


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 


Distinctive  Hats  for  Autumn  Wear 


Designed   and   introduced   by 


for  gale  by  leading  Dealers 
America 


.  jiurgesser  &  Co, 

(^ijoUsale  nnlp) 

1   and  3  West  57tk   Street 
New  York 


©ttalitp 


Pack 


MAKKX" 


REMOVAL  NOTICE 

B.  CLEMENT 

announces  the  removal  of  his  exclu- 
sive Hair  Goods,  Perfume  and  Beauty 
Parlors  from  12  West  33rd  Street  to 

541  Fifth  Avenue 

(Between  44tli  and  45th  Streets) 


The  high  standard  of  efficiency  which  has  given  my 
goods  a  reputation  of  excellency  and  artistic  work- 
manship will  be  maintained.  The  selection  of  Pa- 
risian novelties  will  be  unsurpassed,  strengthening 
the  distinction  that  this  store  bears  of  being 
"A  Real  French  Shop  in  New  York" 

I   am   introducing    for   the  first   time 
in  America    my   latest   importation— 

TANGO 

The  most  fragrant  and  alluring  of  perfumes 
$\.  50  per  bottle.    Sample  upon  receipt  of  ten  cents 


1 


VOIL6 

Never  before  did  strength  and 
sheerness  so  unite  into  one  sur- 
passing silk.  Looks  like  cobweb, 
wears  like  broadcloth.  Will  out- 
wear the  lining. 

There's  a  Migel-Quality  Silk  for 
every  occasion.  Accept  no  less. 


TANGO  CREPE—  for  the  new  frocks 

"la  Dance."    A  new  clinging  silk  fabric 

of  Chinese  construction. 

PUSSY  WILLOW  CHIFFON 

CREPE  —  Broche  and  plain  to  match 

—  a  fabric  of  peach-skin  finish 

in  all  the  new  nature  colors. 


KISMET  DE  LUXE-a  rich  brocade 
silk  never  before  produced  on  a  pow- 
er loom. 

EGYPTIAN  CREPE  — Has  that 
Eastern  richness  and  splendor  so  much 
sought  in  silks. 


M.  C.  MIGEL  &>  COMPANY 


New  York  City 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


XX 


7  HE      THEATRE     MAGAZINE     ADVERTISER 


THE  FRILLED  COATEE  WITH 

SOFT  UNDER  BODICE  AND 
BRIGHT  VELVET  SASH   ENDS 


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 
Lingerie   in    a    variety  of  styles 

Send  for  "FASHION  HINTS,"  edition  "  F" 

Lane  Bryant 

25  West  jSth  Street  New  York 

Ask  for  "Expectations  and  Styles" 
Edition  "FM"  if  interested  in 
MATERNITY  DRESSES 


or 


"TOO 

choon 

tha  colon 

•MMNMf 


Made-to-order 
rugs  for  porch, 
bungalow 
Summer 
home 


Exclusive  fabrics 
of  soft,  selected 
camel's  hairwoven 
in    undyed   natu- 
ral   color.     Also 
pure  wool,  dyed  in 
my    color   or   com- 
bination    of    colors. 
Any    lengtb.f.    Any 
width — seamless   up  to 
16  feet.     The  finishing 
touch    of   individuality 
Made  on  short  notice      Write 
for  color  card.    Order  through 
your  furnisher. 
THREAD  1  THRUM  WORKSHOP,  Auburn,  N.  >. 


ALVIENE  SCHOOL  OF 

SMARTS 


Now  twentieth  year  At  Grand  Opera  House  Bldg 
Cor.  SSd  St  and  8th  Ave..  New  York.  Our  Student- 
Stock  Company  and  Theatre  assure  practical  training 
New  York  Appearances  and  Engagements.  Such  cele- 
brities as  Miss  Laurette  Taylor,  Gertrude  Hoffmann. 
Ethel  Levy,  Pauline  Chase,  Harry  Pilcer,  Julia  O»p, 
Ann*  Laughlin,  Joseph  Santly,  Barney  Gilmore,  Mile. 
Dazie,  etc.,  taught  by  Mr.  Alviene.  For  information 
and  illustrated  booklet  of  "How  Thre«  Thousand  Suc- 
I  ceeded  j'  address  the  SECRETARY.  Suite  10  as  above. 


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 


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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 


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The  Thirteenth  Year  (1913)  will  be  bound  in  TWO  VOLUMES 


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 

they  are  choosing  the  correct,   we  will  send 

L'ART  DE  LA  MODE  during  this 

period   for   $  1 .00— regularly   $3.50 

yearly.     This   is   an    investment 

tohich   tti'//   repay  you    rvith  *      L'ART 

enormous  interest.  /   DE  LA  MODE 

9  W.  3811.  St. 
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AT1  the  top  of  your  Shopping  List  for  today  be  sure  to  write  "  Get  the 
November  ist  Vogue."  If  you  expect  to  spend  another  penny  for 
clothes  this  Winter  it  will  pay  you  handsomely  to  make  such  a  memoran- 
dum. For  this  Winter  Fashions  number  of  Vogue  tells  you  just  where  to 
shop,  just  what  to  buy,  and  just  how  to  make  your  money  gain  for  you 
the  greatest  possible  distinction  in  hats  and  gowns. 

THE  long  experimental  period  of  Autumn  is  over;  only  a  few  weeks  ago 
nobody  knew  for  certain  just  what  would  be  good  style  and  what  would 
be  bad.    Now,  at  last,  Paris  has  uttered  its  final  judgment  on  the  Winter  mode. 

AiD  it  you  want  to  know  just  what  gowns,  hats  and  wraps  are  to  be  worn 
at  the  Horse  Show,  the  Opera,  and  the  other  social  functions  of  the  sea- 
son, you  will  find  the  whole  answer  now  awaiting  you  on  the  newsstands. 
Don't  forget  this  Winter  Fashions  number  of  Vogue  —  a  great  picture  gallery 
of  new  and  beautiful  clothes. 


BE  sure  to  tell  your  newsdealer  today  to  put  aside  for  you  a  copy  of  the 
next  Vogue,  the  mid-November  "Dramatic  and  Vanity"  number.  Fashions 
from  the  theatre  and  opera  —  fore  and  aft  the  footlights,  and  pages  and  pages 
on  the  little  but  important  accessories  of  the  fashionable  toilettes  —  all  the 
news  of  the  latest  perfumes,  creams,  soaps,  powders,  and  other  preparations 
that  make  fair  women  fairer.  Reserve  this  number  now,  as  your  newsdealer 
may  be  sold  out  on  the  very  first  day. 

VOGUE 


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The  American 
Playwright 

Edited  by  WILLIAM  T.  PRICE 


[Author  c/  "  The  Technique  o 

and  "  Th    Analysis  of  Play  Construction."} 


A  MONTHLY  devoted  to 
r\  the  scientific  discussion 
of  Plays  and  Playwriting. 
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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 


RIVERSIDE    PRESS,    NEW    YORK 


550  a  Year 


|         1C.        P  VJ 


VOL.  XVIII.  NO.  154 


THE  TPIAT 


(TITLE  REG.  U.  S.  PAT.  OfF. 


ie  Theatre  Magazine  Co., 
1-12-14  West  38th  st  N  v 


MISS  MAY  DE  SOUSA 


Hosiery 


MAKK 


fcS 


B 


H 


The  Annual  Silk  Hosiery  Event 

Beginning  December  1st,  1913 

will,  we  believe,  be  more  satisfying  to  our  custom- 
ers than  ever  before.  Several  new  items  have  been 
added.  We  would  recommend  those  featured  on 
this  page  as  making  especially  dainty  Holiday  Gifts. 


Item  1.— Paris  Open-Work  Clock,  the 
latest  fad,  in  Black,  White,  Pink  and 
Sky ;  also  Double  Row  Clock  in  Black 
and  White,  with  Self  or  Contrasting 
Clocks  and  a  fine  assortment  of-  Two- 
Tone  Effects. 

$1.95  per  pair.    Value  $3.00 

Item  2. —Women's  Shot  Silk  with 
Plain  Silk  Tops  in  a  fine  variety  of 
Combinations,  such  as  Black  and 
White,  White  and  Black,  Black  and 
Blue,  Black  and  Pink,  Black  and  Pur- 
ple, and  others. 

$2.25.    Value  $3.75  to  $4.50 

Item  3. — An  Unusual  Value  in  Lace 
Motifs  of  Scalloped  Design  in  Black 
and  White.  $2.95.  Value  $3.75  to  $5.00 


FOR  WOMEN 

Item  5.— A  Superb  Assortment  of 
Women's  Black  and  Colored  Silks  in 
Heavy,  Medium  and  Gauze  Weights; 
some  with  Lisle  Soles ;  All-Silk  Black 
and  White  with  Self  and  Colored 
Clocks ;  also  some  with  Lisle  Tops 
and  Soles  in  Black  and  Colors,  with 
Self  Clocks.  Special  quality  in  Out- 
sizes  for  big  folks  in  Black  only.  All 
have  Improved  "DUB-L"  Tops  and 
"WYDE"  Tops,  High-Spliced  Heels 
and  Toes. 

$1.35  per  pair.   Value  $1.75  to  $2.00 

Item  6. — An  Exceptional  Lot  of 
Women's  Black  Silk  and  Lisle  Tops 
and  Lisle  Soles ;  all  Hand  Embroid- 
ered ;  Self  and  Colored  Designs  in  a 
pleasing  variety. 

$1.35  per  pair.     Value  $1.75 

FOR  MEN 


Item  7. — The  Supreme  Value — Black, 
White,  Pink,  Sky,  Bronze,  Gold  and 
Silver  Hose;  Hand-Embroidered  in 
Self  Color  in  rich  and  neat  designs. 

$1.95.     Value  $2.50  to  $3.00 

ItemS.— A  Fine  Selection  of  Artistic. 
Exquisite,  Ornamental  Hand-Embroid- 
ered Designs;  Black  and  White;  all 
Self -Embroidered. 

$2.85.      Value  $3-75  to  $5.00 

FOR  MISSES 

Item  9. — An  Extraordinary  Value  in 
Misses'  Ribbed  Silk  Hose;  Black, 
White,  Pink,  Sky,  and  Tan ;  Extra 
Heavy. 

Sizes  S  to  71A.  $1.00.      Value  $2.00 
Sizes 8to9</2,  $1.25.     Va.ue  $2.45 


Item  10.— A  Generous  Value  in  Black  and  all  Desirable 
Colors;  also  Iridescent  Shot  Effects  in  harmonious  com- 
binations. Very  Fine  Quality.  $0.50 

Item  11. — Extra  Special  Value  in  Black  and  Colors;  All 
Silk  with  Lisle  Soles;  a  very  durable  number.  $1.00 


Item  12 — Our  Christmas  Gift  Offerings  in  Black  and 
Colors,  Plain  and  Clocked.  $1.35.  Value  $1.75  to  $2.23 

Item  13. — A  Shot  Silk  Fine  Texture  in  a  variety  of  com- 
binations; also  a  Fine  Quality  of  Heavy  Weight,  Self  and 
Colored  Clocks.  $1.95.  Valve  $3.00  to  $3.50 


1 

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place  of  the  old  double-door  idea. 

New  catalog  for  1914  ready — Columbias  from  $25  to  $500.  You  will  want  the  great 
catalog  of  Columbia  records  too. 

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Machines ;  likewise  all  Columbia  Grafonolas  will  play  Victor  Records. 

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damental patents.     Largest  manufacturers  of  talking  machines  in  the  world.     Manufacturers  of  the  Dictaphone. 


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THE  THEATRE  MAGAZINE  ADVERTISER 


TONE  COLORIN' 

Just  as  the  painter  by  his  color  < 
binations  emphasizes  his  theme,  creating  the 
exquisite  contrasts  of  brilliant  hues  and 
delicate  tints  that  delight  the  eye,  so  the 

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brings  out  and  emphasizes  the  theme  of  a 
composition  clearly  and  distinctly,  giving  all 
the  fine  effects  of  the  finger  performer  in 
the  creating  of  tone  color,  and  with  a 
delicacy  impossible  by  any  other  means. 

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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 


173 


174 

180 

181 
182 
185 
187 
188 
189 
190 

193 

194 

195 
197 
198 

200 
2O2 
203 
XXV 


LOHDOH: 

On    sale    at    Daw's    Steamship    Agency, 
17  Green   St,  Leicester   Sq. 


CHICAGO 


BOSTON 


PHILADELPHIA 


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At  all   dealers. 


THE  THEATRE  MAGAZINE  COMPANY, 


onthly  by 
Telephone  6486  Greeley 


8-10-12-14  "West  38tL  Street,  New  York  City 


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 
useful. 

DINNER    and    ICE    CREAM    FAVORS— original    and 
appropriate  mottoes. 

TOYS,   Favors  and   Christmas  Tree  Ornaments. 


Bonbons,     Chocolates,    French 
Pastries,  Ice  Creams,  Fancy  Cakes 


Afternoon  tea  served  in  the  Luncheon  Restaurant,  three  to  six. 


Fifth  Avenue  at  35lh  St. 

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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Comedy"  .  .  .  "Youth's  Glory  and  Death's  Ban- 
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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?" 

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i  a  week." 

"And  where's  Patty  Lind,  the  marvellous  young 
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 
ascetic  features  as  a  spring  sunshine  over  a  bleak 
landscape  that  made  him  at  sixty-one  seem  scarce 
fifty.  I  should  like  to  remember  such  a  smile  as 
my  last  glimpse  of  the  greatest  actor  of  the  Brit- 
ish Empire.  ADA  PATTERSON. 

GREAT  BEAR  SPUING  WATER 
CO  cts.  per  case    6  glass-stoppered  bottles 


"DER  ROSENKAVALIER" 

(.Continued  from  page  201) 


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. 

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


STRINDBERG 

(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 


The  Telephone  Doors 
of  the  Nation 


WHEN  you  lift  the  Bell  Telephone 
receiver  from  the  hook,  the  doors 
of  the  nation  open  for  you. 

Wherever  you  may  be,  a  multitude 
is  within  reach  of  your  voice.  As 
easily  as  you  talk  across  the  room, 
you  can  send  your  thoughts  and 
words,  through  the  open  doors  of  Bell 
Service,  into  near-by  and  far-off  states 
and  communities. 

At  any  hour  of  the  day  or  night, 
you  can  talk  instantly,  directly 
with  whom  you  choose,  one  mile, 
or  a  hundred,  or  two  thousand 


This  is  possible  because  7,500,000 
telephones,  in  every  part  of  our 
country,  are  connected  and  work  to- 
gether in  the  Bell  System  to  promote 
the  interests  of  the  people  within 
the  community  and  beyond  its  limits. 

It  is  the  duty  of  the  Bell  System  to 
make  its  service  universal,  giving  to 
everyone  the  same  privilege  of  talking 
anywhere  at  any  time. 

Because  as  the  facilities  for  direct 
communication  are  extended,  the 
people  of  our  country  are  drawn 
closer  together,  and  national  welfare 
and  contentment  are  promoted. 


miles  away. 

AMERICAN  TELEPHONE  AND  TELEGRAPH  COMPANY 

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AMERICAN  ACADEMY  OF 
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Recognized  as  the  Leading  Institution 
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BOARD  OF  TRUSTEES 
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la  1884 


For  catalog  and  information 
apply  to  the  Secretarr 

Room  lS2.Caraecisj.HaJL 
New  York 


THE  OFFICIAL   PROGRAMME   OF   THE 

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can  afford  to  overlook  will  be  published  this  and 

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Health  and  Strength 
Follow  in  the  Path 
of  Sanatogen 

Countless  men  and  women  already  know  this  path  to 
better  nerves,  refreshing  sleep  and  sound  digestion. 

A  vast  number  have  written  of  their  happy  experience 
with  Sanatogen  —  men  and  women  from  all  professional, 
social  and  commercial  ranks. 

To  statesmen,  merchant  princes,  scientists,  authors, 
the  clergy,  lawyers — in  every  walk  of  life  Sanatogen  his 
proved  its  worth  and  its  power  to  revivify  and  strengthen. 

Most  remarkable  of  all,  perhaps,  are  the  enthusiastic 
letters  from  over  i8,oco  physicians — trained  observers, 
little  given  to  writing  testimonials,  men  whose  opinions 
may  be  trusted  absolutely. 

Your  own  case  has  doubtless  been  duplicated  over  and 
over  again  in  this  vast  multitude  of  cases  helped  back  to 
health  and  strength  by  Sanatogen.  Don't  you  think  you 
owe  it  to  yourself  to  follow  their  example? 


Harrison  Fisher, 

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tonic.  I  am  recommend- 
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Sir  Gilbert  Parker,  M.  P., 

the  eminent  novelist-states- 
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"  Sanatogen  is  to  my  mind  a 
true  Food-Tonic,  feeding  the 
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Lady  Henry  Somerset, 

the  prominent  social  reform  ad- 
vocate, uriies  : 

"  Sanatogen  undoubtedly  restores 
sleep,  Invigorate!  the  nerves  and 
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undermined  and  I  I  ave  proved 
Sanatogen  to  Le  most  valuable." 


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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. 

FI;A.\<  KS   C.   F\y. 

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

Early  Feminine  Dramatists 

(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. 

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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) 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


-JJJJJJJJjjjjJU 


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An  Enjoyable  Evening 


With  the  Play  Diary  these  pleasures  do  not  end  with  the  evening. 

The  Play  Diary  is  a  handsome  book,  1  Oxl  4,  beautifully  bound  in 
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Four  pages  are  reserved  for  each  play  — with  printed  headings 
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names  for  the  members  of  the  party,  two  pages  for  illustrations,  a  page 
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It  makes  an  attractive  addition  to  your  library  table  and  is  a  source 
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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 


Stop  worrying  about  this  year's  Christmas  Gifts. 
You  don't  have  to  worry.  Vogue  has  a  new  way 
to  find  them  and  to  buy  them  for  you.  The  longer 
your  list  and  the  more  people  you  have  to  provide 
for,  the  more  you  will  need  the  two  great  De- 
cember Numbers  that  Vogue  has  planned  for  you. 


Christmas  Gifts  Number 

A  budget  of  novel  Christmas  Gifts, 
chosen  specially  for  you  by  Vogue  in  the 
best  shops,  and  indexed  for  quick  refer- 
ence. Among  them  are  furs  and  jewels 
fit  for  an  Empress  (if  there  is  an  Em- 
press on  your  list).  Also  we  are  includ- 
ing a  great  many  inexpensive  gifts  that 
nevertheless  have  a  surprising  chic;  and 

Christmas  Number 

First  aid  to  the  last  minute  Christmas 
Shopper — a  necessary  supplement  to  the 
first  December  number,  and  also  a  sin- 
gularly attractive  review  of  the  holiday 
inspirations  in  dress  and  all  fashionable 
entertainments  of  mid-winter.  Both 


Ready  Now 

there  are  more  than  fifty  appropriate  gifts 
for  men.  Last  but  not  least,  there  will 
be  several  things  which  the  woman  who 
has  seen  seventy  Christmases  will  really 
appreciate. 

Gather  your  copy  while  you  may;  the 
Christmas  Gifts  Number  is  now  on  sale, 
and  the  supply  is  not  equal  to  the  demand. 

Ready  Dec.  8th 

these  numbers  will  contain  a  wonderfully 
complete  selection  of  advertisements 
from  the  very  best  shops;  to  read  these 
pages  is  to  make  a  leisurely  shopping 
tour  through  the  smartest  shops  of 
New  York,  Boston  and  Philadelphia. 


Both  December  Numbers  also  contain  Vogue's 
offer  to  do  its  readers'  Christmas  shopping.  Vogue 
will  lift  the  burden  off  your  hands  — for  details, 
see  the  Christmas  Gifts  Number,  now  ready, 

VOGUE 


25  cents  a  number 
T'wice  a  month 


443  Fourth  Ave. ,  New  York 
Conde  Nast     -      -      Publisher 


4  dollars  a  year 
T<wenty-four  numbers 


When  writing  to  advertisers,  kindly  mention  THE  THEATRE  MAGAZINE 


XVI 


THE  THEATRE  MAGAZINE  ADVERTISER 


COMFORT! 

The   Keynote   of  Ohio   Electric  Construction 

Driving  Comfort  —  magnetic  (disc)  control;  magnetic  brake, 
absolutely  eliminating  skidding;  double  drive  from  both  front  and 
rear  seat;  extra-wide  doors,  with  patented  safety  catch;  full  width 
rear  seat ;  external  brakes  —  cannot  freeze  up  and  afford  a  sure  grip  at 
all  times. 

Physical  Comfort — -big,  deep,  luxurious  upholstery  that  em- 
bodies the  utmost  in  ease  and  softness. 

Artistic  Comfort — a  grace  of  line  and  a  beauty  of  finish  that 
have  made  these  exclusive  Viennese  models  the  envied  cars  on  every 
boulevard. 

Most  of  the  features  which  distinguish  the  Ohio  are  patented  and 
exclusive.  You  should  examine  them  at  the  nearest  Ohio  showroom. 
Descriptive  literature  on  request. 

The  Ohio  Electric  Car  Co.  1517  W.  Bancroft  St.,  Toledo 

Gibson  Electrics.  Ltd.         Ontario  Distributors         Toronto,  Canada 


OHIO 

THE  ENVIED 

ELECTRIC 


Send  Him 

Or  Her 
Monogramed 
Cigarets 

Here's  a  Christmas  gift 
with    an     individual 

touch.     " 

Xhe  man  or  woman 
won't  have  an- 
other gift  like 
it— will  know 
you  thought  of 
him  or  her  before 

the  eleventh  hour 

—  that  you  had 
them  made  expressly  for  the  recipient.  And  they'll  go  in  a 
special  Christmas  Box— or  an  Old  English  Oak  Humidor. 
We  send  1IN)  of  the  finest  full  bodied,  fragrant,  hand-made 
Turkish  cigareis,  with  monogram  (select  style  by  number), 
choice  of  plain  tip,  gold,  silver,  straw  or  cork,  and  packed 
in  a  beautiful  imported  aluminum-paper  lined,  padded  £Q 
gift  box,  as  above,  for-*-*-  .......  <|>O 

G.WL 


Or  you  can  have  200  cigarets  in  an  Old  English  Oak  Humi- 
dor for  $5.  At  any  store  in  the  country  this  Humidor  alone 
would  cost  #3.  This  special  Christmas  offer  includes  the 
humidor  with  the  2«0  motmgramed  cigarets— and  sent  post- 
paid. And  the  H  umidor  is  good  for  many  a  hundred  cigarets 
afterward. 

Send  your  order  to-day  to  insure  delivery  before  Christmas, 
for   we   must  make  the 
monogram  die. 

GILL  and  GILL 

83fH)  Spring  flardrn  St. 
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Hade   -  to  -  Onfrr 
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PRICE. 


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 
of  October,  1913.  GEORGE  H.  BROOKE,  Notary  Pub- 
lic, New  York  County  (154).  Commission  expires  March 
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 


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xvii 


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Kate  Seaton  Mason,  the  noted  Englisf 
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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 


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xix 


The  love  of  Music,  Nature's  priceless  gift  to 
mankind,  finds  most  triumphant  expression  in 


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All  the  delightful  effects  of  the  Bath  are  accentuated  and  pro- 
longed by  adding  one  or  two  lablespoonfuU  of  "Chaminade" 
Bath  Salts  to  the  water;  the  skin  is  thus  perfectly  cleansed  and 
exhales  a  delicate  and  charming  fragrance  for  some  hours  after. 

No  other  Bath  Salt  hat  this  unique  effect. 

"CHAMINADE"  BATH  SALTS. 
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"  Chaminade  "  Bath  Soap  (in  bowl)  $6.00  97.50  $8.25 

"Chaminade"  Dusting  Powder  2.50  9.00 

-Chaminade"  Toilet  Water  2.40  4.50 

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EVERY  motor  car  uses  energy  in  some 
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Here  are  facts :  a  recent  country-wide 
census  of  Electric  owners  showed  the 
average  cost  of  storage  and  service  in 
public  garages — including  current,  wash- 
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month.  In  private  garages  the  average 
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average  cost  of  tire  renewal — ranging 
from  48  months  to  15  months'  experience 

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XX 


THE  THEATRE  MAGAZINE  ADVERTISER 


A  Useful  Present  to  the  Family 


As  a  gift  you  cannot  express 
your  Christmas  Good  Will  and 
most  appreciative  sentiments  in 
a  more  rare  and  exquisite  form. 
The  magic  of  Santa  Claus  is 
represented  at  its  best  in 
this  beautiful  1914 
Detroit  Electric. 
With  it  you  merely 
wish  the  miles  away. 

Beginning  with 
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daily — yes,  hourly  life  of  every  member 

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CARONIA,"  Jan.  31,  March  17 

*Do  not  call  at  Alexandria 
A  LA  CARTE  WITHOUT  CHARGE.     STOPOVERS  PERMITTED. 


For  particulars  apply  to 

THE  CUNARD  STEAMSHIP  COMPANY,  Ltd. 

21  State  St.,   Room  120  H,  New  York,  or  Local  Agents 


A 

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PRESERVED"  VIOLETS 

From  Bohemia 


$2.50 


the 
bunch 


Prettily  boxed  Exp.  paid 

With    all    their   deli- 
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rorn    by    New  York'i  f  a  thi  enable »tt 


Wriiefor  Catalogue  of  Chic  Nosegays 
Be  our  Representative  in  your  city 

Generous  profits 
Autro-HoDiaruii  Co.,  10  W.  33rd  St.,  N.  Y. 


Now  twentieth  year  at  Grand  Opera  House  Bldg 
Cor.  SSd  St  and  8th  Are.,  New  York.  Our  Students 
Stock  Company  and  Theatre  assure  practical  training. 
New  York  Appearances  and  Engagements.  Such  cele- 
britiei  as  Miss  Laurette  Taylor,  Gertrude  Hoffmann. 
Ethel  Levy,  Pauline  Chase,  Harry  Pilcer,  Julia  O»p, 
Ann*  Laughlin,  Joseph  Santly,  Barney  Gilmore,  Mile. 
Dazie.  etc.,  taught  by  Mr.  Alviene.  For  information 
and  illustrated  booklet  of  "How  Three  Thousand  Suc- 
ceeded "  address  the  SECRETARY.  Suite  10  as  aboTe. 


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 
scenery,  pretty  show  girls  aplenty  and  enough 
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. 

GREAT  BEAK  SPRING  WATER 
60  eta.  per  case— 6  glass-stoppered  bottles 

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 


Try    this    treat- 
ment for  ivkiten- 
ing  the  skin    to- 
nig  Jit. 


Four  Famous 
Beautifying 
Treatments 

Begin  to-night  the  treat- 
ment below  best  suited  to  your 
skin.  Use  it  persistently  and 
regularly  and  your  skin  will 
gradually  take  on  that  firm 
texture  and  velvety  smooth- 
ness you  have  always  coveted 
for  it. 

1st  For  very  tender  skins. 
Wash  with  Woodbury's  Facial 
Soap  in  the  usual  way,  rinsing 
the  lather  off  after  a  very 
short  time. 

2nd— For  sluggish  skins. 
Rub  a  warm-water  lather  of 
Woodbury's  Facial  Soap  into 

the  skin.  Leave  it  on  about  five  minutes.  Then  rinse  the  face  with 
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 
lather  into  the  skin,  and  then,  while  it  is  still  damp,  cover  it  with  a 
rubber  tissue,  or  other  waterproof  material. 

4th— For  sallow,  freckled  skins.  Dip  the  cake  of  Woodbury's  in  a 
bowl  of  water  and  go  over  the  face  and  throat  several  times  with  the 
cake  itself,  letting  its  lather  remain  on  over  night. 

One  of  these  treatments  with  this  famous  soap  is  yours.  Begin  to- 
night to  get  its  benefits. 

Woodbury's  Facial  Soap  costs  2$c.  a  cake.  No  one  hesitates  at 
the  price  after  their  first  cake. 

Woodbury's  Facial  Soap 

For  sale  by   dealers  throughout  the   United 
States  and  Canada. 

Write  to-day  for  samples 

For  4c.  K-c  will  send  a  sample  cake.  For 
lOc.  samples  of  Woodbury's  Facial  Soap, 
Facial  Cream  and  Facial  Pou'der.  Address 
the  Andrew  Jergens  Co.,  Dept.  F-6,  Spring 
Grove  Ai'e.,  Cincinnati,  Ohio. 
In  Canada,  address  the  Andrew  Jergens 
Co.,  Ltd.,  Dept.  F.-6,  Perth.  Ontario. 


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 
and  purple  and  black. 

Plain  Brocades,  from  $6.50 
Tinsel  Brocades,  from  $10.00 


VISIT  to  the  J.  &  J. 
SLATER  Shop  will 
reveal  a  wonderful 
variety  of  dainty  and  attractive 
articles  pre-eminently  suitable 
for  practical  Holiday  Gifts. 


SILK  HOSIERY  in  Holiday 
boxes  for  men  and  women — 
plain.  3  Pairs  -  -  -  $3.00 

LADIES'  HOSIERY-Special 

open  work,   in  colors. 

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Mary  Garden  Perfume 


Mary  Garden  in  Opera  has  won 
all  hearts.  Mary  Garden  in  Per- 
fume has  charmed  the  world. 

In  far  Mandalay  the  beautiful 
Orientals  use  Mary  Garden  Per- 
fume as  an  offering  to  the  priests 
of  the  Temples  of  Buddha. 

In  our  own  land  beauty  pays  no  less 
marked  tribute  to  the  charm  ot  this  unusual 
fragrance. 

East  and   West — its  seductive  appeal  has  captured  the  senses  of  the 
luxury-loving  and  the  appreciative. 


Special  Holiday  Packages  of  Mary 
Garden  Toilet  Requisites  are  to  be 
had  for  Christmas  giving.  A  glorious 
crimson  satin  case  in  which  are  nestled 
in  gorgeous  array,  Mary  Garden 
Extract,  Toilet  Water,  Soap  and  Face 
Powder.  An  exquisite 
combination  package  for 


Mary  Garden  Extract,  Toilet  Water,  Sachet,  Talcum  Powder,   Smelling  Salts, 
Face  Powder,  Soap,  Cold  Cream  and  Greaseless  Cream. 

For  Sale  in  all  high-class  toilet  goods  departments. 


of  a  Grand  Opera  Star  to  whom  the  world  does  homage. 


V.  RIGAUD,  16  RUE  DE  LA  PAIX,  PARIS 


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XX11 


THE  THEATRE  MAGAZINE  ADVERTISER 


Special  Display 
Waldorf-Astoria  Hotel 
Turkish  Room 
Jan.  3-10 


Exhibited  also  at 
Grand  Central  Palace 
Auto  Show 
Jan.  3-10 


The  Car  that  Sets  the  Fashion 


In  the  making  of  Society's  vehicles — from  the 
stately  coach  of  60  years  ago  to  the  finest  Elec- 
tric of  today,  Rauch  6t  Lang  productions  have 
always  set  the  fashion  in  each  successive  era. 

Particularly  is  this  true  of  this  year's  Rauch 
ot  Lang  Electric,  the  fiist  electric  in  America 
to  embody  the  Straight  Type,  Top-Mounted 
Worm  Drive.  The  superiority  of  the  worm- 
drive  method  of  propulsion  is  so  pronounced  as 


to  win  the  immediate  emulation  of  other  makers. 

No  monarch's  equipage  was  ever  built 
with  such  painstaking  skill,  or  with  greater 
concern  for  the  perfection  of  every  detail.  That 
is  why  the  output  of  the  Rauch  &  Lang  Electric 
is  always  limited,  and  why  it  has  always  been 
Society's  chosen  car. 

Any  Rauch  &  Lang  agent  will  gladly  dem- 
onstrate. 


THE  RAUCH  &  LANG  CARRIAGE  CO.,  2212  West  25th  Street,  Cleveland 

New  York,  1800  Broadway;  Cleveland.  Superior  Avenue;  Minneapolis  1207  Harmon  Place;  Kansas  City,  3501  Main  Street 

Three  Types  of  Control :     Front — Rear — Selective  Dual 

Select  the  position  from  which  you  desire  lo  These  features  and  the  top  mounted  worm  drive  are  exclusive  to  Rauch  &  Lang  Cars 

dnve  according  lo  the  number  of  passen-  and.  as  well  as  the  detign  of  the  car  and 

gers.    Controls  and  Brakes  are  automatic'     f\ — j\      other  details  of  construction,  are  fully  cov- 

ally  interlocked  by  merely  turning  front  \   ;  COACH    BUILDERS/'            ered  by  United  Slates  patents  aranted 

seat_tp  natural^  position  required  and  pending. 


STATE  BARGE  2!  1^  WIFE  " 
MARINO    GRIM  AN  I 

DOGE    OF    Vt-NICH, 


THE 
MONKS' 

FAMOUS 

CORDIAL 


HAS  STOOD 
THE  TEST 
OF    AGES 
AND   IS   STILL 
THE     FINEST 
CORDIAL  EXTANT 


At  firet:class  Wine  Merchants,   Grocers,   Hotels,  Cafes, 

Batjer  &  Co.,  45  Br«adway,  New  York,  N.  Y. 

Sole  Agents  for  United  States. 


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 


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o 


^Tp 
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AND    LE    CHARME    UNITED 


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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 
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Name  • .  • 
Address 


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. 

FIFTH  AVENUE,  37th  and  38th  Streets,  NEW  YORK 
New  Models  at  Special  Prices 

Misses'  Evening  Gowns 


SIZES,  14  to  20  YEARS 


No.  33.  Callot  Model  of  accordion 
plaited  silk  chiffon,  in  coral,  light  blue, 
pink,  nile,  maize  or  white,  bodice  and 
tunic  of  white  chiffon  with  plaited 
ruffles  of  same  material. 

Value  $29.50     18.50 


No.  35.  Minaret  Model  of  silk  crepe 
de  chine  made  over  net,  in  maize,  nile, 
pink,  blue  or  white,  bodice  and  tunic 
of  chiffon  trimmed  with  fur,  shadow 
lace  yoke  and  sleeves. 

Value  $39.50    29.50 


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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. 


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XXVI 


THE  THEATRE  MAGAZINE  ADVERTISER 


a 
merry 

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Celebrate  Christmas  in  an  American  way  with  an  American  wine.     For 
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and  ocean  freight  to  be  useless  waste.  You  can  pay  more  for  wine  than 
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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 
years. 

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 
Druggists  and  Department  Stores.  Trial 
size  will  be  sent  you  on  receipt  of  12c. 
in  stamps. 

HY  J.  ROUSSEL,  Inc. 

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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. 


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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. 


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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. 


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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 


" 


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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 
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XXX11 


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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 


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will  send  the  magazine  six  months  and  also  the  Suburban 
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diately, we  will  date  your  subscription  from  the  January, 
1914,  issue,  and  send  the  intervening  1913  numbers  free. 
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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 

T5 

v.18 


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