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July, 1922
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Vol. No. 36, No. 1
Whole No. 256
r
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On the exclusive North Shore
A beautiful hotel perfectly appointed,
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[2]
llttatrt Magatitu. /•/>,
lae strap n -i^'or-, in 'Tne Bronx ' it She Astor, frouj your
chairs is quite a different tiling from going through
the exptriem-e yourself. Seeing it is iimuMiig: doing it is well you
know what we mean.
COKTEJNTS FOR JULY, 1922
Articles and their Authors
Miles. Ledowa, Neweroff, Elisius and Sherman of the
Pavley-Oukrainsky Ballet Contents Illustration 3
Jean Baptiste Poquelin dit Moliere 5
Editorial 6
Fun and Laughter in New Comedies * 7
Capsule Criticism Alexander Woollcott 8
Players Who Please Broadway 9
Shall We Have a Censorship of the Theatre in America?
Yes By Canon Wm. Sheaf e Chase 10
No By Channiny Pollock 11
Seventy Years a Theatregoer 12
Sentimental and the Comic in New Dances 13
Jane Cowl— Full Page Portrait 15
.The Playgoers F. A. Austin 16
They Turn Their Backs on the World 17
"The First Fifty Years" (Excerpts from).. Henry Myers 18
Dream Days Study by J. W. Pondelicek 19
Mystery and Satire in New Plays 21
Talent and Beauty on Broadway 23
Heard on Broadway 24
One Compensation for Staying in Town.. 25
Vaudeville Applauds Stars of Yesterday 27
Stage Notabilities at Unusual Functions.. 28
Mr. Hornblow Goes to the Play. . 29
Comely Players in Musical Comedy... 33
It's None of the Public's Business Archie Bell 34
Mrs. Lionel Barrymore 3g
The Stage Honors Rose Coghlan 36
Matinee Idols in Picturesque Roles.. 37
Moliere— Man of the Theatre. ... William Fenwick Harris 38
Stars of the Silver Screen 39
Old and New Favorites in Filmland 40
The Amateur Stage M. E Kehoe 41
Fashions Anne Archbald 45
Florence Walton's Home 50
F. E. ALLARDT. Director of Circulation
Cover Design by Henry dive
LOUIS MEYER)
PAUL MEYER/Publi8her>
Published monthly by the Theatre Magazine Company, 6 East 39th Street, New York. Henry Stern
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[3]
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Am^rcar r-ian Cap ^city 600 Opens June 24th
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SHERMAN DHNMS. Manager
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McDonnell & Co.: — Me. Vork Stock
On "Th* New Jersey Tour, A Road of Never -Ending Delight.
Winter Resort— DE SOTO HOTEL »h, Ga.
The Premier Tourist Hotel of the South.
Swampscott,
Massachusetts
On the exclusive North Shore
A beautiful hotel perfectly appointed,
where the comfort ;md pleasure of
its guests are constantly considered.
Open May 24 to October 1. Every
guest room connects with private bath.
Booklet. Electric Baths. Accom-
modations for 450.
For reservation ,irc
E. R. GRABOW COMPANY, Inc.,
E. R. Grabow, President
Twenty yean under the same management
cd>he Hotel de<jwxe
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Theatre Magaiine. July, it**
Viewing the strap hangers in "The Bronx Express," at the Astor, from your
comfortable orchestra chairs is quite a different thing from going through
the experience yourself. Seeing it is amusing; doing it is well you
know what we mean.
I
'
Eddie Cantor in
"Make It Snappy,"
at the Winter
Garden, is, o f
course, the whole
show. Here we
have him in one of
his latest darkey
make-ups.
Faced with a jail sentence for a crime of which they are innocent, Potash and Perlmutter.
at the Selwyn Theatre, have an anxious half hour in the office of the U. S. Commissioner.
FUN AND LAUGHTER IN NEW COMEDIES
[7J
Capsule Criticism
Famous Examples of Reviewers Who Fought With Witticism the Tendency to Prolixity and Dullness
By ALEXANDER WOOLLCOTT
THERE is a popular notion that a
dramatic criticism, to be worthy of
the name, must be an article of at
least one thousand words, mostly poly-
syllables and all devoted — perfectly de-
voted — to the grave discussion of some play
as written and as performed. To this
notion, it must be sadly admitted, each
generation of writers on the theatre have
lent some color.
In such an article it is presumed that
there will be one judicious use of the word
"adequate" and one resort to the expression
"treading the boards." Also at least one
regretful shaking of the head over the hope-
less inferiority of the performance, in ques-
tion to, (a) the way it was done in some
other country two years before, or, (b) the
way it would have been done in the critic's
own country thirty years ago. Such ingre-
dients are expected with reasonable con-
fidence. But one thing is certain. The
piece, to be real dramatic criticism, can
scarcely be briefer than a thousand words.
The tradition of prolixity and dullness
in all such writing is as old as Aristotle and
as lasting as William Archer. A man who
will talk gayly of a play will yet feel a
certain solemnity wetting down his spirits
the moment he .finds himself called upon
to discuss it in print. Even Mr. Dickens,
who could take his beloved theatre lightly
enough when he was weaving it into a
novel and who always packed his letters
full of the most engaging accounts of the
farces and melodramas he was seeing, be-
came rigid with self-importance and chill
scrupulosity the moment he knew he was
reviewing a piece for publication. If he
had undertaken to supply such comment to
The Examiner or to our own Atlantic, a
voice within him seemed to whisper "Re-
member, now, you're a dramatic critic."
And, lo — he was no more Dickensy than
the merest penny-a-liner. This was true to
some extent of Walt Whitman and cer-
tainly was true of Edgar Allan Poe. (The
strangest people, it will be noted, have put
in some time as dramatic critics. Such peo-
ple, for instance, as Eugene Field and
Richard Harding Davis and Edward Bok
and Elihu Root.) Probably they were all
verbose.
I suspect it could be demonstrated
that the most telling of all dramatic
criticisms have found expression in less than
fifty words. Also that the best of all were
never written at all. To substantiate this,
I have been raking my memory for the
ones that have lodged there, while longer
and more majestical utterances have faded
out of mind as completely as though they
had never been written.
What we are looking for, of course, is
the happy sentence that says volumes. As
an example, consider the familiar problem
presented by the players who can do every-
thing on the stage except act. I have in
mind a still celebrated beauty to whom
that beauty opened wide the stage door full
thirty years ago. Since then she has de-
voted herself most painstakingly to justify-
ing her admission. She has keen intelli-
gence and great industry. She has learned
every trick of voice and gesture that can be
taught. She has acquired everything ex-
cept some substitute for the inborn gift.
Something to that effect, expressed, of
course, as considerately as possible, ought,
it seems to me, to be a part of any report
on her spasmodic reappearances.
It usually takes about five hundred
words. Yet Mr. Cohan managed it pretty
well in a single sentence when he was pass-
ing on a similar case in one of his own com-
panies. An attempt was made to argue
with him that the veteran actor under re-
view was a good fellow and all that. "He's
a fine fellow, all right," Cohan assented
amiably enough, and then added with mur-
derous good-humor: "There's really only
one thing I've got against him. He's stage-
struck."
VOU see, often the perfection of these
capsule criticisms are achieved by mere
bluntness — are arrived at by the no more
ingenious process than that of speaking out
in meeting. I was struck with that on the
melancholy occasion when John and Ethel
Barrymore lent a momentary and delusive
glamor to a piece called "Clair de Lune,"
by Michael Strange, the exquisitely beauti-
ful poetess whom Mr. Barrymore had just
married. By the time its third act had
unfolded before the pained eyes of its first
audience, there was probably not a single
person in that audience who was not think-
ing that, with all the good plays lying voice-
less on the shelf, Michael Strange's sham-
bling and laboriously macabre piece would
scarcely have been produced had it not been
for the somewhat irrelevant circumstance
of her having married Mr. Barrymore, the
surest means, apparently, of engaging his
priceless services for one's drama. Now
some such opinion, I say, was buzzing in
every first-night head. All the critics
thought just that. Yet they all described
nervous circles around this central idea,
dancing skittishly about it as though it
were a maypole. Full of what Gladys
Unger was once inspired to call "a dirty
delicacy," reluctant, perhaps, to acknowl-
edge the personal equation in criticism and
weighed down, probably, by an ancient re-
spect for the married tie, they avoided all
audible speculation as to why Mr. Barry-
more had put the piece on at all. All, that
is, 'except one, Mr. Whittaker, of the
Chicago Tribune — the same Mr. Whit-
taker, by the way, who married the fair
Ina Claire — cheerfully put the prevailing
thought into three devastating words. He
entitled his review: "For the Love of
Mike."
That is not the only time I have seen
[8]
the very essence and spirit of a review dis-
tilled in a single headline. It happened
on the occasion when the late Sir Herbert
Tree, ever and always recognizable behind
the most ornate make-ups, ever and always
himself through all faint-hearted efforts at
disguise, appeared for the first time in Lon-
don in "The Merchant of Venice." It
was on that occasion that his more illus-
trious brother, Max Beerbohm, then mere-
ly the dramatic critic of the Saturday
Review, went back stage to felicitate the
star but was overlooked in the crush of
notables who were crowding round. When
Tree chid him afterwards for unfraternal
neglect, Max murmured: "Ah, I was there,
but you did not know me in your beard."
Of course, Max could not write the review
of his own brother's performance, a task
delegated, therefore, to John Palmer,
whose comment on the play was awaited,
naturally enough, with considerable inter-
est. Palmer wrote a polite, though mildly
derisive, review of the production and en-
titled it: "Shylock as Mr. Tree."
I find that the crispest reviews which
come back in this effort at memory have
taken many forms. For instance, when it
was quite the leading American sin to at-
tend the agitating performances of "Sapho"
by Olga Nethersole, Franklin P. Adams
made his comment in one quatrain :
I love little Olga
Her plays are so warm.
And if I don't see them
They'll do me no harm.
E late Charles Frohman, on the other
hand, was likely to sum up plays most
felicitously in telegrams. Once, when he
was producing an English comedy at his
cherished Empire Theatre in New York,
he received, just after the premiere, a cable
of eager, though decently nervous, inquiry
from the author in London, who could not
bear to wait until the reviews and the box-
office statements reached him. "How's it
going?" was the inquiry. Frohman cabled
back: "It's gone."
Of course, many of the best capsule
criticisms are classics. There was Warren's
tart comment on Joe Jefferson's perform-
ance as Bob Acres in "The Rivals," a bril-
liant feat of comedic genius made out of
whole cloth, so little origin did it have in
the role as originally written. "Ha," quoth
Warren, "Sheridan twenty miles away."
And there was the feline stroke usually
ascribed to Wilde — the one which said that
Tree's Hamlet was funny without being
vulgar. And there was the much-quoted
knifing of still another Hamlet by an un-
identified bandit who said, after the per-
formance, that it would have been a fine
time to settle the great controversy as to
who wrote the play. One need merely have
watched beside the graves of Shakespeare
and Bacon to see which one turned over.
(Continued on page 62)
Theatre Magafine. July, 1911
CARLOTTA
MONTEREY
This decorative California
actress, after a game
struggle this season with
inadequate r 6 1 e s in
"Bavu" and "Voltaire,"
has at last been happily
cast in "The Hairy Ape."
She gives an intelligent
interpretation of the
vapid heroine of O'Neill's
fantastic play.
Maurice Goldberg
JULIETTE CROSBY
Daughter of Oscar T Crosby, assistant
Secretary of the Treasury during McAdoo's
incumbancy, this interesting young actress
is a native of Washington. After serving as
a nurse in France, she entered the theatre
and recently achieved high praise for her
fine performances as the young bride in
"The Nest." Miss Crosby is at present
with Howard Rumsey's excellent stock
company in Rochester
PLAYERS WHO
ALICE BRADY
After her somewhat
unfortunate experi-
ence in "Drifting,"
followed by a visit
from the stork, vaude-
ville has now claimed
sweet Alice. After a
few appearances in
the two-a-day, she will
return to the Coast
and again appear in
pictures.
Alfred Cheney Johnston
PLEASE BROADWAY
[9]
es
Shall We Have A Censorship
rPHE food of suggestive, Indecent plays which have recently disgraced the American theatre has revived
once more the question of censorship of the speaking stage similar to that now exercised by Act of Legis-
lation over the motion picture industry. England and other European countries have long had a State censor-
ship of plays — mainly for political reasons. American dramatists so far have been untrammeled in this respect.
Our playwrights and managers declare a censorship would harrass and cripple our native dramaturgy and
By CANON WM. SHEAFE CHASE
Rector of Christ Church, Bedford Ave., Brooklyn
THE theatre situation this season in
New York City has exploded two
oft quoted fallacies, that the public
is the best censor and that freedom from
legal control is the life of the stage.
The public has censored in vain, and filth
still defiles the New York stage. Govern-
ment has failed to function and dirt still
besmirches the drama in the metropolis.
The Grand Jury refused to indict the
producer of the play which the dramatic
critic of a well-known evening newspaper,
early last Fall, informed the District At-
torney, was "the dirtiest and filthiest per-
formance that he had ever seen in a public
theatre." Out of 23 members of the
Grand Jury, there were not 12 persons
who thought that that play was "obscene,
immoral or impure or would tend to the
corruption of the morals of youth or
others," the words which describe the kind
of a play forbidden by the penal law. Yet
Chief Magistrate McAdoo said of it:
"This play is deliberately, painstakingly,
and for purposes of gain, coarsely indecent,
flagrantly and suggestively immoral, im-
pure in motive, word and action, larded
with profanity, .repellently vulgar and in
every respect offensively illegal under the
statute governing such matters."
The one ray of hope in the midst of the
scrofula of sin which has brought the
spoken drama near to death's door, is that
the large majority of the most influential
playwrights, producers and managers agree
with Judge McAdoo in his condemnation
of the play and realize the disaster that
impends.
On May 2, the Court of Appeals in
Albany, decided that the License Commis-
sioner of New York City does not have the
power, which he claimed, to revoke sum-
marily the license of a the?.tre which has
shown an indecent play. Judges of Courts
of Record may revoke a theatre license
summarily for certain causes, as for admit-
ting minors, or for Sunday performances,
but not for indecency. As the License Com-
missioner cannot summarily revoke the
license of a' theatre, and no one else can do
so, civil government for the present has
failed to remedy this great evil.
When the Appellate Division, reversing
Judge Wagner (117 Misc., 605), decided'
that the License Commissioner cannot sum-
marily revoke the license of any play for
indecency, it said that the criminal law
which forbids indecent plays, ordinarily
affords a reasonable safeguard for the public,
but that if it should be found inadequate,
the Legislature may provide for a censor-
ship of plays (192 N. Y. Supp., 421).
Wonderful, however, is the revolt of the
authors, playwrights and movie producers
Pach
REV. CANON CHASE
Prominent churchman who took an active
part in the enactment of the New York
State Motion Picture Commission Law.
against law. They are afraid of law.
They want freedom. Their idea of liberty
differs from that of Daniel Webster, who
said:
"It is a legal and refined idea, the off-
spring of high civilization, which the sav-
age never understood and never can under-
stand. Liberty exists in proportion to whole-
some restraint: the more restraint on others
to keep them off from us. the more liberty
we have. It is a mistake to think that
liberty consists in paucity of laws. If one
wants that kind of liberty let him go to
Turkey. The Turk enjoys that blessing.
That man is free who is protected from
injury."
The playwrights do not realize how
eager human hearts are for cleanness and
how the people yearn for the stimulation
of their higher faculties. When drama-
tists see that managers who break the crimi-
nal law and exploit the sex impulse, for
the sole purpose of gain, draw crowds of
the young, the weak, the curious and the
irresponsible, they do not see the horror and
the disgust of the sane and responsible part
of the community who stay away and cease
to patronize the theatre. Consequently,
they fear law and reformers.
The play folk are suffering from law-
phobia, and from a fever of smut. They do
not realize that these diseases combined
have been communicated to the goose that
lays the golden egg and killed it. They
have killed the theatre business.
It is marvelous that the dramatic busi-
ness in New York, in its fear of a bugaboo,
has allowed itself to be misled by certain
sordid managers and playwrights, and has
been blind to the outstanding benefits of the
censorship of the stage in England, which
has existed there since the Renaissance, at
first by royal prerogative, but since 1737 by
act of Parliament. One man, a member of
the King's household, exercises the censor-
ship power which no court can modify or
reverse.
In 1832, '53, '66, '92 and in 1909, in-
vestigations into the English censorship of
plays were made by Parliamentary com-
mittees which each time favored the reten-
tion of the Censorship.
The remarkable thing is that, while prac-
tically all the authors and playwrights of
Great Britain favored some change in the
English Censorship law, practically all the
producers, stage managers and the public
generally urged the retention of the censor-
ship law. The drama writers wanted to
be free from restraint, but the people gen-
erally, sensibly concluded that everyone
ought to be compelled to obey the law,
even the authors of plays. They recognize
that the argument is fallacious which claims
that an acted play is no more powerful than
a printed play. They draw a distinction
between the press and amusements, and
realize, as the U. S. Supreme Court has
stated, "that evils in the amusement world,
because more dangerous, need to be more
carefully prohibited and more effectively
penalized than the press."
The stage can never be cleansed so long
as it is insisted that a bad play is no more
dangerous than a bad book, and should be
regulated' in the same method, i. e., by
prosecuting the author or producer, while
the play is being exhibited. Such legal
prosecution advertises and increases the
patronage of the bad play and brings the
decision as to the merits or demerits of the
play before an ignorant and unskilled jury
or court. Such a remedy is not fair to the
honest producer, for, instead of furnishing
a method of ascertaining whether or not a
certain play is forbidden by law, it compels
him to go to the immense expense of put-
ting the play on the stage before he can
have a legal decision as to whether or not
it is prohibited by law.
The benefits of censorship are sevenfold.
It provides a uniform standard, a skilled,
experienced critic, a clean stage, a high class
of playwrights, the confidence of the public,
good business, and prevents unnecessary risk
on the part of the producers.
The authors, having a uniform standard
which is clearly understood, are set free
to do their best work. They are not re-
(Continued on page 58)
[10]
Theatre Magazine, July, 1922
of the Theatre in America?
work incalculable harm to the best interests of the theatre. On the other hand, our public officials, magis-
trates, educators, reformers say that the safeguarding of the morals of the community comes before anything
else, and that censorship is the only way to' keep the stage within bounds. Herewith the question is discussed
from two entirely different points of view — that of the reformer and that of the playwright.
No
By CHANNING POLLOCK
Vice-President of the Authors' League of America
BILL NYE insisted that the only way
to obtain relief from a felon was to
lay the finger on an anvil and let the
blacksmith smash it. "Because," said Wil-
liam, "you can cure a smashed finger, but
you can't cure a felon."
This is the operation by which the pro-
fessional reformers propose curing the
theatre.
The theatrical felon, of course — like the
actual paronychia — is neither serious nor
lasting. It is a painful inflamation, due
to microscopic impurities, that appears at
intervals, and disappears, of itself, within
a short time. Two or three money-
changers in the temple, feeling of tainted
lucre only that the more taint the more
'tis, discover that a certain number of
Bronx Bohemians, and of Semitic stocking
buyers from Missoula, Montana, can be
bunked into believing that the mission of
the play-house is to afford the same sort of
satisfaction that used to come of chalking
forbidden words upon a wall. Temporar-
ily, there seems to be profit in the discovery,
and, profit being all these men want, in the
course of a season we have half a dozen
productions, notable less for viciousness
than for vulgarity, and calculated to cor-
rupt the commonwealth in about the same
degree that the chalk-marks used to mangle
the morals of the neighborhood.
Promptly, there is an out-cry. Here is
ready-made lime-light for the professional
reformers, many of whom have the same
sentiment about profit from cleaning the
community that the so-called managers
have about profit from dirtying the
drama. Here is something that never-
happened before, and drastic steps must be
taken immediately to assure ourselves that
it never happens again. The only way to
do that is to smash the theatre. Of course,
sane and well-balanced people, with mem-
ories, know that it has happened before,
and that, whatever is done, it will happen
again. Sane and well-balanced people re-
call the virulent outbreak of a quarter of a
century ago, when the success of "The
Cuckoo" and "A Clean Slate" brought a
perfect epidemic of what, without respect
to their origin, were described as "French
farces." In the course of a very short time,
these disappeared, without steps being
taken, because they were dull, and stupid,
and had no place in the theatre. "Mrs.
Warren's Profession," suppressed by a cen-
sorship, didn't disappear, but holds the
boards season after season, because it wasn't
dull, or stupid, but a seriously intended
dramatic work, and, as such, the reformers
to the contrary notwithstanding, it had,
and has a definite and unforfeitable place
in the theatre.
It is this complete lack of intelligent dis-
CHANNING POLLOCK
White
Author of numerous Broadway successes
and bitterly opposed to any censorship
of his craft.
crimination — of what Henry Arthur Jones
calls "any sane, consistent or intelligible
ideas about morality'' — that has brought
professional censorship into disrepute with
all reasoning people. These people — these
reasoning people opposed to censorship —
are quite as decent, and quite as jealous of
the well-being of the populace in general,
and of the theatre in particular, as any
self-appointed arbiter of what may or may
not be seen with safety. Augustus Thomas
probably has as much unselfish public spirit
as Assemblyman Schmalz, and Percy
MacKaye is quite able to distinguish the
lovely from the lewd without the assistance
of Senator Callahan. And, when you assent
to a censorship, it is to Assemblyman
Schmalz and Senator Callahan, and their
henchmen and political backers, that you
turn over the art of Shakespeare and
Moliere.
Given a jury of reasonably unselfish
and unselfishly reasonable persons, you no
more have to prove the case against censor-
ship than you have to prove the undesir-
ability of arson, murder, prohibition, typhoid
fever, poison ivy, and other necessary and
unnecessary evils. Fortunately for our case,
there is nothing speculative about any of
these disasters. We have had all of them;
we have some of them still, and we can
watch their workings and estimate their ef-
fect. Stage censorship in England banned
"Ghosts," the most terrifying preachment
against loose behavior ever launched from
pulpit or proscenium; as it barred a long
list of fine plays between "Oedipus Tyran-
nus" and "Monna Vanna." Screen cen-
sorship in America has provided several
thousand pages of records that, for sheer
humor, audacity, and extravagant absurdity,
make Mark Twain's best efforts sound like
a collection of reports from the Weather
Bureau.
Six years ago, in an article entitled
"Swinging the Censor" — since quoted by
an eminent psychologist to prove the pas-
sion for regulation more deep-rooted than
a mere idea that our neighbors are all vi-
cious, and would be more so but for the re-
straining influence of our personal purity —
I gave numerous examples of how the mo-
tion-picture censorship moves in a mysteri-
ous way its blunders to perform. The hun-
dreds of imbecilities from which I picked
now are become thousands, but half a
dozen, recited here, may serve our purpose
without overflowing our space. Carmen's
ancient kiss was ordered "cut to five feet,"
leaving the cigarette maker to give her life
for a purely paternal peck from the bashful
bull-fighter, Escamillo. In California,
however, she wasn't permitted to give her
life, a local board objecting to the killing
of a woman by a man, though there is no
opposition to the killing of men by women.
After all, girls will be girls! Pennsylvania
banned the little set-to between Carmen
and Frasquita, and the duel between Mor-
ales and Don Jose. Ohio prevented our
heroine's smoking one of her own cigarettes,
and, in one state or another, the majesty of
the law raised the level of her decolletage,
restrained her from baring the shoulder of
her rival, and interfered generally with her
classic displays of temper and temperament.
"Carmen," as amended and expurgated,
must have borne a striking family resem-
blance to "Elsie Dinsmore!"
Much more recently, censorship decided
that Camille must be the wife of Armand,
so that, in his famous visit to the lady,
Armand's father was placed in the dubious
position of asking her to divorce her hus-
band in order that he might marry another
woman. In Chicago, no children were al-
lowed to witness "The Scarlet Letter." A
large section was cut from a photoplay,
called "The Warning," because there was
a bed in the room adjoining the scene of
action. Of course, a bed could have none
other than an immoral purpose! In an-
other picture, objection was made to a title
covering pantomime in which a capitalist
told a woman that he would employ her
husband. The title read: "I've got a
proposition to make to you." It was elimi-
nated. The censors couldn't imagine a
decent proposition!
Dario Nicodemi and Michael Morton's
drama of deep and pure purpose, "The
(Continued on page 58)
["J
Seventy Years A Theatregoer
New York Banker Tells Amusing Stories About Famous Players He Has Met
FEW theatregoers of today possess the
rich supply of knowledge about things
theatrical that a certain prominent
bank official of this town has locked away
in the storehouse of memory. Mr. Bayne,
Chairman of the Board of Directors of the
Seaboard National Bank, of New York, is
one of the oldest playgoers known to Broad-
way. Today seventy-eight years of age, he
began his theatregoing seventy-two years
ago — at the age of six — chaperoned by his
father. His reminiscences of the theatre
of long-gone days include intimate and
amusing stories about famous actors —
friends of his— with whom he often
travelled. Among these are numbered
Henry Irving, Ellen Terry, Frank Tyers,
William Terriss, Gustavus Vaughan
Brooke, Charles Kean, and his wife, Ellen
Tree, John Lawrence Toole, and Charles
Mathews.
This inveterate theatregoer has visited
all the large theatres and opera houses in
the world, and once, when a youth, in
Japan, his passion for the theatre caused
him to attend a performance of an historical
play — a performance which lasted two
weeks. He took his food with him every
day, and saw. the long-drawn out play to
the finish.
His passion for the theatre has not
abated with the years, and New York
first nighters are familiar with the figure
of this bright-eyed, jovial, youthful-appear-
ing bank official, who, though almost eighty
years of age, sees all the plays worth while
on Broadway. He attends the theatre on
an average of about four times a week.
COMETIMES I am disappointed," he
^ says, with a twinkle in his eye, "but not
often. I do not, of course, bother with the
trashy plays produced, but I certainly never
pass up any of the others. Frequently, I
only get about four hours sleep a night, be-
cause my crowding duties cause the days to
be all too short for me, but I cannot sac-
rifice my evenings at the theatre even to
woo Morpheus."
Asked if the plays of today come up to
the standard of those presented half a cen-
tury ago, Mr. Bayne reluctantly remarked :
"Well, I don't think we'll ever see a play
again that can compare with 'Fedora,' in
which Robert Mantell and Fanny Daven-
port starred. And only few of today's
plays are comparable to 'The Wizard of
Oz,' 'Girl of the Golden West,' 'The
Gay Lord Quex,' etc."
In addition to being a confirmed theatre-
goer, Mr. Bayne is also a world traveler,
an author, and he has also written short
plays and burlesques. He is the author of
"The Pith of Astronomy," "Quicksteps
through Scandinavia," and "Fantasy of
Mediterranean Travel." He has poked
around in queer corners of the world, and
his experiences are filled with adventure.
Once he made a trip around Ireland fol-
lowing the Ocean on an Irish jaunting
car. Mr. Bayne was born near Belfast,
Ireland.
"From early boyhood," he said, "I have
been deeply interested in the stage. In
fact, it became a passion with me. When
I reached the age of six, my father took
me with him to Liverpool, Wales and Lon-
S. G. BAYNE
President of the Seaboard National Bank,
New York City, and one of Broadway's
oldest theatregoers.
don, on a trip to secure supplies for his
tannery. In the evenings we visited the
finest theatres and saw the best perform-
ances of the time. When I went to Bel-
fast, in later years, I economized sufficiently
to buy a season ticket for the dress-circle
for some succeeding years in the Theatre
Royal. When the London stars finished
their season, they made a tour which al-
ways included Belfast, usually putting on
about seven of their best plays, and in this
way I saw all the classics, including the
Shakespearian plays. As I grew older and
more enthusiastic, I made trips to London
and Paris to see plays that could not be
taken out of the capitals and shown on the
road. As these excursions had to do with
theatricals, I spent my time with the people
of the stage and lived their life during my
stay in London. I subscribed to the Lon-
don World, owned by Edmund Yates,
which was the intimate authority and guide
to London stage life, art, and fashionable
doings generally, so that I grew to know
London well.
"There was a man who dominated the
Union Club of Belfast, who was an inter-
national theatrical devotee, his name was
Davie McTear, well-known in all theatres
of the world. He entertained the stars as
they appeared from time to time in Belfast.
Inasmuch as I was well informed in his
speciality, he usually asked me to meet the
[12J
theatrical visitors. I recall that he once
drove out a four-in-hand to the Maize
races with Mr. Edward H. Sothern's
father, Edward Askew Sothern, when the
latter was playing 'Lord Dundreary.' We
made a £50 'sweep,' of which I was treas-
urer, and Mr. Sothern won it. He in-
sisted on dispensing liberal hospitality after
receiving the proceeds of the pool, and we
had a very merry trip home, and spent an
entertaining evening with Mr. Sothern as
our host." Mr. Bayne set the wheels of
memory working until his reminiscences of
theatrical celebrities dated back over sixty
years ago.
"It was that long ago that I saw Sam
Phelps play Sir Pertinanx Sychophant in
The Man of the World' at Sadler's
Wells Theatre. And how well do I recall
Henry Irving! Under the fashionable
patronage of the Baroness Burdett-Coutts,
he had made a great success of 'Hamlet.'
In fact, London rang with his fame in the
part, but he was lampooned for his man-
nerisms and pronunciation by those jealous
of him. These peculiarities came to him
from his Cornish birth. His real name
was John Henry Brodribb. He never quite
overcame his Cornish accent. For instance,
it seemed impossible for him to pronounce
the word 'Queen' other than 'Quane.' These
eccentricities made him a shining mark for
sarcastic critics, and they never missed a
chance to ridicule him. He was known as
'the Iminent Wan' in some of the comic
papers.
~W7"HEN he visited America he instantly
'' conquered our playgoers, and had
them at his feet in 'The Bells,' 'The Lyons
Mail,' 'Charles I,' and other popular plays.
He feared to appear as Hamlet, for he
thought that if he were criticized here as
he had been in London it would destroy his
prestige. His manager told him, too, that
it would never do for him to play Hamlet,
as the critics would 'slate' him. So Irving
cast about to see how he could circumvent
the situation. He finally decided to engage
a special train, and to transport his entire
company, scenery and accessories to Phila-
delphia, and give a single performance
there — a feat never before attempted.
Irving invited me to go over with him on
this special train. He had the most re-
markable and the greatest company ever
assembled by any manager. There was
CHen Terry, with a voice like a silver bell,
who could at will move an audience to
deep emotion as exemplified in her work
as the Queen in 'Charles I.' She was so
light on her feet that when she sprang
across the stage in one of her plays and
landed on a couch, it seemed as though
thistledown had alighted there.
"The company included four leading
men who appeared as stars: Frank Tyers,
who had played all the leading Shakes-
pearian parts as a star in London and the
provinces ; William Terriss, who was after-
VIRGINIA WATSON
Now dancing on tour in
the revival of that popu-
lar aerial comedy, "Go-
ing Up."
Muray
Maurice Goldberg
PAVLEY-OUKRAINSKY BALLET
These picturesque dancers were a feature of
their first production, "La Fete a Robinson,"
at the Manhattan Opera House recently.
Theatre Maaasine, July,
FELICIA SOREL
This fair Roumanian
dancer in the "Rose of
Stamboul" started out in
life to be an artist, but
Michio Itow, recognizing
her terpsichorean abili-
ities, persuaded her to
toss her palette aside for
a more strenuous means
of self-expression.
Muray
M. WARZINSKI
and MLLE.
BARTLETT
The "comic relief"
of Pavlowa's Ballet
Russe, in their
droll Dutch dance.
Photo Abbe
THE SENTIMENTAL AND THE COMIC IN NEW DANCES
[13]
wards assassinated by a crank at the stage
door of the Adelphi in London as he was
entering to dress for the star part in "Har-
bor Lights"; Mr. Wennman, and others.
Mr. Irving's agent and adviser was Bram
Stoker, a master in his line. . His stage
manager was Harry Loveday. When we
arrived in Philadelphia, I helped all I
could, though I was only an amateur.
There were no tickets. Irving had invited
the fashionable cognoscenti of Philadelphia.
Every one of importance was there. It was
the dramatic event of Philadelphia. Irving
was on his mettle, and gave a splendid per-
formance. He had the audience with him
all the time. When he had finished, and
was dressing for the street, he said to me,
by way of playful jest :
' 'The next time I play lago I'll coach
you for the Moor. That will put you on
top of the heap. I remember many years
ago in Bob Donnelly's, at Belfast, on a
Sunday night, when you had looked on the
Bush Mills malt when it was red, you
thought Othello was made to order for
you. Now you're unexpectedly going to
get a whack at it. Your ship's coming in
at last. In my mind's eye I can see the pit
rising at you. Bayne, you may yet become
the John Kemble of your day.'
THIS isn't a pipe dream, is it?"
" 'No, no, my boy ; it's just an opium
cocktail.'
"I say, Mr. Irving, what would you do
to a man if he called you 'Hen' as a term
of intimate endearment?"
' 'I'd shoot him on the spot if I had a
pistol.'
"The curtain was then raised, a caterer
took possession of the stage, and a lavish
supper was served. Then Irving proposed
a toast to Miss Terry, as he always gave
her the place of honor. The mingling of
the actors and the guests became general,
and a few short speeches were made. Miss
Terry stepped forward, and asked if they
had seen her in Tennyson's 'Cup' when it
was produced in London. "But, no mat-
ter," she said. "I shall be glad to give you
the climax scene now."
"She started slowly at first, but with in-
creasing vehemence reached a frenzy. The
audience was in tears, and she herself
weeping. So greatly was she affected that
Irving had to lead her to her dressing room.
Then the party ended. The next morning
we started _for New York, where I was
dropped, and the company went on to
Boston.
"Irving was a prince of entertainers.
Once he came from London especially to
give a great dinner to friends who had en-
tertained him here. He returned on the
steamer within forty-eight hours. He was
not a fluent speaker, but he was quite
sure of himself, knew what to say in
good taste, and when to say it. Like all
great men, Irving had his Nemesis, and
'Adonis' Dixey rilled that niche for him.
Dixey had started a play called 'Adonis'
which was a sort of medley. It made no
particular stir until he introduced an imita-
tion of Irving, which was so artistic and
startling in all its details that his audience
went wild over it. He made himself up to
look like a twin of Irving. He had the
slow dragging strut, the classic profile, with
the straggling grey hair, the Cornish ac-
cent, and the play was topped off with a
song, each verse of which ended with
"Quite English, you know." Then he car-
ried on an imaginary dialogue, asking
Irving:
WHAT are your acting terms, Mr.
Irving?'
'I want a sleeping-car, I want a dining
car, I want a smoking car, and I want all
the receipts.'
'But, my dear Mr. Irving, where do I
come in?'
'Ah, my dear sir, you have the honor to
represent the greatest artist that ever trod
the stage.'
"I shall never forget the expression on
Mr. Irving's face as he listened to this. He
fled from the theatre. Afterwards Irving
appeared at a benefit and recited a selec-
tion. Immediately on his exit from the
stage, Dixey appeared in a box in make-up
and convulsed the house with his parody.
Irving left the theatre in a rage, protesting
that he had never been so insulted in his
life. I had a seat in the front row, and
saw the scene from beginning to end. It
was Dixey's day, all right, but in question-
able taste. The popularity of 'Adonis'
caused it to have a run of 600 nights to
crowded houses. A fortune was made by
the owners."
"DEFERRING further to stage celebri-
*-*• ties with whom he was acquainted in
the long-ago, Mr. Bayne said:
"I knew Gustavus Vaughan Brooke, the
tragedian, his mother, and Miss Avonia
Jones, his wife and leading woman, when
they lived in Dublin. Brooke died a tragic
death. He boarded a steamer bound for
Melbourne, to fill an engagement in that
city. The vessel met with an accident, and
half of the passengers took to the lifeboats,
while the remainder stayed on the steamer
working on the pumps. Brooke was their
leader, and went down with the ship, while
the men in the boats were saved. He was
popular in. 'Macbeth,' 'Othello,' and as Sir
Giles Overreach in 'A New Way to Pay
Old Debts.'
"I knew Charles Kean and his wife,
Ellen Tree. I went to London to see
them in their great spectacular production,
'Henry VIII,' at the Princess Theatre on
Oxford Street."
Mr. Bayne's own entry into the thea-
trical field as a producer and actor occurred
in Pennsylvania. He explained:
"When I was in the Petersburg oil
fields, that community needed a fire de-
partment. Toole, the great London come-
dian, was then in America on a professional
visit. I had known him for many years in
Belfast, and I tried to get him to help us.
He said that if I would write a burlesque
on Bombaste's 'Furioso,' and appear in the
leading part, he would rehearse it, and as-
sist in its production for two nights in the
Petersburg Opera House. I complied and
got everything ready, but he broke his
ankle and had to go to a hospital. We
went on without him, sold the seats, includ-
ing the galleries, at $5 each, and were able
to equip the fire department with the pro-
ceeds, as originally planned.
"I knew Charles Mathews, the greatest
English light comedian of all time. I saw
Tiim in 'Cool as a Cucumber,' in 'Still
Waters Run Deep,' etc.
"Yes, I have visited all the large thea-
tres and opera houses in the world. The
finest and most luxurious is the opera house
at Buenos Ayres, magnificent, both front
and back stage.
T VISITED Japan in 1873, and the thea- '
A tres, of course. They consisted merely of
large buildings, with low walls and roofs,
enclosing neat wooden pens about five feet
square. Each accommodated four persons,
who sat with legs akimbo, like tailors, on
the floor. There was a horseshoe runway
around the house overhead, and on this
runway the actors came out and spoke their
lines. There were no women in the cast,
but men made up to resemble them. It
took the company two weeks to act a single
historical play. We brought food and ate
it in the pens. On the stage was a prac-
tical ship that could go to sea in a storm, if
necessary. It swung about on a large
swivel, and it made one dizzy to look at it.
"The 'Henry Irving of Japan' stood on
its quarter-deck and drew an Irving salary.
He wasn't much of an actor, but his talent
lay in the fact that he could create the
illusion of killing men in twenty different
ways. He would drown them, stab them,
choke them, knock them over with a stuffed
club, apparently saw a victim in two, and
in the same way pull their arms and legs
out of their sockets. Then he would tie
five of them in a bundle and push them all
overboard. He was a conscientious mon-
ster, and said he would not take money
from the audience under false pretenses.
He worked himself into a frenzy, and had
to be carried out on a shutter to be revived.
I still have some of the descriptive theatre
bills on rice-paper showing pictures of him.
"I have had a great many other thea-
trical experiences but lack of space pre-
vents mentioning them here."
[14J
Theatre Magazine, July, 1922
•
_
Alfred Cheney Johnston
JANE COWL
From her long absence it was feared this lovely, lachrymose heroine was content to teur
the provinces in "Smilin' Thru" indefinitely. It is rumored, however, to the great joy of
many admirers, that she is to appear soon in an important new play.
[15]
ACT I.
HE: "I hope the people around us will be
quiet. Jenks told me you couldn't afford
to miss a word or scene of this play."
SHE: "I can't understand why people who
pay $5 for theatre seats spend the time dis-
cussing affairs they could talk over at home.
I hope that large blonde in front of me is
going to take off her hat. Mine is so small
I don't believe I need take it off. Do
you?"
HE: "Better be on the safe side."
SHE: "I'll wait until the curtain goes up."
HE: "Look at those people still coming in.
Wouldn't you think they could get here on
time so as not to disturb a whole row, and
if they've been eating onions you know it."
SHE: "Yes, and taking the seat you put
your wrap in."
HE: "There she goes."
SHE: "Who?"
HE: "The curtain, of course."
SHE: "You needn't be so snippy about it.
'She' generally means a woman. How
should I know the sex of a theatre cur-
tain?"
HE: "These programs are disgusting.
Nothing but advertising. That's the thea-
tre of today all over — nothing but com-
mercialism."
SHE : "She hasn't taken her hat off."
HE: "Neither have you."
SHE: "I won't take mine off unless she
does."
USHER: "Madame, will you please remove
your hat?"
SHE (As she jerks the hatpins out) : "Yes,
if you'll take away that arbor in front of
me."
(Large blonde turns with look of dis-
dain but takes off her hat.)
HE: "Perhaps now we can keep quiet long
enough to find out what the play is about.
If you had taken off your hat in the first
place you wouldn't have made a spectacle
of yourself."
SHE: "Let me take the glasses for a
moment. That looks like the Spinks. So
it is. Now I wonder where they got the
price of two theatre seats way down front
like that. I know they owe the delicatessen
man."
HE: "That reminds me, did you speak to
the laundryman about my collars? He's
ruined a dozen in two weeks."
SHE: "No, I forgot about it, but Mary
Jones was in and she's discovered a new
laundry that does nice work. She gave
me the address and I'll try it."
(Hisses and "keep quiet" come from sev-
eral adjacent seats.)
SHE: "Well, did you ever? Anybody
would think this was Quaker meeting. We
paid for our seats and we'll talk if we
want to."
HE: "Oh, can't you keep quiet for a
moment?"
SHE: "Listen to who's talking. Your
tongue has been wagging at both ends ever
since we came in."
(Subdued chorus, front, rear and sides.)
The Playgoers
By F. A. AUSTIN
"Hope you choke" — "Cut it out" — "Write
him a letter" — "Hire a hall."
SHE: "If you want examples of good
breeding, go to a New York theatre."
HE (loudly) : "Somebody is going to hire
a hearse presently if the party in back of
me doesn't stop trying to pry off my sus-
pender buttons with his feet."
SHE: "Oh, just look at that dance frock
"We paid for our seats and we'll talk if
we want to."
she is wearing? Do the actresses have to
buy their clothes or does the manager pay
for them ?"
INTERMISSION.
SHE: "Now they'll begin crawling all
over us. Why didn't you get end seats?"
For the life of me I can't understand why
men can't go without a smoke for half an
hour."
HE: "In the old days it used to be a
smoke and a drink. There goes my hat,
the blundering idiot."
SHE: "Yes, and in a minute they'll all
come back and do it over again."
HE: "If there isn't Howard back there in
the lobby! I want to see him."
(He makes a wild dash half the length
of the row, dislodging hats and wraps from
women's laps.)
ACT II.
(He comes in, stumbling over chairs and
feet, after the curtain has gone up. Knocks
his wife's hat to the floor.)
SHE: "Did you see Howard? Of course,
you did. I smell him. Where does he
keep it, on the hip or in his cane ? Oh, it's
a pleasure, a real pleasure, to go to the
theatre with you."
HE: "They're coming over to play bridge
tomorrow night."
SHE: "Who?"
HE: "Howard and his wife."
SHE: "How do you know I haven't made
made other arrangements? Why not con-
sult me first before telling him it was all
right. I may have invited the Perkinses to
go to a movie show."
HE: "Well, have you?"
SHE: "No, but—
HE: "Then for Heaven's sake, take it to
the dumbwaiter shaft and drop it!"
SHE: "Was he in the first act?"
HE: "If you had watched the play instead
of talking you would have known."
SHE: "What are they all laughing at?"
HE: "Count Guzeliver just bent over and
his stays snapped."
SHE: "I wonder if he wears them in real
life?"
HE: "Not being his valet, I couldn't say."
SHE: "Aren't you sweet tempered?"
HE: "Now isn't that nonsense? Here's
the husband hiding behind a screen and
coughing like a choking hippopotamus, but
his wife and the man who is making love
to her are not supposed to hear him. That
isn't art. That's just raw."
SHE: "Do you mind if I buy that suit I
was telling you about yesterday? It's such
a reduction and I can wear it in the fall
too."
HE: "What about the reduction of my
pocketbook? Oh, yes, go ahead and buy
it."
SHE: "Now, John, if you feel that way
about it I won't get it. I know you work
hard for your money and we are trying
to save. I guess I can get along without
it — but it is such a bargain."
HE: "Now, dearie, don't be foolish. You
go ahead and buy that suit. You deserve
it."
SHE: "No, John, I can do without it."
HE: "Now, that's all settled. You get it
tomorrow."
(Suppressed groans and "go out and get
it now," from adjacent seats.)
SHE: "It's awfully hard to keep the thread
of the play, isn't it?"
HE: "What can you expect with a lot of
people shouting all around you the way
these boors are?"
SHE: "They don't know any better, dear."
HE: "She certainly is a stunner, isn't
she?"
SHE: "Who?"
HE: "The leading lady."
SHE: "She doesn't strike me as being
superfine. She's all made up. In the street
she's probably homelier than a hedge fence.
(Starting as a slip of folded paper
drops into her hand. Reads. "We do
not care how many collars your laundry-
man destroys, who you play bridge with,
and what your respective opinions of each
other are. We always like to see women
well dressed but we came here to see and
hear the play, not to listen to descriptions
of suit bargains."
SHE: "Now you just go and show it to
the manager."
HE: "Well, we have talked a good deal."
(Continued on page 62)
16
tatrt Magofine, July,
HELEN LEE
WORTHING
From Texas comes this
striking dancer of the
"Midnight Frolic," who
languished unseen, as an
artist's model, until Zieg-
feld found her and placed
her in his beauty chorus
Photos by
Alfred Cheney Johnston
NETTIE RAINES
So much more satisfac-
tory than a live pet is the
beastie on the end of
your boa, or so thinks
this attractive star of
stage and screen
JANET VELIE
This pretty and pleasing prima donna of "The Perfect
Fool," whose voice and presence lend charm to the
Ed Wynn show, was last seen in New York in the title
role of "Mary," where she scored the greatest success
of her musical comedy career
THEY TURN THEIR BACKS ON THE WORLD — AND NO WONDER
[17]
'The First Fifty Years"
A Play in Seven Scenes by Henry Myers
rHE first work of a new playwright, this drama of marriage more than holds its own among the best plays of the
season. Starting with the home-coming of a honeymooning couple (the only characters in the play) the author
presents in seven intense and dramatic scenes, each marking a matrimonial milestone from the paper to the golden anni-
versary, the change in their relationship from adoration, hatred and finally friendship. The following excerpts are
printed here by courtesy of Messrs. Lorenx M. Hart and Irving S. Strouse, the producers, and Mr. Henry Myers.
Copyright, 1921, by Henry Myers
THE scene is laid in the living-room of a
house in Harlem. The passage of time
(from 1872 to 1922) is marked by the
gradual changing of the two characters from
the buoyant youth of the first scene to the
querulous old age of the last; by the alteration
of styles of dress and furniture, and by the
development from country landscape into city
street, a view of which is had from the living-
room windows The first scene opens with the
sound of a key turning in the lock, as the
honeymooners enter their own home for the
first time. Billing and cooing best describes
the ensuing dialogue.
MARTIN: I suppose every husband thinks he's
married the finest girl in the world, but in my
case it just happens to be true; that's all.
I've never seen anyone so clever, so accom-
plished
ANNE: No, no, I'm not even accomplished, let
alone all those other things.
MARTIN: You are accomplished. Why, the way
you play the piano —
ANNE: (Deprecatingly). What do I play?
Mendelsohn's Spring Song and The Maiden's
Prayer.
MARTIN: But the viay you
play them! I could listen
to those two pieces for-
ever. You have a certain
tone and touch that can't
be taught. If you would
practice —
ANNE: Well, I will, to
please you, but I'll never
amount to anything. It's
you that are the acconv
plished one.
MARTIN: (Modestly). Oh,
if you mean those silly
little poems of mine —
ANNE: (Indigantly). Silly
indeed ! Martin Wells, I
want you to make up a
poem about me, and
right this instant.
MARTIN: Well — all right
— if you really want me to.
Let me have that pencil
and note-book and I'll try
to write a little tiny one.
ANNE: In this book?
blue-fish!
MARTIN: But darling! a blue-fish that you are
going to cook! (Takes note-booh and pencil).
Let me see. The poem shall be called — (hesi-
tates)— "Anne"!
ANNE: Oh, I knew it would be.
MARTIN: Just sit down a minute, will you,
darling?
ANNE: Why?
MARTIN: The wonderful way you sit.
(Anne sits).
MARTIN: (Writes). "Oh, Anne, I wish you
knew
How absolutely I am the
slave of you — "
(Doubtfully), I'm afraid I've put in too many
syllables somewhere.
ANNE: If you write the syllables, there can't
be too many of them to please me.
MARTIN: (Writes). "And the reason why you
sometimes blush
Is because you also love
me very much."
(Uncertainly). Does that rhyme?
ANNE: It nearly rhymes Anyway what do
rhymes matter. It's your beautiful thoughts.
You think I'm perfect. You are.
MARTIN: Don't let's argue about it. Let's just
love, you little imp. (A long kiss). Don't you
feel sorry for Howard ?
ANNE: (Surprised). Sorry for Howard ? No!
Why should I be?
MARTIN: It was rather hard lines for him to
be best man at our wedding. To think that
he might have been your husband !
ANNE: Are you jealous because he sent me
these wax flowers? Every bride gets wax
MARTIN: To both of us. (Reads letter). "Dear
Martin and Anne: I would not write this to
anyone in the world but you two. I sail for
Australia today, and the only thing this world
will let me take along is the hope that you will
be happy."
ANNE: (Touched). Poor Howard! But
Martin, it's you I love.
MARTIN: (Reading). "I want this to be the
one marriage that turned out successfully, so
I offer a bit of advice, and if you love me,
take it. You know that certain anniversaries
have always been considered red-letter days of
married life, from the first, the paper wedding,
to the fiftieth, gold. On each anniversary I
want you to consider your ways, and be sure
that you are still in love."
ANNE: Martin, he wants us sort of — to— ques-
tion our hearts.
MARTIN: Yes, Howard always was a good
loser. (Turns page and reads.) "Promise one
another now that you will question your hearts,
and on each anniversary I will write to you.
Your friend forever, Howard."
ANNE: Our anniversaries, Martin, let's do it!
MARTIN: Gladly, although it won't be neces-
sary. This marriage will
be a success. All these
cynics who make fun of
love-matches are wrong.
"You can't live on love!"
"Consider the future!"
That's all we've been
hearing. We can live on
love. When our anniver-
saries come around, we'll
prove it.
ANNE: (Softly). Martin,
let's pray that we may
live until our golden
wedding.
MARTIN: And be able to
do what Howard asked,
and find our love still
perfect.
Scene 6. Martin: "Just two elderly people who don't know
With beef-loaf and
each other
flowers from somebody. They'll never go out
of style.
MARTIN: Jealous! Of course not. You had
your choice, and you loved me. Why didn't
you take Howard, at that? He's well fixed.
ANNE: I simply didn't love him. He'll get over
it. He's going abroad to live.
MARTIN : Poor fellow ! ( Takes a letter from
his pocket. Very seriously). Anne, there was
one moment in my life when I almost regretted
having married you. That was when this
letter came.
ANNE: (Surprised). Howard wrote to you?
In Scene 2, the first an-
niversary has arrived.
Conversation between the
two reveals the fact that
Anne is dissatisfied be-
cause Martin does net
earn more money, and that Martin no longer
considers Anne a perfect housekeeper. In the
midst of their talk, Anne remembers Howard's
letter and they read it over together.
ANNE: "Question your hearts!" Do you recall,
we said we'd always remember?
MARTIN: Oh well, sentimentality, you know.
In this excitement of moving into this house,
we probably said some wild things. The honey-
moon spirit is never logical.
ANNE: (Seriously). Martin.
MARTIN : Yes ?
[18]
Theatre Magatine, July, 19ft
© Ira L. Hill
Courtesy of Corticelli
Dream Days
Posed by Miss Teresa Lynch
[19]
ANNE: Suppose we Jo consider our ways, —
and — er — question our hearts?
MARTIN: (Off hand). Why not?
ANNE: Do we mean the same to each other
that we meant a year ago.
MARTIN: How can you talk like that?
ANNE: We must get our thoughts clear. Even
if it makes us feel bad.
MARTIN: Well, nothing scares me. (Sits, with
fortitude),
ANNE: (Sits). Or me, let's see. Are we still
really and truly in love?
MARTIN: (Protesting). Oh, now, Anne, if
you're going to be sentimental about it —
ANNE: Well, put it like this. Have we stop-
ped honeymooning?
MARTIN: Good God ! I hope so! We can't be
holding hands forever. We used to be rather
idiotic about that.
ANNE: Yes, you couldn't get enough of kissing.
MARTIN: You know very well it was you. Of
course, being a girl, you had to be modest, but
— ! At any rate, common sense must rule
sooner or later.
ANNE: That's true. Kisses are kisses, but after
all, they're only kisses.
MARTIN: You hear an awful lot of bosh about
"love-at-first-sight." The cold truth is, physical
attraction brought us together. We didn't know
it then, but we do now. Come: let's admit it.
ANNE: But we are married, and we're fond
of each other, call it what you will. Maybe
we weren't practical, but what can we do about
it?
MARTIN: (Earnestly). I want to understand
your notions of life, and I want you to under-
stand mine. It seems to me we ought to help
each other more — to work with the same ends
in view. Do you understand, my darling?
ANNE: You mean that we should be — er —
comrades.
MARTIN: Comrades. That's it exactly. That
will really bring us together.
ANNE: (Delighted at the prospect). Com-
rades! That's it! That's just what we ought
to be. Is it a bargain?
MARTIN: / want it to be. But not a cold-
blooded bargain. Let's kiss on it. (They kiss.)
ANNE: Let's shake hands too. ( They do so).
Comrades ought to help each other. Perhaps a
little well-meant criticism —
MARTIN: Quite so. Neither of us is perfect.
It's our duty to point out failings. Now, if you
were more systematic, and neat —
ANNE: Neat* I like that! Why, the way you
throw your clothes around —
MARTIN: I have other things to think of be-
sides clothes. It's up to you to tend to all that.
ANNE: You can't expect me to run around
after you, picking up your things.
MARTIN: You understand, Anne, that I mean
this for your good.
ANNE: I know that, but you should look at
things my way too.
MARTIN: I do. But I can't help noticing cer-
tain things, and I think somebody should men-
tion them to you.
ANNE: (Irritated). What things do you
notice?
MARTIN: For one thing, you stint on the
table.
ANNE: Stint! Economize. Do you know that
eggs are fifteen cents a dozen?
MARTIN: Why don't you keep your own
chickens? Fvery other woman in Harlem has
her own chicken-coop. The only time the table
is right is when we have company. What's
the sense of showing off?
ANNE: We ran hardly starve our guests.
MARTIN: Why save off our mouths to hand it
to them?
ANNE: It seems to me you're becoming stingy.
MARTIN: I'm becoming sensible, and I'm try-
ing to make you sensible. Of course, if you
won't accept criticism —
ANNE: I will, when it's just. I do my very
best, but if that isn't enough, I can't help it.
MARTIN: Now, if we're to be comrades —
ANNE: I mean to be. But you must be fair. I
could criticize a few things myself, dear.
MARTIN: (Expansively). Do so. I want you to.
I'm broad-minded enough. I like frankness.
ANNE: (Snapping). Well, if you'd be more
energetic in business, and make more money,
we could manage.
MARTIN: You don't understand. It isn't merit
alone that counts in business. You must have
influence — powerful friends —
Scene 7. Martin: "The world thinks it has
been a perfect match."
ANNE: I'm just commenting. You asked for
frankness.
MARTIN: Yes, frankness. * But that is mere
fault-finding.
ANNE: It's for your own, good.
MARTIN: Oh, is it?
ANNES Yes, it it I (Both fume in silence for
a moment.)
MARTIN: (Draws a deep breath). Look here!
I don't want to fight. We've gotten along with-
out fighting. Don't let's start.
ANNE: We have started. You started it.
MARTIN : We'l T apologize.
ANNE: No, I do. It's a mean trick to make a
man apologize just because he is a man.
MARTIN: That's sweet of you, Anne. I ad-
mire you for that. Don't think I blame you
for it; we were both wrong.
ANNE: I guess we were bound to have a little
spat sooner or later. Don't let's have another.
(They kiss).
MARTIN: We'll get along all right. We're as
well off as most. Our marriage hasn't turned
out so badly (Sits).
ANNE: Of course not. Only we must take the
good with the bad. (Sits).
MARTIN: That's it. Be philosophical. Anne,
would it really cost so much to raise — only one
child?
ANNE: You know how I love children. But
we can't afford it yet. We'd have to have a
hired girl, and — you know what it would cost.
MARTIN: Just as you say.
Scene 3 shows Martin and Anne just after the
departure of the guests invited to celebrate their
fifth anniversary. There is no longer any pre-
tense of affection between them. They very
evidently hate each other, and are at no pains
to conceal the fact. Fault-finding turns to out
and out quarrelling — Martin threatens Anne,
and Anne screams.
MARTIN: Now are you satisfied? A man heard
you screaming. He thought something was the
matter.
ANNE: The very neighbors will talk about us.
Thank God, no one I know lives near here.
MARTIN: (Growls under his breath). Fat lot
of difference. (Looks aiound on the table).
Did they leave anything. Oh, nobody ever left
me anything. Fine crowd you go with. You'd
think they never get anything to eat.
ANNE: (Turns from him, apparently accus-
tomed to his grumbling).
MARTIN: That's all they come here for. To
stuff themselves. Every plum fingered and
squeezed. Want to be sure what they bite into.
Too bad about them. Such delicate stomachs
they have. Not even an olive.
ANNE: (Keeps her back turned to him).
MARTIN: (Reaches across the table for seme
morsel that attracts him, and accidently pushes
the wax flowers that Howard gave them. The
ornament falls to the floor, and breaks.)
ANNE: (Bursting into a frenzy). Howard's
present! You broke the one thing I have of
his! I'd like to take a horse-whip to you!
(She ficks up the wax flowers and puts the
broken piece in place.)
MARTIN: I didn't do it purposely.
ANNE: You did, too. (She sets it on the table.
Then, almost to herself:) Question your
hearts!
MARTIN: (Sneering). Oh, anything connected
with him —
ANNE: Yes, oh, wh> didn't I marry him? I'd
be living in luxury this minute.
MARTIN: (Angrily). I won't have you throw
that up to me. You couldn't get Mm, and you
know it.
ANNE: I could! He asked me over and over
again.
MARTIN : He asked ! He wouldn't give that
for you. (Snaps his fingers.)
ANNE: He lov:d me. He still does. I real-
ize it more every day.
MARTIN: Then why doesn't he ever write?
Answer me that !
ANXE: Why should he? I haven't treated him
so well. I don't blame him. I suppose if he
does write, you d take good care that the letter
never reaches me.
MARTIN: That's what 1 ought to do. I have
no use for him at all. I'll tell you why he
doesn't write. He's rich — he's a swell now.
no use for his old friends. He wouldn't
look at us now That's the kind he is.
ANNE: No! He's the kindest — truest —
MARTIN: Oh, I know what you think of him.
That's why you have no time to think of me.
You say you had your choice of the two of us.
I wish to God you had taken him.
ANNE: We agree on that, at least.
[20]
Theatre Magaiine, July, IfJi
"The Charlatan," at the Times
Square, is not only a mystery
play throughout its 3 acts, but
oddly enough, it remains a
mystery after one has left the
theatre. Here we see Count
Cagliostro (Fred Tiden) amaz-
ing his audience with the fa-
mous Hindu sword trick.
Apeda
Jenny (Marjorie Rambeau), in "The Gold-
fish" at the Maxine Elliott, easily convinces
Mr. Power (Robert T. Haines), that she
is an expert in palmistry.
Claude King, the critic on his
brother's newspaper in "What the
Public Wants," eventually wins the
love of the actress (Margaret
Wycherly), who fully intended to
marry the forceful newspaper mag-
nate (Charles Dalton), but in the end
couldn't stand his slogan, "Give the
Public What It Wants."
MYSTERY AND
SATIRE
[21]
IN NEW PLAYS
MARTIN: We do, indeed. I'm in the damndest
trap a man was ever caught in, and I guess
I'll have to ?tay in it. You know it. I won't
let the world find out that I'm dissatisfied, and
you know that too. (Passionately.) No.^one
shall ever say "I told you so" to me !
ANNE: Nor to me. No one shall ever find it
out. Be easy on that score.
MARTIN: Why hide your real motive? While
we live together, I have to support you. That's
why you'll brave it out.
ANNE: I suppose you have some other woman
that you'd rather spend your money on.
MARTIN: If you think so, why don't you get a
divorce?
ANNE: I wouldn't give you the satisfaction.
MARTIN: (Contemptuously). Well, that's in
keeping with your usual tactics. You've never
respected my wishes, and you never will. How
could I expect anything else from a wife who
won't even have children?
ANNE: No, I have none, and now I'm glad of
it. Oh, if you only knew how glad! That's
the one thing I thank God for. At first I meant
to wait until we could raise them in health and
comfort. But now I wouldn't have them for
anything in the world.
MARTIN: Because at the bottom of your heart
you love Howard, and you know it. With him
it would have been different. I owe that to
him too. You do love him, don't you? (Furi-
ously.) Answer me!
ANNE: Yes1 (Then quietly). Listen to me,
Martin. When I married you, all I thought of
was love. I was brought up on that sort of
thing, like a silly girl in a silly novel. I didn't
know what it would mean to see you every
morning and every night, to look at you across
the table, to share your petty little worries, and
to cater to your nasty little whims. You — you —
I didn't know what "forever" meant. That was
never explained in the novels. Now, when I
think of Howard — even now, if he were here,
I could open up my arms to him, and —
MARTIN: (Wildly). Shut up.
ANNE: Do you know why we have no chil-
dren?
MARTIN: (Sneering). Well — why?
ANNE: (With feverish intensity). Because I
won't bear a child to a man I hate!
MARTIN: (Overcome). My God! Come here.
Let me look at you. (Takes her by the should-
ers, and regards her steadily.) How in the
world did I ever come to marry you?
ANNE: (Laughs bitterly). How indeed?
MARTIN: Yes, I know why I did. You at-
tracted me, as one animal attracts another. But
the animals are wiser than I am. They don't
remain together too long What do I want
with you now ? You're not attractive to me
any more. Attractive! God no! I find you
repulsive. (Turns from her.)
ANNE: That's your real _
grievance; isn't it?
MARTIN: It may be what
underlies our unhappiness. I
don't know. In any case, it
makes our life no easier.
ANNE: We have no chil-
dren, and you find me re-
pulsive I wouldn't give you
a divorce for anything in the
world.
MARTIN: Don't lie. That's
not it. You're afraid of
what people would say, and
so am I. (He resigns himself to his lot -with a
deep sigh.) We have to live together — (he
turns on her with fierce loathing) — but if you
ever dare to speak to me again, I'll strangle
you.
ANNE: I have no wish to speak to you, or
to have you speak to me. (She goes into the
inner room, closing the door behind her.)
Five years have passed between scenes 3 and
4. Anne and Martin have been married for ten
years and for one-half of that time they have
not exchanged a single word. They completely
ignore each other's presence.
At the opening of scene 5, neither Martin nor
Anne have yet spoken, although five years have
passed, and they have now been married fifteen
years.
In scene 7, the feeble-minded, feeble-bodied,
deaf, old couple have reached the 50th anni-
versary of which they spoke so hopefully in
the first scene.
MARTIN: This is our golden wedding! Our
anniversary.
ANNE: (Trying to remember). Our anni-
versary. (For the first time, she puts down
her knitting).
MARTIN: We made a compact, Anne. A fifty-
year-old compact.
ANNE: To question our hearts.
MARTIN: I feel as if my memory is a dying
fire, that is flickering for the last time. When
I fold up this letter, the fire will go — out.
ANNE: Howard reminded us. Why didn't he
write? Howard always writes.
MARTIN: What are you saying, Anne? You
know about Howard.
ANNE: Howard! (She becomes strangely ex-
alted. Her eyes shine, and her face is aglow).
Howard! (She seems to be speaking to him).
Do you really want me? Yes; of course I
love you. Always, always. There never was
any one else, Howard. Never any one else
but you. Do you want me? I'll come to you,
if you want me. Anywhere, Howard. Any-
where. When you hold out your arms. I
know — I know — Howard —
MARTIN: Howard is dead, Anne. Dead for
•
years.
ANNE: Dead? (She shrinks again to her
former pitiful self; her exaltation is all gone).
Oh, Howard is dead. Yes.
MARTIN: This is our anniversary, Anne, ours.
ANNE: Our anniversary. That's when we
readjust our marriage.
MARTIN: We try to, but we fail. Our marriage
has been a failure, Anne.
ANNE: It didn't have to be.
THE NEXT PLAY
To Be Given In This Series Will Be
"THE HAIRY APE"
A Comedy of Ancient and Modern Life in Eight Scenes
By EUGENE O'NEILL
Author of "The Emperor Jones," "Anna Christie," Etc.
MARTIN: No. It might have been different.
ANNE: If there were children.
MARTIN: We'd have loved them, not each
other. Howard loved you. You should have
married him.
ANNE: I left an order to keep white flowers
on his grave.
MARTIN: Why white ones? I don't like white
flowers.
ANNE: They're so peaceful.
MARTIN: Anne, if I die before you, will you
put flowers on my grave?
ANNE: Yes.
MARTIN: Not white ones, though. Red flowers
are more human. I'd like red flowers above
my head. You must do that if I die first.
ANNE: All right. But if I die first, I want
white ones.
MARTIN: All right.
ANNE: (Takes up her knitting). Let's go
ahead with our game.
MARTIN: (Fiercely). No! no! (With an-
guish). I'll never remember again. Put down
your knitting, and help me!
ANNE: (Puts down her knitting).
MARTIN: We must adjust our marriage — for
the last time. Anne! Anne! Let's succeed this
time.
ANNE: Why? We haven't many years te
live.
MARTIN: Can't we — at least — forgive each
other?
ANNE: When life is wasted, what good is for-
giveness?
MARTIN: I've been a bad husband.
ANNE: As good as I've been a wife.
MARTIN: The world thinks it has been a per-
fect match. I've always told you so. Have
you?
ANNE: Yes.
MARTIN: Oh, Anne, you're right. Forgiveness
can do us no good. Nothing can. (He starts
to fold up the letter). The last reminder of
our real lives. Married fifty years! Mar-
ried fifty years! Married — (He has put the
letter away. He suddenly turns to her with a
joyous laugh). Married! Anne! Isn't it wonder-
ful ! We're actually married ! Married and in
our own home !
ANNE: (Smiling happily). Our own home!
MARTIN: We'll show our friends that marriage
can be a success. Won't we? (He puts his arm
around her). (They sit side by side on the
sofa).
ANNE: And every anniversary we'll question
our hearts.
MARTIN: Why, the paper
wedding is only one year off.
ANNE: What will our hearts
tell us the first time?
MARTIN : That we'll spoon,
and spoon — I think I'll turn
down the lights, my sweet-
heart. (Gets up to do so,
forgets, sits down at the
table, and picks up the
cards). Who deals?
ANNE: (Picks up her knit-
ting, and automatically sits
opposite him). I dealt last.
CURTAIN
[221
Theatre Magazine, July,
(Below)
BLANCHE YURKA
This distinguished ac-
tress, now lending the
charm of her rich voice
and stately presence to
"The Lawbreaker," will
probably be seen here
next season in "Monna
Vanna," a play more
worthy of her talent and
in which she has already
achieved success under
the direction of Stuart
Walker
Goldberg
(Right)
MARY NASH
As heroine of the thou-
sand and one thrills of
"Captain Applejack," this
picturesque and always
interesting actress re-
turns to Broadway after
a prolonged absence spent
in touring to the Pacific
coast in "Thy Name Is
Woman," following a
lengthy run abroad in
"The M a n Who Came
Back"
VIOLET HEMING
Vivacious and • charming
as ever, this popular star,
now lending what distinc-
tion is possible to "The
Rubicon," was last seen
here in "Sonya," a play
which gave little oppor-
tunity to that talent dis-
played in such successes
as "Three Faces East,"
"Under Cover" and
"Under Fire"
pbell
HELEN HAYES
That the delightful child
of "Dear Brutus," and
the precocious sub-deb of
"Bab" and other classics,
should some day grow up,
was, of course, to be ex-
pected. As the clever
young wife in "To the
Ladies" Miss Hayes has
achieved majority so
charmingly that we find
her even more endearing
than before
Tampbell
TALENT AND
BEAUTY
[23]
O N
BROADWAY
THERE is joy along Broadway, as
well as elsewhere. Luna Park comes
down to its old ten-cent admission
charge this summer.
J£VEN a show girl appears to have illu-
sions which can be shattered. A former
New York chorus girl, recently married to
a foreigner with a title, was questioned
by one of her friends as to how she liked
being a duchess, or whatever it was.
"Well," she confessed with a sigh, "I'm
not crazy about it. The pleasure is only
momentary, and the position is ridiculous."
constantly recurring, but never-set- .
tied, controversy as to whether the art
of acting ever reached a higher plane than
it has attained at the present day, had
waxed warm among a group of theatrical
people sunning themselves on a mild after-
noon in Broadway lately, when a retired
manager, who is in New York now only
occasionally, had this to say: "I suppose,
by the art of acting, you gentlemen refer
primarily to the intelligent, convincing and
pleasing reading of the text of a play. All
right! A week or two ago I went in to
see 'The Bat.' Before I had a chance to
look at my program the house lights went
down and the play began. The principal
character is an elderly woman, and before
she had spoken twenty lines I was wonder-
ing who that was with the clear, musical
voice that came to me without losing a
syllable as I sat in a back seat. It was such
a treat to hear those beautiful, clean-cut
tones, that I was impatient to look at the
program. I did not remember that I ever
had seen her before. Well, it was Effie
Ellsler. That is my only contribution to
your argument, gentlemen. I first saw
Effie Ellsler on the stage in 1878, and till
the other night, I don't think I'd seen her
since she had this old town by the ears in
'Hazel Kirke.' She is playing an old
woman in this present piece, but her voice
is as sweet today as it was, more than forty
years ago, when, as a slim young girl, in
Cleveland, she was the Ophelia to the late
Joseph Haworth's Hamlet, with her father,
John A. Ellsler, in his inimitable rendering
of Polonius. Frank Weston was in the
cast — I think, as Laertes, but am not sure.
Of course, John Ellsler was the Polonius
of his day."
is also his wife, not long ago came to the
manager of the theatre in which he was
playing and asked if he might substitute
himself as a "single" for the rest of the
week, instead of doing the "double" with
his wife. "Why, certainly," said the man-
ager. "Is your wife ill?" "No," said the
vaudeville headliner, "she has skipped out
with another man." Whereupon the man-
ager extended his condolences. "And do
you know," the dancer continued, "this
isn't the first time she has done it. Three
years ago, she ran off with a musical di-
rector, and last year, with a doctor."
"But," protested the manager, "you don't
mean to say that you always take her
back?" "Take her back?" repeated the
actor, in surprised tone. "Why, sure I
take her back. She's a great performer!"
men, many minds. That observa-
tion is as true of actors as of other
people. So, therefore, a certain well-known
thespian who was interviewed not long ago
in this publication was merely expressing
his personal opinion when he replied to the
question of a certain Countess, "The peo-
ple of the stage are not invited to such
homes as I have been to?"- -"They are
certainly not!" As a matter of fact, vari-
ous players are on intimate terms with
fashionable folk. The smart affiliations of
Ethel and John Barrymore and of Maxine
Elliott are self-evident. Other notable in-
stances, to mention a fe^ out of many, in-
clude William Faversham, who has long
been a social favorite, his hostesses having
included the late Mrs. George Gould (who
had been Edith Kingdon of Daly's Thea-
tre). After his ill-fated opening night in
last season's revival of "The Squaw Man,"
Mr. Faversham gave one of the smartest
supper-parties in many a day, the guest of
honor, of course, being his leading lady,
Mrs. Lydig Hoyt, sister of Mrs. Van Rens-
selaer King, and daughter of Mr. and Mrs.
Julian Robbins, of New York and South-
ampton.
A VAUDEVILLE actor puts his profes-
sion above all things. A very success-
ful dancer in the two-a-day, whose partner
and M rs. J_.__Hartley _ JVIanners
( Laurette Taylor ) , occupy an assured
position socially, and have entertained smart
assemblies in honor of their special friend,
Miss Mary Hoyt Wiborg, sister of Mrs.
Sidney Webster Fish, therefore allied with
Mr. Stuyvesant Fish. Last Winter at Palm
Beach, Mr. and Mrs. Claude Graham-
White (Ethel Levey, the first wife of
George M. Cohan, and mother of
Georgette Cohan), renewed their intimacy
with the fashionable colony, especial friends
being Mr. and Mrs. Edward T. Stotes-
bury, whose estate near Philadelphia is one
of the finest in the country, and Mr. and
Mrs. Joseph Widener, also millionaires, of
Philadelphia and Newport. Madame Mar-
guerite Sylva, the singer, whose early ex-
perience was in comic opera, moves in this
same set. Mr. Eugene O'Brien, formerly
of the stage, but now of the movies, has
long been encountered in company with
Mrs. William Jay, widow of a direct
descendant of one of the signers of the
Declaration of Independence, she having
been a sister of the late Hermann Oelrichs
and the mother of Mrs. Arthur Iselin.
These are all names to conjure with in the
smart set, so it is quite evident that the
next time a Countess inquire if stage peo-
ple are entertained by the elite, she might
well be told "Some are, and some are not !"
A CERTAIN handsome actor, twice
married and twice divorced, met one
of his former wives at an after-theatre sup-
per in one of the exclusive rendezvous of
New York and under the influence of a
momentary reawakening of the old love,
he proposed to her all over again — and was
accepted. The marriage was arranged for
the next morning, and the groom-to-be
made an appointment to call for his former
mate at nine o'clock. This done, the actor
hurried to his hotel to catch a little sleep.
In the lobby, he encountered an old friend,
and asked him to be best man. The friend
was delighted, and the two went up to his
rooms for a "night-cap." It seems that
the night-cap resolved itself into a long
series of toasts in honor of the coming
affair, and after about the tenth one, both
men fell asleep. The actor was awakened
by the best-man-to-be. "Wake up, old
man," he shouted, "it's almost nine o'clock !"
The actor scrambled to his feet, and went
to the phone. He called up his former wife.
"Sorry, -my dear," he explained, "but I'm
afraid it's going to be a little after nine
o'clock before I can get there. But I
won't be very late.'' "Say," came back
over the wire, "don't hurry. That mar-
riage was set for Tuesday. This is Wed-
nesday."
announcement that Bartley Camp-
bell's "White Slave" may get to the
movies interests a great many old actors.
Few of those who were "hitting the grit"
in the one-night stands, with occasional ap-
pearances in the cities, including New
[24]
Iktatrt Maiatine, July,
Edward Thayer Monroe
MARY EATON
Becoming more Marilyn
Millerish every season, this
•charming girl has danced
'her way into the hearts of
many "Follies" enthusiasts —
•which means just about all
of us.
Edward Thayer Monroe
IRENE MARCELLUS
Who graduates from the
curriculum of the Ziegfeld
Roof this season to be seen
in the 1922 edition of the
"Follies."
Edward Thayer Monroe
HELEN LEE
WORTHING
Another distinct per-
sonality of the new
Follies, who formerly
appeared in the Mid-
night Frolic.
Muray
EDNA FRENCH
"Now lending her quite evident charm to the Zieg-
feld Will Rogers' Show in Chicago.
Edward Thayer Monroe
KATHRYN MARTYN
In addition to gracing "the Follies," this person-
able English girl claims the distinction of being
mascot to the Royal Flying Corps.
ONE COMPENSATION FOR REMAINING IN TOWN — THE NEW FOLLIES
US]
York, some thirty years ago, can say they
never took part in a Bartley Campbell
drama. As "The White Slave" toured the
country for a generation, most of them got
into it at some time or other. Harry Ken-
nedy, many years its manager, used to say
that he had played every male part in the
piece at various times, to fill an emergency.
The bets along Broadway are fifty to one
that, if the "Slave" really does reach the
screen, one of the sub-titles will be that
famous, and always effective, bit of bathos,
placed in the mouth of the heorine: "Rags
are royal raiment when worn for virtue's
sake." To use a vaudeville expression, that
speech was always "sure-fire hokum."
("JOT any Russian roubles lying around
loose"1 If you have, better put them
away in the safe, because if the credit sit-
uation is straightened out in Russia some
of these days, they may jump into money.
Morris Gest is reported to be holding
$100,000 of them, and if they get back into
the neighborhood of their original value,
he'll be able to cash in handsomely. If
they continue to depreciate, he can always
tear 'em up and use them for confetti.
pRED STONE, now one of the highest
paid actors in America — which likewise
means, in the world — can remember the
time when he and his partner, the late
Dave Montgomery, were dividing $75 be-
tween them at the end of the week. That
was in the days when they were a team in
vaudeville.
that the old Morton House has
disappeared, and the famous Union
Square Theatre is soon to follow, it may be
said that the last reminiscence of what used
to be the theatrical Rialto will vanish. With
the actor's stamping-ground well above
Forty-second street, and impinging on
Columbus Circle, it is not easy to realize
that in the eighties the pavement from
Broadway to Fourth avenue on Fourteenth
was the Thespian centre. But then, there
were comparatively few theatres in New
York at that time, and those connected
with the profession did not require so much
room as today. That little stretch of pave-
ment in front of the Morton, while gen-
erally busy, was never uncomfortably
crowded, and some people say that the thea-
tre was quite as interesting then as now,
though it did not cost nearly so much.
AMELIA STONE, whose name broke
into the papers lately in connection
with some legal matter, is little known to
the present generation. But the daddies of
the jazz-lovers of today remember her as
one of the most popular light opera singers
that ever sang the real music of a quarter
of a century ago. She was the star of
"The Chinese Honeymoon" for some few
seasons, but she also sang the prima donna
roles in most of the Gilbert-Sullivan, Of-
fenbach, Lecocq, and similar works that
tickled our ears before the devastating ar-
rival of ragtime and ja«z.
she's not much of an artist when it comes
to the other arts. In fact, her career has
left her quite uncontaminated by culture.
It's simply gone over her head — and she's
never missed it. Not long ago, however,
a man upon whom she wished to make a
good impression started to talk "highbrow
music" to her, and ended by inviting her
to a symphony concert. She concealed her
true feelings, and accepted. She thought
that by saying nothing, and sighing as soul-
fully as she knew how, she would give the
right effect. As it happened, they were
delayed in reaching the concert hall, and
the program was already under way. Go-
ing down the aisle, she whispered to the
usher: "What are they playing now?"
"The Fifth Symphony," was the reply.
"Thank heaven," breathed the actress, "I've
missed four of "em!"
'Y'HE filing of state income tax returns
gives one a breath-taking glimpse of
what it means to be a star. One favorite
of the stage, in her statement, confesses to
an expenditure of $60,000 in one year,
which ought to be ample to keep her back
covered — although that's the last thing in
the world she ever thinks of doing. Other
stars reveal outlays running into five fig-
ures. Women in the theatrical profession
are allowed to deduct expenditures for
paint and powder in making their returns.
That is no more than right, when you stop
to consider that some of them, at least,
seem to depend more upon paint and
powder than they do upon silks and satins
to obliterate their — er — deficiencies.
/.
one time, not so many years ago, it
was considered infra dig, for a high-
class actor to appear in vaudeville, but that
illusion was forever shattered when Sarah
Bernhardt, one of the foremost players of
her generation, filled various engagements
in the Continental music-halls, her example
soon being followed in England by Mrs.
Langtry and other popular players, Ameri-
can audiences similarly applauding Ethel
Barrymore and similar stars. The next
point that presented itself was the cabarets,
the same old cry being raised, "Undigni-
fied !" Nevertheless, during the past season,
Irene Bordoni, the charming French come-
dienne who was starring in "The French
Doll," appeared nightly at a cabaret, fol-v
lowing her theatrical performance, wearing
elaborate costumes and singing a few dit-
ties, for the acceptable remuneration of
$2,000 a week. "And very nice, too!" as
our English cousins say.
gHE'S an actress in musical comedy, and
although she's an "artist" in her line
and when it comes to drawing a big salary,
/^J)URING the past season tens of thou-
sands of out-of-town visitors in New
York have expressed astonishment at the
now well established custom of smoking
cigarettes in public on the part of the better
class of women. Not only in restaurants
of the highest calibre, but also at the lead-
ing playhouses. Some theatres have in-
stalled smoking rooms for the ladies, others
permitting men and women to smoke to-
gether, as at the Music Box. During fash-
ionable first nights many women sauntered
through the lobbies and even wandered to
the sidewalks, for a few puffs. Which re-
calls the sensation created a generation ago,
\vhen the noted English actress, Mrs.
Patrick Campbell, lit a cigarette in the
lobby of a smart New York hostelry. Re-
quested by the management to desist, she
refused to comply, so, with her pet dog,
Pinky-Panky-Poo, she was required to de-
part in peace, thereby obtaining newspaper
publicity aand valuable advertising.
particularly striking evidence of the
bad effects of the past season was the
number of players of leading parts, even
stellar roles, who were seeking engagements
almost as persistently as were interpreters
of lesser characters. Marjorie Rambeau
and Grace George each starred in two pro-
ductions, Helen MacKellar having been the
featured player in three. Helen Hayes and
Otto Kruger, who finally made Tiits^in "To
The Ladies," had each been in two fail-
ures, W_ilh'am_Faversham starring in three
pieces in one season. Helen Menken,
Margalo Gilmore and Pedro De Cordoba
played leads in three plays, and _Estelle
Winwood was in four productions. Nor-
man Trevor played leads in two pieces
and starred in two others, while that ex-
cellent old actor, Fuller Mellish, was in
five productions, not one of them catching
on. Some of these ventures lasted two
weeks in New York, some one week, and
some closed during the preliminary try-out
on the road. Even the most astute man-
agers failed to please the public. William
A. Brady had five failures, the Selwyns
had four, George Broadhurst had two, and
Charles Dillingham had one, "The Scarlet
Man." Al Jolson tried out and discarded
an elaborately produced Hawaiian play. As
George Bernard Shaw says, "You never
can tell!"
would you call this — a theatrical
avary, menagerie, aquarium, or a
combination of all three? Note the plays
on Broadway at this writing: "Lady Bug,"
at the Apollo; "The Goldfish," Maxine
Elliott's theatre; "Blue Kitten," Selwyn ;
"Pigeon," at the Frazee; with "The Nest,"
at the 48th St. Theatre; "Cat and the
Canary," at the National; "The Bat," at
the Morosco; "The Hotel Mouse," at the
Shubert; "The Hairy Ape," at the Ply-
mouth theatre, and "Bulldog Drummond,"
at the Knickerbocker.
^ LTHOUGH chorus-boys have remained
part and parcel of certain recent mu-
sical comedies such as "Good Morning,
Dearie" and "The Blue Kitten," other
productions, "The Rose of Stamboul," for
instance, relied merely on a double male
octet. At one time, during the period be-
fore "comic opera" had become "musical
comedy," the chorus men were in ludicrous
contrast to the chorus women. Although
the latter were expected to be young and
pretty, the former were old and ugly.
Then, when "musical comedy" advanced
to "revue," the blue-chinned, red-nosed men
were superceded by effeminate youths,
which was a case of out of the frying-pan
into the fire! During several seasons the
Shubert chorus-boys, especially at the Win-
ter Garden, were regarded by the play-
house patrons with mingled derision and
disdain.
[26]
Theatre Magatine, July,
(Center)
Tony Wil-
liams, once
starred in
"M u 1 d o o n's
Picnic," tells
his grand-
daughter
(May K e n -
nedy) stories
of old theatri-
cal days.
Joe J. Sullivan brought back
the days of the "flannel-
mouthed" Irish comedians when
he regaled vaudeville patrons
with, Where Did You Get That
Hat, which he composed years
ago.
(Left)
In her day
Corinne was
the last word
in musical
comedy. To-
day, in vaude-
ville, she
proves she has
not lost her
charm.
Proof the war
is over was
demonstrat e d
by the laughter
Lizzie Wilson
evoked when
she revived
her famous
German song,
Schnitzelbank.
The popular coon song, My Gal
Is A High Born Lady, had
younger Broadway humming it
when Barney Pagan, its com-
poser, re-introduced it recently
at Keith's Palace Theatre.
VAUDEVILLE APPLAUDS STARS OF YESTERDAY
[27]
White
Prominent stage people who gave their services April 9, last, at the benefit performance of BaliefFs "Chauve-Souris"
for destitute artists in Moscow, Petrograd and Odessa. From left to right: Balieff, Sam Bernard, Leon Errol,
Marilyn Miller, Walter Catlett, Laurette Taylor, Al Jolson, Doris Keane, Leonore Ulric, Dorothy Gish, Lillian Gish
and Morris Gest, the originator of the benefit.
f\N April 24th last, at the
Hotel Commodore, New
York City, the Catholic
Actor's Guild of America
gave a luncheon in honor of
Archbishop Patrick J.
Hayes, the members of the
theatrical profession, and
the dramatic critics. In this
interesting group, taken
after the luncheon, are:
{Left to right standing):
3. Hartley Manners, Wil-
liam ' . Court Lee, Robert
Keith Haynes, Gene Buck,
Irvin S. Cobb, Tom Lewis,
De Wolf Hopper, Elizabeth
Marbury, Donald Brian,
Daniel Frohman, Pedro de
Cordoba, Mgr. Joseph H.
McMahon, Raymond Hitch-
cock, Rev. John B. Kelly.
(Sitting) : Erne Shannon,
William Collier, Mrs. Wil-
liam Randolph Hearst, His
Grace, the most Reverend
Patrick J. Hayes, Arch-
bishop of New York, Marie
Wainwright, Hon. W.
Bourke Cockran (Congress-
man from New York),
Virginia O'Brien, Mary
Tomoney.
Orucker and Raltes
STAGE NOTABILITIES
AT
[28]
UNUSUAL FUNCTIONS
Theatre Magasitte, July,
Mr. Hornblow Goes to the Play
GARRICK. "WHAT THE PUBLIC
WANTS." Comedy by Arnold Rpnnprt.
Produced May 1, with this cast:
Sir Charles Worgan
Francis Worgan
John Worgan
Saul Kendrick
Holt St. John
Simon Macquoid
Emily Vernon
Mrs. Clcland
Annie Worgan
Mrs. Worgan
Charles Dalton
Claude King
Moffat Johnston
Malcom Dunn
Louis Calvert
Stanley Hewlett
Margaret Wycherly
Jane Wheatly
Shirley King
Marietta Hyde
POLONIUS asked Hamlet what he
was reading, "Words, words,
words," was his reply. If you were
to ask The Theatre Guild what it was
playing these days, the response would
probably be the same, "words, words,
words." It follows up that torrential
volume of words which it poured out
over the footlights of the Garrick in
"Back to Methuselah," with an ex-
tremely loquacious comedy, very
lacking in action called, "What the
Public Wants." But Arnold Bennett,
who wrote the piece, if not always
technically expert, is usually enter-
taining, and in this satire on the
genius who moulds popular opinion
through the medium of a chain of
newspapers — Northcliffe was the or-
iginal butt of his irony — Mr. Bennett
is delightfully breezy, fresh and
amusing. And then the comedy is
so superlatively well acted in every
part — and they are very human and
well drawn characters that Mr. Ben-
nett has penned — that a very much
weaker piece than this would under
the circumstances be distinctly worth
the seeing.
The protagonist is Sir Charles
Worgan whose philosophy of success
is never to try to elevate, but simply
pander to the commonplace taste and
insensate curiosity, prurient or other-
wise, of the average reader. It has
worked with him and brought him
millions and a title. But it loses him
finally the delicate, sensitive and im-
aginative woman, a young, penniless
widow, Mrs. Vernon who had ac-
cepted him.
It would be hard to imagine a more
fitting embodiment of the role as
presented by Charles Dalton. He is
autocratic, domineering, insistent and
relentless, a veritable bounder,
though practically successful, and yet
withal a one who somehow elicits an
affectionate regard. Mr. Dalton is
all this, and so is Louis Calvert, the
equally dominating manager of a
theatre who would sacrifice all rather
than deviate a hair's breadth in his
devotion to a better art — a superb
bit. So, too, is the dramatic critic —
probably meant to be A. B. Walkley,
who resigns, largely to show his de-
testation of the use of the split in-
finitive.
Margaret Wycherley's Mrs. Vernon
is instinct with truth, sincerity and
graceful charm, and Sir Charles'
brothers, Francis, inherently refined,
and John, a severe but honest pro-
vincial doctor, are portrayed to the
life by Claude King and Moffat
Johnson. Nor, in minor roles, could
the least exception be taken to the
really finished art displayed by Jane
Wheatley, Emily Fitzroy, Marietta
Hyde and Harry Ashford.
KLAW. "THE SHADOW." A drama
by Eden Phillpotts. Produced May 1,
with this cast:
Nanny Coaker
Sarah Dunnybrig
Willes Gay
Thomas Turtle
Elias Waycott
Johnny Slocombe
Hester Dunnybrig
Phillip Blanchard
Kate Morgan
Louise Randolph
Dallas Welford
__
Noel Leslie
Barry Macollum
Helen MacKellar
Percy Waram
THE fact that Eden Phillpotts is
the author of "The Shadow,"
made the opening of this play at the
Klaw Theatre an event of aYtistic
consequence. Mr. Phillpotts' achieve-
ments in the modern novel have been
noteworthy; his novels have been dis-
tinguished by clarity of style, honesty
and originality. Yet, though he is
well known to the reading public,
"The Shadow" is the first of his plays
to come to the United States. And the
results have not been very satisfac-
tory, for "The Shadow" is a tedious
affair, clouded with dialect and made
static by over-characterization.
Of course, these faults are the re-
sult of the author's earnest desire to
show a humble group of people en-
meshed in a provincial problem. The
speech and manners are similar to
those of Masefielil, Galsworthy and
Stanley Houghton.
A man of seventy-five is cruelly and
deliberately murdered for little real
reason. Immediately following the
murder his nephew, a mild-mannered
and meek young fellow, declares his
love for the daughter of the village
storekeeper. But his meekness harm-
ed his cause, for the girl rejects
him and accepts his rival, a primitive
fellow. Six months later a startling
complication is revea4ed, for the suc-
cessful suitor tells his wife that he
has killed the old man and the re-
jected suitor publicly confesses his
guilt in order that he may protect
the girl he still loves.
The rest of the story concerns the
girl's continued and frantic efforts
to shield her guilty husband from
suffering the consequences of his
crime — a most peculiar and unprofit-
able purpose.
As the girl, Helen MacKellar again
evidenced her rights to stardom. She
is a versatile and winsome actress
with a swift, dramatic instinct. Her
best work, however, is in the lighter
moods.
Dallas Welford, who has many
splendid characterizations to his
credit, was at his best in the role
of a serio-comic butcher.
SELWYN. "PARTNERS AGAIN."
Comedy in 3 acts by Montague Glass
and Jules Eckert Goodman. Produced
May 1, with this cast:
MarKi Pasinsky Lee Kohlmer
Mawru<s Perlmutter Alexander Carr
Abe I clash Barney Bernard
Leon Sammett Cameron Clemens
Mrs. Sammett Mabel Carruthers
Dan Davis Louis Kimball
Mozart Rabiner James Spottswood
Rosie Potash Jennie Moscovitz
U. S. Commissioner John T. Dwyer
TF the prosperity of the new Potash
-^- and Perlmutter show is to be mea-
sured by the gale of laughter it raised
on the opening night the S. R. O.
sign is likely to be a feature of the
Selwyn Theatre lobby for a long time
to come.
Its old stuff, of course — most of the
good things of life have the hoar
frost of age on them — but it's good
[29]
stuff, and as long as the racial types
so cleverly and good naturedly cari-
catured by Montague Glass form a
large part of our heterogeneous popu-
lation, the amusing adventures and
comic mishaps of the ignorant, yet
shrewd Jewish clothing-makers, now
partners in the automobile business,
cannot fail to give theatre audiences
unalloyed joy. The comedy makes an
irresistible appeal not only to the
Gentile, who has to guess at the
meaning of many of the Jewish allu-
sions, but also to the Jew who views
himself as in a mirror and is intelli-
gent enough to take no offence in see-
ing his racial weaknesses and
oddities deliciously portrayed by
Alexander Carr and Barney Bernard,
than whom none could do them better.
Barney Bernard can be funnier with
a serious face than any comedian I
ever saw. In the last act, where he
is tearfully anticipating a jail
sentence and gives his wife a list of
the comforts he'll need in prison —
warm underwear, asperin, nujol,
mathematic spirits of ammonia, etc. —
he's a scream. But the play is too
long. Judicious pruning would im-
prove it.
APOLLO. "LADY BUG." Farce by
Frances Nordstrom. Produced April
17, with this cast:
Robert Manning
Fleming Ward
Paulina Manning
J.ilyun Taslinian
J. Claude Ruthford
Leon Gordon
Dorothy Meredith
Leila Frost
Tutwilxr Thornton
John Cumberland
Julia
Hilda Vaughn
Viddlars
Penman Maley
Marion Thornton
Marie Nordstrom
Daniel Dill
Edward Poland
Cook
Ida Fitzhugh
THERE is a good germ impreg-
nated in "Lady Bug." But
Frances Nordstrom, who wrote this
farce, evidently believed that, having
conceived a good idea, the dialogue,
situations, and general structure of the
play counted for little. It is a de-
lusion under which many playwrights
labor. Lady Bug crawls along in a
slow and monotonous fashion after
once she reveals her destination.
The good idea is this: A well-
meaning, Dulcy-like woman, of the
reformer type, goes in for all the
latest fads, cults, religions, and social
philosophies. After delving in all
the ists and isms, she decides to
brighten the lives of criminals after
they are discharged from various
penal institutions. The curtain goes
up on a scene in her home where a
reception is in progress for a murder-
er she has taken under her wing.
She presents him with a bouquet, a
pretty little speech, introduces him to
her friends, and then puts him in the
blue guest-room of her home. There
the good idea ends. Every one can
foresee the outcome. The remainder
is repetition, and emotional speeches
by the Lady Bug to the effect that
"evil does not exist."
John Cumberland, with his dry and
quiet humor, and his drolleries, works
hard to make "Lady Bug" move at a
faster pace; Marie Nordstrom catches
exceedingly well the spirit of the char-
acter she portrays; and Denman
Maley, as the butler, and Edward
Poland, as the pampered criminal,
who turns out to be merely an alimony
dodger, give adequate support.
RITZ. "THE ADVERTISING OF KATE."
Comedy in 4 acts by Annie Nathan
Meyer. Produced May 8, with this
cast:
Miss Wanda
Mr. Dell
Brandeth
Sam
Wally Ziegler
Robert Kent
Sadie Ryan
Thaddeus Konx
Kate Blackwell
Diana Verulman
Maud Sinclair
Louis Fierce
Frederick J. Waelder
Gardner James
Bertram U'Ren
Leslie Austen
Fay Courteney
Byron Beasley
Mary Boland
Helen Gill
Aunt Maisie fejrs. Thonjas^Whiffen,
Miss Levinsky Gertrude Mann
Mrs. Muldoon Peggy Doran
ANNIE NATHAN MEYER— may
her sort increase — has taken an
old idea (are there any new ones?)
and made it the basis of a new and
interesting comedy.
Kate Blackwell, the senior member
of a successful advertising firm and
unconsciously in love with her junior
partner, Robert Kent,, is a perfect
wonder at advertising commodities;
but when she sees another woman
calmly robbing her of the man she
wants, and proceeds to retrieve him
by mixing business with sentiment and
advertising herself, she almost comes
a cropper. All this, as well as how
she recovers herself and wins her
man, is interestingly set forth in the
play, which has now and then a dull
moment offset by many bright and
some brilliant ones.
The play is richly cast. First men-
tion as well as honors must be given
to Mrs. Whiffen, who as the hero-
ine's aunt and the dea ex machina is
as charming and attractive as pos-
sible. Mary Boland need feel no
pang at giving precedence to such an
artist, since her own claims to ar-
tistic excellence are assured by an
all-around fine performance of "Kate."
Especially well done was the tense
scene with Byron Beasley in the third
act.
NEW AMSTERDAM. RUSSIAN
GRAND OPERA. Heard for the first
time in New York, May 8.
THAT this Russian Company is still
in existence and giving evidence of
study life after some years of wand-
ering far from its homeland, should
be a matter of wonder and admira-
tion. It is true that the company is
small, so small as to be totally in-
adequate to the giving of perform-
ances in the grand manner to which
we are accustomed. It is true that
there are no first- or even second-
class voices among its principals or
in its ensemble. It is also true that
the orchestra plays raggedly and
wanders from the key now and then;
the scenery is crude and sometimes
atrocious. But it is also true that the
members of the company work to-
gether with a seriousness and unity
of purpose which achieves results that
cannot help being admired and re-
spected by the sympathetic listener.
Then, too, they have made it pos-
sible for us to hear operas, some of
them like Dargomizsky's "Mermaid"
and Rubinstein's "Demon" written
long ago, but of which we know al-
most nothing; as well as others of
later date like Rimsky-Korsakov's
"Tsar's Bride," full of exquisitely
beautiful music and well worthy a
place in the permanent repertoire of
our own opera house.
BELMONT. "£EMPY/' Comedy in
3 acts by J-_C. Nugent and Eliott
,. Nugent. Produced May 15, with this
cast:
Ruth Bence
"Dad" Bence
"Ma" Bence
Jane Wade
Katherine Bence
Ben Wade
"Kempy" James
•'Duke" Merrill
Ruth Nugent
J. C. Nugent
Jessie Crommette
Helen Carew
Lotus Robb
Robert Lee Allen
^Elliott Nugent
Grant Mitchell
A HOME-MADE theatrical dish
this, and, like many domestic pro-
ducts, quite a palatable little comedy.
Indeed, it is not too much to say that
the piece proved one of the most en-
joyable occasions that the end of the
season has given us.
Written by J. C. Nugent, the vaude-
ville monologist, the play contains all
the ingredients a veteran of the thea-
[301
Theatre Magasine, July, 1<)31
tre knows so well how to employ —
surprise, humor, clever lines, gaiety,
human interest. Added to this is a
certain Barrie-like quality — a play of
fantasy and whimsical imagination
that makes the entire evening delight-
ful entertainment. Because the
comedy reminds one of that other
charming and highly successful piece
"The First Year," is nothing against
it. On the contrary, it proves once
more that you can't have too much
of a good thing.
Kempy, a young plumber with am-
bitions soaring far above his trade,
goes into a house to mend a pipe.
When he quits the job, he has left his
wrench behind, but takes with him
the daughter of the home, with whom
he goes before a Justice of the Peace.
He has only $11.50 with which to
start housekeeping, and by the time
he's through with the Court he has
only $1.50 and his wrench.
The piece is admirably acted by
the Nugent family — notably by Ruth
Nugent, a new-comer, and Elliott
Nugent, who plays Kempy. Grant
Mitchell and Miss Lotos Robb also
add joy to the capable cast.
ASTOR. "THE BRONX EXPRESS."
Fantastic comedy by Ossip Dymow.
Translated by Samuel R. Golding.
Adapted for the American stage by
Owen Davis. Produced May 3d, with
this cast:
David Hungerstoltz
Sarah
Leah
Sammy
Reb Kalmon Lippe
Joseph Hayman
Jacob Katzenstein
Casey
Miss Mason
Jack Flame
Charles Coburt^
Bertha Creighton
Hope Southerland
Sidney Salkowitz
James H. Lewis
Joseph Sterling
James R. Waters
Thomas Williams
Mrs. Coburn
John G. Bertin
IT would have been difficult for any
play to have lived up to the pub-
licity that preceeded "The Bronx Ex-
press," which was associated with the
names of four or five producers after
a much lauded run in the Yiddish
theatre.
Its final sponsors are Mr. and Mrs.
Coburn, who have actually splurged
themselves on a large production
which may not bring large returns.
For "The Bronx Express" is not a
good play. It may have been good
as originally written by Ossip Dymow,
but as adapted by Owen Davis, it
becomes an unconvincing pot pourri
of melodrama, symbolism, musical
comedy, burlesque and vaudeville.
Such variety of mood and method
would be permissible if continuity of
theme and purpose had been estab-
lished, but neither is maintained or
even emphasized.
Both Mr. and Mrs. Coburn are
badly miscast. Outwardly, Mr. Co-
burn gives a genuine impression of
a Jew — his beard and clothes are
representative. But here the impres-
sion ends. He lacks all the Jewish
mannerisms, his movements, voice and
accent are all mechanical and super-
ficial. He has been quite unable to
duplicate his work in "The Better
'Ole," nor was Mrs. Coburn more
successful in a briefer role.
TIMES SQUARE. "THE CHAR-
LATAN." Play in 3 acts, by Leonard
Praskins and Ernest Pascal. Produced
April 24, with this cast:
Mason Talbot
Eric Stark
Bryce
Jagi-Xama
Annie
Dhima
Cagliostro
Avril Penniston
William Ingersoll^
Craufurd KenF
Lewis Broughton
William Podmore
Florence Johns
Fania Marinoff
Frederick Tiden
Olive Wyndham
Florence Gilly-Smythe Margaret Dale
Herbert Deering Purnell Pratt
Dr. Paynter Edward Powers
~\f]~ HILE a mystery play is naturally,
W intended to mystify, the mysti-
fication should not continue after the
curtain has dropped on the last act.
It is one thing to puzzle an audience
up to a certain point, quite another
to permit it to leave the theatre still
hopelessly in the dark. A mystery
play should not be in the form of a
serial. Although, perhaps it is the
intention of the authors, to "continue
it in our next." But if their sequel
proves as confusing and irritating as
the first installment of their mystery
play no one will care to go and see it.
The only thing that was at all clear
about "The Charlatan" was the fact
that the collaborators got together,
created numerous baffling entangle-
ments, with a murder and "who is
the murderer" plot, and then, finding
everything hopelessly entangled, made
no effort to straighten out the puzzling
situations at the end of the play.
They evidently argued: "Well, this
is a mystery play, let the audience
figure it out for themselves." The
wife of a magician is murdered. But
why? Every one in the play acted
guilty? Why? Why. was the society
girl in love with the married magi-
cian? No one knows. No one will
ever know. Really, no one wants to
know. A mystery play with a venge-
ance!
FRAZEE. "THE NIGHT CALL." Mys-
tery play by Adeline Hendricks. Pro-
duced April 26, with this cast:
Alice Dodge Elsie Rizer
The Man Charles Trowbridge
Martha Stuart-Scott Helen Lowell
Jerry 1 hompson Jay Hamia
Mollie Braden Nellie Burt
George Dodge Dodson Mitchell
Bob Braden Earle Mitchell
Edwar 1 Howe Brandon Hurst
The Other Man Wells Spalding
THIS play is handicapped at the
start by the fact that it comes
after — and in certain respects a long
way after — certain others of the same
genre which are still on view on
Broadway. One who has not seen
"The Bat," nor "The Cat and the
Canary," will be able to extract a
number of thrills, and some mild and
reminiscent amusement from "The
Night Call."
It is a mystery play of no distinc-
tion whatever, written with bold
frankness to be a thriller; and every
known trick for producing said thrills
has been employed, even including
wireless. Little art has entered into
the making of the play, and in spots
its cheapness is apparent.
It devolves upon the actors to fur-
nish whatever of art the performance
may contain, and it may be said that
the amount so furnished is negligible.
Elsie Rizer, as the heroine, continu-
ally offends by overacting in an at-
tempt to drive her points home.
Charles Trowbridge, on the other
hand, exercises commendable re-
straint, and thereby achieves with
ease the most effective success. The
other members of the cast manage to
make their roles moderately interest-
ing and plausible.
After all, there have been several
worse plays foisted on us this season,
and this one will serve pour passer
le temps.
MAXINE ELLIOTT. "The Gold-
fish," Comedy in 3 acts by Gladys
Unger. Producer April 17th, with
this cast:
Magnolia
Amelia Pugsley
Jenny
Jim Wetherby
Count Nevski
Herman Krauss
Ellen
Casimer
Hamilton J. Power
Wilton
Duke of Middlesex
Lucil|e
Norma Mitchell
Marjorie Rambcau
Wilfred Lytell
Wilton Lackav_e..
Ben Hendricks
Rhy Derby
John De Silva
Robert T. Haines
John Robb
Dennis Cleughs
AN excellent French play done into
hash for the American boulevards
is the fate of the more or less famous
"L'Ecole des Cocottes" by Armont and
[31]
Gerbidon, on view at the present writ-
ing under the latest contribution to the
zoological series of play titles, "The
Goldfish." That it serves to bring the
lovely Rambeau back to a stage is
something that tends to compensate in
part for the corruption of a semi-
classic comedy, but cannot stay the
business of eyebrow-lifting at Gladys
Unger's authorship of the hammered
article. When will American writers
— adapters in particular — and man-
agers learn that the purely Gallic
comedy, as "L'Ecole des Cocottes" is,
cannot be transported with anything
of either interest or entertainment re-
maining unless an effort be made to
preserve its spirit by retaining the
scene and characters of the original?
A "flat in West 24th Street," is not
the Parisian quartier, and the hard-
shelled, chorus-brained wife of a jazz
song writer is not the piquant mistress
of a young, struggling artist. Nor is
a play which depends for its humor an
the idea of the young mistress shifting
from lover to lover as she climbs the
social scale through well applied tute-
lage still humorous when the shifting
is done by a wife from one husband to
another to suit her socially ambitious
purposes. Fun flies out of the theatre
window with any such effort to apply
the idea to the "popular mind" and
conventions of Broadway. What is
delightful in the original becomes sor-
did, crass and hideously immoral in
the alleged "censored" version. I can-
not believe that Miss Unger is re-
sponsible in the main for this vulgar
popularizing of a charming, sophis-
ticated comedy.
Miss Rambeau, once a lamentable
effort at doing a "Kiki" in the first act
is over, reaches a stride that lends
charm if not plausibility to the char-
acter of Jenny, the much married wife.
There are moments and scenes of
marked expertness, times when flashes
of the play's French ancestor shine
through with fine co-operation by both
adapter and actress. But, for the
rest, "The Goldfish" is little else than
one more brick in the monument to
stupidity.
LONGACRE, "Go Easy, Mabel,"
Musical Comedy by Charles George.
Produced May 8th, with this cast:
Ted Sparks Will J. Deming
Mabel Sparks Kstellr Winw.wd
Mabel Montmorency Ethel Levey
Edward Drenton James C. Marlowe
Mrs. Edward Drenton Margaret Dumont
Bruce Drenton Russell Mack
George Macdonald Arthur Aylesworth
Tessie Claire Eileen Van Biene
IT is a confusing season that presents
the same artist in two such pro-
ductions as "The Idiot" and "Go Easy,
Mabel," the former a grim tragedy,
the latter an idiotic farce. But the
versatile Estelle Winwood makes both
grades, one up, the other down. The
spectacle of an actress doing anything
but the same old thing in the Ameri-
can theatre is so rare that, for all my
regret at seeing fine talent wasted on
unutterable piffle like "Go Easy,
Mabel," I cannot but give three
huzzas for so admirable a display of
virtuosity.
"Go Easy, Mabel" is a stock musical
show that should never have left stock,
if indeed it should ever have gone
into it. It served to bring Ethel
Levey back to the legitimate stage
after a long absence abroad. The*
years have left Miss Levey -un-
changed ; in her way she is the female
equivalent of the man who made the
American flag popular and to whom
she was once married. She is the
Yankee sans pareille. And a delight-
ful Yankee to boot. One, certainly,
that deserves a better fate than play-
ing Mabel. I can console myself and
her only with the thought that she'll
not play it long.
GREENWICH VILLAGE. "Bil-
leted," a Comedy by F. Tennyson
Jesse and H. M. Harwood, produced
May 9th, with this cast:
The result is an evening of entertain-
ment that is well worth while.
Rose
Emmaline Liptrott
Rev. Ambrose Liptrott
Penelope Moon
Betty Taradine
Colonel Preedy
Mr. MacFarlane
Captain Rymill
Mrs. Brace
Mary Hughes
Sally Williams
Harold Vizard
Selena Royle
Lois Bolton
Lumsden Hare
Marshall Vincent
H. Langdon Bruce
Kate Mayhew
BILLETED," is one of the war-
plays that contain -none of the
horrors of the great conflict. It served
to relieve the tension of mind of those
who saw it during the war, and also
as a successful vehicle for Margaret
Anglin, who made of its heroine, Betty
Taradine, an altogether charming
person. The revival of it at the
Greenwich Village Theatre by The
Comedy Company, under the direction
of Grace Griswold, is a thoroughly
fine one in all respects, and it shows
that the comedy has lost none of its
sparkle during the lapse of time. It
is provided with a choice cast. The
four leading players work together
with the utmost skill and success to
bring out all its fine points; and they
are ably seconded by all those to
whom the minor parts are entrusted.
PRINCESS. "The Red Geranium,"
Comedy-drama, by Ruth M. Wood-
ward, produced May 8th, with this
cast:
Larry
Mary
Bill
Sallie
Mid
Jane
Elizabeth
Beatrice
John Dawson
The Dope
The Doctor
Mary's Mother
Policeman
William S. Rainey
Florence Rittenbouse
Mary Ricard
Eleanor Coates
Robert J. Adams
Marion Lord
Kirah Markham
Mary Donnelly
Benjamin Kauser
Donald Bethune
Frank Andrews
Mina Gleason
Edward Fetbroth
SOMEHOW Greenwich Village
seems to stand for everything
amateurish — amateur philosophers,
amateur radicalism, amateur artists.
And the same thing applies to plays
which come out of the Village. "The
Red Geranium" is typical. It is not a
hardy blossom, and most assuredly is
destined not to bloom for long. In
addition to the weak structure, it is
presented in an amateurish way by
the entire cast.
The story is cheaply melodramatic.
A country school teacher pays a visit
to Greenwich Village. She attends
Village parties, and these festivities
are the only features of the play which
savor of true Village atmosphere. A
drug fiend dies at one of these hilari-
ous entertainments. Sweet little Mary
then meets a Village free lover. He
is supposed to be a devil among the
ladies. Like all Don Juans of the Vil-
lage he is not the virile, manly type
that one usually associates with great
lover roles. Little Mary goes to live
with him in a combination tea-room
and apartment. The tea-room is called
"The Red Geranium." Little Mary
finds that she is soon to be a mother.
Her old home sweetheart, faithful
John, appears and says "my God!"
several times in a bleating tone of voice.
John looks and acts like a butcher, but
he is really a factory superintendent.
Poor little Mary is moved to a hos-
pital. Her mother, appearing not much
older than herself, visits her erring
child, and forgives her, after exacting
a promise from Mary that she will go
through a marriage ceremony. The
Village free lover refuses her request.
She plunges from her hospital win-
dow to her death on the pavement.
Moral: Virtue is its own reward —
Stay away from the Village, little
country maid ! This is one of the
most puerile plays of the season.
[32]
Tluatrt Maoa*i*e. July,
Edward Thayer Monroe
CONSUELO
FLOWERTON
As picturesque as her
name and with the added
distinction of having
rendered a real service in
gathering in recruits for
the Navy, by posing for
the famous Christie navy
poster, Consuelo Flower-
ton is now one of the
bright spots in "Good
Morning, Dearie."
(Below)
ADELE ASTAIRE
This comely comedienne
whose amusing antics
were the one outstanding
feature of "The Love
Letter," is now heing co-
starred with her brother,
Fred, in "For Goodness
Sake."
Pach Bro*.
CLEO MAYFIELD
One can even forgive the
stereotyped title of "The
Blushing Bride" when
this personable actress
plays the title r61e.
FAIRBANKS TWINS
The unaffected simplicity
of these charming little
girls is largely respon-
sible for their long and
successful tour in "Two
Little Girls in Blue."
Morall
COMELY PLAYERS IN
[33]
MUSICAL COMEDY
It's None of the Public's Business
Players Hotly Resent Criticism of Their Private Morals, But —
By ARCHIE BELL
MLLE. GABY DESLYS pouted her
painted lips, pretended to brush a
tear from her painted eyelashes to a
lace handkerchief, and then told me plainly
that she thought the world had abused her.
She said : "the newspapers have printed such
terrible stories about me in connection with
an exalted personage of Portugal ....
it's wicked and it's cruel."
Poor little lady in distress! I pitied her
and I told her so. "Deny every one of the
stories, tell me that you never knew the
King of Portugal, declare that all of the
yarns were mere inventions for the press,
and I'll wager that every newspaper will
print what you say," I told her.
"Non, non, non, that is my personal life
. . . . It is none of the public's business.
My acting, yes, that is different, and they
may say what they please ; but my personal
life, that's different."
Gaby could see herself attempting to de-
rive a bargain in contracts with theatrical
managers .... in which she proved to
be an expert .... once the story that
brought her fame was denied. No, no,
that was "personal."
* * *
LILY LANGTRY once told me prac-
tically the same thing. Her name also
appeared in the public prints frequently in
close proximity to that of a king. She hated
it and she said so. That was her personal
life, it was none of the public's business,
although she told me that she first went on
the stage because old Edmund Yates sug-
gested it as a means of making money that
was much needed at the time. "They are
breaking their necks to see you in London
drawingrooms" he said, "so why don't you
make them pay for it in the theatre?" It
was an idea that bore fruit and the friend-
ship of Lily Langtry and King Edward
remained her best newspaper "copy"
throughout her career. "But let them dis-
cuss my acting, say whatever they please
about my work on the stage" she argued.
"My personal life is my own and none of
the public's business."
But were they correct, these celebrated
ladies of the stage? Is it true that the
private life of an illustrious personage is no
affair of the public's .... particularly
when that public pays to see them, after
having been coaxed to do so by reports of
unusual lives? On the contrary, is it not
possible that it is the little affairs in pri-
vate life that are the turning-points from
obscurity to fame's limelight?
* # *
national and international popularity
go, Miss Laurette Taylor was an
obscure actress until she met Hartley Man-
ners, the playwright. He admired her,
married her, wrote plays for her enact-
ment, best known of which is "Peg o' My
Heart." Thus, quite apart from its value
as a work of art . . . . it has amused
millions of people .... did not the
"private affairs of Miss Taylor and Mr.
Manners give the world what it would not
have had otherwise? Is it not possible that
we have a talented actress, widely accepted
as such, whom we would not have known
but for their marriage ? I have not the
pleasure of Mr. Manners' acquaintance,
but if he be like all the others, I have not
the slightest doubt that he would tell me
that their marriage and mutual admiration
were private affairs and none of the pub-
lic's business ; and his wife, likely as not,
would say the same thing.
* * #
JULIA MARLOWE and E. H. Sothern
never pleased the multitude when single
stars, as they have pleased since they fell in
love with one another and married. It was
a very "private" affair for both of them,
for each had married before and doubtless
they realized that there is a considerable
portion of the American public that does
not smile upon divorce and re-marriage for
stage people, or other people. Once I
wrote something about the great value of
this combination of talent to the art-loving
public and I remarked that man-like,
Sothern always had been a big spender,
whereas, Miss Marlowe, woman-like,
had been a saver with a thought on the
possible rainy day. This was very personal
and private, it appears, and had nothing to
do with their professional life, for Mr.
Sothern wrote me a letter and told me that
it was none of the public's business, or a
newspaper-writer's business whether Miss
Marlowe saved her money or spent it.
But wasn't it? The public gladly paid
and pays $3 or more to see Marlowe and
Sothern productions. Were they not far
better as a setting for Miss Marlowe's
eloquent acting than the productions in
which she appeared before the combination
was formed? Did not Sothern act better
in company with Miss Marlowe than he
ever acted before? Were they not able to
enact the immortal love-scenes of Shakes-
peare, because they were in love with one
another? Was it not the "private affair"
in their lives that concerned the public as
much as their skill as actors?
^PERHAPS the world, at least America,
has had enough gossip and frankness
about the personal life of Maurice Maeter-
linck, the Belgian playwright. Perhaps he
did not advance in the affections of the
American public by his visit to this country
a short time ago. There was a vivid
description of his private life in the press
at the time, for he had taken to himself a
new wife and America seemed to prefer
the older ; nevertheless, what did events in
his private life do for Maeterlinck as a
creator of art works for the enjoyment of
a vast public?
Maeterlinck was a somewhat moon-
stricken poet, who recited poems to gas
[34]
dames before he fell in love with Georgette
Leblanc. Then he wrote "Monna Vanna"
instead of nonsense like "La Princess
Maleine"; he wrote "The Blue Bird" in-
stead of works like "Serres Chaudes." Does
the public not have the right to know that
the poet's great love for Georgette Leblanc
inspired him to his noblest achievements?
Is the private life of such a celebrity no-
body's business but his own ?
Did the love of Eleanora Duse and
Gabriel D'Annunzio not give the world
that wonderful novel, "II Fuoco" ? Is it
idle curiosity that prompts a desire to know
something of the private lives of the char-
acters in the tragedy or comedy that pro-
duced this work?
It was a very intimate and personal re-
lationship between Richard Wagner and
Mathilde Wesendonck that gave the world
"Tristan and Isolde," which the composer
frankly admitted, although there has been
a disposition at Bayreuth to overlook the
written evidence in the case. And it was
the "personal" or private life of Franz
Liszt with the Countess d'Agoult that pro-
vided Wagner's inspiration for his later
works, as he frequently admitted, and not
the piano playing or compositions of the
great master .... the "greatest of
them all," according to his illustrious son-
in-law. The world has the right to know
what transpired beyond the threshold of
IVahnfried, for "Parsifal" and the "Ring"
are world property and whatever contri-
buted to their creation cannot and will not
be hidden from view.
* * *
^CELEBRATED diva does not like it
to be known or printed that she once
worked as a housemaid in an American
home; but this fact should be widely her-
alded as an inspiration to other housemaids.
Actresses and singers would too often
like to have it appear as if they took an
extended holiday in childhood for the pur-
pose of obtaining an education, but that in
reality they were recognized at birth or soon
afterwards as geniuses, although few of
them gained the slightest recognition when
they were legal infants — doubtless did not
deserve it — and facts prove that it was some
comparatively small and a "personal" or
"private" event that altered their careers
and contributed much to achievements for
which they became noted.
* * *
ADAME SCHUMANN - HEINK,
usually the great exception to all
rules, delights in self-revelation and she
has lived long enough to know that no
such thing as private life exists for one of
her celebrity. When she was approached
by a rather cautious inquirer on the subject
of the advisability of a diva becoming a
mother, she replied: "I have had eight chil-
dren, and I got a new tone with each
child."
Theatre Magazine, July, 192*
Alfred Cheney Johnston
MRS. LIONEL BARRYMORE
Seen this past season in support of her husband in Bernstein's play "The Claw," this actress
(nee Rankin) will appear on Broadway next fall in a new play.
[35
The Stage Honors Rose Coghlan
Theatrical Notabilities Gather to Pay Tribute to a Fine Artist
By ADA PATTERSON
SHE isn't quite sure whether he is
right, that prince who afterward be-
came a king, and who advised her not
to go to America.
"Why do you go to that country?" he
asked, in regret and reproof. "They will
like you there at first, while you are young.
But it is a young land and they want only
youth. When you are old you will be for-
gotten."
The Prince of Wales uttered the warn-
ing to Rose Coghlan. They had met at a
dinner. He had admired her. They met
again and he admired her the more. He
regretted her determination to leave the
cosy little island for the expansive land
where he told her she would flourish, but
only for a time. He reminded her that
they write plays for their elderly actresses
in England. They give them benefits that
make them cosily off in mind and body and
purse in their declining years.
That was fifty years ago. The Prince
of Wales became King Edward VII of
England, served his country diplomatically
and died as he had lived. Rose Coghlan
made her journey to America, and has for
the most part played here, and now she is
wondering whether the young man who
was to become a king spoke with as 'much
truth as force and insistence. For on April
23rd, at the Apollo Theatre in New York,
there was dire need of the benefit tendered
this fine artist by the public and the pro-
fession.
MISS COGHLAN was too ill to be
present. In her deep contralto tones
Elsie Ferguson read the message sent by
the veteran actress:
"To you, dear friends, I must express my
love and thanks; to the managers and
artists who have made this benefit possible ;
to the press, which so sympathetically made
known my distress to the public, and to
the public for its generous response and
rally to my aid.
"I have loved the theatre, and to know
how those of the theatre love me is a great
consolation and happiness. If I must sit
idly by I shall not complain, because
through the generosity of each and every
one of you, dear friends, I am enabled to
rest comfortably and without worry — in a
little place of my own called 'home' — and
in such happiness I am content, and my
love and gratitude will be yours always."
The sum realized from the benefit was
$10,000.
Miss Coghlan claims no nest of ease,
has no yearnings for the quiet life that is
the summum bopum of the middle aged.
Her vigor is practically unabated. Her
love for the stage is undiminished. She
proved that when, one May night, she re-
cited at the close of Wallack's Theatre on
the same stage and in the same costume
which she had worn thirty-three years be-
fore, the epilogue written by Oliver Her-
ford.
It was she who, when the poet submitted
to her the draft of his poem, said: "But
put something about Wallack in it." He
was king of the stage at that time. "Of
course, you must put something about Wal-
lack in it." With rare unction and splen-
ROSE COGHLAN
In 1873, at the time she was a member
of Wallack's famous stock company.
did authority, she recited the completed
lines, ending with the four stanzas inspired
by her, that were a tribute to the vanished
star of an elder time.
The audience held her for ten minutes
before the recitation and nearly as long
when it was done. She seemed a living,
resplendent ghost of the great days at Wal-
lack's and they who had come to seal its
memories were reluctant to let her go.
Her last public appearance was in "De-
burau" last season.
Last December, at the banquet given by
the Society of Arts and Sciences to David
Belasco, at the Biltmore Hotel in New
York, Miss Coghlan said: "We like old
wine, old books, old pictures, why not old
actors ?"
Is America fickle? Is she faithful?
Does her taste incline to new faces, fresh
voices? Or is she more deeply moved by
old favorites? Rose Coghlan is anxiously
weighing these questions, for she proposes
to utilize the time of her convalescence, or
longer imposed rest, in writing her mem-
oirs and will combine them with a
biography of her gifted brother. How
many will care to read this book? In the
old fashioned apartment at 253 West 42nd
Street, where she had lived until destitu-
tion deprived her of it, one saw a por-
trait of her brilliant brother Charles. His
portrait hangs in the place of honor. Her
heart yields him the same place. None of
the Niagara of compliments that has poured
upon her are as gratifying as to hear: "You
remind me of your brother Charles," or
"You were as clever as he."
She is at work upon her memoirs which
will include much about his meteor-like
career, and its unhappy end in Galveston.
In his death, as in life, he was the wan-
derer. The flood swept his iron coffin
from his resting place and it has never
been reclaimed from the sea.
Charles Coghlan was born in Paris. His
sister, Rose, followed him upon the life
stage eleven years later. It was in a play
presented by her brother, that she first
walked upon the stage. She was one of a
group of Spanish dancers. It was seeing
him in a small part as one of four heralds
of the king in an old English spectacle, that
moved her to determine to be an actress.
The excellence of Rose Coghlan's act-
ing established a standard in this country.
When roles, classic or romantic were played
it was said: "But you should have seen
Rose Coghlan in that." They said it of
those who followed her in revivals of
"Diplomacy," of "Forget-me-not." They
said it of Peg Woffington. There was
never quite such a Penelope as she in
"Ulysses."
Even now she looks but fifty of her
two and seventy years. "Why don't they
write for me at my age?" she asks, the
Coghlan imperiousness in her tone. "They
wrote plays for Mrs. John Wood, in
London, after she was sixty. They wrote
them for her until she died at my age,
seventy-two. I wonder if His Royal High-
ness was right." Why, in the afterglow
of her life, should an actress of such beauty,
talent and distinction as Rose Coghlan be
in need of aid from the public and from
her fellow mimes?
Assuming the financial responsibility for
ill starred plays, heavy domestic obligations,
"taking the wrong turn of the road" in
the choice of part or play or management,
such turn as any actress might take, the
affliction of a wrenched ankle, a tour that
was expected to be one of forty weeks but
terminated after eight, these individually
and collectively contributed to her need.
She has retired to a modest home in
Lond Island, with her adopted daughter,
Mrs. Rose Pitman, to wait for the long
rest that comes to all, or to gather vigor
for more creations and engagements. She
hopes that the period of inactivity will be
brief. For the taste of life is still sweet
upon her tongue. Her buffeted soul is still
buoyant.
[361
'theatre Magazine, July,
(Below)
ROBERT EDESON
Every self-respecting
mystery play must
necessarily go in
heavily for things
Indie. The dark and
devious ways of
Sheiks, Fakirs -and
Charlatans have al-
ready been dragged
before our startled
eyes. The latest hair-
raising addition to the
spook drama, "On the
Stairs," boasts of this
forboding looking
Swami in the person
of the old-time favor-
ite Robert Edeson.
Stroina
(Right)
WALLACE
EDDINGER
Not only is he a
live-wire pirate
skipper in "Captain
Applejack," but this
popular actor is also
some judge of a
play. When the
Hackett comedy was
the reigning hit in
London, W a 1 1 i e
snatched it away in
true Applejack
fashion right under
the noses of several
interested American
producers.
HAMILTON
REVKI.LK
From Mrs. Fiske's old
lover in "Miss Nelly
of N'Orleans" to
the slippery decks of
Captain Applejack's
pirate schooner is
somewhat of a strain
on one's powers of
versatility, but this
well-known player is
(juite equal to the
task.
Victor Georg
MATINEE IDOLS IN PICTURESQUE ROLES
Moliere — Man of the Theatre
World Wide Celebration of the Great French Playwright's Three Hundredth Anniversary
GANYMF.DK," imperiously ordered
Napoleon the (ireat, "page Mon-
sieur de Moliere."
"I admire your tact, Sire, in not sending
Iris for him," remarked Hen Jonson. "He
is still embittered by his unhappy experi-
ences elsewhere. I will send her for Will
Shaketpeare."
The requests for the appearance of the
two great masters of comedy were the re-
sult of converse upon a mead of asphodel
within the Islands of the Mlcssed. A group
was discussing the news radiated to them
to the effect that all the world was marking
with a while stone the three hundredth an-
niversary of the birth of Moliere.
Napoleon was arrogating to himself a
first portion, if not all the glory.
"The House ot Moliere," he declaimed,
"is the only theatre in the world on which
well-nigh three centuries look down upon
a succession of continuous perform;in< e&
Its every tradition has been handed down
direct from the master by a line of actors
each of whom has his artistic inheritance
1 10111 Moliere himself.
"The actors of the Francais were merc-
Iv scattered throughout the other theatres
of Paris until I mastered the spirit of
turbulence as a result of that famous uliitt
of grape-shot. We
had no breaking up
ol all traditions of
dramatic continuity
such as the Puritans
forced upon your
nation of shop-
keepers when they
entirely su|>pressed
the play-houses of
your Merry
Kngland. In France
1 quickly set the
drama1 back upon
firmer feet than
ever. My genius has
ever been for tin-
dramatic . . . '
"Call it theatric,
your Majesty, and
let it pass at that,"
chirped Charles
Lamb.
"Dramatic or thea-
tric," insisted Fran-
cisque Sarcey, "the
emperor was a true
By WILLIAM FENWICK HAKKIS
their stage-manager, the takings of each
performance were divided into so many
equal parts. Kach member of the company
was entitled to a share, or a half share, or
in the case of Moliere, two shares, one as
actor and one as director and author."
"His Majesty preserved that -custom,
and autocrat though he was, he perpetrated
the democratic system of the Francais,
which still makes the troupe the masters
of the affairs of the house."
Moliere and Shakespeare strolled in arm
in arm, chatting merrily together, dis-
cussing the reason for their summons.
"There can be but one explanation, my
dear Jean Haptiste," insisted Will, talking
in the plain prose which he affected off-
stage. "They are expecting you to put on an
impromptu to celebrate your own birthday.
Everybody's doing it. I'm told you once
wrote, rehearsed, and acted a piece within
eight days."
"C'est vrai, tnon ami," replied Moliere,
but what of that ? The theatre is the one
place in the world where you can do the
impossible. I learned that in my many
years of trouping. Heigh ho!" he sighed,
"a hard school, that!"
"My boy," said Will,
that school.
\ears and
"I envy you those
That's where you
Moliere's play "La Princesse d'Elicle," being performed before the King and
his court at Vcrviiilli-s
friend to our national theatre. He attracted
the astonished notice of the world by his
famous Decree of Moscow. Hy that In-
firmly reestablished the Theatre Francais."
"His Majesty showed a real respect for
the drama," insisted Sarcey. "And at one
and the same time he preserved for posterity
the direct traditions of our Moliere and
kept intact a most interesting economic in-
stitution. Moliere and his company had
one of the first systems of profit sharing.
As shown by the daily records of La Grange,
learned to fashion those marvellous charac-
ters that forever hold the mirror up to the
France of your day.
"You are generous, Will. You didn't
need to sit in the barber's chair, as I
did at Pezenas and watch the types drift
by. Mon Dieu! How did you form ac-
quaintance with all that gallery of yours
of sheer universal humanity, of kings and
potentates, fools, wise men, poets, noble
women, from every corner of the firma-
ment, past, present, and to come? Were
you your own sprite Ariel incarnate?"
"In the spacious days of great Elizabeth
we all thought big. If they don't resemble
the reality . . . '
"Tant pis for the reality, then," laughed
Moliere.
"Ah, gentlemen," said Napoleon as the
two entered, "We have summoned you to
settle an interesting discussion. Upon the
works of what dramatic author in the his-
tory of all time have the greatest number
of human eyes looked down in actual per-
formance ?"
"My friend, Jean Baptiste!" instantly
answered Will.
"Suns tinute it is Monsieur Will!" as
quickly countered the other.
There ensued a merry bit of generous
banter between the two great masters of
comedy. Will called attention to the fact
that from Moliere's day to this, his rival's
plays had never been off the repertory
in his own house in Paris, that other
theatres in the capital, and notably the
Odeon, have played him innumerable
times, and that the provinces have always
received with open arms the touring com-
panies that have brought him to them.
"And think of it!" he cried, "three hun-
dred years after his birth, Paris has seen
in one season
twenty-eight of his
plays!"
"M y generous
friend has no trace
of envy," said
Moliere with a
smile, "but I call
his attention to the
imposing host of
great actors and ac-
t cesses iii these
Islands of the
Blessed who have
counted it their
proudest boast to
impersonate his im-
mortal crew, and of
America, as well."
" 'Tis a pretty
quarrel," said Rich-
ard Hrinsley Sheri-
dan. "Why not
agree that they both
win, with the field
nowhere ?"
"The more so," quoth Will, "as neither
of us had any great thought of posterity
either at the box-office or through the
printed page. We looked on ourselves as
mere men of the practical theatre, afford-
ing entertainment to our fellows and keep-
ing the wolf from our own doors. The
play was the thing for us, the play of today
and of the immediate morrow."
"At any rate," insisted Charles Lamb,
"no one ever lived who could better tell
the world what ailed it."
[38]
'Ihealri Magatine, July,
Abbe
NORM A TALM AlH ; I .
Following her appearance in
the screen version of "Smilin1
Through" and "The Eternal
Flame," Norma will rush to
California to play th.- much
harrussed heroine of Edgar
Si-lwyn's "The Mirage," and
then to Europe for a vacation.
Abbe
CONSTANC'K TALMADGE
No more "virtuous vamp" r61es
for Constance. Following her
appearance in "The Primitive
Lover," written especially for
her by Kiljrir Selwyn, she will
assay her first really dramatic
rdle as the little Chinese maid,
Ming Toy. of "East Is West."
LILLIAN GISH
Quite appropriately in a medi-
tative mood, for this sympa-
thetic heroine of "Orphans of
the Storm" is soon to start her
own motion picture company,
and like most cither movie di-
rectors she finds it hard to de-
cide what will make the best
initial offering.
Muray
STARS OF THE SILVER SCREEN
(Below)
MAY McAVOY
The charming Grizel of
"Sentimental T o ni m y"
will soon be seen in the
screen version of William
J. Locke's interesting
story, "The Morals of
Marcus."
MARY PICKFORD
And now the movies are
goi?ig in for revivals.
This universal favorite
will soon begin work on
an elaborate production
of "Tess of the Storm
Country," one of her most
popular early pictures, by
unanimous request.
Edward Thayer Monroe
RUTH GOODWIN
This newest and youngest of
the .juvenile stars now appear-
ing in moving pictures, though
only eight years of age, plays
the leading juvenile role with
WMlliam Farnum in "A
Romance of the Stage."
Edward Thayer Monroe
BETTY COMPSON
This pulchritudinous screen
artist, whose intelligent work in
that unusual and fine picture,
"The Miracle Man," placed her
firmly on the road to success,
will .next be seen in "The
Bonded Woman."
Muray
OLD AND NEW
FAVORITES
[40]
I N
FILMLAND
Thratrr Magazine, Inly,
THE AMATEUR
By M. E. KEHOE
STAGE
Play-Production At The
University of Washington
Dramatic activity at the University of Washington, Seattle, has
broadened and advanced rapidly as a result of courses in acting,
producing and playwritiug, and since the advent of Glenn Hughes
^as Director a number of plays of high literary merit have been
produced. The most recent venture of the group was an original
and spirited interpretation of Shakespeare's "Taming of the Shrew"
The action of "The Taming of the Shrew" as the
University of Washington Players produced it,
was limited to three settings (illustrated), so ar-
ranged that practically no waits between acts
were necessary. A street drop (top) designed
and executed for the production by Miss Alfrida
Storm, an instructor in the department of paint*
ing, was one of the significant features
[41]
rpHIS stage set and
the costumes for
"The Gold Circle" were
designed by JMward I.
R. Jennings, a student
of costume and design
at Carnegie Institute
of Technology
Setting for "The
Gold Circle." The
foreground and tops
of the rocks glow
with a brilliant flame
color. The profile of
the rocks and the dis-
tant hills are shad-
owed in purple that
fades to a delicate
mauve
The Gold Circle
A Fantastic Play in One Scene
By THOMAS WOOD STEVENS
Director, Dramatic Arts Department, Carnegie Institute of Technology
Cast of Characters
THE OVERSEER OF THE GOLD WASHERS
THE GREEK
THE SLAVE WITH THE GREEN SHIRT
THE MERCHANT
THE WAZIR
THE EMPEROR
Slaves of the pool; the Merchant's
Camel-drivers; the Wazir's men; the
Emperor's Retinue.
A group of Oriental slaves are washing
for gold in a pool at the foot of a cliff.
They are superintended by an Overseer,
who has a long whip. Above, on the edge
of the cliff, another slave, the Greek, sits,
kicking his heels and swinging a stone ham-
mer idly in his hands. The Overseer takes
from the gold washers one by one the grains
of gold that are left in the pans. The
Greek has left his pan unwashed, and when
the Overseer comes to it, he looks up for
the runaway; seeing him above, he calls out
to him.
OVERSEER
Idle and good-for-nothing! Come back to
your basin.
THE GREEK
Patience, good master. I am tired of spin-
ning the gravel in a basin to find so little
dust of gold at the bottom.
OVERSEER
It is not for you to reckon the gold in the
basin.
THE GREEK
It is needful that someone reckon it, lest
we waste our labor.
OVERSEER
The labor of laying my whip to your back
will not be wasted.
THE GREEK
Again you mistake, master.
OVERSEER
(Losing his temper.)
Come down at once. I'll wait no longer.
THE GREEK
And I, master—
OVERSEER
Come down, I have said —
THE GREEK
Not so hasty, master, I pray you. It is
THE GOD
A gold headdress and a garland of
encircling gold leaves stand out in
brilliant contrast against the body,
which is red. A blue band runs over
the shoulders
you I am thinking of — and of the gold.
Listen now. It is only the dust that the
rains have washed down, into the pools and
the streams; but in the faces of the cliffs
the gold must be at home. Where you find
in the pool a wandering grain, in the cliffs
will be whole cities of gold, treasures of the
earth gods that have run away. Look you
now.
(He slings his hammer and a mass of
gravel aod earth falls down the face of
the cliff at his feet. In the mass is a
sudden gleam of a great nugget of gold.
Both the Greek and the Overseer see it.
The Overseer is for a moment taken
aback as if suspecting some trick, but the
~ Greek leaps down after it, and picks it
up, holding it to the light. Instantly
the Overseer comes over to him, his whip
ready.)
THE GREEK
What did I tell you, master?
OVERSEER
It is a lump of marvel, a king's treasure.
Give it to me.
THE GREEK
Not so hasty, master. You like better the
dust from the slow washing in the basins.
OVERSEER
Give it to me.
THE GREEK
Not so hasty, master. You commanded me
to wash the dust, but I thought better to
strike upon the cliff and ask what the earth
gods had left there for me. Behold, they
have answered. This gold is mine.
[42]
Theatre Magazine, July,
THE GREEK
SLAVE
Requires only a
flowing black
mantle, and a loin
cloth of white
OVERSEER
(Threatening with the whip.)
Shall a slave have treasure? Shall a beast
have that which belongs of right to the
rich and great of the earth ?
THE GREEK
Hold now. Slave I may be, for slaves may
be wise, but beast — -doth a beast take
thought, and by taking thought find more
than these washers search out in the circle
of a year. I have taken thought, master.
Put away that whip. I am thy slave no
longer. With this gold I shall buy my
freedom, and it may be a tall ship that I
may sail home in splendor.
OVERSEER
I'l bring your dreams to nothing. Hold,
slaves! Set on him.
( The Greek stands idly swinging his
stone hammer, the nugget in his left
hand. The Overseer stands off out of
reach of the hammer, swinging his whip.
Slaves drop their basins and circle around
the two.)
THE GREEK
Will you listen to him with the whip, my
brothers, when I have a treasure that would
buy you all your freedom?
OVERSEER
They will listen, knowing that my whip
will keep its promise, and that your tongue
will cheat them in the end. List, ye slaves,
to him who takes the lump of gold from
this Greek, I will give his freedom. Set
upon him. .
( The slaves close in around the Greek
who swings his hammer over their heads.)
THE GREEK
Now do I know ye to be slaves, indeed. . . .
(From behind him one of the slaves
throws his basin against the Greek's legs,
and from in front, another casts a basin
of water into his face. He is blinded
for the moment an! staggers. The slaves
close in upon him and secure the nugget.
It passes from hand to hand among
them, as they clutch it one from another.
The last one to get it brings it to the
Overseer, crying:)
THE EMPEROR
Is resplendent in a coat and turban of
bright blue, the latter decorated with
vari-colored feathers
THE SLAVE WITH THE GREEN SHIRT
It was I, master. Now give me my free-
dom- OVERSEER
How do I know it was you that took it?
They were all upon him.
THE GREEK
(Brushing off the dust of the encounter.)
Look now for his promise, slaves, — slaves
of folly!
THE SLAVE WITH THE GREEN SHIRT
It was I, master, I who took it.
(All the other slaves immediately set up
a great shout and set upon the one with
the green shirt. The Greek goes off up
the slope at the back, watching the strug-
gle. While the uproar is at its height,
a MERCHANT with his followers,
servants, and camel drivers enter. The
Merchant sees what is happening and
comes down among the combatants).
THE MERCHANT
Be silent. What do ye here?
OVERSEER
Worthy and excellent master, these are my
slaves, gold washers of the pool.
THE MERCHANT
Your slaves, forsooth! Why then is this
uproar? Why do you not keep them quietly
at their task ?
THE SLAVE WITH THE GREEN SHIRT
Worthy and excellent sir, at my master's
word I took this treasure from yonder thief.
He promised me my freedom.
( The other slaves set up a shout to drown
him out).
Be silent. THE MERCHANT
(Turning to the Overseer).
If you have promised this man his freedom,
why do you now deny him ?
OVERSEER
I promised freedom to him who took the
great lump of gold from yonder thief, but
I do not know if it be this man.
THE MERCHANT
Let me see the lump of gold.
THE SLAVE WITH THE GREEN SHIRT
Behold here it is, great and worshipful sir,
THE SLAVE
WITH GREEN
SHIRT
Wears a white
loin cloth and
head covering,
with a bright
green shirt laced
in front
THE MERCHANT
I doubt greatly if this be gold. . ' '
THE SLAVE AND THE OVERSEER
(Together)
Truly it is gold, Worshipful sir.
THE MERCHANT
Let me weigh it in my hand.
( The Slave With the Green Shirt hands
the nugget to the Merchant, who weighs
it thoughtfully, looking from one to the
other).
THE MERCHANT
I see that here there is need of a magistrate,
and as none is likely to come to this pool
beside the highway, I will take it upon
myself to judge.
(To the Overseer).
It is plain that you have promised to some
man his freedom, and have not kept your
word. For this, I will have you bastin-
adoed.
OVERSEER
Worshipful sir, I beseech you —
THE MERCHANT
Be silent.
(To his camel-drivers).
Take him aside and let him be well beaten
upon the soles of his feet.
(Turning to the gold washers).
As for you, slaves, it is plain you have
conspired among you to set free one of your
number, although he little deserves his
freedom.
( The slaves cry out together, denying
that they have conspired).
Whosoever among you cries out, I will
take to be the most guilty, and my punish-
ment shall begin upon him.
(The slaves are silent and downcast).
THE MERCHANT
If there be not among you a first con-
spirator, I will pardon you all. Go back
to your basins and set to work again.
THE SLAVE WITH THE GREEN SHIRT
Worshipful sir, we go back to the gold
washing. Yet suffer us with all respect to
ask, worshipful sir, what is to become of
our lump of gold.
[43]'
THE OVERSEER
h brilliant in a flame color cape, with
skirt and turban of white. He carries a
red whip
THE MERCHANT
I begin to suspect that you are the
guilty one. Do you also desire pun-
ishment?
(As lie speaks the cries of the
Overseer under the bastinado are
heard and the Slave With the
Green Shirt runs quickly to his
basin. As he does so, from the op-
posite side to that by which the
Merchant entered, the Wazir ap-
pears with his company),
THE WAZIR
Hold ! Why is this man given the
bastinado?
THE MERCHANT
(With a deep salaam before the
Wazir).
August Highness, I have ordered this
man's punishment because he hath
falsely deluded his people, and hath
failed to make good his word to them.
As you know, August Highness, we
merchants must defend the honor of
a man's word, lest all our commerce
be tainted with deceit, and the land
run wholly to lying and falsehood.
THE WAZIR
Is it so? You have taken upon your-
self to hear this case, yet you are not
a magistrate.
THE MERCHANT
I stood in the place of one having
authority under the law because this
pool by the highway was a lonely
spot, and I looked for no magistrate
to pass.
THE WAZIR
You take too much upon yourself. Let
me hear the case of the man who was
beaten.
(The camel-drivers bring forward
the Overseer, who comes limping
and salaams before the Wazir).
OVERSEER
Worshipful and august Excellency,
the words of your mouth drop wisdom
and in your hand is justice. This
merchant came upon us in contention,
but it was no more as he told you,
than the snows of the Himalayas are
of ebony.
THE WAZIR
Now is the case regularly come be-
fore me for judgment, since it is clear
that one of these two speaks falsely,
and it is more than likely that both
have lied as darkly as Egyptians.
(Turning to the Merchant).
Speak you now —
THE MERCHANT
(Interrupting)
Excellent and August Highness,
I have no wish to be a judge, nor to
act further in this case. I will leave
to you the punishment of the man
and go upon my way, rejoicing in
your wisdom.
(He turns away).
OVERSEER
Mighty and worshipful one, I pray
you that this Merchant be stopped, for
he is carrying with him my treasure,
my lump of gold that was to have
bought freedom for all my people.
THE WAZIR
(To the Merchant).
Stand now! I have not yet given
judgment. Where is the lump of
gold?
THE MERCHANT
The case, worshipful one, concerned
the matter of a promise of freedom
to a slave. There was no gold, un-
less this fellow has some dust of it
taken from the basins of his slaves.
(The Slave Wiht the Green Shirt
and the Overseer both protest vio-
lently crying, "There was a great
lump of gold. He has it." "The
Merchant is a thief." The other
slaves take up their cries ) .
THE WAZIR
Be still . . .
(To the Merchant).
Do you think it best to deliver the
gold to me with dignity or to let me
find it through the shredded rags that
will no longer cover you, when my
people have done beating you?
THE MERCHANT
The wisdom of your august High-
ness is, indeed, beyond man's wisdom.
(He produces the nugget and hands
it to the Wazir).
THE WAZIR
That is better. The case is now
simplier than it was, and we shall
see justice done more quickly.
THE MERCHANT
I pray you, worshipful one, let me
take my leave since I have no further
dealings in this matter.
THE WAZIR
Indeed, have you not? Do you ex-
pect me to believe that you give up
this treasure so easily. It is not in
the blood of men or of merchants to
be so generous where gold is con-
cerned. Whither go you?
THE MERCHANT
Again I applaud the wisdom of your
august and worshipful Highness.
Know then: I go from here to lay my
case before the Emperor, knowing that
however high be thy seat, he will
do me justice, and that my treasure,
which thou hast taken away from
me, will be restored through his word.
, THE WAZIR
Go then. I will not stay you.
OVERSEER
August and worshipful one, humbly
I pray you that my treasure, the fool-
ish little lump of gold, be restored
to me.
THE WAZIR
(Weighing thf gold in his hands).
You do not value it justly. I cannot
let it remain in your hands, lest some
thief should take it from you, and
a great and good gift of the earth
be wasted.
( The Overseer throws himself on
the ground at the Wazir's feet, and
as he does so the Emperor and his
suite enter. The Emperor is car-
ried in a great chair, and before
him, also carried on the backs of
men, goes the Emperor's principal
god. As the Emperor is brought on,
all prostrate themselves except the
Wazir, <who bows very low before
him. The Emperor makes a sign
that his litter is to be set down,
and calls the Wazir to him).
THE EMPEROR
This is a strange matter. What make
you, Grand Wazir, here by the road-
side?
THE WAZIR
Sire, the burden of your justice is
ever upon me. Humbly here by the
wayside, I have been hearing a case
in accordance with your laws.
THE EMPEROR
What manner of case, Grand Wazir?
It is not like you to delay my busi-
ness at the expense of slaves and
camel-drivers.
THE WAZIR
I delayed but a moment, Sire, and the
case was not worthy of your celestial
notice.
THE EMPEROR
Let me judge of that.
THE WAZIR
It was a matter of a promise made
to a slave, and the impudence of a
merchant setting himself up to do
justice.
THE MERCHANT
( Throwing himself down before the
Emperor).
Mighty and celestial lord, I pray you
in the name of the gods, do with me,
with your own sublime hands, justice.
The case is not as this great Wazir
has reported it.
THE OVERSEER
(Throwing himself down on the
other side).
THE WAZIR
Wears a robe of pale green with an over
jacket of purple embroidered in gold.
His sash and headgear are blark
Mighty Sire, though I be but a slave,
and dazzled by thy countenance as by
the sun, I pray thee, do me also jus-
tice. These two are thieves, both
of them, the merchant and the Wazir.
They have stolen my treasure of gold.
THE EMPEROR
Thy treasure of gold. Does a slave
sue for the possession of a treasure
of gold ?
THE MERCHANT
It was not his treasure, Celestial
Sire, but one recovered from a thief
who is fled.
THE WAZIR
You see, Sire, how different is your
justice among men, who have not the
truth in them. As your celestial wis-
dom discerned, how could this slave
possess a golden treasure? And this
thieving merchant — should he deal
out punishment in the name of thy
law?
THE EMPEROR
This is a strange case, truly, but I •
may yet come to fathom it; and first
let me see this treasure.
( The Merchant and the Overseer
both rise pointing to the W azir and
crying: "He has it. The Wazir.
He took it from us." The Emperor
fixes the Wazir with his gaze).
THE EMPEROR
Let me see this treasure.
( The W azir, with a Jeep salaam
places the lump of gold in the
Emperor's hand).
THE EMPEROR
This clears the matter greatly. It is
plain to me that so goodly a lump of
gold could never belong to this man,
who is but an overseer of slaves;
and this merchant surely should not
have it, lest thieves be tempted to
slay him for it and so he lose his
life; and in the hand of the Wazir of
my Kingdom it would be a very
(Continued on page 64)
[44]
Thratre Magcaint, J*ly,
FASHION
ctfs Created and Sponsored
ctfcfrcss and t/ie Stage
SHAWL AND FROCK PROM
BERCDORF GOODMAN
White Studios
FASHION shows so many special interesting manifestations from season to season, which
are like milestones along the road pointing to an increasing rationality! For what ran
be more rational in clothes than costumes that avail themselves of real beauty and practi-
cality, and that stand just enough apart from the current of the mode to have a somewhat
more lasting value. Such a manifestation . . . we have received the tip from abroad . . .
is the costume that is all the rage with European women at present for dinner, for the
restaurant and theatre. It consists of the embroidered shawl with a simple sleeveless frock
in georgette or crepe, the color of the frock matching the predominating tone of the shawl.
A white frock goes with an all-white shawl, a black with a shawl in black, embroidered with
white or with colored flowers, henna with henna, yellow with yellow, and so forth.
Eileen Huban, that clever young actress with the come-hither Irish blue eyes, who is
playing "Fanny Hawthorne" at the Vanderbilt Theatre, is one of the first to wear this costume
over here, her frock being of jade green with a magnificent shawl most marvellously embroidered
with flowers and tropical birds in brilliant tones of crimsons and yellows and purples.
[45]
VIOLET HEMING'S O. K.
IS ON THESE NEW
SPORT CLOTHES
These sport frocks of knitted
wool and silk mixture con-
tinue unabated in their popu-
larity. The material positively
does not stretch and they come
from the hands of the cleaners
looking like new. Incidentally
they are vastly becoming in
their bright combinations, the
one Miss Heming is wearing
being of yellow striped in dark
blue and white.
COSTUMES FROM KNOX
If you saw at first hand the
delicious picture that Miss
Heming presented in this one*
piece frock and cape of black-
and-white striped khaki-kool,
you would want to go at once
and purchase a similar frame
for yourself. The hat tbat wai
so cleverly chosen to go with
it is of black taffeta with rows
of stitching in white wool.
Ira L. Hill Studio
If "The Rubicon" ever finishes
its run, Miss Heming is going
to hop on a steamer for England,
in which case a steamer coat
similar to this warm and ca-
pacious and extremely
"swanky" one will go with her.
The material is a sublimated
heather mixture of warm
brownish mauve tones with
just a breath of pale green in
the stripes and the lining is a
gorgeous bright green satin.
A summer-day frock of one of
those del ightf ul new cotton
fabrics that have a body making
for good lines, and that yet are
soft and light and cool at the
same time. Its color is a deep
rose pink checked and piped
with white, a hat of the same
material accompanying the
frock.
[46]
Tktatre Magazine, July, iptt
ORIGINALITY AND DISTINCTION
ARE COMBINED IN THE
PERSONAL FROCKS OF
ZITA MOULTON
A dark red and black "grand-
mother's plaid" Irni'k of taffeta
Mi - Moulton has had com-
bined with bands of Kolinsky
fur. Note the interesting
modern sleeves that have a full
blark chiffon puff opening
down the inner side, and a
loose cuff of the fur: also the
Bash of wide black velvet rib-
bon that falls in panels left
and right. The shoes are the
popular one-strapped pumps
made of black brocade.
White Stadias
The palest of blue net is
embroidered in brilliant
pailletes of mauve tones and
hung over a slip of silver
cloth so that the whole frock
shimmers like moonlight.
We think nothing could be
more charming for a back
line than the panel that is
attached to the underarm
band and then swings free
like a cape. Miss Moulton's
slippers are of white and
silver brocade with cross
straps.
SHOES FBOM
C. H. WOLFELT CO.
Particularly appealing is Miss Moulton's
dinner or restaurant frock of black moire
with its full double skirts, the upper rising
in slanting line towards the side, and its
chic note of the sash of vivid purple moire
ribbon.
[47]
Here Are Some of the
For its grace and speed a
Studebaker Sedan is Clara
Kimhall Young's choice in cars.
This is the Studebaker Com-
pany's Big Six 1922 model.
Smart and luxurious
finishings are shown
in the body and in-
terior of the Daniels'
Special Town Broug-
ham "138."
The well-known high
grade quality of the
Daniels' car is of*
fered in this their
latest model of "Em*
ergency Roads:ers."
The National Sextet Roadster is an ultra smart sort of sport car. whose wide ami deep seat with
its double non-sag springs invites to comfort and lounging ease.
[48]
Theatre Magazine, July,
Season's Smartest Cars
The Locomobile Coupe is an*
other car of smartness. Its
body is painted in "loco-
mobile" black, satin finish, with
two hairlines of French ivory,
and upholstered in tan broad-
cloth.
Featured lately by
the Jordan Company
is their new three
passenger Jordan
Laundalet with its
new exclusive six-
cylinder Jordan
motor.
A Cole "Convention-
al Coupe!" This type
is designed so that
the fourth seat folds
up under the cowl,
out of the way, w.hen
not in use.
Miss Lucille Chalfont, the young American coloratura, has just purchased for her own personal
use, the latest model Sterling Runabout of the Standard Motor Car Company.
[40]
(Above)
An old Flemish tapestry is
the center of interest in
the Foyer, which strikes
the keynote of the entire
house, in the dignity and
balance of its furnishings
Florence Walton finds time be-
tween her dancing engagements
to act as chatelaine of this
charming house in New York
Decorations by Chamberlian Dodds
The recessed bookshelves on either
side of the high stone Italian mantel
are arched — evidently to follow the
lines of the windows and the door of
this interesting room
Her well ordered home reflects Florence
Walton's mood, and her careful atten-
tion to detail
[50]
Theatre Magazine, July,
(Upper)
The severity of the
rough plaster walls and
beamed ceiling in the
living room, is relieved
by colorful chintz at the
windows, rich hang-
ings of velvet and old
Italian brocades
The color scheme of the bedroom —
grey, old green and mauve, is carried
out in the tinting of the walls — in the
furniture, and the bedcovering and win-
dow hangings, which are fashioned of
green stripped taffeta edged with blue
and mauve. Instead of the conventional
dog basket, Miss Walton's dog sleeps in
the miniature four poster bed, hung with
chintz, with tester and covers to match !
Perhaps the most interesting note in
the dressing room is the old walnut
secretaire beside the window, which was
transformed into a charming vitrine for
Miss Walton's collection of slippers
[51]
The Promenades of Angelina
She Attends an Informal "Evening" at Madame Maeterlinck's and Tops it off by " Scooping" Fanny's Latest Inventions in Fans
Drawings by Art Snyder
you t'ink me an old fool." And I to con-
sole his abjectness said the nicest thing I
could muster, "No, I think you're quite an
old duck." But his English wasn't up to
that . . he thought I was poking fun at
him, and went off horribly insulted. . .
Not that that has much to do with my pres-
ent story only it gets us to Washington
Place, doesn't it?
Into a narrow hall we went and up three
flights of narrow stairs, turning on each
This is the "Flirt-
ing Fan" says Fanny.
It is made of the
thinnest slats of wood
enameled and strung
together with a cord
and working on a
pivot. The side fac-
ing us is to be pre-
sented to the mascu-
line world when you are in flirtatious and amenable
mood, and when otherwise the orange and black tassels
at the sides are pulled and the reverse of the medal is
shown.
WHAT are you doing tomorrow
evening, Angelina?" said Tubby's
voice over the 'phone, and, when
he had the response "Nothing so very par-
ticular," went on with "How would you
like to go on a party with me?"
" 'At depends" I responded, "What sta-
tions you got, Tubby?"
"It's to be a surprise" answered Tubby
teasingly. "Go it blind, pretty sweeting,
and trust to me to make it a nice one."
Well, Tubby's a man of taste and dis-
cretion, so I said Oh- very-well-then. . .
He came for me the next night in a taxi
about ten o'clock and I restrained my
curiosity until we had swung into the Ave-
nue. Then, "Don't tantalize me any
longer, Tubby," I implored. "Where, oh
where are we bound for?"
"Washington Place" said Tubby. "The
apartment of Mme. Maeterlinck,
Georgette Leblanc you know . . She's
having a few special people in. . Now
how about it?"
"Oh Tubby" I cried, "What a
lovely surprise! Where did you
meet her? How did she come to
ask you ? Is it all right bringing
me . . You are an old duck !"
Tubby sidestepped all my ques-
tions. . . which of course were
only in the nature of hyperbolical
enthusiasm any way . . by re-
minding me of my first proposal
at eighteen. Whenever I use the
expression "old duck" to him he
likes to tease me about it. It . .
the proposal . . was from a some-
what snuffy and sentimental old
boy . . a German . . who was
taken with my youth. He rather
went into rhapsodies and then
feeling he had spilled over too
much for his age and dignity tried
to recant by saying, "I suppose
This fan has no name and serves a rurely
ornamental purpose. Thin strips of net compose
it, which may be in combinations of gold and
black, or white and black, or jade and grey, or
in fact, any desired combination. The center
tassel conceals the short wooden handle and
hangs down over the hand when fanning.
other, to the top floor ... It began to be
French and atmospheric from the very
start. And it did not disappoint once we
were inside Mme. Maeterlinck's apart-
ment. . A large room with a high gabled
roof . . a brick fireplace with a low fender
plumped with big black satin cushions. .
And this fan was suggested by those mirror fans of
the "ancien regime." It should be of patterned white
lace with black lacquered sticks and a black grosgrain
ribbon with a black wooden ball at the end to wind
becomingly around the arm or to swing it by. At either
end of the black sticks is a small mirror.
Yon may think this should
o \ be called the palette fan, but
really it is the "Vanity Case
Fan." It, too, is of thin var
nished pieces of wood, and one gri) s it through the
hole like the painter only turning it t'other end about.
At the side is a small hinge which enables you to open
the fan, and inside are compartments for a wafer-thin
powder box and lipstick and perhaps a "nip" of
perfume.
/
a grand piano with a casement window
above, the sash swung open and a potted
primrose on its sill ... a big squshy
couch . . long French windows at the
back with three black-painted steps leading
to a tiny roof garden. . Everything, in
short, that rooms should have to suggest
ease and romance and gay talk. Cliar-
mante! Adorable! What a clever sense
that had led Mme. Maeterlinck to choose
just this one apartment and no other out
of all possible apartments in New York for
her background. . .
Presently she appeared . . we were the
first to arrive . . and channante and
adorable were the adjectives to go with her
too. Distinctly blonde, a soft gold blonde-
ness, which gold-colored tulle, swathed
round her head and fastened with interest-
ing gold and pearl pins, and a gold-bro-
caded robe brought out to its full effect
. . . much smaller and slighter than
one had imagined . . . and much
younger looking also than gossip
had given one to understand . . .
but then America does fuss so if
one is over nineteen . . .
On our heels came Madame
Yorska . . a further surprise . . .
one didn't know she was in the
country. . Well, she wasn't
really . . just passing through
Jrom Buenos Ayres to Paris. .
She was as piquant and picturesque
as ever in her white skin and vivid
red lips, her dark heavily mokohul-
ed eyes gleaming from under her
dark hair, drawn down to her
eyebrows and tulle-swathed in a
similar manner to Mme. Maeter-
linck's, but in black. Then fol-
lowed "Teddy" (short for Theo-
dora) Bean, the brilliant Sunday
(Continued on page 54)
[52]
Tktalrt Uagatine, July,
Isn't this feeling about tires
pretty universal
OST car-owners in-
tend to have a car the
rest of their lives.
Economical opera-
tion is getting more and more
fashionable.
How many men do you know
who won't expect tires to do
their share of the saving 1
This is the year for tire mer-
chants to study their customers
closely.
* * *
The makers of U. S. Royal
Cords have recently stated what
is the biggest opportunity to
serve in the tire business.
U. S. Royal Cords cannot take
care of all the people who want the
upward quality in tires.
Nor do they claim a monopoly of
all good tire making methods.
It is the things they refuse to leave
undone that make U. S. Royal
Cords the measure of all automo-
bile tires.
Not only what is put in but what
is never left out — that reveals the
Royal Cord practical ideal.
* * #
So Royal Cord makers
feel free to say again what
they have said before —
Let us compete for
higher and higher
quality.
For more and
more public
confidence.
The makers of United States Tires urge upon
every body — manufacturer and dealer alike — a
new fcind*o/ competition.
Let u* compete for more and more public
confidence.
Let us compete for higher and higher
qnaiity.
Let u* compete for still more dc-
pendab-le public service.
United States Tires
are Good Tires
Copyright
1922
U. S. Tire Co
=^^%<¥Ss«s^
ssa
•A <
U.S. Royal Card Tires
United States ft Rubber Company
Fifty-three
factories
The Oldest and largest
Rubber Organization in the World
Two hundred and
thirty-ftv? Branches
^
ma
i' • ft
**>«ei
rss]
Eastern Point — NEW LONDON, CONN
NOW OPEN. Per-
sonal hospitality and social
charm assure happy days at
this most refreshing of sea-
shore resorts. Most im-
portant yacht harbor on the
Sound. A radiating center
of beautiful motor roads.
Special a la carte grill for
motorists. 18-holes of golf
at famous Shenecossett
Country Club — music and
<?ancing. Tennis, horse-
back riding, sea bathing.
Brokers' office.
American or European
plan — Biltmore cuisine.
Reservations or informa-
tion at the Biltmore, Ne*>
York.
•John McE. Bowman, Pres.
Earie E. Carley C. A. Judkins
Mgr.
PROMENADES OF ANGELINA
(Continued from page 52)
editor of the Morning Telegraph . .
and the beautiful Marjorie Patterson
of "Pierrot the Prodigal" fame, with
her gorgeous blonde bob . . quite the
loveliest I've ever seen, and like the
fluffy waves and fresh tones of a
child's head of hair . . if only all bobs
could look like that . . and I know
she has to do nothing to it to keep it in
order, but run a comb through it. She
was, by the way, one of the very first
to clip her hair . . years ago . . even
before Mrs. Castle . . only she was
living on the other side at the time
and so never has had the "glory"
for it. Mademoiselle Darcy, who
came in with her husband, Mon-
sieur Chotin (they were both with
Copeau at the Theatre du Vieux
Colombier) had another enchanting
bob . . what I should call a "Kate
Greenaway" bob, with little short
ringlets all over her head and a wide
black satin ribbon bound round it ...
After Monsieur Ferrari, whom you
perhaps know as the accompanist who
contributes to the success of Guilbert's
recitals, had arrived, Mme. Mater-
linck sang for us, and recited some of
her own poems . . perfectly stunning
things . . and beautifully declaimed.
Then a few more people came in
and we smoked and had something to
drink . . Tubby and I sat either
side of Miss Patterson on the sofa and
I made her show me her gold and jet
cigarette holder and all her other
fascinating trinkets . . Yorska
brought out some perfume she had pur-
chased . . "Sakountala" . . strange,
exotic, very heavy . . which the
French would call "trouklant," I sup-
pose. . She said it was the divine
Sarah's favorite scent . . which she
always uses. . I made her sprinkle
some on the fur collar of my cape and
it lasted for days after . .
With that Tubby and I departed,
voting it one of the pleasantest even-
ings we'd ever had ... so gay and
friendly . . so entertaining and stimu-
lating . . such delightful French
spoken. It hadn't been a late party
and so when Tubby and I came out
into the Village again I suggested why
didn't we walk around and ring
Fanny's bell and see if she were in
and up or something . . Tubby was
agreeable and being in luck we found
Fanny in and up. . She had been
designing some fans for a magazine
earlier in the week, she said, and then
when she was through with her stint
f,>r that, she found she had so "got the
habit" that she couldn't stop. . It
had become an obsession, an idee
fixe with her. . . She had to go on
and on designing and executing fans
in her spare moments . . . and here
were four brain children she'd drawn
that she specially liked . . and now
she'd got them what was she g;>ing to
do with them. . . So I said I'd show
here what she was going to do witli
them. . She was going to let me use
them for my fad of the month in the
July "Promenades" . . and I scooped
them up and there they are on the
other page. Aren't they altogether
delightful and amusing?
Here we are with one of the latest models of the Annette Kellermann
two-m-one bathing-suits, without which no bathing season is complete!
Miss Virginia Lee, a recent acquisition to the beauties of the films, is
wearing the model, which is in pure white wool, the black belt being of
waterproof material with a composition buckle unharmable by .water. A
serpentine bracelet of the same composition also forms part of the picture.
The same model may be had in black, or jade, or russett, and so on.
For those who prefer a fuller skirt to the tunic the two-in-one model*
come made in this fashion also, reversible | leats at either side of the
back giving the necessary spring that makes for an aesthetic line.
[54]
Theatre Mayasinc, July,
BRUNSWICK.
Exclusive Artists
JVumber<Sevenofa Sertes
ELLY NEY
PIANISTE
FRESH from a series of European triumphs, and hailed by critics as "the woman Paderewski,"
Elly Ney established her right to the title by setting an American record for performances this last
season playing fifteen times in New York City alone, and as many proportionately in other musical
centers! Her superb art and mastery have made her the predominating figure m the pianistic world
of today, and like other noted artists of the New Hall of Fame she records exclusively for Brunswick.
New Elly Ney Records Now At All Brunswick Dealers
Brunswick Records Can Be Played On Any Phonograph
EDITH MASON
famous soprano of the Chicago Grand Opera Company,
who has recently added several large and lustrous HOPE
Sapphires and Rubies to her collection of precious gems.
How beautiful
How SMuch
Since you do not wear the price tag, why
hesitate between the natural Sapphire
and the HOPE Sapphire, when there is
no other difference but price; and the
soft, velvety blue of the HOPE Sapphire
is usually more exquisite.
And the same holds true of the rich
pigeon -blood red HOPE Ruby as com-
pared with the natural ruby. For science
by every test has proven the man-made
HOPE stones identical with the gems
mined from the earth.
See Heller HOPE Sapphires at your jew-
elers in gold and platinum mountings of
every description. The HOPE guarantee
Tag attached to the setting identifies the
Genuine Heller HOPE Stones.
L. HELLER <&_ SONS, INC.
358 Fifth Ave., New York
Paris, 40 Rue Laffitte
flOPI SAPPHIRE
— A True Sapphire
HOPE Ruby— A True Ruby
By the Creators of Deltah Pearls
July's Birthstone — the Ruby— Keller HOPE Ruby the Ideal Gift
By ANNE ARCHBALD
WASN'T it General Grant who said he knew two tunes, one of them was
"Home, Sweet Home" . . and the other one wasn't? Not that it's
exactly the same thing, but on the stage they have two kinds of make-up,
one of them is called a "dry make-up," and the other one isn't. At least that's
as definitely as we've ever heard it designated. The antithesis of a "dry"
make-up certainly is not called a "wet" one. The dry make-up consists in
putting one's rouge and powder directly on the face, without first applying a
foundation. With the other make-up there goes first as a foundation a grease
paint called a "fleshing," which gives a lovely smooth effect to the skin that
makes it possible to blend one's other colors over it. We tried this fleshing on
one occasion, when we were amusing ourself in a friendly stage dressing-room
and were frightfully intrigued with the results obtained. A lovely soft bloom
uniformed our face, and we regretted intensely when we had to wipe off this
fresh young complexion and go out into a chill world. We did wish there were
something like the grease paint to take its place in real life. We have heard
various actresses say the same thing too.
And now along comes lovely Mae Murray and says there is a something.
It's just on the market, and she's using it and thinks it's perfectly splendid. She
offered us the information out of the goodness of her heart, when we were
having tea with her in her charming apartment at the Hotel des Artistes.
"Wait a minute, I'll show you" said Miss Murray in that enchanting voice
of hers that is light and cool like a snowflake, and picked up the bag she had
thrown down as she came in from the street and took out a small object. It
was a neat little flattish leather case, about two inches long, stamped -,vith the
words "Le Charme" in gilt. Inside was a cake of. . . But let Miss Murray
describe it . .
"You see it's a compound of cold cream and face powder forced together
by hydraulic pressure, I believe. It gives the nicest, smoothest look to one's
complexion . . and it has a particular advantage for me in that I can use it
both in my pictures and out of them." (When you are making such a picture,
par example, as you do now, we thought!) "A further advantage is that it is
meant to be used not only on the face, but on the neck and the arms and hands
. . taking the place, in a way, of liquid powder, and far more convenient, as
you see, in this cake-like form and its case that you can carry round with you.
Besides the cold cream and powder in 'Le Charme', there is a little bismuth and
a bit of zinc ointment which is always good for the skin, is it not, and there is
no clogging of the pores. They breathe through it. Tell anybody for me, who
swims or goes in for sports, that it is wonderful for sunburn — a double coat of
it absolutely prevents your face and neck and arms from getting burned." ....
There is something new in handerchiefs for you, too! We suppose there is
no woman who doesn't appreciate and wouldn't prefer a soft fabric in a
handkerchief if she could get it. The trouble so far has been that the softest
fabrics have come in either a very high-grade and expensive linen, or a low-
grade and cheap cotton that looked all right before washing, but impossible
after. Now there is a handkerchief of a new kind of fabric that is as soft and
fine as possible, very moderate in price, and that arrives from the laundry in
exactly its original condition. The handkerchiefs come with charming borders
of blues and pinks and mauves and yellows and are made for men as well as
(For the name of the company making the new beauty preparation, called!
"Le Charme," used by Mae Murray, and inhere to purchase it; also for the name
of the new soft fabric handkerchiefs, write The Vanity Box, Care The Theatrf
Magazine, 6 East 39<A Street, New York City.)
[56]
Theatre Magasine, July,
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SHALL WE HAVE A THEATRE CENSOR?
Yes
BY CANON CHASE BY CHANNINC POLLOCK
(.Continued from pages 10 and 11)
strained in any vital matter but all are
equally and effectively prevented from
producing moral filth. Between 1895
and 1909 only 30 plays, out of 7,000,
were vetoed. It has been a great ad-
vantage to have a skilled, experienced
and friendly critic, rather than a mis-
cellaneous jury of twelve or a bench
of judges, who in the nature of the
case, cannot be dramatic critics.
Mr. George Edwardes, the well-
known English theatrical manager,
told the Parliamentary Committee in
1909 that the practical abolishment of
censorship in France had killed the
big audiences. He claimed that Eng-
land has the cleanest stage in the
world, and that it is due to the fact
that every play before it is produced
in any licensed place of amusement
must have the approval of the censor.
Censorship works indirectly by pre-
venting the making of bad plays. In
sixty years only ninety-seven plays
were rejected in England by the censor
of stage plays. Many more bad plays
would have appeared if there had
been no censor. The prevention of
indecent plays secured by censorship
is better than the cure of them by
punishing the man who produces
them.
English censorship of plays does not
prohibit the printing of unlicensed
plays or forbid their being acted ex-
cept where an admission fee is
charged. Has Censorship crippled
the genius of Galsworthy, Pinero,
Barrie, A. A. Milne, W. Somerset
Maugham? Pinero, in 1909, said that
he had no complaint to make concern-
ing the treatment of his plays by the
censor at that time or by his predeces-
sor. He said all plays which were to
be exhibited for pay should be sent to
the censor, but he favored allowing
all plays which were condemned by
the censor to be presented at the risk
of prosecution.
The English censor has made mis-
takes. No institution is, or can be,
infallible. It is claimed that out of
the 30 plays vetoed, 13 of them should
have been approved. But if there
were only 13 mistakes made in pass-
ing upon 7,000 plays, the errors were
almost negligible when it is remem-
bered that it was not forbidden to
print or even to exhibit them without
an admission fee.
Citing the mistakes of censors is
no argument against censorship any
more than citing the absurd decisions
of judges would convince anyone that
courts of law should be abolished.
The rule that no kiss in a motion
picture film shall be longer than five
feet is not so absurd as that a thief
charged with stealing a gold watch
was acquitted by the judge because the
watch was found to be not a gold
watch but a gold filled watch.
Shadow," never reached the screen, be-
cause it mentions an illegitimate child,
and illegitimate children are barred in
Ohio and Pennsylvania. The farce,
"Bootle's Baby," was stopped in
Philadelphia because a man got a
letter from his wife and burned it.
Tearing the letter would have been
permissible, but burning showed con-
tempt of the marital relation. Charles
Kenyon's remarkable play, "Kindling,"
dealing with no sex problem, but
with poverty and the race, was held
up on account of a mother shown
making clothes for her unborn child.
This child was not illegitimate; it
was about to be born with the greatest
possible deference to the censors.
What, then, was wrong with the ex-
position of a mother engaged in one
of the most sacred and beautiful
labors of motherhood ? You'll never I
guess ! "The 'movies' are patronized '
by thousands of children who believe f
that babies are brought by the stork,
and it would be criminal to undeceive »•
them!"
Honest!
Censorship might be understand-
able, however, if it interfered only in I
matters of sex. Once established, the I
institution becomes a dependable I
means of curbing criticism of the I
powers that be and comment on j
government. At the recent dinner to I
Will Hays, Anita Loos told me of a I
playful sub-title, "It doesn't take much j
brain to be a Mayor," that was im- I
mediately ordered "out" by Mr. Hylan. I
At the time of the steel strike, the
Pennsylvania board interdicted news I
weeklies showing state police riding
down strikers. Last winter a photo- I
play by Leroy Scott was forbidden in |
New York partly because one of its I
characters was a patrolman who ac-
cepted a bribe. This held the police
force up to "contumely and contempt."
Once admit censorship and the
cherished constitutional rights of free
speech and a free press go for less
than nothing. The important liberty-
guarding practice of caricature, ridi-
cule, and the plebiscite becomes sub- |
ject to the fears and vanities of the
persons caricatured, ridiculed, or
criticised.
The last word on censorship is
this:
That there is scarcely a fine thing
in literature or the drama, in the art
accumulation of the ages, that could j
have been produced in the face of]
the kind of censorship we have ex- •
perienced in America. The rules
made by state boards would have
obliterated Shakespeare, buried Balzac,
smashed Shelley, mutilated Moliere
destroyed Dante, and rendered impos-
sible the publication of the Holy Bible.
In the last season alone, under con
ditions of commercial management on
(Continued on page 60)
[58]
Tkratre Uagatint, July, 1911
Book
Especially those containing plays for reading or
acting, or those concerned with play production
TONY SARG MARIONETTE
, Text by F. J. Mclsaac.
with two plays for home-made
Marionettes by Anne Stoddard. (B.W.
Huebsch, Inc.)
This is another interchangeable
book, that is, a book for children or
for grown-ups, or for grown-ups or
for children. Since it was primarily
intended for the latter, however, the
language is the most direct and sim-
ple, and the information, imparted
to the author by Mr. Sarg himself,
offered in the most readable manner
possible. (If this were the usual
result of writing for children would
that more styles might be founded in
that manner!)
Mr. Mclsaac's aim in this book,
as he says in his introduction, is "to
acquaint you with the lovable and
unique personality of Tony Sarg"; to
tell you a little about the "long and
varied history" of puppet shows, and
how Mr. Sarg came to be interested
in them and in developing them into
his present "artistic marionettes." He
also explains some of the mysteries in
the performance of these marionettes
that have puzzled audiences, to which
Mr. Sarg adds diagram-illustrations.
And lastly Mr. Mclsaac tells, through
Mr. Sarg's own instructions, how chil-
dren can make these little figures
themselves, and put on shows of their
own at home. We can fancy what
fun a child whose wise parents had
not hampered his imagination, might
have with this book !
The two plays by Anne Stoddard
that wind up the whole engaging
affair, versions of the immemorial
"Snow-White and the Dwarfs" and
"Little Red Riding-Hood," are writ-
ten in the true spirit of childhood, a
fact over which we exclaim thankful-
ly, it being our tribulation to peruse
so many so-called plays for children
that are miles away from the real
atmosphere.
PRODUCING IN LITTLE THEA-
TRES, by Clarence E. Stratton.
(Henry Holt & Co.)
Though this book by Mr. Stratton
has been on the market for about six
months, we are afraid it may have
escaped the notice of some of our
readers either already interested in
or about to embark on the venture of
Little Theatre Producing, and are
therefore calling it to their attention.
The book will be interesting also
to another class of readers, to those
who attend the theatre for their
own recreation and enjoyment. For
after they have read what Mr. Strat-
ton has to say, especially in his chap-
ter on "Lighting" and "Experiment-
ing," on "Creating the Stage Picture"
and "Costumes and Make-up," they
will find their own playgoing become
an even more exhilarating thing than
it is now. They will have a surer basis
of criticism, a better understanding of
what is involved in the production of
every play, whether amateur or pro-
fessional— in short they will have
had opened for them additional ave-
nues of stimulus and pleasure.
And as to the class mentioned first,
those starting the exciting adventure
of a Little Theatre, they should find
Mr. Stratton's information and advice
invaluable. Mr. Stratton is among
the most important figures in this
wonderful Little Theatre movement,
one of the best things — it can't be
repeated too often — that has ever
happened to America. He is himself
an author of two plays. He has gone
over all the ground before you. And
he offers from his own experience the
most practical and progressive and
live-minded suggestions. We should
think the chapters on "Choosing the
Play" and "Rehearsing . ." and
"Some Specimen Programs" would be
particularly illuminating for the iittle-
theatre-er as well as those chapters
already noted. And at the end of the
volume is an invaluable list of "Two
Hundred Plays Suitable for Amateurs,"
with brief notation as to number of
acts, sets, size of cast, type of play,
and where purchasable.
For your encouragement we quote
a bit of what Mr. Stratton sug-
gests on the advantages that a
group of amateurs has over the pro-
fessional manager in experimentation.
"The fundamental principle of all
dramatic production is experimenta-
tion. Every new play is bound to be
an experiment, a risk." The regular
commercial producer, therefore, not
in business for his health says, "let us
get into its production . . elements
which are not experimental or risky."
"Amateurs have the immeasurable
superiority because they can experi-
ment more frequently, in more differ-
ent ways and with more daring and
successful originality."
Interior of Balaban & Kan Chicago Theatre with
chair installed by American Seating Company.
Examine Your Seating
very important element to your suc-
cess is the matter of providing real seating
comfort to your thousands of patrons.
There can be no question but that between
two theatres within competing distance, with
attractions in the long run practically the
same, the favor of the public will eventually
turn to the theatre with the more comfortable
seating and more pleasant interior.
It is very important, therefore, that you
examine carefully the chairs in your theatre
to judge if they do meet the essential require-
ments of comfort, strength and beauty.
Consider well also if their arrangement and
placement is such as to give the audience the
best possible view of stage and screen, and
if the aisles are rightly located for quick and
smooth handling of the crowds in and out.
On all theatre seating and reseating plans,
our Theatre Engineering Department is at
your free service at any time.
NEW YORK
117 W. 40th Street
BOSTON
69 Canal Street
Qeneral Offices:
CHICAGO PHILADELPHIA
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DETROIT
1422 Washington Blvd.
[59]
IRENE <BORDONI
Pays Tribute to
American Beauty
Irene Bordoni, one of the
most gifted and beautiful
actresses on our stage, has for
years protected and perfected
her wonderfully beautiful
complexion and contour
through the discovery of an
American Beauty Specialist,
Mrs. M. G. Scott, creator of
Mineralava Beauty Clay
"Nature's Way to Beauty"
which removes wrinkles,
tightens sagging muscles, ban-
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and builds firm contour ot
face and neck through quick-
need blood circulation.
Miss Bordoni writes that
"tJltCineralava is n fart of my
every d.iy toilet."
Warning: — Mineralava is imitated.
The oti^wU is your only protec-
tion. Purchase through dependable
Department and Drug Stores. Ask
1 for the original:
sMineralava 'Beauty £lay, $2.OO
(18 treatments in one bottle)
tMineralava Face Finish, jji/.JO
Send for specialist's booklet: —
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SCOTT'S PREPARATIONS, Inc.
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Distributor
SHALL WE HAVE A THEATRE CENSOR?
Yes No
BY CANON CHASE
BY CHANNING POLLOCK
I have no confidence that the plan
of an unofficial jury to eliminate in-
decent plays will accomplish any-
thing in cleaning up the stage, though
I am assured that its sponsors are very
sincere and upright people. The plan
will set up no inviolable standard.
The volunteer judges will not be re-
sponsible to the State.
The vicious playwrights and pro-
ducers will fear the law less than now,
and will be more daring than ever.
The plan will not prevent but will
protect and multiply bad plays. I am,
however, willing to wait to give the
plan a chance to prove its efficiency.
I regard the Federal control of the
Motion Pictures in Interstate Com-
merce as a much more urgent reform,
because of the larger attendance of
children at Motion Picture Shows
than at theatres, and because a pic-
ture once corrected is more likely
to remain so, than in any spoken
drama.
I write as a lover of plays and as
a pastor of souls, not as a reformer.
I am not opposed to having plays deal
with the sex impulse and with the
advanced problems of society. There
must, however, be some limit. When
plays are merely for propaganda and
venture beyond the conventions and
moral laws of the public, they are not
suitable for the amusement of a mixed
audience.
Unscrupulous business should never
be allowed to show them for profit.
Sir Wm. S. Gilbert, the famous
libretist, when asked by the Parlia-
mentary Committee to state why he
thought a censorship of some kind
desirable, replied:
"Because I think that the stage of
a theatre is not the proper unit from
which to disseminate doctrines, pos-
sibly of anarchism, socialism and of
agnosticism; and it is not the proper
platform from which to discuss ques-
tions of adultery and free love before
a mixed audience of persons of all
ages and both sexes, of all ways of
thinking, of all conditions of life and
various degrees of education."
(Concluded from page 58)
much-maligned Broadway, they would
have prevented "Anna Christie,"
"The Nest," "Daddy's Gone a-Hunt-
in'," "Ambush," "The Circle," "The
Hairy Ape," "A Bill of Divorcement,"
"The Hero," "He Who Gets Slapped,"
"The National Anthem," "The Dover
Road," and every other deeply con-
ceived and seriously-intended dra-
matic effort, leaving us to snigger over
the inanities of musical comedy and
to contemplate a stage more than ever
reduced to the level of the nursery.
The Germans could not have left a
conquered Paris so bare of Art as a
triumphant censorship would leave
New York.
In comparison with a catastrophe
like this, what is the production of
an occasional "Demi- Virgin?" and yet,
since it becomes apparent that there
are theatrical managers sufficiently!
degraded to do anything for money,
a combination of decent managers —
the vast majority — of authors, and
actors, and sane reformers have joined
to render even these sporadic out-
breaks impossible. Their plan — fully
perfected and about to go into effect —
is to bulwark present police powers
and to give municipal authority the
benefit of intelligent advice, not
through the arbitrary action of three
politicians' pets, representing the
brand of brain and experience
purchaseable at fifteen hundred
dollars a year, but through a jury of
responsible and representative citizens.
This jury, chosen from a panel com-
posed of five hundred men and women
of standing and proved integrity, is
to have the final word, since, without
expense to the community, or process
of law, authors, actors, and managers
pledge themselves to withdraw im-
mediately any play judged to be pre-
judicial to public morals or inimical
to the public welfare. An art whose
practitioners are willing to abide by
such a judgment of good citizenship,
to penalize their adventurers and
suffer the damage, is not in serious
need of interference from Assembly-
man Schmalz and Senator Callahan!
NEW VICTOR RECORDS
June introduces a new artist to Vic-
tor audiences, Mme. Marie Jeritza, the
famous new dramatic soprano of the
Metropolitan Opera Company.
Two splendid records comprise her
first offering to Victor music lovers,
the first, Elsa's Traum from "Lohen-
grin," a fitting medium through which
to introduce her powers.
Mme. Jeritza's second record is the
"Lautenlied der Marietta" (Song of
the Lute) from Erich Korngold's
weird opera "Die Tote Stadt," a soft
and wonderful melody, haunting and
subtle, yet clear and of a soft, weav-
ing rhythm.
You never know just what surprise
lies in a new Galli-Curci record, and
there's always a thrill in the experi-
ence. In June she sings an English
coloratura song — "Echo Song" — by Sir
Henry Bishop, a song which mingles
Gibraltar-like steadfastness with a
meteoric brilliancy of ornament. The
glorious voice begins with a soft lyric
melody, rising higher and higher until
it rests on the "High D," the topmost
note of which even such vocalization
as Galli-Curci's may hope to achieve.
Yet, outdoing even itself, a climax
follows, culminating with another
triumphant high note.
Dull Hair
The difference between beautiful hair
and ordinary hair is very slight — usu-
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thing which makes it attractive if present or
just ordinary if lacking. Whether your hair
is light, medium or dark, it is only necessary
to supply this elusive little something to make
it beautiful. This can be done. If your hair is
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in tone as you would like to have it — you can
easily give it that little something it lacks.
No ordinary shampoo will do this, for ordinary
shampoos do nothing but clean the hair.
Golden Gl in t
Shampoo
is NOT an ordinary shampoo. It does
more than merely clean. It adds beauty
—a 'tiny tint" — that little something which
distinguishes really pretty hair from that
which is dull and ordinary. Would you
really like to have beautiful hair? Just
buy a package of Golden Glint Shampoo.
At your dealer's or send 25c direct
© — J. W. KOBI Co., 141 Spring St., Seattle.
In Three Lovely Jars
Leona Libbe 's Complete
Beauty Course
A formula for loveliness and youth
which you can now use in your own
home is this set of three preparations
employed by Leona Libbe herself.
Creme Leona, cleanses and nourishes;
excellent protection against sun ana
wind.
Banme Radiant, a pinefragrant cream
which stimulates circulation and gal-
vanizes every tiny skin cell mu
vigorous life.
Face Tonique, cooling astringent;
closes po.es, firms muscles.
Complete set (12 treatment*)
by mail. $4.
Separate prices and booklet on request,
Write Dept. T.
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ff[,
FRECKLES
Don't Hide Them Wilh a Veil;
Remove Them With Othine
Double Strength
There's no longer the
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ashamed of your freck-
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Simply get an ounce of Othine
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gist and apply a little of it night
and morning and you should soon see
that even the worst freckles have begun
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vanished entirely. It is seldom that more
than an ounce is needed to completely
clear the skin and gain a beautiul clear
complexion.
Be sure to ask for the double strength
Othine. as this is sold under guarantee of
money back if it fails to remove freckles.
FACE POWDER
The cliarm of Lablache becomes more
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delights, and protects the complexion.
Fashion's favorite because pure, safe,
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Ketnse Substitutes
They may be danger
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a box at druggists
hy mail. Over two
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Send locjorsamplt lit. „
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FrettchPerfumet sDctt
[60]
Theatre Magatine, July, /9«
Dp
//us
3 evtjy /
mornitip!
It is the habit of well kept
thousands. Follow the use
of your tooth brush with a
few drops of Absorbine, J r.
in an eighth glass of water.
This, as a mouth wash,
spray and gargle, removes
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Absorbine, Jr. is also, for
overtaxed muscles, the
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THE ANTISEPTIC LINIMENT
FOR over ten generations the lovely
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is "Matchless for the Complexion"
Qood morning.'
Have you used Pears' Soap?"
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this unique smokers' stand, valued at $10.00. Secure from three of
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forwarding to us the orders and money with the address to which you
wish the "Butler" sent. It will be shipped at once, all charges pre-
paid (not including foreign custom duties.)
THE THEATRE MAGAZINE COMPANY
Six East Thirty-ninth Street
NEW YORK
Description — cast metal, finished In
black with waterproof enamel, tray
and match box hoMer brass finish,
with imported gla»s ash receiver, thirty-
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[61]
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UNDER KNOTT MANAGEMENT
•Roto on triplication JOHN HAR1VS, Mgr.
CAPSULE CRITICISM
(Concluded
Fairly familiar, too, are two as-
cribed by tradition to Eugene Field,
in the days when he was dramatic
critic of the Denver Post. Of
one performance of "Hamlet," Field's
entire review consisted of two
short melanchojy sentences. He
wrote: "So-and-So played Hamlet
last night at the Tabor Grand. He
played it till one o'clock." And it
was Field who haunted the declining
years of Creston Clarke with his re-
view of that actor's Lear. Clarke,
a journeying nephew of Edwin Booth,
passed through Denver and gave
there a singularly unimpressive and
unregal performance in that tower-
ing tragedy. Field couldn't bear it
and finally vented his emotions in one
sentence. Said he: "Mr. Clarke
played the King all the evening as
though under constant fear that some-
one else was about to play the Ace."
Of course, some beautiful capsule
criticisms are doomed to a lesser fame
because it is so difficult to detach them
from their circumstances and their
context. This is true, for instance,
of several deft summaries by Hey-
wood Broun. When some years ago
one Butler Davenport put on a
juvenilely obscene little play at his
own little theatre in New York, Broun
scowled and wrote: "Some one should
spank young Mr. Davenport and take
away his piece of chalk." Then there
was the hilarious episode which grew
out of the production for one after-
noon in the Spring of 1917, of Wede-
kind's "Fruhlingserwachen," which
Broun translated as "The Spring Of-
fensive." In his little piece on the
subject, he mentioned casually that,
to his mind, an actor named Stein
gave, in the leading role, the worst
performance he had ever seen on any
stage. Stein sued for damages, but the
court decided, after some diverting
testimony, that after all, a critic was
free to express his aesthetic judgment,
however painful it might prove to the
subject. Later it became Mr. Broun's
embarrassing duty to review another
performance by the same agrieved
Stein in another play. Broun evaded
from page 8)
the duty until the last sentence, where
he could have been found murmuring:
"Mr. Stein was not up to his stand-
ard."
I am inclined to think, however,
that the best of the tabloid reviews
have been oral. Coleridge's famous
comment on Kean's Hamlet — that see-
ing it was like reading Shakespeare
by flashes of lightning — was said by
him, but written by somebody else,
wasn't it? Certainly the two best of
my day were oral criticisms. One
was whispered in my ear by a comely
young actress named Tallulah Bank-
head, who was sitting incredulous be-
fore a deliberate and intentional re-
vival of Maeterlinck's "Aglavaine
and Selysette," a monstrous piece of
perfumed posturing, meaning exactly
nothing. Two gifted young actresses
and quite a bit of scenery were in-
volved and much pretentious rumbling
of voice and wafting of gesture had
gone into the enterprise. Miss Bank-
head, fearful, apparently, lest she be
struck dead for impiety, became des-
perate enough to whisper: "There
is less in this than meets the eye."
The other was tossed off by that
delightful companion and variegated
actor, Beerbohm Tree. Hurrying
from California to New York, he
joined at the eleventh hour the al-
ready elaborated rehearsals of "Henry
VIII," into which he was to step in
the familiar scarlet of Wolsey. He
was expected to survey whatever had
been accomplished by his delegates
and pass judgment.
He approved cheerfully enough of
everything until he came to the col-
lection of damsels that had been
dragged into the theatre as ladies-
in-waiting to the Queen. He looked
at them in pained and prolonged dis-
satisfaction and then said what we
have all wanted to say of the extra-
women in nearly every throne-room
and ball-room and school-room scene
since the theatre began. "Ladies,"
said Tree, peering at them plain-
tively through his monocle, "just a
little more virginity, if you don't
mind."
THE PLAYGOERS
(Concluded from page 8)
SHE: "Didn't we pay for our seats? Aren't we just as good as anybody else?
Isn't this a free country? Take it to the manager."
(He goes out, shamefacedly, looking neither to the right nor the left. She
turns and a wave of red sweeps over her face as she sees a slip of paper in her
husband's seat. She snatches it up. It is the note he vias to take to the manager.
Her husband returns just as the curtain rises.)
SHE: "Did you see the manager?"
HE: "Yes."
SHE: "Fibber! You never went near the manager. Now I will see him.
Come along."
HE: "All right. But put this in your spring hat and wear it. The next time
I go to the theatre, I go stag."
NEW BRUNSWICK RECORDS
Have you ever danced on the porch of your summer residence on a beautiful moon-
light night? It is entrancing, and to add to your enjoyment here is a list of new Brunswick
fox trots which I highly recommend. "Teasin" and "Do It Again," played by Bennie
me u^s ui in iii ic i cmpcsi, wno inaae inis song lam
Tiffany with the "Bird Voices," by Margaret McKee.
[62]
Theatre Magazine, July,
WoM4thSirert. Era. .t8.20
Mate. Thim. & S.I. at 2.20
"The most finished piece of acting of the
season." — Heywood Broun, World
David Belasco presents
LENORE ULRIC as KIKI
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"YOU'LL LOVE IT"
When You
Plan
a trip to New York, write or
telephone for suggestions and
advice concerning plays and
concerts, and where the best
seats may be secured — unusu-
al places to dine and dance —
the smart beauty shops where
you may be transformed and
refreshed after your journey —
the shops where the choicest
blooms and sweets may be
found. All these and many
more useful bits of informa-
tion will be added unto you
if you consult
The'Tlay Guide"
Theatre Magazine's
"Play Guide"
This is the "Play Guide" of Theatre
Magazine, a guide for young and old,
to America's greatest playground. New
York City.
Mark the "Play Guide's" signposts
well! It will help you avoid false
starts, anti-climaxes, and the malaise
of wrong places.
It can make of you that most popular
human, male or female, "the person
who knows the right thing."
The epicurean "Play Guide" knows
what plays to see, and where all the
interesting people go afterwards. It
has at its finger tips the chic florists,
the smart sweetmeat shops, the beauty
places, about town.
The "Play Guide," Theatre Magazine
6 East 39th Street
New York
Plays That Continue on Broadway
Drama
Bat, The
Cat And The Canary, The
Charlatan, The
Fannie Hawthorn
Goldfish, The
Hairy Ape, The
He Who Gets Slapped
Nest, The
Truth About Blayds, The
Up The Ladder
Rotters, The
Makers of Light
Comedy
Advertising of Kate, The
Billeted
Bronx Express, The
Captain Applejack
Chauve Souris
Czarina, The
Demi Virgin, The
Dover Road, The
First Year, The
French Doll, The
Kerapy
Kiki
Lawful Larceny
Partners Again
Rubicon, The
Six Cylinder Love
To The Ladies
New Plays
Salome
Musical
Blossom Time
Blushing Bride, The
Good Morning, Dearie
Hotel Mouse, The
Make It Snappy
Marjolaine
Music Box Revue, The
Perfect Fool, The
Rose of Stamboul, The
Shuffle Along
Tangerine
Ziegfeld Follies of 1922
Abe's Irish Rose
B. F. Keith's
The Million Dollar Theatre
BROADWAY AND 47th ST.
NEW YORK
THE LEADING
VAUDEVILLE
HOUSE OF THE WORLD
AND PREMIER
MUSIC HALL
Those •who love distinction
and luxury will find the ap-
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In the bills presented there's
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EVENINGS, 25c, 50c, 75c,
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Except Sunday* and Holiday*
The
Tlay Guide'
Is At Your
Service
Free of Charge
Address;
The "Play Guide"
Theatre Magazine
6 East 39th St., New York
Tel.: Murray Hill 62
[63]
Amateur Exchange
THE GOLD CIRCLE
(Continued from page 44)
Music Library
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The Importance
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After you have selected
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present urge to pride and insurrec-
tion. No, my children, a great lump
of gold, such as this, is meant only
for the treasure of an emperor, since
he alone may use it wisely. A lump
of gold like this — a thousand maidens
dancing in the light of torches — the
thread of ten thousand marching men
— the light in the eye of the Emperor's
greatest of gods — Hear you now my
judgment. Set down the Holy One
that I may pray, even here by the
roadside; and first let mine artificers
beat out this lump of gold for a
crown for the brow of the God that
he may hear my prayers. I wait.
( The Emperor's throne is set at
the side of the road. Rich rugs
are laid before it, and he descends,
seating himself on the ground.
Music sounds and a group of
dancers come before him. To the
beat of the dancers' music, the
artificers hammer out the lump of
gold into a circle, and when the
dance is finished the chief artificer
brings it, bows to the Waz'ir, who
presents it to the Emperor. The
Emperor now steps forward facing
the god, holding the circlet before
him ) .
THE EMPEROR
Let all give place. Let all ears be
stopped and eyes be blinded, for my
prayer is between myself and the
greatest of our gods, inviolate.
(The Emperor's people all retire to
a distance, and the Emperor ap-
proaches the God; as the others re-
tire, the Greek slave, the original
finder of the nugget, conceals him-
self behind the image of the god).
THE EMPEROR
(Lays the circlet on the knees of
the God, salaams and still kneeling
speaks his prayer).
Bright and Mysterious one, Lord of
the Destiny of the land, and of the
blood of its kings, to thee I make
again my prayer; again this offering
of heavy gold. Hear me, Holy and
Mysterious Master of Life. I go to
lead down upon the plains of the
world mine armies. Give me to tri-
umph over mine enemies that I may
lay at thy feet the lordship of the
world. Be mine enemies, thine also,
and I will build for thee out of their
lives a temple of sculls, higher than
the palace thou hast granted me;
and across thy path and mine shall
flow a river of hostile blood, smoking
beneath the moon; and at the end of
that river, I shall find a crown of
earth's dominion, beside which, this
crown I offer is as yonder pool to
the ocean that flows around the
world. Bright and Shining One I
bow my head before thee, waiting,
waiting thy sign.
(The Emperor bows his head, and
as he does so, the Greek steals out
from behind the god, stabs him,
seizes the circlet of gold and con-
ceals himself inside the hollow im-
age. There is a pause, then the
Wazir ventures forward. He comes
close to the Emperor's body and
seeing that he is dead, stops sud-
denly, he is about to give the alarm
but on second thought postpones it
until he has made search for the
gold; finding that it is gone, he
cries out, prostrating himself before
the image).
THE WAZIR
Spare me. Spare us all, Great and
Terrible One. Spare me from this
and I will feed Thee with gold for-
ever.
(He goes back to the Center and
cries out):
Lament, bow down and weep, all ye
people, for the Lord of the Land, the
Lord of the World is dead.
(To the wailing of the people the
bearers of the image take up their
burden; and the dead Emperor in
his litter, with all his train, moves
off along the roadway).
CURTAIN
Cofyright, 1922, By Thomas Wood Stevens
THE MERCHANT
An orange robe, with bright
yellow sandals, sash and
turban comple:es the mer-
chant's cos;ume
Professional Schools
Recommended by
The Theatre Magazine
Catalogues will be sent on request
American
Academy of
Dramatic
Arts
Franklin H. Sargent, President
The leading institution
for Dramatic and Ex-
pressional Training in
America.
Detailed catalog from the Secretary
ROOM 172, CARNEGIE HALL,
NEW YORK
Connected with Charles Frohinan's
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Yvette
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SCHOOL £ THEATRE
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October, 1922 to April, 1923
The Third Educational Trip lo Europe
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Spring of 1923
Address applications to Secretary of tlie School
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Teachers— Actors —Producers
An intensive Summer Course in Dra-
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My 7-31. Full particulars ufati request
GRACE HICKOX STUDIOS
Fine Arts Bldg.
Chicago
PERFECT FRENCH
acquired by conversing and reading
with a Parisian young lady.
Address M.J., c/o Theatre Magazine
6 East 39th Street New York
DENISHAWN
The Ruth St. Denis and Ted Shawn
School of Dancing and its related arts
SUMMER 1922
DENISHAWN IN NEW YORK
Phone Longacre 7233
80 WEST 40th STREET NEW YORK
[64]
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Theatre Magazine
August, 1922
THEATRE MAGAZINE is published on the fifteenth of each month by Theatre Magazine Company, 6 East
39th Street, New York. SUBSCRIPTIONS $4.00 a year in advance. Yearly Indexes 25c. Entered
as second-class matter August 3, 1917, at the Post Office, N. Y., under the act of March 8, 1879.
Vol. No. 36, No. 2
Whole No. 257
B. F. Keith's
The Million Dollar Theatre
BROADWAY AND 47th ST.
NEW YORK
THE LEADING
VAUDEVILLE
HOUSE OF THE WORLD
AND PREMIER
MUSIC HALL
Those who love distinction
and luxury will find the ap-
pointments of this theatre
completely to their liking.
In the bills presented there's
a dash of everything worth
while in theatricals. The
best that the Operatic, Dra-
matic, Concert, Comedy
and Vaudeville stages can
offer, blended by experts
in entertainment
DAILY MATINEES, 25c, 50c,
75c, and Best Seats $1.00
EVENINGS, 25c, SOc, 75c,
$1.00, $1.50 and $2.00
Except Sundays and Holiday*
The
"Play Guide'
Is At Your
Service
Free of Charge
Address;
The "Play Guide"
Theatre Magazine
6 East 39th St., New York
Tel.: Murray Hill 62
Theatre Magazine's
?Play Guide''
The "Play Guide" of Theatre Maga-
zine, is a guide for young and old, to
America's greatest playground. New
York City.
Mark the "Play Guide's" signposts
well! It will help you avoid false
starts, anti-climaxes, and the malaise
of wrong places.
It can make of you that most popular
human, male or female, "the person
who knows the right thing."
The epicurean "Play Guide" knows
what plays to see, and where all the
interesting people go afterwards. It
has at its finger tips the chic florists,
the smart sweetmeat shops, the beauty
places, about town.
The "Play Guide," Theatre Magazine
6 East 39th Street
New York
Plays That Continue on Broadway
Comedy
Abie's Irish Rose
Captain Applejack
Charlatan, The
Chauve-Souria
Dover Road, The
Kempy
Kiki
Lawful Larceny
Partners Again
Pinch Hitter, A
Six Cylinder Love
Drama
Bat, The
Cat and the Canary, The
From Morn to Midnight
Goldfish, The
Hairy Ape, The
He Who Gels Slapped
Up the Ladder
Musical
Blossom Time
Good Morning, Dearie
Make It Snappy
Music Box Revue, The
Perfect Fool, The
Rose of Stamboul, The
Shuffle Along
Ziegfeld Follies
New Plays
Pin Wheel
Circle, The
Elsie Janis Review
Greenwich Village Follies
Plays On Tour
Lightnin*
Liliom
Mr. Pirn Passes By
Sally
Smilin' Through
Tip Top
RFI ASfO W«n44thS«rert. E.M..,8.20
DE.LAOIU M.U. Thim. «c S.t. at 2.20
"The most finished piece of acting of the
season." — Heyulood Broun, World
David Belasco presents
LENORE ULRIC as KIKI
Smart Places to Dine
BAUM GARTEN/
IDEAL FOOD AND
FftMOU/VIENNE/E
DEFECT/
SOCIKTY'S L.ATKST FAD
"Under Southern Skies"
PLANTATION
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Entertainment Unique
AFTER THEATRE 60TH AT BROADWAY
Advance Reservation Only
Phone Circle 2331
"YOU'LL LOVE IT"
When You
Plan
a trip to New York, write or
telephone for suggestions and
advice concerning plays and
concerts, and where the best
seats may be secured — unusu-
al places to dine and dance —
the smart beauty shops where
you may be transformed and
refreshed after your journey —
the shops where the choicest
blooms and sweets may be
found. All these and many
more useful bits of informa-
tion will be added unto you
if you consult
The'Tlay Guide"
[66]
Thratrr Mttgafine, Augutl. 19**
J. W. Pondelicek
CONTENTS FOR AUGUST, 1922
Articles and their Authors
"The Sand Cherry Tree"
(Posed by Bozena Pondelicek) ... .Contents Illustration 67
Frontispiece 69
Editorial 70
Two New Plays of Strong Appeal 71
An Actress Who Plays Unusual Women Carol Bird 72
Distinguished Figures in Current Drama 73
The Jury Judges Its First Play F. A. Austin 74
Betty Jewel — Full Page Portrait 75
Is the Little Theatre a Really Big Movement?
Harcourt Farmer 76
Beauty in Musical Comedy 77
Behold, the Audience! Mildred Cram 78
Florence Reed — Full Page Study 79
"The Hairy Ape" (Excerpts from) Eugene O'Neill 80
Russian Singers in Exile 81
Plays in Serious and Lighter Vein 83
Cleveland's Splendid New Theatres 85
Heard on Broadway 86
Equity Stars Shine in Annual Show 87
Graceful Devotees of the Dance 89
What's the Matter With Musical Comedy?
Edgar MacOregor 90
Florence O'Denishawn — Full Page Study 91
Seen in the Passing Show 92
Mr. Hornblow Goes to the Play 93
"The Rivals" — "Makers of Light" — "A Pinch Hitter" —
"From Morn to Midnight" — "Fanny Hawthorn" — "Red
Pepper" — "Abie's Irish Rose" — "The Drums of Jeopardy"—
"The Rotters"-
The One Man Show Alia May Coleman 96
Musical Comedy Girls 97
Twenty Years of Theatre Building Burr C. Cook 98
Where Are the Favorites of Yesterday. .M a ry F. Watkins 100
Characters in "The Rivals" 101
Enter the Monkey Man Carol Bird 102
Martha Mansfield— Full Page Portrait 103
Patti's Castle—A Shrine of Art Charles H. Dorr 104
Amateur Stage M. E. Kehoe 105
Fashions . ..Anne Archbald 109
Cover Design by Paul t'urstenberg
F. E. ALLAROT. Director of Circulation
LOUIS MEYER)
PAUL MEYER /Publisher§
Published monthly by the Theatre Magazine Company, 6 East 39th Street, New York. Henry Stern,
president; Louis Meyer, treasurer; Paul Meyer, secretary. Single copies are thirty-five cents; four
dollars by the year. Foreign countries, add 50c. for mail; Canada, add 50c.
[67]
\
Sousas Band plays for you
and it plays music of your own choosing. The band of
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records and Victrola instruments are used together.
You can hear not only Sousa's Band, but Conway's
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Victrolas $25 to $1500. New Victor Records
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Important : Look for these trade-marks. Under the lid. On the label.
Victor Talking Machine Company, Camden, New Jersey
VOL. XXXVI No. 257
THEATRE MAGAZINE
AUGUST, 1922
Maurice Goldberg
VERA FOKINA
As she appeared in the ballet "Marquise," in which she danced with Fokine.
[69]
THE THEATRE MAGAZINE
ARTHUR HORNBLOW. Editor
Editorial
Thoughts on an Actors' Theatre
THE greatest playwrights the world has ever known were
actors. Shakespeare was inconspicuous as a mummer and
Moliere is best remembered by his comedies, but both
dramatists wore the motley before they astonished the world
with their plays. In more recent times, instances are frequent
where the success of a given playwright can be traced to the
invaluable experience he gained as an actor, to wit: A. W.
Pinero, H. V. Esmond, Charles Klein, Frank Craven, George
M. Cohan, Grant Stewart, Gilbert Emery, the Nugents, Edgar
Selwyn, et al.
It would seem, then, that the stage is the best possible school
for budding dramatists, and that it is to the actor we may
look, not only for good plays, but also for the regeneration of
the Theatre itself and its deliverance from the clutches of the
speculative manager.
So impressed are some of our leading players with the poten-
tialities of the present theatrical situation that they have con-
ceived the idea of an Actors' Theatre. It is not a new idea.
In fact,, as far as the theatre in this country is concerned, the
idea of a theatre controlled wholly by actors is over a hundred
years old. One of the most successful plays ever seen in
America, "The Honeymoon," by John Tobin, was produced
by a group of actors. This was at the old Park Theatre, May
27, 1805, when an organization described as a "commonwealth
of playets" took over the reins of management of that historic
house following the retirement of William Dunlap from the
managerial field. The Theatre Guild, now one of Broadway's
most successful producing houses, is practically an actors' thea-
tre. Most of the promoters and actual directors are players,
and the theatre itself is conducted on a co-operative, sharing
plan. The Actors' Equity Association proposes to do much the
same thing on a more ambitious scale. They have leased the
Forty-eighth Street Theatre from August 1st, this year, and
during the coming season at least five productions are to be
made. There is also to be a Festival week of revivals, during
which there will be a different play at each performance, includ-
ing the lesser known plays of Shakespeare, and the best plays of
the ancjent and modern dramatists.
ALL true lovers of the Theatre will wish Equity's new ven-
ture well, for this association of players not only promises
to give us better plays, but will also impart new dignity to the
profession of the player. As John Ranken Towse in a recent
issue of the New York Evening Post says:
"Present day managerial policy has resulted in the
gradual disappearance of first class actors from the stage.
That there may be a vast amount of latent histrionic
ability, perhaps of the highest order, in the junior ranks of
our players is at least a plausible proposition. Every now
and again we get a flash of it. But, speaking broadly,
there has been no chance of developing it under the rule
of the commercial oligarchy to which the profession has
allowed itself to become enslaved. And in this rule, which
has denied the exercise of its highest privileges, the vast bulk
of its membership has tacitly and supinely acquiesced. It has
allowed itself to be confined to the least desirable pastures
of the dramatic field, without a thought of breaking bounds,
assuming its own direction and seeking to regain its own
hereditary possessions. Of all the intelligent professions
it is the only one that has consented to the government,
dictation, and restrictions of an alien and unsympathetic
group. And it has endured this humiliating and mischie-
vous tutelage for nearly fifty years, has allowed itself to
sink deeper and deeper under its domination, in face of the
fact that, throughout the whole history of the English-
speaking theatre, all the great dramatic and artistic
achievements have been wrought by players who acknowl-
edged no direction but their own, and fulfilled their own
destiny. There are indications, at least, that the lessons
of the past are beginning to impress themselves upon the
consciousness and stir the ambitions of a considerable
number of our players. And they are very welcome.
Every sign of revolt against the pernicious and short-
sighted system that has been bringing the theatre more and
more into disrepute, is encouraging."
PHE present silly exploitation of ready-made stars must come
•*- to an end. Mediocrity must surrender the center of the
stage to competence. Acting will again be given recognition as
the most important art of the Theatre. The play's the thing,
yet the importance of the actor must not be overlooked. As
Granville Barker reminds us, "for all the dramatist's impor-
tance, acting is not only the original art of the Theatre, it
remains its peculiar foundation." The matter is also put
succinctly by Gilbert Emery in a recent letter to the Times:
"The profession of the actor has never been taken with
any proper degree of seriousness in this country — the only
country, alas! which does not accord it its due. It is a
pity. The individual actor may become a public idol, a
household word. The theatres wherein the actors display
their talents may be crowded with enthusiastic patrons —
for we are a theatre-going people. 'That is So-and-So!'
may be whispered thrillingly in the street as the actor
passes, but his profession, the fineness of it, the essential
value of it as one of the arts, is regarded with an intolerable
condescension by many, and by others with an equally in-
tolerable bigotry. If the public would render to that pro-
fession its honorable due, the state of dramatic art and of
its exponents in America would be a happier and a more
fruitful one."
The details of the ways and means by which the Actors'
Theatre is to become a realization, as given out to the press, are
interesting. The organization is to be financed by securing seat
subscriptions for a series of five plays produced at less than box
office prices. In order to create confidence in the minds of
subscribers a Guarantors Fund has been started. Those who
contribute towards this fund receive no dividends, but will be
repaid before any profits are credited to this subsidiary organi-
zation now incorporated as "Equity Players, Inc." Members
of the theatrical profession are said to have already contributed
more than $117,000.
The money paid in by the Guarantors will start the enter-
prise and it is believed the seat subscriptions will be sufficient
to insure against financial loss. The season will open about
the middle of October, with Augustin Duncan as Director
General.
[70]
Tkealrt Uagatitu. Ann*'!,
White
ALLAN POLLOCK AND J. M.
KERRIGAN IN "A PINCH
HITTER" AT THE HENRY
MILLER THEATRE.
Dennis Lestrange (Allan Pollock),
though penniless, lights a cigarette
with a check just handed him by
Mr. Prothero.
CLELIA BENJAMIN,
FRANK REICHER AND
CAROLYN HANCOCK IN
"FROM MORN TO MID-
NIGHT" AT THE GAR-
RICK THEATRE.
The hank cashier yields to
woman, wine and song until
finally he blows out his
brains in a Salvation Army
bar-room.
TWO NEW PLAYS
O F
[71]
Brugutere
STRONG APPEAL
An Actress Who Plays Unusual Women
Helen Westley an Interpreter of Strange -and Diversified Character Roles
By CAROL BIRD .
STRANGE roles of strange women
have fallen to the lot of Helen
Westley. Miss Westley is a character
actress and a member of the Board of
Managers of The Theatre Guild. The
women she has been selected to portray are
odd creatures: some of them malevolent,
others neurotic, several passionately jealous,
a few seductive, some shrewish. All of
them are distinctly different types. And
most of them are possessed of a repellant
quality.
Take Miss Westley's role of Zinida, the
lion tamer, in "He Who Gets Slapped,"
a Theatre Guild production. Zinida, a
passionate, primitive creature, is married
to the manager of the circus. But marriage
by no means holds her in leash. She is
enamored of Bezano, a bareback rider in
her husband's employ. He loves the eques-
trian queen of the circus, but Zinida has
little pride where an affair of the heart
is concerned. She hurls her love at him,
pleads passionately for him to requite it,
is enraged when he scoffs at her. She
makes love to other men she meets. But,
above all, she is possessed of a burning de-
sire to have her lions love her. She wills
it. She braves death in their cages in order
to cajole them into caring for her. Others
in the circus think it a strange and un-
fathomable whim. They say the lions hate
and fear her. She despises the little eques-
trienne who is beloved by Bezano. Every
one agrees that Zinida has "the evil eye."
A strange, strange woman!
THEN there was the time that Miss
Westley was cast as a peasant woman
in "The Power of Darkness." She plots
and plans the murder of a little baby, and
sits on the infant to smother it.
In Strindberg's "The Dancing Death,"
Miss Westley was a wife, "sexy, modern
and neurotic," as she herself described the
role. In "Jane Clegg" she had a mother-
in-law part. She explained that this par-
ticular mother-in-law was "a horrible old
witch, the kind you'd hate to have hanging
around the house." In "The Treasure,"
Miss Westley was cast as an old Jewish
woman. The few roles she has delineated
which were in contrast to the shrew-hag-
witch creations, were those in "Bonds of
Interest," when she was cast as a beauti-
ful and charming woman of high degree,
and when she wore quaint hoop skirts and
lacey frills; in "The Faithful," when she
played a Japanese woman of high caste,
a grandee; and in "John Ferguson," when
she represented a mother — sweet, gentle,
and devoted to her family.
Again in striking contrast to these last
named roles was the one she had in
"Liliom," when, as the elderly owner of a
Merry-Go-Round, she again lapsed into a
state of shrewishness. She alternately pets
and discharges her roughneck barker,
Liliom. She tries to browbeat him. She
throws ouj bodily from her carousel a little
servant girl whom she suspects Liliom likes.
She slaps and pinches her. And she tries to
buy back Liliom's waning affection ' with
gold. She connives, she entreats, she scolds
and nags. Finally, in a violent rage, she
"washes her hands of Liliom," and com-
forts herself by spitting in his face as she
departs.
AFTER seeing the character actress in
these various strange roles, we decided
to go back stage and see this interesting
lady in the role of Helen Westley. We
expected to meet a gentle, demure, little
soul who would finger fondly a photograph
of her mother. Or who would tell us
about six dear little children at home, and
all about the baby's new tooth. We ex-
pected all these things because it has been
our experience to observe a metamorphosis
of this kind. So many times the dashing
vampire has proved to be a devoted wife
off stage; the demure ingenue, a dashing
vampire; the wrinkled mother, a young
beautiful thing with unlined satin skin,
and the beautiful young thing a middle-
aged woman.
We found Miss Westley in her dressing
room. She isn't demure, nor does she speak
fondly of "the home folks." There is some-
thing distinctly exotic and baffling about
her. She looks a great deal like the flaming
Zinida, the lion tamer of "He Who Gets
Slapped." And she looks nothing at all
like the stout old harridan of "Liliom."
Zinida is lithe and slender. So is Miss
Westley. At any rate, she gives one the
impression that she is slender. There is
an enigmatical expression in her eyes. She
lolls back in a chair smoking, and gazes
at you from under heavy lids. Though
she has on a tailored street costume, she
wears about her neck a string of odd Ori-
ental beads. On her wrists are several
odd looking jangling bracelets, one of jade.
Absent-mindedly, she fingers a string of
bright beads which are on her dressing
table, and then she announces abruptly:
I AM indifferent to objects. Furniture
and clothes and other inanimate things
do not attract me in the least. I wouldn't
walk a block to see the most wonderful
vase in the world. Exhibitions of various
kinds bore me to extinction. I never can
understand why some people make so much
fuss about them. Objects are unimportant.
Why bother about them?"
We ventured to ask what Miss Westley
did think important, and she answered
quickly:
"Love! Love is the greatest thing in
life! Why deny it? What is even Fame
compared to it? Even though a woman is
successful in her chosen occupation or pro-
fession, what does success mean to her if
her heart is empty? Nothing. Absolutely
nothing. A woman must love and be loved
in order to be completely happy. Love is
a powerful force, the value of which I,
for one, shall never think of under-estimat-
ing. And, in addition to love, I believe, of
course, that one's work is important. I am
profoundly interested in plays with the big
idea. I think that the play is the important
feature, actors and acting come secondary.
When I read a play, I do not think of it
from the personal viewpoint — do not ab-
sorb it with merely the thought of whether
my role in it will be important or not.
Very often I have been asked whether or
not I personally rebel at certain roles which
have fallen to my lot. Of course, my in-
quisitors refer to the witch-women I have
portrayed. I can only say that, were I to
dislike any of my roles because they repre-
sented unpleasant characters, I would be
more of a woman than an actress. It would
be purely womanish to feel that way about
it.
WHY, I didn't even hate to be that
sixty-five-year-old witch who mur-
dered the baby. She was such a picturesque
old devil ! I enjoyed making up for it.
1 had my teeth blacked to make me look
like a toothless old hag. I kept in mind,
of course, the cause of this old devil's
devilishness. She was a poor peasant
woman, densely ignorant. The play dealt
with the moral darkness of Russian peas-
ants. One would, of course, hate the old
wretch for smothering the dear, harmless
babe, but one could also bear in mind her
undeveloped, unillumined mind.
"One of my difficult roles was in "The
Treasure." I was an old Jewish woman.
I hold that it is impossible to present Jew-
ish folk-plays unless they are presented with
an all- Hebrew cast. It is practically im-
possible to bring out those striking racial
characteristics of, particularly, the older
generation of Jews unless one is of the
same race. I like unmixed blood, however.
I like to portray a woman who is a pure-
blood of some kind. Funny thing, I like
my friends to be one clear-cut nationality,
too. It doesn't matter if they are Russian,
French, Spanish, or Scandinavian, as long
as they haven't any mixed blood. I believe
you can trust the "thoroughbred," and, of
course, you must admit that a man or
woman of unmixed blood is more of a
thoroughbred than the other type. Just
as there are mongrel dogs there are mon-
grel humans. I believe that there are
certain characteristics definitely associated
with, say, the English. When dealing with
a pure Englishman or Englishwoman, you
know what to expect. He, or she will, as
a rule, run true to form. - Now the man
who has the blood of several races or na-
tionalities flowing in his veins isn't so easy
to decipher. He may be more interesting,
but he is, at the same time, more complex.
You never know what to expect from him.
(Continued on page 124)
[72]
Jkralre Mai/altnt. August, I9*t
LILLIAN WHITE
Who, with her sister, Ruth, has left
their native Boston far behind to
become one of the fixture "hits" of
the Dillingham musical shows.
"Good Morning, Dearie" is the lat-
est in which these attractive young
dancers have appeared.
DOROTHY DICKSON
This ever popular and charming
young dancer has come out of the
fil-lums and again taken to the pol-
ished floors and insinuating melodies
of her natural habitat.
Kesslcre
RUTH WHITE
Beautiful sister of the lovely Lillian
and already — at the age of 18 — a
featured dancer with the Dillingham
productions.
DISTINGUISHED FIGURES IN CURRENT DRAMA
[73]
The Jury Judges Its First Play
By F. A. AUSTIN
SCENE I.
OFFICE of the producer of "Bertie of
the Boudoirs." Present, the Pro-
ducer and the Publicity Manager.
The former is irritated and the latter is
gloomy.
PRODUCER: "Well, why don't you get
busy and do something to boost the show?
Another week like this and Bertie will go
to the storehouse."
PUBLICITY MANAGER: "It's too tame,
tame as a prop lion, not a bite in it."
PRODUCER: "Tame with that title?
Don't boodwars suggest beds and taking
off things?"
PUBLICITY MANAGER: "There isn't a
bed in the show. Besides boudwah doesn't
mean bed. It means chaze long and
cushions, a place where the ladies read or
rest or receive intimate friends, not their
husbands. And they don't undress in it.
They merely wear their lingerie carelessly."
PRODUCER: "Well, we can put a bed in
it, can't we?"
PUBLICITY MANAGER: "Audiences are
fed up on beds. All they expect from them
is snores."
PRODUCER: "Well, we must do some-
thing."
PUBLICITY MANAGER: "I have it, the
new Voluntary Jury which is to decide if
plays are fit to be seen and heard, the jury
chosen by the Joint Committee Opposed to
Political Censorship of the Theatre!
There's our chance.''
PRODUCER: (Jumping to his feet and
waving his arms). "You've got it. Get
a complaint! Have the Jury try Bertie!
Publicity! That'll bring 'em in!"
PUBLICITY MANAGER: "All we have to
do is to show soinething offensive to public
morals and get complained about. I'll see
that a bushel of complaints is sent to the
proper authorities. That will be free ad-
vertisement Number I. Jury announces
it will see show. Second free add. Jury
reports that it has seen the show. Third
free ad. Jury decides changes must be
made. Fourth free ad. Jury comes to see
if changes are satisfactory. Fifth free ad.
Decides changes are satisfactory and that
play can go on. Sixth free ad.
"We don't need raw and rancid stuff —
none of those Shaw words which don't
even wear a union suit. What is the great-
est offense we can give to public morals?
Why, make 'em think they are going to
be shocked and then don't shock 'em.
We'll change the title. Make it 'The Semi-
Wife.' Then we rewrite the third act.
We'll have Bertie, who in the first two
acts has been as ferocious as a Blenheim
spaniel, suddenly turn He-man while
visiting his wife, with whom he has not
been living, in her boudoir. They had a
civil marriage but it didn't stay so. He
tells her that she must become wholly his
wife and locks all the doors but one. He
begins to disrobe. He takes off his collar,
tie, coat, vest, and shoes. Every time he
takes off anything he says, 'You must be
wholly mine,' gloats at her and makes
funny noises, like a starving Russian who
has sighted a lake of soup.
"Every once in a while he forcibly em-
braces her, for instance, with one shoe off
and one in his hand. Then he goes to
the unlocked door, throws it open and
shouts, 'The hour has come, in with you.'
He seizes her and drags her to the door,
she struggling desperately. A minister
steps out and Bertie says, 'There, you darn
fool, all I want you to do is to go through
the Methodist marriage ceremony. I can't
get the legacy from Uncle Hezekiah unless
we do. He stipulated in his will that I
must be married in my shirt sleeves and
stocking feet. When I get the legacy I'll
pay you to go away from here.' "
PRODUCER: "Great! Go to it!"
SCENE II.
Rooms of the drama League. The
twelve Volunteer Jurymen, having seen
a performance of "The Semi-Wife," have
gathered to make their decision. Several
of the Jurymen are Jurywomen. The lat-
ter appear peeved and the former, with the
exception of the Foreman, bored. He ap-
pears impressed with the solemnity of the
occasion.
FOREMAN: "Fellow jurors, we are as-
sembled to decide if the numerous com-
plaints against 'The Semi-Wife,' a
performance of which we have witnessed,
as a play in part objectionable from the
point of view of public morals, are justi-
fied. If nine of us agree that the complaints
are justified, the offending parts must be
removed, whereupon we will again view
the performance and if changes have been
made to our satisfaction we will allow it
to continue."
FIRST JURYMAN: "Before we go any
further — what are the public's morals?"
CHORUS OF JURORS: "Profiteering" — 'get-
ting divorces' — 'getting alimony' — 'smug-
gling jewelry and liquor' — 'bootlegging'—
'making home brew' — 'alienating their
friend's wife's or husband's affections'—
'reforming everybody but themselves'—
'killing pedestrians with automobiles'—
'running bucket shops' — 'grafting in pub-
lic and private business' — 'cuddling in
public conveyances' — 'cultivating bad man-
ners under the pretense of defying con-
vention'— 'falsifying income tax returns'—
'gouging rent-payers' — 'fracturing the spirit
of the law without breaking the letter'—
'bathing in crime waves' — 'going to church
on Sundays and wrecking railroads on
Mondays.' "
FOREMAN: "None of these things con-
cern the subject in hand. Is 'The Semi-
Wife' a salacious play?"
FIRST JURYWOMAN: "It certainly is. The
spectacle of a man taking off his shoes in
public is sure to sap the morals of our
young people."
SECOND JURYMAN: "That's rich. What
about the nude stockings, above-the-knee
skirts and midriff-cut waists you women
wear on the streets?"
SECOND JURYWOMAN: "The idea of
Bertie telling his wife he will pay her to
go away when he gets his legacy is most
offensive. It undermines the sanctity of
the marriage tie."
THIRD JURYMAN: "I know lots of men
who would do that. All they need is the
legacy. They'd make the marriage tie a
slip knot."
FOURTH JURYMAN: "What becomes of
us if we stop all the salacious plays? There
won't be any need for our services then
and we'll have to pay for our theatre seats.
There won't be anybody left to purge the
d'-ama but the critics who know something
about it."
THIRD JURYWOMAN: "Yes, and what
would become of our Better Public Shows
Movement? Nothing would be left for us
but sessions of Congress and they are hope-
less."
FIFTH JURYMAN: "We ought to force
them to make some sort of a change. If
we don't we can't see the play a second
time."
FOURTH JURYWOMAN: "It all depends
on the definition of salaciousness. Sala-
cious, you know, comes from the Latin
salio, to leap. Bertie does leap at his wife
in the boudoir scene to embrace her but is
his leap salacious? I think not. He is
merely trying to reach a given point in the
shortest time. When we speak of Leap
Year we do not mean that the year is go-
ing to be a salacious year. If Bertie should
bite his wife on the shoulder, you would
call that act salacious."
SIXTH JURYMAN: "What is this, a ses-
sion of the League to Suppress Mayhem?"
THIRD JURYWOMAN: "It seems to me
that the whole intent and purpose of the
third act is to make the audience think
Bertie is going to drag his wife into a bed-
room and that the dialogue is intended, up
to a certain point, to convey an impression
which is not supposed to be conveyed in
public or thought out loud."
SIXTH JURYMAN: "Now we're getting
down to it. It's all a matter of intent.
If you call a spade a spade right out in the
open, there's no harm done because our
emancipated women are doing it in public
all the time and serving sex with the salad
course. Everybody knows there are spades,
they argue, and public morals are not of-
fended by stating the fact so long as the
intent is to consider the spade seriously
as an agricultural implement. But if you
talk about a spade in such a way that you
make the audience think they are going to
see it used as a cricket bat and don't show
it to them in action you have committed an
offense against public morality. You treat
the spade with levity instead of seriousness
and therein lies the offense."
FOURTH JURYWOMAN: "From a Freud-
ian point of view I quite agree. We psy-
choanalysts know that any complex must
(Continued on page 124)
[74]
Mat/Clint, Auguit, Ifti
Alfred Cheney Johnston
BETTY
JEWEL
This lovely young Omaha girl recently stepped from a convent garden into a small part in the latest Griffith
picture, where her charm and beauty have already won her the title "The Third Orphan of the Storm."
75
Is The Little Theatre A Really Big Movement?
Meaning, somewhat pertinently, has it actually accomplished all it set out to do?
By HARCOURT FARMER
IF there, are 867,561,000 playwrights in
America, there must be at least 867.-
562,000 actors. Some of them act as
a serious business. Some go into the movies.
The rest form Little Theatres.
These same little theatres have had
several years' innings now; let us dissect
and analyze.
There are many amateur actors who
yearn to be professionals. I suppose there
must be many professionals who, wearying
of tiresome routine, long to be amateurs
again. Well, the little theatre affords an
interesting compromise between the two
desires. If you are an amateur, the little
theatre will give you an excellent oppor-
tunity to act the parts played by John
Barrymore. You may not act them quite
as he does. There may be noticeable dif-
ferences between your conception and his,
some of them exceedingly noticeable. But,
at least, you are definitely acting in real
plays before real people, and after all you
are not just taking part in an "amateur
show" : you are in a^ Little Theatre.
And if you are a professional of experi-
ence and find yourself ousted from a
promising engagement because the manage-
ment decided to do some other play, in
which some new managerial protegee —
fresh from the convent — is to be starred,
well, here are the scores of little theatres
all over the country. True, the acting con-
ditions are not always of the smoothest ;
some of the stages aren't smooth, either.
But it means money, and God knows what
that means to the average professional,
sometimes.
"VTOU know, there are many acidulated
A minds who contend that this very up-
springing of little theatres everywhere tends
to undermine the regular attendance at
regular theatres, and hence jeopardizes the
livelihood of the paid actor. Perhaps what
they say isn't true, and possibly it's as
nebulous as one of Sir Gilbert Parker's
scenarios, but I pass it on to you just as
it was passed on to me.
The true little theatre originated when
the Theatre Antoine blossomed in Paris,
moons ago. It had a legitimate brother in
the Moscow Art Theatre. And subsequent-
ly we had the growth of the repertory
movement in England. They were urgently
wanted ; they were supplied. But they were
supplied by serious professional people who
realized that a powerful counterblast to the
ordinary commercial theatre was necessary,
if dramatic art was not to perish wholly
from the earth. They were organized, de-
veloped, maintained and operated by au-
thentic and experienced artists who put,
so to speak, their life blood into these
theatres that they might live. The history
of the Moscow Art Theatre is the history
of the modern theatre, and the doings of
the average commercial theatre provide
sardonic footnotes to that history.
For countless years we have had the
amateur actor in our midst. Presumably
we shall continue to have him. It is useless
to quarrel with the fact, even if we do like
our drama straight. The development of
the artist must begin somewhere. Once
John Drew couldn't cross gracefully to
Right Center, and there was a time when
E. H. Sothern didn't know very much
about reading blank verse. Yes, it is mani-
fest that every artist begins as an amateur.
rt is when the amateur condition ends and
the professional condition begins, that the
dramatic artist becomes a personal unit of
value to the playhouse. For the trouble
with the majority of the amateur actors is
that they're always in the novice year.
Sometimes an amateur outgrows this class.
He it is who graduates into the wider field
of professionalism.
THE little theatres of the country grew
out of a natural wish to have good
plays represented. There can be no worth-
ier wish. Some of the powerful seed from
the European art-theatres seems to have
wafted itself over, found a receptive place,
and bloomed interestingly on American
soil. So we have the phenomenon of the
commercial theatre's patronage being
sharply attracted to small theatres of
amateur classification where one may see,
at times, the sort of play that one really
likes to see. Sometimes the plays are care-
lessly staged, thoughtlessly mutilated, im-
properly acted. Now and then one sees
scenic accompaniments that howl to high
heaven. Not infrequently the general level
of the acting is mediocre. But, then, you
sometimes see all these faults in the "regu-
lar" theatres. The favorable point is this:
that the little theatres for all their loud
exclaimings about "advancing art," for all
their personal and communal drum-thump-
ing, for all their crudeness and newness —
are materially helping the American stage
to progress to better things. The phrase,
'better things' is vague, isn't it, but possibly
you have an idea what I mean.
EVEN if your local little theatre, or
people's playhouse, or community thea-
tre, or neighborhood players, or whatever
you call it, produces ten plays a season,
and out of that ten you manage to squeeze
one perfect presentation (or one almost
perfect), then you have every reason to feel
amiable. There were moments when the
old-fashioned amateur dramatic club proved
itself an exasperating nuisance, a burden
to patience, a source of feverish irritation
to anyone with taste and intelligence. By
reason of its higher ideals, the little theatre
movement is of sterner stuff, and places
itself on a higher plane. Its workers may
be drawn from the amateur ranks (some
of them are very rank) ; but it is intelli-
gently and alertly trying to do something
which the former amateur club never tried
to do, never thought of trying to do. It is
endeavoring manfully — and, of course,
womanfully — to learn dramatic expression
and interpretation. (The earlier clubs were
content just to "act"). It is striving to
learn these things, to understand them
honestly, and to apply them practically. It
is of this stuff that genuine communal art
is made.
I had better finish this personal insolence
by broadcasting a piece of advice, which no-
body will have the remotest idea of notic-
ing. My qualification is that I have been
stage-director to several of these little
theatres, and so know something of the
business of non-business dramatic move-
ments. If I have become caustic in the
process, it's not altogether my fault.
The advice is something after this fash-
ion. That all this bother of educating peo-
ple in the importance of the community
theatre is wasted effort. You want to edu-
cate the audiences. No, I don't mean what
you mean. I don't say "elevate the public."
Such balmy stuff is not for present con-
sideration. I simply suggest that the aver-
age person who goes to the average little
theatre does so not because he wants to, but
because it is the communal thing to do. It
is locally the fashion. To miss seeing the
neighboring presentment of "Back to Me-
thuselah" is. to be out of the swim — even
if the witnessing of it puts you out of your
depth. The bulk of community theatre
audiences are composed of people who go
to the theatre because it's community life,
and the herd instincts are terribly strong.
1 1 1HIS is true in a small sense of the
-"• smaller cities ; it is equally true in a
larger sense of New York, of Boston, of
Chicago. For each single, genuine, burn-
ing dramatic enthusiast who goes to see a
decent play done by a little theatre, because
it's a decent play, you have a round hun-
dred who go because the next hundred go.
The obvious remedy is that the little
theatres, community movements and what-
not, should put on farce-comedy, business
plays and straight melodrama. They should
provide Broadway food for provincial
palates and rural fare for city palates. In
a word, they should compete directly with
the grown-up theatres. Then the great
theatregoing public (they say it still exists)
will promptly flock to the little theatres.
Once get your public coming in paying
numbers, and you can easily slip something
real over on them. Accustom a man to
seeing drivel week after week, and before
you realize it you can force "Twelfth
Night" down his throat. Theatregoing
is a habit. Get Mr. and Mrs. Nonesuch
into the way of coming to your house as
regular customers, and it won't be long
before you can give them what you like.
Thus, the public can gradually be made
receptive for bigger work.
[76]
Theatre Magafine. Auuuit.
(Below)
SIDNEY SHIELDS
Erstwhile newspaper woman of New
Orleans, who, as the harrassed heroine of
"The Hindu" attracted favorable attention
to herself, and will continue in that rfile and
others with Walker Whiteside in the fall.
Mori-all
DOROTHY ELLIN
Who has added to the notable
list of college women making
good on the stage by her fine
performances as the "Passion
Flower" in Benevente's fa-
mous play of that name on the
road. Miss Ellin is a graduate
and fellow of Wellesley.
Goldberg
MARJORIE
GATESON
A gesture of distinc-
tion and a grace of
manner none too fre-
quently found on
musical comedy
boards has been lent
by this captivating
Brooklyn girl to lead-
ing parts in several
recent o ff e r i n g s ,
among them "The
Rose Girl," "The
Love Letter," and
"For Goodness Sake."
REGINA
WALLACE
An excellent rea-
son fon, "Your
Woman and Mine"
not being quite as
bad as it might
have been.
MITZI
Compatriot of Molnar
and the famous Rhop-
sody, who has closed a
successful season in
"Lady Billy," and will
resume it along the
Pacific Coast in October,
following her return
from a trip to her native
Hungary.
Moffatl
Goldberg
i
Goldberg
BEAUTY IN RECENT MUSICAL COMEDY
[77]
Behold, the Audience!
The Garrick Houses a Brotherhood— the George M. Cohan a Crowd
AUDIENCES are amusing even when
plays and concerts are dull. Plays
and concerts have acquired the habit
of dullness this winter. It is as if all the
tricks were out of the hat and the conjurer
had turned the stove-pipe upside down. Not
another bunny! Not another egg!
Yet the theatregoing habit persists, per-
haps, because of the herd instinct which
makes us enjoy sitting in a close and crowd-
ed auditorium elbow to elbow with our
fellow-sufferers. Or perhaps, because of
our primitive delight in spectacles, en-
gendered during the Greco-Roman period
and now tapered off from a ferocious plea-
sure in blood-spilling to an anaemic enjoy-
ment of an actor's failure to act. It
amounts to the same thing.
We still go to the theatre although long
since deprived of our illusions. The vicious
circle has been established and it may take
the wireless telephone — a more denatured
pleasure than the motion picture — to break
it. When it becomes possible to sit before
the gas log in one's old slippers and "listen
in" on "Ghosts," "La Tosca" or "Bombo,"
it may require a more potent derrick than
an inherited mob impulse to lift us from
our well-worn Morris chairs.
In the meantime we go to the theatre,
getting a vicarious satisfaction out of damn-
ing every new play we. see. We have, in
fifty years, passed from the pink legs of
"The Black Crook," through the Augustin
Daly period, the Empire period, the brief
periods of realism, crook melodrama, Polly-
ana, Marie-Odilliana, war, bedroom and
Sem Benelli, to the present deadly period
of panic, where we are invited to witness
anything and everything, from "Marie
Antoinette" to "Hairy Apes."
The hat is empty !
BUT audiences are as amusing as ever,
and, strangely enough, as individual.
There is a positively personal flavor about
a Carnegie Hall gathering, for instance, as
different as possible from the essence of a
Hippodrome crowd. An expert can detect
the difference as a parfumeur knows with
one whiff whether a passing beauty is wear-
ing the Rose of Coty or of Guerlain.
Your audience is. not a gathering of peo-
ple, it is an entity. There may be a psy-
chic thread, some current highly charged,
that binds you all together once you are
seated. You enter the theatre, an indi-
vidual. You divest yourself of your hat
and coat, rattle the program, glance around
— and are the audience. Behind the curtain
your victims are making up, or waiting in
the green-room for the signal that sends
them out to bare their naked souls to your
gibes, your indifference, your applause.
From behind the footlights you are a blur
of faces and shirt-fronts, no more. Yet
you have the power to make or to break
reputations, and, taken from before the
footlights, you are worth studying.
By MILDRED CRAM
It is a well-known fact that a mild
hypnosis can be induced in a relaxed per-
son who gazes fixedly at a point of light.
Theatre audiences sit in dark halls, staring
at a brilliantly illuminated square. Thus
hypnotized, they are open to suggestion.
They can be swayed by emotion a hundred
times more easily than, for instance, an
audience sitting in a well-lighted concert
auditorium watching an orchestra or a
pianist.
THE first virtuoso who stoops to the
simple expedient of darkening the hall
and playing in a pool of dazzling light will
profit to the extent of an artificially stimu-
lated emotionality. He will find himself
performing feats of hypnotism and sugges-
tion. A veritable artist, of course, hesitates
to throw star-dust in the eyes of the criti-
cal, depending upon the uncompromising
beauty of the music he plays to produce a
mood. But sometimes the mood is long in
coming.
It is not easy to summon magic in the
face of a thousand distractions. Late ar-
rivals troop down the aisle after the first
movement of a symphony — there is a flutter
of ushers; rows of uncomfortable and irri-
tated people stand up and slump down
again ; one is conscious of a long-necked
man or a red-haired woman or a funny old
lady in a bonnet — and in the meantime
the magician waits on the stage, at the
mercy of a storm of conversation. The
second movement is as lost as the initial
five minutes of a play, usually given over
to a French maid or to the scenery.
The concert audience^ is subjected to an-
other annoyance, unique and devastating.
Because of the well-lighted auditorium,
reading is possible and many an uncompre-
hending, bored concertgoer forgets the
Fifth Symphony in a strenuous perusal of
the program. This requires much rustling
and crackling, particularly during a pian-
issimo passage.
EACH type of audience has a technique of
its own. The movie audience is a more
transient, impermanent gathering, lacking
in unity. A film's most critical audience is
its first — in the laboratory projection-room.
Later, it is the focus of a very shift-
ing attention. The movie audience is for-
ever dissolving, gathering, dissolving again,
like an ant's nest. Whole rows of people
walk out in the middle of an emotional
crisis, as indifferent as Vestal virgins at
the gladiatorial shows of ancient Rome.
Ushers with flashlights bob in every aisle.
It is all very casual and informal. In the
more elaborate Broadway theatres, the be-
tween-the-show crowds are roped off — an
ignominious penning that lasts sometimes
for more than an hour. While the house
"out front" roars with laughter or crackles
with applause, these patient standees wait
their turn, packed breast to breast like
indecent sardines . . . Ants. Vestals.
Sardines. A strange potage of mixed meta-
phors! Whatever it is, the movie audience
is democratic, easily amused, not to be
taken seriously as a critical entity.
In the legitimate playhouses you find
audiences with personality. The Empire
houses a congregation, the Hippodrome a
round-up, the Provincetown a meeting,
the Metropolitan a levee, the Garrick a
brotherhood, the Belasco a convention and
the Cohan a crowd.
There are theatres where evening dress
seems to be a tacit metropolitan conspiracy,
and theatres where the "peepul" foregather
in the careless brotherhood of the hand-me-
down. Strangely enough, the price of seats
has nothing to do with it. One theatre
is the pit, the other the stalls. It may be
that a subtle social flavor is mixed with
the mortar in the walls, and that elegance
is as rare and as elusive as the acoustic
property. It is a known fact that certain
theatres are "hoodooed," doomed to failure
year after year, while others shelter a long
series of hits, so that one can sniff the very
atmosphere of success for the price of an
orchestra chair. The playgoer is infected
\vhen he surrenders his ticket at the door ;
expecting success so confidently, he usually
finds it. It is rather like influenza, only
far more profitable. And woe betide the
producer who risks his wares in the notori-
ously unlucky warehouse.
NEW YORK audiences are more pictur-
esque than they used to be. There is
not yet the universal incandescent glow of
starched shirt-bosoms which distinguishes
the London audience, but there is a de-
cided tendency in that direction.
The theatre is, after all, a place where
one goes to seek illusion, to forget for a
while the dull tom-tom of life, to blink
in a scattering of star-dust, to sniff the un-
familiar and romantic paper garden. That
the modern audience knows that it is paper
is one of the bitter fruits of knowledge.
Yet why not make it a festive quest and go
bedecked ?
The European is aware of the pictur-
esque possibilities of the theatre-hour.
What if the play is poor and the actors
feeble — he, at least, is worth watching ! He
promenades during the entr acte, staring
at the costumes of the women; he sweeps
the boxes with his opera-glass ; he bows,
smiles, converses, displays his ego with
gusto. How much better than the New
York T. B. M. snatching a hurried smoke
while his wife stifles her yawns behind her
program !
The European frankly and voluptuously
enjoys the atmosphere of velvet, cut-glass,
scent, dust, papier-mache, diamonds, black
cloth, brilliantine and mother-of-pearl
which seems caught and everlastingly pre-
served within a theatre. He goes, expect-
(Continued on page 122)
[78]
Theatrt Magatine, A»g»tt, Iff!
Study by Goldberg
FLORENCE REED
As seen in Bayard Veiller's new play, "The Divine Crook." The big situation has to do with a
Madonna picture on the wall, which Miss Reed (the crook, and a homely woman), is made
to resemble, by plastic surgery.
[79]
"The Hairy Ape"
A Comedy of Ancient and Modern Life in Eight Scenes,
By Eugene O'Neill
17 V GENE O'Neill today ranks among America's foremost and most promising dramatists. For years known
*-' only as the son of James O'Neill, the veteran actor, he first attracted attention as the author of a number of
one-act plays acted for the professional and semi-professional stage. But -when he suddenly shot into the lime-
light with "Beyond the Horizon," his unusual and great gift was at once recognized. Later pieces, "The Emperor
Jones" and "The Hairy Ape" have confirmed this judgment. O'Neill depicts with great power the gnmest of
characters and the most sordid of scenes, and consistently refuses to idealize his themes which are of a sombre,
almost morbid character. The following excerpti are printed here by courtesy of Mr. Arthur Hopkins
THE play opens on the dimly-lighted fore-
castle of a transatlantic liner an hour
after sailing from New York. The room
is crowded with the men whose business it is to
feed the furnaces that create the power to drive
the ship across the seas. All are hairy chested,
with long arms of tremendous power and low,
receding brows above their small fierce, resent-
ful eyes. They are all shouting, cursing, laugh-
ing, singing, a confused, inchoate uproar swell-
ing into a sort of unity, a meaning — the be-
wildered, furious, baffled defiance of a beast in
a cage. The men, nearly all of whom are drunk,
seem oddly alike, except for Yank, a powerful
figure in the foreground, a little broader, fiercer,
more sure of himself than the others. The din
continues. A voice starts bawling a song.
Paddy, an old wizened Irishman on a bench
in the foreground is reminiscing, half to
himself, half to his companions, of the peace
of the old sailing days and the hell of the stoke-
hold. Yank springs to his feet.
YANK: Hell in the stokehold! It's
work in hell? Hell, sure, dat's nfy
favorite climate! I eat it up! It's
me makes it roar. It's me makes
ft move! Sure, on'y for me every-
thing stops. It all goes dead, get
me? De noise and smoke and all
de engines movin' de woild, dey
stop. Dere ain't nothin' no more!
Dat's what I'm sayin ! Everyting
else dat makes de woild move,
somep'n makes it move. It can't
move without somep'n else, see?
Den yuh get down to, me. I'm at
the bottom, get me? Dere ain't
nothin' foither. I'm de end ! I'm
the start! I start somep'n and de
woild moves. It — dats me! De
new dat's moiderin de old. I'm
de ting in coal dat makes it boin ;
I'm steam and oil for de engines;
I'm de ting in noise dat makes you
hear it; I'm smoke and express
trains and steamers and factory
whistles; I'm de ting in gold dat
makes it money! And I'm what
makes iron into steel! Steel, dat stands for de
whole ting! And I'm steel— steel— steel ! I'm
de muscle in steel, de punch behind it! (As he
says this he pounds with his fist against the
steel bunk. All the men, roused to a pitch of
frenzied self-glorification by his speech, do like-
wise. There is a deafening metallic roar
through which Yank's voice can be heard bel-
lowing.) Slaves, hell! We run de whole woiks.
we're it, get me! All de rich guys dat link
dey're somep'n, dey ain't nothin'! Dey don't
Copyright, 1922, by Eugene O'Neill
belong. But us guys, we're in de move; we're
at de bottom, de whole ting is us, see? We
belong. (Paddy from the start of Yank's speech
has been taking one gulp after another from his
bottle, at first frightenedly as if he were afraid
to listen, then desperately as if to drown his
senses, but finally has achieved complete indif-
ference, even amused drunkenness. Yank sees
his lips moving. He quells the uproar with
a shout.) Hey, youse guys, take it easy! Wait
a moment! De nutty Harp is saying semp'n.
PADDY: (Throws his head back with a mock-
ing burst of laughter.) He-he-he-he-he!
YANK: (Drawing back his fist, with a snarl.)
Aw ! look out who yuh're givin' the bark !
PADDY: (Begins to sing the "Miller of Dee"
wii/i enormous good nature.)
"I care for nobody, no, not I.
And nobody cares for me."
YANK: (Good-natured himself in a flash, in-
Abbe
Mildred (Carlotta Monterey) Yank (Louis Wolhe
IN THE STOKE HOLE
MILDRED: "Take me away — oh, the filthy beast'
terrupts Paddy with a slap on the bare back like
a report.) Dat's de stuff! Now you're gettin'
wise to somep'n. Care for nobody, dat's de
dope ! To hell with 'em all ! And nix on no-
body else carin' I kin care for myself — get me!
(Eight bells sound, muffled, vibrating through
the steel walls as if some enormous brazen gong
were imbedded in the heart of the ship. All
the men jump up alertly, file through the door
in rear close upon each others heels in what is
very like a prisoner's lockstep.)
In Scene II, the steamer is two days out at
sea. The stage shows a section of the promen-
ade deck. Two passengers, Mildred Douglas,
the languid, affected daughter of a millionaire
steel king and her aunt, are discovered reclining
in deck chairs. Mildred, anxious to "see how
the other half lives" persuades the ships' engi-
neer to take her down the stoke hole. A line of
men stripped to the waist is before the furnace
doors. They bend over, looking neither to right
nor left, handling their shovels as if they were
part of their bodies with a strange, awkwar.l.
swinging rhythm. They use the shovel to throw
open the furnace doors. From these fiery round
holes in the black a flood of terrific light and
heat pours full upon the men who are outlined
in silhouette in the crouching, inhuman at-
titudes of chained gorillas — like some species
of inferior demons whose business and punish-
ment it is to keep the fires of hell at torment
heat.
PADDY: (From somewhere in the
line — plaintively.) Yerra. will this
divil's own watch nivir end? Me
back is broke. I'm destroyed en-
tirely.
YANK: (From the center of the
line — with exuberant scorn.) Aw,
yuh make me sick! Lie down and
croak, why don't yuh! Always
beefin', dat's yuh. Say dis is a
cinch! Dis was made for me!
It's my meat, get me? (A boat-
swain whistle is blown — a thin
shrill note from somewhere over-
head in the darkness. Yank curses
without resentment.) Dere's de
damn engineer crackin' de whip.
He links we're loafin!
PADDY: (Vindictively.) God
stiffen him!
The whistle sounds again in a
peremptory, irritating note. This
drives Yank into a sudden fury.
im) The other men have stopped, dumb-
founded by the spectacle of Mil-
dred standing there in her white
dress. Yank does not turn far
enough to see her. Besides, his head is thrown
back, he blinks upward through the murk try-
ing to find the owner of the whistle, he
brandishes his shovel murderously over his
head in one hand, pounding on his chest, gor-
illa-like, with the other.
YANK: (Shouting.) Toin off dat whistle!
Come down outa dere, yuh yellow, brass-but-
toned, Belfast bum, yuh! Come down and I'll
knock yer brains out! Yuh lousey, stinkin'
[80]
Theatre Magasine. August,
MARIE MASHIR
Who is the possessor of a decoration
from the late Czar, long an admirer
of her soprano voice and beauty.
SOPHIA OSIPOVA
As Marpha in "The Tsar's
Bride." This interesting
soprano is a pupil of the noted
composer Rimsky-Korsakoff.
(Below)
JACOB LUKIN
Noted baritone who has added
American laurels to those won
abroad by an extraordinary in-
terpretation of the title role
in Rubinstein's opera "The
Demon."
VALENTINA VALENTIXOVA
Whose youth and remark-
ably fine contralto voice at-
tracted great attention to
her performance as the
Princess in "The Mermaid."
(Below)
VLADIMIR RADEEF
A baritone illustrious for
protrayals of the aristoc-
racy, as the Prince in
"Snegurouchka."
Daguerre
NICHOLAS KARLASH
Who sings the title r61e in "Boris Godounov" with a
fidelity to the Russian interpretation equalled in this
country only by Chalinpin.
INTERESTING PERSONALITIES OF THE RUSSIAN GRAND OPERA COMPANY
RECENTLY SEEN IN THIS COUNTRY AND SHORTLY TO APPEAR IN MEXICO.
RUSSIAN SINGERS IN EXILE
[81]
yellow mut of a Catholic-moiderin' bastard!
Come down and I'll moider yuh ! Pullin' dat
whistle on me, huh? I'll show yuh! I'll crash
yer skull in! I'll drive yer teet' down yer
troat! I'll slam yer nose trou de back of yer
head ! I'll cut yer guts out for a nickel, yuh
lousey boob, yuh dirty, crummy, muckeatin' son
of a
Suddenly he becomes conscious of the other
men staring at something behind his back. He
whirls defensively with a snarling, murderous
growl, crouching to spring, his lips drawn back
over his teeth, his small eyes gleaming fero-
ciously. He sees the girl, like a white apparition
in the full light from the open furnace doors.
He glares into her eyes, turned to stone. As
for her, during his speech she has listened
paralyzed with horror, terror, her whole per-
sonality crushed, beaten in, collapsed by the
terrific impact of this unknown, abysmal brutal-
ity, naked and shameless. As she looks at his
gorilla face, as his eyes bore into hers, she
utters a low choking cry and shrinks away from
him, putting both hands up before her eyes to
shut out the sight of his face, to protect her own.
This startles Yank to a reaction. His mouth
falls open, his eyes grow bewildered.
MILDRED: (About to faint — to the Engineers
who now have her one
by each arm — whimper-
ingly.) Take me away!
This is — beyond poses!
Oh, the filthy beast!
(She faints. They carry
her quickly back, disap-
pearing in the darkness
at the left, rear.)
I*
An iron door clangs
shut. Rage and bewild-
ered fury rush on Yank.
He feels himself insult-
ed in some unknown
fashion in the very
heart of his pride. He
roars. God damn yuh !
And hurls his shovel
after them at the door
which has just closed.
It hits the steel bulk-
head with a clang and
falls clattering on the
steel floor.
Abbe
. The scene shifts to
the fireman's forecastle again.
has just come off duty. Yank is seated on
bench in the foreground in the exact attitude of
Rodin's "Thinker." Gradually, the stokers drive
into his mind the idea that the girl's conduct
in the stokehole was a studied and personal
insult— that she had looked at him as she would
have looked at a hairy ape in the zoo.
0 '
belly-full, I'm telling you. She'll be in bed now,
I'm thinking, wid ten doctors and nurses feedin'
her salts to clean the fear out of her.
YANK: (Enraged.) Yuh link I made her sick,
too, do yuh? Just lookin' at me, huh? Hairy
ape, huh? (In a frenzy of rage.) I'll fix her!
I'll tell her where to git off! She'll get down
on her knees and take it back or I'll bust de
face off en her! (Shaking one fist upward and
beating at his chest with the other.) I'll find
yuh! I'm comin', d'yuh hear? I'll fix yuh, God
damn yuh! (He makes a rush for the door.)
VOICES: Stop him.
He'll get shot!
He'll murder her!
Trip him up!
Hold him!
He's gone crazy!
Gott, he's strong!
Hold him down!
Look out for a kick!
Pin his arms! (Etc. They have all
piled on him and after a fierce struggle by
sheer weight of numbers have born him to the
floor just inside the door.)
PADDY: (Who has remained detached.) Kape
him down till he's cooled off. (Scornfully.)
Yerra, Yank, you're a great fool. Is it payin'
attention at all you are to the line of that
skinny sow widout one drop of rale blood in her?
YANK: (Frenziedly from
the bottom of the heap.)
She done me doit! She
done me doit, didn't she?
I'll git square wit her!
I'll git her someway!
Git offen me, you'se
guys. Lemme up! I'll
show her who's a ape!
Frustrated in his im-
mediate attempts to get
at the girl — to be re-
venged— he searches for
others like her. With
Long, a fellow stoker,
he goes up Fifth Ave-
nue on a Sunday and
meets churchgoers of
her class.
LONG: (Excitedly.)
Church is out. 'here
dey come, the bleedin'
swine.
"Yank" Smith (Louis Wolheim) encounters the Fifth Avenue Sunday Parade
The crowd from the
church enter from the right, sauntering slowly
and affectedly, their heads held stiffly up, look-
ing neither to right nor to left — talking.
And dere she was wit de light on her! Christ,
yuh could a pushed me over wit a finger! I
was scared, get me? Sure! I tought she was a
ghost, see? She was all in white like dey wrap
around stiffs. You seen her. Kin yuh blame
me? She didn't belong, dat's what. And den
when I come to and seen it was a real skoit
and seen de way she was lookin' at me — like
Paddy said — Christ I was sore, get me? I don't
stand for dat stuff from nobody. And I flung
de shovel — on'y she'd beat it. (Furiously.) I
wished I'd banged her! I wished it'd knock
her block off. ... I'll fix her! Maybe she'll
come down again —
VOICE: No chance Yank. You scared her out
of a year's growth.
YANK: I scared her? Why de hell should I
scare her? Who de hell is she? Ain't she
same as me? Hairy ape, huh? (With his old
confident bravado.) I'll show her I'm bettern'
her if she on'y knew it. I belong and she don't,
see? I move and she's dead. Twenty-five
knots a hour, dat's me! Dat carries her out,
but I make dat. She's on'y baggage. Sure!
(Again bewilderedly.) But, Christ, she was
funny lookin'. Did yuh pipe her hands? White
and skinny? Yuh could see de bones trough
dem. And her mush, dat was dead white, too.
And her eyes, dey was like dey'd seen a ghost.
Me, dat was! Sure, Hairy Ape! Ghost, huh!
YANK
Sure!
right,
tart!
(Grinning horribly.) Hairy ape, huh?
Dat's de way she looked at me, aw
Hairy ape! So dat's it. Yuh skinny
Yuh white-faced bum, yuh! I'll show
yuh who's a ape. (Turning to the others, be-
wilderment seizing him again.) Say, you'se
guys. I was bawlin' him out for pullin' de
whistle on me. You heard me. An' den I seen
you'se lookin' at somep'n and I tought he'd
sneaked down to come up in back of me, and I
hopped round to knock him dead with de shovel.
Yank's watch Look at dat arm! (He extends his right arm
swelling out the great muscles.) I coulda took
her wit dat, wit just my little finger even, and
broke her in two. (Again bewilderedly.) Say,
who is dat skoit, huh? What is she? What
she come from? Who made her? Who gave
her de noive to look at me like dat? Dat ting's
got my goat right. I don't get her. She's new
to me. What does a skoit like her mean, huh?
She don't belong, get me? I can't see her.
(With groining anger.) But one ting I'm wise
to, aw right, aw right! You'se all kin bet
your shoits I'll get even wit her — I'll show her
if she links she — she grinds de organ and I'm
on de string, huh? I'll fix her! Let her come
down again and I'll fling her in de furnace!
She'll move den! She won't shiver at nothin'
den! Speed, dat'll be her! She'll belong den!
(He grins horribly.)
PADDY: She'll never come. She's had her
YANK: (Approaching a lady — with a vicious
grin and a smirking wink.) Hello, Kiddo,
How's every little ting? Got anything on for
tonight? /I know an old boiler down to de
docks we kin crawl into. | (The lady stalks by
without a look, without ^ a change of pace.
Yank turns to others — insultingly.) Holy
smokes, what a mug! Go hide yuhself before
de horses shy at yuh. Gee, pipe de heir.ie on
dat one! Say, you'se, yuh look like de stoin of
a ferry-boat. Paint and powder! All dolled
up to kill ! Yuh looks like stiffs laid out for de
boneyard ! Aw, g'wan, de lot of you'se. Yuh
give me de eye-ache. Yuh don't belong, get
me! Look at me, why don't you'se dare? I
belong, dat's me! (Pointing to a skyscraper
SCENE IN "KEMPY" AT THE BELMONT
THEATRE
The despised "Kempy" (Elliott Nugent) tells
"Dad" (J. C. Nugent) where he gets off in
trying to order him out of the house. "Duke"
(Grant Mitchell) and Kate (Lotus Robb)
seek to mollify the old gentleman.
Theatre Mogaritu, Augutt. tyu
RUTH NUGENT
The youngest of the family
of
"Kempy" creators at the Belmont,
who acts delightfully the romantic
and impressionable young daughter
of the Bence's.
White
(Left to right) Gordon Ash, Eileen Huban, Louie Emery, Whitford Kane, Herbert Lomas, Alice Belmore Cliffe.
Act III: Fanny (Eileen Huban). "I won't marry him to make myself 'an honest woman.' I can take care
of myself."
SCENE IN "FANNY HAWTHORNE" AT THE VANDERBILT THEATRE
PLAYS IN SERIOUS AND LIGHTER VEIN
[83]
across the street which is in process of con-
itruction — with bravado.) See dat building
goin' up dere? See de steel work? Steel, dat's
me! You'se guys live on it and link yuh're
•oroep'n. But I'm in it, see ! I'm de hoistin'
engine dat makes it go up! I'm it — de inside
and bottom of it! Sure! I'm steel and steam
and smoke and de rest of it! It moves — speed
— twenty-five stories up — and me at de top and
bottom — movin' ! You'se simpe don't move.
Yuh're on'y dolls. I winds up to see 'em spin.
Yuh're de garbage, get me — de leavin' — de
ashes we dump over de side. Now, what a
yu'n gotta say? (But as they seem neither to
lee nor hear him, he flies into fury.) Bums,
Pigs! Tarts! Bitches. (He turns in a rage an
the men, bumping viciously into them, but not
jarring them the least bit. Rather it is he
who recoils from each collision. He keeps
growling.) Git off de oith ! G'wan, yuh bum.
Look where yuh're goin', can't yuh ? Git outa
here! Fight, why don't yuh! Put up your
raits! Don't be a dog! Fight or I'll knock yuh
dead! (But, without seeming to see him, they
all answer with mechanical affected politeness:
"I beg your pardon." Then at a cry from one
of the women they all scurry to the furriers
window.)
THE WOMAN: (Ecstatically, with a gasp of de-
light.) Monkey fur! (The whole crowd of
men and women chorus after her in
the same tone of affected delight.) Monkey fur!
YANK: (With a jerk of his head back in his
shoulders as if he had received a punch full
in the face — raging.) I see yuh, all in white!
I see yuh, yuh white-faced tart, yuh! Hairy
ape, huh? I'll Hairy ape yuh!
He bends down and grips at the street curb-
ing as if to pluck it out and hurl it. Foiled in
this, snarling with passion, he leaps to the lamp-
post on the corner and tries to pull it out for a
club. Just at that moment a bus is heard
rumbling up. A fat, high-hatted, spatted gentle-
man runs out from the side street. He calls out
plaintively: "Bus, Bus! Stop there!" and runs
full tilt into the bending, straining Yank, who
is bowled off his balance.
YANK: (Seeing a fight — with a roar of joy
as he springs to his feet.) At last! Bus, huh?
I'll bust yuh? (He lets drive a terrific swing,
his fist meeting the fat gentleman's face with a
resounding thud. But the gentleman stands un-
moved as if nothing had happened.)
GENTLEMAN: I beg your pardon. (Then ir-
ritably.) You have made me lose my bus.
(He claps his hands and begins to scream.)
Officer! Officer!
Many police whistles shrill
out on the instant and a
whole platoon of policemen
rush in on Yank from all
sides. He tries to fight but
is clubbed to the pavement
and fallen upon. The crowd
at the window have not
moved or noticed this dis-
turbance. The clanging gong
of the patrol wagon ap-
proaches with a deafening
din.
In the next scene Yank is
in a cell on Blackwell's
Island, seated on the edge of his cot in the atti-
tude of Rodin's "Thinker." His face is spotted
with black and blue bruises. A blood-stained
bandage is wrapped around his head.
YANK: (Suddenly starting as if awakening
from a dream, reaches out and shakes the bars
— aloud to himself, wonderingly.) Steel. Dis
is de Zoo, huh? (A burst of hard, barking
laughter back down the tier of cells, and
abruptly ceases.)
VOICES: (Mockingly.) The Zoo? That's a
new name for this coop. A damn good name
.... Say, you guy! Who are you? What did
they jug you for — or ain't yuh tellin'?
YANK: Sure I'd tell you'se. Sure! Why de
hell not? On'y you'se won't get me. Nobody
gets me but me, see? I started to tell de Judge
and all he says was "Toity days to link it over."
Tink it over! Christ! Dat's all I been doin'
for weeks! (After a pause.) I was tryin' to
git even wit someone, see? A someone dat
done me doit —
Yank relates his tragedy in the stokehole. A
prisoner tells him that if he wants revenge on
this girl he should join the "Wobblies" and
from a local newspaper reads to him a speech
made in the U. S. Senate denouncing the I. W.
W. as a gang of cut-throats and dynamiters.
Then comes to Yank the sudden thought that
the girl's father, the steel king, has made the
very cage he occupies. In a white fury he tears
at the bars of his cell and begins to bend them
apart, as the guard rushes to him with hose
and straight jacket.
The next scene, a month later, finds Yank at
the I. W. W. headquarters. With suspicious
naviete he offers to blow up the steel works in
Nazareth. He is at once suspected of being a
government agent and thrown into the street.
With a growl he starts to get up and storm
the closed door, but stops, bewildered by the
confusion in his brain, pathetically impotent. He
sits there, brooding, again suggesting Rodin's
"Thinker."
YANK: (Bitterly.) So dem boids don't link I
belong, neider. Aw, to hell wit 'em! Dey're
in de wrong pew — de same old bull — soapboxes
and Salvation Army — no guts. Cut out an
hour offen de job a day and make me happy!
Gimme a buck more a day and make me happy!
Tree square, a day, and cauliflowers in de front
yard — ekwa rights — a woman and kids — a lousy
vote — and I'm all fixed for Jesus, huh? Aw
hell! What does dat get yuh? Did ting's in
your inside, but it ain't your belly. Feedin'
your face — sinkers and coffee — dat don't touch
THE NEXT PLAY
To Be Given In This Series Will Be
"THE TRUTH ABOUT BLAYDS"
Comedy in 3 Acts by A. A. Milne,
Author of "Mr. Pirn Passes By", "The Dover Road", Etc.
which is now running at the Booth Theatre, New York, with great success.
it. It's way down — at de bottom. Yuh can't
grab it, and yuh can't stop it. It moves, and
ever'ting moves. It stops and de whole woild
stops. Dat's me now — I don't tick, see? I'm a
busted Ingersoll, dat's what. Steel was me,
and I owned de woild. Now I ain't steel, and
de woild owns me. Aw, hell ! I can't see —
it's all dark, get me? It's all wrong. (He turns
a bitter mocking face up like an ape gibbering
at the moon.) Say, you'se up dere, Man in de
Moon, yuh look so wise, gimme de answer, huh?
Slip me de inside dope, de information right
from de stable — where do I get off at, huh?
POLICEMAN: (Who has come up the street in
time to hear this last — with grim humor.) You'll
get off at the station, you boob, if you don't get
up out of that and keep movin'!
YANK: (Looking up at him — with a hard bit-
ter laugh.) Sure! Lock me up! Put me in a
cage ! Dat's de on'y answer yuh know. G'wan,
lock me up.
POLICEMAN: What you been doin'?
YANK: Enough to gimme life for! I was
born, see? Sure, dat's de charge. Write it in
de blotter. I was born, get me!
POLICEMAN: (Jocosely.) God pity your old
woman! (Then matter-of-fact.) But I've no
time for kidding. You're soused. I'd run you
in but it's too long a walk to the station. Come
on now, get up, or I'll fan your ears with this
club. Beat it now ! (He hauls Yank to his
feet.)
YANK: (In a vague mocking tone.) Say, where
do I go from here?
POLICEMAN: (Giving him a push, with a grin,
indifferently.) Go to hell!
The next day finds Yank before the Gorilla's
cage in the Zoo. The gigantic Gorilla himself
is seen squatting on his haunches on a bench
in much the same attitude as Rodin's "Thinker."
Yank walks up to the cage and, leaning over
the railing, stares at it's occupant who stares
back at him, silent and motionless. There is a
pause of dead stillness. Then Yank begins to
talk in a friendly, confidential tone, half-mock-
ingly, but with a deep under-current of sym-
pathy.
YANK: Say, yuh're some hard-lookin' guy, ain't
yuh?" I seen lots of tough nuts dat de gang
called gorillas, but yuh're de foist real one I
ever seen. Some chest yuh got, and shoulders
and dem arms and mils. I bet yuh got a punch
in eider fist dat'd knock 'em all silly! (This
with genuine admiration. The gorilla, as if
understood, stands upright swelling out his chest
and pounding on it with his fist. Yank grins
sympatheticaly.) Sure, I get yuh. Yuh chal-
lenge de whole woild, huh? Yuh got what I
was sayin' even if yuh muf-
fed de woids. ( Then bitter-
ness creeping in.) And why
wouldn't yuh get me? Ain't
we both members of de same
club — de Hairy Apes? (They
stare at each other — a pause
— then Yank goes on slowly
and bitterly.) So yuh're
what she seen when she
looked at me, de white-faced
tart! I was you to her, get
me? On'y outa de cage —
broke out — free to moider
her, see? Sure! Dat's what
(Continued on page 122)
[84]
Tkeatrf Magazine, Augutt, lot?
/CLEVELAND has taken a sudden
•^ leap in the matter of theatre-
building. Known for years as a
"good theatrical town," attractions
were housed in inferior structures,
which served a good purpose in
their day; but which were not at all
commensurate with the quality of
productions offered, nor with the
patronage accorded them. Various
interested capitalists decided to
move the theatrical centre of Cleve-
land — to construct a new Rialto, plac-
ing in it, as a nucleus, as fine theatres
as exist in America. The first to be
opened was the Ohio, which boasts
one of the largest and most beauti-
fully furnished lobbies in the world.
The second the Hanna, named for
the late Senator M. A. Hanna and
built by his son, Dan R. Hanna, has
a seating capacity of 1,400 and lux-
urious elegance is its predominating
note. The B. F. Keith interests are
erecting a theatre in thisgroup which
will be the most beautiful theatre
in the world, devoted to popular
amusement.
"Tlie Spirit of Pageantry,"
one of the large paintings
in the foyer of Loew's State
Theatre. Cleveland
B. F. Keith's new
Cleveland Theatre
now In course of
construction, cost-
ing something like
$5,000,000
Staircase leading to
balcony in the new
Ohio Theatre
Grand Foyer of
Loew's State
Theatre
CLEVELAND'S
SPLENDID
[85]
NEW THEATRES
THERE is one good thing to be said
for the late theatrical season, bad as
it was — unprecedently bad, some
people say. The good thing is that it has
come to an end.
""THE recent closing of a musical play in
which the principal characters were all
sustained by men who have repeatedly
headed their own companies, brings up
again the much-discussed question as to
how much "names" have to do with the
success of a theatrical production. One
would think that such well-tried and well-
liked comedians as DeWolf Hopper, Lew
Dockstader, Jefferson DeAngelis, William
Courtleigh, William B. Mack and others
of that calibre could make anything go.
But, although the piece in which this group
of "stars" appeared and worked most dili-
gently was admittedly clever and entertain-
ing in itself, it lasted only a few weeks.
Then, when the audiences were too meagre
to keep it going, even though the company
were said to be playing on a "community"
basis — that is, taking each a pro rata share
of what money came in, after deducting
inevitable expenses — it unostentatiously
faded away. On the other hand, a musical^
offering in which the performers are all
negroes, of whom Broadway had never
heard before, ran for months in and near
the sacred "white light" district, keeping
it up into the warm weather — because the
colored actors' show was tuneful, amusing
and — original.
QEORGE C. TYLER told me recently
that he gets weary of producing new
plays. Nevertheless, he has given us "To
the Ladies" since that, and now he is at it
again, with "West of Pittsburgh." There
is a Tumor that he may give us one called
"Dear Old Chillicothe!" but it is not veri-
fied.
r,
JT is reported that considerable coolness
has arisen between Mr. Ziegfeld and
George White on account of the latter's
production of revues which he calls "Scan-
dals" and which Mr. Ziegfeld seems to
feel are treading too closely upon the pre-
serves of his "Follies." The White "Scan-
dals" have usually been summer attractions,
but it is now said that Mr. White is plan-
ning a new "Scandals" show for next
winter. While "Scandals" was playing on
the Pacific Coast, Mr. Ziegfeld is reported
to have wired Mr. White offering him
and Ann Pennington $2,500 to appear in
the new Ziegfeld "Follies." White is said
to have replied with a counter telegram
that read : "Will give you and Billie
Burke $1,800 in 'Scandals.' " The rest is
silence — a cold, clammy silence. /
since the newspapers contained
allegations that the now-popular movie
star, Rodolph Valentino, was a "bus-boy"
in New York restaurants before becoming
a dancer in the cabarets, men and women
associated with "the show business" have
been amused at repeated requests from
various Italian, Spanish and Greek youths
who have not yet advanced to serving re-
freshments, merely setting the places and
removing the dishes, these fellows desiring
to emulate the example of the aforesaid
Valentino! "Let me dance!" they plead.
"Let me act! Give me a chance! You
will see! I can do it! See my hair, how nice
and smooth! See my manners, how polite
and foreign!" A sadder sidelight on this
craze shows that several "bus-boys" have
actually resigned their steady jobs, and
taken to haunting the movie studios and
theatre offices.
illustrates the loyalty of
stage folk more clearly than the case
of "Go Easy, Mabel," the musical comedy
which closed during the month of May at
the Longacre Theatre after staying there
only two weeks. During the two weeks
it lasted on Broadway no salaries were
paid, but the members of the cast gallantly
continued to support Ethel Levey, the star,
who had bought in the production herself.
They admired Miss Levey's gameness and
hoped that the play would justify her faith
in it, but Mabel's existence proved brief
indeed. This attraction, by the way, was
intended to bring back Ethel Levey to the
field of American musical comedy and, in-
cidentally, Estelle Winwood was featured
for the first time in a musical show on this
side of the water. But the unanimous
verdict of the audiences seemed to be
"Ain't it awful, Mabel?"
QEORGE M. COHAN is making his
presence felt in theatrical Broadway.
Three plays are promised by him, includ-
ing one of his own writing, "The Beautif,ul
Moon." This, in addition to the actiftg
he has been doing for months in "Made-
leine." He ventures to walk through Times
Square once in a while, but he generally
takes the precaution to seem so deep in
thought that only a score or so of the
hundreds who would like to hail him with,
" 'Lo, George!" or "Good afternoon, Mr.
Cohan !" venture to break in on his medi-
tations. The feeling is that it is good to
see him on Broadway, whether one gets a
chance to speak to him or not. Gossip says
he has bought about twenty plays since the
first of January.
rumor along Broadway that P. G.
Wodehouse is coming back into the fun
of writing librettos for musical reviews,
with his old associate, Bolton, doing the
lyrics — or is it the other way around? —
and Kern furnishing the score, gives de-
cided satisfaction. They are a great trio
when they get steam fairly up.
J F there is any negro comedian who can
satisfactorily fill the place of the late
Bert Williams, nobody seems able to name
him. But it is said the musical offering in
which he was playing at the time of his
death, "The Pink Slip," is to be revived
forthwith. It will be curious to see who
does the Bert Williams' part — and how he
does it.
JT is well known that many present-day
stars worked their way up from humble
beginnings, some from the chorus of musi-
cal comedies and some from second-rate
burlesque shows. But what may come as
a surprise to most people is the fact that
the circus has also served as a stepping
stone to higher things. Pearl White, now
a high-priced star of the movies, frankly
admits her apprenticeship as a trapeze per-
former. But there is another actress, a
star in stage productions of a legitimate
nature, who does not boast unduly of her
early employment under the "big tops,"
so I will tactfully refrain from mention-
ing her name, merely indicating the case.
Jefferson de Angelis gained agility through
circus training, and so did the popular and
prosperous Fred Stone, surviving member
of the old team of Montgomery and Stone.
Herbert Corthell, now a Broadway come-
dian, was originally a circus clown.
Q N the other hand, it was only after
Douglas Fairbanks left the stage and
entered the movies that he developed ability
as a gymnast. It is true that he gave
evidence of his latent powers in that direc-
[86]
Theatre Magasme, August, I<)1>
BROADWAY FAVORITES
BESTOW
DIGNITY AND BEAUTY
ON SHAKESPEAREAN
HEROINES
Helen MacKellar
(Alice in "Henry V")
Photos Underwood & Underwood
Mae Murray
( "Fascination" )
The Equity's Annual Show, held in New
York on May 7th, proved the most success-
ful performance ever given by this associa-
tion of players. Between 800 and 1000
well-known artists took part in the affair,
the receipts guaranteed already exceeding
$135,000. The unusually interesting pro-
gram consisted of scenes from the various
current plays made into a skit entitled
"This is a Tough Season," in which were
scenes from "He Who Gets Slapped," "The
Czarina," "Back to Methuselah," etc. Then
came scenes from Shakespeare, "Henry V,"
"Richard III," "Julius Caesar," etc.
Jane Cowl
("Smiling Through")
Irene BordonI
(Princen Katherine, "Henry V")
Belle Story
(Pageant "Equity Stars")
EQUITY STARS SHINE IN THE ANNUAL SHOW
[87]
tion in one of his last appearances on the
stage, in a piece called, "The Show Shop,"
in which he made a flying leap and landed
on a policeman, a violent struggle ensuing.
Before that he had been jointly featured
with Tom Wise in "The Gentleman from
Mississippi." Quite as picturesque as com-
ing from a circus is coming from a ranch,
and that was the experience of Will Rogers,
who first faced an audience merely as a
lariat-thrower but gradually developed into
an all-round entertainer in Ziegfeld pro-
ductions and in picture plays.
report that Geraldine Farrar is to
become a dramatic actress is good news.
It is also good news that David Belasco
will be her mentor. Mr. Belasco made
an actress out of Leslie Carter, and when
old playgoers recall what Mrs. Carter did
in "The Ugly Duckling," and compare
it with her work in "Zaza," or even in
"The Circle," there is every reason to
hope for the best when he has rehearsed
Miss Farrar for a few weeks, or months,
as the case may be. At least he will have
an actress to begin with in this case, even
if her experience has been almost entirely
on the operatic stage.
production, out of New York, of
a play called, "The Gorilla," was a
natural sequence of the success achieved by
"The Hairy Ape." So far as Broadway
knows, however, there is no resemblance in
the two plays, aside from the suggestion
of their names. But now that simian titles
are in fashion, we may confidently look for
still more of the monkey drama.
'T'HE special enteratinments given for
the guests of the Actor's Home on
Staten Island are always joyous affairs.
Not only do the artists who sing, dance
or give dramatic readings for the stars of
yesterday put their whole souls into the
performance, but the old people themselves
add zest by their enthusiasm. Recently,
Frank T. O'Neil, baritone concert singer,
of New Haven, Conn., made a special trip
to the Island to entertain the old folks,
and he declared that rarely had he sung,
even in concerts and recitals, before such
an appreciative audience. He sang oper-
atic arias, English ballads, Indian love
lyrics, and songs in Italian, German arid
Russian, concluding with some old-time
melodies, favorites with the old actors of
yesterday. After his program was over,
the old actors, who are enjoying a well-
earned rest after long years of activity be-
hind the footlights, offered to entertain
him. They gave readings from plays in
the casts of which they had been featured
years ago, and, for his benefit, reminisced
delightfully of the days long gone when
their names were ones to conjure with in
the playworld.
'T' HE willful waste of money on woman's
attire makes me woefully want to recti-
fy the error!" said a leading actress to
the present writer. After which she ex-
plained that as a young girl she took up
dressmaking, acquiring the necessary techni-
calities in addition to her creative ability.
Since then she has continued making her
own clothes, that is, those worn in private
life, the management, of course, providing
those used in the theatre. "This season,"
the actress proceeded, "I was in a play of
modern times, and represented a society
woman. Three changes of costume were
called for, and my individual bills amounted
to eight hundred dollars. These charges
were by no means excessive, as prices run
nowadays. But I knew quite well that I
could have duplicated the order for much
less than half the sum. As a matter of fact,
finding that one of the models suited my
style, I copied it exactly, in similar material
though different colorings, at eighty dollars.
But the managers naturally believe more
prestige is obtained by announcing 'Miss
Blank's dresses made by Madame Dash.'
© Moffett
THE LATE LILLIAN RUSSELL
|A^ JJISTINCT feeling of personal lossl
was felt along Broadway when the I
.news was flashed from Pittsburgh on June I
.5th that Lillian Russell had died in that
city from the effects of an accident suffered i
on shipboard. The "Queen of American
Opera," for more than thirty years Lillian
Russell starred in operatic roles in the
United States and England. With the
possible exception of Mary Anderson and
Edwin Booth, she was more widely known
internationally than any other American
artiste. Noted for her radiant beauty, she
was one of the most popular singing
actresses on our stage. Her first appear-
ance was in the chorus of "H. M. S. Pina-
fore" in 1879. The same year she joined
Tony Pastor's vaudeville theatre and it
was he who suggested her changing her
name from Nell Leonard to Lillian Russell.,
Soon afterwards she became a Casino Thea-
itre star, singing such roles as Djemma in
"The Great Mogul," Bathilda in "Oli-
vette", Princess Etelka in "Nadjy," Flor- *
ella in "The Brigands," the title role in
"The Grand Duchess," Harriet in "Poor
Jonathan," etc., etc. She remained at the
Casino until 1899, when she became a
member of the Weber & Fields stock bur-
lesque company. She was married four
times, first to Harry Braham, musical di-
rector of Rice's "H. M. S. Pinafore," sec-
ond to Edward Solomon, conductor of the
Casino orchestra, third to Signor Perugini,
the tenor, and then to Mr. Alexander P.
Moore, publisher of the Pittsburgh Leader
Company. The irony of Fate is that the
author of "How to Live a Hundred Years"
should herself die at the age of 61.
A VAUDEVILLE actor comes to the
defense of his branch of "the show
business" by declaring that the successful
two-a-day performers must distil the very
essence of the dramatic art by producing
definite results in the briefest time. In
reply to my criticisms of much that is
vulgar in these bills, he frankly admitted
that a considerable number of the vaude-
ville "artists" are, indeed, ill-bred to the
point of illiteracy, with their deficiency in
grammar being more than made up for by
their excess of assurance. But he main-
tained that even these singers, dancers,
acrobats and animal-trainers "deliver the
goods" called for by the "customers." Each
one knows how to "make his points" and
"put it over," the accomplishment being
especially difficult when a pathetic playlet
has to follow performing seals or a ballad
singer has to follow roller-skaters. Some
individual actors combine laughter and
tears in one act, of short duration, and by
their clever manipulation never carry the
snickers over into the sniffles, or vice
versa.
remark credited to William Hodge
that he has known actors who can
mentally photograph their parts, so that
they can see each line as it appeared in the
typewriting they have studied, brings to
mind the wonderful memory possessed by
the late William Sampson, who was playing
the father in "The First Year," when he
died some weeks ago. It was an old actor,
whose name is well known, who was talk-
ing about it on a sunny Broadway corner.
He said, "I was at the Players' Club a
number of years ago, with the late Verner
Clarges and Sampson as my luncheon com-
panions. The conversation turned on old
plays in which we had severally appeared,
and how some of the lines still stuck in our
memories. Clarges and I could remember
speeches and parts of speeches in some of
our old parts, but neither could go very
far without cues. Then it was that Samp-
son spoke of an old burlesque, 'The Field
of the Cloth of Gold,' with Lydia Thomp-
son as the star, in which he had had a
rather long part — that of the fussy chief
official of a French town. He had not seen
the part for many years, nor had he thought
about it since playing it in his youth, in
the late sixties or early seventies. Yet he
repeated every line of it, cues and all, for
our benefit at the Players' that day, and
I don't believe he made one slip."
[88]
Theatre Magazine, August, tftl
Goldberg
After dancing her way
into Broadway's favor as
premiere danseuse of the
Bolm Intimt Ballet, this
charming terpsichorean
artist is now touring the
country in recitals.
Gjldberg
As he appeared with
Ruth Page in their im-
provised movements from
an Eighteenth Century
Minuet at the Equity
Show.
UNE DANSEUSE
GRACEFUL DEVOTEES OF THE DANCE
[89]
What's The Matter With Musical Comedy?
Less Tinsel, More Drama and Higher Type of Chorus Girl Necessary for Success
By EDGAR MACGREGOR
Producer of "For Goodness Sake," "The Velvet Lady," etc.
DURING the last two years there has
been a decided change in the type of
musical comedy offered the public.
There has come a realization that a musi-
cal comedy, if it is to be a success, must
have a plot; it must be impregnated with
realism. The public has grown tired of
watching merely gay, tinseled scenes, with
dancers and singers, and actors going
through a hodge-podge of movements which
mean nothing in particular. The musical
comedy which is slowly passing out of ex-
istance, becoming obsolete, is the kind which
boasts a large chorus, has, perhaps, one good
song number, one or two fair dancers, a
male chorus, and not an atom of reality.
For instance, the old, outworn musical
comedy — which, though outworn, still is
being occasionally produced — is one some-
thing like this: The curtain goes up on a
bright and blinding scene. It is laid in the
home of a society woman. The fittings of
her home are realistic enough, and she looks
every inch the lady. But, seated about in
her garden, on the porch of her summer
home, and in little cozy nooks about the
place, are girls who would never be the
invited guests of such a patrician. The
music starts to play and these gay girlies
jump up, kick up their heels in unison, and
for no rhyme or reason commence to cavort
about the place. The society woman's
butler, perhaps, joins them, or her husband,
or the fiance of one of the girls.
TTHEY sing songs which have no bearing
-•- whatever upon the action — the story
of the play. When they subside, the audi-
ence is grateful because then one of the
characters steps out and begins to talk.
The plot is beginning to unwind. But be-
fore it has a good start, the trend of it is
broken by the exuberant guests, again hop-
ping before the footlights and dancing, jigg-
ing and singing. The audience strains its
ears to hear the words of the song, but
even though it catches a phrase here and
there, it seems to have no apparent con-
nection with the comedy itself.
A little later, perhaps, a bogus Duke
appears. If the hostess, the host and their
guests had any intelligence whatever, they
would immediately know that the Duke
was bogus. His manners are boorish. He
is vulgar. He whacks the hostess on her
back, and uses poor English. But the party
goes blithely on. The society girls jump up
and dance every once in a while, and the
chorus men come in out of the nowhere
and join them.
Now I believe that chorus men are ab-
ominations. The musical comedy of the
future will dispense with them. They go
through the same girlish gestures and move-
ments which the chorus girls use. The
chorus girls are taught certain distinctly
feminine gestures with which to express
certain emotions, or with which to empha-
size them. The chorus men bounce on to
the stage nimbly, and, strange as it may
seem, use these same feminine gestures.
Now every one knows that men's gestures,
movements, smiles, and so forth, are en-
tirely different than those of women. The
reaction on the audience is one of scornful
amusement, if amusement at all. Again
the sense of reality is shattered.
THE puerile plot unwinds itself, but the
audience loses the story again and again
because of the song number interruptions.
Then, after the song number is over, a
drumming-up-action trick is resorted to.
One of the characters rushes on to the stage
in much excitement, crying out something
in a loud voice. This is to drag the atten-
tion of the audience by force back to the
plot. This should not be necessary. Never
should the story of a musical comedy be
so submerged that it is necessary to pull
it up from the depths. After a chunk of
plot, and then an irrelevant song number,
and then another shred of plot, and another
song number which has no connection what-
ever with the story, the curtain rings down
on a glittering ensemble dancing and sing-
ing finale scene. Everything is bright and
shining and gay. But, what was it all
about ?
Those in the audience file out, and the
musical comedy has made no definite im-
pression. The next day if some one who
has seen this musical comedy desires to tell
a friend about it, he is unable to describe
it. All he can say is: "There was dancing
and singing." A musical comedy should
have more character than that. It most
assuredly should leave a definite impression
on the minds of those who paid good money
to be entertained.
A musical comedy should possess the very
essence of comedy. It must also contain
the soul of drama — sentiment in its most
engaging form. Its music should be high-
grade, a sort of melodious poetry, for
melody forms the basis of the entire struc-
ture of musical comedy. Opera is musical
comedy's half-sister. The successful musi-
cal comedy of the future must have ex-
tremely tuneful lyrics, with good singers to
interpret them properly. I think it is a
grave mistake to introduce into the score
of a musical comedy one snappy song num-
ber by a well- known composer, and then
continue to play this up over and over
again through the entire play. It becomes
monotonous, and the repetition of this
same number again helps to destroy realism.
FOR instance, in a love scene between
the soubrette and her partner, this
sentimental number is first sung. Then,
later, the comedian sings it to the kitchen
maid or whoever he happens to be wooing
at the time. The audience thinks: "Why
do these pairs of sweethearts all sing the
same songs to each other? There was
nothing to, \ that, -p*£jtty bit of sentiment,
f '.. ,'•:»'. >•• - --
after all! For I know right well that the
comedian doesn't mean a word he's say-
ing." After a new song number or two,
of inferior quality, by the way, the song hit
of the play is again drummed up. The
mother of the soubrette sings it to the
father. So, no matter how charming the
sentiment of the hit number was it doesn't
go over because it lacks sincerity — reality.
Every song number in a musical comedy
should be a good one, and each one should
be sung but once. If a young swain, in
a mood of love and romance, sings a senti-
mental ballad to his lady love, it should be
sung that one time and no more. If the
comedian is taken with the love germ he
should convey it to his loved one in his own
words. And so it should be with all the
characters. The song numbers should all
have a direct connection with the story of
the play. Each number should blend with
the plot, and not be independent of it.
There should be no necessity to pull the
audience back almost by force to a compre-
hension of it. The song numbers should
blend and flow with and augment, not in-
terrupt, the plot.
THE curtain should go up on a realistic
scene, which immediately strikes the
key-note of the piece. The opening of
musical comedies with choruses is not neces-
sary. There are other ways of raising a
curtain, and introducing the first note of
the story. Chorus girls, while a great asset
to musical comedy, need not dominate it.
They need not frolic through the piece
without rhyme or reason. And I predict
that musical comedies of the future will
have smaller choruses — eight girls, for in-
stance. But these eight girls will be ex-
ceptional ones. They will be talented.
They will be capable of doing solo num-
bers, execute a short specialty dance num-
ber, read a number of lines. When there is
a large chorus, no matter how attractive
the girls are, no matter how charming their
frocks, or divine their forms, the audience
cannot possibly concentrate on them. It is
like watching a three-ring circus. They
are all crowded together helter-skelter —
not one an outstanding figure. It stands
to reason that eight pretty talented, well-
formed chorus girls will be far more in-
triguing— will stand out in stronger relief
— than a mass formation.
These girls will not be the stupid autom-
atons of musical comedies of the past. They
will not all bob up and down at the same
time, kick up their heels in unison, nod
their heads simultaneously, wave their
hands in one great flutter. They will dance
and sing and frolic, but not as mechanical
dolls. JThe soul of musical comedy is life
and gayety, and the girls will be gay, but
gayety has moments when it is romantic,
\vhen-it is merry, when it is roguish, when
(Continued on page 120)
•*• •-..
[90]
Tkfatre Uagatine, Attaint,
I
Photo Alfred Cheney Johnston
FLORENCE O'DENISHAWN
Always a delight to the eye, this popular dancer was to have been one of the principal figures in the new
Follies, but sudden indisposition compelled her to take a sea trip to Porto Rico. She will be seen in the
Follies later.
[91]
(Below)
MADO DITZA
In private life the wife
of M. Schauten, this ca-
pable leading woman,
from the Theatre de la
Renaissance, Paris,
achieved unusual popu-
larity during the Com-
pany's stay in New York.
ERNA RUBINSTEIN
This sixteen year old Hun-
garian girl, brought to America
last year from Holland by
Willem Mengelberg, guest Con-
ductor at Carnegie Hall for the
Philharmonic, played at his
first concert here. She is now
in Europe for rest and study.
Apeda
RUTH DRAPER
This successful American
diseuse, whose New York
recitals filled the Selwyn
Theatre last Spring, is
again in Paris, where she
has made a hit greater
even than last year.
After filling engagements
at the Theatre de 1'Oeuvre
and other Parisian play-
houses, Miss Draper will
go to Rome, returning
home in January. (Photo
by Muray.)
Apeda
CHARLES
SCHAUTEN
Leading man and art di-
rector of the French
Players, who have just
closed in New York a
most successful season.
M. Schauten, who is from
the Theatre Rejane,
Paris, is planning to re-
turn here next season
with his Company.
THE REAL BOSS OF THE
SANTLEY FAMILY
Joseph Santley and Ivy Saw-
yer may have to obey the
orders of a stage manager
while appearing in the "Music
Box Revue," but the real boss
of the Santley menage is little
Joseph, Jr., their three year
old son. When not making up
in their dressing rooms in town,
the Santley's may be found at
their beautiful home in Great
Neck.
Bain News Service
SEEN IN THE PASSING SHOW
[92]
Theatre Magazine, August,
Mr. Hornblow Goes to the Play
EMPIRE. "THE RIVALS." Comedy
in 3 acts, by Richard Brinsley Sheri-
dan. Produced June 5th, with this
cast:
Sir Anthony Absolute Tyrone Power
Captain Absolute Robert Warwick
Faulkland IV<!ro dc Cordoba
Acres Francis Wilson
Sir Lucious O'Trigger John Craig
Fag Henry E. Dixey
David Janifs T. Powers
Mrs. Malaprop Mary Shaw
Lydia Languish Violet Heming
Lucy Patricia Collinge
THE Players, emerging from their
hitherto most conservative shell,
announce a plan to stage yearly a
classic revival. Recently at the Em-
pire they put forth their first venture
in this line and gave for a week "The
Rivals" with a cast bristling with
names distinguished in the profession.
A new generation has sprung up
since Jefferson last presented Sheri-
dan's delightful comedy, but in appre-
ciation of its wonderful character
drawing and splendid wit those of
today apparently are as responsive in
laughter and applause as their pred-
ecessors ever were. It is not necessary
to critically insist that in traditional
detail this latest performance left
something to be desired. It was a
good sound interpretation. Five play-
ers stood out: Francis Wilson, whose
rendering of Bob was fresh, fluent and
amusing, free from exaggeration and
slavish devotion to established ideals;
James T. Powers, deliciously droll an;l
whimsical as the devoted but affrighted
David, the absolutely real thing;
Henry E. Dixey, debonair and know-
ing as Fag; Pedro de Cordoba, who
wore his clothes and moved with the
authority of a perfect Eighteenth Cen-
tury gentleman, and Tyrone Power as
the alternately human and choleric
Sir Anthony.
Robert Warwick was the Captain
Absolute; John Craig, Sir Lucius
O'Trigger; Mary Shaw, Mrs. Mala-
prop; Violet Heming, Lydia Languish;
and Patricia Collinge, Lucy.
Norman Bel Geddes' scenery of the
imaginative type worked better in-
doors than without.
NEIGHBORHOOD. "MAKERS OF
LIGHT." Play in 3 acts, by Frederic
Lansing Day. Produced May 23rd,
with this cast:
Mrs. Nclis Eva Condon
Willis Button Junius Mathews
Agnes Chatley Esther Mitchell
David Nellis Ian Maclaren
Sally Morton Adrienne Morrison
James Grupton, Sr. Herbert Ashton
Jimmy Grupton Albert Caroll
John McCleary Frederick Lloyd
Joseph Prine John Francis Roche
A SCORE of analogies were brought
to mind at the opening of "Mak-
ers of Light," at the Neighborhood
Playhouse, for it is one of those plays
which deals with a pupil's love for his
teacher, a time honored dramatic sit-
uation. Yet, in this instance, the old
theme takes on a new coloring and one
peculiarly characteristic of the present
age. What was formerly a sentimen-
tal love affair, becomes a matter of
scientific consequence that must be
considered in relation to modern opin-
ions on youth and environment; to
character and the making of character,
through, say — psychoanalysis. In re-
cent days it has been the custom to
deplore feminism in schools, the undue
influence of women teachers over im-
pressionable youths and other attend-
ant matters. Similarly, the relation
of youth to love and passion has been
presented in plays like Frank Wede-
kind's, "The Awakening of Spring."
The story concerns the experiences
of a timid school boy, not one unlike
"Tonio," in Thomas Mann's famous
short masterpiece of that name. He is
fond of his studies and talks about
them freely to his teacher, who is
twelve years his senior. He talks to
her so freely, in fact, that their formal
relations gradually turn into an in-
timate one; from teacher and pupil
they are unconsciously transformed in-
to lover and mistress. And the treat-
ment of their love affair is so skillful
and earnest that its very incongruity
becomes convincing, poignant and
finally tragic, for their love has tragic
consequences. When Sally, the teacher,
tells her young lover that she is,about
to become a mother, he envisages in-
stantly the dire results which may at-
tend the birth. Utterly overcome by
remorse, he goes down the roadway
and kills himself.
Thanks to the earnestness and dis-
crimination of the cast, "Makers of
Light," the last play of the Neighbor-
hood Playhouse season, had a highly
impressive presentation. Albert Car-
roll and Adrienne Morrison were
convincing in the difficult roles of the
lovers; and Ian Maclaren, the bul-
wark of Neighborhood Playhouse suc-
cess, showed his customary artistry
as David Nellis, an English teacher.
"Makers of Light" is not a pleasant
play, but it is a memorable one.
HENRY MILLER. "A PINCH
HITTER." Comedy in 4 acts, by H. M.
Harwood. Produced June 1st, with
this cast:
Millicent Hannay
Nigel Bellamy
Page
Mr. Prothero
Dennis Lestrange
Archibald Hanay
Joyce Traill
Pamela Gaythorne
Charles Waldron
Gordon Gunniss
J. M. Kerrigan
Allan Pollock
Edgar Kent
Helen Stewart
THOUGH much of the material of
H. M. Harwood's comedy, "A
Pinch Hitter," is made up of familiar
material, the management of situations
and the crispness of the dialogue give
the play freshness and charm. Es-
pecially is this true of the first act — a
very ingenious one with a distracted
pair of "mental lovers" seeking the
tricky services of a rascally lawyer
who is an expert in effecting divorces.
This lawyer, as portrayed by J. M.
Kerrigan, was one of the finest char-
acterizations of the present season, a
superb conception of an unctious Dick-
ens type, which, despite its brevity
deserves mention with Lenore Ulric's
Kiki. Once in the hands of this law-
yer, "the mental lovers," Millicent
Hannay and Nigel Bellamy proceed to
engage a certain Dennis Lestrange —
Allan Pollock — as professional co-
respondent, thereby launching them-
selves into many unexpected and
entertaining experiences. For, oddly
enough, the co-respondent has an
ethical sense and a romantic disposi-
tion, and though he serves faithfully,
he proceeds to fall in love with the
niece of Millicent, while incidentally
winning the sentimental interest of
that lady herself. It is all very droll,
and sometimes broadly funny, espe-
cially when Charles Waldron, the
distressed Nigel, gives way to pro-
[93]
fessional grief that would do credit
to George Tesman.
All this has to do with the play
itself. Next, Allan Pollock must be
discussed, for he is, of course, the ex-
cuse for the production. No better
excuse could be provided; he proves
to be as good in comedy as in such
somber works as "A Bill of Divorce-
ment." Though not the type of per-
son ordinarily chosen for such a role,
he gave to his part the impression of
youth, vivacity and spirit. All this,
of course, in a subdued manner; yet
one which wistfulness and intrinsic
gentility made memorable. The world
is already acquainted with Mr. Pol-
lock's splendid record as a soldier and
his fine personal character; now to
this is added the revelation of a high
comedy attitude toward life.
Supporting Mr. Pollock was a high-
ly efficient company, including stately
Pamela Gaythorne as Millicent, Helen
Stewart, an ingenue with common
sense, and Edgar Kent.
The production, though simple, was
decidely effective, thanks to the appro-
priateness of the settings and the cos-
tumes. "Pinch Hitter," by the way,
is a baseball term, having to do with
substitution.
GARRICK. "FROM MORN TO MID-
JJtCHT." Play in 7 scenes, by George
Kaiser. Produced June 5th, with this
cast:
Cashier
Stout Gentleman
Clerk
Messenger Boy
Lady
Bank Manager
Muffled Gentleman
Serving Maid
Porter
The Lady's Son
The Cashier's Mother
His Daughters
His Wife
First Penitent
Fourth Soldier of Sal
Policeman
Frank Reicher
Ernest Cossart
Sears Taylor
Francis Sadtler
HjleaJVestley
Henry Travers
Allyn Joslyn
Adele St. Maur
Charles Cheltenham
Edgar Stehli
Kathryn Wilson
Lela May Aultman
Julia Cobb
Ernita Lascelles
Charles Ellis
vation Army
William Crowell
Stanley Hewlett
WHATEVER the Theatre Guild
produces is at least apt to have
the stamp of interest attached. Both
dramatic and interesting was its final
production of the season, "From Morn
to Midnight," by George Kaiser, a
play in seven scenes rendered into
capital English by Ashley Dukes.
This concluding experiment is usually
given for the sole benefit of sub-
scribers, but this year the general pub-
lic was privileged to attend six addi-
tional performances of the Kaiser
play.
"From Morn to Midnight" is written
in terms of the cinema drama, scene
follows scene in the sequential and
logical development of its fable. But
— as the spoken play must always have
it over that of the screen — each
phase is rendered with a true and
gripping regard for the subtleties of
its psychological content. And it is
just this particular that removes
"From Morn to Midnight" from the
realm of theatrical exaggeration and
sentimental banality into the field of
thoughtful drama. Stylistic setting,
designed by Lee Simonson, and simple
to a degree, was with a single excep-
tion entirely satisfying.
A bank cashier, a model in every
particular, yields to a s.udden impulse
— a woman, of course — whom he thor-
oughly misunderstands, and becomes
an embezzler. His experience from
this hour until late at night in a Sal-
vation Army bar-room, when he blows
out his brains, gives Mr. Frank
Reicher an opportunity for a fine sus-
tained and varied display of mixed
emotions and reactions, an arduous
and exacting role which he enacted
with fine virtuosity.
The other parts are merely details
in his day's history, but there are
many admirable bits for good intelli-
gent acting. Helen Westley in a dual
role, Henry Travers as a self-satisfied
bank manager, Edgar Stehli as a too
trusting waiter, and Ernita Lascelles
as the Salvation lassie deserve par-
ticular mention.
VANDERBILT. "FANNY HAW-
THORNE." Play in 3 acts, by .Stanley
jjoughton. Produced May llth with
this cast:
Mrs. Hawthorne Louie Emery
Christopher Hawthorne Whitford Kant-
Fanny Hawthorne Kili-m llulian
Mrs. Jeffcote Alice Belmore Cliffe
Nathaniel Jeffcote Herbert Lomas
Ada Nannie Griffin
Alan Jeffcote Gordon Ash
Sir Timothy Farrar Walter Edwin
Beatrice Farrar Gilda Leary
THOUGH the revival of Stanley
Houghton's play, "Hindle Wakes,"
under the name of "Fanny Haw-
thorne," has made a difference in
nomenclature, the play itself remains
the same, intrinsically, manifesting
again, with almost startling freshness,
the fine values apparent at the first
production and in book form.
It is not extravagant to say that
"Hindle Wakes" is one of the best
plays of modern times. Its characters
are vividly drawn, quite real beings
who might well fit into such a neigh-
borhood as the people of George
Elliot's books frequent. Structurally,
it is deft and compact. And it is not
without its touches of grim humor. As
a work of special pleading, it must
always be associated with Ibsen's "A
Doll's House" and "Ghosts," intense
appeals for individual rights. "Hindle
Wakes," in fact, was almost the last
word on the subject until Eugene
O'Neill wrote "Diffr'nt."
Fanny is a dynamic heroine, whose
straight thinking and womanliness lift
her above the incident to which she
has been a part. She looks fearlessly
into "the cold gray, dawn of the morn-
ing after." Though her future must be
sombre, she plunges into it with cer-
tainty, a certainty that has come to all
women, we hope, since Nora slammed
the door behind her and made a sim-
ilar plunge.
To recount the story of the play is
needless, of course. It has become
well known to all those who follow
modern tendencies in fiction and on
the stage. Yet there was nothing
hackneyed in the play as presented
in this revival; the players gave it a
powerful and fervent presentation,
one which stands out as noteworthy
among the best productions of the
year. That stock term, esprit de
corps, best describes the sympathetic
earnestness that actuated every indi-
vidual player, whose one purpose was
to make the play a perfect picture.
Whitford Kane was the most ideal
member of a cast which had many
rare qualities. But the public has
grown accustomed to the beauty of his
art, his pervading gentleness, his love
for humanity, his aristocratic humble-
ness and his humor. All these terms
are paradoxical; yet they all apply
to Whitford Kane, whose power to
catch the subtleties of Dunsany, the
wistfulness of Galsworthy's "Pigeon"
is unmatched.
Herbert Lomas was an impressive
Nathaniel Jeffcote, likeable despite his
severity. Alice Belmore Cliffe was
admirable as the somewhat, easy-going
Mrs. Jeffcote, while Louie Emery was
an excellent foil as the saturine Mrs.
Hawthorne.
The beautiful Eileen Huban was a
splendid Fanny — a little too stubborn,
perhaps, but quite tender and sad in
her farewell to Alan, the casual lover.
Alan, by the way, as portrayed by
Gordon Ash was too markedly cosmo-
politan for the early scenes, but fitted
into the situations better as the play
advanced.
[94]
'1 Itfatre Maffasine, August,
"Fanny Hawthorne" deserves a long
and successful run.
SHUBERT. "RED PEPPER." Musical
entertainment in 2 acts ; book by
Edgar Smith and Emily M. Young,
music by Albert Gumble and Owen
Murphy. Produced May 29th.
AS far as confirmed Mclntyre and
Heath admirers are concerned,
"Red Pepper" would be a success if
they but went through with their ver-
bal pig stuffing stunt. As for others —
either those who are just getting ac-
quainted with these blackface come-
dians, or those who have known them
through the years— this musical enter-
tainment is a stiappy summer show —
nothing more or less. James and
Thomas roll the bones in the same
old funny way, wear the same noisome
clothes, and get over their lines in the
same droll and whimsical manner.
The chorus girls are lively, but not
particularly lovely. Their "Strut Your
Stuff" number is unique, and the out-
standing feature of all the chorus
work. The Fooshee twins — Gladys
and Sybil — are fresh and attractive
looking mites, but too googoo-sweet.
Their baby trills and set smiles pall
after a bit. There are several other
principals aiding and abetting the old-
timers — Mclntyre and Heath. There
is Florence Rayfield, who has beauti-
ful hair, but who is too conscious of
this fact; Bee Ho Gray, a lariat
twirler, who is excellent in his way,
but who seems to pattern his style
after Will Rogers, or perhaps its vice
versa ; and Mabel Elaine, an eccentric
dancer, who impersonates a colored
lady-highbrow.
Two sweet-voiced singers have
negligible places in the cast, but their
singing is commendable. They are
Vivian Holt and Lillian Rosedale.
Summing it up, this new vehicle for
the two blackface favorites, has
enough snap and seasoning to war-
rant its title.
FULTON. "ABIE'S IRISH ROSE."
Comedy in 3 acts, by Anne Nichols.
Produced May 23rd^
WHEN lilacs bloom and the modest
violet begins to assert itself in
the open, the quality of new theatrical
happenings is apt to lessen materially
in artistic value. Critical taste slacks
off as the thermometer advances and
so the manager grades his programs
accordingly.
"Abie's Irish Rose," at the Fulton, is
in keeping with the season. It is thor-
oughly unpretentious and it is visibly
preposterous, but it is nevertheless ex-
tremely diverting. It is good, riotous
entertainment and alertly alive with
hearty laughs. Its author, Anne
Nichols, apparently knows, to her
finger tips, the exacting technique re-
quired by the vaudeville stage. Her
dialogue is what is professionally
known as "side-walk conversation," it
is the slapstick exchange of so-called
repartee, and the situations into which
she plunges her characters are sound-
ly sure in their traditional and ac-
cepted worth.
Abie Levy, a young Hebrew, and
Rosemary Murphy, faith and nation-
ality thoroughly indicated by the
name, are secretly married by a
Methodist clergyman. To reconcile
Abie's orthodox father and Rosie's
equally irascible Irish parent makes
for the principal interest, with the
result that the youngsters are married
twice again, once by a Rabbi and sub-
sequently by a Catholic priest. The
clashes between the Jewish Montague
and the Irish Capulet are productive
of much fun. .
The young people are nicely played
by Robert B. Williams and Marie
Carroll. Papa Levy is broadly handled
by Alfred Weisman, while the Irish
prototype has an aggressively athletic
exponent in John Cope.
GAIETY. "THE DRUMS OF
JEOPARDY." Play in 5 scenes, by How-
ard Herrick and Harold MacGrath.
Produced May 29th.
THE DRUMS OF JEOPARDY"
sound stirring enough wrought
thus into a title. But, as a play, they beat
faintly. Perhaps Harold MacGrath's
story was readable enough; drama-
tized, it is wrecked and ruined. It
is a ridiculous hodge-podge of mystery,
melodrama, romance, and tragedy.
Two huge emeralds (from which the
play derives its name), a Bolshevik,
a Russian Prince, a sad musician, a
newspaper man and a newspaper
woman run riot through the five
"scenes" — not acts, as the program in-
forms you.
There are so many ridiculous flaws
— inconsistencies, absurd phrases and
scenes — in this play that it would be
cruel to attempt to enumerate them.
However, though a cast can not be
exactly expected to work enthusiastic-
ally with poor material, still there is
no excuse for actors continually fum-
bling and forgetting their lines and
cues and stage business as did those in
the cast of "The Drums of Jeopardy."
And when the butler, Emmet O'Reilly,
announces the name of a guest before
he has even opened the door to see
who is there, Tuesday's night's au-
dience could restrain its mirth no
longer and howled with delight.
THIRTY-NINTH STREET, "THE
ROTTERS." Satirical Comedy in 3 acts,
by H. F. Maltby. Produced May 22nd.
THE members of the Clugston
family were rotters, from the
father to the flapper daughter, yes,
even to Phoebe, the servant. But there
was not enough of cleverness mixed
with their "rotting" to make it inter-
esting. They were a common, vulgar
lot and they wallowed in their com-
monness, their vulgarity and their
sham respectability ad nauseam. The
play did not last long on Broad-
way.
NEW AMSTERDAM. "ZIEGFELD
FOLLIES." Music by Victor Herbert,
Louis A. Hirsch and Dave Stamper;
book by Ring Lardner and Dave
Stamper. Produced June 5th, with
this cast:
Miss Take
Youth
Alice
Ambassador Harvey
Bootlegger
Capital
Retired Bankrupt
Labor
Senator Sapp
Movies
Bonus Bill
Flapper
Peppy Hopkins
Taxes
Miss Calculate
Miss Trial
Mary Lewis
Andrew Tombes
Mary Eaton
Brandon Tynan
Teddy Knox
Ed Gallagher
Al Shean
J. J. Shannon
Frank Lambert
Martha Lorber
Frank Tierney
Lulu McConnell
Helen Lee Worthing
George Truscott
Margery Chapin
Edna Wheaton
WHAT would New York be with-
out Ziegfeld's annual production
of the Follies? It , as usual, a
stupendous production, with money
spent recklessly. It is a feast for the
eye, but unfortunately it lacks origi-
nality. Of course, no one expects a
sermon, but a little more wit here and
there, a little more original music,
would certainly help. As it is, how-
ever, the Follies are just as good as
the preceding productions, but not any
better. Will Rogers is heard again in
his clever monologues, and hits were
scored by Ed Gallagher and Al Shean,
who have emigrated from the vaude-
ville circuit.
[95]
The One Man Show
Only a Super-Comedian Able to Constitute Himself the Sole Attraction
By ALTA MAY COLEMAN
COMEDY cannot be analyzed. Like
electricity, we don't know what it
is, but we do know what it will do.
It will make people laugh. All the high-
brows who have written serious tomes ex-
plaining comedy, including the French
philosopher, Henri Bergson, have told us
little more than that.
So, when it came to finding out what
qualities a comedian must have to become
a super-comedian, what "extra added at-
tractions" he must possess in order to be
"the whole show," we avoided sober-
minded analysts and sought enlightenment
from the artistes in question. They are
rare; less than half a dozen shine in the
theatrical firmament.
Such qualifications as personality and
imagination, Ed Wynn seems to take for
granted in a comedian. He passes lightly
over them to lay stress on the copybook
maxim of honest toil.
"Work. Very hard work. That's it,"
he said. "Very hard work and study."
Mr. Wynn ought to know. He is a
perfect example of the three-ringed circus
boiled down to one man. He not only is
the whole show. He wrote it. "The Per-
fect Fool" is his, book, lyrics and music.
He staged it. He designed scenery and
costumes. And he turned his winter season
at the Cohan Theatre into a summer run,
because he entertains so many different
kinds of people.
THE tired business man, the tireless
flapper — he hands them both a laugh.
The radicals of Greenwich Village who
know all about sex and psychoanalysis are
Ed Wynn fans, although he never has a
sex joke in his plays. His humor is so
delightfully bizarre, they say. Judging
from some of their smocks and hair cuts,
they know what bizarre means.
"But study, Mr. Wynn ? What do you
mean, study?"
"Study. Acquire knowledge by effort —
apply the mind, as in lessons. The Uni-
versity of Pennsylvania taught me a lot of
things besides the college yell, but it didn't
have lessons in everything. For example, I
didn't graduate an acrobat. I've had to
learn that, haven't I ?
"And mind-reading. I'm not a psychic.
I don't claim to be a psychic. Do I look
like a psychic?"
We regarded the long sober face, the
long chin which Mr. Wynn describes with
the Biblical phrase as the original "jaw-
bone of an ass," the alert brown eyes spark-
ling like a couple of live wires behind horn-
rimmed spectacles, the neat brown business
suit, modest tie, big black cigar.
"No, you don't look like any psychic we
ever saw."
"I'm not. That mind-reading skit is
code. I had to memorize twenty-eight
hundred words to work that. Twenty-
eight hundred words! The entire lan-
guage of a profession — more special words
than any doctor or lawyer has to know.
Not only learn them by rote but use them.
Study? Humph!"
"But now that you know them —
"Now I know them, I've got to learn
something else, haven't I ? After my first
show, the 'Carnival,' people said: 'He's
done it this time. But he's through.' Yes,
that's what they said although I had been
eleven years in vaudeville and never played
the same act two seasons. Well, you can
see in 'The Perfect Fool,' I wasn't through
and I didn't repeat. In my next show
I'll play seventeen musical instruments;
really play them. You have to do a thing
pretty well before you can burlesque it.
OUITE the opposite of Mr. Wynn, who
may be compared to the old-time court
jester who concealed beneath his motley the
wisdom of a sage, is Al Jolson, who recks
not whys nor wherefores. His humor is
as spontaneous and irresistible as the
gamboling lamb or the playful pup.
Whether his vehicle is called, "Robinson
Crusoe, Jr.," "Sinbad," or "Bombo," makes
no difference. Scenery, chorus, plot are but
necessary adjuncts to Mr. Jolson's per-
formance. Of the two hours and a half of
"Bombo," he is on the stage two hours and
five minutes. And leaves the audience call-
ing for more! How does he do it? What's
the answer?
Mr. Jolson phrased his theory speedily
and succinctly.
"There isn't any answer. You can or
you can't. You do or you don't. If you
can, you just step out on the stage and do
it. That's all there is to it."
Mr. Jolson's big brown eyes brimmed
with life and vitality. His compact body
radiated energy. His flexible mouth seemed
on the brink of laughter from sheer good
spirits. There was no weight of responsi-
bility that within five minutes he must
quicken three thousand people with laughter
and emotion. He was as gay as a school
boy let loose on a lark.
"But don't you have to work hard, Mr.
Jolson?"
"Of course, I work hard. I've got more
pep in me right now than ever before in my
life."
"The more pep you have, the better the
show goes; is that it?"
"I suppose so. Anyway, I want to feel
good. All day I stay out in the air as
much as I can. I don't ever want to drag
through a show. I want to enjoy it, too.
What's the use of living if you don't en-
joy what you're doing?"
THIS bounding energy, sheer health and
human vigor is half of Mr. Jolson's
secret. His spirits never flag and he carries
his audience with him on the high seas of
rollicking fun. His entertainment varies
from bits of legitimate characterization to
broad burlesque, with moments when he
steps out of his role to be Al Jolson singer
or raconteur. His songs are of two varieties,
lively comedy songs such as "The Wonder-
ful Kid from Madrid," and ballads of the
"Mammy" school which he sings with an
emotional fervor that a religious exhorter
would envy.
"I have to feel them to sing them. With
the orchestra right, and the audience out
there listening for all they are worth, then I
just let go and sing. You know, sing for all
there is in me."
Who besides Fred Stone can sing, dance,
ride horses and command the slithery lariat
with equal skill ? He stands preeminent as
the athletic comedian. For almost a score
of years his funny arms and legs have
evoked laughter from coast to coast. Like
Mr. Wynn, Mr. Stone believes in con-
stant practice. Some section of every day
finds him on the bared stage of the theatre,
creating new dances of increased vigor or
inducing his rope to intricacies.
Raymond Hitchcock, after a triumphant
career as a musical comedy star, became
a glorified ring-master in his "H itchy- Koo"
revues. Other prominent players were in-
cluded in his organization, but Mr. Hitch-
cock was the dominant personality and chief
entertainer, with his songs, skits and heart-
to-heart chats with the audience. Similarly,
Frank Tinney's varied comicalites are the
web if not the woof — I suppose he would
sav "woof woof"— of "Tickle Me."
ELSIE JAN IS has lately discovered that
her lively personality will shine with-
out aid of a plot. From the days of "The
Vanderbilt Cup," Miss Janis has been
noted for her versatility — her songs, her
dances, her imitations and the Elsie Janis
cartwheel. Now presenting the second
edition of "Elsie Janis and Her Gang,"
she adds the laurels of author and director.
Nora Bayes, whose quickening charm and
varied songs kept the wheels going round
at high speed in "Ladies First," is plan-
ning another entertainment of the same
type.
Further likely candidates in the field of
the "one man show" are Will Rogers and
Eddie Cantor. So far as audiences are
concerned, they're both elected. Mr.
Cantor heads this year's Winter Garden
show, "Make It Snappy," contributing a
stage-door skit that runs fifteen minutes;
a policeman skit, thirteen minutes ; eighteen
minutes of the Jewish tailor skit ; five min-
utes in the restaurant scene; eight minutes
of the taxi wrangle; ten minutes in the
burlesque of "The Sheik" ; and fifteen min-
utes of songs in blackface — one hour and
fifteen minutes in all.
Mr. Cantor's remarkable versatility, his
swift, sure humorous characterizations and
his songs, delivered with febrile intensity,
qualify him to entertain for double that
time.
[96]
Theatre Mayatine, August, if
Abbe
MARGARET WILSON
This Southern beauty, a new-comer
to Broadway, deserted society for
the stage. As the prima donna in
"Make it Snappy" she gives the
T. B. M. something to look at and
be that much less tired.
BETTY FITCH
A popular show-girl whose
decorative qualities are an
important feature of the
Eddie Cantor Review,
"Make It Snappy."
ALICE WEAVER
A charming little
dancer who la doing
her bit to "Make it
Snappy."
Abbe
BEAUTY HELPS
..
AMw
'MAKE IT
[97]
SNAPPY"
Twenty Years of Theatre Building
Remarkable Improvements Made of Recent Years in Housing The Modern Drama
TUCKED away in a dingy office on
West 33rd Street, New York, sur-
rounded by draughts and blue-prints,
is a grey-haired man of middle age by the
name of Edward Margolies. Although
little known to the general public, Mr.
Margolies is a dominant power in the thea-
trical world. For twenty years he has de-
voted himself exclusively to the building of
theatres — in New York, Boston, Philadel-
phia, Pittsburg, Baltimore, Chicago, Cin-
cinnati, and other large centers. In the
past fifteen years he has built all but four
of the many legitimate playhouses erected
in New York — the capital of theatredom.
"Of the millions of people who patronize
the theatre in this country," said Mr. Mar-
golies, "very few give a thought to the
material comforts that surround them.
One in a thousand notes the style of archi-
tecture, the form of construction, the im-
provements in design of the playhouse he
happens to visit. Such things are taken for
granted. As long as they are seated in an
upholstered chair, and are comfortable,
their interest in their
s u r r o u n dings is
purely subconscious.
"How many ever
stop to think that
the heat which
warms them comes
from outside the
theatre itself, that
the up-to-date, con-
crete structure in
which they s i t
stands as an example
of generations of
evolution in the
building trade, that,
in the past twenty-
five years, in New
York, there has not
been a single fire,
that each edifice re-
presents an outlay
of some four or five
hundred thousa n d
dollars? These
facts, and many of
a more vital inter-
est, are Greek to the
average theatregoer.
Interwoven with
them, however, is the romance of theatre
building — something more than a branch of
the building trade — a profession in itself."
It is easy to see, by the keen enthusiasm
in his voice, that Mr. Margolies is com-
pletely wrapped up in his subject. His black
eyes glow and the big, muscular hands
clench the arms of his chair as he talks.
Although his specialty of theatre building
was acquired somewhat by accident, it is
apparent that it has absorbed his entire out-
look. About twenty-one years ago, Mr.
Margolies was constructing an ocean pier
at Arverne, Long Island, and as a business
By BURR C. COOK
venture for his son he decided to erect a
theatre on the structure. It was his first
attempt at theatre building and he became
interested in the problems presented. The
building was only partly finished when his
VIEW FROM THE STAGE OF THE FORTY-NINTH STREET THEATRE,
NEW YORK CITY,
an excellent example of the wide, flat auditorium now used in theatre construc-
tion. No obstructing posts, no "side-line" seats with distorted view, and perfect
economy of space [Inset] Edward Margolies — theatre builder.
son was taken ill and died, and as a me-
morial to the latter, Mr. Margolies com-
pleted the work, exercising the greatest
care and artistry in its appointments.
"I had often sat in theatres," continued
the latter, "and observed the gilt and tinsel,
the obstructing posts and cornices, the
pinched, inadequate boxes, clinging like
barnacles to what might have been a digni-
fied and artistic proscenium, and I made
up my mind to construct something differ-
ent and something better. Even in those
days the old-fashioned tiers of boxes were
coming into disfavor. They were really
a survival of the Elizabethan drama that
admitted spectators to three sides of the
stage\ and in some instances, to the stage
itself.
"The idea of enclosing the scene of a
play in a frame, as one would a picture,
was just coming into vogue. Shakespear-
ean productions and the pompous allegories
of the later nineties were giving place to
such American plays as "The Lion and the
Mouse," and "Bought and Paid For," and
these presentations readily adapted them-
selves to the new idea. At the same time,
elaborate scenic effects became popular —
stage illusions and the like — which made it
advisable to keep the audience farther from
the proscenium in order to create an effect
of reality.
"I constructed my son's theatre with the
latest developments in view. The Iroquois
Theatre disaster in Chicago was fresh in
mind, as well as several similar calamities,
and I determined to make my playhouse
absolutely fire-proof and capable of being
emptied in from five to ten minutes. Such
a thing was unheard
of in those days, al-
though at present a
properly-constructed
theatre should be
emptied in less than
five minutes.
"Several man-
agers saw my
finished house and I
received many com-
pliments in regard
to it and one or two
contracts for others
of a similar nature.
Thus began m y
career of theatre
building and I have
been at it ever since.
So wide-spread and
rapid has been the
evolution of the
stage since then that
today, in New
York, the great thea-
tre center of the
world, there is not
one theatre over
twenty years of age
left standing.
"While critics are constantly deploring
the 'commercializing' of the drama in this
country, few realize what actual benefits
this commercial spirit has engendered — at
least on the material side of the profession.
It is because of this spirit that there are no
antequated structures left. Two impor-
tant factors have been at work in the gradual
evolution of the playhouse — one being
the change in the nature of dramatic en-
tertainment, and the other, the modern
insistence on efficiency and economy — in
time, space, and money. It was only a
short while ago that every theatre was
[98]
built as a unit — usually with a cupola,
ornate facade, and roof trimmings. The
"opery" house, the pride and glory of every
small hamlet in the land, was — and in many
instances, still is — an example of this old-
fashioned tendency.
"Today, a theatre has be-
come a commercial proposition
— an entire building — capable
of. paying for itself through
its rental of office-space and
stores. The Shuberts, whose
theatres I build exclusively in
all parts of the country, have
raised this phase of the indus-
try to its highest perfection.
Their playhouses are more
than beautiful palaces of en-
tertainment; they are muni-
cipal assets of a decided com-
mercial value, the possession
of which is an honor to any
community.
"One of the chief results of
this new development has been
to raise the cost of theatre-
building to almost three times
its former figure, but the ad-
vantages over the old style of
building far outweigh the in-
creased expenditure. Today,
a theatre costs anywhere from
two hundred thousand to six
hundred thousand dollars.
Constructed on a plot of two
hundred square feet, however,
it can be made to accommo-
date all of two thousand peo-
ple, whereas, before, it was a
problem to arrange a seating
capacity of 900 — in spite of
balconies and 'peanut' galler-
ies ad infinitum.
"These 'seventh heavens'
were usually reached by
means of winding wooden
stairs which were fire-traps
of the most dangerous sort.
Today, we have done away
with this evil. Since the fire
laws forbid the installation of
furnaces in theatre buildings, another danger
has been avoided by setting up heating
plants in separate structures outside the
theatre itself. Pipes carry the heat into the
auditorium. I believe the 'intimate' thea-
tre has come to stay. Attempts have been
made to produce small plays in large thea-
tres but they have almost invariably failed.
A small play needs a small theatre and a
large play a large one.
"Another advantage the new theatre has
over the old is in the construction of the
walls. The walls of the old theatre were
eighteen inches thick and — as was disclosed
in the recent dismantling of the Wallack
Theatre, New York — were often built of
lime, which dries quickly and crumbles
away, leaving the sides very weak. When
the supporting girders were removed, the
walls of the old Wallack could actually be
pushed over by workmen with their hands.
The present-day theatre is built with so-
called 'curtain' walls, made of iron struts
and cement. They are so much thinner
than the old style wall that they add an
average of one hundred chairs to the seating
capacity, and they are so strong that it
would take an artillery bombardment to
destroy them.
"It is a happy coincidence that the de-
mand for efficiency in the theatre has con-
INTERIOR OF THE NEW JOLSON THEATRE,
59TH STREET, NEW YORK CITY
showing the curved ceiling for acoustic effect, capacious
balcony, and single, projecting box above the ground floor.
sorted with an increased beauty. Simplicity
in construction — doing away with the fancy
trimmings and architectural elaborations —
has given the modern playhouse a quiet
dignity it never before attained. Today,
more than two boxes are an excrescence, and
even as few as this are going out of style.
When they are erected they should always
be above the ground floor so as not to
obstruct the view. People find they cannot
see well from such a distorted angle and
most managers resort to the complimentary
ticket to keep them filled. They are strictly
a house 'trimming' and when they are
empty — even though the rest of the house
is filled — they look forlorn and out of place.
"The famous 'peanut' gallery is a thing
of the past. Some may regret its departure
for sentimental reasons but certainly the
single balcony, with its deep, commodious
space, is a decided improvement. The
seating capacity remains the same — between
1,000 and 1,200 — although some of the
larger theatres, like the new Jolson in
New York, accommodate as many as 2,300
persons. Today, no matter if a theatre
Theatre Magazine, August, 19^3
is 200 feet wide, no posts — obstructing the
view of the audience — are needed to support
the balcony. The heavy, steel-girder con-
struction is strong enough in itself.
"Theatre building is sometimes exciting,
for it often happens that »
manager has a production on
hand which must be brought
into New York at once.
These races against time oc-
curred both in my building of
the Ritz Theatre and the new
Ambassador in New York.
The former was completed in
sixty-two days — a record for
theatre-building as far as I
know — and the latter was
done in ninety days to be ready
for the scheduled appearance
of "The Rose Girl." Twenty
years ago it required anywhere
from a year to sixteen months
to erect a playhouse. I have
just completed two new thea-
tres in Cincinnati on a rush
order — the completion of one
being directed almost entirely
by telegraph from my New
York office. In July, I ex-
pect to sail for England to
construct a string of play-
houses for an English syndi-
cate.
"In the past decade the
theatre has evolved radically
in its shape, from the long,
deep horse-shoe of some 120
feet, to the wide, flat audi-
torium now used. What the
future will produce in this
respect depends to a large ex-
tent upon the nature of dra-
matic vehicles. As long as the
drama remains in its present
form the modern house has
reached a point nearing per-
fection, for its accommodation.
Various attempts at a further
refinement in the line of effi-
ciency have been made, such
as the revolving or 'table*
stage, but — on this side of the water at
least— they have proved unsuccessful.
"The Century Theatre in New York, is
one striking instance where the 'table' stage
was constructed and, although many thou-
sands of dollars ha^e been expended trying
to make it workable, it has never been used.
Heavy scenery and elaborate 'sets' often-
times cause the electrical turning device to
get out of order and break-downs at the
last minute have proved it impractical. Be-
cause of the strict rules of the stage
laborers' unions, the same number of stage-
hands are required and the small fraction
of time saved in a mechanical revolution
of the actors' platform is not worth the
added expense. 'What we are approaching
in playhouses is really a reversion to the old
Greek stadium idea. In its cycle of evolu-
tion the theatre is turning back to funda-
mental principles. Perhaps, step by step,
we shall again pass through the Eliza-
bethan, Victorian, Colonial, and other
stages of development, to a greater and
even more remarkable edifice for the drama
of the future.
[99]
Where Are The Favorites of Yesterday?
Actors Never Die; They Simply Fade Away When They Have Strutted Their Little Hour
By MARY F. WATKINS
THERE is a story about a great tra-
gedienne, who, because of ill-health,
had to leave the stage a few years
before the normal span of her career was
completed. When she was well again she
was too old, the world had wagged on
without her, no one wanted her. The sor-
row and disappointment turned her brain.
She went to another city, where she began
to pretend that she was still an idol of the
public. She convinced herself that it was
true, she spent her days in the galleries,
planning new costumes for which she could
never pay, her evenings dressed to receive
reporters who never came. At last she was
found dying in a tiny room of an obscure
pension, dressed in the velvet robes of
Marie Stuart. With her last breath she
protested that she must get to a dress re-
hearsal whjch must not be kept waiting.
Happily, this tale is not typical of the
actor's fate ; nevertheless, through the fabric
of its sentimentalism, are woven strong
threads of truth. Acting is at best the
most evanescent of the Arts. Its greatest
exponents, once they have strutted their
brief hour, must trust the burden of their
fame to the shifting memory of man. Even
with the motion picture doing its bit for
preservation, what can a flat black and
white shadow ever tell of the vivid per-
sonality, the finished technique, the thrill
of a subtle inflection, the ineffable charm
which makes a great actor or actress?
So they rely on our memory of them, and
how easily, to our eternal shame, we forget!
Beyond a sentimental retrospection now
and then toward the good old days and
those who peopled them, we are too busy
garnering new impressions to bother much
about yesterday. And there is always the
new generation standing jostling in the
wings. And even Shakespeare observed
that:
"The eyes of men,
After a well-graced actor leaves the stage,
Are idly bent on him that enters next."
JUST how complete a world in itself
is the theatre, the mere Lyman can
never know. When an actor once enters
the stage door, he can never emerge. To
be sure, his body may walk out for the
last time some day, but his heart, or at least
a vital part of his spirit stays behind to
sniff the dear odors of scenery, canvas, and
grease paint, to sit in the glare of the
make-up mirror, to exchange banter in the
green-room, for ever and ever.
And those whose bodies walk out, what
happens to them when they "simply fade
away"? Fortunately, the majority have
laid up their penny against a rainy day,
although there are frequent examples
where improvident lack of foresight, or
more likely, unstinted generosity through
lavish years, have created situations such as
has recently been the pathetic case of that
most charming person, Rose Coghlan. For
the lesser player-folk whose sun has set,
generous colleagues have established homes
where care and comfort and ease are as-
sured up to the very final curtain. There
is ai large home not far from Manhattan,
a happy, sunshiny old house looking over
a bay full of ships. The household is try-
ing to be gay, and they all say they are
very contented with their lot. But look
deep into their eyes — one finds the same
wistfulness that can be seen in the bronzed
faces of the gentle old sailors in their snug
harbor further down the road.
AND the others . . ? They are not
necessarily old, you know, in fact one
should not dream of mentioning age at all
in connection with any Thespian — but
those who, for one reason or another, have
found it wise and best, or unavoidable, to
become just ' "people" again ? They are
all about you. Probably, Marguerite
Gautier lives opposite your apartment, or
you sit next to Becky Sharp at church.
The dignified old gentleman buying a mut-
ton chop this morning may once have worn
the robes of King Lear, and doubtless, the
aunt of that darling baby in the park was
none other than a vanished Juliet. What
a zest this gives to our everyday existence,
how eagerly we should scan the faces of
the crowd. But after the novelty of their
new freedom wears off, there is not so
much zest for them.
To pursue, unimpeded, some cherished
hobby, to assist in the rearing of other
people's children, to write one's memoirs,
these are only pale ghosts of a real day's
work. So they search, search, search the
printed page, secretly, of course, for some
happy reminiscent mention of their names,
for some assurance that they are not for-
gotten. And sometimes, when the pressure
is too strong, they come back, if only for
the dear delight of saying good-bye once
more.
Through the busy years they have al-
ways dreamed so happily of this very time.
The Green Room, the Pullman smoker,
rang with the re-iterated . . "Well, when
I've got enough cash, I'm going to quit
this dog's life and enjoy myself . . . I'm
going to stop working before I have to, and
have ..." Are these words eaten in
bitterness, or fulfilled in joy? The odds
are uneven.
WITH Villon we plead desperately,
"Where are the players of Yester-
year?" for they are passing so quickly, be-
fore we really get to know them. Here
today, tomorrow they are gone.
One is tempted to philosophize with a
touch of morbidity. The mood is depress-
ing, the sands of Broadway seem to shift
and sink menacingly beneath one's very
feet. Glancing about at the winking signs,
we are assailed with an hysterical desire to
rush frantically from one theatre to an-
other; to stare hard at Margalo Gilmore
so that we sha'n't forget that innocent
smile, to hear Helen Hayes sing "Happy
Days" once more and imprint it on our
memories before she too is snatched from
our midst to a place by the fire-side. Let
us beg Ernest Lunt not to even risk leav-
ing the theatre to go home for dinner, let
us boldly rush in and lock Richard Bennett
in his dressing-room, removing the key. By
all means we must prevent Doris Keene or
Laurette Taylor from approaching a Steam-
ship Office. The movies cannot have caught
them all, old age can claim but a few of
them, while surely, surely, the Comedy
cannot be ended for any of them!
Where is Annie Russell, Percy Haswell,
Marie Tempest, Viola Allen, Olga Nether-
sole, Robert Edeson, Elsie Leslie, Forbes
Robertson, Ellen Terry and the divine
Sarah ? — to mention only such names as
spring casually to mind at a moment's de-
mand.
COME, like Maxine Elliott, are trying
>J out some dear experiment in domesticity.
She, you know, has a quiet little house in
Herefordshire, where she is never lonely or
dull because of her sister Gertrude's chil-
dren, especially Blossom, her favorite.
Some marry with acumen, as well as,
it is to be hoped, with love, and become
absorbed into new careers as varied and
diverting as that which they have aban-
doned, as in the case of the English Vesta
Tilly, who is now Lady de Frees.
There are others who come back spor-
adically, unable to make any farewell really
the last, but between times carefully wipe
off all trace of grease paint, and play like
children. William Gillette has a wonderful
house-boat as his toy.
Again, others go back to the town of
their birth, and are never heard from more,
as the glorious Emma Fames, whose beauty
and voice dominated many a Metropolitan
season, now hiding her light under a
farmer's bushel, in a remote Maine town.
Other wise ones retire while in the very
fullness of their powers, and perhaps go
in for production or science of allied activi-
ties, as has Maude Adams, who heads a
special laboratory for the development and
perfection of a phase of the motion picture
industry.
We might easily name you a score
more, but why? They do not seek pub-
licity in their new roles. But all of them,
great and small, busy at hum-drum tasks
or reclining restlessly on their beds of
well-earned laurels, are listening — listen-
ing— eagerly for the broadcasting of our
cry of, "Where and how do you fare?"
on the radio of our remembrance. If
their answer comes, "All's well !" the
chances are there will be a postscript,
"Will be back next season!" but from
some there will be silence.
[100]
Theatre Magazine, August, 1911
Sir Anthony Absolute (Tyrone
Power) and Captain Absolute
(Robert Warwick).
Captain Absolute and Lydia
Languish (Violet Heming).
Bob Acres (Francis Wilson)
(Left to right)
David (James T.
Powers), Sir
Lucius O'Trigger
(John Craig), Mrs.
Malaprop (Mary
Shaw), Sir An-
thony Absolute
(Tyrone Power),
and Fag (Henry
E. Dixey).
THE PLAYERS' CLUB ALL STAR PRODUCTION OF "THE RIVALS"
Enter the Monkey Man
Carefully Manicured Stage Hero Quite Eclipsed by More Primitive Types
By CAROL BIRD
ARE we experiencing an atavistic
throw-back? Are we reverting to
primordial instincts? Is civilization
boring us, and do we long for things prim-
itive? Are these suppressed desires creep-
ing out in even our entertainment ? Certain
recent Broadway plays seem to reflect a
tendency to glorify life as it was lived in,
say — Cave-Man days? Indeed, almost
have we become Darwinian in our play-
taste. Monkey-men are jibbering their
way into the theatrical stronghold. The
uncouth male — the Roughneck — is having
his innings. He it is who is the Idol of the
day. Either the Monkey-man or the Cave-
man. It's a toss-up between the two.
Take "Tarzan," for instance! And
Liliom! And the latest of all these "The
Hairy Ape." It certainly would seem that,
at least, for a certain space of time, the
formerly popular stage hero will remain in
the background. The handsome, suave,
well-groomed leading man — he of the
magnetic personality and beguiling ways —
is out of the picture, at least, temporarily.
He is gruel compared to the beefsteak
hero of the day. He is febrile. He is in-
effectual. He is namby-pamby-sugar-candy
in contrast to the Hell s Bells type. How
strange he would appear standing up, in
his dress-suit, with his manicured nails and
his polished pumps beside the new Male of
the theatrical species — the Hairy Ape, for
instance. Or Liliom! Liliom wore the
clothes of a roustabout, a rowdy, a tramp.
What would you expect of a: merry-go-
round barker? He used rough language,
and he liked his women weak and his
liquor strong. And he certainly was popu-
lar with the ladies. Of course, it is true,
that his enamoritas were not accustomed to
being wooed by white-collared youths who
smelled of lilac toilette water and who
parked themselves at the Ritz every day.
But, nevertheless, even though he did not
possess social polish nor a fastidious ap-
pearance he won high favor with those of
the opposite sex. And, he was the Hero
of the play!
THE Hairy Ape doesn't even wear the
clothes of a rowdy. ' In fact, he wears
scarcely any clothes at all. He is a stoker,
and the firemen's forecastle of an ocean
liner isn't exactly the proper place to do
the House-of-Kuppenheimer act. ,He is a
rough, greasy, blasphemous devil. He is
ignorant, illiterate. Using his own words,
he is a dumb-bell. He says: "Aw gwan,
ding-blast, dod-burn you" (we substitute
and expurgate, fearing editorial wrath if
we stick to actualities) "watcha pull all that
tripe for?" 'Tripe' means talk. He re-
fers to women as skirts — a nasty little
underworld appellation. He throws a
shovel at a lady, and tells her to go — well
— straight to perdition. He has a counte-
nance so horrible that, quoting a stoke-hold
companion of the Ape's, he "scared the
skirt outa a year's growth," when she only
so much as glanced at his face. Every
one tells him he looks like a hairy ape.
And he does. He visits the Zoo, and gets
on speaking terms with a huge gorilla.
When he asks the gorilla a question, the
big animal rumbles a reply, so, evidently,
the beast and the human ape speak the same
language.
PONDERING over this question of the
monkey-man and his ascendancy in
things theatrical, we ventured to seek out
the impersonator of "Yank" Smith, the
stoker, the protagonist of "The Hairy Ape,"
Eugene O'Neill's comedy of ancient and
modern life. We intended to ask him
right out: Why is the Ape-man getting
such a hold in the theatre? Why is he a
present day type? Why is he crowding
the orthodox stage hero from the boards?
We found "Yank" Smith (Louis
Wolheim) in his dressing room at the
Plymouth Theatre making up for his role
as the Hairy Ape. Having been born in
a dressing room, as it were, we thought we
were immune to startling make-ups. We
have seen witches, Mr. Hydes, Svengalis,
mad-men, snarling hunch-backs, malevolent
Strindberg ladies, devilish magicians, and
all sorts of wretched ghouls in the process
of being created before make-up mirrors,
and never twitched an eyelid. But we
had yet to have our serenity shaken by a
monkey-man in the making. After taking
one glance at the Hairy Ape we were in-
clined to cover our face with our hands,
and flee, as did Mildred Douglas, the
white-gowned lady in the play. But genial,
kindly Arthur Hopkins sat beside us on a
couch, and, feeling that he would prove a
sure protector, we relaxed a bit, and watch-
ed the Hairy Ape apply his make-up. He
wore a grimy, woolen undershirt, a torn,
soiled old pair of trousers, and heavy, dusty
old black brogan shoes. His hands were
dirty, his nails were dirty, and his face was
all smeared up with streaks of black, a
sickly, streaked pink, and a verdigris green.
His hair was ruffled and upstanding and
shaggy. The black hair on his powerful
chest and arms and neck was much in
evidence.
HE looked every inch a stoker. We
asked him how long it required for him
to make-up, trusting that he had already
done all the terrible things he could to his
face and that there would be no other
added horrors.
"Bless you," boomed the Hairy Ape, "it
takes me only about ten minutes. In fact,
I could go on without any make-up. This
part doesn't require it. All I need to be
is rough and dirty in appearance. Now if
I were one of your leading men — the type
you want to contrast me with in my role
of the Hairy Ape, I'd probably be fiddling
around here for a couple of hours. Hon-
estly, I never met any one so meticulous
about make-up and personal appearance as
the average leading man — the average stage
hero. Why, it would bore the life out of me
to fritter away several good hours before a
mirror, amid a whirl of cold cream and
rouge jars. One works hard enough on
the stage without putting in so much extra
time twirling a powder puff off stage."
The Hairy Ape smeared some black grease
over his already smudged-up hands, and
answered a question:
"Yes, I do believe the husky and more
virile type of man is coming into favor as
the highlight of a cast. The public is tired
of froth. Tired of pretense. It wants
realism. Actuality. It does not particu-
larly care whether a man is good looking
or nattily attired as long as he has charac-
ter. And the public appears to care more
now for a play with a big idea — a meaty
play — than for a stunning appearing lead-
ing man. Yes, the play's the thing these
days! Why, when I first read this play
of Mr. O'Neill's I never stopped to think
that I was scheduled to look like a human
monster in it! I merely saw the thing as
a whole — as a play — as a stage vehicle,
and myself as merely a protagonist — a
character who would voice the written
words and ideas of the playwright.
AND at first I had misgivings! I said
to myself: Dare I undertake this im-
portant piece of acting — I, who have played
only six other roles in my life ; I, who have
only had six years' experience on the stage.
And so I told the playwright of my doubts.
I frankly said to him :
"This is a thunderous thing. It rings
like bells of brass! It clangs! It has stuff
of iron. Why, an actor, no matter how
talented he be, would have to reach up
and grope to grasp this thing. It sweeps
me off my feet. It leaves me breathless.
And it leaves me wondering whether I
ought to undertake it. But I'll try it out.
And I'll try my best to grasp the spirit
of your play. But, after a few weeks of
rehearsal, if I appear to be unsuited for
the role, do not hesitate to tell me. I will
not mind the time wasted."
Then, after our usual tactful fashion,
we blurted out :
"How did it happen that you, with your
brief stage career, were selected for this
thunderous thing, as you call it?" The
Hairy Ape reverted to his stoker parlance:
"Say, take a slant at this map! Doesn't
this face count for something? My Lord,
is this layout designed for much else than
a role of this kind? Be honest. You
don't think I could exactly play a Prince
Charming role, do you? It seems that
Mr. O'Neill had watched me in a previous
(Continued on page 120)
[102]
Tktatrt Magatine, August, igu
Alfred Chenej Johnston
MARTHA MANSFIELD
After deserting the motion picture world for a season in vaudeville, Mi<ss Mansfield K apain lending her rare
beauty to the screen. Her next picture will be "The Queen of the Moulin Rouge."
[103]
Pattf s Castle—A Shrine of Art
Craig- Y-Nos to Perpetuate the Memory of the Great Singer
CRAIG-Y-NOS, the beautiful home
of the late Adelina Patti, near the
mountains of Breconshire in South
Wafes, with its picturesque lodge, miniature
By CHARLES H. DORR
The castle of Craig-Y-Nos is built of
stone and is principally of the Tudor style
of architecture, a portion of it being cas-
tellated, with clock and flagstaff towers,
the former including
a chime of bells.
In the background
rises massive Brecon
Mountain towering
high in a picturesque
country, and from
its heights a com-
manding view is ob-
tained of the vast
estate of Craig-Y-
Nos and adjacent re-
gion. Here among
the hills and valleys
of this inspiring
country, Baroness
Cederstrom (Mad-
ame Patti) lived for
many years and en-
tertained numerous
friends who jour-
neyed from far dis-
tant land to the por-
tals of Craig-Y-Nos.
The castle with
its gables, towers,
oriels and bays, a
landmark in this his-
toric country of
South Wales, is ap-
front of the castle is a dolphin and stork
bronzed fountain surrounded by well-
trimmed lawns and bed of flowers. The
main entrance to the castle is through a
Gothic stone doorway leading into the ves-
tibule, with light filtering in from a sky-
light in the roof, and with elaborately
carved oak ceilings. Passing through the
entrance hall with its half glazed oak doors
the visitor is ushered into a suite of recep-
tion rooms, including a boudoir, music and
billiard room, and the drawing room, on
the northeast corner of the castle.
The library of Craig-Y-Nos is entered
from the hall and three of the windows
command glimpses of the mountain scenery
and the highly cultivated grounds of the
estate, dotted with gardens studded with
rhododendron, Hawthorn and other ever-
greens.
Through a plate glass door one enters
into the palm court overlooking the river
and valley, with arched roof and walls dec-
orated with eight panels on canvas repre-
senting birds, games and flowers. Adjoin-
ing this court is the Craig-Y-Nos conserva-
tory.
One of the most interesting features of
Craig-Y-Nos is the miniature theatre at
the northwest corner of the castle, which is
entered from the billiard room through two
pairs of oak-panelled, double doors. The
auditorium is decorated in panels of gold
on blue ground, with geometrical and floral
Craig-Y-Nos Castle, the Welsh
home of the late Adelina Patti,
who spent about $500,000 on
the place.
theatre, library and ballroom, has
been purchased by the Welsh
Memorial Association, and will be
made a shrine to perpetuate the
memory of the gifted singer who
in by-gone years, thrilled thou-
sands with the wondrous melody
of her voice.
Madame Patti's castle in Wales
is situated in the upper part of
Swansea Valley, a few miles from
the source of the River Tawe,
and is in the heart of romantic
mountain and valley scenery at
Breconshire and within the par-
ishes of Ystradgynlais Higher,
Glyntawe and Traian - Glas,
quaint Welsh names, but doubt-
less, familiar to the diva and her friends
who assembled there to partake of her hos-
pitality and to enjoy the keen bracing air
of this highland country, with its vistas of
lake, river and winding valleys.
THE MINIATURE THEATRE OF CRAIG-Y-NOS
Forty feet long by twenty-six feet wide, this tiny auditorium holds 150 persons and
has often been the scene of brilliant entertainments.
proached from the main road between
Swansea and Brecon by a lofty, arched car-
riage entrance, guarded by a stone lodge
containing three rooms.
In the middle of the carriage sweep in
designs, and is forty feet long by twenty-
six feet wide and twenty-four feet high.
The massive cornice is supported by ten
Corinthian columns with gilded capitals
and bases.
[104]
Tkratre Magazine, Auguit, lyii
THE AMATEUR STAGE
By M. E. KEHOE
(Above)
This scene from Lawrence Langner'i "Sire de Male-
troit's Door," as presented by the Poughkeepsie
Community Theatre, illustrate! the sense of height
and dignity, possible on a small stage. Stonegray
curtains and flats were combined, the door was a
bright green and touches of deep orange were intro-
duced in the shields and tapestry (burlap painted
with scene paint and flecked with gilt.) The setting
by Frank Stout
(Center)
A successful combination of
gray curtains and flats, a
stained glass window of
oiled paper, which shed an
opalescent light onto the
stage, a high Italian mantel-
piece, a dull gold screen, a
few pieces of simple furni-
ture, and you have the rich
and pleasing setting which
Frank Stout gave to this
scene from "Daddy-Long-
Legs" at the Poughkeepsie
Community Theatre
Scene from Francois Coppee's "The Violins of Cremona," produced by the
Harvard Dramatic Club, which several years ago inaugurated a new policy,
in accordance with which only plays by foreign authors, not previously given
in this country, are selected for production
[105]
The Poughkeepsie Community Theatre
An Outgrowth of the Vassar Workshop
rrWE Poughkeepsie Community Thea-
tre, a long cherished ideal of Miss
•*• Gertrude Buck, Professor of English
at Vassar College, was founded by her in
the fall of 1920. It was, in a sense, the
outgrowth of her course in dramatic writ-
ing, for this group, organized as The
Vassar Workshop, had gathered some very
simple stage equipment and was producing
the original plays of its members when it
was decided to turn over to the City of
Poughkeepsie this equipment as the basis of
a Community Theatre and to trust to this
Theatre the semi-annual production of the
best Workshop plays.
The Theatre from the first, save for this
co-operating spirit with the Workshop, be-
longed to the citizens of Poughkeepsie, not,
as is the common assumption, to Vassar
College. It is run for and by the citizens,
and when members of the college group
participate, as they most generously do, it
is merely as representatives of one unit of
the City.
T'O the surprise of even the most hopeful,
' the project of the Theatre met the
warmest welcome. Poughkeepsie, with a
reputation for conservatism, evinced
marked enthusiasm for this new factor in
community life, an enthusiasm which de-
veloped with each production. A home was
offered the Theatre in Vassar Brothers In-
stitute, a roomy building with an audi-
torium seating five hundred, erected in
1883 by one of the Vassar family and dedi-
cated to the Arts and Sciences. The en-
dowment of the building precluded any
sale of tickets at its doors, but, by a system
of yearly supporters' tickets, obtainable by
donations of unstipulated amount, the
budget of the Theatre was met.
The original schedule of the Theatre
called for a monthly change of both the
evening or adults' bill and of the children's
bill; the former playing the first two
Fridays and Saturdays in the month, the
latter every Saturday afternoon. These
strenuous requirements were valiantly met
by Miss Harriet Miller, the Director, a
1921 Vassar graduate and Workshop mem-
ber, and by the end of the year the Thea-
tre was an unquestionable success, assured
the loyalty of all factions in the Com-
munity. With great optimism Miss Buck
planned for the season to come. Through
the generosity of Charles Rann Kennedy
and Edith Wynne Matthison, supported
by the pupils of the Bennett School, a bene-
fit performance -of "Electra" was presented
in June, a charming production given on
one of the beautiful estates outside of
Poughkeepsie, and yielding the Theatre a
most substantial sum. Due to an urgent
call abroad, Miss Miller had handed in her
resignation, but the services of Mr. and
Mrs. Frank Stout, as co-directors had been
obtained for the coming season. Then,
when all was arranged, calamity came, for
in August, worn out by her ceaseless en-
deavors, Miss Buck was stricken with an
illness which ended in her death.
HTHE greatest tribute to her organizing
power was the fact that the Theatre
managed to survive. And survive it did.
The community rallied to the support of
the new directors and the second season
has developed much as planned. Features
of it have been the decided expansion of
the scenic work under the direction of
Frank Stout, and the coincidental instruc-
tion of the group of young boys who assist
him both in construction and scene shifting.
An innovation was the establishment of
two dancing groups with instruction offered
gratis to the children of the community.
The leader of one is a Vassar girl, a pupil
of Chalif, and the other a local girl ; both
donate their services. A marked improve-
ment in lighting is due to the volunteer
services of a young electrician who, after
a strenuous day's work, still finds the spirit
and energy to give his best.
The Theatre -has, likewise, tried to ex-
tend its work beyond its actual walls, to
further its value to the community. Thus,
it gave an extra performance of its produc-
tion of Jean Webster's "Daddy-Long-Legs"
at Vassar College for the benefit of the
Vassar Endowment Fund. The combina-
tion of a play about Vassar, written by a
Vassar graduate, presented for Vassar by
an organization that is the outgrowth of
Vassar made the occasion a unique one. The
Community Theatre also presented one of
its bills at the Hudson River State Hospital
for an audience of inmates, and likewise
journeyed with that quaint little one-act
play, "Joint Owners in Spain," into a rural
district for the benefit of maintaining a
visiting nurse for that locality.
TN the Children's Theatre, due to a desire
to avoid hasty production and an over-
taxing of the children, the number of bills
has been reduced this year, but as each bill
is presented six times, more children are
given the opportunity of seeing every play.
Tickets for these performances are dis-
tributed gratis through the schools. Com-
munity singing is held between the acts
under direction of volunteer song leaders,
and there is always a hostess with her own
group of assisting ushers, to maintain order
at the matinees. Two children's plays have
been given thus far, both premiere per-
formances. The first was "Helga and the
White Peacock," a charming little fantasy
by Cornelia Meigs, now being published by
the MacMillan Company; the second,
"How the Princess' Pride was Broken,"
by Evelyn Emig, an unpublished dramati-
zation of one of Hans Andersen's delight-
ful tales. Both were distinctly worth-
while and unquestionably popular. The
matinee audience inevitably begins gather-
ing some two hours before the performance,
and, at rough estimate, six thousand chil-
dren have been admitted during the season.
That the evening performances are popu-
lar is evidenced by the fact that for the
last two months crowds up to two hundred
have been turned away at every perform-
ance. These crowds are, however, not
made up of supporters but of those who,
due to a rule of the Institute which says
that after ten minutes before a perform-
ance the public at large must be admitted
if seats are left, have, waited hopefully if
not altruistically. It has been one feat to
arouse this interest, but when these crowds
become active supporters the future of the
Theatre will be assured.
The Harvard Dramatic Club Introduces Foreign Plays
(CONSIDERABLE interest has been
aroused in the East by the carrying
out of a rather unusual policy, which was
put into effect a few years ago by the
Harvard Dramatic Club; that of produc-
ing only plays by foreign authors, not pre-
viously given in this country.
In line with this policy they recently pro-
duced "TheWitches' Mountain," and "The
Violins of Cremona," both of which were
received with enthusiasm in Cambridge and
Boston, as well as in the neighboring towns
of Lowell, Lynn and Wellesley.
Translated from the Spanish, "The
Witches' Mountain," by Julio Sanchez
Gardel, is representative of the Argentine
National Theatre at its height, since it is
practically the last of the well-known South
American "gaucho plays." The Club is
a pioneer in this field, since it is the first
Argentine play to be given in this country.
"The Violins of Cremona" was a trans-
lation in verse of Francois Coppee's play,
by a recent Harvard graduate and for-
mer member of the Harvard Dramatic
Club.
Club approaches an "all student
production" as nearly as it is possible to
do so. The scenery is designed, constructed
and painted by students; the acting is en-
tirely by members; the lighting is worked
out by undergraduates and the finances
managed by the students, the productions
more than paying for themselves.
The only outside help comes from a pro-
fessional coach who picks and trains the
cast, the plays being selected by the Execu-
tive Committee of the Club, advised and
aided by Professor George P. Baker.
[106]
Theatre Maoasine, August, 1921
Under the direction of Pro-
fessor Samuel A. Eliot,
many noteworthy prodnc*
tions have been given at
Smith College.
The two scenes (Upper and
Center) from Brirux'i
"False Gods," are illustra-
tive of his carefnl attention
to every detail of setting
and lighting.
(Left)
The French Department of
Smith College celebrated the
tercentenary of the birth of
Moliere by giving two of
his plays: "Le Halade Im-
aginaire," and The Cheats
of Scapin," in which both
students and faculty par-
ticipated. Between the two
plays the bust of Moliere
was crowned with a laurel
wreath.
The Drama At Smith College
[107]
Young women of Jackson-
ville, ia The Fountain cf
Youth, a dance drama i!.-
picting the old legend 1 i
Ponce de Leon, in th :
Florida Historical
Pa:rear.t
The Woodward Studio, Jacksonville, Fla.
Community Dramatic Activities
By ETHEL ARMES
Community Service, Incorporated
THE Florida Historical Pageant pre-
sented at Jacksonville during Easter-
tide was a great community achieve-
ment. It aroused a civic spirit and
patriotism throughout the state, welding
the cities, towns and counties taking part in
one common interest. From beginning to
end this dramatic review of Florida's his-
tory was singularly beautiful and impress-
ive. Out of its planting has come a new
impetus for the study of history, art, litera-
ture, music and drama and a realization
by the people of Jacksonville and the other
Florida communities concerned, of treas-
ures— riches hitherto undreamed of — of
their own hearths and homes.
Thus it has come to mark in greater
degree than most pageants do, an important
point in the history of the city and equally
of the state. Three thousand actors, men,
women and children, took part. It was
the largest and most artistic spectacle of its
kind ever attempted in Florida. An extra-
ordinary enthusiasm attended the entire
production.
The people of Jacksonville themselves
initiated this great pageant. Mr. Lee
Guest, president of Jacksonville Community
Service, was at the helm throughout. The
Pageant Association, of which Rev. Mel-
ville E. Johnson was president, worked
through three large community units: the
Community Music Association, Community
Leagues, Community Players and all
organizations in Jacksonville, co-operating
with the State of Florida. Nina B. Lam-
kin of the Dramatic Department of Na-
tional Community Service, was the pageant
director. Miss Lamkin adapted the his-
torical material compiled by the local His-
tory Committee for dramatic production.
Authentic drawings of the costumes of
the early Indians of Florida were secured
from the Smithsonian Institute, Washing-
ton, D. C., together with accurate and corn-
Mr. Frank Widemar, State's Attorney of
Florida, in the character of Ponce de
Leon, in the Florida Historical Pageant
prehensive descriptions of ancient Seminole
ceremonials. The Florida Historical So-
ciety and the Jacksonville Public Library
supplemented every detail of the work.
Mr. J. Oliver Brison of the Community
Service Bureau of Community Music, as-
sisted Miss Lamkin.
Green Corn Festival, a picturesque
ceremony of early Indian life in the
South, opened the historic cycle.
All of the ceremonial and dance fea-
tures, the poetic prologues and the various
interludes, woven like scarlet and gold
through the fabric of the pageant, lent a
variety and a charm to the pageant pattern
quite lifting it from the heavy historic. For
example, there were the beautiful legends
of the Spanish Moss and the Cherokee Rose
interpreted in rhythmic dances and panto-
mime. Other flowers too, of Florida :
magnolia, yellow jasmine and water
hyacinth, were pictured by maids in cos-
tumes like the flowers designed under the
direction of Mrs. Lee Guest, Mrs. E. R.
Hoyt, Miss Marjorie Currier, Mrs. Frank
Genovar. The Fountain of Youth, con-
ceived by gracious dancing maidens in mist-
like draperies, was very stuff of dreams.
The pageant was given in Florida's most
enchanting month — April — on the banks
of the historic St. Johns River. All through
the groves there in the wide expanse of
ground at the foot of Edgewood Avenue,
the trees hang thick with moss. Weird
and fantastic they rise from the white sands
in striking silhouette against the blue
water. Never in all America was there
such a place for pageant scenes.
The back stage was the river. Here the
boats landed; the Indian canoes at first,
then old Spanish caravels, French and
English ships of ancient times. The horse-
men came out of the palms, out of the
forest, Indian Scouts and guides and
Spanish riders. Tiers of seats were built
on a rise in the ground. The days were
ideal — golden weather.
READING parts in the cast were taken,
wherever possible, by direct descendants
of the historic character portrayed. The
part of Governor Duvall, first governor of
Florida, was taken by his direct descendant,
Pope Duvall. A beautiful young girl, Miss
Creel Tinder Durrance, who danced the
Inca Princess dance, was a descendant of
Sir Francis Drake. The part of the Indian
Chief, Ucita, was taken by R. L. Pullen;
that of Ponce de Leon by Frank Widemar,
State's attorney; Narvaez, by William
Cordner; Juan Ortiz by Fra-ncis String-
fellow; De Sota by Plant Osborne; Jean
(Continued on page 128)
[108]
Theatre Magazine, August,
Paul Grenbraux
FASHION
EVER since Miss Ethel Clayton first appeared on the screen we have been the
greatest admirer of her unwavering taste in clothes. She has played in clever
modern pictures, affording opportunity for the display of a wide range of
frocks and we never remember when that taste failed us in any way. Details of
hats, of furs, of jewelry, of shoes and stockings, were always charmingly worked
out as well.
We take pleasure, therefore, in presenting Miss Clayton in this ensemble so
exquisitely exemplifying our contention. Figure the frock not as white, but as the
palest pearl grey, and of chiffon beaded in the same tone. The skirt of it is long —
very long. Add a hat of grey chiffon, grey-feather-rimmed, and grey kid shoes and
hose, and you have a costume of striking simplicity and beauty.
[109]
THE CHARMING COMBINATION
OF MARILYN MILLER AND
THE FRENCH FROCKS OF
BOUE SOEURS
Boue Soeurs rank supreme in thii
type of hand-embroiderc'l frock,
done in their French workshop! on
the other side. Here peach-colored
taffeta is combined with hand-em-
broidered lingerie aproni and
bands, and edgings of filet lace,
the whole frock answering to the
sparkling title of "Bengale"
And "Libellule" is the name of this gown, which
suggests at once the bright summer dragonfly and
his shimmering blue wings in its tones of blue and
silver metal cloth flounced with metallic lace, and
garlanded with hand-made flowers
Our third frock is called "Coppelia," connoting the
idea, we take it, of "on with the dance." There is
"joy nnconfined" certainly in its bouffant side dra-
pery, and its coloring of rose taffeta and gold metal
lace, embroidered with hand-made colored roses
[110]
Thtatre Magaiiiu. August, 19*1
GRACEFUL FEATURES OF
THE MONTH IN SLEEVES
AND SIDE DRAPERY
Sure-fire for grace
lief in thii draped
gown of black crepe,
worn by A i 1 e e n
Hamilton of "Coed
Morning, Dearie",
whoie large loose
ileevet heavily
weighted with
fringe, form a cape
of Spanish effect
White Studio
All the pastel tints are subtly blended in
the gown of orchid chiffon worn by Sidney
Shields, shortly to go on tour in "The
Hindu." Wide crushed satin ribbons in
pastel shades are veiled beneath the bod-
ice to emerge as sash streamers at the
sides: the beaded blossoms on the ikirt
are also in pastel hues
Adele Holland, who furnishei
the youth and beauty for "Part-
ners Again/* wears in it this
very lovely coat of gray faille,
the feature of which is the
huge sleeves elaborately em-
broidered in beads of cut steel
[111]
In Place of the Commutation Ticket
Reliability of Modern Cars Makes Country Life Possible for Actor
The new Six-40 Moon touring car is not
a so-called "little six," but a husky man-
•ize car of distinctive appearance, yet
compact and ingeniously fitted, and of-
fered at a price within the reach of the
average pocket-book.
HOW times have
changed! It
seems but yes-
terday since the popu-
lar concept of the stage
celebrity's life was, nl
that it was one of con- ill
tinual eating, drinking,
and gaiety in the hotels
and restaurants of the
theatre district. One's
name in electric lights
must, according to pro-
vincial ideas, demand
one's presence where
the lobsters, the bird
and the bottle held
sway.
How different from
the fact!
Down Long Island
way, up through West-
chester, you will find
houses big and little,
some with broad acres
of land and many a one
with its front lawn
and back yard, with its
flower patch or vege-
table patch, but always with its garage.
While visiting in Bayside, Long Island,
last Autumn, 1 was rather impressed with
the kindly old handiman, spectacled and
overalled ; his touseled gray hair pushed
back now and then by a hand seamed by
chores. It was Lightnin' in real flesh and
blood. It was Frank Bacon himself en-
gaged in doing odd jobs round his modest
place, but a short way from the shores of
Long Island Sound. It really would be
hard to visualize Mr. Bacon, surrounded
by ban vivants, waving a champagne glass
This rear view of the latest Chandler car, cne Koyal Dispatch, discloses a
serviceable trunk rack with a row of vertical nickeled bars that afford
protection for the body finish.
on high in a toast to Lord knows what.
If one is in the neighborhood of Man-
hasset or Port Washington, chances are
strongly in favor of meeting on the road a
kindly gentleman, , of middle age with all
of the ear marks of the banker — a serious
business man stepping briskly along, en-
gaged in a constitutional ; anyone round the
place would tell you that it is Henry
Dixey, the same Henry Dixey that has for
years set a standard of seriousness in his
work that would be hard to beat.
Any fine morning if one will station
A very sporty new model of a Loco-
mobile 4-passenger with disc wheels and
the novel feature of a windshield for the
occupanta of the rear seat, which instead
of being an accessory ii made as an
integral part of the car.
himself on the North
Hempstead Turnpike,
one will most likely see
a stern looking chap of
not too serious mien,
holding on for dear life
to a pipe of huge size,
and driving a smart
roadster dangerously
near the speed limit.
It would most likely
be Frank Craven whose
"First Year" should
convince anyone that
his photographic accu-
racy in depicting the
minor problems of do-
mestic life was gained
at first hand.
Down in Great
Neck, one may fre-
quently observe a
splendid type of coun-
try gentleman, who
from all outer appear-
ances had but slight
contact with the the-
atre or its activities, a
type which, by the way,
is becoming more noticeable every day in
our extra urban communities. If one
looked at him more closely, and is at all
familiar with "Who's Who," he would
discover that this mild person is none other
than George M. Cohan.
While in Great Neck, a drive of half
an hour would disclose such men as Jack
Hazzard, Arthur Hopkins and probably a
score of others whose names are as well
known as New York itself, and so with
the other phases of the stage, John Philip
Sousa, as much interested in his horses
[112]
To add comfort and snap to short motor trips are these
accessories: a cleverly contrived hat-box, a patent leather
carry-all, and a soft light-weight Vicuna rug in the con-
trasting tones of blue-grey and tan. From B. Altman & Co.
A front view of the Chandler Royal Dis-
patch showing the wind deflectors, the dis-
tinctive aluminum steps, and the smart touch
achieved by the auxiliary wire wheels car-
ried on either side.
and cows, his beautiful place
on Manhasset Bay, Port
Washington, as any farmer
might be. Kubelik not only
lives the part, but dresses the
part of a Long Islander of
fifty years ago. His place at
Sands Point is both modest
and retiring and his presence
in the neighboring village of
Port Washington never pro-
claims the great artist that he
is. One day, quite recently,
being in need of some violin
strings, he entered the local
drug store which carries a
miscellaneous stock of things,
and asked to see some E
strings. The proprietor's son,
who, by the way, is musically
inclined, when the purchase
was made, addressed this mo-
dest looking customer politely
but very inquisitively, "You
play the violin, I suppose?"
"Yaas," said the customer,
"I feedle a leetle beet." And
there is no doubt that he does.
And so, up through West-
chester and for that matter
in every suburban community
around New York, you will
find the great men and great
women of the dramatic and
concert stage, living lives as
normal and as quiet as those who have for years been their critics.
If one were to inquire into the real cause of this great trans-
formation in the lives of the professional people, one would
immediately discover that the easy access to suburban places as
provided by the motor car, has given these men and women, whose
lives are arduous ones, the opportunity of getting away from the
city, which in most cases, they detest. It may surprise our friends
from beyond the Hudson, when we say that it is rarely indeed
one will see the prominent actor or actress participate in the night
life of New York. The bankers, lawyers and doctors of both
sexes, business men and business women, would be found in the
night places much more frequently. When after the performance
the motor pulls up to the stage entrance, one can hear instructions
given to the driver, in always the same fatigued but determined
tone, "Home." .
It speaks well indeed for the reliability of the motor that the
actor or the actress can use it at all in going to and from .the
theatre. The average man or woman with a business engagement, if
unfortunate enough
__^^^^^^^^^Bi^te, to be late, would
keep but one or at
the most a few people
waiting, whereas the
man and woman of
the stage would keep
thousands waiting.
So do we find people
of the stage as the
ones who are most
insistent on design
improvements, their
cars are usually the
last word in color,
line, etc., but reli-
ability must come
first with them, for
on the reliability of
the motor is depen-
dent the patience of
a multitude.
Other indispensable accessories for the smart motor are the patent leather
bags for an extra hat, the individual cushion plaided in black patent
leather and grey suede, and the leather thermos cases, in pint and quart
sizes, with their gay enameled bottles and their food containers. From
Mark Cross.
[113]
Theatre Magazine, August, 1921
Of the many lovely homes in
the Professional colony at
Great Neck, that of the pop-
ular singing comedian stands
out because of its simplicity.
Its delightful doorway is one
of its chiefest charms
The Home of John
Charles Thomas
Photos: John Wallace Gillief
[114]
Theatre Magazine, August,
Where Rita Weiman Sets
Up Her Household Gods
Decorations by Watterson Lowe
The picture at the end of the room, "The
Grim Comedian," is an original painting by
Albert Herter, used in Mill Weiman's photo-
play of the same name.
Rita Weiman in the studio room where she writes
the plays and scenarios that make her well known
to theatregoers. She wears her "work" clothes —
a brocade Chinese coat and trousers.
Perched high above surrounding roof tops, Rita Weiman's New York apartment commands
a fascinating view of the East River, which she hat cleverly preserved by hanging jade net
curtains at the windows because that color has a trick of not obtruding itself on the eye.
Neutral tones form the background in her living room which depends for in high lights
on the brilliant flashes of color in accessories and hangings.
[115]
The Promenades of Angelina
She Promenades to the Washington Mews, the Quarter of the Artists, and Finds Smart
Bohemia Ensconced at the David Bispham Club
Drawings by Art Snyder
I HAVE been amusing myself
greatly these past weeks, what
with the new summer shows and
the roof gardens and trips out of
town over Sundays. But on looking
back it seems to me I have been
spending the better part of my time
at the David Bispham Club.
That is the Club created recently
in memory of the late David Bispham
. . great artist and old darling that
he was . . who died just a year ago
this August. . . It was started to
discover and foster promising young
American talent of any kind what-
soever, musical or dramatic or liter-
ary . . see that it gets a hearing and
so on. . And besides that it was to
be just a jolly informal place where
amusing people could drop in to
lunch or tea or dinner and be assured
that there would be amusing people
also to meet and play round with. .
A gay plan of that sort is quite
simple on paper, but try and work it
out actually. .
And yet, luck being with the
founders, the scheme has turned out
just as planned . . I'm not going to tackle
the working end of it here . . the promot-
ing of talent and the concerts and exhibi-
tions and so on . . but just the social end,
though as a matter of fact the one dove-
tails with the other. . And as far as the
clubby end goes, it is a jolly place, the
David Bispham Club . . not only jolly,
but jolliest. . The jolliest place of its sort
in town. . There is informality, the right
kind, that goes with breeding and good
manners . . one does meet amusing people
. . in short, it is a real club, which is all
the more extraordinary, considering that it
is available for women.
Most clubs for women are so
deadly, "or don't you think
so?"
I used the word "luck"
above. . But every true Freu-
dian knows there is no such
thing. . So shall we substitute
the combination good-manage-
ment to account for the club's
success. These are the ingre-
dients, as nearly as I have
figured them out. .
The setting is right to begin
with . . the former studio of
Paul Manship, down in the
Washington Mews, right back
of the Square, and opposite the
studio of Mrs. Harry Payne
Whitney. That is, it is in
Bohemia and yet smart. Per-
sonally I do like my Bohemian-
ism mixed with a bit of chic,
don't you? Bohemia, with
porcelain fitted bathrooms in
The David Bispham Club, down in the Washington
Mews, presents a gay and inviting face, with its
•tucco exterior bright with window boxes and two
sassy box shrubs before its brick doorsill
the background, if you get what I mean . .
like the wild mountain camps of the
Adirondacks . .
And then the setting being right, the
studio itself inside has the right air of ease
and informality. Of course a huge fire-
place and a couch in front in the big room
downstairs . . that for winter . . and
for summer long French windows giving
onto a garden quadrangle shared by all the
studios in the row. . A large round table
holds the center of the room, which every-
one crowds up to at lunch and dinner
time. . And there is the adept Celestin
Uprtairs in the room where the small iiitirae concerts are
given from time to time is a splendid Ampico that can
furnish a jazz tune for a spin round the floor or the
accompaniment for a song
to French-cook and minister.
Add to this mise en scene a list of
members, headed by the beautiful
Mrs. Oliver Harriman as President,
and including such celebrities as John
Drew, and Ethel Barrymore, and
Florence Easton of the Metropolitan,
and Frances Macmillan, her husband,
and Robert deForest Brush, the fa-
mous painter, and his son, Gerome
Brush, the sculptor, and Madame
Maeterlinck, and I-don't-know-who-
all and . . Well, as we observe on
Broadway, you've said something!
And yet perhaps the real secret of
the atmosphere lies in the two good-
looking . . oh quite young . .
bachelors . . residents at the Club,
who act as hosts of mine inn in be-
tween their working hours which as
these concern artistic pursuits have
more flexibility than those of the reg-
ular business man's day. . They are
perfect ducks these two . . and it
makes it so nice, I tell them, because
they are contrasted, like the brother
Princes in the children's story-books
. . one tall and dark . . and the
other tall and fair. . The dark one is John
Louw Nelson, son of the Bishop of Albany,
singer, musician. . Yes, children, but cer-
tainly . . there is a distinction . . all the
difference in the world . . don't interrupt
. . musician, composer . . do you happen
to know the Columbia record of his setting
of "In Flanders Fields" . . perfectly stun-
ning! And the tall fair one is Neville
Brush, David Bispham's favorite dramatic
pupil. . Both Mr. Nelson and Mr. Brush
lived in France and are perfectly at home
in the French language, and that takes
happily of the foreign artists who
come a-visiting the Club.
They have such cordiality and
savoir faire as makes anyone
feel at home and amalgamates
different kinds of people in a
crowd. . Young Mr. Brush
especially . . he has a gift for
thawing and enlivening the
hauteur of anything from a
Duchess to an aspirant for the
screen. . they're the haughtiest
of all, as you know if you have
read "Merton of the Movies" .
Just by way of illustration,
here is a little picture of a re-
cent Saturday evening. . .
Tubby and I had been hav-
ing an early dinner at the Bre-
voort and afterwards strolled
down to the Mews. . We
found a gay company at the
Club sitting in the candlelight
with coffee and cigarettes, and
were promptly gathered in to
(Continued on page 126)
care
[116]
Theatre Magarini, Auguil, if a
CJheJlinds Cre-Maids
Can bring to you
'ftealtti and Beauty
-And Comfort true.
TO PREVENT SUNBURN. Use
Hinds Honey and Almond Cream before
and after exposure; also morning and
night to keep the skin soft. If the skin
is inflamed and sore, do not rub it, but
moisten a piece of soft linen or absorbent
cotton with the Cream and lay it on the
skin for a half hour or longer; repeat
until relieved. It will quickly cool the
burned surface and prevent blistering or
peeling.
WONDERFUL BASE FOR FACE
POWDER. The liquid Hinds Honey
and Almond Cream is now used for this
purpose with marveloussuccess. Moisten
the skin slightly with the cream; let it
nearly dry, then dust on the powder. It
will adhere to perfection.
AS A MANICURING AID THIS
CREAM softens the cuticle, prevents
soreness and preserves the lustre of the
nails.
AN AFTER-SHAVE COMFORT
Every man who tries it is gratified by
its quick action in soothing, cooling and
healing scrapes, sore spots and cuts.
In summer places, on hills or sands,
You'll find your complexion, your arms and hands
Will need protection from wind and sun;
Then let the Cre-Maids bring this one.
Cool Hinds Honey and Almond Cream
For mid-summer comfort reigns supreme;
For no matter how "blowy" or hot the day,
Sunburn and windburn it keeps away.
For "hiking" blisters, for bites and stings,
An instant relief it always brings;
Dust irritations soon disappear,
Leaving your skin soft, smooth and clear.
Constant use throughout summer days
Is a healthful habit that always pays,
And every outing a treat will seem
If you take Hinds Honey and Almond Cream.
You will find the Hinds
Week-End Box especially
convenient andusefulnow,
as it contains those essen-
tials for the comfort and
attractiveness of the face
and hands. Trial size,
Hinds Honey and Almond
Cream, Cold and Disap-
pearing Cream, Soap, Talc
and Face Powder, jocents.
Try your dealer first. Write
us if not easily obtainable.
All druggists and department stores sell Hinds Honey
and Almond Cream. We will mail you a small
sample for 2c or trial bottle for 6c. Booklet Free.
Send us I o cents for a Try-out Box contain-
ing five samples assorted.
A. S. HINDS CO. , Dept. 32 , Portland, Me.
HIT]
Chair installed in Balaban & Katz Chicago
Theatre by American Seating Company.
In America's Foremost
Theatres
THE public-wise manager knows that an
audience comfortably seated is half won.
He knows, too, that with the other elements
of attraction more or less evenly balanced, the
more comfortable seats of one theatre will easily
swing the decision or "where to go" in its favor.
Seating that was tolerated five and ten years
ago is endured under protest now or altogether
avoided.
Our Theatre Engineering Department will be
glad to consult with any theatre owner or
manager on new installations or renewal of old.
We can show you without obligation how your
theatre can "cheat old age" and revive its
youth for further years of service.
e2C2«2xax2?!(2SexssG2®K2*e;^^
NEW YORK
1 17 W. 40th Street
CHICAGO
18 E.Jackson Blvd.
PHILADELPHIA
707-250 S. Broad St.
By ANNE ARCHBALD
HILE we are on the subject of vanities . . what, next to the face,
contributes most to the youthfulness of the appearance? The figure!
Yes ! Quite correct !
We have had it on our minds to write about this problem of the present-day
figure for some time, and the approach of fall and a new season makes this
an opportune moment to consider it. What are women going to do about
corsets, we are constantly asked. Is it true that Paris is going to try to force
us back into stiff, heavily boned things again, as they say? Having known the
freedom of our muscles, must we go back to restraint? What does the actress
think? What is she doing?
Well, as to the actress, she is doing what she always has had a tendency
to do and that is to eliminate the corset, if not entirely, in as far as she
consistently can. Whatever she wears will be an affair of the least possible
extent, light and flexibly boned. But she has come to realize, having tried it
out, that much as she might like to go without any support whatsoever, she
must have something, if only a tricot girdle, a wrap-around, or a "corselette"
to keep the figure from spreading.
We made a point of inquiring of a well-known actress, who, though inclined
to plumpness, has kept her lovely slender figure for years, as to what kind of
corset she wore, and this is what she told us, though she preferred to remain
incognito. We were surprised to find that she did not have her corsets made
to order. Sometimes fitted a bit, yes, but not usually even that.
"You see," she said, "there is one firm that I swear by. I believe they
have the right attitude in the matter. They have kept up with the times.
And that is why I have bought their corsets for years and expect to keep on
buying them. You don't find them coming out, for instance, as some of the
other firms are doing, and saying, 'Women, you must go back into the old-
fashioned stiffly-boned corset,' meaning because we must sell them. . That
is nonsense . . the day has gone past for that particular kind of forcing. .
No. This firm says, 'My dear Ladies, do whatever you please and we will
follow and co-operate with you. If you are stout and want a heavily boned
corset, well and good. We have it for you. If you want a medium type corset,
we have that. But if you are going along with the new fashions of the least
possible confinement of the figure, we are right there with you too. We have
every kind of wrap-around' . . you know those are the corsets with just the
rubber reinforced with cloth, no lacings . . . 'and corset-girdle, and brassiere-
corset that you could need.' Isn't that reasonable? And wouldn't you feel that
that firm was the one to pin your faith to? I'll tell you what I'll be glad to
do. . I'm going abroad in a week or two and I shall have to buy some fresh
corsets and bandeaux for the trip. . You see how much I believe in these corsets
since I'm taking them to Paris instead of buying them there. . If you like, you
may come along when I make my purchases. ."
Fine! We accompanied the beautiful lady to the Fifth Avenue shop and
went into ecstacies over the new corsets there. Adorable creatures! All in
the loveliest pink materials, silk and cotton brocades, and with every kind of
practical device consistent with ease and grace for slenderizing and rounding
the figure. There was, for instance, the device whereby the rubber in the back
of the wrap-arounds, instead of being one whole piece, was sewed together in
cross-sections, so that it would give to the figure and yet not stretch. There
was another device whereby the boned material came up an inch or so in the
back over the elastic band finishing the top, to take care of that flesh that has
a trick of bulging over just there. There was a stunning device for a stout
woman's corset, a rubber insert on either side the front, under the material,
with elastics fastened to the material above. . . We wish we had space to
tell you more, but you must really go and hunt these corsets up for yourself.
(For the name of the firm making these up-to-date corsets and where they
may be purchased, write The Vanity Box, The Theatre Magazine, 6 East 39th
Street, New York City.)
[118]
Theatre Magazine, August,
BRUNSWIG
Exclusive Artists
J\fumber(Eightofa (Series
MARIO CHAMLEE
TENOR— Metropolitan Opera Co.
THE brilliance which made Mario Chamlee's debut on the Metropolitan stage an operatic triumph
it perpetuated by means of phonographic reproduction. In common with other noted artists of
the day he records exclusively for Brunswick. His recent records, which may be heard at any
Brunswick dealer's, show with what great fidelity his rich, vibrant and colorful voice is reproduced
on Brunswick Records.
Brunswick Records can be played on any phonograph
[119]
fc*\
patent leather
IN THE MATTER OF
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Qood morning.'
Have you used Pears' Soap?'
WHAT'S THE MATTER WITH MUSICAL
COMEDY?
(Concluded from page 90)
it is piquant, and these talented girls
will know how to interpret these
moods. All of these elements will be
combined consistently and artistically.
And just as a higher type of chorus
girl will be demanded, so will more
finished actors be selected for the casts
of musical comedies. The comedian
will not be a buffoon. He will be a
straight comedian. The prima donnas
will have real voices to recommend
them. The others in the cast will be
real comedy actors, not merely decora-
tive figures for a tinselled scene.
I might cite the opening scene and
story of "Irene" as examples of
what the future musical comedy
should be like. The opening scene
of "Irene" was a realistic one — tene-
ments, and an old Irish woman lean-
ing out of her window chatting with
a friend about her "Irene." The old
woman was a distinct type. She was
not dressed in shabby silks, but an old
gingham house dress. When Irene,
her daughter appeared, she looked like
the sort of girl who would have a
mother like that — a typical shop girl.
So, considering all things, the
musical comedy of the future must
have a perfect story, filled with real-
ism, an adequately interpretive score
and characters, with unusual ability
and talents, if it would prove a suc-
cess. Art must enter into the vivid
glamour and the other day fabric of
musical comedy. And, why you ask,
all these reforms in musical comedy?
Because, as I said before, the public
is tiring of merely having their eyei
bedazzled with glamorous scenes and
nothing more. A musical comedy, of all
forms of entertainment is the biggest
money-making factor in the theatrical
business. There are many reasons for
this. Most pertinent is the public
demand. It is in the record of history
of the theatre, dating back a genera-
tion or so, that musical comedy will
attract audiences when most other
forms of stage entertainment fail, or
only moderately succeed. There are
many who will deny this, referring to
the success of "Lightin1 ", for instance,
to disprove it. But for every succesi
like "Lightin' ", there are countleu
"Irenes," "Sallys," "Marys," "Madame
Sherrys," "Merry Widows," "Flora-
doras," and "Chocolate Soldiers."
Even though it costs more to produce
a musical comedy — the average one
cannot be put on for less than $40,000
— musical comedies attract proportion-
ately greater audiences than do other
types of plays, and they can get
bigger box office prices.
ENTER THE MONKEY MAN
(Concluded from page 102)
play in which I appeared, and, later
when he wrote "The Hairy Ape"
selected me for the title role. I don't
mean to insinuate that he wrbte a play
exactly to fit my personality, ;but per-
haps my general appearance and
physique gave him an idea or two to
work on. Great Guns, I can't im-
agine anyone being so nearsighted
as to cast me in other than a character
role. And, after all, character work
is the only real kind of acting. Noth-
ing else counts very much. To study
and analyze character, and then de-
lineate various types of people, is the
most fascinating sort of business.
"In my first stage effort I played
the old Prince of Wales in 'The Fair
Circassian.' It was the nearest thing
to good looks I had doled out to me
in my brief stage career. I wasn't
exactly a monster in this play. My
second appearance was in 'The Jest,'
and I was only a super. The follow-
ing season I played the executioner in
'The Jest.' This was followed by a
minor role in 'The Letter of the Law.'
The role of a fierce Mexican bandit
General in 'The Broken Wing,' and
a minor role in 'The Idle Inn.' But I
have no illusions whatever about my
face and form. I never expect to be
cast as a stage Adonis. Why, I look
so much like a pug that I have often
been called to stage fights, though I
have never been in the ring profes-
sionally.
"Yes, I believe the strong and ugly
face, and the powerful physique — the
Man of Iron type — is coming in to hii
own. I believe that we are going to
have more plays with real power in
them, and real ideas, and it neces-
sarily follows that virile plays will
call for virile types. The good-look-
ing, slightly anaemic, well-tailored,
stepped-out-of-a-band-box, gardenia-
button-holed type is going to do a
fadeaway for a while.
"Lionel Barrymore was responsible
for my stage debut," he said. "I met
him about six years ago, soon after
my return from Mexico. At that time
I was an instructor of mathematics.
He told me one day that he had se-
cured an engagement for me in a play
in New York. I remonstrated with
him: 'But I cannot act. What shall
I do?' 'Don't act,' responded Mr.
Barrymore. 'That's the wise course.
Just walk on to the stage, and don't
act. You'll put over your lines all
right.' And, in a spirit of bravado I
accepted. And, well, here I am. I'm
a hairy ape."
[120]
Theatre Magazine, August,
ON the curves of the nation's highways
are being painted "Keep to the right"
signals — curves doubly dangerous in wet
weather.
Ota these curves the Vacuum Cup Tread,
with its grip-hold-letgo principle of
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[121]
For travel comfort
take Kotex
WOMEN who can travel in
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mind have mastered an art.
The secret is careful choice of equip-
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bag a most difficult promblem so/ves
itself, as these remarkable sanitary
pads are easily disposed of, more ab-
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Regular Size,12inbox
Hospital Size, 6 in box
(Additional thickness)
It is easy to buy Kotex without em-
barrassment as one need only say,
"A box of Kotex." They are sold
wherever women trade — in dry-
goods, drug and department stores.
Thefirstbox usually— the second box
always — results in the discovery of a
new comfort, a new convenience, a
new economy, a new habit. The blue
boxes are free from all descriptive
printing. They bear only the name
— Kotex. This too is appreciated by
nice women,
Traveling or at home, Kotex is almost
indispensable. Keep Kotex always on
hand — ask for them by name.
Cellucotton Products Co., 166 W. Jackson Blvd., Chicago
New York Office: 51 Chambers St. * Factories: Neenah, Wisconsin
Copyright 1922— Cellucotton Products Co.
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noted above.If not yet familiar
with the comfort and conveni-
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send a sample of eithcrsize, in
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Kotex vending machines are
being installed in women's rest
roomsevcr y wher c hotels,
office buildings, restaurants,
theatres and other places •
from which may be obtained
one Kotex with two safety
pins, for ten cents.
THE HAIRY APE
(Concluded from page 84)
she tought. She wasn't wise dat I was
in a cage too — worser'n yours — sure —
a darn sight — 'cause you got some
chanct to bust loose — but me. (He
grows confused.) Aw, hell! It's all
wrong, ain't it. (A pause)
Say, how d'yuh feel sittin' in dat pen
all de time, havin' to stand for 'em
comin' and starin' at yuh — de white-
faced, skinny tarts and de boobs what
marry 'em — makin' fun of yuh,
laughin' at yuh, gittin" scared of yuh —
damn 'em! (He pounds on the rail
•with Ills fist.)
( The gorilla is straining at his bars,
growling, flopping from one foot to
the other. Yank takes a jimmy from
under her coat and forces the lock
on the cage door. He throws this
open.) Pardon from de governor!
Step out and shake hands! I'll take
yuh for a walk down Fif Avenoo.
We'll knock 'em often de oith and
croak wit de band playin'. Come on
brother. ( The gorilla scrambles
gingerly out of his cage. Goes to
Yank and stands looking at him. Yank
keeps his mocking tone — holds out his
hand. ) Shake — de secret grip of our
order. (Something, the tone of mock-
ery perhaps, suddenly enrages the
animal. With a spring, he <wraps his
huge arms around Yank in a murder-
ous hug. There is a little crackling
snap of crushed ribs — a gasping cry,
still mocking, from Yank.) Hey, I
didn't say kiss me. ( The gorilla lets
the crushed body slip to the floor;
stands over it uncertainly, consider-
ing; then picks it up, throws it into
the cage, shuts the door, and shuffles
off menacingly into the darkness at
left. A great uproar of frightened
chattering and whimpering comes
from the other cages. Then Yank
moves, groaning, opening his eyes, and
there is silence. He mutters pain-
fully.) Say — dey oughter match
him with Zybscyo. He got me, aw
right. I'm tru. Even him didn't link
I belonged. ( Then with sudden, pas-
sionate despair.) Christ, where do I
get off at? Where do I fit in? (Check-
ing himself as suddenly.) Aw, what
de hell! No squakin' ! see? No
quittin', get me! Croak wit yer boots
on! (He grabs hold of the bars of
the cage and hauls himself painfully
to his feet — looks around him bewild-
eredly — forces a mocking laugh.) In
de cage, huh? (In the strident tones
of a circus barker.) Ladies and gents
step forward and take a slant at de
one and on'y — (his voice weakening)
— the one and original — Hairy ape
from de wilds of — (he slips in a heap
on the floor and dies. The monkeys
set up a chattering, whimpering wail.)
CURTAIN
BEHOLD THE AUDIENCE
(Concluded from page 78)
ing to make one more move in his own
very personal game — to flirt, to meet
some one, above all, to be seen. The
American abandons his ego and de-
mands his money's worth in thrills and
laughs from behind the footlights.
Unlike the European, he is patient
when cheated. He never indulges in
cat-calls, hisses, groans and missiles.
Neither is he given to bravos and
bravas. He applauds mildly unless he
happens to be swept away by an in-
fectious mob enthusiasm, one of those
inexplicable storms rare in our thea-
tres today. Then he obligingly turns
himself inside out. He is for the
moment a victim of hysteria. Witness
the ovations offered to Geraldine
Farrar this winter — a frantic clamour-
ing before the steel curtain, a madness,
an ecstasy .... A year ago, iden-
tical performances of "Butterfly" and
"Carmen" won no more than a per-
functory hand-clip . . .
This is contagion. It is an emo-
tional measles.
NEW VICTOR RECORDS
Mme. Homer and her daughter,
Mme. Louise Homer-Stires, sing a
blithesome duet for a new July Victor
Record. "Venetian Song" is essentially
a Tosti lyric, written in one of his
happier moods, visioning the joy and
beauty of life.
Giuseppe de Luca's records repre-
sent the perfection of modern vocal
art. "Marietta" which he has recorded
for the new July Victor list differs
from all his other records in that, for
all its Neapolitan origin and style, it
bears a marked semblance to an Ame-
rican fox-trot song. It is sung with
the freedom of true Neapolitan min-
strelsy, and is de Luca in one of his
less serious moments, albeit an envi-
ably delicate and finished piece of
work.
Heifetz makes his first Mozart re-
cord for the July Victor program. It
is "Rondo in G Major" from a sere-
nade. Arranged by Fritz Kreisler, it
is a record full of surprises, opening
at furious speed, developing occasional
slower melodies of crystalline beauty.
[122]
Qfarru Carey
M ^^ *
J
(writes
',-
M
****
**
Theatre Magazine, August,
Son
ist
..
«S?«'V h«* * r >**»"t.<5*.tl
^fefefeasf*
TRADE MARK
Monroe
Styles America
'REGISTERED
Monroe Clothes New York"
[123]
Jltt.le C14/6men
whether their hair is golden, chest-
nut, auburn, or velvety black, shampoo
regularly with
PACKES TAR SOAP
SUBSCRIBERS!
Changes of address should be in our office ten days preceding
date of issue.
ACTRESS WHO PLAYS UNUSUAL WOMEN
(Concluded from page 72)
I prefer to know — that's all. I myself
happen to be part Dutch, English and
French," added Miss Westley ruefully.
"But to get back to character roles.
I never played anything but character
roles in my life. I have never been an
ingenue. I have been hags and vam-
pires, old women and women of un-
certain age, but never the sweet girl
graduate type. And I confess, inci-
dentally, that it has been easier for
me to make-up for the old woman
character roles than for the seductive
younger women parts. I never had
the slightest inclination at any period
in my life to be an ingenue, even
though my type and personality would
have permitted it. I have always liked
a more forceful woman type — whether
she be a force for good or bad. I
have insisted that she have some
strong strain in her make-up — a strong
and passionate amorous strain, a
powerful revengeful streak, or be pos-
sessed of a large amount of hatred for
something or some one who has
wronged her or betrayed a confidence.
"If ever I had the slightest inclina-
tion to play a sweetly romantic role,
I think that role would be Juliet."
Miss Westley's face relaxed into a
whimsical smile. "Juliet, you know,
contrary to a general impression which
is conceived of her, wasn't the purely
sweetish kind of lady. She was a
vibrant, wholly alive woman, with
nothing vapid about her. Some of the
lines, the unexpurgated lines of 'Romeo
and Juliet" are not by any means lack-
ing in a certain warmth.
"However, as alluring as that role
may be, I think I'll stick to character
parts. Even though the women I must
portray are lacking in a certain gentle,
feminine charm, I feel sympathy for
these women. I analyse them, and
understand them, and pretty often for-
give them a good many of their short-
comings."
We left Miss Westley's dressing-
room, realizing suddenly that not once
had she referred to "mother" or given
us a favorite recipe of hers for raisin
pie or plum duff. We glanced back
at her rather picturesque figure before
the mirror, and looking at her we
could plainly visualize Zinida, the
elderly carousel owner who had loved
Liliorn; the Spanish grandee; and the
old malevolent woman who had
smothered the baby. No, Miss West-
ley does not for long divorce herself
entirely from her diversified and
strange-women roles. There is noth-
ing domestic about her. She is not
apparently, suppressing an impulse to
do a bit of culinary work over a gas
range. Which all leads up to the fact
that certainly there is something "dif-
ferent" about Miss Westley.
JURY JUDGES ITS FIRST PLAY
(Concluded from page 74)
have an outlet and when suppressed
often manifests itself in some activity
apparently foreign to the customary
habits of the subject. Women going
to a matinee of "The Semi-Wife,"
want and expect to be shocked. If
they are not they are likely to go home
and cook dinner for their husbands."
FOREMAN: "I think we have discussed
the matter sufficiently. We must give
a verdict or defeat the movement to
prevent the drama from falling into
that Slough of Despond known as
Censorship. I consider it our duty
to find the third act objectionable from
the point of view of public morals.
This is our first case and we must
justify the responsibility placed on us
by those who have complained in good
faith. I move we take the first ballot."
HITHERTO UNHEARD FROM JURYMAN:
"Hurry it up. I want to go to the
Winter Garden or The Follies and get
the full voltage of the shock I've been
hearing about."
The ballot is taken, the result being
a verdict requiring a change in the
third act.
SCENE THREE
OFFICE OF THE PRODUCER OF "THE
SEMI- WIFE": Producer and Publicity
Manager are shaking hands and slap-
ping each other on the back.
PRODUCER: "Oh, Boy, what a knock-
out! How will we change that act?"
PUBLICITY MANAGER: "Give them all
the juice there is in the battery. Re-
member that second act in 'Bought and
Paid For'? Wife goes into her room
and locks the door? Husband smashei
the lock? That's what Bertie's going
to do."
CURTAIN
NEW BRUNSWICK RECORDS
Giuseppe Danise, who has been called
the "Caruso of baritones," displays
great breadth and beauty of tone and
a thrilling, dramatic intensity in his
interpretation of "O de verd' anni
miei" from Ernani, and the rollicking
"Largo Al Factotum" from the Barber
of Seville, on a double-faced Bruns-
wick record.
"Such A L'il Fellow" affords Marie
Tiffany an excellent opportunity to
show the sympathetic warmth of her
lovely soprano voice. On the reverse
side of this record, Miss Tiffany singi
charmingly the solo part of that old
time favorite, "Little Alabama Coon"
arranged for a quartet in which the
voices blend beautifully with the fas-
cinating thrum of the "banjo pickers."
[124]
Theatre Uaaaiine. August, 1921
\
Far Be It From Us
to blow our own horn
But inasmuch as we're the only ones who can even
suspect the nature of our September contents we're
simply forced to do it!
A Superb Summer Issue
. . . Covered with one of the finest portraits in color it
has ever been our good fortune to print — a brilliant
study of Miss Mary Nash in the pirate costume of Cap-
tain Applejack done by Georges Plasse, the eminent
French artist.
Duse Speaks At Last
. . . After seemingly unbreakable silence, the world's
greatest actress accords an intimate interview and dis-
cusses her coming American tour with Theatre Magazine.
Fabiano
... of Paris! . . famous in this country to followers of
the gay La Vie Parisienne, is now in New York and has
started for us a series of sketches in the American
theatre. Next month we present his first, a charming
and amazingly faithful full-page pastel likeness of Miss
Irene Bordoni.
And Furthermore
• ... JAMES L. FORD discusses that mysterious
dramatic entity, "The Actor Proof Scene."
A. A. MILNE'S latest and most popular comedy,
"THE TRUTH ABOUT BLAYDS" is presented next
in the series of condensed plays that has become so
extraordinarily popular with our readers. Following
this series monthly is the next best thing to actually
attending every good play that opens on Broadway.
. . . THE COMING SEASON is discussed by an ex-
pert for those who would be in the w.k. "know."
.... THE CHAUVE-SOURIS CURTAIN, a scin-
tillating super-caricature of all New York's Notables
by Ralph Barton, occupies a double page in color.
. . . An Illustrious — but here! — we must keep some
things by way of surprise! And then too —
Modesty Prevents Our Saying More!
[125]
IRENE WORDONI
Pays Tribute to
American Beauty
Irene Bordoni, one of the
most gifted and beautiful
actresses on our stage, has for
years protected and perfected
her wonderfully beautiful
complexion and contour
through the discovery of an
American Beauty Specialist,
Mrs. M. G. Scott, creator of
Mineralava Beauty Clay
"Nature's Way to Beauty"
which removes wrinkles,
tightens sagging muscles, ban-
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and builds firm contour of
face and neck through quick-
need blood circulation.
Miss Bordoni writes that
"cJtCineralava ii a part of my
every day toilet."
Warning: — Mineralava is imitated.
The original is your only protec-
tion. Purchase through dependable
Department and Drug Stores. Ask
for the original:
fM'ineralava 'Beauty £lay, $2.00
(18 treatments in one buttle)
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Send for specialist's booklet: —
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PARIS VIVAUDOU NEWYORK
Diltributor
Books
Especially those containing plays for reading or
acting, or those concerned with play production
TVfOLIERE, by Brander Mathews.
(Charles Scribner's Sons.) A
timely book, in view of its being the
tercentenary of the great dramatist, is
this life of Moliere by Brander
Mathews. And we regret that it is
impossible in such short space as we
are allotted here, to do adequate jus-
tice to Mr. Mathew's volume, or in
fact, to do more than suggest its ex-
tremely interesting quality.
It is most important to one's culture,
dramatic and otherwise, to know about
Moliere, and what he represents, since
as Mr. Mathews points out he "is in
many ways the central figure in all
French literature." He is as well "the
embodiment of certain dominant char-
acteristics of the French people . . its
social instinct, its hatred of affection,
its lack of spirituality" (isn't that
rather harsh, Mr. Mathews, or do we
take different views of the meaning of
the word?), "its relish for the con-
crete, its girding humor and its dra-
matic ingenuity .... But he is
more than French, for his genius
transcends the boundaries of race; it
has the solid elements of the universal
and the permanent. He is the fore-
most of comic dramatists, the model of
all who come after him and the su-
perior of almost all who went before."
Mr. Mathews proceeds in his usual
finished and scholarly fashion to eluci-
date this theme for us. After a com-
prehensive survey of Moliere's earlier
life and his career as actor-manager
in the provinces, Mr. Mathews takes
up the plays one by one, in the order
that they were written and- presented
by Moliere's own company. He gives
their outlines in a light and easy way,
the circumstances and influences under
which they came to birth, how they
fared with their public at the time and
their ultimate ranking as adjudged by
posterity. Mr. Mathews ends with an
estimate of "Moliere the man." We
hereby recommend "Moliere," the
book, for authentic information, graph-
ically and entertainingly presented.
TVTISS LOUISE SEAMAN, head of
the Juvenile Department of Mac-
millian's writes us that she is keeping
a special look-out for children's plays
that are real literature and that can
be presented in little theatres and for
pageants. So far her list includes
"Master Will of Stratford," by Louise
Ayres Garnett; "The Steadfast
Princess," by Cornelia Meigs, which
won The Drama League prize for a
children's play in 1915; "New Plays
from Old Tales," by Harriet S.
Wright, which has a wide audience
and many practical possibilities ;
"Friends of Bookland," by Winifred
Ayres Hope ; "The White Peacock," by
Cornelia Meigs, which was given at
the Poughkeepsie Community Theatre.
The Promenades of Angelina
(Continued from page 116)
face the witty cross-fire of badinage. .
Marjorie Patterson was there, whom
we were awfully glad to see again. .
she is always so perfectly turned out
from the tips of her pink finger nails
to the toes of her French shoes . . and
Mme. Maeterlinck, who was inscribing
for the Club a copy of her "Livre des
Chiens," which she not only wrote,
but illustrated . . too droll and de-
licious. . . Discussing publicity with
an attractive newspaper woman was
Stuart Walker's business manager,
young J. K. Nicholson, following as
rising author in his well-known rela-
tive's footsteps. . If Fanny had been
there she might have shifted her alle-
giance, said Tubby, as the J. K. N.
chin line and dimple out-Barthelmesses
Barthelmess. . . Gerome Brush in
good homespuns and a lime yellow
necktie, was trying amidst terrifyingly
irrelevant interruptions to outline a
philosophy of life from the artist's
standpoint, while Margaret Wycherly
discussed with Neville Brush the de-
tails of some out-of-door performances
that she was giving at Martia Leon-
ard's Brookside Theatre, and in which
the gentleman was to participate.
Afterwards we went upstairs, to the
big studio room where the intime
concerts are given. . Mr. Nelson put
a jazz roll on the baby grand Ampico
and there was some desultory dancing.
But presently everyone piled up on the
big divan in the alcove to smoke and
chat. . I seized the opportunity to in-
veigle Mr. Nelson to the piano bench,
cuddle beside him and make him sing
his favorite Franz and Schubert songs
. . which he did in a lovely soft warm
half-voice. . He wasn't a bit proud
either and even accompanied my little
pipe in a song.
FRECKLES
Don't Hide Them Witb » Veil;
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"Be Sure Its Henry"
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through
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T1261
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The Importance
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After you have selected
your play, you will have
three important questions
to decide — adequate stage
effects, costumes and stage
lighting. Mistakes in
judgment are fatal. The
expert service offered by
the advertisers on this
page will help you to
start right.
COMMUNITY DRAMATIC ACTIVITIES
(Continued from page 108)
Ribault by Prank Dearing of the
Civitan Club; Laudonniere, by How-
ard Harkisheimer; Dominic de
Gourges, by J. B. Lucy; Menendez,
by Thomas T. Elmore; Governor
Herrcra, by Abner Withee; Andrew
Jackson, by C. Seton Fleming.
The Interlude of Florida's gifts to
the World was in charge of The
Florida Teachers' Federation. Many
of the dance interludes and Spanish
and English scenes were conducted
by Miss Jacobi's School, the Con-
cordia School and the Woman's Club
of Jacksonville. The Indian spears
used in the pageant were made by
invalid soldiers in Lake City United
States Hospital, directed by Ralph
Smith.
Quite apart from the presentation
of the pageant, the educational value
of its several months' preparation
work has meant for Jacksonville, a
significant development of community
effort and worth while achievement.
In compiling the Book of the Page-
ant interesting episodes of folklore
and unpublished history were un-
earthed. In the establishment and
operation of the workshop in the
Jacksonville Chamber of Commerce,
artists, designers and decorators were
brought together and the nucleus of
an art center formed. The frequent
rehearsals of the music units have
been a gain in countless ways as was
also the co-ordination of the work of
churches, schools, libraries and civic
bodies with the local writers, poets,
musicians, artists and dancers. An
acquaintance with Nina B. Lamkin's
organization and working plans and
methods in community pageant pro-
duction was another gain for Jackson-
ville.
Miss Lamkin went to Florida, fresh
from the direction of the production
of "The Keowee Trail," a great com-
munity pageant of Greenville, S. C.,
in which 3,000 people of seven coun-
ties, took part. A few months before
that, Miss Lamkin had directed the
pageants and festivals of the St. Clair
centennial celebration of Michigan in
which there were 5,000 actors.
The Florida Historical Pageant was
the thirtieth large community page-
ant Miss Lamkin has directed.
Since 1920, Miss Lamkin has been
a dramatic organizer with Com-
munity Service, has served on the
faculty of the Community Service
Training Schools, and directed a
number of the Kirgest and most im-
portant dramatic enterprises pro-
duced. Miss Lamkin says that all
community pageants from beginning
to end should be the work of the
local people.
The tremendous success of the
Florida Historical Pageant from an
artistic viewpoint has so impressed
the people of Jacksonville, that they
plan for an annual festival and page-
ant every Spring. Great civic
strength has been gained and the
value that the entire enterprise has
been to Jacksonville cannot be mea-
sured in dollars and cents.
The pageant pattern is in itself of
such national import and interest that
it will scarcely remain within state
confines nor ever be ended with its
epilogue.
Do not Ponce de Leon, Panfilo de
Narvaez, Ferdinand de Sota, Juan
Ortiz, Jean Ribault and the rest be-
long to the United States quite as
much as to Florida?
Are not the dramatic happenings
of the St. Johns River, of old St.
Augustine, Tampa and Pensacola so
vividly portrayed in this pageant,
possessions of our entire country?
Who knows but that schools and
colleges throughout the United States
shall call for this Book of the Florida
pageant and unroll for themselves
with their own actors the panorama
of those dramatic periods of Indian,
Spanish, French and English rule in
the South?
Certainly the history of Florida,
like that of Massachusetts .and
Virginia, is a precious heritage —
minus its blood stains, let us say! —
of our entire country. St. Augustine
stands with Plymouth and James-
town always in the farthest back-
ground of American History. Here
are the roots.
When everything is said there is
but one effective way to show the
picture to young and old alike — that
one way is to teach history — and that
is through dramatics and pageantry.
United States Senator Duncan U.
Fletcher, of Florida, said in reference
to the Jacksonville pageant when it
was being planned:
"There is no state in the Union
that has a more wonderful history
than Florida, a more interesting, ro-
mantic, stirring and picturesque his-
tory to depict in pageant form. It
is surprising how little, many of us
who have lived here all of our lives,
know about this history of our state.
There is no better way, it seems
to me, to preserve and acquaint our-
selves and our children with our
unique past than by a great Florida
pageant. A pageant, giving a de-
tailed description of Florida from the
time of the Indians and the first set-
tlers to the present day, would be a
most inspiring event to behold, and
would have tremendous educational
value. Our historic heritage is too
precious to be lost, and it must be
preserved.
Recently, I heard in Washington,
Dr. Newell Dwight Hilles advocate
that the schools and civic associations
of the country inaugurate a method of
education whereby history would be
taught almost exclusively by the use of
pictures. The pageant is a dramatic
repetition in human picture form, of
history itself."
[128]
Professional Schools
Recommended by
The Theatre Magazine
Catalogues will ke lent on request
American
Academy of
Dramatic
Arts
Franklin H. Sargent, President
The leading institution
for Dramatic and Ex-
pressional Training in
America.
Detailed catalog from the Secretary
ROOM 172, CARNEGIE HALL,
NEW YORK
Connected with Charles Frohman's
Empire Theatre and Companies
Yvette
Guilbert
SCHOOL
THEATRE
New York Fourth Year
October, 1922 to April, 1923
111, Third Edurational Trip to Europe
will be arranged for the I'njiiK in the
Spring of 1923
Address applications to Secretary of the School
Hotel Majestic, Ne«r York City (Knabe Piano)
PERFECT FRENCH
acquired by conversing and reading
with a Parisian young lady.
Address M.J., c/o Theatre Magazine
6 East 39lh Street New York
Regarding Professional
Schools
If you are interested in tak-
ing up an intensive study of
the Drama or Dancing, the
announcements on this page
will point the way to the
school best suited to your
needs. They will gladly send
you catalogues and full de-
tails concerning their courses,
on request. For additional
information, write THEATRE
MAGAZINE.
RIVERSIDE PRESS, HEW YOBK
122
1
COLUMBUS. DREAMING OVER HIS PLANS OF EXPLORATION, NEVER DOUBTED THAT
HE WAS TO OPEN A MIGHTY DRAMA, THE SPLENDID CLIMAX OF WHICH IS-OUR
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THE FOUNDER OF THE PRUDENTIAL, ANOTHER DISCOVERER. FULLY REALIZED
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Founded by JoKn F. Dryden, Pioneer of Indusinal Insurance in America
FORREST F. DRYDEN. President HOME OFFICE, NEWARK. N. J.
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IF EVEPvY WIFE KNEW WHAT EVEKY WIDOW KNOWS-EVERY HUSBAND WOULD BE INSURED
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Theatre Magazine
September, 1922
THEATRE MAGAZINE is published on the fifteenth of each month by Theatre Magazine Company, 6 East
39th Street, New York. SUBSCRIPTIONS $4.00 a year in advance. Yearly Indexes 25c. Entered
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Vol. No. 36, No. 3
Whole No. 258
Where ITouth
Leads the
"FW£ O'
exquisite Afternoon Frock of
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HE HOUSE OF YOUTH" presents, now, exquisite
Frocks, Suits and Wraps for Autumn and
In this gorgeously befurred, lavishly
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will trip on her way to one knows not
what delightful tryst. Of Marlene
with Roshanara Crepe bodice, trim-
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Winter. Latest, loveliest editions of those viva-
cious costumeries that always play so important a
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"THE HOUSE OF YOUTH" is in league with all women
of youthful type — no matter what their ages ! Its
Fashions radiate the delightful gaiety that is the
key-note of the modern, youthful personality.
But, in every instance, you will find gaiety
blended delicately with refinement and good taste.
This season's models are particularly charming!
Soft, velvety cloths with the blue of Sorrento or
Hawaii; Chechoslovakian necks and sleeves;
lavish Russian-inspired fur trimmings; the henna
of the dancers of India; the best ideas of Paris;
and always the smart stamp of New York !
See the three "House of Youth"
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A very uppish collar and huge cuffs
of Brown Fox fur vie with the very
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"House of Youth" Wrap the very
darling of Fashion. Of splendid
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SUCCESS IN DRESS — The House of
Youth has issued a splendid Fashion
Brochure, showing some of our most
noted actresses appearing at their best
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title is "Success in Dress." Ask for
a copy at the Store representing us
in your town. If unobtainable, please
write to us.
THE HOUSE OF YOUTH
38 EAST 29TH STREET, NEW YORK
3 AVENUE DE l/OPERA, PARIS
This label identifies
''House of Youtn" fashions
[130]
7 ilEATRE MAGAZINE, SEPTEMBER, 1921
Architect 8 drawing for the propoBed civic art centre in New York City at Seventh Avenue and Central Park Soulh. Two
theatres for repertory and special productions, one large, the other intimate, are in the plans being formulated for this
splendid group under the direction of City Chamberlain Philip Berolzheimer
CONTENTS FOR SEPTEMBER, 1922
Cover Portrait, Miss Mary Nash Georges Plasse
Proposed Municipal Art Buildings for New York 131
Alexandre Sakharoff, a portrait 133
Enter a New Season, editorial 134
Why New York Is a Summer Resort 135
The Cypress Grove 136
Duse Breaks Her Silence, an interview Alice Rohe 137
Plays, a poem Harold Seton 138
The Younger Planets 139
Ibsen as Played in His Own Country 140
What Is an Actor-Proof Scene?, an article James L. Ford 142
Kotchetovsky of the Chauve-Souris 143
Stars to Twinkle in Fall Skies 144
The Rise of the Curtain, a forecast John Van Daren 145
Mary Servoss, a portrait 146
A Photographic Poem of Motion 148
"My Dearest Love . . ." 150
Mr. Hornblow Goes to the Play 151
Lenore Ulric, a portrait 152
Louis Wolheim, a portrait 153
Captain Pollock, an interview Ada Patterson 154
Irene Bordoni, a pastel F. Fabiano 155
The Truth About Blayds..... A. A. Milne 156
A Rest From the Call Boy 157
The Bubble Dance 159
In the Nipponese Footlights 161
The Chauve-Souris Curtain, a double page in color 162-163
Amsterdam does Something New, an article Carlton Milet 164
Dances East and West 165
Heard on Broadway 166
The Moving World 167
The Amateur Stage M . E. Kehoe 169
Fashions Anne Archbald 173
Fabiano de Paris ,. 190
IN OUR NEXT ISSUE: A" unu8Ilal in|efview with G. B. Shaw in his London home by Carlton Miles J* The story of the
Moscow Art Theatre — the finest dramatic group in the world and soon to come here — by Oliver L.
Sayler— with a host of striking pictures of its personalities and productions <£ An autobiographical glimpse of one of Broadway's most
amazing personages who is constantly going "broke" for art's sake JX "Kempy," the next in our popular series of condensed Broadway
successes vJt As well as o'her articles and our usual treasury of beautiful portraits and pictures
F. E. ALLARDT, Director of Circulation
LOUIS MEYER 1
PAUL M EVER / Pul>li»her»
Published monthly by the Theatre Magazine Company, 6 East 39th Street, New York. Henry Stern,
president; Louis Meyer, treasurer; Paul Meyer, secretary. Single copies are thirty-five cents; four
dollars by the year. Foreign countries, add 50c. for mail; Canada, add 50c.
1131]
GORHAM
SILVER
ORHAM IS THE GREAT
NAME IN SILVER,
UNIVERSALLY ACCEPTED
AS THE BEST. THUS, MANY
ASSUME THAT PRICES AT
GORHAM'S ARE NATUR-
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AS A MATTER OF FACT
THEY ARE AS LOW" OR
LOWER THAN ELSE-
WHERE—USUALLY
LOWER.
THE GORHAM COMPANY
FIFTH AVENUE AT 36th STREET
NEW YORK
[132]
THEATRE MAGAZINE
VOL. XXXVI. No. 258
Sl-l'TK.MBER, 1922
Portrait by Charlotte Fairchild
ALEXANDRE SAKHAROFF
A striking study of the Russian dancer as Louis XIV in "Au Temps du Grand Siecle." This
unusual artist, whose originally conceived dances portray a "state of mind" rather than an
emotion, has been the rage of Paris for the past year and is expected to return again to this
country, where he has already appeared but passed comparatively unnoticed for want of
publicity. Sakharoff is especially noted for his brilliant costumes, designed by himself
[133]
ARTHUR HORNBLOW, Editor
Editorial
Enter A New Season
IT is nearly here. And to judge by the jingling of bells and
the triple huzzas of every press department in town no
crepe hangs on the manifold managerial doors of Broadway.
Wall Street may have its crashes, nations plunge into hopeless
moratoria, millionaires wake up with sixteen dollars in their
jerkins, but Forty-second Street holds out. No financial dent
caused by last season's dire slump has caused an abridgment of
production plans and the season now faced promises to be as
filled with plums as a Xmas pudding. Plums, that is, for the
public. It remains to be seen whether the producer is to have
his share of them or not. The play-goer is to be regaled by
Europe's and America's latest and best.
Not in years have plans as forecast elsewhere in THEATRE
MAGAZINE called for so downright thrilling a theatrical year
as we may look forward to. The manager plans doing his
noblest for sweet art's sake. Whether the reward is to be
concomitant to his pains we shall soon learn. But we venture
to predict that, on the whole, the producers will be paid for
their effort exactly what that effort is worth. Good times in
the theatre run for the most part rather independently of good
times elsewhere. The rules of business are not the rules of the
theatre. In fact there is no rule in the theatre. Using the
words "good" and "bad" in their academic rather than popu-
lar significance, a good play may fail and a bad one run a year.
The theatre is a place sans rules, sans statistics, save one. And
that is that given a play badly prepared and one well prepared,
the latter, regardless of intrinsic worth, is infinitely more likely
to "catch on."
It is rather mystifying that men trained in the art of creat-
ing entertainment for the public should continue to hurl onto
the boards with a speed that is dizzying productions that from
the very nature of their preparation cannot be entertainment.
Haste in the theatre, as elsewhere, can be productive of no
more than sketchy results, and in the event of the success of
such results the manager responsible is due for congratulations,
not on his wisdom, but on his luck. It is a luck for the most
part that he doesn't deserve, and if he heeded the one vital
statistic of New York's theatre he would not run quite so
desperate a risk of not having it at all.
A S plays are "put on" nowadays it ordinarily takes three
**• weeks to put a new play through the paces of production.
That includes the time in which the players have to acquire
their lines, the director to teach them their "business," the
scenic artist to turn the stage from an empty hall of bricks and
ropes into a living world. Through all of this time changes
are being made — changes in the script of the play, in the cast,
in the scenes — whole upheavals occur — but still time marches
on, the fatal three weeks for which the producer can have the
players' rehearsal time without expense to him, and the night
of the first opening draws resolutely near. The first viewing
is usually out of town and scheduled enough days ahead of the
opening on Broadway to permit of imperative last-minute
alterations for the purpose of "building up." Building up!
The phrase is usually a mockery. Without a foundation there
can be no building up and in nine cases of ten the preparation
prior to the inauguration of the three weeks of actual rehearsal
is so hopelessly inadequate as to make those three weeks a riot
of confusion and uncertainty. Casts are picked in desultory,
inefficient style, the script is ignored by producer and director
alike until the time when the lines are actually being spoken
by players, and the settings are then hurled on, hit or miss,
in a way which for casualness is without equal. That there
are any results at all is a miracle and a credit more usually
to the harassed actors than anyone else. Theirs is the principal
strain of the first night, theirs the extraordinary effort on their
own resources which at times pulls what the night before
appeared to be a hopeless confusion into a condition of seeming
orderliness and achievement.
THE records of the theatre show that care in production does
one of two things. It tends, as in the case of almost all
Belasco productions, to success, even in the case of compara-
tively poor plays, or to making manifest to the producer and
those about him that the venture is not worth spending more
money on. The waste in the American theatre is stupendous.
Thousands of dollars are lost annually on productions, notably
of farces and muscial comedy, that the veriest tyro in the show
business could have stamped a failure. But once under way,
under the usual system employed, the very haste and confusion
which attends the undertaking creates an inertia which carries
the thing willy-nilly to Broadway and the jaundiced eyes of
unhappy first-nighters.
It is bromidic on Broadway that there is no bad season for
a really good play. Broadway always has and always will
appreciate the best. The best is not the shoddy, the incompe-
tent, or the incomplete. Shakespeare badly produced is anathema
and there is no reason why the products of lesser dramatic
genius should be called upon to bear the brunt of wretched
production. Money spent on production, important names in
the cast, and scenery, designed by as good artists as can be
found, do not necessarily go to make what can be called a good
production. Time and thought and conscientious handling are
partners which more frequently called in to assistance of a
theatrical manager would make a far more steady and reliable
contribution to the possibility of ultimate success.
Theatre-lovers will be especially struck with the marked
preponderance of foreign plays scheduled for presentation. The
work of native authors looms as insignificant against the field
of dramatic output from abroad that Broadway will have its
opportunity to pass judgment on. It is not surprising that
producers should so unanimously recourse to trans-oceanic
sources. The native love for novelty, as only the foreigner
seems able to provide it, and the dearth of domestic scripts of
value has made that action imperative. But more than ever
with the foreign play will the native, manager find extreme
care in the matter of preparation productive of results. Shoddy
translations and adaptations, inaccurate grasp of the meaning
and spirit of the original, and hasty "putting on" will soon
make it apparent that the foreign play's American buyer had
just as well have stayed at home and thrown away his money
on an American play.
Care pays. That is the one statistic of the stage. It is as
true in the case of an actor's personal preparation of his part
as in the producer's preparation of his play. It is always there —
ready at hand — for those who wish to use it. And the more
we see of it during the coming season the more fruitful of fine
things and big winnings that season is going to be.
[134]
THEATRE MAGAZINE, SEPTEMBER, 1912
Here they come! Hundreds of them— and every one a captivating reason for New York's hiving the fineit revues on earth
Abbe
The piquant Marjorie Peterson, who dances
in the Greenwich Village Follies
White
Mary Lewis in one of the gorgeous lace
costumes in the Ziegfeld Follies of 1922
Apeda
Margaret Petit in the charming Degai Ballet
of the Pin Wheel Revue
Victor Georg
The ravishing radium ballet of the Ziegfeld Follies — costumes of a myriad shades which emanate their own mysterious, lovely light on a pitch black stage
WHY NEW YORK IS A SUMMER RESORT
Girls, Costumes and Ballets — All Perfect — Form the Special Allure of the Season's Revues
[135]
Photography by Weslon & Mather
THE CYPRESS GROVE
A captivating out-door study of three Marion Morgan dancers.
This unusually capable organization is presently engaged in
bringing its classic art to the Keith chain of vaudeville theatres
THEATRE MAGAZINE, SEPTEMBER, 1922
Duse Breaks Her Silence
The Great Italian Tragedienne Discusses Her Coming American Tour
THE unattainable is often a goal well
worth while our endeavors.
For — here we sat talking — Eleanora
Duse, the uninterviewable, and I, in a
room overlooking the blue sea at Livorno.
The unattainable had been attained !
"Really," she was saying, "you Americans
do rush so. You seem to get what you want
while we are making up our mind whether
to give it to you or not. You know I have
always refused to be interviewed."
There is something so com-
pelling of respect and rever-
ence in the personality of
Eleanora Duse, such dignity
and nobility of character, that
one bou-s instinctively before
a great soul.
"With all the human quality,
the syn.,.athy and understand-
ing which illuminates her
tragic face, one feels inspired
with the desire to say only
kind and considerate things.
The first impression of per-
sonal contact with this great
Italian artist is a sense of her
fineness of character, superfine
after the crucible of sorrow.
And now the eloquent face
was turned toward me with
wondering interest.
"But." I began a bit hesi-
tating, "you are planning to
go to America. When in
America, do as the Americans
do — why not begin now just
for practice?"
DUSE'S EYES TURN WEST
THE great brown eyes of
Duse, eyes that to me are
the saddest in the world, light-
ened with a smile. The tragic
lines of the sensitive mouth
lifted and Duse laughed.
"Do you know," she said,
"I can't get used to your way
of doing things — always in a
hurry. I am sure you will
want me to discuss everything
from the evolution of Art to
the international situation be-
fore you catch the train back to Florence.
It is extraordinary. Only a short time ago
an American came up to Trieste to see me
and expected to settle contracts and all my
business affairs for an American tour in an
hour and a half. How can one do things
well without taking plenty of time? You
hurry so it confuses me."
"But after all," I asked, "which do you
think is the most effective national slogan,
the Ital'an "Pazienza," or the American
"Step Lively?"
Her reply was politely analytical and a
bit evasive.
"I love America and American progress
— I often think that Americans must have
By ALICE ROHE
a great power of intuition. They don't
seem to reflect but they act. They are
always dashing ahead toward their goal.
Yes" — she smiled across at me — "they do
arrive, I will confess."
The conversation had begun with a light-
ness which I, at least, did not feel. The
opportunity of sitting face to face with the
great Duse, supreme actress of modern
times, a woman who has insistently refused
all interviews and who has fled from pub-
ELEANORA DUSE
A portrait that expresses in some part the dignity, sadnesi
and mobility of the world's greatest living actress. In it
may be perceived an odd suggestion of our own Maude
Adams as she may seem years from now.
licity with genuine aversion, ever since the
unhappy circumstances of her retirement
from the stage, filled me with real emotion.
I remembered Duse in all the glory f
her last American tour. And now — before
me sat a white haired woman, upon whose
face the marks of deep suffering were in-
delibly traced.
Although I had glimpsed her at her works
of charity during the war, I had never
fully realized until now what sorrow can
do to the face of a super-sensitive woman.
What makes the tragedy in Duse's face the
more poignant is the nobility of character,
the white flame of spirituality, ever strug-
gling to conceal her sorrow.
[137]
I could well believe the stories that it
has cost Eleanora Duse a great sacrifice to
come out of the shadows into which she
had shrunk for the past sixteen years, back
into the limelight of the theatre.
Personally I have never studied a more
sensitive face nor have I ever seen eyes ex-
pressive of more sadness. Yet her occa-
sional laugh reveals a keen sense of humor.
And when she smiles, showing her white
teeth, twenty years fall from her, telling
by contrast what ravages sor-
row can make.
As she talked, the loose
sleeves of a dark blue silk
brocade robe fell from her
beautiful hands — young hands
— with long, delicate, slender
fingers.
It was eleven o'clock in the
morning when Duse received
me in her apartment at the
Palace Hotel, Livorno (Leg-
horn), a place J had, from
childhoo-' as • -iaicd with hens
and hats. It was the last
place in the world I had ex-
pected to make an artistic pil-
grimage.
But Duse was giving two
gala performances at the
Goldoni Theatre. Here in
this seaside town she presented
Ibsen's "The Lady of the Sea"
and Marco Praga's "T h e
Closed Door" (La Porta Chi-
usa), with that rare art which
years cannot dim.
WHAT SHE WILL PLAY
TO me, Ibsen is one of the
greatest dramatists of all
time." she was saying. "It is
impossible to discuss national
phases of art today without
deep study but the Scandina-
vian mind has, for the past
thirty years, been producing
great drama.
"W ,at a sustaining force is
Art both for a nation and an
individual!"
"Are Americans fond of
Ibsen?" she asked suddenly. "You know, .(
I come to America, I will present a numb'
of Ibsen plays. There is a play by a ^
Italian dramatist I feel sure
public will like too, for it
a great human emotion-i
Closed Door' is a drama
'The Lady of the Sea'
mind. When I give bi
like to give these t-
appeal. I believ
sponsive to sen'-'
greater study
maternal ?"
Duse's f
Moira!'
'it J heir Names
"I understand that in America there are
many very young actresses of real talent
who dominate the stage today. One hears
so much of this spirit of youth which per-
vades your country. I am so anxious to
make a tour of the United States and to
come face to face with these young con-
trolling creatures. I want to study your
stage and meet these young artists who are
re-creating Art. For me it will be a
spiritual tour, a breath of new life!"
There was something inexpressibly sad
as this great artist whose genius was lost
for so many years to the public, spoke so
appreciatively of youth.
"I look toward America as the land of
optimism. That is your great national
asset, isn't it? It is this spirit of optimism
which has made you a progressive nation.
You are too young a country to feel in-
hibitions and fear. And now we must all
turn to you for fresh hope. Your psychol-
ogy is quite different from other countries
for one great reason today. Even though
America entered the war and suffered, the
country was never invaded and no unin-
vaded land can ever have the same outlook
on life as a country that has known the
ravages of alien forces."
"And do you think these things show
in the drama of a country?" I asked.
"Of course," she replied. "National life is
reflected in ':he artistic output of any coun--
try. I cannot speak intelligently of modern
American drama but I understand that you
are producing exceptionally exciting plays,
melodrama, mystery, detective dramas.
"I am greatly interested in your young
dramatists. Who knows but what one of
them may write a play for me! How I
should love that! I have such confidence
in youth. Here in Italy I am always in-
terested in the works of young playwrights.
I do believe so in encouraging them."
Everyone in Italy knows how Eleanora
Duse has interested herself in helping
young artists along the road from which
she retired. Both dramatists and actresses
owe much to this great artist.
"But I am told that America today is
really the land of the precocious, that
every professional field has been practically
taken over by astoundingly young people.
I am so anxious to see this land of youth!"
There is no affectation in Duse's talk of
America, no posing to please. She is sin-
cerity itself.
In fact, there is no pose either on or
off the stage about this unusual woman.
Sitting there in her salon, her long, exqui-
sitely expressive hands pushing an occa-
sional white strand of hair from her fore-
head, she is the same Duse as on the stage,
in one commanding detail. There is not
even a trace of powder on her face.
Few actresses would have the courage
to face the footlights without make-up as
does Duse.
USES NO MAKE-UP
THEY must take me as I am," she said.
"I have never used make-up and I
never expect to. One must be absolutely
natural upon the stage. It is not necessary
to exaggerate one's features any more than
it is necessary to exaggerate actions. Real
art comes from the correct portrayal of
emotions."
Indeed, intimate friends of Duse who
have suggested that she use make-up have
met with the unchanging response:
"If they do not like me as I am, they
need not come to see me. I am as I am."
This same unswerving spirit has made
Duse a remarkable figure in a field of
far greater range than the theatre. She
is unique in the story of woman. Only a
woman of great dignity and nobility of
character as well as fineness of sentiment
could maintain the unbroken silence re-
garding the disillusions which cast the
spirit of tragedy over her life.
There is one subject that is never men-
tioned to her by even her most intimate
friends. The incidents which led to her
retirement from the stage, shadowed with
sorrow, are as the title of her play, a
"Closed Door."
No tempting offer of alluring financial
figures has ever succeeded in obtaining
from her any reference to her version of
the story revealed in D'Annunzio's "II
Fuoco." No dazzling sum of money has
ever impelled her to refer to the events
which made of her life a tragedy more
over-powering than any drama she has ever
portrayed.
Naturally, I reflected, looking at the
sensitive face beneath the white hair, fine-
ness of character takes its toll in suffering.
And when I asked her if she were pre-
paring her memoirs, she raised her hands
in protest.
"Please — let us not talk of memoirs —
The future and the present — let us talk
of them."
Then quickly changing the subject she
began to talk of American literature with
real understanding and appreciation.
"I have always had great admiration for
a country that has produced an Emerson
and a Walt Whitman in literature and a
Washington and a Lincoln in public life. I
regret that I do not read English for one
loses so much national spirit through trans-
lation. Still French and Italian transla-
tions have given me an opportunity of be-
coming acquainted with many of your best
writers. Few philosophers appeal to me as
does Emerson and as for Whitman I have
always thought of him as the spirit of
America."
While Duse thinks Americans are
always in too much of a hurry about
everything, she appreciates the fact that
American women have arrived at a stafp of
comparative freedom before other nations.
"It seems to me that the American
woman is the most respected and the freest
in the world. I admire the freshness of
viewpoint and the independence of thought
and action which characterizes these wo-
men. Of course, Italian women today are
freer than before the war, but freedom
as it exists in America — unconscious free-
dom— does not exist here."
Through the broad window, behind a
vase filled with red roses, the picture of sail-
boats on a sunlit sea framed a background
for Duse's expressive face with its crown
of white hair. Something extremely fragile
in spite of the strong spirit shining from
her eyes, suggests itself in Duse's physical
appearance.
I wondered just how she felt about play-
ing again after her determination never to
return to the stage. And I asked her if
the long season had fatigued her.
"No — no — I am quite well," she replied,
and I longed to hear her add, "Quite well
and happy."
(Continued on page 186)
m ft ettim ft Mai,
PLAYS
By Harold Seton
Plays that are rapid,
Plays that are slow,
Plays that are vapid,
Plays that are low,
Plays that are sneaky,
Plays that are frank,
Plays that are freaky,
Plays that are rank,
Plays that are horrid,
Plays that are bold,
b.
Plays that are torrid,
Plays that are cold,
Plays that are cheerful,
Plays that are tough,
Plays that are tearful,
Plays that are bluff,
Plays that are treason,
Plays that are vile:
Once in a season
One that's worth while!
[138]
THEATRE MAGAZINE, SEPTEMBER, 1922
Campbell
SIDNEY BLACKMER
JOANNA RODS
Muray
Royal Atelier Mortal!
MARTHA BRYAN ALLEN GLENN HUNTER
THE YOUNGER PLANETS
A Quartette of Brilliant Young Players Who Are Coming to Need no Further Introduction Than Their Names
[139]
A icene in the sumptuous production of "The Pretenders," Ibsen's most famous historical play, based on the colorful medieval history
of Norway. On the cathedral steps are seen the principal characters of the play, King Haakon, Bishop Nikolaus and Earl Skule.
IBSEN AS PLAYED IN
A Few Unusual Photographs of Recent J\olaLle
[140]
THEATRE MAGAZINE, SEPTEMBER, 1922
An unusual atmosphere of reality is found
in the above scene from the National The-
atre's production of "The Wild Duck."
David Knudsen is seen as Hjalmar Ekdal
with his arm outstretched, and Gerda Ring
as Hedwig at the extreme right
(In oval) The noted Norwegian actor,
Egil Eide, an Dr. Stockman in Ibsm'i
social drama "An Enemy of the People."
The actor was dressed and acted the part
in the likeness of the great national poet
Bjornson
"Hedda Cabler," with the highly popular actress, Mrs. Ragna Wettergreen as Hedda (second from left) and the Director of the
National Theatre at Christiania, Halfdan Chrif.ensen, as Ejlert Lovborg at the extreme right
HIS OWN COUNTRY
Productions in the National Theatre of Norway
[141]
What Is An "Actor-Proof" Scene?
An Eminent Critic and Observer Comments On One of the Mysteries of the Theatre
By JAMES L. FORD
THE successful production of a play is
not, as so many thinkers of the owl-
ish school believe, a purely literary
achievement, but one that bears a close
resemblance to a feat in gastronomy. There
is, however, this difference between the
two, for whereas the last named is accom-
plished by a single cordon bleu who scorns
both advice and interference, the other
calls for the services of producer, dramatist
and actor, and the work of the three is so
closely blended with that of the press agent
that no layman can tell where the one be-
gins or the others end. The play-goer who
has enjoyed an evening's entertainment
goes home in the belief that he has seen
a fine actor and does not always give due
credit to the dramatist who has given new
proof of the old saying that "good plays
make good actors." This inability to dis-
criminate is highly pleasing to the manager
who has a long term starring contract with
the player while his interest in the play-
wright ends with the run of the piece. The
drama in question has been chosen, not be-
cause it was the best one offered but be-
cause its third act contained what is termed
an "actor-proof scene" cunningly devised
to exhibit the player's talent at its best.
THE PLAYWRIGHT'S TASK
AN. "actor-proof scene" is one in which
no player of even moderate skill and
experience can go wholly astray. The
building of such scenes is one of the most
ancient of theatric arts and the one most
favored by modern conditions for it can
be used as a substitute for genuine mimetic
ability. The skill with which Shakespeare
wrote plays containing more than one part
that was "actor proof" in every scene is
ample proof of the absurdity of the Bacon-
ian theory, were any such proof needed.
Clyde Fitch devoted much of his genuine
talent to the construction of parts that
brought stellar honors to many an actress,
for which reason, perhaps, but little of the
work in which he was so prolific survives
him. Ripe scholastic thought has occupied
itself of late in sage comment on the plays
of Eugene O'Neill but, so far as I know,
not one of these academicians has given
him credit for the effective "actor-proof
scenes" in several of his plays.
So far as it applies to the stage there is
some degree of truth in the phrase, fre-
quently on the lips of malcontents: "Cri-
ticism does not exist in this country."
Largely speaking, dramatic criticism has
passed into the hands of academicians and
young men, for the most part college grad-
uates, who, by reason of their tender years
are not guided by the higher standards
of the past.
Now the theatre is an intellectual democ-
racy that defies the comprehension of the
scholastic mind and even the highly cul-
tivated one. Very few of either class
realize that literature and the drama are
very far apart and not amenable to the
same laws. Such lore as the academician
possesses is confined to dramatic construc-
tion, but as there is no Chair of Acting
in any American university his ignorance
of that delightful art — and it is an art — •
is abysmal. In his discussions of the Shake-
spearean dramas he concerns himself with
the reading of the lines — whether the actor
should say "stings and arrows," or "stings
and arrows," or "stings and arrows"- — and
pays no heed whatever to the manner in
which the lines are listened to and thus
carried across the footlights into the minds
of the audience. He is easily fooled by
the uncouth gyrations that pass current as
"intellectual acting" at those special mati-
nees that harbor so many offenders against
dramatic art.
ACTOR-PROOFING "RIP"
THE younger dramatic commentator is
a chosen disciple of the elder, and, if
a little learning be a dangerous thing, how
much more dangerous is that learning when
it is tainted at its source by scholastic
heresy ?
But who is there among the playwrights
of recent years whose genius in work of
this description is comparable with that of
Dion Boucicault ? We have only to con-
sider what he did with "Rip Van Winkle"
to realize that he \vas a complete master
of his craft.
The story on which this play is founded
was given to the world by Washington
Irving a century ago and soon attracted
the attention of actors and others skilled
in stage-craft, for the lovable qualities of
the easy-going village loafer who preferred
fishing and hunting and the joys of the
tavern to the constant nagging of his wife
had an almost universal appeal to men if
not to women. Many were the pens that
busied themselves with attempts to adapt
the sketch to use behind the footlights. As
the American dramatist was then a neg-
ligible factor in theatric affairs the work
was undertaken by actors, each one of
whom saw himself in the title role. Hackett
tried his hand at it, as did Joseph Jeffer-
son's father and, finally Jefferson himself,
to whom the possibilities of the character
appealed more strongly than to any of the
others. Not one of these men, competent
as they were, was successful, nor could any
of them understand why a play founded
on such a widely read tale and built around
such an attractive character should invari-
ably fail. Perhaps if there had been women
dramatists in those days the result might
have been different.
BOUCICAULT'S GENIUS
TDUT Joseph Jefferson did not despair,
-L* for he had become obsessed with a
desire to play the part, and on a visit to
London in the Sixties he brought his manu-
script to Dion Boucicault anc1 asked him
what was the matter with it. It needed
but a single reading to reveal the weakness
of the play to that astute dramatist. He
saw that no matter what the charm of
the actor playing the chief part women
would not accept as a stage hero a man
who caroused in the tavern while his wife
did the washing. Accordingly he set him-
self to the task of redeeming Rip in
the eyes of women. In the first act
he presented him frankly at his worst as
a worthless but good-natured idler who
could not refuse an invitation to drink.
Then he made him kind to the children
who came trooping lovingly about him — a
direct route to the sympathetic feminine
heart — and to the dog, Schneider, whom
nobody saw. Knowing well that in every
feminine soul there lurks a thorough de-
testation of such of the sex as are termed
"cats" this wise student of humankind
showed Rip's wife to be a nagging terma-
gant of the worst description, so that every
woman in the audience said to herself: "If
that man had only married a nice woman
what a difference it would have made in
his character!"
A LITTLE KNOWN FACT
IT had been apparent to previous adapters
of the story that the ill-assorted couple
must be separated, but the manner of that
separation had proved the rock on which
every one of them had foundered. Bouci-
cault's solution of the problem crowned
his handiwork with a master-stroke of
genius. It was evident to him that one of
the two must put the other out of the
house, but how was that to be accom-
plished? For the husband to drive his
wife out would be to rob him of every
particle of the sympathy his dramatist had
been at such pains to win for him. Were
Rip ejected, many women would say that
it served him right. Boucicault deliberately
traded on that fear of thunder and light-
ning which is the heritage of every woman
and had his hero driven out into a fierce
storm of wind and rain accompanied by
peals of thunder and dazzling flashes of
lightning that brought the curtain down
on a house shaken with sobs. The last act
was absolutely "actor proof" for while the
audience knew that the Revolution had
taken place and that Rip had been asleep
twenty years, and the other characters were
aware of the political changes, Rip knew
nothing of either happening and was of
necessity the centre of interest.
It was in the year 1865 that the Irish
dramatist delivered his work to the actor
who appeared in it almost continuously for
forty years, and within a few weeks of the
present moment of writing I have received
a message from a London manager asking
where the Boucicault version could be ob-
tained. By common consent the credit for
the popularity of the piece was given to
(Continued on page 188)
[142]
THEATRE MAGAZINE, SEPTEMBER, 1922
Study by Rabinovitch
KOTCHETOVSKY of the CHAUVE-SOURIS
Whose Rare Artistry Makes His Dance "The Clown" a Gem of Pantomimic Emotion
[143]
Alfred Cheney Johnston
ELEANOR PAINTER
Whom September will find back at the
Century in a new musical offering, "The Lady
of the Rose," an importation from London
RUTH CHATTERTON
Who will shortly open in "La Tendresse," an
adaptation from Bataille done by herself
which was received with great favor during
a try-out with Henry Miller in San Francisco
Morrall
MARJORIE RAMBEAU
To be seen in another French play, this time
"The Wedding March," one of the several
Bataille adaptationi to be done this season
FAY BAINTER
Whose manager, William Harris, Jr., is re-
solved she will be seen in New York again
this season even if he has to write the right
play for her himself
White
MARIE TEMPEST
Who, with her husband, Graham Browne,
has traveled an astonishing number of
miles from the Australian hinterlands and
returned at last to New York to play in
Arthur Richman's new comedy, "A Ser-
pent's Tooth"
Abbe
Abbe
STARS TO TWINKLE IN FALL SKIES
Great Favorites Who Will Be Seen On Broadway I:i Nciv Productions
[144]
THEATRE MAGAZINE, SEPTEMBER, 1922
The Rise of the Curtain
A Forecast of What Broadway is to See and Hear the Coming Season
By JOHN VAN DOREN
PIN the red badge of courage
upon the valorous breasts of
New York's producing managers.
Scarcely was the most disastrous sea-
son of 1921-22 decently buried with
fitting obsequies before arrangements
for a vigorous campaign for the com-
ing theatrical year were inaugurated.
And at this moment, in spite of labor
troubles, business lassitude and a
hesitant public, more plays are in
process of preparation than have been
launched in several seasons. A chat
with our leading managers about the
productions pending or already under
way reads like a philosophical lecture
delivered in several keys.
NEW FORBES COMEDY
A L. ERLANGER, who scoffs at past
difficulties and loves to ride the
storm, admits that last season was
calculated to try men's souls. Never-
theless, his broad vision sweeps a
wider horizon than that which bounds
the theatre alone, and he declares that
in the world-wide fusions and confu-
sions, commercial, political and intel-
lectual, that have prevailed on both
sides of all the seven seas, the amuse-
ment business has scarcely been con-
fronted with more than its share of
disaster. And Mr. Erlanger's theatri-
cal interests will be as far-flung and
various as ever during the coming
season. While his plans have not yet
so far matured as to be given concrete
listings, apart from a new comedy by
James Forbes of "The Famous Mrs.
Fair" fame, he will, in conjunction
with Florenz Ziegfeld and Charles
Dillingham, project a number of im-
portant ventures into the theatrical
arena. Mr. Erlanger's first novelty
will be a brilliant production of Kal-
man's new operetta, "The Bayadere,"
now the sensation of Berlin, which is
heralded by all who have seen it as
a sure-fire American hit, bound to live
as long as Mr. Erlanger's famous
"Ben-Hur" — the very Methuselah of
the stage.
"This is a time for the survival of
the fittest," says Al H. Woods, who
recently came home from Europe stag-
gering under a load of new plays cal-
culated to bring joy to the hearts of
actors looking for engagements. "Of
course," murmurs Mr. Woods slyly,
with a crooked smile, "differences of
opinion as to what is 'fittest' in the
drama exist between myself and cer-
tain impure puritans, but I claim par-
don for a mild complacency over the
fact that all my plays have triumph-
antly survived the crash and carnage
of last season."
WOODS' LONG LIST
AMONG the enterprises claiming
Mr. Woods' immediate attention are
Somerset Maugham's sensational Lon-
don hit, "East of Suez," which will be
done here with an impressive cast, not
yet fully selected. The last two plays
by Bataille, "The Wedding March"
and "A Child of Love," voyaged from
Paris in Mr. Woods' manuscript trunk,
as did "Le Retour" by de Fleur& and
Croisette. Three unwritten plays
by each of two prominently popular
French dramatists are also contracted
for by this manager. This sextette
comprises the next three plays by
Andre Picard, who wrote "Kiki," and
by Alfred Savoir, whose chaste type-
writer clicked off "Bluebeard's Eighth
Wife," a season or so ago. Like the
late Augustin Daly and William Gil-
lette, Mr. Woods regards Berlin as
the happy hunting ground for the
dramatic Nimrod who seeks the merry
and ever adaptable farce.
He captured there no less than seven
mirthful vehicles, together with a num-
ber of more serious plays and a fine
bag of musical pieces. Among the
latter is one that is likely to be pro-
duced under a different title from
"Gri-Gri," which is of Viennese origin
although brought down in Berlin. The
music of "Gri-Gri" is by Lincke whose
tinkling "Glow Worm" is still whistled
on Broadway many years after its
introduction in "Three Twins." A
comedy, "Gretchen," which, to quote
the producer, "has had Berlin in
stitches" for over three hundred nights,
will be shown to New York audiences
in the early part of the season. "The
Bad Girl," which will also enliven
Broadway, is not likely to be so shock-
ing as it sounds, since the vernacular
"Bad" will be transformed into "Bath-
ing." "This is a clean play," explains
Mr. Woods. "Paul and Pauline,"
"Furnished Rooms to Rent," "Orches-
tra Seat No. Ten," "The Woman in
the Mask," "The Spring Board," "The
Chaste Lebeman," "Femina," and
"Parquette No. Six" are a few of the
other titles of plays in Mr. Woods'
game bag.
Especially well does Mr. Woods
think of "Morphia," a reigning Vien-
nese success by Dr. Ludwig Mertzner,
which is slated for early production
with an old-fashioned Woods cast like
those which startled Broadway when
this manager produced "The Yellow
Ticket" with John Mason, Florence
Reed, Frederic de Belleville, John
Barrymore, Irene Fenwick and other
stars in an unfeatured aggregation of
players.
Added to this list Mr. Woods has
purchased a group of plays which are
at this writing tossing on the Atlantic
en route from his purchasing head-
quarters in Paris. He has also renewed
his option on the last play of the late
C. M. S. McClellan, who wrote "Leah
Kleshna" at one pole of his achieve-
ment as a dramatist and "The Belle
of New York" at the other. "The Jury
of Fate" is the tentative title of the
McClellan piece, which will be pro-
duced this season.
HARRIS REFUSES TO COMPLAIN
"W/"E'RE all alive, aren't we? And
we've all got our health, haven't
we?" demands Sam H. Harris, as
his comment of the failures of last
season. "Personally, I have no com-
plaint to register against 1921-22. I
begin this year with several left over
successes still running, and a number
of new productions that look like pop-
ular hits under way." At the time
of this writing, "Captain Applejack"
at the Cort Theatre, "Six Cylinder
Love" at the Harris Theatre, and
"The Music Box Revue" are still
attracting commanding midsummer
patronage, while several new pieces
are marking time in the provinces
while waiting a chance to dazzle
Broadway. Jeanne Eagles in "A
Gentleman's Mother," has scored a
very heavy hit and promises to be a
Broadway feature for the whole of the
coming season. Other attractions which
Mr. Harris expects to show New York
[145]
'
Portrait by Nikolas Muray
MARY SERVOSS
Whose probable appearance as Portia with David Warfield in the Belasco production
of "The Merchant" is among the most interesting prospects of the coming season
[146]
THEATRE MAGAZINE, SEPTEMBER, 1911
shortly are William Anthony Maguire's
novelty "It's a Boy," Richard Bennett
in a characteristic role, "A Nervous
Wreck" by Owen Davis, and an am-
bitious new play by Martin Brown
with the intriguing title "G real
Music." Claire Kummer has already
turned over to Mr. Harris the script
of a new play in her most amusing
vein which will engage the stellar
services of Roland Young assisted by
a hand picked cast. "Pomeroy" is
the present title of the new Kummer
play, but a christening party at Mr.
Harris' Great Neck cottage may give
the piece a new name at any moment.
Several costumers assisted by Hepner
and all the available jokesmiths and
scenic artists with Maestro Irving
Berlin furiously at work at new melo-
dies, are already constructing an en-
tirely new Music Box Revue which
will spring full-fledged into being
when the October openings are well
under way. A number of novelties
are kept under an armed guard of
yeomen, officered by Lieutenant-Com-
mander Wells Hawks, U.S.N., which
will be released from secrecy at the
premiere of the new Revue. The
Duncan sisters, who will star in a new
piece of their own construction, have
admitted Guy Bolton to partnership in
their playwriting venture and Mr.
Bolton has added the element of stage
technique to the drolleries the merry
sisters have strung together for their
use. This list fails to include all the
activities scheduled for Mr. Harris'
contribution to Broadway this season,
but he withholds further confidences
out of consideration for the health of
Mr. Samuel Forrest, his stage director,
who will produce the entire output,
with the partial exception of the Music
Box piece, single handed and alone.
MAURICE CHEVALIER COMING
JT is a tradition of the Paris cou-
lisses that when Charles B. Dil-
lingham arrives in the French capital,
all the dramatists in Paris camp at
his door until he has purchased every
reigning success that takes his fancy.
"La Touche" and "Dede," both
musical pieces of unexampled popu-
larity, are his Paris purchases this
summer. For the latter piece Mr.
Dillingham will bring to Broadway a
new matinee favorite in the highly
attractive and talented person of
Maurice Chevalier, now playing the
principal role in Paris.
For the entire two years' run of '
"Dede" in Paris, M. Chevalier has
shared national favor with such other
idols as Foch, Clemenceau and Joffre;
so there seems no reason to doubt that
the tricolor will wave gaily over the
Dillingham stage for an extended sea-
son. Mr. Dillingham's great serious
offering will be the much discussed
Galsworthy masterpiece "Loyalties,"
which he will do early in September
with much pomp and circumstance.
In lighter vein "Tons of Money,"
a fleetly moving farce, will be shown
later on. Mr. Fred Stone will con-
tinue in "Tip Top," which has been
seen in but four cities during its
road tour. Also will continue "A Bill
of Divorcement," with Allan Pollock,
and "Bulldog Drummond," which
opens in Chicago on Labor Day.
"Good Morning Dearie" will continue
at the Globe Theatre its record-
breaking run.
MORE KERN MUSIC
T^HE new Anne Caldwell piece,
"The Bunch and Judy," with
Jerome Kern's music, will be an
early Dillingham offering. Other
plays by Rida Johnson Young,
Montague Glass, Fred de Gressac,
Eugene Walter, William Le Baron
and others will also be produced with-
in the next fifty-two weeks by Mr.
Dillingham. Of course, the Dilling-
ham season's magnum opus will be
the big Hippodrome show, which is
now in the final stages of rehearsal.
More massive than ever, the usual
Hippodrome display of trained ele-
phants will be augmented by a troup
of sixty performing horses. There
will be more dancers, more scenery,
more special features, more laughs
and more musical novelties than ever;
and as this issue of THEATRE MAGA-
ZINE goes to press the only thing
still uncaptured by Mr. Dillingham
for the newest of his Hippodrome
shows is a name. The title for this
sixty horse-power spectacle will be
developed, says director Burnside dur-
ing rehearsals by the usual Hippo-
drome method of inspired suggestion
from the many suggestions that present
themselves as the spectacle takes form.
Seated in the attitude of Rodin's
"Thinker," Mr. Lee Shubert phi-
losophizes pleasantly about the coming
season. "Productions speak louder
than words," says the Plato of Thea-
tre Row. "Last year's vaudeville?
Last year's road seasons? The wise
man's eyes are in the front of his
head ; he is too busy looking forward,
to spend any time gazing with com-
placency or regret at the yesterdays
of his life."
And for the theatrical "tomorrow,"
Mr. Shubert has scheduled for pro-
duction an imposing list of new plays
with continued presentation of a num-
ber of last year's successes. Among
these survivors will be two companies
of "Blossom Time," Al. Jolson in
"Bombo," M'Intyre and Heath in "Red
Pepper," Frances White and Taylor
Holmes in "The Hotel Mouse," Vivian
Martin and Lee Overman in "Just
Married," with Eddie Cantor and the
Howard Brothers continuing for the
present in last season's hits.
New plays are on the tapis for Leo
Ditrichstein and William Hodge,
while James Barton will blossom forth
as a full-fledged star in a novel
vehicle not yet named. New Ameri-
can novelists in the persons of Ben
Hecht and Sinclair Lewis will con-
tribute plays to the coming season, Mr.
Lewis' "Main Street" having already
seen the light of day.
While Mr. Lee Shubert has been
putting American plays into shape for
the coming year, Mr. J. J. Shubert has
scoured the European market and re-
cently landed on Broadway with a
great grist of musical and dramatic
pieces. Among these are Pinero's
much discussed "Enchanted Cottage,"
for which many other managers made
bids in London, and which he will
produce in conjunction with W. A.
Brady, whose European visit is pro-
longed too late for fuller mention of
his own activities. "The Lady of The
Rose," now packing Daly's Theatre
in London, will be Eleanor Painter's
next vehicle, while Tessa Kosta will
be heard in the title role of "The
Little Dutch Wife," a role for which
Emerich Kalman has written some
captivating music to a bright book
with lyrics by Leo Stern. Several
other English and German novelties
are supplemented by an extended list
of Italian plays, both lyric and dra-
matic, which are enjoying an enthusi-
astic vogue in Italy.
PEMBERTON FAITHFUL TO ITALY
"VTR. BROCK PEMBERTON, whose
first star, Gilda Varesi in "Enter
Madame," has inclined him to a lean-
ing toward the land of Dante and
D'Annunzio, has also bought a num-
ber of Italian successes, which he will
disclose to Broadway during the com-
ing season. Among these are Luigi
Pirandello's "Six Characters in Search
of an Author," and "What You Least
Expect," by Luigi Barzini, well-known
to newspaper men all over the world,
and Arnaldo Fracaroli of Milan. Mr.
[147]
Maurice Goldberg
SYBIL GUNN (Left)
and ANGE
Two winsome and talented
pupils of Helen Moller'i
school of ihe dance
(Left)
FRANCES MAHAN
Who has been placed under
contract for three yeari as
a premiere danteuse with
the Music Box
(Ripht)
MARLEY
Of the Fokine ballet at the
Hippodrome, who will be
seen again at the big play-
house next season
Maurice Goldberg
Xickolas Muray
A PHOTOGRAPHIC POEM OF MOTION
Youth Whirls Joyfully Indoors and Out to the Click of a Camera
[148]
THEATRE MAGAZINE. SEPTEMBER. 1921
Pemberton has contracted for foreign
productions of "Miss Lulu Brett" and
for "Enter Madame," which will en-
gage the services of Lina Abarbanell
in Berlin and Halina Bruzovna in
Warsaw, while other actresses will
carry the Varesi heroine to South
America and the Scandinavian thea-
tres. Mr. Pemberton also announces
Lord Dunsany's "If."
MARIE TEMPEST BACK
JOHN L. GOLDEN'S friends call
him the "Babe Ruth" of the stage.
That is the Lambs Club way of say-
ing that he expects all his plays to
make home runs in New York of at
least two years' duration. This pleas-
ing record having been achieved by
"Lightnin' " and "The First Year,"
and closely approached by "Three
Wise -Fools" and "Thank U," each of
these successes will continue their
career during the coming season.
There will be at least three com-
panies of "Lightnin' ". One of course
headed by Frank Bacon, who is at
present playing in Chicago, another
by Milton Nobles and a third by
Thomas Jefferson. Two companies
will present "The First Year,"
Gregory Kelly playing the role made
familiar by Frank Craven in a tour-
ing organization. Harry Davenport
and Phyllis Rankin will head the com-
pany presenting "Thank U," and Tom
Wise will continue in "Three Wise
Fools." Hale Hamilton and Grace
La Rue will have a new piece,
"Monoker," and worthy of special
spotlight in the Golden schedule is
the re-appearance, after many years,
of Marie Tempest and her husband,
Graham Browne, who have journeyed
specially from Australia to do Arthur
Richman's new comedy "A Serpent's
Tooth," at the Gaiety.
THE BELASCO PLANS
rpHE plans of David Belasco are
shrouded in that masterly reti-
cence that always envelops prelimi-
nary activities of the Belasco forces.
"Shore Leave," however, will be
done with Miss Starr as the heroine
in a play by Hubert Osborne, hitherto
known as an actor prominent in the
cast, of H. W. Savage's production of
"Every Woman." David Warfield,
after a preliminary season in a round
of familiar characters, will realize his
long deferred hope of appearing as
Shylock in a Belasco-Shakespearian
production this year, and a new poten-
tial star will be launched in the per-
son of Miss Mary Servoss, who is to
be presented by Mr. Belasco early in
the season, probably as Portia.
Miss Lenore Ulric will continue her
remarkable characterization of "Kiki"
indefinitely at the Belasco Theatre.
Morris Gest will continue to pro-
vide the "Chauve Souris" company
with new "turns" from time to time.
An entire change of bill is scheduled
for October 1st and there is no doubt
that Balieff and his merry associates
will continue to convulse New York
audiences at one theatre or another
for the entire season of 1922-23. By
a co'up of diplomacy Mr. Gest has suc-
ceeded in healing the breach existing
between M. Balieff and Sou.iekine,
the great scenic artist who has been
identified with previous "Chauve
Souris" successes, and the new chapter
in this merry revue will enlist the
services of the painter who is now
en route from Paris. Of the coming
of the Moscovite "Art Theatre," there
is at present an irritating uncertainty.
Negotiations have been suspended and
renewed from time to time, and are
at present pending with the outcome
impossible to foresee. Should Mr.
Gest's well-known diplomacy succeed
in smoothing away the difficulties pre-
sented, New York will doubtless see
the greatest organization of players
ever introduced to our public, for the
Art Theatre of Moscow is recognized
wherever the drama flourishes as the
embodiment of all that constitutes
greatness in every feature of drama.
A TRIANGLE OF BARRYMORES
'"THE plans of Arthur Hopkins are
" held in abeyance at present, while
a number of important issues are be-
ing considered. It is known, however,
that Mr. Hopkins' well-known policy
of fighting at the front of artistic en-
deavor in the theatre, will be vigor-
ously pursued. At least it can be said
that all the Barrymores in the theatre
will be presented by Mr. Hopkins this
year, Ethel Barrymore having joined
her brothers under his banner. Of
Mr. John Barrymore's return to active
work there exists some doubt, but it is
confidently hoped that he will be seen
on Broadway before the snow flies.
The Theatre Guild will do its usual
number of interesting plays, the cycle
for 1922-23, including a number of
daring foreign novelties and several
thoughtful plays by a group of
American dramatists headed by
Eugene O'Neill. Present plans call
for the production of "R. U. R.," the
cabalistic title of a new play from a
Czech pen, that of Karel Capek; "The
Lucky One," by A. A. Milne, the
"Voysey Inheritance" by Granville
Barker, and probably Ibsen's "Peer
Gynt," with Joseph Schildkraut of
"Liliom" fame in the title role. "Masse
Mensch" by Ernst Toller, and at least
one Shaw play are also scheduled.
"MERTON OF THE MOVIES"
'T'HE plans of George G. Tyler in-
clude a number of activities, all of
which so far as scheduled will con-
tinue Mr. Tyler's policy of projecting
the work of American dramatists.
"Dulcy" and "To the Ladies," will
continue their merry career, and
Harry Leon Wilson's "Merton of the
Movies," with Glenn Hunter as the
dreamy young idealist unafflicted by
any sense of humor.
William Harris, Jr., is still des-
perately trying to locate a script for
Fay Bainter, who, from all re-
ports, is finally wearied of doing
the perennially popular "East is
West." Every play hack-smith and
genius along Broadway has assailed
the Harris office with a script or an
idea, but so far nothing has been
forthcoming of definite interest. It it
possible that Mr. Harris will have to
look abroad for a piece suited to his
enormously popular star, whom he has
resolved to have re-appear in New
York this Fall. Among other Harris
plans are included a production of
Alfred Savoir's new comedy "Banco,"
being done into whimsical English by
Clare Kummer. A new Tarkington
play, tentatively entitled "Kunnel
Blake," and Galsworthy's new play,
"Windows," which was received with
interest in London, are also on the
Harris list. Mr. Harris awaits the
script of John Drinkwater's "Robert
E. Lee," which may prove the chef-
d'oeuvre of the coming Harris season.
ANOTHER RICHMAN PLAY
'"PHE Charles Frohman offices, now
headed by Gilbert Miller, will start
the season with a production of "The
Awful Truth," a new comedy by the
prolific Arthur Richman which had
tremendous success during a Coast
try-out with Bruce McRae and Ruth
Chatterton in the leading parts. The
Richman piece will open in September
at the Henry Miller Theatre with
Ina Claire as star. A further pro-
duction of the Frohman office will be
that of "The Swan," a new Molnar
comedy of royal personages which is
being played with great success in
Budapest. The production will have
(Continued on page 184)
[149]
Photography by Charlotte Fail-child
MACBETH : "MY DEAREST LOVE . .'
Ian Kieth and Blanche Yurka make Shakespeare's tragedy seem a romance
in this charming impression posed specially by these two well-known players
[150]
THEATRE MAGAZINE, SEPTEMBER, 1922
Mr. Hornblow Goes to the Play
The Pin Wheel Revue
Produced at the Earl Carroll Thea-
tre, June 15th, with the following
principals:
Raymond Hitchcock, Frank Fay, Rosalind
Fuller, Margaret Petit, Felicia Sorel, Senia
Gluck, Michio Itow, Hazel Wright, Eva
Clark, Louise Riley, Ragina Devi, Lillian
Greenfield, Marie Viscardi, Florence
McGuire, Victorio White, Josephine Head,
Maria Montero, Patricia Gridier, Hamilton
Condon, John Burr, Phyllis Jackson, Mer-
cedes Guthrie and Maurice Black.
A BIZARRE, fantastic and at the
same time hopelessly dull enter-
tainment came into the Earl Carroll
under an extraordinary assortment of
sponsoring names as a preliminary
contribution to the barrage of summer
shows. A more unusual combination
of rich artistry literally messed by
incongruous, inappropriate comedy in-
terpolations has rarely been seen on
Broadway. The "Pin Wheel Revue''
was and should have remained a
carnival of dancers. It started that
way under the general leadership of
the talented Japanese Michio Itow,
variously assisted by fellow artists,
and then fatefully and a bit obscurely
passed into the hands of Raymond
Hitchcock, who, apparently inspired by
the way Balieff "sees through" the
Chauve-Souris, undertook to make a
similar effort.
Rosalind Fuller with her always
gracious manner and charming songs,
Margaret Petit with several ballet
dancers in a dance after the paint-
ings of Degas, a "tramp ballet" of
five hooligans attired amusingly in
shabby clothes of pure white, and a
dance called "Faun and Nymph" by
Felicia Sorel and Senia Gluck were
the outstanding moments of artistry
in the oddly mingled bill. But be-
tween each of these numbers and be-
tween many other almost equally
lovely Mr. Hitchcock and his side
partner, Frank Fay, issued before the
audience and with a humor of the
sort that is customarily improvised at
rehearsal by old hands at the gentle
art of give-and-take comedy utterly
destroyed the peculiar illusion and
spirit conveyed by what had gone be-
fore. Those who had enjoyed the lat-
ter could not conceivably enjoy the
heavy-footed Hitchcock fun, and those
in the audience who could find smiles
in the latter would have no possible
use for the dances and songs. I have
never seen in the theatre a more ab-
surd combination of offerings. And
certainly the one comedy sketch in
the bill, "The Shaving of the Hairy
Ape" — as its name implies — would do
shame to a band of freshman ama-
teurs. In fact, no college show I have
seen ever committed anything half so
stupid and banal.
The "Pin Wheel" has gone. But
it will return, and I rather suspect
that when it does return, it will be
the loveliness of it that will endure
and the rest will be gone. A more
generally beautiful assortment of
dance conceptions I have never found
in a revue before. And if there is
one unusual artist in the lot it is a
young man named Senia Gluck of
whom I had never heard before but
of whom I shall assuredly hear again.
Incidentally, it is of interest to know
that a well known photographer —
Bruguiere — helped in the staging of
several of the ballet and dance num-
bers. It is not a bad idea to have as
adviser a camera artist whose life and
training has been devoted to the study
of light value.
The Chauve-Souris
THE "Chauve-Souris" has gone into
a second edition and will un-
doubtedly go into a third and fourth
and will be with us perhaps as long as
that other "Bat" which lingers reso-
lutely at the Morosco. The revised
version of the popular Russian vaude-
ville carries over a number of the
"hits" of its opening bill, notably, of
course, "The Parade of the Wooden
Soldiers" and "Katinka" which have
become by-words. The company —
still under Balieff's eye — performs
now at the Century Roof, which has
been colorfully redone by Remisoff to
resemble the interior of a true Musco-
vite playhouse. The expanse of the
roof theatre does not lend itself as
well to the intimate nature of the en-
tertainment as did the 49th Street
house, but the breezes from Central
Park made forgiveness on that score
easy.
The big discovery of the new bill
— and an act which for me so far
outdoes anything else the Chauve-
Souris has created artistically that it
deserves mention alone — is a dance of
marvelous conception and execution by
M. Kotchetovsky. As a clown issuing
from the lights of the arena into the
silence and loneliness of his dressing
room, he plunges eloquently and ex-
quisitely into pantomimic expression
of the creature's fate and life and
hopes and despairs. In three minutes,
Kotchetovsky achieves all and more
than Bennett achieved in three hours
of "He." His is a notable and beauti-
ful piece of work and in itself more
than warrants the importation of the
talented band of the "Chauve-Souris."
Spice of 1922
Produced at the Winter Garden,
July 6th, with a cast among which
were:
Valeska Suratt, Arman Kali/. Jimmy Hus-
sey, James C. Morton, Adele Rowland,
Sara Hearn, Florence Browne, Cecil d'An-
drea, Harry Walters, Hasoutra, James
Watts, Jane Richardson, Midgie Miller,
Flavia Arcaro and Will Oakland. Book by
Jack Lait.
A SHOW hurle;! together in its
formative days in a fashion
destined to guarantee either complete
disaster or great success with Valeska
Suratt riding proudly at its head and
joined up by the experienced but
somewhat hackneyed pen of the prolific
Jack Lait has come into the Winter
Garden under the title "Spice of 1922."
I rather suspect that "Spice of "
will be a new and fairly permanent
addition to the list of perennial pro-
ductions. Somehow or other, a bit
mysteriously, perhaps, but none the
less certainly, a personality has crept
into the entertainment and made itself
felt. It may be Suratt, perhaps Lait,
possibly Allan K. Foster who has done
a fine bit of work with little material
in staging the production. Or it may
be no one at all, but the magical com-
bination of good things and bad which
go to make up a show that rather
makes one think back on it.
Certainly nothing worse has ever
been seen on a professional first class
stage from the standpoint of taste,
humor and intelligence than an
absurdity called "Lilies of the Field,"
an exhibitionistic glorification of
Mile. Suratt — yet on the other hand
few funnier things have been seen on
Broadway than the sketch "All Night
Long," a thing that in its broadness
(Concluded on page 1*6)
[151]
Portrait by Ahhe
THE BEAUTY AND
Lenore Ulric caught in an unusual and striking mood.
A favorite portrait of the endlessly popular "Kiki"
[152]
THEATRE MAGAZINE. SEPTEMBER, 1922
THE BEAST
Portrait by Abbe
An extraordinary cameo-like study of Louis Wolheim
in his splendid characterization of "The Hairy Ape"
[153]
Captain Pollock
Broadway's Leading Actor-Hero Gives a Glimpse Into the Reason for
British Actors Being Good Ones
By ADA PATTERSON
DON'T say anything about the war,
please. I've been saying this ever
since I came back but nobody minds,
for some reason. I mean — it seems so
unfair that thirteen of my chums in the
same battalion, the Argyle and Sutherland
Highlanders, should have been killed and
that I dragged my weary bones back here
to kind America and got my name in
electric lights above the door. It isn't
right, is it?"
It was eminently right that Captain
Allan Pollock should import back his
weary bones, and his slow speech, and his
languid air, to entertain us. I said so. He
answered with a little sigh, "So many
of my friends, such good fellows, are
gone. Why should I be staying on, I
wonder?"
It was not why, but how, that most
concerns us. How could a man, of frailest
physique, whose long body suggested brit-
tleness as long ago as sixteen years, when
he made his first visit to this country, have
survived the havoc war had wrought in it?
He served for four years and paid for the
service with three years in the hospital.
He survived eleven operations upon the
body, never more than seventy percent
strong. Thirteen pieces of shrapnel were
removed from his body. Eleven splinters
of shrapnel, irksome companions, he has
ever with him. A part of his jaw was shot
away. It has been replaced by silver. His
liver was bayonetted. Yet this patchwork
of torn flesh and mended bones is animated
by a spirit so fine that Captain Allan
Pollock is known the length of Broadway
and the height and depths of the Lambs
Club as the most popular British actor in
America.
"It is supposed that I am an Englishman
because I have played in the provinces. I
am a Scotsman. But practically all my
days at Perth were just kid and circus days.
They're long ago, but not forgotten."
"And you are a bachelor?" I asked.
"Yes," he admitted, "but not from
choice. It has always been my ambition to
be married."
WANTS TWENTY-FIVE CHILDREN
I OBSERVED that that might easily be
contrived. "That is something that can-
not be forced," was his cryptic reply. "And
to have many children," he continued.
"How many?"
"Twenty-five or thirty."
"If that ambition becomes known you
will remain a bachelor."
An abbreviated laugh from the hero of
the barrages of Ypres and we were back
again at Perth.
"I was one of eleven children. We were
eight boys and three girls. I came about
the middle of the series. We were of that
large number of any nation, the lower
middle classes. We all had to work
hard at anything we could find to do.
I used to run errands.
"My family did not oppose my go-
ing on the stage. It was glad to be
rid of the burden of me. Nothing of
that tosh about having tea with Lady
So and So, who asked me to appear in
amateur theatricals, w h i c h brought
about my going on the stage. No.
My family was glad to see me earning
something and making my keep. It is
good to be reared in the rough and
tumble of a large family, though there \vhi
is something cruel in it, too. Still I am
not in favor of the new cult of birth
control. Why curtail the Anglo-Saxon
race and let others rule the world ?
"I had a fair voice in my youth. I
began in the music halls. It was easy
enough to get a chance to sing the tenor
roles of Hayden Coffin, after the musical
comedies reached the provinces. Think of
my temerity at nineteen, playing leading
roles in Dion Boucicault's dramas, "The
Shaugran" and "Colleen Bawn" and "Ar-
rah na Pogue," on tours that included
Ireland itself.
AMERICA'S STAGE MOST HOSPITABLE
NERVE? No. Boyish fatuousness and
ignorance. I was at that vealy age
when I was convinced that I was a great
actor. It took three years and fifty friends
to convince me that I was not as gifted as
I thought I was. Not by long odds.
"I began in earnest then to learn the
art of acting. I believe I went to the best
dramatic schools in the world, the best of
the touring companies. Greet and Benson
have developed more and better actors than
has any school. I played Shakespearean
repertoire. Edward Terry engaged me for
his leading man.
"Sixteen years ago I came to America,"
Mr. Pollock pronounced the name with
tender respect that deepened into reverence.
"What this country, Broadway, the Ameri-
can actors have done for me ! It has the most
hospitable stage in the world. And the best.
Yes, London has been surpassed by it. The
dramatists are doing more vital work here.
"It has three of the greatest world fig-
ures of the stage. David Belasco and
George M. Cohan are running a neck and
neck race for world leadership in different
types of entertainment. No one else can
do the light, subtle comedy as Henry
Miller does it.
"America caused me my first stage fright.
It was when I made my first appearance
in New York. It was with Mrs. Pat
Campbell in 'Magda'. But I recovered
from my first awe of the country when I
went on a tour of seven months of one
night stands."
ALLAN POLLOCK
Who has risen from three years a-bed in the
war hospitals of France and England to be-
come one of Broadway's most interesting
actor-producers
How he developed his characters to their
degree of poignant and pathetic truth as
in "The Bill of Divorcement" and in his
first essay as "A Pinch Hitter," Mr.
Pollock told in sententious phrase. "I con-
centrate on the part. I read the play at
least three times, to understand the relation
of my part to the rest. Then I concentrate
on the character I am to play. I play it
through the medium of my own personality.
The personality is the gun. The character
in the play is the bullet. We must streng-
then our personality. By so far as we
strengthen that we give power to the role
we play.
"Comparisons are especially odious in
regard to actors. A player should be judged
by the individual performance. I heartily
agree with Henry Arthur Jones, who, to
my mind, is one of the greatest present day
dramatists. He told me that a character
in a play could be interpreted in twenty-
five ways and each correct from the varying
viewpoints. He said he has seen some bril-
liant and remarkable performances of the
parts he had written, but never one as he
had conceived it.
"So I play a part with myself as the
projector of it. I play it as I feel it, not
as another actor has played it, nor perhaps
as the author conceived it."
Allan Pollock is indeed a player of many
parts. Outstanding in American memories
was his ancient king, Augustus III, which
he played with Douglas Fairbanks and
Irene Fenwick in "Hawthorne, U. S. A.,"
his Lord Tommy in "The Dawn of a
Tomorrow" with Eleanor Robson, his
Dallas Brown that held much of the
unctuous drollery of "Seven Days," and
the serio-comedy of his performance with
Billie Burke in""Jerry."
But above them, as an Himalayan peak,
towers his creation of the broken man,
cured of his lunacy, who returns to his.
home to find his wife lawfully divorced by
(Continued on page 190)
[154]
THEATRE MAGAZINE, SEPTEMBER. 1922
MISS IRENE BORDONI
After a Pastel by
FABIANO
[155]
''The Truth About Blayds"
A Comedy in Three Acts by A. A. Milne
TN this, his latest play, the author has placed himself conspicuously among the most successful dramatists now writing
for the English-speaking stage. This clever comedy is brilliant in characterization, interesting in its complications,
and mirth-compelling in its caustic satire. The following condensation is printed here by courtesy of Mr. Winthrop
Ames and Messrs. G. P. Putnam's Sons
THE CAST
(As produced by Mr. Winthrop Ames at the
Booth Theatre)
Oliver Blayds, the illustrious poet O. P. Heggie
Isobel, his younger daughter Alexandra Carlisle
Marion Blayds-Conway, his elder daughter
Vera Featherston
William Blayds-Conway, his son-in-law
Ferdinand Gottschalk
Oliver Blayds-Conway f his grand- , Leslie Howard
Septima Blayds-Conway ^ children j Frieda Inescourt
A. L. Royce, a young poet Gilbert Emery
Parsons, a maid Mary Gayley
The scene throughout the play is laid in
a handsomely furnished room, with no air
of comfort but only of dignity, in a house in
Portman Square. At the back is a paint-
ing of Oliver Blayds, also handsome and
dignified.
Oliver Blayds-Conway, his grandson,
enters with Royce, a man of forty, carrying
a bound Address to present to Oliver
Blayds.
OLIVER: * * * Make yourself comfortable.
ROYCE: Thanks. (Looks round room and
sees picture over fireplace.) Hullo, there
he is!
OLIVER: What? (Bored.) Oh, the old
'un, yes.
ROYCE: (Reverently.) Oliver Blayds, the
last of the Victorians! (Oliver looks de-
spairingly to Heaven.) I can't take my
hat off, because it's off already, but I
should like to.
OLIVER: Good lord, you don't really feel
like that * * *?
ROYCE: Of course. Don't you?
OLIVER: Well hardly. He's my grand-
father.
ROYCE: (Smiling.) * * * There's nothing Ira
in the Ten Comandments about not honor-
ing your grandfather.
OLIVER: Nothing about honoring 'em either.
It's left optional. Of course, he's a wonderful
old fellow, ninety and still going strong, but
* * * he's my grandfather.
ROYCE: I'm afraid, Conway, that even the fact
of his being your grandfather doesn't prevent
me thinking him i very great poet, a very great
philosopher, and a very great man.
OLIVER: (Interested.) I say, do yc j really
mean that, or are you just quoting from the
Address * * *.
ROYCE: Well, it's in the Addi'ss, but then I
wrote the Address.
OLIVER: * * * To Oliver Blayds on his nine-
tieth birthday; Homage from some of the
younger writers * * *. The old bo/ will love
it. But do they really feel like that about him
* * *. I've always thought of hi.n as old-
fashioned, early Victorian, and tlut kind of
thing.
ROYCE: Oh, he is. Like Shakespeare. Early
Elizabethan and that kind of thing * * *.
OLIVER: * * * If you say that Blayds' poetry
is as good as the best, I'll take your word for
it. Blayds the poet, you're the authority. Blayds
the grandfather, / am.
ROYCE: All right then, you can take my word
for it that his best is as good as the best. ( To
picture.) Simple as Wordsworth, sensuous as
Tennyson, passionate as Swinburne * * *.
Oliver tells Royce he is secretary to a poli-
tician, whereas he wants to be a motor engi-
neer, but is not allowed to be.
ROYCE: * * * Oliver Blayds is a very great
D. Schwarz
BLAYDS
man and also a very old man, and I think that
while you live in the house of this very great
man, the inconvenience to which his old age
puts you —
OLIVER: * * * The whole point is that I don't
<want to live in his house. Do you realize I've
never had a . house * • * where I could ask
people? I brought you this afternoon because
you'd got permission to come anyhow with that
Address * * *. But I shouldn't have dared to
bring anybody else along * * *. Here we all
are, and always have been, living not our life
but his life.
Septima enters and she and Oliver flippantly
discuss Blayds, to Royce's annoyance. Marion
comes in to attend to the birthday letters of
congratulation, and asks Oliver to show Royce
over the house. Septima takes this occasion to
ask her mother if she may leave home to share
a studio with a girl friend and devote herself
to her painting, and is met with the usual
"We'll see what grandfather says." William
Blayds-Conway, a prim, fussy little man of the
Civil Service type, enters. He is secretary to
Blayds and has collected material for a life of
the great poet. He steps mincingly and every
movement and gesture is clean-cut and precise.
WILLIAM: I still think it was very unwise for
us to attempt to see anybody today. Naturally
I made it very clear to Mr. Royce what a very
unexpected departure this is from our usual
practice. I fancy that he realizes the honor
which we have paid to the younger school
of writers. Those who are knocking at
the door, so to speak * * *. (To Septima,
as she is leaving the room.) Wait a
moment, please. ( Takes a key out of his
packet and considers.) Yes, yes (goes to
Septima), you may show Mr. Royce the
autograph letter from Queen Victoria, writ-
ten on the occasion of your Grandmother's
death. Be very careful, please. (To
Marion.) I think he might be allowed to
take it in his hands — don't you think so,
Marion? (Marion smiles assent.) But
lock it up immediately afterwards, and
bring me back the key.
SEPTIMA: Yes, father. What fun he's go-
ing to have!
William gives minute directions for sprt-
ing the birthday letters and telegrams, for
drinking Blayds' health, and dictates a
special notice for the Times. Leaves the
room with Marion. Isobel enters to ar-
range flowers, followed shortly by Royce,
who had met and loved her eighteen years
before. They stand silently looking at each
other. He hums the refrain of a waltz.
You can see she is remembering.
ISOBEL: How long ago was it?
ROYCE: Eighteen years.
ISOBEL: (Who has lived fifty years since
then.) So little?
ROYCE: (Distressed.) Isobel!
ISOBEL: (Remembering his name no<w.) Austin.
ROYCE: It comes back to you?
ISOBEL: A few faded memories — and the smell
of pine woods. And there was a band * * *
that was the waltz they played * * •
ROYCE: I remember that pink cotton dress.
ISOBEL: Eighty years ago! Or it is only
eighteen ? And now we meet again. You
married?
ROYCE: (Uncomfortably.) Yes.
ISOBEL: I hope it was happy.
ROYCE: No, we separated some years before
she died * * *.
ISOBEL: My father will be coming in directly
* * *.
ROYCE: » » » You are still looking after him?
ISOBEL: Yes.
ROYCE: For eighteen years * * *. And has it
been worth it?
ISOBEL: He has written wonderful things in
[156]
THEATRE MAGAZINE. SEPTEMBER, 1922
ADELE ROWLAND
•t Succeeds in escaping from "Spice of
1922" and the Winter Garden a few
times each week to make hay while
I the sun shines at "The Gables," her
home in the Westchester hills at
Chappaqua, New York
ELSIE FERGUSON
As a tree climber, looking over her
rammer domains at Southampton. Long
Island, with her constant companion,
"Mischief"
O. P. HEGGIE
An inveterate yachtsman, at the helm
of his latest skiff willi a favorite pipe,
in the waters of Cape Cod
Ira D. Schwarz
GENEVIEVE TOBIN
Who on any fair day —
and some wet ones too
— can usually he found
along some bridle path
here or abroad. This
one happens to be in
the woods near her
summer home at Pel-
ham Manor, N. Y.
Motif by
Margaret Vale
FLORENCE MOORE
With "Chum," two of the several stars
who form the interesting theatrical
colony on the Long Island Sound at
Great Neck
BERT LYTELL
A Waltonian of note, going after tuna
fish aboard his catboat, the "Nancy,"
at Catalina Islands, California
A REST FROM THE CALL BOY
Some Popular Players Who Have Harkened to the Lure of Open Places
[157]
those years. Not very much, but very wonderful.
ROYCE: Yes, that has always been the miracle
about him, the way he has kept his youth. And
the fire and spirit of youth. You have helped
him there. You might have looked after me
those eighteen years * * *. That's always the
problem, whether the old or the young have the
better right to be selfish. You gave yourself to
him, and he has wasted your life. I don't think
/ should have wasted it.
ISOBEL: I am proud of having helped him.
Everything which he wrote will be his. Only
I shall know how much of it was mine. That's
something — no, not wasted * * *. I did want
to marry you. But I couldn't. He wasn't an
ordinary man * » ». He was Blayds * * *.
It has been trying of course — such a very old
man in body, although so young in mind — but
it has not been for an old man that I have
done it — but for the glorious young poet
who has never grown up, and who wanted
me * * *.
William comes fussily in, looking about
to see that flowers, glasses for drinking
Blayds' health, etc., are all in order * * *.
Marion, Oliver and Septima enter. William
indicates where each is to sit, etc. * * *
There is a solemn silence of expectation.
Blayds is wheeled into the room by Isobel.
All rise.
BLAYDS: Good day to you all.
In turn, and as instructed by William,
each one steps forward to congratulate
Blayds, after which his health is drunk.
WILLIAM: Are we all ready? (Toasts.)
Blayds!
BLAYDS: (Moved as always by this.)
Thank you, thank you. (Recovering him-
self.) Is that the Jubilee port, William?
WILLIAM: Yes, sir * * ». (Hands him
glass.)
BLAYDS: Mr. Royce, I will drink to you,
and, through you, to all that eager youth Ira
which is seeking, each in his own way, for
beauty. (Raises his glass.) May they find
it at the last. (He drinks.)
ROYCE: Thank you very much, sir. I shall
remember * * ».
Royce presents the Address, and as previ-
ously prompted by Isobel, praises his 1863
volume, much to Blayds' delight. He tells Royce
some reminiscences.
BLAYDS: * * * I went to Court once * * * I had
a new pair of boots. They squeaked. They
squeaked all the way from London to the Isle
of Wight. The Queen was waiting for me at
the end of a long room. I squeaked in. I
bowed ; I squeaked my way up to her. * * *
I just stood shifting from one foot to the other,
and squeaking. She said: "Don't you think
Lord Tennyson's poetry is very beautiful?" and
I squeaked and said "Damn these boots." * » «
Isobel knows all my stories * * *. When you're
ninety they know all your stories * * *. I'll
tell you one you don't know, Isobel. * * *
George Meredith told me this. Are you fond
of cricket, Mr. Royce?
ROYCE: Yes, very.
BLAYDS: So was Meredith, so was I. * * * A
young boy playing for his school. The impor-
tant match of the year; he gets his colors only
if he plays, you understand? Just before the
game began he was sitting in one of those *
deck chairs, when it collapsed, his hand between
the hinges. Three crushed fingers, no chance of
playing, no colors. At that age a tragedy; it
seems that one's whole life is over * * *. But
if once the match begins with him, he has his
colors, whatever happens afterwards. * * '
He keeps his hand in his pocket; nobody has
seen the accident, nobody guesses. His side is
in first. * * * When his turn comes to bat he
forces a glove over the crushed fingers and
goes to the wicket. He makes nothing — that
doesn't matter — he is the wicket keeper and
has gone in last. But * * * he knows what an
unfair thing he has done to his school to let
them start their game with a cripple. It is
impossible now to confess. So, in between the
innings he arranges another accident with his
SEPTIMA AND OLIVER
find a new and glorious liberty following the death
oj the illustrious tyrant
chair and falls back on it with his fingers, his
already crushed fingers this time, in the hinges.
So nobody ever knew. Not until he was a man,
and it all seemed very little and far away * * *.
ROYCE: Lord, what pluck! 'I think I should
have forgiven him for that.
BLAYDS: Yes, an unfair thing to do, but having
done it he carried it off in the grand manner.
* * * I can tell you another story, Isobel, which
you don't know — of another boy who carried it
off. * * * No, not now, but I shall tell you one
day. Yes, I shall have to tell you. * * * I shall
have to tell you.
Blayds .seems suddenly very old and tired
and Royce quietly withdraws.
BLAYDS: Hold me tight. (His head on Isabel's
breast.) I'm frightened. Did I tell you about
the boy — who carried it off?
ISOBEL: Yes, dear, you told me.
BLAYDS: No, not that boy — the other one. Are
we alone, Isobel? * * * Listen, Isobel, I want
tc tell you about * * *.
ISOBEL: Tell me tomorrow, dear.
BLAYDS: There are no tomorrows when you
are ninety * * *.
ISOBEL: Very well, dear, tell me now.
BLAYDS: Yes, yes, come close. * » » Listen,
Isobel. (He draws her still closer and begins.)
Isobel. * * * (The curtain falls.)
ACT II opens four days later after the death
and funeral of the great Oliver Blayds. Oliver
and Septima have been much impressed by the
awe-inspiring ceremony, enormous crowds of
people, etc., and at last appreciate what a
really great man Blayds was. They decide to
retain the "Blayds" in their name. William
and Marion enter, followed by Isobel.
WILLIAM: * * * I am more than ever con-
vinced that Oliver Blayds' rightful resting place
was the Abbey * * * even if he expressed the
wish in his last moments for a quiet interment.
ISOBEL: He never expressed the wish one way
or the other. * * * There is something I
have to tell you all. Will you please listen,
all of you. * * * I told you that father
didn't want to be buried in the Abbey, not
because he had said so, but because it was
quite impossible * * * because he had done
nothing to make him worthy of that honor.
* * * You may think I'm mad, I'm not — I
wish I were. * * * There were two young
men living together in rooms in Islington
nearly seventy years ago. Both poor, am-
bitious, * * * very certain of their destiny.
But only one of them was a genius. * * *
He knew that he had not long to live. » * »
The poetry came bubbling out of him, and
he wrote it down feverishly, intent only on
recording the melodies of this divine spirit
within him. * * * He had no thought of
fame — he was content to live unknown so
that when dead he might live forever. His
friend was ambitious in a different way.
He wanted the present delights of fame.
He had talent, but it was outstripped by his
ambition. So they lived together, one * * »
always writing; the other writing and then
stopping to think how famous he was going
to be. * * « The poet grew very ill. Then
one day there was no more writing. The
poet was dead. * * * The poet had no
friends but this one, no relations of whom
he had ever spoken or who claimed him now.
* * * It was left to his friend to see that he won
now that immortality for which he had given his
life — his friend betrayed him! « » » One can see
the temptation. There he was, this young man
of talent, of great ambition, and there were
these works of genius lying at his feet. * * * I
suppose that like every other temptation it came
suddenly. He writes out some of the verses
* and sends them to a publisher. One can
imagine the publisher's natural acceptance of
the friend as the true author, the friend's awk-
wardness in undeceiving him — his sudden de-
termination to make the most of his opportunity.
One can imagine many things, but what re-
mains? Always and always this — that Oliver
Blayds was not a poet; that he did not write
the works attributed to him; and that he be-
trayed his friend. (She stops; then says in
an ordinary voice.) That was why I thought
he ought not to be buried in the Abbey.
The family is completely stunned at the news
and fancy Isobel must be mistaken.
WILLIAM: » « « When did he tell you?
ISOBEL: That last evening. • * * He seemed
frightened suddenly — of dying. I suppose he'd
always meant to tell somebody before he died.
[158]
THEATRE MAGAZINE, SEPTEMBER, 1922
Study by Maurice Goldberg
DESHA in THE BUBBLE DANCE
This admirable camera-charcoal of the well-known dancer marks outstandingly the great advances being made in
photographic art. It was an honor winner at the recent international convention of the knights of the lens at Buffalo
[159]
WILLIAM: » • * The
manuscripts were kept by
Oliver Blayds for sixty
years
can you ex-
Schwarz
WILLIAM
plain how it was that he
didn't publish them earlier
if he had had them in his
possession all those years?
IS03EL: He didn't dare
to. He was afraid of be-
ing left with nothing to
publish. He took care al-
ways to have something
in reserve. And that's
why everybody said how
vigorous and youthful his
mind was at eighty. * * *
Yes, it was the spirit and
fire of youth, but a youth
who died seventy years
ago.
It develops that Blayds
actually wrote the 1863
volume himself, but when
it met with severe critic-
ism, he went hastily back
to his friend's works, and
never ventured by himself again. This accounted
for his joy whenever the 1863 volume was praised.
They discuss the money gained from the publica-
tion of the books. Isobel says they have no right
to any of it. The rest of the family, however,
maintain that after provision is made for
any possible heirs of Jenkins, the dead young
poet, the rest of the fortune is rightfully theirs,
Blayds having at least arranged for the pub-
lication of the books and being entitled to claim
a commission, as well as the proceeds from the
1863 volume.
ISOBEL: One can't argue about it. You feel it
or you don't. 1 give up my share of the money,
so there should be plenty for all of you, even
after you have been "fair" to the others.
WILLIAM: (Who has felt Isabel's scorn
deeply.) Isobel, I don't think you can realize
how much you have hurt me. I suppose this
appalling revelation has meant more to me than
to anyone in this room. * * * It means the end
of my lifework, the end of a career. * * * I
gave up whatever other ambitions I may have
had and I set myself from that day on to live
for one thing only, Oliver Blayds. It was a
great pride to me to be his son-in-law, a great
pride to be his secretary, but the greatest pride
of all was the thought that I was helping others
to know and to love that very great poet, that
very great man, Oliver Blayds. * * * I think I
have some right to bear resentment against this
man who has tricked me, who has been mak-
ing a fool of me for all these years. When I
think of the years of labor I have spent already
in getting the materials together for this man's
life; when I think how I have listened to him
and taken down his every word ; when I think
that tomorrow I am to be held up to the de-
rision of the world for a gullible fool, I think
I have a right to be angry. * * * You can
understand that to me it is absolutely crushing.
ISOBEL: And to me? What has it been to me?
I might have been a wife, a mother, with
a man of my own, children of my own. * * *
I might have had a little girl of my own to be
my friend, and we could have had secrets to-
gether about my man, our man. * * * He asked
me to marry him. * * * I sent him away. I said
that I must stay with my father, Oliver Blayds,
the great poet, because I was necessary to him.
* * * You thought I like nursing. "A born
nurse" — I can hear you saying it. I hated it.
Do you know what it's like nursing a sick old
man, day after day, night after night? And
then year after year. Always a little older,
a little more difficult. Do you know what it is
to live always with old age and never with
youth, and to watch your own youth gradually
creeping up to join his old age? I told myself
that it was worth it, because when he died,
when I died, I should be part of the immortal
Blayds, forever and ever, sharing his immor-
tal poetry. And look at me now. All wasted.
The wife I might have been. The mother I
might have been. Ah, how happy we could
have made our man, my little girl and I.
They quietly leave her, and she buries her
head in her arms.
ACT III opens three days later. Royce is
working at desk prepara-
tory to making a public
statement about Blayds'
fraud. Oliver enters and
tells Royce he thinks
Blayds was laboring un-
der a n hallucination
when he made his con-
fession. Isobel comes in,
followed later by Will-
iam, who asks Royce to
search for some missing
pass books. William too
is possessed by the "hal-
lucination" idea and has,
of course, convinced
Marion, who enters ex-
citedly.
MARION: Have you heard
the wonderful news * * *
about grandfather's hal-
lucination? I always felt
that there must have been
some mistake. And now
our faith is justified, as
faith always is. Poor
ISOBEL dear grandfather. He
was so very old. And the
excitement of that last day — his birthday — and
perhaps the glass of port. I shall never for-
give myself for having doubted. * » »
ISOBEL: Then you won't ivant that pass book
now ?
MARION: Pass book?
WILLIAM: Oh— ah— yes, the Jenkins Fund.
MARION: But of course there is no Jenkins
now, so there can't be a Jenkins Fund.
ISOBEL: (To William.} You're quite happy
about the money then?
WILLIAM: (Who obviously isn't.) Er — yes — I
— That is to say that, while absolutely satisfied
that this man Jenkins never existed, I — at the
same time — perhaps to be on the safe side —
there are certain charities, for distressed
writers and so on, and perhaps one would feel
— you see what I mean.
ISOBEL: Yes, it's what they call conscience
money, isn't it? (Enter Royce.) Mr. Royce,
we have some news for you. We have decided
that the man Jenkins never existed. Isn't it
nice?
ROYCE: Never existed?
ISOBEL: He was just an hallucination.
ROYCE: (Laughing.) * « * That's rather funny.
[160]
Schwarz
For what do you think I've got here? (He
holds up a piece of paper.) Stuck in his old
pass book. Jenkins' will!
MARION: It must be another Jenkins. Because
we've just decided that our one never lived.
ISOBEL: (Reading.) "To Oliver Blayds, who
has given me everything, I leave everything."
And then underneath "God bless you, dear
Oliver."
ROYCE: Well, that settles the money side of it,
anyway. Whatever should have been the other
man's came rightfully to Oliver Blayds.
ISOBEL: Except the immortality. * * *
* * * Well, what are you going to do?
What can I do but tell the world the
ROYCE
ISOBEL
truth?
ROYCE
be
H'm! I wonder if the world
grateful ?
ISOBEL: Does that matter? The truth is an
end in itself. * * * Call it truth or call it
beauty, it's all we're here for.
ROYCE: * * « The trouble is that the truth
about Blayds won't seem very beautiful. There's
your truth, and then there's William's truth too.
To the public it will seem not so much like
Beauty as like an undignified family squabble.
ISOBEL: It seems so unfair that this poor dead
boy should be robbed of the immortality which
he wanted.
ROYCE: Hasn't he got it? There are his works.
Didn't he have the happiness and pain of writ-
ing them? How can you do anything for him
now? It's just pure sentiment, isn't it? * * *
ISOBEL: I keep telling myself that I want the
truth to prevail — but is it only that? Or is it
that I want to punish him — he hurt me so. All
those years he was pretending that I helped
him.
ROYCE: As he said, he carried it off.
ISOBEL: Yes, he carried it off. Oh, he had his
qualities, Oliver Blayds. * * * A great man; a
little man, but never quite my father.
ROYCE: A great man, I think, * * *. (Picking
up statement he had prepared for the public.)
Then I can tear up this.
ISOBEL: Yes, let us bury the dead and forget
about them. (Royce throtus document into fire.)
ROYCE: Isobel !
ISOBEL: Ah, but she's dead too
eighteen years ago, that
child.
ROYCE: Then introduce
me to her mother.
ICOBEL: Mr. Royce, let
me introduce you to my
mother — thirty-eight, poor
dear. (Boiuing.) How
do you do, Mr. Royce? I
have heard my daughter
speak of you.
ROYCE: How do you do,
Mrs. Blayds. I'm glad to
meet you because I once
asked your daughter to
marry me. * * * She said,
like all properly brought
up girls, "you must as';
my mother." So now I
ask her — "Isobel's mother,
will you marry me ?" * * *
liOBEL: I'm afraid to. I
shall be so jealous.
ROYCE: Jealous? Of
whom?
ISOBEL: Of that girl we
call my daughter. You Schwarz
(Continued on page 184) ROYCE
she died
THEATRE MAGAZINE, SEPTEMBER, 1922
Ganjiro JVakamura, of Osaka, Japan's lead-
ing actor and something of a god to the thea-
tre-loving multitudes of the flowery kingdom.
Though nearly sixty, Ganjiro is most famous
for his enactment of Japan's classic lover
roles, his mastery of make-up concealing his age
Ganjiro possesses a grace of expression and
subtlety of gesture rare to any stage, as well
as the ability to play both comedy and tragedy
equally well. Here he is seen as Yuranosuke,
a noted role which emphasizes the Japanese
sense of fidelity to their overlord
Ganjiro as Jihei, a hero conceived by the
dramatist Chikamutsu two hundred years ago
Ohosoburo, Ganjiro's elder and favorite son,
himself an actor of unusual ability, in the
part of an itinerant wine vendor. His father's
great good fortune began the day of Choso-
buro'g birth
Chosoburo in the costume of a professional
dancer
(Left) Senjaku, Ganjiro's younger son, as a
nurse girl. As in Shakespearean days, the
Japanese stage constantly uses boys for femi-
nine roles
IN THE NIPPONESE FOOT-LIGHTS
Two Generations of An Illustrious Family of Japanese Players
[161]
FIRST ROW— from left to right
AL JOLSON
JOHN EMERSON
ANITA LOOS
IRVING BERLIN
DAVID BELASCO
LENORE ULRIC
JOHN BARRYMORE
MICHAEL STRANGE
SECOND ROW— from left to right
ANNA PAVLOWA
JOSEF HOFMAN
REINA BELASCO GEST
JOHN DREW
THEODORE ROOSEVELT
MARIE JERITZA
GIULIO GATTI-CASAZZA
GERALDINE FARRAR
MARY GARDEN
THIRD ROW— -from left to right
ELSIE DE WOLFE
ARTHUR BRISBANE
MRS. WM. RANDOLPH HEARST
HENRY BLACKMAN SELL
CONDE NAST
IRENE CASTLE
FRANK CROWINSHIELD
MRS. H. PAYNE WHITNEY
KENNETH MacGOWAN
ALAN DALE
RAY LONG
FOURTH ROW— from left to right
SAM BERNARD
MARILYN MILLER
ED WYNN
MRS. J. BORDEN HARRIMAN
CHAS. DANA GIBSON
ALEXANDER WOOLLCOTT
MRS. LYDIG HOYT
FRANKLIN P. ADAMS
NEYSA McMEIN
HEYWOOD BROUN
DORIS KEANE
PERCY HAMMOND
FIFTH ROW— from left to right
MORANZONI
ANN MORGAN
BURNS MANTLE
MRS. W. K. VANDERBILT
WILLARD HUNTIXGTON WRIGHT
S. JAY KAUFMAN
HERBERT SWOPE
WALTER CATLETT
SOPHIE BRASLAU
DOROTHY GISH
DAVID W. GRIFFITH
LILLIAN GISH
ELIZABETH MARBURY
LEON ERROL
ZOE AKINS
LOWER RIGHT BOX— from left to right
FEODOR CHALTAPINE
I.UCREXIA BORI
MADAME ALDA
x
LEFT UPPER BOX— from left to right
MAUDE ADAMS
JOHN McCORMACK
CHARLES CHAPLIN
MARECHAL JOFFRE
RIGHT UPPER BOX -from left to right
LAURETTE TAYLOR
FRANCES STAIIR
CLARE SHERIDAN
HARTLEY MANNERS
RALPH BARTON'S SUPER-CARICATURE HANGS
FOYER S. R. O.— from left to right
A. D. LASKER
SAMUEL L. ROTHAPFEI.
NICHOLAS MURRAY fcUTLER
RALPH BARTON
JESSE LASKY
EDWARD ZIEGLER
WILLIAM GUARD
LOUIS UNTERMEYER
J. J. SHUBERT
LEE SHUBERT
F. RAY COMSTOCK
MORRIS GEST
OLIVER SAYLER
BORIS ANISFELD
ROBERT EDMOND JONES
RING LARDNER
STEPHEN RATHBUN
ARMAND VESZY
ANDREAS DE SEGUROLA
PAPI
RAYMOND HITCHCOCK
SIXTH ROW— from left to right
ADOLF ZUKOR
ROBERT G. WELSH
FAY BAINTER
LAWRENCE REAMER
GERTRUDE HOFFMAN
WALTER DAMROSCH
MARY NASH
WILHELM MENGELBERG
CHARLES DARNTON
OTTO H. KAHN
FRANK A. MUNSEY
FLO ZIEGFELD
ARTURO BODANSKY
ADOLPH OCHS
JOHN RUMSEY
SEVENTH ROW— from left to right
LUDWIG LEWISOHN
GEORGE S. KAUFMAN
LYNN FONTANNE
MARC CONNELLY
GEO. M. COHAN
JOHN MacMAHON
HENRY KREHBIEL
MRS. HENRICO CARUSO
BEN-AMI
DOROTHY DALTON
DAVID WARFIELD
ROBERT C. BENCHLEY
EIGHTH ROW— from left to right
KARL KITCHEN
ANTONIO SCOTTI
FANNY HURST
HUGO REISENFELD
VERA FOKINA
MICHEL FOKINE
AVERY HOPWOOD
CONSTANCE TALMADGE
ANNA FITZIU
REGINALD VANDERBILT
DR. FRANK CRANE
JASHA HEIFETZ
NINTH ROW— from left to right
EUGENE O'NEILL
PROF. ROERICH
JOSEPH URBAN
ARTHUR HORNBLOW
PAUL MEYER
ELSIE JANIS
PAUL BLOCK
JOHN FARRAR
SERGEI RACHMANINOFF
HERBERT HOOVER
JOHN GOLDEN
WTNCHELL SMITH
JAY GOULD
A CURTAIN AT THE CHAUVE-SOURIS
Amsterdam Does Something New
America May See International Exhibition of the JTheatre Which Has Awakened World-Wide Interest
THREE facts impress themselves on the
American student of the theatre who
visits Europe — the purity of Italian
acting, the perfection of German mechan-
ism and the thoroughness of Dutch pro-
duction. The first two are well-worn
themes; less is known of the theatre of
Holland than of other countries. Sup-
porters of the municipal theatre for our
native cities would find much to study,
however, in the repertory systems of Am-
sterdam and the Hague. Nowhere in
Europe, save in Russia, are there two better-
conducted municipal playhouses. And it
remained for the Dutch to lead the art
movement of the stage by assembling in
Amsterdam recently the first world ex-
hibition of stage settings and
designs. Such favorable notice
was given this collection that
it is now on view at the South
Kensington museum in Lon-
don and it may be brought to
the United States this fall.
A CARNIVAL OF ARTISTS
THE exhibition, shown in
the Steldjik, or municipal
museum, was sponsored by an
Amsterdam association called
"Art for the People." Each
year this organization conducts
a special showing of art ob-
jects. It may be period furni-
ture, Chinese vases, modern
paintings. This year it col-
lected designs and stage
models from the leading
workers in a dozen countries.
The project was carried out
by H. Th. Wijdeveld, a noted
Dutch architect, whose own
plans for a people's theatre in
Amsterdam soon are to be
realized. Wijdeveld wrote to every avail-
able scenic artist and designer, journeyed
to Germany and to England to collect
drawings, gathered them in the Steldjik
museum and, with the assistance of Frits
Lensvelt, arranged them in a comprehensive
exhibition. Gordon Craig came from Italy
to lecture ; Sheldon Cheney, the American
author, climbed ladders and hung drawings
in place; Leopold Jessner traveled from
the Stadtschauspielhaus in Berlin, Oscar
Strnad journeyed from Vienna and Jacques
Copeau from Paris. For two months this
collection was opened daily to the public
while in the lecture room below various
phases of what loosely is called "the new
movement in the theatre" were discussed
by well-known leaders. In addition, a
library of modern works on the drama was
arranged by Paul Huf, an actor of the
Staatschowburg, the municipal theatre of
Amsterdam.
The dominating impression was the art-
fulness of arrangement. Save for the first
room, dedicated to Adolph Appia and Gor-
don Craig, the others were representative
By CARLTON MILES
of each country. So provocative was the
method of displaying these drawings that
the casual . visitor was led from room to
room to find himself at length in a large
chamber in which were 30 or 40 stage
models, of which those by the late C. Lovat
Fraser for "The Beggar's Opera," were
the most interesting.
I asked Wijdeveld how he managed to
combine so many drawings into an exhibi-
tion that concentrated attention on the
important things.
"We were given one large room," he
said. "I did not wish that. It would give
too bare an effect. With the use of light
board material I built half a dozen rooms,
had the walls a uniform gray, made futur-
tra," "Sumyrun" and "Turandot." Hans
Poelzig sent designs for "Hamlet" costumes
and five photographs of the Grossesshau-
spielhaus of Berlin, of which he was the
architect. There were drawings by Oscar
Klein, Rochus Gliese, Maxim Frey, Her-
man Krehan, Ludwig Berger, Emil Orli,
Julius Hay, Edward Suhur, Oscar Kauf-
mann, Otto Reigbert, Adolph Mahnkc,
Max Unold, Leo Pasettit, Wilhelm Schulz,
Julius Diez, Emil Pirchan, Jurt Kempin,
Ludwig Sievert and Hans Wildermann.
These names are given to show how thor-
oughly the modern movement holds the
German artist.
France and Russia were scantily repre-
sented; few French artists exerte.i them-
selves to send decorations; the
latter because of present con-
ditions. There were costume
studies by Leon Bakst and
scenic drawings by Theodor
Komisarjevsky. The work of
the Vieux Columbier, in Paris,
with Louis Jouvet's designs for
stage settings, were the most
notable things from France.
Sweden had but one represen-
tative, Isaac Grunewald, who
had a design for "Samson and
Delilah."
I
The futurist entrance to the International Exhibition
Theatrical Art in the Steldjik Museum in Amsterd
istic designs in bright colors for the entrance
and the various doorways, constructed a
false ceiling of cheesecloth falling like a
tent and behind this concealed the lights,
thus giving a softness we otherwise could
not have obtained."
The Appia-Craig room at once seized the
visitor. There were large shadowy designs
by Appia for "Die Walkure," "Orpheus,"
"Parsifal" and "Prometheus." There were
restful drawings in gray and black — under
glass covers as were all the designs in the
exhibition — by Gordon Craig for "Ham-
let," "Iphigenia" and "Peer Gynt." Craig
also had three stage models, arrangements
of white screens and stairways, adaptable
for the idealistic drama.
Of the other countries, Germany, as was
to have been expected, led, although the
Germans established no homogeneity of
mood. The scenic artists there apparently
are working from' many angles. Ernst
Stern walfrepresented by costume and scenic
designs executed for the Max Reinhardt
theatres, for Romain Rolland's "Danton,"
for "The Miracle," "Don Juan," "Lysis-
AMERICA'S CONTRIBUTION
T is a matter for regret that
no American artists sent
color designs. All the Ameri-
can contributions were black
and white photographs and the
visitors to the museum could
carry away no idea of the
of amazing work of our own
im artists. Robert Edmond Jones
had designs for "Macbeth,"
"Richard III" and Sydney Howard's
"Swords." Lee Simonson sent photographs
for several of his Theatre Guild sets, in-
cluding "The Faithful" and "The Power
of Darkness," as well as for "Martinique."
Norman Bel Geddes displayed settings for
Dante's "Divine Comedy" and for "King
Lear," while Joseph Urban, whose later
work has been done in the United States,
offered settings for "Parsifal," "Pelleas
and Melisande" and "L'Amore dei Tre
Re." The others embraced Maxwell
Armfield, Raymond Jonson, Ernest De
Weerth, John Wenger and Sam Hume, the
last named showing scenes from Shakes-
perian productions at the Arts and Crafts
Theatre in Detroit and at the University
of California. But there was nothing from
Rollo Peters or Livingston Platt. The
Benda masks were not shown nor any of
the settings devised by the Provincetown
Players, notably for "Emperor Jones." The
American visitor could not but resent the
haste with which the Amsterdam people
passed through this gallery to the more
(Continued on page 182)
THEATRE MAGAZINE. SEPTEMBER, 1922
Pho'.ographs © by E. 0. Hoppe of Lomloi
(Upper) Shawn's resplendent raiment in
"Xochitl," a Toltec dance drama
( Lower) St. Denis in her noted Hindu
dance
( Upper) Shawn and Martha Graham in the sensuous
pares of an Argentine tango
(Lower) Shawn in his Japanese spear dance
( Upper) St. Denis in the gorgeous cos-
tume of her Japanese dance
(Lower) Another glimpse of St. Denis*
Hindu dance
DANCES EAST AND WEST
Ted Shawn and His Wife, Ruth St. Denis, Return Home After a Successful Season of Repertory in London
[165]
HEARD ON BROADWAY
Stories and News Straight from the Inside of the Theatre World
Told by
L'Homme Qui Sait
I
HEAR that LOLA FISHER has entirely recovered from the illness
that has kept her off the stage for two years and will be seen in a
new play before the season is much older.
in the brief fisticuff exhibition, which was voted a draw by the ring-side.
LAURETTE TAYLOR'S part in "The National Anthem" was a singu-
larly trying one on her nerves and feelings. It is not generally known
that the strain left her heart in a weak condition, and during a per-
formance toward the end of the run Miss Taylor fainted and was
carried off the stage. By a great showing of pluck and will power Miss
Taylor brought herself to in time to appear for her next scene.
ALLA NAZIMOVA is said to be making negotiations for her return to
the speaking stage after a long sojourn in the pictures. Her last picture,
"Salome," done after Beardsley, to be released shortly, will probably
prove a sensation according to studio rumors.
CARLE NEARS DEATH
J^ICHARD CARLE has a habit of calling strangers to whom he is intro-
duced, but whose names he has not caught, "Mr. Davis." Recently in
Chicago, sitting around a table, Mr. Carle insistently called a new-comer
by this name and could not understand the violent nudges he received
from a mutual friend sitting next to him at the table, nor the awful
glances of "Mr. Davis." When they parted the friend who had done the
nudging said, "It's a wonder he didn't kill you. The name of the man
who ran away with his wife two days ago is Davit"1.
ARTHUR RICHMAN entered a bookshop recently in San Francisco and
asked for a copy of his own play "Ambush," desiring to purchase it for
a friend. The salesgirl informed him that they had sold the last copy,
and as Richman turned to go out the girl sought to console him by saying
"But that's all right, Mister — I've read it and you ain't missing much" !
It isn't often that one hears of a Belasco star taking a plunge into the
variety halls. Yet LIONEL ATWELL has signed for a number of weeks
on the Keith circuit at a reported salary of $2,000 per week to do a
sketch called "The White Face Fool." The reason is largely Mr. Belasco's
having no theatre of his own in which to start his star's season in a new
play. "Kiki's" longevity is being responsible for a number of oddities
in the quiet office on West 44th Street.
IRENE BORDONI will play "The French Doll" in only a few of the
larger Eastern cities this fall, and will then go to London to appear
under the direction of Cochran in "Bluebeard's Eighth Wife."
HITCHCOCK VERSUS CARROLL
JJ ROADWAY was very much interested in the report that RAYMOND
HITCHCOCK and EARL CARROLL exchanged blows between the
acts of the "Pin Wheel Revue," in which the slim comedian appeared for
a short time at the Earl Carroll Theatre. For some reason the curtain
failed to drop after some scene of Hitchy's, and one word finally led to
another between the comedian and the young theatrical producer, ending
H. B. WARNER, who has not appeared in America in a play for many
years, having been in the pictures, will tour the Eastern cities this fall in
"Bulldog Drummond."
LEWISOHN PLAYHOUSE TO CLOSE SHOP
'J'HE directors of the NEIGHBORHOOD PLAYHOUSE in closing their
theatre on June 22nd announced that there would be no further public
performances for a year in order that they might find and develop new
material, plays and other forms of dramatic art. They are planning to
have a repertory company of players and dancers who will be maintained
on 'a yearly salary basis. It is said that many of these actors will be
professionals.
During the run of "Six Cylinder Love," JUNE WALKER was taken ill
and it was found necessary for her to retire from the cast for a while.
To replace her BOOTS WOOSTER was quickly rehearsed for the
character played by Miss Walker, and learned her lines in Jnusually
quick time. The night before Miss Wooster was to appear in the part
Miss Walker, thinking to save her the trouble of journeying to the
Wooster home" at Long Beach, asked her to pass the night in the Walker
apartment on West 55th Street. But apparently the germs that had got
Miss Walker — or some distant relatives of them — were lurking about
the Walker apartment, for in the morning Miss Wooster woke up with
a severe attack of the mumps. MILDRED McCLEOUD was then
speedily rehearsed for the part, and the Harris office saw to it that she
was kept away from West 55th Street!
TRAGEDY IN BOOKING OFFICE
ROSE COGHLAN was sitting in the office of Eddie Darling, the Keith
booking office, waiting to see Mr. Darling. A "Mr. Shea" came in on
the same mission and was told he would have to wait until after Miss
Coghlan had been interviewed. Whereupon Mr. Shea introduced himself
to Miss Coghlan, who, quickly jumping at conclusions, said: "Oh, Mr.
Shea, I have three weeks open for booking, and I would love to fill them
out in your three theatres, Rochester, Syracuse and Buffalo." Mr. Shea's
face fell. "I should like those three dates myself," said he, "but unfor-
tunately I don't happen to be the Mr. Shea who owns them. I merely
thought that two old-timers ought to become acquainted. I am THOMAS
E. SHEA."
Plans havt been tentatively made for the production of Samuel Shipman's
"Lawful Larceny" in London under the banner of A. H. Woods.
CATHERINE CALVERT, famous on the screen, and last seen on the
legitimate stage with Otis Skinner in "Blood and Sand," will play the
part done in New York by Gail Kane.
"The Bat," that Methuselah among plays, has been on Broadway so
long that no calls are given to the actors in their dressing rooms, they
being able to sense exactly when they are due for their scenes. The
other night EDWARD ELLIS, who plays the Doctor, fell asleep in his
[166]
THEATRE MAGAZINE. SEPTEMBER, Ittt
RICHARD BARTHELMESS
Sending his opinion concerning pic-
ture censorship through the air from
a envernmfnl hrnnrlraptins station to
several hundred thousand movie fans
who have become radio fans as well
MARIA BAZZI
An emotional actress of considerable
repute in Italy, where she has enacted
the leading roles of continental drama-
tists. New York will see her for the first
time in October in "The Inevitable,"
a new play by Charlotte E. Wells
Juley
THERESA HELBURN
Executive Director of the Theatre
Guild and largely responsible for that
organization's marked success. From
an oil portrait of the modern school
done recently by Marion Beckett
MARIO CARILLO
In Italy none other than the Count
Mario Caracciolo di Melito, who' hat
abandoned the circles of aristocracy
for the films. Count Caracciolo hat
appeared opposite Irene Castle and
bids to rival Valentino as an inter-
preter of lover roles
White
NIKITA BALIEFF
There is no reason we know why the genial
compere of the Chauve-Souris should look so
disgusted with the excellent carved likeness
of one of the "Wooden Soldiers" whose march
has helped bring him fame. Perhaps it's be-
cause of New York's heat, but even that isn't
so bad on the Century Roof, the present home
of the Russian vaudevilliani
= ^-- ' . '
Marcia Stein
Ira L. Hill
THE MOVING WORLD
A Page of Interesting Personalities Here and There
[167]
dressing room during the second act, after a hard day at golf. When the
time came for his next scene the frantic stage manager, in desperation
at not being able to find Mr. Ellis, dashed onto the stage himself and
began delivering the lines. Quite apart from the astonished company
were the startled faces of the unfortunate audience, who were called upon
to solve a further mystery, in this play of mysteries, as to why a char-
acter should suddenly so change his stature, face and dress.
Immediately after, walking down the street with her husband, John Craig,
they met his friend, Mr. Ben Roeder. On introducing his wife to Ben
Roeder she proceeded to call him "Mr. Benroeder.'' When they parted
Craig asked his wife why she had constantly referred to him as "Ben-
roeder," to which Miss Young replied: "John, dear, I simply can't get
them straight. I just met Ben Rimo and was told it was one nam:, so
I presumed the same of Ben Roeder."
ADELE BLOOD is joining the ranks of players who feel impelled to try
the Orient. She is to tour Honolulu, Japan, China, Malay Peninsula,
India, Egypt and Russia. Among the plays which she will do in those
countries are "Anna Christie," "The Woman of Bronze" and "The
Goldfish."
HINT OF NEW ULRIC PLANS
JjENORE ULRIC is eventually to step from the shoes of "Kiki" into
those of "Mary, Mary, Quite Contrary," according to Belasco plans,
"as heard on Broadway." The latter play is by St. John Ervine and
it is a comedy. Mr. Belasco secured the American rights to it while he
was in London last summer.
IRENE CASTLE has listened to the lure of the West and is about to
proceed to the Coast, where she will appear during the last three months
of the year. Her dancing partner will be Ward Crane.
I saw PEARL WHITE on Fifth Avenue the other day.
The last time was a year ago in Bermuda where she
went to do a picture with a flock of wild tigers. I:i
the meantime she's been in Paris in a revue at the
Casino de Paris which I understand was awful. (Dull,
not wicked!) In fact it was so bad that the poor
old theatre burned down in its successful effort to get
rid of the entertainment it was housing.
The haze of mystery that has surrounded MRS. FISKE'S plans for the
past year has been dispelled if the rumor has any truth in it that she is
considering the part of Mrs. Upton in Katherine Haviland Taylor's
story, "Mrs. Upton Has Her Fling," which has been dramatized by
Hadley Waters and re-titled "Good Gracious, Mother." A. H. Woods
is to produce the play. Stranger things have happened in the theatre
than the appearance of Mrs. Fiske under the Woods' banner.
HULL HAS HORSESHOE
AVERY HOPWOOD, a rising young playwright, who,
they say is never happy unless he has six shows run-
ning at once, says of a chorus girl friend of his who
has risen recently to some little fame that since her
success she has broadened her "A's" but narrowed her acquaintances!
HENRY HULL was approached by the finan-
cially weak organization that planned bringing
"The Cat and the Canary" into New York he was asked
if instead of his usual salary he would accept half of
it, plus a share of the possible profits. Having faith
in the play, Hull snapped his fingers at care and took
the plunge. As everyone knows, the piece is one of
the big financial winners of the past season and still
goes strong. Brother Hull's share is uncertain from
week to week but it hasn't yet gone below tiuice his
usual salary!
WALTER WANGER is in London running Convent Garden as a movie
house. He tried the Fairbanks "Three Musketeers" but the world's
biggest town didn't fall for the high prices.
YANCSI DOLLY and CLIFTON WEBB are very much the rage in
Paris. They dance nightly at the Acacia. Meanwhile poor MAURICE
lies desperately ill with tuberculosis at Deauville.
ROBERT MANTELL and his wife, GENEVIEVE HAMPER, who
returned to America after a two months pleasure tour of Europe, last
June, will play in Shakespearian repertoire again this winter and then
they are planning to take their company to Japan for a three months
engagement in Shakespeare. Robert, Jr., Mantell's fifteen year old son
is acting with them.
I hear MARGUERITE CLARKE may return to the boards this year.
She has not been seen in the legit since "Prunella."
Every one is wondering just how long ARNOLD DALY will remain
under the management of Joseph M. Gaites who plans starring him in
"The Monster." Nearly every season Mr. Daly seems to have a new
manager. Changing them appears to be the greatest of all indoor
sports to the redoubtable Arnold. (As we go to press news arrives that
the clash has come. The incorrigibly hot-headed star has marched out
of rehearsals because of some trifling quarrel and will go into vaudeville.)
RIOT AT WINTER GARDEN
JF all chorus girls decided to break up their dressing rooms every time
a musical comedy failed there would indeed be chaos in the theatre.
Broadway is still commenting on the action of the fair choristers in
"Make It Snappy," at the Winter Garden, who became furious when
the show closed last July and proceeded to wreck the dressing rooms. It
appears that they had anticipated a summer's engagement. Much dam-
age is reported to have been done before their anger was finally appeased.
And, of course, foi obvious reasons, the police were not called in.
It has been definitely decided that HARRY BERESFORD is to play t'.ie
principal part in the play based upon Don Marquis' amusing character,
the "Old Soak." Mr. Marquis has made the dramatization himself and
the play will be produced by Arthur Hopkins. Those who have read
the play in manuscript form prophesy that it will be another "Lightnin.' "
Incidentally, it may be mentioned that George Fawcett was to have
created the part of the "Old Soak" but the plans miscarried in some way
and it is rumored that considerable unpleasantness arose when Mr.
Hopkins finally announced that Beresford had been selected.
JOHN CHARLES THOMAS, the American baritone, has scored a big
success in London and Paris on the concert stage. He is expected to
return on September 1st for a concert tour here.
It is rarely that two stars appear simultaneously in a new play in two
different cities. Present plans call for the appearance of LOU
TELLEGEN and WILLIAM FAVERSHAM in "On the Stairs," a new
mystery drama by William J. Hurlbut — Tellegen in Chicago and Faver-
sham in New York. There is no record of this theatrical experiment
ever having been made before.
MARY YOUNG was being interviewed by J. Harry Benrimo and
insisted on calling him "Mr. Rimo," much to Mr. Benrimo's irritation.
"Marjolaine" will be done in London with MAGGIE TEYTE in the
title role. PEGGY WOOD will probably appear in the piece when it
goes on tour here.
BIG NAMES FOR AMERICAN CHAUVE-SOURIS
]\OVEMBER 6th is the date set for the first performance to be given by a
group called "The Forty Niners," at the Punch and Judy Theatre under
the auspices of GEORGE C. TYLER. The program will be made up of
sketches and musical numbers, and the initial contributors, who are
members of the group, will be ROBERT C. BENCHLEY, HEYWOOD
BROUN, FRANKLIN P. ADAMS, GEORGE S. KAUFMAN, MARC
CONNOLLY, GEORGE ADE, HARRY LEON WILSON, DOROTHY
PARKER, MONTAGUE GLASS, EUGENE O'NEILL, ARTHUR H.
SAMUELS and BOOTH TARKINGTON. Certainly there could be no
more distinguished group of writers in the country than those Tyler
has lined up. Kaufman and Connolly, authors of "Dulcy" and
"To the Ladies," will direct and prepare the programs of the new
organization.
[168]
THEATRE .MAGAZINE, SEPTEMBER, 1927
THE AMATEUR STAGE
Edited by M. E. KEHOE
T. L. Sweet, of the Class of
1922, Brown University, gave a
splendid characterization of the
Czar in the Sock and Buskin
proluciion of "The Nihilists"
THE PRINCETON TRIANGLE CH'B
Using the same cast that contributed to
the joy and verve of their most recent
musical comedy success, "Espanola," the
Triangle players have broken their
musical comedy tradition established by
Booth Tarkington with his "Hon. Julius
Caesar" twenty-five years ago, with the
production of a serious play. Bernard
Shaw's "The Devil's Disciple" was chosen
as their first venture, the performance
proving a surprise to the alumni who had
been curious to know whether they could
stage and act a serious play successfully.
The scene above is from the first act, in
which three Princeton ladies played the
women's roles. The Triangle's yearly
musical comedy has grown to be an insti-
tution and it is to be hoped that Th's first
attempt at serious drama may be the for.,
runntr <>f _ otherg . enually successful
The Sook and Buskin Society, Brown University, recently did a notable thing in producing Oscar Wilde's "The Nihilists" —
probably the first time this play has been given since its original production. The scene above was taken at the end of
the second act
A Yearly Pilgrimage
By W. E. ABRAHAM
OUR fathers trained us to work, not
to play, to look for success, not hap-
piness, career not life, and the result
of their training is apparent in the hopeless
muddle we have made of things in our day
and generation. We were not taught to
use our leisure rightly and so we spent that
leisure getting into mischief. And failure
to consider we needed play as well as work
was the root cause of all the trouble.
Yet, as Schiller says, it is in play that a
man feels himself matter, knows himself
spirit and has a complete intuition of his
humanity. It Is the education of the play
instinct that leads towards a higher appre-
ciation of the best things in life, both in
art and in morals.
We have discovered our mistake. A re-
turn is being made to better things. Here
and there schools are beginning to give
serious thought to the problem of aesthetic
education and there are not wanting signs
that the children of today are being taught
to get more out of life than their fathers
succeeded in getting. They are being trained
as individual souls, not as "cannon fodder,"
they are being led to forsake the teachings
of imperial Rome and return to the eternal
ideals of Hellas.
For ideals never die, they are merely
hidden for a season. Sometimes, they are
to be found in the agora, sometimes they
may be sought for in the hermit's cave.
Awhile their altars may seem to be de-
serted, desecrated even, yet never through
all the ages has there been wanting a hand
to tend their sacred fires. When they
seemed to have deserted the market place,
men made pilgrimages to find them. So
our fathers, in their hardy way, despising
the religion of the cushioned pew, set out
to find God in nla/-»- wKpi"- j-v—v knew
he loved to be, in stables ana to..Jens, for
instance. With the increase of cushioned
pews, the pilgrim idea seems to have trans-
ferred itself from religion to art, yet the
essential idea of a pilgrimage is always re-
ligious. A visit to the old home, years
after, what is it if not an attempt to revive
in ourselves lost faiths, forgotten ideals?
And for those of the market place who find
themselves growing pessimistic over the
results of wrong ideas of education, the
writer would recommend a pilgrimage to
a shrine he knows of, a shrine where lost
faiths are being revived, where forgotten
ideals are being restored to pristine splendor.
It is not on Broadway. It is in a garden
far away from the busy haunts of men.
When you get there it seems Arcadia, but
the prosaic circular refers to it as Mill-
brook, near Poughkeepsie. There, at the
Bennett School of Liberal and Applied
Arts, one will find a shrine dedicated to
the eternal ideals of Greece, a school which
resolutely turns away from all merely
utilitarian standards, a home where art is
considered an essential in life, not a mere
frill to be added or not at pleasure. Here,
no art is neglected.
'"PHE present year marks a fresh advance
in their work through the addition of a
Greek theatre to "the plant." Here Eu-
ripides is played with such reverent love,
understanding and sympathy that it is
enough to console the shade of the great
poet for all the derision and misunder-
standing he has suffered through the ages.
"Alcestis" is the play for this year and
its first performance on May thirteenth
marked the dedication of the new theatre.
Mr. Horace Middleton, the composer of
the music, has set several other plays and
is rapidly becoming a past master in the art.
Mention must also be made of his setting
of the Athenian dithyramb of Pindar,
translated by Charles Rann Kennedy and
used as a prelude to the play. Clad in the
hues of spring, a chorus enters, singing and
dancing around the altar of Dionysius.
Of these choral dances the genius and
director is Miss Margaret Gage, who has
become so infused with the Greek spirit
that her creations seem like a temple frieze
suddenly endowed with miraculous life.
She is herself one of those rare personalities
that seem always poised on tiptoe and ready
for flight and the girls she trains have
caught from this spiritual charm and grace.
Miss Gage also takes the name part in
the play and no better choice could have
been made. For, in "Alcestis," more than
in any other of his heroines, Euripides has
typified the upward looking woman who
gradually attracts the Admetuses of the
world away from inward and egotistical
porings.
rTHE difficult and sometinfes ior..'Vviptible
part of Admetus is in the all-capable
hands of Miss Edith Wynne Matthison,
which is equivalent to saying that it is
interpreted with authority. The sex of a
part, is to Miss Matthison a matter of no
moment, it merely serves to show her ex-
traordinary versatility. One remembers, in
time past, how much a matter workaday
commonplaee it was for her to step from
the winsome waywardness of a Rosalind to
the remorseful agonies of a Lady Macbeth,
and so it is not to be wondered at if her
Admetus this year is quite as different and
quite as beautiful as her Electra of last
year's play. She has many gifts by nature,
but the extraordinary power and flexible
music of her voice is due to long years of
travail and many passionate sympathies.
For sympathies have a way of finding their
own peculiar timbre. On this account they
can never be feigned. Miss Matthison,
taking Admetus into the wide circle of her
sympathies, makes him a pathetic human
figure, not a caricature of one vice as some
of the Classical crackpots would interpret
him to be."
The role of Heracles was assigned to
Mr. Charles Rann Kennedy, the director
of the drama school. Peculiar vraisem-
blance was added to the part by the fact
that Mr. Kennedy is a man of large mould
and in contrast with his girl pupils he as-
sumed proportions astonishingly Herculean.
He was equally fitted for the part in other
respects. For, being a dynamic person him-
self, Mr. Kennedy loves dynamic people.
And Heracles is a "live wire." The vital-
ity, vigor and inspiration of Mr. Kennedy's
acting is very stimulating. It explains to
us the secret of his success in directing the
school of drama. Daily shocks from the
Kennedean reservoir of faith, vision and
enthusiasm would wake up dramatic feel-
ing in the veriest dolt.
THE remaining parts in the play were en-
tirely in the hands of the girl drama
students and it is a further testimony to
the training they have received from Mr.
and Mrs. Kennedy when one says there is
no feeling of want of balance between
teachers and scholars. It is no overpraise
to say that just as the new theatre is a
perfect miniature of the theatre as used in
ancient Greece, so the acting of the stu-
dents is a perfect miniature compared to
that of the more experienced actors. Add
youth, beauty and grace and the lack of
experience become a negligible quantity.
One thing more, however, must be con-
sidered without which youth, beauty, grace
or technique would be ineffectual. The one
thing needful is Faith. Therein lies the
secret of the charm of the Bennett repre-
sentations. The work is really approached
in a religious spirit and the plays rendered
as a religious act, "the Mass of Athens" as
Mr. Kennedy has called it. This is the
only way in which these plays can be acted.
They never strive after effect, nor drag in
patriotic or religious motifs with an eye to
box office receipts, their whole aim is a
striving with unbelievable patience and
tireless pains to express some invisible im-
mortal ideal in visible mortal forms! In
this the Greeks attained a mastery given
to no other nation and reached a standard
of citizenship denied even to this age of
aeroplanes and poisoned bombs.
The first performance of the "Alcestis"
closed with a scene of enchanting loveli-
ness. It closed, as it began, with Bindar's
Athenian dithyramb together with an un-
rehearsed effect which added to the signi-
ficance of the occasion. For, as the chorus
slowly moved away, singing the ode, a
shaft of sunlight, piercing between gray
bars of cloud, pursued them as they went
and bathed them in a glory of golden light.
It was symbolic of the words they sang
and the work they had done, work through
which :
"Mysteries holy, in effulgent symbols
Burst into daylight."
[170]
THEATRE MAGAZINE, SEPTEMBER, 1922
In these strikingly beautiful scenes from "Alcestis," in which Charles
Rann Kennedy and Edith Wynne Matthison appeared with their
students at the Bennett School, color scheme played an important part
in the costuming of the production. The chorus was costumed in
soft heavy draperies in neutral tones of violet, blue and green with
stenciled orange borders, their tunics and head bands of serpentine
crepe dyed to match the draperies
Edith Wynne Matthison, in the role of Admetus, was impressive in a
midnight blue tunic over a royal purple drapery stenciled in an
all-over pattern in midnight blue, with headband to match, while
Margaret Gage as Alcestis presented a lovely figure in sheer flowing
material of clear light yellow, roughly pleated in archaic folds, her
chiffon veil held in place by an amethyst-studded golden circlet
(Above)
Margaret Gage, who directed the
choral dances, also took the name
part in the Greek play "Alcestis,"
presented in the new outdoor the-
atre at the Bennett School, under
the direction of Charles Rann Ken-
nedy and Edith Wynne Matthiton.
Miss Gage is shown with Mr.
Kennedy and Misi Matthiton in
the roles of Heracles and Admetns
respectively, and the chorus of
students
Photos Alice Boughton
An Out-Door Production of The Alcestis of Euripides
[171]
Community Dramatic Activities
By ETHEL ARMES
Community Service, Incorporated
IN the forthcoming national Recreation
Congress to be held in Atlantic City,
October 9-12, Amateur drama will be
among the major topics for discussion.
As a significant form of cultural activity
Amateur Drama is coming to hold an im-
portant place in all community recreation
plans. Churches, colleges, schools, settle-
ments, clubs and organizations of various
kinds are uniting in its development.
Dramatic Departments are being formed
in numbers of colleges and schools that
never before considered the subject worth
while. Today Amateur Drama is at last
becoming recognized as one of the great
co-ordinating forces of education, the me-
dium through which History, Literature,
Painting, Music, Science and Handicraft
may be co-related, vivified and thus brought
to the acute realization of students. The
work that has been done by Percy Mackaye,
Frederick Koch, George W. Baker, Hazel
Mackaye, Elizabeth Grimball, Constance
Mackaye, Montgomery Cooper, Dorothy
Coit, Nina B. Lamkin, Elizabeth Hanley,
Corinne Fonde, Maude Scheerer, Joy
Higgins, Percy Jewett Burrell, Elizabeth
E d 1 u n d, Rosamund Kimball, Florence
Wilbur, May Pashley Harris, Sue Ann
Wilson, George Junkin, Edna Keith, Mar-
jorie Day, Imogene Hogle, Pauline Oak,
M i n n e 1 1 e Zuver, Mabel Tallmadge,
Dorothy Elderdice — and many others has
reached thousands upon thousands of peo-
ple, in large cities and small towns from
Massachusetts to Florida, Florida to
Texas and California — all through the
Middle West and to the vast Northwest.
Every day this work, under such leader-
ship, is bearing fruit.
Quite apart from The Little Theatre,
the assembly hall, auditorium and campus
productions are the numberless festivals,
ceremonials, and holiday celebrations di-
rectly tied to the playground and physical
recreation movement. Such classic Field
Day patterns as have for instance been
wrought out by Joy Higgins in Massa-
chusetts in The Tourney of King Arthur's
Day — by Dorothy Elderdice in Maryland
in her Olympian Games Pageant, would
serve to give royal background, poetic de-
light, inspiration to any college school,
camp or playground in the land. And just
as jolly sports!
Why not always have the physical acti-
vities thus linked with the cultural every-
where? So the topic — such a word for
such a wo*rld ! — will be set before the Rec-
reation Congress. No one knows so far
just what will be said or who will say it.
Professor George Baker of Harvard will
be one of the speakers, so will Dr. W. C.
Horton of the Raleigh Players of Raleigh,
N. C. — and many others.
E purpose of this Congress, called by
the Playgrounds and Recreation Associ-
ation of America and Community Service
(Incorporated) is to provide an opportunity
for the men and women who are interested
in increasing the sum total of recreational
opportunities in their towns and cities to
get together to share experiences and in-
formation.
City superintendents of parks and rec-
reation, directors of community centers and
settlements, church workers, directors of
boys and girls clubs, teachers of physical
education and child welfare experts are
among those who will be present.
They will discuss recreation for big
cities, for small towns and for rural dis-
tricts. They will exchange opinions on
such varied subjects as community drama,
community music, neighborhood organiza-
tion, home play, recreation in industries,
recreation in connection with churches,
compulsory physical education, the admin-
istration of municipal recreation camps,
swimming pools and activities of all kinds
for boys, girls and adults.
This is the Ninth Recreation Congress
to be held in this country. Since the last
Congress, called in 1916, the recreation
movement has made such marked progress
that this promises to eclipse all previous
gatherings in interest. The lessons learned
during the war in communities upon whom
were thrust the responsibility for providing
wholesome recreation for thousands of ser-
vice men, and the experience which has
grown out of it all in organizing commu-
nity-wide recreation will be brought to
this Congress.
THE Pageant of Towanda" was given
on July 4th by the people of Towanda,
Pa., Elizabeth H. Hanley directing. Few
pageants have come nearer to the ideals of
Community Service than this one, in that
it was done largely by the people them-
selves and that they were brought together
in all of the departments of the work,
artistic, business, publicity, organization
and general details, and inspired to initia-
tive and achievement.
It was done with very little expense as
the 300 participants furnished their own
costumes. The music, of an exceptionally
high order, was furnished without charge.
The orchestra, comprised of Towanda
High School girls and boys was directed by
the Supervisor of Music in the schools, Miss
Leah Chubbuck. The dances too were
excellent, especially the Indian dances, and
were directed by the teacher of physical
education in the Towanda schools, Miss
Elizabeth Snyder — just a slip of a girl.
Young men and boys did the Warrior
Dance. The work on the stage and
grounds, the rooms for rehearsals, the
music for rehearsals, chairs and tables were
all contributed by the people. Refresh-
ments were sold on the grounds. From
four to five thousand people were present.
The community organizer of Towanda
(Continued on page 200)
T1 HE out-of-doors theatre
now in process of con-
struction, to be used for the
first time in June, 1925, for
the second presentation of
the pageant commemorating
the one hundred and fiftieth
anniversary of the Battle of
Lexington.
The historic town of Lex-
ington, Mass., is decidedly
forward-looking. Under the
direction of Mr. J. Wil-
lard Hayden, Jr., it is start-
ing the work of preparation
for the pageant to be given
in 1925 — three years in ad-
vance! One of the interest-
ing features of this well
thought out theatre is its
three stages. First, the
artificial lagoon, which,
when played upon by lights
of varying degrees, will act
eg a curtain for the two
stages in back of it — then
the greensward, and just
beyond it a raised plank
stage on which will be set
the buildings representing
Lexington Common as it
looked on the memorable
morning of April 19th,
1775. Workshop and dress-
ing rooms will be built
beneath this stage. Long
vistas are being cut through
the natural woodland in the
background making it pos-
sible to show advancing
troops 1500 feet away from
the stage itself. The Lex-
ingtonians plan to make
their pageant of 1925 the
best in history, and if in-
finite care in the working
out of details counts for
anything, the success of
the pageant is a foregone
conclusion.
[172]
THEATRE MAGAZINE. SEPTEMBER, 1922
FASHION
c4s Interpreted by
the cActress
j Mil Russian influence is seen again
•*• very noticeably in ihe first Fall
costumes — the long waist line on frocks
and jackets, with the wide bands of
fur around the hips, the cape-manteau,
the brilliant colorings, and metallic
materials. . . And all these several
features are incorporated in this cos-
tume from Boue Soeurs, of New York
and Paris, which Mi-- Grace Thomas
of the Famous Players wears. The
main material of it is heavy crepe
banded with black fox fur, while the
blouse is a most unusual creation of
rich gold and black metal cloth, com-
bined with lingerie embroidery on
cream color organdie and orange hand-
made roses with centers of gold.
Note the odd cut of the cape! If
one is to include a cape in one'i
wardrobe, it must no longer be simple,
but of a distinctive pattern, verging
on the nature of a wrap. Note Miss
Thomas's hat also, with its wide brim
turning back from the face, the last
word from Paris, and a mode of which
you will see more later
Royal Atelier
[173]
THE BEAUTY OF THE NEW FROCKS
FOR EARLY AUTUMN ARE SHOWN
BY THREE OF THE BEAUTIES FROM
THE NEW 1922 FOLLIES
White Studios
The inspiration for this Renee frock came
from two Grecian cameos which were
mounted in gold beads and placed to hold
the full panels swung from either side of
the skirt. For the rest, the gown is in
the new color for evening, green, and is
worn by Miss Marie Shelton
A close.up of Mis§ Sbelton
showing the detail of the
gold and pearl beading on
her pale green frock, and
her headdress of sparkling
laurel leaves
Here are very new notes, indeed, in Miss
Shelton's frock, not alone in the extreme
length of the skirt and the tide panels,
but in the color of the frock which is a
distinct olive. Crystal beading, done with
exquisite care on olive chiffon, completely
covers the gown, the narrow borders being
of crystal bugle beads
[174]
THEATRE MAGAZINE, SEPTEMBER, 1922
This is not a frock and separate
cape that Miss Helen Gates of the
Follies is sporting, but a whole
outer covering, what one calls a
Russian mantean, the cape forming
part of the garment. The material
il Pauvelaine and the bands trim-
ming it, as is fit and proper, are
of sable. From Hickson
1
White Studios
Chiffon having once again become
a favorite fabric in Paris, Bonwit
Teller makes the choicest daytime
frock of it in navy blue embel-
lished with narrow tucks across the
bodice, on the full sleeves, and at
the top of the skirt, adding ai well
rows of self-tabs. Miss Eva Crady
of the Follies is its wearer
Again Miss Eva Crady!
Again in chiffon! This time
in a dinner gown of black
with the trimming Paris has
fancied so much of late,
ladies please take note, nar-
row fluted frills of valen-
ciennea lace. From Bonwit
Teller
[175]
What Every Actress Knows About Beauty
By MME. HELENA RUBINSTEIN
Miss Maxinc Elliott, whose
beauty has stirred two con-
tinents, knows that her
fine-textured ivory skin
requires one type of treat-
ment
IN a practice so large that it extends all
over the world, it may be imagined
that I have met with many actresses.
Of all the women whom I have treated
and advised, I think those of the theatrical
profession have proved the most intelligent
and the most quickly responsive.
I often feel tempted to say to the people
who believe in
"letting Na-
ture alone" :
"Just look at
the actresses
you see. Usu-
ally their com-
plexions are
lovely and, as
they advance
in years, they
keep their
looks far bet-
ter than other
women. Does
it never occur
to you to won-
der why?"
As a beauty
specialist
there is no-
thing mysterious to me in the fact that
women who use cosmetiques practically
every night of their lives have healthier
and more attractive skins than the people
who never even use powder.
The actress has this one great advantage,
of course. She is accustomed to handling
the skin. She knows that she must watch
her face — note whether the pores are be-
coming relaxed, or her skin is dry, and so
on, and as her looks are vital to her career,
she never lets things drift. She feeds her
skin, and softens it, as a matter of course,
in removing make-up. From seeing the
effects of cleansing cream, she is easily able
to understand the value of skin-stimulants
and tonics, which are quite as important as
creams and are not generally understood
by the lay woman who has been taught
that if she rouges, powders and creams
her face, she knows all there is to beauty
culture.
The actress also knows that to achieve
certain effects in make-up she must use
several preparations. She is not surprised,
therefore, that she may have to do the
same thing to secure certain complexion-
effects that do not depend upon make-up.
Constant watching of one's looks brings
also a better understanding of the many
circumstances that affect the skin. In cold
weather, when the wind and low tempera-
ture make the skin fragile and inclined to
line, very few "in the profession" would
wash without first covering the face and
throat with cream, so that the pores may be
penetrated by some actively strengthening
preparation at the same time that the sur-
face dirt is being removed and the skin sub-
jected to the drying after-effects of water.
I am talking, bun entendu, of the leaders
of the theatre — those women whose suc-
cess is a guarantee not only that they have
brains but that they use them as well. I
wish I could explain to the many women
who, alas, know so little about beauty cul-
ture, the various methods that can be em-
ployed both to beautify the skin and to
avert signs of age. The value of skin
stimulants cannot be overestimated in keep-
ing the complexion fresh and young. The
only way in which the blood can be brought
close to the surface, so that it may nourish
the tissues, is by the application of a good
stimulant. Even exercise will hasten the
general circulation of the blood, without
specifically bringing any flow to the face
or throat, but a tonic or stimulant will
hasten it just to the parts that need it.
Directly a line or a wrinkle appears, it
shows a lessening of skin activity. This is
the whole cause of signs of age, and if you
Mile. Sybil de Bray has
an animated glowing com-
plexion that well expresses
her vivid personality
correct the cause, the disappearance of the
effects follows logically.
Even quite young women need stimula-
tion to preserve the firmness of the contour
and the tension of the skin, because every-
thing that tires, everything that causes
Nature's processes to slacken — such as a
And Eve Lavalliere pre-
sents with her dark type
of beauty and warm olive
coloring a distinct con-
trast to the other three
rushed day, or an anxious hour, or heavy
responsibility, mental strain of any kind —
reacts on the skin and gives it the worn,
weary look that suggests age.
Very few people have absolutely perfect
skins. The skin, too, may be quite normal
without being in the least beautiful. But
most women have a tendency either to
dryness of the skin or to shine, which is
really oiliness.
And every preparation that is used should
be of a character to correct its specific flaws.
If the skin is
oily the creams
used should
always be of
an a s t r i n-
gent kind and
ought not to
be left on >
for long, but r
worked brisk-
ly into the
pores with a
hot towel and
soon removed. &
A great deal
of harm has Miss Lily Brayton, with
been done bv her ty'lical E"s'ish c°m-
, plexion, living in the
U.S ' English climate, must have
heavy, inactive a beauty regime dissimilar
creams, which to the American actress
clog the pores
and prevent the skin from breathing freely.
Drying preparations, such as harsh soaps,
or many crude and inactive preparations,
have proved even more of a menace to
beauty, as these destroy the skin's powers
of resistance by checking the natural hu-
midity, which is a great complexion pre-
servative. Even the oily skin should never
be dried. It needs refining, which is an
altogether different thing, as this means
simply to reduce the size of the pores and
control their action, but not to prevent or
take away the secretions upon which the
skin feeds.
But it is almost impossible to generalize
or tell any woman exactly what to do,
unless you know her type of skin and have
an understanding, too, of its specially in-
dividual characteristics. The skin may need
toning up or toning down, whitening or
giving color, refining or building up, reju-
venating, invigorating — and a hundred
other things, but the point I want to em-
phasize is that this can be accomplished only
if the skin is considered and treated as
something unique and not universal. There
is no "general skin." Each complexion is a
trifle different from every other. It is the
understanding of these subtle differences
that makes the culture of beauty a science.
Undoubtedly the time will come when
women will realize that every preparation
they use — simple things, even, such as soap
and cleansing cream, rouge or powder — -
can be adapted to the personal needs of the
skin, and make-up will then become beauty-
building as well as beautifying.
I wish I could gather together at one
time all the wonderful actresses who have
been and are under my care. It would be
a historic gathering from the point of view
of the drama.
[176]
THEATRE MAGAZWE, SEPTEMBER, 1922
Featuring Speed Combined With Grace
And Showing Cars That Are Made in This Country and Abroad
00)00)
A five-passenger Fiat Sedan affec-
tionately termed the "Baby Fiat."
It ia one of the most remarkable
high-grade small cars produced
being capable of a high speed, yet
very economical and easy of opera-
tion. As witness of the fact thai
high speed small motors can be fas:
the French Grand Prix was won 0:1
July 15th by a Fiat car
Here is Gloria Swanson, who has
just completed a Paramount pic-
ture called "The Impossible Mrs.
Bellew," with her new all-weather
car. It has a custom built body,
extra large trunk rack, steel wheels,
and a novel rear mud guard ex-
tending to the end of the spring
An imported four-seater light touring
car, that of the English Sunbeam Com-
pany, whose 6-cylinder engine gives it
great power, especially where hilly or
difficult country is to be negotiated. A
long wheel base, neat low-hung body, high
running board, and many olher features,
all go to make up a car of distinct and
original character
The long graceful lines of this Studebaker
Big-Six Speedster are accentuated by the
disc wheels, the traveling trunk and the
bumpers front and rear. The tilt of the
front seat and an upholstered arm-rest
dividing the rear seat provides a new
degree of riding comfort, and the body
finished in Studebaker blue with touches
of gold gives an air of exclusiveness
[177]
Artistic Interiors From the New
York Residence of Martin Beck
When not engaged in directing the affairs of
the Orphetim Circuit, Martin Beck's favorite
diversion is the gentle art of interior deco-
rating. Their home bears witness that both
Mr. Beck and his wife are amateur decora-
tors of no mean ability
(Above)
The dining room was
purchased by Mr. Beck
at the Tolentino sale of
1920 and transported
from the Chateau de
Roiny, only the poly-
chrome ceilings having
been made in this
country
(Below)
The living room is en-
riched with a famoni
Renaissance tapestry de-
picting the Siege of
Troy (shown in detail
below)
One of the novelties of the house is a combination
living room and dining room separated only by a
balustrade and marble stairway giving access to the
dining room which is raised two feet above the
living room
[178]
THEATRE MAGAZINE. SEPTEMBER, 1922
(Below)
Simplicity and richness of appoint*
ment mark the entrance hall to
till! tVCIi I HUH ..III K.It i,( III 1C Wllich
has a completely equipped gymna-
eiura installed on the fourth floor,
and on every floor, a special pantry
and ice box service
(Right)
An interest inp note in the
third floor library is the
combination of roufch stuc-
ce walls and oaken beams
which rapport the book*
•helve* and form a receta
for the fireplace, making a
frame, at it were, for the
entire room
(Left)
What more fitting selling for a Welte Mignon Organ
than the framed niche which was evidently built
into the living room for the organ— an arrangement
so devotional in its aspect as to reveal plainly Mr.
Beck's appreciation of that superb instrument
[179]
The Promenades of Angelina
She Goes With Tubby to the Newly Arrived Wiener Werkstnette on Fifth Avenue
In a small passageway at the Wiener Werkstaette
are niches, each one enshrining a small work of
art, a silver and enamel clock, a bracelet with
green crystals, a hand-wrought brass box
WHAT a help Tubby is to me, to be
sure! Between us, I don't think
we lose a trick around town. . If
there is anything we have missed, as they
say, I beg its pardon. . At any rate, it
doesn't happen to be the Wiener Werk-
staette, for which I'm truly thankful. .
What is the Wiener Werkstaette ?
That's what I'm coming to . . that's what
my story is all about. .
Tubby came to me with this find. .
He'd been on one of his usual parties
somewhere or other, and someone was rav-
ing about having been to a "varnishing
day" . . and, said he, that sounds as if
it should be something for Angelina. .
Anyway it's as good an -excuse as another
to take her out to lunch. . We'll go to
Voisin's where they have such delicious
cold dishes for hot summer days, and then
we'll hunt up the Wiener Werkstaette
after. .
We did as programmed by Tubby. .
Lunch at V's . . and then across to Fifth,
and down to the corner of Forty-seventh,
and up one flight in the elevator.
And Oh, what an enchanting place!
Josef Urban is listed as President and Mrs.
Anne Moore, his sister-in-law, as the busi-
ness manager, but really it's her "pidgeon,"
I think. .
The original Wiener Werkstaette . .
in case you don't know . . was started
years and years ago in Vienna among a
group of young architects. . We plan our
houses according to modern artistic ideals,
they fretted among themselves, and then
the whole scheme is spoiled, because with
the best will in the world, there are no
modern artistic things with which the in-
habitants may furnish them. . So they,
the architects, set to work to design these
furnishings themselves . . . and to gather
round them young artists with ideas . .
and to hunt up skilled artisans and peasants
who could execute their ideas through the
beautiful old hand methods. . They de-
signed silver and pottery . . and hangings
. . and wall-papers . . and lace . . ex-
pressing their imaginations in amusing and
novel ways. . I can remember numbers
of "The Studio" coming to the house when
I was quite young . . and how fascinated
I was with the pictures of the exhibitions
at the Wiener Werkstaette. . The modern
art still seemed strange to America even
then. .
Then came the war, with disastrous re-
sults to Viennese art, and leaving the artists
of the Wiener Werkstaette stranded . .
and then came along Mr. Urban and Mrs.
Moore with their scheme for starting a
branch of the movement here in New York,
and affording an outlet for it.
As I said above, what an enchantment
the place is! The charm of novelty, as
well as beauty, about everything. . A fairy
tale quality that gets you. . Just how to
convey it. . ,Let me try, at least, by telling
you about one or two "high spots" over
which Tubby and I were particularly
ecstatic. .
In the small circular room that you first
enter as you go in were two delightful crea-
tures, each on her own pedestal, that took
Tubby's fancy as much as anything in the
whole collection . . two dancing girls of
Mrs. Josef Urban was the
inspiration that led Josef
Urban to design this tray-
stand. The body of it is
wood in black and silver,
a silver top, fitting into a
groove, that can be used as a
service tray, and on which
hot cups or iced glasses
can be stood, thus preserv-
ing one's best mahogany
the East . . made of hammered silver and
about a foot high . . with baroque
pearls and other semi-precious stones set
as embellishment in the silver. . You
can't imagine anything more engaging as
ornaments for a room than these glowing
silver figurines, or, used in connection with
flowers, as a table decoration. . I thrilled
so over their siren charm that I have every
hope that Tubby already knows what he
is going to give me for my next birthday.
. . Around the wall of this same first
room were copies of some most extraor-
dinarily interesting paintings by a Vien-
A chair designed by Josef Urban that combines
a maximum of decoration and comfort. The wood
is gilded and the cushions which have the magic
of both holding you up and letting you sink
down are in striped red and white silk
ncse artist, Gustave Klimt. . Though his
pictures hang in every European gallery,
people know little about him over here. . .
In the short passageway leading to the rear
room are amusing cupboards built into
the walls and in each some small treasure. .
a square clock of turquoise blue enamel and
silver ... a bracelet for the white wrists
of "beautiful women," of links of silver
and green crystals, each link of an indi-
vidual pattern. . Well, if Tubby should
. prefer to give me that. . .
The Viennese artists work a great deal
in brass . . and they treat it as respect-
fully as if it were silver or gold. . There
are adorable little hand-wrought boxes for
stamps, for sweets, for jewelry . . brass
with enamel . . stunning hammered brass
bowls for flowers. . In order that one
may see how well all the flower recep-
tacles are designed for their purpose, grace-
ful sprays of real roses and other blossoms
are placed in them here and there around
the rooms.
In the front room I went into ecstasies
over a silver tea-set. . By a young man,
named Peche, said Mrs. Moore. . So
graceful, yet so solid and so delightfully
practical . . with ivory handles to each
piece, and carved ivory knobs to the sugar
(Continued on page 188)
[180]
THEATRE MAGAZINE, SEPTEMBER, 1922
•
Daniel \\febsteris Hat
NE of Daniel Webster's
famous retorts was to a
young man when their
hats got mixed.
"Why, Mr. Webster," said he,
"our heads are just the same size."
"On the outside, perhaps," re-
plied Webster.
If there had been 10,000,000
automobiles in Webster's day this
might have hit off the feeling about
tires as well.
* * *
To understand the tire situation today,
go back to 1918, 1919 and 1920, when
tire makers were jumping to catch up
with the demand. In 1921 they more
than caught up.
And in 1922, every car-owner knows
where he can get plenty of tires with
plenty of big discounts. Plenty of bar-
gains with ingenious sales -arguments.
A vast quantity of merchandise he
knows little or nothing about.
* * *
The quantity problem is history.
It is all this quantity of tires — and
their wide variance in value that is
making most car-owners determined to
get quality.
Hundreds of thousands of car-owners
rode on Royal Cords last year.
Current prices on United States
Passenger Car Tires and Tubes
are not subject to Federal Ex-
cise Tax, the tax having
been included.
United States Tires
are Good Tires
Copyright
1922
U. S. Tire Co.
m
The unobserving man might say that
this was reaching the limit of the qual-
ity idea.
Yet, in January, February, March,
April and May, 1922, the sales of U.S.
Royal Cords through dealers more than
doubled over the same period of 1921.
A new high record for Royal Cords.
Spontaneous buying through dealers.
A picture of the public voluntarily
making U. S. Royal Cords the meas-
ure of all automobile tires.
* * *
You have, perhaps, over-
heard some other tire being
sold for "as good as a
Royal."
At a time like this re-
member what Daniel
Webster said*
;-.a»«g?3Bs
U.S. Royal Card Tires
United States -;<i Rubber Company
Fifty-three
Factories
The Oldest and Largest
Rubber Organization in the World
Two hundred and
thirty-five Branches
i
i
[181]
MISS WINIFRED KIMBALL who
won first prize of $10,000 in the
Chicago Daily News scenario
contest.
$10,000 reward for
a Palmer student's imagination
THE first prize of $10,000 in the
Chicago Daily News scenario con-
test was awarded to Miss Winifred
Kimball, of Apalachicola, Florida. It
is the biggest prize ever offered for a
scenario.
The contest was open to everybody.
Nearly 30,000 entered, many profes-
sional scenarists competing. Miss
Kimball, an amateur heretofore un-
known to the screen, wrote "Broken
Chains," the scenario adjudged best.
Miss Kimball is an enthusiastic
student of the Palmer Course and
Service. Of the Palmer Plan she
writes:
"There is something unique in the
kindly interest that the Palmer institu-
tion evinces toward its students. I feel
that much of my success is due to its
practical instructions. I have advan-
taged greatly from the fundamental
wisdom of its criticisms and teachings."
A second prize of $1,000 was won
by Mrs. Anna Mezquida, of San Fran-
cisco, also a Palmer student. Seven
other students of the Palmer Plan won
$500 prizes.
Until the Palmer Photoplay Corpo-
ration discovered and developed their
gifts in its nation-wide search for
screen imagination, these prize winners
were unknown to the motion picture
industry.
That search goes on and on. Through
a questionnaire test, which reveals
creative imagination if it exists, more
hidden talent will yet be uncovered.
The test is offered free to you in this
page.
* * *
This is the kind of story that needs
little elaboration. The awards speak
for themselves. The Chicago Daily
News put its great influence and re-
sources behind thj motion picture in-
dustry, which desperately needs fresh
imagination for scenarios. Thirty-one
cash prizes amounting to $30,000 were
offered. Thirty-thousand professional
and amateur writers competed. Their
manuscripts were identified to the
judges not by author's name, but by
number.
The judges — among whom were
David Wark Griffith, the famous pro-
ducer, Samuel Goldwyn, whose studios
will produce the first prize scenario,
Norma Talmadge and Charles Chap-
lin, screen stars, and Rupert Hughes,
celebrated author, and scenarist — se-
lected "Broken Chains" as the best of
the 30,000 scenarios entered.
To a Southern girl, who lives in a
little village of 3,000 population, that
selection meant a check for $10,000,
and a career.
To the Palmer Photoplay Corpora-
tion, the incident is just one more
gratifying record of a Palmer stu-
dent's brilliant success.
A public that makes its own scenarios
In its issue of April 1, announcing the
prize winners, the Daily News quoted the
judges as agreeing that —
" — it proves beyond all doubt that the
American public can supply its own
art industry, 'the movies,' with plenty
of impressive plots drawn from real
life."
That is the message which the Palmer Photo-
play Corporation emphasizes in its nation-
wide search for creative imagination. As
the accredited agent of the motion picture
industry for getting the stories without
which production of motion pictures cannot
go on. the Palmer organization seeks to en-
list the country's Imagination for the fas-
cinating and well paid profession of scenario
writing. Here, in the inspiring s ory told
on this page, is proof that Imagination exists
in unexpected places; evidence that it can
be inspired to produce, and trained in the
screen technique, by the Palmer Home
Course and Service in photoplay writing.
A free test of your imagination
Imagination is the indispensable gift of the
scenarist. It exists in men and women who
never suspect its presence. The problem of
the motion picture industry is to discover it,
and train it to serve the screen.
By a remarkable questionnaire, the Palmer
Photoplay Corporation is enabled to test the
imaginative faculties of any person who will
send for it and answer its questions. The
test is free. The results of careful analysis
by our Examining Board will be given you.
We shall be frank. If your questionnaire
indicates that you do not possess the gifts
required for screen writing, we shall advise
you to think no more of writing for the
screen. But if you have those gifts \ve sh:>ll
accept you, should you so elect, for enroll-
ment in the Palmer Course and Service.
The opportunity is immense, the rewards
are limitless. Will you take this free con-
fidential test in your own home, and deter-
mine whether it is worth your while to try
for the big things — as Miss Kimball did?
The questionnaire will be sent -to you
promptly and without obligation, if you clip
the coupon below. Do it now, before you
forget.
PALMER PHOTOPLAY Corp.
Dept. of Education
124 W. 4th St., Los Angeles, Cal.
PLEASE send me, without
cost or obligation on my part,
your questionnaire. I will
answer the questions in it and
return it to you for analysis.
If I pass the test. I am to
receive further information
about your Course and Service.
Name
Ind icatc M r. , Mrs., o r Miss
Address
T. 9
Copyright, 1922, Palmer Pliot-oplay Corporation
AMSTERDAM DOES SOMETHING NEW
(Continued from page 164)
colorful ones on either side. England,
for instance, although not fully repre-
sented, sent much of the work of Al-
bert Rutherston, C. Lovat Fraser, Nor-
man Wilkinson, Paul Nash, Alfred
Wolmark, Charles Ricketts, Norman
Macdermott, Edmond Dulac and Paul
Shelving, the last-named the remark-
able young scenic artist of the Bir-
mingham Repertory theatre. In all
101 workers contributed to the ex-
hibition.
Among this enormous grouping of
drawings and models, I found greatest
interest in ten scenic designs for
"Macbeth" by Knut Strom and Rochus
Gliese. In coloring and in stage com-
position they provided a far better
Icey to "Macbeth" than that ill-fated
attempt of Robert Edmond Jones in
which Lionel Barrymore appeared two
seasons ago. And Oskar Strnad of
Vienna has designed a curious and
ingenious plan for a theatre with a
circular auditorium. The stage would
run half way round this room and the
seats of the spectators would be
raised above the level of the stage
floor. Strnad believes an actor dis-
pels illusion when an audience sees
him enter from or disappear by means
of the stage wings. He would il-
lumine one portion of his stage at a
time, then another part, still a third
or fourth, or throw open the entire
stage for a spectacle, if necessary.
These portions would be separated by
pylons, which, themselves, would be
hollow, with inner stairways, windows
and platforms enabling the actor to
speak at different levels. It is at least
a new idea in theatre construction.
In the library assembled in a sep-
arate room the United States came off
much better, with books by Brander
Matthews, David Belasco, Arthur
Hornblow, E. A. Boyd, Sheldon
Cheney, Barrett Clark, I. McClintock,
Kenneth Macgowan, Percy Mackaye,
Constance Mackaye, H. K. Moder-
well, George Jean Nathan, Irving
Pichel, Oliver M. Sayler, Theatre
Magazine and the Theatre Arts
Magazine. The catalogue which was
issued in connection with this library,
was a valuable review of the work
of the contemporary theatre.
The Staatschowburg, the municipal
theatre of Amsterdam, is in every
sense a repertory theatre. The play-
ers appear in the same roles not more
than a dozen times a season. The bill
is changed nightly; once a week opera
is offered with an orchestra of fifty
musicians. Prices are amazingly low.
There are "popular" nights and "peo-
ple's" nights. At the latter the best
seats may be obtained for 90 cents in
Dutch money, about 35 cents in our
currency. A permanent company of
50 actors is maintained. Everything
is distinctly utilitarian, even Queen
Wilhelmina's box in the centre of the
balcony being frugally appointed in
contrast to the splendors of the royal
boxes in the Italian theatres.
The key to any playhouse lies in its
stage equipment. The auditorium al-
ways blazes with lights and Cupids
in bas-relief sprawl in every corner.
The stage may be a dreary place. An
American theatre built in a middle-
western city last year has a handsome
auditorium and a stage so tiny that
it is shaped like a quarter of a pie.
The architect performed the time-
honored feat of forgetting the dress-
ing-rooms until a discerning soul re-
minded him of his omission. Had he
visited the Staatschowburg he would
have found two tiers of long dressing-
rooms, decorated in bright colors, with
mirrors, an indirect lighting system
for the best view of a "makeup" and
glass doors at one end of the room
giving on to a long balcony below
which is a canal — thus affording the
actor a chance to end it all if he fails
to make good. Many an American
star would desire the luxurious quar-
ters of the average Dutch actor. Will-
iam Royaard's own room is double the
size of the others, furnished with
handsome chairs and tables and pro-
vides a comfortable place between the
acts. In addition the members of the
company have a large green-room
with couches and chairs of wicker.
Even the members of the ensemble are
housed comfortably in a large room
that American choruses well might
envy.
The stage is extraordinarily large,
having a playing space of 18 by 26
meters. At either side are rooms for
storing scenery, the sets being painted
in special ateliers away from the thea-
tre. The lighting is mostly from
above with one row of lamps inside
the top of the proscenium arch, sev-
eral rows of borders and a series of
projectors from the top gallery. Side-
lights in movable stands are also
used. The cyclorama is of blue can-
vas, not of plaster.
"We have too little room," said
Manager Nolta, who was conducting
me through the theatre. He may be
right. Vet I wondered how many
theatres in the United States have such
complete equipment. And below the
stage are three levels for traps, for
storing mechanical devices, for the
thousand and one things forgotten in
the average theatre. "Enough stuff
here for three Metropolitan opera
houses," was the comment of my com-
panion.
In the evening I witnessed "Een
Mid-Zomernachtdroom," as "Mid-
summer Night's Dream," becomes in
translation. Shakespeare in Dutch ! I ,
might have feared to see it had not
William Poel, the noted Shakespearian?
scholar, advised me in London. "Go
to Amsterdam," he said. "In Holland i
you will find the best acting in
Europe."
Advice was excellent. While I can-
not echo his opinion as to the acting,
I found a performance of sincerity
and of serious intent. Beginning at
7:30 in the evening, the play was
(Concluded on page 184)
[182]
is there any other material that
inspires such smart frocks and charm-
ing decorative arrangements as silk?
CHENEY BROTHERS
Fourth Avenue at Eighteenth Street, 7^e
Cheney Dress Silfc, Velvets, Ribbons, Decorative and
Upholstery Sil\s, Cravats and Men's Soc\s are obtain-
able at stores with a reputation for fine merchandise.
THE RISE OF THE CURTAIN
Jfjarher's
''WRAP-AROUND
NOT A TRACE OF LACING has the
Warner's Wrap-around — just nar-
row sections of firm elastic alternat-
ing with brocade that stretch enough
to let you "wrap.it and snap it" on.
And when on, the Warner's Wrap-
around is part of yourself — not a
line showing through the gown. It
does not stretch into looseness as
does a solid rubber corset. It holds
you just as much as you want to be
held — and no more. It's a feather-
weight, and you're free in it.
Prices :
$1.50, $2.00, $3.00, $3.50,
$4.00, $5.00 and $7.50.
THE BANDEAU shown in the illustration at
right is a type designed for ivear with this
model of Warner's Wrap-around. Its long
back and front panels stay doiun securely
over the low top of the JVrap-around.
Prices: $1.00, $1.50, $2. 00, $2. 50, $3.00 and
$5.00.
(Concluded from page 149)
an all-star cast. Jobyna Rowland
will be seen shortly in "Greatness,"
a play written especially for her by
Zoe Akins and another Frohman offer-
ing will be "Casenova," a colorful
drama translated from the Spanish of
Lorenzo Azertis.
ELSIE FERGUSON'S RETURN
1Y/TARC KLAW will present M.iss
Elsie Ferguson in a play which
seems likely to give that very popular
:tar a renewed vogue on Broadway.
For Miss Ferguson's return to the
management under which she scored
her greatest successes, Mr. Klaw has
secured the American rights to "The
Wheel," which has been a reigning
London success with Phyllis Neilson
Terry and Philip Merivale in the
leading roles. Since the English title
of the play was used in America by
Winchell Smith in quite a different
play, Mr. Klaw will probably call his
production "The Wheel of Life," since
the idea of the play is the Buddhist
lelief that we are all bound to the
Wheel of Things, which whirls us into
our own at last. In this play, which
is by James Fagin, Mr. Klaw believes
Miss Ferguson will be fitted with a
character that will prove even more
attractive to her admirers than her
unforgettable r6le In "Outcast." After
having launched Miss Ferguson in the
new play, Mr. Klaw will probably
announce an engaging novelty, now
under consideration, but not yet ready
for positive heralding. Henry W.
Savage and Florenz Ziegfeld are still
lingering in Paris at this writing, and
their plans must wait their return
for announcement. Needless to say
there will be further Follies, and a
road season for Marilyn Miller and
for Billie Burke, and a possible
production of Franz Lehar's long-
awaited "Blue Maxourka," by Mr.
Savage.
TTENRY MILLER will make a num-
ber of new productions, one of
which will enlist the services of him-
self and his brilliant co-star, Blanche
Bates, while Ruth Chatterton has al-
ready tried out on the Coast "La
Tendresse," a play by Bataille, adapted
by herself, in which she will court
renewed favor on Broadway later in
the season.
FORTY-TWO SCENE THRILLER
'"PHE Selwyns are offering a program
" rich in promise and sparkling
with varied and novel offerings. For
the first time this intrepid youns
firm, will enter the field of scenic
spectacle, presenting as their initial
venture the Berlin sensation Mein-
hard-Bernauer melodrama "The Mys-
terious Affair of Kreisler." It is likely
that the German title will be cur-
tailed, but Mr. Edgar Selwyn pledges
his managerial honor that there will
be no diminution of the thrills con-
tained in the mechanical effects of the
forty-two scenes through which this
rtory of thrills and mysteries moves
with all possible pageantry.
In this play, Frank Reicher, the
newly acquired stage director of the
Selwyn firm, will make a bid for
recognition as a master of effects in
terror in the field occupied by the
Reinhardts and Belasco. Jane Cowl
will be presented this month in a new
play and Channing Pollock's newest
opus "The Fool" will bring Richard
Bennett to the fore as a Selwyn star.
Plays by A. A. Milne and Clemence
Dane and Louis N. Parker's adapta-
tion of Maurice Magre "Harlequin."
A new play by Martin Brown will
present Alan Dinehart in the chief
role and new plays for Florence Reed
and Mme. Olga Petrova will a4sa en-
gage the activities of the firm later
in the season.
THE TRUTH ABOUT BLAYDS'
(Concluded from page 160)
will always be looking for tier. *
ROYCE: I shall find her.
ISOBEL: No, it's too late now.
ROYCE: (Confidently.) I shall find
her. * * Perhaps it will be on a day
in April, when the primroses are out.
Then, a child again, she will laugh for
joy of the clean, blue morning, and I
shall find her. And when I have
found her I shall say—* * Thank God,
you are so like your mother, whom I
love.
ISOBEL: No, no, it can't be true.
ROYCE: It is true. (Holding out his
hands.) I want you, not her. (She
puts out her hands to him. He takes
them and kisses them.)
CURTAIN
[184]
THEATRE MAGAZINE, SEPTEMBER. 1922
(-/ listening jant)j; glittering Mciety. Gamboling clotted; f rival-
ing crowd J .... Timoroiu lour'utj — with eyej wide open.
Amorous dueluiU — with eyed half open . . . The bored Mil of a
thike, forgetting h'u boredom. The well-brought up daughter of
a millionaire, forgetting her brintjiiiij-itp . . . Studied in adorn-
ment; .tluJiej in unai)ornment. Creatioiu of Parisian moJLttej;
creations of Olympian goJj .... And, permeating all, that
eliuwe aura which betokeiu the presence of beautiful women —
I
PARFUMERIE R1GAUD, 16 Rue dc la falx, Pani, France. GEO. BORGFELDT & CO., Sole Dulnbutan, i6th Street & Irving Place, New X°rk
[185]
(Correctly Interpreting
the <L%Code inCjfiirs
The Silhouette for the com-
ing season — what form will it
take? The variations in length,
in sleeve and in body line
which Paris decrees for the
Fur Wrap are ever so slight
— but ever so significant.
Guided by the dictates of
fashion, Gunther has created
many models — each enhanced
by a charming originality.
Gunther
fJiftliSfyenue at 36~<$treet
NEW YORK
Furriers for More Than a Century
MR. HORNBLOW GOES TO THE PLAY
(Continued from page 151)
and general treatment suggests the
curtain lowerers at the Grand Guig-
nol, written by the same Lait who
conceived "Lilies of the Field" and
played by the same Suratt. So does
"Spice of 1922" go. Good, bad and
indifferent — with the good so good as
to hold and please at times hugely.
Adele Rowland contributes what
might be called a "refreshing note"
to a show that for blueness and un-
dressedness breaks several records.
She is wholly delightful in "On a
Little Side Street in Paree," singing a
song of the popular variety staged
skillfully in such a way as to give the
number more verve than it might ordi-
narily be expected to achieve. James
Watts, a burlesque female imperson-
ator, is enormously funny in a travesty
on "Tosca," and Jimmy Hussey, an
addition to the apparently limitless
supply of Jewish comedians, is an
unusually entertaining clown. In fact,
it occurs to me that the thing which
makes Mr. Lait's show stand out a
bit is the fact that it possesses a few
hearty laughs — even guffaws of the
unashamed variety — and that's rare
enough in these days of lots for the
eye but little for the ear to be creative
of some appreciation.
Strut Miss Lizzie
Produced at the Times Square
Theatre, June 19th, with the following
cast:
Georgette Harve, Lake Sisters, James
Moore, Alice Brown, Charles Fredericks,
Hamtree Harrington, Grace Rector, Cora
(Ireen, Bud Halliday, Joe Henderson, James
Barrett, Eddie Fields, Willie Tyler, Joe
.Ionian, Elberta Jones, Carrie Edwards and
Ethel Taylor.
ANOTHER show by negro enter-
tainers, inspired obviously by the
enormous success of the "Shuffle
Along" entertainment that has had
over a year at the 63rd Street Music
Hall. There is always plenty of fun
and rag-time and spirit in these darky
shows and although at no point are
"Shuffle Along'' standards reached,
there is still enough in "Strut Miss
I.i//.ie" to keep one's face smiling
and one's feet tapping.
DUSE BREAKS HER SILENCE
(Continued from page 137)
suddenly lighted with a smile.
For there is an intangible air of
Iriitesse that cannot be dispelled when
looking at Duse. This hush of sorrow,
seemed to me to be reflected in the
quiet of the rooms, the subdued char-
acter of her two attendants. Everything
suggested the recognition of the tragic
spirit which hangs over the great
artist.
As we talked, a soft voiced com-
panion who speaks French and English
as well as Italian, entered. Her mur-
mured words were answered by a
negative motion of Duse's head.
No one, indeed, is guarded more
thoroughly from intrusion than Elean-
ora Duse. Hotels have orders that she
is not to be disturbed under any cir-
cumstances. In between engagements,
for unlike the American system of
solid booking, she plays when she
feels like it, she retires to some quiet
place to rest.
I mentioned how thoroughly I had
canvassed Italy to locate her after her
Trieste engagement.
"I enjoy solitude" she said, smiling.
"But when vou come to America
you will be less retiring, won't you?"
I questioned.
"It seems as though I would have
to," she replied. "You see I know
America of old but not post-war
America. But I will be glad to try
to 'step lively' as you say — if I can."
She smiled, with a trace of amuse-
ment at the thought.
The interview was over and she
extended a hand over which poets
and artists may well enthuse.
"A rivederci " she began.
"In America" I concluded.
She paused, an impressive figure in
the flowing blue robes, lighted at the
throat by white lace. Her sad eyes
smiled.
"I must see those young actresses —
what beautiful phenomena America
offers — " she said.
A lovely appreciation of youth, I
thought, as I said arivedtrla to this
great artist who, with the memories
of her own incomparable career,
stands eagerly watching, with gener-
ous enthusiasm, the promises youth
offers the Art of tomorrow.
.[186]
THEATRE MAGAZINE, SEPTEMBER, 1921
"The Sound
of Safety!"
T I ^HAT rigid adherence to traffic regulations which protects the cautious
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The Vacuum Cup Tread means extra service. It is built of hundreds
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[187]
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THE ACTOR-PROOF PLAY
(Continued from page 142)
"dear old Joe Jefferson," but as he was
just as dear and nearly as old when
he failed to please in his own faulty
version, I think some belated acknowl-
edgment is due to the memory of
"dear old Dion Boucicault."
Despite my respect for the skill of
the playwright who devises scenes that
delude the average play-goer, and my
admiration for the craft and cunning
of the manager who, with the aid of
his hand-maiden, the press-agent,
"puts them across" — to quote from the
lexicon of Broadway — I resent the
whole scheme of deception. Not only
does it fool a credulous public and
an equally credulous press but it
creates false standards of acting, gives
undue prominence to players who have
not fairly earned it and obscures in
merciless fashion the talents of others.
But to the star whom a manager is
trying to make famous by artificial
means such a scene is a source of
nightly joy for, skillfully handled, it
seldom fails to yield a generous har-
vest of undeserved newspaper puff-
ery. It lends itself, moreover, to the
development of the tricks of acting,
such as keeping the rest of the com-
pany below the key in order to
heighten the effect of the "great mo-
ment" in which the player's voice is
to be lifted to its limit. I have even
known an actress to play the preced-
ing scenes with lassitude in order, as
her press agent had the effrontery to
declare, to "save herself for her great
moment."
To realize the absurdity of this
method of interpreting real life we
have only to imagine a young woman
yawning through a pleasant afternoon
so as to save herself for the expected
moment when someone will come in
and tell her that her sweetheart has
eloped with another girl.
The young and inexperienced critic
is as much impressed by the scene and
the applause that follows as the veri-
est layman and accords to it the hearty
praise of his naive pen. These enco-
miums are reprinted in the advertising
matter and as his name is reprinted
with them he is, to a certain extent,
committed to the star's support.
More than once of late this crafty
method of "grooming" a young woman
for stellar honors has been employed
with the result that she came to de-
pend on an actor-proof scene as an
addict depends on drugs. That the
play-going public is seldom deceived
by such tricks is indicated by the fact
that few of those subjected to the proc-
ess last beyond their second season.
THE PROMENADES OF ANGELINA
(Continued from page 180)
bowl and the teapot lid, whose hinge
— a further touch of practicality — was
placed at the side instead of the usual
back. Peche's fancy, it seems, is at
home in any medium. . On the table
beside the tea-set was a "trick" of
his designing . . a small animal of
gay silks . . of a fauna never seen
on land or sea, but ensnaring withal. .
On the wall above were wonderful
laces, also by him. .
Another name one should know in
connection with the Wiener Werk-
staette is that of Josef Hofmann. .
Rather strange there should be two
such well-known artists of the same
name, not so? . . This Josef Hof-
mann is probably the most significant
personality in the "young Vienna"
group . . "He is the one," says Mrs.
Moore, "from whom comes most of
the artistic inspiration, as well as
most of the organizing." I remember
particularly his tall silver vases for
flowers . . and some delicious deep
porcelain bowls in gay colors.
Novel to most of us over here are these deep
goblets painted with small figures and called
"X-glasses." Being without a base on which to
stand necessitate! thai their contents be drained
at a single draught. For a shorter quaff there
are other glasses also decorated in a similar
manner with gay paints
[188]
THEATRE MAGAZINE, SEPTEMBER, 1922
Exclusive Artists
JVumberJVlneofa Series
THEO KARLE
TENOR
T TNIVERSAL has been the approbation of Theo Karle's exceptional voice — it is characterized by
*-^ such rare power and delicacy of tone that he has been termed by noted critics one of the great-
est American tenors of the day. In common with the present tendency among artists, he records
exclusively for Brunswick.
Brunswick Records Play On Any Phonograph
[189]
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Freckles and tan are not becoming, and it is conceded that a
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much graver evils.
The real danger of sunburn is that it ages you!
Once the sun is allowed to dry away the skin's sapfulness —
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are not, it is distressing — but it is true!
Helena Rubinstein
The famous Beauty Specialist of London, Paris and
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Once in every twenty-four hours,
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This nourishing, skin - toning
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In the morning, cover your face,
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Valaze Beauty Treatments
Amid exquisitely refined surroundings at the Maison de Beaute Valaze at
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NEW YORK CITY
London
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Fabiano de Paris
Noted Young French Portraitist to Sketch America's Stage
for Theatre Magazine
TO us long little else than a name,
seen in vagrant copies of Le Rlre
or La fie Parisienne, Fabien Fabiano
is now in America with his crayons
and brushes, prepared to repeat in this
country the enormous vogue he has
enjoyed in Europe. There are few
theatres of the chic variety in Paris
whose stages have not been decorated
by the sly, gay patterns and designs
that come lightly from the hand of the
man who stands out as perhaps fore-
artistic value whose pages have not,
during the past few years, been
decorated by products signed F.
Fabiano. In this country M. Fabiano
will continue his portraits of women
and Theatre Magazine will offer sev-
eral to its readers, beginning with this
issue. In the series to be so offered
it is planned to include a number of
popular stars whose personality is
peculiarly suited to the piquant
Fabiano style.
FABIEN FABIANO
most in the field of what may be
known as typical Parisienne art.
Americans who have found delight
at the Theatre du Capucines or the
Michel or the Ba-Ta-Clan have
usually unknowingly been carried into
their feeling of admiration for the
mise en scene by the Fabiano decors
and costumes. But of even more
importance, perhaps, in the world of
art are the exquisite and elegant por-
traits of lovely women that have been
a principal part of his work and have
gained for him the major part of his
reputation. There is scarcely a Con-
tinental periodical of distinction and
The artist works equally well in
pastel or in oil and it is possible that
before long, in order to procure the
full color value of his work, one or
more of his portraits will be repro-
duced on our covers.
In Paris Fabiano has done portraits
of such noted artistes as Spinelli,
Edmee Favart and Jane Renouardt,
and his work has appeared constantly
in Femina, Fantasia, Le Rire, La Vie
Parisienne and other smart European
reviews. His American work, as well
as many of his European products,
will be exhibited before long in a
noted Fifth Avenue gallery.
CAPTAIN POLLOCK
(Continued from page 154)
that lunacy. Inseparable in our con-
sideration will be Mr. Pollock and
Miss Clemence Dane's play, "A Bill
of Divorcement."
They made a record among the best
achievements of least season. Then,
startlingly, came the news that the
tall, lank man who had stirred our
tears would produce a comedy and
himself turn comedian. He produced
successfully "A Pinch Hitter," himself
playing a comedy role and giving his
friend, Charles Waldron, long asso-
ciated with lover roles of lachrymose
order kind, a fun creating character.
"You saw the play? You like it?
I am glad. It was no definite ambi-
tion of mine to be an actor-manager.
I read the little play and liked it. At
all events one should vary his work.
Don't you think so?"
He shifted one of his long legs over
a jutting knee. "I love the circus
part of the theatre," he was saying.
"That comes down to me from Perth
days, perhaps. I like the scene shift-
ing, the rehearsals, the accidents, the
profanity, the uncertainty. I don't
come into the theatre saying that Mrs.
Toplofty asked me to tea and I drop-
ped in. That is rot. I haven't been
having tea with Mrs. Toplofty. I've
been shouting my lines at some un-
offending wall, or talking about a
play with some author in whose efforts
I am as much interested as he is. I
am a trooper. That's what I am.
And all I am. And all I want to be."
L190]
THEATRE MAGAZINE, SEPTEMBER, W22
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[191]
A UTUMN has triumphed more
** brilliantly than ever before in the
gorgeous gowns
of Sheridan.
The new silhouette finds itself delightful in this three pirn
sui- of B' own Kasha Cloth, whose bodiie (not s'.own) is
of brocaded Metal Cloth. The smart trottet,r jacket
has a Mole-trimmed Militaire co.'hr, caught with silver
bells. All the new Fall Colorings.
GOWNS
Afternoon
GAMBODGIEN BALLET IS PARISIAN
SENSATION
FROM "Gargoyle" that excellent
little magazine made by Ameri-
cans in Paris we learn of the latest
fad in Paris — the visit of the private
ballet of the King of Cambodia (who
has a geography!) to the city on the
Seine. News of the sensation has
filtered in but it remains for "Gar-
goyle" to present a comprehensible
critique of what these unusual dancers
do and how they do it.
Says "Gargoyle":
"The most significant event of the
season at the Opera was the visit of
the Cambodgien Ballet, an event we
owe to this year's Colonial Exposition
at Marseilles. The dancers were ac-
companied by a group of players from
the Annamite Theatre, and these lat-
ter preluded the Ballet numbers with
an elaborate dance step and a pan-
tomine scene interrupted at intervals
by chanting. The costume colouring
was full of brilliant contrasts, the
accessories symbolic as well as decora-
tive. The figures executed were full
of repetitions introducing shades of
difference; their stage alignment and
grouping always a little asymmetrical
to our eyes. The chanting was done
in a high penetrating tone of extraor-
dinary carrying power. The musical
accompaniment consisted entirely of
changing rhythms marked by drum
and cymbals. The Cambodgien
dancers opened their program with an
imposing entrance upon an upper plat-
form; costumes of jewels and gold and
a row of gleaming banners. From
this a group of maidens descended
to perform the Dance of Good Wishes,
carrying flowers of silver and gold.
There followed a short duet scene in
the manner of realistic pantomine rep-
resenting the abduction of a tiny ex-
quisite siren by the King of the White
Monkeys with imitative costume and
mask, and equally imitative dance
steps. The complete ballet of the
program concerned the story of a
princess' dream, the prince with a
magic wand who could fulfill her
dream, their adventures and ultimate
happiness. Much of the individual
dancing was done in a sitting posture
upon a central divan. The entire ac-
tion was accompanied by an orchestra
placed at one side of the stage and
consisting of two xylophones, a pipe,
and some small drums, one of them
beaten entirely with the hands. This
combination of instruments produced
the most glorius syncopated music I
have ever heard: brilliant tinkling
arrested melodies playing above a
fundamental rhythmic pattern. At the
opposite side of the stage was the
choir, following the action with choral
parts sometimes reinforced by a
rhythmic beating of time, and intro-
ducing solo parts to represent the ex-
pression of certain individuals in the
ballet. This solo singing in particular
was of extraordinary timbre and de-
licacy, following a system with much
smaller intervals than those of the
diatonic scale. The dancing of the
Cambodgien ballet girls is obviously
surcharged with ritual, symbolic, his-
torical, and local meaning, only faint
glimpses of which are visible to me.
Their technique makes demands quite
different from those of the occidental
dance. The knees are usually bent,
the feet turned back, the toes upward ;
the trunk, arms, and hands, even the
individual fingers are used with amaz-
ing skill and complexity of movement.
The pantomine, as in the scene of
seduction, is a complicated design of
exceeding subtlety, detached and con-
ventionalized to the last degree, the
faces remaining as passive as masks.
The only element which breaks this
detachment is the sudden emission of
curious small cries — a strange anomaly
which I do not know how to recon-
cile with the age-long conventionaliza-
tion manifested by their action in gen-
eral. After this ballet the Cambod-
giens and Annamites joined in a
general closing spectacle: the greens,
pinks, blues, and browns of the Anna-
mites with their banners filling the
stage, and the gold and gems of the
Cambodgiens backing them on the
platform above. As spectacle, as
music, as dancing, the whole perform-
ance was unforgettable."
NEW VICTOR RECORDS
Lucrezia Bori's English accent is her
very own. Unless you have h<-ard
it, you can't guess how delightfully
piquant it is. However, you may hear
it on your Victrola for the first time
during August, for her mo<t recent
record is her first in English. The
song, appropriately enough, is one of
Thomas Moore's — "When Love It
Kind" — dealing lightly with such a
serious subject. Musically this record
is a delicately chiselled cameo, leaping
a light octave at the climax like the
last flashing kick of a toe-dancer.
The peace and fragrance of some
old-world garden are in a charming
new record by Emilio De Gogorza on
the August lists. "/ Knovo a Lovely
Garden" is one of Mme. Guy D' Har-
delot's simplest and finest, free from
false sentiment, and sung with the
easy finish and human sympathy of
the true artist.
[192]
THEATRK MAGAZINE, SEPT KM HER, 1922
The pestle LANOIL Wave
A New "Permanent" Without Borax, Paper Tubes, or Pads
Heat Reduced by about 75%
Hairdressers o
York Hold ^fCass -J&eeting, and Acclaim
'Discovery
THE unceasing efforts of Mr. C. Nestle, original in-
ventor of permanent waving, have at last shown results.
The Permanent Wave has become safe. Borax and
great heat have been done away with. Permanent Waving
has also become perfectly comfortable. But what is
even more important — it now leaves the hair
as it was before, except to impart to it the
coveted natural curliness.
All this has been brought about by
the discovery of a new hair-soften-
ing substance, gentler and more
effective than the great heat
and borax vapors, employed
for permanent waving until
now. The newly-discovered
waving composition is
called LANOIL iNo. 10.
It is germicidal and non-
poisonous. It acts on
human hair as gently as
water acts on paper. It
just softens it, without
attacking the structure
in any way. It requires
so little heat that some
people simply won't believe
that it can produce the re-
sults desired.
ACTUAL HEATING TIME
FOR THE LANOIL WAVE
IS ONLY FOUR MINUTES
It is only when you explain to lay
minds that a stone-hard piece of chalk
can be immediately softened by a few
drops of oil, without any heat at all,
and can be made hard again without
any heat whatever, that you can con-
vince them of the possibilities of
LANOIL. Chemists marvel at it. Ladies who have had the
new LANOIL Wave are full of praise for it. Mothers take
confidence again, and bring their children. New York has
had more than twice the number of permanent LANOIL
Waves this summer as it had any previous year. Men
especially seem to take a fancy to the LANOIL Wave. Not
for themselves, to be sure, but they like its soft, rich appear-
ance on their women folks.
REFUSE IMITATIONS IN THE FORM OF
SO-CALLED "OIL-WAVES"
No sooner had Mr. Nestle announced the discovery of the
LANOIL Process than the usual host of imitators immedi-
ately announced "Oil-waves" or waves by their various
"Oil Methods."
Human hair cannot be waved by oil. Oil would first fry,
and then burn the hair to cinders, before it could wave, not
only because the heat of oil has no limit other than
the heater applied (which is much too hot
for human hair) but also because oil does
not even soften the hair for this pur-
pose. To arrive at the composition
of LANOIL No. 10, large amounts
of money and severr.l years'
experimental work were given
to this vast subject, and this,
not by a young beginner,
but by the same man who
discovered the original
permanent waving prin-
ciple, seventeen years
ago.
BUT WHY LANOIL
IF NOT AN OIL?
Because LANOIL means
a whole process of perma-
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principle. It means a series
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WHERE THE LANOIL WAVE
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The best reproduction of naturally
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—Waved by the LANOIL process
Most hairdressers who have the welfare of their patrons' hair
at heart, and who are sufficiently acquainted with the new
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cess in their establishments, and over 250 hairdressers in the
United States alone have actually done so.
We will send you a list of those in your vicinity, on
request.
If you find none in your neighborhood, or within reaching
distance, write for particulars of the Nestle LANOIL Wave
Home Outfit, price $15, which contains everything for a
home-wave.
Nestle LANOIL Co., Ltd., Dept. T, 12 and 14 East 49th
Street, New York City.
[193]
IMPORTANT!
Theatre Managers need not delay
Fall openings of new theatres for
lack of proper seating if they will
take advantage of our large capao
ity and place their orders now,
No theatre opening has ever been
delayed through lack of prompt
action on our part.
To managers who are redecorat-
ing and refurnishing established
theatres, we suggest consideration
of new chairs in keeping with
other improvements. Upholster-
ed chairs can be manufactured by
us while house is being decorated
or new drapes made.
We have the organization and
facilities to handle a large volume
in a limited time without impair-
ing our standard of high quality.
Prices at pre-war levels
NEW YORK
117 W. 40th Street
BOSTON
79-D Canal Street
CHICAGO
18 E Jackson Blvd.
PHILADELPHIA
707-250 S. Broad Street
CHAUTAUQUA SYSTEM TO BRING
DRAMA INTO PROVINCES
PERHAPS one of the most unique
opportunities for known and un-
known dramatists to present to an
audience not satiated by theatre-going
is being made possible by the Swarth-
more Chautauqua Association, of
Swarthmore, Pa.
This group aims to reverse the
method now prevalent of sending the
Broadway success to "Main Street."
Their intention is to present to the
people of the small cities and towns
the best work of American play-
wrights without first running the
gauntlet of the commercial stage.
The combined Chautauqua forces of
the country have invited the play-
wrights and authors of the United
States to participate in a prize com-
petition for the best comedy of Ameri-
can life. A board to select the win-
ning piece has been named, consisting
of:
WINTHROP AMES, New York theatrical
director.
GEORGE P. BAKER, Professor of English
and Dean of the School of Dramatic
Art, at Harvard University.
THEODOXE BALLOU HINCKLEY, Chicago
editor of The Drama, official organ
of the Dramatic League of America.
CHARLES F. HO*NER, of Kansas City,
Mo., director of the Redpath-Horner
Chautauquas.
SAM HUME, of the University of Cali-
fornia, Berkley, Cal., director of the
Greek Theatre and of the Theatre
Guild of San Francisco.
PAUL M. PEARSON, Swarthmore, Pa.,
President of the International Ly-
ceum-Chautauqua Association.
GREGORY ZILBOORG, the Russian dra-
matist, and translator of "He Who
Gets Slapped."
The Chautauqua leaders ask for
typical American comedy, not to ex-
ceed more than two hours playing
time, and provide for not more than
ten characters. One-act plays may be
submitted and accepted on a basis
that may be mutually agreed upon.
The intention is to produce these prize
plays as star attractions on Chau-
tauqua circuits throughout the country
in 1923. The competition closes Dec.
1, 1922.
Fifty-one million admissions to
Chautauqua were paid during 1921,
representing, it is estimated, 10,000,000
individual attendants. 9,000 towns
and cities in the United States have
regular Chautauqua seasons. In
former years the Chautauqua programs
consisted chiefly of lectures and
musical talent features, but this sum-
mer there are more than forty thea-
trical companies on Chautauqua cir-
cuits offering to people in smaller
communities plays hitherto played only
in the largest cities. Some of the
well-known pieces at present appear-
ing on Chautauqua programs are:
"Turn to the Right," "Friendly
Enemies," "It Pays to Advertise,"
"Polly of the Circus," and "Nothing
But the Truth."
Mr. Paul M. Pearson, of Swarth-
more, Pa., to whom manuscripts and
correspondence concerned with the
Chautauqua competition are to be ad-
dressed, says:
"We start with the general proposi-
tion that Chautauqua is important
enough to have drama of its own, be-
cause of the peculiarly distinctive
place it has achieved in the scheme
of American daily life. Chautauqua
constituents are largely of a church-
going element. The drama originated
with the church. Until the time of the
puritan revolution it was dominated
by the church. Thence forward it be-
came a commercial institution. Ours
is an endeavor to get the drama back
to its pristine uses, possibilities and
power. We think Chautauqua, with
its direct contact with the plain peo-
ple, is the natural — indeed the only
medium for effecting that purpose."
The author of each play approved
by the Drama Board will receive $300.
The $300 is to cover the privilege of
rehearsing the play. Adapted plays
will not be accepted. Manuscripts
submitted must be the absolute prop-
erty of the author and not subject to
any coypright or other claim by an-
other party. The author will receive
a five per cent, royalty. It is guar-
anteed that the royalty will not be
less than $3,000. The play remains
the property of the author, but may
not be produced elsewhere than on
Chautauqua circuits until August, 1924.
NEW BRUNSWICK RECORDS
The limpid purity of Irene Williams'
charming soprano is admirably suited
to I.andon Ronald's song, "Down In
The Forest," which Miss Williams
has sung for the September Bruns-
wick List.
"My Wild Irish Rose," the Chauncey
Olcott favorite, takes on a new depth
of meaning as played with the ex-
quisite tone color of Fredric Fradkin.
the violinist who is now Concert
Master of the Capitol Theatre Or-
chestra and a frequent soloist.
One of these luscious summer nis-'"S
and a dance 'neath the moon to the
bewitched rhythms of the "Barcarolle"
from "Hoffman!" A Fox Trot no less,
jazzed by Bennie Krueger's Bruns-
wick Syncopators with a weird counter
melody on the seductive saxophone
played by the inimitable Bennie him-
self.
Gene Rodemich's Orchestra plays
" 'Neath The South Sea Moon," Fox
Trot introducing "My Rambler Rose"
from the "Ziegfeld Follies of 1922,"
with "It's Up To You" (J'en Ai
\farre!), the new Maurice Yvain hit,
on the reverse.
[194]
THEATRE MAGAZINE, SEPTEMBER, 19
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Vanitine is purely a toilet article.
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[195]
IN the appealing beauty of the exquisitely designed
Whiting & Davis Mesh Bag which Miss fiolet
firming displays so attractively, may be glimpsed a
reason for the favor which these bags have found
with feminine stars of stage and screen. An ap-
proval which has had much to do with winning for
Whiting & Davis Mesh Bags acceptance by well
dressed women everywhere. The mesh bag is correct.'
Your assurance of quality is guaranteed by
thr Whiting &• Davis trade mark and tag
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SOAP
By ANNE ARCHBALD
IF you want a novel touch for a tea party, here's a suggestion! It concerns
the tea itself, which it seems to us is, as a rule, the most neglected part of
the party . . the stepchild . . the "Hamlet left out."
The suggestion came by way of Belle Bennett. A nice name, isn't it?
And two other words beginning with a "b" belong in the combination,
"beauteous" and "blonde." Miss Bennett has been beautifully obliging this
spring and summer also. She has stayed in town and substituted for two stars
who wanted to dash to Europe. First for Hazel Dawn in "The Demi-Virgin"
and then for Margaret Lawrence in "Lawful Larceny." Now she is going to
appear in her "own private" play under the Woods management.
Being in town, Miss Bennett gave a "small and early" tea for a few of us
one afternoon at her apartment. We're not going into the details of the
latter — sufficient to say it was expectedly charming and cool with chintzes and
Mowers, an entirely harmonious background for blonde graciou«ness — be-ause
we wish to concentrate on the tea. Everyone was concentrating on the tea that
afternoon. It was a golden amber color and the flavor was the most delicious
and unusual imaginable. You noticed it at once. . It seemed particularly
vivifying, too. There was iced tea for those who wished it. And hot tea with
lemon or cream for those who preferred it that way. But the chorus of praise
was universal.
"Isn't this wonderful tea!" "Did you ever in your life taste such delicious
tea!" And finally from someone, "Belle dear, do tell us where you got your
tea. Is it the tea itself, or the way it's made? It's marvellous!"
Miss Bennett laughed and said, "You may well say so. I don't want to
boast . . though I suppose I may, after all, since it was a present . . but it's
the most expensive tea grown. Not because I say so . . but it really is. .
The Minister of Agriculture has given it his guarantee for quality, and so has
the Chinese Government . . with a written endorsement. For centuries this
tea has been reserved for the wealthy and noble families of China, and now
for the first time anyone who has the price may have it."
"And the name?" we asked.
"Ming Cha." said Miss Bennett. "I was nearly forgetting. 'Ming' denotes
superlative in Chinese, so 'Ming Cha' means 'superlative tea.' "
It was . . undoubtedly . . and very much something to know about.
A new smart foliling chair of
bent wood, stable and comfortable,
that folds up into the smallest
possible space
Miss Bennett had another novelty in her apartment that interested us . .
a new kind of folding chair. . At the end of the afternoon she made ready to
depart for the theatre and we to go with her. But four of the guests stayed,
discussing the prospect of a game of bridge . . and Miss Bennett suggested
why not make use of the apartment. Then she called the maid to bring a card
table, and these smart little folding chairs . . of bent wood. They were com-
fortable and perfectly stead} . . not a bit wobbly . . and yet so flat when
folded up that six of them could be stacked away in the closet or a corner in
about eight inches of space. Very much something to know about also. .
(Because of the limited quantity of Ming Cha. its sale has been restricted to
only very high-grade shops. For the names of these shops, and that of the new
folding chair, write The Vanity Box, The Theatre Magazine, 6 East 39th
Street, New York.)
[196]
THEATRE MAGAZINE, SEPTEMBER, 7922
mining
Viola Dana, Beautiful Metro Star
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The Tang of Forest Pines
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/* •'OU, as a reader, are best qualified to introduce The Theatre
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ciation of your doing so, we are offering to Theatre Magazine readers
this unique smokers' stand, valued at $10.00. Secure from three of
your acquaintances, a year's subscription and collect $4.00 from each,
forwarding to us the orders and money with the address to which you
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THE THEATRE MAGAZIJXE COMPANY
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Description — cast metal, finished In
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[197]
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Phone Loiicacre 1913
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REFERENCES— The best Colleges, Schools.
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Attention !
Theatre Magazine 1922
Title Pages— Vols. 35 and
36 will be ready February,
1923.
"How the elusive perfume of Lablacne
takes me back! Grandmother 'slightly
powdered cheek — Mother's dimpled
chin — and home." 50 years of dainty
custom — three generations have estab-
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FrtHckPlrflmusDtftfl
Community Dramatic Activities
(Continued from page 172)
Community Service, Miss Genevieve
Forsberg had entire charge of the
work of organization.
As an educational and artistic de-
monstration the Towanda Pageant
went far beyond the actual presenta-
tion as the various exhibits in the
local store windows of historic gar-
ments, utensils, and old agricultural
implements created a vast amount of
interest and discussion, the looking up
of historic records, books and places
usually forgotten in the rush of the
present day. The daily articles in
Towanda's newspaper also served to
arouse widespread interest and en-
thusiasm thru Bradford County and
on the Pageant Day, helped bring in
the crowds. The pageant written and
prepared in two weeks, by Mrs.
Hanley, was a historic review of
Towanda. Commencing with the
early Indian life, the first purchase
of Towanda land, it passes on thru
the Promotion or Pioneer stage to
early settlement period and the de-
velopment period, closing with the
March of Progress. The prologue
was given by Hon. A. C. Fanning.
Said Elizabeth Hanley: "The entire
pageant was a demonstration of what
a community can do for itself with
very simple organization, slight effort
and little direction. It was an ex-
hibition in all lines of the talent,
facilities and abilities of the Towan-
da people. It was an example of the
force co-operation can be in commu-
nity events."
Elizabeth H. Hanley has been work-
ing as dramatic leader throughout a
number of Pennsylvania communities
during the past season. In Georgia,
the Carolinas, New York, and many
other sections of the United States,
Mrs. Hanley has done effective work.
She is a Southern woman, a graduate
of St. Vincent's Academy of Savan-
nah, Ga. She has supplemented her
school and college work by special
post-graduate courses in New York,
London and Paris with celebrated
teachers of drama and stagecraft.
Mrs. Hanley has written a number of
stories, plays, pageants and special
holiday celebrations, many of which
are circulating today through Com-
munity Service in all parts of the
country.
/^AN anyone keep up with the Little
Theatre movement? According
to Susan Stubbs Glover, "The growth
of the Little Theatre movement has
been so rapid within the past several
years and so active this season that
in addition to its artistic value a
theatrical commercial field has de-
veloped in the form of special Little
Theatre departments in scenic studios
both here and Chicago. There are
between 300 and 400 Little Theatre
groups, with New York having 50
or more and Chicago nearly as many.
So widespread is the movement that
it parallels the stock field in the pos-
sibilities of developing professional
players of a better grade. In that
the movement is probably more im-
portant professionally than the busi-
ness opportunity."
For the past three or four years
Mrs. Glover, who is an Alabama girl,
was connected with the Drama
League work in its extension of Little
Theatre projects in many sections of
the United States. This season she
is making her headquarters in New
York where she is in charge of the
Little Theatre work of a well-known
scenic studio, supplying directors
when there is a call, properties, stage
sets and sometimes players. Mrs.
Glover has evolved a stage set adapt-
ed after a set designed by Gordon
Craig. This is made along classic
lines, constructed of folding screens
which are collapsible and easy to
shift. It is easily lighted and so
planned that additions can be readily
built to it. E. H. Sothern used the
same type of setting last season.
Though effective, its simplicity per-
mits the transportation of settings for
the entire Sothern and Marlowe re-
pertory in about half the space neces-
sary heretofore. Mrs. Glover's set
is, of course, adapted for the Little
Theatre in such places where neither
time nor opportunity has been given
the amateur players to create their
own sets.
rpHE Harris Randall Drama Camp
at Columbia Lake, Columbia,
Conn., was opened this summer by
May Pashley Harris, whose work in
Community Service dramatics is so
well known, and by Grace E. Randall.
This Drama Institute in summer
camp, especially for amateurs and for
directors of Drama proved all the
pleasure of a season out-of-doors —
boating, bathing and fishing — with
intensive workshop training in prin-
ciples and methods of play producing
adapted to the needs of the amateur
stage.
Charles
oftheRTTZ
International Beauty Specialist
Makes public one of his beauty secrets
in the form of a snow-white cream,
which immediately and harmlessly
CHECKS PERSPIRATION
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PRESS CLIPPINGS
HENRY ROMEIKE, INC.
106 Seventh Ave. New York
PHONE CHELSEA 8860
Tell Your Boy About
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Address
THE SCOTT F. REDFIELD Co., INC.,
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When You
Plan
a trip to New York, write or
telephone for suggestions and
advice concerning plays and
concerts, and where the best
seats may be secured — unusual
places to dine and dance — the
smart beauty shops where you
may be transformed and re-
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shops where the choicest blooms
and sweets may be found. All
these and many more useful bits
of information will be added
unto you
if you consult
The'Tlay Guide"
[200]
RIVERSIDE PRESS. NEW YORK
OCTOBER 1922
MAGAZINE
TITLE REG U.S PAT.OFF.
In this issue
COFYRIGHT 1922 BY THI THEATRE MAGAZINE CO. TRADE MARK REG. U. S. fAT. OFF.
r
C^tiss Helen Henderson
in " Sally "
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Every woman is justified, if indeed not
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Why shouldn't they be "The World's SMost beautiful Silks?"
i
H. R. MALLINSON & COMPANY, Inc.
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Theatre Magaime
October, 1922
THEATBE MAGAZINE 13 published on the fifteenth of each month by Theatre Magazine Company, 6 East
39th Street, New York. SUBSCRIPTIONS $4.00 a year irt 'advance. Yearly Indexes 25c. Entered
as second-class matter August 3, 1917, at the Post Office, N. Y., under the act of March 8, 1879.
Vol. No. 36, No. 4
Whole No. 25»
pervading the World of Fashion as
well a§ the World of Natare, imparts
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belong to no other season of 1lh<iL year
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F2021
THEATRE MAGAZINE, OCTOHtA," JMf
The
Charming Caprices
of Youth
HE advanced, early
Winter "House of
Youth" creations
are now presented.
Of a luxury, a
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smartness,
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Exquisite creations, exquisite-
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See the three "House of
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THE HOUSE OF YOUTH
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SUCCESS IN DRESS — The House
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copy at the Store representing us
in your town. If unobtainable,
please write to us.
This label identifies
"House of Youth'' -Fashion*
[203]
B. F. Keith'*
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Those who love distinction
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Clip this coupon and return
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withjwir compliments.
Address:
The "Play Guide, "
Theatre Magazine
6 East 39th St., New York
Theatre Magazine's
"Play Guide"
The Play Guide of Theatre Magazine, is a
guide for young and for old, to America's
greatest amusement center, New York City.
Lest you lose yourself in the maze of good,
bad and indifferent in this vast playground
the Theatre Magazine offers you the clue of
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iiiiiiiiiiimiiiiiiiiiiimiiiiiiiiiimiimimiiiiiiii
Plays That Continue on Broadway
As We Go to Press
Drama
Cat and the Canary, The
Goldfish, The
Hairy Ape, The
He Who Gets Slapped
Truth About Blayds, The
Daffydill
Gingham Girl, The
Fools Errant
I Will If You Will
It's a Bey!
Comedy
Ahe's Irish Rose
Captain Applejack
Chanve Souris
Dover Road, The
Kempy
Kiki
Partners Again
New Plays
Lights Out
Manhattan
Monster, The
Old Soak
[204]
Musical
Music Box Revue,
Spice of 1922
Ziegfeld Follies of 1922
The
Serpent's Tooth, The
Shore Leave
So, This Is London!
George White's Scandals
Whispering Wires
Woman Who Laughed, The
SAM H. HARRIS THEATRE
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IT'S A BOY
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IN
"CAPTAIN APPLEJACK"
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Mali. Wed. and Sal. Night, 8. 1 5. Mai. 2, 1 5
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Devised and Staged by
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Have You Taken Advantage
of the Play Guide Service ?
IT IS YOURS FOR THE
ASKING.
Just clip the coupon at the lower
left hand corner of this page,
and a comprehensive guide to
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our compliments.
Where to Dine
THEATRE MAGAZIHE, OCTOBER, U
Les Parfums
de
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aris
PARIS • L'ORIGAN - CIIYPRE
AMBREANTiaUE - STYX
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GORHAM
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of Gotham comes naturally
to mind as the accepted high
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In thinking of prices, however,
do not make the mistake of
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THE GORHAM COMPANY
FIFTH AVENUE AT 36th STREET
NEW YORK
[206]
VOL. XXXVI. No. 259
THEATRE MAGAZINE
OCTOBER, 1972
CONTENTS FOR OCTOBER, 1922
Josephine McLean, a portrait iuj
Beatrice Beckley, a portrait 209
An Open Letter to Augustus Thomas, editorial 210
Alia Nazimova as Salome 211
George Bernard Shaw, a portrait 212
An Interview with Shaw Carlton Miles 213
Dance of the Dawn 214
Europe's Premier Playhouse, an article Oliver M. Sayler 215
Pictures of the Moscow Art Theatre 216-217
Pelleas and Melisande, a poem Leolyn Louise Everett 218
Carlotta Monterey, a portrait 219
Are the Theatre's Troubles to End? Helen Ten Broeck 220
Maria Cambarelli, a portrait 221
A Page of Profiles 222
Going Broke for Art's Sake Morris Gett 223
Sacha Guitry, a portrait 224
Mr. Hornblow Goes to the Play 225
"Shore Leave" in pictures 226
"The Monster" in pictures 227
He Who Also Gels Slapped 229
Kempy ]. C. Nugent and Elliott Nugent 230
Marjorie Rambeau, a biographical page 231
Bobby Clark, a portrait 233
Martha Lorber, a portrait 235
Adrift in the Roaring Forties Benjamin DeCasseres 236
A Trio of Terpsichoreans 237
Why I Am Wonderful Klanil Johaneson 238
"Scherzo," a study 239
Domesticity in the Film Country 240
May Yokes, an interview Carol Bird 241
Heard on Broadwa'y L'Homm' Qui Sail 242
Two Important New Pictures 243
The Amateur Stage M. E. Kehoe 245
Fashions Anne Archbald 249
/"JTTtf TVTTY'T
Kenneth Macgowan and Robert Edmond Jones have returned from Europe with a quantity of inter-
esting new material <£ They Btart giving it to us in November THEATRE Jt A fine interview
with Bernhardt given recently in her dressing room to Alice Robe <£ "The Mirrors of Stageland" will begin to expose the innermost
character of Broadway's famous figures <£t "A Serpent's Tooth," the latest of the big successes in condensed form Jt The begin-
ning of a new department touching the "high spots" of the operatic world J8 Other features in abundance and the usual superb pictures
Cover Design by Homer Conant
F. E. ALLARDT. Director of Circulation
LOUIS MEYER-,
PAUL MEYER/Pllblitheri
Published monthly by the Theatre Magazine Company, 6 East 39th Street, New York. Henry Stern,
president; Louis Meyer, treasurer; Paul Meyer, secretary. Single copies are thirty-five cents; four
dollars by the year. Foreign countries, add 50c. for mail; Canada, add 50c.
[207]
'!
U
II
GORHAM
- In think ing of Silver the name
DELUCA HUGOKRElSLfcK wr.tvtvniMv^±rA
KUBELIK WHITEH1LL
LASHANSKA WILLIAMS
MARTTNELLI W1THERSPOON
McCORMACK ZANELLI
MELBA ZIMBALIST
MORINI
DESTINN
EAMES
ELMAN
FARRAR
GALLLCURCI
Victor artists are the really great artists of this present
generation. Their names are inseparably associated with
noteworthy musical performances and their number is con-
stantly increasing. Whenever a new artist of exceptional
ability appears, that artist chooses to become identified
with the host of world-famed artists whose masterful
interpretations are so faithfully portrayed on Victrola
instruments and Victor records.
Victrolas $25 to $1500. New Victor Records on sale at
all dealers in Victor products on the 1st of each month.
Victrola
REG US PAT OFF
"HIS MASTER'S VOICE"
Important : Look for these trade-marks. Under the lid. On the label.
"Victor Talking Machine Company, Carnden, New Jersey
[208]
VOL. XXXVI. No. 259
OCTOBER, 1922
Portrait © by Hugh Cecil of London
BEATRICE BECKLEY as Desdemona
The co-star and -wife of James K. Hackett -who, with her husband, has scored a significant
success playing Shakespearean repertory in England and on the Continent.
T209T
THEATRE MAGAZINE
ARTHUR HORNBLOW. Editor
Editorial
An Open Letter to Augustus Thomas
PERMIT us, Mr. Thomas, to express thus publicly our
congratulations both to you and the Producing Managers
Association on your designation by that body as its Exe-
cutive Chairman and Arbiter of the theatre's troubles. That
such an overseer is necessary has been manifest for some time.
That it is yourself who has been nominated for the office is
excellent good fortune for the stage and happy augury of a
successful outcome for the purposes of the appointment.
i
For over twenty-one years THEATRE MAGAZINE has been
the sole living chronicle of the American theatre. Its volumes
are a handsome, dignified andj..ust record, with a present actual
monthly circulation of over sixty thousand and over one hun-
dred thousand readers, of the theatre's development and achieve-
ments. There is no progress or occurrence of importance in the
world of the stage that we do not report. But we venture
to say that nowhere in those volumes is mentioned a more
portentous and meaningful step in the growth of the theatre
as a power or a more significant reminder that the day of the
mummer is forever dead and a great artistic organization come
to take his place, than the fact of your appointment as recounted
elsewhere in this issue of the magazine.
We are not so far from the time when the actor
was half-scamp, half-itinerant in the eyes of society. It was
a rare Thespian, indeed, the magnitude of whose gifts could
bring him position and respect. The heritage of that repute
lingers faintly and decreasingly to this day. The very play-
house he worked in was a mushroom institution, a house of
cards.
His living world was a world apart. There were no courts
for him and but little justice. He was endlessly and helplessly
victim of the unscrupulous and deceitful, both in his profession
and out of it. Rarely had he a vote. In fairness, let it be said
that the situation as it existed was by no mean ascribable en-
tirely to the prejudices of society. It was ascribable, in large
part, to the incorrigibly happy-go-lucky character of player, folk
and to the weakness of their standing not within the solid walls
of a protecting organization but as socially and economically
ragged individuals. That day has changed. Actors of intel-
ligence and initiative and and enormous personal courage have
within less than a decade brought the actor's position to one of
dignity and strength. In union he has found his own. And in
that union there is no right under his citizenship and no moral
or ethical or commercial consideration that he cannot and will
not insist upon and receive.
IT goes without saying that in the first flush of any sense of
new power, caution and reservation cannot be looked for. In
the very effort to establish more firmly a recently acquired
force, it is natural enough to emphasize its capacities. Given
a stout stick for the first time a child will wield it generously
until curbed. The "closed shop" is one of those exaggerated
demands, emanating from the Actors Equity, based more on an
excess of zeal than on the actual necessities of the situation.
We do not believe the policy need endure or will endure.
Actually, it has the potentiality of doing more harm to the
actor and his art than of doing good to the organization that
sponsors it. Another inadvisability is continued association
with the American Federation of Labor, a mighty union, but
one for labor and not for the artist. But, at least, it is wholly
possible to comprehend and sympathize with the idealistic and
enthusiastic motives which first propelled such policies into
being.
None better than you, Mr. Thomas, to understand these and
the other matters that are giving managers ample cause to
scratch their heads. Long before you became the acknowledged
dean among our playwrights you were yourself an actor and
before that a union workman. You know the field of the
theatre as do few other men. On whatever side you may be,
you are qualified to sympathize and deal understandingly with
the other side's point of view. Therein lies the supreme quality
of a great arbitrator. It will cause you to be received with
tolerance and generosity by the actors and other organized
workers of the stage who have long respected your work and
your word. Complete and swift adjustment of the major the-
atrical difficulties can come out of your wise counsel and we
believe we voice the attitude of practically every man and wo-
man in the theatre today in welcoming you to the post you have
assumed and wishing you in it the success which you, more than
any other man we know, can reasonably be expected to achieve.
YOU are typically cautious in your predictions, made else-
where in this issue. In addition to your work with the actor
and theatre workers, you have inter-managerial disputes to
settle, and all-important matters that have to do with the
theatre in its relation to the public. Broadway has emerged
from a desperately bad season. It is on the verge of a new
season, in which pioneer work of a sort must be done to regain
the affection, interest and patronage seriously alienated by the
perilous combination of bad times, a high tide of indifferent
plays, and the movies. Times are to be better. There is a
marked lull in interest in pictures, especially in large commu-
nities, because of the so frequently banal products being released.
It is the psychological moment for a big effort to get back the
lost theatre fan and rewin the failing patronage of the one who
is not yet quite lost. Fewer plays, cleaner plays, more carefully
produced plays, tickets at reasonable prices based on what is
given for the money, the abolition of excessive taxation by ticket
speculators will produce that result just as surely as the Ameri-
can theatre can be the greatest in the world today. May they
listen to you, those managers who have placed you at the helm !
It will mean money in their pockets and fat years to come. It
will mean a fine theatre and out of that a finer native drama.
Here's to you, Mr. Thomas. THEATRE MAGAZINE wishes you
good luck and God speed !
[210] -
THEATRE MAGAZINE. OCTOBER. 192*
Europe's Premier Playhouse in the Offing
The Noted Moscow Art Theatre and Its Plans for an American Tour
By OLIVER M. SAYLER
of the dissatisfaction with the doldrums
into which the Russian stage had fallen in
WHEN the Moscow Art Theatre
comes to New York for a brief
engagement of three months, be-
ginning early in January, as planned,* we
will be afforded an opportunity to formu-
late an esthetic judgment of the first order.
The company, which is a co-operative group
and permits no mere business manager to
decide its policy, is now considering an
American offer back in Moscow. If the de-
cision is favorable, we shall be asked on our
own responsibility to appreciate and accept
Europe's premier playhouse without de-
pendance on the rubber-seal approval of
Paris or London.
The coming of the Moscow Art Theatre
would be an event of major .moment even
if, like BaliefFs Chauve-Souris, it were to
proceed hither on the heels of triumphant
dalliance in the French and British capitals.
Wearing its quarter century of richly
varied endeavor
like a patriarch, ••••^•H
it still possesses a [ m^H^HH^^H
spirit so youthful
and so eager and
so vigorous that
it retains the
leadership of the
modern Russian
stage against the
inroads of the
most novel and
radical of the in-
novators. And al-
though it has sel-
dom ventured
farther afield
than Petrograd,
its reputation has
become interna-
tional, universal.
Stopovers O n Hornstein of Moscow
the Seine and the
Thames, therefore, could only delay and
not dim the satisfaction of our expectancy.
"Balieff, for example, used his European
reputation merely as a convenient lighter-
age to a Broadway haven, and then pro-
ceeded to build an American vogue as dis-
tinctive of our continent in character as it
has been in size. It might have been like-
wise with the Moscow Art Theatre if it
had elected such a leisurely itinerary.
THE BIRTH OF A PLAYHOUSE
INSTEAD, if the arrangements are
ratified, the entire first line of the com-
pany will embark on two specially char-
tered ships at Riga about the middle of
"December, attended by the complete origi-
nal scenic equipment of the productions to
be included in the New York repertory,
.and it will proceed without a stop through
the Baltic, the Channel and across the
Atlantic. And thereby hangs the tale of
-our opportunity and our responsibility.
The Moscow Art Theatre was born out
•As we go to press announcement is definitely made by Morris Gest that he is
fcringing the Moscow Art Theatre to New York in January, for a season of repertory.
[215]
sured them that both of them would still
be in active control of its destinies on excur-
the final decade of the nineteenth century, sion to the opposite side of the earth, they
The Russian stage was not alone in its would probably have dismissed him as an
decrepitude. All Europe suffered from the erratic busybody.
same malady. And all Europe seemed to The wheels began to turn at once in the
find voice for its discontent almost simul- development of the project in the same
taneously: through Gordon Craig in Eng- patient, painstaking manner which has
land, Adolph Appia in Switzerland and characterized every step of their quarter-
century existence. A year and
a summer passed with rehearsals
of the first season's repertory.
The theatre opened in the
autumn of 1898 with Count
Alexei Tolstoy's historical trag-
edy, "Tsar Fyodor Ivanovitch,"
a gorgeous and profoundly
moving spectacle which has
been securely retained in the
repertory ever since. The suc-
ceeding productions of plays by
Hauptmann, Pisemsky, Shakes-
peare and Goldoni failed to re-
peat the success of the opening
bill, but fortune turned favor-
able once more with the dis-
closure of Anton Tchekoff's
"The Sea Gull." Although a
failure previously in Petrograd,
this play scored such an em-
phatic triumph at the hands of
this new group that its title be-
came popularly associated with
the theatre and gave it the
insignia of a gull skimming the
water which it uses to this day.
The discovery of Tchekoff
by the Art Theatre and of the
Art Theatre by Tchekoff was
one of those happy co-ordina-
tions which happen once in an
artistic generation to renew
human hope in idealistic en-
deavor. Which of the two —
playwright or playhouse — owes the more to
the other, has always been a moot question
in Moscow. The association once begun
continued for six years or until the play-
wright's death. Under it, three other plays
of the first magnitude were written and
produced— "Uncle Vanya," "The Three
Sisters" and "The Cherry Orchard." Cer-
tainly the latter two owe their birth in
dramatic instead of narrative form to the
encouragement which Tchekoff obtained
through the success of the first two plays
of the quartette.
THE GROWTH OF A REPERTOIRE
CONSTANTIN STANISLAVSKY
Illustrious as being one of the founders,
the directing genius, and the principal
artist of the Moscow Art Theatre. There
is no more interesting figure in things
dramatic in the world today. At the left,
Stanislavsky is seen as Count Liubin in
Turgenieff's "A Lady From the Provinces"
(A notable collection of Moscow Art Thea-
tre pictures will be found on the follow-
ing pages)
Max Reinhardt in Berlin. The Russian
counterparts of these artistic protestants,
working independently of them but actu-
ated by the same causes, were the amateur
actor, Constantin Stanislavsky, and the
playwright, teacher of acting and business
man, Vladimir Nemirovitch-Dantchenko.
The eighteen-hour session at a Moscow
cafe table in June, 1897, between these
two esthetic rebels has become as firm a
foundation stone in the traditional history
of the Moscow Art Theatre as the legend
of the cherry tree in the biography of our
first president. Out of that session was
evolved the plan for the theatre, a co-
operative enterprise with an ambitious goal,
but it is doubtful whether in their wildest
TN serving as spiritual underwriter to
-*- Tchekoff, the Moscow Art Theatre had
dreams either of them foresaw the heights performed a function comparable only to
to which their project would reach or the the Irish Players sponsorship of Synge.
influence which it would exert over the
whole course of the modern Russian theatre
and even the theatre of the world at large.
In its fifth season, it extended a similar
helping hand to Maxim Gorky by the pro-
duction of his "Smug Citizens" and "The
If anyone had painted a picture of their Lower Depths," better known to us through
infant twenty-five years after and had as- its German title, "Nachtasyl" or "Night
VASSILY KATCHALOFF
Principal actor of the Moscow Art Theatre after Stanislavsky am)
famous as the greatest of the Russian Hamlets. At the right.
Katchaloff is seen in his remarkable portrayal of the renegade
Baron in Gorky's "Lower Depths"
OLGA KNIPPER
(Upper right) Leading actress of the company and
widow of the playwright Tchekoff. Seen here as the
Queen in Count Alexei Tolstoy's "Tsar Fyodor
Ivanovitch"
IVAN BERSENIEFF
The young "leading man" of the Art Theatre, noted
for his portrayal of romantic juvenile roles
The simple yet rich setting of the palace in Act II of Count Alexei Tolstoy's
"Tsar Fyodor Ivanovitch"
( Below) The abject squalor of the lodging in Gorky's "Lower Depths," seen
recently in this country as "Night Lodging"
NIKOLAI MASSALITINOFF
Highly popular low comedian of the company. Seen at the right as the comic
Lieutenant in Saltnikoff'i "The Death of Pazuhin"
MARIA
One of the most interesting actresses of the younger
the highly dramatic role of the daughter in
SOME PERSONALITIES AND PRODUCTIONS
The Internationally Famous Stanislavsky Art Theatre of Moscow May Soon
[216]
THEATRE MAGAZINE, OCTOBER, 1922
The admirable stage grouping — typical of all Stanislavsky productions — in Acl III
of Andreyev's powerful drama, "Anathema"
( Below) The company is blessed with small part players who are artists — an
immensely real scene in Gogol's "Inspector General"
VLADIMIR GRIBUNIN
The company's foremost player of character parts, as himself
and in character. These and other portrait! in this group
illustrate strikingly the Russian's genius for make-up and the
sincerity that attends bis assuming another personality
MARIA ZHDANOVA
(Upper left) One of the outiUnding young •aoticul
actresses and graduate of the "studio" system of training
— which gives the Russian actor a splendid apprenticeship
OLGA BAKLANOVA
Whose rare beauty contributes much to her in'erpre-
tation of what we know as "ingenue" roles
GERMANOVA
generation — at the ripht as herself — at the left in
Griboyedoff's "The Sorrows of the Spirit"
IVAN MOSKVIN
The leading high comedian of the Russian stage. Seen at the left in Ostrovsky'g
play "Enough Stupidity in Every Wise Man"
OF RUSSIA'S MOST NOTED PLAYHOUSE
Follow Its Gayer Confrere the Chauve-Souris to the Boards of Broadway
[217]
Lodging." As the repertory developed,
year by year, Andreieff, too, found encour-
agement by the production of "The Life of
Man," "Anathema," "Yekaterina Ivan-
ovna" and "Thought."
Meanwhile, the Russian classics were
searched and their treasures restored to con-
temporary view with the revival of such
plays as Gogol's "Revizor" or "The In-
spector General," Pushkin's "Boris God-
unoff," GriboyedofFs "The Sorrows of the
Spirit," Ostrovsky's "The Snow Maiden"
and "Enough Stupidity in Every Wise
Man," Count Lyof Tolstoy's "The Living
Corpse" ("Redemption"), and dramatiza-
tions of Dostoievsky's novels, "The Broth-
ers Karamazoff," "Nikolai Stavrogin"
("The Possessed"), and "The Village
Stepantchikovo" ("The Friend of the
Family").
Other dramatic literatures were not for-
gotten, either. Almost the entire acting
canon of Ibsen found its way to this stage.
Three plays of Knut Hamsun were honored
by production. Shakespeare was repre-
sented more than once — most notably by
"Hamlet" with the collaboration of Gor-
don Craig, who lived an entire winter in
Moscow in its preparation. Moliere and
Goldoni had their innings. And not the
least important foray into foreign fields
was the production of Maeterlinck's "The
Blue Bird" a full two years before even
Paris saw it.
Coincident with the expansion of the
repertory, Stanislavsky and Nemirovitch-
Dantchenko set about to recruit a company
with a fresh and unstilted viewpoint. From
among his amateur associates of the Mos-
cow Literary and Artistic Circle, Stanis-
lavsky brought his wife, Mme. Lilina;
Vassily Luzhsky, a character actor of broad
range; and Alexander Artyom, amazingly
deft delineator of the roles of wizened old
men. From his pupils at his school of
acting, Nemirovitch-Dantchenko brought
Mme. Knipper, later to become the wife of
Tchekoff; Ivan Moskvin, today Russia's
leading high comedian; and V. Meyerhold,
now one of the Moscow Art Theatre's
leading rivals among Russian producers
with headquarters usually in Petrograd.
Little by little the company grew. Its
almost instantaneous success gave its direc-
tors first call on the services of budding
genius wherever it cropped up. By a con-
tagious alchemy of the spirit, which has
baffled the descriptive powers of all Rus-
sian critics, Stanislavsky implanted in his
associates an inner vision of plays and roles
and a general method of spiritual and psy-
chological as well as superficially realistic
interpretation which distinguished the thea-
tre's productions from all others.
DEVELOPMENTS OF THE EXPERIMENT
IT is not within the province of a brief
article to analize closely the esthetic
theories which have held sway at one time
and another on the stage of the Moscow
Art Theatre. The perfection of the exist-
ing realism of the 'nineties was the first
goal — the achievement of such an accurate
and convincing copy of life that it would
seem to be life itself. Mere correction of
existing faults soon grew into a search for
the particular and absolutely essential de-
tails which were necessary for conveying
this semblance of life. A third step in-
volved experiments with symbolic interpre-
tation of life and a fourth the richer
embodiment of these symbolic methods by
means of significant realistic detail — or, if
you prefer it the other way round, the
spiritual emphasis on the psychological
backgrounds of realistic representation.
The result, therefore, has been a constant
growth toward perfection in the interpreta-
tion of the plays in its repertory. Such
plays as "Tsar Fyodor" and Tchekoffs
"The Three Sisters" and "The Cherry
Orchard" are not merely repeated by rote
today as they were originally given in the
early days of the theatre, but with the
fuller experience and skill and insight
which years of patient and courageous ex-
periment have placed at these artist?'
command.
No glimpse of this unique theatrical
organization, however hasty, is complete
without attention to a few of its most
characteristic customs. The same thor-
oughness which was devoted to the prepara-
tion of the first season's repertory has been
applied to every one of the sixty-odd pro-
ductions. Two years, in some instances,
have been accorded to the rehearsals of a
play. A hint of the earnestness with which
these Russians take their profession and of
the ends to which they go to create the
unbroken illusion of life on their stage is
seen in the refusal to admit anyone to the
auditorium after the curtain rises until the
end of the first act and in their taboo on
curtain calls or applause.
The influence of the Moscow Art Thea-
tre on the entire course of the modern
Russian stage is nothing short of phe-
nomenal. The theatres and producers which
have not tried to emulate its methods have
devised their own theories and methods as
a direct protest against those maintained by
the Art Theatre. In Russia you are either
enthusiastically for the Moscow Art Thea-
tre— and these are the vast majority — or
you are bitterly against it. And even if
you oppose it, you are bound to admire and
respect it. On its stage and in its schools
and its four Studio Theatres, nearly every
important personage now active on the
stages of Moscow and Petrograd had his
early training. And not the least of these
is Nikita Balieff — he of the Chauve-Souris
— who in the course of the negotiations be-
tween Morris Gest, who is the probable
American manager of the Moscow Art
Theatre, and the emissary of the Art Thea-
tre this last summer served as sponsor for
each party to the other. It is not too much
to say that if it hadn't been for the round-
faced and round-framed Puck of the
Chauve-Souris, the Moscow Art Theatre
would not now by planning to pack its
bags for its American tournee.
"PELLEAS AND MELISANDE."
Like two wan ghosts of passion, pitiful
In lack of comprehension of the world,
Having forgotten all things save their love,
Impelled by cynic destiny, they walk
Amid the tragic mazes of their lives.
With lips upraised like flowers in the dark,
Hand clasped in hand, they travel to their doom
Like children to their beds. Their hearts are scarred
With wounds of hate they cannot understand
And their short questioning is smothered by
Inexorable Fate. Immortal ones,
Pure lovers, melancholy spirits, we
Have also felt the poisoned mists of life
Rise up to choke us and we call to you
Weeping for what you lost but blessing death,
Inevitable death, for what you gained.
Leolyn Louise Everett
[218]
THEATRE MAGAZINE, OCTOBER, 1921
CARLOTTA MONTEREY
Perhaps the Most Photographed of Actresses Caught
In a Rare and Stirring Study by Count de Strelecki
[219]
Are the Theatre's Troubles to End?
Augustus Thomas, New Grand Arbiter of Broadway's Fate, Pictures Bright Outlook
AT this moment Augustus Thomas
stands the unchallenged prime min-
ister of the American stage. A unan-
imous vote of the Producing Managers'
Association — a body whose membership in-
cludes the Belascos, the Frohmans, the
Klaws, the Dillinghams, the Erlangers, the
Shuberts, the Cohans, Harrises, Broad-
hursts and Tylers of the theatre and such
younger enthusiasts in the field as the Hop-
kinses, the Goldens, the Selwyns, the Pem-
bertons and others — have conferred upon
him the powers and prerogatives of sole
First Consul of the drama.
In Mr. Thomas is vested fullest author-
ity to hear all questions affecting the inter-
woven interests of managers, players and
playwrights — the eternal triangle of the
stage and to render judgment in all differ-
ences. And so far as managers are con-
cerned, there is no appeal from his decisions.
In the midst of this busiest period of the
theatrical year, the season of fall rehearsals
and productions, the most absorbing topic
among theatrical people, the topic that
overshadows all others, is the appointment
of Mr. Thomas to this unique and newly
created office. No man associated with the
theatre has touched life at more points nor
at more widely separated poles than
Augustus Thomas, playwright, law stu-
dent, railroad mechanic (the new overlord
of the theatre holds a pride approaching
haughtiness in his early work on a western
railroad, and his youthful membership in
one of the big bodies of organized labor),
newspaper man, athlete, student of psy-
chology and of life.
His earliest incursion into the field of
honest toil was as a page boy in the capitol
of Washington, where as a particularly
alert and knowing youngster he seems to
have picked up at first hand a fine fund of
information as to the governing bodies of
our country and an uncanny familiarity
with parliamentary procedure that has
stood him in good stead during later years
as a member of the legislative body of the
State of New York and a figure of prom-
inence in the National Committee of the
political party with which he is affiliated.
WELL EQUIPPED FOR TASK
AS a dramatist Mr. Thomas, who has
always "produced" his own plays (in
the sense of directing rehearsals), and has
even acted in several of them, has come
into closer relations than most writers with
the three powers of the stage — actor, man-
ager, and the men who build and paint the
scenery which exploits the dramatist's idea.
Thus he has developed close technical
knowledge and clearly focussed vision of
the other man's point of view that peculiar-
ly fit him for an office requiring a fine
sense of justice, a peculiar talent for getting
things done as he believes they should be
done, an enormous tact in unifying widely
divergent concepts into a harmonious
By HELEN TEN BROECK
whole. All these qualities, plus a generous
and open mind and a robustly vigorous
executive faculty, should prove valuable to
actor and manager alike and co-ordinate
the efforts of producer and player to the
benefit alike of stage and the public. This,
at least, is the conclusion of the men and
women who discuss the new state of things
in places where stage people voice their
rights and their wrongs, their beliefs and
their dissidencies.
"Why did you select Mr. Thomas for
his present position ?" asked Theatre Maga-
zine of Mr. Sam H. Harris, President of
the Producing Managers' Association.
"Because we believed him, after dis-
"One thing that I certainly
do not intend to do is to im-
pose or attempt to impose
upon the managers any ideas
of my own as to the character
of their plays. The theatre
is an institution that lives by
an excess of individualism.
Nothing would be more
sterilizing than a stencil."
— Augustus Thomas
cussing every man who seemed available
for the place, to be the best man for the
place. First of all for his sense of justice,
his love of a square deal for both sides of
any controversy that shows in his plays
and his fearless personal integrity.
"In an association where so many differ-
ent points of view are held and where so
many members have widely varying inter-
ests, we need a man who knows the stage
from A to Z, who has wisdom and breadth
of views sufficient to look over and under
and through all the different angles of
questions involved in our various activities
and see a way of reconciling the manifold
divergent views that every problem of the
theatre presents."
In his big office in the rooms of the Pro-
ducing Managers' Association, the new
First Consul of the theatre welcomed a
chat with Theatre Magazine.
"What do I hope to do in this job?"
he echoed in answer to the obvious first
question. "I wish I could tell you," he
said, "but it would be premature and idle
to say how we hope to do this thing, or
that or the other. Nothing is an accom-
plishment, no matter how clearly planned,
how dearly hoped for and worked for, until
it is accomplished. Then it speaks for it-
self. Problems to be solved ? Of course ;
but the armed and bristling thing that
looms up now as a difficulty may adjust
itself and fall into normal relationship to-
morrow with the thing it seems to chal-
lenge and menace today. So perhaps the
things I want to do in this job are doing
themselves now. And other problems may
be shaping themselves for later solution.
Things are always changing. Nothing is
static. The main thing is to adjust ourself
harmoniously to ever altering conditions.
"Three things," continued Mr. Thomas,
"stand out as claiming special adjustment
in the theatre just now, and to these mat-
ters the Producing Managers' Association
are giving the deepest attention. First, the
evil of ticket speculation — the matter of
faith by the box" office with its public. Laws
to control and check this form of graft
have been enacted by the Legislature.
Managers are charged with the duty of
seeing that these laws are enforced. Many
plans have been tried for remedying the
evil, with many degrees of temporary suc-
cess; but a united carefully wrought out
plan of campaign diligently prosecuted has
not yet been put to the test. Such a cam-
paign will be waged with vigor by the P.
M. A. until the law is respected and fully
enforced.
AGAINST POLITICAL CENSORSHIP
ANOTHER evil, and a very grave one,
that threatens the theatre, is the matter
of z. political censorship of the stage. Against
this official meddling the Producing Man-
agers' Association stands squarely opposed.
We shall unite with the Authors' League
and affiliated associations in prosecuting
vigorously any such censorship. How?
Well, the Authors League has worked out
a plan of jury decision, by which plays de-
serving condemnation will be silenced
promptly. With reputable managers united
to uphold their verdict, theatres will be
unavailable for the exploitation of improper
plays. This will not be a one man or a
one woman jury, but a big well balanced
court of the stage. And let me say, right
here," continued Mr. Thomas earnestly,
"one thing that I certainly do not intend to
do is to impose or attempt to impose upon
the managers any ideas of my own as to the
character of their plays. The theatre is
an institution that lives by an excess of
individualism. Nothing would be more
sterilizing than a stencil.
"A third condition which now con-
fronts the stage at this moment with
a variety of newer aspects, is its relation to
organized labor. Here is a tangle of mis-
understandings to be smoothed away. That
is to say, when a clear understanding is
arrived at in matters just now clouded by
misconception of relationships, it will be
seen that no real antagonisms exist — only
quite adjustable differences as to means of
attaining the same ends. Good sense, good
feeling and a mutual understanding are
wonderful peace makers."
[220]
THEATRE MAGAZINE, OCTOBER, 1921
Portrait by Edwin Bower Hesser
MARIA GAMBARELLI
A captivating young Italian — graduate of the Metropolitan Opera Ballet
and pupil of the greatest Russian and Italian dancing masters — whose
art daily delights the audiences of the immense Capitol Theatre.
[221]
LOU TELLEGEN
Now starring in a condensed "Blind Youth" in the Keith housea
Alfred Cheney Johnston
JOHN BARRYMORE
Soon to star in a new play under the Hopkins banner
Alfred Cheney Johnston
LIONEL BARRYMORE
The star of "The Fountain," Eugene O'Neill's newest play
Raymor
JOSEPH SCHILDKRAUT
To play the title role in "Peer Gynt," a promised production by the Guild
A PAGE OF PROFILES
An Unusual Group of Four of the Handsomest Men on the Stage
[222]
THEATRE MAGAZINE, OCTOBER, 1922
Going Broke for Art's Sake
Adventures in Making and Losing Millions in the Sweet Cause of Beauty
By MORRIS GEST
,-. f°,?,r dr.amat,'c Presentations, any one of vihich trebled the cost of the average production, Morris Gest has sunk a good sited fortune—
The Wanderer, Chu Chin Chow," "Aphrodite," and "Mecca"— theatrical spectacles gargantuan in size, infinite in detail, dazzling in
prismatic coloring, epics of the stage. Incidentally he has done something more than lose a fortune; he has conceived an unsurpassable
standard of dramatic endeavor, created for America a thing that can be equalled nowhere in the -world. And less than thirty years ago
Morris Gest was an a-we-mspired lad of nine, landing on the shores of an alien land, ambitious, hungry, bewildered— one small, insignificant
personality waiting to be swallowed up. — The Editor.
BEING a theatrical manager on Broad- stopped to figure how much money a thea-
way is not usually synonymous with tre would hold at capacity prices. If the
bankruptcy. The Muse of Arr can sum total of production exceeded the sum
be put on a paying basis. Silk tight*, total of receipts, naturally I lost money,
laughter, something naughty, and a little
music — there is one infallible formula.
However, much the Muse may languish
for loftier altitudes, audiences will pay and
clever managers reap the harvest. I fear
I can not be numbered among the sagacious
managers, for in the past four years I have
lost over three-quarters of a million dollars.
The fact stands out distinct and immutable.
I do not begrudge a cent of it however, for
it has taught me aplenty.
MY SUCCESSFUL FAILURES
"V/TANY people have shown a pardonable curiosity
-I-"-*- in regard for my financial failures. I have only
myself to blame. Perhaps if I were not such a com-
plete egoist — I may as well confess it myself and spare
my critics the pleasure — I would never have placed
myself in the embarrassing position I did. Always I
have tried to give the public what / wanted, not what
they were supposed to want. Sometimes I have found
a great many people who liked the
things I liked. Other times I have
not found so many. In any case I
have done what I considered my best,
have expressed myself — the thing I
saw, the emotion I felt, the picture
I admired, the story that captivated
me. Art, when you come to define it,
is really Life seen through a tem-
perament. If there are enough tem-
peraments at large to see it as you
do, then — possibly — your production
will be a financial success. Otherwise it
will not.
There is a tradition in the theatrical
world that sooner or later every producer
of big theatrical enterprises goes broke.
With rare exceptions this has been the fate
of many of our producers who attained suc-
cess only to die practically penniless. Henry
Abbey, Augustin Daly, A. M. Palmer,
Sheridan Shocks, Maurice Grau — even
dear Charles Frohman — all made fortunes
and lost them before they died. I do not
mean to place myself in a category with
these men ; but the fact remains that in one
respect at least I share their immortality —
I too have gone broke. My only consola-
tion is that I have done so in the interest
of the theatre. I have given the American
stage its most superb spectacular productions.
They proved of immense interest to the
public, but unfortunately I am bad at
arithmetic. I never stopped to figure how
much a production would cost. I never
MR. GEST AS SEEN BY REMISOFF
When I produced spectacles that could not
possibly pay expenses, even if every seat in
the theatre was sold at every performance,
then the lesson was brought home to me
that I would have to watch the dollars or
else go to the poor house. By the time I
locked the stable door the horse was stolen.
WHAT BELASCO SAID
MY losses on "The Wanderer," "Chu
Chin Chow," "Aphrodite," and
"Mecca" were terrific. On the opening
night of "Mecca" at the Century Theatre
Mr. Belasco took me to one side — after the
sensational Fokine Ballet — and said "Rus-
sian," he always calls me Russian instead
of by my first name, "you have gone as far
as any man can go. No one can surpass
this, probably no one will ever equal it. It
is the crowning spectacular achievement of
the stage and of your career, and now it is
time to stop." I felt at that moment that
I had failed, but at the same time, knew
[223]
that I had succeeded. And yet these four
productions were not financial failures in
themselves. The trouble was that they
simply cost too much, and even if I sold out
I couldn't break even. The same thing
happened to Mr. Belasco's "Debureau,"
which played six months to absolute ca-
pacity and lost $135,000.
The actual cost of the four productions
mentioned totaled more than $1,000,000.
"Mecca" alone cost me $408,000. "Aphro-
dite" required the expenditure of more
than $300,000 before the curtain went up
for the first time. "Chu Chin Chow" cost
$260,000, while "The Wanderer," al-
though a very elaborate production and the
first of the series, actually cost only $175,-
000. All these ventures were
made at a time when lumber and
materials were higher in price
than ever before in the world's
history, due to the war. The cost
of production was not excessive,
but the salaries of actors, stage
hands, musicians and artists, were
higher than ever before.
STAGGERING SALARIES
THE salary lists and dress re-
hearsal costs were staggering.
Stage hands and carpenters made
,^__ as high as $280 a week during the
period of rehearsals due to the sys-
tem of double pay for overtime.
It became necessary to postpone
"Aphrodite" for one week and
owing to existing contracts with
players and theatre I had to pay out in cash
$41,000 for thf salaries of more than 250
people, together with double pay for or-
chestra and stage hands for one entire week
of extra rehearsals.
Of course, in speaking of these enormous
expenditures the fact must not be over-
looked that the receipts were likewise
enormous. We played to the biggest busi-
ness ever known in most of the theatres.
In Cleveland we actually played "Aphro-
dite" in one week to $100,000, yet what I
made that week I lost soon afterwards.
Once a manager said to me, in settling up"
the accounts for a week that averaged
$40.000 gross receipts :
"Well, Mr. Gest, I hope you won't
bring me another of these big shows, be-
cause even when we sell out we have to
pay so much for stage hands and other ex-
penses that the theatre hardly makes a
cent."
(Continued on page 266)
Portrait by Henri Manuel of Paria
SACHA GUITRY
A luminary of great brilliance in the Parisian dramatic world, whose plays, such as "Deburau"
and "The Grand Duke" are already known to New York and who may come himself to act on
Broadway with his gifted father, Lucien Guitry, and his wife, Yvonne Printemps, later in the season.
[224]
THEATRE MAGAZINE, OCTOBER. 1911
Mr. Hornblow Goes to the Play
The Monster
A melodrama by Crane Wilbur pro-
duced at the Thirty-ninth Street Thea-
tre by Joseph M. Gaites, on August
9th, with the following cast:
Caliban. Walter James; "Red" Mackenzie,
Frank McCormack; Julie Cartier, Marguer-
ite Risser; Alvin Bruce, McKay Morris;
Dr. Gustave Ziska, Wilton Lackaye; A
Man, Charles Wray Wallace.
NOT since the Princess Theatre
players disbanded has a more
Grand Guignolesque entertainment
been seen in New York than this
frankly extravagant thriller by Crane
Wilbur. It is distinctly in a class by
itself as a purveyor of
gruesome chills and is
guaranteed to curdle the
blood of even the most so-
phisticated. As a matter
of fact, "The Monster"
is highly sophisticated
entertainment — so sophis-
ticated as to be a little
over the heads of the clan
who customarily turn to
theatres where the conven-
tional mystery melodrama
is being offered. When
we start dealing with
sadistic surgeons who
like cutting up people
alive and people our
plays with horribly dis-
torted and made-up leg-
less cripples we are going in for a
form of entertainment that vies with
the highly intellectual horrors of the
famous little theatre in Paris that
specializes in such things.
"The Monster" is admirably done.
The play is crude in its dialogue at
times, but it has been staged and
mounted superbly. In fact, the sets
are as fine as I've ever seen in a
production of the sort — reeking with
the intended atmosphere of the piece
and lit to perfection. Lawrence
Marston has done a fine bit of work
with his direction of the production
and a word in favor of J. H. M.
Dudley, who is responsible for the
scenes, is exceedingly in place. With
simplicity and intelligence, Dudley has
put more terror into his scene in the
vivisection room than has been put
into many another scene of atmo-
spheric horror by exaggerated art.
Crane Wilbur's story is based on the
soundest Grand Guignol tenets. Three
strangers — a girl and two men — are
cast by circumstance and a bad storm
into the home of Dr. Ziska, a mysteri-
ous surgeon living in deserted
country. Not even the strange things
which happen — the shutting of doors
of their own accord and the extra-
ordinary behavior of a giant black
servant cause the strangers to flee (a
hardihood which would not be
shared by your humble reviewer!)
and before long they are hopelessly
in the clutches of the monster, Ziska,
who discloses himself to be a maniac
whose special tendency is the vivi-
David Belasco, August 8th, with the
following cast:
jonn r. namuiuji; oecouu omumt n> i 'i'
Woodley; Third Sailor, Paul E. Wilson;
Mr. Hornblow Specially Recommends:
CAPTAIN APPLEJACK— An admirable comedy of nonsense,
played lo the King's taste by Wallace Eddinger.
HE WHO GETS SLAPPED— A no-able production of
Andreyev's poetic tragedy — the theatre at its best.
KEMPY — An amusing and human little comedy that cap-
tivates by its natural charm and bubbling humor.
KIKI — Not for the play, but for the amazing performance
of its title role by Lenore Ulric.
SHORE LEAVE — A second rate comedy made first class by
Belasco care and a performance of unusual appeal by
Frances Starr.
section of live bodies. This pretty
gentleman, with the assistance of his
giant servant and a legless, faceless
creature who crawls around armed
with a blackjack, is about to make
away with his visitors when, as they
say, "things happen." What the
things are, I shan't tell, but suffice to
say, the entertainment is clogged with
fierce apprehension and interest and
I recommend it cordially to those who
like that sort of thing. And I warn
against it those who don't!
The cast is excellent. Mr. Lackaye,
as the fiend Ziska, gives a perform-
ance that excels anything he has
done for some time. Walter James
is amazing as Caliban, the mute giant.
Shore Leave
A comedy by Hubert Osborne, pro-
duced at the Lyceum Theatre, by
Woodley; Third bailor, Paul t. Wilson;
Fourth Sailor, Bernard Sussman; Fifth
Sailor, Jose Torres; Sixth Sailor, Jost
Ypvin; Seventh Sailor, Kenneth Diven;
Bimby, Nick Long; Connie Martin, Frances
Starr; Mrs. Schuyler-Payne, Evelyn Carter
ANOTHER Belasco success! It is
extraordinary how the man does
it. And yet again, looked at from a
purely technical angle, it
is not so extraordinary.
"Shore Leave," produced
by any one of six or seven
managers that I might
name (and some day
will), would have been
a dull-as-dish-water fail-
ure and run perhaps a
month with generous use
of a pulmotor and
"paper." But done in the
Belasco manner with the
Belasco care, it steps out
of the run of the common-
place and becomes a more
than entertaining piece.
Added to Belasco talent,
in his every production,
is Belasco love for the
job he has chosen to be his. The
principle of slap-dash prevalent in the
work of nine out of ten of the alleged
"directors" of Broadway,, is replaced
in his case by attention to the minutest
detail, whether in the matter of cast-
ing, lighting, staging ,,r directing. A
Belasco production may not be high
art but it comes near enough to seem
like it to be corking good "business."
Mr. Osborne's play is the lightest,
most trivial script imaginable. Its
story deals with a sailor who blows
into the life of a New England sea-
port dressmaker and blows out again.
But she has not forgotten the one kiss
nor the flutter brought to her heart
by the blue suit and fair face of him.
For two years she waits hopefully but
in vain. He has forgotten, though she
does not like to think so. The fleet
returns and she resorts to the dodge of
(Continued on page 228)
[225]
I. "Bilge" Smith, U.S.N. (James Rennie)
rasually enters the advenlureless life of
Connie Martin (France* Starr), spinster
dressmaker, and after a good meal and a
arling kiss as casually goes out of it.
>. Connie disposes of her property and re»
turns to dressmaking and her old neighbor
Cap'n Martin (Reginald Barlow) , hopeful
that "Bilge" will again return. We leave
you to guess whether he does or not.
2. Ae the fleet moves out of the harhor in
Connie*! seaport home with "Bilge" aboard,
Connie realize! a bit hopelessly that at last
she is in love.
3. (In oval) For two years Connie awaits
newt of the wanderer in vain, and then,
when the fleet comei in again, finds "Bilge"
by giving a party to all the Smiths in harbor.
He pretends to remember her.
4. First, touched by Connie's fidelity, "Bilge" wants to marry her but upon learning that she
now owns the freighter on which he stands he elects to return to the life of a bachelor
rather than have a wife who is richer than himself.
THE NEW PLAY
Frances Starr Brings Charm and Humor to her Latest Success "Shore Leave'
[226]
THEATRE MAGAZINE, OCTOBER. 1922
1. An accident and a storm bring three
tt ranger i, "Red" Markenzie (Frank Me-
('.or mack) , Jnlie Cartier ( Marguerite
Risser) and Alvm Bruce {McKay Morns)
to the sinister home of the strange Dr.
Ziska (Wilton Lackaye).
4. Dr. Ziska. who now unowg himself to be
a madman of Sadistic tendencies, wishes to
viviiect hit victims for scientific purposes.
He turns several jolts of elertririty into
Bruce to prove he means business.
2. Dr. Ziska's hospitality hardly accepted,
fearful things begin to happen and /iika'i
mute giant servant, Caliban (Walter Jame*),
assists him in the attempted destruction of hie
visitors.
3. (in oval) In the momentary tranquillity
of the room in which they are locked,
Julie and Bruce forget the terrors threaten-
ing them in the unexpected realization that
they are friends of a bygone day.
5. Bruce strapped to an electric death chair and Julie to an operating table have one lait
desperate moment together. Nearby can be heard the clink of Ziska's operating in-
struments. We leave you to guess whether they are rescued and, if so, how!
THE NEW PLAY
'The Monster" Brings a Genuine Breath of the Grand Guignol to Broadway
[ 227 ]
giving a party for all the Smiths on
board — her own Prince Charming is
yclept "Bilge" Smith — in an effort to
either see him again or have tidings
of him. The scheme works. Into the
trap walks "Bilge" brightly and brisk-
ly from the deck of a newly arrive;)
destroyer.
But he has forgotten her. Two
years mean many new transient sweet-
ies to a sailor and it is not until he
sees how faithful she has been to him
that he endeavors to conceal his faulty
memory and pretends to remember all.
En/in, touched beyond words by her
seeming devotion he becomes suddenly
imbued with a realization that this is
the sort of girl he should marry if
he is to settle down, and he asks her
to wed him.
But the dramatic course of true love
achieves its customary rough water.
"Bilge" balks when suddenly he learns
that his new fiancee has
become wealthy since
their first encounter and
now owns a freighter.
It is more than he can
stand. And, protesting
that a wife with an in-
come is not for him, he
goes off again just as be-
fore. Desolate (but per-
sistent, I'll say!) the girl
jettisons all her riches
and returns to dressmak-
ing for a living, hopeful
that some day "Bilge"
will learn all and come
back again. In all fair-
ness, I refrain from dis-
closing more !
As I have hinted above,
it would take a Belasco — aided per-
haps, by a Frances Starr — to l?nci
charm or novelty or anything else
meritorious to this old, old tale of the
"lavs who loved a sailor." I hope
that when the idea for the play oc-
curred to Mr. Osborne he was not
stunned by the novelty of it. But
coming, as it has, through the mill
of superb production, "Shore Leave"
is more or less of a delight and not
to be missed by people who go to the
playhouse to enjoy themselves. It is
happy, gay — and, for what it is, per-
fect. Miss Starr is at her very best
as Connie Martin, the most resolute
man-hunter I have seen on the stage
in many a moon. It is a part that suits
her prettiness and faint suggestion of
old-worldliness to perfection. She will
probably play it for a long time to
come.
Mr. Belasco's cast is excellent.
James Rennie is capital as the hesi-
tant seaman who comes and goes.
And the assembled Smiths are im-
mensely funny.
Whispering Wires
A melodrama by Kate L. McLaurin,
produced at the Forty-ninth Street
Theatre by the Messrs. Shubert, on
August 7th, with the following cast:
Ann Cartwright, Bertha Mann; Walters,
Stanley Harrison; Payson, George Lynch;
Doris Stockbridge, Olive Tell; Montgomery
Stockbridge, Ben Johnson; James Bennett,
William Webb; Barry McGill, Paul Kelly;
Drew. George HowcII; Delaney. M. Tello
Webb: Jackson, Willard Robertson; The
Trouble Hunter, Malcolm Duncan; Jean-
nette, Gaby Fleury.
IT will be the unhappy fate of every
mystery melodrama during the next
few years to be called imitations of
"The Bat" and graded comparatively.
I must say that in this instance, at
Mr. Hornblow Specially Recommends:
THE MONSTER — A frankly exaggerated but superbly stage I
thriller of the Grand Cuignol pattern — the best of its kind.
CHAUVE-SOURIS— In a class by itself among musical enter-
tainments. High art of the absolutely painless variety.
DAFFY-DILL— Frank Tinney in a show that really has some
comedy in it. A rarity these days.
GREENWICH VILLAGE FOLLIES— Murray Anderson hasn't
yet produced a show not worth going miles to see.
MUSIC BOX REVUE— An ornate, splendiferous show that has
become too much of a classic to miss.
ZIEGFELD FOLLIES— A million dollars worth of girls in
a million dollars worth of clothes — a carnival for the eye.
least, I am inclined to indulge myself
in the same critical weakness. "The
Bat" was a masterpiece of its sort.
Terrible things happened, to confuse
and paralyze the helpless audience,
but they were all of them based on
an intelligent development of the plot,
were integral elements of its idea, and
could be completely explained at the
end. "Whispering Wires" belongs to
the class of thrillers that are resolved
to thrill whether or no. There is a
corking scheme for the commission of
murder contained in its several acts
but not much else.
As a matter of fact, the play's au-
thor has obviously builded her work
on the good old principle with which
much mj'stery fiction is created. De-
vise an ingenious way of doing away
with some one, and then write your
story backwards is the rule. Miss
McLaurin has done just that. But
whatever skill and ingenuity that
talented creator of fiction may possess
was exhausted apparently by her in-
vention of the modus optrandi. The
accompanying and outlying situations
are banal and unplausible, and great
stretches of dialogue are devoted to
such scenes as the accusation of the
hero with even the gallery gods out
front unmoved by the pinhead opera-
tions of the most asinine detective
any stage has ever had to support.
Montgomery Stockbridge, a million-
aire-something-or-other (played finely,
by the way, by Ben Johnson), receives
a mysterious death threat which an-
nounces his forthcoming demise within
two hours of the warning's receipt.
A private detective called in to guani
the old fellow surrounds the house
with his men, but neglects to take the
precaution to guard him personally
and Stockbridge dies as prophesied —
shot in what we are asked
to believe is some mys-
terious way. Actually,
the least intelligent in-
vestigation of the murder
would disclose absolutely
the manner of the death.
But instead of investiga-
tion we have endless talk
and bogus accusations
that are as weak as
water. As a matter of
fact, if it were not for a
scene in the first act
which is just a little more
filled with suspense than
any other scene I've ever
witnessed in the theatre,
I would say that "Whis-
pering Wires" could not
possibly continue whispering for very
much longer. It is the scene in which
Stockbridge, left alone in his library,
is about to be killed. We're sure of
the fact he's going to be killed — but
when and how are the fearful ques-
tions that would keep any audience
on tenterhooks.
There are no performances of any
particular merit in the production,
apart from Mr. Johnson's. Olive Tell
is an exceedingly stereotyped heroine.
Daffy Dill
A musigirl comedy produced at the
Appollo Theatre by Arthur Hammer-
«tein on August 22nd, with the follow-
ing principals:
Marion Sunshine, Irene Olsen, Ben Mulvey,
Genevieve Markham, Frank Tinney, Harry
Mayo, Guy Robertson, Rollin Grimes, ar.d
Georgia O'Ramey. Book by Guy Bolton
and Oscar Hammerstein. Music by Herbert
Stothart.
(Continued on page 268)
[228]
THEATRE MAGAZINE. OCTOBER. 19tt
Portrait by E. O. Hoppe of London
Clown Studies by Sherril Schell
HE WHO ALSO GETS SLAPPED
il Sydney — A New and Fine Interpreter of Andreyev's Clown-Aristocrat
[229]
Kempy
A Comedy in Three Acts by J. C. Nugent and Elliott Nugent
'T'HIS gay and very human comedy contains all the ingredients calculated to make a mid-summer audience
' forget the heat and settle down to an evening's enjoyment of fine characterizations, clever lines, humor,
surprises and good acting. An interesting feature of the production is that its authors, who are father and son,
both play leading characters in its present production on Broadway. The following condensation is printed here
through the courtesy of Richard C. Herndon and the authors.
THE CAST
(As produced by Mr. Richard G. Herndon at
the Belmont Theatre.)
Ruth Bence *"'*> NuSent
"Dad" Bence J- C. Nugent
"Ma" Bence Jessie Crommette
Jane Wade Helen Carew
Katherine Bence Lotus Robb
Ben Wade Robert Lee Allen
"Kempy" James Elliott Nugent
"Duke" Merrill Grant Mitchell
THE scene throughout the play is laid in
the living room of an old fashioned house
in a small New Jersey city. The room
has been lived in by the same family for many
years, the furniture looks used and comfortable,
and there are obvious attempts on the part
of the younger generation to off-set the
cherished— but bad— oil paintings with a
few things in good taste.
At the rise of the curtain Dad is sitting
in his armchair, figuring in a note book.
Ruth is at the piano singing and Ma is
looking at "views" through a stereoscope.
"Dad" Bence, a retired manufacturer,
is sharp eyed and sharp tongued, but has
a deep vein of kindness under all his
gruffness.
"Ma" Bence is a sweet, gray haired
mother, a little vague about the movement
of the newer world. Ruth, the youngest
daughter, is quick witted, whimsical, and
has an elfin prettiness.
MA: I'll bet Kate ordered some things home
from New York. . . .
DAD: . . . Don't sign for them till we see
what they are.
MA: Why, they're for Kate. (Ruth enters
with load of boxes and bundles. Jane follows
with another box.) . . . They're for that house
party at Atlantic City.
DAD: I told her she could get one dress.
JANE: But Duke Merrill is down at Atlantic City.
DAD: That don't give her the right to buy the
store out. ... I may make her send them
back! . . .
MA: Oh, Pa, you wouldn't do that. You'd
break the child's heart.
White
RUTH: Don't wear your hat in the house,
Daddy.
DAD: (Indicating open door.) My head
gets cold.
MA: My, it's nice to get the work done early
and sit down a minute. . . . Your hat looks
awful in the house!
DAD: (Snappily.) Looks just the same out-
side.
Jane enters, having just run across the lawn
from her own house. She is good looking, hearty
an4 talkative, a natural product of her middle
class environment, and conscious of her inde-
pendence as the only married daughter of the
house.
JANE: Hello, Ma, is Kate home yet?
MA: ... It isn't train time yet.
JANE: It gets so lonesome with Ben away at
Atlantic City.
DAD: (Growling.) What's he doing there?
JANE: You know, at the Shriners' Convention.
DAD: Always at conventions!
JANE: Well, Duke Merrill asked him along
in his car when he went through here — and —
they hadn't met since Duke went away — . . .
DAD: (Without looking up.) It'll cost five dol-
lars to get that pipe fixed in the kitchen.
(Doorbell rings.)
JANE: (Glancina out window.) It's the ex-
pressman.
ACT I.
DAD: Why the dickens didn't you go to the back door?
KEMPY: Why the dickens didn't you say so?
DAD: Child! She's past twenty-five. Acts
like ten!
JANE: Ruth's the one that ought to have some
new dresses. She hasn't had a thing this sum-
mer except her graduation dress. . . . You
won't even send her away to school. ... I
know how it is. I had to put up with it till
I got married. . . .
DAD: Oh, don't be so huffy! You know Kate's
running me into debt head over heels!
RUTH: (Looking out window.) Oh, there's
Kate. The bus is driving away!
DAD: Bus! Twenty-five cents more!
Kate enters. She has the impatient, youthful
enthusiasms of a clever girl born in a common-
place environment. She is pretty, with a bub-
bling personality that makes her the favorite
of the family in spite of their disapproval of
her ever varying ambitions. She kisses every-
body— Dad glaring at her new clothes.
KATE: (To Ruth.) Did my other things come
yet? . . . Those big stores are so obliging
when you have a charge account! Father, I
am so proud of your name when I want to buy
anything. They just look you up and give me
anything I want. . . . It's nice to get home,
but it seems dark in here! Everything is so
bright in New York, after this old run down
barn! . . .
DAD: How much are them bundles?
KATE: (To Jane and Ma.) THEM! (To Dad.)
Those ! Say "those." Gracious, I'm discouraged
about ever writing any more when I hear the
grammar of this family.
DAD: Sorry you're ashamed of us, but your
pride don't pay the bills!
KATE: (With blazing eyes.) Well, it may
pay them yet! . . .
DAD: How much was them — those — dresses?
KATE: (Sarcastically.) Them — those — dresses
were . . . not over eleven hundred for all.
DAD: It's no use. I've got to sell out.
KATE: And I must go to Atlantic City
tomorrow ....
JANE: Oh, isn't he going to stay for the
house party?
KATE: Who?
JANE: Duke, of course.
KATE: Duke wasn't to be at the house
party. I didn't even know he was in
Atlantic City. . . .
DAD: Didn't you buy them dresses for
Duke? ... I'd like to know what you
did buy them for.
KATE: You'll know soon enough. . . .
My chance is coming. (Exits upstairs.)
JANE: Father, you're not modern. Ben
never noticed me until I got that outfit
from New York.
DAD: Then what do you £eep on dress-
ing expensive for after j»u've got him?
JANE: That's what I got him for. . . .
You know Kate isn't just like the rest of us.
MA: No, she wrote that book.
DAD: That's what ruined her! . . .
JANE: Not any more than her painting and
interior decoration and singing.
DAD: And elocution! And getting her hair
bobbed !
JANE: And pantomine! That's what she's tak-
ing now. . . .
RUTH: Oh, well, she learned nursing too Don't
forget that. She cured your rheumatism.
Daddy. . . .
DAD: Yes, she was worse than the rheumatism !
MA: Oh, Kate would settle down and be
happy if she was married. Her mistake was
in refusing Duke that time two years ago. . . .
RUTH: Now, Daddy, you know you wouldn't
want to marry a man if he had no money.
DAD: I would if I knew he was going to
make it. A girl's got to learn to judge a man.
But Kate's got no judgment — never did have —
never will have. Wasn't for her I wouldn't
have to sell this house. . . .
Ben Wade enters. He is the typical Ameri-
can small town business man, brisk, slangy,
always a "good fellow,'' and with all the char-
acteristics of the type who has been "on the
[230]
THEATRE MAGAZINE, OCTOBER. 192*
In "East Lynne" in Portland, aged 16
White
As the dope fiend in "Eyes of Youth"
"Little Johnny Jones" in Salt Lake City
•
t
As "Camille" in Spokane, aged 13
Aped a
Her most recent role — Jenny in
"The Goldfish"
White
As the palmist in "The Fortune Teller"
As Juanita in "The Rose of the Rancho"
(Motif by Lyman Brown)
"Master Willie Hewes" in Los Angelei
BIOGRAPHICAL PAGES -No. 1. MARJORIE RAMBEAU
Miss Rambeau was born in San Francisco, California. She went on the stage at the age of nine, appearing in "The Girl and the Tramp" in Oakland. At thirteen
she was playing "Camille" in repertory in Spokane and subsequently played stock with Morosco and others in Portland, Los Angeles, Salt Lake City and elsewhere.
She made her New York debut in "So Much For So Much" in December, 1914, and since has achieved great personal success in numerous star roles
[231]
road." Dad discusses with Ben the sale of the
house and gives him a signed option for the
property. Jane tells Ben that Kate is going to
Atlantic City and will doubtless meet Duke
Merrill.
BEN: Why, he'll be here ... on his way to
New York. I asked Duke to stop off here and
see Jane.
MA: Surely he'll stop in and see us.
BEN: Well, you know he and Kate haven't
met since
DAD: He's coming here! Then all that damn
dress money is wasted !
Doorbell rings and, thinking it is Duke, the
women rush upstairs to tell Kate. Ben opens
the door and Kempy James appears, a wrench
in his hand. He is a good looking boy of
twenty, with a frank ingenuous manner, but
easily flares into boyish anger.
KEMPY: I came from Hargers to fix the
pipe in the kitchen.
DAD: (In fierce disappointment.) Why
the dickens didn't you go to the back
door?
KEMPY: Why the dickens didn't you
say so ?
DAD: Tramping on the carpet with your
muddy feet.
KEMPY: My feet are not muddy. If
you want that pipe fixed I'm here to
do it.
DAD: Well go to the back door.
KEMPY: I went there first, and there's
no one there.
DAD: Them your working clothes?
KEMPY: No, I'm to see what's to be done
and then go back and get the stuff and
come back.
DAD: And charge full time while you're
changing clothes, I suppose.
KEMPY: You can settle that with
Harger.
DAD: Harger's a thief!
KEMPY: Settle that with him too.
DAD: You're pretty sassy.
KEMPY: No, I am not, Mr. Bence. I
spoke to you civilly but I don't see that Wh
I should stand for abuse for nothing.
I'm not a plumber by trade, I'm an
architect.
DAD: If you're an architect, what are you
plumbing for?
KEMPY: . . . I'm working at it till I get some
contracts in my own line. Can't afford to do
nothing.
BEN: Better stick to plumbing. It's the next
graft to real estate.
KEMPY: Thank you, sir. But I've made up my
mind. (Turning to Dad.) I know what I'm
going to be.
DAD: You know a whole lot, it seems to me.
Come on out . . . /'// see how much you know.
KEMPY: I'll go around the back way if you
wish.
DAD: Yes, and charge up the time. Come
on. . . .
BEN: (Excitedly, looking out window.) There's
Duke, and he's got his hand wrapped up as if
it was hurt.
DAD: ... Is that his car out there?
BEN: Yes, and it's got the windshield busted.
Must have had a smash up. ...
BEN: Let's go over and see what's happened.
Maybe we can get him over here. . . . (Dad
and Ben exit.)
Kempy stands looking after them bewildered,
as Ruth comes down the stairs.
RUTH: . . . Did you want to see someone?
KEMPY: (Confused by the sudden vision of
girlish loveliness.) Yes — no — I mean — ... I
came over to fix the plumbing . . .
RUTH: Won't you sit down?
KEMPY: It doesn't seem honest sitting down at
four dollars an hour.
RUTH: Oh, Daddy won't care. He's worth a
hundred thousand dollars.
Kempy tells her he learned plumbing in the
army and wants to know all about it so he can be
a good architect. He already has "an original plan
for a church, with four steeples and a dome."
RUTH: That sounds just like the church in my
sister's book. (Getting book.)
e ACT II.
KATE makes a bold stand against DUKE on the sub-
ject of her marriage to the bewildered KEMPY
KEMPY: "Angle's Temptation". ... I got it
in a Y. M. C. A. in France. The Y. M. C. A.'s
over there were full of them.
RUTH: We sent three hundred copies over
there — we needed more room in the attic.
KEMPY: That's where I got my first idea —
from the description of that church in it. I
made mine just opposite.
RUTH: Oh, yes, the one in the book has four
domes and a steeple. But I hope you build it
your own way.
KEMPY: Anything I build will be done my own
way. . . . The heroine in this story said she
would love a man who was always determined
to get what he wanted. . . .
Ruth tells him that her sister wrote the book,
and shows him Kate's picture.
KEMPY: Gee, she looks just like I thought she
would. No, I believe you look more like I
thought. She's older.
Ruth directs Kempy to the kitchen, to look at
the pipe.
KATE: (Entering.) . . . Who were you talk-
ing to down here?
RUTH: Oh, the most wonderful man. . . . He
read your book ... he said it inspired him
and made him live his own life and get every-
thing he wants! ... He said he got an idea
from your book that made him a great archi-
tect. . . .
Kate runs upstairs as Duke enters, his wrist
bound with a handkerchief. He is a very suc-
cessful business man, rather distinctive looking,
and has an assured but simple and natural
manner, with a keen sense of humor. The
family come in and gather around Duke, vainly
trying to get the doctor on the telephone and
finally calling Kate to bring her first aid kit.
She is absolutely helpless, unable to find any-
thing, and looks in her first aid books for
'•Rules." Meanwhile Ruth skillfully binds, up
the wrist. Dad gets the family out of the
way so Duke can talk to Kate alone.
KATE: . . . You said things before that
hurt a little more than I care to be hurt.
DUKE: . . . I've spent two years re-
gretting the way I put some things. . . .
You won't find me so lacking in tact now.
. . . I've grown in understanding. . . .
KATE: . . . What a little thing we
quarrelled over — because I wanted an
artistic career. ... I couldn't marry you
when you had no faith in me. It was
your telling me I had no talent that made
me determined to show you I had. So
I'm glad you've come back to me just
now. . . . I've just got my chance . . .
to express myself ... to prove to you
and father and all of them that I'm not
a failure . . . I'm going into musical
comedy.
DUKE: Good Lord!
KATE: ... I met Oscar Sherman, the
big manager, in New York at a party,
and ... he said he had a part . . .
just made for me. . . . My voice is good
for musical comedy, Duke — it's a little
light for grand opera — now I'm to go
over to Atlantic City and rehearse with
the company. I'm to meet Mr. Sherman
at the Ambassador tomorrow. That's
why I'm going over there!
DUKE: Oh, my God!
KATE: . . . Don't you think it's wonderful?
DUKE: It's wonderful that I found it out in
time to stop you. . . . This man Sherman is
pretty well known . . . don't you see, you poor,
silly girl, he's trying to make what he would
call a date with you at Atlantic City. ... He
doesn't even suppose that you took his story
about the part seriously . . . you've had no
experience, and you say it's a good part. You
ought to know better — you're twenty-five years
old. . . . I'll tell you what we'll do — you marry
me first and when you show up with a husband
. . . we'll see how strong you are with Mr.
Oscar Sherman!
KATE: Oh, that's beastly of you — you think I
have no talent!
DUKE: You've had years to prove that you
have talent, Kate — you haven't any, dear — you
can't paint, or sing, or write — in all this time
you haven't produced one finished piece of
work !
KATE: . . . How about my book ... I know
it never sold but at least it was published!
DUKE: (Who, unknown to Kate, had published
[232]
THEATRE MAGAZIIVE, OCTOBER, 1922
Portraits by Apeda
BOBBY CLARK
Who, after years of clowning in circus rings the
country over and further years of broad comedy in
the burlesque houses of the Columbia Wheel, has
come at last into recognition as a drole without
equal. London has taken him to its arms these
past few months, and he will soon bring his superb
fun-making as a member of the desperately shabby-
genteel to the gilded lists of the new Music Box
Revue
[233]
her boot.) It was — two thousand copies — that
was the big mistake! . . .
KATE: ... Is that what you came back for,
to discourage and insult me?
DUKE: I'm telling you the truth because I love
you, Kate, and I'm going to marry you ! . . .
KATE: . . . You know my life in this house
has become impossible . . . father is even
threatening to sell this house, to humiliate us
all! I suppose you think I must call to you
for protection, at your terms!
DUKE: Now you're talking wildly, Kate. . . .
I'm sorry if you choose to misunderstand me.
. . . Good night, Kate. I will see you to-
morrow. (Exits.)
Ruth enters, followed by Kempy, who stands
diffident and abashed.
RUTH: . . . He has something to tell you,
Kate. It's awfully romantic. (Exits.)
KATE: What do you want with me?
KEMPY: (Diffident and bold alternately.} . , .
You see I read "Angie's Temptation" — and I
am an architect — and I swore once to find the
girl that wrote that book and
KATE: . . . Don't stammer — and what?
KEMPY: (Angrily.) And marry her — that's
what!
KATE: (Wonderingly,} And — marry her?
KEMPY: Well, you needn't make fun of me.
. . . I'm determined and I live my own life
and I rule my own fate — and — I DON'T STAMMER !
KATE: You — want to marry me?
KEMPY: (Swallowing.) Y-yes.
KATE: . . . Would you marry me NOW —
today — right away — within the hour, or half
hour?
KEMPY: Why— well— I—
KATE: Don't stammer! Would you?
KEMPY: I'm not stammering — yes!
KATE: (Seizing coat.) How quickly can you
take me to Williston, across the river?
KEMPY: Well, I've got my Ford outside — the
boss's Ford — but
KATE: But what? Are you afraid?
KEMPY: Yes, NO!
KATE: Then don't stand there staring at me —
COME ON !
KEMPY: Gee whiz! (Follows her in daze.)
ACT II. That evening.
DAD: It's after nine o'clock — wonder where the
devil Kate went? . . .
MA: Maybe Kate's run away and got mar-
ried !
DAD: Who to?
JANE: Why to Duke — who would you im-
agine? . . .
(The telephone rings. Jane answers it.)
JANE: . . . Kate's coming home — she's mar-
ried ! . . . Wanted me to tell you she was
bringing her husband home . . . and she
hoped father would remember s'ne was a mar-
ried woman now and was to be treated as
such . . . and . . . she wanted her husband
treated with respect too. . . .
DAD: Why, what is she talking about? We
all like Duke, have liked him since he was a
boy. . . .
Jane runs home to get some fancy pillow
cases, etc., for the guest room and Ma hurries
to the kitchen to prepare some supper. Bell
rings and Kate enters alone, calling "Come
Kemp." He enters, smiling expectantly.
DAD: What the devil are you doing here?
KATE: Father, don't speak that way. This is
my husband.
Dad is stunned and sinks to sofa, calling
for Ma.
KATE: . . . Father, listen. . . ."This young
man believes in me, that's more than anyone
else ever did ; he's young and he is ambitious
and he worships me. . . . Now, I'm free. I
White
ACT III.
KEMPY: Will you keep my wrench for me?
RrTH: Oh, thank you!
KEMPY: You're welcome.
have a name of my own, I have a husband . . . .
We will make our own future somehow. . . .
DAD: Where, what — what became of — where's
Duke? . . .
KEMPY: Who's Duke?
KATE: Duke's a man that wanted to marry
me and I refused him. . . .
DAD: . . . Now listen — I've put up with your
darned idiotic foolishness long enough. Now
you go upstairs to bed — I want to talk to this
plumber. . . . Do you think you can support
her or do you expect me to support the both of
you and perhaps more? . . .
KEMPY: ... I hadn't figured on any MORE —
. . . it all happened so sudden! . . . / can
take care of my wife. Come, Kate.
KATE: Where?
KEMPY: Why — to the Central House, I guess.
I — know the clerk. ... I stop there — and I'm
paid up.
DAD: I want to talk to this fellow — now you
go. (Kate exits.)
DAD: . . . Why did you marry my daughter?
KEMPY: (With cool, sweet frankness.) Be-
cause I wanted her ever since I read her book.
. . . I've always thought that a man can get
what he wants if he tries, and it says so in
Miss — in — what's her name — in my wife's — in
Kate's book. . . .
DAD: You get everything you want, eh?
KEMPY: (Modestly.) About everything.
DAD: Did you ever want to get MONEY? . . .
KEMPY: Why, Kate said YOU had a hundred
thousand dollars
DAD: Oh, that's it! You thought you'd get
THAT!
KEMPY: No, . . . but I thought from the way
you asked me ... that you wanted to borrow
some. ... I'd loan it to you if I had it, on
account of Kate.
DAD: . . . I'm going to break this fool mar-
riage and until its broken you will keep out of
this house.
KEMPY: . . I don't expect to stay in this
house, and I haven't my things here anyhow.
... I'd like to talk to Kate's mother— to tell
her I've been honorable.
DAD: /'// have enough to tell her. . . . You
always get what you want! Well, go and get
a start in life and you can start now. (Opens
door.)
KEMPY: All right . . . but I'll be back for
my wife in the- morning. (Exits.)
Kate, Ruth and Ma enter. Dad goes to his
room.
MA: . . . This is terrible — you married like
this and your husband turned out of the house!
If he stays at the Central House tonight it will
be all over town ! . .
Ruth runs out and returns with Kempy, who
had just been standing outside. Ma goes in
to try to pacify Dad. Kate tells Kempy that
they will go to Atlantic City in the morning
and that he must give up plumbing and become
part of her life, her career.
KEMPY: Maybe they won't want a husband
around.
KATE: Oh, you think so, do you? Well I'll
show you and anybody else that thinks so that
you're wrong, all of you.
She telephones Western Union a message for
Oscar Sherman at Atlantic City to the effect
that she will arrive next day accompanied by
her husband. Kempy objects to having his
wife on the stage, they quarrel, and Kate runs
upstairs to her room.
RUTH: . . . Mr. James, you mustn't get
angry and go away tonight. . . . You sleep here
on the dog's bed. I have him in my room
now, but this is his regular bed. . . .
KEMPY: It would be lonesome and strange.
RUTH: I'll bring the dog, if you'd rather.
KEMPY: I believe I would, if it's all right with
the dog.
RUTH: Oh, he likes everyone I like. I'm sure
Daddy would like you too if it wasn't for Duke.
. . . He's worth a million. . . .
KEMPY: . . . I've only got a dollar and a half.
RUTH: (Admiringly.) But you always get
what you want.
KEMPY: I'm beginning to wonder if that's a
good thing. Say, if they thought she married
Duke, how will it prevent scandal for me to
sleep with the dog?
RUTH: They'll find out in the morning that
it was you she married . . . and that father
drove you out.
Kempy goes to the Central House for his
things. Meanwhile Duke and Ben enter, slightly-
intoxicated. Duke wants to make up with
Kate, and thinking the family are all over at
Ben's house he tells him to go over and ask
Kate to come and talk to him. Jane enters
with the linen she had gone to fetch.
JASE: My, but it was a shock when we heard
you and Kati; had got married so suddenly!
(Continued on page 260)
[234]
THKATRE MAGAZINE, OCTOBER, 1922
Portrait by Nikolas Muray
MARTHA LORBER
Whose beauty — almost Grecian in Its Chastity of Line — -does something more than merely
adorn the Ziegfeld Follies in Which She Heads the notable Ballet "The Frolicking Gods"
[235]
Adrift in the Roaring Forties
Being a Monthly Page Out of the Notebook
Of BENJAMIN DeCASSERES
IN the conversations with M. Gsell with
Anatole France the great French satirist
is made to say that he has found all
actors brainless. But why drag in actors,
Anatole? Why should an actor have more
brains than a popular writer, a president —
of any republic — a lawyer, a painter or a
magazine editor?
Why do people expect actors to have
brains when theirs is the only creative art
in the world in which brains is not re-
quired ? It is a purely imitative art. The
actor is always conceiving his life in the
terms of a role created by another. He
succeeds in the degree that he puts an ex-
tinguisher on his own personality. He is
a mime — not a thinker. Do we ask a
Caruso to have brains — and he had — a
Melba, a Jeritza, a Houdini, an Ed Wynn ?
Then, again, what is "brains"? Every-
body has brains — but intelligence, that is
another thing. There are very few intel-
ligent people in the world.
For instance, Henry Ford has brains ;
Anatole France has intelligence. Bryan is
brainy ; Governor Edwards of New Jersey
is intelligent. Germany is brainy ; France
is intellectual. Brains is a commodity; it
can be cultivated. Intellect is something
one is or is not born with.
There are, of course, few intellectual
actors or actresses. But as for brains, wit
and mental smartness the actors and
actresses I have met will compare with any
other profession in the world, starting from
the lowest, that of a Congressman. For
your absolute dumbbells you will find them
among doctors and lawyers and a certain
class of college business men.
Enfin, there is too much brains in the
world, and not enough intelligence.
I AM writing this in Atlantic City in the
latter part of July. It will appear, I
believe, in the October number of Theatre
Magazine. So I feel like a man sitting
right in front of the Broadway season. In
looking over the papers I see this producer
has returned from Europe with this, and
that producer with that, and so-and-so is
working on an adaptation of something or
other from the German. Of something
original by an American — not a whisper,
except from John Golden. Eugene O'Neill
is going to do something, or has done some-
thing (by the way, what has become of his
"The Fountain"?).
Europe raids our treasury ; we raid its
stage. Let us cancel all their debts and
call it even. The only thing, apparently,
we have to give them is money and movies.
They have given us everything in the in-
tellectual world worth while. Can we ever
pay our debt of culture to them? No.
And they can't pay us the money they owe
us. Then why not call it an even break?
"IT HE American Drama League also
voted on the five best American plays.
In the lists that Mr. Eaton published in
"The Tribune" I nowhere saw "The
Tavern^' or "The^jiclJMjin." These Two"
satires are among the best ever written.
"The Bad Man" would go over one hun-
dred per cent in Paris — and maybe "The
Tavern" would also.
I believe that "The Bad Man" is the
greatest satire ever put on the American
stage by an American. It is Shavian in its
irony. "The Tavern" is less perfect, but
as a piece of fantastic satire it stands alone
in Amercian literature.
That the committee could vote for "JThe
First/Year" and "Seven Keys to Baldpate"
(both fine comedies) and disregard "The
Tavern" and "The Bad Man" is to me —
well, there's simply no accounting for lack
of taste.
\A/HEN M. Gemier, director of the
Odeon Theatre, in Paris, asked the
Drama League of America what was the
best American play, the committee (George
Jean Nathan, the "Huck" Finn of critics,
was not on this committee) handed him
hark "Anna Christie," which M. Gemier
will produce at his theatre.
In the vote on the best five plays,
O'Neill was always in the running. Ten
years ago O'Neill would not have had a
chance in such a contest. Which proves
we are moving. O'Neill is to our drama
what Ibsen was, to the Norwegian drama
anil Strindberg to the Swedish drama. He
is a great dramatic genius if ever there was
one.
Personally, had I been on the committee
I would have voted for "The Hairy Ape."
Judged by the usual standards "Anna
Christie" is a more perfect play. But my
standards are only my likes and dislikes.
My "critical faculty" is merely the cold
mirror of my prejudices. If I were sitting
in the Odeon at a performance of "The
Hairy Ape," I should rise out of my seat
after the last curtain and shout, "An
American did that! Sing 'The Star
Spangled Banner' all of you!" And when
I tell you that today I am not especially
proud of being an American and don't
want to hear the national air again until
we regain our liberties you will understand
what I feel about "The Hairy Ape."
I YN HARDING has come forth as the
champion of King Henry VIII, gen-
erally regarded as the Landru of English
sovereigns. Lyn tells us that King Hal
was a great statesman, a theologian and a
family man.
> I personally made a study of the life of
King Henry VIII when I was working on
the titling and editing of the great German
picture, "Deception." I was surprised to
find what a Forward-Looker and Right-
Thinker old Bluff King Hal was. Lyn
doesn't do him justice.
Henry did all in his power to save Anne
Boleyn from the scaffold. He refused to
eat or drink for many days after that inci-
dent.
Henry was in bed every night at nine
o'clock and up at dawn. He always spent
an hour before breakfast watering the ge-
raniums in the castle window.
He resurrected the ancient game of
dominoes, and ordered it substituted at
court for all games of chance.
His afternoons were spent in readings
from Marcus Aurelius, Seneca, Confucius
and other ancient wise men.
He personally taught his daughter, Eliza-
beth (afterward the celebrated Queen of
that name), the art of tatting.
He was the first ruler known to history
who opposed war as unchristian.
He was the first monarch in all history
to inveigh against bobbsd hair at court.
He imitated Julius Caesar by drinking
nothing stronger than barley water.
If Lyn Harding will call en me I can
give him other points on his new biography
, of England's virgin king.
\A7HEN will Casanova get on the stage?
I have been lately reading a new
life of this most fascinating and impenitent
of all rascals. In his memoirs there is
enough material for a Casanova cycle — say,
of about five dramas, depicting the famous
Italian at various times in his life.
He was one of the most extraordinary
men that ever lived — and he is immortal
because he made vital and real our sup-
pressed instincts. The great adventurer-
romantic is always an immoralist. He does
the thing we all fear to do. Casanova
made life submit to him. The whole world
moves through his pages. He made the
legend of Don Juan a fact. He was Gil
Bias, D'Artagnan, Machiavelli, Mcnte
Cristo and "Huck" Finn rolled into one
person. Here are meat and money for some
playwright, producer and actor.
And what a "movie" his life would
make!
[236]
THEATRE MAGAZINE, OCTOBER, 1922
G. Maillard Kesslere
THE KEENE TWINS
Here are Elizabeth and
Margaret ( reading left and
right we're told but no
guaranty goes with this!) —
those wholly entrancing
replicas of each other — who
are graduates of the Zieg-
feld Follies magna cum
laude and are at present en-
gaged in shaking four clever
feet in "Daffy-dill"
EMMA HAIG
This lithe straight young
. person had the misfortune
to tumble from her place
on the stage of the Music
Box and break her back by
falling on a piccolo player.
Happily she improves daily
and will resume her post as
premiere danseuse before
many months are over
Alfred Cheney Johnston
A TRIO OF TERPSICHOREANS
A Group of Talented Young Dancers who Help Make the White Way Gay
[237]
Why I Am Wonderful
Pauline Pure — Princess of the Picture Palaces — Makes a Complete Disclosure of the Secrets of Her Greatness
By BLAND JOHANESON
IT is spring in Oil City, Pa. But the
birds are mute, the breezes hushed, as
out of the awed and anxious midnight
flashes one radiant star, a symbol, fraught
with prophecy. In the little cottage down
by the railroad, Life's wondrous miracle is
taking place: a motion picture actress is
coming into the world.
"Pretty Polly," the simple townsfolk
were to call her, and "Pures' little Angel."
Indeed it was no other, our own Pauline
Pure. How well her name describes her.
Protected from the disillusioning buffets
of the theatre, in small schools and a shel-
tered home, the star perfected her art,
studying life among the plain and the good,
backbone of the nation over which she now
reigns.
No, success did not come suddenly to
this lovely young woman. Step by step,
falteringly but with courage, she trod the
weary road to fame, straining all her soul
and heart toward the attainment of the
place she now holds as supreme delineator
of the sweet, maidenly characters which
have made motion pictures an inspiration
to countless thousands all over the country.
And Pauline Pure is only twenty and still
a child at heart.
Even in her infancy, the baby genius was
vaguely conscious of the art-urge impelling
her toward her destiny. Sitting on the
stoop waiting for her curls to dry and
dreaming in the sunshine, now she was a
fairy, now an angel, now a roguish elf. As
the motley throng of spirit friends flitted
through her brain, Polly would attempt
to portray each fantastic little character.
"Making faces," the hooligans of the block
called it. How little did they reck. It is
ever genius' sorry lot to be misunderstood.
OWES ALL TO MOTHER
AND Pauline Pure is a genius. The
price she has had to pay has not b;en
too great. She said so herself in the cozy
tasteful little apartment where she received
us one day last week and with her own
dainty hands served us with tea and petits
fours.
The rosy glow from a pink piano lamp
transforming her tawny hair into a veritable
halo, her black robe etching her supple
form upon the white bear rug on which
she was reclining, the star was indeed a
vision, shy, naive, wistful, bewitching.
"How do you do it!" we gasped.
"I owe it all to mother." Miss Pure
flashed her captivating smile. "Indeed,
were it not for mother I would never be
what I am today, a star at twenty. Through
the many long years of study and prepara-
tion, never once did mother let me waver
from my high resolve to be a really good
motion picture actress. Sometimes when
the road seemed too hard and success too
uncertain I would hesitate and wish to
take an easier course. But mother ever
would steer me toward our goal. 'No,
Pauline,' she would say, 'the stage is not
for you. Broadway fame is not enough.
Your art must reach a larger gallery. You
must bring beauty into the lives of the
masses. Yours is not merely a career, but
a philanthropy.' "
"How happy she must be to see her
dreams realized," we commented as the
star paused to drop four lumps of sugar
into her fragile tea-cup.
"Happy? Yes." She paused reflectively.
"And I am fortunate. I do not regret the
money I could have made in vaudeville.
Then I'd have been only a performer.
Now I am an artist. And soon my full
ambition will be realized. For I am writ-
ing and directing my next picture all by
myself."
CUCUMBERS RESPONSIBLE FOR BEAUTY
YOU must be more than busy," we ob-
served in awe. But the little lady of
the screen is undaunted by the mass of
work before her.
"My writing is only a side-line," she
explained. "When an inspiration comes I
just jot it down. And I expect soon to
publish my collection of epigrams.
"My actual work begins at nine-
thirty — ' Here the star paused reflectively,
and a mist settled upon her soulful violet
orbs. "I wish you would say something
about the quiet life I lead in Hollywood/'
she said wistfully. "These reports one
hears about our little colony are simply
terrible. All of we artists are in bed by
nine-thirty every night."
Smiling sadly, she continued, "Dissipa-
tion would soon play havoc with my beauty.
Sleep and rest are my surest beauty pre-
servatives."
The star's complexion is even more
dazzlingly lovely than it screens, if there
can be comparative degrees of perfection.
"What is your secret of beauty?" we
asked.
"Cucumbers," she answered. "Any
woman can aspire to a skin as translucent,
clear and unwrinkled as mine if she eats
plenty of cucumbers. I have a large
cucumber and a glass of milk each night
before retiring.
"To retain my lovely figure, I am tak-
ing up dancing. I have a lesson every morn-
ing. There is nothing so beneficial as
starting the day with a split. I dance a
greeting. to the sun or a welcome to the
showers and I find the little aesthetic
thought makes the dance of spiritual as
well as physical value."
Our admiration for this serious young
woman was increasing with each new
revelation. We confessed as much to her
and she smiled sympathetically. "Dearie,"
she said in that friendly little way she has,
"Art is a hard master, and success requires
hard work. Dancing lessons aren't all I
take. I am studying voice production as
well, and as soon as I feel that I can
spare the time from my career, I am going
to Paris to let Jean DeReszke hear me
sing.
"That means that I must have my
French and Italian lessons, and as I intend
to specialize in Russian music, I soon will
master that language also.
"Then, too, I put in a lot of time de-
signing my wardrobe."
Miss Pure's exotic costumes long have
been the despair of the Paris couturieres,
and she acknowledged having created them
all herself.
"To be beautiful, I must make a study
of my own beauty, trying with harmonious
colors and sympathetic lines to accentuate
it," the star declared. "Of course, this
demands care and patience. But any really
smart woman expects to devote some part
of her time to the consideration of her
gowning and the cultivation of a refined
taste. Why, only recently I spent almost
an entire day going from one jeweler's to
another trying to find just the perfect pair
of earrings to set off my tennis suit."
KEEN ON THE AESTHETIC
'"PHE star's rigid adherence to the laws of
J- harmony does not stop here. When we
commented upon the rich heliotrope with
which the air of the apartment was red-
olent, Miss Pure confessed, "I detest the
vulgarity of the combination of scents, so
I always have used nothing but heliotrope.
My soap, sachet, extract, powder, all are
identically perfumed. I have been told
that heliotrope suggests the color of my
eyes. And to further carry out that idea,
I have had my car upholstered in the hue
of this same flower."
Indeed, not only her eyes, but all the in-
toxicating sweetness of this star's person-
ality is suggested by this rich bloom. She
is a heliotrope.
Every man, woman and child in the
motion picture colony testifies to Pauline
Pure's unselfish interest in her art. She is
glad to give a helping hand to any talented
young aspirant who approaches her. Often
she relinquishes the biggest scenes in her
pictures to an actress who has shown un-
usual ability. The camera-men, the car-
penters, all the workmen about her studio
adore her. She has a kind word and a
loving smile for each one. Indeed, she
even remembers the names of their wives
and the birthdays of their children.
"And what," we asked, preparing to
leave, "do you do with the little leisure you
allow yourself? What recreation do you
enjoy? How do you relax at the close of
the strenuous day you devote to your art?"
And flashing her enthralling smile, this
ambitious young woman answered : "In
my spare time I read Bernard Shaw. I
love his sense of humor."
[238] -I
May Vokes
THEATRE MAGAZINE, OCTOBER, 1922
An Interesting Chat with the Theatre's Most Famous Maid-of -all-Work
By CAROL BIRD
WOULD that I were beautiful!" she
said, and her head, with its crown
of tiny curl papers shook dolefully,
as she stared into the dressing room
mirror before her and beheld the "Lizzie"
who, during the two year run of "The
Bat" on Broadway, as well as for many
years before, has brought laughter to Broad-
way with her silly, grimacing face and
foolish-servant-girl ways.
"Would that I were beautiful!" she re-
peated, "but the kind fairies decided other-
wise, and I suppose it's something to my
credit that I decided not to overcome their
decision but accept it fully and whole-
heartedly. I have made a stock in trade
of my looks, and I have come in time to
believe that one can have almost as much
fun homely as beautiful, if one will only
reconcile oneself to the necessity for doing
so."
May Vokes chuckled and started to untie
the black bow that dangled from the back
of her straight brown hair.
"Do you know, shortly after I started
playing these silly-girl roles, I racked my
brain trying to determine just exactly what
it was my audiences found so funny in me.
I decided that it was a psychological
phenomenon. People believed that I was
attractive in real life — an intellectual, per-
haps— and their risibilities were tickled by
the thought of this sharp contrast : a beauti-
ful, cultured, intellectual actress, portray-
ing homely, silly servant girls. That was
it! I became certain that I was right. I
certainly hate to think of exploding their
self-deception by busting right out into
print with the black truth!"
FROM CONVENT TO STAGE
AGAIN she chuckled. The thought of
the expose amused her. Many things
amuse this comedienne. She has a sense of
humor, a buoyant spirit and she is in love
with life. You tell her that you believe
her natural gaiety and effervescence are re-
sponsible for her success in comedy.
"Perhaps being happy all the time does
help me on the stage," she agrees. "I manu-
facture most of my stage business accord-
ing to my moods, and I certainly do feel
light-hearted most of the time. When I hop
nimbly around the stage, and snicker and
giggle, and shriek, I actually feel like doing
all those things. It may be very juvenile
and school-girlish, I will admit, but when
a person feels blithe and jolly, you've just
got to let go a bit or, well — bust."
You interrupt to ask Miss Vokes to go
back to the first role of the Lizzie and
Tillie type she ever delineated — for all her
roles are cut off the same bolt. She crinkles
up her nose, and confesses that she doesn't
like to go back across the years.
"It's too long a time," she admits. "Let
me start with some of the last roles I've
played. No? Well, my role in 'My
Friend From India,' was the first of its
kind. I won't say just when that play was
produced. In going back to the beginning,
I might as well tell you that my convent
life was indirectly responsible for me being
launched into the profession, and comedy
work, in particular. Don't look so skep-
tical ! I know that an overwhelmingly
large number of actresses and chorus girls
seem to emerge from convents, but I assure
you that I really attended one. In those
days the nuns looked with horror on the
theatrical profession as a career for any
girl. However, a num-
ber of the girls at the
convent were permitted
to give an amateur per-
formance— I believe it
was a benefit for some
worthy cause. I was
only a spectator at re-
hearsals, but the coach
suddenly looked up at
me, and then ordered
me to interpolate a little
run or jig in back of one
of the leading characters
in the cast. I didn't try
especially to be funny,
but I must have acted
funny just the same.
They laughed at me,
and the coach kept me
in the sketch.
"Sometime after that
when a number of the
girls had left the con-
vent we attended a new
dramatic school in Chi-
cago. While there we
learned that one of our
convent chums was
playing with a stock
company. She still re-
membered my little
dance, or run, or jig, or
whatever it could be
called, in the convent
play, told her manager
about it, and he sent for
me. I was soon launched
as a comedienne. I have
been Tillies, and Julias,
and Lizzies, and Min-
nies ever since — the same
nonsensical, frittering,
foolish servant girls. Sometimes my role
starts out to be slim and inconsequential.
I build it up a bit on my own initiative,
and then, little by little it is padded and
made more important than perhaps even
the author originally intended it to be. In
the beginning every one helped me a bit.
It was like building a house. Some one
in the profession would offer a suggestion
as to a new line, a new piece of business,
an original gesture, and even friends out-
side the profession helped. But I guess I
[241]
alone am responsible for the voice, and its
tricks. Perhaps it's just as well that I
don't blame that on some one else. Some-
times when I find myself listening to my
own voice in some of its querulous whin-
ing moments on the stage, I wonder why
people cannot help but laugh at the sound
of it. But I won't use it differently, for,
it's gone over in all the past years, so why
meddle with something that's proved
effective?
"No, I don't mind always being cast as
a willy-nilly, silly little nobody, in un-
attractive make-up, as
long as I prove amusing.
I admit that a mirthful
audience sends me into
an ecstacy of pleasure.
I love to make people
laugh ; I'm happy to
realize that I'm draw-
ing people out .of them-
selves for a while — mak-
ing them forget the
things they want to for-
get, even if only momen-
tarily. But I'll admit
that sometimes I wish
that I could have a role
not all comedy, but just
shaded with a bit of
pathos. I wish that I
could feel that back of
the laughs that I pro-
voke there are tears. I
wish that some day I
might have a part which
would make people
laugh, perhaps, but
quickly follow up their
laughs with a sympa-
thetic remark, such as:
'Poor little Devil!
She has a pretty hard
time of it.' "
After Miss Vokes ad-
mits that she was the
one who launched the
once popular song, "I'm
Afraid to Go Home In
The Dark," and remin-
nisces a little about her
various roles in "The
Quaker Girl/' "A Pair
of S i x e s," "Good
Gracious, Annabelle,"
"A Knight for a Day," "A Fool and His
Money," "When Dreams Come True,"
and "Checkers," she refuses to further dis-
cuss her "Pig-Tail-Tillie" roles as she calls
them.
"I want to talk about my new home,"
she pleads and then launches into a dis-
cussion of the charming apartment which
she has made her hobby.
"And why not?" she asks, "Where else
can an actress find surcease from excite-
ment?"
I were beautiful !'
HEARD ON BROADWAY
Stories and News Straight from the Inside of the Theatre World
Told by
L'Homme Qui Sait
HERE'S an odd one that came to ray attention for the first time the
other day. On the program of all the JOHN GOLDEN-WIN-
CHELL SMITH attractions the name George Spelvin is invariably
listed. But there's no such person. It's merely an imaginary name
always used for good luck !
Bang! went VALESKA SURRAT out of the cast of "Spice of 1922." I
happened to be behind the scenes at the time the rumpus occurred. The
squabble took place between Miss Surrat and the unfortunate publicity
man for the show, who had not billed Miss Surrat to her liking. So are
things in the world theatrical ! The size of the type in which an actress's
name appears can apparently determine her enthusiasm for a part.
THE BELLIGERENT DALY
talking of scraps, the one over which ARNOLD DALY left his
latest manager, Joseph M. Gaites, was about something even more
trivial. I seem to be in on those things these days. The thing started
during a rehearsal of "The Monster" when Director LAWRENCE
MARSTON suggested some trivial change in the business for one of the
characters. Daly, who was in something of a huff due to a quarrel he had
just emerged from with the stage-door man, said to Marston: "See here,
I want this play played as I read the manuscript. I will not have any
changes. The manuscript that I read is what I am going to play. Not
another play." Marston insisted, however, as any director would, on his
direction being carried out, and the character under instruction (FRANK
McCORMACK, by-the-bye), did as he was told. Immediately after
rehearsal Daly telephoned Manager Gaites and demanded Marston's
discharge and a written apology from McCormack for what he had
deemed the latter's insolence under the circumstances. Mr. Gaites flatly
refused, Daly banged down the receiver, and that chapter in the annals
of the American Theatre was closed!
LAURETTE TAYLOR is now filming "Peg O' My Heart."
Producers as a rule are afraid to send their productions to the Coast;
yet JANE COWL, ETHEL BARRYMORE, and both the Chicago and
San Carlo Opera Companies did a marvelous business last year. The
West will respond generously if given the original company, as has been
proved.
It is rumored that SAMUEL SHIPMAN is writing a play around MRS.
HENRY B. HARRIS. With such a delightful and interesting character
who couldn't write a successful play. BUT who will play Mrs. Harris?
THIRTY-SIX CHANGES IN CAST
f ANGERINE" went merrily on for twelve months at the Casino Theatre
with JULIA SANDERSON always as its brightest star, but very few
people know that there were about thirty-six changes in the cast during
its New York run.
JOSEPHINE VICTOR took a plunge into vaudeville last year, playing
all the principal cities from the Atlantic to the Pacific Coast. She was
supposed to lay off the week before Christmas, but at the last moment
was hastened to Omaha from Minneapolis. The management of the
Omaha Theatre had not had time to have special announcements made
up, with the result that there was a large sign in front of the theatre
with only half of the previous week's advertising painted out, the lower
half remaining the same. When Miss Victor arrived at the theatre this
was what greeted her:
JOSEPHINE VICTOR
Hine's Trained Donkey
BINGHAM STRONG ON RADIO CIRCUIT
AMELIA BINGHAM is strongly enthroned in the hearts of the Ameri-
can people. Just recently she talked through the Westinghouse
Electric radio, and received more letters in response than any other
public luminary that has talked thus far.
WILLIAM H. CRANE and his wife are living at the Hollywood Hotel
in Los Angeles. One day his telephone rang and the casting director of
a certain moving picture studio spoke to the famous star: "I hear you
are a pretty good character actor. We have four character bits in the
picture we're just shooting, why don't you come over and try one of
them?" Mr. Crane's answer is not reported!
Despite numerous offers the stage will lose MARY HAY, otherwise
known as Mrs. Richard Barthelmess, until the spring. Miss Hay has
just recovered from a serious illness that has necessitated this long
vacation.
WILLETTE KERSHAW, PEGGY O'NEIL, EDITH DAY, and
DOROTHY DICKSON are four American girls who have scored deci-
sive hits in London.
PEACE SIGNED
'J1 HE booking facilities will be much better this year, for the MESSRS.
SHUBERT and MR. ERLANGER have agreed not to strangle each
other's attractions with strong opposition in cities with only two first
class theatres, in other words, not to book the Follies and a Winter
Garden attraction in the same city the same week, but attractions of as
much contrast as possible.
When POLA NEGRI comes to this country this year to start work for
the Famous Players, she will have GEORGE FITZMAURICE as her"
director.
HELEN REIMER, who gives such a delightful performance as Tillie
in "Partners Again," is the only actress that ever had a contract on a
solid gold plate. Miss Reimer was a member of the Keith Stock in
Providence for twenty-two years, and after her twentieth year was given
a life long contract in gold.
It is not generally known that LOUIS WOLHEIM, who gave such a
rejnarkably natural performance of "The Hairy Ape" is a jiotedTinguistT"
Mr. Wolheim has adapted several foreign plays for American production.
[242]
THEATRE MAGAZINE, OCTOBER, 1922
Enid Bennett as Maid Marian
and Douglas Fairbanks in the
itle role of "Robin Hood"
One of the striking castle in
teriors in the coming Fairbanks
production of "Robin Hood"
Frank Diem
Carol Dempster as the heroine
of a new D. W. Griffith offer-
ing— "One Exciting Night"
Henry Hull — once again the
harassed hero of a melodrama
— in "One Exciting Night"
TWO IMPORTANT NEW PICTURES
Griffith and Fairbanks Contribute Further Classics to the List of New Films
[243]
MARION DAVIES has started filming Guy Bolton's "Adam and Eva."
T. ROY BARNES will appear in the other title role, and others in the
cast are: LUELLA GEER, WILLIAM MORRIS, EDWARD DOUGLAS,
EDITH SHAYNE, and AMY SUMMERS.
"The Bat" one of the greatest hits New York has ever known, ran well
into its third year on Broadway and closed with the original scenery
intact. Wagenhals and Kemper, the producers of -the play, were super-
stitious about getting a new production.
Strange to say there are no really new theatres opening this year. But
what a marvelous transformation there is in the Gaiety and Fulton
Theatres. They are really like new — especially the Fulton, EDWARD
ROYCE'S masterful hand being in evidence, both in front and behind
the footlights.
THE PUBLICITY RECORD HOLDERS
W HAT will DOUGLAS FAIRBANKS and MARY PICKFORD get
publicity on next? First it was their own marriage, then the mar-
riage of brother JACK and MARILYN MILLER, and now one of the
most marvelous pictures yet screened — "Robin Hood."
ROBERT AMES won the Actor's Golf Tournament
at Westbury, defeating Otto Kruger and Frank
Crummit. Oscar Shaw acted as Judge.
^SIDNEY BLACKMER is one young actor for whom
everyone predicts a marvelous future. And why not?
Here is one artist -who works every spare moment.
He's been abroad, studying art. MARY ELLIS is
another youngster who deserves credit. Immediately
upon signing to play Nerissa in Mr. Belasco's pro-
duction of "The Merchant of Venice," she hastened
away to learn some of the fundamentals of the art of
acting in Stuart Walker's stock company before going
under the guiding hand of the dean of the profession.
It is rather interesting to note the changes in the names of the various
theatres in New York. For instance, the G.arrick used to be Harrigan's;
the Park, Majestic; Sam Harris, Candler, as well as the Cohan and
Harris; Republic, Belasco; Belasco, Stuyvesant ; 48th St., William Col-
lier's; Frazee, Lew Field's, Hackett, and the Harris Theatre; Belrnont.
Norworth; 39th St., Nazimova's; Nora Bayes, 44th St. Roof.
LINA ABARBANELL, known for her work here in "Madame Sherry,"
"Flora Bella," "The Merry Window," and "The Grand Duke," is playing
Gilda Veresi's "Enter Madame" in Berlin.
MRS. HENRY B. HARRIS now has a competitor. For years she has
been the only successful woman manager, but now ANN NICHOLS has
entered the field. Mrs. Harris not only manages plays but two theatres —
while Miss Nichols not only manages plays but writes them.
PEGGY WOOD BACK
PEGGY WOOD has just returned from France where she has been
receiving vocal treatments under the supervision of MME. EMMA
CALVE.
Last year brought back to us one great actress and personality— MRS.
^LESLIE CARTER — this year we are to have three: ELEANORA DUSE,
who will open her season at the Auditorium in Chicago; MARIE
TEMPEST in "The Serpent's Tooth" by Arthur Richman at the Little
Theatre, and the third, only a report, another "Farewell Tour" of
BERNHARDT.
The more stars the production gathered to itself the bigger the theatre
offered was the experience of the "Spice of 1922" organization. ARMAN
KALIZ conceived the idea. With VALESKA SURRAT, MOLLIE KING
HAL SKELLY, FRANK FAY, and CHARLES PURCELL as possibilities'
of a cast, the Punch and Judy Theatre was the proposed playhouse' with
the addition of BESSIE McCOY DAVIS, the Earl Carrol Theatre was
the one; with the addition of ADELE ROWLAND and JAMES HUSSEY
the Astor Theatre was sought; and finally with the addition of about sixty
players the Winter Garden was achieved.
"From Morn to Midnight" is the only Theatre Guild production origi-
nally put on only for "Special" matinees, which proved popular enough to
occupy a theatre for regular performances.
GEORGE M. COHAN wrote the book, lyrics and music for "Pretty Nelly
Kelly."
Vaudeville patrons will be surfeited with headliners this year. For the
Keith and Shubert variety houses, in nearly every big city, there is an
overabundance of talent. The principal Shubert headliners are: GER-
TRUDE HOFFMAN, LEW FIELDS and JOE WEBER, BLANCHE
FUNG and CHARLES WINNINGER, VERA MICHELENATjIMMY
HUSSEY, JOHNNY DOOLEY, WATSON SISTERS, and BESSIE Mc-
COY DAVIS. The principal Keith headliners include: FRITZI SCHEFF,
LIONEL ATWILL, FANNY BRICE, LOT TELLEGEN. IRENE
FRANKLIN, RAYMOND HITCHCOCK, and VAN & SCHENK.
What must it feel like to be a movie idol? Los Angeles women won't
leave RUDOLPH VALENTINO alone. It is a common occurrence to see
. 3_iDob calmly promenading through the main thoroughfares, with the
much beloved Rodolpho smothered in its center. And, when he leaves
the studio, it is a puzzle to find his car, so completely is it hidden by the
mob of admirers.
COMSTOCK AGAIN IN LISTS
Neither ELIZABETH MARBURY nor F. RAY COM-
STOCK, the originators of the Princess Theatre
musical comedies, has been active in stage production
for some time. Recently it was reported that Mr.
Comstock would return this year to the managerial
ring with a new comedy from the pen of Guy Bolton
called "Polly Preferred," and that Miss Marbury
would sponsor "The Front Seat," by Rida Johnson
Young. Confirmation has already been received from
Mr. Comstock, but there is still watchful waiting so
far as Miss Marbury is concerned.
With this sudden vogue for colored entertainment, WILLIAM HARRIS,
JR., should revive "Sazzus Matassus" which first brought Fay Bainter
int. i prominence in the East.
Will MAUDE ADAMS ever return to the footlights? is a question that
is constantly being asked. JtjiJiot generally known that Booth Tarking-
jon wrote "The Intimate Stranger" for Miss Adams, but even he could
not lure her back last season. Meantime she is experimenting in her own
.specially equipped studio in Schenectady, with a view to cinema repro-
duction in color. Bearing in mind the gorgeous color and lighting
effects produced by Miss Adams in working out her own ideas in "A
Kiss for Cinderella," we may well possess our souls in patience — that
the cinema world may benefit by her experiments.
POWERS BEHIND THE THRONE
J)O these people ever get much credit for helping an author MAKE his
play possible, an actor successful, and a producer famous? JOHN
.MURRAY ANDERSON. CLIFFORD BROOK, WILLIAM COLLIER,
JOHN CROMWELL, DAVID BURTON, AUGUSTIN DUNCAN,
OSCAR EAGLL, SAM FORREST, WILLIAM H. GILMORE, IRA
HARDS, BERTRAM HARRISON, J. C. HUFFMAN, FRED LATHAM
_LESTER LONERGAN, EDGAR MAcGREGOR, GEORGE MARION,
LAWRENCE MARSTON, JOHN McKEE, ROBERT__MII.TONi
JULIAN MITCHELL. PRIESTLEY MORRISON7~ID£^~"PAYNE,'
WILLIAM H. POST, FRANK REICHER, EDWARD ROYCK CYRIL
SCOTT, OTTO KRUGER, HASSARD SHORT. FRANKLYN UNDER-
WOOD, NED WAYBURN, and WALTER WILSON. They are the
directors of the American Theatre.
Half of the success of FRED STONE is due to the fact that he is always
planning and doing something new. In every new play he has, Mr.
Stone does some new specialty, such as acrobatic feats, shooting or lariat
throwing. His make-ups are always interesting and legitimately amusing
from the Scarecrow in "The Wizard of Oz" to the Indian in "Tip Top "
This summer he staged a Society circus which met with great success
In fact everything Mr. Stone has a hand in seems to be successful his
daughters recent appearance with him, being no exception to the rule
[244]
THEATRE MAGAZINE, OCTOBER. 1922
THE AMATEUR STAGE
Edited by M. E. KEHOE
"
"The Old Man of Eden," by Paul Greene, a melodrama of the
Carolina Coast ( Edenton, N. C.) , of Colonial times, with
setting by Elizabeth A. Lay of the Carolina Playmakers
THE FOLK PLAYS OF THE
CAROLINA PLAYMAKERS
(Above)
A scene from '"The Reaping/'
hy John Terry, with the tra-
ditional negro mammy, reminU-
rcni • r the "old South," play-
ing an important part. "The
Reaping1' is a play of social
problem with North Carolina
of today as its setting. Kath-
erine Batts is shown as Janey.
the wife, and Mabel Bacon as
Mammy, the Servant
"In Uixon's Kitchen," a romance of country life in North Carolina, by Wilbur Stout
in collaboration with Ellen Lay, with Le Grand Evere'.t, Jr., as Hiram Dixon; Ellen
Lay, as Ma Dixon, his wife; Annie Lee, their daughter, George Winston and Thornton
Gholson, their sons; Lloyd Williams, as Lemuel Isley, a friend. The characters are
all well known to the authors, who dedicated the play to the real Annie Lee, and to
all others who have been courting in the country, with the perplexing problem of
Little Brother to contend with
[245]
Folk Playmaking
By FREDERICK H. KOCH
Founder of The Dakota Playmakers and The Carolina Playmakers
THE Carolina Folk-Plays suggest the
beginnings of a new native Theatre.
They are pioneer plays of North
Carolina life. The stories and characters
are drawn by the writers from their own
tradition, and from their observation of the
lives of their own people.
They are wholly native — simple plays of
the locality, of common experience and of
common interest. North Carolina is rich
in legends and in historical incident ; she is
rich too in the variety and virility of her
present-day life. There is in these plays
something of the tang of the Carolina soil.
There is something of the isolation of her
mountains and their sheltering coves ; some-
thing of the sun and the wind of the farm
lands; of the shadowy thickets of Scuffle-
town Swamp; something, too, of the lone-
liness of the lives of the fisherfolk on the
shifting banks of Nags Head or Cape
Lookout.
They were written by sons and daughters
of Carolina, at Chapel Hill, the seat of the
State University. They have been pro-
duced with enthusiasm and success by The
Carolina Playmakers in their own town
and in many towns all over the State. The
Carolina Playmakers is a group of ama-
teurs— amateurs in the original and full
sense of the word — devoted to the estab-
lishment of a theatre of co-operative folk-
arts. Not a single cloth has been painted
by an outsider. Everything has been de-
signed and made in the home town in a
truly communal way.
To be sure they are plays of a single
section, of a single state, North Carolina.
But they have a wider significance. We
know that if we speak for the human nature
in our own neighborhood we shall be ex-
pressing for all. The locality, if it be truly
interpreted, is the only universal. It has
been so in all lasting literature. And in
every locality all over America, as here in
North Carolina today, there is the need
and the striving for a fresh expression of
our common folk life.
THE BEGINNINGS IN NORTH DAKOTA
'J'HE North Carolina plays represent the
cumulation of years of experiment. The
beginnings at the University of North
Dakota, located at Grand Forks, were
simple enough. It is now sixteen years
since the writer made the first "barn-
storming" tour, in 1906, over the treeless
levels of Dakota with a company of uni-
versity players. The play was Richard
Brinsley Sheridan's admirable comedy,
"The Rivals," to be followed in succeed-
ing tours with such old favorites as Gold-
smith's "She Stoops to Conquer," Dickens'
"Tom Pinch," and Sheridan Knowles'
"The Love Chase." In this way the
ground was cleared and made ready for a
peoples' drama of sound foundations.
A remarkable development of dramatic
* "Dakotan Discoveries in Dual Dramaturgy,*' by H:
interest followed, and an enthusiastic
fellowship of players was formed. It grew,
and became in good time a flourishing so-
ciety of play-makers — The Dakota Play-
makers — pledged to the production of
native plays of their prairie country.
Two different types of drama developed
naturally — the pageant, a distinctly com-
munal form enlisting actively all the peo-
ple ; and the folk-play, an intimate por-
trayal of the life and character of the peo-
ple of the plains.
THE FIRST BANKSIDE THEATRE"
TN the Dakota pageantry a new form of
creative literary work was evolved —
communal authorship. The historical
"Pageant of the North-West," in 1914,
and the tercentenary masque, "Shakespeare,
'The Playmaker," in 1916, were designed
and written entirely — dialogue, poetry, and
music — by a group of these amateur Play-
makers in collaboration, eighteen in the
first case and twenty in the second. And
the published play-books proved that the
people themselves, when rightly directed,
could create their own dramatic forms, in
phrase, "filled with liveliness and humor,
and with no little imagination" in a co-
operative native drama "never amateurish
and sometimes reaching a high literary
level."
Such production required a theatre in
the open. There was no hill-slope and,
by the necessity of the prairie land, a new
type of nature theatre was discovered. So
the Bankside Theatre came to be "the
first open-air theatre to make use of the
natural curve of a stream to separate the
stage from the amphitheatre"*, and a con-
tribution was made of permanent value
in the history of the out-door stage.
In succeeding years of this renaissance —
for such, indeed, it proved to be — The
Dakota Playmakers carried out over the
State their new-found means of dramatic
expression, directing the country people in
many parts of North Dakota in the writ-
ing and staging of pageants and plays of
their own local traditions.
At the same time The Playmakers at
the university were busy writing for their
improvised "Play-Stage" a variety of sim-
ple folk-plays portraying scenes of ranch
and farm life, adventures of the frontier
settlers, incidents of the cowboy trails.
Typical of these prairie plays, perhaps,
is "Barley Beards," by Howard DeLong,
who was born of French homesteaders in
a sod shanty forty miles from the railroad.
"Barley Beards" "deals with an I. W. W.
riot in a North Dakota threshing crew
and is based on young DeLong's experi-
ences on a Dakota wheat farm at harvest
time. The author himself designed and
painted the scenery, and acted a leading
part in his play.
Other one-act pieces of this type are :
"Back on the Old Farm," by Arthur
Cloetingh, suggesting the futility of the
"high-brow" education when it goes back
to the country home at Long Prairie ;
"Dakota Dick," by Harold Wylie, a
comedy of the Bad Lands of the frontier
days; and "Me an' Bill," by Ben Sherman
of Judith Basin, Montana, a tragedy of
the "loony" sheepherder, well known to
the playwright, and his love of the lonely •
shepherd's life on the great plains.
Such are the country folk-plays of
Dakota — simple plays, sometimes crude, but
always near to the good, strong, wind-
swept soil. They tell of the long bitter
winters in the little sod shanty. But they
sing, too, of the springtime of unflecked sun-
shine, of the wilderness gay with wild roses,
of the fenceless fields welling over with lark
song! They are plays of the travail and
the achievement of a pioneer people.
THE CAROLINA PLAYMAKERS
they toured the State with their
new-made Prairie Plays using a simple
portable stage of their own devising. And
the people in the towns visited received
them with wonder and enthusiasm. They
knew them for their own, and were honest-
ly proud and happy about it. Everybody
said, "Come again, and we'll give you a
bigger audience next time!" The little
folk-play had found its own.
ram K. Moderwell, in The Boston Evening Transcript,
[246]
CAROLINA extends more
than five hundred miles from the great
Smoky Mountains on the western border
to the treacherous shoals of Hatteras. In
the backhands of these mountains and
among the dunes of the shifting coast line
may be found "neighborhoods" where the
customs of the first English settlers still
prevail, where folk-tales still survive in
words and phrase long since obsolete to us,
handed down by word of mouth from one
generation to another through all the years
of their isolation.
And in North Carolina, too, we have the
ballads and the lore of an outlived past'
side by side with the new life of the pres-
ent day. Here are still the fine old families
of the first Cavaliers and the children of
the plantation days of the Old South. In
contrast with these is the dreary "one-
horse" farm of the poor white tenant and
the shiftless negro. In greater contrast,
perhaps, is the .toil of the thousands of
workers at the roaring mills.
North Carolina is still without large
cities, and a strong folk-consciousness per-
sists. The state is still regarded by the
people as a family of "folks", due to the
fact that the population is almost pure
Anglo Saxon and still remarkably homo-
genous. For all the changing industrial
conditions less than two per cent, of the
(Continued on page 270)
September 30, 1916.
THEATRE MAGAZINE, OCTOBER. J922
An amusing scene from
"Checkmate," Malcolm I .1
I'r.i.l.- - C b e 1 1 Burlesque
which was received with in-
stant approval and enthu-
siasm by both the Faculty
and the student body of
Washington Square College.
Under the direction of Ran-
dolph Somerville, the play
was given an inexpensive
but effective setting, the use
of screens decorated with
the chest characters, giving
the necessary atmosphere.
The Washington Square
Players will produce the
third of a series of six of
La Prade's chess plays—
"The Queen's Gambit," in
October
Checkmate
A Burlesque in Rhyme
By Malcolm LaPrade
All rights reserved by the Author
First Performance by the Washington Square College Players of the New York University, December 17th, 1921
PERSONS IN THE PLAY
THE WHITE KING THE WHITE QUEEN
THE KING'S PAWN THE RED QUEEN
SCENE, THE CHESS BOARD.
Floor cloth of large black and white squares
and a background of black velvet curtains.
Costumes of the Elizabethan period, bearing a
slight resemblance to chess men.
The King is a gentleman of fifty, rather
scrawny and somewhat the worse for wear. The
White Queen, his ivife, is a stout lady of an
exceedingly irascible disposition. The Red
Queen is a charming lady of thirty, coquettish
to a degree and extremely self-assured. A lady
•with a past as well as a future. The Pawn
is a simple lad of twenty, trustful and without
guile.
The lines should be spoken in burlesque of the
classic style, but with great attention to the
rhyme.
AT RISE.
The King, a worried expression on his face,
paces agitatedly up and down, glancing now
and then at a piece of lavender note paper
which he holds in his hand. The Pawn stands
near by watching him curiously.
PAWN
What hath befallen, Sire, thou seemest grieved?
KING
Forsooth, small wonder, sir!
PAWN
Hast thou received sad tidings?
KING (Pausing.)
Aye, a lady cometh here this afternoon — A lady
whom I fear
May by some word unwittingly inflame
The temper of my estimable dame.
Alack, alack! (He resumes his pacing.)
PAWN
And is there aught between
Ye twain to rouse suspicion in the Queen?
KING
Indeed, sir, since my consort groweth stout
I scarce may greet a slender maid without
Arousing her suspicion!
PAWN (Shocked.)
Say not so!
Such base mistrust twixt wedded folk? No, no,
That were to set at naught the marriage vow!
KING
It bindeth not the lean to fat, I trow!
Such strain no bond endureth!
PAWN
Tell me, pray,
Why doth this lady seek, My Liege today?
KING
Ah, woe betide me, Sirrah, I suspect
The heartless creature cometh to collect.
PAWN (Astonished.)
Collect?
KING
E'en so.
PAWN
How cam'st thou in her debt?
KING (Approaches Pawn and speaks confiden-
tially.)
A momentary weakness, I regret —
But harken to this letter she hath writ
And mark how she doth let me in for it. (Reads.)
"Dear Daddy: I have ordered me a cloak,
The Russian Sable one, of which I spoke
Last Tuesday Eve when thou did'st promise me
A little gift in memory of thee.
I find no words to thank thee for this boon!
P.S. I'll bring the bill this afternoon."
(He crumples up the note and looks helplessly
at the Pawn.)
[247]
PAWN
Can'st not contrive to give the jade the slip?
KING
This time methinks she hath me on the hip,
And cometh here prepared to make a scene.
If I refuse to pay she'll tell the Queen.
PAWN
Thou hast the money?
KING
Nay, sir, not a cent!
PAWN
Wilt touch thy wife?
KING
Aye, such is my intent.
PAWN
She'll scarce be sympathetic to a loan
Of any sum, for purposes unknown.
What wilt thou say, Mv Liege, and how explain?
KING
I shall devise some method to obtain
Her purse, and borrow fifty crowns without
Recourse to explanation.
PAWN
Aye, no doubt
That were the safer way could'st thou evade
Her watchful eye.
KING
I must enlist thine aid.
PAWN (Bowing.)
Command me.
KING
Thou shalt mount the stairs unseen,
And enter in the chamber of the Queen
Whilst I detain her here. Her velvet bag
Is in the dresser drawer. Secure the swag
(Continued on page 275)
Community Dramatic Activities
By ETHEL ARMES
Of Community Service, Incorporated
TO have scenes from Longfellow's
"Evangeline," dramatized in Louisi-
ana on the banks of the Teche itself,
by descendants of the very Acadians exiled
from Nova Scotia who actually found set-
tlement there, "far to the southward," is
indeed a striking event in the annals of
American pageantry.
It sounds almost too picturesque to be
true. Yet it all happened as a matter of
fact during the past summer in the Iberia
Parish Pageant given by the people of New
Iberia, Louisiana, under the auspices of
Community Service.
According to historic records, it was here
in the beautiful valley of the Teche this
"Eden of Louisiana" that a
large number of the one time
farmers of Grand Pre set-
tled, became planters and
herdsmen and their sons, voy-
ageurs, trappers, traders and
coureurs des bois. Their chil-
dren and their children's
children dwelt here where,
"Beautiful is the land with its
prairies and forests of fruit
trees."
According to Longfellow's
poem, close by the Bayou
Teche lived Gabriel's father,
Basil the blacksmith, now be-
come Basil the herdsman :
"Near to the bank of the
river, o'ershadowed by oaks
from whose branches
Garlands of Spanish moss and
of mystic mistletoe flaunted,
Such as the Druids cut down
with golden hatchets at
Yuletide,
Stood secluded and still, the house of the
herdsman."
THE EVANGELINE CHARACTERS
A LL of the chief characters in the poem :
Basil, Gabriel, Evangeline, Father Feli-
cien, Michael the fiddler and a whole host
of the folks of Acadie, men, women and
children, played their parts against this
haunted, mystic background. The stage
was curtained by the Spanish moss. Be-
yond it shone the waters of the Bayou.
Gabriel Lajeunesse, sick at heart from
the long enforced separation from Evan-
geline, leaves the herdsman's house in the
valley of the Teche and all his kith and
kin in their new found home: "weary with
waiting, unhappy and restless. . . .
Sought in the Western wilds oblivion
of self and of sorrow."
With his hunter and trapper comrades,
Gabriel, played by Albert Hill, turns the
prow of his light swift boat northward "to
the land of the bison and beaver."
Thus, in the pageant the scene is given
true. In the twilight Gabriel's boat passes
another boat which is hidden behind a
screen of palmettos and willows. In this
boat Evangeline lies sleeping. So Gabriel
passed "to be blown by the blast of fate
like a dead leaf over the desert."
Long after the voyageurs have disap-
peared around the curve of the bayou the
Acadian girl awakes: "O, Father Felicien!
Something says in my heart that near me
Gabriel wanders. Is it a foolish dream?"
Evangeline's part was taken by Rita
Blanchet, one of the loveliest girls in all
Iberia. Wearing the Norman cap and
homespun kirtle, of the period, black velvet
bodice, snow white apron and fichu, with
her rich hair in two long braids, this young
girl with no theatrical training or profes-
On the banks of the Teche. in the Parish of Iberia. La., the descendants
of the Acadian exiles from Nova Scotia, dramatized scenes from
Longfellow's "EvangeTine," in a bewitching setting of moss-hung trees
sional background whatsoever, yet held by
her simplicity and sweetness and by the
strength and beauty of her interpretation
the attention of 10,000 people.
The part of Basil was taken by the
Baptist minister, Rev. S. D. Rob;rts.
Father Joseph, of Iberia, a beloved
Catholic pastor of the Teche today, played
the part of Father Felicien, Evangeline's
guide, "the faithful priest, consoling and
blessing and cheering,
Like unto shipwrecked Paul on Mel-
ita's desolate seashore."
How still it was in the pageant when
Evangeline and Father Felicien with the
wistful group of Grand Pre folk came
ashore !
"Slowly they entered the Teche, where it
flows thru the green Opelousas
And thru the amber air, above the crest
of the woodland,
Saw a column of smoke that arose from a
neighboring dwelling; —
Sounds of a horn they heard, and the dis-
tant lowing of cattle."
£_ HORSEMAN loomed out of the
forest. Who should the horseman be,
but Gabriel's father, Basil the blacksmith!
Then what a tumult and shouting of de-
light from all the other Grand Pre neigh-
bors and dear friends who last had seen
the figure of Evangeline on the Nova
Scotian shore, kneeling beside her dying
father as the flames ate up their homes and
the savage ships bore them into the un-
known ! They had never dreamed to see
Evangeline again — or their beloved Father
Felicien.
Michael the fiddler, "our brave Acadian
minstrel" played his gayest tunes. Every-
one was enraptured. Then, like a shaft of
lightning out of a clear sky — to Evangeline
— came the word of Gabriel's departure
the day before!
"Gone? Is Gabriel gone?"
The people who saw it
played say they can never for-
get it. It was no wonder
that people in Louisiana
wanted it done all over again.
If Iberia could give it every
year — just this alone — in more
and more perfect form it
would indeed mean a great
gift to the nation.
gESIDES the pageant of
the early Acadian settle-
ment and of Evangeline which
followed a vivid picture of the
early Indian life of that sec-
tion, the other episodes of this
Fourth of July Community
celebration led through vari-
ous trails of Iberia's history:
the arrival of the planters
after the Battle of New Orleans, old time
dances, manners, customs ; the period of
the War Between the States.
The following committees had complete
charge of preparing and presenting the
pageant: H. D. Schubert of Community
Service, General Director ; Theda B. Mur-
ray, Pageant Director; Inez DeBlanc, Di-
rector of Dancing; Clet Girard, Chairman
of Music; Mary Brigand, Pianist. Indian
Episode: Alma Sharp, Chairman; Mrs.
Fred Patout, C. M. Bahon, Harold Kahn;
French and Spanish Episode: Mrs. Clet
Girard, Chairman ; Theda B. Murray,
Henri Blanchet ; Acadian and Evangeline
Episode : Carrie Moss Pharr, Chairman ;
E. J. Carstens, George J. Cousins, Jr.,
Rita Blanchet; First American Settlers:
Pearl Davis, Chairman ; Ethel Carver, E.
P. Roy, Albert Hill; 1861 Period: Amelia
Pharr, Chairman; Francis Simon, Mary
Etta Murray; Spirit of Today: Rita M.
Soulier, Chairman ; Maude Estorge, Car-
rie Moss Pharr, Hon. Edwin LaSalle.
[248]
THEATRE MAGAZINE, OCTOBER, 1922
Carlotta Monterey, as interpre-
ter, shows us the new mode of
the leather jacket, to be worn
with separate skirts and some-
what take the place of the fur
jacket. This one is of the soft-
est and most pliable suede in
a rich red tone, with a very
interesting kimona sleeve and
a collar of black astrakhan.
The hat that accompanies the
jacket is in black and carries
on the side one of the big
smashing ribbon bows that are
so much featured in the fall
hats.
Aa enchanting combination of
tones and materials has been
worked out in a semi-tricorne
model, such as Miss Monterey
wears. Brown satin covers the
frame, and the edge is bound
with a dull gold braid, of
which the cockade is also
made. Over the brim falls an
edging of brown lace that hangs
down in two long streamers to
the waistline.
MODELS FROM HOLLA NDER
FASHION
c4s Interpreted by
the cActress
Indicative of the latest lines in
brims is this suede-covered hat
on the new "burned-bread"
shade of brown, its swirling
coque plumes in a matching
tone. Miss Monterey's frock
was of black crepe, cross-
stitched in while.
We have seldom seen anything
more charmingly practical than
this cape which Hollander has
imported. In three-quarter
length, light yet warm, it is of
black silk velvet, lined with
gold plush. With it Miss
Monterey is wearing the most
engaging of small hat shapes,
a rather vivid French blue felt
with a ribbon and a long curl-
ing feather in King bine.
Nikolas Muray
[249]
KITTY GORDON IN THE LATEST FUR MODELS
PROVES THAT THERE IS
NOTHING WRONG
IN THIS PICTURE
w mink, when the skins are I
Snowing ho
as cleverly manipulated and the cut as
skilfully effected as in this coat, ran have
all the sumptuosity of sable. From A.
Jaeckel & Co.
Chinchilla seems just now in higher
favor than ermine or sable for de luxe
occasions, and from Gunther comes a
gorgeous chinchilla evening wrap lined
with blue and silver brocade
(Left) A broadtail coat follows
the prevailing fashion for panels, and
adds to its slenderness by having two
intriguing ones edged with black lynx,
to swing free, or to be wrapped around
the arms for further warmth. From
Gunther
Another of the new short jackets, cut
so as to be very snug around the hip
line. Gunther offers the model in
sealskin with caracul and a slender
composition belt of links of black and
silver
Ira L. Hill
Short jackets of fur are to be very much
the thing, and A. Jaeckel & Co. offer a
stunning one in black Persian lamb trim-
med with touches of scarlet and lines
of small gold nail-heads
[250]
THEATRE MAGAZINE, OCTOBER, 19H
Tornello Studios
(Top left). A return to buckles is one of the distinct
features of the new shoes, wherein we are now at one
with Paris. A delightful combination has been effected
here between an elaborate pair of buckles of cut steel,
black suede vamps and heels, and patent leather backs
and straps.
( Lower left) . Quite a different type of shoe, but
frightfully smart, is this of patent leather stitched on
the sides in bisque and trimmed with a narrow piping
of bisqne colored leather and crisp little rosettes of
the black and bisque. The stockings embroidered in
gay colored Czecho-SIovakian designs are an origina-
tion of the Gotham Stripe Hosiery Company.
SHOES FROM
C. H. WOLFELT CO.
DELLA VANNA OF THE
GREENWICH VILLAGE FOLLIES
(Top right). Another type of the elaborately buckled
shoe in patent leather with an arrangement of straps
that gives spring and grace and permits the showing of
one's pet stocking through the interstices.
( Center) . Shoes with an extraordinarily charming
shape of vamp, topped and backed with grey suede.
(Lower right) . For evening are these French mar-
quise slippers with a heel of particularly graceful line,
a novel trick to the straps and made up in brocade
with mother-of-pearl tones.
[251]
Lucille Chalfont, of ihe Green-
wich Village Follies, seated in
the new model Standard
Roadster. Several important
changes have heen made in the
Standard 1923 models, chief
of which is the installation of
an aeroplane lubricating sys-
tern which means unfailing
lubrication and low oil tem-
perature even at high speeds.
( Right) The owner of u new
Hudson coach is to be envied
especially if like this one he
is situated near the shores of
picturesque San Francisco bay.
The Hudson coach is solidly
constructed, easily seats five
passengers, and costs less than
$300 more than the open car.
( Below) Barney Bernard alighting from his
Cadillac Sedan at the stage entrance of the
Selwyn Theatre, where he is co-starring with
Alexander Carr in "Partners Again."
PROMINENT STAGEFOLK AND
TIIKIK CHOICE OF CARS.
WOULD THEIR CHOICE BE
YOUR CHOICE?
[252]
THEATRE MAGAZINE, OCTOBER, 1922
Miss Mae Murray, whose last picture,
"Broadway Road," is about to appear,
and her Hudson Sedan. The photograph
was taken in front of Miss Murray 's
charming home at Great Neck, L. I.
( Left) This is the striking car used
by Pearl White during her stay in Paris.
It is the new model Farman.
* Right) Because Gilda Gray, of the Ziegfeld
Follies, past master of the shimmy, chose to be
photographed with her new Packard, we pre-
sume it to be her favorite — possibly because it
is the latest acquisition.
(Below) A close-up of Gilda Gray's garage
which houses her four cars, a Stutz, a
Packard, a Delage, and a Buick. This and
the above picture have never been shown
before, but we believe from now on they
will figure in the catalogues of every dancing
teacher, proving what dancing will do for you.-
[253]
The quiet simplicity and good taste shown in the treatment
of the living room is characteristic of the house itself and
all its environs
"MILLSTRE AMS," THE
CONNECTICUT HOME
OF WINCHELL SMITH
The Winchell Smiths, but recently returned
from a continental tour, have opened their
charming home on the Farmington River, Conn.,
where the co-author of that perennial success,
"Lightnin' ", is hard at work on a new play,
shortly to be produced on Broadway.
It is entirely appropriate that a grandfather clock should
stand guard at the head of this friendly Colonial stairway.
A hall light that has all the attributes of the old-lime postern
lamp does its bit too, to carry out the Colonial note
[254]
THEATRE MAGAZINE, OCTOBER. 1922
The ascent to the house from
the boat landing on the Farm-
ington River is accomplished
by means of steps fashioned of
rough slabs of stone, set in the
wooded hillside
10 Winchell Smith's success to be wondered at with the inspiration of
enchanting view of the Farmington River, from his study window?
this
[255]
The Promenades of Angelina
She Arrives at a Rehearsal of the Greenwich Village Follies by Way of Southampton
Drawings by Art Snyder
Ula Sharon, premiere danseuse of the
G. V. Follies, just to be sure of keep-
ing busy every minute at rehearsals,
practiced tying herself into bowknots
COMING up from Southampton, the
other Monday, on that dreadful
middle-of-the-night 7.40 "business
special" ( . I always wonder, once aboard
the lugger, how I ever managed to make
it . ) Tubby introduced me to a swanky
young Englishman we ran into on the
platform . . They had been co-guests at
a previous week-end . . Tubby 's always
frightfully sweet about sharing his new
friends and adventures with me, as you
know, but he had an ulterior motive be-
sides that morning. .
He's exceedingly <;/>ra just at present
of a young married woman much men-
tioned in the society columns . . and she
was going up on the same train, but her
seat was in the car behind ours. So in-
troducing the young Englishman to me it
enabled Tubby to say, "Take my seat,
old man, and talk to Angelina on the
way up, I'll go and smoke" . . and
then make his get-away . . Not quite
so abruptly as that, though . . For
the Y. E., after the courteous amount
of protest, said, "Thank you so much.
That's very kind of you" . . and
Tubby said he wasn't so sure .
Angelina was a very dangerous young
person. . and when he (the Y. E., that
is) got to New York and found his heart
lost, and his peace of mind destroyed
forever, perhaps he wouldn't think so
kindly of what Tubby had done for
him . . And then Tubby actually did
depart, very pleased with himself at
having fixed everything so nicely . .
me taken care of and himself free to
philander with his little affair . . I, all
unaware of anything . . Oh, to be
sure . . Nice old ostrich !
Of course, I was perfectly happy . .
This was a particularly nice specimen of
Englishman, looking awfully like David
Powell . . And David Powell is the real
love of my life . . I realize it anew every
time I see him on the screen . . and forget
it in the meantime, says Fanny . . How-
ever, there's nothing like a screen love for
"safety first," is there? I had just sighed
over Powell at the Rivoli the week before
in "Her Gilded Cage," with Gloria
Swanson . . all too brief the scenes in
which the handsome creature appeared . .
and so was in a particularly amenable
mood for his near-double. Funny, his
nr\me, I learned later, was David, too . .
We got on famously from the start . .
Tubby 's remark reminded me of the "Dolly
Dialogue" . . where Dolly Mickleham
shows her new album, with its inscriptions,
to Mr. Carter and asks him to add some-
thing tender and appropriate, and he writes
to the effect that "those who have cnce
enjoyed the privilege of Lady Mickleham's
society are unanimous in warning all others
to forego it" . . And my vis-a-vis was
delighted with the reference . . Fancy
a person of your generation knowing the
"Dolly Dialogues," he remarked . . and
told me how he did two of them once
with an English girl for some amateur thea-
tricals down in Torquay at a house party. .
and how effective they were . . "I always
thought they would have gone profession-
ally, too," he said. From that we talked
of plays and the theatre in general . .
Well, you can only keep me away from
the subject for any length of time by shoot-
ing me . . and then one-thing-led-to-an-
other and I asked him if he would care
to see a rehearsal of The Greenwich Village
P'ollies on which I was going to look in
that afternoon. "Splendid idea" . . "en-
chanted" . . he returned.
At the Pennsylvania Station, Tubby and
his lady joined us and Tubby suggested
a foursome for an early lunch at the
Crillon. It was made unanimous . . So
at 12.30 we all turned up promptly . .
Tubby 's lady in a fetching costume com-
pounded of a periwinkle blue crepe and a
hat of "burnt bread" color, with the new
touch of bronze pumps and big bronze
buckles. Tubby really is nice . . He never
insults one in his temporary apostasies by
choosing tiresome and dowdy females to
admire . .
At the Crillon we tore off a jolly little
lunch . . though the English David and
I cut it short for the Follies, at the Park
Theatre.
Even so, we found the rehearsal in full
swing . . Introduced to the good-looking
The chorus displays its virtuosity even
during the breathing spaces of the re-
hearsal, stretching itself out at ease on a "prop"
toes carelessly poised on the scenery
with
The Russian Alexander Yakevleff as
dancer and ballet master is a feature
of this new edition of the Greenwich
Village Follies
John Murray Anderson, its director, in
working regalia of coat-off and a soft,
white shirt with the sleeves rolled up and
collar open at the throat we choose seats
well down in the darkened auditorium near
the front of the stage, to be in the midst of
things . . and miss none of the witty quips
and byplay that are always going on at
such occasions . .
The chorus is lined up in front of
the footlights, around the piano, rehears-
ing "The Cinderella Blues" . . the
"tall-girls," as Anderson refers to them,
on chairs . . and the "small-girls," the
little flappers, with their rehearsing cos-
tumes of knickerbockers of sorts and
rolled stockings, hanging their bare knees
over the edge of the stage. A collection
of gorgeous girls, believe me ! Each,
tall or small, an individual type!
Murray Anderson claims never to en-
gage anyone who looks in the least the
stereotyped chorus girl . . and he has
picked a most refreshing line-up to
see . .
There is the lovely Spanish girl . .
and the beautiful tall and dark and
slender Van Voorhees, a constant quan-
tity in the Anderson productions . .
and the fair and tall and slender Delia-
(Continued on page 274)
[256]
THEATRE MAGAZINE, OCTOBER, 1922
Where Barnum Went Wrong
O
|OR twenty years or so
we've all been hearing
Barnum's classic remark
—"The public likes to
be fooled."
The public has always enjoyed this
biting comment, because it came from
America's best loved showman.
But probably many of us had our fin-
gers crossed even as we nodded approval.
* * #
The past two years in the tire busi-
ness has been a pretty good test of Bar-
num's famous saying.
If the public liked to be fooled, here
was its heart's content. "Big Discounts"
to the right. "Special Sales" to the left.
"Bargains" on every corner.
Certainly no man who kept his eyes
and ears open missed seeing the attempt
to fool thepublic by drawing its attention
away from the essentials of real value.
Why did car-owners refuse to lower
their quality standards — why did more
people than ever go to quality tires?
Especially U. S. Royal Cords, which
they used more and more to measure the
market when they wanted a test of value.
* * *
In one way of speaking, Royal Cord
leadership grew out of the confusing
conditions put upon the tire-buyer.
Current prices on United States
Passenger Car Tires and Tubes
are not subject to Federal Ex-
cise Tax, the tax having
been included.
United States Tires
are Good Tires
m
m
«V * /;
M
Copyright
1922
U. S.Tire Co.
The car-owner, being a practical per-
son, as a rule, did the practical thing.
He bought U. S. Royal Cord quality—
and stuck to it.
The legitimate dealer lined up with
the U. S. Royal Cord policy— and
stuck to it.
The makers of Royal Cord Tires
said "Go to a legitimate dealer"—
and stuck to it.
* * *
Perhaps Barnum intended
his remark about the
public to be taken
with a grain of salt.
Note that he al-
ways gave his
customers a
whale of a
money's
worth.
/
: :••
#*$$,
H
wj;
$'
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'
•
SSA'lK
«*te"?f,.-:
,
fe-f-j-
•••'" •.,',•
•^m
::;;*i'.:
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mSK .
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•;,>vi',,:-V-
to* **°it&
y^i^m
i&'i
?5^.2*;vsx^
3#
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riP
'•^v-a
- ".
U. S. Royal Card Tires
United States H Rubber Company
FiflV-llir
Factorit
. tree
torifa
The Oldest and Largest
Rutbtr Organization in tht World
Two hundred and
MMta Branehel
;
LSsKi
\
Wife
•**• -JQ-. '""•. '-^*i__ -'
& .A-^
• MS-.- - -<• -*3 ••: '"..
i
[257]
and the
To appreciate the occasion
suitable for wearing furs
is indeed important. To
appreciate furs suitable
for the occasion is, how-
ever, of far greater con-
sequence. The many new
Gunther models, em-
bodying the latest style
features, present a pleas-
ing and varied selection-
suitable for every occasion .
Gunther
Jiftfi Avenue at 36*Street
NEW YORK
Furriers for More Than a Century
JAUNTS INTO BRIGHTEST ENGLAND
(Concluded from page 213)
eagerness in telling of Bernhardt, of
Duse—
"Your famous comparison of the
two."
"And the curious aftermath. When
I first saw Duse you may remember
I wrote of the blush that overspread
her cheek in a scene from the play.
I went a few days later to see the
same phenomenon. There was no
blush."
"The theatre today?"
"A different class of audiences, my
boy. The theatre is at a low ebb.
During the war we found people go-
ing to the theatre whose only amuse-
ment hitherto had been cockfighting.
All they could understand were the
elemental humorous scenes. The re-
sult is discouraging to the author and
the actor but it is good for the peo-
ple. By the next generation we may
have a better audience.
Another dash at reminiscence — the
Countess of Carlyle and Gilbert Mur-
ray, both of whom appear in
"Major Barbara," praise for Granville
Barker's "The Madras House," in-
quiry for Ernita Lascelles who played
Eve in "Back to Methuselah" — a very
good actress — a discussion of character
actors and their limitations, tales of
rehearsals — a buoyancy of outlook
that astounded. An amiable old man
in an off hour of relaxation.
"When I started writing I was in a
difficult position. All the authors
were writing children's stories, tales
of adventure such as Stevenson's
'Treasure Island.' There had been a
definite swing to that sort of thing.
It was not what I wanted to do and
it was hard to get a start. Yet it
gave me an individuality at once."
"With the amount of drivel a
dramatic critic must see, I wonder
he can stand it. The only thing to
do when he has had enough of it is to
get out. Otherwise it is a ghastly life.
The longest I ever kept at one job was
as a music critic. I stuck it four
years. Then I was fed up.
"When I was rehearsing 'John Bull's
Other Island' for the first time, Louis
Calvert was playing Broadbent. Cal-
vert then was a fine, classical actor
and had not appeared before in a mod-
ern role. He was much worried over
his clothes and over the details of the
part. I take notes at rehearsal — sit in
the auditorium and ordinarily have
from 300 to 1000 suggestions, although
one of my plays proved so extra-
ordinarily difficult to produce that I
took nearly 3000 notes — and I told
Calvert how to read some of the lines.
'Certainly, Mr. Shaw,' he said, 'I'll
read them that way but do you know,
sir, you are forcing me to do the very
things which undermine the founda-
tional principles on which I have
worked all my, life. Take such a line
as 'Gentlemen, you must not force me
to accept.' There are key words in
it which I have been taught by my
years of work in the theatre to em-
phasize. Instead you want me to bel-
low, 'Gentlemen,' then to place great
stress on 'not' and 'to.' 'Precisely, Mr.
Calvert,' I replied. 'When you do that
you are not talking like an actor, you
are speaking in the exact manner of
an oratorical member of parliament.' "
Shaw escapes portraiture. The
human man does. I have no doubt
he is a bitter satirist in a black mood
— all creative workers have dual na-
tures. Only the great creative worker
manages to keep outlook. It is some-
thing to find the man whom the world
thinks a slashing pessimist still an
enthusiast. I wish Shaw would visit
America. There is little hope. He is
too canny.
NEW BRUNSWICK RECORDS
This month, Brunswick offers a very
intriguing and comprehensive list.
There is a piano recording by the
renowned Leopold Godowsky which
is a triumph of reproducing art, the
Chopin "Polonaise Militaire," played
with all the brilliance and impeccable
technique for which this master is
noted. On the reverse the same com-
poser's "Waltz in E Flat" shows the
pianist in more melting mood.
Theo Karle's fresh young tenor voice
has a very sympathetic vehicle in
"Bonnie Wee Thing" and "Good-
Night, Little Girl."
The smell of honeysuckle and the
charm of "days of long ago" are in
Marie Tiffany's beautiful singing of
"Darling Nellie Gray," the old song
that never seems to lose its poignancy.
On the reverse is "OP Car'lina," sung
by Miss Tiffany and a trio.
Marion Harris, now exclusively
Brunswick, gives "Sweet Indiana
Home" and "Blue" in the best Harris
manner. This vaudeville headliner
has a quality of voice and clarity of
diction that are admirable.
"Neath the South Sea Moon" and
"My Rambler Rose" are contributed
by Dorothy Jardon, and there are the
three Brox Sisters doing "Kicky-Koo"
and "Away Down South" in most
amazing "indigoes."
[258]
THEATRE MAGAZINE, OCTOBER, 1922
VA LAZE
AGENTS, DEPOTS AND LICENSEES
Atlanta, Ga. ; E. H. Cone, Inc.
Akron, Ohio; The M. CVNeil Co.
Baltimore. Md.; O'Neill & Co..
Inc.
Baltimore, Md. ; Hutzler Bros. Co.
Boston, Mass.; E.-T. Slaftery Co.
Bridgeport, Ct.; D. M. Read Co.
Brooklyn, N. Y. ; Abraham &
Straus, Inc.
Buffalo, N. Y.; \Vm. Hengerer Co.
Chicago, 111.; Mandel Bros.
Cincinnati, O.; The H. & S.
Pogue Co.
Cleveland, O. ; The Halle Bros.
Co.
Dallas, Texas; Sanger Bros., Inc.
Denver, Colo. ; Daniel Fisher
Stores Co.
Detroit, Mich.; Geo. M. Schettler
El Paso, Texas; Popular' Dry
Goods Co.
Ft. Worth, Texas; Sanger llros.,
Inc.
Hartford, Ct.; G. Fox & Co.. Inc.
Houston. Texas; Harris-Hahlo Co.
Indianapolis, Ind. ; L. S. Ayres &
Co.. Inc.
Kansas City, Mo.; Emery-Bird
Thayer D. G. Co.
Kingston, N. Y. ; Rose-Gorman-
Kose
Los Angeles, Cal.; N. B. Black-
stune Co.
Memphis, Tenn. ; J. Goldsmith &
Sons Co.
Minneapolis, Minn.; The Dayton
Co.
Montgomery, Ala. ; H a m r i c k
Drug Co.
Nashville, Tenn.; Warnei Drug
Co.
New Haven, Ct.; Taft Pharmacy
New Orleans, La.; Katz & Hes-
thoff. Ltd.
New York, N. Y.; Lord & Taylor
Oklahoma City, Okla. ; Gloyd-
Halliburton Co.
Philadelphia, Pa.; Strawbridge
& Clothier
Philadelphia, Pa.; J. G. Darling-
ton & Co., Inc.
Pittsburg, Pa.; McCreery & Co.
Providence, R. I.; Gladding Dry
Goods Co.
Richmond, Va.; Thalhimer Ilios.
Rochester, N. Y.; The Paine
Drug Co., Inc.
Salt Lake City, Utah; Walker
Bros. Dry Goods Co.
San Antonio, Texas; Wolff &
Marx Co.
San Francisco, Cal.; City of
Paris Dry Goods Co.
Stamford, Ct.; The C. O. Miller
Co.
Springfield, Mass.; Albert Stei-
ger Co.
St. Louis. Mo.; Famous & Barr
Co.
St. Paul, Minn.; Field Schlick &
Co.
Toledo, O.; La Salle & Koch Co.
Tulsa, Okla.; Halliburton-Abbott
Co.
Washington, D. C. ; Wardaian
Park Pharmacy
Washington, D. C. ; Lansburgh &
Bro.
Youngstown, O.; Strouss-Hirsh-
berg Co.
IN REGARD TO AGENTS
In all cities ^vhere my Valasc Beauty Preparations are represented, I
prefer my clients to purchase them direct and write to me should
there be the need of advice regarding treatment. If not obtainable
in your city, send me the name of the shop best qualified to represent
me and I shall take much pleasure in establishing a Depot there.
BEAUTT
cannot always re/)?
tiire afon&
\V7HILE blind faith in Nature sentimentally appeals
* * to one's sympathies— the results invariably call on
them!
Progress has always meant combatting Nature— to over-
come, master and make Nature work. And Science is
the vital force that makes man triumph every time.
Helena Rubinstein
World Celebrated Beauty Specialist
and Complexion Expert
—the woman who in one quarter of a century devoted to scientific
investigation and professional practice has established Beauty Cul-
ture as a universally recognized Science— strongly advocates these
methods to make the skin fulfill the functions Nature intends, but
so often fails to do.
Once In Every Twenty-four Hours Apply
Valaze Beautifying Skinfood If the Skin Is Oily
This active cream tones, stimulates
and strengthens the skin, removes
sunburn, freckles, tan, corrects spots,
blotches and skin disorders, keeps the
skin youthful by promoting renewal
of cells, whitens, clears, and makes
certain the skin health upon which all
real and lasting complexion beauty
rests.
Valaze Beautifying Skinfood,
$1.25: $2.50
If the Skin Is Dry,
apply after the Valaze Beautifying
Skinfood, Valaze Special Skin Toning
Lotion, which gives suppleness and
humidity, wards off wrinkles and lines,
freshens, brightens and cleanses.
Valaze Special Skin Toning Lotion,
$2.25: $4.50
after using Valaze Beautifying Skin-
food according to the special directions
that accompany it, press in Valaze
Liquidine, which refines, reduces the
size of the pores, corrects blackheads,
removes all traces of shine, and im-
mediately whitens to a lovely mat
pallor.
Valaze Liquidine
$2.0O: $3.50
If the Skin Is Wrinkled or Lined
precede the application of Valaze
Beautifying Skinfood by patting well
with Valaze Roman Jelly, which tight-
ens loose skin, replaces flabbiness by
firm tension, smooths out lines and
wrinkles, and rejuvenates in the
speediest and most beautifying way.
Valaze Roman Jelly $1.50: $3.00
Valaze Scientific Beauty Treatments
are given at the Salon Valaze — a transplanted piece ol 1' with its fascinating, beauty-
suggesting atmosphere — to develop, preserve or rejuvenate beauty, or to correct any
conceivable beauty flaw. Beauty Lessons also are given, at the small cost of $3.50, to
enable you to carry out treatment correctly at home. Mme. Rub-nstein herself grants
interviews, and advises personally upon your beauty problems, by letter.
Upon request to Department T, Mme. Rubinstein's
booklet "Secrets of Beauty" will be sent.
Established 1897
46 West 57th St., New York
rf- Bratil- fa'aa- in
London, New York and Paris
Paris; 126 rue Fbg. St. Honore
Atlantic City: 1515 Boardwalk
London: 24 Grafton St., W. I.
Chicago: 30 N. Michigan Ave.
[259]
•JEK-L
Furs .
TRADE MARK
of the most important
considerations that should enter
into your selection of furs is
quality. Without quality there
must be disappointment and loss.
The above trade mark is your
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and this coupled with
positive style authority
and a decree of skill in
workmanship that
comes from a half cen-
tury of manufacturing
Furs exclusively.
Then too, you buy here
as economically as
anywher-e where furs
are sold.
It pays to buy where
you buy in safety
A.JAECKEL&CO.
Furriers
Fifth AveBetweenSSft&SG* Sts,NewYork
KEMPY
(Continued from page 234)
DUKE: ... Is somebody married
around here?
JANE: . . . You've been drinking!
That's what Kate meant about want-
ing you treated with respect!
Ruth enters and explains the situa-
tion, and says the bride and groom
have already quarrelled. Jane hur-
ries to Dad's room. Kempy enters.
DUKE: . . . Kemp, this is a peculiar
situation — I'd like to understand it a
little better
KEMPY: Yes, so would I.
DUKE: Perhaps by getting together
we can work this thing out in the
way you want it worked out. . .
RUTH: Kemp always gets what he
wants.
KEMPY: Yes, I get it too easy. I
wish
DUKE: . . . What? That you hadn't
married Kate? . . . You two don't
agree very well?
KEMPY: She's not reasonable. If she
was anything like Ruth
Duke sends Ruth to bed. He tells
Kempy to assert himself and gives him
a bill of sale for the house, purchased
from Ben, in exchange for Kempy's
church plans. Duke exits.
DAD: (Entering.) What the devil
are you doing here?
KEMPY: What the devil are you do-
ing here?
KATE: (Appearing an stairs.) Father
— Kemp, don't quarrel.
DAD: . . . You go to your room.
KEMPY: She won't go to her room
till I send her. She's my wife and
she'll do what I say.
DAD: . . . Not in my house!
KEMPY: . . . It's my house and if
you get fresh . . . I'll throw you out
of it! ... This is MY house . .
and I'm going to run it. . . . You
either get back to bed or get out.
Duke enters and proves the docu-
ment is legal and that Kempy is the
owner of the house. . . .
KATE: . . . This is impossible!
KEMPY: . . . You keep quiet. I'm
going to take a husband's place around
here and you've got to ... get sense !
. . . To protect my wife's name.
... I must stay here tonight. . . .
DUKE: And to prevent scandal, you.
Mr. Bence, must also stay here to-
night.
DAD: Why the hell wouldn't I?
KEMPY: None of that language be-
fore my wife! . . . You can sleep
here tonight, but I'll settle with you
in the morning. . . .
DAD: ... If the darned thing is
legal, it don't give you no right to
throw me out before I have my time
to put my pants on!
KEMPY: I'm not ordering you out.
I'm telling you to go to bed! You've
got no business anyhow running
around undressed in front of my
family! . . .
DAD: Well, I'm damned. (Exits with
Ma, Kempy sends Jane home.)
KEMPY: (Sitting on couch ivit/i air
of a job ivell done.) There!
Ruth enters with dog, which she
dumps on couch.
DUKE: Ruth . . . kiss your brother-
in-law good night.
RUTH: I won't.
DUKE: Better do it before he makes
you.
Ruth kisses Kempy on forehead.
Duke, smiling, exits. Kempy looks
after Ruth, gradually expanding into
an ecstacy that seeks expression. He
puts his arms around the dog and
kisses him.
ACT III. That night.
Kempy is lying on the couch.
MA: (Entering.) ... I didn't mean
to disturb you. . . . Pa's sick . . .
he wanted to take some soda ... he
wanted me to ask you to turn on the
water. . . . (Calls Ruth and exits.)
KEMPY: Your mother said that you
would get my wrench for me. . . .
I had it when I met your — my — your
sister. . . .
RUTH : Oh — oh, yes . . . . ( Getting it
from table drainer and hastily un-
wrapping it from cheesecloth.)
KEMPY: (Picks up ivrench, clean and
shining.) Why, it's all polished up.
. . . Nobody ever did anything like
that for me before!
RUTH: Well, of course — I didn't
know at the time you were out getting
married to my sister.
KEMPY: . . . Well, you see, I didn't
know at the time you felt that way
toward my wrench. . . . This is go-
ing to be a great lesson to me about
marriage. . . .
RUTH: I thought I'd be happy when
Kate was married. . . .
KEMPY: Are you unhappy? Is some
of it because Kate's married me?
RUTH: I don't think we ought to talk
this way.
KEMPY: Well, I do. ... This mar-
riage hasn't made anybody happy . . .
unless it was the Justice of the Peace
. . . he charged me ten dollars —
. . . I had eleven fifty when I met
Kate.
RUTH: . . . Daddy only had eleven
when he was married. . . .
KEMPY: Yes, but he knew his wife
longer. (He tells Ruth that Duke had
given him the house in exchange for
his church plans.) Why should he
give me a whole house for a wedding
present?
RUTH: . . . For Kate . . . Kate
and Duke are in love. . . .
KEMPY: ... It isn't right — Kate
(Concluded on page 262)
[260]
THEATRE MAGAZINE, OCTOBER, 1V22
Brunswick Phonographs Play All Record}
Brunswick Records Play On Any Phonograph
© B. B. C. Co., 1922
SUITING THE MUSIC TO THE ROOM
BRUNSWICK having attained fame, first by achieving
perfect rendition of the so-called "difficult tones" in
phonographic reproduction, and then by establishing a
New Hall of Fame of concert and operatic artists, re-
cording exclusively for Brunswick Records, now turns
its talent to combining fine music with fine furniture.
Illustrated is the new Oxford, one of Brunswick's many
period and console types, in which the charm and artistry
of the middle ages vie with super-craftsmanship of today
in leading one to unexpected adventures in suiting music
to the room — no matter what the room. Prices range
from $225 to $775. Inspection at any Brunswick dealer's.
THE BRUNSWICK-BALKE-COLLENDER CO. Established 1845 CHICAGO-NEW YORK-CINCINNATI-TORONTO
BRUNSWICK
P H O N O G R-A P H S
A N D
R-BCO R.D S
[261]
WRAP-AROUND
Invisible Corseting
XJOT A TRACE OF A LACING has
-*- ^ the Warner's Wrap-around-
just narrow sections of firm elastic
alternating with brocades, that stretch
enough to let you "wrap it and snap it"
on. And when on, the Warner's Wrap-
around is a part of yourself — not n
line showing through the gown. It
does not stretch into looseness, mak-
ing the figure unsightly, as does a solid
rubber corset. It holds you, just as
much as you want to be held — and no
more. It's a featherweight, and you're
free in it. ,
Prices: $1.50, $2.00, $2.50, $3.00, $3.50,
$4.00, $5.00, $7.50.
A BANDEAU especially designed to wear
with this type of Wrap-around. It ex-
tends well down below the waist line
and stays down securely over the low-
top of the Wrap-around. Prices: $1.00,
$1.50, $2.00, $2.50, $3.00 and $3.50.
KEMPY
(Concluded from page 260)
being married to me and in love with
the Duke — and me being married to
her and — ... I don't love Kate —
as a husband should — not since — . . .
since I know how I feel toward you —
RUTH: (Rises dramatically.) . . .
Kemp, you're Kate's husband !
KEMPY: ... In name only, and I'm
going to stay that way. . . .
Dad and Ma enter. . . . Kate
comes down the stairs.
DAD: . . . We couldn't go to bed
without finding out how things stand.
. . . Naturally we wanted to know
what plans your husband has. They
are going to fit right in with ours
too. . . . Ma and me are going to
take a trip out to California and
Ruthie is going to the Institute. That
will leave you two here all to your-
selves.
KATE: Perhaps I have some plans of
my own. . . .
DAD: . . . You're going to get up
in the mornings, and cook your hus-
band's meals, and wash the dishes
. . . and be a happy wife! . . .
KATE: I am going to leave this house
— and my husband — and this town —
tomorrow morning! ... I expect to
sign a contract that will make me in-
dependent of all of you! . . .
They are indulging in a general
family row when Duke enters.
KATE: We've had enough talk.
Kemp, come, let's go to our room !
KEMPY: (In desperation.) Maybe
you've had enough talk. Now I'm
going to tell you something. . . . I'm
through! I came into this house to fix
the pipe and you took me off and mar-
ried me — . . . And I'm not of age
either and I didn't have my parents'
consent!
DUKE: . . . This marriage can be
annulled.
KATE: Will you all please keep out
of my affairs? . . . I'll be gone in
the morning and then I'll take care of
myself!
Telephone rings — there is a West-
ern Union message for Kate from
Manager Oscar Sherman. She listens,
then sits inert, realizing she is com-
pletely beaten.
KATE: (To Duke.) He doesn't want
me, Duke — nobody wants me.
DUKE: Kate, is there anything I can
do?
KATE: Would you — take care of — the
annulment?
KEMPY: Yes, I wish you would too.
DUKE: (To Kempy.) All right — let's
go over to Ben's house and talk it
over.
KATE: Good night, Duke
DUKE: Good night — till tomorrow —
there, there, dear, it's all right. . . .
KEMPY: Good night — I've had a very
pleasant evening.
RUTH: . . . You never did finish
fixing that pipe in our kitchen.
KEMPY: I know, I thought I'd come
back in the morning. . . . Will you
keep my wrench for me?
RUTH: Oh, thank you.
KEMPY: You're welcome. (Exits.
Ruth goes to her room, hugging
wrench.)
DAD: I'll bet Duke's going to marry
Kate after all
MA: Maybe she'll have her honey-
moon at Atlantic City — remember
ours, Pa — at Niagara Falls?
DAD: (Smiles tenderly.) Yes, Ma.
(Then irritably.) Oh, for God's sake,
let's go to bed. (They exit.)
CURTAIN
THE SALZBURG MOZART FESTIVAL
The Mozart Festival in Salzburg,
Austria, will be given this summer,
in spite of the tremendous difficulties
arising through financial and economic
conditions, and the possible complete
collapse of the crown. Richard
Strauss, who will conduct, is in entire
charge of the arrangements and of
the building of the new theatre. He
has announced that the most enthusi-
astic support has been received from
America, whence has come the great-
er part of the twenty-five million
kronen already available.
NEW VICTOR RECORDS
Paderewski on a new record, par-
ticularly a number of his own compos-
ing, is truly an event. Among the new
September Victor Record releases is
the first record this great pianist has
made in a long time. Happily, too,
it is a composition of his own, inter-
preted under conditions as nearly
ideal as possible, through apparatus
far more delicate than he knew in
his earlier years. It is a soft, not
a showy, record, very melodious, and
a welcome utterance from the great
master.
In characteristic vein for Mme.
Homer is "My Ain Countrie," dis-
tinctly a woman's song for women, a
quaint melody of almost heartbreak-
ing pathos, sung throughout with that
simplicity which defies the common
expedients of art. It is Scotch in
style — slow, measured, powerfully
rhythmic, with a characteristic minor
strain throughout.
American music has developed its
own idioms, and "My Mother," which
Orville Harrold sings on a new Sep-
tember record, is distinctly American.
It is simple in style and homely in
sentiment, full of mother-love and
tender reminiscence in words and
melody.
[262]
%lw
\iA Sample Tithe
Will Answer
"This Question
I using the right face cream—
the cream in which I can safely
place my confidence ? ' '
Three generations of discerning women
have found the answer in Creme Simon.
One trial will convince you, too, that
this fragrant cream gives your skin that
clear, healthy texture that means true
complexion beauty. Send lOc (to cover
cost of packing and mailing) for a trial
tube, and experience the joy of a soft,
radiant complexion.
Creme Simon can be had at
Smart Shops Everywhere
'MAURICE LfcVY,Division A,no-lli W.4ist St.,N. Y.
MON
MADE IN FRANCE
Miss Mary Beth Milfard, of the "Music Box
Revue," wearing a Bergdorf-Qoodman ermine cape
To announce Mr. Goodman's return
from overseas with his personally
selected collection of women's clothes.
(Now being shown)
BERGDORF
UOODMAN
616 FIFTH AVENUE
NEW YORK
THEATRE MAGAZINE, OCTOBER, 1922
The pestle
Wave
A New Discovery for Permanent Waving
Especially Beneficial for Winter Wear
L/ HE new Nestle discovery in per-
-* manent waving is distinct from
all other permanent wavings in that
the tedious process of applying borax
pads, pastes, lotions and tubes is done
away with. In this, the inventor has
achieved what seemed for sixteen
years an impossibility.
Mr. Nestle, the inventor of the
original permanent wave, admits that
a replacement of the borax steam
method seemed an impossibility and
that the evolution of the LANOIL
could only be brought about by a new
chemical discovery. Of course, so-
called "waves by oil" were old, but
they were a "fake" inasmuch as borax
steam was still the waving agent, and
a few drops of oil added to the water and borax did not do away with
the borax principle, and its effect on many hair structures.
The object of a LANOIL Permanent
Wave is to make the hair look and act
like naturally curly hair all the time
The tJtfore Advanced Hairdressers All Over the World
Stand "Behind the J^ANOIJ^ Waving Process
Hairdressers all over the United States who have been offering the
LANOIL Process to their patrons report a hundred per cent increase in
business. Many inquiries from European cities show that the whole
hairdressers' world abroad is anxiously looking to the United States for
developments. The old borax wave had advantages for some hair which
must be admitted from one point of view, in that it gave some hair a
certain stiffness, which certain wearers appreciated. The LANOIL does
not do that. It leaves the hair free from stiffening injections. It emerges
soft and silky as before, merely having acquired permanent curliness.
So that while the borax wave, or the wave "by oil" (and borax) may be
to the advantage of just a few stray qualities of hair, the fact is that the
general cultured public refrained or drifted away from it because of its
antagonistic results to the hair and taste of ninety out of a hundred ladies.
The LANOIL Wave appeals to the very public which withheld from
the borax wave. No stiffness, no hardness, and not a chance of frizzi-
ness. Just a natural, soft curl, with all the life and lustre of your hair
completely retained.
The fjiNOI^ Wave is ^Pleasant For the Winter
Hand in hand with the LANOIL Wave goes a seventy-five per cent heat
reduction in its application, and an injection into the hair of a fat which
improves the hair considerably. Borax made the hair dry. This pre-
vented many ladies from having it for winter. The LANOIL Process,
on the contrary, is an excellent winter wave because of the absence of
this dryness. Over 6,000 LANOIL Waves were given at the New
York Nestle establishment between March and August, with the result
that general complaints were reduced from nine per cent in 1921 to
three per cent, the lowest on record. All LANOIL wavers in the
United States give the guarantee to their patrons to rewave their hair
in case of complaint, free of charge.
Apply for an illustrated booklet, and a list of recommended
LANOIL Wavers in your district, to the Nestle LANOIL Co., Ltd.,
Dept. T, 12 and 14 East 49th Street, New York City.
fjidies Tiplio for sine reason or another find themselves unable to go to
a f^ANOlJi^ Wav<r may ibtain a J^ANOIJ^, Home Outjit, price $15
[263]
ZJejtah
F & A. SS-L. 5
VIOLET HEMING
This fascinating young star says: "The constant admira-
tion my Deltah Pearls receive makes me proud indeed
that I selected Deltahs in preference to all others."
"Les Perles Deltah
N'ont pas de Rival"
Delta Pearls have no rival. Na-
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to find and costly to match.
Deltah Necklaces enable you to
secure economically all the beau-
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can possibly possess.
Your jeweler will explain Del-
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Guarantee which accompanies
each Necklace.
Priced $10 to $500 the Necklace
For Illustrated Booklet Address Dept. T9
L. HELLER & SONS, INC.
358 Fifth Ave., New York Paris, 40 Rue Laffitte
Created by the producers of Hel-
ler "Hope" Rubies and "Hope"
Sapphires— true precious stones
identical with the fine natural
Rubies and Sapphires in every
respect save origin.
//eltah
GOING BROKE FOR ART'S SAKE
from fattc 22,'J
One manager told me, after "Aphro-
dite" had played to $38,000 in one
week, that his share of the profits, de-
ducting his expenses, was a little over
$400. "Why, Mr. Gest," he com-
plained, "I played a picture called
'Ten Nights In A Baroom,' the week
before last and made $1,800 profit.
That's what I think of your artistic
productions — I am going to play noth-
ing hut pictures hereafter."
Yet, on the other hand, I have re-
ceived many letters from eminent peo-
ple and high authorities in the world
of art, which have made me feel
happier than the comment — however
sincere — of the manager who pre-
ferred "Ten Nights In A Barroom.'
There is some consolation at least in
knowing that you have satisfied your
own conscience — given to America
what you wanted sincerely, and what
you hoped they would want.
When I was a young man in my
early twenties I went to work for the
famous impresario, Oscar Hammer-
stein, then starting his first venture
with the Manhattan Opera Company
in New York. The sights and sounds
— the very odor of the theatre — had
worked into my blood. In my spare
hours I spent my time designing sets
for the various operas, collaborating
with the scenic artists and costume
designers, trying out bizarre effects
with lights and colors.
I presume my first flair for the spec-
tacular was conceived while under the
great impresario's tutelage. In 1910,
hile on a trip to Europe for the
opera company, I saw in Paris the
Russian Ballet — just then imported
from the Imperial Theatre — and I
made up my mind to bring them to
America. After some difficulty I se-
cured a contract for the entire com-
pany and the same year brought them
to New York. Many of the original
dancers have since attained no small
degree of personal acclaim — Lopokova,
Kosloff, Bulgakoff and Volinine.
A few years later Gertrude Hoff-
man came to my attention. Her ex-
quisite dancing captivated me and
with what slender resources I had at
land I organized a company and
started in producing on my own. The
jest I could secure in setting and cos-
ume investiture was none too good
for me and I felt convinced that
American audiences would confirm my
udgment. For London I brought over
he Harker brothers, whose magic
scenic creations are still a happy mem-
ory. My costumes I had designed by
'ercy Anderson and Leon Bakst — then
>ractically unknown to theatre-goers
n this country. The venture was a
moderate success, but I found that I
lad been too lavish with my invest-
ments, and the small profits were soon
dissipated in salaries and minor obli-
ations.
Following this — in partnership with
lay Comstock — I produced "The
Whip" and "Experience." The latter
was especially successful, from every
point of view, and before it had run
its length had netted me almost a mil-
lion dollars. 1 was so elated that I
determined at once on a nation-wide
tour of the Russian Ballet. Here again
my aspirations got the better of my
judgment. By the time the company
reached San Francisco, Mr. Comstock
wired me that we had lost nearly
$100,000!
I felt, at any rate, that I had accom-
plished one solid fact: everywhere we
had been we were met with the
kindliest criticism and praise. Ameri-
can appreciation of good art, of ex-
alted motives, of fine interpretations
and splendid music had expressed it-
self. That conviction was worth
whatever money it cost me. When I
got back to New York I was broke,
but happy.
Last December, while in Europe
seeking new dramatic material, I ran
across Balieff's "Chauve-Souris" in
Paris — the Bat Theatre of Moscow.
Here was a decided novelty. I loved
the performances and determined that
— in some way or other — I would give
their unique art to New York and to
America. When I cabled Nikita
Balieff — the leader of the Russian
players — in London last January, clos-
ing the contract to bring his organiza-
tion to this country, I did so without
expecting to make a dollar. I was
prepared to lose $75,000 if necessary
and I didn't have the money. To be
frank I didn't have a quarter that I
could honestly call my own. I bor-
rowed enough to transport the Rus-
sians and trusted to God and luck.
Fortunately the "Chauve-Souris" has
been the sensation of the new genera-
tion of play-goers. It opened at the
Forty-Ninth Street Theatre in New
York on the night of February 3, 1922,
and after playing there eighteen weeks,
moved to the Century Theatre Roof
— completely transformed into a Rus-
sian theatre by the artist Remisoff —
and there I fully believe it will play
for another year before going on tour.
If so, it will be the first time in my
life that I have ever made a dollar
out of Art.
I have lately had occasion to an-
alyze the reason for this fact and I
believe it is simple. Whatever is said
to the contrary it is true that America
does appreciate good art and good
artists; I happen to know because I
have lost a fortune proving it. What
we do demand is sanity, the art that
grows upon sound standards and ac-
cepted technique. That is where I
made my mistake. My art was sound,
but my portrayal and investiture of
it was insane — "Gest's magnificent
follies" — they were called. I was
over-ambitious perhaps: I wanted to
fit the stage to my dreams, rather
than my dreams to the stage. And it
can't be done.
That is where I made my mistake.
(Concluded on page 268)
[264]
f/s there a softer lustre, a more
Q_J refreshing crispness, or a finer
texture quality than that of silk?
Cheney Dress Silks, Velvets, Ribbons, Decorative and
Upholstery Silks, Cravats and Men's Socks are obtain-
able at stores with a reputation for fine merchandise.
CHENEY BROTHERS, FOURTH AVENUE AT EIGHTEENTH STREET, NEW YORK
Chair installed in Balaban & Katz. Chicago
Theatre by American Seating Company.
In America's Foremost
Theatres
THE public-wise manager knows that an
audience comfortably seated is half won.
He knows, too, that with the other elements
of attraction more or less evenly balanced, the
more comfortable seats of one. theatre will easily
swing the decision or "where to go" in its favor.
Seating that was tolerated five and ten years
ago is endured under protest now or altogether
avoided.
Our Theatre Engineering Department will be
glad to consult with any theatre owner or
manager on new installations or renewal of old.
We can show you without obligation how your
theatre can "cheat old age" and revive its
youth for further years of service.
eaesexaxessSGJGse^exsiesexcKssss^^
NEW YORK
117 W. 40th Street
BOSTON
79-D Canal Street
CHICAGO
18 E. Jackson Blvd.
PHILADELPHIA
707-250 S. Broad Street
By ANNE ARCHBALD
THE time has come the Walrus said, to talk of many things. . . ."
He observed this to us the other day. And if you've noticed, in any
well-regulated magazine, when the Walrus dictates "the time has come
..." the writer hastens to obey.
Among the many things to be talked of it appeared to be the Walruses idea
that the most important was this . . here . . now . . matter of women's
coiffures. It was getting to be October and people had come home from their
vacations and were going to the theatres and the opera. And what about the
appearance of their heads. It was important to have a complexion at the
theatre, of course . . one must never forget nor neglect that . . but it was
quite as important to have a beautifully groomed head of hair. Because only
your seat-mates could see your face, whereas the whole house could see your
back hair. Women were sometimes ostrich-like and didn't realize this.
But how were they going to accomplish this hair beauty? Were they
going to go to the hair dresser every time they wanted a wave? And inci-
dentally look like nothing at all in the meantime. And what about the nights
when they had an impromptu last minute invitation and would not have a
chance at a hair-dressing shop at all.
"Well, what?" we asked. "What's the answer?"
"Ah, that's up to you," said the Walrus. . .
The answer was offered by a smart hairdressing establishment off Fifth,
in the late Forties, where all the well-known actresses are going nowadays
for their hair. We bethought ourselves of the place at once, and went there.
"The solution," said they, "of a lovely looking head of hair, always in
order, with no 'off days,' was indubitably the permanent wave." It was more
than ever the solution since the recent discovery of their splendid new process
of permanent waving — the Lanoil process.
Before this discovery a permanent wave, as perhaps you know, was
effected by changing the structure of the hair from straight to wavy through
steam obtained from moistened borax. The hair was wound on curlers, packed
between the borax and electrically heated. And though this gave a successful
permanent wave in a way, the use of the borax had distinct drawbacks.
Among them, it tended to overdry the hair and so give to many heads a dull
and rusty appearance. Women began to say among themselves, and the men
of the family as well, that the permanent wave was all right to look at, but
it was awfully bad for the hair, it made it brittle, broke it off, thinned it.
But with the discovery of this new composition, Lanoil, all that has been
obviated. Lanoil simply softens the hair, while it is in a wavy position, and
then the heat hardens this wave into permanency. The fat of the hair is not
lost and the softening and hardening process can go on indefinitely without the
least damage — whenever the new hair having grown out straight it is necessary
to repeat the waving.
All the discomforts attending the former process — a process still being
used in almost every other place — are gone; especially the possibility of burn-
ing the scalp, because now there is no liquid to run about. You may sleep if
you wish while your hair is being waved. Certainly if you are having it done
in this establishment, with its booths de luxe, you will want to partake of the
tea or coffe and sandwiches served free of charge. We accidentally broke in
upon one cubby where clever Jane Warrington, of the thrilling mystery play,
"The Cat and the Canary," was having the finishing touches of a permanent
wave put on her lovely blonde head, so like to Elsie Ferguson's. But she didn't
mind. She was so enthusiastic over her wave she gave us gracious permission
to mention it.
Three additional and very important features of this new process should
be particularly noted. The time of operation is shortened. The range of
prices is lower. And certain heads of dyed or bleached hair, hitherto in-
operable, will now "work." And when you are through you will have the
proud consciousness that you are a night-and-day beauty, always ready for
action, charming in either jungle or parlor.
(For the name of the smart hairdressing establishment giving this nevi
Lanoil permanent u-ave process, virile The Vanity Box, Care The Theatre
Magazine, 6 East 39r/; Street, Ne-w York City.)
THEATRE MAGAZINE. OCTOBER, 1922
V
"Betcha nickel he skids into the fence when he hits that wet curve, Jimmy."
'Take his bet, Jimmy — that feller's driving on Kelly-Springfield Kant-Slip Cords."
THE fact that Kelly-Springfield Kant-Slip Cords
hold the road is only one reason why you see so
many of them on cars today. Even the old Kelly
Cords, which cost more than other tires and which
lacked the present extraordinarily efficient non-skid
tread, achieved such a reputation for big mileage
that we had no difficulty in selling all we could
make. In the Kant-Slip Cord the non-skid feature
has been developed to an extent that makes this tire
incomparably the best we have ever built — and the
mileage is still there. Best of all, it now costs
no more to buy a Kelly.
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for work which itself brings you the great-
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MR. HORNBLOW GOES TO THE PLAY
(Concluded from fatjc 228)
COMEDY! Actual fa-t! If you
don't believe it — (and I don't
blame you if you don't!) — go and see!
Not only comedy, but humor which is
something else again and an even
rarer commodity on the musical show
boards of Broadway. Frank Tinney
and the writers of a trite but fun-filled
book are responsible for the innovation.
Mr. Hammerstein's new offering is
anything but subtle. Julian Mitchell
has by no means acquitted himself
with his usual fair in the matter of
staging the production. A heavy hand
is felt throughout, a chorus-girl master
instead of an artist has seemed to
have taught his girls to tear about the
stage in what are alleged to be "num-
bers." But when Tinney appears this
ceases to matter and one can enjoy
himself immensely. It is a show to
listen to rather than look at, and one
must be grateful for the change. Usu-
ally we have had to depend on that
old reliable, George M., for enter-
tainments of the sort.
There are several excellent specialty
dance numbers, by Frances Grant and
Ted Wing, Mary Haun and Galdino
Sedano, Margaret and Elizabeth Keene
and Frederick Renoff, all of them un-
usual performers. But again it is of
the rare fun in the piece that I must
speak. Irene Olsen, a rather affected
and painfully self-conscious young lady,
is anything but ready for prima donna
roles.
The Woman Who Laughed
A play by Edward Locke produced
at the Longacre Theatre on August
16th with the following cast:
John Neilson, William H. Powell; Frieda
Neilsnn. Martha Hedman; Minna Decker,
Gilda Leary.
A SOMEWHAT pointless piece and
certainly an incredible one is Mr.
Locke's latest opus. Miss Hedman acts
it to the hilt, and the other two mem-
bers of the cast struggle desperately
and somewhat more successfully with
the violent unrealities given them to
unfold.
I cannot think that New York and
environs will find much to endear
them to "The Woman Who Laughed."
Perhaps — who knows? — she has
laughed a bit too soon.
Lights Out
A comedy by Paul Dickey and Mann
Page produced at the Vanderbilt The-
atre by Mrs. Henry B. Harris, on
August 14th, with the following cast:
Walt Sebastian, Francis Byrne; Barbara
Peyton, Marcia Byron; Mrs. Chester Gal-
lant, Olive Harper Thorn; Keith Forbes,
William Shelley; Brakeman, Albert Powers;
Mr. Peyton, William Ingersoll; Egbert
Winslow, Robert Ames; Porter, Cy Plun-
kett; Hair Pin Annie, Beatrice Noyes;
Butts McAllister, Lorin Raker; "Camera
Eye" Decker, Philip Lord; Silent Jim, Sam
Janney; High Shine Joe, C. Henry Gordon;
Night Watchman, Hallam Bosworth; Mr.
Wellsback, William E. Morris.
A MELODRAMA with a new idea
is something for a dramatic cri-
tic to write home about. Such is the
case with this new work from the
pen — or one of the pens — that gave
Broadway its beloved "Misleading
Lady." "Lights Out" has an idea. A
crook, having been double-crossed by
a former pal, who has skipped with
the proceeds of their co-operative bank
robbing, determines to reach the con-
science of the traitor by exposing him
in the movies. So "High Shine Joe,"
happy in the tropical delights of
1'Amerique du Sud, sees himself
nominated a blackguard and a villain
in the hair-raising crook serial, "The
Red Trail."
Things then happen; there is shoot-
ing by night, and lights go out and
even the ushers stop talking in the
general excitement that ensues when
High Shine gets busy.
The piece is adequately though con-
ventionally done. It is agreeable to
have the discerning Mrs. Harris back
in the lists again, even as only the
pntionne of a 42nd Street dreadful.
One always feels that there may be a
"Damaged Goods" just around the
corner.
GOING BROKE FOR ART'S SAKE
Address
What success I have attained with
my big productions was due in large"
measure to my illustrious father-in-
law, David Belasco. When I produced
"The Wanderer," I engaged the late
Ben Teal as stage director. Mr. Teal
did everything possible, within his
limitations, yet ten days before the
first performance I knew something
was wrong. He had attempted more
than his frail shoulders could bear.
He was already stricken with the
malady which afterwards caused his
death. Mr. Belasco heard of my
trouble. He asked permission, to
attend a rehearsal. In the middle
of it he went on the stage, put kit
(Concluded from page 264)
arm over Teal's shoulder and said:
"My dear boy, will you permit me to
sit in with you in an advisory capacity,
because I know you are ill?" Mr.
Teal nearly broke down. He still sat
in the director's chair, however, and
•watched Mr. Belasco take charge of
the performance and with his wonder-
ful vigor instill new life into the
players. On the opening night, Ben
Teal took the curtain call and it was
Ben Teal's name that appeared on the
program as the producer. Mr. Belasco
•nodestly disclaimed all credit. This
» the first public acknowledgment of
die fact.
THEATRE MAGAZINE. OCTOBER. 1922
Jets*
tented &O/C/ 0/P/W
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Qf your dealer cannot supply you write
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IN CANADA 38 CATHCART ST. MONTREAL
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ew
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portraying by its
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and workmansnip, tne
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LATER
is now on fall display
at both, shops
415
24 East 57^ Street
FOLK PLAYMAKING
Hotels —
NEW YORK
AND BOSTON
V
COPLEY-PLAZA ^'a
FRED STERR.Y,
EDWARD C. Focc,
MANAGING Dl RECTOR&
{Continued from paye 246)
inhabitants of the State are of foreign
birth or parentage. Here the home tal-
ents are still cherished as a means of
genuine enjoyment. The people have
not broken their connections with the
big family of the country folks. They
have retained their birthright of pleas-
ure in simple things. It is not strange
that from such a spirit of neighbor-
liness a native drama should spring.
A new fellowship of Playmakers
came naturally in the fall of 1918.
There was no formal organization at
first. Membership in The Carolina
Playmakers was open to all. Anyone
who did anything toward the making
of a play was counted a Playmaker.
It was truly a society of amateurs in
co-operative folk-arts.
Already a wide range of original
folk-plays have come. They were
written in the University course in
Dramatic Composition, and produced
by The Playmakers on a home-made
stage, constructed by them for the pur-
pose, in the auditorium of the Public
School building at Chapel Hill.
The initial program consisted of
"What Will Barbara Say?", a ro-
mance of Chapel Hill, by Minnie
Shepherd Sparrow, who assayed the
leading part; "The Return of Buck
Gavin," a tragedy of a mountain out-
law, by Thomas C. Wolfe, of Ashe-
ville, who made bis debut as a player
in the title role of this, his first play;
and "When Witches Ride," a play of
North Carolina folk-superstition drawn
largely by the young author, Elizabeth
A. Lay, from her own experiences
while teaching in a country school in
Northampton County.
WHERE ACTORS AND AUDIENCE
ARE ONE
IT is an interesting experience to par-
ticipate with the audience in the
first performance of a new play. There
is a feeling of intimate interest, an
almost childlike excitement on the part
of everyone — townspeople, students
and professors alike. This is their
play, written by one of their own num-
ber. These are their players, and all
are Playmakers together.
The play is "Peggy," perhaps. The
curtain discloses the shabby interior of
a tenant cabin. It is a familiar sight
— just such a drab-looking cabin in
the red fields as each person present
has passed by many times without
thought or interest. Mag, the jaded
farm woman with snuff-stick protrud-
ing from the corner of her mouth, is
getting supper, singing snatches of an
old ballad as she works. She is a
commonplace figure. But in the play
she becomes a character of new and
compelling interest. Spontaneous guf-
faws of laughter greet this actual ap-
pearance upon their stage of the
"sorry-looking," snuff-spitting char-
acter so familiar to them. But pres-
ently all are moved to feel with the
actors the tragic fact of her hard
won existence. Then, it seemed to me.
that the dividing footlights were gone
— that the audience had actually
joined with the actors and become a
part of the play itself. It had become
a living truth to them.
THE STUFF OF WHICH FOLK
PLAYS ARE MADE
The plays produced in these first
years have revealed a remarkable
variety of materials and forms.
Representative of the farm plays are
such tragedies of revolt as "Peggy,"
"The Miser" and "The Lord's Will."
In contrast with these are "Dogwood
Bushes," and "In Dixon's Kitchen,"
comedies of the Carolina springtime,
of the dogwoods and the peach trees
all in bloom, and the old, old story
of a country courtship.
There are plays of daring outlaws,
The Croatian gang in "The Last of the
Lowries," "Dod Oast Ye Both!" "Re-
ward Offered," "The Return of Buck
Gavin," and the ghost-tale of "The
Third Night." There are colorful
themes from Colonial times — the
strange legend of "The Old Man of
Edenton," the wistful fantasy of
"Trista," the haunting mystery of
Theodosia Burr in "Off Nags Head";
plays of the folk-belief in the super-
natural as in "The Hag," and in the
brave sea-play, "Blackbeard, Pirate of
the Carolina Coast."
Not the least significant are the
plays written for a negro theatre, such
as the realistic "Granny Boling," "The
Fighting Corporal," a rollicking
comedy of the undoing of a braggart
soldier just back from "de big war in
France," and "White Dresses," the
story of old Aunt Candace and her
niece Mary McLean, a pretty quad-
roon girl. Aunt Candace becomes the
embodiment of her race and her words
to Mary conclude the stark tragedy of
the race problem: "I knows yo'se got
feelin's chile. But yo'se got to
smother 'em in. Yo'se got to smother
'em in."
Such are the Carolina Folk-Plays.
They have been welcomed in towns
and cities all over North Carolina. It
is the hope of our Playmakers that they
will have something of real human
interest for the big family of our
American folk beyond the borders of
Carolina.
There is everywhere an awakening
of the folk-consciousness, which should
be cherished in a new republic of
active literature. As did the Greeks
and our far-seeing Elizabethan for-
bears, so should we, the people of this
new Renaissance, find fresh dramatic
forms to express our America of to-
day— our larger conception of the
kingdom of humanity.
Toward this, The Carolina Play-
makers are hoping to contribute some-
thing of lasting value in the making of
a new Folk Theatre and a new folk
literature.
MARMON
THE supreme enjoyment of mo-
toring is to sit at the wheel of a
Marmon — a gentle turn guides
it. Many women who have pre-
viously found motoring very
fatiguing, have changed to Mar-
mons and drive them without
the slightest exertion. And there
is the assurance that this finest
form of transportation costs
less per mile.
NORDYKE & MARMON COMPANY
Established 1851 : INDIANAPOLIS
kO
One Problem Less
STUDY lamps instead of pine
torches. Printed books instead
of written parchments. Women
welcome instead of barredat schools
of higher learning.
Habits and customs change. Living
conditions improve. Grandmothers
and mothers used birdseye and
other bulky sanitary pads. Today
a new sanitary habit has been made
possible by Kotex.
Kotex is a sanitary pad that does
away with many embarrassments.
It is easy to buy without saying
"sanitary pads" by simply asking
for "Kotex." It is sold in depart-
ment, drygoods and drug stores.
Everywhere. It comes in a blue
box which has no printing except
the name " Kotex."
Kotex solves an age-old laundry
problem by removing it, for Kotex
is cheap enough to throw away
and easy to dispose of by following
simple directions found in each
box. Two sizes— Regular and Hos-
pital size (additional thickness).
Many find it economical to have a
supply of each.
Keep Kotex always on hand. Ask
by name for Kotex.
RegularSize, 12for60c
HospitalSize, 6for45c
(Additional thickness)
Kotex comes in two sizes as
noted above. If not yet familiar
with the comfort and conveni-
ence of Kotex we will gladly
send a sample of either size, in
plain wrapper free on request.
Kotex vending machines are
being installed in women's rest
rooms everywhere^hotels,
office buildings, restaurants,
theatres and other places —
from which may be obtained
one Kotex with two safety
pins, for ten cents.
Cellucotton Products Co., 166 W. Jackson Blvd., Chicago
New York Office: 51 Chambers St. Factories: Neenah, Wisconsin
Copyright 1922— Cellucotton Products Co.
INEXPENSIVE. COMFORTABLE, HYGIENIC and SAFE — KOTex
GERMAN STAGE RUNNING TO
DEGENERACY
OSWALD GARRISON V1LLARU,
than whom few American com-
mentators on matters Teutonic speak
with more authority, in a series of
engrossing articles on the rebirth of
Germany in "The Nation" has occasion
to refer to the stage of that country in
an installment entitled "The Price the
People Are Paying."
Speaking of the general sweep of
immorality throughout the land, Mr.
Villard goes on to say:
"The whole viewpoint of Europe is
changing in regard to these things;
they are being more than ever con-
sidered normal and natural. Unfortu-
nately the unnatural and perverse are
also more than ever in evidence and
this is not to be wondered at in view
of the degradation of a portion of the
German and Austrian stage. That
any municipality would tolerate the
acting of perversion in a reputable
theatre would certainly not have oc-
curred to anybody before the war, but
the efforts of right-thinking people to
prevent the production of Arthur
Schnitzler's "Reigen" and of "Vater-
mord" (in which latter play abnor-
mality and incest are the leading
themes) have only resulted in the
arrest of the protestants on the ground
that they were committing a breach
of peace in seeking to prevent the
appearance of plays which ought to be
banned utterly. I do not, of course,
advocate a return to official censorship
but a criminal statute with proper de-
finitions to guide the stage and the
law enforcers. These are only two
plays that I might cite. There are
many others that go beyond all limits
of decency and they are appearing
side by side with many beautiful plays
of absorbing interest because of the
extraordinary new scenic effects and
methods of presentation and the re-
markable acting. It is only fair to
add, too, that most of the worst come-
dies are taken over from the Paris
stage. Vet if one should stray into
six or seven of the plays running in
Berlin and should see nothing else
one would be compelled to despair of
Germany and to believe that her new-
found liberty has degenerated into
disgusting, indefensible license. These
plays are defended on the ground that
there must be complete freedom of
expression and liberty of talent and
no censorship whatever. The moving-
picture screen has also been de-
nounced in the Reichstag as being
brazen and shameless and quite de-
moralizing."
THE PASSION PLAY AT ERL
By MARC T. GREENE
TO most people, the Passion Play
of Oberammergau, greatest and
most impressive of such spectacles,
stands alone as a reverent and devout
portrayal of the incidents of Scriptural
history. As a matter of fact, however,
there are several such productions
given at intervals throughout Europe;
and one, at least, considerably ante-
lates that of the immortal village on
the Ammer.
On the boundary line between the
German province of Bavaria and that
part of Austria known as the Tyrol,
lies the beautiful little village of Erl,
once described as a "jewel in a casket
of nature's own fabrication." Here,
according to well-authenticated tra-
dition, was produced the first of the
Passion Plays, and in 1565, more than
three score years before that at Ober-
ammergau. It has been repeated since
then at more or less regular intervals,
usually in the "2" years, presumably
to avoid connection with the greater
undertaking. The last performance
was in 1912, and before that in 1902
and in 1892.
The play at Erl was presented this
year on June 5th and will continue at
weekly intervals until September. Its
inspiration has never been learned,
but it was probably in the great re-
ligious zeal of that period rather in
any specific event, like that at Ober-
ammergau. It is, of course, on no
such scale as that with which the
world is most familiar. Impressive-
ness is not lost on that account, how-
ever, nor is the play in this little,
almost unknown, village unmarred by
the unfortunate holiday spirit which
prevails to so great an extent among
the visitors to Oberammergau. Tour-
ists are comparatively few but those
who do go to Erl are well rewarded.
THEATRE MAGAZINE, OCTOBER,
Since 1860
the one best glycerine soap
TPHE bath room or wash room which con-
1 tains a cake of No. 4711 White Rose
Glycerine Soap is made luxurious by that
one touch alone! Such a delightful sensa-
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agreeable perfume and richness of creamy,
purifying lather! Take a cake home to-day,
— or a box. Your favorite shop has it.
Enjoy Also !
No. 4711 Eau de Cologne — the genuine
old-lashioned. Cologne water, made the same
since 1792 — and
No. 4711 Balh Salts— which come in seven
exquisite perfumes. Nothing like these Salts
for softening the water and exhilarating
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IF YOU HAVE
The June, 1903— May, 1905— November, 1911— April, 1916— October,
1918 numbers of THEATRE MAGAZINE, we will buy them back at $1.00
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Address: A. B. A.
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Alma Simpson, Soprano Rccitalitl
"It's a Cream that
I Never Allow Myself
to Be Without "
Thus writes Mill Simpson of Leona
Libbe'i unusual cream, (f)aume Re
d'lon. "It has luch an all-round =
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good for freshening the skin, for toning |
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lasts all evening, that I always have a jj
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fBaume Re J'lon will be tent to you I
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On tale at: B. Allnuti Co.. Lord «c
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direct from Leona Libbe. Inc.
The Leona Lithe Beauty Box hat I
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This Columbia in the Adam
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COLUMBIA GRAPHOPHONE CO., New York
You cannot really enjoy the theatre unless you are familiar with the great
actors and actresses of other days. Read
"A HISTORY OF THE
THEATRE IN AMERICA"
From Its Beginnings to the Present Time
By ARTHUR HORNBLOW
For Twenty-two Years Editor of "The Theatre Magazine"
With nearly 200 splendid illustrations — most remarkable array of fine
and rare theatrical portraits ever seen outside of a private collection.
Two Octavo Volumes. Over 700 Pages.
Printed in Caslon Type on handsome paper
and bound in library style, gilt back, gilt
top, uncut edges.
As to the merits of this book itself, the
Nation has this to say:
"The first full length history of the American
theatre. If there were others they would have
to be very good if Mr. Hornblow's were not the
best. . . . His book should be indispensible
for a hundred years to come." — 7V>* Nation.
This complete work now sells
for $10.00 a set. BUT-
By special arrangement with the pub-
lishers, for a limited time only, we
offer "A History of the Theatre in
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The price of a subscription being $4.00.
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[273]
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=
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The Promenades of Angelina
(Continued from page 256)
Vanna, who graciously lent her
dancer's feet and ankles for the posing
of the shoes on the other page. And
there was the choicest little person
with a pert turned-up nose, and a pert
straight-down bob . . and Oh, half
a dozen others quite as noticeable . .
The last line of "The Cinderclh
Blues" jazzes out . . "Who are the
misguided wretches who are saying
'sell' and 'tell' for 'sale' and 'taL-'?"
says Anderson from the front row.
lie says it in an even, conversational
tone, without the least rancor. Nobo:ly
is a whit perturbed or flustered. In
fact, we discovered it a very amusing
part of the Murray direction . . this
fashion of apostrophi/ing various de-
linquents as, "You poor, misg iide.1
girl," "You unfortunate child, don't
you know that . ." and so on . . all
without raising his voice or losing his
temper . . If he ever does get really
cross, we didn't see it that after-
noon . . And everyone who works
under Murray Anderson dotes on him
we hear . .
The song is repeated, the "wretches"
are spotted . . "Tall-girls, tall-girls,"
calls Anderson . . "The Sporty Mrs.
Brown" goes into rehearsal, with
Savoy of the famous Savoy-and-
Brennan team as "Mrs. Brown" . .
The short girls scatter themselves
throughout the auditorium to watch,
sitting on the length of their spines.
As you look back you see here and
there the soles of certain pairs of
feet ranged on the backs of the chair
seats, the top of a head vaguely out-
lined behind . .
Back in the wings is the petite Ula
Sharon, just returned from studying
abroad, tirelessly practicing her ballet
steps with blue-smocked Alexander
Yakovleff, who has charge of all the
dance numbers. A Russian, a per-
sonality, this Yakovleff, and a feather
in the cap of the Greenwich Village
Follies . .
Carl Randall comes in for his fea-
ture . . a toy shop number . . bring-
ing with him the male dancer whom
he found in the Carpathian Mountains
Howard Greer and Cleon Throck-
morton . . the latter did the scenery
for "The Hairy Ape," by the way .
break in with questions anent the
costumes and sets they are furnishing
. . Anderson is amicably in six places
at once . . A cryptic individual re-
ferred to solely as "Albert" is in seven
He ranges over the theatre .
here, there, everywhere . . gadfly .
stinging the chorus into action, round-
ing up delinquents, meeting and dis-
posing of people who wander in with
di-gage blandness, answering telephone
calls, smoothing chaos into order gen-
erally . . As he whizzes past us
down the aisle, or falls temporarily ex-
hausted into a seat in front, he drops
comments on "the gorgeous girls" and
the proceedings that are "a scream"
. David enjoys them hugely through
the afternoon . . in fact, the whole
atmosphere of work and life and color,
the artistic spirit that is the G. V. F. ,
[274]
THEATRE MAGAZINE, OCTOBER. 1922
J. M. Hanson-Bennett's
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ADDRESS ALL ORDERS TO
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CHECKMATE
(Continued from page 247)
And wait me in the hall. There we'll
divide
Whatever monies may be found in-
side.
PAWN (Fearfully)
If I be caught within her room?
KING
Then I
Shall clear thee of suspicion by some
lie.
See that thy hand is sure, thy footstep
light,
E'en as mine own when coming in o'
night.
( The Pa<wn goes quickly out. The Red
Queen enters from the opposite side of
the stage. The King is embarrassed
and finds no words to greet her.)
RED QUEEN (Sweetly.)
Thou had'st my note?
KING
Aye. Why didst thou not wait
To hear from me? 'Tis most unfortu-
nate.
Thou did'st not choose my wife's re-
ceiving day!
She'll think thy visit rather odd —
RED QUEEN
Nay, nay,
It shall appear I called on her.
KING
Suppose
Thou should'st by some unheeding
word disclose
That thou and I are somewhat better
friends
Than she surmiseth?
RED QUEEN
Marry, that depends
Upon thine own discretion. Hast agreed
To let me have the trifling sum I need ?
KING
Thou'lt have it. (Goes hurriedly to one
side and listens.)
RED QUEEN
Then my tongue shall make no slips —
Insooth, my gratitude shall seal my
lips.
KING
My wife approaches now. Pray be
discreet!
Pretend that thou and I but chanced
to meet.
( The White Queen enters. Goes up to
Red Queen and kisses her on the
cheek.)
WHITE QUEEN
So sweet of you to call on us, my dear!
Methought thou'dst quite forgotten we
were here.
RED QUEEN
Forgive me, dear, I should have come
before.
I have no doubt thou findest life a
bore —
Aye, married women are so much
alone !
WHITE QUEEN
Alas, 'tis frequently the case, I own.
(She surveys the Red Queen's go<wn.)
Thy gown is charming, dear, no one
would guess
Thou had'st made over last season's
dress!
RED QUEEN (Sweetly.)
Indeed, I'm thankful that I am not
stout
As thou, for 'tis impossible without
A skilled modiste to make one's figure
trim
And graceful, when one is no longer
slim !
KING (Fidgeting About.)
Dost thou not think 'tis like to rain?
RED QUEEN
Nay, nay !
I'm sure 'twill be a most delightful
day!
WHITE QUEEN (To Red Queen.)
Thou art a valiant soul to bear so well
Thy poverty, forsooth, one scarce could
tell
To look at thee, thou did'st thine own
house work.
I marvel that thou seemest not to
shirk
The menial tasks my servant girls
neglect —
And yet contrive to hold thy head erect
As any Lady !
RED QUEEN
Thou too dost reveal
A talent for deportment. Who would
say,
To see thee in thy drawing room today,
Thy father sold dried herring on the
quay?
KING (Hurriedly to White Queen.)
My love, I'm sure our friend would
like to see
The lovely mantle thou hast bought !
WHITE QUEEN (To Red Queen.)
Poor dear!
No doubt thou'lt wear the cloak. thou
had'st last year!
RED QUEEN (Coyly.)
Unless some gallant pityeth my state —
(She gives the King a ravishing
glance.)
Perchance the King — He's so consid-
erate!
KING (Hastily to his wife.)
'Tis late indeed ! Our friend must soon
depart.
Pray go and fetch thy cloak at once,
dear heart!
(He hurries the White Queen to the
side of the stage and off. Then turns
to the Red Queen.)
KING (Annoyed.)
Thou tactless one! Why did'st thou
mention me?
She may suspect I'm interested in
thee
RED QUEEN
What matter, sir, art thou become so
weak
And timid that thou darest not to speak
With other women? Put her in her
place!
(She turns away from him. He fol-
lows her and speaks conciliatingly.)
KING
Alas, thou understandest not the case.
She'd cut me off without a crown !
(7"o be continued next month)
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[275]
CAROLINA
FOLK PLAYS
One-act plays by various
authors. Edited by Fred-
trick H. Koch, Illus-
trated. $1. 75.
Walttr Pritchard Eaton In Tbt Drama: "Koch is do
ing a wonderful work. He is teachtnjr younjr people
to write their own plays, about their own people and
their lives, stage them, costume them, act them."
FRANKLIN
By Constance D^Arcy Mackay, author of
The Beau oj the Bath, Etc. A play in
four acts. $1. 75.
"True to period. , . . The moments of crisis are
well managed, the characters convincing and the
humor dcliehtful." — Cbica o Ntws.
SECOND PRINTING
PRODUCING IN LITTLE
THEATRES
By Clarence Stratton. With 70 illustra-
tions. $2.90.
"The most important book for the small stace and one
of the moht practical additions to theatrical literature."
— Literary Rgvitw aj k'ew York Pint.
For descriptive circulars send to
HENRY HOLT & CO.
19 W. 44th St. NEW YORK
Just Published
CONTEMPORARY
ONE-ACT PLAYS
OF 1921
-AMERICAN — .
Edited by Frank Shay
Twenty of the best one-act plays written
by Americans and produced by Little
Theatres in America in 1921 : together
with a bibliography of plays published
since January, 1920. The plays are by
Baird, Caesar, Culbertson, Dell, Glass-
pe.I &. Cook, Goodman & Hecht, Grib-
ble, Grover, Guske, Hudson, Kelly,
Kemp, Langner, McCauley, Millay, Mor-
ley, O'Neill, Smith, Stockbridge, Walker
Silk cloth. 630 pages. $3.75 net
At \if Bookshops
Publishers
STEWART KIDD
Cincinnati
PROFESSIONAL SCHOOL
j ADOLPH BOLM I
= from the Imperial Theatre in Petrograd, |
S Diaghilev's Russian Ballet, Metropol- |
E itan Opera Co., now Director Chicago =
| Opera Ballet.
announces the opening of his
| School of the Dance 1
| Dance and Pantomime — Adolph Bolm, =
= As st., Constantin KobelefT, (from the |
Imperial Theatre in Petrograd).
| Dalcroze Eurythmics under supervi- =
sion of Marguerite Heaton from the E
N. Y. School of Dalcroze,
| Hygienic and Aesthetic Body Culture. |
(Dr. Mensendieck's System) —
= Paula Pogany.
= Anne Neacy, Courses in Costuming.
Catalogue on request
BLUM'S BUILDING
| 624 S. Michigan Blvd., Chicago. 111. =
Books
Especially those containing plays for reading or
acting, or those concerned with play production
(CONTEMPORARY ONE-ACT
^ PLAYS, STEWART KIDD Co. Add
to this heading that the plays are all
American, and that they have been
selected and edited by Frank Shay.
Mr. Shay in a foreward rises to re-
mark that the lot of the anthologist
is not a happy one. In a dilemma, he
is tossed from the one horn of shall he
select his plays because of the fame of
the author, to the other horn of shall
he use his own selective judgment and
choose those plays that are the best
that have come to his attention. He is
bound over to criticism by someone
in either course, Mr. Shay feels, but
finally decides on the latter. After
that his problem is further complicated
because so many good one-act plays
are being written and acted these days
that the task becomes not so much one
of selecting the best as of eliminating
the almost as good.
Perhaps Mr. Shay's lot as antholo-
gist may not have been a happy one
"in work," but it is our personal
opinion that it has had a very happy
emergence in the results of this
volume. We don't know when we
have enjoyed reading a volume of
plays more, finding each one practi-
cally as dramatically interesting as
the next, and the balance along the
broad lines of comedy and tragedy
nicely kept throughout. Moreover, we
can testify to the interesting qualities
of at least a third of the plays in
production, having seen these vari-
ously performed by the Provincetown
and Washington Square Players, as
well as on the so-called regular stage.
This collection of "Contemporary
One-Act Plays" — there are twenty of
them — is to be considered, announce
Stewart Kidd, as supplementary to
the "Fifty Contemporary One-Act
Plays" issued in 1921. Such well-
known names as Eugene O'Neill,
Stuart Walker, Christopher Morley,
Susan Glaspell, Harry Kemp, and
Floyd Dell figure in the list.
We have been aroused to enthusi-
asm also, by the play "FRANKLIN,"
author CONSTANCE D'ARCY MACKAY,
publishers HENRY HOLT & Co., which
has just appeared.
And here, in case our enthusiasms
strike the reader as too stereotyped
and inclusive, we might pause to inter-
upolate that we are afraid they will
always have to go along with the
books that are reviewed in this
column. Since our space is limited
we shall perforce select for notice
only those books concerned as to the
drama that seem to us worthy of
recommendation and of passing on.
Having read Miss Mackay's play
we wonder that it has first seen the
light of day between the covers of
a book and not upon the stage. We
can think of objections that could be
raised against its attempted produc-
tion, to be sure . . But at once we
can think of reasons that meet and
nullify these objections. The play
is essentially dramatic, especially in
the climaxes of each of its four acts.
The dialogue has the requisite sim-
plicity and directness that make for
humanness, and we find this always
a particular achievement where a
past epoch is being reproduced for
a present generation. The settings —
the first two acts in Keimer's printing
press in Philadelphia, 1723, the third
in Franklin's home in Philadelphia,
20 years later, and the two scenes in
Act IV, at Franklin's hotel at Passy
and at the Court of Versailles respec-
tively, offer every opportunity in the
world for color and atmosphere.
Lastly, the character of Franklin him-
self is delightfully drawn, a splendid
part for some real actor to bite into,
and Miss Mackay's aim in the play,
"to give a picture of the man while
keeping as close to historical data
as possible," is entirely successful.
With the exception of Keimer, the
printer, Deborah Read, who becomes
Mrs. Ben, and Bretelle, the spy, who
personifies the forces — the meanness,
the spying, the trickery — with which
Franklin had to contend, the other
parts are relatively but bits, though
for all that each stands out in a life-
like manner, with freshness and
charm.
It has been contended that Franklin
was too austere, too unromantic a
figure to engage audiences, and that
his period also would hold no inter-
est for them. Well, worse luck for
American audiences! Our own idea
is that Franklin only needs his proper
interpreter to become a second
"Disraeli," box office receipts and all.
Professional Schools
Recommended by
The Theatre Magazine
Catalogues will be sent on rtqu".!,t
American
Academy of
Dramatic
Arts
Franklin H. Sargent, President
The leading institution
for Dramatic ami Ex-
pressional Training in
America.
Detailed catalog jrorn the Secretary
ROOM 172, CARNKGIE HALL,
NEW YOKK
Connected witli Charles Froliiiuin's
Empire Theatre ami Companies
School of the Theatre
THRESHOLD PLAYHOUSE
DIRECTORS
CLARE TREE MAJOR
WALTER HAMPDEN
GEORGE ARLISS
RACHEL CROTHERS
ROBERT ED. JONES
KENNETH MACGOWAN
ARTHUR HOPKINS
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DIRECTORS
FRANK CRAVEN
ELSIE FERGUSON
BROCK PEMDERTON
ERNEST TKTKX
WM. LYON 1 HELI-S
JOSE RUBEN
GRANT MITI HI.LL
HAZARD SHO.IT
Six months' stock experience before
graduation — Professional Directors
Only — Scenic Design — Production —
Dancing — Fencing — Pantomime.
Voice Development — Shakespearean
Reading, etc.
Fall Season Opens October 2nd. Write "Director"
573 Lexington Avenue, N. Y. C.
SCHOOL-
[276]
DRAMA OPERA SPEECH
STAGE DANCING
PHOTO PLAY SINGING
Learn to Act by Acting
Concentration courses include actual stage
experience and appearances at Alviene Art
Theatre developing poise, personality and
good address, graduating artists. 20 In-
structors. For catalog wnte Secretary.
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Address M.J., c/o Theatre Magazine
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RIVERSIDE fKESS, NEW YORK
NOVEMBER 1922
MAGAZINE
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Theatre Magazine
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is published on the fifteenth of each month by Theatre Magazine Company, 6 East
5 y -
Vol. No. 36, No. 5
Whole No. 260
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[271]
THEATRE MAGAZINE, NOVEMBER. 19IS
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The Play Guide of Theatre Magazine, is a
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Lest you lose yourself in the maze of good,
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They will avoid your losing time, wasting
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The Play Guide, whose wisdom is the ser-
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oar compliment*
llllllllllllllllllilllllllllllllllllllllillllliiiiilliini
Plays That Continue on Broadway
As We Co to Press
Drama
Cat and the Canary,
Goldfish, The
Hairy Ape, The
I Hull About Blayds,
Monster, The
Whispering Wires
Fools Errant
East of Suez
Endless Chain, The
La Tendresse
Rose Bernd
Loyalties
Comedy
The Abe's Irish Rose
Captain Applejack
Chauve-Souris
The Dover Road, Tbe
Kempy
Kiki
Partners Again
So, This Is London!
East Side-West Side
Old Soak, The
Shore Leave
It's a Boy
New Plays
Awful Truth, The
Exciters, The
Her Temporary Husband
Hanky Dory
Banco
Torch Bearers, The
Why Men Leave Home
Musical
Music Box Revue, The
Spice of 1922
Ziegfeld Follies of 1922
Daffydill
Gingham Girl, The
George White's Scandals
Greenwich Village Follies
Mollie, Darling
Orange Blossoms
Passing Show of 1922
Sally, Irene and Mary
Hippodrome — Better Times
San Carlo Opera Company
SAM H. HARRIS THEATRE
W. 42nd St. Eves. 8. 1 5. Mais. Wed. and Sat.
THE FUNNIEST SHOW IN N. Y.
IT'S A BOY
William Anthony McGutre'a Comedy
Staged by Sam Forirst
w. 48th St. Fv<* 8. o
Mato w.d ,nd Sal.
THE ALL SEASON SUCCESS
Wallace Eddinger — Mary Njth
IN CAPTAIN APPLEJACK
Wilier Hackell'i Comedy
5t*seH I Y tvie Author and Sam Forrest
ROY THEA W. 45th M. E.-».
Dt»A 8.15. Mais. Wed. ai.J sal.
SAM H. HARRIS Presents
IRVING BZRLJN'S
MUSIC BOX REVUE
Second Edition
Qreatest spectacle ever staged
at me Hippodrome.
BETTER TIMES
AT HIPPODROME
Nights, 8:15
THE
Daily Matinees, 2:15.
SHUBERT THEATRE
Mau. Wed. and Sal. NiaKt. 6.15. Mat. 2. 1 5
GREENWICH VILLAGE FOLLIES
FOURTH ANNUAL PRODUCTION
Deviled and Staged by
JOHN MURRAY ANDERSON
•NEW AMSTERDAM -a 15-
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Where to Dine
[280]
THEATRE MAGAZINE, NOVEMBER, 19ti
Onyx
Reg oi "at 0"-<-f
Hosiery
Is chiefly remarkable for the deftly wrought "Onyx Pointex"
feature which adds so much to the beauty of trim ankles.
But "Onyx" is also made with the ordinary heel in smooth,
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hose too, in wool or cashmere, to wear with smart Fall tweeds.
Emery & Beers Company, Inc., Wholesale Distributors, New York
Most department stores also sell "Onyx" sox
for men. Next time you buy for "him," ask
to »ee some of the " Onyx" long wearing sox.
The famous "Onyx Pointex"
heel reinforcement.
[281]
Les Parfums
de
Pa
ris
PARIS - L'ORIGAN • CHYPRE
AMURE ANTIQUE - STYX
MUGUET - CYCLAMEN
LA ROSE JACQUEMIX' >T
JASMIN DK CORSE
LA JACINTHE
L'EFFLEURT
L'OR.
e three COTY
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COTY 714 FIFTH AVENUE
-
THEATRE MAGAZINE. JVOKCMJtEJI. 1921
A human frieze chiseled with the lens of Weston and Mather
CONTENTS FOR NOVEMBER, 1922
James K. Hackett as Othello . .
Olla Podrida
Pauline Frederick, a portrait
Maryon Vadie, a portrait
285
286
287
288
Among the Younger Actresses 305
Adrift in the Roaring Forties Benjamin DeCaaeres 306
Margaret Irving, a portrait 307
And Now Come Films from Russia 308-9
"A Serpent's Tooth" Arthur Richman 310
Agnes Ayres, a portrait 311
Hits of the Month 313
La Danse Macabre 315
The Versatile Winwood, an interview Bland Johaneson 316
Atlas, a study 317
Music Robert Nathan 318
The Metropolitan Begins to Stir 319
Happenings of the Month 320
Heard on Broadway 321
The Amateur Stage M. E. Kehoe 323
Fashions . Anne Archbald 327
>8 tne American playwright? Who is he? Are there any that count in the super-world of
drama? These interesting questions and the personalities they involve are discussed by Sheldon
Cheney in December THEATRE .*t Another Jaunt into Brightest England by Carlton Miles — this time to the home of John Galsworthy
•,* More Mirrors of Stageland -< Somerset Maugham's play "East of Suez" •_•* Other features and wonderful pictures galore •*
Enter the Artist— as Director Kenneth Macgowan 289
Some European Sketches Robert Edmond Jones 290-91
To a Retiring Vamp, verse M. ]. H. 292
Murray Anderson Does It Again 293
The Lady of the Rocks 294
The Mirrors of Stageland The Lady with the Lorgnettes 295
"The Old Soak" in pictures 296
Mr. Hornblow Goes to the Play 297
"The Torch Bearers" in pictures 298
"Hanky Dory" in pictures 300
Marie Tempest, a biographical page 302
Bernliar.lt — the Invincible, an interview Alice Rohe 303
OTFR IVFYT
"•"•'•"••I
Cover Design by Homer Conant
F. E. ALLARDT, Director of Circulation
LOUIS MEYER
PAUL MEYER
}PU
bli
Published monthly by the Theatre Magazine Company, 6 East 39th Street, New York. Henry Stern,
president; Louis Meyer, treasurer; Paul Meyer, secretary. Single copies are thirty-five cents; four
dollars by the year. Foreign countries, add 50c. for mail; Canada, add 50c.
[283]
G O R H A M
SILVER
A reaction in our social life points to
less entertaining in public, and more of
the gracious old fashioned entertaining
at home.
The beautiful Flat Silver and Dinner
Services produced by Gorham bring
beauty and distinction to family gather-
ings and formal dinners in the home.
Sterling Silver Articles of the highest
Quality though not the highest price
THE GORHAM COMPANY
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[284]
THEATRE MAGAZINE
VOL. XXXVI No. 260
NOVEMBER, 1922
fortrait by Lambert, of Bath
•fr:
JAMES K. HACKETT as Othello
The distinguished American tragedian who has been made a Chevalier of the Legion d Hon-
neuroy the French Government for his triumphs in Pans and more recently nominated the
greatest Shakespearean actor of an epoch" by the London "Tatler" following h>*Pe'{""*
at the Birthday -Festival in Stratford. Mr. Hackett, and his mfe Beatrice Beckley, whose
Desdemona has been likewise acclaimed, are expected to return shortly
[285 ]
THEATRE MAGAZINE
Edited by
ARTHUR HORNBLOW and
ARTHUR HORNBLOW. Jr.
Olla Podrida
The Way to the Stage
AN attractive young girl came to see us the other day to
ask how she might find employment on the stage. We
see dozens such every month ; they come to us in some
belief that, being a theatrical magazine, we are in close harmony
with the casting directors who wield the power of professional
life or death along the Rialto. They do not realize that, even
if we were what they think, we are in no position to recommend
to those directors youngsters about whom we know nothing
ourselves. But that does not prevent our feeling dispirited
about their plight. Our heart aches for the talented young
man or woman, gently born and bred, whose impulse to act
carries them against the rigid railings and insolent young swine
that guard the outer offices of the usual theatrical manager.
There are only three managerial offices in New York to which
a visit is not more or less concomitant to insult.
Were the difficulties of finding employment only in the
outer office, however, the aspect might not be quite so cheerless.
But where insult dwells without, extraordinary inefficiency in
the matter of engaging personnel usually sits within. I knov
of only three managers who are capable of running their busi-
ness, from the standpoint of so keeping in touch with the spring-
ing talent of the country that they can cast a play with in-
telligence and skill when the time comes for it.
Nine out of ten plays that open are badly cast. At least
five of these are very badly cast. This, not so much because
there are no actors capable of playing the parts, but because
the system of casting is so absurd a one as practically to guar-
antee shoddy results. There may be more casting managers
or directors who have an adequate filing record of available
players and their possible uses, but I know of only one. Mr.
Winthrop Ames keeps an exhaustive card file covering the vir-
tues and defects of every applicant he interviews. It is a tribute
to his judgment that there is in that file, graded some time ago
over 90% in "personality," "intelligence," "acting ability,"
etc., names that today are among the foremost in the profession.
Nobody casts a play better than Ames.
The usual system of casting calls for waiting until the
last minute and then hurriedly sending for such available peo-
ple as the mind of some alert agent can think up. The agents,
in fact, are the most influential persons in the theatre today
in the matter of getting jobs. Only the big names or those of
personal acquaintances or old fellow-players are in the minds
of the casting directors themselves. If the agent forgets an
actor or a recent file of THEATRE MAGAZINE containing his
picture is not within ready reach, however well suited he may
be for a certain type of part and however much he may be
available he will go without it. And as for the newcomer!
Getting a bit of the moon is a more likely possibility than that
the newcomer will be given the hearing and the more important
"remembering" he may deserve. This is rank folly. Not be-
cause it is hard on the newcomer, which it is. But because it
is mighty bad business on the part of the producer. When will
a general state of efficiency be introduced into the offices where
casting is done? We don't know. Perhaps it never will.
Perhaps the theatre is not a place for efficiency of any sort.
Certainly there is ample evidence to that effect. But, at least,
without proper casting there will rarely be proper casts. We
are amazed that producers who at times show intelligence in
other respects can continue this methodless method of remaining
close to the moving world of talent.
The Navy as Theatrical Censor
SOMETHING in the nature of a "last straw" occurred
^ recently at Indianapolis, when navy officials, acting wholly
without authority in law or in ethics, stopped a vaudeville
act because it travestied the navy! The extent of the travesty
lay in some good-natured fun poked at the life of a sailor,
which involved such treasonable dialogue as "What does U. S.
stand for?" being answered by "Unlimited Scrubbing." Ac-
cording to the offended officials this sort of pernicious talk
hampered enlistment and caused mothers to hinder their sons
against entering the navy!
The act was stopped not only in Indianapolis but also in
Buffalo, indicating that the navy's action was not simply the
result of an isolated and local asininity but one spread properly
about through naval channels and apparently approved and
sustained as it progressed from one Patriot to another. The
fact that the same act started during the war and has been
on the boards for four years without interference indicates
not so much that it is genuinely dangerous to the national
safety as that the growing spirit of repression and dogmatic
interference with liberty being increasingly exercised by the
government is causing even naval petty officers to feel that
they are entitled, in the name of that government, to make
whatever preposterous and unwarranted intrusions they see
fit to make.
The incident has a strong odor of the pre-war Germany
that finally so came to offend us as to necessitate our destroying
it. If the instance, which has been spread on the record by
that excellent trade newspaper "Variety," were not so funny
it would be pitiful, if not actually tragic. The officials who
acted as reported should be seized upon and reprimanded by
whatever agency of the government is able and intelligent
enough to do it.
[2*6]
THEATRE MAGAZINE, NOyEMBER, 19U
Portrait by W. F. Seely
PAULINE FREDERICK
Who returns to the stage this season after eight years of absence in "The Guilty One,"
a new drama by Michael Morton and Peter Traill. The play's New York premiere
has had numerous postponements due to the great success it is enjoying in Chicago
[287]
Portrait by Arnold Genthe
MARYON VADIE
A young dancer of unusual beauty and sufficient talent to be billed throughout the country as the
"American Genee" by the discriminating gentlemen who pick headliners for the Keith theatres.
Miss Vadie is a pupil of the leading classical and ballet masters and is a native of Los Angeles
[288]
THEATRE MAGAZINE, NOVEMBER. 19it
Enter the Artist— As Director
Observations at First Hand on Strides being Made by Continental Craftsmen
THE scenic designer is a modern prod-
uct. He was unknown to Moliere
or Shakespeare ; the tailor was their
only artist. Except for incidental music,
the costume seems to have been the one
field in which another talent than that of
the actor or director invaded the theatre
from Greek days until the last of the
seventeenth century.
There were designers of scenery in the
Renaissance, but they kept to the court
masques. The advent of Italian opera
— a development easy to trace from the
court masque — brought the painter
upon the stage. The next two hun-
dred years left us the names of a few
scenic artists, but only a few. It was
not until the twentieth century —
when, curiously enough, Realism was
in the saddle — that the painter of dis-
tinction turned towards the stage. I
doubt if any one more talented than
a good carpenter or an interior deco-
rator was needed to achieve the actu-
ality which the realist demanded.
When artists of distinction or de-
signers with a flair for the theatre
appeared at the stage door, it was
because they saw Shakespeare or
Goethe, von Hofmannsthal or Maeter-
link, sending in their cards to Irving
or Reinhardt or Stanislavsky.
Now what are the relations that
this modern phenomenon has estab-
lished with the theatre through the medium
of the director? Ordinarily they differ
very much from the attitude that existed
between the old-fashioned scenic artist and
the director, the attitude that still exists
in the case of most scenic studios. This
is the relationship of the shopkeeper and
the buyer. The director orders so many
settings from the studio. Perhaps he
specifies that they are to be arranged in
this or that fashion, though usually, if
the director hasn't the intelligence to em-
ploy a thoroughly creative designer, he
hasn't the interest to care what the set-
ting is like so long as it has enough doors
and windows to satisfy the dramatist.
CO-OPERATIVE RELATION COMMONEST
OCCASIONALLY you find a keen,
modern director, for one reason or an-
other, has to employ an artist of inferior
quality. Then it is the director's ideas and
conceptions and even rough sketches and
plans that are executed, not the artist's.
In Stockholm, for example, Harold Andre
so dominates the official scene painter of
the Opera that the settings for "Macbeth"
are largely Andre's in design, though they
are Thorolf Jannson in execution.
The commonest relation of the director
and the designer has been co-operative.
The artist has brought a scheme of pro-
duction to the director as often, perhaps,
as the director has brought such a scheme
By KENNETH MACGOWAN
With Sketches by Robert Edmond Jo/tcs
to the artist. The director has then criti-
cised, revised, even amplified the artist's
designs and brought them to realization
on the stage. And then the artist and the
director, arranging lights at the final re-
hearsals, come to a last co-operation which
may be more important to the play than
any that has gone before.
You find, however, constant evidence of
how the artist runs ahead of the director
The immediate question is obviously
this : If the director cannot acquire
the talents of the artist, why cannot
the artist acquire the talents of the
director? If the knack of visual de-
sign and the keen appreciation of
physical relationships cannot be cul-
tivated in a man who does not pos-
sess them by birth, is it likewise im-
possible for the man who possesses
them to acquire the faculty of un-
derstanding and drawing forth emo-
tion in the actor?
in the creation of details of production
which have a large bearing on the action
as well as on the atmosphere of the play.
Isaac Griinewald brought a setting to the
mill scene in "Samson and Delilah," as
produced by Andre in Stockholm, which
was not only singularly dramatic, but which
forced the direction into a single course.
The usual arrangement is the flat mill
stone with a long pole against which
Samson pushes, treading out a large circle
as the stone revolves. The actor is always
more or less visible and there is no par-
ticular impression of a cruel machine
dominating a human being. Griinewald
changed all this by using a primitive type
of vertical mill wheel. The stage is in
darkness except for one shaft of light strik-
ing sideways across. The great wheel is
set well down in front within a low circu-
lar wall. Along this wall Samson walks,
pushing against a short pole that sticks out
from the centre of one face of the narrow
mill stone. As he pushes, the stone swings
about and also revolves. This allows the
beam of light to catch first a thin crescent
at the top of the curving edge of the wheel,
then a wider and wider curve, until sud-
denly, as Samson swings into view, the
light brings out the flat face of the wheel
like a full moon. Against this the actor
is outlined for his aria. Then while the
orchestra plays, he pushes the wheel once
more around.
This arrangement is extraordinarily fine
as a living picture, and as an expression
of the mood of the scene. Moreover, it is
a triumph for the artist, because it is an
idea in direction as well as setting. It dic-
tates the movement of the player and man-
ages it in the best possible way. There
can be no other action for Samson in this
set, and no other could be so appropriate
and effective.
Examples of similar dictation by the
artist—though none so striking — come
to mind. In Frankfort, Sievert ar-
ranges the settings for Strindberg's
"Towards Damascus" in a way that
contributes dramatic significance to the
movement of the players. The piece
is in seventeen scenes; it proceeds
through eight different settings to
reach, in the ninth, a church, and from
the ninth the hero passes back through
the eight in reverse order until he
arrives at the spot where the action
began. Sievert saw an opportunity to
use the revolving stage, as well as ele-
ments of design in a way interpreting
and unifying the play. He placed all
nine scenes on the "revolver," and he
made the acting floor of each succes-
sive setting a little higher than the last.
This results in rather narrow rooms
and a seashore bounded by formal
yellow walls, but it permits an obvi-
ous unity, it shows visually the path
that the hero is to follow, and it sym-
bolizes his progress as a steady upward
movement towards the church.
Sometimes the artist and director are
the same, as with Pitoeff in Geneva and
Paris, and with Kunt Strom in Gothen-
burg, Sweden. In such a case setting,
direction and acting are one. But ordi-
narily there is a division of responsibility,
and an opportunity for the modern artist
to play a part in the production of a drama
as important as the painters in the old
court masques. Just how important it may
prove to be is bound up, I think, with the
future of the theatre as a physical thing
and with the temperament of the artist.
Working as a designer of picture-settings,
the artist can only suggest action, but not
dictate it, through the shapes and atmo-
sphere he creates.
THE PICTURE-SETTING TO GO
HP HE important thing is that almost all
•1 the designers of real distinction in
Europe are tending steadily away from the
picture-setting. They are constantly at work
upon plans for breaking down the pro-
cenium type of production, and for reaching
a simple platform stage or podium upon
which the actor should present himself
frankly as an actor. This means, curiously
enough, that the designers of scenery are
trying to eliminate scenery, to abolish their
vocation. And this in turn should indicate,
[289]
(Left) The prison in Schiller'i
"Maria Stuart," 39 produced by
Richard Weichert at the Frankfort
Municipal Theatre. The artist,
Ludwig Sievert, has indicated the
prison by black grills. Against
the gray wall, Mary, gowned and
veiled in white, bids farewell to
her attendants before she goes to
execution.
(Right) The palace scene in Grillparzer s
drama, "Der Traume, ein Leben," as given
at the Volkabuhne in Berlin. Columns of
dull gold, painted to suggest a spiral
ihape, are spaced against a black cur-
tain, which is later drawn aside to reveal
a blood-red sky. In the foreground can
be seen a group of plotting Orientals.
The artist is Hans Strohbach
(Left) Das Rheingold: Alberich's
cave. A setting designed by Linne-
bach and Pasetti for the National
Theatre in Munich. The feeling
of a cavern is produced by a back-
drop painted with lines suggesting
rock formations, and excellently
lighted. A noteworthy example of
the artist's replacement of the old
"scenic artist."
ROBERT EDMOND JONES SKETCHES SOME
In His Wanderings With Macgowan through Europe Our Own Noted Designer
[290]
THEATRE MAGAZINE, NOVEMBER, 1922
(RigAt) The sleep-walking scene
from Verdi's "M a c b e I li" as
produced by Harald Andre at th«-
Royal Opera in Stockholm. A
simple and impressive setting done
under the earlier influence of
Gordon Craig. No one more than
Craig has encouraged the artist's
development in the theatre of
today.
(Left) Georges Pitoeff's arrangement of
"He Who Gets Slapped," in Paris. The
stage is draped in black curtains. Red
ribbons are looped from the proscenium
arch to indicate by their curves a circus
tent. The actors make their entrances
from behind a large poster. This ar-
rangement is markedly different to the
realistic setting made by Simonson for
the Theatre Guild.
(Right) The first scene from
"Othello" as staged by Jessner at
the State Theatre in Berlin. On
long curved steps, which remain
through the play, the artist, Emil
Pirchan, places the barest indica-
tions of setting. A narrow wall
and a balcony, gleaming like a
maonstone, make Brabantio'i
palace.
STRIKING EXAMPLES OF EUROPEAN STAGECRAFT
Finds the Foreign Artist Stepping Successfully Into the Role of Director
[291]
that the artist has his eye on something
else beside being an artist.
The director who works in such a new
theatre as the artists desire — in the Re-
doubtensaal in Vienna, for example, the
theatre without proscenium, wings or back-
drops, which the Austrian government has
made out of the ballroom of Marie Theresa
— requires an artist to work with him, who
sees drama in terms of the arrangement of
action upon steps, and against properties or
screens. This is ordinarily the business
of the director in our picture-frame theatre.
With the work of the artist enchantingly
visible in the setting behind the actors, the
director can get away reasonably well with
the aesthetic problems of the relation of
actors and furniture and of actors and
actors. Nobody notes his shortcomings in
this regard. Put him upon an almost naked
stage, and he must not only make his actors
far more expressive in voice and feature,
but he must also do fine things with their
bodies and their meagre surroundings. This
is far easier for a pictorial artist than for
the director, who is usually an actor with-
out a well-trained eye. The director must,
therefore, employ an artist even in the
scenery-less theatre, and employ him to do
what is really a work of direction. The
two must try to fuse their individualities
and abilities, and bring out a composite
director-artist, a double man possessing the
talents that appear together in Pitoeff.
The immediate question is obviously
this: If the director cannot acquire the
talents of the artist, why cannot the artist
acquire the talents of the director? If
the knack of visual design and the keen
appreciation of physical relationships can-
not be cultivated in a man who does not
possess them by birth, is it likewise im-
possible for the man who possesses them to
acquire the faculty of understanding and
drawing forth emotion in the actor.
The problem narrows down to the
temperament of the artist versus the tem-
perament of the director. There is a
difference; it is no use denying it. The
director is ordinarily a man sensitive
enough to understand human emotion
deeply and to be able to recognize it,
summon it and guide it in actors. But he
must also be callous enough to meet the
contacts of directing — often very difficult
contacts — and to organize not only the per-
formance of the players, but also a great
deal of bothersome detail involving men
and women who must be managed and
cajoled, commanded and worn down, and
generally treated as no artist cares to treat
himself in the process of treating others.
The director must be an executive, and
this implies a cold ability to dominate
other human beings which the artist does
not ordinarily have. The artist is essen-
tially a lonely worker. He is not gregari-
ous in his labor.
POSSIBLE FUTURE DEVELOPMENT
SO far as the future goes the hope for the
artist is that he will be able to reverse
the relations of director and artist. This
may not be so very difficult. It may very
well happen that an artist will employ a
stage manager as an astute director now
employs an artist, to do a part of his
work for him. He will explain to the
stage manager the general scheme of pro-
duction that he wants, much as a director
explains to an artist the sort of setting he
desires. The stage manager will rehearse
the movements of the actors towards this
end. When the artist sees opportunities
for further development of action and
business, he will explain these to the stage
manager, and perhaps to the players in-
volved, and the stage manager will again
see that the ideas of his superior are carried
out. Something of the kind occurs even
now where a director employs a sub-
director to "break in" the company. Both
Reinhardt and Arthur Hopkins, though
thoroughly capable of "wading into" a
group of players and enforcing action by
minute direction and imitation, generally
use the quiet method of consulting with
players and suggesting changes to them,
not during the actual rehearsal, but after-
wards in the protection of a wing or the
privacy of a dressing room.
The presence of the artist as director
in some future theatre without scenery im-
plies a decided influence on the type of
acting.
Such a stage itself, thrust baldly at the
spectators if not actually placed in the
midst of them, tends to dictate frank,
direct contact between players and audi-
ence. In such a house an actor will be
all but forced to desert the feminine, the
retreative, the purely representational style
of today, and to present himself and his
emotions in an open assertive — may I say
masculine — manner as objects of art and of
emotion.
The tendency of the artist towards this,
kind of theatre implies, I think, a tendency
towards "presentational" acting. Certain-
ly I have talked with few who were not
receptive to it.
Put together a stage that tends towards,
presentational acting and an artist whose
instincts run to the same ends, and the
outcome is not difficult to foresee.
To a Retiring Vamp
In your eyes once, as in a beast's of prey,
Coiled slumberous treacheries; and on your mouth
And on your languorous lips the withering drouth
Of passion burned! The blood red rose that lay
Upon your bosom was blighted by your breath,—
And did men take your kisses recklessly?
(I'll say they did!)
You were the spirit of the venom'd sea,
That smiles, and in its caverns hisses death!
Soul bitterness — this child to love you bore,
When poison curdled on your crimson lips,
And hearts were crisped to ashes at your gaze.
Now all the evil, all the sin you wore
Upon you like a garment, from you slips —
Death pale you wander home to sinless ways!
M. J.
[292]
THEATRE MAGAZINE, rVOt'EMBER.
Bert Savoy as ihe Widow
Brown in an amusing remi-
niscence of the shows that
decked Broadway when
father was a lad.
John £. Hazzard sings a
touching ballad, "Good-bye
to Dear Old Alaska" illus-
trated by slides in the:
heart-rending fashion of old.
Abbe
Above, Dorothy Arnold in one
of the entrancing costumes that
give color to "The Nightingale
and the Rose," a ballet adapted
from Oscar Wilde's story. Be-
low, Sweetheart Lane with
Harrie'.te Cimbel as the Little
Boy and Marjorie Pe erson as
the Little Girl.
At left, Linn Van Voorhees in
a captivating lace costume, the
Spider's Web, designed by
Howard Greer.
At right, Edythe Nedd as a
''Red Head" in a gay number
called "A Kiss from a Reel
Headed Miss."
Hesser
Hesser
MURRAY ANDERSON DOES IT AGAIN
Beauty and Humor Rampant in the Latest Greenwich Village Follies
1
THE LADY OF THE ROCKS
A Study in Contrasts
by Edwin Bower Hesser
The Mirrors of Stageland
Intimate Glimpses Into the Character and
Personality of Broadway's Famous Figures
By THE LADY WITH THE LORGNETTES
THEATRE MAGAZINE. NOVEMBER, 1922
DAVID BELASCO
HE sees everything, and misses nothing.
His fine brown eyes give the im-
pression of near-sightedness. But
they are spiritual X-rays. He told me that
he can tell at sight whether a woman has
ever been loved. Er — m — ah, well!
Shy without question. Any large affair
save a Belasco first night is a torment to
him. Artistry aside, I do not believe he
enjoys the premieres at his own theatre.
Too many eyes peering at him. He wishes
he might flee those eyes, might take the
automatic elevator and ascend to his
million dollar studio on the top floor of his
theatre, and dream of beautiful things.
It is so much pleasanter to dream beautiful
things into existence than to contemplate
them when finished.
The most beloved figure on Broadway?
Yes, without doubt. For his kindness.
"When I came here a frightened, ambi-
tious waif from San Francisco, everybody
was too busy to see me and too preoccupied
to say a kind word," he has told me. "A
kind word would have been like water
to a man dying of thirst but it was denied
me. I determined then that if ever I were
established in New York no one would
be turned from me without a kind word."
No one has. If one were disposed to
criticise the great D. B. he would say
that he promises too much. But he makes
the promises in good faith. He means
to keep them. It is his intent to develop
all the actresses and playwrights who go
to him. He becomes aware that there are
not enough hours in his brief life nor thea-
tres enough in this broad land to do all
that he would do. He retires to his high
.studio, ignores all its expensive beauty,
and grieves at the restrictions of time and
space.
He is an amiable wastrel. He spends
money riotously, buying gifts for his
friends. His stars receive princely gifts
from him. They whom he counts as
friends are liberally remembered on Christ-
mas and at Easter.
He spends his money so lavishly that he
seldom has any about his person. He
pauses at the box office, blinks in the fashion
that has caused the impression that he is
nearsighted, and humbly craves a ten dollar
bill from the treasurer.
He goes forth, buys something that
catches his magpie eye for color or sparkle,
and boards a street car for the Marie
Antoinette. If he has spent all his ten
the recognizing conductors smile at his
frantic pocket searches and say, "It'll be
all right next time, Mr. Belasco." Or if
any money remains he pins a dollar on
his wife's door. When his daughter, Renee
Belasco Gest, lived beneath his roof she
received the same daily remembrance in
the same manner. And at rehearsals actors
who have done well are frequently re-
warded with a dime!
BLANCHE BATES
F\O you see that woman, tall and dark,
-L' that has a sparkling effect like a
black diamond? Yes, the one with the
man smaller than herself, following her
down the aisle? Blanche Bates. The
escort is her husband.
Wonderful woman, Blanche Bates! Her
friends call her the Indomitable. When
she went her way, from David Belasco's
management, there were many who pre-
dicted disaster. Broadway annals give the
names of more than one who has left the
pleasant fold and wandered into divers
miseries, including bankruptcy. To wander
forth from that charmed circle called "be-
ing with Belasco" requires the highest
courage.
But Blanche Bates went. She even
went as far as to marry a police commis-
sioner of Denver, who was eyebrows deep
in a municipal quarrel in the Rockies girded
city.
George Creel is a first-class fighter.
That is one reason why Blanche Bates
married him. With tongue and typewriter,
half way across the continent, from New
York via Kansas City to Denever he has
fought. He fought in newspapers and,
while he was press agent for the United
States government, during the war, he
fought with the newspapers. I heard him
fighting with whiplash tongue when the
lights had been turned out on him at a
"movie" opening.
They've two children, a quaint, preco-
cious girl, a replica of her grandmother,
named Frances Virginia, and a delicate,
sensitive boy who received his mother's
family name, Bates.
The late Lillian Russell, who in her
memoirs said that Miss Bates was her best
friend, outside of her own family, asked
her: "Are you happy, Blanche?" To
which Miss Bates responded : "Very. My
husband and I are usually across a contin-
ent from each other. Of course we are
happy." Which, taken in conjunction with
the twinkle that dances continuously in her
eye, marks the dark star as a humorist.
For a time after leaving the Belasco
fold she wandered about what actors ir-
reverently term "The Sticks." For two
years she wandered thus, trying plays, even
appearing in a photoplay, which she had
sworn not to do. Midseason while she was
weighing the dubious merits of the last
play she had tried in the timbers, for a
metropolitan return, she received a tele-
phone from Henry Miller.
"If only I could get you to play with
me in Moliere," Mr. Miller besought her.
"It isn't a big part but you can make it
big."
"If I am to be in all the acts I will,"
she answered; "if only in two, I would
have to be coaxed."
She must have been "coaxed" for she
only appeared in two acts. But she glowed,
vibrated, fairly radioed in the role of
Moliere's rebuffed Countess.
"And not a word about salary till the
end of the week," recalls Mr. Miller with
managerial wonder.
Her reward was the co-starring role
with him in "The Famous Mrs. Fair,"
and their present close association.
Blanche Bates is indomitable. She is
humorous. A delight to work with. And
she is not mercenary.
MICHAEL STRANGE
T'HAT beautiful woman with the rest-
J- less black eyes — yes, the one who looks
like an Egyptian princess — is Mrs. John
Barrymore. She has a perplexing lot of
names. Call the roll. She would answer
"Present" to Michael Strange. That is
her pen name. She wrote, under it, "Clair
de Lune," in which her husband and her
sister-in-law, Ethel Barrymore, played a
limited engagement at the Empire Theatre.
Mrs. Leonard Thomas. She would answer
"present" to that also,, save for preoccupa-
tion. A woman's last romance swallows
the memory of the rest. She was the wife
of a rich clubman who bestowed that name
upon her at the marriage altar. Blanche
Oelrichs. Ah! That is the core of all
her personalities and phases.
Blanche Oelrichs was the beautiful,
spoiled darling of a family of New York
and Newport society. She had a marked
individuality which manifested itself in
writing repeating verse by the yard, even
(Continued on page 332)
NEXT MONTH: SAMUEL SHIPMAN, DANIEL FROHMAN, FRANCES STARR and JOHN BARRYMORE.
[2951
1. Life, to the "Old Soak" (Harry Beres-
lord) is not a happy one. The law has
closed his heloved saloon and left, for
his convivial moments, only Al, the boot-
legger (Robert E. O'Connor), Al's home-
brewed hootch, Nellie, a thirsty house-
maid (El)0 Williams'), and Peter, a still
more thirsty parrot. With these worthies
the "Old Soak" attempts to relive the
glowing moments of belter days.
2. Matilda, the "Old Soak's" far better
half (Minnie Dupree) , loves her old
reprobate, but for security's lake she
has hidden from him the few bondl she
as managed to keep against a posiible
rainy day.
3. Their son, Clem, Jr. (George Le Guere) ,
outwardly a model lad, is indulging in m.
or 1. high jinks on the side with a chorus
girl named Ina Heath (Mary Phillips}.
4. (7(1 oval) The "Old Soak" himself.
who has now abandoned all businesi the
better to devote himself to the serious
task of "gettin* licker."
5. Clem Jr., led into extravagance by Ina, steals funds at his place of business.
To replace them he is tempted by a hypocritical tee-totaler named Webster
Parsons (Robert McWade) to steal his mother's bonds and sell them to Parsons,
who is anxious to profit by them. How he does this and how the "Old Soak"
shoulders the blame to save Matilda from agonized disillusionment in her boy
is part of the dramatic developments that lead eventually to a rosy ending.
Photos by Abbe
THE NEW PLAY
ff The Old Soak " Comes to Life in a Delightful Characterization by Harry Beresford
[296]
TIIKATKK MAGAZINE. NOVKMBF.R. 1921
Mr. Hornblow Goes to the Play
Foreword
THE pre-seasonal avalanche has
been rather in the nature of a
carnival for morons. Rarely, in fact,
has Broadway insulted itself more
liberally than with the weak-sistered
productions which have opened up
dark houses and helped frighten away
patronage from well-meaning theatre
goers for the balance of the year. I
have been a bit skeptical about the
necessity for importing quite so many
pieces from across the water, but
when I behold even old reliables like
Forbes and Broadhurst contributing
to the proposition that all American
playwrights are created
equally bad I throw up
my hands and encourage
my faithful readers to
look well before they
leap into the seat of any
theatre in New York.
There are some good
things scattered about,
but it's a hundred to one
shot that you won't find
them unless you do your
theatre shopping early
and well-informed.
The lesson for today,
children, is Know Thy
Play. If you don't, you
will very probably waste
your money, your evening
and the affection and re-
spect of all those you conduct thither.
Indiscriminate theatre going is becom-
ing almost as dangerous as crossing
Times Square.
THAT sly red-headed fellow who
claims to be a Russian but looks
like a tame Irishman and answers to
the inappropriate name of Robert
Milton has waved his unusually ca-
pable wand over the cast of "Banco"
and, lo ! it performs miracles. Not
that "Banco" is a difficult piece to do
miracles with. On the contrary, it is
a spontaneous and gay farce, a capital
entertainment in its original tongue
and even more so in the irresistible
lilt and bubbling facetiousness given
to it by Clare Kummer. It is, in fact,
Clare Kummer being made really to
tell a story — something she never does
unless she is made to — and the result
Mr. Hornblow Specially Recommends:
THE AWFUL TRUTH: An entertaining bit of dramatic
Frenrh pastry; superbly produced and acted.
BANCO — A gay little farce, happily adapted from the French
by Clare Kummer and played deliciously.
KEMPY — A homespun little American comedy, fresh as a sea
breeze and bubbling over with life-like fun.
KIKI — A classic among comedies, thanks lo the untiring and
gymnastic efforts of Mile. Ulric.
LA TENDRESSE— A powerful emotional drama with Henry
Miller giving the prime performance of his career.
The TORCHBEARERS — A hilarious burlesque on the efforts
of amateur actors; the second act is worth any price.
Banco
A new comedy by Clare Kummer
from the French of Alfred Savoir
produced on September 20th at the
Ritz Theatre by William Harris, Jr.,
with the following cast:
Charlotte, wife of Alexandre de Lussac,
Lola Fisher; Porter, Hall Higley; Louis,
page at the Casino, Edward_G. Robinson ;
Baron Henri Delignieres, Francis Byrne;
Julie, Charlotte's maid, Alice John; Georges
Dalou, Robert Strange; Feydal, Commis-
sioner of Police, J. Malcolm Dunn; Count
Alexandre de Lussac (nicknamed "Banco"),
Alfred Lunt; H;innn-ss IMiKiii.-rcs, m.ith.-r
of Henri, Ch;irlntt<- <;r;mvilli-.
is a more than engaging one.
The miracles I refer to are the
uncommonly capable performances
given by every member of the cast —
some of whom have done creditable
things before but never to such effect.
Alfred Lunt, formerly a fair actor
given to clownings, steps out of that
class into being a character actor of
amazing possibilities. As "Banco,"
the wild young count who leaves a
pretty wife waiting for him in the
foyer of a gaming casino for eighty-
four hours while he plays baccarat,
Lunt gives a performance that outdoes
any personal achievement of the sea-
son thus far. While it is true that,
even yet, in serious moments Lunt can-
not quite succeed in having himself
taken seriously, he has won to himself
a plausibility and manner far beyond
any he has ever promised in the past.
His was a capital and intelligent ex-
hibition and lists him with Robert
Ames, Leslie Howard, and one or two
others as being an actor who is more
artist than antic-thrower.
As one who is familiar with M.
Savoir's original, I feel qualified to
comment more justifiably than is often
the case on the manner of the adapta-
tion. The meeting of Savoir and
Kummer was a fortuitous thought on
the part of Manager Harris, though
one, I can well imagine, that must
have taken a quantity of pondering
upon. More different styles it would
be difficult to imagine — Savoir, broad,
direct, Gallic to the nth degree — Miss
Kummer, delicate, digres-
sive and Gallic to no de-
gree at all! In conse-
quence, "Banco" is a very
different proceeding over
here than Paris saw. Miss
Kummer has made it
wholly hers, giving it, one
might say, a quality of
charm and humor that its
original needed more
than it possessed. But the
story, at least, is here and
Miss Kummer (though
I'm certain she did her
best to dodge it!) has
clung to it and come out
triumphant.
A dull, rather stupid
setting mars the opening
act immeasurably, and, added to that,
Mr. Milton has committed the same
Iristesse in his lighting that he did in
"Madame Pierre." For two acts
Livingston Plan's scenery is sheer
affectation. The breath of life or liv-
ing is simply not in it. In the last
act we find a boudoir that is pretty
enough and real enough to carry a
suggestion of life. But the first set,
that in the casino, was created obvi-
ously without a thought of the script
and with an eye only on design and
not on drama. It was no more a
casino along the Riviera than the same
artist's first act in "Blue-Beard's
Eighth Wife" was a hotel in Biarritz.
Mr. Platt should really read the plays
he designs sets for. For out of them
comes inspiration for atmosphere and
not out of tomes on "interior decorat-
ing."
(Continued on page 299)
,[ 297 ]
1. Mrs. J. Duro Pampinelli (Alison Skip-
worth) a society woman who pretends to
know everything there is to know about play
production takes charge of her little group
of serious thinkers* dramatic production at
Horticultural Hall. She is aided and abet-
ted by Nelly Fell (Helen Lowell) who as-
sumes the fearsome task of stage manager.
2. 'In oval) Paula Ritter (Mary Boland)
is nominated by the little group to play the
leading role in the proposed offering. Her
histrionic ambitions are discouraged by her
practical-minded husband (Arthur Shaw)
but she resolves to go forward with her high
plans at any price. At a dress rehearsal the
wretched husband faints at the spectacle of
his wife's acting.
3. The production of "Dr. Arlington's Wife" is in progress at Hor-
ticultural Hall. From back stage we watch the antics of the acton
spurred on to excruciating efforts by their coaches. All the bewil-
dering and amusing blunders of which amateurs are capable in pre-
senting a play come thick and fast, — thicker than faster, one might
almost say. At the left Nelly Fell is imploring Mr. Twiller (Booth
Howard), one half of whose moustache has fallen off, to get out of
Paula's way so she can be seen by the audience. At the right Nelly
almost falls down taking a bow herself before the curtain conceals her.
4. (At left) Paula, back home, surrounded with so many flowers
that Fred Ritter is reminded of a funeral is told the brutal truth
about how bad she was by her husband. She clings at first to the
praise of her friends as an armor against Fred's jealousy but comes
at last to concede that perhaps her destiny is not Broadway after all.
Photos by White
THE NEW PLAY
Amateur Theatricals Are Mocked Uproariously in "The Torch Bearers"
[298]
THEATRE MAGAZINE. NOVEMBER. J9«
The cast as I have said is excel-
lent. Miss Fisher, happily back after
a long siege of illness looked well and
prettier than ever. Her performance
was a trifle reticent for the needs of
the play's pace but that will improve.
She was at her best when the play
reached its liveliest action. Francis
Byrne was splendid as the simple-
souled Baron who rescues "Banco's"
wife from her card-fiend husband.
The Awful Truth
A new comedy by Arthur Richman
produced on September 18th at the
Henry Miller Theatre by Charles
Frohman with the following cast:
Daniel Leeson, Paul Harvey; Eustace Trent,
George K. Barraud; Jayson, Lewis A.
Sealy; Lucy Warriner, Ina Claire: Mrs.
Leeson, Louise Mackintosh; Josephine
Trent, Cora Witherspoon; Norman Satterly,
Bruce McRae; Celeste, Kyra Alanowa;
Rufus Kempster, Raymond Walburn.
A BRIGHT and diverting little com-
edy, thin as the air in high alti-
tudes, but robust enough in the matter
of entertainment is this new piece
from the pen of the versatile and in-
defatigable Richman. Finely cast and
exquisitely mounted (every scenic de-
signer in town who tends to the school
of "prettiness" should be forced to
bathe in the atmosphere of those su-
perb sets for several hours on end!)
this first Frohman production of the
year (under, of course, the guiding
hands of Gilbert Miller) is a credit
to the theatre and helps balance the
long and pitiful account of wretched
productions that rain upon us. In
fact, the whole proceeding is so very
creditable that I regret my inability
to say even more about the play itself.
It is only due to the magnificent
way in which the older Miller di-
rected the play and the younger one
produced it that the dangerous effects
of repetitiousness and unplausibility
are not more patent.
Richman's touch is a felicitous one.
I know of no American who is writing
defter light comedy. Clare Kummer,
the only other name that springs to
mind, runs a more ingratiating charm
into her dialogue, but it is largely
will-o'-the-wisp stuff lacking in the
underlying humanities that Richman
never forgets. I do not understand
the processes by which Richman came
to write a play and Miller put it on
without more attention being paid to
the thing as a story. Not even the
vagrant scintilla of plot and suspense
a comedy is called upon to possess
can be found in "The Awful Truth"
after the middle of the second act.
The tale is a slender affair, having
to do with a pair of divorcees who
fall in love with each other all over
again. There is much ado about an
alleged affair she was supposed to
have indulged in at the time of their
separation, and three acts are spent
in the endeavors of various people
to ascertain its truth. No one ever
does, not even the audience, though
in the manner of treatment of the sub-
ject in the last act the impression is
generally set at large that she was
really innocent. At least, the ex-hus-
band thinks so and all is again well
between them. Miss Claire gives an
uninspired but pleasant performance
as the wife who may or may not have
erred, and Bruce McRae as the un-
certain husband is wholly admirable.
More than a little is credit due to
him for the proceeding's being mighty
good entertainment.
East of Suez
A new play by W. Somerset Mau-
gham produced September 21st at the
Eltinge Theatre by A. H. Woods with
the following cast:
Harold Knox, Geoffrey Kerr; Wu, Nathaniel
Sack; Henry Anderson, Leonard Mudie;
Amah, Catherine Proctor; George Conway,
John Halliday; Daisy, Florence Reed; Lee
Tai Cheng, Howard Lang; Sylvia Knox,
Gypsy O'Brien.
MR. Maugham went to the Orient
to write a play about the Orient.
"East of Suez" is it. If to write a
play was his sole motive in visiting the
East, he might really have saved him-
self the trouble of taking so long a
journey. Two visits to Samuel Ship-
man's "East is West" would have
accomplished as much as has been
accomplished by Maugham in catching
anything of authentic atmosphere. The
play concerns itself with a Eurasian
vamp who gets herself into difficulties
d'amour with as many men as any
woman could ever hope to handle.
There is much hard breathing and
loud cursing and sneaky Chinks go
hither and thither with their hands
crossed over their stomachs. An inane
and wholly conventional melodrama
that dares to presume at times to deal
with the "Eurasian question." Hoity-
toity for which Mr. Maugham may
be well ashamed, but which may make
both him and his American manager
a barrel of feminine money. Florence
Reed is the seductive half-breed. Her
performance it as cut-and-dried an the
play. The men are all capital. The
production is second rate.
The Exciters
A new comedy by Martin Brovrn,
produced at the Times Square Theatre
September 22nd by the Selwyns with
the following cast:
Ermintrude Marilley, Enid Markey; Lex-
ington Dalrymplc, Chester Morris; Mrs.
Hilary Rand, Thais Lawton; "Rufm" Rand,
Tallulah Bankhead; Hilary Rand, Marsh
Allen; Mr. Rackham, Frederick Karr; Sum-
ter Dalrymple, Robert Hyman; Vaughn,
Florence Flinn; Dan MacGee, Allan Dine-
hart; Chauffeur. Albert Marsh; Joselyn
Basset-Brown, Eichlin Gayer.
A LITTLE of everything, with Tal-
lulah Bankhead as its beautiful
heroine. Miss Bankhead has literally
too vast a sense of humor ever pos-
sibly to be able to act with any convic-
tion or sincerity. But she is radiantly
lovely and is amusing to watch and
I'd rather see her in a part than any
of a dozen determined young things
with authentic abilities but no person-
ality. In this instance, however, the part
makes even watching her something of
a trial. Mr. Brown appears to be a
ready jokesmith with a flair for the
far-fetched fictions that pass as human
behavior in the story-book magazines.
Of play-writing as an art he has not
as yet shown the signs of having too
great an understanding.
Greenwich Village Follies
A new revue for 1922 produced
September 12th by John_Murray
Anderson at the Shubert Theatre with
the following principals:
John E. Hazzard, Lucille Chalfant, Bert
Savoy, Jay Brennan, Marjorie Peterson,
Ula Sharon, Carl Randall, Yvonne Georges,
Frankie Heath, Harriette Gimbel, Alice
Weaver, Josephine MacNicol, Julia Silvers
and George Rasely.
TO Mr. Balieff and Mr. Remisoff
and a few others of that gifted
crew from Moscow are due obeisances
from the Hon. J. Murray Anderson,
who has helped himself liberally, as
any artist should, to the ideas and
patents of the "Chauve-Souris." In
consequence whereof, and notwith-
standing, as they say, the Anderson
Follies for the current year are wholly
stunning and entertaining. It is an
indescribable feast of beauty and —
Allah be praised! — comedy.
[299]
1. Specky Todd (Robert Drysdale) , owner of a small boot shop
in a Lowland Scottish village, is offered a fairish sum of money
for his establishment by David Low (F. Manning Sproston) acting
as agent for a large national concern. He is spurred on to close
the deal by Hunky Dory (Walter Roy), an agreeable enough old
toper who is continuously blackmailing Specky on the strength
of something he knows about his past and hopes through the
deal to make a good profit out of it himself.
2. Below, Hunky Dory speculates on the thrills of the bottle
and the evils of his life and determines to eschew *Vhusky"
and win back the dutiful affection and obedience of his daughter,
Jenny, who has long lived with Specky as his adop'ed child.
3. Jenny (Nell Barker) called back to the parental borne by
Hunky Dory says good-bye to Specky. Both are heart-broken
at pat-ting from the other and Jenny pledges herself, at least,
to engineer the sale of the boot-shop to the end of getting a
good price for it.
4. A boarder in Hunky Dory's home is Peter MaGuffie (Mac-
Donald Watson) — enamoured of Jenny, he finally wins her heart
with his whimsicalities and pathetic need of some one to care
for him. How this clashes with Hunky Dory's secret plans for
Jenny's marriage to the wealthy young agent, David Low, and
upsets the blackmailing scheme he has fostered is the bulk of
the play's tranquil little tale. At least let it be said, this
likable old villain takes defeat in excellent part!
THE NEW PLAY
Plenty of Scotch in "Hunky Dory" — an Importation from Glasgow
[300]
THEATRE MAGAZINE, NOVEMBER. 1921
A Serpent's Tooth
A new comedy by Arthur Richman
produced at the Little Theatre on
August 24th, by John Golden with
the following cast:
Fanny, Josephine Williams; Jerry Middle-
ton, Leslie Howard; Mildred Sherwood,
Anne Sutherland; Alice Middleton, Marie
Tempest: Bert Boyd, Howard Freeman;
"Morgan Trendell, W. Graham Browne;
Janet Trendell, Ann Merrick; Percival
Faraday. Robert Lowe; A Caterer. John
Clenments.
HERE was a tid-bit to look forward
to that failed grievously to live
up to the things expected of it. The
return of Marie Tempest after several
years of doing obscure things in ob-
scure places coincident with the view-
ing of the first play Arthur Richman
has given us since "Ambush" seemed
one ray of possible light in a dark
and gloomy pre-seasonal avalanche of
moron offerings. Richman started off
boldly enough, and, as is his usual
wont, bravely enough. The theme of
"A Serpent's Tooth" is not too distant
a relative of that admirable tragedy
that advanced both this author's and
the Theatre Guild's reputation last
year. Instead of a worthless daughter
we have a worthless son, instead of a
futile father we have a helpless
mother. But where in the one instance,
Richman ploughed stolidly through
realities and brought his chef-d'oeuvre
to a fitting and disastrous close, in
the other he has compromised to the
extent of endeavoring to make what is
inherently dramatic (if not tragic)
seem comic and to the further and
reprehensible extent of "cleaning up"
his wastrel at the close in the stage-
wise fashion of sending him to one
of those miracle dealing farms in
"South America" which, by all thea-
trical legend, turn bad little boys into
good ones.
It is obvious enough from the play's
context and spirit that its commer-
cialized flavor came largely out of
rehearsals held not in the austere and
truthful atmosphere of the Garrick
but in the conventional halls where
Broadway wiseacres are wont to
gather and determine if "that's the
stuff to give "em." Its every scene
provides unexpected and disjointed
moments of banality in contrast to the
deep underlying purpose of the orig-
inal script that, if one knows one's
Richman, one realizes could never
have seen creation with the same pen
point that wrote the illustrious and
memorable "Why? Why? Why?" that
lowered the last curtain of "Ambush"
on a note of pitiful fatality and hope-
lessness.
Richman's story is excellent. Alice
Middleton has a good-for-nothing son.
She is rapidly spending the small in-
heritance left them by the dead
Middleton, due largely to the boy,
Jerry's, profligate living. Unexpected-
ly— and out of a dark sky rather than
a clear one — Jerry announces his en-
gagement to Janet Trendell, the
daughter of an old friend and beau
of his mother. The Trendells are rich.
It is this fact that has largely inspired
Jerry's decision to marry, and Alice,
in her joy at the prospect, attempts
to will herself into the belief that her
boy will love the girl eventually and
everything will turn out as it should.
But Jerry shows no inclination to
reform. On the side he continues his
relations with a cabaret girl and her
set. Alice comes to realize that the
trusting Janet's life will be wrecked
if she goes through with the match
and in a scene of rare power and
truth discloses to Janet that Jerry
is a rotter and beseeches her to halt
before it is too late. It is in this
probing and human situation that the
full force latent in Richman's manu-
script manifests itself. Carried along,
with life and truth as the equation to
be considered rather than the possible
returns from Tyson, "A Serpent's
Tooth" might well have been another
"Ambush." But the piece is then
promptly and woefully prostituted by
the disinfecting of Jerry. "Cleaning
up" of characters will before many
years are over seem as ridiculous to
even the general public as gas foot-
lights and fly scenery would seem to-
day. Characters do not change. At
best they become readjusted to new
and better conditions. A cattle farm
can not remove a lad's proclivities
for fast society. As a matter of fact,
in my own experience, it enhances it!
Miss Tempest is not especially inter-
esting as Alice Middleton. She is at
all times the actress working with
grim determination over the business
of making her retorts seem snappy
and -her commonplaces seem epigram-
matic. Old school endeavors may still
go in light comedy but they are!
strangely discordant in plays where
characters, not words, count. She is
clever, but too clever. She should
eschew either realistic plays or her
somewhat archaic unrealistic ways.
But one thing she is always — an in-
telligent and remarkably youthful
woman.
A notable performance, and quite
the best thus far this season, it given
by Leslie Howard as Jerry. This
young actor steps into a position of
enormous importance with hi* work
in the Richman play. O'Neill, or per-
haps Richman himself, will before
long provide this youngster with a
part in which he will stand the town
on its ears. There is truth in his play-
ing, sincerity, intelligence, no exhibi-
tionism, no trick technique. His per-
formance is the most significant part
about "A Serpent's Tooth." The rest
of the cast is mediocre.
The Old Soak
A new comedy by Don Marquis
produced at the Plymouth Theatre on
August 22nd, by Arthur Hopkins with
the following cast:
Clem Hawley, The Old Soak, Harry Berts-
ford; Matilda, Minnie Dupree; Lucy, Helene
Sinnott; Clem, Jr., George Le Guere;
Cousin Webster Parsons, Robert Me Wade;
Tom Ogden, Grant Mills; Ina Heath, Mary
Philips; Nellie, Eva Williams; "Al," Robert
E. O'Connor.
A CHARACTER who has lingered
amusingly in the daily column
that Don Marquis serves up for read-
ers of The Sun now comes to life
in "The Old Soak," a play too trivial
to be ranked with the classic char-
acter it attempts to vivify. The Old
Soak, himself, a child of Mr. Marquis's
talented imagination, was born to pro-
mote and immortalize the current phil-
osophies of those lovers of the jovial
jug who have been made to witness
the happiness that was once the bar-
room's turn pitifully into the hypo-
crisies of the speak-easy. His was a
timely and brilliant creation. He
more than took his place with
Hermione, archy, Captain Fitzurse
and those other Sun Dialisis who have
crawled out of the Marquis brain
to the better entertainment of the
subway riding millions. He was more
deeply significant than any of them,
perhaps, in being what might be called
expressive of a national mood.
But when it came to play-writing,
Mr. Marquis genially tossed his ad-
mirable Soak into the lightest and
tritest of pieces along the "Lightnin" "
pattern. The character struggles to
be recognizable through three acts of
as frankly "written down" a piece as
ever graced purely commercial boards.
This from Mr. Hopkins and Mr.
Marquis is at least a sincere effort not
to be artistic. And in it they are
(Cantinued on page 340)
[301]
"Fay o Fire — Marie Tempest's first role
on any stage — in London at the age of 19.
Her first big success in America — in the title
role of "Manon."
Below, Miss Tempest as she is today — after
a long absence rom the American stage
broken by the production of "A Serpent's
Tooth."
Another New York hit — as Franceses in
"The Fencing Master"
One of her first legitimate parts —
Kitty in "The Marriage of Kitty"
\s Suzanne Trevor in "The Freedom
of Suzanne" in 1904
Left, an interesting venture at the New Thea-
tre. As Becky Sharp in "Vanity Fair"
Right, a rare picture of a long forgotten
day — in the title role of ''San Toy"
Motif by Lyman Brown
BIOGRAPHICAL PAGES -No. 2. MARIE TEMPEST
Miss Tempest was born in London on July 15, 1862. She was educated on the Continent and won prizes for her voice in Paris and London. She
made her first appearances as a prima donna of light opera in "Boccaccio" and "The Fay o' Fire" in London in 1880. In 1890 as the "Dresden China
Prima Donna" Miss Tempest was brought to this country and had instant success in "Manon," "The Fencing Master" and other operettas. In 1900
she forsook the musical for the legitimate stage and two years later achieved renown in New York with "The Marriage of Kitty" and "The Freedom
of Suzanne." Her subsequent career in the dramatic field makes her one of the few great comediennes living.
[302]
THEATRE MAGAZINE, NOVEMBER, 1922
Bernhardt — The Invincible
An Interview That Picture, Intimauty the Mind and Spirit of the Aged Tragedienne
prtain-
ending
ail
WHATEVER may be our individual
opinion as to post-mortem mani-
festations concerning the immor-
tality of the soul, there are relative
phenomena of immortality
which sometimes overwhelm
one.
There are occasions when
the "will to immortality" tran-
scends even a Shavian lon-
gevity philosophy.
When the immortal spirit
of genius combines with that
of courage and the will to I
work, even though the bodyfl
has long since paid its toll,
we find ourselves face to face '•
with something that commands
our reverent attention.
These are scarcely the
thoughts the average dressing-
room inspires. But the salon
of Madame Sarah Bernhardt
in her own theatre at Paris, i
would no more come under
the average classification than ' ,™
would the actress herself.
It was during her recent
presentation of "R e g i n e
Armand" that the "Divine *gt
Sarah" sent me a loge to a _^^f
performance and invited me
to visit her behind scenes.
IN HER DRESSING ROOM
THE cheap sentimentality of
the Louis Verneuil play of
maternal love, too obviously
machine-made and too patently
reminiscent of Bernhardt's
own affection for her son,
challenged criticism no more
than did a technical com-
parison of the Divine Sarah's
art with that of her glowing
past. Both seemed of second-
ary importance before the im-
posing phenomenon — the vivid
personality of this old actress
who defies age.
Bernhardt's golden voice is
gone, so are her physical charms, but —
Ushered into the glare of her .dressing-
room I was, for the moment, overwhelmed
at the travesty of youth and life which
this genius with a great past was still por-
traying. The heavily rouged lips, parting
over teeth which showed too plainly the
dentist's trade, the thin neck hung with
false gems, the shrunken arms and fingers
covered with stage jewelry — all the arti-
ficiality of the theatre accentuating the
grim encroachment of reality gave me a
momentary feeling of devastating sorrow.
The inevitability of life which brings re-
lentless decay even to genius makes tears
rise in one's very soul.
And then Madame Bernhardt begins to
speak.
By ALICE ROHE
At once you realize the power of this
woman, almost an orfotrmrm.in. Wr may
prate of youth and its potentialities but
here in this French woman, deprived of a
of Acting who
»ill •liortly up.
pear iu a legiti-
mate production.
Abu.-
In the dressing room are her maid, her
companion, her secretary, a friend. There
are everywhere faded reminders of the
days whether dressing room was the most
sensationally chic place in
Paris. The memories are still
there and the reverence, too,
:»r Paris adores the "Divine
Sarah" and her goings and
"unings are like the tradition-
al movements of royalty.
'Madame Sarah," as her
servants affectionately call
Ilier, is asking me to call at her
'home the next day in order
that we may talk more tran-
"Ushered into the glare
moment, overwhelmed at the travesty of youth and life which
thii genius with a great past was still portraying."
leg through a serious operation, over-
worked, victim of too many ills that flesh
is heir to, we confront a spirit that awes
one.
The fact that I notice that the rings on
the small hands cannot disguise the age
manifested in the distorted knuckles, that
the simple artifices of coiffeur and jewels
reveal, rather than conceal, the merciless
lines of the grim caricaturist, Time, means
only that my futile pity at the swirling
circle of life again overpowers me.
For when Madame Bernhardt talks it
is with a vitality and keenness — in sad con-
trast with Inevitability. Vividly alive to
the problems of the stage and of life itself,
the energy of her intellect dominates all
else.
One .
ireM i And then —
—and Two men approach, the
•chair in which Madame Bern-
hardt is seated before her
dressing table, is raised and
chair and occupant are carried
to her place on the stage
Love* "'here the action of the play
- such that she never moves.
\Vhether the feeling of
tristesse which affected me at
my evening at the Bernhardt
Theatre had the same effect
(in others I cannot say. But
the contrast between the
Divine Sarah in the theatre
nd in her home is so strong
that I felt a great wave of re-
lief sweep over me when I
saw her "chez elle."
AT HER HOME
T F memories crowd the dress-
• ing room, they submerge
the home in Boulevard Peryre.
Past trophies of the chase
in the entrance hall, up the
with ornamental bells,
into the reception room where
works of art and sculpture,
tributes from famous men,
crowd upon collections of cos-
tumed dolls of all countries
and periods, and characters,
one finally looks through grilled iron gates,
down rug covered steps into the music
room. Here, too, the walls are lined with
original paintings. A portrait of Maurice
as a boy stretched on a rug with a great
dog, is in evidence. The Past speaks in
every angle.
Then you are summoned upstairs and
after many rooms you come to "Madame
Sarah", the indomitable worker, the un-
dimmed spirit of courage, the relentless
and successful combatant of Time.
There are others in this small "den" in
which Madame Bernhardt is seated in a
perfect avalance of papers. A playwright
is just departing having read a new play.
A letter from a publisher is still in her
hand, and she is giving it to her married
[303]
grandchild, daughter of Maurice. Visitors
are departing and then we are alone.
Madame Bernhardt extends a highly
manicured hand with nails so rouged that
they leave stains like blood upon my glove.
She is gowned in flowing white satin robes
caught with two large oriental brooches.
There is the ribbon of the Legion of Honor
and all else is pure white. Her hair is
arranged as the night before, caught at the
back with a black bow. Her eyes are
heavily blackened and her
with rouge. But she is quite
person and makes quite a differ!
sion upon me than that of th|
evening. Today there is no g
trast with the artificiality, tbj
lieve of the theatre, the false
simulating youth.
She is a dominant, vital w
spirit for work permeates the
BERNHARDT'S I'll II .((SOPHY
1 REALIZE that I am, indm
to receive at first hand a praq
stration of a life philosophy «k— in lhc
direct simplicity, contains all
of our more intricate and f
cults. The "Will to do this'
Will to do that," the unconsci
of one kind and another, the
lytical and expensive theories —
away before the crystallization
Bernhardt's rules of life proce.
"You find me working," sh
cause I always work. I have tl
letters to go through in pre
my memoirs. I have finished
to Artists,' but for Memoirs
go through so many things."
On the table was a note bo
she had been making memora
her side is a mass of papers
had not yet examined.
"People say I work too harf
haps I do — but work has kepq
in spirit.
I murmur something about t
of hard work being rest and
she does not feel a desire for r
all she had experienced in recent
"No — for I believe that so 1
spirit desires contact with one's
just so long can one keep the spar
art alive. I will never stop until —
"Why the reason so many women grow
old, prematurely, is that they have no
definite work in life. They wear them-
selves out, worrying over approaching
wrinkles, over petty ailments. Don't think
about your troubles and you have over-
come them. Don't think about getting old
and you have cheated time. The best
antidote for old age in the world is cease-
less occupation in a congenial work."
"What do you think of the post-war
stage," I ask, for Madame Bernhardt is an
incessant reader of new plays and an in-
defatigable student of art in all countries.
"Denmark offers the best drama today,"
she replies with appreciation. "The stage
of Copenhagen has given us a spiritual
grasp of things in dramatic form which has
supplied a necessary element in post-war
life. No other country approaches Den-
mark today — it is a land of thinkers, of
philosophers with a great understanding of
practical spiritual needs.
"France is essentially a drama-producing
nation but like all countries which have
passed through the war, trivial frivolity is
often the reaction. America — ," Madame
Bernhardt's tone implies that she regards
America as quite too immature to be con-
on any stage— in I.oml'in ul ill
Below, Mise Tempest us she i-
a long absence rom the \m,-ri<an stage
broken by the production of "A Serpent's
Tooth."
"But I thought you were going to Belle
Isle—"
"Not till late summer," she replies. "I
want to make a tour which ends —
"In America?" I question.
"Perhaps — I would like that — and I am
feeling very well now."
I glance at the white robed figure, the
draperies always arranged so that there is
no suggestion of the missing leg.
"Don't think for a moment that when
I go to Belle Isle I am idle," she is saying,
me here in Paris submerged in
It consists of one appointment
?r throughout the day when
o rehearsals or performances,
•he business details myself, one
n touch with every phase of
' Every hour possible I give to
' . These will supplement the
•d before the war but I hope
e liberally of personal details
ones. Naturally, checking up
•s takes more time than does
—k for events slip the mind and
Another .New accurate."
••The
GLIMPSE OF THE FUTURE
:s a moment, lost in thought —
inging back the past one must
ie submerged in it — that is the
le and morbid decay. There is
ure to look forward to."
Isle I work at other things,
u tided by the sea I love best
knows, Madame Bernhardt
•• upon her last monument — a
shine across the sea from her
m the high carved chair, the
white robes falling about her, Madame
Bernhardt suggested a Sibyl.
"It seems to me that one of the most
important things in the world today is to
concentrate on Art and on spiritual phi-
losophy whether in dramatic or any other
form. A world tormented by war seeks
some higher comfort than materialism.
Yet it is only natural that I should regard
the stage as one of the greatest mediums
for carrying truths and help to the public.
"I have just decided upon a new play
for my tour —
"Your tour — " the surprise in my tone
escapes before I can stop.
"Certainly," replies the tireless Madame
Sarah. "My engagement at my own thea-
tre is of only thirty performances —
nothing gloomy nor morbid in
, is there? — being remembered
burning light?"
most expressive symbol — an
it- — ' I reply, looking at this
woman sitting there helpless
' suggestH1g sucn great force,
e I feel impelled to ask if she
red.
/ sometimes, but my mind, my
^^ on, never, never!"
wonder that a talk with this
\'\\'\ woman inspires one with a
MMBKiir tireless force of genius which
approaches immortality?
"You look as though you were feeling
sorry about something," comments
Madame Sarah.
"Oh — not at all — " I reply, taking my-
self in hand — "I was merely longing for
a bit of the divine fire which is your
symbol — "
Madame Bernhardt extends her hand as
I rise to go.
"One way to keep the flame is never
to permit the spark of courage to die out,"'
she smiles.
I have had many impressions of Madame
Sarah Bernhardt during my life, but as I
went down the steps of the Paris home I
could only keep thinking of her as one-
of the bravest women I have met.
One can have a genius for courage!
[ 304 ]
THEATRE MAGAZINE. NOVEMBER, I9U
INEZ FORD
(Below) A fair
graduate of both
Mr. Dillingham's
musical shows
and E m a n u e 1
Reicher's School
of Acting who
will shortly ap.
pear in a legiti-
mate production.
Abbe
Raymo
MARGUERITE MAXWELL
A young dramatic actress who once
enlivened Mr. Ziegfeld's entertain-
ment* and now goes in for leading
J>irU — the latest being in "East Side-
West Side."
WANDA LYON
"Who after a pleasant season on
London's stage is playing the lead in
"Who's Who" on the road, and may
•come to town for "Sis Hopkins" later
on.
role
BERTHA BROAD
One of those rare youngsters —
iress who prefers Shakespearean
— and who will be seen in
this season, probably in a Hampden
production.
LOUISE PRUSSING
Who after appearing in "The Nest"
is now playing with the "Six Cylinder
Love" company on the road. At
present Chicago is nocking to iliii
happy little comedy.
.Alfred Cheney Johnston
Ed-.viu B. Hesser
AMONG THE YOUNGER ACTRESSES
A Bevy of Talented Youngsters Who Disprove the Beauty and No Brains Theory
[305J
Adrift in the Roaring Forties
Being a Monthly Page Out of the Notebook
Of BENJAMIN DeCASSERES
THE evolution of vaudeville is like the
evolution of the universe — from the
simple to the complex. Which
proves that Broadway follows the stars in
their courses.
When I was young there was what we
called the "variety show." This was a
simple succession of acts — mostly legs and
slapstick colloquies between two Irishmen.
Then came vaudeville — a mixture, as we
know it today, of sketches, jazz, mono-
logues, bicycle acts and one-act plays.
Then the Great Event took place. Morris
Gest brought the "Chauve-Souris" to
America. This was the high-art stage of
vaudeville. It was the Russian conception
of vaudeville.
The "Chauve-Souris" has affected all
the vaudeville of the season. It will con-
tinue to affect more and more all the
vaudeville that future seasons will see.
The late-lamented "Pin-Wheel" was
superb in conception, but mangled in execu-
tion. Walt Kuhn and Michio Itow could
not compete with the vulgarities of Ray-
mond Hitchcock.
The Forty-Niners promise a further
evolution of the higher vaudeville. We are
at last learning in this country that not
only is brevity the soul of wit but that wit
and beauty will mix. High time, as
Schopenhauer said as the last curtain fell
on Wagner's "Die Walkiire" (in manu-
script).
"T^ HE Opera! The musical circus is
coming to town —
Tristan and Isolde,
Rising into the empyrean
On vast Chimeras of sound,
Once more shall sweep to their immortal
death
And proclaim their passion from some
utter star.
Salammbo and Mimi
Will rend the night with their tragic
maledictions,
And Parsifal,
The pink-cheeked Tolstoi of his time.
Will ascend in a milk-white robe
To his plush and pallid heaven,
While from their mausoleums in the air
The downfall'n gods will glare at us
To the weltering sonorities and 'whelming
crescendoes
Of Gotterdammerung !
-T-HE OLD SOAK" is the "Uncle
I Tom's Cabin" of rum.
Don Marquis has dared not to preach
a sermon. That is something unique in
the United States — where our political
fathers left us a legacy of liberty and their
descendants left us a bootlegacy of cor-
ruption, hypocrisy and wood alcohol.
If Don Marquis chose the most thread-
bare of plots for his story, I have a sus-
picion that he did it deliberately in order
to build not a play but a character. At
the first night of "The Old Soak" I trem-
bled at the thought that he was going
to clean up Clem Hawley just before the
last curtain. Imagine my overwhelming
joy when he goes out of the play with Al
the bootlegger, flask in pocket.
No real disciple of Bacchus ever re-
formed. His stomach or kidneys may give
out (weak stomachs are the fathers of
prohibition), but his thirst never. Which
reminds me of what Tom Geraghty said
in the lobby after the last act of "The
Old Soak" — "Love, honor and health may
desert us- — but thirst is eternal!"
"That's my dee-vicel" echoed Don.
P ARLO DE FORNARO is changing
the face of New York.
Fornaro is, as you may or may not know,
a poster artist with strange ideas about the
grotesque, the unusual, the fanciful. He
really believes there is a place for them in
the sun — literally. He has closed with all
the theatres in New York, it seems to me,
to do their billboard work. One of his
posters hits you a mile off.
There is nothing more joyous than to
make the rounds with Carlo in and out
of the theatrical offices." He tells the man-
agers not what they need but what he is
going to give them. He always wins. It
is simply a triumph of raw meat and Latin
temperament over sugar.
Fornaro has pasted himself all over New
York by sheer will and brains. He landed
here — God knows how long ago — a mix-
ture of Munich and Italy. The first thing
that struck him was the stupidity of the
American theatrical poster. It was the
hamfatter's ideal. Fornaro has changed all
that — he is here.
I hope he invades the subway and gives
us something Latin and Munich-like to
look at while we are fighting our way
home to Washington Heights.
IT is definitely announced while I write
(and I am still wearing my mohair and
straw) that John _Barrympre^.. is__ to _do
Hamlet. Alas, poor Robert Edmond Jones
- — I know him well — is to do the scenery.
Instantaneous memories were evoked in us
at this announcement of Mr. Jones'
"scenery" in that colossal farce which was
billed as "Lionel Barrymore in 'Macbeth' "
(wherein Lionel looked like Hindenburg
and enunciated like Eddie Foy).
Will Mr. Hopkins be able to hold Mr.
Jones down to the level of the dictionary?
Nothing more concrete than Shakespeare.
When he meant "castle" he did not mean
a scenic tooth. When he spoke of "witches"
he did not mean red-masked Follies girls.
I_believe that John Barrymore could
do a good Hamlet without any scenery.
But can he do it surrounded by the super-
stupidities and immanent imbecilities of the
ultra-disciples of the post-cubist scenic
murderers?
Art is art, and junk is junk, and never
the twain shall meet — not in Shakespeare,
at least. /
A ND I had a dream.
In my dream I built a moving pic-
ture house. It was built like an enclosed
stadium. All marble and bronze. It seated
just five hundred persons.
I produced in it all the great works of
literature of all times. I put on the screen,
to appropriate music, such exquisite things
as Shelley's "The Witch of Atlas," Keats'
"St. Agnes' Eve" and Poe's "Fall of the
House of Usher."
The motto over the door was "The
Public Be Damned!"
All seats were twenty-five dollars apiece.
No "critic" could get into the house. Mo-
rality was barred if it interfered with
Beauty.
Then I awoke — and I found I still had
ten titles to write for "Her Great Sacri-
fice."
DLOOD AND SAND" is a great pic-
ture. It is pathetic, dramatic, tragic.
It is pathetic because the story does not
depend on the machinery of the "movies"
— its tricks — for its pathos, but is implicit
in the story itself. "Blood and Sand"
makes no concessions. It ends unhappily —
logically.
Pathos is one thing; eye-leak is another.
All "sob-stuff" should be compounded of
heart and brain. Pathos never weeps.
Therefore, I call "Blood and Sand" a
great pathetic picture. It is, too, a picture
of a Fatality. Valentino has reproduced
the matador to life. I have seen any num-
ber of bull-fights and knew some of the
greatest Spanish matadors. That is why
the realism of this picture startled me. It
could not possibly be reproduced on the
speaking stage.
"Blood and Sand" is, to me, the great-
est triumph of the American moving
picture.
[306]
THEATRE MAGAZINE, NOVEMBER, 19tS
Portrait by Alfred Cheney Johnston
MARGARET IRVING
Who is said by many to be Broadway's most beautiful shoivgirl and who will give visitors to the Music Box further
opportunity to judge for themselves by being the only member of the cast of the old show who is to stay in town for the new
[307]
Above we see the classic little group that beguiles long days of waiting by narrating the gay tales of the Decameron. Below, to the
left is an early scene in the story of the deceived husband — with Mme. Kapzniovskaya, a great film favorite in Russia, as the wife
who makes rendezvous with her lover by means of a cord fastened to her ankle. With her is M. Dejassy, an Italian comic, as her
husband. At the right the wife is seen with the lover who pulls the cord, played by M. Zarubin, Russia's Valentino.
AND NOW COME FILMS FROM RUSSIA
A Gorgeous and Humorous Version of Two Famous Tales from
THEATRE MAGAZMK, NOVEMBKR, Ult
Mme. Leontovich, reputed in be the mo-i beautiful Kreen
actress in Russia, a« Muselta, the obliging hand-maiden in
the story of the lover who drank himself into the trance
of seeming death. The settings were all specially constructed
for the production, which itruggled against difficulties and
shortcomings unknown to the well-endowed studios of
America
Below, a scene between Mutelta and a scheming old money
lender, played by a noted "character man," M. Langfeld.
What the Russians lacked in equipment they appear to
have made up for three-fold in individual artistry
The "deceived husband" in the episode of that name is
more bewildered than ever after his attempted solution
of the hanging cord has failed him and circumstances
indicate that it was not his wife who had the rendezvous
bnt her maid! What, oh what, will the censors make of
this seemingly delicious pantomime?
TO DISMAY THE NATIVE MOVIE MAKERS
Boccaccio's "Decameron" done by the Russian Director, Viacheslav Viskovsky
[309]
"A Serpent's Tooth"
A Comedy in Three Acts by Arthur Richman
/I NEW play by the author of "Ambush" which, while dealing with a not dissimilar family situation, is cast
in far lighter vein than that stirring and uncompromising home tragedy. Here Mr. Richman brings comedy
liberally to the relief of the underlying grimness of Alice Middleton's realization that her own son is a rotter. The
play is filled with characters who live. This condensation is printed by courtesy of Mr. John Golden and the author.
THE CAST
(As produced by Mr. John Golden at the
Little Theatre)
Finny Josephine Williams
Jerry Middleton Leslie Howard
Mildred Sherwood Anne Sutherland
Alice Middleton Marie Tempest
Bert Boyd Howard Freeman
Morgan Trendell W. Graham Browne
Janet Trendell Ann Merrick
Percival Faraday Robert Lowe
A Caterer John Clements
The scene throughout the play is laid in
Mrs. Middleton's living room, furnished in
the style of about 1900, the furniture some-
what worn and faded.
It is a fine March morning.
FANNY, a middle-aged servant, enters and
goes to bedroom door.
FANNY: Mr. Jerry! Are you up? . .
JERRY: (Off.) Yes, what's the row about?
FANNY: You wanted me to call you to see
that man about getting a position.
JERRY: Ha — let him keep his old position!
(Enters in dressing gown and gives evi-
dence of a hard night.) What time is it?
FANNY: It's after eleven, sir.
JERRY: It's Tuesday, isn't it? . . Why isn't
mother sitting there rushing off her news-
paper story?
FANNY: She's been writin' it and writin' it
all the morning, but awhile ago she said she
was so nervous she couldn't think. . . .
I think she's worrying about you.
JERRY: Oh, that's a way mothers have. . . .
Fanny, let that be a warning to you — don't
ever be a mother! . . What time did I
get in?
FANNY: It was just three, sir.
JERRY: If mother asks what time I came in,
say at a quarter of twelve. . . .
(Door bell rings. Jerry starts for bedroom.
Mildred enters.)
JERRY: . . Good morning, my dear aunt.
MILDRED: Morning?
JERRY: Well, whatever it is.
MILDRED: Don't you go to business before
this?
JERRY: I don't go at all. . .
MILDRED: You were discharged?
JERRY: Something like that. . . You'll excuse
me, won't you?
Alice enters. She is attractive looking, with
quick, nervous movements, but an admirable
bravura. She is clever and whimsical and
gives a half humorous twist to even the most
serious things she says. Cramped into a nar-
rower groove than her talents deserve, and a
prey to anxieties, she puts on an exceedingly
cheerful front.
ALICE: Oh, Mildred dear, so nice of you to
come. . .
MILDRED: What's the matter?
ALICE: Not so loud, dear.
MILDRED: Oh, Jerry's up.
ALICE: Is he? Well, anyway, he hates noises
so early in the morning. . . Every time he
loses a position he becomes more sensitive.
(Telephone rings and Alice answers it.)
ALICE: Hello! Mr. Middleton isn't up yet.
Yes, I know what time it is. . . He's not
very well. Well, the fact that he was all right
last night doesn't prove that he is this morning,
now does it? You don't believe me? Good-
bye! Some people refuse to believe one's lies.
ARTHUR RICHMAN
Who marched firmly into the exclusive front
rank of American playwrights with his notable
drama "Ambush," and who, in addition to the
simultaneous productions of hit two new plays,
"A Serpent's Tooth" and "The Awful Truth,"
is about to see his charming comedy "Not So
Long Ago" done in musical form
MILDRED: The way you coddle that grown-up
boy in there makes me positively ill! If his
father had lived the boy might have grown up
differently.
ALICE: If his father had grown up differently
he might have lived. . .
MILDRED: Why did you send for me? . . It's
about Jerry of course. . . Another wild night,
I suppose. . . Didn't you say six months ago
that his habits would change as he grew older?
ALICE: Well, I was right. They've changed
from bad to worse. I think it was three when
he got in this morning. I suppose that's what
Longfellow meant by "The Children's Hour"
. . I found this under my door when I got up.
(Gives Mildred note.}
Muray
MILDRED: "Dear Mother. Prepare for a big
surprise in the morning. Jerry." . . What can
it possibly mean?
ALICE: It can possibly mean Virginia . . a
cabaret girl! His latest charmer!
MILDRED: . . I thought it was a manicurist!
ALICE: All that's way back in the past — over
a month ago ! There's been a milliner since
then. "Prepare for a big surprise." Isn't that
the way you might announce an engagement?
. . Until Fanny went into that room with
breakfast for one, I wondered if they were al-
ready married. . . Not that breakfast for
two would necessarily mean — however — . .
MILDRED: . . Has Jerry been spending
money on this Virginia?
ALICE: I never knew cabaret girls were so
extravagant!
MILDRED: Alice, your money isn't gone?
. . Randolph's fortune dissipated!
ALICE: "Dissipated" — "dissipated" — that's a
good word! (Thoughtfully.) Poor Ran-
dolph! He died ten years ago. (Briskly.)
But, of course, you know when he died.
You're so nice, dear, I always forget you
were his sister.
MILDRED: It's fortunate you have your writ-
ing.
Alice shows her a check for twelve dollars,
the proceeds of the previous week's work.
ALICE: Now do you wonder why I spend
the capital?
Jerry enters and chaffs his mother about
the surprise he has in store for her, while
Alice is tortured by the thought that he is
engaged, or perhaps married, to the cabaret
girl. Bert Boyd calls. He is sportily dressed,
rather uncultivated in speech, and has a bold,
free and easy manner. Together they an-
nounce that Jerry is engaged to a girl he
had met only a fortnight before, Janet Tren-
dell, the only child of a man Alice had
known before her marriage. They are all
overjoyed. Jerry says Janet and her father
are coming to call that morning, and he and
Boyd exit to bedroom.
ALICE: A father-in-law wealthy enough to take
care of him! Somebody to pay his bills! Some-
body else but me! . . Not only has Morgan
Trendell GOT money, but he's always had it.
He's a fine, high-principled gentleman — this
is probably the first serious mistake he's made
in his life. . . We'll have to make a show.
Not that I'll tell any lies about our finances —
I'll let them draw wrong conclusions, that's all
. . How do I look? . . I haven't seen Morgan
Trendell lately and I'd hate to have him say,
"Goodness, how you've changed." The last
time I saw him was five years ago, at his
wife's funeral. He came to my husband's so
I had to go to his wife's. Something seems to
[310]
rill.ATKK MAGAZINE. NOVEMBtR, I9tt
Portrait by Edwin Bower Hesser
AGNES AYRES
One of the screen sky's major planets who shone with
especial brilliance in the spirit-story "Border-
land," quite one of the best films in many seasons
[311]
bring us together every five years, doesn't it? is the only thing that counts with me. Has he
— has he any prospects? . .
Bell rings and Morgan Trendell enters with ALICE: (In difficulty.) They's not very definite
Janet. He is a dignified, matter-of-fact man, — (with a gesture) just prospects!
and devotion to his daughter has kept alive in MORGAN: (Glancing at Jerry.) He's very at-
ilesser
ALICE pleads with JERRY to behave himself
him a great tolerance
and tenderness. Janet
is a beautiful girl,
very sweet and gentle.
Alice opens her arms
and Janet goes to her.
ALICE: (Kisses her.)
You're beautiful!
JANET: Oh, no.
ALICE: Yes, you are.
Of course, I knew you
would be ...
Morgan tells Alice
he has consented to the
marriage.
ALICE: You — you
know my son?
MORGAN: Only sightly
—but two things have
shouted loudly in his
favor — one is Janet — the other is the fact that
he's your son.
JANET: Isn't Daddy a darling? Ah, that's the
piano, isn't it . . ? The one Jerry plays on . .
and composes on. You know, Daddy, you have
a very accomplished son-in-law. He writes the
words, composes the music, and plays . . .
Jerry and Boyd enter, and after introductions
the latter leaves. Janet tells Alice that Morgan
has often spoken of her.
JANET: He told me you used to be the most
attractive girl he ever knew. . . And not only
the most attractive, but the frankest and squar-
est! . . And when I said to him, "Jerry is the
son of Alice Middleton" . . you should have
seen the change in him! "Oh," he said, "that's
different. If he's Alice Middleton's son, go
ahead and take him."
Mildred is amused, but all through this recital
Alice has fought an inclination to weep, and
now gives way. Mildred comforts her.
ALICE: (Tearfully.) It's all right. (Raises
her head, smiling through her tears.) Love
stories always affect me like that . . . What a
darling Janet is.
MORGAN: She is! She is! No Europe for her
this year.
ALICE: No, nor for Jerry, either.
MILDRED: What! Did you intend sending
Jerry to Europe this year?
ALICE: Why, you know I mentioned it to you
only half an hour ago ... I was going to
Bellagio. I took a small apartment like this
on purpose so we might run away and travel
whenever the spirit seized us. But, of course,
there was my work.
MORGAN: I've heard something about your
work. Writing, isn't it? . . You always were
clever. I expect Jerry gets a lot from you.
ALICE: Oh yes— (Eyeing Mildred.) He gets
a lot from me. . .
MORGAN: I'd like Jerome to have a job. Looks
better. . . Still, he's very young. . . That
will arrange itself in time. We won't let money
stand in the way. . . My little girl's happiness
tractive . . .
MILDRED: Indeed he is.
And so entertaining!
I never meet Alice
that she hasn't some
new story to tell me of
what he's been do-
ing . . .
JERRY: Janet wants to
see my cups and
things.
MORGAN: Cups?
ALICE: Tennis cups he
won years ago !
MORGAN: (Admiring-
ly.) Plenty of ac-
complishments, hasn't
he?
ALICE: You have no
idea how many dif-
ferent things he
does. . .
(To Mildred.) I hope the room is tidy — and the
photographs — Oh, Janet! To save you from
becoming jealous, dear, the girl on Jerry's desk
is Virginia, my cousin's daughter in Canada.
JANET: (Laughs gaily.) Don't explain. I in-
tend making Jerry jealous about lots of people.
(Exits viith Jerry and Mildred.)
Alice and Morgan talk over old times.
MORGAN:
you were!
next!
What a wilful, capricious girl
Here one minute and there the
ALICE: (With a touch of sadness.)
all the time now. .
I'm here
MORGAN: I'll need company now. It'll mean
a great change in my life to have Janet leave
me. . . You're still
very good looking,
Alice. It'll be a pleas-
ure to take you where
we'll be seen. . .
ALICE: . . I'm a mid-
dle - aged Cinderella
who sits at home
dreaming of other
people's parties.
MORGAN: Well, I, have
a coach and four!
That is, it's a pretty
comfortable limousine
and hereafter you're
going to the ball along
with the rest of us.
These young people
shan't have a mon-
opoly of happiness if
I can help it.
agrees to sell her last bond and give Jerry the
money to pay in two days' time. Faraday
departs satisfied.
ALICE: Jerry!
JERRY: (Casually.) Yeh?
ALICE: (Unable to control herself.) Aren't
you ashamed of yourself?
JERRY: I'm not in the humor for a lecture.
ALICE: I'm not in the humor to sell my bond,
but I'm doing it. Aren't you ashamed? . .
You gave me your word of honor you wouldn't
gamble any more. . . The worst of it all is
counting on Janet's father to pull you out. . .
There's another thing that worries me. She's
a lovely girl, Jerry. . . I'd hate to have her
come to any harm through us. Jerry dear,
when you told me you were engaged to a nice
girl I was happy because I thought you loved
her. . . I can't help feeling if you loved
her enough you wouldn't have joined that girl
after you left Janet last night.
JERRY: Didn't you hear me say it would be
the last time? You can't break off a friendship
without a word, can you ?
ALICE: You WILL be kind to Janet? You
won't make her unhappy?
JERRY: Of course not.
ALICE: I wish I understood. . . How to
reach the real Jerry inside of you. A mother
SHOULD know, yet I don't. It's just as though
you kept me in an outer hall — the thing I
want is in the next room, but you've shut and
bolted the door.
( The others enter.)
MORGAN: Business settled?
JERRY: Practically — told him he'd have his
answer in two or three days.
MORGAN: . . If there's anything I can do —
you may call on me.
JERRY: (Going to piano.) May I? I'll re-
member that all right.
(Janet joins him at piano.)
MORGAN: It's lovely to see the young people so
happy, isn't it?
(Jerry begins playing
softly.)
JANET: Listen, every-
body! Jerry's going to
play one of his songs
for us !
MORGAN: (Pleased.)
One of his own? All
r'ght. go ahead !
( They settle them-
selves to listen and
Jerry plays. )
ALICE: (After a
pause, to Mildred, her
eyes glistening.) He's
wonderful!
(Jerry plays on. Mor-
gan lights a cigar-
ette.)
CURTAIN
Hesser
JANET is told the bitter truth about JERRY
Mr. Faraday is announced and Alice has
him shown in while she and Morgan join the
others. Jerry enters and he and Faraday
quarrel over notes for $2,200 covering Jerry's
gambling losses and a diamond pin he had
bought from Mrs. Faraday for Virginia. Jerry
tells of his engagement to Janet and asks
Faraday to wait until after the marriage for
payment. Hearing their loud voices Alice
enters and on hearing Faraday's story she
ACT II.
One week later.
Fanny and a caterer are making preparations
for a dinner to be given in honor of the en-
gagement. Jerry enters. Alice says Virginia
has been telephoning the house and asks if he
has been seeing her again.
JERRY: I'll be obliged if you stop asking ques-
tions about her.
[312]
THEATRE MAGAZINE, NOVEMBER, I9tt
JACK DONAHUE
Who actually ran away from
home and joined a circus and
now waves the cleverest feet
in the burlesque dance lists
of America. He is the whole
show called "Molly Darling"
Apeda
LESLIE HOWARD
A young Englishman not long out
of the British army and compara-
tive!, n,v ,„ .,,, _,.,„„ ,.^o 8r,or(_H
heavily with hi. m.,...,;<;. .,,,,, p(,r.
formance as Jerry Middleton, the
wastrel son, in "A Serpent's Tooth"
ALISON SKIPWORTH
Who since coming to America from
England twenty-five years ago has
been doing delightful character
work — none defter than her "Mrs.
Pampinelli," the stage directress
in "The Torch Bearers"
WALTER JAMES
A noted "heavy" of the movies who
turned to the speaking stage, but not,
however, to speak. He achieved at-
tention with a notable performance as
the dumb Nubian giant, Caliban, in
that hair-raiser, "The Monster"
EVA WILLIAMS
Who after several years in vaudeville
and a year of doing "Lizzie" in Chi-
cago's production of "The Bat" has
come to Broadway for a priceless bit
of work as Nellie, the thirsty house-
maid, in "The Old Soak"
Bloom
Daguerre
I.ewi»-S«itk
HITS OF THE MONTH
Players Who Have Scored Notable Personal Successes in Recent Openings
ALICE: (Earnestly.) I couldn't bear to have
you do anything that wasn't fair to Janet . . .
This is the first time in my life that I've been
cloie to a young girl, Jerry, and I'm fascinated
... I marvel every day at the sweetness of
her thoughts . . . We're together all the time.
At first I thought she went about with me to
please YOU, but . . she really likes me. She
calls me mother. I can't help thinking how
you'd laugh if you saw the way I act around
her . . . All the superficial, nonsensical things
I used to say seem so out of place with Janet.
Of course, I still tell lies about SOME things.
Knowing her has made me feel like a good
woman again.
JIRRY: I don't know how it's made you feel,
but it's certainly helped your looks. I can't
see why you don't dress up this way ALL the
time.
ALICE: I can't afford to. Now, especially — . .
since we paid that money to your friend, Mr.
Faraday ... I AM glad he's paid, aren't
you?
JERRY: Of course.
(Mildred enters. Jerry exits.)
ALICE: . . You were an angel to lend me a
perfectly new dress. Does it become me?
MILDRED: Become you! You look like a demi-
mondaine.
ALICE: Millie, that's the first compliment any-
body's paid me in years. And just to think,
in less than a fortnight it'll be all over. They'll
be married — happily married . . . Sometimes,
Mildred, I feel like a conspirator in some
foul deed. I'd hate to have Janet unhappy.
That girl is a lamb of God . . .
Morgan and Janet arrive, and he tells every-
one to clear out so he can talk to Alice. He
says he wants to take Jerry into his business,
and Alice assures him that Jerry will be de-
lighted at the chance.
MORGAN: Good! Now I'm free to admire you
. . . Confidentially, Alice, I've felt like it on
and off for twenty-five years . . . Oh, I wasn't
disloyal to Blanche, but it's curious how marry-
ing a brunette makes you remember the blondes
. . . Why have you been avoiding me . . ?
I've asked you twice this week to dine with
me, once to lunch with me, once to take tea
with me and twice to the theatre, and . .
you've refused the whole damned collection . . .
What's the matter with me?
ALICE: (Earnestly.) Morgan, I think you're
a dear . . . And from now on I'm going to
let you pay all the attention in the world to
me ... I'm going to be a butterfly . . !
Jerry enters and they tell him the news about
being taken into Morgan's office. Janet enters
and they leave her alone with Jerry to talk
over their new home.
JERRY: You dear little girl (kisses her) . . .
It kind of frightens me to see how lucky I am
. . . When I'm with you I feel sort of
ashamed . . . Ashamed that I haven't been
more decent . . . You know I'm going in
business with your father ... He probably
realized right away how valuable I'd be to
him . . . You know, I've had a lot of ideas
about business and now I'm going to apply
them ... It will be great for your father . . .
It'll be no time before I'm able to take his
place . . . Mother's kept me back on other
chances I've had . . . I've had to stay here
and take care of her. . . Couldn't GO any-
where. Turned down one job after another . .
It's my devotion to her that has kept me from
striking out and realizing my ambitions. You've
no idea how a mother holds a fellow back.
Bert Boyd enters and asks to see Jerry alone.
He says Virginia is outside in a taxi.
BERT: She wants to see you. I wouldn't like
to be in your shoes if she don't. She's so mad !
Oh, boy, the noise she could make!
JERRY: I'll just run down for a minute —
BERT: And then go back to her — (indicating
Janet in next room.) Oh, that'll fix it all right,
that will!
Jerry is frantic and when Alice enters he
tells her he must go at once to see a man who
is leaving town, on important business. The
taxi horn blows continuously and Bert hurriedly
Hesser
MORGAN decides he'll assume control of the
Middleton family
exits. Alice is suspicious and finally, after
exposing Jerry in one lie after another, learns
that he has never broken with Virginia.
ALICE: (Vehemently.) You'd marry a sweet,
gentle girl like Janet and continue an affair
at the same time . . . For Heaven's sake,
Jerry, don't do a thing like this. I can't bear it.
JERRY: (Laughs.) YOU can't bear it! What
have YOU got to do with it?
ALICE: I feel like an accomplice in some terri-
ble crime.
JERRY: Well, you ARE an accomplice . .
you've lied and pulled the wool over their
eyes, haven't you?
ALICE: But this — this is worse than anything
I bargained for. You can't do it!
JERRY: . . I'm going to, just the same. Yes,
and you're going to help me. You're nearly
broke and your one hope of getting on your feet
is to have me disposed of. I'm sorry if my
code of ethics doesn't appeal to you, but I'm
afraid you'll have to stand for it ...
Jerry succeeds in convincing Janet and her
father that the business matter is too important
to neglect, and saying he will return at "ten
o'clock or so" he exits, leering at his mother.
Alice asks Mildred to entertain Morgan for
a few minutes while she talks with Janet.
ALICE: Janet, you love Jerry, don't you . .?
JANET: . . This is the first time I've wanted
to make myself small enough to fit into a man's
vest pocket and be so very close to the beating of
his heart. It's the first time that his going
through a door like that made a difference in
the light of the room . . . Mother dear, why
did you ask me if I loved Jerry?
ALICE: Because — Janet — I — I want you to give
him up ... To SAVE you, dear . . from a
life of suffering and misery. If you marry
Jerry you'll be unhappy, wretchedly unhappy.
He's not good enough for you, dear.
JANET: . . Why, you yourself told me —
ALICE: Yes . . I've deceived you — I've lied
to you — but I can't go on with it — . . you
must know the truth — . . Janet, dearest,
Jerry . . is not the nice boy you think — he's
dissipated. He drinks and gambles . . he is
not to be trusted. He has promised and broken
his word — he has failed me again and again.
And he'll fail you, Janet . . .
JANET: I don't believe it . . ! Something
has happened — something that makes you want
to take Jerry away from me and you've sent
him away tonight so that you —
ALICE: Oh, Janet . . you must believe me —
you must — why, can't you see it has nearly
killed me to tell you this? I love him more
than anything else in the world — I — I'm his
mother!
JANET: (Relenting.) Oh, I don't want to be
cruel — but when you tell me sueh horrible
things about Jerry I — . . But even if it's
true, I — I won't give him up . . ! We'll help
him to change — not all at once, perhaps — but
we'll love him and love him — and love must
win in the end !
ALICE: I used to believe that love had the
magic to change character.
JANET: . . It does. It has changed mine.
It has made a different girl of me. I used to
think it was fun to flirt — now I know I must
keep myself clear of mean and cheap things for
the man I'm going to marry.
ALICE: You lamb! You lamb! But Janet, the
deeper you love, the more you'll suffer. Do
you think it's pleasant to sit at home in a very
lonely room and know the person you love
is out there giving someone else the caresses
you're longing for?
JANET: You think he'd be un- — Oh no, no —
no. He loves me too much !
ALICE: He doesn't — not deeply — not truly.
JANET: Then why does he want to marry me?
ALICE: . . In one of the sacred books of the
East there is a line I've never forgotten: "Rama
heard the jingle of the bangles on the lady Sita's
feet, and he said, 'Here comes a woman with
whom I shall be in love.' " . . I'm hurting
you . . But Janet, it's better to nurse a deep
wound for a time than to go through the world
sick and wretched for the rest of your life.
JANET: What kind of a mother are you? I
have no idea why you're saying these things,
but I don't believe a word of them.
ALICE: You're unhappy now because he went
off like that. Do you know WHY he went?
Because —
Janet is hysterical and calls her father to
take her home, saying she will tell him nothing
and he must not question her. They exit.
MILDRED: What does it mean?
ALICE: It means the end of everything . . .
(Continued on page 334)
[314]
THEATRE MAGAZINE. NOVEMBER, 1922
Photo-, by Brugniere
It is midnight in plague-ridden Spain. Youth and Love flee from Death to a lonely castle on a distant mountain top and
there, in ecstasy, abandon themselves to a dance of joy. But walls, however massive, are no barrier for the Master of De-
struction. The sardonic strains of his fiddle soon interrupt the happiness of the lovers. Panic seizes them — Love swoons —
Youth despairs and prays. When lo! the cock of dawn crows and Death fades away into the shadow of his tomb. Adolpb
licilni as Youth, Ruth Page as Love and Olin Howland as Death are the artists who render this ecstatic classic to the
synchronized music of Camille Saint-Saens.
LA DANSE MACABRE
Adolph Bolm Introduces His Noted Dance of Death to the Screen
[315]
The Versatile Winwood
A Chat with the World's Record Holder for Diversity of Parts in a Single Season
By BLAND JOHANESON
ESTELLE WIN WOOD wishes me
to say she doesn't know a thing
about technique. Cunning lady, you
ask me, myself, to erect a barricade of
absurdity to which you could resort should
you desire to discredit this interview! No,
Miss Winwood, in spite of the disarming
charm with which you make your too
artless request, it cannot be said that
you know nothing about technique.
However, neither is it necessary to say
that you do. Rather let us go to the
root of this controversy and effect an
honest compromise, saying: Estelle
Winwood is too adroit to be adroit.
Hairpins in lovely coiffures, blots on
beautiful checks, seams in chiffon
hosiery, all publishers of the mundane
mediums of bone and ink and thread
which wrought these several miracles,
are not more abhorrent to the dis-
criminating connoisseurs of them, than
to Estelle Winwood is the obtrusive
glinter of technique through the shod-
dy mantle of an inartistic dramatic
performance.
Do you praise a singer for her
larynx? Miss Winwood wants to
know. It's there. She has one, or she
couldn't make such a lot of noise. But
to leave the concert sighing, "Oh,
what a larynx!" is not one whit more
damning to the diva's art than the
faint praise that "she certainly has
mastered her technique," is to that of
an actress. It should be taken for
granted.
EARLY DAYS AND DRURY LANE
ESTELLE WINWOOD is not an
accidental star, but an artist who
happens to be an actress. She is serious
in her art. Though her personal charm
is great, she does not rely upon- it to
carry her through a play. The differ-
ence between a haphazard and an im-
aginative performance, is the distinc-
tion between an actress and an artist,
Miss Winwood believes.
On her mantel-shelf are not alone
the great plays in which she would be
interested as an earnest actress, but
poetry, essays, the old and modern Schwarz
philosophers. Miss Winwood reads
and thinks and feels.
"I never made a decision to go upon the
stage," she says. "It never occurred to me
to do anything else."
Miss Winwood entered the Lyric Stage
Academy to prepare for her career as soon
as she had finished school. Sir John Hare,
recognizing her possibilities, then made her
a member of his company, with which she
toured, playing Drury Lane melodramas.
This association and the one which fol-
lowed with the Liverpool Repertory Thea-
tre, brought her inevitably to London,
whose theatrical citadel, ever vulnerable
to charm and talent, she was then Teadv
to storm. She appeared in tragedy, farce,
melodrama, plays from Masefield's "Nan"
to a1 Coliseum review. The public she so
soon was to abandon, now was at her feet.
She sailed to conquer a new world, and
make her New York debut in "Hush" at
the Little Theatre in 1916. Among her suc-
"I never made a decision to go on the stage. It
never occurred to me to do anything else."
cesses here were those in "Why Marry?",
"A Successful Calamity" and "The
Tyranny of Love."
Miss Winwood says: "I am thoroughly
venturesome. I love to attempt whatever
people think I cannot accomplish.
"My keenest admiration is for the
quality of subtlety in art.
"I never have carried out a plan, so I
have stopped making them.
"I never have regretted an experience how-
ever distasteful it may have been at the time.
"I consider the past season the most valu-
able one in my career, for I had five open-
ings in New York." (These were as
Elizabeth, the runaway wife, \\ith John
Drew and Mrs. Leslie Carter in Somerset
Maugham's "The Circle"; as Charlotte
in "Madame Pierre," Arthur Hornblow,
Jr.'s adaptation of Brieux's "Les Hanne-
tons"; as Germaine Glandelle in Edouard
Bourdet's "The Rubicon"; as Nastasya
in special matinee performances of
Dostoievsky's "The Idiot" and with
Ethel Levey in her musical show, "Gp
Easy, Mabel".)
"I enjoyed 'Madame Pierre' especi-
ally, because in it I was required to
portray a common girl, a character un-
like all I ever before had "attempted.
And I found Robert Milton a remark-
able director.
"I want to surprise people, even if
it is to disappoint them. I want my
friends to say, 'Estelle, I didn't expect
you to play that part as you did,' be-
cause when I hear that I know I am
avoiding the rut of 'type' performances.
For instance, in 'The Rubicon,' though
everyone expected me to play the bride
in the spirit of broadest comedy, I am
a wide-eyed, bewildered, innocent
young girl, with my hair in curls. I
enjoy that role, and I think it's in a
charming play, entirely cosmopolitan
and thoroughly French."
ART AND THE ACTRESS
WHEN I asked Miss Winwood for
her views on acting she paused
cautiously and ruminated for such a
length of time I had to ask, "Haven't
you any ?"
"Many," she replied, "but I'm afraid
airing them will sound conceited —
and she illustrated with the pathetic
story of her Life's most harrowing
week, during which she neither ate nor
slept. It followed the publication in
a western city of the efforts of a well-
meaning interviewer who made her
talk like a complacent fool.
Miss Winwood is gracious, charm-
ing, natural, mercifully without even
a mannerism. She is not conceited.
And she certainly is not a fool.
After I had assured her that even
were I the most proficient garbler of
conversation, no magic I possessed
could make her either, she said, "Act-
ing is so easy I never have been able
to understand why such a fuss is made
about it. Anyone can act. Master a little
technique, accustom yourself to the stage,
be natural, say your lines distinctly, and
you are an actress. If you happen to be
cast in a sympathetic role and are an
appealing type, you are acclaimed as a geni-
us. Then you can go right on appearing in
plays exploiting this identical personality.
"To be an artist is not the same thing.
You must learn to suppress your person-
(Continued on page 332)
[3!6] -
THKATRK MAGAZINE, NOVEMBER. I9tt
LUCREZIA BORI
Who will share with
Jeril/.a much of the
glory and many of the
roles that were Farrar's.
Mme. Bori will doubt-
less be heard in "Anima
Allegra," a new opera by
a youngster named Vit-
tadini who is said to be
destined for a place in
the Italian sun occupied
heretofore only by
Puccini.
FEODOR CHALIAPIN
An intimate and char-
acteristic portrait of the
most significant singer
of today. The famous
Russian baritone is to be
heard at the Metropoli-
lan again this season in
many roles, among them,
of course, "Boris," with
which he literally stun-
ned musical America
last year. In-set is a
study of his extraordin-
ary make-up in the
character of Varlaam,
the monk, in which be
may also be heard.
THE METROPOLITAN BEGINS TO STIR
Doings at the World's Most Interesting Opera House Promise Unusuil Season
[319]
f
ADA BOSHELL, after sixty
years on the stage, was re-
cently presented with a lov-
ing cup by leading members
of her profession wbo at-
tended a party in her honor
at the Music Box. In the
presentation group are Misi
Boshell and F. F. Mackay,
behind whom stand William
Collier, May Martin, Irving
Berlin, Mary Milford, Sam
H. Harris and Jeanne St.
John.
Keystone View Co.
WILLY POGANY. the
Austrian artist, has been
engaged to recreate char-
acters from storyland on
the walls of the new
Children's Theatre to be
erected on Fifth Avenue
with part of the three
million dollar Hecksher
Fund. Its first produc-
tion will be at Christ-
mas time.
Keystone View Co.
The two ranking (tan
of stage and screen have
a little visit together in
Los Angeles. JOHN
DREW had more than
a passing interest in
DOUGLAS FAIR.
BANK'S interpretation
of "Robin Hood" due to
his having played it him-
self on the boards a de-
cade ago.
An actors' playhouse has been made a tangible fact by the
Equity Association through their leasing of the 48th Street
Theatre and their engagement of numerous important players
for a series of plays, the 6rst of which, "Malvaloca," with
Jane Cowl, has already opened. Here Director Augnstin
Duncan is looking over the situation with a group of well-
known players, including (from left to right) Joseph Santley,
Mr. Duncan, Elsie Ferguson, Grant Mitchell and Jane Cowl.
HAPPENINGS OF THE MONTH
Things Here and There of Special Interest in the World of Make-Believe
[320]
THKATKK MAGAZINE, NOVEMBER. 1911
HEARD ON BROADWAY
Stories and News Straight from the Inside of the Theatre World
As Told by
L'Homme Qui Sail
I HEARD with some amazement that J^_W^ GRIFFITH, produced
"One Jixciting Night" without letting a single one of the people in
it know the story they were acting. This is a return to the old crude
_§tyle_of slapping pictures on scene by scene with the director holding the
script and the players doing what they are told without being expected
to build up an intelligent characterization or motivation of what they are
doing out of an understanding ^f the plot. Griffith performed this
gaucherie out of a desire to keep tEe secret of the plot locked in his own
bosom until the time of release.
PAUL POIRET, the famous Parisian dress designer, nurtured an ill
concealed bad opinion of American revue productions. Apparently
Paul has not seen any of the miserable stuff that they dole out under
the name of revues in Paris these days!
BOLTON PROCRASTINATES
BROADWAY wonders when GUY BOLTON is going to write that "big
play." For years Bolton, who showed enormous promise with his
early comedies, has performed as expert doctor to dying musical shows.
In one way this is fortunate for the American public, for certainly
Bolton's bright mind makes a little brisker the awful books which
are written by the second-raters. But for Bolton the lure of gold is an
unfortunate temptation. One wonders when he is going to shut his eyes
and ears to it, and stay put in his beautiful place at Great Neck and
write the kind of play he really wants to write.
Everybody on Broadway seems to be wondering why MURRAY
ANDERSON abandoned nakedness in his new Greenwich Village Follies.
Anderson really started the daring exposure of the feminine form
which prevails today in other revues. Modesty is comparatively tri-
umphant in the latest Anderson show. Is this a twinge of conscience,
or has the astute Murray decided to leave unto others that which they
steal from him ?
When "A Bill of Divorcement" is seen on the screen over here,
CONSTANCE BINNEY and MALCOLM KEEN will portray the roles
created in the stage version by Katherine Cornell and Allan Pollock.
LAWFUL LARCENY REACHES LONDON
AL WOODS successfully opened "Lawful Larceny" at the Savoy Thea-
tre, London, with an entire American cast including CATHERINE
CALVERT, RUTH SHEPLEY, JEAN ROBERTSON, FORREST
WINANT, MORGAN WALLACE and LEE BAKER. It followed "If
Four Walls Told," a play which will more than likely be seen here
this season.
JOSE COLLINS is now playing the Eleanor Painter part in "The Last
Waltz" in London. After several years as "The Maid of the Mountains"
it seems that Miss Collins has found a worthy successor. Bertram
Willis is again in her support.
Al Woods has had a hard time opening his Eltinge Theatre. First,
"Lonely Wives" with CHARLES RUGGLES and WANDA LYON wa«
announced as the opening attraction. After three attempts that was
called off and "East of Suez" was lighted up in the bulbs outside the
theatre with FLORENCE ELDRIDGE featured. That had to be post-
poned but finally opened with FLORENCE REED in the leading role.
MEGGI ALBANESI will play the leading role in the London production.
HACKETT AS A TRAGEDIAN
I UNDERSTAND from many sources that HACKETT and his wife,
BEATRICE BECKLEY, have been giving magnificent performances
of Shakespeare abroad. They will soon be adding to our own roster
of productions and one can almost hope that it will raise the standard
a bit. It is interesting to see an actor of rating scarcely higher
than a "popular romantic leading man" in this country turned into a
"distinguished American tragedian" by Continental decree.
On the opening night of "Wild Oats Lane," MACKLYN ARBUCKLE
made a speech to this effect: "It was about twenty years ago that
George Broadhurst and I first entered into a business agreement, and
that was when he engaged me to create the leading role in his new
farce 'Why Smith Left Home,' which he did after witnessing my
performance as Marc Antony in 'Julius Cesare.' I have never been
able to quite figure out whether that was a compliment or an insult!"
"The Woman Who Laughed" opened in New York on one of the
hottest nights on record. The climax of the second act necessitated the
tying of GILDA LEARY to a sofa. What with the intense heat and
being so tightly tied, Miss Leary fainted dead away, and the third
act curtain was considerably delayed in ringing up.
/
When "Abraham Lincoln" opened in Chicago, the steel curtain was
caught and the stage hands were unable to pull it up. The audience
V waited one solid hour and a half until the performance was able to start.
WILLIAM DEMILLE announces that there are just two classes of
women in this country: "Those who write to Rodolph Valentino and
I those who don't."
PEACE IN ONE SHUBERT FOLD
J DROPPED into a rehearsal of "The Passing Show of 1922," which
occurred after the evening performance at the Apollo Theatre, Atlantic
City, and there were all the powers that be moulding and working on the
massive production getting it ready for its New York showing. It
was three a. m. The curtain had not rung down till after twelve,
and J. J. SHUBERT, J. C. HUFFMAN, ALLEN K. FOSTER, and
HAROLD ATTRIDGE were all working with indefatigable force with
the principals and chorus. Quiet and efficiency reigned supreme — not
an argument or a bad temper anywhere. It was a thrilling sight
[321]
While EUGENE O'BRIEN was making personal appearances in St.
Louis, his telephone rang one morning shortly before seven, and a
feminine voice queried over the phone: "Mr. O'Brien, I saw you last
night and wondered if you could give me Rodolph Valentino's address."
Southampton or Long Beach? Long Beach in particular, now that it has
its own Mayor!
What a lot of credit should be given KAY LAURELL. Here is a girl
that overnight forsook the chorus ranks of the Ziegfeld Follies and
started out to make a name for herself in the legitimate. She joined
"Ladies Night" for a season and "headlined" in vaudeville a season
with successful engagements as the leading woman in stock companies
in Newark, Washington and now in Yonkers. LILLYAN TASHMAN
and NITA NALDI are two other recruits from the Ziegfeld forces
who have made unusual and rapid strides.
For the last few seasons at the Metropolitan Opera House FRANCES
PERALTA has been attracting considerable attention by her gloriously
rich voice. I recall how she first came into prominence as Phyllis
Partington, when on the opening night of "Gypsy Love" in New York
MARGUERITE SYLVA was taken ill during the first act and her
understudy, Miss Partington, was rushed in to finish the performance
and met with the instantaneous approval of the first night audience.
MADGE TITHERADGE, not Irene Bordoni, is playing the Ina Claire
part in the London production of "Bluebeard's Eighth Wife" at the
Queen's Theatre. NORMAN McKINALL plays the part created here
by Edmund Breese. JULIETTE DAY and ARTHUR BYRON are
conspicuous in the cast which is now touring the eastern American
cities over here.
THE TRUTH AT LAST
When the last Actor's Equity show was given, JOHN
RUTHERFORD, who was a member of the "He
Who Gets Slapped" Company, thought it would be
a wise move to bring his costume, which consisted
of little else than a pair of tights, down to the Lambs
Club, where he planned to dress, and thereby avoid
the crowd at the Metropolitan Opera House. With
his costume donned, and with only a bathrobe to
conceal it, he rushed down the stairs to a waiting
taxi. It was pouring rain, and in his mad dash,
he slipped and his slender covering was fearfully
wrecked! Which is the real reason for his not appearing at the matinee!
Carmen seems to be the favorite operatic role of the season. New
York has already heard ALICE GENTLE, ZOE BARNETT, MAR-
GUERITE SYLVA, DOROTHY JARDON, and STELLA DE METTE.
How much some of my readers would have appreciated being with
me while GEORGE M. COHAN was putting some finishing touches on
"So This Is London!" during one of the rehearsals. What a treat it is
to watch this genius work out a situation, change lines,
and just by his handiwork make everything really
worth while.
CHEZ MONS. HARRIS
STOPPED in to see the dress rehearsal of William
Harris, Jr.'s "Banco." Amongst those present were
CLARE KUMMER, who made the adaptation, her
daughter, MARJORIE, her daughter's husband,
ROLAND YOUNG, GUY BOLTON, JOSEPH BICK-
ERTON, LIVINGSTON PLATT, who designed the
settings, and one or two other honored guests. The
Harris rehearsals — especially those conducted by Mil-
ton— are always highly interesting affairs.
How many people have enjoyed the work of ALICE TERRY in "The
Prisoner of Zenda" and "The Four Horsemen" and revelled in her
blonde beauty. Now, by way of a bitter disappointment, let me report
that Miss Terry is a striking brunette, and like hundreds of others,
wears a wig for the screen.
Again I can report the engagement of ARNOLD DALY. This time in a
new play called "On the Stairs," from the pen of William J. Hurbut,
author «f "Lilies (if the Field" and "Trimmed in Scarlet" which both
Grace George and Maxine Elliott starred in at various times. When
this play was given a preliminary tour, Robert Edeson played the part
Mr. Daly is at present filling.
"Strike 1" is an expression used in the theatre, when the stage hands
have to change the scenery for the following act. When WANDA
LYON made her debut in New York in John Cort's production of
"Flo-Flo," and the curtain came down on the first act, she heard the
stage manager give the famous signal. Thunder-struck she rushed
over to Mr. Cort and cried: "Oh, Mr. Cort, I am so sorry they called
a strike — especially the opening night!"
I
ANOTHER ILLUSTRIOUS SEXTETTE
JJOOTS WOOSTER, WINIFRED LENIHAN, MAE COLLINS, JUNE
WALKER, FLORA SHEFFIELD and BETTY HILBURNE formed a
sextette of beginners in Winthrop Ames' "The Betrothal," who reached
fame so quickly as to make them worthy rivals of the famous "Florodora"
sextette. Boots Wooster was last seen as the featured player with
Donald Brian in "Garrison and the Girls," Winifred Lenihan as the
leading woman in "The Dover Road ;" May Collins as a star in pictures
and lately in a new play by Percival Knight under the management
of the Shuberts; June Walker as the lead opposite Ernest Truex in
"Six Cylinder Love;" Flora Sheffield as the lead in "The Night Cap"
and soon to play the lead in "The Faithful Heart;" and Betty Hilburne
is now a successful cinema star.
Last month I mentioned several male "Powers Behind the Throne," but
as always the woman's voice is heard, and here are the leading
feminine directors: MRS. LILLIAN TRIMBLE BRADLEY, JESSIE
BONSTELLE, MRS. HENRY B. HARRIS, RACHEL CROTHERST AN~N
NICHOLS, and WILHELMINA WILKES.
Oliver Morosco is planning a musical version of "Sis Hopkins" this
year with WANDA LYON in the title role.
HOLBROOK BLINN loves "The Bad Man" so much he vows he will
not seek a new starring vehicle until he has played every prominent
city in the country in his famous characterization of Pancho Lopez.
Three of the best "money makers" in the movie world last year were
NORMA TALMADGE, PRISCILLA DEAN and MAE MURRAY.
BIG SHAKESPEAREAN SCHEDULE
'J'HIS season promises several Shakespearean productions. Already
word has reached my ears of the following who have spent their
summer studying various roles: WALTER HAMPDEN, FRITZ LEIBER,
ROBERT B. MANTELL, DAVID WARFIELD, MARY SERVOSS,
BARNEY BERNARD, ETHEL, LIONEL and JOHN BARRYMORE,
SIDNEY BLACKMER, EVA LE GALIENNE, JOSEPH SCHILD-
KRAUT, OTTO KRUGER, and, of course, E. H. SOTHERN and
JULIA MARLOWE. Of the present generation, why doesn't MAR-
JORIE RAMBEAU try some of the great heroines? She would suit
them all from Katherine and Ophelia to Rosalind and Portia. Bert
Savoy, of Savoy and Brennon, says he is going to appear seriously as
Rosaling this year. Bert will have his little joke!
While MRS. RODOLPH VALENTINO was rehearsing her vaudeville
act the MRS. RODOLPH VALENTINO that is to be and the famous
RODOLPH himself came to New York, planned a fake trip abroad,
but stayed along Broadway under assumed names, Miss Hudnut at
the Biltmore and the screen hero at the Waldorf.
John Craig, who for years managed the destinies of the Castle Square
Theatre, now known as the ARLINGTON, is back at the famous Boston
Playhouse once more trying out several new plays for H. H. FRAZEE.
Stamford, Baltimore and Washington have been used for so long
now as "try-out" localities by the various producers, I should think
it about time some new "dog towns" were discovered. How about
MARGARET ST. CLAIR, who was a member of David Belasco's
"The Gold Diggers" last season, made a hurried, but thorough, tour
of the continent in six weeks last summer. She had clung to her passport
so closely throughout her travels that when the Adriatic had trouble with
its boilers and a fire started while at sea on her return voyage, from
sheer force of habit the only thing she ran to save was her passport!
[322]
THEATRE MAGAZINE, NOVEMBER, 1921
THE AMATEUR STAGE
Edited by M. E. KEHOE
Given a getting such as this, and
outdoor plays follow ai a matter
of coarse. Vassar College Campus
has been the scene of many de-
lightful outdoor plays, but perhaps
none has been of greater signifi-
cance than the "Pageant of
Woman's Opportunity." The scene
it the Italian Episode.
When Elizabeth Grimball has a
finger in the pie — and the pie is
by chance, a play or a pageant,
one may safely prepare for a treat.
The merry group at the left is
from the "Pageant of Woman's
Opportunity" produced at Vassar
College under Miss Grimball's
direction.
"THE PAGEANT OF
WOMAN'S OPPORTUNITY"
AT VASSAIt COLLEGE
"Slowly through thousands of yean
Through suffering and injustice,
Through patience and work,
The work and the faith and the fain
of millions of separate women and
men long dead
Are you here today.
Glimpses I will show you of the past,
That you may see how this oppor-
tunity came to be,
As if doivn the corridors of Time I
carried a candle on a windy night."
These lines of the Prologue, ad-
dressed to the woman of today,
epitomize the "Pageant of Woman's
Opportunity," written for the
Twelfth Biennial Convention of the
National League of Girls Clubs by
Mary Conger Vanamee, Vassar 'OS.
It was a stirring portrayal of the
suffering endured by Woman in
her hard-won fight for self-expre«-
sion, down through the ages, from
the day of the primeval woman to
the present.
[323]
The Amateur's
Green Room
News of the Colleges, Schools
and Dramatic Clubs
THE LITTLE THEATRE OF MOBILE
THE Little Theatre idea is not new to
the natives of the Southern city of
Mobile — it is rather the re-birth of
an impulse that had its beginnings 'way
back in 1850, when an amateur organiza-
tion known as "The Histrionics" came into
existence and flourished for eleven years
until the Civil War put an end to its
activities.
Perhaps this love of the theatre may be
attributed to the fact that a large propor-
tion of the populace are descendants of the
early Latin settlers, by nature dramatic,
but whatever its origin, a long dormant
interest in community dramatics has been
revived and the Little Theatre of Mobile
is today the center of the intellectual and
artistic life of the community. On "Little
Theatre Nights," social engagements are
cancelled and regardless of weather or road
conditions, people come from towns and
villages far and near, to the Seamen's
Bethel, where the Little Theatre has its
workshop and presents its plays.
Six performances of three one-act plays
were given the first season, among the most
successful : "Helena's Husband," by Phillip
Moeller; "Trifles," by Susan Glaspell;
"Will O' the Wisp," by Doris Halman;
"Spreading the News," by Lady Gregory;
"Bocaccio's Untold Tale," by Harry Kemp,
a scene from which is shown on the op-
posite page. Next season they plan to in-
clude at least one three-act play with their
program of one-act plays.
TWO EFFECTIVE SETS
GIVEN the proper leadership, Youth,
as ever responds unstintingly, as may
be seen from the two interesting stage sets
on the opposite page, constructed by the
students of the George Weitbrecht Me-
chanic Arts High School of St. Paul. The
scene from the operetta, "The Doctor of
Alcantara" gave opportunity for the use
of the thick-walled, balconied type of
architecture. Important in action, the bal-
cony was given accent scenically. The
Not the "Chauve Souris" but an equally authentic Russian interlude,
showing a bit of home-life in the land of the steppes as portrayed by
members of the senior girls' club of the Henry Street Settlement, at a
recent Russian bazaar for the benefit of the summer camp of the club
at Yorktown Heights.
tone selected for the walls was a plain dark
gray, flooded with reflected lights from the
red, blue and amber hanging olivettes.
For "King Hal," a street in Windsor
was called for, with an inn. In order to
centralize the interest where the action
was most important — in front of the inn —
the opposite side of the stage was filled
with the sheer walls of a church, broken
only by a stained glass window. A bit of
rampart was introduced to vary the levels,
with a silhouette of Windsor Castle in the
distance. A touch of the charming half
timber work of the period added variety to
the scene, the stone work being indicated
only by mottled blue, red and yellow of
low value over a warm gray, which blended
under the lights into a sympathetic back-
ground for the richly colored costumes.
Who says that youthful "amateurs" lack
the fundamentals of stage production?
THE STUYVESANT PLAYERS
THE Stuyvesant Players of New York
have established themselves for the
opening of their fifth consecutive season
in their new headquarters and the director,
Lester Margon, announces that he will
welcome applications from experienced
non- professional players who wish to join
the organization. During the past summer,
Mr. Margon received nearly a hundred
one-act and longer plays, a number of
which have been accepted for fall pro-
duction.
STAGE STARS TO LEND AID TO COLLEGE
PLAYERS
AN advisory committee from the profes-
sional theatre composed of men prom-
inent in stage decoration, acting and
producing has been formed to help advance
the work of the Washington Square
College Players of New York University.
The committee will have as its chairman
Louis Calvert, author of "Problems of the
Actor," who is now appearing in "He
Who Gets Slapped." The other members
are Dudley Digges, who played Jimmy
Caesar in "John Ferguson" and Clegg in
"Jane Clegg" and for the last two seasons
has been appearing in "Mr. Pirn"; and
Sheldon K. Viele, season technical director
of the Theatre Guild, and now designing
sets for Brock Pemberton's new produc-
tions.
The Washington Square College
Players, composed of Randolph Somerville's
students of dramatic art at New York
University, will open their third season in
October in the New York University Play-
house, a new miniature theatre fashioned
during the summer as part of the remodel-
ing of the New York University building
at Washington Square. The plays given
will include Cohan's "Seven Keys to
Baldpate," A. A. Milne's "Make-Believe,"
Moliere's "Tartuffe" in recognition of
Moliere's tercentenary, and new plays by
Malcolm LaPrade, Pierre Loving, Frances
Agmar Mathews, Sawyer Falk, George
Muller and Adolphe Mayer. The last
three are students at New York University
and members of the Players.
THE UNIVERSITY OF IOWA
PROFESSOR E. C. Mabie announces
for the 1922-23 program of the Uni-
versity Theatre, eight plays including an
American comedy, a pseudo-crook play,
two excellent English comedies with a
touch of fantasy, an American emotional
drama, a Shakespearian play and an
Italian poetic tragedy; respectively, "Seven
Keys to Baldpate," by George M. Cohan;
"Mr. Pirn Passes By," by Alexander A.
Milne; "Adam and Eva," by George
Middleton; "The Merchant of Venice,"
by Shakespeare; "Too Many Cooks," by
Frank Craven; "The Copperhead," by
Augustus Thomas; "Alice-Sit- By-the-
Fire," by Barrie and "The Jest," by Sam
Benelli. Stuart Walker's Company will
present "The Book of Job" at the Uni-
versity, February 5th.
NOTE: Colleges, schools, little theatres and dramatic
clubs are invited to send announcements for publica-
tion on this page, which will be a permanent feature
of The Amateur Stage Department.
[324]
THEATRE MAGAZINE, NOVEMBER. Kit
These effective gets for
"The Doctor of Alcan-
tara" (above) and "King
Hal" (center) are the
work of the students of
the George Weitbrecht
Mechanic Arts High
School, St. Paul. Their
general aim in -raging, in
the creation of beauty
and atmosphere rather
than the delineation of
nature or arcbitectnre.
(A description of the if
sett follows on the next
page.)
The Little Theatre of Mobile, although practically in its infancy, has already
presented an important program of one-act plays. The set and costumes for this
scene from "Boccaccio's Untold Tale," by Harry Kemp, were constructed by the
active members, who work out their own scenery, costume and lighting problems—
with excellent results.
[325]
Community Dramatic Activities
The Sheathing of the Sword — a Significant Pageant for Thanksgiving Time
IF ever there was a pageant fitted for
Thanksgiving times it is "The Sheath-
ing of the Sword" by Dorothy Elder-
dice. Not a word about Thanksgiving is in
it, but the spirit is there. And the pag-
eant is played against so classic a background
that it surely could not fail to delight any
school and college in the country producing
it. At the same time it would be of defi-
nite .practical service to them in the way
of helping to bring about in the student
body something of the feeling of human
relationship with people of ages past; an
intimacy and fellowship with certain of the
glories of ancient Greece, Rome, Palestine
and the early American Indian life.
While it is an outdoor performance, and
was written and produced last June for
the specific purpose of dedicating the ath-
letic field of Western Maryland College,
Westminster, Maryland, it could, no doubt,
be adapted for an indoor performance if
Indian summer fails of its sunlight.
The initial performance of "The Sheath-
ing of the Sword" took place June 10th
on the athletic field of the Maryland Col-
lege in the presence of a large audience
among whom were the Governor of the
State, the president of the College and rep-
resentatives of the American Peace Society.
In addition to the author and general di-
rector, Miss Elderdice, who is the head of
the new Department of Drama of Western
Maryland College, the pageant staff includ-
ed: Miss N. C. Lease; Miss Elise Dorst;
Mrs. Harry Kimmey; Miss Faith Millard,
Miss Anna Shriver, Miss Lottie Moore,
Miss Helen Fowble, Miss Alleman, Mr.
Eltinge Reifsnider; Mrs. Isanogle, Miss
Mary Cunningham; Miss Corinne Troy,
Mrs. Howard Reinhardt; Mr. L. D.
Penn; Miss Reine Musgrave; Mr. Harvey
Stone, Prof. E. A. Woodhead; Miss Dor-
othy McDaniel, Miss Marjorie Lewis,
Rev. W. P. Roberts, Mr. R. F. Cromwell,
Mr. Sterling Edwards; Prof. S. Schofield;
Prof. Carl Schaeffer. Captain E. G.
Smith, United States Army was marshal
of the Day. The Episode directors were
as follows : Tournament Director, Lieu-
tenant B. F. Farrar, United States Army;
Olympic Games, Mr. Holly Keller, Mr.
C. A. Read ; The Last Grand Council, Mr.
James M. Stoner; The Augustan Proces-
sional, Mr. Harry G. Berwager, Mr. Lu-
ther Wimert; The School Processional, Mr.
Grover C. Taylor; The Homemakers'
Chorus and Processional, Miss Rachel
Everett.
A COMMUNITY PRODUCTION
THE pageant was a community produc-
tion, nearly every organization in
Westminster participating. The first, or
Greek episode commemorating the insti-
tution of the Olympic games was presented
by the college ; the second, or Roman scene,
By ETHEL ARMES
Community Service (Incorporated)
by the Knights of Pythias, the Junior Order
of Mechanics and the Independent Order
of Mechanics. The Gloria in Excelsis
was sung by the Pageant Chorus. The
Field of The Cloth of Gold and the Eng-
lish-American episode were presented by
The Westminster High School ; the Jap-
anese episode and the dance in the final
scene by the younger school children of
Westminster; the Pan American episode by
the girls of Western Maryland College,
assisted by the Young Women's Clubs of
Westminster. The Last Grand Council
was presented by The Red Men. The
schools of Carroll County and the Home-
makers' Clubs of the county united in the
presentation of the final episode.
The athletic field forms a natural sta-
dium. The Prologue especially impressive,
to quote an editorial in The Advocate of
Peace, "consisted of the Four Ages — An-
cient, Medieval, Modern and future — es-
corted by four Heralds with a fanfare of
trumpets. 'Peace' with her attendants
entered and took their positions upon the
dais, grouped with the Ages." The "First
Victory," entitled "Greece: The Sacred
Truce," comprised Iphitus, Prince of Elis;
Apollo, in his car of day, preceded by Aur-
ora and surrounded by the Seven Hours.
There was the Master of Games, the
Greek chorus and processional, and the ath-
letes.
The Second Victory, called "Pax
Augusta: Rome," presented the Pre-
torian Guards, the Vestal Virgins, consuls
and senators, priests and Agrippa. There
were the flute players and children playing
ball with Etruscan dancing maidens.
The Third Victory, called "The Na-
tivity: Palestine," was an introduction to
the Fourth, called "The Field of the Cloth
of Gold." The English standard-bearers
with St. George and the dragon, the French
bearing aloft the lilies of France, the two
kings, Francis I and Henry VIII, entered
and saluted each other. There was a
canopy with two thrones side by side. The
two kings dismounted and took their places.
There was a carnival dancer. There were
two tourney-riders on caparisoned horses.
The riders tilted. First, the French rider
was unhorsed ; then the English rider. Be-
tween the two actions the French king
arose and toasted the English king, greeted
by acclamation from the spectators. After
the second action the English king returned
the compliment amid the acclamations of
the English. The two kings remounted
and rode off together, followed by the
English and French, mingling happily to-
gether.
The Fifth Victory, called "Friendly Re-
lations: The United States," pictured
Columbia and Britannica, the United
States and Japan, and closed with what
was perhaps the most picturesque of all,
"The Last Grand Council," suggested by
the meeting of the American chieftains in
September, 1909, in the valley of the Little
Horn, Montana. The old chief came alone
to the center of the field. Smoke signals
arose from the adjoining hills; runners an-
nounced the coming of the chieftains.
Indian women followed and lit the council
fires. They smoked the pipe of peace. The
white brother came. They greeted each
other with solemn eloquence. They said
a farewell. Then all marched away, leav-
ing the chief standing alone, until at last,
he, too, followed.
BJT if this Indian scene were the most
picturesque, the most beautiful of all,
called Pan America, represented the two
Americas united by the Bridge of Water,
the Panama Canal. The Atlantic and
Pacific were depicted by a dancing drama
by maidens with sea-colored scarfs, called
"The Meeting of the Waters." The final
formation represented the canal completed,
and through it advanced representatives
carrying flags of each of the twenty-one
American Republics, marching stately on-
ward to Peace.
The final "Victory" was called "Peace
Universal." It was led by the dance of
children and by the flight of doves from
the four corners of the field. A white-clad
host also, with gradually increasing ranks,
came marching. Meeting in the center,
they encircled the dais and sang the World's
Doxology of Peace.
This pageant is one of the new com-
munity productions listed by the Bureau of
Educational Dramatics of Community Ser-
vice (Incorporated.) It is copyrighted by
Dorothy Elderdice and permission to pro-
duce it is required from the author, whose
address is Westminster, Maryland.
THE SIGNIFICANCE OF THE PAGEANT
rHE foreword of the pageant written
by Miss Elderdice, is eloquent : "The
history of the world's peace movement is
not recorded exclusively in the minutes of
national covenants and disarmament con-
ferences. It is chronicled likewise in pic-
ture-writing and stone carving, in song and
ceremonial, in the spoken word and the
living deed. No one can tell when the
movement first began. Perhaps it com-
menced with the burying of the hatchet
somewhere back in the shadows of the Stone
Age. But, at any rate, we know that it
had reached sufficient momentum to gain
expression through a mighty prophet in the
days of Isaiah. And in the history of Hero-
dotus u-e find the following recorded as the
cult of the Greeks at the time of Xerxes'
invasion : 'I believe in one blood, one
speech, one cult, one congruous way of
living.' "
NOTE: — A list of plays suitable for Thanskgiving time, compiled by Community Service,
is ready for distribution. Send lOc. in stamps to cover postage to THEATRE MAGAZINE.
[326]
THEATRE MAGAZINE, AOFEMBER, 1922
The Promenades of Angelina
She Dines at Tubby 's Italian Restaurant and Observes the Artistic Celebrities
Who Make It Their Rendezvous
AUTUMN really is the supreme sea-
son as far as I'm concerned . .
with people back in town, and the
new plays opening, and one's winter ward-
robe to buy . . I have some of the
smartest things, and am having the most
thrillingly amusing existence . . The
family say I might almost as well be
traveling in Europe for all they see of
me . . Especially as I've been going
regularly once or twice a week with Tubby
to his Bohemian restaurant . . You re-
member I mentioned it in June . . Tubby
says it's like that famous hotel in Paris
where the superstition was that if you sat
in the foyer long enough eventually every-
body of importance in the world would
pass through.
Passini's is like that . . practically every-
body of importance in the artistic world
of New York goes there some time or
other, and many of them go nightly. And
Tubby says further it's the once place of
real Bohemian atmosphere in this country
. . and that Signor Passini makes it lik?
that because he has kept the Continental
attitude towards his restaurant and his
patrons . . He's the greatest old dear
of a character, offers the best of food at
reasonable prices, and takes a pride in the
artistic nature of his guests. Though he's
as thrifty as the next Italian, a millionaire
several times over is as nothing in his life
in comparison with a "grand'artista" . .
And he hates noise and raucous laughter
and bad manners . . and is quite frank
to say so . .
Signor Passini starts the atmosphere . .
and Madama, frank critic of life and in-
Drawings by Art Snyder
Madame Bazzi, Caruso's godchild, who it
making her American debut, dines at Passini's
wearing "typy" hats with lace scarves wound
round the crown in this fashion.
comparable pantomimist, picks it up and
keeps it going . . and Giuseppe and
Angelo, the near-perfect waiters, add their
bit with the Neapolitan chef bravely com-
pleting it . . especially "Chef," who cooks
Signor "Chef," who not only cooks the delect-
able Italian dishes at Passini's, but over,
looks the room from time to time supereroga-
torily with intent to see that none misbehaves.
the delectable "scaloppine" and "spidini all'
alici" and "fegatini di maiale con rete" . .
"big-es-pig-es livers" as it is translated to
the uninitiate . . all the good Roman
dishes that your true connoisseur of Italian
food knows and loves . . In his own realm
under the Gallo management . . and who
had the Italian author of her proposed
play dining with her. Madame Bazzi
is a lovely type . . a pink roseleaf skin
and black-lashed Irish blue eyes (from an
Irish mother) with an individual method
of dressing . . long sheathlike frocks with
a low neckline . . and a pet trick to her
small hats, of winding them on with a
strip of tulle or lace that goes over the
crown of the hat and under the chin mak-
'ing a piquant frame for her face . .
At the table next to Bazzi were Ray-
mond Hitchcock with Karl Kitchin of
"The World" and his so pretty Dorothy
Follis wife, on the eve of her departure
for a concert tour . . How comic that
deep, booming bass of "Hitchy's" is! It
makes even so simple a thing as his calling
for the spaghetti sound funny.
Madeline Delmar, who played opposite
Otis Skinner last year in "Blood and Sand"
was there that evening with an unknown
escort, and wearing a ducky poke-bonnet
shape of black velvet with an old blue
ribbon round the crown, and two full-
petaled roses poised on the brim, a flame-
colored one above and salmon-pink
below . .
Frank Tinney was dining with several
of his "Daffydills" at one table, and near-
by little Marjorie Petersen of the Green-
wich Village Follies and her inseparable
mother . . Little Petersen cast aside her
hat and revealed a new permanent wave
to our admiring gaze . .
Tubby and I were at the long table
with the petite Simone de Bouvier, and
her picturesque de Bouvier husband . .
the Russian dancer, Kobeleff, who danced
all over the world with Pavlowa, and who,
believing that Simone has a future before
The petite Simone de Bouvier, danseuse, of
French doll size, never fails to "get the
house*' nightly when she enters cuddling the
aristocratic and blase Confucius.
"Chef" is supreme . . not even Signor
Passini can interfere if he puts his foot
down . . And when Giuseppe brings you
the report that "the Chef, he say NO,"
that's the way that ends . .
With that atmosphere as a background
and the place filled with the further color
and liveliness that a group of artists lends
you can imagine what fun Passini's is . .
Perhaps the most unusual person in the
room was Maria Bazzi, the Italian actress,
who is to appear in English this month
Was little Marjorie Peterson's heart in her
eyes because she saw a good-looking Italian
in the restaurant or because of all the atten-
tion her new permanent bob received?
her is training her . . and his Highness,
Confucius, the Pekinese, whose distin-
guished grandfather was the prize-winning
Nanki Soo . .
[ 32} J
FASHION
Interpreted by
the cActress
Remy Carpen, Parisienne, brought to Broadway her French chic, in
these individual gowns from "The Plot Thickens." Her first-act costume
was a lovely ensemble of russet tones, the frock of a vivid orange-brown
moire, the hat of brown taffeta and velvet with a full frill of brown
lace, and the French shoes of bronze with large bronze buckles. A
noticeable head of amber-colored hair, which Mise Carpen wears in a
thick knot at the nape of her neck, added the last delicious touch to
the tonal quality of the picture
Francis Bruguiere
The charm of this robe intime of Miss Carpen's lies
in its simplicity of line and curious quaintness of
coloring, a luscious shade of turquoise blue chiffon
having been hung over a silver sheath, and em*
broidered with a patterned strip of tiny beads
blended in shades of dark green and turquoise,
coral and petunia pink.
In the last act Miss Carpen wears this picturesque
frock of soft black velvet which "dates" about
twenty years ago, being made in the "princess"
fashion of that period, long, full, flowing skirt and
all. In keeping is the deep bertha of Duchesse
lace, a mode that started a popularity for itself
last winter, and the flat cufFs of lace falling over
the hands.
[328]
THEATRE MAGAZINE, NOTUUIK, 1911
White Studio
If we were asked to recommend a striking "all-
round" model for a frock, one that could be worn
also for a variety of occasions, formal and informal,
we think our choice would fall on this long-waisted,
full-skirted gown of Miss Boland's, of a marvellous
blue and rose and gold brocade material with fox
fur trimming. The model is from Bergdorf Goodman.
THE MODE AS MARY BOLAND
WEARS IT IN "THE TORCH
BEARERS," AND AT HOME
Yet if the long slim sheathlike lines of the past two
years still appeal to you, you may be perfectly smart
in an evening gown of this type, a Germaine model
also from Bergdorf Goodman, of gold and bronze
brocade and a deep flouncing of gold lace, which
jewelled bands hold over the shoulders and at the
elbows.
In the first act of "The Torch Bearers" Mary
Boland looks enchanting in this frock of palett
lime-green taffeta with brown fur outlining the neck,
a. crimson and pink French nosegay cuddled in the
fur and gold-brocaded slippers, for spots of color.
An interesting note of the long skirt is the tuck
that curves across its front, a few inches below the
waistline, shortening the hem directly in front.
Apeda
[329]
(Above) A most original frock-
$uit that every woman who
sees it will want to copy, is
worn by Mary Boland in the
third act of "The Torch
Bearers." The frock proper,
of blue twill, trimmed with
white silk braid, has an under-
blouse of white crepe, its trans-
formation into a suit being
effected by thrusting the arms
into a backless jacket which
fastens to the shoulders of the
frock by two large buttons
At left and right is that en-
gaging bit of youth and femin-
inity, Helen Ford, the "Girl"
of that musical comedy hit at
the Earl Carrol Theatre, "The
Gingham Girl." Miss Ford is
posed in two charming squirrel-
trimmed models from The
House of Youth.
*
Tornello Studios
[330]
THEATRE MAGAZINE. ttOVEMBER, }92l
•who tc youth and
charming fxnonali-
y as ivcll ai her
Wonderful voicfy
make her a favorite
in concert circlet*
TO PREVENT SUNBURN. Use Hinds
Honey and Almond Cream before and after
exposure; also morning and night to keep the
skin soft. If the skin is inflamed and sore,
do not rub it, but moisten a piece of soft linen
or absorbent cotton with the Cream and lay
it on the skin for a half hour or longer; repeat
until relieved. It will quickly cool the burned
surface and prevent blistering or peeling.
WONDERFUL BASE FOR FACE
POWDER. The liquid Hinds Honey and
Almond Cream is now used for this purpose
with marvelous success. Moisten the skin
slightly with the cream; let it nearly dry,
then dust on the powder. It will adhere to
perfection.
AS A MANICURING AID THIS
CREAM softens the cuticle, prevents sore-
ness and preserves the lustre of the nails.
You will find the Hinds Week-End Box especially convenient and useful now, as it contains those
ewentials for the comfort and attractiveness of the face and hands. Trial size, Hinds Honey and
Almond Cream, Cold and Disappearing Cream, Soap, Talc and Face Powder. 50 cents.
Try*your dealer first. Write us if not easily obtainable.
A. S. HINUS CO., Dept. 32, PORTLAND, MAINE
All druggists and department stores sell
Hinds Honey and Almond Cream. We
will mail you a small sample for zc or
trial bottle for 6c. Booklet Free.
[331]
TRADE MARK
TRUE economy is not
•*• gauged by price
alone. The price loses
its importance directly
after the time of purchase,
then follows the test of
value.
Value in furs is deter-
mined by quality, service
and enduring satisfaction
and when these accom-
pany your purchase
your investment repre-
sents real economy.
The above trade-mark
was adopted for your
assurance of the fullest
measure of comprehen-
sive value possible to be
obtained anywhere, for
the amount expended.
In your garment it stands
for our guarantee of
1 quality, style authority
and price honesty.
It pays to buy inhere you
buy in safety
A.JAECKEL&CO.
Furriers
FifMve.Between351-K&36'-h Sts.NewYork
THE MIRRORS OF STAGELAND
(Continued from
in writing limping feet of it. Love
and marriage and motherhood inter-
rupted for a short time her ambitions.
But only for a short time. I have seen
a shabby little studio in Fifty-seventh
Street near Sixth Avenue, where she
used to lock herself in, to write. "Mrs.
Thomas doesn't come here often but
when she does she stays a long time,"
said the janitor.
Into the Thomas home came that
too frequent visitor in many homes,
difference of opinion. That became
discords of temperament. Divorce
followed. At Easthampton, L. I., Mrs.
Thomas met John Barrymore, of the
beautiful, melancholy face. Even
though the green tights which caused
such flutters in the hearts of matinee
maids were missing in the conven-
tional attire of smart Easthampton,
Mrs. Thomas felt her admiration for,
and trust in the human male spring
again into life. She wrote "Clair de
Lune." She attended the rehearsals
of "Richard III." When his health
broke under the confined strain of
Richard III, and the cinema drama,
"Dr. Jekyll and Mr. Hyde" and Mr.
Barrymore went to Muldoon's to be
rebuilt, Mrs. Thomas made daily and
solicitous telephonic inquiries as to his
welfare. It was Mr. Barrvmore's
page 295)
solicitude about these telephone calls
at Muldoon's that started the gossips
twittering. This time the gossips were
right. The marriage of Barrymore
and Blanche Oelrichs Thomas
(Michael Strange) followed soon at
the Ritz.
Mrs. Barrymore is of the bluest of
blue blood in America. Some of her
Newport set have even designated her
marriage to one of those aristocrats
of the stage, the Barrymores, as "just
a little slumming in Bohemia that dear
Blanche will soon tire of." But they
may be forgetting her Michael Strange
phase. The name is austere, unyield-
ing. And forget not that she chose
it because she did not wish the news-
papers, nor any publisher, to print
her verse because she was a "poetess
of the Four Hundred." As Michael
Strange she would stand or fall.
Which shows sturdy stuff not in ac-
cord with Newport's theory of "dear
Blanche's little slumming trip into
Bohemia."
"On the whole a good sort and cer-
tainly very beautiful," is stageland's
summary of John Barrymore's wife.
With which Helleu, the French etcher,
would agree. "Mrs. John Barry-
more," he said, was "the most beauti-
ful woman in American society."
THE VERSATILE WINWOOD
(Continued from
ality instead of flaunting it. You must
transform yourself into a character
some author has conceived and put into
a drama. Her mannerisms must replace
yours, her voice, her carriage, her
very point of view must obliterate
your own. Then you are no longer
an actress. You have become an artist.
"Players should not act to entertain
or glorify themselves. They should
act to produce the proper reactions in
the other characters of the play and
the proper feeling in the audience.
"If actors and actresses are artists
page 316)
they will be able to play upon the
audience as on a sensitive instrument.
It will cease to be row on row of de-
tached, unrelated individuals. It will
become a One, an Audience, with a
unified emotional response to the
drama upon the stage.
"It is only by constantly appearing
in good plays that the art of an actor
or actress can be increased and de-
veloped. And it is only in good plays
that it can be estimated. By 'good
plays' I mean those written by authors
who are themselves artists."
NEW BRUNSWICK RECORDS
"Zaza, piccola zingara" and "Buona
Zaza," these two arias for baritone
have always been outstanding numbers
in the popular Leoncavallo Opera.
And the artist who sings them with
fullest effectiveness is Giuseppe
Danise. All the luscious richness of
Mr. Danise's superb voice is in these
unusually fine recordings.
Liszt has made few transcriptions
more pianistically satisfying than that
of Mendelssohn's love air, "On Wings
of Song." From beginning to end the
composition radiates tranquility, and
its high lights are emphasized with
peculiar fidelity by the insight and
playing of Godowsky. The clarity
in phrasing, the depth of tone and its
"singing" quality are noteworthy
points of superiority in this record.
But over and above all, it is the true
piano tone which the listener hears
and enjoys. The same is equally true
in the Liszt "Tarantella Venezia e
Napoli." All its vivacious color and
scintillating passages of dazzling
rapidity carry one back mentally to
the concert auditorium with Godowsky
actually playing before an enchanted
audience.
Among the popular vocal records
"Dixie Highway" and "Brother 'N-
Law Dan" enable Marion Harris to
give never to be forgotten recordings.
The gospel she preaches in "Brother
'N-Law Dan" which was written by
a brown-skinned Broadway bard, is
excruciatingly funny. She gives us a
very humorous treatise on the time-
worn and eternal triangle: "Brother
'N-Law Dan' you sho' can love much
better than your brother Joe can."
[332]
THEATRE MAGAZINE, NOVEMBER. 19tt
(Dempled halls for background. Jeweled women as foreground
. . . A dazzle of darniij gowns. A riot of gorgeous robes . '. .
High-voiced debutantes. Low-voiced cavaliers. Eyes . . . A
dinner parly from the American colon}/. A composer from the
Bohemian colony . Back,* . . . Names laden with million.*; necks
hung with fortunes. Personalities steeped in fables; shoulders
heaped in sables . . . And, enveloping all, that indefinable aura
which betokens the presence of beautiful women —
PARFUMERIE RIGAUD, 16 Rut Sc U Pa!x, Pant, France
GEO. BORGFELDT & CO., l6th St. & Irving PI., N. Y., Sole Dulrihulon in U. S. one) Canada
[333]
GRACEFUL LINES
The long, draping silhou-
ette created by Paris Cou-
turieres and developed by
Gunther adds a classic
beauty to the mode in fur.
Graceful simplicity and
refinement of line subtly
enhance its natural charm
and make the Fur Wrap of
this year quite irresistible.
Gunther
JifthSfyenue at 36&<$treet
NEW YORK
Furriers for More Than a Century
THE SERPENT'S TOOTH
(Continued from page 314)
I thought when he came to know that
pure, sweet girl, he might change, but
now I know he's no good, and I was
a liar and a cheat to pretend that he
was. Thank God I realized it in
time, so I told her everything. I pulled
down the pillars of the temple I had
built and Jerry and I are standing
in the ruins. I've wrecked my son's
future and he'll never forgive me, but
I've saved that girl — don't you see —
I've saved that girl!
CATERER: Dinner is served. (Exits.)
ALICE: Dinner! Fifty dollars for the
dinner — only you and me — twenty-five
dollars a head! (Breaks into hysteri-
cal laughter and exits <with Mildred.)
CURTAIN
ACT III.
The next morning.
Jerry is preparing to go down town
to keep an appointment with Trendell.
Mildred enters.
JERRY: (Surprised at seeing her.)
Good morning! . . .
(Alice enters)
JERRY: (With infinite tenderness.)
Aunt Mildred says you were nervous
last night, mother ... I hope
nothing went wrong . . . With the
dinner, I mean.
ALICE: Oh, the dinner was delicious.
JERRY: You see, mother, I told you
my leaving wouldn't make much dif-
ference.
ALICE: . . . You came home very
late, didn't you?
JERRY: Not later than usual.
ALICE: Yes, They didn't wait that
long . . . (Jerry exits) . .
ALICE: Now that I see him, I despise
myself! . .
ALICE: I was never meant to be
serious. I tried it last night and you
see the plight I'm in ... All I knew
was that I saw a knife descending
and I was the only person who could
keep it from a very tender neck. I
suppose I took it for granted that
Janet would give him up. But she
won't! She'll tell him out of loyalty,
then she'll go ahead and marry him
. . . Some girls are like that — they'll
hold on to the man they love . . no
matter what they suffer for their de-
votion . . .
MILDRED: You were just the kind of
a fool you say Janet is. You clung
and clung and suffered for your de-
Mildred exits as Morgan enters.
MORGAN: . . We came here last
night to celebrate the engagement of
Janet and your son. Jerome was
called away before dinner and Janet
was left talking to you. Something
happened during that conversation
that made her rush off . . It's natural
to suppose that you disapproved of the
marriage . . . you feel my kid
would be wasted on Jerome . . . You
advised her to break it off . . I'm
afraid Janet hasn't taken your advice
. . . (He asks if Jerry has any un-
pleasant debts and Alice says he has
paid any debts he may have incurred.)
MORGAN: I took a great liberty with
your premises just now because I
wanted to talk to you about all this.
(Goes to door.) Come here, please.
Faraday enters. He had called at
Morgan's office to demand payment
of Jerry's notes. Alice proves by her
bank statement that she had made out
a check for Faraday and says she gave
it to Jerry to pay off the notes. Fara-
day says his name is endorsed on the
check but it is not his handwriting.
Alice realizes that Jerry is a forger.
ALICE: He's weak and foolish — he's
not bad — he doesn't understand.
FARADAY: She's right, sir. I've seen
a hundred cases like Jerry's and al-
most every time it's the parents who
are to blame. When they're kids the
mother finds excuses for everything
they do ; when they get into scrapes
the mother helps 'em out. . . . It's
like saying to him: "Go ahead — do all
the rotten things you want and I'll
see that nothing happens to you."
ALICE: It's all true . .! I DID find
excuses for him — I DID help him out
of trouble — I DID make wickedness
easy for him. Oh, my God, Morgan,
what a bad mother I've been. But
he's not wicked at heart — it's just
that everybody loves him and makes
things easy for him, I most of all!
Oh, Morgan, you can never under-
stand how much I love him . . .
(Jerry enters unseen and listens.)
Can you realize how for years I've
lived only for the love of him? I
see it all now ! My love has done my
boy more harm than good . . I'm to
blame! It isn't Jerry's fault — it's
mine — it's mine — . .
JERRY: Mother!
ALICE: Forgive me, Jerry, forgive
me!
JERRY: (Hugging and petting her.)
Don't cry, mother — . . Oh, for
God's sake, mother, please don't — I
never saw you cry before in my whole
life . ..
Jerry explains that he had taken
the money because a girl would have
made trouble. Morgan agrees to pay
Faraday and the latter exits . . .
JERRY: I won't bother you any more.
I'm going to clear out!
MORGAN : . . Going away isn't
enough. You've got to prove yourself
before you come back. (Janet enters.)
JANET: Last night your mother said
terrible things about you, but it doesn't
make any difference . . .
JERRY: . . All that mother told you
was true. . . I'm not square. I —
I'm a forger, too . . . I've done so
many rotten things I can't remember
them all.
(Continued on page 336)
[334]
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THE SERPENT'S TOOTH
(Continued from page 334)
JANET: Why, Jerry, if you're sure
you love me . . then nothing else
matters.
Morgan suggests that Jerry go
away, on a ranch, for a time.
JERRY: . . I'm going to stay long
enough to prove I can be different —
if I can. Afterwards, if you haven't
changed your mind, maybe your
father'll let me talk to him about you
and — (stops awkwardly.) It's hard
to say these things in front of people.
MORGAN: My car is downstairs. Why
not take a ride and talk it over? . .
And, Jerry, if I were you I'd tell her
the truth about everything.
JERRY: I will.
JANET: (To Alice.) Will you for-
give me? (They embrace and kiss.)
ALICE: My dear! (Janet goes to
Jerry and exits. Jerry turns in door-
way, gives his mother a farewell look,
and exits.)
ALICE: Isn't it wonderful! And
you're wonderful, too, Morgan! But
that money to Faraday — . . After
I've paid you, there'll be — twenty-two
hundred off of — . .
MORGAN: What you really need is a
good job . . . You could take over
the upbringing of Janet . . . While
you're doing that, I'd attend to Jerry
. . . I'm going to marry you . . .
Can you suggest any arrangement that
would be better for the children?
ALICE: So that's your reason?
MORGAN: I have a far better reason
— I love you ! Of course, there's the
possibility that you don't want ID-
ALICE: I shouldn't let that possibility
worry me if I were you, Morgan.
MORGAN : (Starts to embrace her,
then hesitates.) Good! Now, let's see.
There's the license to get, people to be
informed —
ALICE: Don't be a damn fool,
Morgan. There's only one thing to
get—
MORGAN: What's that?
ALICE: My hat! (They embrace.)
CURTAIN
MUSIC
(Continued from page 318)
"Manon" will be sung by Bori,
"Butterfly" by Easton. And Easton will
divide Marguerite with Mme. Alda.
"La Navarraise" is to be dropped;
this, at least, is the best of news.
The company, with few exceptions,
will be as it was last season. Herr
Sembach is to rest for a year; Herr
Kurt Taucher, from Dresden, has been
engaged in his place. Mme. Muzio
will not appear; on the other hand
M. Gatti has engaged a number of
German artists, including Paul Ben-
der, a baritone from Munich; Michael
Bohnen, a bass from Berlin; Elizabeth
Rethberg, a lyric soprano from Dres-
den; Delia Rheinhart, a lyric soprano
from Munich ; Carl Schuetzendorf,
baritone; and Edward Johnston, late
of the Chicago Company. Despite this
array of German singers, it is doubt-
ful if Wagner is to be sung very
much. However, for those who have
begun to grow a little hungry for the
Ring, there is comfort in the reflection
that in February a company of Ger-
man singers from the Berlin Opera
House, including Vera Schwarz, Ot-
tilie Metzger, and Fritz Vogelstrom,
will settle down at the Manhattan for
a fortnight of German Opera, includ-
ing all the Ring.
NEW VICTOR RECORDS
Among the new Victor releases for
October is the second record by Enrico
Caruso to be issued since his death.
It is a secular record, from an opera
now nearly forgotten — the "Salvator
Rosa" of Antonio Carlos Gomes,
greatest of Brazilian composers. The
number is a barcarolle-like melody
sung by Genariello, a boy servant in
the studio of Salvator Rosa. Origin-
ally sung by a soprano, Caruso re-
awakes the great days in singing it.
in all his historical magnificence of
style. It is an air incredibly Italian,
considering its origin, rising here and
there, as Caruso records will, to un-
rivalled pitches of intensity.
An odd scene, even for Italian
opera, finds its way to one of the
October Victor Records. Titto Ruffo
sings it — that moment from "Ernani,"
where Don Carlos, King of Spain, has
overheard a conspiracy against him-
self while concealed in the tomb of
Charlemagne. In this great aria —
"O de verd' anni miei" (Oh Bright
and Fleeting Shadows) — he dilates on
the uncertainty of life and human
affairs. Ruffo makes it completely
realistic.
There is something almost pastoral
in a charming and thoughtful record
by Hans Kindler on the Victor October
lists. "Reverie," from its very sim-
plicity, calls for a 'cello tone rich,
clear and resonant, thrown into sweet
relief by deep orchestral harmonies.
It is like being lost in an absorbing
book to hear this simple record.
[336]
THEATRE MAGAZINE, NOVEMBER, 1912
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The Prince of Wales feathers worked into the motif in the upper
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The sliding roll top on the surface of the cabinet pushes back
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center panel drops down and disappears when you play a record.
The Columbia Console line includes many models in a wide
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electric motors.
The perfect Columbia tone and playing quality combined with
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[337]
By ANNE ARCHBALD
WE saw the lovely Peggy Wood just after she got back from her summer
sojourn at Mme. Calve's wonderful chateau in Spain, where she was
both guest and student. Peggy is a person who always makes us wax
lyrical. We are no exception, however. Mention Peggy Wood's name any-
where and you get an immediately enthusiastic response. Peggy is one of
those veritable darlings of the gods. Not only has she youth, and beauty of
an individual type. She has brains, she has a quite obvious charm as
well. She is an accredited poet. She has a voice that Calve believes in and
is training. Small wonder people rhapsodize.
And small wonder, therefore, that when Miss Peggy Wood chooses in her
turn to be enthusiastic over something we listen and take heed. We were
coming down Fifth Avenue from the Plaza when we ran into Miss Wood
at the corner of Sherry's. We couldn't help saying "how lovely she looked,
especially her skin, and we supposed she'd found something very wonderful
in Paris." And Peggy said, "She was glad we liked her, but No it wasn't
Paris . . it was home production. She'd just come from "s," mention-
ing a beauty specialist, with whose name we were vaguely familiar. "You
know her, of course," said Miss Wood.
We knew of her, of course, we answered, but we'd never been there . . .
we didn't know anything really from personal experience. And that rather
astonished the lady. Oh, but we should. She's marvellous! Her treatments . .
and her preparations . . Why didn't we go in to see her now, we were
right under her windows . . she would guarantee we'd never regret it.
Well, that sounded simple enough, "try anything once" being our motto.
So we sought out the elevator and went up. A young thing in grey crepe de
chine greeted us. She had dark hair, dark snappy eyes, a lovely soft creamy
complexion. Yes, she knew who we were, and she'd always rather wondered
why we'd never been there. She had so many actresses among her clientele.
But she wasn't the head, was she, we asked in some surprise looking around
at the extensiveness of the place. Yes, she was . . why not? Well, she
looked so frightfully young to be at the head of such an establishment. A
smile . . She'd been in business fifteen years. Whew! we said to ourselves.
This mere child! What a whopping recommendation for your own business
you are then. And we decided to stop and have a treatment on the spot.
Ensconced in a huge, downy, more-than-comfortable arm-chair in one of
the pink-wooded booths with their yellow hangings we found ourselves en
rapport with the treatment from the very start. For this young person firmly
believes with us that the chin line is the danger line of beauty for American
women. We haven't been able to figure out why this is so, but we do go to
pieces around the chin more quickly than the Europeans. And there is nothing
more fatal to the look of youth than a full or puffy or stringy under-chin,
even the slightest droop adds several years to one's appearance. We remem-
ber the incomparable Lina Cavalieri in her beauty book emphasizing this
and saying "the jawbone should keep its thin fine edge to the end of life.
The nearer it is like a razor edge in sharpness the nearer you are to keeping
the facial line of youth."
So these treatments watch out mercilessly for the least sign of relaxed
muscles, even in the young. There is an intensity of sharp patting concen-
trated on these, and the method of the skilled strong fingers of the operators
is one of the features of the place. All the creams are patted in. And for
use at home there is a "Patter," a special invention made of rubber so that
it can be washed, ergo sanitary. There was much ice used in the treatment.
There was a most interesting "Circulation Ointment" that burned and tingled
and brought color to the cheeks and vivified the neck . . Our space is shorten-
ing . . we haven't room to detail every phase of the procedure, but we must
get in a mention of the delightful "Orange Flower Tonic" . . As for the
"Russian Astringent" . . Simply marvellous that! Like nothing else of its
kind . . We hope to tell you! Did Miss Wood say she'd guarantee we would
never regret our visit! Meeting the "Russian Astringent" was one of the two
great moments of our life.
(For the name of the beauty establishment where these unusual treatments
and preparations, the Circulation Cream, the Orange Flower Tonic, and the
Russian Astringent may be found, write The Vanity Box, Care of the THEATRE
MAGAZINE, 6 East 39th Street, New York City.)
[338]
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MR. HORNBLOW GOES TO THE PLAY
{Continued from page 301)
It is only when Theatre by George M. Cohan with
notably successful,
the play comes to an occasional halt
and sundry and irrelevant soliloquies
and monologues are introduced bear-
ing remotely or directly on the ques-
tion of licker that the Sun Dial "fan"
is rewarded with any suggestion that
the Old Soak he has loved these many
moons has verily come to life!
It will be interesting to observe
whether the feelings of the public at
large are scandalized by the picture
of a drunken old reprobate as hero
of a play and a teetotaler deacon as
its villain. The world has long wor-
shipped its "old soaks" of the stage.
Since Rip, they have lived long and
prospered, and it is a question now
whether the underlying psychology of
prohibition is to affect the ancient
loyalty. If not, the Hopkins and Mar-
quis coffers should be liberally re-
warded for the joint condescension to
popular taste. For, on its face, "The
Old Soak" seems to be exactly the
sort of stuff to give 'em !
The play finds the Old Soak in the
bosom of his family. Prohibition has
caused him to abandon his business
in order better to apply himself to
the higher task of getting the whiskey
he loves. Surreptitiously now, lonely —
fallen back on the sole companionship
in sin of Al, the bootlegger, and Nellie,
a housemaid with a sympathetic
thirst, the Old Soak takes his drink
where he finds it. Comes trouble to
his house in the shape of a worthless
son who steals. To save Mother the
pain of disillusionment in the boy, the
Old Soak whose standing is hopeless-
ly low at home anyhow, shoulders
blame for the larceny. An ancient
device certainly, but always effective
in its homely, old-fashioned way so
far as the over-grown children "out
front" are concerned. Drama follows
thick and fast (happily interrupted
every now and then by disgressive
little scenes that have to do with the
Old Soak's way of taking the rough
corners off the day) to an admirably
written and played moment in the last
act during which the Old Soak faces
the hypocritical deacon who has lured
his son further into misdoing and
shrewdly causes said deacon to adjust
the difficulties he has created.
The piece is superbly played by
Harry Beresford, Minnie Dupree,
Robert McWade and Eva Williams.
Beresford's characterization of the Old
Soak is a sheer delight, and, inci-
dentally, far nearer the original Sun
Dial Soak in spirit than the play it-
self. McWade, a surpassingly good
actor always, lends substance to the
conventional role of the deacon, and
Miss Williams is a whole show in
herself as Nellie, the maid with the
thirst. Charles LeGuere is very bad
as the ne'er-do-well son.
the following cast:
Hiram Draper (Junior), Donald Gallaher;
Eleanor Beauchamp, Marie Carroll; Lady
Amy Ducksworth, JLily Cahillj Hiram
Draper, Edmund Breese; Mrs. Hiram
Draper, Leah Winslow; A Flunkey at the
Ritz, Edward Jephson; Sir Percy Beau-
champ, Lawrence D'Orsay; Lady Beau-
champ, Marion Grey; Alfred Honeycutt,
Wallace Widdecombe; Thomas, John M.
Troiighton; Jennings, Robert Vivian.
AN effort at satire which becomes
pure burlesque before it is done
covers the amusing entertainment
which has come to stay — probably for
a long time — at the Hudson Theatre.
How much Goodrich and how much
Cohan there is in the play — always
a question suggested by a play pro-
duced but not authored by the re-
doubtable George — one cannot tell.
As usual, one can only surmise from
the results that the most expert tech-
nician in the art of "sure-fire stuff"
had a large finger in the "So This
Is London!" pie before he had finished
with it. And, in consequence, the show
is diverting and one surely to be seen
as soon as the two or three better
things in town have been disposed of.
Mr. Goodrich's idea was to demon-
strate to both the Englishman and the
American the folly of cultivating and
cherishing an exaggerated idea about
the stupidities and vulgarities of the
other. To suit his purpose he has
created a romance between the son
of a Yankee millionaire and the
daughter of a British aristocrat. The
fathers of the youngsters bitterly op-
pose the match on national grounds,
and the lovers seek to remove the ob-
stacle of blind prejudice by having
their parents meet and really discover
each other.
So This Is London!
A new comedy by ^lrthur_Goodrich
produced August 30th at the Hudson
The Endless Chain
A new play by James Forbes pro-
duced September 4th at the Cohan
Theatre by A. L. Erlanger with the
following cast:
Nellie Webb, Olive May; Vera Payton,
Martha Mayo; Lulu Densmore, Vera Ha-
lare; Amy Reeves, Margaret Lawrence;
Kenneth Reeves, Kenneth MacKenna; Va-
lentine Webb, Kenneth Hunter; Billy Dens-
more, Harry Stubbs; Andrew Hale, Harry
Minturn.
I CAN only shed a tear when I think
of the glories that were "The
Show Shop's" and "The Chorus
Lady's" and then think of the stuffy,
dry and unreal creation that has come
from the same pen. "The Endless
Chain" is a dull sermon during which
a playwright, of sufficient reputation
to make listening to him almost a
necessity, worse luck! sits on the foot-
lights and paints the picture of a
world in which all men are aided in
business by their wives who are in
turn involved prostitutionally with the
men they have lured on to the better-
ment of hubby's affairs.
(Continued on page 342)
[340]
THEATRE MAGAZINE. NOVEMBER, 1921
Interior of Balaban & Katz Chicago Theatre with
chaii installed by American Seating Company.
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It is very important, therefore, that you
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Consider well also if their arrangement and
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MR. HORNBLOW GOES TO THE PL\\
{Continued from page 340)
The whole proceeding smacks heavily
of Dr. Forbes' saying to himself ever
so deliberately, "Now I will write the
play I've been waiting to write!" Its
only outcome, apart from seriously
damaging his reputation was to vastly
augment that of Margaret Lawrence
who made even the puppet-part of the
young wife seem downright human.
La Tendresse
A drama adapted from the French
of Henry Bataille and produced Sep-
tember 25th at the Empire Theatre by
Henry Miller with the following cast:
Monsigneur de Cabriac, Elmer Brown; Paul
Barnac, Henry Miller; Marthe Dellieres,
^Ruth _Chatterton ; Mademoiselle Louise, Mar-
guerite St. John; Aubin, Louis Le Bay;
Colette, Elfin Finn; Jacques, William
Pearce; The Governess, Norma Havoy;
Fernal, H. Cooper-Cliffe; Legardier, Ed-
ward Mackay; Mile. Tigraine, Mary Fow-
ler; Carlos Jarry, Sydney Riggs; Count de
Jalligny, Jean de la Cruz; Julian d'Ablin-
court, William Hanley; Alain Sergyll,
Ronald Colman; Guerin, A. G. Andrews;
Mile. Morel, Florence Fair.
HERE is an immensely moving play;
Bataille, technically and intel-
lectually one of the few big contrib-
utors to contemporaneous drama
writing brilliantly and searching!}'
about needs and emotions that form
the keystone of all human nature. Its
thematic virility rises in power above
any need, to intelligent minds, for the
jokes and situations seemingly looked
for by a certain element of the criti-
cal fold. The soul-introspection de-
veloped by its characterizations carries
an interest which cannot lag for any
being of adult experience who watches
his own mind and tendencies perform.
It is a great play, one of the greatest
in the list of French theatre, and in
its American adaptation, produced
handsomely and intelligently by
Henry Miller, no little of its force sur-
vives. I recommend it cordially to
those who carry their brains to the
playhouse with them, and to those es-
pecially who weep at the wretched
fictions and distortions of life that
pass currently for plays and rake in
the dollars.
The story of "La Tendresse" is
slight. Barnac, an important French
playwright and member of the Acad-
emic loves profoundly his mistress
Marthe Dellieres, a girl very much
younger than himself. She loves him
in return but it is a love of tenderness
which does not entirely satisfy her an-
imal needs, and, still loving him, she
betrays him with a youth who is more
capable of bringing her physical sol-
ace. Barnac learns of the deception
and sends her away. Two years later,
still bereaved at their parting, they
come together again. Barnac looks
now only for tenderness and compan-
ionship, and she, in her devotion,
wishes to devote her life giving it t
him without turning elsewhere.
One wonders as the curtain ascend
whether he is not clutching a chimer;
and whether perhaps tenderness Is nc
based in animals of youth and passio
on the spiritual contacts and under
standings that develop out of eve
keener intimacies. One feels that th
lad with the blonde hair and the aut<;
graph book that symbolizes his idol
atry and willingness to sacrifice i
waiting outside the door for th
Marthe who must eventually rctur
to him whether she will or no.
It is powerful stuff, as I have insin
uated, — no pap for milklings and n
sort of play for the fellow who e>
pects merely to be entertained. (Th
is not a reflection on his kind ; I've
vast sympathy and respect for him.
Mr. Miller's production is admirabli
His own performance as Barnac leave
me short of words to express my ad
miration. It is one of the few case
on my record where an enormous an.
virile intellectual grasp of the mean
ing of the role failed to impair -ninr
what its interpretation. I shudder ti
think, for instance, what the worth
Professor Frank Reicher would do t
Barnac. But Miller is stupendous;
am worried by the thought that ther
is not a sufficiently large public fo
"La Tendresse" to keep him playinf
the part for years. It is the fines
thing he has done, and that is sayinj
a great deal.
Miss Chatterton as Marthe leave:
quantities to be desired. She is in th<
position of a person who sees the plun
on the tree, knows that it is one anc
would love to eat it but simply canno
reach it. Miss Chatterton trying des
perately to be "animal" is touching
She is at her best in the last act, whei
full of contrition and love and soft-
ness, her animal needs far out of hei
mind or desires for the nonce she
comes crawling back. Fortunately
however, the part is one of those
beautiful things that rises high above
the player and interprets itself to those
who listen to it.
The setting is superb. With the
adaptation, it preserves spirit and one
can feel Paris moving outside the
windows. There are a number of
characters and little scenes that might
better have been eliminated. They be-
long to the French stage where dis-
cursive drama is more in order. They
tend to a heaviness which, at the very
beginning of the play, taken in con-
nection with too dim lighting, almost
creates lugubriousness. But the body
of the play and Mr. Miller's perform-
ance make any such superficial defects
if not excusable at least tolerable. "La
Tendresse" may close tomorrow, but
it will remain in my mind as a
triumph.
We go to press too late to permit of further comment upon the Dilhnijham
production of "Loyalties," by John Galsworthy, than that it is a superb play,
finely done, and lue counsel a visit to it before anything else. A review of
length next month.
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THEATRE MAGAZINE, NOVEMBER, 1922
SLATER
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MANAGING DIRECTORS.
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The Chess characters grouped around Malcolm
La Prade (left), author of "Checkmate," the
second in his series of six Chess plays, which
are being produced at the Washington Square
College, under the direction of Randolph Somer-
ville ( right) ^~
Checkmate
By Malcolm La Prade
(.Continued from the October Issve)
RED QUEEN Thy clamor! 'Tis perchance mislaid
E'en so,
Hast thou no money of thine own? WHITE QUEEN
KING "I'was there
Ah, no, Less than an hour ago, I do declare!
Else why would I have married her? (Slit tugs at the King's arm.)
RED QUEEN Haste! Bring thy sword, thou Lag-
Pish, pish! gard!
Doth one amass a fortune selling fish? (She rushes out again.)
KING (Sadly.) KING (To Red Queen.)
Aye, mongers now are mightier than Prav, attend.
Kings; Once I have calmed her fears I shall
Far more extortionate their rule, and descend.
brings (He hurries out. The Pawn enters
A handsome profit, too! Were I not softly from the other side. He mir'n-s
wed, a black velvet purse. The Red Queen
I'd have no crown save that upon my turns surprised.)
head- RFI> QUEEN
RED QUEEN \Vhy com'st thou here?
And must I then return the Sable PAWN
Cloak? (Fiercely.) , have an a(fajr
Oh, why did'st thou not tell me thou Q£ business
went broke? REU QuEEN (See;ng the hag^
I hate thee now, e'en as I might have Indeed , What hast thou there ?
loved p
And venerated thee, if thou had'st
A bag.
RED QUEEN
Containing what?
PAWN
To be exact ,
Two hundred crowns....
RED QUEEN (Going to him.)
Young sir, thou dost attract
Me strangely. Aye, thou move>t me
proved
More worthy!
KING
Calm thyself, I shall secure
The necessary monies to insure
Thy purchase
RED QUEEN (Angrily.)
False one!
KING
Nay, upbraid me not. indeed !
Forsooth I'll gladly give thee every jot PAWN (Astounded.)
and tittle thou requires! How s°, Fair Lady?
(Screams are heard off stage. The RED QUEEN (Laying her hand on his
White Queen rushes in.) shoulder and looking into his eyes.)
WHITE QUEEN Ah. I sorely need
Help! Police! Thine aid-
My velvet purse is stolen ! PAWN
KING (Hurrying to her.) Mine aid ?
Prithee, cease (Continued on page 346)
THEATRE MAGAZINE. NOVKMBF.R. 1922
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acquired by conversing and reading
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Address M.J., c/o Theatre Magazine
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The
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OF course there are fashions in
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CHECKMATE
(.Continued from page 344)
RED QUEEN
Thy council and advice.
PAWN
But why?
RED QUEEN (Intimately.)
I wish to purchase something nice
In silken hose, and scarce know what
to choose.
I feel thou could'st advise, yet not
abuse
My confidence, for none must ere sus-
pect
A gentleman did aid me to select
My stockings. Come!
PAWN (Draining back.)
Nay, nay, I would not dare!
I could not brave the shop assistant's
stare.
I'd blush, or by some awkward word
disclose
My inexperience in ladies' hose!
RED QUEEN (Affectionately)
Then must I take thee underneath my
wing,
And teach .thee how to do the proper
thing.
To tread a measure with becoming
grace.
Thine arm. (She starts to take the
Paten's arm.)
PAWN (Reluctantly.)
Nay, nay, I dare not, in this place!
RED QUEEN (Sweetly.)
Would'st thou refuse?
PAWN
Alack, I know not how!
RED QUEEN
Then follow me, young sir.
(She bows to the Penan and begins to
dance a stately minuet, the Pawn imi-
tating her clumsily. They circle twice
around the stage. The Pawn gating at
her in admiration, grows more and
more awkward, shuffling about on his
heels and bowing stiffly with bent
knees. The Queen occasionally favors
him with a ravishing glance. They
finish the dance and the Queen smiles
sweetly at the Pawn.)
RED QUEEN
Well danced! And now,
A man of means must also learn to act
With gallantry; to choose with taste
and tact
A bit of lace or ribbon now and then —
In short, acquire the tricks which mar-
ried men
Employ with charming laities, when
their wives,
Through lack of understanding, make
their lives
A bore. We'll seek a most exclusive
shop.
(She takes his arm. As she does so
the King enters and stands watching
them.)
PAWN (Hanging back.)
Alas, I've strange misgivings, Madam.
KING
Stop!
Where goest thou with yonder purse
of gold ?
RED QUEEN (Quickly.)
Our own affair! Good afternoon, Sir!
KING (Sternly.)
Hold!
Yon bag belongeth to my wife!
RED QUEEN
Indeed?
( The Pawn is very uncomfortable. He
looks from one to the other.)
PAWN (To Red Queen.)
He bade me steal the bag himself.
Kmo
Take heed.
Thou fool, and hold thy tongue !
RED QUEEN (Sweetly.)
Nay, nay, say on.
PAWS (Bluntly.)
He wished to give thee fifty crowns.
KING (Furiously.)
Begone !
Get hence, thou dolt! I'll settle this
affair!
PAWN (Fearfully.)
Methinks I hear a footstep on the stair.
(He rushes to one side and looks off.)
The Queen, the Queen! She comes!
KING (Grimly.)
So much the worse
For thee! She now shall learn who
stole her purse!
RED QUEEN (Going to King.)
I counsel thee, My Liege, do not accuse
This honest lad, lest thou thyself
should'st lose
Thy scanty locks. Thy wife would
scarce agree
That thou should'st loan these fifty
crowns to me.
( To the Pawn.)
(iive me the purse, young sir, lest thou
be seen
With stolen property.
( The Pawn yivei her the bag lahich
she quietly thrusts in her bosom.)
KING
Hist, hist, the Queen!
I beg thee, say no more !
( The It'hile Queen comes in wiping
her eyes.)
WHITE QUEEN (To King. Tearfully.)
Alack ad ay!
That thou should'st let the robber get
away!
Two hundred crowns with which I
thought to buy
My winter wardrobe, stolen!
RED QUEEN
Ah. I M-h
For thee! In sooth, how cruel is Fate!
(The Pawn approaches Red Queen
hesitatingly.)
PAWN
Methinks we'd best be off, it groweth
late.
RED QUEEN (Haughtily.)
Upon my soul! What meanest thou
by we?
Since when, sir, have I aught to do
with thee?
Thou vaun'st thyself, thou Coxcomb!
PAWN
Dost forget,
A moment since thou promised'st to let
Me go with thee to do thy shopping?
(Continued on page 348)
[346]
THEATRE MAGAZINE, NOVEMBER, 191i
{Jf your dealer cannot supply you write
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[347]
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CHECKMATE
(Continued from pn/ic J4
RED QUEEN
Thou?
Dost think a well bred lady would
allow
A stranger to select her clothes? What
next
Wilt thou propose to do, on what pre-
text
Wilt thou insult me, sirrah? Fie, for
shame!
Pray mend thy ways; such conduct
never became
A gentleman !
PAWN (Desperately.)
Then give me back my pelf!
KING (Menacingly.)
Be silent, Nincompoop! Control thy-
self!
( The Pawn is crushed. The Red Queen
goes over to the White Queen and puts
her arm about her waist.)
RED QUEEN
Pray fetch thy bonnet, dear, and let us
two
Forth to shops in search of something
new.
'Twill surely take thy mind from thy
distress
If thou wilt aid me to select a dress.
WHITE QUEEN
Methought thou had'st no means to
buy a frock.
RED QUEEN
Alas, my dear, I've just received a
shock.
(Eying the King.)
My "Daddy" passed away — but left a
sum
Sufficient for my winter wardrobe.
Come !
WHITE QUEEN (Going to one side.)
I seek my cloak. In sooth you stupid
pair
Doth make me feel the need of purer
air.
(She gives the King tin icy stare and
goes out. The Red Queen trips gaily
after her hut pauses just before going
out.)
RED QUEEN
Farewell. My Liege, and them, Yminjr
Sir, farewell !
Fear not, I bear no grudge, nor ^mll
I tell
How ye have trifled with mine inno-
cence,
And played upon my inexperience.
(She takes the velvet buy /rum her
bosom, extracts several hunk note> n i I
some gold coins, then tosses it to the
Pawn. The bag falls on the fltor. She
then blows a kiss to both oj them iirul
trips gaily out.)
( They stand gazing after her spell-
bound for a few moments, then the
Pawn takes up the hag, turns it wrong
side out and looks ruefully at it. The
King, oblivious to the Pawn, takes the
crumpled lavender note from his pock-
et, smooths it out, then raisin// it to his
nose, sniffs its perfume wit/i a far-
away look in his eyes.
They turn toward cadi other, imtli
are about Jo speak. They think heller
of it, however, and turn away from
each other again, with a shrug.
The King begins to pace up and
down as in the beginning, looking at
the floor.
Suddenly the King's walk brings him
close up to the Pawn. He stops ab-
ruptly, utters a growl and raises his
hands as though he would strike the
Pawn. The Pawn ducks r/uickly and
runs out, leaving the empty bag on the
floor.
The King stands gazing at t/ie bag
as the curtain falls.
THE END
STAGING DIRECTIONS FOR "CHECKMATE"
Through the courtesy of Professor Randolph Somerville, we are able to
furnish our readers with his notes on the staging of "Checkmate," as produced
under his direction at the New York University. Copies may be had by
addressing the Editor, The Amateur Stage Department, enclosing a 2c. stamp
to cover cost of mailing.
If you wish to read the remaining three plays in the series of five of La
Prade's Chess Plays to be produced by Professor Somervilla's Washington
Square Players, during the coming season, send in your request, and if sufficient
interest is indicated the three plays will be published. Detailed information
relative to producing rights will also be furnished interested readers.
CHILDREN'S PLAYS IN THE DECEMBER AMATEUR DEPARTMENT
"The Land Where Good Dreams Grow," the Drama League Prize Play for
children, will be published, with a scene from the play as produced by the
Junior Community Players of Pasadena.
Scenes from the children's plays, "The Slave With Two Faces," and "The
Linder Box," staged by a fourteen-year-old amateur producer of New Jersey,
will complete the list of children's plays in this issue.
A list of plays for children, will be mailed gratis, when accompanied by
lOc. in stamps to cover cost of postage.
The Editor of the Amateur Stage Department invites colleges, schools, clubs
and community organizations to send in their announcements and programs for the
coming season, for publication on "The Amateur's Green Room" page which m.ik.>
its first appearance in this issue.
T3481
RIVRKSIDE PRESS, NEW YORK
e following are
the Silks most highly
favored for this
season
KLO-KA
MOLLY O' CREPE
ROSHANARA CREPE
CHINCHILLA SATIN
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PUSSY WILLOW FAMILY
Taffeta • Crepe • Sat in
Canton Crepe • Satin '
INDESTRUCTIBLE
CHIFFON VOILE
(.CA\\<^
1 rade-mark c
I
Miss Mary Beth Milford
in "The Music Box"
THE WORLD'S MOST BEAUTIFUL WOMEN
DESERVE THE WORLD'S MOST BEAUTIFUL SILKS
Personal adornment enhances personal
charm and the charm of
Silks de Luxe K
is of that distinctive refinement and
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wherever seen.
Then, too, their matchless quality makes
them the most economical silks you
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Gown of Chinchilla Satin
and Wrap lined with '
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H. R. MALLINSON & COMPANY, Inc.
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Fifth Avenue at 31st Street v- '!:*>*.• : New York
If you will send us We, representing but a fraction of the actual
value, we vill gladly send you a copy of
"Blue Book of Silks de Luxe'
depicting the latest Fashions in every character of apparel.
Theatre Magazine
December, 1922
THEATRE MAGAZINE is published on the fifteenth of each month by Theatre Magazine Conr any, 6 East
J9th Street, New York. N. Y. SUBSCRIPTIONS $4.00 a year in advance. Yearly Indexes 25c. Entered
as second class matter August 3, 1917, at the Post Office, N. Y., under the act of March 8, 1879.
Vol. No. 36, No. 6
Whole No. 261
B. F. Keith's
The Million Dollar Theatre
BROADWAY AND 47th ST.
NEW YORK
THE LEADING
VAUDEVILLE
HOUSE OF THE WORLD
AND PREMIER
MUSIC HALL
Those who love distinction
and luxury will find the ap-
pointments of this theatre
completely to their liking.
In the bills presented there's
a dash of everything worth
while in theatricals. The
best that the Operatic, Dra-
matic, Concert, Comedy
and Vaudeville stages can
offer, blended by experts
in entertainment.
DAILY MATINEES, 2Sc, 50c,
75c, and Best Seats $1.00
EVENINGS, 25c, 50c, 75c,
$1.00, $1.50 and $2.00
Except Sundays and Holidays
W«t44lhStre,l. Eve, at 8 ?0
MaU. Thurs. & Sat. at 2.20
"The most finished piece of acting of the
season." — Heywood Broun, World
David Belasco presents
LENORE ULRIC as KIKI
.jMJSOURlf
SittuSwOFTHEA;
COL.QQOO EVS.8:30 mAt5.TUE.cT
When You
Plan A Trip To
New York
Clip this coupon and return
to us with your request and
a four cent stamp to cover
postage, and a copy of The
Play Guide will be sent you
with our compliments.
A ddress:
The "Play Guide, "
Theatre Magazine
6 East 39th St., New York
Theatre Magazine's
"Play Guide"
The Play Guide of Theatre Magazine, is a
guide for young and for old, to America's
greatest amusement center, New York City.
Lest you lose yourself in the maze of good,
bad and indifferent in this vast playground
the Theatre Magazine offers you the clue of
The Play Guide. Mark its signposts well !
They will avoid your losing time, wasting
money, suffering boredom.
The Play Guide, whose wisdom is the ser-
pent's, caters to your every mood. It directs
you to the kind of play you want to see, or
the kind of play you ought to see. It tells
you where all the interesting people go after-
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clubs, the chic cafes, and the correct beauty
shops, where loveliness, the better with
which to enjoy these gaieties, may be pur-
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In short, The Play Guide makes of you that
unique but most popular human, male or
female, "the person who knows the right
thing."
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THE "PLAY GUIDE"
IS AT YOUR SERVICE
FREE OF CHARGE
When planning a trip to New York, if you clip the coupon from
the lower left hand corner of the page, and return to us with
your request, a copy of The Play Guide will be sent to you with
our compliments.
If you live in town, you will find The Play Guide equally
valuable for quick reference to all the plays on Broadway,
their casts and brief criticisms.
[350]
EMPIRE
BROADWAY AT 40ih ST.
Evenings 8.20
Matinees— Wednesday & Saturday 2 20
HENRY MILLER
RUTH CHATTERTON
IN
HENRY BATAILLE'S PLAY
LA TENDRESSE
"IT IS A GREAT PLAY"
THEATRE MAGAZINE
THEATRE GUILI
R. U. R.
FRAZEE
42nd,W.ofB'way
Mats. Wed. & Sat.
) PRODUCTIONS
I LUCKY
E ONE
GARRICK
65 W. 33th St.
Mals.Thur.& Sat.
MUSIC BOX THEA w- 45'h s«- EV«.
muau, IHJA 8 Mal..Wec, ,ndSat.2 15.
SAM H HARRIS Prami
IRVING BERLIN'S
N,W MUSIC BOX REVUE
Grace La Hue. Charlotte Greenwood. John Steel
Clark & McCullonjjh, William Gaxtc,)i. Kobinsun
Newhold. Fairbanks Twins. U illiam Seabury, Sto.
witts, Ruth Paye. many others.
Staged by HASSARD SHORT
Qreatest spectacle ever staged
at the Hippodrome.
BETTER TIMES
AT HIPPODROME
Nights, 8:15
THE
Daily Matinees, 2:15.
SHUBERT THEATRE
M.U. Wed. and S«t. Nuhll 8. 1 5. Mat. 2. 1 5
GREENWICH VILLAGE FOLLIES
FOURTH ANNUAL PRODUCTION
Devised and Staged by
JOHN MURRAY ANDERSON
•NEW AMSTERDAM'S' 15"
POP. MATS. WED. c_ SAT
Greatest show on earth"
UAMMOHD- Jnbune-
-CLOR1FYIHC THE AMERICAN (1IRL
SOCIETY'S LATEST FAD
" Under Southern Skies "
PLANTATION
American Room Charming
Entertainment Unique
ARER THEATRE 50TH AT BROADWAY
Advance Reservation Only
Pli€>iie Circle 2331
"YOU'LL LOVE IT"
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j INCOMPARABLE CUISINE J
Lexington Ave. at 43d Street
Opposite Hotel Commodore
NEW YORK
liiiiiimimiiiiimimiimimimiiimimiiiiiiiimmimiimimiiiiiimmiiiinf
Some Charming (jifts
for you to give at Christmas
IF YOU can be in town during the period of Christ-
mas shopping, you will indeed be fortunate, for never,
in our three-quarters of a century, have we had gifts
so many and so fine. But if you cannot come in person,
let this page act as our ambassador, and select your
gifts from it. The promptest attention will be given to
your orders.
1038— Pitcherwrought ofheavy
silver plate in Dutch chased
design. Two quart capacity;
price $27.50.
1027 — Complete bridge set -
two decks of cards, score pad
and pencil — in a fine leather
casein blue, rose, heliotrope or
tan. Price $5.
-^
1033-China compote, 8 inches
in diameter. The decoration
is Dresden colored flower de-
sign with pierced border, $5.
1113— Colored waiterash stand,
always at your service. In
black or red coat, 36 inches
high, $7.50
1219&1220— Solidwal-
nut console table, 32
inches high, richly
carvedand decorated
in antique gold. Solid
walnut mirror to
match; inner mould-
ing and top ornament
in antique gold; 36
inches long. Table
and mirror complete,
$75.
1261— Vanity case
with change purse
and two extra pock-
ets. Ecrase leather
in black, blue, tan,
brown, rose or helio-
trope, with moire
silk lining to match.
5% inches long; $4.50.
1222 — Torchieres ot
hand carved wood ,
finished in antique
gold; ISVfcincheshigh.
Mica cylinders radi-
ating soft Oriental
lights. The pair, $20.
1221 — Pottery lustre
bowl In solid color,
yellowororange.The
bowl is footed and
measures 1 ) '/2 inches
in diameter. Price
$10. Shell flowers
$150 to $3.50 a spray.
1051— Mayonnaise
set of engraved crys-
tal with band of en-
crusted sterling sil-
ver. Set complete-
plate, mayonnaise
bowl, ladle, $12.
1254— Salad fork and spoon, silver plated
handles, chased in old Dutch design, $6.50.
1120— Cigarette case of Florentine leather,
with glass top; design hand tooled in gold;
Clinches long; $750.
1103— China tea set in bright lustre colors
of blue, tan, green or yellow. Teapot,
sugar bowl, cream pitcher, 6 plates, 6 cups
and saucers— $20.
1271 — Desk set of moire silk in pink or blue
covered with transparent celluloid decor-
ated with a spray of colored flowers. The
price for the complete set is only $10.
OUR NEW BOOK of Christmas gifts, the cover of
which is done in the Russian manner, illustrates and de-
scribes over two hundred gifts of more than ordinary dis-
tinction. The edition is limited, so we suggest that you send
an early request for your copy.
OVINGTON'S
"The Gift Shop of Fifth Avenue"
FIFTH AVENUE AT 39TH STREET
1353— Antique brass candle-
sticks, finest English crafts-
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out bobeches $12; pair 17 In.
high, $25.
1064 Cocktail shaker wrought
ofheavy plated silver, chased
in old Dutch design; 3 pint
capacity, $22.
1139— Bread tray of plated sil-
ver.hammered effect, Uinches
long. $5.
1241 — Reading lamp, carved
wood with black marble effect;
base and top antique gold fin-
ish; 54 in. high, $28. Brocaded
shade, $14. Lamp and shade
complete, $40.
(gifts for Ant
Brocaded-silk Dressing Gowns, silt lined
Brocaded-silk (imported) Dressing Gowns
Wool Dressing Robes
House Coats of matelasse
Cloth House Coats
Sharkskin, Kid or Silk Slippers
Waistcoats for dress and dinner wear
Golf Bags
Golf Balls
Golf Clubs
Sports Sweaters
Wool Golf Hose
Silk Half-hose
Gray Mocha Gloves
Tan -Capeskin Gloves
Motor Gauntlets
Four-in-hand Scarfs of imported silk
Silk Mufflers
Imported Silk Mufflers
Silk Pajamas
Pottery Tobacco Jars
Desk Sets
Scarf Pins
Pearl Evening Sets
Gold Waldemar Chains (14 karat)
Gold Belt Buckles
Gold Cuff Buttons
Gold Match Boxes
Gold Pen Knives
Gold Cigar Cutters
Gold Cigarette Cases
Silver Cigarette Cases
Military Brushes
Gold-trimmed Walking Sticks
Martin's Umbrellas
Leather Cigar Cases, gold-mounted
Hip Books, gold-mounted
Leather Suit Cases
Smoking Stands
Humidors
Thermos Bottles
Super-Easy Chairs
(gifts far Womim
Chiffon Velvet Negligees
Japanese-embroidered silk Kimonos
Breakfast Jackets
Boudoir Caps of real Irish lace-and-net
Quilted-satin Boudoir Slippers
Mules of metal-brocade
Silk Jersey Petticoats
Silk Pajamas
Silk Hose with insets of real lace
Real Lace Berthas
Real Lace Handkerchiefs
Real Appenzell Handkerchiefs
Chuddah Shawls
Silk or Wool Sweaters
Knitted Sports Dresses
Leather Golf Cloves
White Mousquetaire-Kid Gloves
Silk or Velvet Blouses
Hand Bags of moire silk
Spangled Lace Fans
Rhinestone Slipper Buckles
Cut-steel Slipper Buckles
Costume Earrings
Peru Pearl Necklaces with diamond clasp
Opera Glasses
Sterling Silver Vanity Cases
Enamel Powder Cases
Metal Coat Buckles
Drapery Ornaments
Parasols of silk or lace
Perfume Sets in leather cases
Imported Extracts
Leather Jewel Cases
Fitted Dressing Cases
Leather Vanity Cases
Tea Wagons
Mahogany Sewing Tables
Lacquered Sewing Tables
Boudoir Lamps
Chaise-longue Covers, lace or silk
Boudoir Pillows
Fitted Sewing Baskets
If a personal selection is not possible, the Mail Shopping
Bureau will render prompt and efficient service
Alinran
3Ftftlj
uUjtrtg-fnurtlj
Aunuir
Qlljirtg-ftftlj
[352]
THt: AT Hi: MAGAZINE. DKCEMBKK, J»22
0
S 4B.CO.
itn
Then you may say, "I have chosen well*
— when the gift you tuck away in the dark green branches of
the tree is "Onyx." No one ever has too many pairs of silk
stockings. For men there are rich "Onyx" dress sox of heavy
silk. And for women what more delightful than a pair of
"Onyx Pointex"? These beautiful stockings are cunningly
wrought to add beauty to the prettiest of ankles.
Onyx"® Hosiery
^^J **r usp»t o"rcr ^^J
Note : If you are
A person wearing a shoe this size —
will wear a stocking this size —
doubtful what size hose to get, the shoe size will indicate the proper stocking.
Men's sizes
Women's sizes
2-2^-3
5-5^-6
10
8
9%
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10
10
11
11
12
12
Emery & Beers Company, Inc. Wholesale Distributors New York
r 353
COT Y
Parfum"PARIS,,
Une new
(- jkejascincdion of- ^.Pavis~ its
'vivid brilliantr' foersonaliiy is
borne -with, indescribable allure
in ike exauisite perfume 'PARJS,,
ike veritable sfariir essence of-'
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"PARIS..
ESSENCE
TOILET WATER.
FACE POWDER
COMPACT
SACHET
a, booklet -^errt on
COTY 714 FIFTH AVENUE
THEATRE MAGAZINE. DECEMBER. I9tt
Edited by
ARTHUR HORNBLOW »nd
ARTHUR HORNBLOW, Jr.
O//a Podrida
Mendacious Theatrical Advertising
iilimiimumMiiiimiiluiiijii
But still the falsehoods
continue and the theatri-
cal business continues to
lay itself open to the justi-
fiable charge of filthy
methods and a fraudulent,
unreliable attitude toward
the public that enables it
to exist at all. On this
page is reproduced a vil-
lainous piece of effrontery.
A group of fairly talented
Russians came to New
York and gave an enter-
tainment called the
"Revue Russe." It had
what is known in theatri-
cal parlance as the coldest
kind of flop. It ran two weeks and during that time reduced
its charge for seats by almost one-half in a desperate and vain
effort to procure the patronage that would not come. Its
failure was doubtless partly due to the fact that there had
come to New York before it a more capable Russian organiza-
tion giving somewhat the same type of entertainment that had
At Last
Chicago is to see the
"Revue Russe"
Which created an epochal furore in New York and
comes to the
PLAYHOUSE
Monday Evening, Oct. 30th
The Original" Cast— absolutely intact— including
Mme. Maria Kousnezoff
This is most unique and exotic offering which the
Chicago stage Jias ever known.
Paris and London, as well as New York, were swept off
their feet by the exquisite beauty and bizarre grotesquerie
of the songs, dances, pantomimes, spectacles and strange
interludes and episodes that make up the program of
THE RUSSIAN REVUE
Scenery and Costumes by LEON BAKST
Stage Director, Richard Boleslawsky
Formerly of the Art Theatre, Moscow
SEATS WEDNESDAY— MAIL ORDERS NOW
A WITNESS who has been caught in perjury while giving found prosperity and popular favor to an unheard-of degree,
te timony is usually subjected to the unpleasant experi- But failure it "had— complete, immediate, devastating.
e of hearing the Judge charge the jury that all the A week later we find the "Revue Russe" in Chicago. Instead
testimony given by him may be disregarded. On a similar of making a legitimate and clean play for favor "on its own,"
principle the American
public has come to disre-
gard all the statements
made by theatrical pro-
ducers concerning the
quality of the plays sent
on the road and their cast.
There has been for years
too much "Biggest Hit in
Years" and "Original
Broadway Company" de-
ception to make such
statements credible t o
even the veriest yokel.
The lying announcement
has done more to kill the
golden goose of road pros-
perity than any other
single agent. The small-
towner was good-natured
about it long enough. But
now, as a result, a genu-
ine all-star cast would re-
ceive no more attention in
White River Junction
than a No. 5 troupe.
mimiiiin imimimim
the advertisement in-
serted in the local napers,
as shown here, not only
is a glaring falsehood but
indubitably attempts to
convey an impression that
the "Revue Russe" is that
other organization that for
nearly a year has held
New York by storm.
This masterpiece of
mendacity begins with an
"AT LAST!" that is
meant to imply that finally
after all these long weary
months of waiting until
New York was through
with it, Chicago was to be
rewarded with a glimpse
of this astounding troupe.
"Which created an
epochal furore in New
York" is the next pleas-
antry. If a two weeks'
run to empty seats is an
epochal furore we cannot
quite find the words that
might be ipplied to some
world-beater that ran a
whole month.
The actor has stepped
out of his mummer class.
When is the manager to
step out of the rascal
class? The advance agent
who thinks such tactics
still fool anybody nowa-
days and times is not
qualified to stay on his
job. All it does is pre-
.serve endlessly the public's
distrust of all theatrical
announcement and its re-
fusal to believe that any
theatrical organization is
much out of a class with fair fakers and carnival con men.
The man who wrote the "copy" on this page meant well.
He believed that deception and fraud and falsehood were legiti-
mately part and parcel of his stock-in-trade as a "booster" for
his show. But his methods are antique, impotent, and inestim-
ably dangerous. He and his kind should call a halt.
iiiiiiiuiiimmiiiiimii
A false and misleading advertisement which appeared in the Chicago
papers on Sunday, October 22nd. This type of "copy" has helped
largely to kill road business.
F3591
Who Are the American Playwrights — And Why?
A Discussion of the Personalities Who Create Our Native Drama
By SHELDON CHENEY
\
IN those columns of theatrical squibs and
scraps through which our hurried news-
papers still maintain a nodding ac-
quaintanceship with drama, actors and
dramatists, there recently appeared a three-
line note more calculated to thrill the aver-
age struggling playwright than all the
articles ever written on playmaking and
"art" theatres. It read: "Avery Hop-
wood has already received $339,000 in
royalties on 'The Bat,' and the end is far
off." The playwright is human; and the
chances are that he has starved his way
through an apprentice period and perhaps
far beyond the limits of any reasonable
apprenticeship — and to such a one the
thought of a third of a million dollars is
likely to be not only thrilling but
utterly staggering. A third of a
million, and the end far off!
Good! It is right that in a com-
mercially-regulated world playwriting
should have its commercial advantages,
and that the aspiring playwright should
mull them over. The ultimate re-
turns ought to be high because every-
where except at the ultimate point the
returns are apt to be low and bitter
and unthrilling. For in our theatre
as it is organized there has been no
reward, and indeed no place, for the
moderate success, for the play that was
good enough for a few weeks' run. The
combined burden of inflated rentals,
over-expensive advertising and specu-
lative management has made the Ameri-
can theatre a best-seller theatre. Of
course a best-seller theatre has its uses
and its reasons for being. It produces
clever entertainers like Avery Hop-
wood, and clever plays with racy or
pretty humor, with intriguing sex
glamor, with stirring crime interest. But
it should not be all the theatre we have,
or be confused with something else that
doesn't always sell well but cuts deeper.
And something that we are beginning to
have.
PROGRESS OF THE DOLLAR
ONE might wish that the newspapers
would run a second little note, not so
thrilling because it would lack the start-
ling figures, but with a trenchant truth
in it. Like this: "After working ten
years or so in experimental playwriting,
during which time he refused to compro-
mise with best-seller methods, Eugene
O'Neill now finds himself universally ac-
claimed as the foremost American drama-
tist, and in possession of a comfortable
income." Such a notice might not thrill
so many strugglers — because, as I have
hinted, the average playwright is human,
and therefore in a commercial world not
a little commercial — but in more thought-
ful moments one must see that the state-
ment is more significant, more eloquent of
a coming thoroughly progressive theatre
than is the Hopwood item. And in its
cheering suggestion of combined artistic
and moderate financial success it might
give heart to a lot of the people important
to tomorrow's stage. That many of them
have been given heart by some such idea,
that they have refused to curb their talents
for popular considerations, is becoming
clear.
The which has something of statistical
evidence by way of background. For I
have been counting up the American play-
wrights; and not only is that modicum of
work called variously the drama that
counts, the newer drama or the highbrow
drama, being turned out by the starvation-
"The combined burden of inflated
rentals, over-expensive advertising
and speculative management has
made the American theatre a best-
seller theatre. Of course a best-sel-
ler theatre has its uses and its rea-
sons for being. It produces clever
entertainers like Avery Hopwood,
and clever plays with racy or pretty
humor, with intriguing sex glamor,
with stirring crime interest. But it
should not be all the theatre we have,
or be confused with something else
that doesn't always sell well but cuts
deeper. And something that we are
beginning to have."
group of yesterday, but these people, and
not the pot-boiler-best-seller dramatists, are
dominating the theatre as an institution.
Not only are they being talked about by
college professors and drama study circles,
but they are being sought after by the
Broadway producers. Out of it all, more-
over, emerges the fact that the dominating
group is a young group, a new generation
with its best work ahead of it.
Who are the American playwrights?
Well, chiefly they are Eugene O'Neill.
O'Neill is the one figure qi international
importance now producing regularly for the
larger theatre that caters to the larger
public. Perhaps there are "one-play"
dramatists who have touched his level once ;
but there is no one to approach the solid
achievement of "Anna Christie," "Emperor
Jones," "Beyond the Horizon," and "The
"Hairy Ape" — let alone "Dif'rent" and the
one-acts. Literary distinction, sincerity, the
power to discriminate between real life
dramatized and cardboard theatrical life
re-arranged, these all are his. He has also
imagination of a certain realistic sort. One
does not expect fantasy from him: it prob-
ably isn't in his make-up. But there were
distinct lyric beauties in bits of "Beyond
the Horizon," "Emperor Jones" and, curi-
ously enough, in "The Hairy Ape." And
those on the inside say that "The
Fountain," which Arthur Hopkins will
produce this season, is shot through with
idealism and poetry.
Here, then, is our one American play-
wright who can be named in the same
list with the leading figures in the other
arts: with such fiction writers, for instance,'
as Edith Wharton, James Branch Cabell,
Wills Gather, Sherwood Anderson.
Pressed to put someone next to O'Neill,
I would probably name Charles Rann
Kennedy and Susan Gtaspell — Ken-
nedy, to be sure, not as one of the
newer or younger men, but because he
has been crying out in the wilderness
for the sort of thing the youngsters are
coming to; and Miss Glaspell less for
actual achieved product than for what
she gives promise of achieving in her
next few plays. Kennedy with his
remarkable reaches into regions beyond
the usual vision of play writers, with
his flashes of genius, his superb irony
and his imagination, all wrapped up
at times in undramatic legends, is
bound to grow in stature in histories
of the stage, and to be recognized as
having influenced a large following.
But after all, his roots are in British
rather than American soil.
This year Miss Glaspell gave us, in
"The Verge," a rather confused play
that had in it qualities of daring di-
rectness and revealing vision that
would, to my mind, warrant placing
her in any list of the foremost Ameri-
can dramatists. She can write, too, with a
certain intellectual sparkle in the dialogue,
lightly as in that classic of the little thea-
tres, "Suppressed Desires," penetratingly as
in the best moments of "The Verge." And
there is the one-act "Trifles" as an achieve-
ment in O'Neill's own field of strong-tender
ironic realism.
THE GROWTH OF A DECADE
SOME ten years ago I wrote an article
called "The American Playwright and
the Drama of Sincerity." The title was
somewhat catchy at that time because of
the rareness of really sincere American
plays on the stage. The facile theatrical-
isms of Klein, Broadhurst, DeMille,
Belasco and such formed the bulk of the
serious drama of that day. Judging then
by sincerity, I recorded that by pretty
general agreement the most important three
playwrights were Augustus Thomas,
Eugene Walter and Percy Mackaye. We
knew even then that they were not great —
as Edith Wharton, St. Gaudens and Sar-
( Continued on page 408)
[360]
THEATRE MAGAZINE. VKCKMBEH. 1V22
Portrait by Nikola* Muray
1 S '
[361]
in
after
JlattrttngH
"Qempttantt" bg »ir 3oal;ua Krgnnllla
i) (O'Brien " bij &ir .ilnnlutu
\
[362]
THEATRE .MAGAZINE, DECEMBER, 1921
Portraits
Ittuitu b'Arr" bg Bualirn Cr fag*
ffiumawn ftgbil" bg Bomfttirljtno
Srramirr " by Cniiia tiauiii
[363]
Jaunts Into Brightest England
The Second of a Series of Adventures in the Homes of Britain's Literary Great
JOHN GALSWORTHY
BETTER than most, May Sinclair has
the trick of detaching character from
circumstance. Without an apparent
word of explanation, she can picture a
mentality surrounded by a sea of conversa-
tion. Three women sit at a tea table, en-
tangled in discussion. Each is isolate, her
relation to self and to others limned with
amazing economy of effect.
A novelist's device this, too
dramatic for the playwright.
Only Alice Gerstenberg dared
it in the little play, "Over-
tones" in which robed figures
represented the thoughts of the
two women engaged in the
high comedy of verbal duel.
But the thoughts of the women
bore directly on the conversa-
tion in progress, whereas
thoughts have a way of stray-
ing from the moment, betrayed
occasionally by abstract man-
ner.
Should Miss Sinclair turn
from fiction to the lesser
honors of the interview, I
would propose John Gals-
worthy as subject. There is
nothing chill about the novel-
ist. He is the embodiment of
easy, gracious courtesy. Con-
versation is far from intimi-
dating, a long flow of material
topics with now and then an
upward leap of thought. And
it is this swift flight that be-
trays his mental withdrawal.
As clearly as if physically
present may be seen the robed
figure of his thoughts, stand-
ing behind him in his own
drawingroom. You wonder
what may be their burden.
About him is the veil of re-
moteness. You are nearer
Galsworthy in reading his
books than in a meeting.
By CARLTON MILES
Leigh Hunt and his followers established
their "Vale of Health." But, having passed
the Du Maurier home, you turn fairly
to your left, descend a winding pathway
that takes you by the Admiral's House —
designated by large signs — erected 159
years ago by an aged commander who built
his home in three decks and mounted it
voiced hostess, a clasping of hand by host
and a bark you interpret as cautious ap-
proval from Mark, the sheepdog, lying on
the hearth rug. Mark is named for one
of Galsworthy's characters. A jumble of
conversation — American trains, the new
plays, the new authors, Chicago, the beauty
spots of London, New York hotels, Zona
Gale, dramatic criticism,
"Main Street" — moments flee
before you dare steal a look
at the middle-aged gentleman
sitting quietly in his chair,
striving with gentle dignity to
place you at the ease he feels
not himself.
Galsworthy might have
been one of his own Forsytes.
Tall, gray-haired he looks as-
tonishingly like his photo-
graphs. He is as shy as A. A.
Milne. Reticent to a degree
about his own work, he talks
freely and with the utmost
generosity about that of
others. Opinion, formed slow-
ly, is determined. The face,
with its faint smile, looks
neither disheartened nor sad,
yet sometime it has met suf-
fering. Like most Englishmen
the eagerness of youth has not
been crushed.
The preliminaries of con-
versation ceased on the low
note of American restaurants.
Between gulps at a teacake,
I managed to ask one of the
trite questions of the inter-
viewer :
"Does a dramatist have any
favorite plays of his own?"
Galsworthy debated. He
has a certain engaging timidity
that restrains the accustomed
flow of brash inquiries.
"GROVE LODGE"
THE Galsworthys live at
the bottom of a long,
rambling lane called The Grove, in that
part of Hampstead that looks calmly
down on the crowded chimneypots of
northwestern London. To reach the house
you must climb a steep hill from the
underground station and pass the stone
building in which Du Maurier wrote
"Peter Ib'betson" and to whose memory it
bears a tablet. A few minutes' walk in
one direction and you are in Church Row
with the historic cemetery in which Du
Maurier and Beerbohm Tree rest side by
side. Follow the Grove walk and you
arrive on Hampstead Heath, black with
thousands of workers on Bank Holiday,
overlooking the little row of cottages where
THE AUTHOR OF LOYALTIES
"There is nothing chill about the novelist. He is the embodiment of
easy, gracious courtesy . . . About him is a veil of remoteness. You
are nearer Galsworthy in reading his books than in a meeting."
with guns. The guns have vanished but
the Admiral's House still is one of the
sights of Hampstead.
At the end of the lane a small grilled
iron gate shuts off the world from a green
yard and a low white house, whose ram-
bling line suggests many passageways and
sets of rooms. A sheltered, secluded spot,
the place above all others where Gals-
worthy should live. Peace has been
achieved in five minutes' walk from the
noisy station. "The Inn of Tranquility."
Its owners call it "Grove Lodge."
A turn down a long hallway, up a short
flight of steps — a bright, flower-decked
livingroom, a tea table, a dark-eyed, low-
HIS FAVORITE PLAYS
OX the one hand," he said,
slowly, " 'Strife.' Of the
other type of play, 'The Silver
Box' and 'The Pigeon.' Did
you see 'The Silver Box' in the United
States? It must have been a curious ex-
perience for American audiences. It was
such a departure in form. It was even
a revolutionary form for England when
I wrote it in 1906.
"May I turn the tables? What one of
my plays do you like best?"
Eyes shut, I blundered. "I think 'A Bit
O'Love.' "
Stiffness vanished. The Galsworthys
rocked with laughter.
"Fancy," chuckled the playwright.
"Fancy anyone choosing 'A Bit O'Love.'
How extraordinary! Most persons think
(Continued on page 410)
[364]
THEATRE MAGAZINE. DECEMBER,
Portrait by Angelo, of Budapest
JULISKA NEMETH
Bright particular star of "Ju-Shy" a Japanese operetta now going the rounds of Continental
stages and headed for eventual production in New York. Miss Nemeth is a native Hun-
garian and devoted months to the perfection of Japanese ways before essaying her role
[365J
Adrift in the Roaring Forties
Being a Monthly Page Out of the Notebook of
BENJAMIN DeCASSERES
ONE of the mysteries of first nights is
the sudden disappearances and sud-
den reincarnations of George Jean
Nathan in his seat.
During the second act of a play his seat
is invariably empty. He is often seen again
in the third act in his seat just after the
curtain arises. Nathan has never seen, it
is said, the fourth act of an American play.
He is observed to sit out a whole evening
only through broad French farces, German
expressionistic plays and Sam Shipman's
dramas.
Where does he pass the time that he is
absent? He has been seen, I've heard,
flitting from seat to seat in the balcony
and family circle. At other times, they
say, he passes the second act in his key-
club. During "The Old Soak" first night
he disappeared for one act and an eighth.
He is the Flying Dutchman of first
nights.
I AM one of the few men in this country
who have seen a pictured version of "Rose
Bernd," the Hauptmann drama, lately pro-
duced with Ethel Barrymore. It came
from Germany more than a year ago, and
I saw it at a private showing.
It leaves nothing to the imagination.
The field scenes and the violations of Rose
by her two pursuers are shown in all their
bald reality. The picture is more moving
than the play. Henny Porten played Rose
and Emil Jannings was the young lover.
Although I saw it with the German
titles — and I cannot read German — and
had never read the Hauptmann play, the
continuity was so good and the mime work
so powerful that I knew the story from
beginning to end.
It is probable that the picture will never
be shown in this country — the censors
would pronounce it unfit for children to
see — and the censors' definition of "chil-
dren" is one hundred and one percent of
the American people. For once, the cen-
sors are right — I mean in their identifica-
tion of "children" with "Americans."
IN reading "The Letters of James Gib-
bons Huneker," just published, I recall
my first meeting with Huneker in a thea-
tre. It was during an intermission of "The
Darling of the Gods." "Jim" and I ad-
journed to a neighboring bar (the old
safety-valve of American "civilization").
Slowly soaking in his beloved Pilsner, he
turned those curious gray eyes of his on
me, and said, "That man Arliss is a great
actor!"
Arliss was not known then as well as he
is now. He is, to my mind, today the great-
est actor on the English-speaking stage.
What unforgettable portraits — the Marquis
of Steyne, Disraeli, The Devil, the char-
acter (whose name I have forgotten — my
memory record is a sieve, anyhow) in "The
Green Goddess," and others. His picture
work is equally memorable. He is one
of the finest actors on the screen — and this
is saying a good deal, for half of Arliss'
power lies in his voice.
Huneker always hit the mark in his first
impressions in matters theatrical, as in
almost everything else he wrote about.
His place as critic is empty.
II OYALTIES" is the best play I have
" seen this season — so far. It is one of
the most original at least.
Galsworthy's hand was heavy in "The
Skin Game" — I couldn't "get" that play.
Maybe it is the effect of home-brew on my
cerebral activity. But "Loyalties" was as
clear as "Justice" or "The Pigeon."
I do not recall a moment in which I
was bored. Speaking of boredom, I doubt
whether I am ever bored during the per-
formance of a play — no matter how bad or
crude it is. My curiosity about "business,"
lighting and "sets" is so keen that when
the actors spill their platitudes I can enter-
tain myself .by studying the stage itself,
or forget the banalities of the situations
and the triteness of the plot by a study of
the reactions on the audience, the contem-
plation of the movements of a fly on a
neighboring bald head, or a meditation on
coughing.
Merely to sit in a theatre — empty or
Jull — gives me great pleasure. I am a
perfect child when the curtain rises. Bad
acting interests me as much as good acting.
It is more amusing.
WENT into a moving picture theatre
the other day to see myself act. Rather
elderly for a bow before the public, but the
director of "Anna Ascends," Victor Flem-
ing, needed some one to play a highbrow
city editor, so he picked out me, and picked
on me.
It is a curious psychological feeling to
see one's self on the screen. I can now
imagine what it is like to project one's
astral body. There I was, moving, talk-
ing, gesticulating as I could never see
myself in life. When "Bobby" Burns asked
that some good power would give us the
gift to see ourselves as others see us, he
never dreamed that the "movies" would do
it. But all the utterances of poets come
true.
I am not quite satisfied with myself as
an actor. Besides, I had no idea that I
was so portly, so obtuse looking, that I
waddled, that I looked so much like a
German bartender. But I recall for solace
that Booth was disappointed in his first
real part, that "Charlie" Chaplin never be-
lieved he would screen well, etc.
The camera doesn't lie; but I have been
doing some tall lying to myself.
first intellectual laugh of the season
came with "So This is London!"
There is more in this play than mere enter-
tainment. It is a satire on international
prejudices. It proves also that under our
skins we are all the same serio-comic asses.
Do all Americans picture the English-
man as a monocled ass? Do all English-
men picture Americans as tobacco-chewing
morons? Sad to relate, most Englishmen
and most Americans who have never visited
one another's country do.
It is all the fault, I take it, of the car-
toonists and comic writers. Ridicule creates
a false truth by accentuating the defects
on the cartoonists' subjects.
Before the war the average American
had strange notions of a Frenchman. Every
French child was believed to be compelled
to read Zola at the age of six. At ten it
was schooled in "The Satyricon."
I should like to see a play along the
lines of "So This is London!" with a title,
"So This Is France!" Maybe I'll write it.
J HEAR that the Shuberts are to establish
a school of ushers.
Pourquoi?
I have always found ushers to be efficient,
polite, quiet, and I never knew one with
his or her hands out for tips.
What we need is a school for audiences
— a training school that will: —
Promote coughing at home.
Teach them the fine art of punctuality.
Teach them to rise when some one is
passing in.
Teach them to keep their umbrellas off
the floor.
F~HE Greenwich Village Follies this year
hits the highest point in its career. But
there is one number that ought to come
out — and that is the satire ( ?) on the
plays of Eugene O'Neill. This number is
called "Futility" and is by George V.
Hobart. It is well named. It is futile to
satirize O'Neill. He is too big to be hit
that way.
[366]
THEATRE MAGAZINE, DECEMBER, I9t2
Portrait liy Eilwin Bower Hesser
THEATRE MAGAZINE PREDICTS
That with application to her art in its sincerest forms and with level-headedness and unending consciousness that greatness lies at the end of the
liiilc used bypath of simplicity, Helen Gahagan will achieve fine things in the theatre before she is done. With little else than some amateur expe-
ricnt-f Mi.is (',iihagan caused something of a commotion with her admirable performance in the late-lamented "Dreams for Sale." The critics united
in attributing to this fortunate young lady from Brooklyn an array of abilities which make her a logical successor to the foremost actresses of today
[307]
DAVID BURTON
Stage director for the Charles Frohman com-
pany and responsible, among other produc-
tions, for the sumptuous "The Czarina" and
"Greatness" the new Zoe Akins play
Muray
White
SAM FORREST
Stage director of Sam H. Harris pro-
ductions and guiding genius in par-
ticular of "Captain Applejack," "Six
Cylinder Love" "It's a Boy," "The
Champion," and "On Trial"
LESTER LONERGAN
Illustrious as being the stage director
of "Abraham Lincoln," "The Bad
Man," "Bluebeard's Eighth Wife" and
"East of Suez." He is at present
directing independently.
Gentbe
AUGUSTIN DUNCAN
Stage Director for the Equity Players
and as such to be held accountable
for "Malvaloca." He has to his credit
"John Ferguson," "Kempy," "S. S.
Tenacity" and "The Detour"
FRANK REICHER
Former stage director for The Theatre
Guild and now engaged by the Selwyn
office. Noted for his "LUiom," "From
Morn to Midnight," "Back to Methu-
selah" and "The Fool"
Muray
ROBERT MILTON
Whose long list of bril-
liant achievements as a
stage director includes
such recent productions
as "He Who Gets
Slapped," "A m b u s h,"
"Madame Pierre," and
"Banco." He is now
director for William
Harris, Jr.
Apeda
Marcia Stein
THEY STAGE OUR PLAYS
Six of the Most Important Stage Directors in the American Theatre
[368]
TIIKATKK MAC.A7.1NK. HECKMBKK. 1921
The Foreign Director Invades America
Komisarjevsky is Brought from Russia to Supervise Theatre Guild Productums
By OLIVER M. SAYLER
BACK in J908, the year of Fyodor
Chaliapin's first visit to America and
the date of the only fiasco of his
entire career, another Russian Fyodor was
associated with another Russo-American
dramatic catastrophe. His name was
Fyodor (Theodore) Komisarjevsky, and
just as a younger brother he accompanied
his sister, the great Russian actress, Vera
Komisarjevskaya, on her first and only
American tour, a venture which has no
parallel for heedless lack of appreciation
of genius and for financial mismanagement.
And now in 1923, just a season after
Fyodor Chaliapin retrieved his reputation
a hundred fold and the American
public made generous amends for its
mistakes of old, the other Fyodor,
Theodore Komisarjevsky, as he prefers
to be called in tongue-untwisting
kindness, has come to try his fortune
with us once more. This time instead
of a mere retainer in the shadow of an
obliterating talent, he arrives as him-
self, with a reputation as a producer
in Moscow and in London, to take
charge of the production of the Euro-
pean plays in the program of the
Theatre Guild.
THE NEED FOR A PRODUCER
importation of Komisarjevsky
by the Quild calls attention once
more to one of the peculiar shortcom-
ings of this interesting group : its failure
to develop a producing talent of the first
order out of its own ranks. In the
old days when it was known as the
Washington Square Players, no one
worried about a producer. There was
always someone handy if Edward
Goodman did not wish to assume that
role himself. But in the post-war
reincarnation as the Theatre Guild,
timidity has taken the place of assur-
ance, and the Guild is probably the
only institutional theatre of importance
in the world which habitually summons
outsiders, such as Emmanuel Reicher, and
now Theodore Komisarjevsky, to the post
of its stage director.
In any case, whether this practice be the
mark of timidity or of admirable caution,
Komisarjevsky is here to take the place
made vacant by Frank Reicher's decision
to join the Selwyns, to put on for the
Guild their multitudinous European pur-
chases, such as Ernst Toller's communist
drama, "Masse Mensch"; "R. U. R." the
grotesque satire from Czecho-SIovakia ;
Ibsen's "Peer Gynt," to be rescued from
neglect since Mansfield died by the temer-
arious Liliom, Joseph Schildkraut; and
several others impossible to sift from a
list twice as long as the Guild can digest
in a single season.
Incidentally, Komisarjevsky will swell
the New York colony of self-imposed exiles
and more or less permanent visitors from
Russia, and to its ranks he will add a pro-
ducing talent which, while hardly yet of
the first order, has definitely individual
traits that mark him off as distinct from
the other manners and methods which
we have come to consider as typically
Russian.
In the first place, the new producer
from Moscow is a man of the simplest and
quietest personal habits. In appearance and
in bearing, he has none of the irrational,
picturesque idiosyncrasies of conduct which
are an integral and unconscious part of
so many Russians. He is as unobtrusive as
THEODORE KOMISARJEVSKY
Who has come from Moscow by way of London lo
pot on European plays at the Carrick
a Viennese, as tireless as — well, who is
tireless any longer in this restless, strike-
torn world of ours! When I knew him
back in 1918 in Moscow, he was the sole
director and motive force of his own play-
house, named after the departed sister
whom the entire Russian nation had wor-
shipped and one of the tiniest and yet most
distinctive and stimulating of the city's
Little Theatres. Besides, he found time to
direct his own school of the theatre with
numerous classes and to supervise the oper-
atic productions at the Theatre of the
Soviet of Workmen's Deputies, formerly
the Zimina Opera.
Komisarjevsky began his independent
career in the same year as the death of
his great sister, 1910, by founding a dra-
matic school to train young people for the
stage he hoped later to develop. The
year the war began he was ready, and in
the fall of 1914 he opened the Theatre
in Memory of Vera Komisarjevsky in a
remodelled dwelling house in a side street
just off Moscow's Fifth Avenue, the
Tverskaya. It seated just 150 people and
its stage was no larger than an average
drawing room. And yet, by means of a
gauze screen, used more unobtrusively than
I have ever seen this expedient manipulated
except by our own Robert Edmond Jones,
.he obtained the effect of aloofness and
distance even for those who were fairly
edging their way on the stage in the front
In this theatre Komisarjevsky pro-
duced a wide range of plays from 1914
to 1918. By seasons, the repertory
grew thus, with particularly successful
productions held over to succeeding
seasons: 1914-15 — "Dmitry Donskoi,"
tragedy by Ozyoroff; Moliere's "The
Sicilian" and Ostrovsky's "A Family
Picture"; Dickens' "A Christmas
Carol"; the morality, "Everyman";
and a dramatization from Dostoievsky's
"A Bad Anecdote." 1915-16— "Night
Hops," by Sologub; "The Choice of a
Fiancee," by Hoffman; "May Night,"
by Gogol; and "The Cursed Prince,"
by Remizoff. 1916-17— "Vanka the
Butler and Page Jean," by Sologub;
Hugo von Hofmannsthal's "Elektra";
Balzac's "L'Amour sous le Masque";
and Kuzmin's "The Comedy of Alexei,
or God's Man" and Andreieff's
"Requiem." 1917-18— Charles Van
Lerberghe's "Pan" and Aristophanes'
"Lysistrata."
AN INTERESTING EXILE
AT the Soviet Opera, the old haunt
of Zimin, the Oscar Hammerstein
of Moscow, Komisarjevsky had abso-
lute control back stage in the operatic
side of the repertory just as Mihail
Mordkin, the dancer, had supreme
control of the ballet. But the friction
resulting from the efforts to preserve this
independence and the growing difficulty of
life in Moscow combined to drive Kom-
isarjevsky into self-imposed exile. Reported
first on the continent, he soon drifted to
London, and for the last two and a half
years he has managed to keep busy with
various commissions in the British capital.
One of his earliest and most praised tasks
was the mounting of Gogol's masterpiece
of comedy, "Revizor" or "The Inspector
General," for Moscowitch. Latterly, he
has devoted most of his time to the pro-
ductions of the Stage Society, winning es-
pecial attention for the way he put on
Pirandello's "Six Characters in Search of
an Author," which is promised for produc-
tion in New York before the season is over.
Just as the outstanding feature of
(Continued on page 414)
[369]
1. Ferdinand De Levis (James Dale) , a wealthy young Jew who
has climbed into London society on the shoulders of its sporting
proclivities, finds he has been robbed while guest at a country
house. He demands from his host immediate investigation of the
theft. The latter resents his imputation that the money has been
stolen by a guest. In the picture from left to right are: Charlei
Winsor (De Levis' host, played by H. G. Stoker); Captain Dancy,
a war hero (Charles Quartermaine) ; General Canynge (Felix
Aylmer) and De Levis. When Dancy has left De Levis declarei
him to be the guilty man. The others stand together against the
accusation being made and threaten to ostracize De Levis if it is.
2. But De Levis persists. He feels confident he is right and finally
faces Dancy at their mutual club and denounces him as a thief.
The aristocratic club-members side solidly with Dancy, athough
there are those among them who feel a bit dubious about Dancy 's
innocence. De Levis is made to feel an outsider for his attitude
and hotly resigns.
3. (Below) Dancy has to bring suit against De Levis to defend
his good name and just prior to its conclusion the missing money turns
up through an Italian (Henry Can-ill, at right) who states he has
received it from Dancy. The latter's attorney, Jacob Twisden
(Laurence Hanrav, at left) decides that in his duty to the law lie
must discontinue the case.
4. Dancy is told that things are up. The fight of class hale
and bitterness has led to wreckage for him. De Levis an-
nounces he is now satisfied and will not prosecute criminally.
5. (In oval) Given a chance to "run for it," Dancy goes
home to the wife, who though suspecting his guilt, has
been loyal to him. He begs her to come away with him
and they are about to leave when the police, taking pros-
ecution into their own hands, knock on the door. The
play ends in the inevitable tragedy.
THE NEW PLAY
'Loyalties" by Galsworthy One of Finest in Years
[370]
THEATRE MAGAZINE, DECEMBER. I9U
Mr. Hornblow Goes to the Play
To Love
A drama in three acts by Paul
Geraldy produced on October 18 at the
Bijou Theatre by J3race_George with
the following cast:
Henri. Ngrman _Trevor; Hclene, JJrace
George; Challangc, Robert Warwick.
lover of To! et Moi has come
a long way. From the petty bick-
erings of love while at the height of
its ardor we find him now as a hus-
band, ten years married and able to
peer analytically into the situation be-
tween his wife and himself. Here are
different problems to those earlier ones
upon which an "embrasse-
moi" would draw a happy
curtain. M. Geraldy, one
must conclude, has lived
and learned, and as his
philosophies have ex-
panded so has his art in-
creased and remained in
its poetical strength pro-
portionate to his worldly
wisdom.
this talkiest of plays without feeling
that their philosophizings are holding
up the precious "action." "La Ten-
dresse" and "To Love" have much in
common in that they both display
love — not in its popularized romantic
role — but in its capacity of being
nourishment to a definite human
spiritual need. In other words, we
find it largely as it is and must be
rather than as it might be if the mo-
ment on which the usual play's final
curtain descends never ended. Love's
blinders have been thrown off, and it
seems to me that these two great plays
by two great Frenchmen have intro-
duced to American audiences a genu-
Mr. Hornblow Specially Recommends:
THE AWFUL TRUTH: High comedy by an American,— enter-
tainingly played by Ina Claire and Bruce McRae.
KIM: A mediocre vaudeville turned into a masterpiece by
the talented and acrobatic Lenore Ulric.
LOYALTIES: A dramatic chef d'oeuvre by Galsworthy that
will be liked by everybody.
wife's becoming weary of him, at-
tempts desperately to steer a course
fair to both of them. Mr. Warwick
is most unhappily cast as the man
who comes into Helene's life to remind
her of the distant places and those
other things that seem popular with
the flaneur who has his eyes on other
men's wives. He has a most amazing
accent, invented, I should say, for the
occasion, which renders half he says
almost unintelligible and the other
half woefully unreal. Mr. Warwick
is essentially a male type and should
eschew any but the bluntest, un-
Anglicized delivery. That, at least,
might assist him in giving some
verisimilitude to his being
what the playwright
means him to be, a
masterful man both phy-
sically and intellectually.
As Mr. Warwick is read-
ing the part he cannot
hope to seem anything
but an actor and a bad
one at that.
"To Love" in its Eng-
lish, though not Anglic-
ized, form retains more
than a share of its orig-
inal dramatic force and
almost as much of the
flavor in its language.
Though, to be sure, the
plain and sometimes hard
words of our own vulgate do a meas-
ure of death to the charm and flow of
a Gallic thinking-aloud. Miss George
is responsible for a translation that is
both sincere and faithful, and its short-
comings, such as they are, must be
accounted in the case of a play by
Geraldy to the inadequacies not of
the translator but of the language she
had to employ. "To Love" is radiant
with beauty. To ask that it be more
so were infinitely stupid.
Our plays grow more introspective.
"La Tendresse" and now "To Love"
both pry into questions of the heart
and soul that would have bored an
audience to extinction a decade ago.
It is a good sign that we can listen
with patience to the lengthy musings
of Barnac on the needs of a man's
heart, and to the still more lengthy
discussions of the three characters in
R. U. R.: A fantastic melodrama on an absorbing subject that
creates its own high tension.
LA TENDRESSE: An emotional drama dealing with the love
relation — magnificently played by Henry Miller.
TO LOVE: A play of rare beauty on the greatest of themes
— finely interpreted by Grace George and Norman Trevor.
ine discussion of something which
from now on we shall find discussed
on our own stage, as abroad, in
franker and more immeasurably in-
teresting terms.
Miss George gives a significant and
intelligent performance as the wife
who seems to tire of her husband and
feels the urge of physical satisfactions
elsewhere. I might only wish that
her method of speech were not quite
so didactic and that she did not in-
variably employ that rising inflection
which suggests the pulpit. Her de-
livery, as a matter of fact, injures
the dramatic interest of the play by
making incredible from the start that
anyone who spoke quite so sweetly
might ever possibly leave her hus-
band ! Mr. Trevor has never given
a finer performance than as the hus-
band who, through the trial of his
Loyalties
A drama in three acts
by John Galsworthy pro-
duced on September 27th
at the Gaiety Theatre by
Charles Dillingham with
the following cast:
Charles Winsor, H. G. Stoker; Lady Adela,
Cathryn Young; Ferdinand De Levis, James
Dale; Treisure, Henry Carvill; General
Canynge, Felix Aylmer; Margaret Orme.
Jeannette Sherwin; Cai tain Ronald Dancy,
D.S.O., Charles Quartermaine; Mabel.
Diana Bourbon; Inspector Dcde, Victor
Tandy; Robert, Deering Wells; A Con-
stable, Henry Morrell; Augustus Borring,
Deering Wells; Lord St. Erth, Laurence
Hanray; A Club Footman, Henry Morrell;
Major Colford, Wilfrid Seagram; Edward
Graviter, Henry Morrell; A Young Clerk,
Deering Wells; Gilman, Victor Tandy;
Jacob Twisden, Laurence Hanray; Ricardos.
Henry Carvill.
HERE then, mes enfaats, IS a play!
Mr. Galsworthy has done him-
self proud in this inspirational creation
that moves with the swiftness of an
arrow and the certainty of time.
"Justice," "The Pigeon," none of them,
however finely representative they
may be of the work of this eminent
novelist and playwright, can touch
[371]
1. (Left) Lucy Warriner (Ina Claire), a beauti-
ful, fashionable but broke divorcee finds it finan-
cially necessary to re-enter wedlock. Daniel Leeson
(Paul Harvey) one of the broad.fisled sort from
out God's country way is the man she has in mind
as being rich enough to compensate for her having
to marry him. Leeson (seen at the extreme right
in the picture) is eager for the match though
Lucy's two society friends, the Trents (George H.
Barrand and Cora Witherspoon) are not. Neither
is Leeson's aunt, Mrs. Leeson (Louise Mackintosh)
who has heard that in Lucy's* divorce case Lucy"?
own reputation was a bit damaged by rumor. She
insists on being reassured for Daniel's sake that
there was nothing in the story and that Lucy was
wholly innocent of the reported indiscretions.
2. (Below) Lucy, anxious enough to marry to
pacify the recalcitrant aunt, summons her ex-
husband, Norman Satterly (Bruce Afcfiae), to her
defense. The latter (at the right in the picture)
though really believing Lucy to have been guilty
lies like a gentleman in her behalf and satisfies
Mrs. Leeson that Lucy's character is pure white.
3. (In circle) The others gone, Satterly, who has
not seen his wife for some time, renews his acquaint-
ance with her and struggles desperately with a
temptation to fall in love with her all over again.
They muse over old times and Lucy realizes that
a man like Leeson is not for her.
4. (Below) The one thing standing in the way
of their reunion being Satterly's doubts as to her
relations with a man named Kempster, Lucy in-
vites the latter to call (Raymond Walburn) and
in a pre-arranged scene which SaKerly is permitted
by Lucy to overhear it is made apparent to the ex-
husband that Lucy was actually innocent in her
relations with Kempster. The rest is easy. Satterly
believes because he wants to believe — but the audi-
ence— ah! the audience — !
Pictures by White
THE NEW PLAY
rThe Awful Truth," a Medley of Cleverness and Artful Characterization
[372]
THEATRE MAGAZINE. DECEMBER. 19it
for sheer dramaturgy the technical
masterpiece that has come to perch
for certain permanence on Broadway
as a blinking, elbow-rubbing reminder
of the inadequacies of the native craft.
From every conceivable standpoint it
is the most finished product we have
seen for years. Add to which an un-
commonly fine production of it with a
cast of English actors who can act.
There has been much talk, all of it
piffle, concerning Mr. Galsworthy's in-
tention to write an anti-Semitic play.
"Loyalties" is no more directed against
the Jew than it is against any other
one of the several rigid castes and
classes represented by the characters
of the play as they form themselves
in the fight that the action develops
into tight little groups standing united
against all the other tight little groups.
The Jew in this instance happens to
be fighting alone, the other classes
being represented more numerously.
But from the standpoint of the play's
strength he can afford to stand alone
due to the playwright's having given
him more than a due share of right
in his cause. As a matter of fact,
if there must be a prefix attached to
the word Semitic (and I can see no
reason for there being one) it should
be pro. The Jew almost throughout
shines in an admirable light. When,
in reply to the aristocrat blackguard's
imputation of "You're a damned
Jew!" he says "And you're a damned
thief!" he wins right there the battle
to decide where the respect of the
audience must lie.
Mr. Galsworthy's play is one of
those rare works, a play of consum-
mate artistry that is for everybody.
It starts with all the tensity of "The
Bat" and infinitely more plausibility.
Ferdinand De Levis, a wealthy young
Jew, visiting some aristocratic friends
outside London discovers that money
has been stolen from him. He believes
the thief to be another guest, Captain
Dancy, a gentleman and a war hero.
He declares his feeling to his host,
and the latter is horrified, not so much
at the theft as at the idea that De
Levis might be guilty of such unutter-
ably bad form as to wish to go further
into any such scandalous matter while
guest at his house.
It is then that the cliques form.
The Jew finds himself faced with a
united aristocracy who refuse to yield
for an instant to De Levis' right for
investigation. The movement of the
play grows out of the bitter clash be-
tween Jew and aristocrat and into it,
before the fighting has done, most of the
several castes in London have a
fling at being loyal to their own. A
hate that breathes poison and spells
suicide is the only possible outcome
of the situation. The play in its de-
velopment is emotionally hair-raising;
it proceeds with the indomitability of
fate and builds to its climaxes with
the sureness of the workman who
raises a brick wall. One exceedingly
interesting technical feature lies in the
quite acceptable absence of a hero or
any one character to whom sympathies
may be affixed. Though De Levis has
right on his side in the struggle, Mr.
Galsworthy has so devised the char-
acter as to make him fluctuate in an:i
out of our graces. This is emphasized
by the way in which the part has
been directed and played.
The cast is capital and notably good
work is done by Victor Tandy, Laur-
ence Hanray, Henry Carvill, and Deer-
ing Wells, all of whom play two or
more different roles. James Dale gives
an exceedingly interesting portrayal of
De Levis, as does Charles Quarter-
maine of the hero-thief Dancy. The
production, done under the direction
of Basil Dean, who came here from
London for the occasion, is admirable
in all respects. There is nothing better
in town than "Loyalties" nor will there
be, probably, for years to come!
Malvaloca
A play from the Spanish of Serafin
and Joaquin Alvarez Quintero, trans-
lated by Jacob S. Fassett, Jr., produced
on October 2nd at the Forty-eighth
Street Theatre by the Equity Players
with the following cast:
Malvaloca, Jane Cowl; Juanela, Angela
McCahill; Mariquita, Mariette Hyde;
Sister Picdad, Lillian Albertson; Teresona,
Jessie Ralph; Alfonsa, Lenore Norvelle;
Dona Enriqueta, Louise Closser Hale;
Dionisia, Margaret Fareleigh; Sister Con-
suelo, Grace Hampton; Sister Dolores,
I.alive Brownell; Sister Carmen, Edith Van
Cleve; Leonardo, Rollo Peters; Salvador,
Frederic Hurt; Martin, Marshall Vincent;
Barrabas, Frank I. Frayne; Tio Jerome,
Claude Cooper; Lebit, Edward Cullen.
THE debut of the Equity Players in
"Malvaloca" would have been the
coincidental decease of any produc-
ing organization that did not have
behind it either the quantity of ready
money or the store of good will pos-
sessed by this latest combine of actor-
managers. A more unhappy choice of
a vehicle for their talents can scarcely
be imagined. I hear that the play-
reading committee of the Players
never really had a meeting and I be-
lieve it. "Malvaloca" may have car-
ried a certain interest and plenty of
charm, in its native habitat but on
Broadway it was a Spanish omelette
that simply didn't urn. I'll wager at
least ten American manuscripts
handed in to the Equity Committee
would have provided them with no
worse failure.
Starting with a script of the sort
was a patent effort by the Equity
Players to model themselves gener-
ally in the matter of program on the
pattern of the Theatre Guild. The
latter has avoided the native drama-
tist as they might a leper. Their
successes have, without exception, been
works from foreign pens. But what
the Messrs. Equity did not take care
to do was practice the same estimable
commercial skill that has guided the
directors of the Guild to artistic and
financial success. There was nothing
in "Malvaloca" of movement and little
of color that is not over-stale. The
Spanish play of love, per se, without
some illuminating story or spirit
underlying it has no more interest here
than the works of the Doctor Percy
Mack aye.
To the weakness of the drama
chosen, the Equity Players added the
greater weakness of casting in Spanish
roles players about as Spanish, tem-
peramentally, as dough. Miss Cowl's
performance as the prostitute who falls
in love with a good young man was a
vaudeville imitation of Farrar's
Carmen. She hipped and shawled and
cigaretted all over the place, but when
it came to getting a little zeal into
speeches that occasionally held the po-
tentiality of sincerity and life she was
woefully deficient. She was pictur-
esque but photographic.
Two performances were capital and
lent a small share of the color which
in greater quantity might have pro-
duced a better result. Tney were
those of Claude Cooper, a Spanish
good-for-nothing, and Louise Closser
Hale as a duenna. I couldn't help
feeling that Miss Hale burlesqued her
part with a rather definite inner con-
viction of its worth.
The stage set — a vast affair, rather
neat mechanically — reared over the
proceedings somewhat too prominently
and was bathed miles high in the torrid
light of at least six Spanish suns.
Incidentally, it might not be a bad
idea for that play-reading committee
to meet. Every time I wander into
the poverty-pocked offices of the Thea-
tre Guild I find the luminaries of that
clever band with their heads together
and their arguments on the table.
[373]
1. The Count de Lussac
(Alfred Lunt) nicknamed
4*Banco'* keeps his young
bride Charlotte (Lola Fisher)
waiting 84 hours for him in
the foyer of a gambling casino
along the Riviera while he
plays haccarat. She refuses to
go back to the hotel unless he
leaves with her and he in turn
refuses to quit until she goes.
Things are at a pretty pass!
2. A sympathetic stranger in
white golf knickers announces
himself to Charlotte ae the
Baron Delignieres ( Francis
Byrne) and offers his assist-
ance. Skeptical at first but
finally made desperate at the
failure of her every effort to
make "Banco" stop his wild
game, Charlotte decides to
leave him forever and return
to her mother. She beseeches
the Baron to be escort.
3. The Baron, however, would not be shaken off once Charlotte had
regained her mother and her freedom in divorce. One year later she
becomes the bride of the man who had rescued her from "Banco"* — and
prepares to settle down in a life of peace on the Baron's estate in
Touraine. ( Left) An hour after the wedding "Banco" shows up with
his friend, Georges Dalou (Robert Strange) and declares to the astonished
Charlotte that he refuses to recognize the divorce. (Right) No amount of
pleading can persuade Charlotte, and she tells him she is through with him.
4. That night "Banco" sets alight a fire on the estate
which necessitates the Baron's leaving Charlotte alone
on their bridal night. The young Count enters her room
and again endeavors to make Charlotte change her mind.
Whether she does and what happens when in the morning the Baron and his mother (Charlotte
Granville) return and find "Banco" still in Charlotte's room is a secret you can perhaps guess!
THE NEW PLAY
Alfred Lunt Delightful in the Gay French Farce "Banco"
[374]
Pictures by White
THtATRt. MAOAZINK. DECKMHKR. 1122
R. U. R.
A melodrama by Karel Capek,
translated by Paul Selver and Nigel
Playfair, produced October 9 at the
Garrick Theatre by the Theatre Guild
with the following cast:
Harry Domin, Basil Sydney; Sulla — A
Robotess, Mary BonesteH; MaTTus— A Robot,
Myrtland LaVarre; Helena Glory, Kathlene
MacDonell; Dr. Gall, William Devereux;
Mr. Fabry, John Anthony; Dr. Hallemeir,
Moffat Johnston; Mr. Alquist, J.QUJS Cal-
vert; Consul Busman, Henry Travers;
Nana, Helen Westley; Radius, John Ruther-
ford; Helena, Mary Hone; Primus, John
Roche; A Servant, Frederick Mark; First
Robot, Domis Plugge; Second Robot, Richard
Coulidge; Third Robot, Bernard Savage.
THE admirable Theatre Guild — it
seems to me I am always starting
"the admirable Theatre Guild" — has
begun its season auspiciously. Es-
chewing, as usual, both American
scripts and "high art" these crafty
showmen have snatched away from
under the nose of every other producer
in town an outrageously fine melo-
drama by Karel Capek. There is
nothing new about "R. U. R." As a
matter of fact, thematically and in its
story the thing aches with repetition.
But the breath of dramatic life has
been blown into the old carcass by a
capable craftsman and given a rea-
sonably good production by the Guild
and, in consequence, is as worth while
seeing as anything in town except
"Loyalties" and "La Tendresse."
The cryptic initials (hokum play-
writing at its best) — stand for
Rossum's Universal Robots, mechani-
cal workmen created synthetically in
wholesale lots. At first, they serve
merely to lighten man's labor; then
they fight his battles as automaton
soldiers; then comes the day of reckon-
ing when, millions strong and inspired
by some new impulse in their innards,
they turn on Man and extinguish him
entirely. As an aftermath to this
tense, exciting entertainment is an
epilogue in which, as a sop to some
vagrant dreads that may linger in
the audience, we find the monsters
discovering love and, with it, launch-
ing out on a course of procreation
that, we are to assume, will shortly
result in the monsters breeding some-
thing very akin to the humans they
have destroyed.
The notable feature of the produc-
tion lies in some capital settings by
Lee Simonson. Philip Moeller's direc-
tion indicates a general sloppiness
fatal to tempo and at times destruc-
tive entirely of tension and illusion.
The third act, during which the
Robots are besieging the humans,
which should carry along a very wave
of thrill lagged like a tired dog.
Basil Sydney was poorly cast in the
role of the Director of the mighty
factory that turns out Robots. He is
a capital romantic actor, with a flair
for longish hair and studied profiles;
but in a role which calls for the
strength and mental projection of the
sort Holbrook Blinn gives his char-
acterizations Mr. Sydney floundered
weakly. There were several good
performances, notably by Louis Cal-
vert, Mary BonesteH, Helen Westley,
John Rutherford and Mary Hone.
Rose Bernd
A tragedy by Gerhart Hauptman,
adapted by Ludwig Lewisohn, pro*
duced September 26 at the Longacre
Theatre by Arthur Hopkins with a
cast among whom were:
Rose Bernd, Ethel Barrymore; Christopher
Flamm, Dudley Digges; Arthur Streckmann,
-McKay Morris; Marthel Bernd, Anna
Zwilinoff; Bernd, William B. Mack; August
Kiel, Charles Francis; Mrs. Flamm, Doris
Rankin..
HERE is an exhumation difficult to
understand. Why this exceeding-
ly dull German Tess should have been
plucked from out the cold, cold ground
and set to life again on the Longacre
stage I do not see. There are few
heavier plays in all German dramatic
literature, and it fits but poorly Ethel
Barrymore's qualifications as an ac-
tress. That there will be a fervid
holler over the fact that the exquisite
Barrymore should abandon her hollow
voice and fancy clothes to play an
inarticulate peasant-girl there can be
no doubt. This sacrifice to the usual
personality — a rare thing in our thea-
tre and to be admired as such — will
be mistaken as great acting in many
quarters. Close examination of the
actress playing Rose rather than of
Miss Barrymore playing Rose, how-
ever, reveals defects in equipment
for the part and in its interpretation
that emphasize one's curiosity as to
why the thing should ever have been
essayed.
Miss Barrymore has snatches of
brilliance, but they are those in which
the playwright is having his snatches
of brilliance and it is not easy to
divorce credit for the effect. Haupt-
man's motif for the play is inherently
dramatic, but in its development he
uses dodges we have long counted
antique and uninteresting.
Rose Kernd, a peasant girl of ilow
wit and hopelessly limited in the mat-
ter of expressing herself, is the prey,
by reason of her marked charms, of
two village Lotharios. By one of them
she has a child and the event is co-
incident to her forced engagement to
a third man, a clerical fellow. Out
of this comes chaos. Trouble, as
a sort of monster, seizes her mind
and unable ever to see her way clear
she eventually finds expression in
the murder of her bastard child.
Fundamentally, there, we have a great
character — symbolic of the great mass
of the Inarticulate who suffer by rea-
son of their not being able to ex-
plain— either to themselves or any-
one else. But the Hauptman play
weaved about it is slow in its move-
ment, talky to the point of distrac-
tion and obvious from beginning to
end. It has a place between covers,
in the dignified group of Hauptman's
plays given this country by Ludwig
Lewisohn, but certainly none on the
current boards. Least of all with the
exhibition of casting given by Mr.
Hopkins. McKay Morris as one of
the town Don Juans is the only mem-
ber of the cast except Miss Barrymore
who is not just a bit ridiculous in
the part he has been given to play.
Miss Barrymore stumbles heavily
through all the three long acts; she
fidgets so nervously as to make Rose
seem not just dull but lunatic; she
groans her lines in a manner which
suggests, more than anything, the roar-
ing of her own brother as Neri ; she
stares madly. This, largely, is her
interpretation of Rose Bernd. Physi-
cally she is utterly unsuited to the
role. I hope her next venture will
have something more of reason — not
to mention rhyme — connected with it.
The Ghauve-Souris
Third program of the season, pro-
duced by Co in stock & Gest at the
Century Roof on October 10.
THIS estimable group of entertain-
ers become more worthy of their
hire with every new bill. For the
third program of the season. Compere
Balieff has sent all previous numbers
scampering and devised a bill that is
sheer delight from beginning to end.
There is no doubt but that America's
artistic debt to these visitors is huge
— beyond estimate. No form of enter-
tainment in the land but that will fall
eventually under the influence of
[375]
1. I Upper) At an Andalusian convent,
Leonardo < Rollo Peters), (at left) fer-
vent idealist, visits his convalescent
friend, the gay but wary Salvador (Fred-
eric lluri}. who never fell in love unless
he saw three ways out. Salvador is
chagrined to find Leonardo in rapt
sublimation of the virtues which shine
from the face of Malvaloca (Jane Cowl),
who hag gallantly traveled from Seville
to see her old lover.
J. (Lower) Leonardo and Malvaloca
lake up residence together until the ad-
vent of the former's sister, Juanela
(Angela McCahill), who is shocked to
find her brother with so obvious a com-
panion but loyally stands by him. "La
Golondrina," the bell of the convent,
long-broken, has been re-cast by Salvador
and Leonardo and on a festival day is
carried through the village. Leonardo,
in an ecstacy of self-torture, insists that
Malvaloca come openly to his house on
this day. She does and is cut by Juanela's
friends.
2. (Upper) Malvaloca succumbs to the
honest Leonardo who, she says, treats
her not like a woman but as though
she were someone, and, in an excess of
repentance and generosity, leaves her
jewels on the chapel altar, explaining to
the protesting nuns that it is the only way
she knows how to be good.
4. (Lower) Malvaloca: "There are
some things that never enter the intelli-
gence without first passing through the
heart."
5. (At left) Aware that they must live
always in the shadow of Malvaloca's past,
the lovers decide to fighl out their prob-
lem together, "torn by prongs of the
same thorns." Salvador departs, realiz-
ing that he is no longer in the picture.
Pictures by Abbe
THE NEW PLAY
The Equity Players Make Their Debut with "Malvaloca," a Spanish Love Drama
[376]
THEATRE MAGAZINE, DECEMBER. 1922
Chauve-Souris methods, directly or in-
directly. Already it is becoming ob-
vious on Broadway and in vaudeville.
Amateurs are making free with its
scenic patents everywhere. We may
find ourselves a nation with some
color in it yet thanks to these exiled
children of a dead Czar.
There is not a number of the new
bill that does not merit its place;
though saliently fine are Malbrough
S-en Va t-en Guerre, a toy parade to
the words of an old song, The Night
Idyl, an amusing tom-cat serenade and
Katinka's Unexpected Romance, a gay
medley of the "Chauve-Souris' " two
most popular numbers, Katinka and
The Wooden Soldiers.
Here certainly is a show with
genius stirring in its every effort. Not
to see it is cultural disaster.
Why Men Leave Home
A new comedy by Avery Hopwood
produced on September 12th at the
Morosco Theatre by Wagenhals and
Kemper, with the following cast:
Butler, Mjnor^ \Vatsoni Grandma, Jessie
Villars; Tom, John McFarlane; Fifi, Flor-
ence Shirley; Nina, Theresa Maxwell Con-
over; Betty, Audrey Hart; Sybil, Isabel
Leighton; Billy, Norval Keedwell; Artie,
Herbert Yost; Sam, Paul Everton; Doris,
Wauna Loraine; Maid, Peggy Lytton.
THIS play is a serious matter for
the American theatre. At a time
when practically every outstanding
success in New York is by a foreign
writer, it reminds us that one of
the most promising talents that ever
reached Broadway from the West is
dragging itself on its knees through
the mud. "Why Men Leave Home"
is a dirty piece which talks about
monkey glands while cloaking itself
in an air of the sanctimonious
on the pretext of preaching a sermon
about wives who are not really wives
to their needful husbands. It is of the
cheapest possible calibre in tone and
technique and as funny as the
sleeping-sickness. Poor Hopwood !
And I thought I had known him well,
Horatio!
Mr. Hopwood recently made a self-
conscious announcement to the press
that he has made a million and a
quarter out of his plays. In the name
of Eugene O'Neill, he is welcome to it!
The Yankee Princess
A light opera in three acts, with
music by Emmerich Kalman, book by
William Le Baron and lyrics by B.
G. De Sylva, adapted from "Die
Bajadere," of Julius Brammer and
Alfred Gruenwald, produced at the
Knickerbocker Theatre on October 2
by _A. L. Erlanger, with the follow-
ing cast:
Prince Radjami of Lahore, Thorpe Bates;
Napoleon St. Cloche, John T. Murray;
Phillipe La Tourette, Roland Bottomley;
Manager Trebizonde, Royal Tracy; Pirn-
prinette, Frank Doane; Colonel Parker,
George Grahame; Dewa Singhe, Lionel
Chalmers; The Rajah of Punjab, Mortimer
White; Reggie, Colin Campbell; Chief
Usher, Valentine Winter; Odette Dari-
monde, Vmenne Segal ; Indian Dancer,
Princess White Deer.
NOT since the coming to town of
"Blossom Time" has the critical
ear been regaled with more love.ly
melodies than in this version of the
transplanted "Bajadere" from Vienna.
If only the ear might be equipped
with some manner of safety valve
which would open it when the music
started and close it when the jokes
began here -would be a show ! The
eye is well cared for. Mr. Urban has
done adequately, if not strikingly, a
few sets in the customary continental
style. Miss Segal, when in good voice,
which she frequently is, makes for a
heroine whose command of the pleas-
ant tunes placed at her disposal is
gratifying, and Mr. Bates, a new-
comer from London, has a splendid
baritone and a most gratiating pres-
ence.
Queen o' Hearts
A musical comedy in two acts by
Frank Mandel and Oscar Hammer-
stein, 2nd, with music by Lewis
Gensler and Dudley Wilkinson, pro-
duced by Max Spiegel at the George
M. Cohan Theatre, October 10, with
the following cast:
Tom, Max Hoffman, Jr.; Grace, Norma
Terriss; Isabella Budd, Florence Morrison;
Ferdinand Budd, Franker Woods; Miss
Swanson, Elza Petersen; Alabama (Al)
Smith, Georgie Brown; Elizabeth Bennett,
Nora Bayes; Henry Rivers, Harry RJcb-
man^Myra (Mike), Edna Hibbard; Dudley,
Dudley Wilkinson; Alfred Armstrong, Lorin
Baker; William Armstrong, Arthur Uttry.
A MISERABLY poor show in all
departments is this latest vehicle
for the redoubtable Miss Bayes.
Given a deft ditty, no one can "plug"
it in more expert style than this
veteran performer. But unhappily for
her there are no d.d.'s in "Queen o'
Hearts" nor anything deft of any
kind. Miss Bayes must have been
in sore need of "material" if starring
herself in this uninspired merry-go-
round was the best she could do.
Vulgarity is being too well done these
days to necessitate one's being down-
right careless in doing it.
The Gingham Girl
A musical comedy in three acts
by Daniel Kusell, with mu»ic by
Albert Von Tilzer, lyrici by Neville
Fleeson, produced at the Earl Carroll
Theatre on August 28 by Laurence
Schwab and Daniel Kusell, with the
following cast:
Gus, Edgar Hamilton; Conductor, James T.
Ford; Silas O'Day, Walter F. Jones; Jack
Hayden, Russell Mack; Libby O'Day, Louise
Allen; Mary Thompson, Helen Ford; Har-
rison Bartlett, Alan Edwards; Mildred Rip-
ley, Winifred Lawshe; John Cousins, Eddie
Buzzell; Mazie Lelewer, Isabel Lamon;
Sonya Maison, Bertee Beaumont; Sophia
Trask, Amelia Summerville.
AFRESH, merry little show
equipped with as lively a chorus
as I've seen in many a moon is this
unpretentious musical comedy. The
ornate and expensive need not neces-
sarily be forthcoming when music is
as good as Mr. Von Tiber's and
comedy is as good as that which Mr.
Buzzell projects into the not overly-
gifted book.
"The Gingham Girl" has a distinct
flapper quality. It is clean and just
a little audacious. It is youthful but
plays at sophistication. It will find a
big and satisfied audience before it is
all done.
Will there ever be a successful
musical show in which the heroine
is not a poor young girl in desperate
straits that climbs out of them with
some brilliant idea that makes her and
all her friends and her friend's friends
a barrel of stage money? Probably
not.
Better Times
A mammoth musical spectacle by
R. H. Burnside with music by
Raymond Hubbell, produced Septem-
ber 2nd at the Hippodrome by Charles
Dillingham with the following prin-
cipals:
Robert McClellan, Fred McPherson, Lorna
Lincoln, Marceline, George Herman, Tony
Colton, Nanette Flack, Virginia Futrelle,
George Kunowitch and Winifred Verina.
fTMME to drag out the old bromide
•*• "bigger and better than ever."
This year, by way of a change, it
is true. The big Hip show is by
way of being an elephantine Follies
— and an elephantine money's worth.
(Continued on page 420)
[377]
FOREIGN— LETTERS
Liveliest Season in Years Looms Up in Paris
By FLORENCE GILLIAM
•I
THE new season in the Paris theatre
is notable for revivals, even in the
light of the well-known French pen-
chant for the old and well tried drama.
Aside from the bills of the standard reper-
toire theatres, such well known titles as
"Raffles," "La Dame aux Camelias,"
"Mam'zelle Nitouche," and "Mon Bebe"
appear on the September affiches. The last
named, a gay French transcription of Mar-
garet Mayo's "Baby Mine," rivals "Peg
de mon Coeur" in perennial Parisian favor,
with Max Dearly still going strong in the
part associated in America
with the name of Ernest
Glendenning.
There are too the prolonged
successes whose run has been
uninterrupted during the sum-
mer. "Phi-Phi" and "Ta
Bouche" seem likely to go on
forever. It is difficult to ex-
plain the attitude of a public
which will sustain with equal
enthusiasm a spectacle so bad
as "Phi- Phi" and another so
good as "Ta Bouche," both in
the same genre. "Phi-Phi,"
of course, antedated the latter
by some years. It is a very
shoddy production, measured
by all the standards of modern
cleverness and taste. The
music can be excused for
sounding stale and flat, being
now in~ the stage of the
modern antique ; but the book
is terribly obvious; the stage
settings conceived without the
correctives of modern simpli-
fication have no distinction; the chorus is
a joke; and the principals (at any rate at
the present writing) are mechanical and
uninspired.
"TA BOUCHE" BIG MUSICAL HIT
BUT "Ta Bouche"! Done in the
exquisite little Theatre Daunou which
is like a gold-set sapphire, the walls and
chairs in solid blue and old gold and the
proscenium wrought in gleaming golden
phantasies, "Ta Bouche" is as good of its
kind as the playgoer could fondly wish.
The plot is frankly sophisticated and not
above poking fun at its own lack of logic,
though the latter trick is turned in a more
delicate way than we have come to look
for in George Cohan's well-known, self-
spoofing melodramas. A single setting, idly
fantastic, is used throughout; and each act
is opened by a sort of Greek Chorus, re-
duced to a trio of amusing and prettily
gowned women who gossip the story over
the footlights. The title song, Ta Bouche,
is introduced through the strains of an
orchestra from an imaginary casino off-
stage, haunting the lovers, drawing them
into a love duet, and boldly interrupting
the action — which is at least more original
than pretending to have it burst spontane-
ously out of the general atmospheric
ecstasy. The pleasant scheme of using a
good song first for sentimental appeal and
then for humorous effect, according to a
change in situation, is most adroitly man-
aged in the case of Ca c'est une chose on
ne pent pas oublier, which is also a most
intriguing tune. The parallel love stories,
some romantic and some farcical, are all
handled with humorous ease. There is
every reason for the continued popularity
Manuel
A comedy scene jn "Ta Bouche," the outstanding melody success of the
Parisian season. The elementary setting is interesting for its marked
contrast to the expansive gorgeousness of our own musical shows.
of this masterpiece of trivial perfection.
The favorite cliches about the endless
vitality and enthusiasm of Sarah Bern-
hardt were all in order this month when
she returned from Belle He to Paris. Dur-
ing the summer she had corrected the proofs
of her novel which is soon to be published
after appearing in serial form, and written
part of her book of advice to young actors.
Her theatrical plans for the season are
amazingly comprehensive. They include
a production of Corneille's "Rodogune,"
a revival of Maurice Rostand's "La
Gloire," and the creation of the latter's
new poetical play, "Le Sphinx." The most
important project of the season is the in-
terpretation, along with Lucien Guitry, of
Sacha Guitry's "Adam et Eve," a phantasy
recalling Shaw's "Back to Methuselah."
Gemier's new season as director of the
Odeon has started off in a whirlwind of
discussion. There were rumors of his plans
for revolutionizing the dilapidated old Na-
tional Theatre of the Left Bank. Gemier's
achievements at the Theatre Antoine, the
Comedie Montaigne, and the Popular
Theatre, gave rise to large speculations as
to the innovations to be expected at the
Odeon. Just at this time, Max Reinhardt
gave out an interview in which he expressed
great interest in the work of Gemier and
called him the best all-round representative
of the French Theatre. Gemier published
an open letter in response to this eulogy,
in which he added to his expression of ap-
preciation a pointed comment upon the con-
trasts between the numerous well-equipped
theatres at Max Reinhardt's disposal, and
the antiquated, inadequate theatrical ma-
chinery at his own command. He retailed
his struggles to get an appro-
priation for the Popular Thea-
tre at the Trocadero, and his
difficulties at the Odeon.
Then, with a touch of Andre
Antoine' J feeling of disillusion-
ment, he announced a definite
scheme of retiring after a cer-
tain number of years if the
struggle proved ineffectual.
The most significant part of
his letter was a proposal for
a kind of world league of
artists to rise above all politi-
cal hatreds, and to provide for
an interchange of produc-
tions. He announced his
willingness to work in other
countries and offered his most
active co-operation if Max
Reinhardt or other foreign
artists would consent to come
as visiting directors to Paris.
There were a few French
chauvinists who expressed a
feeling that not enough time
had elapsed since the war to
forget national hatreds, recalling that Rein-
hardt had signed the "Manifesto of the
Ninety-three," and suggesting that propitia-
tory pledges were necessary to sink that
fact into oblivion. A quick answer was
forthcoming in the press, listing numerous
such pledges in the performance and circu-
lation of French plays, French music,
French books and magazines, in Germany,
and the German part in the Moliere Tri-
centenary. The only well founded objec-
tion to Gemier's plan was sorrowfully
offered by Antoine who wondered what
Reinhardt or Stanislavsky could do on the
stage of the poor old Odeon.
EXTRAORDINARY PROGRAM AT OEUVRE
|"N general the more advanced groups
A have not got under way for the theatri-
cal year of 1922-1923. But at La Maison
de I'Oeuvre the season opened recently
with the announcement of a tremendous
program including works of D'Annunzio,
Claudel, Maeterlinck, Strindberg, Bjorn-
son, the entire repertoire of Ibsen, plays
by young writers of interest, and an ex-
change with the Italian Experimental
(Continued on page 416)
[378]
THEATRE MAGAZINE. DECEMBER. I9tt
Portraits by Sabourin
SARAH BERNHARDT
A very recent and unusually intima'e portrait of the tra-
gedienne taken at her home. There is a reality about the
study which forms a striking contrast to the pitiless theatri-
calism of the picture of Mme. Bernhardt in her dressing-room
shown in last month's THEATRE. She appears now to have
abandoned her plan for an immediate American tour in
favor of creating several new roles on her native sfage,
among them "Eve" in Sacha Guitry's new phantasy. The
play is said to follow the "Back to Methuselah" pattern.
H CIEN GUITRY
Accredited by British as well as Parisian critics as being
the greatest living French actor, who has returned from a
triumphant season in London and seems to have changed his
mind about journeying to this country with his son, Sacha.
and his daughter-in-law, Yvonne Printemps. Instead, M. Guitry
will shortly set about preparing himself to assume the ro'e
of the first man in his son's "Adam et Eve" in which he is
now scheduled to appear with Bernhardt before the season
is much older.
ADAM AND EVE
Two Leading Figures of Parisian Stage to Play First Couple
[379]
East of Suez
A Piny in Four Acts by W. Somerset Maugham
IT/ SOMERSET MAUGHAM'S latest work for the stage is the product of its author's joint desire to visit the
" • East and write a melodrama. That he has done the latter is unquestioned. Here is a stage thriller of the
frankest order, coming oddly enough from a pen that has gone in thus far for little else than subtlety and cynicism.
One will find no resemblance to the Maugham of "Our Betters" and "The Circle" in "East of Suez," but one may
find interest and entertainment in seeing how one of the greatest living playwrights goes about writing a play for
"the people." The latter, incidentally, have taken it enthusiastically to their strange, enigmatic heart.
The following condensation is printed here through the courtesy of Mr. A. H. Woods and the author.
Copyright George H. Doran Company, 1922.
THE CAST
(As produced by Mr. A. H. Woods at the
Eltinge Theatre)
Daisy
George Conway
Henry Anderson
Harold Knox
Lee Tai Cheng
Sylvia Knox
Amah
Wu
Florence Reed
John Halliday
Leonard Mudie
Geoffrey Kerr
Howard Lang
Gypsy O'Brien
Catherine Proctor
Nathaniel Sack
to say something very like it, Harry. But I
shouldn't have put it so badly . . .
HARRY: She's the most fascinating thing you
ever met.
GEORGE: Yes. they can be charming. I was
awfully in love with a half — with a Eurasian
girl myself years ago. It was before you came
out to the country. I wanted to marry her . . .
The action of the play takes place in
Peking.
Act I. Scene 1. Morning.
Small veranda on an upper story of
the British-American Tobacco Company's
premises, in the upper part of which the
staff lives.
Harold Knox is just waking from a
nap. His servant, Wu, ushers in Henry
Anderson, a good-looking young man
of thirty, obviously straightforward and
sincere. Amah enters with note for
Anderson, who reads it and good-
naturedly hints to Knox to go. George
Conway enters. He is a tall, dark man
in the early thirties, handsome and well
built. He has just returned from Fuchow,
where he had met Freddy Baker, a friend
of theirs, who had married a half caste.
KNOX: Oh, I've got no pity for him.
He's just a damned fool ... It can't
be very nice to have a wife whom even
the missionary ladies turn up their noses
at.
HARRY: You wait till Freddy's number
one in Hankow and can entertain. I bet
the white ladies will be glad enough to
know his missus then.
GEORGE: That's just it. He'll never get
a good job with a Eurasian wife . . .
Jardine's are about the most important
firm in China and the manager of one
of their principal branches has definite social
obligations.
KNOX: I think he's damned lucky if he's not
asked to resign.
GEORGE: Somehow or other they seem to inherit
all the bad qualities of the two races from which
they spring and none of the good ones.
Knox leaves. Harry orders tea for three and
tells George he is expecting Mrs. Rathbone,
whom he is going to marry. He says she is
the widow of an American, only twenty-two,
and had been unhappily married.
HARRY: . . (Suddenly making up his mind).
It's no good beating about the bush. I may as
well tell you at once. Her — her mother was
Chinese.
GEORGE: (Unable to conceal his dismay).
Harry! I wish that I hadn't said all that I did
just now . . . (Gravely). I should have had
White
HARRY:
Oh. Daisy I do want you to forget all the unhappi
ness you have suffered.
I'd just been appointed Vice-Consul. I was only
twenty-three. The minister wired from Peking
that I'd have to resign if I did. I hadn't a
shilling except my salary and they transferred
me to Canton to get me away.
HARRY: It's different for you. You're in the
service. I'm only a merchant.
GEORGE: Even for you there'll be difficulties.
Has it occurred to you that the white ladies
won't be very nice?
HARRY: I can do without their society.
GEORGE: You must know some people. It
means you'll have to hobnob with Eurasian
clerks and their wives ... I suppose you've
absolutely made up your mind?
HARRY: Absolutely.
GEORGE: In that case I've got nothing more to
say. After all the chief concern is your happi-
ness and whatever I can do I will. You can
put your shirt on that.
Mrs. Rathbone arrives. She is an extremely
pretty woman, beautifully dressed, perhaps a
little showily. Her hair is abundant and black
and there is only the faintest suspicion of
Chinese slant in her eyes.
HARRY: This is George Conway, Daisy.
George stares at her and suddenly recognizes
her, but only the slightest movement in his
eyes betrays him.
DAISY: I've heard so much about you
from Harry that I feel as though we were
old friends.
Daisy pours tea and while they are
chatting Harry is called downstairs on a
business matter.
GEORGE: Why didn't you warn me that it
was you I was going to meet? . .
Suppose I'd blurted out the truth?
DAISY: I trusted to your diplomatic
training. Besides, I'd prepared for it.
I told him I thought I'd met you.
GEORGE: Harry and I have been pals all
our lives. I brought him out to China
and I got him his job. When he had
cholera he would have died if I hadn't
pulled him through . . . When you've
done as much for a pal as I have for him
it gives you an awful sense of responsi-
bility towards him . . I'm not going to
let you marry him.
DAISY: He's in love with me.
GEORGE: I know he is. But if you were
in love with him you wouldn't be so sure
of it.
DAISY: (With a sudden change of tone).
Why not? I was sure of your love. And
God knows I was in love with you.
GEORGE: You don't know what sort of a
man Harry is. He's not like the fellows
you've been used to. He's never knocked around
as most of us do . . Even if there were nothing
else against you he's not the sort of chap for
you to marry. He's awfully English.
DAISY: If he doesn't mind marrying a Eurasian
I really don't see what business it is of yours . .
GEORGE: How about the incident at the Hong
Kong Hotel ? A certain naval officer —
DAISY: You believed that too! . . It was a lie.
GEORGE: All of it?
DAISY: Um — nearly all —
what you know is true .
you who made me rotten . .
I first came to Chung-King?
My father had sent me to England to school
when I was seven. And after ten years he
wrote and said -I was to come back to China.
You met me at the boat and told me my father
had had a stroke and was dead. You took me
to the Presbyterian mission . . . And then ir»
a day or two you came and told me that every-
And suppose
If I'm rotten it's
Remember when
I was seventeen.
[380]
THEATKt. MACAZHVK, />f.(.f. M/fr.K.
Lenore at the advanced age of 6 months
At 16 — already touring in road . ,
Vw >ork debut in "The Mark of the BeaM
As Lnana in "The Bird of I1.
As Lien Wha in "The Son-Daughter"
(At right) As the French Canadian
in "Tiger Rose"
left) As the
"The Heart
Indian girl
>f Wetona"
(In circle) Miss Ulric today — very much as she looks in her monumental
success, "Kiki"
BIOGRAPHICAL PAGES -No. 3. LENORE ULRIC
Mi»« Ulric was born at New Ulm, Minnesota, of non-professional parents. She was educated in the public schools of Milwaukee and at an early age went on
the stage via a small slo<k company then playing in her home town. Sh« subsequently played in stock companies at Grand Rapids. Chicago, Schenectady
and Syracuse and toured in smaller towns. In 1915 she made her Broadway debut at the Princess Theaire in "The Mark of the Beast." It was then that
David Belasco saw her and look her for the lead shortly after in "The Heart of Wetona." Subsequent successes with Belasco resulted in her eventually
being starred in "The Son-Daugh'er." She has played an unusual variety of colorful roles, the most popular of which has been the Parisian cocotte, Kiki.
[381]
thing my father had left went to his relations
in England . . If he was going to leave me
like that why didn't he let me stay with my
Chinese mother? Why did he bring me up
like a lady? Oh, it was cruel ... I was
so lonely ... I loved you. I thought you
loved me ... In those days I thought that
when two people loved one another they mar-
ried. I wasn't a Eurasian then, George. I was
like any other English girl. If you'd married
me I shouldn't be what I am now . . .
GEORGE: . . They said that if I married you
I'd have to leave the service. I was absolutely
penniless. Then dinned it into my ears that if
a white man marries a Eurasian he's done for.
In my heart I knew it was true ... I had
to kill my love. I tried but I couldn't . . .
I made up my mind to chuck everything and
take the consequences. I was just starting for
Chung-King when I heard
you were living in Shanghai
with a rich Chinaman.
DAISY: Oh, my God — . .
listen — They hated me at
the mission. They found
fault with me from morning
till night. They blamed me
because you wanted to marry
me .... They hated me
because I was seventeen.
They hated me because I
was pretty. They killed all
the religion I'd got. There
was only one person who
seemed to care if I was alive
3r dead. That was my
mother. Oh, I was so
ashamed the first time I saw
her. At school in England
I'd told them so often that
she was a Chinese princess
that I almost believed it my-
self. My mother was an
ugly old Chinawoman . . .
She asked me if I'd like to
go to Shanghai with her. I
was ready to do anything to
get away from the mission and I thought in
Shanghai I shouldn't be so far away from you.
When we got to Shanghai she sold me to Lee
Tai Cheng for two thousand dollars . . . We
used the money but I never yielded to Lee Tai
... He said he'd wait . . . Oh, George,
isn't it possible for a woman to turn over a
new leaf? Because he'll think me good I shall
be good . . . He couldn't have fallen in love
with me if I'd been entirely worthless . . .
I swear I'll make him a good wife. Oh, George,
if you ever loved me have pity on me.
He makes her confess she had never been
married at all — that, fearing Lee, she had gone
to live with an American in Singapore for four
years, and on his death had gone to someone
else, her mother always nagging her to go to
Lee. She had told Harry her mother was dead.
George urges her to tell Harry the truth and
let him decide.
DAISY: And break his heart? He believes in
me. Tell him if you think you must, if you
have no pity, if you have no regret for all the
shame and misery you brought on me, but if you
do, I swear, I swear to God that I shall kill
myself. I won't go back to that hateful life.
(He looks at her earnestly for a moment).
GEORGE: I shall tell him nothing.
Harry returns and after some talk George
exits. The Amah calls for Daisy and asks
Harry to let her remain with Daisy after the
marriage.
DAISY: She's been with me ever since I was a
child.
HARRY: Of course we'll keep her. She was
with you when you were in Singapore, wasn't
she?
DAISY: Yes, I don't know what I should have
done without her sometimes.
HARRY: Oh, Daisy, I do want to make you for-
get all the unhappiness you have suffered. (He
takes her in his arms and kisses her, iuhile the
Amah silently chuckles).
Act I. Scene 2. Late afternoon. The Temple
of Fidelity and Virtuous Inclination. Court-
CF.ORCE: S
stuck it into me instead .
yard of temple is shown, with sanctuary at back.
Monks are finishing service. Acolite blows
out oil lamps and closes temple doors. Daisy
is standing listlessly on Temple steps, the Amah
at her feet.
DAISY: I've got a husband who adores me
and a nice house to live in. I've got a position
and as much money as I want. I ought to be
happy.
The Amah tells her her husband gives her
everything she wants but she has no friends,
she is an outcast.
DAISY: If you laugh like that I'll kill you.
The Amah shows her a jade necklace sent
by Lee Tai Cheng for her first wedding anni-
versary, and adds that he is a very clever
man — had studied at Oxford and Harvard, and
is a graduate of Edinburg University, and he
hopes that Daisy will soon come to him. Daisy
is enraged and says if he dares come near her
she will have him beaten. The Amah then
gives her a letter from George saying he will
look in for a minute later, and asking Harry
to ride with him.
DAISY: At last. I haven't seen him for ten
days. Oh, I want him, I want him ... He
only comes now because he doe« not want to
offend Harry. Harry, what do I care for
Harry?
Harry enters and she pleads headache and
sends him off for his ride alone. George arrives
and she chides him for not calling oftener.
He tells her they are both old enough to know
one does not have to put a foot in the fire to
know it burns. On leaving she asks him to
kiss her, as it is her wedding anniversary, and
as he bends to kiss her hand she draws his face
to hers.
DAISY: Sweet as before?
GEORGE: No — even more. Daisy, if you ever
wanted revenge on me you've got it !
DAISY: Revenge? What do you mean?
GEORGE: You know damned
well what I mean .
(He exits).
DAISY: Oh, God, he loves
me!
The Amah ushers in Lee
Tai, disguised as a curio
dealer. He urges Daisy to
come to him, saying he
knows she hates her hus-
band, that her marriage has
done nothing for her but
make her an outcast among
white people, and he
promises to take her any-
where in the world and give
her more money to spend in
a week than Harry earns in
a year. He says Harry can
easily be got rid of in a
country like China and with-
out any risk to her. She
orders Lee Tai to leave.
Harry returns and complains
that they have been cut by
all the white people in
Peking and he has applied
for a transfer to Chung-King. Daisy is frantic
as she realizes he will learn the true story
of her past in Chung-King, but she pretends to
think that he is ashamed of having married
her, goes into hysterics and tells him to leave
her alone. The Amah tells her Harry will
insist on going to Chung-King once he has made
up his mind, and suggests that Lee Tai put him
out of the way. She goes to the sanctuary to
ask Buddha's advice, while Harry returns with
Lee Tai, whom he found in the courtyard, and
buys from a him a Manchu dress for Daisy.
The Amah is proceeding with the ceremony
when Daisy shrieks and runs forward to stop
her, but is stopped by Harry at the same moment
the Amah turns and says "Buddha he says can
do."
DAISY: (Looking at Harry and smiling). I'm
sorry I was silly and unreasonable just now,
Harry.
Act II. Evening. Sittingroom in the Ander-
son's apartment. Harry and Knox are drink-
ing their port in the dining room. Daisy enters
and the Amah takes a skeleton key out of her
sleeve, opens the desk, takes out a revolver
and removes the cartridges. Daisy looks at her
in horror.
[382]
THEATRE MAGAZINE, DECEMBER. 19U
Abbe
Abbe
Dorothy Lee as one of the Dresden
group in the elaborate ballet "The
Story of a Fan/' Six fans are in
each group of the 144 fans carried
by the ballet.
< Below) Dave Claudius and Lillian
?carlet in a charming number which
recalls the "Favorite Melodies of
Bygone Days"
(Below) Geneva Ducker, the balloon
girl, and Louise Allison, the bubble
girl, in the bubble number of "Better
Times."
William Holbrook and Klua Hanse, the prin-
cipal dancers of the big show at the "world's
largest playhouse" in the Watteau group of
the fan ballet. Mile. Hanse was brought here
by Mr. Dillingham from the Danish Royal
Opera where she was the premiere dansettse.
Goldberg
Goldberg
HIP! HIP! HOORAY!
* Better Times" at the Hippodrome Full of Life and Beauty
[383]
DAISY: It's not for tonight?
AMAH: I no sabe. (Puts revolver back as
Harry and Knox enter. Harry asks Daisy to
put on her neia Manchu dress).
HARRY: Daisy! How Chinese you look . . .
You're wonderful. In my wildest dreams I
never saw you like that. Y'ou're bringing all the
East into the room with you.
Knox leaves to go to the station to meet his
sister.
DAISY: It's strange that I feel as if these things
were made for me.
HARRY: You're almost a stranger to me, and,
by God, I hear the East a-calling. Oh, my
precious, I love you, I love you. (Falls on his
knfes and clasps her in his arms) . . . My
dear, look at yourself in the glass now. You're
positively Chinese. (She looks at her dress and
understands. She is a Chinese woman).
They play chess, when suddenly there is a
cry in the street. She says it is only some
Chinese quarrelling in the street, and tries to
prevent his going out, but the cries for help con-
tinue and Harry runs out, as she sinks to the
floor and buries her face in her hands. The
Amah enters and Daisy tries to run out to
Harry, but the Amah holds her back.
AMAH: . . You want Harry dead. Well, I
kill him for you.
DAISY: I'd give anything in the world
to have him back . . . Oh, what have
I done? . .
Harry enters with a coolie whom he
has caught, and ties him to the door.
Places Wu on watch and goes out again.
A man is carried in and Daisy sees that
it is George, who has been stabbed. She
takes the Amah by the throat
and throws her to the ground.
Harry, entering, sees this and
is astonished. George gradu-
ally regains consciousness.
GEORGE: I heard a cry for help,
too. I nipped out of my rick-
shaw and sprinted like hell. I
saw some fellows struggling. I
think someone hit me on the
head . . . Someone's got his
knife out for you, old man, and
the silly ass stuck it into me
instead . . . It's a very old
Chinese trick. They just got
the wrong man, that's all.
HARRY: By George, that explains why I
tripped.
GEORGE: A piece of string across the street.
(Harry and Wu help him out of the room).
Daisy. Daisy enters and while waiting for
tea she takes Sylvia to look over the Temple.
GEORGE: I think it was rather sporting of you
to bring your sister to see Daisy.
KNOX: . . I didn't. She brought me ...
When I told her Daisy was a half caste and
people didn't bother much about her she go!
right up on her hind legs . . .
GEORGE: It's very kind of her. Daisy leads a
dreadfully lonely life. If they take to one an-
other you won't try to crab it, will you?
KNOX: Would you care very much for your
sister to be very pally with a half caste?
. . As a matter of fact if Sylvia wants to do a
thing she'll do
it. And if I try
to interfere she's
quite capable of
telling me to go
to the devil.
GEORGE: She has
^ character.
White
The Amah cuts the rope that binds the prison-
er and he escapes. Harry enters and finding
the prisoner gone and remembering his revolver
had been emptied of cartridges and Daisy's
anger with the Amah, becomes suspicious, know-
ing the Amah has always hated him. He
threatens to call the police and give her in
charge, and Daisy tells him the Amah is her
mother.
Act III. Afternoon. The courtyard in the
Anderson's part of the Temple. George is
lying down; the Amah is smoking her pipe.
Knox enters with his sister, Sylvia, to call on
DAISY: China is closing in upon me!
KNOX: The fellow she was engaged to was
killed in the war. So my father thought she
ought to come out here for a bit ... If she
thinks people are sniffy about Daisy she'll stick
to her like a leech. However, I dare say she'll
get married . . . Why don't you marry her?
It's about time you settled down ... Of
course I love having her with me but she does
cramp my style a bit. And she ought to marry.
She'd make you a first rate wife.
GEORGE: Much too good for the likes of me
KNOX: I say, who was Rathbone, Daisy's first
husband ? . .
GEORGE: Harry told me he was an American.
He said he was in business in the F. M. S.
KNOX: That's what Harry told me. I met a
fellow the other day who lives in Singapore
[384]
who told me he'd never heard of Rathbone . .
1 suppose there was a Mr. Rathbone?
A wedding party passes and Knox calls
Sylvia to see it. She enters with Daisy. They
watch the procession, and Knox and Sylvia
leave. Tea is served. George tells Daisy he
is now fully recovered, thanks to her care of
him, and that he must be leaving. The Amah
enters and says Harry has telephoned that he is
obliged to go to Tientsin on important business
and will return the following day. George
says he must return to his own quarters that
evening, but Daisy begs him to stay with her
until Harry returns, pleading fear of being
left alone.
GEORGE: . . Don't forget it's not only a wound
in the lung that I've been suffering from. While
you and the doctor between you have been
patching that up I've been busy sticking together
the pieces of a broken heart. It's nicely set now,
no one could tell there'd ever been anything
wrong with it, but I don't think it would be
wise to give it a sudden jerk . . .
DAISY: Do you know why I wouldn't have a
professional nurse, and when you were uncon-
scious for two days refused to leave you for
a minute? Do you know why, afterwards, at
night when you grew delirious I wouldn't let
Harry watch you? I dared not leave you for
a single moment. And it was your secret and
mine . . . Do you know what you said in your
delirium? You used to call me, Daisy, Daisy,
as though your heart was breaking . . . You
would take my face in your hands so that I
could hardly believe you weren't conscious.
And you said: I love you.
GEORGE : Oh, God !
DAISY: . . You thought they were taking me
away from you. I can't bear it, you said . . .
You thought you held me in your arms and you
pressed me to your heart . . . You were so
happy that I was afraid you'd die of it. I
know what love is and you love me . .
The real you is the love that consumes
you more hotly than ever the fever did.
The only you is the one that
loves me. The rest is only
frills.
G E 0 RGB :
Fri II s?
Its honor,
and duty,
and de-
cency and
s e I f - re-
spect.
DAISY: . .
You love
me. You might as well try with your bare
hands to stop the flow of the Yangtse.
GEORGE: . Of course I love you. All night
I'm tortured with love and tortured with jeal-
ousy, but the day does come at last and then
I can get hold of myself again. My love is
some horrible thing gnawing at my heart
strings. I hate it and despise it. But I can
fight it, if I couldn't, I'd blow my brains out.
Oh, I've been here too long. I ought to have
got back to work long ago. Work is my only
chance . . .
DAISY: I've loved you from the first day I
saw you. I've never loved anyone but you.
All these years I've kept the letters you wrote
to me. I've read them till I know every word
by heart ... All my pain, all my anguish,
(Continued on page 412)
THEATRE MAGAZINE, DECEMBER, lilt
Portrait by Alfred Cheney Johnston
THE MISSES GISH
Lillian and Dorothy — those fair sisters of the film aristocracy who have found their wings and
have left their erstwhile guide and mentor, Griffith, in order to co-star with Richard Barthelmess
[385]
The Mirrors of Stageland
Intimate Glimpses Into the Character and
Personality of Broadway's Famous Figures
By "THE LADY WITH THE LORGNETTE
IV.— SAMUEL SHIPMAN
AFFLUENT author of "Lawful
Larceny" and just as affluent author
of "East Is West," no less. Sammy
(nobody ever calls him anything but Sam-
my— or, at most Shippy) has made a kill-
ing writing plays. The highbrows claim
they're very bad plays, but Sammy smiles
and says they're very good plays. He has
a little theory that big ideas can be gotten
over to the pee-pul in terms that they
understand better than in terms that they
can't. And that, therefore, he is doing a
public service writing "messages" that are
really "delivered." It sounds like common
sense and maybe Sammy's right. At any
rate he is very rich out of it all and buys
all sorts of jewelry to give away to people
he likes.
Samuel Shipman has the soul of an in-
tellectual. But the gutter was his common
denominator. He says so himself. He
comes from the lowest and he has done
himself proud. He dreams of writing Ibsen
for the masses. Some day he may. In
the meantime he mingles heartily with
theatrical folk, is universally adored and
respected.
He is the shabbiest rich man that ever
lived. Russell Sage was a Beau Brummel
compared to Sammy. It isn't that he
doesn't buy handsome togs. One day he
bought thirty dozen pairs of imported silk
socks. But he slops them on somehow or
other and looks desperately untidy. His
hair is never combed, and as he sits at the
Ritz (where he always lunches) talking
really good stuff to some smartly dressed
actor friend who is trying desperately to
look as though he understood, one who
doesn't know him has an awful time to
"place him." Sammy is the beloved rag-
doll of Broadway. But his brains are any-
thing but sawdust !
V.— DANIEL FROHMAN
OVER seventy and still going strong.
Johnnie Walker and D. F. will soon
be in the same class. A great character.
The one landmark of little old New
York that is as alive today as it was
forty years ago. D. F. used to be quite
the lad when Daly's was quite a theatre.
He had one of the finest stock companies
New York has ever known at the Lyceum
and raised on the bottle and otherwise every
big light in the theatre world today. Henry
Miller, David Belasco, who-not, got their
primary lessons from the kindly brother of
the immortal Charlie.
Today D. F. is theatrically passe in one
sense but enormously active in another. As
a manager he doesn't count any more (he
doesn't want to), but as head of the Actors'
Fund he is the keystone of one of the big-
gest interests in Stageland. He gives that
splendid charity all his time. He is the
actor's biggest creditor.
D. F. has a weakness. He dances. Not
just plain home-cooked dancing, but the
fancy stuff, dips and everything. He'd
rather do a shimmy with a pretty jade
than anything in all the world unless it
be touring the country roads on his motor-
cycle. He lives in a studio a-top the Lyceum
Theatre. A den of antiques and memories
and a hole through which may be seen the
play going on on the stage below, a palace
of theatrical fascinations in which D. F.
holds forth, gives dinners more plain-
cooked than his dancing and delights all
his guests by his endless naivete and his
anecdotes of when Belasco was a lad and
got a job from him as call-boy or what-not.
D. F. will listen to anybody. He has
helped more people with advice and other-
wise than any two people in New York.
He never loses his temper. At least, I've
only seen him do that once — years ago —
with Emma Dunn. He was directing a
rehearsal and flared up at her. She flared
back and floated out of the theatre on a
current of tears. Never again has he lost
it, to my knowledge. Not even when he
heard that Billie Burke had named two
poodles after the two Frohmans, "Charlie"
and "Dan." D. F. only smiled quietly and
said, "Which is Dan?"
If all managers had his sense, his end-
less courtesy to all, his judgment (only
once did he "flop" badly, when he turned
down the script of "The Lion and the
Mouse") the theatre would be a grand
little place!
VI.-FRANCES STARR
FRANCES STARR smiles out, or looks
plaintively out, of every magazine
cover I have seen of her husband's since
they were married. Rather sure proof that
he is deeply in love. Even if he did not
evince his preference by following her,
lamblike, about. He is like Mary's lamb,
plus speech. Meet him. Greet him. And
the third sentence will contain her name.
The first holds a perfunctory inquiry con-
cerning your health. The second is an
indifferent reply to your eagerness about
his well being. The third carries the in-
formation that he is painting another por-
trait of his wife and that her beauty is so
delicately elusive that she nearly escapes the
painter. That is the reason there are so
many types of William Haskell Coffin girls,
each is different from all the rest, though
out of the face of each unmistakably looks
Frances Starr. It is a delightful state to
to be an amiable obsession of your own
husband's.
Husbands may come and husbands may
go but Frances Starr, student, will not
cease. Miss Starr does not read novels.
She admits an abysmal ignorance of the best
sellers. But she reads omnivorously of
science and psychology.
A curiously well-balanced person the
brazen little man-chaser of "Shore Leave."
Those, who are in the outer circle of her
acquaintance characterize her as "cold."
She is a bit exclusive. She does not call
everybody friend. But her friendships are
enduring. I saw a large photograph of her
which she told me she was inscribing to
one of her twelve best friends. "Twelve?"
I asked. "Yes," she lifted her wide gray
eyes from the pen point. "Am I not for-
tunate to have so many?"
A fine loyalty distinguishes Frances Starr.
Loyalty to place. Lake George she regards
as the beauty spot in the world. For ten
summers she has leased a cottage by the
lake.
"A trip to Europe for duty," she said to
me, "but Lake George for pleasure."
Miss Starr is unafflicted by false pride.
She likes to be classed as "One of the
Cinderellas of the stage." Her fine modesty
appears in another repeated phrase of hers:
"I was lucky. There are others as capable
as I am who haven't been as lucky." Which
may or may not be true.
VII. JOHN BARRYMORE
T^HAT'S John Barrymore. The public
•*- has called him John since he played
the derelict in "Redemption." From that
time he has not been called Jack, save by
his family and intimates. In that play and
in "Justice" and "Richard III" and "The
Jesters" he rose above the familiarity of
nicknames.
But there was a time when everybody
called him Jack. That was while he was
an illustrator. Yes, indeed ! He drew
cartoons for one of the yellow papers.
That was the goal of his ambition. Queer,
(Continued on page 418)
NEXT MONTH: EDGAR SELWYN, ARTHUR RICHMAN, ALAN DALE and LENOXE ULRIC.
[386]
THKATRK MAGAZME. UKCEMBKR, 19U
Eddie Buzzell
makes the
chorus pa s s
judgment on
a new comic
»ong. What
can the poor
dears do but
grin and bear
it?
Lucille Moore — jusi one of the
young ladies who dance — sill
dill a minute and walchei the
l.irdie.
(At right)
The girls —
super-flappers,
all of them,
crowd a stage
entrance t o
watch a dance
number being
"put across"
with a little
expert direc.
lion.
(Below) Elsie Lombard — an-
other of the young ladies who
dance — strikes a defiant atti-
ude and tells Eddie Buzzell
what she thinks of his jokes!
(In oval) Helen Ford — none o:her than the prima donna herself — finds
a moment of rest on a trunk. The stage cat seems to be sharing her lunch.
Pictures by Abbe
DRESSING UP "THE GINGHAM GIRL"
A Popular Musical Show in the Throes of Final Rehearsal
[387]
The Nugents
Charm Broadway
The "Kempy" Family Has
Lived a Story-Book Existence
By ALTA MAY COLEMAN
IMAGINE a man aged by twenty years
of disappointment, a man gaunt and
lean, hair grizzled, cheeks furrowed,
mouth wry with the smile of self-mockery,
his burning eyes desperately bright as he
scans the morning papers spread before him
like a ghostly doom-book in the green light
of the city's dawn. His forty-first play is
a success! Fame! Fame at last!
Such is the romantic tale told on Broad-
way— by movie writers, surely — of J. I
Nugent and his play "Kempy."
Mr. Nugent appears in the doorway of
his dressingroom at the Belmont Theatre
and chuckles. The story is belied.
He is not gaunt — a roly-poly man, Mr.
Nugent. His round face, scrubbed of the
make-up that transforms him into "Dad"
Bence, glows with health and good humor.
His softly outlined mouth with its short
upper lip is innocent of grimness. His
tousled forelock of reddish brown hair
perks up like a Leyendecker Cupid's. His
blue eyes cache a knowing twinkle.
' 'Kempy' is my forty-first play and I
have been writing them for twenty years,"
he avows, " — in odd moments. I never
had any longing to dip my pen in a gor-
geous bottle of blue-black ink and write my
name on fame's eternal scroll. I just
wanted to write a good play — you know,
to see if I could. And I kept at it —
— till you did. How does it feel, Mr.
Nugent, this business of being a success?"
"Well, now, I eat the same things for
breakfast and the sun shines just the same.
Of course I am kind of surprised at the
fuss they're making and I can't say as it
makes me mad. We figured 'Kempy' as a
bit of light summer entertainment, Elliott
and I. And Mother and I figured it would
give Elliott and Ruth a chance to show
what they could do at acting —
"KEMPY" NOT A GARRET CREATION
THUS banish all ideas that "Kempy" was
written in a lonely garret. A product
of the home circle, this wholesome comedy,
with Mother as inspiration and adviser;
son Elliott, who has just completed a course
of journalism at Ohio State University,
as chief assistant; the home town, Dover,
Ohio, contributing incidents, characters,
and local color; and the parlor of the old
homestead "The Oaks" supplying details
for the stage setting.
A fine lad of twenty-three is Elliott,
with the taut leanness of an all-around
athlete. And Ruth, a clear-eyed maiden
of seventeen with fresh rose-leaf complex-
ion and a thick braid of red-gold hair —
none of your flapper nonsense about Ruth.
They came bounding up the stairs, still
in their make-up, escorting a visitor — Will
Rogers — who com-
menced his friendship
with the Nugents in
vaudeville — how long
ago was it ? Ruth was
a baby at the time,
not more than four —
why, it's thirteen
years if it's a day !
Will was then doing
his act with the horse !
And Elliott, just turned nine, was spout-
ing a monologue ! Through the cheery talk
of old times, we threaded the epic of the
author of "Kempy" — no fevered history of
stalking ambition — but the pleasanter tale
of a good citizen who whistled while he
worked.
Born fifty years ago in Niles, Ohio, John
Charles Nugent distinguished himself at
school as speaker and reciter. The neigh-
bors claimed that Johnny got the gift of
talking from his father who was a local
labor leader. His career suffered a hiatus
when the family transferred their home
to Marshall, Texas, and at fourteen, John-
ny was a freckled-faced, bare-foot boy
toting water for the gang working on the
railroad.
But four years later, he was "on the
stage" in earnest, playing all the varied
characters that fall to a beginner's lot in
stock, and long before he had graduated
to such roles as Nero in Eugenie Blair's
production of "Quo Vadis" in her Cleve-
land company, young Mr. Nugent began
to dally with the idea of writing a play.
He worked with Willard Mack in the
west as playwright as well as actor. He
read all the innumerable books on dra-
matic technique — he has always been a
great reader. Emerson, Spencer, Huxley
and particularly Ruskin are his favorites.
In 1900, his three-act comedy "An
Indiana Romance" was produced at the
Lafayette Theatre, Washington, D. C.
The resultant publicity introduced him to
vaudeville. Billed as the "actor-author,"
he made his debut at Keith's Union Square
as a headliner on the bill with Elsie Jam's,
Kate Elinore and Pauline Hall. For
twenty years he has remained a headliner,
writing a new sketch each season, "The
Rounder," "The Squarer," "The Meal-
Hound," "The Regular" — ninety-three
one-act plays he has written for himself
and other vaudevillians. Ninety-three one-
act plays and forty-one three-act plays!
For the past three years he has been
presenting a monologue in which he speaks
on subjects suggested by the audience,
elucidating each in a half-minute talk,
witty and epigrammatic, with an unusual
command of English and a lightning-like
RUTH, ELLIOTT and DAD
("Mother" just wouldn't have her picture taken! )
clarity. No doubt about it, J. C. Nugent
knows how to boss the English language.
To make words say exactly what you
mean is no easy task. To combine them so
that they win laughter, and at the same
time accurately portray character, and also
carry forward the action of a plot is more
than three times as hard. The dramatist's
difficulties pile up like compound interest.
In "Kempy," Mr. Nugent proved that he
could make words say what he meant,
when he meant three things at once. He
has written — not a great play as he is only
too ready to point out — but a good one.
THE NUGENT PLAY-WRITING PHILOSOPHY
A PLAY is the essence of all a man
knows," says Mr. Nugent. "How can
we expect great plays? In all walks of life,
there are not half a dozen great men on
the earth at one time. A great play can be
written only by a great man. Since 'Monte
Cristo', there have been less than twenty
plays of deep originality. The rest are by-
products— different versions of familiar
ideas. The play that impressed me most
in recent years is Barrie's 'Dear Brutus.'
Shaw? Well, now, Shaw — I'm sure he'd
be worried about what a vaudeville actor
thinks of him. But I find him too cynical
and paradoxical. I hold with John Ruskin
when he said: 'In these days of book
deluge, never read anything that makes you
doubt or makes you bitter.' Plays or books
— I believe it's better to fight shy of any-
thing that lessens our usefulness."
This wholesome philosophy is responsible
for the charm of "Kempy." There is no
villain in the piece, nothing base or sordid.
"Dad" and "Ma" Bence, their three
daughters, their daughters' bsaux — all 'of
the characters in Mr. Nugent's comedy are
sound at heart. Their foibles make us
laugh — but with the kindly laughter that
we give to those who are dear to us.
And this same philosophy, which is the
very spirit of true Americanism, is respon-
sible for the charm of the Nugent family.
J. C. Nugent now turns it into drama, but
he and his wife have always put it into
action. It is the very instinct of Mother.
For twenty years an actress — she has played
(Continued on page 416)
[388]
THEATRE MAGAZINE, DECEMBER, 1912
Victor Georg
VIRGINIA MAGEE
Who after the briefest of
screen trainings is already
playing leads — most recent-
ly with Richard Barthel-
mess in his latest release,
"The Bond Boy"
Horwitz
KATHRYN McQUIRE
A charming graduate of
Mark Sennelt's classes for
comediennes who is now
working on a new burlesque
to be called "The Shriek of
Araby"
HELEN FERGUSON
A Chicago firl who has
been placed under contract
by Goldwyn and will be
seen shortly in the leading
role of a dramatic feature
called "Hungry Hearts"
Evans
NEW LIGHTS IN DARK HOUSES
A Trio of Attractive Starettes Who Are Winning Popularity in the Films
[389]
M
U
I
c
The World of the Concert Halls Begins to Stir
Conducted by ROBERT NATHAN
(The following is from the pen of Katharine Lane
Spaeth, musical critic of the EVENING MAIL, who will
assume charge of this department until Mr. Nathan
recovers from a present illness — The Editors.)
IF you asked the rotund ticket-taker at
Carnegie Hall what he thought about
the musical season, he might be a trifle
gloomy. "Well, it looks as if they would
play two a day here from December to
April. They will sell standing room for
the favorites, and the others will give out
paper. So I won't get much time to my-
self."
Musical novelties do not mean much in
the lives of the uniformed ones at Aeolian
and Town Halls, either. One season
is much like another to them, only
more so. If Nedelka Simeonova plays
her violin at a matinee recital, why
Raymond Burt may make his New
York debut as a pianist in the evening.
Eager and anxious friends presenting
punched tickets look just the same as
those excited enthusiasts who bought
seats for Gabrilowitch or Spalding or
Reinald Werrenrath. When the artist
is feminine, there is a faint thrill in
counting the flower baskets, and when
Heifetz plays, a ticket-taker with a
sharp elbow may get in a dash of self-
expression upon the jostling crowds.
PADEREWSKI'S RETURN
PERHAPS a near-Melba or an al-
most-Kreisler may be discovered
among the crop of debut-makers, and
this must be the hope of the musically
alert, for few glittering virtuosi not
heard here before have been announced
by the managers. Ignace Paderewski is
heralded. His reputation will lure the
crowds, but the great Pole has passed
his sixtieth birthday and pianistic
fingers do not grow more flexible with
age. Besides, during the past eight
years, Mr. Paderewski has had little
time for practice.
A famous Liszt pupil, Frederick
Lamond, may try American key-boards
in their home towns for the first time in
his fifty-five years. He is a Scotchman who
looks like Beethoven. His marriage to a
well-known German actress has kept him
much in Germany where they will not
permit him to play any music but Beetho-
ven's. Possibly a sentimental taste for
resemblance makes the German public
arbitrary, but if Lamond comes to the
States, he will be given freedom of choice
— among composers, anyhow.
Among the string quartets, the Chamber
Music Society of San Francisco has already
made a sturdy impression. This is the first
professional quartet to be composed entirely
of Americans, none of whom were born
East of the Mississippi Valley. This is
of vital importance to those who confuse
patriotism with art, as what Gerryflapper
did not, when Jeritza sang Farrar's roles
last season?
There will be plenty of chamber music.
The New York String Quartet, founded
by Mrs. Ralph Pulitzer, means to special-
ize in novelties, having given a new work
by the Bohemian composer, Novak, at its
first concert in October. And the Flon-
zaleys will play to the usual group of
serious listeners, with the Lenox Quartet,
the New York Trio, the Letz and the
Wendling four from Stuttgart offering
their varied harmonic seductions.
Probably the most significant adventure
in the orchestral world is the new City
Symphony Orchestra, founded by Senator
Campbell
DIRK FOCH
Who has been brought from Holland in the wake of
noted compatriot, Mengelberg, to take the baton of the
City Symphony Orchestra which is to give "music
everybody at anybody's price."
his
new
for
Coleman du Pont and a group of New
York business men. This is a sort of
"music for everybody at anybody's price,"
especially for the series of "pop" concerts
to be given on thirteen Sunday afternoons
at the Manhattan Opera House. Here, an
orchestra seat will cost but one dollar, and
a family circle seat but a quarter.
Dirk Foch of Holland will conduct, and
the eighty-three musicians have been
selected from men who have had experi-
ence in the orchestras of the Philharmonic,
New York Symphony, Boston and Metro-
politan Opera. Eleven members of the
string section were former concert-masters,
and among the soloists already engaged are
Erika Morini, violinist; Elena Gerhardt,
Paul Bender, the new baritone from the
opera-house; Julia Glass, a prodigy-child
pupil of Lambert's, and Darius Milhaud,
composer-pianist.
[390]
Milhaud should be featured as a novelty,
for he is one of the most daring and un-
conventional composers of France, a mem-
ber of the "Groupe des Six," so-called
musical Radicals. He makes his New York
debut as piano soloist with the City Orches-
tra in one of his own works. This young
Parisian futurist, only thirty years old, has
produced two piano suites, a prize winning
sonata for violins and piano, an opera to
be given in Paris this season, many songs
and string quartets.
Of course, the visiting orchestras will do
business as usual. The Philadelphians, di-
rected by Leopold Stokowski, give ten con-
certs on Tuesday evenings in Carnegie
Hall, and the Bostonians an equal num-
ber on Thursday nights and at
Saturday matinees.
Those melody-seekers who applaud
whenever a familiar tune is played have
now had a chance to hear Saint-Saens'
"The Swan" in its original suite, "The
Carnival of Animals," with which
Walter Damrosch opened the New
York Symphony Orchestra season on
October 29th. This waggish zoologi-
cal fantasy is in fourteen parts, with
such diverting titles as "Royal March
of the Lion, Hens and Roosters";
"Gentlemen with Long Ears," "The
Bird House"; "Pianists"; "Fossils".
If pianists minded when the suite
was first played at a private recital in
Paris nearly 35 years ago, they have
forgiven the genial Saint-Saens, for
with the exception of the single move-
ment "Le Cynge," he kept the fantasy
locked up during his life-time. It \vas
released for public performance in
Paris last February.
SOME VISITING CONDUCTORS
ISITING conductors will give
Damrosch and Stransky odd mo-
ments of leisure. Willem Mengelberg
comes at mid-season and Albert Coates
returns in January to delight the
devotees of athletic directing.
Bruno Walter, the retiring conductor of
the Munich Opera, comes to the New York
Symphony in February to wave his baton
over three concerts. He has directed at
Cologne, Hamburg, Vienna, Breslau, Riga
and Berlin. In spite of this, Mr. Walter
has told an interviewer that he looks for-
ward to his visit to the States, because
touring is exactly what he wants, "after so
many years of constant sameness, however
agreeable."
One stimulating bit of news is the assur-
ance that the backers of a symphony or-
chestra are actually to get some fun out of
spending their money. The Symphony So-
ciety of New Jersey, Inc., is made up of
both professional and amateur musicians.
Men who have contributed generously to
the fund will be seen scraping at cellos,
blowing horns and perhaps, if good, a
financier will be allowed the cymbals!
V
THEATRE MAGAZINE, DECEMBER. I92t
JASCHA HEIFETZ
(Right) Than whom there is no more
attractive or talented figure in the
well-filled world of the Stradivarius.
Following his recent return from
Europe, Mr. Heifetz played as is
usual, to an over-crowded Carnegie
Hall.
Whitini
RUDOLPH GANZ
Who, as conductor of the St. Louis
Symphony Orchestra, as pianist of un-
usual ability and perhaps chiefiy as
a composer it one of the outstanding
figures in music today. He is to con-
certize as usual this year.
©Harbook
IGNACE PADEREWSKI
Who after eight years devoted to the
resurrection of liberty in his native
Poland is returning to the concert
stage of which he still remains the
reigning pianistic king. The music
world awaits his second debut with
enormous interest.
Mishkin
JULIA GLASS
A youthful pianiste, pupil of the
noted American pedagogue, Alexander
Lambert, who so stirred the audiences
of the National Symphony last year
as to be among the first engaged by
the new City Symphony.
Lipnitzski
IN THE CONCERT WORLD
Four Figures That Command Attention As Instrumentalists of Exceptional Power
[391]
One does not hear of Effie Shannon these days
as often as in the old days when she was one of
the great Broadway stars. Recently she has been
in the movies and is seen here with Lew Cody
in "The Secrets of Paris"
Pola Negri, newly arrived in Hollywood for her
first American picture, hastens to try out the
much vaunted native orange. With her is Jesse
I,. Lasky, her producer (right) and George
Fitzmaurire who will direct the famous Polish star
Another old favorite that had passed from the
spotlight of Times Square into the tranquillity
of momentary retirement has returned again to
act. Here is Rose Coghlan with Lew Cody in
"The Secrets of Paris "
(In oval) Perennial beauty is the possession of
Edna Wallace Hopper who, though past fifty,
stilt looks as charming as when a star with the
original Floradora company. Miss Hopper is a
living testimonial to the merits of plastit- surgery
Pit-lures
by
Keystone
Now that Georges Carpentier has succumbed to the re-
doubtable black man, Siki, it is probable that he will
remain in the films permanently. He is seen here climbing
into his make-up as the hero of his first picture "The
Gipsy Cavalier"'
This is not a secret society passing the mystic signs but
merely a handful of Chicago Opera ballet girls rounding
out their angles in rehearsal for the new season. Conduc-
tor Polacco (left) and Adolph Bolm, the noted ballet
mapter, seem to be assisting in the ceremony
HERE AND THERE
Folks and Facts of Interest From Coast to Coast
[392]
THKATRK MAGAZINE, DKCKMBKR. 1922
HEARD ON BROADWAY
Stories and News Straight from the Inside of the Theatre World
As Told by
HENRY MILLER doesn't enunciate any too distinctly on the stage.
As a result, it is often difficult to hear him — especially if one
is sitting far back in a large theatre. When "La Tendresse"
opened in Atlantic City there was almost a riot of "louders" in the
back of the house. Mr. Miller ordered the curtain rung down and made
an indignant speech calling down the audience for its rudeness. Jeers!
He then offered to refund the money of anyone who wished it. Several
took advantage of the offer. I, for one, cannot blame them. There
is nothing more annoying than to pay to hear a play and not hear it.
GEORGE BEBAN is being more or less blacklisted out Hollywood way.
It is said he made the slight faux pas of calling all picture people "dumb-
bells," and they have resented the imputation. They say that as a matter
of fact the intellectual seat of America is in Hollywood, with a small
over-flow in Los Angeles.
MAUGHAM IRE STIRRED
J HEAR SOMERSET MAUGHAM is getting hotter under the collar
all the time as the news filters through to him of the liberties taken
with his script of "East of Suez" by the Woods directing force. I'm
looking for a little trouble.
I was informed that MARIA JERITZA was singing in Vienna this
summer for sixty thousand kronen an evening. Sounds big, doesn't it?
Probably about $6.79 cash money.
Movie censorship idiocies continue. Pennsylvania has now banned
the word "crook." That will, of course, have an immediate deterring
effect on all the young men who had elected to become one.
LAWRENCE REAMER has left off dramatic reviewing for the Herald
and turned eagerly to writing editorials for the same paper. No more
first nights for him, says he, with the ring of gratitude in his voice.
He has been to enough to earn the tranquillity of an editorial desk.
AN ALL-STAR SOIREE
^ SUPPER party at the Coffee House Club was given in honor of
MARIE TEMPEST upon her return to this country. Among those
present were: LNA CLAIRE, LAURA HOPE CREWS, M_ARY J4ASH,
DORIS KEANE, BLA.NCHE BATES, LENORE ULRIC, CARLOTTA
MONTEREY, MADOE KENNEDY. ELSIE FERGUSON, ALMA
GLUCK, PHOEBE FOSTER, TALLULAH BANKHEAD, ALEXANDRA
CARLISLE, DOROTHY DONNELLY, JULIA HOYT, CLAIRE EAMES,
MARY BOI.ANI), ELISABETH RISDON and JULIETTE CROSBY.
It is said that several motion picture companies are trying to secure
the services of MARGUERITE MATZENAUER, the contralto, but like
LOUIS CALVERT and many others, she remains deaf to their entreaties.
SIDNEY BLACKMER, who is now playing in "The Love Child," will
be seen next season in the stage version of RAFAEL SABATINI'S
"Scaramouche," which CHARLES L. WAGNER will produce. REX
INGRAM will make the screen version.
L'Homme Qui Sait
RUTH CHATTERTON will not have her photograph taken and will
not be interviewed. A novel way to get publicity!
FAME SEEKS THE "CHAUVE-SOURIS"
"PHE most brilliant audience I had ever seen in New York — not ex-
cluding even operatic first nights — was at the audience of the first
bill of the "Chauye-Souris." But even that was eclipsed by the audience
at the opening of the jh|rd_Mll_an_October_10th. I was in a sea of
social and artistic lions. With a feather-duster I could have tickled
the noses of DOUGLAS FAIRBANKS, MARY PICKFORD, JOHN
BARRYMORE, WILLIAM R. HEARST, OTTO H. KAHN, JASCHA
HEIFETZ, SOPHIE BRASLAU, ISADORA DUNCAN, COLONEL
HOUSE, CLARENCE MACKAY, and who not. Signor GEST be-
lieves in attaching his wagon to the whole milky way.
It is astonishing how closely MARION COAKLEY resembles MARION
DAVIES. At that dancing club for professionals, the Sixty Club, the
other night, VINCENT SERRANO came up and congratulated Marion
C. on her excellent work in "When Knighthood Was In Flower." I hope
no one ever throws anything at Marion D. for her excellent work in
"Wild Oats Lane"!
It now looks as if MARJORIE RAMBEAU would positively be seen
as Rosalind in "As You Like It" before the end of the season.
MARGARET LAWRENCE is one of the few players who refuses,
understand, to tour.
Why does a person go to one hotel and not another? I should like to
know why the FAIRBANKSES, Mary and Doug, always go to the Ritz ?
Why GLORIA SWANSON and CHARLES RAY think the Plaza is the
place? Why HAROLD LLOYD picks the Biltmore and VIOLA DANA
the Gotham? What sends LOUISE GLAUM inevitably to the McAlpin
and RODOLPH VALENTINO to the quiet halls of the Waldorf-
Astoria? ANN FOREST to the Netherlands and the rest of 'em to the
Algonquin? Answer me these questions, oh oracle!
What is the matter with theatrgoers out of town? Do they not want
good plays? Apparently not, for various managers have sent out on
the road this year several of last season's successes with able actors in
the casts, only to bring them back on account of poor business. Just
recently a stock company gave a magnificent performance of "Jane Clegg"
with SUE MacMANAMY and JOHN WESTLY in the leading parts and
played to less than fifteen hundred dollars on the week. The following
week the same company presented "Getting Gertie's Garter" to over-
flowing business, with the result it was held over for a second week.
What is the answer?
THIS IS THE STORY!
WHEN FAY BAINTER played "East Is West" in San Francisco, she
wagered she could travel about Frisco's Chinatown in her Ming Toy
costume without being recognized as an American. She not only won
the bet, but gained a good publicity story besides.
[393]
It appears that ZELDA SEARS has retired permanently from the
stage, in order to write. Already she has sold a new play to MITZI.
Besides plays, Miss SEARS writes stories for the fiction magazines.
I was nearly run over by an automobile while crossing Forty-fifth Street
and upon looking to see who my assassins were I found CHARLOTTE
GREENWOOD, GRACE LARUE, WILLIAM GAXTON and ROBIN-
SON NEWBOLD motoring out to Miss Greenwood's home in Great Neck,
where they were going to rehearse for the new Music Box Revue.
WILLIAM HARRIS, JR. nearly tore out his remaining three hairs
when it was apparent at the dress rehearsal of "R. U. R." how big
it was going over. It seems the manuscript reclined in the Harris office
for several weeks and was returned to Europe unread.
Met BOOTH TARKINGTON in the lobby of the hotel in which he was
stopping for a few days. It seems he had run down from his home
in Kennebunkport, Maine, to confer with M. et Mme. Ziegfeld concern-
ing the new play he was written for the pretty Billie.
It is called "Rose Briar." Together they selected a
cast and Mr. Tarkington left for another year of
seclusion. A quieter genius never lived.
GILMORE AND HOWARD JOIN
J T is almost positive that MARGOLA GILMORE
and LESLIE HOWARD will play the two leading
parts in the new Milne play, "The Romantic Age."
The courage and "tradition" of the stage was evi-
denced, when FLORENCE SHIRLEY played her
part in "Why Men Leave Home" recently, just a few
hours after the death of her mother.
During the summer ANN NICHOLS asked the members of her "Abie's
Irish Rose" company to accept a twenty-five percent cut in their salaries,
promising that if they would she would make it up to them as soon as
the regular season started. They consented, and during the last week of
September, Miss Nichols paid them all the extra money due them. A
novel summer arrangement that should be done more often.
MAUDE HANNAFORD has returned covered with glory from Australia
where she registered a big hit with theatregoers for her work in "Adam
and Eva," "The Sign on the Door" and "Scandal." She is now leading
woman for Leo Ditrichstein in his new play "The Mountebank."
Hardly a night goes by but what either LEON ERROL or WALTER
CATLET improvise two or three new lines into "Sally" with the result
that after over two years of playing, it was found necessary to cut out
twenty minutes before the opening in Philadelphia! Even then "Sally"
is the first to ring up and the last to ring down.
HELEN WARE walked carefully into SUE MacMANAMY'S apartment.
"Why do you walk so lightly," questioned Miss MacManamy. "Oh,"
exclaimed Miss Ware, "I thought you had just had your floors painted,
but now I see it is just a light coat of dust."
IT'S A SMALL WORLD!
A STRANGE coincidence is that when LOUIS F. WERBA decided to
return to the stage, one of the first members of the company to be
engaged for an important part was LILYAN TASHMAN, who was in
the chorus of the last piece he produced some years ago, "Her Little
Highness," with MITZI.
It was a brilliant opening night for PERCIVAL KNIGHT and his new
play "Thin Ice." About one hundred brother Lambs turned out to
give him welcome in addition to BLANCHE BATES and several other
celebrities.
It was an unusual sight to see two of Broadway's most popular players
viewing the Pancho Villa-Johnny Buff fight in Ebbett's field, Brooklyn,
not long ago. On close inspection, they proved to be ANN PENNING-
TON and WANDA LYON.
Throughout its run at the Selwyn Theatre, "Partners Again" had no
less than twelve different leading women.
Broadway was not a little surprised to hear
BLANCHE YURKA and IAN KEITH.
>t the marriage of
November 15th is JAMES MONTGOMERY'S lucky day. That was the
day on which "Irene" opened in New York, and he vows he will not
produce his newest musical comedy "The Little White House" unless
it can open in New York on that day.
CLIFTON WEBB, one of our favorite dancing juveniles, and last seen
over here in "Broadway to Piccadilly" is now playing the title role in
"Phi-Phi" at the London Pavilion.
A LITTLE TALK WITH DOUG
J HAD a lengthy conversation with DOUGLAS FAIRBANKS in his
rooms at the Ritz during his most recenpvisit to the East," which he
admits can in no way compare with the West.
Here are a few of the facts I learned. His j
next picture will be "Monsieur Beaucaire" and I
Edward Knoblock will do the screen adaptation.
LADY DIANA MANNERS may be his leading
woman. EVELYN BRENT has been put under con-
tract by MR. FAIRBANKS. He has theatres in the
following cities: New York, Los Angeles, Chicago,
London, Paris, Rome, Stockholm, Barcelona, Lisbon,
Madrid, Tokio, Shanghai, Havana, Brussels, and is
seen in every principal city of every important country.
He has fifty-seven personal offices scattered through-
out the world. He marvels in the terrific and rapid
growth of Los Angeles. He will spend a short time
in Mexico before starting on his next picture. He 1
will return West by the Panama Canal. He is staunch in his conviction i
that GOOD pictures will always pay, proof: the production of "Robin
Hood" was made with the profits on "The Three Musketeers." He is i
none too keen on the "star system." I can also safely prophesy the '
early joint appearance on the screen of Mary and Doug.
GEORGE GATTS is soon to present EUGENE O'BRIEN in a new
stage play from the pen of ROBERT L. DEMPSTER, once an actor
himself, which deals with motion picture life. It is said to have
nothing in common with "Merton of the Movies."
Speaking of "Merton of the Movies," I ran down to see it open
at the Montauk Theatre, Brooklyn. The house had a real New York
"first night." Among those in the audience were: RICHARD BAR-
THLEMESS, MARY HAY, DOROTHY GISH, GUY BOLTON, P. G.
WODEHOUSE, JOSEPHINE VICTOR and the inevitable FAIR-
BANKSES, as well as the authors GEORGE KAUFMAN and MARC
CONNELLY. After the second act curtain Miss Pickford was compelled
to "take a bow" in response to the applause directed toward her box.
E. LYLE SWETE, the English actor who has appeared prominently
on this side both as actor and producer, is now a member of the cast
of "The Philatelist," of which he is the author. It is under the man-
agement of The Interlude Players at the Kingsway Theatre.
NOT TO MENTION PUNCH & JUDY
/ALMOST every manager hesitates before presenting a play with an
unhappy ending, yet does one ever stop to consider the fact that those
which have lasted the longest invariably have unhappy endings. Such
• as Shakespeare's plays, fr'inst, and almost every grand opera.
At every performance RODOLPH VALENTINO attended in New York,
he was the center of attraction, even at the opening of NORA BAYES'
newest piece. Mr. Valentino is now compelled to sit tight and await
developments regarding his contract with Famous Players-Lasky. To
quote him, "I am not able to earn a living at the present time." He
has had all sorts of offers: stage, movies and vaudeville, but is forced
to ignore them all.
[394]
THE AMATEUR STAGE
Edited by M. E. KEHOE
THEATRE MAGAZINE, DECEMBER, 19U
THE CANADIAN
PLAYERS
In an isolated section of
British Columbia, milei
from any railroad,
Carroll Aiken and hii
wife, fruit rancher.,
Have expression to their
dream of many years, in
the building of The
Home Theatre, above the
fruit parking house of
their ranch. Here jn
August of this year wai
given a Passion Play,
"Victory in Defeat," so
reverent in in inception
and spirit, and to ex-
quisitely produced that
it held an audience of
small farmers, shop peo-
ple, educated Canadians,
more sophistic ated
Europeans and a scatter-
ing of Okanagan Indians.
The Episodes of "Victory
in Defeat"— three of
which are reproduced —
were acted in complete
silence, save for musical
accompaniment with
changing scenes, but
always against a sky of
fluid light that followed
the mood and nature of
the action. Each episode
was preceded by the
reading set forth in the
Programme. Churches
and religious groups
might well follow the
lead of the Canadian
Players whose produc-
tion "Victory in Defeat"
is a distinct contribution
to religious drama.
These scen.es portray
three episodes: top,
"The Crucifixio n,"
center, "On the Steps of
the Temple," lower,
"The Adoration of the
Christ Child."
C. P. Nelson
T39S]
Star dust and dreams are
the stuff of which the
children's play "T h e
Land Where the Good
Dreams Crow" is made,
and Sybil Eliza Jones
and Egbert Pettey of
Pasadena Community
Playhouse gave it a de-
lightful production en-
tirely in harmony with
the spirit of the little
play. The scene is from
the second act with the
tiny lots at the Gate
of Dreams.
The Land Where the Good Dreams Grow
A Dance Fantasy For Children
By NELLIE BURGET MILLER
All rights reserved by the Author
Dramu League Prize Play for 1922, produced for the first time by the
Junior Community Players of Pasadena, with the support of the Drama League.
SPEAKING CHARACTERS
The POET with his sack of dreams
BABETTE, the mountaineer's daughter
CEDRIC, the mountain simpleton
The SAND MAN
DANCERS
Solo Dancers:
TWILIGHT
EVENING STAR
POPPY LADY
DAWN
Chorus Dancers:
Falling Leaves
Evening Shadows
Fireflies
Moonbeams
Dream-maidens
The Asphodel Sprites
Little Bad Dreams
The Trolls
The Little Mince Pie
Dreams
The Live Bunnies
The Columbines and the
Mountain Zephyrs
The Sunbeams
SYNOPSIS
PART ONE — THE POET, THE FOOL AND THE CHILD.
Babette, the mountaineer's daughter, encounters the
Poet with his pack of dreams upon his back, and is
permitted to peep at the fragile winged things he car-
ries there. The poet goes grumbling good-naturedly
toward home and the work-a-day world that awaits him.
Cedric, the mountain simpleton, who believes it his
daily task to put the birds to bed and waken them at
dawn, meets Babette and tells her that if she dares to
tarry till the evening shadows gather and follow the
Sand Man upon his nightly round she may discover the
land where the good dreams grow.
Babette lingers till twilight comes and deepens into
night. She sees the Sand-Man and follows him
stealthily.
INTERLUDE— THE "SLEEPY SHEEP SONG."
The Sand-Man leads the sleepy children to their beds,
counting the shee,) jum.> over the fence as they go.
Babette follows.
PART TWO— THE LAND WHERE THE GOOD DREAMS
GROW.
Outside the City of Sleep with its doors where the
good and bad dreams jind egress, Babette sinks to
sleep. The Poet, reading from his book, passes through
the door of the good dreams. The Poppy Lady enters,
notes the sleeping child and compassionately bars the
ivory door through which the Bad Dreams come, but
Cedric slips in and mischievously sets it ajar. The
Bad Dreams haunt the sleeping child until the Po py
Lady discovers her plight and soothes her with happy
visions from the low dark door. As dawn approaches
the dreams all retire and the sun awakens Babette.
The Poet finds her with compassion but she exults
in the thought that now she, too, has dreams that may
find wings and fly. Cedric catching her exultation
wakens his birds to joyous song.
PART ONE
SCENE 1 — (Pleasant wooded glade with moun-
tains in background. Late afternoon. From
trail at rear right the POET enters ; he is old
and shabby and carries a pack on his shoul-
ders. As he reaches the level ground he pauses,
wipes his broio and shifts the pack to the
other shoulder, he is -whistling very softly and
cheerily.)
POET:
Another golden day I've spent right royally,
I've held its hours up and watched them fall
Without regret in Time's old hour-glass.
Another wasted day Janet will cry —
Ho hum, well after all 'tis but the wasted days
That count for aught in my life's calendar!
(He looks regretfully back at the mountains
where the sun's last glow still lingers and sings:)
O, 'tis sweet to live and sweet to love,
And sweet to follow the little road,
With heart as light as the day is bright,
And back without a load ;
To loaf and dream and sit in the sun,
And think of your blessings every one,
The love that shines in a thousand ways
Through all the length of your gypsy days.
(Sits down wearily, rests his pack carefully be-
side him and watches dreamily the dance of the
FALLING LEAVES.)
FALLING LEAVES — Chorus dancers in brown dra-
peries with gleams of yellow and crimson in
the inner draperies and scarfs. The dance is
tripping, floating, rustling — the melancholy of
the brown draperies and softly dreamy move-
ments relieved by touches of crimson and gold
expressing sheer happiness.
(As the dancers retire BABETTE, the moun-
taineer's daughter runs in from the left. She is
breathless, barefooted, bareheaded and simply
clad. Graceful, dark-haired, dreamy child.)
BABETTE: (Softly speaking to herself)
I thought I heard the mysterious "Old Man
of the Mountains" here somewhere. I wonder
where he's been today and what he carries
in that sack?
POET:
How now, Babette, like all your sex you scent
a secret from afar. And what will Babette give
the "Old Man of the Mountains" for a peep
into his pack?
BABETTE: (Drawing back startled and abashed)
I beg your pardon, sir, I must have spoken
all my forward thought aloud, but who has
told you of my name?
POET: (Kindly)
There's something in these solitudes that whets
The senses of a man to keener edge,
And not a secret wish that's whispered here
But may find wings and fly — Believest that,
Babette?
BABETTE:
You speak so strangely, half you frighten me !
For / hear naught within the mountains here
Naught save the ringing blows of father's axe,
Or the shrill whining sound of whetted scythe,
And mother's echoing call from out the cottage
door.
(S/ie pouts)
I wish that I could see and hear as thou !
POZT: (Drawing her gently down beside him)
A wiser man than I hath said, my child,
That they may only learn to see who look
Through falling tears, that they alone may
hear
Whose ears are deaf to sound of worldly
strife —
But that's old doctrine for a child like you
(Babette all unheeding his philosophy looks curi-
ously at the poet's pack)
What do your neighbors say of me, my dear,
and of my pack?
BABETTE : ( With all a child's importance at
divulging a bit of gossip)
Some say 'tis simple, roots and herbs to make
rare cordials and sweet-smelling balms for
wounds, and that you make a deal of money
from the things we count as worthless; others
say you seek for gold and carry bits of rock
to test in secrecy, and then they shake their
heads and laugh —
Tell me, do you get much money for the con-
tents of your pack?
POET:
A pack like mine could not be bought with
gold, my child.
BABETTE: (Leaning forward eagerly)
May I lift it, is it so heavy then?
POET: (Sadly)
Sometimes it is, and makes my shoulder sore,
But that is when 'tis emptiest!
BABETTE: (Petulantly)
You're teasing me with joking words —
I have a mind to tell you what old Rachel
said —
'Twas not polite, I did not think to tell.
(Continued on page 428)
[396]
TIIEATRK MAGAZIM:. UKCKMBKR, im
THE
A M A T E U
GREEN
O O M
News of the Colleges, Schools and Dramati, C
THE COUNTRY THEATRE
THE Cornell Dramatic Club conducted
the New York State Fair Country
Theatre in September for the fourth
year with conspicuous success. The Thea-
tre played forty-five performances during
the week and to total audiences of over
fifteen thousand. Four of the six plays
presented were original New York State
plays submitted for the State Fair Com-
mission prizes for plays dealing with
country life. The quality of these plays
encouraged the State Fair Commission to
conduct another competition closing Febru-
ary 1st, 1923, for plays dealing with
country life themes. Full information may
be obtained from A. M. Drummond,
Cornell University, or C. W. Whitney,
State College of Agriculture, Ithaca, N. Y.
PRIZE PLAY CONTESTS
PHE Drama Branch of the Community
A Arts Association of Santa Barbara,
Cal., announces a contest for both full
length and one-act plays, which will close
February 1st, 1923. The prizes will be
awarded and successful plays produced by
the Community Arts Association before
June 1st, 1923. .
The Forest Theatre of Carmel, Cal.,
offers a prize of $100.00 for an original
play suitable for presentation on its outdoor
stage, during the sum-
mer of 1923. There
is no limitation as to
subject or scope, though
a full evening play will
have a decided advan-
tage over a short or an
exceptionally long one.
Address Mrs. V. M.
Porter, Secretary For-
est Theatre, Carmel,
Cal.
"THE LAND WHERE THE
GOOD DREAMS GROW"
PERHAPS one of
the most delight-
ful children's plays that
has recently come to
our attention is "The
Land Where the Good
Dreams Grow" which
was given its second
production by the
Junior Players of Pasa-
dena Community Play-
house. Egbert Pettey
r/ho designed and exe-
cuted the set shown on the opposite page,
at a cost of little more than fifty dollars,
gave it all the glamour of a Maxfield
Parrish picture. There was the Gate of
Dreams, and beyond, the skyline of a dis-
tant city. Within the Gate billowy masses
of purple and pink tarlatan were trans-
formed into clouds by the play of lights,
and as if by magic, a city of dreaming
sleep rose out of cloudy mists silhouetted
against a deep blue sky.
Lack of space will not permit an account
of the production — of how the children de-
signed the costumes — the bird orchestra
— and all the other fascinating details, but
we shall be glad to send to those who are
interested, a brief description of the pro-
duction from notes supplied us by Sybil
Eliza Jones who directed the play.
WESTERN MARYLAND COLLEGE
TNDER the direction of Dorothy Elder-
*-' dice, a company of college players are
being organized at the Western Maryland
College, who plan to take their plays on a
tour of the State. The first local bill will
be "The Shepherd in the Distance," "The
Man Who Married a Dumb Wife" and
a group of Russian and Danish dances.
Credit is given at Western Maryland for
dramatic work and a new course in Bibli-
cal Drama has been instituted for the pur-
VALERIA PETRI— DIRECTOR
An ambitious title for a fourteen-year-old girl, hut none the less appropriate, since Valeria Petri
of Closter, N. J., has had three successful plays to her credit. Her first attempt at production was
the staging and directing of "The Sleeping Beauty" and during the past summer, she directed
"The Slave With Two Faces" and a revival of "The Linder Box," playing the leading roles
in each. She is shown in a scene from "The Slave With Two Faces," surrounded by her
youthful players. We predict the Professional Stage will hear from this embryonic producer,
who will go abroad shortly to complete her study of dramatic art.
pose of training play directors for church
work.
THE STROLLING PLAYERS
HE Strolling Players, a little Theatre
group of New York, announces several
vacancies in the casts of the one-act plays
which it expects to produce shortly. Inter-
ested players are invited to call at 190
Amsterdam Avenue on Tuesday and Fri-
day evenings, or communicate with Mr.
Jack Shatter, 250 West 57th Street, New
York City.
THE CORNELL DRAMATIC CLUB
THE Cornell Dramatic Club plans a full
year of activities on the Campus, be-
ginning with a group of country theatre
plays to be presented at the Campus Thea-
tre, November 20th and 21st, and of
monthly groups of worth while one-act
plays during the balance of the year. Over
one hundred undergraduates will be en-
gaged in these activities which open up
for them opportunities for work in acting,
staging, lighting, directing, costuming, busi-
ness management and play-writing. In
addition to the usual activities of the
Campus Theatre, it is planned in line with
the policy of the Club, to present two
long plays from the European Theatre, not
previously seen on the professional stage in
America. Stuart
Walker's production of
'"The Book of Job" is
also scheduled to ap-
pear under the auspices
of the Club in Novem-
ber, and a competition
for original plays writ-
ten by Cornell under-
graduates is expected to
produce Cornell plays
for two or three groups
the second term.
SHAKESPEARIAN L E C -
TURES AT NEW YORK
UNIVERSITY
A SPECIAL course
of lectures o n
"Shakespeare on the
Stage," to be given by
Mr. Louis Calvert, is
announced for the com-
ing school year by
Dean John R. Turner
of Washington Square
College of New York
University.
[ 39', ]
For the benefit of communities who may wish to include Stuart Walker's inspiring pantomime,
"The Seven Gifts," in their Christmas program, we are reproducing this scene from his pro-
duction, given in the open on Christina? night, 1915, before the Tree of Light, at Madison
Square Park, New York, where ten thousand people witnessed the play.
Community Dramatic Activities
Suggestions For a Community Christmas Celebration
HOW shall a community give a Christ-
mas Festival that will include people
of all ages and all creeds and con-
ditions,— one that will also comprise dra-
matic, music and choral interests, and will
enlist the co-operation of all organizations.
The most direct and practical answer to
this question is to tell how Gloucester,
Mass., did it — last Christmas.
THE GLOUCESTER CELEBRATION
"C'OR Gloucester had a Community
A Christmas Tree; city-wide carolling
processions ; a beautiful production of
Stuart Walker's pantomime, "The Seven
Gifts," and a Sunday night Christmas cele-
bration in the Gloucester City H-J1.
With F. H. Farley, special organizer for
dramatics for Community Service (Incor-
porated), directing, Community Service
received the co-operation of the Gloucester
schools, clubs and churches, the Chamber
of Commerce, American Legion, Y. M.
C. A. and all the merchants of the town.
A corporal's squad from the American
Legion went out into those Massachusetts
hills and found a stately fir tree, hauled
it into town, put it up and lighted it
several days before Christmas. Wiring,
lights, electricity, 500 pounds of candy,
bags made and decorated by the public
school children, and the green for decora-
tions were all donated.
Children's Celebration widely heralded
by the newspapers, took place on Saturday
in the City Hall, with the president of
the Cape Ann Community League, Mr.
Charles Kerr, as Master of Ceremonies.
Meantime a "Learn a Carol a Day"
By ETHEL ARMES
Community Service (Incorporated)
campaign, which had been run in the
local papers all week, prepared everybody
for Christmas carols, so after the Chil-
dren's Celebration, in the evening when
the carolling took place, eight sections with
leaders and trumpeters covered the whole
city. Houses were lighted with candles
and there was an impressive service around
the tree. At the City Hall the following
day a program of carol singing with two
of the best soloists in Gloucester, preceded
the Stuart Walker play.
Everyone was welcome. Everyone had
a good time. Everyone felt like saying,
"Merry Christmas."
"THE NATIVITY"— A REVERENT AND IN-
SPIRING CHRISTMAS PLAY
INHERE is at least one pageant-play for
•*• Christmas season that can never be
repeated too often. That is Rosamond
Kimball's "The Nativity." It has beauty,
dignity and simplicity. Following the
Bible, it tells the story of the Nativity
through a series of tableaux accompanied
by carols and hymns sung by the audience.
There is a reader who may be either a man
or a woman. Nine men and women or
nine children comprise the cast with at
least twenty people in the chorus. The
play usually lasts one hour and is given
on a stage with one draped interior setting
with changing properties.
Last Christmas this play was given in a
large number of churches and schools in
many sections of the country. It will
doubtless have an even larger presentation
this Christmas. It can be done in less
than a week's preparation. It has formed
[398]
the central feature of many Community
Service Christmas celebrations, for three
years past.
One of these, given last season in Locust
Valley, L. I., N. Y., under the auspices,
of the Neighborhood Association and the
Matinecock Players, Sue Ann Wilson di-
recting, was especially beautiful. Chil-
dren from the public schools made up the
cast. Rev. Mr. Jackson of Glen Head
was the reader. A great many children
were in the audience as it was a Christmas-
Community Evening. There was carol
singing around the huge fireplace at one
end of the Neighborhood building where
the play was given. The old English cere-
mony of the bringing in of the Yule log
was another feature of the evening
followed by singing games and the visit
of Santa Clans with packages of candy
for the children.
CAROLLING
THE stories of ten carols, which com-
prise the Christmas song sheet issued
by Community Service, have been prepared
for use in a "Learn a Carol a Day" cam-
paign. The campaign is a valuable aid to
a community Christmas celebration. Its
advantages are two-fold : It not only
causes the entire population of a com-
munity to become familiar with the carols
that are to be sung but it also makes valu-
able publicity for the celebration. The
latter is described in a bulletin on "Music
in a Community Christmas Celebration""
issued by Community Service. The
Christmas carol sheet is to be obtained5
from the same source.
THKATRK \Hi;iXI\K. ItKCKVHKK. 1912
FASHION
c4s Interpreted by
the cActress
Tallulah Bankhead, lovely heroine of "The Exciters,"
demonstrates the charm of blonde coloring framed by
a beise velvet hat that is plumed with uncurled ostrich
of the same tone. Model from J. \1. Gidding
A shinning ensemble for blonde beauty it this in which Miss
Bankhead starts her search for thrills in "The Exciters."
Black velvet makes the sleeveless evening gown with its
pointed shoulder straps and side panels, and black velvet with
tailless ermine the matching coat
The recipe for Miss Bankhead's negligee from this suine play!
Take a lace imderdress; drop over it a pink chiffon slip; add
wide panels and top of gold brocade material fringed with
silver tassels: add still other panels of flame colored liilT.ni.
Result, a robe of extraordinary grace and glorious color
[399]
(1) Very new is the small fan for theatre
and dance, and this of canary and white
marabout with ivory sticks is especially chic;
$13.50.
(2) The hand that holds it likewise exploits
a recent Paris fad — a bracelet of black
velvet studded with a cut steel design; $7.50.
(Below) (4) To all with an eye for
gifts happily combining the unusual
and practical we commend this
"Memory Kit." It consists of a com-
pact folding camera taking a picture
_M i by 3%, a supply of Him and a
handy and handsome compartment-
receptacle of mahogany, for keeping
camera and extra films together; $15.
(Below) When M. Paul Poiret was last
here he admired so much the aesthetic and
practical qualities of this particular species
of thermos that he took a dozen or so back
to Paris with him. (5) Cream-colored
enamel thermos jug, quart size; $12.50.
(6) Quart size carafe in dark green; $10 5').
(7) Jug, pint size, in rich crimson; $9.25.
FOR THE CHRISTMAS GIFT
THEATRE MAGAZINE
Since pipe smoking has become the swagger
thing for men one of these imported tobacco
pouches, in rich gros-grain silk, would be very
much in order for a Christmas gift. (13) Large
size in practically any combination of stripes,
or in plain colors, oilskin lined: S4.00. (15)
Plain oilskin covering; $1.75.
(3) A smart imported bag of medium size
knitted of heavy silk and trimmed with
small loops of steel beads is most reasonably
priced at $10.95. It comes in black, navy,
grey and brown.
The small imported porcelain figurines,
gayly colored, are having an immense vogue.
In pairs they may decorate a breakfast or
lunch table for a pinch of salt or pepper,
or be bought separately and used as ash
receivers. (8) Elephant inkwell; $12.01).
(9) Man and girl figurines $4.00 each.
(10) An ash receiver after a man's —
and a woman's — own heart! It is made
of heavy Czecho-SIovakian glass in
brilliant black and white, ornamental,
practical. Diam. 4 in.; price $6.00.
(11) Most enchanting and decorative objects
for the boudoir or balh are these glass powder
bowls, which can also be used for bath salts.
7 in. wide, 4% in. high, they are ornamented
in soft colorings of reds and greens and yellows
and blues; price $6.75. (12) Large-sized
powder puff. S3. 50.
(Left) (16) An extraordinarily lovely set of
buckles in nickel silver. They may be had in
bronze or French grey finish; $5.00.
[400]
TIIKATHK \I4C,AZI\E. IW.tMHt.K. IV22
THAT SHALL BE DISTINCTIVE
MAKES THESE SUGGESTIONS
Direct from Briges of London, where they
grow the de luxe sticks, come these three
doggy ones. (19) A stick of oak, natural bark
finish, with silver top; $10.50. (20) Unusual
stick of splashed rattan; $9.00. (21) Stick for
ihe racing man of cherry with silver collar and
a silver pencil that fit? in'o the top; $12.60.
The last word in imported cigarette outfits
for Madame. (25) The cigarette case is in
dark hlue moire edged with silver and car-
ries its matchbox on the hip, since "the
perfect female always furnishes her own
matches." Price, $6.50. (26) The cigarette
holder is of black composition, with a slender
band of brilliants; $7.95.
SHOPPING INSTRUCTIONS
The THEATRE MAGAZINE will gladly buy
and have shipped any article shown on
these two pages. When ordering please
slut? article and give its order number.
Make money order or check payable to
the THEATRE MAGAZINE. Order promptly
that you may be sure to find the article
you select in stock, and where possible
suggest a second choice.
(.17) Since fashion now demands that a
woman must have in her repertoire more than
one perfume, this gilt and glass 1-compurtment
container, tapped by means of its small gilt
stoppers, should be very timely; 815.00.
(Below) (22) For "the person who has every-
thing" we heartily recommend this quaint pair
of stags, beautifully executed by a Viennese
artist and found only at a certain exclusive
place. The bodies of the stags are gilded, the
bases are washed in white water color, and
the whole stands about 8 in. high ; $25.00.
418) Earrings are one of the Kmart woman"*
most important weapons this season, there*
fore they are a happy choice for a holiday
gift. Martha Manefield prevents the fascinat*
ing ornament in a series of flexible cut steel
loops; $16.50.
(Below) (24) A novel and chic powder
and lipstick accessory that Paris sends us,
the powderbox being of black teak wood ;
No feminine apartment is complete these days
without an electric perfume burner. (23) In
choosing this gaily caparisoned porcelain
elephant as a gift you bring not only per-
fume but luck to the house; $18.00.
(Below) (27) Another type of buckles, as
there must be at least one pair in every
woman's wardrobe. These are fan-shaped,
studded with French brilliants; $10.00.
(Below) Lovely pieces of the modern lustre
pottery full of happy color. (28) Compote in
orange or blue, 12 in. in diam. ; $10.00.
(29) Candlesticks 10 in. high lo match;
$10.00 a pair. (30) Tinted shell flowers the
latest in cent rep irr*-: >1 ..~>U in *J.on a >pra> .
[401 I
Florence Shirley's evening frock in
"Why Men Leave Home" is the most
deliriously shimmering affair, all in
while and silver, white lace being
embroidered in delicate silver tracer-
ies and hung over a slip of cloth of
silver. Around her brown hair Miss
Shirley wears a bandeau of silver
gauze leaves and on her feet slippers
of white and silver brocade.
Luscious in coloring is Miss Shirley's
frock of softest yel'ow duvetyn !
Subtly draped, il is trimmed with
fringes of chenille around the short
sleeves and hanging in long lines from
waist to hem, chenille in tones of old
rose and French blue. A yellow
duvetyn cape collared in white fox
accompanies the frock, and fawn suede
slippers with blue enamel buckles.
(Left) Supplement this picture of Miss
Shirley's negligee with the details of
silver-frosted lace, pink chiffon, swans-
down, and a touch of blue.
A close-up of the silver brocade slip-
pers, that accompany Miss Shirley's
evening gown and negligee. They are
adorned with the newest thing in silver
filigree buckles backed by a narrow
trimming of the silver brocade mate-
rial. From the Henning Boot Shop.
FLORENCE SHIRLEY'S NEW PLAY,
'WHY MEN LEAVE HOME,"
OFFERS NO GROUND FOR
To go with Miss Shirley's yellow
frock above, Henning suggested these
slippers in imported fawn-colored
suede with blue enamel buckles and
blue velvet centers matching the blue
tone of the chenille fringes
COMPLAINT AS FAR AS FROCKS GO
[402]
THEATRE MAGAZINE, DECEMBER. 19it
THE
OU all know Paul Poiret as the
great designer, the great artist,
in costume. But we wonder how
many of you know him as a
master creator of perfumes as
•well. Yet he is as incomparable in this metier
as he is in that of frocks and their bye-products.
M. Poiret has created marvellous scents,
odours, to enhance the charm of women. He
has captured them from plants, from trees,
-from fruits, from sources which, until his orig-
inations, were supposed incapable of being
transmuted in this fashion. And the results
have been a series of perfumes with a subtle
quality, a fascinating novelty and modernness
hitherto unknown.
We interviewed M. Poiret at the Ritz the
day before he sailed . . nine-thirty of a wild
and stormy September morn. And already at
that brisk hour we were third on a list. M.
Poiret had been seeing people since eight o'clock.
Let no one tell you the artist is an unbusinesslike
person, impractical, diffuse in talk, unpunctual
to engagements. In many instances we have
found him more businesslike and efficient than
even the so-called professional business man.
That is at least, the big artists . .
Our interview with M. Poiret for example,
was as smooth, as suave, as utterly time-saving
as the best efficiency expert could wish. It
flowed in a beautiful curve from the moment
when M. Poiret opened the door of his suite
for us himself, swankily clad in brown and
a scarlet cravat, to the end of the half hour
when the door closed on us again . . the exact
measure of gracious courtesy from M. Poiret
that the occasion demanded . . not a superflu-
ous phrase in the telling of his story. Here it
is, as he gave it in his fluent and excellent
English delightfully tinged with French idiom
.and accent.
M. Poiret not only creates his perfumes, but
designs his bottles and the boxes they come
in as well. Here is perfume "Pierrot" in
his white muslin frill and with his au-clair-
de-la-lune box.
"To begin with," said M. Poiret, "I have
had a very definite purpose as parjumeur . .
I have tried to create a new aesthetique with
my perfumes, as with my clothes . . to teach
a new way of perceiving odours and scents
in general, a new technique in smelling. It
occurred to me when I was in the country, and
I sleep on the grass, and I smell the verdure,
the foliage around me, why is it that people
always make perfumes from flowers? Why
not from these things as well? Surely they
are as stirring, as thrilling . . these scents of
the damp earth and the leaves, the pine trees,
the salt marshes, as those of flowers . . much
more so to some of us . . So I make a
perfume from the grass . . You know how
fragrant it is when you crush it in your hands
. . And from the boxwood . . And from
the ivy . . And from the moss . . I have
made a perfume even from the plants that grow
deep in the sea . . They have a sharp, a
bitter smell . . how you say, amerf Yes,
pungent! And when I do use a flower I take
an unusual one . like geranium for instance.
"I have made a very wonderful perfume from
ivy leaves and geranium leaves combined . .
I will show you . . I have some on my dresser."
M. Poiret makes a swift dart into another
room and returns with a small round bottle
with dark ivy-colored stopper. "Mea Culpa"
is its name . . We are urged to put some on
the fur collar of our coat, where we are as-
sured it will linger a long time . . A French
trick, evidently, this mingling perfume and
fur . . We remember it was the manner in
which Yorska perfumed us with the divine
Sarah's favorite odour . . Which reminds us
to ask M. Poiret whether he believes in one
perfume for a woman, that is always to be
identified with her, that lies in the scent of
her glove, her handkerchief, that lingers in a
room after she has left it . . But no, he agrees
with us, that we are more complex nowadays
A woman needs many scents . . But she
must choose only those that reveal herself . .
"Some days she is good-tempered," twinkled
M. Poiret, "and some days she is bad-tempered,"
modifying this momentary lack in French gal-
lantry with one of the two smiles he permitted
himself during the half hour. "So that she
must have scents for each mood . . and she
should have the same diversity for each cos-
tume . . Just as you say, Madame . . But
these scents, whether they are six or twelve,
all will be in the same tone, the same key . .
They must harmonize with her personality."
[403]
And did M. Poiret believe in any scent for
men? We know the Latin thinks differently
from our men about that . . The usual Ameri-
can feels that he is not a 100 percent, red-
blooded male if he uses any scent, except pos-
sibly a touch of eau de cologne, or lavender
water after shaving . . But why should he
not, if he likes perfumes, why should he not
wish to use them . .
"There is no reason at all," answers M.
Poiret quickly. "But my perfumes are best of
all for him, because they are not from flowers
. . they have a tang . . what you call over
here 'pep' . . they mingle well with tobacco . .
With some of my bottles I have a glass stopper
and with that one may perfume one's ciga-
rettes. We cannot buy them already perfumed
in Paris, since the government owns the tobacco,
and we must buy the kind of cigarettes he
makes himself.
"I start in making perfumes first as an ama-
teur, for my own amusement and pleasure . .
I make them in my own house . . And then
my friends like them so much they ask me
to make some for them . . And then I make so
many I must ask people to pay . . And finally
I take up the making of perfumes seriously
and now I have my own factory . . I am
happy to see so many of my perfumes in the
stores here, too . . I have a perfume that is
made from old leaves, that rich damp smell of
the woods in autumn . . There is one made
only of fruits . . 'Forbidi'en Fruit' I call it . .
"Just before I leave Paris I have made a
perfume which I shall call 'Bosquet d'Apollon.'
It represents Versailles . . all the foliage, the
verdure there, after a rain, the scent that comes
from the grass and the leaves as you crush
them underfoot in walking . . It will be ready
in a few weeks . . I like always that my scents
become well-known before they are actually
ready to be sold . . A perfume to be right
must stand, be matured in the wood some time,
like wine, like a true liqueur . ."
There we found our time was up . . And so
fascinated had we been by M. Poiret's descrip-
tions we rushed forth to a round of the various
"beauty" counters, to discover who kept the
Poiret perfumes and what were their various
names and odors. Succumbing to their lure
we bought two wicked ones for ourself, and
three others for Christmas presents.
(For the names of the Poiret perfumes and
•where they may be purchased write The Vanity
Box, care the THEATRE MAGAZINE. 6 East 39/A
Street, N. Y. C.)
A Forecast of Fashions in
There is a graceful balance about
this H. C. S. model which enables it
to hug the highway cleverly and
take sharp turns comfortably. Its
leather trimmed, steel bound lug-
gage trunk resls securely on broad,
thick cast aluminum bars.
The Haynes Automobile Company is
responding to the demand of the great
body of motorists for a lithe, fleet,
powerful touring automobile of me-
dium weight and medium price that is
full> equipped with the latest and most
approved accessories and fittings.
The 1923 model four passenger
Lexington Brougham with the
powerful Ansted motor has main
•"•>• features, not the least im-
portant of which are the slender,
yet rigid supports of the sloping
windshield, permitting a clear
vision on eilher side.
The new Cadillac Victoria, w
ample room lo seat four,
ample room lo seat lour, is
without question the finest
model of this type ever pro-
duced by the Cadillac Compiim.
with
is
finest
The Packard five passenger limousine-
sedan is a car designed to be owner-
driven or chauffeur-driven, with a
movable plate glass panel between
the driver's seat and the rear, chang-
ing the car from one lo the other.
[404]
THEATKE »M6.4/7V. HHtMHKK. 1V22
This Season's Closed Cars
This smart new H. C. S. Sport
Sedan is the style of 1923 in closed
car bodies for touring and daily
needs. This rar is the result of a
two years' study by Harry C. Stutz
who rails it his finest product.
1923 model Slutz Coupe
the serviceable charar-
; for which the Slutz is
Its body is full alumi-
d its woodwork designed
liet dignity and sim-
plicity.
In the Fim we have convincing evi*
dence that beauty, power and economy
can be made into an automotive
masterpiece. There is a rugg'edness of
line which suggests great capacity for
service while >et making for unusual
-marines!*.
A new model of Paige Sedan whit-h-
en joys a pleasimt emphasis on hori-
zontal lines and sufficient length to
seat seven passengers comfortably.
Interior richness comes from heavy
uphostering cloths and silver fittings.
The Jordan Brougham is proving par-
ticularly popular because of its com-
pactness and ease of driving. It seats
five people comfortably, and has a
trunk rack in the rear.
[405]
The International Periodical of the Stage
THEATRE MAGAZINE
ANNOUNCES AS ITS FEATURE
DEPARTMENTS FOR 1923
ANEW PAGE of review and comment upon the films by
CLAYTON HAMILTON. Mr. Hamilton, one
of the foremost critics of dramatic art living, is fresh from a
vivid two-year experience in the motion picture industry and
his first writings upon the subject begin with the January THEATRE
and will be watched with unusual interest.
FOREIGN LETTERS —No accomplishment of interest
in the theatre anywhere in the world will fail to be
reported by THEATRE MAGAZINE during the coming year. We
have organized a globe-wide chain of correspondents who will
keep us au couranl of theatric activities everywhere, particularly with
a view to covering material of especial interest to American readers.
THE MIRRORS OF STAGELAND— A brilliant and
often scathing analysis, under the microscope, of Broad-
way's famous figures. The writer — who signs herself The Lady
<with the Lorgnette — bears a name that is one of the two or
three best known journalistic names in America and her reason for
anonymity will be patent to those who read. This new department
will probably be continued throughout the year, treating three or four
personalities monthly.
ANEW PAGE of review and comment upon the variety
stage to be conducted by BLAND JOHANESON. As
vaudeville improves, which it has been doing steadily, intelli-
gent people everywhere — especially in centres not served regu-
larly by the legitimate stage — are forming a keen interest in the world
of the two-a-day. This entertaining and informative page, to be
conducted by an expert, will be the first of its sort in a first-class
magazine.
MTjSIC — This recently started department conducted by
ROBERT NATHAN, former musical critic of the
Brooklyn Daily Eagle, has already found marked response
among those of our readers who wish to be kept advised on
matters of interest in the concert and opera world that the person
who counts himself well-informed must know. Its treatment, both
in criticism and otherwise, will be untechnical.
HEARD ON BROADWAY -This highly popular
double-page feature, signed anonymously, will be, of
course, continued. It is a chatterbox and news guide to the
inner theatre and serves up tid-bits of newsy information one
rarely sees elsewhere. L'Homme gui Sail is not a writer. He is a man
of the theatre, so singularly situated as to be the intimate of hundreds
of its people and cognizant of all its doings.
ADRIFT IN THE ROARING FORTIES— A page of
paragraphs by that amazing artist in words, BENJA-
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BROADWAY SUCCESSES —both in complete pictorial
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PICTURES -THEATRE MAGAZINE it famous for
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AMATEURS —Those "faithful" of the theatre to whom
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MR. HORNBLOW GOES TO THE PLAY —This
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WHO ARE THE AMERICAN PLAY-
WRIGHTS—AND WHY?
(Concluded from page 360)
gent were great — but they were in-
escapably the chief figures in the field
of intelligent drama. Today they are
hardly to be reckoned with in that
field — which in itself is an indication
of a remarkable change and perhaps
a remarkable growth. Certainly we
do not look to them for either our
drama of today or our drama of to-
morrow. We begin to suspect that
Thomas was a master of theatrical
formulas who had suddenly become
a convert to the new faith — but with-
out conviction or creative fire. We
begin to feel that Walter's "The Easi-
est Way" was a fine random thrust of
a fairly talented man. We begin to
question whether Mackaye's wonder-
ful vision can ever be harnessed to a
theatre that exists or can exist in our
time. We turn rather to a new gen-
eration.
Between the two generations, how-
ever, is a connecting group that is
important in the sense of having car-
ried on something of the traditions of
the theatre of a decade ago, but with
a slant toward the future. They range
from such a sincerely-intentioned
realist as James Forbes — who outgrew
the obvious mechanical qualities of
"The Chorus Lady" and became the
thoughtful and fairly skillful author
of "The Famous Mrs. Fair" — to the
facilely amusing George M. Cohan,
turning out the same old Cohan hokum
but in 1922 clothes. Forbes is dis-
tinctly of the American dramatists of
today; but I dissent from the opinion
of those who claim that Cohan is the
American playwright. His plays may
portray the sentiments and the likeness
of the average American. But I beg
to submit that when people speak of
America they ordinarily mean the
finer America and not the drummer,
the spirit of the country and not its
weak practice. Cohan's plays are too
true in the surface sense to be really
true at all.
Between these two are many shades
of sincerity and hokum: Edward
Sheldon near the better end of the
list, but too seldom heard from; Frank
Craven just missing the real thing by
a hair's breadth; Owen Davis, veteran
melodrama writer contributing a
single true play in "The Detour";
Rachel Crothers not pulling herself
out of the merely-pleasant rut as she
should ; Winchell Smith, Hartley Man-
ners and some others knowing too
much about what makes a play popu-
lar; George Middleton, who ranges
all over the place; Eleanor Gates, who
may come back to touch the level
achieved in her fine "The Poor Little
Rich Girl"; and finally the best of
them all, Booth Tarkington, a fine in-
telligent figure who scored legitimate-
ly in "Clarence.''
But are these the playwrights of to-
day—or of yesterday? One hesitates
to attempt thus prematurely to put
them on the historical shelf. A certain
number of them will come forth to dis-
pute laurels with the youngsters. Par-
ticularly, perhaps, Forbes, Tarkington
and Craven (this last, indeed, being
very young, albeit trafficking too often
in old stuff). But those youngsters
have something that differentiates
them sharply from the. whole group —
an independence of the old theatre,
a living quality, a direct approach and
steadfast hold. And it is among them
— Eugene O'Neill, Susan Glaspell,
Zoe Akins, Zona Gale, Theodore
Dreiser, Sidney Howard — that I think
we are finding our first important
group of American playwrights, the
first group that will be remembered
in histories of the theatre. They are
doing the really living stage work of
today. They are of the times, and not
an echo of yesterday. Two other
names should be added, although they
are less essentially of the group, but
still very important: Arthur Richman
and Gilbert Emery. Either one might
conceivably strike a vein tomorrow
that would put him up close to O'Neill.
Without stopping to analyze their
work further, since their plays have
been so recently with us, and widely
commented upon, I want to inquire
briefly why the American stage has
such a promising group at this time.
Does the best-seller type of theatre
give birth to such artists? Well,
hardly. It goes back, rather, to the
fact that the "regular" stage got so
bad, so thoughtless about any except
best-seller playwrights, that a revolt
started that led in the opposite direc-
tion. The insurgent theatres, the little
theatres, must, I think, be given the
credit. Practically every one of the
group named gained knowledge, ex-
perience and first production in an
"outside" playhouse.
Little Theatres as such — that is, if
they remain little and amateurish and
personal — cannot help a great deal
beyond giving the dramatist his first
start. But just as they restored the
experiment-ground of the beginning
dramatist, so the thing that is growing
out of the little theatre, call it art
theatre or repertory theatre or merely
a better sort of commercial theatre,
is restoring the laboratory of the
nearly-mature playwright and the
"special" playwright, is creating an
outlet for the play that has notable
dramatic values but lacks something
of that "punch" which would make
it an immense popular success. To
my mind the salvation of the Ameri-
can theatre as an institution lies in
the establishing of more and more
of that sort of co-operative, progres-
sive theatre, until we have them dotted
in every large city in the country.
[408]
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LA COMTESSE JEAN DE LUBERSAC
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(Names used with permission)
M. Luyna hesitated a long time before he would send
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A note brings it to you — as our gift. At the same time
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[409]
FURS—
AND CHRISTMA
It is a beautiful thought
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NEW YORK
Furriers for More Than a Century
JAUNTS INTO BRIGHTEST ENGLAND
(Concluded from f>aye 364)
it the poorest of my plays. Only today
I read a review of my new novel that
was generally favorable but carried
its sting in the last line. 'Imagine' the
reviewer said, 'that the same hand
that wrote this penned "A Bit
O'Love." ' And yet — "
"The church scene is very fine,"
said Mrs. Galsworthy.
"The war has had a definite effect
on the theatre," continued the novelist.
"During the war theatregoers had
plenty of money. They went every-
where, to everything. Times are hard.
London managers haven't the money
to put in new ventures. That is why
theatres seem so helter-skelter."
"'A Bit O'Love' was a pretty play."
Mrs. Galsworthy emphasized the verb.
"I cannot understand why your
managers, when they produce English
plays do not engage English casts.
Even Charles Frohman did not do it.
They must know that the play of
English locale needs English players.
What is the reason?"
"Ignorance?"
"Or the expense. I know that was
what happened with 'The Skin Game.'
I wanted the scenery painted here and
the company engaged in London. It
was too expensive. We had to take
the best actors available in London
but the result was not altogether satis-
factory."
Praise was given the Misses Lewi-
sohn for their courage in staging "The
Mob" at the Neighborhood Playhouse.
"Ian McLaren was the best More
I have seen," said Galsworthy.
"More is a very difficult part,"
added Mrs. Galsworthy.
"The whole thing was very well
done, better than some of my other
plays. I understand 'The Fugitive'
was mishandled in production over
there."
Discussion turned to literature. Un-
like many British authors, the novel-
ist does not assert his own country-
men are the better writers.
"I think you have a fine school of
young authors."
"I don't think you pay enough at-
tention or encourage your own authors
sufficiently," said Mrs. Galsworthy.
"You have the two schools," he con-
tinued. "I don't believe the school that
says only American things are worth-
while— the cocksure, experimental
school — is a good thing any more than
the opposite school that declares
America be damned and despises any-
thing truly racial. But you have a
large number of fine writers."
"Sinclair Lewis?"
" 'Main Street' is a very good book.
It is the repetitive method of course.
Lewis has his point to make against
the small town and he hammers and
hammers at it. But it is very worth-
while. I admire it as much for the
art with which it is written as for
the subject. Both Lewis and F. Scott
Fitzgerald have been guests of ours
within the last few months. Interest-
ing young American writers."
"I have read hardly anything of
Sherwood Anderson but I like him.
And Willa Cather. There is a woman
whom you know has thought of her
story over and over until she has
found just the right form for expres-
sion. A good writer. And I like
Zona Gale. You cannot overestimate
the importance of the American
author.
"I am told our book reviewers and
our dramatic critics are better than
yours. I don't believe it. I think you
have as good writers. Take such able
men as Heywood Broun in New York
and H. T. Parker in Boston. We
have none better."
I wished to ask Galsworthy how he
answered the criticism that his plays
are so fair to life they lack the
partisanship many audiences demand
in drama. Time seemed inopportune.
The stranger feels the separation be-
tween Galsworthy and his work. If
you have watched Mrs. Fiske play
with that curious effect of being six
feet away from a character or of leap-
ing into it for a brief, unforgettable
moment, you may comprehend the
effect of a meeting with the novelist.
Only for an infrequent second did
the mentality that thought "Fraternity"
meet the menality that welcomed the
casual American acquaintance to his
tea table.
Conversation touched a translation
from the Spanish, done into English
colloquial speech. Regret was ex-
pressed at its lack, in translation, of
all the qualities possessed by the orig-
inal. In natural succession followed
talk of the drama made from a novel.
"I do not believe a good play ever
has been made from a book," said
Galsworthy. "I don't know of any.
Do you ?"
"Uncle Tom's Cabin?"
"Or East Lynne?" he returned smil-
ing.
The sunset dipped into the quiet
livingroom, lighting the flowers on the
table.
"It is quiet here, isn't it?" he said,
following the thought. "We like it.
Not exactly a refuge but away from
the world."
The questions about his plays and
their fairness to life remained unasked.
Possibly the author answered it as he
stood at the little iron gate, looking
up the peaceful, dark lane, as he said:
"After all, writing for the theatre
demands a distinct style. It is a curi-
ously artificial medium, isn't it? It
tempts one so to write just confec-
tions."
"But you have resisted it."
"Yes, I think I've resisted it as yet."
A pause. A quiet voice. "I hope I
shall continue to resist it." A hand-
shake. "Good-bye."
[410]
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[411]
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EAST OF SUEZ
(Continued from f>a(li' 384)
are nothing any more. I love you and
you love me. . . I know no duty,
only love ... I want you, I want
you.
GEORGE: Don't, don't ... I love
you with all my heart and soul. I'll
never see you again. Never. Never.
So help me God.
She stands weeping as though her
heart would break. His face is dis-
torted with agony as he goes slowly
toward the gate. As Daisy hears the
bolt drawn she cries out and falls
headlong in a dead faint. He rushes
to her. Slowly she opens her eyes
and as he raises her to her feet she
is erect in his arms. She puts her
arms around his neck and offers him
her lips. He kisses her and she closes
her eyes in ecstacy.
DAISY: Take me in. (He lifts her
up and carries her into the house).
The Amah enters and bolts the gate.
She laughs.
AMAH: Hi, hi!
Act IV. The Anderson's apartment.
Daisy is lying on day bed, reading a
letter. The Amah is urging Daisy to
divorce Harry, or suggests that Harry
might divorce her if he got hold of
George's letters. Lee Tai calls. He
tells her he is always waiting and
that she is always in his power.
He says George has booked passage
for Vancouver. Daisy sends Wu to
steamship office to learn if this is true.
LEE: . . What have you to do with
white men? You are not a white
woman. What power has this blood
of your father when it's mingled with
the tumultuous stream which you have
inherited through your mother from
innumerable generations? . . . You
can wear European clothes and eat
European food but in your heart you
are a Chinawoman . . . Your soul
is like a rice patch cleared in the
middle of the jungle. All around the
jungle hovers, watchful and jealous.
One day ... the jungle will take
back its own. China is closing in on
you . . . (Against her <u-ill Daisy is
strangely impressed by iuhat he has
said).
Amah brings in telegram announcing
Harry's arrival that evening. Wu
returns and reports that George has
engaged passage for Vancouver.
Daisy flies into a rage and beats him
on the face.
DAISY: You lie, you lie, you lie! . .
I don't believe it, oh, my God, I can't
think! (Lee /lands her a cup of tea,
ix Inch she takes and ttiroii'S in his
face).
DAISY: Get out of here, or I'll kill
you.
LEE: You forget, sometimes, the man-
ners that were taught you at that ele-
gant school in England ... I told
you I should not have to wait long.
. . Did I not tell you that the white
man's love was weak and vacillating?
DAISY: He's loved me for ten years
. . . He'll come back . . . And
when he comes it'll be for good . . .
LEE: (I'ery quietly). He's going to
be married to Miss Sylvia Knux.
(Daisy springs at him and seizes his
throat).
DAISY: That's a lie. That's a lie.
Take it back, you pig.
Lee says the Chinese all know, and
Daisy calls Amah, who swears she
heard Knox say George and Sylvia
were going to make a match of it.
Daisy's face is distorted with rage and
jealousy. She gives a cruel, malicious
chuckle and goes to Korean chest,
takes out George's letters and tells
Lee to give them to Harry the moment
he steps off the train. George calls
and Daisy reproaches him for staying
away so long. He says he had done
a vile thing and has been tortured by
thought of it ever since.
DAISY: Would it seem so vile were
it not for Sylvia? . .
GEORGE: I do think it is because she
is so loyal and good and straight that
I saw so clearly what a cad I was.
DAISY: Are you sure this admiration
of yours isn't love?
GEORGE: I'm not fit to love her.
DAISY: If you asked her to marry
you, she'd accept . . .
GEORGE: (Finality). I'm not going
to ask her.
He says he is sailing to get away
from his torture and that he is sail-
ing alone. She suddenly remembers
the letters and tells him that Lee Tai,
mad with jealousy, had broken open
the box and sent the letters to Harry.
GEORGE: . . He'll probably divorce
you and then —
DAISY: That's it — or George, perhaps
lue can get him to let me divorce him
. . . That will avoid scandal for
your friends. / don't mind — and it
would make it so much easier for you.
(He searches her eyes and sees the
scheme). George, George, you
wouldn't leave — leave me — would
you ?
GEORGE: (Urbanely). Of course, I'll
marry you. (He grows suspicious and
isonders liov: Lee kneit; she had letters
or zz/iere she kept them, and hov; he
kneiu Harry <u-as in Kalgan. He asks
if she has sent the letters to Harry,
herself, and finally forces the truth
from her).
DAISY: He told me you were engaged
to Sylvia ... In my rage I gave him
(Continued on page 414)
TIIKATKK MAGAZINE. DECEMBER, Ml
Miss
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Hem ing
who played
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looking. It prevents as well as
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WONDERFUL BASE FOR FACE POWDER.
Hinds Honey and Almond Cream is now
used for this purpose with marvelous success.
Moisten the skin slightly with the cream, let it
nearly dry, then dust on the powder. It will
adhere to perfection.
AS A MANICURING AID THIS CREAM
softens the cuticle, prevents soreness and pre-
serves the lustre of the nails.
All druggists and department stores sell Hinds
Honey and Almond Cream. We will mail you
a small sample for 2c or trial bottle for 6c.
Ask your dealer for Hinds Superior Toilet
Requisites, but if not obtainable, order of us.
We send postpaid in the United States.
A. S. HINDS CO.
Dept. 32
PORTLAND, MAINE
[413]
Gifts That Last
THE real spirit of Christmas is caught in the fine
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Davis Mesh Bag. Whether handmade, or less costly,
this gift is so thoroughly fitting, so entirely captivating
to feminine fancy that it contrasts boldly against drab,
commonplace remembrances.
Very new are bags of SUNSET MESH— a colorful blending
of red gold-, green gold-, and platinum-finish — so tarnish .and
wear proof that they can actually be washed.
For the wee girl there are miniature Whiting & Davis
Mesh Bags like mother's. Cunningly made in gold, silver,
and less precious metals. Priced to match the tiny wearer
The H' hiring & Davis trade-mark anj tag guarantee quality.
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EAST OF SUEZ
(Concluded f
the letters . . . (Violently). Do you
think I'm going to let you marry that
English girl? Has it never struck you
how you came to be wounded that
night? It wasn't you they wanted.
It was Harry . . . Yes, I could do
even that. I only wish it had suc-
ceeded ... You're mine, mine, mine,
and I'll never let you go.
GEORGE: Do you think I can ever
look at you again without horror? In
my heart I've known always that you
were evil. I've loved you, yes, but
with the baser part of me . . What
do you think our life can be together?
Don't you know what I shall be?
Ruined and hopeless . . .
DAISY: We'll go to some city where
there are no white men. We'll have
a house high up on the bank and be-
low us the river will flow, flow end-
lessly.
GEORGE: Everlastingly.
DAISY: . . I'm so tired. I want end-
less days to rest in with you. What
is the matter? You look so strange.
GEORGE: I was thinking of the end-
less days we'd have to rest in.
DAISY: If you like you needn't marry
•om patic 412)
me. George, I'll be your mistress and
your slave . . .
GEORGE: You wouldn't mind if I help
myself to a drink, will you? .
Whiskey's in the dining room,
isn't it? (He exits. Daisy goes to
chest and takes out the Manchu dress
and headdress. There is the sound oj
a door being locked and then the re-
port oj a 'pistol. Daisy shrieks and
rushes to the diningroom door).
DAISY: George, George! (Amah
runs in from courtyard). What have
you done? . . He's killed himself
sooner — sooner than —
AMAH: (Knock). There's Harry
come now . . . Me bolt outer door.
He must come round through temple.
We slip out when he come. Lee Tai
waiting for you.
DAISY: Did you know this would
happen? Bolt that door! Turn up the
lights. Now leave me ...
HARRY: Open, will you, or I'll break
it down. Open, I tell you. Open.
DAISY: China is closing in upon me.
(l.ee appears).
CURTAIN
THE FOREIGN DIRECTOR INVADES
AMERICA
(Concluded from page 369)
Komisarjevsky the man is his simplic-
ity, so the same trait rules all his
work for the stage. Neither slavishly
conservative nor extravagantly radi-
cal, he has tried apparently to seize
the best of both old and new and
mold it all into a new unity. What-
ever he does, he simplifies. His train-
ing on his tiny Moscow stage intensi-
fied what I believe is an instinctive
characteristic. For instance, one of
his favorite devices is an extremely
deep false proscenium — deep enough,
in fact, for one door or several — which
effectually masks the fly galleries from
even the first row. Behind this false
proscenium he is fond of throwing
simply a single back curtain suggest-
ing an outdoor horizon or an indoor
wall. His characters, however, play
mostly under the false proscenium or
even in front of it.
That, at least, was his manner and
method in Moscow, and whatever he
develops in New York under the stim-
ulating association with Lee Simonson
and the others of the Guild, will prob-
ably be related more or less remotely
to that manner and method.
It will be interesting in any case to
compare and contrast his work with
that of his other fellow-countrymen
on Broadway and beyond. The roster
already includes the bulbous Balieff
and his Chauve-Souris on the Century
Roof under the sponsorship of Morris
Gest ; the restive Ben- Ami, eager to
return to the stage in "The Mysteri-
ous Tales of Hoffman" ; Roerich and
Anisfeld — not to mention JBalieff's
artists, Soudeikine and Remisoff —
among scene designers ; the gigantic
genius of Chaliapin, soon due to re-
turn to the Metropolitan; the Russian
Opera Company in the provinces; and
finally The Moscow Art Theatre,
Europe's premier playhouse, scheduled
to join Balieff under the Gest banners
in January. It is a Russian season
in Gotham. Who is there left in Mos-
cow, anyhow?
NEW BRUNSWICK RECORDS
The amazing ease and sympathy of
Virginia Rea's coloratura has a sooth-
ing charm to ears often assailed by
forced staccati and sophisticated
floridity. Here is a voice of melting
quality which scales the heights with
an almost impish delight, technique
reaches oblivion in such mastery of its
difficulties. "Lo! Hear The Gentle
Lark" and "The Lass With The Deli-
cate Air" are particularly suited to
Miss Rea's gifts.
Moszkowski's "Spanish Dance" and
"Extase" by Ganne, played by the
Elshuco Trio are given with all the
rhythmic subtlety and delicacy of
shading for which this organization is
noted.
John Barclay, the young English
baritone, has recently become an ex-
clusive Brunswick artist, and his first
recordings, "I Love A Little Cottage"
and "Friend O' Mine" show lovely
quality of voice and musical under-
standing.
[414]
THEATRE MAGAZINE. DECEMBER. 192J
it) B. B. C. Co.. 1922
SWEET MUSIC AND OLD CHIPPENDALE
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to the Eighteenth Century grandeurs of famous Harewood House in Yorkshire, distinguished as
harboring probably the first authentic examples of Thomas Chippendale's inspiration, comes this
new Brunswick model — a noteworthy combination of fine music with fine furniture.
Now on exhibition at all Brunswick dealers', along with many other
designs, both of conventional cabinet and authentic period designs.
THE BRUNSWICK-BALKE-COLLENDER CO. Established 1845 CHICAGO-NEW YORK-CINCINNATI-TORONTO
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play on all phonographs
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BRUNSWICK
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[4isj
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BONDS
SHORT TERM NOTES
ACCEPTANCES
THE NUGENTS CHARM BROADWAY
(Continued from page 388)
opposite her husband in all his
sketches and but for an illness would
have appeared in "Kempy" — through
all her twenty years of life on the
stage. A good wife, a good mother,
a good housekeeper, a good cook, she
hung out her flag, a clean kitchen
apron, and none of the taint of thea-
trical life, its slipshod manners or
vagabond morals, ever touched her
home. No, she isn't the ballad type
of mother with tired, patient eyes.
There are a few silver locks among
her gold, but there are no wrinkles;
she has the trim plumpness of a young
matron and her round blue eyes are
fresh and frank as a young girl's.
"Mother's name isn't on the pro-
gram," says Mr. Nugent, "but without
any cant or sentimentalism, I want
to say that what we are and have done
is due to Mother. She started it by
marrying me thirty years ago, though
her family were pretty firm against
actors, and she's stuck by me ever
since. She taught Ruth and Elliott
all they know about life and acting
and what's good for 'em to eat. She
was always my partner in vaudeville
until three years ago the road got
too strenuous for her and I started
doing my monologue. But for her,
there wouldn't have been any 'Kempy.'
You see, one evening a couple of
years ago, when I was getting ready
to go on tour, I said: 'The plays I've
written don't seem to be the thing,
but I believe I could stay in New
York a while, Mother, if I could work
out an idea I've got — ' The next
morning, Mother made me get up at
eight o'clock and start right at it.
In two days, I had turned out the
first two acts. A couple of months
later, when I was playing Chicago.
Elliott was there in 'Dulcy.' Together,
with him lying on the bed and me in
the one easy chair they allot you in
hotel bedrooms, we worked out the
last act. When I got back to New
York, Mother thought it was a good
play and started me out to find a
producer. That script was peddled
to every office on Broadway. A year
ago it was tried out in Harrisburg.
The play went well but everybody had
a lot of suggestions. Elliott and I
took 'em. We re-wrote and re-wrote
till we lost our viewpoint entirely.
This season I got Richard Herndon
interested and we decided to produce
it together. Well, Augustin Duncan,
our director, who had seen the first
draft, and Mother — they both said the
play was all right the first time. So
we hunted up the original script —
the one they all turned down — and
that's how the Nugent family
arrived !"
FOREIGN LETTERS
(Continued from page 378)
Theatre at Bologna. The first play
of this program was Batty-Weber's
"Le Lasso," a study of life in a typical
small industrial city in the provinces.
The author is a resident of the Prin-
cipality of Luxembourg and interest
attached to the work as being that
of a foreigner who nevertheless wrote
French as his native tongue — not as
did D'Annunzio in "San Sebastien"
and Wilde in "Salome." The story
concerns the efforts of a young busi-
ness man to create for himself a
chosen career and to separate himself
entirely from the life and relations of
the parental home. By a series of
family misfortunes and misdeeds and
by the complication of his love for a
young woman inextricably involved in
family attachments of her own, he is
constantly drawn back into the circle.
The play ends logically with the sui-
cide of the .protagonist at the close
of the second act; but for some rea-
son the author has added a third act
in which the hero recovers from his
attempt at self-destruction and is
peacefully united to the heroine. The
theme is pushed a little beyond the
point of probability in several places,
but there is some good naturalistic
dialogue. It is probable that most of
the succeeding plays in the OEuvre
program will far outrank this one.
A SATURDAY THEATRE FOR CHILDREN
A REAL theatre for children has
been inaugurated in New York at
the Lexington Theatre, Lexington
Avenue at Fifty-first Street. Here
every Saturday afternoon programs
will be given by actors of the Thres-
hold Playhouse of fairy stories, plays,
stories, dances and pantomimes as
well as dramatizations of such books
as "The Wizard of Oz" and "Alice
in Wonderland." No member of the
audience may be less than seven years
old, nor more than fifteen. The thea-
tre will seat two hundred kiddies.
Performances begin at 2:15 every
Saturday during the season. One fea-
ture of the theatre, which is the first
of its sort, is the modest cost of sub-
scription to the entire season. Little
more than three dollars is charged for
one ticket to all of the three different
programs.
[416]
TIIKATHE
I92t
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Electric Molar.
Price $200
Exquisite
in Chaste Dignity
Heppelwhite Mahogany Period
Columbia
original of this beautiful piece of Grafonola craftsman-
_L ship was made about 1770. It is typical of John Heppelvvhite's
skill, the curved legs being characteristic of his period designs.
Rare grace is shown in the bow front and lignon, or applied relief
work, decorations that are admirable in their simple restraint.
The Prince of Wales feathers worked into the motif in the upper
center panel are at once typical of Heppelvvhite's art.
The sliding roll top on the surface of the cabinet pushes back
out of sight and reveals the mechanism. Thus, ample room is
provided for putting on records and for the movement of the tone
arm. There are compartments for records on either side and the
center panel drops down and disappears when you play a record.
The Columbia Console line includes many models in a wide
variety of designs and finishes. They are all obtainable with
electric motors.
The perfect Columbia tone and playing quality combined with
the effectiveness of the cabinet make these Grafonolas greatly to
be desired in homes of taste and elegance.
Columbia Graphophone Co., New York
[417]
KITTY GORDON
Pearls are the favorite jewels of this famous stage
favorite. "And," says she, " it is my Deltah
Necklaces that are most admired. They are so
captivatingly wonderful."
Un Collier de
Perles Deltah est le
Cadeau par Excellence
A Necklace of Deltah Pearls is the gift par excel'
ence. Such is the verdict of Paris — the home of
the finest pearls — where the lustrous beauty of
Deltahs has made them the choice of Pearl buyers
from every land.
From the world's fashion centre travelers brought
the demand for Deltahs to America. The House
of Heller responded — and today leading jewelers
everywhere display Deltahs in their dignified cases
of Royal Purple.
Deltah necklaces are indestructible, have platinum
or gold safety clasps and carry the Heller Guar-
antee showing the maker's certified price. This
combination of refinements is found in no other
necklace of Pearls.
Priced $10 to $500 the Necklace
For Illustrated Booklet Address Dept. 12
L. HELLER & SONS, INC.
358 Fifth Ave., New York Paris, 40 Rue Lafitte
Created by the producers
of Heller "Hope" Rubies
and "Hope" Sapphiies —
true precious stones iden-
tical with the fine natural
Rubies and Sapphires in
every respect save origin.
'eltah
THE MIRRORS OF STAGELAND
(.Continued f
isn't it, that everyone of the Barry-
mores has missed the goal of indi-
vidual ambition. Circumstances forced
them to take up the family "trade."
Not one of them wanted to be an actor.
Ethel longed to be a concert pianiste.
The family fortunes did not permit the
long and expensive education prelim-
inary to that career. Lionel studied
painting in Paris. He and his wife
who used to be Doris Rankin, lived
in the Latin Quarter. But rent has to
be paid and clothes must be worn and
paid for and humans have a vulgar
but irresistible desire for food. So
one by one the Barrymores reluctantly
came before the footlights, and not too
willingly have stayed. The "not too
willingly" applies especially to Jack.
I remember well when Jack was be-
ginning to draw. He had no studio
but worked in his sister's room, at
Helen Windsor's theatrical boarding
house at 61 West Thirty-sixth Street,
across the street from the Lambs Club.
Evelyn Nesbit was one of his first
models. When the Thaw trial for
the murder of Stanford White was on,
Jack was subpoenaed as a witness,
but for some reason he did not testify.
He looked then much as he does
now. He has a lion's share of the
Barrymore beauty. His father, Maur-
ice Barrymore, was a matinee idol of
another generation. John has the
straight nose, the large Irish eyes,
and the atmosphere of half melan-
choly, that all the Barrymores have.
He hasn't his Uncle Jack's meticu-
rom page 386)
lousness in dress. John Drew has
been the mould of fashion and the
glass of form, or something like that,
for two generations of playgoers. John
Barrymore, who was named after his
mother's brother, John Drew, wears
his clothes easily and with less rever-
ence for appearances. A relic of his
student days, I suppose. For at heart
he's an incurable Bohemian. Lives in
a house down in Greenwich Village,
you know. His wife— that dark, hand-
some woman with him — gives more
thought to attire. She inclines a bit
to the severe, mannish modes for the
street. Malcolm Strauss rather timid-
ly inquired one day whether she "had
got up first and got Jack's clothes".
But there was one costume in which he
made a sartorial hit. It was when
he played "The Jester" and wore the
green tights. Those green tights
caused the resurrection of an extinct
*ype, the matinee girl.
No, he hasn't much reverence for
clothes. There's something else which
does not awe him. That is the stage.
"There's a lot of bunk talked about the
art of the theatre," I heard him say.
"The truth is it's just one way for a
man to make a living."
He's happiest when a long engage-
ment is drawing to a close. Not only
through taste but through the fatigue
that not being too strong results in
these days. "Hamlet" will keep him
on the boards longer than "Richard."
Not so exacting. No back-breaking
falls to make which call for later
repairs at Muldoon's.
COSTUMES AT OBERAMMERGAU
THIS year's expenditure for cos-
tumes at Oberammergau is said
to have totalled more than 90,000
marks. While this sum is not so huge
as it sounds, by reason of the de-
preciated mark, yet it amounts to a
considerable item for the villagers,
and represents only a part of the great
expense of producing the Passion Play.
Owing to the great scarcity of ma-
terial, dyes and so forth, much that
did duty in 1910 is being used this
summer. Probably few in the vast
audiences noted the difference, how-
ever, and certainly the costuming
was one of the marvels of the wonder-
ful performances. No two garments
seemed alike, and elaborate as they
all were, there was nothing in the least
degree bizarre or unsuitable. The
amount mentioned is said to have been
contributed in one sum by a generous
friend of Oberammergau from another
country.
NEW VICTOR RECORDS
Geraldine Farrar has a charming
record among the new Victor releases.
"Si mes vers avaient des ailes" (Were
My Song With Wings Provided) is
a French concert song of an exquisite
and cameo-like purity of style, with
all the traditions of the old French
minstrelsy. Sung against the harp,
it is absolutely free from vocal dis-
play, with long, sustained, level
phrases and voice-color. Altogether
this record is of the music of pure
lyricism and sheer beauty.
John McCormack's worth and power
as a great artist are not always fully
revealed by his more "popular" utter-
ances. In November he produces a
record which shows him as an inter-
preter of music with high and serious
intents. "Oh Sleep! Why Doest Thou
Leave Me?" from Handel's secular
oratorio "Semele" is a number de-
manding great technical skill as well
as breadth of feeling. It is grave,
slow, and contains difficult spots, in-
cluding a long trill in the first phrase.
Paderewski's latest Victor Record is
one of the more familiar Chopin com-
positions. A set of variations, few in
number, on the theme of an old Polish
song, "The Maiden's Wish" (Chant
Polonais) is in a waltz-like rhythm, in-
troduced by a rippling theme, and
broken up, here and there, by unex-
pected cadenzas. Probably more than
anything else this record exhibits the
quicksilver-like brilliancy of Pader-
ewski's tone.
The role of Boris Godounovi is one
of the great dramatic presentations of
the time and is also considered as pe-
culiarly Chaliapin's "own." His
November record of the solemn song
at the moment of Boris' death will
attract great attention.
[418]
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Write or Cable to the Manase* far the tariff.
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WRAP~AROUND
Invisible Corseting
"VT°T A TRACE OF A LACING has
-L^ the Warner's Wrap-around-
just narrow sections of firm elastic
alternating with brocade, that stretch
enough to let you "wrap it and snap it"
on. And when on, the Warner's Wrap-
around is a part of yourself — not a
line showing through the gown. It
does not stretch into looseness, mak-
ing the figure unsightly, as does a solid
rubber corset. It holds you, just as
much as you want to be held — and no
more. It's a featherweight, and you're
free in it.
Prices: $1.50, $2.00, $2.50, $3.00, $3.50,
$4.00, $5.00 and up.
A BANDEAU especially designed to wear
with this type of Wrap-around. It ex-
tends \;ell down below the waist line
and stays i'ot«n securely over the low-
top of the If rap-around. Prices: $1.30
to $5.00.
MR. HORNBLOW GOES TO THE PLAY
(Continued from page 377)
The Fool
A new drama by Channing Pollock
produced October 23 at the Times
Square Theatre by the Selwyns with
the following cast:
Mrs. Henry Gilliam, Maude Truax; "Dilly"
Gilliam, Rea Martin; Mrs. Thornbury,
Tracy L'Engle; Mr. Barnaby, George
Wright; Mrs. Tice, Lillian Kerable; "Jerry"
Goodkind, Lowell Sherman ; Rev. Everett
Wadham, Arthur Elliot; Clare Jewett,
Pamela Gaythorne; George F. Goodkind,
Henry Stephenson; "Charlie" Benfield.
.Robert Cummings; Daniel Gilchrist, James
_Kjrkwoodj A Poor Man, Frank Sylvester;
A Servant, George Le Soir; Max Stedtman
Geoffrey Stein; Joe Hennig, Rollo Lloyd
Umanski, Fredrik Vogeding; "Grubby,'
Arthur Elliott; Mack, Frank Sylvester
Mary Margaret, Sara Sothern; Pearl Hen
nig, Adrienne Morrison.
A ROUTINE melodrama "of the
spirit" is this latest work by that
capable scene-maker, Channing Pol-
lock. There is nothing new in dra-
matics about a character who wishes
to live the Christ-life and has a
villainous time doing it. The theme
appeals by reason of its sure theatrical
flavor and almost any series of inci-
dents hung upon it are certain of re-
spectful attention. Moreover, if the
incidents are adequately swift and
dramatic they are rewarded with a
measure of appreciation that ap-
proaches open-mouthed wonder, unless
one has seen the same thing essayed
many times in the theatre and worn
thread-bare with use. The miracu-
lous can become the maudlin, and the
sublimest of truths sententious and
tiresome if they are put forward often
enough. This is especially true when
the putting forward is attended by an
attitude on the part of those responsi-
ble of having launched something very
great and immensely courageous. Mr.
Pollock, through all of "The Fool"
stands in deep awe at his own sudden
discovery of the principles laid down
by the Christian doctrine and, more
particularly, of the fact that capital
treats labor shamefully. There is
nothing more of the new or the cou-
rageous in "The Fool" than just that.
In 1904, the same play might have
been a sensation in every respect.
Today it may make a great deal of
money, not because it is a great play
nor even a good play, but because the
estimable Pollock has written enough
sure-fire stuff to know that even in
doing "the play he had been waiting
to write" he must not lose sight of the
good old hokum.
James Kirkwood, the picture actor,
as the young pastor who, wishing to
live after the Saviour, gets into trouble
with a capitalistic congregation, gives
a highly satisfactory performance.
Sincerity and directness give to many
of his lines a truth and plausibility
that the bombastic or self-consciously
virtuous would have destroyed. If he
is a fair example of the motion-picture
actor set loose on the stage, then I'm
for sending all Broadway to Holly-
wood and all Hollywood to Broad-
way! Otherwise, the performances
are creditable but not startling. Ex-
cept for a little girl named Sara
Sothern who is outstandingly fine as a
lame girl whose faith brings her to
walk.
The Last Warning
A melodrama by Thomas F. Fallon
produced October 24 by Mindlin and
Goldreyer at the Klaw Theatre, with
the following cast:
Josiah Bunce, Worthington L. Romaine;
Gene, Irene Homer; Robert Bunce, Clarence
Derwent; Arthur McHugh, William Court-
leigh; Richard Quaile, Charles Trowbridge;
Tommy Wall, Victor R. Beecroft; Mike
Brody, Bert E. Chapman; Evelynda Hen-
don, Marion Lord; Dolly Lymken, Ann
Mason; Harvey Carlton, Albert Barrett;
Tyler Wilkins, James Hughes; Barbara
Morgan, Ann Winslow; Jeffreys, John W.
Moore; "Mac," John Hall; Joseph Byrne,
Dewey Robinson.
AN astonishingly fine melodrama,
this piece by an unknown author
given light of day by unknown pro-
ducers. Astonishingly fine, in being at
once a technical masterpiece of its
sort and capable of ensnaring the keen
excitement of even that type of mind
that found "The Bat" and "The Cat
and the Canary" pretty dull stuff.
In fact, "The Last Warning" so far
out-classes these last-named thrillers
as to be worthy of somewhat better
adulation than mere comparison with
them.
Mr. Fallon possesses no small thea-
trical genius. His piece works with-
out one single creak ; it possesses
movement without strain, which is one
of the most difficult achievements in
the creation of mystery melodramatics.
At no point do we catch the author
asking himself, "What'Il I curdle their
blood with now?" It is a masterpiece
of the unforced and, incidentally, dis-
closes imaginative possibilities in the
matter of up-to-date melodramatiza-
tion that makes other recent ventures
in similar fields seem like the stum-
blings of a child. "The Last Warning"
is alive with audacious excitement;
it scared me to death.
Mr. Fallon's play owes something of
its story to a novel called "The House
of Fear" by Wadsworth Camp. Gen-
erally, it tells the tale of a haunted
theatre where the spook of a former
owner-manager still lingers in the
flies, hotly resentful that his quondam
glory should be marred by a revival
of his greatest success under the direc-
tion of other hands than his. What
the old gentleman does by way of
rebellion is most extraordinary. Be-
fore the evening is done one's hair
has been thoroughly raised and one's
wits utterly congealed by a subtle
series of spiritualistic offensives. The
cast is excellent and the many me-
chanical effects are handled with
almost incredible efficiencv.
[420]
THEATRE MAGAZINE, DECEMBER. 1921
ationally Dtstrtouted
ROBT. BURNS
INVINCIBLES
There is no other
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[421]
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IN CANADA
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THE ROMANCE OF OLD DROP CURTAINS
By WILLIAM BARTLETT REYNOLDS
ITS sheen gleaming softly in the dim
light "back stage" of the Hudson
Theatre, a treasured souvenir, there
hangs the picturesque old drop cur-
tain from Daly's Theatre, that beau-
tiful stretch of wine colored silk, rich
in dignified tradition, bearing within
a medallion the monogram "A. D."
surrounded by roses embroidered in
silk. With the demolition of the his-
toric playhouse the curtain, in common
with numerous other mementos of the
Augustin Daly and Ada Rehan regime,
was offered for sale to a little circle
of possible buyers, certain to appre-
ciate the sentimental value of the
offerings.
A pageant of drop curtains, grave
and gay, old and new, good and bad,
throngs the mind of the chronic thea-
tregoer, led by that legend-draped
sheet from Daly's!
Earlier curtains were more ambi-
tious and elaborate, pictorially, given
to depicting scenes, a bit floridly, from
the Shakespeare plays and oftimes the
Greek and Elizabethan classics. That
at old Niblo's Garden, for instance,
pictured a scene from the third act of
"A Midsummer Night's Dream,"
Titania seated upon a flowering knoll,
Bottom by her side, the while fairies,
a bit buxom, whirled about them.
With the numerous changes in the
managements and policies of the thea-
tres, inevitable with the years, how-
ever, these ambitious efforts under-
went alterations at once startling and
incongruous. On tour one encountered
specimens unusual and amusing. It
was not uncommon to find a curtain,
designed ambitiously when the thea-
tre was first opened, with the Bard's
quotations boldly interrupted in spots
to make way for the announcement
that laundry left at Smith's before
9.00 A. M. would be returned the same
day or the promise that Cooler's Chop
Suey Sundaes could be obtained at the
adjoining drug store between the acts.
Such "advertising curtains" fortunate-
ly are becoming less common, except
in the most benighted one-nighters.
The curtain at the Broadway Thea-
tre, when it was given over to "legiti-
mate" attractions, appeared to be one
of a stencilled lot, so frequently did
one encounter its mates. The smirk-
ing bride, pictured thereon alighting
from her coach with the aid of the
fingertips of her rather fragile and
lacy escort, while rows of happy ser-
vants stood awaiting to welcome her
on the porch of a magnificent mansion,
unfurled to the gaze of Broadway
Theatre patrons for so many seasons,
had a rival in a like monstrosity
called, if I remember rightly, "The
Return from the Masked Ball." This
awful effort was on view in countless
theatres in the nineties, the curtain
apparently being turned out by the
dozen by a firm of New York scene
painters. One still does duty, I be-
lieve, in the Castle Square Theatre,
now the Arlington, in Boston. It pic-
tures a motley group of wooden
revellers coming away from an im-
posing chateau at dawn, garbed in
garments weird and wondrous. It was
met as frequently as that waving field
of brilliant carnations, row upon row,
picturesquely gowned girls dotting the
landscape here and there, captioned
"Gathering Carnations for Blank's
Perfumes, Neufchatel, France." One
such spread across the huge prosceni-
um of the Boston Theatre some years
ago, but was replaced when the Keith
vaudeville interests took over that
playhouse.
The Boston Athenaeum curtain pic-
tures a stage coach wildly careening
around the curve in a country road,
while a yokel or two stand beside the
railing of the nearby rustic bridge
gaping in its train. The curtain, since
the theatre has become the "home of
refined burlesque," is not in use and
but once each year, during the Summer
cleaning, is dropped in its swirl of
dust, then run again aloft, where
doubtless it muses, as from below there
comes the sound of Irish or Hebrew
comedian or catarrhal prima donna, on
the wondrous nights it rose and fell
in response to applause for Roland
Rede, Modjeska, Janauschek, the
Vokes group and the Davenports.
In Boston, too, there hung in the
old Grand Opera House, and still
hangs, I believe, "A Feast at the House
of Lucullus." For the doubtful pleas-
ure of the assembled guests, gluttons
all seemingly, reclining amid mounds
of viands and fountains of wine, a
young lady, perhaps from the "Follies''
of her day, is dancing, her left arm
swinging by her side, her right held
aloft above her head as she whirls.
Anatomically the young person is pre-
posterous, for if she dropped her right
arm, so warped was the artist's sense
of proportion, it would trail on the
ground beside her!
A few doors away on Washington
Street, at the corner of Dover, stood
the old "Grand Dime," later the
"Hub." Here, indeed, was a gay
view presented to patrons, to gaze
upon enviously before it swung sky-
ward. It was the "Saloon of the Fall
River Liner, 'Priscilla', (or was it the
'Puritan'?) en route, Boston to New
York." Down an imposing staircase
sauntered aristocratic couples, the
ladies gowned gorgeously, small of
waist, enormous of sleeve, long of
trailing skirt. At the foot of the
grand staircase a large orchestra
played, while fawning, servile flunkeys
passed swiftly among the gay throng,
anticipating every wish of the haughty
passengers. It really was imposing
to the youthful playgoer gaping from
the balcony, awaiting its rise upon
the newest thriller of Mr. Blaney or
Mr. Woods. Only since more sophis-
ticated years has it occurred to us that
a more fitting title would have been
"High Life on the Sound."
[422]
THEATRE MAGAZINE. DECEMBER. 19M
4&**^
A beautiful basket of f^ N
choice fruit is an ever
welcome gift — partic-
ularly at Christmas.
SsgS
And tuhen placing your orders, you are invited to visit
"THE BALCONY"
a delightful place for luncheon and tea,
where excellent food and service prevail.
-H -HICKS •&;
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NEW YORK
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were wearing sandals.
And every season HENNING influences
the mode in footwear — his exclusive
styles are readily accepted. Fashionable
women come to HENNING when new
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HENNING
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"HENNING FITS THE NARROW HEEL"
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[423]
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Ask to see the "Twin-Motor" locomotive that pulls 20 cars. You will
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Lionel complete outfits, despite their supreme high quality, are very
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THE LIONEL CORPORATION, 48JEast21st St., New York City
HOME
ELECTRIC TOY
&M<Jtivok Transformer
TRANS
Books
Especially those containing plays for reading or
acting, or those concerned with play production
THE BEST PLAYS OF 1921-1922,
AND THE YEAR BOOK OF THE DRAMA
IN AMERICA, By Burns Mantle,
(Dram. Critic of The New York Evening
Mail), SMALL, MAYNAKD & Co.
IN this volume we are given first of
all the ten best plays of the past sea-
son which comprise "Anna Christie,"
"A Bill of Divorcement," "Dulcy," "He
Who Gets Slapped," "Six Cylinder
Love," "The Hero," "The Dover
Road," "Ambush," "The Circle," "The
Nest." Just why Mr. Mantle culls
these particular plays from among the
196 productions of the season 1921-22
— "of which 130 came within the scope
of this work" — he tells In an interesting
introduction, and interesting introduc-
tions and forewords are always one
of the most precious features, we feel,
of these volumes of plays. To his in-
troduction Mr. Mantle has added a
summary of "The Season in New
York," in which he lists all of the
plays produced, and sub-titles them
with the cleverest of qualifying
phrases that sum humorously their
various flavors and atmospheres and
attendant circumstances. For succinct-
ness with vividness this summary is
an achievement. And for good meas-
ure there is included "The Season in
Chicago," by O. L. Hall, dramatic
editor of the Chicago Journal, to show
where Chicago confirms in the main,
and where she digresses, from the
judgments passed by New York's play-
going public. Moreover, lest there
be any least lack in the sum total of
his offering, Mr. Mantle contrib-
utes at the end of his book a para-
graph "scenario" of each of the plays
mentioned in his 1921-22 season, and
gives the original cast of characters,
to say nothing of a "statistical sum-
mary" and a "Where and When they
were born." Altogether an invaluable
book for those desiring compact and
accurate information on the theatrical
temperature of today, and especially
valuable for the prospective play-
wright.
A TREASURY OF PLAYS FOR
WOMEN, Edited by FRANK SHAY.
LITTLE, BROWN & Co. So far as we
are aware, though Mr. Shay modestly
refrains from making any claim of the
sort, this is the first book of its kind
to appear. That is, it is the first col-
lected volume of plays whose casts,
large and small, are either entire
made up of women, or whose pai
can plausibly be assumed by wome
The latter would be the case, for i
stance, in Edna St. Vincent Millaj
beautiful play "The Lamp and tl
Bell," written for an all-girl cast ar
produced at Vassar College in tl
summer of 1921; or in Clarice M
Cauley's "Conflict," Maeterlinck
"Death of Tintagiles," and Alfri
Kreymborg's "Manikin and Minikin
which require boys, "a character th
even in legitimate theatres is usual
given to a woman." The only pi;
that might be a possible exceptit
and reasonably demand a real ma
for the part would be Eugene O'Neill
"Before Breakfast," which was put c
by the Provincetown Players about s
years ago, and in which, amusing
enough, the part of Alfred was tak<
by Eugene O'Neill himself. BI
Alfred never appears in person on tl
stage and one is made aware of h
physical presence in the dramat
offing only by a "muffled, yawnin
groan from the next room," a "shai
exclamation of pain," or a "beautifu
sensitive hand," reaching in to tl
scene for a bowl of water.
The volume is somewhat in the n:
ture of a triumph. For the plays th;
might come within the classificatio
of this treasury are limited in numbe
as the Editor found when he began t
assemble them. That is to say, ther
were plenty of so-called plays, effii
sions requiring only women to cas
but, written for girls' schools or Sun
day schools, they were neither dra
matic nor interesting. "The mind o
the average dramatist deals only wit;
conflicts that have both men am
women as principals" — a conditioi
after all rather to be expected. Al
the more power to Mr. Shay then tha
he has been able to make so fine am
comprehensive a collection. There an
eighteen plays in all, with such name
as August Strindberg, Christophei
Morley, Eugene O'Neill, Maeterlincl
and Alice Gerstenberg in the line-up
and each has been subjected to th<
test of dramatic intensity, emotiona
truth and literary worth. As th<
volume stands, therefore, it is th<
Editor's belief, and we entirely concur
with him, that it contains the besl
plays its field affords.
[424]
BELLEVIEW
HOTEL and COTTAGES
BELLEAIR HEIGHTS, 7/ortda
OPENS JANUARY STH
One of the most enchanting places
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EARLE E. CARLEY, V. P. C. A. JUDKINS, MRT.
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Jlttie C14/omen
whether their hair is golden, chest-
nut, auburn, or velvety black, shampoo
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PACKES TAR SOAP
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Address M.J., c/o Theatre Magazine
6 East 39th Street New York
THEATRE MACAZINK. UKCKMBER, 1921
Nev/York
BROCADE
AND MCTAL CLOTH
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Write for saltings and literature
PORTO RICO LINE
25 Broadway
New York
Professional Schools
Recommended by
The Theatre Magazine
Catalogues will be sent on request
American
Academy of
Dramatic
Arts
Franklin H. Sargent, President
The leading institution
for Dramatic and Ex-
pressional Training in
America.
Detailed catalog from the Secretary
ROOM 172, CARNEGIE HALL,
NEW YORK
Connected with Charles Frohman's
Empire Theatre and Companies
ADOLPH B OLM
from tlie Imperial Tlieatre in reiroi;i-,>d, ntaghiJe-u' i
ftnsxM-t Halle'. Metr»politan Upem Cu., now Director
C;>; .. ...»i|M.r;i Itallet.
announces the opening of his
SCHOOL of the DANCE
Dance and Pantomime- A dolph Bolm. Asat., Con-
s tin till Kobekfl, (fiom the Imperial Theatre in Fetro-
grmlj.
Dak-rozo Eurythmica under supervision < f Marguerite
lU-atun from the N. Y. School of Dalcroie.
Hygienic and Aesthetic Body Culture. (Dr. Mensendi-
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Anne Neacy, Courses in Costuming.
Catalogue on request
BLUM'S BUILDING
624 South Michigan Blvd., Chicago, III
SCHOOLof
DRAMA OPERA SPEECH
STAGE DANCING
PHOTO PLAY SINGING
Li'nrn te Act bv Acting
Concentration courses include actual stage
experience and appearances at A'vieneArt
Theatre, developing pnise, personality and
good address, graduating artists. 20 In-
structors. For catalog write Secretary.
43 West 72d St., Room 24. New York
School of the Theatre
THRESHOLD PLAYHOUSE
DIRECTORS DIRECTORS
CLARE TREE MAJOR FRANK CRAVEN
WALTER HAMPDEN ELSIE FERGUSON
UMRGE ARLISS BROCK PEMBERTON
RACHEL CROTHERS ERNEST TRUEX
ROBERT E. JONES WM. LYON PHELPS
KFNNETH MACCOWAN JOSE RUBEN
ARTHUR HOPKINS GRANT MITCHELL
ARTHUR HOHL HAZARD SHORT
STUART WALKER
Six months' stock experience before
graduation — Professional Directors
Only — Scenic Design — Production —
Dancing — Fencing — Pantomine.
Voice Development — Shakespearean
Reading, etc.
Next Entrance Date January 2nd
571 Lexington Avenue, N. Y. C.
THE LAND WHERE THE GOOD DREAMS
GROW
(Continued from page 396)
POET:
Go on, Babette, and tell the whole,
Remember truth hath not a hiding-
place
From me within these mountain
fastnesses.
BABETTE:
She said the mountains, then, had
robbed you of your wits, that like poor
Cedric you did run all day after the
phantoms of your own disordered
brain —
POET: (Chuckling)
Go on, Babette, Dame Rachel spoke
more shrewdly than she knew.
BABETTE: (In awestruck whisper)
She said she doubted not that for
some past misdeed
A pack of sins forever you must
bear!
POET:
0 pious Rachel, how Janet would
relish her philosophy!
BABETTE:
Janet, who is she?
POST:
She's just a virtuous woman who has
taken o'er
The task of keeping me in paths of
industry.
BABETTE: (Impatiently)
But, the pack, is it heavy, today?
POET: (Patting it tenderly)
'Tis very light, I've had a most
profitable day.1
B A B ETTE : (Coaxingly)
Let me see !
POET:
1 doubt if you can see the garnered
treasures
Of my gypsy hours — they're thin as
gossamer.
(He opens the pack just a little -way
and Babette peeps eagerly)
BABETTE:
But some of them have wings!
POET: (Proudly, as he closes pack)
O, you should see them luhrn they
fly!
(He looks about and rises hastily)
I'm late again, O what a drubbing
I will get.
The supper waits, and there's the
evening chores —
The cow and hens will be discon-
solate.
And Janet — she will be a stony
monument
Of grief — Hasten Babette, the night
falls soon,
The evening shadows must not find
you here.
(He hastens away and Babette looks
after him wistfully)
BABETTE: (Calls after him)
Will she not smile to see the pretty
things
You bring, and bid you show her
how they fly?
POET:
She'll never see them, for I keep
them hid.
(As he goes off stage he sings, merrily
once more the vagrant's song.)
O, somebody's sad, and somebody's
mad,
And somebody else doesn't care:
But why should we grieve when
joy's to be had
Out on the little road anywhere.
No time to worry, no time to fret,
The sun is flushing the Western
ways,
And we'll take to the road till the
sun has set,
These glorious gypsy days.
(Babette stands watching eagerly,
wistfully, the glow of sunset fades and
shadows lengthen.)
SCENE 2 — (As before — Babette leans
against a boulder and looks wistfully
after the poet, strains of his song come
echoing back.)
Enter CEDRIC, the mountain simple-
ton. He is tall, thin and uncouth. He
is dressed in rough shepherd costume
and wears a cap with a red feather
set jauntily upon his head. He is
very intent upon some curious noises
he is producing from an improvised
flute. As he blows upon this hollow
stalk sleepy bird twitters are heard
all about. He blows on while the
orchestra plays soft strains of bird-
song.
He sees Babette.
CEDRIC: (Gruffly)
You'd best be off — I see you there
spying upon Cedric at his work!
BABETTE: (Laughing)
Your work, Cedric! Of all the men
upon the mountain here you do the
least.
CEDRIC: That's parson's tale — he
scolds at Mother, bids her see that I
am put to tasks from morn till night.
(Looks craftily about)
They do not know that Cedric's work
of all men's hereabout is mightiest and
could least be spared. O don't you
wish you knew what Cedric does at
evening when he steals away, and
in the early dawn while others snore?
BABETTE:
Tell me, Cedric.
CEDRIC:
You'll babble it, girls always do.
BABETTE: (Crossly)
The "Old Man of the Mountains"
did not fear to trust a girl, he let me
peep into his pack.
CEDRIC:
That's naught — a sack of dreams!
(Continued on page 428)
"The Limler Box," a play beloved of children, was successfully revived
by Valeria Petrie at Closter, N. J. Presented to a capacity house, the
play was repeated a second time, to the infinite delight of an enthusi-
astic audience of children and grown upg. "The Linder Box" is one
of a list of children's plays given by the Junior Players of Pasadena
Community Playhouse.
[426]
Professional Schools
Recommended by
The Theatre Magazine
Catalogues will le sent on request
B. BERNARDI, M.B.
Formerly ballet master Breslau Theatre
Solo danseur. Grand Opera, Paris
Royal Theatre, Munich
Personal instruction in Toe, Ballet,
Oriental, Spanish, etc.
Teachers* Course Children's Classei
Public appearance assured
Send for free booklet
124 West 75th St.. N. Y. Columbus 551-
VALUABLE AID
TO AMATEUR
PRODUC ERS
Your selection of a play is
of paramount importance
in planning an amateur
production. The adver-
tisers listed below will
gladly advise with you and
send you their catalogues
on request.
PL AYS for AM ATEURS
can be obtained from
AMERICAN PLAY COMPANY, IDC
33 We»t 42nd Street - New Yorl
STUART WALKER
Originator of the Portmanteau Theatre
OFFERS DISTINCTIVE l-l.AYS FOR AMATEUR
PRODUCTION
" SEVENTEEN "
Booth Turlington > >ucces»fuj comedy now .v.il.bto
Write for play list
PORTMANTEAU PLAY BUREAU
304 Carnegie Hall New York
THE OLD TOWER
Series of Plays for Children
is designed to meet the demand for
plays that are dramatic, actable, of
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on themes suitable for production by
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Send for a descriptive circular and
tlie Old Tower List.
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Correct in every detail. Rented and made
to order for Plays, Pageants. Musical
Comedies. Wigs, Make-up ; Make-up Artists.
REFERENCES — The best Colleges, Schools,
Convents and Societies in North America.
The l>rce»t coilnmint establishment in tht world.
Phone Longacre 1913
318-320 West 46th Stree: New York Citr
One Block West of Broadway
TAMS Music
Standard Mus'c Rented for Choirs, Chora)
Societies. Glee Clubs, Amateur Singing So-
cieties, Masses, Oratorios, Cantatas, Octavo
Choruses (sacred and secular), Excerpti
from Operas, Concert Arias, Concerted
Numbers. Encore Songs, Grand and Comic
Operas, Musical Comedies.
TAMS MUSIC I.IItRARY
318-380 West 46th Street N.-w York CltT
One Block West of Broadway
Phone I.onsacre 1913
THEATRE MAGAZHVE. DECEMBER. 1911
niiinuiiJiiM^
You may have one of these exquisite \
Theatre Magazine Art Calendars,
FREE.
CHRISTMAS
GIVING
Nearly every Christmas you
make the same mistake.
You imagine that work-
baskets and briar pipes and
all the other time dishon-
ored articles are what the
folks want. — But do they ?
Why not send them Theatre
Magazine ? It's the kind of
gift that will strike a gen-
uine chord of appreciation
— bring them a dramatic
feast for twelve months to
come, and keep you pleas-
antly in their memory, long
after Christmas is forgotten.
SPECIAL
CHRISTMAS
RATES
Send us $7.00 (instead of
88.00, the regular price)
for two gift subscriptions,
and receive our beautiful
art calendar Free. An
exquisite card will also
announce your gift to
each of your friends.
Use the coupon today
THEATRE MAGAZINE,
6 East 39th Street, New York
Gentlemen : I enclose remit-
tance of $7.00, for which please
enter two subscriptions as per
attached list, and send me the
Art Calendar free.
My name.
My address.
Add $3.50 for each additional
gift subscription, and 50c.
each for Canadian postage.
B •minim i uiianmi mil nun mini
Regular Size
Hospital Size
12 for 60c
6 for 45c
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One of the important and exclusive advan-
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Two Sizes — Regular and Hospital
The Hospital size Kotex have additional
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of each always on hand. Sold in drygoods,
department, and drug stores, everywhere.
Ask for them by name.
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51 Chambers Street, New York
Kotex cabinets are being installed in
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from which may be obtained one
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INEXPENSIVE, COMFORTABLE, HYGIENIC m-am* SAFJ. ; — KOTex
[427]
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PHONE CHELSEA 8860
A Great New Feature
CLAYTON
HAMILTON'S
Movie Department
Begins in
THEATRE
MAGAZINE
for JANUARY
FACE POWDER
As a girl, Mother's box of Lahlache
fascinated and tempted me. Its dain-
tily fragiant powder cooled and re-
freshed my skin.
Now, in grown-up years, Lablache is
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THE LAND WHERE THE GOOD DREAMS
GROW
(Continued from page 426)
BABETTE:
But they were beautiful, and some
will fly!
CEDRIC: (Swelling up proudly)
Cedric makes things fly.
(Distrustfully)
You'll tell.
BABETTE:
Cross my heart and hope to die!
CEDRIC: (Slyly)
'Tis Cedric puts the birds to bed!
They wait for him at evening-time
And in the morning he must go
So early to the forest or they sleep
Too late. He makes them sing and
fly.
Now I must hurry or the birds will
be so cross, tis past their time.
And you must run, this is no place
for girls when night draws on.
BABETTE:
If I could only find one dream like
his before I go!
CEDRIC: (Craftily)
Cedric knows where the good
dreams grow.
BABETTE: O, tell me where.
CEDRIC:
You are a baby-girl, you'd blubber
at the dark!
BABETTE: I'm not a baby-girl and I
am not afraid.
CEDRIC: (Grasping her arm and
whispering cautiously)
Just wait here till the Sand-Man
comes, you must follow till his bag is
empty, then he goes home. Cedric
goes sometimes and see the gates of
Dreamland open wide.
Good-bye, little girl, you'll be
afraid!
(Cedric goes out playing once more
upon his flute — Again the strains of
sleepy bird-songs are heard, they grow
fainter and fainter then die away.
Babette sinks down upon the knoll to
wait. The shadows deepen.)
Enter TWILIGHT— Solo dancer
The Twilight is a beggar-maid,
In tattered cloak and old,
Who comes to town when the day is
done,
Creeping along as one afraid.
She has stuck a rose in her gypsy
hair,
A rose that the day let fall,
We had not known she was so fair,
So lithesome and so tall.
(Descriptive lines)
TWILIGHT is followed by a chorus of
EVENING SHADOWS.
(Evening Shadows wear flowing dra-
peries of soft gray with inner lining
of amethyst, as they drift out darkness
deepens.)
( To be concluded in
(Babette speaks softly to herself.)
BABETTE:
I am not afraid, but it is lonely here,
How pleasantly the candle even now
Falls on the table where they wait
for me!
But something moves within the
shadows there
I will be still and listen.
(A single FIREFLY darts in and out,
then another, a third, and finally a
whole chorus, in the Dance of the
Fireflies.)
( The fireflies are dressed to fit into
the surroundings as closely as possible,
they carry small flash-lig'hts by which
their movements are distinguished —
the stage is quite dark now. Babette
crouches in her corner.)
Enter EVENING STAR— Solo Dancer
The Evening Star's a timid child,
Who flutters coyly to her place,
And looks about uncertainly
Yet with a winsome grace.
(Descriptive lines for interpretation of
Evening Star.)
(Evening Star is all in pale gold —
the stage brightens with her coming.
Her dance expresses coyness, uncer-
tainty, advance and retreat — note the
trembling advent of the evening star.)
BABETTE: (Springs up joyfully)
Why that's the same white star that
nods and peeps
At me each night when on the steps
till late I sit
To wonder at the glittering sky.
I need not fear
Beneath its cheerful friendly light.
Star-Light, Star-Bright,
First star I've seen tonight,
Wish I could •
Wish I might
Find the dreams
I seek tonight.
EVENING STAR is followed by a chorus
of MOONBEAMS.
Dance of the Moonbeams:
( The Moonbeams are all in white or
white and silver, they carry long
scarfs which they use in their dance —
the stage has now the silvery white-
ness of moonlight upon it.)
(Approach SAND-MAN with his old
brown bag. He is dressed in brown
and moves with many strange and
grotesque contortions. Babette watches
and follows him stealthily from stage.)
SCENE 3 — Interlude
(Interior — Steps at right leading to
upper chambers. Enter SAND-MAN
from left dancing grotesquely, he is
walking backward and flinging sand
from his bag. Following him are four
and twenty tiny children, yawning,
the January issue)
STATEMENT OF THE OWNERSHIP,
MANAGEMENT, CIRCULATION, ETC.,
required by the Act of Congress of August
24, 1912, of THEATRE MAGAZINE,
published monthly at New York, N. Y.,
for Oct. 1, 1922, State of New York,
County pf New York. Before me, a Notary
Public in and for the State and County
aforesaid, personally appeared Louis Meyer,
who, having been duly sworn according to
law. deposes and says that he is the busi-
ness manager of the Theatre Magazine,
and that the following is to the best of
his knowledge and belief, a true statement
of the ownership, management, etc., of the
aforesaid publication for the date shown
in the above caption, required by the Act
of August 24, 1912, embodied in section
443, Postal Laws and Regulations, printed
on the reverse of this form, to wit: That
the names and addresses of the publisher,
editor, managing editor, and business man-
agers are: Publisher, The Theatre Maga-
zine Co., 6 East 39th St., New York.
Editor, Arthur Hornblow, 6 East 39th
St., New York. Managing Editor, none.
Business Managers, Paul and Louis Meyer,
6 East 39th St., New York. That the
uwners are: The Theatre Magazine Com-
pany, 6 East 39th St., New York; Mrs.
Georgiue Stern, 301 West 108th St., New
York; Mr. Louis Meyer, 6 East 39th St.,
New York; Mr. Paul Meyer, 6 East 39th
St.. New York; Mr. F. E. Allardt, 6 East
39th St., New York. That the known bond-
holders, mortgagees, and other security
holders owning or holding 1 per cent, or
more of total amount of bonds, mortgages
or other securities are: None. That the
two paragraphs next above, giving the
names of the owners, stockholders and
security holders, if any, contain not only
the list of stockholders and security hold-
ers, as they appear upon the books of the
company, but also in cases where the
stockholders or security holders appear
upon the books of the company as trustee
or in any other fiduciary relation, the
name of the person or cor, oration for
whom such trustee is acting, is given:
also that the said two paragraphs contain
statements embracing affiant's full knowl-
edge and belief as to the circumstances
and conditions under which stockholders
and security holders who do not appear
upon the books of the company as trustees,
hold stock and securities in a capacity
other than that of a bona fide owner; and
the affiant has no reason to believe that any
other person, association, or corporation has
any interest, direct or indirect, in the said
stock, bonds or other securities than as so
stated by him. Signed by LOUIS MEYER,
Business Manager. Sworn to and subscribed
before me this 20th day of September. 1922.
[SEAL] GEORGE H. BROOKE, Notary
Public, New York Co., No. 649, Register's
No. 3028. (Term expires March 30th, 1923).
J. M. Hanson-Bennett's
MAGAZINE
BARGAINS
WILL SAVE YOU MONE^
i
I
r
All Subscriptions are for One
Full Year and may be sent to
one or separate addresses. Sub-
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H'itli American Roy $57
ll'itli American Cookery 5.1i
With American Magazine .... 6.2:
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ll'ith Classic (Motion Picture) 6.2S
H'itli Collier's Weekly 5 7 =
ll'ith Delineator 5 ?5
ll'ith Designer 485
H'itli Fashionable Dress 6.25
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H'itli Life g 75
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ll'ith McC'all's Magazine . 475
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The
AMERICAN BOY
"The Biggest, Brightest, Best
Magazine for Boys in all
the World". $2.00 per Year
Our Large 44-Page Catalog
for 1923
listing more than 3,000 publica-
tions and club offers is Free
g®" ASK FOR IT-®|
The Youth's Companion!
. . All for
Including remaining I -.__~
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issues for 1923, and *•
the new 1923 Calendar.J
REFERENCES- All Publishers
1
!
ADDRESS ALL ORDERS TO
J.M.Hanson-BennettAMGAGEANZcNYE
171 Brooks Bldg. Chicago, 111.
[428]
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