Newspaper Page Text
After Stiidying for Law,
Young 40c' Hammerstein
Turned to the Theater
There is another Oscar Hammeratein
<>n Broadway, but this one isn'l plan
ning to rival the Metropolitan with
eounter operatic production*. He
hasn't rolled cigars for a living, doesn't
wear the same kind of silk hat that
his famous grand father did, has not
yet diseovered a Mary Garden, nor has
he written the music of an opera in
twenty-four hours to win a bet. But
hc ia only twenty-four years old, and
i-inco he has held off for that length
of time. it is safe to say that hc will
liever lill shadc-grown Sumatra wrap
pers with Havni.a leaf, but he ia a
Hammerstein, and there are other pos
Columbia's canipus has known him
ss "Oc" since 1011'. when he put on the
freshman cap, strippcd off gaudy
colored ties, and turned down the cuffs
>-f his trousers. The program of the
Central Theater, where his musical
comedy. ''Always You," is tilling the
rirst row with tired business men and
the rest of the house with men and
women who are not so tired, calls him
Oscar Hammerstein 2d. But the jump
from Blue and White varsity shows to
Theater Row has not lessened his mod
<-stv. and he still prefers tb be called
"Oc'' once thought he was going to
be a lawyer. He told about it a few
evenings ago betw.een acts, blushingly.
Whether he considered that he had
>>rofaned the bar by turning from it to
ihe theater, or whether he feared that
his confcssion would prejudice the peo
. ple of the stage against him, he did
"I was within one year of completing
my course for the law degree at Colum?
bia,'* he apologized. m
Young Hammerstein is not yet hard
rncd to intcrviews, and unlike the ma?
jority of playwright? he does not ad?
vance thcories of the drama for the
purpose, mainly, of avoiding direct an
swers. He is exceedingly modest and
is frankly stumped when confronted
by a newspaper man. Not that he does
not know how to talk, for his friends
seem to have no difficulty with him
in this respect, but he seems almost
lost when he realizes that what he
says may be printed. Of course this
L-: not iiieradicable, and if he lives up
to the best Hammerstein tradition he
should soon overcome it.
"Oc" tried hard to keep away from
"For three years at Columbia I felt
no leaning toward the stage at all.
Then in 1915 the Players' Clu,b on
Morningside Heights started rehears
ing 'On Your Way' and 1 was one
of the bunch in the Gemot when thc;,
pick?d thc east. I was cho3e"n am!
my first connection with the theator
was formed. The next year I was in
Thc Peace Piratcs,' still as an actor.
In 1917 I collaborated with Axelrod in
vriting the book and lyrics of 'Home.
lames,' and when it was decided to
p?t on a play in 1918, despite the war.
1 wrote 'Ten'for Five.'"
Oscar 2d. who is the son of the late
William Hammerstein, coached both
the 1917 and 1918 shows at Columbia
and is now the chairman of the play
committee of the Columbia University
Players' Club. He cannot explain
.iefinitelv what led him to withdraw
from law school in 1917. but attributes
it largely to his association with
?liamatics at the university. He also
believes that heredity helped to in
tiuence his choice.
"When I went to my uncle Arthur
and told him that l wanted to give up |
Many Italians Worship
At Laurette Taylor's
"Night in Rome'
Laurette Taylor's daily mail is filled
v ith fervent and extravagantly phrased
letters from eftthusiastic Italians who
have been impresserl with her perform
ance of the fascinating pseudo-Italian
iady in "One Night in Rome" and who,
with characteristic Latin fervor, must:
give cxpression to their feelings with- ,
"Some of the letters from the men," |
-aid she the other night, "read sus
pieioualy like love epistles, but I know
. nough of thc Italian temperament to
realize that they are not meant for
that. I had dinner with a party of
In "The Purple Mask"
fri?n<?s fh? other night and among the
gntmla ww a particularly vol*til?
lUlian ge/Hleman whoae Knglish w*a
n?t -juit* parfvri and who somewhat
?mb*rr?nn?<i mr by repeating; over snd
"?''' ?**"-. in the hearing of my
fmrirjs, th* phrase, 'You %r* mo?t dear
ta) m*.' What he really meant. / fmally
<Haetvr*r??d, was that be greatiy en
Joyad my p<?rforman<?, ?n4 no* that l '
*aa b!s nartsetiia.' d-ar or an;. thiilf j
law for the theater, he did not attempl
to discourage me, but told me that it
I planned to write for the stage I
should not attempt to seek instructior
in books but that I should come inc
his office. mix behind the scenes witr
the stage-hands and watch them work;
! help stage managers and listen tc
j directors at rehearsals; hold script;
' travel with road companies, in short
to crowd in as much practieal knowl
edge of the theater as possible before
attempting to write.
"I did not hesitate to accept the
advice and in twb and a half years I
was .successively assistant stage man
r.ger of 'You're in Love,' and stage
manager of 'Sometime' and 'Tumble
In.' In conjunction with this I took
the full course that was outlined by
my uncle and I am still learning."
Although Hammerstein did not out
line his theory of musical comedy, his
friends say that he has one. It is very
simple, if they are properly informed
and explain it correctly. "Oc,-' they
say, considers the average musical
comedy audience as rather low. in in
telligence, and that if you give them
enough stuff, well served. even though
it may be old, they will find enjoyment
in it. It is to be hoped that this is
not true and that he does not hold
himself above the hoi polloi as a super
humorist wbose merriest shots would
be wasted if offered to them.
Hammerstein is tall and slender, of
dark complexion and eyes. He admit?
ted he was married.
"Is there an Oscar 3d?"
"No: but there is a William 2d,"
he replicd, "and he is just learning
to walk. He hasn't said anything about
the theater yet. But he may, for I
am almost convinced now that it is
too strongly intrenched in the. family
to be ignored. My youngcr brother
Reginald tried his hand at everything
to keep away from the stage, but he
has just joined the staff of a motion
picture producer, so there you are."
S. B. F.
Oscar Hammerstein 2d
like that. It was uisconcerting, how?
ever, for a little while."
On New Year's Eve, after the. play,
Miss Taylor was entertainihg a little
group of friends in the tiny reception
room opening off her dressing room
at the Criterion, preparatory to going
out with them to supper. She was
sitting on a chaise longue, still in her
make-up,' when the door burst open
and a poorly dressed Italian girl rushed
in and dropped to the %>or. She fell
upon the actress' knees and sobbed
"You are so like my Duse," she cried,
"so like my Duse that you bring me
back.to my dear Jtaly."
It was many minutes before Miss
Taylor could sufficicntly calm the
young woman to permit her to leave.
Throughout the becalming proceas her
guests- there were six in all?sat open
eyed with amazement. When the girl
had been sent away with an order for
two seats for another pertformance
and an autographed photograph under
her arm, one of the women in the party
"My gooduess!" said she, with a
little gasp, " I don't wonder you like
beinp; an actress if you get little per
sonal ovations like that every once
in a while. It must be glorious."
Miss Taylor smiled wearily.
"Of course, we don't," ahe replied.
"A thing like that happens once in a
lifetime, not every once in a while. If
i*. was a. regular thing there would be
no stancing us st all. We'd develop
?-uch a what i:< it the psychologists
call it ? such a .lehovah complor that
we would become impossible."
MAJESTIC?A. H. Woods will present
"A Voice In the Dark," a mystery
melodrama by Ralph K. Dyar,
revised and claborated by Willard
.Mack. The company includes Olive
Wyndham, Jack Ravold, Frank Mon
! oc, Arine Sutherland, Florine Arnold,
William Boyd, Arleen Hackett, Rich?
ard Gordon and others.
SCHUBERT-CRESCENT ? "The Schu
bert Gaietics of 1919" will be the at
traction. It w?s seen for the first
time at the Forty-fourth Street
Theater, N'ew York, last July. The
book is by F.dgar Smith, the lyrics
by Alfred Bryan and the music by
Jean Schwartz. The piece was xtaged
by J. ('. HurTmati. The featured
niembcrs of the east are Jack Xor
worth and Harry Watson.
ORPHEUM Grock, the French musical
clown, will come to Brooklyn this '
week. Nina Payne, Jean Adair * I
Co., Swift * Kelley. Lloyd A Chris- |
tle. J. Ropamond Johnson and l*i/,
Five, I.oyal's Dog?, Melnottc & Lee
dom; I.oben Japs snd the n?wa pic
torml will complatc the bill,
BISHWICK?Grock wtll also ,???,
al this theater. Shaila Terrv * Co.,
James Thornton, J,ily Lena.Speneei
* Williams, Tom Nawn A. Co the
Three Rubes. Wille Brothers. othar
novtttita and the new* picl.orial will
round out ?he bill.
H0NTAUK Snlisbiir.v Field and Mar j
*?r.t Mayo's "Twln Bad*" >* th? at
tractlon foi th* week. j
^ews and Stage Door Ghat foi
Briggs Shows What He Saw at ''Angel Face'
Ned Harrigan's Son, Will,
As a Stage Repoirter, Gets
Points From a Real* One
Playwrights persist in showing us
that there are men and reporters, and
when one heretic aniong them deviates
from this theory, critics, surprised, rub
their eyes and Mr. Playgoer, turning to
Mrs. Playgoer, says:
"There must be some mislake. He'sj
not a reporter; he's just like other j
That is what they are saying at thej
Cohan and Harris Theater, where Will-1
iam Harrigan, in his first appearance '
since his return frora France. where
he served as a captain with the 77th
Division, is nightly outdoing Sherlock
Holmes as a detector of crime. Re
lentlessly he tracks down thc murderer
who, acquitted, comes home in the
first act of Rita Weiman's unusual
melodrama, "The Acquittal."
Will was swabbing the make-uo off
his face with one hand and reaching
for his dress clothes with the other
when I came in to offer him a job on
a paper. He laughed and said that
since he hoped to settle down again in
a New York dressin<r room for the first
time in five years, he was not in a posi?
tion to accept his cues from the city
"You know," Ned Harrigan's son said,
"almost the first question I am asked
about mv acting in 'The Acquittal' is
how, without ever having been on a
newspaper, I plav the nart of a reporter
so convincingly. It strikes me as a
yery foolish question. Thc reporter
isn't a freak. He isn't any differenl
trom other men.
"I say to myself that I am Joe Con
way, a man who is working on 'The
Chronicle,' but who could work in a
bank, in a factory, or anywhere else ,
Of course, I realize that certain char-'
acteristics are develoned in every oc?
cupation and my friends in the news?
paper business have enabled me to nick
them up." '
Conway's success in uncovering the
guilty man'recalls the days of thc no
hce reporter who was a better detec
VVhen a crime was committed the
sleuths trailed the newspaper man to '
pick up clues he uncovcred; now the :
opposite jg often true. Throughout
n Jp yrL?r>Wa'V Cledits his training
m a Pacific Coast newspaper office for
w^rVhe^n- "" is "?< 8ati8?ed
Wmthrop home hut slips bchind por
-f?' inl? Cl0ihl? c,08et* ?"<' other
7, L??u**tmembev* of the household'
??? the 8tory. and he gets it ,
tfc.u 0".lhe p?ci?c ('Oast thev rolll
a? ?tr*?H he.s?ys. Jocularly, refusing;
an offer of assiBtance. I
atBv.riinV.rig,w a"d W*8 Weiman ?? I
S.W' He would not advise any '
tZ.lork. newfP?Pfrman or any voung
"Sin?r.. Tk0 PLln? t0 break int0 the1
is*m voJi*?"**1 thf ?schoo! of i?urnal
Cn.-T ?? .n,vel 3'000 IIlile* <? the
??l or Craduate training,
There aren't any better newapaper
men than those we have here in New
\rk.lCltVd a New Yo^ reporter
ou? th,*r? WCSt fu",y t0 8how t!i? Peo , e
out there something."
By this time he had slipped into his
dreaa trouaers, but his dTessing was
PALACE?Irene Franklin will head the
hill in a rcpertoire of new character
songs. Fmma Haig, the young
dancer, will dance with John Wal
iur0n',laie SJ the Areoi-ne Plavers of
the 77th Division. Aleen Bronson
win, eontnbute comedv in "Late
.'**.'"'" assisted hy Margaret Hoff
Noted aw a "Shimmier"
a slow process. Xo les? than six times,
when he was about to ilon his dancing
shocs, there would be a knock on the
door of his dressing roon: and a voice
would demand admittance to congratu
late him on his performance.
"It's always this way on an opening
night," he said, "but -I am terribly
anxious to get to the Frolic. I love
musical shows and it is great to go to
one afterr chasing a murderer for six
teen weeks in Chicago. Out there one
of the papers sent their criminal courts
men to 'cover' me. llo said in his story
that 'this guy Joe Gonway is all right
but he would never get by with the'ex
pense account he is rolling up. Think
of asking the managing editor to send
you 3,000 miles to cover u murder trial
just because you are interested in the
Harrigan asked for professional
criticism. ln the second act, Edward
H. Robins, as Kenneth Winthrop, who
is shown to have committed the mur?
der, moves toward Conway, who is
writing the outline of tlie story he has
obtained. Winthrop has a gu'n in his
hand and is about to lire it at the re?
porter when the latter is warned by an
exclamation from Mrs. Winthrop. " He
looks up at Winthrop and then says:
"Stt down. T can't concentrate when
any one looks over my shoulder."
This is one of the few lapses in
Conway's part and 1 told Harrigan
that newspaper men turn out copy un?
der conditions where concentration
seems out of the question and that men
who can wntc only in a quiet study
will not last long on a newspaper
That's where Conway the reporter
became Harrigan the actor," he ex?
plained. agreoing with the criticism.
man. Allan Kogers. young American
tenor, will give a ,,.(.jtal called "Fif?
teen Minutes of Concert." Henrv
Dexter will accompany him on the
piano. A feature will be William L
Gibson and Kegina Connelli in Aaroh
Hoffman s "The Honeymoon." "Ye
Song Shop," by Pat Itooney, is the
revue. Warren Jackson and Robert
Adams are featured. The Swor
Krothers are down for impersona
t ons of the Routhern negro, with
clown triramings. The Old Time
ITarkies will revive plantation sport?
and the Four Danubea will do east
mg marvcls. Gruber's Ammals will
enterta.n w,th iroitations of humar! |
RIVERSIDE -A New Year festival wi,
I- la Shields. the London "Ideal of
Ideals ; Leon Krrol and Rothwell :
Hrowne holdmg the principal honor*- i
Dorothy .Shoemaker and company, Joe
Cook, Libonati, Vera Rabina and com- '
pany, thc.Wheeler Trio, and the news
pictonal will coinplete the hill.
OLOMAI. A big muaicai extrava- ;
ganza bill includes three great mu- I
aical comedy offerings combined ln
one ahow: Moward and Clark, in
Chin Toy"; "Last Night." with Far! I
Lavanaugh, Walter Ciinton and Julia I
ftooney; the four Mark Brothers, "'t,
Kverything." The supporting bui
will include Walter Weems, Ford and
tunningham, the Pearson Trio, Syl
via J,oyal ind c-ompnnv. Margot
rrancois and Partner, and the news
NGHTY.FIRRT STREET Anatoi
rriedland, "songland's favorile enm
poasr," will bring hia new do luxe
revue, "Muaic land," to R. p
Krith's FiKhty-firat Street this troek
to hold the principal honors on a
brilliant bill. CooTl B. de Mille'a
poTfrful nhoto produetion. "M?le and
remale," will be nhown. Othars will
Even Beauty and Brains
Are Combined in Favored
Girl Who Has Everything
Have you seen "Everywoman"? Now,
cion't say "nearly all of them," be
| cause every one says it, ancl of course
j we mean the play which was so popular
! a decade ago. If you don't remember
so far back as that ask dad he
i That play, "Everywoman," certainly
! brought out some beauties! Nearly
| every one we interviewed- present-day
< stars had something to do in "Every?
woman," so we weren't surprised when
; Ililda Bennett, tho N'ancy of Fritz
Kreisler's "Apple Blossoms," said,
meditatively: "Let me see! What did
I do first? ? Oh, of course. 'Every?
woman.' I was Conscience."
"And it is the only time we ever
: listencd to the voice of conscience and
found it pleasant," we interrupted.
Miss Bennett smiled in that slow,
non-committal way of hers, and then
she said: "Young as I was^ I realized
that conscience is not particularly
popular and that I was going to have
a time of it making mysclf heard."
"But you had a glorious voice. How
old were you?" for Miss Bennett is ,
now about the youngest looking prima '
donna we ever saw.
"1 was just to be sixteen when I got
the engagement and at the time I was
studying and singing in the choir in
"Standing with reluctant feet?"
"Not at ail reluctant. I was full of
cgnfidenco and eager to be heard. I
laughed at stage fright and I realized
all too soon that fools do rush in.
"The night we opened I went on. the
calmest person in the theater. and for
two wecks everything went smoothly,
Then one fatal night I slipped up in i
a line and from that time on stage
fright had me in its thrall. I wns
living in a little hotel in Twenty
seventh Street, and the hours out ofI
the theater were spent in dreading the
next performance. I couldn't sleep,
I couldn't eat and the voice of Con?
science became so weak that I was
afraid no one could hear it. Then 1
hit on a solution of the difficulty- I
would commute. In that way 1 spent
five hours out of the twenty-four on
the train, but in Asbury Park I could
sleep aiid 1 could eat."
"That's its real reason for being on
the map, isn't it?" Miss Bennett :
ignored our flippanl reference to her
home town and went on.
"But the horrible part of it was that
thr stage fright continued even after;
1 became a hardened veteran in my
second season, and on account of it. I
have often seriously considered giv
ing up the stage."
New, the thing which impresses you
even more for'cibly than Miss Ben- ?, '
nett's beauty is the extrenie simplicity j
and euse of her performance, and it j
didn't seem possible that she could be ;
"I started off the season with bron
chitis, which doesn'i. make a singer
fee! any better on an opening night,
and oh, the awful sounds that issue
from my throat at times! 1 live in
fear that I may do that at one of the \'.
periormances. Then I have a lot of ;
dancing to do in 'Apple Blossoms' and
my biggest number comes right. on top
of my fox trot."
That is the dance which Miss Ben
neti does in the second act in her
wedding dress and she is so lovely ji
when she does it that we even found
it possible to forgive her for the cue !
which says, "1 wanted to dance all';
include "Pedesrrianism," Vinic Daly, :
Bert Hanlon, Black and White, and j
the news pictorial.
LOEW'S AMERICAN The Nine Krazy
Kids and the Four Volunteers will \
head the vaude*ville program the first !
part of the week. Other acts will be
Morrison and Harte, Thomas P. Jack
son in "The .Tail Bird," Mason and :
Gwynne, the Marg Duo. Harry and
Anna Scranton, and Connora and
Foley. Elaine Hammerstein in
"Greater Than Fame," by S. J.Kauf
man, will be shown on the film. The
Ziegler sistars, Myrtle and Adelaide, i
head the bill the last part of the
week. Other acts will be Grant
Gardner, Kurt and Edith Kuhn, I^elia
Shaw. the Mangean T'roupe. and
Hughie Clark. Cecil B. de Mille's i
"Male and Female" will be shown on '
iNeighborhood Theaters !
SHCBERT-RIVTERA? George Broad
hurst sends "The Crimson Alibi,"
which has just finished an'engage?
ment at the Broadhurst Theater
The detcctive is played by Harrison
Hunter, while Bertha Mann is seen
in the role of Mary Garriaon.
Others are William H. Thompson, !
Ivobert Kelly, George Graham, Rob- I
ort Barratt, Inda Palmer, Edna ?
James. Roy LaRue and Catherine
COLUMBIA -The newes. burlesque i
offenng will be given this week It
la Ab? Reynolds's Revue. Mr. Revn
oldij ia surrounded by H company'of
well known burlesquers Arlhur
Mayer, Rny Leavitt, WilHarn Davls '
1 think Pll
through the ceremony
dance now instead." .
equally familiar to all colleotorV of
son^' cues. ,
"Well, at any rate," we said. "you
don't have stage fright when you dance
do you ?" ?
"I didn't have in the first part of the
season because, luckily, you can't have
bronchitis in your feet; and then one I
awful night in the middle of my Span- ,
ish dance I fell flat on my stomach. I
was too mortitied to know what I struck
at the time, but 1 couldn't eat anv
thing for the, next two days withoul
being reminded of the incident."
"Were you disconcerted'.'" we asked,'
msisting on all the horriblc details.
"Disconcerted?I nearly died! After
being so vivacious and carefree in my i
dance and then to come a cropper on
the edge of a rug! Now, when vou J'all
in the middle of a dance there are !
only two courses open to you. Pre
tend you have fainted and let them
ring down the curtain and carry you i
off or else get up smiling and*make
believe you don't know vou fell down.
That is what 1 did; I scrambled to '
my feet. collected my fan. bag and
hairpins and went on being vivacious.
all the time feeling exactlv like one of
Miss Rennett has a sense of humor
as well as everything else.
When our boss asked us to go and j
eet an interview with Miss Bennett he
added, "She is so beautiful that she
probably won't have any brains, I
but"-- So we are going up to Room'
325 now to tell him that she has. II. \J. '?
Saxo Waco. .loe McCarthy, Lew
Bligh, Bunny Dale, Gladys 'parker
Phyllis Fltis and Joe McNamee
BRONX OPERA IIOl SE -Mme. Ka
hch in "Tho Riddle : Woman." spe
cially written for her by Charlotte
Wells and Dorothy Donnellv, is the
In "No More Blom.es"
? the Playgoer
Of Staging "Aphroo'ite"
Here and Now Revealed
Handling a big scenic spectacle lik?
"Aphrodite" at the Century Theatei
is an expensive proceeding. The stag<
hands of the Century have been making
fabulous wagea because of the demanc
for their services, and Morris Gest
who produced "Aphrodite" in as.socia
I tion with F. Ray Comstock. has beer
paying out a small fortune every weet
to electricians, scene shifters and prop
erty men. All this is due to the fact
that "Aphrodite" as a scenic spec\aele
is unquestionably the most elaboratc
stage offering ever shown in a legiti
mate theater in New York.
The biggest part of the spectacle and
the feature which causes more trouble
than anything else is the great tower
which is used in the last act. This
colossal affair is an exact diiplicatc oi
the celebrated Pharos or lighthouse
of the Port of Alexandrja, Egypt. Thc
original Pharos, built by Alexander
thc Great. when he conquercd Egvpt
and founded the city that bears 'his
name, is more than'sixty feet high
Its ruins may still be seen by tourists
visiting Alexandria. On the top ol
this tower flares an enormous beaeon
the fire being lighted at night to warri
ihe mariners entering the harbor. If
was reached by a circular' inclined
runway which extended round tlu
tower three or four times until il
reached the top.
. In staging "Aphrodite" E. Lyall
?Swete, the stage director, determi'ned
to reproduce this Pharos as accurately
as possible, although necessarily on a
smaller scale. He called in Theodore
Reisig, the senc carpentcr and artist
who built all of Hammerstein's operatic
productions. Between them they evolvec
; a reproduction of thc Pharos. which
stands 42 feet high, on the stage of the
Century.Theater. It is 2H --ect in diam
etcr at the base, and is lr?ilt of solid
I wood and fireproof materiaV. It is built
m two sections, as the combined weight
of the tower would be too great to per
mit of this enormous "prop" being
i hauled all at once. Each section is
| mounted on a platform. which in turn
is mounted on steel wheels. Electric
motors inside the apparatus move it
, across the stage and into position, as it
is too heavy to be moved by even an
j army of stage hands.
Immediately after the Bacchanalian
. revel, which ends the second act, stage
hands and electricians move this gigan
tic lighthouse from its moorings in a
I distant corner of the stage, and it is
[ then projected to the c-enter of the stage.
| It is up this great lighthouse, with its
| winding path around the outside, that
Dorothy Dalton climbs when she makes
the supreme sacrifice to atone for her
sins. She climbs to the top of the bea?
eon, and in the story is supposed to
throw her red robe down to the populaco
below while she poses nude upon the
beason. pretending to be the goddess
As Miss Dalton climbs this tower
every night, she actually passes from
sight of the audience, up in what is
known as the "fly gallery" of the thea?
ter. A property man throws down the
red robe, and meanwhile Miss Dalton
is being hurried down another staircase
so that she may be al! ready for the
death scene, which takes place a few
minutes later on the stage in view of
the audience. It is a great disappoint
ment to some people in the audience that
Miss Dalton passes from view just at
the crmcal moment when she climbs the
tower. but some idea of the enormous
size of the mechanism mav be gained
when it is explained that Miss Dalton
actually disappears from sight up amon"
In handling the enormous sets for
the Fokine ballet and the Bacchana?
lian revel exact'.y eighty-two stage
hands are required. There are 120
electrical operators, who manipulate
the hghts and there are forty-t.wo
"clearers" whose sole business it'is to
handle the furniture and the portable
"props" which are used in the per?
formance. Among the props mav be
mentioned seven litters of different
style. varying from the gorgeous gold
on litter on which Chrysis i? carried
to the least by eight slaves, down io
the tiny little fragile sedan chair u<-ed
by Myrtis and Rhodocelia, the two
little girls of the play.
^ There are fifteen animals used in
Ella Shields, of London
Music Halls, Is Really
A Belle of Baltimore
Ella Shields is visiting her own
country again after sixteen years. most
of which were spent in the British
Isles. So long has she been awav that. the
program at the Palace Theater calls
her an Enghsh actress, but she is not
she says She was born in Baltimore!
Only her friends in America who
have been in England and have seen
her act would recognize her here should
she choose to appear on the stage un?
der a different name. She went to Enjr
land to act in dainty feminine frocks
and now she has come back as an im
personator of English male types
When I saw her impersonation of
the .British middy and Burlington
Ber ie. the broken down British sport
at the Palace, I was not quite sure that
some deception wasn't being practiced
and that. despite the name Ella she
was rea ly a man. I told her this when
I met her at the Waldorf. and s|10
"Well, now you are convinoed. are-i't
I had to admit that I was. The wie
was off, a dress had replaced Bertie's
morning suit. but the voice was almost
I*,"0' uShe cxnlail1^-- her throat was
tioublmg her. but ordinarilv her voice
1S "ot, anected by acting male part-.
I think it'a nerves and the change in
hJk-f r .u01' know >'ou fal1 out of the
nabit of things in sixteen vears "
Shocked at first when an EngHsh man
ajfet suggested thal she replace her
?voman's attire with the clothes of a<
nan n.ne years ago. she consented
.es.tat.ngly fearinjr that hc was mak
obably the leadmg male impersonato.i
>n ine vaudeville stage.
"1 was singing an army song with !
? dditioit to my dress. It took so well
,hat the manager asked me to put on
u entire suit J had never heard of
luc.h ? th'."B- i declined at ftrat. Ene
and by this time knew me as an actress
n dresses, and I did not think it wise
-t!,.*?ei, ire lh.em in a new character. !
h-v t?r reall7ed -hat just because
jiey knew me so well and liked me so
?1 ViV ,T0m*" s cloth''s they would like !
ne all the more if l could please them i
n mala atttre. I did. For the last I
\mw ye'J? F htTP P'?yed long seasons i
ft MancheMer, Glasgow, Liverpool and
Miaa Shields. who admitted that she i
w?uC?mi* M.r"' Chriatie. the wife. of a !
?obe co,on*1- -? Proud of her ward- !
, "M.v tailor in London malees clothes
or twenty 0f the best dreaaed men in |
ithe play. including eight hn*.
'camels and three SyT'VS
these animals appear in th'e ?.? of
which shows themembers 0f t???Si0n
1 Pany on their vvav to the k C.0tn
Bacchus. During the dre! *!*? 0?
two elephants were u,ed in thia^'
as part of the entourage of a su *len*
Oriental prince, but David Zf***
who took charge of th- V i !,!"Co.
during the last week ,U?h"?Is
elephants had no *??*?$!??*
dramatic stage. ' e on ?
j .In the Fokine ballet, where U?
girls dance upon a staM .-???-? L -t
red rose leaves. niorXn goSiT?1
dividual rose leaves are ,-a,",?.' ? '"
a ^Paceof forty bv ttventvf^Tl'r
rose leaves are all artificial ?f ? "M
and are made. of beautifuilvS*'
silk. Hundreds of th< se ise ? ?^
are spoiled at every performSJe T ?
the property men n?k them ^
try to savc as many as pSbleP ^
rose lea.ves 1111 three barre a in "
property room of the Centurv Tk.
and already the stage manageJfe
don West, has placed an ordeiwith*"
? manufacturing ti,m for -,,, Iaa . *
Wel of rose I,,, '1, ,^ !"??'l
be needed. The greatTat care LT*
be exercised in handling th?> rt
leaves to prevent any taVn* ,1,
? other rough substances from TO!
! imxed up with them. for the fl^
jdaneers of the ballet daneol?
their bare feet and a small S?
might cnsue if some one spilled a W
[tacks among the rose leave" W
| One of the mosl difficult" feata h,
connection with the stagine of "AwL
dite?is the care that mtst bc beato^
upon Mildred Walkcr. who pfiffi
part of the Statue. She is S-iiS
to pose i? the temple ce e Wj
ithar, twelve minutes' with her armH?
Jraised. A smgle movement. voIuntlS
lor otherwise, would destrov lhe ll?
sion and the perfect picture tL ffi
produced when she holds the ffi
jof Aphrodite above her head th!
greatest fear of the atage manaee. i.
that Miss Walker might latch cofd an
sneeze. Of course, she wears a p"r.
fectly good union suit of silk, and dur?
ing the cold weather she has added an
; extra suit of wool. which goes under
neath the silk. Over this is a coat of
; white paint, which makes her aPPMr
like a wax figure.
However, while she makes a beaiiti
I ful picture as a statue. one can imaffine
what would happen if she should"catch
i co)d and snee/.e. To avoid th;=' ?
jphysician is in attendance, and just ba.
, fore she goes on for the scene her
jthroat is sprayed and her nostrils are
carefully plugged with cotton. She
breathes by ieaving her lips shgliCv
jopen. Tlie rcason the physician pltg'i
her nostrils is that dusl might dtfft
by from moving scencry, and aha
might breathe it through her nostrill,
thereby causing her to sneeze.
With Marshall Neilan
aow York. Sometimes ! am criticwed
for wearing clothes thal ;. rra! man
would not wear. N'othing could b'
more correct than thi .-? le of my suitl,
and a British gentleman would ?'?r
any of them."
Sunday shows and matinee work ?
the vaudeville theaters were nnexpectfd
by Miss Shields, and she i spresaedher
self frcely about them.
"If it is thought ? ?:,
keep theaters open
people on Sunday, inageffleot
should provide differei l tors -000111*
in and take thr- placi of the actor'
who 'work during thi ? ? k ln *?
He Talks 011 "Belgium
1 ? ?cr'ainine
two weeks that I have been her*" I a**J
been watching the vaudeville theatf:'
closely. but I don't think that ?U *??
the aetors you had when ! le^ ?* .
sixteen years ago. Perhaps 'l'p a^""
popularity of jaz? music acCOtUltl '
this. It is my prediction lw '?
present jazz. craV.e. which 1 am lo1, '"
falling off already. will bo ^fC0' ".
in less than twelve months. U's ?
lief to go into a amall irstauraiH<(i
the city nnd heai some go?d mu"f .
Many of Hho most popular thcatrtc.
favoritea in the British lsl*>^ ?rr Am
cans. Miss Shielda said. Enflgh "^
dienceB receive them eordtaliy. 'f
aotne of them have a dvawmir Pr.?
which far ?4UUiu? tiaat **i Oi* ?-???