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The day book. (Chicago, Ill.) 1911-1917, May 19, 1915, NOON EDITION, Image 10

Image and text provided by University of Illinois at Urbana-Champaign Library, Urbana, IL

Persistent link: http://chroniclingamerica.loc.gov/lccn/sn83045487/1915-05-19/ed-1/seq-10/

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VIOLA DANA, A MOVIE AS WELL
AS A STAGE STAR
Famous lie country over for her
remarkable acting in the title role of
the "Poor Little Rich Girl" before she
was yet 15 years' old, and heralded
with acclaim as "Broadway's Young
est Star," Miss Viola Dana's theat
rical career stands without precedent.
And her portrayals in Edison films
since that time have only added to
her laurels won through the charm
of girlish winsomeness blended with
a rare maturity of artiBtic perception.
Her emotional powers are exceptional
for a girl still but 17 years old, while
her esthetic art as a dancer would
alone plaqe her high in that profes
sion. Her astonishing performance in
"The Poor Little Rich Girl" is partly
realized when it is considered that
it is about as long in lines as Ham
let, the criterion and test of an
actor's memory and characterization.
In the first play Miss Dana had but
five minutes' intermission, being in a
speaking part during the whole even
ing. More could not be probably said
that she not alone was not criticized
by the dramatic critics, Allan Dale
and Acton Davies, but earned most
unusual praise from them for her
powers. No critics were more fear
ed by the greatest of theatrical stars
than these two critics of caustic pen.
She played that part for two seasons,
or until she outgrew it.
Miss Dana cares most for emotion
al work and it is well known that she
so lives the pathetic moments as to
cry real tears. Her large, expressive
gray eyes, long-lashed, bespeak won
derfully the depth of her serious, sen
sitive nature. Standing less than five
feet, with perfect features and figure,
she suggests strongly a classic statue,
though the wonderful expressive art
of her dancing is pulsed with the
litheness of buoyant youth.
On the stage since a child, Miss
Dana has played with noted stars."
She was with Dorothy Donnelly in
Ibsen's "When We Dead Awake," and
for three seasons played Little Hein
drick with Thomas Jefferson in "Rip
Van Winkle"; in the "Squaw Man"
with William Paversham for a year
and one-half; was in the well-known
Union Hill stock company with Jane
Cowl; in "The Littlest Rebel" with
Dunstan Farnum, and with William
Courtleigh for some time. It was her
work in "The Model" that won her
the stellar role in "The Poor Little
Rich GirL"
In Edison films she has played
i many parts, some of which are' the
title role of Molly the Drummer
Boy"; as the dainty fairy queen in
that beautiful idyl, "The Blind Fid
dler", where she danced with elf-like
grace. But it is in "The Stoning,"
where she plays the innocent village
girl betrayed, that she shows the ma
turity of art grasped where she
places on the screen a character as
true and as undying as "Camille."
Miss Dana loves her work and
hopes that she may "earn the oppor
tunity to play Juliette," as she ex
presses it. But with the country's
greatest critics already warmly en
thusiastic about her powers, one feels
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