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THE EVENING WORLD, SATURDAY, OCTOBER 4, 1913.
1 J New York's Ever Ready to Laugh or to Cry Warfield By Charlet Darnton. I AVE you ever etoppcd think that you mean much to the actor as he meant to youT There may be only a thousand of yon to one of him, bat you count Just the same Ha has his eye on you and hi ear la turned to hoar what you say Tola little Idea was suggested by David Warfield. Though talking to ao ho was looking at you, thinking of you and trusting In you. He had left off crying. "Monkey-on-a-stlrk, five cents!" and was making you the auctioneer. How much had you given for him? And now what would Vou bid for him? What did he hear? There waa no brasa band to drum up trade. Tou could take him or leave him. For twelve years he had been In demand as an all wool and yard wide actor marked with a star, yet It was you more than himself he waa thinking of. He makes no mistake about you. He's straight on that point. The only thing crooked about him la his mile. It was born that way "It's the public that makes stars, not the managers." sold he. attesting thla statement with two side-long nods of lap si N(,w that I hava got berk to th part that brought Rln out aa a star twelve years ago, I realise this more than I ever did before. No manager can ao out and grab the entire world and say to It. 'Hee my star!' In spite Of everything the manager can do. tin- world may so right on revolving Inalead of stopping to take a look." Mr. Warfield did not add that anme tlraee It costs a manager u grrat deal to have hla ayes opened to this fact. He waan't worrying about hla manager, who never goea atar-gaslng without tak lag along enough of that ballaat known matter what might be said It was keep as common senss to keep him down to I Ing you in eight. earth "Twelve yeara ago," came the drag- 1 didn't Jump Into stardom," waa the I gin worda, "when I rtrat faced the. pub neat thing he had to aay. "Oh, no! 1 lie aa a atar In The Auctioneer,' I felt end looked over the bare Into the VO M A.NAUE K CAM fa.0 OUT AKO A OkfCiB THE WOULD evwo 1W TO if: "tt MY $TV . V o w rvf Elf BS. 1" LI i premised land for a long time During the time I was approach Sd by three man sgers, who assured ms they would ue ths makjng of me Hut I didn't want to be 'made' too aoun. and I felt 1 wasn't ready to be counted among the stars. What's more, i Mantel to be sure of my man before I Jumped. When Belasco i.neny came g ... .ouaeu ...e ,e , right man to r e, though he had no tneatre at mat time, on.y an BSBSS no , Digger man tnia room We were sitting in one of the small rooms that Belasco scatters about the theatre bearing bis name, apparently Just for the sake of furnishing them with Interesting odds and ends that he "BE KIND" le yeur stomach sad It will always eerve yeu well. But if you have bisu careless, take II 000 PURIFY- Purely Vegetable. Aa escellent correeiUe of all dlsor dsn ef the slemaeh, liver and blood, est fee CeaatlBMiea. They cleans Hi system of all Impurities and saaes wiiuoui griping, pronui s aessiei sad clear eomsseslea and sweet breath aa ef SO PUI. 25c. i .1 fee gl.OO. Trlsl l. to mm "'The Maxixe' That's New York's Dance of the Moment And to Learn It You Really Have to Go in Training Start rk ttut Tveejlawd -toe picks up as he Is popularly believed to pick up coal In ihn atreet. And twelve yeara ago llelaeco had only one room to hie name! How the old place haa changed W ho wnuldnt bull.1 theatres If he knew how to fill themT "After all." reflected Mr Warfield. "becoming n star la largely a matter of hualnesa, and an actor who haa an eye out for the main chance I" not unlike the clerk who feela he haa the right t , oen a atore of hla own. but an 'opening' doean't make n atore, nor does one aucceaa make a atur. It la always the public that decide the fate of an enterprise." Again that eye that twinkle above the footlights waa fixed on you. No like hiding behind the counter In old S 0 AA. kE A W AuoitNte c ft. y f KUT ViKT HAVE S -k. av gal l.evi a shop. Honestly, 1 almost died be- fore I came on the stage the first night. But the public gave lie a hand and pulled me through I w is ambitious und believed I could d something mure than the bite of burlesque i d been do- Ing. but without the help of the public I'd have been lost that very first night. b.,,,. m. whn , Ny that the larger de )f Um tllBBtr(, u un th olh.r d of tn. rootllBBU whrr. th( pu0. bv lie mysterious, unspoken mesaage It aenda to the actor, telle lilm w hether he Is a success or a failure. There'a no getting away from it." Ho you see where you come ln-where you keep coming In all along. If you are at all observant you'll notice that you are the "star" of this little produc tion. "I didn't aee the poaalbllltlea in 'The Auctioneer' when It wae handed me," confessed Warfisld. "The truth Is It was terrible. There were three acts of , worus numing mure, men ueiascu got busy He added touches of hla own . here, there and everywhere until the I play began to look like aomethlng. It s j the little things that make the big thing, for I must aay The Auctioneer' proved big thing for me. But in Us original form H was Impossible I couldn't have worked Into the cliaracter because me piay as nrst written woulttat have uattd luua sauugh t, .BaaBBBBBw a bbbbv -v auaaaagx s .m . . - aaaaaa m- m -v. i aaa give me the chance. And I must admit one thing: I'm not a good Judge of a play reading It for myaelf. All I can Is the part. When 1 went to Belasoo J had so murh faith In him that I felt he would find things for me, but bow big, of course, I didn't know. Who, for example, could have foreseen a success like "The Mimic Ifaaterr I'm willing to own up 1 didn't. Then The Passing of the Third Floor Back' was written for me, but I shook my head because t was afraid, people would say. There he Is again, th same old thing! He can't play anything without long hair and a cape coat.' Hut It's sn III wind that doesn't blow somebody's way. and It certainly waa In the direction of a very fine actor when It carried the play to Forbes-Kobertson. For my part I'm glad he got it. though, as things turned out. they were a hit rpugh on Belaaro, wbo had the play in his hands for months That's the way It goes! Any- didn't 0Bwnr INTO TrR.O0" xVgggggggggggi ; way, Just now I'm having lots of fun In a 'revival.' It's like a vacation after I three seasons In I'eter Grimm' that i cumpelled me to talk Into the air .11 the I time. The elrSngt thing about It Is that when I stepped out on the aiSgl . Tuesday night It seemed as though ten years bad been tsken away. I played It for two years, you know. You spoke of the fun the audience got out of the play. Well, you ought to drop In at a , performance now. Aa they euy li i vaudeville. It's a riot. New York Is al ways ready to laugh -or to cry Hut a revlvul la a risky pi oposltlon, unless it's classical play, und tile secret of the success of this una la to be found In the fact thst It Is an entertainment That's what the public wants entertain ment." Once mote you were of firat Im porlanre. Again Mr. Wartb id waa ad- 1 dressing himself to you. And he seemed ; to say that he cou(d make you laugh . as easily as ne oouiu mane you cry. "It's no credit to roe," he protested. "Making people laugh or cry is like hav ing blue ey.-s or black eyes You do It or you don't, that's all " This led to an argument, and "The Music Msster" waa drugged In. War- 1 field must have followed a certain pro cess to wring tears out of you in thst pluy, wouldn't you say s Va you want ths uuty." he asked. Maurice, Sponsor of the New Dance in New York, Gives a Special Perform ance tor the Readers of The Evening World. 'Every Woman," He Says, "Who Weighs More Than 130 Pounds, May skier Herself Sate From the N Brazil the National Dance of By Nixola Greeley-Smith. Do you Maxixe? If you don't, It's about time you learned how to do It for the Maxixe haa been In New York a whole week. It was Imported from Brazil via Bu rope by Mat:nce and Florence Wal ton, hla dancing partner. Hut unless you have supped at Relsenweber's, where these dancers appear every evening In this latest and most ex- otic fantasia for tho feet, you don't know how archaic the tango is and bow prehistoric the turkey trot hss become. Whst Is thp Maxixe? Maurice savi It Is easy, that he could tMctl the most Btupld person to dance It In an hour he doesn't add 40 au hour I made no secret of the fact that I am fond of novelty. "Well, then," said tills honest sctor. "I don't know . But this much I do know: To make an eufllencc cry 1 must I The fourth position of the tnaxlxe Is. first have tears in my own eyea when ' Hter.illy und figuratively the kick. It Is I read the play. If it doesn't hit me I slsu tlie one which stern moralists will can't make It hit the audience. It s n j view with a dubious eye-and they, too, simple case of human nature there's a j may make a kick. Miss Walton de chord of sentiment In us ull that rc- scribed It this way: panda when it's UUOhSd, And it is i "Ths step la the tlve step of the tango, the character lit a play t lat appeals- I do the man s stop with '' fo' In the more tiiun the play us a whole, fun- ja r and Maurice comes forward with the HMIl'SBtly an actor la remembered tor, woman's step, so thut tils knee touches and associated In the public mind with, mine us iny other knee recedes aomo particular part tig ha pi..yeJ. We "As Mauri -e comes forward with the ahull always remember Booth as Hun- oilman's step he literally raises me let. Jeffeisiui as Blp. Irving as M it- from the Moor with his knee. Kor this thlas In The Bella,' Salvlnl a Othello, rsSSOH a fat woman cannot dance the and so on." masts, though It would re luce her lie biuahe.i like s school!-. t ths I mors than am other dance If sh could. mention of WartteM as You Harwlg in Bui no man itOUld l't such a weight as "The Music Master," and thci put in , would be ieuulie.1 of him If he danced this unexpected word i the RiaSlSS with a stout wo, nan. Is Pe'ur Urhmii foThe n-a'son 't'hstl W0MEN EIOHING ,30 POUNDS with the beginning of the second net ARE BARRED. I succeeded in milking audiences be- "Koi tills rea-on ever) WOlnah In N'e.v lleve In a spirit.. I'm prouder of that I v. ,,-n who waleha maea then IBS ,,a- than siiytulng else I've done In tlie iasi ism. pwan i-uii amnwig never gave me ine aiigniest uimclllly. it was no effort. The difficulty, especial ly fur a man, la lo get a good play with a character that suits tit 1 1 1 It's harder to find plays of this sort than It la to discover stars. " But don't Jump to the conclusion that inn ni w .u Held thinks thci. art too in my "stars '' He cracked a dry smile at the suggestion -and wound up with "How could there be with all I Us tbcatreg ws haver gj THtwait Hi? partner crw but that's what he got on the last westward trip of the Impcrator, when Mr. and Mrs. Sprockets of San Fran cisco, who were fellow passengers, decided that they positively must learn to max I in right away. In San Krauclaco, und elaewhere, preckels rhymes with shekels, hut ordinary mor tals on dry land pay Maurice tXi an hour. The extra si."., of course, WSJ for ssklng him to maxixe on his sea legs. Con-l8PECIAL DANCE FOR NEF,T UP BVBPIiriU WUHLU. Yesterday afternoon Maurice and Miss waUon gavr a special performance of the new aunce at -o. es neat oixty nlnth atreet, so that readera of The Livening World who have not been to Relsenweber's might get a general Idea of What the maxixe la like. Maurice says the dance la net ahoealag; Miss Walton says It Is shocking If yon daaes It that way. I can't say positively whether It Is or not. Merertbeless. I should advise all persons who are easily upset to have a shook-absorber somewhere about whoa they sss the . manias for the first Unas. The maxixe begins with the man and woman dancing side by side in a for ward heel-and-toe movement, like a inodUl.il buck and wing. Ill ,1... .ltl,.t. ,,.... CM ABMh ! otll. ,, ,wlnB lnIl) tn nlrt fhlond twoatopi revolving about UI the have made complete circle and accompany ing the rhythm of the music with a slow, gwaylng motion of tile alioulders (not the discredited shoulder movement ' '" old tury lro'' uut languid, Hid It ill ll ll lain f ; in the iliird position the girl la in i fro,,t ' ",M main tiiat is, her back is toward lilm, lboug;i he clasps her hands", and tiie step Is one two three, one two dip. Tlie girl dips way down to the ground. Mies Walton described the flguro as a ' H"'sn step nay COIlsldgr hsfgslf safe from tile' temptations of the maxixe Ma n ice sponsor of the n- dancs :n N't iv York does not Vlsw .1 with a critic's or a bishop's eye "it is the national dancs of Rraall," he said, "and succeeds tlie tango Ihe national dance of Argentina. n , popei when prnueriy danced, 'in a, the waits is proper or improper accord - Ing o Ins people arno uanoe t. a :hey do ii iu Rig. sjs Janeiro NSietlmea, wkara un ii aod women whirl around Xox aa hour till they beco. is dlxzy and sense less. It is what you would call risque. It is the rage in Paris. But the French do not dance it properly. "They don't dance anything prop arly. It's only in America that you see clean, fine dancing. Why, the amateurs la Mew York the men aa women who get np aad dance at Belsenweber'e every night ore far better aaaosra then half the professional la Barons that people Pay real money to see. French women own not dance without the wiggles and wagglss that make a aaaoe suggestive. They are aU right for slow, languishing music, at when it comes to a 'rag.' they're a Joke, aad a risque Joke at that, stag-time, aftsr all, means a good time, a elean time; but only American boyo and girls under stand that." "Europeans can't dance." Miss Wal ton Interrupted. "I taught the tango to the Orand Duke Michael and later Club Note. A Supreme Court Judge told this last night st the Manhattan ClUBI Home few years since, Thnvmas Nasi, the famous carlo, nisi of the time of Twsgd, ' lived at Morrlstown. N, J. II.. was very hospitable and oiten invltisl Ins fri' iidsl for a dinner and n nlBht In Ihe country, tin one Occasion he was embarrass J, naving iiiMiei a man asm ue oei not know well himself but felt he had be- conic acquainted through a mutual frleull . f sngsBst'. " ' Ijj V -1 ' j" '''' 8 l'l BV ansssnannwaawasnaes... - ' I E TU C Ta ftj Q O t-l iTu C r 1" T- I . .-T7V- a . ,!TTMT,,",,,M,,"SSWS.ssnsnwM aaaansaasssam. aw Of long standing acquaintance After din- saved their host's money ; so he waa :ie ner sn I through the evcuiiw they had' tunishrd Hint the expert should say to taken a ttW gOctgblS drinks, and as bo a as rStlrlngi Nasi reulued that his guest I istiier the worse for the evening's bSVtlOfl But the worsl was to come, for In the morning the visitor came down- ! itatlrt und olalmsd that a iar-e sum of ' money had been stolen from him slic e the e ening liefore. He had searched ev- cry where; It was gone. It looked had for 1 the host. N.ist as m ire cxcltid than me loser, If it wcie iweslble ; but after long Mtoh aha utuney wag found sgsslly wsars uis loser anew he had aa ai pui it. GD One, two, three. ?ip (Vbu have to train tor th.e3ip) to the Orand Duke of Mechllnberg- Itrsllta, Strcllti told me I was the first woman lie hud ever danced with. I didn't have any difficulty In believing him. Because 1 felt as If I were drag Kins u chair around the room. But when he got on to the sn'ing of It he learned autckly the tango, the maxixe everything.'' "Oh, the maxixe," unrigged Maurice, 1 easy. 1 could teach anybody in an hour." Herford's Economy. A few weeks ago as Oliver HsrfOrd poet, humorist ind artist, waa volng into me fiaysrs ciu friend Just going out he met an artist Wh.'ie are you goltiK lie ask. d "I have lot ,, nr my gloves," his friend replied, "and have to go and buy a new pair.'" "That's ail fully." sal 1 Harford, "Why I never carry but one glova No uni ever knows the difference, and It makes a pair last twice as long." ' - I "Expert" Advice. A New York business man Had put quite a fortune In a mine In the Waal I an'' ne to'(I a 'rlend ol his that lie RfOUld ,UM lo m,'0, Mollis, an engineer and ex- '" "' rswuitea in ine iriSM ami tho pert. Ii resulted In lh friend and thai expert taking dinner with the mining in- vaster, inn ing the evening until nearly morning tlie expert was questioned, and In answer to nil uuestlons hla advice was "to put no more money Into the proposition.' The mutual friend listen Ing lo the talk had an Idea that he had him fl.li nl hilly as they walked down Kiltli avenue: "My alvlce Is of no good; be w ill put in more money and will lose It forever. That Is usually the result of my advice when paid for by a dinner. And the expert was right. LOCATING THEM I "Ah, 1 lie ug!v ducklings of . es'.rday j I wilder on ..as becoaie of thiiii all?" al "Have you looked Into toms of these j ajinss witorl tuiki-ti Jiiing is ail the i rage f Sentiment Names New York's Newest Theatre The opening of a new theatre In Jttw" York there have been a dOSOO or more . such events in t lie past two yaari does nut ae a rule create apeclal IWIWSJltl Hut the dedlcatein o; the beiiutKul tfum r Miubsrt playhouse on ThtrNjil.iv night intrcduceil an element of sent -inent which hHs eon the rui.-k recoun -lion of appreciation. It was erected and named In memory of the Iste Sam ft Hhtibert by li t surviving brothers as a heart tr'bUte to the remarkable nun whose career ad personality arc still an inspiration to his successors. One of these. I.ee ghubsrt, explains the use of the name In the following words: "The use of tlie name of tam H. Shuhet t for what we expert to moke our moat Important New York theatre l a tribute which we. hla brothers, anil our business nsxniintos arc pro od to pay to the mem ory of the man who founded all our en ternrises and whose .nlej&rinff nerannsl .iv u iiisn vow rri uni 01 inn uinm achievements. "It Is our wish that hla name shall always he actively ase-ilated with the name of our firm and that we shall al ways have It before us as a reminder of his fine ambitions and Ills remarksble person. illty. Though lie was calloj away from US so suddenly, and he did not live to aee the realisation of a large part of his unn work, we fee; that we are to day developing his Ideas and striving to perpetuate his spirit of amldtloiia activ ity without his Invaluable aid. If flan ft Shubert had lived this theatre and other theatres would doubtless have been built. But they would never have bOTM his name. His M,..l,,l.. In all ItllnM .-a. ... he would never havelpermltted such a 1 public dlsp'.a of his name. He waa a - I ways mnt retiring and never wished I to Call attention to iilnwelf I "We feel that we have only taken up land carried on the work that he laid ' i"1' Ws do not even know that we 'have carried it out aj well as he would hAVe done t he had lived. ror wnatever has been done, ws want the cretUt to go where it really tJT'u "ZZ'T Portion of the recognition that should have been his. We want the public. which has made our success poss.ble to underhand and appreciate the orls;,n " " " aemrations, Wc wish that Of all nir aspirations. the public shall know to - whom credit , Is I,,le- "Theatres bearing the name of Ham B. ' Hhubert have been In existence for em. time In oiuer ernes Huston, Ksnaas City, t. UulS, St. Paul, Minneapolis. Newark and Bochcster. We held thst name In too great respect to use It for anv of our old New York plojtiouai-g 0r for any of the less Important houses which we have built and opened from time to time. "It was only when the opp&Vinlty prcsenieu naeir to build what seemed us a truly appropriate theatre, Inton to shelter only the very best of all many attraetlona at our dlsposs:. that we felt we were on the point of rearing a suitable monument. In using : , thla new theatre the r.a;ne of sia-e. n bsrt ws consecrate it in the mt solemn - " w.i rruvni i i Hna iinrriLu, r wo know. Jrsf ft Tr eSSjJBSsnansnBB snsjgBJ