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The evening world. [volume] (New York, N.Y.) 1887-1931, October 04, 1913, Final Edition-Baseball and Racing, Image 10

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New York's
Ever Ready
to Laugh
or to Cry
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
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
evwo 1W TO if:
"tt MY $TV
. V o w rvf
Elf BS.
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
le yeur stomach sad It will always
eerve yeu well. But if you have bisu
careless, take
II 000
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
"'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
Again that eye that twinkle above
the footlights waa fixed on you. No
like hiding behind the counter In old
0 AA. kE A W
AuoitNte c ft. y
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-
0Bwnr INTO
; 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
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
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.
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
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
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
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
"Oh, the maxixe," unrigged Maurice,
1 easy. 1 could teach anybody in an
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.
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
New York's
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
"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
"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

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