Newspaper Page Text
Biliie Burke a* She It and cut
Shf Might Be.
I It wia be * tiiouaani pt&rt if ills? Bsaaa
Ecrk« Is to be cpoOed by her snddea star
<ios. Kiss CzrXe has natural ir-^t* Hsjt
ar* beotowed too rarefy on a^trenes vka
sac aa*X en ihe caa^gf-'^- waters of eoasasTy.
but -Ittt- ri-'ts. art- iz. ixsgrr of distsrtlaa.
.TXt 3CZTTS* a bring prexx.l t-OO tXSX. £=£
100 Car. TLx Asvrirsa pssaiae Car ~tiabsg
Cbtoga." tor ~g*tziXLr there."* *-"» r-^a her
.... cot para* te her jrxift r±jan:
far success. I: -«rfll r>- *-jA, r.t exrne, thjzt
•be 1* &Ir=3jJy ■ Ltxett/d. £b*r cr^. tie
saaMi Kvt that 1* tie sh-ort vVrsr. TcelS
Is scv Mis* liir'&e't pozs»-szZcz±, trrJ xr*tf^s
yocih pst£B« ;.-•'■» - ■- '! ps^s IS art
•JtS M £-'•
X*rcer la prcrcn* zzi*. 6t^rfini> d*e th^rais
as 4 poorer* wiiicb. isj'sl I has ral.'urf upon
Cewatd>r Klfs Paaaa m at* »-*-' wh«i
mat frtzye*J wttt l<.>~.'. Urrm- is. "Ky sTsßa,"
TtJ3*~ erho kw fcer crT7 «= ti««- Crrt gtgftf
of thai &*n> 4*l an ass bar at bar t«sft.
BBHt tHirkc mi sot a tr«#^ sr>* ni^ht ac
treea fib* I* lite K2l*n Terry .'a that re-
S«Mct. Eke » sasa KZlrr. 'Tarry in CJua
f— pa if- "Ellin Terry *t 88881 Burke* ag«.
ajsjeli ii ttsi U. Lss sea ia crlljt«a«KJt.
Sj yon *-lU. tsit fT.Urzt Txrry in her yoclh
bad a<r.»» - r/fc» -c* vrkzl atr. U.
vrsoV Billte Fer>.e tjw-*x+ to fc»T« cr» r3c&
•oVaetac*. SJbe bmtkli crrwiifc?. drTTlir-s la
fjMSJBI««e: **>* aaoaV to t* rho«-n how.
Eb* act» to > smsoai witji her n^--*.'fc2; s^e
*s U*> litti^: tifif»»^ li*-r son cosJrol.
Billi* I-... ice has a JoveJy voice, wtich
at* is sns«Ma«j a* flaal -■ rhc can. Arji
new U th* tlrre fi rtudy Its u?>e ar.d pr*s
•rrt»)or. Site kT-yiv* h'.w u» sj^-alc, ajr vel],
but too often jAe fofrcts thi? accompllsh
wuerA whe& soase trtttfnwi of the iriatre Ii
preseir^f Vi - may not tliink it. bat she
has pathos. No oth«-r young actress that
or.a tblaks of c^.n exc«C X *--V r -- n *V&X
her writ cf z.*.\hK.\c f-xynsnion, but the
prra-er to ui«e It wi'.l ellp away if the neaj
lerts it« cultivation. In tenderness she
cm'A b* without a rival if Khe chose to
cultivate h';r faculty for expressing tender
ness. Lan the absence of a ruidir.g
hand ah« in rsssnaasj hefcijietsly along the
road la BharaeMßß bardneaa, a.» Mrr.. I>ot
rhe he« Khrcn-is-h mvn:erits. but Maugham's
iJrs. Dot had r-r>r;e.
BC!ie Burke was born for .iJRh comedy.
bat the If u>b<j?ga.riirig down t> hill to
farce. Her boesa li Inimitable, but when
she la rr.oved to a.r;rer or roestroest Hhe
become* p*px»ery— red peppery— iustead of
being forceful :md irr.rr* stive. Naturally
a person Of exquirt* erare, ehe has tak«-n
on a Jerky movement ar^3 a miodng gait
which Art Dot baaassi ''■ any part in which
ah* baa appeared. He* diction J» at times
T/eTfect; fhe can. If eht will, make it per
fect at all tin**! Bhe In the Btoal tanta
■atesT of actrenes, becaa— Ehe can An to
much ar;d yet fall* far tbort of her ability
to fulfll her promiv-. Her greateat need
1« repofc*-. N»v<-r' '•'.••:-:- she has the art
of listening, of acting without vroils, of
foll«rwlfig trit*rit!y the basiaaas of the fccrme.
But ah* i«i too nuuch given to motion; ehe
In too full of animation when she sbculd
bo quiet. Doap all Ibis, »he in best In
her quiet nutner.ir. Hlie is a creature of
paradoxes, ooattraaUct unexp*:';t«lnfes;-!.
And there again -•'-•• rt-rriinda one of Elien
Terry v. .'*e:. that aaatcsUesa artlaS araj
In vataa, in figure, in beauty and grace
and gayety of r.ature BlUte Burks in nearer
the Ell'-ri Terry of rtany — alae! no many—
years ago than any Atbor young actress
of our time. bbm can Bay thing* now as
CtAy ■tai T'-rry cov»id »^ay them then, do
ctjljt w!iat the E'.len of the cweet twenties
could do. Why, then, does rh» not say arid
to more of tb»-m' Because fhe ha« been
rushed to i «-a.: irro *tardom. and no
one, ho far as the evidence goea, Im u*rnr
her to say nay, to caution her in this, to
Intdst Bjion that, to say not only "don't,"
but "U.iK Is the way," suiting •'.<• word to
the action and the action to the word, and
bringing out I:.-, best that in In this, fasci
nating, amazingly gifted girl. Billle Burke
Is worth ell the paJr.s that can be taken
to develop her from a man ner-gro wing
nwlce Into an artist of great skill.. If she
•were, to play five years with Forbes-Robtrt
son she would become the moat dtlijjhtful
cotnedler.iif- of this generation. But hhe
xnxitt consent to be trained, cut, polished.
BJie Is a glorious diamond In the rough.
But who shall harness a stai to the
breaking machine? Has J'.!:]!*: Burke the
desire to become the moet brilliant comedi
enne of her I me? Or. having the desire,
>.«•»• the the will to work hard enough?
The system un'i«-r which she was hoisted
suddenly amonx the star* is the chief
*po2ler of talent— even of geniuK. if genius
there be. Miss Burke may think the sys
tem has made bar, but it is really unmak
teg her. She brought to New York, three
>can. ajo. a rare and ridiant nature so
Ttetiljr endowed that on© marvelled again
why (he gods are Bo partial in their favor;
•BY- return.- with no gain la art, no en
richment of her powerr, no evidence that
experience has brought government and
restraint. And yet no ->ne- «<.1»« can do
v .ha* eh« can <io. If she wi!l learn. g, has
•-verythlnx In her favor— youth, loveliness,
brtlns, tao spirit cf com*r'iy, the powers of
n^Mifi''ii. Against thine are set a sud
den fortune, an excess of public favor and
a -• teea which makes her a reigning star
•-• I aha has learned obedience to a moat
•• x4**C craft. Nothing fills like succesH.
/ ii.ure mule blilie Burke bewlt^hlnj. it
••W Hat lady's turn to compensate nature
with entrancing art. There is only one
percon wh • car do fcr Mia» Biilie Burke
■what needs to be- done, and that person
Is Billle Burke herself. Will applause
make- bar d« *.! to counsel? The hope is
otherwise, for the opportunity Is great
FLYING WITH BURTON HOLMES.
To-night, at Carnegie Hall. Burton
Holmes, tar "Travelogue Man." will invite
his audience to fly with him In a Wright
aajoplan*. For seventeen yean this well
known- lecturer or. travel has taken his
1- low travelers by every known means of
transportation-railways, camels, motor
'tu*t«. elephant*, horses and steamship*
to th* most remote portions of the globe;
now be proposes to take them (by means
of motion pictures taken from a Wright
brothers' aeroplane) on their first flight
through the air. Last year Mr. Holmes at
tended the aeroplane contests at Rheims
and by means of bis pictures he will «how
to-night Curtis*. Paulhan. Latham and
other record breaking "bird men" before
and .' •■ flying, and also In actual flight.
He will also ebow liieriot In his flight
•cross the English Channel.
The first half si the evening will ... ...
voted to Mr. Holmes'e travels in Sicily,
whence he ha« returned with wind and
cameras filled with the scenes of beauty
there created by Nature and man. "Sicily
•sd Aviation Week at Rhelms" wilj bo
trivets to-night at Carnegie Hall, and re
peated at the Lyceum Theatre on Monday
and Tuesday afternoon*.
DOROTHY DONNELLY. JOHN MASON. MiSS ETHEL BARRYMORE. MISS LEAH BATEMAN -HUNTER. JOHN RSO /J '-„,.,»_.
- '.'!«-,/■ Si* Armurdm In "None So B. nc." Hastttr Theatre, In "Mid-Channel." Erro-e Tneat-e. In 'Twelfth Night" The New Theatre. In "The Wstcher. Comecyi
In "Alias Ji'rrtmy Valentine." Wa!
THE COMING WEEK
Monday Night, Jan. 31.— At the
Empire Theatre, Miss Ethel Barry
more in Pinero's "Mid-Channel."'
Monday Night, Jar. 31.— At the
Savoy Theatre, Frank Keenan in
"The Heights," by William Anthony
Monday Night, Jan. 31. — At the.
New York Theatre, Max Rogers and
Maude Raymord in "The Young
Turk," a musical piay.
Tuesday Night. Feb. 1. — At the
Be'asco Theatre, Charlotte Walker in
Eugene Walter's 'Just a Wife."
Wednesday Night, Feb. 2. — At the
New Amsterdam Theatre, Dorothy
Donnelly in "Madame X," by Alex
Thursday Night, Feb. 3.— At the
Hackett Theatre, John Mason in
"None So Blind."
COMEDY AND DRAMA.
ACADEMY OF ML'SlC— Ohauncey Olcott
In the second and last wo*k Of "Ragged
Robin," a romantic Irish drama by Rida
Johnson Young and Rita Olcott. Mr.
Olcott Fhares honors with the fairies and
mt-lt.«s the heart of a pretty Irish maid by
rri'.-aris of bM wandering love songs.
ASTOR— The . farce hit of the season,
BELASCO-Charlotte Walker will act the
part of the wife In the latest play of her
hut-band, Hugene Walter, "Just a Wife,"
which will be given its New York premier
on February 1. The play, like "The Easiest
Way," deals with the problem of Bex, but
in a somewhat different way. The wife
marries for money. The husband marries
to hush up a scandal with another woman.
Through mix years the man is "loyal" to
both women. The •■.:•■ has understood,
and has countenanced the triangular re
lation. After six years she sees that a con
tinuance of kucli a life is Impossible for
her. The end Is left in doubt. Mlhs Amelia
Gardner will have the role of "the other
woman." The awn's parts will be played
by Edmund IJreese, Ernest <'ii*-n(]< i nning l
Frederick Burton and Hobby North.
BlJOU— Cyril Scott ,in "Ike Lottery
Man," an amu»in« far'« in which the title
character offer* himself as a husband to
the winning coupon <)••:.
COMEDY — "The Watcher." a spirit
drama by Cora Maynard. splendidly enacted
by Percy IlasweM, Cathrine Countlss,
Thurlow Bergen and John Emerson.
CRITERION.— Francis Wilson in his own
tender and amusing farce-comedy, "The
DALY'S.— Maxine Elliott in "The Inferior
Sex," an impossible comedy iby Frank
Blayton. in which all the players do ex
ceptionally well. Miss Elliott was never
more beautiful, and aha seldom has acted
EMPIRE.- After several months' absence
from the stage Visa Ethel BaYrymore will
be t*en again at the Lyceum Theatre to
moirow night in Sir Arthur Pinero's "Mid-
Channel." The play is named for the well
known reef In the English Channel between
Folkstone and Boulogne, over which trou
bled waters always flow. The parallel In
shown in the married life of the Blundels,
Theodora and z ,.-, the latter of whom
Mlhs Barry more Impersonates. Charles
Dalton takes the part of Theodore. Others
in the cast are H. Reeves Smith, Eric Ma
turin. Charles Wright, Edwin Arnold. *A.
Romaine Callender. Phoebe Coyne. Louise
Rutter. Nina levering and Marianne Thur
<SAIKTY.-John Harry more in one of the
season's sutceeM.-t, "The Fortune Hunter."
GARRICK.-^Otls Pklnner in "Your Hum
ble Servant," a comedy by Booth Tarking
ton ad Harry Leon WlUon.
HACKETT.— John Maaon will be' seen
here for th« Mrst time la bis new play,
"None So Blind," an American drama, by
Ernest Poole. The story tells of the career
of John Howe, a civil engineer, who de
votes his life to the building of a bridge
over a two thousand foot canyon In the
heart of the Rocky Mountains. So hard
and, long does he work that he is stricken
blind. Not discouraged however, he Im
presses his wife and others into eervl<*
ana drives them as he has driven himself.
NEW-YORK DAILY TRIBUNE. SUNDAY. JANUARY 30. 1910.
f*mmmt^m**f^m^ ta*^» Mtomm^^mm^f ■mmm ' *^~ A jUw^n^—^p^^^^
In "The Young Turk." New York
Unknown to her husband, Mrs. Howe
(Mabel Roebuck) has written a novel, "The
Top of the Mountain," which arouses the
admiration and love of a literary critic
who has come to the Rockies in an effort
to recover his health. Howe recovers his
eyesight as the result of an operation,
but he doea not reveal the truth to his
wife. He watches for a time what is
going on in his own household. Develop
ments from these observations provide the
main interest of the play The last act
shows a mountain peak at break of day
and offers unusual opportunities for scenic
The cast conswtH of Mr. Mason, Miss
Roebuck, Ivy Trautrnan, Th«mas P.
Jackson, Ethelbert Halfe.s and David Proc
HUDSON.— William Collier, in "A Lucky
Star," a funny play by Anne Crawford
Flexner. in which pretty girls and chaper
ons figure -on a motor boat In Holland.
Ruth St. Denis will give special matinees
of Hindu dances.
LYRIC— Clyde Fit. b*a last play, "The
City"— as rough cut aa a mountain jeak, as
primitive as animal man. Powerfully
enacted by Tully Mar-hall and others.
LYCEUM— Miss Billle Burke as a charm-
Ing young widow in Somerset Maugham's
amusing comedy of English life called
"Mrs. Dot." Fred Ken. as the cynical
one» shares the honor? with Miss Burke.
MAX INK ELLIOTT'S— "The Passing of
the Third Floor Back." Jerome K. Jerome's
play, in which Mr. Forbes-Robertson
preaches weekday sermons and works
miracles before the ayes of appreciative
audiences. By far the most finished, the
most helpful and the most beautiful dra
matic performance of the year.
" NEW AMSTERDAM— Henry W. Savage
will present here next Wednesday evening
Alexander HiKson's emotional drama. "Mad
ame X," which has been playing in Chi
cago for twenty weeks. The players In
clude Dorothy Donnelly in the name part,
William Ellictt. Malcolm Williams. Charles
C. Brandt, Christine Blessing. Cecil Kern
and Delrdre Doylo.
MEW THKATRE— "TweIfth Night" will
bo given on Monday, Tuesday and Wednes
day evenings and Wednesday matinee;
Tnursday matiree and Friday evening,
cpera; Thursday and Saturday evenings,
"The Nigger"; Saturday matinee, "The
School for Scandal."
SAVpY-Frank Keenar. will be Seen here
to-morrow night in "The Heights," a prob
lem play by William AjUhony McGuire.
Plaxa Mutio Hall.
FRANK MILLB AND WILLETTE
In "The Heights." Savoy Theatre.
The scenes are laid in a London lodging
house and In a hut in the Italian Alps.
The time is the present. The principal
characters are an idealistic girl and a,
primitive man. The girl finds that she haa
been a bit too idealistic, and the man,
who has believed in neither God nor virtue,
Is saved by her love. Tfc.e cast includes.
besides Mr Keer.an, WQlata Kerahaw.
Frank Mille. J. Harry Benrlmo, Mrs.
Charles G. Craig and Hilda Keenan.
BTU X V JfIBANT— "The Lily." Mr. Belan
co'(« powerful play from the French, with
Bfisi .Vance O'Neil, Julia Dean. <"han«*s
Cartwright and others in an exceptionally
WALLACK'B— "AHoa Jimmy Valentine."
Paul Armstrong's thrilling detective-crook
play, in which H. B. Warner, Laurette
Taylor and others do very clever work.
WEBER'S— Henry Lee will be seen here
tr.is week in his impersonation of world
celebrities, past and present. He will give
daily matinee and evening performances
beginning to-day and ending next Sunday
BROAD WAY-Nora Bayes. Stella May
hew and others in Mr. Field's "lavish pro
duction" of ' The Jolly Bachelors," which
MRS. JIMMII BARRY.
to "Just a Wife," Belasco Theatre.
was written by Glen MacDonough. with
music by Rayrr.or.d Hubbel.
CASINO— "The Chocolate Soldier" is en
camped here for the season. Hundreds go
to see him on parade every day in the
week. . - .
GLOBE— Montgomery and Stone ere hera
to stay In their amusing play, "The OU
Town." by George Ade and Gustav Luders.
HERALJ3 SQUARE— Lew Fields, in "Old
Dutch," musical comedy on the usual
IRVING PLACE— "Die Foerster Chriat'l"
CChrist'l the Foresters Daughter"), aa
operetta by Buchbinder and Jarrao, will be
played here all the week except on Satur
day afternoon, when Lauf and Kraatz's
farce comedy "Lo«renbruder" ("Brothers of
a Lodge"; will be given.
KNICKERBOCKER— "The Dollar Prin
re?s." as light a3 a fairy dancing through
thf- W'Odland to the music of the watet
LIBERTY— "The Arcadian*." an English
musical play, beautifully set. tunerully
sur.^- and acted In amusing fashion. Ethel
Cadman. Julia Sanderson. Connie Ediss,
Percival Kni?ht and Frank Moulan have
the principal parts.
NEW YORK— Max Rogers and Maude
Raymond will introduce here to-morrow
night "The Young Turk." a new musical
play by Aaron Hoffman, with music by
Max Hoffman and lyrics by Harry Will
WEST END— Andrew Mark and Christie
Mac Donald in "The Prince of Bohemia."
ALHAMBRA— Miss Gertrude Hoffmann
will give an hour Impersonation of leading
dancers here next week. Simon and Gard
ner will present "The New Coachman."
James Thornton will tell funny stories.
Bert tarry will draw caricatures.
AMERICAN— Fourth and last week of
"Mh Oosse," the play of Paris underworld
life, in which Mils. EdnS Mollon and Gas
ton Bllvestre hay* the leading parts. Also
Fred Nlblc. In monologj^s; Taylor Gran
vtlle, In "The Star Bout"; Burkhardt. Shar
key and Gelsler. in character songs, and
"Rlnaldo." the wandering musician.
by George Hobart. which was given by ttU
Lambs, will attract large audiences to this
house during the comtng week. Nat M
Wills. "The Happy Tramp"; Dr. Herman,
the electrical performer, and Gus Ed
wards's School Boys and Girls will also be
COM-MBIA-The Fads and Follies Bur
lesque Company will prese.it "The Green
Sod Club." a burlotta in two acts, begin
ning tc-morrow afternoon. The Golden
K*th 4 Pr#oWa.
MISS HELEN HOLMES.
In "The City." Lyric Theatre.
troupe of Russian singers, dancers and in
strumentalists will head th« vaudeville btlL
EDEN MUSEE— "The World In Wax" and
special Sunday afternoon concert by the
HAMMERSTEIN'S — Lionel Barrymore.
McKee Rankin and Phyllis Rankla will b«
the principal attraction here In a one-act
dramatic skit, called "Th-? Jail Bird."
Others on the programme are Lillian Shaw.
the character singing comedienne; Stuart
Barnes, McKay and Cantwell, in a satire.
"On the Gay White "Way." and Mile. Eu
genic Fougere. the French rtngtr. Sunday
concerts as usual.
HIPPODROME— The three great specta
cles, "Inside the Earth," "The Ballet of
Jewels," "A Trip to Japan," and the
circus. In ten acts, continue to draw targe
crowds twice a day at thl3 unique and
popular house of amusement.
KEITH & PROCTOP.S FIFTH AVE
NUE—Denman Thompson will celebrate his
return to vaudeville here, after an absence
of twenty-five years. He will play "Joshua
Whitcomb." in which he made himself fa
mous. Andy Rice will give his laughable
Hebrew parodies. Robledillo will walk on
wires. Others who •will perform are La
Petite Mtgnon. the three Keatons. the Six
American Dancers, the Camilla Trio and
PLAZA— Severin. the FYench pantomlmlst.
will be se«ri here in "Conscience." a dra
matic play In four scenes. "Juliet" will
give dainty Impersonations of stage favor
ites. Mlddleton. Spellmeyer and company
will play "A Texas Wooing." Rafayette's
dogs will perform.
"ANTAR" AT MONTE CARLO.
The production of M. Antolne and the
stock company of the Odeon of "Antar,"
the historical Arab play adapted and trans
lated by Chekri-Gant-m Effendl, with music
by M. Rimsky-Korsakoff. at the Theatre de
Monte Cario. was an original and daring
venture that has turned out successfully.
Antar. "the cloven lipped," the 'father of
heroes," the great warrior and poet of th»
Orient in the sixth century of our era, is
the hero of a romar.ee that in Arabian lit
erature tills a place analogous to that of
the Celtic legend of Arthur and the Knights
of the Round Table in English '.iterature.
Antar, wh'-se niarvt-ilou3 exploits occurre.l
in Arabia at about the same time as those
of King Arthur in Brittany, '.Sales and
England, was a "nigger." His father
a pure bred Arab chieftain. Snedad-el-Absi,
and his mother was a negro slave, capt
ured in Nubia. Antar, friend of Mahorr.et,
was the most famous fighter, a., well as
the foremost writer, in Arabian history. He
Is the author of one of the seven poems
hung at the entrance to the Kaaba at
Mecca, and his "romances," composed in
rhythmV prose alternating with verse,
which fl!l «ix:y MS. volumes, are as famil
iar to Arabs to-day as are the works sj|
Shakespeare to English speaking people.
Antar's romances surpass the "Arabian
Nights" in interest and beauty. Chekri-
Oanem Effendl has been guided in his
translation by Dr. yon Hammer, who first
brought Antar to European notice in 19(C
The drama, in five acts, deals with the pas
sionate love of Antar for his fair cousin
Abla, which evokes the hatrrd of Antar s
step-mother Shajnmeea. The military
achievements of Antar during the forty
years' war between the two great hostCe
tribes of the peninsula are set forth in epic
verse There is graceful dancing and also
a series of plastic poses in the third act -
the 'danse dv feu." The music of M
Rimsky-Korsakoff Is light, descriptive and
at times brilliant, but BJ merely auxil.ary
to the drama. The figurantes, dancers and
acrobats are all Africans, having been
brought over for the purpose from Tripoli
and asJTOt v
BEN GREET AT THE GARDEN
Ben Greet and his players will begin a
ten weeks- season at the Garden Theatre,
beginning February H. His repertory wil ,
include "She Stoop, to Conquer." "Every
man." "Macbeth." "The Rivals." -The
Merchant of Venice." Marlowe's "Dr
Faustus." -Junu, lVsar '" <**-*• .. Th
Book" of Truth." Hawthorne's "Wonder
"Money *"* BU ' W " ytton " i com « d>
sJth'ann* 1 *"* Wl " conim «norato the
and anniversary of 81,akesp. are - 3 birth,
and Hamlet." "As You Uke 1t ... .- Two
Gentlemen of Verona." "The Tempest." "X
Mli-um Night's Dream." -Th, Merry
W'ves of Windsor." "Twelfth Night"
Rom,,, and Juliet." -,M lI( . h Ado "A^ ut
SUSf. r d ■■ Juihis cc * w " win
secured * '"' ° r subscrlb «s has been
M 'BB MICHAEL ELLIOTT
AT THE NEW THEATRE
Winthrop 'A meg, Director, Tells
Hozl Drama* Are
The Hew Theatre has produced two
Shakespearian plays this season. "Aatcsy
and Cleopatra" and "Twelfth Night." It
win produce a third. "The "Winter's Tale.
ln March. The care with which those piajrs
are prepared for presentation lajery great;
the difficulties encountered are eoormova.
There are no royalties to pay. but the ex
pense of production 13 treniatiiknio Yes
terday Mr. Amos told, for the b sweat of
Tribune readers. Just what mast be ooee
before one of Shakespeare's piays is ready
"First." he said. "w» have to select oar
stage version. This sometimes agrees wrtii
the accepted Mass version*— particularly
In the case of the shorter playa — osaaity
It does not We have to pa oTer the play
line for line, cutting ban and there in
order to reduce it bo that it may ba pre
sented within the usual time occupied by
a modern performance. We cut with tS<
Idea of sacrificing nothing that is essential
to a proper understanding of tao spirit of
the play. The prompt books of the Shake
spearian play* in Shakespeare « day prob
ably, in no case, corresponded -srith th«
literary versions. So we feel justi3ed in
cutting the play? to suit our own uses.
After we have determined our working
stage version we go back to tradition to sea
what other producers have done.
"For Twelfth Night* we consulted at
least fifteen prompt books, old versions
used by actors of other generations and
versions used by contemporaries. Each
was compared separately with our own
cats. For one man's cuts we U3O a red
line, for another a green line, etc We
thus get ail the points of view of an the)
versions. All this is done in consultation
with the stage managers.
"Then the next thing to co Is to Sad out
what Shakespeare was talking about. Hero
begins our historical research. Our prompt
book is full, from beginning to end. of ex
planations of Shakespeare's words la aa
effort to make the meaning clear. This
fixes the 'accent* of the actors* lines. For
example take Mai v olio's reference) to his
watch in the fifth scene of the second act:
'I frown the while; and perchance wind up
my watch, or play with my— some rich
'■Watches a: that time had . .3- been la
vented. Malvollo boasted of bis weal;*
when he referred to his watch.
"In Twelfth Night 1 there are quite a
number of the old things that have been
discovered, and we have gone so far as t;>
sat the music for the little catches, etc
Take, for instance, this catch of Sir Toby s
In Act 11. Scene III: 'Farewell, dear heart.
since I must needs be gone." We have
hunted up the full song:, and we gat it
from the relics of Shakespeare' 3 time. I
don't know whether It was used in any
former production or not. We have secured
from different sources reproductions of all
the musical Instruments referred to in the
"A prompt book like ours means search-
Ing through from fifty to one hundred
books and reading Innumerable press dip
pings. "We have to determine even the ac
cent and pronunciation of queer -words be
fore a rehearsal is thought of. When w»
have finally determined our stage version
we rough out th© 'business' of the play.
"We do this by playing through the play
with little figures dressed like dolls. In
this way it is easy to determine exits and
entrances and just what we need for
scenery. We work out the business' as wo
go along. We can usually tell when wa
discover the business' as Shakespeare In
tended it by the smoothness with which the
characters move. From playing out th«
drama with dolls the scene grows In our
mind; we want a doorway here, a window
there, a chair at this point, a couch there.
Then we call in the art director. Ham
THE ART DIRECTOR.
"He is given the ground plan, showing a
table here, a door there, a couch there.
Meantime he has been reading the play to
get its period and deciding on a period for
the play. Most Shakespeare as played is
not in the period. 'Twelfth Night* he has
laid in Illyria, and he makes it about the
j period of Shakespeare. He consults his
| costume books, etc.. sends abroad for pho
tographs, hunts up architectural pictures
of the period and place.
"We say to him. 'Here is the scene/ Wo
! discuss and modify our plans. Then Mr.
Bell makes a little colored model. show-
Ing exits and entrances and the type of
architecture he wants. We set that up
like a little theatre and play the play all
over again with our dolls. Then we cor
rect the models. Then Mr. Be!! gives the
scene painter the rough models in color and
; asks for the finished models. When these
are received the play is ready to go to the
actors who have been cast for the play.
"Shakespeare requires a long cast and a
finely balanced one. You can't get a well
balanced performance without people com
petent in every part from beginning to end.
Casting a play Is very hard. Perhaps three
quarters or one-half of the cast requires
practically no thought. The proper actors
are Immediately determined upon. But
when you come to the minor characters you
find your difficulty. You have two men who
em to be able to play a part equally well.
Who shall take It? A man plays best the
part that is nearest his own personality.
Casting at jest is but guesswork— beyond a
certain point. Sometimes an actor gets a
part that he thinks Is right In his line, and
he can't play it at all. At other times ho
takes a part with reluctance and finds that
he plays it very well. Of course, in casting,
lines are immediately drawn— physical
lines. One must be physically adapted to a
part. Generally the stage manager will
make a cast without my knowledge. In the
mean time I have made mine. We then
compare our casts, and after dlseOsstoej
agree on the final one. Very often we con
sult the actor himself before we decide.
Sometimes we have to go outside to get aa
actor, as the company is limited la number
and therefore in personality.
THE ACTOR AND THE "LJNES-
"Each actor is given his own lines with
all the business Indicated. He has read
the play, of course— very likely he has
played it. He may like the cuts that we
have made and he may not. He will have
a suggestion to make. He may throw away
more of our suggestions than he will use.
Ho may have the old tradition or the froah
point of view— which is always a good
thing. We add lines and change them, and
finally determine Just what we will do.
"Shakespeare has no ataga directions—
that is what makes the various productions
so Interesting. Nobody knows what d.i*s»
speare's stage directions were. Once to a
while you have a very interesting experi
ence—you seem to run right on the trail
C«a4Uos4 mm KtMUi §•«•*