New-York tribune. [volume] (New York [N.Y.]) 1866-1924, February 16, 1919, Image 62

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New-York tribune. [volume], February 16, 1919, Page 8, Image 62
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New-York tribune. [volume] (New York [N.Y.]), 16 Feb. 1919. Chronicling America: Historic American Newspapers. Lib. of Congress. <https://chroniclingamerica.loc.gov/lccn/sn83030214/1919-02-16/ed-1/seq-62/>

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Mrs. Fiske Demolishes
The Classic Theory
By Ralph Block
Mrs. Fiske demolishes n lusty and
thriving delusion. Mrs. Fiske will go
on acting and the delusion will riso
again formidable and threatening after
being nightly slain, and doubtless will
long survive her. But the panorama of
the battle fa itself sufficient.
The classic theory of acting is the
delusion. The classic theory of acting
is the classic theory of everything else,
a permanent denial that personality is
more important than anything else in
the world. The classic theory is the
on"e the stage in America is now going
on. the belief that the chiefest business
of the actor is to respect his material, i
to reside within its. limits, giving it
the fullest amplitude of emergence.as it
is, but never allowing himself to over?
top it by any robustious imagination
?lid energy of his own. The type -the
actor who plays a broker because he
looks like a broker, the actor who plays
a detective because he has big feet|
and hands like a Virginia ham?is the!
logical conclusion of the classic theory.!
They are the complete image of respect
for the material. George Moore re?
marked once insultingly that actors
can never bo artists in the first sense
because they only imitate the world,
they never create one. By the classic
theory he was right. Gordon Craig
takes the theory at its full value and
would replace the actors with marion?
ettes. It is an acceptable consistency,
at least.
It goes rather deeply into the ques?
tion of what the stage is. If the stage
is merely a literary arena, the pro?
scenium only a rostrum for giving
Sound to written words, then the clas?
sic theory is correct. But it is fatuous
to suppose that the stage can be so
easily circumscribed. The playwright
is less than half of its basis, the actor
less than a third. Impose upon these
the painter, the carpenter, the director,
the stage manager, the box office and
the banker and it is somewhere near
the structure on which the stage act
?aally rests. Measured by this reality
the classic theory is painfully meagre
ana thin.
The classicists will accept this ap?
praisal in part; it is amazing to see
how they will balk at going the full
distance. Is it possible? to envisage?
Mrs. Fiske playing opposite Jacques
Copeau in "Tartufe"? M. Copeau
loses little opportunity of enriching
.his productions. He is himself a cap?
able and skilled actor, but finally a
classicist, who always remains with a
strict virtue inside the boundary of in?
terpretation. He accepts without qual?
ification the belief that the part has
already been "made"?it is for him to
present it faithfully, authentically, ?
The result is a delightfully cool and
limpid work of art, a piece in a frame, ?
done with its proper values and per- I
Spectives. But it never thrusts itself
out of the frame, never assails its au?
diences with the roughness and crude
vigor of which life is at every moment!
capable.
? It is true that this is so far from
what Mrs. Fiske accomplishes that
ibese two seem like beings from a
different world. And for that matter,
they are. The crowd likes to spend
itself talking about Mrs. Fiske's
"personality," the amateur critics de?
plore her as an actress and concede
fcer as a person. The crowd is right
and the critics are wrong, as they
always are.
Mrs. Fiske has two facts powerfully
in her favor, one of them to her ad?
vantage only by the degree of her pos?
session, and the other one by the fact
that few other actors have it at all.
She is, to begin with, skilled in the
various elementary instruments of the
art of representation. She violates a
good many of the rules a good many
times, but her violation has the merit
??f being after knowledge rather than
before. It is not the same kind of
violation as marks the actor who blas?
ly carries a thin cigarette case under
the impression that it distinguishes
him as a gentleman.
But this is only one possession,
are dozens of actors who are
loarricd in puch facts and well qualified
by that most primitive of qualities,
the mimetic and adaptive, to acquire
Such tricks as they have not yet picked
tip. So far it is the classicist's theory
?which Mrs. Fiske backs and ?trength
?ns. The rest of her, her sometimes
masculine vigor, her impatience with
the very stuff of t-tuch trickery, her
rather largo and energetic disregard
?f the limitations the mere playwright
AMUSEMENTS
Ki;mrr RIVERSIDE At ? w.
Ce-ceit* SuniJ.y. 2:18 * 8 13. Week ef Feb. 17.
FK.VJ I Hi- I \ I BAOKDINAKY
Wu??fi?4li, Hupi'rla'lv, Itraul v-Stur of
EDNAG??ORKH&CO.
THE FOUR MORTONS
_ HAJf, KITTY, HABTHA & JOB
CLARA MORTON
LYONS & YOSCO
ffh^chti K*tr* fVtttiirn
FRANK FAY
' tm? W?tono hi;i'V(fH'iisxi ?ii?.i.
BRITISH GOVERNMENT
WAR PAINTINGS
ANDERSON 6AUJ.RIES
?/.>t*> ft*, mud i'.itk A?r<_,
1? to )') tiny,-/ -'t V, t ttunr)a,y
?<et Vrt>r,tn?r?a to Charity
Artmisud'rn ,Vri
-?
would put upon her part, are the fac- ?
tors that make her succeed where the !
rest of the acting profession terribly j
fails. She succeeds greatly in impart?
ing something" of what Henry James
called "the emotion of the actual." By
some intensity of imagination and
amplitude she swells far outside of the
pa?t, she crosses its boundary at every
point and demands attention for doing
what the stage tries, however much the
theorists may try to avoid confess?
ing it, everywhere to do. She creates
the illusion of reality.
She does not always do this. Some?
times she rests satisfied with the delu?
sion of mere artistry, merely collabo?
rating to present a conceded "figure," as
she collaborated with Philip Moeller to
present the picture of George Sand.
She is not entirely free, sometimes de?
plorably caught, in the clich? of her
system, caught as, say, an actor like
George Arliss almost always is.
It is silly to attempt to cover up her
use of "points" to hide her sometime
lack of energy. But it is energy that
she must have to force across so vital
a creation as she means to do at her
best. And there are for every artist
moments of less than the best. The
point is what her best means to be and
amounts to.
Mrs. Fiske in "Mis' Nelly of N'Or
leans" sounds as if she had written
the part herself. Perhaps she did.
Perhaps the effect is gained only by
the kind of heightened color which
comes of acting and knowing how to
act against a background of people
who have only partly learned how to
act and are still "in process." But be?
yond and above all of this is the stri?
dency, the hugely active and volatile
temperament, the imaginative persis?
tency which does not merely see but
also moves with contempt of the lines
the playwright wanted to draw around
it. If you are a classicist you will
look on all this either as a base schem?
ing for effect or will spurn It high
mindedly as entirely on the way to de?
struction of the meaning of stage pres?
entation. If, on the other hand, you j
hunger for an intensity of make-be- I
lieve in the form of the theatre that
will equal the power of the theatre to |
present a microcosm of human ideas, a j
convincing illusion to carry its ellip
tical vision of what is ideal?if you ,
mean to make the theatre a successful |
medium of unreality under the guise
of reality, you will find the classicist
gives you cold comfort. lie means to
imitate life and to let you know he is
imitating it. Mrs. Fiske docs her best
to keep you out of the secret. What
a tremendous illusion a whole cast of
Mrs, Fiskes would be able to create.
Performance of "Dear Brutus"
For Lowell Centenary
An assembly of notables will gather
at. the Empire Theatre on Friday
evening, February 21, to attend William
Gillette's performance of Sir James M.
Barrie's latest comedy, "Dear Brutus."
This particular performance is incor?
porated in the programme arranged for
the celebration of the centenary of the
birth of James Russell Lowell, and all ;
the members of the American Academy
of Arts and Letters, the outstanding
writers, painters, sculptors and scien?
tists of this country will be in attend?
ance, and with thern will come their
guests, the representatives of literature
and the arts from other lands. John
Galsworthy, the novelist and dramatist,
and Alfred Noyes, the poet, will be
there from England, and there will be
men and women of equal eminence
from France and Italy and Canada.
Barrie himself was to have been pres?
ent, but he has written that it is impos?
sible for him to cross the ocean at this
time, and his letter of regret will be
read before the curtain.
Mr. Gillette is the only actor who is '
a member of the Academy. The com- !
mittee that has arranged for the the
atre party includes President Butler of ;
Columbia University, Augustus Thomas,
Hamlin Garland, William M. Sloane and
Robert Underwood Johnson.
Special Matinees at
Greenwich Village Theatre
The opening bill of the Catherine du
Pont matinees at the Greenwich Vil- '
? l?ge Theatre last Friday afternoon
comprised three Noh dances and lyric
dramas of Japnn.
At her next matinee on Tuesday,
February 18, Miss du Pont will inter?
pret a Tagore programme in dances.
AMUSEMENTS
Mat. Daily at 2 '
25, SO, 75c.
2,000 CHOICE
SEATS, 50c.
l.lieiil MU.
?nul il..t.du v.
B-F-Kcrrrrs
EVERY NIGHT
25,50,75c. $1. $1.50
1.000 ORCH.
SEATS. $1.00
Except Nut., Hun.
BROADWAY amd 47?S?REEi ??? " "?>
TWO I5K. (0\( I.I1TS SIMlAV, 3 & KP. M. B??ir?niili>K Mnnftn.v, IVliriinry 17
ALL STAR BILL?EVERY ACT A HEADL?NER
Engagement De Lui? Engagem't Kxtraordliiary|E?traordinHry Attraction Extra Fcatur? "d uv.it
JOAN EMMA SALUE OEOEGE
SAWYER CARUS FISHER WHITE
? I'reaentl hi? annual
(Jue?n of the Modern Mualcal Comedy Slar Tim Mu lea] C.mrcly Star 'Dan? o ltcv!."r, with Tot
Dance with ? in "Tlio Choir Be- kjualtora. Ethel Delmar,
Alfred Newman at tb?s? i. Walter I^-'i[iold ! l.curftjl" I Uilo I^-lgli. Durottiy
l'lan? at the Hun?. | By Clare Kummet Hl. finir
KXTRA ATTKACTION
ARTHUR ASHLEY
ThO h-ri-'i, P? r ..,?.- ,iv In
From Oreal Plays,"
)?. , . .t.ir.
DE WITT ? PAULINE WELCH
BURNS & TORRENCE i ?no u. ?. navy quahtette
KXTIIA ?iJDVi? ATTRACTION
ADIil'Ii PKATUIIE
A. ROBINS
AND PARTNER
'i n r. \VA I.K I .Mi
.Ml SU' 8TOKK
( OI.OK (.I.Ms
PALACE PICTORIAL
HENRY LEWIS
("SQUIDGULUM")
in "THH LAtjOH BHOP"
Catching Molly in a
Particularly Meltins Mood I
By Harriette Underhill
An interviewer is not without honor
save in her own office! Why, down
here in Nassau Street (Park Row, as
all contribs call if) the man who reads
copy, and the man who has charge
of the morgue, and the rewrite man
and the police court man, and the star
reporter- particularly the star re?
port, r all look at us scornfully when
Thursday comes and we take our pay
check and stand in line to get it cashed
before dinner, and they say jocularly,
"Aren't you ashamed to take money for
that?"
But outside, oh, outside, it is very
different! People write and ask our
opinion on all sorts of things?which
plays or pictures to see to obtain the
latest effects in gowns; whether Agnes
shall get married or go in the movies?
whom we consider the handsomest man
on the screen. And now, here is one
asking us how to get thin!
She says (of course it is a she;
men just let nature take its course, in
their naive, self-sutisfled way), "Did
you see 'The Melting of Molly,' and did
she really get thin, and how did she
do it?" If they had asked us how to
"get fat" wo should have sent them
to see "Some Time" and let Ed Wynne
give them his re.iipe, but we cannot
honestly recommend "The Melting of
Molly" to women who wish to reduce,
because .Molly docs not succeed in he;4
efforts. "The only man in the world"
decides that he likes her plump. Put
we do earnestly recommend it for
sjtout men. There is a horrible living
example before them.
However, we strive to please, and so
we interviewed Isabelle Lowe on the
subject of getting thin. It was just
before the second act, and Molly has
taken on forty pounds since the curtain
fell.
IDon't a::k me," said Miss Lowe, as
she adjusted a belt around her thirty
inch waist. "I'm becoming plumper by
the minute since? I began to play Molly.
You see, she has to eat so much candy
and cake and pastry, and I'm not in the
least averse to doing that. It's making
me so fat. that I really can't get into
the white gown much longer, I'm
afraid."
"Do you know, Miss Lowe, we saw
AMUSEMENTS
?you play the opening ni^ht, and all we ?
could think of was, How do you make I
yourself look so fat in the second act?;
Is it the gown ?"
".Mercy, no! It isn't! It's the pad?
ding. Why, I'm a human pin cushion.
Look!" And Miss Lowe began to stick
pins all over to prove the truth of her
statement. "Underneath the gray gown
is a nice cotton figure which fits the
pnvn perfectly. Then underneath the
cotton is me! Oh, it is a nice, cool, lit- ]
tic arrangement, and so comfy to dance
in! I fancy it will be particularly cosey
along about next June.
"Will you come and sec the show
again? I was so terrified the opening
night that they had to shove me on
when my cue came. ? went through
the whole thing in a dream, and didn't
come out of my coma until the next
nay, when I saw the papers.
"And they were kind to me. I am
so afraid of critics. They can be so
cruel! That is what makes the sec?
ond performrr.ee more difficult than
the first." And Miss Lowe looked so
young and so pathetic that then and
there v. e resolved never again to say
anything more personal about a player
than "She seems to have a good dis?
position," or "We have heard that she
plays golf beautifully."
And then Miss Lowe seized a box
of chocolates and prepared to leap
unto the stage. We stepped into the
wings to tret a peep at Charlie Pur
cell, whom we have known ever* since
AMUSEMENTS
VILLAGE
THEATRE
GREENWICH
4th St. & 7th Ave. Phone Spring 6409
7:h Avenue Subway to Christopher St.
Evgs,, 8:30?Matinees Wed & Sat., 2:30
N. Y. H KRAI.o Says:
"Anyone can see the whole of tlroenwlch
Village, hook, bait nn.1 sinker, much
more pleasantly and cheaper In
HOBOr?
W???M
than by running around trying to find it
elsewhere "
A Nl'AItKLING SATIRICAL COMEDY
The Catherine Du Pont Matinee?
TUES., FEB. 18,3:30 P. M.
SELECTIONS FROM TAGORE
ui.h INTERPRETATIVE DANCES
Special?Sun. Eve.f Feb. 23, 8:45
Noh and Lyric Dramas of Japan
Tickets $^.r.'J to $i, Box omco & Ty?on*H
IVWAY and 47th 8T. !
NKM SHOW UVLlti it KKK
' ''??* TO-DAY 4t 2-1''*' "?' * 50?
?iMMKNCI.W, TO MORTIOW Al'TKll.NOON
THE MERRY ROUNDERS
|Wlth ADE REYNOLDS. A FLORENCE MU
Twice Dali? -Moderate Prioea <-Smckinic
MAXINE ELLIOTT'S THEATRE
Sun Eve. Feb. 23 AV, S AS H A
with H.MUMK KVA O.WTniKR
COUNT M.YA TOLSTOY
ft ui'm.nian sy.mi-iiony B?< i?;ty
Mode?! Aiuohuler.Conductor
LONOACKK TIIEA
BpMlai Mat?.
Ic'lldii.VM nt ?!r?0
GHOSTS
?Whlttlar ??}* blah standard with flr?t
tbsun play."?New York Sun.
he and we were sixten and seventeen, !
and there wo saw a brand-new Dr. !
Mooro.
"You have a new lover!" wo said.;
with seeming irrelevance. Miss Lowe ?
looked surprised, and then said. "Oh,
yes; you mean Jack Cagwin! Charlie \
has deserted me for the Winter Gar- '
den and Jack has succeeded him in my I
affections."
"Jack Cagwin, nothing!" w-e said de?
cidedly. "You can't fool us; that is
the young lieutenant who played
Madame Sherri in 'Attaboy,' and he was
so wonderful that we devoted a whole
paragraph to him alone."
"Aren't you Madame Sherri?" we
asked as Dr. ?loore loft the stage so
that Molly could sing her "All Alone"
song.
"Yes, I am; but you are the first per- ;
son who ever has recognized me. I'm
Jack Cagwin and Lieutenant Cagwin
and Madame Sherri."
"Oh!" we exclaimed breathlessly,
"but you are the most wonderful fe?
male impersonator we ever saw. Why
don't you do it all the time? and have
you been doing it long? and what did
you do with those shoulders when you
wore that slim, green, very-much-decol?
lete gown in 'Attaboy?'"
"Once, lung ago,?yes, a score of
years?I played little Eva. I have been
on the stage ever since, and Madame
AMUSEMENTS
N E W YORK'S
Sherri Was my second 'lady' part. It
was lota of fun playing it, and I suppose
it must have been good, for every one
said it was. And mother came away
up from Richmond, Va., to see me mako
my d?but and then declared that I
wasn't in the show. She didn't recog?
nize me. It's a wise mother who
knows her own son?in a soldier show."
- a
Vaudeville
PALACE?Joan Sawyer in a new series
of dances, Emma Carus in new songs,
George White and his dancing quar?
tet and Sallie Fisher in Clare Kum
mcr's playlet, "The Choir Rehears?
al," are the stellar features of the
bill. The supporting bill includes
Arthur Ashley, Henry ("Squidgu
lum") Lewis and De Witt Bums and
Torrence.
ALHAM BRA?Adele Rowland is the
headliner. Mabel McCane in a vau?
deville revue, Frances Kennedy in
monologue and songs, L. Wolfe Gil?
bert ami Anatol Friedland, song !
writers, and Wilfred Clarke in a farce |
sketch are other features of the
bill.
ROYAL?Gus Edwards in his 1919 Re?
vue is the chief feature cf the bill.
AMUSEMENTS
LEADING
T M
which includes as well Ruby Norton
and Sammy Lee in a new song and
dance production, a condensed ver?
sion of "Very Good Eddie," present?
ed by Milton and Sargent Aborn, and
Harry and Emma Sharrock in their
novelty "Behind the Grandstand."
Others on the bill are the Four Read
ings, Ben Ilarney, William Farrell
and Lady Alice's Pets.
RIVERSIDE?Edna Goodrich in a new
sketch by Edgar Allan Woolf entitled
"The Mannequin" is the leading feat?
ure. The Morton Family present
three acts of the bill. Others ap?
pearing this week are Frank Fay,
Wallace Bradley and Grette Ardine,
Lyons and Yosco, Felix Bernard and
Jack Duify and Bradna and Derrie.
COLONIAL?The Ford Sisters, Henry
Lewis, Mehlinger and Meyer and Sea
bury and Shaw are the chief attrac?
tions. The supporting bill includes
Joe Jackson, Fenton and Fields, ;
Travers and Douglas, Chief Caupoli
can and Howard and Helen Savage.
LOEW'S AMERICAN?J. K. Emmet is
the vaudeville headliner the first part
of the week. The picture feature is
"The Romance of Happy Valley."
"All for the Ladies," a musical com-'
edy, tops the bill the second part of
the week. The picture feature is
"The Heart of Humanity," with Doro- i
thy Phillips.
AMUSEMENTS
?- .-.-;
?EATRES AND
At the One-Week Houses
STANDARD- "Flo-Flo," last seagon'g
musical comedy success, takes pos
session here.
SIIUBERT-RIVIERA - William Col
lier returns to New York in "Nothing
but Lies," with a week's engagement
at this theatre.
LOEW'S SEVENTH AVENUE?"Rock
a-bye Baby" is next week's attraction.
Brooklyn
MAJESTIC?William Hodge comes
here in "A Cure for Curables."
"Tea for Three" for
Men in Uniform To-night
A special performance of ''Tea for
Three," Roi Cooper Megrue's popular
comedy, at Maxine Elliott's Theatre
will be given by Selwyn & Co. under
the auspices of the Stage Women's Waff
Relief to-night for soldiers, sailors and
marines who have been overseas. Sev?
eral hundred seats have been reserved
for men who were wounded and who
are now at the various hospitals to the
city.
AMUSEMENTS
SUCCESSES
It'way and 40th St
EtS. S 20. MrttillK-S
Wed. and 8?'... 2: HO.
'BARRIE AT H!S BEST."-:'''???
CHARLES PROHMAN presenta
| % f i isa i? 1 J*% TO
"JJUASQKS B?r_5TCO&SE?^"/A??ivvy
l?r?l i -
1IITIIS
tonAN&HAKRI5 '%&?
? Eves ? 10 Matinees V/(?d.?.5at.2;o K
FIRST TIME IM NEW YORK >
P ?y -.lUSl?WWI??l ;
I ^.3*CURTAIN *r PlO SHARP
?l COHAN & HARRIS PRESENT ?
"To have this Barrle play lu New York
It Intleetl r;n<><l fortune."?? Eve, Sun.
MATINEES WEDNESDAY & SAT'Y.
KNICKERBOCKERer3
KLA W c9 ?RLA/VG?f? _ Mjna$ert
? JOHN CORT'S newest.
4,44 BIGGEST & BEST NUSlCAl.COMfDV
A COHANIZEO OPERA COMIQUE
.Music by Dr. Anselm Goe'-l. Book anil I.vrln
h.- Stephen Ivor P-.lt nvey & Win Cnry Duncan.
Stajtx-d bj .In Ian M ' I (11 iui . 8am Forrest.
By Harr?/ L. Cort *. Ccorge F.. Stocciard
Music by Harold Oriob
with The Daintiest Dancing4
Chorus Ever ?s?1 en on Broadway.
BER?Y
?aBB-Za-K-RWii-l"*;
?HEATnCW
W.42 Sir g
t\cs320.Mifs.U'(atScr?rO ?*.
MrXEo |8?ff|
far ? -S "STk n BO? &i
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MARQUIS
de PR 10 LA ?
flu Henni lav roa.*,' ?3
(5>^~"?? "IT'5A
(CANA?W/f.$q BIRD"
?bmb?naHon of Di I lindham
?medy S te
JULIA
Mu-y?cai Ctorned>
-ar-r.
S&HDEMOI
?JOSEPH
? ?rfi?!!?, ? gP/lel. , Maud S
i Hardy ' pixon ' Eburna I
*WAPPlEST. SNAPPIEST, 1
CVQPUSON PQOA?WAY" (
THEATRE,
:30. Mfitlni'i's Tliiirsiliv anil Sat., 2:30
COHAN .S: l?A'UUS rn-sent
in a comedy cf moonshine,
madness and mcke-be?eve.
J(?lh.*St?'ft
myotmim
By LAURENCE EYRE
UNDER THE DIRECTION OF
HARRISON GREY FISKE
GF0.pn(|iyTHEA?7ri'
M. UUflH? QVavi 4,
KUW? ERLANGER ? M?r
THE LAUGHING HIT
OF THE TOWN!
BEST AMERICAN COMEDY
?'ti Fed' S '' .'/ i i* ?i< i ? t?
EUS tir a ? S fl H ILa fis
stamme w
Mr COM AN (H, m soif)
?S ine Naw York er.
Eve? 8.PO. Mars WcdsSxt. Z-2?\
U?]JU.\ililUUU?UtUMUlU?*lauM?UliiUt/*,:A
H'WAY ft 90th f-T.
Tel. Itl?i-r.l.lo 42.
.V Thura. Sat. Mut
i?7 -?? ??'< T..'. i Math.? .:. SOc
!'? il . ni ? il |P ip. prl ??? SOo. ',':..? A- %\
WEEK i;i:i'INM.\i; TO-MOHBOW NKIIIT
THE FITTEST OF THE SURVIVALS
JOHN CORT'S MUSICAL COME?Y
MB
'?YOU REMZMBIR HER, DON'T YOU?"
OHIO I NAL CAST AND PRODUCTION
And re? Tumbea, nvna Parker, Jamra 11 Car
?en, Tlioman llanilcr., Arthur Milita. Loon
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THE PERFECT 30 CHORUS
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THE TOPSC OF TOWN TALK!
The Heartiest Lau?h that has
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KLAW g, ERLANOERS New Hilanou-? MusicalCDmedy^
Music by Victor Herbert*
Bco?^ by Fred Jeck?on
AdapraHon by Wenry L.?os*om
CAST OF EXCELLENCE
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EMUETTi ?CF.RiGANi, VlOLET HEMINC?
?jRD
?J CAPACITY WEEK
THREE GKEAT PLAYS IJV
LORD DUNSANY
THE GOLDEN DOOM
KING ARGJ1WENES
T_r-ta:Ui.'.. :?of
THE
MOUNTAIN
QTU?RT WALKER'Q
PORTMANTEAU SEASON **^
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MATINEES TIll'KS.. FBI. nml SAT.
?S:h 8t., er. ??
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?Lyceum ?/
195 TO 202 TIMES
DAVID BELASCO Presenta
?t W. iV.h St. Eva. 8.tt>
elasco Thurs *??z . *?
111 TO 124 TIMES
DAVID BELASCO Presents
FRANCES
STARR
"TIGER! TIGERJJ
EXTRA .MATINEE EVERY FRIDAY
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J2SMITH
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CRITERION
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New-York tribune. [volume], February 16, 1919, Page 8, Image 62
About New-York tribune. [volume] (New York [N.Y.]) 1866-1924

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New-York tribune. [volume], February 16, 1919, Page 8, Image 62 About New-York tribune. [volume] (New York [N.Y.]) 1866-1924

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New-York tribune. [volume], February 16, 1919, Page 8, Image 62
About New-York tribune. [volume] (New York [N.Y.]) 1866-1924