New-York tribune. [volume] (New York [N.Y.]) 1866-1924, January 04, 1920, Image 36

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New-York tribune. [volume], January 04, 1920, Page 2, Image 36
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New-York tribune. [volume] (New York [N.Y.]), 04 Jan. 1920. Chronicling America: Historic American Newspapers. Lib. of Congress. <https://chroniclingamerica.loc.gov/lccn/sn83030214/1920-01-04/ed-1/seq-36/>

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Hear the Sad Story
Of Eugene O'Brien,
The Perfect Lover
By Harrie tte Un ti erhill
Having received ao many requests
for an interview with Eugene O'Brien
has set ua to thinking. And when fans
write and say "Why dont you inter?
view Eugene O'Brien?" you can't
write back and say MWhy don't you?"
because they write from Augusta, Me.,
from Keoska, Iowa, and from Galvea
ton. Texas.
Now, it happens that wa know Mr.
O'Brien batter than almost any one
. else. That ia why we never thought
of interviewing him. When you know
everything about a person it is difficult
to aat it down on paper, and not al?
ways discreet.
But after opening our mail this
week we felt that we could no longer
deny an importunate public, so we
called up Mr. O'Brien and said, "We
are going to do an interview with
you."
"Fine! Go right ahead!"
"But," we answered, "wa haven't in?
terviewed you yet."
"Can't you write some of the thlnga
you know?"
"No, this has to be different Tou
must give me your opinion as to the
future of the motion pieture and some?
thing about the great American drama.
Mr. O'Brien laughed loudly, as
though my opinion mattered!
"There!" wa retorted, that is just
what you mustn't say. You've got to
think that your opinion matters or no?
body else will think that it does, either.
You must be coneaited and haughty.
What you are now is very pleasant,
but not impressive.
"By jovel" cama over the wire, "yea
know you're right about that. It haa
been on my mind for soma time. Will
you have luncheon with me and talk it
over?"
Arriving fifteen minutes late at the
Algonquin, when we met "the perfect
lover,' we said, "Excuse it please. You
don't mind, of course. You're always
so tractable."
"Yes," ha answered, with unwonted
bitterness, "I am; I mean I was! I
want to tell you my sad story, sit
down."
"Something we don't know?"
"Something that even you do not
know. The first part may seem irrele?
vant, but it's all leading up to some?
thing. I was born in Boulder."
"That ia a aad story!"
"Thirty miles from Denver. But I
never went there until I heard the call
and went on the stage. I was then
seventeen, and my parents fondly
hoped I would be a lawyer."
"No doubt many a perfect lover has
been nipped in the bud by aspiring par?
ents,"
"There was a girl in our town," con?
tinued Mr. O'Brien, "who want on the
stage. She ran away to Denver and
Joined a stock company, snd after that
no one would speak of her, and when
she visited her parents they hid her in
the china closet if they had callers.
She fascinated me, and once when she
?same to town I interviewed her, and
when she went back to Denver I ac?
companied her. I left a note for my
mother saying 'Bave gone to be an
actor.' You see, in those days I was
optimistic."
"And did they take you?" we asked.
"They did at $8 a week and I lived
on it and played bits for, a season.
Then some one told me that if I would
go to New York I could get $20 a
week. I started for the metropolis
with this unheard of wealth in view,
but I got stranded and finally landed
in the chorus of one of Anna Hold's
companies. When, anally, I did reach
New York I was nineteen and had ac?
quired nothing but a little experience."
"And an English accent?" we
queried.
"This isn't an English seeent," he
said, defending his Speech, , which
should be free, even if it isn't, "it's
Irish. My parents were Irish and they
never spoke as the rest of the people
in the town did-?'The beams chased
the gurrrlu'?though, of course, as soon
as I went on the stage in Denver 1
immediately tried to copy tho dress
the aeeent and everything about these
exalted angelic beings?the leading
man and the juvenile. They got ai
much as $40 or $50 a week.
"When I arrived in New York I founc
that the managers thought I was wort!
only $12 a week, and I worked for this
singing in a quartet for a few months
but the trouble was we couldn't ge
booking more than half the time."
"But you lived, Eugene, and yot
finally did succeed, and all that chas
tening was good for you. It has mad
you what you are to-day."
"Yes, and I'm coming to that. I
has; but I doubt if it is good for me
certainly not financially.
"When I was struggling along oi
$18 a week I was appalled at the lac!
of consideration which I and others re
>^mwmmm?^mmmw^mmmm?mmmmmmmmmmmmemmmmmm*
Mat. ?ally a* S
SS. SO, -.So
s.aoe choio
SKATS. See.
Kxeept Sa**____a?
______L__________ya.
PAlUEfcC
EVKBV mtORT
?.?as oiwk.
SKATS, fl.ao
Bxeept Sat.. Sna.
,. and Beluga-a.
Two BUr Con* ?r.a Sunday, 8 gad ? F. M. Beginning Monday, Jannary 5th.
PB LUXE ENGAGEMENT?S?OOKD SENSATIONAL WEEK
Bietest HU From Abroad Bine? Harry Laudar.
World a Rusw-Clown. a Genius of Pantomimo. M?ala, Sent. P-li__tnil DraUaiV: hie homer ht_
unt?-r__l ?pcwU?th-rat-r? an extended ?_?_-.numt to record--?akin? receipta of
G R O C K
the Trench _-__tesi dawn, with hi_ _tot_r parta?.. The Mlllan. ertttoa of th* He? T?__t aewi
panera ball Croc* ?a a ire*, artist aad N?l-W Mm a* Ute #_??.?_-_-___? ef elemta
_Gradf a Or?n Qlm Gorgeous Qaletr.
ENGAGEMENT EXTRAORDINARY
THIRD ETuQCESSFUI, WEEt?-The "?otmitaMe Comedian
In hi? C-i_-_r .Seme an_t*_td "TUB GUEST."
. EXTRA ADDED FEATURE
HENRI SCOTT
The Famous American Baaa-Barltone? Direct fro? Metropolitan Opera Home
CLEVELAND BRONNER
la His new US,ooo production with the
_ Added Attraction
ROCKWELL & FOX
r ?_ ._____Two Noble Nutt
Extra Feature?The Pint ?.se Auther Comedian
auction with th?
Famou? Norwegian Beauty. lNORID-80__F?NO
JOE LAURIE, JR.
m
"What I Care"
LOYAL'S DOGS | MELNOTT?& LEEDOM j KINOGRAMS
FEATURE DE LUXE
Th* Ideal of Ide?is to l__id__ Muslo Halla.
L L A S H I E L
-B-Pat-oaattat ___tlj_h Male C. _r.g__r_.
D S
BF RIVERSIDE ?
KEITH'S
At ?6 St.
We?* of Jan. S.
IRENE FRANKLIN
_-..-<?] _n v<'i_-ul.Due,
in -:_.m_l C_a. actor Hong Btorlas._
Keiths 81 st STREET _.
Oonoerta Sunday, 2:15 t\ 8:13,
ri'EATIlB
'w?y a
8t St.
Week of Jan. t.
TOTO ? SHEILA TERRY & CO?
Ernestine?MYERS
&NOON?Paialy
SWOR
BROS
-ielaa * Nelaa
Th? Maaieya
ALEEN
BRONSON& CO
GEORGE
MaeFARLANE
JAMES
THORNTON
The Youngest of
the Old limera
"THE
6IRUES CLUB"
Wa B- rviedlaodar^
Naw Hualcal Oeme-let.?
K A W B A HE RmTn
tlttl?N
DURKIN&CO.
RECREDIS
with
?W _*-__4J_TA
MANHATTAN ?_
-UTH ST., lOSAB *TM AVKSV?
(Bola M_n___-_?_t MorrU Get.)
TO-NIGHT at 8:15
B. F. KEITH'S
Celebrated SUNDAY Concerts
ALL STAR HEAD LINERS' BILL
reeotar FHeee tSe. to S1JW .
___? l__Ti_. Ootew? X-erarUn?, .aa_M
Thoteten. Bwlft * Ketts.. Lair. Bail _r *
Co., "Beth * Bart," -fa-Fiurlaae * Palace,
lot? Qurtle * Ce.. .?ban. BauU * S-tt-ft.
D?ftiS KENY?N
lo a OeUabtful n-tonsaooo af I____i _?_???
Vance*a Famou? Nom. "The -.nnibtri"
CENTURY -5s
(Sole Management MorrU CUst)
TO-NIGHT at 8:15
a F. KEITH'S
Celebrated SUNDAY Concert?
BICGISTJMU.of STARS ia TOW
Irene >t_auia. Ted Lewis ala?? Band. Vi?,
*ST *???* 0& Hair? Scott, ___? pi_?tad?T
The EUwortha. _W Bard?. Pate. JBaek 4_J_*e?.
'^ ' i .;i-______a_____'_'"'?
tastto ?Bota?!
j ssjeWBiB ?ss^s'^.w's^a?'e^iW' _ .
Infinite Charm*, ?g
CMA?LES WIUHQHAK5
Happy
Days
Q.kBurnfJdv
r///>v?
\?&
EVEUrl
DAY
>lLn>MH>?>WMMII
mu, ii'????!???.
?Cast of MN, M??4?d or
WALTER HAMPDEN
Smeiii!:
$'M..
M YVmMA
rW?ft
oeived. If the big people noticed me
at all it was only to bo disagreeable,
and then and there I made up my mind
that if the time ever came whan X
could afford two rooms, or if by any
lucky chance I ever became a star, that
I should spend my time being nice to
everybody."
"And you've kept your ward. That is
why everybody loves you. You're a reg?
ular little ray of sunshine."
"Yes, but to-morrow I'll be an ex-ray.
No more being nice."
"But why? Is this an inverted New
Year's resolution?"
"Something like that, though I've seen
the light breaking for some time and I
believe in signs."
"Explain yourself. Why are you go?
ing to stop being the perfect being that
you have been?"
"People do not like you for being nice.
They despise you! They think that you
do not know anything! Do managers
like you when you save money for them?
Do leading women like you when you
share the camera with them? Does the
public like you when you do bad stories
because you don't like to kick? Does a
director like you when you know he
doesn't know what he's talking about,
but are too considerate to tell him so?
Do the extras like you when you lend
them clothes so they can get something
to do?"
"And what started you on this train
of thought, my gentle Gene? Some
one has done something to you. Tell
me, that I may slay him forthwith."
"Oh, it started a long time ago, the
day I beard a director say 'Yes; he's
nice. He doesn't know enough to be
anything else.' It set me thinking, and
I've arrived at my decision in time
for the new year."
So public, managers, leading ladies,
directors, extras and more or less in?
nocent bystanders, behold your handi?
work!
When Mr. O'Brien put us in a taxi
he was whistling "Love me and the.
world is mine, but he suddenly
stopped and as we drove away we
heard the strains of "III get you yet.
Do you get me?" floating down Forty
fourth Street.
MacManus Has Another
"The Gray Brother" is the title
selected by Edward A. MacManus for
the screen production he has just com?
pleted of life within prison walls. The
story is by Thomas Mott Osborne. It
reveals such romance as may find a
harborage behind prison bars and out?
line's the brutalities of the old system
of prison management. For the first
time the hunger, thirst and lung
starvation of the cells is disclosed, and
the straitjacket and stringing up are
visualized by men who endured them.
It is the first screen production ever
made of actual life within prison walls,
with the convicts themselves re?nact
ing tho lives they were compelled to
lead fit one time. They are also seen
in" phases of present-day prison life to
emphasize the contrast between past
Grock, French Clown,
Stands in a Category
With No Competitors
There are clowns and there is
Grock. To classify with the rank and
file this extraordinary character, who
made his American d?but at the Pal?
ace Theater last week, would be to
do an artist an injustice.
The clownishness of Grock is some?
thing individual that was born with
him and will probably die with him,
although every clown in Europe tries
to imitate him in greater or lesser
degree.
There is a certain foolishness in writ?
ing about a clown. When he is worth"
while he eludes the cold analysis of
black and white. This queer individual
of anthropoid appearance, unearthly
noises, physical agility and musical
talent that is Grock makes one laugh
immoderately in actual presentation,
yet may seem fiat and toneless when
described on paper. -n
Common personages in general have
their verbal jokes which can be quoted
to show that they are really witty.
But the clown is a joke confined to
appearance and action. There is no
translating into prose the things that
Grock does. One must laugh at, the
man himself. He is at once genial
and malign, owlishly stupid and
MacchiavelTianly astute. He gives his
audience the shock of striking anti?
thesis in his first act. A small man
with a vast expanse of forehead, a
huge jaw that works like a steel trap,
hands and arms that flap like wind?
mills, and seven-leagued feet, trundles
amiably before the footlights. He
carries a portmanteau nearly as large
as himself. He takes from its caver?
nous depths a fiddle about the size of
one of his hands. He plays the piano
with his hands and his feet, upsido
down or right side up. He falls through
chairs. He thunders and he squeaks
with a voice that seems to have an
infinite range. His beloved concertina
warbles ungrammatically. And he
plays the fiddle with an understanding
hand.
Off stage the great Grock is quite or?
dinary looking save for this strangely
shaped head. He is bashful, mild and
cultivated in his demeanor. There is
a certain sweetness of disposition
about him. And he is very serious.
"Though you can learn most things,"
he said when interviewed after his first
performance on this side of the At?
lantic, "you cannot learn clowning. To
be successful one must bo a born clown.
It is futile for a would-be comedian
to ask if he can) learn to be funny. He
must have the gift of fun-making in
his nature.
"I honestly believe it to be a Divine
gift. I was born a clown. Nature in?
tended me to make people laugh, al?
though when I'm away from the foot?
lights I'm serious enough in all con?
science. If you were to ask me to do
something funny between my perform?
ances I would be at a loss. But once
on the stage I am inevitably the clown.
I never attempt any gag and I im?
provise as I go along. I am continu?
ally changing my act, for as soon as it
begins to be copied by other clowns
I invent something new. I am flattered
by the reception given me here. Of
course, I know something of the Amer?
ican spirit, for I played for the Amer?
ican soldiers at the Palace Theater,
London."
Grock made his first appearance in a
circus in Switzerland as a contortionist
at the age of seven. Nine boys were
learning the tricks of the ring together
He was one of them, and in order tc
keep ahead of the others he was ?fter
up at 4 or 5 o'clock in the morninij
rehearsing. He would afterward cree}
back to bed and pretend when he wai
called that he had been asleep al
night.
"When I was twelve I first covers?
my face with white paint and then
toured the world in circuses. At tha
time our fun used to consist chief!;
in falling down in the sawdust, smack
ing things around and working a littl
story into our act, with a musical final?
Gradually it dawned on me that on
could be. a .clown without the whit
paint and.claptrap of the circus; tha
fa?ial expression unadorned could b
more effective than! all tho circus trap
pings."
Grock went on to explain that hi
clowning was more a thing of the min
than of the body; that his physic;
contortions were simply the visibl
expression of the thoughts flittin
through his mind; and that when h
wanted to convey something to his at
dienca he could do it more effective!
with a flicker of the eyelid or a twii
of the mouth than with a torrent <
word?. While he docs not say muc
in actual words, he is a wonderful!
eloouent individual.
Tho tiny fiddle that Grock plays
two hundred years old. This is t!
story he tells about it:
"There was once a Spanish clown wl
was very hard up. Ho came to me
Paris and said: 'I have a beautif
little violin; do give mo something f?
it.' He took it out of his pocket at
Rsked 100 francs. I was almost as ha:
up as he at that time, and I told him
was impossible for me to give him tl
money. Besides, .1 didn't see that
could do anything with it, I looked
the little fiddl?;^t?d tried vit, and said
would give hiih 60 francs. Thirty
borrowed frpm a friend and the oth
thirty I "got. by pawning, a ring, a;
li?t i? bow 1 bpufeht my httie fidd;o. F
six months I did nothing with it. Th
came a day when I was racking r
brains for a new, idea, I saw the litl
fiddle lying by itself in a great bask
?? i????.? m??wnwtwi? mi.m???mmmm?mmmammmmmwam
1920 Sha
Continued from preceding pegs
laugh? If you poison us, do we not
die ? And if you wrong us, shall we not
revenge ? If we are like you in the reBt,
we will resemble you in that. If a Jew
wrong a Christian, what is his humility?
Revenge. If a Christian wrong.a Jew,
what should his sufferance be by Chris?
tian example? Why, revenge. The vil?
lainy you teach me, I will execute, and
it shall go hard but I will better the in?
struction.' "
Brander Matthews, writing on Shake?
speare as a playwright, points out that
the Elizabethan attitude toward Jews
has to be taken into account in esti
; mating the character of Shylock. Usury
was an abhorrent trade, denounced by
Haw and strongly condemned by public
! opinion in Shakespeare's time.
"To the men of the sixteenth century
Shylock may have been only a comic
villaint to us in the twentieth centry
he Is a supremely pathetic figure, with
whom we have even a certain sym?
pathy," says Professor Matthews, "An?
tonio bas treated Shylock shamefully;
we perceive this now, although Shake?
speare's contemporaries probably ap?
proved of the merchant's inexcusable
brutality. ... As a result of his
insight, Shakespeare, apparently mean?
ing to set before us a villain akin to
Marlowe's Barabbas, has left us a gen?
uine human being, not a threatening
silhouette of black evil, but a rounded
character which we can approach from
various angles. Because of this in?
herent (if unintended) humanity, Shy?
lock has now usurped the central place
in the play."
Writing of that delightful English
villain, Pelstaff, Sidney Lee, in his life
of Shakespeare, sayst 'It is not the
historical traditions which are connect?
ed with Falstaff that give him his per?
ennial attraction. It is tho personality
that owes nothing to history with
vsJMch Shakespeare's imaginative power
clothed him. The knight's unfettered
kespeare
Indulgence in sensual pleasures, his
exuberant mendacity and his love of
his own ease are purged of offense by
his colossal wit and jollity, while the
contrast between hla old age and his
unreverend way of life supply that
tinge of melancholy which is insepara?
ble from the highest manifestations of
humor. Shakespeare's purely comic
power culminated in Falstatf; he may
be claimed as the most humorous fig
j urc in literature."
I And to turn to the dramatic opinions
i rind essays of Bernard Shaw, who has
been just as abusive and just as com?
mendatory of Shakespeare as any other
writer, we find him saying: "It was in
'As You Like It' that the sententious
William ftrsl began to openly exploit
the fondness of the Biitsh public foi
sham moralizing and stage 'philos?
ophy.' "
Here is something for the English tc
pass a resolution over!
And again Shaw says in sweepinj
fashion: "With the sinjjle exceptior
of Homer, there is no eminent writer
rtot even Sir Walter Scot-., whom I cat
despise so entirely as I cesplse Shake
apeare when I measure my mind agains
his. ... To read 'Cymbeline' an<
to think of Goethe, of Wagner, of Ibsen
is, for me, to imperil the habit o
studied moderation of statement whicl
years of public responsibility as
journalist have made almost secon
nature in me."
As an afterthought Siaw sayst
"But I am bound to say that I pit;
the man who cannot enjoy Shakespeare
He has outlasted thousands of able
thinkers, and will outlast a thousan
more. When I was twenty I kne^
everybody in Shakespeare, from Hamlt
to Abhorson, much more intimatel
than I knew my living contemperarle
and to this day, if the name of'Piste
or Polonius catches my eye in a newi
paper, I turn to the passage with moi
curiosity tlan if the name were thi
of?but peihaps I had better not mei
tion any o?e in particular."
Stag tTuofY M
?so?, to f use.
Satordar, 8?n4?r
Matlaeeei_
?J? ?t?o p. __
?We. to Sl.oo.
?Me. to
UK
m&T8t??f7ic&$8l
HERB IS THB HAPPY
BITION OP "VEHICLES
SHOW IN MAGNITUDE
L*rsfoslr thoafo
65_?*...tUn*gm& ?Wrc
rot?
Reserved Seats 8
Weeks in Advance.
Reserved Seats
Held for Matinee
Porch asers.
1 to B:80 P. M.
For Eventa?
Purchasers 6 P. M.
to Nearly Midnight.
initial nwaxmAttw ??
NED WAYBURN'S
SONG SCENES
A? OvfeUui Botentalsuarat.
PEARL REGAY
NEW YEAR'S EVERY ONE WISHED YOU?AN BXHh
OF ENTERTAINMENT" RIVALING THE AUTOMOBILE
AND BACH UNIT HITTINQ ON ALL EtCHT CYLINDERS
mmmmmmmEmm???. n i . i. i i n ? n ?M?. 11 . -
KSDWA,
CAW
-AND
EVAN BURROWS FONTAINE
THE DANCING VENUS
cmmmovn from t r. u. to
NEARLY MID* IO HT. COMB
AM? LEAVE WHEW TO? LIRE.
A New Star
in the Sky
ALICE LAKE
la the Pew?*"fol
Roawntle Phetepley.
"SHOUU) A
WOMAN TELL?"
Wlfmi ahewtnt ?m? tUf saaetor
fot tome ?Iran? of a seul la
?oeafet. wB?trei? a New Raglan?
?ssnaetoaoe battles I? a wom?
an's ?to?! for love,
AN EXCLUSIVE PEEP BEHIND
THE SCENES OF NAVAL STRIFE
"THE LOG
THE IMS"
A BuiMUon?) Iflltorlcal IUjeuril
'M??lo 1? Film I'urrri. Helr.ta In (?ormtny by
de Aille?, und now ?h?ren tor the Kim Tim??.
HV MAYER'S
CAPITOL TRAVELAUGH
of Times ?Squar? and "Uptown"
NEWS?PRIZMA C?LORLAND
NOVELTY FILMS
"Jisaaie" AUBREY'S Latest Comedy
"DAMES AND DENTISTS"
?-ANIi
Ci??;i- SYMPHONY ORCHESTRA
NATHANIEL FINSTON, Conductor.
TO-DAY
MONSTER BILL MADE UP FIlOM
THE BEST FEATURES OF
THE FOftBOOINQ PROGRAMME.
I laughed at its loneliness and said te
my partner: 'I have an idea for a ne.,
opening. Let's put the violin in the bis
'cello ease and it will causa a laugh?
It caused more than a laugh. There
was nearly a riot."
It does not take Grock ten minutai
to complete his grotesque make-up,
The expressions of contempt, or sor?
row, or joy that flit across his face are
natural, and a few bold strokes accen?
tuating his peculiarities, are all he
needs. It is perfectly obvious that
Grock was born to be a clown and to
bring laughter to thousands of persons,
old and young.
e i
New Films in
New York Houses
The Capitol starts off the New Year
with an entirely new bill. Ned Way
burn's "Song Scenes," an ambitious
production that has been in prepara?
tion for a number of weeks, will be
the principal feature. It will bring
forward in a series of numbers Evan
Burrows Fontaine, Pearl Regay, Don?
ald Kerr, Lucille Chalfant, Frank John?
son, Will Crutchfield. Lee Leblanc, the
Legrohs, Dorothy Miller, Myra Evans,
and the Capitol chorus and corps de
ballet. The feature picture will be
"Should a Woman Tell?" with Alice
Lako in the star r?le. Jack Mulhall
and Frank Currier will appear with
her.
Norma Talmadge will appear in "A
Daughter of Two Worlds," a picturized
version of Le Roy Scott's novel of
the same name, at the Strand Theater,
It is Miss Talmadge'a initial appearance
as a First National star. Playing with
her are Jack Crosby, Virginia Lee,
William Shea, Frank Sheridan, Joe
Smiley, Gilbert Rooney, Charles Slat
tery, E. J. Radcliffe, Winifred Harris,
Millicent Martin and Ned Burton.
Norma Talmadge will appear in "She
Loves and Lies" at the Rivoli this week.
There is a touch of Greenwich Village
in the picture. Chester Withey direct?
ed it and Grant Carpenter collaborated
in the preparation of the scenario from
Wilkie Collins's story of the same
name. In the cast with Norma Tal?
madge are Conway Tearle, Phillips
Tead, Octavia Broske and Ida Darling.
The comedy is a Christie production,
"Go West, Young Woman." The muBical
program will include Tschaikowsky's
"1812" overture. Lola Legies will sing
the aria from Verdi's "Ernani."
Douglas Fairbank8's picture, "When
the Clouds Roll By," will be shown at
the Rialto this week. Victor Fleming
directed tho production"". Fairbanks
wrote the original story and scenario.
A Harold Lloyd comedy, "From Hand
to Mouth," is also on the bill. Greek
Evans will make his reappearance,
singing "Rose of My Heart." The over?
ture' will be Wagner'B "Rienzi."
D. W. Griffith's latest picture, "The
Greatest Question," will be shown at
the Strand Theater, Brooklyn. In the
cast are Lillian Gish, Robert Harrori,
George Fawcett, Eugenie Besserer.
Ralph Graves, George Nichols, Jose?
phine Crowell and Torn Wilson. There
will be a scenic study in colors of the
children of the Netherlands.
Thomas H. Incc's production of a
Gouverneur Morris story, "Behind the
Door," with Hobart Bosworth in the
leading r?le, will be the feature pic?
ture at Moss' Broadway Theater this
week. It is a melodrama.
Have Your Hats Built
On Your Head for
Style and Economy
Occasionally extravagance ia a vi**
tue. For instance, when it's necessary
to keep one'a husband broke to make
hire happy, by all means do\ it!
This ia the advice of Theiresa Max?
well Conover. Any one who has aeen
"My Lady Friends" at the Comedy
Theatre will remember that she is the
sumptuously dressed, wildly extrava?
gant Lucille Early, who offsets the par?
simony of John Smith's wife. ?
"Extravagance," said Mra. Conover
in her apartment, "is a deadly quality
as a rule. It is wrecking a great many
homea to-day, and especially in New
York. The average man who marries a
girl with extravagant ideas and no
sense of values is taking awful chances.
If he wants to make anything of his
life, she won't let him because of the
continual pull for money.
"I think the unhappy conditions in
many homes to-day and the great num?
ber of appeals for divorce may be di?
rectly traced to this very failing. And
the fault lies, not with the girls them?
selves, but with their mothers. In?
stead of being taught thrift, young
girls are encouraged in their extrava?
gance by those who are older and
should know better. I should hate tc
play a part that preached wanton, self?
ish extravagance. In fact, I woulc
positively refuse it, because I. con?
sider the theater too great a force fo:
good or evil to make evil seem at
tractive.
"But my extravagance in 'My Lad;
Friends' seems to me quite justifiable
The proof of this is my husband's re
mark, *You are an extravagant ob
thing, but yon are a dear.' Of the tw
wives who are played against eac
other, the extravagant woman has mor
of an understanding of life and is mor
likely to hold her husband than th
stingy type. Her motive is sincei
enough. At least she has vision an
ideas. It seems to me that one of th
tragedies of married life is where t_
husband becomes rich and well know
and his wife does not keep up with hir
As he goes forward the breach is boui*
to widen.
"I believe that a wife should adaj
herself to her husband's circumstance
and that if he makes money, she shou;
spend it in the way he wants her t
even to the point of being extravagan
On the other hand, if he is not so we
off, but wishes to go to the theate
j she should go with him, even if it
more than they can afford. Then 1
won't have to make an excuse so as
be able to go with another girl. If 1
wants to drink or play pool, she shou
ask him to come home and do it.
"I most certainly do not advocate e:
travagance in general. But there a:
many times when it is justifiable
is one of man's inborn instincts
spend freely, and if he has slaved for
fortune, he doesn't want his wife
i spend all her time in the kitchen wh?
prosperity comes to him. Of coursa, 1
where there is a sense of humor, these 1
things just naturally adjust -them- .j
selves. I think humor the moit
precious asset in life. Perhaps that's I
because I'm Irish. But it is certainly
needed in the workaday world. We ^
spend a lot of our time on the bridge
between laughter and tears and it Is I
surely better to emerge on the sunny.
side of laughter than to fall into a ?
pool of tears."
"Why will they not let me get away
from clothes?" she exclaimed when
questioned about the gowns she wears
in "My Lady Friends." "I like at- (
tractive things because one can malt? ;
them expressive of one's self, just as 1 :
like good paintings, artistic furnish- -
ings and nice things around me. But |
clothes in themselves are not enough S
to make one happy."
"What is your estimate of how ?
much it costs these daya to be really 3
well dressed?"
"That depends entirely on a wots- '
an's brain power; how much mentality
she puts ipto the business of selecting
clothes. I think 'ready made' shopping
is the most extravagant kind. It is
better to think for one's self and have I
some definite ideas about what one I
wants. All of my hats are more or
less made on my head. 1 wouldn't
wears a ready-made one, because it
wouldn't have the individuality that I
strive for. The result is that I pay
for my things about one-third of what
the average woman does."
"There was a time when I seemed
picked for adventuress parts," said
Mrs. Conover. "I am perfectly willine
to play them in the good old-fashioned
melodramatic way where every one
sees what a wretch you are and you
are thoroughly punished in the last act.
But my conscience pricked me when I
played the subtler part of an adven?
turess who was so attractive that the
audience went away liking her. That
was the time when I decided never
again to be an attractive adventuress.
"Personally I am as sensitive about
the stage as if I had never walked
across it. I thrill and weep in a most
ingenious fashion, I am afraid, and act,
when one of the audience, as if I had
never known what it was to put on
make-up. I think my most delightful
experience before 'My Lady Friends'
was in 'Saturday to Monday.' I had a
more serious r?le in 'Nobody's Daugh?
ter' at the New Theater, but I think
I am just naturally cut out for
comedy."
Mrs. Conover is passionately devoted
to Italy and the Italian people. She
had an unusual experience in 1917
when d'Annunzio gave a dinner for her
on the Island of Murano, near Venice.
No meal had ever been served in just
the same spot. The wine was mad? in
the vineyard. The fish were caught in
the water near by. Their lighting ef?
fects were obtained from cantfi-s sput?
tering in glass bottles. On the way
home there was a frightful storm that
rocked their gondolas. Everything
about the party appeared to be dra?
matic. Her friends called it "a perfect
d'Annunzio evening," said Mrs.
Conover.
NEW YORK'S LEADING THEATRES AND SUCCESSES
I'.roa .way and 40th St.
Kn.il?__ at S:30. Mttts.
Wed, and Sm at _;_0.
4th MONTH!
* CHA_-1.ES FROHMAN Preaenu
ETHEL
IN M lilt OKEATKSX T.ilOirH
"D?class?e"
By ZOE AKIN8
"A GORGEOUS PERFORMANCE."?Tribune
^L brilliant
Cpmecfy with
s Brilliant
Shore"-sun
? DONT MISS
a. the PUNCH*JUDY
(on Wee. A?A Street)
THE MUSICAL COMEDY HITl
brRKBurnside Music t**_r/i_on_ HubW
MATINEES FI?I.(pop)?kSAT
*^**4Mmd*?\kJ^S\J' Broadway.
Matinees Thursday A Saturday
"EXQUISITE*
POIGNANT,
DELECTABLE'
?G?raldine Forrar
DAVID BELASCO Presents
LENORE
ULRIC
"The Son-Daughter"
By (leo. Scarborough A David Belasco.
EIGHTH CAPACITY WEEK!
?0MH & HARRIS ??
Eves. ?Air.. Matinees Wed. & Sat., 2:15.
TOMORROW NIGHT
Cri-TAIN AT 8:15 SHARP
COHAN & HAKHIS will present
NEW PLAY BY RITA WEIMAN
THE CAST:
('hr.st.al nemo
Ann Mason
Barbara Milton
Morgati Wallace
Arthur V. Gibson
Norman Lan.
John Itowan
Wm. Harrigan
Kdward H. Robln9
William Wale, tt
Franklin ?all
William P. Bar_er
Edward Geer
Uarold Gwynn
r~
IEHBY MILLER'S THEATRE
24 Wa-t ?8d St. ToL 7_10 Bryant.
Eres. 8:30. Mata. Tbnr. & Sat.. 3:20.
"ELECTRIFYING
EFFECT UPON
THE AUDIENCE"
BURNS MANTLE, Ev. Mail
HENRY MILLER
AND
BLANCHE BATES
in JAMES FORBES* New Pity.
'The Famous Mm. Fair"
"IF YOU MISS IT,
YOU'LL BE SORRY"
?ALAN DALE, American
DIRECTION A. L. ERLANGER
Phone 42 Rlverslde
Ets. 35c to $3: Mata. Thurs. & Sat.. 2.0 to $1.50
0-U_w\__E_iT SrECTACU-t-Afl MEIX.
DRAMATIC SUCCESS OK SEASON
__AURA WALKER in
THE WHIRLWIND
?OttVCNieS aTWEOt-W-AT MATS
rZlgGPELO J-?. pre_.?fit?
HEP?6PEATE5r SUCCESS
?A. Somera?* M?__.?r__rrr?> Ploy
CAESARS WIFE
NORMAN T RBLVOQ
?THE BEST AGTEt? Pt-AV
IN NEW VORK*
CRITERION .H
Eva. 8:20. Mata. Thurs. and 8at.. 2:_0.
"The finest acting per?
formance of Laurette
Taylor's career; im?
measurably the best
play that Hartley Man?
ners has written."
?Burns Mantle. Eva. Mall.
Laurette
Taylor,
in s n*w play by
J. HARTLEY MANNERS
'One Night in Rome'
?3??%$m
and
GANG
?A Peach of
a Show'-VY.,-?*
AT THE.
G?QM.G0HAN
THEATRE
MATINEES
JOHN GOLDEN
pr.?.nt_
FRANK BACON
IN
LIGHTNIN
GAIETY, B'war A 4? St. ?-.?. StSO.
Mata. Wed. A Sat., S:80.
'?_S_?5^*:
VICTOR
HERBERT'S
- SENSATIONAL
.."" MU?TICAU
"~ COMEDY
lIPIlVllEKIIVinCK BW?V a 3Bth-tr
_ -cVS 8*15 i-lATS*M-EO?SAT2'l5 Kl**.a?.Uwg?. .m^v?
r_= THE TIP TOE SHOW?!
=__. J*. J5<e GEORGE W LEDiREK. prxx/uetton
ANGE
_TH%ib
FON and MELODY!- VOUTHtnd BEUl?Yt
V&? AMSTERDAM '"E4",e
-Vferf-tfSt
ERLAMCER DiLLtft-HAM-ZieCiFEl-D t_.ss?-?. .??
Eves. S'lO 5h_rp Mats \>/-d * Sat 2 15
THE POPULAR MUSICAL
TRIUMPH OF THIS
GENERATION!
GILBERT /?%Zs\ ANDRE
MILLER'S /?llfir'.Mc5S-A(iEI?
PRODUCTIONfi? Jfgf i BOOTH
OF Tffifl /TARKINC.7DI1
T H E. \tflESm / ROMAHTiC
HoNSIEUR
BEAUCAIRE
tOOGOODTOBETRUE-Times
Monc^ement ?F A.L. ERLANGER
ATOP MEV AMSTERDAM THEATRE?!!?
ZIECFELDh&FROLK
LYCEUM THEATRE
Matinees Thursday and Saturday
FOURTH CAPACITY MONTH
"The Best Entertainment oj th? Sea
eon."?Charles Dornten, Eve. World.
DAVID BELASCO Present?
INA
CLAIRE ?
The Gold Diggers"
Avery Bopwood's sparkltnt/ comedy
?
Luuuniuuii?n?iiuiiuuiiuuij
A Letter from "Uncle Joe"
who ran on the 1660 Ticket
with Abraham Lincoln
"DearMr.Orinhwatcr,
I emoiied qour 'Abraham
?ncoln beca use it presented
the ?ncoln of hi-.to.-i, and
Lmcoln asi knew hint I con
{Jitulate you on pre.?ent
tnfon the stage such a char?
acter so true to histon-and
- making the sm-ipie Qrcoimss
of one oi the (jr-iitest men
of all time the central
feature of the plaq.
?& ewer with respact,
-G.CANNON*
?CORT ?HiS^I
WEST 4??? ST. EVES.
MATS. WED. (. ?AT.
APWLEBLO
The Kr-i?ler-Jacob*.
Le Baron OporoUn
S?perb _?_ ?_____?
John Chartes Ttowuij
VW? Bennett Stir 0_
*_? GLOBE

New-York tribune. [volume], January 04, 1920, Page 2, Image 36
About New-York tribune. [volume] (New York [N.Y.]) 1866-1924

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New-York tribune. [volume], January 04, 1920, Page 2, Image 36 About New-York tribune. [volume] (New York [N.Y.]) 1866-1924

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New-York tribune. [volume], January 04, 1920, Page 2, Image 36
About New-York tribune. [volume] (New York [N.Y.]) 1866-1924