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Watching the Pictures I With the Child Stars Proves a Lot of Fun We bad always wondered, Briggs fashion, what a juvenile movie star thought about when watching pictures. A week ago we badnt the least idea, bat now we have a fairly definite line on their psychology, as we chaperoned eight of them at a children's panto? mime one day last week, and inciden? tally bad the time of our young life. The gathering of infant stars was arranged by the management of the Rivoli and Riaito theaters, who were putting on a special children's per? formance daily in the Sixty-third Street Music Hall. The youngsters be? long to the Famous Players, and they found it grert fun attending a matin?e together and looking on instead of per? forming. Most of them knew each other and shook hands with a solemn and grown-up air. But they forgot to be dignified when Fatty Arbuckle start? ed throwing frankfurters around in a picture, and they were just as thrilled over the real live Santa Claus, who went through a pretty pantomime, as were the hundreds of youngsters in the theater who don't know what it is to wear make-up or be held in Mme. Pe trova's arms or earn ridiculously big salaries before knowing twelve times twelve. Bobble Clark tossed his golden curls, Bobbie Clark hitched up his pink satin Buster Browns and cuddled up ingratiatingly toward his interviewer. Bobbie, being only five, naturally hadn't the least idea what an interviewer was, but he Is so used to performing that he just did it anyway.. He is the fas'dinating child who took a curtain call all by himself in "Carnival," and is really quite an old hand at making pictures. For in? stance, he is the one funny person in Clara Kimball Young's new picture, "The Eyes of Youth." It is he who eats the banana and sits in the dunce's corner and otherwise misbehaves him? self. "Huh! Me1?" said Bobbie. "I don't know what I done 'cept cry in one of the pictures. Ask mamma. I want to watch Fatty." With a bored air he waved us aside, and we subsided, thinking. the. inter? view closed. But it started up quite spontaneously again -when Bobbie clutched us excitedly by the arm, gave us a squeeze and burst out: "l Jes' love Fatty better's any one. Don't you? An' Charlie Chaplin's funny feet. [Screams of laughter from Bobbie at Fatty, who was still -performing on the screen.] An' Mutt and Jeff. -Specially Mutt and Jeff." Tea, Bobbie, and Mary Pickford? dont you love her?" "New, she Isn't funny. I like the funny ones." l_>ls with emphasis and another ??raeeza. Next minute Bobbie was jumping up and down like a Jack-in the-box with excitement over the pic? ture. We concluded that this chubby infant star, at any rate, was still un? spoiled, spontaneous and marvellously good to look upon. He haa a four year-old sister, Betty, just as lovely? also a screen star. Freddie Verdi watched develop? ments on the screen with a sober and critical air. Freddie is ten?a thought? ful and studious little chap. He is Mme. Petrova's prot?g? and has ap? peared with her in a great many pic? tures. Among other things he was in "The Eternal -City," "TheA-aw of the Land," "The Fear Market/' and is in Vaudeville PALACE?Grock, the French musical clown, remains a second week at this bouse. Leon Enrol, the international comedian, remains for a third week in "The Guest." A new importation from London will make her d?but, Ella Shields, a male impersonator. Henri Scott, basso-baritone, will be featured in a song recital. Cleve? land Bronner will present a new pictorial and musical feature built around Ingrid-Solfeng, the Norwe fian beauty. Joe Laurie jr. will do is new version of "What Care I?" Rockwell aad Fox will jest in "Two Noble Nuts" and Loyal's Dogs will display canine comedy. RIVERSIDE-Irene Franklin will make her first appearance at this house in several months. Aleen Bronson and company. George MacFarlane. Er? nestine Myers and Paisley Noon, the Swor Brothers, Toto, Sheila Terry and company, the Nolans, the Mag leys and the news pictorial will com? plete the bill. % COI_OJflAi---Groel_, the French must eat clown* will coma to top the bill. Keseoe Ails and company, Dugan and Raymond, Dorothy Shoemsksr and company, All man and Nally, Mar Kret Young, Nelson and Cronin, ek Hughes Duo, the Four Nelsons and the news pictorial will round out the bill. ______ EIGHTY . FIRST STREET ? Jamas Thornton and William B. Friedland ep-s ast-SkS-l eomedistta "The Girlies' Club," sro heedllflers. Doris Kenyen vtll be shows in ? pieturisation ot Lest? Joseph Vance's novel "The -Mud?os--* m '"The Copperhead," which is not yet released. "The most interesting thing I did in pictures was die," confessed Freddie. "Just in ray little bed, you know. I didn't have to be killed or anything like that. I don't want to be a movie star. I'm going to be a doctor. You can make more money that way." We didn't like to disagree with any one so youthful, so we encouraged the somewhat bashful Freddie to tell us more about himself and we learned that he is studying hard and that Mme. Petrova dresses him and that he dines with her at the Plaza and other interesting places, and that he thinks her the most wonderful star on the screen. He swims, rides, dances, sings and drives an auto; (It seems those infants have very decided preferences and they know quite dreadful secrets of which the groat public is darkly ignorant?things about wigs and false mustaches and unsuspected double chins. Indeed, we wondered if it was proper for a news? paper woman to listen to all the dress? ing room scandal.) We must confess to a weakness for naughty little boys, and one of the things we had liked about "Anne of Green Gables" v was the bit of Pie fam'ly that so' misbehaved itself in school and made things hot for Anne. So we were quite thrilled when Bandy haired, freckled Russell Hewitt was introduced to us As that "awful Pie boy." "So they didnt have to paint on your freckles after all," we murmured admiringly, as we scanned Russell's peppered countenance. "I should say not," replied the young imp. "Never had more fun in my life than the Pie part. Before that I was a minister's son in pictures and goody good things like that, but me for the naughty parts. They're ever so much easier to play." "He has plenty of practice," put in his mother. "He always was a hand? ful at home. He knows wf at it is to be the naughty boy in the family, all right." ' Mrs. Hewitt is the proud mother of ?ix infant movie stars, three boys and three girls. Only two could be Bpared to come to the pantomime, as the other "our were busy at the studio. Vivian, i plump, fair-haired, pretty little thing, :ame along with Russell. Marion Stewart, a five-year-old, who has had ample experience, both on the stage and screen, was too busy crying over the pictures to be seriously inter? viewed. She was the only dark-haired one among the girl stars, and tibe) has taken the baby part with all kinds of distinguished people. But in spite of the fact that she knows the inside of the machinery and spends most of her young life watching pictures being made, she is unable to get away from the realism of things. She wept copi? ously over Mary Pickford in "Hearts Adrift." Marion's chief ambition in life is to be an acrobat. Not all the children who are suc? cessful in movies want to be shining stars in the future. Dorian and Rus? sell Anderson,- eight and ten years old, are handsome brothers, who are more anxious'to be naval officers than movie stars. They are already disillusioned, after playing boy parts in some of the biggest pictures recently produced. rhey will'figure in "Dr. Jekyll and Mr. Hyde," Btarring John Barrymore, when it is released. So will Sarah Stevens, the oldest of he stars who attended the pantomime, she is a lovely girl with fair curls, jlue eyes and delicately molded fea ;ures. She is proud of the fact that *he has shared Marguerite Clark's lressing room. "It's rather strange ' how I started in the movies," said Sarah. "I was claying on the street with my sleigh me winter day when Francis Bushman ?vas having moving pictures taken in ;he neighborhood. His dog ran toward ne and I played with it. He noticed no and told my mother that I had the makings of a screen star. We didn't :hink anything of it at the time, but some one who was interested in movies took a flashlight of me without my knowledge one day and soon after that 1 was engaged for the screen. I love :he work and hope to be another Mary Pickford some day. I am said to be like her." Just then ?Sarah got her eue to go ?n the stage and give a speech. After a pretty little recitation she grew con? fiding and said to her youthful audience: "Now children, If yon want to be icreen stars yon must be very, v?ry patient and wait for a long time. It ?n't be done all in a day. But if you ?rill turn round and look at the fast two rows in the theater you will see some real little movie stars who have :ome here for the matin?e." Then the lights went on and hun? dreds of pairs of curious eyes were fo? cused in our direction. It was the one time in our life that we were mis? taken for a movie star,' so we took what enjoyment we could from the re? flected glory of our distinguished, if diminutive, party. Our air of self assurance was all shot to pieces, how? ever, when Bobby gave our arm another violent squeeze and whispered in a loud voice: "Oh, ki? I stay 'n seo Fatty Arbuokl? again?" 1. R, At the Rivoli Norrna Tahuadge in "She Love? mnd Um9* ,"l"'l",lt-:. '? ' ' y ' ?-*??SES-, ,',, ;',,.-fg,i- ???? ,',,.'.???',?' ^~^^~; , ?-;r. rmation From the Realm of Briggs Shows What He Saw at "Wedding Bells9' fm J?E^emmmje^Mnmmmm^ ui ? ...??- ? ?laiiumi . ii h nun t ;??'??-gs^??? ... i i i ? ? ? i ' ??? ia.mil i ^?"ISMTO H "II ? ^?gS3^\ V Vy / / 1 // ^ ^?a ? </J^ ' W^ sVaWattLS. ^"v^?^ ^J^JSj .??v. / # A # .15 \ 4&^4k%Z ^afatfaV ^l?^KCS T?*4? ^?mW BA /~~t~""'J~^ ^itfcZ 1 ? \ / \ 4 _bbl ? Vmf Jomm ??B^aV Pri?T ?OP A fla >^& WALVAC6 EDDt-M??B i/UE 3 Ttoe day -Bet?r e He i-S To ec MARRIES -V?AtNj RE-_-(m>mlT> CAftT-?? is SURPRisefc 8Y TVie APPeA^AfSre op Mt? Former VA/(Fe_ -GUSSS VO?-D B? K?Mt?A ?S*PRl_SEI> TbO. MAR6ARET LAANRENCe Barry Baxter Has Learned Many Things Since He Came To America 4 Months Ago "Aren't your stars wonderful over herel I declare there is nothing like it in England. They are so young and they are so beautiful 1 I haven't had a chance to see as many of them as I should like,, because I'm ?b busy myself, but I went to seo Fay Bainter in 'East Is West' and I think she gives one of the best performances I ever saw. She fascinated me, and when I left the theater I looked up and saw her name in electric lights, and I felt how richly she deserved it, and yet how unusual to win such recognition from the pub? lic while one is so young." This is Barry Baxter talking, and we Her Reoitol fs To-night Roshanara at the Greenwich Vil? lage Theater wish it were possible to reproduce his delightful English accent, nut it isn't. To hear that, one must go to the Cri? terion Theater, where Mr. Baxter (he is already known as Billy) is playing with Laurette'Taylor in '*One Night in Rome." He is the ons whom "I/Enigme" reproves for his levity, telling him that he had no understanding, though how she' could say that in face of the proofs furnished in the second act is beyond our own understanding. In this act he appears as Nero and plays the violin, clad as was Nero, sup? posedly. When we commented on this most becoming and tasty costume he said: "Ycb. and I was nearly arrested in some town near here where wo opened. They thought my costume was Improper and they made me wear some? thing underneath. All I could find Brooklyn Theaters CRESCENT?Lew Fields and his com? pany, presenting tho musical farce, "A Lonely Romeo," will begin an engagement Monday. It ran for six months at the Shubert and Casino theaters, New York. MAJESTIC?George Broadhurst will i present his own dramatic version of ! "The Crimson Alibi," based on tho ! novel by Octavus Roy Cohen, after; a run of six months at tho B?oad hurst Theater, New York. Tho same i cast will be seen, including Harrison Hunter, William H. Thompson, Robert i Kelly Gcorgo Graham, Robert Bar- ' rett, Robert Vaughn, Roy La Rue, Gardner James, W. R. Lemuels, Bcr,- i tha Mann, Edna James, Inda Palmer, ' Mary Foy and Catherine Cozzens. MONTAUK-- Cohan _. Harris's jolly musical comedy "Going Up," which was seen at the Montauk last season following a long run at the Liberty Theater, Manhattan, returns there for an engagement of a week. The cast has Raymond Brown in the lead? ing comedy r?le, that of tho Aviator; Norma Brown, Loretta Marks, Mario Villani, Douglas R. Dumbrill, George Fredericks and Roy Purviance. ORPHEUM?The female impersonator, Bothwell Browne, late star of "Yan? kee Doodle in Berlin," will bring his Bathing Beauties. Miss Juliet; Vio tor Moore A Co; Frank Hurst; Ben Bernie; George Austin Moore; Jo- ? seph H. Bernard A Co.; Vera Sabina; Johnson, Baker & Johnson, and the! (news pictorial will complete the bill.; BU8HWICK?Pat Rooney and Marion! Bent in "Rings of Smoke," by Edgar Allan Woolf; Franklyn Ardell A Co.; Captain Gruber an<f Mile. Adelina; the Lovenberg Sisters and Sime Neary; Cahill nnd Romaine; Friacoe; Permaine and Shelly; Chong and Rosis Moey, and the news pictorial will be on the bill. 1 were horrible, apricot-colored tights, but I had to wear those, and Greta Kemble Cooper had to have chiffon trouserettes added to her c&stume. I say, you are modest over here, aren't you!" "Not so terribly. But in certain areas they have purity waves. Person? ally, we th^nk that any one who adds to your costume spoils the effect and deprives .the public"?we- hesitated. How we longed to say "of an eyeful," because we knew that Mr. Baxter couldn't possibly know what it meant and would probably be so surprised at the peculiar phraseology of American journalists. But we refrained and said instead something equally original. "How do you like America?" "It is the most wonderful country I ever have been in. Such cordiality, such enthusiasm I never have seen, and managers are so nice and the public is ?50 kind and the critics" "Were they kind, too?" "Most of them were, and I expected nothing at all. Out of the twelve notices which I read nine of them were favorable. And your Tribune pleased me most of all because it is my paper." "Have the audiences been kind, too? "Oh, yesl They are not afraid to show their appreciation, are they? How they do applaud when they like a thing. That is another delightful i-hing about you Americans. And tell me something. Is that how people over here get to be stars? Is it the verdict of the people?" "Well, mostly?yes," we answered. "Of course, in some cases it is?some? thing different. But if the public likes you well enough you stand a pretty good chance of becoming a star." "And that makes one so ready to work hard, doesn't it? You know in England they keep right on worship? ing the old favorites and do not ask for new ones. They aro really unwilling to accept them. I am sure Ellen Terry could return to the stage any time and be received with open arms. I want to stay in America always, I think." "In spite of prohibition?" "Yes, even if one must have a pre? scription to have a drink?" "Oh, you've learned considerable since you came here, haven't you?" "Indeed, I've been here four months." "And did you come over to play 'One Night in Rome"? "No, I came over to play in 'Too j Many Husbands,' but"?he hesitated? "well, anyway, I didn't. And I spent ! my time seeing New York until I > opened with Miss Taylor. So you see I've had a ehance to learn something of Americans if not of America. I know the meaning of"?and here Mr. Baxter said something so astounding that it even made us gasp. He evi? dently did not know the meaning of it. But ho continued glibly "and I know the meaning of 'punk.' You see I'm making a picture down at the Vita liraph with Earl Williams. We have to do a lot of ridi.ig in it; and Wil? liams told me he was a 'punk' rider." "And when you saw him ride you found out what the word meant?" Barry Baxter said "Oh, no!" But wo have seen Mr. Williams ride. H. U. In "Abraham Lincoln" Caricatura by Mush. Albert Phillips a? Gen. Grant list to the Camera Man! He Knows the Real Inside Of the Making of Movies No one ever thinks of the man who. makes the motion pictures. Yet the camera man knows more about them than any one else concerned in the technical end of the work, and he is a tyrant in his own way. Constant ob? servation has taught him things about stars that they are unconscious of themselves. Roy P. Overbaugh, who is Billie Burke's camera man, has this to say on why beauty does not always make good on the screen: "The factors that constitute beauty are coloring, expression, animation, proportion and contour. The motion He's a Goldwyn Star Johnny Jones as Edgar pi otore camera eannot reproduce eolor ing. On the-other hand, contour, beau? tiful lines and features are faithfully reproduced. The camera lies blatantly when it come to photographing color. A girl with a beautiful complexion, clear blue eyes and auburn hair might be a beauty in real life, but when photographed might seem to have a rather muddy complexion, black hair and indefinite eyes. Make-up, of course, is the usual method to make the skin appear smooth on the screen, but it cannet be compared with the beauty ; of a pink and whffce complexion as seen by the eye. Auburn hair can be made < to appear blond by keeping an ab? normal amount of light on it. i "The still portrait photographer can Neighborhood Theaters SHUBER T-RIVTERA?William A. Brady will present "The Man Who Came Back," by Jules Eckert Good? man from the story by John Fleming Wilson. In th# cast will be Adda Gleason, James Seeley, Horace Coop? er, Lillian Booth. Norah Spraguo, Harry Davies, Richard Clarke, Allan Atwell and Irving Southard. COLUMBIA*?"The Girls of the U. S. A." is the title of tho two-act burlesquo. It was written by Loney Haskell, with music by Nat Osborae. In the east are Lew Hilton, Ernest Mack. John Bohlman, William P. Murphy, Roy Peck, Teresa Adams, Tenny Hil? ton and Babe Lavetta. "Belgium" by Burton Holmes Belgium has been selected by Bur ion Holmes as tho first country to be .isited by him and his fellow travelers In the series of travelogues which he jegins. hero next week. Ills momtion pictures and colored views will make ;his ? substitute for a personal visit to this country, tho first victim of ?sr's horrors. Brussels, Antwerp, Bruges, Ghent, Ostende, Zeebrugge ifpres, Dixmude, Leige, Dinant?somo into.uched and others mere stone piles -?all these and also the famous battlo lelds will be visited with Mr. Holmejh ?ho will give "Belgium**-at Carnegie ?tall next Sunday evening and Monday tfternoon work wonders by retouching, but on the screen, make-up must accomplish the same end. There are particular lighting effects that show each person to the best advantage. Poor lighting by the camera man or bad laboratory work will make even the most beau? tiful appear positively ugly on the screen. In determining whether a per? son will screen well it is always neces? sary to analyze individual beauty. If the contour and features are good and the eyes are not too light, from a photographic standpoint they are at least screen possibilities." Says John S. Stumar, Dorothy Dal ton's camera man: "A beautiful girl may have a small, narrow face, but she will not necessarily photograph as beautiful. A round face photographs better than a thin onet A girl with high cheek bones may be beautiful on the stage or street, but she will not photogi'aph well unless the lights are properly played on her features. "A girl who is beautiful on the stage or street may not photograph well if she does not know the art of make-up. It has-frequently taken the celebrated screen beauties as long as a year and a half to get the desired results. It is frequently possible for a girl who possesses physical defects to make her? self quite beautiful on the screen by the skillful use of make-up." F. M. Doan, who looks after Lionel Barrymore's camera interests on the screen, answers the question "Why Beauty Doesn't Always Make Good on the Screen" in this fashion: "A girl who is pretty is so conscious of her charms that when she gets be? fore the camera she is self-conscious and blurs the very qualities that make her beautiful. A girl may be declared beautiful on the stage and street and possess small, delicate features, but it is a fact that heavy features photo? graph best. A pretty girl who is with? out brains won't look her best in the movies, for the camera never lies. Take the best stars in the business?those with enduring reputations?and you'll discover they have the rare combina? tion of beauty and brains." William A. Reinhart, who did some camera work on "Anne of Green Ga? bles," says: "A woman who is past the bloom of youth and is beginning to get lined may keep up the illusion of fresh young beauty on the stage -but never on the screen. The audience in a theater sees an actress at a distance of about twenty feet away even ?f seated in the first row. But in a close-up on the screen she is shown only four feet away and is magnified many times. The camera is penetrating and probes beneath the mask of make-up, so that the lines of age cannot be hid." Here are some of the things the picture-taking men agree their cameras won't do for them: Photograph colors. Render scenes so that people in the foreground stand out boldly in relief ;rrom the background. Make fast-moving objects appear ilow and vice versa. Make one scene blend with another. Make people appear to float in the lir or on beams of light. Make a normal-sized person appear iither as a midget or a giant. Photograph a person so that he will ippear as a ghost or spirit. Make inanimate objects move. In "The Midnight Whirl" Margaret Morris ? m Make-Believel James Montgomery, I Playwright, Values Criticism Highly Interviewing James Montgomery is a tough Job. The difficulty is two? fold. For cine thing, whereas Mr. Mont? gomery wears the aspect of a simple soul?he is a youngish, fairish man, with a slender face and figure and very blue eyes?he is really a highly complex personality and chock full of the most disconcerting paradoxes. And, what is still worse from the inter? viewer's point of view, he is that most exasperating and rare phenomenon?a really and truly modest man. Just how an author who fou more than two years has been raking in big royalties from both sides of the At? lantic, and who has moreover for the last eight weeks been "turning 'em away" from several musical comedies ?just how such a young man man 'ages, under such circumstances, to keep all his native modesty intact, is neither here no* there. The fact is that the creator of "Irene" is the most reticent dramatist in Broadway when it comes to talking about him? self, and tho most elusive when he hears that he is wanted for that pur? pose. And 80? encountering him the other day at tho Vanderbilt Theater, appar? ently by accident but really by care , fully planned scheming, the visitor, knowing his prejudices, started things with a casual and altogether perfunc i tory remark about dramatic criticism I and dramatie critics. But Montgomery didn't take it as perfunctory at all. ' His Irish blue eyes lighted, his slight, ! neatly-built figure straightened invol ' untarily, just as if he were a little boy to whom one had spoken the magic words "sugar plums." _ "I wish youM say, for me, that I value criticism very highly," he said. "And I also wish you'd say"- PeJe there was a slight hesitation, as if he didn't know whether to voiture a sec? ond request so quickly QnVvJie heels of the first?"I?I?wish you'd also say that I believe it is worth while for any dramatist to give a respectful ear to his critics ** "How about the vitriolic reviewers?" "Yes, they, too, are important," came the quick reply. "As a matter of fact, I the most Instructive lessons are fre , quently to be learned from the most savage and the most unjust, reviews, unless, of course, they have been in? spired by personal animosity, whieh is so rare as to be negligible. The crit? ic's job is pretty much like that of a dentist. If he does his work well and to the best good of his patient?be the latter dramatist or actor?he has got to hurt him occasionally and sometimes hurt him cruelly. The gentle critic is not more dangerous to the ultimate welfare of the stage than are the \teri ous 'Painless Perkinses' and 'Painless Potters' to the dentition of that por? tion of the public attracted by their seductive window signs. 'Killing the nerve' of a tooth is a painful opera? tion, but frequently there is no avoid? ing it if one's tooth is to be filled and saved, and so, too, is "killing the nerve' in a dramatist or an actor. I know, because I have suffered both opera? tions." Here Montgomery blushed, evidently perturbed by the sudden realization that he had been talking about any? thing so intimate as a tooth. Now seemed the time to spring the real question in the interviewer's mind, the subject which was the raison d'etre for his visit. "How did you come to do 'Irene'?" "But I didn't," he protested, with a whimsical little smile and a very seri? ous shaking <of his head. "It's a tri? angular affair, and I am only one of the sides of the triangle. There's Joe McCarthy, you know. Well, he wrote the lyrics. And there's Harry Tierney. He wrote the music. And there's Ed? ward Royce, who staged the produc? tion, and, most important of all, there's Edith Day, who has created the title r?le. You see, I'Ve really done very little." But the interviewer couldn't see it that way at all, and now, feeling a little surer of his ground, he proceeded to exercise some of the prerogatives of his own craft, and by a cautious process of induction and deduction managed to extract the following in? formation about James Montgomery and his glorified shop girl from Ninth Avenue. As for Montgomery, for twelve years before he began-to write plays he was an actor, his first appearance on the stage being as a member of the Castle Square stock company in his native city of Boston, where he had just graduated from high school. From Points to Remember In 'Making Up' to Play In Drama for the Screen Here are some points to remember in screen make-up, as outlined by the camera men: Pink, brown, yellow and white make? ups photograph identically, if they are of the same relative shades. An extremely yellow make-up photo? graphs black. Persons with gold teeth should : whiten them, as they photograph black, j The eyes should only be slightly darkened. Any one having eyes that protrude j should put some darkening on the lid to get a deep-set appearance, or they j will seem to be pop-eyed. Rouge photographs black, but when used carefully it makes an actress's face seem thinner. Brown lines are used to indicate age. If a splash of rouge is used to con? ceal a hump on the nose, a hard black .pot is left. The same thing is true in trying to disguise a double chin. On the Btage you can make the lines j _f a mouth that naturally turns down ero up by using black pencil. This can't be done convincingly on the screen. Rougo should never be put in the j nostrils for screen work, as it is for ' the stage. Eyelashes should not be beaded heav ily. Only a touch of mascaro should j l)e used, or the effect,is artificial. Only a touch of green or black should ] be put around the eyes. Pink powder is best for screen use. Light yellow is tricky, because if too much is put on it seema to darken the ! skin. Movie make-up consists of the fol-1 lowing: A foundation of grease paint, generally lighter in color than that used on the stage. Then a thick layer . f powdor, light pink preferred. Only the smallest amount of rouge should be put on the lips. The line of the eye? brow should be lightly penciled, with a ittle bit of mascaro on the lashes. Some brown, black or green should be pot .n the upper lid and shaded down with grease paint, to give a soft effect. That Red-Headed Chorus Girl Marie Sewell, the little red-haired .horus girt who attracted so much at? tention at the opening performance of here he went to a similar job with ??. Alcazar stock company in San ?% cisco, and thence to the Spooner ufei company, of Brooklyn. Finally, he*?iot his first and only Broadway engu?. ment, which was in "The ForKl Hunter." Then he started o#t t?T a playwright. So much dramatic a? terial had been accruing in his systt? that he had to get rid of it semenes;. so he proceeded to turn out in qnU succession three productions that w?? to bripg him immediate recognitjo, first in this country and later in U?. don, where "Ready Money" played ? I year at the New Theater, "Nothrju I But the Truth" two years at the ??^? ! and "Going Up" two years at ft, Gaiety, and still holding the traanlf of that famous playhouse. ; As for his latest success, ? JaaN Montgomery confesses: That he created the character of ffo shop girl Cinderella as a challen?^ those people who had begun -to whiaij. that he would never be able to irjjk anything but men's parts. That Irene O'Dare has a counterpart in real life. That she formerly worked in en basement of a big New York depim ment store. That the dramatist met her thin some two years ago when he wai ne James Montgomery gotiating the purchase of a portable oil stove. That she chewed gum vigorously and was as pretty as a picture?so pretty, in fact, that while waiting for. hit change on that occasion he tried to engage her in conversation by inquir? ing in his most polite and brotherly manner as to the distance of her abode from the scene of her arduous and ill paid labors. That the young woman rewarded Mm with a withering "once over" and * curt "What's that to you' That James Montgomery left that department store a "made" man. had arrived. His next play would b* about a girl?a pretty, gum-chewing shop girl with a clean heart and sharp t?ngue?a girl whom he had overheard somebody behind tne coun? ter call "Irene." That James Montgomery has ofte? since tried to find that girl, who had meanwhile left her job when he re? turned a week later. That Ke made a fruitless search for ' her in every department store in New York and in half a hundred boarding houses. < That he would still like to find bir, because he considers that he owes h? not only a debt of gratitude, but ? substantial percentage of his royalti? from the musical comedy in which M has enshrined her memory. For James Montgomery is a grateful and conscientious author as well M ? modest one. --r=ac "Miss Millions" at the Punch and Jsdf Theatre, is English and a younger ste? ter of Cissie Sewell, who plays in the same production, and who danced ? "The Girl Behind the Gun" with Don? ald Brain. Marie made her d?butas'? entertainer of ' English soldiers'?? was for several months 0:1 the fA"*? lines in France. She also appeared ?t the Folies Berg?re in Paris and at th* Palace and Gaiety theaters in London in musical- productions. Tn "Mv Lady Friends" __. * > . - *.'