Newspaper Page Text
THE SUN, . SUNDAY,. DECEMBER . 16, 1917. A NEW VIEW OF. HKEIBv, fa-lBBHBBBjawx .ASSaSA aaaaaMr vZBSSl SARAH BERNHARDT Of M PALACB THEATftE Till: attempt to make Strlndbcrg the successor to Heiirlk Ibsen A did not succeed. So the thea- tin has remained without o s.nmll. ii.u ian Idol for the precious, although the Stilmlbcrg theatre is not unknown here. The theories of the author on acting are interesting and less revolutionary than his idfas of the drama. It has been said that those who do not enjoy the plays of Strlndbcrg had the dis advantage of seeing them acted by other players than those of. Swedish ( birth. The dramatist writes: The art of tho actor is the most dim- , cult and at the same time the easiest of all arts. Jlut It is like all beauty, almost Impossible, to define. It is not the art of dissimulation, for the great actor does not dissemble. Instead of which he Is sincere, true, undisguised. It is only the low comedian who does everything to disguise himself by mask and costume. It is not Imlta- tion, for bad actors oftch possess a demoniac nullity to imitate well known , personages, whereas tho true artist lacks this gift. Tho actor is not en tirely the medium of the poet, but only to a certain extent nnd with certain restrictions. Tho art of the actor Is not reckohed , ln a-sthetics as one of the Independent I arts, but as one of the dependent ones. It cannot exist without the text of the poet. An actor cannot do without tho poet, whereas the poet can do without thy actor in a caso of emergency. I have never seen a representation of the second part of Goethe's "Faust" nor Schiller's "Don Carlos" nor Shakespeare's "Tempest," but still I have seen them when I read them, and there are good plays which should not l performed; they cannot stand it; they cannot bear being seen. Hut there, are many bad plays which must bo played In order to live; they are only perfect through the rt of the nctor, and can thus be ennobled. Tho poet is generally anain of tho thanks which Is due to tho nctor, and ho Is usually grate ful. The clever actor Is also grateful to his poet, nnd I would like to see that they thank each other, since the obligations a'ro mutual. But they would live in still 'better harmony if this uncalled for question was never put. llut It is often brought up by con ceited fools or by tho stars when it happens that a play has been brought to honor which renlly deserved to sink. For eucIi tlfo poet is a necessary evil, er Just somebody who is writing tho text to their part, since thero must be a text. Tho art of the nctor appears to bo tho easiest of all arts, slnco every man in everyday life can "peak, walk. Hand, niako gestuies and grimaces. Hut then ho plays himself, his own par' ; and this very soon proves some thing different, if he is to learn a rnly and to represent it, and is ad tnittfd on the stage, it is soon notice able that tho most knowing, profound mul strong character is impossible; wheieas u very simple nature feels at home nt once. To the one the art of repiesentatlon Is innate; others have ot cot tins art. Jiui it is always tm-, , Uruit to jiidgo a beginner for tend-1 eneies may, exist witnoui ineir "cinK.)lc (,op8 not flm, rP?onanC0 i i,s fe) I'-icjieu irnmeuiaiciy, aim ouen Bieai mien's have had a very meagre be- emn.ng. Therefore director and rcgls f 200 Times of 'Cheer Up!' On Tuesday of this week Charles Dillingham's stupen dous pageant of many de lights, "Cheer Up!" will reach its 200th presentation at the Hippo drome. In passing its second century milestone the current success at the big playhouse es tablishes an attendance record of historical interest and one which surpasses that of all its prede cessors, for "Cheer Unl" ii con ceded to be the most popular Hippodrome spectacle ever pre sented, and its toll of over a million natrons to date has never before been equalled within the same length of time by any other theatrical indoor attraction in the world. The Hippodrome's big public has learned to know that Mr. Dillingham' policy, U to give the maximum show for the minimum cost, and the pres ent offering contains, a compos ite and varied assortment of amusement on a huge scale which pleases every tsate. seur miift lx very cuitlous In their Judgment, for they 4iold the fate of a ''mn-' m" ln ,iu'!r hands. They sh.i'.l i !1 "'V1 V'10"?' . 1,iU." ,1,tlenLU 11,1,1 1 What really mikes an actor and' TJitirwlu y morning shortlv after the what qualities he mut have Is very I resumr tl..n of the examination of Itay dllllouU to fay. but I will try to state imoml HItehciK-k. On Wednesday trs a few. tlmoiiy was offered to establish tho At tlrst he must linve4(om-entiatlon, fact that the booking arrangements of he must It- able to concentrate his -Klaw & Krlanger In some eases had thoughts on his rox and not permit I iw,n pssiv M, .iiltrlietw-k in hi iiiinseii 10 uc (uverieu in me icasi ne who plays nn Instrument knows what It means when lie lets his thoughts p:ay niiuut. then the notes disappear. the tinners wander; niake.mlstake.s and UaH, even when they know their piece.' , "T Z """ "7 """"T1 imagination; that means here to bo ,,, , r,.allzo PSprPSSn mi situation in such a vivid manner that they can tnke form. I bolieve the nrtNt Is put into n sort of trance, forgets hlm-clf, and finally .becomes the one whom ho Is to represent. This reminds one of somnambulism, but It is hardly the same. If he Is disturbed In. this con dition, or Is brought to consciousness. 1 he stops Is lost. Therefore, 1 Invo , always besltate'l to interrupt a scene nt a rehearsal. I have seen how the! nctor suffers when lie Is awakened; ho stands there as if drunk with sleep, CISSIC SEWCLL in. HSR RCGIMENT and It tnkps some time for him to fnll asleep again, so to speak; to find the tame atmosphere and tone. Xo nrt Is so unindependent as that of the actor; ho cannot Isolate his work ot nrl. no cannot show it and ,.TIll(( ,s ,nlne... For instance, if low actor he Is not supported by him; he may be drawn down and tempted to fall fiito false notes; even when he does his best he is not likely to with- j rtand this influence, Tho actors ore in each other'd power; they nro un usual egotists, who wish to play the rival do'wn. to force him Into ho back ground In order to appear themselves nnd alone in the foreground. Therefore the spirit of good under 'j "" ' ' f m . i'?t ? Hit . t i standing among tho actors Is of thonot consider the clause binding Judge greatest imiortanco in the theatre, If i the play la to have effect and becomo ! prominent. Tho adorn must subject , themselves and subject others; they mut fall In Una and work together, but principally they must, work In hnr mony. Thnt is expecting a goou ueni Klaw & isriapger nner ms I'lmaael ot men, especially in a. field of work phla engagement, and the caso by mu where worthy ambition urges every tual consent was dismissed, one to make himself noticeable and to i In speaking of the matter afterward corn the appreciation and win the well deserved prize by permitted means, more Important than any Injunction If an nctor has Imagined vividly tho which any court might havo given character and sceno which he is to us, and now that we havo had an ad represent, the next thing that he must mission that the clauso Is not good we do la to learn his part. That begins shall erase It from our contracts here with the spoken word, and I consider after." that that Js the most Important part , ln scenic art. it tne tone is correct uirrerences wim me nnuDcrm .Mr. isr the gesture, the movements, the .post- linger said; "This has nothing to do tion and the attitudes follow In se-'with the cose against tho Shuberts quence If the gift of representation except Incidentally, and has no con (Imagination) la developed energetic- nectlon with the proceedings pending ally, If this Is lacking then the arms here against their prospective new THE ACTOR'S ART and liunds ianjr like lifeless thlnp; the hotly la its dend, and only a speak In i? hoiid upprnri) on n lifeless (leu re. This Is usually I he enso wj.lh a be Klnner. Tim word the spoken word hns not had the power to penetrate the body nnd to bring nbout nil the necewmry connections, llut fnlso con- tnctn fail ulso originate, muxclon can i 1 act out of place, sprawl and move; linger are drawn and tho feet nrc continually looking for now position without llndliiK repose or proper at titudes. The uctor is nervous and dis- iiulcts the.publlc. Thercforo It is not of small iniportnr.ee that he keeps his !ody healthy, so that ho has It under control. The actor shall control hi part and shall not be controlled by It. That means that he Is not to let himself be carried away or Intoxicated by the ' words that he Is not to lose con , scloiisness. lie shall pay attention (o , himself: he shall not allow himself to bo overpowered by tho words, and this can only when his role comes , naturally from his memory nnd has entered Into ths art of representation or Imagination. Then the role is really rooted In 1 1 1 tn und consciousness stunds sentinel. A role that has en tered no deeper than the memory sounds hollow. The actor must be strong:, so that he Ii not liiluenced by his fellow actors nnd will not permit himself to lie tempted into their sequence of tones. The uctor Is an Illusionist nnd Is to give the illusion that he Is tome one else than he really Is. If he has a strong, rich personality It penetrate I and creates a plus which makes the great actor. It Is this pint that Is so ! difficult to bp found and which cannot be learned. It is a Kcneral exaggera tion of Imagination, observation, feel ing, tuste and control. END OF K. & E.-HTTCHCOCK SUIT Injunction I'rnf reillna Trnal iintril In l,hllmlrlifaU. The injunction proceedings of Klaw & Krlanger mid others against Kny lnoml Hltohcock and others was settled by agreement In the Court of Com- Ilium IMpum V,i 1. 1'hll.'itllrhln Pm. nn CHILSON OHRMAN i in "doag OUK BIT'. I testimony made no such charges and admitted, on the contrary, that his re lations with tlie firm had been agree able. After this Judge Francis Shunk Brown ottered Mr. Hitchcock for Iden tification and afterward read the fol lowing letter of May 1", addressed at tho Lambs Club from Mr. Hitchcock to Mr. Krlanger; "May 17, The Lambs, 130 West Forty-fourth street, New York. "Deaii 1ih: A thouiand thanks for your great kindness. Al called mo up and I am to see him to-morrow morn ing. Ho thinks he can arrange the Knickerbocker Theatre, and don't for get I am conscious of that splendid favor in lotting mc have Julian Mitchell. "You won't remember it, but you of fered mo the first big salary I over re ceived, tVO. That gave me an awful boost inside, nnd I could tell you lots of favors and help joti havo been, to not only me but hundreds of others that you hnve forgotten and live only In tho hearts of the people you helped, but that's n lot, Boss, ar.d it's worth having lived. Yours always. "IUtmonu Hitchcock. "To A. I.. Krmnrbii, Ksq." After hnndlng it to Mr. Hitchcock, who looked it over, Judge Brown read It and asked Mr. Hitchcock If theso were still his sentiments, to which witness replied In tho nfllrmatlve. Mr. Hitchcock further stated that he had no contract to play anywhere under tho Hhuberts except in Phila delphia, and ho did not consider that clauso In the contract giving them control of his bookings elsewhere to be binding, and its Mr. Sliubert had admitted the day before that ho did Brown sald,"Then why do you gentle men not get together?" Upon this miggestton Mr, Krlanger mid Mr. Hitchcock had a conference, nnd It was agreed that Mr, Hitchcock .should play under the bookings arranged by Mr. Krlanger said; "We consider that Asked if this was the end of their theatre or their po 'session of tho Chestnut Street Opera House. Vfo consider our contract with the Shu berts violated and shall govern our-1 selves accordingly." i To Judge Patterson was denied the hearing of some Illuminating 'and en tertaining testimony, as Mr. Klaw ar rived on tho 11 o'clock train accom panied by C. B. Dillingham of the New York Hippodrome and Century; also Florenz Zlegfeld, Alt Hayman, George Tyler and J. Fred Zimmer man, Jr., all of whom were ready to testify ln behalf of the plaintiff on a queutlon of booking arrangements. THE DIVINE SARAH IN 'PHEDRE' She 'Will play Scenes From Ra cine' Traced)'. Sarah Bernhardt, her manager, Will iam C. Connor, and the directorate of tho I'alacc Theatre, are amazed by the great number of letters asking for this or Hint play' In the vast Uernhardt repertoire. At least a score of semi nary nnd prep school principals have requested that "Phedre" bo Included In the bill at the Palace, and lime. Uern hardt, recalling that seminary misses have always delighted ln her perform ance of Racine's still vital play, has j promised to present itr As a result I there will be many theatre parties , made up of students of French who want to hear their Ilaclno read in tho volx d'or. As a matter of fact there Is more of the historic Bernhardt ln her WILLETTE KERSHAW 177 " YES OR NO performance of "Phedre" than In per haps any other. It has been said of it: "In writing 'Plicdre' Baclne antici pated Sarah Bernhardt. If the part had been made for her by a poet of our own days, it could not hiiu been brought more perfectly within her limits, nor could It have more perfectly filled those limits to their utmot edge. It Is one of the greatest parts In poeti cal drama, and It is written with a sense ot the stage not less sure than lis ser.se of dramatic poetry. Thr was a time when Baclne. a looked upon as old f.fOiloned.'n" conventional, us frigid. It 4 realized nowadays thnt bis erso has cadence like the cadences ot Verlaine. that his language l ns simple and direct ns pro.e. and that he h one of :!.( most passionate of poets. (If the character of l'hfdrc Itaclne tells Us that It is 'ee que j al peutelre mis lie plus laisnnnable sar le theatre-' The word strikes oddly on our ears, but every staire of the passion of I't'Cflrc 1 lmloed i'annab, loclral.ns only a French poet, since the Creeks themselves, could make It. TIip passion itself Is nn abnormal, an lnane thing, nnd that passion conies to us with all Its force and all Its perversity; but the worJs In which It Is expressed are never extravagant, they are always clear, simple, temperate, perfectly pre cise and explicit. "The art is an art exquisitely lial nnced between the conventional and the realistic. -and tho art of. Sarah bernhardt, when she plays the part, Is balanced with Just the same un erring skill. Sho seems to abandon lurseif wholly nt times to her 'fureurs'; she tears the words with her teeth, and spits them out of her mouth like a wild beast ravening upon prey; but there is always dignity, restraint, n certain remoteness of soul, nr.d there a always tho verse, nnd her miracu lous rendering of the vers', to keep Itaclne la thu right atmosphere. Of what wo call acting there Is little, little change in tho expression of tho face. Thf part is a uiit for thn voice, ami it Is only In 'Phedre' that one can hear that orchestra, her voice. In all Us variety of beauty. In her modern plays, plays In prose, Fhe Is con demned to ufo only a few of the in struments of the orchestra; an ac tress must, In such parts, be con versational, and for how much benutv or variety is there room in modern. conversation.' But hero sho has Jta cir.e's verse, nlong with Racine's psychology, nnd the language has nothing moro to offr tho voico of a tragic actress. She seems to spenk her words, her lines, with a kind of Joyful satisfaction; nil the artiste in her delights In the task. Her nerves nro in it, is well as her Intelligence, but everything is colored by the poetry, everything Is subordinate to beauty. ''Well, she seems still to bo the A PLAY A WEEK. John fiarrymore will be seen in "Peter Ibbetson" to-morrow night at the Standard Theatre, and New York audiences will thua be enabled to witness again one of the most inspired and beautiful exhibitions of romantic acting that the contemporary stage offers. Constance Collier and the rest of the admirable company will also appear. New York audiences cannot Set enough of "The Man Who ante Back." The Seventh Ave nue Theatre will this week try to supply the demand with the company headed by Henry Hull. At the Bronx Opera House "The Very Idea" will be acted by the same players who were at the Astor Theatre in this amus ing play. .HP ! same Phedre that she was eleven yearn ago, n she Ji tho mi mo 'Dunio uux Cameltns.' In it reality or Illusion? Illusion, perhaps but an Million which makes itnelf Inlo a very ef fectual kind of reality. She has played these, piccea until sho has gut thorn, rot only' by heart, but by every r.orve and by ovtry vein, and now tho ghost o Uie real thing is so like the real thing that then Is hardly any telling thu one from tho other. It Is tho living on of a mastery or.co abso lutely achieved, without so much aa the need of a new e.tort." TO GET A FARCE OVER. 11 y IIALK HAMILTON. If there Is a particular line of work an actor is callcd upon to do In the theatres that makes a greater demand on real acting ability it is playing farce. A cento of humor is u big in stitution. Manj' men and women think they have it. Ttu idea Is prevalent among them that upprcclatlon of humor Is as characteristic of the hu man race as ny of the other features that distinguish tho homo sapiens from other, members of tho nnlmnl kingdom. The nudlcnces arrlvo at the theatre, settle themselves In their seats end it is up to the actor In a farce to make them laugh. It may be that before coming to tho theatre something has disturbed them, has given them food for thought, concentration of mind, and they are In an thing but the mood .for the humor nn appreciation of tho line, nnd situations Intended by the author to be risible. If the laughs are not forthcoming the uctor is assailed with tho charge of. incompetence; the manager glares at him and wonders .MlF.MKNTH. EMPIRE reV,' SEATS THUjlS. MONDAY. DEC. 24 Matlnrrt Wrdnmila) unl Siitunlny. jfc'fiW Barrymore in the drama by Ah-tnire Duniis. UN The Lady the Camellias GAIETY. OA?ri46-5t.C5S? rist's V,'e4nos3ay &nd.$alurday in KiavtCriirijer rts m -6 vEEK THE mm PUS1H DCDTH TARMNGTOH 'Aid xiiAN sisters GBEAT C0MJ.DY NO ADVANCE IN HIICES AT THIS TlttATHt.etST SrATS2 ItCINKIKG MONDAY. DEC. 24 f'HAUI.i: nil.UNfJIIAM Will I'nVm WILLIAM C0URTENAY IMI THOMAS A. WISE By rrar.Fiir.rnt wlth.l Vm Zlrmnerntan Jr in GENERAL POST A li' I'inir.ly li J I. llimll Tvrry BIGGEST LONDON SUCCESS IN YiHRS M'.ATs ""f AI K Tlll'HMl.W TIGER ROSE By WII.LA1U) MACK. DAVID BELASCO AT T1IK LYCEUM USt Matlnec Tliur. A t. '.'-30. (T I N"t I'lUH I.KNOKK I'l.HlC. Wit.!. I AM ClU'ltTI.KlOU, VH. LAUD MACK. THOMAS KINDLAY. I'KliUodKdlK DllllA, K.DWIN 1IOI.T. CAI.VIN TIIOMA1. Kt'l. l.KU MIll.l.IMH, AltTlll'R J.WdOll. KDWAItD.MACK. JKAN IK lilt K.I. I.. 13? a.M M.W IHll'S MIS. ktrUyUL fiafs.&fSa 8Ti 3rd BIO WEEK prafTWir, Htr Matinee Idol de Luxe" re Sun BLIND YOUTH fVVL byV.llsrvl MocK<tilellrJIen " (o.reclion CliartfJ Imfrjcn Coon) MOVES XI1AS EVEto39T.THFATBE Seats -4 WecKs In Advance, With HI.. Ciilutubut Circle, nl H'y. PARK F.rs, at 8 IS. MmlnwN, 2 IA Wi-t. A Xat.fc ll(.lilll)s, TO-NIGHT S Valverde Concert - WITH All the Slnclnn and llaiuinc Feature Irani "I he Land of Joy," HTAiiTisii... cppriai PRICK ( l-M I Ii HI M " win iitwk-w I bOO 2nd Ktlccny Stilt at 50c I 300 lit Balcony Seatt al $1. .I.N7) I1B 1'AY TIIK WAIt TAX VAi.vmiH.'K rANTANric itr.vn:v, The Spanish Mutlcal Show That Startled New York Willi J MAUVKIJWHliAXt'tXa ITq S HNAIITIFI'L fllltUi '7a cuahmixu ivn.i:a sr.Ts sow ran xmah ni M.W U.AR'H .MATI.NF.KH. mm (IF BllH BJBJBJBB BJBJBJBJBJ B-BJBBS, 7& how 'ha ever earned a reputation as a laugh promoter; the author damns him as tho responsible party for the killing of his play, nnd what can the nctor do',' He has to work thnt much harder ln order to get his audience In a proper frame of mind to appreciate the humor of tho play, regardless of tho actor's efforts to creato a change In mental conditions that will make the audience subconsciously enter Into the spirit of the entertainment and become part of the atmosphere of the play. Many years ago when I was Just ttarUnc In this business I had tried end ted to get my nudlenco nnd was almost on the point of lcttlmr things slide when an old nctor snld to mc: "Pick somebody in tho first Ave rows and play to that person. Take him Into your confidence, Just ns If you were standing In your club nnd telling a Joke to an old friend, who although the Joke may be as old as time Itself, Is patient nnd tolerant and icsponcls to' your story with n laugh that you think Is a result of your ability as' a raconteur, but ln fact ho Is luughing nt, r.ut with you." Tituo and again after having nn audience cold nnd unresponsive 1 have picked my man nnd olnved to him. Get hltr into a genial frame of mind; crack his frozen face until It melts Into broad smiles nnd laughter. From this one unit tho results of your efforts radlato to those sitting ulongsldo of him and finally In the end you will have the whole house with hi. This Is one of tho great secret ' noting farco successfully. Tt Is m a secret to the older members ot the profes sion und many comedians are loath to give this valuable Information to the young recruit who ofttlmes learns the etllcacy of picking his man nfter wallowing in the mire of despondency. But once having learned It It culti vates a spirit of never giving up be- AMl'XKMKNT-. NEW YORK'S LEADING THEATRES AND SUCCESSES mm u m - m ssv geo. n n u k u 1 ,IEA i?." "" Kn.. Mat. Wed. A. Sit fta:30. COIIAX A HAKItIS A lircM-nt iu MR. LEO DITRICHSTEIN In tht Itrlgiilns Comrd- Triumph "THE KING" fv C'.illlart do Flir aud Arene. A Srat Krlilng for the nrit M, tin hiding Ama. JL .ind ,V. mr'1 .Mutinrrs AW KNICKERBOCKER mat 820 Mats. Wedand Satal220 AO ALMA,VC M flWC5 AT V Joe Wa bar Offers DOiSAlD BRIAN f A L I ;Pi . OF REAL MUSIC Company Includes DREY MAPLE kNK M0ULAN rXMASand New Yrli and NewTfan Day SAY! CHARLES CHERRY. VIOLET HEM1 NG. LUCILE WATSON. FRANCIS BYRNE. ARE ACTING m the. NAUGHTY WIFE. BY FRED Jrckson at. THE HARRIS Theatre. FORTY-SECOND ST. EVERY NIGHT. XND MATINEES. WEDNESDAYS Aid. SATURDAYS. THE NAUGHTY WIFE (Orl.opiNCt Kl.OlsK ) FULTON THEATRE itiist rr.RronM.N'i: NEXT SATURDAY NIGHT. DEC. 22d RAYMOND HITCHCOCK t C. RAY COCTZ praacntt oo a WITH RICHARD CARLE ELIZABETH BRICE WELLINGTON CROSS RAY, GORDON and WM. DOOLEY MARION DAVIES EDNA AUG BKAt'TY I0X OFFICE OPENS T0 - M0RR0W heCen westley and O tH WASHINGTON SQUARK fLAYSHS itf " THE CRITICS COMEDY."' causa ho knows out ln front thero Is some one person who will act with him nnd make his part stand up If ho can locate his man. On the opening night of "What's Your Husland Doing?" Georgo Ho bart's farce that I am playing ln nt the Thirty-ninth Street Theatre, when I mndo my flint entrance, before speaking n line I waited for quite some AMfSKWKNTN. 4th' MONTH! DAVin BELASCO Prrsmtt POLLY WI TH A PAST A Cnmedv by Gcorgt MM. dltton and Guy Bolton. Cast lncludrv Inn Claire, CV" Scon, Annr Mtrrdith. II. Htitt .Smifi, Louio Galto'tnu, U'lWfliri Samnsnn, Wini. fti"l I'rasrr, Iltrbcrl Yost, liobftl I'iiehtr. Gtiirct Chriilie, Thma litynolds. Belasco Theatre West Hth .Sr. Etn. .'i0. Afau. Thurtt A Sat. ;:.Vi. r-s si:a t.s .vmr run am.s t " .l.YD .Vir VKAITS MATS. JUNMEST AMERICAN kCOflEDY Of RECENT YEARSl COHANs HARRIS THEAIK 13EATS NOW irORiPCCIAL IXriASdNtlU rvrs A-30 MATS wcoant 3ATt2-SO pop.mi;wM5d 5th MONTH OF CAPACITY MIUMI-aM THE 1 1 1 J I k I T ri r PLEASURE IS ALL lYOURS, 101 nOWTAdUt (MK (..WIS tow COOOrlAN BARNLY BERNArF (1 AlEXAWER OflRR THE BEST M-ats are. AT THE Box Office. FOR EVERY performance. FIFTY CENTS to. TWO DOLLARS, including. SATURDAY NIGHTS nnd. CHRISTMAS AND. NEW YEAR'S weeks. ABDUL TALZEMO. KING OF Comm. said. SOLOMON HAD. MANY WIVEsbut. NONE COMPARED with. T.T 41 Pi. TW. IlllTANTTaS Mll-'SHS. HlTPHCOriK A G0ET2 i.t:.-..siu:s a: MANAor.n.s. NAPPY KEVUE ivmcJ y wiiuM 9MtKttAK-nu9 1 lv iuric auTawoi tacip ay uon caaoc ALSO narrr Anna SKYMOra uokotiiv iii:kma. fJtAMt MAV.NK .IAV WM.SON EI. l: Mllt HIM I. AIR IIKN IIUMIIIK KS T. J1AIUHI.I.K CIIURl'H UK LOOKS - Seat5 NOW for XMAS & NEW YEAR'S HITS! a?A3 $ JfflP Hi l( i liIBi SJBJHivrlAnnVl I Frederick ro'lan"' time to locate my audience. 1 wanted to bo sure of getting over und I dlu not want to take a chaneo on playing at first to tho nudlenco as a. whole. When I camo off my sceno severul members of the company said: "What was tho matter? First night fright?" "Xo,"l replied, "I was looking around to find my tough subject among those out In front." AMtKMENT. (RITEBION j5ra?KHa:k!flMI' NO ADVAMCC IN PRICES AT JS' THIS TrlOTt BST 'JlMSnOO Eves 830 Mats.VedaSat250 LIBERTY THi:.Tl.K, V.- ft, 1 .l l ti S 1 KI.AW i:t.A .CI! Munasrra M AMV.IM i: IN I'ltlCHX AT UllsTUKAI'HI.. Il.-I -.-iil-SJ surprises alii! llckk'.s tlK'llroadvnv rriltiliirs"' I've t ml XMAS NIGHT TUES-, DEC. 25 TH RDY C(1H W A II '"1'. . 111 l lIC k I !!- 11V Otto llarharh A .itu M inunmrry Alllili liy I mil. . Illrsili. Atoji w An nil Tl .lUf I aftcp tmc pnnr Mating pisppI rENTURY G2'Srt.l DRQADWAV I LEW HELPS. CECIL LEAH BESSIE tFCCVRfWlS, CLEO MAYFIELR ANN PENNINGTON, VTV1ENNE SEGAL, SAVOY and KENNAN.VAN&.SCHENCK, HARRY KELLY, ANDREW T0M3ES. c, Extra added Star ELSIE JANIS. 52 Others-Chorus of 172 ed.tkSat.Mats Reduced Prices ALL HOLIDAY MATINELS POPULAR PRICESR No Kaise in prices NewYcaisLye. T llU'T AT ivniuni 8:20 SUNDAY CONCERT Smoklsc Tcrnilttrd. POPULAR ttt (TO PRICES 9UC"Pafi CECII l.r.4N anil CI.KO Al 1 l'li:l.l) VAN and Mill MIf ANN m'MM. I O.N AVO A jlltr.NM.N ANDHi: KIMI'.IS anil HASH. I1N tIAHK A- I Kill I.BW II.M UMsaami iii nm:tt HAKf.'llA I'lA I (IV A CO. 81 KMX I 1 M N Jl 8VL14 I'll Mllt All CENTVKV lit II. I TK MAKIMIIt lit Ml FOt'SiUAKMONV KIN08 Foamrn from "Ml 1017" and EXTltA AUDKII A I I ItACTlON ELSIE JAN IS 1'StCOCOANUT GROVE ANIGHT IN SPAIN hitchcScR "AFTER THEATRE 8UPPER8T llwserw lables now for NcwY?ariEv Richard III u.aldi My Kingdom for a norse & wnen he got one he galloped off to see Fred Stone In Jack 0 Lantern-Globe Matln-ea WfilncMay d'upular I'ricca) una Snturiliij i GRASS WIDOW Jj " - ' "j, ( i I t Bssn Ml