OCR Interpretation

The day book. (Chicago, Ill.) 1911-1917, May 15, 1915, NOON EDITION, Image 5

Image and text provided by University of Illinois at Urbana-Champaign Library, Urbana, IL

Persistent link: http://chroniclingamerica.loc.gov/lccn/sn83045487/1915-05-15/ed-1/seq-5/

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T The remarkable stage presence
and finished performance of Edward
Earle have often been commented
upon as one of the marvels of the
screen for "one so young." But In
point of years of hard-earned ex
perience that only can make the art
ist of delineation, he is quite a vet
eran of the stage, where he played
many parts and won his spurs years
ago, before his advent into motion
pictures about two years since, play
ing leads with the Edison Company.
Favored by nature with clean-cut,
classic features that would alone be
sufficient to make him s matinee
idol which, by the way, he is his
cool force of character, leavened
with an unobtrusive, pleasing per
sonality, have enabled him to register
characters on photoplayers' patron's
memory in, a way that spells more
than mere popularity.
Sixteen years ago, in Toronto, Can
ada, where he was born, he one day
stopped Lester Lonergan on the
street and struck him for a "job."
Amused at the youngster's initiative,
Lonergan gave young 'Earle a good
speaking part in the Valentine Stock
Company, in comedy. The boy made
good, and at the all-satisfying sum of
$5 a week, he grew in the acting art
more than as a captain of industry.
Deeply flattered by being made the
understudy of the whole company in
"The Dairy Farm," his next venture,
he gained experience thick and fast,
for the actors somehow were always
quitting and throwing the job onto
the young Thespian. In this way, it
was not long before Earle was play
ing, oiie time or another, every male
part in the play.
Then with Tim Murphy in one
night stands and with William H.
Thompson in "The Bishop's Move,"
Earle's first New York engagement
came with Henrietta Crossman and
later Bertha Galland in "Sweet Kitty
Bellairs." Nearly a year was then
spent in vaudeville when he joined
Mary Mannering in the original cast
of "Glorious Betty." He was chosen
for the original company presenting
"The Shepherd King" at the Knicker
bocker theater, after which his ver
satility and ability found vent in the
Augustin Daly Musical Company. Mr.
Earle later appeared with James T.
Powers in "The Blue Moon," two sea
sons with Marie Cahill in "Boys and
Betty" and then with De Wolfe Hop
per in "The Matinee Idol." Mr. Earle's
last stage appearance was with Ina
Claire and Clifton Crawford in "The
Quaker Girl."
He was with the Famous Players
and Pathe before he went to Edison,
where his graphic power is shown in
admirable restraint in well-remembered
pictures as "The Unopened Let
ter," where he ranges from a boy to
a character old man; in "The Hand of
Horror," and "The Lost Melody,"
"The Phantom Thief," "Greater Than
Art," "In the Shadow of Death," and
"A Theft in the Dark." As Vance
Coleman in the "Olive's Opportuni
ties" series, Mr. Earle has given one
of thoes sharply-outlined, pleasing
characterizations that has stood out
though, the situation pfteq. of ifeel

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