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MIDWINTER at the PLAYHOUSES THE art of pantomime is one in which the American actor is lamentably de-v ticient. As a matter of fact it is the basis of good acting, and should be I developed by every man and woman who expects to succeed on the stage with at least as much care as the delivery of the lines. We have only to note the people who "walk through their parts" in every play, and then compare them with such actors as those employed by M. Severin in his pantomime, which has been delighting vaudeville audiences recently. M. Saverin is a Parisian, and all of his people are French. The panto mime play that he presents was written by himself, and the actors drilled in their rales by him. After presentation in Paris for several months the play was taken to London, where it was enthusiastically received by the audiences of the Palace music hall. M. Severin's London success has been duplicated in New York, for he has one of the most artistic offerings, and one of the best companies ever seen in this city. M. Severin's role in "Conscience," as the play is called, is that of Pierrot, a Parisian crook, and affords him every opportunity for comedy as well as emo tional work. "When one sees the methods employed by M. Severin and several of his excellent company, it is to be noted that dialogue would not add materially to the understanding of the drama. The fine points are worked out with an art that is as fine as that of the cameo cutter or the painter of miniatures. The audience sees the laborer, Travail, se dated by drink and placed in the light of a murderer; beholds Pier rot, flush with the gains he has extorted from V / Elsie Janis, in "the fair co-ed." W' ■ - " HUP* . --.vUMfctfc... ■"•-/^^^■W^* , • •/ Nig y Bessie Clayton, an attractive vaudeville artiste. LOS ANGELES HERALD SUNDAY MAGAZINE A mk W.J Tjfik m 91 W /Efl ¥*r ; iff? ~^ tt^^tßhßPtWi*''/ • eF fii ' v|B3 »BBBBBHR'-''i:;j,|**-g%igo. >-! J^^^. S wisSii" •< 1 I .i.-..^.. « Bait■*■ ■ 3p: *' «^*^-"' 'W. ' ■ v-t^^khlhl "' "■ I i Hv r' i .3Sr» I9HH» i • *** * - HsBHhBSv - " - * > • -- ' " ' *■ - 'bHHHH^hEH t .- ; adßCjjfcßpj£y>-j^B^g«jM| HJfc ■'-^■ ~^ ~' -: '^jSb^BsS I Sallie Fisher and Jack Barrymore, in "a stubborn cinderella." the real culprit, enjoying himself in a low cafe; sees his dream of the end of poor Travail, and the awakening of his conscience thereby. Then, in the last act, Pierrot lays the whole matter be fore the judge, the real murderer is apprehended, and Travail goes free. The whole play is an exposition of methods pecu liarly French, and therefore particularly well done. There is no actor but could profit by witnessing the play. It would be in teresting to see what an American company would be able to do with it. It is to be feared that the net result would be ama teurish, to say the least. Bertha Galland, now appearing ix a new play, "the return of eve." FEBRUARY 14, 1909 *w "•"** « * hßw BBflpff v^ss My »■ ■* ■ " p \ ■ I BnS |M' (I', «J ■. .'. Hclß^BSlLT^f I ' nut i* 17' ~' '"" i B« Kg -w r'i ' ™ Maude Raymond, as ophelia in "mr. hamlet of broadway." 18 fid * '* - *'l ■■. ■ ; :^^^H SBksh ;** J- ■■" "^* Frances Kennedy, appearixg with "the threb twins" company.