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Just a Glimpse of Many Attractions BATTLE SCENES IN PLAYS BATTI.K si <-nts iirt- ever attra< -tivi to the theater audiences. They are used freely by dramatists in nil ages. In the old Klizaluthan days the tragedies of the playwrights were full of fighting. War was a favorite theme of the mighty Shakespeare. His historical plays and several of his semi-historic plays are replete with the wild alarms of war, depicting single combats and the meeting of armed masses. Stage realism, the growth of stage craft, enables producers to simulate battle scenes with all ptcturesqueness of actual conflict. The counterfeit surpasses the real, as the horrors are suppressed and one sees only the real. In "The Round Up" there is an ex ample of battle which has not been surpassed in intensity and thrill in any modern production. The conflict Is be tween two men and a band of murder ing Apaches, which grows into a con- Ilict between the Indians, a troop of cavalry and a band of cowboys. The realism of this scene dwarfs the struggle between Christian and Mos lem on the walls of Constantinople- one of the biggest scenes ever put on the American stage. The dramatist devises the big effects and the stage director looks after de tails. The stage manager is often more effective than the playwright. In the big scene in "Burmah" one forgets all about the play and remembers only the gatling gun. snarling under the palms. In "Shenandoah" the incident best remembered la the detail of a Kiinner tearing up his n-d shirt to be used as wadding for a gun. Yet this big scene showel a roadway along which the leaderleu army is retreating, dragging after them a cannon. Sheri dan, mounted on a charger, rides along the road, calling to his men to go back to the front. The incident was a thrilling one, yet the man with the red shirt was the soldier the audience wished to see. In "The Round Up," while the thrill and sweep of the battle Inspires as a LOS ANGELES HERALD SUNDAY MAGAZINE Realistic Battle Scene in "The Roundup" at the Mason whole, one Incident lingers in your memory. When the curtain rises you are looking apparently into the mouth of a cannon in the lava beds of Ari zona, a desolate, sun-tortured waste spot, "the land of dead things." No water, no shade, nothing but the piti less heat beats down on you. A narrow path winds down the butte on the left of the stage. Down this trail ride a band of Apaches in full panoply of war, grim, silent and por tent. Not a word has been spoken. The hoof beats of the horses are not heard. Only weird music is played, a sort of dreary thumping accompanied by a scraping on stringed instru ments. It Is like the throbbing of the brain when one is overheated and ex hausted. Shakespeare was especially fond of battles. He made most of his heroes warriors and placed many celebrated battlefields on the stage. In "Corlo lanus" he showed the early Romans fighting the Volscee; in "Trollus and Cresilda" it is the hero's struggle be tween Greece and Troy; In "Macbeth" thf> war between tyrant and usurper, and In "Othello" Venice fightlnsr for supremacy over Cyprus. In modern days we have big bittle sc cues in "The Soudan," where strange customs of war were shown. War is shown in "Youth," "Cheer, Boys, Cheer," "Mafeking," "Northern Ughts," "Jack Cade," "The Gladiator." "Spartacus." Byron's "Sardanapalus" and many others. But in none of the plays haa the art of the stage director brought such fidelity to nature as Klaw & Erlanger have done in "The Round Up," nor such a thrill of bottle as is shown In the fight in the lava beds." ♦♦♦ KEPT BUSY Bacon—How many buttons has your wife got on the bark c.t that dress? Egbert—l drn't know. "Why. you've buttoned It ur often enough to know, I should think." "Oh, when I've buttoned It up I've been too busy to count the buttons!"—Yonkers States man. ... . ....w . .^.y » ».< - r ^.-: - i.-iin ii - ;~^ .^|^j||^^^ , Miss Arleen Hackett in "The Right of Way" at the Majestic MARCH 13, 1910.