Indiana daily times. [volume], February 11, 1922, Home Edition, Page 8, Image 8

About Indiana daily times. [volume] (Indianapolis [Ind.]) 1914-1922

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8
‘Lightnin” Will
Play English’s
All Next Week
Sotherns and Jane Cowl to
Divide Murat Time —
Revue at Lyric.
MUNSON AT KEITH’S
With Milton Nobles in “Lightnin’ ”
at English's all next week and E. H.
Sothem and Julia Marlowe in plays
of Shakespeare sharing the week
with Jane Cowl in “Smilin’ Through’’
at the Murat, local theatergoers are
assured an important week in local
theatrical history.
"Lightnin” has been a long time get
ting to Indianapolis and there is every
indication that this comedy wonder of the
cenflury will be greeted by capacity
houses at all performances.
E. 11. Sothern and Julia Marlowe will
open a three-day engagement at the
Murat on Monday night with ‘‘The Mer
chant of Venice” as the bill. On Tues
day night “Hamlet” will be offered and
on Wednesday night the offering wiil be
"The Taming of the Shrew.”
On Thursday night, Jane Cowl onons
a tbree-dny engagement In "Smiling
through” at the Murat. Ona Munsou, a
model, will be the chief offering nt
Keith’s next week. The Lyric will bead
Its bill with Ben Harney, a ragtime
piano plajer.
The Park will swing Into the Co
lumbia No. 1 time next week, presenting
Billy Watson's Big Show.
-|- -i- -I
“UCHTNIN” OPEN’S
MONDAY AT ENGLISH’S.
When Bessie Bacon was the 4-year-old
prodigy of the theatrical world, making
jumps by stage with her father, Frank
Bacon, in his barnstorming days in the
• far West, she remembers meeting her old
great-uncle, Maurice, out in California. It
was he who gaze Miss Bacon’s talented
father his first inspiration to write
"Lightnin,” the three-season comedy
success which comes to English’s next
week. Miss Bacon is a member of the
cast.
For more than eight years, according
to his daughter's story, Frank Bacon had
been at work on "Lightnin,’’ and while
he was playing in "Stop Thief,” he
handed his manuscript to Winchell
Smith, who became his collaborator Mr.
Smith, whom Miss Bacon ranks with Be
lasco, staged the production which Pro
ducer John Golden is sending to Indian
apolis with Milton Nobles as "Lightnin.”
"Father’s Uncle Maurice was just as
Mr. Nobles impersonates him in our
company,” said Miss Bacon. “In fact, I
believe Mr. Nobles met Uncle Maurice
sometime, for he and lather were stage
partners more than twenty years ago.
For two years, while father was playing
the leading role in New York. Mr. Gol
den combed the theatrical world for an
other ‘Lightnin,’ and now we have him.”
As she recalls him faintly and heard
her parents tell of her Uncle Maurice, he
was the same quaint character depicted
In "Lightnin.” The alert-tongued, witty,
genial old man never wandered far with
out his flask. He came originally from
the South, but his whereabouts were un
known to his relatives for months at a
time. Suddenly he would pop up in Cal- j
lfornla to remain for a while with the
Bacons. His dog always traveled with
him and he was a great favorite with the
children, who loved to listen to his tall
tales of the Indiana and the Wild West.
Miss Bacon’s theatrical career dates
hack to the day when she was a child,
traveling through the West with her
parents. Her mother, who was Jane
Weldman, retired from the stage several
years ago. Frank Bacon is now writing
a book to be called '’Barnstorming Days
Through California, New Mexico and
Arizona,” and Miss Bacon says the story
of her tarly stage career will be told in
that.
-!- -I- -I
SOTHERN MARLOWE IN
CLASSIC ROLES AT JURAT.
E. H. Sothern and Julia Marlowe have
been absent from the stage the past
two years. They mare a triumphal re
entry In New York City last fall. When
one things of what the seasons have
been without the accustomed visit of
these distinguished players, one is not
surprised that playgoers elsewhere have
welcomed their return with cheers and
packed houses.
Mr. Sothern and Miss Marlowe will be
seen at Murat for three nights only
beginning Monday night. There will be
no matinee. ‘‘The Merchant of Venice”
will be played on Monday night, “Ham
let” on Tuesday night and “The Taming
of the Shrew" on Wednesday night.
Playgoers are urged to note that the
curtain rises at eight o'clock sharp each
night.. Late-comers will not be seated
during the action of the plays. This
rule Is rigidly enforced, both for the
comfort of those who have done the
players the courtesy of arriving at the
theater at the proper time und of the
actors on the stage, whose work is seri
ously injured by the seating of persous
after the play has begun.
A rtriklng feature of the productions
presented by Mr. Sothern and Miss Mar
lowe this season Is, that abandoning the
realistic scenery which has hitherto
framed their repertoire, these players
have Introduced settings of the ultra
modern school.
It has been the custom of Mr. Sothern
and Miss Marlowe to surround them
selves with the best players available
Prominent In the cast of forty people art
Frederick Lewis, Rowland Buekstone.
Alma Kruger, Lenore Chippendale. Sid
ney Mather, Elizubeth Valetine, Albert
Howson, Vernon Kelso, France Bendt
sen, Frank Peters, V. 1,. Granville, Wil
liam P. Adams, Jerome Collamore, Frank
Howson, James Hugen. Harold Webster
J. W. Latham, John Abrams. Carolyn
Ferrlday, Lillian Gray. Helen Besly.
Eleanor Wells, Dina Schleicher, Maud"
Walker, Constantine Zazzalll and others.
-I- -!- -I
JANE COWL VISITS
JURAT NEXT WEEK.
Jane Cowl is coming to the Murat
next Thursday for a stay of three days
and a Saturday matinee.
That Miss Cowl is to be seen In the un
questioned triumph of her brilliant
career, “Smilin' Through." adds much
to the Interest of the occasion, and no
■doubt the charming etar's reception
here will augment the general ovation
she has received in all the large cities.
So enthusiastic has been the welcome
accorded Miss Cowl in her present play
that a Loudon engagement Is being ar
ranged for the spring season at the flat
tering behest of the most prominent of
the English managers, and it is prob
able that the charming artiste will be lost
to American admirers for at least one
season.
“Smilin’ Through” is a fantasy 1n a
prologue and three acts, with every
min ite full of charm, pathos or delight
ful humor. It is a perfect vehicle for
the lovely Miss Cowl, for it gives her
more opportunity to show her versatility
as an actress than some of her other
plays. In the past she wns identified
with emotional roles in which she was
unhappy most of the time. But as Kath
leen, that Irresistible Irish lass with all
the humor and cleverness of her race,
she Is wholly charming in a totally
different sort of part. Os course, there
are pathetic moments and some very real
and tragic ones, too. “Smilin’ Through”
Is an Ideal vehicle for the star, ami
through her It sends a very beautiful
message.
Supportnig Miss Cowl are Lalive
4 (Continued on Vao Ntnojt
... w
WITH PLA YS INDIANAPOLIS IS TO SEE
J i Upper Left—Milton Nobles, as he appears in “Light- Upper Right—Jane Cowl, as she appears in Smilin
wKr, iatSlwi p ; Upper Center—Julia Marlowe, as Portia, in “The Lower Right—Beatrice Harlow, with Billy Watsons
1 Merchant of Venice,” which will be the opening bill of Big Revue, a Columbia Wheel show, to be at the Park
'l'' | stated last week, that too applying to (rrflll TVEtT IT/tll * (play and also Into several pieces of
*A* y j < * i the theater or theaters wllch may be ifVjlj lJ vJT Haj fiction. 111. t
11 { Jf JRO Jj °%he harvest Os failures fhis season i\\T LMIT I T T>'L' * *' roU P of ,non Hn 1 on * woman who
ll £ ° n ,:r^ ■•adway find off Is tie- ilir.ct o.io-e \/l\\■lLTf\ 11JI JIV j 1' ’I 1 t.. •. - • a ' 1 ’' '’" r * t
mSttiSUlMk M JHfl for book:n*s ami pooling. The new shows \T/\r Cl Y T/"1/ > ITNriri huve beaten the third in business: one be
- S : f. /jp *t 1 v-cl in grenter numbers than ev.-r VT oL v V JujOO j ttie girl, eneli Is intern lUo’ii^ms
York Hails Miss Doris '
and It Is declared salaries In the legit’.- ftTHFR 111 \| Tft NEWS wa,f * * , "* nl£ 1,1 t 0 **'*** \ h> ' t . h '*- v
, v Blaine too kto IWALdU INFjYYO hour the ominous crack of doom-the dam
In ihe Land oj Make Believe
by WALTER D. HICKMAN
A little Journey was made by the
writer last week to Cincinnati, Ohio, to
witness Lionel Barrymore and Irene
Fenwick in “The Claw.”
The same journey also afforded me the
opportunity to see Caarles S. Gilpin, a
negro actor, in “The Emperor Jones.”
First, I desire to discuss “The Claw.”
This play was written by Henri Bern
stein and adapted for Mr. Itarrvmore s
needs by Edward Delaney Dunn and
Louis Wolheim.
"The Claw” is gteat because Mr.
Barrymore makes it so. This Bernstein
affair Is not a pleasant thing as there
isn’t a really wholesome character pres-1
ent. It will rank as an Important con- i
tribution to the stage because of the
work of Lionel Barrymore a9 Achilla.
Cortelon, a French journalist and a
leader of the socialists element over- j
there.
The theme of the rlay concerns the .
complete mental, moral and physical de- \
cline of Aehiile which was caused by the j
wanton heart and cold ambitions of An- j
toinette, the wife of Aehiile.
It is not until the third act that Bar ;
rymore gives one the shock of witnessing j
the finest bit of work to be seen on the ;
stage. My enthusiasm is backed by the j
opinions of critics and the public.
In this act, Aehiile has decended from a j
strong, vigorous leader of men to a
whining, babbling old man who has sur
rendered to the lust of his own pas
sions. He is a total wreck and Barry
more reflects the very soul of this relic
of what was once a man.
Aehiile seeks an lterview with the
lover of his wife who also is his po
litical foe. Aehiile had not only sold
his soul for sexual gratifications but he
had sold his houor—had betrayed his
principals of Journalism and had turned
to the powerful financial interests
Instead of acting like a man before j
the lover of his wife, this begging, whin- j
lng old degenerate gets down on his
knees at the feet of his wife’s lover
j and begs the philander not to take his
I wife away from him. The lover re
i fuses and rushes from the room as
! Aehiile still ou his knees utters the words
of a babv not a man.
In the thirt act. Aehiile is a member of
the French ministry. Again he bad sold
bis honor. He had accepted a bride and
! on the very eve of the hour he was to
appear In the chambers to defend him
self, he toys like a mad man with the
lustful Iwauty of his wife.
The wife hisses words of hate nt him
and in a big scene leaves him to go to
Italy with another man. Aehiile has pre
pared a speech but the over powerful
hand of Fate renders him unable to ile
liver It. Again he becomes the sensual,
helpless old baby-man without his wife.
He whines for his wife.
A crowd assembles on the outside of the
ministers' bouse, demanding that the
grafters be put out of office,
i The remaining spark of manhood falls
to flame into action and os the rocks oj
the mob breaks the windows. Aehiile
drops dead while whining for his wife.
Terrific scenes these are In the hands
of Mr. Barrymore and Miss Fenwick.
I am In hopes that Indianapolis will
be able to see Barrymore In "The (.law.”
The attraction Is now In Chicago and It
is not known when that city will permit
i it to leave.
The acting of Mr. Barrymore Is the
I most maflnlflcent I ever have see i on the
stage.
Now concerning “The Einperor .Tones,”
In seeing Gilpin in the role of Brutus
Jones. I realized more than ever the suc
cess accomplished by Mr. George Sonnies
of this city when the Little Theater first
produced "The Einperor Jones.”
The production that I witnessed in
Cincinnati last week was one of symbolic
beauty. Mr. Gilpin Is an artist. That
there Is no denying. Ills work is one of
the exotic treats of the day.
And yet after witnessing Mr. Gilpin. I
realized more than ever wbat a gold mine
of real worth we have in tho Little The
ater of ludianapolls.
-I- -I- -I-
Variety for Feb. 3, carries a story of
interest to Indianapolis under the head
ing of “Legit Booking Combine.”
1 am taking the liberty of using part
of the Variety article as follows:
“A. L. Erlnnger and Lee Shubert, the
beads of two major legitimate pro
ducing and booking combinations on this
side of the water, appear convinced that
there will not be enough attractions to
fill the requirements of road bookings
next season. Tho theatrical chieftains
have virtually agreed that not only will
the interests of the two offices be pooled
amfe bookings accomplished in accord,
buiflhat the coming season will find but
one booking system, effective for all
stands excepting New York City.
thu U accomplished It will make
for the most powerful theatrical organi
zation yet known. Yet the two show
men have stated that such a goal la
furthest from their aim. One of the
heads laid the cards on the table by ex
plaining the plans to one of his office’s
chief allies an. tig the producers. He
said that they (Erlanger and Shubert)
had laid aside all personal feelings aud
surveyed the outlook a-■ call .
men. The result was that they believe
if both attempted to operate ail the
theaters under their couti’o. cits ne
metropolis next season, even though they
do not oppose each other with the same
type of shows, either one or both would
go broke.
CARRYING
CHARGES.
“Thai the carrying'chnrgos of tho houses
under tho lease or ownership are more
than the profits to date this season, ex
plains the gloomy view of the leaders.
Their plan is to take in all the stands of
any importance. If there are two
theaters, one only is to bo given artrac
t'ot s. while the other is to be kept
dark or turned over to pictures or vaude
ville. They declare thut with too few
shows in sight, one or the other house
will go dark anyhow. Rut by assigning
one house for attractions from cither
office, profits are virtually assured. Os
course the takings will Tie pooled, as
S SCREEN FA VORITES TO BE SEEN HERE ,4
fiw ' r aM| Made Man,” at the Isis next week.
Upper Right—Mabel Normand. as she appears in “Molly O.” at
*< •?&'' t Lower Left—Rudolph Valentino from “The
( ” or!emen Sum
jg-t-ig' *| will in time, if the proposed combine ! leased in the moving .pictures you will av. rlefy of ways. There was. to begin headquarters and distribution depol
\ results, present the road attractions, see the same play, and I venture to with, ny amount of humor in the open- other educational, charitable and a
95#;/V 'jt while tho other will shelter Shubert : think that unless you recall accurately Ing and closing of the play. The charac- project a made possible by the do
vaudeville. Os course, that Is not an as- the biblical connations of the name terizatlon was swiftly appreciated by the of the Keith houses and the coope
mamm/rn Rured fact, but just an Interpretation "The Deluge,” the movie title will be audience; especially such bits ns the of the local managers during all
i fl of meaning ol’ the proposed com- more accurate. j grouch's cursing of the ticker as a fraud- not occupied by the dally aud n
H bine. The Swedish original is “Syndafloden.” ; ulent contraption simply because he had programs of vaudeville.
I There are those who insist that c- It was first produced In the Mephiste | lost money on wheat through its reports, Thus \V D. Wegefarth. formerly
k 13 ; der the franchise of tho Erlanger in- theater in l’aris; then in its native \ then his almost adoration of the instru- ager of the Keith Theater at Syr
W-lif' ito rests that Captain English will never tongue in Stockholm; and thereafter In ment when it was the only link with the and now in New York, where h
t-..- .: -ty • . y<aSafe.|glaiwM- A ■ at English’s. every capital of Europe. The author world; and finally his curses upon it sourcefulness will find broader lal
fViuVf ’Ym | Time will tell how Indianapolis will was an immigrant to America, and In when it began again to report wheat quq- having successfully launched the
- i’lflMuV jbe treated by the proposed combine of “A Vagabond Life," between 1892 und tations. Wbat the audience fretted un- Syracuse Symphony Orchestra by
(Jfflr* ; 9 agree to the presentation of vaudeville IS9H, bo gathered his observations of. d® r were the long speeches of the elo- nlshing free headquarters and
booking Interest*. American manners which he nut Into this (Continuod on Fare Nine.) (Continued on Fare Nine.)
INDIANA DAILY TIMES, SATURDAY, FEBRUARY 11, 1922.
stated last week, that too applying to
the theater or theaters which may be
operating with another policy.
"The harvest of failures this season
on Broadway and off is the direct causa
of the supposed fusing of the two offices
for bookings and pooling. The new shows
filvved in greater numbers than ever
before and some of the apparent Broad
way successes of last season went into
the storehouses soon after the start of
this season. Every failure on Broadway
moved (ft least one and practically sev
eral road companies for the succeeding
season. That there are too few attrac
tions on the boards In other departments
of the profession is the reliable report, j
and it Is declared salaries in the legit!- I
mate ranks are rapidly sliding back to
the pre-war basts.
OPERATING
COSTS.
“While the reduction in salaries may
be the fact in some rases, the operating
costs have not materially gone down
Fixed charges, such as rent and trans
portation, are not subject to fluctuation.
The elimination of the mediocre shows
will bo made by the two big offices
agreed in bookings. Such elimination is
claimed to be necessary. They say that
the attraction getting $7,000 gross on
the week might make a profit of SI,OOO
to the manager, but the theater loses
SI,BOO. If there Is a way of stopping
that the big offices will do it. And by
pooling the bookings only the real money
draws will be retained on the books.
“There are at least three Important
managers who are allied with the majoi
offices under special agreements It Is
known that A. H. Woods and the Sel
wyns have agreements with the Shuberts
calling for “first choice” in bookings. On
the Erlanger side Sam 11 Harris is said
to have a similar arrangement and there
may be other producers with like affil!
ations. The rub wit] come if conditions
are made too rigorous for such man
agers. that being entirely possible with
the Shuberts and F.rlanger working In
unison.
“The question of first choice of book
ing* will also possibly figure It is be
cause of that that explanations have
been made to the effect tho new combi
nation is vital to the life of either major
office,” the Variety article states.
Neither Mr. Trowbridge of the Murat
nor Mr. Miller of English's have any
definite information ou this subject.
Indications are that one of the houses
! will In time, if the proposed combine
results, present the road attractlous.
while tho other will shelter Shubert
vaudeville. Os course, that Is not un as
sured fact, but Just an Interpretation
of the meaning ol’ the proposed com
bine.
Thera are those who Insist that e*-
. der the franchise of the Erlanger in
; terests that Captain English will never
’at English’s.
| Time will tell how Indianapolis will
Ibe treated by the proposed combine of
agree to the presentation of vaudeville
booking Interest*.
Upper Right—Jane Cowl, as she appears in “Smilin’
Through," at the Murat, beginning next Thursday night
for three days.
Lower Left—One of the members of Charles Sola
dar’s “Cinderella Revue,” at the Lyric next week.
Lower Right—Beatrice Harlow, with Billy Watson's
Big Revue, a Columbia Wheel show, to be at the Park
next week.
‘the deluge;
ONCE FAILURE,
NOW SUCCESS
New York Hails Miss Doris
Keane Starred in
‘Czarina.’
OTHER RIALTO NEWS
By GILBERT SELDES.
Special to Indiana Dally Times
and Philadelphia Public ledger.
NEW YORK, Feb. 11.—1 liked
more than a few things about “The
Idle Inn,” and waa puzzled by some
other things, but it never occurred
to me that so careful a production
with such a heralded star as Ben-
Ami would “flop.” Flop it did, how
ever, disastrously, after the briefest
few weeks, and 1 was unaware of its
fate until I was suddenly bidden
again to one of Mr. Hopkins’ first
nights.
There were those at the Plymouth the
other right who had been at the-Hud
son theater on August 20, 1917, when
In the midst of war and the most pro
tracted hot spell in years, Arthur
Hopkins produced this same play "and
soon withdrew it as the occasion seemed
unpropltlous," as the new program says.
lie hud then held the rights for four
years an expensive procedure for a
producer. He has since held them ns
long again. And now he has pushed
his faith into good works and put the
play on again. It Is an unusual history
and suggests exceptional qualities lu
both the producer and the play.
"!) I I GE" MAKES
THEATRICAL HISTORY*.
Its name, by the way is “The Deluge,”
and it Is a play of the American Middle
West written by Henning Berger, a
Swedish dramatist. Not so many months
From now when “The Sin Flood” Is re-
! loused in the moving .pictures you will
see the sumo play, and 1 venture io
| think that unless you recall accurately
the biblical connations of the name
“The Deluge,” the movie title will be
more accurate.
The Swedish original Is "Syndafloden.”
It was first produced In the Mephiste
theater in I’arls; then in Its native
tongue In Stockholm; and thereafter In
every capital of Europe. The author
was an Immigrant to America, and In
"A Vagabond I.ife,” between 1892 and
1890, he gathered his observations of
American manners which he put Into this
play and also Into several pieces of
fiction.
Now for the play It Is the story of
a group of men an 1 one woman who
find themselves, with a cloud burst
threatening. In a saloon. Os the men, two
have beaten the third in business: one be
trayed the girl, each is intent Upon tiis
own affairs und none is any better than
be has need to be. One is the lawyer
who collars the graft in the city, and is,
in that way, connected with the builders
of the dam which Is expected to preserve
the city from the flooding Mississippi.
The cloudburst comes, and as the men
draw iron curtains down over the win
dows and bolt the doors, just as two
waifs sneak In to escape the flood, they
lu ar the ominous crack of doom—the dam
has burst.
THINGS CHANGE
FOR THE BETTER.
It Is at about tills point that the first
act ends. The second act finds the same
group, many hours later. The teetotaler
barkeep Is drunk: so is bis temperate as
sistant; so are two or three of the oth
ers. The grafter and the young man
are the first to realize that they are up
against death and nothing else The
telephone, the ticker and finally the elec
tric lights have gone, and the marooned
group dimly follow the course of the
flood by three signs, knowing that It
has reached the central offices of each.
Under the strain of waiting, and finally
when all of them realize wbat is before
them, the old animosities and differences
disappear The young man who had left
his girl because with millions In sight
he wished to marry well, returns to his
love for her. untainted. The enemies
make up Finally, all join hands in a
“brotherhood” as the flood begins to
trickle in under the doors and windows
And then. In the third arr. with only
a few hours left to live, they hear the
telephone. Slowly the ticker picks up.
The lights come on again. And swiftly
the realization comes that there has been
no flood. A terrific rainstorm, dislocat
ing ail the services of the etty—nothing
more. And they, behind the iron shut
ters could know nothing. And as the
chances of life return, al! their old little
meannesses return; the dog returns to
his vomit wirt a vengeance. The quar
rels are restovd; and the curtain goes
down or the bl life of the saloou reas
serts itself.
SELDES RECALLS
MARK TWAIN’S STORY’.
If I am not mistaken. Mark Twain has
such n story, told In tin* same spirit. As
! a play, this one affected the audience lu
Upper Left—Elsie Ferguson as she appears in a garden scene In "For
ever,” to be at Loew’s State next week, opening Sunday.
Upper Center—Florence Vidor and Theodore Roberts (you hardly rec
ognized Theodore Roberts in whiskers) in a scene from “Hail the Woman,”
at the Circle next week.
Insert Under Upper Center —Harold Lloyd in a scene from “A Sailor-
Made Man,” at the Isis next week.
Upper Right—Mabel Normand. as she appears in “Molly O," at Mister
Smith’s next week.
Lower Left—Rudolph Valentino in a love scene from “The Four
Horsemen of the Apocalypse,” at the Ohio next week, starting Sunday.
Lower Right—Bebe Daniels in “Nancy From Nowhere,” at the Al
hambra next week.
a v. rie‘y of ways. There was. to begin
with, \!>y amount of humor in the open
ing and dosing of the play. The charac
terization was swiftly appreciated by the
audience; especially such bits as the
grouch’s cursing of the tickpr as a fraud
ulent contraption simply because he had
lost money on wheat through its reports,
then his almost adoration of the instru
ment when it was the only link with the
world; and finally his curses upon it
when it began again to report wheat quq
tatlons. What the audience fretted un
der were the long speeches of the elo-
on Page Nlije.)
Nation’s Great Men
Lend Aid to ‘Third
of Century ’ Jubilee
Albee Refuses Personal Credit
for Achievements Golf
Tournament Planned.
The scope and meaning of the
“Third of a Century’’ anniversary of
the Keith vaudeville circuit, no-w be
ing celebrated, has so widened that
this week a group of nationally rep
resentative men and women, per
sons who are foremost in the great
financial, industrial, civic and patri
otic movements of the United States,
organized themselves into a commit
tee and tender a national tribute to
the public service of the “Keith
idea” in the form of a public testi
monial dinner to President E. F. Al
bee of the B. F. Keith circuit of
vaudeville theaters.
It is, probably, the most signal honor
ever bestowed upon a man of the theater,
and was proposed and formulated by offi
cials of the Merchants’ Association In
Cooperation with William C. Breed, of the
Red Gross Atlantic Division. Seward
Prosser and Willard V. King and ex
tended so that it now Includes nation
ally representative leaders In all of the
arts, professions and business lines.
Mr Albee. naturally aware of the in
dividual honor offered to him by so dis
tinguished a committee, is unwilling to
accept it Individually or as a personal
tribute. He proposes. Instead, that if
the committee carries out its extensive
plans for a testimonial dinner, that It
be in the nature of a tribute to all vaude
ville managers, and that ali the honors
be shared by his associates and all vaude
ville artists who have cooperated in the
activities now being celebrated, and who
have participated in the public service,
patriotic, benevolent and Industrial,
which. In Mr. Albec's thought, constitute
the brightest pages In the “Third of a
Century’’ of glorious history made by
the B. F. Keith Vaudeville Circuit.
GLORY* ENOUGH FOR
ALL, SAYS ALBEE.
In thus diverting this unique tribute
from himself to the Institution of which
he is the head and chief actuary. Mr.
Albee wishes to make It clear that all
of tho managers and artists of the Keith
and affiliated circuits and bouses, have
done their full share in the work of
bringing the B. F. Keith Idea to its
present high standards of public service
as well as of public entertainment, and
It is certain that the committee w.ll a~-
cept this viewpoint and direct Its dem
onstration toward the entire organiza
tion .i which Mr. Albee Is the leatral
head.
A reading of the names of the now
active members of the “Third of a Cen
tury” committee for the Keith test n- mini
dinner. Indicates the wide and higl)
estimate In which representative men of
all degrees have for the men and the
Institution which they propose to honor
so signally. The proposed list Includes
Benjamin Strong, Otto Kahn, James M.
Beck, Augustus Thomas. Dr. George E
Vincent (of the Rockefeller Foundation),
Walter Vincent, J. Henry Walters, Dr.
Nicholas Murray Butler of Columbia Uni
versity, Waist Damrosch, director of the
New York Symphony, Giullo. Gatti-Ca
sazza, director general of the Metropoli
tan Opera Company; David Beiasco.
Martin Beck, Charles Dillingham. Wil
liam Deagon of the American Legion.
William Fellowes Morgan of the New
Y'ork Merchants’ Association. Raymond
Fosdick. head of the cantonment theaters
and war entertainment board for this
country; William McAdoo. ex-secretary
Treasury; Henry W. Taft, Charles H.
Sabin and Daniel Frohman, E. H. SUtb
ern and Wlnthrop Ames (who went to
the European war front and laid the
entertainment needs of the soldiers be
fore a mass meeting in the Palace The
ater!. Lillian) Bussell. David Warfield.
Rodman Wanamaker es the mayor's com
mittee. and many others.
JUBILEE YEAR SERVICE Sl* READS
TO ALL PARTS OF COUNTRY’.
The Instant and unforeseen spread of
the Keith "service idea” as a feature of
the “Third of a Century" celebration, has
materialized in the use of the Keith
houses everywhere as noonday forutps for
the public discussions of the business and
social-artistic plans of the communities,
in the formation and free housing of
symphony orchestras, classic ballets, lo
cal choral societies, soldier employment
headquarters and distribution depots, and
other educational, charitable and artistic
projects made possible by tbe donation
of the Keith houses and the cooperation
of the local managers during all hours
not occupied by the daily aud nightly
programs of vaudeville.
Tl.ua W. D. Wegefarth. formerly man
ager of the Keith Theater at Syracuse,
and bow in New York, where his re
sourcefulness will find broader latitude,
having successfully launched the new
Syracuse Symphony Orchestra by fur
nishing free headquarters and audi
(Contlnued on Page Nine.)
Big Pictures
Are Scheduled
by Film Houses
4 Four Horsemen ’ at Ohio
and 4 Forever* Loeufs
Program.
OTHERS WORTHWHILE
The local movie screen will reflect
some of the most important film pro
ductions of recent times next week.
Movie managers appear to have
entered into keen competition to see
who could obtain the biggest movie
for next week.
The following are the Important movies
| for next week:
j Ohio—“ The Four Horsemen of the
Apocalypse” with Rudolph Valentino.
Loew's State—“ Forever” with Elsie
j Ferguson and Wallace Reid.
Circle —“Hail The Woman,” a Thomas
11. Ince production.
Alhambra—Bebe Daniels in “Nancy
from Nowhere.”
Isis—Harold Lloyd In “A Sailor Made
Man” and “Lure of Egypt ”
Mister Smith's—Mabel Normand In
“Molly O.”
, The regular supplementary featnres
1 will be included on all bills at the movie
j houses next week.
OHIO MAKES ELABORATE
PLANS FOR “FOUR HORSEMEN.”
j “The Four Horsemen of the Apoca-
I lypse," Rex Ingram's master production
i for Metro, comes to the Ohio as next
weeks attraction. Since its release, it
has evoked nation-wide comment from
hundreds of newspapers and magazines,
while a number of well-knowu person
ages in every professional walk of life
have been enthusiastic In their approval
of the cinema.
Rex Ingram, the director, received a
i degree from Yale as a result of his mas
! terpiece. and is now regarded as one of
! the foremost directors In the picture
world. Rudolph Valentino and Alice
t Terry, who play the two chief roles, have
I been elevated to stardom.
The picture opens on the plains of Ar
! gentina, where the ranch of the mighty
| cattle baron, Madariaga, is located. When
a grandson, Julio Desnoyers, Is born to
' one of his daughters, the old man deter
j mines that the boy shall be his heiz
and enjoy life as a gentleman should,
j Thus, Julio is reared to manhood as
a handsome, dissipated cavalier, whose
j life is an endless round of drinking,
dancing and flirtations in the tango caba
rets.
When the old man dies, it is discovered
1 that his estate has been divided equally
; between his two daughters and their
families, who immediately leave the old
home. The Desnoyers family goes to
. Paris, where the main threads of the
narrative are visualized with the dashing
Julio the central figure.
In addition to Miss Terry and Mr.
Valentine, the cast includes Nigel De
Bruller as Tcbernoff, the mystic, who
: points out the symbolism of the Four
Horsemen when the drums of war are
heard in Paris; Pomeroy Caannon as
Madariaga, the Argentine rancher; John
Sainpolis. Joseph Swiekard. Alan Hale.
Virginia Warwick, Stuart Holmes. Mabel
Van Buren, Mark Fenton. Edward Con
nelly, Wallace Berry, ‘‘Bull" Montana
and Arthur Hoyt.
An article in the Literary Digest de
scribing the technical details of the pro
duction stateted the following facts: “The
picture was six months in the making,
a force of 12.000 people were employed;
an entire French village large enough t
house 6.000 was erected and destroyed;
a costume factory was put up in the
studio grounds to "dress” the produc
tion : fourteen camera men were used to
: “shoot" the scenes; an equal number of
directors assisted Ingram, and a collec
| tion of the treasures of galleries and
private sources were used in the interior
! scenes.”
The musical interpretation of the pho
i toplay will be in the hands of the Ohio
| orchestra with a specially increased mem
bership, while a singer will give tho
vocal selections featured in the picture.
KF.ID AND FERGUSON
FEATURED IN "FOREVER.”
A delicate touch of sybolism appears
iin the picture “Forever,” Paramount's
I screen version of George Du Maurier's
famous novel "Peter lbbetson," in which
Elsie Ferguson and Wallace Reid are
co-6tars.
| The symbolism of "Forever” which
: comes to Loew's State Sunday, enters tho
i picture In a manner frequently used in
' literature, but seldom in a motion plc
j iure production. The scenic atmosphere
’ of the picture was made to correspond
with the lives of the characters and their
I moods.
i The Pasquler garden is a vital part of
| the production, as it was of the Du
! Maurier story. In the scenes where the
children Gogo and Mlmsl are first Intro
duced. the Pasquler garden appears
blooming with tender early plants and
fruit blossoms. It is the beginning before
grief and unpleasantness have entered
their young lives.
The old house is half hidden by clus
ters of wistaria, gernaiuras are seen in
j the window boxes and beds about the
door. Purple and white Irises and lilac
i bushes heavy with blossoms are avery
-1 Vi here.
The seasons progress with the story.
Gogo and Mimsi grow Into adolescence;
tin- Di)c and wistaria blossoms dis
appear and full blown roses are seen in
(he yard. The apple blossoms are gone
and the old tree covered with green
leaves. It Is summer.
Another change. Gogo has become Po
-1 ter lbbetson and has begun to taste the
j bit erness of life. Mimsi is no longer the
i wide-eyed child, but a grown woman, in
society as Mary, Duchess of Towers.
The plant life of the Pasquler garden
i mirrors the transition. Frost has touched
j the apple tree and the roses.
Auother and the last change in the lives
of Gogo and Mimsi and in the garden.
Tragedy has come into the story. Peter
has slain his blackguard uncle. The life
of Mimsi with her duke Is a thing of
horror. The garden is bare now. The
trees and bushes are naked, the grass
dead. Snow flurries como and the trees
rock in a cold wind. It was necessary
to replace all of the growing things for
each change of season.
One night, Peter recognizes Mlmsl at
Covent Garden and leams to his dismay
that she is now the Duchess of Towers,
and that her husband Is an aristocratic
rake. At a music hall Peter Is Invited to
the dressing room of Dolores a dancer,
and there finds Col. lbbetson who be
comes furious and vows that Peter Is
his own son. That night when Peter
goes to Col. Ibbetson’s room to demand
an explanation, he is attacked by the
old man and in defending himself, Peter
aecider’ally kills him. He Is tried and
sentenced .to be hanged, but Mimsi, the
Duchess of Towers, whom he loves,
causes his sentence to be commuted to
life imprisonment in an asylum.
In hls dreams. Peter sees the Mimsi
of hls childhood, and nightly thereafter
he meets his sweetheart In hls dreams.
Mimsi becomes a widow and the two
spend their lives together in dreams. Both
grow old, but their dream life continues.
-I- -|- -I
"HAIL THE WOMAN"
AT CIRCLE NEXT WEEK.
“Hail the Woman,” Thomas H. Ince’s
dramatic masterpiece, which comes to
the Circle tomorrow for a week's show
ing, is a production of universal appeal,
built on the theme of modern American
womanhood. The story is by C. Gardaor
(Continued a Page Nine.)