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The Ogden standard. [volume] (Ogden City, Utah) 1913-1920, June 13, 1914, 4 P.M. City Edition, MAGAZINE SECTION, Image 18

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Persistent link: https://chroniclingamerica.loc.gov/lccn/sn85058396/1914-06-13/ed-1/seq-18/

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THE STANDARD MAGAZINE SECTION OGDEN, UTAH, JUNE 1914.
J"""'"'" ifc
NEEf a Beauty is only clothes deep. That
ifafJ 's twenty-flve men taking the parts
' of women say and they back up
their alienations with pictures or
jjaSy; their own sweet selves clad In all
f the regalia of tho fair and beautl-
IjKjl ful sex.
jjaMgl "Women are beautiful because
jgSjf they have tho clothes." say these
aKffl men and after a fow rehearsals they
fpj)g essay the parts of women, charm-
BHh lng their own brothers with their
HH winsome ways and shapely ankles.
HH Every now and then the world
hears of some woman who has
jK played tho part of a man with such
j perfection she nas won other wom-
en and even marned them. The
iame stories are told of men who
have masqueraded a largo part of
their lives as women, but such oc
currences among men aro rare, bo
cause men do not care to give up
their freedom and live tho restricted
life of women.
I
'
"We can show our pearl teMh
and break hearts the same as wom
en If wo only have the clothes;." they
say. "A short time ago a troupe
of actor folk, writers nnd artists
made a tour of the country giving
a post-season theatrical perform
ance They were members of the
Lambs, a man's club. The plays
they gave on their week ot gambol
ins around tho country required
' some ono to take the women's parts.
There are no women In the club so
men played the parts with such per
fection they fooled all who did not
know the women were mere men
who could grow whiskers and sing
bass.
"She's a hear, she's a bear," men
In the audience sang, when an un
usually well executed dance was fin
ished. Rut the only things femin
ine about the "bear" were hr false
hair, high heeled shoes silk petti
coats and skirts with a waist hooked
and eyed In the back.
Julian Eltlnge, who ha3 played
the part of a woman for so lonj?
ome men fort themselves and
ran him Julia, explained whj the
Lambs use men to play tho part of
women in their gambol lasting a
week.
Eltlnge paid
TWENTY-FIVE CAN
PLAY WOMEN'S PARTS.
"There are twenty-five men In
the Limbs who can go on after a
few rehearsals and present women
parts In a way which is calculated
to astonish oven so technical and
difficult an audience as you will
A 1 top Men dancers in
the Lamb's Gambol.
Center Scene in play in
which women's parts are
taken by men. Individuals
from left to right Effing
ham Pinto, in three poses;
Ernest Truex, Morgan Co
man and another pose of
pffingharn Pinto, Lower
right William Roselle.
And at the Gambol. Most of tho
men I have played wlih tell mc
they like these parts because they
sei o as a most diverting stimulus to
their work and it gives them a Oner
shade of understanding when they
encounter real actresses in their
pnii.-ssion.il endeavors 1 cannot re
''ll oil hand the men who have
Shown the greatest proficiency In
this unique line of work, but the
illustrations of some of the boys jn
the Gambol revealed they success
fully counterfeit women in appear
ance with sufficient art to deceive
that unrelenting recorder of per
sonality the camera.
"As the stage is conducted in our
time it Is rather unusual to see
men masquerading as women and
playing various characters of the
deadlier species. In this reckoning
Wo. do not take into account tho
various college and amateur presen
tations for these are distinctly
Classified and have no relationship
with the professional stance.
"We are bo accustomed to women
on the stago that we forget in a
comparative sense they have been
a prominent feature of dramatic
work for only a brief span of years,
Loss than two nnd onj half ccntu
back the idea of women being
Upon the .-t.-if - v. i r.-garded a.s pre
posterous and scarcely two hundred
years ago their advent aroused a
storm of animosity beside which the
current anti-suffragette discussions
are very mild in tone.
"The Lambs takes its name and
spirit Irom an English gathering
Which originated in the house of
Charles Lamb In London in tho
early half of the las: century. 'Jph?
record of these events are intact
and has been too fully covered to
require further mention. The idea
of utilizing men to play women
parts was not wanting for prece
dent and in this detail the Lambs
only turn back tho pages of time
and revert to the growth of the
English theater foe a warrant of
such proceedings.
"Like all other data regarding tho
stage beyond the Elizabethan
period, there Is so much fact and
fiction mingled in the telling that
one cannot easily trace authentic
events with any sense of surety.
Perhaps the best traditons we have
of tho part man played In the up
holding of the feminine characters
of the English stage in its earlier
days is preserved by Oscar Wildo
in his thoroughly delightful history
of W. H. Just how much lact
Wilde depended upon for his charm
ing history of Willie Hughes, tho
boy actor who Inspired Shakespeare
to write Juliet. Desdemona, Olivia
and possibly Rosalind, we aro un
able to prove by the record. It is a
mingling of romance with tradi
tions that bear the semblance of
authenticty, however, and excerpts
From the sonnets demonstrate that
the poet endeavored therein to ex
press his gratitude to this gracious
portray cr of his feminine heroines.
'It was not until the days of tho
restoration that we encounter gen
uine records to reveal to us a list of
names of 'boy actresses' who be
came the pride of London.
WHEN WOMEN WENT
OX STAGE FIRST.
"Our present day stage Is Indebt
ed to Pepys and his diary tor many
true records of the passing c-vonta
of that era, and his relationship to
dramatic history is almost as im
portant as his diary has been to lit
erature. 'The- companies of Killigrew and
Davenant Introduced women to tho
stage. The feminine pioneers were
Mrs. Corey Eastland, Hughes, Knlp,
tho Mar-halls (Anna and Rebecca),
Mrs Butter and Mrs. Uphill Later
a Miss Weaver and a Miss Gwyn
.ionic the company along with Mrs
L'outel. Miss Qwyn was the notori
ous Nell of tld Drury, whose name
is now writ In the pages of Enghsa
history.
' Th great Ectterton was (he
leading figure of Davenant s orlg
nal company. Two women pioneers
with this force were Mrs. Davenport
and Mrs. Sanderson, who shortly
after her advent hecame tho wife
of Betterton and lived to a ripe old
age to share honors with that fa
mous player. Davenant was les
radical than his rival at Drury Lane,
for bin roster shows six lads were
included in tho company, and who
were employed to represent female
characters.
"Just how puritanical England
accepted this Innovation is reflected
In the words of Pyrnne. who re
marked that 'they wero unwoman
Ish and graceless.' and that he had
DO Intention thereby to imply that
'they were awkward and unfeml
nlne. but that acting was unworthy
of their sex and unbecoming wom
en born In an era of grace ' Thomas
Brand went even further than
Pyrnne and has written that 'All
virtuous persons In the town re
joiced to see these women hissed,
hooted and plpin pelted upon the
stage
"It Is not absolutely sure who was
the first woman to appear upon tho
London stage, but it is generally
thought that this honor belonged
to Anne Marshall or Marfan r
Hughes The undlsputable fact Is
that the role was Desdemona and
the scene was KTIllgrew's perform
ance of "Othello" at Drury Lane
Theater.
"Prior to tho advent of women.
Rhodes 'boys' were tho feminine
mainstay of tho playhouse. Pepys
assures us that these distinguished
boys were men past 40, who frisked
it as wenches of li, even real kings
were often kept Waltrig because
theatrical queens had not yet
shaved.' It is not easy to trace the
life of some of these famous 'boys.'
who were the dependable females of
tho London stage. Three names
survived the civil wars, which stand
out In bold relief against the mass
of unproven traditions. These were
Hart. Hurt and Clum. They were all
pupils of ono Robinson, himself an
accomplished 'actress.' who went to
war and was killed In battle.
"Hart rose to great eminence In
his chosen profession. His most
successful part In his youth was the
Duchess in Shirley's 'Cardinal.
After the Restoration ho played
Cassio, Othelloll Brutus and. It is x
legend of his period that so success
ful was his Cataline that Johnson's
tragedy died with him
"But graduated from boy actress'
parts and his best character study
was that of ricero in Catiline.' for
which production Charles II con
tributed 500 pounds fur suitable cos
tume effects.
"Angel, Moseley nnd Flold were
Players who developed specialties In
female characterization The for
mer outgrew his youth and finished
his career by playing low eon,.,!
waiting maids and funny old
rrenchwpmen. His inst appearances
w. re about 1673. Moeley and Plold
were utilized to represent a vulgar
class of women often figuring in the
'"'"fdies or the period. They both
died in 1 67 4.
"Kynaston and James Xokes be
came the most famous buy actresses'
' ''1
Hi IBrS 1116 F
" W unie
H "' ' '
flLkx -- - - 1 been a
: 'tssioi
"of tneir nmes and lived to occupy n
po n Ion of pre-eminence on tn lu
London stave. Pepys refers to jey
Kynaston as 'the loveliest udy fr
a boy I ever beheld.' This was ln EL
1660. wlun he appeared as Olym- t
pla the Duke's sister, in The fiotfd things'
BubjedL1 1 'ii January 7, 1G6L tmel
Pepys wrote: la theJ
"'Tom and I, and my wife, went JJt
to the theater and there saw 'T9 hnart
Sll.nt Woman!' Among other Uoy fe
things here, Kynaston, the hoy. h;ld head
the BOOd turn to appear In fh'e j"Ol be
Shapes first, as a poor woman In lners,
ordinary clothes, to please Morose'. fid am
then In tine clothes as a gallant-- 4 of
and In these was easily the prettiest s cloi
woman in the whole ho :se; and last- hlCh
fj as rv man and then IlkewIM dd lewfh
appear the handsomest m ad in the . biy
house-' wij
i

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