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THE RICHMOND PALLADIUM AND SUX-TELEGBAII, MONDAY, NOVEMBER 27, 1911 LOCAL MAN CANNOT TELL MONEY VALUE Nute Abrams, Bright, Indus trious Workman, Has an Odd Affliction. THE PECULIAR PSYCHOLOGY OF THE "CUE" Parts Learned by Pages Which Sometimes Float ually Before the Vision Some Interesting Reminiscences of Kyrle Bellew. Vis- Tbere la a man in this city who is perfectly sane, who is industrious, works every day, can read and write, but absolutely cannot tell one piece of money trom another. Neither can he tell a paper bill of one denomina tion from another, even though the amount of the bill is printed in com parltively large numbers of the bill. His wife is the "banker" of his house. Nute Abrams, 1622 North G street, is the man who bears this unique dis tinction. Abrams is a good workman and is Intelligent. When he gets his pay envelope from the Wayne works he takes it home to his wife, who is an invalid. She opens it and counts the money to see that It Is all there. If she wants any provisions, she glveB her husband the exact amount of money which they will cost. If she wants to pay the Insurance, the butchers' bill, the rent, or anything else, her husband is given the exact amount of money and pays the debt. Abrams Is probably the only man In this part of the country who Is so afflicted. Even foreigners who immi grate to this country learn the value of the different pieces of money with in a short time after their arrival. .Abrams Is at a loss to explain the Jcause of his peculiar affliction. MUSIC (Continued from Page Five.) 'blow his horn. He might, if put under oath, admit privately that perhaps he does know a few things (he trained a Richmond Chorus four years ago to give the Brahm's Requiem, with the accompaniment of the Thomas orches tra, establishing himself at one stroke with those musicians as a chorus mas ter of rare powers, and also a con ductor of unusual authority) and he will admit that a symphony seems to him something worth while. But in place of urging folks to work with him, he simply works so quietly and in such a friendly mood, that even the Commercial club caught the infec tion and bought these instruments, un dertook the May festivals, and sup ports his work with a true enthusiasm, but without any particular offerve cence, in a kind "all in-the-day's-work" sort of way. Such is Earhart's way of working. Thus it happens that here in Richmond the advancing wave of musical intelligence and enthusiasm Is fri orchestra and for great choral rouble. Richmond is a kind of piano town, perhaps I ought to say a piano forte town, for they do make a lot of tl em the Starr Piano company. They make a player piano which, if I may believe, the circulars of the company, is about "the best ever;" they go farther, they wish you to prove it. So they buy play er rolls, and donate by the hundred to the public library for circulation. The librarian tells me that they circulate the rolls very freely indeed. They have somewhere about a thousand rolls for the greatest music there is. And the high school boys and girls carry home the rolls and study the pieces as great music, the same being part of their work. Hence the high school students graduate from a musical atmosphere; and these young orchestral players not only know their own parts, but have a definite idea of the composi tions as a whole. But for piano playing. In the ordi nary sense of the word, 1 doubt wheth er Richmond is a star stunner. At any rate the musical study club finds It difficult to get players who in "tak ing lessons" upon the piano have also "studied music," and can play music. And the same is written all over, across and through the one small al leged music store they have here where music is celebrated mainly by Its absence. Naturally I wondered with myself whether this total absence of any sheet music appertaining to what I had been accustomed in Chi cago to know as "Music" might be a case arising out of the state of mind, Which the Saturday Review hoped for; "When everybody would know so much that they would be afraid to play be fore anybody else." But this would not explain the absence of individual atudy in tone-poetry. I pass it along. "Music stores in Richmond" properly speaking, they are none. All this has emitted to speak of the chorus of 250 voices, the adult chorus which sang Brahms' "Requiem," "St. Paul," "Elijah," and last year Verdi's Masoni "Requiem." These, quite naturally are singers who but lately were high school pupils, where they learned to study music as "she" is studied by musicians; where also they learned to sing refined, Christian music, such as musicians love; and learned defi nitely precisely why musicians love it. One little side light I noted last year when here which pleased me. It was a stormy night to rehearse "Elijah." About one hundred and seventy-five were there out of the full force, and some thirty younger players in the orchestra, with their parts, meaning to find out where and how they came in. It was this purely personal love of the music which pleased me. This situation looks to me like a real education In music. To have young people graduate from the high school with so fine a feeling for music and for what it stands, that not even a large college wil be able to brutalize it and bury It under the Philistinism of the average American college pro fessor; Is not this something worth while? and la It not worth while to find an American orchestra rooted in the very soil where It flourishes? It i Mr. Bernard Fairfax, of the "Dear Old Billy" company, which played here recently and who wae here last season with Kyrle Bellew, in "Raffles," in a convernation gave some interesting psychological or physiological data acting has on the actor. Strangely enough many actors are, after a fashion, mere automatons that is, so far as the play itself is con cerned. They lrtiow nothing of the text save that of their own particular role. The public vaguely knows that one actor gives another his "cue," but just in what that cue consists is not ex actly known to the uninitiated. The actor listens for this cue like a telegraph operator listens, for his particular call. In the mass of sound it is plainly distinguishable. It rings out like a bell. That is, in its perfect working. But, not infrequently, cues go amiss with consequent confusion. The last word of the preceding speech, so far as the conversational end of it is con cerned, is the usual handle with which the following speech is wielded. These end words, so to speak, are the accents of the play. They recur with as regular a beat as the musical motif in an orchestral presentation. They are a sort of linguistic ladder upon which the various roles mount to a climatic summit. The printed page of an actor's part, from which he commits it to memory, shows nothing but paragraphs contain ing the former, alternated with these end words, so that, until rehearsal, the actor may have no possible com prehension of the thing as a whole. The continuous and absorbing study of this page, says Mr. Fairfax, produc es a sort of replica of the page on the brain which floats almost visibly be fore the eyes so that, under the stress of a first presentation it becomes an obession, and the actor might be said to visualize his break into the conver sational action. Stage fright is, too, as incomprehen sible in its manifestations, as it is seemingly easy to explain. Great act ors often are affected as badly with stage fright, especially on the opening night of a new play, as the veriest amateur. One celebrity, it is stated, had to have himself locked into his dressing room to keep from running away. Another was violently affected with nausea. The physical effects of stage fright are one of its most serious phases, for the. reaction naturally causes a mental relaxation that is inimical to artistic coherence. There are many things about the presentation of a play from the other Bide of the footlights not understood by the audience, especially as the lat ter affects the former. In farce, in instance, it is very hard to play to a small audience pushed back under the balcony on the first floor and seated in the rear of the upper house. The actor does not like to project his missies into space, to fire at random. The more intimate the actor becomes with his audience, with out seeming to do so for that intima cy which is forced and familiar and made obvious, is as obnoxious as it is unrelated to legitimate theatrical presentation the more stimulus is in jected into the action, so that the psy chological effect the audience has on the actor is quite as evident as that the latter has upon the audience. Very dear to the heart of the thespi an is some slight dramatic effect achieved through a theatric subtlety not recognized as such by those "out in front." Not recognized in its ma chinery its technical working. In "Dear Old Billy," in instance, where the latter, upon being told that his ward's father is dead, having been killed by a taxicab and his response. Mr. Fairfax was an admirer of the personality and the theatric art of Kyrle Bellew, whose death a few weeks since was referred to at length ! here. Kyrle Bellew was very devout, said Mr. Fairfax. A Catholic and some thing of a mystic, he was profoundly affected by the spiritual ministrations of the church and, also, a devoted at tender upon its services rising early to attend mass when on tour, although to do so was something of a discom fort. Kyrle's sister, his only living rela tive, is a sister in an English convent, by the way. Bellew's turn for mysticism was manifested by an interest in and an in vestigation of oriental philosophies and cults, and also in those mysteri ous magician's performances which have mystified the world. Bellew, as stated here before, was exceedingly clever with card tricks, said Mr. Fairfax. He liked nothing better than to amuse himself with these when alone and to astonish his friends with their presentation, and one of his most successful forms of entertainment was accomplished in this manner. Bellew was a great gentleman, said Mr. Fairfax. ""The latter told of an incident which illustrated this and also his exquisite courtesy and consideration. An awk ward boy attached to a theatre in which Mr. Bellew was appearing, came to Mr. Bellew's apartments but was much abashed to find a number of other persons there. His confusion was evident and distressing, but this Bellew seemed not to notice in the least. The great actor greeted the boy as an honored guest, took him un der his special social protection, showed him about the rooms, filled with works of art and curios, explain ing and talking easily, until the boy's embarrassment vanished. This was the more amiable on the part of Bellew since the apartments were filled with notables and celebri ties and a less tactful host would pos sibly have left the boy to his own de vices but not so the actor, whose so cial diplomacy was as apparent as his faistronic. Kyrle Bellew always possessed a fascination for women and his ro mances were many, although, like other magnetic personalities, much be- fore the public, he was bored with mucn unsougnt ana unwelcome aauia tion of this sort. His secretary took charge, said Mr. Fairfax, of this one-aided amatory cor respondence, but although he was bombarded by his feminine admirers, who cared more for his personality than his art, he was never cynical in his expressions about this phase of his theatrical activities nor in his at titude toward women. For he was, as said Mr. Fairfax, al ways the great, the beautiful gentle man. A fine chivalry of spirit, as well as of conduct, so rare as to command an obesiance of respect and admira tion. Mr. Bellew, it is said, was very much in love with his artistic femin ine confrere, with whom he played for long, Mrs. James Brown Potter, but however that may be, or to whom he may have paid his allegiance, he was a sad and lonely man. As anachronistic as it may seem to the public, it is true, says Mr. Fairfax, that the love of, and for, home obtains among theatrical people. The constant travel, the shifting about hurrldly from place to place, month after month, becomes nauseatingly weari some and irksome, and the actor longs for nothing more than a permanent abode. This was not absent in Bellew and his death "in harness" far away from his own English home "home" only I in the moanim? rsf tVia lanH nf Viia no- Palladium Want Ads Pay. nfi ii t- r i rid nidiin. la utrH.ii. lu ua.- i thos is merely for the purpose of j Uvity- ,or- otherwise, he was homeless achieving a farcical effect by the re- possessed a pathos poignant and ply of the ward to the following ques-1 reaams tion: "When did it happen?" "Just an hour after the taxi-cab hit him." On both occasions of the play's pre sentation here, the theatrical ruse "worked," for the audience, instantly stilled by the pathetic manner in which the old man received the news of his friend's death, bursts into laughter over the Incongruousness of the reply. Automobile Repair Work Our Specialty Expert Mechanics to Do Your Work. Quaker City Garage 1518 Main. Phone 1625 1027 Main Pll iora' Phone 2577 TURKEYS CHICKENS DUCKS OYSTERS In Pint and Quart Cans or Bulk. Cranberries, Fancy Celery, Jersey Sweet Potatoes, Sweet Cider, Mince Meat, Sweet Oranges, Tangerines, Grapes Grape Fruit, Table Raisins, New Nuts, Figs and Dates, Large Fancy Chestnuts, Olives, Wafers, Cheeses of all kinds. Cauliflower, Cucumbers, Spinach, Radishes, Lettuce, Green Beans, Mangoes, etc. MONDAY & TUESDAY We Want All to Share in thio Read the Lrist! Tell Your Friends! Shop Early This store from now until Christmas will be a haven for those who buy well and economically. We've truly wonderful buying opportunities in all departments. Tis well to bear in mind the next few weeks will make" big breaks in the assortments of holiday merchandise. IT'S THE WISE WOMEN WHO DO THEIR SHOP PING NOW. Try shopping here and test our promises. THIIESIE REMARKAIBILrIE SO o s AsscDirinnKsinite nfF sninm3 surs flSinni ir&sdU standi ws sft(nini9-& Ikininw lhinw llninig -(fclhosr wnllll E&sH WOMEN'S HANDKERCHIEFS My! How They Sell! 5c Hemstitched, Barred Handkerchiefs 2 for 5c 10c Handkerchiefs, Satin plaid and Swiss Emb'd, at 5c; 6 for 25c 20c Fine Swiss Emb'd Handkerchiefs, 10c; 3 for 25c 15c Fine Emb d cornerSatin Stripe . .10c; 3 for 25c 25c Fine All Linen Handkerchiefs, emb d corners at 15c; 2 for 25c 25c Fine Emb'd Swiss Handkerchiefs, 19c; 3 for 50c BEAUTIFUL FANCY SILK RIBBONS Priced at Half Their Real Value You'll Appreciate Them All the More When You See Them. Fine, wide, Fancy Ribbons, worth up to 35c yard, 4 and 5 inches wide, only 19c Yd. Fine wide Fancy Ribbons, worth up to 50c, up to 6 inches wide, only 25c Yd. Fine Fancy Ribbons, worth up to 75c, up to 7 inches wide, only 35c Yd. Finest Fancy Ribbons, worth up to $1.25 yard, up to 9 inches wide, only 45c & 65c Yd. THANKSGIVING WEEK DOMESTIC SPECIALS 12c Lonsdale Bleached Muslin 10 Yds. for 75c 10c Hope Bleached Muslia 10 Yds. for 65c 7c Standard Best Calicoes, all colors 5c Yd. 7c Best Standard Ginghams; all colors 5c Yd. Outings Best )2V2c Fancy Outings 10c Yd. 10c Dark Percales, elegant wrapper patterns, 7c Yd. FANCY GOODSBUY THEM NOW Present Quantity Will Not Last Long $1.00 Silk Scarfs, both plain and fancy, only . . .59c 50c Silk Scarfs, plain and fancy hemstitched 29c Fancy Back Combs Unusual pretty designs and styles, worth almost double, Special priced 50c & $1.00 Bath Room Rugs $1.50 Oriental Turkish Bath Rugs, pretty dark colorings, 27x45 in. Special 98c Black Petticoats $1.25-$!. 50 Hy Art Mercerized Petticoats, Special 98c Taffeta Silk $1.00 yard wide Black Taffeta Silk, Special 75c Yd. Knit Skirts Women's fine Knit Skirts, extra values at 25c & 50c Full Size Sheets Regular 95c Sheets, special this week 69c LACES FOR FANCY WORK 10c All Linen Torchon Lace, up to 3y2 inches wide, Special 5c Yd. 10c Fine Val i ..ace Beading, Insertion and Edges, including many dainty designs, reproducing the real Baby Irish, Irish Crochet, Hand Cro chet and Armenian laces. You can't tell the difference. Special 5c Yd. THANKSGIVING LINENS There is something more than an appetite to pre pare for, in arranging the customary dinner. Beau tiful linens and all manner of dainty table accessor ies which lend untold charm to the festal board, are very essential. All these are marvelously low priced. The prettiest we have ever shown. Fine Table Linens, Napkins, Lunch Cloths, Scarfs and Doylies of fine Battenberg, Cluny, Japanese, Austrian, Tenneriffe and all Kinds of Fine Art Lin ens to grace the Thanksgiving Table. 30 inch Lunch Cloths,' beautifully emb'd Scarfs, 18x54 to match, Special 50c $2.00 Fine Japanese and Austrian 18x54 Scarfs and 30 inch squares. Special $1.00, $1.25 50c Austrian Drawn 30 inch cloths, and 18x54 Scarfs 39c Real Cluny Doylies, worth up to $1.50, up to 18 inches, round 89c Battenberg Squares and Scarfs, beautiful drawn centers, Special 50c & 83c $1.25 and $1.50 Battenberg Pieces Scarfs and Squares. Special $1.00 Stamped Pillow Cases, Special 50c Pr. Stamped Linen Huck Towels 19c, 29c, 49c Stamped Nainsook Corset Covers, Special 25c Stamped Nainsook Gowns, full patterns, Special 95c Plain and Fancy Huck Toweling, all widths, Prices 10c to 50c Yd. 50c Mercerized Table Damask, Special 39c Yd. $1.25 Fine Bleached All Linen German Table Damask $1.00 Yd. 75c All Linen Bleached Table Damask 50c Yd. 35c All Linen Towels, huck and fancy damask, plain satin border and fringe, Special. .25c each 75c and 85c fine All Linen Fancy Towels, Special 50c each HOLIDAY BATH ROBES For Men and Women, made of elegant Robe Blank ets, in pretty, dark designs, all sizes SPECIAL, $2.49 HOLIDAY UMBRELLA SPECIALS MEN'S UMBRELLAS, WOMEN'S UMBRELLAS $2.25 Umbrellas, elegant new style handles, half silk covers, best made frames, large handles for men, and small, dainty handles for women, the greatest umbrella values we have ever offered. This Week, Special, $1.39. BEGIN NOW! Do Your Holiday Shopping Here. Drop in, glance through the store. It can not fail to impress a close observer with the fact that the best values of desirable, practical merchandise are ob tained here. E7B so to as.