Evening Star Newspaper, January 22, 1922, Page 56

AMUSEMENTS. Dance the Oldest Art, Says Russian Artist 1s the oldest art in the D world, preceding love in the sarden of Eden, according to Theo- dore Kosloff, Russian artist, musi- olan, actor and exponent of the Ballet Russe, who s now giving his talents to motion pictures. While Adam and Eve stood undecided at the tree and Jooked upor the apple, danced with sinuous curves around the tree, according to Mr. Kosloff. Twice a week for ten years Kosloft Matened to lectures on the history of the dance from his dancing master, who was 107 years old. These lec- tures have never been written, being ‘handed down from generation to gen- eratlon of dancing masters at the Im- prial Russian Ballet in Moscow. “If you will put pigeons on a floor of smooth sand, you will notice that with their feet, while they are bi ing and cooing, they make beautiful tracks in the sand,” explains Ko 1off. “This is the spirit of the dance that we find In birds. It is a very fundamental thing and comes uncon- aciously from intensity of feeling. ‘The same spirit animates humans. ‘At the time of the crusades t! dance came from religion. When t! people prayed to the God in the heav- ens with their arms outstretched, they stood still until the fervor of their| s took them into a dance. U: consclous it was, but it was the be- ginning. Whenever people are filled with the ecstacy of joyful life or the deep feeling of sorrow they uncon- sciously fall into the dance. ‘Socrates tells us that in war times the ancient Greeks used to start a war dance before the battle. From this beginning the Greeks developed the snake |y the gymnasium and what we now know as the Grecian style of dancing. As the resuits of the development of grace and charm through the dance we have t!:io qufloll' pot of Venus e Milo and Juno. 5 “Alexander of Maoedonias used to have his armies dance and throw thelr spears and shields in the air in order to confuse enemy. Here we not only have the beginning of dance but also the beginning of camouflage, which was used the late war. By thelr gyrations Alex- ander's soldiers made themselves look like a big army, and the enemy looking out upon & .scene of wild abandon, imagined there were hordes of men marching on them. “Through the dance you can tell what kind of lives the people live. Archeologists have been able to di termine the intellect, the religion, and the lives of anclent peoples by studying the poses of the dance found depicted on old vases and pictures un- earthed in ancient ruins. “Later the dance was taken up by the French and Italians and becam an art of pleasure rather than an un- conscious expression of soul feeling. The French put on long dresses and encased the forms of their dancers in clothes which forbade the freedom of movement that the ballet provides. From Louis XIV the dance came to Russia. “The modern dances in America are a development of the slow mov- ing Viennese wzlta and the quick moving steps of the dances of the early American Indians. From the latter we get what we call the tw step. All other forms of the dance are variations of a few fundamental Steps or movements that are hun- dreds of years ol What Another Author Says. RTER EMERSON BROWNE, well) turn to mediocre and even very bad known author of numerous stage successes, Including “The Bad Man” and “A Fool Thers Was,” and who ‘was described by Theodore Roosevelt as one of the few authors who ha the courage to write because he be- lieved In his writings, and not for financial galn, declares that the fault with the movies is that the producers try to fabricate art. Mr. Browne, who makes his debut as a writer for the screen in “The Seventh Day,” in which Riochard Barthelmess is being starred by In- spiration Pictures, gives the follow- ing reason for having written for the screen: “My rbasons for writing ‘The Sev- enth Day’ were several. In the first place, 1 didn't do it for money. have had a theory that I have play blind ever since I began to write. is that money logigcally follows good work. And that writing for money gets one neither good work nor money. It isn't worth the price, no matter how much money You get. YLiterary wantonness, to me, is the lowest form thereof. For seldom is there even the excuse of necessity. “But the most important of all my reasons was this: I wanted to see if it were possible to make a picture that would be different. “I go to_the moving pictures occa- sionally. I am not a fan. I usually B0 in self-defense. 1 live in the country, work mornings only, and rainy afternoons are hard things to kill.” Even at that I seldom go that T am not sorry for it afte “Most_pictures are bad; some are worse than others. simple. Moving picture companies 1ave made one deep and fundamental error. The whole predication of most concerns and of practically all the large companies, with the exception of a few, is wrons. “They are trying to fabricate art. I ed It thors and directors. The results ate before you on practically every acreen in this screenful land. “Yet another reason for the poor- ness of pictures {s the fact that most good authors have always refused to take pictures seriously. Established authors find pictures uninteresting. ‘They regard them as a by-product of their other work, or as & chance to make a lot of money in a hurry. Many have done so. “Which is because established a thors haven't had the time, the p tience or the ability (have it your own way) to study pictures and to find out that pictures are a new mode of expression, as different from a story as a novel is from a play, and vice versa. In the pictures you can do things that you can’t do either in a novel or a play. Of course, the converse is equally true and even more So. “You can do more things in novels or plays than you can_in pictures. Of the three modes of expression pictures are, of course, the most lim- ited. But that doesn't mean that they can’t be developed greatly along the lines which are open to them.” Mother Goose in Movies HE first animated cartoon in “The Magic Pen of Mother Goose Se- produced by the Harry Levey Studios for the national non-theatri- cal exchanges, is the first motion pic- ture, as far as is known, to be pro- duced exclusively for ° juveniles. Though made for the tiny tots, it has met with an unexpectedly warm reception from grownups, particular- And the reason|ly from teachers of primary grades. “It 1s just what we have been look- ing for and wanting for our first-year pupils, ys Miss Hochheimer, as- sistant in charge of visual education in the New York public schools. “You can't manufacture art by ma-| “Glve us more of them.” chinery and on schedule. You can “With such encouragement we Fords. But you can’t art. Can youishall,” says Harry Levey, the pro- imagine Phidias a factory? bens a shop? And yet that is what all the big concerns have tried to do. “And that is why the picture bus ness is all shot to pleces today. With their gigantic factories turning out machine-made pictures, no wonder the supply has exceeded the demand Or Ru- and the product is bad. The supply 3 authors and direotors is lim- 1 But as the production of pic- tures is not, the producers had to GAYETY ducer. “We'll follow it with. Jack Horner and whatever else the chil- dren want. “Why not let the children them- selves decide what they want Have the teachers who use the cartoon tell the children to write me at 232 West 38th street, New York, saying what Mother Goose characters they would like to see next on the scre “We'll make the kiddies producers. on. associate 9th Below F ALL Week 2:15 and 8:15 Joe Hurtig Presents “Tit For 9 - Tat with NIBLO and SPENCER NEXT WEEE~'The Bea Ten Girls” Special Film Features RAPHAEL Sth at O Street N.W. OPEN 8 P.M. NORMA TALMADG] *THE WONDERFUL THING." Kles Comedy DRAGK SENNETT'S omedy. “BE REASONABI ZiPTOHTING - MAD." LIAM DESMOND, ROSEMARY THEBY, vxrgaux:l;‘ FAIRD and WILLIAM LAW- mmnnom Sth&N.Y.Ave.N.W. AMERICAN 2,508 5.5 A CASB . Alse HAR- 8 NS, O -NEVER WEAREN North Capitel and P Sta. “THE SHEIK” YRDS sad i ‘QWA‘I‘.IFHKD. F Steeet at_10th THIS 0LD LLOYD. in 4 WEEE—HAR . MADB MAN.” And KATHERINE %‘Mflk‘ A% BEAUTIoL ENICKERBOCKER THEATER CRANDALL'S :2.?;: “Col. Ba. mfiltv%:bw—mA BTEW- Y VPLAYTHINGS OF, DESTINY." E;fimn KEATON, in “THE HIGH mmvs AVENUH GRAND 8 P. l:'UNDA! 3 P.M. DAILY: A . 7—RICHARD fig’ fiiBu, in TOLABLD DAVID. €34+ H St. N.E. SATURDAY 3:! % 'S “THE FIRST TOOTH | CRANDALL'S IoBk TamATER ropay MATUEEE SATTRDAY n‘m’wu: VALENTINO A BNTINO nd AGNES AYRES, i EMPIRE ©12 X Sesser %8, “THE ROUGH DIAMOND." Allo"flo-d 3 NEW THEATER 525 5% se. s ia “THE RIDERS OF KING LOG." 14th and U Sts. AGNES AYRES and RUDOLPH VALEN. TINO, 1 “THE SHEIK” PERFORMANCES TODAY: 3:0, 4:40, 6:20, 8:00, 9:40. —_TOMORROW-—6:20, 8,00, 9:40, HOME 1320 © Street n.E. “GOD'S COUNTRY AND FHE Datw.» 1119 H St. N.E, PRINCESS 2.8 v = TWO MINUTES TO GO. MAY LVOY and OAT- ERINE WILLUAMS tn Wi D TASLONS EBODUCTION, ' “l(ORALS." ~APBOLAL 14th and Irviag T ooy T9DAX ~AND FoMoRsawL TEn Eia Lo "-'%"'!-%'. “DO OR " N ke NEW STANTON 34 & © 8¢ N, WILLIAM, PO Raa s ieros 3 5. WEST, in_*“IT AT LOVE.» 14th Btrect and R. L Ave. THB WONDERIUL TN Lo TRUXTON - Cavitol & @ Sta. N.w. EXTRA S8 ONE DAY ONLY, VICTOR HU Dl UDGuBNT o0 & o REGENT 18:2 snt You Sereets rmn Wb “Q00eEe Al oAl LEADER 5 == T o . 1ith & N, C. A: A ve. 8.0, z ’ THE SUNDAY STAR, WASHINGTON, D. 0., JANUARY 22, 1922—PART 3. FASHION CREATIONS OF THE STAGE. Miss Olive Meehan’s evening frock of piak taffeta, worn in “Irish Eyes.” BY ELENORE DE WITT EBY. JERIOD costumes were featured n the past week's attractions at local playhouses. While there was an appeal in the quaintness of flounces and hoops and long, swishing | g, skirts, the spectator perhaps felt grateful for modern fashions by con- tra st. The scene of ‘Marjolaine” was laid in England during the past century, while “Irish Eyes.” at the Garrick, showed the Ireland of twenty years ago, and the action of “Abraham Lin- co! of course, centered about the days of the civil war. As the object of this last-named play was the exposition of the development of a great man's character, all roles were subsidfary to the pivotal one of Lincoln. The “feminine element” was of minor importance, but Mrs. Lin- coln_appeared in several scenes, and in the final one, which represented a lounge back of the boxes in Ford's Theater on that fateful evening in 1865, there was an audience of gay ladies in crinolines of satin and lace. One particularly handsome _gown, glimpsed for just a few seconds, was of white satin with deep white silk fringe bordering the decollete neck, and also circling the voluminous skirt. The only touch of color was added in i Miss Ethel Levey's costume of silver cloth and purple brocade, & graceful wreath of pastel flowers twined in the coiffure. Mrs. Lincoln's gown, which is sketched, was worn in ‘the opening scene, which represented the humble Springfleld home where Lincoln re- ceived the invitation to run for Presi- ent. The material was plainest brown calice, with only a prim lace ocollar and black bow at the neck for trimming. The bodice was a tight basque, and it fastened at the center front with a row of tiny brown but- tons which continued down the skirt to its hem. The sleeves were interest- ing, because they combined two of the “newest” fashion influences of today, the wide mandarin and the peasant sleeve. There was a capelike flounce at the shoulders, below which were the bell-shaped sleeves, and under- neath both of these were the full white met peasant draperies, caught in with narrow bands at the wrists. The skirt was, of course, voluminous, and a hoop held out the fullness at the hem. “Irish Eyes” opened in the America of today, and then “cut back,” in movie fashion, to the Ireland of a gen- eration ago. Although the costumes worn by the colleens of a tiny fishing Miss Lincoln's brown worn at the National. deep pink taffeta, made in a youth- Kull; gulint style, with bouffant pan- niers at the hips, but with a very short scalloped skirt draped over a foundation of tulle embroidered with iridesoent sequins. The narrow shoul- der straps were dotted also with se- quins, and supported & bandeau bodice of taffeta. A corsage of dark- hued flowers at one aide of the waist formed an effective trimming. Miss Ethel Levey, who appeared at Keith's, wears several stunning crea- a model of ~white with disks of black {lace, and another of pink chiffon petals picoted with silver and trimmed with a garland of vari-col- ored flowers. The gown pictured, however, was by far the most distinctive one worn. Spangled silver cloth formed a straight foundation slip, which was ornamented with a Sequin medallion on the bodice, and held in place with tulle shoulder straps. A fold of silver- embroidered lace covered the lower portion of the skirt, and, extending a few inohes below the hem, gave a transparent effect. The bouffant over- drapery was of deep purple silk heav- 1ly brocaded in gold and edged with calico gown, s, includin, satin !Dsllqub village were plcturesque, the evening frock worn by Miss Olive Meehan in | the first scene on Riverside drive was selected for illustration. It was of | dark green satin. The girdle was formed of a bright flower chain, fastened at the side with a ribbon bow. Photo Plays (Continued from Third Page.) Compwon, in ‘*The Little and comedy, “Rearin’ to Gi Carolina. Today, May McAvoy and Kathlyn Williams, in “Morals”; “Wife Against Wife"; Jewel Carmen and Kenneth Harlan, in “Nobody”; Wednesday, William Christy Cabannis' “The Barricade,” also Pathe News and Literary Digest Topics; Thursday, Anita Stewart and Herbert Rawlinson, {n “Playthings of Destiny”’; Friday, Lon Chaney and Leatrice ' Joy in Gouverneur Morris “Ace of Hearts"; Saturday, Katherine MacDonald, in and Pathe News and Aesop's Fables. Minister,” o Circle. Tuesday, Ma- rion Davies, in “Enchantment”; Wed- nesday, David Powell, in “The Princess of New York™”; Friday, Anita Stewart, day, Harold Lloyd, in ever Weaken,"” also “The Flaming Trail” and Larry Seamon in “Solid Concrete.” Dumbarton. Today, Doris May, in “The Foolish Age”; tomorrow, Elleen Percy, in “Lit- tle Miss Hawkshaw”; Tuesday, Lon Chaney, in *“Ace of Hearts”; Wednes- day and Thursday, George Melford’s n, “The Shelk"; Friday, “Wife Against Wife,” and Saturday, Dustin Farnum, in “The Primal Law.” - Elite. Norma Talmads, in “The derful Thing”; tomorrow, Wil- Carleton, in “A Wite's ing”’; Tuesday, Mary Miles Minter,. in’_“Her Winning Way”; Wednesday, Jack Holt and Lila Lee, in “After the Show”; Thursday, Seena Owens, in “Lavender and Old Lace”; Friday, Roy Stewart, in “The Heart of the North,” and Saturday, James Morrison, in “The Little Minister,” Empire. Today and tomorrow, Tom Mix, in *“The Rough Diamond,” also comedy; ‘Tuesday, Ora w, in “Beyond the 'he. .‘Enu.o c:olxx;:dyl:l 5 Wednes- aay, emy’s ughter.,” 0 comedy; Thursday, ‘“The Winding Trail,” also comedy; Friday, Miss Du Pont, In “False Kisses," also comedy, and Saturday, Willlam Fairbanks, in “A Western Demon,” also comed. Leader. h fteri: all this week at the L;d:r ",rh.unu‘r (9th at E street north- west) will’ be Rudolph Valentino and Agnes Ayres, In “The Sheik,”presented £ rices. It is a romance of :‘l:.w 88 2 chief who loved an Eng- lish beauty. Today £OmOITOW, and Earle % Career of Doris Keane. Th iS Week l])oms KEANE, who has won inter- national stellar honors in Ed- ward Sheldon's love drama, “Ro- mance,” and {s now announced In her new play “The Czarina,” did not leap suddenly into fame without training or experience, 2 Miss Keane, was born in Michigan, received her early education in Chi- cago, took a finishing course in Paris, ‘where she studied languages, and re- turned to this country to become a pupil of the American Academy of Dramatic Arts. Her course finished, she supplemented the theoretical tralning she had received by a period | {of_actual work in stock companies. Her first New York appearance was in Henry = Arthur Jones' comedy “Whitewashing Julla,” produced by Charles Frohman. Next she was given a small part with John Drew in a light comedy called ‘De Lancy,” by Augustus Thomas. In the fall of 1906 Henry Arthur Jones came to America to produce his new play, “The Hypocrites,” in New York. It was the first time that a play by a leading English author had been given its first production in America. Miss Keane was cast for the part of Rachel Neve, the betray- ed girl. It was a hackneyed part and it was regarded a tribute to the ability of the young actress that she was able to.endow it with the life she did. But there were disappointments in store for her. Charles Frohman had arranged with Clyde Fitch to pro- vide her with a cycle of three plays, h of Mr. Frohman put an in,” the French de- tective play, Miss Keane appeared as Sonia, a little Russian thief, and al- though few of the critics liked her in it, she made it stand out strongly. ‘The next season she appeared with G. P. Huntley and Hattle Williams in “Decorating Clementine,” an English version of a comedy by Call De Flors, and scored her first real success comedienne. . Following this play she was cast in a plece by Walter Hackett called ‘Our World.” 1t was produced at the Garrick in New York, and ran { for one week. She also played in | “Making Good,” which didn't. It was by Owen Davis, the writer of “thrill- | ers” for the melodrama houses. | _After that Miss Keane played under { the management of Winthrop Ames | at his Little Theater in New York in “The Affairs of Anatol” She fig- | ured as Mimi in one of the episodes. Then Edward Sheldon, then a young Harvard playwright, chose her for the part of Mme. Cavallini, in his new play, “Romance. “Romance” was produced in De. cember, 1911, acored immediate su cess, no small measure of which must tributed to the interpretation title part by Miss Keane. “Romance” ran a year at the Maxine Elliott Theater, toured the country for another year, and opened in don October 4, 1915, where it r mained for over three years, achiev- ing in that city the record run for a play of its type, as well as en- abling Miss Keane to win the distinc- tion of being the only American actress to attain so prolonged a suc- cess in the English capital. The run was abruptly terminated owing to Miss Keane's inablility physically, to continue playing her exhaustive part. Last season she appeared in a pic- turization of “Romance.” and Saturd. Carey, In “ and o lay, Harry Y, "Desper- Republic. ‘Today, tomorrow and Tuesday, Jack Holt and Lila Lee, in “After the Show; Wednesday and_ Thursday, Alice Calhoun, in *Closed Doors”; Fri- day and Saturday, James Kirkwood, in “The Great Impersonation”” and epi- sode No. 12 of *Breaking Through.” Savoy. ‘Today and tomorrow, Anita Stewart, in “Playthings of Destiny,” and Bus- ter Keaton, in_“The High Sign”; Tuesday and Wednesday, D. W. Grifith’'s “Way Do York. Today and tomorrow, Rudolph Val- entino and Agnes Ayres, in “The Sheik”; Tuesday, “The Barricads”; Wednesday, “A Wife's Awakening”; Thursday, Ethel Clayton, in “Be. f| yond,” and Billy West, in ‘“The Sap”; Friday, Marion Davies, in “Enchant- ment,” and Satul in “The Love Stork's Mistake” Stretch and Reduce. Mother I{mms g00d news for fat folks! George Rath, the stellar member ook as guest of this mocial celebrity at-|cooking, was sitting on the hotel he weighs 163 pounds. He took off over | {5, &3, 1y, M8 200 1L o' Puictions. | plasa one evening explaining to his Tuesday, Frank 0, 1 seventy pounds in a year, and has held | ghe has been the guest of the Duch- | friends, Lawyers Thompson and Robb, and Al 'St. John, in “Fast and Furi- | to his present welght, except for & few|ess of Sutherland. the Duchess of | the manner of preparing the snal ous”; Wedn , Miss Dupont, in|ghort periods, ever since. Marlborough, the Duchess of West- [ for the breakfast table. “False *; Thursdsy, Gladys Wal- Rath has 1ug| minster. Lady, ' Ponsonby, Countess| Thompaon waa interssted, but Robb ton, in “High Heels,” and Mermaid | Georse turned his surplus | pembroke, Lady Diana’ Manners, | ¥as qulet and Seemsd droway. Sud- o oy, “For Land's Sake"; Friday,|fst into strength. When he reached | Lady Wyndham, 'the Lord and Lady |deply he brightened up. =~ Thomas J Winkle” | 325 pounds, he declded that things had | Mayoress of London, Mrs. Lioyd pic] Jar thres of tham playing mar. Desmond, enough. He was George, _ Sir Gilbert ' Parker, _Sir [Dbles in front of the office £ Mag'™” sone far He was “eating like & | Arthur Pinero and Mr. Rudyard Kip- | mrDing.- Be re horse” and doing nothing in the way of | ling among others. 3 3 lfi'flhfi you, exercise. At that time he was living in Robb? asked Barker. *T'm talking Princess. about = Twin Falls, Idaho, and while pondering Jones, who was recently] “Well, I'm talkin - Today, Charles Ray, In “Two Minutes | over his weight problem, a lasy cat|cnristened *“Charl church in|ger boys” said Robb. “Go on with to Go™;' 2 “Dangerous Love”; | stretched itself in front of him. rnis, is wearing his mew name | your cOmY 30 Gndd‘n%m Conway Tearie ranber seeing an o ancux ftma, ‘professlanally jin : , Conwa: e . e e e of Biones: Thureday, | for cat, and ho came to the conciuston | ot v Plcture, “Riding Jane Green is & Pacifio coast girl e s amianin | Laat C3ie Savalopod & sertes of smetoh. | “Visual eduosti Tootlight fatme. With ner Ruspand: "3 ,,, Kenne! r] ing. He develo] a series of - lucatio: ow an ac- e armiead aad Haturday, "Pola | ing exerelses, becauise interested 1n sth- | complished fact “in" Jodianapolis, | James Biyler, she Eave & mpecial per: Regent. Today, Cosmopolitan production, “The EESad il Bl Gy In ] s l, “Short Bkirts”; of the Rath brothers, athletes, who are appearing here in Shubert vaudeville, welghed 326 -pounds when he was six- teen years of age. Now, at twenty-nine, ing. tarchy food, but ate Just :lb‘;ut ‘what he liked, but in smaller quantity. His big reduction in de- claros, did not. weaken ‘Hith: ~In fag, e i €0 inclined o Shety, aad “jays oft” for a v-ekh ho » Wanda Hawley, J e AL T Society Favorite in London. LORDON has ever been a cold and distant place to American play- ers who have sought recognition in legitimate roles. The critlcs, it is said, are inclined to be scornful, pre- ferring the home product, and, where praise was justly due, doling it out in niggardly fashion, quite unlike the glad-handed style of our American reviewers with overseas actors. ‘When Doris Keane went to London with “Romance” in October, 1915, the critics were cold, and the manager of the theater, the Duke of York, was still colder. In fact, the latter, after the first week, suggested canceling the engagement. But after the tremendous Ameri- can popularity of the play nothing could discourage Miss even the rumors of Zeppelin ralds and the German invasion of England. And g0 “Romance” remained at the Duke of York's for a month of con- tigually increasing patronage, moved to the Lyric Theater and stayed in this house over three years, a record run for an American play of this type, as well as a record achievement for an American actress. But nd‘l‘sunctlu a8 were the tributes Keane, not | Screen Comedy. ’I'E‘ screen probably has recorded no more rapid rise to the helghts than that of Harold Lloyd. Without the aid of eccentric makeup or bizarre costumes; without the utilisation of the slapstick, the custard pls or the liquld foodstufts so dear to the heart and the “art” of the old-time film comedian, and without ever having resorted to feminine display or sug- gestive scene as an aid to question- able popularity, Lloyd has made his fun the most sought after known to l:e motion lpfitun ‘:fl“l“’y and by the picture-loving public, It has been & popular fallacy that the comedian in pictures is turned loose within Glmadlil-ha!\lndl" ’:g merely told by his director lo ahenflyand be {unny." Nothing could be further from the actual manner of filming “funnies,” as they are called on the coast. The continuity of the story, farcical though it may—or rather must—be, is carefully worked out in advance, ex- actly as in the case of a serious drama. There is of necessity a great amount of latitude in the actual tak- ing of the scenes, in order that the funniest ‘possible effect may be gain- ed. This means that & single scene may be retaken several times with a different treatment by the player or players each time. The final selection for the finished product is made after the film has been developed and the cutting and assembling process reach- ed. It 1s in the origination of the Va- rious forms of comic treatment of l. single episode that the comedian 1! apt to require the most skillful lld.l n this capacity at the Hal Roach stu- dios, Harold Lloyd is served by one o{ the ' keenest wits in the theatrical world—Jean Haves, author of “Every- body Works But Father,” lyrics by the bushel and vaudeville sketches by the score. 5 Havez for many years traveled two weeks in advance of the DOCkE"M:IlI. Minstrels, collecting in each town : of the “local gags” that would e laughs on the first night of the ahlo‘;,i These were carefully. typed and le for Dockstader, or mailed back to him with the company. It was in this way that the famous blackface was el('l- abled to make every audience : which he played feel that he :‘x‘i‘ thoroughly familiar with their ‘)‘ and with the humorous aspects °‘\?r their civic and soclal problems. “tr. Havez now devotes his genial taled s to the creation of comedy bti g Harold Lioyd, who, however. takes & close personal interest in every azp of his profession. History of Famous Play '+ ABRAHAM LINCOLN,” John Drink- waters famous play, was first produced in Eirmingham, England, by the Repertory Stock Company Ooctober 12, 1918; then at the Lyric Opera House, Hammersmith, London, February, 1919; Lyceum Theater, London, June, 1921. American pre- miers occurred at Stamford, Conn., November 27, 1919; the National The ter, Washington, December 1, 1919, and December 8, 1919, at Cort Thea- ter, New York, where it ran for forty-eight weeks. 2 ohn Drinkwater, mow about forty )’errS of age, is a son of A. E. Drink- water, London actor. After usual school education, he went to work as an insurance clerk; had a flair for poetry, 80 abandoned insurance to g0 on the stage in order to woo his muse. Is now counted as an excel- lent poet, although his big work has Deen in the theater. Organized the Pilgrim_Players, which he establish- ed in Birmingham as a repertory theater. On first London production of “Abraham Lincoln,” Drinkwater played Hook under the stage name of John Dernley. He also played Gen. Lee, and when Willlam Rea was il played Lincoin several times, as well as minor roles. He is the author of *“Mary Stuart” and “Oliver Crom- well,” and is now working on a play about Robert E. Lee, which will come to production before many seasons. | Rialto’s Music programs pERHAPS no local -institution of amusement and are has done more in bringing to the city during the past few months musital artists of repute and talent than Moore's Rialto Theater, whose weekly con- certs, given in cpnjunction with or- chestral offering and as an added fea- tvre to the photoplay attraction, have proved to be most popular depar- tures. Maestro Guiseppe Creatore opened here last Monday afternoon. directing a series of short concerts three times daily throughout the week. Capaci audiences have greeted his every a pearance, and the enthusiastic recep- tion accorded his offerings have at times reached the proportions of an ovation. ‘The Rialto Orchestra this week has been augmented to forty pieces, and to properly present the overture to ‘Wagner's “Tannhauser,” the first time it has ever been attempted by an o chestra connected with a local photo- play theater, it was necessary to ‘bring musicians and instruments here from Philadelphia and New York. —_——— Otis Skinner and Pictures. ETTING at rest the many rumors regarding the future screen career of Otis Skinner comes a formal an- nouncement from the office of Ex- ceptional Pictures Corporation that Otis Skinner h: signed a contract to appear in a picturisation of ‘Mis- ter Antonio,” the Booth Tarkington play, in which Mr. Skinner appeared a# Tony, the same character he will portray in the motion picture ver- sion. “Mister Antonio” will be Mr. Skin- econd picture, his first, released a year ago, being “Kismet,” in which Mr. Skinner demonstrated that the art which has made him a national fa- vorite of the theater was not limited to the speaking stage. The role of Tony will allow Otis Skinner to offer a colorful character- ization, this time that of an Italian hurdy-gurdy man, a modern_trouba- dor of the country towns. It offers Mr. Skinner unlimited possibilities for subtle characterisation. ss Keane for her artistic t00, there is harming 1 l.‘r:lru‘ngih'ulngafl:’l’ %l:.flllh !:;.H!hl:! story, n!n"%loh llr. gklnno:‘;o?l;d: bl 34 m”flfll“ a's nobility, gu of ‘ony’s southern blood. famous men of letters, those high litics and other professions. s e was recelved at court in the spring following her opening, and later was entertained on differ- t occasions by Queen Alexandra at Buckingham Palace. She lunched ‘with Premier Asquith at his Downing street apartment, an honor not even accorded to Bernhart. She was taken up by Lady Arthur Paget, and :he;: '5.5‘" bee.l; vmin t: e;{l& X seventy-si 0018’ Jullh B. Landers, the new supervisor g‘ visual education, is quoted as say- A stenographer In the office of Max- well Karger, the Metro director, was in a hole “How n, the author, ranks the most Pomnu- writers of s particularly hap- in his small-town characteriza- In the Same Class. From the Los Angeles Times. Mr. Barker, who claims to be at home in all that pertains to good formance of thef o Zieg- fleld, and the result was a contract for the “Midnight Frolic.” Later they featured in ‘“Cinderella on artist rnm..t.ho:huw-mr siving is vilege to Painiings ae thess AMUSEMENTS. In the Spotlight [OLET HEMING will play the ieading role in Henry Baron's Production of “The Rubicon.” Hubert Druce has been engaged for “The Pigeo: which Edward Good- man will produce at the Greenwich Village in a few weeks. Frank Hay's “Fables” have been placed in rehearsal, with Herbert Corthell and Bernard Granvilie head- ing the cast. Fay and Clarence Gas- kill are the authors. The play will be seen in New York next month. Doris Keane, who comes to the New National this week, made her first appearance in <hior Lengyel and Lajos Biro, in Bal- timore last week. Both star and play were well received. Arthur Hopkins will present “The Deluge,” adapted by Frank Allen from Henning Berger's “Syndafioden,” in New York next Tuesday night. Robert McWade and Margot Williams will head the cast. George M. Cohan's first production since his return to the producing field will be a comedy from his own pen. in which his daughter Geor will appear. Georgette, by the way, is the daughter of Ethel Levy, who was at Keith's last week. William Harris, jr., is preparinz to adaptation E Les Hannetons. Hornblow, jr., made the adaptation, and rehearsals start tomorrow under the direction of Robert Milton. Marie Lohr, the English actress, will make her first American appe: in New York, Monday, January the Robert Hitchens play, “The Volce From the Minaret. The estate of the late Mrs. “Julle Opp Faversham, wife of William Faversham, the actor, was appraised at $19,000, gross value, and $12,000 net. The entire estate was ieft to the husband. Kilbourn Gordon has placed in re- hearsal a melodrama by John Wil- lard, entitled “The Cat and the Canary.” Edwin Milton Royle, author of “The Squaw Man” in which William Faversham is starring, is understudy- ing Willilam’Frederic in the part of the sheriff. Brock Pemberton sailed from New York for London last week, where he will produce “Enter Madame” next month in conjunction with Dennis Eadie of the Rovalty Theater, who will play the leading male role. Gilda Varesi, who created the leading role in this country, will be featured with Mr. Eadle. . The Apollo Theater, in Atlantic City, heretofore a part of the Erlan- “The Czarina,” by Mel- | ger circuit, has become a Shubert vaudeville house. Vivienne Segal 1 to be ssen in Keith’s vaudeville, in a singt: called “An Impromptu Rehearsal™, Arthur Hammerstein says he proud of the fact that three of girls in his Blue Kitten, conducted in their native cities in i1s the Ohio. They are Evelyn Plumadoere, Helen Lewis and Dorothy Stokes.' | Louls Silver: & “April Showe: 1 Jolson sings In the second act of “Bombo,” has _been pointed musical director of Jolson's Theater during the ab- sence of Al Geedman. Mr. Go an is to make the drchestrations of the pew Cecil Lean show. Barbara McCree, daughter of the late Junie 3cCree, actor and play- wright, has joined the ensemble of {Blessom Timie,” now showlng in New ork. Oliver Morosco has changed the title and book of the new Charlo! Green- wood vehicle, Rose Stahl's former faggie Pepper.” It will be called “Lanky Letty Pepper,” and is now in rehearsal. William A. Brady will shortly pre- sent in New York a play by Paul Geraldy, entitled “The Nest which was produced at the Comedie Fran- caise, Paris, in 1917. The cast will be headed by Lucille Watson, Chris- tine Norman and Frank Burbeck. Fred G. Latham of Charles Dilling- ham's staff cabled last week from London that he had succeeded in can- e |celing a contract Oscar Shaw had made which called for his appearance 1in London next summer. Shaw will remain with “Good Morning, Dearie.” indefinitely. Harry Fox, musical comedy star will marry his pretty vaudeville part- ner, Beatrice Curtis, according to an announcement by her father, a New York vaudeville agent. Fox was di- vorced last summer by Yancsi Dolly, one of the well known Dolly sisters Milton Hayes, England's leading musical comedy comedian, who has been starred in a number of Albert de Courville productions, has ac- cepted a Shubert vaudeville route and will be seen in February. He Is an- other continental star due for an early appearance. Poli's Theater announces it has definitely arranged to_present during | the week beginning March 5 Willie |and Eugene Howard in the big New York Winter Garden spectacle, “The Passing Show of 1921,” said to be the biggest of all Winter Garden shows, in twenty-six scenes, with a score of musical numbers and a cast of old and new favorites, and a chorus sup- plied with a fine disregard for a multiplicity of railroad fares. Not_es of Art and Artists | A remarkable collection of Japa- nese paintings in the manner of the old school by a distinguished Jap- anese artist, Shunko Sugiura, is now on view at the National Museum, be- ing set forth under the auspices of the National Gallery of Art. The collection comprises about forty ex- hibits, kakemonos and framed pic- tures. These are all in accordance with the best traditions of orlental art and are of a standard compara- ble with the works of the great Chinese and Japanese masters. There are landscapes, birds, animals and flowers, some in color, but the ma- Jority in monotint. The Japanese and Chinese paint- ers of olden days were masters of the art of elimination, and in presenting themes set forth only that which was essential. They had the keenest sense of decorative quality, but their works invariably were full of senti- ment and significance. This is like- wise true of Mr. Sugiura's paintings. They are simple, well composed, dec- orative in effect, exquisitely subtle and fully imbued with meaning, ori- ental in spirit, universal in appeal. The artist is by no means a young man, and he is one of those who dep- recate the tendency of Japanese srtists today to follow western meth- ods. Unlike the artists whose works were exhibited a short time ago in the Corcoran Gallery of Art, he is not an ymitator of those who have gone before, but he naturally and skillfully employs the same mode of expression as did they. It is largely in protest against the misapprehension _of younger artists of Japan of today that he has brought this collection to America and is taking it to Europe to exhibit, believing that in this way he can best demonstrate the fact that 310 spirit of the old school is still Ive. Art is a reflection of life, and very few can live in one age and produce in the spirit of an age that has gone before it. Internationalism is bound to eliminate national individualism. In all probability the old art of Japan is forever gone unless that nation chooses to close its doors once more and live unto itself. Rallroads, the telegraph, telephones, all modern in- ventions which bring the different peoples of the world closer together, help to eliminate differences, and it is differences of habit and thought that create national individuality in art. The west has learned much of the east in this field and has still lnl;e‘h to lel;nlh - one o e few living repre- sentatives of the o !ch‘onl, pl!h Shunko Sugiura should therefore be the more welcome today, and this ex- hibition of his paintings the more valued. He {is at the present time on his way to Paris to present to the Louvre one of his works, invited about ten years ago. The exhibition will continue only until Friday af- ternoon. It is eminently worth see- ing. * % * * The group of landscapes by the late John Leslié Breck, now on view at the Arts Club, 2017 I street, is a real refreshment and delight to a sin- cere lover of art and of the outdoor world. Not only are the pictures well painted but peculiarly sympathetic and discerning. There is a reticence about them that is refreshing in this of very frank expression, and a g‘l;l:.t' Joyousness l’hlt.t lt|lu the emo- ne sees in style a general character that is reminiscent of Monet, his master, and Twachtman, his neighbor and colleague. But for this very fact they are none the less engaging. There is a series of five pictures, all of the same subject. a simple enough subject, at that, at Giv- erny, painted with the sole purpose of demonstrating the difference in light from dawn to mid- day. The first is at dawn, the clouds delicately colored; the next shows the sun dispelling the morning mist; the third pictures the shadows still long, but the air clearing; the fourth, the shadows have shortened, it is 10 in the morning; in the fifth the shadows have disa ed, it is high noon. Here are pictures frankly displaying the different appearance of the same terpret- light and air, and us proving the impressionists’ con- tention that it is the variance in these which makes for charm and beauty in landscape. No. 4 in this exhibition; “Cliffs at Irondound Island, Maine,” is a more complete work, very lovely in color, very beautiful 'in texture. The four Venetian subjects are a little Tur- ‘neresque and less spontaneous in ren- dering than the landsca painted in Mr. Breck’s own New England. Surely " tman was right| when he sald that in this painters early death “our country lost a great know it see such thess, n the usder rooms at the: 3 are to be seen at this time a collec- tion of paintings by Cleon Throck- morton. a member of the club, and evidently also a summer sojourner at Provincetown. One of these paint- ings is a marine, a picture of sea and sky, very charming in color, very beautifully painted—a work meriting highest commendation. * % % % In the main corridor of the Central High School, into which the main en- trance on Clifton street opens, there is now on view an exhibition of prints and color photographs espe- cially purposed for school and llbrary decorations, assembled and circulated by the American Federation of Arts. This exhibition Is being shown here under the auspices of the School Art League of this city, of which Miss Grace Lincoln Temple is president and Miss Myra Hendley secretary. and it was arranged especially for the teachers' institute which was held in the Central High School last Fri- day. It will remain on view only until Tuesday. The exhibits are reproductions, for the most part in color, but also in sepia and in black and white, of paintings by distinguished artists, carefully selected for schoolroom decoration and use. One group s of works by the old masters; one com- prises architectural themes by Jules Guerin, the painter of the mural deco- rations in the Lincoln Memorial others for the most part reproducs landscapes and figure paintings by cotemporary American artists—E. A Abbey, George Inness, Abbott Thayer. Frank Benson, Maxfield Parrish and others. The pictures are all lightly framed, but without glass. This is one of the fifty traveling exhibitions that are being sent about the country by the American Federa- tion of Arts, our national art asso- clation, which has its headsuarters in this city in the Octagon. ‘The exhibition may be seen by any who desire to view it between 9 and 4 o'clock tomorrow. * & ok % The Corcoran Gallery’s eighth exhi- bition, which has proved so extremely notable, will be concluded at 4:30 o'clock this afternoon, and from to- morrow for possibly two weeks the gallery will be cloged. During this time the pictures in the temporary exhibition will be taken down and the permanent collection replaced. . * k x x The Pilgrimage Play Association, Inc., of Los Angeles, Calif,, is offering & prize of $1,000 for the best poster to advertise the gll(flm play, “Life of the Christ,” which is given annually each summer in Los Angeles, Calif. This play partakes somewhat of the character of the Passion Play of Oberammergau, and is presented un- der the auspices of a national com- mittee, comprising the Episcopal bishops of Pennsylvania and Los An- geles, a distinguished actor and sct- ress, George Arliss and Mrs, Otis Skinner: a painter, Miss Violet Oak- ley; a writer, Clayton Hamilton, and others interested in the arts. \ Posters submitted in competition will be judged by & jury composed of DeWitt Parshall, chairman: Willlam Wendt, Francis McComas, Howell C. Brown, J. Bond Francisco, all paint- ers; J. Nilsen Laurvik, director of the San Francisco Institute of Art, and Mrs. Christiné Wetherill Stevenson, producer of the play. They must reach Los Angeles by March 31, e l:f there A . information can be se- cured by addressing the Pi Play Assoclation, Los Angeles, Cal! * & % The mayor’s committes of Boston, Mass, appointed December, 1918, to direct the movement to'commemorate oA SO LSOO R RO F LB LRI 8 L UL A ISR T the soldiers, sailors and es of Boston by a permanent memorial, h after studying the matter most ca: fully, reported in of a h towerl :-mn: !rvn; e i:fllonnldceh 'lnfl taining & eat carillon, or ime :gnh-ll-. {o hfrgmted on an island, the Chlr%ir:‘ ‘r"l"ll'. This is of particular interest in Washington on_ account ”unn Arts Clud's_project for thé on of 2 h-omwm similar tower wita carillon “The Boston committes consisted of five architects, a landscape architect, a painter and two laymen, one of the latter being the president of the Bos- ton Museum of Fine Arts. Such a tower, this committee claims, would be the manifestation of a gTreat spir- itual aspiration, and if well carried ‘out would always embody the beauty and jmspiration of a great idesl, e *x k¥ % An “exhidbition of dry ‘gleluu.xch- ings and drawings by Plerre - tens, a d! Belgian t, will be held the galleries of the anuary February - :’"gl‘ 3 private view. CAY ~ g