Evening Star Newspaper, January 14, 1923, Page 55

NOTHER demonstration of the suitability of the picture screen as a vehicle for the standard novel is the production of “Oliver Twist.” Many stage versions of the play have been made, but never before has the child title role so completely dominated the cast. Dickens has been a fruitful source of inspiration for the drama—and will continue to be so. There will be other players to impersonate Tom Pinch as well as E. S. Willard did—but you will never get great-grand- father to admit it. Other players will portray Cap'n Cuttle as well as W. J. Florence, and Little Nell or the Marchiomness as sweetly as Lotta Crabtree herseli. When “Oliver Twist” was the play, it was always Bill Sikes, or Nancy Sikes, or Fagin, on whom attention was centered. Little Oliver was usually the child of one of the members of the company, cast, not because he was peculiarly fitted for the role, but because he was readily available. * K ok ok In this most modern presentation of “Oliver Twist” the little child leads them. Jackie Coogan is nct only the big name in the program, fleetingly flashed on the screen, except in his own case. Ile is also billed on the outer walls as the proprietor of the film. That his name has been fheavily capitalized is casily believable, but that in addition to his ingen- wous art he takes on the actual responsibilities of a film magnate is not so readily accepted. Any way, it doesn’t make any difference. The boy! is a real, live boy, sensitive, too, and with a gift for comprehending the subtleties of a scene. The giit is not so exceptional in children. " They often possess it, but lose it as the ideatism of stage art slips from them and the realism of bread winning asserts itself. * %k ok This eager, wistful.eyed boy, pursuing the adventures of a waif, sets you worrying a little about the future. Not his personal future, which isI secure, it is reported, to the extent of an offer of half a million for four | pictures, but his future as a figure in public entertainment. For he has that most perilous of distinctions, that of being a “prodigy.” A prodigy does not necessarily fade into ordinary maturity, probably more useful and comfortable than the theater provides for many accounted successful. Yet the clever children whose careers ended with their childhood are numerous enough to cause apprehension that the rosy promise of talented youth may not be fulfilled. Two favorite actresses of today were prodi- gies, Ina Claire and Elsie Janis; neither of them great dramatic players, but both highly esteemed in the world of popular entertainers. Wallace Eddinger, who played “Little Lord Fauntleroy,” went steadily forward and rests secure as a legitimate star. But for one bright child who pur- sues a stage carcer for life, scores drop from the footlights in early dis- illusionment. A clever child usually reflects the cleverness of an older person. A spirit of trustful dependence renders him pliant and the joy of pleasing others is strong in him, with little thought of reward beyond that which trustful affection craves in compliment and tender care. ’I‘hci thought of subsistence does not obtrude itself and there is always some | one to take his part should some overwrought stage director become un- reasonable. The child sense is mimetic. Jackie Coogan has a personality of his own. Yet for an instant in “Oliver Twist,” when he starts a smile and suddenly checks it as he realizes the relentlessness of a pursuer, there was a glinting reminder of his old associate, Charlie Chaplin. And Chap- lin, whatever may be sald of his special brand of fun, is a pantomimic technician. Whether Jackie Coogan will evolute into “Jack” and then into “Mr. John Coogah,” and be presented by manager of celebrity in legitimate drama is a_question. His future will be in his own hands as that of no other prodigy has been before, for when he decides that he wants to play Shakespeare, as every eminent actor sooner or later does, he will have financial backing at his own command. His danger will lie | in too much independence of restraint, for the player who casts himself | as his own fancy dictates often makes mistakes. Whatever may be the | disappointments they hold for older folk, the motion pictures are unques- tionably good to children. * % ¥ % How little an artist can mold his destiny to conform to his own_de- res is shown by Dickens himself. No man strove harder to be tragic as in the scenes betwecn Nancy and Bill Sikes, or even grewsome, as in the song about the sexton who leaned on his earth-worn spade and chanted in basso profundo: “I gathem in! I gather them in!" Yet cven the sublime height he reached in the character of Sidney Carton in “The Tale of Two Cities” somehow melts into an impression of splendid pathos and becomes kindred to those who have evoked a smile. He laughed without 8 sneer and his tears were of gentle human sympathy and never of tem- pestuous, ungovernable passion. But there is danger in Dickens. His characters-Jive so vividly that they scem to walk the ways we tread to- day, only differently costumed. Should a Dickens revival take place it would be too easy to pick out Micawbers and Pickwicks and Peck- sniffs—yes, and even Bill Sikeses and Uriah Heeps in the midst of any community. A minute acquaintance with Dickens, commonly shared, would be a formidable temptation to ill-bred satire. * Xk X ¥ rts of screen and speaking stage are not always interchangeable. f the Japanese actor, Sessue Hayakawa, who appeared in “Tiger Lily” at oli’s, succeeds in transferring himself permanently to the footlights he will have better luck than Theda Bara, who appeared at the same theater g\ “The Blue Flame” several seasons ago. Mary Pickford, in “The Good ittle Devil” a Belasco presentation, gave no promise as an audible actress of the eminence she was to attain in films. Part of the fascina- gion of the stage lies in experimentation. It is a sort of laboratory where @0 one can be sure whether he is going to get a useful, stable product or gerely a distressing explosion. 'R 3 ®ne of the most interesting experiments is that conducted’ in the play “Jetta’s Atonement.” It is an effort to combine two styles of ex- ression that are absolutely unrelated. The original play is by Siegfried rebtsch, and its adaptation is by G. Bernard Shaw. The impression as- aerts itself that Trebitsch was taking his three-cornered love affair very seriously, attempting to measure mathematically the relative devotion ©f a woman to a live husband and a dead sweetheart; and that Shaw de- eided to follow his customary theory that morals differ in various social gircles and one code is about as good as another. Thebitsch is a remorse- #ess triangulationist and Shaw is an enthusiastic circle squarer. The first process is the more responsible; the second the more amusing, even though its results are never definable with absolute accuracy. It is hope- $ul to see Mr. Shaw forsaking politics and contemplating a return to the gheater. America is fond of him. Even though he jeers at us and refuses o visit our shores, he is the idol of the amateur cynic and the pet of the ,'lokumvi"e Literary Society. To this extent, at least, Mr. Shaw proves ghat he is a politician. * ok k k §n spite of the title, there wasn't an unkind word spoken at “The $candals.” It was a gorgeous dancing show; a highly developed form of ghe idea introduced from Paris by “The Follies” in years agone that meas- are the length of a Rip Van Winkle sleep. Only Rip would never have gone to sleep at “The Follies"—not in those days. If he had accidentally ne so and had awakened at the “Scandals” he would have been as much ! surprised at the change in spectacular entertainment as Rip was at the unicipal improvements in the town of Falling Water. The. Rip Van E]inkle experiment was tried by the veteran minstrel man, who was play- g in a “for old times’ sake” act at Keith's, Frank E. McNish. No inti: gation is intended, of course, that Frank has been asleep, but he has been way from Washington a long time. As he approached the new New ational Theater fie reminisced: “That'’s the theater where our show dis- anded—'McNish, Slavin and Johnson’s Minstrels,’” and to the lobby he remarked, “There used to be steps her gicularly caught the hncy of the veteran minstrel was George White's dancing. “I regard him,” commented McNish, “as the best dancer on the stage today’—which is a criticism worth having, for McNish was a garvel of rhythmic nimbleness and fun when he was playing England and America in_his pickaninny solo act, “Silence and Fun.” *“T like a show of this kind,” he went on.” “It shows that there are still good performers ho haven't gone into the legit. I once thought I was going into the itimate myself.” * “Hamlet?” “No. Happy Hooligan. I thought I was going to have nothing to do Put act and recite speeches. I had just become a grandfather, and I thought it was time to give up the acrobatics. When I got the manuscript. of my part I was exuberant, but my dream faded as soon as I read the §rst line. It was, ‘Enter Happy, with neck fall’ Since then I have never mspired to be a‘dramatic star.” * K ke % . Perhaps many players would be spared the anxieties which prevent # ripe old age, if they were equally ‘philosphical in accepting their fates s tce public taste decrees them. * kK ok *The Scandals” typically American, and for .this reason proved ne of the most interesting shows of the week. It-is typically American. t proclaims a condition of intellectual depletion—not -depletion, rather et 4 Sunday Star WASHINGTON, D. C, SUNDAY MORNING, JANUARY 14, 1923 LR GALLIENN Polis g L StoT! Ci‘hj lub Miroppo CrCIL Gayety Current Attractions AT THE THEATERS THIS WEEK. GARRICK—Margaret Anglin, in “The Sea Woman,” drama. Opens tomorrow evening. NATIONAL—Helen Hayes, in “To the Ladies,” comedy. Opens to- morrow evening. POLI'S—"Liliom,” Molnar comedy. Opens this evening. PRESIDENT—“Abie’s Irish Rose.” Performance this evening. KEITH'S—Fanny Brice, vaudeville. New show opens tomorrow afternoon. BELASCO—"“Twenticth Century Revue,” Shubert unit. afternoon. COSMOS—B. A. Rolfo’s “Misses and Kisses,” vaudeville. New show opens tomorrow afternoon. STRAND—“Dolly’s Dream,” vaudeville. Opens this afternoon. GAYETY—*“Bowery Burlesquers,” burlesque. Opens this afternoon. GARRICK — Margaret Anglin, “The Sea Woman.” The Shubert-Garrick attraction this week is Margaret Anglin, in & new play, “The Sea Woman,” by Willard Robertson. The play is under the direction of Lee Shubert and was staged by George Foster Platt. A cast, including Harry S. Minturn, who ing man in “The Woman of Bronze”; Rea Mar- tin, talented daughter of Ricard Martin of Metropolitan Grand Opera fame; Claude Cooper, Joseph Sweeney and Raymond Van Sickle, has been chosen to support Miss Anglin. It is seldom that Miss Anglin pro- duces a play which has not elements of success, enduring esteem and both esthetlc and popular appeal. So, in Opens this Osiris to the days of Robin Hood there is nothing that is more fasci- nating, more tremendous, than that which surrounds the vikings of the north; these sailor men of ancient days, who ventured forth on the ter- rifying sea, whose ends they knew not, whose limits were beyond ken, with joy in their hearts, a smile in their ‘eyes and a cheer on their lips, to their women, who waved them good-bye from the shore. And their ‘women, not one whit weaker and not one step less adventurous than their mates, who went back to their weav- ing, sewing and the rearing' of their man child, to become the warrior his father was. Like their long-haired, brawny, fighting males, they feared nothing that swam the sea, walked the land or flew in the air. Of this stock is molded Molla Han- sen, thi “The Sea Woman” the audlence will it is thought, find these concomlitants and. besides this, a rich and alluring character. Molla Hansen, the daugh- ter of all vikings, strikes & new and fertlle vein and makes a romantic canvas for Miss Anglin's facile and artistic brush. In all legendary lore from Isls and haracter Miss Anglin por- trays—a woman in everything a woman should be, and a man when the moment arrives for a man's fight against terrific odds. g It is a character unlike anything Miss Anglin has ever portrayed. For several weeks Miss Anglin lived in a fishing hamlet in Norway, studying. say supercilious indifference to what American drama has to offer. The present genius of America is inventive and mechanical. “The Scandals” makes its appeal on terms of sheer physical energy.’ There is not a back author on the list of the New York producers’ play readers who would dare attempt a play which touches vitally on the topics which are of real interest to American citizenship. The theater revels in a luxuriant ex- oticism which makes it a playground for the opulent, or a refuge for crudity. There is nothing for the mental middle class in the output of the New York theater. The entertainments most written about are least patronized. A single concert'singer, an orchestra or an instrumental soloist is far more interesting than the play, because it reflects sincere artistic energy, even though 1 the form of straggling excerpts. A lec- ture before a few hundred in ‘the'baliroom of an intellectual grande dame exerts more influence than an entire season of rehearsed dialogue. People are weary of studying the matrimonal squabbles-of make-believe people and of listening to the Iyrical twittering of the Broadway snowbird. They care more for Mussolini and the fascisti—the principal and chorus of a world drama_that has history for its stage. e theater here perhaps needs-a fascisti—a body of sincere people demanding protection for the, intellectual middle classes from the upper and nether millstones of art, super-society and the underworld. PHILANDER JOHNSON. fal [EILEEN 1 Cbn;:erts—Lectures | SoxroroEr WILSON~ f?resndent - Rlis | | umph s RUTH ST DENIS National O1ca SAMAROEFP ~ Masounte Audiloriun not only the habits, but the innermost depths of the Norsewoman, the folk lore, the nursery tales and the effect of thelr sagas when they would sing. Then, and not until then, did she realize the depth of feeling these women of the north possessed. NATIONAL—Helen Hayes, the Ladie Monday night will bring Helen Hayes to the National for a stay of a week in “To the Ladles,” by George S. Kaufman and Marc Connell) authors of “Merton of the Movies and “Dulcy. Reversing the situation of “Dulcy” (In which a wife was continually get- ting her husband into trouble), “To the Ladies” presents the case of a penniless _young married couple pulled ovef thin ice to safety by the bride’s resourcefulness. The authors have gone in for a bit of satire quite outside of the plot and their targets are business efliciency gone mad and the trade banquet, at which every- body talks and nobody amuses. The banquet scene includes everybody from the off-stage man with the cough and the waiter clattering, dishes to the flashlight photographer. In this also & politician tries to blend the democratic party into the success of the plano industry. Miss Hayes, last seen here In “Bab,” plays the tactful wife, who saves the day for her husband after he has “flopped” in his banguet speech. In the company are Isabel Irving, Jean Dixon, Carl Anthony, Louis Harrison, Willlam Seymour, J. Warren Lyons, Russell Mederaft, Junius Matthews, Harry Irving and Joseph Hyland. POLI'S—“Liliom.” “To The Theater Guild production of Franz Molnar's comedy of life, “Lillom,” with Eva Le Gallienne, comes to the Poll Theater this week, opening tonight. “Lillom" is the story of a Hungarian bouncer and barker in a merry-go- round in Budapest, and its universal success is clalmed to ‘be due. to a great degree. to the scrupulous re- spect for reality, the picturesgueness of its scenes and, | trong appeal to the imagination. The first is attribut- ed to the direction of Frank Reicher, who was brought up in_a school where veracit; understood and practiced as in no %Lhor perfod of theatrical history. The imaginative beauty of the production is largely due to Lee Simonson, who has been responsible for many of the beautl- fu) effects of the hTeater Guild pro- ductions. It is said he can “convey the sense of the out-of-doors, of the free air. of the gardens and wide spaces. His spring really blooms, his autumn js russet and" full of mela choly. His railroad embankment in the fourth s declared a tri- f “the imaginative vision of his “courtroom {n the of “an airy restrained com- | pelling fancyy One of the beautiful bits of “Lillom” is played in a moonlit garden which' is really silver in quality. “Lillom™ is presented as it presented in its orlginal tongue. The supporting _ cast _includes Charles Ellis, John Harwood, Lillian Kingsbury, John Crump, Philip Wood, Brandon Deters, Maud Andrew, Rose Hobart, Carlton Rivers, Howard Claney, Marylyn Brown, M. C. Her- man, Clif Heckinger and Barbara Kit- son. PRESIDENT—'Abie's Irish Rose’ (Eighth Week). “Abie’'s Irish Rose,” the comedy by Anne Nichols, reaches & new apex of popularity in Washington this week with the announcement that it will continue at the President Theater for its eighth consecutive week, begin- ning tonight at 8:30 o'clock. This establishes a long-run record for a play in Washington. It eclipses the Washington record of even “The Birth of a Nation,” which held the screen record up to the present time. Elleen Wilson and Henry Duffy have the chlef roles. Harry Manners staged the President’s_production, and the cast includes Robert Lowe, Harry Shautan, Anne Sutherland, Guy D'En- nery, John Carmody and many others. “Abie's Irish Rose" is regarded as the greatest collection of comic lines and situations the theater has known in vears. It concerns the secret mar- riage of a Jewish boy and an Irish girl and the effect of the discovery by their outraged families. The situa- tions and episodes are irresistible in ther appeal. KEITH'S—Fanny Brice. Fanny Brice, with her famous ac- cent and her laughable manner, comes to Keith's this week as the chief magnet, and it is needless to explain that her repertoire will include all the old songs as well as a few new ones. The added attraction will be “Fifty Miles from Broadway,” which brings the White Way and Main street to- was {gether In such a way that mirth, melody and dancing result. Harry B. Watson and Reg. B. Merville are the featured comedlans. Madeline Collins, the Covent Garden prima donna, occupies third place on this unusual bill. The other acts will include Shaw and Lee in “Nature’s Gifts;” Raymond Bond and company in his new act, “The Minute Man;" Oakes and Delour in “A Cycle of Cy- and Canova's Plastic Posing Dogs. The usual house fea- tures, Acsop's Fables, the Topics of the Day and the Pathe News Pictorial, wiil complete the program. BELASCO—“Twentieth Century Revue.” The best laughing show on the Shu- bert circult, headed by the four Marx brothers and Century Revue,” is announced by the Belasco for this week, beginning with the matinee this afternoon. The bill is composed of six vaude- ville acts and a musi-comedy revue that enlists the services of a company of fifty entertainers. The featured players are the four Marx brothers, Who have won a reputation as fun- makers, in_a new and orlginal act. The revue is an up-to-date melange of melody, comedy and dance com- bined with pleasing specialties, in which a bevy of pretty girls assist in the ensemble. Other acts are Olga and Mishka, in a beautiful and artistic dancing act called “A Thousand and One Nights, in which they are assisted by a com. pany of six people: the Novelle brofl:erl. in “Clown_ Classic: Marie clonic Dances” called the “Twentieth a silver-toned soprano; Krans ~ (Gonunued on Fourth Fage.) ; Newman—*“Victos Falls,” night. E. M. Newman will continue his “Across ' Africa” Cape-to-Cairo jour- |ney at the National Theater this even- ing and tomorrow afternoon. *“Vie- torla Falls” is the territory to be cov- ered and en route the African jungle wil] be visited and a word and pic- ture story of the wild life will be told. ‘The journey in motion pictures and color views includes glimpses of Dur- ban, the Islands of Madagascar and Maritius and of Victorla falls—which aro twice as wide as Niagara and two and a half times as high. Many fine types and studies of sav- age life will be shown, including Zu- 1us in their homes, their dances and ceremonials. Mafeking, Bulawayo, Motopos hills, the Khaml ruins, Zim- babwe, Ridar Haggard's setting for oS "King Solomon’s” mines and Allan Quarterman all will be covered. To- Janet Richards Tomorrow. Miss Janet Richards will give her weekly talk on public_questions to- morrow morning in the auditorium of the New Masonic Temple, 13th street and New York avenue. The talks each week are an inter- pretive review of outstanding world events of national and international importance. The review this week will include the alignment of the allies in the Ruhr crisis, the order for with- drawing the United States troops from the Rhine, pending congressional legislation, etc. The talk will begin at 10:45 a.m. Evening Symphony, Central High School. Under the auspices of the Washing- ton_Society of Fine Arts, the New York Symghony Orchestra, under the direction of Albert Coates, the dis- tinguished guest conductor, will give ning concert in the auditorium entral High School tomorrow evening at 8:30 o'clock. The program wlill phonic poem, “Don Juan, Strau: “On Hearing the Delius: scherzo from Tschaflfowsky; Symphony No. b, Bee- thoven, allegro con brio, andante con moto, allegro (scherzo), allegro, presto. New York Symphony, Tuesday. The New York Symphony Orches- tra, under the direction of the dis- tinguished guest conductor, Albert Coates, will be heard in the New Na- tlonal ' Theater Tuesday afternoon, ! with Frieda Hempel as the soloist. Mme. Hempel will sing an air from “Der Freyschutz,” by Weber, and a| group of songs, consisting of “Batti, Batii, O Bel Masetto,” from “Don Giovanni,” by Mozart; “Cradle Song. by Humperdinck, and “Saper Vor- resta,” from Verdl's “The Masked Ball.” Mr. Coates’ program of orchestral pleces ~ will include the Brahms “Fourth Symphony in B Minor"; “In the Steppes.” by Borodine, and the relude and finale from Wagner's “Tristan and Isolde.” The occasion will mark the begin- ning of Mr. Coates' second season in Washington, and the interest evinced | by the London conductor's many warm admirers bids fair to make his visit one to be remembered. In Eng- land Mr. Coates is the conductor of the London Symphony and the Roval Philharmonic Soclety. Last summer he directed the first performances since the war of the Wagner “Ring” dramas in Covent Garden. Tickets are on sale by T. Arthur Smith, Inc., 1306 G street northwest. Walter Damrosch, Wednesday. Under the auspices of the Washing- ton Soclety of the Fine Arts, Walter Damrosch. the distinguished con- ductor of the New York Symphony Orchestra, will give a series of three explanatory recitals on the Nibelun- gen Trilogy in the Central High School auditorium, beginning Wed- esday evening at 8 o'clock, with ‘Rheingold.” Mr. Damrosch will illustrate these lectures on the Wagnerian operas at the piano, reciting the text from a translation of his own, which is sald to preserve the picturesque force of the original. The various scenes will thus be given with all the dramatic force of & real representation. are on sale at T. Arthur Smith, Inc., 1306 G street. F 0Olga Samaroff, Thursday. Mme. Olga Samaroff, who i sald to lead the women pianists of today, will be heard In_recital at the Masonic Auditorium, Thursday evening at 8:15 o'clock, under the local management of T. Arthur Smith, Inc. This concert will be the fourth in the master planist series. Mme. Samaroff's program will be as follows: “Sonata, Op. 10, No. 2 (Beethoven); “Intermezzo, E Flat, Capriceio, B Minor, and Khapsody, E Flat” (Brahms) onata, B_ Fiat, Minor” (Chopin: “Prelude, G_Minor” (Rachmaninoff); “La Catheldrale Engloutle” (DeBussy): “Danse” (DeBussy), “Lotus Land” _(Cyril Scott), and “Ride of the Valkyries” (Wagger-Hutcheson) (hy request). Tickets for this recital may be had from T. Arthur Smith, Inc., 1306 G street. Siloti, Thursday Evening. Alexander Siloti will give his first recital in Washington at the City Club Thursday evening at 8 o'clock under the management of Mrs. Wil- son-Greene. The announcement of the return to the United States of this distinguished Ruselan pianist has occasioned much expectancy among music lovers, as Siloti Is considered one of the great- est living masters of the piano and is known throughout the world as an interpreter of the music of Lisst, whose pupil he was. While professor in the Moscow Conservatory he num- bered among his pupils his distin- guished cousin, Sergei Rachmaninoft. His program will include “Fantasla in C Minor,” “Gigue in B Flat," “Pre- lude to Cantata No. 29, in D”; “Or- gan Choral Prelude, E Minor” ( h St. Francis Walking on the Wave: 1 Penseroso,” “Au bord d'une Source™: “Benediction de Dieu Dans la Solitude” (Liszt), “Nocturne, C Mi- nor”; “Etude, F Minor, No. 25": Major 2 Hebrew Melody (M. Ravel); Russian Folk Songs, from Op. 58 for Orchestra; “Lesginka.” a Caucassian dance (A. Rubinstein). Seats are now on ale, Mrs. Wilson- Greene's concert bureau, 13th and G streets. Ruth St. Denis, Friday. Rith St. Denis, Ted Shawn and the Denishawn Dancers will make their only appearance this season in Washington at the National Theater, “Four | Friday afternoon at 4:30 o'clock, un- der the local management of Arthur Smith, Inc. The organi: tion will be assisted by Martha G ham, Pearl Wheeler, Betty May, Ne nore Scheffer, Julia Bennett, Ma: Lynn, Louise Brooks, Charles We man and Paul Mathis. Accompas ment to the dances will be furnished by an instrumental quartet, con- ducted by Louis Horst. A partial list of the numbers as follow: Suite,” 2 attractive ‘Spanish yman ‘Waltz, Op. 39, No. 15" (Brah “Liebestraum” (Liszt's), “Xochit! dance drama based upon an anclent Toltec legend. “Otientalia”—China, Crete, Indla, Siam, Japan, Java, and Egypt. Tickets may be had from T. Ar- thur Smith, Inc., 1308 G street. Cleveland Orchestra, January 21. Those who remember the ovation which the Cleveland Orchestra re- celved a year ago will be Interested to know that the orchestra will ap- pear at Poli's Theatér Sunday after- noon, January 21, at 3:30 under the management of Mrs. Wilson-Greene. ‘This, one of the two youngest of America’s twelve symphony orches- tras, was organized In 1918 by Adella Prentiss Hughes. the only woman manager of a symphony orchestra in this country, undér the auspices of the Cleveland Musical Arts Associa- on. Under the direction of Nikolai Sokoloff, its Russian-born American- trained 'conductor, this organization has been commended for richness of tone, for clegance of phrase and yleld and interplay. Seats are on sale at Mrs. Wilson- Greene's concert bureau, 13th and G A Record of Achievement. S a record of achievement and as; evidence of fine energy, resource- ful capacity and a hospitable mind, consider Margaret Anglin's programs of the last twelve years and think if | you can name any other player on the American stage whose work in the same period can surpass it. Hero is the list of the plays which she has appeared: 1910—"The Awakening of Helena Ritchie,” by Margaret Deland, in New York; “The Antigone of Sophocles,” in California; “Mrs. Dane's Defense,” by Henry _ Arthur Jones: “Shifting by Helen Ingersoll, in Seattle. " by Julia Ward ‘Green Stockings,” Z . in New York. Lydia Glllmore,” by Henry Arthur Jones, in New York; “Egypt,’ by Edward Sheldon, in Chicago: “The Child” (Harvard prize play), by Eliza- beth McFadden, in Houston, Tex. 1913—"The Electra of Sophagles,” in California; “As You Like It,” in San Francisco: “The Taming of the Shrew.” in San Francisco; “Anthony and Cleopatra,” in Winnipeg. 1914—Her Shakespearean repertoire in New York; “Lady Windermore's Fan,” by Oscar Wilde, in New York. 1915—"Beverly's Balance” by Paul Kester, in New York: “The Iphigenia in Aulls of Euripides,” in California; “The Electra,” In California: “The Divine Friend,” by Charles Phillips, in San Francisco. 1916—"The Vein of Gold,” by Rupert Hughes, in_Pittsburgh: “A Woman of No Importance” by Oscar Wilde, in New York: “As You Like It at the Open Alr Theater in St. Louls; “Caro- line,” by Somerset Maugham. in New in THERE appears to be no let-down in “the vogue of the negro “spiritual” among the recital singers since, in 1916, the Burlelgh transcrip- tion of “Deep River” served to in- dicate the rich field of melody which lay in the half-forgotten hymns and chants of the plantation and the jubilee of slavery days. Many of the singers from continental Furope have included two or three transcriptions of old spirituals programs, Galli-Curci and Frieda Hempel being the first of the forelgn- ers to realize their melodic and emo- tional values, Now comes Claire Dux, in the United States less than a year, with an entire group of spirituals. Her attention and interest in this song- form were enlisted by Helen Hayes, star of “To the Ladies!”.who, in the first act of that comedy, sings two to her own accompaniment. One s the familiar Guion arrangement of “Nobody Knows the Trubble T've Seen” but.the other, made over from the original chant, by Zoel Parenteau, owes its circulation entirely’to Miss in their concert Hayes' use of it. It Is called “Happy Days,” and is one which seems to have escaped the attention of Mr. Burleigh. L Miss Hayes makes no pretensions to the gift of song; the episode at A4 York. 1917—"Billited,” by Jesse, in New York. 1918—"The Medea of Euripides.” in New York; “The Electra” in New York; “The Open Fire,” by Hulbert Footner, at Springfield, Mass. 1919—The Woman of Bronze,” Henrl_ Kistemacker. *“The Trial of Jeanne Moreau, in San Francisco. 1920-1-3—"The Woman of Bronze.” 1923—"The Sea Woman,” by Willard Robertson, Washington, D. C. It s an impressive list. For one thing, it is of great varlety. It ranges all the way from the glories that were Greece's to mere pot-boil- ers, some of which did keep the pot bubbling and some of which left it chill. It includes the airest and most inconsequential of modern foolerles with the loftlest of the old tragedles. for she, who once wallowed in the grief of Mrs. Dane till speculators began bldding for the handkerchief concession at her theater, has seen fit to remind us all from time to time how featherlight her touch, how un- quenchably may her spirit can be in comedy. This list tells a story of work done trom one end of the country to the other, of plays staged within the strict limits of a Broadway theater and of larger enterprises wher. .he had joined hands with the Coi.ii ity that had called her. It has its stop- gaps and Its experiments and its old reliables. It has its failures and its triumphs. For the most part it re- cords an assoclation with the best of living authors as well as with the finest of the classics. Above all, it tells a story of fine ambition and end- less work—hand work with the head held high. Harwood and Helen Hayes’ Spirituals. the piano, wherein she sings the two old negro tunes, is part of the play itself. Hearing her sing them at a performance in Chicago led Miss Dux to ask about their origin, and, asking, she proceeded to make acquaintance with the growing literature of the transcribed “spiritual Margaret Anglin's HO’IOYS. 'ARGARET ANGLIN, who comes here in her new play, “The Sea Woman,” has, during her notable stage career, been the reclplent of great honors Miss Anglin states that the moment of her greatest pride was when she was chosen to read Jules Bois’ poem in Prench to Marshal Foch at .the dedication of the Edward Hines, Jr., Hospltal, at Speedway Park, Chicago. While Miss Anglin is a Canagian b birth, having been born in the house of commons, Ottawa, when her father, Timothy Warren Anglin, was speaker of the house, she speaks pure Pari French like a nativé and has t lated numerous plays from French script. In fact. so deftly did she read the poem that it was difficy; convince Marshal Foch that Anglin was not a French woman.