Evening Star Newspaper, February 11, 1923, Page 51

- The Sunday STl [ oo WASHINGTON, D. C. SUNDAY ' MORNING, FEBRUARY 11, 1923. Fifty Years on Stage Marked Drew Lightly WHEN John Drew walked on the stage at the dedication of the new Selwyn Theater September 18, in Chicago, in Maugham's English com- edy, “The Circle,” he began the fiftisth year of his stage career. The members of “The Circle” company made the most of their opportunity to congratulate Mr. Drew, who was aleo the reciplent of many congrat- ulatory wires from the many admir- ers of the important family at the head of which Mr. Drew stands. Mr. Drew will play in Washington next weelk. The ever meticulous Drew | tache has changed. It has grown shorter. - Instead of flowing as it once did, it is now close-cropped, HICAGO Took the Center of the Stage last week. A Washington audience is a nationally representative audience: more than that, it is a cosmopolitan audience, and Chicago linked itself with a demonstration of opera art that will carry its impress into all corners of the world. It cannot be said that Chicago hastened into the National Capital inspired solely by motives of cultural patriotism. There | i mus- was a liberal local guarantee behind the enterprise. The guarantee was the thing that made the briei, but brilliant, season possible. But when Chicago arrived on the scene’ she acquitted herseli with resplendent security, and in three short nights disposed of the idea fast gaining ground that American appreciation of musical and spectacular demon- stration was limited to ndals” or “Follies.” Three performances covered a wide range The power of personal reclame was “Sc: taste. demonstrated by the fact that the presentation of “Tosca” in which ! Mary Garden appeared, was the most popular of the series. Grand Opera Depends on Many Elements. The music is one of several factors, and Mary Garden proves to this generation, as Calve proved when she played Carmen to a previous generation, that personality dominates them all. The Metropolitan Opera Company of New York has never had anything to offer that eclipsed the three presentations for which the opera lovers of this city gladly paid auditorium at each formance offered unstinted applause in assurance that they felt themsclves well rewarded Each Distinctively of Its Kind was the opera irom night to night. “Aida” | was an example of the melodic school, touching on the modern tendency to dramatic recitative, yet offeripg the oases of aria that permit the lis- tener to reposc from time to time in the journey of the evening. “Tosca” is distinctly modern—a Puccini opera, but above this 2 Sardou melo- drama. “The Snow Maiden™ is lation of the modern Russian mood. considered irom our own : irom that of the composer a revela- tion of the angient mood of the Tariar. The story is slight enough, but the scenery. the costumes, the dancingvand the Rimsky-Korsakoff music are echoes of the primitive emotiona! impulse; bizarre. even barbaric One of the Ironies of Theater Fate brought two of the most important | dramatic productions of the year into competition with colossal grand opera and with cach other, “The Comedian” and “Anna Christie.” of thesc plays responsibility is placed with the actor rather than with the drama itseli. Pauline Lord, Anna Clristie, is the keystone of the dramatic arch, and so is Lionel Atwill. as the Comedian in the Sacha Guitry play. a profound study of a rather superficial human type. * A Contradiction of Popular Sentiment is boldly attempted by Mr. Belasco | in his latest presentation. ness of a love production of * which the The accepted principle of romance is the readi- to sacrifice fortune a carcer for the woman. In his he Comedian,” bea I model of craftsmanship. in pectator taken d the scenes and made_intimately aware of t petty jealousies d the oft ill-iounded aspirations of the footlight world, the title role rendered conspicuous, but thankless. Narcissus himself is not more v appreciative of his own charms than Mr. Atwill appears to be as he reveals the.actor in sclf-contemplation. Good old Uricle Seapmaker is made the buifoon of the piece. Yet the Ccmedian in the closing act justifies a refusal to cast his lot with the woman oi his heart, on or off the stage, by the declaration in heroic key, “I have a rendezvous tomorrow night with twelve hundred people.” De- votion to art is not convincingly implied by any artistic purport revealed by his play in process of rehearsal. The Comedian's cfforts scem ad- dressed to an audienc or business men equ is bel as tired. ‘The Demi-Deification of the Actor is an absurdity which finds its cu tion in this play from the Freach. It depicts Mr. Atwill as an invincible Don Juaun. despite the encroaching yea 1 intellectual dictator, who can draw upon his recollection to supply speeches, and an autocrat of the r hearsal, who. while competent to instruct everybody clse, needs no guid- ance in his own endeavors. No fair-minded person would confuse Mr. Atwill with the role he u He is. in all probability, a modest and conscientious & om the inordinate seli-esteem which Cooper Clitfs, on same stage. burlesques with cfticacious ‘quietud: Exccilent agtor that he is, Mr. Atwill is caught in a complication of ci- fects. His stage does not only hold the mirfor up to nature, but again mirrors the looking-g The method by which the actor does his work is analyzed as a supreme consideration. Personality and principle are subordinate to the exigencies of the theater. The assumption that the actor is. for some occult reason, exempt from the genuine responsibi ties of human relationships is emphasized to a degree that for the sake of the actor himself cannot be readily accepted. * ¥ % A Trip Behind the Scenes is onc of the allurements held out by Mr. Belasco in this production of “The Comedian.” Children do not like to be told tiere isn't any Santa Claus, and the public confession by Mr. Belasco that he employs tin thunder, scene shifters and stage derricks, like any human playmaker, is a gentle, self-subordinating avowal. But the public will Tove him for the illusions he creates more thap for any candid readiness to dispel them. It is a play for the.theater more than for the conventional public. and every one of the myriad in New York whose lives are illumined by the footlight glow will study it with rapt attention. Of the Belasco.artistry no question can be made. It is the only dignified institutional permanence the American stage has, through ma casons. been able to boast. It is taken for granted, and the regret is gencral that the remorseless grip germ prevented the great play-builder _v‘r.m; advancing to the footlights to receive the plaudits always await- ing him. Dominance of the Player is accomplished not by delicate mechanism of plju.aml presentation, but by force of natural circumstances in the case of Pauline Lord, as Anna Christie. There is often an element of sardonic amusement in sceing the work of author, producer, stage manager and surrounding company all dependent at last upon the quaint appeal of a irlish personality. The play by Mr. O'Neill, bold as it is in thrusting a heavy hand into the heartstrings, fine as the acting of Mr. George Marion is. makes its essential demand on thought through the character of the girl. who, forced into the slums by inexorable circumstances, still pre- serves the simplicity and faith of childhood; a queer and irresistible mix- ture of innocence and guile. There are not many tears in “Anna Chris- tie.” She has no tears for herself. There are heart throbs which hold the interest tense and unfaltering, as the single role proceeds in con- sistent character through a plot which often wavers in psychological un- certainty and finally attains an edifying, though not convincing, conclu- on. Mr. O'Neill is asserting himself with force and ability as a drama t of the somber school. Miss Lord, although the most sweetly pitiful of heroines, contributes the ray of sunshine which irradiates a murky density worthy in concept if not in expression of Tolstoi himself. * ¥ %k % As Preparations for Local Stock :Companies advance, curiosity arises as to personnel. There is no need to go far afield for players, for this cit;' has shown that there are a number, like Imogen Taylor (who, though married, is still an actress), who can be relied on to contribute real abil: itv to a permanent organization. The managerial talent of Washington has asserted itself brilliantly in redeeming what threatened to be a dull season. The acting and singing talent may be depended on to assert itsglf with no less proficiency under the new conditions of local initiative and local response now asserting themselves. PHILANDER JOHNSON. How to Live. S'T)ON'T diet; eat what you want! Now gomes forth Agnes Ayres, sedate but charming screen star, and throws this bombshell into the' care- fully evolved theory of dietetics. Some one had asked what her rules were for the preservation of beauty and health. “Back in the prehistoric days,” Miss | Avres explained, “when man chose his food by instinct, as do the ani- mals, instead of trying to govern his needs of our body by whetting our tastes for certain foods. When cat- tle need salt their tastes crave salt. And the only real difference between human beings and animals is that human beings possess the faculty of reason. “My theory, therefore, is eat what vou want, but“don’t overeat. The old rule that says cease eating just be- fore vou are fully satiated is a good one to follow.” Other beauty rules advocated by the Paramount star are: “Regular hours of sleep. Sleep by schedule, if possi- ble. Plenty of good exercise. Exer- tiberal price, and from a crowded ! In both | composed of twelve hundred soap manufacturers, |, ADELE ASTAIRE.. National ANNE NICHOLS | (Author) President | _ D € &= =0 2 &1 JuLiA ARTHUR.> Ketths VEE SISTERS Belasco Current Alttractions AT THE THEATERS THIS WEEK. NATIONAL—“The Bunch and Judy.” Opens tonight. POLI'S—MclIntyre & Heath, in “Red Pepper.” Opens tonight. SHUBERT-BELASCO—“Midnight Rounders” and “Driven.” Opens this afternoon. SHUBERT-GARRICK—Walter Hampden, Monday night. PRESIDENT—"Abie’s Irish Rose” (twelfth week). Opens tonight. KEITH'S—]Julia Arthur, in “Hamlet” scene; vaudeville. Opens to- morrow afternoon. COSMOS—"Welcome Inn,” vaudeville and pictures, row. STRAND—Vaudeville and pictures. Opens this afternoon. RAM’S HEAD PLAYHOUSE—Ram's Head Players, “The . Truth.” Opens \\'cdqcsday night. GAYETY—Burlesque. in repertoire. Opens Opens -tomor- speech. And so, as Mr. Hampden plays the part, he makes Shylock kneel before the duke—a proceeding that none of his predecessors in the part have done—and avoids having him spit at Antonlo on his exit from the room, which occasioned - much wonderment and comment until. Mr. Hampden's reasons for playing the part came out. In the supporting company are Mary Hall, Mabel Moore and Elsie Her don 'K Others. in "the cast clude Ernest Bowan, Allen Thom: Reynolds Evans, Willlam Sauter, Ed- win Cushman, C. Normand Hammond, LeRol Operti, Margaret Bari{stead and Ruth Chorpennins. : NATIONAL—“The . Bunch snd “Tudy.” Charles Dillingham's latest contri- bution to the musical comedy:stage, “The Bunch and Judy,” coming direct from his Globe Theater, New York, with. the original cast and production, will be the attraction at the National Theater - for the week. beginning to- night. i play within a play 1s one of ‘the novelties of “The Bunch and Judy The first act reveals conditions be- Lind the scenes in an opera house the night of the final performance of “Love Finds a Way." Judy is dis- closed the attraction and her fellow players give her & farewell banquet because she is re- tring . from the stage to marry & Scoteh lord. The next act GARRICK—Hampden in Reper- toire. More than ordinary intetest is felt in the engagement of Walter Hamp- den and his company for this week at the Garrick. Mr. Hampden is ever a welcome visitor to this city and his performances always draw large and deeply interested audiences. His impersonation of three Shakespearean characters will be unusually appeal- ing at this time, owing to the pre- ailing attention being given to the creations of the great bard. Many will anticipate pleasure in comparing his interpretation of Shylock with that recently presented here by David Warfleid. ~ His program for the week follows: Way to Pay Old Debts.” . Wednesday—"Hamlet." Thursday afternoon—shylock.” Thursday night—"The Servant of the House, Friday— Hamlet.” Saturday afternoon—"The _ Sei of the House." Saturday night—-Othell He will portray Sir Glles Overreach in Massinger’s sardonic comedy, “A | New Way to Pay Old Debts," in which |many great actors have won renown Phroughout three centurigs. “Othello,” in which Mr Hampden will appear as the Moor, is considered the outstanding feature of the reper- toire. The tragedy is accounted by many as the best play in the English anguage when viewed as a plece dratamilo aetion. i Saceed !guesl in Scotland at the castle of her Tis “Hamlet” is considered his most |future father-in-law. He is a hater famaus Tole and he will devote two|of stage folks and ~when Judy's {mights to it. bunch” come o visit her he troats | "His_ Shylock” 4 a|tiem il 8o discourteously that she magnificent creation. - Its reception | throws over the Scotch lord. Then it I New Yok was amazing. Though |is only a matter of time when Judy Ithe New York Evening Post regard- |and the bunch are all back on Broad- ed"his Shrlock as “the best seen in “here the. heroine finds her {hat eity since Henry Irving” he de-[maté in ; i parts from the traditlonal Shylock of | Fred and Adele Astaire, those Irving. But the message in the play, |youthful dancers who have captivated rvant finds Judy an unhappy has been style body through the stomach by adher- ing to a basls of chemical formulas, there wn!n'tn e poor health and oor people fived longer. PoT nave naver dieted in.my lite. 1 pelieve thai ®ature points out the cise of any kind is good, and the ex- ercise we most enjoy s the exercise that most benefits us, because we are more apt to induige in it regularl Now, everybody can be beautiful and healthy and happy. as Mr. Hampden believes Shakespeare conceived it ,is not one of race preju- dice; rather it is the triumph of divine justice over man-made laws which is exemplified in the court- room, scene in Portia'y “mercy’ Washington -audiences on . previous occasions, are revealed among the featured members of the company, as are also Johnny and Ray Dogley and Grace Hayes. a_new. singer_of rag- ime pumbers. ALrrep CorTOT National Others in the large company, not overlooking the famous Globe Thea- tre beauty chorus, are T. Wigney Per- cyval. Roberta Beatty, Philip Tonge Patrice Clark, Billie' Wilcox, ¢ Hamilton. Fugene Revere, R. H. Wil- der, Augustus Minton, Frank Snyder, et | “Jerome Kern wrote the music. Anna_Caldwell and Hugh Ford did the book. and Miss Caldwell the ics. All three were responsible for o0d Morning, Dearie,” Which made such a hit in Washington and New York. POLI'S—McIntyre and Heath. MclIntyre and Heath come to Poli's Theater for a week, beginning to- night, with their new musical com- edy, “Red Pepper,” with the same cast that was seen for an_entire theatrical year at the Shubert Theater, in New York. McIntyre and Heatl head the organization in a lay which stood the test of New York, cago, Boston and Phila- delphia for long runs. “Red Pepper” is so called because a race horse by that name is the foun- daton on which the fun plot rests. It is claimed that from a spectacular viewpoint this production is the last word 1in_scenic construction, as an exsct reproduction of the Havana race track is shown. The pictur- esque atmosphere of the clubhouse lawn, with fifty beautiful girls who oharm the eyé with snappy dancing, glves a ‘zip” to the scene, Mclntyre and Heath last appeared here in “Hello, Alexander,” which won much praise, and in “Red Pepper’ they are claimed to be funnier and more spectacular. The supporting cast comprises Flor- ence Rayfleld, ,of Winter Garden fame; Dan Quinla Jack Ryan, for- merly of the team Ryan and Tier- ney, the latter composer of “Irene”; rling sisters, Bee Ho Gray, Brenna ahd Sands, Cyril Delevanti, Sidney Boy Harry Strunk, Alice Rector, |Doris Wayne, Frank Williamson, ‘Ada Summerville and fifty girls. KEITH'S—Julia Arthur as “Ham- let.” Julia Arthur will be seen at Keith's this week as Hamlet, the great Dan- {sh figure of melancholy. Her imper- sonation of the prince is said to have all the convincing, illuminating and ! =~ iContinued_en ¥purth i | | BVELYN BENNETT Cosmos ARTHUR SBATTUCR MasonicAuditoriune | K;rkwoodprefers Act;ng HERE are many screen actors who have deserted acting to become directors. But there are some, who once having become directors, return 10 the “right” side of the camera to resume acting. James Kirkwood, who plays the leading male role in Sbb Tide,” is one of the few. Mr. Kirkwood entered pictures in 1907 and after some years quit acting to become a director. He directed Billie Burke, Thomas Meighan and Mary Miles Minter. But fn 1919 Mr. Kirk- Wwood laid away his megaphone and once more strode before the camera. “Ebb Tide,” is his latest picture, in which Mr. Kirkwood plays the part of a “college failure.” Sorrow for J. E. Cooper RE has been sorrow among the Deople at the Gayety Theater be- cause of the recent death in New York of James E. (“Blutch”) Cooper, pro- ducer of burlesque attractions. Mr. Cooper was personally known to prac- tically every one in burlesque from stage hands to stars. He had traveled with his own companies over the Co- lumbia_Wheel, both as star and man- ager, for several years, and his death becomes a loss to burlesque because of his constant effort to improve the char- acter of his shows and thus influence the present season “Folly “Keep Smiling” and “Big Jam- were three of the shows that Mr. Cooper produced and managed. He was a member of Pacific Lodge, A. F. and A. M., and a member of New York Lodge, B. P. O. Elks. He was forty- aine. Hugh Walpole's Lecture. Hugh Walpole, the English novelist, Wwho is making an extensive tour of this country, will be at the New Na- tional Theater Thursday afternoon and will discuss “Novel Reading and Novel Writing.” Those familiar with Mr. Walpole's brilliant attainments are aware that he has written some of the most exquisite stories in the English language. He is, moreover, as wonderful a speaker as he is & writer. His lectures, in fact, hav: all the fascination of the splendl prose that he writes in the privacy of his study. Although he is still under forty, Mr. Walpole is regarded as one of the greatest English novelists. He was scarcely twenty-five when he made & stir in England with his first novel, “The Wooden Horse,” which proved to be one of the most widely discuss- ed books of the period. * During the early years of the war Mr. Walpole served with the Russian Red Cross and later was sent by the British government on an impoftant mission to Petrograd. As a resuit of these years of service in Russia, he wrote two of his best stories, “The Dark “Forest” and “The Secret City.” They have been described as Rus- sian novels in English, embodying all the tragedy, pathos and grim fatal- ism that have distinguished Russian life since the bolshevik upheaval. He belongs to a distinguished Eng- Itsh family and is a descendant of Sir Robert Walpole, the famous British prime minister of the early eigh teenth century, and of Horace Wal- pole, the literateur and wit of the late Georglan period. He was born in Australia, and, as a boy, spent some time in New York while his father (later Bishop of Mdinburgh) was _professor of theology at the Union Theclogical Seminary. His education was completed in England and he took high honors when he graduated at' Cambridge. trimmed ‘at the ends and pointed up a little. The effect is perhaps a bit moré swagger than before—but fashion has done this, not age. More than growing old gracetully, Mr. Drew has seemingly solved the Se- cret of not growing old at all. In a recent interview, after dis- cussing stage tendencies, Mr. Drew was persuaded to Say something about himself. “I am very glad to be able to work again,” he declared with enthusiasm. “Idleness is not to my liking, and 1 admit I am not happy unless I am acting. The dctor's work is such a big part of his life that he finds it almost impossible to give it up, even when beset with the infirmities of years or sickness. on going as long as we can. think any from the stage. “In my case I was forced to give it up temporarily because of my eyes. 1 suffered from a cataract in one eye “Blossom Time” A\’ overwhelming syccess in Wash- ington during its recent engage- ment at Poli's—where hundreds were turned away unable to procure places {of any sort to witness the charming operatta written around the life and love of Franz Schubert—it is easy to | believe Manager Leavitt's statement| e | ceived, that he has been besieged with re- | quests to know when “Blossom Tim. | was to return, ever since its company folded its tents and departed from Washington, He took up the mat- ter with the New York office of the Messrs, Schubert, the producers of “Blossom Time” and with such good effect that today he is able to an- nounce the return of “Blossom Time’ to Poli's for a week, commencing Sunday, March 4. “This gives the host of dis ed ones,” said Mr. Leavit! ppoint- nother We like to keep | T don't | of us voluntarily retire JOHN DREW. and underwent an operation. Now as a result of a long rest and good care, 1 feel very much better, but, of course, must ‘wear glasses. For tunately, in this part glasses are ap- propriate. Mr. Drew has grown noticeably etouter. His face is fuller, but the mouth is the same firm mouth, with out a betraying wrinkle. Only a whitening_of the hair indicates the passage of vears. Returns to Poli’s chance to get the seats they want for this most delightful operatta of re- cent years.” He advises the small army of persons who grieved because they could not get locations they wanted, to get in line as soon as the date of the seat sale is announced And meantime, he will be glad to re- ceive mail orders, the same to be numbercd and filed as they are re- to be filled as soon as the mail order sale be opened Exactly the same company and pre- cisely the same scenic settings which surrounded this company, during the week of January 28, will be brought back agaln. This roster of distinc- tion embraces Hollis Davenny, Roy Cropper, Teddy Webb, Edwin Taylor. Otis Sheridan, Donald Titus, Vietor Stockster, David Resnick and Misses Gertrude Lang, Halina Bruzovna, Sonve Leyton, Marfon Abel, Amy Lester, Dorothy Seegar and Margery Play Aimed at Unjust Law To Be Given at Belasco EGINNING this afternoon, an un- usual play, “Driven,” will be pre- sented at the Shubert-Belasco Thea- ter for a week, The play is woven around one of the absurd laws against women—a law still in existence in many states today. In presenting such a law in a vivid and dramatic way, it is hoped that the public will realize the injustice of such laws and will insist that they be abolished. Mrs Alice Barney has written and is producing “Driven” at the sug- gestion of the National Woman's Party. At first she refused, since she had announced that she would’ do nothing more, but she was asked 80 urgently to dramatize one of the laws that she felt a great deal of good would result. Mrs. Barney was amazed that there still existed laws of such disgraceful a nature as the one she has used for the subject of her play. She has shown up the insidious workings of such a law, and hopes that men and women will realize, after seeing her lay, that such barbaric laws are an nsuit to mankind in this seemingly progressive age. Mrs. Maude Howell Smith, well known in Washington dramatic ci cles, plays the lead: Pauline Graff plays the part of her daughter, and John Hoffman and Capt, Walter Bery play the male roles. The proceeds derived from the sale of tickets will be devoted to carryin on the work of the Woman's Par Tickets can be purchased at its head- quarters, 1st and A streets northeast Mrs. Barney, it will be remembered. produced the gorgeous masque at the Sylvan Theater when it was opened to the public. She also was the author and producer of the historical spectacle, “Woman,” which she gave for the benefit of National Wom- an's Party, then known as the Con- gressional TUnion for Woman - frage. Among those who took part were Izetta Jewell Brown. Mrs. Maude Howell Smith and Miss Fola La Fol- lette. Mrs. Barney also was the originator of the woman's peace party play given at the foot of the Washington Monument, later rewritten by Hazel MacKaye and given at the Masonic Temple and at the Belasco Theater. Another of her Sylvan Theater pro- ductions was “L'Ecole en Cronolin.” Among the other productions written d staged by Mrs ' Barney were Egeria,” given at Poll's Theater: “The Dream of Queen Elizabeth” given at the Belasco Theater: “About Thebes” and “The Oplum Pip: Role of Hamlet Has Appealed To Many Famous Actresses 'I'HE coming appearance of Miss Julia Arthur in the gitle role of way in ary es- “Hamlet” does not tablish a precedent’ From the days when Mrs. Siddons played the part of Hamlet in Edin burgh, Scotland, April 23, 1785, through the succeeding years, fore- most actresses of every nation, every generation, have appeared in the sa- ble cloak of the melancholy Dane. The attraction of the role for the il- lustrious Siddons can be seen from the fact that she surmounted an in- herent dislike of appearing in male attire, by dressing for the character of Hamlet in somewhat abbreviated skirts, an ample tunic, and the long cloak of “ebon hue. From Mrs. Siddons, the oloak of “ebon hue” was passed on to enfold a Mrs. Bulkley. who appeared as Hamlet at Old Drury Lane Theater, London, in 1785. A cotemporaneous effort was made by another English actress, Mrs. Powell, but the resuits are not recorded. Half a century later, Charlotte Cushman startied New York and the entire theatrical world, by a superd performance of “Hamlet” at Broug- ham's old Lyceum Theater on the night of November 24, 1851. he long span of years between the Hamlets of Siddons and her cotem- raries and the great Hamlet of Eoehman, did_not mark an abandon- ment of the role. Theatrical history of intervening years reveals numer- ous women Hamlets, played for the most part by American tragediennes. In March, 1819, & Mrs. Bartley play- ed Hamlet at the Park Theater, then in Park Row, and in June of the same year, the role was assumed by a Mrs. Barnes. She was succeeded in the art by her own daughter, Charlotte rnes, known afterward on the stage as Mrs. Conner. In May, 1822, a Mrs. Battersby gave her own special per- formance of “Hamlet,” described by the critics of the day as “horrible.” In 1840 at the Bowery Theater a Mrs. Shaw appeared as Hamlet in a num- ber of successful performances and between the years 1843 and 1847 & Mrs. Brougham gave several inter- sting performances of the part, both in New York and London. Then came Charlotte Crampton, who although stage history tells us was “ill suited to the part, being both plump and short.” was also asserted to the Hamlet excellent. In 1851 the part was played by & Mrs._Nunn, who made .prl’nm. in New York and London. n 1869, & Miss Marriott. who had be- some-a favorite Hamlet at the Marley- have read bone Theater, London, made a succe ful American debut in the role at the old Metropoiitan Theater. Ten vears later at Booth's Theater, Julla Seaman appeared as a very blond Hamlet, play- ing the role with no small success after he manner of the great German actor, Fechter. In 1570 a Julia Tremayne ap- peared in the role in Southampton, Eng- land, and that same year Winnetls MNoniagu plaved Hamiet in Alban, One of the most motable of women Hamlets of the middle and later years of the last century. was Anna Dickin- son, who played the role in 1854 at Stetson's Fifth Avenue Theater. Her success in the role brought forth numer- ous ventures by eminent American and Kuropean actresses. Among them were such stars as Fanny Herring, Rachel Denvil, Susan Denin, Adele Belgarde, Bophie Miles, Nellia' Holbrook, Viola Whitcomb, Eliza Warren and Mrs. F. B._Conway. But although brief triumphs were frequent, no woman achieved enduring laurels in the role until Mme. Berr hardt appeared as Hamlet in the I year of the nineteenth century. Of the numerous masculine roles es- sayed by the divine Sarah, “Hamlet was her best beloved and, with the pos- sible exception of “L‘Aiglon” it was also the most applauded by her public. ‘Whereas her predecessors had been content to imitate famous men expon- ents of the character, Bernhardt strove to give a genuine characterization of the prince as well as an illuminative in- terpretation of the complexities and inuendos of the text. The glory of her success incited a world-wide stampede of dramatic ac- tresses to the role of Hamiet. Janette Bteer and Clare attempted it in England,” Charlotte Crampton, Mrs. Blandman Paimer, and Julia Seaman in America; Oliph’ Webb and Adelaide Keim played it on the German stage. Miss Richards’ Next Lecture. Miss Janet Richards will give her usual interpretative review of outstand- ing world events for the past week, tomorrow morning at 10:45 in the au- ditorium of the New Masonic Temple In addition to reviewing the progress of the week in the Rubr, the closing days of the Lausanne conference and Turkish questions, Miss Richards will speak especially of the President's message to Congress, and the points of friction arising between China and Japan. The talk will be repeated in the evening under the auspices of the business women's section of the Y. W. C. A. in the Church of Our Father, 13th.and L.streets northwest.