Evening Star Newspaper, November 18, 1923, Page 57

Part 3—12 Pages N actual entertainment. the Chauve-Souris display was the serenely secure event of the week. Independent of all models with which playgoers of this country are familiar, it presents one incident after another, now gorgeous, now dainty, now grotesque; seldom humor- ous as we know the word in this country. Any one of half a dozen numbers in the series of revelations would make the fortune of a musical comedy, as did the sextet in “Florodora.” It is not rompingly spontane- ous. It is a repression of talents into mechanism of the most delicate finesse. Human beings whose accomplishments would, with American exploitation, have made them haughty queens of song or autocratic em- perors of burlesque. are co-ordinated with an accuracy which makes them delightful marionettes, china shepherdesses, wooden soldiers or whatever the artistic fancy of the designer may select. They are much better as they are. Even the talents of a most able composer are subordinated to a dummy accordeon, for which the orchestra supplies the effects with ingenious instrumentation. It is a collossal r al jest; genius at play; the highest artistry lending its sincerest capabilities for the perfection of a whimsical drollery. BALIEFF himself supplies the clemient of individual spontaneity. He is an impresario before as well as behind the footlights, and man- ages an audience with the same deiicate discipline that he bestows upon his players. It is a pleasant thing for an audience to come into direct, heart-to-heart relations with a manager whose name is associated with agreeable diversions. If he were not already laden with so many re- sponsibilities, we should commend something of the sort for Mr. Roland Robbins in his vaudevilles. * ok K Kk * ok ok k T remained for our own, our native land to contribute to this irides- cent display the one touch of decadence; the phrenetic portrait cur- tain shown at the intermission. The collection of caricatures suggests an epidemic of hydrocephalus and a strong tendency toward the elimina- tion of the chin as a human feature. biologically considered, depressing. * ok ok ok NOT to have seen a Galsworthy play is to miss something worth while. The loss is irretrievable. No one will be able to tell you just what it was you missed. A resume from a somewhat scholastic course is to the effect that “Loyalties” is a psychoanaly tions which arise in the ethical conflict between the impulse of the un- conscious and the sense of s 1 obligation. At least this is as near as memory can set it down. Galsworthy has the art of being always in earnest. His revelations are sincere and searching, even though but sel- dom flattering to a mood for artificial pleasure. * ok ok ok HAT loomed on the horizon as an occasion of almost tempestuous interest resolved itself into a not unusual episode of theatrical en- terprise when “Robert E. Lee” was shown by William Harris, jr., in advance of its run in New York city. Richmond, Va, had the first glimpse of it, and the disapproval there was frank and abundant, tem- pered only by the restraints of hospitality. Mr. Harris, in an inlcr\'iew.‘ remarked with gentle pathos: “Well, there are twenty famous critics in | New York, and I hope they will like the play.” Whatever may be the merits of the play as decided by popular verdict, it will mark a new era in the theater if it finds twenty New York critics waiting as ministers of mercy to apply literary lint and liniment to the wounded feelings of a play producer. One thing is certain about Mr. Harris' “Robert E. Lee” (why drag the author of the classic “Abraham Lincoln” into it?), and this is that the farther north the play goes the more cordial its reception is likely to be. * k% k% GREAT deal that affronts the critical sense is protected by boldness It is an audacious frivolity, but, | s of the metaphysical obstruc- | WASHINGTON, D. C, in choosing a topic which is held in reverence. A religious play is a great temptation to the producer who secks to profit by the reluctance | felt by the most discerning mind to affront a deep and reverential senti- | ment, even by the suggestion the mechanism employed is shallow and insincere. Any attempted tribute to Lee, the idol of the southland, at least betokens high-minded purpose which must command respect and dismiss as a suspicion unworthy of man toward his fellow man the possibility of the theme having been utilized with the perfunctory object of mercenary advantage. There are impressions so sanctified in memory that they lend a merciful protection to any who may undertake to ex- press them. Were it not for the depth of feeling involved among many citizens, the temptation to discuss the play in terms of flippancy would be hard to resist. Were it designed oniy as an evening’s entertainment and not as a noble reminder of a sublime conciliation, it would be easy to run on something like this: * k ok ok E author, having found it impossible to consult the American archives relating to Gen. Lée, was compelled to depend for his por- traiture on the files of Mme. Tussaud's wax works. His impressions of the banks of the Potomac were unduly influenced by descriptions of the Dismal swamp as a_characteristic topographical feature. His ideas of the dance in the mid-nineteenth century may have been acquired from some survivor of the Kiralfy forces. Gen. Lee was compelled to pause in melancholy contemplation of so many individual tragedies that mo- mentary doubt intruded as to whether he was a commanding general or a coroner. The battle scene, with the vicious spat of musketry in the distance, must have been affected in the working out by the disturbance of some one beating rugs in the vicinity of the studio. The gentleman who objected to plunking the banjo in the middle of a war was not only a proper military disciplinarian, but a sensible musical critic. Ete. Etc. The list of trivial, but annoying, hindrances to an acceptance of the occasion as one of invulnerable artistry could be greatly extended. The suggestions canrot be offered in candid criticism; they must be re- | garded only as the reactions of a Philistinic mind wtnable to lose itself the grandeur of a poetic sacrifice. The clement of true tragedy lies outside the stage scene. he -biography of Robert E. Lee, revealing as it did majestic fortitude in disappointment, did not culminate in per- sonal disaster. But in this play Mr. Drinkwater, poet, is no more. * % kK BRAHAM LINCOLN’S life was itseli an epic. His own utterances, expressing a heart and mind of eternal beauty, sufficed to give words to every great thought of his own. The attempt to put another hero of SHIRLEY Cosmos Mme. Duse, December 20| TELEGRAM from Morris Gest to | The Star announces follow: “I am very happy and proud to announce that Mme. Eleonora Duse has given her consent to appear for one performance in Washington. She will appear at Poll's Theater Thurs- day afternoon, December 20. The people who have the theater for that week have kindly consented to give us the matinee. It was Mme. Duse's first expression that she wanted to | play Washington. She will appear in Spettri Ibsen’s ‘Ghosts.’ " The first announcement of Mme. Dus coming to America stated that she would play in but four cities, | Washington being one of them; and subsequently it was announced’ that| * | she would not appear oftener than in two performances in any one week. Other announcements indicate that her performances are to be divided among as many leading cities as pos- sible. Washington seems fortunate in being one of these. his own time of noble but contrasting type on an adjacent pedestal discloses an artistic sense hazardously disproportionate. PHILANDER JOHNSON. The Tiller Girls. OHN TILLER, the famous English pils. When they become old enough dancing master and producer of | to appear on the stage I engage them pantomime, came to America to stage several dancing numbers in the Zieg- feld “Follies.” An example of the uni- que skill and talent of his dancing sirls is found in the sixteen Tiller #lrls, who do their celebrated “Dance with the Heels in the Air,” Iying on their backs and dancing with their toes Inverted toward the sky. “The three dancing numbers done by the Tiller girls in_the ‘Foliles,'” says Mr. Tiler, “exemplify agility and cleverness. These sixteen girls form what I call & ‘company.’ I have seven compantes of sixteen girls. One just safled from England for Buenos Alres to appear with a French opera company under the management of Wme. Rasiml. Another in_ dancing in Australia and a third company is in South Africa. I have another one in Paris at the Follies Bergere, and two companies in London. “For nearly forty years I have Dbeen training dancers for theatrical productions,” continued Mr. Tiller. “I have schools in London, Man- chester, Liverpool and Blackpool. The girls start in when very younsg and that is why they are so acro- batic and so talenfed when they be- come fifteen or sixten vears of age. Most of the leading London musical comedy stars of today danced at some time or other in my studlos or my_mausical productions. “The girld at first-are paying pu- under the rules and regulations which control all of my companies. They sign contracts by which they agree to accept the discipline of the ‘cap- tain’ of each company. I usually se- lect an experienced girl who can maintain order and who has full charge of each company, no matter where it may be sent. “The sixteen girls live under the same roof and are required to keep certain hours and to refrain from dis- sipation of any kind. Each girl is under contract not to get married and not to leave my management. If any girl does so, she forfeits her right to return passage to England and has to pay a financial penalty and she can never work for me again, and since I manage to keep them working fifty-two weeks a year you may be assured that they value an engagement with the Tiller organi- zation. “I have originated more than 300 different dancing acts with the differ- ent companies during the past forty years. —_— The Selwyns have received a tele- gram from Charles Cochrane in Paris to the effect that Raquel Miller is ill and was unable to sail for New York yesterday, as she had planned. In consequence her debut in New York, which had been set for November 25, will be delayed several weeks. A A Singing Tragedienne RAQD'EL MELLER, e« Spanish beauty and a sensation in the musio halls of Europe, who is being brought to this country by the Sel- wyns, who will present her in a typ- ical American revue, is a vocalist of individuality, an actress of dramatic power, a reciter and a singer of songs that are expressive of every emotion. She 1is called a “singing tragedi- enne” for her ability to portray in song the tragedies of life in the man- ner of dramatic art. By the sheer force of a strong personality, it 1s said, she enthralls her audiences. It| is claimed there is no personality on the stage today in any country who has the power to sway her audiences in the manner of this artist. She has been called by French critics a Duse in tragedy and son ‘Pelleas and Melisande® SDELLEAS AND MELISANDE" 1s a tragical romance in five acts and twelve scenes, very welird and very poetic. Pelleas and Melisande, who is the wife of Golaud, Pelleas’ brother, love one another. When Go- laud’s jealousy is aroused, and he finds the two embracing in the moon- lit garden, he slays Pelleas, stabs Melisande and tries to kill himself. Melisande does not dle of her wound but probably of shock—and on her death bed she assures Golaud that her love for Pelleas has never been & gullty one. Golaud doubts the state- ment and the audience is left to be- deve it or aot, as it pleases, SUNDAY MORNING, NOVEMBER 18. 1923. Grand Guignol Players famous Grand Guignol Thea- ter, with all its laughter, its hor- rors and its thrills, has been liter- ally transferred from Paris to New York, where the Grand Guignol Players have been presenting, in French, a program of plays combin- ing the peculiar type of weird and sensational melodrama which has been sending the creeps up and down the spines of thousands of Americans visiting Paris during the past thirty- five years, together with scintillating comedies which present tho verities of life with typical French candor. They first demonstrated thelr capa- bilitles and. then added to them by offering in each changs of bill dra- mas that increase in "tfirror‘ and comedies that have more “piquancy. Jane Cowl on Juliet.. HAT s the fascination with which Shakespeare endowed his Jullet that makes it the most coveted feminine role in dramatic literature? The centuries that have dimmed the light of other classical figures have robbed Jullet of none of her luster. Jane Cowl, who now comes to Washington as Jullet, wearing the laurels that follow high dramatic achievements, has this to say upon the subject: . “‘Romeo and Jullet’ has an undylug appeal, because it is a truly great love story. The role of Juliet will always attract the actress because it is a lyric expression of the highest love. shiped at some moment in thelr Jullet’s passion for Romeo is pure and innocent, unmarried by doubts or thoughts of worldly consideration. She is the embodiment of all that is best, truest and most beautiful in girlhood. She represents something that all women have, at some time or other, looked to as an ideal; something that all men have wor- shiped at some moment in _their lives. “There is a trace of Jullet in all women, even in the most practical, the coolest and the most sophis: ticated. I suppose, too, that all men can remember a time when they were Romeo. As we go through life most of us lose those spiritual qualiti that make us eat lovers—the in- nocence and the forgetfulness of self, But it Is good to have a flam- ing ideal placed before us, and few of us grow so cold that we can re- N main unmoved by the ardor of Romeo et. A e isle and beauty of Shake- speare's poetry is a constant joy to me. It is a llving language, not just a relic of literature. “No wonder the role of Jullet is the richest reward that can come to an actress. Surely no other role is 80 emdowed with grace of char- acter and beauty of lines. Science Will Entertain. SOME years ago olever showen, taking advantage of the many in- teresting experiments that may be made with electricity, turned them.| L into entertaining forms for presenta-|c,, iantine zazzall, National lp- 3 . s |Rise of “the Pianutist | TIM MCWILLIAMS, “the planutist,” |J_gian't enter vaudeville because of any desire on his part to become a theatrical star. College graduates in vaudeville are scarce. But here is what he says about it: “It was adull, unromantic, gar- den-varlety urge that sent me and my room mate at Columbla—Frank Crummit, leading man in ‘Tangerine' —scurrying to the stage door. “We ‘wanted food! We were both slow and unmunificent one. We had to find a way to earn money quick starv We were both musical—he more so than L wrote a | Colleglans. etch called We collaborated or: the words aad I wrote the music. It | wasn't a hit, but it got us a job. After that I re-arranged it and used it as a single for two vears. “Thanks to Mr. Albee, there Is no field of enterprise where ideals are higher and morals cleaner than in vaudeville and now I consider vaude- ville the broadest and the most grati- fying profession in the catalogue.” Burton Holmes Next Sunday URTON HOLMES will begin his thirty-first season next Sunday at the National Theater with “Mediter~ ranean Sky Cruising” as his subject. ‘While the greater part of the actual Journey is made by aeroplane, and there are many thrills for his audi- ences in thus flying by proxy, Mr. Holmes will frequently bring his plane to the ground so that his fel- low-travelers may get glimpses of interesting spots, cities, towns, peo- ple, historic landmarks, etc., from the ordinary viewpoint of the evervday citizen” who does not keep an aero- plane. Starting with the French Riviera, and sailing, with frequent stops, over southern France and over the Pyre- nees, across Spain to Gibraltar, Mr. Holmes' air party will cross over to Morocco, there to visit Marrakesh, Meknes, Fez, and towns of the almost unknown African Riviera between Oran and Alglers. Between flights there will be delightful motor rides to many interegting places. Southern-Marlowe Tour H. SOTHERN and Julla Marlowe begin their American tour un- der the direction of Leo Shubert at Parsons Theater, Hartford, tomorrow night. After appearing week each in Providence and New Haven, they will visit the chief citles as far west as Kansas City, ending their seasofi in Boston in May. Their repertoire includes Shakespearean plays, “Romeo and Ju- liet,” “The Merchant of Venice,” “The Taming of the Shrew, “Twelfth Night” and “Hamlet.” Thelr company_includes Frederick Lewis, Lenore Chippendale, France Bendtsen, Albert Howson, Florence cent Sternroyd, V. L. Granville, Vin- cent _tSernroyd, V. Granville, Mur- ray Kinnell, John Macfarlane, Milano Tiiden, H. Fisher White, Forbes Daw- son, Milton Stiefel, J, Ramon Abrams, erne ': Collins, Maurice Robinson, Hazelle Black, five tion on the vaudeville stage, and|Eugenie Webb, Sarah Fishman, Chris- many can recall the hearty laughs they have enjoyed over them. But the world moves on apace and what was wonderful some Years .ago’ has now become common knowledge. Still greater achievements have su- perseded them. Now the radio is the big instrument of interest and enter- tainment. But the radio can be made to do more, and this week at the Cosmos Prof. Westerhold, who has construct- ed an ingenious thirteen-foot model for the purpose, will show how shi can be dled at sea by radio. His experiments, which have all been worked into entertalnment features, should prove both Interesting and in- structive. They are the season's vaudeville novelts. tina - Affeld, Lillian Gray, Loretta gucl.ly. Leone Wood and Elizabeth De Y. A New Orchestra. ‘THE Meyer Davis New Willard Or- chestra, which expects to be fea- tured at Keith's the week of December 10, 18 claimed to be one of the best of the Davis organizations. It accompanied President Harding to Panama on his trip preceding his taking over the reins of government. Sam Korman is the leader, The or- chestra, comprises elght members, and its tendency s _sald to be toward very soft music, wWith emphasis on _the stringed instruments. TIts program will comprise classical and popular music- studying law, but the process was a | So, with another boy, we | “The Three | ‘Automobiles Current Attractions AT THE THEATERS THIS WEEK. POLI'S—Jane Cowl, in “Pelleas evening. NATIONAL—“Ziegfeld's Follies,” BELASCO—“The Hunchback of by Carl Laemmle-Universal. ning. afternoon. COSMOS—Hugh STRAND—Tiny Turek’s “Dancin afternoon. GAYETY—"Jig Time,” burlesque. POLI'S—Jane Cowl. Two great love stories stand out in the literature of the world—Maet- erlinck’s “Pelleas and Mellisande,” in Wwhich the Selwyns, in association with Adolph Klauber, will present Jane Cowl at Poli’s Theater Tuesday night, and Shakespeare’s “Romeo and Jullet” in which Miss Cowl has achieved fame and which will b presented for the two Saturday p Tormaunces of her Washington e gagement this week. Miss Cowl's performance as Milli- sande will mark not only her first appearance in Maeternlinck’s maste plece, but it will be notable als the first evening performance ever given of the great tragedy in En lish in this country, aithough Me lisande s the role In which Mary Garden has won her highest di tinction in the Debussy opera writ- ten for Maeterlinck's “Pelleas and Mellisande.” Mrs. Patrick Campbell also gave two special matinee per- formances of the play in English in New York during the autumn of 1904 It is claimed Miss Cowl's Juliet is “a lyrical ecstacy of love,” bring ing to this central figure in Shake: peare’s great love story the qualities of youthful spontaneity, radiance of beauty and emotional depths, and be- cause of her triumph as the Shakes- pearean heroine, she will make Maet- erlinck’s Mellisande an equally beau- tiful and distinctive characterization. Rollo Peters has designed the sce ery for “Pelleas and Mellisande.” He also shared personal honors as the Romeo to Miss Cowl's Julfet. He will be seen as the Pelleas to her M lisande. Both productions have been made under the direction of Frank Relcher, and the same fine company is promised in both productions here. NATIONAL—Ziegfeld Follies. One of the striking features of the Zlegfeld Follles, which comes to the National Theater this week, begin- ning this evening, is the Radium Lace Ballet, presented with a beautiful melody, entitled “Weaving,” while be- fore the eyes of the audience, the girls parade in gorgeous and elabo- rate gowns of lace, against a back ground which at first seems to be a quaint design of flowers, but which changes gradually as the number progresses. Each girl represents some article of wearing apparel dear to the heart of women. Dutch creations of lace are followed by the various articles of a bride's trousseau such as lace stockings, the parasol, the handker- chief, the fan, the bridal gown and the vell. Then come a score of girls as butterflies, who dance a ballet while the other inhabitants of lace- land group themselves In artistic pose; at last comes the premiere dancer, The big surprise, however, comes when every light in the thea- ter is suddenly extinguished and the gorgeous creations of lace, which have been painted beforehand with radium paint, stand out against a background which seems to be ab- solutely black. The scenic setting shows flowers also 1lluminated against a dark background. The il- lusion is declared marvelou The present Zlegfeld follies is de- clared the climax of extravagant and pretentious offerings staged by Mr. Ziegfeld during the past seventeen years, and it cost $237,000 to pro- duce. It is in twenty-four scenes, with a cast_of principals that in- cludes Miss Gilda Gray, Jimmy Hus- sey, Miss Martha Lorber, Miss Elsa Patterson, Miss Evelyn law: Miss Jessie Reed, Miss Shirley Vernon, Alexander Gray, .\ndrew_Tnnm\'ws Patricia Salmon, Joe Opp, Willie West and McGinty, Kolo Brothers, Serge Pernikoff and many others, with six- teen English Tiller girls. BELASCO—“The Hunchback of Notre Dame.” the Shubert-Belasco Theater Sunday afternoon, “The Hunchback of Notre Dame," the screen version of Victor Hugo's classic, will be given its Washington premier. Aside from the turally inspired by the filming of such a masterplece, there may be added interest in the fact that the production required more than a year to make and, it 1s claimed, more than $1,500,000 was expended upon it. Liberties were taken with the story —defended on the ground that a pro- duction Intended for all classes should not offend, especlally in mat- ters religlous. These changes, 1t ap- pears, were approved by the New York critics upon the world premier in the Astor Theater. Certainly, it is claimed, all the ele- ments of euccess are contained in the production. Lon Chaney plays the ti- tle role of Quasimodo, the Hunch- back. His ability to portray charac- ters was demonstrated in “The Mir- “Outside the Law,” and “Shadows"—roles which required con- tortional ability as well as unusual dramatic skill. It is claimed Chan was required four and one-half hour. daily to don the make-up of the de- formed bell ringer of Notre Dame to The Ca- At achieve all its possibilities. thedral of Notre Dame was recon- structed in its entirety at Universal City for the production, as were eight squares of Parislan streets of the period of Louis XI. Carl Laemmle, president of the pro- ducing_company, will be present at the showing tonight. ~ Tomorrow night has been designated “Embassy” night for special reasons. q Herbert-Westerhold's New show opens tomorrow afternoon. and Melisande.” Opens Tuesday revue. Opens this evening. Notre Dame,” cinema production Shown this afternoon and eve- KEITH'S—Harry Carroll, vaudeville. New show opens tomorrow Radio Ship, vaudeville. g Shoes,” vaudeville. Opens’ this Opens this afternoon e KEITH’S—Harry Carroll. Harry Carroll comes to Kelth's this week, heading the bill with a new revue, fresh from Ballard MacDon- ald, with music by Mr. Carroll, en- titled “Everything Will be All Right,” and described as a frolic in three scenes and elght episodes, featuring Ida May Chadwick, the most eccentric her day; the grace- al Ststers, Joe Don- » company of singing, dancing beauties, including Enid Moredith, Jeanette Gilmor: DSy Byrne and Mabel Hill. The of humor is said to enter more Iy into this production than In ar thing Mr. Carroll hus ever glven be ore. Jim McWillfams, “The will entertain w ong! an Lei of th der stunts on the Gordon ahue and a larz Planutist, a scintillating line will bring won- s and rope, and n in a_ *“Recital written by Mr. Gordon to that singing lessons will not produce a =in T. d le will bring a one-act Dlay entitled, “The House at the ross_Roads,” with a cast includl Am)"llnlh:u Katherine Moore, l{l‘gxng ley Starkey and Cyphers Weave and the Gomez Trio, anish dan , will dance in a_special _production, The Fete of Sargosse.” This {s their first American tour, in fact their first appearance outside of Spain. Others will include two nutty young chaps, from the s south, with ncopated melodles, impersonations, and a method a little out of the ordinary; and the Four Fayre Sisters, well known to music halls of Eng- land, Tina Inga, Lilla and Sylva, who play the pilano and sing as well as manipulate the concertinas, anlgPlcs of the Day, Aesop's Fables nd e Pathe New 214 v complete the bill, SCOREL ) COSMOS—Hugh Herbet—Wester- hold’s Radio Ship. Two h the one entertain- ing in a dramatic way, the other dis- closing nevertheless for entertain- ment some of the most Interesting achievements of science, will adorn the Cosmos Theater bill this week, starting with the matinee tomorrow. Hugh Herbet, author and actor, noted for his character sketches, will bring a pla Solon Children,” in w ch he pla; 3 PR, 3 the role e knowledge of hu- traged Prof. Westerhold constructe with whic 1 a sclentist, has teen-foot model, h ates by expe {m full vi f the audi { how a ship can be controlled at will While at sea, even if there is not a Soul aboard her. It is rare and structive entertainment an, no(\)'n‘rl‘ly of the season. = o the real thers will include Adelaid, Allyn _ Shirley, two charming 2?‘3 dancers; Toney Grey, with his two funmakers, Virginla Smith and Frank Knoeb, in g In “Run Down” a deep, deadl tery in a darktown problem, and Bob Murphy, who, with 2 which is bil "Combining With Pleast and with mys- anda | { terious makes h famous of the 3 s Univ tion, with Claire Win man Kerry of “Merry “The Hunchback of Notre for its stars. will thrill on the screen throughout the week. It has a gripping, thrilling courtroom scene. With It will comie a two-reel laughmaker and the Urban Movie Dame,” Cosmos week’s blll, featuring “Traps,” drummer, and Webb's Famous Syncopation Entertainers, “will bo presented continuously tod g Drosente: y today starting STRAND—Tiny Turek’s “Dancing Shoes.” At the Strand this week. starting this afternoon, the line-up of vaude- ville and plcture attractions will offer three headline acts. wpTiny Turek's terphichorean cirous, Dancing Shoes.” a pretentious offer- ing, featuring Marcia Compton, sup- ported by Joe Mullins, Eddie Harri- son, Ray Donahue, Jack Kennedy and Arthur Hear; Bobby Heath and his peppy partner, Adele Sperling, in = tuneful skit, “Persiflage” and Harry and Willle Lander in a funfest, “Pills for Ills Others and Moore in s surprises and I songs with S will include Kane, nsational thril in exc g Scott at the _ With gripping moments, breathles interest and genuine heart appeal Universal's story of the underworld, “Crooked Alley,” will be the photo- play. It is the story of a girl who plans to revenge herself on a severe judge and finds herseif In love with his_son. The cast includes Laura La Plante, Owen Gorine, Thomas Car- (Continued on Second Page.) b A Victor Hugo Story. NEW and beautiful story of the great French author, Victor Hugo, is sald to have been uncovered by Perley Paul Sheehan during his residence in Paris, when he devoted much of his leisure time to the study of Hugo's life and work. Incident- ally Mr. Sheehan personally super- vised the spectacular production of his adaption of “The Hunchback of Notre Dame.” “Hugo had an old friend in Spain, a famous architect named Count de Cerda, whose only daughter was a finished harpist,” says Mr. Sheehan. “The count was called “The Builder of Barcelona,” because he rebuilt the old Spanish c|:{ ‘The family was rich and powe but met with a series of reverses and lost all the an- estral property. COiWith the _de Cedas poverty- stricken, the daughter whose name was Clotilde, had to use her talent as a harpist to earn a living for the ily. o ago was visiting the family in Barcelona when the matter of Clo- tilde’s course was being discussed. {1t was decided the girl could not go on the stage carrying the noble name of de Cerda. Therefore, Hugo said: «Let the child go on this great adventure wearing the name of my heroine in_“The Hunchback” and I will give her & little goat with a silver bell and golden horns; Es- meraldo declined the goat but took the name of Esmeraldo and became, so they said at the great world's fair |in Chicago, the greatest harpist in {all the world | tOne = who was | triend tells that onme day while | walking with her in Jackson | Park, near the facsimile of the old Spanish_convent of La Rabida, sud- | denly Esmeralda stopped with a cry and picked up something from th: path. || “See she | found * the | horns!™ | “The thing she had found was part | of "a stickpin of silver and gilt | Then, in a sudden nameless fright, | the Spanish girl ran and threw the trinket into the lagoon, fearful that |1t would bring her evil fortune.” { DUl Opens Tacedo: ANNOUNCEMENT is made callin specta] attention to the fact th the first performance by Jane Cow! at Poll's Theater this week will b glven Tuesday evening, when Miss Cowl will appear in the Maeterlinck classic, “Pelleas and Melisande.” This, it is stated, is due to the | fact that the star insists upon more rehearsals with all the scenic effects before giving a public performance. a demand that had to be recognized as reasonable because the scarcity of theaters In New York made a com- pliance there Impossible before the production was sent on the road. Esmeralda's cried, “I have again goat with the golden