Evening Star Newspaper, November 1, 1925, Page 83

- * THE fleld of ’ AMUSEMENTS. THE SUNDAY AR, WASHINGTON, SMBER 1925— PART ' News and Comment By W.H. Landvc;gt. HOWMANSHIP and the divine aflatus have been running a grueling race in the movies cver since the flicker picture opened the way to Showmanship, from the movie standpoint It is showmanship things bigger and better. has been box office diplomacy pure and simple. which has spoiled many a great picture in the making by altering good tories in the hunt for “pep” and thrill and sometimes for what is even It is showmanship which has created more stars without a vestige It is show- f talent than the industry was able to handle for a long time. ianship that trades on box office returns at the expense of art and dra- atic worth, and it is showmanship that has appealed to the eyes of the multitude at the expense of good taste and morals, not to mention man- uers that reflect the civilization of the day. Had it not been for short- sighted showmanship the movie would not have become the intimate hobby of the censoriously inclined, and many hours of racking worry and many » z00d, hard American dollars would have been saved to its producers. 3oE B HE possibilities of the screen seem almost illimitable. The great ef- fort now in the industry is to see that they are developed along sane as well as artistic lines. There may be a peculiar technique that differ- cntiates the movie from kindred art, but plain common sense teaches that by no possibility does it require the sacrifice of any of the principles and things that have been demonstrated to be good and desirable by the cxperience of humanity through the ages. e HERE 1 the ek just closed brought us in our views of the com- edy and the comedians of the screen? Charlie Chaplin and Harold Lloyd are popularly helieved to be the greatest screen comedians of whom the silver sheet can boast. The box office, without hesitation de- clare them so. Their methods differ widely tear and chasc it away with a smile, while the other, o it has been said very recently, “can make them fall out of their seats and roll over in the theater aisles.” Buster Keaton, “the frozen-faced,” as they term him, recause he never even smiles whe nother great een comedian astes will, and do, differ as to which f them wears the crown of pre-eminence. Each has his own particular and each is a box office attraction par excellence. But who will which offers the best type of genuine comedy, apart irom burlesque, id why? ss Pola Negri been launched to defend her reputa- e screen’s greatest actress. and again will the box office, in . award_the palm to another because fled in “Flower of Night,” but it will be difficult to make her GAIN has the hapl tion as t probabilit iebody f: rirers believe it was Pola, and yet some will recall that Bernhardt and | Duse made even the poorest oi plays seem brilliant because of their genius. But the movie technique is different, and Bernhardt and Duse \were not hampered by scenario writers and directo: OKUM scems to have been vindicated by “The Phantom of the Opera,” h, reports from various points throughout the country indicate, likely to prove a star box office attraction. Perhaps the air of mystery he suggestion of horrors and the delighted dread with which the super- natural always attracts may be largely responsible for this. There are Tots of folks who will spend their money for a “good cry” or a shivery Tt seemed a pity, however, that the magnificent and costly replica the Paris Opera grand stairway had to be chopped into three views afford a glimpse of its beauty because of the smallness of the pictures rown on the screen, and also that so much of the picture was lost through poor lighting of the scenes in its making. The story also seemed to hang fire at intervals, any who saw e still asking exp MLORIA SWANSON, of out of the roster oi ¥ tists, along with Rudol rd, Douglas Fairbanks i something or other, has faded ous Players-Lasky into the realms of United Valentino, the Talmadge sisters, Mary Pick- and Charlie Chaplin, not forgetting ~Buster Keaton. It is -aid she is to receive “$20,000 a week against 85 per cent of all the money earned by her productions,” whatever that may mean. Gloria had a wonderful publicity backing in Paramount, but maybe her new employers believe it fixed her status for all time. Gloria is a great box office drawing card NTOT from statistics the interest photoplay magaz general public light not onl artistic responses Ar b * x % x ished by exhibitors, but from anifested in motion es discloses the wonde recent contes thousands of caused Douglas MacLean to remark: “This represents hat the picturc fans think of us and of our work. It is stunning, ap- Iling. Tt is a marvelous tribute not only to the stars and the players, to the motion picture.” ' time to time cture contests conducted by | hold of thé movie upon the A referred 1o in Film Daily which brought " “Dream Come True. successful women writers has heen in reased by one through the filming of ane Grey's, “The Vanishing Ameri an,” a six-month task just completed T'he newcomer is Ithel Doherty, and lier work in preparing the continuity r one of the most ambitious fllm un dertakings ever launched by Para- yiount, has been accorded an enthus. fastic reception by every officlal of the organization, from Jesse L. Las- ke, first vice president in charge of production, to George B. Seitz, the director who led a band of 500 per- sons into Northern Arizona for a four month-stay Tairytale achlevements seem com- monplace when compared with the career of Miss Doherty. Five vears #go she was completing her third term as teacher in the Los Angeles city school system. She had written doz- ens of scenarios and had failed to =ell one. She determined to learn to wwrite the kind that would prove sal- ahle. She spent six months teaching her-| =elf shorthand and stenography, then | sought and obtained a job as stenog- yapher at the Paramount Studio in Hollywood. All day she hammered the ievs of a typewriter and every night sHe worked, without pay, in the film- sutting rooms with her chum, Louise Long, a film cutter whose aid in ob- taining a position in the studio she had doggedly refused. At the end of six months there was vacaney in the cutting department nd Miss Doherty was selected to fill it. Shortly afterward she became script clerk for Penrhyn Stanlaws. After two vears with him and a year &ith Victor Fleming, she joined the James Cruze unit and for a year and % half has cut all the Cruze produc- ons including “The Fighting Cow- ard,” Merton of the Movies,” “Beggar on Horseback.” “Welcome “Marry Me" and others Lucien Hubbard, editorial supervisor of Zane Grey production, had watched Miss Doherty’s efforts. He noticed in- stead of becoming mechanical in her work she devoted every moment of | her time to studving and learning. He | found that in the few spare hours al. | lotted her she v iting. He saw | some of her work and was astounded at its worth. Then he gave her the opportunity to | write the continuity for “The Vanish- ing American,” from his own adapta- tion of Grey's epic of the American Indian. “It is just a beginning for this bril- | liant and remarkable young woman,” | Hubbard said. “T did her no special fa- vor in giving her a_chance to write | the scenario for ‘The Vanishing Ameri- jcan’ 1 considered that I had done | Paramount and myself a profitable bit of business. After looking at the com- | pleted picture, I knew my judgment was correct. *Color Girl of Films.” BILLIE DOVE is rapidly becoming known as “The Color Girl of Plc- tures.” Miss Dove has been specializing in color films; in fact, she is a pioneer in | this fleld. Her first fame in an all- | color picture came with her appear- ance in Irvin Willat's production of | “Wanderers of the Wasteland.” In | this potoplay her rich coloring. quaint charm and buoyant personality proved her superiority in natural color pic- tures and did much to influence Douglas Fairbanks' selection of her for his lead in “The Black Pirate,” another epic in color. Home," scena n he makes you rock with laughter, is | she “draws better.” | picture more than once | contestants, but the 'most ingenious and | MARC MEDERMOTT and NORMA TALMADGE 7 i*‘irlmograms. 1 HANDSOME, athletic young man, | £* known as Jack Luden, son of the Cough Drop King” of heading, P ind, us such, heir to one of Ameri, |great fortunes, is studying for ‘muu(w at Astor N. Y. Gertrude Olmsted has sufficlently recovered from her recent operation to assume an important part in Jack Conway’s new production, “The Rea- son Why,” in which Alleen Pringle and Edmund Lowe are featured. ‘With his work in “The Big Parade” |and “La Boheme” hardly completed, |John Gilbert is already being meas- ured for costumes to be worn in “Bardelys the Magnificent.” the | The famous Jewish treadmill scene |of “Ben Hur” is now being filmed by | Director Niblo as part of the largest climax of the largest motion picture ;x-ruduvllon ever undertaken. I'rances Agnew, newspaper woman- scenarist, has been added to the | Metro-Goldwyn-Mayer editorial staff. | Theodore Kosloff is staging an alle- gorical ballet sequence for Robert Z. | Leonard’s recent production for Metro-Goldwyn-Mayer, “Time, the Comedian. | _Claire McDowell has been cast as Mrs. Lawrence in Hobart Henley's | | “Free Lips.” in which Norma Shearer and Lew Cody will have the stellar roles. | Besides working in “Free Lips,”| Lew Cody. together with Kenee Adoree, has been chosen to support Lon Chaney in his next big story, “The Mocking Bird,” which Tod Browning will direct. The title of Robert Z. Leonard's production, “A Little Bit of Broad- way,” has’been changed to “Bright | Lights.” Metro-Goldwyn-Mayer will film the first picture of college life, and | has picked “Brown of Harvard” as the story for that purpose. Sojin, famous Japanese actor, noted for the subtlety of his Oriental char- acters, has been signed to play a fea- tured role, the part of the cruel Caliph of Bagdad, in_ “The Golden | Journey,” which Raoul Walsh is dt- | recting for Paramount. It was Walsh who gave Sojin his first opportunity on the screen when he signed him to play a role in Douglas Fairbanks’ “The Thief of Bagdad.” “For Teaven's Sake” Harold Lioyd’s first production for Para- | motnt, deals in part with missionary | endeavors in the slums. It is an| original story conceived by Lloyd and | developed Ly Ted Wilde, John Grey, | Clyde Bruckman and Tim Whelan. | Lioyd has been working on the pic- | ture for some time. Bebe Daniels has just finished oleano,” from the play “Marti- | nique,” directed by Willlam K. How- ard, and now is working in Willlam de Mille's production, “The Splendid Crime.” Allan Dwan is in Hollywood to di- | rect “Sea Horses.” Jack Holt, Flor-| ence Vidor, George Bancroft and| Lawrence Gray will have featured | roles. “Sea Horses” is from the pen | of Francis B. Young. | Anthony Jowitt, leading man for Gloria Swanson in “The Coast of Folly,” will have a prinelpal role in Willilam de Mille's “The Splendid Crime,” starring Bebe Daniels. | George Kuwa, noted Japanese screen player, who specializes in Chi- nese roles, appears as Chan_in Par- amouni'se “The Enchanted Hill,” an Irvin Willat - production. The story is by Peter B. Kyne. The blowing up a rigged seventeenth for a scene in Douglas Fair | new picture, “The Black Pirate. |be one of the most spectacular jever attempted for the movies. The vessel is the wrecked lumber schoon- er Muriel, virtually a derelict until Doug rebuilt her for the photoplay. She was lodged on the bar at the entrance to Balboa Harbor, Calif., and has been declared a menace to commerce by the Government. Count Pierre De Ramey, noted Fjrem*h actor, bowed himself into mo- tion picture work at the Metro-Gold- wyn studio by appearing in “Ex- change of Wives.” sea of a full century galleon Iileanor Boardman and Lew Cody spent the best part of one whole day in bed making scenes for Metro-Gold- wyn's new production, “Exchange of Wives.” They got out of their own beds at 7 o'clock in the morning and crawled back into bed at the studio at 9 am. for screen work. Monta Bell, who was recently feted here by his former newspaper and theatrical associates prior to the showing of his first Paramount pic- ture, “The King on Main Street,” is “rlulmed to have made a number of | valuable suggestions to his former | employer, Charlie Chaplin, concern- ing the cutting and assembling of “The Gold Rush.” Chaplin’s new picture. 1Incidentally, it is declared, Charlie took Bell's advice and short- ened his picture materially. Announcement is made that owing the extreme length of Frank (Continued on Fourth Page.) to, | wi | Lioya CHARLIE. CHAPLIN 'Photoplays This Week At the Photoplay Houses This Week. METROPOLITAN—"“Winds of Chance.” evening. PALACE—“Exchange of Wives." RIALTO—"California Straight Ahead.” evening. COLUMBIA—"The Gold Rush TIVOLI—“The Midshipman. AMBASSADOR—"“Winds of Cha evening. NTRAL—“Blue Blood.” LINCOLN (Colored)—"The Dark evening. Shown this a Shown this afternoon and Shown this afternoon and evening. Shown this afternoon and Shown this afternoon and evening. Shown this afternoon and eve; g nce.” Shown this afternoon and fternoon and evening. Angel.” Shown this afternoon and ——— METROPOLITAN—"“Winds of Chance.” The romance, the adventure and some of the tragedy of the picturesque days of the gold rush to the Klondike in the 90's are reproduced in Frank Lloyd’s picturization for First National of Rex Beach's story of the Alaskan country, “Winds of Chance,” which I be shown for the first time in Washington this week at Crandall’ Metropolitan Theater. Frank Lloyd director of this subject will be recalled as the director of “The Sea Hawk,” one of the great pictures of the year. The program will embrace also the Metropolitan World Survey, a cartoon comedy and a brief prelude which will supplant the customary overture by the Metropolitan Symphony. The prelude will be playved by Sigmund Ziebel, violinist; Viola T. Abrams, harpist, and Nell Paxton, pipe organ- ist. “‘At Dawning” will be the featured number. To visualize the ramifications of plot and the actual hazards exper enced by those who sought wealth in the wilds beyond the Chilkoot Pass and the White Horse Rapids, Mr. assembled a cast including Anna Q. Nilsson, Ben Lyon, Viola Dana, iHobart Bosworth, Dorothy Sebastian, Vigtor McLaglen, Claude (Hll‘lm:\\'ater,l‘llilo McCullough, John T. Murray and George Nichols, be- sides thousands of supernumeraries. The principal narrative unfolded is one of sheer romance, with Anna Q. Nilsson and Ben Lyon as the chief players. The secondary plot has to do " with the experiences of the daughter of a noted gambler whose father was shot in a brawl and whose future thereupon was safeguarded b Poleon, giant half-breed, whose claim finally proved to be the richest in the country. Viola Dana, McLaglen and Hobart Bosworth are the central figures in this. But back- grounding it all is the realism of the sreat push toward the nugget country, a something distinctly and genuineiy epochal. PALACE—"Exchange of Wives.” A gay and romantic comedy of wedded bliss, featuring Eleanor Board- man, Lew Cody, Renee Adoree and Creighton Hale, will be shown &t Loew's Palace Theater this week, be- ginning this afternoon, wnen Metro- Goldwyn-Mayer presents, for the fi time in Washington, Hobart Henle: production, ~ “Exchange . of and adapted to the screen by Fredekic and Fannie Hatton, it is anunounced as “cne of the most elLuilient andi effervescent comcdies o the weason, backgrounded against & colorful cross Victor | | section of American uppe:class and replete with daring touches insouciance.” It concerns a married pair whose congenlality is marred by the wite's conventional domesticity and the hus band’s sporty, country-club tendencies. They are nefghbors to another couple {whose marital happiness is cloyed largely for the same reason, though the husband is the fireside-and-slippers devotee in this latter instance. A Mack Sennett comedy, ‘“One Rainy Night”; the Pathe newsreel, topics of the day and orchestral music will be added features. RIALTO—"“California Straight Ahead.” Reginald Denny in “alifornia Straight Ahea the feature picture at the Rialto this week. The story was written by Byron Morgan, whose auto stories were made famous on the |screen by Wallace Reid. The locale of “California Straight Ahead” is the National highway du ing a motor trip, with the finish in Los Angele: The story concerns a rich young bridegroom whose flancee refused to mar; merely because he showed up unavoidably late at the wedding, and because he had alcohol on his clothes—only on his clothes. His later experiences provide laugh- able comedy and satisfying romance. Mischa Guterson has prepared a more pretentious prologue than usual, consisting of Spanish ballads, dances and instrumental _selections, pro- grammed as an “Episode from the Spanish Settlement of California.” The participants in the prologue are Misses Blanch Lehman, Tereta Schaf- fer, Mary Day and Francis Browi who will dance the “L’'Estudiantina” waltz. Miss Dorothy Burr and Mi Jean Devereau also will be seen i an’ original Spanish dance creation. Mrs. Marfe Duchon D soprano, singing “Carmencita” and “Cubana’: ‘'Ted Gerard and Miss Betty Durand, tango dancers; Nathan Bachrach, “Washington's Chaliapin,” who sings “The Rosary,” and Maurise Shrowski in a violin solo, the “Slavonic Dance” (Dvorak), with flute and bass violin accompaniment by John Prezioso and Fred Leonberger, respectively, will be added attractions. A scenic, “Carolina.” with vocal ac- companiment by Miss Alice Tupman, and an International News reel will complete the program. COLUMBIA—*The Gold Rush.” Gold Rush,” which was written and directed by Chaplin, who plays the featured role, will continue at the Columbia throughout the current (Continued on Fourth Page) | zenry. Charlie Chaplin's new comedy, “The | AMUSEMENTS. NILSSON Metropolitat. VIRGINIA VALLL~Central The Moving Picture By Robert E. Sherwood. HERE are 2 vast number of pic- tures looming on the Hollywood horizon. Production in all | dios is abnormally heavy this year, | which means that the poor, starving film stars are finding plenty of em- ployment and are eating regular meal x This doesn’t necessarily signify a plentiful supply of good screen en- tertainment, but there are a few pic- tures that appear from the advance notices to be promising. Among these prospec “The Big Parade” looms large. This is a war story, written directly for | the screen by Laurence Stallings, co- | author of “What Price Glory,” and directed by King Vidor. John Gilbert and Renee Adoree have the principa! roles. Mr. Stallings went out to Hollywood last Winter to write this story. Dur- ing his stay in the cinema citadel he wore a chip on his shoulder which did not endear him to the local citi He berated the stupidity of the movies, calling particularly un- favorable attention to those suffering scribes who are known as ‘“con- tinuity writers.” Naturally enough these gentlemen did not conceal their anxfety to witness a failure by Mr. Stalling in its own Invasion of their domain; but their hopes, apparently, are not to be gratified When Metro-Gold: n started to produce “The Big Parade" it was destined to be just another six-reel picture of no particular pretensions. But the production, grew in size and in importance, just as “The Covered Wagon” had grown, untll now it is represented as a colossal which will be shown at regular thea- ters before it is released through the usual film channels. lavishly by all those who have seen it at previews in and about Holly- wood. It will be submitted to the public before long. At the Pickford-Falrbanks studio | work is proceeding merrily on “The Black Pirate,” a picture that Doug Fairbanks has been threatening to produce for some years, and on “Scraps,” in which Mary Pickford impersonates the guardian of a baby farm. Famous Players has in preparation “Mannequin.” the $50,000 prize story by Fannie Hurst, which is being di- rected by James Cruze; “Aloma of the South Seas,” with Gilda Gray, Percy Marmont and Sessue F kawa: “The American Venus," which the celebrated beauty, Fay Lanphier, is to make her official de- but: Betty Bronson in another Barrie play, “A Kiss for Cinderella,” and the screen version of Comrad's ‘“Lord Jim.” Norma Talmadge is about ot start work in “Kiki,” and Constance in “East of the Setting Sun,” to be directed and played in by Erich Van Stroheim. Rudolph Valentino is soon to emerge in “The Lone Eagle.” At the Warner Brothers studio work has been completed on ‘“The Sea Beast.” with John Barrymore, and the Ernst Lubitsch production of “Lady Windermere's Fan.” The second Barrymore picture, “The Tav- ern Knight.” is now in preparation. First National has in work *Men of Steel,” with Milton Sills; “The New Commandment,” with Blanche Sweet, ten Lyon and Holbrook Blinn, and a Harry Langdone feature comedy (as yet unnamed). Dimitri Buchowetzki has finished ‘The Midnight Sun” at TUniversal City, and “Wives for Rent,” with Vir- ginla. Valli, directed by Svend Gade, will be ready soon. Aside from “The Big Parade,” the most important production at the Metro-Goldwyn studio is “La Bo- heme,” with the Incomparable Lillian Gish as Miml. - “Ben Hur” is still in preparation and will probably con- tinue so for some time, the original players having grown gray in the service. Cecil B. De Mille, who has lately started in business on his own hook, has two big pictures on the cards, “The Road to Yesterday,” directed by himselt, and “Three Faces East,” directed by Rupert Julian. In immediate prospect.is “The Sky- rocket,” Marshall Neilan’s new pic- ture, in which the efficlency public- ized Peggy Hopkins Joyce appears as a star. The Fox Company has on schedule ‘The First Year,” with Matt Moore, and “The Silver Treasure,” from Con- rad’s “Nostromo.” It is impossible to estimate how many of these prospective pictures will turn out well, or how many will | die in infancy. There is a strong basis for optimism, however. The movies actually seem to be getting better; there are more good stories available and more competent actors and directors to convert them into celluloid. (Copyright. 1928.). the stu- | e releases, | picture, | which s | | | “The Big Parade” has been praised | | | | | | the United States with Alaska‘s GOlvd Rush. CHANC JINDS OF : Lloyd's picturization < Beach novel, reflects the col ful days of the Alaskan gold The first news of real gold d eries in the Klondike or the Day son territory of Alaska reached Francisco July 14, 1897, when ateamer Excelstor discharged passengers who were returning tc nearly half dollars’ worth of in cans, pouches en- San the a million papers, tin velopes A few week Portland docked at Seattle charged 60 prospectors who their possession more than worth of nuggets. The news spre like wildfire, and within a few weeks boats from Seattle, San Francisco and Vancouver to Juneau were in- sufficient to carry the passenzers. Winter was fast approaching and Dyea, a small town on the flats up the Lynn Canal from Skaguay, be- came the point from which prospec- tors made 2 mad rush for Dawson City. Dyea was a wild, lawless boom town where the inexperienced eager. frenzied prospeator met his hardened, successful or unsuccessful brother from “up the diggings.” heep Camp sas about 12 miles northeast of Dyéa, and bevond, a later the steamer a dts- < o steep ascent 500 feet high) nite the top of the Chilkoot a resting pla Many pro: m to have the Dawson), most George McCormick went to the River to fish. McCormick panned some dirt on a side hill and 1 zold. Later on, the site of the prese Dawson City, he found more amd sent some Indlans down the river to obtain laborers to help him work his claim. The Indians spread news, exaggerating the liscovery. and of men fror Circle City and Fortly Mile hur ried upstream McCormick's dig ings. Bonanza Creek, Hunker Creek, Do Creek, El Dorado and other followed. It is that more thar $5.000,000 worth of virgin gold was | panned before news of the discovery | reached the United States. (near iven t scores stakes imated Directofs Not All Wise MACK SWAIN probably familiagr with Charlie Chaplin's earlier struggles for a foothold than any ather actor alive, and their new association in “The Gold Rush"” r called to Swain many interesting inci- dents of Chaplin’s earlier career un- der Mack Sennett that were either never known to the public or have been forgotten. Swain declares that Chaplin divined and went beyond what was expected of him by comedy director: very first day he ever appeared he- fore a camera. His comedy vision was 80 much wider and broader than is | that of his directors that it was only a very short time before these direc- | tors were complaining that Chaplin was a trouble-maker, wanted b way and wouldn't “take direct more | from the | trouble \u those 1ke the producers consent to his the make-up that later became internationally famous. Chaplin knew the value of that comic trade mark, but his producers either failed to see its value or sought to counteract its effect by making Chaplin too much of a star. Of course, it is well known that Chaplin won in_his argument con- cerning the make-up and that the directors and producers who objected | to it soon lost his services, for Chap- lin's fame had reached the point in a brief 18 months where he was able 1o set up his own producing unit and { turn out the pictures that have since made him a wealthy man—and « dilettante in comedy and tragedy e's ai gre. early days was who employed constant wi aring v Frederic and Fannie Hatton.| Loew's Indoor Circus. T seems like but a short time ago that Amerfcan dramatic criticism was conslderably exercised over the theater effervescences of Frederic and Fannie Hatton, who, in plays like “The Great Lover,” which Leo Dit- richsteln brought out; ‘‘Lombardi, Ltd.” “Upstairs and Down” and “The ‘Walk Offs,” betrayed a certain erotic tendency disguised by ‘‘smartness.” Tmmediately after the war the Ha tons were among the most prominent and prolific writers of plays on the American stage. Every season, it seemed, witnessed some new play from thelr collaborative pens, and i was once rumored that smarting under the diatribes of more conservative and seemly criticism, they proposed to write a play that would give all hands something to talk about. Curiously enough, this' play was never produced, and what is more curfous still, the Hattons suddenly dropped out of literary sight and, from being two of the country’s most pro- lific writers, suddenly lapsed into to tal silence. Well on to half a dozen years have passed since they brought out “The Walk Offs.” They are now making their reap- pearance as adapters of Hobart Hen- ley's new Metro-Goldwyn screen pro- duction of the Cosmo Hamilton play. “Exchange of Wives.” Further in- Quiry. reveals that the Hattons are ANAGER SPARROW of Strand Theater has just re | turned from New York with the an nouncement that he was successful in closing arrangements with tke | Loew offices whereby he will be per | mitted to bring to the Strand Theater Loew’s Indoor Cireus In its entire early in December. Lions, tigers leopards and all the wild animals of | jungleland, together with beautiful | bareback ' riders, trapeze artists, | clowns and all the other attractions | of the big outdoor circus, will appear on the stage of the Strand while its patrons can sit in_comfort in the or- | chestra chairs and enjoy the enter- | tainment heretofore provided in the big tents. Additional dressing rooms are now being arranged for, and special cages are to be constructed with heavy re- enforcements and props under the | stage becaus of the heavy animals hat_are to be presented. In other | Words, the patrons of the Strand Thea ter are to have a real circus treat in Midwinter. the | |now comfortably settled on the West Coast and have adopted, in toto, the trade of adapting their own and other writers' plays to the screen, and that from now on the stage, once the scene of their labors, will know them no wore 4