Omaha Daily Bee Newspaper, March 28, 1909, Page 14

L THE. OMAHA SUNDAY . BEE: MARCH 28, 1909. What is Going on in the Stage STRIKING new and old stagecraft is forded by the visit hore Bernstein's “The Thief” clos flon the heels of “Romeo an Jellet.” Mr. Bernateln Is by univefsal consent unsurpassed among he men of today in dramatic technique \nd €8 & master of cumulative climactic Mfect has hardly a living equal. e be- lon to the school which turns its nose up very high at stage devices long utli- tsed. * For this school the “aside” for instarice is most obnoxious and the over- %eard plot Is thrown into the discard dong with the Impossible mistaken dentity. Of ‘toursa Bernstein and all his con- temporaries are a longlong wuy behind Bhakespeafé fn a dozen different re- spects. . None of them Imagines for a minute, “except perbaps Mr. Bernurd contrast between at- Bbaw, that he comés ahywhere near the'! bard of Avon in understanding human nature in perception of moral law or of Aramatic values as such. But they have fAiscarded und have genmeral support in the action a number of stage mechanisms worn out by long use. In the theatrical limbo these will pretty generally remain, for while a playwright who is hard presséd may wish to bring them back, a conscjousness of thelr reception will re- strain him. This is one of the reasons, by the way, why the old-fashioned sort of melodrama is belng so steadily re- Jected, particularly in New York, for the gallery now hoots when the second comedian overhears the villain and the adventuress plotting the herolne’s death by the buzz-saw route. Mr. Greet during his visit here the last week established himself more solidly than'ever before in the good graces of Omala theater-goers. While the of the orchestra, considered by itself, had gomething to do with this, there was anothér’ effect, the putting auditors en rapport with the spirit and atmosphere of the drama and this tended to a better liking for the efforts of the players, MAKING A MOVING PICTURE PLAY How the Drama for the Cameraphone in Prepared. NEW YORK, March 27.—The preparation of the moving picture play is not under- taken carelessly. The playwrights for the cameraphone theater know their business thoroughly. They prepare their manuscripts with the utmost care. Then these are sub- mitted to the general stdge manager, who has had a large and practical tralning in some of the big metropolitan . theaters. He goes over the manuscripts caretully, cut- ting out rigidly all superfluous parts until the thing is reduced to its bare bones. Then actors are chosen from the staff maintained by the company. They famil- farize themselves with the lines and also with the business indicated by the author and the stage manager. Then the rehears- als begin. Sometimes If there are no more than four persons involved In the sketch and it is one taking place in an interfor the vocal part of the record is made with the assist- ance of only two participants, the stage manager and young woman. Buch a rec- ord was being taken one afternoon last week when a Sun reporter was present. A long horn protruded from a little box within which the recorder was operated. In front of the Horn was a little platform. The Mnes of. the keteh, typewritten, were hung on & peg behind the horn but within eye. sight of the stage manager and the young woman assistant. v There were four characters iA this sketch. The two men were one a German and the other “an Ivisiman. There ware also a young woman abd an old woman. On one side of the room hung a large sign which ald: “Sllence when the bell rings.” This was for the purpose of warning any person who might be In the room that after the recorder was put In motion it would re- cord any soung heard in the room, whether it was intended to be in the sketch or not. The recorder being started, the stage man- ager and the girl assistant got busy, stage manager indicating by slgns the lapse of time that ought to take place between speeches. This is something like the way it went: The stage manager, standing on the plate form and speaking into the horn: Oh, gee, see the purty gurl! The girl replacing the stage manager on lhe Flnl(urm O, 100k at those Horrid men. hee! hee 'l'ho stage manager: her to gif you a kiss? ‘The girl, speaking like an old woman: Oh, ou get out of here, both of you, or I'il send or a p'liceman. Tho stage manager: Say, thot's the furst woman iver 1 see thot dldn't want fer t" be Kissed. Humph! 'F 1'did want t' be The gir! kissed I guess I could find a better lookin' guy than what you are to do fit. The stage manager: Dat's a hot one for you, Mike, alretty yet And 5o It went. So much for the awdible part of the show, The pantomime that ac- companies it when it s shown on the screen s put in later, downstalrs In some one of the several rehearsal rooms. Every bit of it ls worked out to the last degree In rehearsal before the camera s called into play. The actors chosen to im- personate the Irlshman, the German, the young girl and the old lady are drilled with minute exactness. The phonograph record is set going wo that they may time their pantomime with the speeches and when the stage managers think they are letter per- fect they are made up exactly as for the performance and taken up to the stage, where the recording camera is ready. This stage Is surrounded with the most powerful electric lights known and the ar- rangement for controlling the lights, helght- ening them here and lowering them there, are perfect. You look down at your feet and you see that the floor is marked out in sections. The actors understand by this that o long as they remain within those markings they are within the radius of the camers. While within that radius they must not make a single motion that the stage manager does not desire to reappear in the moving pleture. What they do when standing outside that area does not matter fn the least, for the camera cannot catch them. Persons who frequently attend the moving picture performances have prob- ably noticed a striking similarity in the voloes of & large assortment of pictured Sctors and actresses. This 18 not = faneled similarity. In many cases it is something more than similarity. 1t is Mdentity. has been discovered that certaln ::lfsn have a quality that is especlally pted to reproduction on the machine. Therefore when & moving pie- Vhy don'd you ask ture manager gets hold of a woman or| & man with such a voice he makes use of him or her 80 far as circumstances will allow. Some volces, on the other hand, can never be successfully reproduced on the talking machine and others will not re- produce intelligibly at all. Certain well trained and highly pald singers, grand opers ariistr, some of them who . ur famous 1nternationally, have tried and tried in valn to transmit & record of ‘their volees to the phonograph. For some rea- son the phonograph does not ltke them apd wow't do & thing for them. Nobody knows as yet just why this is, but it's a fact, With this combination of the talking wachine and the moving plcture machine rusie | the | talking | #ome pretty complicated effects are achleved. There are, for example, wuch ‘hings as “Patrick Henry," a drama re- nacting history, showing St John's 1ureh, Richmond, Va. 5, with the Vir- ginia convention of that year in session and the immortal orator's eloguent speech culminating in “Give me liberty or give me Heath.” Present are George Washing- ton, Richard Henry Lee and a score of other notable historical personages. Runs seven minutes. “Ihen there fs “fngomar,” a forcetul eplsods from the dramatic classic, reveal- ing the beautiful love story of the half barbarian glant and the dainty Parthenia. Runs ten minutes, If you are after operetta you may have “'The Mikado,' the entire opera condensed with striking Ingenuity into two tuneful and merry acts, one running eighteen and another nineteen minutes. Produced with @ cast of well-known opera singers, elabo- rate costumes and scenery, orchestra, big choruses,” ete. OF It you ure after something both new and dramatic, why there's ** ‘The Sword of Rome,’ featuring the world- famous tragedlan, Mr. J. Montgomery Irv- ing with a superb supporting company.” Any of these acts, Including the films, the phonograph attachment, -the whole machine In fact, the complete show, can { be packed into boxes for sbipment to any part of the country. Jf the theater has the machine already the films and records can be shipped by themselves. The cause of the flicker, though every- body has been annoyed by it, is little un- derstood by the general spectator. It re- sults from the use of a device to conceal the downward movement of the ploture film as it passes before the strong light that throws the picture on the screen. | To conceal this movement a shutter is {used which elternately covers the filra with the greatest rapidity. | Varlous attem)ts have been made to avold |its results. The shutter has been dividea |Into smaller shutters and subdivided, but | though the flicker has become less annoy- | ing, 1t is still there. | The reproduction of the various volce records s an interesting part of the whole process. They are originally made on wax rolls. The record is made by a chemical process otched on the Insides of copper cylinders. Inside these copper cylinders hot wax 1s poured. When the wax has cooled it is | withdrawn in the shape of a wax cylinder with the record printed upon it. The plc- ture records, belng merely a serles of pho- tographs, are printed like any other photographs. The extraordinary vogue of the moving pleture entertainment with its accompani- ment of phonographic reproductions of the human volce has resulted in the springing 4p of a series of related business ventures nearly as widespread as the original busi- ness Itself. There is a regular lterature of moving plotures now with booking of- flecs and all kinds of side issues. Will the craze last? Who can tell? But as yet it doesn't seem to have reached its height. that s ABOUT AUTHOR OF “THE THIEF” Man with Superstitions, as Well nn Powers of Character A ¥ ‘Henrl Bernsteln, now world-famed as the author of “The Thiet,” is an interesting refutation of the notion that our modern humdrum existence s deplorably levelling and . destructive ‘of the marked individual types which are so plentiful and so divert- ing In more lelsurely days. Mr. Bernstein, it seems, while scarcely ‘a character,” Immeditely impresses even “the man in the street” by his personality, man of splendid presence and elegant man- ners, and his friends say that he expends as much thought upon the ecut of his clothes or the turn of a cravat a8 upon the arrangement of an actor drawing of a character. His “The Thief" has estab- lished Mr. Bernstein as the most inventive and most resourceful of modern pla: wilghts. He has the finest sense for al- most mathematically built climaxes of any present day writer for the stage. Yet Bern. steln Is anything but practically or sclen- tifically inclined. Rather fs he a mystic with & sharp eye, observing human nature, but personally more subject to extra human Influences than any other comes under his own microscoplc eye. This Bernstein will never content himself with a name for one of his plays until he has found one of six letters or less. He is sure no success can come to any of his plays If the title, aside from an article and adjective, or some other qualifying word contains more than six letters. Thus, the Minna Gale's Return to the Stage N BVENT of sufficlent impor- tance to attract wide-spread attention, even though it s subsidiary to the appearance of a popular present-day star in a new play by an eminent writer, is the re-entry upon the of the tamous Minna Gale, remembered as the principal female member of that unparalleled organization that contalned the names of Booth, Barrett, Bangs and Davenport, making with Miss Gale a quintet of stars that no nation of the earth can hope to equal at the present time. Miss Gale, now Mrs. Haynes, has undertaken the part of the Princess Chlaramonte, in F. Marion Crawford's new play, “The White Sister,” a part that, even though it is second to that assigned to Viola Allen, the star of the company, in importance, is still one that makes huge demands upon the actress, and will require the display of all the skill and artistry the former Miss Gale acquired from her best teach- ers. Mrs. Haynes, it will be remem- bered, retired from the stage while still In the flush of youth, having married Archibald Haynes, the weaithy insur- ance man, Recently, howevey, her hus- band's affairs have not run smoothly, and, at the age of 40, she returns to the vocation of her youth after seventeen years' absence. To the hopelessly young, Miss Gale, or Mrs. Haynes, as you may choose to call her, doubtlessly requires some in- troduction. The full fledged theater- goer of twenty years will still remem- original French title of “The Thief"—'Le Voleur"—delighted him, and equally so does “Sampson,” the newest and best of his plays they say in Paris, and of which Charles Frohman has obtained the English and American rights, and produces in New York with Willlam Gillette in the leading role. The following s related by his Intimates as typical of Bernstein: One morning after having breakfast with two friends, one an art printer, the other a publisher, and both very dear to him, Bernstein came to the theater attired In a handsome sult of dark maroon. To most minds a maroon sult, of course, is & badge of eccentricity. Bernsteln had probably read lately of maroon suits, and decided that what might today seem eccentricity, in other days which is one of fine distinction. He is .lwoulfl denote an elegant taste. Hence, he person who World Briefly Told [/~ had set about to establish the fashion of maroon clothes for men, of rather had courageously made himself a disciple of o vogus, whose dlsappearance from the boulevards of Paris grieved him. Charles Frohman feels a warmth of in- terest In Bernstein that is only less cordial than the attachment he feels for the great- est of his Bnglish playwrights, J. M. Barrie. There is as little in common be- tween the French and English playwrights fs men as there is betweon thelr manu- scripts as plays, but In popularity extrava- gant almost to the point of ecestacy, Bern- seln 1s to the French what Barrie I8 to the Bnglish theater-going public. AT THE PLAY HOUSES THIS WEEK Bills to Be Presented by the Loeal Charles Frohman's productions of “The Thiet" will be seen at the Boyd Sunday, Monday, Tuesday, Wednesday and Thurs ber the sensation created by the 18- year-old girl who became leading woman for the world's foremost tragedian within a year of her stage debut. From 1887 to Booth's last public appearance in May, 1591, at the Academy of Music in Brooklyn, Miss Gale rendered. the great actor worthy support, never miss- ing a single performance. She was most admired for her Portia, her Ophella, her Lady Macbeth and her Parthenia in “Ingomar.” For a considerable portion of Miss Gale's perfod as leading woman for Booth the latter was assoclated with Barrett, as well as other stars above mentioned. As a matter of fact, Miss Gale's debut was made in 185 as a mem- ber of Lawrence Barrett's company, and she joined Booth at the time the famous combination was made. The virtue of that ali-star aggregation -as a training 8chool s attested by the worthy achleve- ments of its many graduates, but, at the time, no one of its members was looked upon as more promising than its young leading woman. In more than one mind the robbing of the stage of Miss Gale has been considered one of the most pitlless blows that wealth ever dealt the cause of art, and, if indeed it is the late financial depression that has recovered so able an artist for us, we may indeed be satistied to prattle of siiver linings. Miss Gale, even now Mrs. Haynes, did remain on the stage one year after Booth's retirement, and her own mar- riage. Under the management of the day, with Wednesday matinee. The prestige of the play, owing to fts remarkable suc- cess in Paris, London and New York, is sufficlently great to promise that the en- gagement in \this city will be a record breaker. ‘“The Thief” was played at the Lyceum_theater, New York, for nearly an entire season,/and more than halt a million people attended the performance. The play is by Henrl Bernstein, and since the death of Victorian Sardou, is conceded the greatest of French dramatists. The plot is direct, and the playwright has pro- vided a wealth of emotion and situation in the three acts, which has hardly ever been equalled by the greatest master of stage- craft. The company is headed by Charles Dalton, an accomplished English actor, who s a star of some magnitude both in England and America. Margaret Wycherly YME weeks ago the music de- partment of The Bee, it may be remembered, announced that a series of interviews was be- ing secured from representative men with regard to several questions affecting the musical growth and development of Omaha. Two interviews have been printed, one from a physiclan, and the other from the manager of a large business institution. These views from outside points were most interesting and entirely different in form and character. Today the readers of this column may he interested In what a well-known lawyer thinks about the situation. Asked es to “What are the principal reasons why so few professional men, laboring men and busines men are inter- ested In the musical development of Omaha,"” the Lawyer replied in part: “In my opinion, the chief reason why a great many people do not take an interest in the development of music in Omaha is that they do not regard it as practical; there is no money in it, to use the current phrase. This is a commercial age. The dollar talks and talks loud. Musle can not- possibly be commercialized, without you degrade it; and hence the lack of in- terest In its growth and development.” o This reminds the gvriter that just the other day he was talking along this very line with a well known insurance man whose recreation outside of office hours and business dutles takes the form of musical enjoyment, rather than a game of golf or chip-stacking. He said that but a few days before a man asked him why he sang when there was “nothing in it" for him. He was not converting his volce into money, therefore he was “getting nothing out of It.”” Verlly, one is led to belleve that in a few years, or months, people will not play golf except for $20 a side; for aught the writer knows, there may even now be money “on tbe green. To another business mzn the writer said a few weeks ago: “Why don't you let up a little now on the subject of money mak- ing, you have lots of It, wiy mot get back a little way into musical actlvity, and get some enjoyment out of your higher self?" And his reply was: “Oh, 1 don't care for money; it isn't that—I have enough. But I'm in the game, and I have got to play.” ‘What is the game? ls it anything higher than “beating the other fellow to it?"" One wonders. e/ In answer to the second question as to { what he might consider the most important | work being done by the musiclans as a professional class, the Lawyer said: T have no hesitation In stating as my opinion that as & professional class the work of musicians has been most important in its results to the community, In raising the standard of church musie. Much good | teaching has been done, but that touch | the individual. The work that ls being done in church music touches the commu- Bity. Years ago the standard of church music, with one or two (xoceptions, was the ‘Gospel Hymn.' Toduy that is all changed. The standard of church music in Omaha is very high and its elevation is the result of quiet, persevering work on the part of serlous musiclans who have brought up the tastes of the church-going community, so that Omaha can boast of excellent choirs and a general demand for the better things. In this rleld Mr. Tom Pennell was a ploneer. The kind of music which he introduced occasionally is now the common thing and anything of a lesser grade or lower type would not be accept- able.” The editor of this column would also like to grow reminiscent, If time and spane permitted, concerning the work wnich was heard Sunday after Sunday in the early days of Trinity cathedral, and for which Mrs. Herman Kountze (then Mrs. Cotton) was responsible, ably assisted by Mr. J. E. Butier at the organ; nor would he forget the notable music of the Roman Catholic church when Miss Fannle Arnold and Cap- tain Kinzle were names to conjure with, Glory to the ploneers! Omaha spends thousands of dollars every year—yes, thousands—on church music, Think of that and be comforted. M The third question asked was: ‘‘What should the professional musiclans and or- ganizations be doing for Omaha's musical development which they are not doing? And what, if anything, are they not doing that they should be doing?" he reply to this question from the Law- yer was that the musiclans rhould as far as possible set aside professional jealousies, or keep them In the background. ‘“The public,”” sald he, “can never be Impressed by displays of jealousy in any profession, or in any business. Of course, this is a charge which always | has been lald more particularly at the door of the professional musiclan. It is perhaps quite well founded, especially for the reason that at the very top of the operatic branch of the profession, thers come occasionally glowing accounts of trcubles with primae donnae, and mana- gerial straits of desperation. One tact, however, should be taken Into consideration in justice: and that fact is that the jealousy is almost always directed against the best people and nct otherwise; for the same reason that one always finds the cudgels and stones that have been thrown, very close to the tree which bears the best frult. The volce of jealousy is sometimes heard, but do those who blame the musicians generally for it, ever really stop to consider the source? The question of “standard” comes in. Those who are working for a high standard are not jeal- ous. It is those who are satisfied with less that are. The question was then asked: “Do you think that the Omeha leading musicians are largely free from jealousy, as a class, and that there s & genuine spirit of good will here that is very hopeful?" And the Lawyer replied: “Yes, pehaps; but the present love has not been long enough prevalent to make a judgment possible.” — - In reply to the fourth question: “What should be the attitude of the musical writ- ers on the daily and weekly press, towards the readers of the papers and towards the community?" the reply was: “The musical writers should be practical in their work, ond endeavor always to cultivate the musical sense of the commun- ity. Much could be done along this lMne and it would bear results. About Music, Musicians and Musical Events l There should be a thought of the commun- ity uppermost, and musical writings should not be for the purpose of pleasing a circle of muslcal friends, who understand all the phrases and technicalities of the critic.” The fifth and last question received a | lengthy answer, the glst of which 1s glven. The question: ‘“What means would be the best to adopt, in order to awaken an interest in the musical development and | growth of this community which would | be commensurato with its growth in other | directions?” The answer: “Omaha has)| a lot of musical appreciation. When the | greatest bands have come here people have flocked in thousands to hear the musio of the masters, as well ag the popular things, and It seems to me that something should be done to develop that tendency, and to stimulate that apprecia- tion. T put an estimate on the fact that you can hear Caruso sing while you are at luncheon, and that you can hear an organ play while courses are being changed. The mechanical music which modern skill has brought to our doors is a stimulus to musical appreclation. The best music is avallable, and you don't hear so much of the ephemeral stuff as you did formerly. “Then agaln the highest prices I have ever pald for seats I paid for the Conrled performances of Grand Opera at the Audi- torfum, and that huge buflding was packed. This looks like appreciation to me, and I think that a combination should be formed of professional and business men with the right temperament, and leading musical men of pronounced standing, to the emd that such occasions as this one I have mentioned should be frequent, and not merely’ & memory of the past.” | This is so well put that further com- ment would be superfluous. Your attention s requested to the pro- gram which Rabbl Cohn has sent to this office. Friends of Mr. Carlo Fischer, the popular ‘artists of the violincello, here- about will need no further invitation. THOMAS J. KELLY. Musical Notes. Mr. Landow will give a plano redital at the First Baptist church on April 15. M Max Landow delicately suggests that a: there will be an admission fee charged ai this recital, those who are opposed to free recitals, may have an opportunity of sup- porting’ their convictions on this occasion. Mr. George Hamlin ‘“passed through" Omaha last Thursday on his way to Lincoln. And again, on last Friday, on his way back to Chicago. Next? On April 1 an evening of Chamber music wil be given at the Temple Israel by the | Minneapolls S8ymphony quartet. Herr Karb, late concertmaster of the Kaim Orchestra, Munich, Germany, and recently come to Minneapolis in & similar capacity with the “Symphony’” will pre- side at the first stand. Herr Dicks, leader of the second violin section of the orches- tra and formerly concertmaster opera at Erfort, Germany, second stand. The Viola and Cello wil be in the hands of Mesors Hals and Fischer, . rcspectivel play “Opus 74, Ne. by Haydn, ‘Opus 3, G'minor, “Love Scene”” by Raff, and by Lent. Herr Korb will “Lucia Fantasle,” by St. Lubin and r. Fischer, “Etude, Opus, %, No. 21, by Chopin. The quartet will be assisted by Miss Adelaide Plerce, contralto, who will sing “Amour Viens Aider,” by 8t. Saens, and a couple of ballads, will play the leading female role, appearance here will be 0 many of her stage conquests. R. Mawson, a sterling actor, and Mrs Hillary Bell, Arthur Lawrence and Leonard Ide complete the cast, excelled as a travel- ing organization. and her welcomed after Baward When Viola Allen comes to the Boyd Friday evening for three performances she will be seen here for the first time In & rew play which has arcused more com- ment among critics, theatergoers and litter- ateurs than any dramatic offering for many and many a scason. The play is “The White Sister,” a most unusual story, in plot and subplot, the work of the famous writers, ¥. Marion Crawford and Walter Hackett. When “The White Sister’ the principles of the church were concerned; | ters are sure to be thronged. |the women in the play, outside of the old fitmsy | | sealous: and Miss Sterns steps out of her customary girly-girly roles into the cha irrepressible Irish servant. the well-known Irish character impersona of the | will occupy the | parts | was first produced the announcement was | made that It would be interesting to watch | the attitude of the Cathclic church with regard to this play and conjecture was rife among the laymen of every sect as firm of Abbey, Bchoeffell & Grau she assembled a very efficient company and toured as star in a number of the roles in which she has been most successful adding to them Jullet, Parthenia, Rosa. lind, Julla in “The Hunchback,® Pau- line in ““The Lady of Lyons," and the Duchess In Oscar Wilde's tragedy of “The Duchess of Padua.” Of her earller roles she again was seen as Desdemona, Ophelia, Beatrice and Lady Macbeth. It does not take the learned scholar to realize the vast versatility of that young actress, these well known 'roles speak for themselves. It is perhaps a bit of ingratitude to seek the cause of Mrs. Haynes' return to the boards. It should be sufficlent that she docs return. But it is generally believed that Mr. Haynes was more se- verely hurt by the late financial ship- wreck than it i3 generally believed. ‘When Mrs. Hayres' engagement with Miss Allen's company was first an- nounced she was freely quoted as hav- ing sald that she was returning to help her husbahd. It may not be that she wiil ever become to theatergoers of to- day what Minna Gale was to those of twenty years ago, but there are two things of which there can be no doubt— one, that at the age of 4 the true artist has by no means qutlived her usefulness, and, second, that ‘there are so few art- iste of Mrs. Haynes' training and cali- ber now to be found on the stage that every addition to that limited number is sure to be recelved with heartfelt grati- tude. to whether or not the Catholic church through its clergy would endorse or con- demn the stage offering. Inasmuch as F. Marion Crawford was selected as the blo- gropher of the late Pope Leo it was thought probable that the play would make for a truer understanding of the Catholic faith. After the first production a number of the prominent Catholics of Chicago were se- lected to attend a performance and report the pecullarities of “The White Sister” in their relation to the church. The result of the churchmen’s visit was that a state- ment was Issued by the Catholic publica- tlons to the effect that Miss Allen's play was based entirely upon fact, as far as that Catholics would appreciate the play and enjoy it; that Miss Allen's characteriza- tion of the nun was beyond reproach, and that people of every sect and creed could find no objection in ony part of the per- forrance, as the delicate subject of re- ligion in general and Cathollcism in par- ticular was treated in a most unusual manner, with deftness and dramatic power and that as an entertainment “The White Eister” was high in the list of the greatest offerings of the American stage. There is no gainsaying the fact that femi- nine beauty plays an important part in the modern drama. If a theatrical company contains many beautiful women the thea- In selecting the cast of “The Traitor" Manager George H. Brennan has been fortunate in finding 80 many actresses who are noted for thelr beauty as well as for their abllity. As all colored mammy, are of the aristocracy of the south it was of course necessary (hat the roles be portrayed by beautiful womes of grace and refinement. “The Traitor” will be the attraction at Boyd's April 4, 5, € and 7. ‘William Glllette's delightful comedy, “Be- cause She Loved Him So,” will afford the Burwood company an excellent opportunity for their talents during the week starting this afternoon. A strange colncldence In the selection of this comedy is that in it Miss Leone and Mr. Bacon find thelr fa- vorite roles. Miss Leone has played the purt of Gertrude West, the jealous wife, with great success for several seasons, and as John Weathersby, her father, Mr. Bacon has his favorite part. Miss Jeffery will be Mrs. Weathersby, who begins quarreling in pretense and ends in a serious rage of Mr. Grew will be Oliver West, the artist husband who is falsely accused by his wife, and Mr. Fitch wil be Tom Weathersby, “with a love for animals.”” Miss Downin has & delighttul role in Senora Gongzales, the Carlist enthusiast, whose thrilling description of “the battle of To- losa" leads old Mr. Weathersby to kiss her, thus laying the foundation for all of the real trouble in the family. Mr. Todd will play Mr. Marsh, who loves the senora, cter of the There wiil be matinees today, Tuesday, Thursday and Sunday. —— For holy week, the closing week of the Lenten season, the Burwood company will present ““The Blgn of the Cross.” it The Empire Burlesquers, made famous by tions of Roger Imhof, who is in a class by himself as a deliverer of pure Celtic wit in_his former Casey creations, has a new vehicle this season—though along the same lines—entitled, “Casey’s Alley,” will be the attraction at Krug theater for four days, beglnning matinee today. New and | original musical numbers arc introduced | | by twenty beautiful chorus girls, who have | {had special training for thelr respective numbers. The scenery, costumes, son dances are all new this season, it Is claimed, and nothing carried from last year, except the star—Roger Imnof. Next Thursday, Friday and Saturday over both | AMUSEMENTS. AMUSEMENTS. BOYD’S =5 NIGHTS Starting Sunda, MARCH 28 Bvery m Sweetheart, Musband and Wife Shonld See '“The Thief” From Asthur Brisbane's Editorial in New York Journal [(z2z] THE [ THIEF The Great Dramatic Sensation and ’H‘ll'h of lcn- Countries and Produced Exactly as Seen at the Lyceum Theate: ¥., Where It Ran for Ten Months. A Brilliant Company of “rotanis Players Ineinaes CHARLES DALTON, Beat Friday a Assisted I’ By F. Marion rich in t SEAT SALE MONDAY BOYD’S THEATRE PEOPLE ON 75 THE STAGE CARLOADS OF 2 SCENERY AND HORSES MARGARET WYCHERLY, MRS. HILLARY BELL, ARTHUR LAWRENCE and LEONARD IDE. ow on Sale, Prices—8$1.50, $1.00, 750, 500 and 25c; Boxes $3.00. | Special Matinee Wednesday at 2:15 P. M. nd Saturday Night VIOLA ALLEN (LINBLER & CO., Managers) TARNUM and an_Ex . Most Discussed Pllv of the THE WHITE SISTER Orawford and Walter Hackett. A stirring drama of love and devotion, powerful fragrance of Italian romance. EDWARD R. MANSON, tin .lml‘-’l Company, 1ts fascination and An Appealing Lenten Offering FOUR NIGHTS Beginln SUNDAY, APRIL 4TH MATINEE WEDNESDAY FIRST TIME IN OMAHA —————] THE TRAITOR THE CLANSMAN DRAMATIZED BY Cbanning Pollock and Thomas Dixon Jr. From Mr. Dixon’ Direction George H. Brennan Famous Novel . KRUG THEATER.. DAYS -STARTING Matinee Wed. 4 MATINEE TODAY THE GREAT EENVIPIRE SHOW, HEADED BY ROGER IMHOF 40——COMPANY OF——40 DAYS—-STARTING Matinee Saturda; 3 SEE THE REALISTIC NAVAL BATTLE Thursday, SPECIAL SOUVENIR MATINEE FRIDAY April 1 F. BUSTE An Authographed Fhoto of “BUSTER” and “MARY JANE" to All the Ohildren—Priday Matinee, “HOME’S LITTLE HERO,"— OUTCAULT'S R BROW Assisted by “Tige,” “Mary Jane” and a Capable Company of First Class Players With Loveable Little MASTER RICE as “Buster.” SUNDAY, APRIL 4, THE CANDY KID PHONES — Bell. GAMBLING S ILLEGAL TODA Do Omne of the best lociog MATINEES: TODAY, TUES ts full value 1 productions double the price you pay. ~but you are ot taking a chance in going to sec 194 With “the Burwood “BECAUSE SHE LOVED HIM S0” Comedies ever staged. AY, Every Evg., 15, 25, 35 & 50¢! ug 1506 Inc¢ element o ance” ont = runfl ‘when you finally decide to go to the jurwood. There is no uncertainty or hap- hazard venture oa your part as to whether are exchi your good money for amusement as Burwood. are always THUR! DAY. SATURDAY Week, N Bun. Wian 0% Thu GRORSS TEMPLE ISRAEL Minneapolis Symphony Orchestra Carlo Ficher, Cellist. Adelnide Fierce Contralto THURSDAY BEVENING, APRIL 1, Tickets at Mandelberg's, Megeath's Drug Co., and Sherman & McConnell 8P M owli pleasant memories in all, comes (o the Orpheum for the week commencing today CREIGHTON Qg R ADVANCED VAUDEVILLE MATINEE Dm‘. BVERY NIGHT, Illl. " Week Starting Matinee Today Lilllan Cohen is still “Sassy Little," Ger- tie Moulton is the monitor and Frank Alvin the Itallan boy. The plece has been much strengthened and several song hits added, such as “Sunbonnet Sue” and “You're Just the Boy for Me." Armstrong and Clark, two song writers whose com- positions have attained no little popular- In a Young Comic Nine Youthful Singer Gus Edwards “Bchool Boys snd Gir) Opera in OUne Act, Entitled “SCHOOL DAYS" Dancers and Comedlans. ity, will appear in a littie musical skit which they call “Findimg a Partner."” The Three Yoscarys came to this country some years ago as the leading feature of the entertainment provided at Hammer- Armstrong and Clark The Song Writers, in “Pinding A Partuer’ steln’s Roof garden. Dressed in the garbh of the middle-class Parislans, even overcoats, they perform feats of athletic Qaring which are sald to be truly remark- able. Nothing could be finer In its way then the eard and ooln manipulation of T. Nelson Downs, “the king of coins." Ward and Klare, assisted by a capabl company, will be seen in their latest and most successful farce, “The Twin Flats by Searl Allen. An act which will cp- peal to the lovers of music with special force will be that of the beautiful ard talented Weston sisters. The art of these three young women has won them hi rank, both as instrumentalists and sing- the management of the Krug theater has secured as its attraction “Buster Brown.” The scenery, costumies, music and songs are spic and span with newness, while the casty headed by the llitle chap who tairly exudes mirth, Master Rice, is away ahead of any yet seen, we are promised “Buster Brown" should be largely wel- comed. A speclal matinee on Friday, “School Day: the one-act musical comedy, the very name of which evokes ers, and’ the pleasure afforded by thcir act Is augmented by charm of manner Richard Crolius, seen here with Willlam Cortleigh in “Peaches,’ will soon appear at the Orpheum in a little sketch depicting an inoldent of race track lite, entitled, “Shorty.” 1In this comedy sketch, with a dash of pathos, Mr. Croll has met with flattering success and th last season engagement promises to be an enjovak's one, “A $potiess Reputa- tion” Harrison Armstrong's One-Act Po- litical Episode The Three Yoscarys Europe's Foremoet Athletic Eccentri ques. T. Nelson Downl Kiag of Colus Charles B, Katherin Ward and Klare pnd Company, in The Twin Flats” By Bearl Allen Flore. Je Juliette INODROME J newest in motion plotures