Omaha Daily Bee Newspaper, April 17, 1910, Page 42

¥ Whose Name Should Go in the Blackest of Type ELL, 1t had to come; In fact, fts advent is no more of a surprise than the return of Hal | comet. The author is now have his name on the bill t¥De no less obtrusive than that Which announces the name of the manager, The play is to be given prominence; per haps the player, will also receive some notice, but. the author is assured that his name will stare at the public from the dead walls, from the printed column, and from | the muddied page of the program, in no | less degres than that Which Is accorded the producing manager. Leibler & Co. are the | sponsors for this new manifestation of | managerfal modesty; maybe it ia no mod- esty, either. It may be just another move to gain a little publicity along lines that | have hitherto been unexplofted. Whatever 1t is, the suggestion in & welcome one. Tt is related of a Russian astronomer that he | denoted the pertubation of certain of the §reat planets, and, from this deduced the eonclusion that they were affected in thelr movements by the Influence of another and larger body that had not yet been en- trapped by tha telescope. He calculated | the retardation of one planet, the accelera- tion of another, and finally predicted that on a certaln night, then far in the future, the body that had disturbed the orderly progress of the side-real system would be &t a certaln point In space. He died years before the date he had fixed, but other as- tronomers remembered his prediction, and on the night he had named and at the time he had set, telescopes were pointed at the #pot he designated, and & new planet was addd to the system of which the earth is & small member. Neptune, the other guar- dian of the sun's great realm of space, was caught by the very simple process of | mathematie What has this to do with the case? Noth- | ing, unless It be to show that at times it is possible to prophesy with reasonable certainity of eventually belng supported | by the logic of events. Long ago the un- happy son of the murdered king of Den mark exclalmed, “The play's the thing!" Not exactly that, though, for he qualified his statement by making it piain that he intended a definite appiication of the Postulate o a specific o “The play's the thing wherein I'll catch the consclence of the king." s what Hamlet exclaimed, but the many who have come after him have persisted in eluding the explanatory and qualifying clause of the sentence, and sticking only to the main assertion. So the prince of Denmark became a prophet, | dotngs of | managers who whether he would or no, and for ever so Managerial Concession to the Author Suggests That the| vl Actor Sometimes Contributes to the Success of the Play land for This Reason Very Often Deserves a Share in the | Publicity Greater Than That Now Accorded His Kind long & time we have been told that the play is the main point at issue on the sthge. A few years ago the manager dis- covered how very very wrong this is, and saw by that great inward light, which al- ways fllumes the mental processes of the producing manager, that it wasn't the play at all, but the manager. And s=o the big type told us that Mr. So-and-8o, or to Mr for the pleasure that was at the theater, it we cared to take it. For all this time we have been kept posted on the this the other of the Somebody Kise ours that or ished, and have been cut down and with- ered, and we have pald due tribute to their genius, and admitted their greatness, and omtimes even dared to wonder what would happen it they withdraw their tavor from us. were (0 i spirit of the manager he tells us he isn't the and that the author And this begins The man who Now over the cometh a change; whole show, after all, is entitled to some credit. to recognize the play again. writes the play Is to h tactor in the success of contributing to the adifieation and dfvertisement of the people who g0 to see the play. It is the chil o his brain, the creature of his imagination and the direct result of his talent for see- ing clearly situations and working them out to the logical fonclusion. His genius for analysis is the hidden life of the drara, and the vizuaMzation of his thought is the meat that clothes the framework of its bones. This has been publicly acknowl- edged by the manager, who now cheerfully glves to the author such share of the pro- ceeds resulting from the production of the play as speedily enriches the writer of a really successtul play. A% B Here and there among the multitude stands out the name of one other factor in any success that may come to a play—the actor. He is the- undiscovered star on whose influence depends the perturbations of the system that have hitherto been ac- counted for as mere orbital eccentricities of manager and author fn their movements That Unknown Audience An Unsolved Puzzle of the People's Playhouse—Ben Greet Sure, Though, that Lots of New Yorkers Do Go to the Theater for the Play's Sake—Attempts to Learn What They Want—The New Theater. BW YORK, April 9.—'The peo- ple’'s playhouse, the people's playhouse—the term is a shib- boleth, lsn't it?" Ben Greet, who has been dem- onstrating at the Garden thes ater his ideas of what are the plays worth while, smiles; and Mr. Greet never looks more serious than when he smiles. He has been fairly caught in one corner of the yastnesses which are the stage of the “people’s playhouse” during rehearsal time, Whence he is watching the evolutions of certain little pinaforded dancing sprites about to become wonder book creatures translated from Hawthorne's pages to the stage. Thus discovered, he allows himself to explaln what he thinks a people's theater is and should be. “It is hard to define,” he confesses. “Society transfuses so quickly; it is so In London. The masses cannot be caught. It would seem that the craving of the peo- ple to become so-called society is second only to the craving of the theatrical man- agers to cater to the people; he is lucky ?t he catches them. “I should say, however, that the New York theatergoing public might roughly be divided Into three classes. Those be: longing to the first of these may be seen occupying seats at the two opera houses, at the New theater, possibly In the houses where Miss Barrymore and Miss Billle Burke are playing." At this point Mr. Greet is compelled to abandon temporarily the realm of ideals and enter that practical world where de- clalon must be made as regards blue light effects on a blue palace in process of erec- tion, a2ppropriate grotto and pavillon ae- companying. This material matter hav- ing been disposed of he returns to the sub- Ject of theatergoers and their classifica- tion. “To this first class,” says he, ‘belong Eberry's and Delmonico's—complements of the theater and opera, it indeed the latter are not but complements of the former, Second s that huge mass which at home in England we call the middle class. This includes the people who prefer the orchestra to the balcony because It costs more, and who can pay for it. You will find representatives of this ciass every night at the New York theater, the Casino, the Knickerbocker, the Broadway, the New Amsterdam, the Herald Square, pre ferring to be amused through their eyes; after you will find them at Rector's, at the Cafe Martin. The third group Is composed of what Mr. Sothern and myselt call the people those who work hard in the daytime, bul seem most of all to want good plays ana to prefer them (o fashion shows and leg shows—why called leg shows now 1 really don't know, for there is a lamentahle wearcity of legs. Perhaps it would he more polite to say musical shows,’ and again Mr. Greet smiles the heavy serlousness of bis smile. ‘“These people are not star gazers—they Just want & good play’ When the theater 1s over they go home, 1 suppose. [ have ®sen them from the Academy of Music rushing to subway, elevated and surface ears. *'Here at the Garden we are of the same sort—most unfashionable. We are not close to Bherry's, you see; yet we aro close to the Cafe Martin, But they are thinking more of the play than of what they are &oing to eat and whom they are golng to wee ufterward “Yet it Is hard 10 find just what it that they—I may call them the third de- gree—want. Shakespeare Is wanted: that has been proved. To these performaunces come those who have worked all day in stores and In homes, students of musie, of art, and from the schools, teachers and, most of all, young folke. We might well call this the young folks' theater. And be- cause this 18 50, I am especlally glad that this theater, though bullt some fifteen years ago and not according to the latest designs, is unsurpassed as to line of sight mcoustics and the arrangement of the or- chestra. “Location, as you know, s considercd most Important thing regards & It has been suggested that oury drawback. Yet when 1 see the enor crowds coming to the Madison Garden, from the soclety horse s | degree live & matter of fact, we are the pivot. So we consider it fitted for our experiment.'” Mr. Greet has an interesting collection of cards as a reswt of an experiment to #6e what sort of plays the audlences like. The cards are distributed, the blanks to be filled with name and address and su tion for a play to be given during a vacant week and left at the box office. “Votes for women do not figure in this |§ contest of ours,” says Mr. Greet, “‘although the majority who file cards are wome Answers come from all parts of New York, Brooklyn and as far away as New Haven. We asked whether we should give a Greek or & modern pl but many specific names have been volunteered. There have been calls for ‘Antigone,’ for 'Oedipus Rex' in the first class, and for ‘Pippa Passes.' “The Colleen Bawn,' ‘The Jew of Malta'— as far back as Marlowe, you see. “Now how many people in the average audience of the average theater of this town do you suppose would even know who wrote ‘The Jew of Malta,' much less ask to have it produced? At present the contest between the Greek and the modern drama Is neck to neck, but the strongest demand seems to be for Shakespeare.” This way of taking suggestion from the sudience is by no means novel in London nor in the provinces, says Mr. Greet, al- though It dogs seem a trifle peculiar in New York. “The people—what I term the people," he resumes, “desire Shakespeare. At the Academy of Music performances the theater has been crowded. And likewlse down on the Bowery at the Yiddish thea- tars, and even up at Sixty-second street, it has been Bhakespeare and the classical plays that have drawn the larg:st audi- ences, although In Just what degree to see the performance Is hard to tell. “Among the first class of theatergoers I mentioned we have grown 5o Acces- tomed to the soclal atmosphere that it is hard to determine the position of the stage. To be sure, Mrs. Plantagenet Snooks fs there. but it Is° partly because she knows Mrs. Montgomery Browns Is to be there. I take it as a bad sign, a very bad sign, when members of the audience want, thelr names to by announced on the pmn—Lm they have not gone for the performanco sako moarely, if at ali “Why, one might as well label In ohurch the names of the pewholders on the pages opposite the hymns. You see what I mean, the distorted motive. I suppose these peo- ple would resent belng classed with cer- tain brands of whiskey and makes of cor- sets, but that is what they really have come to—self-advertisement “Whether they go to the theater and opera for its own sake or for the love of notoriety no one can presume to say. I can't recall that this practice cxists at home, though changes take place quickly In London nowadays; nor In Paris, Frank- fort, Munich or Vienna. The point is, how- ever, that it is entirely foreign to what L term the peopls's playhouse. Here are nene at the door taking names of cele- brities and detalls of costuming, and the sudience would ot stand such a procedure even it the Information were wanted. They have come to see the play merely; no otlier claments are present. As to the prospects for & steady season of plays worth while in New York, Mr Greet fs hopeful, but not teo much 0, “New York Is so transitory,” he savs “The population alters. And somewhere I have heard that only ome-fifth of the theatergoing public are native New York- ors. “Just what this huge unknown mass I3 that daily ard nightly fills the half hun dred theaters I do not know, nor whence It comes, nor where it yoes. But I do know that what 1 have termed the third ght here In the city, are the New York.' It they problem would be \nknown residents of would stay fixed our less difficult “On the whole, matters are opment that s golng on came over, under Charles Frobman's man- agement, he sald that my ideas were ten years in advance of American sentiment 1 have been hers weven years now and am crowds 10 the East side ecircus extending back to Fourth avenue, that we are not inaccessible. As eagerly watching what the next three may bring forth. “I then Ssuggested an enterprise for we were indebted to | sprung up and flour- | recognition as a ! improving. | around the central sun of Success. Calcu lations are under way, though, and mayhap now the expert s ready to announce the time and place at which the actor will be given his position in the triumvirate, and be admitted as an indispensable ele- ment in the compound that turns popular fancy into surplus deposits In the bank. It doesn't seem necessary to Argue this point; success at the theater must Involve the three elements enumerated. A manager must be equipped with the peculiar com biration of business abllity and artistic perception that will enable him to discern with some accuracy the probabilities of a new production, and the capacity for at- tending to the multitudinous proper presentation and the direction of its | course after it has been launched. The author must elaborate his idea, elothing the central thought in such manner as shall even details of its | set it before the people, richly decked and appropriately adorned, but not obscured, and the actor must give sentiment life to the figures who have existed only in the imagination of the author. It is the part of the one to suggest, of the other to create The author appeals to our Imagination; non of us are so devold of the faculty that we cannot In some measure concelve of the kind of a man or woman who is in- tended just what course of action should be pur sued in & certaln predetermined situatic characters drawn by the author | the variations of the plot is a amusement, and affords much entertainment. But the actor before us and show | another's brain in flesh and blood, walk- ing, talking, carrying on the business of a through pleasant delectable must come In the World of Music Miss Hopper’s Concert Season One o Sad Tale of Bitter Poverty and Ha How “Elektra” Affected the Audi I88 EVELYN HOPPER Is receiv- ing the thanks of the community for her enterprise and energy in securing and managing the list of attractions which she presented this season cul- minating in the Sembrich concert at the Auditorfum on Monday night. All of her attractions have been of the best class in musical fame, and much interest has been taken in the concerts, through the per- sistent and untiring way in which Mis Hopper attended to the business con- neoted with the recitals; this is no easy matter, as It involves untold detail and much personal work in connection with subscribers. It 1s hoped and believed that Miss Eve- Iyn Hopper's ories for next season will be even more successful than it has been in this season Just closing. bk & 5 The following Interesting story of Mad- ame Cavalierl, appeared recently in the Chicago Inter-Ocean One day a footsore, wandering boy, years of age, orphaned and hungry, limped info Rome by the Porta del Popolo, At S ycars of age the blows of a savage hunch- ack of a guardian aunt had driven him from his 16 parody of a home. Eleven vears he had lived somehow. He came to Rome to find work. One day he recognized in one of the papal guards an uncle of his, who found him employment. He settied in Rome as & workman. That was my father, Four ohlidren were born of him, When I was 14 he lost his employment and fell 1l with & prostrating discase, Wite four children and an old uncle depended upon him for their food. His fllness meant our starvation. We ere il turned out of the house in which but charity allowed us a make: -hlu it nnl in & halt-bullt, roofiess te ment, out on the Campagna, beyond the Borto Pla, near the mar and the For days our family went hungry. have lum umu ‘when one grust of bread was all I ate for haif a week. | was the eldest. To me all turned. 1 did, fn- deed, Weeure some sort of work. I sewed all long. I was paid 10,cents a day. Ten oenta s day among pix! Povers famig- a v Then it came about that some one noticed that I had a voice and some good looks— §00d looks which by some mercy of heaven had survived the months of hunger. There was & certain miserable little cafe in Trastevere, that part of Rome which lien about the Cestel St. Angelo and the Vatican, whose proud fonts seem so dis- dainful ‘of the seething mass of poverty beneath, This who h The ward The proprietor of this particular foat his woman sirger.” Yes, he thou would do, and they drilled three little Roman songt into my hiad, from 6 at night until 12, night atier nlent It haa been sald tnat I sold flowers in the cafes at Rome. Nothing so sweet and graceful. Amid the questionable ests of befuddled workmen and trans Tfberina scum. 1 sang my ditties over and between whiles & cer o ipirit up- thoir lazy and con: emptuous offerings. It was done for the three franca a night, for the family on the Cam] na Dndlr n the rool 101 3 for RN ik "Father, for 'the bedridder uncle and the hungry, helpless children. At night I had to walk across the whole city, @ dismal, idden walk of two hours, terrifying to a child—for does not Rome seem full of ghosts?—to reach my dismal home. i X “The red curtains swiftly closed,” medi- tates H. T. Parker in the Boston Tran- script, “there was an instant of recovering principal singing players came to the foot- lights; the conductor and the stage man- ager joined them. “By this time the whole audlence, and again as it seemed by ‘quick and common impulse, was on its feet. With the crackle silence; of return out of the palace court of the Atridae to the audience room of the Then, seemingly by spontaneous frepulse, the whole audience, high and low, {n every corner of the theater, broke into applause so intense that it seemed a new and strange and exciting thing. The clap- ping doubled and redoubled; one by one the afe was in need of a singer. Those e been in Rome know such places tigts” sing a few songs and after- | ther up the coppers In & saucer. ellmr; ht over again, rattlin moment f Unusual Success—Cavalieri Tells rd Work in Her Childhood Days— ence at Boston Told by il:e Critics of many hands came the deeper note of a plauding shouts and cheers. For once an audience—a fashionable audience; a dis tinguished audlence—here in forgotten itself In the excitement emotions and its satisfactions. “The sensitive theater reverberated with the din. It died slowly; and the excitement of it all flowed into a hundred rushing channels of eager talk. The long years of opera In Bgston, as the elders sald over their suppers, yield scarcely another such episode. It was Mr. Hammerstein's—and above all It was Strauss'—rich reward. Here; too, he has conquered.” And the veteran Philip Hale forestalls any suggestion of morbld introspection due to the plot of the conundrum among music- dramas by observing: “It {s hardly worth whila to answer the charges that have been brought against the libretto. 1t has been called unpleasant, but so 18 ‘Ocdipus Rex,’ 50 is the Aeschy- lean triology, so {s ‘Othello,’ so s ‘Measure for Measure,’ and a long list of ‘unpleas- ant’ plays might easily oe drawn up with- out coming down to Mr. Shaw and ‘Mrs. Warren's Protession.’ “Any play in which a daughter plots the murder of her mother, or In which a son kills his mother and her paramour, Is at least somber. ‘Hamlet,' for that matter, is only a dilatory parricide. The sight of Elektra, whose nerves have finally given way, dancing h If to her death, 1s not repulsivé; there Is a strange fascination in this dance; it has a character of sacred exultation.’ THOMAS J. KELLY. of its PES 2 Musieal Notes. ‘The announcement of a song recital b Mr. and Mrs. T. J. Kelly on Monday, April 6, aroused ‘considerable Interest and opper reports lvance sale. age of the Young Women's Christian ton auditorium wil be made spe- y atiractive for the occasion and a pro- gram of exceptional merit has been a ed, representi Schubert, Schumann, Bl Franz and MacDowell, me gems of old English, old Irish and old Scotch songs. N SUNDAY and Monday nights, April 17 and 18, at (he Brandeis theater, Charles B. Hanford will appear in & modern comedy, “The American Lord,” by George H. Broadhurst and Charles T. Dagey. “The American Lord" is divided Into four acts, the opening scens being Iaid in Breuster's hotel in Elkhorn, N. D. When the play opens there is a convention in {own to nominate a candidate for congress. A nomination in Elkhorn is equivalent to an election. “Before-the-Draw-Pete" and “Texas,” two of John Breuster's friends, mean to stampede the convention for him. In the meantime an English lawyer arrives and notifies Breuster that he Is the lineal descendant of Lord Breuster. The affalr fs & joke to Breuster, but on being told he will not be hampered in the manage- ment of his estates he promises to go to Fngland. He becomes embrolled in an old tamily feud and finds his lttle girl madly in love with a young man, who in time is to have a title to his name, and then there fs his son making eves gnd losing sleep over a pretty English girl. To cap the climax, Breuster himself becomes enamored with an attrective widow. The settling of the various love affairs furnishes many amusing complications. Miss Marle Drofnah has, in the role of Mrs. Westbrogke, the widow In the play, excellent upportunities i + ridk 24P Broadway, which the theater now embodies. Seven years ago 1 studied the theatrical situation in this town and saw that the people needed and wanted at ieast one higher class playhouse out of fifty theaters. “On the East Side, too, 1 am pleased to watch the progress. 1 wanted to take the Grand Street theater and run English classical plays there, to no avail. But now Shakespeare performances have been given under the People's institute at Cooper Union—Cooper Union packed—at the Edu- cational Alliance, Jewish, on East Broad- way—packed—also—at the Brookiyn in- stitute—packed again, I hear there s talk about giving George Bernard Shaw on the bowery. 1 trembie &t the outcome, but « Shakespeare to the peoples and there will be no doubt of sucs “As for the New theater the most optimistic of my ragard to its outlook. I've been there olght times—pald my way every time but once,” he interpolates sadly-—‘have sat among the audience all over the house, four times In the top gallery, and I think 1 can put my finger on the cause of the trouble." My, Greet is asked to do #o he replies with evident regret, “I ¢ give away my ideas for naking the New theater the most successful in Negr York, as I assuredly think could be done. The founders have their own ideas, you see. But they may have mine, free, gratis gnd for nothing, in a sealed envel- ope, any time they desire. I have sat in the top gallery when my- s<1f and friends were virtually the only occupants. Let the founders open my sealed envelope and they may put finger immediately on the source of that trouble “I have sat in the baleony below in vir- (ually the same state. There are rows of New 1 think I am profession in empty seats, but then, may look down upon the exquisite love- liness of New York soclety—a beautiful representative of which I overheard after a performance of ‘Sister Beatrice.'—I of course, one say to her companion, ‘Tsn't that ope of the spookiest things you ever saw?" “Here also. was overheard the spectator who, after sitting with solemn face throughout a performance of “The School for Scandal,’ asked, ‘Who wrote that play anyhow, Shakespeare? “Which was almost as ba Mr. Green, mournfully, “as the instance of the Washington senator who averred that ‘When Knighthood Was In Flower was the best of Shakespeare's play And which In turn swas almost as bad as the instance of that gentleman who effected an entrance into the orchestra of the New “The School of Scandal,” impressing those at the door with the fact that he was a intimate friend of the author. YAt any rate,” says Mr. Greet, “we are now living in the midst of a craze for repertoire. It has come like that for danc- ing, and to what length either may be carried no one knows. “The public, every class of it, it vari- able. Last Christmas when | was seelng about giving a religious play for a certain tashionable church certain detalls I had arranged: were objected to by some of the members. They would not support me 4 second year, 1 was warned, should 1 do thus and thus. And I think I excited some indignation When 1 asked whether they ever supported anything a second year, “Thus the matter stands,” and Mr. Greet, smiling his serious smile, puts away his ideals for the present and hurries away to answer calls of & more practical nature. Each of us will undertake to say | and to sit in the cosy study and follow the | us these creatures of | Boston had | Mr, Somebody Else, in a drama written by | At the Omaha Theaters Charles B. Hanford in “An American Lord” and Maude Adams in “What Every Woman Knows” at the Brandeis—Boyd Has the Howe Travel Pictures—Vaudeville at Orpheum and Burlesque at Gayety was | | sitting in the orchestra on this occasion— theater for u performance of | | during Christmas week to such tremendous lite port of some proposition on which we may 1 «ll be agreed or may be hopelessly divided; | In which we may be vitally Interested, or | may not feel the least interest. Not un- commonly, the actor is asked to compare his conception of the character with that we have already formed, and very often he suffers by reason of the comparison. Sometimes we are so frank as to admit ou mistake and concede his correctness, but is it not more often the other way round? This 18 the share of the actor in the three cornered job of maintaining the stage. It the manager and the author are to have their names placed before the public in type of equal size, why not g0 to the end of ‘doing Justice to the other partner, and give the actor's name, too? e . Now, don't rise up and tell us that Maude Adums and Hanford and McIntyre and | | Heath had their names on the billboards in | blg letters. Many others have, but this | doesn't answer the case. Many a man and | woman {s giving splendid life to the thought | of an author whose name is no more known to the publie than Is that of the foolish | youth who fired the Ephesian dome. We know that somebody be doing the work, and sometimes we are aroused to the point of consulting the bill of the play and | { looking up and down through a ‘maze of | type to find the person whose work s giv Ing Black type an notinces the identity of the individual who | presents someone, occasionally In still | | blacker ype, in a play someone who in | | the future s to have his name on bills in | vpe as black as that given over to the | \anager; but the colonels, the captains, the | rgeants and the privates of the great| smy of the stage are forced to be content with the general announcement of the o ficial bulletin that “Miss Somebody is won- derfully successful under the direction of that has been conjured up ohly In sup. must €0 much pleasure. Mr. Somebody-or-Other.” And there it ends, ends, so far as the rank and file are concerned. They go to the box office on pay day and get theirs o After all, it's right that this should be €. The world has no time to waste on anyone who merely does his work well, and rests there. It Is too busy looking after the men who can make it sit up and take notice. Fame sounds her trumpet for the fow. and those who can induce her to blow for them a blast must present her some very good reason. It Is a fine thing to do your work well; that you are doing it at all is a reason for self-gratulation, and if | you are placed in an important position, It | Is because you have established your fit- news for such a place. But this does not mean that your name is to g0 on. the boards in type as big as the manager's, nor do It carry with it any promise that your name will go on the boards at all. It may be forever lost In the obseurity of the pay- roll, and you may be hidden from public scrutiny under the Impenetrable vell of “Lords, Ladles, Villagers, Soldiers, Btec. The conditions are that If you ever break through the gloom of commonplace and soar in brilllance before the publio, even for a little time, you must do what you are sot about not only well, but better than anyone else, to prove your right to be given something better. Still you may not got your name on the billpoards, for even nowadays kissing frequently goes by favor, but you can do more—you can deserve to have it there. And, remember, that “they serve 'who only stand and wait,” you can always look forward to that time when— Each for the joy of working, and fach In Shall paint the 3 He Sees It for the God of Things as They Are. {The production will be both complete and elaborate and the cast one of excellence throughout. iy Charles Frohman will present Maude Adams at the Brandels theater Tuesday evening and Wednesday matinee and even- ing In J. M. Barrle's latest comedy, “What Every Woman Knows." This simple an- nouncement will awaken anticipations of pleasure in the minds of countless theater- goers for reasons too numerous to enumer- ate in space of small compass. It seems late in the day to speak of Miss Adams as the most popular player in this country. Reams of white paper have been covered with eulogistic essays that have lauded the personality of the actress, her charm, her manner and that innate something which it has for so long been the fashion to designate for the want of a better term as personal magnetism. Without entering upon a dessertation of the qualities which have made for Miss Adams’ success, there is no galnsaying that she stands In a class by herself. Charles Frohman has 1d of her that she s the one stage per- sonality within his experience that has a following that is absolutely loyal to hér in all that she undertakes. “‘What Every Woman Knows" Is a comedy In which the workings of a woman's mind Is seen through her efforts to make a great man of her husband and thus further his ambi- tlons. The man fs & thick-headed, stub- born fellow, who would never consent to the proccss of being led if he knew It With a woman's tact the little wife saves her husband at a time when he seems unable Lo save himself, helps him to realize his ambitions and is made happy In\ the acknowledgment of her aid in bringing it all about. As Barrle has drawn Magsie Wylie the character is a complete gospel on the duties of wifehood and womanhood. | The comedy bristies with rare good humor, | and yet some one has sald of It that it Is a laugh with a tear in the middle. Secotch | in its Innermost fibre Is the play, for| Barrle loves to poke fun at his country- people. Underneath all of the humor is a capital lesson. The play ran the greater part of last season In New York and was again the holiday attraction there at the Empire theater. It is hailed here and In England as the best thing that Barrie has written. The original cast is to be seen in the presentation here. | AR Henry W. Savage's Dbig success, "“The| Merry Widow,” will be the next regular | attraction at the Brandels theater, on May 5 6 and 7. This company is practically the me as that which played at the Boyd business, and on that account the manage ment of the Brandels theater and Mr. | Savage have decided to play a return en- | gagement so that the many who were un- able to obtain seats before may now have the opportunity, and those who enjoyed It before may witness it again. The seat sale opens on May L 7 ] LA This week at the Orpheum theater & com- plete bill of distinctive features is headed by one of the rarest foreign importations that has ever been presented in vaudevlile, Direct from Nagasakl, Japan, come the Eight Geisha Girls. With grace and ex- (Continued on Page Seven.) RAND THEATRE B EIS Tonight and Monday Wight MR. CHARLES B. HANFORD |s Al By ted Miss Marie Drofnah in & Modern Comedy Success, THE AMERICAN LORD BY ORORGE K. BROADRURST AND CHARLES T. DALEY. BR ANDE|S =13 ]|] Charles Frohman, presents MAUDE ADAMS in J. M. Barrie's Best Comedy What Every Woman Know, By the Author of “The Little Minister, “Quality Str “Peter Pan," mWte, May 5, 6, 7—THE MERRY WIDOW-Seats May 24. BOYDS MORE PEOPLE “TRAVEL WITH x.mu OROSS THE A'rr.uno DIRECT FROM THE N. Y. NIPPO- TRAVEL FPESTIVAL TWO HOURS OF WORLD TRAVEL AND AMUSEMENT WITH THB GREATEST EFFECTS EVER OBTAINED. “BE THERE WHEN THE BIG Begins Today—A ‘rvxc- n-u:. 18 and 8115, & ril 17 Hn Evenings 980, 380 “‘n;o;u lo'l" BACR YRAR THANW lncux. SUBIROTS | BATTLESEIP IN ACTION | MAXING MONSTOR CANNON, | BEAUTIFUL Avoumia A | CANADA IN WINTER | NEW MOTOR BOAT RACES | AEROPLANE RACES IN FRANCE, | NORWAY AND SWEDEN, 20—OTHERS—20 iUNS ROAR." Brandeis and Boyd Theatres SCHOOL OF ACTING Present FOUR ONE-ACT PLAYS BRANDE!S THEATRE SATURDAY, APRIL 23d-2:18 P, M. RESERVED SEATS AT BOX OFFICE LILLIAN FITCH, Director W. J. BURGESS, Manager ANOTHER BIG MATCH ZBYSZKO and WESTERGAARD Will Wrestle to a Finish nt AUDITORIUM MONDAY NIGHT APRIL 18th Preliminaries WILLIAM HOKOFF a BEN PAVELKA. Reserved Seat Sale Now On—PRICES—Ring-side, $1.50; Balcony, 75c, $1.00 and $1.50; Arena and Boxes, $1.00; General Admission, 50c. APRIL 19T TUESDAY 8:18 At Crelghlon Auditorium th and California Streets, AMERICA PRODUCED BY THE SENIOR OLASS OF OMAHA HIGH SCHOOL 200-CHARACTERS-200 Early History of America Depicted in Tableau, with Costumes His- torically Correct. Tickets 25¢, 85¢c and 50c—ALL SEATS RESERVED. QUphe IS ADVANCED VAUDEVILLE Week Beginning Today unot from 'qmu, First American Appearance of the Eight Geisha Girls Redl Oultured and Daluty Wative Ll ancing e ylet of Military Life, aplan and Herbert Walter. Jo-n Clermont’s “Burlesks” Oircus Amusement for Ladies and Children A Dramatic Pl by De Witte The Best Frod--hmn and lluhlrd Al Famous Comedians, in Melody and Fun. lulllvin and Pasquelena In a Comedy Sketch A 0. 0. D, mng Eva Mudgo “The Military Maid.” Frankiin and Stai ards Direct from Europ “The Living Babber Balls." KINODROME Always the Newest in Motion Pictures 7 Omaha's Musical Feature Orpheum Concert Orchastra 16—Talented Musicians—15 Prices—100, 850, 50c and 76c. P The Passion Play of Ober Ammergau r. Jam T AABeA UNIVERSITY by Colored Beantifully Tinstrated by ¥. W. 0. A Auditerium Monday Evening, April | 81X lmvll.lc TicE n'ftv A MAT. TODAY #ipal Show In Tewn OUEENS RN bPARIS In the Musioal Satire YMONTE CABLO IN Featuring the World Pamous mimic Dancers MLLE, MURIN and SIG, M. FERRARI From the FOLLIBS IIIOl“. 'l'll‘ In Big. & mo'l “Am Dance’ “All Her Soul” (“TOUSE SON AME 'Mrnlvn-r.l DIVE: By La Tour Sisters, Mul Olark and ORPHEUM COMEDY FOUR Bxtra Added Feature! FAMOUS FRENCH BALLET NEXT FRIDAY IS “AMATEUR NIGHT"' Fun assured, oash prises to winners FeexMATS. 150 & 250 & Y LADIE" At any Woek rieners10C vy Matinee. Dear Reader:— The Gayety Theater at Oity was Kkept packe g Yies. the ‘Foeno “‘.’.""I....fi"“ nd Murlin and_Sig. ‘.‘ h.‘ Their 'o- , “All Her loll." $hover saw, ot its xna. ork s super B. L JORNSON, NEXT SAT. NIGHT ONLY, APR. JACK °:16?| N'B o"fl:' GRAND A “BENEFIT RECITAL Cecitl E Om the eve of their departure for Europw to study music. MR T BAPTIST CHU F areaay Bve., Avrt 31, 2010 Tickets on sale at Hospe and Bchmolles & Mudll L]