Omaha Daily Bee Newspaper, April 2, 1916, Page 28

{ i | ? Clara Morris Ex- plains How Repe- e ————————————_ = THE OMAHA SUNDAY BEE R Nat Goodwin and the Four Leading Ladies Whom He Married from Time to Time. The One on the Ex- treme Left Is No, 1, Eliza Weathershy, a Be- witehing English Actress Who Appeared with Mr. Goodwin, Next Her Is the Statuesque Maxine Elliott, for a Time Mrs. Goodwin, Next Her Edna Goodrich and Last tition of Make- S — Believe Love Scenes Creates a Desire to Make Them Real and How the Loneliness of “the Road” Drives Actors and Actresses Into Frequent Matrimony By Clara Morris HY s it that a leading man so frequently marries his leading lady-—for a ‘more or less ex- tended time? Why-~to put the question in another form-—does stage love so fre- quently klossom into real love? Why do Actresdcs and actors marry so often? These riddles have been asked me, Actor folk, with thelr usual inconsist- ency, are a bit resentful of thisx prying into their private affairs, quite forgetting the claim they make, when employing the services of a publicity agent (detestable term!), that the aroused curlosity of the publio is really an expression of kindly Interest and well worth while In the light of that claim they cun only bite their lips in silence and make note that, like certaln rules, publicity works both ways, causing much glorifica- tion, but also some bitter vexation Apropos of this subject of stage love, a gray-haired devotee of the play, a first nighter of parts, remarked, “I've just had & second look at Mr. X. and Mme. So and-8o, and they certainly give us a charming love scene. I couldn’t help wondering if—er—you don't suppose they?—By Jove, do you xnuw, I'd glve something to umtnruuml the roason why #0 many stage lovers develop into honest, cross-your-heart, hope-to-die real ones.'” “Oh, hearken to the man!” I cried de risively, “The reason forsooth! Does he then think that actors are as alike as the biscuit and cookies that are all shaped with the same cutter, and that the cause In alw the same in these love trans formations? The reason, indeed!” He took his hat, and after a long look into its crown he sald, “I notice you used the word ‘cause’ just now iustead of ‘reason’ and seemed to emphasize It strongly, Why? 0," 1 answered with the sweet e cat, “outside of busi ness few actors are gulded by reason They are moved by lmpulse, whim, habit, outslde suggestion, or by a ‘hunch.’ They are swayed, even governed, by emotion but not by reason. That's where their charming spontaneity of manner comes from, But remember that when used in jon 1o actors, reason is simply an When alone memory began to clircle over past years, and here and there a face & name, & situation started up, | recalled that true genlus with the unctuous volee dassling wit and sarcastio tongue, Dion Bo king of stage managers wetler had long been o woo, 0 &an, and--ride away And what mall clous laughter followed upon his humble devotlon to Loulse Thorndyke! Fauny Davenport, Marie Dore, Rose Coghlan Julia Marlowe, doar little ¥ Weath ershy, Madame N WA, Are some of the men atars who have fallen in love in oat after playing at love with & lead g man The majority of male feom privaie life, b witness DeWeolf Hao aham, Nal U Fredeoric de Bolicy B W am Courtensy wa Ky Mantell, whe s \ stopped from marrylng the \ . ¥ they have « These are a fow " are \ave fallen o \ leading lnd » ving plotures COMIRE along sirong " ne, ahd ¥ arie 1 . pogie PO0Rnl slage wun e § " Marle IN darkered o . el has ) Mo b oea 4 the sy ‘ . enl Hhe @ N Ne Tousd Dachalor, Elllett Doy . i » Armed, wore \ WOvIng pletuies g for motion p OAERL which ol Falm He slars take wives are others, as 1w von wyorted 0 PRlures, A . Gating from fts Individual roller ohairs, enjoyed. Be- tween magnolia and jasmine scents and in the spell of moonlight in Florida love speedily bloomed, When 1 reached the age of fifteen I had already heard much of a very un popular Buftalo manager, One morning one actor sald to another: “Lord, man, you'll never consider an offer from old M-, You know it will only be for a jack-knife season,” Jack-knife season! What could that be? For two days curlosity gnawed at me. Then It was know or die, so | asked our “old woman."” Bhe was grim, but she answered with: “"What does a jack-knife do “Cute,” sald 1, What else does it do?" “Why, er !I - At that's opens and clo “Huh, well what M-——'s Jackknife seasons do. They open and close.” And today the brev- fty of some of the Yightning-change mar- riages 18 strongly sug gestive of Jack-knife HOARONS, But the permanence of the marringe tle is not the question to-day (“thanks be"), but rath- or what causes stage lovers to change into real ones New York is the per fect, all-satisfying Para- dise of the actor, but though many may be called, fow are chosen to remain there, while hundreds are sentenced to “the road,” some even for life Now, we must begin by taking into consid eration the ondless dis. comfort, the dull uni formity of the weary hours In cars that are all alike, the camping in hotels that are all alike, the mental list ssness that comes of playing but one or two parts for long months. Harring the three or four hours at the the atre, life en route Is deadly monotonous, Now, If all work and ne play makes Jack & dull boy, you may be sure that under like viroum stances Jill will be simi arly affected. A little amusement of some s ossontial If one s Do dle of sh ennul In many cases the Actress's attitude of mind toward this ques 100 I8 best expres y Horriek,—~Engliah wt s American Am asnador who has v rosebuds ¥O WAy Time 1o stll) atly And & sme Nowe hat smiles today morrow will be Aying fo, naturally enough . ) B0l AWAY from them, on tour Thet there W he fous power mauity, the strons atiraction of edgod toals Perhaps the belug trve atible s 1o be maln talued The sapart A Photograph of E. H. Sothern and Julia Marlowe in “Romeo and Jullet. fan Revival and the Passionate Love Scenes These Two Played That Drew Them at . Last Into Real Love and Marriage. G RATIT NCE N s S TN 9 i Margaret Moreland, Mr. Goodwin limself, in the Square, Wears an Appreclative Expression, mental Twish-T-knew spirit snters Inte it, and now and then a coldly ca'culating ambition “to better onesell,” as & servant #irl will sny. , but far from least, ranks the in- oscapable suggestion of the play's love scones, All these are causes in the de velopment of real love from imitation between star and leading support But the strongest factor, more power ful even than propinquity, s the fact that there is absolutely no one else. It there is to be any distraction, even any near romauce, they must find it in each other, since they are “doom’d for a certain term” to work and travel to kother. Nothing stands still. What does not advance goes back, and the relations between star and support at the begin It Was the Shakespear- Take & # athor resery make no allowas Ueprtin 1 pany. el Melta Ti ssaamett ¥ — G g ST e | ey » ¥ He belloves b ad ' f and 1 but he e reckoning wi t his Aking athetlo, warm hea . N but they are not all Agine Al \ "ot Y Py of AA od b R slnted, | i) s \ ved dayl MAGAZINE PAGE “2M THIS Comes From THIS Marie Doro and Her Bridegroom, Elliott Dexter, Enjoying at Palm Beach the Real Honeymoon that Devel- oped from the Stage Love HBcene Shown Here, affect even the actor, who, mind you, per fectly understands the modus operandi of it all, Yot the fmagination that makes his herole stage character real to him makes her beauty real, and it s not with im punity to the man that the actor, night after night, in rapturous love-making, holds in his arms this ylelding form gazen deep Into lovely eyes, and kissing tenderly cheek or lip, as the scens re quires Hoon he no longer sees the woman s 4ho 14, but through Imagination sees her Jullet personified. His plans are wrecked I'here in another (nconsequent mareings The cars are full of rosy light, |ikew the hotels, They are “mparadis'd one another's arms,” for the season, any way, and after that-—the deluge. The woman star 1s as & goddess 1o he own right. Yet aven the simon-pure o had leanings toward the sons of men, s gloried in thelr condescension Hut 11 stage goddens never catches her Iond mion napping. Mo I8 glways wideaws fore long he will find “gra na hor steps, hoa in her oye,” The | scone will be the one bright spot dull uniformity of the day, He, | f of the mald, will take charge of 1 handbag of milady, sud the rest | \ tale that In told Bo you see the perfectly nataral human desire to gather thelr rosehids whi may, and the restricted range for searen I8 potent eause for the sentimental somer st The actress almost siways fe would be woo'd, and mot unsoughi won," but & fow have the lnourable ha of playing with matohes Just (o ae Bhow narrow & margin they oan escap elneration In cnse of & posstble conflagra ton, Poor JUI has have won ' | you know It the players are not antips begln with, (he postle Innguage . . the tendernes nd the #rmpathelies ayed lo YOEY AL 10 Arouse | player anent the other, and the wonwn projects herselt on | " sclousiens of tha aotor ol Thus aoted love points | ve Imaminat ' ) B \ ™ . . the hlggest-hea ha W (he world bar pone AR A