The evening world. Newspaper, October 4, 1913, Page 10

to Laugh or to Cry —Warfield By Charles Darnton. turned to hear what you say. David Warfeld. of you and trusting in you. He left off crying, auctioneer. How much had ‘was you more than himself he thinking of. emile. It wees born that y. the managers," paid h attesting the head and a raised fi that I have got back to th brought mo out er. part before. No manager can go out to take @ look.” times it costs a manager u great de have his eyes opened to this fact. who never goes star- ing along enough of as common sense to keep him dow: ing without mext thing he had to say. “Oh, MO MANAGE KR CAN @O OUT ARD GRAB THE WORLD AND SAY To IT: “ee my STAR” Pert SP es sa EEN AD To Promised land for a long time. the time I was approache a who assured ine they the making of me. be ‘made’ too soon, and I felt I w .Peady to be counted among the What's more, | want to finally came a: bigger than this room. “BE KIND” Seve You tgeht Mak It Fou" A Purely Vegetable. ve of ver AVE you ever stopped to think that you mean as “much to the actor as he means to you? There may be only @ thousand of you to one of him, but you count just the same. He bas his eye on you and his ear is This little idea was suggested by Though talking to me he was.looking at you, thinking “Monkey-on-watick, five cents!” and was making you the given for him? And now what would you bid for him? What did he hei ‘There was no brass band to drum up trade. You could take him or leave him. For twelve years he had been im demand as an all woo! and yard wide actor marked with a star, yet it He makes no mist bout you. Ho's straight on that point. ‘The only thing crooked about him is his “It's the public that makes stars, not statement with two side-long nods of “Now a star twelve years ago, I realize this more than I ever did grab the entire world and say to it, ‘Hee my star!’ In spite of everything |OUt for the main chance ix not unlike the manager can do, the world may go|the clerk who feels he has the right fight on revolving instead of stopping|to open a store of his own. But an Mr. Warfield did not add that some- wasn't worrying about his manager, at ballast known “E didn'e Jump into stardom," was the! «ing word stood and looked over the bars into the like hiding behind the counter in old AUVDIGNCe cRy 5: I MUST FIRST HAVE TEAQS IN ay own eves. During by three man- would ve But I didn't want to be wure of my'man before I jumped. When Belasco @ he looked like the right man to re, though he had no theatre at that time, only an office no We were sitting in one of the small froems that Belasco scatters about th theatre bearing his name, apparently Just for the sake of furnishing them ‘with interesting odds and ends that he 0R0'S "2 ILLS New York’s |‘*Th re Ever Ready. The Maxix had you | eee picks up an he is popularly believed to pick up coal in the atreet. And twelve years ago Belasco had only one room to hia name! How the old place has changed. Who wouldn't butld theatres if he knew how to fill them? “After all,” reflected Mr. Warfeld, ana| “becoming a star ie largely a matter of business, and an actor who has an eye thi neo in that ‘opening’ docan't make a store, nor does one success make a star. It is always to{ the public that decides the fate of an He | enterprise." ‘Again that eye that twinkles above tak-|the footlighta was fixed on you, No matter what might be sald it was keep- ing you in sight. “Twelve—years—ago,” came the drag- when I firat faced the pub- lic as a star in “The Auctioneer,’ I felt egal! cape n ti glad MAKE AN Levi's shop. Honestly, I almost died be- fore 1 came on the stage the first night, Hut the public gave me a hand and Pulled me through: 1 was ambitious and believed I could do something more | than the bits of burlesque I'd been do- ing, but without the help of the public I'd have been lost that very first night. Believe me when I aay that the larger wide of the theatre is on the other side the footlights, where the public, by e my! lous, unspoken message it sends to the actor, tells him whether he Js @ success or a failure. There's no wetting away from it." So you see where you come in—where you keep coming in all along. If you are at all observant you'll notice: that /you are the “star” of this litle produc- ton. “1 didn't see the possibilities in ‘The Auctioneer’ when it was handed me," |confessed Warfield. "The truth {s it was terrible, There were three acts of words—nothing more, Then Belasco got |buay. He added touches of his own hare, there and everywhere until ¢ play began to look like something, It's the little things that make tho big thing, for I must say ‘The Auctioneer’ | proved @ big thing for me. But in ite original form i we imposible, 1 | couldn't have worked into the chara: because the play as first written wouldn't have lasted long enough ty ina three | compelled me to talk into the air all the en't are, play. | waya it or pla; "Do play anything without long hair and a doean’ certainly was in the direction of a very fine actor when it carried the pi Forbes-Robertaon. out, they were a bit rough on Belasco, who had the play in his hands for jmontha. That’ ay J es, CS WN [?) that when I stepped out on the stag Tuesday night it weemed as though te yeara had been taken away. it for two ye of the fun the audience got out of the | performance vaudeville, it's a riot. revival Isa classical play, and the secret of the success of this one is to be found in the fact ‘That's what the public wants—entertain- | ment. Once more you were of first im- portance. Again Mr. Wai dressing himecif to you. And he seemed |to say that he coujd make you laugh as easily as he could’ make you cry. ‘a no credit to me," he proteated. ing blue e: This led to an argument, and “The Music Mi | etd must have followed'a certain pro- | cems to wring tears out of you in that @ive me the chance. And I must admit one thing: I'm not a good judge of a play reading it for myself. All I can the part. When I went to Belasoo J had so much faith in him that I felt he would find things for me, but how big, of course, I didn't know. Who, for example, could have foreseen a success Uke “The Music Master? I'm willing to own up I didn't. Then ‘The Passing of the Third Floor Back’ was written for me, but I shook my head because I was afraid, people would way, ‘There he { the same old thing! He can't coat.’ But it's an ill wind that! 't blow somebody's way, and it For my part I'm) 0 got it, though, as things turned the way it goes! Any- UMP INTO STARDOM” just now I'm having lots of fun ‘revival.’ It's like a vacation after seasons in ‘Peter Grimm’ that The strange thing about it is 1 played you know. You spoke Well, you ought to drop in at a now. As they suy in New York is ul- ready to laugh--or to cry, But a ky proposition, unless it t it is an entertainment. jeld was ad- Uke You do ing people laugh or cry yea you don’t, that ter’ was dragged in. War- wouldn't you say so? yOu Wapt the trutp?” be agked. ‘THE EVENING WORLD, SATURDAY, OCTOBER 4, 1918. Maurice, Sponsor of the New Dance in New York, Gives a Special Perform- ance tor the Readers of The Evening World. “Every Woman,” He Sa “Who Weighs More Than 130 Pounds, May Con-|8PECIAL DANCE FOR sider Herself Sate From the National Dance o ge Brazil.” By Nixola Greeley-Smith. Do you Maxixe? If you don't, it’s about time you learned how to do it—for the Maxixe has been in New York a whole week. It was imported from Brazil via Bu- rope by Maurice and Florence Wal- ton, bis dancing partner, But unless you have supped at Reisenweber's, where these dancers appear every evening in this latest and most ex- otic fantasia for the fect, know how archaic the tango is and how prehistoric the turkey trot has become, What is the Maxixe? Maurice says {it ts easy, that he could teach the most stupid person to dance it in an hour—he doesn't add $40 an hour— I made no secret of the fact that I am fond of novelty, “Well, then,” said this honest actor, “I don't know, But thie much I do know: To make an auflience cry 1 must firat have tears in my own eyes when I read the play. If it doesn’t hit me I can't make it hit the audience. It's a aimple case of human nature—there's u chord of sentiment in us all that re- sponds when it's touched. And it Is the character in @ play tiat appeals more than the play as a whole, Con- seqvently an actor is remembered tor, and associated In the public mind with, some particular part he has pisyed, Wa shall alwa: member Rooth as Ham~ let, Jefferson as Rip, Irving Wate thias in “The Bells,’ Sulvint a Ho, and #0 on.” He blushed Mke a schoolboy at the mention of Warfleld as Von Marwig in “The Music Master,” and then put in thie unexpected word “I feel that the best thing t've dor is Peter Grimin, for the reason that with the beginning of t mil ace as ri e xe was no effo ly for @ man, is to get a good play The diMeulty, expectal- with a character that suits him, It's harder to find plays of this sort than it Is to discover sta But don't jump [that David W jd thinks there |too muny “stars.” fe cracked a dry smile at the suggestion and wound up with: "How could there be with ull the theatres we havez” to the conclusion you don't! 1 succeeded in making audiences be- "Por this reason every woman in |Meve in a spirit. I'm prouder of that! york whe Nore than 1 ds | than anything else I've in the’ may consider herself safe m the} Bon Banwig never ptations of the maxixe.” | htest diMoulty. It! ytyurice-sponsor of the new dance in are} ! { but that's what he got on the last westward trip of the Imperator, when Mr. and Mrs. Spreckels of San Fran- clsco, who were fellow pagsengers, decided that they positively must learn to maxixe right away, In San Francisco, and elsewhere, Spreckels rhymes with shekels, but ordinary mor- tals on dry land pay Maurice 8% an hour, The extra §15, of course, was for jasking him to maxixe on his sea legs. ENEFIT OF EVENING WORLD. ‘Yesterday afternoon Maurice and Miss jon gave @ special performance of ew dance at No. # West Sixty- ninth street, so that readers of The Evening World who have not been to Relsenweber’s might get a general idea of what the maxixe Is like, Maurice says the dance is net ebocking; Miss Walton says it is hocking if you dance it that way. Z can't say positively whether it is oF not. Nevertheless, I should Sdvise all persons who are easily The maxixe begins with the man and woman dancing side by side in a for- | ward heel-and-toe movement, like a modified buck and wing, In the second position they face each | other and swing into the old-fashioned two-step, revolving about tili Uiey have \ made a complete circle and accompany- ing the rhythm of the music with a slow, swaying tnotion of the shoulders (not the dixcredited shoulder movement Jot the old turkey trot, but # languid, | #raceful_ motion). | In the third position the girl ts in {front of the man (that is, her buck {s toward him, though he clasps her hands), and the step Is one—two—thre one—two—dip. ‘The gir! dips way down to the ground, | Miss Walton described the figure as a Russian step. The fourth position of the maxixe ts, | | Mterally and figuratively—the kick. It ta [also the one which stern moralists will | view with a dubious eye—and they, too, |may make a kick, Misw Walton de- scribed it this way: | “The step Is the five step of the tango, | I do the man’s step with my foot in the j air and Maurice comes forward with the woman's step, 8o that his knee touches mine as iny other knee recedes. “An Maurice comes f man's step he literally m the floor with his knee, na Gat woman cannot da axixe, though it would reduce more than any other ¢ if she Rut no man could lift such a wei Would be required of him if he danced the maxixe with a stout woiuan, ; WOMEN WEIGHING 130 POUNDS ARE BARRED, New York—does not critlo'a or a bishop's eye “It im the national danve of Rraziy, he said, “and succeeds the tango- national dance of Ar proper when properly | the walt is proper or Ing tot le who dance dg it tn view it with # t de Janeiro sumetines, where men and women whirl ayound for ao : lof long standing acquain: {the evening before. ——___. hour till they beco:1e dizzy and sense- loss, it 1s what you would call risque. It is the rage in Paris. But the French do not dance it properly. ‘They are all right for slow, languishing music. treg,' But when it comes to a “Europeans can't dance," Miss Wal- ton interrupted. “I taught the tango to the Grand Duke Michael and later 4, 3 Cal | e'---That’s New York's Dance of the Moment ---And to Learn It You Really Have to Go in Training’ @ One ,tve, three, Sip (You have ‘train Ser to the Strelitz. woman he Grand had ever danced with, didn't have any difoulty in belleving him, Because I felt as if I were dra, ging 4 chair around the room, B: when he got on to the swing of it learned quickly the tango, the maxixe= everything.” “Oh, the maxixe,” shrugged Maurice, 1 could teach anybody in an is easy. hour." Herford’s Economy. A fow weeks ago as O) poet, humorist and arti: Into the Players’ Club h friend just ;oi) put. going?” he asked. "1 ha my gloves,” his friend replied, have to fo and buy a new pa “That's ail foll, ail Herford, I never carry but one glove. ever knows the difference, and makes a@ pair last twice as long.” Herfor as golr met an arti here are yo © lost one ITI SERT THEATRE AND MAN FOR WHOM IT W ‘won | Theatre Duke of Mechlinberg- Strelite told me I was the firat ‘and | to call attention to himself. “Wh No one | out. Sentiment |Names New York’s Newest ‘The opening of a new theatre in Mew" York—there have been a dozen or more, | such events in the past two years—does not as a rule create speclal commer But the dedication of the bequtttut Sam 8. Shubert playhouse on ‘Thorgday night Intreduced an element of setit!- ment which has won the quick recon! tion of appreciation. It was erected and named in memory of the late Sam @. Shubert by his two mirviving brothers as a heart tribute to the remarkable man whose career and personality are stil! an inspiration to his successors, One of these, Lee Shubert, explains the use of the name in the following words: “The use of the name of Sam 8, Shubert, for what we expect to make our moat important New York theatre is a tribute which we, his brothers, and our business associates are proud to pay to the mem- ory of the man who founded all our en- terprises and whose endearing personal characteristics are even more cherish by us than the record of his bust achievements. “It is our wish that his name shall always be actively associated with the name of our firm—and that we shall al- ‘# have it before us as a reminder of his fine ambitions and his remarkable personality, Though he was called away from-us s0 suddenly, and he did not live to see the realization of a large part of his own work, wo feel that we are to- day developing his ideas and striving to perpetuate his spirit of ambitious activ. ity witpout his Invaluable aid. “If San §. Shubert had lived this theatre and other theatres would doubtless have been built, But they would never have borne his name, His modesty in all things was so great that, he would never havelpermitted sue public dispiay of his name. He wi ways most retiring and never wished B- ut he a 2 iat ou of | “We feel that we have only taken up and carried on the work that he laid We do not even know that (nave carried it out as well as he wou! have done if he had lived, ‘or whatever has been done, we Club Note. A Supreme Court Judge told this last night at the Manhattan Club Some few years since, Thomas Nast, the famous cartoonist of the time of Tweed, | lived at Morristown, N. J. He was hospitable and often invited his friends |” for a dinner and a night in t On one ovcasion he was embarrass d, having invited a man whom he did not know well himself but felt he had bes come acquainted through a mutual friend ne, After din- nor and through the evening they tuken @ few sociable drinks, and Was retiring, Nast realized that his gu was rather the worse for the evening’ bations. in the morning the visitor came down- stairs and claimed that @ large sum of} money had been stolen from him since He had searched ev- ywhere; It was gone, [t looked bad for t host, Nast was more excited than} the loser, If it were possthl but after at long search the money was found exactly: where the loser knew he had put it. untry, ls But the worst was to come, for | pert oo a CR or Riap aE: anemia as “Expert” Advice. A New York business man had put quite # fortune in a mine in the Weat and he told a friend of his that he would like to meet Hollis, an engineer and It resulted in the frl t taking dinner with ¢ vestor. During the morning the expert w In auawer to all questions his advh w 1) put no more money into ¢ proposition.” mining | ning until near saved thelr host's mone: toni so he was ved that the expert should say him confidentially ax they walked down Filth avenue he will put in it forever, "My advice ts of no goo: That is usually the result my advice when pald for by a dinner," And the expert was righ: acne Ls “LOCATING TH "Ah, the ugly ducklings of yesterday= T \sonder What as become of them all “Mave you looked rage?" questioned, and The mutual friend listen- ing to the talk had an Idea that he had jore money and will lose nto some of these Places where turkey-trotting is all the Want the credit to go where it really belongs. We want to know that sam 8, Shubert is recetving at least some portion of the recognition that should have been his. We want the publi which has made our success poxsib to understand and appreciate the orig lof all our aspirations, 'We wish that {the public shall know to whom credit |i due, “Theatres bearing the name of Sam 8, Shubert have been In existence for some time in other cities—Boston, Kansas City, St. Lo: St. Paul, Minneapolia, ewark and Rochester, We held th name In too great respect to use it for any of our old New York playhouses or for any of the less ‘mportant houses which we have built and opened from time to time. al “It waa only when the oppékunity presented itself to bulld what seemed t us a truly appropriate theatre, intend to shelter only the very best-of a) many attractions at our dispoi we felt we were on the point of @ suitable monument, In using fo, this new theatre the name of Sam 8 8.11. bert we consecrate it in the Most solemn magees we know.” ne ly ic he to} a; of