The evening world. Newspaper, November 21, 1914, Page 7

fo MELAS ro a women AT LONGACRE 32. TH ae. Tortures of Neuritis Can’t Take Sunshine From Marie Tempest Joyous Comedienne [g)mistaken. When !t comes to a ques- Always Bright, Though ine mish ely fave putin res | She Fools Like Shriak- |e, Setter ten Ses sha clan's “boom” elarea Her Performance | @2#!'sb..25 we have it in billiards, that she said: Never Changes. “I believe that audiences here, tak- ing them as a whole, are more appre- clative and better read than those of By Charles Darnton. London. Now, here's the point: We [* Bot everyone, of course, who|4re giving an essentially British play fe oe of lucky enough to be born full the devil and with the smile @m angel But if there is one thing that the seemingly irrepressible Marie Tempest can teach most of our @etresses, not to mention our acters, {t fe the art—or shall we say the feusiness?—of keeping a performance ‘up to concert pitch. yet lines that went for nothing in London have never failed to win a laugh here. I must confess surprise, and the only explanation I can find is that Americans are great readers. As @ little example, the reference in tho play to Jane Austen never raised & ripple in London, whereas it always brings a laugh here. Moreover, the ‘Watch her as closely as you may,| knowledge generally of English con- night or afternoon, big or smalP audi- | ditions, political and otherwis», that ence, you will never catch her “pump-| Your audiences display has aston- her role. Invariably, her acting|/shed me. For one thing, there's no denying that Arnold. Bennett and gives the impression of spontaneity, | Heriard Shaw have teen and eo far as sho herself in concerned |read in America than in Bagleed, there is never disappointment. How] Apparently, your audiences, ta ing Gees she keep it up? This was the) ‘hem all in all, are better educa I kept asking myself at than those we get at home. We have qeastion © my’ & certain class, to be sure, that is matinee performance of “Mary Goes/| fully informed upon any subject; but \ First.” “You can't imagine how Ij!I am speaking of playgoers gener- felt at that performance,” challenged Mies Tempest at her hotel yesterday wvitn ene a hae Semoent | Srey beat] afternoon, her short laugh turning| what she really wanted to say and into a Little shudder that was lost in hh read, y, oe a ihe consequences. & filmy semething-or-other that | ho ‘would let noming atand In th maa could admire but never hope to/ way of her intelligen Gescribe. “The truth is I was in the tortures of neuritis. I came out of a, #4 het pack into that performance fairly mathe Joy iplaying ne ie has we ebrieking with pain. But I had my| the audience is on to it like a bird. @udience, not myself, to consider.| Countries differ in this respect. I Acting is my work, that is a! never realized this so thoroughly as a when I went to Dublin to act. It was Sustice to the public it mu: bad enough to cross the Irish Chan- as well aa it can be done.” nel, but much worse when I got on the ‘What she said recalled to my mind | Other side. They not only refused to take me humorously, but they de- quite another woman in quite another | clined to take me at ail. It was Gead~ Grese—in fact, an old black cloak with | jy. Finally, when the op) @ bit of worn fur drawn tightly about thi the neck. It was years ago, in the gray of @ wet, raw wintry morning | S20rt that ve Teta, shouga having 8 LY on the bleak platform of a little rail- | humor. My anocursiimbataty remarke wey station that Mme. Janauschek | went the rounds of the news: left off mumbling to herself and, lift- | 6) tng those terrible eyes that seemed to nel, see only tragedy in the world, roiled | much sicker on oy return trip. J out the words: “I have my work to| had gone over full of hope and faith ” in the Irish sense of humor only to do—and I do it.” And how well and| Come back dased.. I couldn't under how tragically that grand old woman | stand it at all until another English of the stage did it to her dying day! Company made cae Yoatere witn one Happily, there is more sunshine than aw ys. lok it ‘Tempest in the English actress, who | We* “The Imports annette maak Baar always finds a welcome here. sult. But a member of that company “As a matter of fact,” she ex-| finaly enlightened me. After the ut- plained, “my performance never | tf yoy tl . wine Buccs, be changes a particle, I bellove—not a] parmaid—about it. There nothing No matter how I feel I can go on,| talk like that every day.’ Thad it! Ireland wanted somethi Right after night, giving exactly the} Horter than it could send. Appate weme performance. To be sure, tne| ently its own keen wit was too much right sort of audience is always a/| for us. I was told of a throaty tenor what makes| Who was in the midst of a ballad when a boy in the gallery caught him up with a wail and @ rhyme at the “In its quick response and same somnant by chiming in: ‘Oh, understanding a New York audience | Lord, my eighteen pen fe more Ike the audiences of Latin | , Mise Totem, De ie etter nate countries than any other I've scen,| that she exercises so rarely, and then except possibly Edinburgh and Glas-| laughed at the expense of another ” Book tence Who 09 ry fared that Grande {ed Dublin gallery. “What ia it, Of all places—Edinburgh and Glas: | Yiuoy2" called out a boy as the gow! But Miss Tempest was in earn-| tenor began to bleat, ‘I don't know \.est. I feel sure, too, sho meant what} caine the answer from the other side \ghe said about New York. It’s an old|of the gallery, “but I think it's the gas escapin. tory, with an English accent, but for | SY oie wempest told of the ence I believed it, otherwise it would | mdinburgh and Glasgow audiences net bave been passed on to the prin- that sl Sreamures in Lo heart only from . ! larie | to have her worda run like quicksilver tar ond Sie 10 yest, Walls i back to New York, “You have pataing to compiale, of of ia fo tal enuatrys ane declared. “ our English society Hy he very much salen better then pour acters eon Go tng From Pain— De-|tondon. It was with the reverse| ‘ yes, a provincially British play—and lad aciatilla—once I get ‘fixed’ in a role./ strange in that,’ she told him. ‘We| Pi byte simply because we are in the your own plays are as remark- ae nd true to American life as French plays are to French life. I shall never forget ‘The City’ nor the way in which it was acted. The death of Clyde Fitch meant not only a loss to your stage but to the whole English speaking stage. I shall al- ways remember the acting, too, of ‘The City’ as one of the finest, most vivid performances I have seen. tl B= C! victim, Tully M shal} gave a terrifying chi fon that ranked with Charl ner’s old Coupeau in ‘Drink. I remember the splendid production of , room. “You mean the Eni ing nothing for itself ir] way of avoiding a direct ‘ha some- looked at the toe of moment, then quickly drew it vin and glanced up with: “I could say a the condition of the English 1 have a it deal more. to ‘The Concert’ and other-plays. Fur- thermore, I realise that you lot of fine young women on ‘We in England have « num- making this “fine’s distinction Miss Tempest allowed herself merely add: “When I want a girt I go to Tree. His is the one institution in London where girls are taught the things they should know if they are to be- come actresses. There they learn they must work ff they are to jan Opera House. HYLLIS NEILSON - TERRY, ment of several weeks at the Grand P Opera House on Monday evening in Rachel Crothers's new comedy “T! her firet American appearance Heart of Paddy Whack.” “The Things That Count" will be Viola} seen at the Standard Theatre. The Bronx Opera House will have Ce "Te Vitagraph Thi don, The music arranged for Sir Her- feature pictures bert ‘Tree's production In London will | (ial” 8 be played here. Henry F. Dixey !8 product! to be the Malvolio, and others in the | Gunter's cast will be Eben Plympton as Bir; niece of Ellen Terry, will make at the Liberty Theatre on Monday evening in “Twelfth Night. is one of several Shakespearian chars | woo acters Miss Terry has played in Lon- Toby Belch, Lawson Butt as Orsino, Jessie Busby as Maria. Dely's Thoatre mopae on Monday | reel featu we RITA JOLIVET IN TO-NIGHT’S PLAY AT THE LONGACRB, night with Frank Keenan in "Yo- semite,” a play of the romantic period | of the Pacific Coast by Charlies A. Taylor. In the title role Mr. Keenan will. portray a rugged character. The supporting company will include Grace Valentine, Lillian Kingsbury, Ethel Clifton, Marlo Majeroni, Thomas Meagan and little Blanche Burns, eee new plays on Tuesday night. The bill will be made uy * “Across the par | Frederick Tru The postponed production of Ed- 4 Sheldon’s play “The Garden 0’ dise” will be e's Daughter,” @ miracle play Francia L. Kingel, will be pro- duced at the Century Opera Hour on Wednesday night. The drama ir concerned chiefly with Claudia, thr young daughter of Pontius Pilate who performs numerous miracles with a rose she has thrown to Chris as He passes beneath her window on the way to her father's court, where He is condemned to death, The in eldents of the play take place both |r Jerusalem and Rome. Among others in the cast will be Marion Barney Sara Biala, Agnes Mapes, Margare ing, Constance Molineaux, Ethe Gray and Eleanor Russell, Mile, Do- mina Marini, of the Scala, Milan, wil! be the premiere dan ee Harry Lauder, the Scotch come dian, comes to the New York Theatr: on Monday afternoon, with his vaude ville company, for a week's engage- ment, He will give both new and ol bac ee ° Chauncey Olcott begins an engage- iis bonnet RaMaeN a kg uane VEMBER 11, ess Le ORLD, SATURDAY, xo 1016. NEW FACES AT THE BROADWAY THEATRES THIS WEEK. got it right here.” Ho dug down into his coat vocket ge (LESQUE LAST 2 T and drew forth a wallet ne got two sents in Henderson, Ky. let he took the poem. — POETS GROW WILD INPROSAIC FIELDS |, ALONG BROADWAY =< Long “‘Lane of Many Pitfalls” Fairly Teems With Tem- peramental Scribes. for - From TO-DAY read 5 anything to the stage. The Cortina 4 a procedure means nothing pretty face, or bs good pe, and—bang!—she happens to fall into a part that ‘suits’ her. Asa result, she is made a ‘sta: betray lamentably all her shortcom- ings the moment she is put into a ad that requires training and intel- Have you schools of acting, Sparks and rays from her intelli- gence shot through the twilight of the fe age is do- 1 He called it “Do Not De- Read it and fxd not Es about to sit down at young woman, me to approach. She was ind comely, so I healtated when I had taken a bey by her side I found she was KE present acting for the film camer, “You didn't recognize me, did great deal now about By Bide Dudley. Tt bas been sald that every human being Is @ poet at heart, but it doesn’ seem plausible at first blush. No one could imagine Jack Johnson, for in- stance, hesitating long enough in his) nome: of sidestepping Sam when I retire ¥ “Not at firat,” I replied, “but I saw yau, with my left eyo. Brim Full of I really ought to leave at SAW, “Ct THe TN RE er Pretty witty, eh? Sh to think so either, so T conversation onto the subject of that we f putting Marie Tempest into a mio rat It's my right dn’t seom itched the studded fountain pen in hand and write an ode to spring. could paint a mental picture of Ko- the side show snake eater, pushing away a tempting dish of cop- perheads and rattlesnakes to jot down poem born of a sudden in- spiration. Yet it is not improbable— yea, bo, it is even probable—that both the giant pugilist and voracious Ko- komo have written poems in their me, even as you and |, dear reader. Imbued with tho belief that many 4% poet might be unearthed if a shov- eller, figuratively speaking, went to y ANG Lmpeiied by cu- Flays for Coming Week Monday — Phyllis Neilson-Terry in ‘Twelfth Night,” Liberty Theatre; Frank Keenan in “Yosemite,” Daly’s. Tuesday—Three New Plays at Princess Theatre. Wednesday—"‘The Garden of Paradise,’”’ Park Theatre; ‘‘Pilate’s Daughter, ‘Il pardon me, Miss Mayo,” I I've been trying to think of t 1 seem absent-minded to- poem of somo kind. You see, I con- EMPIRE Hse ute oa ne HIPPODRO! duct a column" “Yoqu—can you write pootry?” “Gimme your pene! No sooner said than done! Mine Mayo turned my favorite aide of the menu card up and went to work, saw a chance to retrench a bit. hat's finished will you give she replied. “We can get another menu. Anyway, I never need I always know what I want.” TRAGEDY TURNED TO COMEDY a IN TWO STANZAS. ik Fy But, getting back to the pleasanter GAIL TY way ’ mubject of poetry, she svon Anished a es the jingle, Banish ‘the cafe scene trom|} RUTH mi your mind now and concentrate on nowity to tou; started out yesterday to find what mugat be found. wnowing that Broud- in the Miawito aistrict, tooms with temperument, 1 thought @ sew UDADOWD pools migot be bagged there and I wended my way to bor with ptreet and tne lune of many pit- falls. The tirst man 1 met was George idowles, the overworked inanager for Wagenhals & Komper, once theatri- al eens ie, how complacent capi- ar. Howles doesn’t look par- ke a poct but, for that Paint neither did Shakespeare, or tre will offer the “The Sage Brush a drama in three parts, and Man Behind the Door,” a film won of Archibald Clavering 01 of ‘his name te aft, Dot ‘wait found « ties oa her aru due day, the grabbed it flew ‘amas, huff naw to maid and he barked @ opie: “The Btralght Road,” Clyde Fitch’ trong pay, wil be deplored on the een at the Stran eatre with Edith Campbell Walker as Olivia, and Gladys Hanson in the loading role. Rose Garden Theatre ‘stone comedy, @ four- ‘Well, what the — er, on earth did you ever think of that?” i “Oh, I don't know,” who replied, ing| just came to me” Miss Mayo is a The I'4 ea fy Thretiog very good picture actress. William R. in wet as plain Bi the point at once, how " 1 sald, “did you ever try to write poet: rt | oa “It ie word, “I do writs ell, what do you think of that?” “I didn’t know you ever did anything along the line of art except eet hens on that Connecticut ebicken Where can I see a eve! Mable 4 q poetry af " Ted jauatze 5 meas etter known in our I decided to get to NAZI “Bill,” I sald, “did you ever bridle and saddle old Pegasus and go out for a canter?” farm of yours. sample of your poesy?” BOWLES STARTS BARNYARD ROMANCE. Mr. Bowles led me to the Wagen- fue & Kemper offices. everal locks and pulling out diver drawere he produced « poem jeaned proudly up against etack of unread plays while I perused it The rhyme was ao good that | Anally prevailed upon him to let me print it, that the public in general might benefit, Wagner wrote IT WITH A “I never could the young French actress who managed to master the English language sufficiently to #e- Tho Princess Theatre will offer its cure several important engagements in London and New York, will return by to the local stage to-night by creat- ing the principal role in a new play, “What It Means to a Woman,” will have its premiere in H. H. Fra- zee's Longacre Theatre. is a native of Paris, where she played two seasons in the Comedie Fran- caine, She appeared also for two years in London and then came to New York as leading woman with William Courtleigh norance Is Bliss. operas,” he replied, understand Wagner, either.” “What was the matter with him?’ “Too strong on the Retiaa iat aetal thocteton: meee I sald by way of retalia- “Old stuff!" mata Bill, “but what did you mean?’ BILL SILL’S TEAR COMPELLING After unlock- I explained and, bell unromantic as came actoss with «pi if & at manufacture. le wrot it as a favor, THEATRE, B'way & 80th h it may not appear to you Adelp hi Continuous "tte 11.30 B. M aston fee! Come, let us read: ek oo my childhood, ae But 4. all _thone pi fe it or not, ns i Hooke. MONTGE Ba, alee! @ bart-voit It was Harry Sweatman not the Sel- Wyn advance force who stopped me ia Legis of the Friars’ Club ten min- During the follow- was engaged as lead- Otis Skinner in “Kis. " a0 principal role in “A Thousand Years “Geo: ho?” ee “as & very busy man 1 soppect bits ‘atten he hed writion TEMS er coleman The ACARI Miss Jolivet is now attempting an entirely different role-—one in which she is called upon to run the gamut As Julia Grie' any George who “Come on into “You don’t want any more?” And I replied firmly: “7 SPRINGROOT ‘| BITTER-SWEET We went Inside and 4 soon became portrays the wife of @ prosperous business man, time for her, indulges In cocktails, gam- bling and intrigue until, againat the husband = and/ friends, she becomes a dipsomaniac, It is in the development of this char- acter that Mise Jolivet portrays the quest for poets and determined to|s continue it. There was Harry Sweat- tall, gaunt and Why not try him? . . “I'm looking for a little rhyme of some kind to read at my Sunday school class, affairs leave with a poet's the woman wno, eventually, nn | nn AMUSE Dancing Is a Healthful Exere It is beneficial to the health. 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