HfiAigtj&iHHHH j IfSSS? 1 1 1 J.ULBf i' HHP i ".P ' ' i in EVENING EEDGEK PHTE'ABEL'PHI, SATURDAY, OCTOBER 17, 1912, i -L" 36 Stage JLtMirror of the Jlge WBWEIPmaBBLWBB I ' MP IH Bl ST. 1 U' t 'f.. ' I, hi THEATRICAL BAEDEKER COMING. ADELt'HI "A 1'alr of Sixes." farce by Edward I'eple Mondnt night. FORREST "Papa's Palling." musical comedy, by lnn Car) II. Monday night. KEITH'S Miss Adeline tlenee, petite dansouso. Monday afternoon. LITTLE THEATRE "Arms and the Man " Hevlval of Bernard Shaw's play. Mondny night. i WALNUT "Way Bonn East." Itettirn of popular play. I CONTINUING BROAD "Ladv Betty Mirtlngile," new comedy, by John Luther lxng and Frank Stn)lon. Delightful romance and tender humor of the time of Qeorgo If, Delicate, whimsical an orchid In the theatrical conservatory of hydrangeas and geraniums. OARRICK "The Yellow Ticket," melo drama, by Michael Morton. Florence Ilecd, revealed as an actress of super eminent nblllt) In a shocker as con vincing as the nools of Charles Garvlce find Laura Jean Llbby. liYRIC "Passing Show of 10M." revue I from the New York Winter Garden. Frivolous and funny. George Monroe gUcs original views on "white slavery. ' MRS. FISKE THE INSCRUTABLE BEHIND THE SCENES Greatest Living American Actress Gives First Inter view in Years On the Drama and the "Movies." B7 T. EVERETT HARRE Tou have all seen her on the stage- behind the footlights, with the buck irroijnd of wirier! -.retira. Vnu hrn . her as Becky Sharp. Incisive, witty, bril- , ... . ,. . Ilant. Irresistible' ou have seen her as Isora in "A Doll's House," and other pla)s of lbson. the greatest interpreter of I the Norwegian poet in the world. You hae biheld her quiet! v projecting her I tragic role In "Rosmeisholm" so quiet, 10 ominously still, yet, b the very ' strange subtlety of her art, instilling her j stage. Not clipped, not abrupt, not stnrt concention Into vnnr mind. Vnu linvo llligly staccato. But soft, srentle caress- thrilled to her as Leah Kleshna and as aiarv uri,iu, r.n.n.i .... .hJ alary Magdalen comprehend the anti podal contrast of these two roles and as "Salvation Nell." And, after many, many different parts, you have, or will, see her as Lady Betty Martingale. Lady Betty Martingale, a )oung widow of 1750, of the romantic times of George II, vivacious, fascinatingly unscrupulous, pleasure-seeking, gambling, swearing, yet winning and enchanting you; sparkling, shallow, then awakened by a great, a beautiful love, wholly charming with the spontaneous frivolity and effervescence of youth. This Is the Mrs Fiske behind the foot lightsever consummately portraying her part the supreme artist; nevertholess al ways Mis. Fiske despite the role, and the role Incomparable because she Is Mrs. Flake. Protean In her characterizations, Mrs. Fiske transLcnds all roles. As Leah, as the Magdalen, her voice is the same. Bharp-sclssored. clipped, staccato. Plerc Ing your like sttletto thrusts. Magnetic yes, electric even In her most tant, re strained periods. She remains Mrs. Fiske always, despite her art, and the facti tious presentations of the stage. And yet, while she Is ever Mrs. Fiske, she carries a conviction such as no actress In America Inexplicable there Is something Inex plicable about her, even as there Is about all supreme genius. She fascinates as he tantalizes. She subjugates by her tremendous art even as she challenges. Beneath the rouge, beneath the manner isms, beneath the changing garments, be neath the unchanging, transient presenta tions there is a personality dynamic keyed to the highest tension of sensi tivity, spiritual, vibrating to the deepest motifs in the "Tristan and Isolde" tragedy of human life. There is an In tellect, Impersonal In Its aloofness, Its perspective. Its comprehension: yet more than personal In Its Integral grasp of the human trugi-comrdy. ENTER MRS. FISKE. It was In the green room of the Broad ptreet TTieatre Wednesday afternoon. From the stage the actors taking part In Jlr. Long's charming play poured, one by one, two by two And then In the hoopsklrt of pale satin, wearing a gray powdered wig, vivacious, smiling, black beauty-marks on her face, cama Mrs. Fjske us Lady Betty. "The stage what do I think of the pur pose of the' stage?" It was the old, the perfunctory, the for- Jnal Question. And yet for years, deny- "THE JAILI Lady ifeity Prefers ii . 1 1 ' ' ' " " " ' ' hM.9H.. i -'H- ."' J Little Theatre. ' Ik. 'x B Myrtle Tannehill and Hale I Ing all Interviews, Mrs. Fiske has not i fSJ?rff"1, "er Vic"8 Up0" U,C pu,p03 f tne stage. "The ilrnma-the drnma should lift peo- pie from tho routine of life. It should lift them into dreams Into the world of fantasy allegory. It should convey to them tho spiritual wonder of llfo. of human endeavor, of romance, of love, of loss and all that ennobles life and makes the spirit strong " The voice was not the voire of the Lvc,',.se.nAle- 9car ' c"lledP?T .hJ,"...t..?Id'?.55l .J J" in oucr silvery as muumiKiil on wuiur, sighing as wind among willows. About her e.liales the aura of a personality that grips, that takes the beholder Into Itself "Of all the roles I have ever played, I love that of Lady Betty the must." said Mrs Fiske. "The play by Mr. Long Is a delight to me. It Is a dream a fan tasy. It is a thing that takes one from the life of today Into another world a period remote, quaint, lovely. It carries the delicate, dainty romance of 1750, and I hope it will be appreciated by the pub licthat they will enter Into Us spirit. I hope it will take them away from tho I world In which they toll and struggle, and too often suffer. For this as you have asked me Is the purpose of drama. To lift men and women into dreams." ine sliver voice trailed away. i "And such plays ou consider of more Importance than soclologlc plajs dealing with crime and vice." "Such as some of the plays of Urleux ah! certain!) plays should not portray the sordid. What good is done by depleting crime? The tendency of such plays Is to debase. They spoil people's taste, t'pon the stage should he put the highest ideals of men. Romance in Its dlinest sense Tragedy In Its most sacred aspect. From the stage life should give Us spiritual les sons and inspirations. In charming, deli cate fantasies, sueh as Mr Long s play. In tragedies, such aR Ibsen's? In plavs that . are ennobling, cleat' Portrav vice and ' crime to men and they will think of vice and crime Bring before them n vision of beauty and thoy will think of beauty. "But do you not think that the moving pictures have done much to deteriorate the public taste In drama, as nraiy claim?" "The moving pictured! Indeed, no!" Sirs Fiske roso, her voice vibrating with enthusiasm. FUTURE OF "MOVIES." "I think that tho greatest art-the greatest spiritual art of the future will be accomplished in the moving pictures. In the moving pictures we shall do what we cannot do on the stage and through the drama The most spiritual dreams of men dramatists, poets will be por trayed before us as visions on canvas. Allegories Interpreting life the most stu pendous dramas of existence will take place before us. We shall not Bee the corporeal bodies of actors It all come as a dream, sublimated. Incorporeal, all the more perfect. There will bo done In the moving pictures what can not be done on the stage. We actors are all human we make mistakes. In the moving pictures mistakes will be ellmt THE JAIL!" Prison to a Spouse i I Hamilton in " A Pair oftSixcs." -O i nated we shall act perfectly It will be ' il ?lrI'"a! "r'-U J" i,ppc"1 to the Intel- lect. The vlsluu will come In the silence. "Hut 1 doubt If we shall see the highest development of the moving plctuie In our generation. At piescnt tho moving pict ure Is in the throes of childbirth. It Is full of crudities, and tho cheap melo dramatic films nre demoralizing to public taste. Most, Indeed, nre absurd Indeed, the moving picture of today has little vaIJe save in Its promise. But think of the futute! 'We who act shall be free of the artl- ! llce aml limitations of the stage W I 6hl1" unU-r the free sky. If n actc e actor wants Niagara Falls he can have Niagara as a setting there will be no need of faking. "We shall get away from the tricks of light effects and scenes. What an Inspiration! There will be no audi ence. The actor will act for himself. Tho entire world w 111 be open for his ' dramas. Nothing can be grander, nobler, , bigger. "No, I do not think the moving picture ' THE PRISON PROPOSAL will roplace the stage any moro than the phonograph W'lll replace opera. But it will give the actor what the stage does not a certain Immortality Ah think if, through the moving pictures, we could today still see Mrs. Siddons play Lady Macbeth " There was a knock upon the door. One of the actors was 111. Mrs, Fiske rose her voice was condol ing, soothing. "But )ou will be better you will not desert me, will jou? Vou will be better." And the personality worked Its charm the young man, buoyed, smiled. He wruld be there in the evening and he i was. FEMINISM AND EVOLUTION. We spoke of the feminist movement. "Yes, yes, women will do much for the wor'd and civilization. They will do much In which men have failed. Men have ever waged wars. Women have cone forth on the fields of battle they have nursed the wounded and dying There was a. Napoleon and a St. Theresa. Women have marched over battlefields but as consolers and nurses, to remedy what men had wrought." In Bpeaklng to me Mrs Fiske addressed me as "my child." "I am probably older than you think," said I, as the conversation turned. Mrs Frske brightened -vivaciously. "And. perhaps, so am 1," said she. She walked to the long mirror and anrreying herself "I do not look old do I? You see, really, there Is no such tnlng as age The spirit is young eternal forever and ever young, people grow old because they believe in old age their features wrinkle because they ocoept the tradl. tion of decay. The spirit gives life. If our vitality, onr Interest remains per ennial. If we continue to live Jive live we are young. Years do not matter, save as we gain experience and grow. That Is a secret to be learned by human ityto remain young To remain keen In intellect, perception, feeling, emotion. There U a fountain of eternal youth within ua." Chestnut Street Opera House "Ireland a Nation." a photo drama, telling the story of Ireland's struggle for liberty, will be given at the Chestnut Btreet Opera House next week. The film depicts the stirring days of 179S, when all the nations of Europe were in tho melting pot of war. and deals with the struggles of Robert Emmet, John Phllpot Curran, Michael Dwyer and other Irish patrio'! This play was produced In Ireland with i Irish actors, and shows most beautiful scenes of the Emerald Isle. Irish music I and songs will be rendered by Irish lnser il f. n'ei iMSimmm f2 ffljii s jtJt&M I PpfiMmm i)sA vL l wp- ff i I SZ-tW 11 OLKl-artV. i Gv ' mmwmkaJn MmMmm JL i;lt WWSilaSfflBf W x -1 lTffiKll TrWmw , I I'frfJm M Bens J its ?i'.!B5 ' N.SSf?. . 'WinX - II "'$s$?,$m JWSm Moon and Morris "Whirl of World," Lyric, October 26. Jewels Tell Character "As apparel Indicates the nature of a unn, Jewels are an Index to a woman," declares Mile. Chapln, prima donna, ltrmcrly of the Opera Comlque, Paris, who will appear In "The Whirl of the World," the Winter Garden specta cle, which will open at the Lyric Octo ber K. In Paris, says Mllo. Chapln, the wearing of Jewels has became an art. "The cultured Parisian woman meas ures tho breeding of a stranger by her iranner and accessories of dress. Th'i woman who overburdens herself with gems, except for state occasions, docs not know the nrt of wearing them. If a woman would be fashionable In tho matter of Jewels today, she must wear only those which suit her. Individuality In gems, as well as In apparel, is the keynote of French styles. "The green garnet of Siberia is one of the latest settings for rings. But unless your hands possess that peculiar pallor which causes the gloom of this stone to shine in Its plain gold setting It should not be worn. Jewels should harmonize with the complexion of tho hands. Then, too, the size and shape of the ring must be considered. The day is past when overyone wore a dinner ring, on opera ring, a signet ring or any one shape of ring Just because It was fashionable. A ring should not be worn unless It truly ornaments the hand. A grotesquely big ring on a fat, stubby finger, or a ring that accentuates the bonlness of a skinny one, is bad taste. Now there are rings that suit every contour and complexion of hand. So there Is no need of wearing unbecoming ones." The "Whirl of the World" company numbers 125 and Includes Eugene and Willie Howard, comedians; Elizabeth Goodall, Juliette Llppe, Lucille Cava-' naugh, Emily Lea, Moon and Morris, Robert and Lawrence Ward, Burrell Bar baretto, John T. Murray, Clarence Har vey, Lewis J. Cody and Edward Cutler. "Papa's Darling" Ivan Caryll's latest musical production, "Papa's Darling," will have Its premier performance at the Forrest Theatre Mon day night At the Forrest Mr. Caryll's other successes, "The Pink Lady," "Oh I Oh! Delphlne." 'The Little Cafe" and "Chin-Chin," had their initial perform ances. The play will remain her two weeks. "Papa's Darling" Is founded upon a celebrated Parisian farce, entitled "Le Flls Surnaturel," by d'Anoourt and Vau calre. The American book and lyrics are by Harry II. Smith, author of "Sweet htartb" and "The Spring Maid." The story of "Papa's Darling" Is based upon a mythical son and daughter In vented by two ultra-respectable hus bands living In the country, for the pur pose of having an excuse to visit Parts. The cast embraces the (rincipals who created the characters of the first two musical comedies of this composer, "The Pink Lady" and "Oh' Oh! Delphlne!" and Includes Frank Lalor, Alice Dovey, Jack Henderson, Frank Doane, Octavla Broskl, Dorothy Jardon, Fred Walton, Lucille Saunders, Edna Hunter and Georgia Harvey. Broadway A Chinese act, "Chung-Hwa Comedy Four," will head the bill at the Broad way next week In addition will appear Moscony and Moscony. South, Philadel phia's favorite dancing brothers. Harry Brook & Co.. in "The Old Minstrel Man", Spencer and Williams, Dolly and Mack, and Rex's Comedy Circus, Including trained ponies, dogs, cats and "Dyna mite." the kklring mole. tne. Alice Dovey "Papa's Darling," Lyric. The Silent World of the Future "There Is too much noise In the woild. People talk too much and utter too many words. Our vital force Is wasted in voc.ill zatlon. We shnll not develop to our highest possibility until wc Irani lo be silent, and to express our thoughts mid emotions without loquacity. Indeed, the time will come when people v ill comcrse by the expression of tholi faces and ges tures. A silent woild will bo u better, happier, more offlclcnt, advanced world" Miss Clara Hose Iluluifi, who nrrlved In Philadelphia ye-tcrda to play the leading role In "Way Iown Hast," which opens at tho Walnut Monday night, bo lleves that Iifo should lie a pantomime "The world has been growing noisier nnd noisier," the actress continued. "But a reaction must come. Indeed, It would be n good thing If everybody began by ob serving a nay or suenro once a year. "I recently witnessed a most wonderful play, 'IEnfant Prodlgue,' a silent drnnin, with that delightful actress and panto mlmlst. Madam Pilar Morln. There were three acts and there was a.s much plot and Incident ns those that occupy a stage In theatres where everybody talks. "This silent drama made me understand the difference between the actors that merely talk their parts and the nctors who act their parts as I have never under stood it before. The actors In this silent drama were absolute masters of emotion, expression, feeling, attitudes, gestures, and they made the audience listen to what they did, while there was never a word uttered; and they made the audi ence understand, as speaking actors make us understand, what tho playwright has meant to convey. Our American schools of dramatic art ought to maka the silent drama the most Important part of their curriculum. "in our homes, in our social relations and also In our churches and temples we should benefit by applying the principles of the silent drama. Men and women who associate together could be happier if they talked less and showed one an other a tenderer and more tolerant con sideration by actions. If we spoke no word until we felt fully and strongly what we have to say, we should be much better and truer, and there would ba much more sincerity In the world." Love Turns Women To Darning Socks "The higher love is a very fatiguing thing to keep up for any length of time," declares Serglus to Louka in Bernard Shaw's "Arms and the Man," which opens at the Little Theatre Monday night. "I quite agree with Mr. Shaw." said Miss Saxone Morland. who will play the leading role "For while girls delight In hero worship and In putting love on a high pedestal, they usually end by loving a 'chocolate'soldler "To most girls." Miss Morland con tinued, "love is first a dream, then an ideal and at last a reality During the first two phases the girl is entranced with the bpirttual aspect of love To her it is something wonderful, nebulous and enthralling. She wants not a man to love, but a hero to worship and be wor shiped by She is essentially the Italna of the first act of 'Anna and the Man,' adoring tho distant soldier hero Then comes reality the love that la worth while and which, because It Is love, makes even the commonplace things of life beautiful. This is the sort of love that changes a young woman's desires from hero worshiping to the darning ot socks and the study of cook books, from desiring far-away worship to the desire for human tenderness and the realization of the endearing aualitlc-o of the ordinary man. "This, of course, inspires the tedious routine of life. The wlfo who la solici tous ot the mall things loves best" Adeline Genee's Struggles Adellno Genee, who will head the bill at B. F. Keith's Chestnut Street Thea tre next week, did not dance her way to fame on a path of roses. Tho pctlto and wlnaome Danish dans euso began to dance as a child, and won success only after long years of study nnd effort. "I began to study dancing when six years old," said Mile. Gcneo In telling of her career, "My home was In a llttla hamlet close to Copenhagen, Much of my time was passed with my uncle and aunt, who lived In the city. They were both famous dancers In tholr day, Alexander Gcneo and Mile. Zimmerman. They were tho only Instructors I ever had. They did not know I did some practicing on my own account secretly. "One night my aunt was on the stage dancing. I was watching her from the vjlngs. I was seized with the desire to dance. So I commenced, and together wo kept In unloon with tho music, she on the stage, I In the wings. I did not know that any one was watching mo until tho dance had ended. Then I saw alt the people behind the scenes standing around, smiling. I would have scampered away had my uncle not gathered me up In his arms and kissed my check, whispering In my car that I should become a dancer. "After two years of constant work I made my public debut. I was In my fairy land nt last a fairyland I had always loved and dreamed about. I was 12 years old. Tho King of Denmark witnessed my debut. Four years followed with my undo and aunt In many of the cities of Europe, Marie Chambers "Lady Betty Mar tingale, Broad. and then camo my engagement at the Empire In London "We weie fining for a six weei.s' en gagement, m) unrle said. The six weeks grew to a )ear. then vwo, then live. From a girl of 12 I had become u woman. None tan realise lui t what mv feelings were when the night of my tenth anniversary rume Since th it time I have appeared In nil the principal cities of Europe nnd America. But nowhere hove I been more cmvli.illv received or praised than In this counto ." Besides Mile, ficnee, the Keith bill will Include Edwin Stevens In a musical char acter revue, "Two Old Men and the DeU"; Percy Bronson and Wlnnlo Bald win, in "Pickings from Song nnd Dance Lands": Frank Milton and the Do Long Sisters; the Glaudsmldts, eccen tric clowns from Europe; Hnrr) B. Lester, "the Jovial Jester"; Willie Wes ton, a character song artist; Boxy La Itocca, a master of the harp, nnd the Kramers, who will give a gymnastic ex hibition. "A Pair of Sixes" Following Its run of nearly a year at the Longacre Theatre, New York, "A I'nlr or sixes," a rarce by Edward Peple, author of "The Prince Chop" and "Tho Littlest Rebel," will be presented bv II. H F-azeo nt the AdclphI Theatre Mon day night. In the cast aie Ralph Herz. Hole Hamilton, Fritz Williams, Myrtle Tannehill, Elizabeth Nelson and Maude Eburnc. SIlss Eburne plays the part of a "slavey," Coddles, and has made one of tho greatest hits of the play by a gro tesque fall in the last act. "Tho 'fall' which Iwh seemed to be pro ductlve of much laughter got into the play by nccldent," says Miss Eburnc. "On the night of the dress rehearsal Fritz Williams and I were talking about leaving out one of the lines. I told him we couldn't get It 'over.' He suggested that we try It ngaln-to develop It. When he got It oft I did a fall on the stage. H. II. Frazee, who was sitting out front, doubled up with langhter, and was so enthusiastic about tho 'fall' that he or dered me to keep it In." Nixon's Grand Barney Gllmore, the popular Irish dra matic actor, comedian and truteloglst, will head the bill at Nixon's Orand Opera House next week. The rest of the bill Includes Seymour's Dogs, the Tlerney Four, with Instrumental musio; a comedy playlet, "Hop Kee's Dream," Presented bv Wllltnm A R.nn t. o.ii- nnd Itaymonde, and the La Keillors, Mexican athletes. Notes of the Stage Michael Morton, author of "The Yellow Ticket." at the Garrick. numbers among his friends Cyril Maude, the English actor and etar of "Grumpy," of whom he relates the following: "Cyril Maude and I made a wager once In London. If I won, Maude was bound to produce any play which I might offer him, if I lost I was to write a play for him and If he did not accept it I was In duty bound to continue to offer now plays for his approval until he had selected one. Well, I lost the wager, and I have been writing plays for Cyril Maude ever since. I think he has refused six to date I believe that long after I have retired I shall still be WTltlng and offering plays to Cyril Maude." "Love's Model " by Cecil Bpooner and T?,nl.Q' MurPhy- "W'll b given at the Liberty next week. Harold Atteridge. the author of the 5?01' a" 'Js of "The Whirl of tho World, has written tho books for seven Winter Garden productions. The Shu fhrM.Khay.e aransed ror him to furnish the libretto for tho new Winter Garden revue, in which Al Jolson ia to make his Jew York re-appearance. WHY FAIR WOMEN MARRY HOMELY MEN Why Do Handsome Women Marry Unattractive Looking Mon? And Tall, Juno Women Wisps of Masoullnlty? "I have known many women who were reputed to be beautiful who have married ugly faced men," says Fanny Word, nh will return to tho Broad Street Theatre October 26, In "Madam President." "Women admire ugly men because they represent distinct forces In tho world JTho men who have done marvelous things nro seldom good looking. Whore wai there ever a finer example of this than In tho late J. Plorpont Morgan? He was not handsome yot men ns welt as women ndmlred him for his greatness. "Another reason why a beautiful woman marries an ugly man Is that, even though sho have not n thimbleful of brains herself, she ndmlrcs this qual ity of mentnllty In a man. And I fall to recall In my own cxpcrlenco where a man who had beauty also had sento. Ugly men or men who aro not handsom nre moro likely to got on In tho world. xne vcrjf intensity ui incir eirorts shnrpens tholr features, hardens their faces nnd renders them brusque. Yet women, no matter how softly and tendar ly reared, seem to rccognlzo this, "Women llko what they lack. That Is tho reason somo of them nre attracted even by brutal prizefighters or by tho ugly hero of some hard fought football contest. Tho men of the ring and the gridiron have n great physical fores which women lack. And women ara timid nnd dread to measure tliclr strength against that of tho world. They aro tho rabbits of humanity. That li the reason they llko men who, to usa their own phrase, 'have dono things' or 'can do things.' "Women know that men nre vain, yet they detest In them that qunllty. If they see a man who 'Is a perfect picture' In his evening clothes, at once they assum that he Is vain nnd despise him. Women know that tho handsome man Is a fly about. Ho Is rarely ever domestic, and they know that ns a guarantee of tholr happiness they had better choose a plain man who will bo content to sit comfort ably at hl3 own fireside Instead of going about to be admlied." With Miss Ward will be the same com pany that played last season, with the exception that Hnrry J. Ashford plays the part of Gallpaux, for which he was espe cially engaged In London. Others In the enst will be W, J. Ferguson, Amy Lee, Alice Kelly, John W. Dean, Jack J. Horwltz, Charles Lalte, Reynolds Sweet land, Harriet Trench, Emily Hampton and George Brcnnnn. Flashes From "Stars" Dorothy Jardon, who will create one of the principal characters in "Papa's Dai ling," made her first appearance at tho Metropolitan Opera House, New York, ami carried a spear at 50 cents a night. At the ago of 1G Miss Jardon ap peared at prima donna In John Gralra opera company, nnd later In "The Fisher Maiden." This led to her being engaged for nn Important role In "The Chinese Honeymoon." From that tlmo she be came a most popular favorite of musical comedy both In this country nnd Eng land, where she created the character of "Blmboula," the Persian woman. In "Oh! Oil! Delphlne." Miss Jardon Is of French and Castillan birth. She Is noted for her exquisite gowns. Alfred Hemming, who plays the role of "Klib" In "Lady Betty Martingale," and also delivers the prologue, cornea of one of the oldest theatrical families In Eng land, nnd Is related to a number of th most Important people In the dramatic profession. Mr. Hemming has had long experience as an actor nnd actor-man-ngcr, and Is said to be ono of the best Informed men on tho traditions of the old comedies. Miss Marie Chambers, who plays th role of Lady Fewlts In Mrs. Fiske'i presentation of "Lady Betty Martingale," found a simple looking stage direction In her part when the play went Into re hearsal. The direction was, "Lady Fewlts falls In a fit." The writing of this lino required little effort on part of John Luther Long, the author, hi;t It brought a great deal of anxiety to Miss Chambers. To present a fit that would at once be lndy-llke, dramatically effective and at the same time true to life, was a great problem In tho privacy of her own boudoir Miss Chambers experimented with every kind of fit of which she had knowl edge or which she could invent, but nons of them was satisfactory either to her self or to Mr. Fiske, who directed tin rehearsals of the play. At last, in de spair, .miss unamners consulted her physi cian, who gave her a number of books upon the subject to read. In a weeks tlmo she became quite an authority on fits, from a medical standpoint, but sha was still In doubt about what might ba called the pictorial phase of the malady. Her physician again came to her rescua by escorting her to a private hospital, where, after considerable observation, sha gained the knowledge that she required In consequence, the fits of Lady Fewlts are said to be altogether perfect flts And to accomplish a perfect fit when attired In a hoopsklrt is something of an achieve ment. Wallls Clark, a prominent member of the Little Theatre company. Is a great Dlckcna enthusiast and scored so great a triumph as "Berooga that hB piayed the role 4MV) tlm.a i t,i -...... .n abroad in two seasons. Whltford Kane, who plays tho role of General PetkofT in "Arms -and the Man" at the Little Theatre, owns the original copy of "The Pigeon," by John Gales worthy. The novelist and playwright gave it to him as a token of his appre ciation of Mr. Kane's work in the rola of Christopher Wellwyn. Facing Show of 1914," says that the first time a chorus was ever known to dance on tho stage occurred In Philadel phia 23 earo ago, In "The Little T) coon," at the Temple Theatre "Previous to that time the only movement the Chorus made was In swinging the arms or tossing the head from side to side or up and down. This was called technical ly the first 'moving chorus' and was a sensation Nowadays the chorus gud must not only be able to sing and dance, but be an acrobat besides It didn't mat ter in the old times what a chorus girl looked like either as to lace or figure, all she had to do was to sing!" Moon and Morris, the eccentric danctni' comedians with "The Whirl of tb World," coming to tho Lyric Theatre, spent aeven years bringing their ' back to-back simultaneous d&ncinz ct" t perfection.
Significant historical Pennsylvania newspapers