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36 Stage JLtMirror of the Jlge
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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
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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.