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BYByiygt kBPftBEPMLABBLPHIA, SATURDAYS tfAOTABY 3Q."lMS..
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NEXT WEEK: "DAMAGED GOODS" AT THE WALNUT, BLANCHE WALSH AT KEITH'S
THR NI'AV WP.IJ.tf
U'AiWyr "Damaged Goods." A t-eturn engngoment or Brleux's nowm-. i ;
nnd bitterly truthful drama of tho Individual and social conaenii.H.L. . ty
.ui.iuim !-.... ..... ... .......,., ivifn. nut, oi course, for tlio vn m
containing no word cither suggesttvo or ImWrnu ung, tfl
M?- l () Us. I
HBHBmhv' 'f:"s fill KW!"'f i :j "m"'.?
1 WPII lATHOUSt fgmMm H
SEEING Grumpy io a Rood deal like
seeing in old friend. As Cyril Maude
phiys him, the old man lives with a
vitality quite outside the theatre. The
Impersonation, added to the playwright's
rather obvious lines, produces on effect
of unusual reality. The blustering, bick
ering, yet kindly old man, calls up many
a relative or acquaintance who has found
old age a happy outlet for little eccen
tricities that become almost a sort of
play In themselves. To the reviewer of
the Evening Luuoer Mr. Maude's
Clrumpy seemed something of a propnecy
as well. There Is a familiar and beloved
figure among tho faculty of Harvard, who
will be another Grumpy when his occa
sional pietcnscs of peevish Irascibility
harden Into habit. Such a calling up of
recollection la not a bad test of an actor's
on tlio Movies
Being very far from CSrumpy's age hlm
elf and a far younger man than his
years, both In looks and lively intelli
gence, air. Maude cun look on tne movies
and tho phonograph with a friendly eyo.
To him tiiey do not eeem competitors,
but things promising friendly assistance.
"This Is surely the age of Invention In
matters connected with the theatre," says
Mr. Maude. "Think what It could mean
to the preacher to take up John Wesley
and listen to him for inspiration a while;
to tho singer who could rearouse her en
thusiasm by listening to Jenny Unci; to
the historian, if he could actually hear
thp voice of say, Marc Antony or Demos
thenes. JIow I wish the voices of Henry
Irving, of Edwin Ilooth, or Sarah Sld
dons, or Forrest had been preserved for
"This Is also the era of nnother won
derful form In which the actor's art Is to
be preserved I mean, of course, the
cinema. How dearly I should have loved
to be able to see what Shakespeare
looked like when acting. Of course. In a
way It Is an age of enemies of the drama,
but who can doubt but thnt gradually
what you call the 'movie' Is educating and
Interesting a class of people who hereto
fore have taken life a bit sadly and not
gone In much for dramatic entertainment,
encouraging In them an increasing desire
for the theatre.
"Who that has listened to Caruso on the
gramophone does not long to hear the
great original. Who that has been to a
cinema does not long to hear the human
voles and to be moved by that wonder
ful power of which at present we know
nearly nothing. I mean the magnetla
power. Charm, some people call it, and
you will And It In enormous predominance
In every really successful actor and act
ress. But It Is something more than
charm. It Is a quality of which we know
as little as we knew of wireless teleg
raphy before Marconi came on the scene,
"This marvelous magnetism 1 A very
distinguished officer In the army has said
that he could not. mention one single suc
cessful soldier who had not got It. Lord
Huberts, our own great English hero, be
maintained, would never have been what
he was without this magnetic quality.
And It Is a personal thing; it Is not really
conveyed through the gramophone or the
clntrma, and I am told that both these
things are called the kindergarten of the
Xew fields Talks
About Other Days
XW FleldB, tpo. Is one of those players
who think, as well ea talk, about their
work. It la rather curious that on bis
first plunge Into "straight" comedy, Mr,
yields Is readier to talk about the past
'Which he s leaving than about what
the future holds. For one thing, the
future Is pretty Indefinite. "If I can flnd
th right play" That eternal quest of
the actor Is made doubly difficult in Mr.
Fields' case because he can't rtek allure
through a play belna attributed to his
liability to handle a "straight" part. If
lie could find a writer' who knew the East
Hide, the life pf New York out of whlrtt
Mr. Fields drew the inspiration for his
ewly work, he might secure material that
could ba worked over by a practiced play
wright Into a piece with substance, hu.
inanity, ever that quality of kindly pathos
wWeh Mr. Fields has shown himself cap.
fs-bia. of portraying-
mng that play Jus now, there i the
pt to remember, those days when "Weber
ami Blew Mus:. Hall was a national
Imitttution, It can't be done again." aura
Mr Jttlda regretfully, "New York's too
Wf. You can't flnd an audience that
taws ail the successes as eur audiences
tied to. In the early days, there were
it t theatres tn town giving Orst
I,M plays Wallaek's, Daly's and the
j,u nstt around us, the yeui and
lift Knptrs uptown and the fifth Ave- I
njf Jwtij Company. Kvsrybody n New
Y-hrk. iiu4 an ths- new pieces, and if
Mp tai went t see, the play w
were burlesquing before thoy came to us.
It's a pity good travesty can't have moro
of a show than It gpts In "Tli" Pn'Hi-s"
and occasional reviews. It's a wonderful
critic of the stuge. Annie iu.set, i.u.iiuU
a good many things from Kay Temple
ton's burlesque of her In 'Catherine'."
From Mercutio to
Comic Old Men
There Is an actor In "The High Cost
of Loving" who does quite as finished a
pleco of work as Mr. Fields, but who Is
Kllll an "unknown" to the road. It Is
George Hassell. Walter Prlchard Eaton
has called him some things that ap
proach very closely, If memory doesn't
fall, to "the best actor In America." Cer
tainly he Is one of the most versatile.
At the Garrlck he Is playing unctuous,
fat middle-age. In his stock days in Bos
ton and Plttsfleld, Mass., ho played all
manner of men, from crusty old villains
to young lovers. His la certainly tho best
Mercutlo on the 'American stage. And
he could play FalstalT Just as well.
All this Is the result of stock company
training under so liberal a manager as
Jonn crnlg, superimposed on native abil
ity. It Is a pleasant thing to have Mr.
Hassell acting in the regular theatre,
but If It means restricting his talents to
tho line of middle-aged grotesques, which
he can play so well, the frequency of
his visits to Philadelphia will hardly com
pensate for tho fact that the American
touring system will havo made a brilliant
actor Into a routineer.
Taylor Holmes Talks
About Bichard Mansfield
Taylor Holmes has a lot more to do with
the selecting of the play In which ho
appears than the public may think. He
and his wife had "The High Cost of
Loving" In their hands last summer,
when they were settling upon their pres
ent vehicle, "The Third Party." From
Mr. Holmes' energetic and rapid rise out
of small beginnings with Itlchard Mans
field, It looks very much as If he were a
determined young man, with an eye on a
career as actor-manager.
Mr. Holmes recalls an amusing Incident
one of the many amusing Incidents
that dotted his nsnoclatlon with Hlchard
Mansfield through a small part In "Cy.
rano de Bergerac."
It was during a rehearsal of tho play
when Mr. Mansfield took exception to the
evident lack of spirit manifested by one
of the women of the company. Ad
dressing the lady, he Bald:
"Yuu must act, act, act at these re
hearsals." "Oh, but Mr. Mansfield," she replied,
"I never can act nt rehearsals. I can't
I mut have an audience,"
"Yes-yes," said Mr. Mansfield, "but
you have an audience. Am I not here?"
"That's very true," answered the act
ress, "but I must havo a largo number of
people to play to before I can get the
To which Mr, Mansfield replied:
"Well, I want you to act at .these re
hearsals. I act. Speak loud and at the
top of your voice, and use the full volume
of your tones,"
Becoming Irritated through 'his fault
finding, the lady finally cried out:
"Mr, Mansfield, you're no gentleman,"
"Quite true quite true." ho replied,
"I'm not a gentleman. I can't afford the
luxury of being a gentleman. I'm merely
a hard-worked laboring man. I Insist that
those associated with me In my employ
rnust work as hard as I do. I'm not a
gentleman, I vvlsh I were. My ambition
Is to be one. and possibly I will be some
day, Therefore, I Insist upon working
at rehearsals, as you must do also. Now.
louder, please louder. Always talk at the
top of your voice, the way Hall Calne
David Belasco -
Phaeton of the Theatre
One never-ending satisfaction In all
David Bel&sco's productions la -his nan
dllng of the lights. It may not ha quite
what the German stage has accomplished,
It may still cling b, little too much to
that glaring row of subterranean suns,
tho footlights. But It Is o far above
anything the American stage knows that
he deserves far more credit for his re
forms In this direction than he gets.
"The Phantom, HlVaU," at tqe Broad,
Is an excellent example. A1J through the
play reliance Is placed much more on
"floods," or bunches of lights In the
wings, than upon the "foots." In the
dream-scene particularly. Mr. Belasco's
use of light and color triumphs. He has
achieved a warm, diffused glow far liner
than anything the average producer ever
reaches- It Is amber, not the glaring
wbite of the average stage light. It fails
far more from abovr-Whwos t wouW
naturally come than from below. Tho
whole hall of the Van Ness mansion is
bathed in tho radiance. It does Its very
considerable part In giving tho scene a
distinction that Its place In the drama
And Mr. Bolusco has such a refreshing
realization that a few well-shaded wall
brackets can't be expected to light up a
whole room brighter than the sun.
"Grumpy," on the other hand, supports
that favorite quotation of tho American
stago electrician "How far that little
candle throws Its beams."
Belasco's "Phantom Rival"
and Its Hungarian Original
Joseph Ilemenyl saw "Tho Phantom
Rival" at the Broad Street Theatre
Thursdny evening. This, In Itself, Is not
startling. But he also saw It In Vienna
and In Budapest and in Pressburg (where
Leo Dltrlchstelu comes from). And Mr.
Ilemenyl, who Is a Hungarian novelist
of some note, compared the original per
formances In Hungarian and German
with tho Belasco production and pro
nounced for the American acting, staging
"As a friend of tho author, Molnar, I
must say that tho American version of
his latest play pleases me Immensely. It
Is tho first American theatre I have en
tered, and If all productions In this coun
try are as artistic and as well-acted,
then the American Htage Is on a level
with that of Europe," said Mr, Ilemenyl
"The Belasco version of Molnar's play
follows the original very closely, save In
Its final scene. In the original the Iiub
bnnd tells a fablo to his wife and both are
cured of their folbles-the husband of his
Jealousy and the wife of her dream hero.
I llko tho American verBion better, for It
displays better artlsiry a more dcllcato
"So far as the stage settings and stag
ing are concerned, It Is wondorful. We
have nothing like It In Germany, except
in mo case or jieinnarclt. Mr. Belasco Is
an artist to his finger tips. The acting
does not average as well as In Vienna
and Budapest. Mr. Dltrlchstein, who Is a
native of the same city as myself, makes
the role of Sascha too opera bouffe, al
though he does excellent work as the
tramp. On the other hand, Mr. Williams,
I believe, rnnks with any actor on the
European stage. Miss Crews acts with
restraint and Intelligence.
"On the whole. I am very pleased in
deed with my first visit to an American
theatre. We, in Europe, labor under the
delusion that tho American stage Is a
thing of hard cash materialistic, cold,
unresponsive to artistry. My mind has
been pleasantly disabused. Of course, you
cannot .expeot to aohievo In the last 20
years what it has taken Europe a century
to do. By that I mean, ensemble work,
eveness in the cast and tho submergence
of the Individual ror the common good.
But that will come.
"But you must get plays different than
the ones about which I have been reading
-Plays with more Imagination, more soul,
inore depth, 'Potash and Perlmuttor'
baa failed In Budapest, for It Is toq ma.
terlal. You Americans should broaden
your minds, too, Molnar's best play.
Forrest Thu Nt Week. Evg.8;15
... Matlnw. TODAY ft Wed. V
Tbe Ort Three.Star Combination
mTHE GIRL FROM UTAH
Italian Barbers' Beneficial Asa'n
Grand Annual Masquerade Ball
i'or llentlt ef Karthqualia BuBtrert
UORTICULTUKAIi HAM Hroad and ijbcu.t
MONDAY. FHUHUAJII Tl.l.'lBis sVr""
Jilhl.S"5.e? i'i,'''," maueradr Jt
prl, ifSO; 3d. 130 1 34, (old welch; 'h' SJO;
tin, diamond stick plni Uth, illvtr ma lug.
BROAD Thi. ft Next Week. Kvgs, atBsU
In "yUB VIIANTQM 6VAIV'
Gftrriek 3"ls 4 Nt Wsek, Evg.at8:lB
m tna man cobt of loving f eiS, h.bo
PHILADELPHIA! Tonight b(W
CASINO Sl,. Usttos Dy
WGy?Z f?OM &!
'Llllom,' can never bo produced here, I
believe, because tho second nt pln' i'
hell and treats damnation moro or lew
tricverently. But, as I sntd, 'Tho Phan
tom nival' In Its American vorsdon uud
dress has pleased mo Immensely."
" certainly think thnt America
has produced some draviatlc things
that are exceedingly worth while.
She has a great future in this di
rection, as In many others. Uccause
she is young and has a democratic
government which in itself offers
many social and ethical problems
not present, or, at least, not given
consideration in less liberal coun
tries she has unusual advantages."
Ilroad St. and Montenmrv Ave.
fnEP. o. NIXON-NmDHNQEn.Oen.MEr.
NEXT WKBK s ""
SEASON'B UEST MUSICAL ACT
WILL WARD AND GIRLS
Magnificent, Merry Melodious Medley
Dyal & Early Jewell Comedy Four
Gallon I Bernard & Scarth
MISS ROBBIE GORDONE
: llnilllful Vnman In Clnalo Poeea
NEWEBT LAUOHINQ PiCTUnES
3000 SEATS iSolTol
Eyenlno 7 A
PALACE Theatre o'Z'lMVffc
PHOTOPI AY D,vW I'lesln. in
,n JT JT , ""'s WBT DOLLAlt"
10c. SO, Our Prices Never Change. Compare
Our Shows With Higher Trice Ho?ae;
Academy of Muaic h Feb. 2 Ijjg
IRVIN S. COBB
at the front In the European War Kone.
Seal) Now at 1110 C'hmtnul street.
PrWee S3o to J.00.
EAIILH'H DIVINQ MWBS
NIOHT IN MONTH CAlll1
B13VEN ilUHSKI.S. Othera
Program chanted Monday ft Thursday
Thoatt-A PW.inn SVBNlNqa, 7 D
i". Lt'"1 I ' y ?
Market Btreet. Above JOlh
PICTURES, H TO UlU
Nest Week Mary rictford la "Mlatrea Nell"
DI IMnNT'Q PUMONT'S MINSTRELS
UUMUm a DmiiANP(ABcBT8.
! . ' Concluded on 1'nce rite
, x-pr 1 g
X?) Vv ( ft-WA ft ?
l2SS!WSeJ 1 "I.i1.1.?. r"me ,a '" rou'' body . t
md .Vml RE CHRISTIAN
WflS ' I S J CHESTNUT ST-OPERA HOUSE
I 'ilSs v - (f - f IMS i fircon.1 Ills Month W I
!S5- ? I S I ' D,oc' ,sc' 3 &
Cyril Maude on Joys of
Playwright and Producer
The easiest play to wrlto Is tho thor
oughly gloomy play, and If It 1b harrow
ing enough, It Is usually the easiest to
act, nnd tho easiest to see free.
Dramatic authors for many yearo were
very badly treated from the financial
point of view. Many of tho enormously
successful plays of tho old tlmo were
bought outright from tho authors for
the sum of perhaps a couple of thousand
dollars. Nowadays the author often gets
considerably more than thnt for the Eng
lish rights, and even more for tho Amerl
enn rights, nnd theso only In advanco of
fees, which range upward, usually to
about the following rates: 8 per cent, on
tho gross receipts to, say J1000; 714 Per
cent, on from $i000 to 1GOO0, and 10 per cent,
on all over that. Of course, these fees
vnry considerably and go up to 15 and
oven 20 per cent., but you can well Imag
Ino that the nuthor does not do badly
now, with his British, American, Canadi
an, African, Australian and European
rights. Of course, the scale of a few
authors hns stimulated many novelists
to try to wrlto plays, but tho good novel
ist is not necessarily a good playwright.
The wlso choice of plays, plays that will
innko money nnd keep theatres open, that
will keep hundreds of people of all kinds
In employment. Is extremely difficult. I
would gladly glvo any one $10,000 a year
who could absolutely choose for me the
right play for my llttlo theatre in Lon
don. One has to beware of so many
things when ono la choosing a play. One
has to beware of conceit and self-aesur-nnce,
one has to beware of advice. Ono
or two of my most successful productions
PRANK LIN AND GIRARD AVE.
Matinee Daily Except Friday
nEOINNIXQ MONDAY MATINEE
A IIIULMANT AND ItKMAlIKAHM'.
HHAMATIZATIPN OP KUNOIl OLYN'8
A SEQUEL TO
T1IK M08T INTENSE. AltSOlUUNO
ANIJ YBT 1IUSIAN STOllY YET OIVRN
ON TUB BTAtlK OR IN Q0K ,?(,
mmmm academy or mubiowsb
NeitFri.- Sat. Mat &
TUB HOLY LAND
Ticket Bite, T&, ft t VW AP .
i i ' ' i .
ADtibPUI "The Third Party," with
Taylor Holmes nnd Walter Jones. A
boisterous farce of tho familiar trlan-
Vlolont but amusing,
BROAD "Tho Phantom Itlvnl," with Leo
Dltrlchstelu and Laura Hope Crowes.
David Belasco'B production of Feronc
Molnar's comedy of the wife who
dreams of tho return of a former lover
ns a great variety of Interesting men,
and then finds tho realty prosaic. Thor
FOKtlBST "Tho Girl From Utah," with
Julia Sanderson, Donald Brian and Jo
seph Cnwthom. Paul Huben's Eng
lish musical comedy of Mormons, old
and young, In London. Book nnd mu
sic of uneven value, sometimes very
good Indeed. Performance excellent.
GARltlCK "Tho High Cost of Loving,"
with Lew Fields, tho German comedian,
In a "straight" farce, which deals with
sundry mlddle-ngeil gentlemen who flnd
tlltmiRplvna nil nnvfnn 1,1.1,.I1 , ,,.-
--. . . .... ,...,,,,, inuujtuillll LU HID
samo woman for n "past" which never
existed. Dubious In Its first net, amus
ing tho remainder of tho time,
LYR1G "Grumpy," with Cyril Maude.
The best of English comedians In a
detective play of suspense and nmuso
ment, which narrates tho 'exploits at
SO of an old criminal lawyer. An amus
ing and engrossing play, vitalized by a
singularly skilful pleco of impersona
KEITH'S rtlnimlm W.I.I, l im.,.- -r,r.
n" m 'o Case"; Marlon Llttlefleld's
Florentine Singers"; Bagonghl, eques
trian comedian; Stuart Barnes, inono
Ioglst; Baby Helen, "Juvenile wonder";
Flanagan and Edwards in "Off and
On ; Miller and Lyles, blackface co
medians; Charlotte Uavenscroft, slng
ng violinist; Plplfax and Panto, Eng
lish eccentric acrobats; Pntho News
Weekly motion pictures.
nnd nt tho piano; Miss Bobblo Gor
r' i" Ci,nss! P0SC3! Carl NJ'0,1 and
?wii nTly' Jn n B,"Bne skit; tho
JZJLCnmudy Jom' medians nnd
ni?A Gnllon' European jmntomlmlst;
Bernard and Scnrth. of Philadelphia
comedies. cmay n"d nholPy
GLOUEUonB nnd Elliott, McMahon.
Diamond and'Clmplow In "The i Scare-
'rononan &? JHugh and 'ihe Met
ropolitnn Minstrels," stravltz and
oner" "coTn"" . '" Chal
oner & Co. in "Kate's Press Agent "
Francis and Hose, "The Dancing Bur
BaT", Zilr-nA aml Ponn"At th.
naste. mre and DouS'as, gym-
WnU pWwilllara J.- Dooley In
JfFV S55W- Moore ynnd
iuica in -who's Who
Favorite fllnilnc- Comedian
FLANAGAN and EDWARDS
Pr.dentlng "OFF AND OS."
A PERFECT RIOT
TWO SHOWS DAILY Wj . Jl!!!!!! NIOHTq s P M 1
Matlneea, 2 P. M., W0 and COo &g$m& ""c llioo"" f
next ; ;w$mK
AMERICA'S FOREMOST V-i
13MOTIONAL ACTRESS V
Blanche Walsh vW
THE EQUESTniAN CLOWN WHO
ne Binslng viollnlate.
PATHE NEWS WEEKLY MOTION PICTURES
Marion Littlefield & Co.
fTIIK VT.nnpw'liTMIi' aiKI,ii..ra
IN A DELICiUTFUL REPERTOIRE OF URAND OPERA MUSIC
State Always a Week In Advance. Dell,
VISITORS TO NEWORK SHOULD NOT FAIL TO VISIT
B. F. KEITH'S PALACE THEATRE, 47th St. & Broadway
WONDERFUL SHOWS IN THE MOST DEAUTIFUL HOUSE IN THE WOnLD
jar iieuuvv at .riv unu Aueivtu anvaiiea, jtpi'iy uox umco or I none walnut wwmi'v
T YDTT Mat- Today 2:30 Tonight at 8;13
JU i JA. J. j Bcffinning Monday, Last 8 Times
For BeneRs at Lyric and Adelphl Tlieatres,
THE DISTINGUISHED ACTOR
TIE GREATEST AND MOST ARTISTIC
SUCCESS IN THE HISTORY OP TUB BTAqE
UY HORACE IIOD0E3 AND T. WIONHY PEltCYVAL
Engagement Will Positively Terminate Sat. Eye., February 5
Beginning Monday Evening, Feb. 8th For One Week Only
FHKDKICIO McKAY Prceenta tho New York Casino Mutlcal SucceM
With FLORENCE WEBBER and a
BROADWAY CAST AND BEAUTY CHORUS
DANCING AROUND IS AL JOLSON
Which." Mndden nnd FRmmMTT")
"The Turn of the Tide," th L'sf
Urn! i. or- .,....,... ., ', . l" eaerirtl
Hah comedla7 In $? ! Ml
Falk nnd Adams In bomb- 3t M
nuns jm.c '." ' "fr nd dantt. a
i-ainion-O'Brlcn Trio, singers ans si
medians; Do Dio'a C reus, trainee1 ,32
nuils; Clayton and Lennh, K?fV?'q
B!'". Four, W. S. Harvey TfA FI
"Tho lloom ITnalila n. 7. ". V 151
plays. ' anuPMIJ
AMERICAS "One Day," wUl q.. M
dent company. A dramatic sZtV
Kllnor O vn'ri "Th,..., w.Vl .r-1' (fl
to dO With Prinnn T....1 IS ?:..." Kf
of the nrlnnlrnl. In, 1.. aJ?alla. W
mrnr.Kn " "lr,,,!r "ore;
EMPIRE Tins,. Hv,1n .'..i. ."J
with Johnnie Weber nnd W li-MS
onder. i "Tho H.olng Son." iJS&
1llOAV"PygmMon," with Mrs. patrlf
frcsli from n 111 n In xt... com.c'Xi
stiiiiLiutm. a nw n iiAn-.i rz
Campbell, the distinguished KiuriuS
actress, plays a flower girl of the iZ
don streets who Is taken In traffi
speak English with tho accent otii
duchess, nnd passed off pn society ul
"in iMn mntiMAK Vir "' Mffl
V- a . in":c"." with raui!ir
Frederick. John Mlltern, jS
L'Estranir. floni-nn t i.. . i.""8?:
Kcmblo Cooper. A drama of the triH
- .. ...... b,i, ui mucn Dean r
and no knowledge upon various sorS'
of men. """?'
LIT?JJ,L T "Th0 -Wmlrnulo Bashvllle.-
"y",,f!ioi um mo resident'
company. Bernard h'haw's "blinV
"."A'L'T Z" ol. "Is nvel !.
,,V F, LnJy Luxury." with Florcnei
Huff. A musical comedy by Wda John.'
son Young and William Schroeder, seen
lately In New York. ,
M-eiiTii'sNal wills, comcrlinn. a ....:'
Prince. Encllsh vnriinni,i.. i?
Gone HuchcB & fVi.. In "r.o A...1I...
Ilyan and Leo, comedy and danclnr1!
01 S BOY'S! Ani7flri Artnnnln 1.-I-. ...T'
k's Sisters; Mnhoncy and Auburn, aniR
w.o 1 umu nows weeKiy motion pie-j
WALNUT "Jack's rtomance," with Plske"
vxiuiu. .reiuna just oororo the Amer
FORREST ''Fads and Fancies," with
Supported by a Hrllllant Co.
In Clyde Fltch'e Famoui Play
in the Case"
World'a Clevereic Child Artlit.
MILLER and LYLES
A Svnronated ArKument.
MADD ALL EUROrB ROAR,
PIPIFAX and PANLO
FILnERT 8805; Keystone, RACE SIW,
Apiily Box Ofllce or riione Walnut 6160-tI-W,
AND HIS LONDON
aru Conrliiilr,! ,.n ii... ..
V. HAY OOM8TOCK Offer th W " mi
with TAYLOR HOLMES
ana WALTER JONES
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Joy Mid Merrlnjent TlJu Ao FVU,! $"?"
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