Evening public ledger. (Philadelphia [Pa.]) 1914-1942, January 15, 1916, Night Extra, Amusement Section, Image 11
AMUSEMENT SECTION m I "jPSTfe shootI PHOTOPLAY THEATRES . DANCING MUSIC iJltflQtt ttenmrt PHILADELPHIA, SATURDAY EVENING, JANUARY 15, 1916 HOW AN INFANT INDUSTRY AND I GREW -UP TOGETHER BURNING A $15,000 FACTORY BY MISTAKE The Star of the New Stanley Photoplay, "The Ragamuf fin," Recalls Her Beginnings j M. 7A fcsr'TO & m Fftx $m 4 Nlii8ill2&' He. ft ll Vi A Jl "" 1 I"?3 fox builds' a film city in the east "'j, mi iii i " " n r n iy- i i , , rrr . i j' aw.MiW..wiawu4iitlli.tjUWMWwi(ti;i)ijjiiw.iMujiiMiiiiiiiiim-i ' MiMiii.iiHijtiMimjiLUiimwfc,wwi ""rt iimmoMi i ifw"-MirwffriiyiwffiwiTifliiiiihrriiinniWir TiiiTirniiniyiiaiii mumwiimjih i iiiiiiiiii mil i iniiminniiiwiinMM f plluwm'""tmmlt'tasssi aaajaasmygaa'rr-ft'mfcmto6ww6. If One more film city is to rise, this time in the East. Tho Vox Film Corporation hns begun, construction kworK on a lu-ucru jnui ui hiuuiiu near vjuiuuu, u. i., wnuru uiLiiuniciy uuiuhiikh, us suuwn in mo nrcni- KWect's plans above, will house the studios and, manufacturing plant of the Fox forces. On this 10-acre plot 'Micro will oo oroctcu a largo iwo-siory nuministrnuon milium?, nvo suiuio pinnts, eacn a complete ami in dependent unit in itself a factory for manufacturing much of tho equipment requircil in the making nnd f- production of motion pictures; garages, concrete storage warehouses, a miniature hospital and adequato res- It; taurant facilities lor taking care ql tlio OUU or more neonlc whose services will bo emnlovcd dailv by this 'company. A photograph of Architect Thomas W.t La mb's plans reveals the location ( of natural gardens, iwhlcn will oe piannea oy Horticulturists; a lane wiui icrraceu nnu icvcicti suies lor utilization in picture pro- duction and a largo outdoor plain with horticultural setting for the taking of big water effects. EATON SEES "THE ETERNAL MAGDALENE" AND OTHERS -The Others, Which Include Joseph Urban's IScenery and "Around the Map," Seem Supe rior to Two Acts of Dream-Sociology By "WALTER rRICIIARD EATON "rnllE Eternal Magdalene." a much. J-J. heralded work, was written uy ltou rt' McLaughlin, a Clevclantl nowspapor Ktportcr nnd local theatre manager, ami Ml, produced nrst oy a. stocit company lk3!L wmmmL2-i In the Ohio city. This production at tracted so much pnt lonngo that the piny, which hud previous ly been refused, wo understand, by many mnnngcrs, was now eagerly bid for by these samn gentle men. It 'was llnally Bccured by tho Sol wyns, nnd by them has been brought to Now York, with .Julia Arthur In th3 title role. Miss Ar- ,tbr P. EATON tluir making her first eislonul tin, npnenrnuco since she ti more than a dozen yenrs ngo Into itrimony and Boston. Of course, tho PWiranco or MIsa Arthur Is a matter moment. iM.the play Itself is of very little con- IWoence, from nny point of vlow. Tim igsle who said It should bo called "Tho rail Magdalene." following the nro- twcutlon lit uio at Oxford, was nosslbly JjlStUs lerere. Yet it Is Impossible not to Tgonthlxe with him, That good actors J'wBla',! employed -ntid Rood capital used immaterial so crude and undigested Moil 'a Ihnim.iml n(H.!t I?the first place, the author, who Is WMDly quite sincere, strives for nn Ima- suve enect nnd knows how to nchlovo only by writing a dream play. Wo -. manager who will not read the iuscrlpt of a dream play, oven If It ua Dear tho name of Plnero or Harrle, 0 tend to svmnathlzB with him. It JS. cheapest nnd most poverty-struck -,vt acmcving unreality anil ror nny Fw,1nitance, the leading character In . tternal Magdnleno" Is a rich. 9, .Pious banker In n mid-Western who Is backing "GleaHon1' (Hlllle ay, or course) In a grcut crusade to I up the sczrecnteil vlcn district and 'Q Sll the Women mil nt tlm f.ltv Onn AtM women writes to him. cursing nyiftr that shn will livn In sea his ;thlef. hin daughter ruined, his wife L'l OtlP nln,,. r.t 1 1 . LI..I .Tt"" .twwa ,i,vi(U JO lUl IIUUUIL'U Fitals epistle, but Bits down to his Ilo nrepare a final statemenr for the jKr, Then he falls asleep, and dreams r.io v acts, in nis urenm the ( Jiagaalene comes to him. In the Of Whit h. Villu la !. .In..nl,t.- ( "nan he wronged years ago his , mai is. B..o is one or these 'n women. Jle tnkes her Into the l,as a servant, and then disasters IPT EE i -s dmm SESSIRBARRISCALE Sean nf , aj:.. . k "The Gulden Swan," 'a aagje production. follow. Ills son robs n bunk, hlH daughter elopes with n married man, his wlfo dle3 of tho shock, and Incidentally ono of tho "landladies" from the vice district comes In nml defends hor profession or at least Justifies It by quoting statistics and men tioning n long list of famous practitioners, rrom Cleopntrn down a cntaloguo of tho chips, as the old Now York Sun would hnvo dared Hnmerlcnlly lo call It. Presently our smug friend wakes up to find It hns nil been ti drenm. but ho Is a new mnn. Ho tears up his statement lo the papers, appears to think tho segregated district shouldn't bo broken up nftor nil, nnd tells his daughter ho may go to tho theatre. Now, of coin-so, men nrcii'l romndo by dreams. In llv) first place; and audiences aren't persuaded by dreams In tho second. The ilrcnm Is a posslbllty, but even tliero a somewhat doubtful expedient In u comedy such as "Tho Phantom Itlvnl," or a bit of pathos llko "llannele." Hut when you wish to show the remak ing of a stubburu, powerful man. and when you wish to preach a social mes sngo Into the bargain, tho dream won't do. It takes either tho shock of reality, or clso tho still greater shock of vision, not drenm. In the upheaval of character It Is always n vision or a "conversion," not n dream, which accomplishes tho re sult. Tho mind must know Itself awake. This Is so elementary that ono can hardly forgive nn author for not realizing tho fact. Not knowing that, ono distrusts anything ho may hnv.o to say upon seri ous questions of human conduct. It Is because authors como Intp our American theatre so ill equipped with knowledge as well as with stylo nnd technique, that J our iirnma, seems so seconu cinss o mo foreigner. Perhaps Mr. McLoughlln choso the dream aid in this play In order to glvo tho supernatural ilavor to tho rolo of tho eternal Mngduleno. Wo luvo no quarrel with Mr. McLaughlin for trying to Intro duce the supernatural element. Indeed, bu ought to bo praised for trying to do something n llttlo Imaginative. Iluf. as a critic, wo are concerned with results, nnd the result here Is thnt ho has neither written n play which Is convincing na n human document nor convincing na a supernatural document. Anybody enn dream nbout the supernatural and wake up to resume life exactly where It was left off. Nobody can actually encounter the supernatural and be quite tho same persqn again. One of tho latest muslcnl comedies la "Around the Map." at tho New Amster dam, book by C. SI. 8, McClcllan, author of "The Ilelle of New York" ant "Leah Kleschner," with muslo by Herman Flnck. Mr, McClelluu has done better work, and for all wo know Mr. Klnck has, too. Hut tho great fact about "Around tho Map" is that tho scenery has been devised by Joseph Urban, and In ono Imaginative scene he has also been allowed to light the stage, without having his offecta ruined by the conventional spot from the gallery or tho equally conventional footlights. He has framed ail his scenes with a false proscenium of Jolly figured material like cretonne, covering a forestago, and deep seta alternate with painted drops, as In the Piatt productions of Shakespeare. Ilia drops are, of course, well painted, and his deep sets are at times unusual and striking, though not always as charm ing as ono would have expected. Possibly his inability to light them properly has 1 something' to do with this. He seems un used to painting- tor a. wmie iikiii ex clusively. But In one scene, as we have said, he la allowed to go his own gait, and there he achieves an effect out of all pro portion to the actual dramatic value pf the scene, out of all proportion to the Imaginative appeal of the play He does It by color and light and grouping, by sheer pictorial charm. And the audiences love It, applaud it, remember It. Curious, that the nw stage craft should bo making It 'ay on our stage not in the serious drnma, but In. musical cofnedy! The scene (It la supposed to represent a. dream) grows out of darknee, emerg ing a mystery of Maxfleld Parrlsh blue. At the rear, betweon blue hangings and against a blue nothingness of light, are two pillars, each bearing aloft a basket of flowers-aUo blue. At one side Is a hich throne chair on u daU, and boated thereon Taunbauser and Yenua. Tann hauser wears green and gold. Suddenly a skaftof Invisible lavender Ugbt strikes tho two baskets of tlowers. and they aro two spoU of living lavender. 10 feci aloft. V iiiii- sprite enters, a sort of Puck. dressed entirely in Ibe vivid re4 of bar- ( berries " "" " "-- -- - ever sco barberries In n lavender dish? Tho combination Is wonderful. Then tho dnnccrs enter, nnd their gowns nro either.! tlio blue of tho pervading- rndinnce, or clso tho lavender of tho itflwera ten feet nloft. Thoy do not dance, they How about tho stnge. There Is no spot turned on then, no glaro of footlights, only tho hush nnd mystery of tho blue rndlance. Tlio scene, dramatically of no Impor tance, lasts but n brief time. Then wo nro back In tho chnotlc wnlrl of tho piny. Hut while It lasts It Is a. fenst of beauty. Wo wonder If sometime n malinger will not permit such a mnn ns Urban to stngo nn entire romantic operetta in Ills own way and crento what would amount to for us n new genus of ntngo entertain ment. We bcllovo the public aro ready for It In musical comedy, If not yet, per haps, on tlio drnmatle Btage, whero con ventions of "reality" still bind us. By BLANCHE SWEET As I look back over tho last 10 years nnd compare tho chenp llttlo sets, the cruda acting nnd photography, nnd the hastily written stories mostly mado up as wo went nlong with tho clnborate productions, the painstaking nttchtlon to detail, the careful direction, tho care- , fully selected casts and tho scenarios de manded todny, I feel much older than I I really nm, nnd wonder what will happen In the next 10 yenrs. 1 was a stngo child from tho .time I be- gnn to talk. I wnH born In Chicago, on i , JUno 18. 1890, and went on the stngo when , I wns .1 yenrs old, plnylng In support of I Mnrlo HurrougHs In "Tho Hattle of the Strong," with Holbrook nilnn and Maurice- Hnrrymore. I was with that company for a year nnd then went with Chnuuccy Olcott for three years, ngnln playing n ' tlitlo girl part. I Tho members of tho company looked after my education, nnd every day for a certain number of years I was forced 'o study, whether I liked it or not. When I wns D years old I left tho stngo nnd wont to a fnshlonnblo boarding school nt Hcrkcley, Cnl. Tho school wns so strict thnt I never mentioned being on tho stage, for fear tho other girls would snub me nnd tho tenchers would send me nwny When I had renched 14 I returned to New York nnd decided t no bnck on ' tho stnge. From n baby, I luul loved lo dance. Music seemed to thrill me nnd I could not keep my feet still, so when Gertrude Hoffman selected nio as ono of the children to nppear with her In "Tho Spring Song," 1 waa delighted. When vacation began after a long tour I went bnck to New York and wns of fered the position ns leading woman, t child's part. In n play called "Clmrlolto Temple." . After "Chnrlotto Temple," I began to feel that I wns an established actress, nnd through Thomas Wise, the well known star, who was then appearing In "Tile Ctcntloman from .Mississippi," so cured an Introduction to William A. Hrady, the theatrical producer. Mr. Wise recommended mo for tlio lending femlnlno part In a second company of "The Gen tleman from Mississippi," which wns nbout to go on the rond. t talked to Mr. Hrndy nnd wns making n decided Impres sion until, In an unfnrtuuntr moment, I smiled. Mr. Hrady throw up hb hands In horror and said, "Great Heavens, Tom, I enn't hire a lending lady that hasn't nil her teoth yet." Undismayed by this blow to my artistic ambitions, I decided to go Into the motion pictures. Accompanied by a girl friend who hnd already played extra parts, I descended on n studio. Wo climbed three flights of carpetless stairs and entered tho ballroom, which occupied practically the cntlro third Moor. Thnt is what the Lubin forces did out nt Tncony Inst week. Tho film under production, "Tho Gods of Fntc," enllcd for n factory fire and a rnilroad wreck. Tho lnttor was successfully negotiated at Altoona. For tho fire, Lubins bought tho factory whoso gutted walls appear in tho picture. It was there that tho William Pcnn statuo was cast many years ago. Tho intention was to light ono corner of the building, let it burn four or five minutes and get nil the close-ups of fire, smoke and rescues needed. But once t)ra blaze got going, it insisted on finishing the job. Hnlf a dozen fire companies were of no avail, tho wholo. thing went up in smoke, and a "movie fire" a thousand times more genuino than the stage kind turned into terrible reality. The result wns a particularly good set of pictures, taken at n phenomenally high cost. Daniel Carson Goodman, scenario writer, is happy. Tho V. L. S. E. people, who will release "Tho Gods of Fntc" on January 21, are decked with smiles. Only the treasurer out at Lubinvillo wears n frown. nnd. In conjunction with tho roof, was used ns tho studio. People wcite pneked In llko sardines, all hunting Jots. Over In tho corner, on ti platform, Director Frank Powell was taking n scene for "A' Corner In Wheat." F.vury ono wna mnklug a fuss over tho money spent on' the production, but It wns n very chenp llttlo nffalr compared with tho productions of nowadays. One day we were working In the studio when Mary Plckford entered. Sho was tho only ono with n regular contract from tho company, nnd had Just been on n vacation to Maine. I remember oxnetly how wo all looked at her anil mnrvclcd Sho had a blue beacr hat on and a slmplo blue dl'ess. MIssMMckford looked then Just na ho docs now, and, as Bho was tho flrst pcr- Cnntliiiied on I'nge l'our GEORGE MONROE, PHILADELPHIAN, DISCOVERS THE DICTIONARY AS A SOURCE-BOOK OF HUMOR Ho3ftW; no 1 W" I GEORGE MONROE AS HE WAS G' bines a record of Philadelphia birth Willi his reputation ns n comedian In "Tho Passing Show of 1913." manages to I get a good deal of fun out of leading the dictionary. "Anybody," hays Mr. Mon roe, "who bus not rend the dlellmutry from ono end lo the other Iiiih hiIkhciI a lot of fun. In tho llr.st place, the dic tionary reader will discover nn extraordi nary number of words which he will I never meet with in the general course qr Kngllsh literature. Where these word.s . eonio from, or who uses them, or how i they happened In the dictionary, Is a mutter of much curiosity to me. Hut tho funniest thing nbout a dictionary is somo of tho dollnltlons, "One hns to rend pngo nftcr page of Moo Miller's Jest Hook' to conjn upon a real laugh exciter, but ono doesn't have to go far In any of our dictionaries be fore coming on something thnt Is ns funny ns na open switch. Let us, for example, take a standard dictionary. Turn to tho definition of 'trot' and you will find this line. 'In the fast trot all four feet are oft the ground twice during each stride.' In another dictionary you will find the following: 'Pie: A crust baked with somothlng In it for feed.' In another, 'Amblicvous: Left blinded on both sides.' Hero's another, 'Mezzo Hut: A manner of engraving by drawing on a rough surface and then removing the roughness.' Evidently tho editor was an Irishman." Needless for tho press ngent to say Mr. Monroe's hobby is collecting diction aries. In hi.i homo ho has several hun dred of all kinds, ngea and conditiona. IK c3mm j mga? JV3 mxr i l X.' : 'j EVERY PLAYWRIGHT HIS . ' OWN DRAMATIC CRITIC The Author of "On Trial" Tells Why That Play Is or Is Not the Great American Drama GEORGE MONROE AS HE IS JOHN DREW'S NEW TAILOR IT IS seldom that tho theatrical world Is startled or even mildly ruffled by tho appearanco of a now playwright. A new play that has strength and somo originality may come into vlow to In torest and even enthuse one, but as re gards Its author It merely leaves a hope thnt he may labor to advantage again. The mero fact that ha has turned out one commendable work proves little or nothing; he may never do so well again. There are so many cases In point. Hut there came into bloom In England this season Horace Annestey Vachell, who had SUCCCB3 as a novelist and had taken to writing 'for the stage. Hardly had the public ceased to applaud his flrst effort when another one from his pen appeared. It was rather good, so that play-goers began asking about the author. Evidently he was no man of ordinary ability, and he proved this Im mediately by having two more comedies accepted nnd produced. Two of these plays have already been produced In this country, "Qulnney's," which has been on sale as a novel, and "The Chief," the comedy in which that finished actor, John Drew, Is to be seen at tho Hroad. Any man so proline he Is likened to the late Clyde Fitch In Ills love of and ability to work Is certainly worthy of consideration. Horace Annesley Vachell was born In England In 1S6I, and ono Is assured by his publishers that his family, on both sides, had produced "generals, statesmen, aris tocrats." In their little biographical book about him. his publishers also print a picture of him deer-stalking In Scotland, and a picture of hla English home, one of those tine, low houses sinking comfort ably Into luxuriant foliage, covered with Ivy and faced by a magnificent open Inwn In short, the type of house and land scapo gardening that only 200 yeara of English mist and English money can pro duce. In shaping his literary career America played a large part. Graduating from Harrow, the young man was destined for the army, but Instead of taking up his commission he remained In California, where he had gone on a visit. He bought a ranch at San Louis Obispo, and for two decades he waa In active pioneer life be tween the Sierras and the sea. His broth er joined him there and Is still a member Continued an I'uge l'our I i Wo ma 3cfian, 18604916 By JUSTIN HUNTLEY McCARTHY f HOW can I praise you? Were I asked to sing An empire'!) fall, the conquests of a king, I might undaunted, entertain the Muse, Might hope to win, nor greatly fear to lose, Might through the past with Alexander pace. Or tell anew the tale of Troy's disgrace: Hut here, ah, here a happier task Invites The heart that worships and the hand that writes; For here Ambition sets my heart ablaze To be the laureled singer of your praise." So great a ded Ambition should not ask Of lucklaaa rhymer. I renounce the task. Tear up my paper, fling aside my pen. And, inost dejected, of the sons of men, Uo sighing hence. Yet, stay! Hope's flattering tale Bids me reflect that though foredoomed to fall, My failure's but a question of degree. For greatest bards must come to grief lke me; Must, like me, halt, adventure and despair For Jack of words to "praise that passing fair." Oh, happy generation that can see The dearest daughter of Melpomene Play all those queens of gracious carnival, From passionate Nancy to enchanting Val ; That can behold the wild Miss Hoyden :aurl Her laughing lip. or love the Country Girl; Or, n the shade of Attic olive trees, Pay homage to the Wife of Socrates, And with Petruchio kiss tho silken shoe Of Katherine, the divine Italian shrew; Or tread the ways of Arden wood to find. How blest t In you the "Heavenly Rosalind." Enough! Farewell' Arul when another age Delights to count the glories of our stage, The highest altar in the shrine of Fame Shall number with the noblest Return's name. Uy ELMER L. REIZENSTEIN NATURE did not destine mo to bo a drnmatlo critic. I hnvo no heart; I lack discretion. When I go to sco a play I cannot resist tho temptation to tell all tho world how bad It Is. 1 do not consider tho feelings of tho palo young author munching his cruBt of dry bread In squalid garret tthat, I bellevo Is tho tra ditional occupation of pale young au thors) ; 1 do not think of tlio benevolent producer, who Jins exhausted his ex chequer nnd his vocabulary of oxpletlvcs In placing before nn ungrateful public a work of art; I do not think of tho actors, to whom the failure of tho play will menn nu enforced return to the stimulating, but unremuneratlve pnstlme of detulllng tlio nattering managerial offers, which thejr artistic sensibilities have prompted them to decline. The milk of human kindness does not courso through my veins. I bavo not learned the nrt of employing gracofully and convincingly such mild and treacly adcctlvea as "ngreenble," "pleasing," "Interesting." "entertaining," "amusing." For me. rather, tho virile and belligerent "rotten" or "awful." Henco It is with some trepidation thnt I undertake to review "On Trial" trepl dt nun born of my warm personal regard ror tlio author. My position is not an ensy one. If I were to writo what I really think of "On Trial" 1 should llnd my renders (I trust that tho uso of the plural Is justified) divided Into two classes: The first a small group of lit eral-mlndcd Individuals who would be lieve whut I said and accordingly would refrain from going to seo tho pjay; tho second, n largo group of persona who make it a point never to bellevo nnythlng they sco In the newspapers nnd would, therefore, mlstnke my candor for diffi dence a pale virtue, whoso possession I violently disclaim. A Heavy Score With Conscience On the other hand, If I should pretend to ngree with what most of tho other Interviewers hnvo said, I should have a heavy score to bettle with my conscience. Ono alternative, starvation and gross misjudgment; the other, tho ceaseless gnawing of tho worm that never dies. Hydra-headed Scylla on tho one hand, yawning Charybdls on the other. Im agine a tragic Lancelot Gobbo a Lance lot Gobbo who la at once Hamlet and Macbeth and you can conceive In a slight measure the task I tiavo set my self. The choice, believe me, gentle readers, la not an easy one. Well, I have fought It out. I have wrestled with tho good angel and (to my shatiK be It written) won. My justifica tion? None, except that (Respite Voltaire) a man must live that conscience must yield to the Btomach. Farewell then, principles, hopes, aspirations, Ideals! Sacrificed to the spectre Hunger) Know, then, that "On Trial" la a great play, nay, more, It is a. phenomenal play, a gigantic play, a colossal play. You ate nil aware, by th'i tima (thanks to the activities of the press agent) that "On Trial" Is "The biggest hit In M years." I deem that an Intensely Interesting fact. It seems to me rather remarkable that precisely S5 years should have elapsed si ice there waa a bigger bit. I wonder wiiui ii ntisi -1 rccuiicciiun oc ma me atrlcal season of 1SS9-1890 are somewhat vague. Perhaps some kind reader can enlighten me. What was the play that 1 scored such a tremendous hit In is& that for a quarter of a century It has remained unchallenged? Mercy, that's a long time .go. Why, Sarah Bernhardt must have been retiring from the stage Just about then I Fondness for Round Numbers j I'm glad, though, that it Is Just 25 I years. I have a fondness for round num bers. Now, If It had been 2T or 22 years, S months, I should never have been able to remember It. I have no head for fig ures at all. What excellent memories press agents have, though. I marvel at tbem. . ( want to digress, rlgbt here. 4o say a word In praise of them; I arrogate the function merely because I want to see justice done to a much-maligned and underestimated race of men. Let me say, then, without qualification, that tak ing them by and lrrfe I bae never met a more consistently optimistic set nf folka than press agents. From the press agent, then, we learn that "On Trial" is the blggeat hit In 25 f years. Now, why la It the blggeat hit, In 25 years? Is It because, as I have said, It is a great play? Not at all. 1$ It be cause it tells vividly a realistic life story? It tblnk that's the way the thing goes I j haven t my scraptooK nancy.) Mot a bit of It. la It because it throbs with with with whatever It Is that makes a play throb (blasting in tho next block, per haps)? Again no. What Is it then7 Read er, it Ik simply this; It Is becauso "On Trial" wna taken from tho "movies." Surely that is upparcnt to even tlio most casual observer. Indeed tho thing Is so palpable, thnt It la only the abiding dread of penury which Inhibits me from making over my royalties to Kdtson or Ford or Marcus Loow, or whoever It Is who In vests In moving pictures. Tho plagiarism Is obvious to tho point of naivete. Reader, at bottom, I am an honest sort of person. I shall not tlls.flnibli; I shall tell you, without reserve, in what manner tho mov Ing-plcturo art la responsible for "On Trial." Thus did It befall: Somo 12 month ago I saw the pictures of Captain Scott's expedition to tho South Pole. "Here," Fa Id I to myself, "is u initio of dramatic material. Think of writing a piny that shall. In every detail, bo unlike, tho 'Cap tain Scott pictures!" The Idea was mngnlllccnt, stupendous, monumental! I set to work. It was ho child's play (though I say so who should not), but I stuck to It grimly, bent upon vindicating tho "mnvleti." "On Trial" Is the result. Wherein It haa fulfilled my nlm, modesty forbids me to suggest. Suffice It la to-say that 1 was sufficiently skilful to make the source of my Idea, apparent to every one. I was greatly interested In learning that in "On Trial" I have employed a "cut back." I haven't the faintest notion what a "cut-back" Is, unless It refers to on evening dress worn by ono of tbj ladles In tho first net and for which 1 hnsten to disclaim any credit Does It Revolutionize Drama? For tho rest, when I have told -you that the technique of "On Trial" la des tined to revolutionize not only the dra matic art, but the entire Bystem of na tional Jurisprudence, tho science of deep sea diving and tho bricklaying trade; that the story is the most ingenious, tha most inspiring, tho most absorbing since Homer (I mean the Greek novelist, not Mine. Louise); that the characterization la nothing short of masterly; that the dialogue would put Shaw, nt his best, to the blush, nnd that, on the whole, with' the possible exception of the Panama Cnnal, George Stalllngs and well, per haps wireless telegraphy, "On Trial" ii quite the thing of the age. I have Bummed up the situation with a fair de gree of accuracy. If I have understated tho case It Is because I want those of you who haven't seen "On Trjal" to be agreeably surprised. P. S. Be Lure to tell the young man In the Oarrlck box office that you went to school with me. He's an awfully nice chap, and he feels terribly disappointed if you don't- HELEN MacRELLAR Comiugr to the Adelphi in 'ii. ners" nest mlc I I a l ?t i