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AMUSEMENT SECTION
PHOTOPLAY
THEATRES
, DANCING
MUSIC
famriit
PHILADELPHIA, SATURDAY EVENING, FEBRUARY 12, 1916
EATON SEES CREAM
PUFF OF ROMANTIC
MAKING FAIRY MOVIES IN NATURE'S WONDERLAND
THE AMERICAN
WHO CAPTURED
THE KAISER
LOVE BY CARPENTER
His New York Letter Describes
the Philadelphinn's Success,
"The Cinderella Man"
A Movie Tale of the Philadol
phian Who Couldn't Resist
Temptation
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"The Cinderella Mnn," n sentimental
ewam purt of romantic love, by Ed
rd l Chllds Carpenter, of Philadelphia.
waro which might easily
nnvc been rendered
ridiculous by the act
ing (and probably
will bo when It
reaches tho movies),
Was produced In New
York with Shelley
Hull In tho title part,
and Is on tho high
road to success.
Never was the truth
hotter Illustrated
that not what you
do but how you do
It marks tho lino be
tween success or fall
urn In art. The llttlo
bit more, and oh,
how much It Is! Mr
(CJU.TER 1. EATON
Carpenter, to bo sure, skates perilously
dose at times to that edgo where tho ono
itcp more would precipitate him Into ab
surdity. Wo are not BUro that ho doesn't
eten get ono foot over now and then. But
he l a man of taste and feeling, and man
ages to save himself with Mr. Hull's aid.
Shelley Hull, n younK actor whom wo
have watched with Interest for Bcvcral
' years. In this play is coming Into his own.
His charm, his sincerity, his comlo abil
ities, his nice feeling for romantic sug
gestion, his Increasing command of volco
coloring, are all hero visible, and will bo
recognized by a wide public.
There Is more than a touch of Mrs
Frances Burnett sho of tho "Little Prin
cess" In "The Cinderella Mnn." It Is a
fjlry story of actual llfo, a romance of
reality. A poor little rich girl, who has
jived with her divorced mother In Paris
till tho mother dlos, comes back to her
tremendously rich and terribly crabbed
and cross father on 5th avenue. (He Is a
steel magnate, or some such ogro.) Tho
poor little rich girl docs want her ro
mance, though, the more when her first
suitor turns out to be after her money,
and she packs him off And she gets her
romance, wnicn is tno play.
For next door to her house (no doubt In
tho rear) is an old shambles of a house
Tthoro lives Anthony Qulntard, In tho
garret, of course Now, Anthony Is Juit
about the proudest, most cheerful, debon
air, gentleman!), fantastic poet who ever
starved In a cold garret, neglected by a
prosaic world and cut off by an unfeeling
, uncle because he wouldn't go Into trade.
Not a penny will Anthonj accept from
friends. Wrapped In a tattered bed nullt,
he works nt his libretto for tho $10,000
prlie, his only sympathizer being an old
alet named Primrose who loves to wait
on him (when he should be working
downstairs), because once, before Prlm
, roie sank to his present low estate, ho
had served In a gentleman's family. That
touch suggests Barrio!
Well, tho poor llttlo rich clrl learns
about tho poor Cinderella Man, ns hhc
cans mm, ami tne creeps across tho roof
of hU window when lie Is out and starts
transforming his garret, as the Cast In
dians tran.sfoi moil the garret In "The Lit
tle Princess" only t-lio gets causht nt It,
indanalie and pretty friendship spilngs
1 up between tho Cinderella Mnn nnd his
I unknown benefactor, and sho conic? often
over Hie roof for tea, ostensibly, hut
rally that she mav bilng him fond. Of
course, sho lies and tells him she is tho
companion ol the poor llttlo rich girl, for
t the. proud fellow would not havo anything
to do with her It ho knew really who
Ihe was
But he has to find out at last, nnd love
i li stronger than pride, so thnt ho wins
the girl with nil her millions, nnd wins
k the J10.CO0 prize as well nnd doubtless It
b a happy ending. Yes, It Is a happy
Ji ending, because this Is a Ynlry i-tory, a
j sentimental romnnco of old-fashioned
lace valentine texture and In such
Jtorles a poet can write Just as well on
a million dollars as he can orj an empty
' stomach. Perhaps ho can, 'anyhow!
1 In the conduct of this unquestionably
Improbable nnd sentimental talo Mr.
i Carpenter has been leas happy at times
t ' than the Judicious tould wish. It Is a dell
; este task to tell a fairy story In a modern
j letting without seeming either ridiculous
. or crudely sentimental, after tho fashion
, , pf the old-time "Fireside Companion"
, tortea. There are moments when Mr.
v Carpenter doesn't entirely escape the
Continued on rage Four
THIS IS "MTT1VE MARY"!
takes a categorical statement
W convince, admirers of the fa
Uiar Mary I'tckford that she
tb,r dramatic versatility to
y a. httle Italian waif as she
m ? 'J1 , nVfc seven part Para
m. rc,lcase,Poor tittle Pep
. which comes to the Stan
ley next week.
Here in the tropical luxuriance
to star. Above the
Concerning the
eine a
A Famous Fun-Maker Finds Sincerity the Basis
of All Great Comic Art Upon
the Stage
By HAKRY
TIIH philosophy of st.igo persuasion can
ho told In one word sincerity. I mran
that a ennudinu, to hu runny, must laugh
with his audlenco If hi woulil havo ho
nudlcnco laugh ultli him Many have
held this to be otlii'iulee. It has been
put foith that nit, not limit, Is the cle
ment upon tho stage. 1 havo found it the
reverse.
You havo here In Aniericn "lie great
chnrncter attached to tho stage. He ex
emplllics mine lull.i than any other ono
the tiuth of my theory, lie Is tlcorgo
M. Cohan. To know and btudy him off
the stage la to undoi stand his nevcr-go-wrong
nppeal on It and in everthtng he
touches of It. I'ohan is, as jou say In
America, "on tho level."
The day may bo rainy, but George
Cohan hns in his memory the sunshine
of yesteiday nnd In his heart the sun
shine of tomorrow. Mtna you. lie doesn't
pretend the sun Is shining today, nut ho
knows the sun will shine tomorrow, and
because ho knows it he makes you believe
It. That'a why I say George Cohan Is
the greatest comedian In America one of
the greatest of them all.
He Is square with himself, his audience
and hla own Idenls, The reason that ho
can deliver patriotism thrills nlioro an
other man cannot Is not because ho
knows better how to, but becnuse he feels
that patriotism more. He enn mako you
laugh because he would laugh at tho
same thing. He can make you weep, be
cause he himself Is toucned. That la tho
essential of stage greatness,
This is not so In other callings. A writer
may be a grouch or a crab In hla shriv
eled soul, yet a wit on paper, A painter
may bo a rascal, yet draw an Ideal con
ception. But ho does not face the public.
Ho docs not have to satisfy the studying,
questioning eye of his fellow mnn, which
divines nnd discerns beyond any make
up, beyond any grotesque transfiguration
of chalkllne or grease paint, and, reading,
feels,
Material la the least of a stage worker's
asset- If the soul be there it can color
And mold any suitable tunes, steps or
words, l'athos and comedy are twins to
such a one so nearly do they tesemble
one another that sometimes their own
creator can scarcely tell which la which,
when one enters and the other departs.
There la no specializing In comedy or
tragedy, except as certain vocal and
physical characteristics may aid In com
pelling a plausible physical framework.
George Cohan Is known ns a profes
sional American. I am known as n pio
feaalonal Scot. But it a not Cohan's
Americanism and my Highland birth that
specialize us. No nation has a monopoly
of loving a lassie. I think I can do It
as well In any language. And the Stard
and Stripes are no better for romuntlc
or dramatic purposes than the Russian
Uagle or Klin's Harp on green. It's tho
unseen and potential force of patriotic
sincerity that gave Cohan a tighter grip
on your Hag than Patrick Henry or a
President.
The heart Is International universal.
Emotions are common to us all. Enter
tainment Is good, bad or Indlffeient I
mean entertainment delivered without
tricks In proportion to the degree In which
the entertainer can carry his audience
with him In the spirit and atmosphere of
his theme. If one feels hla btuff he has
no limitations. Art haa little to do with
It. Some of our greatest artists are hope
less as actors. If one feels hla stuff he
Is like a lawyer arguing for a client that
he knows la Innocent He does not need
to make up an alibi. Ho lets the truth
run. uut me man wuo 15.0 u ......-
black and talks and slnss white must be
superhuman to convince otheia, who are
human and normal, of that of which he
cannot convince himself.
I sung as well and entertained as well
when I was a mule boy In a mine as I
have ever done since, except that I have
acnuiied a kener discrimination and a
matured, experienced wrrlw of viewpoints.
Iniade my fellow miserable laugh then,
lutt as Georgle Cohan, they tell me
keut ery one about him entertained
Jufore he took to the stage at all.. Foot
lights cannut draw from within one that
which U pot there They are more likely
to wort uke X-rays and reveal what la.
of a Jamnicn valley the Fox forces, under Director Brcnnon's Ruidance, havo been makinff the monster production
roaring, tumbling stream crossed by rustic bridges, may be seen "Gnome Village," whence the little people went forth
Art of
TT" 1 i
di
JLxeai jome
lan
LAUDER
They pay I portray "Tho t-'aftost ' tho
I'umil" well. I should say It'a a studv
In pity for a half-witted youth, tho butt of
ovciy rnu. I do pity such lads. Jut how 1
I pity him I show when I cotmntsernta
with him on the stnge. If my Inclination .
In life was to kick him nHlde. I couldn't
Pity him while you looked on you who
might have a lu-art for pity and win you.
I wouldn't know how. I would hae to
Imuglne or Imitate You would know
How could I goes better than you know'
.
When I sing "1 I,ovo a Lassie" It Is to
ho f,con that I have loved a lassie. Ah
ou would say, she was mime lassie, too.
I'm tellln' ye. When I sing "A "Woe Pcoi h
an' Doris" I think of the many n night I
hastened from the public house becnuso
my wlfle wns wnitln' in our wee hot an"
ben for her late, bad Harry. Had I not
cared what sho thought, or how she
waited, that song would not be for me
I would sing that old Ameriiaii song,
"Please Don't Tal:o Jle Homo."
I could point out. up and down and
, , , "
around a circle, all day long tho len-ions
for my theory, and then, perhaps. I could
not convince myself that only thu lnur;.i
that'a In a man can come out of him
and painting tho Illy white Is easier than
painting the thistle to feel like a daffv
dow n-dllly In the public's grasp.
THE GOLDEN
OtoD
LD ladles and gentlemen never cease
Plate about actors, actresses and
plays of the past for the ploys and play
ers they see later In life can never appear
to them quite tho equal of those vividly
emembercd and hallowed ones of youth,
when hope was new nnd life waa fresh
and beautiful. This la why the aged
now lack the Interest nnd attention which
waa freely given In their younger days.
The go to the theatre with a pocket
scale of dramatic welghta and measures
with which to teat theatrical wares.
Max Beerbohm hit the nail squarely on
the head when he
said- "When a play
becomes a classic It
ceases to be a play;
It becomes a meio
pretext for compara
tive criticism. Tho
play la dead, the
itage la crowded
with ghosts. Every
head in the audience
la.a heavy casket of
reminiscences. Play
they ever so wisely,
the players cannot
lay those circumam
bient ghosts, nor
charm those well
packed caskets to
emptiness."
Albeit, the popular
actor of today can
coddle this delicious
thought, can lay
this flattering unc
tion to hla soul, no
matter how great
the uctoia of the fu
ture may be, they
will not appear any
thing like so splen
did as he does now
to the young and
enthusiastic. While
the future Is hidden,
like an eye when
aSleep beneath Its
lid, time will surely
bring the reward
The aged look on
the past with regret,,
on the present with
Impatient dislike,
while youth vlewa
the future wt fe
verish hope, the
present with Joyous
delight. This I as
much a part of ex
istence, pf the regu
lar order of things,
as breathing U oX
life itself.
PHILIP MERIVALE,
ACTOR AND MAN
Tor a young man under 3D. Philip Merl
vale, of tho "Pollyannn" enst at tho
Broad, boa accomplished Important things
ns an actor. He was
born near Mandlpur,
India, w h i I o his
father was filling nn
Important place In
tho British service ,
Educated In Eug- 1
land, he waa Intend- I
ed for tho law. Ten
ears ago he was
clerk In a barrister's
ofllcc, when tho lure
of the stage altered
his plans. His first
appearances were In
tho company of F.
It. Benson, and he
toured tho provinces
In Slinkcspearean
repertoire. His first
"PIiUntlly In London came when Ben-
uni. nini iii-il isrnnL n nt u fi Inn Pnrnnnt
("n pioduerd Greek plns at the Coronet
Thcntic N'cxt, he found himself with
I-'todeiirlc Terry and Julia Nellson, and
later for toveial seiibons with Sir Her
bert Beerbohm Tree, at Hla Majesty's,
where ho advanced to such Important
Shakespearean rolea as Casslus, In
"Julius; CaeHiir." it was while under
Tree's management that he played Borneo
to the Juliet of Phyllis Ncllson-Terry,
.Mcrlvalo tlrst visited America with Miss
Terry's parents, when they appeared In
"Tho Scarlet Pimpernel" and "Henry of
1 .tuvuiiv. it HUP U UIIL1 luui, Ullll ill;
I returned to London and waa with Beer-
Navarre." It was a bilcf tour, and he
bohm Tree and Mrs. Tatrlck Campbell
in tho original cast of Bernard Shaw's
"Pygmalion." When Mrs. Campbell
brought this play to America he came
with her for tho part of Hlgglns, which
Sir Herbert had 'created.
AGE OF DRAMA, A NEVER-NEVER LAND
By E. H. SOTHERN
Not to be ablo to enjoy the present,
either In art, literature or drama, is to
suffer a great privation. The malcontents
take great delight In quoting Samuol
Itogera' famous epigram, "When a new
book comes out, I read an old one " Yet
those whu followed the poet's advice
missed the Ineffable delight of reading
tho works of his contemporaries, Lnmb.
Scott, Thackeray, Dlckena, and even of
Rogers himself as they came hot from
the pross.
Very likely, too, there wie those, oven
during the time of Shakespeare, whoae
mlnda were so riveted on tho past that
E. H. SOTBERH
ii.-.-.i v..-;-, fciMkt,i,t,t ..!. .- - & .j. -(,
Whol
esome
"Film-Struck Maidens
A Metro Star Tells a Bit of the Downright Hard
Work That Lies Between Initiation
and Success
By BEVERLY BAYNE
IS THIS aiticlo I want to emphasize the
fact that u girl who Is desirous of get
ting Into motion pictures must first rid
herself of the popular notion that acting
before tho camera Is easy and mostly play.
Just tho reverse la tlie caso. It la extremely
difficult, and Is very hard work. I have
seen many talented young gins fall In n
motion-picture career, merely because they
were not physically able to perform the
tasks sot beforo them
The erroneous idea which Is quite prev
alent Ih, that all ono has to be able to do
Is to look pretty, and wnlk In and out of
scenes. This Is the natural observation
one would make after seeing tho finished
product on the screen. As 11 rule, every
thing appears simple Hien. The hours
and even days and nights of tedious toil
to obtain a certain result which appears
quite simple on tho screen Is not shown
when the picture Is presented.
I have known a dlicctor to work for
hours rehearsing players In ono scene,
merely to get n ccrtnln effect. First, ho
would have one-half of tho company doing
Just whnt he wantod, nnd then the other
half would bo all wrong. No sooner would
the others get up In their parts, than some
porson It might ba a minor character
would spoil the whole thing Thon, when
the director thought he had everything
they were unable either to appreciate or
enjoy the immortal dramas as they were
presented.
However, as to the acting of that period
we know but very little. Only the names
of a few players such as Burbage and
Taylor are known to our age. The art
of lighting had not yet been dreamed of
and tho stage settings were of a meagre
variety. Sir Philip Sidney did not con
sider that this time waa the "Oolden
Age," for he wrote describing the state of
the drama and the stage of hla time.
"Now you shall see ladles walk to gather
floweru, and then wo must believe the
stage to be a garden. By and by we
hear news of a ship
wreck In the same
Place; then we are
blamed If we do not
accept It us a rock.
Upon the back of
that cornea out a
hideous monster with
lire and smoke; then
the miserable be
holders are bound to
take it for a cave,
while in the mean
time two aruiles fly
In, represented with
four swords and
bucklers, and then
what hard hearts
will not receive It
aa a pitched battle?"
Surely this waa not
the Golden Age.
Garrlck's time had
loiig been referred to
as the Golden Ase,
but for what special
reason it would be
difficult to under
stand. Garrlck was
undoubtedly a very
great actor, as were
others of his time;
but, if anybody
wants to learn to
what low state the
theatre of that age
hod fallen, let him
read Churchill' a
"Itoseclad," and then
If the golden glow
of the Golden Age Is
still upon him let
blm take down the
writings of Aaron
Hill and learn what
he had today.
Fearful as a lo
cust bane Is the in
ability to enjoy the
present, which will
vanish all too soon,
like, a star into s,
cloud
in which Annette Kcllcrmann is
on quaint adventures.
Advice to
ready and ordered on tho lights and the
camera to be turned, hla keen eye would
observe that something or somebody waa
not Jul t ns ho wanted them to be.
I have often rehearsed and rehearsed
until I waa ready to give up from fa
tigue. And, mind you, I am unusually
strong and a tireless worker for a girl,
as I take a daily course of physical train
ing. Pcrhapa that Is why I havo been
able to stand up so well under the strain.
It often happens that even after a sceno
13 photographed It proves to be wrong.
Thot, of course, means It must bo made
all over again.
I recall a big scene, in which more
than 200 persons were used, that had to
bo mado four times. It was a Bceno In
a story laid In the South 30 years ago.
Something unforeseen happened to mar
the picture tho first two times It wns
photographed. AVo had worked in tho
boiling Bun nil morning and the director
was wild because he had not accomplished
anything.
Then, when ho nnnounced that It had
to be dono correctly tho third time,
threatening to discharge several of the
minor chracters, we nil kept our wlta
about us. Every one was going through
their parts as smoothly as possible, and
tho cameras wero recording tho action.
We were -ery near the end of the scene,
when the director Bhouted for us to stop.
An automobile had dashed across a
atrotch of road, back of where we were
acting, and It was caught by the cam
era's all-seeing eye. Of course, It spoiled
the picture, aa It would not do to have
an automobllo in a sceno supposed to
havo been taken 30 years ago.
I mention these things at some length
to correct the falsa Impression that acting
for motion pictures Is child's play. I knew
one dear little girl, who worked her way
up to playing leading parts, whoso health
suddenly broko down and she was In a
sanatorium for three months last year.
She could not stand the nervous strain
Another well-known ntar was out of
tho business for two years, following
months or hard work In the pictures. So
It behooves the girl who Is not strong to
choose some other profession than tho
silent drama. Of course, there aro small
parts that do not require a deal of physical
endeavor, but one will never rise very
high In the profession without an endless
amount of hard work.
Another thing that works to the dis
advantage of the average new girls In
motion pictures Is the patience required
of them. Many aro ablo to cultivate this
patience, but it la often nerve-racking.
You must be made up, properly coa
tumed and always within calling distance,
I have really heard more complaints about
these long walta than I have about play
ers being called upon to work too strenu
ously. We all know how hard actors and ac
tresses work during the last week of re-
nearsai Derore opening In a new stage
production. Often many of them are on
the point of prostration, and merely able
to go through with their opening: per
formance from the attendant excitement.
After the opening-, their nerves are re
stored, and It tho production has a run,
the remainder of their work is easy.
But in motion pictures, every day Is a
rehearsal day. It Is not the easiest thing
in the world to have a big scene to make,
calling for all your strength and intense
concentration, and go through it six or
seven times bofore it Is finally photo
graphed. Then, no sooner are you fin
ished with that scene than work Is begun
on another. You 'may have to run up
and down stairs 3a or Q times in one
day, besides your other work, If the story
calls for that sort of action.
Some of this hard work la offset by a
pleatanter side. We often take long and
lnlgorating rids In automobiles, yachts,
boats, etc. I think If we did not have
these occasional recesses, none of us could
survive the work, But even then, at the
tad of a nice spin in au auto, we are
often obliged to chase across fields, up
steep embankments, over them, and do
all manner of unusual and strenuous
things. There is seldom a working day
wnira win not aan one Bumcjemiy urea
at night to- enjoy a, good, sound rest of I
from eight ta ulna hours.
The next fellow who tries this will prob
ably bo boiled In oil. But hero Is the story
told In the Photoplay Magazine of an
American motion-picture mnn who snap
ped tho Knlscr on one of his own battle
fields. Literally grabbed his picture with
out his consent ns though ho were a di
vorcee coming off tho boat nt Hoboken,
It wns almost aupcrfluous to say he was
an American. A German would havo died
first; also lie probnbly would havo died
afterward
Tho nervy young person who pulled this
high-handed nffnlr wns W H. Durbor
ough, photographer of tho North Amorl
can German war pictures.
Thoro wero nbout 15 correspondents in
our party. Wo were In charge of two
German stnff ofllccrs who fussed over
us like n couple of old hens with a
brood of ducklings.
Worsaw had Just fallen Into the hands
of tho Germans nnd we got out there In
time to see the final nssnult and the
capitulation of tho fortress of Nowo
Goorglovsk. Kor severnl days wo saw
the big Austrian howitzers pounding the
thing to pieces. Then ono morning nn
ngltatcd orderly woko us to say that the
fort had fallen and we were to start at
once for tho scene. It wns a long way
from Warsaw and wo got out there about
4 o'clock In tho afternoon.
I never believed they Intended us to see
It; but wo accidentally bumped Into the
most mnjestlc of mllltnry ceremonies a
Kaiser review. Tho troops which had
taken part In tho battle were assembling
on tho battlefield when we got thero. It
wns a splendid picture. Tho fortress was
on flro against tho sky. Down ono road
filed a long procession of Russian prisoners
marching to tho rear. Down another road
trundled the big guns thnt had driven tho
Czar out of Poland. They had finished
ono Job nnd wero on tho way to tho next
battle. In tho middle of 11 great hollow
square of troops stood tho Wnr Lord
leaninK on a llttlo cane addressing his
1'iUllers Behind hfm were his Held mar-
Bhals, Von Hlndenburg, Von Bascler, Von
Fnlkenhyn nnd his sons, Prlnco Eltel
Filtz and Prince Joachim
Of course, this was perfectly miserable
stuff for moving pictures
Durborough begged our officer to let
him slip in between tho files and shoot a
picture. Tho worthy captain looked as
though ho was going to faint at the sug
gestion. "Aw, Just for a minute," pUaded
Durborough. pathetically, but tho captain
had turned from him to a oorroapoKdcnt
who had lit 11 cigar. "Ono does not smoke
at a Kaiser review,' he said In n thunder
ous stage whl.sper. Which shows what
kind of a thing a Kaiser review is.
Finally the ceremony camo to a close.
"Adieu, Comrades," cried tho Kaiser.
"Adieu, Majesty" they shouted back. The
ranks fell back; tho square opened. The
Kaiser strode back to his auto nnd climbed
In Spying Dr. Sven Hcdln, tho famous
.iwedlsh explorer, In tho crowd, the
llmporor beckoned him to tho car. This
was moro than Durborough could stand.
Ho suddenly broko away and we saw him
running full tilt across the cleared space
that the awe of the soldiers had left
around His Majesty. Our captain was too
much ovorcomo to follow. Tho captain
Just stood waiting for an offended heavon
to rftrike dead tho Impious retch.
To tho frozen horror of the whole Ger
man urmy, Durborough set up his ma
chine nbout thirty feet away from the.
Kaiser's car and began grinding away
for dear life.
Tho Kniser looked up and took in the.
wholo situation with quick, comprehend
ing eyes. Ho lnu?hed and lit a cigarette.
talking a llttlo whllo longer, wo be
llove. to give the plucky Yankee boy a
chance.
Finally tho Emperor and Doctor Hcdln
shook hands; the chauffeur of tho car
throw In the hop nnd tho Imperial auto
mobile started with a leap.
As It went by him, Durborough took off
his lint nnd snld with honest soclublllty,
"Much obliged'" The Kaiser straight
ened up nnd ono gnuntlcted hand rose to
tho visor of his helmet in salute to the
American boy who had the nervo to snap
an Emperor without asking permission.
Frohman's Office Hoy
How I.oule Cloa.cr Hale, writer a
well ua artrefcd, Urst met Arnolil Duly U
tola by William Itae In the l'ebrusry
Theatre Mueazluei
When the rmolred to go upon the
(.tnce. Mils Clotr, bring still a younr
thliiK, unit to Mr. I'rolimou' oilier, and
Btradlrd her nerve at the door by re
peating otrr and oter asaln, "rrrnrter
iinre la the price of Bucress" and uch
like bracing arntlmenU. In that way
ktie gut as far n the anteroom. There
klie ii an office boy ulttlng, with M
feet 11 11011 the dek and u neunpaper be
fore him,
"In Mr. I'rohnmn In?" he nukrd ,
"Nan," hahl the office boy without
looking up.
"Then I will wait," Bald (he actrma.
Mie waited an hour In silence. Tlirn it
occurred tu hrr to put u blmple quenttoa.
"When will Mr. Proliman be InT"
"He ain't coin' to be In," answered
the boy. "He's In Kurope."
When the joined Mr. Italy's company,
hut winter, Mlw Clonter told blm the
lory.
"Were you that girl?" be suld.
"yei."
"Well, I was that boy."
HARRY LAUPER'S BAi'K
Yes, it Is, and yes, he Is st tha
Lyric aext week.
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