AMUSEMENT SECTION
-'--" ' - - i -1 i miti ii rti-
PHOTOPLAY
THBATfrfe'S
, DANCING .
MUSIC
""jsw
V(1
Aliening
Iip&ger
PHILADELPHIA, SATURDAY EVENING, FEBRUARY 26, 1916
Washington Square Players
THE MAKING OF A MOVlE EARTHQUAKE
What Do You Think of
While the Virtuoso Plays?
A Fewof the Amusing Speeches From "The
Artist," the Stage Society's Satire
on Audiences
t rm r'
In lheir Work and PI
ay
gaiter Prichard Eaton Attends Their Cele-
uiw,uiv'" " uii ajauuuox ana
Writes of Their Bill
By WALTER PRICIIAKD EATON
ittt Washington square ,1'iayerfl, in
Sew York, that band of semlamateurs,
'they might bo cnllcd, who started In
5 winter at the Bandbox Theatre to
B?b the kind of plays they liked, In the
It- - -.--t wnv M11.V llkpil. tint.
way they liked, act
lng them, staging
them, designing tho
scenery for them,
even writing them
thorn set ven, cele
brated the other
day their first year.
They celebrated
with a party. All
the actors nnd au
thors and sceno
painters, and somo
newspaper men and
other well-wishers
were thcro. Hut no
BnflnMinq vatA mnila
(jrAWEIt P. EATON Thcro wng mtl0
turtle about dramatic art and nono about
U "uplift." What these young people
M tU to danco to tho mtlalo of a nenro
'creheitra until a lato hour, with all the
irdcr l( somotnmg less man tho abandon
ifsociety debutantes! Wo think that
puty-was one of tho most hopeful things
loom mo ivnsniiigion oquaro l'lnyers
tiperlments. They nro Blmply having a
prad time running their theatre, and It
utter occurred to them to celcbrato Its
Mrthday In any other way than by hav
lag & little moro good time.
PtThf trouble- with tho uplift Is that It
jmt a ooosi irom ine ootiom; us a pun
from the top. Any real, fresh, vital move
Bent In tho arts must bubble up from
IxW. We have seen many Ilttlo thea
tres and tho llko experiments started hero
lid there, all over tho country, of late,
Md onme wnoie we aro giau to see tnem.
'A'.few, we doubt, represent rather too
niich the personal vanliy of tho founders;
but nwst of them aro sincere, and they are
Indications that there Is an awakening
Tmong certain peoplo to the possibilities
of a better theatre. But to have tho stuff
rjf'tndurance Jn them they cannot repre
sent uie luaiea mm uesircs ot a low
people, only, especlnlly when these people
we not themselves nctors, writers or other
wise workers In tho arts, but are moro or
less wealthy folks desirous of buying
lioroethlng thoy carinot themselves create.
Either there must exist a public demand
sufficient to purchase the artists by steady
patronage, or there must exist tho artistic
forces fretting for a chance at expression
and vital enough to maiio and seize their
opportunity.
I In either case, the Impulse Is from below
It Is democratic. An example of the
former might be the Now Free Folk Thea-
jtre'of Berlin. We hardly have an Ameri
can example, unless It be tho Municipal
heatre at Northampton, Mass. An ex
ample of the latter might be the Little
Country 'Theatre In Dakota, which orig
inated to meet tho natural Impulses of tho
ioik oi various nationalities m inoue re
gions to express themselves In songs.
cfances and plays, th,e opportunity, to at-
unauie proiessionai tneatro noing uenieu
them. Boston, Philadelphia, Indianapolis
SMITING THE
iWould you stand for this?
rnUE pen of the cartoonist may yet prove
fl mightier than the aword of the movie
censor, c. B. Macauley, formerly car
Jwnlst of the New York World, has nr-
Ufjed with the Klne'tlcartoon Studios
k distribute in animated form the car-
lon reproduced above. The film runs
Jjout 80 feet and is sold at cost. First
Enclose-up of the page of an open news-
WPer Is shown. A largo' hand, labeled
JCfMorshlp," fades over It and pro-
Jgds to blot out some of the printed
iSjaj. Next a speaker la shown address-&r-an
audience from a publlo rostrum.
jKnand, called "Censorship," grips the
Weaker over the-riiouth. Finally ap-
jjjra a representation of a motlon-plctvre
n, upon which Is written this legend:
SA Great Piililln fumm" Thn 'r.irtlne-
VTCr &n,l nhHH,lniv tin ..,.. nmiaara a
ISSf'halred, puritanical figure wlth'out
Igretchea hands, representing1 "Censor-
p THIS IS NO CENTIPEDE
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and other places have all tried ltttlo the
ures in greater or less degree super
jnposed from above. Tho Toy In Boston
lived bo long ns It remained In tho hands
of the amateurs. When It built n larger
House and went Into the booking busi
ness It went to grief on tho rocks. Those
who live In Philadelphia nnd Indianapolis,
no doubt, can best sny why their ventures
ceased. But It scorns to stand to renson,
In tho case, say, of Indianapolis, that when
your plays aro to bo acted by amateurs, un
less there Is a strong Impulse among mon
and women to net so that casts aro abund
ant nnd rehearsals always attended, thero
can bo no success. All the endowments In
tho world will not buy this Impulse.
Well, the Washington Square Players
had tho Impulse. Thoy lind, somo of them,
the Impulse to act: others to direct; others
to paint Bcenery; others to write pUys;
others to look after tho business end and
the publicity. They rushed hopefully In
where the wisest theatrical angel would
fear to tread, poor as tho young nnd en
thusiastic generally arc, on the assumption
that If they did what they liked as well
as they could. Its novelty and Incentive
would appeal to other people. And their
assumption has proved so correct that
their current bill Is a great success, for
the nrst three weeks Belling out the
theatre at every performance, and now
they are paying their actors $20 a week,
and when their first birthday camo around
why, they just dancedt
Tho first play on this bill, by the way,
is a capital pleco of work, and capitally
acted, Already, after a year, theso play
ers, many of whom began as amateurs,
aro showing whnt training can do. Tho
play Is called "Tho Clod." Tho author Is
Lewis Beach, .a recent graduate of Har
vard. Tho sceno Is In a poor farmhouse,
on tho border between North and South
In our Civil War. It Is night. Tho old
farmer and his overworked wife complain
of the hard times, and the poor woman
dully complains that sho'd do better If she
could only get her sleep. A pursued
Northern soldier slips Into tho hoUBe, and
presently his two Confederate pursuers
follow. Unrcasonlngly, merely to escape
further persecution and loss of sleep, the
woman helps to conceal tno Northern dispatch-bearer.
Goaded to desperation by
tho Confederates, when one of them calls
her a hag, she seizes a shotgun nnd kills
them both. . The Northerner embraces her
as tho savior of his life, and Incidentally
of 30,000 soldiers. But she only contem
plates her broken china, and moans that
now they'll liavo to eat off tin. War
means nothing to her but a nightmare
that wrecks her houso and keeps sleep
from her poor old tired eyes. Tho sketch
Is thrilling In Its suspensive excitement,
and truly profound In Us Implications.
It Is a little gem.
It Is followed by a gay fantasy, called
"A Boad House In Arden," by Phillip
Moeller, In which Shakespeare and Bacon
pursue Immortality, who runs away with
Bobln Goodfellow, the son of the Innkeep
er, Mr. Hamlet, and his wlfo Cleopatra,
a very temperamental lady. Wedeklnd's,
"Tho Tenor," Is not well acted, and the
final pantamlne Is poor stuff. But "The
Clod" redeems tho bill. It Is native work
all through, and significant work.
CENSOR WITH THE DRAWING PEN
Or this'
WHEN WEBER & FIELDS
BEAT THE MOVIES AT
THEIR OWN GAME
Much has been said about what the
movies gain by working out of doors, but
Weber and Fields, the famous Dutch come
dians, coming ne'xt week to Keith's, beat
the screen art to It.
Usually they did their rehearsing on
the sidewalk along what is commonly
known as "The Bowery," The policemen
did not have a grea$ deal of respect for
the art of the two comedians and their
rehearsals frequently came to an end
when they were threatened with arrest.
The first time Weber and Fields appeared
together as a team of comedians was Jn
a cellar on the Bowery and it was at
that time almost too many years ago
for present-day theatregoers to know any
thing about that Weber and Fields orig
The radium dance dumber in tho new Ziegfeld,
t,ux. j'; jn. 1 .11.1 1 .it 11 ii iV.ii ... it 1 -i iv, i.m 11 1 1 i 1 i-"-i rrr .j-?. -' ..ft ....h.. a..,., ..A...jMjmi.,...x,rtMA:jju.MAi.?. . ,yfr
.Behind tho scenes in the Lubin studio when the carpenters aro getting ready for one of nature's hand-
matte cataclysms. When the structure shakes nnd topples, the camera on the other side of tho walls will
get a realistic view of these bricks, joists and plaster tumbling in confusion.
W'
HEN Buch a little thing ns an earth
quake happens In tho course of a
photoplay romance It Is sure to awaken a.
thrill. But tho spectator accepts It mildly
and awaits further surprises. Ho has
little Idea of tho time, patience and
troublo required to provldo the pictur
esque punch,
At tho studio of the Lubln Company,
where thrills are manufactured every day,
Why E. H.
THE photoplay has caused many a
prominent theatrical star to rlso up
and (jpeak vehemently against It. Not
long ago Louis Mann nnd Elslo Fergu
son waxed very warm upon this subject
before the Drama League. Thero is nothing
of that attitude In Mr. E. II. Sothern's
view on tho movies. Still. Mr. Sothem Is1
not tho typo of man to plunge Into heated
and acrimonious discussions on any sub
ject. The recent announcement by the Vita
graph Company of Mr. Sothcrn's engage
ment by them came as a bit of a surprise
to many of Mr. Sothern's friends nnd nd-
Then why stand for this 7
inated their screamingly funny burlesque
In which Lew hammered Joe's face, stuck
his Angers Into the little fellow's eyes and
then tried to explain why he did It to
prove his love for his friend.
Like the late Pete Daly, W. J. Scanlon,
Joe Murphy and other old-time favorites,
Weber and Fields came from the old East
Side of New York and before they be
came famous and "found" themselves as
Dutch comedians, they knew many hard
ships In their early days. But it was
as Irish comedians they secured a Job
at Wood's Museum at 29th street and
Broadway, known to the present-day thea
tregoers as .Daly's Theatre and now rap
Idly passing from the theatre zone. They
did five "turnB" a day and got their ma
terial wherever they could.
The Censor's Motto-
Discretion U the better part of jlrtue.
t'tianiilni 1'ollocli.
yojlies, whjch Qomc? t9 thft Porfst Monday. Seated on curving platfom of
ono may gain considerable Inside Informa
tion concerning tho building of earth
quakes. It Is, of course, necessary to erect nu
merous houses to have n realistic catas
tropho of this nature. Tho tedious task
takes many days and requires a large
number of workmen. Homos of many
styles of archltecturo must bo built, with
all the domestic embellishments.
Tho accompanying picture gives an Idea
of tho detail necessary. In addition to
Sotliern Takes the Movie Plunge
mlrers, and possibly a shade of disap
pointment. Yet, why not? The movies
havo other artists of equal raulf.
Mr. Sothem considers tho movies of
extreme Importance, both from tho edu
cational and artistic standpoint. "Wo
should havo tho great Shakespearean
plays, acted by our great actors, ohown
In the schools while tho children aro
studying tho play. A young mind can
grasp a picture far faster than mere
words, no matter how beautiful thoso
words may be.
"Shakespcaro's plays are remarkable for
two things. First, the wonderfully con
structed plot, full of action and fire; sec
ond, tho language of the playB Itself. Not
long ago I had an argument with a friend
on whether "Hamlet" lacked action. I was
so sure of my point that I seriously
thought of giving a production In which
my company would not speak a word, but
would act tho play as usual. I am sure
It could be worked and the audience know
Just what was being done, Tho only place
whero tho action would need to be hurried
Is In tho soliloquy, 'To be or not to be.'
"So you see, since I feel there Is suf
ficient nctlon to carry Shakespeare on the
stngo without spoken words, I am moro
sure that there Is plenty of action for tho ,
mutton picture. I am to make 'Hamlet'
for the films. The scenario which will be
submitted to mo will v depart from the
original In many places, but this Is nee- ,
essary. ,
"Do not think that I believe the movie
will ever supplant the speaking stage. It
can amplify it. however. The most mov
ing, thrilling thing In tho world Is the,
human voice, the keenest Intellectual
stimulus the spoken word. These two
things the photoplay lacks.
"There Is far too much attention paid to
stage setting and far too little to the
actor. It is Just as true in the movies
as on the legitimate stage. They strive
for background and do not consider the
principal figure. It Is comparable to a
painter who paints such a magnificent
background that It takes your atten
tion and you lose the central figure, Thus
the painter defeats his purpose. So with
over-elaborate productions, either on the
stage or tho screen, the main points, the
story and the acting, are lost In the set
ting. There Is a great tendency to belittle
The Nine-Foot Line
The nine-foot line to tho uninitiated.
a line nine feet from the camera's lens
running parallel with Its face, whoso
ends touch those that bound the cam
era's focus, has been eliminated, so far
as Hughlo Mack and Kate Price are
concerned, especially in regard to the
taking of a close-up, It was discovered
by Vltagraph Director George D, Baker,
while fljpilng a recent picture In .which
the pair played principal parts, it was
Impossible to get the two, Bide by side,
on the nine-foot line on account of their
enormous girths. The only way Director
Baker could give them an equal chance
was to take them In separate scenes.
having practical windows, each houso Is
lathed, plastered and papered. All tho
Joists, beams and lumber used In the con
struction of an ordinary houso aro In
cluded. In many parts of tho Interior of
the building small wooden chutes arc at
tached to-tho waits. Tho chutes are filled
with bricks. When the crash comes, the
bricks, the flooring, tho plaster and por
tions of furniture are mixed In one great
mass.
tho actor. Such men as Emerson and
Carlyle Beemed to look down upon the
stngo aB a profession. Tho actor, as a
class, was considered light-headed and
Irresponsible. This Is wrong. It docs not
hurt my dignity to bo known ns an actor."
Mr. Sothern considers the most Im
portant factor In any theatrical produc
tion to bo the acting. Versatility Is the
keynote of great acting. He feels that
the movies give the actor a greater scope
for his abilities than the stngo.
W. T. T., 2d.
BBr i V AM 1 1 fS f IK I
fill iMiffli M l w$M$Mz&S&Sm
One of the Harvard professor's "ideographs" or visual psychology tests appearing in "Paramount Picto
graphs," a screen magazine shown at the Stanley. The letters in tho jumble tb the left are first thrown on
the screen. Several seconds elapse. If you can unspe'l and respell them into the word Washington, you are
blessed with creative ability.
ABE you fitted for your Job? If so,
jCihow do you know? These .are the
questions Doctor Muensterberg asks, and
he proceeds by means of animated tests
to prove to your own satisfaction that
you either are, or are not; pursuing the
right course.
Tho first test ts headed, "Have you a
constructive Imagination?" By means of
trick photography, a number of little
men appear on the screen, each holding a
large candle. From each candle a letter
pops. They are seen In motion and then
finally come to a dead stop In this order
N I O L. You are told that they spell
an animal. Before they are shown in
their correct order, do you know that It
Is "Hon"?
Next comes a flower with the letters
In wrong order. Each time the test gets
harder than the last. Before you know
It, you are guessing aloud, Doctor Mun
sterberg will continue his articles In
"Paramount Pictographs" each week.
The National Board
It U the 80,000,000 people uho go to
the molion-iUcture lliralrra who are (lie
real temor. J. Stuvt Illackton.
l)a.ck against a black background, the
WHAT docs 1111 audience really think?
The lady on your left when I'ndcrw
ski plays tells you that his touch In the
pianissimo Ib superb, but probably she
thinks: "I wonder why I couldn't train
Henry's hair that way." And ns for tho
pianist himself !
This mnjor mystery of the music world
Is Rnlvrd for the Inquisitive in ono of the
entertaining playlets given by the Phila
delphia Stage Society, on Friday nnd Sat
urday nights at tho Little Theatre. It Is
solved by neither n playwright nor n
psychologist. A more critic, II. L.
Mencken, docs the trick In "Tho Artist."
By tho kind permission of the Stage So
clety tho Evenino Ltsrjcitsn Is able to
print portions ot the dialogue.
Klrst n bare stngo with only a piano to
grncolt. Then out of tho audience tho
actual nudlcnco of the Little Theatre
rises n voice, two voices, half a dozen.
First Woman Oh, I do crrfiilnfj hopo
he plays that lovely Vnlso I'oupee ns an
encore! They sny ho does It better than
Bloolnfleld-Zelsler.
First t'rillc I hope the nnlmal doesn't
pull nny encore numbers that I don't
rccognlzo. All of these people will buy
the paper tomorrow morning Just to. find
out what Ihcy hnvc heard: It a Infernally
ombnrrnHalng to havo to ask the malinger.
Tho public expects a musical critic to be
a sort of wnlklng thematic catalogue Tho
public Is an uss.
A Man Oh, Lord! What a way to
spend an 'evening!'
A Mnrrlod Woman T wonder If he's
as handsome ns Paderowskt.
Second Woman I wonder If he's as
gentlemanly ns Josef llofmann.
First Woman I wonder if he's ns fas
cinating as Do Pachmann.
A Married Woman I wonder It ho has
dnrk eyes. You never can tell by thoso
awful photographs In the newspapers.
First Woman I wonder It ho can really
play the piano.
First Critic What a hell of a long
wait! These rotten piano-thumping Im
migrants descrvo a hard ca.ltdovn. But
what's the uso? The piano manufacturers
bring tl)cm over hero to wallop their
pianos and the piano manufacturers are
not afraid to advertise. If you knock
them too hard you havo a nasty business
office row on your hands.
Second Man If they allowed smoking.
It wouldn't be so bad.
First Man I wonder If that woman
across the aisle
The Clrcai rionfjf oounrrj upon the xlaae no
autttlcnlv that he la IjouIiio ( the centre
before chv one thinks to applaud. lie
makes three stilt bows. At the second the
applause bealus. sweltlna at once to a roar,
lie steps up to the piano, bows three times
tnorr. and. then sits down.
Young Girl Oh!
A Married Woman Oh!
Young Girl Oh, bucIi eyes! Such
.depth! How he must havo suffered! I'd
like to hear him play the Prelude In D-flat
major. It would drive you crazy!
A Married Woman How he could play
the Moonlight or the Apasslonata!
First Woman I certainly do hope he
plays some Schumann.
Second Woman What beautiful hands!
I could kiss them!
MUENSTERBERG IN THE MOVIES
MRS. BELMONT STAGES
SUFFRAGE OPERETTA
WITH REAL STARS
The suffragettes have caused a lot of
trouble and plenty of comment at various
times, but not long ago, at the Waldorf
Astoria In New York, they succeeded In
losing the trouble and turning the com
ment Into praise when they produced Mrs.
O. II, P. Belmont's society satire, "Me
linda and Her Slaters."
Not only were there famous suffra
gettes, but there were also famous stage
folk in the cast.
The collaboration of Mrs. O. II, P. Bel
mont and Miss Elsa Maxwell, of London,
went off without a hitch. Governor and
Mrs.- Whitman occupied the ' big central
box and the ballroom was tilled with ah
audience ot the best-known people In the
city. .
There was a real suffragette parade and
a soapbox , suffrage speech, and Marie
. Doro, as Mellnda, a slender little creature
in a simple yellow frock, talked to the
people In a way that seemed to come from
her heart. She won over her sisters, Mr.
Pepper, and perhaps says the dubiously
minded New York Times the audience.
The operetta was In two acts, or di
vided Into two parts. The first was given
chorus achieves soma rejaarfcably Mnkin
t77i Great Pianist, throvttnq back Ms head,
strikes the massive opening chords of el
Iteethoven sonata. There ts a sudden hush.
YoUng Girl Oh, perfcctl I Could love
him! Pnderewskl plnycd It like n barn
dance. What poetry he puts Into Itl I
can sco a soldier lover marching dff to
war and throwing kisses' to his
sweetheart
Second Critic The ass Is dragging It.
Doesn't coil brio menn well, what the
dovll tloes It incan? I forget. I must
look It up before I write the notice.
Somehow, brio 'suggests cheese. Anyhow,
Pachmnnn ptnys It a damn sight faster.
It's safe to sny fncif, nl all events.
A Married Woman-Oh, I could listen t
that Bonnta all day! , The poetry he puts
Into It even Into tho ntlcprol Just think
whnt the antlante wilt bet I like muslo
to bo sad.
First Woman What a sob he gets Into
It!
Second Womnn How exquisite!
The Great Pianist 7af7icrfMj7 ftliine
topcthcr for the difficult development eo
flon, That American beor will be .Hie,
death of me! I wonder what they put
In It to give It that gassy taste. And the
so-called German beer they sell over, here
good Lord! Even Bremen would be
nshnmed of It. In Mucnchen the police
would tnko a hnnd.
Young Girl How I envy the woman ha
loves I How It would thrill mo to feel his
arms nbout me to bo drawn closer, closer,
closer ! I would give up tho whole world I
What are conventions, prejudices, legal
forms, mornllty, after all7 Vanities!
Lovo Is beyond nnd above them all and
nrt Is love ! I think I must be a pagan.
The Great Pianist And the herring!
Good God, what herring! Theso Infernal
Americans
IThc Great Pianist comes to the tail mtojur
0 the coda i passaae of almost Haydn
esque clarity and spirit. As he strikes the
broad chord of the tonic there comes a
roar of applause. He arises, inove a step
or dro daivn the stant, and makes 'a series
of low boios. his hands to his hcart.1H
The Great Pianist ZJoioInp. I "wonder
why the American women always wear
raincoats to piano recltnls. Even when
the sun Is shining brightly, one- Bees
hundreds of them, What a disagreeable
smell they give to the hall. Jfore ap
plause and moro botpj. An American
audience nlways smells of rubber and
lillcs-of-the-vnlley. How different In
London! There an nudlcnco nlways. smells,
of soap. In Paris It reminds' you ot
sachet bags and lingerie, ,v
11 he applause, ceases and he returns to the
vlano.l
And now comes that damned adagio.
i.s he begins to plav, a deathlike silence falls
upon the hall.
First Critic What rotten pedaling!
Second Critic A touch like a xylo
phone player, but he, knows how to use
his feet. That suggests a 'good lino for
the notlce "ho plays better with his
feet than with his hands," q'r something
like that. I'll have to think It over and
polish It up.
Second Man Now comes some more
of that awful classical stuff.
Young Girl Suppose ho can't speak,
English? But that wouldn't matter.
Continued on Tare Three
over to the sisters of Mellnda. whom Mrs.
John Pepper has sent abroad to study
various arts. They come back na artists
In music, in dancing, and bring- with them
their friends. Each sister does her par
ticular Btunt at a ball which "Ma" Pepper,
who Is trying to get jnto society and the
Colony Club, gives to the people of the
neighborhood. The chorus was composed
of many of the season's debutantes.
Marie Dressier as "Ma" Pepper- was It
resistible. It is said that Miss Dressier
made her gown herself. It was popularly
short, a big butterfly, sparkling with Jew
els, was a brilliant corselet, and a bril
liant green trull which looked to be a
couple of Inches troad trailed behind her
effectively. It wes a "pecan" gown, she
said.
There was a pretyH'tter box song by
Bessie Pepper and her Chorus and a real
letter box Into which the letters were
dropped. There was a delightful song
by Annis Pepper with Count Vcedlesllc
skey, or the Boyal Opera House, Moscow.
A classic scene fading Into' soft blue
shadows with Miss Pain Day in a bare
foot dance, and nothing was more -ver
than the "Castle Dancers," Mlsa Gwen
dolyn King with Ernest de Weerth, and
their chorus of girls and young men,
Emmy Wehlen gave her clever "Hello"
Continued en Pajt Paiur.
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