AMUiSEMENT SECTION
Ettening
meiupr
C
PHOTOPLAY
THEATRES'
DANCING
MUSIC (
fatfY THE MOVIES
ARE NO LUJNUISK
MAYING PROGRESS
Tft Head 01 a vrrcat v.umpany uiames
Stagnation on a oingic in
fiuence -the Authors
By JESSE L. LASKY
' i the most rapid advance, tho most
L.rMlous progress nnd quick development
!t( achieved In a new nrt or a now Indus
Iff tho producers of motion pictures have
ffidenly found themselves at a standstill,
Si)j Is a truth which few will deny, and,
c-Ati bo I tiersonauy nnio to voice it. It a
truth that must be recognized.
fo disarm criticism at tho very start, I
'in gflmit mat una siuieinem is general. j.
.-, individual producers nre. making oro-
1!:. I jircdlct that Griffith's' "Mother and
lll rni,o. hie lllrth - XT..
ii." tnen shows marked advancement In
l "Civilization" over his former 'produc
tions. Three months after his "Carmen,"
tlnWterplece, was produced De.MUto sur-
Mised It with "Tho Cheat." A very fow
jldsrly. It Is true, the art Is advancing,
t. sinl. when ono 'considers that thero nro
Icbroxlmntcly 25 five-reel features released
irt America every week, .the majority of
" .. ,, ... ,.J tHhA k.
them noi ivuiuij- ui una uuiue, wo ro
fcAil to the conclusion that tho wonderful
i"l4v.ncement that .marked ..the earlier do-
wlopniens oi uiu muuuu jmuiuiu hub stoweu
Vn'io i large degree, bo that I am forced to
urste my flrst assertion, viz., tho art of
potion-picture produclng'ls not advancing,
tot IS almost ui n. nuuiuauu,
nrh-n wn think of tho vast nnnnlhlllttn
sof motion drama this fact Is tho moro to
v. ,..l...i1 ri.ficv Vatlin tint, Ita Annnv.
Dfl UeiHv'-1- -...WW w.w ,, no iuuouiii
tit us see If we can And tho rennon for
hs lack of progress In.the newest, art.
'Our actors. Including, as they do, the
i jijrvlvors of the old mbvlo school and tho
;Mivcomors irom me icsiurnaio singo, ara
the best in tno worm, ins oiaer scnooi oi
movie artists nro thoso who, although they
lckd' stage or dramatic experience, devel
oped a technique of their own. Tho Glsh
listers, Uiancne owt-ui., iuiiu .Miirmi uro ijk
unples of this type. Tho newcomer, the
legitimate actor, chosen from tho very best
(ha recalling stage afforded, such artists as
'tj'rone Power, Theodore Roberts, Bessie
Barrlscale, aro now, -with the other, or
icreen artists, tno ranic anu me tnat cora
tose tho stock companies of tho motion
picture studios.. With the best, tho fore
most, the' greatest stars In tho world do
totlne themselves exclusively to tho screen
i,jrima, we can -eliminate tho actor either as
I direct or indirect causa or tno recent
lack of progress.
Our; camera men, many of them fa
mous old stilt photographers, all of them
nterans In the newer art quiet, deter
mined, thoughtful, studious, daring, always
Uched to them Rather must wo say, "Well
''.jone, oh I camera, man. Tho great art owes
jnucH'tO'you. It Is a fact trjjit In tho last
rear (notion-picture photography has ad-
Ownced marvolously well. New and won
fierrul .lighting, perfect double and trlplo ex-
'posure, a uozon wonacriui enccts, navo
marked the constant progress of motion plc-
Eure photography. The camera man Is pro-
-.gounceu wun mm uuuviutiuu ,ul tsuuiy.
ind tha modern new laboratories have kept
pica with tho photographer. Clean dims,
inter scratches and blemishes, splendid
(latlne and toning tho laboratories are
ffitace with the times
5"i Our scenic artist's" havo progressed. The
g tccnes and settings of motion pictures havo
Splendid modern Interiors, In perfect good
Uste, marvelous settings of all periods.
J-''defr the crltlnlflmn of thft mnnt nrltlrjil.
Jf''Tber can bo no question on thlB point
.The'art director and scenic artist are ellm-
S! tnafil Alan ttrA ii n Aymrt avntn tnttr tntt
er, the property builder and the property
man, Using at all times the real, tho
genuine, In placo of the Imitation, skilfully
IduMcatlog the .rarest art treasures of tho
t Ola world--surely he, too, deserves word of
praise ratner than censurp.
Ana now, most Important of all, tho
director. The old school men, the pioneers,
;experlenced In picture producing from Its
Tery Inception, striving,' studying, invent
us, Progressing, thov are dolntr their con
scientious beat and they are not standing
f'lUlL Reinforced bv the ablest men from
jtjie ranks of thedramatic or stage direct
ors, wno, hrlnglng new Ideas and tireless
energy,, with a world of dramatic training
Md einerlence. cave tho motion drama a
real push forward surely tho directors of
Mth Classes enn hfl MnmtrniM T wUh. T
iiad the time and spaco to telrof the heart-
lreKing toll of many of the motion-picture
.directors; of their 12 to 18 hours a day, of.
tnelr seven days, a week, of their sacrific
ing their social ambitions, their famllv tie's.
tcMng their very llfo, their heart's blood.
M ineir tavorlte art. No, tho directors
are doing their full share, and at least
Bare attempting In every way they know
tow io aavanco the moving drama. But In
Wite Of their efforts. thi rnmnm mnn'.q f.
I'wti, the art director's, the scenic artist's.
property man's efforts, the "new labora-
Etorles and the unnumbered thousands epent
.wesmjr Dy tne too numerous producing
;arm. I reiterate, for the third time, the
notion-picture drama Is not progressing
any annreclabla decree nt tho nresent
jaoment
Nov, If all the above are doing so nwchg
PHILADELPHIA, SATURDAY EVENING, MAY 27, !916.
THE CAMERA MAN CATCHES A FEW GLIMPSES OF STAGE AND MOVIE STARS MAKING AMUSEMENT NEWS
An Opera Glass for the
Movies That Straightens
Angles
I,
Continued on Hate Tno
ilEEE
VV jrmjjmmmifKV'flViy
Thero have been alt manner of sclentlfla
improvements made upon tho motldn-plc-turo
process within the decade, moro rapid
projecting machines, gold-fibre screens and
various other Innovations; but the actual
comfort of tho theatre patron has been
virtually confined to form-fitting seats, floor
lights to find his way In and out, and lantern
slides to bid tho lady In front to remove
Lher hat It has remained for the Triangle
Film Corporation to Invent a special opera
glass .for uso In watching the motion pic
tures, Resigned not to better the picture
isclf, but to correct adverse conditions un
der which pictures aro very' often exhibited.
. Tho best pictures ever made, says Tri
angle, would appear 41sadvantogeously to
a spectator badly seated through no fault
of tho. director or camera man, and any
simple Instrument that will rectify this point
of viow would bo welcomed as filling a long
felt want Tho salient featuro of "the now
glass, which In appearance resembles tho
ordinary binocular, to that It reduces the
Image Instead of magnifying It It Is In
tended primarily for thoso who aro seated
too close to the screen, throwing tho Imago
off to tho proper distance and also modify
ing the blue and ultra-violet rays that are
so harmful to the retina of tho oye at Bhort
range
A small vertical wheel between the bar
rels adjusts the focus In the ordinary man
ner; butthere' Is anothor adjustment which,
Is peculiar to the instrument Tnat is a
black T-shaped piece at the large end. This
Bhlfts from left to right, producing tho ef
fect of what Is known In photography as
the wide-angle lens. It is for, convenience
of thoso persons who are not only seated
far front, but far to ono side. Tho wide
angle arrangement corrects the viewpoint
and gives tho user an approximately proper
range.
In tho matter of perspective, there Is
really but one correct viewpoint for every
photograph ; that Is tho point of the camera
that took It, and In tho theatre the eye of
the projecting machine. But as the spec
tator cannot sit In front of the projecting
machine, he must compromise somewhat in
his notions of perspective, and sit elsewhere.
Tho Triangle binocular gives the spectator
very nearly the viewpoint of tho camera,
although It Is recommended only for thoso
tuhn Bit too Close. " x
The proper distance to alt from a picture
tfas established by painters long before the
cinematograph was Invented. In calculat
ing the proper distance to stand from a
canvas in order to comprehend all upon it,
It was agreed that the spectator should
take his stand from tho picture at a distance
equal' to a diagonal and a half, the Im
aginary diagonal being drawn from ono
upper corner of tho canvas to the lower
corner on tha other side.
THE WHY OP PHOTOGRAPHY N.jt ' ' ''jfo5J - H'-4 ' TUT f ShiIIHHB AjSSS
D. W. Griffith conferring with his U iiTilk KTfc W$&& ' 'A -fVf i V, , .SI ;if MMH -' sl
cameraman, George Bitzer, over fA T WT -? ' 1 CaU & ' 1 If BH f '4M
some of tho artistic details of m . JLgfHB i . a, -W cj vnyCJW i ' ' ,lE&&?i MWhml&BKBKm-tt ,i fiS
The Mother and tho Law,- hi. . t !. 'fKtr f- 'Lr - " -&&iMfcl tw&6nmamr?8 L :M
now rival of "Tho, Birth of a . 'W rll!l.llpM . ferf , TO KfflMM ,mHHH 4
fWrMK ' fisMhVr &?&
Tyrone Power, actor, nnd Tamaki " JSa li83Hfc . , jlft1VrJL
Miura, Japanese opera singer, iffllk'iFillWSi! HlMMtvM ,Sfe'QJiV-
chatting while the Universal star .ggasMSJIMfc, ? R2 W 'SBKyC
rest3 between scenes. SJM& gaPL tlfe-WCVl(53
E
THE ACTKESS-MANAGER ON
DUTY
Grace George, who brings her
repertory company to the Adelphi
Monday in "Tho New York. Idea,"
is here caught waiting behind o
"wing" for her entrance cue-
Producing Verdi's "Aida"
in the Open Air
at U. of P. s
He
L PPinnv nvr.ATjn
la "Thf JSnslish Aim Ktnr- who will be
11 tQe Stanley Jtondsy in
fe.PaMuaswit swdttctJoB.
Hal the Censor's Mind
Revealed
The following storv QUI' fictional, .
with the exception of the quoted
leaden' Thev are ffenulfia, sous for
the names:
gCene A Motlon-PIctura Censor's office.
Tho room Is unadorned, unless one con
siders a placard: "Farce, burlesque or
drama which Is actuated by levity or any
other serious purposes will be discouraged
bv the Board." The Censor's Assistants
are busy snipping film at a table.
Enter James Schneider, the Censor.
speaks:
'Well, boys, any moro crime today? I
see the crime drawer Is nearly full, so i you
must have been fairly weljoccupled. We 11
have to get somejiew farce flies, I fear.
And, dearie me, the levity envelope Is as
full as tho moon.
"What's this picture? 'Bertha's Vindlo
tlveness." Ha, hum. Ixwks bad. Too
many babies, In It Let tab see; If I took
out the third and seventh reels, It might
be fit for Innocent eyes. Still, there would
ba far too much Jocosity left for people
who have reverence for the sancity of the
He'reads on. Suddenly Illuminated by A
Thought he lifts his hands skyward and
e,"I havo ltl wW go to the trouble of
cutting, the nlm when, with a new story
inserted In the leaders. It could be. turned
Into a sucking dove? I'll remove the scor.
plon's fangs."
-Wrltine: hastily:
t- powsabella goes, secretly, to meet her
husband.' xnavs proper ana
pretty, far more so than lover. Now let's
see: the leader says she confides her love,
affair to her friend. 111 substitute 'I hav
lost my marriage certificate. I do not even
recall the name of the pastor In the small
village where we were married.' rrhey al.
ways said I had a literary bent)
"Well, well! Dowsabella gets worser and
worser. I'll Just snip out all the rest of
the leaders and put In my own. Here goes:
'Wo nnd Dowsabella courted by Deacon
wunL v Dowsabella having mar-
, rld the deacon oaf never told him ot her
"Now Ifa all read?. What?
ypu don't think ta story's clear? Mr
tsoy, that's feaeaus you nvr studied tha
eteMlw. w JlnUh is wad oa yoa
Only a limited number of events In tho
musical history of Philadelphia have
aroused the interest that has been created
by the coming open-air performance of
"Alda" under the auspices of the University
of Pennsylvania at Franklin Field Tuesday
evening, June 6, It seema as If the opera
will be witnessed by at leant 25.000 persons.
To take, care of this vast audience so that
all may see and hear with comfort there
has been perfected an Ideal arrangement of
the stage with relation to tha seats on
Franklin Field. Tho stage la being built-
directly In the centre of the Held, making
the, distance between it and the most distant
auditor half what It was at tho open-air
performance at the Harvard stadium last
year. This bringing the'stage half way up
the field will render useless all of the seats
to the rear, cutting down the seating capac
ity one-half. The seats lost however, will
be made up by placing comfortable chairs
on the playing surface of the field, making
the whole like one vast auditorium seating
about 25,000. The whole arrangement" of
stage and seats has been under the super
vision of M. Bracale. who aueessfully
staged the big open-air performance of
"Alda" at tho Egyptian pyramids a few
years ago, which was witnessed by 80,000
persons.
Tha University of Pennsylvania perform
ance will. It la hoped, excel the pyramid per
formance in every detail except the number
of people accommodated. The splendid cast
whlcli has been gathered from every great
opera house In the world, including the
"KEYSTONE STUFF"
Just a bit of "zoo thrill" p,ut over by tho Triangle's funmakers.
Metropolitan and -Boston operas, will in
clude Mme. Marie Rappold, who was se
lected to sing most of the Metropolitan
Opera performances of "Alda" durlngtha
season just past; iimo. aiargarete aiatze
nauer, the leading contralto of the Metro
politan Opera Company; Leone Zlnovleff,
the great Russian tenor, who sang the role
of Rhadames In the pyramid production;
Oluseppe Campanarl, until a few years ago
the leading baritone of the Metropolitan
who has been Induced to come out of his re
tirement for this one performance: Jose
Mardones, leading basso of tha Boston
Opera Company; Leon Rothler, leading
by)Bo of the Metropolitan; Giovanni Porro,
leading tenor of the Constanzl In Home, and
Juanlta Prewttt, from Covent Garden, Lon
don. The great chorus of 500 will Include
the entire Metropolitan, Boston and Chicago
Opera choruses. Tho big orchestra of 105
will be recruited from the same three opera
companies, as well as the grand corps de
ballet of 50. Giorgio Polacco, chief con
ductor of the Metroplltan, will conduct the
performance, which will be staged by M.
Bracale and M, Spalta, who staged the
pyramid performance. The chorus master
will be M. Settl, who la chorus master of the
Metropolitan. The ballet master will be 6L
Alberttere, of the Metropolitan and Man
hattan Opera Companies. The total
cost ot this one performance will be approx
imately 190,000, making it what is said to
be the most expensive single performance of
any kind this country has ever known. Tha
enormous stage will be 300 feet wide and
120 feet deep, occupying almost aa much
space as an entire city block.
When Carolina White Was
a Curbstone
Star
Letters to the Editor
To the Dramatla Editor:
Slr In reply to F. W. Farren's letter In
the Evekino LsnoEn of May 13, Solomon
Smith Russell appeared as Bob Asres In
Sheridan's 'The Rivals" at tho Walnut
Street Theatre In February. 183. giving
two performances of the old comedy; the
rest of the engagement was devoted to
"Mr, Valentine's Christmas," a one-act
play, from a story by J. L. Mitchell in Life;
followed by "An Everyday Man," a three
act comedy by Marguerite Merlngton. In
Mr. Russell's company at that time were
George Woodward, Mrs. Fanny Addison
PJtt and Miss BIJou Fernandez.
Philadelphia, May 18 II. L. W.
To the PMoilau Editor:
Sir There Is something which has puz
zled me greatly for the past few weeks and
I am writing to ask your kind assistance
to straighten the matter out.
Are Arthur Hoops and Eugene Ormonde
the same person? I have seen Eugene Or
monde as Doctor Isaacsson In "Bella Don
na" (with Pauline Frederick) and have
also seen Arthur Hoops as the husband Vane
with Olga Perova In "Playing with Fire."
The two characters were taken by the same
man, but why the different names?
J, F. K.
Philadelphia. May SB, 1918, .
Eugene Ormonde and Arthur Hoops are,
so far as tha Photoplay Editor can deter
mine, entirely distinct personalities.
EVENING LEDGER'S SCENARIO LESSONS
AND PRIZE PHOTOPLAY SCRIPT CONTEST
THROUGH a series of lessonB in scenario writing and a prize competition for a Philadelphia
scenario to be produced in Philadelphia with Philadelphians in the cast, the Photoplay
Department of the 'Evening Ledger intends to devote the summer to the development of screen
talent both literary and histrionic among its readers.
! Beginning in the next issue of the Amus'ement Section, Saturday, June 8, the Evening
Ledger will publish daily for four weeks a seri'es of articles on scenario-writing by the scenario
teditor of one of the great feature film producing companies. They will form a concrete and com
!prehensive course of instruction, covering every angle of the writing and marketing of a successful
iseuario, They will close with a reproduction o!f a model "script" which has been accepted and
Mimed,
' That the readers of the Evening Ledger m'ay test in a practical way the knowledge gained
'inthjs series of lessons, the Photoplay Department will institute in July at tha end of the course
'a scenario competition for a "script" dealing with Philadelphia localities and people. The competi
tion will be open to all Philadelphians and an expert and impartail hoard of judges wil select the
prize winner. In addition to a cash prize, this film will receive production under a competent director
with a local cast.
Watch for further and more complete announcements, and read in next Saturday's Evening
Ledger the first of the scenario lessons.
Not long ago, one of tho high priestesses
of New York's inner social circle was en
tertaining a party of friends at dinner. This
dinner party included Miss Carolina White,
former prima donna of "tho Chicago and
Philadelphia Opera Company, who comes to
B. F. Keith's Theatre next week. Natu
rally, music becamo the subject ot discus
sion. The hostess asserted, and rightly, that
the "horseshoe" made .Grand Opera pos
sible In America ; or, In other words, with
out the patronage of the wealthy, it would
bo Impossible for such companies to ex'ist'
here. This was generaly conceded "to be
a fact, but Miss White maintained that,
despite the patronage of society In opera,
a greater appreciation of music existed
In lower social circles. -The discussion that
followed rapidly waxed Into a heated argu
ment, and necessitated that Miss White
adopt some' particular way of cllnehlnyher
argument. She assumed a form of a wagor
which was quickly accepted.
It was that Miss White was to sing In
front of Sherry's, where all the "00" con
gregatethen to go immediately to a cer
tain location on the Hast Side and repeat
...w vj,.u, una Lisuiicu mat ner voice
would attract quicker attention at the latter
place than ut the former.
The next day, garbed In her simplest
attire, she took her station beforo the fash
ionable restaurant, and sang In her btst
voice the aria from "Trovatore." Th few
gorgeously gowned women who passed in
and out of tho famous hostelry hesitated,
one or two complimentary remarks were
pawed, and several small coins were ten
dered the singer, but nothing roor im
portant happened.
On the fast Side where the aria was re
peated, tho streets quickly became Jammed.
,. ,u, owns mo, vast auaunca
stood as if spellbound, When Miss White's
voice had nnally died away, the crowd
burst Into enthusiastic cheers, and not only
showered tha singer with money, In many
cases being all the money the donors pos-t
sessed, but actually endeavored to raise her
upon their shoulders and carry her trium
phantly through the streets ; and to cap the
climax, a manager of a small Bowery mov
ing picture theatre worked his way through
tha crowd and actually offered Miss White
150 a week if she would sing at his theatre,
little dreaming that the diva In grand opera
received ilOOO a night
The Screen Isthe Same
as the Stage
By William Gillette
It Is natural fo an actor to assume that
playing for pictures requires that something
moro than stags portayals must be supplisd
to offset the loss of the voice. But ' am
convinced that this U net so, and that In
acUng "Sherlock Holme" in the am man
ner as I -would on the stage Is enUrely sum.
dent. Every act and expression la recorded,
so sharply In pictures that. I assume, the'
spectator can carry tha thread of the plot
without missing the slightest detail,
On tha stag words forestall the chance
that the audience may neglect an Important
point In pictures the actor Is brought
closer and the minor moves and expressions,
frequently unnoticed wbeji on the ettffe, are
fully apparent to the spectAtore, After
famUlartxlar myself with picture work, I am
tatieaed that "Sherlock Holme' can b$
exceptionally well ajapted to, what Is com.
GRACE GJSORGE'S ','
ADVENTURE AS A . M
, THEATRE MANAGER K
How tho Star, of "The New Yoclt
Idea" Founded a Repertory The
atre of Comedy in New York
. i, t
Those -who appreciate intelligence in M ,
theatre have been following with keen ti
teresf Grace Oeorjre"a establishment of a
roportory company at the Playhouse, la
New York. Miss George in rears past ap
peared generally In plays above the Average,
and she attracted a following of theatre- ,
goers above the average. Now .she haa
stepped forward n long way, and she "has;
not only taken her following with ltervt)ut
won many new friends. Miss Oeorjre hat
succeeded In K most ambitious undertaking-,
the formation ot a notablo .repertory
company; nnd she has made Uiat organi
zation, the Playhouse Company, stand out
distinctively, presenting only plays of a high
standard. She provides not only decent but
brilliant entertainment. And what Is of
most lively Interest just .now Is that at the'
end of her long New York season, fihe
brings her Playhouse company to Phila
delphia, for n special two weeks' -engage'
ment ot tha Adelphi, beginning Monday.
Her flrst offering here Is "Tha New York
Idea,' by Xangdon Mitchell. t Philadel-
phlan.
It -was with "Tho New York Idea" -that
Miss Georgo established her company1 In
New; York last fall. She assumed the dk .
rectlon of tho Playhouse In Seotember. an.
nounclng that sho would give s. series ot
plays that she thought -worth -wh(Ie, not
pocuc i toman irgeaiM or anyunng oi mat
kind, but plays that afforded real enter
tainment for Intelligent theatregoers, who
nro not always considered by the regular
producers. Plays of that sort were ;not
abundant Miss George concluded to put
on "The New York Idea,-' which Mrs.
Flske had produced once, but which Brrad
way had never appreciated. Here was nn
opportunity to lift a good play, a, brilliant
play, of the kind written all too seldom, off
the shelf. Miss Georgo chose actors and
actresses that she though were above the
average, so as to catch the spirit ot this .
comedy satire. Sho oriened with "Th Nw
'York Idea" In September, and Instantly won
buccoss. -Hero was a personal triumph ,
Buch as sho had never" won before in her
various years of stardom. And her com
pany, her whole enterprise. 'New York took'
to Us heart The occasion was notable In
the" history of our American theatre.
Mlslf George continued to present "The
NowJTork Idea" on Into November, mean
time rehearsing another play, andthen sha
presented this other play. rrhe Liars," gen
erally considered the best of tho comedies
by Henry Arthur Jones. Tho reception of
this was also most favorable, and Miss
George continued,, on her -way. presenting
both of theso comedies. Meantime reports
of what she. was doing had traveled even
into 'England, and Bernard Shaw, -who had
refused year after year to allow any Amer
ican producer to put on "Major Barbara."
released the rights in this country to Mies
George for her to play the title role.
She produced '"Major Barbara" at The'
Playhouse n December, and with this won 3
the attention of a still larger public. The
Shaw play, -which deals with the ethics ot
war munition manufacture and with th
Salvation Army, actually, to uso a Broad
way phrase, "went over." In other words.
It caught the public fancy In a -way to mokei
It very profitable commercially. Success-'''"
was. In tho air, as it' Is occasionally on
Broadway, for some unaccountable reason.
Before the eurtalnCwent up on "Major Bar
bara" thero was an advance sale of thou
sands of dollars, which meant that the flrst
night was" sold out, and next morning. In
the first hour after the boxofftce opened.
tiro thousand dollars more slid along the
glass plate Into the Playhouse box ofOce.
That was only' the beginning. The play
draw capacity audiences on through th
holidays into 'the new year. An arrange
ment had been, made, to protect Mr. Shaw,
that "Major Barbara" should be given toe
fifty consecutive performances without h
terruptlon from other plays In tho reper
tory, and Miss George gave It not only these
nfty but many more.
Tho great danger now had become that .
the popular success of one play would waro
her whole scheme of a series of plays. To
avert this. Miss George, after trying out
esveral more plays In' rehearsal, put on
"The Earth." by James Bernard Pagan:
This Is a drama of newspaper influence in
England, and, while exceptionally well
written, its appeal Is limited,' and by itself.
It never -would win a hearing. Aa a. matter
of fact It had been refused by several New
York producers. But Miss George thought
it 'worth doing, and she gave it Jn Pesi
ruary.
Circumstances then demonstrated that
through the months she had been building
up a clientele which now came to see tha
new play, even though It had none of the
prestige of a first American production, like
that of "Major Barbara." Consequently
"The Earth" got its .hearing, and in gen
eral, the comment was that It had bees ,
worth doing. One of the New York critics
praised it as the best written play that blA
come out of England In recent years.
But MIbs George continued on with ber
series, and In March she gave her next pro
duction, "Captain .Brassbound'e. Conver
sion," also by Mr. Shaw. This had been
presented in New Yorl$ by Ellen Terry, but
under unfortunate circumstances, and It
ran at tho Empire Theatre for only a few
performances. Then Gertrude Kingston
gave It one Sunday night down on Henry
street, at the "Neighborhood Theatre, but
this served no more than the other to
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