I K
t SIMPLE ARYrttttTtt
AMUSEMENT SECTION
ittmimg
Hktujer
PHOTOPLAY
THEATRE) &
. DANCING,
MUSIC
PHILADELPHIA, SATURDAY EVENING, JUNE 17, 1916.
1 1. ' WHERE THEY MAKE SCENARIOS INTO PHOTOPLAYS
fit ' .M--t ',.-,.',,illS)l?M,T' ' 'S&'raresrai, "-, I,, l
.From timo "m.6 ?J'" i rendc8 K,imP.ss of the inside of Photoplayland tho studios where actors and directors mako tlio myriad pictures that later flash across the screen. Here we have the Lasky studio, in Hollywood. Cal. Note tho two varieties .
of stages. At the ngnt may do seen tno glass roof of an inclosed stage, while at the left are the platforms of tho outdoor stages and tho curtains of white cloth to diffuse tho sunlight that would otherwise fall directly upon tho players and tho settings. Both Borta of )
, stages arc used, for interior scenes. Exteriors are taken under tho direct light of day at appropriate "locations," some of them miles away from tho studio.
A "New " Theatre"
Tkat tlie Movies Built
fbi Prominent Actor, After a "Rest in the
Plans a Playhouse Endowed With
His Photoplay Salary
M
ovies
'ened fM
cam.- ti
east" El
rtilch ;?,!
imjM Jli
iff
ap. lit
feut, ml:
Iquor, ' ,WM
3. tat 411S
i. 'M ra
a' Villa 'Jfl
vtntLi'g wSZi
-rttitf. f$ wt i,
rticu- i .1
easf, i f ft
ir.ll.rnnk Mfllll. WhO JldS VaHC(I his
I ttueUttlon with Margaret Anglln in a
SV revival of Otcar Wilde's "A Woman of
I xtl r...rinni.i" bv anvearances on the
term in World photoplays, announced
im( time ago that he was concerned
In 0 project iur wto ""'"' "' -
.1.: .kin ma to tear his name
fi"'. doniilMs, endowed by the films he has
, oppfaraJ fn. nere re w ..,.
; BlWt.idcas on the subject:
THERE Is no need for a new theatre
but there Is room for one. Tho rovolu
"tlonary Ideas In my proposed-enterprise are
t: not numerous. I mean to navo a smaii.
'A'conuoriaDie iiieuuu, ow.mi 1.u...j. .v...
with a balcony, but no etiirry, and I mean
' to put on p ' not 3nafiorcIally profitable
to the ordinary manager.
Stranirely enough, this typo of play la
I, doing very well now. When you can put on
eL ht.iia." and Rntiw nl.ivs and aret com-
I forUblo runs out of them, It's a sign posl-,
f ttve that Few York Is getting bis enough .to'
do things In. Ypii see, we're getting to be a
I" centre. Tours are no longer fashionable
and pcople.who want to see plays come to
new xorc.
The, Princess Theatre, which I started
several years ago with a policy of one-net
plays, was a stepln tho direction I am pro
eMduurfnaw! Tho Frlncess waB unsuccess
ful for the lack of $1 Beats nnd the small-
Ma si me nouse. ivomission was aemcu
18 grcni liana Ui. iiicuucbuvio r,v ,.
fard ohly 1. At that, with Its tcrrlnc
iwicap of emallness, the Princess came so
By HOLBROOK BLINN
.PARIS POTPOURRI
ON YANKEE
J fATTTTn
jf iViJ V XUjQ
'fi Th'er'may bar American films out of Eng-
.T.J I ...- ' -a . . .,
j iauu uy .we ineana ol excessive iuauiiuji,
ht'll would take more than that to exclude
j from France the reels from Yankee land,
r, bj? a rarls correspondent of the New York
4"Tra11 t'ttine a nost 01 cinema nuuaea
KM nflp1rn v.lvt.,1.. t... t.A .,liii.tnDtti. er
ilia throne to renew their acquaintance
pitn ray "big time" friends, Pearl White.
VtP," Is. fairly worshiped by the French
f.i fePPMV and when the; blonde heroine seems
14 ptt Indeed, one encourages the other by
f. fr"1. "Wait, M. Clarel will save herl"
Ilr- . ' DPPO0'i'on nouses cnariot lunarua
. gaplln'i nom Francalse) Is the all-power-
j- jtfi mpi which drags In the francs. In
5!J"frVU9 lines are Introduced anent "The
I rUres of New York," and a Chaplin lm
gror. Some disgruntled lady has Invaded
columns of a London newspaper and
Mdeayprs to tell why films from the United
fcUtej pf America should be "passed up."
BfTUreU that she has not been able 'O
ff Wr side of the Atlantic, but avers
rrj wot oe exciiing, ir immoral.
Jne narftnnnAi nr v.A n.A nHiAn t.A
i.. r '---.. .,, iiiniuu iiai lien Dim
2 i?i' "'sn'' dishes up certain of the cast
suns pedantic manner; "I can always
W u i American thing directly the curtains
Ki 2T the B'ochy. bunt-featured 'Jeune
vmw wears awful ready-made clothes
9s A CUrlOUJI InWpnunul kn ...l.llA his
(WPnon )s an exuberant young lady in a
wl. lnd Bklrt' wltn Bk'mP ha'r down
Atfor thA nhlt l 1 ,-.. . , it..
FSTn.ni8h-l0klnr' a8 though It had been
t 2L "A an'1S, nnd doughnuts, and no mora
taffr. ''""'ent of marriage could be
111 T.n. -.vi.is tiu pinisicr was
:toti W.'bll,rBlar' and tha flfant seemed
ffcrl aid 1 1 an.a.chlhed by its parents by
f-'ttereira Persons. I marveled that
5r"p Hot hire a nnr..m,M a i
iSy ai, p.a,nt?mlma ot e'ans dinner.
oeQ a the baby's crib."
mm
fe
im
near being a success over a nerlod of two
years that I have tho greatest optimism for
the new venture. '
I will produce only unusual plays, with,
perhaps, an. occasional revival of Wilde or
PInero. Then. If I get a particularly good
one-act play, I shall add that to tho regular
performance. You sec, one-act plays are a
sort of hobby with me. I admit I have a
leaning for them. You caniget such a lot Into
them and such a lot out ot them. But there
Is no homo for them here. Vaudeville ac
cepts only comedies or melodramas, nnd
they are uniformly 111 done. And If you add
a one-act play to a regular play tho audl
enco at once Imagines a weakness In the
main play. Now, In my theatre, I shall con
trive to dissipate such, suspicions. Tho
house will have a regular policy and pa
trons will know what to expect.
That Is what I want my theatre to
have more than anything a policy. Until
Grace George took over the Playhouse thero
wasn't a theatre In New York with a
regularly sustained policy. Department
utores and shops have character, but not
theatres. True, Belasco does not run comic
opera In his theatre and thero Is a certain
dignity to the performances at the Em
pire, but It, la Impossible to Identify any
set, policy. The Bandbox Theatre has a
character, but It Is amateur. I am glad
the Bandbox has made good. I think the
old Princess helped launch it, and I think
It will help my new theatre.
In order to establish a policy a theatro
f must be free. That Is why we are building
a new one. We must have independence.
In searching about we found no theatro
In the better theatrical district which did
not have alliances, and so we decided to
build.
I shall try to make my theatro dis
tinctive for good acting to be found In it.
There will be no stars, nnd no actress
-friends of backers who have to bo taken
care of whether they can act or not. And
there will be no type actors. -We will
nerer Judge an actor's limitations by his
success In one role. You know how man
agers say "That Is John Drew's part," or.
"That la an Ethel Barrymore part," and
hire their company accordingly. Well, we
sljall never do that. AH of the company
will be people who act. I think it was so at
the Princess. We tried never to place a
square peg In a round hole.
I am attempting this new project be
cause I fancy It, nnd becauso I feel that
there Is room for it. Not many actors
would take the trouble, you know. It will
be a considerable strain. That la why I
have rested all year In the movies. An
other reason for my film career Is that I
wanted to get some capital, for I don't ex.
pect to make much money out of the new
proposition.
5 "8
-& jsa
$ mk aKtWj,gM who will be
livening Ledger Scenario Lessons
By HARRY O. HOYT, Head of Metro Scenario Staff.
12 and 13
jomedy
Si
anc
lamcse Iwms
Screen
Melodrama,
of
THE "polite" or "drawing room" comedy
has for n basis some novol twist In plot
or some unusual situation. It rarely re
quires any grotesquo "make-up" or extraor
dinary stago properties.
In tho slapstick comedy we And that melo
drama is the basis of the story, and the
comedian makes up his character along
burlesquo comedy lines. Also wo find quljo
often that most elaborate stago sets or
"props" aro needed.
The difference lies in tho fundamental
distinction between the two branches of
comedy: . 1. e., tho probability that the
comedy might bo true and the certainty,
on the other hand, that such situations are
impossible and tolerated only becauso of
tho clement of humor. In the "polite"
comedy there must be an air of realism.
The spectators should feel that what they
see on tho screen could have happened to
them If situations slmlllar to those shown
on tho screen had arisen In tholr household.
In slapstick tho audience never la supposed
to tnke tho situation seriously, nnd Improb
abilities are passed over for tho amuse
ment afforded.
Jlelodrama offers a wide Meld for slap
stick comedy. It Is easily burlesqued or
"out-mclodramaed," If we may coin a word
to express our meaning. iSTho melodrama of
yosteryoar, wherein tho villain tics the hero
ine to tho saw wheel or drops her In his
playful wny from some skyscraper, offers
opportunities for excellent comedy. The
audience once took these "daring dramas"
Berlously nnd hissed the villain roundly.
It would bo Impossible to write a play
like this today and get away with it. The
audlenco would laugh. If your comedian Is
obviously a comedian (witness the make-up
and walk), you can play such scenes as these
In a most serious manner, yet the audlenco
feels that It Is a comedy and is both thrilled
and pleased.
Impossible rescues are made, wild plots
aro attempted, and the "suspense" Is the
element that carries tho play. Tho biggest
successes of the present day In slapstick are
melodramatic comedies. The bigger the
thrill the bigger the success.
Railroad trains In collision, dynamite
bombs, aeroplanes meeting In mld-alr, sub
marines, daring falls, all are thrown into
the melting pot from which come the best
slapstick comedies. These elements In the
story make for suspense, and your comedy
without suspense Is just as bad as your
drama without suspense, perhaps even
worse.
To Illustrate suspense In the slapstick
comedy and to show how close to drama It
comes, we briefly outlln.o tho plot of a slap
stick comedy and of i melodrama.
In the comedy the villain plants a bomb
in n piano, so that when a certain key is
touched, It will, through a connection with
a clgnr llghtor, Ignite tho fuso of the bomb
nnd blow tho plnno and the person playing
It up. Tho bomb Is planted thero for tho
purpose of revenge by a man who doslres
to kill the owner of the piano.
Tho villain Is played "straight," ns ho
would bo In a drama. Thero Is no burlesque
of tho part
From the moment the bomb Is placed
tho suspense starts. Several peoplo play
tho piano, and wo aro shown "close-ups"
of every key striking except tho one con
necting with tho bomb. Hero we havo
the tnnocont bystander In Imminent danger
of being blown up, and It Is comedy. Now
consider tho drnma.
A villain endeavors to do awny with tho
hero. He arranges n 'bomb attached to an
alarm clock, with tho clock arranged to
oxplodA the bomb at a certain hour, when
tho hero will certainly be there. The little
daughter of tho hero is the only one near
at the hour sot for the oxploslon.
Again wo havo tho Innocent bystander In
danger, and It Is not comedy. Tho sus
pense Is workod up by flashing tho hands
of tho clock petting nearer to the appointed
hour, and wo look for somo rescue.
In tho flrBt example we havo comedy
suspense, and In tho Inst wo have dramatic
suspense. What Is the difference?
Both situations nro worked up without
tho slightest trace of comedy, yet one regis
ters comedy nnd one docs not. The differ
ence Ilea In tho Idea and tho development
of tho story Itself, and not in the eplsodo
mentioned.
You must be ablo to feel what your situa
tions will look' like when reproduced on
tlie screen. Melodrama to be convincing
must bo very real. If It Isn't, you nro quite
.likely to havo comedy. Tho line of de
marcation Is very fine.
Make your plot convincing, nnd tho melo
drama will play up In a convincing manner.
Make your plot comedy, and you will get
a laugh with your melodramatic thrill.
There nro times In comedy of the slap
stick kind when you are compelled to play
certain melodramatic episodes with some
decidedly cnmla character because the
melodrama Is too real, too' little ot the
comedy plot having been given.
As a rule, however, if you establish a
comedy plot you can use melodrama with
out stint. Indeed, to secure the proper
thrill. Impossible melodramatic situations
nre conceived until It la almost correct to
say that nothing Is Impossible, melodrama
tically speaking. In comedy.
Situations that could never be used In
straight melodrnma nro In demand, becauso
the very reason they are not useful In
melodrama, being too Impossible to be con
vincing na a drama, Is the very reason why
they aro wanted In slapstick comedy.
Suspense should bo worked up gradually
In all kinds of comedies. Unlike drama,
you cannot allow your Btory to sag In the
middle. If you are writing a drama, you
can brldgo over a drop In Interest by
comedy or by characterization or other
elements, but In comedy you have a progres
sion of comedy Interest starting from the
beginning of the picture nnd culminating
at the finish. It is quite permissible to havo
Continued on l'aca Two
Th
G o u n t c r-Pl o t I t's
Importance to
Films
W
E havo now seen how dramas and
comedies aro doveloped. Wo have
paid soino attention to tho various elements
In photoplay construction. It will bo ncecs
Hary to return to these elements nnd give
them our special attention In some future
articles, particularly the Interrelation of
one element to another.
All this sounds rnther dllllcult, but, ns a
matter of fact, photoplay writing Is n
simple, a more or less mechanical operation,
If you havo tho ability to conceive strong
dramatic situations and to handle charac
ters. In order to write a play for the spoken
stage, It Is necessary to understand play
writing. In order to write a novol, It Is
necossary to know how to write to get tho
viewpoint or viewpoints from which your
story Is to be told. In order to write a
scenario. It Is necessary to know how to lay
out a story In scenes.
In order to lay a Btory out In scenes you
approach nearer to tho stago form than to
any other kind of literary composition. On
the stage you have from one to flvo acts,
which usually means from one to five
scenes. All your action takes place In these
scones, although the characters may tell In
dlaloguo many things which occurred off
scene or which have happened years be
fore. In tho photoplay we are ablo to show
theso scenes; hence, Instead of three or
four acts and as many scenes, wo get four
or flvo reels, wjth perhaps BO scenes to tho
reel. The whole objoct of photoplny writing
Is to place your action to toll your story
In Bccnes, In order to tell It In scenes it la
necessary to nr.nlyze your plot, to treat It
mechanically, for It must bo subdivided
into scenes, and hence requires mechanical
treatment.
To bo able to perform these mechanical
operations without destroying tho beauty
or tho strength of your drama Is the dllll
culty which besets you In attempting scen
ario writing.
As photoplays have Improved nnd the
art has. grown, It has been found by direc
tors and writers that certain words and
phrases which they employ easily express
and convey certain thoughts-, hence, they
are used, and these are simple, as we
havo seen In preceding lessons.
Wo have dissected tho photoplay, both
comedies and dramas, to discover Just what
elements were necessary to make a fin
ished photoplay. If we wero to write a
play or a novel, wo would find that tho same
elements entered Into it. We would havo
plot and counterplot. We would have
character, atmosphere, suspense, continuity;
overythlng that we have In the photoplay.
Indeed, If wo wero to study any form
of llteraturo, we would be obliged to dis
sect It and to discover how It was con
structed. The difficulty In photoplay writ-
Continued on l'aie Two
Vhat Happens from
Scenario to Screen
The President of the Mutual Describes the Processes
and Tells the Cost of Making Film
Productions
Being portions of an address delivered
before the General Federation of
Women's Clubs, in Xcu York, bv tho,
president of tho Mutual Film Corpora
tion. It wilt give scenario writers
among Evening Ledger readers some
notion of tho processes that lie between
the script and tho screen.
THE making of a five-reel production
which takes about ono hour and a
quarter to show Involves vast labor and
big expense.
Wo must In tho first place nave the
studio, a special equipment for lighting,
Bcenery and various mechanical accessories.
Any studio worthy of the name, today rep
resents an Investment of approximately one
quarter million dollars.
Next wo are concerned with our play,
which at this stage wo will call a Bcenarlo,
tho working script or skeleton outline of the
nhotodrama. as It Is being run Into words by
tho author or more properly by a series of
authors who havo evolved someboay's plot
Into a motion plcturo scennrlo. Tho cost of
this scenario completed may total from $600
to $1500 In common practice. According
to the requirements of tho scenario a cast
must bo chosen, actors and nctresses em
ployed and extra people hired. In a produc
tion of this character the star will draw a
salary of approximately $1000 a week and
that this star will be supported by a cast
costing perhaps 12000 In addition per week;
thnt tho director who has charge of tho
production or picture will receive anywhere
from 200 to $1200 per week; that the cam
eraman who actually takes tho plcturo re
ceives $75 to $150 n week. Now we havo
our people and our place to worK In. it Is
going to take ub a minimum of flvo weeks
to make this picture, Meanwhile we nro
using the expensive equipment of tho studio
nnd perhaps all sorts of accessories and In
cidental properties like automobiles, special
trains and so forth.
Scene by scene a picture Is taken until
tho negative Is complete. In the making of
a five-reel production which will ulti
mately bo shown to you ns 6000 feet a to
tal of 10,000 to 40,000 feet of negative will
be taken, becauso many scenes nro taken
over to get desired effects.
In the presence of a conference of the
director of the picture, a representative of
the executive offlco of tho producing cor
poration, probably two men from the
scenario department, a cameraman, and In
most Instances the star, a first print or
positive copy from the negative la projected
on the screen for examination.
A conference Is held. Various scenes aro
eliminated and shortened or modified.
Tho titles have to be written, photographed
and Inserted. No expense or care is spared.
By JOHN R. FREUtER
Tho picture 'Is reassembled and It is pro
jected nnd screened again before another
conference with tho titles In tholr proper
places. If It passes this examination the
negative Is then cut to conform with tho
form and the approved positive print.
According to the scope of operations ot
tho concern through which tho plcturo la
released or through which It Is sold and
delivered to tho theatres, a large number of
prints are made. In tho Instance of a
certain great comedian a total of several
hundred prints are made, while on the usual
five-reel production It would be fair to Bay
that from 30 to CO prints would be mad
for releaso In tlio United States.
. Each of theso prints will be EOOO feet
long and will require many hundreds of
dollars' worth of film stock. The making;
of these prints involves expensive chemical
nnd mechanical processes.' Very largo
quantities of chemicals, costing as high as
$09 per pound, are used. If our five-reel
production Is run into a total of approx
imately 50 prints, wo. may say that prob
.ably not less than $30,000 and maybe $200,
000 in capital Is tied up In that production.
Now tho distributing organization begins
lt.3 work. Theso prints must bo shipped
to the motion picture exchange from which
tho theatres get service. In the case of the)
most extensive releasing concern in th
United States this means supplying- print!
to 08 branch offices or exchanges. Thero
aro others nearly as large. From theso ex
changes tho positive prints aro distributed
to tho theatres which rented or booked thl
production. I have not burdenedVou with
Continued on Tate Two
Making Movies on tne Panama Canal witk the Aid. of Uncle. Sam
THERE aro few places In the world that
contain so much picturesque history and
romance as the Isthmus of Panama, And
now there la added to the narrow strip of
land connecting North and South America
a world-wide Interest in the Panama Canal
a feat of engineering that will forever
remain a lasting monument to American
skill, courage and enterprise.
When Rex Beach wrote "The Ne'er-Po-Well."
he contributed to English literature
the first story written around the Panama
Canal. Recently "The Ne'er-Do-Well" was
made into a 10-part picture by the Sollg
Polyscope Company, of Chicago, producers
of "The Spoilers," and In this form wll be
seen for the first time in Philadelphia In
the Forrest Theatre tomorrow night. Thero
will be a symphony orchestra of 2Q pieces,
"or one thins; a massive stage setting
Mrs. Langtry and That
Gogo Sign
.. S n. frnn -Boston that Mrs.
inKtry. while appearing at Keith's Thea,
tre the. w considerably annoyed by a
joke that ws perpetrated upon her unwt,
t",The semaphore Is In use on Boston streets
these days for the purpose of regulating
irlma and the FarberSlsters. recently at
KelWa here who werTo-n the bill wh Mrs.
Langtry conceived tho PO fon of bur,
toSulM U. They obtained a long stick and
kad s"gns palnte'd reading "Stop and do."
These were nailed on opposite sides of M
5SS. When Mis, $??, hp?. Tm
&rstus'ttaaKsepehdestr.ans do wjien
,rtSfrl Wry prided the Farber ; Sister.
Mrs- MS," BVr,ii. , was presenting the
?;?,., "AsheV," Constance Farber was
Practicing with her semaphore in me w.na
company of Wg J heM . bwjft
he. . , ., . B nw- method of
thf .tag? manager 2omwunicat .with
luvera without dlsturbln the, aud)nc.
th swu around and read'
When ,Va,rr was oven more be-.
tippy ntu lw J" W" tTttth-
representing the Paclflo end of the Canal,
which serves as an atmospheric background
for tho film; a large crsw of men. back
stage, working out sound and voice effects,
and, last but not TeaBt, a Hawaiian quartet
to sing old Panamanian, Hawaiian and
negro melodies.
All this entertainment will be In keeping
with the spirit of "The Ne'er-Do-Well."
which Is a story of the construction of the
Panama Canal, and all the scenes of which
were actually filmed on the Isthmus and
In Central America, A company of several
hundred players was transported, at a con
siderable expense, to both these locations.
Special permission of the United States Gov
ernment had to be obtained before anything
could be done at Panama. When It was
secured, General Goethals, Governor of the
Canal Zone, did everything In his power to
help the good cause along, As a result,
,.'U
A bit ot Bex Btach'a f be Ne'er Do Well" as iwaf visualised on the Panama Canal Zone,
gSneerinf structures in the background.
Note the $n
many striking phases of the construction
of the "big ditch" are shown throughout
the action of "The Ne'er-Do-Well," the
various characters In the play moving about
In all the scenea as though they wero an
actual part of the work, and not merely
puppets who had no business thero at all.
Thus Is the entire atmosphere of the picture
rendered distinctly natural In violent con
trast, for example, to the average photo
play, set In artificial surroundings and
taken In some studio far removed from the
locale supposed to be represented, Incident
ally the brilliant tropical sun of the Isthmus
Insured perfect light for tho camera and
all this was taken due. advantage of,
In "The Ne'er-Do-Well" Kathlyn Williams
and Wheeler Oakman are supported by
many Panamanians and natives of Central
America. t
Movie Art of the
Future
The art form toward which moving pic
tures seem to be struggling Is a form of
suggestive pantomime, Just what type of
pantomime this will be we cannot yet say,
but It seema fairly certain that It will be
on the order of a frank, naturalistic spec
tacle, such as "Cabirla." It will not lie in
"screen versions" of famous novels or plays,
however much this particular kind of fea
ture dim may be exploited at the present
time;
For these "screen yersiqns" are neither
more or less than a book or plays, they
are essentially different- Moving-picture
directors, in their more honest moments,
will tell you this. They know only too
well that "movie" plays aro not the same
In structure or In form as the regular
"leglUmate" plays from which they are now
so often, taken, "A fair average," a di
rector said recently, "Is this: one-third -U
taken direct from the original play, one
third more Is adapted with considerable
alteration, one-third is original created."
The emotional appeal of a book or play
adapted for the movies Is much weaker
than the emotional appeal ot an original
"movlo" play. Compare an ordinary short
film, written especially for the screen, with
the photoplay version of some famous
novel which you have not read. On case
you have read it. a fair Judgment will ba
difficult, becauso associations and memories
give tha nun a certain - extrinsic value )
There will be no question the frank
"movie" play will b remembered long af ttr
the udioua episodic feature, film la for
gotten. -Tb New Republic,
FLORENCE NASH WAS
THE LADY WITH
THE LISP
Florence Nash promises that she will
work without a lisp In the future. To
help her keep her word, Willard Mack,
tho author of "Pansy's Particular Punch,"
which Miss Nash will present at B. V.
Keith's Theatre next week, has carefully
eliminated all words which MJss Nash
might find difficult to enunciate. He ha
especially tabooed the word "disgusted,"
whose comedy pronunciation by Miss Nash
has caused all preceding writers of her
roles to put It Into her dialogue.
It will be remembered that Florence
Nash's first real hit came when she ap
pearcd In The Boys of Company B" as a
stammering schoolgirl, who also lisped.
The stammer and the lisp pleased hep audi,
ence so much, that managers Insisted upon
her continuing In this sort of role. Frank;
Daniels had a part written In "fillss Hook
of Holland" for Florence Nash and her
lisp, and again she scored. Then the nian
agement of "The Algerian" Insisted tha$
she play a lisping soubrette. She objected,
but the director had his way. However, In
her next role, that of a manicure girl, In
"When Sweet Sixteen," she cut out all
tricky speech, and from then on sho dis
carded her peculiarities of enunciation and
spoke straight English, getting her comedy
from slang, Instead of stumbling speech.
Talking to Wllard Mack about vaudeville
audiences, during a rehearsal of the new
sketch. Miss Nash remarked;
"Vaudeville Is a great school for actors.
In the two-a-day you cannot go out and,
eay. 'I will dawdle a bit In this scene and
make it up later,' You simply cannot let
down for a single minute. You've got to
act up to the mark all the time you nre on
the stage," To all of which) the dramatist
heartily agreed.
beaugggggs'
SiiHMtW
eWpfSPssI
kGRENCB NASH
tt b4 seen at Kdtlwuext weS; it
a piasirt, TSMora jrjjoi
1:
Psmeh," -
4
"J