St. Paul daily globe. [volume] (Saint Paul, Minn.) 1884-1896, 1890-05-18


ment provides the dresses, and even if
this were not so the prima donna is
sufficiently well paid to pay for her own
dresses out of her salary, and so with
jewels.
ri do not think that the playing OF
love on the stage or the ptterance of
love speeches has any effect on those
who have to speak the sentimental lines.
Frequently when the tenor makes love
to me on the stage am thinking whether
or not his hands are clean, and whether
he'll soil my dress when he touches it.
AS a rule their hands are soiled with
perspiration, and when 1 am clasped
about the waist an impression Is left on
the dress which my maid has great
deal of difficulty in obliterating.
II have no doubt that theatergOers do
like to see women on the stage whom
they believe to be good and honest
women. Very frequently you hear peo-
pie say, oh, no, l don't care to see her;
she is talked about too much.' The
actresses who are not seen in public
places with Tom, Dick and Harry nat
urally hold higher place in the esteem
of theatergoers than those who are con-
stantly seen in restaurants at midnight
drinking wine and INDUCING in loud
talk.
"No woman on the stage worries
about the men On the stage. 1t is the
men outside who are constantly writing
notes and trying to make appointments,
and, if they are kept at distance, and
they can easily be kept so if the desire
exists, the actress is just as safe as
though she were in her own home. The
assertion that no girl can make progress
on the stage unless she is cOmplacent
with the managers and other people in
authority IN the theater is all non
sense"
SENSIBLE CLARA MORRIS.
Actresses are subjected to more
temptations than women in private
life,'' said Clara Morris, ''but this arises
chiefly from the fact that they are
thrown Oh the world and left to battle
for themselves. They are deprived of
the shielding influences thrown about
those who never have to leave the
shadow of their home.
''DreSsmaking is without doubt the
heaviest expense an actress has to meet,
and one can be extravaganza in it easily
if one permits oneself. | really believe
80 per cent of the income goes in this
way. It's terrible. But there are two
temptations in this connection. One is
an eXcuSable temptation and the other
an inexcuSable one-if may be per-
mitted to denominate them as such.
The inexcusable temptation is the one
that arises from the WOman'S vanity
alone. The eXcusable one is where the
actress is given part that her art and
her good taste tell her requires elabo-
rate and costly garments.
LAS for freshness of feeling or acute
ness of moral sense when she is rehears-
ing these speeches. the presence of the
cfa ,t,O I'm,
third line or less with Don't approach
that way Here, here, take her hand'
and such EXPLANATIONS. quickly knock
all the glamour of romance off of 1t.
''DO people care more for an actress
of spotless reputation than for one given
to intrigues? l do not believe that peo-
pie will go to see an actress simply be-
cause she is pure. Such women are not
cHrio5ities-there are plenty of them.
Nor do think that the public will stay
away from seeing good actress because
she is not pure woman. 1t is the act
ing they go to see. Yet | am foolish
enough to believe that of late years the
public is deriving much satisfaction
from seeing woman on the stage whose
private lives they know are beyond re-
proach. 1t is not so very long ago that
if a married woman of any attractive
she had to sink the fact of her being
welded and call herself Miss This and
Miss That. But that is entirely I'M
necessary now.
HELEN BARRY'S BELIEF.
81 do not think" said Helen Barry,
''that woman Oh the stage is called
upon to meet any more or greater temp
tation than woman off the stage. If
woman is at all attractive she is bound
to be brought face to face with tempta-
ton anywhere. She is sought after
wherever she goes, whether it be shop
ping or attending social entertainments.
SO far as pretty women on the stage are
concerned, it is much more difficult to
secure an introduction to them than it
is to pretty women who are not connect
ed with the theatrical profession at all.
At all first-clasS theaterS strict rule is
enforced, that no strangers are allowed
on the stage, and managers of theaters
do not introduce their friends to people
on the other side of the fo0tlights eX-
ceptunder extraordinary circumstances.
''In fact, the nearest approach to any
thing of that sort with which | am ac-
quainted is where manager intro
duceS 10 the company an author whose
play he has accepted for production or
whose production he contemplates. |
often have to laugh at the ideas which
people unacqualnted with the theater
have concerning the lives of the people
connected with the stage. They are en-
tirely ignorant of such matters. and
their ideas are absurd in the extreme.
To them 1t is all frolic and pastime.
The exact reverse is of course the real
condition of things. TO an artist of po-
sition the life is as hard as it can be. 1t
is all work, and when that work is fin
ished. l, for one, think of nothing but
rest"