Evening star. [volume] (Washington, D.C.) 1854-1972, 1901-09-28


Of Eliza was really clever creation. but
the "Song of the Sword" which he wrote
for Sothern, was saved by bringing In
regiment of soldiers at critical moment.
In THE Last Appeal the characters were
left without military aid. There is no doubt
about Mr. Ditrichsteins ability to write
successes. But "The Last Appear in its
present form does not happen to be one
of them. That 1.-The Liberty Bellies" would
prosper was almost foregone conclusion.
Truly, this is the day of the chorus lady.
She bids fair to make the naughty prima
donna bend the knee, and she has already
brought the comedian to where he is mere
ly permitted to hold the center of the
stage while she takes breath after her
agile exertions. 1t was satircally remarked
some time ago that it did not make much
difference about the play, If the girls were
abundant and good looking. The satrist
has been taken at his word in the
Liberty Bellies" and the result shows that
there was more wisdom than mrth in his
remark. The young women in this pro-
duction cannot sing much as a rule; but
they are pretty of feature and wear cos
tunes suitable to all hours of the day
with bewitching grace; SO there is little
doubt of their captivating New York. Har-
and in Baltimore. Mr. Smith is rapidly ap-
preaching a point in his profession where
no musical production will be regarded as
genuine unless his name appears In the
program THE Strolers' which comes to
the National, and The Little Duchess at
the Columbia both appear under his litera-
ry sponsorship. How Mr.. Smith manages
to accomplish so much work is one of the
mysteries of the day. The latest theory is
that he has his business so systematized
that he can write lyrics with a rubber
stamp as some commercial magnates sign
checks. He is one of the most adaptable
of writers and is not afflicted with the van
ity of authorship to any dangerous degree
He ran over to Baltimore and cut forty
minutes out of '"rhe Little Duchess per-
formance. and in THE Liberty Bellies
has taken material from all sources-some
of 1t not nearly so good what he is ac-
customed to write in an off-hand way for
managers by whom he has been engaged
to supply lyrics at an hours notice In any
desired quantity. Mr.. Smith not only
wrote 1.-The Liberty Bellies" but has inter-
ests in it of proprietary nature and may
in the future devote considerable portion
of his time to managing and producing.
Anna Held's manager, Florence Ziegfeld,
is an indefatigabie amateur photographer
All the scenery that Will be used by Miss
Held in "The Little Duchess" her new
musical comedy, is painted from photo
graphs taken by Mr.. Ziegfeld, who jour
neyed to Europe for the sole purpose of
taking views of the location where the
action is laid Had it not been for Mr.
Ziegfeld's clever manipulating of the cam
era the public might have missed the op-
D6rtunity of seeing Miss Hold in s'Tba
tie Duchess in it's present form. When
reading of the manuscript was given in
New York Miss Held was enthusiastic in
anticipation of success until the reader
reached that part in the manuscript that
called for the part assigned to Miss Held
to appear in male attire. mo, no, no.
said Miss Held. Il will not wear, what you
call EN- pants" You must change that
to skirts I never have and never will
wear trousers on re stage. Oh! How
would look! The public always looked to
me for the latest Paris NODES" Then is
sued a wordy war between the managers
and Miss Held, she declaring that she
would not don the trousers, and they three
against one little woman, arguing and try
ing to convince her that she must as the
part demanded 1t. It was clearly seen that
Miss Held's objection to appearing as a
boy was due to the fear that she would
not make presentable appearance. SO
Mr.. Ziegfeld suggested that the easiest
and best way to settle the matter was
for Miss Held to supply herself with a
boys suit. and let him make photograph
of her. The next day the picture was
taken and so pleased was Miss Held with
the result that she waived all objections
st regard successful play as one Of the
most valuable heritages that a man can
leave after death to the loved ones whose
support was one Of the duties Of his life,"
said Stage Manager John w. Dunno the
other afternoon during the course Of a
stroll after the days labor in rehearsal of
"a Stranger in New York" 1.-THE demand
for good plays by stock companies is the
cause" continued Mr.. Dunno. Take, as
late instance which is fresh in our minds,
the case of the brilliant young native
playwright, Lorimer Stoddard, whose re-
cent death deprived his aged parents of
the material support which it was Lor-
RES pride and pleasure to give them Mr..
Stoddard was so young a man that he had
not had opportunity to accumulate much
Of an estate during life, but his plays will
be a rich source of income for many years
In the Palace Of the King will probably
bring in several Hundred dollars a week.
Tess of the D'Urbervilles' is still in active
demand, and / bslieve that Mr.. Stoddard
left several unacted dramas which are
slated for early presentation. II James A.
Hearne had not left dollar in cash to
his family, the acting rights to Hearts of
Oak Sag Harbor and Shore Acres are
worth small fortune. The plays written
in collaboration by II. C. DeMille and
David Belasco have always been large pro-
| ducers Of revenue fors the widow of the
former. The revival of interest in the
plays of the late Charles H. Hoyt has
increased their earning capacity Immense
ly. The rights tos them were left by the
satirist as token Of Eaffection to Frank
Mckee and Bert Dasher. two of his
former close business associates. It would
surprise you to know the sum which we
pay as royalty for each of the Hoyt plays
in our repertoire The competition for pos
session of them was spirited. On account
of their ready adaptability to the needs of
interspersed vaudeville Keith and Proctor
| both wanted them for their circuits and
originally offered more for theYn thor xrra