The Wichita daily eagle. [volume] (Wichita, Kan.) 1890-1906, 1902-11-09

Just as soon as a young girl develops tai
ent for the stage and is satisfied in her
own mind that she is equipped 10 fight
the battle. bravely. artiSticslly and NOR
ally. let her take the step. II she really
possesses gifts as an actress. the sooner
she knows il the better. Once on the
stage. she viii quickly ind out. II she
Is an actress. she viii save much valu-
able tine by starting in the spring OF
life. for that much longer viii be her
career II she is not, then much time is
saved her that she does not desire. but
is compelled 10 secept through sheer deS-
peration and helpiessness Girls should
bear in mind that when they adopt the
stage they must become women. A girl
is no longer a girl. once she takes this
step, for she deals with men and women,
life becomes a cold business proposition
and she must stand I'D for her rights and
her just reward. Girls are not equip-
ped for this sort OF battle. so ! say they
must become women behind the foot
lights
Where should 2 girl adopt the stage7
This is the most difficult Question 10
answer. Anywhere that a good oppertu-
nifty presents. would probably be the
answer OF some actresses. But say not
Any Old thing and any old place. 70
use slang expressions. VIII not do for a
young girl. for the very reason that she
IS young and still girl. or course, she
cannot select her path and on her debut
claim parts with the best companies
She cannot be too independent. neither
can she be too discreet The stage is
49, - ..f.a.
to make IL q Bohemia. she will ind Il
the easiest task Of her life. II she
chooses 10 make II an honest. sincere
and respectable profession. as every girl
should aim 10 do. she may experience a
little more trouble: but she can do II II
she will So l say. be careful where you
go on the stage. Get the assistance Of
a friend in the business or some outsider
who is capable Of advising Keep your
eyes open for new productions BY mana
gers who are successful. Try TO get in
one OF these companies Take the small
est part, II necessary-one line viii do II
you are in the right company. Say that
line the very best you know how. Act
your part just as the stage manager
commands. Watch the work OF those
around you. notice how they read their
lines. how they fit the business 20 the
words. how they make their gestures
how they conduct themselves in their
parts, how they dress their parts. how
they make VI. how they receive applause
and how they improvise when occasion
demands.
Remember. this is your school. the
director and players are your teachers.
You may be the only pupil in the school.
Don't mind that; you are being paid for
your work and at the same time you
are receiving instruction that must shape
your future career. DO not take onense
at the stage director He is supreme be-
hind the curtain and IL win do you no
good TO rebel against mis- Will In his
eyes men and women are alike and must
receive equal treatment. The success Of
the production hinges upon his ability
10 handle and direct his people II he
fails in these respects he Is released.
Just as you will be II you fail 10 do your
work as he outlines il for you. Take 1t
for granted always that he knows more
about your own work than You do. and
progress win be marked by fewer thorns
in your path. Never possess yourself
filled IN this profession the man OF
woman does not live whose place cannot
be filled. II you VIII observe closely you
viii find that he stars and the leading
people as wen as the subordinates Ga
support come ia for their share az the
calling down when they DO not follow
Instructions. so there is no occasion for
you TO lose heart because YOU get the
idea that the stage director is a little
more severe and a little nearer than h
ought 10 be. He IS supposed % know his
business. and Is paia for what he know
Always respect his knowledge Of the par
ticular work he is directing
AS a final bit OF advice 10 young girls
my profession, I would
suggest that they save every cent they
can: 90 not spend money foOlishiy on
the road. Wardrobes that cost q great
deal OF money are necessary 20 the sue
cess Of every actress. Dress helps 60
measure your success. II YOU save you
can dress well You may be pretty you
may be talented bur II you do not dress
your parts styiishiy when occasion de-
mands. you cannot be successful; for
managers will not tolerate rusty. 0ut ~
laLt S1ENHs save gUtAf money 50 tAHAA
you will have IL when IL j. necessary 20
Increase your wardrobe for a special pro
duction that cannot be dressed with the
gowns you already possess. You will
often hear the remark made about an
actress that she is "a good locker. That
means that she has attracNveness and
knows the value ~ dressing O. the beet
advantage II frequently means thar be-
ing good locker covers a muifltuds
Of shortcomings IN tho way - talent.
In conclusion. girls. I will Gag. 70 ~
the stage - you are Gttsd FOR it menteal-
ly. intellectually and physically. go flsf
as soon as you are convinced that yru
have the talent IN order that you may
shape your course in nfs without dan
gerous delay and without dangerous risk.
20 where you sire offered the most re-
spectacle york az the most advantageous
figure As you grou older 80 the buei-
nsss you VII acquire ezperencs that
Vfn help you when q ls necessary later
to take parts that young actresses ahauid
accept with hesitaney IRE stage 81 Rhat
you make i. ret what 81 makes yoB.
At the Crawford.
NEVADA
The production ~ me lewezf crama q
r1iHilg camp lie Srvaes zEieh
ZONES 70 ths Crawford. as0n1ay. Noveru-
Der .. - destined % exploit the Talents